Göreme,

Tokali Kilise,

New Church,

apse fresco: Crucifixion,

mid-10th century

Tokali kilise, goreme, lower church, 9^th century. 

A series of now barrel vaulted chambers leading towards a triple apse with a small dome.  On some of other vaults there are paintings.  Scenes of christ's life above, saints below.  Regsiters, and in both directions.  Below is row of standing saints.  Proliferation of saints like this become very common.  Exact arrangement of narative and images in barrel vault are fairly unique to cappadocia.  What you find somewhere are very early examples of images that do become popular elsewhere.  They haven't survived quite well.  At one point were plastered over. 

Two more phases of construction were carried out at tokali kilise.  New church, 10^th century. 

This has retained a great deal of its painted decoration.  Paintings on virtually all the vaults and upper walls.  Once again this does approximate a plan of a more standard church, but with some weird irregularities.  Central vault of the naos (nave) is painted with christ's ascension.  We will see images of christ's ascension in domes, but rather unusual for it to occupy a barrel vault.  Not completely unknown, but still a fairly rare iconography for a barrel vault at this time.  Other scenes of christ's life. 

Upper east wall of nave. - more scenes from his life, baptism.  More standing saints.  Standard elements of church decoration but in an unusual combination. 

One of most unusual parts is in the apse.  Once inside one can see a crucifixion decorating the apse, which is a highly unusual decoration in a byzantine church.  A time when church decoration themes had not yet been formalized.  Very early decoration from after iconoclasm. 

Also some rare examples of images that do pop up later in byzantine art.  One of them is Virgin Eleousa, or virgin of mercy.  Another of standard images of virgin and child that crop up quite commony later on.  One of first surving images of it, from early 10^th century.  Virgin is holding child closely against her, and their cheeks are toughing, his arms around her neck.  A tender image meant to evoke an empathetic reaction.  Maternal affection. 

This sort of image is not only new its empathetic aspect, its also new in according human traits instead of divine ones to christ.  Not an image of son of god, but as a real human baby with human affections.  A more emotionally engaged response. 

For now subject matter did not become common until 12^th century. 

  Göreme, Tokali Kilise, New Church,

fresco: Virgin Eleousa,

mid-10th century

Tokali kilise, goreme, lower church, 9^th century. 

A series of now barrel vaulted chambers leading towards a triple apse with a small dome.  On some of other vaults there are paintings.  Scenes of christ's life above, saints below.  Regsiters, and in both directions.  Below is row of standing saints.  Proliferation of saints like this become very common.  Exact arrangement of narative and images in barrel vault are fairly unique to cappadocia.  What you find somewhere are very early examples of images that do become popular elsewhere.  They haven't survived quite well.  At one point were plastered over. 

Two more phases of construction were carried out at tokali kilise.  New church, 10^th century. 

This has retained a great deal of its painted decoration.  Paintings on virtually all the vaults and upper walls.  Once again this does approximate a plan of a more standard church, but with some weird irregularities.  Central vault of the naos (nave) is painted with christ's ascension.  We will see images of christ's ascension in domes, but rather unusual for it to occupy a barrel vault.  Not completely unknown, but still a fairly rare iconography for a barrel vault at this time.  Other scenes of christ's life. 

Upper east wall of nave. - more scenes from his life, baptism.  More standing saints.  Standard elements of church decoration but in an unusual combination. 

One of most unusual parts is in the apse.  Once inside one can see a crucifixion decorating the apse, which is a highly unusual decoration in a byzantine church.  A time when church decoration themes had not yet been formalized.  Very early decoration from after iconoclasm. 

Also some rare examples of images that do pop up later in byzantine art.  One of them is Virgin Eleousa, or virgin of mercy.  Another of standard images of virgin and child that crop up quite commony later on.  One of first surving images of it, from early 10^th century.  Virgin is holding child closely against her, and their cheeks are toughing, his arms around her neck.  A tender image meant to evoke an empathetic reaction.  Maternal affection. 

This sort of image is not only new its empathetic aspect, its also new in according human traits instead of divine ones to christ.  Not an image of son of god, but as a real human baby with human affections.  A more emotionally engaged response. 

For now subject matter did not become common until 12^th century. 

Constantine VII Porphyrogenitus crowned by Christ,

ivory,

mid-10th century

(Moscow)

Porphyrogentus is his “nicname” means born into purple – imperial line.  He was actually a bastard so it was more a hopeful thing that an actual reflection of birth status.  Both figures in ¾ view.  Christ is more strictly central than the emperor.  We're supposed to focus out attention mostly on christ, who is also on a higher level than the emperor.  Heirarchical aspect of images extremely important in byzantine art. 

Both of these images show emperors being crowned by holy figures.  Constructs a sense of political authority.  Typical of images of byzantine emperors during middle byzantine period.  Promoting divine authority for their rule. 

¾ view a narative device.  Full frontality becomes the absolute rule in icons. 

Harbaville Triptych,

ivory,

mid-11th century

(Paris, Louvre)

Triptychs were made for Private devotional use.  Generally carved on both sides.  More saints on outer wings.  On inside surface is jammed with as many saints as can be put in there.  No attempt made to vary their poses at all.  Typical of byzantine presentation of saints.  Very little movement in figures.  Military saints up top – active individuals so they have slightly more movement, but not much.  Can tell something of their identities from their general appearance.  Saints with crosses are martyrs.  Saints in the middle holding scrolls or books.  Wearing sandals are apostles.  Generally apostles are either sandals, or more so bare, to show its sacred ground they've trod.  All absolutely frontal. 

A real formulaic hierarchy to the saints.  Easy to tell their status as a saint, but without the inscriptions its hard to tell which saint in particular they are.  A with a circle around it stands for oagios which means saint.  Followed by their names.

MR theta and U is mary's abreviation.  Stands for meter theou – mother of god.  Theotokos = god bearer.  These two expressions are the most typical ones used in the the byzantine world. 

This arrangement shows us that with this enthroaned figure of chirst, and these two ¾ views, shows that these two flanking figures are in direct contact with christ. This relationship is quite common and an intercessory relationship.  Flanking of mary and st. john the baptist.  Becomes known as the deesis.  An abreviated way of showing the last judgement.  Less common in byzantine art until sometime later than this.  Deesis quite popular all the way through.  The virgin is seen as a favorable position to intsercede on behalf of humans.  Last of old tesetement prophets and christ as a messiah.  ¾ view tips the viewer off to the relationship.  We can still relate personally to john/mary. 

On back is symbolic image of the cross flanked by two trees.  Symbolic image of the cross as the tree of life relating to grace and judgement.  Typical sort of object/triptych in the byzantine period. 

Reliquary of the True Cross,

ivory, etc.,

963-69

(Cortona Cath.)

Cortona true cross reliquary, reign of emperor nicephoros phocas 963-69

because of ascension there werent' the body relics for christ as with other saints.  Instruments of the passion were next best thing.  The cross considered the most important.  The plaque itself is ivory, an open work gold screen over the relic to show it and protect it at the same time.  Quite popular.  The true cross considered an important relic.  Thought to have a miraculous quality to regenerate itself.  True cross apparently had been found by emperor constantine's mother helena in 4^th century.  Brought to byzantine, then transported all over the christian world.  Emperor nicephoros and empress are features below on the reliquary.  All figures flanking the cross are in ¾ view.  Two saints below are intended to be adoring the cross itself.  The figures above are identified as virgin mary and john the baptist.  In ¾ view to be relating to the bust of christ above.  You can tell a lot about the saints by their inscriptions, placement and pose. 

Veroli Casket

Ivory

Late 10th, Early 11th century

This is neither religious nor official imperial image.  A secular work intended probably for female member of imperial court.  A much freer sort of imagery than in religious works.  Not only in how they are presented but in their style aswell.  Lively little figures in a whole range of different poses.  Theres certainly not limited to frontal and ¾ view figures.  Some in almost pure profile.  Subject matter is not religious.  Rape of europa – greek mythology.  Zeus sees human maiden europa, gets with her in disquise as a bull.  Byzantine people considered this part of their classics.  Part of their heritage.  Would have been part of their education.  Classical literary associations crop up commonly at this time. 

Emperor constantine VII porphyrogenitus is considered quite the scholar and partially responsible for a revival in classic literature.  Macedonian renaissance.  Associated strongly with a revival and renewed interest in classical works.  A problematic concept – renaissance in the 10^th century.  In style alone these figures to not resemble classical canons.  An effort to appear classical, but their rather stubby and rounded faces so they're kinda doll like.  Stylized little clumps of hair. 

We can see similar style in some of the figures in the nativity triptych.  Similar way of defining hair and some have similar proportions and facial types. 

Veroli casket a rare survival of secular art from this period. 

Gospel Bookcover; Orant Virgin

gold, enamel, gems, pearls

10-11th century

dating purely don eon style.  Most precious of materials.  Sheltering the word of god, book covers very often treated like this for very precious manuscripts.  Bust of saints purely frontal.  Two full length figures of christ and mary.  Both sunk enamel.  Jewel like richness of the enamel colors.  The gold is cut very precisely to see where it is.  Can see where the wires were soldered to the gold plaque below to form the compartments.  Although mary's constume is all blue, gold wire is soldered in to form the drapery folds of the garment.  Cloisonne is being used for its pictoral capacities. Pictoral capacities not as great as painting for example.  Common in fact for drapery folds to be indicated by varying the colors.  A “stripey” effect.  Valued not for pictoral sophisitication but for the jewel like richness which lent status to the image.

King Abgar and the Mandylion, with other saints

Triptych

mid 10th century

(mt sinai)

Sings of a triptych, c. 945 (mt. Sinai)

King Abgar of edessa and the mandylion

used to be the wings of a triptych.  Christ on the mandylion is full frontal, though all other figures are ¾ view.  Icon has been related to the transfer of the mandylion from constantinople to edessa by constantine VII.  Image of king abgar is similar to the image of constantine VII being crowned by christ.  Far from being cooincidental. Intentional modeling after emperor.

st. nicholas icon, 10^th cen mt sinai

st. philip icon, late 10 cen mt sinai

philip is a complete standing figure, nick is bust length.  Both were common and both are full frontal.  Both are identified by inscriptions, which were very common on these icons.  Both set against the plain gold icons.  Resemble sunk enamels but a completely different medium.  They were painted in tempera paint.  Earlier ones were in encaustic, but by this time they're all tempera. 

Tempera paint = pigments (ground minerals etc) + binding medium (egg yolk)

gold leaf – thinly beaten gold. 

Before putting leaf onto the panel you but on a red clay called red bole.  Allows you to burnish the gold after applying which smoothes the surface. 

These icons both have frames.  These are not added to the panel, but are part of the panel itself.  The center is excavated out.  These are called integral frames.  Sometimes the frames are used for further images of the saints, as is the case on nick's icon.  Another sort of resemblance of other media. 

Deesis icon,

late 11th century

(mt sinai)

deesis flanked by full length figures on the frame, aswell as bust length roundels elsewhere on frame. 

the 12 principle feasts, icon

13th century

mt. sinai

One of a growing number of liturgical icons.  One of most important types is known as a festival icon.  These feature collection of images based on the liturgical calendar. 

1. Annunciation
2. nativity of christ
3. presentation of christ in the temple
4. baptism of christ
5. transfiguration
6. raising of lazarus
7. entry into jerusalem
8. curcifixion
9. anastasis
10. ascension
11. pentecost
12. koimesis, or the dormition of the virgin

revolve around the lives of christ/virgin mary. 

1. annunciation

top right.   Arranged chronologically in christs life, not how they are celebrated through the year. 

Nativity scenes are generally taken place in a cave or a grotto.  Caves are an important part of the christian tradition.  Another common aspect, christ's first bath.  An iconographic feature adopted from a much older source, can be traced back to iconography of alexander the great.

Baptism of christ has a classical personification of the river jordan,

transfiguration – moses and isaha flanking him, three apostles below. 

12 principle feasts are a common sort of icon.  The 12 feasts are rather important.  Liturgical highlights of the church year. 

Gold leaf rubbed in a certain way to make a circular shean on many byzantine pieces. 

Joshua Roll

Prob 10th century,

Embassy of the Gibeonites to Joshua

(vatican)

the joshua roll ( a rotulus, not a codex), 10^th century

embassy of the gibeonites to joshua

joshua condemns the king of ai

 a continuous sheet of parchment from pieces put together.  A continuous narrative unfolds. Rotulus a very ancient form that hadn't been produces regularly at all for centuries.  Orriginally an egyptian form. 

Very little text on the joshua roll.  Illuminated by old testement scenes from the life of joshua.  Scenes not individually framed, just ran into each other – i.e. a continuous narrative. 

Not how ancient rotuli were illuminated, orriginally had text columns running down, but clearly not the case here.  More like triumphal columns .  Column of arcadius would have been around in constantinople. 

Joshua is represented as a roman emperor in emperial military cosutme.  Filled with classical details.  Classical looking altar.  The painting style is quite distinctive, it was done in light washes instead of opaque paint, this emulates the classical habit.  Rolling and unrolling would not be kind to a standard tempera paint – so a light wash is used.

Many problems with the joshua roll.  More prominence given to the images rather than the text.  Sometimes there are gaps in the text, or it is not completed.  Text has the appearance of an after thought.  The foregrounding of an image over a text is highly unusual for a byzantine manuscript. Abreviated version of biblical text. 

Joshua roll seems to be used itself as a model for other works.  One theory is that it was specifically made as a model for other works.  Otherwise we have no idea why such an usual manuscript would be made.  Enough references to it later to know it was made in constantinople.  Influence of joshua roll not limited to manuscripts. 

Josha roll's scene of the stoning of achan has influenced the veroli casket with the scene of the rape of europa. 

Whatever it's function the roll was modeled itself in some way after older models.  A pastiche of references from a lot of other manuscripts.  Put together in a unique form. 

How classical things work depends on the model used. 

Bible of Leo the Patrician

c. 940

Moses receiving the law

(vatican)

A heavy impasto, layer of paint, on this manuscript.  The model for this was probably dated from the 5,6^th century.  Probably accounts to dryer sense of atmosphere, conformity to landscape to page, and squatter figures than what we'd expect from classical forms.  A personification on the bottom corner or either the river or mountain.  Similar to the image of ezekial from homilies of st. gregory nazianzus, 880-882. 

the personification here is not just off to the side, but is just as interested in moses as the israelites.  Throws status of this personification into some ambiguity. 

Moses getting 10 comandments is a very old model

christ's resurrection and ascension, ivory c. 400

some comprable image like this undoubtedly influenced the manuscript here. 

Other images from the bible of leo the patrician shows u a different type of image copied from church decoration. 

Leo presenting his bible to the virgin mary

st. nicholas with leo and abbot makar

not modeled after old images, because they present new pictoral concerns. 

Tall image of saint flanked by much smaller figures, kneeling in adoration in an attitude known as proskynesis. 

On the left, leo is not in proskynesis he is presenting this very bible to the virgin mary employing her help.  This shows he is expecting her to intercede on his behalf at the last judgement.  Gesturing to the bible with one hand to christ with the other.  A very clear relationship between the three. 

For such images we don't have to postulate classical models.  Reflect very current religious concerns.  Proskynesis is from byzantine social practice. 

Bible of Leo the Patrician

c. 940 

Leo presenting Bible to the Virgin

(vatican)

Psalter of Basil II,

End of 10th century

Basil II crowned by Christ and Angels

(venice)

Psalter of basil II, c. 1000, basil & defeated bulgars. 

Basil II shown in military costume (very antique military costume) and bulgars in pose of proskynesis.  Not just his enemies but his subjects were expected to adopt this pose in his presence. At top is bust of christ who is reaching down with a crown towards basil's head.  An indication that his victories over the bulgars is divinely aided.  Angels are providing him with another crown and insignia.  Flanked by military saints.  He has a halo and people in proskynesis.  Not much seperating this image of basil from the one of st. nicholas.  A very strong image of imperial authority and his divine right.

Psalter of basil not heavily illuminated other than a few large pictures. 

Hosios Lukas

Katholikon

Cons. 1011 or 1022,

interior

a lot of it is mosaics in the upper walls and apse.  Squinches transitioned from a square bay below and an octagonal base from which the central dome would spring.  A more elaborate alternative is a pendentive (used in hagia sophia) but squinches are much more common.  Mosaics orriginally in all of the squinches.  Images of standing saints everywhere.  Saints everywhere!

In the crypt below theres also some wall painting. 

Warrior saint, fresco.

Most of the figures in this church has figures against gold mosaics.  In only some narative scenes are any landscape features included. Certainly the cave for the nativity has to be included. Most of the images in the church are saints.  They take three forms. `1. full figures 2. half figures (hosios lukas for example) 3. half length figures in roundels.  Same sorts of things we've seen in icons and precious metal work.  Great conjunctions between media in this period.  Just as in small scale works the figures are mostly full frontal, unless they are interacting with someone and in that case its ¾.  The fact that the viewer is in an odd position in relation to the saints has been somewhat taken into account.  The saint on the arch 'bending over' to look down at us.  Probably the reason that there are so many shallow apse like structures.  With shallow curves the form is looking over and glancing down at the people.  Images adapted to the physical space of the church.  Such a consistant approach to imagery in a byzantine church that it has to be considered an important part of how these images are presented in a church. 

A heirarchy of the mosaics on the saints from the height from the floor.  The highest zone represents heaven – the purely spiritual realm.  Below that is earthly paradise – the holy land.  Squinches – the naratives from 12 principle feasts of the church.  The lowest zone represents our own physical world and contains most of the images of the saints. 

The smaller eastern dome and the apse aswell should be thought of in the highest heavenly zone.  It represents the

pentecost in the dome virgin and child in apse

pentecost was basically the only image other than pantocrator or ascension.  Fixed system of decoration.  In apse there is an image of virgin and child – becomes THE standard iconography of a middle byzantine church. 

Hosios Lukas,

Katholikon

Cons 1011 or 1022,

apse and apse dome

katholikon – principle church in a monastery.  This one built onto an earlier church. Octagonal central church form. 

12 principle celebrations of the church – common decoration for the squinches. 

Apse has standard decoration of the virgin in some form.

Figures in the mosaics not occupying a fictive pictoral space – but the actual space of the church. Physically leaning down creating a direct link to viewer. 

Along with pantocrator in main dome – the pentacost and the asscension were the other two forms of decoration.  Pentacost shows just after the assension when the apostles were granted the ability to talk in tongues. Depicted as beams of light shooting down at the apostles.

Empty throne = hetoimasia.  Strongly associated with the last judgement.  In this case has a dove on it.  Empty throne said to be awaiting christ's return at the end of time to judge everyone. 

Inspiration to talk in tongues is represented as beams of light shooting down at them.  They have lively geastures and are in ¾ view, they are very clearly talking to eachother/ active.

Rather than conceiving a pictoral space behind the figures, people thought of them as occupying the real space of the church. Physically above them.  Put viewers into direct physical contact with the saints themselves through their images. 

Coordinated with scale. 

Figures in the mosaics represented in the physical space of the church.  Where it is used most remarkably is the narrative scenes In the squinches, which depict 4 of the 12 principle feasts of the church. 

Nativity of christ – hosios lukas  near phocis, katholikon, cons 1011 or 1022

relate to the liturgical year quite directly.  More of the 12 principle feasts extended into the narthex.  Flanking the central door into the church.  The nathex generally extended he narrative of the imagery in the church.  Sometimes in the narthex it extended beyond the 12 p.f. The anastasis and crucifixion were often associated with each other.  Pairing stressed the means and ends of humanity's redemption through christ's sacrifice.  Anastasis – christ pulling people out of hell.  In this case christ is carrying a cross.  Has two cross bars and another below representing a foot rest.  This sort of cross is called a Patriarchal Cross – shape of official cross of the patriarch of constantinople.  A sign of our own redemption.

In all the narrative scenes the main person is placed directly in the center.  All others are flanking them.  Sometimes done on a smaller scale to stress the heirarchal nature of it.

In squinches with the curving surface – treated as if it were real space in the church – just as flanking figures were supposed to surround, so they physically surround him. ??  all the figures flanking christ child are physically across the squinch.  So we can see the figures as if they were in a 3d space. 

All together, the mosaics in hosios lukas form a remarkably cohesive whole.  All elements are related. To liturgy, shape of cosmos itself.  Whole program a microcosm of the universe.  A harmony of the images of mosaic decorations – characterizes the middle byzantine period. 

Although an impression of modeling of garments there is a linear decoration of the drapery.  Nested V folds forming a regular pattern.  Parts not defined by folds are also beginning to take a very regular sort of shape.  Not a move towards naturalism at all. Had not yet become as linear as they would become – but tending towards a more styalized direction than a natural one.

Although the situation under which the katholikon here was built, there seem to be direct imperial connections. May have been built by byzantine emperor as a burial church.  Two emperors connected – romanos II (959-963)

Basil II (976-1025)

Hosios Lukas,

Katholikon

Cons 1011 or 1022

Narthex Mosaic: Crucifixion

romanos founded the church but died too early to have too much control over mosaic decoration.  The decoration was probably finished late in the reign of basil.  Probably directly reflects what was happening in constantinople, although we have no complete program to compare against.

Crucifixion was not a new subject by any means, but we see here a change in representation.  A manner which becomes increasingly common from this time.  Christ here isn not represented in triumph over death as he used to be but quite apparently dead.  One of early surviving crucifixion images from 5^th century – shows a triumph over death.  Here – an indication of a human death.  Body is slightly slumped, eyes are closed, blood pouring out, etc. this old sort of crucifixion was still being created at this time (tokali kilise for example, still bolt upright on cross)  the much more human sort of rendition starts to appear at this time.  Mary and john the evangelist here are represented showing real human emotions as well.  Still a subdued emotional reaction, but it really begins to take off from this time. 

There are a couple other spectacularly suriving examples of church decoration in church. 

Daphni,

Katholikon,

1080

Interior decoration has not survived nearly as well.  None of the marble facings on the lower walls have survived.  We do have most of the dome mosaic here.  Most of all four squinch mosaics surviving here aswell.  As we would expect there is a central image of christ pantocrator.  One of most impressive to survive.  Huge in scale – largest image in the program.  Furthest from the floor – highest heavenly zone of program of mosaics. He looks very much a pantocrator – ruler.  Here between the windows are images of the prophets (not angels like at hosios lukas).  Even though christ makes the sign of the blessing here he gives impression of stern authority and ruthlessness.  Almost as if ideal qualities of an emperor have been imposed on christ.  Not in any sense an approachable figure.  Stealy eyes and a scowl  approach such a figure with apprehension and a feeling of insignificance.  Distance between image and viewer is emphasized by psychological distance.  An intentional distance.  Thank goodness for all the human saints between us and pantocrator who can intercede with fearsome judge.  Point of having the saints down lower on the walls.  Physically interceding. 

Shows us some very characteristic features.  Long dark hair with central parting and a few locks hanging down.  A dark beard, usually slightly forked like this.  Giving the gesture of blessing and holding a jeweled gospel book.  Wearing a blue, sometimes purple mantel.  Usually with a very stronly emphasized jaw aswell.  Sign of christ's blessing here is slightly different than other western european gesture (middle and thumb) vs here with index and thumb. 

Methodological problems when looking at these mosaics – pre restoration photograph.  Gaps filled in.  christ's eyes were being radically restored. As easily as tesarae can fall away – they can be replaced.  Be aware of possible restorations.

Beams coming out of his halo are done with silver tesserai. Glinting shimmery like the gold.  Photographs don't do it justice.

Church of the koimesis (dormition of the virgin) Katholkion of the monastery at daphni c. 1080

greek cross octagon church.  Quite similar in effect.  Not nearly as large/sumptuous as hosios lukas even though it too had imperial connections.  The stone work on the exterior is quite elaborate still. Inside the arrangement is quite a bit simpler.  Not the array of galleries surrounding the central space.  There are two narthexes. This becomes a common arrangement from this time. 

Esonarthex = inner narthex

exonarthex – outer narthex. 

Exonarthex forming a preliminary entry way.  A central apse flanked by much smaller apses in the bema, but not a smaller dome.  In face you can see that in the interior the proportions are tremendously verticle (hard to get good photographs of).

Interior decoration has not survived nearly as well.  None of the marble facings on the lower walls have survived.  We do have most of the dome mosaic here.  Most of all four squinch mosaics surviving here aswell.  As we would expect there is a central image of christ pantocrator.  One of most impressive to survive.  Huge in scale – largest image in the program.  Furthest from the floor – highest heavenly zone of program of mosaics. He looks very much a pantocrator – ruler.  Here between the windows are images of the prophets (not angels like at hosios lukas).  Even though christ makes the sign of the blessing here he gives impression of stern authority and ruthlessness.  Almost as if ideal qualities of an emperor have been imposed on christ.  Not in any sense an approachable figure.  Stealy eyes and a scowl  approach such a figure with apprehension and a feeling of insignificance.  Distance between image and viewer is emphasized by psychological distance.  An intentional distance.  Thank goodness for all the human saints between us and pantocrator who can intercede with fearsome judge.  Point of having the saints down lower on the walls.  Physically interceding. 

Shows us some very characteristic features.  Long dark hair with central parting and a few locks hanging down.  A dark beard, usually slightly forked like this.  Giving the gesture of blessing and holding a jeweled gospel book.  Wearing a blue, sometimes purple mantel.  Usually with a very stronly emphasized jaw aswell.  Sign of christ's blessing here is slightly different than other western european gesture (middle and thumb) vs here with index and thumb. 

Methodological problems when looking at these mosaics – pre restoration photograph.  Gaps filled in.  christ's eyes were being radically restored. As easily as tesarae can fall away – they can be replaced.  Be aware of possible restorations.

Beams coming out of his halo are done with silver tesserai. Glinting shimmery like the gold.  Photographs don't do it justice.

Transfiguration features on the squinches.  Compositions of nativity and baptism are similar to hosios lukas but the style is different.  At daphni there is a greater characterization to the faces.  More modeling to the figures aswell.  Can see linear definitions of the rock forms on the cave vs a more naturalistic effect at daphni.  More emphasis at daphni to create space within the picture.  Certainly however the principle of using real space across curving picture surface is still used.  Figures physically bending over. 

Very apparent in transfiguration too.  Prophets moses and elias clearly face christ across the squinch.  Similar to much earlier apse mosaic to one at monastery of mt. Sinai in mid 6^th century.  Christ shown with mandorla/rays of light shining out.  Iconography very stable – but certainly a change of style.  At daphni a much greater sense of place once again. 

Annunciation is simplest of all narrative scenes at daphni.  There is not ground plane, landscape, background etc.  physical spacial relationship between the two figures.  Gabriel looks to be approaching mary through the curved squinch not along it. 

Virgin and child in apse at daphni has only partially survived (bottom part).  Once again we don't have the whole program at daphni, but can still see a very cohesive program.  In mid 12^th century this middle byzantine appraoch to church decoration began to break down/diversify. 

More pictoral elements began to enter church decoration.  A greater sense of human drama begins to appear.  Individual figures begin to display more of a sense of emotional reaction. 

Daphni mosaics from very late 11^th century begin to show some indications of this.  Most apparent out in the narthexes where we have more images.  Some of christ's passion.  A new development at this time.  Also scenes from life of virgin mary.  More scenes from that in the cross arms of the church.  A pronounced new emphasis on mary in church decoration at this time.  Very little information about mary in the bible.  Principle sources of information about mary are apocryphal – not the actual word of god but written by 'reputible' sources.

Daphni,

Katholikon

c. 1080

Squinch Mosaic: Annunciation

Annunciation is simplest of all narrative scenes at daphni.  There is not ground plane, landscape, background etc.  physical spacial relationship between the two figures.  Gabriel looks to be approaching mary through the curved squinch not along it. 

Daphni, Katholikon,

c. 1080

Exonarthex Mosaic: Presentation of the Virgin in the Temple

Daphni mosaics from very late 11^th century begin to show some indications of this.  Most apparent out in the narthexes where we have more images.  Some of christ's passion.  A new development at this time.  Also scenes from life of virgin mary.  More scenes from that in the cross arms of the church.  A pronounced new emphasis on mary in church decoration at this time.  Very little information about mary in the bible.  Principle sources of information about mary are apocryphal – not the actual word of god but written by 'reputible' sources. 

Apocryphal literature accepted in byzantine world is very similar to what is accepted in western europe. 

One of most accepted ones in terms of life of mary is called the protoevangelium of st. james.  Gives a remarkable amount of detail that could not be found in the bible itself.  Birth of mary by joachim and anna was somewhat miraculous because they were childless til they were rather old. 

Presentation of the virgin in the temple – lived there as a sort of gift to god.  While mary was in the temple she was miraculously fed by an angel.  Gives mary a very full biography – strong emphasis on this. 

Despite the gold background, as we have seen in squinch mosaics, there is much more effort to show figures in a shallow pictoral space.  There is a ground plane.  There are very human gestures shown here.  Some attempt to register emotion in faces of the participants.  As we saw in hosios lukas we can see the same thing in crucifixion in daphni. 

Still set against almost pure gold mosaics.  Much more of a sense of place.  Hill of calvery and the skull of adam here.  And some plants that have no symbolism attatched.  In much less important part of the church, the clarity and isolation of figures which characterize 10, 11^th century figures starts to break down.

constantinople - hagia sophia

constantine and justinian with the virgin and child

late 10th century

emperors constantine and justinian with virgin and child - century reign of basil II. doesn't show us the reigning emperor but shows us the two emperors who by this time had become legendary emperors of the distant past.  constantine (orriginal) presenting a model of constantinople to the virgin and child.  6th century emperor justinian presenting the hagia sophia to V&C.

There are a few surviving mosaics from hagia sophia, but they don't create a program at all and were not done at the same time.  Done by various emperors. In late 9^th century huge image of virgin and child set up in the apse with flanking arch angels.  Finished in 867.  undoubtedly set the tone for the emphasis of the presence of virgin and child in middle byzantine churches.  Not part of larger program scene in hagia sophia.  Incredible scale of this building.  Despite this mosaic being 16 feet high its barely visible from across the church.  Mosaics in the galleries were much more common because they could be seen from quite close range. 

Constantinople, Hagia Sophia

Mosaic Panel: Constantine IX monomachus and Zoe with Christ Pantocrator

1020-34 and 1042

May have thought there'd be a stylistic similarity between nea moni mosaics we were just looking at because of the common patrons.  In fact we see a quite substantial different style of figuration here.  Comparison is somewhat misleading since the story / saga of this mosaic is eloquent testimony to some byzantine politics.  Constantine IX is zoe's 3^rd husband.  Mosaic initially put in place by first husband romanos III (1028-34) zoe not the faithful wife an image like this would lead you to believe.  Constantine IX murdered by zoe's lover (typical for byzantine politics), lover eventually came to rule Michael IV (d. 1041).  before his death (he was epileptic) he persuaded zoe to adopt her son.  Michael V reigned as emperor (r. 1041-1042).  charitably described as a worthless young man.  Quite stupid too.  Out of ambition he banished zoe and jailed theodora.  He quite underestimated these women.  Zoe and theodora were quite close. Mosaics initially put up during romanos III were defaced.  For whatever reason all three figures had their faces smashed up. 

Of course zoe and theordora came back a vengance.  Michael V was blinded in the streets while trying to escape them.  Blinding someone was a common way to make him unfit to rule.  Physical deformity a way of doing that.  Zoe and theodora ruled together for a while.  In her 60s zoe married again.  And so we have constatine IX monomachus.  Damages to this mosaic were fixed up again.  Probably shortly after 1042 when constantine IX became emperor.  This is one of a small number of imperial mosaics that have survived in the hagia sophia. 

Quite clearly see there are some odd sort of passages connecting the faces fo these figures with surrounding things. 

Mosaic panels like this were put up by a number of different emperors in the hagia sophia.  The latest to survive probably depicts

Constantinople, Hagia Sophia

Mosaic Panel: John II comnenus (Komnenos) and Eirene with Virgin and Child

c. 1118-22

the images of the emperor/ress flanking the virgin and child this time were probably put up to celebrate their succession in 1118, suggested alexios was probably added in when he became co emperor ni 1122. 

the two mosaics of emperor/ess donating money/priviledges to the church.  In both cases we have some sense of recognizable portraiture.  In both cases they are dressed in richly decorated/formal garments.  Look at the faces.  There is a real difference in the way they are structures.  John II and eirene are much more naturalistic.  For good reason.  It had long been practice for mosaisists to use smaller tesserai for faces, which is the case in both cases.  However in the later version the squares had become much smaller which gives artists more options, and they have a greater graduation of color.  11^th cen heads have conventional modeling and look quite awkward by comparison.  Red blob for cheaks – dramatic comparison of tone.  Supposed to blend in from a distance, but you can get quite close to these ones.  The cheaks of empress eirene are red, but there is much greater modulation of tone creating a more naturalistic effect. This change can be seen particularly clearly in a new sort of mosaic work that began to appear at this time. 

Namely, the miniature mosaic icon. 

Ochrid, Hagia Sophia

Apse frescoes

mid 11th century

Apse is dominated by large image of virgin and child, further down on walls are legions of saints.  No dome here but central barrel vault has been painted virtually as if it were a dome – with an image of the assencion of christ. 

Kiev, Hagia Sophia

1037-40s

interior

Kiev, Hagia Sophia

1038-40s

Dome Mosaic: Christ Pantocrator

detail: Head of Christ

Kiev, Hagia Sophia

1037-40s

apse mosaic: communion of the apostles

kiev, Hagia Sophia

1037-40s

fresco: Prince Yaroslav's Daughters

Kiev, St Michael

c. 1051

exterior - Reconstruction

Kiev, St Michael

c. 1051

Mosaic: St. Demetrius

Novgorod, Hagia Sophia

1045-62

exterior

Novgorod, Hagia Sophia

1045-62

plan

Nereditsa, Saviour

1198-99

Pre-Restoration,exterior

Nereditsa, Saviour

1198-99

apse fresco: Virgin of the Sign

Nereditsa, Saviour

1198-99

Presentation of Christ in the Temple and Presentation of the Virgin in the temple

Vladimir, St. Dmitry (demetrius),

1158-61 and 1185-89

exterior

Vladimir, St. Dmitry (demetrius)

1158-61 and 1185-89

Last Judgement Fresco: Apostles, angels, and entry of the elect into paradise.

Palermo

Palatine chapel

1132-43

interior

Palermo

Palatine Chapel

1132-43

Dome Mosaics

Palermo

Palatine Chapel

1132-43

Nativity of Christ

Palermo

Martorana Church

1143-51

Interior and Dome

Palermo

Martorana Church

1143-51

Admiral George of Antioch and the Virgin Mary

Palermo

Martorana Church

1143-51

King Roger II crowned by Christ

Cefalu' Cathedral

1131-48 (nave 1180-1200)

Apse Mosaics

Monreale Cathedral

1174 - c.1190

apse mosaics

Monreale Cathedral

1174 - c.1190

King William II and the Virgin Mary

Venice

S. Marco

Begun c. 1063

Plan

Venice

S. Marco

Begun c. 1063

Exterior

Venice

S. Marco

Begun c. 1063

Interior

Torcello Cathedral

Apse Mosaic

Late 12th century

Torcello Cathedral

West Wall Mosaic

Last Judgement

Late 12th century

Iveron Gospels,

Constantinople

c. 1075 - 1150

St. Mark and the beginning of his gospel

Gospels of John II Comnenus

Constantinople

c. 1128

John II and Alexios crowned by christ

Topkapi Octateuch

Constantinople

c. 1139

Moses Led by an Angel & Death of Moses

Homilies of St. Gregory Nazianzos

Pantocrator Monastery

Constantinople

c. 1149

Anastasis

Homilies of St. Gregory Nazianzos

Pantocrator Monastery

Constantinople

c. 1149

Author Portrait

Homillies of James the Monk

Constantinople

c. 1120-50

Ascension

Nerezi,

St. Pantaleimon

1164

Fresco: Lamentation

Nerezi, St. Pantaleimon

1164

Fresco: Deposition

Kurbinovo

St. George

1191

Annunciation

Detail: Gabriel

Annunciation Icon

c. 1170-80

(mt. Sinai)

Virgin Hodegetria and Man of Sorrows

Double Sided Icon

Late 12th century

(Kastoria)

Virgin of Vladimir

Constantinople

c. 1125

(moscow)

Head of ARchangel

From Deesis icon

c. 1150

Kiev?

(St. Petersburg)

Ustiug Annunciation

Early 12th century

Kiev?

(moscow)

SS Boris and Gleb (Hlib)

Icon

Early 13th Century

(kiev)