Byzantine

1. Byzantine Early Byzantine Art Middle Byzantine Art Late Byzantine

2. Early Byzantine Art Constantinople, functioned as the center for the Byzantine Empire. Founded on the site of the ancient Greek city Byzantium. In the Byzantine world The Byzantine emperor was considered to be Christ’s vicar on earth The emperors ruled in both realms, sharing power with neither senate nor church council, combining church and state. The imperial court was an image of the Kingdom of Heaven.

4. Four features that Justinian adopted from the Roman past as seen in the Barberini Ivory: Dynamic twisting poses of both horse and rider. Personifications of bountiful Earth and palm-bearing Victory. The barbarians at the base bearing tribute and seeking clemency. A Roman soldier bearing a statuette of Victory. The Barberini Ivory represents Byzantium‘s theocratic state Justinian as world conqueror (Barberini Ivory) mid-6th centuryivory1 ft. 1 1/2 in. x 10 1/2 in.

5. Feature that makes this image Christian and not pagan are the uppermost panel showing two angels holding a youthful image of Christ carrying a cross. Justinian as world conqueror (Barberini Ivory) mid-6th centuryivory 1 ft. 1 1/2 in. x 10 1/2 in.

6. Ways in which the ivory carving St. Michael the Archangel reflectClassical prototypes: The prototype of winged Michael must have been the pagan winged Victory. The flowing drapery revealing the body’s shape, the delicately detailed wings, and the facial type and hairstyle indicate the artist was versed in classical art. New compositional devices: Michael seems to float in front of an architectural setting, rather than existing spatially within it. The meaning of the lobe surmounted by the cross is that it is an orb of power. Saint Michael the Archangel early-6th centuryivory1 ft. 5 in. x 5 1/2 in.

7. Meaning of its name: • The Church of Holy Wisdom. • Patron: • Saint Michael the Archangel • Architects: • Anthemius of Tralles and Isidorus of Miletus (a mathematician and a physicist). • Brief description of plan and structure: • A huge dome 108 feet in diameter, rising to 180 feet above the ground, is the oldest part of the church (although the dome was replaced once and repaired twice). Huge buttresses were added to the original design at some point, and four Turkish minarets were added after the Ottoman conquest of 1453. The exterior is plain and unpretentious, disguising the massive scale, and contrasts with the once even more sumptuous interior. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

8. Principal light source: A ring of windows surrounding the dome’s base, giving the illusion that the dome is resting on the light. Primary decoration in the dome: Light reflecting off gilded tesserae and a variety of beautifully colored marbles and stones. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

9. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

10. The dome support differs from earlier domed buildings in that it is a dome resting on a second larger dome that becomes a square at the ground through the use of pendentives, curved triangles cut into the bottom dome, which become arches whose planes bound a square. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

11. Squinches are arches, corbels, or lintels that bridge the corners of the supporting walls and form an octagon within a square. A pendentive is a curved triangle that when joined with other three pendentives border a square (or cube). A squinch would most likely be found in a supporting a dome Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

12. Squinch is another name for pendentive. True False correct: false Squinch The pendentives are shown in yellow.

13. Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

14. The materials used to build and decorate Hagia Sophia included marble, and brick, but not concrete Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

15. The dome at Hagia Sophia has been called the Dome of Heaven Anthemius of Tralles & Isidorus of Miletus Hagia Sophia Constantinpole, (Istanbul), Turkey 532-537

17. San Vitale Ravenna, Italy 526-547

18. San Vitale at Ravenna has a central, octagonal plan like Justinian’s churches in Constantinople. The plan features two concentric octagons. The dome-covered inner octagon rises above the surrounding octagon and lights the interior with clerestory lighting. Eight large piers alternate with curved, columned exedrae in the central space, pushing outward into the surrounding two-story ambulatory. The exedrae integrate the inner and outer spaces. A cross-vaulted choir runs just before the apse at an oblique angle to the narthex, which may have been placed to run along a street. San Vitale Ravenna, Italy

19. San Vitale Ravenna, Italy 526-547

20. San Vitale Ravenna, Italy 526-547

21. Emperor Justinian appears in the apse mosaic at San Vitale in Ravenna Apse MosaicSan Vitale Ravenna, Italy 526-547mosaic

22. Justinian and Theodora’s reign marked the end of the Late Roman Empire and the beginning of the Byzantine Empire. He drove the Ostrogoths out of Italy, the Vandals from the African provinces, the Bulgars out of the northern frontier, and held the Sasanians on the eastern border, thus briefly restoring the Roman Empire’s range. Overlapping of Justinian and Maximianus: Each figure seems to be partly in front of and behind the other, representing the balance of imperial and church powers. Justinian's halo signifies his association with Christ, who is also haloed and who also wears purple robes. The dual political and religious role of the Byzantine emperors is emphasized. A halo , purple cloak , crown , and large golden bowl distinguishes Justinian from other figures in Byzantine mosaics. Justinian, Bishop Maximianus and attendants northwall apse mosaic, San Vitale Ravenna, Italy ca. 547mosaic

23. Theodora was an actress born in a low family, and before she and Justinian could be married, the laws had to be rewritten allowing senators to marry actresses (often prostitutes). She was known to be quite intelligent and became Justinian’s adviser, acquiring vast power and prestige throughout the empire. Although neither of them ever visited Ravenna, the mosaics in San Vitale show them lining up with their retinues to take part in the Eucharist at that church, Justinian carrying the bread and Theodora the wine. Theodora and attendants southwall apse mosaic, San Vitale Ravenna, Italy ca. 547mosaic

24. Abraham and the Three Angels (Philoxeneos), and the Sacrifice of Isaac north lunette mosaic, San Vitale Ravenna, Italy ca. 547mosaic

25. Sacrifice of Abel, Sacrifice of Melchisedech north lunette mosaic, San Vitale Ravenna, Italy ca. 547mosaic

26. Sant’Apollinare in Classe Ravenna, Italy 533-549

27. Sant’Apollinare in Classe Ravenna, Italy 533-549

28. Symbolism from the apse mosaic of Sant' Apollinare in Classe: • Jeweled cross • Symbol of the transfigured Christ, possibly representing the cross Constantine erected on Calvary. • Three sheep below the cross • The three disciples who accompanied Christ to the foot of the Mount of the Transfiguration. • Twelve sheep • Possibly the congregation under the protection of Saint Apollinaris. Saint Apollinaris amid sheepSant’Apollinare in Classe Ravenna, Italy 533-549mosaic

29. By the time of Sant’Apollinare, realistic depiction of a landscapes and animals has been surpassed by telling of the story in terms of symbols. The identical sheep are lined up side by side and do not overlap (contrasting the illusionistic, obliquely-shown sheep of GallaPlacidia) to avoid referencing the three-dimensional space of the material world and physical reality. Shapes are not defined by volume but are flat silhouettes. Christ as the Good Shepherdfrom the entrance wall of the Mausoleum of Galla Placidia Ravenna, Italy ca. 425tessera mosaic Saint Apollinaris amid sheepSant’Apollinare in Classe Ravenna, Italy 533-549mosaic

31. Mount Sinai is the site where Moses received the commandments from God Transfiguration of Jesusapse mosaic, Church of the VirginMonastery of Saint CatherineMount Sinai, Egypt ca. 565mosaic

32. Mandorla Ancient Symbol of Wholeness  The Mandorla is a symbol that is all but unknown today. It was used during medieval Christianity. It is an ancient symbol of two circles coming together and overlapping one another to form an almond shape in the middle. Jensen (1996) describes the mandorla as similar to the image of two mandalas (Sanskrit for circle) merging together until an almond shape is formed in the center. Also known as the "VesicaPiscis", symbolizing the interactions and interdependence of opposing worlds and forces, the circles may be taken to represent spirit and matter or heaven and earth (Baldock, 1990). Transfiguration of Jesusapse mosaic, Church of the VirginMonastery of Saint CatherineMount Sinai, Egypt ca. 565mosaic Bernardus Gelduinus Christ in Majestyrelief in the ambulatory of Saint-Sernin Toulouse, France ca. 1096marble4 ft. 2 in. high

33. The subject of the apse mosaic from the monastery of St. Catherine on Mt. Sinai is the Transfiguration of Jesus. Stylistic features of the mosaic. Christ is haloed in a mandorla, an aureole of light. Landscape and architecture has been replaced by a depthless field of gold, with the figures in isolation from each other. The figures are ambiguously placed with relation to the “ground” line and their bodies cast no shadows, enhancing their supernatural and mystical appearance. Transfiguration of Jesusapse mosaic, Church of the VirginMonastery of Saint CatherineMount Sinai, Egypt ca. 565mosaic

34. Virgin (Theotokos) and Child between Saints Theodore and George, icon 6th or early 7th centuryencaustic on wood2 ft. 3 in. x 1 ft. 7 3/8 in.

36. Anicia Juliana Between Magnanimity and Prudence folio 6 of the Vienna Dioskorides from Honoratainear Constantinople (Istanbul) ca. 512tempera on parchment1 ft. 3 in. x 1 ft. 11 in.

38. Significant ways the representation of the Ascension in the Rabbula gospels differs from biblical accounts of the event The presence of Mary is never mentioned in the Bible. What this difference might say about attitudes toward Mary; Mary is centrally located beneath Christ, emphasizing her prominent position in the church and is an early example of the important part she will play in Eastern and Western later Christian art. Mary, symbols of the Four Evangelists, and Ezekiel accompanies Christ in the Rabbula Gospels illumination Ascension of Christ Rabbula Gospels From Zagba, Syria 586tempera on vellum 1 ft. 1 in. x 10 1/2 in.

40. Effect the Iconoclast controversy have on the visual arts After the Byzantine Empire was brought down by the Arabs, causing some to think it was God’s punishment for worshipping idols, the emperor Leo III prohibited the use of images, and for more than a century Byzantine artists produced little new religious figurative art. Only symbols and stylized floral, animal, and architectural motifs were created. Significance of icons in Byzantine worship: Small paintings of Christ, Mary, and saints were very popular (but not universally accepted) during the Byzantine empire. They were considered a personal, intimate medium for spiritual transaction with holy figures; sometimes they were ascribed miracles and healing powers.

41. MIDDLE BYZANTINE ART (843-1204) • Pantocrator • “Ruler of all,” Christ as ruler and judge of heaven and earth. • Theotokos • “Bearer of God,” i.e. Mary. • Triptych • A three-paneled painting or altarpiece.

42. Byzantine monks protected images from the iconoclasts Significance about the including of the image of the Virgin and Child in Hagia Sophia in the 9th century: The fact that the image is in the Hagia Sophia shows the triumph of the iconophiles over the iconoclasts. Contradictory stylistic features contained in the mosaic: The angled throne, shown perspectivally. The robes of Christ, flattened and schematic. Virgin (Theotokos) and Child enthroned Apse mosaic, Hagia Sophia 867mosaic

44. Characteristics typical of Middle Byzantine churches. It is a domed cube, with the dome rising above the square on a kind of cylinder or drum. The churches are small, vertical, and high-shouldered. The churches have more elaborate exterior wall surfaces with decorative patterns, influenced by Islamic architecture. Katholikon and Church of the Theotokos Hosios Loukas, Greece Katholikon early 11th century, Church of the Theotokos, 10th century

45. Katholikon and Church of the Theotokos Hosios Loukas, Greece Katholikon early 11th century, Church of the Theotokos, 10th century

46. Apse of the Katholikon Hosios Loukas, Greece 11th centurymosaic

47. Dome of the Katholikon Hosios Loukas, Greece 11th centuryfresco

48. Dome of the Katholikon Hosios Loukas, Greece 11th centuryfresco

49. Nativity of Christ Katholikon Hosios Loukas, Greece 11th centurymosaic

50. Baptism of Christ Katholikon Hosios Loukas, Greece 11th centurymosaic