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(music)
Female 1: We're here at
the International Congress on Medieval Studies
at Kalamazoo.
We're looking at the Ebbo Gospels.
This is Matthew from the Ebbo Gospels,
dated around 820s, 830s.
Female 2: What we see here is the evangelist
composing his Gospel book, hunched over
writing very energetically.
Something that makes this gospel book
particularly interesting is this charged, energetic,
very expressive style in contrast to the more modeled images
of even the same period and especially of
late antique and classical painting.
You can see he's writing with his stylus.
Female 1: So we see Medieval materials at work here.
Female 2: Right.
Female 1: And how Medieval people wrote with
one hand with the stylus, the other hand
with an ink horn.
Sometimes when I see images, Medieval manuscripts
of people writing, I also see one hand holding
a stylus and the other hand holding a knife
which holds the page down.
Female 2: It is interesting, he's writing
in a codex which became popular with
the advent of Christianity.
The life of the codex, or book as we know it,
took off with Christianity.
Female 1: You mentioned these, I think of them
as frenzied lines.
We think of this book and we think of this artist,
the Ebbo master, and we think of these frenzied,
crazy lines, and when I think of this,
I think of the Utrecht Psalter and that these lines
must have been how Carolingian artists
interpreted classical drawing style.
Female 2: I think it's also interesting
because this is a distinct style
in contrast to other Carolingian works.
Female 1: We see a little classically inspired
landscape with buildings in the upper part,
again a very classical motif.
Female 2: We should note Matthew's attribute
up in the upper right-hand corner, which is
a winged man.
Each of the Gospel writers has their own
attribute, which is related to the Book of Revelation.
Female 1: And the four Apocalyptic beasts.
Female 2: Yeah, the four Apocalyptic beasts.
Very early on in Christianity this gets associated
with the Gospel writers.
Matthew is the winged man.
Mark is the lion.
Luke is the bull.
John is the Eagle.
Female 3: When we use the term Carolingian,
what we really mean is art at the time
of Charlemagne.
Charlemagne was crowned the Holy Roman Emperor
on Christmas Day in the year 800,
and he was a really big reformer.
He engaged in art reform by encouraging
artists and scribes to study and copy
the artistic and writing styles of ancient books.
Those styles were more naturalistic,
kind of unlike most Medieval artists.
Charlemagne was particularly interested
in reviving the artistic styles that were
used in the early Christian period,
and particularly those associated with
the Roman Emperor, Constantine.
Female 1: With Carolingian art, we see artists
trying to wrestle with issues of perspective,
and trying to bring back a greater sense
of realistically representing figures in three dimensions.
I see several ways in which the artist is trying to do that.
One of them is that, we're looking at the leg here.
I see all this highlighting, which is bringing
the leg forward to us; where this frenzied line
style allows for a lot of highlighting
and shadowing, and the shadows recede.
I see the artist wrestling with trying
to give us a more three-dimensional
view of Matthew, while at the same time
the artist is missing badly in the footstool here
and its very strange position in relation
to where Matthew was actually sitting.
Female 2: Yeah, and this awkward flattening.
There's no foreshortening attempted
in the stand for the book.
It effectively presents the book to the viewer
in an interesting way, and I think does
emphasize the act of writing and composition,
which is, of course, important for an evangelist.
(music)