4. “ Barbarian” Art

6. Frankish Looped Fibula France 6th - 7th Centuries silver gilt worked in filigree with inlays of garnets and other stones 4 in. long Most characteristic, perhaps, of the prestige adornments was the fibula, a decorative pin the Romans (and the Etruscans before them) favored.

8. Purse cover from the Sutton Hoo ship burial in Suffolk, England ca. 625 | gold, glass and enamel cloisonné with garnets and emeralds | 7 1/2 in. long

9. Scandinavian “Viking” Art The pirates of the North In 793 the pagan traders and pirates known as Vikings (named after the viks - coves or "trading places" - of the Norwegian shorelines) set sail from Scandinavia and landed in the British Isles.

11. Burial Ship Oseberg, Norway ca. 825 wood 75 1/2 ft. long The art of the Viking sea rovers was early associated with ships - wood and the carving of it.

12. Animal-Head Post Oseberg, Norway ca. 825 wood approximately 5 in. high

14. Wood carved portal of the stave church at Urnes Urnes, Norway ca. 1050 - 1070 wood

15. Hiberno-Saxon Art

19. Man (symbol of St. Matthew) Book of Durrow possibly from Iona, Scotland ca. 660-680 ink and tempera on parchment 9 5/8 x 6 1/8 in. In the Book of Durrow each of the four Gospel books has a carpet page facing a page dedicated to the symbol of the Evangelist who wrote that Gospel, framed by an elaborate interlace border.

20. Lion (symbol of St. Mark) Book of Durrow possibly from Iona, Scotland ca. 660-680 ink and tempera on parchment 9 5/8 x 6 1/8 in.

21. Carpet Page Book of Durrow possibly from Iona, Scotland ca. 660-680 ink and tempera on parchment 9 5/8 x 6 1/8 in. An excellent example of the marriage between Christian imagery and the animal-interlace style of the North is the cross-inscribed carpet page of the Lindisfarne Gospels.

23. Chi-rho-iota page Book of Kells from Iona, Scotland 8th - 9th centuries tempera on vellum 13 x 9 1/2 in. The greatest achievement of Hiberno-Saxon art in the eyes of almost all modern observers is the Book of Kells, the most elaborately decorated of the Insular Gospel books.

24. Evangelists symbols page Book of Kells from Iona, Scotland 8th - 9th centuries tempera on vellum 13 x 9 1/2 in. This book boasts an unprecedented number of full-page illuminations, including carpet pages, evangelist symbols, portrayals of the Virgin Mary and of Christ, New Testament narrative scenes, canon tables, and several instances of monumentalized and embellished words from the Bible.

25. Matthew and Mark symbols Book of Kells from Iona, Scotland | 8th - 9th centuries | tempera on vellum | 13 x 9 1/2 in.

26. Luke and John symbols Book of Kells from Iona, Scotland | 8th - 9th centuries | tempera on vellum | 13 x 9 1/2 in.

27. Virgin and Child page Book of Kells from Iona, Scotland 8th - 9th centuries tempera on vellum 13 x 9 1/2 in.

28. Illuminated text from the Gospel of Mark Erat autem hora tercia Book of Kells from Iona, Scotland 8th - 9th centuries tempera on vellum 13 x 9 1/2 in.

30. Cross and Carpet page Lindisfarne Gospels Northumbria, England ca. 698 – 721 | tempera on vellum | 13 1/2 x 9 1/4 in.

31. Saint Matthew page Lindisfarne Gospels Northumbria, England ca. 698 - 721 tempera on vellum 13 1/2 x 9 1/4 in.

33. The scribe Ezra Codex Amiatinus Jarrow, England ca. 689-716 tempera on vellum 20 x 13 1/2 in.

35. High Cross of Muiredach (east side) Monasterboice, Ireland ca. 923 16 ft. high The medieval artist did not go to nature for models but to a prototype- another image, a statue, or a picture in a book. The preserved art of the early Middle Ages is, as has been noted, confined almost exclusively to small and portable works. The high crosses of Ireland, erected between the 8th and 10th centuries, are exceptional in their mass and scale.

36. High Cross of Muiredach (east side) Monasterboice, Ireland ca. 923 16 ft. high

37. Last Judgment High Cross of Muiredach(east side) | Monasterboice, Ireland | ca. 923 | 16 ft. high

38. Weighing of Souls High Cross of Muiredach(east side) | Monasterboice, Ireland | ca. 923 | 16 ft. high

39. High Cross of Muiredach (west side) Monasterboice, Ireland ca. 923 16 ft. high

40. Crucifixion High Cross of Muiredach (west side) Monasterboice, Ireland ca. 923 | 16 ft. high

41. High Cross of Muiredach Monasterboice, Ireland ca. 923 16 ft. high Arrest of Christ

42. Mozarabic Art

47. Emeterius The tower and Scriptorium of San Salvador de Tàbara, colophon (folio 168) of the Commentary on the Apocalypse by Beatus from Tàbara, Spain 970 C.E. tempera on parchment 1 ft. 2 1/8 in. x 10 in. The following colophon to the illustrated Commentary on the Apocalypse presents the earliest known depiction of a medieval scriptorium. Because the artist provided a composite of exterior and interior views of the building, it is especially informative.

49. Stephanus Garsia Enthroned Christ with 4 Evangelists and the 24 Elders folios 121 verso and 122 recto of the Apocalypse of Saint-Sever from Saint-Sever-sur-l’Adour, France | ca. 1050-1070 | ink and tempera on vellum | 14 1/2 x 22 in.

51. Stephanus Garsia Rain of Fire and Blood folios 137 verso Apocalypse of Saint-Sever from Saint-Sever-sur-l’Adour, France ca. 1050-1070 ink and tempera on vellum 14 1/2 x 11 in.

52. Carolingian Art

56. Equestrian portrait of Charlemagne(?) from Metz, France early 9th century bronze, originally gilt | 9 1/2 in. high When Charlemagne returned home from his coronation in Rome, he ordered the transfer of an equestrian statue of the Ostrogothic king Theodoric from Ravenna to the Carolingian palace complex at Aachen.

57. Equestrian portrait of Charlemagne(?) from Metz, France early 9th century bronze, originally gilt | 9 1/2 in. high

59. St. Matthew Coronation Gospels Aachen, Germany ca. 800-810 ink and tempera on vellum 12 3/4 x 10 in. The style evident in the Coronation Gospels was by no means the only one that appeared suddenly in the Carolingian world.

61. Saint Matthew Ebbo Gospels Hautvillers, France ca. 816 - 835 ink and tempera on vellum 10 1/4 x 8 3/4 in.

62. Saint John Ebbo Gospels Hautvillers, France ca. 816 - 835 ink and tempera on vellum 10 1/4 x 8 3/4 in.

63. Canon Table Ebbo Gospels Hautvillers, France ca. 816 - 835 ink and tempera on vellum 10 1/4 x 8 3/4 in.

64. Canon Tables from the Ebbo Gospels | Hautvillers, France ca. 816 – 835 | ink and tempera on vellum | 10 1/4 x 8 3/4 in.

65. Psalm 44 of folio 25 recto of the Utrecht Psalter Hautvillers, France (near Reims) ca. 820 – 835 | ink on vellum | 1 ft. 1 in. x 9 7/8 in. The Carolingians also revived narrative illustration, so richly developed in Early Christian and Byzantine art, and produced many fully illuminated books (even some large Bibles).

67. Psalm 57 front cover Psalter of Charles the Bald Denis, France ca. 865 ivory panel set in silver-gilt with filigree work and precious stones panel 5 1/2 x 5 1/4 in. cover 9 1/2 x 7 3/4 in. The Carolingians also revived narrative illustration, so richly developed in Early Christian and Byzantine art, and produced many fully illuminated books (even some large Bibles).

68. Psalm 57 front cover Psalter of Charles the Bald Denis, France ca. 865 ivory panel set in silver-gilt with filigree work and precious stones panel 5 1/2 x 5 1/4 in. cover 9 1/2 x 7 3/4 in.

69. Psalm 57 front cover Psalter of Charles the Bald Denis, France ca. 865 ivory panel set in silver- gilt with filigree work and precious stones panel 5 1/2 x 5 1/4 in. cover 9 1/2 x 7 3/4 in.

71. Crucifixion front cover Lindau Gospels Pierpont Morgan Library, New York ca. 870 gold, precious stones and pearls 13 3/8 x 10 3/8 in.

73. Odo of Metz Interior of the Palatine Chapel of Charlemagne Aachen, Germany ca. 792-805 Carolingian architecture revives Roman building techniques and forms and is marked by a solid robustness and a clearly articulated geometric structure. The Palatine Chapel at Aachen was modeled on the Byzantine church of San Vitale at Ravenna but with a simplified the plan.

74. Odo of Metz Interior of the Palatine Chapel of Charlemagne Aachen, Germany ca. 792-805

75. Odo of Metz Interior of the Palatine Chapel of Charlemagne Aachen, Germany ca. 792-805

77. Torhalle (gatehouse) Lorsch, Germany 9th century The gatehouse to the Lorsch Monastery imitates the design of a Roman city gate but with several features that mark it as a northern building

78. Torhalle (gatehouse) Lorsch, Germany 9th century

80. 9th C. ms. And 20th C. model St. Gall, Switzerland ca. 819 The plan for the monastery of Saint Gall was systematically designed using a module of two and one-half feet to lay out the buildings. Carolingian churches followed the basilican plan and included numerous towers.

81. Schematic plan for a monastery St. Gall, Switzerland ca. 819 redrawn after a 9th century manuscript

83. Drawing of the monastery church of St. Riquier Centula, France ca. 800 engraving made in 1612 after a now destroyed 11th century miniature

85. Westwork of the Abbey Church Corvey, Germany ca. 873-885 Towers incorporated into the fabric of the west end of the building creating a unified monumental façade. This has been referred to as westwork in later churches. In contemporary documents they are referred to as castelium (Latin, castle or fortress) or turris (tower).

86. Ottonian Art

89. Nave of the church of St. Cyriakus Gernrode, Germany ca. 961-963 Ottonian architects built several large abbey churches with towering westworks. In some cases, a modular approach was adopted in the plan, and an alternate-support system introduced in the design of the nave.

91. Abbey church of St. Pantaleon Cologne, Germany ca. 966-980

93. Abbey Church of St. Michael’s Hildesheim, Germany ca. 1001-1031

94. Abbey Church of St. Michael’s Hildesheim, Germany | ca. 1001-1031

95. Abbey Church of St. Michael’s Hildesheim, Germany ca. 1001-1031

96. Abbey Church of St. Michael’s | Hildesheim, Germany | ca. 1001-1031

97. Abbey Church of St. Michael’s Hildesheim, Germany | ca. 1001-1031

98. Abbey Church of St. Michael’s Hildesheim, Germany ca. 1001-1031

99. Doors with relief panels Genesis, left door - Christ, right door Hildesheim, Germany ca. 1001-1031 Ottonian sculpture includes examples of large-scale bronze reliefs and monumental figural sculpture in wood. In 1001, when Bishop Bernward was in Rome visiting the young Otto III, he resided in Ottos's palace on the Aventine hill in the neighborhood of Santa Sabina, an Early Christian church renowned for its carved wooden doors. These doors may have inspired the remarkable bronze doors the bishop had cast for his new church in Germany.

100. Doors with relief panels Genesis, left door - Christ, right door Hildesheim, Germany ca. 1001-1031

101. Doors with relief panels Genesis, left door Christ, right door Hildesheim, Germany ca. 1001-1031

102. Column with reliefs illustrating the life of Christ Hildesheim, Germany ca. 1015-1022 bronze 12 ft. 6 in. high The great doors of Saint Michael's were not the only large-scale masterpieces of bronze-casting Bernward commissioned.

103. Column with reliefs illustrating the life of Christ Hildesheim, Germany ca. 1015-1022 bronze 12 ft. 6 in. high

104. Column with reliefs illustrating the life of Christ Hildesheim, Germany ca. 1015-1022 bronze 12 ft. 6 in. high

105. Column with reliefs illustrating the life of Christ Hildesheim, Germany ca. 1015-1022 bronze 12 ft. 6 in. high

106. Column with reliefs illustrating the life of Christ Hildesheim, Germany ca. 1015-1022 bronze 12 ft. 6 in. high

108. Crucifix commissioned by Archbishop Gero Cologne Cathedral, Germany ca. 970 painted wood 6 ft. 2 in. high Nowhere was the revival of interest in monumental sculpture more evident than in the Crucifix.

110. Abbess Uta folio 2 of the Uta Codex Regensburg, Germany ca. 1025 tempera on parchment 9 5/8 in. x 5 1/8 in. Manuscript illumination maintains a certain expressiveness, but the movements and gestures of figures are less naturalistic than earlier Carolingian examples. Ottonian artists carried on the Carolingian tradition of producing sumptuous books for the clergy and the royalty alike. The Uta Codex illustrates the important role women could play both in the religious life and as patrons of the arts during the Middle Ages.

112. Annunciation to the Shepherds Lectionary of Henry II from Reichenau, Germany ca. 1002-1014 tempera on vellum 17 x 13 in. Uta presented her codex about the same time the last Ottonian emperor, Henry II, died. He also commissioned a book of Gospel readings for the Mass, the Lectionary of Henry II, a gift to the Annunciation of Christ's birth to the sherpards.

114. Otto III enthroned Gospel Book of Otto III from Trier, Germany ca. 997-1000 tempera on vellum 13 x 9 3/8 in. A picture from the Gospel Book of Otto III, representing the emperor himself, sums up much of what went before the points to what was to come.

115. Tribute of the Provinces Gospel Book of Otto III from Trier, Germany ca. 997-1000 tempera on vellum 13 x 9 3/8 in.

117. Otto III Enthroned Liuthar (Aachen) Gospels from Aachen, Germany ca. 1000 ink and tempura on vellum 10 7/8 x 8 1/2 in.