Medieval art: the Expansion of Christian narrative in Carolingian and Ottonian Art

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…

Medieval art: the Expansion of Christian narrative in Carolingian and Ottonian Art

Medieval art: the Expansion of Christian narrative in Carolingian and Ottonian Art

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Medieval art: the Expansion of Christian narrative in Carolingian and Ottonian Art