Art History: Early Medieval Art
OVERVIEW
The term Medieval is a catchall phrase used to describe the art of a number of cultures and a variety of regions in Western Europe after the fall of Rome until the 11th century (476 - 1000 CE).
The Germanic people (Franks, Visigoths, Ostrogoths, Saxons) who wrested control from Rome were those that established permanent settlements across Europe - and often mixed with the local inhabitants, including the Celts (a term describing the descendants of Iron Age peoples in Europe, not the tribesmen in Britain). The allure of Christianity was once again a major influence of this time period, many tribal leaders would convert their entire following in one single conversion.
The Church was an important force, but so was loyalty to family / clan. Groundwork for feudalism was laid out, with strong families governing much of Europe. Two major dynasties (Carolingian and Ottonian) sought to reestablish the centralized authority that had been absent in Europe after the fall of Rome.
The "Dark" Ages aren't as dark as many claim.
ANGLO-SAXON & VIKING ART
Small, portable art: weaving, metalwork, jewelry, woodcarving. Required training and skill, took time and effort to be so specialized. Metalworkers had a high social status among Germanic tribes, a measure of respect for what they made and the valuable materials used. In some Germanic folk legends, metalworkers have the ability so remarkable that they are described as magical (magic rings, norse mythology, Tolkien).
The Animal Style
The inherent style of the Germanic people, known as the Animal Style, mixed with that of the Celts - which was very intricate and ornamented. The result was a complex combination of abstract and organic shapes.
An Anglo-Saxon ship burial in England follows the age-old tradition of burying important people with their personal effects (Egyptians, Etruscans, Romans, Greeks, everyone). May be an indication of a concern for the afterlife, or simply a way to venerate the dead. A 7th century Anglian king was buried with two ships, at Sutton Hoo. The burial ships described in Beowulf are very similar to this discovery:
They stretched their beloved lord in his boat,
laid out by the mast, amidships,
the great ring-giver. Far-fetched treasures
were piled upon him, and precious gear.
I never heard before of a ship so well furbished
with battle tackle, bladed weapons
and coats of mail. The massed treasure
was loaded on top of him: it would travel far
on out into the ocean's sway.
-Translated, Beowulf.
While Beowulf describes events a century prior to Sutton Hoo find, it was written a century or more later, indicating that such burial discoveries are good source of context, as Beowulf is related, if not entirely historically accurate.
Intricate animal-style designs cover a large gold buckle from Sutton Hoo. Two interlaced biting snakes decorate the stud to which the tongue is attached. This is attached to a plaque with eagle heads and additional serpents, covering nearly every space.
A splendid animal head of the early 9th century displays all of the characteristics of the animal style. It is the decorated end of a wooden post, recovered from a buried Viking ship at Oseberg, Norway. (Vinkingr means raider in Old Norse). Usage is thought to be ceremonial, or carried in processions, unknown for sure.
HIBERNO-SAXON ART
During the early Middle Ages, the Irish (called Hibernians, after the Roman name for Ireland, Hibernia) were the spiritual and cultural leaders of Western Europe. They had never been a part of the Roman Empire, so when Christian missionaries finally found their way there, they appeared truly barbaric - though they readily accepted Christianity. Irish monasteries developed, isolated from major settlements (Irish liked the desert-saints that sought spiritual perfection in the solitude of the wilderness).
Manuscripts
Irish monasteries became centers for learning and the arts, with much time specifically devoted to copying and reproducing literary and religious texts.
On the Symbol of Saint Matthew, in the Book of Durrow, the geometric pattern recalls the design of the Sutton Hoo clasps. The addition of a head, and side-turned feet transform the otherwise decorative shape a human figure. The parallel from previous metalwork design translated onto vellum signals that Saint Matthew brings an important/precious message. (one account of an irish scribe's hands being severed and kept as relics which could perform miracles indicate how precious these paintings were).
The Lindisfarne Gospels, specifically this cross page, is a work of breathtaking complexity. With the precision we've seen only in jewelry, the artist packed animalistic figures so dense into the page that it makes the Sutton Hoo discoveries appear simplistic. A ruler and compass were used to lay out a grid so the design would be exact. Francoise Henry called such works a "sacred riddle" which had to be contemplated and discovered.
Hiberno-Saxon style was styled after the isolation of the Irish monastic life, coupled with their fierce desire to spread the word of Christianity. This eventually lead to the "romanization" of the Hiberno-Saxon style, with folded cloth, more realistic forms, etc (compare to Durrow Matthew).
The Book of Kells was the culmination of the Hiberno-Saxon style, 100 years after Lindisfarne Gospels. The Book of Kells was the most elaborate codex of all celtic art. The book is named after the monastery it was housed in (from 9th century to the 17th century). The Chi Rho Iota monogram page illustrates Christ's initials, XPI, in Greek.
Alongside the XPI, it says, "Christi autem generatio" or "now this is how the birth of Christ came about," heralding the beginning of the Book of Matthew, in which the birth of Jesus is celebrated. First time human figures are represented in these illustrations - heads pop out of the top, angels within the shafts. Cats, mice, otters, butterflies are also present - the natural world accompanies the humans. The intricate nature of these illustrations COMPELS concentration, much as early byzantine icons did with their fixed gaze.
CAROLINGIAN ART
During the late eighth century, a new empire developed out of the collection of tribes and kingdoms that dominated Northern Europe. This empire stretched from the North Sea, to Spain, to Lombardy (N. Italy) and was founded by Charlemagne - King of the Franks (768 CE). (Carolus Magnus, Latin for Charles the Great) Pope Leo III named him successor of Constantine in the year 800, making him the emperor of Rome. Emperors were crowned in Rome, but did not live there - Charlemagne built his center of power at Aachen, in present day Germany (close to France and Belgium). He brought in scholars from all over to keep a well-educated capital, and to promote learning and better administration of his realm.
Charlemagne and his administration literally wanted renovatio imperii romani: to renew imperial Rome. Artists emulated roman style, Charlemagne modeled his rule off of Constantine and Justinian (rather than old pagan emperors).
This sculpture of a Carolingian Ruler was once thought to be Charlemagne himself, but is now generally assigned to his grandson: Charles the Bald. Wears imperial robes, sits triumphantly on his steed as if it were a throne, holding orb (represents world conquest). LIkely modeled off of what famous (non) Christian Emperor? This work is simpler, less frills, but conveys the Carolingian message that they were the heirs to the Roman imperial throne.
Christ Enthroned from the Godescalc Gospels (named after monk that transcribed them) shows Christ wearing royal robes of purple. Folded garments and wrinkles, along with other hallmarks of imperial art are present here (again, compare to Matthew of Durrow). Artist tries to emulate roman patterns, but does so with hard lines, a clearly northern style unique to this period. Merged heritage of roman style (garden scene, clothes) with northern decoration (flat patterns around illuminated text).
Lindau Gospels Cover is important because it demonstrates the need of Carolingians to preserve and embellish the written word - the cover serves both purposes. Gems raised on turrets to allow light to pass beneath.
CAROLINGIAN ARCHITECTURE
Although few Carolingian buildings survive, ruins discovered indicate a significant increase in building activity under Charlemagne, a result of his reign of security and propserity. In line with painters, architects also wanted to emulate traditional Roman designs, and modeled buildings off of those found in Rome and Ravenna (Charlemagne had visited both cities). While Rome was the capital, we remember Ravenna as a Christian outpost in imperial Rome at its time, a model Charlemagne wanted to follow.
The Palace Chapel of Charlemagne at Aachen was built after Charlemagne's desire to maintain a static place of government, no longer roaming around as the political situation required. Modeled off of Constantine's Lateran Palace in Rome - the chapel itself (pictured) was inspired off of the Church of San Vitale in Ravenna.
At San Vitale, the entrance (narthex) was attached at an angle, offset from the main structure. In the Palace Chapel of Charlemagne, the main entrance is in line with the axis of the church, molded into a tall, compact unit, called a WESTWORK (see picture).
Charlemagne placed his throne in the tribune (gallery of the westwork) above the entrance, overlooking the altar. He was able to oversee the services held within, making the westwork a kind of imperial chamber within the chapel.
An even more elaborate westwork formed part of one of the greatest basilican churches of the Carolingian period: the Abbey Church of Saint-Riquier, in France. It was destroyed long ago, but is remembered by drawings, paintings, and prints (picture). Benedictine rules for monastic life required monks to labor, study, and pray. By the 9th century, these rules spread to all european monasteries, thanks to Charlemagne's support. The order the rules imposed lined up perfectly with Charlemagne's desire to provide stability through governance - both civil and religious.
Three structures of this monastery are connected by covered arcades, forming a CLOISTER. The cloister was generally used for exercise and meditation. The triangular shape of this specific cloister is symbolically significant because of the monastery's dedication to the Holy Trinity.
The PLAN OF A MONASTERY, at St. Gall, is a drawing of a plan for a monastery, showing us the importance placed on such structures. This is a literal representation of Charlemagne's need for order.
Sadly, his heirs (after the death of his son Louis I) did not uphold Charlemagne's beliefs, and split the empire into three segments (East, West, and Holy Roman Empire), which came under attack by the Moslems, Slavs, Magyars, and the Vikings.
OTTONIAN ART (919-1024 CE)
When the last Frankish monarch died in 911, the center of political power consolidated in the eastern portion of what was once the Carolingian empire, about where modern Germany is presently. Named after the three major rulers of the empire, Otto I, Otto II, Otto III. The greatest Ottonian king, Otto I, revived the imperial ambition of Charlemagne. Crowned emperor by Pope John XII, who requested that Otto seize Rome. Otto eventually deposed the pope for conspiring against him,
OTTONIAN ARCHITECTURE
Revived Carolingian efforts to establish and build many churches. Also wanted to restore the imperial glory of Christian Rome.
Church of St. Cyriakus is best preserved Ottonian church. Relies on basic form of Early Christian basilica, which was also dominant during the Carolingian period. A gallery, not present in Early Christian models, was inserted between the arcade and the clerestory. Emphasis on verticality, not horizontal focused as Early Christian layouts were. Gallery could have held altars, or a choir. Uncertain.
St. Michaels at Hildesheim was built by Bernward. He was the most ambitious patron of architecture and art during the Ottonian age. The church of St. Michael is derived from St. Riquier. The symmetry of these structures is carried much further in the St. Michael example, as two identical transepts (see towers) mirror the structure perfectly. Three segments within, each with three arches (same width as transept) - modular design, well balanced. Has a crypt built into the structure, half submerged into the ground. Crypts were introduced in Carolingian period to house venerated tombs of saints within a church.
OTTONIAN METALWORK
The Ottonian emperor's desire to strengthen their own rule through church backing is reflected in the very elaborate metalwork used to adorn churches and other structure.
The bronze doors of St. Michael's at Hildesheim were commissioned by Bernward. The idea for the doors likely came from Roman or Byzantine doors in bronze or wood with similar motifs. This is considered the first large-scale sculpture made with the lost-wax process since antiquity (Zeus, etc). Each door was cast as one piece, and measures over 16 feet high.
The left door is filled with stories from the Old Testament, the right come from the New Testament Old Testament (left) stories are chronologically ordered, from top to bottom, while the New Testament (right) move from bottom to top, a literal suggestion that the Christian Bible is uplifting. Each horizontal pair is linked through typology - where Old Testament stories are prefigured by New Testament stories. (next slide)
Temptation and the Fall, from the Doors of Bishop Bernward shows the tree of Eden that gave its fruit to Eve. Paired with this is the Crucifixion, which features the cross in the center where the tree is on the opposite panel. In Medieval times, the cross was reported to have been made from the wood of this tree - the parallel is obvious to a medieval viewer, showing the redemption for the sin imposed by the original act. Other symbolism and positioning parallel the two images (as do all of the scenes in the doors), such as the hands of Adam and Eve mirroring the spears used by Roman soldiers to stab Christ.
Eve is an instrumental figure on the doors, with the scenes actually starting at Eve's creation, not Adam's as would normally be the expectation. In the Temptation scene, Eve's positioning and her holding the apple mirror the serpent, illustrating her role as a seducer. The fact that she clutches it so close to her breast accentuates her sexuality, further demonizing her for the exile from Paradise, while playing into the idea that Bernward wanted to reform the morality of the clergy. Ottonian era priests and monks had wives, and children - some even are known to have kept them at the monastery. Eve thus is assigned the burden of clerical immortality, she is the first woman, the first seductress.
In the Column of Bishop Bernward, at Hildesheim, the idea of Roman parallels becomes painfully obvious. Where the bronze doors and basilica style structures hinted at an imperial past, the Column is a literal translation of the Column of Trajan. Spiraling reliefs depicting Jesus' life. Only 1/10th the size of Trajan's however, and is inside of the church's transept.
IVORY & MANUSCRIPTS
Christ Blessing Otto II and Theophano commemorates the pair's coronation, and presents it as divinely sanctioned. In composition and style, it is immediately evident in similarities to Romanos and Eudokia (Byzantine) which was carved less than 50 years earlier. Long-haired Christ with halo (and cross), geometric robes for royalty. The commissioner is pictured here, an Italian Bishop, grasping the stool Christ stands upon while prostrating himself before the emperor.
SCULPTURE
Virgin of Essen is thought to be a reliquary, but is hard to tell due to wooden interior missing. Object was given to the Cathedral of Essen, likely displayed on an altar - showing patronage of a wealthy imperial family. One of the earliest free-standing sculptures of the Virgin Mary. She holds a golden apple, a symbol that represents her as the new Eve, an idea related to Bernward's doors.
OVERVIEW
The term Medieval is a catchall phrase used to describe the art of a number of cultures and a variety of regions in Western Europe after the fall of Rome until the 11th century (476 - 1000 CE).
The Germanic people (Franks, Visigoths, Ostrogoths, Saxons) who wrested control from Rome were those that established permanent settlements across Europe - and often mixed with the local inhabitants, including the Celts (a term describing the descendants of Iron Age peoples in Europe, not the tribesmen in Britain). The allure of Christianity was once again a major influence of this time period, many tribal leaders would convert their entire following in one single conversion.
The Church was an important force, but so was loyalty to family / clan. Groundwork for feudalism was laid out, with strong families governing much of Europe. Two major dynasties (Carolingian and Ottonian) sought to reestablish the centralized authority that had been absent in Europe after the fall of Rome.
The "Dark" Ages aren't as dark as many claim.
ANGLO-SAXON & VIKING ART
Small, portable art: weaving, metalwork, jewelry, woodcarving. Required training and skill, took time and effort to be so specialized. Metalworkers had a high social status among Germanic tribes, a measure of respect for what they made and the valuable materials used. In some Germanic folk legends, metalworkers have the ability so remarkable that they are described as magical (magic rings, norse mythology, Tolkien).
The Animal Style
The inherent style of the Germanic people, known as the Animal Style, mixed with that of the Celts - which was very intricate and ornamented. The result was a complex combination of abstract and organic shapes.
An Anglo-Saxon ship burial in England follows the age-old tradition of burying important people with their personal effects (Egyptians, Etruscans, Romans, Greeks, everyone). May be an indication of a concern for the afterlife, or simply a way to venerate the dead. A 7th century Anglian king was buried with two ships, at Sutton Hoo. The burial ships described in Beowulf are very similar to this discovery:
They stretched their beloved lord in his boat,
laid out by the mast, amidships,
the great ring-giver. Far-fetched treasures
were piled upon him, and precious gear.
I never heard before of a ship so well furbished
with battle tackle, bladed weapons
and coats of mail. The massed treasure
was loaded on top of him: it would travel far
on out into the ocean's sway.
-Translated, Beowulf.
While Beowulf describes events a century prior to Sutton Hoo find, it was written a century or more later, indicating that such burial discoveries are good source of context, as Beowulf is related, if not entirely historically accurate.
Intricate animal-style designs cover a large gold buckle from Sutton Hoo. Two interlaced biting snakes decorate the stud to which the tongue is attached. This is attached to a plaque with eagle heads and additional serpents, covering nearly every space.
A splendid animal head of the early 9th century displays all of the characteristics of the animal style. It is the decorated end of a wooden post, recovered from a buried Viking ship at Oseberg, Norway. (Vinkingr means raider in Old Norse). Usage is thought to be ceremonial, or carried in processions, unknown for sure.
HIBERNO-SAXON ART
During the early Middle Ages, the Irish (called Hibernians, after the Roman name for Ireland, Hibernia) were the spiritual and cultural leaders of Western Europe. They had never been a part of the Roman Empire, so when Christian missionaries finally found their way there, they appeared truly barbaric - though they readily accepted Christianity. Irish monasteries developed, isolated from major settlements (Irish liked the desert-saints that sought spiritual perfection in the solitude of the wilderness).
Manuscripts
Irish monasteries became centers for learning and the arts, with much time specifically devoted to copying and reproducing literary and religious texts.
On the Symbol of Saint Matthew, in the Book of Durrow, the geometric pattern recalls the design of the Sutton Hoo clasps. The addition of a head, and side-turned feet transform the otherwise decorative shape a human figure. The parallel from previous metalwork design translated onto vellum signals that Saint Matthew brings an important/precious message. (one account of an irish scribe's hands being severed and kept as relics which could perform miracles indicate how precious these paintings were).
The Lindisfarne Gospels, specifically this cross page, is a work of breathtaking complexity. With the precision we've seen only in jewelry, the artist packed animalistic figures so dense into the page that it makes the Sutton Hoo discoveries appear simplistic. A ruler and compass were used to lay out a grid so the design would be exact. Francoise Henry called such works a "sacred riddle" which had to be contemplated and discovered.
Hiberno-Saxon style was styled after the isolation of the Irish monastic life, coupled with their fierce desire to spread the word of Christianity. This eventually lead to the "romanization" of the Hiberno-Saxon style, with folded cloth, more realistic forms, etc (compare to Durrow Matthew).
The Book of Kells was the culmination of the Hiberno-Saxon style, 100 years after Lindisfarne Gospels. The Book of Kells was the most elaborate codex of all celtic art. The book is named after the monastery it was housed in (from 9th century to the 17th century). The Chi Rho Iota monogram page illustrates Christ's initials, XPI, in Greek.
Alongside the XPI, it says, "Christi autem generatio" or "now this is how the birth of Christ came about," heralding the beginning of the Book of Matthew, in which the birth of Jesus is celebrated. First time human figures are represented in these illustrations - heads pop out of the top, angels within the shafts. Cats, mice, otters, butterflies are also present - the natural world accompanies the humans. The intricate nature of these illustrations COMPELS concentration, much as early byzantine icons did with their fixed gaze.
CAROLINGIAN ART
During the late eighth century, a new empire developed out of the collection of tribes and kingdoms that dominated Northern Europe. This empire stretched from the North Sea, to Spain, to Lombardy (N. Italy) and was founded by Charlemagne - King of the Franks (768 CE). (Carolus Magnus, Latin for Charles the Great) Pope Leo III named him successor of Constantine in the year 800, making him the emperor of Rome. Emperors were crowned in Rome, but did not live there - Charlemagne built his center of power at Aachen, in present day Germany (close to France and Belgium). He brought in scholars from all over to keep a well-educated capital, and to promote learning and better administration of his realm.
Charlemagne and his administration literally wanted renovatio imperii romani: to renew imperial Rome. Artists emulated roman style, Charlemagne modeled his rule off of Constantine and Justinian (rather than old pagan emperors).
This sculpture of a Carolingian Ruler was once thought to be Charlemagne himself, but is now generally assigned to his grandson: Charles the Bald. Wears imperial robes, sits triumphantly on his steed as if it were a throne, holding orb (represents world conquest). LIkely modeled off of what famous (non) Christian Emperor? This work is simpler, less frills, but conveys the Carolingian message that they were the heirs to the Roman imperial throne.
Christ Enthroned from the Godescalc Gospels (named after monk that transcribed them) shows Christ wearing royal robes of purple. Folded garments and wrinkles, along with other hallmarks of imperial art are present here (again, compare to Matthew of Durrow). Artist tries to emulate roman patterns, but does so with hard lines, a clearly northern style unique to this period. Merged heritage of roman style (garden scene, clothes) with northern decoration (flat patterns around illuminated text).
Lindau Gospels Cover is important because it demonstrates the need of Carolingians to preserve and embellish the written word - the cover serves both purposes. Gems raised on turrets to allow light to pass beneath.
CAROLINGIAN ARCHITECTURE
Although few Carolingian buildings survive, ruins discovered indicate a significant increase in building activity under Charlemagne, a result of his reign of security and propserity. In line with painters, architects also wanted to emulate traditional Roman designs, and modeled buildings off of those found in Rome and Ravenna (Charlemagne had visited both cities). While Rome was the capital, we remember Ravenna as a Christian outpost in imperial Rome at its time, a model Charlemagne wanted to follow.
The Palace Chapel of Charlemagne at Aachen was built after Charlemagne's desire to maintain a static place of government, no longer roaming around as the political situation required. Modeled off of Constantine's Lateran Palace in Rome - the chapel itself (pictured) was inspired off of the Church of San Vitale in Ravenna.
At San Vitale, the entrance (narthex) was attached at an angle, offset from the main structure. In the Palace Chapel of Charlemagne, the main entrance is in line with the axis of the church, molded into a tall, compact unit, called a WESTWORK (see picture).
Charlemagne placed his throne in the tribune (gallery of the westwork) above the entrance, overlooking the altar. He was able to oversee the services held within, making the westwork a kind of imperial chamber within the chapel.
An even more elaborate westwork formed part of one of the greatest basilican churches of the Carolingian period: the Abbey Church of Saint-Riquier, in France. It was destroyed long ago, but is remembered by drawings, paintings, and prints (picture). Benedictine rules for monastic life required monks to labor, study, and pray. By the 9th century, these rules spread to all european monasteries, thanks to Charlemagne's support. The order the rules imposed lined up perfectly with Charlemagne's desire to provide stability through governance - both civil and religious.
Three structures of this monastery are connected by covered arcades, forming a CLOISTER. The cloister was generally used for exercise and meditation. The triangular shape of this specific cloister is symbolically significant because of the monastery's dedication to the Holy Trinity.
The PLAN OF A MONASTERY, at St. Gall, is a drawing of a plan for a monastery, showing us the importance placed on such structures. This is a literal representation of Charlemagne's need for order.
Sadly, his heirs (after the death of his son Louis I) did not uphold Charlemagne's beliefs, and split the empire into three segments (East, West, and Holy Roman Empire), which came under attack by the Moslems, Slavs, Magyars, and the Vikings.
OTTONIAN ART (919-1024 CE)
When the last Frankish monarch died in 911, the center of political power consolidated in the eastern portion of what was once the Carolingian empire, about where modern Germany is presently. Named after the three major rulers of the empire, Otto I, Otto II, Otto III. The greatest Ottonian king, Otto I, revived the imperial ambition of Charlemagne. Crowned emperor by Pope John XII, who requested that Otto seize Rome. Otto eventually deposed the pope for conspiring against him,
OTTONIAN ARCHITECTURE
Revived Carolingian efforts to establish and build many churches. Also wanted to restore the imperial glory of Christian Rome.
Church of St. Cyriakus is best preserved Ottonian church. Relies on basic form of Early Christian basilica, which was also dominant during the Carolingian period. A gallery, not present in Early Christian models, was inserted between the arcade and the clerestory. Emphasis on verticality, not horizontal focused as Early Christian layouts were. Gallery could have held altars, or a choir. Uncertain.
St. Michaels at Hildesheim was built by Bernward. He was the most ambitious patron of architecture and art during the Ottonian age. The church of St. Michael is derived from St. Riquier. The symmetry of these structures is carried much further in the St. Michael example, as two identical transepts (see towers) mirror the structure perfectly. Three segments within, each with three arches (same width as transept) - modular design, well balanced. Has a crypt built into the structure, half submerged into the ground. Crypts were introduced in Carolingian period to house venerated tombs of saints within a church.
OTTONIAN METALWORK
The Ottonian emperor's desire to strengthen their own rule through church backing is reflected in the very elaborate metalwork used to adorn churches and other structure.
The bronze doors of St. Michael's at Hildesheim were commissioned by Bernward. The idea for the doors likely came from Roman or Byzantine doors in bronze or wood with similar motifs. This is considered the first large-scale sculpture made with the lost-wax process since antiquity (Zeus, etc). Each door was cast as one piece, and measures over 16 feet high.
The left door is filled with stories from the Old Testament, the right come from the New Testament Old Testament (left) stories are chronologically ordered, from top to bottom, while the New Testament (right) move from bottom to top, a literal suggestion that the Christian Bible is uplifting. Each horizontal pair is linked through typology - where Old Testament stories are prefigured by New Testament stories. (next slide)
Temptation and the Fall, from the Doors of Bishop Bernward shows the tree of Eden that gave its fruit to Eve. Paired with this is the Crucifixion, which features the cross in the center where the tree is on the opposite panel. In Medieval times, the cross was reported to have been made from the wood of this tree - the parallel is obvious to a medieval viewer, showing the redemption for the sin imposed by the original act. Other symbolism and positioning parallel the two images (as do all of the scenes in the doors), such as the hands of Adam and Eve mirroring the spears used by Roman soldiers to stab Christ.
Eve is an instrumental figure on the doors, with the scenes actually starting at Eve's creation, not Adam's as would normally be the expectation. In the Temptation scene, Eve's positioning and her holding the apple mirror the serpent, illustrating her role as a seducer. The fact that she clutches it so close to her breast accentuates her sexuality, further demonizing her for the exile from Paradise, while playing into the idea that Bernward wanted to reform the morality of the clergy. Ottonian era priests and monks had wives, and children - some even are known to have kept them at the monastery. Eve thus is assigned the burden of clerical immortality, she is the first woman, the first seductress.
In the Column of Bishop Bernward, at Hildesheim, the idea of Roman parallels becomes painfully obvious. Where the bronze doors and basilica style structures hinted at an imperial past, the Column is a literal translation of the Column of Trajan. Spiraling reliefs depicting Jesus' life. Only 1/10th the size of Trajan's however, and is inside of the church's transept.
IVORY & MANUSCRIPTS
Christ Blessing Otto II and Theophano commemorates the pair's coronation, and presents it as divinely sanctioned. In composition and style, it is immediately evident in similarities to Romanos and Eudokia (Byzantine) which was carved less than 50 years earlier. Long-haired Christ with halo (and cross), geometric robes for royalty. The commissioner is pictured here, an Italian Bishop, grasping the stool Christ stands upon while prostrating himself before the emperor.
SCULPTURE
Virgin of Essen is thought to be a reliquary, but is hard to tell due to wooden interior missing. Object was given to the Cathedral of Essen, likely displayed on an altar - showing patronage of a wealthy imperial family. One of the earliest free-standing sculptures of the Virgin Mary. She holds a golden apple, a symbol that represents her as the new Eve, an idea related to Bernward's doors.