greeting students let's talk now about what was going on in Europe after the fall of Rome this art is generally called early Christian or early medieval art we're going to be looking now at the art of Western Europe unlike the art of Byzantium which was in Eastern Europe we're going to roughly divided our categories into the time of the warrior Lords the hibernia sexin period the Carolingian period and the auto nian period so let's look at a map of Europe and see what was going on at the time here we're going to be talking about present-day Britain France and present-day Germany so this giant blob here does obviously there Saxony okay this is the region that will become Germany so there is a very you know there's not a border here of any kind and so the blending of the cultures is is very dominant there we're going to begin by talking about from the 5th to 10th century what was going on in this period roughly referred to as the time of the warrior Lords the geography and the harsh climate then really factor into what goes on with the social and economic systems of the time the Christian faith has reached to the bridge the region of the British Isles but up here in Scandinavian countries not so much this is a time of the Vikings here which we'll get to in just a moment this is a time where we have a warrior culture people have to live together to be obedient to whoever the chieftain is in order to survive it's cold it's dark it's a heavily forested region so the art features a lot of battle imagery and the battle is often between these kind of made up animal figures composite figures that we'll look at in just a moment so animal vs. animal animals versus man we'll see evidence of this in in armament helmets sword hilts and horse tack gold was the medium of choice for elites so let's dive right in and take a look at our first work here this pin is known as a fibula and it is a functional piece of art that will hold your garment together so here we have an illustration of how woven garments would be worn and they weren't there were no zippers there were no buttons there was no velcro so they needed to be attached by something and that's just see here are these little metal devices called fibula now if you were an average citizen you would have a very simple fibula maybe even more simple than this but if you were an elite with a lot of money you could have an extremely elaborate one like what you see here so this is a functional decorative use item about four inches high the base metal is silver covered with gold so that's known as guilt or guild work and then inlaid with semi-precious stone and also evidence of cloisonne worker that we'll talk more about in a moment it's a type of enameling so you see the red stone is a garnet you see quartz and crystal inserted into this so this is something that would have been for an elite and they find a lot of these because everybody had was was had to have something to hold their clothes on cloisonne work then here's an example on this round piece of art from the 7th century a couple of inches wide it's up known as a brooch so it's another pin for holding on garments you see these raised areas here the this is gold wire that would have been soldered to the base of gold and then the little channels that were created these little sections were filled with a liquid enamel so it's a type of liquid glass that is suspended in water and then it's poured into these little channels and then fired in a kiln on the right you see from a modern-day cloisonne factory this happens to be in Asia and it happens to be enamel on copper which is a much less expensive metal so here you see the artisan is and fixing these little strips of copper to the base in this case it's a vase and after that's done it's moved on to someone who does the enameling so these are all little dishes full of liquid enamel that then the artisan takes the brush and fills little channels that are created finally the work of art is fired in a kiln and you end up it makes the enamel flow and turn to glass and that's what you see here now of course some of these are missing right because this is a piece from the 7th century but much of it remains and gives you a good idea of what this type of decorative art would have looked like from that time probably the most famous example of early cloisonne work and this is from Britain is known as the purse cover of Sutton Hoo this would have been attached to a leather or woven bag and you see the little hinges up here it would have had a strap on it so it would have been worn over a belt or on a string people carried coin and other precious objects you know the Romans had coins all over this region so people were used to having that kind of monetary system this is a very gorgeous object it would have been definitely created for an elite so this is about seven inches across obviously the bag itself has disintegrated over time the base metal is gold and so you see cloisonne work here with the addition of glass and enamel and then semi-precious stone but what's really interesting here are these interesting interesting patterns that have been designed you see what we call here is animal interlace we have confronting animals animals that are intertwined and then patterns of interlaced sinuous s-curve that fills in the space here you see two matching figures of a human-like visit in the center flanked by two composite animals on either side these rearing boars if you will like a wild pig that are confronting in the center remember when two images face each other we say they are confronting when they're on either side they're flanking so these two images flank the two in the center that confront so here are some close-ups here where you can get an idea of the detail here and this was found in Sutton who is the find spot and it was located in a burial ship people were often buried in a replica of a ship I don't know if whether they would have been ocean-going originally or not and so an elite would be buried with important possessions and so that's where this was found this is made possible by the the peat bogs that exist in England a peat bog is an area where wood big trees have fallen and have decomposed in a watery environment like a like a lake or a swamp and things it has a a constant chemical nature that kind of preserves what's in there so that's why that exists to this day speaking of boats and bogs and Vikings let's take a look at the reeking region of the Vikings here this would be in Scandinavia modern-day scandinavia and the purple line shows you the homeland of the Vikings and then the arrows show you everywhere that the Vikings traveled this isn't about nomadic travel this is about traveling to kind of to raid if you will to find things that were needed and then to take them back to the homeland so boatloads of like Vikings traveling all over the region the Vikings then brought with them of their own specific art style and this is the roots of this animal interlacing here again from a burial ship is the prow of a boat that's a very front part of the boat and you can see this composite animal who would have arched up off the bow of the ship it's about 55 feet high made out of wood again very rare to exist because we don't have wood that survives very often this is sort of like a snake of the sea something that we find in Viking poetry a snake going through the water is something that's very Swift very fast very deadly you notice here this deep carving very very recessed and this is an example of animal interlace and it contrasts then this shallow carving in a grid-like form that goes across the nose of this composite animal this is a sort of snake-like but then has these little floppy ears on the back so here is a Viking ship and this is the prow of the ship so that's where the object that we just looked at would have been located on a ship here is an excavation of one of these ships from the 1930s in England so these turn up quite frequently this wagon was something that was excavated from a peat bog and is covered in this animal interlace that you see here a doorway then located in Norway the doorway from norway isn't that cute look at this animal interlace very clearly here you can see a deer like figure lots of s curves sinuous line as these images that are snake like an animal like create this form that we call animal interlace remember now that we're in a time of Christianity look at that 66 tce so that's 600 years after the death of Christ plenty of time for the Christian faith to travel to North Western Europe remember that st. Patrick brings Christianity to Ireland and the 400s so were several hundred years after that the Roman in sacks and invasions really are less influential here because of how far away the British Isles are in relationship to the rest of the region so it their art style sort of depend develops independently here we're going to see evidence of Christian art in manuscript form as we see here from the book of duro so that is the book that this single page is taken from with a page that represents st. Matthew now remember the four evangelists each have a symbol that goes along with them I'm going to be focusing on images of Matthew so that you can compare them and contrast them across the art history timeline for medieval art let's take a look at this here and you see this ink in tempura it's pretty small format nine by six so vellum remember animal skin so it's really not paper paper like there would have been text on one side and then the image on the other and we'll show you an example of that in just a second so here is st. Matthew this is not a very sophisticated rendering of the human form you notice that he is in a twisted perspective his face is frontal almost confrontational in his gaze his body is frontal he hasn't got any arms he's just covered in this elaborate cloak and then his feet don't line up with the way his body is going there's no attempt at foreshortening to make him look realistic so lots of interest in this geometric pattern of his cape and then the most sophisticated part of the work is this animal interlace border that you see let's take a look at something known as a carpet page this is a an image from the Lindisfarne Gospels remember the Gospels are the sections of the New Testament of the Bible and the term carpet page is something that was added by scholars well after the fact because they thought that they looked like Persian rugs or carpets because of the detail this would have been a single page in an illuminated manuscript with text on one side and this could have been on the facing page here tempera on vellum were at 689 see e so this is a tradition that that occurs of enlarging and ornamenting the first letter of a text panel or creating a portion for the opposing page using all this beautiful full detail full of animal interlace you see here this cruciform shape which makes sense since we're looking at a religious transcript and then all of this decorative patterning which are going to refer to as interlace patterning a direct influence by the Viking imagery that we have seen in the past the compass now that tool from your geometry class with the pencil and the pointy thing is used as an art tool so you see lots of interest in circles of various shapes and sizes of course these are all hand-done painstakingly over great periods of time here is another image of st. Matthew also from the lindisfarne gospel there's one full page image of each of the four evangelists again we focus on Matthew so that you can look for the commonalities tempera on vellum same size obviously so here we've got sort of a synthesis of several international stylistic influences we have a face that has facial features that are kind of conventionalized to look like what you might see in a Byzantine work of art kind of dark circle under his eyes something that would appeal to the eastern aesthetic you notice that he sort of floats in the air he's not really grounded on a common ground line the bench that he's sitting on is not on the same ground line as his feet rest and we know that that's not realistic he's accompanied by an angel here and then an unknown figure who sort of peeking out behind this curtain which sort of becomes typical what we see this region of the time here from the book of kells the Cairo symbol the first letters of the name of Christ in Greek so that's would be an X and that would be a P ok in Greek Cairo for Christ and here is the giant letter Rho which looks like a P to us which it has this tremendous amount of detail this interlacing made possible through now obviously this is a modern version of a compass but that would have been used for this creation here and here then is a detail this little tiny section here is what you see in the upper left and animal interlacing all these little circles and curlicues or something are very much the taste of the day painstakingly done with ink and paint let's look at a three-dimensional sculpture here now this is a work from an Irish cemetery where at 923 this is a sculpture created created out of sandstone it was made in three parts the high cross of Murdoch is the name night might gaelic pronunciation isn't very good but I make an attempt there this is huge 18 feet high the original work of art would have just been the cross and then the little house was added as is the base at the bottom remember that people are illiterate now and in order to learn the stories of the Bible they've got to look at imagery and that's what this work is it has artwork on the obverse and reverse so it is covered in low relief stories from the Bible you see here the schematic that Ted that I stole from Wikipedia telling you about what each little section means has a number corresponding that's provided below and then here is that little house that was added and that was ended up being a reliquary a place where a relic would have been added and then the entire thing is supported by this base you see here in the isometric drawing which is a little easier for us to read the crucified Christ in the center and then different stories from the Bible doubting Thomas images on the sides here from the life of Christ so this would have been a little visual dictionary if you will telling the stories of Adam and Eve Cain and Abel David and Goliath so that the common people were able to begin to understand these stories visually and everything is is covered here every every aspect of this work of art as is covered in low relief sculpture so that you can get an idea how every inch of this is covered so everybody's heard of Charlemagne and who remembers who he is right let's talk about the art of the Carolingian period that's what this word means here Carol injian refers to Charlemagne and look at where we are now this Charlemagne's empire was all of modern-day france part of northern Italy and then part of modern-day Germany that's a big piece of territory Charlemagne was crowned by Pope Leo the third at st. Peter's in Rome at Christmas of 800 siiii this is very unusual he was really in the eyes of the people the Vatican considered a barbarian because of the because of his his his background because of the language that he spoke but he really was you know an educated guy he was the son of a Frankish king he could speak and read Latin and Greek so he was an educated man even though in the minds of the the papal state of the Vatican he was sort of like a wild guy from the frontier with his crown e is going to show a new respect for the northern Christians they sort of were just like the frontier wild men in the minds of Vatican Rome at this time so this is a difference here so Charlemagne is a is a smart and powerful leader he's going to try and re-establish the Roman Empire as it was at the time of Constantine in two ways while remaining Catholic he's going to create an alliance between the church and the state and he's going to foster a tremendous rebirth in artistic interests looking back to the time of greco-roman antiquity for his inspiration there's lots of evidence of the art created during the Carolingian period both in architecture sir and in objects so let's take a look at a book that belonged to Charlemagne this is from a a work known as the coronation gospel so it would have been a set of biblical writings and that actually belonged to him and in fact was buried right near him at the time of his death that's where this was found this is what's known as the palace style makes sense would have been created for a king charlemagne something that he would before his personal use and would have been created by a the finest artisans of the region this is a very beautiful rendition of st. Matthew he's sitting at his desk writing away and thinking think about that image we just looked at where where he was st. Matthew was kind of floating and that in the desk and the chair and the rug work at all different ground lines now this image makes sense to the 21st century viewer he's seated properly in what is clearly a comfortable stool his feet are in good relationship to his body one up on the podium where he writes there's not a lot of landscape detail to confuse the viewer focusing our attention on Matthew look at how fully modeled or rendered he is look at the color gradation from the light on his cheek to the dark and the gradation of color from light to dark this is what's going to make him look three-dimensional and more realistic the same thing you see on his hands here and you see in effect cast shadow there is an unseen light source of something we don't see but the light is shining on the back of his neck which is why his neck his forehead and his cheek and this left side of his hand are more brightly illuminated if you will than the right side you notice that he fills the picture plane okay nothing else going on this is closer to a true portrait than what we would see em in our next work which is created in what we say the Reems style this is created at a dis students from Charlemagne's court the same time in fact 16 years later so this was created in a monastery whether the jobs of the monk was to sit and there would be some who would transcribe text others who would create painted images and so here again st. Matthew sitting at his desk so the posture is fairly similar to what we just saw from the coronation gospel but here in the ebo gospel this highly stylized and very expressive work of art takes place we would say that this is painterly we see evidence of the artists hands in the rapid brushwork of the landscape that we did not see in the work of the coronation gospel we have a grape arbor trees in the background vegetation here at the ground line a little angel off to the side with a little holding something very interesting so it's like the angel is dumping the words into then this is the ink holder okay so here's his quill he takes the quill and he dumps it into the ink holder and that is being filled by God symbolized here by the angel I take a look here in the bottom right-hand corner of the way that the image then relates to the text on the right so image on the left text on the right with this large oversized illuminated letter when we look at the two side by side then you can really draw some nice comparisons so the work on the left has an interest in realism this unseen light source the careful gradation of color from light to dark in order to render a fully modeled figure as composed to the REME school a more country version if you will create it in a monastery with the complications in the landscape this nervous agitated line look at his hair his head almost looks like it's covered in snakes with this wild and curly hair look at his exaggerated facial expression oversized eyebrows nervous eyes that are kind of close together sure there's a gradation of color here but it's not very realistic okay from his cheek to the his chin and so if you were to look for the light source here you would say there's an unseen light source off to the right casting the brightest light on his face and the shadow to the left of him there the book covers these Gospels are created for elites who have a lot of money and so they're going to have elaborate covers on the exterior of the books so here is the cover from the lindau gospel you see that it is a combination of several techniques one of which is cloisonne which we've mentioned but also now there's a new technique called repousse a re pou SSE and this is where a fairly thin sheet of gold is the image is pressed out from the back and so you see how it creates a relief here we see an image of the crucified Christ okay in the center of this cross like shape with these four quadrants containing angels and then the encrusted with these beautiful semi precious jewels and pearls we're at 870 here and so we're at this is sort of standard 12 by nine inside this is the back cover which has a cross on it filled with animal interlace and so as we look at the detail here this is really pretty amazing notice the interest in a realistic body form here you sort of sees the musculature of Christ look at the hands this is the stigmata the reference to the wounds in Christ's hands you see this stylized blood dripping out from it here so it's interesting because these hands are kind of funky and not very realistic but then the body has quite a realistic form and really nice drapery treatment all created in this very precise repousse a detail you notice he's got a halo then that is surrounded encrusted in jewels see these little dots that is gold work called granulation where they would heat up gold until it was liquid and then roll it into little balls and then solder the balls then to this the surface to create this beautiful beaded look so this is a beautiful example of a cover for one of these Gospels this is a detail of the back of the lyndale gospel and so the enlargement on the right then comes from this region right here and here's this animal interlaced you see the eye and the bill so it's like not quite a bird not quite a duck in filled with these geometric shapes and then some cloisonne work and an inset stone every now and then with a more detailed represent so really no expense was spared in the creations of these works of art that were made for our man Charlemagne let's look at some of the architecture so remember he wasn't interested just in portable artwork objet d'art as they're called he's also very interested in architecture so let's look at well now let's look at Charlemagne first his equestrian portrait there is a long tradition of equestrian portraiture so that means a ruler or a warrior on a horse the example here in the lower right hand corner is from antiquity look at that 161 siiii something that existed from the ancient period as well bronzes then sometimes change into marbles by the Romans now you notice that this very early work even though it's not a great picture you can see that it is much more sophisticated so the bronze technology from this early period time the Roman Empire was still at its height see we're at 100 a 161 siiii rome doesn't fall until three hundred and then look now in the ninth century we have this sort of clunky bronze of Charlemagne the sea air pardhu or lost wax technique the same way that ancient bronze was made in India and in China we see again here so here's Charlemagne holding the elements of office he's got an orb in one hand he's got his crown on and he's sitting on it's kind of a nice little character of a horse if you will so that is our man Charlemagne this is going to continue to be a form of depiction in sculpture that we see throughout the Renaissance period and into the contemporary period as well now let's look at his Palantine chapel this is located in the city of austin which is in modern-day Germany and this is actually one place that I've been to we're at 790 to see an example of stone architecture this is his private chapel clearly you see the evidence here of the Byzantine style he did visit Ravenna and Constantinople where he saw lots of examples of octagonal small churches and so he came back and Crete came up with this octagonal plan with a dome on it you see a projecting apps and with a two towered entrance so here are the towers these are the stairwells the circular stairwells inside which will lead you up to the second floor so sometimes when the super elite would worship they would have the officiate and different congregants down below and they would worship up above sort of to be separated from the rest of the group here it is in a reconstruction of the plan view the main entrance here and then this is the apps where the altar would be located so everything in this region is underneath the colonnade and that's what you see back here so this is the colonnade ok this is buttressing then carrying the weight from the dome down through the sides of the building here his royal throne then was located in the lodge that's where that term comes from you notice the use here of variegated alternating stone light and dark that is an Islamic influence we saw it in the mosque at Cordoba so here at tying together of antiquity reaching forward into what's going to come during the Romanesque and gothic period all in this small private chapel of Charlemagne here then is the interior showing you the three different levels in an interior elevation view so there is the altar in the back you notice some windows there with some evidence of stained glass and then here then is Charlemagne's throne which is hidden from view up on this higher level you notice the arch right there is a pendentif remember pendentif sore how we transfer the weight from the dome to the other lower part of the building and then variegated stone light and dark that Islamic influence and then a nice column capital that you see here with a Corinthian top on it so lots of elements that you see in classic and twix witty I want to make sure that you're familiar with this term here of what vest of Arc because we're in Germany here West work as you'd say in English we're at the abbey church at corvée in modern-day Germany now look at that corvée that sounds very French this helps you remember that these areas were very close together it was not a geographic border like it is today so here is the abbey church you notice that it is a cruciform church in the shape of a cross but the vest virk then is an independent structure that marked the west entrance to the building here adjacent to the main basilican plan church that you see so it's highlighted here in red this is the facade of the west work so you notice it's like one two three four five six seven stories high with these tall towering tower is at the top if you will it really is there to to let you know who's in control this is a symbolic facade that is large and dominant wanting everybody to know who is in charge this was created by the great emperor charlemagne it also gives away for the Emperor to enter the church to worship at a distance from the rest of the congregation but still participate so if the Emperor comes in the central door here and then goes up to the third floor he can overlook the rest of the Interior so inside we have this beautiful groin vaulted space supported by Corinthian column top capitals and so then the Emperor could witness the religious proceedings from this balcony level this is going to anticipate then the two tower facade that you'll see on most of the cathedrals of France if you look at notre Dom if you look at Chartres they're going to have these two towers and this is where that design influence relates back to so everything old is new again another church that we're going to look at is st. Michael's at hildesheim we're in present-day Germany now we've moved forward to the 1000s all right this is a piece of stone architecture it is a basilican planned church with a twist made under the direction of burns all who was the architect it has a double transept let's look at thee there we go the twist here then is the entrances are back at the side remember how most Christian churches we've looked at we enter from the far end away from the altar and the apps this is the way basilica the block chords really operated so here's sort of a throwback to that we have the staircases here that lead you up to the top of the towers a central nave with two flanking side aisles and then here is the altar with an ambulatory you can walk around here to ambulate is to walk this is the ambulatory where you can walk around behind the high altar here and let's look at the inside then here we go here is the nave the aisles and the altar in the back again variegated stone and Islamic influence in this archway a nice use of clear story windows to let in light and to raise the center section of the roof so you notice here is that same clear a story and look at these early gothic pointed arched windows here that's was added later that's what's coming ok so your tower one tower to tower one tower to and then those same clear story windows that you see an elaborately painted ceiling one of the things that we're most interested in though and hildesheim are the bronze doors this is a tradition that is going to continue through the Renaissance these are panels cast in two pieces and there is the narrative here of both the Old Testament and the New Testament it reads from the upper left top down to the bottom beginning of course at the beginning with Genesis and moving on tier to the image that we're going to speak about the expulsion of Adam and Eve from the Garden of Eden you look down below there's two lionhead door pools here let's look at what's going on so this is a bronze relief sculpture and we have low relief and sort of a medium relief on the same work of art and here's something that's very rare very rarely do we see depictions of God the Father we see a bird representing the Holy Spirit we see representations of Christ but very rarely do we see God the Father and that's who we see right here and boy is he angry look at him pointing saying get out because Adam and Eve have failed him right they have committed the original sin now and this is that act of him expelling them the expulsion from the Garden of Eden in this strange funny little weird tree where the the snake tempted Eve with that Apple you see here in the center and then the evidence of the very low relief vegetal images to let you know that they are in fact in the Garden of Eden let's take a look at Charlemagne's successor Otto this is Otto Otto was the son of a Byzantine and he is this is what's known as an auto Nyan abstraction if you will so here is Otto now the ruler of the region and this is a very interesting in that it lacks a lot of the sophistication that we were working towards we are still in the medieval period and we've we've lost a lot of sophistication here so here we see Otto sitting on a throne and you notice that his scale he is significantly larger even though he's seated if he stood up he would be five times taller than his the people that flank him on either side he is wearing royal purple and that the elements of authority the orb and the staff are oversized in order to to to show his power and might you even see that his crown is almost too big for his head there he's very frontal in the way he sits and look at how interesting it is that the the officiants on the left then we have two ecclesiastic Ecclesiastes so these are like priests who are touching the throne to show their affiliation and then we've got two soldiers are presenting the art here so we've got the the church on one side and the other but then there's eating little details like the arms of the throne have these animal heads that are vaguely reminiscent what we saw on that a Viking ship prowl again this this royal purple it's sort of like blue very hard color yet and something that would be reserved only for the highest elite you notice that he's in this this little stage like setting with the drapery behind him and these column capitals that have faces on them here conventionalized faces aren't really true portraits this could be an attempt at a true portrait but it certainly is not psychological portrait it doesn't give us any insight into the the personality of Otto I want to finish up here with a image from a crucifix from the Cathedral it flown in Germany this is right on the border between France and Germany so you see here it has the the french spelling this is a painted wood sculpture and is the intent to the crucifixion a picture that we were looking at during the Byzantine period this is about six feet high so it's just about life-size commissioned for the archbishop of cologne and it's really a very beautiful and insensitive rendering of the crucified Christ clearly christ is dead here his suffering is over but he has not been removed from the cross at this point in time there is an interest here in realistic carving of the human form and then an expert painting on top of that to make the fleshtones very realistic here the back of the Cross has a small little hole in it called a cavity where they would have placed the host is the bread that the weber taken during communion this is a tender and compassionate dead christ not the horrific images that we will see have seen in the past and we'll see certainly in the future during the time of the Reformation the wood what after carving would have received a layer of gesso which is a thick white paint which would have created a very smooth surface to see the final layers of paint interesting how the halo is not attached to the figure of Christ but it is our part in low relief on the surface of this cross the cross is kind of oversight it didn't really need to be this big in order to fit the entire body of Christ on it but it's sort of an interesting choice by the artisan