Medieval Art: Byzantine, Romanesque, Gothic, Italian Gothic (Italo-Byzantine)
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Brooks, Sarah T. “Steelyard Weight with a Bust of a Byzantine Empress and a Hook.” metmuseum.org, THE MET, 1 October 2001, https://www.metmuseum.org/art/collection/search/466060. Accessed 16 November 2025.
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Back then Steelyard weights were often crafted to look like the busts of Byzantine empresses. This steelyard may depict the empress of the Theodosian dynasty, which ruled between 379 and 450. its weight being about five pounds roughly seven Byzantine litrae, which would have been used to measure heavier goods. -
often featuring detailed mosaics and illuminated manuscripts with glowing gold backgrounds and stylized figures that convey divine presence
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A carved portrait bust that shows a mature woman with a thoughtful expression and piercing gaze. The scroll in her right hand identifies her as a member of the elite and shows that she values classical learning. Wearing a mantle, tunic, and head covering was a typical dress for an aristocratic woman.
Work Cited
Brooks, Sarah T. “Marble Portrait Bust of a Woman with a Scroll.”metmuseum.org, THE MET, 1 October 2001, https://www.metmuseum.org/art/collection/search/468716. Accessed 16 November 2025. -
The woman covered in jewelry, holding a tool used to measure a Roman foot, is identified by a restored Greek label as Ktisis. A figure meant to represent donation or foundation. The man next to her, carrying a cornucopia, originally had Greek inscription “good” by his head.
Brooks, Sarah T. “Fragment of a Floor Mosaic with a Personification of Ktisis.” metmuseum.org, THE MET, 1 October 2001, https://www.metmuseum.org/art/collection/search/469960. Accessed 16 November 2025. -
Known for its huge stone churches, rounded arches, thick walls, and detailed carvings that mix storytelling scenes with symbolic religious imagery.
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Often preserved in church treasuries or reused in luxurious book covers. The ivory panel on the left originally set up as the center piece of a Byzantine triptych icon. It may have been among the many gifts sent to the Nunnery of Santa Cruz de la Serós, founded by Queen Felicia.
Chapuis, Julien. “Panel with Byzantine Ivory Carving of the Crucifixion.” metmuseum.org, THE MET, 1, October 2002, https://www.metmuseum.org/art/collection/search/464015. Accessed 16 November 2025. -
In the scene shown at the top of this plaque, the disciples mourn his Crucifixion as Jesus helps them understand the saving purpose behind his suffering. In the scene below, he reveals himself to Mary Magdalene, who first mistakes him for a gardener.
Chapuis, Julien. “Plaque with the Journey to Emmaus and Noli Me Tangere.” metmuseum.org, THE MET, 1, October 2002, https://www.metmuseum.org/art/collection/search/464443. Accessed 16 November 2025. -
Tall, uplifting structures, rich decorative detail, and a move toward more lifelike imagery seen in towering cathedrals, beautifully crafted stained glass, and detailed illuminated manuscripts. Taken together, these styles show how medieval artists used visual art to express their faith, celebrate their communities, and explore changing artistic tastes across different places and periods.
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The Church of San Martín in Fuentidueña likely served as the chapel for a nearby castle. Its layout a long nave without side aisles or projecting transepts typical of small Romanesque churches in the Segovia region. Also typical of the Romanesque style are its thick walls, with small windows
Chapuis, Julien. “Apse from San Martín at Fuentidueña.” metmuseum.org, THE MET, 1, October 2002, https://www.metmuseum.org/art/collection/search/472507. Accessed 16 November 2025. -
Medieval Italian paintings inspired by Byzantine style known for flat gold backgrounds, stylized and hierarchical figures, and a spiritual, otherworldly focus.
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This head can be traced back to the decoration of the celebrated choir screen of the cathedral at Chartres. Built around 1230 and removed in the 1760s, originally stood in the entrance to the choir. It's head is thought to have belonged to Joseph, the carpenter and spouse of Mary, in the Nativity relief.
Chapuis, Julien. “Limestone Head of Joseph.” metmuseum.org, THE MET, 1 October 2002, https://www.metmuseum.org/art/collection/search/477779. Accessed 17 November 2025. -
Featuring sadness and highly stylized beauty, this is one of only two paintings that can be safely attributed to Berlinghiero, the painter from the Tuscan city of Lucca. Depicting Christ’s mother pointing to her son as the way to salvation. She is dressed like an ancient philosopher, the child holds a scroll.
metmuseum.org. “Berlinghiero - Madonna and Child.” The Metropolitan Museum of Art, THE MET, February 2017, https://www.metmuseum.org/art/collection/search/435658. Accessed 17 November 2025. -
The monks of Saint-Germain-des-Prés held a deep devotion to Saint Vincent, as their abbey had been founded to house a relic of his tunic. This relic was brought from Spain by the Merovingian king Childebert, who is depicted here on horseback. Chapuis, Julien. “Scenes from the Legend of Saint Vincent of Saragossa and the History of His Relics.” metmuseum.org, THE MET, 1 October 2002, https://www.metmuseum.org/art/collection/search/466580. Accessed 17 November 2025. -
originally hung in the Vallombrosians church of Santa Trinita in Florence. Cimabue’s painting from Santa Trinita shows the Virgin on an ornate throne pointing to Christ, surrounded by angels and prophets.
Parenti, Daniela. “Virgin and Child Enthroned, and Prophets (Santa Trinita Maestà).” Gallerie degli Uffizi, LE GALLERIE DEGLI UFFIZI, https://www.uffizi.it/en/artworks/virgin-and-child-enthroned-and-prophets-santa-trinita-maesta?utm_source=chatgpt.com#exhibitions. Accessed 17 November 2025. -
This lyrical piece starts the Italian art tradition of using real life phrases to visualize the Madonna and Child. The Christ Child tenderly pushes his mother's veil away; her pained expression shows that she knew he would be crucified.
metmuseum.org. “Duccio di Buoninsegna - Madonna and Child.” The Metropolitan Museum of Art, THE MET, https://www.metmuseum.org/art/collection/search/438754. Accessed 17 November 2025. -
The exterior scenes of the Crucifixion and the Resurrection are done in a translucent enamel with details in opaque enamel. The inner scenes of the Annunciation and the Nativity are in the form of cast reliefs. Chapuis, Julien. “Diptych with Scenes of the Annunciation, Nativity, Crucifixion, and Resurrection.” metmuseum.org, THE MET, 1 October 2002, https://www.metmuseum.org/art/collection/search/469858. Accessed 17 November 2025.