Medieval Christian Monks
• Understand the role of Christian monks in preserving and creating illuminated manuscripts in scriptoria
• Examine the layout of a medieval monastery
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9th C. ms. And 20th C. model
St. Gall, Switzerlandca. 819
11-19B Abbey of Saint-Riquier, Centula, France, 790–799, in an engraving of 1612 after a lost 11th-century
manuscript illumination. Bibliothèque Nationale, Paris.
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Figure 11-20 Westwork of the abbey church, Corvey, Germany, 873–885.
Abbey church of St. Pantaleon
Cologne, Germanyca. 966-980
Torhalle (gatehouse)
Lorsch, Germany9th century
Typical Carolingian style architecture
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Ottonian Art (10th century Germany)
• Examine the architecture associated with the Ottonians, its formal origins and its later influence.
• Understand the architectural and free standing sculptural traditions of the Ottonians.
• Compare and contrast Ottonian and Carolingian art• Examine the styles of the Ottonian illuminated
manuscripts.
• Charlemagne’s ineffective grandsons divided the empire into three parts.
• This caused the exponential growth of feudalism• Weakened Empire was left vulnerable to invasions.• German ruler, Otto I, married the Lombard king’s widow, ruled over
much of Italy and was crowned emperor by the pope. – This led to years of continued conflict with the papacy and local
Italian rulers and the Holy Roman Emperor. • The Holy Roman Empire was stabilized by three successive emperors
named Otto.
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Architecture of the Ottonians
• Examine the architecture, its formal origins and its later influence.
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Figure 11-21 Nave of the
church of Saint Cyriakus,
Gernrode, Germany, 961–
973.
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Figure 11-22 Saint Michael’s, Hildesheim, Germany, 1001–
1031.
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Figure 11-23
Longitudinal
section (top) and
plan (bottom)
of the abbey
church of Saint
Michael’s,
Hildesheim,
Germany, 1001–1031.
11-23A Nave (looking east) of Saint Michael’s, Hildesheim,
1001–1031.13
Abbey Church of St. Michael’s
Hildesheim, Germanyca. 1001-1031
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Ottonian Sculpture
• Understand the architectural sculpture associated with St. Michael’s at Hildesheim, Germany.
• Examine the free standing sculptural traditions of the Ottonians.
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Figure 11-24 Doors with relief panels
(Genesis, left door; life of Christ, right
door), commissioned by Bishop Bernward for Saint Michael’s,
Hildesheim, Germany, 1015.
Bronze, 16’ 6” high. Dom-Museum,
Hildesheim.
11-25 God accusing Adam and Eve, detail of the left door of Saint Michael’s, Hildesheim,
Germany, 1015. Bronze, 1’ 10 1/8” high. Dom-Museum,
Hildesheim.
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11-26 Otto I presenting Magdeburg Cathedral to Christ, from Magdeburg
Cathedral, Magdeburg, Germany, 962–968. Ivory, 5” X 4 1/2". Metropolitan
Museum of Art, New York (gift of George Blumenthal, 1941).
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Figure 11-24A Column with reliefs illustrating
the life of Christ, commissioned by
Bishop Bernward for Saint Michael’s,
Hildesheim, Germany, ca. 1015–1022. Bronze,
12’ 6” tall. Dom-Museum, Hildesheim.
11-27 Christ blessing Otto II and Theophanu, 972–973. Ivory, 7 1/8” X 4”. Musée National du Moyen Age,
Paris.20
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Figure 11-28 Crucifix
commissioned by Archbishop
Gero for Cologne
Cathedral, Germany, ca. 970. Painted wood, height of figure 6’ 2”.
Cathedral, Cologne.
Large scale Rounded forms.
Expressive realism, a hallmark of German art, in its depiction of
suffering
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Ottonian Illuminated Manuscripts
• Examine the appearance of the Ottonian illuminated manuscripts.
• Notice the golden backgrounds and linear figural styles in Ottonian illuminated manuscripts --- Ottonian leaders developed significant contacts with the Byzantine empire.
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Figure 11-29 Otto III enthroned,
folio 24 recto of the
Gospel Book of Otto III,
from Reichenau, Germany, 997–1000.
Tempera on vellum, 1’
1” x 9 3/8”. Bayerische Staatsbiblio
thek, Munich.
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Figure 11-30 Annunciation
to the Shepherds, folio in the
Lectionary of Henry II, from
Reichenau, Germany,
1002–1014. Tempera on
vellum, approx. 1’ 5” X
1’ 1”. Bayerische
Staatsbibliothek, Munich.
11-31 Abbess Uta dedicating her codex to the Virgin, folio 2 recto
of the Uta Codex, from Regensburg, Germany, ca. 1025. Tempera on parchment, 9 5/8” X
5 1/8”. Bayerische Staatsbibliothek, Munich.
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11-29A Jesus washing the feet of Saint Peter, folio 237 recto of the
Gospel Book of Otto III, 997–1000. Tempera on vellum, 1’ 1” X
9 3/8”. Bayerische Staatsbibliothek, Munich.
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Discussion Questions
In what ways did medieval European art and architecture depart from classical Roman art and architecture? Did any of the civilizations retain characteristics of Roman art and architecture? Explain.
Compare the three major manuscript styles that developed in the Middle Ages.
What previous styles of art influenced medieval European art?