Vocabulary

Aisle: Passage or open corridor of a church, hall, or other building that parallels the main space, usually on both sides.

Ambulatory: The passage around the apse in a basilican church.

Atrium: An unroofed interior courtyard or room in a Roman house.

Baptistry: A building used for Christian ritual of baptism.

BasilicaPlan: A plan consisting of nave and side aisles, often with transept and usually with apse.

Central-planbuilding: Any structure designed with a primary central space.

Cherubim: The second highest order of angels, small naked child.

Crypt: The vaulted underground space beneath the floor of the church.

GoodShepherd: A man carrying a sheep or calf or with a sheep or calf at his side.

Impost: A block, serving to concentrate the weight above, imposed between the capital of a column and the lowest block of an arch above.

Latin-CrossPlan: A crossed-shaped building plan, incorporating a long nave and shorter transept arms.

Lunette: A semicircular shape; on a wall, often framed by an arch over a door or window.

Manuscript: A handwritten book or document.

Narthex: The vestibule or entrance porch of a church.

Nave: The central aisle of a basilica, two or three stories high and flanked by aisles

Orant: A standing figure praying with outstretched arms and upraised hands.

Parchment: A writing surface made from treated skins of animals and used during antiquity and the middle ages.

Portal: A grand enterance, door, or gate, usually to an important public building.

Rotunda: Any building constructed in a circular shape.

Spandrel: The area of wall adjoining the exterior curve of an arch between its springing and the keystone.

Syncretism: In religion or philosophy, the union of different ideas or principles.

Transept: The arm of a cruciform church, perpendicular to the nave.

Triforium: The element of the interior elevation of a church, found between the nave arcade or colonnade and the clerestory.

Vault: An arched masonry structure that spans an interior space.

Vellum: A fine animal skin prepared for writing and painting.

Menorahs: Seven-branched lamps

Loculi Long rectangular niches in the wall

Cubicula: Small rooms

Medal-lion: round ornament

Attributes: Identifying accessories

House-Synagouge: Jewish place of worship located in the home

House-church: Christian place of worship located in the home

Naos: Space containing the central dome

Navecolonnade: Columns supporting an entableture lined nave

Apsidal: End of the nave and isles

Navearcade: Created by columns supporting round arches

Ciborium: Pavilion-like sturcture supported on four columns

Putti: Naked male child angels

Cruciform: Cross-shaped

BlindArcade: Series of decorative arches applied to a solid wall

Cenotaphs: Memorial tombs

Codex: Type of book

Miniatures: Illustrations in books

Illuminated: Manuscripts decorated with red and gold

Abstract: Any art that does not represent observable aspects of nature or transforms visable forms into a pattern resembling the original model.

Buttress: A type of architectural support. Usually consists of massive masonry with wide base built against an exterior wall to brace the wall and strengthen the vaults.

Cloisonne: An enamel technique in which metal strips are affixed to the surface to form the design.

Crossing: The part of a cross-shaped church where the nave and transept meet.

Diptych: Two panels of equal size (usaully decorated with paintings or reliefs) hinged together.

Gallery: A place where art is exhibited, specifically an art gallery.

Hieratic: In painting and sculpture, a formalized style for representing rulers or sacred or priestly figures.

Icon: An image in any material representing a sacred figure or event.

Iconoclasm: The banning or destruction of images, especially icons and religous art.

Mandorla: Light encircling, or emanating from, the entire figure of a sacred person.

Naos: The princiapal room in a temple or church.

Oculus: In architecture, a circular opening.

Pendentive: The concave triangular section of a wall that forms the transition between a square or polygonal space and the circular base of a dome.

Pictureplan: The theoretical spatial plane corresponding with the actual surface of a painting.

Pier: A masonry support made up of many stones, or rubble and concrete.

Scriptorium: A room in a monastery for writing or copying manuscrips

Squinch: An arch or lintel build across the upper corners of a space, allowing a circular or polygonal dome to be more securely set above the walls.

Trompe l' oeil: A manner of representation in which the appearance of natural space and objects is re-created with the express intention of fooling the eye of the viewer.

Iconoclasm: Image breaking

Muqarnas: Stalacite form of multiple squinches

Exedrae:

Reverseperspective:

Vignettes: Lively smaller scenes

Quincunx: nine-bay, cross in square

Shater: Stepply pitched, tentlike rook form designed to keep dangerously large accumulations of snow from forming

Study guide

Art History -Chap 7 Study Guide-

Materials and Techniques

1. Manuscripts were hand written books. They often included illustrations, but techniques for combining pictures and text varied. The illustrations in the manuscripts were called miniatures. They were decorated with gold and colors and were illuminated. The covers came in the form of wooden boards covered with leather. The books were put together by folding a large sheet of parchment twice, cutting the edges free, then sewing the sheets together up the center.

2. Metal works during the Byzantine period used precious metals such as gold and silver. It included the use of relief on the main subject as well on the intricate decorations. They also include jewels, colored glass, and delicate cloisonne, which is an enamel technique in which metal strips are affixed to the surface to form the design. The resulting areas are then filled with glass.

3. Pendentives and squinches are two different methods of supporting a dome. A squinch is formed by a wood beam that is itself supported by an arch, giving it a niche-like or trumpet shape Pendentives are more sophisticated. They are a curving triangular vault springing from the corners of a rectangular area to transition between walls and the base of the dome.

Diagrams

The Dove: A symbol of purity, resembling peace when it is shown bearing an olive branch, a white dove is the symbolic embodiment of the Holy Spirit

The Fish: One of the earliest symbols for Jesus Christ. Because of its association with baptism in the water it is a symbol for all Christians

The Lamb: Symbolizes Jesus' sacrifice on the cross as the Lamb of God, a flock of sheep represent the apostles

The Four Evangelists: Saint Matthew is represented as an angel, Saint Mark is a lion, Saint Luke an Ox, and Saint John is shown as an eagle.

The Monogram of the Chi-Rho: The initials 'X' and 'P' that make up the Chi-Rho were the first two Greek letters of the word Christos. The emblem was sometimes seen enclosed by a halo

The Crosses: Latin, Greek & Roman: Symbolizes the suffering and triumph of Jesus'

crucifixion and the resurrection of Christ

Early Christian Church Plans

1. Basilican Plan Church: COPIED PIC FROM BOOK

2. Central Plan Church: COPIED PIC FROM BOOK

Compare and Discuss

3. Dura Europos is the site of both a house-synagogue and a house-church. The synagogue survived primarily to the fact that it was infilled to strengthen the city's fortifications. The synagogue was built like a house and contained an assembly hall with a niche for torah scrolls, an alcove for women, and a courtyard. Jewish murals filled the synagogue's interior. They included narratives and symbolic scenes of Jewish history. The church was a typical Roman house with rooms and a courtyard and a second floor apartment. Artwork included murals above a niche with a water basin for baptism depicting the Good Shepherd and of Adam and Eve.

4. The Santa Maria Maggiore was dedicated to the Virgin Mary. The mosaics show a renewed interest in the earlier classicizing style of Roman art. Mosaics along the nave

wall illustrate Old testament stories of the Jewish patriarchs and heroes. Decorations in the church were meant to praise God through their splendor. It uses the basilca-plan.

The San Vitale uses the central plan. The design is a central-domed octagon extended by exedra-like semicircular bays. The whole of the domes rests on eight squinches and large piers. Artwork here include an image of Christ enthroned in the apse. Other images relate to its celebration of the Eucharist.

5. The Pantheon appeared to be like any other classical temple as you approach it so the ornate and grand dome you see inside is not excepted. The Hagia Sophia is as grand outside as it is in. The exterior tells you have splendid the interior is. You have view of the dome and the half domes. The Hagia Sophia lacks the oculus of the Pantheon. Also instead on niches the dome of the Hagia Sophia has a band of windows at the base giving the dome the appearance it was floating.

6.

Good Shepherd Transfiguration of Christ Christ Pantokrator

Here Christ is shown as a shepherd in imperial robes, a crowned halo, and carrying a staff with a cross on the top

Here Christ is shown standing in a blue halo that surrounds him and a gold halo that surrounds his head. He emits rays of light and stands beside the prophets Moses and Elijah.

Combines two persons: father and son; judge and savior. Christ is shown once again with a halo surrounding his head. Here he carries a bible

1. The Katholikon is connected to the Theotokos. It lies on a central plan. Its dome is supported by squinches. It also contains a complex variety of forms such as domes, groin vaults, barrel vaults, pendentives, and squinches

The Santa Constanza consists of a rotunda and an ambulatory. It has Composite capitals and entablature blacks that support the arcade and dome. Interior is sheathed in mosaics and fine marble.

1/3 of the images

7-14 Santa Costanza

Consists of large rotunda with an encircling barrel vaulted passageway called ambulatory Part of the mausoleum of Constantina Now dedicated to Santa Costanza Composite capitals

7-15 Harvesting of Grapes

Mosaic in ambulatory vault of the Church of Santa Costanza Decorated with a tangle of grapevines and puttis (naked male angels) Roman style, technique, and subject

7-17 Mausoleum of Galla Placidia

Exterior and interior of chapel differ greatly to represent passage from the real world to the supernatural one

Lunette mosaic of Martyrdom of Saint Lawrence Sarcophagus in niches

7-18 Good Shepard

Mosaic in the lunette above the west entrance to the Mausoleum of Galla Contains classical elements:

o Illusionistic shading suggesting a single light sourceo Intimation of landscape in rocks and foilage

Changes in the conception of Jesus the Shepherdo Once depicted as a simple shepherd boy carrying a sheepo Here a young adult with a golden halo, in imperial robes, and a staff with a cross

at the end instead of a shepherds crook Stylized landscaped elements more rigid

Art History -Chap 7 - Images part 2

7-8 Good Shepherd, Orants, and story JonahPainted Ceiling of the catacomb of saints Pierto and Marcellion, Rome, 4th century. Has a central medallion and four lunettes. The center holds the Good Shepherd with a Greek like pose, it was taken from the idea that Jesus said that he was a good shepherd . The four lunettes contain the story of Jonah, which is sometimes interpreted as the death of Christ. In between the lunettes are Orants, figures with raised hands as a symbol of prayer.

7-5 Wall with Torah nicheFrom a house-synagogue, Dura-Europos, Syria. 244-245. Tempera on Plaster. A synagogue is a Jewish place of worship, this one was built like a house, this one was built like a house. It contains an assembly hall, a niche to hold the Torah, an alcove for women, and a courtyard. After it was finished residential rooms were added. The two architectural things that stood put in the assembly hal, a bench along the walls and a niche for the torah.

7-16 Mausoleum of Galla Placidia, RavennaItaly. C. 425-426. Funerary chapel attached to the Church of the imperial palace. Made when Galla Placida was regent for sane. It was believed that her and her family were buried there, Made in Cruciform with a barrel vault on each of the arms and pendentive domes they are not visible from the exterior because of the shape of the roofs. On the exterior there was a cornice and blind arcading.

7-12 Parting of Lot and AbrahamMosaic in the nave arcade, Church of Santa Maria Maggione, Rome 432-40, 4’11” x 6’8”. From a story from the

first book of the first book of the scriptures were they had grown too many so lot part the group with a group of people to Jordan while Abraham stayed in Canaan. The parting between the too man is shown by their separation. The Mosaic references to the Roman illusionist style in the 3-d figures in the background, with the people sheep and blue sky made with pieces of marble glass.Expired

7-31: Church of Sant' Apollinare in Classe

Consecrated in 549 by Bishop Maximus. There is no atrium and its simple exterior reflects the interior space. There is a narthes entrance that spans the width of the ground floor, a tall nave with clerestory ends in a semi-circle apse

7-32: The transfiguration of Christ With Saint Apollinaris, First Bishop of Ravenna

Nothing interferes visually with the movement forward from the entrance to the raised sanctuary which extends from a triumphal-arch opening into the semi-circular apse. The mosaic depicts an array of men and sheep in a stylized landscape. The jeweled cross and head of Christ in the center represent the Transfiguration of Christ's divinity

7-38: Virgin and Child with Saints and Angels

Mary is viewed as the powerful, ever-forgiving intercessor, appealing to her Divine Son on behalf of repentant worshipers. She was also called the Seat of Wisdom and many images depict Mary holding Jesus on her lap in a way that suggests she represents the throne of Solomon. The men standing beside the Virgin Mary on either side are the warrior-saints Theodore and George (said to have slain dragons, representing the triumph of the church over the 'evil serpent' of paganism). The saints are the most stylized of the figures depicted.

7-39: Cathedral of Saint Mark, Venice

Saint Mark's domed compartments produce a complex space with five separate vertical axes. Marble covers the lower walls and golden mosaics glimmer above, covering the vaults, pendentives, and domes. Barrel vaults with domed intersections

7-42: Virgin of Vladimir

Distinctly humanized approach suggests the growing desire reflected in Byzantine art for a more immediate and personal religion. Paintings like this known as the Virgin of Compassion depict the Virgin and Christ Child pressing their cheeks together and gazing tenderly towards each other.

7-44: Christ Pantokrator

This bust length mosaic portray Christ carrying the bible. It fills the central dome of the Church of the Cormition. Hovers in a golden glory, combines two persons of the Trinity- Father and Son, Judge and savior.

7-52: Funerary Chapel Church of the Monastery of Christ in Chora

The funerary chapel was added by Theodore Metochites to the west side of the church. It is entirely painted with themes appropriate to such a setting, the last judgment is painted on the vault of the nave, and Anastasis, Christ's descent into limbo to rescue Adam, Eve, and other virtuous people from Satan

7.4 Jonah Swallowed and Jonah Cast Up:

-two statuettes of a group from the eastern Mediterranean, probably Asia Minor, probably 3rd cent. Marble

-Function is unknown

-Illustrate the biblical story w/ the same literalness and enthusiasm as the paintings on the catacomb ceiling

4.10 Church of Santa Sabina, Rome: 422-32

-constructed by Bishop Peter of Illyria

-most early Christian churches have been rebuilt but this one still looks as much as it did the 5th cent.

-shows basic elements of a basilica: nave w/ side aisles, lit by clerestory windows, ending in a round apse

7.11 Interior, Church of Santa Sabina

-exterior is brickwork; interior is marble veneer and fluted marble columns w/ Corinthian capitals

-columns support round arches, creating a nave arcade, in contrast to a nave colonnade

-spandrels are inlaid w/ marble images of the chalice and paten (plate that holds the bread) , the essential equipment for the Eucharistic rite that took place at the altar

-décor of the upper wall between is lost, and a paneled ceiling covers the rafter roof

-the triforium (the blind wall between the arcade and the clerestory) typically had painting or mosaics w/ scenes from the Old Testament or the Gospels

7.20 Resurrection and Angel w/ Two Marys at the Tomb:

-panel of a diptych, found in Rome, c. 400, ivory

-top register shows the moment of Christ's resurrection in both symbolic and narrative terms. As the soldiers guard his tomb sleep, the evangelists Luke (ox) and Matthew (man in the upper right) acknowledge the event from the clouds

-bottom register shows the moment when Mary, mother of the apostle James, and Mary Magdalen learn from a young man that the tomb is empty

-top panels of the carved doors of the tomb show the Raising of Lazarus, the Gospel story in which Jesus brings a man back to life to prove his divine power

-Christian theme: varied natural poses, soled modeling, architectural details of the tomb, decorative framing patterns

7.25 Transfiguration of Christ:

-mosaic in the apse, Church of the Virgin, Monastery of Saint Catherine, Mount Sinai, Egypt. C. 548-65

-shows the transfigured Christ in a triple blue mandorla (an almond-shaped halo that surrounds Christ's whole figure) against a golden sky that fills the half dome of the apse

-the figure of Christ emits rays of life, & the standing Old Testament prophets Moses & Elijah affirm his divinity

-apostles feel to the ground w/ fear & amazement while Christ is relaxed

-Shows Peter below, John at the left, and James at the right

-Mount tabor is represented as a narrow strip at the bottom, half green & half reflecting the golden light

-abstract contrasts w/ the continuing classical influence

7.29 Emperor Justinian and his attendants

-mosaic on north wall of the apse, Church of San Vitale, Ravenna, Italy. C. 547

-Justinian carries a large golden paten for the Host and stands next to Maximianus, who holds a golden, jewel-encrusted cross

-priestly celebrants at the right carry the Gospels, encased in a golden, jeweled book cover, symbolizing the coming of the Word, and a censer containing burning incense to purify the altar prior to the Mass

7.30 Empress Theodora and her attendants

-mosaic on south wall of the apse, Church of San Vitale. C. 547

-Theodora stands beneath a fluted shell canopy & singled out by a gold halo-like disk and elaborate crown, carries a huge golden chalice studded w/ jewels

-presents the chalice both as an offering for th Mass and as a gift of great value for Christ

-w/ it she emulates the Magi, depicted at the bottom of her purple robe, who brought valuable gifts to the infant Jesus

-courtyard fountain stand to the left of the panel and patterned draperies adorn the openings at the left and right

7.54 Barma and Postnik. Cathedral of Saint Basil the Blessed, Moscow. 1555-61

-Russian preference for complexity and verticality combined with Byzantine architecture in a spectacular style epitomized by the Cathedral of Saint Basil the Blassed in Moscow

-First Russian Czar, Ivan the 4th, "the Terrible", commissioned the church and the architects (Barma and Postnik)

-Instead of a central dome, the architects employed a typical Russian form called a shater

-surrounded by 8 chapels, each w/ its own dome seeming to grow budlike from the slender stalk of a very tall drum

-plan: a nine-bay, cross-in-square, or quincunx, design surrounded by four more chapels, all on a podium approached by a covered stair

7-9 Reconstruction drawing of Old Saint Peter’s basilica, Romac.320-27, atruim added in later 4th century, about 394’ long and 210’ wideHad double aisles instead of the one on each side of the naveIt was built over where they thought Saint Peter was buried, Christ named Peter the head of the church so the church was thought to protect the tombIT was called “old” because it was later replaced with a new one in the 16th centuryNarthex across the width of the building protects 5 doorways a large central portal into the nave and 2 portals on each sides opening to 4 side aislesHad a T form made of the aisles

7-13 Plan of the Church of Santa Costanza, RomeC.338-50Built like a tholosWas a central plan churchBuilt right outside of Rome, mausoleum for ConstantineMade into a church in 1256 for Santa Costanza, meaning christian princessTall rotunda with a barrel-vaulted passagewayA ring of paired columns with composite capitols

7-21 Sarcophagus of Junius Bassusc.359, marble, 4’x8’, Grottoes of Saint PeterJunius Bassus was a Roman officialInscription says that he was newly baptized and he was 42 when he diedHas 2 registers, divided by column in equal length, each has an earthly sceneChrist shows up with Peter and Paul, giving them the Christian law, like God gave to MosesHas typological exegesis, combining Old and New testaments

7-33 Archangle MichaelPanel of a diptych, probably from the court workshop at Constantinople, Early 6th century ivory 17”x5½Missing the other half which completes the inscriptionThe angel is shown as a divine messenger holding a staff in his left hand and a spear in the right symbolizing worldly powersHas an orb below the arch, framed by a wreath, on scallop sledHe is floating in mid air

7-35 Page with Rebecca at the wellFrom Book of Genesis, either from Syria of Palestine, early 6th century. Tempera, gold and silver paint on purple-dyed vellum, 13 ½ x 9 7/8”May have been made for imperial patron because purple dye is very costlyIs in codex form written in Greek with picture at bottomIt depicts the story where Rebecca at the Well, it shows a continuous narrative

7-49 archangel Michael, iconLate 10th or early. Silver with enamel 19x 14”Blessing viewers with upraised handsThe head and hands are in relief with more intricate relief and enamel decoration. The halo and wings are made with jewels, colored glass, and cloisonnéHe always appears in same frontal pose with idealized youthfulness

7-50 Page with David the PsalmistFrom Paris Psalter, second half of the 10th century paint on vellum 14x10 ½”Version of Psalms, a scene with out textShows Daviv (author of Psalma)Based the illustration on classical illustration3-D figures in receding space with lush foliage and a stream perhaps from ancient RomeUses atmospheric prospective