A slide presentation on the development of Christian narrative in Carolingian and Ottonian Art. It is useful for educators who need a collection of slides that includes the key works of the period and which they can use in conjunction with their own notes. Notes are included in some of the slides.

1. MEDIEVAL ART AND
THE EXPANSION OF
CHRISTIAN
NARRATIVE
ANN MURRAY

2. Early Christian Art = 100 AD – 1150 AD
Early Medieval Art = sixth to eleventh centuries
• (Irish) Insular art, e.g. Book of Kells
• Byzantine Art, e.g. Icon painting
• Barbarian (Anglo-Saxon) Art, e.g. Sutton Hoo Hoard
• This lecture:
• Carolingian (art of the Frankish Kingdoms, c. 780 – c. 900)
• Ottonian (Proto-Romanesque )
• a focus on the development of Christian narrative, c. 800-1150
• Beginnings of true Romanesque in the Salian Dynasty
- Focus on NARRATIVE

3. CAROLINGIAN ART
• Art of the Carolingian Empire,, 800-888, founded by Charlemagne (742-814)
• Empire founded with the crowning of Charlemagne (Charles the Great) in 800 at
Aachen in modern Germany
• Ends with the death of Charles the Fat in 888
• Empire considered to be the early history of the Kingdom of France and the Holy
Roman Empire (Charlemagne crowned by Pope Leo III )
• Under Charlemagne and his Carolingian successors interest in the art and learning
of the Roman Empire was revived .
• BUT Carolingian art also followed more recent models of artistic expression

4. CAROLINGIAN ART

5. Precursors to pictorial narrative in
Carolingian art
Adoration of the Lamb, Gospel of St-
Médard-de-Soissons, Folio 1. Architectural
allegory.
Manuscript by the Ada group (active 800-
814);
Contains 600+ decorative motifs
Commissioned for Charlemagne and
completed in 800, the year he was crowned
Emperor.

6. Gospel of St-Médard-de-Soissons
Decoding the imagery: Adoration of the
Lamb page
• Adoration of the Lamb page is a
masterpiece of the Carolingian Court
School
• Aesthetic and intellectual affinity with
the Palace Chapel
• Is contained in the introductory text to
the Gospels (St. Jerome’s Commentary
on St. Matthew)
• Top of picture refers to passage in the
Apocalypse that Jerome had quoted due
to reference to FOUR living creatures –
Gospels are FOUR in number.
• Four pillars – linked by drapery –
represent the four Gospels and their
unity
• The pillars correspond to the symbols of
the Evangelists (Matthew = man; Mark =
lion,; Luke = ox or calf; John = eagle) on
the architrave above

7. CAROLINGIAN ART: RELIEF SCULPTURE
Back (left) and front covers of the Lorsch Gospels, Ivory, Court School of
Charlemagne, c. 800
Subtle narrative element contained at the bottom

8. Lorsch Gospels, front cover
Shows the Magi before Herod
Magi bringing gifts to the Child, who sits,
cross-limbed, on His Mother's knee
Compare treatment of figure in narrative
vs. central panels
‘Hellenistic’ angels refer to antique
examples; central panels reference what??

9. Front cover of The Lorsch Gospels,
Lorsch Abbey,
Aachen, Germany
About 810, ivory, 26.7cm x 38.1cm
Lorsch Abbey (Germany)
Gospels - accounts of the life of Christ
by the four Evangelists
Virgin Mary and Jesus shown in the
central panel., with left, John the
Baptist, right Zacharias, the father of
John the Baptist.
Narrates the Nativity and the
Annunciation to the shepherds.
Carved at Aachen (modern Germany),
then the capital of Charlemagne's
extensive empire.
Flattish relief has strong affinity with
Byzantine style

10. Influence of antiquity
Left: Back cover of the Lorsch
Gospels, early 800s;
Below: Barberini Ivory, leaf from an
imperial diptych, Byzantine, first half
of sixth century

11. Christ Triumphant, or Christ treading on
Beasts, with scenes from the Bible, book
cover, Court School of Charlemagne, early
800s, 21.1 x 12.4 cm
Theme = associated with medieval art
Scenes from the Gospels surround the central
image of Christ
Iconography and details of carving based on
late antique examples
Christ treading on Beasts, Archbishop’s
Chapel, Ravenna,. Mosaic, sixth century

12. CONSIDER: Roman vs. Byzantine treatment of the human figure;
elements of both in Carolingian examples

13. The Four Evangelists , Aachen Gospels,
Palace School, Aachen, c. 800
Departure from delineation of
Byzantine/Insular art, more ‘painterly’
Shows the Evangelists in ‘the world’,
representing the FOUR corners of the
earth
Each evangelist accompanied by his
symbol
Temperament of each shown clearly
(John – sanguine; Peter – phlegmatic;
Mark – choleric; Paul – melancholic)

14. Compare styles
Consider regional stylistic differences: Four Evangelists, Book of Kells, c. 800; Four
Evangelists, Aachen Gospels, c. 800.

15. CAROLINGIAN ART
St Mark, The Ebbo Gospels, 816-835 St Matthew, Ebbo Gospels, 816-35.

16. UTRECHT PSALTER
820-840
Hautevillers, near Rheims, Benedictine
Abbey
Format 33 x 25.6 cm
Latin, 166 pen and ink drawings
No association with Utrecht;
rediscovered there in 1858
Key masterpiece of Carolingian art
Psalter: most frequently used biblical
book of the early Middle Ages
Contained songs and hymns for official
liturgy and private devotion
Each drawing of Utrecht Psalter usually
combine several psalm messages.
Images are unframed and ‘free’

17. UTRECHT PSALTER
820-840
Several theories as to its influences
• Greek-Italian models of the fourth and early fifth centuries? Possibly passed on by
Byzantine revisions to the artist of the Carolingian era
• BUT possibly a Carolingian innovation:
• - Patron was Archbishop of Ebo, who had been librarian to the Royal Court – the
evangelist portraits named after Ebo have similar sketchy style BUT…

18. Rejection of colour poses a problem…
Is the rather simple appearance of the
psalter compatible with liturgical
function?
Benedictines: the Benedictine Divine
office did not arrange psalms in biblical
order, as in Utrecht psalter.
Could not have functioned as a
decorative exemplar for a bishop such
as Ebo, as style is too simplistic
Most probable use: literally interpreted
drawings served as an aid to young
monks who had to learn the psalms by
heart
*Psalter is highly influential on ivory
relief carving – e.g. the workshop of
Charles the Bald at St. Denis, Paris

20. CAROLINGIAN ART
Psalter of Charles the Bald, c. 860-870
Rheims workshop
Note movement – influence of Utrecht Psalter

21. CAROLINGIAN ART
Psalter of Charles the Bald, c. 860-870
Scene narrates the result of David’s sin – his
plan for Bathsheba’s husband Uriah to die so
that David can have her.
Body of Uriah divides the ivory into two
scenes across its entire width.
Note dynamic movement of figures:
Below, the parable is illustrated by the poor
man (representing Uriah) hugging his one and
only lamb (representing Bathsheba), while the
rich man (David) views his large flock (his
extensive harem). Unwilling to deplete his
own flock, David appropriates the poor man`s
lamb.

22. Ivory covers for prayer book of Charles the Bold, Rheims, c. 870
Influence of Utrecht Psalter – dynamic movement/ungeometrical
organization/profusion of figures

23. Compare treatment of figure (movement-gesture)

24. Compare: Psalter of Charles the Bald with earlier Lorsch Gospels –
presentation of figure?

25. The Miracle of Cana, ivory panel,
Carolingian, 860-870
Nathan before David, book cover, Rheims,
c. 860-870. Ivory, 11.2 x 8.8 cm
Subject derived from the Utrecht Psalter,
also made at Rheims
High relief / deep undercutting + rounded
figures = contrast of light and shade
Note rudimentary perspective (not fully
developed until early Renaissance in Italy)

26. But…The Genoels Elderen Diptych, late 8th or early 9th century. Carolingian –
reveals regional differences

27. Adoration n of the Lamb, Codex Aureus or ‘Golden
Gospels’; created for Charles the Bald at Tours, c. 870

28. FROM CAROLINGIAN TO OTTONIAN ART: THE YEAR 1000
• From c. 890 – 990s – Europe falls into feudalism; Death of Charles the Bald marks
the decline of the empire; Charles the Fat unable to rule; conditions unfavourable
to cultural development; many earlier works destroyed due to their value
• By 990s, new imperial tradition emerges in the east of the old Carolingian empire
• France under serious civil unrest 888 – 1000; Germany becomes much more
stable
• Otto the Great (936-73) became the strongest leader since Charlemagne; crowed
emperor in 961; Otto claims he is the successor of Augustus, Constantine and
Charlemagne
• Otto and his son Otto II and grandson Otto III maintain stability of Europe and
cultural growth is again promoted and developed
• A spiritual renaissance also takes place, encouraging creation of manuscripts,
sculpture, etc.
• Art around the year 1000 becomes a cultural phenomenon: strong regional styles
again develop: Ottonian, Spanish and English styles are prominent; Italy remains
strongly influenced by Classical Rome

29. OTTONIAN ART
Church of St George, Reichenau, Germany.
Fresco, last quarter of 10th century
Note flat, unvaulted ceiling (true Romanesque
= barrel-vaulted)

30. OTTONIAN ART
St George at Oberzell, Reichenau, end of 10th
century
Nave detail: Miracles of Jesus: Jesus and his
Disciples crossing the Sea in a Storm (the
Tempest)

31. OTTONIAN ART
Church of St George, Reichenau,
Germany. Fresco, last quarter of 10th
century
Gesture is typically Ottonian
Part of long tradition of Alpine fresco
painting, most examples now lost

32. OTTONIAN ART
Hitda Codex (Gospel Book of the Abbess
of Meschede), Cologne, first quarter of
11th century
The Annunciation
Note painterly style of the Cologne
School
Contrasting red, brown blue tones +
impasto white highlights are hallmarks of
Cologne school
Abstract cloud separates Mary from
Gabriel’s heavenly realm

33. OTTONIAN ART
Reichenau School: rejected realism from
the outset in favour of pure spirituality –
figures are deliberately schematic
- Clear arrangement
- Neutral background is typical
- Stress on the climax of the story
- Spacial treatment: fewer illusionistic
elements
Bamberg Apocalypse
1000-1020, Reichenau (Lake Constance)
Revelation `16, 8-14: And the fourth angel
poured out his vial upon the seat of the
beast; and his kingdom was full of
darkness…And the sixth angel poured out
his vial upon the great river Euphrates;
and the water was dried up….

34. OTTONIAN ART
Bamberg Apocalypse
1000-1020, Reichenau (Lake
Constance)
The Last Judgement

35. OTTONIAN ART
Bamberg Apocalypse
1000-1020, Reichenau (Lake
Constance)
The three Marys approaching Christ’s
tomb

36. OTTONIAN ART
Bamberg Apocalypse
1000-1020, Reichenau (Lake
Constance)
The Crucifixion; The Entombment

37. Hildesheim Cathedral, St.
Bernward’s Door, c. 1015.
Ottonian.
OTTONIAN ART
Hildesheim workshop, peaks in first quarter of 11th
century
Bernard of Hildesheim = highly influential as tutor to
Otto III
Experienced sculptor in cast-bronze; respected
architect
Revives old traditions: language of Classical Rome -
e.g. bronze doors are less strictly ‘Ottonian’ than
manuscript s–
Also
looks back to Carolingian examples, e.g. small ivories
of Rheims and Tours
Bronze doors at Hildesheim = beginning of long series
of bronze doors up to early Renaissance in Italy
(Ghiberti’s Baptistery doors for Florence Cathedral)
Scenes from Old Testament (left) and New Testament

38. Note: dynamic movement,
gesture/expression

39. Psychological element in expressive movement

40. Hildesheim Cathedral: Bernard’s Column
Scenes from Life of Christ

42. OTTONIAN ART
Ringelheim Crucifix, c. 1000
Linden wood, 1.62 m
Shown alive on the cross – beholds
viewer

43. Gospel Lectionary of Henry II (Pericopes) , 1007, not later than 1012, Reichenau,
Benedictine Abbey, folio size 42.5 x 32 cm
Women at the Sepulchre from Easter reading

44. OTTONIAN ART
Codex Aureus of Echternach (Benedictine
Abbey), present-day Luxembourg
c. 1030
Likely produced for Henry III (Salian dynasty)
but strong influence of Reichenau workshop
at Lake Constance
Parable of the rich man and the beggar
Lazarus

45. OTTONIAN ART
Codex Aureus of Echternach
(Benedictine Abbey), present-day
Luxembourg
c. 1030
Right: public activities of the life of
Christ
Left to right, top to bottom: Healing of
woman with issue of blood; raising
from the dead of a young man;
Healing of a young man with dropsy;
disciples wake Jesus to warn of the
tempest (shown as monsters)
Healing of ten lepers both before and
after the miracle

46. Historical background:
Ottonian Dynasty ends with death of Henry II in 1024
Power passes to the Frankish Salian dynasty – Conrad II,
Henry III, Henry IV, and Henry V – all crowned Holy
Roman Emperors
Art of the Ottonians continues to be influential though
with the cultural centre slowly moving towards French
lands

47. Salian Dynasty (Frankish):
Golden Gospels of Henry III
OR Speyer Gospels (Speyer =
burial tombs for Salian
emperors)
• Continued influence of
Reichenau -Echternach
style
• Arrangement/narrative
typical of Echternach style
• Folio 46r: main stages in
the story Lazarus

48. BEGINNINGS OF TRUE ROMANESQUE
Languedoc: Bas-relief in marble , 1019-
1020, St Genis des Fontaines
-undercut sculpture mimics Carolingian
goldsmiths’ altars
Romanesque art and architecture unites
various regional styles…