Carolingian Dynasty: Art, Architecture, and the Reign of Charlemagne
The Carolingian Dynasty: Art, Architecture, and the Reign of Charlemagne
The Carolingian dynasty emerged during a pivotal period in European history. It traces its origins back to Charles Martel, who, in 732, served as the major domus, the highest official under the Merovingian kings. While officially the chief steward, Charles Martel held significant power, effectively representing the Merovingian dynasty. His victory at the Battle of Poitiers on October 17, 732, halted the Muslim advance in the Pyrenees, solidifying his influence.
The Rise of the Carolingians
Charles Martel’s successor, Pepin the Short (Pepin III), became the first Carolingian king. Anointed by Pope Stephen II in Saint-Denis and crowned at Soissons, Pepin formally established the Carolingian dynasty. In 774, Pope Stephen II further solidified the bond between the Carolingians and Rome by anointing Pepin in the cathedral of Paris. This alliance proved crucial when the Lombards invaded central Italy, prompting Pepin to intervene and ultimately grant the conquered territories to the Pope rather than the Byzantine Empire.
Charlemagne: Emperor and Champion of Christendom
The Carolingian Empire reached its zenith under Charlemagne, who was crowned Emperor on Christmas Day in 800 AD and acclaimed as Emperor of the Romans. This act signaled a clear political intention to revive the Roman Empire through artistic and cultural renewal. The Carolingian Renaissance, as it is known, represented a conscious effort to emulate the artistic and intellectual models of Imperial Rome, while simultaneously positioning Charlemagne as a champion of Christian kingdoms. His reign is best described as a renovatio imperii, a renewal of the empire.
Although it is believed that Charlemagne was illiterate, as he did not read in public, he surrounded himself with the leading intellectuals of his time, including:
- Alcuin of York
- Paul the Deacon (a Lombard who wrote the history of the Carolingians)
- Einhard (who wrote Charlemagne’s biography)
- Theodulf
- Adalard of Corbie
- Paulinus of Aquileia
- Peter of Pisa
The papacy, particularly under Pope Leo III, actively supported this renovatio imperii, recognizing its potential to spread Christianity, mirroring the faith’s expansion in the 6th century. Charlemagne’s successor, Louis the Pious (Ludovico Pio), continued this legacy.
Carolingian Architecture
The Carolingian era witnessed a surge in architectural projects. During the first half of the 9th century, approximately 400 monasteries, 27 cathedrals, and over 100 royal residences were constructed. These structures were concentrated primarily in the first half of the ninth century.
Key Locations
- Aachen (Aix-la-Chapelle): The capital of the empire.
- Herstal: Charlemagne’s first residence and birthplace.
- Ingelheim: Another significant royal residence near Mainz.
The abundance of game in northern Germany likely influenced the location of these residences. From this period onward, the Carolingian rulers increasingly extended their stays in these locations, reflecting a broader trend of administrative consolidation.
The Carolingian Empire, at its greatest extent, encompassed not only modern-day France but also stretched from the Elbe to the Ebro rivers, including parts of the Kingdom of Italy. The empire’s vastness and Charlemagne’s legacy continued to shape European history long after the death of Charles the Fat in 888.
Barberini Ivory
The Barberini Ivory is a Byzantine ivory leaf from an imperial diptych dating from Late Antiquity. It is thought to have been commissioned by a member of the French royal family. Presumably, she ordered that the list be placed and offered it to the church as a votive image. Although not a consular diptych, it shares many features of their decorative schemes. The Emperor is accompanied in the main panel by a conquered barbarian in pants on the left, an allegorical figure, probably representing the territory conquered or reconquered, who is holding her foot in expression of gratitude or submission, and an angel or victory, crowning the emperor with the traditional palm of victory (now lost). While the barbarian is partly hidden by the huge spear of the emperor, this does not seem to pierce, and seems more surprised and overwhelmed than combative. Above, Christ, with a curly hairstyle in fashion, is flanked by two more angels in the style of pagan figures of victory; reigns above, while the emperor is represented in the earth beneath. In the bottom pane European barbarians (left, in pants) and Africans (right, with ivory) will bring tribute, which includes wild animals. The figure of the left panel, apparently not a saint but represents a soldier, carrying a statue of Victory, its equivalent on the right side is lost.