by Jurate Macnoriute ...
The Middle Ages were a period of prosperity of Christianity, a monotheistic system based on the Old Testament and the precept of Jesus, a teacher and prophet of Nazareth. Any human problem becomes worthless in comparison with God. Corporeal beauty lost its importance, and abstract beauty of transcendent God free from clarity and distinctness started to dictate its conditions for Romanesque artists. Church art had a purpose to praise, glorify power of God and earthly persons of wealth. The second task of church art was to illustrate Bible texts that uneducated population could easier understand Christian teaching. Some ones call the Middle Ages as ages of darkness.
The Middle Ages contain Romanesque and Gothic periods. Romanesque art style developed in Italy and western Europe between the Roman and the Gothic styles. Between the 12th and 16th centuries period of Gothic, an art style developed in northern France and spread throughout Europe.
In the Middle Ages great role was played by influence of Byzantine art with its canon giving rules for depiction figures. Golden or yellow haloes surrounded heads of God and blessed people, exact proportions of haloes, heads and parts of faces were requested (Fig.108).
Christ sits on rainbow or onto celestial sphere. Symmetric composition, knees broadly, foots close, arms on sides (Fig.108-1). Open palm shows his sincerity, appeal and trust. Narrow shoulders point to his physical weakness and vulnerability. Halo signifies his psychical strength.
1
2
Fig. 108. 1. Christ in the Jerusalem celestial. Cathedral of Anagni. The 12th century; Pietro Cavallini. Detail of The Last Judgement. 1293. Fresco. Santa Cecilia in Trastevere, Rome.
In the Middle Ages one kind of love was in highest recognition -- love for God. In Fig.109 Madonna and Child eyes of Madonna directed upwards, but not to child. God's felicity in her eyes. Her lips are ready to say grateful words of prayer to God. In that same way we can recognize some afferent signal pleasure. Pleasure lies in love for God.
Fig. 109. Arnolfo di Cambio. Detail of Madonna and Child. 1296-1302. Marble. Museo dell'Opera del Duomo, Florence.
Personages seriousness and fear of God let not them laugh, smile, show tongue or other flighty emotions.
Display arm show is not characteristic for medieval art, because severe Christian teaching let show only faces, hands, and foots without clothing. Exception was Christ on cross or some other martyred saints.
Benedictory finger sign 'V' was characteristic and frequent in Christian era (Fig.110). This same gesture as creative movement shown in the altarpiece Creation of the Animals.
1
2
Fig. 110. 1. Jacobello Alberegno. Triptych. 1360-90. Gallerie dell'Accademia, Venice; 2. Master Bertram. Creation of the Animals. Panel from Grabow Altarpiece. 1383. Kunsthalle, Hamburg.
Self touch tactile sign notices in side figures -- hand touches face (Fig.111).
Fig. 111. The resurrection of Lazarus. Saint Angelo in Formis. The 12th century.
Sometimes bow posture is noticed in such cases as in Fig.112 where curved back angels hold Madonna. Angels' bow corresponds to its explanation of contemporary psychology as show courtesy.
Fig. 112. Don Silvestro dei Gherarducci. Madonna and Child with Sts John Baptist and Paul. 1375. Los Angeles County Museum, Los Angeles.
An example of touch cue kiss seen in Fig. 113. Self touch -- hand touches breast.
Fig. 113. Bartolo di Fredi. Detail of The Adoration of the Magi. 1385-88. Pinacoteca Nazionale, Siena.
Point gesture frequently applied to indicate the presence of objects (Fig.114).
1
2
Fig. 114. 1. Mary Magdalene anointing the feet of Christ. Holy Cross of Maderuelo. The 12th century; 2. Ferrer Bassa. Three Women at the Tomb. 1346. Fresco. Monastery of Pedralbes, Barcelona.
Body bend posture used for observation something beneath or working (Fig.114).
In the Middle Ages submission status was manifested through bent body (Fig.115), going on knees (Fig.115-1), touch of one hand gently other hand for prayer (Fig.113-3), face and hands up, gaze to sky (Fig.109).
1
2
3
Fig. 115. 1. The Crucifixion. San Isidoro of Lion. Pantheon of the Kings. Wall painting. The 12th century; 2. The healing of the blind. Wall painting of Saint Angelo in Formis. The 12th century; 3. Altichiero da Zevio. The Execution of Saint George. 1380. Fresco. Oratorio di San Giorgio, Padua.
Characteristic Medieval example of touch cue is blessing through touching head (Fig.116)..
Fig. 116. Andrea da Fiirenze. Detail of The Church Militant and Triumphant. 1365-68. Fresco. Cappella Spagnuolo, Santa Maria Novella, Florence.
An example of decision grip (Fig.117) connected with eye contact what gives to that action seriousness and sanctity.
1
2
Fig. 117. Giovanni da Milano. Detail of The Birth of the Virgin. 1365. Fresco. Rinuccini Chapel, Santa Croce, Florence.
In scene The Martyrdom of St Stephen (Fig.118) attacked by tormentors St Stephen does not fight or flight in replay, but he shows strength of mind saying a prayer, pointing to sky or palms put together, that is tactile sign self touch. Pain cue is not characteristic -- depicted martyrs do not feel pain for their religiosity.
Fig. 118. Bernardo Daddi, The Martyrdom of St Stephen. 1324. Fresco. Santa Croce. Florence.
Medieval power grip detected in Gislebertus Suicide of Judas. Frightfulness of creatures finding hanged Judas so great and close to madness that they griped objects with full power (Fig.119). Mouth open, hairs stand, eyes uncanny, body in a squatting position, hands holding something in grasp. Inconvenient stand of creatures can point to balance cue.
Fig. 119. Gislebertus. Detail of Suicide of Judas. 1120-30. Stone. Cathedral of Saint-Lazare, Autun.
Gesture hand behind head seen in arm swing of some fight scenes.
Medieval sadness shown by head tilt side, one hand to face (Fig.120-1), and head bent forwards (Fig.120-2).
1
2
Fig. 120. 1. Figures in the Calvary. Diocesan museum of Pony. Spain. The 12th century; 2. Giovanni di Cosma. Tomb of Cardinal Garcia Gudiel. 1299-1303. Marble. Santa Maria Maggiore, Rome.
Some figures of sorrow hold faces horizontally directed to sky that danger is of sag down -- balance cue. There is a factor of syncope. Such personages need help of others (Fig.121).
1
2
3
Fig.121 1. Jean de Beaumetz. Christ on the Cross with a Carthusian Monk. 1389-95. Musée du Louvre, Paris; 2. Master of St Francis. Scenes from the Passion of Christ: Lamentation over the Dead Christ. 1260-80. Fresco. Lower Church, San Francesco, Assisi; 3. Arnolfo di Cambio. Tomb of Cardinal de Braye. After 1282 Marble. S. Domenico, Orvieto.
Sometimes walk by church men is so inconvenient that danger of fall appears -- it is related with balance cue (Fig.121-3).
1
2
3
Fig. 122. 1. Judgment of San Sabine and Cipriano. Painting of the crypt. The 12th century; 2. The entrance in Jerusalem. Wall painting of Saint Angelo in Formis. The 12th century.
Dominance status shown by separating main figure from the crowd locating one apart (Fig.122), emphasizing by some large dab of arc form in background or sitting on it like Christ in image in Fig. 108-1, setting it into centre (Fig.122-3); The glorification of Christ. San Isidoro of Lion. Pantheon of the Kings. The 12th century.
