6.9: Ottonian
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Ottonian art
Otto I lends his name to the “Ottonian” period. The Ottonian kings were determined to define themselves as Roman Emperors in the style of Constantine and Charlemagne.
c. 936 - 1015 C.E.
Ottonian art, an introduction
After Charlemagne’s legacy had begun to die out, the warlike tribes in what is now Germany (then Saxony) banded together to elect a king from among their nobility. In 919 C.E., they chose Henry the Liudolfing, the son of a high-ranking duke, a brilliant military strategist and a well-respected leader. Henry, dubbed “the Fowler” because of his hobby of bird hunting, led the Saxon armies to a number of decisive victories against the Magyars and the Danes. These newly secured borders ushered in a period of immense prosperity anOd artistic productivity for the Saxon empire.
Henry’s son Otto I (who became emperor in 962) lends his name to the “Ottonian” period. He forged an important alliance with the Pope, which allowed him to be crowned the first official Holy Roman Emperor since 924. This contact with Rome was extremely important to Ottonian artistic development, since each Ottonian king was determined to define himself as a Roman Emperor in the style of Constantine and Charlemagne. This meant perpetuating a highly intellectual court and creating an extensive artistic legacy.
Ottonian art takes a number of traditional medieval forms, including elegantly illuminated manuscripts, lavish metalwork, intricate carving, and Romanesque churches and cathedrals. Perhaps the most famous of the Ottonian artistic innovations is the Saxon Romanesque architecture style, which is marked by a careful attention to balance and mathematical harmony. This focus on geometry is based on the texts de Arithmatica and Ars Geometriae by the 6th century philosopher Boethius. The Ottonians held mathematical sciences in high regard and this is reflected in many of their artistic productions.
The illuminated manuscripts produced by Ottonian “scriptoria,” or monastery painting and writing schools, provide documentation of both Ottonian religious and political customs and the stylistic preferences of the period. Manuscripts were most often produced of religious texts, and usually included a dedication portrait commemorating the book’s creation. The royal or religious donor is usually shown presenting the book to the saint of his or her choice.
Here we see a powerful abbess, Uta, presenting her codex to St. Mary. Many manuscripts also included a page depicting the artist or scribe of the work, acknowledging that the production of a book required not only money but also artistic labor.
In the Hillinus Codex, a monk presents the codex that he has written or painted (or both!) to St. Peter. The work of the artist and scribe were often one and the same, as can be seen in many of the fantastic decorated initials that begin books or chapters in Ottonian Manuscripts. As you can see from the dedication pictures, the manuscripts in question are often depicted as they were frequently displayed, that is with the text securely enclosed between lavish metal covers.
Ottonian metalwork took many forms, but one of the most common productions was bejeweled book covers for their precious manuscripts. This cover is one of the most expensive that survives; it includes not only numerous jewels, but an ivory carving of the death of the Virgin Mary.
On a larger scale, clerics like Bernward of Hildesheim cast his 15-foot doors depicting the fall and redemption of mankind out of single pieces of bronze (see the video in this tutorial). This was an enormous undertaking, and the process was so complex that it would not be replicated until the Renaissance.
For a modern viewer, Ottonian art can be a little difficult to understand. The depictions of people and places don’t conform to a naturalistic style, and the symbolism is often obscure. When you look at Ottonian art, keep in mind that the aim for these artists was not to create something that looked “realistic,” but rather to convey abstract concepts, many of which are deeply philosophical in nature. The focus on symbolism can also be one of the most fascinating aspects of studying Ottonian art, since you can depend on each part of the compositions to mean something specific. The more time you spend on each composition, the more rewarding discoveries emerge.
Gospel Book of Otto III
The double page opening of the ruler portrait of Otto III (f.24, above right) and the accompanying image of provinces bringing tribute (f.23v, above left) is taken from the Gospels of Otto III (Munich, Bayerische Stattsbibliothek, Clm.4453), one of the most magnificent manuscripts to have come down to us from the early medieval period. It is thought to have been made about the year 1000 at the Benedictine monastery of Reichenau on Lake Constance where Austria, Switzerland and Germany converge and belongs to a group of stylistically related manuscripts from the monastery known as the Liuthar group. The monk Liuthar is represented in another gospel-book made for Otto III that is now in the cathedral treasury at Aachen (Aachen, Domschatzkammer, G25). Liuthar is now thought to have been a scribe rather than an artist but the scribe was usually the main co-ordinating figure for a manuscript project.
The pages of the Gospels of Otto III manuscript measure 334 by 242 millimeters and are made of parchment. The script is written in ink, with gold initials, and the manuscript is extensively illustrated with portraits of the four evangelists (the authors of the four gospels), and scenes from the life of Christ as well as the ruler portrait. The front cover is decorated with precious jewels and inset with a Byzantine ivory representing the dormition or death of the Virgin Mary. The double-page is near the beginning of the manuscript before the gospel texts.
We do not know the name of the artist (as is the case for most of the painters from this period) but he most likely belonged to a team of craftsmen working on the manuscript. In devising the double opening, he appears not to have worked from his imagination but to have followed an earlier source such as the ruler portrait of Charles the Bald in the ninth century manuscript known as the Codex Aureus of Saint Emmeram (Munich, Bayerische Staatsbibliothek, Clm.14000, f. 5 v.).
On the right side of the double page, emperor Otto III is shown seated frontally, crowned, and holding a golden orb and a sceptre surmounted by an eagle. Otto III was the Holy Roman Emperor and nominally ruled over territories corresponding to modern day Germany, France and northern Italy. The title Holy Roman Emperor dates back to Charlemagne and like this earlier emperor, Otto III was crowned by the Pope in Rome where Otto III spent most of his reign. Otto III was Holy Roman Emperor from 996 to 1002, when he died at the age of 21.
Otto III looks out at us with hypnotic eyes, and is dressed in green and the imperial purple. He was the son of Otto II, who died when he was three, and a Byzantine Princess called Theophanu, and we know that he was an educated man.
He is flanked on either side by members of his court: on the right by those who fight (two members of the nobility who carry a sword, a lance and shield) and, on the left, by those who pray (two members of the clergy who hold books).
The pendant image depicts four personifications of the territories over which Otto ruled and who are shown bringing him tribute. They are identified as: Sclavinia (Slavic east), Germania (roughly Germany), Gallia (roughly France), and Roma (Rome). The device of the personification (whereby an abstract idea is represented by a human figure, usually a female one) goes back to classical art. There is a parallel between this scene and that of the adoration of the three magi (represented as crowned kings, a tenth century innovation) bringing gifts to the infant Christ (represented on f.29 of the manuscript), which underlines the quasi-divine nature of the Emperor.
This is not a portrait in the conventional sense of a likeness and gives us very little idea of what Otto III must have looked like. Otto III is represented out of proportion with the much smaller figures that flank him—indicating his status. The opening pages probably represent an ideal of Otto III’s rule rather than the reality of his situation as his rule was fraught with division. The style of the opening looks back to late antique illusionism (note, for example, the lozenge-shaped ornament in the borders, and the atmospheric backgrounds which recall, for example, such manuscripts as the Vatican Vergil made in about 400) but has an extraordinary flatness to it as if the scene has been pressed between two panes of glass.
This style is known as Ottonian, a period style concept that covers both the reigns of the three emperors bearing the name Otto and of their immediate successors through the late eleventh century. It both precedes and anticipates the Romanesque style.
After Otto’s death, the manuscript passed to his cousin and heir, Henry II, who gave it to the cathedral of Bamberg which he founded, where it remained until 1803 when during the secularisation of the church it was transferred to the Bavarian State Library. The manuscript is rarely exhibited but a facsimile of it has been made.
Bronze doors, Saint Michael’s, Hildesheim (Germany)
by DR. NANCY ROSS and DR. JENNIFER FREEMAN
Video \(\PageIndex{1}\): Bronze doors, 1015, commissioned by Bishop Bernward for Saint Michael’s, Hildesheim (Germany)
Interior of St. Michael’s Hildesheim
Additional resources:
St Mary’s Cathedral and St Michael’s Church at Hildesheim from UNESCO
St. Michael’s church at Sacred Destinations
Medieval Treasures from Hildesheim (exhibition catalogue from The Metropolitan Museum of Art)