CHAPTER 11—EARLY MEDIEVAL EUROPE
MULTIPLE CHOICE
1. After the Carolingian empire fell, the ____, who controlled Austria, Germany and Lombardy, replaced
it as the next unifying force in Western Europe during the early medieval period.
a.
Hiberno-Saxon monks
b.
Ottonians
c.
Franks
d.
Benedictine order
2. The swirling drapery and heaving landscape of St. Matthew from the ____ represent s the
expressionistic mode of Carolingian art.
a.
Lindisfarne Gospels
b.
Ebbo Gospels
c.
Bayeaux Tapestry
d.
ceiling of St. Savin-sur-Gartempe
3. Which group of barbarian invaders became firmly established in regions known today as France,
Switzerland, the Netherlands, and parts of Germany?
a.
Visigoths
b.
Huns
c.
Lombards
d.
Franks
4. The Ostrogoth, Theodoric, established his kingdom in ____.
a.
Italy
b.
Germany
c.
Yugoslavia
d.
Italy
5. What area of Western Europe was never colonized by Rome?
a.
England
b.
France
c.
Ireland
d.
Spain
6. Elaborately decorated Merovingian fibulae have been excavated from graves. Based on this it can be
said these small objects are ____.
a.
emblems of prestige
b.
simple jewelry
c.
strictly utilitarian
d.
holy objects
7. Two silver spoons, “Saulos” and “Paulos,” Paul’s names before and after baptism, were discovered as
part of the Sutton Hoo burial. What might be alluded from these spoons?
a.
They were part of the ritual burial ceremony.
b.
The owner ‘s conversion to Christianity.
c.
The owner’s need for utilitarian objects.
d.
They were left as gifts.
8. The Sutton Hoo purse has two groupings each of a man standing between two lions. This can also be
found in what earlier culture?
a.
Sumer
b.
Classical Greece
c.
Etruscans
d.
Late Roman Empire
9. Early 11th Century England was briefly part of what empire?
a.
Merovingian
b.
Carolingian
c.
Danish
d.
Celtic
10. In the later Middle Ages religious books were created for the private devotions of the laity. They were
based on readers used by the monks. These books contained prayers to be read at specific times during
the day, they were popularly known as ____.
a.
Books of Devotions
b.
Books of Sacramentaries
c.
Books of Hours
d.
Books of Benedictionals
11. The symbol of Matthew from the Book of Durrow shows frontal head, profile feet, and a cloak and
frame that resemble contemporaneous cloisonné metalwork. Which of the following statements
explains this work?
a.
wedding the abstraction of Late Roman adornment and Early Christian pictorial imagery
b.
wedding the abstraction of Early Medieval adornment and Early Christian pictorial
imagery
c.
wedding the abstraction of Early Christian adornment and Late Roman pictorial imagery
d.
wedding the abstraction of Byzantine adornment and Early Christian pictorial imagery
12. It has been said that the author-portrait of St, Matthew from the Lindisfarne Gospels shows classical
influences. What supports this statement?
a.
The figure is seated as an imperial emperor.
b.
The figure is seated as an adjudicating senator.
c.
The figure is seated as a philosopher or poet reading or writing.
d.
The figure is seated as an imperial judge.
13. What manuscript is commonly considered the greatest achievement in Hiberno-Saxon art?
a.
Book of Durrow
b.
Book of Lindisfarne
c.
Book of Alciun
d.
Book of Kells
14. Equestrian statues were reminders of Rome’s glory. Charlemagne returned Rome after his coronation
with an equestrian statue of Theodoric. Which statue served as the ultimate model for such equestrian
portraits?
a.
Marcus Aurelius
b.
Alexander the Great
c.
Justinian
d.
Julius Caesar
15. The Ebbo Gospels represent a new Carolingian vernacular. Which of the following describes the new
Carolingian style?
a.
translated a classical prototype
b.
translated a Byzantine prototype
c.
translated a Hiberno-Saxon prototype
d.
translated a Merovingian prototype
16. The Lindau Gospels book cover displays an amalgamation of tradition and style. Which of the
following describes that combination?
a.
The work highlights the Byzantine tradition and Utrecht Psalter style.
b.
The work highlights the Early Christian tradition and Utrecht Psalter style.
c.
The work highlights the Early Christian tradition and Coronation Gospels style.
d.
The work highlights the Byzantine tradition and Ebbo Gospels style.
17. What church plan was used as the model for the palace chapel at Aachen?
a.
Old St. Peter’s
b.
Santa Sabina
c.
Hagia Sophia
d.
San Vitale
18. The alternate support system is first found in the architecture of which period?
a.
Merovingian
b.
Early Christian
c.
Carolingian
d.
Ottonian
19. Irish or Celtic stone crosses are identifiable by which of the following?
a.
four arms of equal length
b.
a circle intersecting the cross arms
c.
extra top slanting bar
d.
combination swastika symbolizing the four directions
20. Who was a major force in the revival of the Classical style in early medieval times?
a.
Louis the Pious
b.
Bernward of Hildesheim
c.
Charlemagne
d.
Otto III
21. It has been said that Bernward’s doors are instruments that detail Original Sin and Redemption by
juxtaposing these two concepts side by side. Which juxtaposed panels from the doors would support
this?
a.
The Great Flood and the Crucifixion
b.
The Sacrifice of Isaac and the Nativity
c.
The Prodigal Son and the Baptism of Christ
d.
The Fall and the Crucifixion
22. ____ was a possible model for Bernward’s column because the narrative reads from top to bottom.
a.
Marcus Aurelius’s Column
b.
Justinian’s Column
c.
Trajan’s Column
d.
Constantine’s Column
23. The Utrecht Psalter is most closely related to which of the following?
a.
Book of Lindisfarne
b.
Ebbo Gospels
c.
Gospel Book of Otto III
d.
Bishop Bernward Gospels
24. In which way did the three-aisled basilica for the Monastery of St. Gall differ from its Early Christian
prototypes?
a.
It had a second apse on the west end
b.
It had a choir between crossing and apse
c.
It had integrated towers
d.
It had procession of transepts
25. The ____ burial epitomizes the early medieval tradition of burying great lords with rich furnishings.
a.
Sutton Hoo
b.
Lindisfarne
c.
Centula
d.
Suffolk
26. Early Medieval burial traditions were recorded in the ____.
a.
Book of Durrow
b.
Lindisfarne Gospels
c.
Book of Doom
d.
Saga of Beowulf
27. The abbey church at Hildesheim has a double-transept plan that creates eastern and western centers of
gravity. The lateral entrances on the north and south aisles further disrupt the traditional basilican plan.
What model might have been used for this church?
a.
Basilica of Constantine
b.
Basilica Ulpia
c.
Aula Palatina Basilica
d.
Basilica Trajan
28. What was the primary vehicle used in the Christianization of the British Isles?
a.
Roman manuscripts
b.
reliquaries
c.
liturgical books
d.
oral tradition
29. The primary sacred text was the Bible, consisting of the Old Testament originally written in Hebrew
and the New Testament written in Greek. In what language is the Vulgate version of the Bible written?
a.
entirely in Greek
b.
Old German
c.
Latin
d.
Archaic English
30. Which of the following manuscripts showed the greatest influence of Roman illusionism?
a.
Utrecht Psalter
b.
Coronation Gospels
c.
Lindisfarne Gospels
d.
Gospel Book of Otto III
31. The style of the Gospel Book of Otto III can best be described as ____.
a.
abstract interlace
b.
antique illusionism
c.
Byzantine formalism
d.
Carolingian formalism
32. It has been said that Charlemagne was a man of great energy and learning, a strong patron of the arts,
and a sincere admirer of classical culture. Which of the following do later generations owe to
Charlemagne’s patronage?
a.
the restoration of the classical sculptural tradition
b.
the copying of important Early Christian texts
c.
the restoration of the Late Imperial Roman Empire
d.
the copying of important classical texts
33. Later church architecture adopted heavy square piers alternating with columns, dividing the nave into
vertical units and mitigating the tunnel-like horizontality of Early Christian basilicas. This system is
known as ____.
a.
revived Romanism
b.
modular
c.
alternate support
d.
Middle Byzantine
34. The Carolingian architectural plan that demonstrated the beginnings of the modular system was found
in ____.
a.
the Monastery of St. Gall
b.
the abbey church of Centula
c.
Saint Michael’s at Hildesheim
d.
St.-Riquier
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
35. (Figure 11-12)
a.
Charlemagne
b.
Otto III
c.
Marcus Aurelius
d.
Constantine
36. (Figure 11-19)
a.
Ottonian
b.
Anglo-Saxon
c.
Carolingian
d.
Merovingian
37. (Figure 11-28)
a.
Bernward Cross
b.
Charlemagne Cross
c.
Gero Cross
d.
Otto III Cross
38. (Figure 11-6)
a.
Lindisfarne Gospels
b.
Book of Durrow
c.
Ebbo Gospels
d.
Book of Kells
39. (Figure 11-18)
a.
St. Pantaleon, Cologne
b.
San Vitale, Ravenna
c.
Palatine Chapel, Aachen
d.
Saint Michael’s, Hildesheim
40. (Figure 11-24A)
a.
Otto III Column
b.
Charlemagne Column
c.
Bernward Column
d.
Henry II Column
41. (Figure 11-7)
a.
Book of Durrow
b.
Lindisfarne Gospels
c.
Book of Kells
d.
Ebbo Gospels
42. (Figure 11-23)
a.
St. Gall
b.
Saint Michael, Hildesheim
c.
Palatine Chapel, Aachen
d.
St-Riquier
43. (Figure 11-4)
a.
Anglo-Saxon
b.
Viking
c.
Hiberno-Saxon
d.
Carolingian
44. (Figure 11-15)
a.
Ebbo Gospels
b.
Coronation Gospels
c.
Utrecht Psalter
d.
Book of Kells
45. (Figure 11-21)
a.
alternate support system
b.
binary support system
c.
triple support system
d.
haitro support system
46. (Figure 11-1)
a.
Book of Kells
b.
Book of Durrow
c.
Lindisfarne Gospels
d.
Gospel Book of Otto III
47. (Figure 11-3)
a.
Hiberno-Saxon
b.
Carolingian
c.
Anglo-Saxon
d.
Ottonian
48. (Figure 11-9)
a.
Migration period
b.
Ottonian
c.
Carolingian
d.
Hiberno-Saxon
49. (Figure 11-2)
a.
fibula
b.
stirrup
c.
baton
d.
scepter
50. (Figure 11-20)
a.
St. Cyriakus, Gernrode
b.
Abbey Church, Corvey
c.
Palatine Chapel, Aachen
d.
St. Michael, Hildesheim
51. (Figure 11-14)
a.
Coronation Gospels of Charlemagne
b.
Ebbo Gospels
c.
Gospel Book of Otto III
d.
Book of Lindisfarne
52. (Figure 11-16)
a.
Early Christian
b.
Byzantine
c.
Carolingian
d.
Ottonian
53. (Figure 11-7)
a.
Lindisfarne Gospels
b.
Utrecht Psalter
c.
Coronation Gospels of Charlemagne
d.
Lectionary of Henry II
54. (Figure 11-3A)
a.
Utrecht
b.
Godescalc
c.
South Cross
d.
Sutton Hoo
55. (Figure 11-21)
a.
Spain
b.
Germany
c.
France
d.
Italy
56. (Figure 11-29A)
a.
Otto II
b.
Otto I
c.
Pope John XXIII
d.
St. Peter
57. (Figure 11-29)
a.
engraving
b.
ink on parchment
c.
ivory
d.
tempera on vellum
58. (Figure 11-23A)
a.
Magdeburg
b.
Torhalle
c.
Saint Michael’s
d.
Saint-Riquier
SHORT ANSWER
1. Contrast the Lindau Gospels book cover and the Gero Crucifix.
2. Explain the importance of Uta Codex.
3. Briefly describe and explain the juxtaposition of Old and New Testament scenes of the Bernward
Doors from St. Michael at Hildesheim
4. Why is the date, Christmas Day, 800 significant?
5. What is the significance of the term “holy” when applied to Roman Emperor?
6. The Book of Durrow has pages devoted to pure embellishment with neither text nor illustration. Why
is this significant?
7. Briefly describe the contributions of the Iona monks.
8. Briefly describe a cross-inscribed carpet page from the Lindisfarne Gospels. What does it show?
9. What purpose did the plan for the monastery at Saint Gall serve and how was it organized?
10. Evaluate the importance of Bishop Bernward of Hildesheim to the development of Ottonian art.
11. What form did much medieval art from this period take and the reception of it changed?
12. Why is the image of Saint Matthew in the Lindisfarne Gospels exceptional and what would explain its
uniqueness?
13. Early medieval civilization in Western Europe represents a fusion of which cultures?
14. Who was Alciun of York and what was his contribution to art history of this period?
15. Interpret the portrait of Otto III from the Gospel Book of Otto III.
ESSAY
1. Discuss the development of manuscript painting in the various regions or historical periods covered in
this chapter. What elements are indigenous and what influences came from outside contacts or
sources? Use examples to support your essay.
2. Compare and contrast the artistic patronage of Charlemagne and the Ottonian rulers. To what extent
were their influences and tastes similar or different? Use examples to support your essay.
3. Critically evaluate the bronze doors of the abbey church at Hildesheim. How did they revive a
monumental sculptural tradition? What religious and philosophical components went into the
iconographic program? What outside influences are also reflected in these doors?
4. Compare and contrast the Book of Durrow with the Coronation Gospels. How does each work
represent its environment? How does each work reflect its period and the changes in manuscript
illumination, if any?
5. Compare and contrast the Utrecht Psalter with the Lectionary of Henry II. Discuss the subject and the
execution. Also consider the period of each work as well as the individual patron of each work.
6. Describe and explain the interaction of Roman illusionism and abstraction in manuscript illumination
of the early Middle Ages. Use examples to support your essay.
7. Evaluate the development of architecture during the Carolingian period. What changes occurred? How
were they initiated, and what outside influences impacted these changes? Use examples to support
your essay.
8. Explain the fusion of Christianity, the Greco-Roman heritage, and the cultures of the Barbarians. What
effect did this fusion had on the visual arts of the early Middle Ages? Use examples to support your
essay.
9. Compare and contrast Carolingian and Ottonian architecture. Consider the development and evolution
in architectural styles and attendant sculptural programs. Use specific examples to support your essay.
OTHER
SLIDE QUESTIONS
1. Although Carolingian churches were largely influenced by the Early Christian basilica, which features
are uniquely Carolingian?
2. What is commemorated here and what political messages does it communicate?
3. What is unusual about the placement of Otto I in this ivory carving?
4. How are these works alike?
5. What period does each work represent and how are the works alike?
6. How does this work represent the “school of Reims”?
7. How do these figures represent “empire”?
8. Describe the classical features of this work.
9. How do these works evoke associations with Rome?
10. What served as the model for this work?
11. How does this work show its classical heritage?
12. How does this work express Carolingian architectural innovation?
13. What architectural innovation does this interior illustrate?