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Ottonian Art (Medieval Studies)

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  1. Introduction
  2.  
  3. This entry includes texts that address the visual arts primarily in the area represented by present-day Germany, Belgium, and the Netherlands—the heart of the early medieval Holy Roman Empire—between about 950 and 1125, that is, during the reign of the culturally undifferentiated Ottonian and Salian dynasties (919–1024 and 1024–1125, respectively). The designation “Ottonian” derives from the prominence of Otto I the Great (r. 936–973), the first emperor of this Saxon dynasty, and his son and grandson, Otto II (r. 973–983) and Otto III (r. 983–1002). During Otto I’s reign, a cultural flowering began whose characteristics, in the visual arts and architecture, exhibited a fair degree of consistency into the 12th century. Initially, Ottonian artists responded chiefly to Late Antique and, especially, Carolingian sources, a choice of models dictated in part by availability and perceived relevance and in part by Otto I’s programmatic intent to associate himself with Charlemagne, Justinian, and Constantine. By the time the 10th century came to a close, however, Ottonian artists had developed a unique manner that largely eschewed figural naturalism and spatial illusionism in favor of imagery emphasizing metaphysical and hieratic values. The mature Ottonian style, most famously represented by the rich body of illumination created at Reichenau, dominated the following century. An interest in Ottonian art—particularly manuscript illumination, metalwork, ivory carving, and architecture—has been manifest in German-language art history since the late 19th century, but it is only from the late 20th century that scholars writing in English have followed suit. Although early studies foregrounded issues of style and artistic identity, the role of the patron, frequently a member of the royal family or a prominent ecclesiastic (or both), soon emerged as a principal theme in Ottonian studies. Most surviving Ottonian works were created for a sacred purpose, and recent scholarship has attempted to view them contextually, particularly in light of interrelated practices of gift-giving, commemoration of the deceased, and construction of community identity. The scope of patronage studies has furthermore been broadened to include the important role played by Ottonian women patrons. Because of the long-standing predominance of German scholarship in Ottonian studies, German-language titles figure prominently in this article; however, works in English are included to the greatest extent possible.
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  5. General Overviews
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  7. For a brief but comprehensive introduction to Ottonian art, see Elbern 1964: much like the basic but lengthier discussions in Grodecki 1973 and Kubach and Elbern 1976, it does not assume prior knowledge. Jantzen 1947 is the earliest study of Ottonian art and architecture; it remains an extremely valuable general but intellectually sophisticated study. Schramm 1983 and Schramm and Mütherich 1962 address the visual expression of kingship, a prominent aspect of Ottonian art. Of early-21st-century date and including many very high-quality photographs is Beuckers, et al. 2002, which addresses various aspects of Ottonian art and architecture in individual essays.
  8.  
  9. Beuckers, Klaus Gereon, Johannes Cramer, and Michael Imhof, eds. Die Ottonen: Kunst, Architektur, Geschichte. Petersberg, Germany: Michael Imhof Verlag, 2002.
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  11. Holistic exploration of Ottonian culture, with essays both broad in scope, such as chapters on Ottonian wall painting and Ottonian architecture, and focused on specific, important monuments (e.g., the palatine complex at Tilleda and the church of St. Wiperti in Quedlinburg). Important recent resource because of both its scope and its copious, excellent illustrations.
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  13. Elbern, Victor. “Die bildende Kunst der Ottonenzeit zwischen Maas und Elbe.” In Das erste Jahrtausend: Kultur und Kunst im werdenden Abendland an Rhein und Ruhr. Vol. 2. Edited by Victor Elbern, 1014–1042. Düsseldorf: Verlag L. Schwann, 1964.
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  15. Introductory essay on Ottonian art, including wall and book painting and large- and small-scale sculpture in various materials. Extensive but dated bibliography.
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  17. Grodecki, Louis. Le siècle de l’an mil. Paris: Gallimard, 1973.
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  19. Also published as Die Zeit der Ottonen und Salier (Munich: Beck, 1973); the French-language edition is more widely available in the United States. Includes chapters on architecture and architectural decoration, manuscript illumination, and small-scale sculpture in metal and ivory, chiefly in the Ottonian Empire. Copious photographs, diagrams, and maps.
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  21. Jantzen, Hans. Ottonische Kunst. Munich: Münchner Verlag, 1947.
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  23. Original, most widely accessible edition of the classic study of Ottonian art. Includes 174 plates with old but high-quality black-and-white photographs of major Ottonian monuments and works in various media.
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  25. Kubach, Hans, and Victor Elbern. Das frühmittelalterliche Imperium. Baden-Baden, Germany: Holle, 1976.
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  27. Originally appeared in 1968. Dense but basic discussion of Carolingian and Ottonian architecture, wall and book painting, ivory carving, metalwork, and large-scale sculpture. Illustrated with older but high-quality photographs, many in color, and numerous diagrams and plans. Good resource particularly for architecture.
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  29. Schramm, Percy. Die deutschen Kaiser und Könige in Bildern ihrer Zeit, 751–1190. Munich: Prestel, 1983.
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  31. Originally appeared in 1928. Introduction to imperial portraiture followed by a catalogue of portraits in diverse contexts, including seals, coins, ivory plaques, and manuscripts. See Parts 2 and 3 for the Ottonian and Salian monarchs.
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  33. Schramm, Percy, and Florentine Mütherich. Denkmale der deutschen Kaiser und Könige: Ein Beitrag zur Herrschergeschichte von Karl dem Groβen bis Friedrich II, 768–1250. Munich: Prestel, 1962.
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  35. Part 1 comprises an essay by Schramm on the trappings of medieval kingship and their accumulation, augmentation, and dispersal. In Part 2, Mütherich provides catalogue entries for characteristic objects; see pages 139–179 for the Saxon and Salian emperors. Part 3 includes the plates.
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  37. Reference Works
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  39. The reader seeking an introduction to any topic in Ottonian art should begin with Jeep 2001, where the essays include the most important information and are followed by a bibliography. See Schmitt, et al. 1937– and Schiller 1971–1972, which are both most useful for iconographical research. Schiller 1971–1972 is restricted to Christian art, whereas Schmitt, et al. 1937–, though still a work in progress, includes all subjects that appear in German art. Although numerous online resources are available for medieval art, the majority emphasize the Romanesque and Gothic periods and typically include very few, frequently redundant Ottonian images. However, the image database of the International Center of Medieval Art as well as ARTstor and Bildarchiv Foto Marburg’s Bildindex der Kunst und Architektur include copious images with accompanying information of varying quality and specificity.
  40.  
  41. ARTstor.
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  43. Includes hundreds of thousands of high-quality images of world art, many of which are available for academic publishing. The service requires an academic affiliation and registration.
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  45. Bildindex der Kunst und Architektur.
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  47. Commercial website of Bildarchiv Foto Marburg that allows images to be viewed, although purchase requests from the United States are fulfilled through its American partner, Art Resource. Provides access to images of virtually all Ottonian structures and objects in Germany and other European countries. Highly specific search engine and user-friendly tools.
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  49. International Center of Medieval Art.
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  51. Website of the International Center of Medieval Art (ICMA), based in New York. By following the Scholarship link, the user can access the ICMA Image Database, which is at present hosted by Flickr. Image quality and amount and quality of accompanying information are highly variable.
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  53. Jeep, John, ed. Medieval Germany: An Encyclopedia. New York: Garland, 2001.
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  55. An outstanding resource for the English-speaking scholar beginning an investigation into any aspect of Ottonian studies by virtue of its many pithy entries, accompanied by short bibliographies.
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  57. Schiller, Gertrud. Iconography of Christian Art. 2 vols. Translated by Janet Seligman. London: Lund Humphries, 1971–1972.
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  59. Translation of the first two volumes of the five-volume Ikonographie der christlichen Kunst (Gütersloh, Germany: Gütersloher Verlagshaus G. Mohn, 1966–1991). German edition covers the iconography of Christ, the Church, the Virgin Mary, and the Apocalypse. English edition includes Christ’s childhood, mission, and passion. Fundamental resource for medieval iconography.
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  61. Schmitt, Otto, et al., ed. Reallexikon zur deutschen Kunstgeschichte. Stuttgart: Metzlersche Verlagsbuchhandlung, 1937–.
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  63. Ten print volumes were published between 1937 and 2015, since when publication is solely digital. Illustrated essays followed by bibliography. Covers the broadest possible range of topics in material terms (for example, “apple”) and in content (for example, all biblical figures and events that appear in German art).
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  65. Journals
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  67. No journal is devoted exclusively to Ottonian art. However, all those listed here publish scholarship on topics in the visual culture of the Holy Roman Empire in the 10th, 11th, and early 12th centuries. Frühmittelalterliche Studien and Speculum publish articles on all aspects of medieval history and culture, although the former privileges the early Middle Ages, which are the exclusive focus of Early Medieval Europe. The Art Bulletin, Dumbarton Oaks Papers, Gesta, the Münchner Jahrbuch für Kunstgeschichte, the Zeitschrift des deutschen Vereins für Kunstwissenschaft, and the Zeitschrift für Kunstgeschichte are devoted to art historical scholarship. The content of the Art Bulletin, Dumbarton Oaks Papers, Early Medieval Europe, Gesta, and Speculum is usually in English.
  68.  
  69. Art Bulletin. 1919–.
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  71. Publication of the College Art Association (CAA), based in New York.
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  73. Dumbarton Oaks Papers. 1941–.
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  75. Published by Dumbarton Oaks Research Library and Collection, in Washington, DC. No issue for 1949.
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  77. Early Medieval Europe. 1992–.
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  79. Published by John Wiley and Sons with an editorial board comprising scholars from numerous universities in the United Kingdom.
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  81. Frühmittelalterliche Studien. 1967–.
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  83. Published by the Institut für Frühmittelalterforschung at the Westfälische Wilhelms-Universität Münster.
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  85. Gesta. 1963–.
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  87. Publication of the International Center for Medieval Art (ICMA), located at The Cloisters in New York City.
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  89. Münchner Jahrbuch für Kunstgeschichte. 1906–.
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  91. Published by the Zentralinstitut für Kunstgeschichte in Munich. Not published from 1940 to 1949.
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  93. Speculum. 1926–.
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  95. Publication of the Medieval Academy of America, based in Cambridge, MA.
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  97. Zeitschrift des deutschen Vereins für Kunstwissenschaft. 1934–.
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  99. Publication of the Deutscher Verein für Kunstwissenschaft, located in Berlin. Not published from 1944 to 1946; name changed to Zeitschrift für Kunstwissenschaft from 1947 to 1962.
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  101. Zeitschrift für Kunstgeschichte. 1932–.
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  103. Publication based in the art history department of the University of Basel. Not published from 1945 to 1948.
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  105. Exhibition Catalogues
  106.  
  107. A series of excellent German exhibitions has produced several informative catalogues with high-quality illustrations. Schnütgen Museum and Musées Royaux d’Art et d’Histoire 1972–1973 and Frings and Gerchow 2005 cover the entire Middle Ages but include considerable Ottonian and Salian material. Frings and Gerchow 2005 has an extensive recent bibliography. Elbern 1962 includes art from the entire first millennium of the Common Era, but emphasizes the Carolingian and Ottonian periods. Puhle 2001 is an excellent source for the art of the 10th century. Brandt and Eggebrecht 1993 has as its point of departure Hildesheim during the reign of Archbishop Bernward (r. 993–1022), but the essays are not geographically restricted. For the Salian era, see Historisches Museum der Pfalz, et al. 1992.
  108.  
  109. Brandt, Michael, and Arne Eggebrecht, eds. Bernward von Hildesheim und das Zeitalter der Ottonen. 2 vols. Hildesheim, Germany: Bernward Verlag, 1993.
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  111. Volume 1 contains essays on all aspects of Ottonian culture, many of which are not specific to Hildesheim. Several, particularly in chapters 5 and 7, concern art and architecture. Volume 2 is a catalogue of the exhibition with copious high-quality photographs, scholarly entries, and an extensive bibliography.
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  113. Elbern, Viktor, ed. Das erste Jahrtausend: Kultur und Kunst im werdenden Abendland an Rhein und Ruhr. 3 vols. Düsseldorf: Verlag L. Schwann, 1962.
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  115. Volumes 1 and 2 contain essays on topics in early medieval German culture, whereas Volume 3 constitutes a catalogue of significant works in diverse media, particularly manuscript illumination, metalwork, and ivory carving. Plates 295–448 reproduce Ottonian works.
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  117. Frings, Jutta, and Jan Gerchow. Krone und Schleier: Kunst aus mittelalterlichen Frauenklöstern. Munich: Hirmer, 2005.
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  119. Catalogue includes informative entries and a current bibliography on many Ottonian and Salian works. Scholarly essays separately published in English: Jeffrey Hamburger and Susan Marti, eds., Crown and Veil: Female Monasticism from the Fifth to the Fifteenth Centuries, translated by Dietlinde Hamburger (New York: Columbia University Press, 2008).
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  121. Historisches Museum der Pfalz, Römisch-Germanisches Zentralinstitut, and Bischöfliches Dom- und Diözesanmuseum. Das Reich der Salier, 1024–1125. Sigmaringen, Germany: Thorbecke Verlag, 1992.
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  123. Beautifully illustrated catalogue of the inclusive exhibition of Salian art held in the Historisches Museum der Pfalz in Speyer, Germany, in 1992. Scholarly essays on broad artistic categories (jewelry, coins and money, script and books) are followed by catalogue entries and a bibliography.
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  125. Puhle, Matthias, ed. Otto der Groβe: Magdeburg und Europa. 2 vols. Mainz, Germany: Verlag Philipp von Zabern, 2001.
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  127. Volume 1 contains essays on various aspects of Otto I’s reign, and Volume 2 is a catalogue of the exhibition held in Magdeburg’s Kulturhistorisches Museum in 2001. Copious, high-quality illustrations throughout.
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  129. Schnütgen Museum and Musées Royaux d’Art et d’Histoire. Rhein und Maas: Kunst und Kultur, 800–1400. 2 vols. Cologne: Schnütgen Museum, 1972–1973.
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  131. The first volume constitutes a catalogue of the exhibition, which presented works in a variety of media, many from the Ottonian and Salian periods. The second volume includes scholarly essays.
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  133. Historical Sources
  134.  
  135. An appreciation of historical context is essential to understanding the art of the Ottonian and Salian eras because of the vital role the visual arts and architecture played in imaging and thus propagating and maintaining social, political, and religious norms and authority. Extant primary sources usually originated in monarchs’ chanceries or prominent monasteries and convents.
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  137. Primary Sources
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  139. The following are among the most culturally informative of the texts surviving from the Ottonian-Salian era and either are imperial in origin and subject (Bachrach and Bachrach 2014, Monumenta Germaniae Historica, Regesta Imperii, Squatriti 2007, Warner 2001) or were written at major cultural centers (Haefele 1980, Giese 2004, Hrotsvit of Gandersheim 2001, and Wilson 2000).
  140.  
  141. Bachrach, Bernard, and David Bachrach, eds. and trans. Deeds of the Saxons. Washington, DC: Catholic University of America Press, 2014.
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  143. Widukind, monk of Corvey (925–after 973), wrote this history of the Saxon people (Res gestae Saxonicae) emphasizing the events of Henry I’s and Otto I’s reigns, for presentation to Henry’s granddaughter Mathilde when she became abbess of the royal convent of Quedlinburg in 968. Important text for the Ottonian concept of rulership.
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  145. Giese, Martina, ed. Annales Quedlinburgenses. Monumenta Germaniae Historica Scriptores 72. Hannover, Germany: Hahnsche, 2004.
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  147. Extensively annotated edition of an important source for German imperial history of the late 10th and early 11th centuries. Editor posits a female monastic author writing on the basis of firsthand experience between about 1008 and 1030 in the royal convent at Quedlinburg.
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  149. Haefele, Hans, trans. St. Galler Klostergeschichten. Darmstadt: Wissenschaftliche Buchgesellschaft, 1980.
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  151. German translation, accompanied by original Latin text, of Ekkehard IV’s Casus Sancti Galli, a history of the monastery of St. Gall written by a resident monk in the 11th century. Although primarily concerned with this important monastery, the text also provides insight into early medieval monastic life in general.
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  153. Hrotsvit of Gandersheim. Opera omnia. Munich: Saur, 2001.
  154. DOI: 10.1515/9783110947670Save Citation »Export Citation »E-mail Citation »
  155. Writing at the royal convent of Gandersheim in the second half of the 10th century, Hrotsvit recorded the history of the Liudolfing dynasty in the Gesta Ottonis and of Gandersheim in Primordia. Both texts elucidate the internecine political strife that characterized much of the 10th century.
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  157. Monumenta Germaniae Historica: Diplomata Regum et Imperatorum Germaniae. 6 vols. Hannover, Germany: Hahnsche Buchhandlung, 1879–1978.
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  159. Full-text compendium of the charters issued by the Ottonian and Salian monarchs. Searchable edition available online.
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  161. Böhmer, J. F. Regesta Imperii II: Sächsisches Haus, 919–1024. Wien: Böhlau, 1982.
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  163. Annotated inventory of imperial and papal decrees initiated by Johann Böhmer in 1829 and edited by various scholars over the decades. Also refer Regesta Imperii III: Salisches Haus 1024–1125 (Wien: Böhlau, 1982). Searchable edition available online.
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  165. Squatriti, Paolo, ed. and trans. The Complete Works of Liudprand of Cremona. Washington, DC: Catholic University of America Press, 2007.
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  167. Liudprand, bishop of Cremona (b. c. 920–d. 972), was a member of Otto I’s court from 961 until his death. His most important text is the Antapadosis, or Retribution. Squatriti’s introduction supplies context for this and Liudprand’s other historical writings.
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  169. Warner, David, ed. and trans. Ottonian Germany: The Chronicon of Thietmar of Merseburg. Manchester, UK: Manchester University Press, 2001.
  170. DOI: 10.7765/MMSO.49262Save Citation »Export Citation »E-mail Citation »
  171. Informative introduction and genealogical charts significantly enhance the contemporary reader’s experience of this text, written by the Bishop of Merseburg (r. 1009–1018) between 1013 and 1018. Relies on the author’s personal experience as well as literary sources, including the Res Gestae Saxonicae and the Annales Quedlinburgenses.
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  173. Wilson, Katharina, ed. and trans. Hrotsvit of Gandersheim: A Florilegium of Her Works. Cambridge, UK: D. S. Brewer, 2000.
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  175. Selections in English from Hrotsvit’s writings.
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  177. Secondary Sources
  178.  
  179. These basic historical accounts provide the necessary sociopolitical framework for the cultural historian. Fuhrmann 1986 and Beumann 2000 offer chronologically organized accounts of the Ottonian and Salian periods, whereas Leyser 1979 presents Ottonian Saxony thematically. Blumenthal 1988 (on the investiture controversy) and Althoff 2003 (on the age of Otto III) are more narrowly focused but also proceed chronologically. Reuter 1991 and Weinfurter 1999 approach the material from both a chronological and a cultural-historical viewpoint. Fichtenau 1991 is a unique investigation into the structure and psychology of Ottonian society.
  180.  
  181. Althoff, Gerd. Otto III. Translated by Phillis Jestice. University Park: Pennsylvania State University Press, 2003.
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  183. English translation of Otto III (Darmstadt: Wissenschaftliche Buchgesellschaft, 1996). This short biography serves as an excellent introduction to issues of kingship fundamental to Ottonian society. Bibliography includes a complete list of relevant primary sources.
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  185. Beumann, Helmut. Die Ottonen. 5th ed. Stuttgart: Verlag W. Kohlhammer, 2000.
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  187. This study first appeared in 1987 and was expanded in 1994. Excellent, brief, straightforward historical account of the 10th and early 11th centuries in the Holy Roman Empire.
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  189. Blumenthal, Uta-Renate. The Investiture Controversy: Church and Monarchy from the Ninth to the Twelfth Century. Translated by Uta-Renate Blumenthal. Philadelphia: University of Pennsylvania Press, 1988.
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  191. English translation of Der Investiturstreit (Stuttgart: Kohlhammer, 1982). The power struggle between the papacy and the Salian emperors dominated the 11th century. This text elucidates the causes and nature of the dispute. A bibliography is provided specific to each chronologically arranged chapter.
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  193. Fichtenau, Heinrich. Living in the Tenth Century: Mentalities and Social Orders. Translated by Patrick Geary. Chicago: University of Chicago Press, 1991.
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  195. English translation of Lebensordnung des 10. Jahrhunderts: Studien über Denkart und Existenz im einstigen Karolingerreich (Stuttgart: A. Hiersemann, 1984). A study of the structure and psychology of Ottonian society. Includes discussion of social orders, family and kinship, kingship, secular and ecclesiastical nobility, role of the monastery, and the peasantry.
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  197. Fuhrmann, Horst. Germany in the High Middle Ages, c. 1050–1200. Translated by Timothy Reuter. Cambridge, UK: Cambridge University Press, 1986.
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  199. English translation of Deutsche Geschichte im hohen Mittelalter (Göttingen, Germany: Vandenhoeck & Ruprecht, 1978). Chapters 1–3 cover the Salian era.
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  201. Leyser, Karl. Rule and Conflict in an Early Medieval Society: Ottonian Saxony. Bloomington: Indiana University Press, 1979.
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  203. Has three main sections: “Otto I and His Saxon Enemies,” “The Women of the Saxon Aristocracy,” and “Sacral Kingship.” Its thematic approach is a useful augmentation of Reuter 1991.
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  205. Reuter, Timothy. Germany in the Early Middle Ages, c. 800–1056. London: Longman, 1991.
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  207. Part 2 is a chronological overview of Ottonian history. Part 3 addresses various aspects of Ottonian society, such as kingship, the role of the church, the economy, and culture.
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  209. Weinfurter, Stefan. The Salian Century: Main Currents in an Age of Transition. Translated by Barbara Bowlus. Philadelphia: University of Pennsylvania Press, 1999.
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  211. English translation of Herrschaft und Reich der Salier: Grundlinien einer Umbruchszeit (Sigmaringen, Germany: J. Thorbecke, 1991). Highly readable study of 11th-century Germany, with political developments culturally contextualized. Many maps, plans, and reproductions of manuscript illuminations and imperial objects. Good bibliography, with selected list of English-language sources.
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  213. Centers
  214.  
  215. During the Ottonian and Salian eras, the major cultural centers were synonymous with the leading monastic establishments, which typically were associated with the monarchy, frequently through family ties. The centers included in this article are those that made the most significant contributions to the visual arts during the 10th and 11th centuries. The reader is advised to consult Reference Works for a more in-depth introduction to each center than is possible here.
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  217. Cologne
  218.  
  219. A Roman colony from the year 50, Cologne flourished in the early Middle Ages. It especially benefited from royal patronage during the 10th century. Archbishop Bruno (r. 953–965), brother of Otto I, founded the Benedictine monastery of St. Pantaleon, to which Empress Theophanu, wife of Otto II, was particularly devoted. Other important cultural projects were initiated by Archbishops Heribert (r. 999–1021), Hermann II (r. 1036–1056), and Anno (r. 1056–1075). Bloch and Schnitzler 1967–1970 and Euw 1964 should be consulted for the origins and evolution of Ottonian manuscript illumination at Cologne, whereas Legner 1985 and Euw 1991 are the best sources for the visual arts in medieval Cologne in all media. Beuckers 2013 includes the most recent research analyzing and contextualizing the important Hitda-Codex.
  220.  
  221. Beuckers, Klaus Gereon, ed. Äbtissin Hitda und der Hitda-Codex (Universitäts- und Landesbibliothek Darmstadt, Hs. 1640): Forschungen zu einem Hauptwerk der ottonischen Kölner Buchmalerei. Darmstadt: WBG, 2013.
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  223. Recent study by numerous authors that includes discussion of this manuscript’s patron, pictorial style, and place within the history of Ottonian illumination at Cologne.
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  225. Bloch, Peter, and H. Schnitzler. Die ottonische Kölner Malerschule. 2 vols. Düsseldorf: Verlag L. Schwann, 1967–1970.
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  227. Volume 1 is an illustrated catalogue of twenty liturgical books from Cologne, organized stylistically and with detailed information on their liturgical and artistic content. Volume 2 contains essays on the stylistic groups, ornamental pages, and figural imagery. Essential resource for the study of Ottonian illumination.
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  229. Euw, Anton von. “Zu den Quellen der ottonischen Kölner Buchmalerei.” In Das erste Jahrtausend. Kultur und Kunst im werdenden Abendland an Rhein und Ruhr. Vol. 2. Edited by Victor Elbern, 1032–1067. Düsseldorf: Verlag L. Schwann, 1964.
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  231. Author considers the interplay of Carolingian and Byzantine influences on manuscript illumination in Ottonian Cologne.
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  233. Euw, Anton von. Kaiserin Theophanu: Begegnung des Ostens und Westens um die Wende des ersten Jahrtausends. 2 vols. Cologne: Schnütgen Museum, 1991.
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  235. Commemorates the Empress Theophanu, wife of Otto II and mother of Otto III, on the 1,000th anniversary of her death, with a series of wide-ranging essays. See Volume 1, chapter 1/D, and Volume 2, chapter 5, for a discussion of the visual arts in 10th-century Cologne and works associated with Theophanu.
  236. Find this resource:
  237. Legner, Anton, ed. Ornamenta Ecclesiae: Kunst und Künstler der Romanik. 3 vols. Cologne: Schnütgen Museum, 1985.
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  239. Catalogue of a thematically organized exhibition focusing on medieval Cologne. Thematic essays and catalogue entries appear in all volumes and their organization is somewhat confusing. However, numerous Ottonian works are included throughout and the volumes are handsomely illustrated.
  240. Find this resource:
  241. Echternach
  242.  
  243. A Benedictine monastery was founded at Echternach in 704 by the Northumbrian missionary Willibrord, which, however, evolved during the Carolingian period into a canonry. In 973, as part of the monastic reform movement, it was returned to Benedictine rule and the canons were replaced by an abbot and monks from the powerful monastery of St. Maximin at Trier. The influences of Trier and Reichenau were instrumental in the 11th-century development of a sophisticated scriptorium from which some of the most ambitiously illustrated manuscripts of the later Ottonian period emerged, many the result of imperial patronage. Plotzek 1970 discusses the origins of Ottonian illumination at Echternach, and Avril and Rabel 1995 is a useful catalogue of the Echternach manuscripts in the Bibliothèque Nationale in Paris, many of 11th-century origin. Nordenfalk 1971 and Grebe 2007 are monographs on two of the most important illustrated manuscripts from the 11th-century scriptorium.
  244.  
  245. Avril, François, and Claudia Rabel. Manuscrits enluminés d’origine germanique Vol. 1, Xe–XIVe siècle. 2 vols. Paris: Bibliothèque Nationale de France, 1995.
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  247. See catalogue and essays on pages 1–56 for the Bibliothèque Nationale’s extensive holdings of early medieval manuscripts from Echternach. Numerous black-and-white plates.
  248. Find this resource:
  249. Grebe, Anja. Codex Aureus: Das Goldene Evangelienbuch von Echternach. Darmstadt: WBG, 2007.
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  251. Sumptuously illustrated monographic study of a profusely decorated Gospel book c. 1030, also known as the Codex aureus Epternacensis (“of Echternach”), which was apparently made for use in the monastery itself. The book is now in the Germanisches Nationalmuseum in Nuremberg (MS 156142).
  252. Find this resource:
  253. Nordenfalk, Carl. Codex Caesareus Upsaliensis: An Echternach Gospel-Book of the Eleventh Century. Uppsala, Sweden: Almqvist and Wiksells, 1971.
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  255. Study of Uppsala, University Library, MS C 93, a magnificent Gospel book presented by the Salian emperor Henry III (r. 1046–1056) to the Church of Sts. Simon and Jude in Goslar (1055–1056). Illustrations are interspersed with essays on Echternach and its manuscripts and on issues of codicology, liturgy, script, and illumination.
  256. Find this resource:
  257. Plotzek, Joachim. “Anfänge der ottonischen Trier-Echternacher Buchmalerei.” Wallraf-Richartz Jahrbuch 32 (1970): 7–36.
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  259. Seminal study of the origins of Ottonian manuscript illumination at Echternach and the influence of Trier on the Echternach scriptorium.
  260. Find this resource:
  261. Essen
  262.  
  263. The royal convent at Essen was founded in the 9th century, flourished especially under the Ottonian emperors, and continued to prosper in the Salian era. Two Ottonian princess-abbesses, Mathilde (r. 971/973–1011) and Theophanu (r. 1039–1056), were especially noteworthy patrons of the visual arts and architecture. Humann 1904 and Küppers and Mikat 1966 provide overviews of the church and treasury holdings, while Beuckers 2002 and Blough 2005 emphasize and contextualize two important 10th-century abbatial commissions. Fremer 2002 analyzes abbatial patronage as one aspect of the early medieval religio-social experience. Arens 1908 reproduces and analyzes an important primary source from medieval Essen that allows the reader to understand how the community’s ecclesiastical art, much of it of Ottonian origin or with Ottonian provenance, was actually used.
  264.  
  265. Arens, Franz, ed. Der Liber Ordinarius der Essener Stiftskirche. Paderborn, Germany: Junfermann, 1908.
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  267. Latin text of an ordo, surviving in two late medieval manuscripts, that reflects long-standing liturgical practice in the convent church at Essen. Describes how many objects of Ottonian origin were used devotionally by the monastic, clerical, and lay populations of Essen. Text is followed by extensive scholarly analysis.
  268. Find this resource:
  269. Beuckers, Klaus Gereon. “Das Otto-Mathilden-Kreuz im Essener Münsterschatz.” In Herrschaft, Liturgie und Raum: Studien zur mittelalterlichen Geschichte des Frauenstifts Essen. Edited by Katrinette Bodarwé and Thomas Schilp, 51–80. Essen, Germany: Klartext, 2002.
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  271. Discussion of the earliest of four processional crosses in the Essen treasury, which includes a portrait of the patrons, Abbess Mathilde and her brother, Duke Otto of Saxony and Bavaria.
  272. Find this resource:
  273. Blough, Karen. “The Princess-Abbesses of Essen and the Golden Virgin.” In De Re Metallica: The Uses of Metal in the Middle Ages. Edited by Robert Bork, Scott Montgomery, Carol L. Neuman de Vegvar, et al., 147–161. Burlington, VT: Ashgate, 2005.
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  275. Discussion of the earliest surviving freestanding image of the Virgin and Child, an early commission of Abbess Mathilde.
  276. Find this resource:
  277. Fremer, Torsten. Äbtissin Theophanu und das Stift Essen: Gedächtnis und Individualität in ottonisch-salischer Zeit. Essen, Germany: Verlag Peter Pomp, 2002.
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  279. Author explores Ottonian and Salian history at the royal convent of Essen and discusses the cultural patronage of Abbess Theophanu, relating it to the commemorative obligations of monastic women in the early Middle Ages.
  280. Find this resource:
  281. Humann, Georg. Die Kunstwerke der Münsterkirche zu Essen. 2 vols. Düsseldorf: Verlag L. Schwann, 1904.
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  283. Volume 1 is an extensive study of the church and treasury holdings at Essen that incorporates information from older, obscure sources unobtainable outside of Germany or no longer extant. Volume 2, a folio with seventy-two plates, is apparently not publicly available in the United States.
  284. Find this resource:
  285. Küppers, Leonhard, and Paul Mikat. Der Essener Münsterschatz. Essen, Germany: Fredebeul and Koenen, 1966.
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  287. Large photographs of the Essen treasury holdings with accompanying essays.
  288. Find this resource:
  289. Hildesheim
  290.  
  291. Hildesheim was a prominent site of Ottonian cultural authority during the reign of Bishop Bernward (r. 993–1022), a Saxon nobleman with close ties to Otto II and Otto III. His patronage of the visual arts and architecture is particularly evident in the monastic complex of St. Michael’s. See Lutz and Weyer 2012 for the monastery church and for Bernward as patron. Wesenberg 1955 is the classic study of sculpture made at Bernward’s behest, such as the renowned historiated bronze doors and bronze column. The doors are the subject of Cohen and Derbes 2001. Kingsley 2014 is a study of an important Gospel book, commissioned by Bernward, whose pictorial cycle relates multifariously to its patron.
  292.  
  293. Cohen, Adam, and Anne Derbes. “Bernward and Eve at Hildesheim.” Gesta 40.1 (2001): 19–38.
  294. DOI: 10.2307/767193.10.2307/767193Save Citation »Export Citation »E-mail Citation »
  295. An insightful English-language study of the bronze doors in the Hildesheim cathedral, which the authors contextualize within Bishop Bernward’s conflict with the powerful Abbess Sophia of Gandersheim. At the same time, they elucidate the relationship between the Hildesheim scenes and their Carolingian, Turonian models.
  296. Find this resource:
  297. Kingsley, Jennifer P. The Bernward Gospels: Art, Memory, and the Episcopate in Medieval Germany. University Park: Pennsylvania State University Press, 2014.
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  299. Detailed and nuanced study of an important manuscript whose illuminations relate to Bishop Bernward and elucidate his role as both a churchman and a patron of the arts. Superior illustrations and extensive bibliography. With Mayr-Harting 1999 (cited under Manuscript Illumination), Cohen 2000 (cited under Regensburg), and Garrison 2012 (cited under Patronage), the most useful resource in English for Ottonian art.
  300. Find this resource:
  301. Lutz, Gerhard, and Angela Weyer, eds. 1000 Jahre St. Michael in Hildesheim: Kirche-Kloster-Stifter. Petersberg, Germany: Michael Imhof Verlag, 2012.
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  303. The first two sections of this well-illustrated volume include numerous essays focusing on Bishop Bernward and his many commissions, particularly at St. Michael’s. Shorter chapters address the late- and post-medieval history of this important Ottonian foundation.
  304. Find this resource:
  305. Wesenberg, Rudolf. Bernwardinische Plastik: Zur ottonischen Kunst unter Bischof Bernward von Hildesheim. Berlin: Deutscher Verein für Kunstwissenschaft, 1955.
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  307. Essay on sculpture produced for Bernward in silver, bronze, wood, and stone followed by a catalogue of the individual works.
  308. Find this resource:
  309. Quedlinburg
  310.  
  311. Quedlinburg was a palatine site preferred by Henry I, but its rise to cultural prominence began upon the founding here, by Otto I in 936, of a canonical convent dedicated to St. Servatius whose abbesses were initially Ottonian and Salian princesses and subsequently prominent Saxon noblewomen. In its first centuries, Quedlinburg was the recipient of enormously valuable imperial gifts, often of great antiquity and foreign origin, that the abbesses transformed into luxury liturgical furnishings. The medieval treasury is among the richest to survive in Germany and the series of abbatial effigies is important evidence for this sculptural type.
  312.  
  313. Blough, Karen. “The Abbatial Effigies at Quedlinburg: A Convent’s Identity Reconfigured.” Gesta 47.2 (2008): 147–169.
  314. DOI: 10.2307/20648968Save Citation »Export Citation »E-mail Citation »
  315. Study of the effigies depicting three 11th-century abbesses of the royal convent of Quedlinburg that are among the earliest figural tomb-slabs of the medieval era. Reconciles their imperial Ottonian and Salian subject with the context of monastic reform in which they originated.
  316. Find this resource:
  317. Kötzsche, Dietrich, ed. Der Quedlinburger Schatz. Berlin: Kulturstiftung der Länder, 1992.
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  319. Introduction to the treasury, which at the time of writing had only recently been repatriated after its theft by an American soldier in 1945. Individual entries on objects received by and made for the convent during the Ottonian period.
  320. Find this resource:
  321. Leopold, Gerhart. Die ottonischen Kirchen St. Servatii, St. Wiperti und St. Marien in Quedlinburg: Zusammenfassende Darstellung der archäologischen und baugeschichtlichen Forschungen von 1936 bis 2001. Halle, Germany: Landesamt für Denkmalpflege und Archäologie Sachsen-Anhalt, 2010.
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  323. Summary analysis of the extensive 20th-century archaeological excavations of the three Ottonian-Salian monastic churches at Quedlinburg.
  324. Find this resource:
  325. Regensburg
  326.  
  327. Regensburg was founded by the Romans in 179 and during the Middle Ages was the principal city in Bavaria. The monastery of St. Emmeram was enthusiastically patronized by both Carolingian and Ottonian rulers. The convent of Niedermünster was founded by the Bavarian duke Henry, known as the Wrangler, whose grandson, Henry II (r. 1002–1024), was the last Ottonian emperor and contemporary of the great Abbess Uta, patron of the magnificent Uta Codex. St. Emmeram’s scriptorium, particularly active in the late 10th and 11th centuries, is the subject of Swarzenski 1969, whereas Cohen 2000 emphasizes the theological, liturgical, and iconographical complexity of one of the most important 11th-century manuscripts. Diebold 2007 suggests new ways to understand the influence of the Carolingian Codex aureus of Charles the Bald on Regensburg illumination in the Ottonian age.
  328.  
  329. Cohen, Adam. The Uta Codex: Art, Philosophy, and Reform in Eleventh-Century Germany. University Park: Pennsylvania State University Press, 2000.
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  331. Author’s elucidation of the complex illustrations in this 11th-century Gospel lectionary, which he places within the context of Benedictine monastic reform during the Ottonian era, is sophisticated and clearly written. With Garrison 2012 (cited under Patronage), Kingsley 2014 (cited under Hildesheim), and Mayr-Harting 1999 (cited under Manuscript Illumination), the most useful resource in English for Ottonian art.
  332. Find this resource:
  333. Diebold, William J. “The Anxiety of Influence in Early Medieval Art? The Codex Aureus of Charles the Bald in Ottonian Regensburg.” In Under the Influence: The Concept of Influence and the Study of Illuminated Manuscripts. Edited by John Lowden and Alixe Bovey, 51–64. Turnhout, Belgium: Brepols, 2007.
  334. DOI: 10.1484/M.RCIM-EB.3.922Save Citation »Export Citation »E-mail Citation »
  335. Discusses the reception and interpretation in Ottonian Regensburg of an important Carolingian manuscript. Suggests how literary theory may be used in analysis of early medieval manuscripts. Nuances traditional understanding of imagery associated with Christocentric rulership.
  336. Find this resource:
  337. Swarzenski, Georg. Die Regensburger Buchmalerei des X. und XI. Jahrhunderts. Stuttgart: Hiersemann, 1969.
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  339. Widely accessible reprint of the original edition of 1901. Seminal study of Regensburg illumination, emphasizing the apogee of the St. Emmeram scriptorium during the reign of Henry II.
  340. Find this resource:
  341. Reichenau
  342.  
  343. Founded in 724, the island monastic complex of Reichenau had close ties to the Carolingian and Ottonian dynasties. A scriptorium flourished there by the third quarter of the 10th century, and the manuscripts of the Liuthar Group of the late 10th and early 11th centuries are arguably the most significant evidence for Ottonian aesthetic and iconographical ambition. The Codex Egberti (Trier, Stadtbibliothek, MS 24), although created for Archbishop Egbert of Trier, was largely the work of two Reichenau monks and introduced an unprecedented cycle of Gospel illustrations. Berschin 1987 is a good introduction to the medieval culture of Reichenau (and St. Gall), and Boeckler 1925 provides an overview of Ottonian illumination. Vöge 1891, and Sauerland and Haseloff 1901 constitute the essential intellectual basis for the identification of a scriptorium at Reichenau and also provide a fascinating insight into art historical methodology at the turn of the 20th century. Boeckler 1949 is primarily concerned with the models available at Reichenau. See Dodwell and Turner 1965 for the argument against a Reichenau scriptorium, refuted by literature discussed in Messerer 1974. Dressler, et al. 1978 and Grimme 1984 discuss two of the most important manuscripts of Reichenau origin: the Munich and Aachen Gospels of Otto III, respectively. Labusiak 2009 addresses select codices from all three groups into which Reichenau manuscripts have traditionally been divided—Anno, Ruodprecht, and Liuthar—while emphasizing the figural cycles and abstract ornamentation of the Ruodprecht group.
  344.  
  345. Berschin, Walter. Eremus und Insula: St. Gallen und die Reichenau im Mittelalter—Modell einer lateinischen Literaturlandschaft. Wiesbaden, Germany: Reichert, 1987.
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  347. Posits the proximate monasteries of Reichenau and St. Gall as parallel places and studies their intellectual evolution and interdependence during the Middle Ages. Relies heavily on manuscript evidence from both centers.
  348. Find this resource:
  349. Boeckler, Albert. “Die Reichenauer Buchmalerei.” In Die Kultur der Abtei Reichenau: Erinnerungsschrift zur zwölfhundertsten Wiederkehr des Gründungsjahres des Inselklosters, 724–1924. Vol. 2. Edited by Konrad Beyerle, 956–998. Munich: Verlag der Münchner Drücke, 1925.
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  351. Comprehensive summary of manuscript illumination at Reichenau c. 950–1020, chiefly from a stylistic perspective. Good resource as an introduction to the topic, though the bibliography is outdated.
  352. Find this resource:
  353. Boeckler, Albert. “Bildvorlagen der Reichenau.” Zeitschrift für Kunstgeschichte 12 (1949): 7–29.
  354. DOI: 10.2307/1481227.10.2307/1481227Save Citation »Export Citation »E-mail Citation »
  355. Demonstrates the Reichenau scriptorium’s dependence on Late Antique and Byzantine sources. Although the author’s approach is primarily stylistic and iconographical, he also discusses the ways in which older and Eastern models could have arrived at Reichenau.
  356. Find this resource:
  357. Dodwell, Charles, and D. H. Turner. Reichenau Reconsidered: A Reassessment of the Place of Reichenau in Ottonian Art. London: Warburg Institute, 1965.
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  359. Authors reject the identification of Reichenau as the site of a major scriptorium, preferring to localize the relevant manuscripts at Lorsch or Trier. Subsequent research has confirmed the role of Reichenau, but this book acquaints the scholar with some of the problematic aspects of Reichenau illumination.
  360. Find this resource:
  361. Dressler, Fridolin, Florentine Mütherich, and Helmut Beumann, eds. Das Evangeliar Ottos III: Clm. 4453 der Bayerischen Staatsbibliothek München. 2 vols. Frankfurt: Fischer, 1978.
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  363. Volume 2 is a facsimile of the Gospel book made at Reichenau for Otto III, now in the Bavarian National Library in Munich. A description of the manuscript’s contents and scholarly analysis appear in Volume 1.
  364. Find this resource:
  365. Grimme, Ernst. Das Evangeliar Kaiser Ottos III: Im Domschatz zu Aachen. Freiburg, Germany: Herder, 1984.
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  367. Large color plates of each miniature in this important late-10th-century Gospel book, accompanied by brief but insightful stylistic and iconographical commentary. Important resource for the study of Liuthar Group illumination.
  368. Find this resource:
  369. Labusiak, Thomas. Die Ruodprechtgruppe der ottonischen Reichenauer Buchmalerei: Bildquellen, Ornamentik, stilgeschichtliche Voraussetzungen. Denkmäler Deutscher Kunst. Berlin: Deutscher Verlag für Kunstwissenschaft, 2009.
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  371. Valuable new study of the five manuscripts this group comprises, including the famous Egbert Psalter, the Poussay Gospel Lectionary, and the Codex Egberti. Particular attention is paid to the Christological miniatures in Poussay. Discussion of the ornament extends as well to selected manuscripts in the so-called Anno and Liuthar groups.
  372. Find this resource:
  373. Messerer, Wilhelm. “Reichenauer Malerei—nach Jantzen.” In Die Abtei Reichenau: Neue Beiträge zur Geschichte und Kultur des Inselklosters. Edited by Helmut Maurer and Konrad Beyerle, 291–310. Sigmaringen, Germany: Thorbecke, 1974.
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  375. Discussion of the place of Reichenau in Ottonian art subsequent to the doubts raised in Dodwell and Turner 1965 concerning its scriptorium.
  376. Find this resource:
  377. Sauerland, Heinrich, and Arthur Haseloff. Der Psalter Erzbischof Egberts von Trier Codex Gertrudianis in Cividale. Trier, Germany: Selbstverlag der Gesellschaft fur nützliche Forschungen, 1901.
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  379. Monograph on an illustrated psalter commissioned by Archbishop Egbert of Trier (r. 977–993) asserting a Reichenau origin for the manuscripts identified as a group by Wilhelm Vöge. Together with Vöge 1891, this book forms the basis for the generally accepted theory that a major scriptorium existed at Reichenau.
  380. Find this resource:
  381. Vöge, Wilhelm. Eine deutsche Malerschule um die Wende des ersten Jahrtausends: Kritische Studien zur Geschichte der Malerei in Deutschland im 10. und 11. Jahrhundert. Westdeutsche Zeitschrift für Geschichte und Kunst, Ergänzungs-Heft 7. Trier, Germany: Verlag der Fr. Lintz’schen Buchhandlung, 1891.
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  383. Study of a number of biblical and liturgical manuscripts of the late 10th and 11th centuries that demonstrates their common scriptorium origin. Together with Sauerland and Haseloff 1901, a monograph on the Egbert Psalter, this book forms the basis for the theory that a major scriptorium existed at Reichenau.
  384. Find this resource:
  385. St. Gall
  386.  
  387. Founded in the early 8th century, the monastery of St. Gall was, like its neighbor and friendly rival Reichenau, an influential intellectual and cultural center for centuries. St. Gall is particularly renowned for its liturgical books, most of which remain in the monastic library in the early 21st century. Merton 1923 is still valuable, but also see Euw 2008 for manuscript illumination, particularly with regard to illustrations. King and Vogler 1991 places the manuscripts within the context of the culture of medieval St. Gall.
  388.  
  389. Euw, Anton von. Die St. Galler Buchkunst vom 8. bis zum Ende des 11. Jahrhunderts. 2 vols. St. Gall, Germany: Verlag am Klosterhof, 2008.
  390. Save Citation »Export Citation »E-mail Citation »
  391. Thorough study of manuscript illumination at early medieval St. Gall. Volume 1 includes chronologically organized essays as well as a catalogue of the individual manuscripts. Relevant illustrations appear in 921 high-quality color plates in Volume 2.
  392. Find this resource:
  393. King, James, and Werner Vogler, eds. The Culture of the Abbey of St. Gall. Translated by James King. Stuttgart: Belser Verlag, 1991.
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  395. English translation of Die Kultur der Abtei Sankt Gallen (Stuttgart: Belser Verlag, 1990). General cultural study of medieval St. Gall, with an emphasis on manuscript illumination in the Carolingian and Ottonian periods.
  396. Find this resource:
  397. Merton, Adolf. Die Buchmalerei in St. Gallen vom neunten bis zum elften Jahrhundert. 2d ed. Leipzig: Hiersemann, 1923.
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  399. Expansion of the first edition, which was a doctoral dissertation. Fundamental study of manuscript illumination at St. Gall.
  400. Find this resource:
  401. Trier
  402.  
  403. Originally a Roman city, Trier flourished during the early Middle Ages. Artistically, its apogee occurred during the reign of Archbishop Egbert (r. 977–993), patron of the Master of the Registrum Gregorii and donor of many illuminated manuscripts and sumptuously decorated liturgical furnishings. Head 1997 makes clear the political intent of many of Egbert’s commissions. Nitschke 1966 analyzes the manuscript evidence for a Trier scriptorium during Egbert’s reign.
  404.  
  405. Head, Thomas. “Art and Artifice in Ottonian Trier.” Gesta 36.1 (1997): 65–82.
  406. DOI: 10.2307/767279.10.2307/767279Save Citation »Export Citation »E-mail Citation »
  407. Insightful discussion of Archbishop Egbert’s politically astute manipulation of the relics of St. Peter’s beard and St. Andrew’s sandal.
  408. Find this resource:
  409. Nitschke, Brigitte. Die Handschriftengruppe um den Meister des Registrum Gregorii. Recklinghausen, Germany: Verlag Aurel Bongers, 1966.
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  411. Formal study of eleven manuscripts and manuscript fragments associated with the Master of the Registrum Gregorii. The author establishes that although all the illuminations cannot be attributed to a single artist, the evidence points to a common origin in a scriptorium that flourished in Trier during the reign of Archbishop Egbert.
  412. Find this resource:
  413. Patronage
  414.  
  415. In many cases, surviving Ottonian art and architecture have been demonstrated to have been commissioned by known historical individuals. Patronage on the part of the Ottonian kings and emperors and their close kinsmen and kinswomen has proven to be a particularly fruitful area of study. In discussing a variety of objects in a range of media, Beuckers 2002, Nielsen 2002, and Garrison 2012 all elucidate the extent to which the visual expression of rulership and its reception among different audiences was a fundamental method used by the Ottonian monarchs to reify, communicate, and propagate their authority.
  416.  
  417. Beuckers, Klaus Gereon. “Das ottonische Stifterbild: Bildtypen, Handlungsmotive und Stifterstatus in ottonischen und frühsalischen Stifterdarstellungen.” In Die Ottonen: Kunst, Architektur, Geschichte. Edited by Klaus Gereon Beuckers, Johannes Cramer, and Michael Imhof, 63–102. Petersberg, Germany: Michael Imhof Verlag, 2002.
  418. Save Citation »Export Citation »E-mail Citation »
  419. In-depth and wide-ranging discussion of the iconography of the donor portrait in a variety of media during the Ottonian and early Salian periods.
  420. Find this resource:
  421. Garrison, Eliza. Ottonian Imperial Art and Portraiture: The Artistic Patronage of Otto III and Henry II. Burlington, VT: Ashgate, 2012.
  422. Save Citation »Export Citation »E-mail Citation »
  423. Study of imperial patronage in various media at the end of the 10th and beginning of the 11th centuries, with a particular focus on portraiture. With Cohen 2000 (cited under Regensburg), Kingsley 2014 (cited under Hildesheim), and Mayr-Harting 1999 (cited under Manuscript Illumination), the most useful resource in English for Ottonian art.
  424. Find this resource:
  425. Nielsen, Christina M. “Hoc Opus Eximium: Artistic Patronage in the Ottonian Empire.” PhD diss., University of Chicago, 2002.
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  427. Examination of the binding of Henry II’s Pericopebook in Munich, two processional crosses created for Abbess Mathilde II of Essen, and the imperial crown in Vienna from the perspective of their patronage.
  428. Find this resource:
  429. Byzantine Influences
  430.  
  431. Successive waves of influence from Constantinople characterized practically the entire history of medieval Western culture. During the Ottonian era, it has been argued that Byzantine sources and models exerted particular authority after the Byzantine princess Theophanu married Otto II in 972. Her dowry is the subject of Wentzel 1971 and Wentzel 1972. However, links between specific Byzantine models and the Western works they inspired have been difficult to establish. North and Cutler 2003 makes clear, however, that objects of Byzantine origin were appreciated as signifiers of cultural sophistication in the West. Woodfin 2008 emphasizes the Ottonian sense of competition with Byzantium, which the author demonstrates on the example of a Byzantine textile, altered upon its reception in the West, traditionally associated with Henry II’s queen, St. Cunegunda.
  432.  
  433. North, William, and Anthony Cutler. “Ivories, Inscriptions, and Episcopal Self-Consciousness in the Ottonian Empire: Berthold of Toul and the Berlin Hodegetria.” Gesta 42.1 (2003): 1–17.
  434. DOI: 10.2307/25067072Save Citation »Export Citation »E-mail Citation »
  435. Authors use the inscription on a Byzantine Madonna and Child ivory to investigate the importation of Eastern artworks during the Ottonian era and their appropriation by Westerners intent on demonstrating cultural sophistication. Good point of departure for a study of the role of Byzantine art in the early medieval West.
  436. Find this resource:
  437. Wentzel, Hans. “Das byzantinische Erbe der ottonischen Kaiser: Hypothesen über den Brautschatz der Theophano.” Aachener Kunstblätter 40 (1971): 15–39.
  438. Save Citation »Export Citation »E-mail Citation »
  439. With Wentzel 1972, discussion of the putative dowry of Empress Theophanu, traditionally assumed to have been a conduit of Byzantine influence westward. Assignment of specific surviving objects to her treasure has not, however, been successful.
  440. Find this resource:
  441. Wentzel, Hans. “Alte und altertümliche Kunstwerke der Kaiserin Theophano.” Pantheon 30 (1972): 3–18.
  442. Save Citation »Export Citation »E-mail Citation »
  443. With Wentzel 1971, discussion of the putative dowry of Empress Theophanu, traditionally assumed to have been a conduit of Byzantine influence westward.
  444. Find this resource:
  445. Woodfin, Warren T. “Presents Given and Presence Subverted: The Cunegunda Chormantel in Bamberg and the Ideology of Byzantine Textiles.” Gesta 47.1 (2008): 33–50.
  446. DOI: 10.2307/20648959Save Citation »Export Citation »E-mail Citation »
  447. Author addresses the significance of Byzantine gift giving and the reception of Byzantine artwork in the West, in the context of Ottonian-Byzantine imperial rivalry.
  448. Find this resource:
  449. Architecture
  450.  
  451. In the Ottonian and Salian eras, the Western basilica continued to evolve under the influence of imperial patronage. Many churches in the 10th and 11th centuries thus incorporate architectural elements, such as the westwork, that developed in response to concepts of rulership. Imhof 2002 provides a catalogue of surviving sacred architecture from the Ottonian period that is easy to consult and serves as a good starting point for further research. Considerably more detail about particularly important monuments can be found in Knapp 2002. Grodecki 1973 is an introductory essay on architecture around the year 1000, primarily in Germany, whereas Grodecki 1958, a morphological study of the church building during the Ottonian and Salian eras, assumes some prior knowledge of basilican architecture. Oswald, et al. 1966–1991 is an excellent source for precise measurements and ground plans, and the basic historical record for each building is included as well. Both Hiscock 2003 and Plant 2003 are concerned with church construction associated with members of the Ottonian dynasty. Binding 1991 is limited to Cologne (particularly St. Pantaleon) and Jacobsen 2003 to Gernrode. Jacobsen 2003 alone considers the architecture as the environment of religious ritual. Herzog 1964 contextualizes architecture within a study of urban evolution during the Ottonian period.
  452.  
  453. Binding, Günther. “Ottonische Baukunst in Köln.” In Kaiserin Theophanu: Begegnung des Ostens und Westens um die Wende des ersten Jahrtausends. Vol. 1. Edited by Anton von Euw and Peter Schreiner, 281–298. Cologne: Schnütgen Museum, 1991.
  454. Save Citation »Export Citation »E-mail Citation »
  455. Study of Ottonian architecture in Cologne emphasizing the Church of St. Pantaleon, where Empress Theophanu is buried.
  456. Find this resource:
  457. Grodecki, Louis. L’architecture ottonienne: Au seuil de l’art roman. Paris: Colin, 1958.
  458. Save Citation »Export Citation »E-mail Citation »
  459. Author discusses the different parts of the medieval church and their development in German architecture during the Ottonian period. Many in-text plans and sections as well as black-and-white photographic plates.
  460. Find this resource:
  461. Grodecki, Louis. “Architecture.” In Le siècle de l’an mil. Edited by Louis Grodecki, 1–84. Paris: Gallimard, 1973.
  462. Save Citation »Export Citation »E-mail Citation »
  463. Introductory essay on architecture around the year 1000, with an emphasis on Ottonian structures. Also includes reference to surviving wall paintings and relief sculpture. Numerous photographs, ground plans, and sections.
  464. Find this resource:
  465. Herzog, Erich. Die ottonische Stadt: Die Anfänge der mittelalterlichen Stadtbaukunst in Deutschland. Berlin: Verlag Gebr. Mann, 1964.
  466. Save Citation »Export Citation »E-mail Citation »
  467. Useful study of early medieval urban development. Short monographs on seventeen Ottonian cities, primarily those with significant imperial associations, are followed by an essay that traces the cities’ evolution from Roman origins through the Ottonian period.
  468. Find this resource:
  469. Hiscock, Nigel. “The Ottonian Revival: Church Expansion and Monastic Reform.” In The White Mantle of Churches: Architecture, Liturgy, and Art around the Millennium. Edited by Nigel Hiscock, 1–28. Turnhout, Belgium: Brepols, 2003.
  470. DOI: 10.1484/M.IMR-EB.3.2797Save Citation »Export Citation »E-mail Citation »
  471. Discusses the increase of church building in the period leading up to the turn of the millennium in the linked contexts of ecclesiastical reform and programmatic concerns of the Ottonian rulers.
  472. Find this resource:
  473. Imhof, Michael. “Architektur im Zeitalter der Ottonen: Katalog der erhaltenen Bauten in Deutschland, Österreich und der Schweiz.” In Die Ottonen: Kunst, Architektur, Geschichte. Edited by Klaus Gereon Beuckers, Johannes Cramer, and Michael Imhof, 303–349. Petersberg, Germany: Michael Imhof Verlag, 2002.
  474. Save Citation »Export Citation »E-mail Citation »
  475. Alphabetical catalogue of surviving German, Austrian, and Swiss churches that at least in part were built during the Ottonian era. Numerous photographs, ground plans, and sections accompany short historical sketches.
  476. Find this resource:
  477. Jacobsen, Werner. “Die Stiftskirche von Gernrode und ihre liturgische Ausstattung.” In Essen und die sächsischen Frauenstifte im Frühmittelalter. Edited by Jan Gerchow and Thomas Schilp, 219–246. Essen, Germany: Klartext Verlag, 2003.
  478. Save Citation »Export Citation »E-mail Citation »
  479. The Church of St. Cyriakus in the aristocratic convent at Gernrode is a well-preserved, representative example of Ottonian architecture that the author discusses with regard to its building history, liturgical furnishings, and use on important feast days. Includes several very informative ground plans.
  480. Find this resource:
  481. Knapp, Ulrich. “Ottonsiche Architektur: Überlegungen zu einer Geschichte der Architektur während der Herrschaft der Ottonen.” In Die Ottonen: Kunst, Architektur, Geschichte. Edited by Klaus Gereon Beuckers, Johannes Cramer, and Michael Imhof, 205–258. Petersberg, Germany: Michael Imhof Verlag, 2002.
  482. Save Citation »Export Citation »E-mail Citation »
  483. Overview of important monuments, emphasizing cathedrals and monastic churches.
  484. Find this resource:
  485. Oswald, Friedrich, Leo Schaefer, Hans Rudolf Sennhauser, et al. Vorromanische Kirchenbauten: Katalog der Denkmäler bis zum Ausgang der Ottonen. 4 vols. Munich: Prestel, 1966–1991.
  486. Save Citation »Export Citation »E-mail Citation »
  487. A good starting point for the study of Ottonian architecture, this is an alphabetical catalogue of the pre-Romanesque churches in the Holy Roman Empire. Precise physical and historical data are accompanied by ground plans. Extensive bibliography.
  488. Find this resource:
  489. Plant, Richard. “Architectural Developments in the Empire North of the Alps: The Patronage of the Imperial Court.” In The White Mantle of Churches: Architecture, Liturgy, and Art around the Millennium. Edited by Nigel Hiscock, 29–56. Turnhout, Belgium: Brepols, 2003.
  490. DOI: 10.1484/M.IMR-EB.3.2798Save Citation »Export Citation »E-mail Citation »
  491. Discussion of important Ottonian churches associated with the Ottonian rulers, including St. Michael’s at Hildesheim, St. Cyriakus at Gernrode, and St. Pantaleon at Cologne.
  492. Find this resource:
  493. Painting
  494.  
  495. Little remains of the mural painting that once decorated the walls of most Ottonian and Salian churches. The series of Gospel scenes in the nave of St. George, Reichenau-Oberzell, is the best-known and most extensive extant cycle. In contrast, an impressive number of illuminated manuscripts from the 10th and 11th centuries survive, particularly from Reichenau, Regensburg, Cologne, Trier, and Echternach.
  496.  
  497. Manuscript Illumination
  498.  
  499. The Ottonian scriptoria prolifically produced illustrated liturgical books. Gospel books and Gospel lectionaries with extensive cycles of narrative miniatures were among their most important contributions. The theological complexity of individual miniatures as well as entire cycles in books of various types is unprecedented. Ottonian illuminators were influenced stylistically and iconographically by Late Antique, early and middle Byzantine, and Carolingian models, but discrete Ottonian form and content are evident by the end of the 10th century at the great centers, such as Trier, Reichenau, and Cologne. See Mayr-Harting 1999 for both a general overview of Ottonian illumination and a discussion of specific scriptoria and manuscripts. Hoffmann 1986 emphasizes paleography, a helpful tool for establishing scribal identities and oeuvres. Euw 1991 is a catalogue of select late-10th-century manuscripts with excellent reproductions. Keller 1985 discusses the iconography and significance of the Ottonian ruler portrait. Bauer 1977 and Palazzo 1994 assign manuscripts to the scriptoria of Corvey and Fulda, respectively.
  500.  
  501. Bauer, Gerd. “Corvey oder Hildesheim? Zur ottonischen Buchmalerei in Norddeutschland.” PhD diss., University of Hamburg, 1977.
  502. Save Citation »Export Citation »E-mail Citation »
  503. Magisterial study of north German manuscript illumination, with reference to related monastic treasury objects, emphasizing the period c. 950 and 1050. Extremely detailed analysis of liturgical content in addition to style and iconography of groups of miniatures. Makes clear the extent of cultural interaction among various centers in the Ottonian age.
  504. Find this resource:
  505. Euw, Anton von, ed. Vor dem Jahr 1000: Abendländische Buchkunst zur Zeit der Kaiserin Theophanu. Cologne: Schnütgen Museum, 1991.
  506. Save Citation »Export Citation »E-mail Citation »
  507. Catalogue of an exhibition of manuscripts held in honor of the millennium of Empress Theophanu’s death. Includes excellent reproductions and scholarly essays on each book.
  508. Find this resource:
  509. Hoffmann, Hartmut. Buchkunst und Königtum im ottonischen und frühsalischen Reich. 2 vols. Stuttgart: Hiersemann, 1986.
  510. Save Citation »Export Citation »E-mail Citation »
  511. Volume 1 consists of essays on ruler imagery; scribes, illuminators, and patrons; the Master of the Registrum Gregorii (the preeminent artist of the Ottonian era); and the major individual Ottonian and Salian scriptoria. This last category, which emphasizes script, is accompanied by catalogues of manuscripts originating at each, with reference to the plates in Volume 2, which reproduce representative manuscript pages.
  512. Find this resource:
  513. Keller, Hagen. “Herrscherbild und Herrschaftslegitimation: Zur Deutung der ottonischen Denkmäler.” Frühmittelalterliche Studien 19 (1985): 290–311.
  514. DOI: 10.1515/fmst-1985-0113Save Citation »Export Citation »E-mail Citation »
  515. Discussion of the iconography and religio-political significance of the Ottonian ruler portrait.
  516. Find this resource:
  517. Mayr-Harting, Henry. Ottonian Book Illumination: An Historical Study. 2d ed. London: Harvey Miller, 1999.
  518. Save Citation »Export Citation »E-mail Citation »
  519. Single-volume edition of the original two-volume publication of 1991, which was the first significant English-language publication on Ottonian art. In Part 1, the author emphasizes Christological narrative in manuscript illustration, by and large an Ottonian innovation. In Part 2, he discusses various scriptoria, including Reichenau, Trier, Cologne, Fulda, and Corvey. With Cohen 2000 (cited under Regensburg), Garrison 2012 (cited under Patronage), and Kingsley 2014 (cited under Hildesheim), the most useful resource in English for Ottonian art.
  520. Find this resource:
  521. Palazzo, Eric. Les sacramentaires de Fulda: Étude sur l’iconographie et la liturgie a l’époque ottonienne. Münster, Germany: Aschendorff, 1994.
  522. Save Citation »Export Citation »E-mail Citation »
  523. Iconographical and liturgical study of twenty-three illustrated sacramentaries from c. 970–1025 that have been associated with the scriptorium at Fulda. Author accepts only five for Fulda and assigns the remainder to other Ottonian scriptoria. Excellent resource for the study of liturgical and visual content of Ottonian manuscripts in Fulda and elsewhere.
  524. Find this resource:
  525. Master of the Registrum Gregorii
  526.  
  527. The Master of the Registrum Gregorii, sometimes known as the Gregory Master or the Registrum Master, is the most prolific and important of the few individually identifiable artists of the Ottonian and Salian age. Associated with Trier and Archbishop Egbert, he was principally an illuminator, but also probably worked in ivory. He was active in the last quarter of the 10th century and was responsible for the first seven miniatures in the influential Codex Egberti, which introduced a uniquely ambitious cycle of Gospel illustrations (see Schiel 1960). Carl Nordenfalk studied the Master in great detail (see Nordenfalk 1950, Nordenfalk 1972, and Nordenfalk 1985).
  528.  
  529. Nordenfalk, Carl. “Der Meister des Registrum Gregorii.” Münchner Jahrbuch der bildenden Kunst 3 (1950): 61–77.
  530. Save Citation »Export Citation »E-mail Citation »
  531. The first of Nordenfalk’s essays on the Master, this is primarily a study of the artist’s style as seen in a series of manuscripts. The Master’s utilization of Late Antique models is discussed.
  532. Find this resource:
  533. Nordenfalk, Carl. “The Chronology of the Registrum Master.” In Kunsthistorische Forschungen Otto Pächt zu seinem 70. Geburtstag. Edited by Artur Rosenauer and Gerold Weber, 62–76. Salzburg, Austria: Residenz Verlag, 1972.
  534. Save Citation »Export Citation »E-mail Citation »
  535. Author uses formal analysis to organize the Registrum Master’s manuscripts chronologically, asserting comparanda in other manuscripts as well as ivory carving.
  536. Find this resource:
  537. Nordenfalk, Carl. “Archbishop Egbert’s ‘Registrum Gregorii.’” In Studien zur mittelalterlichen Kunst: Festschrift für Florentine Mütherich zum 70. Geburtstag. Edited by Katharina Bierbrauer, Peter K. Klein, and Willibald Sauerländer, 87–100. Munich: Prestel, 1985.
  538. Save Citation »Export Citation »E-mail Citation »
  539. Discussion of Ottonian imperial portraiture emphasizing the image of an emperor enthroned and flanked by province personifications in a copy of the letters of Gregory the Great commissioned by Archbishop Egbert of Trier. Author argues for an identification of the emperor as Otto II rather than Otto III.
  540. Find this resource:
  541. Schiel, Hubert. Codex Egberti der Stadtbibliothek Trier. 2 vols. Basel, Switzerland: Alkuin-Verlag, 1960.
  542. Save Citation »Export Citation »E-mail Citation »
  543. Volume 2 is a facsimile of the famous Gospel lectionary commissioned by Archbishop Egbert of Trier and illuminated by the Master and two monks from Reichenau. It is now in the Trier Stadtbibliothek (MS 24). Volume 1 includes a description and scholarly discussion of the manuscript.
  544. Find this resource:
  545. Wall Painting
  546.  
  547. The surviving evidence for Ottonian wall painting, which must, to judge from contemporary descriptions, have once been a flourishing art form, is slim and concentrated around Fulda and on the island of Reichenau. Demus 1970 is the classic overview of post-Carolingian wall painting. Imhof 2002 covers much the same material, with more-recent photographs. Martin 1975 and Koshi 1999 emphasize the cycle at St. George, Reichenau-Oberzell.
  548.  
  549. Demus, Otto. Romanesque Mural Painting. New York: Abrams, 1970.
  550. Save Citation »Export Citation »E-mail Citation »
  551. An essay on German and Austrian painting in the 11th and 12th centuries appears on pages 126–140. See also the sections titled “The Ottonian Legacy,” with plates 240–242, and “The Early Romanesque in North-West Germany,” with plates 244–248. Includes among others St. George, Reichenau-Oberzell, and Sts. Peter and Paul, Reichenau-Niederzell.
  552. Find this resource:
  553. Imhof, Michael. “Ottonische Wandmalerei.” In Die Ottonen: Kunst, Architektur, Geschichte. Edited by Klaus Gereon Beuckers, Johannes Cramer, and Michael Imhof, 191–200. Petersberg, Germany: Michael Imhof Verlag, 2002.
  554. Save Citation »Export Citation »E-mail Citation »
  555. Discussion of several mural cycles from the Ottonian period, with particular emphasis on churches in the region of Lake Constance.
  556. Find this resource:
  557. Koshi, Koichi. Die frühmittelalterlichen Wandmalereien der St.-Georges-Kirche zu Oberzell auf der Bodenseeinsel Reichenau. 2 vols. Berlin: Deutscher Verlag für Kunstwissenschaft, 1999.
  558. Save Citation »Export Citation »E-mail Citation »
  559. Author concludes—controversially—that the murals are not Ottonian but Carolingian and that they were painted when the Church of St. George was built, around 900.
  560. Find this resource:
  561. Martin, Kurt. Die ottonischen Wandbilder der St. Georgskirche Reichenau-Oberzell. 2d ed. Sigmaringen, Germany: Thorbecke, 1975.
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  563. Monograph on the late-10th-century mural cycle at St. George, Reichenau-Oberzell, depicting Christ’s miracles. Author reproduces and analyzes each episode, linking it to textual and visual comparanda in contemporary Reichenau manuscripts.
  564. Find this resource:
  565. Mayr-Harting, Henry. Ottonian Book Illumination: An Historical Study. 2d ed. London: Harvey Miller, 1999.
  566. Save Citation »Export Citation »E-mail Citation »
  567. Single-volume edition of the original two-volume publication of 1991, which was the first significant English-language publication on Ottonian art. Although the author’s primary interest is manuscript illumination, he discusses related wall paintings sporadically throughout.
  568. Find this resource:
  569. Sculpture
  570.  
  571. Although occasional instances of large-scale, freestanding sculpture have been demonstrated in the Early Christian and Carolingian church, the earliest survivals date to the middle of the 10th century, and it was during the Ottonian period that particularly crucifixes and seated images of the Madonna with Jesus on her lap became fairly common. Many, though certainly not all, served as reliquaries. The classic overview of Ottonian and Salian sculpture is Panofsky 1924. Beer 2002 concentrates on wood sculpture and Marian imagery, Forsyth 1972 studies the seated image of the Madonna and Child, the “seat of Holy Wisdom” (sedes sapientiae), and Dale 2002 discusses individual representation and the origins of the medieval funerary effigy.
  572.  
  573. Beer, Manuela. “Ottonische und frühsalische Monumentalskulptur: Entwicklung, Gestalt und Funktion von Holzbildwerken des 10. und frühen 11. Jahrhunderts.” In Die Ottonen: Kunst, Architektur, Geschichte. Edited by Klaus Gereon Beuckers, Johannes Cramer, and Michael Imhof, 129–152. Petersberg, Germany: Michael Imhof Verlag, 2002.
  574. Save Citation »Export Citation »E-mail Citation »
  575. Discussion of large-scale wooden sculpture during the Ottonian age, emphasizing crucifixes and freestanding images of the enthroned Virgin and Child.
  576. Find this resource:
  577. Dale, Thomas. “The Individual, the Resurrected Body, and Romanesque Portraiture: The Tomb of Rudolph von Schwaben in Merseburg.” Speculum 77.3 (July 2002): 707–743.
  578. Save Citation »Export Citation »E-mail Citation »
  579. Study of the emergence of the effigy and of the representation of the individual in the later 11th century on the basis of the earliest example of these phenomena.
  580. Find this resource:
  581. Forsyth, Ilene. The Throne of Wisdom: Wood Sculptures of the Madonna in Romanesque France. Princeton, NJ: Princeton University Press, 1972.
  582. Save Citation »Export Citation »E-mail Citation »
  583. Comprehensive study of the sedes sapientiae. Emphasizes function within the cult of relics. Chapter 3 on the origins of the type and chapter 4 on examples predating 1100 are particularly useful for the study of the Ottonian-age emergence of large-scale sculpture in the ecclesiastical context.
  584. Find this resource:
  585. Panofsky, Erwin. Die deutsche Plastik des elften bis dreizehnten Jahrhunderts. 2 vols. Munich: Wolff, 1924.
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  587. Basic overview of German medieval sculpture. The text in Volume 1 comprises an introduction to the topic followed by a catalogue of the most important examples. The plates appear in Volume 2. For Ottonian and Salian sculpture, from the Golden Virgin of Essen to the tomb-slabs at Quedlinburg, see plates 1–20b.
  588. Find this resource:
  589. Metalwork
  590.  
  591. The 10th and 11th centuries were literally and figuratively a golden age for metalwork. Many prolific workshops flourished throughout Germany, usually with the patronage of powerful noblemen and noblewomen from ecclesiastical, monastic, and court environments. The majority of the surviving works in precious metals, often embellished with gems and enamels, are liturgical in nature or represent royal regalia. Lasko 1994 provides an inclusive overview of Ottonian and Salian metalwork, as does Schnitzler 1957 in catalogue format. Elbern 1988, Fillitz 1993, and Siede 2002 emphasize goldsmith work. Steenbock 1965 is a study of luxury book covers of the Middle Ages, which often incorporated both metalwork and ivory carving.
  592.  
  593. Elbern, Victor. Die Goldschmiedekunst im frühen Mittelalter. Darmstadt: Wissenschaftliche Buchgesellschaft, 1988.
  594. Save Citation »Export Citation »E-mail Citation »
  595. Illustrated description and analysis of early medieval goldsmith work.
  596. Find this resource:
  597. Fillitz, Hermann. “Ottonische Goldschmiedekunst.” In Bernward von Hildesheim und das Zeitalter der Ottonen. Vol. 1. Edited by Michael Brandt and Arne Eggebrecht, 173–190. Hildesheim, Germany: Bernward Verlag, 1993.
  598. Save Citation »Export Citation »E-mail Citation »
  599. Brief introductory overview of the most important goldsmith works of the Ottonian era.
  600. Find this resource:
  601. Lasko, Peter. Ars sacra, 800–1200. 2d ed. New Haven, CT: Yale University Press, 1994.
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  603. Standard English-language study, originally published in 1972, of small-scale sculpture, primarily in metal but also including ivory carving. See especially Part 2, “The Art of the Tenth and Eleventh Centuries.”
  604. Find this resource:
  605. Schnitzler, Hermann. Rheinische Schatzkammer. Düsseldorf: Verlag L. Schwann, 1957.
  606. Save Citation »Export Citation »E-mail Citation »
  607. Illustrated catalogue of important works from a variety of Ottonian (and earlier) workshops with short descriptions and a bibliography.
  608. Find this resource:
  609. Siede, Irmgard. “Goldschmiedekunst: Funktion, Wirkung, Auftraggeber.” In Die Ottonen: Kunst, Architektur, Geschichte. Edited by Klaus Gereon Beuckers, Johannes Cramer, and Michael Imhof, 165–173. Petersberg, Germany: Michael Imhof Verlag, 2002.
  610. Save Citation »Export Citation »E-mail Citation »
  611. Overview of the major monuments crafted principally from gold from the Ottonian era.
  612. Find this resource:
  613. Steenbock, Frauke. Der kirchliche Prachteinband im frühen Mittelalter: Von den Anfängen bis zum Beginn der Gotik. Berlin: Deutscher Verlag für Kunstwissenschaft, 1965.
  614. Save Citation »Export Citation »E-mail Citation »
  615. A detailed catalogue of 127 luxury book covers from the 5th to 13th centuries, accompanied by large, clear black-and-white plates, is preceded by a brief essay on the history and nature of this art form during the Middle Ages.
  616. Find this resource:
  617. Ivory Carving
  618.  
  619. Ivory reliefs were used to embellish a diverse array of luxury objects during the Ottonian and Salian periods, as they had been for centuries before. The majority of surviving plaques from the 10th and 11th centuries served originally as the centerpiece of a metal book cover. However, reliefs in ivory also decorated larger-scale furnishings such as pulpits, altars, and ecclesiastical and secular thrones. Goldschmidt 1969 is the classic study of ivory carving and has yet to be superseded in detail or erudition. Gaborit-Chopin 1978 is, however, a useful addendum. Little 1986 focuses on the important set of Ottonian plaques from Milan intended for Otto I’s church of St. Maurice at Magdeburg. Siede 2002 is principally concerned with issues of patronage and the function of several well-known Ottonian ivories.
  620.  
  621. Gaborit-Chopin, Danielle. Ivoires du Moyen Âge. Fribourg, Switzerland: Office du Livre, 1978.
  622. Save Citation »Export Citation »E-mail Citation »
  623. Overview of medieval ivory carving. Discussion of Ottonian ivories on pages 81–88 and, within the context of “the first Romanesque art,” on pages 90–106.
  624. Find this resource:
  625. Goldschmidt, Adolf. Die Elfenbeinskulpturen aus der Zeit der karolingischen und sächsischen Kaiser. VIII–XI. Jahrundert. 2 vols. Berlin: Deutscher Verlag für Kunstwissenschaft, 1969.
  626. Save Citation »Export Citation »E-mail Citation »
  627. Reprint of the 1914–1918 edition. Fundamental resource for the study of early medieval ivories. In Volume 1, the author establishes Carolingian workshops whose influence extends into the Ottonian period. Examples in catalogue format are grouped stylistically. Volume 2 prefaces the ongoing catalogue with an essay on Carolingian and Ottonian ivories.
  628. Find this resource:
  629. Little, Charles. “From Milan to Magdeburg: The Place of the Magdeburg Ivories in Ottonian Art.” In Atti del 10 congresso internazionale di studi sull’alto Medioevo, Milan, Italy, 26–30 September 1983. Edited by Centro italiano di studi sull’alto medioevo, 441–451. Spoleto, Italy: Presso La Sede del Centro Studi, 1986.
  630. Save Citation »Export Citation »E-mail Citation »
  631. Among the most important Ottonian ivories are the sixteen plaques depicting Christological narratives that survive from an original series of perhaps as many as fifty made in Milan and intended for Otto I’s archiepiscopal church of St. Maurice at Magdeburg, consecrated in 968.
  632. Find this resource:
  633. Siede, Irmgard. “Elfenbeinkunst: Funktion, Wirkung, Auftraggeber.” In Die Ottonen: Kunst, Architektur, Geschichte. Edited by Klaus Gereon Beuckers, Johannes Cramer, and Michael Imhof, 153–164. Petersberg, Germany: Michael Imhof Verlag, 2002.
  634. Save Citation »Export Citation »E-mail Citation »
  635. Overview of the major monuments of ivory carving from the Ottonian era.
  636. Find this resource:
  637. Textiles
  638.  
  639. Many textiles associated with Ottonian rulers and their queens and relations were received as gifts from their Byzantine counterparts. However, German workshops also produced some fine examples of cloth weaving and embroidery during the 10th and 11th centuries, including most notably the copes associated with Henry II and Empress Kunigunde in the treasury of Bamberg cathedral. The chapter “Embroidery: 800–1200” in Dodwell 1993 addresses Ottonian textiles. Koslin 1999 discusses textiles on the basis of images of monastic women’s clothing throughout the Middle Ages, includes numerous Ottonian examples, and provides an extensive bibliography. Wilckens 1988 discusses a specific example of an embellished Ottonian textile, emphasizing technique, while Wagner 2004 concentrates on the ecclesiastical use and significance of actual and painted silk.
  640.  
  641. Dodwell, Charles R. The Pictorial Arts of the West, 800–1200. New Haven, CT: Yale University Press, 1993.
  642. Save Citation »Export Citation »E-mail Citation »
  643. Discussion of textiles includes the famous copes associated with Henry II and Empress Kunigunde.
  644. Find this resource:
  645. Koslin, Desiree. “The Dress of Monastic and Religious Women as Seen in Art from the Early Middle Ages to the Reformation.” PhD diss., New York University, 1999.
  646. Save Citation »Export Citation »E-mail Citation »
  647. Author discusses literary descriptions and visual depictions of religious women’s clothing throughout the Middle Ages, culminating in a typology of their dress. The glossary of terms used for the various textiles and types of clothing in Latin and vernacular languages is very useful. Specific examples are provided from almost two hundred manuscripts.
  648. Find this resource:
  649. Wagner, Stephen M. “Silken Parchments: Design, Context, Patronage, and Function of Textile-Inspired Pages in Ottonian and Salian Manuscripts.” 2 vols. PhD diss., University of Delaware, 2004.
  650. Save Citation »Export Citation »E-mail Citation »
  651. Analyzes the use of silk for various purposes in the church in the 10th and 11th centuries and also discusses the significance of images of silk in contemporary manuscript illumination.
  652. Find this resource:
  653. Wilckens, Leonie von. “Die Stola aus Neumagen in Trier.” Zeitschrift für Kunstgeschichte 51 (1988): 301–312.
  654. DOI: 10.2307/1482406.10.2307/1482406Save Citation »Export Citation »E-mail Citation »
  655. Discussion in technical, stylistic, and iconographical detail of an embroidered Ottonian stole now in the Bischöfliches Dom- und Diözesanmuseum in Trier.
  656. Find this resource:
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