Discovering the humanities 3rd by henry m sayre 2016 chapter 05

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Learning Objectives
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Burial ship, from Oseberg, Norway. ca. 800. Wood. Length 75'6". Vikingskiphuset, Universitets Oldsaksamling, Oslo, Norway. © Werner Forman Archive. [Fig. 5.1]
Sutton Hoo
Anglo-Saxon England and Celtic Ireland. [Fig. Map 5.1]
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Anglo-Saxon Artistic Style and Culture
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Purse cover, from the Sutton Hoo burial ship. ca. 625. Gold with Indian garnets and cloisonné enamels, originally on an ivory or bone background (now lost). Length 8". © The Trustees of the British Museum. [Fig. 5.2]
Beowulf, the Oldest English Epic Poem
Bishop Eadfrith. Carpet Page from the Lindisfarne Gospels. Northumbria, England. ca. 698. Tempera on vellum. 13-1/2" × 9-3/4". British Library, London. © The British Library Board: Cotton Nero D., f.94v. [Fig. 5.3]
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The Merging of Pagan and Christian Styles
Chi Rho Iota page, Book of Matthew, Book of Kells, probably made at Iona, Scotland. Late 8th or early 9th century. Manuscript illumination. 13" × 9-1/2". Trinity College Library. Dublin, MS. 58 (A.1.6.), fol. 34v. © The Board of Trinity College/Bridgeman Images. [Fig. 5.4]
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Page with David and Court Musicians, now fol. 30b, but likely once the frontispiece of the Vespasian Psalter, Canterbury, England. First half of 8th century. © The British Library Board: MS Cotton Vespasian A.i. [Fig. 5.5]
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Carolingian Culture
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Equestrian statue of Charlemagne. Early 9th century. Bronze with traces of gilt. Height 9-1/2". Musée du Louvre, Paris. akg-images/Erich Lessing. [Fig. 5.6]
Map: The Empire of Charlemagne to 814. [Fig. Map 5.2]
The Song of Roland: Feudal and Chivalric Values
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Roland as the Ideal Feudal Hero
The Chivalric Code
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Promoting Literacy
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The Medieval Monastery
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The Ideal Monastery: Saint Gall
Plan for a monastery at Saint Gall, Swizerland. ca. 820. Redrawn from an original in red ink on parchment. 28" × 44-1/8". Stiftsbibliothek, Saint Gall. [Fig. 5.7]
Women in Monastic Life
Monastic Music
Facsimile of page with Hildegard's Vision, Scivias. ca. 1150–1200. akg-images/Erich Lessing. [Fig. 5.8]
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Dixit Dominus from Psalm 109. [Fig. 5-MN.1]
Kyrie Eleison from opening of mass. [Fig. 5-MN.2]
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The Mass
Capetian France and the Norman Conquest
Motte and bailey castle. Stephen Biesty © Dorling Kindersley. [Fig. 5.9]
Closer Look
The Bayeux Tapestry (detail). 1070–80. Embroidered wool on linen. Height 6', entire length of fabric, 231'. Musée de la Tapisserie, Bayeux, France/With special authorization of the city of Bayeux/The Bridgeman Art Library. [Fig. 5-CL.1]
Norman. The Bayeux Tapestry: Harold swears allegiance to William. 1070–80. Embroidered wool on linen. Entire length: 231'. Musée de la Tapisserie, Bayeux, France/With special authorization of the city of Bayeux/The Bridgeman Art Library. [Fig. 5-CL.2]
Norman. The Bayeux Tapestry: The Normans sail for England. 1070–80. Embroidered wool on linen. Entire length: 231'. Musée de la Tapisserie, Bayeux, France/With special authorization of the city of Bayeux/The Bridgeman Art Library. [Fig. 5-CL.3]
Norman. The Bayeux Tapestry: After assuming the throne, Harold is disturbed by the arrival of a comet. 1070-80. Embroidered wool on linen. Entire length: 231'. Musée de la Tapisserie, Bayeux, France/With special authorisation of the city of Bayeux/The Bridgeman Art Library. [Fig. 5-CL.4]
Norman. The Bayeux Tapestry: Harold is hit by an error in the eye and is slain. 1070–80. Embroidered wool on linen. Entire length: 231'. Erich Lessing/Art Resource, NY. [Fig. 5-CL.5]
Pilgrimage Churches and The Romanesque
The pilgrimage routes through France and Spain. [Fig. Map 5.3]
Abbey Church of Sainte-Foy, Conques, Auvergne, France. ca. 1050–1120. Erich Lessing/akg-images. [Fig. 5.10]
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Reliquary effigy of Sainte-Foy. Made in the Auvergne region, France, for the Abbey Church of Sainte-Foy, Conques, France. Mostly 983–1013, with later additions. Gold and silver over a wooden core, with precious stones and cameos. Height: 34". Church Treasury, Conques. Erich Lessing/akg-images. [Fig. 5.11]
Interior of the nave, Abbey Church of Sainte-Foy, Conques. ca. 1050–1120. © Photo Scala, Florence. [Fig. 5.12]
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Floor plan of the nave, Abbey Church of Sainte-Foy, Conques. ca. 1050–1120. [Fig. 5.13]
Diagram of a Romanesque portal. [Fig. 5.14]
Last Judgment, tympanum and detail of west portal, Sainte-Foy, Conques, Auvergne, France. ca. 1065. Photononstop/SuperStock. [Fig. 5.15]
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Detail of west portal tympanum of Sainte-Foy, Conques. © White Images/Scala, Florence. [Fig. 5.16]
Cluny and the Monastic Tradition
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Reconstruction drawing of the Abbey Church (Cluny III), Cluny, Burgundy, France. 1088–1130. After Kenneth Conant. Stephen Conlin © Dorling Kindersley. [Fig. 5.17]
Choral Music
Diagram of melismatic organum from Léonin's "Halleluia, dies sanctificatus." [Fig. 5.18]
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The Crusades and the Culture of Romance
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Krak des Chevaliers and the Medieval Castle
Krak de Chevaliers, Syria. First occupied 1109. Robert Harding World Imagery/Michael Jenner. [Fig. 5.19]
Stone Castle. Joanna Cameron © Dorling Kindersley. [Fig. 5.20]
Eleanor of Aquitaine and the Art of Courtly Love
Casket with scenes of courtly love, from Limoges. ca. 1180. Champlevé enamel. 3-5/8" × 8-1/2" × 6-3/8". © The Trustees of the British Museum. [Fig. 5.21]
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The Romance: Chrétien de Troyes' Lancelot
Page with Lancelot Crossing the Sword Bridge and Guinevere in the Tower, from Romance of Lancelot. ca. 1300. Illuminated manuscript. 13-1/2" × 10". © The Pierpont Morgan Library/Art Resource/Scala, Florence. [Fig. 5.22]
Continuity & Change
Angel Subduing Demon, decorated column capital, Church of Sainte-Madeleine, Vézelay, France. ca. 1089–1206. Stone. © Bednorz-images, Cologne. [Fig. 5.23]
The Angel of the Annunciation, central portal, west facade, Reims Cathedral, Reims, France. ca. 1245–55. Stone. Angelo Hornak Photo Library. [Fig. 5.24]

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Discovering the Humanities THIRD EDITION CHAPTER Fiefdom and Monastery, Pilgrimage and Crusade: The Early Medieval World in Europe Discovering the Humanities, Third Edition Henry M Sayre Copyright © 2016, 2013, 2010 by Pearson Education, Inc or its affiliates All Rights Reserved Learning Objectives Describe what Anglo-Saxon art and literature tell us about Anglo-Saxon culture Discuss Charlemagne's impact on medieval culture and the legacy of his rule Define the Romanesque and its relation to pilgrimage churches and the Cluniac abbey Learning Objectives Examine the motivations for the Crusades and appraise their outcome Explain the courtly love tradition as it manifests itself in the literature of the period Burial ship, from Oseberg, Norway ca 800 Wood Length 75'6" Vikingskiphuset, Universitets Oldsaksamling, Oslo, Norway © Werner Forman Archive [Fig 5.1] Sutton Hoo • The burial mound at Sutton Hoo is an important source of information about the art, culture, and society in AngloSaxon England • Buried in the mound was a lord or chief, to whom his followers owed absolute loyalty Anglo-Saxon England and Celtic Ireland [Fig Map 5.1] Sutton Hoo • The society was based on feudalism, which is related to the Roman custom of patronage  In feudalism, a patron, usually a lord or nobleman, provided protection to the people who worked for him in exchange for his loyalty  In the Middle Ages, this relationship developed into an agriculturally based economic system Anglo-Saxon Artistic Style and Culture • The purse cover from the Sutton Hoo site is an example of cloisonné technique, in which strips of gold are set on edge to form cells • At the top of the cover, two hexagons flank a central motif of animal interlace • This animal style was frequently used in jewelry design Anglo-Saxon Artistic Style and Culture • In many ways, the English language was shaped by the Anglo-Saxon traditions • Anglo-Saxon law was based on the idea of the wergeld, or the "life-price" of an individual • The wergeld for men and women was identical, but a pregnant woman was worth up to three times the usual rate Closer Look: Technique: Enamel Purse cover, from the Sutton Hoo burial ship ca 625 Gold with Indian garnets and cloisonné enamels, originally on an ivory or bone background (now lost) Length 8" © The Trustees of the British Museum [Fig 5.2] The Crusades and the Culture of Romance • The First Crusade (1096–1099) was motivated by several forces  Religious zeal  The desire to reduce conflict at home by sending of Europe's feuding aristocrats  Defending Christendom from barbarity The Crusades and the Culture of Romance • The First Crusade (1096–1099) was motivated by several forces  Monetary award otherwise unavailable to disenfranchised young nobility • The system of primogeniture left large numbers of aristocratic younger brothers to their own devices  The nobility's own hot blood and sense of adventure The Crusades and the Culture of Romance • Politically and religiously, the first three crusades were failures • Rather than freeing the Holy Land from Muslim influence, they cemented it more firmly than ever • The crusades did succeed in stimulating Western trade with the East The Crusades and the Culture of Romance • The Fourth Crusade in 1202 was motivated almost entirely by profit, as Venice agreed to transport some 30,000 Crusaders in return for their destroying its commercial rivals in the Middle East Krak des Chevaliers and the Medieval Castle • Beginning in 1142, Krak des Chevaliers was occupied by the Knights Hospitaller, whose mission was to care for the sick and wounded • Krak des Chevaliers was modeled on the castle-fortresses built by the Normans in England and northern France Closer Look: Krak des Chevaliers and the Medieval Castle Krak de Chevaliers, Syria First occupied 1109 Robert Harding World Imagery/Michael Jenner [Fig 5.19] Stone Castle Joanna Cameron © Dorling Kindersley [Fig 5.20] Eleanor of Aquitaine and the Art of Courtly Love • The art of courtly love was a secular cultural and literary movement that originated in the South of France • The movement was supported by Eleanor of Aquitaine and her daughter Marie, Countess of Champagne in Poitiers Casket with scenes of courtly love, from Limoges ca 1180 Champlevé enamel 3-5/8" × 8-1/2" × 6-3/8" © The Trustees of the British Museum [Fig 5.21] Eleanor of Aquitaine and the Art of Courtly Love • The love songs were composed and sung mostly by male troubadours— occasionally by a female troubairitz— at the courts • The topic of the songs is love and longing of a knight or nobleman for a woman who is usually unattainable, because she is either married or of a higher status The Romance: Chrétien de Troyes' Lancelot • This poem, which focuses particularly on the courtly-love-inspired relationship between Lancelot and Guinevere, is an example of medieval romance  The term "romance" derives from the Old French term romans, which referred to the vernacular, everyday language of the people as opposed to Latin Page with Lancelot Crossing the Sword Bridge and Guinevere in the Tower, from Romance of Lancelot ca 1300 Illuminated manuscript 13-1/2" × 10" © The Pierpont Morgan Library/Art Resource/Scala, Florence [Fig 5.22] Continuity & Change • The Romanesque style was a product of rural monastic life, separated from worldly events and interactions, but the Gothic style was a creation of the emerging city with a middle class of guilds and artisans, merchants, lawyers, and bankers  This style exhibits a renewed interest in worldly things Angel Subduing Demon, decorated column capital, Church of Sainte-Madeleine, Vézelay, France ca 1089–1206 Stone © Bednorz-images, Cologne [Fig 5.23] The Angel of the Annunciation, central portal, west facade, Reims Cathedral, Reims, France ca 1245–55 Stone Angelo Hornak Photo Library [Fig 5.24] ... College/Bridgeman Images [Fig 5.4] The Merging of Pagan and Christian Styles • The basic elements of the animal style evident in the purse cover from Sutton Hoo resurface in the carpet page of the Lindisfarne... Charlemagne's impact on medieval culture and the legacy of his rule Define the Romanesque and its relation to pilgrimage churches and the Cluniac abbey Learning Objectives Examine the motivations... crowned Charlemagne emperor on Christmas Day 800 • He thus created what would later be known as the Holy Roman Empire Document: Life of Charlemagne (early 9th c.) by Einhard Document: The Song of

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