Chapter 9 & 10

Figure 9-2 Saint Michael the Archangel, right leaf of a diptych, early sixth century. Ivory, 1’ 5” X 5 1/2”. British Museum, London. The model for the Archangel Michael was a winged Victory.
Figure 9-5 ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, aerial view of Hagia Sophia, Constantinople (Istanbul), Turkey, 532–537.
Figure 9-6,7 ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, plan (top) and restored cutaway view (bottom) of Hagia Sophia, Constantinople (Istanbul), Turkey, 532-537 (John Burge). The dome of the Hagia Sophia is supported by pendentives.
Figure 9-20 Virgin (Theotokos) and Child enthroned, apse mosaic, Hagia Sophia, Constantinople (Istanbul), Turkey, dedicated 867.
9-13A Throne of Maximianus, ca. 546–556. Ivory and wood, 4’ 11” X 1’ 11 1/2". Museo Arcivescovile, Ravenna.
Figure 9-13 Justinian, Bishop Maximianus, and attendants, mosaic on the north wall of the apse, San Vitale, Ravenna, Italy, ca. 547. These mosaics features people which appear to be flat or not solid in nature.
Figure 9-14 Theodora and attendants, mosaic on the south wall of the apse, San Vitale, Ravenna, Italy, ca. 547 Early Byzantine
Figure 9-15 Saint Apollinaris amid sheep, apse mosaic, Sant’Apollinare in Classe, Ravenna, Italy, ca. 533-549.
9-19A Christ blessing, icon, Monastery of Saint Catherine, Mount Sinai, Egypt, sixth century. Encaustic on wood, 2’ 9” X 1’ 6”. The major issue in Byzantine history that accounts for the loss of art is Iconoclasm. According to the traditional view, Byzantine Iconoclasm constituted a ban on religious images by Emperor Leo III and continued under his successors. The Western church remained firmly in support of the use of images throughout the period, and the whole episode widened the growing divergence between the Eastern and Western traditions in what was still a unified church, as well as facilitating the reduction or removal of Byzantine political control over parts of Italy. In place of images, the iconoclasts used only symbolic forms, such as the cross, which were already familiar in early Christian art
Figure 9-19 Virgin (Theotokos) and Child between Saints Theodore and George, icon, sixth or early seventh century. Encaustic on wood, 2’ 3” X 1’ 7 3/8”. Monastery of Saint Catherine, Mount Sinai, Egypt.
Figure 9-17B Christ before Pilate, folio 8 verso of the Rossano Gospels, early sixth century. Tempera on purple vellum, 11” X 10 1/4”. Museo Diocesano d’Arte Sacra, Rossano. Vienna Genesis
Figure 9-21 Katholikon, Hosios Loukas, Greece, first quarter of 11th century.
Figure 9-22 Plan of the Church of the Theotokos (top) and Katholikon (bottom), Hosios Loukas, Greece, second half of 10th and first quarter of 11th centuries. (1) Dome on pendentives, (2) dome on squinches.
Figure 9-24 Christ as Pantokrator, dome mosaic in the Church of the Dormition, Daphni, Greece, ca. 1090–1100. The image of Christ as Pantokrator refers to his role as the last judge of humankind
9-27B Archangel Michael, icon, from Constantinople, late 10th or early 11th century. Gold, silver gilt, and cloisonné enamel, 1’ 7” X 1’ 2”. Tesoro di San Marco, Venice. from Saint Mark’s Cathedral
Figure 9-34 Christ as Savior of Souls, icon from the church of Saint Clement, Ohrid, Macedonia, early 14th century. Late Byzantine Tempera, linen, and silver on wood, 3’ 1/4” X 2’ 2 1/2”. Icon Gallery of Saint Clement, Ohrid.
Figure 9-35 Annunciation, reverse of two-sided icon from Saint Clement, Ohrid, Macedonia, early 14th century. Tempera and linen on wood, 3’ 1/4” X 2’ 2 3/4”. Icon gallery of Saint Clement, Ohrid.
Figure 10-2 Aerial view of the Dome of the Rock, Jerusalem, 687–692. It was here that Muhammad began his miraculous journey to heaven
Figure 10-6 Detail of a mosaic in the courtyard arcade of the Great Mosque, Damascus, Syria, 706–715.
Figure 10-6A Plan of the Umayyad palace, Mshatta, Jordan, ca. 740–750 (after Alberto Berengo Gardin). . Umayyad palaces included elaborate bathing facilities, which were an inheritance from Roman influence.
Figure 10-7 Aerial view of the Great Mosque, Kairouan, Tunisia, ca. 836–875. The positioning of all mosques, no matter period or country, must be oriented toward Mecca.
Figure 10-9 Malwiya minaret of the Great Mosque, Samarra, Iraq, 848–852. Too tall to call Muslims to prayer, the Malwiya minaret in Samarra may have functioned as a symbol of the triumph of Islam in the Tigris valley.
Figure 10-10 Mausoleum of the Samanids, Bukhara, Uzbekistan, early 10th century. What shape is this building?
Figure 10-11 Prayer hall of the Great Mosque, Córdoba, Spain, 8th to 10th centuries The Great Mosque at Córdoba has a hypostyle prayer hall with horseshoe-shaped arches adapted from Visigoths
Figure 10-13 Maqsura of the Great Mosque, Córdoba, Spain, 961–965. Note how the architects experimented with multilobed arches
Figure 10-16A Mihrab, Friday Mosque, Isfahan, 1310 The mihrab, a semicircular niche set in the qibla wall, possibly honors the place where Muhammad stood when leading communal worship.
Figure 10-18 Pyxis of al-Mughira, from Medina al-Zahra, near Córdoba, Spain, 968. Ivory, 5 7/8” high. Louvre, Paris.
Figure 10-20 Koran page with beginning of surah 18, “Al-Kahf” (The Cave), 9th or early 10th century. Ink and gold on vellum, 7 1/4” x 10 1/4”. Chester Beatty Library and Oriental Art Gallery, Dublin. The design of Islamic Korans has parallels in medieval manuscripts of Britain and Ireland
Figure 10-20A Folio from the Blue Koran with 15 lines of surah 2, from Kairouan, Tunisia, 9th to mid-10th century. Ink, gold, and silver on blue-dyed vellum, 11 5/16” X 1’ 2 13/16”. Arthur M. Sackler Museum, Harvard University, Cambridge (Francis H. Burr Memorial Fund).
Figure 10-22 Muqarnas dome, Hall of the Two Sisters, Palace of the Lions, Alhambra, Granada, Spain, 1354–1391
10-25A Illuminated tughra of Suleyman the Magnificent, from Constantinople (Istanbul), Turkey, ca. 1555–1560. Ink, paint, and gold on paper, 1’ 8 1/2" X 2’ 1 3/8”. Metropolitan Museum of Art, New York (Rogers Fund, 1938).
Figure 10-28 Mihrab from the Madrasa Imami, Isfahan, Iran, ca. 1354. Glazed mosaic tilework, 11’ 3” X 7’ 6”. Metropolitan Museum of Art, New York.

Chapter 8

Christ seated, from CivitaLatina, Italy, ca. 350–375. Marble, 2’41/2”high. MuseoNazionaleRomano–Palazzo Massimo alleTerme, Rome.

 

 

Restored cutaway view of the Christian community house, Dura-Europos, Syria, ca. 240–256

 

 

 

 

Sarcophagus of JuniusBassus, from Rome, Italy, ca. 359. Marble, 3’ 10 ½” x 8’. MuseoStoricodel Tesoro dellaBasilica di San Pietro, Rome.

 

 

 

 

 

Interior of Santa Sabina, Rome, Italy, 422–432. Timbered-roofed with Corinthian columns.

 

 

 

Miracle of the loaves and fishes, mosaic from the top register of the nave wall (above the clerestory windows) of Sant’ApollinareNuovo, Ravenna, Italy, ca. 50

 

 

 

 

 

Woman sacrificing at an altar, right leaf of the diptych of the Nicomachi and the Symmachi, ca. 400. Ivory, 11 3/4”X 5 1/2”. Victoria and Albert Museum, London

 

 

 

 

23AMosaic decoration of the dome of the Orthodox Baptistery (San Giovanni in Fonte), Ravenna,Italy, ca. 458

Alkhazneh "treasury" in Petra, Jordan, in second century BCE. Tomb facades cut into the sheer rock faces of the local rose- colored mountains, used Greeks architectural elements in a purely ornamental fashion and with the studies disregard for Classical Rules.

Temple of Venus, the left plan and the restored view of the right, in Baalbek, Lebannon, in third century CE."baroque" temple violates almost every rule of Classical design, it has a scalloped platform and entablature, five sided Corinthian capitals and faced with an arch inside the pediment.

Frigidarium, Baths of Diocletian, Rome,Italy, 298-306, Remodeled by Michelangelo Buinarroti at the nave of santa maria degil angeli 1563.

Arch of Constantine (looking southwest) Rome, Italy 312-315 BCE. Much of the sculptural decoration of constantines arch came from monuments of Trajan Hadrian and Marcus Aurelius Sculptors recut the heads of the earlier emperors to substitute Constantines features.

Gardenscape, Second Style wall painting from Villa of Livia, Primaporta, Italy, 30-20 BCE, Fresco, Palazzo Massimo alle Terme, Museo Nazionale Romano, Rome. The ultimate example of a Second Style, "picture window" wall is Livias gardens cape. to suggest recession the painter used atmosphere perspective intentionally blurring the most distant forms.

Procession of the imperial family, detail of the south frieze of the Ara Pacis, Augustate, Rome, Italy I3-9BCE, marble. Although inspired by the Frieze of the Parthenon, the Ara Pacis processions depict recognizable individuals, including children. August promoted marriage and childbearing.

Portrait, bust of Livia, from arsine Egypt , early first century, marble, Ny Carlsberg Glyptotek Copenhages, although livia sports the latest Roman coiffure  her youthful appearance and sharply defined  features derive from images of greek goodness she died at 87, but never aged in her portraits.

Apollodorus of Damscus, Marked of Trajan ( looking northeast) Rome,Italy 100-112CE
Apollodorus of Damascus used brick faced concrete to transform the Qurinal hill overlook Trajan forum into a vast multilevel complex a barrel vaulted shops and administrative offices.

Mummy portrait of a priest of serapis from hawara Egypt, encaustic on wood british museum London. in roman times, the Egyptian continued to bury their dead in mummy cases, but painted portraits replced the traditional masks. the painting medium is encaustic color mixed with hot max

Pompey the great, who likened himself to alexander the great dared to places his own likeness on a coin until 44 BCE when Julius Ceaser shorthly before his assassination on the ides of march .55-50BCE

Seated portraits of the greek poet Menander detail of a fourth style mural painting in exedra 23 of the house of the menander Pompeii, 62-79 CE, seated menander is an enlarged version of the kind of author portrait that was a standard featured of ancient book, Classical author portraits  had an afterlife in medieval portrayals of the four eveangelists.