1. Late Roman Empire - French Gothic
Final Exam: Monday 12:30PM - 2:30 PM
ARTH 101 Final Review
Session
2. Final Exam
Same as your previous exams!
ONLY DIFFERENCE:
2 mystery images
Do NOT need to know: Oceanic OR Gothic outside France
YOU NEED TO KNOW THE LAST FEW IMAGES FROM LATE ROMAN
( Diocletian’s palace at Split, 300-305 C.E. / Arch of Constantine, Rome, 312-330 C.E.
/ Head of Constantine, 315-330 C.E. / Aula Palatina, Trier, early 4th c. C.E )
3.
4. Diocletian’s palace at Split
Late Roman Empire
300-305 C.E.
plan inspired from a roman military fort
5.
6. Arch of Constantine, Rome
Late Roman Empire
312-330 C.E.
took different sculptures and parts from previous “good”
rulers (Trajan, Marcus Aurelius), maybe to associate his rule
with good rulers
10. Aula Palatina, Trier
Late Roman Empire
early 4th c. C.E
“palace hall,” shows the use of the basilica form
11. Late Antiquity Vocab
Late Antiquity: “Early Christian,” 300-500 C.E., Christianity took over large parts of Roman Empire, becomes official religion of
Empire in 4th c., focus on frontality
PARTS OF CHRISTIAN BASILICA
Basilica: neutral architecture/type of building
Atrium: gathering area, large square courtyard
Narthex: where the people who are studying to become Christians sit during congregation
Nave: central aisle, only for clergy
Transept: makes the building like a cross-shape
Apse: where the altar and throne is
central plan: based off a circle plan, has a dome with clerestory lighting
dome: circular bump in a building
pendentive: triangular parts that channel the pressure of the dome into pillars
12.
13. Dura Europus, synagogue
Late Antiquity
c. 245-56
converted from a house, scenes from the Torah
painted all over the walls
14.
15. Dura Europus, house-church
Late Antiquity
c. 240-56
worshipped in secret because of a fear of being
martyred, the baptistery was the only room that it
was painted
16.
17. Good Shepherd from catacombs
Late Antiquity
early 4th c.
most popular subject in catacombs,
symbol of christ
18.
19. Rome, Old St. Peter’s, Plan
begun 320
Late Antiquity
founded by Constantine, had double aisles
20.
21. Rome, Old St. Peter’s, begun 320,
reconstruction
Late Antiquity
founded by Constantine, had double aisles
22.
23. Rome, Santa Sabina
Late Antiquity
422-432, interior: enter through west, look
towards east (towards Jerusalem), example of
a basilica with columns on the interior
24.
25. Rome, Santa Costanza
Late Antiquity
ca. 337-351, interior
tomb of Constantine’s daughter, central plan, plain brick on
the outside
26.
27. Ravenna, Mausoleum of Galla Placidia, Late Antiquity c. 425
Exterior: probably in honor of a martyr, plain brick on
the outside
Good Shepherd mosaic: golden halo and robe; now seen in
a higher social status
28.
29. Vienna Genesis, Rebecca and Eliezer at the
well
Late Antiquity
early 6th century
book depicting stories from Genesis
30.
31. Diptych of Symmachi
Late Antiquity
ca. 400
roman family that were pagan, ivory carving of a
greeting card
32. Byzantine Vocab
Byzantine: 500-1453 C.E.,
Icon: image on a flat panel that is venerated, not treated as a holy object; displayed at alter
with candles and could be prayed to
Iconoclasm- 8th century: destruction of images; may be a response to the rise of Islam
Pantocrator: “ruler of everything,” image of Christ that looks fierce and powerful,
emphasis on a sterner side of Christ
CONVENTIONS: Architecture attempts to be more airy, light/real gold used as a
backdrop/frontal view/important person in middle/rulers depicted with halos/figures are
elongated, feet point down and are floating and overlap, oversized eyes, tilted heads
33.
34. Anthemius of Tralles and Isidorus of Miletos, Hagia Sophia,
532-537
Exterior: built to rival temples in Jerusalem, minarets
added after it turned into a mosque
Plan: was a combination of a basilica and a central
plan building
Interior: windows at the base of the dome, allows for
more light
35.
36. San Vitale, Ravenna, 526-547
Plan: central plan in an octagon
Interior: covered with mosaics, beautiful, unlike the
plain exterior
37.
38. mosaics with Justinian and Theodora from San Vitale
has both soldiers and church on his sides
39.
40. Transfiguration mosaic, Church of the Virgin, St. Catherine’s
monastery, Sinai
Byzantine
ca. 548-560: located in the apse, no depiction of ground
41.
42. Virgin and Child icon, Sinai
Byzantine
6-7th c.
example of an icon: image on a flat panel that is venerated, not treated as a holy
object; displayed at alter with candles and could be prayed to
43.
44. Ascension of Christ, Rabbula Gospel
586
Byzantine
shows the rising of Christ, separate
representations of reality and heavens
45.
46. Hosios Loukas, Greece
Byzantine
first quarter 11th c.
Exterior: starting
to get fancier on the
outside
Interior: multiple
domes, change in image of
christ
47.
48. Christ from dome at
Daphni, Greece
(Pantocrator)
Byzantine
late 11th c.
Christ starting to become
more stern and powerful
49.
50. Interior of St. Mark’s, Venice, begun
1063: great deal of gold used, which was
typical to be used in Byzantine art
51.
52. Lamentation over the dead Christ fresco, Nerezi,
Macedonia
Byzantine
12th c.
starting to see their understanding of the body, elongation
and linear
56. Rublev, Old Testament Trinity
Byzantine
ca. 1410
three angels that are symbol of holy trinity
57. Islam notes in separate slide show, SEE
LINK:
http://www.slideshare.net/AlisonThompson10
/art-of-islam-slide-show-for-arth-101-final
58. Native American Art
Aspects: abstraction, association with rituals (masks), use of
everyday life
Subjects: mother and child, females
59.
60. Colossal head, Olmec
Mesoamerica and South America
900-400 B.C.E.: considered the mother culture of
Mesoamerica, theory it could be a ruler, used in
ritual, guardians of culture
61.
62. Temple of Feathered Serpent,
Teotihuacan
Mesoamerica and South America
3rd c. C.E.: sacrifices took place on top most
likely, terraces on each step, layers may represent
levels of underworld, heads on the steps are
probably gods
63.
64. Goddess from Tetitla apartments, Teotihuacan, Mesoamerica and
South America
650-750 C.E.: see the use of colors, serpent-like face, use of jade that
was for elite
65.
66. Stele D, Copan,
Mesoamerica South America
736 C.E.: slap with sculpture on both sides,
hieroglyphs carved here,
67.
68. Ball court, Copan, Honduras, Mesoamerica South America
738 C.E.
wore thick padded costumes with a heavy ball, dont know the rules of the
game but some evidence that losers were sacrificed to gods, may be a
reenactment of underworld story
69.
70. Temple of Giant Jaguar, Tikal
Mesoamerica South America
c. 732 C.E.
tall and narrow, wanted it to be higher than the jungle
trees, used to be painted with bright colors
71.
72. Bonampak mural, c. 790 C.E.: depicts a sacrifice of
captured soldiers in honor of a royal family/elite, elite
wore jaguar robes and headdress,
73.
74. Shield Jaguar and Lady Xoc, c. 725 C.E.: rulers/elite also made their
own sacrifice, Lady Xoc cuts blood from tongue and burns it to brings it
to gods
75.
76. El Castillo, Chichén Itzá, 800-900 C.E.: 9 levels that may
represent underworld, on a certain day of the year, a shadow from
the sun creates a serpent
77.
78. Caracol, Chichén Itzá, c. 800-900 C.E.: “snail shell” building, could be
an observatory used by the Mayan
79.
80. Hummingbird, Nasca, Peru, c. 500 C.E.: Nasca lines, created
from clearing the earth, large abstract animals only viewed from
high hills
84. Coatlicue, Aztec, c. 1487-1520: female serpent, cut up hand necklace,
depicted a sa fierce, powerful goddess
85.
86. Machu Picchu, Inka, Peru, 15th c.: thought to be a summer palace for
the elite, used sophisticated architecture of irregular stones stacked
together
87.
88. Chilkat blanket, Tlingit
North America
early 20th c.: robes worn by elite, given as gifts during
potlatches, men would make design, women would weave them
89.
90. Cliff Palace, Mesa Verde,
North America
c. 1150-1300 C.E.: “Green Table,” grow crops on top
of cliff, multiple families would live here, circular
architectures were used for rituals
91.
92. Martinez, Jar, San Ildefonso Pueblo blackware
North America
c. 1940: handmade black on black pottery, women made pot, male decorated it,
inspired from traditional designs
93.
94. Serpent mound, Ohio
North America
c. 1070 C.E.: date is unknown, but the date correlates with Halley's comet
95. African Art
Aspects: great deal of masks (used for ritual, meant to disguise the
person wearing it), large heads
96.
97. Running woman, Tassili, Afrian, c. 6,000-4,000 B.C.E.: thought to possibly
be a goddess due to the horns
98.
99. Nok head, Nigeria, African c. 500 B.C.E.: made from ceramic, convention of
triangular eyes, not found in context so unsure of purpose
100.
101. King from Ife, Nigeria, 11th-12th c.: this culture had advanced
technology, depicts a king and we know this by his attire and
symbols in hands
102.
103. Beta Giorghis, Lalibela, Ethiopia, ca. 1220: carved down into the
ground to create this church, evidence of christianity flooding into
african culture
104.
105. Great Zimbabwe, African, 14th c.: used to be an important trading city,
this one was used for a small group of families,
106.
107. Ivory belt-mask of Queen Mother, Benin, 16th c.: the king wears these
on his belt, shows Idia who was a military genius, on her headdress are
heads of portuguese soldiers (had alliance with them)
108.
109. Altar to the Hand, Benin, Nigeria, mid 18th c.: shows the king
larger than his attendants,
110.
111. Reliquary guardian figure, Gabon, African, 19th/early 20th c.:
reliquary: a place to keep a relique, which is associated with
objects of holy people or dead person, these figures are meant to
“guard” the dead
115. Seated couple, Dogon, Mali, African, c. 1800-1850: depicts the ancestry of
the Mali people, relationship seems to be equal
116.
117. Ngady Amwash mask, Kuba, Democratic Republic of Congo, late
19th/early 20th c.: covered with beadwork and shells, which were meant
to show status of person
118. Early Medieval European Art
Middle/Dark Ages: negative times, illnesses and plagues,
political instability, could sometimes see a mixture of pagan
art and christian art such as interlacing designs
119.
120. Sutton Hoo purse cover, Early medieval, c. 625: from a viking burial
ship, interlacing animal-style art
121.
122. Animal head post, Oseberg ship burial, Early medieval
c. 825: interlacing animal patterns, common in viking art
123.
124. Symbol of St Matthew, Book of Durrow, Early medieval c. 660-680:
pagan interlacing design, byzantine influence from flatness
125.
126. Lindisfarne Gospel, c.698-721, Early Medieval
Cross & carpet page: looks like a textile due to the pattern, would have a
collaboration of workers/artists
St. Matthew page: combination of greek and latin writing, theory that the
guy behind the curtain is moses, awkward perspective/depth
127.
128. Book of Kells, Chi-rho-iota page, early 9th c., Early Medieval:
beautiful interlacing designs called knot-work, influenced by celtic art
129.
130. Wooden portal of stave church, Urnes, Norway, c. 1050-1070:
celtic knot-work, see animals
131.
132. St. Matthew from Coronation Gospels, Carolingian Early
Medieval, c. 800-810: starting to see more depth, looking back at
classical art
133.
134. Odo of Metz, Palatine Chapel of Charlemagne,
Carolingian Early Medieval, 792-805
Plan: central plan octagonal building, use of groin
vaults
Interior: architectural influence: islam, roman
135.
136. Hildesheim, St. Michael’s, Ottonian Early Medieval, 1001-
1031
View: heavy, rustic,
Plan: example of a basilica, symmetrical
bronze relief with Adam and Eve: scene of god shunning
Adam and Eve, pointing at blames, kicked out of garden of eve,
adam has to be a farmer, eve is given painful childbirth and obey
husband, creature gets legs taken away becoming snake
137.
138. Otto III enthroned, Ottonian Early Medieval, ca.
1000 C.E.: influenced by byzantine, in middle
surrounded and supported by soldiers and clergy
139.
140. Uta codex, Uta dedicating her codex to the Virgin, Ottonian Early
Medieval, ca. 1025: woman in charge of other nuns, woman could have to
opportunity to get a high rank
141. Romanesque
VOCAB
Romanesque: (1050-1200) inspired by Roman art and architecture, vaults and
domes, heavy, show structure, dark subject matter such as demons and hell,
negative vision may have to do with how life is hard (social structure, death and
disease, political instability), avoid using arium (too much space), rounded arches
Bernard of Clairvaux: spoke out against the dark subject matter in the
Romanesque art
Romanesque portal: western doorway of romanesque church, depictions of
second-age christ, dark subjects matter
Tympanum: semi-circular part of doorway
trumeau: central pillar that supports the tympanum and block
142.
143. St. Sernin, Toulouse, Romanesque, c. 1070-1120
Exterior: does not have an arium, larger apse, shows interior structure
by use of buttresses
Plan: basilica (for processions) and central plan, double aisle so
pilgrims could go through anytime
Interior: pilgrimage church, barrel vaulted ceiling
144.
145. Bernardus Gelduinus, Christ in Majesty, St. Sernin, Romanesque, c.
1096: inspired by asian and byzantine, displays the four beasts of the
apocalypse
146.
147. Old Testament prophet, Saint Pierre, Moissac, Romanesque, c. 1120:
example of a portal, elongated crossed legs, depicted as experiencing a
vision
148.
149. Gislebertus, Last Judgment, Autun, St. Lazare, Romanesque, c. 1120-1135:
souls being weighed on scale, dark subject matter of judgement, demons trying
to get people into hell
150.
151. Santa Maria de Mur, Spain, apse fresco, Romanesque, mid 12th c: depiction of
the second coming of Christ, byzantine inspired frontality
152.
153. Sant’Ambrogio, Milan, Romanesque, late 11th-early 12th c.
Exterior: contains an atrium, one of the last surviving
atrium in the romanesque period, low and solid
Interior: low ceilings, dark interior, clear marking of levels
154.
155. Hildegard of Bingen, Vision painting,Romanesque, c. 1150: depicted as
seeing a vision (mystic) of god coming down as tongues of fire
156.
157. Cathedral complex, Pisa, Italy, Romanesque, 1063-1174:
contains a bell tower, a church, and a baptistry; use of the typical
roman rounded arches
158.
159. St. Etienne, Caen, Romanesque, begun 1067
Exterior: use of buttresses to show it has 3 aisles
Interior: looks Gothic with its vault structure and lightness
160.
161. Bayeux Tapestry, c. Romanesque, 1070-1080: historical document
showing the Norman Invasion of England, dispute over who will be the
next king
162.
163. Eadwine the Scribe(?)Eadwine at work, Romanesque, c. 1160-70: shows that
people want to be known as artists, celtic designs in robe
164. French Gothic
Abbot Suger: architect that was interested in a new type of pointed vaulting, wanted to
bring more light into the gothic church
Clerestory: level at the roof of the building that lets in light
Triforium: part where the roof comes down over the aisles, right below the clerestory,
aspect of french gothic church
flying buttress: support that is only attached to certain parts of the wall of churches
ribbed vault:
rose window: round window that looks like a flower that allows in a lot of light in a gothic
building
CONVENTIONS: more gentle feel to the sculpture, churches of the virgin mary, better
stability so people are becoming more optimistic in their art, “light,” let a lot of light in,
pointed vault (allows the use of larger windows and openings, more stable and spacious,
aesthetically appealing), gargoyles (some are water spouts, others are guardians)
165.
166. Ambulatory of St. Denis, France, Early Gothic, 1140-
1144: starting to see the transition from romanesque to
early gothic
167.
168. Laon Cathedral, Early Gothic, begun c. 1190:
W façade: has oxen to honor the oxen god brought down to
finish the building
Interior: vaults are divided into six vaults, levels divided into
four parts
169.
170. Chartres Cathedral, High Gothic, begun 1134, rebuilt after
1194: mis-matched towers due to being built in different time
periods, flying buttresses are romanesque inspired, three-part levels
Royal Portal: elongated sculpture, mix of different time periods
as well, sculpture becomes more realistic/detached from architecture
Plan: contains a labyrinth, may be used as a pilgrimage
substitute, vaults now in four parts, more unified
171.
172. Virgin & child stained glass, Chartres Cathedral, High
Gothic, after 1194: typical blue rob, crown of heaven
173.
174. Notre Dame, Paris, High Gothic, begun 1163: one of the first gothic
churches to have flying buttresses, portals have sculptures of the virgin
mary
175.
176. Reims Cathedral, High Gothic, 1225-1290
W façade: as time went on, churches became more light and
airy, pointy
Annunciation/Visitation: both built at different times, right ones are
more focused on what’s underneath the clothes and have looked at
classical contrapposto sculptures “gothic s-curve”
177.
178. Interior of Sainte-Chapelle, Transition to Late Gothic, Paris, 1243-48:
large windows mostly light, almost no structure, built for the royalty
179.
180. Virgin of Paris, Transition to Late Gothic, early 14th c.: free-
standing sculpture, example of the use of the gothic s-curve, not life-
sized
181.
182. Rouen, St. Maclou, Late Gothic, c. 1500-1514: very detailed, lace-
like, pointy, busy exterior “flame-like” which gives this period the
name “Flamboyant style”
183.
184. Abraham and Three Angels, St. Louis Psalter, Late Gothic, 1253-1270:
from a book of psalms, tells wife sarah that she will have a baby, ideas of
holy trinity, gothic architecture in background
