Medieval Europe II

The cross-carpet page of the Lindisfarne Gospels demonstrates both continuity and change through the use of

• indigenous (Celtic, etc) styles to express new religious meaning

• religious imagery in a secular (non-religious) manuscript to appeal to a wider audience

• classical references to serve a propagandistic purpose

• cloisonné enamel in lavish manuscript production to increase its worth

On the basis of style and medium, the work shown can be attributed to which of the following cultures?

• Late Antique Europe

• Early Byzantine Europe

• Hiberno Saxon Europe

• Gothic Europe

The complex designs that make up this work reflect its function as a

• sacred icon that was used in private worship by early Christians

• divider intended to mark the transition between different sections of a book

• instructional tool intended to illustrate the content of sacred stories for illiterate people

• status symbol that represented the wealth and high social standing of its owner

In the lower left side of the tympanum, the church’s namesake, Saint Foy, is depicted kneeling before the outstretched hand of God in order to

• inspire visiting pilgrims to similarly adopt humble reverence before the hand of God

• inform visiting pilgrims of the tragedy of her death and her resulting sainthood

• remind visitors that they should approach the altar on their knees

• prepare visitors that they should also expect to die as Christian martyrs

The style of the relief sculpture on the tympanum is best demonstrated as Romanesque through the

• heavily stylized figures that are depicted either frontally or in composite poses

• representation of the figures using a realistic scale and classical proportions

• dynamic motion suggested by elongated figural forms with graceful gestures and stances

• figures that are arranged in a compact composition with an emphasis on linear patterns