The Migration Period Vocabulary Filigree Cloisonné enamel Fibula Insular Manuscript Illumination Codex Interlace Tonsure Vellum Parchment Scriptorium Choir Piers Nave arcade Alternating Support System

The Early Middle Ages in the West Romans leave Northern Europe Migration Period- Different Barbarian tribes move in from the East Angles and Saxons move across the channel to Britain forcing the Britons and Celts westward Gothic Tribes moved westward within Europe and converted to Christianity Art: Stuck between two periods of naturalism-Classical Antiquity and the Renaissance Familiar with Roman influence Created a visual imagery of their own political claim to the land Angles, Saxons, Lombards, Burgundians, Britons, Celts are displaced Ostragoths move into Italy and conquer Rome The Variety of different Ethnic groups caused problems and need for alliances with the Pope to secure protection Visigoths down into Greece, Italy and Spain until conquered by the Moors-Vandals Less civilized than Roman empire

Visigothic, Eagle Brooch, 6th century, Spain Cloisonné enamel Filigree Visigoths Objects for burial, status Silver and gold filigree with precious gems Animal images and interlacing Color red is an imperial image, fish recalls Roman images of Christianity Need for signs and symbols since many were illiterate What was the physical purpose of this object? What did this object say about the person who wore it? What are the images on the object?

Norse, Gummersmark Brooch, Denmark, 6th century Vikings conquered much of Northern Europe Left Scandinavia and disturbed the British Isles where they brought back paganism and destroyed Christian developments Highly fears and were very violent and powerful North of France named after them Looted of its riches, belonged to a woman of status Interlacing and animal popular among northern tribes Attests to fearsome nature of the vikings Carving adds texture, gives it an abstracted look Desire for abstraction and repetition in images of animals is carried over

Anglo-Saxon, Purse Cover, Sutton Hoo Ship Burial, England, 625 Found in Suffolk England King convertd to Christianity Found with many treasures Ancient near east images, animal and lions-like epic of gilgamesh harp Decorative designs, animals, interlacing, filigree Strong look to cloisonne work. Can control the color and create bold contrasts, definite lines Pattern and repetition, symmetry-control of the artist Anglo-Saxon, Purse Cover, Sutton Hoo Ship Burial, England, 625 King Raedwald

Celtic Christian, South Cross of Ahenny, Co Celtic Christian, South Cross of Ahenny, Co. Tipperary Ireland, 8th century Not a grave marker, usually only one in a cemetery-marks the space as Christian 16 feet tall, high cross Animal and interlacing forms throughout

High Cross of Muiredach, Celtic Christian, Co. Louth, 923

Hiberno-Saxon, Book of Durrow, St. Matthew, Britain, 660-680 Insular Codex Manuscript Illumination Author page tonsure Difference between codex and scrolls Some of earliest bibles, not codified until the 3rd or 4th century Process of book production 2 people, scribe and artist: monks totally dedicated to the job Made at a monastery in Iona, island Entire pages given over to imagery Frontal, stiff, no body under the robe, symbolic forms of the evangelists No precedent at all in classical art-this is entirely Insular

Book of Durrow, St. Mark Author Page Image of Mark, the Lion

Hiberno-Saxon, Lindisfarne Gospels, Cross-Carpet Page, Britain, 689-721 Incorporates Christian symbolism into the already established decorative element of the Northern Peoples Red and green serpents whose bodies elegantly swirl all along the length of the page Cross is set apart by a bright red line Illusion of motion throughout the page Color shift distinguishes the cross Must look carefully to discern the cross and everything there is to see here. Intent is to make us learn to look, we’re entering into a very important lecture and we must really take time to consider what it means Difficulty there is in seeing and in believing the gospel

Hiberno-Saxon, The Book of Kells, Chi-Rho page, Iona, Britain, ca. 800 Initial page Christi autem generatio Book tells of the Geneaology of Christ Text is made image-reiterates the carpet page-in Greek not Latin Hidden images of a monk’s life Incredible time and effort to do this Focus on understanding felt by later readers as well: 12 century priest writes about the craftsmanship hidden within “Fine craftsmanship is all about you, but you might not notice it. Look more keenly at it and you will make out intricacies, so delicate and subtle, so exact and compact, so full of knots and links, with colors so fresh and vivid, that you might say that all this was the work of an angel, and not of a man. For my part, the oftener I see the book, the more carefully I study it, the more I am lost in ever fresh amazement, and I see more and more wonders in the book.”

Detail of Chi Rho Book of Kells Monk draws himself totally immersed in the word

Palatine Chapel of Charlemagne, Aachen, Germany, 792-805

Palatine Chapel of Charlemagne

San Vitale, Ravenna, 547

Plan of Saint Gall monastery, Switzerland, ca. 819

Plan of Saint Gall monastery, Switzerland, ca. 819

Saint Matthew, Coronation Gospels of Charlemagne, Aachen, Germany, ca

Carolingian, St. Matthew, Ebbo Gospels, 816-35, France Charlemagne Monastery Scriptorium

Hiberno-Saxon, Lindisfarne Gospels, St. Matthew, 698-72, Britain Have the same Italian model Known for the amiatinus-codex of 678 brought to theMonastery from Rome by the Bishop Reference to the ancient philosopher, scribe Image of Saint is focused totally on writing Hiberno-Saxon, Lindisfarne Gospels, St. Matthew, 698-72, Britain Hiberno-Saxon, Codex Amiatinus, The Scribe Ezra, 689-716, Britain

Crucifixion, cover of the Lindau Gospels from Saint Gall, Switzerland, ca. 870

Carolingian, Equestrian Statue of Charlemagne, 9th century, France Renovatio Romani Imperii Holy Roman Empire 800-843 Crowned HRE in 800 at Old St. Peter’s in Rome First Christian Emperor in the West Official seal read “Renovatio Imperii Romani” Renewal of the Roman Empire Academic-brought much learning to Aachen and Europe Most devoted to book production

Carolingian, Lorsch Torhalle, 9th century, Germany Descendant of the Roman Triumphal arch but very unique as well Same function, same style in places Unique is the sloping roof Carolingian, Lorsch Torhalle, 9th century, Germany

Norse, Lion Head Post, Oseberg Ship Burial, 825 Vikings conquered much of Northern Europe Left Scandinavia and disturbed the British Isles where they brought back paganism and destroyed Christian developments Highly fears and were very violent and powerful North of France named after them Looted of its riches, belonged to a woman of status Interlacing and animal popular among northern tribes Attests to fearsome nature of the vikings Carving adds texture, gives it an abstracted look Desire for abstraction and repetition in images of animals is carried over Norse, Lion Head Post, Oseberg Ship Burial, 825

Ottonian, Gospel Book of Otto III, Otto Enthroned, Germany, 997-1000 Holy Roman Empire 963-1002 Similar to the image of Justinian and his courtiers All-governing Emperor Mother was a Byzantine Empress Theophanu, Not Christ by the emperor Geometric rendering of the body More sense of environment Moves to Rome to really feel a part of the Roman Empire

St. Michael’s Church, Hildesheim, Germany, 1001-31

St. Michael’s plan Each transept is one square long and three wide Entrance at nave Ambulatory in the apse No narthex St. Michael’s plan

Ottonian, St. Michael’s, 1001-1031, Germany Choir Piers Nave arcade Alternating Support System Bishop Bernward of Hildesheim Double transept Alternate support system Invited by Otto to come to Rome and study Art in order to make his empire appear more like the Roman empire Double transept plan

Bronze doors, St. Michael’s, Hildesheim, Germany, 1015

Ottonian, Bronze Column, St. Michael’s, 1022 Commissioned by the bishop Life of Christ Similar to column of Trajan 24 scenes from the baptism to the entry into jerusalem Style resembles Ottonian manuscripts