EARLY CHRISTIAN ART AND ARCHITECTURE I: Beginnings to the Age of Constantine

WEEKS 1, 2

Readings: G 296-99, 300-15; S 15-37.

1.Niche-Shrine of St. Peter, late 2nd. cent., Vatican Hill, Rome. S17.

2. Catacomb of St. Callixtus, Rome, 2nd. cent. and later. Gallery with loculi, cubicula.

3. Ceiling fresco, with representations of the Good Shepherd, Story of Jonah and orant figures. Catacomb of Sts. Peter and Marcellinus, Rome, early 4th century. G11-3

4. Sarcophagus from S. Maria Antiqua, Rome, c. 270. With various scenes, including the Good Shepherd, Jonah, philosopher, etc. G11-4

5. Sarcophagus of Junius Bassus, Rome, c. 359. Old and New Testatement scenes. G11-2

6. Arch of Constantine, Rome, 312-15. Relief showing Constantine distributing largess. G10-76, 77

7. House-Church (Domus ecclesiae), Dura-Europos, Syria, c. 240. Assembly(?) room, baptistery and font decoration. S18, 19. G11-2

8. Complex of the Holy Sepulchre, Jerusalem, with basilican-plan church and centrally-planned martyrium (Anastasis Rotunda), begun c.325 to c. 350 (?). S78a and 78b are, in many respects, outdated reconstructions. See Image Reserve.

9. St. John Lateran, Rome (where the bishop of Rome has his seat or cathedra), begun c. 313. Basilican-planned church serving as the cathedral of Rome (then and still today). S29.

10. Basilica of Old St. Peter's, Vatican, Rome., begun c. 324--340. Martyrium (using basilican plan) for St. Peter, first bishop of Rome and first Pope. S28, 33-35. G11-7

11. Ivory reliquary casket, found at Pola, c. 400. Front panel (probably) depicting the Shrine of St. Peter (in the apse of Old St. Peter's Basilica. S 36.

EARLY CHRISTIAN ART AND ARCHITECTURE II: Fifth and Sixth Centuries

WEEK 3

Readings: G 315-323. S 40-60 (optional 60-65). S 79-87 (optional 87-95).

1. Santa Maria Maggiore, Rome, 432-40. Basilican-planned church dedicated to Mary (the virgin mother of Christ).

2. Mosaics from Santa Maria Maggiore, Rome, 432-40:

Triumphal arch: Mary and the Early Childhood of Christ. S51.

Nave panels: Parting of Lot and Abraham; Story of Joshua. Compare S58, 59 and colorplate 3. G11-13

3. Sant'Apollinare Nuovo, Ravenna, 504. Basilican-planned church originally dedicated to Christ the Savior. G11-17

4. Mosaics from Sant'Apollinare Nuovo, Ravenna, 504:

Nave panels: Miracle of the Loaves and Fishes. G11-17  ____________

5. Vatican Vergil, manuscript (abbreviated hereafter ms.), early 5th century: Instructions for Gardening (illustrating Vergil's Georgics). S92.

6. Vienna Genesis, ms., early 6th century: Rebecca and Eliezer at the Well. S95; compare S colorplate 6. G11-19 [Compare with other scenes from this ms.: Noah and the Deluge; Animals Exiting from Noah's Ark]

7. Rossano Gospels, ms., early 6th century: Trial of Christ before Pilate; Parable of the Wise and Foolish Virgins. S99, 100. G11-20

EARLY BYZANTINE ART AND ARCHITECTURE

WEEK 4

Readings: G 315-323. S 98-125 (optional 130-56).

1. San Vitale, Ravenna, begun 526 (while the city was under Ostrogothic rule); finished and decorated c. 547 (when the city was under the rule of the Roman (i.e. Byzantine) emperor in Constantinople). Centrally-planned church. [Compare to the Church of Saints Sergius and Bacchus, Constantinople, early 6th century, a possible source for San Vitale.] S143-46. [Compare with S119-20.] G12-6 through 11.

2. Mosaics of San Vitale, c. 547:

Abraham, the Sacrifice of Isaac and the Three Angels, in the north lunette of the chancel. S colorplate 16. [Compare to the Sacrifice of Abel and Milchizedeck, on the south lunette of the chancel. S149]

Justinian and Attendants, on the north side of the apse. Theodora and Attendants, on the south side of the apse. S147, 148 and colorplate 17.

Christ Enthroned with Angels, Saint and Bishop, on the half dome of the apse. S145.

________

3. San Apollinare in Classe, Ravenna, c. 549, apsidal mosaic representing the Transfiguration of Christ. S colorplate 18. G12-12

4. Church of the Monastery of St. Catherine, Mount Sinai, apsidal mosaic representing the Transfiguration of Christ, 550-60. S125. G12-13

5. Painted panel representing the Virgin between Saints George and Theodore, 6-7th century, icon from St. Catherine's Monastery, Mount Sinai. S142. (Read about this work, even if time does not permit me to include it in the lecture.) G12-15

6. St. Demetrius, Thessaloniki (Salonica), late 5th century. Basilican-planned church. S129-31.

7. Hagia Sophia, Constantinople, 532-37, with later rebuildings. Anthemius of Tralles and Isadore of Miletus, architects. "Domed" basilica. S 115-17 and colorplate 12. G12-3,4,5

CELTIC AND GERMANIC ARTS I: Metalwork of the Pre-Chritian and Christian Eras

WEEK 5

Readings: G 426-431; S175-81. 

1. Battersea Shield (Celtic), Irish manufacture, c. 50 BC. See image reserves, under Hiberno-Saxon, for this and some of the other works listed below (we are using this category rather than creating more precise ones, for this would require changing the established format for the Image Reserve, which was done for a different version of ArH 205).

2. Gundestrup Cauldron (Celtic), 1st cent. BC. See image reserves, under Hiberno-Saxon.

3. Desborough Mirror (Celtic), Irish manufacture, 1st cent. AD. S206.

4. Tara Brooch (Celtic), Irish manufacture, c. 700 AD. S209.

Terminology: related to metalworking: repousse, filigree (see also below).

5. Eagle Fibulae (Germanic: Visigothic), found in Spain, 6th cent. AD. S colorplate 29

6. Looped Fibula (Germanic: Frankish[Merovingian]), found in France, 6th cent. AD. G 16-1

7. Treasures from the Sutton Hoo ship burial, East Anglia, England (for a Germanic, Anglo-Saxon chieftain), c. 655 AD. S207. See also Image Reserves under Hiberno-Saxon.

Purse lid. G16-2 Shoulder clasp. Belt buckle.

Escutcheons from a hanging bowl (probably Celtic).

Terminology: barrow (mound); metalworking techniques: cloisonne, millefiore; niello. [Consult dictionary or texts for accent marks, which I cannot seem to add with this program.]

CELTIC AND GERMANIC ARTS II: Architecture and Book Illumination

WEEK 6

Some of this art is classified as "Hiberno-Saxon" because it blends features from Irish/Celtic (Hibernia) and English or Anglo-Saxon traditions.

Readings: G 431-36. S 182-89.

 1. San Juan de Banos de Cerrato, near Palencia, Spain (Visigothic), 652. (For this and other examples of Germanic architecture see the Image Reserve, under Hiberno-Saxon.)

2. St. Brigid, Kildare, Ireland (Celtic), 7th cent. Theoretical reconstruction of plan based on Cogitosus's Life of St. Brigid.

3. St. Mary, Reculver, England (Anglo-Saxon), c. 669.

4. St. John, Escomb, England (Anglo-Saxon), 650-800.

 5. Book of Durrow, Hiberno-Saxon, 660-80. S216, 218. S216-17. G16-5

Carpet page; symbol of St. Mathew; various text pages.

6. Lindisfarne Gospels, Hiberno-Saxon, late 7th cent. S218, S colorplate 31. G16-6 and 8

Carpet page; author-portrait of St. Mathew; canon tables; various text pages.

7. Book of Kells, Hiberno-Saxon/Celtic, late 8th-9th centuries. S colorplate 33, 32. G16-7

Chi-rho monogram page. 

(Comparative works: Author-portrait of St. Luke, Gospels of St. Augustine, Italy?, 6th cent. Portrait of the scribe Ezra, Codex Amiatinus, produced in Northumbria, England, but following closely an Italian prototype?, 8th cent. S219; S213; G16-9)

CAROLINGIAN ART AND ARCHITECTURE

WEEK 7

Readings: G 436-445; S 191-229.

1. Palace Complex of Charlemagne, Aachen, 792-805, designed by Odo of Metz. G16-17,18

Audience Hall (compare with Roman audience hall at Trier, in Germany, early 4th cent.) S230

Palatine Chapel (compare with S. Vitale at Ravenna) S230-34; G11-21, 22

2. Church of the Saviour, Fulda, 790-813, with shrine of St. Boniface in the western "transept."

See Image Reserve

3. Abbey Church of St. Riquier (also referred to as Centula), c. 790. S239-40. G16-21

4. Plan of St. Gall, drawn with red lead on vellum, first quarter of the 9th century. G16-20

In this plan, the sequence of principal structures around the cloister is as follows: church-north, dormitory (above the calefactory)-east, refectory (or dining room)-south, and cellar-west. S 241-42. _________

5. Coronation Gospels (also known as Schatzkammer Gospels) (Palace School), c. 800. G16-12

Evangelist author-portrait of St. Mathew. (Compare with the Aachen Gospels, Palace School, c. 810, page with author-portraits of the four evangelists). S250-51;G11-14

6. Ebbo Gopels (Reims School), 816-35. G16-13

Author-portrait of St. Mathew. Text page with the beginning of St. Mathew's Gospel. Canon Table. S252;G11-15

7. Utrecht Psalter (Reims School), 816-35. Various pages. S253-57. G16-14

8. Drogo Sacramentary (Metz School), c. 850.

Text page with the beginning of the collect (opening prayer) for Easter Sunday: Historiated initial with the Three Marys at the empty tomb, and related images. S265

OTTONIAN ART AND ARCHITECTURE

WEEK 7

Readings: G 445-451; S 234-44.

1. Bronze Column, originally made for St. Michael's, Hildesheim, 1015-22. Patron: Bernward, Bishop of Hildesheim. S289. G16-26

Compare the episode of Christ healing with the same subject in the Gospel Book of Otto III, 983-1002.

2. Abbey Church of St. Michael's, Hildesheim, 1001-1033. S285-87. G16-23 and 24

3. Gospels of Otto III, 983-1002. Page with Otto III enthroned between church and state. S294.G16-29

ROMANESQUE ART AND ARCHITECTURE

WEEKS 8 and 9?

Readings: G 452-58, 465-75, 480-84. S 255-312, 313-40.

Images for Romanesque in the Image Reserve are listed under "Pilgrimage Road"

1. Abbey Church of Notre-Dame, Jumieges, 1037-67. Early Romanesque church in the North (Normandy, northewestern France). See Image Reserve.  

2. Abbey Church of St.-Martin-du-Canigou, c. 1001-26. Early Romanesque church in the South (Southern France, near Spanish border) S308, S colorplate 42

 3. Abbey Church of St.-Guilhem-le-Desert, c. 1075. See Image Reserve.

 4. Cathedral of St.-Lazare, Autun, 1120-1130. See Image Reserve.

Historiated capitals: Luxuria, Christ appearing to Mary Magdalene, Suicide of Judas (Compare historiated capital, Baths of Caracalla, Rome, 212-16) 

5. Collegiate Church of St.-Sernin, Toulouse, 1078-1119, and later. S321-22; G17-1, 2, 3.

(Compare with the Cathedral of Santiago de Compostela, 1075-1120. S319-20)

 

Part Two: Sculpture (in France)

 6. St.-Sernin, Toulouse

Ambulatory reliefs: Christ in Majesty, Angels, Saints/Apostles, probably by Bernardus Gelduinus and/or workshop, c. 1096. S323-24; G17-20

Altar table relief, front face: Bust of Christ and Angels, by Bernadus Gelduinus, 1096. See Image Reserve

Porte Miegeville, typanum and lintel: Ascension of Christ with Angels and Apostles, before 1118. S325, 327

 

7. Abbey Church of St.-Pierre, Moissac, south portal, 1115-30

Tympanum: Triumph of Christ/Second Coming. S332-33;G17-22

Trumeau: Jeremiah and Lions. S333;G17-23 

 

8. St.-Lazare, Autun, narthex portal, 1120-35

Tympanum: Last Judgment, by Gislebertus (authorship has recently been challenged). S358-59;G17-25

 

9. Abbey Church of La Madeleine, Vezelay, central portal of the narthex, 1120-32

Tympanun: Ascension and Mission of the Apostles (Pentecost). S350-53, compare S354;G17-26

 

Please note: See Image Reserve for many of the slides shown in the lectures but not illustrated in the course texts.  You will be responsible for identifying the Canterbury Psalter (with Eadwine portrait) and the Bury Bible (both illustrated in Gardner).

10. Winchester Bible (produced at Winchester), 1160-70

Historiated Initial, "F" (Book of Kings) (compare historiated capital at Autun and Cluny). Historiated Initial, "I" ( Genesis) 

 

11. Canterbury Psalter (produced at Canterbury), c. 1150

Portrait of the monk and scribe Eadwine. G17-39 

 

12. Lambeth Bible (produced at Canterbury), second half of the 12th cent.

Historiated Initials tor Books of Daniel, Numbers and Kings. (Compare to capitals from La Daurade, Toulouse, first half of the12th cent.)

Full page illustration (cycle relating to Abraham), Book of Genesis

 

13. Bury Bible (produced at Bury St. Edmund's) (in the Image Reserve it is called the Bible of Bury St. Edmunds), by Master Hugo, 1130-40

Full page illustration (Moses expounding the Law), Book of Deuteronomy. G17-38

  

Part Four: Romanesque Art and Architecture (Normandy

and Anglo-Norman England)

 Readings: G 459-62, 484-85

14. Bayeux Tapestry (produced at Bayeux, Normandy?), c.1173-83. G17-40. S369

15. Abbey Church of St.-Etienne, Caen, c. 1164-1077(with wooden roof). Rib vaulted c. 1120. G12-13, 14, 15. S 367,368 (Compare Winchester Cathedral, England, c. 1079) G17-9, 10, 11

16. Cathedral Church of St. Cuthbert, Durham, 1093-1130. G12-16, 17. S371-73, colorplate 46. G 17-12, 13

GOTHIC ART and ARCHITECTURE

WEEKS 9 and 10

Readings: G 486-518, 558-65, 575-78. S 343-395, 438-444, optional 402-37.

1. Abbey Church of St.-Denis, originally outside of Paris (now within the city's northern edge), Early Gothic. G18-1, 2, 3

West facade, 1137-40. Chevet (east-end with radiating chapels), 1140-44. S448, 449, 451.

2. Cathedral Church of St.-Etienne, Sens, c. 1140-64. S454-55

3. Cathedral Church of Notre-Dame, Laon, 1160-1200. G18-8, 9, 10. S456-57, 459-60. Be sure to note that the flyers shown in many cross-section are not part of the original buttressing system.

4. Cathedral Church of Notre-Dame, Chartres, 1194-1220. G18-4, G18-12 and 13. S467-70, colorplates 56-58.

(Compare with the later High Gothic cathedrals of Reims and Amiens and the High Gothic [Rayonnant] portions of the abbey church of St.-Denis. Also compare with Salisbury Cathedral in England, b. 1220)

5. Royal Portal (on the west facade), Chartres Cathedral, 1145-55. G18-5 and 6. S471-74.

Statue columns representing Christ's royal (Old Testament) ancestors

Central tympanum with Christ in Majesty/Second Coming and evangelist symbols

6. South Transept Portal, Chartres Cathedral, 1220-30. Compare G18-16 and 17.

Statue columns of Sts. Paul, John and James (compare Sts. Martin, Jerome, Gregory)

 

7. Central Portal (on the west facade), Reims Cathedral, c. 1230-55. S 498, 500. G18-23 and 24.

 Statue columns of the Visitation Group (St. Mary and St. Elisabeth)

 

8. Portal of the Chartreuse de Champmol, near Dijon, by Claus Sluter, 1386-1393. Compare G20-2

Virigin and Child. St. John the Baptist with Philip the Bold, Duke of Burgundy. St. Catherine with Margaret of Flanders. See Image Reserves

 

9. Psalter and Book of Hours of Yolande de Soissons (French), c. 1290.

Page with historiated initial D (for Pentecost). God creating the trees. Crucifixion. St. Francis, with the stigmata, speaking to the Birds (see below, in this section, for a medieval text relating to this incident). Yolande kneeling before a statue of the Virgin and Child.

(Compare Book of Hours [Morgan Libary], 1375: pages with the Wound of Christ and with Instruments of the Passion)

10. Hours of Jeanne d'Evreux (French), by Jean Pucelle, 1325-28. S564-65

11. Tres Belles Heures de Notre-Dame (French), begun c. 1382.

Pages with Nativity, Descent and Lamentation

12. Belles Heures of John, Duke of Berry (French), 1408-10

Pages with St. Jerome and Lions, and with Martyrdom of 11,000 virgins.

13. Book of Hours, 15th century: Several examples

 He [St. Francis] came to a certain place near Bevagna where a very great number of birds had congregated....When the most blessed servant of God, Francis, saw them, being a man of very great fervor and great tenderness toward lower and irrational creatures, he left his companions... and ran eagerly to the birds....he greeted them in his usual way. But, not a little surprised that the birds did not rise in flight, as they usually do, he was filled with great joy and humbly begged them to listen to the word of God. Among the many things he spoke to them were these words: "My brothers, bird, you should praise your Creator very much and always love him; he gave you feathers to clothe you, wings that you can fly, and whatever else was necessary for you..." At these words...the birds, rejoicing in a wonderful way according to their nature, began to stretch their necks, extend their wings, open their mouths and gaze at him. And Francis, passing through their midst, went on his way and returned, touching their heads and bodies with his tunic. And finally he blessed them, and then, after making the sign of the cross over them, he gave them permission to fly away to some other place.

From The First Life of St. Francis of Assisi, I, chap. 58, by Thomas of Celano (composed in the early 13th century)

LATE GOTHIC ART IN ITALY (Tentative)

WEEK 10?

Reading: G 532-557. S 445-64