1. Medieval Artistic Traditions  Late Antique (Ludovisi Battle Sarcophagus, Head of Constantine, etc)  Early Christian 30 CE to about 500 CE  Byzantine 330-1453 A.D  Islamic in Europe – Spain 710-1492, overtake Byzantium 1453 and are STILL in Europe!  “migratory” – Pre-Christian Northern Europe (Barbarian) 200 CE- 700CE  Carolingian - ~750 -1000 CE  Romanesque ~1000 CE to 1200 CE  Gothic ~1200 CE to 1400 CE  All share an interest in Hellenism and Hebraism. The influence turns from Rome back to the East – to Israel and Greece.

2. Key Ideas  Sculpture and painting in Medieval Europe was Influenced by Byzantine and classical styles, but also by “migratory”, or Barbarian traditions.  Elite religious and court cultures produced much of the art and architecture, most notably Charlegmagne, emperor of the central European Holy Roman Empire and the Catholic Church, which gradually Christianized all of Europe.  Like the medieval Christians, the Muslim artists avoid naturalism, have primarily religious or courtly subject matter, and incorporate text.  Rejections of figural imagery is common, and therefore figures are rare.

3. “Migratory” Barbarian Kingdoms

4. Charlegmagne’s Empire

5. Our images for Today  Virgin and Child (Byzantine)  Rebecca and Eliezer at the Well (Byzantine)  Merovingian Looped Fibula (Migratory)  Lindisfarne Gosbels (Migratory)  Bayeux Tapestry (Romanesque England)  Dedication Page with Blanche of Castile and King Louis IX of France (Gothic)  Pieta (Late Gothic)  Golden Haggadah (Late Gothic/Early Renaissance)  Unless otherwise stated, everything I show you today will be an image.

6.  Virgin and Child (Theotokos) Between St. Peter and St. George  Sixth or early seventh century CE  Encaustic paint (wax) on wood  How is this typically medieval?

7.  What is an icon?  Early Christians believed an icon is a drawn image that contains the presence of the divine (God)  What is iconoclasm?  The destruction of an image to make a political, religious, or other social statement.  https://www.khanacademy.org/humanities/medieval- world/byzantine1/constantinople-east/v/hagia-sophia- apse https://www.khanacademy.org/humanities/medieval- world/byzantine1/constantinople-east/v/hagia-sophia- apse  Search “Virgin and Child theotokos” and click on the Khan Academy video link, or follow the link in the email.  Stop at 2:02.

8.  This image survived the iconoclasm.  List three ways that this image is typically medieval, in its form, content, and its historical context.

9. NOT AN IMAGE  Migratory cultures

10. NOT AN IMAGE

12.  Merovingian looped fibula  Early Medieval Europe  Sixth century CE  Silver gilt worked in filigree, with inlays of garnets and other stones

13.  Function: Funerary  Classical in origin – fibula are clasps used in Roman military uniforms  Cloisonne: literally means “partition” in French  What animals do you see here?

14. Medieval Bookmaking  The production of a manuscript was a long, complex and expensive process. It involved making parchment from animal skin, pricking and ruling hundreds of pages, and writing down long texts by hand, one letter at the time. When the binding was finally added, an object was born that weighed several kilos and could cost as much as a car today.

15. Timeline of a Monk’s Day  530 AM: Wake up  545: Matins, the first mass  6:15: Meditation and reading  645: another mass  7:00 – breakfast  8:00 – another mass  9:00 – Jobs – work in the shops or office, parish priesthood, write music, make stained glass, wine making, honeymaking, farming, cook or clean the monastery, illuminate manuscript  1:00 PM: prayer  110: Lunch  2:00 – more work  6:30 – another mass  7:00: Supper.  8:30: Another mass  9:00 – Sleep

16. NOT AN IMAGE  The Lindisfarne Gospels

17.  Lindisfarne Gospels  St. Matthew, cross carpet page  Hiberno-Saxon (migratory)  700 CE  Illuminated manuscript  British Isles

18.  A Northumbrian monk, very likely the bishop Eadfrith, illuminated the codex in the early 8th century.  Two-hundred and fifty-nine written and recorded leaves include full-page portraits of each evangelist; highly ornamental “cross-carpet” pages, and the Gospels themselves, each introduced by an historiated initial.

19. St. Luke Portrait Page  (typical medieval combo of text and image!)

20. Cross Carpet Page

21.  How are the Lindisfarne Gospels typically medieval?  Answers should involve the form, the patron, the content, and the historical context.

22. Battle of Hastings - 1066

24. Bayeux Tapestry  Romanesque English/Norman  1066 CE  Embroidery on Linen  Cavalry Attack  Patron: Odo, Bishop of Bayeux.

25. Bayeux Tapestry  Romanesque English/Norman  1066 CE  Embroidery on Linen  “tituli”: Latin Enscriptions (typical medieval combo of text and image!)  This contains Bishop Odo blessing the meal

26. What is similar?

27. What theme is similar?

28. Gothic

29. Rottgen Pieta  Late Gothic  1300-1325  Painted Wood  Realism?  Content and historical concerns ?  https://www.khanacade my.org/humanities/medi eval-world/latin- western- europe/gothic1/v/roettg en-pieta https://www.khanacade my.org/humanities/medi eval-world/latin- western- europe/gothic1/v/roettg en-pieta  Follow link in email.

30. More Illuminated Manuscripts!  Dedication Page with Blanche of Castile and King Louis IX of France and Scenes from the Apocalypse  Gothic  1226 CE  Illuminated manuscript (ink, tempera, and gold leaf on vellum)  “moralized bible”  Conspicuous consumption of the elite court culture

31.  Scenes from the Apocalypse  How is this typically medieval?

32.  Golden Haggadah The Plagues of Egpyt  Late Medieval Spain (but in the Northern French Gothic Style)  1320 CE  Illuminated Manuscript

33.  Preparation for Passover

34.  Scenes of Liberation  Narrative technique – broken into quadrants to tell the story.