ivory plaque (FIG. 11-22) from Italy in the British Museum. In con-
trast, the four angels and the personifications of the Moon and the
Sun above and the crouching figures of the Virgin Mary and Saint
John (and two other figures of uncertain identity) in the quadrants
below display the vivacity and nervous energy of the Utrecht Psalter
figures. This eclectic work highlights the stylistic diversity of early
medieval art in Europe. Here, however, the translated figural style of
the Mediterranean prevails, in keeping with the classical tastes and
imperial aspirations of the Frankish “emperors of Rome.”
Architecture
In his eagerness to reestablish the imperial past, Charlemagne also
encouraged the use of Roman building techniques. In architecture,
as in sculpture and painting, innovations made in the reinterpreta-
tion of earlier Roman Christian sources became fundamental to the
subsequent development of northern European architecture. For his
models, Charlemagne went to Rome and Ravenna. One was the for-
mer heart of the Roman Empire, which he wanted to “renew.” The
other was the long-term western outpost of Byzantine might and
splendor, which he wanted to emulate in his capital at Aachen, a site
chosen because of its renowned hot springs.
AACHEN Charlemagne often visited Ravenna, and the equestrian
statue of Theodoric he brought from there to display in his palace
complex at Aachen served as a model for Carolingian equestrian por-
traits (FIG. 16-12). Charlemagne also imported porphyry (purple
marble) columns from Ravenna to adorn his Palatine Chapel, and his-
torians long have thought he chose one of Ravenna’s churches as the
model for the new structure. The plan (FIG. 16-17) of the Aachen
chapel resembles that of San Vitale (FIG. 12-7), and a direct relation-
ship very likely exists between the two.
A comparison between the Carolingian chapel, the first vaulted
structure of the Middle Ages north of the Alps, and its southern
counterpart is instructive. The Aachen plan is simpler. Omitted were
San Vitale’s apselike extensions reaching from the central octagon
into the ambulatory. At Aachen, the two main units stand in greater
independence of each other. This solution may lack the subtle sophis-
tication of the Byzantine building, but the Palatine Chapel gains geo-
metric clarity. A view of the interior (FIG. 16-18) of the Palatine
Chapel shows that the architect converted the “floating” quality of
San Vitale (FIG. 12-8) into massive geometric form.
The Carolingian conversion of a complex, subtle Byzantine pro-
totype into a building that expresses robust strength and clear struc-
tural articulation foreshadows the architecture of the 11th and 12th
centuries and the style called Romanesque (see Chapter 17). So, too,
does the treatment of the Palatine Chapel’s exterior, where two
cylindrical towers with spiral staircases flank the entrance portal
(FIG. 16-17). This was a first step toward the great dual-tower facades
of western European churches from the 10th century to the present.
Above the portal, Charlemagne could appear in a large framing arch
and be seen by those gathered in the atrium in front of the chapel.
(The plan includes only part of the atrium.) Directly behind that
second-story arch was Charlemagne’s marble throne. From there he
could peer down at the altar in the apse. Charlemagne’s imperial
gallery followed the model of the imperial gallery at Hagia Sophia
(FIGS. 12-3and 12-4) in Constantinople. The Palatine Chapel was in
every sense a royal chapel. The coronation of Charlemagne’s son,
Louis the Pious (r. 814–840), took place there when he succeeded his
father as emperor.16-17
Restored plan of
the Palatine Chapel
of Charlemagne,
Aachen, Germany,
792–805.
Charlemagne often
visited Ravenna and
sought to emulate
Byzantine splendor
in Germany. The
plan of his Aachen
palace chapel is
based on that of
San Vitale (FIG. 12-7),
but the Carolingian
plan is simpler.
0 1020 30 4050 feet N
0 105 1 5 metersStair towerReconstruction16-18Interior of the Palatine Chapel of Charlemagne, Aachen,
Germany, 792–805.
Charlemagne’s palace chapel is the first vaulted structure of the Middle
Ages north of the Alps. The architect transformed the complex, glittering
interior of San Vitale (FIG. 12-8) into simple and massive geometric form.Carolingian Art 419