This document provides an overview of Byzantine art from 330 CE to 1453 CE. It discusses several key periods and developments, including the founding of Constantinople in 330 CE, the Iconoclastic Controversy from 726-843 CE where icons were banned, and the peak of Byzantine art under Emperor Justinian in the 6th century where he built many churches like Hagia Sophia. The style of Byzantine art is described as having golden backgrounds, frontal figures without perspective, and emphasis on spiritual symbolism over realism. Important art forms included mosaics, manuscript illumination, ivories, and icons of religious figures like the Virgin Mary.
This document provides an overview of early Christian and Byzantine art from the 3rd century to the 13th century. It begins with examples of artwork found in Roman catacombs from the 3rd-4th centuries that depicted scenes from the Bible in simple styles due to the persecution of Christians. Examples of early Byzantine art from the 5th-6th centuries, such as the mosaics of San Vitale and the church of Hagia Sophia, are discussed. The period of iconoclasm from the 8th-9th centuries is summarized, followed by a discussion of the return of religious images and developments in the Middle Byzantine period. Specific churches, mosaics, and other artworks
The document discusses Byzantine art from the 6th century to the 15th century. Some key points covered include the brilliant interior mosaics of San Vitale in Ravenna from the 6th century, Emperor Justinian who expanded the Byzantine Empire and promoted Byzantine art and architecture, and the iconic Hagia Sophia basilica in Constantinople with its massive central dome supported by pendentives.
The document provides an overview of Byzantine art from 500-1453 CE. It discusses that the Byzantine Empire emerged after the split of the Western and Eastern Roman Empire. Key aspects of Byzantine art included the use of mosaics and icons in religious works commissioned by the Church and state. Important architectural innovations included the use of pendentives and squinches to support dome structures. Significant examples of Byzantine architecture mentioned are the Hagia Sophia in Istanbul with its massive central dome structure, and San Vitale in Ravenna with its domed octagonal layout. Monastery churches like Hosios Loukas in Greece also exhibited characteristic Middle Byzantine architectural styles of the period.
Byzantine art evolved from Roman art and was influenced by Eastern styles. Important art forms included churches decorated with mosaics and icons. Byzantine churches were characterized by Greek cross plans, semicircular arches, large domes on pendentives, and decorative mosaics. Two renowned examples were Hagia Sophia and St. Mark's Basilica. Mosaics used small colored tiles or tesserae to make images on golden backgrounds, depicting religious or imperial themes. Icons were religious paintings on wood of figures with stylized, rigid expressions on golden backgrounds.
Byzantine art developed out of eastern Roman imperial art and reflected Christian religious themes. It utilized styles like mosaics, icons, and illuminated manuscripts. Major artistic periods included the Early Byzantine era featuring works like the Hagia Sophia and mosaics of Justinian and Theodora, the Iconoclastic controversy which banned religious images, and the Middle Byzantine period when icons were restored. Art was used to convey religious messages and assert political power in monumental church buildings and luxurious objects.
Byzantine furniture retained some classical forms like chairs and tables. Materials included wood, metal, ivory, and were sometimes decorated with gold, silver, or jewels. Thrones in particular were elaborately decorated to signify the status of the ruler. While few pieces survive, illustrations show seating often included cushions, and some furniture was draped with fabrics.
Art produced in the Byzantine empire (or Eastern Roman Empire)—at its height, a territory that spanned large swaths of the Mediterranean, present-day Turkey, Southern Spain, and Italy—between the 4th and 15th centuries, when it fell to the Ottoman Turks. As the empire's official religion was Orthodox Christianity, Byzantine art was largely devotional, Christian art. Perhaps the best known example of Byzantine art is a tenth-century mosaic of the Virgin Mary in the Hagia Sophia in Istanbul that demonstrates the stylized forms, sharp contours, flat fields of color, and gold mosaic the period is known for.
This document provides an overview of early Christian and Byzantine art from the 3rd century to the 13th century. It begins with examples of artwork found in Roman catacombs from the 3rd-4th centuries that depicted scenes from the Bible in simple styles due to the persecution of Christians. Examples of early Byzantine art from the 5th-6th centuries, such as the mosaics of San Vitale and the church of Hagia Sophia, are discussed. The period of iconoclasm from the 8th-9th centuries is summarized, followed by a discussion of the return of religious images and developments in the Middle Byzantine period. Specific churches, mosaics, and other artworks
The document discusses Byzantine art from the 6th century to the 15th century. Some key points covered include the brilliant interior mosaics of San Vitale in Ravenna from the 6th century, Emperor Justinian who expanded the Byzantine Empire and promoted Byzantine art and architecture, and the iconic Hagia Sophia basilica in Constantinople with its massive central dome supported by pendentives.
The document provides an overview of Byzantine art from 500-1453 CE. It discusses that the Byzantine Empire emerged after the split of the Western and Eastern Roman Empire. Key aspects of Byzantine art included the use of mosaics and icons in religious works commissioned by the Church and state. Important architectural innovations included the use of pendentives and squinches to support dome structures. Significant examples of Byzantine architecture mentioned are the Hagia Sophia in Istanbul with its massive central dome structure, and San Vitale in Ravenna with its domed octagonal layout. Monastery churches like Hosios Loukas in Greece also exhibited characteristic Middle Byzantine architectural styles of the period.
Byzantine art evolved from Roman art and was influenced by Eastern styles. Important art forms included churches decorated with mosaics and icons. Byzantine churches were characterized by Greek cross plans, semicircular arches, large domes on pendentives, and decorative mosaics. Two renowned examples were Hagia Sophia and St. Mark's Basilica. Mosaics used small colored tiles or tesserae to make images on golden backgrounds, depicting religious or imperial themes. Icons were religious paintings on wood of figures with stylized, rigid expressions on golden backgrounds.
Byzantine art developed out of eastern Roman imperial art and reflected Christian religious themes. It utilized styles like mosaics, icons, and illuminated manuscripts. Major artistic periods included the Early Byzantine era featuring works like the Hagia Sophia and mosaics of Justinian and Theodora, the Iconoclastic controversy which banned religious images, and the Middle Byzantine period when icons were restored. Art was used to convey religious messages and assert political power in monumental church buildings and luxurious objects.
Byzantine furniture retained some classical forms like chairs and tables. Materials included wood, metal, ivory, and were sometimes decorated with gold, silver, or jewels. Thrones in particular were elaborately decorated to signify the status of the ruler. While few pieces survive, illustrations show seating often included cushions, and some furniture was draped with fabrics.
Art produced in the Byzantine empire (or Eastern Roman Empire)—at its height, a territory that spanned large swaths of the Mediterranean, present-day Turkey, Southern Spain, and Italy—between the 4th and 15th centuries, when it fell to the Ottoman Turks. As the empire's official religion was Orthodox Christianity, Byzantine art was largely devotional, Christian art. Perhaps the best known example of Byzantine art is a tenth-century mosaic of the Virgin Mary in the Hagia Sophia in Istanbul that demonstrates the stylized forms, sharp contours, flat fields of color, and gold mosaic the period is known for.
Byzantine art developed after Constantine moved the capital of the Roman Empire to Constantinople in the 4th century. Art was primarily created for the Eastern Orthodox Church and featured somber, flat figures in mosaics and paintings with little realism. Iconoclasm prohibited depicting people from 726 to the 9th century. Sculpture was limited to ivory book covers. Major works included the Hagia Sophia and mosaics at Ravenna and the Kiev catacombs that depicted biblical and theological themes through the 15th century fall of Constantinople.
Byzantine architecture originated in the Byzantine Empire and was characterized by massive domes with square bases, rounded arches, and extensive use of glass mosaics. Early Byzantine architecture continued Roman architectural styles but over time a distinct style emerged with influences from the Near East. The Greek cross plan became common in church architecture. Major developments included the use of pendentives to support domes and intricate exterior ornamentation. Interiors featured rich colors, marble floors and walls, and mosaic and painted decorations.
The document summarizes Northern European art from the Early Middle Ages. It discusses how the fall of Rome led to political chaos and mass migrations, destabilizing the region. Christianity provided a unifying force. Art from this period includes metalwork like belt buckles featuring interlacing patterns and animal styles. Manuscript illumination combined Hiberno-Saxon and Byzantine influences, seen in books like the Book of Lindisfarne. Under Charlemagne's rule, Carolingian art revived classical forms and encouraged manuscript production. Ottonian art reflected imperial power through ivories, churches like Hildesheim, and Gero Crucifix.
- Byzantine art refers to the artistic products of the Byzantine Empire between the 5th and 15th centuries, centered around Constantinople. It was influenced by both Roman and Greek artistic traditions and characterized by Christianity and the Greek language.
- Byzantine art is divided into three periods - Early, Middle, and Late - with the 6th century under Justinian considered the Golden Age. Major works included the Hagia Sophia in Constantinople and mosaics at San Vitale and Sant'Apollinare in Ravenna.
- Byzantine art emphasized abstract, symbolic representations rather than naturalism. Major art forms included icons for religious devotion, illuminated manuscripts, and metalwork and other luxury goods
Gothic art and architecture emerged in France in the 12th century and lasted for 200 years. The primary mediums of Gothic art included sculptures, panel paintings, stained glass windows, frescoes, and illuminated manuscripts, which were mostly created for religious purposes and to decorate churches. Gothic architecture featured pointed arches, large windows, stone vaulted ceilings, and stained glass became more prevalent as walls grew thinner.
The San Vitale Church in Ravenna, Italy was founded in 526 AD by Bishop Ecclesius and completed in 547 AD. It was sponsored by Byzantine Emperor Justinian I and his wife Theodora, who are memorialized in mosaics. The architectural style is Byzantine, characterized by the use of mosaics, a central apse, and clerestory windows. The building combines elements of Roman architecture like domes and doorways with Byzantine features such as a polygonal apse and narrow bricks. It is most famous for its rich Byzantine mosaics, which decorate the interior through an art of small colored pieces.
This document provides an overview of Gothic architecture and cathedrals. It discusses how Gothic style began in France in the 12th century under Abbot Suger and was characterized by pointed arches, ribbed vaults, and flying buttresses. Gothic cathedrals featured large stained glass windows and were constructed out of stone, wood, iron, and stained glass. Famous Gothic cathedrals included Notre Dame, Chartres, Reims, and Westminster Abbey. The document also examines the religious, cultural, and historical context of the Gothic period in medieval Europe.
Early christian and byzantine architecture @ DennisDenis Patel
The document discusses the influences and characteristics of early Christian architecture. It began with Christians meeting in homes and underground burial places known as catacombs. They later adopted the basilica model from the Romans, often using materials from demolished pagan buildings. Key features included the use of semicircular arches, small windows, and wooden roofs. The style evolved with the Byzantine Empire, focusing on centralized plans under large domes supported by pendentives, as exemplified by Hagia Sophia in Istanbul. Mosaics and icons were also characteristic artistic elements.
Byzantine architecture developed from 330-1453 AD in the Byzantine Empire with Constantinople as its capital. It had a profound influence on architecture in Europe and the Near East. Key characteristics included the basilica and central plans with domes. The Hagia Sophia, commissioned by Emperor Justinian in the 6th century, was revolutionary with its massive scale and use of pendentives to place a dome on a square base. Byzantine architecture emphasized religious experiences and had styles like mosaics and domes that spread throughout Europe and to Islamic architecture, continuing its legacy into modern times.
The Byzantine Empire had its origins in the Roman Empire and adopted Eastern Orthodox Christianity. Some key characteristics of Byzantine architecture included domes supported by pendentives, the use of brick and marble materials, mosaic artwork depicting religious scenes, and the influence of the Greek cross floor plan in church design. The Byzantine Empire reached its peak between the 9th-12th centuries during the Middle Byzantine period when many churches were constructed. However, the empire eventually declined and fell to the Ottoman Turks in 1453 CE, ending the Byzantine era.
Module 2- Byzantine Architecture | KTU | Semester 4 | History of Architecture Gary Gilson
Byzantine Architecture:
Centralized church typology:Spatial planning, construction and other features
Greek cross and Latin cross
Knowledge of placing a dome over a regular polygonal plan with preventives
Example- Hagia Sophia, Constantinople.
EH202-HISTORY OF ARCHITECTURE III
The document summarizes key aspects of Gothic architecture. It describes how Crusaders were influenced by Eastern architecture and brought back new building techniques to Europe. It then discusses how Abbot Suger addressed the problem of overcrowding at his church by reconstructing it in a new style with pointed arches, rib vaults, and larger windows to admit more light, establishing characteristics of Gothic cathedrals. Finally, it provides examples of notable Gothic cathedrals like Notre Dame and Chartres that refined and spread the style across Europe.
Christian art developed from biblical stories and imagery found in the New Testament gospels and book of Revelation. Early Christian art was created in underground catacombs. Byzantine art extended the Roman empire's eastern portion and was influenced by Orthodox Christianity, featuring flat, floating figures in frontal orientation with gold backgrounds instead of depth or realism. Justinian I's rule in the 6th century typified the early Byzantine era, suppressing all religions but Christianity and reclaiming western Roman lands. Icons were used devotionally but were banned in iconoclasm; abstraction replaced figural art until icons were restored in 843. Manuscripts and objects like the Vienna Genesis and protective icons like the Virgin of Vladimir displayed the
Byzantine architecture is the architecture of the Byzantine Empire, or Eastern Roman Empire.
The Byzantine era is usually dated from 330 CE, when Constantine the Great moved the Roman capital to Byzantium, which became Constantinople, until the fall of the Byzantine Empire in 1453. However, there was initially no hard line between the Byzantine and Roman empires, and early Byzantine architecture is stylistically and structurally indistinguishable from earlier Roman architecture. This terminology was introduced by modern historians to designate the medieval Roman Empire as it evolved as a distinct artistic and cultural entity centered on the new capital of Constantinople (modern-day Istanbul) rather than the city of Rome and its environs.
Its architecture dramatically influenced the later medieval architecture throughout Europe and the Near East, and became the primary progenitor of the Renaissance and Ottoman architectural traditions that followed its collapse.
Introduction of dome, and classification of dome.
Types of dome mainly used during byzantine architecture. Example of some epic architecture of byzantine period.
1. Cloister Vault
2. Geodesic Dome
3. Onion Dome
4. Oval Dome
5. Saucer Dome.
Constantine established Christianity as the official religion of the Roman Empire in 324 CE and moved the capital to Constantinople. Byzantine art developed in the Eastern Roman Empire centered in Constantinople, characterized by central plan churches decorated with colorful mosaics and symbolic religious imagery rather than naturalism. Iconoclasm from 726-843 contributed to the split between the Roman Catholic and Eastern Orthodox churches and resulted in new imagery like the Christ Pantocrator.
Gothic architecture originated in France in the 12th century and spread throughout Western Europe until the 16th century. It is characterized by pointed arches, ribbed vaults, flying buttresses, and stained glass windows, which allowed cathedrals to be much taller with larger windows than previous Romanesque designs. Key elements included ribbed vaulting, flying buttresses, rose windows, and elaborate carvings and sculptures both inside and out. Gothic architecture is best exemplified by Europe's great cathedrals such as Notre Dame and Chartres Cathedral, which featured soaring heights, pointed arches, stained glass, and sculpture that told biblical stories to worshippers.
This document discusses early Christian art from the 4th to 12th centuries CE. It covers topics such as:
- How Christian art evolved from modest meeting houses to grand churches like Hagia Sophia under Emperor Constantine and his successors.
- The development of Christian iconography and imagery over time, including increasing depictions of Christ as an adult and references to Old Testament stories.
- Important artistic centers like Ravenna whose 6th century mosaics exemplified Byzantine style.
- The debate around iconoclasm and destruction of religious images in the Byzantine Empire between the 8th-9th centuries.
Late Antique and Byzantine Art spanned from the 4th to 15th centuries in Europe. Key developments included the legalization of Christianity under Constantine, which led to new church building types adapting Roman basilica and central plans. Early Christian art appeared primarily in the catacombs of Rome using symbols like the Chi Ro and Good Shepherd. The Byzantine Empire continued imperial patronage of art beginning with Justinian, seen in mosaic masterpieces like San Vitale and Hagia Sophia. Icon painting emerged as a distinctive tradition, though it faced bans during the Iconoclastic Controversy.
This document provides an overview of Jewish, early Christian, and Byzantine art from the 4th century AD to the late Byzantine period. It begins with descriptions of 4th century frescoes from the Catacombs of Commodilla in Rome depicting Jesus as the Alpha and Omega. It then discusses symbols used in early Christian art such as the fish, cross, and lamb. Architectural developments are reviewed including early basilica and centralized plans as well as specific churches from Rome, Ravenna, and Constantinople. The document concludes with a discussion of the development of icons and iconoclasm during the Middle Byzantine period followed by examples of art and architecture through the late Byzantine era.
Byzantine art developed after Constantine moved the capital of the Roman Empire to Constantinople in the 4th century. Art was primarily created for the Eastern Orthodox Church and featured somber, flat figures in mosaics and paintings with little realism. Iconoclasm prohibited depicting people from 726 to the 9th century. Sculpture was limited to ivory book covers. Major works included the Hagia Sophia and mosaics at Ravenna and the Kiev catacombs that depicted biblical and theological themes through the 15th century fall of Constantinople.
Byzantine architecture originated in the Byzantine Empire and was characterized by massive domes with square bases, rounded arches, and extensive use of glass mosaics. Early Byzantine architecture continued Roman architectural styles but over time a distinct style emerged with influences from the Near East. The Greek cross plan became common in church architecture. Major developments included the use of pendentives to support domes and intricate exterior ornamentation. Interiors featured rich colors, marble floors and walls, and mosaic and painted decorations.
The document summarizes Northern European art from the Early Middle Ages. It discusses how the fall of Rome led to political chaos and mass migrations, destabilizing the region. Christianity provided a unifying force. Art from this period includes metalwork like belt buckles featuring interlacing patterns and animal styles. Manuscript illumination combined Hiberno-Saxon and Byzantine influences, seen in books like the Book of Lindisfarne. Under Charlemagne's rule, Carolingian art revived classical forms and encouraged manuscript production. Ottonian art reflected imperial power through ivories, churches like Hildesheim, and Gero Crucifix.
- Byzantine art refers to the artistic products of the Byzantine Empire between the 5th and 15th centuries, centered around Constantinople. It was influenced by both Roman and Greek artistic traditions and characterized by Christianity and the Greek language.
- Byzantine art is divided into three periods - Early, Middle, and Late - with the 6th century under Justinian considered the Golden Age. Major works included the Hagia Sophia in Constantinople and mosaics at San Vitale and Sant'Apollinare in Ravenna.
- Byzantine art emphasized abstract, symbolic representations rather than naturalism. Major art forms included icons for religious devotion, illuminated manuscripts, and metalwork and other luxury goods
Gothic art and architecture emerged in France in the 12th century and lasted for 200 years. The primary mediums of Gothic art included sculptures, panel paintings, stained glass windows, frescoes, and illuminated manuscripts, which were mostly created for religious purposes and to decorate churches. Gothic architecture featured pointed arches, large windows, stone vaulted ceilings, and stained glass became more prevalent as walls grew thinner.
The San Vitale Church in Ravenna, Italy was founded in 526 AD by Bishop Ecclesius and completed in 547 AD. It was sponsored by Byzantine Emperor Justinian I and his wife Theodora, who are memorialized in mosaics. The architectural style is Byzantine, characterized by the use of mosaics, a central apse, and clerestory windows. The building combines elements of Roman architecture like domes and doorways with Byzantine features such as a polygonal apse and narrow bricks. It is most famous for its rich Byzantine mosaics, which decorate the interior through an art of small colored pieces.
This document provides an overview of Gothic architecture and cathedrals. It discusses how Gothic style began in France in the 12th century under Abbot Suger and was characterized by pointed arches, ribbed vaults, and flying buttresses. Gothic cathedrals featured large stained glass windows and were constructed out of stone, wood, iron, and stained glass. Famous Gothic cathedrals included Notre Dame, Chartres, Reims, and Westminster Abbey. The document also examines the religious, cultural, and historical context of the Gothic period in medieval Europe.
Early christian and byzantine architecture @ DennisDenis Patel
The document discusses the influences and characteristics of early Christian architecture. It began with Christians meeting in homes and underground burial places known as catacombs. They later adopted the basilica model from the Romans, often using materials from demolished pagan buildings. Key features included the use of semicircular arches, small windows, and wooden roofs. The style evolved with the Byzantine Empire, focusing on centralized plans under large domes supported by pendentives, as exemplified by Hagia Sophia in Istanbul. Mosaics and icons were also characteristic artistic elements.
Byzantine architecture developed from 330-1453 AD in the Byzantine Empire with Constantinople as its capital. It had a profound influence on architecture in Europe and the Near East. Key characteristics included the basilica and central plans with domes. The Hagia Sophia, commissioned by Emperor Justinian in the 6th century, was revolutionary with its massive scale and use of pendentives to place a dome on a square base. Byzantine architecture emphasized religious experiences and had styles like mosaics and domes that spread throughout Europe and to Islamic architecture, continuing its legacy into modern times.
The Byzantine Empire had its origins in the Roman Empire and adopted Eastern Orthodox Christianity. Some key characteristics of Byzantine architecture included domes supported by pendentives, the use of brick and marble materials, mosaic artwork depicting religious scenes, and the influence of the Greek cross floor plan in church design. The Byzantine Empire reached its peak between the 9th-12th centuries during the Middle Byzantine period when many churches were constructed. However, the empire eventually declined and fell to the Ottoman Turks in 1453 CE, ending the Byzantine era.
Module 2- Byzantine Architecture | KTU | Semester 4 | History of Architecture Gary Gilson
Byzantine Architecture:
Centralized church typology:Spatial planning, construction and other features
Greek cross and Latin cross
Knowledge of placing a dome over a regular polygonal plan with preventives
Example- Hagia Sophia, Constantinople.
EH202-HISTORY OF ARCHITECTURE III
The document summarizes key aspects of Gothic architecture. It describes how Crusaders were influenced by Eastern architecture and brought back new building techniques to Europe. It then discusses how Abbot Suger addressed the problem of overcrowding at his church by reconstructing it in a new style with pointed arches, rib vaults, and larger windows to admit more light, establishing characteristics of Gothic cathedrals. Finally, it provides examples of notable Gothic cathedrals like Notre Dame and Chartres that refined and spread the style across Europe.
Christian art developed from biblical stories and imagery found in the New Testament gospels and book of Revelation. Early Christian art was created in underground catacombs. Byzantine art extended the Roman empire's eastern portion and was influenced by Orthodox Christianity, featuring flat, floating figures in frontal orientation with gold backgrounds instead of depth or realism. Justinian I's rule in the 6th century typified the early Byzantine era, suppressing all religions but Christianity and reclaiming western Roman lands. Icons were used devotionally but were banned in iconoclasm; abstraction replaced figural art until icons were restored in 843. Manuscripts and objects like the Vienna Genesis and protective icons like the Virgin of Vladimir displayed the
Byzantine architecture is the architecture of the Byzantine Empire, or Eastern Roman Empire.
The Byzantine era is usually dated from 330 CE, when Constantine the Great moved the Roman capital to Byzantium, which became Constantinople, until the fall of the Byzantine Empire in 1453. However, there was initially no hard line between the Byzantine and Roman empires, and early Byzantine architecture is stylistically and structurally indistinguishable from earlier Roman architecture. This terminology was introduced by modern historians to designate the medieval Roman Empire as it evolved as a distinct artistic and cultural entity centered on the new capital of Constantinople (modern-day Istanbul) rather than the city of Rome and its environs.
Its architecture dramatically influenced the later medieval architecture throughout Europe and the Near East, and became the primary progenitor of the Renaissance and Ottoman architectural traditions that followed its collapse.
Introduction of dome, and classification of dome.
Types of dome mainly used during byzantine architecture. Example of some epic architecture of byzantine period.
1. Cloister Vault
2. Geodesic Dome
3. Onion Dome
4. Oval Dome
5. Saucer Dome.
Constantine established Christianity as the official religion of the Roman Empire in 324 CE and moved the capital to Constantinople. Byzantine art developed in the Eastern Roman Empire centered in Constantinople, characterized by central plan churches decorated with colorful mosaics and symbolic religious imagery rather than naturalism. Iconoclasm from 726-843 contributed to the split between the Roman Catholic and Eastern Orthodox churches and resulted in new imagery like the Christ Pantocrator.
Gothic architecture originated in France in the 12th century and spread throughout Western Europe until the 16th century. It is characterized by pointed arches, ribbed vaults, flying buttresses, and stained glass windows, which allowed cathedrals to be much taller with larger windows than previous Romanesque designs. Key elements included ribbed vaulting, flying buttresses, rose windows, and elaborate carvings and sculptures both inside and out. Gothic architecture is best exemplified by Europe's great cathedrals such as Notre Dame and Chartres Cathedral, which featured soaring heights, pointed arches, stained glass, and sculpture that told biblical stories to worshippers.
This document discusses early Christian art from the 4th to 12th centuries CE. It covers topics such as:
- How Christian art evolved from modest meeting houses to grand churches like Hagia Sophia under Emperor Constantine and his successors.
- The development of Christian iconography and imagery over time, including increasing depictions of Christ as an adult and references to Old Testament stories.
- Important artistic centers like Ravenna whose 6th century mosaics exemplified Byzantine style.
- The debate around iconoclasm and destruction of religious images in the Byzantine Empire between the 8th-9th centuries.
Late Antique and Byzantine Art spanned from the 4th to 15th centuries in Europe. Key developments included the legalization of Christianity under Constantine, which led to new church building types adapting Roman basilica and central plans. Early Christian art appeared primarily in the catacombs of Rome using symbols like the Chi Ro and Good Shepherd. The Byzantine Empire continued imperial patronage of art beginning with Justinian, seen in mosaic masterpieces like San Vitale and Hagia Sophia. Icon painting emerged as a distinctive tradition, though it faced bans during the Iconoclastic Controversy.
This document provides an overview of Jewish, early Christian, and Byzantine art from the 4th century AD to the late Byzantine period. It begins with descriptions of 4th century frescoes from the Catacombs of Commodilla in Rome depicting Jesus as the Alpha and Omega. It then discusses symbols used in early Christian art such as the fish, cross, and lamb. Architectural developments are reviewed including early basilica and centralized plans as well as specific churches from Rome, Ravenna, and Constantinople. The document concludes with a discussion of the development of icons and iconoclasm during the Middle Byzantine period followed by examples of art and architecture through the late Byzantine era.
The document provides background information on early Christian art found in catacombs and churches. It discusses how catacomb paintings depicted simple biblical scenes reflecting early Christian beliefs. As Christianity became the official religion of the Roman Empire, church architecture evolved from the basilica style to include central planned churches inspired by Byzantine designs such as Hagia Sophia in Constantinople. The document also covers the controversy around icons in the Byzantine Empire known as the Iconoclastic period where religious images were destroyed by imperial decree before ultimately being reaffirmed.
The document summarizes Byzantine art from the Early Byzantine period through the Late Byzantine period. Some key points include:
- Early Byzantine art flourished under Emperor Justinian in the 6th century, as seen in buildings like Hagia Sophia and mosaics at San Vitale.
- Iconoclasm occurred between the 8th to 9th centuries where icons were destroyed, but were later restored.
- Byzantine art is characterized by abstract mosaics and icons used for religious instruction, with bright colors and symbolic rather than realistic representations.
- Icons were central to Byzantine religion but also controversial during periods of iconoclasm when their use was prohibited.
This document discusses the development of late antique Jewish and Christian art from Roman artistic traditions. It covers early Christian art found in the Roman catacombs and the adoption of basilica and central-plan architectural styles for churches. Key periods discussed include the pre-Constantinian underground movement, Constantine's legalization of Christianity in 313, and the establishment of Ravenna as capital of the Western Roman Empire in the 5th century, where elaborate mosaics were produced.
The document discusses Late Antique and Byzantine art from the 4th to 7th centuries CE. It provides context on the emergence of Christian art and its influences from Roman art. Specifically, it summarizes that early Christian art appeared in the catacombs of Rome using Roman painting styles and symbols to represent Old Testament stories. As Christianity became the official religion, churches were built based on Roman basilica and central plans, adapting pagan elements. The document also discusses the rise of Byzantine art under the patronage of Justinian, including Hagia Sophia, and the use of mosaics and icon paintings in the Byzantine tradition following the Iconoclastic controversy.
The document summarizes the art of the Late Antiquity period, from the 3rd to 6th centuries AD. It describes how Christianity became the dominant religion in the Roman Empire during this time. Art forms such as mosaics, frescoes, and sarcophagi incorporated Christian imagery and themes. Important early Christian sites mentioned include the Dura Europos synagogue, Roman catacombs, the Old St. Peter's Basilica in Rome, and Ravenna churches containing beautiful mosaic artwork. The blending of Greco-Roman and Christian traditions during this period formed the basis of Western art and architecture.
The document summarizes key aspects of Byzantine art and architecture from the 4th to 15th centuries. It describes how Constantinople became the capital of the Eastern Roman Empire and remained intact for over 1000 years after the fall of the Western Empire. Byzantine art featured somber religious figures in mosaics and paintings with little shadowing or realism. Major works mentioned include the mosaics of Sant'Apollinare Nuovo depicting New Testament scenes, and the apse mosaics of Emperor Justinian and Empress Theodora in San Vitale.
The document discusses the rise of Christianity and Byzantine art and architecture during the Byzantine Era. Roman basilica floor plans were adapted for early Christian churches. Justinian reconquered parts of the former Western Roman Empire and established Ravenna as the new capital, where many new churches were built. His reign marked the Golden Age of Byzantine culture, exemplified by architectural masterpieces like the Hagia Sophia in Constantinople, which featured innovative use of pendentives to support its grand dome. Byzantine art also developed a distinctive style using bright glass mosaics to depict biblical stories and figures.
Introduction to Jewish, Early Christian, & Byzantine Art Paige Prater
This document provides an overview of the syllabus for an art history survey course on Jewish, Early Christian, and Byzantine art. It includes the course details, a timeline of relevant historical periods, descriptions of important works and sites, and brief biographies of significant figures. The syllabus covers the origins and spread of the three monotheistic religions of Judaism, Christianity, and Islam. It then examines early Jewish, Christian, and Byzantine art from the 1st century CE through the fall of Constantinople in 1453 CE, highlighting influential artistic styles, architectural forms, and artistic traditions within each period.
This document provides information about the Byzantine Empire and notable architectural sites from the Byzantine period. It discusses the capital of the Byzantine Empire being Constantinople and highlights several important churches - the Basilica of San Vitale in Ravenna, known for its Byzantine mosaics, and Hagia Sophia in Istanbul, which had Islamic minarets added after its conquest and is now a museum. The mosaic of Justinian and his Retinue in San Vitale is described as using elongated, abstracted figures to depict Christian and royal figures symbolically rather than naturalistically.
Lecture, Early Christianity and ByzantiumLaura Smith
Early Christianity developed from 3rd-4th century CE Rome and spread throughout the Byzantine Empire from the 4th-15th century CE. It combined Greco-Roman artistic styles with Christian iconography and themes. Notable works included the Old St. Peter's Basilica, which adapted the Roman basilica form, and the Hagia Sophia's monumental central plan and dome structure. Figural mosaics depicted Christian subjects like Christ or imperial portraits in stylized, symbolic forms that asserted spiritual and political authority.
Bytheendofthe5th centuryAD,Romehadcompletelydeclined.Ithad beensackedtwiceandwasthenunderoccupation.
ItsinfluencewassignificantlyreducedandtheImpetusfor architecturalinnovationshiftedtotheByzantineEmpire.
This shift also marks the movement from early Christian civilizationtothe Byzantinecivilization.
UndertheByzantineEmperorJustinian,theByzantinestyleof architectureevolved.
Hisinterestinchurchbuildingledtothediscoveryofthegroinvault. .andtheevolutionof theByzantinestyle.
The document provides background information on Byzantine art during the rule of Emperor Justinian from 527-565 CE. It discusses how Justinian sought to restore the Roman Empire to its former glory through military campaigns and sponsored monuments. A key project was the reconstruction of the Hagia Sophia in Constantinople, which featured a central dome structure and was decorated with rich mosaics and marbles. Another important church from this period was the Church of San Vitale in Ravenna, which had a central plan and was decorated with lavish biblical mosaics depicting Justinian and religious figures in a stylized, non-naturalistic fashion.
The document provides an overview of various works of art from early Christian art to Gothic art. It describes key features and styles of different periods including Early Christian artworks depicting Christ as the Good Shepherd, the Sarcophagus of Junius Bassus combining Christian and classical elements, and the development of church architecture like Old St. Peter's Basilica. It also summarizes Byzantine artworks such as the mosaics in Hagia Sophia and San Vitale, as well as Islamic works including the Dome of the Rock and Alhambra. Finally, it outlines Romanesque artworks focusing on portals and sculpture, and Gothic developments in architecture like rib vaults and rose windows.
In 330 AD, Constantine the Great moved the Roman capital from Rome to Byzantium, renaming the city Constantinople. This established the Byzantine Empire, with Constantinople as its center, that lasted until the fall of the city to the Ottoman Turks in 1453. Byzantine art was created primarily for the Eastern Orthodox Church, and included mosaics, frescoes, and sculptures that decorated church interiors. Notable artistic works included the Hagia Sophia with its massive central dome and glittering mosaics that created an otherworldly atmosphere for worshippers. Byzantine architecture and art had a profound influence on neighboring cultures like the Arab world.
The document provides an overview of Byzantine art from the early period through the late period, covering major architectural works like Hagia Sophia and San Vitale as well as mosaics, icons, and other art forms. It examines the cultural influences of Roman, Christian, and eastern traditions on Byzantine art and highlights characteristics of each period such as the golden age under Justinian, the triumph of iconophiles in the middle period, and western influences like those seen at St. Mark's in Venice. Major artistic works are discussed in relation to the expression of spiritual ideas and hieratic formality in Byzantine art over time.
The document summarizes Byzantine art from 500-1453 AD. It notes that Byzantine art combined elements of classical Roman art with Christian themes. Mosaics, icons, and illuminated manuscripts were especially prominent art forms. Architects also developed new techniques like the pendentive and squinch to support domes over square spaces. The period saw controversies over the use of religious icons before they were fully embraced. Art served to visually express church theology in an abstract, symbolic style rather than realistic depiction.
The document provides an overview of Byzantine art from 395 to 1425 CE, including key terms, monuments, and artistic works. It discusses important architectural features like the pendentives that allowed the construction of grand domes. A highlight is the church of Hagia Sophia in Constantinople, built under Emperor Justinian after the Nika Revolt to showcase his power. Mosaics at San Vitale in Ravenna portray Emperor Justinian and Empress Theodora, asserting their roles as patrons of the church.
The document discusses several works of art from the Early Middle Ages and Romanesque period in Europe. It provides information on a 6th century Merovingian fibula, pages from the 8th century Lindisfarne Gospels including portraits of Matthew and Luke, and the Romanesque Church of Sainte-Foy in France from the 11th-12th century along with its relic container. It also mentions the Bayeux Tapestry from the 11th century depicting the Norman invasion of England. The works demonstrate evolving styles in medieval Europe like animalistic decoration, illuminated manuscripts, stone architecture, sculpture, and narrative embroidery.
The document summarizes developments in Northern Europe during the 16th century, including the Protestant Reformation led by Martin Luther, the impact on art with an increased focus on portraits and genre scenes over religious images, and the work of major artists like Bosch, Bruegel, and Dürer. Key events were Luther nailing his 95 theses in 1517, sparking reforms like salvation through faith alone and translating the Bible into local languages. Artists explored new subjects and styles within the technical developments of printmaking and responded to religious and social changes in Northern Europe during this period.
The document summarizes Mannerism in the later 16th century in Italy. It emerged in the 1520s in reaction to High Renaissance styles like Raphael. Key features included artificiality, twisted figures, and complex compositions that were difficult to interpret. Major mannerist artists included Pontormo, Bronzino, and Parmigianino. Architecture during this period synthesized mannerist and classical elements, as seen in the works of Palladio. The Counter Reformation also influenced art through directives from the Council of Trent.
The document provides an overview of the High Renaissance period in Italy from 1500-1524. It discusses important artists of the time like Leonardo da Vinci, Bramante, Michelangelo, Raphael, Bellini, Giorgione and Titian. Their works embodied classical ideals of balance, symmetry, and ideal proportions. Key locations included Rome, which saw a revitalization under Pope Julius II, and Venice, where artists used oil paint and canvas to create colorful works with sensuous forms.
The document provides an overview of early Renaissance art in Northern Europe during the 15th century. It focuses on Flanders, which was a wealthy region under Burgundian rule. Oil painting became popular among Flemish artists, allowing for richer colors than previous techniques. Notable painters mentioned include the Limbourg Brothers, Robert Campin, Jan van Eyck, Rogier van der Weyden, Hans Memling, and Hugo van der Goes. Their works, such as van Eyck's Ghent Altarpiece and Arnolfini Portrait, were renowned for their luminous colors, intricate details, and naturalistic style.
In 15th century Italy, Florence emerged as an intellectual, financial, and artistic center under the patronage of the Medici family. Humanism flourished during this period, emphasizing secular ideals and the study of classical Greek and Latin texts. Important early Renaissance artists included Filippo Brunelleschi, who pioneered the use of linear perspective in painting and constructed the dome of Florence Cathedral, and Lorenzo Ghiberti, whose Gates of Paradise on the Florence Baptistery made use of classical influences and set new standards for realism in sculpture. Masaccio's frescoes in Florence further advanced the use of linear perspective and naturalism in figure painting.
Giotto and other early Italian Renaissance artists like Duccio and Lorenzetti moved painting away from the flat Byzantine style towards realistic three-dimensional naturalism through techniques like foreshortening and realistic proportions. Giotto's frescoes in the Scrovegni Chapel showing biblical scenes with complex emotions helped establish him as the father of modern European painting. Duccio and Simone Martini combined Byzantine elements with Italian trends towards realism, creating works with elegant lines and refined colors.
The document provides an overview of Indian art until the 13th century, covering many religions in India including Buddhism, Hinduism, and their artistic traditions. It discusses key Buddhist concepts like the first sermon of Buddha and important figures like Bodhisattvas. For Hinduism, it outlines the pantheon of major gods like Brahma, Vishnu, and Shiva and covers elements of Hindu temples and iconic sculptures such as the Nataraja bronze. Regional artistic styles from areas like Orissa and important architectural works like at Sanchi and Angkor Wat are also summarized.
2. Objectives
• Survey the variety of stylistic sources and
development that characterized the long
history of Byzantine art.
• Understand the principal theme and subjects -
secular as well as sacred- used by Byzantine
artists.
3. Objectives
• Assess the central role of images in the
devotional practices of the Byzantine world
and explore the reasons for and impact of the
brief interlude of iconoclasm.
• Trace the growing Byzantine interest in
conveying human emotions and representing
human situations when visualizing sacred
stories.
7. 330 - Foundation of Constantinople
Constantine founded Constantinople (now
Istanbul) on the site of the ancient Greek city of
Byzantium in 324 and dedicated this “New
Rome” to the Christian God in 330.
12. Iconoclastic Controversy
• In 726, Leo III (r.717-741) enacted a ban
against picturing the divine, initiating the era
of iconoclasm and the destruction of
countless Early Byzantine artworks.
• Empress Theodora repealed iconoclasm in
843 and in 867, Basil I dedicated a new mosaic
depicting the Theotokos (Mother of God) in
Hagia Sophia. It marked the triumph of the
iconophiles over the iconoclasts.
13. 1054 – East West Schism
West East
• Roman Catholic Church
• Pope
• Rome
• Latin
• Eastern Orthodox Church
• Patriarch of Constantinople
• Constantinople
• Greek
16. • In 1204, Latin crusaders sacked
Constantinople, bringing to an end the Middle
Byzantine era.
• In 1261, Michael VIII Palaeologus succeeded
in recapturing the city. Constantinople
remained in Byzantine hands until its capture
by the Ottoman Turks in 1453.
18. Justinian (r.527-565)
• The first golden age of
Byzantine art was the
result of the lavish
patronage of Justinian.
• Wanted to conquer lost
western territories and
revive elements of the
classical Roman Empire
19. Justinian and Ravenna
The seat of Byzantine power in Italy was
Ravenna, which prospered under Justinian.
San Vitale is Ravenna’s greater church.
Its mosaics, with their weightless, hovering,
frontal figures against a gold background, reveal
the new Byzantine aesthetic.
25. Apse mosaic, San Vitale, Ravenna, 540-
547
• Jesus = early Christian style (young and clean-
shaven)
• Sphere = world
• 4 rivers of paradise
• Still naturalism but stiffer
• Frontality
• Golden background - spirituality
30. Characteristics
• Golden background
• Hierarchy
• No perspective
• The folds of the clothes hide the body
• Flat
• Spatial representation not realistic
31. Justinian and Constantinople
In Constantinople alone, Justinian built or
restored more than 30 churches. The greatest
was Hagia Sophia, which rivaled the
architectural wonders of Old Rome.
33. • For almost 1000 years = seat of the Orthodox
patriarch of Constantine.
• Became a mosque when the Byzantine Empire
fell to the Ottoman Turks
• Now a museum
46. A brilliant fusion of central and longitudinal
plans, Hagia Sophia’s 180 foot-high dome rests
on pendentives but seemed to contemporaries
to be suspended “ by a golden chain from
Heaven”
48. Middle Byzantine Art
• End of iconoclasm
• Importance of ivory carving and manuscript
painting
• Churches: Highly decorative exterior walls and
domes resting on drums above the center of
the Greek cross.
• Climax of the interior mosaic program: Christ
as Pantokrator in the dome.
50. Hosios Loukas, Greece, 10-11th century
Highly decorative exterior walls / Domes above the center of the Greek cross.
Large windows with
little holes
70. Icon of the
Virgin and
Child
between
Saints
Theodore and
George from the
Monastery of Saint
Catherine, Sinai,
Egypt, 6th or early 7th
century
71. Mary
• Very strong codification
• Hieratic
• Body concealed beneath a blue robe
• Large eye
• Small mouth
• Theodokos “God Bearer”
• Throne of wisdom
77. Pantocrator, 1180-1190, Cathedral,
Monreale, Sicily
Pantocrator: litterally “ruler of the world”, a term that alludes to a figure of Christ
placed above the altar or in the center of a dome in a Byzantine church.
78. Evolution of Byzantine painting
• Importance of icons
• Less Realistic
• More Symbolic
• Priority: spiritual rather than the natural
• Same traditions for several hundred years.
80. Byzantine Sculpture
• No large scale statues
• No in the round statues
• Ivory and precious metal
• Small size
• Reliefs
81. • Ivory carving flourished during the Middle
Byzantine period. Hinged ivory shrines, such
as the Harbaville Triptych, were popular for
use in private prayer.
87. Questions
• Characterize the role of the Classical tradition,
already notable in the Early Christian period,
in the developing history of Byzantine art.
When was it used? In what sorts of contexts?
Develop your discussion in relation to two
specific examples from two different periods
of Byzantine art.
88. Questions
• How were images used in Byzantine worship?
Why were images suppressed during
iconoclasm?
Editor's Notes
4th Century – foundation of Constantinople - Byzantium
5th century Empire split in 2
Western Empire disappeared in 476
Western Empire disapeared in 476
Barbarians invasion
Borders changed a lot
Greek vs Latin
Orthodox Christianity vs Roman church
Capital city: Constantinople
Western Empire disapeared in 476
Barbarians invaion
Importance of icon.
2 groups:
Iconoclasts – forbidden in the Bible / Idolatry
Iconophiles – S. Luke painted the Virgin
Most of the Art of before 9th century was destroyed – We have to study the Western ones
Many artists came to Occident
843 – end of the iconoclast period – lot of energy
Major split
Opposition between the Pope and the Patriarch of Costantinople
Excommunicated each other
Eastern Orthodox Church vs Roman Catholic Church
Crusaders wanted a free access to Holy land
Came to Constantinople and sacked it.
Lot of Venetian
Lot of works od art came to Western world admired and copied
Constantinople became weak –
Stolen to Constantinople (from hippodrome)
Lot of art stolen and destroyed
Latin occupation from 1204 to 1261 – Political fragmentation
Beginning of the decline
conquest by Turks in 1453
Huge impact for western world
Justinian as World Conqueror / Barberini ivory
Peace treaty with Persian
Classical Roman style as a triumphant emperor on horseback with his spear
Earth holding the emperor foot
Justinian defeated the Northern tribes
Political and artistic preeminence
Saint Vital – Roman slaves and Christian Martyr
Ravenna is the capital
Centrally planned octogon
2 floors – women?
Use of the light
Dematerialization of the mass structure
Gold mosaic – importance of the light for Christian
Apse
Paradise / 4 rivers
Christ – young and beardless // ApolloRoyal purple robe
In the same church : Christ with beard – coexistence of 2 models
S. Vitale and Eclesius
Still naturalism but stiffer
The folds don’t reveal the body
No perspective
Visual testament to Justinian’s religious, administrative and military authority
Archbishop Maximian (golden cloth)
Gold background – no nature, no landscape…Spiritual
Sense of hierarchy
Courtly custon carried over into the liturgy of the church ” . Example – hands covered for respect of the emperor
Justinian has never been in Ravenna // presence of the Emperor and justification of the power of the church
Less realistic –desire to be devided from the pagans
Apse
No floor /feet) / no perspective
No movement
Baptismal fountain
Art become more symbolic
By Justinian
“WISDOM”
Exterior – plain, massive, without decoration
2 Greek mathematician: Isodoros of Miletus and Anthemus of Tralles
Fireproof church
Classical roman construction method
Importance of Costantinople
Heavy load
Huge buttresses
Minaret (1453 – Turks captured the city)
Dome slighlty smaller than the Pantheon
Fusion of basilica and centrally planned building
Dome – one layer of brick thinner and thinner
Screen walls because load bearing function by piers
Multiplication of windows
How it is possible to go from square shape to circular shape?
Axonometric projection
All the weight on the 4 piers – Walls can be largely opened
Influence of classic art (ionic) but extraordinary pattern
Interlace
Light with gold
The apse altard less importance than the dome
Huge place for mosaics
Justinian’s imperial church – show its power and willness to unit all the Christian
Even if very conplex buidling – unity thanks to he cornices
Early byzantine – austere exterior
Middle byzantine – more decorated with colored marble
Lower dome
Small surface but high elevation
Large window with little holes - mystery
Early byzantine – austere exterior
Middle byzantine – more decorated with colored marble
Lower dome
Small surface but high elevation
Large window with little holes - mystery
Squinch
Same function than pendentive – more flexible can take more shape
Golden background become –
No perspectiveGraceful figures
Symbolic – sun and moon floating
Glittering / each piece placed on a different angle
Symbolic gestures
Venice not in the byzantine empire but strong influence
5 domes
Iconostasis – one part of the mass have to be hidden
Icons
Combination of the classical heritage if ancient Greece and Rome
More formal and hieratic: highly stylized or formal
Artists trained with a classical tradition
Artists with a medieval formalism
Volumen – up to 10 m long
Importance of painting
Very expensive and rare – Status . library
Psalter – book of Psalms from Old Testament
Classical model: figures and landscape
Brillant and composed color
Dynamic contrast between muscular bodies and stiff drapery
David is inspired by Melody (halfclassical / half medieval)
Echo behind a loving cup given as a prize for the best singerPersonnification oif Mountains of Bethlehem (muscular /
Jewel-like border framme
Curves dominates composition
Combination of the clasiicalheritage of Rome and Greek with the more fornal and hieratic medieval time
Religious devotional image
Holy image
Portable In private house or church or monastery
Wood with plaster – painted and gilded – Glaze for protection
Often touched / kissed / candles
Paraded during feasts /procession
Unchanged traditions for centuries
Very codified type
Frontal poses / Symmetry / weightless bodies
Big eyes /small mouth closed / Thin and long nose
Timeless space / golden backgrounds – Drapery is emphasized
Facial types standarnized – no psychological penetration or individual insight
No portrait
Encaustic on wood
Monastery built to the place where God appeared to Moses / Chapel of the Burning Bush
Oldest inhabited Christian Monastery / built by Justinian
According to the Koran, a letter of protection was given to the monastery in the 7th century – Only Christian site separed
Devotion / Prayer
In the Koran – Mohammed wrote a letter of protection. Not destroyed by Muslim
No narrative / no landscape
Symbolic and with a strong codification
Hieratic
Matu – Theokos “god bearer”
Hair and body caoncelaed beneath a blue robe
Large eye and small month
Tempera on wood
Theotokos
Brought from Constantinople to Russia, Tetrykov gallery in Moscow
Importance of Byzantine Art in the Salvic lands
One of the most venerated orthodox icon/ Holy protectress of Russia
Eleousa – right hand with tenderness
Unknown painter – Spiritual (monks)
Only the face and hands are original – clothes damaged by riza
For Normans
Mosaics – 1179-1782
Largest Byzantine mosaic cycle extant, dazzling recreation of a heavenly realm on earth
6.340 m2
Local and artists from Constantinople
Elaborate hierarchy
Pointed arches suggest the beginnings of the Gothic style
Largest Byzantine mosaic cycle extant, dazzling recreation of a heavenly realm on earth
Pantocrator – the all powerful / the omnipotent
(combination between Jesus Christ and God Father)
Only for representation of God
In opposition with the Christ suffering
Bible (greek and latin) in one hand, Blessing in the other one
Monumental scale /Solidity
Sterness / severeness / awesome grandeur
Desire to be separated from pagan past
Louvre
28x24 cm
Mixt of western and Oriental tradition
Deesis
Christ with S. Peter and Virgin Mary, interceding for human
nity
Around Saints and Apostle participate to the prayer
Individualized heads
Frontality broken up by slight turns of the body
Sharp crips line
Angels appear in medallion
Jewel-like delicacy of craving
Hand are covered
Names labeled
Same size, symmetry