Justinian as World Conqueror (Barberini Ivory): Early Byzantine Art 6^th Century

Uses imagery of powerClassical styles and motifs are incorporated into the workImportant as a historical document pertaining to Brunhilda of Austrasia

Hagia Sophia (Holy Wisdom): Early Byzantine Art 6^th Century: Istanbul (Constantinople) Turkey: By Anthemius fo Tralles and Isidorus of Miletos

Started life as a church; then when the Turks conquered Constantinople it was converted into a mosqueUses pendentives to create a circular dome over a square roomLight used as a metaphor, pours in at the base of the dome to flood the room and make the dome seem as if it is floating 

Monastery of St. Catherine: Early Byzantine Art 6^th Century: Mount Sinai, Egypt

 Escaped the purge of icons Has one of the most important collections of illuminated manuscripts in the world Was built by emperor Justinian and is now Greek orthodox

Transfiguration Mosaic: Early Byzantine Art 6^th Century: Mount Sinai, Egypt

The background in heavenly gold rather than temporalThe disciples are terrified while Jesus is extremely calm; contrasting the earthbound with the heavenlyJesus is depicted in a blue mandorla

        Uses the nimbus to distinguish heavenly figures (all figures in this piece are heavenly)

There is no real perception of depth in the piece and the figures are pushed together

The Christ-child looks almost like a miniature adult sitting on Mary’s lap

San Vital has a central plan and seems to be modeled on the earlier churches of Constantinople

Design consists of two octagonal shapes, which combined create clerestory lighting

The narthex is placed off axis, weakening the axial effect the rest of the church provides

The apse and choir decorations form a unified composition, whose theme is the holy ratification of Justinian’s right to rule

The sanctuary decoration reflects the idea of Christ’s redemption of humanity

The octagonal shape of the church is not readily apparent inside

The mosaic recalls Christ’s prophesy of the last days of the world

Decoration reflects the idea of Christ’s redemption of humanity

The octagonal shape of the church is not apparent inside the church

The right of the emperor Justinian to rule radiates through this piece

Justinian’s head is surrounded by a golden nimbus signifying his divinity

The figures are weightless, speechless, and frontal.  They are basically hovering and their position in space is uncertain

She is draped in gold and jewels signifying her wealth and prominent postion

Weightless, speechless, frontal

Neither she nor her husband ever visited Ravenna.  Their portraits serve as proxies

Christ is shown bearded and surrounded by a mandorla held aloft by angels

Mary is shown on the ground directly below Christ.  This demonstrates the prominent position Mary occupies

The work does not accurately represent the gospel story, but only the important idea of the ascension

An example of the classical-revival style

There are allegorical figures present in the work (that do not exist in the Bible) which are stock population of the Greco-Roman painting

Built as a domed cube, with the dome rising from the square on a drum

Typically small, vertical, high shouldered

The exterior wall surface is highly decorated recalling Islamic architectural decoration

In the shape of a Greek cross

High and narrow space which forces the views gaze upward toward the dome with Christ

Complex interior space with dramatically shifting perspectives

A frightening Christ stares down from the dome to judge humanity

The climax of an elaborate hierarchal pictorial program

Connects the viewer in the church below to heaven

Blend of the Hellenistic and byzantine styles

Christ is no longer a beardless youth, who feels no pain, he is depicted with a beard and a body sagging in pain         

Figures have maintained classical organic structure adapted to the Byzantine linear style

In a Greek cross plan

The decoration doesn’t reflect the physical world, rather it is meant to remind of the heavenly realm

Light enters through windows at the base of the domes

There is great emotional power

The scene does not reflect the events told in the Bible, but it is composed to garnish the greatest emotional power

The scene in depicted in the ‘real’ world rather than the heavenly one

Demonstrates stylized abstraction descended from years of reworking the conventional image

This is a more intimate portrayal of mother and child than other images

Mary has typical Byzantine features such as a long aquiline nose, and tiny mouth

There is graceful motion to the composition as the figures interact with each other              

The scene is set in a spiritual atmosphere without mass or volume

The typical static drapery of the Byzantine is gone; replaced with a more classical look

Combines Greco-Roman features in the face with Byzantine drapery which lies in front of the body

Finely etched sliver frame

Holding at gemmed Bible and blessing the faithful with the other.  This is typical

Central Plan

Domed octagon resembling San Vitale; probably inspired by a nearby Christian church

The vivid colorful patterning that decorates the outside is typical of Islamic architecture

Owes much to Roman, Early Christian, and Byzantine Art

There are no zoomorphic forms; only architecture and vegetation appear in the mosaic

Golden and ethereal background

Hypostyle mosque

Is patterned on earlier Roman and E. Christian models (combines many diff.  traditions well)

The main entrance to the prayer hall is distinguished by the façade with a pediment and arches which recalls Roman and Byzantine models

There was no picture on the website of the great mosque. 

Slightly askew parallelogram

The arcaded forecourt reminds of a roman forum

The minaret is right in the center

There is a wall separating the sacred space from the rest of the world

This the structure that inspired the stories of the great tower of Babylon

Probably intended to announce the presence of Islam to the Tigris Valley

Previously it was linked to the mosque with a bridge

Hypostyle mosque

The arches represent the people of God extending over the world

The builders experimented with arches and created varied and abstract patterns

Hypostyle mosque

The arches represent the people of God extending over the world

The builders experimented with arches and created varied and abstract patterns

 General information on the Mosque I don't believe this will be on there Hypostyle mosque

The arches represent the people of God extending over the world

The builders experimented with arches and created varied and abstract patterns

These palaces were expressions of their owners wealth, symbols of authority, and the nucleus of the agricultural lands surrounding the palace

Reflects the layout of a fortified camp

Includes mosque, living quarters, baths (in the roman style and function)

These palaces were expressions of their owners wealth, symbols of authority, and the nucleus of the agricultural lands surrounding the palace

Reflects the layout of a fortified camp

Includes mosque, living quarters, baths (in the roman style and function)

The dome rests on an octagonal drum supported by squinches  

The Ceiling is covered with around 5,000 muqarnas; stalactite-like forms which deny the structures solidarity

Supposed to symbolize the dome of heaven

The free-standing stone sculptures are unusual

Incorporates distinctly Islamic features; multi-lobed pointed arches, the decoration incorporates calligraphy and abstract designs

The abundance of water and greenery creates an Islamic paradise that serves as a respite from the desert (had they actually been in the desert… rather than in Spain)

The complex as a whole is austere, characterized by its massiveness and geometric clarity

This was a massive structure which housed the study of four major schools of Islamic law, a mosque, mausoleum, orphanage, hospital, baths, and shops

The mausoleum is placed on the south side of the mosque so the prayers directed toward Mecca would also face Hasan’s tomb (though his body is not buried there)

The complex as a whole is austere, characterized by its massiveness and geometric clarity

This was a massive structure which housed the study of four major schools of Islamic law, a mosque, mausoleum, orphanage, hospital, baths, and shops

The mausoleum is placed on the south side of the mosque so the prayers directed toward Mecca would also face Hasan’s tomb (though his body is not buried there)

The dome’s height surpasses that of the Hagia Sophia

Creates a monumental unified space with an octagon and a dome-covered square

The height, mass, and width of the building are connected through precise numerical ratios

The dome’s height surpasses that of the Hagia Sophia

Creates a monumental unified space with an octagon and a dome-covered square

The height, mass, and width of the building are connected through precise numerical ratios

This mosque employs four iwans and a dome in from the mihrab.  It is possible this is the first time it was used, but it became typical for all Iranian mosques

Mosque was remodeled many times over many centuries

The mosque basically consists of a large court yard with a two story arcade on each side

One of the finest examples of cuerda seca tiles in the world

Great technological achievement

Pointed arches

Latticing in the windows transforms the light; symbolic

Demonstrates a perfect aesthetifc union between calligraphy and abstract ornamentation

The words are smoothly integrated into various patterns

The outermost inscription bears the five pillars of Islamic faith creating a symbolic boundary and ‘physical’ boundary

The king is surrounded by light in a golden sky

Many humans and animals populate the landscape

There is a sense of lightness and airiness which is enhanced by the floating scene and gold leaf background

The purse cover is decorated with cloisonné plaques, a favorite of early medieval ‘treasure givers’

There are two groups of figures on the end with a man holding back two large beasts.  This imitates some primitive groupings which symbolized man’s power over the beast

The center upper design figures an interlace with animal figures, a staple design of the Middle Ages

This is a frightening ornament for the front of a ship; roaring toothy animal which

Thejre is an interlaced design on the animal head which is typical of medieval architecture

There is a lot of detail evident in the design of the head

Animal forms and plants intertwine gracefully, one form blending into another

Participated in the Charlemagnian tradition rather than the Christian tradition

It was the culmination of three centuries of Viking inventiveness

Every component of the piece is extremely geometric and abstract

The components do not interact with each other nor do they tell a story about the man depicted (the rest of the gospel is needed to understand the picture is of St. Matthew)

The characteristic Medieval interlace forms the frame of the picture

Carpet Page

Extremely geometric without any figural representation at all, though animals are intertwined

The fact that this piece is Christian is almost unrecognizable; an abstract interlaced cross it the only evidence that this piece is from a Christian work

A curtain is all that sets the scene as indoors, but it has a physical environment rather than the otherworldly golden background of the Byzantine

Uses a combination of Latin and Greek to identify Matthew, possibly to add the prestige of classical languages

Matthew is also denoted by his symbol, the winged man

Everything is compartmentalized, to include drapery and hair

The artist transformed the words into amazingly intricate designs

Human figures and animals are woven into the design (e.g. the human head at the end of the rho)

Typical in the way that the text is highly embellished at the beginning of the text

The letters have some compartmentalization

The massive cross has elements of both architecture and sculpture

On different sides the risen Christ and the crucified Christ appears

It is in geometric format and is compartmentalized with registers up the shaft of the cross

The model for the statue is the equestrian statue of Marcus Aralias

The rider is portrayed as overly large so the rider is the focus of attention rather than the horse

The imagery suggest self-ambition and a resurgence in classical learning

Reminiscent of San Vitale

Central plan structure

This was the first vaulted structure of the middle ages north of the Alps

Reminiscent of San Vitale

Central plan structure

This was the first vaulted structure of the middle ages north of the Alps

The drapery is somewhat naturalistic

There is color modeling and shading used as well

There are many roman features to the work

St. Matthew, from the Ebbo Gospels (Gospel Book of Archbishop Ebbo of Reims): Early Medieval Art Carolingian Art, 9^th Century: Hautvillers (near Reims), France

There is no classical calm in this depiction of Matt, there is a sense of frenzy in everything from the landscape to the frame

The winged man in the upper corner is the only thing that identifies this piece as Matthew

Matthew’s hands, face, inkhorn, pen and book are the focus of the action

The figures act out Psalm 44 with the greatest detail

There is a nervous vitality to the piece which is similar to that of the Ebbo Gospels

The artist’s intention was to evoke earlier artworks and make the piece appear ancient

A youthful Christ, following the early Christian tradition, is nailed to a cross

The work is completely encrusted with jewels

Angels float in the four quadrants created by the cross

The fundamental purpose of the plan was to separate the monks from the laity

Near the center of the complex is the cloister; a green area to the side of the church for peace and contemplation.  Most of the essential buildings were situated around this space

The plan was set out in a series of modules (entire plan 16 m, each monks bed 2.5 m, width of vegetable pathways ¼)

Westwork, abbey church: Early Medieval Art Carolingian Art, 9^th Century: Corvey, Germany 

West end was often elaborated to emphasis this part of the buildingTriple entrywayAll of the different components are individually expressed

The nave is one of the first in Western Europe to incorporate a gallery between the arcade and the clerestory

Uses an alternate-support system in which the square piers alternate with columns

Three part elevation which continues into French gothic and beyond, however there is no connection between the levels

The building is so symmetrical you could draw the plan by seeing only one side

Clerestory lighting

Double transept plan 

Starts with the creation of Eve and goes through the entire Christian story; New testament on the right and old on the left.  There is a correlation between the testament stories e.g. Eve bighting the apple on one side and Jesus being crucified on the other

The doors were placed at the entrance to the cloister where the monks would see them every day

There is great energy and emotion in every figure

The building is so symmetrical you could draw the plan by seeing only one side

Clerestory lighting

Double transept plan 

The building is so symmetrical you could draw the plan by seeing only one side

Clerestory lighting

Double transept plan 

The feet are disjointed from the body in an unnatural way

The artist imbues the disciples with a sense of nervousness and reticence and Jesus with a sense of calm

Their eyes are huge?… hope this one isn’t on there

And no image avalible

Emphasized more than the message is the power and majesty of God

The sky is golden in the Byzantine style

The figures are unnatural, weightless and abstract.   The walking shepherd is bent in an impossible way

The items he holds represent his universal authority

On one side is the clergy and on the other the barons; representing church and state

The figures are unnatural, weightless, and abstract

                Not sure if we covered this one

The east end of the church incorporates an ambulatory around the choir and radiating chapels.  An innovative design for the time period

This church is an early example of the introduction of stone statuary to Romanesque architecture

Timber roof which connects it to the naves of Ottonian churches

The east end of the church incorporates an ambulatory around the choir and radiating chapels.  An innovative design for the time period

This church is an early example of the introduction of stone statuary to Romanesque architecture

Timber roof which connects it to the naves of Ottonian churches

One of the earliest examples of stone vaulting

Exemplifies the type of church called the pilgrimage church

The pilgrimage churches of this time period had to adapt to the large number of people visiting the church; increased nave length, doubled the side aisles, added a transept, ambulatory, and radiating chapels

One of the earliest examples of stone vaulting

Exemplifies the type of church called the pilgrimage church

The pilgrimage churches of this time period had to adapt to the large number of people visiting the church; increased nave length, doubled the side aisles, added a transept, ambulatory, and radiating chapels

One of the earliest examples of stone vaulting

Exemplifies the type of church called the pilgrimage church

The pilgrimage churches of this time period had to adapt to the large number of people visiting the church; increased nave length, doubled the side aisles, added a transept, ambulatory, and radiating chapels

At the time of its erection the church was the largest church in Europe; it retained that distinction until the new St. Peters was built

Barrel-vaulted nave, four aisles, and radiating chapels (as at St. Sernin), but will a three story nave elevation and slightly pointed nave vaults

The nave was 50% greater than the nave at St. Sernin

Reflects the Cistercian approach to architecture with an emphasis on austerity

There is no ambulatory, chapel, ornamentation, gallery or clerestory window; single story elevation

There are transverse barrel vaults with pointed arches which is an architectural advantage because it transfers the thrust of the vaults more directly down the piers and requires less buttressing.  This is seen in the Gothic period; it allows taller buildings

Originally the cathedral had timber roofs, but was redone between 1082 and 1105 and the timber was replaced with stone groin vaults

Clerestory lighting

Alternate support system

Atrium in the early Christian tradition which was one of the last to be built

Two story narthex pierced by arches at both levels

This is one of the first instances of rib vaulting, an important characteristic of later Romanesque and Gothic architecture

Has a nave and two aisles, but lacks a transept or clerestory lighting

Atrium in the early Christian tradition which was one of the last to be built

Two story narthex pierced by arches at both levels

This is one of the first instances of rib vaulting, an important characteristic of later Romanesque and Gothic architecture

Has a nave and two aisles, but lacks a transept or clerestory lighting

The Cathedral has incrustation (wall decoration consisting of bright panels of different colors)

In the bell tower, arcaded galleries mark the tower’s stages and repeat the cathedral’s façade motif

The Cathedra closely resembles early Christian churches

The simple and serene classicism of San Giovanni’s design recalls ancient Roman architecture

The distinctive Tuscan Romanesque marble incrustation descends from Roman wall design

The domed and octagon shaped descended from Roman and Early Christian central plan buildings

The structure recalls the early-Christian basilica

Diaphragm arches divide the nave into three equal compartments

There is an alternate support system

Westwork design is rooted in the Carolingian and ottonian styles but has a new unified design

Sexpartite Vaults, three story elevation, and an efficient clerestory

Nave has a light and airy quality that is unusual in the Romanesque period

Typical of England are the large simple pillars decorated with abstract designs

Also typically English is the plan’s long slender proportions

The nave vaults are buttressed with quadrant arches – the structural decedents of these are flying buttresses in Gothic architecture

Westwork design is rooted in the Carolingian and ottonian styles but has a new unified design

Sexpartite Vaults, three story elevation, and an efficient clerestory

Nave has a light and airy quality that is unusual in the Romanesque period

Westwork design is rooted in the Carolingian and ottonian styles but has a new unified design

Sexpartite Vaults, three story elevation, and an efficient clerestory

Nave has a light and airy quality that is unusual in the Romanesque period

Typical of England are the large simple pillars decorated with abstract designs

Also typically English is the plan’s long slender proportions

The nave vaults are buttressed with quadrant arches – the structural decedents of these are flying buttresses in Gothic architecture

Typical of England are the large simple pillars decorated with abstract designs

Also typically English is the plan’s long slender proportions

The nave vaults are buttressed with quadrant arches – the structural decedents of these are flying buttresses in Gothic architecture

This is the central slap of a set of plaques.  It depicts Christ in majesty; the four symbols of the evangelists in the corners

This is one of the earliest series of large Romanesque figure reliefs

The models were probably Carolingian and Ottonian book covers made out of metal or ivory

Architecturally, the medieval church cloister embodied the seclusion of the spiritual life and provided monks and nuns with a foretaste of Paradise.

This was a quiet area in which the soul communes only with God

The capitals of the columns are historiated(ornamented with figures) (; they are one of the best preserved examples

Depicts the second coming of Christ who is enthroned at the center of the composition (a rule followed since Early Christian times) with the symbols of the evangelists flanking him

Each figure turns to face Him, as attendants on their Lord

Christ was the most common central motif n sculptured Romanesque portals

The prophet (Jeremiah or Isaiah?) is placed below the figure of Christ; a pairing of Old and New Testament Themes

The figure is very tall and thin in keeping with iconographic traditions

There are lions on the trumeau’s outer face.  This harkens back to ancient times when Kings would have images of lions on gates as protectors (think of the lions gate)

In the tradition of hierarchical scaling, Christ is larger than any other figure.

Christ is depicted with no emotions and presides dispassionately over the scene

The piece was meant to inspire terror in believers; event those who were illiterate “read the marble”

Depicts the Pentecost and the Mission of the Apostles

The drapery lines shoot out in rays, breaking into zigzag rhythms and spinning into whorls

The world’s heathen people are depicted at the bottom of the composition

God’s omnipotence and the church as the road to salvation are emphasized

Seems confined to his niche and his arms are held close to his body

There is no contrapossto stance

However the statue hails from Greco-Roman art and is an innovation as it is more detached from its architecture than other statuary of the time.  Freestanding sculpture like this would be taken up again during the Italian Renaissance

The oxen refer to the molten sea, part of an Old Testament story that prefigured Christ’s baptism

Revived the Classical style with softly rounded figures with idealized bodies

Renier’s figures including Christ himself are naked which was very rare in the Middle Ages

Skeletal stone structure supported by flying buttresses

The height is amazing at 144ft; the lines move up the walls to the ceiling and the eye is drawn up

The space is relatively narrow, but extremely high which also helps to draw the eye

There is a lot of openness in the exterior of the church as Gothic is about eliminating as much as possible

Skeletal stone structure supported by flying buttresses

The height is amazing at 144ft; the lines move up the walls to the ceiling and the eye is drawn up

The space is relatively narrow, but extremely high which also helps to draw the eye

There is a lot of openness in the exterior of the church as Gothic is about eliminating as much as possible

Skeletal stone structure supported by flying buttresses

The height is amazing at 144ft; the lines move up the walls to the ceiling and the eye is drawn up

The space is relatively narrow, but extremely high which also helps to draw the eye

There is a lot of openness in the exterior of the church as Gothic is about eliminating as much as possible

There is an attempt at removing the walls of the church; this is especially prominent in the radiating chapels of the church in which part of the separating walls are missing

This is where Gothic architecture began

Vaulting is very complicated

There is an attempt at removing the walls of the church; this is especially prominent in the radiating chapels of the church in which part of the separating walls are missing

This is where Gothic architecture began

Vaulting is very complicated

Three level tripartite nave elevation

Introduced big windows in clerestory

There are two periods in Chartres history; pre 1194 and post 1194 – there was a major fire which destroyed everything except the west façade and the crypt

Royal portal – deep recessed portal with coolants w/ Old Testament figures which are very static

Was thought to be portraits of French kings and queens

These figures are very static

The figures are extremely attached to their architecture

St. Theodore is beginning to move a bit

The three saints are not a part of the architecture they have removed themselves from it and are looking around and moving

The Christ child is sitting on Mary’s lap

She looks very Byzantine

Rose window – Center part is Mary in heaven

The rest is very floral and kaleidoscopic

The royal coat of arms is present because the royal family gave the window

Four part elevation

The collonettes spring from the capital level rather than from the bottom

The horizontal lines dominate, while the vertical lines are not fully articulated

The windows are relatively small and the walls thick

Four part elevation

The collonettes spring from the capital level rather than from the bottom

The horizontal lines dominate, while the vertical lines are not fully articulated

The windows are relatively small and the walls thick

Began with a four part elevation with relatively small windows and clerestory lighting, but changed to a three part elevation

Windows fill up two of the four stories

Flying buttresses were introduced at Notre Dame (though they had been used in earlier smaller churches)

The designer stretched every detail of the facade

Stained glass windows replace the stone relief sculptures of eariler decades

This is a huge contrast with the heavy masonry of the earlier Romanesque buildings

Prime example of the High Gothic style in sculpture as well

Both women stand in the contrapossto stance

They are not tied to the column supporting them

They are gesturing to each other and interacting with each other

Both the face and the drapery are very classical

Pushes the dematerializing of the walls to the extreme; there are only vertical supports in between the windows

No flying buttresses, only pier buttresses

A master-piece of the Rayonnant (radiant) style of high Gothic

Good example of freestanding Gothic statuary - similar to the 4^th Century Greek statues

Emotional exchange with gesturing back and forth

Mary is portrayed in an exaggerated S-curve reminiscent of the Contraposso of the Classical Era

Depicts creation: very gothic way of imagining creation

Making form out of space

He is a real (and naturalistic) form.  The drapery is also very naturalistic; classical in spirit

The frame does not hold in the figure, his foot expands outside of the frame

Compare to the letter R on pg 29 cp (Romanesque) 

Has a square, blunt end; this is typical

Double transept

There is greenery around the building, rather than an urban landscape

There is a strong horizontal line rather than strong vertical elements (as in France)

Covers the tomb like a canopy

Takes us back to ancient sarcophagi

There are angles flanking his head, protecting him into the next world 

Has a square, blunt end; this is typical

Double transept

There is greenery around the building, rather than an urban landscape

There is a strong horizontal line rather than strong vertical elements (as in France)

Has a square, blunt end; this is typical

Double transept

There is greenery around the building, rather than an urban landscape

There is a strong horizontal line rather than strong vertical elements (as in France)

The French style is emulated in Germany to a large extent: the Gothic which started in France spreads out

The verticality is expressed heavily in this church

Architectural sculpture on the inside of the church

They are not held by the architecture

They look much more human in body, drapery, and emotion

These were created after the deaths of these two people

Effective rendering of anatomy (esp. in Uta)

The French style is emulated in Germany to a large extent: the Gothic which started in France spreads out

The verticality is expressed heavily in this church

This building towers over everything around it

The vaults rise to the same height as Amiens, but the dome towers even higher

There are not many windows and they are not very big, this is a style of Italy. Though their form is in the Gothic style

There are four clerestory windows

There are two stories and four bays

Dome is from the Renaissance – Brunelleschi’s Dome

Bridged the gap between gothic and renaissance

Continuous narration from the life of Christ in one frame: Annunciation, Birth of Jesus, Annunciation to the shepherds.  The Christ’s first bath is also included 

Mary is dominant in the composition; she is classical in weight and in drapery

Bridged the gap between gothic and renaissance

Continuous narration from the life of Christ in one frame: Annunciation, Birth of Jesus, Annunciation to the shepherds.  The Christ’s first bath is also included 

Mary is dominant in the composition; she is classical in weight and in drapery

Bridged the gap between gothic and renaissance

Annunciation, Nativity, annunciation to the shepherds, and bath; but the style is different from his father

This is a looser composition, though the people are still naturalistic; maybe slightly thinner and stuff

The figures are more animated

The scene is not packed so tightly creating shadows which creates a sense of depth

Resembles a Byzantine icon both figures look out at the viewer, golden background, Christ blessing, both eyes and ears shown

The throne has some depth

Some of the figures have no weight

Light, weight and inward extension

The throne recedes effectively into space

The saints overlap effectively and they have some weight

The figures are very classical; Mary has weight

The light emanates from one source

The figures are in profile when necessary

The landscape element directs the eye down.  This element also divides the painting between sky and land

The action is not in the center of the composition

There is only one light source

Moves beyond the religious sig of the dead Christ.  She is concentrating on the death of her son, adds a human component