1. Early Medieval Art in Europe: c. 500 – 1100 CE
-the roughly 1000 year span between the fall of the Roman empire and the Renaissance in the 1400s is called the Middle Ages; separating 2 golden ages
-was a time of conflict between many cultures that developed in Europe during the reign of the Roman empire, but outside its borders
-these cultures established the groundwork for most of the modern European nations we know today
-though Rome no longer had imperial power, it remained the center for the Western Christian Church and therefore an important spiritual center for the era
-art of the early period represents an amalgamation of Classical/Roman influence with “barbarian” styles
Barbarians; people who could only “barble” Greek or Latin—basically not Romans

2. Title: Europe of the Early Middle Ages

3. -some cultures infiltrated Roman borders; Visigoths and Lombards
-both cultures produced excellent metalwork
Visigoths: came from France into Spain by 6th century; adopted Roman Christianity
-eagle brooch shows Visigoth metalworking skill with popular Roman and Christian symbol, the eagle
Metalwork and manuscripts are most of what remains of the crafts the people outside and inside of Rome created; wood and fabric art disintegrated
Eagle was an ancient sun symbol, a symbol of imperial Rome and later the emblem of St. John the Baptist
Artist: Visigoth
Title: Eagle brooch, one of a pair
Medium: Gilt, bronze, crystal, garnets, and other gems
Size: Height 5⅜" (14.3 cm)
Date: 6th century
Source/ Museum: Spain / The Walters Art Museum, Baltimore
Eagle brooch, one of a pair
Gilt, bronze, crystal, garnets, and other gems
Height 5⅜“
6th century
Spain

4. -cross shows skillful use of precious materials and jewels
Lombards:
-came from the north and settled in Italy, the heart of the Roman Empire
-cross shows skillful use of precious materials and jewels
-Byzantine form, made for Western Church using pagan stones; typifies turbulence of the period
Cross is byzantine form—equal arms, widening at the ends with figure of Christ surrounded by a mandorla in the center
More than 200 jewels, engraved gems and cameos were used; most showing pagan imagery
Shows blending of the eras different styles; byzantine East form, pagan stones, made for the Western Church
Artist: Lombard
Title: Cross
Medium: Gilded silver, wood, jewels, glass, cameos, and gold-glass medallion of the third century
Size: 50 X 39" (126 X 99 cm)
Date: Late 7th–early 9th century
Source/ Museum: Church of Saint Giulia, Brescia, Italy / Museo di Santa Giulia, Brescia
Lombard; Cross
Gilded silver, wood, jewels, glass, cameos, and gold-glass medallion of the third century
50 X 39“; Late 7th–early 9th century

5. Norse; Gummersmark Brooch Silver gilt height 5¾“; 6th century Denmark
People Outside Rome:
-Norse speakers, Germanic people, Celtic culture flourished in the North
-animal style: dominated northern art, stylized animals like serpents, 4-legged beasts and squat human figures
Scandanavia was never part of the Roman Empire
Brooch shows more excellent metalwork from people outside Roman borders during the early Medieval
Composition is symmetrical
Animals shown in their entirety in profile or from above; hip and shoulder joints shown as pear-shapes, tongues and jaws extend and curl, legs end in claws—typical conventions of animal style
Artist: Norse from Scandinavia
Title: Gummersmark Brooch
Medium: Silver gilt
Size: height 5¾" (14.6 cm)
Date: 6th century
Source/ Museum: Denmark / Nationalmuseet, Copenhagen
Norse; Gummersmark Brooch
Silver gilt
height 5¾“; 6th century
Denmark

6. colors: Byzantine Norse Germanic Near East
Was a ship burial—tradition also seen in Viking culture—ship 90 ft long filled with weapons, armor, and other equipment for the afterlife and luxury items. This purse lid was from a purse filled with coins
Techniques and styles from many places represented on the lid; human beings flanked by animals: Near Eastern
Hawks with curving beaks are Norse
Bright colors are Byzantine East
Interlacing, long-jawed animals are Germanic
Artist: Anglo-saxon
Title: Purse Cover, from the Sutton Hoo Burial Ship
Medium: Cloisonné plaques of gold, garnet, and checked millefiore glass
Size: length 8" (20.3 cm)
Date: First half of 7th century
Source/ Museum: Suffolk, England / The British Museum, London
Anglo-Saxon; Purse Cover, from the Sutton Hoo Burial Ship; Cloisonné plaques of gold, garnet, and checked millefiore glass; length 8“; First half of 7th century; Suffolk, England
-England was part of the Roman Empire and after the Romans left, Angles and Saxons from Germany and the low-lands of Europe, and Jutes of Denmark moved in
-Anglo-Saxon literature is filled with references to elaborate jewelry; epic Beowulf describes a hero’s burial that was filled with treasure; such a burial was found with this purse lid in it

7. Page with Man,Gospel of Saint Matthew, Gospel Book of Durrow,
-Roman Christianity and monasteries flourished in the early Medieval period
-monasteries become important cultural centers producing illuminated manuscripts
-manuscripts are among the richest surviving works from the early Medieval; show influence of metalwork with their intricate patterns
-Gospel books were essential for missionary work; used for education and to represent the splendor and glory of the Word of God
-Book of Durrow illustrations represent influence from the many cultures of the time
each of 4 gospels is introduced by a page with the symbol of its evangelist author; then page of decoration; then page of decorated 1st letters of the actual text
figure reminiscent of metalwork; Irish or Scandinavian
checkered pattern seems like millefiore glass like purse lid
ribbon is continuous by changes colors; making additional pattern
other pages, the ribbon turns into a serpent (like Viking, Norse style)
Artist: British aisles
Title: Page with Man,Gospel of Saint Matthew, Gospel Book of Durrow,
Medium: Ink and tempera on parchment
Size: 9⅝ X 6⅛" (24.4 X 15.5 cm)
Date: Second half of 7th century
Source/ Museum: Probably made at Iona, Scotland, or northern England, / The Board of Trinity College, Dublin. MS 57 fol, 21v.
British aisles
Page with Man,Gospel of Saint Matthew, Gospel Book of Durrow,
Ink and tempera on parchment
9⅝ X 6⅛“; Second half of 7th century
Probably made at Iona, Scotland, or northern England

8. -page introduces Matthew’s account of Christ’s birth
-Book of Kells; one of the most beautiful, original and inventive of the gospel books from the British aisles that survives
-page introduces Matthew’s account of Christ’s birth
-shows human and animal forms in the decoration
Chi Rho Iota page, from the Book of Kells ;
Cats and Mice with Host.
Oxgall inks and pigments on vellum
12 ¾ X 9½"
Late 8th or early 9th century
Probably made at Iona, Scotland
Celtic inspiration with the spirals; Germanic animal interlaces
Shows monogram of Christ in Greek letters; chi rho iota = Greek letters that look like XPI; abbreviated form of Christ’s name in Greek
XPI autem generatio = “this is how the birth of Christ came about” (autem written as abbreviation that looks like an h)
Each letter is outlined and filled with decoration and the space between the decorations is similarly filled with decoration
Numerous pictorial and symbolic references to Christ throughout; his initials XPI, 3 angels on left = reminders that angels surrounding the holy family during the nativity
2 cats menace mice eating a Eucharist wafer and they are in turn menaced by 2 more mice; metaphor for struggle between good (cats) and evil (mice) or problem of keeping the wafer from being eating in monasteries.
Title: Chi Rho Iota page, Matt. 1:18 from the Book of Kells ; Cats and Mice with Host. Detail of Chi Rho Iota page, Matt.1:18, Book of Kells
Medium: Oxgall inks and pigments on vellum
Size: 12 ¾ X 9½" (325 X 24 cm)
Date: Late 8th or early 9th century
Source/ Museum: Probably made at Iona, Scotland / The Board of Trinity College, Dublin. MS 58, fol. 34r.

9. otter holding fish;
fish; symbol for Christ because Greek word for fish, ichthus, comprises in its spelling the first letters of Jesus Christ, Son of God, Savior (in Greek)

10. -in 711, Muslims from the Near East end Visigoth rule in Spain
-Muslims, Jews and Christians in Spain lived and worked together, while officially separated
-another level of cultural/stylistic exchange in the Early Medieval; Mozarabic style
-colophon: page at the end of a book with information about its production
called mozarabic b/c the Christians living under Muslim rule were called Mozarabs (would-be Arabs)
This colophon from a Mozarabic style text shows a 5 story tower of the Tabara monastery and a 2 story scriptorium—earliest known depiction of a medieval scriptorium
Islamic horseshoe arches and geometric patterns on brightly glazed tiles--Islamic
Artist: Emeterius and Senior
Title: Colophon Page, Commentary on the Apocalypse by Beatus and Commentary on Daniel by Jerome
Medium: Tempera on parchment
Size: 14¼ X 10⅛" (36.2 X 25.8 cm)
Date: Completed July 27, 970
Source/ Museum: Made for the Monastery of San Salvador at Tábara, León, Spain. / Archivo Histórico Nacional, Madrid. MS 1079B f. 167.v.
Emeterius and Senior
Colophon Page, Commentary on the Apocalypse by Beatus and Commentary on Daniel by Jerome
Tempera on parchment
14¼ X 10⅛"
Completed July 27, 970
Made for the Monastery of San Salvador at Tábara, León, Spain.

11. -shows unique, colorful style characteristic of Mozarabic work
-illustrates the story of a beautiful bird (Christ) that covers itself with mud to trick Satan (the snake)—which he attacks and kills
-Church often translated Bible stories into recognizable images like this to make them accessible to people at any level of education
-shows unique, colorful style characteristic of Mozarabic work
Another copy of Beatus’ (abbot of the Monastery in N. area of Spain; where Christians from Southern –Islamic-Spain moved north) commentary produced 5 years later
A woman artist helped do the illustration—for the 1st time in the West, a woman artist signs work that she definitively contributed to
Artist: Emeterius and Ende, with the scribe Senior
Title: Page with Battle of the Bird and the Serpent, Commentary on the Apocalypse by Beatus and Commentary on Daniel by Jerome (Detail)
Medium: Tempera on parchment
Size: 15 ¾ X 10¼" (40 X 26 cm)
Date: Completed July 6, 975
Source/ Museum: Made for Abbot Dominicus, probably at the Monastery of San Salvador at Tábara, León, Spain / Cathedral Library, Gerona, Spain. MS 7[11], fol. 18v.
Emeterius and Ende, with the scribe Senior;
Page with Battle of the Bird and the Serpent, Commentary on the Apocalypse by Beatus and Commentary on Daniel by Jerome (Detail)
Tempera on parchment
15 ¾ X 10¼"
Completed July 6, 975
Made for Abbot Dominicus, probably at the Monastery of San Salvador at Tábara, León, Spain

12. Carolingian Empire: 768 – 887 CE
-while Muslims controlled Spain, a new power emerged in Continental Europe led by Charles the Great (Charlemagne)
-controlled Western Germany, France, Lombard kingdom in Italy, Belgium and Holland
-sought to revive the Western Empire as a Christian state, and to revive the arts and education
-enlisted monks to help with this revitalization
-Charlemagne was endorsed by the Pope in Rome, strengthening the bond between secular government in the West (Europe) and the papacy in Rome

13. Vikings maintain control north of the Baltic sea after their defeat of the Carolingians and their fall to the Ottonians
Carolingian Empire

14. westwork: church entrances traditionally face west
-this was Charlemagne’s private chapel and the church of his imperial court; a place for relics, and his mausoleum after he died
-to satisfy all these needs, architects built a central plan building similar to San Vitale in Ravenna, but brought Northern influence to create Carolingian style—characterized by emphasis on verticality (building up) and dividing larger spaces into separate parts
westwork: church entrances traditionally face west
Artist: Carolingian
Title: Palace Chapel of Charlemagne, interior view ; Reconstruction drawing of the Palace Chapel of Charlemagne, Aachen (Aix-La-Chapelle), Germany. 792–805
Date: 792–805
Source/ Museum: Aachen (Aix-la-Chapelle), Germany
Church of San Vitale, Ravenna
c. 546–48

15. -made 3 level church to accommodate the king (second level) and the public visitors (ground level) and relics (third level); that looked like a tower from the outside
-rich interior was covered with lavish materials; showing influence of Byzantine style; flat walls and angled piers contrast the flowing interior spaces of the Byzantine
-northern influence brought towers into churches inspired by Roman predecessors
-towers began to function as an outward and very visible sign of an imperial building
Palace Chapel of Charlemagne, interior view
792–805; Germany

16. Abbey Church of Saint Riquier, France, dedicated 799 Engraving
-the Aachen Palace Chapel with its rotunda style was unusual in the Carolingian period
-most churches followed the Roman basilica plan, often with a transept added
-cloisters: arcaded courtyards linking the church and the living and working areas of the monastery
-main church is the large one on the top; shows Carolingian variations of the basilica plan; many towers and multi-story westwork on left side, with structures of equal weight on the right side
-many towers would have been its most striking feature—vertical emphasis was northern contribution to basilica plan churches
3 churches are shown in this engraving of a church destroyed by Vikings
Basilica church shows side aisles, clerestory level; westwork on left
Crossing tower over both the westwork and the transcept
Title: Abbey Church of Saint Riquier, Monastery of Centula, France, dedicated 799
Medium: Engraving
Date: dated 1612, after an 11th-century drawing
Source/ Museum: Bibliothèque Nationale, Paris
Abbey Church of Saint Riquier, France, dedicated 799
Engraving
dated 1612, after an 11th-century drawing

17. Plan of the Abbey of Saint Gall (Redrawn), c. 817
last church included indication of the monks working quarters on a monastery—monks had special needs; life revolved around prayer and service in the church and work for the community
this drawing indicates the complex structures and size of a monastery
church includes space for numerous altars
north of church are public buildings
south side of church were private buildings
buildings surrounding the church were workshops for the monks to pursue individual tasks
monasteries were often larger than the local villages
Title: Plan of the Abbey of Saint Gall (Redrawn), c Original in red ink on parchment, 28 X 44⅛" (71.1 X Cm). Stiftsbibliothek, St. Gallen, Switzerland. Cod. Sang. 1092
Plan of the Abbey of Saint Gall (Redrawn), c. 817

18. scriptorium: workshop where manuscripts were created; usually in monasteries
-Carolingian monks copied religious texts with the goal of making them error-free
-handwriting had gotten terrible because of successive generations of copying
-they reworked penmanship to create a simple, legible Latin script
-every monastic scriptorium developed its own style in harmony with local artistic traditions

19. Carolingian Evangelist portraits
Godescalc: commissioned by Charlemagne;
-style suggests the artists were familiar w/ author portraits from imperial Rome as shown in Byzantine manuscripts
-some realism in the figure and the surrounding space, but it is disrupted by the awkward knee and reverse perspective of the furniture
Artist: carolingian
Title: Page with Mark the Evangelist, Gospel of Mark, Godescalc Gospel Lectionary
Medium: Ink, gold, and colors on vellum
Size: 12½ X 8½" (32.1 X 21.8 cm)
Date: 781–83
Source/ Museum: Bibliothèque Nationale, Paris. MS lat. 1203, fol. 16
Godescalc ; St. Mark
-evangelist portraits; shows evangelist seated at his desk writing a book of the gospel
-3 examples show how regional differences affected the artistic styles

20. Coronation; St. Matthew
-Coronation gospels: reflects rediscovery of Roman realistic painting; shown in a naturalistic environment
Title: Page with Matthew the Evangelist, Gospel of Matthew, Coronatinon Gospels
Medium: n/a
Size: 12 ¾ X 9⅞" (36.3 X 25 cm)
Date: Early 9th century
Source/ Museum: Kunsthistorische Museum, Vienna
Coronation; St. Matthew

21. -Ebbo gospels; style associated with area in Reims, France
-very emotional and intense with swirling lines
-focused on the saint’s inner fervor and spiritual excitement as he writes the word of God, rather than on his physical appearance
Title: Page with Matthew the Evangelist, Gospel of Matthew, Ebbo Gospels
Medium: Ink, gold, and colors on vellum
Size: 10 ¼ X 8¾" (26 X 22.2 cm)
Date: Second quarter of 9th century
Source/ Museum: Bibliothèque Municipale, Épernay, France. MS 1, fol. 18v.
Ebbo; St. Matthew

22. Coronation; St. Matthew early 9th century
Ebbo; St. Matthew
later in 9th century
Godescalc ; St. Mark
late 8th century
All made in regions of the Carolingian empire; all show the authors writing
Coronation; St. Matthew
early 9th century

23. most famous Carolingian manuscript; Utrecht Psalter
The Lord is my Shepherd; I shall not want.
He maketh me to lie down in green pastures:
He leadeth me beside the still waters.
He restoreth my soul:
He leadeth me in the paths of righteousness for His name' sake.
Yea, though I walk through the valley of the shadow of death,
I will fear no evil: For thou art with me;
Thy rod and thy staff, they comfort me.
Thou preparest a table before me in the presence of mine enemies;
Thou annointest my head with oil; My cup runneth over.
Surely goodness and mercy shall follow me all the days of my life,
and I will dwell in the House of the Lord forever.
psalmist; sits in front of a table laden w/ food; holds a cup
House of the Lord
angel holds “rod and staff” and anoints head with oil
since psalms are poems and don’t tell straightforward stories, (which makes them hard to illustrate), scribes developed a method of telling the psalm as a picture
conveys the characteristically close association between text and illustration in Carolingian art
Artist: carolingian
Title: Page with Psalm 23, Utrecht Psalter
Medium: Ink on vellum or parchment
Size: 13 X 9⅞" (33 X 25 cm)
Date: Second quarter of 9th century
Source/ Museum: Universiteitsbibliotheek, Utrecht, Holland. MS 32, fol. 13r.
enemies
herd; by the still waters
Page with Psalm 23, Utrecht Psalter
Ink on vellum or parchment
13 X 9⅞“; Second quarter of 9th century

24. -illustrated manuscripts had equally elaborate, jeweled covers
-cross and crucifixion were common themes
-jewels are raised which allowed light to enter them from behind, creating a lustrous glow
-figures around the jewels recall the style of the Utrecht Psalter, while Christ’s realism recalls Classical sculpture
Artist: carolingian
Title: Crucifixion with Angels and Mourning Figures, outer cover, Lindau Gospels
Medium: Gold, pearls, sapphires, garnets, and emeralds
Size: 13¾ X 10⅜" (36.9 X 26.7 cm)
Date: c. 870–80
Source/ Museum: The Pierpont Morgan Library, New York. MS 1
Crucifixion with Angels and Mourning Figures, outer cover, Lindau Gospels
Gold, pearls, sapphires, garnets, and emeralds
13¾ X 10⅜“; c. 870–80

25. Viking Era:
-in 843, the Carolingian empire was divided into 3 parts, ruled by 3 grandsons of Charlemagne
-in 700s, seafaring bands of Norse seamen called Vikings descended on Europe and put an end to the Carolingian empire
-Vikings raided and settled a large area from Iceland and Greenland in the north to France
-impressive ships that could travel as far as 200 miles/day in good weather are their most lasting contribution to world architecture
-came to an end in Europe south of the Baltic Sea in the 1000s when the new Ottonian Empire defeated them
Viking Leif Erikson reached North America in 1000

26. Wood; length 75' 6“; c. 815–20; burial 834
ships used for burials (like the ship at Sutton Hoo with the purse lid)
women as well as men were buried in them; this one had 2 women; Queen and her companion or servant; also 12 horses, several dogs and an ox were sacrificed to go with them to the afterlife
Gripping beast: shows broad-bodied beasts that grip each other with sharp claws—seen on all kinds of Viking objects
Title: Queen’s Ship
Medium: Wood
Size: length 75' 6" (23 m)
Date: c. 815–20; burial 834
Source/ Museum: Vikingskiphuset, Universitets Oldsaksamling,Oslo, Norway
Title: Gripping Beasts, detail of Oseberg Ship
Queen’s Ship
Wood; length 75' 6“; c. 815–20; burial 834
-Viking ships were used for travel, warfare and burials
-ship design reminiscent of a sleek, sea serpent
-carved wood (originally painted) shows “Gripping Beast” design

27. Portal, set into wall of later stave church 11th century Norway
-carved decoration seen on the ship continues on Scandinavian halls and later churches
-the style changes, however, to include more rounded surfaces and a contrast of thick-to-thin linear elements; balanced pattern
-use of this style on churches suggests the persistence of Scandinavia’s mythological tradition even as it embraced Christianity
-Great Beast (on the left) fighting serpents and dragons came to be associated with Christ
Artist: Viking
Title: Portal, set into wall of later stave church
Date: 11th century
Source/ Museum: Urnes, Norway
Portal, set into wall of later stave church
11th century
Norway

28. -this church in rural Norway did survive, though
-northern architecture used wood heavily b/c it was readily available; little survives b/c it burned or decayed
-this church in rural Norway did survive, though
-called ‘stave” because of 4 huge timbers that make up the basic structural support
-additional staves were added to create the effects of a traditional Christian church
-all the gables have both crosses and dragons to protect the church and its congregation from trolls and demons
Artist: Viking
Title: later stave church, Borgund, Norway
Date: c. 1125–50
later stave church, Borgund, Norway
c. 1125–50

29. -Ottonians named for 3 principal rulers: Otto I, Otto II, and Otto III
Ottonian Empire: 919 – 1024
-Viking era ended south of the Baltic Sea in Europe in the 11th century when they were defeated by this Germanic power
-Charlemagne’s grandson and his family who overtook the German and Austrian parts of the Carolingian Empire soon died out, leaving room for a Saxon dynasty to come to power
-Ottonians named for 3 principal rulers: Otto I, Otto II, and Otto III
-Ottonians defeated the Vikings, blended with the Lombard Kingdom in Italy and re-established Charlemagne’s Christian Roman Empire
-this union of Germany and Italy under German rulers with strong ties to the Pope in Italy is sometimes called the Holy Roman Empire
Ottonians and their successors dominated the Papacy and appointments to other high Church offices

30. Ottonian/Holy Roman Empire

31. -may have been part of an altar or pulpit in a cathedral, originally
-this ivory carving from the Ottonian period shows the unity of Church and state
-may have been part of an altar or pulpit in a cathedral, originally
-shows St. Maurice (an African Christian commander who refused to denounce Christianity in the 3rd century) with his arm around Otto I who is handing a model of the cathedral to Christ and St. Peter
-hieratic scale accounts for the varying sizes of the figures
Artist: Ottonian
Title: Otto I Presenting Magdeburg Cathedral to Christ
Medium: Ivory
Size: 5 X 4½" (12.7 X 11.4 cm)
Date: c. 962–68
Source/ Museum: One of a series of seventeen ivory plaques known as the Magdeburg Ivories, possibly carved in Milan / The Metropolitan Museum of Art, New York. Bequest of George Blumenthal, 1941 ( )
Otto I Presenting Magdeburg Cathedral to Christ
Ivory; 5 X 4½“; c. 962–68
One of a series of seventeen ivory plaques known as the Magdeburg Ivories, possibly carved in Milan

32. Church of Saint Cyriakus; Begun 961; consecrated 973; Germany
-Ottonian architecture tried to emulate the buildings of Christian Rome
-locally trained craftsman could only struggle to comply; most didn’t survive
-this church is based on a basilica plan with a westwork (a feature that takes on greater importance with the increasingly elaborate liturgy)
-transept on east end and two towers on west gave the church a ‘double ended look”; considered characteristic of Ottonian churches
Artist: Ottonian
Title: Church of Saint Cyriakus
Date: Begun 961; consecrated 973
Source/ Museum: Gernrode, Germany
Church of Saint Cyriakus; Begun 961; consecrated 973; Germany

33. Nave, Church of Saint Cyriakus
-interior has 3 levels; arcade separates the nave from the side aisles (lower level), gallery with group of 6 arched openings (2nd level) and a clerestory (upper level of windows)
-alternating columns and rectangular piers create a rhythmic effect more interesting than that of the uniform colonnades of the Early Christian Churches
Artist: Ottonian
Title: Nave, Church of Saint Cyriakus

34. style of the illustrations is reminiscent of the Utrecht Psalter illustrations
architectural elements and natural details are only shallow reliefs behind the figures
imagery pairs a scene from an Old Testament story with scenes from the new testament in an intelligent way
temptation and fall from the garden of Eden (origin of sin) paired with the Crucifixion that freed man of sin, for example
also shows Eve with 1st born Cain (who kills brother Abel) across from Mary with new born Jesus (pairing Cain and Jesus—evil and good)
Artist: Ottonian
Title: Doors of Bishop Bernward ; Schematic Diagram of the message of the Doors of Bishop Bernward of Hildesheim
Medium: Bronze
Size: height 16' 6" (5 m)
Date: 1015
Source/ Museum: Made for the Abbey Church of Saint Michael, Hildesheim, Germany
these doors from a late Ottonian Abbey were constructed under the supervision of a well-known goldsmith, Bishop Bernward; they represent the most ambitious and complex bronze-casting undertaken since antiquity

35. -figure is more than 6 ft tall
-Ottonian artists worked in ivory, bronze, wood and other materials, but not stone
-like Early Christian and Byzantine artists they focused on Church furnishings and portable art rather than architectural sculpture (like Classical artists)
-created large wood sculptures drawing on Byzantine, Roman, Early Christian and Carolingian influences that would have a significant influence on later medieval art
-Gero Crucifix is one of few large works of carved wood to survive from early Middle Ages
-figure is more than 6 ft tall
-focus, like Middle Byzantine examples, is on Christ’s suffering
Artist: Ottonian
Title: Gero Crucifix
Medium: Painted and gilded wood (oak)
Size: height of figure 6'2" (1.88 m)
Date: c. 970
Source/ Museum: Cologne Cathedral, Germany
Gero Crucifix
Painted and gilded wood
height of figure 6'2"
c. 970
Cologne Cathedral, Germany

36. Page with Otto III Enthroned, Liuthar Gospels (Aachen Gospels)
-illustrated manuscripts in Ottonian period are not as varied as Carolingian examples
-this dedication page for a gospel is meant to establish the divine underpinnings of Otto’s authority (he is in the thrown) and depicts him as a near-divine being
-his thrown rests on Tellus, the personification of earth, symbolizing his dominance over the earthly domain
-the evangelists (represented as their symbols) hold a white banner across him
-on the bottom, 2 warriors face 2 bishops symbolizing the union of the secular and religious power under the emperor
-reminiscent of earlier Roman art that focuses on propaganda and the near divinity of a ruler
Artist: Ottonian
Title: Page with Otto III Enthroned, Liuthar Gospels (Aachen Gospels)
Medium: Ink, gold, and colors on vellum
Size: 10⅞ X 8½" (27.9 X 21.8 m)
Date: c. 996
Source/ Museum: Cathedral Treasury, Aachen
Page with Otto III Enthroned, Liuthar Gospels (Aachen Gospels)
Ink, gold, and colors on vellum
10⅞ X 8½"
c. 996

37. -importance of gesture and gaze is a convention of Ottonian painting
-second gospel book made for Otto III in same scriptorium as the other gospel illustrates the painters’ narrative skill
-shows Jesus about to wash Peter’s feet, though elderly Peter initially protested—the 2 figures gesture and gaze toward each other, carrying the meaning of the scene
-importance of gesture and gaze is a convention of Ottonian painting
-from this groundwork emerges the arts of the Romanesque and Gothic periods in Western Europe—next 3 chapters
illustrations summarize the high intellectual and artistic qualities of Ottonian art;
-drew inspiration from the past to create a monumental style for the Christian, German-Roman empire
Artist: Ottonian
Title: Page with Christ Washing the Feet of His Disciples, Aachen Gospels of Otto III
Medium: Ink, gold, and colors on vellum
Size: approx. 8 X 6" (20.5 X 14.5 cm)
Date: c. 1000
Source/ Museum: Staatsbibliothek, Munich
Page with Christ Washing the Feet of His Disciples, Aachen Gospels of Otto III
Ink, gold, and colors on vellum
approx. 8 X 6“; c. 1000

38. Pickin’ up what I’m layin’ down?