The document provides an overview of Early Medieval art from 450-1050 CE. It describes several civilizations that were producing art during this period, including Hiberno-Saxon art in the British Isles, Viking art in Scandinavia, and Carolingian art in France and Germany. Some key characteristics of Early Medieval art mentioned are the prevalent use of interlacing patterns, animal styles, and horror vacui designs. Examples of artwork from the Lindisfarne Gospels and Book of Kells are also discussed.

1. EARLY MEDIEVAL ART
Time Period: 450-1050 (aka: 5th – 11th century)

2. There are a few civilizations going on
in Medieval times…
• HIBERNO-SAXON ART: 6th – 8th centuries
in the British Isles
• VIKING ART: 8th – 11th centuries in
Scandinavia
• CAROLINGIAN ART: 8th – 9th centuries in
France and Germany
• OTTONIAN ART: 10th – early 11th
centuries in Germany

3. Some main points about Early Medieval art:
• Many portable works of art done in the
“animal style”, especially during the migration
period of the Early Middle Ages
• Horror vacui and interlacing patterns are
common characteristics of the art
• Charlemagne in power = the first of MANY
western European revivals of ancient Rome
• Ottonian art revives large scale sculpture and
architecture

4. History Lesson:
• In the year 600, everything that was known
was……well……old •All those cool
technological
breakthroughs from the
Romans?? LOST! Lost to
history, or beyond the
capabilities of the
migratory people of the
7th century.
•THIS was the age of mass
migrations across Europe

5. • ATILLA THE HUN – 5th century
king whose hordes of subjects
were famous for plundering
everything in their path
• Then the Vikings sailed across
the North Sea and invaded the
British Isles and colonized parts
of France.
• The Vandals were also really
rude. They destroyed the
remains of Roman civilization!
Jerks!

6. • Historians call this time “The Dark Ages”, which is in
reference to our knowledge of the times (we’re “in
the dark” about a lot of it)
FINALLY, at the end of the 8th
century, there was stability
in Europe – A bunch of
Frankish kings (including
Charlemagne) built an
impressive empire. The
capital was centered in
Aachen, Germany.

7. • THEN, in the 10th century, a dynasty of three
German kings (all named, Otto, strangely
enough), established the Ottonian Empire and
reunited central
Europe

8. PATRONAGE/ARTISTS
• Where does a person learn in the Early Middle
Ages? At a monastery! But most people
weren’t very educated. Even Charlemagne
couldn’t write more than his name (though,
he could read!).
• Therefore, artists who could draw AND write
were hot stuff. They were honored for creating
manuscripts.

9. • Originality and new ideas? Not happening in art.
This notion was unknown in the Middle Ages.
• Scribes copied great works of ancient literature (the
Bible, medical essays, etc.). They did not record
modern literature or folk tales 
• Scribes kept the original wording of the texts
• Illustrators painted important scenes (used
traditional approaches in style along with individual
creativity
• Text of a manuscript = exact copy of original
• Illustration of a manuscript = some freedom of
expression

10. •Manuscript books are called CODICES (more user-
friendly and resilient than ancient scrolls)
Made of tough calf hide (VELLUM) or sheep or goat
hide (PARCHMENT). Hides were cut in sheets, soaked
in lime, dried, and chalked to whiten the surface.
Artisans scrape the skin with a sharp knife to get an
even thickness. Then
they rubbed it smooth
to remove impurities.
The hides were folded
into small books of 8
pages called QUIRES.

11. • Parchment is highly valued (they use
it even after paper became standard)
• Illustrations done mostly by monks
and nuns
• Wrote in rooms called SCRIPTORIA
(“writing places”) with no heat or
candlelight (to prevent fires). Sounds
lovely!
• Vow of silence to limit mistakes (no
backspace!)
• Often a team of scribes and
illustrators would work on one book
• The books had a sacred quality – the
word of God is in there!
• Books covered with bindings of wood
or leather
• Decorated with gold leaf and
precious gems, ooooo.

12. Time for some SAXON art…
• Objects done in CLOISONNE dominate (enamelwork in
which colored areas are separated by thin bands of
metal, usually old or bronze)
• HORROR VACUI designs (Latin meaning “fear of empty
spaces”): entire surface is filled with objects, people,
designs, and ornaments in a congested way
• ANIMAL STYLE decoration: animals depicted in a
stylized and complicated pattern- usually fighting
• Interlacing patterns are common
• Elaborate symmetry with alternating animals and
geometric designs.
• Most objects are portable

13. Purse Cover from Sutton Hoo Ship Burial,
600-650 (7th century), gold, garnet, enamels

14. •Sutton Hoo was the scene of a
ship burial, possibly for King
Raedwald of East Anglia
•Purse cover designs survived, but
backing of ivory and bone
disintegrated (don’t buy ivory!)
•Leather bag also bit the dust
•ANIMAL STYLE! Hawks attacking
ducks
•Animals bite heads off the men
they flank
•Interlacing patterns of ornamental
designs, intertwined arms and legs
•CLOISONNE technique

15. HIBERNO-SAXON ART (6th-8th centuries)
• Art of the British Isles
• Hibernia is the ancient name for Ireland
• Main art = illuminated manuscripts
• Complicated interlacing patterns, horror vacui
• Pages with borders of animals in combat patterns
(ANIMAL STYLE)
• Each section of text opens with huge initials that
are richly decorated
• Irish artists were skilled with color and form-
polychrome techniques

16. Saint Matthew from the
Book of Lindisfarne, 700 (8th
century), tempera on vellum
•St. Matthew is on
cushioned bench, book
on his lap, writing his
book in the Bible
•Man behind curtain
might be “inspiration”
from God, or maybe
Moses or Christ
•Matthew’s symbol is
above him (an angel)
•Latin words “image of a
man”

17. •Byzantine influence:
-Greek words “St.
Matthew” in Latin
characters
-Angel’s hand covered
•Flattened, linear
elements
•Crisp lines in drapery (no
modeling)
•Called the Book of
Lindisfarne because the
book was painted by
Bishop Eadfrith of
Lindisfarne

18. Cross Pages from the
Lindisfarne Gospels,
700 (8th century),
tempera on vellum
(more ahead…)
These pages are called
“carpet pages” and are at
the beginning of the four
Gospels

19. •Huge range of pigment
•Colors from animal,
vegetable, and mineral
sources (some imported)
•Egg whites and fish glue
to bind pigment
•Celtic style- spiral style
and “knot work”
•Animal style- extensive
use of interlaced animal
and bird patterns – birds
might have been from
artist’s observations of
wildlife in Lindisfarne

20. •Geometrical
ornamentation (Germanic
influence)
•Resemblance to Islamic
prayer rugs (Coptic
influence – Christian
Egyptian)
•Prayer rugs help
worshippers in prayer =
these pages prepare the
reader before the Gospel
message

21. •Crosses are equal-
armed with one
square unit added to
the foot
•Complex maze of
interlacing patterns
•In this one, there is a
border of stylized
birds
•Finials at each corner
with dog heads- ears
and necks form
interlace patterns

22. Chi-Rho-Iota Page from the Book of Matthew
in the Book of Kells, 800 (9th century), ink of vellum
•Lavish, richly illustrated book
with complex designs
•Interlacing patterns galore!
•Heads and figures of people
appear in elaborate patterns
•Initials are dominant motifs
•CHI and RHO are first two
letters of Christ’s name in
Greek (Christos) – a
monogram in Christian art

23. Chi-Rho-Iota Page from the Book of Matthew
in the Book of Kells, 800 (9th century), ink of vellum
•Created by monks in one of
those cozy scriptoriums
•Painted on vellum

24. And just a few more images from the
Book of Kells just for kicks…

29. • And just a fun fact: Traditional Irish dancing
dresses are decorated with designs from the Book
of Kells (check out the Animal Style!).

30. VIKING ART
(8th – 11th centuries in Scandinavia)
•Population explosion in Scandinavia = expansion of Viking culture
through northern Europe
•Viking artists liked animals and spirals in elaborate interlacing
patterns.
•Viking art is characterized by “applied art”- art that decorates
functional objects
•More ANIMAL STYLE and HORROR VACUI

31. Animal Head Post from the Osenberg
Ship Burial, 834 (9th century), wood

32. • Part of a ship burial for
two highly placed
women in the Viking
court
• Snarling mouth
• Flaring nostrils
• Wild, staring eyes
• Head with interlacing
animal patterns
• Purpose of head post
is unknown – may
have been used in a
procession or on the
prow of a boat
• Discovered in Norway,
well preserved
because it was buried

33. CAROLINGIAN ART
(8th – 9th centuries in Germany and France)
• This is the time of Charlemagne
• The first revival of Classical art beyond the
ancient world
• Charlemagne wanted a “new Rome”- planned
bath houses, theaters, and a forum in the
capital, Aachen
• Roman imagery revived on everything – coins
to architecture

34. • Carolingian churches have elaborate WESTWORKS:
a centralized entrance beneath a second story
chapel, flanked by impressive towers
•Churches often had an attached monastic building
for monks or nuns. They ate, slept, and worked
around an open-air courtyard called a CLOISTER –
placed adjacent to the church

35. •Plan of St. Gall Monastery (9th century)
•More about this place later……..
Cloister

36. • Some Carolingian murals and mosaics
were made, but they were not in the
Frankish taste.
• Instead, they continued the medieval
tradition of manuscript painting –
inspired by Roman sources and Byzantine
iconography
• Let’s look at some Carolingian art…..

37. Lorsch Gatehouse
760 (8th century), Lorsch, Germany

38. Constantine?
Three arched
openings divided by
engaged columns

39. • Fluted pilasters on
second story
• Carolingian pattern
motifs cover walls
• Chapel on upper
story – maybe it was
a reception room for
guests?
• Was placed before
the entrance to a
monastery, in the
atrium
• The turrets have
stairwells
Lorsch Gatehouse
760 (8th century), Lorsch, Germany

40. Equestrian Statue of a Carolingian Ruler
9th century, bronze (It’s at the Louvre in Paris!)
• Ruler is holding the orb
(symbol of the world)-
imperial imagery
• Rider is way too big for the
horse he’s on (poor horse!)
• Sits bolt upright, little
natural movement of horse
• Maybe this guy represents
Charlemagne or Charles the
Bald?

41. Influenced by Roman equestrian
statues like Marcus Aurelius

42. Utrecht Psalter,
820-832 (9th century), ink on
vellum, The Netherlands
• Richly illustrated ink drawings of
the psalms of the Bible – 166
illustrations (one for each psalm
and other texts in the
manuscript)
• Monochromatic (cheap and
quick)
• Very neat writing- highly legible
• Rich imagery
• Overly-literal interpretation of
the text
• Figures display a lot of gestures-
appear agitated and violent,
• Perhaps used by several monks
at the same time to read while
singing
• Perhaps used by young monks as
a learning tool (to memorize the
psalms, the visuals help)

43. Example of
LITERAL images:
PSALM 27
illustration
• Text says they “go down into the pit”
• We see winged figures poke the workers with spears
• A king king stands before a temple, Christ and
angles above
• Umbrella over king – maybe illustrated by a
foreigner (not an Anglo-Saxon artist)?

44. Odo of Metz,
Palatine Chapel,
792-805
(late 8th/ early 9th cen.)
Aachen Germany

45. •Centrally planned chapel built
for Charlemagne
Strange that the largest arches
are on the second floor, not
the first. The columns that fill
the arches do not support the
arch. They just fill the space.

46. San Vitale vs. Palatine
Chapel by Odo of Metz

47. • Charlemagne
imported capitals
and columns from
Revenna
• Charlemagne’s
throne is in the
gallery (halfway
between heaven
and earth)

48. • The dome is composed of spherical triangles
• The Palatine Chapel was part of Charlemagne’s palace,
but is now part of Aachen Cathedral (palace gone)
• Holds Charlemagne’s remains

49. Plan of St. Gall, 820 (9th cen.), ink on parchment, Switzerland

50. • The original is a little hard to see…
• Plan of an ideal self-sufficient monastic
community of about 3000 people
• Church is in the center- symbolically and
literally
• Cloistered monks only leave to go into
the fields.
• Daily activities surround the cloister
(sleeping, eating)
• Workshops for making leather and
pottery
• Houses made of timber, serfs live with
their animals
• Carolingian church plan typical of the
time- two apses and an elaborate
westwork
• The plans were never used- nothing
built.

51. Crucifixion with
Angels and Mourning
Figures, Linsau
Gospels
870-880 (9th century)
Gold, pearls, sapphires,
garnets, and emeralds
•Magnificent cover of an
illuminated manuscript
•Covers like this were
frequently reused or
stolen because of their
value

52. •Made in one of the
monastic workshops
of Charlemagne’s
grandson, Charles the
Bald
•Cross and Crucifixion
were common thems
for medieval book
covers
•Gold with figures in
REPOUSSE
(remember what that
is???)
•Heavily jeweled

53. •Jewels are raised up
from the gold ground-
allows reflected light
to enter the
gemstones from
beneath- creates a
lustrous glow
•The gems are meant
to represent the
jeweled walls of the
Heavenly Jerusalem

54. •Angels hover above
arms of cross
•Figures representing
sun and moon above
Christ’s head – hiding
their faces
•Mourners have
graceful, expressive
poses – float below
arms of cross (Mary,
John, Mary
Magdalene, and Mary
Cleophas)

55. The figures have the
same expressive style of
the UTRECHT PSALTER

56. •Jesus is different than
the other figures- he is
rounded and naturalistic
(Classical sculpture?)
•Erect posture and
simple drapery – in
contrast to emotional
expressiveness of
figures
•Arms outstretched,
upright and alert –
announces triumph over
death and welcomes his
followers

57. Page with Matthew the
Evangelist, Ebbo
Gospels
9th century. Ink, gold,
and colors on vellum
•Charlemagne’s son Louis
the Pious made his friend
Ebbo the archbishop of
Reims – became a patron
of the arts – had this gospel
book made for him
•Unique style associated
with Reims

58. •Modeling used on his face,
hands, feet, drapery- illusion
of a 3-D figure
•Illusion of space- foreground,
middle ground, and
background- created by
landscape backdrop and
protruding foot rest
•Horizon line, stylized
landscape elements
•Check out the architecture in
the background
•Colors are more like the
natural world- more like
Roman painting than
Byzantine or Christian art

59. •Frantic and intense
•Face, drapery, and
landscape is swirling,
expressive, and
colorful
•Tiny angel in upper
right = inspiration
•Everything seems
windblown – artist
used paintbrush like
a pen

60. •Less attention on
Matthew’s
appearance, more on
his inner spiritual
excitement as he
transcribes the Word
of God coming to
him from that tiny
angel (his symbol)

61. •Head and neck jut
out, hunched
shoulders, twisted
brow, prominent
eyebrows, intense
gaze, very theatrical
•Gold highlights in
hair, robe, furniture,
and landscape – text
that goes with it is
also in gold (not
shown)

62. •Desk, bench, and
footstool tilt in
different directions
(not in perspective),
but who cares when
you’re so swept away
while writing the
Gospel!

63. OTTONIAN ART
(10th – early 11th centuries in Germany)
• Influenced by Roman and Early Christian past
• Shows commitment to imperial imagery seen in
Carolingian art
• Large stone churches = Ottonian architecture
• Bronze doors
• Interior arches and windows don’t line up one on
top of the other
• Interior walls are flat and undecorated; little
interruption in the large expanses of blank space
• Arches are usually red and cream colored
alternating stones

64. Abbey Church of
St. Michael’s
1001-1033
(11th century),
Hildeshiem,
Germany
• Windows in
clerestory do not
line up with arches
below- ten windows
over nine arches

65. 2 transepts, each with 2 crossing towers and 2 stair turrets

67. • Entrances through side
aisles
• Exterior side aisles as
narthexes or lobbies to
the building
• Columns and square
piers alternate along
nave

68. Red and cream colored
stones on arches

69. Bishop Bernward Doors
1015 (11th century), St. Michael’s
Hildesheim, Germany
• Two 15-foot tall bronze doors
• Left: the Fall of Man
• Right: the Redemption of
Man
• Scenes separated into
rectangular panels with few
figures, bare landscapes,
emphasis on lively gestures

70. • Left door narrative runs top to
bottom- tells Old Testament
stories of Creation and the Fall of
Man in the upper four panels and
the Expulsion from the Garden to
the Cursing of Cain in the lower
four
• Right door narrative runs bottom
to top- lower four panels tell story
of infancy of Christ to the
Annunciation to the Presentation
at the Temple, upper four tell
parts of the Passion and after the
Resurrection (out of chron. order)
• The narrative makes a U shape

72. Here are a few scenes from the left door…

73. Creation of Eve (left door)
Figures on these doors have vitality and liveliness

74. Presentation of Eve to Adam (left door)

75. • God accusing Adam and Eve (left door)
• Bony figures
• Emphasis on hands, feet, and heads

76. Cain murders his brother Abel (Adam and Eve’s sons) – God curses him
for this
Cain was jealous of Abel and kills him- first act of violence recorded in
the Bible

77. Here are some scenes from the right door…

78. Adoration of the Magi
And if you want to know more about the doors, visit http://darksayings.com/doors.htm

79. Presentation in the Temple - Simeon and Anna prophesied over Jesus

80. Christ’s Crucifiction

81. Gero Crucifix, 970
(10th century), wood,
Cologne Cathedral
(Smo cam)

82. • Return of large
monumental
sculpture!
• Christ is life size
• Jesus is hanging from
a cross for the first
time- shows human
emotion and suffering
• Commissioned by
Archbishop Gero for
the cathedral in
Cologne, Germany.

83. • Slumped head,
twisted body, hair
spread over
shoulders, knees bent
sideways – a pose not
seen before
• THIS becomes the
standard depiction of
the crucifixion (you’ll
see…)

84. VOCABULARY to help you study:
•ANIMAL STYLE: a medieval art form in which animals
are depicted in a stylized and often complicated
pattern, usually seen fighting with one another
•CLOISSONE: enamelwork in which colored areas are
separated by thin bands of metal, usually gold or
bronze
•CLOISTER: a rectangular open-air monastery
courtyard with a covered arcade surrounding it
•CODEX (codices): a manuscript book
•COLOPHONE: an inscription at the end of a
manuscript containing relevant information on its
publication

85. •GOSPELS: the first four books of the New Testament
in the Bible that chronicle the life of Jesus Christ
•HORROR VACUI: a type of artwork in which the entire
surface is filled with objects, people, designs, and
ornaments in a crowded, sometimes congested way
•PSALTER: a book containing the Psalms, or sacred
sung poems, of the Bible
•SCRIPTORIUM (scriptoria): a place in a monastery
where monks wrote manuscripts
•WESTWORK: a monumental entrance to a
Carolingian church in which two towers flank a lower
central entrance.

86. Let's learn more about illuminated
manuscripts from the BBC!
30 min movie
http://www.youtube.com/watch?v=zuME-DcksYo
This is the link if you want to watch it at home: