Medieval Art_A Resource for Educators.pdf

MEDIEVAL ART

A Resource for Educators

THE METROPOLITAN MUSEUM OF ART

The Metropolitan Museum of Art’s teacher-training programs

and accompanying materials are made possible through a generous grant from

Mr. and Mrs. Frederick P. Rose.

by The Metropolitan Museum of Art, New York

Published by The Metropolitan Museum of Art, New York

Written by Michael Norris

with the assistance of Rebecca Arkenberg, Meredith Fluke,

Terry McDonald, and Robert Theo Margelony

Project Manager: Catherine Fukushima

Senior Managing Editor: Merantine Hens

Senior Publishing and Creative Manager: Masha Turchinsky

Design by Tsang Seymour Design Inc., New York

Color separations and printing by Galvanic Printing &

Plate Co., Inc., Moonachie, New Jersey

Photographs of works in the Museum’s collections are by

the Photograph Studio of The Metropolitan Museum of Art.

Figs. 2, 3, 6 by William Keighley, The Metropolitan Museum

by Nancy Wu.

Illustrations in the Techniques and Materials section

by Meredith Fluke.

Map by International Mapping Associates,

Ellicott City, Maryland.

Cover :

Image 31: S aint Louis before Damietta (detail folio 173), from

The Belles Heures of Jean of France, Duke of Berry, 1406–8 or

1409; Limbourg Brothers (here perhaps Herman) (Franco-

Netherlandish, active in France, by 1399–1416); French; Paris;

ink, tempera, and gold leaf on vellum; 9 3 ⁄ 8 x 6 5 ⁄ 8 in. (23.8 x

16.8 cm); The Cloisters Collection, 1954 (54.1.1)

isbn 1-58839-083-7 (The Metropolitan Museum of Art)

isbn 0-300-10196-1 (Yale University Press)

Cataloging-in-publication data is available from

the Library of Congress.

Plaque with John the Evangelist (image 6)

Foreword

Philippe de Montebello,

Director,

and Chief Executive Ofﬁcer

Scholars and students of art, history, and literature have long

identiﬁed the centuries between the decline of the Roman Empire and

the Renaissance as The Middle Ages. These were times of extraordinary

artistic accomplishment—in architecture, manuscript illumination,

sculpture, tapestry, stained glass, arms and armor, and work in every

medium. The Metropolitan Museum is fortunate indeed to house one

of the world’s richest collections of medieval art. In fact, we have two

collections: at the Main Building on Fifth Avenue, and at The Cloisters, our

extraordinary specialized branch museum—much of it constructed from

authentic medieval structures—situated high above the Hudson River

in northern Manhattan. The Cloisters also enjoys the distinction of having

medieval-style gardens harmoniously integrated into its fabric.

This publication celebrates and explains medieval art in all its forms.

Its goal is to present reliable and useful information and materials for

teachers and students—background, descriptive narratives, teaching strate-

gies, lesson plans, activities, bibliographies, slides, a CD-ROM—so that

the wonder of medieval art can be part of teaching and learning in many

disciplines. Of course, we urge you to visit the collection in both locations

because there can be no adequate substitute for experiencing the art itself.

The collections of medieval art in the Metropolitan and The Cloisters

are here because of the generosity of generations of public-spirited citizens.

J. Pierpont Morgan built the foundations of the collection a century ago,

and it was John D. Rockefeller, Jr. who envisioned The Cloisters as a unique

environment for the art of the Middle Ages. As the collection has grown,

so also has its importance for students and educators in New York City

and across the country. It is therefore with special gratitude that we

thank Frederick P. and Sandra P. Rose for the support that made possible

this publication. Whether consulted in printed or electronic form (at

www.metmuseum.org), Medieval Art: A Resource for Educators , distills

generations of scholarship and teaching expertise for the beneﬁt of

educators and students of this amazing era.

Kent Lydecker

Frederick P. and Sandra P. Rose

Associate Director for Education

Peter Barnet

Michel David-Weill Curator

in Charge of the Department of

Medieval Art and The Cloisters

Acknowledgments

Invaluable support and insight came from

Metropolitan Museum educators and colleagues who

helped shape this resource to meet the particular needs

of teachers: Rebecca Arkenberg, Esther Morales

Cacchione, Eileen Flanagan, Deborah Howes, Kent

Lydecker, Emily Roth, Nicholas Ruocco, Alice W.

Schwarz, Edith Watts, and Nancy Wu, at The Cloisters.

Emily Roth, Naomi Niles, and Vivian Wick compiled the

list of selected resources, with the assistance of Kenneth

Komer, Varick M. Shute, and William Heath. Catherine

Fukushima shepherded the project together with

Merantine Hens, who coordinated the many steps of

editing. Masha Turchinsky directed the design and

expertly managed the various aspects of production.

Karen Ohland offered support and guidance. Thanks to

Paul Caro and Jackie T. Neale for their imaging expertise

and to Teresa Russo for her work on the CD-ROM.

Meredith Fluke created the illustrations for the

Techniques and Materials section. Educational Media

interns Agnès Gallifa, Phoebe Ford, and Melanie Pollock

provided welcome help.

For their assistance we extend our thanks to

Deanna Cross of the Photograph and Slide Library,

and Barbara Bridgers and Robert Goldman of the

Photograph Studio. Philomena Mariani, Kate Norris,

and Tonia Payne edited the manuscript with care.

Special thanks to Patrick Seymour and Laura Howell

of Tsang Seymour Design, Inc., for the handsome

design of this publication.

Many colleagues in the Museum participated in

the development of Medieval Art: A Resource for Educators .

Heartfelt gratitude and thanks go to the curatorial and

conservation staff of the Department of Medieval Art

and The Cloisters: Peter Barnet, Michel David-Weill

Curator in Charge, Medieval Art and The Cloisters;

Barbara Boehm, Curator, Helen Evans, Curator, Melanie

Holcomb, Associate Curator, and Charles Little, Curator,

Medieval Art; and Julien Chapuis, Associate Curator,

Timothy Husband, Curator, and Michele Marincola,

Conservator, The Cloisters. Timely, indispensable help

also came from Christine Brennan, Robert Theo

Margelony, and Thomas Vinton, Medieval Art; and from

Christina Alphonso, The Cloisters. Maryan Ainsworth,

Curator, European Paintings, and Donald LaRocca,

Curator, Arms and Armor, greatly improved parts of this

resource for which we are grateful. Members of the

Conservation Departments also were generous in their

advice and help, including Pete Dandridge, Conservator,

and Lisa Pilosi, Conservator, Objects Conservation;

Nabuko Kajitani, formerly Conservator in Charge,

Textile Conservation, with the assistance of Cynthia

Vartan; Margaret Lawson, Associate Conservator, Paper

Conservation; and Dorothy Mahon, Conservator,

Paintings Conservation.

Constructive and enthusiastic advice also came

from educators outside the walls of the Museum,

including Laurie Hallen of the Nightingale-Bamford

School and Andrew Christman of the Brooklyn

Museum.

Medieval Art: A Resource for Educators

Contents

goals and design of this resource ...................... 6

materials and techniques .................................. 141

•

Artists of the West, 141

map ................................................................................ 8

•

Ivory Carving, 141

overview of medieval art and its time .............. 10

•

Manuscript Making, 142

Preface, 10

•

Metalwork, 144

Champlevé Enamel, 144

Cloisonné Enamel, 146

•

The Old World of Rome Changes

(ca. 300 – ca. 800), 10

•

Borderland Cultures, 12

•

Mosaic, 146

•

Carolingian Art and Its Time (ca. 800 – ca. 900), 12

•

Painting, 147

Fresco, 147

Panel Painting, 148

•

Ottonian Art and Its Time (ca. 900 – ca. 1000), 13

•

Byzantium and Its Art (843 – 1453), 14

•

Romanesque Art and Its Time

(ca. 1000 – ca. 1150), 14

•

Sculpture, 149

Stone, 149

Wood, 150

•

Early Gothic Art and Its Time (ca. 1140 – 1270), 16

•

Later Gothic Art and Its Time

(ca. 1270 – early 16th century), 16

•

Stained Glass, 151

•

Tapestry, 152

selected themes in medieval art ........................ 19

•

lesson plans .......................................................... 155

•

Knighthood in the West, 19

Gardens, 155

•

Monasticism, 20

•

Medieval Beasts and the Bestiary, 161

•

Pilgrimage, 21

•

Symbolism in Medieval Art, 165

•

Pleasures and Pastimes, 22

Courtly Love and Literature, 22

Hunting and Feasting, 23

Music, 26

•

Techniques and Materials, 169

the metropolitan museum’s two

collections of medieval art .............................. 177

Peter Barnet, Michel David-Weill Curator

in Charge of the Department of Medieval Art

and The Cloisters

•

General Themes, 27

quick list of images .......................................... 28

descriptions of the images .............................. 31

selected resources .............................................. 181

•

Selected Bibliography, 181

•

Selected Online Resources, 184

•

Videography, 185

•

Museums with Important Collections of

Medieval Art in North America, 185

glossary .................................................................. 187

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