Exam 1 Slide IDs Flashcards
Good Shepherd, Orants, and Story of Jonah from Catacombs of Peter and Marcellinus
Late Antique/Early Christian
Rome
Late 3rd-early 4th c CE
Slightly domed ceiling marked by huge circle within which is inscribed, in faint lines, a giant cross that has another circle at its center and semicircular fields at each ends of the arm. The geometric layout presents a unified field for the pictorial motifs presented within each compartment.
Topmost circle is Good Shepherd with a lamb across his shoulders. Beteween the arms of the crosses are the orans figures, symbols of prayer for the deceased. IN the cupped sections are the four narratives of Jonah and the Sea serpent—from the Old Testament.
Good Shepherd, Orants, and Story of Jonah from Catacombs of Peter and Marcellinus
Late Antique/Early Christian
Rome
Late 3rd-early 4th c CE
Slightly domed ceiling marked by huge circle within which is inscribed, in faint lines, a giant cross that has another circle at its center and semicircular fields at each ends of the arm. The geometric layout presents a unified field for the pictorial motifs presented within each compartment.
Topmost circle is Good Shepherd with a lamb across his shoulders. Beteween the arms of the crosses are the orans figures, symbols of prayer for the deceased. IN the cupped sections are the four narratives of Jonah and the Sea serpent—from the Old Testament.
(Old) Saint Peter’s Basilica
Late Antique/Early Christian
Rome
c 320-27
- built on Vatican hill, att outside of city walls, in a necropolis. Built to commorate the tomb of St. Peter, which was incorporated right into the church.
- Christians prefer to be buried above ground after official status.
- Weird that the apse is on the West side of the building, it is this way because of topography rather than eastern facing. Won’t really sees this again.
- could hold about 14,000 people. Until the 11th, c. this is the biggest Christian building.
- Church of Santa Sabina, Rome, c 422-32 is similar, but smaller, still standing while the old Saint Peter’s is no longer around.
Big clairistory windows, well lit inside. Simple, clear design—the norm for quite a while.
(Old) Saint Peter’s Basilica
Late Antique/Early Christian
Rome
c 320-27
- built on Vatican hill, att outside of city walls, in a necropolis. Built to commorate the tomb of St. Peter, which was incorporated right into the church.
- Christians prefer to be buried above ground after official status.
- Weird that the apse is on the West side of the building, it is this way because of topography rather than eastern facing. Won’t really sees this again.
- could hold about 14,000 people. Until the 11th, c. this is the biggest Christian building.
- Church of Santa Sabina, Rome, c 422-32 is similar, but smaller, still standing while the old Saint Peter’s is no longer around.
Big clairistory windows, well lit inside. Simple, clear design—the norm for quite a while.
(Old) Saint Peter’s Basilica
Late Antique/Early Christian
Rome
c 320-27
- built on Vatican hill, att outside of city walls, in a necropolis. Built to commorate the tomb of St. Peter, which was incorporated right into the church.
- Christians prefer to be buried above ground after official status.
- Weird that the apse is on the West side of the building, it is this way because of topography rather than eastern facing. Won’t really sees this again.
- could hold about 14,000 people. Until the 11th, c. this is the biggest Christian building.
- Church of Santa Sabina, Rome, c 422-32 is similar, but smaller, still standing while the old Saint Peter’s is no longer around.
Big clairistory windows, well lit inside. Simple, clear design—the norm for quite a while.
-Church of Santa Sabina,
Late Antinque/Early Christian
Rome,
c 422-32
is similar to saint Peter’s Basilica?, but smaller, still standing while the old Saint Peter’s is no longer around.
Big clairistory windows, well lit inside. Simple, clear design—the norm for quite a while.
Finest surviving example of the “standard” early Christian basilica.
Basilica was founded by Pope Celestine I according to inscription in the Narthex
Simpler ground plan, rounded windows. Nave arcade consists of uninterrupted line of splia columns with cut square bases.
Church of Santa Constanza
Late Antique/Early Christian
Rome
c. 338-50
Built for Constantine’s daughter Constantia (mausoleum)
Circular plan divided into two concentric rights by a circle of twenty-four double columns. Uses a circular plan typical of imperial mausolea.
Only part of the original mosaics remain.
Church of Santa Constanza
Late Antique/Early Christian
Rome
c. 338-50
Built for Constantine’s daughter Constantia (mausoleum). Originally not a church which explains the layout.
annular vault–like a circular ambulatory.
set of double columns
central plan very popular for tombs for a long time
vertical axis instead of a longitudinal axis as focal point
portrait of Costanza in the middle of the dome.
purple stone, used here,
Circular plan divided into two concentric rights by a circle of twenty-four double columns. Uses a circular plan typical of imperial mausolea.
Only part of the original mosaics remain.
Sarcophagus of Junius Bassus,
Late Antique/Early Christian
Vatican City
359 CE
Marble
. Sarcophagus of Junius Bassus, 359 CE Marble
- After christianity is legalized, much wider range of social classes involved. no longer just the lower classes.
- breaking up space by using architectural elements.
Four old testament stories told:Sacrifice of Isaac (top left), Job’s Wife Sitis Offering him Bread and the Fall of Adam and Eve (both lower left) and Daniel in the Lions’ Den (Second from the right in the lower register).
-the top center image of Christ, the figure is stepping on the personification of sky–so he is on the throne in heaven.
Below, he is entering Jerusalem on the Donkey
The New Testament scenes are thought to have been interpreted as a response to typological themes. This includes scenes of the arrsts of Peter and Paul and the arrested Christ before Pilate.
The artist was obviously familiar with fine Classical idioms.
Vienna Genesis
Late Antique/Early Christian
Vienna
early 6th c.
Purple dyed vellum
- text of top, image on bottom in a typical fashion
- purple dyed so associated with the royal empirical family
- condensed version of text, simplified too.
- codex style
- tricks to reading this to suggests which order the narrative images flow as they tell more than one scene on the picture page
- little bit of modeling on her dress,
Ascension of Chirst, Rabbula Gospels
Early Byzantine
Late 6th c
Written in Syriac, different than Greek tradition.
Ascension: Composed in two zones, monumental in conception. Not a direct illustration for the short text from Acts. Mary is not mentioned in acts, yet is seen here in the lower zone.
Relation between artists making things like this and those making monumental stuff like frescos etc…a crossover in stylistic traiditions
Christ surrounded by a mandorla, has a beard, frame looks kinda mosIc, maybe the source for the look
Mary here is very prominent.
Culturally Greek/Byzantine though Syriac
From the book of Acts, though (gospel style?)
Peter already dressed as the pope of Rome, which is unusual.
Though drawing from a textual source, there are some things that are incongruous.
personificatinos of moon and sun.
Mary ind of being brought up here as a visual argument as her being Theotokos
An example of art serving as an argument for theology, not necessarily drawing from text in its entirety.
Rabbula Gospels, Crusifixion and Ressurection
Early Historiated version of this.
purple on Christ drawing on the color of imperial-ness
lots of detail.
lower register-Easter morning scene, sleping soldiers, open doored tomb, The “Do Not Touch Me” scene. with Mary Magdelene, she recognizs him as who he is and reaches out and he says do not touch me because he is now something diffrent.
Mausoleum of Galla Placidia,
Early Byzantine
Ravenna (Italy),
ca 425-6
Centralized plan, like a Greek cross–largely the same size or arms.
short stumpy Greek “arms” with
brick exterior, kind of a chapel, mostly mausoleum as its intended purpose.
each arm covered by a barrel vault, decorated. back walls with half rounds, decorated. windows, very small.
Dome. Square room and round dome–tranisition from square room to round dome–pendentives!! They round off the corners and support the dome and makes it posible to have the dome on a square room.
Pendentives are pretty much the standard in Western Europe
Mausoleum of Galla Placidia,
Early Byzantine
Ravenna (Italy),
ca 425-6
Centralized plan, like a Greek cross–largely the same size or arms.
short stumpy Greek “arms” with
brick exterior, kind of a chapel, mostly mausoleum as its intended purpose.
each arm covered by a barrel vault, decorated. back walls with half rounds, decorated. windows, very small.
Dome. Square room and round dome–tranisition from square room to round dome–pendentives!! They round off the corners and support the dome and makes it posible to have the dome on a square room.
Pendentives are pretty much the standard in Western Europe
Mausoleum of Galla Placidia,
Early Byzantine
Ravenna (Italy),
ca 425-6
Centralized plan, like a Greek cross–largely the same size or arms.
short stumpy Greek “arms” with
brick exterior, kind of a chapel, mostly mausoleum as its intended purpose.
each arm covered by a barrel vault, decorated. back walls with half rounds, decorated. windows, very small.
Dome. Square room and round dome–tranisition from square room to round dome–pendentives!! They round off the corners and support the dome and makes it posible to have the dome on a square room.
Pendentives are pretty much the standard in Western Europe
St. Laurence from
Mausoleum of Galla Placidia,
Early Byzantine
Ravenna (Italy),
ca 425-6
St. Laurence-burned to death. The building may be dedicated to him.
Centralized plan, like a Greek cross–largely the same size or arms.
short stumpy Greek “arms” with
brick exterior, kind of a chapel, mostly mausoleum as its intended purpose.
each arm covered by a barrel vault, decorated. back walls with half rounds, decorated. windows, very small.
Dome. Square room and round dome–tranisition from square room to round dome–pendentives!! They round off the corners and support the dome and makes it posible to have the dome on a square room.
Pendentives are pretty much the standard in Western Europe
Good Shepherd from Mausoleum of Galla Placidia,
Early Byzantine
Ravenna (Italy),
ca 425-6
Centralized plan, like a Greek cross–largely the same size or arms.
short stumpy Greek “arms” with
brick exterior, kind of a chapel, mostly mausoleum as its intended purpose.
each arm covered by a barrel vault, decorated. back walls with half rounds, decorated. windows, very small.
Dome. Square room and round dome–tranisition from square room to round dome–pendentives!! They round off the corners and support the dome and makes it posible to have the dome on a square room.
Pendentives are pretty much the standard in Western Europe
St. Laurence-burned to death. The building may be dedicated to him.
Orthodox Baptistery
Early Byzantine
Ravenna.
Early 5th c.
in Italy, liking things as discrete units.
very often octagonal buildings as having to do with resurrectionin Christian teachings and associated with the number 8. Idea that the baptistery combines the concepts of death and rebirth.
twelve apostles are depicted as figures moving in procession about the dome. isolated by the alternating colors of their mantles.
Pope known as Neon renovated at a loin, turned the ceiling to dome. registers curling up toward the dome ceiling above niches.
in niches, hangover of classical with shells and sculptural elements.
Saints with a stylized depiction—elongated figures with wide hips and small shoulders and head. Holding a crown of martyrdom and making a blessing gesture. they are labeled. mosaics.
Baptism at the top, underlining the function of the building. cleansing souls of sin except original sin for which Christ died. John the Baptist baptizing Christ in the river Jordan.
Dove=Holy Spirit
fairly naturalistic with the exception of the gold background.
Orthodox Baptistery
Early Byzantine
Ravenna.
Early 5th c.
in Italy, liking things as discrete units.
very often octagonal buildings as having to do with resurrectionin Christian teachings and associated with the number 8. Idea that the baptistery combines the concepts of death and rebirth.
twelve apostles are depicted as figures moving in procession about the dome. isolated by the alternating colors of their mantles.
Pope known as Neon renovated at a loin, turned the ceiling to dome. registers curling up toward the dome ceiling above niches.
in niches, hangover of classical with shells and sculptural elements.
Saints with a stylized depiction—elongated figures with wide hips and small shoulders and head. Holding a crown of martyrdom and making a blessing gesture. they are labeled. mosaics.
Baptism at the top, underlining the function of the building. cleansing souls of sin except original sin for which Christ died. John the Baptist baptizing Christ in the river Jordan.
Dove=Holy Spirit
fairly naturalistic with the exception of the gold background.
Hagia Sophia
Early Byzantine
Istanbul, Turkey
523-37
Justinian built this with the knowledge of two learned, theoretical scientists, mechanopoioi, to design and supervise the building. Anthemius of Tralles and Isidorus of Miletus.
lkots of spolia
huge, squarish rectangle augmented by two narthexes and a broad atrium on the west and a single protruding apse on the east.
rebuilt many times, not resembling original form anymore.
Hagia Sophia– the minarets are not original, looking at this point at the core building
Taller, more stable, has ribs
Hybrid between centralized and basilica
Dome is centralized but with elongated area and side aisles. Can call basilica but with centralized dome thing
Added half domes at the base of the top pendentives, and another layer of partial domes below that
Justinian begins to use it as something like the church home base
Clergy would assemble in the narthex, head towards the nave/ naos, the. The emperor would come int, the patriarch of the church would sit,have readings, priests would come in, the Eucharist would tackle place with just a handful of non clergy and clergy.
Men and women separated
Using Ashlar masonry in this structure because concrete is too heavy for this construction
Kind of theoretically built, designed by non masons, mathematical people using numbers basically to design the thing. Unique in its time for the physics behind it
Gallery-groin vaults
Naos would be reserved for the clergy
Only the clergy and the emperor would enter the naos
Very influential building
Hagia Sophia
Early Byzantine
Istanbul, Turkey
523-37
Anthemius of Trales and Isidrorus of Miletus
Justinian built this with the knowledge of two learned, theoretical scientists, mechanopoioi, to design and supervise the building. Anthemius of Tralles and Isidorus of Miletus.
lkots of spolia
huge, squarish rectangle augmented by two narthexes and a broad atrium on the west and a single protruding apse on the east.
rebuilt many times, not resembling original form anymore.
Hagia Sophia– the minarets are not original, looking at this point at the core building
Taller, more stable, has ribs
Hybrid between centralized and basilica
Dome is centralized but with elongated area and side aisles. Can call basilica but with centralized dome thing
Added half domes at the base of the top pendentives, and another layer of partial domes below that
Justinian begins to use it as something like the church home base
Clergy would assemble in the narthex, head towards the nave/ naos, the. The emperor would come int, the patriarch of the church would sit,have readings, priests would come in, the Eucharist would tackle place with just a handful of non clergy and clergy.
Men and women separated
Using Ashlar masonry in this structure because concrete is too heavy for this construction
Kind of theoretically built, designed by non masons, mathematical people using numbers basically to design the thing. Unique in its time for the physics behind it
Gallery-groin vaults
Naos would be reserved for the clergy
Only the clergy and the emperor would enter the naos
Very influential building
Hagia Sophia
Early Byzantine
Istanbul, Turkey
523-37
Anthemius of Trales and Isidrorus of Miletus
Justinian built this with the knowledge of two learned, theoretical scientists, mechanopoioi, to design and supervise the building. Anthemius of Tralles and Isidorus of Miletus.
lkots of spolia
huge, squarish rectangle augmented by two narthexes and a broad atrium on the west and a single protruding apse on the east.
rebuilt many times, not resembling original form anymore.
Hagia Sophia– the minarets are not original, looking at this point at the core building
Taller, more stable, has ribs
Hybrid between centralized and basilica
Dome is centralized but with elongated area and side aisles. Can call basilica but with centralized dome thing
Added half domes at the base of the top pendentives, and another layer of partial domes below that
Justinian begins to use it as something like the church home base
Clergy would assemble in the narthex, head towards the nave/ naos, the. The emperor would come int, the patriarch of the church would sit,have readings, priests would come in, the Eucharist would tackle place with just a handful of non clergy and clergy.
Men and women separated
Using Ashlar masonry in this structure because concrete is too heavy for this construction
Kind of theoretically built, designed by non masons, mathematical people using numbers basically to design the thing. Unique in its time for the physics behind it
Gallery-groin vaults
Naos would be reserved for the clergy
Only the clergy and the emperor would enter the naos
Very influential building
San Vitale,
Early Byzantine
Ravenna, Italy
ca 520…
Columbia.edu for.pano
founded by Bishop Ecclesius in the last years of Theodoric’s reign, although construction was delayed until later.
After Theodric died, dedicated to saint vitales
A local banker donate a bunch of money during the ostrogothic times and then Justinian came in and decorated it under maximinian
Ambulatory, list Santa costanza
Central dome with flower like extensions then ambulatory before the edges
Pyres
Octagonal , nartex off to the side,
More complicated than Santa Costanza,
not just a mausoleum but also used for mass.
Christ entrhonred with angels on either sied eof him in the apse. Christ with some apocolyptic imagery too. orb of the world again. sort of second coming. Christ is holding a scroll with 7 seals, coming from revelation. Holding also a crown of martyrdom.
Ecclasious on the right side, holding a model of the building so working with Theoderic (kids) at the time.
landscape below, very Byzantine, a convention that we see a lot in the rock work. varying plants and four rivers of the world below Christ.
figures being a little more leongated, les interest in anatomical detail. losing some contrapposto, lots of cloth drapery.
To the sides, as you walk in towards the alter, in the half dome areas see scenes…Malkizadec (sp) at the altar for passover and Abel with a sheep. hand of God coming down with blessing gesture.
Typological relationship for being where it is. Christians seeing the relationship between the Old Testament and Christ being the sacrificial lamb
other side, Abraham and Issac. very comon typological relationship with Christ’s sacrifice.
San Vitale,
Early Byzantine
Ravenna, Italy
ca 520…
Columbia.edu for.pano
After Theodric died, dedicated to saint vitales
A local banker donate a bunch of money during the ostrogothic times and then Justinian came in and decorated it under maximinian
Ambulatory, list Santa costanza
Central dome with flower like extensions then ambulatory before the edges
Pyres
Octagonal , nartex off to the side,
More complicated than Santa Costanza,
not just a mausoleum but also used for mass.
Christ entrhonred with angels on either sied eof him in the apse. Christ with some apocolyptic imagery too. orb of the world again. sort of second coming. Christ is holding a scroll with 7 seals, coming from revelation. Holding also a crown of martyrdom.
Ecclasious on the right side, holding a model of the building so working with Theoderic (kids) at the time.
landscape below, very Byzantine, a convention that we see a lot in the rock work. varying plants and four rivers of the world below Christ.
figures being a little more leongated, les interest in anatomical detail. losing some contrapposto, lots of cloth drapery.
To the sides, as you walk in towards the alter, in the half dome areas see scenes…Malkizadec (sp) at the altar for passover and Abel with a sheep. hand of God coming down with blessing gesture.
Typological relationship for being where it is. Christians seeing the relationship between the Old Testament and Christ being the sacrificial lamb
other side, Abraham and Issac. very comon typological relationship with Christ’s sacrifice.
Apse, San Vitale,
Early Byzantine
Ravenna, Italy
ca 520…
Columbia.edu for.pano
After Theodric died, dedicated to saint vitales
A local banker donate a bunch of money during the ostrogothic times and then Justinian came in and decorated it under maximinian
Ambulatory, list Santa costanza
Central dome with flower like extensions then ambulatory before the edges
Pyres
Octagonal , nartex off to the side,
More complicated than Santa Costanza,
not just a mausoleum but also used for mass.
Christ entrhonred with angels on either sied eof him in the apse. Christ with some apocolyptic imagery too. orb of the world again. sort of second coming. Christ is holding a scroll with 7 seals, coming from revelation. Holding also a crown of martyrdom.
Ecclasious on the right side, holding a model of the building so working with Theoderic (kids) at the time.
landscape below, very Byzantine, a convention that we see a lot in the rock work. varying plants and four rivers of the world below Christ.
figures being a little more leongated, les interest in anatomical detail. losing some contrapposto, lots of cloth drapery.
To the sides, as you walk in towards the alter, in the half dome areas see scenes…Malkizadec (sp) at the altar for passover and Abel with a sheep. hand of God coming down with blessing gesture.
Typological relationship for being where it is. Christians seeing the relationship between the Old Testament and Christ being the sacrificial lamb
other side, Abraham and Issac. very comon typological relationship with Christ’s sacrifice.
Virgin and Child with Saints and Angels.
Middle and Late Byzantine
Mount Sinai, Egypt
Early 7th c.
encaustic
Virgin Mary in role of Theotokos again.
-that Luke painted the image of Mary and Christ in person so very limited depictions of Mary and Christ. the image needing to stay as close to the prototype as possible because any artistic liscense messes up the real image. –especially because of belife that when praying to image of christ or Mary, actually being channeled in their prayer to the actual Christ and Mary so the depiction of them must be accurate for that to work.
very frontal, very standardized. Flat gold halos. rudimentary sense of place.
still a little bit of a sense of shadows left over.
can tell, through the different and more naturalistic and more complicated rendering of the angels faces in this image that there is not a total loss of ability in terms of modeling etc, that there is a choice being made and modes being used to depict different things
Hosios Loukas,
Middle and Late Byzantine
Greece.
early 11th c.
monastic churches that have kind of been stuck together on the outside. Similar approaches but sort of different than the centralized church plan.
see from the fronton, the two central domes at the center of two central planned things.
pendentives and squinches, don’t see squinches in western arch. very much. The squelch between pendentives, kind of scooped out. makes octagonal appearance below the dome. on the
mosaics in the squinches.
Hosios Loukas,
Middle and Late Byzantine
Greece.
early 11th c.
monastic churches that have kind of been stuck together on the outside. Similar approaches but sort of different than the centralized church plan.
see from the fronton, the two central domes at the center of two central planned things.
pendentives and squinches, don’t see squinches in western arch. very much. The squelch between pendentives, kind of scooped out. makes octagonal appearance below the dome. on the
mosaics in the squinches.
Church of the Dormition,
Middle and Late Byzantine
Daphni, Greece
11th c.
“exonartex”
Dormition-death of the Virgin and her ascension. Third person in Christian history to be doily taken up to heaven… (third?)
Square central unit with dome on top. pendentives and squinches again .
Mosaic program, maybe in slides. Microcasm effect.
Crucifixion mosaic in dome of Church of the Dormition. Daphni, Greece. 1080-1100
narrative, but using just the necessary, core elements.
setting is very basic, gold background, what is pretty standard by this time. the little hillock and the skull tells us the setting. Skull of Adam, crucified on Golgatha, the place of skulls and where Adam had also been buried.
not as snapshot-y in feel. more meditative, timeless/iconic rather than narrative in this mosaic.
Crucifixion mosaic in dome of Church of the Dormition
Middle and Late Byzantine
Daphni, Greece
Late 11th c.
Christ Pantocrator. Dome of the church of the Dormition.
Middle and Late Byzantine
Daphni, Greece
Late 11th c.
up all by itself in the church dome
this is considered true image of Christ, clutching the Bible, gnarly hands.
squinch mosaic, baptism of Christ.
squinch moasics, since on curved surface staring across space at one another.
Byzantine—Christ born in cave, not barn. Grotto.
Squinch mosaics in Church of the Dormition
Middle and Late Byzantine
Daphni, Greece
Late 11th c.
David Composing the Psalms. Paris Psaltar
Middle and Late Byzantine
2nd 1/2 of the 10th c.
one of most well known texts
had reopend the imperial art academy that had been closed…
David as artist, between roles as shepherd and king
complicated pose, composing something, fairly filld out landscape. Foreground elements, rocky outcrop. background with mountain and abbreviated cityscape.
imagery Probably being adopted from old imagery of Orpheus.
personifications: Melody hanging over shoulder, Echo behind pillar, lounging guy like ancient river god is the personifcation of Bethlehem
lots of modeling and three dimensions, familiar treatmetns of proportions etc, anatomy well understood. Postures borrowed from older Greek manuscripts
Joshua Roll.
Rome
Middle and Late Byzantine
10th c
most has narrative moments from Joshua’s military exploits. Unusual for Christian ere is the fact that this is a scroll. People dont make scrolls typically at this point. pretty much extinct att.. willingly antiqueish
parchment,
stylistically unusual. not as colorful, pretty much outlines with pale washes of color within contour lines.
not really much background. figures looking pretty contrapposto, more complicated poses, interest in anatomy.
hard to date or place
white chalk or white paint highlighting
Empress Theodora and her Retinue
Apse of San Vitale
Early Byzantine
Ravenna, Italy
c 520
she is holding the chalice.
still modeling, well conceived faces and hands. stepping back some on the garments tho.
