The document provides an overview of Romanesque art from approximately 1000-1200 AD. Key developments included new stone masonry techniques that allowed for thicker walls and vaulted ceilings, leading to sturdier "blocky" church buildings suitable for pilgrimages. Interiors featured radiating chapels, compound piers, and barrel vaults. Sculpture, particularly tympanums and reliefs, increasingly depicted religious narratives. Illuminated manuscripts also flourished, often beautifully illustrating Biblical scenes.
The document provides an overview of Romanesque art between the 11th and 12th centuries in Western Europe. It describes how new architectural techniques like stone vaulting allowed churches to become larger and more impressive. It also discusses increased pilgrimages, trade, and growth of cities as influences. Examples of key Romanesque churches are given from France, Germany, Italy, England, and other regions to illustrate common artistic styles and regional variations in this period.
This document provides an overview of early medieval art in Europe from the 6th to 11th centuries. It features examples of artwork from this period from France, England, Ireland, Norway, Germany, and Scotland. The artwork showcases the emergence of distinct regional styles such as Hiberno-Saxon art, Viking art, Ottonian art, and Carolingian art during this time. Materials included gold, silver, wood, and illuminated manuscripts. Subjects ranged from jewelry, crosses, books, architecture, sculptures, and religious scenes. Overall, the document outlines the variety of artistic traditions that developed in early medieval Europe.
The document discusses Gothic architecture in France from the 12th to 15th centuries. It provides images and descriptions of key Gothic cathedrals and churches built during this period, including the Abbey Church of Saint-Denis, Chartres Cathedral, Notre Dame Cathedral in Paris, Sainte-Chapelle, and examples of Gothic architecture and stained glass windows, sculptures, and artwork from this era.
The document summarizes Gothic art from the 12th-15th centuries, focusing on developments in France. It describes how Gothic architecture used pointed arches, rib vaults, and flying buttresses to allow buildings to gain height and fill with light. Key cathedrals discussed include Notre Dame de Paris, Chartres, Reims, and Amiens, showing the evolution of Gothic styles from early to high Gothic. Contemporary art such as stained glass windows, sculpture, and illuminated manuscripts are also mentioned.
Depicts an episode from the life of Saint Francis of Assisi where he created a live nativity scene in 1223 at Greccio, Italy to bring the Christmas story to life for the townspeople in a more experiential way. The fresco shows Saint Francis in the center preaching to the gathered crowd as a manger containing hay and oxen and an ass recreate the scene from Christ's birth, making the religious story more tangible and meaningful. This work and the Church of Saint Francis where it is housed aimed to visually represent the life and teachings of Saint Francis through art in order to inspire devotion among pilgrims to Assisi
The document discusses art from the Middle Ages, including Romanesque and Gothic styles between 500-1500 AD. It provides examples of illuminated manuscripts, architecture like churches and castles, and sculptures that taught religious stories. Gothic art is characterized by pointed arches, rose windows, flying buttresses, and verticality to seem closer to heaven. Frescoes in places like Assisi showed biblical scenes to educate those who could not read.
This document contains images and descriptions of artworks and architecture from the Romanesque and Renaissance periods in Italy and France. Specifically, it includes mosaics, frescoes and sculptures from the 6th-12th centuries in Ravenna, Rome and France. It also features works by Leon Battista Alberti from the 15th century, including the façades and interiors of churches in Florence and Mantua.
This document provides information on numerous architectural structures and artworks related to cathedrals, churches, and religious art in Europe from antiquity through the Renaissance. It includes descriptions of cathedrals in Florence, Siena, and Milan as well as details on artworks by Brunelleschi, Ghiberti, Donatello, Michelangelo, and others that decorated these buildings. Sculptures of prophets, sarcophagi, and classical sculptures are also mentioned. The document offers an overview of the development of religious architecture and art in Italy during this time period through brief descriptions and images.
The document provides an overview of Romanesque art between the 11th and 12th centuries in Western Europe. It describes how new architectural techniques like stone vaulting allowed churches to become larger and more impressive. It also discusses increased pilgrimages, trade, and growth of cities as influences. Examples of key Romanesque churches are given from France, Germany, Italy, England, and other regions to illustrate common artistic styles and regional variations in this period.
This document provides an overview of early medieval art in Europe from the 6th to 11th centuries. It features examples of artwork from this period from France, England, Ireland, Norway, Germany, and Scotland. The artwork showcases the emergence of distinct regional styles such as Hiberno-Saxon art, Viking art, Ottonian art, and Carolingian art during this time. Materials included gold, silver, wood, and illuminated manuscripts. Subjects ranged from jewelry, crosses, books, architecture, sculptures, and religious scenes. Overall, the document outlines the variety of artistic traditions that developed in early medieval Europe.
The document discusses Gothic architecture in France from the 12th to 15th centuries. It provides images and descriptions of key Gothic cathedrals and churches built during this period, including the Abbey Church of Saint-Denis, Chartres Cathedral, Notre Dame Cathedral in Paris, Sainte-Chapelle, and examples of Gothic architecture and stained glass windows, sculptures, and artwork from this era.
The document summarizes Gothic art from the 12th-15th centuries, focusing on developments in France. It describes how Gothic architecture used pointed arches, rib vaults, and flying buttresses to allow buildings to gain height and fill with light. Key cathedrals discussed include Notre Dame de Paris, Chartres, Reims, and Amiens, showing the evolution of Gothic styles from early to high Gothic. Contemporary art such as stained glass windows, sculpture, and illuminated manuscripts are also mentioned.
Depicts an episode from the life of Saint Francis of Assisi where he created a live nativity scene in 1223 at Greccio, Italy to bring the Christmas story to life for the townspeople in a more experiential way. The fresco shows Saint Francis in the center preaching to the gathered crowd as a manger containing hay and oxen and an ass recreate the scene from Christ's birth, making the religious story more tangible and meaningful. This work and the Church of Saint Francis where it is housed aimed to visually represent the life and teachings of Saint Francis through art in order to inspire devotion among pilgrims to Assisi
The document discusses art from the Middle Ages, including Romanesque and Gothic styles between 500-1500 AD. It provides examples of illuminated manuscripts, architecture like churches and castles, and sculptures that taught religious stories. Gothic art is characterized by pointed arches, rose windows, flying buttresses, and verticality to seem closer to heaven. Frescoes in places like Assisi showed biblical scenes to educate those who could not read.
This document contains images and descriptions of artworks and architecture from the Romanesque and Renaissance periods in Italy and France. Specifically, it includes mosaics, frescoes and sculptures from the 6th-12th centuries in Ravenna, Rome and France. It also features works by Leon Battista Alberti from the 15th century, including the façades and interiors of churches in Florence and Mantua.
This document provides information on numerous architectural structures and artworks related to cathedrals, churches, and religious art in Europe from antiquity through the Renaissance. It includes descriptions of cathedrals in Florence, Siena, and Milan as well as details on artworks by Brunelleschi, Ghiberti, Donatello, Michelangelo, and others that decorated these buildings. Sculptures of prophets, sarcophagi, and classical sculptures are also mentioned. The document offers an overview of the development of religious architecture and art in Italy during this time period through brief descriptions and images.
The document summarizes Gothic architecture in England from 1180 to the early 16th century. It is divided into four periods: Norman Gothic (1066-1180), Early English Gothic (1180-1275), Decorated Gothic (1275-1375), and Perpendicular Gothic (1375-1530). The Early English Gothic period saw Gothic style truly adapted by English craftsmen, emphasizing pointed arches, vaults, and lancet windows. Decorated Gothic featured more elaborate curved tracery and carvings. Perpendicular Gothic emphasized strong vertical lines through large windows with intricate tracery and fan vaulting. Examples like Salisbury Cathedral and Westminster Abbey are discussed in detail to illustrate the different periods.
Hum1020 romanesque art & architectureProfWillAdams
The document provides an overview of Romanesque art and architecture from the 11th-12th centuries. It discusses key characteristics like thick stone walls, round arches, cruciform plans, and decorative church portals. Specific examples are summarized, including the Bayeux Tapestry, Saint-Sernin pilgrimage church in Toulouse with its ambulatory and radiating chapels, and the Norman architecture of Saint-Étienne in Caen featuring groin vaulting. Regional variations are highlighted such as Italian churches incorporating classical elements and southern Italian buildings blending Byzantine and Islamic influences.
The document provides an overview of Gothic architecture from the Byzantine, Romanesque, and Gothic periods. It discusses key differences in art, architecture, design, and styles between Romanesque and Gothic structures. Specifically, it notes Gothic architecture featured pointed arches, groin vaults, flying buttresses, large stained glass windows, ornate exteriors, and more realistic sculptures. Examples highlighted include St. Sernin and Amiens Cathedral, representing Romanesque and French Gothic respectively. The document also summarizes various Gothic styles that emerged in France and England over time.
St Denis, Paris - The Beginning of the Gothic Architecture.Jerry Daperro
The basilica stands on the site of a Gallo-Roman cemetery with the tomb of St Denis, Paris France, thought to have been the first Bishop of Paris, who was martyred c 250 AD. This place of pilgrimage was built in the 5C. Dagobert was a benefactor to it the 7C, and Pepin the Short was crowned king here in 754. It became one of the most powerful Benedictine abbeys in the Middle Ages. Most of the kings and queens of France were buried here from the 6C onwards. The abbey church of St. Denis therefore played a complex and important role for the French monarchy.
The Cathedral of Saint Denis is the birthplace of Gothic architecture. In 1122 Louis VI made this the official burial place for French monarchs, at the request of Abbe Suger. St Louis reserved it for monarchs alone, a rule which was broken several times, and had the remains of his predecessors, transferred to tombs in the crossing of the transept. Suger decided to improve St Denis and rebuilt the basilica. ~The western façade was dedicated in 1140and the chevet in 1144, but the building remained incomplete after the abbe’s death in 1151. Suger’s church represents a landmark to the development of Gothic architecture. Intersecting ribs were used here on a large scale for the first time. In this way, the architect could do without walls between the pillars Vaulting could be extended throughout the ambulatories and the radiating chapels and huge windows could be incorporated in the chevet. This is how ~Suger realized his concept – for him light had a thoroughly metaphysical significance. Another innovative feathure is the rose window on the west façade.
Gothic architecture originated in 12th century France and is characterized by pointed arches, ribbed vaults, and flying buttresses. Gothic art developed out of Romanesque art in the same period, featuring paintings like frescoes and stained glass windows, as well as monumental sculptures. Gothic films draw from the dark, supernatural elements of Gothic literature through gloomy atmospheres, abandoned buildings, monsters, and heroes in trouble.
Gothic art developed between 1140-1400 and up to 1500 in parts of Europe. Gothic architecture built upon Romanesque styles with innovations like rib vaults, pointed arches, and flying buttresses. Gothic cathedrals featured stained glass windows, rose windows, sculpture, and were taller with smaller transepts than Romanesque churches. Gothic art originated in Paris due to increased wealth and the intellectual culture of universities. The Hundred Years War, the Babylonian Captivity of the Pope, and the Black Death impacted art in the Late Gothic period. Gothic styles included Early Gothic, High Gothic, Rayonnant Gothic, Flamboyant Gothic, and Perpendicular Gothic in England. Examples discussed are Notre Dame, Saint
The document provides an overview of Gothic art and architecture in Europe from the 12th-14th centuries. It examines the origins and spread of the Gothic style from France, exploring key cathedrals like Notre Dame and Chartres. It then discusses variations of Gothic architecture and sculpture in England, Germany, and Italy, analyzing features like rib vaulting, stained glass windows, and illuminated manuscripts. The document contains over 50 figures to illustrate different elements of Gothic art.
The document provides an overview of prehistoric and ancient art and architecture from various regions including Mesopotamia, Egypt, Scotland, and France. It features images and descriptions of cave paintings from Lascaux, France, the stone structures of Skara Brae in Scotland, and the Ziggurat of Ur and Ishtar Gate in Babylon from the Mesopotamian valley. For ancient Egypt, it highlights temples such as Karnak and Abu Simbel, the pyramids and Sphinx at Giza, and artifacts found in King Tutankhamun's tomb including his golden throne, beds, and jewelry. The document presents examples of architectural forms, sculpture, and decorative motifs from these early civilizations
The document provides an overview of Romanesque and Gothic art and architecture between the 11th and 15th centuries in Europe. It discusses key characteristics of Romanesque architecture, sculpture and painting, including round arches, barrel vaults and rigid human figures. Gothic developments are then outlined, notably pointed arches, rib vaults, stained glass windows and greater realism in sculptures and paintings. Examples of major cathedrals demonstrating these styles are also referenced.
St Denis Cathedral, Paris is one of the most important building in the history of architecture. It was here that the Gothic style of architecture was first invented. Historically, it is also the historic burial place of the French monarchy.
The document discusses Michelangelo's career as a sculptor and painter in Italy during the High Renaissance period. It provides details on many of his most famous works such as the Pietà sculptures, David statue, frescoes in the Sistine Chapel ceiling including Creation of Adam, and the Last Judgement wall painting. Images and descriptions are given for each of these major works located in churches and museums in Rome, Florence, and Milan.
The document summarizes key aspects of Gothic architecture. It describes how Crusaders were influenced by Eastern architecture and brought back new building techniques to Europe. It then discusses how Abbot Suger addressed the problem of overcrowding at his church by reconstructing it in a new style with pointed arches, rib vaults, and larger windows to admit more light, establishing characteristics of Gothic cathedrals. Finally, it provides examples of notable Gothic cathedrals like Notre Dame and Chartres that refined and spread the style across Europe.
The document discusses the Early Middle Ages in Europe following the fall of the Western Roman Empire. It covers the rise of Germanic kingdoms and the Visigoths in places like Spain and France. It also discusses the Byzantine Empire, the expansion of Islam, and the Carolingian Empire under Charlemagne. Key events, places, and figures from this transitional period are presented through images, maps, and timelines.
This document provides an overview of Gothic architecture by comparing its key characteristics to those of Byzantine and Romanesque styles. It discusses differences in artistic styles, building designs, and structural elements between Romanesque and Gothic architecture, focusing on examples from France like the Church of St. Sernin and Amiens Cathedral. The document also examines different periods and national variations of Gothic architecture in France and England from the 12th to 15th centuries.
The document provides an overview of Gothic architecture from the 12th-14th centuries, focusing on cathedrals in Spain and France. It describes key Gothic features like pointed arches, ornate facades, flying buttresses, ribbed vaults, and stained glass windows that allowed for taller, more open interior spaces with dramatic light. Examples highlighted include the cathedrals of Reims, Burgos, Notre Dame, and Gothic sculptures, manuscripts, and early Renaissance paintings that began to depict more realistic figures.
This document provides an overview of Gothic art and architecture from the 12th-16th centuries in France, Germany, and Italy. It discusses key cathedrals such as Notre Dame, Chartres, Cologne, and Salisbury cathedrals. It highlights innovations in Gothic architecture including rib vaulting, flying buttresses, rose windows, and stained glass windows. The document also provides historical context about the time period including the Hundred Years' War and the Black Plague. Important artistic works from the period are also mentioned such as the Bamberg Rider statue.
The content of this presentation is compiled and done by the researcher for easier understanding of the mentioned presentation title.
references are based on www.google.com
If you have any questions about this topic, just ask Mr, Google. :)
The document discusses the origins and key characteristics of Gothic art and architecture. It began in 12th century France as pointed arches, ribbed vaults, and flying buttresses allowed for taller buildings with more windows. Gothic cathedrals featured stained glass, sculpture, and were designed to glorify God through light and religious imagery. The style spread across Europe influencing painting, sculpture, and other architecture like castles through the 15th century before Renaissance ideals emerged.
Abbot Suger oversaw the construction of the abbey church of Saint-Denis in the mid-12th century, introducing many elements of the new Gothic style including pointed arches, ribbed vaulting, and increased use of stained glass windows. This new style spread across France with the construction of great Gothic cathedrals like Chartres, Reims, and Amiens that featured towering naves, elaborate facades, stained glass, and sculpture. The Gothic style also developed distinctive national variations like the Perpendicular Gothic style seen in English cathedrals and the emphasis on dramatic sculpture in German Gothic cathedrals such as Naumburg.
This proposal requests funding from the Oregon Community Foundation to support an after-school program aimed at closing the achievement gap for minority students in Eugene, Oregon. The program will involve students creating and operating a minority culture magazine, with support from the Center for Appropriate Transport's youth programs and the University of Oregon's journalism department. It outlines the problem of unequal academic outcomes between minority and white students locally and nationally. If funded, the program seeks to help minority students improve standardized test scores and graduation rates through hands-on technical, academic and community involvement opportunities provided by the magazine. Management of the program will be led by representatives from the involved organizations. Startup and ongoing costs of $6,935 are requested.
Late Antique and Early Christian Art chronicles the development of Christian art from the 1st century AD to the 6th century AD. Key events included the crucifixion of Christ, periods of Christian persecution, and the Edict of Milan which legalized Christianity. Early Christian art incorporated symbols like the Good Shepherd and used artistic programs to teach biblical stories in places like catacombs, churches, and manuscripts. Significant works included the Dura Europos synagogue and baptistery paintings, as well as later Byzantine-style mosaics in churches like Santa Costanza and San Vitale.
The document summarizes Gothic architecture in England from 1180 to the early 16th century. It is divided into four periods: Norman Gothic (1066-1180), Early English Gothic (1180-1275), Decorated Gothic (1275-1375), and Perpendicular Gothic (1375-1530). The Early English Gothic period saw Gothic style truly adapted by English craftsmen, emphasizing pointed arches, vaults, and lancet windows. Decorated Gothic featured more elaborate curved tracery and carvings. Perpendicular Gothic emphasized strong vertical lines through large windows with intricate tracery and fan vaulting. Examples like Salisbury Cathedral and Westminster Abbey are discussed in detail to illustrate the different periods.
Hum1020 romanesque art & architectureProfWillAdams
The document provides an overview of Romanesque art and architecture from the 11th-12th centuries. It discusses key characteristics like thick stone walls, round arches, cruciform plans, and decorative church portals. Specific examples are summarized, including the Bayeux Tapestry, Saint-Sernin pilgrimage church in Toulouse with its ambulatory and radiating chapels, and the Norman architecture of Saint-Étienne in Caen featuring groin vaulting. Regional variations are highlighted such as Italian churches incorporating classical elements and southern Italian buildings blending Byzantine and Islamic influences.
The document provides an overview of Gothic architecture from the Byzantine, Romanesque, and Gothic periods. It discusses key differences in art, architecture, design, and styles between Romanesque and Gothic structures. Specifically, it notes Gothic architecture featured pointed arches, groin vaults, flying buttresses, large stained glass windows, ornate exteriors, and more realistic sculptures. Examples highlighted include St. Sernin and Amiens Cathedral, representing Romanesque and French Gothic respectively. The document also summarizes various Gothic styles that emerged in France and England over time.
St Denis, Paris - The Beginning of the Gothic Architecture.Jerry Daperro
The basilica stands on the site of a Gallo-Roman cemetery with the tomb of St Denis, Paris France, thought to have been the first Bishop of Paris, who was martyred c 250 AD. This place of pilgrimage was built in the 5C. Dagobert was a benefactor to it the 7C, and Pepin the Short was crowned king here in 754. It became one of the most powerful Benedictine abbeys in the Middle Ages. Most of the kings and queens of France were buried here from the 6C onwards. The abbey church of St. Denis therefore played a complex and important role for the French monarchy.
The Cathedral of Saint Denis is the birthplace of Gothic architecture. In 1122 Louis VI made this the official burial place for French monarchs, at the request of Abbe Suger. St Louis reserved it for monarchs alone, a rule which was broken several times, and had the remains of his predecessors, transferred to tombs in the crossing of the transept. Suger decided to improve St Denis and rebuilt the basilica. ~The western façade was dedicated in 1140and the chevet in 1144, but the building remained incomplete after the abbe’s death in 1151. Suger’s church represents a landmark to the development of Gothic architecture. Intersecting ribs were used here on a large scale for the first time. In this way, the architect could do without walls between the pillars Vaulting could be extended throughout the ambulatories and the radiating chapels and huge windows could be incorporated in the chevet. This is how ~Suger realized his concept – for him light had a thoroughly metaphysical significance. Another innovative feathure is the rose window on the west façade.
Gothic architecture originated in 12th century France and is characterized by pointed arches, ribbed vaults, and flying buttresses. Gothic art developed out of Romanesque art in the same period, featuring paintings like frescoes and stained glass windows, as well as monumental sculptures. Gothic films draw from the dark, supernatural elements of Gothic literature through gloomy atmospheres, abandoned buildings, monsters, and heroes in trouble.
Gothic art developed between 1140-1400 and up to 1500 in parts of Europe. Gothic architecture built upon Romanesque styles with innovations like rib vaults, pointed arches, and flying buttresses. Gothic cathedrals featured stained glass windows, rose windows, sculpture, and were taller with smaller transepts than Romanesque churches. Gothic art originated in Paris due to increased wealth and the intellectual culture of universities. The Hundred Years War, the Babylonian Captivity of the Pope, and the Black Death impacted art in the Late Gothic period. Gothic styles included Early Gothic, High Gothic, Rayonnant Gothic, Flamboyant Gothic, and Perpendicular Gothic in England. Examples discussed are Notre Dame, Saint
The document provides an overview of Gothic art and architecture in Europe from the 12th-14th centuries. It examines the origins and spread of the Gothic style from France, exploring key cathedrals like Notre Dame and Chartres. It then discusses variations of Gothic architecture and sculpture in England, Germany, and Italy, analyzing features like rib vaulting, stained glass windows, and illuminated manuscripts. The document contains over 50 figures to illustrate different elements of Gothic art.
The document provides an overview of prehistoric and ancient art and architecture from various regions including Mesopotamia, Egypt, Scotland, and France. It features images and descriptions of cave paintings from Lascaux, France, the stone structures of Skara Brae in Scotland, and the Ziggurat of Ur and Ishtar Gate in Babylon from the Mesopotamian valley. For ancient Egypt, it highlights temples such as Karnak and Abu Simbel, the pyramids and Sphinx at Giza, and artifacts found in King Tutankhamun's tomb including his golden throne, beds, and jewelry. The document presents examples of architectural forms, sculpture, and decorative motifs from these early civilizations
The document provides an overview of Romanesque and Gothic art and architecture between the 11th and 15th centuries in Europe. It discusses key characteristics of Romanesque architecture, sculpture and painting, including round arches, barrel vaults and rigid human figures. Gothic developments are then outlined, notably pointed arches, rib vaults, stained glass windows and greater realism in sculptures and paintings. Examples of major cathedrals demonstrating these styles are also referenced.
St Denis Cathedral, Paris is one of the most important building in the history of architecture. It was here that the Gothic style of architecture was first invented. Historically, it is also the historic burial place of the French monarchy.
The document discusses Michelangelo's career as a sculptor and painter in Italy during the High Renaissance period. It provides details on many of his most famous works such as the Pietà sculptures, David statue, frescoes in the Sistine Chapel ceiling including Creation of Adam, and the Last Judgement wall painting. Images and descriptions are given for each of these major works located in churches and museums in Rome, Florence, and Milan.
The document summarizes key aspects of Gothic architecture. It describes how Crusaders were influenced by Eastern architecture and brought back new building techniques to Europe. It then discusses how Abbot Suger addressed the problem of overcrowding at his church by reconstructing it in a new style with pointed arches, rib vaults, and larger windows to admit more light, establishing characteristics of Gothic cathedrals. Finally, it provides examples of notable Gothic cathedrals like Notre Dame and Chartres that refined and spread the style across Europe.
The document discusses the Early Middle Ages in Europe following the fall of the Western Roman Empire. It covers the rise of Germanic kingdoms and the Visigoths in places like Spain and France. It also discusses the Byzantine Empire, the expansion of Islam, and the Carolingian Empire under Charlemagne. Key events, places, and figures from this transitional period are presented through images, maps, and timelines.
This document provides an overview of Gothic architecture by comparing its key characteristics to those of Byzantine and Romanesque styles. It discusses differences in artistic styles, building designs, and structural elements between Romanesque and Gothic architecture, focusing on examples from France like the Church of St. Sernin and Amiens Cathedral. The document also examines different periods and national variations of Gothic architecture in France and England from the 12th to 15th centuries.
The document provides an overview of Gothic architecture from the 12th-14th centuries, focusing on cathedrals in Spain and France. It describes key Gothic features like pointed arches, ornate facades, flying buttresses, ribbed vaults, and stained glass windows that allowed for taller, more open interior spaces with dramatic light. Examples highlighted include the cathedrals of Reims, Burgos, Notre Dame, and Gothic sculptures, manuscripts, and early Renaissance paintings that began to depict more realistic figures.
This document provides an overview of Gothic art and architecture from the 12th-16th centuries in France, Germany, and Italy. It discusses key cathedrals such as Notre Dame, Chartres, Cologne, and Salisbury cathedrals. It highlights innovations in Gothic architecture including rib vaulting, flying buttresses, rose windows, and stained glass windows. The document also provides historical context about the time period including the Hundred Years' War and the Black Plague. Important artistic works from the period are also mentioned such as the Bamberg Rider statue.
The content of this presentation is compiled and done by the researcher for easier understanding of the mentioned presentation title.
references are based on www.google.com
If you have any questions about this topic, just ask Mr, Google. :)
The document discusses the origins and key characteristics of Gothic art and architecture. It began in 12th century France as pointed arches, ribbed vaults, and flying buttresses allowed for taller buildings with more windows. Gothic cathedrals featured stained glass, sculpture, and were designed to glorify God through light and religious imagery. The style spread across Europe influencing painting, sculpture, and other architecture like castles through the 15th century before Renaissance ideals emerged.
Abbot Suger oversaw the construction of the abbey church of Saint-Denis in the mid-12th century, introducing many elements of the new Gothic style including pointed arches, ribbed vaulting, and increased use of stained glass windows. This new style spread across France with the construction of great Gothic cathedrals like Chartres, Reims, and Amiens that featured towering naves, elaborate facades, stained glass, and sculpture. The Gothic style also developed distinctive national variations like the Perpendicular Gothic style seen in English cathedrals and the emphasis on dramatic sculpture in German Gothic cathedrals such as Naumburg.
This proposal requests funding from the Oregon Community Foundation to support an after-school program aimed at closing the achievement gap for minority students in Eugene, Oregon. The program will involve students creating and operating a minority culture magazine, with support from the Center for Appropriate Transport's youth programs and the University of Oregon's journalism department. It outlines the problem of unequal academic outcomes between minority and white students locally and nationally. If funded, the program seeks to help minority students improve standardized test scores and graduation rates through hands-on technical, academic and community involvement opportunities provided by the magazine. Management of the program will be led by representatives from the involved organizations. Startup and ongoing costs of $6,935 are requested.
Late Antique and Early Christian Art chronicles the development of Christian art from the 1st century AD to the 6th century AD. Key events included the crucifixion of Christ, periods of Christian persecution, and the Edict of Milan which legalized Christianity. Early Christian art incorporated symbols like the Good Shepherd and used artistic programs to teach biblical stories in places like catacombs, churches, and manuscripts. Significant works included the Dura Europos synagogue and baptistery paintings, as well as later Byzantine-style mosaics in churches like Santa Costanza and San Vitale.
This document discusses Italian art from the early Renaissance period known as the Quattrocento. It provides information on major artists like Brunelleschi, Donatello, Masaccio, Botticelli, and others, highlighting their influential works in sculpture, architecture, and painting. Key developments like linear perspective and renewed interest in classical antiquity are also addressed.
The document summarizes developments in northern Europe between 1400-1500. Key points include:
- The emergence of great wealth from individual accomplishment rather than inheritance fueled learning and creativity in the Renaissance.
- Interest grew in observing the natural world and portraying individual personalities in portraits.
- Cities like Dijon thrived under powerful dukes like Philip the Bold, who patronized northern Renaissance art.
- Artists like Jan van Eyck advanced oil painting techniques and created masterworks depicting religious and secular subjects with intricate symbols.
The Renaissance in Italy began in the late 13th century in Florence. During this period, artists rediscovered techniques of naturalistic representation in painting and sculpture. One of the most famous works from this era is the bronze doors on the Florentine Baptistery, known as the Gates of Paradise, created by Lorenzo Ghiberti between 1425-1452.
The document discusses two major art movements in the 19th century: Realism and the Pre-Raphaelite Brotherhood. Realism began in mid-1800s France and focused on depicting everyday contemporary scenes based on scientific observations of real life. Artists like Courbet and Millet created realistic representations of working class life. The Pre-Raphaelite Brotherhood, in contrast, depicted fictional, historical and imaginative subjects, refusing to limit themselves to contemporary realism. They sought to capture scenes with photorealistic detail and illusion.
The document provides an overview of Romanesque art and architecture across Europe between the 11th and 12th centuries. It discusses key characteristics like thick stone walls, round-headed arches, repetition of moldings, and cruciform church plans. Specific examples covered include the Bayeux Tapestry, Saint-Étienne in Caen featuring light interior spaces, sculptural programs at Moissac and Autun, and the leaning tower at Pisa Cathedral. Regional variations are also summarized, such as Italian churches incorporating classical elements and English buildings replacing Saxon styles after the Norman Conquest.
The document provides an overview of art from Late Antiquity through the Romanesque period in Europe. It includes numerous images and descriptions of architectural features and artworks from this time spanning locations like Rome, Ravenna, Constantinople, England, France, Germany, and beyond. Key developments discussed include the emergence of Byzantine art styles with flattened forms, use of mosaics, and dome architecture like in Hagia Sophia. For architecture, the rise of basilica and cruciform church floor plans is covered as well as Romanesque innovations like rounded arches, vaulting techniques, and sculpted tympanums.
Gothic architecture originated in northern France during the 12th-13th centuries. The Abbey Church of Saint-Denis, rebuilt in the 1140s under Abbot Suger, was one of the earliest examples of Gothic style, featuring pointed arches, ribbed vaulting, and large stained glass windows. Gothic techniques spread from the Abbey Church of Saint-Denis to other buildings like Notre-Dame Cathedral in Paris and Chartres Cathedral, known for their rose windows, flying buttresses, and highly detailed sculpture.
This document provides information about Romanesque art and architecture from the 11th-12th centuries. It discusses key elements of Romanesque churches like thick stone walls, ribbed vaulting, small windows and decorative tympanums and portals. Specific examples covered include the Bayeux Tapestry, Saint-Etienne in Caen known as the masterpiece of Norman Romanesque, and the pilgrimage church of Saint-Sernin in Toulouse with its radial chapels and ambulatory. Regional variations are also summarized, such as Italian churches featuring classical columns and arcades.
This document provides information about Romanesque art and architecture from the 11th-12th centuries. It discusses key elements of Romanesque churches like thick stone walls, ribbed vaulting, small windows and decorative tympanums and portals. Specific examples covered include the Bayeux Tapestry, Saint-Etienne in Caen known as the masterpiece of Norman Romanesque, and the pilgrimage church of Saint-Sernin in Toulouse with its radial chapels and ambulatory. Regional variations are also summarized, such as Italian churches featuring classical columns and arcades.
The document provides an overview of Romanesque art and architecture in Europe around 1100 AD. It discusses the goals of large pilgrimage churches and monasteries during this period, including housing relics and accommodating pilgrims. Key architectural features are described, such as the nave, vaulting, ambulatory and radiating chapels. Differences between regional styles in places like Italy, France and Germany are examined. Sculpture and its narrative function are explored, alongside other art forms like illuminated manuscripts, frescoes and tapestries. Important architects and artists from the period are also named.
This document discusses Romanesque art from 1050-1200 CE in Europe. It focuses on three main topics: the cult of relics and pilgrimage, which involved traveling to sites housing holy relics; the Crusades from the 11th-13th centuries; and several major Romanesque architectural sites along pilgrimage routes in France and Spain from the 11th-12th centuries, including the Abbey Church at Cluny and the Cathedral of Saint-Lazare in Autun.
The document discusses art from the Middle Ages, including Romanesque and Gothic styles between 500-1500 AD. It provides examples of illuminated manuscripts, architecture like churches and castles, and sculptures that taught religious stories. Gothic art is characterized by pointed arches, rose windows, flying buttresses, and verticality to seem closer to heaven. Frescoes in places like Assisi showed biblical scenes to educate those who could not read.
The document provides an overview of architecture in Europe during the Romanesque period from 1000-1150 AD. It describes the rise of pilgrimages to sites like Santiago de Compostela which drove the construction of thousands of churches across Europe. Romanesque architecture is characterized by thick walls, small windows, and rounded arches. Important examples mentioned include Durham Cathedral, known for its innovative rib vaults, and Santiago de Compostela with its floor plan designed for large numbers of pilgrims. The Bayeux Tapestry and Norman conquest of England are also briefly discussed.
The document discusses Romanesque art and monasticism between 1000-1150 CE. Key aspects include the influence of Roman architecture on vaulting techniques, the growth of monasticism and Benedictine and Cistercian monasteries, and religious sculpture decoration. Major monasteries like Cluny and Fontenay are examined as examples of Benedictine and Cistercian architectural styles respectively.
The document discusses Romanesque art and architecture in Europe between 1050-1200 CE. It provides details on several key characteristics:
- Pilgrimages increased and led to changes in church design like longer naves and additional chapels to house relics. Major pilgrimage sites like Saint-Sernin had grand scales to accommodate large crowds.
- Groin vaults and ribbed vaults became widely used, allowing for taller spaces and clerestory windows. Important buildings featured vaulted designs, like Speyer Cathedral in Germany.
- Regions had distinct styles - French and German structures tended towards verticality while Italian architecture stressed lower, broader proportions like early Christian basilicas.
This document contains descriptions and images of artworks and architecture from the 6th century to the 15th century, including mosaics, frescoes, sculptures and buildings. Many of the works are from Italy and depict religious scenes or figures. Several images show details of architectural elements from the Basilica di San Vitale in Ravenna, Romanesque portals from France, and works by Leon Battista Alberti including the Tempietto del Santo Sepolcro and facades for churches in Florence and Mantua.
The document provides an overview of Romanesque art and architecture between 1100-1200 CE in Europe. It discusses the rise of pilgrimages and large pilgrimage churches built across Europe during this period. Regional variations in architectural styles are seen between places like Germany, Italy, France, and England. Romanesque sculpture featured both architectural elements and free-standing works, often with religious narratives. Painting styles included frescoes and illuminated manuscripts, while other arts included tapestries like the Bayeux Tapestry.
Romanesque art developed in Western Europe between the 11th and 12th centuries CE. It was characterized by architectural styles featuring round arches and columns, as well as religious sculpture and paintings. Major Romanesque works included cathedrals and churches like Pisa Cathedral featuring its leaning bell tower. Romanesque art told biblical narratives through architectural details like capitals and portal sculptures featuring relief carvings.
This document discusses Romanesque art from 1000-1150 CE, focusing on pilgrimage sites and relics. During this period, pilgrimages to holy sites housing important relics became very popular as people sought spiritual fulfillment and salvation. Major pilgrimage churches were built, such as the Cathedral of Santiago de Compostela which contained the relics of St. James and attracted Christian pilgrims along established pilgrimage routes. Reliquaries and sculptures depicted saints and were venerated by pilgrims seeking blessings or miracles. The Crusades also contributed to interest in pilgrimages and relics as part of medieval Christian devotion and worship.
This is a lecture on Romanesque and Gothic Art to give to a college introductory survey course. It should take about an hour and a half to an hour and forty-five minutes to work through with students.
1. Gothic art flourished across Europe from 1200-1500 AD, as evidenced by the proliferation of Gothic cathedrals built during this period from Spain to Scandinavia.
2. A key innovation was the development of rib vaulting, as seen in buildings like the abbey church of St. Denis near Paris in 1140, which helped support the weight of stone ceilings and roofs and allowed for taller structures.
3. One of the greatest Gothic cathedrals, Chartres Cathedral in France, was constructed between 1134-1220 and featured innovations like rib vaulting, flying buttresses, rose windows, and intricately carved statues and decorations.
This document provides an overview of Romanesque art and architecture in Europe from about 1100. It examines the spread and influence of Romanesque style through pilgrimages and crusades. Key architectural elements are identified, including the barrel vault, ambulatory, and radiating chapels. Regional variations are discussed, such as the distinct Italian style featuring stone tracery and pinnacles. Sculpture and painting from the era are also summarized, including the Bayeux Tapestry and illuminated manuscripts. Important sculptors like Gislebertus are named.
This document provides information on various artworks from different time periods and locations. It includes summaries of paintings, frescoes and mosaics by early Italian masters such as Cimabue, Giotto, and Duccio. It also features Byzantine works, as well as art from the Roman period including mosaics from Pompeii. Significant works from Ravenna are highlighted such as the mosaics of San Vitale and Sant'Apollinare Nuovo. Giotto's frescoes at the Upper Church of San Francesco in Assisi are also summarized.
The document summarizes key artistic movements from Romanticism through Post-Impressionism, including their defining characteristics and examples. Romanticism valued emotion, nature, and the irrational over reason. Realism depicted everyday contemporary life. Impressionism sought to capture transient effects of light using short brushstrokes. Post-Impressionism combined Impressionist techniques with more structure, moving closer to abstraction while retaining depth. The document provides examples of representative works from major artists of each movement.
This document provides an overview of European art from the 15th to 18th centuries, beginning with the Northern Renaissance. Key developments include the influence of Italian Renaissance ideas on Northern European artists like Durer, the rise of printmaking and realism, and the effects of the Reformation and capitalism on art. The document then covers Mannerism, the Baroque styles in Italy and Spain characterized by elaborate compositions and drama, and the Baroque in Northern Europe as seen in the works of Rubens, Rembrandt, and Vermeer. Rococo art is described as delicate and sensual. Finally, Neoclassicism is presented as a rejection of the aristocracy in favor of democratic ideals inspired by antiquity. Major artists represented
This document provides an overview of artworks from the Late Gothic period to the Renaissance in three sentences:
It begins with Italian artworks from the 13th century that showed early innovations in perspective and lighting, including works by Cimabue, Giotto, and Duccio. Important 15th century Northern Renaissance artists like van Eyck and van der Weyden are highlighted for their advancements in oil painting technique. The High Renaissance saw masters like Leonardo, Raphael, Michelangelo and Titian produce iconic works that epitomized the period's ideals of proportion, anatomy, and realistic rendering through masterful use of things like fresco, sculpture and oil painting.
The document provides images and descriptions of artworks from Late Antiquity through the Romanesque period in Europe, with a focus on architectural developments. Key points covered include the transition from pagan Roman styles to Early Christian art in the 4th century; the emergence of Byzantine art with its emphasis on flat, frontal figures; and the rise of major Romanesque church buildings across Europe in the 11th-12th centuries featuring stone construction, rounded arches, and vaulted ceilings. Significant architects and artistic centers discussed are Justinian's Hagia Sophia in Constantinople and churches in Ravenna, as well as cathedrals built in France, Germany, England, and Italy between the 11th-12th
This document provides an overview of ancient Greek, Etruscan, and Roman art and architecture from approximately 750 BCE to 330 CE. It features over 100 images with brief descriptions, organized chronologically. The images track the evolution of styles from Archaic to Classical to Hellenistic in Greece, and showcase the emergence of realistic portraiture and architectural innovations like vaults and domes in Rome. Major works highlighted include the Parthenon, Laocoön, and Augustus of Prima Porta.
This document provides information on various important artifacts from ancient Mesopotamia, Egypt, the Aegean, and surrounding regions between approximately 3200 BCE and 47 BCE. It describes architectural structures like ziggurats and temples, as well as sculptures, seals, and other finds that provide insight into the art, culture, and history of early civilizations. The artifacts covered include the Standard of Ur, sculptures of rulers like Naram-Sin and Gudea, Egyptian works like the Great Pyramids and paintings from the tomb of Nebamun, and Aegean items such as the frescoes of Knossos and the Mask from Grave Circle A in Mycenae.
After WWII, Abstract Expressionism became the first truly American art movement, centered in New York City. It featured gestural abstraction like Jackson Pollock's drip paintings and chromatic abstraction works by Mark Rothko using blocks of color. Meanwhile, Pop Art emerged in the 1960s as a reaction, appropriating imagery from popular culture in works like Richard Hamilton's collage. Sculpture also evolved through minimalism which emphasized objecthood over imagery in sculptures by artists like Donald Judd.
Surrealism was an artistic movement inspired by Dadaists that drew from the subconscious mind and dreams. It aimed to combine inner and outer reality in a way similar to dreams. Some key surrealist artists mentioned include Giorgio De Chirico, Max Ernst, Salvador Dali, and Rene Magritte. Hitler deemed some surrealist works as "degenerate art." Around the same time, other modern art movements emerged like Constructivism, Suprematism, De Stijl, and regionalism in America.
Modernism in art flourished in the early 20th century, expressed through many movements including Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Bauhaus, and Surrealism. This period was shaped by world events such as World War I, the Russian Revolution, the rise of totalitarian regimes in Europe, the Great Depression, and World War II. Artists explored new aesthetics and challenged traditional approaches, influenced by interest in non-Western cultures, new technologies, and the chaos of war. Some key developments included abstract painting, collage, photomontage, and questioning the nature of art through readymades. Modernism transformed visual arts and reflected the
Vladimir Tatlin designed the Monument to the 3rd International in 1919 as a towering spiral structure to honor the Russian Revolution that was never built. Gerrit Rietveld's 1924 Schroder House in the Netherlands featured De Stijl architecture influences with sliding screens and moveable panels. Walter Gropius established the influential Bauhaus school in Germany in 1925 that promoted functional design and was later shut down by the Nazis. Mies van der Rohe's 1922 model for a glass skyscraper inspired later tall buildings with its illusion of movement. Le Corbusier designed the 1929 Villa Savoye outside Paris as a "machine for living" with open floor plans and ramp access.
Vladimir Tatlin designed the Monument to the 3rd International in 1919 as a towering spiral structure to honor the Russian Revolution that was never built. Gerrit Rietveld's Schroder House built in 1924 featured De Stijl architecture influences and sliding screens that transformed the interior spaces. Walter Gropius established the Bauhaus school in Germany in 1925 that emphasized simplicity and function but was shut down by Nazis in 1933. Mies van der Rohe's 1922 model for a glass skyscraper inspired later tall buildings. Le Corbusier's Villa Savoye from 1929 inverted typical design with private rooms on the ground floor and an open second floor and roof terrace.
Symbolism rejected realism in favor of fantasy and the expression of individual spirit through signs and symbols. Artists like Puvis de Chavannes, Redon, Rousseau, and Beardsley created unreal, symbolic works that explored the invisible and the subconscious. Munch's The Scream expressed the vast, infinite cry of nature. Klimt depicted intimacy and the themes of life and death through symbolism. Rodin and Saint-Gaudens created symbolic sculptures that expressed the human condition.
The document provides an overview of Impressionism from 1874-1890s. It discusses key Impressionist artists like Monet, Renoir, Degas, and their techniques of capturing light and fleeting moments in plein air works. It also summarizes the societal changes of industrialization and new scientific theories that influenced Modernism's shift towards critiquing artistic conventions. Post-Impressionism emerged in the 1880s-1890s as artists built upon Impressionism towards greater structure, color theory, and abstraction.
The document features artworks from the Romantic era in Europe between the late 18th and mid-19th centuries. It discusses key characteristics of Romanticism like an emphasis on emotion, nature, and the irrational. Major Romantic artists featured include Goya, Delacroix, Friedrich, Turner, and Gericault. The document also covers developments in architecture like Gothic Revival and styles influenced by other cultures. Early photography pioneers like Daguerre and Cameron are highlighted.
The document discusses artistic movements between 1730-1830 including Rococo, Enlightenment, Neoclassicism, and Romanticism. Rococo art emphasized natural forms, delicate ornamentation, and themes of love. During the Enlightenment, philosophers like Voltaire and Rousseau influenced ideas and Neoclassical art depicted historical and moral themes with classical influences. New technologies in iron, steam, and photography developed during this period, driving the Industrial Revolution.
Baroque art flourished in 17th century Italy and Spain, led by artists like Bernini, Borromini, Caravaggio, and Velazquez. They experimented with dramatic compositions, elaborate decoration, and illusionistic space. Baroque architecture featured domes, grand staircases, and majestic palaces to showcase the power of the Catholic Church and European royalty against the Protestant Reformation. Ceiling frescoes with illusionistic elements became popular in places like the churches and palaces of Rome under artists including Pietro da Cortona and Giovanni Battista Gaulli.
Baroque art flourished in Italy and Spain during the Counter-Reformation. In Italy, artists like Bernini, Borromini, and Carracci created dramatic works featuring complex compositions and illusionistic space. Their buildings featured elaborate decorative elements. In Spain, artists like Velázquez, Zurbarán, and Ribera painted realistic religious works and genre scenes for the Spanish court. Velázquez's Las Meninas depicted the artists and royalty in the royal collection. Baroque art aimed to astonish viewers and promote the Roman Catholic Church through dramatic works on a grand scale.
This document provides an overview of Italian art from the Cinquecento period, or 16th century. It discusses major artists such as Leonardo da Vinci, Michelangelo, Raphael, Titian, and Palladio. Their most famous works are described, including Leonardo's Last Supper and Mona Lisa, Michelangelo's Sistine Chapel ceiling and Last Judgment, and Palladio's influential architectural designs. The document also notes key developments in painting techniques, patronage, and the role of the Catholic Church and humanism in shaping Renaissance art.
During the 15th century Quattrocento period in Italy, major developments in art and architecture occurred. Humanism flourished alongside innovations like perspective, modeling, and anatomy in works. Sculptors like Donatello and Ghiberti produced influential works in Florence, while Brunelleschi pioneered new architectural techniques. Painters such as Masaccio and Botticelli produced masterworks reflecting Renaissance ideals of naturalism and classical influence under the patronage of the powerful Medici family.
This document provides an overview of ancient Greek and Roman art and architecture from approximately 750 BCE to 330 CE. It features descriptions and images of famous sculptures, paintings, and structures from ancient Greece and Rome organized chronologically. Some of the key periods and works highlighted include Archaic Greek kouroi sculptures from around 600 BCE, Classical Greek sculptures like the Riace Warriors from 460-450 BCE, Hellenistic sculptures such as the Laocoön Group from the 1st century CE, famous Greek temples like the Parthenon, and iconic Roman structures like the Colosseum and Pantheon.
1. Romanesque Art
Feudalism Urbanization and Christianity
Agricultural economy Pilgrimages and Crusades
-Barons (Nobles) -travel and trade
-Vassals (Knights) -new middle class
-Peasants/serfs (slaves) -growth of cities
-influences of Muslims and
Byzantines
2. THEME: Romanesque
Stone masonry, new vaulting
Church building
techniques, “blocky” appearance
• Build it (block by block) and they will
come
pilgrimages
10. Interior of Santa Sabina, 422, Rome
*compartments of
space replaced long
flat walls
Interior of Saint-Sernin
Toulouse, France
ca. 1070-1120
11. Barrel Vaulted ceiling
Tribune (second story
gallery)
Compound piers
(engaged columns
attached)
Nave of Saint-Sernin
Toulouse, France
ca. 1070-1120
12.
13. St. Catherine’s, Egypt, 565
Bernardus Gelduinus
Christ in Majesty
relief in the ambulatory of Saint-
Sernin
Toulouse, France
ca. 1096
marble
4 ft. 2 in. high
37. Interior of San Miniato al Monte
Florence, Italy
1062 and twelfth century
38. Interior of San Miniato al Monte
Florence, Italy
1062 and twelfth century
39.
40. Wiligelmo
Creation of Adam and Eve, frieze on the west façade, Modena Cathedral
Modena, Italy
ca. 1110
marble
approximately 3 ft. high
41.
42. Tympanum of the south portal of Saint-Pierre
Moissac, France
marble
ca. 1115-1135
43.
44. Christ in Majesty
with angels and the Twenty-Four Elders
Tympanum of the south portal of Saint-Pierre
Moissac, France
marble
ca. 1115-1135
approximately 16 ft. 6 in. wide at base
45.
46. Christ in Majesty
with angels and the Twenty-Four Elders
Tympanum of the s. portal of Saint-Pierre
Moissac, France
marble
ca. 1115-1135
approximately 16 ft. 6 in. wide at base
47. Lions and Old Testament prophet
(Jeremiah or Isaiah?)
From the trumeau of the south portal
of Saint-Pierre
Moissac, France
ca. 1115-1130
marble
approximately life-size
67. Virgin and Child ( Morgan Madonna)
from Auvergne, France
second half of twelfth century
painted wood
2 ft. 7 in. high
68. Virgin and Child ( Morgan Madonna)
from Auvergne, France
second half of twelfth century
painted wood
2 ft. 7 in. high
69.
70. Head Reliquary of Saint Alexander
from Stavelot Abbey, Belgium
1145
silver repoussé, gilt bronze, gems, enamel
17 1/2 in. high
71.
72. Christ in Majesty
apse fresco from Santa María de Muir
near Lérida, Spain
mid-twelfth century
fresco
22 x 24 ft.
73.
74. The Vision of Hildegard of Bingen
Detail of facsimile of a lost folio
in the Scivias by Hildegard of Bingen
from Trier or Bingen, Germany
ca. 1050-1079
75.
76. Initial R with knight fighting dragon
from the Moralia in Job
from Cîteaux, France
ca. 1115-1125
ink and tempera on vellum
13 3/4 x 9 1/4 in.
77.
78. Master Hugo
Moses Expounding the Law
folio 94 recto of the Bury Bible
from Bury Saint Edmunds, England
ca. 1135
ink and tempera on vellum
20 x 14 in.
79.
80. 12 Scenes from the Christmas Story
MS 37472 folio 1 recto
from Canterbury, England
ca. 1140
ink and tempera on vellum
40.5 x 30 cm
81. 12 Scenes from the Christmas Story (detail)
MS 37472 folio 1 recto
from Canterbury, England
ca. 1140
ink and tempera on vellum
40.5 x 30 cm
82. 12 Scenes from the Christmas Story (detail)
MS 37472 folio 1 recto
from Canterbury, England
ca. 1140
ink and tempera on vellum
40.5 x 30 cm
83. Cat, Mouse and Weasel
Bestiary, MS 11283, folio 15, (detail)
from England
ca. 1170
ink and tempera on vellum
30 x 180 cm
84.
85. Mouth of Hell
Winchester Psalter
from Winchester, England
ca. 1150
ink and tempera on vellum
12 3/4 x 9 1/8 in.
86.
87. Eadwine the Scribe(?)
Eadwine the Scribe at work
folio 283 verso of the Eadwine Psalter
ca. 1160-1170
ink and tempera on vellum
88.
89. Funeral of Edward the Confessor
procession to Westminster Abbey
detail of the Bayeux Tapestry
From Bayeux Cathedral, Bayeux, France
ca. 1070-1080
embroidered wool on linen
229 ft. 8 in. overall
90. Battle of Hastings
detail of the Bayeux Tapestry
From Bayeux Cathedral, Bayeux, France
ca. 1070-1080
embroidered wool on linen
229 ft. 8 in. overall
91.
92.
93.
94. Christ in Majesty (Maiestas Domini) with apostles
Saint-Genis-des-Fontaines, France
1019-1020
95.
96. Rainer of Huy
Baptism of Christ
Baptismal font
from Notre-Dame-des-Fonts
Liege, Belgium
1107-1118
bronze
2 ft. 1 in. high
99. The Tree of Jesse
Explanatio in Isaiam
from Cîteaux, France
ca. 1125
ink and tempera on vellum
15 x 9 in.
Editor's Notes
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint-Sernin ’ s plan resembles those of the churches of Saint James and Saint Martin. The builders provided additional space for curious pilgrims, worshipers, and liturgical processions alike. They increased the length of the nave, doubled the side aisles, attached a series of radiating chapels.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. To protect the church from fire the builders placed a semicircular stone barrel vault below the timber-roofed loft. The geometric floor plan is reflected in the nave walls. The engaged columns rise from the bottom of the compound peirs to the vaults springing and continue across the nave as transverse arches.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. To protect the church from fire the builders placed a semicircular stone barrel vault below the timber-roofed loft. The geometric floor plan is reflected in the nave walls. The engaged columns rise from the bottom of the compound peirs to the vaults springing and continue across the nave as transverse arches.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. We illustrate in the centerpiece of the group, the figure of Christ in Majesty. Christ sits in a mandorla, his right hand raised in blessing, his left hand resting on an open book inscribed with the words of Pax vobis. Above are the eagle of Saint John and the angel of Saint Matthew. Below are the ox of Saint Luke and the lion of Saint Mark.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Speyer Cathedral in the German Rhineland is an early example of groin vaults used over a nave. The church was begun in 1030 and was the burial place of the Holy Roman Emperors. Speyer was also the seat of the powerful local bishop.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Speyer Cathedral is a timber-roofed structure. The nave is 45 ft wide and crowns of the vaults are 170 ft high. The builders used crossing, covered by an octagonal dome, as the module for the arrangement of the buildings east end.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Of the façade bell towers the shorter one dates back to the tenth century while the taller north campanile is a twelfth century addition. The main vaults are slightly domical, rising higher than the transverse arches. The emphatic alternate support system perfectly reflects the plans geometric regularity.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sant ’ Ambrogio is three aisled and without transept. Each bay consists of full square in the nave flanked by two small squares in each aisle, all covered with groin vaults. An octagonal dome covers the last bay, its windows providing the major light source for the otherwise rather dark interior.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. This church erected in honor of Saint Ambrose, Milans first bishop. It has an atrium in the early Christian tradition. A two-story narthex pierced by arches on both levels, two bell towers joined to the building, and over towers of German churches.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. This church was begun by William of Normandy in 1067 and must have advanced rapidly, as he was buried there in 1087. Saint-Etiennes west façade is a striking design rooted in the tradition of Carolingian and Ottonian westworks , but it displays the increased rationalism of Romanesque architecture. The three story elevation, with its large arched openings, provides more light into the interior.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The diagonal and transverse ribs compose a structural skeleton that partially supports the still fairly massive paneling between them. These vaults rise high enough to provide room for an efficient clerestory. The original design called for a wooden roof until the groin vaults were introduced.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The diagonal and transverse ribs compose a structural skeleton that partially supports the still fairly massive paneling between them. These vaults rise high enough to provide room for an efficient clerestory. The original design called for a wooden roof until the groin vaults were introduced.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. In architecture, it signaled the importation of French Romanesque building and design methods. It was begun around 1093, in the generation following the Norman conquest, and is the centerpiece of a monastery, cathedral, and fortified-castle complex on the Scottish frontier. The church ’ s vaulted interior which predates that of the remodeled Saint-Etienne at Caen, retains its original severe Romanesque appearance.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. In architecture, it signaled the importation of French Romanesque building and design methods. It was begun around 1093, in the generation following the Norman conquest, and is the centerpiece of a monastery, cathedral, and fortified-castle complex on the Scottish frontier. The church ’ s vaulted interior which predates that of the remodeled Saint-Etienne at Caen, retains its original severe Romanesque appearance.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Durham Cathedral ’ s plan is typically English with its long, slender proportions. Our longitudinal section reveals that simple quadrant arches were used in place of groin vaults in the tribune. The structural descendants of the Durham quadrant arches are the flying buttresses that epitomize the mature Gothic solution to church construction “ The Gothic Cathedral ” .
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. In architecture, it signaled the importation of French Romanesque building and design methods. It was begun around 1093, in the generation following the Norman conquest, and is the centerpiece of a monastery, cathedral, and fortified-castle complex on the Scottish frontier. The church ’ s vaulted interior which predates that of the remodeled Saint-Etienne at Caen, retains its original severe Romanesque appearance.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The cathedral, its freestanding bell tower, and the baptistery, where infants and converts were initiated into the Christian community, present a rare opportunity to study a coherent group of three Romanesque buildings. Construction of Pisa Cathedral began first-in 1063, the same year work began on saints Mark ’ s in Venice. The cathedral is large, five aisled, and one of the most impressive and majestic of all Romanesque churches.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The cathedral, its freestanding bell tower, and the baptistery, where infants and converts were initiated into the Christian community, present a rare opportunity to study a coherent group of three Romanesque buildings. Construction of Pisa Cathedral began first-in 1063, the same year work began on saints Mark ’ s in Venice. The cathedral is large, five aisled, and one of the most impressive and majestic of all Romanesque churches.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The interior also at first suggests the basilica, with its timber rather than vaulted ceiling and nave arcade of reused Roman columns in unbroken procession. Above the colonnade is a continuous horizontal molding, on which the gallery arcades rest. The striped walls of alternating dark green and cream-colored marble provide a luxurious polychromy that became a hallmark of Tuscan Romanesque and Gothic buildings.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. It sits, as its name implies, on a hillside overlooking the Arno River and the heart of the Florence. The body of the church was completed by 1090, the gable-crowned façade during the twelfth and early thirteenth centuries. Even more than Pisa Cathedral, the structure recalls the Early Christian basilica in plan and elevation, although its elaborate geometric incrustation makes for a rich ornamental effects foreign to the earlier buildings.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. It sits, as its name implies, on a hillside overlooking the Arno River and the heart of the Florence. The body of the church was completed by 1090, the gable-crowned façade during the twelfth and early thirteenth centuries. Even more than Pisa Cathedral, the structure recalls the Early Christian basilica in plan and elevation, although its elaborate geometric incrustation makes for a rich ornamental effects foreign to the earlier buildings.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Though at first glance, the lowest level much resembles the patterning of Florence ’ s baptistery, the arcades and panels do not reflect the buildings structure. The façade ’ s upper levels, of much later date than the lowest level are filled capriciously with geometrical shapes that have a purely, ornamental function. The nave is divided into three equal compartments by diaphragm arches. The arches rise from compound piers and brace the rather high, thin walls. They also provide firebreaks beneath the wooden roof and compartmentalize the basilican interior in the manner so popular with most Romansque builders.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Though at first glance, the lowest level much resembles the patterning of Florence ’ s baptistery, the arcades and panels do not reflect the buildings structure. The façade ’ s upper levels, of much later date than the lowest level are filled capriciously with geometrical shapes that have a purely, ornamental function. The nave is divided into three equal compartments by diaphragm arches. The arches rise from compound piers and brace the rather high, thin walls. They also provide firebreaks beneath the wooden roof and compartmentalize the basilican interior in the manner so popular with most Romansque builders.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The segment shown illustrates the creation and temptation of Adam and Eve the theme employed almost exactly a century earlier on Bishop Bernward ’ s bronze doors to Saint Michael ’ s at Hildesheim. Christ is at the far left, framed by a mandorla held up by angels-a variation on both the motifs and the themes of the lintel at Saint Genis-des-Fontaines and the relief's of Saint-Sernin. The creation of Adam, then Eve, and the serpent ’ s temptation of Eve are to the right.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The vast tympanum that crowns the south portal of Saint Pierre depicts the second Coming of Christ as King and Judge of the world in its last days, a theme already alluded to at Saint Genis-des-Fontaines. As befits his majesty, the enthroned Christ is at the center, reflecting a compositional rule followed since Early Christian times. The signs of the Four Evangelists flank him.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. On the trumeau ’ s right face is a prophet identified by some as Jeremiah, by ithers as Isaiah. Whoever the prophet is, he displays the scroll where his prophetic version is written. His position below the apparition of Christ as the apocalyptic Judge is yet another instance of the pairing of Old and New Testment themes.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The vast tympanum that crowns the south portal of Saint Pierre depicts the second Coming of Christ as King and Judge of the world in its last days, a theme already alluded to at Saint Genis-des-Fontaines. As befits his majesty, the enthroned Christ is at the center, reflecting a compositional rule followed since Early Christian times. The signs of the Four Evangelists flank him.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The vast tympanum that crowns the south portal of Saint Pierre depicts the second Coming of Christ as King and Judge of the world in its last days, a theme already alluded to at Saint Genis-des-Fontaines. As befits his majesty, the enthroned Christ is at the center, reflecting a compositional rule followed since Early Christian times. The signs of the Four Evangelists flank him.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The vast tympanum that crowns the south portal of Saint Pierre depicts the second Coming of Christ as King and Judge of the world in its last days, a theme already alluded to at Saint Genis-des-Fontaines. As befits his majesty, the enthroned Christ is at the center, reflecting a compositional rule followed since Early Christian times. The signs of the Four Evangelists flank him.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. On the trumeau ’ s right face is a prophet identified by some as Jeremiah, by ithers as Isaiah. Whoever the prophet is, he displays the scroll where his prophetic version is written. His position below the apparition of Christ as the apocalyptic Judge is yet another instance of the pairing of Old and New Testment themes.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The church ’ s cloister was decorated for the monks alone to see the medieval church cloister expresses the seclusion of the spiritual life, the vita contemplativa. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns surrounds the cloister garth on four sides.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The church ’ s cloister was decorated for the monks alone to see the medieval church cloister expresses the seclusion of the spiritual life, the vita contemplativa. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns surrounds the cloister garth on four sides.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The church ’ s cloister was decorated for the monks alone to see the medieval church cloister expresses the seclusion of the spiritual life, the vita contemplativa. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns surrounds the cloister garth on four sides.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The church ’ s cloister was decorated for the monks alone to see the medieval church cloister expresses the seclusion of the spiritual life, the vita contemplativa. It provided the monks with a foretaste of Paradise. At Moissac a timber-roofed walkway supported by piers and columns surrounds the cloister garth on four sides.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The Cluniac bishop Etienne de Bage had the cathedral built, and it was consecrated in 1132. At Autun, the Judgment is in progress, announced by four trumpet-blowing angels. In the typanum ’ s center, far large than any other figure, is Christ, enthroned in a mandorla angel support, dispassionately presiding over the separation of the Blessed from the Damned. At the far left, an obliging angel boosts one of the Blessed into the heavenly city.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The Cluniac bishop Etienne de Bage had the cathedral built, and it was consecrated in 1132. At Autun, the Judgment is in progress, announced by four trumpet-blowing angels. In the typanum ’ s center, far large than any other figure, is Christ, enthroned in a mandorla angel support, dispassionately presiding over the separation of the Blessed from the Damned. At the far left, an obliging angel boosts one of the Blessed into the heavenly city.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The Cluniac bishop Etienne de Bage had the cathedral built, and it was consecrated in 1132. At Autun, the Judgment is in progress, announced by four trumpet-blowing angels. In the typanum ’ s center, far large than any other figure, is Christ, enthroned in a mandorla angel support, dispassionately presiding over the separation of the Blessed from the Damned. At the far left, an obliging angel boosts one of the Blessed into the heavenly city.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Another large tympanum, this one at the church of La Madeleine at Vezelay, not far from Autun, Christ foretold that the Twelve Apostles would receive the power of the Holy Spirit and became the witness of the truth of the Gospels throughout the world. The light rays emanating from Christ ’ s hands represent the instilling of the Holy Spirit in the apostles at the Pentecost.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Another large tympanum, this one at the church of La Madeleine at Vezelay, not far from Autun, Christ foretold that the Twelve Apostles would receive the power of the Holy Spirit and became the witness of the truth of the Gospels throughout the world. The light rays emanating from Christ ’ s hands represent the instilling of the Holy Spirit in the apostles at the Pentecost.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Another large tympanum, this one at the church of La Madeleine at Vezelay, not far from Autun, Christ foretold that the Twelve Apostles would receive the power of the Holy Spirit and became the witness of the truth of the Gospels throughout the world. The light rays emanating from Christ ’ s hands represent the instilling of the Holy Spirit in the apostles at the Pentecost.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. For the church ’ s western entrance, a projecting portal resembling a Roman arch was “ attached ” to the building ’ s otherwise simple façade. Strictly Christian and thematically related to other Romanesque portals already examined here. The tympanum shows Christ surrounded by the signs of the Four Evangelists.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. For the church ’ s western entrance, a projecting portal resembling a Roman arch was “ attached ” to the building ’ s otherwise simple façade. Strictly Christian and thematically related to other Romanesque portals already examined here. The tympanum shows Christ surrounded by the signs of the Four Evagelists.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. The sculptor BENEDETTO ANTELAMI was active in the last quarter of the twelfth century. Several relief's by his hand exist, including Parma Cathedral ’ s pulpit and the portals of that city ’ s baptistery. His elbows are kept close to his body, and his stance is stiff, lacking any hint of the contrapposto that is classical statuary ’ s hallmark. Yet the sculptors conception of this prophet is undeniably rooted in Greco-Roman art.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae-is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae-is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae-is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. A wooden statuette depicting the Virgin Mary with Christ Child in her lap. The Morgan Madonna so named because it once belonged to the financer and prolific collector J.Pierpont Morgan. The type-known as the Throne of Wisdom, seldes sapientiae-is a western European freestanding version of the Byzantine Theotokos theme popular in icons and mosaics.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Dated 1019-1020 by inscription, the lintel depicts Christ enthroned in a lobed mandorla supported by angels and flanked by apostles. To the left and right of Christ are inscribed the first and last letters of the Greek alphabet, a reference to his role as Last Judge: “ I am the Alpha and the Omega, the first and the Last, the Beginning and the End ” . The Saint-Genis lintel is the earliest of many relief's on Romanesque church facades depicting or alluding to Judgment Day and the separation of those who will be saved from those who will be damned.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. RAINER OF HUY, a bronze worker from the Meuse River valley in Belgium, an area renowned for its metalwork. In 1118 her masterfully cast in a single piece the baptismal font for Norte-Dame-des-Fonts in Liege. The bronze basin rests on the foreparts of twelve oxen, a reference to King Solomon ’ s temple. The Old Testament story was thought to prefigure Christ ’ s baptism which is the central scene on Rainer ’ s font.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.