| List
of Plates 2 |
| Lecture
16: Barbarian Art of Continental Europe |
| For
some of the works associated with this lecture, see Stokstad, figs.
4.6, 4.7, 4.8, 4.9, 4.16 and 4.17. For the art of the Visigoths
and Langobards, see Xavier Barral I Altet, The Early Middle
Ages, 99-115 and 188-93. For the Vikings see James Graham-Campbell
and Dafydd Kidd, The Vikings. |
| 310.
Excavation of the Oseberg ship, Norway,
oak, ca. 800-25 CE (Viking) |
| 311.
Oseberg Ship, Norway, oak, ca. 800-25 CE
(Oslo, Viking Ships Museum) (Viking) |
| 312.
Animal head-post, from the Oseberg ship
burial, Norway, wood, ca. 800-25 CE (Oslo, Viking Ships Museum)
(Viking) |
| 313.
Animal head-post, from the Oseberg ship
burial, Norway, wood, ca. 800-25 CE (Oslo, Viking Ships Museum)
(Viking) |
| 314.
Cart, from the Oseberg ship burial, Norway,
wood, ca. 800-25 CE (Oslo, Norway) (Viking) |
| 315.
Cart, from the Oseberg ship burial, Norway,
wood, ca. 800-25 CE, detail of the front panel (Oslo, Viking Ships
Museum) (Viking) |
| 316.
Bucket handle, from Oseberg, Norway,
bronze and enamel, 7thc CE? 9thc CE? (Oslo, Norway) (probably made in Ireland; found in the Viking ship burial)
|
| 317.
Bucket handle, from Oseberg, Norway, bronze
and enamel, 7thc CE? 9thc CE? (Oslo, Norway) (probably made in Ireland; found in the Viking ship burial) |
| 318.
Eagle fibulae, gilt bronze, crystal, garnets
and other gems, Spain, 6th century CE (Baltimore, Walters Art Museum)
(Visigothic) |
| 319.
Votive crown of King Recceswinth, gold,
sapphires, pearls and colored glass, 653-72 CE, from Tolédo,
Spain; bears the inscription, “Reccesvinthis rex offered”
(“Offered by King Recceswinth”) (Madrid, Museo Arqueológico
Nacional) (Visigothic) |
| 320.
San Juan de Baños, Cerrato, Palencia,
Spain, built ca. 652 CE under King Recceswinth (belltower added
later), plan (Visigothic) |
| 321.
San Juan de Baños, Cerrato, Palencia,
Spain, built ca. 652 CE under King Recceswinth (belltower added
later), exterior (Visigothic) |
| 322.
San Juan de Baños, Cerrato, Palencia,
Spain, built ca. 652 CE under King Recceswinth (belltower added
later), view of the nave from the aisle (Visigothic) |
| 323.
San Pedro de la Nave, Zamorra, Spain, 2nd
half of the 7th century CE, plan (Visigothic) |
| 324.
San Pedro de la Nave, Zamorra, Spain, 2nd
half of the 7th century CE, exterior (Visigothic) |
| 325.
San Pedro de la Nave, Zamorra, Spain, 2nd
half of the 7th century CE, view of the crossing (Visigothic) |
| 326.
San Pedro de la Nave, Zamorra, Spain, 2nd
half of the 7th century CE, capital in the crossing with Daniel
in the Lions’ Den (Visigothic) |
| 327.
San Pedro de la Nave, Zamorra, Spain, 2nd
half of the 7th century CE, capital in the crossing with the Sacrifice
of Isaac (Visigothic) |
| 328.
Fibulae, silver gilt, ca. 600 CE, from
Cividale (Cividale, Mus. Arch. Naz.) (Lombard) |
| 329.
Cover of the Gospels of Queen Theodelinda,
gold, gems and pearls on a wood base, late 6th/early 7th century
CE (Monza, Museo del Duomo) (Lombard) |
| 330.
Altar frontal of Duke Ratchis, marble,
mid-8th century CE (Cividale, Mus. Crist.) (Lombard) |
| 331.
Sta. Maria in Valle (“the Tempietto),
Cividale, ca. 780 CE, plan and section (Lombard) |
| 332.
Sta. Maria in Valle (“the Tempietto),
Cividale, ca. 780 CE, interior (Lombard) |
| 333.
Sta. Maria in Valle (“the Tempietto),
Cividale, ca. 780 CE, view of the entrance wall showing stucco decoration
(Lombard) |
| 334.
Sta. Maria in Valle (“the Tempietto),
Cividale, ca. 780 CE, detail of the stucco grapevine arch on the
entrance wall (Lombard) |
| 335.
Sta. Maria in Valle (“the Tempietto),
Cividale, ca. 780 CE, the stucco holy women on the entrance wall
(Lombard) |
| 336.
Sta. Maria in Valle (“the Tempietto),
Cividale, ca. 780 CE, detail of the stucco holy women on the entrance
wall (Lombard) |
| Terms
and concepts |
Migration
Period (8thc BCE – 7thc CE)
animism; animistic
Animal Style
Gem Style
interlace (ribbon interlace; animal interlace)
King Reccared (Visigoths, 587)
fibula(e) |
|
| Lecture
17: Christianizing Ireland and the British Isles |
| For
some of the works seen in this lecture, see Stokstad, figs. 4.18
and 4.19. For more on the Sutton Hoo treasure, see Rupert Bruce-Mitford,
The Sutton Hoo Ship Burial: A Handbook. For early Irish
(or Celtic) monastic architecture see the relevant sections of Peter
Harbison, The Golden Age of Irish Art: The Medieval Achievement,
600-1200, 191-207. For Anglo-Saxon art, see Leslie Webster
and Janet Backhouse, eds., The Making of England: Anglo-Saxon
Art and Culture, AD 600-900 and David M. Wilson, Anglo-Saxon
Art, 9-27. For the Gospels of St. Augustine, see Kurt Weitzmann,
Late Antique and Early Christian Book Illumination, 112-15. |
| 337.
The excavated ship of the Sutton Hoo ship burial,
Sutton Hoo, England, ca. 625 CE (Anglo-Saxon) |
| 338.
Frankish coins, minted late 6thc-ca. 615
CE, found in the Sutton Hoo ship burial, Sutton Hoo, England, ca.
625 CE (Anglo-Saxon) |
| 339.
Helmet, iron and bronze, from the Sutton
Hoo ship burial, Sutton Hoo, England, ca. 625 CE, made by Swedish
armorers (London, British Museum) (Anglo-Saxon) |
| 340.
Replica of the helmet, iron and bronze,
from the Sutton Hoo ship burial, Sutton Hoo, England, ca. 625 CE,
made by Swedish armorers (Anglo-Saxon) |
| 341.
Shield, wood and leather with bronze appliqués,
from the Sutton Hoo ship burial, Sutton Hoo, England, ca. 625 CE
(London, British Museum) (Anglo-Saxon) |
| 342.
Dragon, gilt bronze with garnets, from
the shield in the Sutton Hoo ship burial, Sutton Hoo, England, ca.
625 CE (London, British Museum) (Anglo-Saxon) |
| 343.
Hinged shoulder clasp, gold with cloisonné
garnet and millefiori, from the Sutton Hoo ship burial, Sutton Hoo,
England, ca. 625 CE (London, British Museum) (Anglo-Saxon) |
| 344.
Hinged shoulder clasp, gold with cloisonné
garnet and millefioi, from the Sutton Hoo ship burial, Sutton Hoo,
England, ca. 625 CE, detail (London, British Museum) (Anglo-Saxon) |
| 345.
Two boars, detail of a hinged shoulder
clasp, gold with cloisonné garnet and millefiori, from the
Sutton Hoo ship burial, Sutton Hoo, England, ca. 625 CE (London,
British Museum) (Anglo-Saxon) |
| 346.
Purse-lid, gold with cloisonné garnet
and millefiori, from the Sutton Hoo ship burial, Sutton Hoo, England,
ca. 625 CE (London, British Museum) (Anglo-Saxon) |
| 347.
Hawk attacking a duck, from the purse-lid
in the Sutton Hoo ship burial, gold with cloisonné garnet
and millefiori, Sutton Hoo, England, ca. 625 CE (London, British
Museum) (Anglo-Saxon) |
| 348.
Interlace beasts, from the purse-lid in
the Sutton Hoo ship burial, gold with cloisonné garnet and
millefiori, Sutton Hoo, England, ca. 625 CE (London, British Museum)
(Anglo-Saxon) |
| 349.
Beasts attacking a man, from the purse-lid
in the Sutton Hoo ship burial, gold with cloisonné garnet
and millefiori, Sutton Hoo, England, ca. 625 CE (London, British
Museum) (Anglo-Saxon) |
| 350.
Byzantine fluted, engraved bowl, silver,
from the Sutton Hoo ship burial, Sutton Hoo, England, ca. 625 CE
(London, British Museum) (Anglo-Saxon) |
| 351.
Spoons inscribed “Saulos” and “Paulos,”
silver, from the Sutton Hoo ship burial, Sutton Hoo, England, ca.
625 CE (London, British Museum) (Anglo-Saxon) |
| 352.
Hanging-bowl, bronze with enamel and millefiori
inlay, from the Sutton Hoo ship burial, Sutton Hoo, England, ca.
625 CE (London, British Museum) (Anglo-Saxon) |
| 353.
Fish, from the bottom of a hanging-bowl,
bronze with enamel and millefiori inlay, from the Sutton Hoo ship
burial, Sutton Hoo, England, ca. 625 CE (London, British Museum)
(Anglo-Saxon) |
| 354.
Escutcheon, from the side of a hanging-bowl,
bronze with enamel and millefiori inlay, from the Sutton Hoo ship
burial, Sutton Hoo, England, ca. 625 CE (London, British Museum)
(Anglo-Saxon) |
| 355.
Desborough Mirror, silver niello, 1st century
CE, found in Desborough, Northants., England (London, British Museum)
(Migration Period) |
| 356.
Tara Brooch, silver, gold and gems, ca.
700 CE, found in County Meath, Ireland, view of the back (Dublin,
National Museum of Ireland) (Hiberno-Saxon) |
| 357.
Tara Brooch, silver, gold and gems, ca.
700 CE, found in County Meath, Ireland, detail of the back (Dublin,
National Museum of Ireland) (Hiberno-Saxon) |
| 358.
Great Gold Belt Buckle, gold, from the
Sutton Hoo ship burial, Sutton Hoo, England, ca. 625 CE (London,
British Museum) (Anglo-Saxon) |
| 359.
Translation of relics, panel from a casket,
ivory, late 6th century CE (Trier, Cathedral Treasury) (Early Christian) |
| 360.
Bishop Gotefredus cuts of the arm of St. Apollonius,
in an illustrated manuscript of the “Life of Mathilda of Tuscany,”
ink and colors on parchment, made in Italy in 1115 CE (Vatican Library)
(Romanesque) |
| 361.
Scenes from the Life and Passion of Christ,
full-page miniature in the Gospels of St. Augustine, ink
and colors on parchment, made in Italy ca. 597 CE (Cambridge, CCC
MS 286, fol. 125r) (Early Christian) |
| 362.
Entry into Jerusalem; the Last Supper,
detail of a full-page miniature in the Gospels of St. Augustine,
ink and colors on parchment, made in Italy ca. 597 CE (Cambridge,
CCC MS 286, fol. 125r) (Early Christian) |
| 363.
The Agony in the Garden; the Betrayal and Arrest
of Christ, detail of a full-page miniature in the Gospels
of St. Augustine, ink and colors on parchment, made in Italy
ca. 597 CE (Cambridge, CCC MS 286, fol. 125r) (Early Christian) |
| 364.
Evangelist Portrait: St. Luke, with scenes
from his gospel, full-page miniature in the Gospels of St.
Augustine, ink and colors on parchment, made in Italy ca. 597
CE (Cambridge, CCC MS 286, fol. 129v) (Early Christian) |
| 365.
Evangelist Portrait: St. Luke, with scenes
from his gospel, detail of a full-page miniature in the Gospels
of St. Augustine, ink and colors on parchment, made in Italy
ca. 597 CE (Cambridge, CCC MS 286, fol. 129v) (Early Christian) |
| 366.
Evangelist Portrait: St. Luke, with scenes
from his gospel, detail of a full-page miniature in the Gospels
of St. Augustine, ink and colors on parchment, made in Italy
ca. 597 CE (Cambridge, CCC MS 286, fol. 129v) (Early Christian) |
| 367.
Inishmurray Island monastic settlement,
County Sligo, Ireland, 7th/8thc century CE, reconstruction (Hiberno-Saxon) |
| 368.
Church Island hermitage, County Kerry,
Ireland, 7th/8th century CE, reconstruction (Hiberno-Saxon) |
| 369.
Skellig Michael monastery, County Kerry,
Ireland, ca. 700 CE (Hiberno-Saxon) |
| 370.
Skellig Michael monastery, County Kerry,
Ireland, ca. 700 CE, monastic huts (Hiberno-Saxon) |
| 371.
Gallerus Oratory, County Kerry, Ireland,
ca. 700 CE (Hiberno-Saxon) |
| Terms
and concepts |
England
– Angles, Saxons
Scotland – Jutes, Picts, Scots
Ireland – Celts
Franks – France
Kingdom of East Anglia
Raedwald (d. 324/5), High King of East Anglia
Sutton Hoo excavation (1939)
cenotaph
millefiori (“thousand flowers”)
cloisonné (“partition work”)
Spiral Style; trumpet spiral
niello
cult of relics
division of the body
St. Augustine of Canterbury (ca. 597), first Archbishop of
Canterbury, “apostle to the English”
St. Ninian (c. 397), founder of the church in Scotland (Northumbria)
St. Patrick (c. 432), founder of the church in Ireland
beehive huts |
|
| Lecture
18: The Great Hiberno-Saxon Gospel Books I: Durrow to Lindisfarne |
| For
some of the images associated with this lecture, see Stokstad, figs.
4.24, 4.25, 4.27, 4.28 and 4.29. For more on the Book of Durrow,
the Lindsfarne Gospels, and the Hiberno-Saxon gospel book generally,
see Carl Nordenfalk, Celtic and Anglo-Saxon Book Painting,
34-47, 60-75; Janet Backhouse, The Lindisfarne Gospels; David M.
Wilson, Anglo-Saxon Art, 29-57; and Christopher de Hamel,
A History of Illuminated Manuscripts, 11-37. |
| 372.
Cross Carpet Page, Book of Durrow (Dublin,
Trinity College MS 57, fol. 1v), ink and colors on parchment, made
ca. 660-80 CE, at Iona? Durrow? in Northumbria? (Hiberno-Saxon) |
| 373.
Decorated page from a manuscript of the Acts
of the Apostles (New York, Pierpont Morgan Library MS G. 67),
ink and colors on parchment, made in Egypt ca. 400 CE (Coptic) |
| 374.
Carpet Page with Interlace and Trumpet Spirals,
Book of Durrow (Dublin, Trinity College MS 57, fol. 3v), ink and
colors on parchment, made ca. 660-80 CE, at Iona? Durrow? in Northumbria?
(Hiberno-Saxon) |
| 375.
The Man of Matthew, Book of Durrow (Dublin,
Trinity College Ms 57, fol. 21v), ink and colors on parchment, made
ca. 660-80 CE, at Iona? Durrow? in Northumbria? (Hiberno-Saxon) |
| 376.
St. Patrick’s Bell Shrine, silver,
gold and gems, 11th century CE (Dublin, National Museum) (Hiberno-Saxon) |
| 377.
The Eagle of Mark, Book of Durrow (Dublin,
Trinity College MS 57, fol. 84v), ink and colors on parchment, made
ca. 660-80 CE, at Iona? Durrow? in Northumbria? (Hiberno-Saxon) |
| 378.
Initial Page for the Gospel of Mark, Book
of Durrow (Dublin, Trinity College MS 57, fol. 86), ink and colors
on parchment, made ca. 660-80 CE, at Iona? Durrow? in Northumbria?
(Hiberno-Saxon) |
| 379.
Carpet Page for the Gospel of John, Book
of Durrow (Dublin, Trinity College MS 57, fol. 192v), ink and colors
on parchment, made ca. 660-80 CE, at Iona? Durrow? in Northumbria?
(Hiberno-Saxon) |
| 380.
Wood-carved ornament from the porch of
the stave church, Urnes, Norway, 11th century CE (Viking) |
| 381.
Evangelist Portrait: St. Matthew, Lindisfarne
Gospels (London, British Library Cotton MS Nero D. IV, fol. 25v),
ink and colors on parchment, made at Lindisfarne (Northumbria) in
the early 8th century CE by Eadfrith, Bishop of Lindisfarne (Hiberno-Saxon) |
| 382.
Ezra Restoring the Bible, miniature in
the Codex Amiatinus (Florence, Biblioteca Medicea-Laurenziana MS
Amiatinus I, fol. V), made in the early 8th century CE at the scriptorium
of Wearmouth-Jarrow (Hiberno-Saxon) |
| 383.
Cross Carpet Page for Matthew, Lindisfarne
Gospels (London, British Library Cotton MS Nero D. IV, fol. 26v),
ink and colors on parchment, made at Lindisfarne (Northumbria) in
the early 8th century CE by Eadfrith, Bishop of Lindisfarne (Hiberno-Saxon) |
| 384.
Cross Carpet Page for Matthew, Lindisfarne
Gospels (London, British Library Cotton MS Nero D. IV, fol. 26v),
ink and colors on parchment, made at Lindisfarne (Northumbria) in
the early 8th century CE by Eadfrith, Bishop of Lindisfarne, detail
(Hiberno-Saxon) |
| 385.
Initial Page for Matthew, Lindisfarne Gospels
(London, British Library Cotton MS Nero D. IV, fol. 27), ink and
colors on parchment, made at Lindisfarne (Northumbria) in the early
8th century CE by Eadfrith, Bishop of Lindisfarne (Hiberno-Saxon) |
| 386.
Cross Carpet Page for Mark, Lindisfarne
Gospels (London, British Library Cotton MS Nero D. IV, fol. 94v),
ink and colors on parchment, made at Lindisfarne (Northumbria) in
the early 8th century CE by Eadfrith, Bishop of Lindisfarne (Hiberno-Saxon) |
| 387.
Cross Carpet Page for Mark, Lindisfarne
Gospels (London, British Library Cotton MS Nero D. IV, fol. 94v),
ink and colors on parchment, made at Lindisfarne (Northumbria) in
the early 8th century CE by Eadfrith, Bishop of Lindisfarne, detail
(Hiberno-Saxon) |
| 388.
Cross Carpet Page for Luke, Lindisfarne
Gospels (London, British Library Cotton MS Nero D. IV, fol. 138v),
ink and colors on parchment, made at Lindisfarne (Northumbria) in
the early 8th century CE by Eadfrith, Bishop of Lindisfarne (Hiberno-Saxon) |
| 389.
Initial P, from St. Jerome’s Preface,
Lindisfarne Gospels (London, British Library Cotton MS Nero D. IV,
fol. 5v), ink and colors on parchment, made at Lindisfarne (Northumbria)
in the early 8th century CE by Eadfrith, Bishop of Lindisfarne (Hiberno-Saxon) |
| Terms
and concepts |
Synod
of Whitby – 664 CE
scriptorium(a)
St. Colum Cille (St. Columba), d. 597 CE
orpiment (yellow), verdigris (green)
titulus = title board (INRI – “Jesus of Nazareth,
King of the Jews)
“Adoration of the Cross” ceremony, Church of the
Holy Sepulcher
diminuendo
St. Cuthbert
Monastery of Iona, founded 635 CE
lapis lazuli (blue) |
|
| Hiberno-Saxon
Gospel Books |
*Beginning
with the Book of Durrow, in most of the great Hiberno-Saxon gospel
books the text of each gospel is preceded by the following sequence
of decorated pages:
--a
page with the symbol of the Evangelist;
--a carpet page;
--an initial page. |
|
*Major
initial pages in any Hiberno-Saxon gospel book include the pages
containing the opening words of each gospel. They are as follows:
“Liber
generationis Iesu Christi filii David filii Abraham
. . .” (“The book of the generation of Jesus
Christ, the son of David, the son of Abraham”) (Matthew
1: 1)
“Initium
evangelii Iesu Christi filii dei sicut scriptum
est in Esaia propheta . . .” (“The beginning
of the Gospel of Jesus Christ, the Son of God; as it is
written in Isaiah the prophet . . .”) (Mark
1: 1-2)
“Quoniam
quidem multi conati sunt ordinare narrationem .
. .” (“Forasmuch as many have taken in hand
to set forth in order a narration of the things that have
been accomplished among us ; . . .”) (Luke
1: 1)
“In
principio erat verbum et verbum erat apud deum
et deus erat verbum . . .”) (“In the beginning
was the Word, and the Word was with God, and the Word was
God.”) (John 1: 1) |
|
*In
addition, Hiberno-Saxon gospel books contain initial pages highlighting
important places in the text other than the opening words of the
gospels. Among the most important of these was Matthew 1: 18, which,
after a list of Jesus’ Old Testament ancestors from Abraham
through Joseph, announces the birth of Jesus and begins the account
of his infancy and life:
| “Christi
autem generatio sic erat cum esset desponsata mater eius Maria
Joseph . . .” (“Now the birth of Jesus Christ
was in this wise: When as his mother Mary was espoused to
Joseph . . .”) |
This initial
page features the enlarged monogram of Jesus: XPI
(chi rho iota) = Christi. |
Tenth-century
colophon (inscription) in the Lindisfarne Gospels:
| “Eadfrith,
Bishop of the Lindisfarne Church, originally wrote this book,
for God and for St. Cuthbert and – jointly – for
all the saints whose relics are in the Island. And Ethewald,
Bishop of the Lindisfarne islanders, impressed it on the outside
and covered it – as he knew well how to do. And Billfrith,
the anchorite, forged the ornaments which are on the outside
and adorned it with gold and with gems and also with gilded-over
silver – pure metal. And Aldred, unworthy and most miserable
priest, glossed it in English between the lines with the help
of God and St. Cuthbert . . .” |
|
| Lecture
19: “The Work of Angels”: The Book of Kells |
| For
some of the images associated with this lecture, see Stokstad, figs.
4.30 and 4.31. For more on the Book of Kells, see Carl Nordenfalk,
Celtic and Anglo-Saxon Painting, 108-25. For Hiberno-Saxon
manuscripts, including the Book of Kells, see Peter Harbison, The
Golden Age of Irish Art, 87-132. For a challenging reinterpretation
of some of the full-page pictures in the Book of Kells, see Carol
Farr, The Book of Kells: Its Function and Audience. |
| 390.
Cross Carpet Page, Book of Kells (Dublin,
Trinity College MS 58, fol. 33), ink and colors on parchment, probably
begun in the late 8th century CE at the monastery of Iona and designed
by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 391.
Canon Table, Book of Kells (Dublin, Trinity
College MS 58, fol. 5), ink and colors on parchment, probably begun
in the late 8th century CE at the monastery of Iona and designed
by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 392.
Page with the Four Evangelists (before
the Gospel of Matthew), Book of Kells (Dublin, Trinity College MS
58, fol. 27v), ink and colors on parchment, probably begun in the
late 8th century CE at the monastery of Iona and designed by Connachtach,
Abbot of Iona (Hiberno-Saxon) |
| 393.
Evangelist Portrait: St. John, Book of
Kells (Dublin, Trinity College MS 58, fol. 291v), ink and colors
on parchment, probably begun in the late 8th century CE at the monastery
of Iona and designed by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 394.
Initial Page for the Gospel of John, Book
of Kells (Dublin, Trinity College MS 58, fol. 292), ink and colors
on parchment, probably begun in the late 8th century CE at the monastery
of Iona and designed by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 395.
Man drinking from a chalice, detail of
the initial page for the Gospel of John, Book of Kells (Dublin,
Trinity College MS 58, fol. 292), ink and colors on parchment, probably
begun in the late 8th century CE at the monastery of Iona and designed
by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 396.
Initial Page for the Gospel of John, Lindisfarne
Gospels (London, BL Cotton MS Nero D. IV, fol. 211), ink and colors
on parchment, made at Lindisfarne (Northumbria) in the early 8th
century CE by Eadfrith, Bishop of Lindisfarne (Hiberno-Saxon) |
| 397.
Christ Enthroned, Book of Kells (Dublin,
Trinity College MS 58, fol. 32v), ink and colors on parchment, probably
begun in the late 8th century CE at the monastery of Iona and designed
by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 398.
Chi-Rho Page (Monogram Page) (Matthew 1: 18),
Book of Kells (Dublin, Trinity College MS 58, fol. 34v), ink and
colors on parchment, probably begun in the late 8th century CE at
the monastery of Iona and designed by Connachtach, Abbot of Iona
(Hiberno-Saxon) |
| 399.
Chi-Rho Page (Monogram Page) (Matthew 1: 18),
Book of Kells (Dublin, Trinity College MS 58, fol. 34v), ink and
colors on parchment, probably begun in the late 8th century CE at
the monastery of Iona and designed by Connachtach, Abbot of Iona,
detail showing angels and moth (Hiberno-Saxon) |
| 400.
Chi-Rho Page (Monogram Page) (Matthew 1: 18),
Book of Kells (Dublin, Trinity College MS 58, fol. 34v), ink and
colors on parchment, probably begun in the late 8th century CE at
the monastery of Iona and designed by Connachtach, Abbot of Iona,
detail showing cats, mice and host, otter and fish (Hiberno-Saxon) |
| 401.
Crucifixion text in the Gospel of Matthew (“Tunc
crucifixerant XPI cum eo duos latrones . . .”; “Then
were crucified with him two thieves” [Matthew 27: 38]),
Book of Kells (Dublin, Trinity College MS 58, fol. 124), ink and
colors on parchment, probably begun in the late 8th century CE at
the monastery of Iona and designed by Connachtach, Abbot of Iona
(Hiberno-Saxon) |
| 402.
Crucifixion, St. Gall Gospels (St. Gall,
Stiftbibliothek MS 51, p. 266), ink and colors on parchment, made
at an Irish monastery in the second half of the 8th century CE (Hiberno-Saxon) |
| 403.
Virgin and Child, Book of Kells (Dublin,
Trinity College MS 58, fol. 7v), ink and colors on parchment, probably
begun in the late 8th century CE at the monastery of Iona and designed
by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 404.
Arrest/Passion of Christ, Book of Kells
(Dublin, Trinity College MS 58, fol. 114), ink and colors on parchment,
probably begun in the late 8th century CE at the monastery of Iona
and designed by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 405.
Text page, Book of Kells (Dublin, Trinity
College MS 58, fol. 277), ink and colors on parchment, probably
begun in the late 8th century CE at the monastery of Iona and designed
by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 406.
Name of Jesus, Book of Kells (Dublin, Trinity
College MS 58, fol. 179v, detail), ink and colors on parchment,
probably begun in the late 8th century CE at the monastery of Iona
and designed by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 407.
Initial with animal interlace: peacock, lion,
fish and snake, Book of Kells (Dublin, Trinity College MS 58,
fol. 250v, detail), ink and colors on parchment, probably begun
in the late 8th century CE at the monastery of Iona and designed
by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| 408.
Initial with head of Lot’s wife,
Book of Kells (Dublin, Trinity College MS 58, fol. 257v, detail),
ink and colors on parchment, probably begun in the late 8th century
CE at the monastery of Iona and designed by Connachtach, Abbot of
Iona (Hiberno-Saxon) |
| 409.
Temptation of Christ, Book of Kells (Dublin,
Trinity College MS 58, fol. 202v), ink and colors on parchment,
probably begun in the late 8th century CE at the monastery of Iona
and designed by Connachtach, Abbot of Iona (Hiberno-Saxon) |
| Terms
and concepts |
human
interlace
Chi-Rho page/ monogram page (initial page at Matthew 1: 18)
Jesus as the Logos Incarnate |
|
| Lecture
20: Ivory and Stone: Hiberno-Saxon Sculpture |
| For
some of the images shown in this lecture, see Stokstad, figs. 4.12
and 4. 13. For the Franks Casket and the monumental stone crosses
of the British Isles and Ireland, see David M. Wilson, Anglo-Saxon
Art, 72-86; Leslie Webster and Janet Backhouse, eds., The
Making of England: Anglo-Saxon Art and Culture AD 600-900,
101-3; and Peter Harbison, The Golden Age of Irish Art,
150-90. |
| 410.
The Franks Casket, whalebone, made in the
first half of the 8th century CE in Northumbria (London, British
Museum) (Anglo-Saxon) |
| 411.
Weyland the Smith and Egill the Archer/ Adoration
of the Magi, front panel of the Franks Casket, whalebone, made
in the first half of the 8th century CE in Northumbria; Old English
runic inscription: “The flood lifted up the fish on to the
cliff-bank; the whale became sad, where he swam on the shingle.
Whale’s bone.” (London, British Museum) (Anglo-Saxon) |
| 412.
The Roman siege of Jerusalem, back panel
of the Franks Casket, whalebone, made in the first half of the 8th
century CE in Northumbria; inscription (top): “Here fight
Titus and the Jews. Here the inhabitants flee Jerusalem;”
(bottom): “Judgment.” “Hostage.” (London,
British Museum) (Anglo-Saxon) |
| 413.
Romulus and Remus suckled by the she-wolf,
side panel of the Franks Casket, whalebone, made in the first half
of the 8th century CE in Northumbria; inscription: “Romulus
and Remus, twin brothers: a she-wolf fed them in Rome city, far
from their native land.” (London, British Museum) (Anglo-Saxon) |
| 414.
Ruthwell Cross, sandstone, made in the
first half of the 8th century CE for the church of Ruthwell in Dumfries,
Scotland (then Northumbria) (Hiberno-Saxon) |
| 415.
Ruthwell Cross, sandstone, made in the
first half of the 8th century CE for the church of Ruthwell in Dumfries,
Scotland (then Northumbria), in a 19th-century engraving (Hiberno-Saxon) |
| 416.
Ruthwell Cross, sandstone, made in the
first half of the 8th century CE for the church of Ruthwell in Dumfries,
Scotland (then Northumbria), 19th-century engraving of the four
faces (Hiberno-Saxon) |
| 417.
Ruthwell Cross, sandstone, made in the first half of the 8th century
CE for the church of Ruthwell in Dumfries, Scotland (then Northumbria),
detail of Sts. Paul and Anthony breaking bread,
from the north face; Latin inscription: “Saints Paul and Anthony,
two hermits, broke bread in the desert.” (Hiberno-Saxon) |
| 418.
Ruthwell Cross, sandstone, made in the first half of the 8th century
CE for the church of Ruthwell in Dumfries, Scotland (then Northumbria),
detail of Christ Triumphant, from the north
face; Latin inscription: “Jesus Christ the Judge of Justice.
Beasts and Dragons acknowledged in the desert the Savior of the
world.” (Hiberno-Saxon) |
| 419.
Ruthwell Cross, sandstone, made in the first half of the 8th century
CE for the church of Ruthwell in Dumfries, Scotland (then Northumbria),
detail of John the Baptist, from the north
face (Hiberno-Saxon) |
| 420.
Ruthwell Cross, sandstone, made in the first half of the 8th century
CE for the church of Ruthwell in Dumfries, Scotland (then Northumbria),
detail of Christ and Mary Magdalen, from
the south face; Latin inscription: “She brought an alabaster
box of ointment and standing behind beside his feet she began to
wash His feet wit her tears, and she wiped [them] with the hairs
of her head.” (Hiberno-Saxon) |
| 421.
Ruthwell Cross, sandstone, made in the first half of the 8th century
CE for the church of Ruthwell in Dumfries, Scotland (then Northumbria),
detail of Martha and Mary, from the south
face; Latin inscription: “Martha [and] Mary, meritorious ladies.”
(Hiberno-Saxon) |
| 422.
Ruthwell Cross, sandstone, made in the first half of the 8th century
for the church of Ruthwell in Dumfries, Scotland (then Northumbria),
detail of the ornament on the west face,
with Old English runic inscriptions from “The Dream of the
Rood.” (Hiberno-Saxon) |
| 423.
Muiredach’s Cross, Monasterboice
(Ireland), sandstone, made in the early 10th century CE under Abbot
Muiredach (891-922), west face with the Crucifixion and New Testament
scenes (Hiberno-Saxon) |
| 424.
Muiredach’s Cross, Monasterboice
(Ireland), sandstone, made in the early 10th century CE under Abbot
Muiredach (891-922), east face with the Last Judgment and Old and
New Testament scenes (Hiberno-Saxon) |
| 425.
Muiredach’s Cross, Monasterboice (Ireland), sandstone, made
in the early 10th century CE under Abbot Muiredach (891-922), details
from the west face of the shaft of Christ mocked
by soldiers/ Christ appearing to the apostles and sending them on
their mission/ Christ handing the keys to St. Peter and the New
Testament to St. Paul (bottom to top); from the east face of
The Fall of Man/ Cain murdering Abel (left
to right); and, from the north side of the shaft, Beard-pullers
(Hiberno-Saxon) |
| 426.
Muiredach’s Cross, Monasterboice (Ireland), sandstone, made
in the early 10th century CE under Abbot Muiredach (891-922), detail
of the Last Judgment from the east face
(Hiberno-Saxon) |
|
427. Muiredach’s Cross, Monasterboice (Ireland), sandstone,
made in the early 10th century CE under Abbot Muiredach (891-922),
detail of snakes, heads, and hand from
the underside of the north arm and ring (Hiberno-Saxon) |
| 428.
Muiredach’s Cross, Monasterboice (Ireland), sandstone, made
in the early 10th century CE under Abbot Muiredach (891-922), detail
of interlace and other ornament from the south face (Hiberno-Saxon) |
| Terms
and concepts |
Old English
(Anglo-Saxon) runes
Psalm 90: 13: “Thou shalt walk upon the asp and the
basilisk; and thou shalt trample under foot the lion and the
dragon.”
Martha and Mary (Magdalen), sisters of Lazarus: the “active
life” and the “contemplative life”
“wheel of glory” |
|
Old
English runic inscriptions from the west and east faces of the Ruthwell
Cross:
“God
Almighty stripped himself. When he wished to ascend on the
gallows, brave before all men, I dared not bow down, but
had to stand fast.
“I
raised up a powerful king. I dared not tilt the Lord of
Heaven. Men mocked us both together. I was drenched with
blood issued from Man’s side after he sent forth his
spirit.
“Christ
was on the cross. But hastening nobles came together there
from afar. I beheld it all. Sorely was I with arrows afflicted.
I bent to the men, to their hands.
“Wounded
with arrows they laid him down weary in limb. They stood
for him at the head of his corpse. They beheld there heaven’s
lord. And he rested himself there for a time.” |
|
| Lecture
21: The Merovingian Franks/ Charlemagne: Frankish King and Carolingian
Emperor |
| For
some of the works shown in this lecture, see Stokstad, figs. 4.12
and 4.13. For more on Merovingian art and architecture see Xavier
Barral i Altet, The Early Middle Ages, 79-94; and Jean
Hubert, Jean Porcher and W. F. Volbach, Europe of the Invasions,
1-102, 164-206. For Merovingian illuminated manuscripts, see André
Grabar and Carl Nordenfalk, Early Medieval Painting, 126-35.
For the development of the early medieval crypt, see Roger Stalley,
Early Medieval Architecture, 27, 42, 44-5, and 147-9. |
| 429.
Frankish coins, minted late 6th century-ca.
615 CE, found in the Sutton Hoo ship burial, ca. 625 CE (Anglo-Saxon) |
| 430.
Sword hilt, gold with inlaid garnet, 6th
century CE (Paris, Imperial Art Gallery) (Merovingian) |
| 431.
Reliquary of Warnebertus, gold with inlaid
garnet and gems, second half of the 7th century CE (Beromünster,
Convent) (Merovingian) |
| 432.
Page with a Cross/ First text page, Gelasian
Sacramentary (Rome, BAV ms. Reg. lat. 316, fols. 131v-132), ink
and colors on parchment, made at the monastery of Corbie ca. 750
CE (Merovingian) |
| 433.
Gospel Lectionary, from Chelles (France),
ink and colors on parchment, 8th century CE, detail showing text
for Easter (Oxford, Bodl. Douce MS 176, fol. 62) (Merovingian) |
| 434.
Christ Crucified, Initial “T”
(for “Te igitur,” the opening words of the Canon of
the Mass, Gellone Sacramentary (Paris, BnF MS lat. 12048, fol. 143v),
ink and colors on parchment, second half of the 8th century CE (Merovingian) |
| 435.
Baptistery of St. Jean, Poitiers, originally
built in the 4th century CE, rebuilt in the mid-7th century CE,
plan and reconstruction (Merovingian) |
| 436.
Baptistery of St. Jean, Poitiers, originally
built in the 4th century CE, rebuilt in the mid-7th century CE,
view of the facade (Merovingian) |
| 437.
Baptistery of St. Jean, Poitiers, originally
built in the 4th century CE, rebuilt in the mid-7th century CE,
exterior from the southwest (Merovingian) |
| 438.
Baptistery of St. Jean, Poitiers, originally
built in the 4th century CE, rebuilt in the mid-7th century CE,
detail of exterior brick, stone and terra cotta ornamentation (Merovingian) |
| 439.
Baptistery of St. Jean, Poitiers, originally
built in the 4th century CE, rebuilt in the mid-7th century CE,
interior (font is early Christian) (Merovingian) |
| 440.
Crypt of St. Paul (the Hermit), monastery
of Notre Dame, Jouarre (northern France), built ca. 680 CE under
Agilbert, Bishop of Paris (Merovingian) |
| 441.
Crypt of St. Paul (the Hermit), monastery
of Notre Dame, Jouarre (northern France), built ca. 680 CE under
Agilbert, Bishop of Paris (Merovingian) |
| 442.
Crypt of St. Paul (the Hermit), monastery
of Notre Dame, Jouarre (northern France), built ca. 680 CE under
Agilbert, Bishop of Paris, detail of carved capitals (Merovingian) |
| 443.
Crypt of St. Paul (the Hermit), monastery
of Notre Dame, Jouarre (northern France), built ca. 680 CE under
Agilbert, Bishop of Paris, detail of the sarcophagus of Abbess Theodechilde
(Merovingian) |
| 444.
Coin of Charlemagne, minted 804 (Carolingian) |
| 445.
Equestrian Statue of Charlemagne? Charles the
Bald?, bronze, originally gilt, ca. 9” high, made early
9th century CE? Later 9th century CE? (Carolingian) |
| Terms
and concepts |
Gaul
Clovis, King of the Franks (r. 481-511)
Merovingian dynasty
sacramentary
lectionary
alpha, omega
substitution ornament
“Te igitur” = “You, therefore” (opening
words of the Canon of the Mass)
crypt
confessio
Pepin the Short (King of the Franks, 751-68)
Carolingian dynasty
Carloman
Charles (= Charles the Great/ Charlemagne)
King of the Franks, 768-814; Holy Roman Emperor, 800-14
Saxons (Germany)
Einhard, councillor and biographer of Charlemagne |
|
| Lecture
22: Art and Architecture under Charlemagne |
| For
some of the images associated with this lecture, see Stokstad, figs.
5.1, 5.2, 5.3 and 5.5. For Carolingian architecture, see Kenneth
John Conant, Carolingian and Romanesque Architecture 800-1200,
11-29; Jean Hubert, Jean Porcher and W. F. Volbach, The Carolingian
Renaissance, 39-68; Roger Stalley, Early Medieval Architecture,
37-57; and Xavier Barral i Altet, The Early Middle Ages,
127-56. |
| 446.
Palace and Palace Chapel of Charlemagne,
Aachen, designed by Odo of Metz, late 8th - early 9th century CE,
plan showing the causeway and the atrium (Carolingian) |
| 447.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, plan (Carolingian) |
| 448.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, section (Carolingian) |
| 449.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, interior (Carolingian) |
| 450.
Throne of Charlemagne, in the balcony of
the Palace Chapel of Charlemagne at Aachen, marble, ca. 800 CE (Carolingian) |
| 451.
Throne of Charlemagne, in the balcony of
the Palace Chapel of Charlemagne at Aachen, marble, ca. 800 CE (Carolingian) |
| 452.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, view of dome showing
mosaic with Christ in Majesty and the Twenty-four Elders of the
Apocalypse (19th-century restoration) (Carolingian) |
| 453.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, detail of upper floor
(Carolingian) |
| 454.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, detail of bronze
grille (originally gilt) from upper floor (Carolingian) |
| 455.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, bronze doors (Carolingian) |
| 456.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, bronze pinecone (Carolingian) |
| 457.
Palace Chapel of Charlemagne, Aachen, designed
by Odo of Metz, late 8th-early 9th century CE, view of westwork
(Carolingian) |
| 458.
Abbey church of St. Riquier, Monastery
of Centula, France, c. 790-99 CE, in a 17th-century engraving of
an 11thc-century drawing (Carolingian) |
| 459.
Abbey church of St. Riquier, Monastery
of Centula, France, c. 790-99 CE, plan and reconstruction (Carolingian) |
| 460.
Abbey church of Corvey, Saxony (Germany),
late 9th century CE, view of westwork façade, including later
construction (Carolingian) |
| 461.
Abbey church of Corvey, Saxony (Germany),
late 9th century CE, reconstruction of original westwork façade
(Carolingian) |
| 462.
Abbey church of Corvey, Saxony (Germany),
late 9thc century CE, from top to bottom and left to right: reconstruction
of the monastic church showing westwork; plan, longitudinal section
and reconstruction of the original westwork; and plan of the church
showing the westwork and basilica with its crypt |
| 463.
Abbey church of Corvey, Saxony (Germany),
late 9th century CE, interior of westwork showing imperial loge
(Carolingian) |
| 464.
Abbey church of Corvey, Saxony (Germany),
late 9th century CE, ground floor of westwork (Carolingian) |
| 465.
Torhalle (gatehouse), Monastery of Lorsch
(Germany), ca. 800 CE (Carolingian) |
| 466.
Monastery of Lorsch (Germany), ca. 800
CE, plan (Torhalle is #1 on the plan) (Carolingian) |
| 467.
Torhalle (gatehouse), Monastery of Lorsch
(Germany), ca. 800 CE (Carolingian) |
| 468.
Torhalle (gatehouse), Monastery of Lorsch
(Germany), ca. 800, detail (Carolingian) |
| Terms
and concepts |
diaphragm
arch
bay; bay system
westwork |
|
| Lecture
23: More Art and Architecture under Charlemagne |
| For
some of the works shown in this lecture, see Stokstad, figs. 5.9-5.13.
For Carolingian manuscripts and ivories made during the reign of
Charlemagne, see John Beckwith, Early Medieval Art, 11-43;
C. R. Dodwell, The Pictorial Arts of the West, 45-56; Florentine
Mütherich and Joachim E. Gaehde, Carolingian Painting,
introduction and 32-51; Peter Lasko, Ars Sacra 800-1200, 1-32; and
Jean Hubert, Jean Porcher and W. F. Volbach, The Carolingian
Renaissance, 75-98. |
| 469.
Text page with initial “T,”
Luxeuil Lectionary (Paris, BnF MS lat. 9427, fol. 144), late 7th
century CE (Merovingian), ink and colors on parchment |
| 470.
Text page with Caroline minuscule, from
the Codex Egberti (Trier, MS 22, fol. 9), ca. 985 CE, ink on parchment |
| 471.
Christ Enthroned, full-page miniature in
the Godescalc Gospel Lectionary (Paris, BnF MS nouv. acq. lat. 1203),
made 781-3 CE for Charlemagne and Queen Hildegard, inscribed by
the scribe Godescalc, Court School (Carolingian), gold, silver and
illumination on parchment |
| 472.
Fountain of Life, full-page miniature in
the Godescalc Gospel Lectionary (Paris, BnF MS nouv. acq. lat. 1203),
made 781-3 CE for Charlemagne and Queen Hildegard, inscribed by
the scribe Godescalc, Court School (Carolingian), gold, silver and
illumination on parchment |
| 473.
Text page with ornamented initial, Godescalc
Gospel Lectionary (Paris, BnF MS nouv. acq. lat. 1203), made 781-3
CE for Charlemagne and Queen Hildegard, inscribed by the scribe
Godescalc, Court School (Carolingian), gold, silver and illumination
on parchment |
| 474.
Fountain of Life/ Text page with ornamented
initial, Godescalc Gospel Lectionary (Paris, BnF MS nouv. acq.
lat. 1203), made 781-3 CE for Charlemagne and Queen Hildegard, inscribed
by the scribe Godescalc, Court School (Carolingian), gold, silver
and illumination on parchment |
| 475.
Evangelist Portrait: St. Luke, full-page
miniature in the Godescalc Gospel Lectionary (Paris, BnF MS nouv.
acq. lat. 1203), made 781-3 CE for Charlemagne and Queen Hildegard,
inscribed by the scribe Godescalc, Court School (Carolingian), gold,
silver and illumination on parchment |
| 476.
Evangelist Portrait: St. Mark, full-page
miniature in the Ada Gospels (Trier, Municipal Library MS 22), made
early 9th century CE for “Ada” (Carolingian), gold and
illumination on parchment |
| 477.
Canon Table, Soissons Gospels (Paris, BnF
MS lat. 8850, fol. 7v), early 9th century CE, Court School (Carolingian),
gold and illumination on parchment |
| 478.
Initial Page for the Gospel of John, Harley
Gospels (London, BL MS Harley 2788, fol. 162), early 9th century
CE (Carolingian), gold and illumination on parchment |
| 479.
Evangelist Portrait: St. John, Coronation
Gospels (Vienna, ONB), before 800 CE, made at Aachen, signed by
“Demetrius, presbyter,” Palace School (Carolingian),
gold and illumination on parchment |
| 480.
The Four Evangelists, Aachen Gospels (Aachen,
Cathedral Treasury), early 9th century CE, made at Aachen, Palace
School (Carolingian), gold and illumination on parchment |
| 481.
Christ trampling the beasts, with scenes from
the life of Christ, ivory bookcover, late 8th/early 9th century
CE (Oxford, Bodl.) (Carolingian) |
| 482.
Christ trampling the beasts between Angels;
the Magi before Herod and the Adoration of the Magi, ivory bookcover,
front of the Lorsch Gospels, early 9th century CE (Rome, Museo Sacro
Vaticano) (Carolingian) |
| 483.
Virgin and Child Enthroned between Zacharias
and John the Baptist; the Nativity and the Annunciation to the Shepherds,
ivory bookcover, back of the Lorsch Gospels, early 9th century CE
(Rome, Museo Sacro Vaticano) (Carolingian) |
| 484.
The Virgin Enthroned (“Virgo militans”),
ivory plaque, ca. 795-805 CE (NY, MMA) (Carolingian) |
| Terms
and concepts |
Gallican
liturgy; Roman liturgy
Caroline minuscule
Virgin hodgetria (“she who shows the way”)
Adoptionism |
|
| Lecture
24: Text and Image in the Carolingian World |
| For
some of the works associated with this lecture, see Stokstad, figs.
5.14, 5.15, 5.17, 5.18. For Theodulf’s oratory, see Xavier
Barral i Altet, The Early Middle Ages, 140-43; and John
Beckwith, Early Medieval Art, 14-17. For different aspects
of Carolingian manuscript illumination, see André Grabar
and Carl Nordenfalk, Early Medieval Painting, 144-8; Florentine
Mütherich and Joachim Gaehde, Carolingian Painting,
7-20, 54-62, 68-71, and 90-2; and Koert van der Horst, William Noel
and Wilhelmina C. M. Wüstefeld, eds., The Utrecht Psalter
in Medieval Art. |
| 485.
Theodulf’s oratory, Germigny-des-Prés
(France), late 8th-early 9th century CE, plan (Carolingian) |
| 486.
Theodulf’s oratory, Germigny-des-Prés
(France), late 8th-early 9th century CE, exterior (Carolingian) |
| 487.
Theodulf’s oratory, Germigny-des-Prés
(France), late 8th-early 9th century CE, interior (Carolingian) |
| 488.
Theodulf’s oratory, Germigny-des-Prés
(France), late 8th-early 9th century CE, interior toward apse (Carolingian) |
| 489.
Ark of the Covenant, mosaic in the apse
of Theodulf’s oratory, Germigny-des-Prés (France),
late 8th-early 9th century CE (Carolingian) |
| 490.
Joshua at Jericho, mosaic in the nave,
Sta. Maria Maggiore, Rome, rebuilt ca. 432-40 CE under Pope Sixtus
III and Leo the Great (as archdeacon) (Early Christian) |
| 491.
Louis the Pious as a Knight of Christ,
in a manuscript of Hrabanus Maurus, “De Laudibus Sanctae Crucis”
(“In Praise of the Holy Cross”) (Rome, BAV, Reg. lat.
124, fol. 4v), illumination on parchment, made at the monastery
of Fulda ca. 840 CE (Carolingian) |
| 492.
The Centaur (Sagittarius), in an “Aratea”
manuscript (London, BL Harley MS 647), early 9th century CE (Carolingian) |
| 493.
Text facing Gemini, in an “Aratea”
manuscript (Leiden, Bibl. der Rijksuniversiteit, Voss. Lat. Q 79),
gold and illumination on parchment, made ca. 825-50 CE for Louis
the Pious or Lothar I (Carolingian) |
| 494.
Gemini, in an “Aratea” manuscript
(Leiden, Bibl. der Rijksuniversiteit, Voss. Lat. Q 79), gold and
illumination on parchment, made ca. 825-50 CE for Louis the Pious
or Lothar I (Carolingian) |
| 495.
Plan of St. Gall, ink and colors on parchment,
made ca. 820 CE, possibly under Haito, Abbot of Reichenau and Bishop
of Basel for Gozbert, Abbot of St. Gall (Carolingian) |
| 496.
Plan of St. Gall, ink and colors on parchment,
made ca. 820 CE, possibly under Haito, Abbot of Reichenau and Bishop
of Basel for Gozbert, Abbot of St. Gall, detail of church and cloister
(Carolingian) |
| 497.
Plan of St. Gall, ink and colors on parchment,
made ca. 820 CE, possibly under Haito, Abbot of Reichenau and Bishop
of Basel for Gozbert, Abbot of St. Gall, reconstruction (Carolingian) |
| 498.
Plan of St. Gall, ink and colors on parchment,
made ca. 820 CE, possibly under Haito, Abbot of Reichenau and Bishop
of Basel for Gozbert, Abbot of St. Gall, reconstruction of the exterior
of the monastery church, looking south (Carolingian) |
| 499.
Plan of St. Gall, ink and colors on parchment,
made ca. 820 CE, possibly under Haito, Abbot of Reichenau and Bishop
of Basel for Gozbert, Abbot of St. Gall, reconstruction of the interior
of the monastery church, looking east (Carolingian) |
| 500.
Plan of St. Gall, ink and colors on parchment,
made ca. 820 CE, possibly under Haito, Abbot of Reichenau and Bishop
of Basel for Gozbert, Abbot of St. Gall, reconstruction of the monk’s
cloister (Carolingian) |
| 501.
Plan of St. Gall, ink and colors on parchment,
made ca. 820 CE, possibly under Haito, Abbot of Reichenau and Bishop
of Basel for Gozbert, Abbot of St. Gall, reconstruction of the monastic
scriptorium (Carolingian) |
| 502.
Evangelist portrait: St. Mark, Ebbo Gospels
(Epernay, Bibl. Municipale, MS 1), gold and illumination on parchment,
made ca. 816-35 CE at the monastery of Hautvillers, near Reims,
for Archbishop Ebbo of Reims under the direction of Abbot Peter
(Carolingian) |
| 503.
Psalm 22 (23), Utrecht Psalter (Utrecht,
Bibliotheek der Rijksuniversiteit, Cat. Cod. MS Bibl. Rhenotraiectinae,
I, Nr. 32), brown ink on parchment, made ca. 816-35 CE at the monstery
of Hautvillers, near Reims, under Archbishop Ebbo of Reims (Carolingian) |
| 504.
Psalm 22 (23), Utrecht Psalter (Utrecht,
Bibliotheek der Rijksuniversiteit, Cat. Cod. MS Bibl. Rhenotraiectinae,
I, Nr. 32), brown ink on parchment, made ca. 816-35 CE at the monastery
of Hautvillers, near Reims, under Archbishop Ebbo of Reims (Carolingian) |
| 505.
Initial D with the Three Maries at the Tomb,
historiated initial in the Drogo Sacramentary (Paris, BnF MS lat.
9428), gold and illumination on parchment, made ca. 842-50 CE at
the monastery of Metz for Drogo, Archbishop of Metz (Carolingian) |
| 506.
Initial T for Te Igitur” with Old Testament
types of the priest and the Mass, historiated initial in the
Drogo Sacramentary (Paris, BnF MS lat. 9428), gold and illumination
on parchment, made ca. 842-50 CE at the monastery of Metz for Drogo,
Archbishop of Metz (Carolingian) |
| Terms
and concepts |
Theodulf
of Orléans, Bishop of Orléans and Abbot of Fleury,
author of the Libri Carolini
(Caroline Books) (791-93 CE)
Seven Liberal Arts (grammar, rhetoric, logic; geometry, mathematics,
music, astronomy)
carmina figurata (“figured” or “adorned
poem”)
Benedictine monasticism
St. Benedict of Nursia (b. 480 CE)
double-ender
modular layout
literal illustration; word illustration
historiated initial |
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