APAH Chapter 14

Topics: Clerestory, 1st millennium, Otto II, Holy Roman Emperor Pages: 8 (2451 words) Published: November 11, 2013

Chapter 14 Overviews
14-1; Chi Rho Iota Page From the Book of Kells; Late 8th or early 9th century; Scotland. Four scribes and three illuminators worked on this, 185 calves were killed to make the vellum and colors from the paintings came from as far as Afghanistan

14-2; Eagle Brooch; 6th century; Spain
Rendered the bird in flight with outspread wings and tail, profile head with curved beak and large round eye Displays a rich assortment of gems, red garnets interspersed with blue and green stones, circle that represents the eagles body has a cabochon(polished but unfaceted) crystal at the center Round amethyst in a white meerschaum frame forms the eyes

Pendent jewels originally hung from the birds tail the eagle remained one of the most popular motifs of western art

14-3; Cross; Late 7th- early 9th century; Spain.
Has a byzantine form, equal arms widening at the ends joined by a central disk with a relief figure of Christ and a jeweled mandorla, indicating divine light More than 200 jewels, engraved gems adorn the cross

At the bottom of the cross is a gold glass roman portrait medallion

14-4; Gummersmark Brooch; 6th century; Denmark.
Large silver gilt pin dating from 6th cent. In Denmark
Elegant ornament consists of large, rectangular panel and medallionlike plate covering the safety pin’s catch connected by an arched bow The surface of pin seethes with human, animal, and geometric forms An eye-and-beak motif frames the rectangular panel; man is compressed b/w dragons just below bow, and a pair of monster heads and crouching dogs with spiraling tongues frame covering of the catch 14-5; Purse Cover, From the Suttan Hoo Burial Ship; First Half of 7th century; England Artist used cloisonné technique (cells formed from gold wire to hold shaped pieces of garnet or glass) frequently seen in byzantine enamels, created figs of gold garnets and blue checkered glass Polygons decorated with purely geometric patterns flank a central plaque of 4 animals with long interlacing legs and jaws Below large hawks attack ducks and men are spread-eagled between 2 beasts Motif of human being flanked by animals(ancient near eastern and roman) hawks with rectangular eyebrows curving beaks twisted wings and square tails(norse) Interlacing four legged long jawed animals (Germanic animal style) Use of bright color (eastern European)

Displays rich blends of motifs hiberno-saxon style

14-6; Page with Man, Gospel Book of Durrow; 2nd half of 7th century; Scotland. Format and text of the book reflect roman Christian models
Its paintings are an encyclopedia of contemporary design
Each of 4 gospels is introduced by a page with the symbol of its author followed by a page of pure ornament and finally the decorative letters of the text This is preceded by a symbol, the man, but a man such as to be seen only in jeweled images by an irish medal worker Colorful checkered pattern forms the rectangular armless body Startling unshaven face stares glumly from rounded shoulders. The hair framing the high forehead follows the tonsure of the early Celtic church The figure seems to float with dangling feet against a neutral background, which is surrounded by a wide border filled with a curling interlacing ribbon Although the ribbon is continuous, its colors change from segment to segment establishing yet another pattern

14-7; Cats and Mice with Host, Detail of Fig 14-1; Late 8th or early 9th century; Scotland. A metaphor between good and evil, the image may also remark upon the perennial problem of keeping the monks food and the sacred host safe from rodents 2 cats pounce on a pair of mice nibbling on a wafer, and 2 more mice torment cats

14-8; South Cross, Ahenny; 8th century; Ireland.
Seems to have been modeled on metal ceremonial or reliquary crosses, that is, cross-shaped containers for holy relics Outlined with rope-liked, convex moldings covered with spirals and interlace The large bosses...
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