Migration Period art Animal style what is their  animal style He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. what animal is mentoned in the articlle two bears after bear what else they tend to be described as serpents, although the heads often have characteristics of other types of animal. how many style was classsified about 700 localised styles develop,
what happened in 1904
What happened in 1904 with Migration Period art?
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period.  Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns.  Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid.  After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art. CANNOTANSWER
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904.
Migration Period art denotes the artwork of the Germanic peoples during the Migration period (c. 300 – 900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in Britain and Ireland. It covers many different styles of art including the polychrome style and the animal style. After Christianization, Migration Period art developed into various schools of Early Medieval art in Western Europe which are normally classified by region, such as Anglo-Saxon art and Carolingian art, before the continent-wide styles of Romanesque art and finally Gothic art developed.

Background

In the 3rd century, the Roman Empire almost collapsed and its army was becoming increasingly Germanic in make-up, so that in the 4th century when Huns pushed German tribes westward, they spilled across the Empire's borders and began to settle there. The Visigoths settled in Italy and then Spain, in the north the Franks settled into Gaul and western Germany, and in the 5th century the Angles, Saxons and Jutes invaded Britain. By the close of the 6th century the Western Roman Empire was almost completely replaced with smaller less politically organized, but vigorous, Germanic kingdoms.

Although these kingdoms were never homogeneous, they shared certain common cultural features. They settled in their new lands and became farmers and fishermen. Archaeological evidence shows no tradition of monumental artwork, such as architecture or large sculpture in permanent materials, but a preference instead for "mobile" art for personal display, usually also with a practical function, such as weapons, horse harness, tools, and jewelry which fastened clothes.  The surviving art of the Germanic peoples is almost entirely personal adornment, portable, and before conversion to Christianity was buried with its owner.  Much art in organic materials has no doubt not survived.

Three styles dominate Germanic art. The polychrome style originated with the Goths who had settled in the Black Sea area. The animal style was found in Scandinavia, north Germany and England. Finally there was Insular art or the Hiberno-Saxon style, a brief but prosperous period after Christianization that saw the fusion of animal style, Celtic, Mediterranean and other motifs and techniques.

Migration art

Polychrome style

During the 2nd century the Goths of southern Russia discovered a newfound taste for gold figurines and objects inlaid with precious stones. This style was borrowed from Scythians and the Sarmatians, had some Greco-Roman influences, and was also popular with the Huns. Perhaps the most famous examples are found in the fourth-century Pietroasele treasure (Romania), which includes a great gold eagle brooch (picture). The eagle motif derives from East Asia and results from the participation of the forebears of the Goths in the Hunnic Empire, as in the fourth-century Gothic polychrome eagle-head belt buckle (picture) from South Russia.

The Goths carried this style to Italy, southern France and Spain. One well known example is the Ostrogothic eagle (fibula) from Cesena, Italy, now at the museum in Nuremberg. Another is the Visigothic polychrome votive crown (picture) of Recceswinth, King of Toledo, found in a votive crown hoard of c. 670 at Fuente de Guarrazar, near Toledo. The popularity of the style can be attested to by the discovery of a polychrome sword (picture) in the tomb of Frankish king Childeric I (died ca 481), well north of the Alps.

Animal style

The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another.  The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period.

Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns.

Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it.  Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretense of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid.

After about 700 localized styles develop, and it is no longer very useful to talk of a general Germanic style.  Salin Style III is found mainly in Scandinavia, and may also be called Viking art.

Christian influence
Byzantine enameling highly influenced Migration period metalwork. The Church in the early Migration period emerged as the only supranational force in Europe after the collapse of the Roman Empire. It provided a unifying element and was the only institution left that could preserve selected rudiments of classical civilization. As the conversion of Germanic peoples by the end of the 7th centuries in western Europe neared completion, the church became the prime patron for art, commissioning illuminated manuscripts and other liturgical objects. The record shows a steady decline in Germanic forms and increasing Mediterranean influence. This process occurred quickly with the Goths of Italy and Spain and more slowly the further north one looked. This change can be observed in the 8th century Merovingian codex Gelasian Sacramentary, it contained no Style II elements, instead showing Mediterranean examples of fish used to construct large letters at the start of chapters.

Insular art

Insular art, often also known as Hiberno-Saxon art, especially in relation to illuminated manuscripts) was confined to Great Britain and Ireland and was the fusion of Germanic traditions (via the Anglo-Saxons) with Celtic traditions (via Irish monks). It can first be seen in the late 7th century and the style would continue in Britain for about 150 years until the Viking invasions of the 9th century (after which we see the emergence of Anglo-Saxon art), and in Ireland up until the 12th century (after which see Romanesque art).

History

Ireland was converted to Christianity by missions from Britain and the continent, beginning in the mid-fifth century, while simultaneously pagan Angles, Saxons and Jutes were settling in England. The extreme political fragmentation of Ireland and its total lack of urban development prevented the emergence of a strong episcopal structure. Monasticism consequently emerged as the dominant force in Irish Christianity, and thus in Irish Christian art.

Celtic Christianity also developed a strong emphasis on missionary activity. Around 563 Saint Columba founded a base on the Scottish island of Iona, from which to convert Pictish pagans in Scotland; this monastic settlement became long remained a key center of Christian culture in northern Britain. Columban monks then went to Northumbria in 635 and founded a monastery on the island of Lindisfarne, from which to convert the north of England. However Rome had already begun the conversion of the Anglo-Saxons from the south with a mission to Kent in 597. Conflict arose between the Irish monks and Rome on the date to celebrate Easter, leading to withdrawal of the Irish mission from Lindisfarne to Iona. However, the widespread use of Irish decorative forms in art produced in England, and vice versa, attests to the continuing importance of interaction between the two cultures. England would come under increasing Mediterranean influence, but not before Irish Celtic and Anglo-Saxon art had profitably fused.

The first major work that can be called purely Hiberno-Saxon is the Book of Durrow in the late 7th century. There followed a golden age in metalworking, manuscripts and stone sculpture. In the 9th century the heyday of the Hiberno-Saxon style neared its end, with the disruptions of Viking raids and the increasing dominance of Mediterranean forms (see Anglo-Saxon art).

Illuminated manuscripts

The surviving evidence of Irish Celtic art from the Iron Age period is dominated by metalwork in a La Tène style.  Hanging bowls such as those found at Sutton Hoo are among some of the most important of these crafts. As Irish missionaries began to spread the word of the Gospels they needed books, and almost from the start, they began to embellish their texts with artwork drawing from the designs of these metalworking traditions. The spirals and scrolls in the enlarged opening letters—found in the earliest manuscripts such as the 7th century Cathach of St. Columba manuscript—borrows in style directly from Celtic enamels and La Tène metalworking motifs.

After the Cathach of St. Columba, book decoration became increasingly more complex and new styles from other cultures were introduced. Carpet pages—entire pages of ornamentation with no text—were inserted, usually at the start of each Gospel. The geometric motifs and interlaced patterns may have been influences from Coptic Egypt or elsewhere in the Byzantine Middle East.  The increasing use of animal ornamentation was an Anglo-Saxon contribution of its animal style. All of these influences and traditions combined into what could be called a new Hiberno-Saxon style, with the Book of Durrow in the later 7th century being the first of its type. The Lindisfarne Gospels is another famous example.

The Book of Kells was probably created in Iona in the 8th century. When the monks fled to Ireland in the face of Viking raids in 807, they probably brought it with them to Kells in Ireland. It is the most richly decorated of the Hiberno-Saxon manuscripts and represents a large array of techniques and motifs created during the 8th century.

Metalworking
In the 7th century there emerged a resurgence of metalworking with new techniques such as gold filigree that allowed ever smaller and more detailed ornamentations, especially on the penannular and pseudo-penannular Celtic brooches that were important symbols of status for the elite, and also worn by clergy as part of their vestments. The Tara Brooch and Ardagh Hoard are among the most magnificent Insular examples, whilst the 7th century royal jewelry from the Sutton Hoo ship burial shows a Pre-Christian Anglo-Saxon style. They brought together all of the available skills of the goldsmith in one piece: ornamentation applied to a variety of techniques and materials, chip carving, filigree, cloisonné and rock crystal.

Stone sculpture

The skills displayed in metalworking can be seen in stone sculptures. For many centuries it had been Irish custom to display a large wooden cross inside the monastic building enclosure. These were then translated into stone crosses called high crosses and covered with the same intricate patterns used by goldsmiths, and often figure sculptures.

See also
Viking art
Hercules' Club (amulet)
Confronted-animals
Anglo-Saxon art

Notes

References
Martin Werner, "Migration and Hiberno-Saxon Art", Dictionary of the Middle Ages, vol-8, 
"Hiberno-Saxon style". In Encyclopædia Britannica Online.

Further reading
Boltin, Lee, ed.: Treasures of Early Irish Art, 1500 B.C. to 1500 A.D.: From the Collections of the National Museum of Ireland, Royal Irish Academy, Trinity College, Dublin, Metropolitan Museum of Art, 1977, .

Malcolm, Todd, The Early Germans

External links
Images from History, see "Iron Age Europe".
Eagle Fibula at the Walters Art Museum

Art
Medieval art
Early Germanic art
5th century in art
6th century in art
7th century in art
8th century in art
9th century in art
10th century in art
Art by period of creation
Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.

The book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.

Tales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.

Purpose and structure

A didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem ("Some man has made me a proposition..." or "I fear that such and such person intends to...") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are "examples" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.

Each chapter ends in more or less the same way, with slight variations on: "And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses." A rhymed couplet closes, giving the moral of the story.

Origin of stories and influence on later literature
Many of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.

Shakespeare's The Taming of the Shrew has the basic elements of Tale 35, "What Happened to a Young Man Who Married a Strong and Ill-tempered Woman".

Tale 32, "What Happened to the King and the Tricksters Who Made Cloth" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.

Story 7, "What Happened to a Woman Named Truhana", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.

Tale 2, "What happened to a good Man and his Son, leading a beast to market," is the familiar fable The miller, his son and the donkey.

In 2016, Baroque Decay released a game under the name "The Count Lucanor". As well as some protagonists' names, certain events from the books inspired past events in the game.

The stories

The book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.

 What Happened to a King and His Favorite 
 What Happened to a Good Man and His Son 
 How  King Richard of England Leapt into the Sea against the Moors
 What a Genoese Said to His Soul When He Was about to Die 
 What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak
 How the Swallow Warned the Other Birds When She Saw Flax Being Sown 
 What Happened to a Woman Named Truhana 
 What Happened to a Man Whose Liver Had to Be Washed 
 What Happened to Two Horses Which Were Thrown to the Lion 
 What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils 
 What Happened to a Dean of  Santiago de Compostela and Don Yllán, the Grand Master of Toledo
 What Happened to the Fox and the Rooster 
 What Happened to a Man Who Was Hunting Partridges 
 The Miracle of Saint Dominick When He Preached against the Usurer 
 What Happened to Lorenzo Suárez at the Siege of Seville 
 The Reply that count Fernán González Gave to His Relative Núño Laynes 
 What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner 
 What Happened to Pero Meléndez de Valdés When He Broke His Leg 
 What Happened to the Crows and the Owls 
 What Happened to a King for Whom a Man Promised to Perform Alchemy 
 What Happened to a Young King and a Philosopher to Whom his Father Commended Him 
 What Happened to the Lion and the Bull 
 How the Ants Provide for Themselves 
 What Happened to the King Who Wanted to Test His Three Sons 
 What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin
 What Happened to the Tree of Lies 
 What Happened to an Emperor and to  Don Alvarfáñez Minaya and Their Wives 
 What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain 
 What Happened to a Fox Who Lay down in the Street to Play Dead 
 What Happened to King Abenabet of  Seville and Ramayquía His Wife 
 How a Cardinal Judged between the Canons of Paris and the Friars Minor 
 What Happened to the King and the Tricksters Who Made Cloth 
 What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron 
 What Happened to a Blind Man Who Was Leading Another 
 What Happened to a Young Man Who Married a Strong and Ill-tempered Woman
 What Happened to a Merchant When He Found His Son and His Wife Sleeping Together 
 What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas 
 What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River 
 What Happened to a Man and a Swallow and a Sparrow 
 Why the Seneschal of Carcassonne Lost His Soul 
 What Happened to a King of Córdova Named Al-Haquem 
 What Happened to a Woman of Sham Piety 
 What Happened to Good and Evil and the Wise Man and the Madman 
 What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous 
 What Happened to a Man Who Became the Devil's Friend and Vassal 
 What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived 
 What Befell a Moor and His Sister Who Pretended That She Was Timid 
 What Happened to a Man Who Tested His Friends 
 What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled 
 What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal 
 What Happened to a Christian King Who Was Very Powerful and Haughty

References

Notes

Bibliography

 Sturm, Harlan

 Wacks, David

External links

The Internet Archive provides free access to the 1868 translation by James York.
JSTOR has the to the 1977 translation by Keller and Keating.
Selections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)

14th-century books
Spanish literature
1335 books "What Happened to Us" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. "What Happened to Us" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.

A remix of "What Happened to Us" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. "What Happened to Us" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.

Production and release

"What Happened to Us" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. "What Happened to Us" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.

Reception
Majhid Heath from ABC Online Indigenous called the song a "Jordin Sparks-esque duet", and wrote that it "has a nice innocence to it that rings true to the experience of losing a first love." Chris Urankar from Nine to Five wrote that it as a "mid-tempo duet ballad" which signifies Mauboy's strength as a global player. On 21 March 2011, "What Happened to Us" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. "What Happened to Us" spent a total of ten weeks in the ARIA top fifty.

Music video

Background
The music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said "the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour." The video was directed by Mark Alston, who had previously directed the video for Mauboy's single "Let Me Be Me" (2009). It premiered on YouTube on 10 February 2011.

Synopsis and reception
The video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is "easily the best thing our R&B princess has committed to film – ever" and praised the "mansion and wondrous interior décor". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.

Live performances
Mauboy performed "What Happened to Us" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed "What Happened to Us" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed "What Happened to Us" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, "What Happened to Us" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.

Track listing

Digital download
 "What Happened to Us" featuring Jay Sean – 3:19
 "What Happened to Us" featuring Jay Sean (Sgt Slick Remix) – 6:33
 "What Happened to Us" featuring Jay Sean (Just Witness Remix) – 3:45

CD single
 "What Happened to Us" featuring Jay Sean (Album Version) – 3:19
 "What Happened to Us" featuring Jay Sean (Sgt Slick Remix) – 6:33
 "What Happened to Us" featuring Jay Sean (OFM Remix) – 3:39

Digital download – Remix
 "What Happened to Us" featuring Jay Sean (OFM Remix) – 3:38

Digital download
 "What Happened to Us" featuring Stan Walker – 3:20

Personnel
Songwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean
Production – Jeremy Skaller, Bobby Bass
Additional production – Israel Cruz, Khaled Rohaim
Lead vocals – Jessica Mauboy, Jay Sean
Mixing – Phil Tan
Additional mixing – Damien Lewis
Mastering – Tom Coyne 
Source:

Charts

Weekly chart

Year-end chart

Certification

Radio dates and release history

References

2010 songs
2011 singles
Jessica Mauboy songs
Jay Sean songs
Songs written by Billy Steinberg
Songs written by Jay Sean
Songs written by Josh Alexander
Songs written by Israel Cruz
Vocal duets
Sony Music Australia singles
Songs written by Khaled Rohaim