Carolingian art flourished during the rule of Charlemagne and his successors in the late 8th and 9th centuries. Charlemagne revived classical Roman forms and commissioned lavish manuscripts and architecture to establish himself as the head of a renewed Christian Roman Empire based in Aachen. Manuscripts like the Coronation Gospels and Ebbo Gospels featured illustrations inspired by both classical Roman and contemporary Byzantine styles. Church architecture like the Palatine Chapel in Aachen and the St. Gall Plan incorporated Roman elements like columns and basilican layouts. Under the Ottonian dynasty in the 10th century, artistic traditions continued as seen in buildings like the churches of Gernrode and St

1. CAROLINGIAN ART Art of Charlemagne and his times
o Charlemagne was first Holy Roman Emperor, united
Europe
Revival of classical art beyond the ancient world
Charlemagne wanted to be emperor of “New Rome”  bath
houses, theatres, a forum for his new capital in Aachen
o Everything from coins to architecture
Churches are characterized by westworks
o Sometimes accompanied by monastic buildings
o Cloisters – open air courtyards, monks and nuns ate, slept
and worked around
Continued medieval tradition of manuscript paintings
o Inspiration form Roman sources and contemporary
Byzantine iconography
Equestrian portrait of Charlemagne
o Modeled after Theodoric bronze statue, greatly admired
Theodoric
o Ultimate model was Marcus Aurelius
Mistaken for Constantine in the Middle Ages
Overly large, ruler, not horse, is center of attention
o Unlike Marcus Aurelius, Charlemagne is on parade
o Wears imperial roles, crown, holds globe (world
domination)
Proclaims “renovation imperii Romani” – Renewal of the Roman
Empire
Coronation Gospels, purple vellum
Charlemagne was an admirer of learning, the arts, classical culture
Loved books, had many made
Saint Matthew page illumination
o Illusionistic brushwork
o Folds of drapery around formed body
o Modeling
o Roman accessories (toga, chairs)
Classically inspired painting was part of Charlemagne’s program
to establish Aachen as the capital of a renewed Christian Roman
Empire
Ebbo Gospels
May have used Coronation Gospels as a model (manuscripts were
always copied, inspired by many Antique styles)
Frenzied energy, writing frantically
o Hair stands on end, eyes wide, frenetic drapery, alive
landscape
o Movement, very different than Coronation Gospels
o Classical prototype with new Carolingian features

2. Utrecht Psalter
Richly illustrated ink drawings of the psalms of the Bible
Monochrome
o Artist wanted to make the book look “ancient”
Highly legible script
Rich visual imagery, anecdotal scenes of psalms
o characterized by agitated gesture and active violence
Literal translation of the psalms
Lindau Gospels
Many costly commissions
Book cover made with gold and jewels and sometimes ivory or
pearls
Glorified word of god but also evoked heavenly Jerusalem
Created in book workshops of Charles the Bald
Youthful Christ in Early Christian tradition, repousse
o Reminiscent of beardless, unsuffering Christ of 5th century
Palatine Chapel
Charlemagne channeled Roman building techniques, traveling to
Rome and Ravenna for inspiration
Inspired by San Vitale, imported porphyry columns
o Simpler plan
o Massive geometric form, harmonious
o Robust strength and clear structure  foreshadowing
architecture of 11th and 12 c.
Unique: Upper arches larger than lower, non-loading-bearing
columns, fill space
Royal chapel
o Gallery with Charlemagne’s throne
o Could look down on altar in apse
o Spiral staircases, dramatic, appear in large framing arch
St. Gall Plan
Construction and expansion of monasteries
“ideal plan” for Benedictine monastery, 3000 people
Commissioned by Haito, abbot of Reichenau in 819
o Main purpose: separate monks from laity (nonclergy)
o Center dominated by church and cloister
 Colonnaded garden, earthly paradise removed from
world, monks ate, worked and slept around cloisters
o Uses “modules” (standard unit) of 2.5 ft., everything
measured according to this (church length, bed length, path
width, etc.)
Widespread adoption of basilican plan, but more complex
o Ex: 2nd apse at Monastery church of St. Gall
Typial Carolingian church: 2 apses and elaborate westwork
o Transept (as seen at St. Peter’s and St. Paul’s)
o Transept equal width as nave, crossing = square
o Rational and order plan, crossing square becomes unit of
measurement for rest of church

3. Torhalle (Gate House)
3-arched opening (Arch of Constantine)
Fluted pilasters on second story
Carolingian patterning on walls
Placed before entrance to a monastery
Westwork at Corvey
Elaborate, tall towers at west end of building
Greets visitors
Castellum = castle or fortress
Sole surviving example, top added during 12th c.
Purpose: seats for visiting emperor, second altar (church within a
church)
Ottonian Art
After death of Charlemagne, empire was divided up amongst his
grandsons
o (Charles the Bald, Lothair and Louis the German)
Conflict gave way to an agreement that later became modern day
territories of France and Germany
New line of Saxon rule: Ottonians, 3 Otto’s
o Monastic reforms
o Free of Viking attacks
o Preserved and enhanced arts and culture
Gernrode
Architectures continued basilican churches with towering spires
and westworks but added their own features
Heavily restored in 19th century, retains 10th c. character
Ottonian touches
o Gallery above ground floor, below clerestory (???)
Alternate-support-system – heavy square piers alternate with
columns, lead eye up, “verticalization”
St. Michael’s, Hildesheim
Bishop Bernward – great Ottonian patron of the arts
o Tutor of Otto III, builder of St. Michael
o Studied Roman monuments and artworks in Rome
o Avid scholar, lover of the arts
Constructed from 1001-1031, rebuilt after WWII
Double-transept plan, tower groupings, westwork
o Loss of basilican eastern orientation, 2 centers of gravity
o Entrances on the side
Modular approach
o Alternating columns and arches
o More open, less tunnel-like

4. Hildesheim Doors
Bronze, perhaps inspired by Early Christian church doors
16 ft tall, HUGE in comparison to earlier small, portable works
o At entrance to the church so monks see it every time they
enter
o Left door: book of Genesis (creation of Adam and Eve, end
with murder of Abel by Cain
o Right door: story of Christ (annunciation, Christ after
resurrection)
o Story of Original Sin and ultimate redemption, expulsion
from Edenpath back to paradise through Christian
church
Compositions derived from Illuminated manuscripts
Reminiscent of Utrecht Psalter
o Adam and Eve’s accusation by God
o Embarrassment, shamed, hiding from wrath
o Simple but emotional
Hildesheim Column
Spiraling relief, bronze column
Tells story of Jesus’ life in 24 scenes
o Begins with baptism, ends with entry into Jerusalem
o Column of Trajan, reads bottom to top ROME
Gero Crucifix
MONUMENTAL SCULPTURE REVIVAL
Carved in oak, painted, and gilded, 6 ft tall
Reliquary: houses relics
o Compartment in the back held the Host
o Crack miraculously healed, magical powers
VERY different from Lindau Gospels cover
o Powerful emotions, all-too-human martyer
o Blood, closed eyes, face contorted in pain, body sags
o Halo my foretell resurrection
o Most powerful expression of agony in the Middle Ages
Uta Codex
Uta, abbess of Niedermunster
Sumptuous book presented to convent by Uta
Testament to the role women played in religion and the arts
Dedicatory page:
o Mary with Christ in her lap, model for Uta and her nuns
o Uta’s head touches the Virgin’s medallion
o Inscription: “Virgin Moth of God, happy because of the
divine Child, receive the votive offerings of your Uta of
ready service”

5. Lectionary of Henry II
Book of Gospel readings for Henry II’s death
Annunciation of Christ’s birth
o Angel landing on a hill, wings beating, robes flying
o Overpowers scene, gesture of authority and instruction
o Byzantine influence – gold
o
Gospel Book of Otto III
Otto III obsessed with Christian Roman Empire revival
Died at 21, never saw his dream empire
Ruler enthroned, scepter and cross-inscribed orb
o Clergy and barons at his sides