Fine Art from 1100-1300 A.D.

Christ Pantocrator

Jan 1, 1100

Master of Daphni, Sant' Angelo in Formis, Capua. Although the figure of Christ seems excessively stern and rigid, this mosaic (and the monastery in which it dwells in Greece) was actually made during a period of renaissance in culture and art. This mosaic was meant to show the power and austerity of Christ (“Pantocrator” means “omnipotent”). The letters IC and XC are a monogram for the name of Christ.

Lewis Chessmen

Jan 1, 1100

Unknown artist, British Museum, National Museum of Scotland. These figures are part of a 93-piece medieval chess set that was probably made Norway. Including these chessmen on a timeline that primarily features religious artwork is important. Although the art that survives from the medieval period is largely religious in character, these pieces call to mind the entire feudal system and the opportunities for recreation that was available to at least a portion of the population.

Gloucester Candlestick

Jan 1, 1113

Unknown artist, England. This intricate candlestick displays a technical skill not usually associated with the Middle Ages. It was made using the so-called “lost wax” method. The candlestick includes tiny figures of animals and people in the midst of dense foliage. There is much symbolism contained in it, which of course was part of the whole campaign to educate the illiterate in the faith.

Wind in the Pines Amid Ten Thousand Valleys

Jan 1, 1124

Li Tang, hanging scroll, ink and color on silk. This landscape painting presents nature as imposing and powerful. The jagged mountain peaks and the dark colors add to the feeling of helplessness and vulnerability. Nevertheless, the artist Li Tang has offered a contrast to the sharp edges in the soft-edged clouds. Overall, the scene has a mysterious aspect that is both inviting and foreboding.

Jesse Tree Window

Jan 1, 1145

Unknown artist, Chartres Cathedral, France. The Jesse Tree is any depiction of the ancestors of Christ. The oldest complete Jesse Tree window is the one depicted here, found in the Chartres Cathedral, and it is now almost 900 years old. Each level of the window features one of the ancestors of Christ, and Christ himself is shown at the top in the place of honor. The kaleidoscope of colors is not only visually pleasing, but also serves as an education in the Bible.

Stavelot Triptych

Jan 1, 1158

Unknown artist, Mosan, Belgium. A triptych is a work of art divided into three parts. This work was designed in the Byzantine style as a religious shrine and reliquary for pieces of the actual cross of Christ. The panels are intricately formed with precious metals and stones, and yet there is a balance that is pleasing and appropriate (as opposed to the extravagance of later styles). This work is clearly designed as a means to lift the mind and soul to God in prayer.

Limestone Sculpture of the Old Testament Priest Aaron

Jan 1, 1170

Unknown artist. Originally sculpted for the Cathedral of Noyon in France, this statue is now found in the MET in New York. Aaron was a priest from the Jewish tribe of Levi who is considered a prefigurement of Christ, and in fact this statue was originally flanked by a statue of Christ, along with other statues. One feels a certain heaviness or weight associated with this figure, and this adds to the sense of reverence and authority that cloaks it.

The Healing of the Lame and the Blind

Jan 1, 1189

Siculo-Byzantine Mosaic, Cathedral of Monreale, Sicily. This mosaic presents the gospel passage from Matthew 20:29-30 when Jesus cures two blind men (here they are also lame). Crowding behind Jesus are his disciples and followers. One can note the effort to provide a sense of both physical and emotional depth, which adds to the realism of the scene.

Alleluia Nativitas

Jan 1, 1200

https://www.youtube.com/watch?v=EJxRDhejtwo
Perotin.
Medieval music certainly has its own flavor and chant-like quality. Predominantly composed and used for prayer and religious services, this music had to walk a fine line between not appearing too extravagant and too uninteresting. Perotin, the most famous member of the Notre Dame school of polyphony, wrote this particular piece for the feast of the Nativity of the Blessed Virgin Mary, which falls on September 8.

Reliquary

Jan 1, 1205

Nicholas of Verdun, Our Lady's Cathedral of Waloon, Belgium. A reliquary is a (usually) small shrine that contains the relics of a saint or holy person. This particular reliquary was built to carry relics of Our Lady. It was built in the Gothic style, which means that the artist was experimenting with more expressive features and postures in the figures and other techniques.

Chartres Cathedral

Jan 1, 1220

Unknown architect, Chartres, France. The Cathedral of Our Lady of Chartres is attractive for a variety of reasons. Even the oddly mismatched towers are surprisingly attractive—or at least “different.” The style is Gothic, characterized by high, pointy arches and tall stained glass windows that contribute to the air of majesty it exhibits. Five churches have stood on this very spot since the 4th century, making it an important site both for pilgrims and tourists.

Dies Irae

Jan 1, 1225

https://www.youtube.com/watch?v=_gykmaTByTc
Thomas of Celano.
The tune of this solemn and grave piece is well suited to its lyrics: the title Dies Irae is Latin for "the day of wrath." It was traditionally used for funerals, underlining both the gloominess of death and the belief in a final judgment which would determine whether one made it to heaven or not. While not recommended for funerals today, one can still get a taste of medieval music through this austere, ominous work.

Codex Gigas

Jan 1, 1229

Unknown Artist, National Library of Sweden, Stockholm. The name “Codex Gigas” means “giant book,” and this Bible is in fact the largest extant medieval manuscript. It is also called the Devil’s Bible, referring both to a large picture of the devil inside it and the legend that it was created by a monk who sold his soul to the devil. It is estimated the reproducing the calligraphy alone would take five years of constant writing.

Bamberg Horseman

Jan 1, 1230

Unknown Sculptor, Cathedral of Bamberg, Germany. This statue has long been a cause of speculation regarding the identity of the mysterious horseman. He certainly was a king, perhaps Stephen I of Hungary or King Philip of Swabia, both of whom had some connection with the area. Regardless of the figure’s identity, the statue exudes a lifelike resemblance that bridges the centuries since its creation.

Castle del Monte

Jan 1, 1250

Apulia, Italy. Built by Frederick II, the Holy Roman Emperor, this castle (the name means "Castle Mountain") exhibits a rugged gracefulness and charm combined with simple elegance. Although its purpose has been long debated, it has served a variety of functions: state prison, hunting lodge, a refuge during times of plague, and a defensive fortress. The style is classical and is reminiscent of Greco-Roman architecture, which Frederick enjoyed.

Salisbury Cathedral

Jan 1, 1258

Bishop Richard Poore, Elias of Dereham, Salisbury, England. The most impressive feature of this church is its enormous spire, which is 404 feet tall and currently the highest in the entire United Kingdom. It is also famous for having the world’s oldest working clock. Moreover, it contains four original copies of the Magna Carta. For all its historic importance, the church has aesthetic value in its own engaging and appealing architectural style.

Virgin and Child from the Sainte-Chapelle

Jan 1, 1270

Unknown artist, Louvre, Paris. This ivory figurine depicts Mary holding the child Jesus. The realistic depiction of the folds in the clothes and the lifelike features give evidence of the artist’s talent. The expression and smile on Mary’s face show a radiance that makes the viewer wonder what exactly the artist wants to convey. Most probably, he is simply depicting one of the perhaps countless unrecorded moments of joyful intimacy between mother and child.

Diptych with the Coronation of the Virgin and the Last Judgment

Jan 1, 1270

Unknown sculptor, The MET. Another work in ivory, this intricately carved palm-sized diptych shows souls being conducted either to heaven (left side, bottom) or hell (right side, bottom). Jesus and Mary are present at the top, respectively sending away the condemned and welcoming the saved. Originally created for private devotion and contemplation of life-after-death, this work is now a universal reminder of the fleetingness of time.

Maesta

1285

Cimabue, Uffizi Gallery, Florence. The title of this work, meaning “majesty,” describes this setting in which Mary is shown as the Queen of Heaven. Despite the somewhat “flat” figures typical of the Byzantine tradition, Cimabue does experiment by giving depth to the painting through the rounded base of Mary’s throne. In addition to the eight angels surrounding the throne, there are four biblical figures underneath who symbolize the foundations of Christ’s kingdom.

The Annunciation

Jan 1, 1291

Pietro Cavallini, Santa Maria in Trastevere, Rome. Considered Cavallini’s masterpiece, this mosaic combines the Byzantine style of art with an attempt at greater realism. Cavallini uses the throne to provide 3-D depth to the picture—although the throne itself has more symbolic than historical meaning: although Mary was only a poor maiden from an obscure village, she was chosen to be the mother of God, which this scene commemorates.

Exorcism of the Demons at Arezzo

Jan 1, 1299

Giotto. According to oral and written traditions, the town of Arezzo in Italy was on the verge of a bloody civil war. St. Francis had a vision in which he saw the demons who were inciting hatred. He sent the monk Sylvester (the one in the center of the scene) to expel the visions while he himself prayed (figure in the corner with the halo). The expulsion was successful, and reconciliation between the townspeople was accomplished.