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| church slavonic and alphabet to write down liturgy |
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| Sviata Sophia, Kiev, 1037-1050 -Kiev Capital disigned like constantinople with 7 hills -brick and concrete building (byzantine materials) -Domes are 17th century addititions -vaulting technology (byzantine building technology) -plans and elevations byzantine -a wide plan, centrally it is a cross and square plan -core of design is byzantine, expanded for scale they wanted a bigger building to be more impressive -varied articulation of wall surface and roof line another similarity to Byzantine (example: Pantokrator Monastery) |
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Sviata Sophia, Apse
-mosiac work, gold ground in apse, dome, and archs around dome very Byzantine. Virgin Figure in Apse also |
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Sviata Sophia, Christ Pantokrator Dome
-the tondos of saints is like tondos in Hosios Loukas Narthex
-Deesis over virgin in apse
-virgin blachernitissa orant is virgin in apse
-seen left and right to the apse arch angel gabriel and virgin-story of annunciation--a wierd location--there are no feast cycles in kiev--the angel Gabriel still works across the space to the Birgin similar to Daphne feast cycle in squinch
-bottom images of communion and fathers of the church, they have inscriptions like byzantine |
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Pantokrator Dome, Svita Sophia, Kiev
-lookiong down through rainbow technique like Byzantine
-byzantine craftsmen brought in trained local workman to be able to create mosiace work
-design nothing like hagia sophia but named after it and like middle byzantine |
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-thought it was done in Constantinople and then brought to kiev.
-but now thought to be made in kiev
-eleousa, did people respond to byzaNTINE IDEA of light and color |
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St. Nicholas, 13th C. novgorod school, Kiev
-school taught the Byzantine way
-scale the same
-military saints
-raised frame
-same iconography
-but NO GOLD GROUND
-white background is supposed to operate as a divine background like the gold ground but is cheaper |
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St. George, late 12th - mid 13thc, Kiev
-military saint in contropastto pose
-wood carving
-down the sides, scenes from his life a Vita Icon.
-No GOLD GROUND, luminous created with pale blue |
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Borys and Hilib, late 12th c - early 13th c., Kiev
-2 brothers, saints
-looking out,
-dressed in garments that are not quiet Byzantine
-long cloak, tonic, and red boots - imperial for Byzantine
-hats are Kieven.
-new iconography's develop consistent with modes of presentation |
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Saint Panteleimon, Nerezi, Macedonia, 1164
-cross and square church, Byzantine
-brick and concrete, Byzantine
-groupings of windows recessed in wall, round glass technique, stepping of brick, Byzantine
-interior is filled with frescoes
-base board painted like marble
-church fathers on first band and life of christ on second band |
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Descent from the cross, St. Panteleimon, Nerezi, 1164
-every body who is important is right at the front plane
-same idea going on in Daphne'scrucifixion, compositional principals
-the adult virgin of the Eleousa with christ's face on the Virgin's cheek
-creates intense iconography, intensifying christ's human life and passion.
-the Details in this one is designed to focus attention on physical suffering.
-small heads, elongated bodies and indricate drapery all Byzantine |
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Lamentation, St. Panteleimon, Nerezi, 1164
-Christ's body is taken down. Virgin cradles him
-angels in the heavens are lending their clothes.
-a narrative, new subjects they were developed in Byzantine
-narratives are interesting because new Byzantine iconography in cross and square plan in old context |
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| considered a house for God |
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| a royal architectural emblem |
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Focal direction to apse is important in basilica
-traditional aspect of colonade in Basiclica is a way to officialize christianity
-four column and cross and square are specifically related to Byzantine and orthodxy
-different external look from Rome to Middle Byzantine
-Architecture continues to be conservative and traditional while paintings in Rome are different, rivals, with greek influence |
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| Points about relationship between Rome and Byzantium |
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| Basilica of St. Peter, Rome, 320-40 -alter arrangement with chancel screens |
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| Santa Maria Maggiore, Rome, 432-42 -large basilica |
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| Santa Sabina, Rome, 425-50 -small basilica |
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| San Giorgio in Velabro, Rome, 9th c. -very small basilica |
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| Santa Maria Antiqua, Rome, 6thc -847 (earthquake) -has a series of frscos done by Popes: John VII (705-07) Zacharias (741-52) Paul I (757-67) Hadrian I (757-67 -they were clearly painted by greeks because of the inscriptions, intereisting -large Greek manastic communities that grew up in Rome were refugees from iconoclastic uproar. -it shows how religious paintings might have looked like during iconoclasm in Byzantium, icons placed next to each other, not life cycles but icons unlike post iconoclasm in Byzantine. this shows us how images were deployed in a non systematic matter. |
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| Palimsest wall, 6th-9th c., Rome, Santa Maria Antiqua -when one text is written over another, the layering creates a palimsest. -its difficult to see -a series of layered frescoes begining in 6th c. -the lowest level is the virgin enthroned, wearing Byzantine royal dress, maria virgina werar a crown -the crowned virgin is something you don't see in Byzantium -2nd layer from 7th-8th c. an angel thought to be one half of an annunciations scene.the virgin's face has sharp lines on face, forms created using line while the later Angel shows use of pgment creating shape and shadow similar to encaustic icons from Sinai |
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| Virgin and Child, Santa Maria Antiqua, Rome -shows how was used, .ighting candles, leaving things |
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| Madonna del Rosario, 6th-8th c -round face, encaustic media, light and shadow, Byzantine garments |
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| hodegetria Virgin, Pantheon Madonna |
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| Madonna del Santa Maria in Trastever (altemps Madonna), 705-07 John VII -Akathistos Hyme in Latin around the frame...speaks about not standing -John VII in painting and was greek, kneeling. He had issues with Constantinople -the choice to use latin not Greek establishes loyalities and alligiances to Rome. -a rival |
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| The Madonna icons in Rome are examples of |
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| Icon venerations in rome, can be manipulated to establish power. A kind of rival image to Byzantine -over whelmingly Marie icons, patron saint of Rome is the Virgin but it is thought that Peter should be, 5 out of 6 Rome icons are of the Virgin -the Popes are making Rome the new Constantinople -public display context, large different from small personal icons of byzantium. |
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Hagia Sophia and Similar Buildings: 526-46
Sergios & Bacchos, Constantinople, 527-before 536
San Vitale, Ravenna, 527-46
-centrally planned
-side domes
-domed roof
-gallery with arches 2nd level |
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| Church of San Vitale, Ravenna, 526-46 -originally had an atrium -contrasting to local traditional buildings -similar to Sergios & Bacchos -has curious axis that hasn't been well explained --doesn't explain difficulty of getting in towards the apse. |
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| Charlemagne (742-814) Empire |
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| Carolus Magnus -King of the franks from 768 -Roman Emperor from 800 |
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| Constantine the Great (305-337) -gold Solidos |
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| Charlemagne (768-814) -silver sou -his coinage looked like Roman (he uses style to link himself to Roman culture) -in profile -military cloack -wearing greek loral weath crown (byzantine) -Models christian Roman Empire -Setting himself up as historical heir to Roman and Byzantine tradition. |
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| Equestrain statue of Charlemagne, late 8th c. -model of type of roman sculpture used to honor emperors -cast bronze medium, Roman's famous for |
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| Visigothic eagle fibulae, 6th c -broach to hold cloack -eagles symbolize power. -recognizable as birds but in a simple design. |
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| Palace complex, aachen, 760's-805, Architect: Odo of Metz -large audience hall -vestibule -passage way -church (only thing to survive) houses have thatched roofs, timber, white wall stucco (not at all like roman architecture) -monumental buildings built out of Stone in Roman matter. |
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| Constantinian Basilica, Trier, 310 -standing example of Palace Complex audience Hall that did not survive. |
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| Palantine Chapel, Palace Complex, Aachen -stone and rubble material 2 levels, higher dome level -tower is a Frankish invention WESTWORK |
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| Bronze doors, Palatine Chapel, Palace complex, Aachen, 792-805 -important, Roman and Byzantine had bronze doors -Bead and real motif, lion door knocker were common motifs -vaulting is Roman |
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| Apocalypse, Palatine Chapel, Aachen, restored 19th c. Christ in Majesty, 24 -elders, 4 beasts/ evangelists -Byzantine craftsmen brought in during iconoclasm so artisans moved west. -adorning the church with silver, gold and marble from Rome, immedating a christian Roman Emperor (Constantinople) and the building is immedating a christian Roman building. -medieval ideas of copy: reproduce the key feature of something (central plan in building) this one the plan has changed but there is enough similar to make the link, building materals (cement) make the link |
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| Manuscript production at the court of Charlemagne Mark, Godescale Gospel, 791-93 |
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| Mark, Gospel of medard de soissons, early 9th c. -mark identified by his lion -recognizable -fundamentally flattened image -sharp contrasts creating flatness |
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| Coronation Gospel, 800c -purple vellum manuscript (stained with purple) -tiny, personal use -working in greek mode -matthew, mark, john, framed on pages --classical architectural moldings used as frame --on roman chair --wrapped in white toga --light and shade modeling, builk and figure -different than mid 8th c. codex -working of pain like Santa Maria Antiqua in Rome -argument is byzantine workman made this before iconoclasm in post iconoclasm style (believing it shows us what would have happened in byzantium if iconoclasm hadn't happened. -Charlamagne was against Iconoclasm |
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| The Stockholm Codex aureus 8th century -treatment of form, figure rendered in heavy line -flattened |
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| -massive monumental stone construction -massive towers -usually three story -wood roof |
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| Roger II hauteville (1095-1154) |
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| 1130 crowned king of Sicely -Kind of Kingship and kind of imagery to convey kingship |
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| Roger II crowned by christ, 1132, motorana (st. Mary of the admirals), Palcermo -christian monarch, byzantine -Roger gesture Supplication -crown with three points -nimbus with silver cross in it, blue rope -latin inscription -King Roger-Rex the latin word for King, written in Greek addressing his Greek speaking Audience. -Roger wearing Robes of Byzantine Emperorer -Roger's pose is byzantine -drawing on Byzantine imagery Christ crowing constantine VII --inscription, scheme, the same --mosaic, byzantine technique, in italy mosaic re-introduced as purely byzantine - |
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| Coronation mantel of Roger II, 1133-34 -made out of silk -embroidered by gold spun silk -center is a palm tree -lion/ tigers attacking camels symmetrically -inscription in Arabic that runs around bottom. --listing the attributes of Roger -vibrant red in arabic and Byzantine -color and bodies follow attributes inscribed -fighting beasts analogues of Roger fighting his enemies -pearls outline figures -he wants to look like an ARab ruler to his Arab population and a Byzantine ruler to his Greek population, but not as a norman ruler because "who were the normans? no one" -wore bedazzled gloves with the mantel --plaques on them with niello and enamel plaques, gems, pearls, gold thread, gloves are silk and padded -when wearing everything it makes you stiff and immobile, like a king is imagined or illustrated to appear |
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| chambe of Roger II, Palzzo Reale, Palermo, mid 12th c. -reception room -marble floors, walls, mosiac ceiling (arab and byzantine) -strips in interlocking geometric design on floor |
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| Divan Mosiac, khirbat almafjar, 725-50, Islamic -shows traditional arabic motif -animals in nature -order and disorder -double meaning: monarch is lion or Monarch controls lion -peacocks in mosaic in reception room -centaurs in gardenia mosaic -everything neatly lined up to show stasis |
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| Cathedral, Crefalu, 1131-1166 -twin tower western style churches -right after Roger died -stone, wooden timber truss ceiling -nave -outside back structure, typically Romanesque technique multiple structure details shown, corbels displaying varied surfaces. -monumental mosaic in Apse (new) --christ pantokrator, virgin flanked by angels ranks of saints below --middle byzantine scheme adjusted to fit in an apse -a multi-ethnic saints line up -identifications in latin for western saints and in greek for easter, military saints from East (byzantine) -pantakrator is byzantine but texts in latine and greek |
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| Torcello, Santa Maria Assunta, founded 639, rebuilt 864 and 1008 -the assumption of the virgin is what the name means -basilican plan, nave, side aisles (western in nature) -bell tower -baptistry built off of nathex -north Italian Basilica design from 6th c. -PROCONNECIAN marble comes from constantinople -timber truss ceiling -veneration wooden beams across nave because of terrain to help building stay sturdy. |
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| Mosaic in apse, Virgin and Child, Sta Maria Assuta, early 12th c. -virgin standing, christ looking at her, hodegetria Virgin -Hodegon Monastery gave us this divine image said to be from st. Luke himself. -Greek Letters -Byzantine -"I am God and the flesh of the mother" -medium, byzantine, it is thought that artists at Torcellow were greeks asked to come and then set up work shops to train. -placement same as in byzantine churches. |
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| Major Mosaic on back wall of Santa Maria Assunta -shows us how Torcello trained with byzantine technique use that technique. -series of image arranged in registers occupying the entire wall. -Top, crucifixion (same as Hosios Lokus, and Daphne) Byzantine -next level theme of annastisis, resurrection, flanked by byzantine arch angels. -Apostles -Assumption of christ -the saved (byzantine monks and bishops) and the damned (byzantine emperors) -taking a western theme and western ways of thinking about faith and 2nd coming Rendering it using byzantine technique and material. using byzantine models but puting on western end of church and combining byzantine images you would have never seen together. |
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| St. Lazare, Auton, early 12th c. -damnation, major western theme -the last judgement -christ in the center, the saved, the damned being weighed and tossed down to hell. |
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| Rialto Settlement Ket dates in Venetian history |
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| Rivo Alto means high ground Golden Chrysobolls: (diplomatic acords) 1. 992: Adriatic to Constantinople -monopoly on trade 2. 1062: Adriatic and the Aegean Sea - extended from Adriatic Sea to Agian, Sea 3. 1124: Adriatic, Aegeon, Eastern Mediterranean, Syrus 1204: Sack of Constantinople -all the luxury goods come from the east |
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| 829: Translation of relics of st. Mark from Alexandria to Venice -developed a fondation myth (like in constantinople, Hagia Sophia) -St. Mark the apostle had visited the upper adriatic and had been apostles for Venetians -Made it a rival to constantinople who had claimed St. Paul -Venetians orchestrated a theft of relics because that was what they were lacking -stole body of St. Mark from Catacombs -relics and remains brought to church made for him, San Marco Church |
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| Piazza San Marco 11th C. -St. Theodore was 1st patron st. his smaller church remained -San Marco |
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| Piazza San Marco 12th c. -filling in of major parts of land -Palazzo Ducale was enlarged -Piazzetta filled in -framed with series of building -San theodoro remained -San Marco rebuilt |
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| Doge's Palace originally built 9th c. |
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| San Marco 829-832 1st renovation after fire 978, 978 2nd renovation, *1063-71 3rd renovation -basilica design -architectural connections between Palazzo Ducale and San Marco -the Dukes private chapel --not the church of the bishop (which is important because normally the major church of a city is the church of the bishop) -chrisoform design, 5 domes, equal arms -narthex -cross and square kind of -Apse with prothesis and diconicon -lavish marble pavements and walls -mosaics begun by byzantine artists, not completed till Renissance artists like Titian worked on them. - |
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| St. Mark sailing to Alexandria, 11th c. -straight line -different kinds of gold designed to create flickering back ground. |
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| Architectural adornment of exterior -5 porticos -apse -brick and concrete -central door given emphasis with columns on sides -gallery level -portico on Gallery level that could be used by Doge to address public -byzantine facade (example Pantakrator Monastery) -results of looting shown on facade -chancel barriers and wall slabs and floor pavement takin from constantinople from crusader looting create back drop that Doge would enter columns from church in constantinople -transformed the brick and concrete facade into marble |
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| Horses of San Marco, 2nd c. Roman quadriqa displayed in Constantinople 1204, brought to venice -symbol of triumph -said to come from the Hippodrome |
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| Chalice of the Emperor Romanos (959-63) -brought to Venice from the Sack of Constantine -deposited into doge relics |
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| Pala D'oro, san Marco, 10th-14th c. -High Alter -St. Michael, feasts, pantakrator down, saints and donors, scenes of life of virgin and st. mark -Phases of Development -top and Pantakrator enamels added after sack from Pantakrator Monastery |
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| christ Pantokrator and four Evangelist, San MArco |
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| Deesis, late 13th c -the last great production of byzantine art the palaiolgan period, also a conservative period revival of tradition and new sympathies -large scale mosaic -christ flanked by Virgin and john the Babtist -identified by inscription -scalloped (textured) gold ground to give flicker -Golden highlighting on Christ's robes and hair -CHRYSOGRAPHY technique -very small tesera, highly defined work, about .25" -skin tone in marble, glass for Gold and robes. -very subtle modulations of color. - |
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| Forty Martyrs of Sebaste, late 13th c. -4 inches high -made out of mosaic -each teserra is about the size of a head of a pin -wooden frame, gesso, gold ground (copper pieces) -similar motif from Lenigrad 40 martyrs -for an image to be true it has to be consistant with tradition -precious in terms of materials and craftsman ship |
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| The four hierarchs, early 14th c. -John Chrysostom, Basil the great -Nicholas, Gregory -typical paralogian image -small scale, precious icon -lapiz lasure, most precious material for blue -rich patterning, contrast of gems and gold -traditional iconogrpahy -the paliogian testuration of constantinople was not just political but also religion and orthodoxy. Rivival period and innovation. -the hierarchs are a symbol of restoration of religion |
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| The monastery of Saint Saviour in Chora, founded 7th c., expansions and renovations: 11th c, 12th c., 14th c.* -outside of city, in the fields (in chora) -between the constantinian wall and theologian wall -facade and various domes -figure of christ over major entrance -the container of the uncontainable--christ is the vessel of the uncontainable -reference to dual nature, human that is divine -byzantines loved the complexity of language |
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| Chora Restoration: 1316-1321 -Narthex, theodore metochites, grand logothete, tax collector took on the restoration -late byzantine costume begins to look like turkish costume Architecture: -very byzantine technique, striations of brick -the roof line dramatically changed -series of projecting apses -half domes, domes at different levels -molding across top that distincts between the top and bottom portions -high pitched arched windows -a real appreciation for complexity and variety -relate to pantakrator monestary - |
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| The container of the uncontainable. Dedicatory icon. above the entrance of the chora monastery. Christ Chalkites, Pantakrator |
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Palimsest wall (cont.)
similar shadows and facial structures/beauty. 3rd layer late 9th century before earth quake. it gave us a chronology of Roman painting. influx of greeks style changes with manipulation of color. pictures scattered around very different than santa maria Maggorie and other churches. |
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Roger II crowned by Christ (cont.)
The crown is different than a byzantine crown it has straps that go down the head, western style crown. looks like a byzantine monarch but crown preserves kingly power in the west. speaking to his own courtiers reminding them of his kingship. face is made to look like christ. referred to as CHRISTOMIMESIS imedation of christ. Roger saying he's Christ's relative. |
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San Marco 829 (cont.)
thought to be a copy of Holy Apostles (constantinople) associated with burial of Byzantine emperors. Imperial, constantinopolitan architecutre plan. decoration designed to look at byzantine church. Assumption of christ in main dome, gold ground, kind of image one sees in byzantine domes. A different way of employing mosiacs begin to happen they introduce narrative into squinches and archways. Story of st. mark, above all played out. |
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Deesis (cont.)
compared to virgin in Hagia Sophia Apse described by phosios. Characteristics of face similar. stylistically this is a reserrection of early byzantine style. technique is more detailed. |
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Chora Restoration (cont.)
structure made better -2nd narthex added -Dome raised an a drum -the element down the side added is called PAREKKIESION-chapel built on one side of church -most common use it funeral chapels -used for theodore metikites burial SIMILAR TO BYZANTINE: -context is monastic, small scale because is monastic -irregularity, appreciation of variety -patronage: theodore metikites personal use of church NOT SIMILAR: -represents a Paliogian renovation -adding on, not such great resources, restoring |
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