1. Romanesque: 11th and 12th centuries
-name means “in the Roman manner,” so called because the churches reflect a strong Roman influence, but art from the period also exhibits influence from Byzantine, Islamic and early European medieval cultures
-art is primarily figurative, narrative and instructional (Christian stories) and focuses on human experiences
-travel, for both pilgrimages and the Crusades, broadened artistic horizons
-represents a period of intellectual flourishing in Europe as Classical texts that had been protected by Muslim scholars were discovered in the Near East during the Crusades— 1st universities established in Europe
Universities including Oxford and Cambridge in England in 12th cent—1100s

2. Life during the Romanesque period:
-Europe’s economy is agriculturally based and land is the highest commodity
-feudalism: system of mutual obligation and exchange of land for services
-this system governed social and political relations, especially in France and England
-land owning lords granted land and protection to subordinate vassals, in return, the vassals pledged their allegiance and military service to the lord
-manor: self-sufficient agricultural estate where peasants worked the land in exchange for a place to live and security from the vassal, and the lord
-the Roman Church and secular leaders are tightly interwoven because bishops and abbots were often the relatives of rulers
-the Crusades ( ) : the Christian church (both East and West) fought to turn back Muslim expansion in Europe and gain access to Jerusalem in the Middle East
-there were 4 campaigns; the 1st brought temporary Christian rule to Jerusalem; 2nd accomplished nothing, and 3rd resulted in a truce allowing Christian access to the Holy Land, 4th sacked Constantinople
-Crusades had a major cultural impact as it exposed Westerners to the sophisticated material cultures of the Byzantine and Muslim empires
3rd crusade was the one with Richard the Lion Heart, of Robin Hood

3. Ink and tempera on vellum; each page 12¾ X 9⅜“; c. 1140
Tells the story of the nightmares of King Henry I—nightmares about the people rebelling about high taxes
Since the goal of the artist was to communicate clearly and not to decorate the text, the illustrations give an excellent idea of the appearance of the people at the time
Artist: John of Worcester
Title: Page with The Dream of Henry I (Those Who Work; Those Who Fight; Those Who Pray), Worcester Chronicle
Medium: Ink and tempera on vellum
Size: each page 12¾ X 9⅜" (32.5 X 23.7 cm)
Date: c. 1140
Source/ Museum: From Worcester, England / Corpus Christi College, Oxford (CCC MS 157, pages )
Page with The Dream of Henry I (Those Who Work; Those Who Fight; Those Who Pray), Worcester Chronicle
Ink and tempera on vellum; each page 12¾ X 9⅜“; c. 1140
-this illustrated text from the mid 1100s depicts the three classes in medieval society; the king and nobles, the churchmen, and the peasant farmers
-book is the earliest known illustrated record of contemporary events in England and was written by a monk

4. Normandy; descendents of Vikings
Scandinavia
Normandy; descendents of Vikings
Constantinople
Kingdom of France
Culturally linked
Europe at the end of the Early Medieval
By the end of the 1200s—a few intelligent and aggressive rulers began to create nation states, especially in France and England
Italy and Germany remained politically fragmented until the 1800s
Muslim ruled
Germans and Lombards; Holy Roman Empire
Rome: Papacy

5. -church plans in general follow the Early Christian Basilica plan
Art and Architecture:
-built churches to glorify God and create a sense of awe in visitors by creating buildings with “the likeness of the paradise of God.”
-paintings and sculptures primarily around the entrance of churches, showing important religious themes, designed to instruct and fascinate
-church plans in general follow the Early Christian Basilica plan
-church is the most important building in the town, as indicated by the large towers over the west entrance (convention begun in the early medieval period)
-good resource:

6. -Sant Vincenc is one of the finest early examples
Early Romanesque:
-c builders in NE Spain, S France and N Italy begin constructing masonry churches inspired by late Roman and early Christian methods
-Sant Vincenc is one of the finest early examples
-transverse arch: strips from the piers continue around the vault
-compound pier: the strips added to the pier (rectangular) supports make them compound
-bands of masonry added strength to the vault and decorative interest to the piers
-use of transverse arches and compound piers to divide the nave into separate bays that define and clarify the space is an essential element of Romanesque architecture
bay
Title: Interior, Church of Sant Vincenç, Cardona
Date: 1020s–30s
Source/ Museum: Spain
nave
Interior, Church of Sant Vincenç, Cardona
1020s–30s; Spain

7. Plan of Church of Sant Vincenç, Cardona,Spain, 1020s–30s
apses
sanctuary: the consecrated area of a church or temple around its altar.
Benedictine plan: the side aisles are smaller than the nave, making the apses on the ends different sizes; creates a “stepped” outline
nave
Title: Plan of Church of Sant Vincenç, Cardona,Spain, 1020s–30s
aisle
aisle
compound pier
transverse arch
Plan of Church of Sant Vincenç, Cardona,Spain, 1020s–30s

8. Pilgrimage Churches:
-in the Eastern, Byzantine Church, people prayed to painted images of saints or religious figures called icons
-in the Western, Roman Church, people visited relics; actual earthly remains of the saints, kept in richly decorated reliquaries
-desire to visit these relics inspired pilgrimages to shrines throughout Europe
-trips were difficult and could take a year or more
-guide books were written to help them on the journey
-the Church decided that every altar (table where the celebration of the Eucharist takes place) needed a relic, so saints bodies and possessions were sub-divided
-created brandea, which were strips of linen that took on the powers of a relic by touching it; allowed relics to be “multiplied”
-relics were generally owned by monasteries, so church design needed to create new larger churches that could accommodate and encourage the influx of pilgrims

9. Title: Art and Its Context: The Pilgrim's Journey

10. Reliquaries: richly decorated containers for relics
-contained earthly remains or possessions of saints
like the head of St. John the Baptist, the sandal of St. Andrew and the skull of child St. Foy
over the centuries, added jewels and other gifts from pilgrims enhanced their splendor
not all reliquaries look like what they contain—some are just richly decorated boxes
Title: Reliquary Statue of Sainte Foy (Saint Faith)
Medium: Silver gilt over a wood core, with added gems and cameos of various dates
Size: Height 33" (85 cm)
Date: Late 9th or 10th century with later additions
Source/ Museum: Abbey Church of Conques, Conques, France. / Church Treasury, Conques, France

11. -held the body of St. James
-Cathedral of St. James (Santiago de Compostela) in northern Spain was a major pilgrimage destination during the 11th and 12th century
-held the body of St. James
-developed a distinctive church plan designed to accommodate the crowds of pilgrims and give them easy access to the relics
octagonal-shaped crossing tower, (intersection of nave and transept) with windows; provided natural light
Title: Transept, Cathedral of Saint James, Santiago de Compostela. View toward the crossing
Date: 1078–1122
Source/ Museum: Galicia, Spain
Transept, Cathedral of Saint James, Santiago de Compostela. View toward the crossing
1078–1122; Spain

12. N & S; pilgrim entrances
-Cathedral of St. James included aisles all the way around the nave, transept, apse and choir, allowing pilgrims to move around the relics without disturbing the liturgical services
N & S; pilgrim entrances
Title: Plan of Cathedral of Saint James, Santiago de Compostela, Spain
Plan of Cathedral of Saint James, Santiago de Compostela, Spain

13. Reconstruction drawing of Cathedral of Saint James
west end
nave
crossing tower
transept
choir
Title: Reconstruction drawing of Cathedral of Saint James, Santiago de Compostela
Date: 1078–1122. Western portions later
apse
ambulatory
chapels
Reconstruction drawing of Cathedral of Saint James

14. Cluny III was largest church in Europe when it was completed in 1130
Cluny III; basilica style church with 5 aisles
double crossings
double transepts
as life in early medieval Benedictine monasteries became increasingly comfortable, new orders of monasticism developed
one, the Cluny order was founded in Burgundy (in France) and established a reformed congregation based on strict adherence to the Benedictine principles whose motto was “peace, pray, work”
Cluny has a special independent status and its abbots answered directly to the Pope in Rome—not through intermediaries
as an independent, wealthy center of learning, Cluny and its affiliates became important patrons for the arts
Title: Reconstruction drawing of the Abbey at Cluny, Burgundy, France. 1088–1130. View From The East.
Reconstruction drawing of the Abbey at Cluny, Burgundy, France. 1088–1130. View From The East.

15. -Cluny III held relics of St. Peter and St. Paul
-hallmark of Cluny churches was their functional design that combined the needs of the monks with the desire of pilgrims to visit shrines and relics
-also noted for fine stone masonry with rich sculptured and painted decoration
-Cluny III held relics of St. Peter and St. Paul
ribbed vault; 98’ high, 40’ span
-height made possible by making the vaults steep, not round, by slightly decreasing the width of the nave at the top of the wall-distributes more of the force to the supporting piers
Title: The church choir from the transept at Cluny
Order gradually lost money and the church was eventually destroyed; especially in French Revolution
The church choir from the transept at Cluny

16. Cistercians Plan of The Abbey of Notre-Dame, Fontenay, France, 1139–47
More monastic orders stressing an austere existence developed in late 11th, early 12th centuries; like Cistercians
very practical religious order that advocated strict mental and physical discipline and a life devoted to prayer and intellectual pursuits—spurned the artistic interests of the Cluny monks
one of key practical changes to their church/monastery architecture was placing buildings at right angles to the walk ways (cloisters) so they could be added on to easily if the community grew
refectory; dining room
Title: Plan of The Abbey of Notre-Dame, Fontenay, Burgundy, France, 1139–47
Plan of The Abbey of Notre-Dame, Fontenay, France, 1139–47

17. -Cistercian architecture reflected the simplicity of the order
-dedicated all their churches to Mary; hence “Notre Dame”
-common feature is pointed ribbed barrel vault over the nave and pointed arches in the nave arcade and side-aisle bays (may come from Islamic influence)
-pointed vaults are more stable than round
-churches relied on harmonious proportions, not decoration to achieve beauty; influenced later Gothic style
Artist; Cistercian
Title: Nave, Abbey Church of Notre-Dame, Fontenay
Date: 1139–47
Source/ Museum: Burgundy, France
Nave, Abbey Church of Notre-Dame, Fontenay
1139–47
France

18. Cathedral Complex, Pisa
Artist: Early Christian inspiration in Pisa
Title: Cathedral Complex, Pisa
Date: Cathedral, begun 1063; Baptistry, begun 1153; Campanile, begun 1174; Campo Santo, 13th century
Source/ Museum: Tuscany, Italy
Cathedral Complex, Pisa
-Romanesque architecture reflects regional influences
-cathedral complex in Pisa in Northern Italy pays homage to Rome—cruciform layout with 5 aisles (nave + 2 side aisles on each side; arcade, gallery and clerestory levels)
-shows reuse of the Classical colonnade, made into a decorative arcade around the campanile (bell tower)

19. -obviously early Christian in its decorative style
-not all churches had to accommodate pilgrims; strictly monastic churches just had to serve liturgical purposes, like the Church of San Clement in Rome
-obviously early Christian in its decorative style
-reflects a conscious effort to reclaim the artistic and spiritual legacy of the early church in Rome
-spolia: reusing building materials from ancient sources
columns are “spolia” taken from ancient roman buildings
Title: Nave, Church of San Clemente
Date: Consecrated 1128
Source/ Museum: Rome
Nave, Church of San Clemente
Consecrated 1128
Rome

20. -vault is ideal place for painting
-this Benedictine abbey church in France, 11th century, has a tunnel-like barrel vault running the length of the nave and choir (area between the transept and the apse)
-vault supported directly by tall columns, so no gallery or clerestory levels
-approaches the form of the “hall church” where nave and aisle rise to the same height (see later in German Gothic)
-vault is ideal place for painting
painting shows God punishing the prideful people who tried to build a tower to heaven by scattering them and making their languages mutually unintelligible; Tower of Babel
tower in the painting in medieval style structure, showing trend of telling Biblical stories in contemporary settings; style recalls narrative and drama of early medieval art
Artist: France
Title: Church of Saint-Savin-Sur-Gartempe, Poitou
Date: Choir c.1060–75; nave c. 1095–1115
Source/ Museum: France
Title: Tower of Babel, detail of painting in nave vault
Date: c. 1115
Source/ Museum: Abbey Church of Saint-Savin-sur-Gartempe, Poitou, France
Church of Saint-Savin-Sur-Gartempe, Poitou; France

21. Nave, Church of Sant’Ambrogio, Milan
lateral rib
transverse rib
piers
groin vault
note that the transverse and lateral ribs are shorter than the groin vault ribs—
new engineering style, so builders conservative in their arrangement—
no windows b/c they didn’t want to risk weakening the structure
Title: Nave, Church of Sant’Ambrogio, Milan
Date: Begun 1080; vaulted after an earthquake in 1117
Source/ Museum: Lombardy, Italy
Nave, Church of Sant’Ambrogio, Milan
Begun 1080; vaulted after an earthquake in 1117; Lombardy, Italy
-four part ribbed vaults
-back in Italy, this church with vaults from early 12th cent, shows massive compound piers supporting 3 huge ribbed groin vaults over the square bays of the nave

22. -this church’s vault rises over 100 ft
-ties between Germany and northern Italy established during the Carolingian remained strong and architecture in Switzerland, S. Germany is closely related to what we see in Lombardy (in N. Italy)—like the previous Nave of Sant’ Ambroggio
-this church’s vault rises over 100 ft
-massive compound piers support the transverse ribs and mark the nave bays
-compound piers alternate with smaller piers that support the vaults of the aisle bays
-groin vaults relieve stress on the exterior walls, so windows were used successfully—makes a building flooded with light
-rhythmic pattern of heavy and light elements, important style in Speyer (Germany)
Title: Interior, Speyer Cathedral; Exterior, Speyer Cathedral
Date: As remodeled c. 1080–1106
Source/ Museum: Speyer, Germany
Interior, Speyer Cathedral; Exterior, Speyer Cathedral
As remodeled c. 1080–1106
Germany

23. -2 towers on the outside emphasize the Ottonian, and Carolingian qualities of the structure
Exterior, Speyer Cathedral
As remodeled c. 1080–1106
Germany

24. -Durham was a military outpost near the Scottish Border in England; there builders experimented with masonry walls
-Durham grew into a powerful fortified complex including a castle, monastery and cathedral
-masonry buildings were associated with the power and glory of ancient Rome and to some extent with Charlemagne
-also gave greater strength and resistance to fire
-Durham Cathedral is an impressive Norman church
-enormous compound piers alternate with robust columns (forming the nave arcade);
-columns are carved with patterns; all ornamentation originally painted
Nave, Durham Cathedral
Vault height about 73‘; 1087–1133.
Original east end replaced by a Gothic choir, 1242–c. 1280; England

25. -shows new system of ribbed vaults; wanted unified, well lit space
bay
title: Nave, Durham Cathedral
Size: Vault height about 73' (22.2 m )
Date: 1087–1133. Original east end replaced by a Gothic choir, 1242–c. 1280
Source/ Museum: England
Plan, Durham Cathedral
diagonal ribs
transverse rib
-shows new system of ribbed vaults; wanted unified, well lit space
-criss-crossed the vaults with 2 pairs of diagonal crossing ribs, which kept the crowns of the vaults close in height to the keystones of the transverse arches

26. Nave, Church of Saint-Étienne, Caen
3-part elevation
clerestory
gallery
nave arcade
Exceptionally wide arches in the nave arcade and gallery
Soaring height was a Norman architectural goal
Title: Nave, Church of Saint-Étienne, Caen (pronounce con)
Date: c. 1060–77; vaulted c. 1130
Source/ Museum: Normandy, France
Nave, Church of Saint-Étienne, Caen
c. 1060–77; vaulted c. 1130; Normandy, France
-6 part vaults; combines two systems—transverse ribs crossing the space at every pier and ribbed groin vaults springing from the heavy piers

27. Church of Saint-Étienne, Caen
-towers on church exterior (west façade) continue Carolingian tradition
-the elegant spires topping the towers are examples of Norman Gothic style
-Norman builders paved the way for later Gothic style with the 3 doors, especially
-also, buttresses on the façade indicate the nave and side aisles inside, and string courses running horizontally on the façade indicate interior elevation—outside reflects the inside
Title: Church of Saint-Étienne, Caen
Date: c. 1060–77; façade c. 1096–1100; spires 13th century
Source/ Museum: Normandy, France
Church of Saint-Étienne, Caen
c. 1060–77; façade c. 1096–1100; spires 13th century
Normandy, France

28. -only way to defeat this structure was to starve the inhabitants
-didn’t just build churches in the Romanesque period—also built castles
keep
bailey
-Dover castle safeguarded the coast of England and was a magnificent demonstration of military power
-castles; sometimes as large as cities, were designed to be self-sufficient
-only way to defeat this structure was to starve the inhabitants
Defenses usually involved walls—originally wood, later made of stone; trenches could add to the height of a defensive wall
Also dug moats
Great tower, or keep, free standing, defensive tower would be at the center of the courtyard (“bailey”) surrounded by additional walls
Buildings that still stand despite weather, vandalism, neglect and war, are testaments to the skill of the builders
Artist: Secular Architecture
Title: Dover Castle
Source/ Museum: Dover, England
Dover Castle; Dover, England

29. Decoration of Romanesque Buildings:
-churches were heavily decorated with paintings and sculpture
-architecture dictated the size and shape of the imagery
-sculpted façades (front, exterior walls) and large/richly carved doorways with symbolic and instructional (Christian) images are a significant innovation of the Romanesque
-image shows Christ and 2 disciples on the road from Jerusalem to Emmaus
-Christ dressed as a pilgrim
-this image from a pier (support) inside a church shows the typical figural style of the period
Instructional as it illustrates Christ (halo) dressed like a pilgrim, with a satchel, ribbed hat and walking stick—the shell on the statue is a reference to pilgrims to Santiago de Compostela in Spain who usually continued to the coast after reaching the church to get a shell (souvenir)
Shell became the passport on the return trip after pilgrimage
Christ and Disciples on the Road to Emmaus
Medium: Pier relief
Size: figures nearly life-size
Date: c. 1100
Source/ Museum: Cloister of the Abbey of Santo Domingo, Silos, Castile, Spain
Christ and Disciples on the Road to Emmaus
Pier relief; figures nearly life-size
c. 1100
Cloister of the Abbey of Santo Domingo, Silos, Castile, Spain

30. tympanum: usually location of most important imagery
archivolts: curved moldings framing tympanum
trumeau
jamb
tympanum; semicircular location (space created by arch shape)
Title: South Portal and Porch, Priory Church of Saint-Pierre, Moissac
Date: c. 1115
Source/ Museum: Tarn-et-Garonne, France
Trumeau, South Portal, Priory Church of Saint-Pierre, Moissac
South Portal, Trumeau and Porch, Priory Church of Saint-Pierre, Moissac
c. 1115; Tarn-et-Garonne, France

31. -hierarchy of scale—Christ, then Evangels, then elders
-priory Church of Saint-Pierre shows “Christ in Majesty” (Christ enthroned) in tympanum—scene combines description of the 2nd coming of Christ with Old Testament prophesies
-rippling waves represent “sea of glass like crystal” from bk of revelations
-winged creatures are the Evangelists, Matthew (man), Mark (lion), Luke (ox), John (eagle)
-24 elders surround Christ holding either harp or bowl of incense (from revelation); elders were also kings and prophets from the Old Testament and by extension the ancestors and precursors of Christ
-hierarchy of scale—Christ, then Evangels, then elders
-despite limitations of the space, there’s variety from the twisting poses
South Portal and Porch, Priory Church of Saint-Pierre, Moissac , France
c. 1115

32. -trumeau shows old test prophet Jeremiah twisting to fit the space
-scalloped doorway reflects influence of Islamic architecture—as do rosettes, lions, and ribbons in the decoration
Trumeau, Priory Church of Saint-Pierre, Moissac
c. 1115;, France

33. Wiligelmus; Creation and Fall, West Façade, Modena Cathedral
Spirit of ancient Rome pervades Romanesque sculpture in Italy;
images may be inspired by ancient sarcophagi still visible in Italy
Image shows creation of Adam (left), then Eve from his rib (center) then expulsion from garden while eating forbidden fruit (right)
Wilgelmus’ was influential Italian sculptor whose style was imitated as far away as England
Artist: Wiligelmus
Title: Creation and Fall, West Façade, Modena Cathedral
Medium:
Size: Height approx. 3' (92 cm)
Date: Building begun 1099; sculpture c. 1099–1100
Source/ Museum: Modena, Emilia, Italy
Wiligelmus; Creation and Fall, West Façade, Modena Cathedral
Height approx. 3‘; sculpture c. 1099–1100; Modena, Emilia, Italy

34. detail shows screaming demons grabbing at souls and trying to cheat by pushing down the scales
2nd coming:
Christ has returned to judge quivering, cowering human souls
inscription “May this terror frighten those who are bound by worldly error. It will be true just as the horror of these images indicates.”
less balanced than 1st tympanum we saw—Christ dominates, but surrounding figures are not as arranged in compartments
stylized figures are highly expressive—web-like engraving on the robes recalls metalwork
Artist: Gislebertus
Title: Last Judgment, Tympanum on West Portal, Cathedral (Originally Abbey Church) of Saint-Lazare, Autun
Date: c. 1120–30 or 1130–45
Source/ Museum: Burgundy, France
Gislebertus
Last Judgment, Tympanum on West Portal, Cathedral of Saint-Lazare, Burgundy, France; c. 1120–30 or 1130–45
-Giselbertus was another church sculptor with a different style from Wiligelmus

35. historiated capitals: instructive, narrative scenes on column capitols
-important Romanesque contribution to architectural decoration
-image shows suicide of Judas; noose thought to either be made from the bag of money he got for betraying Jesus or a wrestler’s belt, indicating worldly physical strength
-sharp outlines made by slightly undercutting the relief to create shadows—helped it to be clearer to viewers on the ground
-screaming demons typical of Giselbertus
Title: Capital: Suicide of Judas, Cathedral of Saint-Lazare, Autun
Date: c. 1125
Source/ Museum: Burgundy, France
Giselbertus; Capital: Suicide of Judas, Cathedral of Saint-Lazare,
c. 1125; Burgundy, France

36. -church interiors were also covered with painted scenes and mosaics
-painters were inspired by illuminated manuscripts and regional influences (like the churches themselves)
-during Romanesque, painted decorations largely replaced mosaics, at least partially because of the increase in the number of churches (required less expensive materials and techniques)
-this painting from an apse; combines Byzantine style with Mozarabic (from Spain) influence
Christ sits in Mandorla, surrounded by angels (holding evangel symbols)
Matthew: angel
Mark: winged lion
Luke: ox
John: eagle
bk says “I am the light of the world”—Christ in Majesty
heavy outlines reflect Mozarbic style; painting technique (modeling from light to dark) is Byzantine, though he made no attempts to blend the shading
intense colors built up through thin coats of paint; glazing
Title: Christ in Majesty, detail of apse
Date: c. 1123
Source/ Museum: Church of San Climent, Taull, Catalunya, Spain / Museu Nacional d’Art de Catalunya, Barcelona
Christ in Majesty, detail of apse
c. 1123; Church of San Climent, Spain

37. Nave, Church of San Clemente Consecrated 1128 Rome
-mosaics in this church (that we saw earlier) show colored marble and gold
-brought artists from Byzantine to create mosaics and to teach the technique to the monks
-style reminiscent of early Christian imagery, trees and rivers of paradise (natural elements) with early Christian iconography
-no attempt to recreate the natural world; ornamental patterns typical of Romanesque
dark outlines, bright, flat colors turn the figures into ornamental patterns typical of the Romanesque
uneven placement of the gold tiles made a glittering effect
Nave, Church of San Clemente
Consecrated 1128
Rome

38. Cloister Crafts: monastic scriptoria and other workshops continue to dominate the production of manuscripts and other portable arts
-crafts include a wide range of media from manuscripts to goldsmithing, ivory carving and embroidery
-carved crucifix shows Byzantine inspiration of showing Christ in royal robes emphasizing his kingship, but deep sadness (unlike Byzantine predecessor)
painted wood commonly used by churches with limited means because it was cheap, but also lightweight, which was important since sculptures were likely carried in processions
hem shows pseudo-kufic script; showing that Islamic textiles were highly prized by people in Europe at this time and often used for religious, ceremonial purposes, despite their Muslim origin (and the many conflicts Christians and Muslims were having)
Title: Crucifix (Majestat Batlló)
Medium: Polychromed wood
Size: height approx. 37 ¾" (96 cm)
Date: Mid-12th century
Source/ Museum: Catalunya, Spain / Museu Nacional d’Art de Catalunya, Barcelona
Crucifix
Polychromed wood
height approx. 37 ¾“
Mid-12th century
Catalunya, Spain

39. Auvergne region, France
-like Cistercian churches that were all dedicated to the Virgin Mary, this sculpture is part of a trend in the Romanesque to emphasize the importance of the Virgin
-shows Mary on a bench meant to reference Old Testament King Solomon’s throne (symbol of earthly wisdom); Mary forms a throne for the adult-child Jesus
-any image of Mary with Jesus on her lap is called the “Throne of Wisdom”
-Jesus would probably have held a book in his left hand and raised his right in a blessing
-figures like this were often used as part of liturgical dramas where people in the church would pretend to be Magi searching for the newborn Christ
Statue was placed at the altar and people “searched” for it around the church—shows early reemergence of theater and performing arts to the West
Title: Virgin and Child
Medium: Oak with polychromy
Size: height 31" (78.7 cm)
Date: Late 12th century
Source/ Museum: Auvergne region, France / The Metropolitan Museum of Art,
New York. Gift of J. Pierpont Morgan, 1916 ( )
Virgin and Child
Oak with polychrome
height 31"
Late 12th century
Auvergne region, France

40. Norman–Anglo-Saxon embroidery Linen with wool height 20“; c. 1066–82
tells story of how William, the Duke of Normandy became William the Conqueror, king of England
initially, Anglo-Saxon, Harold betrays William and becomes king—people were happy until a flaming star appeared, which was taken to be a bad omen (Haley’s comet)
later Harold dies in a battle and William becomes king
in all, the tapestry shows more than 600 human figures, 700 horses, dogs and other creatures and 2,000 inch-high letters--
Title: Messengers Signal the Appearance of a Comet (Halley’s Comet), The Bayeux Tapestry
Medium: Norman–Anglo-Saxon embroidery Linen with wool
Size: height 20" (50.8 cm)
Date: c. 1066–82
Source/ Museum: From Canterbury, Kent, England, or Bayeux, Normandy, France / Centre Guillaume le Conquérant, Bayeux, France
Messengers Signal the Appearance of a Comet (Halley’s Comet), The Bayeux Tapestry
Norman–Anglo-Saxon embroidery Linen with wool
height 20“; c. 1066–82
-actually embroidery—one of most famous pieces of Romanesque art

41. Baptismal Font, Notre-Dame-Aux-Fontes; Bronze
Metalwork:
dominated by artists primarily in Germany and modern Belgium (E. of Germany)
Renier de Huy
Baptismal Font, Notre-Dame-Aux-Fontes; Bronze
Height, 23 ⅝“; diameter, 31 ¼"
1107–18; Liège, France
began making large-scale bronze tomb effigies; cast
like King Rudolf of Swabia—scepter and cross mounted orb show his Christian kingship
baptismal font made in Liege (present day Belgium) shows style that seems classical in its depiction of human figures with dignity, simplicity and harmony
also cast
showed Old Testament story of 12 bulls carrying a basin (bulls thought of as representing the 12 apostles; basin, a baptismal font)
font shows images of St. John the Baptist preaching and baptizing Christ and other baptisms
Liege called “Athens of the North”
Title: Tomb cover with effigy of Rudolf of Swabia
Medium: Bronze with niello
Size: approx. 6'5½ X 2'2½" (1.97 X 0.68 m)
Date: c. 1080
Source/ Museum: Saxony, Germany Cathedral of Merseburg, Germany
Renier de Huy
Title: Baptismal Font, Notre-Dame-Aux-Fontes
Medium: Bronze
Size: Height, 23 ⅝" (60 cm) diameter, 31 ¼" (79 cm)
Date: 1107–18
Source/ Museum: Liège, France
Tomb cover with effigy of Rudolf of Swabia
Bronze with niello
approx. 6'5½ X 2'2½"
c. 1080; Saxony, Germany

42. Facsimile frontispiece with Hildegard and Volmar, Liber Scivias
Illustrated Books
-like the Worchester Chronicle seen at the beginning of this chapter illustrated books were an important tool for transmitting artistic styles and other cultural information during the
Romanesque
-output of books, made by monasteries and convents, increased dramatically during 12th century despite labor and materials involved
-in addition to liturgical books, also made scholarly commentaries, recorded lives of saints, and collections of letters and histories
-this page from manuscript by nun Hildegard shows her receiving divine inspiration for her work (flames)
-she also wrote books on medicine and natural science—shows important new role of women (through convents) in Romanesque
Title: Facsimile frontispiece with Hildegard and Volmar, Liber Scivias
Date: 1165–75
Source/ Museum: Original MS lost during World War II
Facsimile frontispiece with Hildegard and Volmar, Liber Scivias
1165–75; Original MS lost during World War II

43. -inserted her self-portrait in the letter D; historiated initial
-this page by nun Guda,
-inserted her self-portrait in the letter D; historiated initial
-signed it as scribe and painter: “Guda, the sinful woman, wrote and illuminated this book”
-image comes before Hildegard’s
-is the earliest signed self-portrait by a woman in Western history
and shows that women were not simply anonymous workers in German scriptoria in the Romanesque period
Artist: The Nun Guda
Title: Page with self-portrait of the nun Guda, Book of Homilies
Medium: Ink on parchment
Date: Early 12th century
Source/ Museum: West, Germany. / Stadtund Universitäts-Bibliothek, Frankfurt, Germany. MS. Barth. 42, folio 110v
The Nun Guda
Page with self-portrait of the nun Guda, Book of Homilies
Ink on parchment
Early 12th century; West, Germany.

44. -author portrait of St. Matthew
-depiction of him standing within an architectural frame that controls his size and form is a Romanesque concept
-he blesses and holds his book—rather than writes it (as in Ebbo Gospel)
-dangling feet, like the pilgrims to Emmaus, bear no real weight
Ebbo; St. Matthew: early medieval author page
another, earlier and more richly decorated historiated letter and codex (author page)
“L” for liber = book, made with plants and animals, another historiated initial
Title: St. Matthew, from the Codex Colbertinus
Medium: Tempera on vellum
Size: 7 ½ X 4" (19 X cm)
Date: c. 1100
Source/ Museum: Bibliothèque National Paris
St. Matthew, from the Codex Colbertinus
Tempera on vellum
7 ½ X 4“
c. 1100

45. The Mouth of Hell, Winchester Psalter Ink and tempera on vellum
-dramatic image showing gaping jaws of hell filled with a tangled mass of sinners, including kings, queens and monks
-reminder to powerful rulers and the clergy about the vulnerability of their souls
-vigorous narrative has its roots in Carolingian narrative styles (Utrecht Psalter)
-despite the vicious energy, the image is dominated by the square frame
page shows parallels between images of hell mouths and liturgical dramas, called “mystery plays” when a voracious hell mouth prop would be prominently featured
props often made of wood, papier-mâché, fabric and glitter and were placed over a trapdoor on stage; jaws would open and close on actors and emit smoke, flames and bad smells—by far the most popular parts of the plays
Title: The Mouth of Hell, Winchester Psalter
Medium: Ink and tempera on vellum
Size: 12 ¾ X 9⅛" (32.5 X 23 cm)
Date: c. 1150
Source/ Museum: Winchester, England / The British Library, London
The Mouth of Hell, Winchester Psalter
Ink and tempera on vellum
12 ¾ X 9⅛“; c. 1150

46. Page with The Tree of Jesse, Ink and tempera on vellum 15 X 4¾"
-Cistercians, who were particularly devoted to the Virgin Mary are credited with popularizing Mary scenes like the Tree of Jesse (depiction of the ancestors of Christ) which show her position as the last link in the genealogy connecting Jesus to King David
-page shows new, sensitive artistic style with the V-shaped folds of the drapery and drawn, not painted, subtle coloring—in accord with Cistercian restraint
-Christ shown as miniature adult, affectionately touching Mary’s cheek, like Virgin of Vladimir from Eastern Church in same time period
Virgin of Vladimir Icon ; Tempera on panel; height approx. 31“; 11th–12th century
sleeping Jesse (Jesse of Bethlehem, father of King David) is on the bottom and small tree trunk grows out of him—original use of family tree as a schematic device
In Judaism, King David is considered the King of Israel and the Jewish people and one of his descendents is to be the Messiah (Isaiah’s prophecy—a prophet from the 8th century BCE kingdom of Judah); in Christianity David is an ancestor of Joseph, Christ’s adoptive father and Mary’s husband
represents Christ’s genealogy in accordance with Isaiah's prophecy
building held by angel on left equates Mary with the Church and crown held by angel on right is hers as Queen of Heaven
in early decades of 1100s, role of Mary is increasingly stressed by Church doctrine
Title: Page with The Tree of Jesse, Explanatio In Isaiam (Saint Jerome’s Commentary on Isaiah)
Medium: Ink and tempera on vellum
Size: 15 X 4¾" (38 X 12 cm)
Date: c. 1125
Source/ Museum: n/a
Page with The Tree of Jesse,
Ink and tempera on vellum
15 X 4¾"
c. 1125

47. Are we there yet?