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carolingian europe and beyond.

The Viking Invasion. Rune stones: twig like letters of an early Germanic alphabetPicture stones: common design and theme:Heroic death in battleJourney of dead warriors to Valhalla. Scenes in horizontal registersSurrounded by band of symbolicribbon interlace.. Ship= dead warrior's passage to Valhalla..

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carolingian europe and beyond.

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    1. Carolingian Europe and Beyond.

    3. Gripping Beasts Animal interlace with beasts that clutch each other Small claw-like hands Faceted cutting emphasizes flicker of light on densely carved surfaces

    4. Art: East meets West Byzantine view of Art 787 Icons are reestablished Icons are holy because they are made by supernatural powers This is what makes them precious Charlemagne proclaims art to be: man made Artists create visual fictions Therefore art work is not supernatural Images are precious only if material is valuable Value of art and images is educational. As Pope Gregory said, images are books for those who cant read.

    5. Roman Basilica gets a facelift. Multi-storied narthex flanked by stair towers. Because the church entrance faced west, these were called westwork

    6. St. Gall: Plan

    7. Saint Riquier

    8. The Palace Chapel

    9. Palace Chapel in Aachen or Aix-la-Chapelle Central plan church. Added westwork with tall stair tower on each side. Large walled forecourt where crowds could assemble. Spiral stairs in twin towers led to a throne room on second level that opened onto the chapel rotunda, allowing the emperor to participate in Mass. Relics were housed above the room on the 3rd level. Core of chapel is an octagon. Octagon rises to clerestory above gallery level. Ambulatory aisle surrounds this central core to form a 16-sided outer wall. Gallery opens on the central space through arched openings supported by 2 tiers of Corinthian columns. Building has a clarity created by flat walls and geometric forms. Powerful vertical visual pull. Clear division of the structure into parts and vertical emphasis are both hallmarks the new style developed under Charlemagne.

    10. San Vitale and the Palace Chapel

    12. Page with Mark the Evangelist Godescalc Evangelistary 781 Lion is source of inspiration as well as iconographic symbol by which he is known. Arms, hips and knees are modeled Bench and lectern give hint of 3-D space despite flat background Feet on platform Round-shouldered posture Classical spiraling-vine motif But naturalistic touches are destroyed by impossible position of left knee Stylized plants set scene out-of-door Commissioned by Charlemagne and his wife perhaps to commemorate baptism of their sons in Rome

    13. Books under Charlemagne and his son, Louis the Pious St. Matthew :Coronation Gospels St. Matthew Ebbo Gospels

    14. Playing charades in print: The drawings literally interprets individual words. There is a close association between text and illustration in Carolingian art.

    15. Lindau Gospel cover 870-880 Early tradition of youthful Jesus Heroic, weightless Open-eyed No pain Nearly nude Doesnt hang from cross Some modeling and 3-D form, but rigid Stylized drapery Triumphant over death Welcomes believers into the faith

    16. Henry the Fowler (919-936) a Saxon, founded the Ottonian dynasty. After Henry, who defeated the Vikings, there were: Otto I 936-973 gained control of Italymarried a Langobard queen and crowned emperor by Pope in 962. All successors dominated the papacy and appointments to other Church offices that this union of Germany and Italy under a German ruler became known as the Holy Roman Empire. Otto II 973-83 Otto III regency 983-96 ruled 996-1002 All sought to replicate the splendors of the Christian architecture of imperial Rome. Incorporated Carolingian as well as their own ideas.

    17. Convent of Saint Cyriakus in Germany had as its abbess Geros, the provincial military governor, widowed daughter-in-law Basilica with westworks plan Choir and apse seen here replaced westwork in the late 12th century. Towers and westwork dominated the east and west ends of the church, as in St. Riquier Windows, wall and blind arcades break-up the severity of the exterior Interior has three levels, including a clerestory There is an alternation of columns and rectangular piers that creates a rhythmic effect Also vertical shifts in visual rhythm with 2 arches on nave level surmounted by 6 arches on gallery level, surmounted in turn by 3 windows in clerestory This aesthetic of rhythmic alternation of heavy and light supports, balance of rectangular and round forms and combination of horizontal and vertical movement inspires church architecture for years to come.

    18. Interior of Saint Cyriakus Three stories Alternating rhythms of light columns with heavy rectangular piers Contrast of round and rectangular Vertical shifts in visual rhythm with 2:6:3 (arches and clerestory)

    19. Hildensheims Church St. Micaels at Hildensheim Double transept plan Tower groupings a westwork Massive walls Two apses Enter from side Ceilings are flat Piers alternate with pairs of columns in what is called alternate- support system producing rhythmic effect of light and heavy support Bronze doors 1015 16 feet tall Decorated with relief panels from old and new testament Monumentality matched by intellectual content of iconography

    20. Saint Michaels, Hildesheim, Germany, 10011031.

    21. Plan and cut-away view of St.Michaels.

    22. Gero Crucifix Commissioned by the Archbishop Gero of Cologne and presented to his cathedral about 970 Figure of Jesus is more than 6 feet tall Focus is on Jesus suffering, a tortured martyr Meant to inspire pity and awe Straight linear aspect of drapery in contrast to sagging torso and limp bloodied hands Image of distilled anguish

    23. Books

    24. In Otto III Enthroned, he too is near-divine. He is shown enthroned in heaven, surrounded by a mandorla and symbols representing the evangelists. The Hand Of God descends from above to place a crown on his head. Ottos arms are extended in an all-embracing gesture, and he holds the Orb of the World surmounted by a cross in his right hand. His throne, in a symbol of worldly domination, sits of Tellus, the personification of earth. The banner the evangelists hold may be a symbol dividing body below from soul above. On each side of Otto III is an emperor bowing his crowned head toward him. Bannered lances (they hold) may allude to the Ottonians most precious relic, the Holy Lance (believed to be the one a Roman soldier used to pierce Jesus side.) Below, the soldiers and bishops symbolize the union of church and state.

    25. Otto III

    26. Lectionary of Henry II 1002-1014Annunciation to the Shepherds

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