1. Early Medieval Art
Three traditions which fused to create early medieval society in Western Europe:
Christianity.
Greco-Roman heritage.
Non-Roman peoples north of the Alps.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

2. Slide concept by William V
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3. ART OF THE WARRIOR LORDS
“Barbarian” Art
Cloisonné
Metalworking technique where small metal strips (cloisons or “partitions”) are soldered edge-up to a metal background. The compartments are then filled with semiprecious stones, colored glass, or glass paste. The edges of the cloisons are an important part of the design.
Fibula
A decorative pin used to fasten garments.
Viking
Seafaring Scandinavian empire, pagan pirates and traders (viks means “trading places”). They conquered much of northern Europe from Ireland, England and France to the Baltic Regions and Russia.
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4. Decorative patterns fitting the shape of the fibula cover the surface, describing and amplifying its structure. Anamorphic elements are deeply integrated into the design, becoming almost unrecognizable.
Decorative patterns fitting the shape of the fibula cover the surface, describing and amplifying its structure. Anamorphic elements are deeply integrated into the design, becoming almost unrecognizable.
Frankish Looped Fibula
France
6th - 7th Centuries silver gilt worked in filigree with inlays of garnets and other stones 4 in. long

5. Slide concept by William V
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6. Sutton Hoo
A treasure-laden ship in a burial mound, epitomizing the tradition of burying lords with furnishings, as recorded in Beowulf. It contained gold and silver jeweled items such as bowls, coins, and two spoons inscribed “Saulos” and “Paulos” indicating a conversion to Christianity.
The heraldic figure grouping on the Sutton Hoo Purse Cover communicates the epic struggle between man and beast.
A treasure-laden ship in a burial mound, epitomizing the tradition of burying lords with furnishings, as recorded in Beowulf. It contained gold and silver jeweled items such as bowls, coins, and two spoons inscribed “Saulos” and “Paulos” indicating a conversion to Christianity.
Purse cover from the Sutton Hoo ship burial
Suffolk, England ca. 625 gold, glass and enamel cloisonné with garnets and emeralds 7 1/2 in. long

7. Scandinavian “Viking” Art
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8. Slide concept by William V
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9. Oseberg, Norway ca. 825 wood 75 1/2 ft. long
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Burial Ship
Oseberg, Norway ca. 825 wood 75 1/2 ft. long

10. The style of the decoration on the panel from Urnes and the Viking ship found near Oseberg Norway:
The animal-head post combines the large animal head form itself with patterns of twisting, interwoven animals carved into it.
The animal-head post (16-3) combines the large animal head form itself with patterns of twisting, interwoven animals carved into it.
Animal-Head Post
Oseberg, Norway ca. 825 wood approximately 5 in. high

11. Slide concept by William V
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12. The style of the decoration on the panel from Urnes and the Viking ship found near Oseberg Norway:
The panel from Urnes is formed by elongated animal forms intertwining with plant stalks and tendrils in spiraling rhythm. The effect is of natural growth combined with an abstract sensibility.
The panel from Urnes is formed by elongated animal forms intertwining with plant stalks and tendrils in spiraling rhythm. The effect is of natural growth combined with an abstract sensibility.
Wood carved portal of the stave church at Urnes
Urnes, Norway
ca wood

13. Hiberno-Saxon Art Hiberno-Saxon
The artistic style of the monasteries of the British Isles (also known as Insular). Its most distinctive products were the illuminated manuscripts of the Christian Church.
Mozarabic
Christians living in Arab territories, such as the north of Spain after the Islamic forces conquered the Visigoths.
Scriptorium
The writing studio of a monastery.
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14. Slide concept by William V
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15. A Pentateuch contains the first five books of the Old Testament.
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Man (symbol of St. Matthew) Book of Durrow
possibly from Iona, Scotland
ca ink and tempera on parchment 9 5/8 x 6 1/8 in.

16. A carpet page is a decorative manuscript page containing abstract and zoomorphic forms.
zoomorphism
1. Attribution of animal characteristics or qualities to a god.
2. Use of animal forms in symbolism, literature, or graphic representation.
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Carpet Page Book of Durrow
possibly from Iona, Scotland
ca ink and tempera on parchment 9 5/8 x 6 1/8 in.

17. Slide concept by William V
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18. Evangelists symbols page Book of Kells from Iona, Scotland
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Evangelists symbols page Book of Kells
from Iona, Scotland
8th - 9th centuries tempera on vellum 13 x 9 1/2 in.

19. Virgin and Child page Book of Kells from Iona, Scotland
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Virgin and Child page Book of Kells
from Iona, Scotland
8th - 9th centuries tempera on vellum 13 x 9 1/2 in.

20. erat autem hora tertia et crucifixerunt eum
Illuminated text from the Gospel of Mark Erat autem hora tercia Book of Kells
from Iona, Scotland
8th - 9th centuries tempera on vellum 13 x 9 1/2 in.
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erat autem hora tertia et crucifixerunt eum
And it was the third hour, and they crucified him.

21. Slide concept by William V
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22. The Lindisfarne Gospels
The Lindisfarne Gospels is a manuscript that contains the Gospels of the four Evangelists Mark, John, Luke, and Matthew. The Lindisfarne Gospels begins with a carpet page in the form of a cross and a major initial page, introducing the letter of St. Jerome and Pope Damasus I (Backhouse 2004). There are sixteen pages of arcaded canon tables, where parallel passages of the four Evangelists are laid out (Backhouse 1981, 41; Backhouse 2004).

23. The Lindisfarne Gospels
The carpet pages are influenced by early Coptic (Christian Egyptian) manuscripts in their resemblance to Islamic prayer rugs, which were probably known during this time in Northumbria (The British Library Board).
Each carpet page contains a different image of a cross (called a cross-carpet page), emphasizing the importance the Christian religion and ecumenical relationship between churches (The British Library Board).
The pages of ornamentation have motifs familiar from metalwork and jewellery that pair alongside bird and animal decoration (Backhouse 2004).

24. Cross and Carpet page Lindisfarne Gospels Northumbria, England
The author portrait of Saint Matthew (16-7) must have been inspired by one of the Illiustrated Gospel books a Christian missionary brought from Italy, but with a HIberno-Saxon focus on line and color rather than a classical focus on volume and perspective. The carpet page of 16-6 is a native Hiberno-Saxon masterpiece.
Cross and Carpet page Lindisfarne Gospels
Northumbria, England
ca tempera on vellum 13 1/2 x 9 1/4 in.

25. Differences in the two pages from the Lindesfarne Gospel illuminate
The author portrait of Saint Matthew (16-7) must have been inspired by one of the Illiustrated Gospel books a Christian missionary brought from Italy, but with a HIberno-Saxon focus on line and color rather than a classical focus on volume and perspective. The carpet page of 16-6 is a native Hiberno-Saxon masterpiece.
The author portrait of Saint Matthew (16-7) must have been inspired by one of the Illiustrated Gospel books a Christian missionary brought from Italy, but with a HIberno-Saxon focus on line and color rather than a classical focus on volume and perspective. The carpet page of 16-6 is a native Hiberno-Saxon masterpiece.
Saint Matthew page Lindisfarne Gospels
Northumbria, England
ca tempera on vellum 13 1/2 x 9 1/4 in.

26. Characteristics of the style utilized on the chi-roh-iota page from the Book of Kells.
The holy words are turned into intricate abstract designs.
The edges of the designs are emphasized and filled with flat colors, resembling Celtic and Anglo-Saxon cloisonné metalwork.
There are human and animal representation embedded in the abstractions: the letter rho ends in a male head and animals are to the base of the h generatio line.
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Chi-rho-iota page Book of Kells
from Iona, Scotland
8th - 9th centuries tempera on vellum 13 x 9 1/2 in.

27. Slide concept by William V
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28. The scribe Ezra Codex Amiatinus Jarrow, England
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The scribe Ezra Codex Amiatinus
Jarrow, England
ca tempera on vellum 20 x 13 1/2 in.

29. Slide concept by William V
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30. The concave arms of the cross are looped by four arcs that form a circle, a Celtic motif.
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High Cross of Muiredach (east side)
Monasterboice, Ireland
ca ft. high

31. High Cross of Muiredach (east side) Monasterboice, Ireland
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High Cross of Muiredach (east side)
Monasterboice, Ireland
ca ft. high

32. High Cross of Muiredach(east side) Monasterboice, Ireland
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High Cross of Muiredach(east side)
Monasterboice, Ireland
ca ft. high
Last Judgment

33. High Cross of Muiredach (west side) Monasterboice, Ireland
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High Cross of Muiredach (west side)
Monasterboice, Ireland
ca ft. high

34. High Cross of Muiredach (west side) Monasterboice, Ireland
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
High Cross of Muiredach (west side)
Monasterboice, Ireland
ca ft. high
Crucifixion

35. Carolingian Art Cloister
A colonnaded courtyard, attached to the side of a church.
Crossing
The area where the nave and the transept cross.
Module
A basic unit of which the dimensions of the major parts of a work are multiples.
Monastery
A place where the clergy could be communally secluded in an abbey under the absolute rule of an abbot, who would see to it that each hour of the day was spent in useful work, as prescribed by Saint Benedict.
Westwork
Western entrance structure of a church (from German westwerck), towers incorporated into the western façade where the upper gallery served as a church within a church.
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36. Slide concept by William V
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37. The effect that it on the art of Northern Europe
Charlemagne was crowned by the Pope in Saint Peter’s basilica in Rome (built by Constantine, the first Christian Roman emperor) and therefore in time came to be known as the first Holy Roman Emperor (a title not adopted until the 12th century). He consolidated the Frankish kingdom and the Lombards of Italy, reuniting Europe and revived the Roman spirit.
The effect that it on the art of Northern Europe
Was that it caused the “Carolingian Renaissance”, a renewal of interest and emulation of the art, culture, and political ideas of Early Christian Rome.
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Equestrian portrait of Charlemagne(?)
from Metz, France
early 9th century bronze, originally gilt 9 1/2 in. high

38. Slide concept by William V
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39. Slide concept by William V
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40. St. Matthew Coronation Gospels Aachen, Germany
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St. Matthew Coronation Gospels
Aachen, Germany
ca ink and tempera on vellum 12 3/4 x 10 in.

41. Slide concept by William V
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42. Ways in which the artist of the Gospel Book of Archbishop Ebbo of Reims has modified the style found in the Gospel Book of Charlemagne:
The manuscript that is most closely related to the style of the Utrecht Psalter is The Ebbo Gospels.
Because of the rapid and sketchy quality of line have the same kind of nervous energy as the Utretcht Psalter, where figures are sketched out vividly.
The classical calm and solidity of the smooth contours of Coronation Gospels are replaced in the Ebbo Gospels by frenetic, nervous squiggles that give a sense of urgency to the composition.
In the Ebbo Gospels, Matthew’s face, hands, inkhorn, pen, and book are made the focus of the composition by the energetic line quality, whereas the Coronation Gospels has even stress throughout so that no part of the composition is a focal point.
The Ebbo Gospels leaf border is more active than the Coronation Gospels.
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Saint Matthew Ebbo Gospels
Hautvillers, France
ca ink and tempera on vellum 10 1/4 x 8 3/4 in.

43. Saint John Ebbo Gospels Hautvillers, France
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Saint John Ebbo Gospels
Hautvillers, France
ca ink and tempera on vellum 10 1/4 x 8 3/4 in.

44. Canon Table Ebbo Gospels Hautvillers, France
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Canon Table Ebbo Gospels
Hautvillers, France
ca ink and tempera on vellum 10 1/4 x 8 3/4 in.

45. Canon Tables Ebbo Gospels Hautvillers, France
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Canon Tables Ebbo Gospels
Hautvillers, France
ca ink and tempera on vellum 10 1/4 x 8 3/4 in.

46. Psalm 44 of folio 25 recto of the Utrecht Psalter
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Psalm 44 of folio 25 recto of the Utrecht Psalter
Hautvillers, France (near Reims)
ca ink on vellum 1 ft. 1 in. x 9 7/8 in.

47. Slide concept by William V
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48. Psalm 57 front cover Psalter of Charles the Bald Denis, France
ca. 865 ivory panel set in silver-gilt with filigree work and precious stones panel 5 1/2 x 5 1/4 in. cover 9 1/2 x 7 3/4 in.
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49. Psalm 57 front cover Psalter of Charles the Bald Denis, France
ca. 865 ivory panel set in silver-gilt with filigree work and precious stones panel 5 1/2 x 5 1/4 in. cover 9 1/2 x 7 3/4 in.
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50. Slide concept by William V
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51. Crucifixion front cover Lindau Gospels
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Crucifixion front cover Lindau Gospels
Pierpont Morgan Library, New York
ca. 870 gold, precious stones and pearls 13 3/8 x 10 3/8 in.

52. Slide concept by William V
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53. The Palatine Chapel of Charlemagne resembles the church of San Vitale in Ravenna, but is distinguished by:
A simpler plan where the two main apselike extensions stand in greater independence of each other.
The exterior had two cylindrical towers with spiral staircases flanking the entrance portal.
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Odo of Metz
Interior of the Palatine Chapel of Charlemagne
Aachen, Germany ca

54. Interior of the Palatine Chapel of Charlemagne Aachen, Germany
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Odo of Metz
Interior of the Palatine Chapel of Charlemagne
Aachen, Germany ca

55. Slide concept by William V
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56. Torhalle (gatehouse) Lorsch, Germany 9th century
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Torhalle (gatehouse)
Lorsch, Germany
9th century

57. Torhalle (gatehouse) Lorsch, Germany 9th century
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Torhalle (gatehouse)
Lorsch, Germany
9th century

58. Slide concept by William V
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59. Schematic plan for a monastery St. Gall, Switzerland
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Schematic plan for a monastery
St. Gall, Switzerland
ca. 819 redrawn after a 9th century manuscript

60. The church of the monastery of St
The church of the monastery of St. Gall is a three‑aisled basilica, and it differs from its Early Christian prototypes in the following ways:
The cloister (like the atrium) is on the side of the church rather than in front of its main portal.
A second apse on the west end of the building.
St. Gall had two towers framing the western end of the church, but standing apart from the façade, unlike many other Carolingian basilicas where the towers were integrated into the façade.
Modular construction
The crossing area is used as the modular unit that determines the rest of the plan, integrating all parts of the church into a rational, orderly plan.
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61. Slide concept by William V
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62. Drawing of the monastery church of St. Riquier
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Drawing of the monastery church of St. Riquier
Centula, France ca. 800 engraving made in after a now destroyed 11th century miniature

63. Ottonian Art Bishop Bernward
Tutor of Otto III, builder of the abbey church of Saint Michael at Hildesheim, and one of the great patrons of Ottonian art and architecture.
Reliquary
A shrine or container for keeping sacred relics.
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64. Slide concept by William V
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65. Westwork of the Abbey Church Corvey, Germany
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Westwork of the Abbey Church
Corvey, Germany ca

66. Slide concept by William V
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67. Two features of the church of Saint Cyriakus of Gernrode that would be important for later medieval architecture:
The nave is one of the first in the West to incorporate a gallery between the ground-floor arcade and the clerestory.
The nave arcade is divided into vertical units by alternate piers and columns, mitigating the tunnel- like horizontality of the Early Christian basilicas, and leading the eye upward.
Heavy square piers alternate with columns, dividing the nave into vertical units. The division continues into the gallery level, breaking the smooth rhythm of an all-column arcade.
Nave of the church of St. Cyriakus
Gernrode, Germany ca

68. Slide concept by William V
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69. Abbey church of St. Pantaleon Cologne, Germany
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Abbey church of St. Pantaleon
Cologne, Germany ca

70. Slide concept by William V
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71. Abbey Church of St. Michael’s Hildesheim, Germany
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Abbey Church of St. Michael’s
Hildesheim, Germany ca

72. Abbey Church of St. Michael’s Hildesheim, Germany
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Abbey Church of St. Michael’s
Hildesheim, Germany ca

73. Abbey Church of St. Michael’s Hildesheim, Germany
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Abbey Church of St. Michael’s
Hildesheim, Germany ca

74. Abbey Church of St. Michael’s Hildesheim, Germany
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Abbey Church of St. Michael’s
Hildesheim, Germany ca

75. Abbey Church of St. Michael’s Hildesheim, Germany
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Abbey Church of St. Michael’s
Hildesheim, Germany ca

76. Abbey Church of St. Michael’s Hildesheim, Germany
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Abbey Church of St. Michael’s
Hildesheim, Germany ca

77. Doors with relief panels Genesis, left door - Christ, right door
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Doors with relief panels Genesis, left door - Christ, right door
Hildesheim, Germany ca

78. Doors with relief panels Genesis, left door - Christ, right door
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Doors with relief panels Genesis, left door - Christ, right door
Hildesheim, Germany ca

79. The expressiveness of the figures are closer to the Utrecht Psalter than the Gospel Book of Charlemagne. The figures are forceful and clear in their emotions.
St. Michael's at Hildesheim

80. Doors with relief panels Genesis, left door - Christ, right door
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Middle
Bottom
Doors with relief panels Genesis, left door - Christ, right door
Hildesheim, Germany ca

81. Doors with relief panels Genesis, left door - Christ, right door
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Doors with relief panels Genesis, left door - Christ, right door
Hildesheim, Germany ca

82. Doors with relief panels Genesis, left door - Christ, right door
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Doors with relief panels Genesis, left door - Christ, right door
Hildesheim, Germany ca

83. Doors with relief panels Genesis, left door - Christ, right door
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Doors with relief panels Genesis, left door - Christ, right door
Hildesheim, Germany ca

84. Column with reliefs illustrating the life of Christ
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Column with reliefs illustrating the life of Christ
Hildesheim, Germany
ca bronze 12 ft. 6 in. high

85. Trajan’s Column in Rome.
A possible source for the Triumphal Column in Saint Michael’s at Hildesheim was
Trajan’s Column in Rome.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Column with reliefs illustrating the life of Christ
Hildesheim, Germany
ca bronze 12 ft. 6 in. high

86. Column with reliefs illustrating the life of Christ
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Column with reliefs illustrating the life of Christ
Hildesheim, Germany
ca bronze 12 ft. 6 in. high

87. Column with reliefs illustrating the life of Christ
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Column with reliefs illustrating the life of Christ
Hildesheim, Germany
ca bronze 12 ft. 6 in. high

88. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

89. Features of the Gero crucifix (FIG
Features of the Gero crucifix (FIG ) that contribute to the expression of suffering:
Blood streaks down his forehead.
His face is contorted in pain.
His body sags under its own weight.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Crucifix commissioned by Archbishop Gero
Cologne Cathedral, Germany ca. 970 painted wood 6 ft. 2 in. high

90. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

91. Abbess Uta folio 2 of the Uta Codex Regensburg, Germany
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Abbess Uta folio 2 of the Uta Codex
Regensburg, Germany
ca tempera on parchment 9 5/8 in. x 5 1/8 in.

92. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

93. Stylistic features seen in the Lectionary of Henry II that were not apparent in earlier Carolingian illumination;
The golden background that reveals knowledge of Byzantine book illustration and mosaic decoration; it is more like the apse of Byzantine church than a Carolingian illumination.
The rocky landscape with grazing animals derives from both classical and Early Christian art.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Annunciation to the Shepherds Lectionary of Henry II
from Reichenau, Germany
ca tempera on vellum 17 x 13 in.

94. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

95. Otto III enthroned Gospel Book of Otto III from Trier, Germany
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Otto III enthroned Gospel Book of Otto III
from Trier, Germany
ca tempera on vellum 13 x 9 3/8 in.

96. Tribute of the Provinces Gospel Book of Otto III from Trier, Germany
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Scavinia, Germania, Gallia, Roma
Tribute of the Provinces Gospel Book of Otto III
from Trier, Germany
ca tempera on vellum 13 x 9 3/8 in.

97. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

98. Otto III Enthroned Liuthar (Aachen) Gospels from Aachen, Germany
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Otto III Enthroned Liuthar (Aachen) Gospels
from Aachen, Germany
ca ink and tempura on vellum 10 7/8 x 8 1/2 in.

99. Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.