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Chapter 16 Discussion Questions. Compare the plan of St. Gall (FIG. 16-19) to the plan of Old Saint Peters in Rome (FIG. 11-7) and Santa Sabina (FIG. 11-8). What similarities do you see, and what changes have been made?. Schematic plan for a monastery St. Gall, Switzerland
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Chapter 16 Discussion Questions
Compare the plan of St. Gall (FIG. 16-19) to the plan of Old Saint Peters in Rome (FIG. 11-7) and Santa Sabina (FIG. 11-8). What similarities do you see, and what changes have been made?
Schematic plan for a monastery St. Gall, Switzerland ca. 819redrawn after a 9th century manuscript
The church of the monastery of St. Gall is a three‑aisled basilica, and it differs from its Early Christian prototypes in the following ways: The cloister (like the atrium) is on the side of the church rather than in front of its main portal. A second apse on the west end of the building. St. Gall had two towers framing the western end of the church, but standing apart from the façade, unlike many other Carolingian basilicas where the towers were integrated into the façade. Modular construction The crossing area is used as the modular unit that determines the rest of the plan, integrating all parts of the church into a rational, orderly plan.
1. Nave 2. Aisles 3. Apse 4. Transept 5. Narthex 6. Atrium Old Saint Peter’s Basilica (plan) Rome, Italy ca. 320
Santa Sabina Rome, Italy ca. 422-432
Built in 422 AD, Santa Sabina is widely considered the best example of an early Christian church in Rome.
Compare the abstract decorative art of the Early Middle Ages in Europe as seen in the ornamental page from the Lindisfarne Gospels (FIG. 16-6) with the Islamic decorative style as seen in the Ardebil Carpet (FIG. 13-26). In what ways do they resemble each other? What is distinctive about each?
In the Gospels there is a strong presence of Celtic, Germanic, and Irish art styles. The spiral style and “knot work” evident in the formation of the designed pages are influenced by Celtic art (Backhouse 1981, 47). One of the most fascinating and characteristic styles in the manuscript is the zoomorphic style (adopted from Germanic art) and is revealed through the extensive use of interlaced animal and bird patterns throughout the book (Backhouse 1981, 47). Cross and Carpet pageLindisfarne Gospels Northumbria, England ca. 698 - 721 tempera on vellum13 1/2 x 9 1/4 in.
Maqsud of Kashan. Carpet from the funerary mosque of Shaykh Safi al-Din (Ardabil, Iran), 1540 The carpet was created during the reign of Shah Tahmasp who elevated the masterful skill of carpet weaving to a national industry. The carpet is almost 35 X 18 feet and consists of over 25 million knots (about 340 per square inch). The design consists of a golden medallion that is symbolic of a domed design. It is surrounded by 16 pendants. Above and below the medallion are two Mosque lamps, which would be used in the funerary process thus are acceptable picture representations on the funerary carpet. These lamps are of different sizes and some scholars have speculated this is because when placed on the floor they would appear to be the same size, an optical illusion. The rich blue background is decorated with light flowers and vines that are all interconnected. This composition reflects the heavenly dome with lamps reflected in the pool of water that is full of floating lotus blossoms. Maqsud of Kashan Carpet from the funerary mosque of Shaykh Safi al-Din Ardabil, Iran 1540knotted pile of wood and silk34 ft. 6 in. x 17 ft. 7 in.
