EARLY MEDIEVAL EUROPE GARDINER CHAPTER 16-2 PP

Carolingian & Ottonian Art  Charlemagne imported whole libraries from Italy, Byzantium; northern painters trained in Hiberno Saxon pattern making created a sophisticated Late Antique realism in their illuminated manuscripts. Carolingian Period.  mid-10 th century there was a consolidation of the post-Charlemagne empire under new Saxon line of German emperors: the Ottonians.  Ottonian empire advanced and enriched culture/traditions of Carolingian period  Ottonians cemented ties with papacy/Italy & generated monastic reforms  By the early 11th century, pagan marauders had been Christianized and settled, with signs of cultural renewal that would lead to Renaissance.

CAROLINGIAN ART  Christmas day 800 Pope Leo III crowned Charles the Great/Charlemagne, the king of the Franks as emperor of Rome -> becomes the first Holy Roman Emperor  Charlemagne consolidated the Frankish kingdom of his father and defeated the Lombards in Italy  He united Europe and laid claim to reviving the glory of the ancient Roman Empire  His name Carolus Magnus in Latin is given to the era -> the Carolingian period

CHARLEMAGNE’S RENOVATION IMPERII ROMANI  The “Carolingian Renaissance”  Renovation Imperii Romani = renewal of the Roman Empire -> Charlemagne’s official seal 1. Artistic patronage 2. Commissioning imperial portrait statues and illuminated manuscripts 3. Fostering a general revival of learning

SCULPTURE AND PAINTING – EQUESTRIAN STATUETTE  Equestrian portrait of Charlemagne or Charles the Bald, from Metz, France, 9 th century, bronze, 9 ½ “  The model for this statuette was the equestrian portrait of Marcus Aurelius in Rome  Emperor is overly large -> focus is on figure not horse -> Charlemagne is on parade -> holds globe, symbol of world dominion

CORONATION GOSPELS  Saint Matthew, folio 15 recto of the Coronation Gospels (Gospel Book of Charlemagne), from Aachen, Germany, ca. 800–810. Ink and tempera on vellum  Patronage placed high value on books  Painted manuscripts for Charlemagne’s court reveal the legacy of classical art -> use of light, shade, and perspective to create the illusion of three-dimensional form

EBBO GOSPELS  Saint Matthew, folio 18 verso of the Ebbo Gospels (Gospel Book of Archbishop Ebbo of Reims), from Hautvillers (near Reims), France, ca. 816–835. Ink and tempera on vellum  Ebbo Gospels illuminator replaced the classical calm and solidity of the Coronation Gospels evangelist with an energy that amounts to frenzy  Writing frantically, drapery writhes and vibrates  Merging of classical illusionism and northern linear tradition

UTRECHT PSALTER  Psalm 44, detail of folio 25 recto of the Utrecht Psalter, ca , ink on vellum  One of the most extraordinary medieval manuscripts is the Utrecht Psalter -> reproduces the Psalms of David in three columns of Latin capital letters  Each psalm is illustrated w/a pen and ink drawing stretching across the entire width of the page  Rapid, sketchy techniques to render the figures convey the same nervous vitality as the Ebbo evangelists

LINDAU GOSPELS  Crucifixion, front cover of the Lindau Gospels, from Saint Gall, Switzerland, ca. 870, gold, precious stones, and pearls  Sumptuous Carolingian book cover revives the image of the youthful Christ -> repousse figure is statuesque and keeps w/the classical tastes and imperial aspirations of the Frankish “emperors of Rome”

ARCHITECTURE  Charlemagne -> reestablish the imperial past -> encouraged the use of Roman building techniques  Reinterpretation of earlier Roman Christian sources -> fundamental to subsequent dev. of N. European architecture  Models for Charlemagne -> Rome and Ravenna

AACHEN  Aachen in Germany is Charlemagne’s capital  Interior of the Palatine Chapel of Charlemagne, Aachen, Germany,  The first vaulted structure of the Middle Ages north of the Alps -> modeled on San Vitale -> but w/simple and massive geometric form  Charlemagne’s throne is in gallery, halfway between earth and heaven  Largest arches are on the second floor -> columns that fill the arches do not support the arch -> they fill space

 Interior of the Palatine Chapel of Charlemagne, Aachen, Germany, 792–805 Carolingian architecture revives Roman building techniques and forms and is marked by a solid robustness and a clearly articulated geometric structure. The Palatine Chapel at Aachen was modeled on the Byzantine church of San Vitale at Ravenna but with a simplified the plan.

Alternate View View of the Interior

LORSCH GATEHOUSE  Torhalle (gatehouse), Lorsch, Germany, ninth century. The gatehouse to the Lorsch Monastery imitates the design of a Roman city gate but with several features that mark it as a northern building.  3 arched openings divided by engaged columns -> cf. the Arch of Constantine  Fluted pilasters on the second story

 Detail of red and beige brick surface treatment

SAINT GALL  Carolingian period -> construction and expansion of many monasteries  Widespread adoption of the Early Christian basilica -> example here Saint Gall  To the side of the church was the CLOISTER a colonnaded courtyard reserved for the monks alone removed from the early world

MEDIEVAL GOSPELS AND BENEDICTINE RULE  Drawing of the monastery at Saint Gall in Switzerland  Saint Benedict -> founder of the Benedictine order of monks -> made the rules that governed the monasteries -> becomes standard for all European monastic establishments  Communal association in an ABBEY -> absolute by the ABBOT elected by the monks  Every day spent in useful work and in sacred reading -> work and study  Self sufficient communities -> mill, bakery, infirmary, vegetable garden, brewery  Monasteries central to the revival of learning -> monopoly on reading and writing

CORVEY  Westwork of the Abbey church, Corvey, Germany,  An important new feature of Carolingian architecture is the westwork -> a monumental western façade incorporating two towers