Basilica of Sant’Apollinare in Classe (near Ravenna), c. 530 CE.
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Transcript of Basilica of Sant’Apollinare in Classe (near Ravenna), c. 530 CE.
Basilica of Sant’Apollinare in
Classe (near Ravenna), c. 530
CE
Transfiguration of Christ/ four evangelists/ the hand of god at the top of the apse/ depiction of sheep
Apollinaris and his chasuble with bees/ use of flat symbols to clearly tell a story (avoidance of
overlapping)/ Monophysitism
Transfiguration of Jesus, apse mosaic from the Church of the Virgin at the monastery of Saint
Catherine (Mount Sinai, Egypt), c. 565
mandorla (vesica pisces)/ use of a field of gold/ floating, elongated figures
Ascension of Christ, from the Rabbula Gospels (Zagba,
Syria), 586
Rabbula Gospels/ Ascension of Christ/ importance of the
Theotokos/ possibly based on a lost
painting or mosaic
Virgin (Thetokos) and Child between Saints Theodore
and George, sixth or early seventh
century icon, encaustic on wood
icon/ frontality of figures/ iconoclasts
and iconophiles/ eyes of the saints
Sixth century
icons form the
monastery of St.
Catherine (Mt. Sinai,
Egypt)
Left: Blessing
Christ Right: St. Peter
David composing the Psalms, from the Paris Psalter,
c. 950-970, tempera on
vellum
reaction against Iconoclasm/
Basil I/ mixture of pagan and
Biblical images/ renewed interest
in Classical imagery
Isaiah’s Prayer, from the Paris
Psalter
The Harbaville Triptych, c. 950, ivory
use of a triptych/ Deesis / natural, classicizing spirit
Back of The Harbaville Triptych
St. Marks (Venice) begun 1063
St. Mark/ Greek cross plan
Below: St. Mark on his way to
AlexandriaLeft: Burial of St.
Mark
five pendentive domes/ Christian orthodox
rituals of the proskynesis and the
aspasmos/bema
bold asymmetrical mosaic
compositions/ Anastasis/ jagged angularities and
schematic drapery
Agony in the Garden
a quadriga of gilded bronze horses