Early Midieval And Romanesque

Front 1

Chi-Rho-Iota- Book of Kells

Back 1

From the Book of Matthew in the Book of Kells
c.800, ink of vellum, Trinity College LIbrary, London
Interlacing patterns dominate.Initials are dominant motifs- Chi and rho are the first two letters of Christ's name in Greek. Created by monks working in a scriptorium. Painted on Vellum - antelope of calf hide.

Front 2

Equestrian Statue of a Carolingian Ruler

Back 2

Ninth Century, Bronze, Lourve, Paris
Stresse imperial imagery of holding the orb, a symbol of the world in the rider's hands. Rider much larher than the horse he sits on.Perhaps represents Charlemagne or Charles the Bald. Little attention to the natural movement if the horse.

Front 3

Bishop Bernward Doors

Back 3

c.1015, bronze, Saint Michael's, Hildesheim, Germany
Two 15-feet-tall bronze doors
Imperial overtones: Pantheon had bronze doors, now gone; Aachen has bronze doors, but with no decorations. Left shows the fall of a man the right shows the redemption of a man. bony figures, vitality and livliness, emphasis and hands, fee, head.

Front 4

Bayeux Tapestry

Back 4

1070-1080, embroidery, wool on linen, Bayeux
Tapestry a misnomer; actually an embroidery
Comissioned by Bishop Odo, half-brother of William the Conquerer. Tells stroy of WIlliam's conquest of England at the Battle of Hastings in 1066. Fanciful beast in upper and lower registers.

Front 5

Gislebertus, Last Judgement

Back 5

1120-1135, marble, St. Lazare, Autun, France
Scene of the LAst JUdgement: Jesus at the second Coming, with those saved on his his right an dthose damned on his left.
To eneter the church, people walk through the door on the right belowthe scene of the condemned, and exit out the door on the left where the saved are dispected.
Figures ar elinear, twisting, and writhing.

Front 6

Hildegard von Bingen's Vision

Back 6

107-1080, now destroyed, exists as a copy, manuscript
Figures dominate architectural setting. Heavy dark outline defines the forms. Expressive drapery foldsindicate legs and arms but little other body form. Hildegard as patroness of this book. She sits as an author portrait recording her vison. Her scribe, Volmar, waits by her sidewith a book.

Front 7

Dome of the Rock

Back 7

Interior c.687-691, Jerusalem, Isreal
Columns from ROman Monuments. Sacred rock where Muhammad ascended to heaven. Domed Wooden octogon. Alternating vousoirs. Influenced by centrally planned buildings, cf. Santa Costanza.