Europe After the Fall of Rome: Early Medieval Art in the West MEDIEVAL EUROPE THE ART OF THE WARRIOR LORDS HIBERNO-SAXON ART CAROLINGIAN ART OTTONIAN ART CAROLINGIAN ART Following his coronation as the new Holy Roman Emperor in 800, Charlemagne sought to revive Roman imperial art, culture, and political ideals. Carolingian art consciously emulated Roman models in sculpture and architecture, and sought to revive learning through the increased production of books. Rome Rises Again: On Christmas day of the year 800, Pope Leo III crowned Charles the Great (Charlemagne), King of the Franks since 768, as emperor of Rome (r. 800-814). Imperial Imagery Revived: When Charlemagne returned home from his coronation in Rome, he ordered the transfer of an equestrian statue of the Ostrogothic king Theodoric from Ravenna to the Carolingian palace complex at Aachen. 16-11 Equestrian portrait of Charlemagne (?), from Metz, Germany, early ninth century. statuette statuette statuette statuette The Art of the Book Manuscript illumination borrowed a wide variety of styles from Late Antique prototypes. In several cases, Classical illusionism was merged with north European linear traditions to produce a distinctive new type of expressive image and new forms of narrative illustration. Book covers were also wrought in precious metals and decorated with gems and ivory and figures in relief. Charlemagne's Books: Charlemagne was a sincere admirer of learning, the arts, and classical culture. 16-12 Saint Matthew, folio 15 recto of the Coronation Gospels (Gospel Book of Charlemagne), from Aachen, Germany, ca. 800–810. folio 15 folio 15 folio 15 folio 15 An Impassioned Evangelist: The style evident in the Coronation Gospels was by no means the only one that appeared suddenly in the Carolingian world. 16-13 Saint Matthew, folio 18 verso of the Ebbo Gospels (Gospel Book of Archbishop Ebbo of Reims), from Hautvillers (near Reims), France, ca. 816–835. folio 18 folio 18 folio 18 folio 18 Acting Out the Psalms: The Carolingians also revived narrative illustration, so richly developed in Early Christian and Byzantine art, and produced many fully illuminated books (even some large Bibles). 16-14 Psalm 43, detail of folio 25 recto of the Utrecht Psalter, from Hautvillers (near Reims), France, ca. 820–835. folio 25 folio 25 folio 25 folio 25 Bejeweled Book Covers of Gold and Ivory: The taste for sumptuously wrought and portable objects, shown previously in the art of the early medieval warrior lords, persisted under Charlemagne and his successors. 16-15 Psalm 57, front cover of the Psalter of Charles the Bald, from Saint-Denis, France, ca. 865. Psalter of Charles Psalter of Charles Psalter of Charles 16-16 Crucifixion, front cover of the Lindau Gospels, ca. 870. Lindau Gospels Lindau Gospels Lindau Gospels Lindau Gospels Architecture Carolingian architecture revives Roman building techniques and forms and is marked by a solid robustness and a clearly articulated geometric structure. The Palatine Chapel at Aachen was modeled on the Byzantine church of San Vitale at Ravenna but with a simplified the plan. The gatehouse to the Lorsch Monastery imitates the design of a Roman city gate but with several features that mark it as a northern building. The plan for the monastery of Saint Gall was systematically designed using a module of two and one-half feet to lay out the buildings. Carolingian churches followed the basilican plan and included numerous towers. Aachen: The Ravenna of the North: Charlemagne often visited Ravenna, and, as already noted, he once brought an equestrian statue of Theodoric from there to display in his palace complex at Aachen, where it served as a model for Carolingian equestrian portraits. 16-17 ODO OF METZ, Palatine Chapel of Charlemagne, Aachen, Germany, restored plan, 792–805. plan plan plan plan plan 16-18 ODO OF METZ, Interior of the Palatine Chapel of Charlemagne, Aachen, Germany, 792–805. interior interior interior interior A Monastic Triumphal Gateway: The Carolingian evocation of the Roman past is illustrated by a remarkable survival from the ninth century, the Torhalle, or gatehouse, of the Lorsch Monastery in Germany. 16-19 Torhalle (gatehouse), Lorsch, Germany, ninth century. gatehouse gatehouse gatehouse gatehouse detail The Ideal Monastery: The Carolingian monastery at Lorsch is not preserved, but scholars have learned much about the design of monastic communities at this time, thanks to a fascinating contemporary document, the ideal plan for a monastery at Saint Gall in Switzerland. 16-20 Schematic plan for a monastery at Saint Gall, Switzerland, ca. 819. plan plan plan model The Basilican Church Transformed: The models that carried the greatest authority for Charlemagne and his builders were those from the Christian phase of the late Roman Empire. The Multiplication of Towers: Old drawings of the now-destroyed church of Saint-Riquier at Centula in northeastern France provided a good idea of what major Carolingian basilicas looked like. 16-21 Drawing of the monastery church of Saint-Riquier, Centula, France, ca. 800. (Engraving made in 1612 after a now-destroyed eleventh-century miniature.) print print print print MEDIEVAL EUROPE THE ART OF THE WARRIOR LORDS HIBERNO-SAXON ART CAROLINGIAN ART OTTONIAN ART