AP Art History Chapter 12 Notes PDF

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Gardner's Art through the Ages Chapter 12 Lecture, Patricia Morchel...

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Chapter Intro - Last Judgment - GISLEBERTUS - West Tympanum of Saint-Lazare, Autun, France - The Autun Last Judgment is one of the earliest examples of the rebirth of the art of monumental sculpture in the Middle Ages - One hallmark of the age art historians have dubbed Romanesque because of the extensive use of stone sculpture and stone vaulting in ecclesiastical architecture - Romanesque: “Roman-like.” A term used to describe the history, culture, and art of medieval western Europe from ca. 1050 to ca. 1200 European Culture in the New Millennium - The Romanesque era is the first since Archaic and Classical Greece to take its name from an artistic style rather than from politics or geography - Unlike Carolingian and Ottonian art, named for emperors, or Hiberno-Saxon art, a regional term, Romanesque is a title art historians invented to describe medieval art that appeared “Roman-like.” - They noted that certain architectural elements of this period, principally barrel and groin vaults based on the round arch, resembled those of ancient Roman architecture Towns and Churches - Manor: In feudalism, the estate of a liege lord - Liege lord: In feudalism, a landowner who grants tenure of a portion of his land to a vassal - Vassal: In feudalism, a person who swears allegiance to a liege lord and renders him military service in return for tenure of a portion of the lord’s land - Feudalism: The medieval political, social, and economic system held together by the relationship between landholding liege lords and the vassals who were granted tenure of a portion of their land and in turn swore allegiance to the liege lord - In the Romanesque period, a sharp increase in trade encouraged the growth of towns and cities, gradually displacing feudalism as the governing political, social, and economic system of late medieval Europe Pilgrims and Relics - Pilgrims, along with wealthy landowners, were important sources of funding for those monasteries that possessed the relics of venerated saint - Reliquary: A container for holding relics - Reliquary Statue of Sainte-Foy - Gold, Silver Gilt, Jewels, and Cameos over a Wooden Core - This enthroned image containing the skull of Saint Faith is one of the most lavish Romanesque reliquaries - The head is an ancient Roman parade helmet, and the cameos are donations from

pilgrims France and Northern Spain - In the Romanesque era, pilgrimage was the most conspicuous feature of public religious devotion, proclaiming pilgrims’ faith in the power of saints and hope for their special favor - The major shrines—Saint Peter’s and Saint Paul’s in Rome and the Church of the Holy Sepulcher in Jerusalem—drew pilgrims from all over Europe - Relics: The body parts, clothing, or objects associated witha holy figure, such as the Buddha or Christ or a Christian saint - Reliquaries: A container for holding relics - Furta sacra: Latin, “holy theft .” - Parade helmet: A masklike helmet worn by Roman soldiers on special ceremonial occasions Architecture and Architectural Sculpture - Tribune: In church architecture, a gallery over the inner aisle flanking the nave - Radiating chapels: In medieval churches, chapels for the display of relics that opened directly onto the ambulatory and the transept - Interior of Saint–Étienne - Vignory, France - The timber-roofed abbey church at Vignory reveals a kinship with the three-story naves of Ottonian churches, which also feature an alternate-support system of piers and columns - Saint–Sernin - Toulouse, France - Pilgrimages were a major economic catalyst for the art and architecture of the Romanesque period - The clergy vied with one another to provide magnificent settings for the display of holy relics - The two towers of the west facade were never complete - At Toulouse, the builders increased the length of the nave, doubled the side aisles, and added a transept, ambulatory, and radiating chapels to provide additional space for pilgrims and the clergy - Saint-Sernin’s stone vaults helped retard fire - The groin-vaulted tribune galleries also buttressed the nave’s barrel vault whose transverse arches continue the lines of the compound piers - The Toulouse solution was a crisply rational and highly refined realization of an idea first seen in Carolingian architecture. This approach to design became increasingly common in the Romanesque period - Compound piers: A pier witha group, or cluster, of attached shaft s, or responds, especially characteristic of Gothic architecture - Springing: The lowest stone of an arch, resting on the impost block. In Gothic vaulting,

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the lowest stone of a diagonal or transverse rib. Transverse arch: An arch separating one vaulted bay from the next Crypt: A vaulted space under part of a building, wholly or partly underground; in churches, normally the portion under an apse Christ in Majesty - BERNARDUS GELDUINUS - Relief in the Ambulatory of Saint-Sernin, Toulouse, France - One of the earliest series of large Romanesque figural reliefs decorated the pilgrimage church of Saint-Sernin - The models were probably metal or ivory Carolingian and Ottonian book covers Stone sculpture had almost disappeared from the art of western Europe during the early Middle Ages The revival of stone carving in the 11th century at Toulouse and SaintGenis-desFontaines in southern France and Silos in northern Spain is a hallmark of the Romanesque age The display of sculpture both inside and outside Romanesque churches was a means of impressing—and educating—a new and largely illiterate audience The primary patrons of Romanesque sculpture were the monks of the Cluniac order Third Abbey Church - Cluny, France - Cluny III was the largest church in Europe for 500 year - It had a 500-foot-long, three-story (arcade-tribune-clerestory) nave, four aisles, radiating chapels, and slightly pointed stone barrel vaults Cloister: A monastery courtyard, usually with covered walks or ambulatories along its sides Vita contemplativa: Latin, “contemplative life.” The secluded spiritual life of monks and nuns General View of the Cloister - Saint-Pierre, Moissac, France - The revived tradition of stonecarving probably began with historiated capital - The most extensive preserved ensemble of sculptured early Romanesque capitals is in the Moissac cloister Historiated: Ornamented with representations, such as plants, animals, or human figures, that have a narrative—as distinct from a purely decorative—function The Durandus relief - is not a portrait in the modern sense of the word but a generic, bilaterally symmetrical image of the abbot holding his staff in his left hand and raising his right hand in a gesture of blessing - The carving is very shallow—an exercise in two-dimensional design rather than an attempt at representing a fully modeled figure in space - The feet, for example, which point downward, do not rest on the ground and

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cannot support the abbot’s weight Bastriaries: A collection of illustrations of real and imaginary animals Jambs: In architecture, the side posts of a doorway South Portal of Saint-Pierre - Moissac, France - A vision of the second coming of Christ on judgment day greets worshipers entering Saint-Pierre at Moissac - The sculptural program reflects the belief that Christ is the door to salvation The Romanesque Church Portal - The clergy considered the church doorway the beginning of the path to salvation through Christ - Many Romanesque churches feature didactic sculptural reliefs above and beside the entrance portals Tympanum: The space enclosed by a lintel and an arch over a doorway Lunette: A semicircular area (with the flat side down) in a wall over a door Voussoirs: the wedge-shaped blocks that together form the archivolts of the arch framing the tympanum - Archivolts: The continuous molding framing an arch. In Romanesque and Gothic architecture, one of the series of concentric bands framing the tympanum Lintel: the horizontal beam above the doorway Trumeau: the center post supporting the lintel in the middle of the doorway Jambs: the side posts of the doorway Most sculptured Romanesque church portals present a larger than-life Christ as the central motif Old Testament Prophet (Jeremiah or Isaiah?) - Moissac, France - This animated prophet displays the scroll recounting his vision - His position below the apparition of Christ as last judge is in keeping with the tradition of pairing Old and New Testament themes - The prophet’s figure is very tall and thin, in the manner of the tympanum angels, and like Matthew’s angel, he executes a cross-legged step A team of stone carvers also worked nearby at the church of La Madeleine (Mary Magdalene) at Vézelay. - Vézelay is more closely associated with the Crusades than is any other church in Europe Pentecost and Mission of the Apostles - Tympanum of the Center Portal of the Narthex of La Madeleine - Vezelay, France - In the tympanum of the church most closely associated with the Crusades, light rays emanating from Christ’s hands instill the Holy Spirit in the apostles, whose mission is to convert the world’s heathens

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Crusades: In medieval Europe, armed pilgrimages aimed at recapturing the Holy Land from the Muslims Painting and Other Arts - Unlike the practices of placing vaults over naves and aisles and decorating building facades with monumental stone reliefs, the art of painting needed no “revival” in the Romanesque period - Initial L and Saint Matthew - Folio 10 Recto of the Codex Colbertinus - Probably from Moissac, France - Tempera on Vellum - Probably produced in the Moissac scriptorium, the Codex Colbertinus illuminations are stylistically similar to the contemporaneous cloister sculptures of that Cluniac monastery - probably the work of scribes and painters in the Moissac scriptorium, and it is contemporaneous with the column capitals and pier reliefs of SaintPierre’s cloister - Initial R with Knight Fighting Dragons - Folio 4 Verso of the Moralia in Job, from Cîteaux, France - Ink and Tempera on Vellum - Ornamented initials date to the Hiberno-Saxon era, but this artist translated the theme into Romanesque terms - The duel between knight and dragons symbolized a monk’s spiritual struggle - Nave of the Abbey Church - Saint-Savin-sur-Gartempe, France - Saint-Savin is a hall church with aisles approximately the same height as the nave - The tall aisle windows provide ample illumination for the biblical paintings on the nave’s barrel vault - Christ in Majesty - Apse, Santa Maria de Mur, Near Lérida, Spain, Mid-12th Century - Fresco - In this fresco, formerly in the apse of Santa Maria de Mur, Christ appears in a mandorla between the four evangelists’ signs - The fresco resembles French and Spanish Romanesque tympanum reliefs - Despite the widespread use of stone relief sculptures to adorn church portals, resistance to the creation of statues in the round—in any material—continued in the Romanesque period - Sedes sapientiae: Latin, “throne of wisdom.” A Romanesque sculptural type depicting the Virgin Mary with the Christ Child in her lap - Virgin and Child (Morgan Madonna) - from Auvergne, France, Second Half of 12th Century - Painted Wood - The veneration of relics created a demand for small-scale images of the holy

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family and saints to be placed on chapel altars This wooden statuette depicts the Virgin as the “throne of wisdom.”

Holy Roman Empire - The Romanesque successors of the Ottonians were the Salians (r. 1027–1125), a dynasty of Franks. - They ruled an empire corresponding roughly to present-day Germany and the Lombard region of northern Italy Architecture - Structurally, the central aim of Romanesque architects in the Holy Roman Empire (and in Normandy and England; see) was to develop a masonry vault system that admitted light and was aesthetically pleasing - Covering the nave with groin vaults instead of barrel vaults became the solution - Interior of Speyer Cathedral - Speyer, Germany - The imperial cathedral at Speyer is one of the earliest examples of the use of groin vaulting in a nave - Groin vaults made possible the insertion of large clerestory windows above the nave arcade - Campaniles: A bell tower of a church, usually, but not always, freestanding - Aerial View of Sant’Ambrogio - Milan, Italy - With its atrium and low, broad proportions, Sant’Ambrogio recalls Early Christian basilicas - Over the nave’s east end, however, is an octagonal tower resembling Ottonian crossing towers. - Ribs: A relatively slender, molded masonry arch that projects from a surface. In Gothic architecture, the ribs form the framework of the vaulting. A diagonal rib is one of the ribs that form the X of a groin vault. A transverse rib crosses the nave or aisle at a 90° angle - Rib vaulting: A vault in which the diagonal and transverse ribs compose a structural skeleton that partially supports the masonry web between them - Interior of Sant’Ambrogio - Milan, Italy - Sant’Ambrogio reveals the transalpine ties of Lombard architecture - Each groin-vaulted nave bay corresponds to two aisle bays - The alternate-support system complements this modular plan - Double monastery: A monastery for both monks and nuns - Hildegard was the most famous Romanesque nun, but she was by no means the only learned woman of her age Painting and Other Arts - The number and variety of illuminated manuscripts dating to the Romanesque era attest

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to the great demand for illustrated religious tomes in the abbeys of western Europe Among the most interesting German religious manuscripts is the Scivias (Know the Ways [Scite vias] of God) of Hildegard of Bingen Hildegard Reveals her Visions - Detail of a Facsimile of a Lost Folio in the Rupertsberg Scivias by Hildegard of Bingen - From Trier or Bingen, Germany - Hildegard of Bingen, the most prominent nun of her time, experienced divine visions, shown here as five tongues of fire entering her brain - She also composed music and wrote scientific treatises RAINER OF HUY - a bronzeworker from the Meuse River valley in Belgium, an area renowned for its metalwork - Art historians have attributed an 1118 bronze baptismal font to him Baptism of Christ - RAINER OF HUY - Baptismal Font from Notre-Dame-des-Fonts, Liége, Belgium - In the work of Rainer of Huy, the classical style and the classical spirit lived on in the Holy Roman Empire - His Liege baptismal font features idealized figures and even a nude representation of Christ Repoussé: Formed in relief by beating a metal plate from the back, leaving the impression on the face. The metal sheet is hammered into a hollow mold of wood or some other pliable material and finished with a graver Head Reliquary of Saint Alexander - from the Abbey Church, Stavelot, Belgium - The Stavelot reliquary is typical in the use of costly materials - The combination of an idealized classical head with Byzantine-style enamels underscores the stylistic diversity of Romanesque art

Nowhere is the regional diversity of Romanesque art and architecture more readily apparent than in Italy, where the ancient Roman and Early Christian heritage was strongest Architecture and Architectural Sculpture - Italian Romanesque architects designed buildings that were for the most part structurally less experimental than those erected in Germany and Lombardy. Italian builders adhered closely to the Early Christian basilican type of church - Cathedral Complex - Pisa, Italy - Pisa’s cathedral more closely resembles Early Christian basilicas than structurally

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more experimental French and German Romanesque churches - Separate bell towers and baptisteries are Italian features - The cathedral is large, with a nave and four aisles, and is one of the most impressive and majestic Romanesque churches Incrustation: Wall decoration consisting of bright panels of diff erent colors The gem of Florentine Romanesque architecture is the baptistery of San Giovanni (Saint John), the city’s patron saint Baptistery of San Giovanni - Florence, Italy - The Florentine baptistery is a domed octagon descended from Roman and Early Christian central-plan buildings - The distinctive Tuscan Romanesque marble paneling stems from Roman wall designs Despite the pronounced structural differences between Italian Romanesque churches and those of France, Spain, and the Holy Roman Empire, Italian church officials also frequently employed sculptors to adorn the facades of their buildings Creation and Temptation of Adam and Eve - WILIGELMO - Detail of the Frieze on the West Facade, Modena Cathedral - Modena, Italy - For Modena’s cathedral, Wiligelmo represented scenes from Genesis against an architectural backdrop of a type common on Roman and Early Christian sarcophagi, which were plentiful in the area King David - BENEDETTO ANTELAMI - Statue in a Niche on the West Facade of Fidenza Cathedral, Fidenza, Italy - Benedetto Antelami’s King David on the facade of Fidenza Cathedral is a rare example of life-size freestanding statuary in the Romanesque period - The style is unmistakably rooted in Greco-Roman art

Normandy and England - After their conversion to Christianity in the early 10th century, the Vikings settled on the northern coast of France in present-day Normandy - Active in Sicily - Most critics consider the abbey church of Saint-Etienne at Caen the masterpiece of Norman Romanesque architecture - West Facade of Saint-Étienne - Caen, France, begun 1067 - The division of Saint-Etienne’s facade into three parts corresponding to the nave and aisles reflects the methodical planning of the entire structure - The towers also have a tripartite design

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Interior of Saint-Étienne - The groin vaults of Saint-Etienne made clerestory windows possible - The three-story elevation with its large arched openings provides ample light and makes the nave appear taller than it is - Interior (left; Looking East) and Lateral Section (right) of Durham Cathedral - Durham, England - Durham Cathedral is the first example of a rib groin vault placed over a threestory nave - Quadrant arches replaced groin vaults in the tribune as buttresses of the nave vaults - The bold surface patterning of the pillars in the Durham nave is a reminder that the raising of imposing stone edifices such as the Romanesque churches of England and Normandy required more than just the talents of master designers - Quadrant arches: An arch whose curve extends for one-quarter of a circle’s circumference Painting and Other Arts - The Bury Bible, produced at the Bury Saint Edmunds abbey in England around 1135, exemplifies the sumptuous illumination common to the large Bibles produced in wealthy Romanesque abbeys not subject to the Cistercian restrictions on painted manuscripts - The artist responsible for the Bury Bible is known: Master Hugo, who was also a sculptor and metalworker - Moses Expounding the Law - MASTER HUGO - Folio 94 Recto of the Bury Bible, from Bury Saint Edmunds, England - Master Hugo was a rare Romanesque lay artist, one of the emerging class of professional artists and artisans who depended for their livelihood on commissions from wealthy monasteries - The Eadwine Psalter is the masterpiece of an English monk known as Eadwine the Scribe. It contains 166 illustrations, many of them variations of those in the Carolingian Utrecht Psalter - Eadwine the Scribe at Work - EADWINE THE SCRIBE - Folio 283 Verso of the Eadwine Psalter - Ink and Tempera on Vellum Although he humbly offered his book as a gift to God, the English monk Eadwine added an inscription to his portrait declaring himself a “prince among scribes” whose fame would endure forever - The most famous work of English Romanesque art is neither a book nor Christian in subject. The socalled Bayeux Tapestry - It is an embroidered fabric—not, in fact, a woven tapestry—made of wool sewn on linen - Funeral procession to Westminster Abbey

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Detail of the Bayeux Tapestry from Bayeux Cathedral, Bayeux, France Embroidered Wool on Linen...