. Madrid Chronicle of John Skylitzes, Palermo, c.1150-75 (Madrid), Procession in Constantinople for relief from a drought

commisioned either under king roger ii or his son king william I.  Different than what we've seen.  Its secular – a history of byzantine empire, chronicled.  Text writted by joh akylitzes.  Wrote text in 1070. 

doesn't appear before this manuscript of illuminated copies of this manuscript.  Scribe left spaces every once in a while in the text – illuminator painted little unframed scenes.  Not unlike the topkapi octateuch.  Close narrative relationship to text. 

This manuscript remarkabley heavy illuminated even though it lost pages in beginning and end there are still 500 some illuminations.

Other illuminations show us some remarkable glimpses of culture of which we are otherwise ill informed.  Procession held in constantinople for relief from drought.  This shows us what it may have looked like – primarly a religious procession.  Led with processional crosses.  Going towards  reduced indication of a church.  Remarkable there were only reliquaries and not icons. 

Madrid Chronicle of John Skylitzes, Palermo, c.1150-75 (Madrid), Conversion of  Bulgarian Khan Boris to Christianity

commisioned either under king roger ii or his son king william I.  Different than what we've seen.  Its secular – a history of byzantine empire, chronicled.  Text writted by joh akylitzes.  Wrote text in 1070. 

the conversion of the bulgarian khan boris to christianity.  Shows us the baptism – a glipse at christianity in practice at the time.  Although it wasnt actually produced in empire its incredibly valuable as evidence of byzantine cultural history.  Once again the general sort of feeling is that local palermo artists working alongside byzantine artists. 

Queen Melisende's Psalter, Jerusalem, c.1135 (London), Deesis

24 full page illuminations.  Made by painter called basil.  Either thought to be european or local – strongly trained in byzantine manner. Thought he may have had model - 11^th century manuscript from constantinople.  Standard sort of iconography from this scene.  in the psalter we get a byzantine and western version of basically the same scene.  If you look in the style it is done once again closely depends on some byzantine training. 

Deesis.  Familiar image of the deesis.  Basil has even copied the greek inscriptions – even though manuscript itself written in latin.  Points to direct byzantine model.  Style of the script is so distinctive though scribe was french.  Cover of manuscript has also survived – consists of two large sheets of ivory in deep releif.  Front cover: like of king david  back cover: a king performs acts of mercy.  On back king dressed in byzantine imperial costume. Just as in norman sicily you can see its an extremely cosmopolitan culture.  King fulk , first count of anjou, then king of jerusalem.  1131-43 common for european crusaders to marry locally.  Crusaders also married into armenian royal family..

Crucifixion icon, third quarter of 13th century (Mt Sinai)

st. george and the boy of mylitene, mid 13^th century

something profoundly non byzantine about it.  Modeling of faces, approach to space, and to definition of draperies – a great distance from byznatine models which inspired this.  Thought to be euro artists trained in byzantine styles.  Inscriptions are latin.

st. george – in 1^st crusade crusaders came across church in lydda where they thought his body had been buried. 

St George icon, mid-13th century (London, Br. Mus.)

The boy of Mylitene, mid 13thcentury.  the boy: kidnapped by muslim, enslaved.  George rescued the boy, took him away so quickly he was still holding the goblet he was serving. 

The raised Gesso background is not found in byzantine art, found in cyprus which was controlled by christians.  other crusaders are ---.

Makes reference to Silver work. Cursader culture - Large icon, over 3 ft high, size is often increased at this time.

Virgin and Child icon, Cyprus?, c.1290 (Washington, D.C., Nat. Gall.)

theotokos hodegetria virgin, enthroned version.  looks byzantine with significant differences.  not trained by a byzantine artists.  gold drapery folds emulate, but are unlike byzantine worlds'. 

Studenica, Theotokos Church, fd. 1192, ext.

dominated by byzantine style dome.  has inner/outer narthex. unbyzantine items: built of stone, rather than brick.  elemnt of its decorative corbelle tables, pilaster strips, (romanesque arch style from Western Europe.)  Portal sculpture. Barrel vaults pointed, western style.  wal paintings - entire church painted in 1209, extensive narrative sequences, life of chist and virgin very damaged. 

. Studenica, Theotokos Church, fd. 1192, fresco: Crucifixion

high quality, thought pained by artist who had fled constantinople. Mannered draperies, disures. almost step back from 11c, very reerved not expansive mode, subdued emotional engagement unlike nerezi.  Figures are natural proportion, draperies are mildly stylized, nested 'v' folds, not entirely naturalistic. 

background is plain star full background.  the floor background, no represented in perspective probably an italian influence (there some perspective would be used.) indication to some from of expeanded pictorial space in emerging mrging elements with east and west.

Sopocani, Church of the Trinity, fd. c.1256, fresco: Koimesis

Sopocani, koimesis, 1266.

architectural backgrounds, angels beginning to stack, intense drama happening. 

Could be some specific balkan develoment as well as stuff at the capital. 

Certainly the colors are distinct of what we know of the capital.  Representing a garish combination of colors. (peribleptos) 

Trebizond, Hagia Sophia, 1238-63, ext.

Trebizond, Hagia Sophia, 1238-63, Christ casting out a demon from the daughter of the Canaanite woman

Constantinople, Hagia Sophia, fresco, shortly after 1261: Deesis, det: Christ

Vatopedi Octateuch (Mt Athos, MS 602), Joshua and the Angel

Acts of the Apostles and Epistles, Constantinople, late 13th century (Vatican): Apostles

Constantinople, Theotokos Pammakaristos (Fetiye Camii), Parekklesion, c.1310, mosaic: Baptism of Christ

Constantinople, Chora Monastery (Kariye Camii), c.1315-21, ext.

Constantinople, Chora Monastery (Kariye Camii), c.1315-21, naos mosaic: Koimesis

Constantinople, Chora Monastery (Kariye Camii), c.1315-21, inner narthex, Pantocrator and Theodore Metochites

Constantinople, Chora Monastery (Kariye Camii), c.1315-21, inner narthex mosaic: Birth of the Virgin Mary

. Constantinople, Chora Monastery (Kariye Camii), c.1315-21, inner narthex mosaic: First Seven Steps of the Virgin Mary

Constantinople, Chora Monastery (Kariye Camii), c.1315-21, outer narthex mosaic: Nativity of Christ

Constantinople, Chora Monastery (Kariye Camii), c.1315-21, outer narthex dome mosaic: St John the Baptist and Christ; the 3 Temptations of Christ

Constantinople, Chora Monastery (Kariye Camii), c.1315-21, Parekklesion dome fresco: Angel

Constantinople, Chora Monastery (Kariye Camii), c.1315-21, Parekklesion fresco: Anastasis

. Annunciation icon, Constantinople, early 14th century (Ochrid)

Annunciation, mosaic icon, c.1310 (London, V. & A. Mus.)

. Man of Sorrows, mosaic icon, c.1300 (Rome)

. Hosios Lukas, templon, 11th century, with later additions

Torcello Cathedral, templon, 11th century, with later additions

Painted templon beam, middle part, Mt Sinai, 13th century

. St John Chrysostom, mosaic icon, mid-14th century

Thessalonike, Church of the Holy Apostles, dome mosaics, c.1315: Prophets

some remaining wall decoration in the church of thessalonike.  Inner and outter nathexes.  Second most important city in byz empire after constantinople. 

Creativity of church building in greece began to influence that of the capital itself in this period.  As we have seen in constantinople decoration combined mosaics and wall painting – increasingly common at end of empire when finances were in decline. 

Program quite close to cariogami.  Survival in thessalonike not complete, at one point someone picked out all the gold mosaics and left the images.  Probably in late 14^th, early 15^th.  Probably not by the turks themselves, because they wouldn't have had an interest in saving the images as is the case here. 

Dome and pendentives below, pantocrator in top of down, prophets around him lower down on dome.  On pendentives we have the 4 evangelists.  Other vaults have narrative subjects.  Here principally the 12 prin. Feasts.  Similarly dynamic of the one we saw In parclesion. 

Become in 1315 – contemporary of cariogami imagery.  Typical paleologan style here.  The crazy hair of some of the people.  Creates a shallow foreground face.  Problem of what came first is difficult to say.  Can't see thisstyle developing in greece in early monuments there. 

Arta, Church of the Theotokos Parigoritissa, 1282-89, int.

Despot of epirus, nicephorus and anna paleologina. 

Arta, theotokos paragoritissa (virgin of consolation), 1282-89

this sort of name becomes more common after the 14^th century.  Not all image types, more devotional proclivities associated with the virgin.  While exterior is ornate, it has a block like appearance.  Rodley claims a western influence.  Bugsy not convinced.  The windowless ground floor could certainly be inteded as security against attack. 

On interior an unusual effect of reused columns stacked up against each other.  Although most decoration is gone some of the mosaics have survived in the dome.  As with holy apostles in theosolonike.  Pantocrator right at the top, with cherubim and prophets below.  Also 4 evangelists in pendentives. 

The mosaics are datable to inscription to 1282-86.  not more earlyer than thessalonike.  May have some characteristics of paleologan proportion.  Pantocrator bears no relations of what is seen in consantinople or thesalonike.  Seems to look back towards the 11thc entury.  Odd conventionally shaped head, eyes that are strangley large.  Its hard to evaluate where this style is coming from.  The bulky hair of christ could betray some element of paleologan style.  Though p. elecements are subdued compared to other examples. 

Arta, Church of the Theotokos Parigoritissa, dome mosaic, 1294-96: Pantocrator

Despot of epirus, nicephorus and anna paleologina. 

Arta, theotokos paragoritissa (virgin of consolation), 1282-89

this sort of name becomes more common after the 14^th century.  Not all image types, more devotional proclivities associated with the virgin.  While exterior is ornate, it has a block like appearance.  Rodley claims a western influence.  Bugsy not convinced.  The windowless ground floor could certainly be inteded as security against attack. 

On interior an unusual effect of reused columns stacked up against each other.  Although most decoration is gone some of the mosaics have survived in the dome.  As with holy apostles in theosolonike.  Pantocrator right at the top, with cherubim and prophets below.  Also 4 evangelists in pendentives. 

The mosaics are datable to inscription to 1282-86.  not more earlyer than thessalonike.  May have some characteristics of paleologan proportion.  Pantocrator bears no relations of what is seen in consantinople or thesalonike.  Seems to look back towards the 11thc entury.  Odd conventionally shaped head, eyes that are strangley large.  Its hard to evaluate where this style is coming from.  The bulky hair of christ could betray some element of paleologan style.  Though p. elecements are subdued compared to other examples. 

Ochrid, Church of St Clement, frescoes, Michael Astrapas and Eutychios, 1295, Koimesis

Ochrid, Church of St Clement, frescoes, Michael Astrapas and Eutychios, 1295, Lamentation

Gracanica, Church of the Annunciation, finished 1321, ext.

Gracanica, Church of the Annunciation, finished 1321, fresco: Prophet Elijah fed by a raven

Mistra, Church of the Theotokos Peribleptos, c.1370-80, fresco: Ascension

Mistra, Church of the Theotokos Pantanassa, fresco, 1428: Ascension

Embaros, Crete, Church of St George, fresco, Manuel Phokas, 1436-37: Ascension

Ascension icon, Crete, late 15th century (London, V. & A. Mus.)

Domenikos Theotokopolos, Koimesis icon, Crete, c.1567 (Hermopolis)

Meteora, Monastery of St Nicholas, int., frescoes by Theophanes the Cretan, finished 1527

Voronezh, Moldavia, Church of St George, blt. c.1488, ext. ptg. 1547-50, ext.

Voronezh, Moldavia, Church of St George, blt. c.1488, ext. ptg. 1547-50, w. wall: Last Judgement

Voronezh, Moldavia, Church of St George, blt. c.1488, dome frescoes

Moldovitsa, Moldavia, Church of the Annunciation, fd. 1527-38, fresco: Siege of Constantinople in 626

Moldovitsa, Moldavia, Church of the Annunciation, fd. 1527-38, fresco: Akathistos hymn

St John Climacus, with St George and St Blaise, icon, Novgorod, shortly after 1250

The Virgin's Assembly, icon, Novgorod, late 14th century

Novgorod, Cathedral of the Transfiguration, fresco, Theophanes the Greek, c.1378: dome fresco

Novgorod, Cathedral of the Transfiguration, fresco, Theophanes the Greek, c.1378: Old Testament Trinity

Volotovo, Church of the Dormition, fresco, 1380s: Anastasis

Volotovo, Church of the Dormition, fresco, 1380s: Tale of the Prior

Virgin of the Don, double-sided icon, shortly before 1380, front: Theotokos Eleousa

Virgin of the Don, double-sided icon, shortly before 1380, back: Koimesis

Christ icon, Andrey Rublev, from Cathedral of the Dormition, Zvenigorod, c.1410-20

Old Testament Trinity, icon, Andrey Rublev, c.1410-20, from the Trinity-St Sergius Monastery

St Elias (Prophet Elijah), icon, Novgorod, c.1400 (Moscow)

Battle between Novgorod and Suzdal, icon, Novgorod, c.1450-75 (Novgorod)

. Ferapontov Monastery, Church of the Birth of the Virgin, fresco, Dionisy workshop, 1500-02: "In thee we rejoice..."

. Ferapontov Monastery, Church of the Birth of the Virgin, fresco, Dionisy workshop, 1500-02: the Widow's Mite

Cathedral of the Dormition, Moscow, cons. 1479, Aristotele Fioravanti

Church of the Transfiguration, Kizhi, 1714