The Early Middle Ages

• Around 7th-10th century
• Following decline of Roman Empire

Islam

• Founded by the prophet Mohammed (570-632), born in Mecca, in western Arabia. He was Allah's (God) ultimate prophet.
• Islam means "Surrender {to God}." It is the unity of Community of Muslims- "those who surrender"- and their eqality before Allah (God), who is single and absolute.
• Islamic armies conquered large portions of the Byzantine Empire and the Middle East, which caused turmoil that still consists today.

Mosques

• Religious architecture became an inportant part of Islamic culture

• Two types of mosques:
• 1. masjid- used for daily prayer by individuals or small groups
• 2. jami-(larger) congregational worship on Fridays, the Muslim Sabbath

• Basic features of Mosques:
• sahn-enclosed courtyard
• qibla-prayer wall, faces Mecca
• mihrab-small niche frequently set into the qibla

Plan of the Great Mosque, Córdoba, Spain

• Begun 786-787
• Built by Abd ar-Rahman I, the first Muslim ruler of Spain
• In the 13th century Christians gained contol of this mosque, turning it into a cathedral

Hypostyle Hall, The Great Mosque Córdoba, Spain

• More than 500 columns- taken/salvaged from Roman and Early Christian buildings in area
• Columns short - under 10 feet high
• Unique system of double arches
• Striped arches, using alternating red brick and pale yellow stones, were characteristics of Islamic architecture
• No need for focal point, such as an alter in Christian churches and cathedrals
• Originally wooden roof, later replaced by vaulting in the 16th century

Mihrab Bay, The Great Mosque, Córdoba, Spain, built 961-966

• Mihrab built infront of qibla wall
• Three domed chambers
• Central dome and qibla wall have elaborate, Byzantine-inspired mosaics with gold backgrouds
• No figural decoration, this was discouraged because they believed it might have led to idol worship
• Intricate design, interlacing pattern, ornimented
• Caligraphy/ geometric patterning

Dome in front of the mihrab, the Great Mosque, Córdoba, Spain, 961-976

• Intricate geometric patterns

Northern European Art of The Early Middle Ages

Islamic influence on Western European art was concentrated in the South. The North was the new focal point of political and artistic activity. After the Franks invaded and took over Gaul, metalwork became a new trade throughout Europe.

Anglo-Saxon Metalwork

An great example of this newly developed trade is the Sutton Hoo purse cover, located in East Anglia, England.

[img src="/f/1163024503/PurseforSutton.jpg"]

It was a part of a purse containing gold coins that was discovered among the treasures of a pagan ship. This was a ritual in which the deceased are placed in a ship and sent out to sea. Pagans believed that boats carried the dead into the afterlife. The burial of the Sutton Hoo suggest that the deceased was royalty. The purse's decoration is of gold cloisonne, and crushed red garnets. It resembles that of Early Christian interlace designs and Scythian Animal Style. The arrangement of the decrotive sections are all symmetrical. At the top, two geometric shapes filled with gold tracery surrond a centerpiece containing four animals whose jaws and legs are extended to form intertwining ribbons. This techniqe has also been scene in Scythian sculptures as well. Below, in the center of the purse cover, are two sets of animals. An eagle and a duck face each other and are symmetrically framed by a pair of frontal men surronded by animals in profile. The merging animal forms suggest that the invaders from the fifth century brought their artistic styles to western Europe.

The Viking Era

The Vikings were known throughout Europe for their belief in paganism and their violent behavior. Around 800, the Scandinavians developed sailing ships moved by oars. This allowed the Vikings to travel to places such as: Byzantium, France, British Isles, Greenland and North America. As a result, there are traces of Islamic, Byzantine, and Scythian influence in Vinking art. A prime example of this is the Animal Headpost from a ship burial at Osberg, Norway. It is characterized by a compact monumental form, enhanced by bared fangs of the lions. This combines monumentality with elegant stylization. Although it is uncertain of there purpose or use, it is thought that they were guardians.

[img src="/f/1163025435/Unknown.jpg"]

Rune Stones and Picture Stones

Rune stones can be divided into several categories. One of the most widespread of these categories is rune stone as a memorial. Rune stones were often set up to commemorate the dead, and many of Scandinavia’s surviving rune stones served as memorials for people who had died far from home. Another interesting class of rune stone is rune stone as self promotion. Bragging was a virtue in Norse society and is exemplified in rune stones of the time. Hundreds of people had stones carved with the purpose of advertising their own achievements or positive traits. Other rune stones, as evidenced in two of the previous three inscriptions, memorialize the pious acts of new Christians.

The Rok stone is a 9th-century memorial block containing the longest runic inscription known, found in Ostergotland, Sweden. Carved in granite, is legible text containing secret formulas, verses of epic character, allusions to heroic myths, and a poetic vocabulary. The inscription on the side shown praise to Tjodrek as a brave king of sea fighters.

[img src="/f/1163026050/DSC07991_Rok_Runsten_vt.jpg"]

Around 965, Denmark embraced Christianity. When Harald converted around 965, he had adapted into Christian monuments honoring both Gorm and Thyre(His mother and father). The monuments are said to have been a statement of Harald's new-found religion. It is thought that Harald was trying to conduct a smooth transition from paganism to Christianity both for himself and his subjects. One of these monuments is Harald Bluetooth's Rune Stone, from Jelling, Denmark.

[img src="/f/1163026316/else_jelling.jpg"]

Hiberno-Saxon Art

Because of its isolation, Ireland had escaped occupation by the Romans. Saint Patrick introduced Christianity into Ireland in the first half of the fifth century. In the early middle ages, missionaries from Ireland were partly responsible for the spread of Christian faith in Europe. Among them was Saint Columba, who together with tweleve close followers, converted all off scotland to Christianity. During this period, there were tremendous amounts of Christian art in Ireland and various other islands.

Stone Crosses

From the early seventh century to around 800, pagan interlace patterns were incorporated into Christian art. They were carved in relief on the large stone crosses that still dot the Irish countryside.Three types of interlace adorn the vertical and arms of a cross in Tipperary. At the bottom, a single row of scrolls is repeated in the broken cicrle. The pedestal design has largely worn away with time. Generally, these Irish monumental crosses mark sacred places on roads.

[img src="/f/1163025808/Ahenny%20High%20Cross%2C%20Co.%20Tipperary.jpg"]

Manuscript Illumination

An illuminated manuscript is a manuscript in which the text is supplemented by the addition of decoration or illustration, such as decorated initials, borders and miniatures. These manuscripts were usually produced by monks in Irish and English monasteries. The Lion Symbol of Saint John from the book of Durrow is an early example medieval manuscript illumination from the second half of the seventh centruy. The Lion is in profile, it's mouth open and teethed bared as if growling or roaring. Notice the dense pattering of the surface of it's body with red and green diamond shapes. They are accentuated by a yellow that merges into stylized muscle, yellow and red feet, and green and brown striations toward the end of the tail. These colors, as well as the dot pattern on the face, are repeated in the interlace inside the border. This represents Saint John as a Lion, but later his symbol was changed to an eagle.

[img src="/f/1162575079/n_durrow_lion-john_m.jpg"]

The artist created a strict unity of color on this page. In the border, for example, the reds are reserved for the upper and lower sections, thereby repeating the horizontal of the lion's body as well as it's color arrangment. The edges are crisp and clear, the colors contrasting, and surfaces flat like those of the Sutton Hoo purse cover. Design-driven optical illusions are created in the interlace, as if a ribbon has been threaded and rethreaded through itself. This kind of illusory, mazelike play was to become more complex as time goes on.

The color and form of the manuscripts illuminations have become extremely complex, with animal and human figures incorporated into the designs of letters. In the Tunc Crucifixerant XPI, from the book of Kells, the two arms of th letter stretch into the legs and claws of the animal whose head is in the curve of a T. The inside of the curve of the T contains more interlacing. A small green head evolves into the red border around the unc of tunc. At the left border of the page a dragon head emits ribbon-like flames. Human forms have also been added to the repertory. Three sets of small human heads appear in rectangular spaces, two on the right of the foil and one on the left. Such delight in intricate detail was to continue in border imagery throughout the Middle Ages.

[img src="/f/1162575209/KellsFol124rTuncCrucixerant.jpg"]

Besides being visual stunning, it's main purpose was meant to illuminate the "Word of God". The Lower half of the page contains the word Chi (written using X), the beginning of Chirst's Greek name and also shows the Cross.

[http://t771unit3.pbwiki.com/f/map%20pic..doc]

Carolingian Period

The Carolingian period is a historical landmark in Western Europe. On December 25, 800 the Pope crowned Charlemagne (Charles the Great) Roman Emperor. This put Charlemagne in control of the Frankish kingdom which included France, Germany, Switzerland, Belgium, Holland, Northern Spain, and Italy to the south of Rome. This geographical area was named the Holy Roman Empire and it lasted over 600 years.

During this period of time Charlemagne restored the glory of the Roman Empire. It was a time of renaissance of imperial Roman society. Charlemagne established a durable Christian society. This was also a time of interest in spreading knowledge.

Charlemagne Palace Chapel

In the last decade of the 8th century Charlemagne moved the capital and court to Aachen near the modern Belgian-Dutch boarder.

It is in Aachen that the Palace Chapel was built by Odo of Metz from 792 to 805. The Palace Chapel conveyed the majesty of the newly powerful Roman Empire; it was Charlemagne’s personal place of worship and imperial courts. The architecture of The Palace Chapel was influenced by Justinian’s chapel. It has a similar central plan with massive piers and vaults as San Vitale. The Palace Chapel has 16 sides on the outer plan with an octagonal center. It is surrounded by an ambulatory supporting a gallery which opens onto central areas through a series of arches. The third level has a central core that rises into a clerestory. The design of that allows the appearance of the ruler visible through the window which dates back to ancient Egyptian times.

[http://t771unit3.pbwiki.com/f/odo%20of%20metz%20pic..doc]

Reconstructed Model of the Monastery of St. Gall

The monastery of St. Gall was in Switzerland in 820. The structure itself doesn’t remain however drawings and detailed descriptions still survived. This was the ideal monastery. The monastery was complex and self contained. It was 500 by 700 feet, not very large. It was well designed and made very efficient use of the space. There are two towers at the west end. They flank either side of the church. The main alter in the church is to the east. The entire area was self sufficient. They had everything needed to survive, food water, etc. It was also a major place for learning and art. The church in the monastery was different from regular churches because the monks. There are many side chapels for small services. The entire plan was laid out with an interest in system and order which depicts the renewed interest in Ancient Rome.

[http://t771unit3.pbwiki.com/f/st.gall%20pic..doc]

Christ Blessing

Christ Blessing was commissioned by Charlemagne and his wife in 781. It is from the Godescalc Gospels. Christ Blessing is reminiscent of early Christian art. Its dependence on Byzantine icons is present with Christ holding a book in his left hand and having his right hand raised in a blessing gesture. Christ is frontal with his head framed by a flat halo including a cross. The folds and the drapery are depicted as black lines. It is very stylized and flat. There is symmetrical interlace designs in the frame that reflect the influence of Hiberno-Saxon art.

[http://t771unit3.pbwiki.com/f/christ%20blessing%20pic..doc]

Saint John

Saint John is from the Coronation Gospels from the late 8th century. It is on parchment. The work demonstrates a new interest in naturalism and persistence of medieval style. Saint John is seated in an architectural niche within a landscape. His pen is poised and the drapery combines surface pattern with organic form. Shading defines contours especially in the face and head. The footstool is both inside and outside the frame which reveals the artists struggle to reconcile the early medieval and Greco-Roman styles.

[http://t771unit3.pbwiki.com/f/saint%20john%20pic..doc]

Four Evangelists

Four Evangelists is from the Carolingian Gospel from the 9th century. It depicts the four major saints with their symbols set in a landscape indicated by rolling hills. The figures and their desks are obliquely rendered. They define the 3D space. The draperies define the form and movement. The landscape is very Hellenistic. It shows a revival of classical and Roman style.

[http://t771unit3.pbwiki.com/f/4%20evangelists%20pic..doc]

Ottonian Period

There was a power lapse after Charlemagne died. His sons did not prove to be successful leaders. There were three leaders named Otto. They stabilized the Roman Empire.

Benedictine Abbey Church of St. Michaels

The Benedictine Abbey Church of St. Michaels was built in Hildesheim Germany from 1001 to 1032. World War II destroyed much of the structure but it was rebuilt. There is an interest in Roman precedence. It is similar to a basilica plan as many early Christian churches were. The roman influence is seen in the large vaulted arches. They alternate two columns to one large pier to draw attention forward towards the alter. Stripes are present and show and Islamic influence. St. Michaels shows architectural variety with its towers, round arches, sloping roofs, and cylindrical and cubic forms. It has a formal energy about it. The entrances are uncharacteristically located at the side aisles. It has three eastern apses which is unusual because it alternates between single piers with pairs of columns. There are small windows with round arches on the second story which is the main source of light. St. Michaels bridges the gap between Carolingian and Romanesque.

Bronze Doors

The large bronze doors originally at the entrance to St. Michaels show and emphasis on typology. There is left to right pairing of old and New Testament scenes which are read as mans fall being left top to bottom and mans redemption being bottom to top right. There are 16 horizontal scenes in high relief.

[http://t771unit3.pbwiki.com/f/bronze%20doors%20pic..doc]

Adam and Eve Reproached by God

The three figures are related through gaze and gesture. There is little indication of the ground they occupy, and there is no indication of farther back. The Vegetation is stylized which shows a northern barbarian influence. The serpent is also characteristic of the fantastic creatures in the Hiberno-Saxon style. Hierarchy is seen in the relief with God being larger than Adam and Eve and his reproachful gesture and his being clothed. Adam covers his nakedness and points towards Eve while she points to the serpent at her feet. It is a narrative depiction starting at God and ending at the Serpent.

[http://t771unit3.pbwiki.com/f/adam%20and%20eve%20pic..doc]

St. Luke from Gospel Book Otto III

This is a manuscript illumination from around 1000. The ox is St. Luke’s symbol. There is a departure from Carolingian art. St. Luke has wide open eyes with a slight sense of the organic form of his legs. Ottonian art is more formalized. The patterns are stylized. There is a very northern/barbarian influence seen. The Ottonian period is Pre-Romanesque. St. Luke sits on a rainbow inside a green area suspended in a golden space. The space in this piece is not a natural landscape. The Lambs and the Rocks below St. Luke are symbolic; the lambs of birth through baptism and the rocks of the church. St. Luke is holding up an array of clouds with angels and prophets in them. Over his halo is a bull which is St. Luke’s symbol. Flanking the image are two columns with stylized cabbage leaf capitals supporting the arch of interlace. It does resemble the northern/barbarian style but it is much more 3D.

[http://t771unit3.pbwiki.com/f/st.%20luke%20pic..doc]