Midterm 3
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School
University of Guelph *
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Course
1510
Subject
Arts Humanities
Date
Jan 9, 2024
Type
Pages
3
Uploaded by DukeDiscoveryRabbit31
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Question 1
: (Maximum word count 500) 10 marks
Figure 15.1: Book of Kells
At first look, the ornamental expanse that almost fills this page is overwhelming. But slowly,
larger motifs, whether decorative or iconographic, begin to emerge from the overall decoration.
Describe what you see as the most important shapes and objects. Explain how the artist makes
larger motifs stand out. Is it line, color, form, space, or some other visual component. Point to
specific elements (decorative and iconographic) within the page to support your argument.
The Book of Kells was produced around the year 800 in Iona, Scotland, with the use of oxgall inks and
pigments on vellum, created by Columban monks (Stokstad, 15.1). This book contains four gospels in
which four biblical accounts of Christ’s life are accounted for; his birth, death, resurrection and ascension
(The Book of Kells: a bibliography, n.d.). Specifically, the Chi Rho Iota page, the ornamental explosions
that suffocate the page, indicates Christ’s first appearance within the Gospel books (Stokstad, 15.1). The
picture itself holds no Christianic significance but, the ornamental celebration of it’s text, “Now the birth
of Jesus the Messiah took place in this way” Matthew 1:18 (NRSV), is what symbolizes Christ’s presence
(Stokstad, 15.1). Throughout the book, symbolism is used and is one of the most important factors as it
displayed main events within Christ’s life. The fish, particularly, is a very significant presence as the Greek
word for fish was an acronym for the words Jesus, Christ, Son of God, and Saviour, symbolizing Christ’s
presence (History of the Christian Fish symbol, n.d.). The cross-inscribed wafer of the Eucharist is a
significant image within this page as they are associated with mice and cats which embodies symbolic
references. The Euchrist is in reference to ‘The Last Supper’ where the ceremonial bread and wine were
served. Within the book, the bread is in the form of a cross-inscribed wafer, and a chalice serves as the
wine's representation; thus, entrenching Eucharistic symbols and significance within the ornamental
expanse. The mice and cat can be interpreted as a metaphor for the struggle between God, cats, and evil
mice, or could be an acknowledgment of how the sacred Host must be kept safe from dangers; rodents
(Stokstad, 15.1). While the artist paid explicit detail to the small symbolic shapes, the book’s larger
motifs are also precisely exhibited. It is noticed that black is used to line the larger characters, which
allows its viewers to identify and perhaps draw importance towards its existence or it’s meaning.
Specifically, illuminators included swirling spirals, interlaced tangles of stylized animal forms, and knot
motifs to emphasize pages overall themes (Stokstad, 15.1).
Question 2
: (Maximum word count 500) 10 marks
Figure 16.24: Last Judgment at Autun
Look carefully at this sculpture. The artists who designed this relief of the Last Judgement were
required to fit their multi-figured composition within the semicircular frame of a doorway
tympanum. Describe how they did this. What is the effect of the variations in size, pose, and
depth of relief in the figures? Point to specific elements (decorative and iconographic) within the
sculpture to support your argument.
The Church of Saint-Lazare was established as the cathedral at Autun in 1195, where its tympanum was
portrayed ‘The Last Judgment’ (Stokstad, 16.3). Said Romanesque sculpture entails Christ, within a
mandorla held by two svelte angels, who has returned to judge those who have risen from their
sarcophagi (Stokstad, 16.3). To include it’s multi-figure composition, the artist in question divided the
tympanum into three horizontal bands of figures (Last Judgement Tympanum at Autun). Because of its
curving frame, each band differed in width, length, and height, allowing the figures posture and
placement to conform to their involvement in the story according to its proportions (Lecture 20). This
type of division allowed the tympanum to possess a hieratic organization, as the figures within each
band represent different significance. The bands play a huge role in the tympanum’s effect as the figures
are sculpted to symbolize the specific portion of the story. The figures pose’ relays the message of the
scene in which they are in and the emotions to be felt. Within the lower band, the dead are seen to be
risen from their tombs, awaiting judgement. Within this band, three figures are seen desperately
clutching at an angel (Last Judgement Tympanum, Cathedral of St. Lazare, Autun). The figure’s posture
indicates the desperation for heavenly acceptance as they beg for the angel to take them to paradise and
away from an eternity of torture. Moving to the right, fear of a fiery fate is in multiple figures as they
form angular shapes with their knees bent, bodies compressed, and mouths wide in pain as if they were
being crushed into Hell. The different sizing of figures can symbolize their hierarchical position and
importance within the judgement. The largest figure within the relief is Christ as he physically breaks the
mandorla which surrounds him, symbolizing his divinity within the tympanum (Last Judgement
Tympanum, Cathedral of St. Lazare, Autun). The archangel Micheal is seen to the left of Christ, where he
weighs the souls of the resurrected. Compared to the souls, Micheal is larger in size and elongated,
symbolizing how heavenly characters dominate the hierarchical scales. Depth of the figure’ is an
essential element within its composition as it creates a sense of reality. This can be seen within the figure
who is clutched by the devil’s claws, presumably, being pulled into Hell. The eyes and mouth of this soul
are deeply carved to allow its viewers to imagine how painful, terrifying, and aganous eternity in Hell
would be (Last Judgement Tympanum, Cathedral of St. Lazare, Autun). Perhaps the most obvious depth
effect is how Christ is sculpted as flat, linear and elongated with no concern for the body’s proportion.
With Christs’ flatten and delicate design, the mandora which encircles him can be seen as a symbolic
representation of a full-body halo, demonstrating the medieval communities’ dramatic devotion to Christ
(Last Judgement Tympanum, Cathedral of St. Lazare, Autun).
Question 3
: (Maximum word count 500) 10 marks
Figure 17.2: Saint-Denis
Look carefully at the photograph of the ambulatory of Saint-Denis. The text describes it as
emphasizing “open, flowing space enclosed by non-load bearing walls of glowing stained glass.”
Describe how this is visible in the photograph. Point to specific elements within the space to
support your argument.
The Abbey Church of Saint-Denis is considered the birthplace of Gothic architecture (Stokstad, 17.2). The
church housed tombs of the kings of France, the regalis of the French crown, and the relics of St. Denis
(Stokstad, 17.2). In 1135, Abbot Suger began reconstructing the early medieval church as he believed
that this building was an inadequate burial place for the kings (Stokstad, 17.2). The new conservative
west facade and narthex attached to the old church could have possibly been the first fully-formed
Gothic architectural style to appear (Stokstad, 17.2). Within the photo of the Abbey Church of
Saint-Denis, is it clear that the interior is illuminated by the bright light pouring from its windows. Suger
believed that light could transport someone spiritually and make the buildings viewers feel as though
they were moving toward the divine light (Stokstad, 17.2). Eventually, the church became a circular string
of chapels in which uninterrupted light would pour in through it’s luminous windows, shining on the
interior beauty (Stokstad, 17.2). This can be seen within the photograph as the ambulatory chapels are
open rather than closed. During the Romanesque period, the chapels would be separated by a series of
walls, ultimately blocking light; however, by Suger removing the walls, the large glass stained windows
reflected bright light into its interior. This light would allow the abbey’s visitors to feel as though they
were moving towards the light of God (S. Denis and Abbot Suger). Within the photograph, the intricate
technique of rib vaulting used on its pointed arches are seen which aids in the interior glow. Looking up
at arches design, diagonal arched ribs are seen curving the arches webbing using thin stone panels to fill
the ribs spaces. (Rib Vault). The vaults weight then thrusted downward, avoiding its weight to be
buttressed from the side (S. Denis and Abbot Suger). This architectural development created slender
columns, and the use of thin panels allowed for large, stained glass windows, ultimately granting more
light, which can be seen within the photograph. Suger aimed to create an architectural style that would
express monarchy, and it’s growing power as he believed that light was a way one’s soul was illuminated
and united by God (Stokstad, 17.2). This Gothic architecture provided Suger’s monks with an
environment completely devoted to their primary vocation of prayer and mediation (Stokstad, 17.2). It
can be indicated within the photograph in question that the church's construction was built around the
divinity of light.
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