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Gardner’s Art Through the Ages, 12e

Gardner’s Art Through the Ages, 12e. Chapter 16 Europe After the Fall of Rome: Early Medieval Art in the West. What was a psalter? How was it used? How do illuminated manuscripts serve the needs of the church in Early Medieval times in the West? Who illuminates manuscripts?

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Gardner’s Art Through the Ages, 12e

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  1. Gardner’s Art Through the Ages, 12e Chapter 16 Europe After the Fall of Rome: Early Medieval Art in the West

  2. What was a psalter? How was it used? • How do illuminated manuscripts serve the needs of the church in Early Medieval times in the West? • Who illuminates manuscripts? • How did art function in the Early pre-Christian societies like Huns and Vandals? • What are two major influences that are present in the design motifs and illustrations of the early Gospel books?

  3. Early Medieval Sites in Europe

  4. Figure 16-1 Merovingian looped fibula, from Jouy-le-Comte, France, mid sixth century. Silver gilt worked in filigree, with inlays of garnets and other stones, 4” long. Musée des Antiquités Nationales, Saint-Germain-en-Laye.

  5. Figure 16-2 Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and enamel cloisonné with garnets and emeralds, 7 1/2” long. British Museum, London.

  6. Here: the interlace is Actually made up of Zoomorphic forms Figure 16-3 Animal-head post, from the Oseberg, Norway, ship burial, ca. 825. Wood, head approx. 5” high. Vikingskipshuset, Oslo.

  7. Zoomorphic images: of or pertaining to a deity or other being conceived of as having the form of an animal. characterized by a highly stylized or conventionalized representation of animal forms. representing or using animal forms. Figure 16-4 Wooden portal of the stave church at Urnes, Norway, ca. 1050–1070.

  8. Medieval Manuscripts could be: • Psalters that contained the psalms • Lectionaries that ordered the Gospels to be read throughout the liturgical year • “The Book of Hours” was most popular as it was for the laity to read at certain times of day • Earliest were the Greek Bible….primarily religious texts were • Illustrated • Most frequently illustrated and illuminated by scribes in monasteries

  9. Hiberno-Saxon Art: Used symbols… Each evangelist was A creature to make the Author even more sacred And recognizable to the Illiterate “What scripture is to the educated, images Are to the ignorant” –Pope Gregory the Great 590-604 • Illuminated Manuscripts • Usually made of vellum and ink • Deliver the ideas of the • Sacred writing through • Defined images….they • Are: • Portable: (are functional) • Expensive (show status) • Narrative (tell a story) • Organized (into even sections) Figure 16-5 Man (symbol of Saint Matthew), folio 21 verso of the Book of Durrow, possibly from Iona, Scotland, ca. 660–680. Ink and tempera on parchment, 9 5/8” X 6 1/8”. Trinity College Library, Dublin.

  10. Early Medieval Iconography… Was obedient to Sacred mathematics: Symmetry was an Expression of inner Harmony Here… Chaos is balanced by Order…. Figure 16-6 Cross and carpet page, folio 26 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London.

  11. Early Medieval • Iconography: • Is made of • Defined images • That MUST be • Used according to • Their meaning… • A halo behind the head • ALWAYS means • Sanctity… • Is adherent to rules of • position: • The higher the figure-the • More honorable he is Figure 16-7 Saint Matthew, folio 25 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London. Mediterranean influence here

  12. Early Medieval Iconography: Always used Symbolic code To conceal and Reveal the sacred Ideas and stories… • 185 calves slaughtered • For vellum for this book • It was designed for display • on an alter • And kept in a metal box • Colors came from as far • Away as Afghanistan Figure 16-8 Chi-rho-iota page, folio 34 recto of the Book of Kells, probably from Iona, Scotland, late eighth or early ninth century. Tempera on vellum, 1’ 1” X 9 1/2”. Trinity College Library, Dublin.

  13. Early Medieval Monumental Sculpture Was small by Roman standards But large for the Circumstances of This time…. Earlier versions of these Grave markers are Completely abstract…. Figure 16-9 High Cross of Muiredach (east face), Monasterboice, Ireland, 923. Sandstone, approx. 18’ high.

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