Wood Carving, Early Uses in Europe

In northern Europe wood has been an important sculptural medium, especially in Germany, the Netherlands, and Scandinavia. It is especially prevalent in nautical societies, where wood has been used to make and decorate boats, often with images to strike terror into enemies. Examples range from the prows of Viking ships to the figureheads of 19th-century European vessels.

After the hiatus in the use of wood for sculpture throughout the Greco-Roman world, the carved cypress doors of the Church of Santa Sabina (5th century AD) in Rome mark the beginnings of a new tradition of Christian narrative sculpture.

In northern Europe, this tradition was easily assimilated by the Vikings, who had long carved interlaced patterns and imaginary beasts into their ships and buildings.

From: "Wood Carving,"Microsoft® Encarta® Online Encyclopedia 2001 http://encarta.msn.com © 1997-2000 Microsoft Corporation. All Rights Reserved.

Werner Forman/Art Resource, NY

This carving from the door of a Norwegian stave church is an excellent example of Viking art, which flourished in Scandinavia from about 800 to 1050. Viking design emphasized intertwining, sinuous shapes, usually detailing animals and often including people. The Vikings incorporated legend into their art, in this case a portion of the legend of Siegfried (also known as Sigurd), a German warrior and hero who acquired fabulous treasure and slew dragons, only to die through the treachery of those nearest him. This carving illustrates the last hours of Siegfried's mortal enemy, Gunther (also known as Gunnar), who plays a lute with his toes as he lies dying in a snake-pit.

Irish Art, Viking Influence

Viking raids of the 9th and 10th centuries caused upheavals that put an end to contemporary artistic endeavor. The return of settled conditions around 1100 brought with it a period of renewed creative activity, although the virtuosity of earlier centuries was never regained. Shrines and reliquaries for sacred objects—such as the great processional cross from Cong (c. 1125, National Museum of Ireland)—were the outstanding artistic productions of the time. An important innovation, most evident in the carving of stone crosses and metalwork, was the gradual movement away from abstract geometric decoration toward increasing representation of the human figure, particularly bishops, saints, and biblical personages.

from: "Irish Art,"Microsoft® Encarta® Online Encyclopedia 2001 http://encarta.msn.com © 1997-2000 Microsoft Corporation. All Rights Reserved.

The Lindisfarne Gospels (about 698-721) are illuminated books produced by monks in Northumberland, England. This page shows the decorated initial to the Gospel According to Saint Matthew. The interlacing patterns intertwined with fantastic creatures were adopted from Viking art and became Irish and Anglo-Saxon motifs. The Lindisfarne Gospels are now part of the collection of the British Library, London. Bridgeman Art Library, London/New York

Sculpture, Scandinavian and Carolingian Sculpture

During the early Middle Ages in northern Europe, particularly from the 9th to the 12th century, Scandinavian artisans were masters of metalwork and wood carving.

The prow posts and sternposts of Viking ships, sleds, and other objects of daily use were decorated with figures of animals that were transformed into semiabstract linear patterns. The Norwegian stave churches (11th and 12th centuries) are profusely decorated in carved wood of the same design. This style, combining organic and abstract shapes, was also important in Celtic-Germanic art, as seen in an 8th-century relief (possibly a book cover) displaying a primitive crucifixion scene (National Museum of Ireland, Dublin).

Little sculpture has survived from the Carolingian period, despite Charlemagne's great interest in the arts and his revival of classicism. A 9th-century bronze statuette depicting him on a horse, with his crown, sword, and imperial globe, is evidence of knowledge of Roman sculpture. A bejeweled gold book cover for the Lindau Gospels depicting the crucifixion (870? AD, Pierpont Morgan Library, New York City) also shows classical rather than Celtic-Germanic influences.

From: "Sculpture,"Microsoft® Encarta® Online Encyclopedia 2001 http://encarta.msn.com © 1997-2000 Microsoft Corporation. All Rights Reserved.