Chapter 6 the medieval church
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Gothic art developed in Northern Europe between the 12th-15th centuries and was typically rooted in religious devotion. It is known for the arched design of churches, stained glass windows, and illuminated manuscripts. During this period, people moved from rural areas into towns and cities.
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Chapter 6 the medieval church
- 1. Formed the bedrock of medieval European culture.
- 2. 1022 - College of Cardinals, responsible for the election of the Pope.
- 3. Times of no war. poor, the sick, and the homeless. hospitals, refugees and orphanages.
- 4. Excommunication- exclusion from the sacraments. Interdict – the excommunication of the entire city or state
- 5. Raphael, Disputation over the Sacrament, 1509-1511. Fresco, 26' x 18'. A set of sacred acts that impart grace. Purgatory was the intermedite realm where Christians go.
- 6. Clergy – the people who perform sacred functions of a church (ex: priest)
- 8. 1233 - pope established the Inquisition. A special court designed to stamp out heresy.
- 9. Hildegard of Bingen - (1098-1179) Scivias. vision -“voice from Heaven.”
- 10. One of her visions was of falling stars turning black as they plunge into the ocean. Hildegard interpreted this as the rebel angels falling from heaven.
- 11. Individuals inspired to reveal truths that lie beyond human understanding Dancing Dervishes, from a manuscript of the Diwan (Book of Poems) of Hafiz, Herat School, Persia, ca. 1490. Colors and gilt on paper, 11 3/4 x 7 3/8 in.
- 12. Medieval humanist missionary to all of God’s creatures He was canonized in 1228 Giotto, Legend of St Francis: Sermon to the Birds, 1297-99
- 13. 1095 - The rise of towns after the first Crusade
- 14. Mystery Play-biblical history From the fall of Lucifer to the Last Judgment A favorite stage device for the Mystery Play, was the hell’s mouth
- 15. Morality Play- struggle of good and evil › Everyman ca. 1490 (death has come to take everyman)
- 16. Miracle Play- enacted stories from: The life of Christ The Virgin Mary Saints
- 17. Florentine poet Dante Alighieri (1265-1321) through the realm of the dead. Dante and his guide Virgil http://www.fullbooks.com/Dante- s-Inferno.html “abandon all hope, you who enter here” (III.7)
- 19. sinners are each assigned to one of the nine rings in hell.
- 21. •Italian illuminated manuscript •Middle of the 15th century Priamo della Quercia executed the illuminations for the Inferno and Purgatorio and all three historiated initials, Giovanni di Paolo those for Paradiso.
- 22. .
- 24. His illustrations of the Paradiso are greatly admired for their visual interpretation of the poem: the artist doesn't just transcribe Dante's words but seeks to render their meaning.
- 25. •Blake's 102 drawings •commissioned by John Linnell 1824-27 (1757-1827) London
- 26. paid close attention to the details of Dante's poem.
- 27. In Greek myth Cerberus was a horrific dog who stood watch at the gates of Hades, the world of the dead.
- 28. .
- 29. Mosca de’ Lamberti, endorses Buondelmonte’s murder
- 32. 1212thth centurycentury EducationEducation shifted fromshifted from the church tothe church to cathedralcathedral schools.schools.
- 33. Enshrined relics Remains of saints and martyrs brought increased mobility and economic revitalization
- 34. Christians tried to make a pilgrimage to Jerusalem and Rome at least once
- 35. held the cranium of the child martyr of Conques.
- 36. Relic/Reliquary — St. Alexander Stavelot, 1145
- 37. Romanesque and Gothic Sites in Western Europe, ca. 1000-1300
- 38. 11th & 12th century semi-circular arches Latin Cross design
- 40. St. Sernin, Toulouse 1080-1121
- 41. Romanesque - Aerial view of Sainte-Foy, Conques, Auvergne, France. c. 1050-1120.
- 43. Vezelay, exterior tympanum (Mission of the Apostles) Sculpture used to teach religion to people since most could not read. This type of sculpture is called architectonic since it is part of the architecture.
- 46. Church of St. Lazare in Autun
- 47. St. Pierre, Moissac, France, South Portal, 1115-1135 Tympanum of the South Portal
- 48. St. Pierre, Moissac, France, Trumeau
- 49. clear break with classical past Most were dedicated to the Virgin Mary. arched design
- 50. 12 th century Housed the tunic that the Virgin MaryHoused the tunic that the Virgin Mary was said to have worn at the birth ofwas said to have worn at the birth of JesusJesus.
- 52. Tympanum, lintel, and archivolts of the central portal, west façade, Chartres Cathedral, c. 1145-1170.
- 58. •Characterize Gothic construction. •architects tried to make the interiors as high as possible Chartres Cathedral
- 59. South wall of Chartres Cathedral, 13th century.
- 62. Saints Theodore, Stephen, Clement, and Lawrence, door jamb statues, south transept, Chartres Cathedral, 13th century.
- 63. Annunciation and Visitation, door jamb statues, Reims Cathedral, c. 1225-1245
- 64. Salisbury Cathedral, England, begun 1220. aerial view.
- 65. Cologne Cathedral, Germany, begun 1248.
- 66. Notre Dame, Paris. View from the east, 1163-1182.
- 68. Sainte Chapelle, Paris, from the southwest, 1245-1248.
- 69. Fan Vaulting broke the vaulting into many umbrella spokes and also lightened the pressure of the ceiling
- 70. Gargoyles: a protecting ornament - fantastic animal or grotesque creature.
- 71. gargoyle waterspout Notre Dame, Paris.
- 72. Sculptors and Masons at Work window, Chartres Cathedral, ca. 1220
- 74. Rose window and lancets, north transept, Chartres Cathedral13th cent.
- 75. Charlemagne panels; stained glass from Chartres ca. 1220-1225
- 77. ca. 1175–1200 (Romanesque) Auvergne, France Wood with paint, 31 5/16 x 12 1/2 x 11 1/2 in.
- 78. c. 1300-25, painted wood, 34 1/2 inches high
- 79. illustrations for medieval manuscripts Walls or panels paintings -church altarpieces
- 80. Simone Martini (c. 1284-1344), Saint Louis Altarpiece, c. 1317. Tempera on panel, main panel 78' 3/4" x 54' 1/4 ".
- 81. Duccio (c. 1255-1319), Maestà, from Siena Cathedral, 1308-1311. Tempera and gold on panel, 7' x 13' 6 1/4".
- 82. Mukteshvar temple of Shiva, Bhubaneshvar, Orissa, India, c. 950.
- 85. Vishnu Dreaming the Universe or Vishnu Sleeping on Ananta, relief panel, south side of Temple of Vishnu, Deogarh, Uttar Pradesh, India, early 6th century.
- 86. India 11th century, Hindu Through belief in him, the soul can be transported from the bondage of illusion and ignorance to salvation and eternal serenity. Shiva Nataraja, India, 10th century C.E. Bronze
- 87. China, most revered of sculptured images postponed entrance into nirvana in order to assist others in attaining enlightenment Guanyin, tenth to early twelfth century. Wood with painted decoration
- 88. Musical notation was invented in the monasteries Polyphony – music consisting of two or more lines of melody Lady Musica and Musicians. From Boethius, De Arithmetica.
- 89. String instruments – Harp, psaltery, lute Bowed fiddles – Vielle , rebec Wind instruments – pipe organs, recorders, bagpipes Percussion – chimes, cymbals, bells, tambourines, drums
- 91. Dies Irae – (Day of Wrath) dramatic expressism Motet – a short polyphonic choral composition based on a sacred text Lady Musica and Musicians. From Boethius, De Arithmetica. Naples
- 92. In what way is Inferno a work of imagination and art rather than one of religion and philosophy alone? How do the poem’s fantastic, imaginative, and dramatic elements contribute to its overall effectiveness? Describe the 9 levels of hell.
- 93. They brought to trial individuals whom local townspeople denounced as heretics. Physical torture might be used to obtain a confession.
- 94. Not until the 16th century would European West acknowledge a clear separation.
- 95. Gothic Art is the style of art produced in Northern Europe from the middle ages up until the beginning of the Renaissance. Typically rooted in religious devotion, it is especially known for the distinctive arched design of its churches, its stained glass, and its illuminated manuscripts. People moved from the countryside into towns.
Editor's Notes
- Great power and authority as a religious force and political institution. “Christendom” refers the Christian community of the Middle Ages. The medieval Church was enormously wealthy. Over the centuries, Christians had donated to Christendom so many thousands of acres of land that, by the end of the 12 century, the Catholic Church was the largest single land holder in western Europe. • Center of religious and social life • All Christians belonged to one church – Roman Catholic Church • Provided leadership in an unstable time • The church was as important, if not more important, than many kings/queen
- Against the rising tide of European monarchies, the papacy took measures to ensure its independence and its dominance. Not until the 16th century would European West acknowledge a clear separation between church and state.. Owned 1/3 of all land in Europe – largest landholder in Europe • Collected a tithe – 1/10 of income or 1 penny from peasants
- Civilizing Agent Enforcing periods of no war. Assumed moral and financial responsibility for the poor, the sick, and the homeless. Organized hospitals, refugees and orphanages.
- used to dissuade secular rulers from opposing papal policy The Church maintained it’s authority by: The interdict and excommunication were methods by which the Church maintained its authority. The Roman Catholic Church formed the bedrock of medieval European culture. It exercised great power and authority not only as a religious force, but also as a political institution. A set of sacred acts that impart grace. Purgatory was the intermediate realm where Christians go grace. (the free and unearned favor of God) Since only church officials could administer the sacraments, the clergy held a “monopoly” on personal salvation. Purgatory was the intermediate realm where Christians go were punished for sins which they repented but which they had not had expiated before their deaths. expiated (to make amends, show remorse, or suffer punishment for wrongdoing) Christianity addressed the question of personal salvation more effectively than any other world religion. Through the sacraments, a set of sacred acts that impart grace ( the free and unearned favor of God) medieval Christians were assured of the soul’s redemption from sin and, ultimately of eternal life in the world to come. The seven sacraments – touched every significant phase of human life; At birth, baptism purified the recipient of original Sin; confirmation admitted the baptized to full church privileges; ordination invested those entering the clergy with priestly authority; matrimony blessed the union of man and woman; penance acknowledged repentance of sins and offered absolution; Eucharist – the central and most important of the sacraments – joined human beings to God by means of the body and blood of Jesus; and finally , just prior to death, extreme unction provided final absolution from sin. By way of the sacraments, the Church participated in virtually every major aspect of the individual’s life, enforcing a set of values that determined the collective spirituality of Christendom.
- Purgatory is a supposed intermediate state after physical death for expiatory purification. Roman Catholic doctrine holds that this state exists and that those being purified can be helped by the prayers of the living. grace. (the free and unearned favor of God) Since only church officials could administer the sacraments, the clergy held a “monopoly” on personal salvation. Purgatory was the intermediate realm where Christians go were punished for sins which they repented but which they had not had expiated before their deaths. expiated (to make amends, show remorse, or suffer punishment for wrongdoing) Christianity addressed the question of personal salvation more effectively than any other world religion. Through the sacraments, a set of sacred acts that impart grace ( the free and unearned favor of God) medival Christians were assured of the soul’s redemption from sin and, ultimately of eternal life in the world to come. The seven sacraments – touched every significant phase of human life; At birth, baptism purified the recipient of original Sin; confirmation admitted the baptized to full church privileges; ordination invested those entering the clergy with priestly authority; matrimony blessed the union of man and woman; penance acknowledged repentance of sins and offered absolution; Eucharist – the central and most important of the sacraments – joined human beings to God by means of the body and blood of Jesus; and finally , just prior to death, extreme unction provided final absolution from sin. By way of the sacraments, the Church participated in virtually every major aspect of the individual’s life, enforcing a set of values that determined the collective spirituality of Christendom.
- They brought to trial individuals whom local townspeople denounced as heretics. Physical torture might be used to obtain a confession. If they failed they might impose exile or excommunication or turned over to the state to be hanged or burned at the stake. Burned at the stake – being the preferred punishment for female heretics. The accused were deprived of legal counsel and were usually tried in secret. Inquisitors might use physical torture to obtain confession, for the Church considered injury to the body preferable to the eternal damnation of the soul. heretics.a : adherence to a religious opinion contrary to church dogma b : denial of a revealed truth by a baptized member of the Roman Catholic Church c : an opinion or doctrine contrary to church dogma 2 a : dissent or deviation from a dominant theory, opinion, or practice b : an opinion, doctrine, or practice contrary to the truth or to generally accepted beliefs or standards Civilizing Agent Enforcing periods of no war. Assumed moral and financial responsibility for the poor, the sick, and the homeless. Organized hospitals, refugees and orphanages.
- Entering a Benedictine convent at the age of 8, she went on to become its abbess, A scholar of both Latin and her native German, she wrote three visionary tracts, treatises on natural science, medicine, and the treatment of disease an allegorical dialogue between the vices and the virtues, and a cycle of 77 songs arranged for devotional performance. She is one of the first great Christian mystics, Her works on such topics as the nature of the universe, the meaning of Scripture, and the destiny of the Christian soul are eloquent and original. In her landmark treatise Scivias, short Scito vias domini (know the Ways of the Lord) She recounts ecstatic visions filled with vivid images that have come to her in a “voice from Heaven”. She didn’t create the artwork for her book, but she designed how they would look. Her visions were quite detailed, and she also claimed to hear words, spoken in Latin. She saw them in her soul, not with her bodily eyes, which remained open. She often saw a brilliant light - more brilliant than a cloud over the sun. Inside this light she sometimes saw an even brighter light which she called "the living light." This made her lose all sadness and anxiety. Like all mystics she experienced total loss of self during her visions: "I do not know myself, either in body or soul. And I consider myself as nothing. I reach out to the living God and turn everything over to the Divine." [Letter to Wilbert of Gembloux, 1175] Her visions also seem to have been accompanied with pain and fainting fits:"From the very day of her birth," she writes of herself, "this woman has lived with painful illnesses as if caught in a net, so that she is constantly tormented by pain in her veins, marrow and flesh. This vision has penetrated the veins of the woman is such a way that she has often collapsed out of exhaustion and has suffered fits of prostration that were at times slight and at other times most serious." [Book of Divine Works: Epilogue] Recently Charles Singer and Oliver Sacks have interpreted these physical symptoms as migraine attacks. One of her visions was of falling stars turning black as they plunge into the ocean. Hildegard interpreted this as the rebel angels falling from heaven. Singer reads it as showers of phosphenes across the visual field, followed by a negative blind spot. Her concentric mandalas and her light with the light are seen as another visual symptom of migraine. But this interpretation, whether accurate or not, takes nothing away from the meaning she or we attribute to her visions. Hildegard –Scivias synopsis Book One -The Creator and Creation 1.The mountain of God Hildegard sees the Lord of the universe enthroned as "angel of great counsel" on an iron-colored mountain, which represents the eternity of his kingdom. The commentary contrasts divine majesty with mortal humility, for the two Virtues irradiated by the glory of God are Fear of the Lord and Poverty of Spirit –both images of the seer's own state of mind as she confronts this awesome vision. One Virtue represents the beginning of wisdom, and the other, the first beatitude. Like Isaiah in his vision of the Temple (Is 6:1-8),Hildegard is called and sent by the Lord to proclaim his justice. She is then granted insight into the mystery of human intentions as God sees and judges them.
- St. Hildegard, also called Hildegard of Bingen or Hildegard von Bingen, byname Sibyl of the Rhine, (born 1098, Böckelheim, West Franconia [Germany]—died September 17, 1179, Rupertsberg, near Bingen; canonized May 10, 2012; feast day September 17), German abbess, visionary mystic, and composer. Hildegard was born of noble parents and was educated at the Benedictine cloister of Disibodenberg by Jutta, an anchorite (religious recluse) and sister of the count of Spanheim. Hildegard was 15 years old when she began wearing the Benedictine habit and pursuing a religious life. She succeeded Jutta as prioress in 1136. Having experienced visions since she was a child, at age 43 she consulted her confessor, who in turn reported the matter to the archbishopof Mainz. A committee of theologians subsequently confirmed the authenticity of Hildegard’s visions, and a monk was appointed to help her record them in writing. The finished work, Scivias(1141–52), consists of 26 visions that are prophetic and apocalyptic in form and in their treatment of such topics as the church, the relationship between God and humanity, and redemption. About 1147 Hildegard left Disibodenberg with several nuns to found a new convent at Rupertsberg, where she continued to exercise the gift of prophecy and to record her visions in writing. A talented poet and composer, Hildegard collected 77 of her lyric poems, each with a musical setting composed by her, in Symphonia armonie celestium revelationum. Her numerous other writings included lives of saints; two treatises on medicine and natural history, reflecting a quality of scientific observation rare at that period; and extensive correspondence, in which are to be found further prophecies and allegorical treatises. She also for amusement contrived her own language. She traveled widely throughout Germany, evangelizing to large groups of people about her visions and religious insights. Her earliest biographer proclaimed her a saint, and miracles were reported during her life and at her tomb. However, she was not formally canonized until 2012, when Pope Benedict XVI declared her to be a saint through the process of “equivalent canonization,” a papal proclamation of canonization based on a standing tradition of popular veneration. Later that year Benedict proclaimed Hildegard a doctor of the church, one of only four women to have been so named. Universal Man, manuscript illumination from Scivias by Hildegard of Bingen.© Gianni Dagli Orti/Corbis As one of the few prominent women in medieval church history, Hildegard became the subject of increasing interest in the latter half of the 20th century. Her writings were widely translated into English; several recordings of her music were made available; and works of fiction, including Barbara Lachman’s The Journal of Hildegard of Bingen (1993) and Joan Ohanneson’s Scarlet Music: A Life of Hildegard of Bingen (1997), were published.
- All world religions have produced mystics - mystic - someone who believes in the existence of realities beyond human comprehension Sufism placed emphasis on visionary experience and the intensification of physical sensation through music, poetry, and dance, Religious rituals featuring whirling dancers known as “dervishes” transported the pious to a state ecstasy.
- Roman Catholic Church’s worldliness inspired movements of reform devoted to reviving the early Christian ideals of poverty , chastity , and humility. Italian, father nicknamed him “Francesco”. Legends written after his death credit him with numerous miracles and cures. One of the most popular legends related that toward the end of his life, during a period of withdrawal and fasting, his spiritual identity with Jesus was confirmed by his reception of the stigmata – the physical marks of the Cruscifixion.
- Medieval towns lured framers and artisans to buy freedom from the lord of the manor – or simply runaway from the manor. Over the years, there emerged a new class of people, a middle class (“midway” between serfs and feudal lords). Although by the 12 th century town dwellers constituted less than 15 % of the total European population, the middle class continued to expand and ultimately it came to dominate Western society.
- Hell’s mouth – jaw big enough for actors to pass through, often animated with smoke and fire and lively, costumed devils. Medieval drama, like Greek drama, had its roots in religious performance: specifically, the Catholic Mass. Like the “Play of Herod”. 11 th-13th centuries plays expanded in staging techniques, Performances moved from the choir to the church doorway, and then into the town square. While medieval plays were a popular form of entertainment, they were principally didactic (with message), functioning as sources of religious and moral entertainment. Everyman examines the question of Christian salvation by use of allegorical characters, and what Man must do to attain it. The premise is that the good and evil deeds of one's life will be tallied by God after death, as in a ledger book. The play is the allegorical accounting of the life of Everyman, who represents all mankind. In the course of the action, Everyman tries to convince other characters to accompany him in the hope of improving his account. All the characters are also allegorical, each personifying an abstract idea such as Fellowship, (material) Goods, and Knowledge. The conflict between good and evil is dramatized by the interactions between characters. The earliest existing morality play, Ordo virtutum (play of the Virtues), was written by Hildegard of Bingen . This twelfth-century drama is essentially and allegorical (a work in which the characters and events are to be understood as representing other things and symbolically expressing a deeper, often spiritual, moral, or political meaning) dialogue between vice and virtue.
- Death has come to take everyman, Unprepared and frightened, the Christian pilgrim desperately looks to his family (kindred) , his friends ( fellowship) , his worldly possessions (goods), and all he has treasured in life to accompany him to the grave. Ultimately, his only ally is Good Deeds, which, with the assistance of the Catholic priest, will help him achieve salvation. Everyman examines the question of Christian salvation by use of allegorical characters, and what Man must do to attain it. The premise is that the good and evil deeds of one's life will be tallied by God after death, as in a ledger book. The play is the allegorical accounting of the life of Everyman, who represents all mankind. In the course of the action, Everyman tries to convince other characters to accompany him in the hope of improving his account. All the characters are also allegorical, each personifying an abstract idea such as Fellowship, (material) Goods, and Knowledge. The conflict between good and evil is dramatized by the interactions between characters. The earliest existing morality play, Ordo virtutum (play of the Virtues), was written by Hildegard of Bingen . This twelfth-century drama is essentially and allegorical (a work in which the characters and events are to be understood as representing other things and symbolically expressing a deeper, often spiritual, moral, or political meaning) dialogue between vice and virtue.
- Every aspect of Dante’s Commedia caries symbolic meaning. An adventure packed journey through the realm of the dead. On a symbolic level, the poems describes the spiritual pilgrimage for the Christian soul from sin (Hell), through purification (Purgatory), and ultimately, to salvation (Paradise). He rejected the Latin of churchmen and scholars and wrote in his native Italian, the language of everyday speech. Dante called his poem a comedy because the piece begins with affliction (hell) and ends with joy (Heaven). The Comedy (the adjective Divine, indicating the religious nature of the work, was added in the sixteenth century). Obviously, Dante’s choice to call his work a comedy does not mean that the poem is intended to be humorous. Rather, the word comedy refers to one of the two classical styles, the other being tragedy. Tragedy was the high style, the style of epics, with plots that flowed from a promising beginning to a destructive end. Comedy was the low style, the style of grotesque caricatures, with plots that flowed from an unhappy beginning to a happy end.
- – He points to hell with his right hand. The mount of Purgatory with its seven terraces is behind him. Florence’s cathedral (with its newly finished dome) represents Paradise on the poet’s left. Domenico di Michelino (14171491), Dante and His Poem, 1465. Fresco, 10 ft. 6 in. x 9 ft. 7 in.
- Where they are punished according to the nature of their sins: the violent are immersed for eternity in boiling blood and the gluttons wallow like pigs in their own excrement. By the law of symbolic retribution, the sinners are punished not for but by their sins. Those condemned for sins of passion- the least grave of sins-inhabit the conical rings at the top of hell, while those who have committed sins for the will lie farther down. Those guilty of sins for the intellect are imprisoned still lower, deep with in the pit ruled by Satan . Thus, Dante’s hell proclaims a moral hierarchy and a divinely graded system in which the damned suffer their proper destiny.
- British poet, painter, visionary mystic, and engraver, who illustrated and printed his own books.
- From his early years, he experienced visions of angels and ghostly monks, he saw and conversed with the angel Gabriel, the Virgin Mary, and various historical figures.
- Agnolo Brunelleschi was a thief whose punishment was to be attacked for all eternity by a serpent. Their two bodies merge into one another, so that Brunelleschi’s appearance befits his sin. Blake shows the moment at which the serpent begins to inhabit Brunelleschi’s body, as its jaws engulf his head and it sinks its claws into his skin
- Mosca de’ Lamberti, who through endorsing Buondelmonte’s murder was at the root of the factional strife in Florence. So Dante brings together sowers of discord in religious history,
- Education shifted from the church to cathedral schools located in the new urban centers of western Europe. Of the many landmark contributions of medieval Christendom to modern western society – including trail by jury and the Catholic Church itself p one of the most significant was the university. Education in medieval Europe was almost exclusively a religious enterprise, and monastic schools had monopolized learning for many centuries. By the 12th century, however, spurred by the resurgence of economic activity, the rise of towns , and the influx of heretofore unavailable texts, education shifted from monastic and parish settings to cathedral schools located in the new urban centers of Western Europe. At bologna, Paris, Oxford, and Cambridge, to name but four among some 80 universities founded during the Middle ages, the best minds of Europe grappled with the compelling ideas of their day often testing those ideas against the teachings of the Church. Exams for the bachelor of arts (B.A.) degree, usually taken upon completion of a 3- 5 year course of study, were oral. Beyond the B.A. degree, one might pursue additional study leading to mastery of a specialized field. The master of the arts (M.A.) degree qualified the student to teach theology or practice law or medicine. Still another 4 years of study ere usually required for the doctoral candidate, whose efforts culminated in his defense of a thesis before a board of learned masters. (tradition required the successful candidate to honor his examiners wit a banquet) Provided schools for children of upper class Eventually, monasteries became too small to teach all who wanted to be educated Began meeting outside monastery Those buildings grew into universities
- Like a tourist destination people would come from miles to see the church and its relics. If the Catholic Church was the major source of moral and spiritual instruction in medieval Christendom, it was also the wellspring of artistic productivity and the patron of some of the most glorious artworks ever created. Within a period of 150 years, more than 1,000 monasteries and abbey churches ere raised throughout Western Europe. he cathedral of St. Sernin at Toulouse is the largest surviving Romanesque church in France. This location was in the heart of ancient Gaul, which was a Roman province. The exterior is brick, and the masonry walls are very thick. The additive quality of this structure is also typically Romanesque. It's not highly decorated on the outside — but there is some bit of decoration around the arches. As noted above, during the Romanesque period, thousands of people embarked on holy pilgrimages. The churches that contained important relics needed to have enough space to accommodate the all the travelers. Therefore, they discarded the Early Christian basilican plan as too small. Also, all of the basilican churches that we studied had a wooden, trussed roof. These were prone to fire. Instead, they turned to the Roman barrel vaults to cover the nave. However, there is one large difference. Most Roman vaults were executed in concrete — these are made of stone. They required the skill of professional stone masons. These could not be built by monks — rather monks would have to hire masons. Very quickly, masons became a professional organization and went from site to site to practice their skills. We can see the emergence of the Medieval guild system associated with various trades.
- On feast days, the image, sheathed in thin sheets of gold and semiprecious stones, was carried through the streets in sacred procession. Reliquaries - a container or shrine where relics such as the remains of a saint are kept. Reliquary statue of Sainte Foy, Conques, late 10th-11th century. Gold and gemstones over a wooden core, 33 1/2" high. Like the Crusades, pilgrimages were an expression of increased mobility and economic revitalization. Since pilgrims, like modern tourists, constituted a major source of revenue for European towns and churches, parishes competed for them by enlarging church interiors and by increasing the number of reliquary chapels. We should also note that in the year 1000, people were preparing for the end of the world (as many were again in 2000). Thus, the Romanesque period marked the beginning of pilgrimages, that is people traveling to see and experience the holy powers of relics. Note that the pilgrim routes and merchant route were often the same.
- A relic is something that belonged to someone holy. Relics were valued by degree: First degree relic — part of the body of holy person Second degree relic — something owned by holy person e.g. the veil of the saint Third degree relic — something the that pilgrim participating in a holy visit owned The reliquary is the receptacle for the relic. Above is the head reliquary of St. Alexander from the Stavelot Abbey in Belgium. That means it is a receptacle for the skull of St. Alexander; it is a first degree relic. As a work of sculpture, it can be described as an idealized head made from silver with bronze gilding. The portrait head is adorned with a collar of jewels and enamel plaques and sits on an elaborate box supported by four bronze dragons. The center panel on cloisonné is a portrait of Alexander when he was Pope. During the Romanesque Period, relics become extremely important. During a pilgrimage people would stop at many holy spots and would get a little leaden symbol at each location. For some churches, guidebooks were written that stated the miraculous stories associated with the relics. The churches with the bodies of martyrs became popular and wealthy. In most cases, the villagers alone could not have built the large churches required to accommodate vast crowds of pilgrims. The money depended on the pilgrims and the trade route. Thus, the attraction to relics was part of a very intensive belief system, but one that was encouraged by economics as well. This emphasis on relics did attract criticism that the church was spending more money on decoration than on its own people, but this complaint did not diminish the practice.
- A uniform system of stone vaults in the upper zones of the nave and side – aisles. characterized by semi-circular arches Compare the plan above to the aerial view of the church and notice that the ground plan, particularly the chapels, can be seen from the outside. St. Sernin at Toulouse had a huge central nave. It also had two side aisles and was designed to allow pilgrims to flow all around the church — including through the ambulatory in the apse. The overall shape of the plan is cruciform. The apse is greatly extended. Also note the chapels in the apse — each contained relics. At the very end was a chevet, an extended apse without an ambulatory. The central tower over the crossing made it easy for pilgrims to identify the structure at their destination. The interior of St. Sernin is a monumental space — equivalent to Hagia Sophia. It consists of massive barrel vaults with supporting arches. As stated earlier, it does not have the flat roof typical of the basilican plan. It is an interior that is very dark, heavy, and massive.
- While the floor plan of the typical Romanesque church followed the Latin cross design of early Christian and Carolingian churches, the new system of stone vaulting allowed medieval architects to build on a grander scale than ever before, To provide additional space for shrines, architects enlarged the eastern end of the church to include a number of radiating chapels.
- As stone construction became important during the Romanesque period, so did large-scale stone sculpture. Free standing statuary was rare because it still held connotations of idolatry. However, architectural sculpture became more and more common. In particular, many Romanesque churches had grand portals with the following architectural elements: voussoirs tympanum trumeau (between the doors) jambs
- The tympanum of the central portal of the Madeleine de Vézelay is different from its counterparts across Europe. From the beginning, its tympanum was specifically designed to function as a spiritual defense of the Crusades and to portray a Christian allegory to the Crusaders' mission. When compared to contemporary churches such as St. Lazare d'Autun and St. Pierre de Moissac, the distinctiveness of Vézelay becomes apparent. The art historian George Zarnecki wrote, "To most people the term Romanesque sculpture brings to mind a large church portal, dominated by a tympanum carved with an apocalyptic vision, usually the Last Judgment."[6] This is true in most cases, but Vézelay is definitely an exception. Unlike its contemporaries, which tend to depict the Second Coming of Christ, the subject of Vézelay's tympanum is the Pentecostal Mission of the Apostles. Its tympanum reflects its unique importance in the development of the Crusades. Thirty years before the Vézelay tympanum was carved, Pope Urban II planned on announcing his call for a crusade at La Madeleine[citation needed]. In 1095, Urban altered his plans and preached for the First Crusade at the Council of Clermont, but Vézelay remained a central figure in the history of the crusades. The tympanum was completed in 1130. Fifteen years after its completion, Bernard of Clairvaux chose Vézelay as the place from which he would call for a Second Crusade. Vézelay was even the staging point for the Third Crusade. It is there that King Richard the Lionheart of England and King Philip Augustus of France met and joined their armies for a combined western invasion of the holy land. It is appropriate, therefore, that Vézelay's portal reflect its place in the history of the crusades.
- . Framed by an almond-shaped halo, Jesus displays his wounds and points to the realms of the afterlife: heaven (on his right) and hell (on his left) . Surrounding the awesome Christ, flame like saints and angels and grimacing devils await the souls of the resurrected, They are pictured rising from their graves in the lintel.
- Sculpture used to teach religion to people since most could not read. This type of sculpture is called architectonic since it is part of the architecture. The forbidding image of Christ as Judge greeted them from the center just above their heads as they entered as the west end of the building. Framed by an almond-shaped halo, Jesus displays his wounds and points to the realms of the afterlife: heaven (on his right) and hell (on his left) . Surrounding the awesome Christ, flame like saints and angels and grimacing devils await the souls of the resurrected, They are pictured rising from their graves in the lintel. This example from the church of St. Lazare in Autun is another Romanesque tympanum sculpture. It is also an Apocalyptic scene, but is even more more dire than than the tympanum from the Church of St. Pierre at Moissac. All who have died are now being judged to determine whether they will be blessed or damned.At the bottom left, souls are lining up to be judged. In the center, we see Christ enthroned within a mandorla or full-body halo
- To the right of Christ (which is Christ’s left), we see angels and demons manipulating the scales as the souls are weighed. Finally, on the bottom right, we see the damned. The sculpture is annotated with the following inscription: “May this terror terrify those whom earthly error binds, for the horror of these images here in this manner truly depicts what will be.” We also know who the artist is because the sculpture is signed with his name -- Gislebertus!
- The tympanum from the Church of St. Pierre at Moissac, France, is an excellent example of Romanesque style marble relief sculpture. The subject is the Second Coming of Christ as King and Judge of the World in its Last Days — it's apocalyptic imagery from the Book of Revelation. In the center of the tympanum we see Christ enthroned. This is an image we’ve seen over and over again since the early Christian period. Here, however, Christ is no longer the young beardless shepherd. Instead, he is foreboding and stern. The drapery displays hard folds and severe cuts. Overall, Christ is executed in rather shallow relief. Also note that Christ is the largest figure in the composition — this is a hieratic emphasis again! Christ is flanked by the symbols of the Four Evangelists. To either side of them are angels holding the scrolls that record those human deeds which require judgment. The remaining figures are crowned musicians who make music to praise God. The figures are highly elongated and almost disjointed. The lintel is embellished with a series of rosette patterns. The entiresurface is ornamented.
- Above is an example of the trumeau sculpture from the church of St. Pierre. At the front are six intertwined lions. In the Old Testament, the Lion of Judah belonged to King David, who founded Israel. This reference appears directly underneath Christ — which is meant to suggest that the Old Testament King is supporting the New Testament King. On the side, the trumeau sculpture depicts an Old Testament Prophet, who may be Jeremiah or Isaiah. His identity as a prophet is based on the scroll which he holds. Stylistically, this prophet is very similar to the angels that flank the symbols of the Four Evangelists. The figure is very elongated. There is no sense of body proportion. There is no weight shift — in fact, the body appears totally weightless. The carving is very shallow, and the folds associated with the drapery are very flat and stylized and reminiscent of manuscript illumination. The prophet face is very compassionate. Note that this is the face that one would see upon leaving the church. Is well placed and visually effective. Thus, the fear invoked by the tympanum leads the pilgrim into the church, and the caring face of the prophet provides comfort and reassurance on the way out.
- Chartres Cathedral located southwest of Paris, that all of the most characteristic features of the Goth styl- architecture, sculpture, and stained glass – reach a classic synthesis . 1200 a.d. Gothic Art is the style of art produced in Northern Europe from the middle ages up until the beginning of the Renaissance. Typically rooted in religious devotion, it is especially known for the distinctive arched design of its churches, its stained glass, and its illuminated manuscripts. People moved from the countryside into towns. What is meant by the term Gothic? It is a term coined during the Renaissance to define "barbaric" art. Then, Gothic art was seen as non-refined and anti-classical. It was initially used to describe French works of art, although there are many examples of Gothic art outside of France. The Gothic style emerged in the early 12th century as the modern French style. Although there are other excellent example of Gothic architecture in Europe, we will focus on France -- specifically, St. Denis, Chartres, Paris, and Reims.
- Gothic landmark Surpasses all others in the art of stained glass
- There are several features that Characterize Gothic construction. There is an overall feeling of verticality as architects tried to make the interiors as high as possible, as if reaching toward heaven.
- meant to look like spirits fleeing or being driven from the holy building, could also have been to entice non-believers to enter the cathedral.
- , as restored in the nineteenth century.
- Notre Dame de al Belle Verriere; Our Lady of the Beautiful Glass 12 th cen.
- This type of sculpture, with the Christ Child seated in the Virgin’s lap in a frontal pose, is known as a Throne of Wisdom (Sedes Sapientiae). This seemingly straightforward image conveys complex theological ideas. Christ, as the Son of God, is Wisdom incarnate. Mary, who carried Christ in her womb and who holds him on her lap, serves as his seat, or throne. Christ would have grasped a Bible, a further representation of the divine wisdom that he himself embodies. Beginning about 1100, Mary was increasingly revered as a nurturing, merciful intercessor. Such statues of her were used as devotional objects and may have been carried in church processions. This sculpture probably functioned as a container for holy relics, as it has two cavities—one behind the Virgin’s shoulder, the other at her chest.
- n the later Middle Ages, a number of preachers and writers discussed a different type of Christ who suffered in the way that humans suffered. This was different from Catholic writers of earlier ages, who emphasized Christ’s divinity and distance from humanity. Late medieval devotional writing (from the 13th-15th centuries) leaned toward mysticism and many of these writers had visions of Christ’s suffering. Francis of Assisi stressed Christ’s humanity and poverty. Several writers, such as St. Bonaventure, St. Bridget of Sweden , and St. Bernardino of Siena, imagined Mary’s thoughts as she held her dead son. It wasn’t long before artists began to visualize these new devotional trends. Crucifixion images influenced by this body of devotional literature are called Christus patiens, the patient Christ. The effects of this new devotional style, which emphasized the humanity of Christ, quickly spread throughout western Europe through the rise of new religious orders (the Franciscans, for example) and the popularity of their preaching. It isn’t hard to see the appeal of the idea that God understands the pain and difficulty of being human. In the Röttgen Pietà, Christ clearly died from the horrific ordeal of crucifixion, but his skin is taut around his ribs, showing that he also led a life of hunger and suffering. Röttgen Pietà, c. 1300-25, painted wood, 34 1/2 inches high (Rheinisches Landesmuseum, Bonn) Röttgen Pietà, c. 1300-25, painted wood, 34 1/2 inches high (Rheinisches Landesmuseum, Bonn) Pietà statues appeared in Germany in the late 1200s and were made in this region throughout the Middle Ages. Many examples of Pietàs survive today. Many of those that survive today are made of marble or stone but the Röttgen Pietà is made of wood and retains some of its original paint. The Röttgen Pietàis the most gruesome of these extant examples.
- Medieval paintings were not, as they are in modern times, intended to decorate the walls of domestic or public interiors. Rather , they were either created as panels for religious altarpieces installed in church chapels , or they took the form of miniatures to adorn manuscripts.
- Medieval altarpieces probably took inspiration from the stark but expressive Byzantine icons that were produced in great number in Greek Orthodox Christendom. The typical Gothic altarpiece consisted of a wooden panel or panels smoothed and covered with gesso ( a chalky whit plaster), on which images ere painted in tempera (a powdered pigment made with egg yolk) . The dry, flat surface colors provided a rich contrast with areas such as halos and backgrounds that were brightly embellished with gold leaf that reflected the light of altar candles, Installed on or behind the church altar, the altarpiece might display scenes from the life of Jesus, the Virgin Mary or a favorite saint or martyr.
- One of 25 remaining Hindu temple-shrines, rises like a beehive-shaped stone mountain, its facades embellished by a multitude of high-relief sculptures drawn from Hindu lore and literature. Compare this to Notre Dame no two artistic enterprises could stand further apart in their imagery, Whereas the medieval church discouraged the representation of nudity as symbolic of sexual desire and sinfulness,
- Hinduism invited the display of sculptured nudes, often erotically posed, The exaltation of the body as a vessel of abundance, prosperity, and regeneration, so evident in Hindu temple sculpture, reflects the Hindu respect for the union of human and divine love.
- Shiva is seen as the Supreme God and has five important works: creator, preserver, destroyer, concealer, and revealer (to bless) encircled by a celestial ring of fire the four – armed deity holding symbols of creation and destruction is one of medieval India’s most famous bronze icons.If a single icon had to be chosen to represent the extraordinarily rich and complex cultural heritage of India, the Shiva Nataraja might well be the most remunerative (paying somebody or rewarding somebody with money) candidate. It is such a brilliant iconographic invention that it comes as close to being a summation of the genius of the Indian people as any single icon can. Sculptures of Shiva dancing survive from at least as early as the fifth century, but it was under the rule of the great Chola dynasty of southern India (ca. 860–1279) that the world-famous iconographic type evolved. The setting of Shiva's dance is the golden hall of Chidambaram, at the center of the universe, in the presence of all the gods. Through symbols and dance gestures, Shiva taught the illustrious gathering that he is Creator, Preserver, and Destroyer. As he danced he held in his upper right hand the damaru, the hand drum from which issued the primordial vibrating sound of creation. With his lower right hand he made the gesture of abhaya, removing fear, protecting, and preserving. In his upper left hand he held agni, the consuming fire of dynamic destruction. With his right foot he trampled a dwarflike figure (apasmara purusha), the ignoble personification of illusion who leads humankind astray. In his dance of ecstasy Shiva raised his left leg, and, in a gesture known as the gaja hasta, pointed to his lifted leg to provide refuge for the troubled soul. He thus imparted the lesson that through belief in him, the soul can be transported from the bondage of illusion and ignorance to salvation and eternal serenity. Encircling Shiva is a flaming body halo (prabhamandala, or surrounding effulgence) that not only establishes the visual limits of this complex and dynamic composition but also symbolizes the boundaries of the cosmos. Source: Shiva as Lord of the Dance (Nataraja) [Tamil Nadu, India] (1987.80.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
- Bodhisattva - Beings who have postponed entrance into nirvana in order to assist others in attaining enlightenment This polychrome wooden figure of Guanyin is possibly the best-preserved and most magnificent sculpture from this period of Chinese Buddhist art. A bodhisattva, unlike a Buddha, refrains from entering Nirvana until all sentient beings have attained enlightenment. Guanyin, the bodhisattva most associated with compassion by Chinese Buddhist followers, is depicted here in a pose of royal ease. Gentle and calming, the Guanyin bodhisattva would appeal to patrons in need of emotional support and guidance. With coloring dated to no later than the mid-16th century, the sculpture’s vivid tonal intensity adds to the bodhisattva’s emotional approachability.
- Notational signs traditionally written above the words to indicate tonal ascent or descent. Polyphony was a western invention; it did not make its appearance in Asia until modern times.
- Dies Irae – (Day of Wrath) reflected the new spirit of dramatic expression in medieval Christendom