Snyder s Medieval Art

Transcription

1 TJ Pi-xiv 175L CTP 27/2/05 3:17 AM Page i Snyder s Medieval Art Second Edition College_edition i

2 TJ Pi-xiv 175L CTP 17/3/05 1:26 PM Page iii Snyder s Medieval Art Second Edition Henry Luttikhuizen and Dorothy Verkerk Prentice Hall Upper Saddle River, NJ College_edition iii

3 TJ Coll_Pi-xiv 175L CTP 27/2/05 5:03 AM Page iv This book is dedicated to Kit Library of Congress Cataloging-in-Publication Data Snyder, James. Snyder s Medieval Art / Henry Luttikhuizen, Dorothy Verkerk 2nd ed. p. cm. Includes bibliographical references and index. ISBN (text paperback) ISBN (case bound) 1.Art, Medieval. 2. Christian art and symbolism Medieval, I.Luttikhuizen, Henry, 1964 II.Verkerk, Dorothy, 1958 III. Title. N5975.S dc Editor in Chief: Sarah Touborg Editorial Assistant: Sasha Anderson Manufacturing Buyer: Sherry Lewis Executive Marketing Manager: Sheryl Adams Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on page 527. Copyright 2006, 1989 by Pearson Education, Inc., Upper Saddle River, New Jersey, Pearson Prentice Hall. All rights reserved. Printed in China.This publication is protected by Copyright and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. For information regarding permission(s), write to: Rights and Permissions Department. Pearson Prentice Hall is a trademark of Pearson Education, Inc. Pearson is a registered trademark of Pearson plc. Prentice Hall is a registered trademark of Pearson Education, Inc. Pearson Education LTD. Pearson Education Australia PTY, Limited Pearson Education Singapore, Pte. Ltd Pearson Education North Asia Ltd Pearson Education, Canada, Ltd Pearson Educación de Mexico, S.A. de C.V. Pearson Education Japan Pearson Education Malaysia, Pte. Ltd This book was designed and produced by Laurence King Publishing Ltd, London Every effort has been made to contact the copyright holders, but should there be any errors or omissions, Laurence King Publishing Ltd would be pleased to insert the appropriate acknowledgment in any subsequent printing of this publication. Editor: Rada Radojicic Picture Researcher: Emma Brown Designer: Andrew Lindesay, Golden Cockerel Press Front Cover: Creation and the Virtues.Fol. 1v. Uta Codex. Bayerische Staatsbibliothek, Munich. Early 11th century ISBN iv College_edition

4 TJ Pi-xiv 175L CTP 27/2/05 3:32 AM Page v contents Preface and Acknowledgments to the First Edition Preface and Acknowledgments to the Second Edition maps Europe and the Byzantine Empire Italy France and Spain The British Isles viii ix x xii xiii xiv part one late antiquity 1 Art and Religion in Late Antiquity 3 The Catacombs and Funerary Arts 9 Sarcophagi 13 The First Churches 16 2 Constantine and the Arts 17 The Basilica 20 Constantinople 26 Jerusalem 27 3 The Fifth and Sixth Centuries 31 Illuminated Books 40 Art and Architecture in the Eastern Mediterranean 49 Part Two The Byzantine Empire 4 Byzantine Art Before Iconoclasm 55 The Byzantine East 55 Hagia Sophia 56 Justinian s Churches in Constantinople 60 The Figurative Arts 61 Thessaloniki 65 Mount Sinai 69 Ravenna 73 5 Middle and Late Byzantine Art 91 Iconoclasm 91 The Triumph of Orthodoxy 92 Mosaics and Ivories 96 The Imperial Scriptoria 101 The Monastery Church 105 Fresco Painting 112 Panel Painting 114 Armenia 115 Russia 115 Late Byzantine Art Byzantine Art and Italy 120 Venice 120 Sicily 125 v

5 TJ Pi-xiv 175L CTP 27/2/05 3:33 AM Page vi vi Contents Part Three The Early Middle Ages in the West 7 Northern Traditions and Synthesis 135 Precursors 135 The Coming of Christianity 137 Insular Art 138 The Anglo-Saxons 150 The Lombards and Romans 154 The Merovingians 158 The Visigoths Carolingian Art and Architecture 164 Palaces 165 Basilicas 167 Mural Painting and Mosaics 172 Book Illustration 175 Other Crafts Diffusion and Diversity 193 Anglo-Saxon Art 193 Anglo-Norman Art 199 The Ottonians 201 Scandinavians 214 Part Four Medieval Art and Islam 10 Islam in the Middle East 219 Umayyad Dynasty 220 Abbasid Dynasty Crusader Art and Architecture 226 The Church of the Holy Sepulcher 226 Nazareth 229 Book Arts 229 Krak des Chevaliers Islamic Spain 235 Córdoba 235 Mozarabic Art in Northern Spain 239 After the Fall of the Caliphate 244 Convivencia 247 Granada 248 Part Five The Romanesque 13 Pilgrimage and Monasticism 253 Catalonia (Catalunya) 253 The Road to Santiago 259 Cluny 270 Burgundy 276 The Cistercians 282 vi

6 TJ Pi-xiv 175L CTP 27/2/05 3:33 AM Page vii Contents vii 14 The Papacy and the Empire 285 Monte Cassino and Rome 285 Tuscany 290 Lombardy 294 Germanic Lands 297 Nuns and Manuscript Painting Normandy and Western France 307 The Normans 307 Aquitaine 311 Part Six The Late Middle Ages 16 French Gothic Art 323 Saint Denis and the Beginnings of French Gothic 323 Chartres 336 Amiens 351 Reims Saint Louis and Late Medieval France 364 Paris and the Rayonnant Style 364 Illuminated Manuscripts 367 Ivories 377 Late Medieval France Gothic Styles in England and Spain 385 English Gothic Architecture 386 English Manuscripts 403 English Liturgical Art 409 Spanish Gothic Architecture 410 Spanish Manuscripts and Maps Late Medieval Italy and Urban Monasticism 415 Primi Lumi 418 Sculpture 423 Duccio and Simone Martini 429 Assisi 435 Panoramic Scenes Art and Mysticism in Late Medieval Germany 440 Rhineland Churches 440 Churches in the Eastern Territories 448 Andachtsbilder 452 Manuscripts Coda: Inventing the Middle Ages 462 Notes 473 Select Bibliography 494 Timetables of Medieval History and Art 504 Index 508 Picture Credits 527 vii

7 TJ Pi-xiv 175L CTP 27/2/05 3:34 AM Page viii viii preface and acknowledgments first edition The term medieval is derived from the Latin medius (middle) and aevum (age). It is generally applied to the era that lies between the demise of the Greco-Roman world and the beginnings of the Renaissance in Europe. Opinions vary as to the dates when the Medieval period begins and ends, however. For this book I have chosen the dates just prior to the reign of Constantine the Great, the first Roman emperor to sanction the Christian church (Edict of Milan, A.D. 313), to the second quarter of the fourteenth century, when Europe was devastated by the Black Death. The one unifying factor in European culture between those dates was the Christian church, and the arts that survive are for the great part those that served the church and the worshippers. It is impossible to survey a thousand years of art in a comprehensive fashion in one volume. Nor can one hope to give a thorough analysis of architectural structure for such a vast period with changing styles. For these reasons I have focused my attention on the Christian house of worship as a theater of the arts. I am more concerned with the symbolic and aesthetic qualities of buildings and their decorations than with their external form. Remarkable continuities in the arts existed from the period of the Early Christian basilica to that of the Gothic cathedral in terms of programs of decoration and style of presentation, whether they be in the medium of mosaics, frescoes, sculptures, or stained glass. I have concentrated my discussion mostly on the church arts of Italy, Byzantium, France, and Germany. I am indebted to many teachers, colleagues, and students for the ideas presented here. While a graduate student at Princeton I was stimulated by the fascinating seminars and lectures of Albert Mathias Friend, Jr., that dealt with Early Christian and Byzantine iconography. Earl Baldwin Smith opened my eyes to the complexities of architectural types and symbols. Professor Kurt Weitzmann introduced me to the study of narrative cycles in book illustration, a subject that has never ceased to fascinate me. To these great scholars I owe very much, although I am not sure that they would endorse some of the ideas and conclusions presented here. My students and colleagues at Bryn Mawr are a constant source of help and inspiration. Among my colleagues I owe special thanks to Dale Kinney, Phyllis Bober, and Charles Mitchell for their conversations and ideas. Myra Uhlfelder and Gloria Ferrari Pinney helped me with problems in Latin translations. I also thank Eileen Markson, who was untiring in solving library problems at every stage in the research. Mary Campo and Jerry Lindsay were very helpful in keeping my correspondence in order. Finally, very special thanks are due to Sheila Franklin Lieber and her excellent staff at Abrams. Without the help of my editor, Joanne Greenspun, with whom I spent long hours in consultation, this book would never have reached the press. Jennifer Bright arduously but lovingly sought out the photographs and colorplates, and Dirk Luykx, with Jean Smolar, did the handsome design and layout for the book. I would also like to express my gratitude to an astute scholar, known to me only as reader number two, who offered a number of excellent suggestions regarding this material and the composition of the text. James Snyder Bryn Mawr, April 1988 viii

8 TJ Pi-xiv 175L CTP 27/2/05 3:34 AM Page ix preface and acknowledgments second edition ix Published in 1989, James Snyder s Medieval Art has been in constant use for college teaching, a testament to its strengths as a textbook. In revising it, we gained a greater appreciation of Snyder s keen assessments of architecture, his sheer breadth of knowledge, and his astute judgment of contemporary scholarly debate. We have tried to achieve a balance between Snyder s text and our own, keeping that which is still relevant and insightful, and adding text that updates the reader on new materials and on advances in scholarship. After sixteen years it was evident that the textbook needed thorough revision since the field of art history has changed as have the expectations of students and teachers. We recognized that there was a real need for a medieval art textbook that was strong on color reproductions; hence, the decision to publish half of the illustrations in color, and to reproduce a good many of the illustrations in color that were black and white in the first edition. In revising and adding to the illustrations we were pleased to include photographs of works of art that had been restored or cleaned, thereby giving the reader the most up-todate images. We were also particularly fortunate to acquire the 1927 Alinari photograph of the south transept of the Church of the Holy Sepulcher showing the door lintel still intact. We made the decision to include more material from Islamic contact with the West, notably through the Crusader States, and from Celtic, and Byzantine art.we believe this will give the reader a broader understanding of the artistic exchange that shaped the art and architecture of Western Europe. Interest in the Middle Ages has never waned, so we added a short chapter on Medievalism, with the hope that this will open the door for teachers and students to examine the continuing influence of, and nostalgia for, this extraordinarily fertile period of human history. The first edition had a decidedly Proto-Renaissance bent that reflected the lingering notion that the art and architecture of the Middles Ages, especially those periods that embraced a more Classical style, were preludes to the Italian Renaissance. In our revisions, we have tried to correct this bias by showing how the visual culture of the Middle Ages is worthy of being fully appreciated in its own right. We have updated the bibliography carefully and thoroughly, making tough decisions about what to omit and what to add. As a general guideline, nineteenth-century German works were omitted along with works that have been superseded by more recent publications. The emphasis is on recent and revised books in English. For their many insightful comments and suggestions, we would like to thank the following reviewers: David S. Areford, University of Massachusetts Boston; Sarah Blick, Kenyon College; A. Victor Coonin, Rhodes College; Yoshio Kusaba, California State University, Chico; Stephanie Maloney, University of Louisville. A number of colleagues lent us their time and expertise in the revising of this textbook.we would like to thank Craig Hanson and John Yiannias for reading and commenting on chapters. Larry Silver generously offered hospitality during research, and also help with the bibliography. Jaroslav Folda graciously shared photographs and copyright information for Crusader works of art that were difficult to access. He should also be thanked for reading the Crusader chapter. Alas, we could not include more because of word length constraints, but we were delighted to include this new and exciting material. We also received the assistance of our students Rebecca Merz and Jennifer Van Etten. Jennifer was especially helpful with her insights into the painting Riders of the Sidhe, by John Duncan. We also want to thank our editors Sarah Touborg, Kara Hattersley-Smith, and Rada Radojicic for their patience and determination to move this project forward. Emma Brown deserves our thanks for her relentless pursuit of photographs and permissions. This revised and colorful textbook is dedicated to our children, Arie and Gabrielle Luttikhuizen and Kees, Amelia, and William Verkerk. Henry Luttikhuizen Dorothy Verkerk December 2004 ix

9 TJ Pi-xiv 175L CTP 18/3/05 6:32 AM Page x EUROPE and the BYZANTINE EMPIRE A T L A N T I C M A G H Marrakesh O C E A N Santiago de Compostela R. Tagus Tangiers R B E Merida Seville Malaga Oviedo Algeciras León R. Douro Salamanca SPAIN Córdoba Toledo Burgos Murcia Granada Armagh IRELAND Dublin Bay of B iscay Valencia Oran Orkney Pamplona Saragossa Iona Bordeaux R. Ebro Edinburgh WALES Brittany SCOTLAND York Lincoln Norwich Exeter London Utrecht Osnabrück Brunswick Canterbury Bruges Saxony Paderborn Madgeburg Flanders Ghent Cologne Liège Marburg Naumberg Aachen Meissen Erfurt Caen Rouen Stavelot Maria Laach Fulda HOLY Laon Soissons Trier Reims Mainz ROMAN Bamberg Prague Paris Speyer EMPIRE Nantes Orleans Strasbourg Regensburg Passau Tours Champagne Bourges Poitiers Besançon Annaberg Basel Gascony Inverness Aurillac Toulouse Narbonne Barcelona Mallorca Algiers Aberdeen Lindisfarne Northumberland ENGLAND Balearic R. Thames R. Sein e FRANCE Islands M e R. Rhône Arles Marseilles Cluny Lyons d i North Sea Carthage Kairwan Tunis R. Rhine Urnes Borgund Hamburg Bremen Bergamo Brescia Milan Aquileia Pavia Verona Genoa Ravenna Corsica Sardinia t e R. Po NORWAY DENMARK Lombardy Pisa Rome Ancona Tuscany Palermo R. Elbe Bavaria A Tripoli d r Spoleto ITALY Naples Ty rrhenian Sea Messina Sicily SWEDEN i a t Benevento Syracuse R. Oder Bohemia Baltic Sea Breslau Esztergom R. Drava CROATIA i c S e a Bari R. Vistula SERBIA Ionian Sea r r a n e a n PO Cracow H Bel BU Th S x

10 TJ Pi-xiv 175L CTP 18/3/05 6:32 AM Page xi R. Volga Moscow a ltic S ea R. Vistula R. Dvina RUSSIA der Breslau POLAND Vladimir Kiev R. Don Cracow R. Dnieper R. Donets R. Volga R. Dniester R. Tisza Esztergom HUNGARY R. Prut C a s p R. Drava SERBIA a TIA Bari onian Sea n Belgrade BULGARIA Thessalonica GREECE Hosios Loukas Corinth B Y S e Cyrene Transylvania Daphni Athens Mt. Athos Aegean Sea a Z A R. Danube Macedonia Constantinople Crete Phocaea Smyrna Ephesus N T Rhodes B Chalcedon Nicaea Anatolia I N Alexandria l a R. Nile c k E E Ancrya Iconium Tarsus Cairo Sudak Cappadocia Sinope Cyprus S e a M P I Armenia Caesarea Antioch Tripoli Sidon Tyre Acre Nazareth R E Damascus Jerusalem Amman Gaza Bethlehem Edessa Qal at-si man Chaldea Dura-Europos R. Euphrates ARABIA Samarra Baghdad i a n S e a R. Tigris xi

11 R. Duna TJ Pi-xiv 175L CTP 27/2/05 4:00 AM Page xii Müstair R. Rhône Trent Cividale Turin Vercelli Monza Milan Piacenza Brescia R. Po Verona Padua R. Adige Venice Aquileia R. Sava Noli Genoa Bobbio Parma Modena Bologna Ferrara Ravenna Classe A d Pescia Lucca Pisa S. Gimignano Pistoia Fiesole Florence Arezzo Siena Ancona r i a Split (Spalato) Assisi Tunis T U N ISIA Corsica Sardinia Orvieto ITALY R. Tiber Fara Sabina (Farfa) Rome Ostia Nursia Spoleto Monte Cassino Gaeta Palermo Monreale I T A L Y Naples T y r r h e n i a n S e a Capua Amalfi Cefalú Sicily S. Angelo in Formis Nola t i c Salerno Messina Syracuse Canosa S e a Bari Rossano I o n i a n S e a xii

12 TJ Pi-xiv 175L CTP 27/2/05 4:01 AM Page xiii IRELAND ENGLAND North Sea FRANCE and SPAIN A T L A N T I C O C E A N PORTUGAL Santiago de Compostela A sturias Merida Seville Oviedo Leon Zamora León Palencia Córdoba Andalusia Burgos Castile Toledo Granada Cherbourg Brittany B a y o f B i s c a y S P A I N Nantes Bayeux Caen Bordeaux Santo Domingo de Silos Las Navas de Tolosa Normandy M aine Anjou Poitou Roncesvalles Agincourt Lille Arras Crécy Valenciennes St. Riquier Corbie Amiens Laon Rouen Beauvais Soissons Ile Reims St. Denis Evreux Paris Jouarre Chartres Bretigny Troyes Etampes Perche Sens Clairvaux Le Mans Orléans Auxerre Fontenay Vézelay Angers Dijon Tours Citeaux Fontevrault Bourges Autun Beaulieu St. Savin-sur-Gartempe Burgundy Poitiers Cluny Saintes Puente-la-Reina Navarre Aragon Murcia Valencia R. Seine Moissac Calais Limoges Angoulême Périgueux Aquitaine R. Loire Toulouse Tahull Sluys Bruges Cahors Clermont Souillac Albi Ypres de France Catalonia Conques Languedoc Ripoll Cardona Gerona Barcelona Ghent Auverg ne Flanders F R A N C E Le Puy St. Gilles Narbonne Liege Lyon Vienne R. Rhône St. Martin-du-Canigou Verdun Metz Orange Avignon Arles R. Rhine Marseilles Luxeuil Provence M e d i t e r r a n e a n S e a xiii

13 TJ Pi-xiv 175L CTP 27/2/05 4:11 AM Page xiv THE BRITISH ISLES N O R T H ATLAN T I C O C E A N Iona SCOTLAND Aberlemno St. Andrews N o r t h S e a Lindisfarne Ruthwell Jarrow Durham Skellig Michael Dingle ATL A N T I C O C E A N IRELAND Castledermott Durrow Armagh Kells Tara Dublin Monasterboice WALES Bristol Exeter Chester Hereford Gloucester Wells Salisbury Worcester Fountains Abbey York ENGLAND Desborough Oxford St. Albans London Bradford-on-Avon Chichester Winchester Whitby Lincoln Peterborough Norwich Ely Bury St. Edmunds Cambridge Sutton Hoo Lewes Hastings F R A N C E Canterbury xiv

14 TJ P L CTP 2/23/05 3:12 AM Page 1 part one late Antiquity V Art and Religion in Late Antiquity 3 The Catacombs and Funerary Art 9 Sarcophagi 13 The First Churches 16 Constantine and the Arts 17 The Basilica 20 Constantinople 26 Jerusalem 27 The Fifth and Sixth Centuries 31 Illuminated Books 40 Art and Architecture in the Eastern Mediterranean 49 1

15 TJ P L CTP 2/23/05 4:24 AM Page 2 Fig... Kalimere, may God refresh your soul, together with that of your sister, Hilara. Epitaph from the Roman catacombs. 4th century. Courtyard, Lateran Museum, Rome 2 Fig... Peter and Paul,Wreathed by Christ. Bowl fragment. Find-place unknown. Diameter of base-disc ½, bottom ⅛, bottom with base ⅛. th century. British Museum, London