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| It is a form of government that is divided into four parts "rule of four" |
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| When did the tetrarchy start in Rome |
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| The Tetrarchs ca 300CE Porphyry, Height 51" |
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| Bust of Diocletian c 284-305 CE |
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| Augustus of the East in tetrarchy |
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| The augustus of the west under the tetrarchy |
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| who is Maxentius and Constantine |
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| Caesars of the east and the west in Rome |
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| Triumphal Arch of Constantine, Rome 312-315 CE Marble Height 70' |
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| Who did Constantine defeat at Battle of Milvian Bridge |
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| When did the Battle of Milvian Bridge occur |
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| The recycling of artwork or taking art work from one work adding to another |
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| Hadrianic Tondos Hunting Boar and Sacrificing to Apollo |
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| large rectangular building, often built with a clerestory, side aisles, central nave and apse at one or both ends. Roman centers of administration & law, later adapted to Christian church use. |
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| Basilica of Maxentius and Constantine (Basilica Nova), Rome, 306-313 CE, brick / concrete construction |
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| topmost zone of wall with windows, providing direct light into the central interior space |
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| arched, semicircular continuous masonry structure that spans an interior space (shaped like a half-cylinder) |
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| central space of a basilica, two or three stories high |
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| large semicircular (often vaulted) niche protruding from the end wall of a building |
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| Constantine the Great, Rome, c. 325-326 CE. Marble, height of head 8’6” Sheets of bronze were used for the drapery/body but no longer survive. |
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| When did Constantine legalize Christianity |
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| When did Constantine convert to christianity |
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| Formation of Early Christian Art |
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| Romans Begin to reject polytheism |
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| Santa Maria Antiqua Sarcophagus, c. 270 CE. Marble, 1’11” x 7’2” |
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| underground burial ground with niches or chambers for urns and sarcophagi. |
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SYNCRETISM
That is, the iconography is based on pagan images of Apollo, Hermes and Orpheus among animals |
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| the art of Constantinople and the Eastern Roman Empire |
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| Highlights of Byzantine Art |
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Mosaic decoration in the churches
Luxury arts for the court
Illuminated manuscripts of biblical texts
Icon paintings (portraits of Christ, the Virgin and the Saints ) |
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| sheets of vellum or parchment (sheepskin or calfskin) bound together like a modern book |
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| has been loosely applied to almost any painting on panel in the Byzantine style, but in the strict sense icon implied portraiture and more specifically portraits of Christ, Mary and saints. |
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| pigments fused with a wax matrix |
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| prostrating oneself before the image – extreme, physical form of devotion |
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| (“image breaking”) = controversy in Byzantine history when icons and other forms of religious imagery were banned in churches by imperial edict. |
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| book containing only the Psalms |
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David Battling Goliath, silver plate, made in Constantinople, 629-630, 19 7/16 x 2 5/8 in.
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Virgin and Child with Saints and Angels (Icon), late 6th century. Encaustic on wood, 27 x 19”
From Monastery of Saint Catherine, Mount Sinai, Egypt
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Queen Blanche of Castile and King Louis IX, from a Moralized Bible made in Paris, 1226-134, ink, tempera and gold leaf on parchment, 15 X 10”
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The Sainte-Chapelle
Paris, 1243-48, Rayonnant (Radiant) Gothic or Parisian Court Style
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Virgin and Child, ca. 1339. Silver gilt and enamel, height 27 1/8”
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| Hours of Jeanne d’Evreux, by Jean Pucelle, Paris, c. 1325-28. Grisaille and color on vellum, each page 3 ½ x 2 ¼ |
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| monochromatic painting in shades of gray with faint touches of color. |
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| personal prayer book that contains prayers to be recited eight times each day, mimicking the long-established practice of monks and nuns. |
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| personal prayer book that contains prayers to be recited eight times each day, mimicking the long-established practice of monks and nuns. |
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Paul, Herman and Jean Limbourg (Limbourg Brothers), January: The Duke of Berry at Table. Très Riches Heures, 1411-16. Colors and ink on parchment, 22.5x13.7 cm.
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| A process whereby artists assimilate images and ideas from other traditions or cultures and give them new meanings |
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| A picture that recounts an event drawn from a story either factual (biblical) or fictional |
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| An image representing a sacred figure or event in the Byzantine and later in Orthodox Church Icons were venerated by the faithful who believed them to have miraculous powers |
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| Handwritten book or document |
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| A Container often made of precious materials used as a repository to protect and display sacred relics |
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| A writing surface made from treated skins of animals very fine parchment is known as vellum |
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| The passage around the apse in a basilican church or around the central space in a central-plan building |
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| A tall narrow window crowned by a sharply pointed arch typically found in Gothic Architecture |
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| A venerated object associated with a saint or martyr |
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| An Italian Word Designating the contrast of dark and light in a painting drawing or print chiaroscuro creates spatial depth and volumetric forms through gradations in the intensity of light and shadow |
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| A picture that expresses or embodies an intangible concept or idea |
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| Images formed by small colored stone or glass pieces affixed to a hard stable surface |
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| Anything small. In painting miniatures may be illustrations within albums or manuscripts or intimate portraits |
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| Animal Interlace or Animal Style |
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| Decoration made of interwoven animals or serpents often found in Celtic and early medieval Northern European art |
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| An open space within a monastery surrounded by an arcaded or colonnaded walkway often having a fountain and garden. The most important monastic buildings open off of it. Since members or a cloistered order do not leave the monatery or interact with outsiders the cloister represents the center of their enclosed world |
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| Stonework or woodwork applied to wall surfaces or filling the open space of windows in plate tracery openings are cut through the wall. In bar tracery mulluins divide the space into vertical segments and form decorative patterns at the top of the opening or panel |
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| The arm of a cruciform church perpendicular to the nave. The point where the nave and the transept cross is called the crossing. Beyond the crossing lies the sanctuary, whether apse, choir, or chavet |
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| Smokiness in High Renaissance art |
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| Who was the patron of Michelangelo's Pieta? |
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| Cardinal Jean Bilhères de Lagraulas (French Cardinal) |
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| an image or images that symbolize an idea, concept, or principle, often moral or religious. |
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| Who was the imperial sponsor of the church of Saint Vitale ? |
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Church & Martyriumof San Vitale,
Ravenna, Italy
c. 520-548.
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