{Ottonian Art [continued]}[23rd February 1991]

[Redbook8:293][19910223:1628g]{Ottonian Art [continued]}[23rd February 1991]

19910223.1628

[continued]

‘At the same time* – indeed, already in Henry II’s lectionary, but in an even more pronounced manner – in the somewhat later Bamberg Apocalypse (Staatliche Bibliothek, Bamberg; A1142) a hardening of forms occurs: a new insistence on flat colour with a strict formal balance, not unrelated to the search for pattern and harmony in architectural design, which enabled powerful and expressive images to be created. A similar emphasis on pattern, although very different in character, being based more on an almost metallic brilliance and jewel-like details, was developed in another scriptorium which also enjoyed the imperial patronage of Henry II, at Regensburg, where outstanding manuscripts like the Sacramentary of Henry II (Bayerische Staatsbibliothek, Munich; Cod. 4456) and the lectionary of Abbess Uta of Niedermünster (Bayerische Staatsbibliothek, Munich; Cod. 13601) were written.

‘Towards the end of the Ottonian period, around the middle** of the 11^th century [ce], both at Salzburg and at Ecternach, hardened forms again dominate, but here solid figures almost sculptural in three-dimensional solidity contribute yet another characteristic as source material for the beginnings of Romanesque style of the 12^th century [ce].’

***

*(Early 11^th century [ce])

2048A~1024

**2048A~1024

***– E[ncylopaedia of] V[isual] A[rt] 3:5[49]-[55]2

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