List of Plates                                
 
Lectures 1 and 2 (1/21/04 and 1/26/04): Saints, Relics, Monasticism, and the Arts of the Early Christian and Early Medieval Periods
Early Monasticism: Eremitic and Cenobitic
1. St. Symeon Stylites, silver plaque, Syria, ca. 600 CE
2. Church Island monastic settlement, Ireland, 7th-8th cent. CE (reconstr.)
3. Skellig Michael monastic settlement, Ireland, ca. 700 CE
4. Skellig Michael monastic settlement, Ireland, detail of monks’ huts
5. Plan of St. Gall (Switzerland), redrawn after the original manuscript, ink on parchment, ca. 820 (Carolingian)
6. Model of an ideal monastery based on the Plan of St. Gall, ca. 820 (Carolingian)
The Early Christian Martyrium
7. Plan of Old Saint Peter’s, Rome, begun early 4th cent. CE
8. Old Saint Peter’s, Rome, cutaway drawing of the interior
9. Old Saint Peter’s, Rome, reconstruction of the apse and shrine over St. Peter’s grave
10. Old Saint Peter’s, Rome, reconstruction of the transept and shrine over St. Peter’s grave
The Cult of Saints and the Cult of Relics
11. Bishop Gotefredus cuts off the arm of St. Apollonius, from an illustrated life of Mathilda of Tuscany, illumination on parchment, ca. 1115, Italy, Romanesque
12. Head reliquary of St. Alexander, from Stavelot abbey, Belgium, silver repoussé (partly gilt), gilt bronze, gems, pearls, and enamel, ca. 1145, Romanesque
13. Arm reliquary, silver (partly gilt), Mosan, ca. 1200, Romanesque
14. Reliquary figure of St. Baudime, silver, France, begun 10th century, with later additions, Romanesque
Early Medieval Artistic Traditions: Abstraction and Naturalism
15. Symbol of St. Matthew, from the Book of Durrow, illumination on parchment, ca. 650-75 CE, Hiberno-Saxon
16. The Great Gold Belt Buckle, from the Sutton Hoo ship burial (England), ca. 625 CE, “Barbarian” (Migration Period)
17. Shoulder clasp, from the Sutton Hoo ship burial, gold with garnet and other inlay, ca. 625 CE, “Barbarian” (Migration Period)
18. Cross Carpet Page, from the Lindisfarne Gospels, illumination on parchment, ca. 700 CE, Hiberno-Saxon
19. Chi-Rho Page (initial page), from the Book of Kells, illumination on parchment, late 8th century CE, Hiberno-Saxon
20. St. Matthew from the Coronation Gospels, illumination on parchment, ca. 800-10 CE, Carolingian
21. St. Matthew, from the Ebbo Gospels, illumination on parchment, ca. 816-32, made at the monastery of Hautvillers (near Reims), Carolingian
22. Crucifixion with Mourning Angels, front cover of the Lindau Gospels, gold, gems, and pearls, ca. 870 CE, Carolingian
names/terms
St. Benedict of Nursia (ca. 480-550)
Monte Cassino
Benedictine Rule (ca. 540)
stability
enclosure
The Divine Office (Opus Dei)
oblation
body-part reliquary
Lecture 3 (1/28/04): Ottonian Art: The Imperial Esthetic.
In addition to the recommended readings in Snyder or Stokstad, you may find useful the account of Ottonian imperial art in John Beckwith, Early Medieval Art (London and New York, 1985), pp. 81-115, 122-36 (on reserve in the Grey Fine Arts Library).
23. Crown of the Holy Roman Empire, gold, jewels, pearls, and enamel, made for the coronation of Otto II in 962; arc (over top of crown) added 11th century (Ottonian)
24. Crown of the Holy Roman Empire, 962; detail of the Old Testament King David
25. Abbot Vivian and the Monks of Tours Present the Bible to Charles the Bald, dedication page in the Vivian Bible, gold and illumination on parchment, made at the monastery of Tours (France), 846 (Carolingian)
26. Otto I Offering a Model of Magdeburg Cathedral to Christ, ivory plaque from the Magdeburg Antependium, ivory, carved in Milan ca. 962-8 (Ottonian)
27. Christ with St. Maurice and the Virgin Adored by Otto II and the Empress Theophanu holding the Infant Otto III, ivory plaque, once part of a book cover, carved in Milan ca. 980-83 (Ottonian)
28. Homage of the Four Parts of the Empire, in the Gospels of Otto III, gold and illumination on parchment, made at the monastery of Reichenau ca. 1000 (Ottonian)
29. Otto III Enthroned Between Church and State, in the Gospels of Otto III, gold and illumination on parchment, made at the monastery of Reichenau ca. 1000 (Ottonian)
30. The Transfiguration, from the Gospels of Otto III
31. Christ Washing the Apostles’ Feet, from the Gospels of Otto III
32. . The Entry of Christ into Jerusalem, from the Gospels of Otto III
33. St. Luke, evangelist portrait prefacing the Gospel of Luke in the Gospels of Otto III
34. Adoration of the Magi, from the Gospels of Otto III
35. Henry II Crowned by Christ, dedication page in the Sacramentary of Henry II, gold and illumination on parchment, made at the monastery of Regensburg, ca. 1002-14 (Ottonian)
36. Charles the Bald Enthroned, dedication page in the Codex Aureus of St. Emmeram,
gold and illumination on parchment, ca. 870 CE (Carolingian)
37. Christ Crowns Emperor Romanos and Empress Eudokia, ivory, ca. 945 (Byzantine)
names/terms
Otto I (936-73)
Otto II (973-83)
Otto III (983-1002
Henry II (1002-24)
hierarchical/hieratic scale
christocentrism (christocentric)
ruler theology
millennialism
caesarpropism
Lecture 4, 2/2/04: “Some Ottonian Patrons and Monuments: Bernward of Hildesheim
In addition to the readings in Snyder and Stokstad, you may find useful the account of Bernward of Hildesheim in John Beckwith, Early Medieval Art (New York, 1985), pp. 145-50 (on reserve in the Grey Fine Arts Library).
38. The Formation of Eve, from the Doors of Bishop Bernward of Hildesheim, cast bronze, made ca. 1007-15 for the church of St. Michael's, Hildesheim
39. The Fall of Man, from the Doors of Bishop Bernward of Hildesheim
40. The Crucifixion, from the Doors of Bishop Bernward of Hildesheim
41. Cain Slaying Abel, from the Doors of Bishop Bernward of Hildesheim
42. The Annunciation, from the Doors of Bishop Bernward of Hildesheim
43. Noli me Tangere, from the Doors of Bishop Bernward of Hildesheim
44. Adam and Eve Judged by the Lord (The Denial of Blame), from the Doors of Bishop Bernward of Hildesheim
45. Christ before Pilate, from the Doors of Bishop Bernward of Hildesheim
46. The Expulsion from Paradise, detail of one of the Old Testament panels from the Doors of Bishop Bernward of Hildesheim
47. The Adoration of the Magi and Presentation of Christ in the Temple, from the Doors of Bishop Bernward of Hildesheim
48. Column of Bishop Bernward, cast bronze, made ca. 1020 for the church of St. Michael’s, Hildesheim (the column, which held the Easter candle, probably stood in the eastern choir of St. Michael’s)
49. The Ascension, from the Column of Bishop Bernward
50. Christ Walking on the Sea of Galilee, from the Column of Bishop Bernward
51. The Dance of Salome, from the Column of Bishop Bernward
52. Pair of candlesticks with clambering figures, silver, for the main altar of St. Michael’s, Hildesheim, commissioned in the early 11th century by Bishop Bernward
53. Initial “I” with a clambering figure, illumination on parchment, from a service book for the Mass made in the early 11th century at the monastery of Reichenau
54. Plan of St. Michael’s, Hildesheim, founded and probably designed by Bishop Bernward, 1001-33
55. Section of St. Michael’s, Hildesheim, founded and probably designed by Bishop Bernward, 1001-33
56. St. Michael’s, Hildesheim, exterior
57. St. Michael’s, Hildesheim, nave facing the eastern choir
58. St. Michael’s, Hildesheim, nave facing the western choir
59. St. Michael’s, Hildesheim, view west transept and choir, including galleries
names/terms
typology/ typological symbolism
“Ave maria gracia plena dominus tecum” (“Hail, Mary, full of grace, the Lord is with thee”)
“Ave maris stella” (“Hail, star of the sea”)
Ave -- Eva
the Cross as the Tree of Life
Pope Gregory I (Gregory the Great), r. 590-604
double-ender
crypt
ambulatory
modular planning
cushion capital
alternating support system
bays
lantern tower
clerestory
galleries
Lecture 5, 2/4/04: “More Ottonian Patrons and Monuments.”
In addition to the recommended readings in Snyder or Stokstad, you may find useful the discussion of these and other monuments in John Beckwith, Early Medieval Art (London and New York, 1985), pp. 87-9 (for St. Cyriakus, Gernrode), pp. 97-104 and p. 124 (for Egbert of Trier), pp. 115-19 (for the Hitda Codex and the Uta Codex), pp. 141-2 (for the Virgin of Essen), and pp. 149-52 (for the Gero Cross) (on reserve in the Grey Fine Arts Library).
60. Convent church of St. Cyriakus, Gernrode, founded 961 by Margrave Gero, interior of nave looking east, showing galleries.
61. St. Pantaleon, Cologne, 984-1002, exterior showing the westwork façade
62. St. Pantaleon, Cologne, 984-1002, view of the interior of the westwork.
63. Sandal Reliquary of St. Andrew, silver gilt with enamels, gems, pearls, and antique coins, made ca. 980 for Egbert, Archbishop of Trier.
64. Archbishop Egbert of Trier receives the “Codex Egberti” from the monks Kerald and Heribert, dedication page from the Codex Egberti, made at Trier?, illumination on parchment, ca. 980-85
65. The Nativity/ The Annunciation to the Shepherds, illustration in the Codex Egberti, made at Trier? for Archbishop Egbert of Trier, illumination on parchment, ca. 980-85
66. The Healing of Peter’s Mother-in-Law, illustration in the Codex Egberti
67. Abbess Hitda of Meschede Presents her Book to St. Walburga, dedication page in the Hitda Codex (a gospel book), illumination on parchment, made at Cologne, ca. 1000-20
68. The Healing of Peter’s Mother-in-Law, from the Hitda Codex, (a gospel book), illumination on parchment, made at Cologne, ca. 1000-20
69. Moses Receiving the Tablets of the Law/ The Doubting Thomas, ivory plaques, from a monastery near Trier, late 10th/early 11th century
70. The Crucifixion, from the Uta Codex (a gospel book), made ca. 1002-25 at Regensburg for Abbess Uta of Niedermünster
71. St. Erhard Celebrating the Mass, from the Uta Codex (a gospel book), made ca. 1002-25 at Regensburg for Abbess Uta of Niedermünster
72. Cross of Gero, commissioned by Archbishop Gero for the Cathedral of Cologne, painted wood, ca. 970 (figure of Jesus approx. 6’ high)
73. Cross of Gero, detail
74. Virgin of Essen, gold over wood with enamel, gold filigree, and gems (almost 30”) high, probably made at Cologne, commissioned by Abbess Mathilda for the Cathedral of Essen
75. Virgin of Essen, detail
names/terms
affective piety
Hartwic
Pseudo-Dionysius, The Celestial Hierarchy (ca. 500 CE)
Liberal Arts (grammar, rhetoric, dialectic – The Trivium; music, astronomy, arithmetic, geometry – The Quadrivium)
Ecclesia/Synagoga (Church/Synagogue)
Christus Triumphans (triumphant Christ)
Christus Patiens (suffering Christ)
orans
Mary as “the New Eve”
Lecture 6, 2/9/04: Art in the Anglo-Saxon World
In addition to the recommended readings in Snyder or Stokstad, you might find useful David M. Wilson, Anglo-Saxon Art (Woodstock, NY: The Overlook Press, 1984), esp. Chapter 5: “From Alfred to the Conquest,” pp. 141-215; and Michelle P. Brown, Anglo-Saxon Manuscripts (London and Toronto: The British Library/University of Toronto Press, 1991). Also useful is the catalogue The Golden Age of Anglo-Saxon Art, ed. Janet Backhouse, D. H. Turner, and Leslie Webster (Bloomington, IN, 1984).
76. The Alfred Jewel, gold, enamel and crystal, 871-99
77. The Alfred Jewel, another view
78. The Pitney Brooch, gold, second half of the 11th century
79. All Saints Church, Earls Barton, early 11th century
80. Psalm 103, The Utrecht Psalter, ink on parchment, ca. 816-35, made at the monastery of Hautvillers, near Reims, France (Carolingian)
81. Psalm 103, The Harley Psalter, colored ink on parchment, made at the monastery of Christ Church, Canterbury, ca. 1000-25 with additions in the later 11th and early 12th centuries; left unfinished
82. Psalm 83, from the Psalter of Bury St. Edmunds, ink on parchment, ca. 1040
83. King Edgar Offering the Charter of New Minster to Christ, New Minster Charter, gold and illumination on parchment, made at Winchester ca. 966-84
84. Ethelwold Blessing the Congregation, from the Benedictional of Ethelwold, gold and illumination on parchment, made at Winchester by Godeman the scribe ca. 971-84
85. The Baptism of Christ, from the Benedictional of Ethelwold, gold and illumination on parchment, made at Winchester by Godeman the scribe ca. 971-84
86. The Ruthwell Cross, stone, 8th century? Ca. 800? (Hiberno-Saxon)
87. Christ Crucified, Romsey Abbey, stone, ca. 1010
88. The Crucifixion, from the Ramsey Psalter, ink on parchment, ca. 1000
89. The Crucifixion, from the Ramsey Psalter, ink on parchment, ca. 1000
90. The Ascension of Christ, from the Tiberius Psalter, ink on parchment, made at Winchester in the mid-11th century
91. The Harrowing of Hell, from the Tiberius Psalter, ink on parchment, made at Winchester in the mid-11th century
92. Moses Blessing the Tribes, from a manuscript of Aelfric’s Old English Paraphrase of the Hexateuch, illumination on parchment, ca. 1025
names/terms
Wessex
Alfred the Great (r. 871-99)
Torah
literal illustration/ word illustration
outline drawing
Winchester Style (fully painted)
Lecture 7, 2/16/04: “’Frontier Monasticism’: Mozarabic Art”
In addition to the suggested readings from Snyder or Stokstad, useful accounts of Spanish medieval art and Mozarabic manuscript illumination may be found in John Williams, Early Spanish Manuscript Illumination (New York, 1977), esp. pp. 16-31; and the catalogue, The Art of Medieval Spain, A. D. 500-1200 (New York, 1993), esp. the three introductory essays (pp. 2-37) and the sections (including catalogue entries) on Visigothic, Muslim, and Mozarabic Spain (pp. 40-163).
Visigothic Art (ca. 6th-8th centuries)
93. Eagle Fibulae (pins), gold, garnets, glass and semi-precious stones, 6th century
94. Votive Crown of King Recceswinth, gold, garnets, pearls, gems, and glass, made in Toledo in the second half of the 7th century
95. Church of San Juan de Baños, Cerrato (Palencia), build under King Recceswinth in the mid-7th century
96. Church of San Juan de Baños, detail of horseshoe arch portal
Mozarabic Art (ca. 9th-early 11th centuries)
97. Church of San Miguel de Escalada, sections and plans, early 10th century
98. Church of San Miguel de Escalada, exterior, showing arcade of horseshoe arches on the south side of the church
99. Church of San Miguel de Escalada, interior of nave
100. Magius and Emeterius, The Scriptorium, from the Tábara Beatus, illumination on parchment, made ca. 970 at the monastery of San Salvador de Tábara
101. Magius, The Adoration of the Lamb (Revelation 5: 6-8), from the Morgan Beatus, illumination on parchment, made ca. 940-50, possibly at the monastery of San Miguel de Escalada
102. Magius, The Angel of the Abyss and the Locusts (Revelation 9), from the Morgan Beatus
103. Emeterius and Ende, The Whore of Babylon (Revelation 17: 1-3), from the Gerona Beatus, illumination on parchment, made ca. 975 at the monastery of San Salvador de Tábara
104. Magius, The Whore of Babylon (Revelation 17: 1-3), from the Morgan Beatus
105. Magius, The Woman Clothed in the Sun and the Dragon (Revelation 12), from the Morgan Beatus
106. Magius, The Opening of the Sixth Seal and the Earthquake (Revelation 6: 12-17), from the Morgan Beatus
107. Magius, The Fall of Babylon (Revelation 18: 1-20), from the Morgan Beatus
108. Magius, The Heavenly Jerusalem (Revelation 21: 10-22), from the Morgan Beatus
109. Emeterius and Ende, The Heavenly Jerusalem (Revelation 21: 10-22), from the Gerona Beatus
names/terms
mustarib (“arabicized")
Al-Andalus
Asturias-León
Apocalypse
Beatus of Liébana; his Commentary on the Apocalypse written ca. 776
Beatus manuscript
Adoptionism
Mosque of Córdoba, begun early 8th century, with later additions
Alcazar (palace) of Madinat al-Zahra, 10th century
Lecture 8, 2/18/04: “The ‘First Romanesque’”
In addition to the readings in Snyder or Stokstad, there is a useful discussion of “First Romanesque” sculpture in M. F. Hearn, Romanesque Sculpture (Ithaca, NY, 1982), pp. 17-56 (skim or read about relevant monuments/issues). For “First Romanesque” architecture, look for the monuments we covered in class in Xavier Barral I Altet, The Romanesque (Cologne, 1998) or Rolf Toman, ed., Romanesque: Architecture, Sculpture, Painting (Cologne, 19997).
110. Monastery of St. Martin-du-Canigou, Southern France (in the Pyrenees), ca. 1001-26, built under the patronage of Guifre, Count of Cerdagne and Abbot Scula
111. St. Martin-du-Canigou, ca. 1001-26, nave of upper church
112. St. Maria Ripoll, Northern Spain, ca. 1020-32, built under Abbot Oliba, plan
113. Sta. Maria Ripoll, exterior showing apse, transept, and lantern tower
114. St. Maria Ripoll, interior showing nave and aisles
115. St. Vincent, Cardona, Northern Spain, ca. 1029-40, plan
116. St. Vincent, Cardona, exterior showing apse, transept, and lantern tower
117. St. Vincent, Cardona, nave looking East (toward main apse)
118. St. Vincent, Cardona, nave elevation
119. St. Vincent, Cardona, view of crossing dome and choir
120. Christ and Apostles (Ascension of Christ?), marble lintel over the doorway at St. Genis-des-Fontaines, France, ca. 1020-21
121. Christ in Majesty, sculpture over the doorway at the church of Arles-sur-Tech, France, ca. 1046
122. Tower porch (entrance porch or narthex) of the church of St.-Benoît-sur-Loire, France, built ca. 1060-80 under Abbot Guillaume
123. Tower porch (entrance porch or narthex) of the church of St.-Benoît-sur-Loire, view of interior
124. Capital with acrobatic figure, from an engaged column in the church of St.-Benoît-sur-Loire, ca. 1065-70?
125. Capital with Christ in Majesty, from an engaged column in the church of St.-Benoît-sur-Loire, ca. 1080?
names/terms
barrel vault
groin vault
pendentives
squinches
transverse arches
Lecture 9, 2/23/04: “Art and Architecture of the Pilgrimage Roads: Santiago di Compostela and St. Sernin, Toulouse.”
In addition to the readings in Snyder or Stokstad, you might find useful the discussion of pilgrimage architecture in Roger Stalley, Early Medieval Architecture (Oxford and New York, 1999), pp. 147-65; and the discussions of Santiago di Compostela and St. Sernin, Toulouse in M. F. Hearn, Romanesque Sculpture (Ithaca, NY, 1981), pp. 139-52. For the pilgrimage to Santiago as a phenomenon, the whole text of the “Pilgrim’s Guide,” and for discussion of Santiago, St. Sernin, and other churches on the Pilgrimage Roads, see Annie Shaver-Crandell and Paula Gerson, The Pilgrim’s Guide to Santiago de Compostela: A Gazeteer (London, 1995).
126. St. James as Pilgrim to Compostela, from the South portal of St. Marta de Tera, Zamora (Spain), marble, early 12th century
127. Cathedral of Santiago di Compostela, begun 1075 under the patronage of Alfonso VI of Castile-León and Bishop Diego Peláez; completed 1128 under Alfonso VII and Bishop Diego Gelmírez, plan
128. Santiago di Compostela, nave looking East
129. Santiago di Compostela, nave elevation, showing galleries
130. Santiago di Compostela, view across transepts
131. Santiago di Compostela, reconstruction of original West façade
132. Puerta de la Platerías (Silversmiths’ Portal), South transept portal of the Cathedral of Santiago di Compostela, with sculpture of various early twelfth-century dates
133. Creation of Adam, ca. 1115-30?, originally from the Portal of the Franks (North transept portal); now on the South transept portal, Santiago di Compostela
134. Christ in Majesty, ca. 1115-30?, originally from the Portal of the Franks (North transept portal); now on the South transept portal, Santiago di Compostela
135. King David, ca. 1115-30?, originally from the Portal of the Franks (North transept portal); now on the South transept portal, Santiago di Compostela
136. Right tympanum with scenes of the Passion and Triumph of Christ, Puerta de la Platerías (South transept portal); some sculpture ca 1100-10?; other sculpture ca. 1115-30?
137. Left tympanum with scenes of the Temptations of Christ and the “Woman with the Skull,” Puerta de las Platerías (South transept portal); some sculpture ca. 1100-10?; other sculpture ca. 1115-30?
138. St. James (two views), from the Puerta de la Platerías (South transept portal), ca. 1115-30?
139. Collegiate church of St. Sernin, Toulouse, ca. 1070-early 12th century, plan
140. St. Sernin, Toulouse, aerial view
141. St. Sernin, Toulouse, nave looking East
142. St. Sernin, Toulouse, interior of gallery
143. Porte Miégeville (South portal), St. Sernin, Toulouse, sculpture ca. 1115?
144. St. Peter, from the spandrel of the arch of St. Sernin, Toulouse, ca. 1115?
145. The Ascension, with Apostles and Prophets, tympanum and lintel of the Porte Miégeville, St. Sernin, Toulouse, ca. 1115?
146. Apostles, detail of the lintel, St. Sernin, Toulouse, ca. 1115?
names/terms

Gregorian Reform (Pope Gregory VII, r. 1073-85)
Reconquista
pilgrimage Roads/Routes
scrip
pilgrimage plan church
wrap-around aisles
radiating chapel system
pilgrimage choir
Aymery Picaud, author(?) of the “Pilgrim’s Guide” (ca. 1137-50s)
sermon exemplum
Luxuria (luxury; lust)
Languedoc
college of canons
St. Saturninus
Lecture 10, 2/25/04: “More on Romanesque Spain.”
In addition to the relevant readings in Snyder or Stokstad, you may find useful the discussions of Spanish Romanesque Art in the catalogue, Metropolitan Museum of Art, The Art of Medieval Spain. AD 300-1200 (New York, 1993), pp. 166-97 (essays) and catalogue entries for the monuments discussed in class in the succeeding pages.
147. Cross of Ferdinand and Sancha, ivory, gold, and burnished sapphires, ca. 1063, made in León and donated to San Isidoro by Ferdinand I and Sancha of Castile-León
148. Reliquary of St. Isidore, silver gilt, wood, and silk, mad c. 1063 and probably commissioned by Ferdinand I and Sancha of Castile-León
149. Adam and Eve Reproached by the Lord/ The Robing of Adam and Eve, from the Reliquary of St. Isidore
150. The Expulsion from Paradise, from the Reliquary of St. Isidore
151. Plan of San Isidoro, León, showing the Pantheon of the Kings, built in the 1080s under Urraca of Zamora (sculpture late 11th century; frescoes ca. 1100); and the church of San Isidoro, built during the late 11th-12th centuries, and begun under Uracca of Zamora (replaces the original church built by her parents, Ferdinand and Sancha)
152. Pantheon of the Kings, San Isidoro, León, interior
153. Pantheon of the Kings, capitals showing the Raising of Lazarus and a Healing Miracle of Christ, late 11th century
154. Christ in Majesty, fresco on the vault of the Pantheon of the Kings, ca. 1100
155. Annunciation to the Shepherds, fresco on the vault of the Pantheon of the Kings, ca. 1100
156. Christ in Majesty, fresco in the apse of San Climente, Tahull (Catalonia), 1123
157. Church of San Isidoro, interior of nave
158. Church of San Isidoro, view of nave arcade and entrance to transept
159. Portal of the Lamb, South portal of San Isidoro, León, ca. 1115-20?
160. Portal of the Lamb, South portal of San Isidoro, León, ca. 1115-20?, detail of tympanum
161. Emeterius and Ende, Muslim Rider, image in the Gerona Beatus (see the information on this manuscript in lecture #8)
162. St. Isidore and a Spanish king?, sculpture on the spandrels of the arch of the Portal of the Lamb, San Isidoro
163. Portal of Forgiveness, South transept portal of San Isidoro, León, ca. 1115-20?, detail of tympanum showing the Deposition, Three Maries at the Tomb, Ascension
164. The Deposition/ The Three Maries at the Tomb, ivory, from a reliquary shrine, made in León ca. 1115-20
165. Deposition Group, painted wood, from the church of Erin la Valle, ca. 1150?
166. Virgin Mary; St. John the Evangelist, painted wood, from the Deposition Group from the church of Erin la Valle, ca. 1150?
names/terms:
corpus
Lecture 11, 3/1/04: Ste. Foy, Conques and St. Pierre, Moissac
In addition to the readings in Snyder or Stokstad, you may find useful the discussions of these sculptural portal ensembles in M. F. Hearn, Romanesque Sculpture (Ithaca, NY, 1981), pp. 169-78; and Rolf Toman, ed., Romanesque: Architecture, Painting, Sculpture (Cologne, 1997), pp. 259-62, 288-92, 328-30.
167. Reliquary of Ste. Foy (St. Faith), gold and gems over wood; made in the later 9th century, using a late antique (5th century) mask for the face; additions, including her crown and throne, made in the 10th century and later
168. Reliquary of Ste. Foy (St. Faith), detail of head and face
169. Church of the Benedictine monastery of Ste. Foy, Conques, built ca. 1050-1110/20, plan
170. Ste. Foy, Conques, West facade
171. Ste. Foy, Conques, interior of nave looking East
172. Ste. Foy, Conques, view of ambulatory and radiating chapels
173. Ste. Foy, Conques, view of projecting porch and West portal with the Last Judgment, ca. 1125
174. Ste. Foy, Conques, Last Judgment tympanum
175. Ste. Foy, Conques, detail of Last Judgment tympanum
176. Ste. Foy, Conques, detail of Christ separating the Blessed from the Damned
177. Ste. Foy, Conques, detail of the Blessed/Elect in the Heavenly City
178. Ste. Foy, Conques, detail of Ste. Foy (St. Faith) Interceding on Behalf of Humanity before God
179. Ste. Foy, Conques, detail of St. Michael Weighing the Souls (top), St. Michael Admitting the Elect to Heaven (bottom) and a Demon Shoving the Damned into the Hellmouth (right)
180. Ste. Foy, Conques, detail of the Devil Overseeing the Punishment of the Damned, including the Sins of Pride, Luxury (Luxuria), Blasphemy, and Avarice/Greed
181. Benedictine monastery of St. Pierre, Moissac, projecting porch of the South portal, with sculpture produced ca. 1115-30 under Abbot Roger
182. St. Pierre, Moissac, South portal tympanum with Christ in Majesty Adored by the Elders of the Apocalypse
183. Christ in Majesty Adored by the Elders of the Apocalypse, two-page illustration in the St. Sever Apocalpyse, illuminated ca. 1050 at the southern French monastery of St. Sever by the Spanish artist Stephanus Garsia
184. Head of Christ, detail of the South portal tympanum, St. Pierre, Moissac
185. Elders of the Apocalypse, detail of the South portal tympanum, St. Pierre, Moissac
186. St. Peter, from the door jamb of the South portal, St. Pierre, Moissac
187. Trumeau with confronted lions, South portal, St. Pierre, Moissac
188. Prophet Jeremiah, from the side of the trumeau of the South portal, St. Pierre, Moissac
189. Annunciation/Visitation/Adoration of the Magi/Presentation of Christ in the Temple/ Flight into Egypt, on the East flank of the South portal of St. Pierre, Moissac
190. Presentation of Christ in the Temple/Flight into Egypt, detail of the East flank of the South portal of St. Pierre, Moissac
191. Avarice and Luxury with Demons/ Parable of Dives and Lazarus, on the West flank of the South portal of St. Pierre, Moissac
192. Luxury (Luxuria) and a Demon, detail of the West flank of the South portal of St. Pierre, Moissac
193. Scenes from the Parable of Dives and Lazarus, detail of the West flank of the South portal of St. Pierre, Moissac
names/terms:

majesty
bilateral symmetry
souls in the bosom of Abraham
 caryatid
Lecture 12, 3/3/04: “Art and Audience in the Romanesque Cloister.”
194. Reconstruction of the cloister from the Plan of St. Gall (ca. 820, Carolingian), showing the covered walks or galleries and the garth with the fountain at its center
195. Benedictine monastery of St. Pierre, Moissac, plan showing the cloister in relation to the church (church built in the 11th century under Abbot Durandus)
196. The Cloister, St. Pierre, Moissac, sculpture executed ca. 1100-15 under Abbot Anquêtil, view from the walk
197. Abbot Durandus, pier relief from the cloister of St. Pierre, Moissac, ca. 1100
198. St. Peter (and St. Paul), pier at the Southeast corner of the cloister of St. Pierre, Moissac, ca. 1100
199. Doubting Thomas, pier relief from the cloister of the monastery of Santo Domingo, Silos, Spain, early 12th century
200. Way to Emmaus, pier relief from the cloister of the monastery of Santo Domingo, Silos, Spain, early 12th century
201. Daniel in the Lions’ Den, capital from the cloister of St. Pierre, Moissac, ca. 1100-15
202. The Miracle at Cana (side with Christ and the Virgin at the wedding feast), capital from the cloister of St. Pierre, Moissac, ca. 1100-15
203. The Miracle at Cana (side with Christ transforming water into wine), capital from the cloister of St. Pierre, Moissac, ca. 1100-15
204. Mouths eating foliage, capital from the cloister of St. Pierre, Moissac, ca. 1100-15
205. Christ Washing the Apostles’ Feet, capital from the cloister of St. Pierre, Moissac, ca. 1100-15
206. St. Peter Freed from Prison by an Angel, capital from the cloister of St. Pierre, Moissac, ca. 1100-15
207. The Arrest of Christ, capital from the cloister of La Daurade, Toulouse, early 12th century
208. The Arrest of Christ, capital from the cloister of La Daurade, Toulouse, early 12th century (another view)
209. The Apostles at the Tomb, capital from the cloister of La Daurade, Toulouse, early 12th century
210. The Apostles at the Tomb, capital from the cloister of La Daurade, Toulouse, early 12th century (another view)
211. King Herod and Salome, short side of a capital from the cloister of St. Etienne, Toulouse, ca. 1125
212. Salome Receiving the Head of John the Baptist and Presenting it to Herodias, long side of a capital from the cloister of St. Etienne, Toulouse, ca. 1125
213. Fasting St. Nicholas, column statue from the cloister of Sant’Ellero, Galeata, Italy, early 12th century
names/terms:

Important abbots of St. Pierre, Moissac:

Durandus (1047-72)
Anquêtil (1085-1115)
Roger (1115-15)

claustra (Latin; confines, enclosure) = cloister
cloister garth
historiated capital; pier relief
vita apostolica (Latin; apostolic life)
 

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