Art History

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Carved Capital in St Lazare, Autun Romanesque relief sculpture.

The Dream of the Magi. The angle warns the kings not to return to Herod.

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Pilgrims in the last judgement tympanum at Autun Two pilgrims walk upwards towards Christ. They carry bags showing symbols. The cross to represent Jerusalem and a scallop shell representing Santiago de Compostela.

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The tympanum in Autun. St. Peter holds a large key and turns to welcome the saved soul to heaven.

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Tympanum of The Last Judgement at Autun

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Autun

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Autun

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Cluny abbey

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Cluny abbey

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Cluny Abbey

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Vézelay Abbey

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Vézelay

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Vézelay Abbey

Three portals with their Romanesque sculptured tympanums in the narthex.

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Vézelay Abbey

Central tympanum depicting the Pentecost.

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The mystic mill in Autun.

Romanesque

Moses pouring grain (law) into a mill (Christ) while St Paul gathers the flour.

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Reims a Gothic cathedral

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Reims a Gothic cathedral

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Notre Dame cathedral in Paris. Gothic

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Notre Dame Paris. Gothic

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Notre Dame Paris gothic

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Rouen cathedral gothic

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Rouen cathedral gothic

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Rouen cathedral. Gothic

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Tympanum in Autun

The Last Judgement

The weighing of souls depicted Michael leans on the scales trying to send the souls in the right direction.

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Autun Romanesque

Tympanum a pair of giants hands grips a tormented souls to pull it upwards.

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Autun Romanesque

Tympanum last Judgement

Christ sits impassively inside a great mandorla held by Angeles.

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Autun Romanesque

The last Judgement tympanum

St Peter welcomes the souls into heaven.

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Autun Romanesque

The Suicide of Judas capital

Judas hangs grotesquely from a beautifully depicted tree the ropes are held by two tedious devil's that seem to gloat and laugh.

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Chartres cathedral

Gothic

Relic of the Virgin Mary Santa Camisia

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Tympanums at Chartres cathedral

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Chartres cathedral Gothic

The royal portal 12th century

Chris in majesty welcomes the visitors.

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St Modest sculpture

The graceful image stands at a corner. She holds a book in one hand and raises the other in blessing as she turns her head in a gesture of gentle refinement.

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The Teacher in Chartres cathedral South portal

The south portal is dedicated to the glory of Jesus Christ. Jesus stands with a book in hand the other lifted in blessing. His feet rest on a lion and a dragon. This is loving Christ.

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Ekehard and Uta 13th century Gothic cathedral in Naumburg.

Its so well crafted and realistic that you one would think it was sculpted while looking at the couple if they didn't know that they were long dead by the time the sculpture was dead.

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The Virgin of Notre Dame constructed for a small church in the centre of Paris 14th century.

Exaggerated S curve. Posture is typical of much later Gothic sculptures. Tender portrayal of a mother smiling at her baby while he plays with the fastening of her cloak.

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The well of Moses (1397-1405) in a monetary commissioned by Philip the Bold of Burgundy.

It is hexagonal pedestal with six old testament prophets they each hold their prophecy on scrolls. 15ft in the fountain of life. Originally a crucifix was on top.

Life size figures. Real moment. They project forward in a free standing manner. 3D. Far beyond other sculptures in size and realism. Body gestures contrast greatly from pensive to reactionary movement. Above angles bracket. Designed by Klaus Sluter.

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The North Portal in Chartres 13th century

Treated as individuals with their own defined gestures. Abraham is looking up at the angle who tells him not to sacrifice his son.

The north portal is full of old and new testament characters. John the Baptist who points to the lamb of God.

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Kings and Queens royal portal 12th century Chartres

Vary in height but hands at the same level and folds tend to emphasise their linear quality. Fine detail is given to garments.

Abbot sugar introduced the colume statues in the doorway facade in St Denise. Almost free standing making sculptures no longer a minor part. Blending and enhancing the architecture.

As Gothic developed sculptures became more free standing and became more natural as they relied less on supporting architecture.

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Reims cathedral 13th century.

Devotion to Mary central doorway. She is crowned queen of heaven by her son above the doorway. At the central pier she welcomes the faithful. The four statues repeat the visitation and annunciation. Shows the variety of styles found at Reims.

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The smiling angle Gabriel. Reims cathedral Gothic 13th century

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Gargoyles Notre Dame Paris.

Used for drains the water would be sprayed away from the building preventing damage to the building.

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Virgin and child ivory Louvre (1250-1400)

On a small scale wood and ivory carvings were created in great numbers for private devotions of princes of church and state.

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Mace-head

Decrative Flint during excavation of Knowth. Low relief style. Hole for wooden handle.

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Mace head Knowth low relife

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Turoe stone Co. Galway

Iron age notices are la Tena style. Less geometric representations of flowers. Lose artwork with whirled and tendrils. Greek influence in step work. The triskele(three-leged trumpet) is more floral than in Newgrange.

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Discs early bronze age.

Thin gold sheet. Found in pairs. Cross motif, chevrons & zigzags. Repoussé technique. Small holes suggest stitching to garments. Circle cut from thin beaten plate of gold. Decorated by hammering and punching.

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Lunula early bronze age. One found in Westmeath.

Thin sheet if gold cresent shape decorated with lines, hatched triangles and zigzags. Incision technique and worn as neck ornament. Cut from heathen sheet of gold.

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Flanged gold Earrings (co Roscommon) middle bronze age

Small twisted rings with a collar and rod like ends.

Four flanges created by hammering out the edges of an angled bar. Twisted then.

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Gold ribbon Torc (Belfast) late bronze age. twisted bands. Strap of gold beaten out from centre to very thin edges before twisting thicker metal forms buttons at ends were they interlock. Worn as a neck ornament.

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Bracelets late bronze age. Curved bands of gold. Broad ridges with smaller ridges. Repoussé technique. Armbands. Made from a length of gold broad ribbon. Thin edges coiled backwards and inwards to create edges.

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Fibula late bronze age. Dress fastener. Bow shaped bar link two concave bases. Engraved concentric circles. Parallel bands and chevrons. Concave terminals beaten into shape.

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Gorget. Neck ornament. Late bronze age. Repoussé technique. Curved sheet with a circle disc at each end. Decorated with bosses. Concentric circles and ridges with recessed rope moulding. Parts linked together by folding a slit in the disc allows for a band to fit through. Terminals stitched on by gold wire.

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Lock rings. Hair clips. Conical shape with a slit each side. Concentric lines of gold wires placed beside each other. Made from four parts. Central split tube, two gapped conical shapes and a circular binding strip.

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Bulla. Bog of Allen. Pendant. Concentric circles, semi circles, triangles and other patterns in repoussé. Lead is covered with a sheet of gold.

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Leather wood and bronze shield. Limerick. Late bronze age. A strap of bronze curved to form a hand grip. Ridges and rounded bosses. Repoussé technique. Shield. Six concentric ridges raised from surface of a thin plate with six rings of rased bosses.

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Bronze cauldron. Cooking pot. Pointed rivets hold sheets together and help heat food quicker. Two large rings to suspend from a pole. Rims are in-turned disc. Base is bronze plate. 3rounds of sheet riveted together. Straps of bronze fasten ring handles to pot.

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Castle range stone. Swirled and spirals carved into rounded boulder. Used in ritual.

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The loughnashade trumpet

S shaped two parts facing opposite directions. Curved stem. Found in co Armagh. Elegant conical shape. Rimmed circular disc is decorated with high relief repoussé technique curvilinear design. A sheet of bronze was rolled to make a tube. This was riveted to strip of metal o. The inside.

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Broighter Collar

Repoussé technique foliage and leaf motifs. Spiral bosses flower heads. La Téne style. Decorated when sheet was flat. Then rolled into tubes soldered together and filled with hot wax to heat the metal before bending. Two half hoops and decorative fastener an elaborate locking device was placed at each end of hoops.

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The Petrie crown

Circular concave shaped discs mounted on band of metal with conical horns. Holes on the band suggest that fabric was sown into it. Crown. Low relief curvilinear patterns cut away. Stylised bird heads at the end of spirals and trumpet curves.sweeping curves on horns. Discs have individual patterns setting for bead and stud of red enamel in the central boss. The horns were made from folding bronze sheet cone shape riveting in a copper coat. The design was cut away after the shapes were made.