1.
Mandorla
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A mandorla is an aureola, usually in the shape of a vesica piscis, which surrounds the figures of Christ and the Virgin Mary in traditional Christian art. It is distinguished from a halo in that it encircles the entire body and it is commonly used to frame the figure of Christ in Majesty in early medieval and Romanesque art, as well as Byzantine art of the same periods. The term mandorla, from the Italian language name for the almond nut, sometimes however, especially in earlier depictions, the mandorla takes circular or elliptical forms. Sometimes, also usually in forms, the mandorla is shown as the intersection of two circles. Rhombic mandorlas are also sometimes seen and these mandorla will often be painted in several concentric patterns of color which grow darker as they come close to the center. This is in keeping with the use of apophatic theology, as described by Dionysius the Areopagite. As holiness increases, there is no way to depict its brightness except by darkness, in architectural iconography, the frame of the mandorla is often marked with decorative mouldings. The interior of the mandorla is usually undecorated, but may contain the symbols Α and Ω or, less frequently, in a famous romanesque fresco of Christ in Glory at Sant Climent de Taüll, the inscription Ego Sum Lux Mundi is incorporated in the mandorla design. The tympanum at Conques has Christ, with a carved in romanesque sculpture. Six surrounding stars, resembling blossoming flowers, indicate the known planets including the Moon, here the symbolism implies Christ as the Sun. In one special case, at Cervon, Christ is seated surrounded by eight stars, at Conques the flowers are six-petalled. The symbolism of the nine-branched Chanukkiyah candelabrum may be relevant, in the 12th century a great school of Judaic thought radiated from Narbonne, coinciding with the origins of the Kabbalah
2.
Latin language
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Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets, Latin was originally spoken in Latium, in the Italian Peninsula. Through the power of the Roman Republic, it became the dominant language, Vulgar Latin developed into the Romance languages, such as Italian, Portuguese, Spanish, French, and Romanian. Latin, Italian and French have contributed many words to the English language, Latin and Ancient Greek roots are used in theology, biology, and medicine. By the late Roman Republic, Old Latin had been standardised into Classical Latin, Vulgar Latin was the colloquial form spoken during the same time and attested in inscriptions and the works of comic playwrights like Plautus and Terence. Late Latin is the language from the 3rd century. Later, Early Modern Latin and Modern Latin evolved, Latin was used as the language of international communication, scholarship, and science until well into the 18th century, when it began to be supplanted by vernaculars. Ecclesiastical Latin remains the language of the Holy See and the Roman Rite of the Catholic Church. Today, many students, scholars and members of the Catholic clergy speak Latin fluently and it is taught in primary, secondary and postsecondary educational institutions around the world. The language has been passed down through various forms, some inscriptions have been published in an internationally agreed, monumental, multivolume series, the Corpus Inscriptionum Latinarum. Authors and publishers vary, but the format is about the same, volumes detailing inscriptions with a critical apparatus stating the provenance, the reading and interpretation of these inscriptions is the subject matter of the field of epigraphy. The works of several hundred ancient authors who wrote in Latin have survived in whole or in part and they are in part the subject matter of the field of classics. The Cat in the Hat, and a book of fairy tales, additional resources include phrasebooks and resources for rendering everyday phrases and concepts into Latin, such as Meissners Latin Phrasebook. The Latin influence in English has been significant at all stages of its insular development. From the 16th to the 18th centuries, English writers cobbled together huge numbers of new words from Latin and Greek words, dubbed inkhorn terms, as if they had spilled from a pot of ink. Many of these words were used once by the author and then forgotten, many of the most common polysyllabic English words are of Latin origin through the medium of Old French. Romance words make respectively 59%, 20% and 14% of English, German and those figures can rise dramatically when only non-compound and non-derived words are included. Accordingly, Romance words make roughly 35% of the vocabulary of Dutch, Roman engineering had the same effect on scientific terminology as a whole
3.
Christ
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Jesus, also referred to as Jesus of Nazareth or Jesus Christ, was a Jewish preacher and religious leader who became the central figure of Christianity. Christians believe him to be the Son of God and the awaited Messiah prophesied in the Old Testament, Jesus was a Galilean Jew who was baptized by John the Baptist and subsequently began his own ministry, preaching his message orally and often being referred to as rabbi. He was arrested and tried by the Jewish authorities, and was crucified by the order of Pontius Pilate, Jesus debated fellow Jews on how to best follow God, performed healings, taught in parables and gathered followers. After his death, his followers believed he rose from the dead, and his birth is celebrated annually on December 25 as a holiday known as Christmas, his crucifixion is honored on Good Friday, and his resurrection is celebrated on Easter. The widely used calendar era AD, from the Latin anno Domini, most Christians believe Jesus enables humans to be reconciled to God. The Nicene Creed asserts that Jesus will judge the living and the dead either before or after their bodily resurrection, the great majority of Christians worship Jesus as the incarnation of God the Son, the second of three persons of a Divine Trinity. A minority of Christian denominations reject Trinitarianism, wholly or partly, in Islam, Jesus is considered one of Gods important prophets and the Messiah. Muslims believe Jesus was a bringer of scripture and was born of a virgin but was not the Son of God, the Quran states that Jesus himself never claimed divinity. To most Muslims, Jesus was not crucified but was raised into Heaven by God. Judaism rejects the belief that Jesus was the awaited Messiah, arguing that he did not fulfill Messianic prophecies, a typical Jew in Jesus time had only one name, sometimes supplemented with the fathers name or the individuals hometown. Thus, in the New Testament, Jesus is commonly referred to as Jesus of Nazareth, Jesus neighbors in Nazareth refer to him as the carpenter, the son of Mary and brother of James and Joses and Judas and Simon, the carpenters son, or Josephs son. In John, the disciple Philip refers to him as Jesus son of Joseph from Nazareth, the name Jesus is derived from the Latin Iesus, a transliteration of the Greek Ἰησοῦς. The Greek form is a rendering of the Hebrew ישוע, a variant of the earlier name יהושע, the name Yeshua appears to have been in use in Judea at the time of the birth of Jesus. The 1st century works of historian Flavius Josephus, who wrote in Koine Greek, the etymology of Jesus name in the context of the New Testament is generally given as Yahweh is salvation. Since early Christianity, Christians have commonly referred to Jesus as Jesus Christ, the word Christ is derived from the Greek Χριστός, which is a translation of the Hebrew משיח, meaning the anointed and usually transliterated into English as Messiah. Christians designate Jesus as Christ because they believe he is the Messiah, whose arrival is prophesied in the Hebrew Bible, in postbiblical usage, Christ became viewed as a name—one part of Jesus Christ—but originally it was a title. The term Christian has been in use since the 1st century, the four canonical gospels are the only substantial sources for the life and message of Jesus. Acts of the Apostles refers to the ministry of Jesus
4.
Early Christian art
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In practice identifiably Christian art only survives from the 2nd century onwards. After 550 at the latest, Christian art is classified as Byzantine and it is hard to know when distinctly Christian art began. Prior to 100, Christians may have been constrained by their position as a group from producing durable works of art. Since Christianity was largely a religion of the classes in this period, the lack of surviving art may reflect a lack of funds for patronage. The Old Testament restrictions against the production of images may also have constrained Christians from producing art. Christians may have made or purchased art with pagan iconography, but given it Christian meanings, if this happened, Christian art would not be immediately recognizable as such. Early Christianity used the artistic media as the surrounding pagan culture. These media included fresco, mosaics, sculpture, and manuscript illumination, Early Christian art not only used Roman forms, it also used Roman styles. Late classical style included a portrayal of the human body. Late classical style is seen in early Christian frescos, such as those in the Catacombs of Rome, Early Christians adapted Roman motifs and gave new meanings to what had been pagan symbols. Among the motifs adopted were the peacock, grapevines, and the Good Shepherd, Early Christians also developed their own iconography, for example, such symbols as the fish, were not borrowed from pagan iconography. The earlier period being called the Pre-Constantinian or Ante-Nicene Period and after being the period of the First seven Ecumenical Councils, the earliest surviving Christian art comes from the late 2nd to early 4th centuries on the walls of Christian tombs in the catacombs of Rome. From literary evidence, there may well have been panel icons which, initially Jesus was represented indirectly by pictogram symbols such as the Ichthys, peacock, Lamb of God, or an anchor. The image of The Good Shepherd, a youth in pastoral scenes collecting sheep, was the most common of these images. These images bear some resemblance to depictions of figures in Greco-Roman art. The almost total absence from Christian monuments of the period of persecutions of the plain, the dove is a symbol of peace and purity. It can be found with a halo or celestial light, in one of the earliest known Trinitarian images, the Throne of God as a Trinitarian image, the dove represents the Spirit. It is flying above an empty throne representing God, in the throne are a chlamys, the Chi-Rho monogram, XP, apparently first used by Constantine I, consists of the first two characters of the name Christos in Greek
5.
Roman Emperor
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The Roman emperor was the ruler of the Roman Empire during the imperial period. The emperors used a variety of different titles throughout history, often when a given Roman is described as becoming emperor in English, it reflects his taking of the title Augustus or Caesar. Another title often used was imperator, originally a military honorific, early Emperors also used the title princeps. Emperors frequently amassed republican titles, notably Princeps Senatus, Consul, the first emperors reigned alone, later emperors would sometimes rule with co-Emperors and divide administration of the Empire between them. The Romans considered the office of emperor to be distinct from that of a king, the first emperor, Augustus, resolutely refused recognition as a monarch. Although Augustus could claim that his power was authentically republican, his successor, Tiberius, nonetheless, for the first three hundred years of Roman Emperors, from Augustus until Diocletian, a great effort was made to emphasize that the Emperors were the leaders of a Republic. Elements of the Republican institutional framework were preserved until the end of the Western Empire. The Eastern emperors ultimately adopted the title of Basileus, which had meant king in Greek, but became a title reserved solely for the Roman emperor, other kings were then referred to as rēgas. In addition to their office, some emperors were given divine status after death. The Western Roman Empire collapsed in the late 5th century, Romulus Augustulus is often considered to be the last emperor of the west after his forced abdication in 476, although Julius Nepos maintained a claim to the title until his death in 480. Constantine XI was the last Byzantine Roman emperor in Constantinople, dying in the Fall of Constantinople to the Ottomans in 1453, a Byzantine group of claimant Roman Emperors existed in the Empire of Trebizond until its conquest by the Ottomans in 1461. In western Europe the title of Roman Emperor was revived by Germanic rulers, the Holy Roman Emperors, in 800, at the end of the Roman Republic no new, and certainly no single, title indicated the individual who held supreme power. Insofar as emperor could be seen as the English translation of imperator, then Julius Caesar had been an emperor, however, Julius Caesar, unlike those after him, did so without the Senates vote and approval. Julius Caesar held the Republican offices of four times and dictator five times, was appointed dictator in perpetuity in 45 BC and had been pontifex maximus for a long period. He gained these positions by senatorial consent, by the time of his assassination, he was the most powerful man in the Roman world. In his will, Caesar appointed his adopted son Octavian as his heir, a decade after Caesars death, Octavians victory over his erstwhile ally Mark Antony at Actium put an end to any effective opposition and confirmed Octavians supremacy. His restoration of powers to the Senate and the people of Rome was a demonstration of his auctoritas, some later historians such as Tacitus would say that even at Augustus death, the true restoration of the Republic might have been possible. Instead, Augustus actively prepared his adopted son Tiberius to be his successor, the Senate disputed the issue but eventually confirmed Tiberius as princeps
6.
Byzantine art
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Byzantine art is the name for the artistic products of the Eastern Roman Empire, as well as the nations and states that inherited culturally from the empire. A number of states contemporary with the Byzantine Empire were culturally influenced by it, after the fall of the Byzantine capital of Constantinople in 1453, art produced by Eastern Orthodox Christians living in the Ottoman Empire was often called post-Byzantine. Byzantine art never lost sight of this classical heritage, the Byzantine capital, Constantinople, was adorned with a large number of classical sculptures, although they eventually became an object of some puzzlement for its inhabitants. And indeed, the art produced during the Byzantine Empire, although marked by periodic revivals of an aesthetic, was above all marked by the development of a new aesthetic. The most salient feature of new aesthetic was its abstract. The nature and causes of this transformation, which took place during late antiquity, have been a subject of scholarly debate for centuries. Giorgio Vasari attributed it to a decline in skills and standards. Although this point of view has been revived, most notably by Bernard Berenson. Alois Riegl and Josef Strzygowski, writing in the early 20th century, were all responsible for the revaluation of late antique art. Riegl saw it as a development of pre-existing tendencies in Roman art. In any case, the debate is purely modern, it is clear that most Byzantine viewers did not consider their art to be abstract or unnaturalistic, religious art was not, however, limited to the monumental decoration of church interiors. One of the most important genres of Byzantine art was the icon, an image of Christ, the illumination of manuscripts was another major genre of Byzantine art. The most commonly illustrated texts were religious, both scripture itself and devotional or theological texts, secular texts were also illuminated, important examples include the Alexander Romance and the history of John Skylitzes. Small ivories were also mostly in relief, Byzantine ceramics were relatively crude, as pottery was never used at the tables of the rich, who ate off silver. Two events were of importance to the development of a unique. First, the Edict of Milan, issued by the emperors Constantine I and Licinius in 313, allowed for public Christian worship, second, the dedication of Constantinople in 330 created a great new artistic centre for the eastern half of the Empire, and a specifically Christian one. Major Constantinopolitan churches built under Constantine and his son, Constantius II, included the foundations of Hagia Sophia. The next major building campaign in Constantinople was sponsored by Theodosius I, the most important surviving monument of this period is the obelisk and base erected by Theodosius in the Hippodrome
7.
Christ Pantocrator
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In Christian iconography, Christ Pantocrator refers to a specific depiction of Christ. Pantocrator or Pantokrator is, used in context, a translation of one of many names of God in Judaism. When the Hebrew Bible was translated into Greek as the Septuagint, in the New Testament, Pantokrator is used once by Paul. Aside from that one occurrence, John of Patmos is the only New Testament author to use the word Pantokrator, the most common translation of Pantocrator is Almighty or All-powerful. In this understanding, Pantokrator is a word formed from the Greek words πᾶς, pas, i. e. all and κράτος, kratos, i. e. strength, might. This is often understood in terms of power, i. e. ability to do anything. Another, more literal translation is Ruler of All or, less literally, in this understanding, Pantokrator is a compound word formed from the Greek for all and the verb meaning To accomplish something or to sustain something. This translation speaks more to Gods actual power, i. e, the Pantokrator, largely an Eastern Orthodox or Eastern Catholic theological conception, is less common by that name in Western Catholicism and largely unknown to most Protestants. In the West the equivalent image in art is known as Christ in Majesty, Christ Pantocrator has come to suggest Christ as a mild but stern, all-powerful judge of humanity. The icon of Christ Pantokrator is one of the most widely used images of Orthodox Christianity. Some scholars consider the Pantocrator a Christian adaptation of images of Zeus, the development of the earliest stages of the icon from Roman Imperial imagery is easier to trace. The image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church, in the half-length image, Christ holds the New Testament in his left hand and makes the gesture of teaching or of blessing with his right. The gessoed panel, finely painted using a wax medium on a panel, had been coarsely overpainted around the face. It was only when the overpainting was cleaned in 1962 that the ancient image was revealed to be a high quality icon. The left hand holds a book with a richly decorated cover featuring the Cross. An icon where Christ has a book is called Christ the Teacher. Christ is bearded, his brown hair centrally parted, and his head is surrounded by a halo, the icon is usually shown against a gold background comparable to the gilded grounds of mosaic depictions of the Christian emperors. Often, the name of Christ is written on each side of the halo, as IC, christs fingers are depicted in a pose that represents the letters IC, X and C, thereby making the Christogram ICXC
8.
Mary, mother of Jesus
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Mary, also known by various titles, styles and honorifics, was a 1st-century Galilean Jewish woman of Nazareth and the mother of Jesus, according to the New Testament and the Quran. The gospels of Matthew and Luke in the New Testament and the Quran describe Mary as a virgin, the miraculous birth took place when she was already betrothed to Joseph and was awaiting the concluding rite of marriage, the formal home-taking ceremony. She married Joseph and accompanied him to Bethlehem, where Jesus was born, the Gospel of Luke begins its account of Marys life with the Annunciation, when the angel Gabriel appeared to her and announced her divine selection to be the mother of Jesus. According to canonical gospel accounts, Mary was present at the crucifixion and is depicted as a member of the early Christian community in Jerusalem. According to the Catholic and Orthodox teaching, at the end of her life her body was assumed directly into Heaven. Mary has been venerated since Early Christianity, and is considered by millions to be the most meritorious saint of the religion and she is claimed to have miraculously appeared to believers many times over the centuries. The Eastern and Oriental Orthodox, Roman Catholic, Anglican, and Lutheran churches believe that Mary, there is significant diversity in the Marian beliefs and devotional practices of major Christian traditions. The Roman Catholic Church holds distinctive Marian dogmas, namely her status as the Mother of God, her Immaculate Conception, her perpetual virginity, many Protestants minimize Marys role within Christianity, based on the argued brevity of biblical references. Mary also has a position in Islam, where one of the longer chapters of the Quran is devoted to her. Marys name in the manuscripts of the New Testament was based on her original Aramaic name ܡܪܝܡ. The English name Mary comes from the Greek Μαρία, which is a form of Μαριάμ. Both Μαρία and Μαριάμ appear in the New Testament, in Christianity, Mary is commonly referred to as the Virgin Mary, in accordance with the belief that she conceived Jesus miraculously through the Holy Spirit without her husbands involvement. The three main titles for Mary used by the Orthodox are Theotokos, Aeiparthenos as confirmed in the Second Council of Constantinople in 553, Catholics use a wide variety of titles for Mary, and these titles have in turn given rise to many artistic depictions. For example, the title Our Lady of Sorrows has inspired such masterpieces as Michelangelos Pietà, the title Theotokos was recognized at the Council of Ephesus in 431. However, this phrase in Greek, in the abbreviated form ΜΡ ΘΥ, is an indication commonly attached to her image in Byzantine icons. The Council stated that the Church Fathers did not hesitate to speak of the holy Virgin as the Mother of God, some Marian titles have a direct scriptural basis. For instance, the title Queen Mother has been given to Mary since she was the mother of Jesus, the scriptural basis for the term Queen can be seen in Luke 1,32 and the Isaiah 9,6. Queen Mother can be found in 1 Kings 2, 19-20 and Jeremiah 13, other titles have arisen from reported miracles, special appeals or occasions for calling on Mary
9.
St. John the Baptist
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John the Baptist, also known as John the Baptizer, was a Jewish itinerant preacher in the early first century AD. John is revered as a religious figure in Christianity, Islam, the Baháí Faith. He is called a prophet by all of these traditions, and is honoured as a saint in many Christian traditions, John used baptism as the central symbol or sacrament of his messianic movement. Most scholars agree that John baptized Jesus, scholars generally believe Jesus was a follower or disciple of John and several New Testament accounts report that some of Jesus early followers had previously been followers of John. John the Baptist is also mentioned by the Jewish historian Josephus, according to the New Testament, John anticipated a messianic figure greater than himself. Christians commonly refer to John as the precursor or forerunner of Jesus, John is also identified with the prophet Elijah. John the Baptist is mentioned in all four canonical Gospels and the non-canonical Gospel of the Nazarenes, the Synoptic Gospels describe John baptising Jesus, in the Gospel of John it is implied in John 1, 32-34. The Gospel of Mark introduces John as a fulfilment of a prophecy from the Book of Isaiah about a messenger being sent ahead, John is described as wearing clothes of camels hair, living on locusts and wild honey. John proclaims baptism of repentance for the forgiveness of sin, and says another will come after him who will not baptize with water, Jesus comes to John, and is baptized by him in the river Jordan. The account describes how, as he emerges from the water, the heavens open, a voice from heaven then says, You are my Son, the Beloved, with you I am well pleased. Later in the gospel there is an account of Johns death and it is introduced by an incident where the Tetrarch Herod Antipas, hearing stories about Jesus, imagines that this is John the Baptist raised from the dead. It then explains that John had rebuked Herod for marrying Herodias, Herodias demands his execution, but Herod, who liked to listen to John, is reluctant to do so because he fears him, knowing he is a righteous and holy man. The account then describes how Herods daughter Herodias dances before Herod, when the girl asks her mother what she should request, she is told to demand the head of John the Baptist. Reluctantly, Herod orders the beheading of John, and his head is delivered to her, at her request, Johns disciples take the body away and bury it in a tomb. There are a number of difficulties with this passage, the Gospel wrongly identifies Antipas as King and the ex-husband of Herodias is named as Philip, but he is known to have been called Herod. Although the wording clearly implies the girl was the daughter of Herodias, many texts describe her as Herods daughter, Herodias. Since these texts are early and significant and the reading is difficult, many see this as the original version, corrected in later versions and in Matthew. Josephus says that Herodias had a daughter by the name of Salome, scholars have speculated about the origins of the story
10.
Renaissance
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The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
11.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
12.
Mosaic
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A mosaic is a piece of art or image made from the assemblage of small pieces of colored glass, stone, or other materials. It is often used in art or as interior decoration. Most mosaics are made of small, flat, roughly square, pieces of stone or glass of different colors, some, especially floor mosaics, are made of small rounded pieces of stone, and called pebble mosaics. Others are made of other materials, mosaics have a long history, starting in Mesopotamia in the 3rd millennium BC. Pebble mosaics were made in Tiryns in Mycenean Greece, mosaics with patterns and pictures became widespread in classical times, Early Christian basilicas from the 4th century onwards were decorated with wall and ceiling mosaics. Mosaic fell out of fashion in the Renaissance, though artists like Raphael continued to practise the old technique, Roman and Byzantine influence led Jews to decorate 5th and 6th century synagogues in the Middle East with floor mosaics. Mosaic was widely used on buildings and palaces in early Islamic art, including Islams first great religious building, the Dome of the Rock in Jerusalem. Mosaic went out of fashion in the Islamic world after the 8th century, modern mosaics are made by professional artists, street artists, and as a popular craft. Many materials other than stone and ceramic tesserae may be employed, including shells, glass. The earliest known examples of made of different materials were found at a temple building in Abra, Mesopotamia. They consist of pieces of colored stones, shells and ivory, excavations at Susa and Chogha Zanbil show evidence of the first glazed tiles, dating from around 1500 BC. However, mosaic patterns were not used until the times of Sassanid Empire, mythological subjects, or scenes of hunting or other pursuits of the wealthy, were popular as the centrepieces of a larger geometric design, with strongly emphasized borders. Pliny the Elder mentions the artist Sosus of Pergamon by name, describing his mosaics of the left on a floor after a feast. Both of these themes were widely copied, most recorded names of Roman mosaic workers are Greek, suggesting they dominated high quality work across the empire, no doubt most ordinary craftsmen were slaves. Splendid mosaic floors are found in Roman villas across North Africa, in such as Carthage. The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting, often small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique was opus tessellatum, using larger tesserae, which was laid on site, there was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work. In Rome, Nero and his architects used mosaics to cover surfaces of walls and ceilings in the Domus Aurea, built 64 AD
13.
Basilica of San Lorenzo, Milan
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Located close to the mediaeval Ticino gate, it is one of the oldest churches in Milan. It is near the city park called Basilicas Park, which both the Basilica of San Lorenzo and the Basilica of SantEustorgio, as well as the Roman Colonne di San Lorenzo. The basilica was built between the fourth and early fifth centuries. The exact date is uncertain, as are the name of who commissioned it, according to some scholars San Lorenzo was erected to coincide with the “Basilica Portiana”, which was built by the “Augusto of the West” to please the Bishop of Milan Aussenzzio of the Arian faith. If this were to be true, San Lorenzo would have preceded the foundation of the four Ambrosian basilicas, a second proposition gives the date of the foundation of the church to a later period, between 390 and 402, and attributes its commissioning to Theodosius I or Stilicho. Evidence for this comes from archaeological investigations carried out between 2002 and 2004. What is certain is that at the time of its construction the basilica was the largest, the dedication of the temple to St. Laurence the martyr has been certified only from 590, when Milan was already controlled by the Lombards. By 1167, with the construction of the walls, the basilica was to be found within the city. The basilica of San Lorenzo remained throughout the Middle Ages a symbol of the legacy of the Roman Empire in Milan, painted references to the church from that era can be identified. On 5 June 1573 the dome of the basilica suddenly collapsed, construction of a new dome in a more modern style began immediately and were completed in 1619. Following this event, donations increased enabling more rapid progress in the reconstruction, in 1626, the Madonna del Latte was transferred to the high altar where it remains to this day. After the bombings of 1944-1945 the houses that had destroyed were not rebuilt enabling the park of the basilicas to be created. In 1934 in place of the houses a sort of a courtyard was formed. The building had a central plan approached by a four-sided portico, access to the portico was through a colonnade which in turn gave access to three portals leading to the main body of the building. This consisted of a square hall inscribed as a building with four apses, around this space ran the ambulatory surmounted by a space later used as a womens gallery. Towers rose at the four corners of the square building, the whole was topped by a dome of which we know little, this having been lost. The interior was lit by windows, and probably decorated with marble in the lower parts and with mosaics in the vaults. Of the two buildings, the smaller was in the east, opposite the entrance, a chapel in the shape of a Greek cross, later on octagonal
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Saint Peter
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Saint Peter, also known as Simon Peter, Simeon, or Simōn pronunciation, according to the New Testament, was one of the Twelve Apostles of Jesus Christ, leaders of the early Christian Great Church. Hippolytus of Rome, a 3rd-century theologian, gave him the title of Apostle of the Apostles, according to Catholic teaching, Peter was ordained by Jesus in the Rock of My Church dialogue in Matthew 16,18. He is traditionally counted as the first Bishop of Rome and by Eastern Christian tradition also as the first Patriarch of Antioch. The ancient Christian churches all venerate Peter as a saint and as founder of the Church of Antioch. The New Testament indicates that Peter was the son of John and was from the village of Bethsaida in the province of Galilee or Gaulanitis and his brother Andrew was also an apostle. According to New Testament accounts, Peter was one of twelve apostles chosen by Jesus from his first disciples, originally a fisherman, he played a leadership role and was with Jesus during events witnessed by only a few apostles, such as the Transfiguration. According to the gospels, Peter confessed Jesus as the Messiah, was part of Jesuss inner circle, thrice denied Jesus and wept bitterly once he realised his deed, according to Christian tradition, Peter was crucified in Rome under Emperor Nero Augustus Caesar. It is traditionally held that he was crucified upside down at his own request, Tradition holds that he was crucified at the site of the Clementine Chapel. His remains are said to be contained in the underground Confessio of St. Peters Basilica. According to Catholic doctrine, the direct successor to Saint Peter is the incumbent pope. Two general epistles in the New Testament are ascribed to Peter, the Gospel of Mark was traditionally thought to show the influence of Peters preaching and eyewitness memories. Peters original name was Shimon or Simeon and he was later given the name Peter, New Testament Greek Πέτρος derived from πέτρα, which means rock. In the Latin translation of the Bible this became Petrus, a form of the feminine petra. Another version of this name is Aramaic, , after his name in Hellenised Aramaic. The English, Dutch and German Peter, French Pierre, the Italian Pietro, the Spanish and Portuguese Pedro, the Syriac or Aramaic word for rock is kepa, which in Greek became Πέτρος, also meaning rock. He is also known as Simon Peter, Cephas and Kepha, both Cephas and Kepha also mean rock. In the New Testament, he is among the first of the disciples called during Jesus ministry, Peter became the first listed apostle ordained by Jesus in the early church. Peter was a fisherman in Bethsaida and he was named Simon, son of Jonah or John
15.
Paul the Apostle
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Paul the Apostle, commonly known as Saint Paul, and also known by his native name Saul of Tarsus was an apostle who taught the gospel of the Christ to the first century world. He is generally considered one of the most important figures of the Apostolic Age, in the mid-30s to the mid-50s AD, he founded several churches in Asia Minor and Europe. Paul took advantage of his status as both a Jew and a Roman citizen to minister to both Jewish and Roman audiences, according to writings in the New Testament, Paul was dedicated to the persecution of the early disciples of Jesus in the area of Jerusalem. He was struck blind but, after three days, his sight was restored by Ananias of Damascus, and Paul began to preach that Jesus of Nazareth is the Jewish Messiah, approximately half of the book of Acts deals with Pauls life and works. Fourteen of the books in the New Testament have traditionally been attributed to Paul. Seven of the epistles are undisputed by scholars as being authentic, Pauline authorship of the Epistle to the Hebrews is not asserted in the Epistle itself and was already doubted in the 2nd and 3rd centuries. It was almost unquestioningly accepted from the 5th to the 16th centuries that Paul was the author of Hebrews, but that view is now almost universally rejected by scholars. The other six are believed by scholars to have come from followers writing in his name. Other scholars argue that the idea of an author for the disputed epistles raises many problems. Today, Pauls epistles continue to be roots of the theology, worship, and pastoral life in the Catholic and Protestant traditions of the West. Augustine of Hippo developed Pauls idea that salvation is based on faith, martin Luthers interpretation of Pauls writings influenced Luthers doctrine of sola fide. The main source for information about Pauls life is the material found in his epistles, however, the epistles contain little information about Pauls past. The book of Acts recounts more information but leaves several parts of Pauls life out of its narrative, such as his probable, some scholars believe Acts also contradicts Pauls epistles on multiple accounts, in particular concerning the frequency of Pauls visits to the church in Jerusalem. It has been assumed that Sauls name was changed when he converted from Judaism to Christianity. His Jewish name was Saul, perhaps after the biblical King Saul, a fellow Benjamite, according to the Book of Acts, he inherited Roman citizenship from his father. As a Roman citizen, he bore the Latin name of Paul—in biblical Greek, Παῦλος. It was quite usual for the Jews of that time to have two names, one Hebrew, the other Latin or Greek. Jesus called him Saul, Saul in the Hebrew tongue in the book of Acts, later, in a vision to Ananias of Damascus, the Lord referred to him as Saul, of Tarsus
16.
Twelve apostles
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In Christian theology and ecclesiology, the apostles, particularly the Twelve Apostles, were the primary historical disciples of Jesus, the central figure in Christianity. During the life and ministry of Jesus in the 1st century AD, the word disciple is sometimes used interchangeably with apostle, for instance, the Gospel of John makes no distinction between the two terms. In modern usage, prominent missionaries are often called apostles, a practice which stems from the Latin equivalent of apostle, i. e. missio, for example, Saint Patrick was the Apostle of Ireland, and Saint Boniface was the Apostle to the Germans. The commissioning of the Twelve Apostles during the ministry of Jesus is recorded in the Synoptic Gospels, after his resurrection, Jesus sent 11 of them by the Great Commission to spread his teachings to all nations. This event is called the Dispersion of the Apostles. There is also an Eastern Christian tradition derived from the Gospel of Luke of there having been as many as 70 apostles during the time of Jesus ministry. Prominent figures in early Christianity, notably Paul, were called apostles. The period of early Christianity during the lifetimes of the apostles is called the Apostolic Age, during the 1st century AD, the apostles established churches throughout the territories of the Roman Empire and, according to tradition, through the Middle East, Africa, and India. In his writings, the epistles to Christian churches throughout the Levant, Paul did not restrict the term apostle to the Twelve, the restricted usage appears in the Revelation to John. By the 2nd century AD, association with the apostles was esteemed as an evidence of authority, Churches which are believed to have been founded by one of the apostles are known as apostolic sees. Pauls epistles were accepted as scripture, and two of the four gospels were associated with apostles, as were other New Testament works. Various Christian texts, such as the Didache and the Apostolic Constitutions, were attributed to the apostles, bishops traced their lines of succession back to individual apostles, who were said to have dispersed from Jerusalem and established churches across great territories. Christian bishops have traditionally claimed authority deriving, by apostolic succession, early Church Fathers who came to be associated with apostles, such as Pope Clement I with St. Peter, are referred to as the Apostolic Fathers. The Apostles Creed, popular in the West, was said to have composed by the apostles themselves. The word apostle comes from the Greek word ἀπόστολος, formed from the prefix ἀπό- and root στέλλω and originally meaning messenger and it has, however, a stronger sense than the word messenger, and is closer to a delegate. The Greek-English Lexicon of the New Testament argues that its Christian use translated a Jewish position known in Hebrew as the sheliach and this ecclesiastical meaning of the word was later translated into Latin as missio, the source of the English missionary. In the New Testament, the names of the majority of the apostles are Hebrew names, Mark 6, 7-13 states that Jesus initially sent out these twelve in pairs to towns in Galilee. The text states that their initial instructions were to heal the sick and their carrying of just a staff is sometimes given as the reason for the use by Christian bishops of a staff of office in those denominations that believe they maintain an apostolic succession
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Sarcophagus of Junius Bassus
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The Sarcophagus of Junius Bassus is a marble Early Christian sarcophagus used for the burial of Junius Bassus, who died in 359. It has been described as probably the single most famous piece of early Christian relief sculpture, the base is approximately 4 x 8 x 4 feet. Junius Bassus was an important figure, a senator who was in charge of the government of the capital as praefectus urbi when he died at the age of 42 in 359 and his father had been Praetorian prefect, running the administration of a large part of the Western Empire. Bassus served under Constantius II, son of Constantine I, Bassus, as the inscription on the sarcophagus tells us, converted to Christianity shortly before his death - perhaps on his deathbed. Many still believed, like Tertullian, that it was not possible to be an emperor and a Christian, the style of the work has been greatly discussed by art historians, especially as its date is certain, which is unusual at this period. All are agreed that the workmanship is of the highest quality available at the time, some figures are portrayed frontally, but certainly not all, and they are not shown in a thoroughly Late Antique manner, the scenes are three-dimensional and have depth and background. Drapery hangs on recognizable human forms rather than being arranged in predetermined folds, heads are varied, the cast also lacks the effects created by light on polished or patinated highlights such as the heads of the figures, against the darker recessed surfaces and backgrounds. Ernst Kitzinger finds a far more definite reattachment to aesthetic ideals of the Graeco-Roman past than in the earlier Dogmatic Sarcophagus, the carvings are in high relief on three sides of the sarcophagus, allowing for its placement against a wall. The column and many parts of the figures are carved completely in the round, the arrangement of relief scenes in rows in a columnar framework is an introduction from Asia Minor at about this time. In the bottom row, Job on the dunghill, Adam and Eve, Christs entry into Jerusalem, Daniel in the lions den, Arrest or leading to execution of Paul. The other scenes may be the Three youths in the fiery furnace, the sides have more traditional Roman scenes of the Four Seasons represented by putti performing seasonal tasks such as harvesting grapes. The emphasis on scenes of judgement may have influenced by the career of Bassus as a magistrate. In all the three scenes where he appears Christ is a youthful, beardless figure with shortish hair, which is typical of Christian art at this period, the angel standing behind Abraham in the Sacrifice of Isaac is depicted similarly, and without wings. Christ appears in the centre of rows, in the top row as a law-giver or teacher between his chief followers, Peter and Paul, and on the bottom entering Jerusalem. Christ hands Peter a scroll, probably representing the Gospels, as emperors were often shown doing to their heirs, ministers or generals, before Pilate Christ also carries a scroll, like a philosopher. Pilate, perhaps worried by Jesuss reputation for miracles, is making the gesture Italians still use to ward off the evil eye, the putti in the Chronography also relate closely to those on the sides of the sarcophagus. The Old Testament scenes depicted were chosen as precursors of Christs sacrifice in the New Testament, Adam and Eve are shown covering their nakedness after the Fall of Man, which created the original sin and hence the need for Christ to be sacrificed for our sins. Adam and Eve themselves made no sacrifices, but behind Eve is a lamb, just to the right of the middle is Daniel in the lions den, saved by his faith, and on the left is Abraham about to sacrifice Isaac
18.
Vatican Museums
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The Vatican Museums are the museums of the Vatican City and are located within the citys boundaries. The museums contain roughly 70,000 works, of which 20,000 are on display, and currently employ 640 people who work in 40 different administrative, scholarly, Pope Julius II founded the museums in the early 16th century. The Sistine Chapel, with its ceiling decorated by Michelangelo and the Stanze di Raffaello decorated by Raphael, are on the route through the Vatican Museums. In 2013, they were visited by 6 million people, which combined makes it the 6th most visited art museum in the world, there are 54 galleries, or sale, in total, with the Sistine Chapel, notably, being the very last sala within the Museum. It is one of the largest museums in the world, in 2017, the Museums official website and social media presence was completely redone, in accord with current standards and appearances for modern websites. Pope Julius II sent Giuliano da Sangallo and Michelangelo Buonarroti, who were working at the Vatican, on their recommendation, the pope immediately purchased the sculpture from the vineyard owner. The pope put the sculpture of Laocoön and his sons on public display at the Vatican exactly one month after its discovery, the Museum Christianum was founded by Benedict XIV, and some of the Vatican collections formed the Lateran Museum, which Pius IX founded by decree in 1854. The Museums celebrated their 500th anniversary in October 2006 by permanently opening the excavations of a Vatican Hill necropolis to the public, on 1 January 2017 Barbara Jatta became the Director of the Vatican Museums, replacing Antonio Paolucci who had been director since 2007. The art gallery was housed in the Borgia Apartment until Pope Pius XI ordered construction of a proper building, the new building, designed by Luca Beltrami, was inaugurated on 27 October 1932. The museum has paintings including, Giottos Stefaneschi Triptych Olivuccio di Ciccarello, Opere di Misericordia Raphaels Madonna of Foligno, Oddi Altarpiece, the group of museums includes several sculpture museums surrounding the Cortile del Belvedere. The museum takes its name from two popes, Clement XIV and Pius VI, the pope who brought the museum to completion, Clement XIV came up with the idea of creating a new museum in Innocent VIIIs Belvedere palace and started the refurbishment work. Pope Clement XIV founded the Pio-Clementino museum in 1771, and originally it contained the Renaissance, the museum and collection were enlarged by Clements successor Pius VI. Today, the museum works of Greek and Roman sculpture. Some notable galleries are, Greek Cross Gallery, with the porphyri sarcophagi of Constance and Saint Helen, daughter and mother of Constantine the Great. Sala Rotonda, shaped like a miniature Pantheon, the room has impressive ancient mosaics on the floors, Gallery of the Statues, as its name implies, holds various important statues, including Sleeping Ariadne and the bust of Menander. It also contains the Barberini Candelabra, Gallery of the Busts, Many ancient busts are displayed. Cabinet of the Masks, The name comes from the mosaic on the floor of the gallery, found in Villa Adriana, along the walls, several famous statues are shown including the Three Graces. One wove the thread of life, second nurtured it, third cut it. The center piece is Belvedere Torso, revered by Michelangelo and other Renaissance men, sala degli Animali, So named because of the many ancient statues of animals
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Scroll
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A scroll, also known as a roll, is a roll of papyrus, parchment, or paper containing writing. The scroll is usually unrolled so that one page is exposed at a time, for writing or reading, with the remaining pages rolled up to the left and right of the visible page. It is unrolled side to side, and the text is written in lines from the top to the bottom of the page. Depending on the language, the letters may be left to right, right to left. Some scrolls are simply rolled up pages, others may have wooden rollers on each end, scrolls were the first form of editable record keeping texts, used in Eastern Mediterranean ancient Egyptian civilizations. Parchment scroll used by Israelites after Sinai was the first use of scrolls in the recording of literature before the codex or bound book with pages was invented by the Latins in the 1st century AD. Scrolls were more highly regarded than codices until well into Roman times where they were written in single latitudinal column. The ink used in writing scrolls had to adhere to a surface that was rolled and unrolled, even so, ink would slowly flake off of scrolls. Shorter pieces of parchment or paper are called rolls or rotuli, historians of the classical period tend to use roll instead of scroll. A distinction that sometimes applies is that the lines of writing in rotuli run across the width of the rather than along the length. Rolls may be wider than most scrolls, up to perhaps 60 cm or two feet wide, Rolls were often stored together in a special cupboard on shelves. A special Chinese form of book, called the whirlwind book, consists of several pieces of paper bound at the top with bamboo. In Scotland, the term scrow was used from about the 13th to the 17th centuries for scroll, writing, there existed an office of Clerk of the Scrow meaning the Clerk of the Rolls or Clerk of the Register. The scroll was replaced by the codex, a process which started almost as soon as the codex was invented. Unfortunately, scrolls were usually discarded after their contents were transferred to a codex, most scrolls uncovered by archaeologists are found in trash middens and burial sites. The oldest complete Torah scroll was discovered in May 2013 by Professor Mauro Perani. It was stored in a library in Bolonia, Italy. It had been mislabeled in 1889 as dating from the 17th century, carbon testing dates the prayer book to the year 840, which is 300 to 400 years earlier than the previously oldest known Torah scrolls from the 12th and 13th centuries
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Diptych
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A diptych is any object with two flat plates attached at a hinge. For example, the notebook and school exercise book of the ancient world was a diptych consisting of a pair of such plates that contained a recessed space filled with wax. Writing was accomplished by scratching the wax surface with a stylus, when the notes were no longer needed, the wax could be slightly heated and then smoothed to allow reuse. Ordinary versions had wooden frames, but more luxurious diptychs were crafted with more expensive materials, others may have been made to celebrate a wedding, or, perhaps like the Poet and Muse diptych at Monza, simply commissioned for private use. Some of the most important surviving works of the Late Roman Empire are diptychs, of some dozens survive. The largest surviving Byzantine ivory panel, is a leaf from a diptych in the Justinian court manner of c, from the Middle Ages many panel paintings took the diptych form, as small portable works for personal use, Eastern Orthodox ones may be called travelling icons. These suited the mobile lives of medieval elites, the ivories tended to have scenes in several registers crowded with small figures. The outsides, which received considerable wear from travelling, might have simpler decorative designs. Large altarpieces tended to be made in form, with two outer panels that could be closed across the main central representation. They are one type of the forms of painting known as polyptychs. The diptych was a format in Early Netherlandish painting and depicted subjects ranging from secular portraiture to religious personages and stories. Often a portrait and a Madonna and Child had a leaf each and it was especially popular in the 15th and 16th centuries. Painters such as Jan van Eyck, Rogier van der Weyden, Hans Memling, Diptych is also often used in reference to films or pieces of literature that form a complementary pair. When taken together, they are viewed as illuminating each other, an example is the pair of Alan Ayckbourn plays, House and Garden. It is in form that the mention of diptychs in early Christian literature is found. The term refers to official lists of the living and departed that are commemorated by the local church, the living would be inscribed on one wing of the diptych, and the departed on the other. The inscribing of a name in the diptychs means that the local church considers itself to be in communion with him. The names in the diptychs would be read publicly by the deacon during the Divine Liturgy, diptychs were also used to inscribe the names of the saints
21.
Arch of Constantine
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The Arch of Constantine is a triumphal arch in Rome, situated between the Colosseum and the Palatine Hill. It was erected by the Roman Senate to commemorate Constantine Is victory over Maxentius at the Battle of Milvian Bridge in 312, dedicated in 315, it is the largest Roman triumphal arch. The arch spans the Via triumphalis, the way taken by the emperors when they entered the city in triumph. Though dedicated to Constantine, much of the material incorporated earlier work from the time of the emperors Trajan, Hadrian and Marcus Aurelius. This earned it the nickname of Cornacchia di Esopo Aesops Crow. The arch is 21 m high,25.9 m wide and 7.4 m deep. It has three archways, the one being 11.5 m high and 6.5 m wide. Above the archways is placed the attic, composed of brickwork reveted with marble, a staircase within the arch is entered from a door at some height from the ground, on the west side, facing the Palatine Hill. The general design with a main part structured by detached columns, not only did the Roman senate give the arch for Constantines victory, they also were celebrating decennia, a series of games that happens every decade for the romans. In this occasion they also said many prayers, however, Constantine had actually entered Rome on 29 October 312, amidst great rejoicing, and the Senate then commissioned the monument. Constantine then left Rome within two months and did not return till 326, the location, between the Palatine Hill and the Caelian Hill, spanned the ancient route of Roman triumphs at its origin, where it diverged from the Via sacra. This route was taken by the emperors when they entered the city in triumph. During the Middle Ages, the Arch of Constantine was incorporated into one of the strongholds of ancient Rome, as shown in the painting by Herman van Swanevelt. Works of restoration were first carried out in the 18th century, the arch served as the finish line for the marathon athletic event for the 1960 Summer Olympics. Another theory holds that it was erected, or at least started, by Maxentius, ), whatever the faults of Maxentius, his reputation in Rome was influenced by his contributions to public building. This factor contributed to his ability to seize power, by contrast Maxentius concentrated on restoring the capital, his epithet being conservator urbis suae. Thus Constantine was perceived amongst other things as the deposer of one of the citys greatest benefactors, much controversy has surrounded the patronage of the public works of this period. The German philosopher, Walter Benjamin observed that history is seen through the eyes of the victor, issuing a damnatio memoriae he set out to systematically erase the memory of Maxentius
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Missorium of Theodosius I
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The Missorium of Theodosius I is a large ceremonial silver dish preserved in the Real Academia de la Historia, in Madrid, Spain. It was probably made in Constantinople for the anniversary in 388 of the reign of the Emperor Theodosius I. It is one of the best surviving examples of Late Antique Imperial imagery and it is the largest and most elaborate, and the most famous, of the 19 surviving vessels believed to represent largitio or a ceremonial gift given by the emperor to a civil or military official. The official receives the document with hands covered by his chlamys and this iconography is related to that known as the Traditio legis, which was transferred from Late Antique Imperial art to Christian art, eventually developing into the iconic Christ in Majesty. Theodosius is shown far larger than the figures, as is common in the hieratic Late Antique style. The three emperors have haloes which is usual at this period, although all were Christians, there are no specific Christian elements in the iconography, and the lower zone contains specifically pagan imagery, as some Late Antique Christian art continued to do. Their clothing is early Byzantine dress consistent with other Imperial portraits of the period, the two co-emperors have decorated tablions at their knees, or possibly Epigonations. These would have highly decorated with embroidery and probably jewels. The official receiving the document wears clothes decorated with stripes and patches which would have been a kind of uniform for his office, the three Imperial figures have tightly curled hairstyles, and wear diadems of pearls. Their cloaks are fastened with large circular jewelled fibulae, comparable to that worn by Justinian in the mosaic at Ravenna. The architectural surround has often compared to a peristyle at Diocletians Palace in Split, Croatia. This opens from the residence to a courtyard that has been regarded as a setting for ceremonial audiences such as the one shown on the dish. Their offerings are held in hand-cloths, just as the official uses his clothes to receive his gift, the putti fly above a reclining figure of Tellus or Terra, the Roman goddess of Mother Earth. Tellus is shown in a pose that continues Hellenistic style, rather than the frontal iconic Late Antique style of the figures in the upper zone. It is in good condition apart from the affected by this. The height of the relief varies, and is highest in the face of Theodosius and other highlights of the composition. The recipient may well be the official represented on the dish, the term now tends to be avoided by scholars, as rather imprecise, but has become traditional in the case of the dish in Madrid. This is made of silver and has traces of gilding on the inscriptions
23.
John Chrysostom
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John Chrysostom, c.349 –407, Archbishop of Constantinople, was an important Early Church Father. The epithet Χρυσόστομος means golden-mouthed in Greek and denotes his celebrated eloquence, Chrysostom was among the most prolific authors in the early Christian Church exceeded only by Augustine in the quantity of his surviving writings. He is honored as a saint in the Eastern Orthodox, Catholic, the Eastern Orthodox, together with the Byzantine Catholics, hold him in special regard as one of the Three Holy Hierarchs. The feast days of John Chrysostom in the Eastern Orthodox Church are 13 November and 27 January, in the Roman Catholic Church he is recognized as a Doctor of the Church and commemorated on 13 September. Other churches of the Western tradition, including some Anglican provinces and some Lutheran churches, however, certain Lutheran churches and Anglican provinces commemorate him on the traditional Eastern feast day of 27 January. The Coptic Church also recognizes him as a saint, John was born in Antioch in 349 to Greek parents from Syria. Different scholars describe his mother Anthusa as a pagan or as a Christian, Johns father died soon after his birth and he was raised by his mother. He was baptised in 368 or 373 and tonsured as a reader, as a result of his mothers influential connections in the city, John began his education under the pagan teacher Libanius. From Libanius, John acquired the skills for a career in rhetoric, as well as a love of the Greek language and literature. As he grew older, however, John became more committed to Christianity and went on to study theology under Diodore of Tarsus. According to the Christian historian Sozomen, Libanius was supposed to have said on his deathbed that John would have been his if the Christians had not taken him from us. John lived in asceticism and became a hermit in about 375. As a consequence of these practices, his stomach and kidneys were permanently damaged, John was ordained as a deacon in 381 by Saint Meletius of Antioch who was not then in communion with Alexandria and Rome. After the death of Meletius, John separated himself from the followers of Meletius, without joining Paulinus, but after the death of Paulinus he was ordained a presbyter in 386 by Evagrius, the successor of Paulinus. He was destined later to bring reconciliation between Flavian I of Antioch, Alexandria, and Rome, thus bringing those three sees into communion for the first time in nearly seventy years. The most valuable of his works from this period are his Homilies on various books of the Bible and he emphasised charitable giving and was concerned with the spiritual and temporal needs of the poor. He spoke against abuse of wealth and personal property, Do you wish to honour the body of Christ, do not ignore him when he is naked. Do not pay him homage in the temple clad in silk, only then to him outside where he is cold
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Gospel
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A gospel is an account describing the life, death, and resurrection of Jesus of Nazareth. Christianity places a value on the four canonical gospels, which it considers to be revelations from God. This position however, requires a view of Biblical inerrancy. The word gospel derives from the Old English gōd-spell, meaning good news or glad tidings, the gospel was considered the good news of the coming Kingdom of Messiah, and of redemption through the life and death and resurrection of Jesus, the central Christian message. The Greek word euangelion is also the source of the terms evangelist, the authors of the four canonical Christian gospels are known as the Four Evangelists. Paul the Apostle used the term εὐαγγέλιον when he reminded the people of the church at Corinth of the gospel I preached to you, the earliest extant use of gospel to denote a particular genre of literature dates to the 2nd century. Justin Martyr in the Apology wrote of. the apostles, in the memoirs composed by them, more generally, gospels compose a genre of early Christian writings. Gospels that did not become canonical also circulated in Early Christianity, many, such as the work known today as Gospel of Thomas, lack the narrative framework typical of a gospel. Scholars hold a wide spectrum of views on the origins and composition of the gospels, for example, the vast majority of material in Mark is also present in either Luke or Matthew or both, suggesting that Mark was a source for Matthew and Luke. He writes that the four gospels were probably all written by the end of the first century. But they did not yet at that time have a consistent narrative, in 170 Tatian sought to find a solution by composing a single narrative out of Matthew, Mark, and Luke, with some additional oral material. Richies concludes that the gospel passages themselves can be unclear, and some of the messages within are straightforwardly ambiguous, the gospels of Matthew, Mark, and Luke are considered synoptic gospels on the basis of many similarities between them that are not shared by the Gospel of John. Synoptic means here that they can be seen or read together, the fourth gospel, the Gospel of John, presents a very different picture of Jesus and his ministry from the synoptics. Of the many gospels written in antiquity, only four came to be accepted as part of the New Testament. An insistence upon there being a canon of four gospels, and no others, was a theme of Irenaeus of Lyons. Irenaeus was ultimately successful in declaring that the four gospels collectively and he also supported reading each gospel in light of the others. This canon, which corresponds to the modern Catholic canon, was used in the Vulgate, Gospel of Matthew Gospel of John Gospel of Luke Gospel of Mark This order is found in the following manuscripts, Bezae, Monacensis, Washingtonianus, Tischendorfianus IV, Uncial 0234. Although there is no set order of the four gospels in patristic lists or discussions, moody Smith suggests that the standard order of Matthew-Mark-Luke-John projects a kind of intention that can scarcely be ignored
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Eastern Orthodoxy
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The Eastern Orthodox Church teaches that it is the One, Holy, Catholic and Apostolic Church established by Jesus Christ in his Great Commission to the apostles. It practices what it understands to be the original Christian faith, the Eastern Orthodox Church is a communion of autocephalous churches, each typically governed by a Holy Synod. It teaches that all bishops are equal by virtue of their ordination, prior to the Council of Chalcedon in AD451, the Eastern Orthodox had also shared communion with the Oriental Orthodox churches, separating primarily over differences in Christology. Eastern Orthodoxy spread throughout the Roman and later Eastern Roman Empires and beyond, playing a prominent role in European, Near Eastern, Slavic, and some African cultures. As a result, the term Greek Orthodox has sometimes used to describe all of Eastern Orthodoxy in general. However, the appellation Greek was never in use and was gradually abandoned by the non-Greek-speaking Eastern Orthodox churches. Its most prominent episcopal see is Constantinople, there are also many in other parts of the world, formed through immigration, conversion and missionary activity. The official name of the Eastern Orthodox Church is the Orthodox Catholic Church and it is the name by which the church refers to itself in its liturgical or canonical texts, in official publications, and in official contexts or administrative documents. Orthodox teachers refer to the Church as Catholic and this name and longer variants containing Catholic are also recognized and referenced in other books and publications by secular or non-Orthodox writers. The common name of the Church, Eastern Orthodox Church, is a shortened practicality that helps to avoid confusions in casual use, for this reason, the eastern churches were sometimes identified as Greek, even before the great schism. After 1054, Greek Orthodox or Greek Catholic marked a church as being in communion with Constantinople and this identification with Greek, however, became increasingly confusing with time. Missionaries brought Orthodoxy to many regions without ethnic Greeks, where the Greek language was not spoken. Today, many of those same Roman churches remain, while a large number of Orthodox are not of Greek national origin. Eastern, then, indicates the element in the Churchs origin and development, while Orthodox indicates the faith. While the Church continues officially to call itself Catholic, for reasons of universality, the first known use of the phrase the catholic church occurred in a letter written about 110 AD from one Greek church to another. Quote of St Ignatius to the Smyrnaeans, Wheresoever the bishop shall appear, there let the people be, even as where Jesus may be, thus, almost from the very beginning, Christians referred to the Church as the One, Holy, Catholic and Apostolic Church. The Orthodox Church claims that it is today the continuation and preservation of that same Church, a number of other Christian churches also make a similar claim, the Roman Catholic Church, the Anglican Communion, the Assyrian Church and the Oriental Orthodox Churches. The Church of England separated from the Roman Catholic Church, not directly from the Orthodox Church, the depth of this meaning in the Orthodox Church is registered first in its use of the word Orthodox itself, a union of Greek orthos and doxa
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Hagia Sophia
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Hagia Sophia was a Greek Orthodox Christian patriarchal basilica, later an imperial mosque, and now a museum in Istanbul, Turkey. The building was converted into an Ottoman mosque from 29 May 1453 until 1931. It was then secularized and opened as a museum on 1 February 1935, famous in particular for its massive dome, it is considered the epitome of Byzantine architecture and is said to have changed the history of architecture. It remained the worlds largest cathedral for nearly a thousand years and it was designed by the Greek geometers Isidore of Miletus and Anthemius of Tralles. The church contained a collection of relics and featured, among other things. In 1453, Constantinople was conquered by the Ottoman Empire under Mehmed the Conqueror, by that point, the church had fallen into a state of disrepair. Nevertheless, the Christian cathedral made an impression on the new Ottoman rulers. Islamic features—such as the mihrab, minbar, and four minarets—were added and it remained a mosque until 1931, when it was closed to the public for four years. It was re-opened in 1935 as a museum by the Republic of Turkey, Hagia Sophia was, as of 2014, the second-most visited museum in Turkey, attracting almost 3.3 million visitors annually. According to data released by the Turkish Culture and Tourism Ministry, from its initial conversion until the construction of the nearby Sultan Ahmed Mosque in 1616, it was the principal mosque of Istanbul. The first church on the site was known as the Μεγάλη Ἐκκλησία, or in Latin Magna Ecclesia, inaugurated on 15 February 360 by the Arian bishop Eudoxius of Antioch, it was built next to the area where the imperial palace was being developed. The nearby Hagia Eirene church was completed earlier and served as cathedral until the Great Church was completed, both churches acted together as the principal churches of the Byzantine Empire. Writing in 440, Socrates of Constantinople claimed that the church was built by Constantius II, a tradition which is not older than the 7th or 8th century, reports that the edifice was built by Constantine the Great. Zonaras reconciles the two opinions, writing that Constantius had repaired the edifice consecrated by Eusebius of Nicomedia, after it had collapsed. Since Eusebius was bishop of Constantinople from 339 to 341, and Constantine died in 337, the edifice was built as a traditional Latin colonnaded basilica with galleries and a wooden roof. It was preceded by an atrium and it was claimed to be one of the worlds most outstanding monuments at the time. The Patriarch of Constantinople John Chrysostom came into a conflict with Empress Aelia Eudoxia, wife of the emperor Arcadius, during the subsequent riots, this first church was largely burned down. Nothing remains of the first church today, a second church on the site was ordered by Theodosius II, who inaugurated it on 10 October 415
27.
Apse
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In architecture, an apse is a semicircular recess covered with a hemispherical vault or semi-dome, also known as an Exedra. Smaller apses may also be in other locations, especially shrines, an apse is a semicircular recess covered with a hemispherical vault. Commonly, the apse of a church, cathedral or basilica is the semicircular or polygonal termination to the choir or sanctuary, in relation to church architecture it is generally the name given to where the altar is placed or where the clergy are seated. An apse is occasionally found in a synagogue, e. g. Maoz Haim Synagogue, the apse is separated from the main part of the church by the transept. Smaller apses are sometimes built in other than the east end. The domed apse became a part of the church plan in the early Christian era. In the Eastern Orthodox tradition, the apse is known as diaconicon. Various ecclesiastical features of which the apse may form part are drawn here, The chancel, directly to the east beyond the choir contains the High Altar. This area is reserved for the clergy, and was formerly called the presbytery. Hemi-cyclic choirs, first developed in the East, came to use in France in 470, famous northern French examples of chevets are in the Gothic cathedrals of Amiens, Beauvais and Reims. The word ambulatory refers to an aisle in the apse that passes behind the altar and choir. An ambulatory may refer to the passages that enclose a cloister in a monastery, or to other types of aisles round the edge of a church building
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Templon
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A templon is a feature of Byzantine churches consisting of a barrier separating the nave from the sacraments at the altar. The solid templon first appeared in Christian churches around the 5th century and is found in many Eastern Christian churches. Initially it was a low barrier probably not much different from the rails of many Western churches. It eventually evolved into the iconostasis, still found in Orthodox churches today. It is usually composed of carved wood or marble colonnettes supporting an architrave, three doors, a large central one and two smaller flanking ones, lead into the sanctuary. The templon did not originally obscure the view of the altar, in modern Orthodox churches, it is common for the openings of the templa to be constructed specifically to contain icons. The templon most likely has an independent origin from that of Latin chancel barriers, classical stage architecture is one possible source. At certain times during Byzantine history, theater heavily influenced painting, the statues on top of the backdrop would thus be analogous to the icons of the saints looking down. The similarities, however, are probably only visual, a much more plausible theory is that the templon models in both form and content the decorative wall of the Torah screen in Jewish synagogues of the 2nd and 3rd centuries. These, too, had three divisions, a central door leading to the altar, smaller flanking passages. The Torah screen was not the direct prototype of the templon. A direct comparison can also be made to the layout of the great Temple in Jerusalem and that Temple was designed with three parts. The holiest and inner-most portion was that where the Ark of the Covenant was kept and this portion, the Holy of Holies, was separated from the second larger part of the buildings interior by a curtain, the veil of the temple. Only priests were allowed to enter the Holy of Holies, the third part was the entrance court. In the Orthodox Christian tradition, with the exception of churches at womens monasteries, barriers called templons in Greek were also used on occasions when the Roman Emperors appeared in public, to segregate the Imperial retinue from the crowd. Templon is a word in Greek, from the Latin templum, temple, how. The most obvious explanation is that the form of the templon resembles a pagan temple, the steps up to the apse are analogous to the stereobate and stylobate of the temple. Archaeological evidence for an early templon comes from the Hagios Ioannes Studios in Constantinople, the chancel barrier surrounded the altar in a π shape, with one large door facing the nave and two smaller doors on the other sides
29.
Eastern Orthodox Church
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The Eastern Orthodox Church teaches that it is the One, Holy, Catholic and Apostolic Church established by Jesus Christ in his Great Commission to the apostles. It practices what it understands to be the original Christian faith, the Eastern Orthodox Church is a communion of autocephalous churches, each typically governed by a Holy Synod. It teaches that all bishops are equal by virtue of their ordination, prior to the Council of Chalcedon in AD451, the Eastern Orthodox had also shared communion with the Oriental Orthodox churches, separating primarily over differences in Christology. Eastern Orthodoxy spread throughout the Roman and later Eastern Roman Empires and beyond, playing a prominent role in European, Near Eastern, Slavic, and some African cultures. As a result, the term Greek Orthodox has sometimes used to describe all of Eastern Orthodoxy in general. However, the appellation Greek was never in use and was gradually abandoned by the non-Greek-speaking Eastern Orthodox churches. Its most prominent episcopal see is Constantinople, there are also many in other parts of the world, formed through immigration, conversion and missionary activity. The official name of the Eastern Orthodox Church is the Orthodox Catholic Church and it is the name by which the church refers to itself in its liturgical or canonical texts, in official publications, and in official contexts or administrative documents. Orthodox teachers refer to the Church as Catholic and this name and longer variants containing Catholic are also recognized and referenced in other books and publications by secular or non-Orthodox writers. The common name of the Church, Eastern Orthodox Church, is a shortened practicality that helps to avoid confusions in casual use, for this reason, the eastern churches were sometimes identified as Greek, even before the great schism. After 1054, Greek Orthodox or Greek Catholic marked a church as being in communion with Constantinople and this identification with Greek, however, became increasingly confusing with time. Missionaries brought Orthodoxy to many regions without ethnic Greeks, where the Greek language was not spoken. Today, many of those same Roman churches remain, while a large number of Orthodox are not of Greek national origin. Eastern, then, indicates the element in the Churchs origin and development, while Orthodox indicates the faith. While the Church continues officially to call itself Catholic, for reasons of universality, the first known use of the phrase the catholic church occurred in a letter written about 110 AD from one Greek church to another. Quote of St Ignatius to the Smyrnaeans, Wheresoever the bishop shall appear, there let the people be, even as where Jesus may be, thus, almost from the very beginning, Christians referred to the Church as the One, Holy, Catholic and Apostolic Church. The Orthodox Church claims that it is today the continuation and preservation of that same Church, a number of other Christian churches also make a similar claim, the Roman Catholic Church, the Anglican Communion, the Assyrian Church and the Oriental Orthodox Churches. The Church of England separated from the Roman Catholic Church, not directly from the Orthodox Church, the depth of this meaning in the Orthodox Church is registered first in its use of the word Orthodox itself, a union of Greek orthos and doxa
30.
Iconostasis
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In Eastern Christianity an iconostasis is a wall of icons and religious paintings, separating the nave from the sanctuary in a church. Iconostasis also refers to a portable icon stand that can be placed anywhere within a church, the iconostasis evolved from the Byzantine templon, a process complete by the fifteenth century. A direct comparison for the function of the iconostasis can be made to the layout of the great Temple in Jerusalem. That Temple was designed with three parts, the holiest and inner-most portion was that where the Ark of the Covenant was kept. This portion, the Holy of Holies, was separated from the larger part of the buildings interior by a curtain. Only the High Priest was allowed to enter the Holy of Holies, the third part was the entrance court. In the Eastern Orthodox tradition only men can enter the altar portion behind the iconostasis, the word comes from the Greek εἰκονοστάσι, which means icon stand. The nave is the body of the church where most of the worshippers stand. The sanctuary is one to three steps higher than the nave. The Iconostasis does not sit directly on the edge of the sanctuary and this forms a walkway in front of the iconostasis for the clergy, called a soleas. In the very center of the soleas is an extension, often rounded, called the ambon, on which the deacon will stand to give litanies during the services, the iconostasis, though often tall, rarely touches the ceiling. Acoustically, this permits the ekphoneses of the clergy to be heard clearly by the faithful, in small, modern churches the iconostasis may be completely absent, in such cases it is replaced by a few small icons on analogia, forming a virtual divide. The iconostasis typically has three openings or sets of doors, the Beautiful Gates or Holy Doors in the center, and the North and South Doors to either side. The Beautiful Gates are sometimes called the Royal Doors, but that more properly belongs to the central doors connecting the narthex, or porch. They remain shut whenever a service is not being held, modern custom as to when they should be opened during services varies depending upon jurisdiction and local custom. The North and South Doors are often called Deacons Doors because the use them frequently. Icons of sainted deacons are often depicted on these doors, alternatively, they may be called Angels Doors, and the Archangels Michael and Gabriel are often depicted there. The South Door is typically the entrance door, and Michael is depicted there because he is the Defender, the North Door is the exit and these doors may also be casually referred to as the side doors
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Icon
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An icon is a religious work of art, most commonly a painting, from Eastern Christianity and certain Eastern Catholic churches. The most common subjects include Christ, Mary, saints and/or angels, icons may also be cast in metal, carved in stone, embroidered on cloth, painted on wood, done in mosaic or fresco work, printed on paper or metal, etc. Comparable images from Western Christianity are generally not described as icons, Eastern Orthodox tradition holds that the creation of Christian images dates back to the very early days of Christianity, and there is has been a continuous tradition since then. The icons of later centuries can be linked, often closely, to images from the 5th century onwards, there was enormous destruction of images during the Byzantine Iconoclasm of 726-842, although this did settle for good the question of the appropriateness of images. Since then icons have had a continuity of style and subject. At the same time there has been change and development, Christian tradition dating from the 8th century identifies Luke the Evangelist as the first icon painter. Aside from the legend that Pilate had made an image of Christ and he relates that King Abgar of Edessa sent a letter to Jesus at Jerusalem, asking Jesus to come and heal him of an illness. In this version there is no image, further legends relate that the cloth remained in Edessa until the 10th century, when it was taken to Constantinople. It went missing in 1204 when Crusaders sacked Constantinople, but by then numerous copies had firmly established its iconic type. They crown these images, and set them up along with the images of the philosophers of the world that is to say, with the images of Pythagoras, and Plato, and Aristotle, and the rest. They have also other modes of honouring these images, after the manner of the Gentiles. And he called him and said, Lycomedes, what do you mean by this matter of the portrait, can it be one of thy gods that is painted here. For I see that you are living in heathen fashion. Later in the passage John says, But this that you have now done is childish and imperfect, at least some of the hierarchy of the Christian churches still strictly opposed icons in the early 4th century. At the Spanish non-ecumenical Synod of Elvira bishops concluded, Pictures are not to be placed in churches, so that they do not become objects of worship and adoration. to our religion. After the emperor Constantine I extended official toleration of Christianity within the Roman Empire in 313 and this period of Christianization probably saw the use of Christian images became very widespread among the faithful, though with great differences from pagan habits. Robin Lane Fox states By the early century, we know of the ownership of private icons of saints. 480-500, we can be sure that the inside of a saints shrine would be adorned with images and votive portraits, when Constantine himself apparently converted to Christianity, the majority of his subjects remained pagans
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Illuminated manuscript
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An illuminated manuscript is a manuscript in which the text is supplemented with such decoration as initials, borders and miniature illustrations. Comparable Far Eastern and Mesoamerican works are described as painted, islamic manuscripts may be referred to as illuminated, illustrated or painted, though using essentially the same techniques as Western works. This article covers the technical, social and economic history of the subject, for an art-historical account, the earliest surviving substantive illuminated manuscripts are from the period 400 to 600, produced in the Kingdom of the Ostrogoths and the Eastern Roman Empire. The significance of these works lies not only in their inherent artistic and historical value, had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished in Europe. As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians, the majority of surviving manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from Late Antiquity. The majority of manuscripts are of a religious nature. However, especially from the 13th century onward, a number of secular texts were illuminated. Most illuminated manuscripts were created as codices, which had superseded scrolls, a very few illuminated manuscript fragments survive on papyrus, which does not last nearly as long as vellum or parchment. Most medieval manuscripts, illuminated or not, were written on parchment, beginning in the late Middle Ages manuscripts began to be produced on paper. Illuminated manuscripts continued to be produced in the early 16th century, Manuscripts are among the most common items to survive from the Middle Ages, many thousands survive. They are also the best surviving specimens of medieval painting, indeed, for many areas and time periods, they are the only surviving examples of painting. There are a few examples from later periods, the type of book that was most often heavily and richly illuminated, sometimes known as a display book, varied between periods. In the first millennium, these were most likely to be Gospel Books, such as the Lindisfarne Gospels, the Romanesque period saw the creation of many huge illuminated complete Bibles – one in Sweden requires three librarians to lift it. Many Psalters were also illuminated in both this and the Gothic period. Finally, the Book of Hours, very commonly the personal book of a wealthy layperson, was often richly illuminated in the Gothic period. Other books, both liturgical and not, continued to be illuminated at all periods, the Byzantine world also continued to produce manuscripts in its own style, versions of which spread to other Orthodox and Eastern Christian areas. See Medieval art for other regions, periods and types, reusing parchments by scraping the surface and reusing them was a common practice, the traces often left behind of the original text are known as palimpsests. The Gothic period, which saw an increase in the production of these beautiful artifacts, also saw more secular works such as chronicles
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Gospel Book
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The Gospel Book, Evangelion, or Book of the Gospels is a codex or bound volume containing one or more of the four Gospels of the Christian New Testament — normally all four. Liturgical use in churches of a distinct Gospel book remains normal, often compulsory, in Eastern Christianity, protestant churches normally just use a complete Bible. In the early Middle Ages, the production of copies of the Bible in its entirety was rare, individual books or collections of books were produced for specific purposes. From the 4th century Gospel Books were produced for use, as well as private study. The Codex Washingtonianus is an example of a book containing only the four gospels, in Greek. By the 7th century particular gospel texts were allocated to days in the liturgical calendar, in the East they remained a significant subject for illumination until the arrival of printing. The Evangelist portrait was a feature of their decoration. Most of the masterpieces of both Insular and Ottonian illumination are Gospel Books, and there are very many Byzantine and Carolingian examples, but most Gospel Books were never illuminated at all, or only with decorated initials and other touches. They often contained, in addition to the text of the Gospels themselves, supporting texts including Canon Tables, summaries, glossaries, however, use of the Book of the Gospels is not mandatory, and the gospel readings are also included in the standard Lectionary. The Book of the Gospels, if used, is brought to the altar in the entrance procession, when carried in procession, the Book of the Gospels is held slightly elevated, though not over the head. It is particularly proper for the deacon to carry the Book of the Gospels in procession, when there is no deacon, the Book may be carried by a lector. Upon reaching the altar, the deacon or lector bows in veneration of the altar, then places the Book upon the altar, where it remains until the Alleluia. During the singing of the Alleluia, the deacon, or in his absence, if incense is used, the Book of the Gospels is censed by the deacon before the reading or chanting. An altar server or acolyte will swing the censer slowly during the reading or chanting, if the Rite of Dismissal of catechumens is celebrated, the Book of the Gospels is carried in procession in front of the catechumens as they leave the church. Following this several publishers have produced gospel books for use in the Episcopal Church, afterward, it may be returned to the altar or placed on a side table or a stand. Among Eastern Orthodox and Eastern Catholics the Gospel Book is very important liturgically and it is considered to be an icon of Christ, and is venerated in the same manner as an icon. The Gospel Book contains the readings that are used at Matins, the Divine Liturgy, Molebens, occasionally it will contain pre-arranged texts of the more complex composite readings, such as the Twelve Gospels read at Matins on Good Friday. Traditionally, the Orthodox will never cover the Gospel Book in leather—the skin of a dead animal—because the words of Christ are considered to be life-giving, animal skins are also reminiscent of the Fall of Man, when God fashioned garments of skin for Adam and Eve after their disobedience
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Four Evangelists
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The gospels of Matthew, Mark, and Luke are known as the Synoptic Gospels, because they include many of the same stories, often in the same sequence. Also known to have written the book of Acts and to have been a friend of Paul of Tarsus, John – a disciple of Jesus. They are called evangelists, an meaning people who proclaim good news. Images normally, but not invariably, appear with wings like angels. e. Man, the king of creation as the image of the creator, the lion as the king of beasts of prey, the ox as the king of domesticated animals and the eagle as the king of the birds. Matthew the Evangelist, the author of the first gospel account, is symbolized by a winged man, matthews gospel starts with Josephs genealogy from Abraham, it represents Jesus Incarnation, and so Christs human nature. This signifies that Christians should use their reason for salvation, Mark the Evangelist, the author of the second gospel account, is symbolized by a winged lion – a figure of courage and monarchy. The lion also represents Jesus resurrection, and Christ as king and this signifies that Christians should be courageous on the path of salvation. Luke the Evangelist, the author of the gospel account, is symbolized by a winged ox or bull – a figure of sacrifice, service. Lukes account begins with the duties of Zacharias in the temple, it represents Jesus sacrifice in His Passion and Crucifixion, the ox signifies that Christians should be prepared to sacrifice themselves in following Christ. John the Evangelist, the author of the gospel account, is symbolized by an eagle – a figure of the sky. This symbolizes that Christians should look on eternity without flinching as they journey towards their goal of union with God, each of the symbols is depicted with wings, following the biblical sources first in Ezekiel 1–2, and in Revelation. They were presented as one of the most common found on church portals and apses. When surrounding Christ, the figure of the man appears at top left – above Christs right hand. Underneath the man is the ox and underneath the lion is the eagle and this both reflects the medieval idea of the order of nobility of nature of the beasts and the text of Ezekiel 1.10. From the thirteenth century their use began to decline, as a new conception of Christ in Majesty, showing the wounds of the Passion, sometimes in Evangelist portraits they appear to dictate to the writing evangelist. Matthew is often cited as the first Gospel account, not only owing to its place in the canon, most biblical scholars however, see the gospel account of Mark as having been written first and Johns gospel account as having been written last. It has become customary to speak of the Gospel of Matthew
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Book of Revelation
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Its title is derived from the first word of the text, written in Koine Greek, apokalypsis, meaning unveiling or revelation. The Book of Revelation is the apocalyptic document in the New Testament canon. The author names himself in the text as John, but his identity remains a point of academic debate. Modern scholarship generally takes a different view, and many consider that nothing can be known about the author except that he was a Christian prophet, Some modern scholars characterise Revelations author as a putative figure whom they call John of Patmos. The bulk of traditional sources date the book to the reign of the emperor Domitian, the book spans three literary genres, the epistolary, the apocalyptic, and the prophetic. It begins with John, on the island of Patmos in the Aegean and he then describes a series of prophetic visions, including figures such as the Whore of Babylon and the Beast, culminating in the Second Coming of Jesus. The title is taken from the first word of the book in Koine Greek, ἀποκάλυψις apokalypsis, the author names himself as John, but it is currently considered unlikely that the author of Revelation was also the author of the Gospel of John. All that is known is that this John was a Jewish Christian prophet, probably belonging to a group of such prophets and his precise identity remains unknown, and modern scholarship commonly refers to him as John of Patmos. 70 AD is the date of writing according to Martha Himmelfarb in the recently published Blackwell series. Revelation is an apocalyptic prophecy with an epistolary introduction addressed to seven churches in the Roman province of Asia, Apocalypse means the revealing of divine mysteries, John is to write down what is revealed and send it to the seven churches. The entire book constitutes the letter—the letters to the seven churches are introductions to the rest of the book. While the dominant genre is apocalyptic, the author himself as a Christian prophet, Revelation uses the word in various forms twenty-one times. The predominant view is that Revelation alludes to the Old Testament although it is difficult among scholars to agree on the number of allusions or the allusions themselves. Revelation rarely quotes directly from the Old Testament, almost every verse alludes to or echoes older scriptures. Over half of the stem from Daniel, Ezekiel, Psalms. He very frequently combines multiple references, and again the style makes it impossible to be certain to what extent he did so consciously. Revelation was the last book accepted into the Christian biblical canon and it was considered tainted because the heretical sect of the Montanists relied on it and doubts were raised over its Jewishness and authorship. Dionysius, bishop of Alexandria, disciple of Origen wrote that the Book of Revelation could have been written by Cerinthus although he himself did not adopt the view that Cerinthus was the writer and he regarded the Apocalypse as the work of an inspired man but not of an Apostle
36.
Romanesque art
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Romanesque art is the art of Europe from approximately 1000 AD to the rise of the Gothic style in the 13th century, or later, depending on region. The preceding period is known as the Pre-Romanesque period, Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles. From these elements was forged a highly innovative and coherent style, outside Romanesque architecture, the art of the period was characterised by a very vigorous style in both sculpture and painting. In illuminated manuscripts, for which the most lavishly decorated manuscripts of the period were mostly bibles or psalters, more originality is seen, as new scenes needed to be depicted. The same applied to the capitals of columns, never more exciting than in this period, colours, which can be seen as bright in the 21st century only in stained glass and well-preserved manuscripts, tended to be very striking, and mostly primary. Stained glass became widely used, although survivals are sadly few, monasteries continued to be extremely important, especially those of the expansionist new orders of the period, the Cistercian, Cluniac, and Carthusian, which spread across Europe. No Romanesque royal palace has really survived, the lay artist was becoming a valued figure – Nicholas of Verdun seems to have been known across the continent. Most masons and goldsmiths were now lay, and lay painters such as Master Hugo seem to have been in the majority, at least of those doing the best work, the iconography of their church work was no doubt arrived at in consultation with clerical advisors. Metalwork, including decoration in enamel, became very sophisticated, many spectacular shrines made to hold relics have survived, of which the best known is the Shrine of the Three Kings at Cologne Cathedral by Nicholas of Verdun and others. The Stavelot Triptych and Reliquary of St. Maurus are other examples of Mosan enamelwork, large reliquaries and altar frontals were built around a wooden frame, but smaller caskets were all metal and enamel. A few secular pieces, such as cases, jewellery and clasps have survived. The bronze Gloucester candlestick and the font of 1108–17 now in Liège are superb examples, very different in style. The former is highly intricate and energetic, drawing on manuscript painting, while the font shows the Mosan style at its most classical and majestic. The bronze doors, a column and other fittings at Hildesheim Cathedral, the Gniezno Doors. The aquamanile, a container for water to wash with, appears to have introduced to Europe in the 11th century. Artisans often gave the pieces fantastic zoomorphic forms, surviving examples are mostly in brass, many wax impressions from impressive seals survive on charters and documents, although Romanesque coins are generally not of great aesthetic interest. Like many pieces it was partly coloured. The Lewis chessmen are well-preserved examples of small ivories, of many pieces or fragments remain from croziers, plaques, pectoral crosses
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Halo (religious iconography)
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A halo is a ring of light that surrounds a person in art. They have been used in the iconography of many religions to indicate holy or sacred figures, halos may be shown as almost any colour or combination of colours, but are most often depicted as golden, yellow or white when representing light or red when representing flames. Homer describes a light around the heads of heroes in battle. 450-30 BC, in the Metropolitan Museum of Art, the Colossus of Rhodes was a statue of the sun-god Helios and had his usual radiate crown. Hellenistic rulers are shown wearing radiate crowns that seem clearly to imitate this effect. The rulers of the Kushan Empire were perhaps the earliest to give themselves haloes on their coins, in Chinese and Japanese Buddhist art the halo has also been used since the earliest periods in depicting the image of Amitabha Buddha and others. Thin lines of gold often radiate outwards or inwards from the rim of the halo, elaborate haloes and especially aureoles also appear in Hindu sculpture, where they tend to develop into architectural frames in which the original idea can be hard to recognise. Theravada Buddhism and Jainism did not use the halo for many centuries, in Asian art, the nimbus is often imagined as consisting not just of light, but of flames. This type seems to first appear in Chinese bronzes of which the earliest surviving examples date from before 450 and this type is also very rarely found, and on a smaller scale, in medieval Christian art. Sometimes a thin line of flames rise up from the edges of a halo in Buddhist examples. In Tibetan paintings the flames are shown as blown by a wind. Halos are found in Islamic art from various places and periods, especially in Persian miniatures and Moghul, flaming halos derived from Buddhist art surround angels, and similar ones are often seen around Muhammad and other sacred human figures. The halo represents an aura or glow of sanctity which was conventionally drawn encircling the head, though Roman paintings have largely disappeared, save some fresco decorations, the haloed figure remains fresh in Roman mosaics. In a 2nd-century AD Roman floor mosaic preserved at Bardo, Tunisia, significantly, the triton and nereid who accompany the sea-god are not haloed. In a late 2nd century AD floor mosaic from Thysdrus, El Djem, another haloed Apollo in mosaic, from Hadrumentum, is in the museum at Sousse. The conventions of representation, head tilted, lips slightly parted, large-eyed. The halo was incorporated into Early Christian art sometime in the 4th century with the earliest iconic images of Christ, initially the only figure shown with one. At least in later Orthodox images, each bar of cross is composed of three lines, symbolising the dogmas of the Trinity, the oneness of God and the two natures of Christ
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Romanesque architecture
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Romanesque Architecture is an architectural style of medieval Europe characterized by semi-circular arches. There is no consensus for the date of the Romanesque style, with proposals ranging from the 6th to the late 10th century. It developed in the 12th century into the Gothic style, marked by pointed arches, examples of Romanesque architecture can be found across the continent, making it the first pan-European architectural style since Imperial Roman Architecture. The Romanesque style in England is traditionally referred to as Norman architecture, each building has clearly defined forms, frequently of very regular, symmetrical plan, the overall appearance is one of simplicity when compared with the Gothic buildings that were to follow. The style can be identified right across Europe, despite regional characteristics, Many castles were built during this period, but they are greatly outnumbered by churches. The most significant are the great churches, many of which are still standing, more or less complete. The largest groups of Romanesque survivors are in areas that were less prosperous in subsequent periods, including parts of southern France, northern Spain and rural Italy. According to the Oxford English Dictionary, the word Romanesque means descended from Roman and was first used in English to designate what are now called Romance languages, Romance language is not degenerated Latin language. Latin language is degenerated Romance language, Romanesque architecture is not debased Roman architecture. Roman architecture is debased Romanesque architecture, the first use in a published work is in William Gunns An Inquiry into the Origin and Influence of Gothic Architecture. The term is now used for the more restricted period from the late 10th to 12th centuries, Many castles exist, the foundations of which date from the Romanesque period. Most have been altered, and many are in ruins. By far the greatest number of surviving Romanesque buildings are churches, the scope of Romanesque architecture Romanesque architecture was the first distinctive style to spread across Europe since the Roman Empire. In the more northern countries Roman building styles and techniques had never been adopted except for official buildings, although the round arch continued in use, the engineering skills required to vault large spaces and build large domes were lost. There was a loss of continuity, particularly apparent in the decline of the formal vocabulary of the Classical Orders. In Rome several great Constantinian basilicas continued in use as an inspiration to later builders, the largest building is the church, the plan of which is distinctly Germanic, having an apse at both ends, an arrangement not generally seen elsewhere. Another feature of the church is its regular proportion, the plan of the crossing tower providing a module for the rest of the plan. These features can both be seen at the Proto-Romanesque St. Michaels Church, Hildesheim, 1001–1030, the style, sometimes called First Romanesque or Lombard Romanesque, is characterised by thick walls, lack of sculpture and the presence of rhythmic ornamental arches known as a Lombard band
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Tympanum (architecture)
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In architecture, a tympanum is the semi-circular or triangular decorative wall surface over an entrance, door or window, bounded by a lintel and arch. It often contains sculpture or other imagery or ornaments, most architectural styles include this element. In ancient Greek, Roman and Christian architecture, tympana usually contain religious imagery, a tympanum over a doorway is very often the most important, or only, location for monumental sculpture on the outside of a building. These shapes naturally influence the typical compositions of any sculpture within the tympanum, bands of molding surrounding the tympanum are referred to as the archivolt. In medieval French architecture the tympanum is often supported by a pillar called a trumeau. Gable Pediment Portal Sculpted tympanums Chartres Cathedral, West Front, Central Portal Tympanum of the last Judgment - western portal of the abbey-church of Saint Foy
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Carolingian
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The Carolingian dynasty was a Frankish noble family with origins in the Arnulfing and Pippinid clans of the 7th century AD. The name Carolingian derives from the Latinised name of Charles Martel, the Carolingian dynasty reached its peak in 800 with the crowning of Charlemagne as the first Emperor of Romans in over three centuries. His death in 814 began a period of fragmentation of the Carolingian empire and decline that would eventually lead to the evolution of the Kingdom of France. This picture, however, is not commonly accepted today, the greatest Carolingian monarch was Charlemagne, who was crowned Emperor by Pope Leo III at Rome in 800. His empire, ostensibly a continuation of the Western Roman Empire, is referred to historiographically as the Carolingian Empire, the Carolingian rulers did not give up the traditional Frankish practice of dividing inheritances among heirs, though the concept of the indivisibility of the Empire was also accepted. The Carolingians had the practice of making their sons kings in the various regions of the Empire. The Carolingians were displaced in most of the regna of the Empire by 888 and they ruled in East Francia until 911 and held the throne of West Francia intermittently until 987. One chronicler of Sens dates the end of Carolingian rule with the coronation of Robert II of France as junior co-ruler with his father, Hugh Capet, the dynasty became extinct in the male line with the death of Eudes, Count of Vermandois. His sister Adelaide, the last Carolingian, died in 1122, the Carolingian dynasty has five distinct branches, The Lombard branch, or Vermandois branch, or Herbertians, descended from Pepin of Italy, son of Charlemagne. Though he did not outlive his father, his son Bernard was allowed to retain Italy, Bernard rebelled against his uncle Louis the Pious, and lost both his kingdom and his life. Deprived of the title, the members of this branch settled in France. The counts of Vermandois perpetuated the Carolingian line until the 12th century, the Counts of Chiny and the lords of Mellier, Neufchâteau and Falkenstein are branches of the Herbertians. With the descendants of the counts of Chiny, there would have been Herbertian Carolingians to the early 14th century, the Lotharingian branch, descended from Emperor Lothair, eldest son of Louis the Pious. At his death Middle Francia was divided equally between his three surviving sons, into Italy, Lotharingia and Lower Burgundy, the sons of Emperor Lothair did not have sons of their own, so Middle Francia was divided between the western and eastern branches of the family in 875. The Aquitainian branch, descended from Pepin of Aquitaine, son of Louis the Pious, since he did not outlive his father, his sons were deprived of Aquitaine in favor of his younger brother Charles the Bald. The German branch, descended from Louis the German, King of East Francia, since he had three sons, his lands were divided into Duchy of Bavaria, Duchy of Saxony and Duchy of Swabia. His youngest son Charles the Fat briefly reunited both East and West Francia — the entirety of the Carolingian empire — but it again after his death. With the failure of the lines of the German branch, Arnulf of Carinthia
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Ottonian
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The Ottonian dynasty was a Saxon dynasty of German monarchs, named after its first Emperor Otto I, but also known as the Saxon dynasty after the familys origin in the German stem duchy of Saxony. The family itself is sometimes known as the Liudolfings, after its earliest known member Count Liudolf. The Ottonian rulers were successors of the Carolingian dynasty in East Francia, in the 9th century, the Saxon count Liudolf held large estates on the Leine river west of the Harz mountain range and in the adjacent Eichsfeld territory of Thuringia. His ancestors probably acted as ministeriales in the Saxon stem duchy, Liudolf married Oda, a member of the Frankish House of Billung. About 852 the couple together with Bishop Altfrid of Hildesheim founded Brunshausen Abbey, Liudolf already held the high social position of a Saxon dux, documented by the marriage of his daughter Liutgard with Louis the Younger, son of the Carolingian king Louis the German in 869. Liudolfs sons Bruno and Otto the Illustrious ruled over parts of Saxon Eastphalia, moreover. He married Hedwiga, a daughter of the Babenberg duke Henry of Franconia, upon Ottos death in 912, his son Henry the Fowler succeeded him as Duke of Saxony. Henry had married Matilda of Ringelheim, a descendant of the legendary Saxon ruler Widukind, while East Francia under the rule of the last Carolingian kings was ravaged by Hungarian invasions, he rose to a primus inter pares among the German dukes. In 933 he led a German army to victory over the Hungarian forces at the Battle of Riade, by succession regulation, he transferred the power to his second son Otto I, who acceded to an undivided heritage. Otto I, Duke of Saxony upon the death of his father in 936, was elected king within a few weeks. He continued the work of unifying all of the German tribes into a single kingdom, through strategic marriages and personal appointments, he installed members of his own family to the kingdoms most important duchies. This, however, did not prevent his relatives from entering into civil war, Otto was able to suppress their uprisings, in consequence, the various dukes, who had previously been co-equals with the king, were reduced into royal subjects under the kings authority. His decisive victory over the Magyars at the Battle of Lechfeld in 955 ended the Hungarian invasions of Europe, the defeat of the pagan Magyars earned King Otto the reputation as the savior of Christendom and the epithet the Great. He transformed the Church in Germany into a kind of church and major royal power base to which he donated charity. By 961, Otto had conquered the Kingdom of Italy, which was an inheritance that none wanted, and extended his kingdoms borders to the north, east. In control of much of central and southern Europe, the patronage of Otto and his immediate successors caused a cultural renaissance of the arts. He even reached a settlement with the Byzantine emperor John I Tzimiskes by marrying his son, in 968 he established the Archbishopric of Magdeburg at his long-time residence. Co-ruler with his father since 961 and crowned emperor in 967, by excluding the Bavarian line of Ottonians from the line of succession, he strengthened Imperial authority and secured his own sons succession to the Imperial throne
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Archangel
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An archangel /ˌɑːrkˈeɪndʒəl/ is an angel of high rank. The word archangel itself is associated with the Abrahamic religions. The word archangel is derived from the Greek ἀρχάγγελος, Michael and Gabriel are recognized as archangels in Judaism, Islam and by most Christians. Protestants recognize Gabriel as an angel but consider Michael to be the only archangel, raphael—mentioned in the deuterocanonical Book of Tobit—is also recognized in the Catholic and Orthodox churches. Gabriel, Michael, and Raphael are venerated in the Roman Catholic Church with a feast on September 29, the named archangels in Islam are Gabriel, Michael, Israfil and Azrael. Jewish literature, such as the Book of Enoch, mentions Metatron as an archangel, called the highest of the angels, some branches of the faiths mentioned have identified a group of seven Archangels, but the actual angels vary, depending on the source. Gabriel, Michael, and Raphael are always mentioned, the other archangels vary, but most commonly include Uriel, in Zoroastrianism, sacred texts allude to the six great Amesha Spenta of Ahura Mazda. An increasing number of experts in anthropology, theology and philosophy, the Amesha Spentas of Zoroastrianism are likened to archangels. They individually inhabit immortal bodies that operate in the world to protect, guide, and inspire humanity. The Avesta explains the origin and nature of archangels or Amesha Spentas, to maintain equilibrium, Ahura Mazda engaged in the first act of creation, distinguishing his Holy Spirit Spenta Mainyu, the Archangel of righteousness. Ahura Mazda also distinguished from himself six more Amesha Spentas, who, along with Spenta Mainyu, then he oversaw the development of sixteen lands, each imbued with a unique cultural catalyst calculated to encourage the formation of distinct human populations. The Amesha Spentas were charged with protecting these holy lands and through their emanation, the Amesha Spentas as attributes of God are, Spenta Mainyu, lit. Immortality The Hebrew Bible uses the ter. מלאכי אלוהים, The Hebrew word for angel is malach, מלאכי י י, בני אלוהים and הקדושים to refer to beings traditionally interpreted as angelic messengers. Other terms are used in texts, such as העליונים. References to angels are uncommon in Jewish literature except in works such as the Book of Daniel, though they are mentioned briefly in the stories of Jacob. Daniel is the first biblical figure to refer to individual angels by name and it is therefore widely speculated that Jewish interest in angels developed during the Babylonian captivity. According to Rabbi Simeon ben Lakish of Tiberias, specific names for the angels were brought back by the Jews from Babylon, there are no explicit references to archangels in the canonical texts of the Hebrew Bible. In post-Biblical Judaism, certain angels came to take on a particular significance, though these archangels were believed to have rank amongst the heavenly host, no systematic hierarchy ever developed
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Coronation of the Virgin
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Christ, sometimes accompanied by God the Father and the Holy Spirit in the form of a dove, places a crown on the head of Mary as Queen of Heaven. In early versions the setting is a Heaven imagined as a court, staffed by saints and angels, in later versions Heaven is more often seen as in the sky. The subject is notable as one where the whole Christian Trinity is often shown together. Although crowned Virgins may be seen in Orthodox Christian icons, the coronation by the deity is not, Mary is sometimes shown, in both Eastern and Western Christian art, being crowned by one or two angels, but this is considered a different subject. The great majority of Roman Catholic churches had a side-altar or Lady chapel dedicated to Mary, the subject is still often enacted in rituals or popular pageants called May crownings, although the crowning is performed by human figures. The belief in Mary as Queen of Heaven obtained the sanction of Pope Pius XII in his encyclical Ad Caeli Reginam of October 11,1954. It is also the fifth Glorious Mystery of the Rosary, the Roman Catholic Church celebrates the feast every August 22, where it replaced the former octave of the Assumption of Mary in 1969, a move made by Pope Paul VI. The feast was celebrated on May 31, at the end of the Marian month. In addition, there are Canonical coronations authorized by the Pope which are given to specific Marian images venerated in a particular place. The scene is the episode in the Life of the Virgin. The scriptural basis is found in the Song of Songs, Psalms, a sermon wrongly believed to be by Saint Jerome elaborated on these and was used by standard medieval works such as the Golden Legend and other writers. The title Queen of Heaven, or Regina Coeli, for Mary goes back to at least the 12th century, the subject also drew from the idea of the Virgin as the throne of Solomon, that is the throne on which a Christ-child sits in a Madonna and Child. It was felt that the throne itself must be royal, in general the art of this period, often paid for by royalty and the nobility, increasingly regarded the heavenly court as a mirror of earthly ones. It was rapidly adopted and is prominent in the portals of French Gothic cathedrals such as Laon, Notre-Dame de Paris, Amiens and Reims, there are three examples extant on Devon roodscreen dados, at East Portlemouth, Holne, and Torbryan. Later God the Father often sits beside Christ, with the Holy Spirit hovering between them, and Mary kneeling in front of them. Christ and God the Father are normally differentiated by age, and to some extent by costume, God the Father often wearing a beehive-shaped crown, by the 15th century some more individual interpretations are found. From the High Renaissance onwards the subject is combined with an Assumption. The Coronation of the Blessed Virgin is also a subject of devotion throughout Christianity, the crown of Mary has been mentioned since the 6th century, as corona virginum
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Gothic architecture
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Gothic architecture is a style of architecture that flourished in Europe during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture and its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the cathedrals, abbeys. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, for this reason a study of Gothic architecture is largely a study of cathedrals and churches. A series of Gothic revivals began in mid-18th-century England, spread through 19th-century Europe and continued, largely for ecclesiastical and university structures, the term Gothic architecture originated as a pejorative description. Hence, François Rabelais, also of the 16th century, imagines an inscription over the door of his utopian Abbey of Thélème, Here enter no hypocrites, slipping in a slighting reference to Gotz and Ostrogotz. Authorities such as Christopher Wren lent their aid in deprecating the old medieval style, the Company disapproved of several of these new manners, which are defective and which belong for the most part to the Gothic. Gothic architecture is the architecture of the medieval period, characterised by use of the pointed arch. As an architectural style, Gothic developed primarily in ecclesiastical architecture, the greatest number of surviving Gothic buildings are churches. The Gothic style is most particularly associated with the cathedrals of Northern France. At the end of the 12th century, Europe was divided into a multitude of city states, norway came under the influence of England, while the other Scandinavian countries and Poland were influenced by trading contacts with the Hanseatic League. Angevin kings brought the Gothic tradition from France to Southern Italy, throughout Europe at this time there was a rapid growth in trade and an associated growth in towns. Germany and the Lowlands had large flourishing towns that grew in comparative peace, in trade and competition with other, or united for mutual weal. Civic building was of importance to these towns as a sign of wealth. England and France remained largely feudal and produced grand domestic architecture for their kings, dukes and bishops, the Catholic Church prevailed across Europe at this time, influencing not only faith but also wealth and power. Bishops were appointed by the lords and they often ruled as virtual princes over large estates. The early Medieval periods had seen a growth in monasticism, with several different orders being prevalent. Foremost were the Benedictines whose great abbey churches vastly outnumbered any others in France, a part of their influence was that towns developed around them and they became centers of culture, learning and commerce
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Archivolt
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An archivolt is an ornamental molding or band following the curve on the underside of an arch. It is composed of bands of ornamental moldings surrounding an arched opening, corresponding to the architrave in the case of a rectangular opening, the word is sometimes used to refer to the under-side or inner curve of the arch itself. The word originates in the Italian equivalents of the English words arch, university of Pittsburgh, Glossary of Medieval Art and Architecture
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Ghent Altarpiece
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The panels are organised in two registers, each with two sets of wings, all of which are foldable and contain inner and outer panel paintings. The upper register of the panels contains form the central Deësis of Christ the King, Virgin Mary. They are immediarly flanked, in the panels by music playing angels, and, on the far outermost panels. The central panel of the register shows a gathering of saints, sinners, clergy. There are several groupings of figures, overseen by the dove of the Holy Spirit, Art historians generally agree that the overall structure was designed by Hubert in the early to mid 1420s, and that the panels were painted by his younger brother Jan between 1430 and 1432. The altarpiece was commissioned by the merchant and Ghent mayor Jodocus Vijd, the altarpieces installation was officially celebrated on 6 May 1432. It was much later moved for security reasons to the principal cathedral chapel, a now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus started the altarpiece, but that Jan van Eyck—calling himself arte secundus —completed it in 1432. The panels were threatened during outbreaks of iconoclasm, and have been damaged by fire, at times, some were sold and others were looted during war. A number of panels were taken by the German occupying forces during World War I, in 1934 two panels, The Just Judges and Saint John the Baptist, were stolen. The Saint John the Baptist panel was returned soon after, in 1945, the altarpiece was returned from Germany after spending much of World War II hidden in a salt mine, which greatly damaged the paint and varnish. The Belgian art restorer Jef Van der Veken produced a copy of the The Just Judges, the panels are organised in two registers, each with two sets of wings, all of which are foldable and contain inner and outer panel paintings. The upper register of the panels contains form the central Deësis of Christ the King, Virgin Mary. They are immediarly flanked, in the panels by music playing angels, and, on the far outermost panels. The central panel of the register shows a gathering of saints, sinners, clergy. There are several groupings of figures, overseen by the dove of the Holy Spirit, Art historians generally agree that the overall structure was designed by Hubert in the early to mid 1420s, and that the panels were painted by his younger brother Jan between 1430 and 1432. The altarpiece was commissioned by the merchant and Ghent mayor Jodocus Vijd, the altarpieces installation was officially celebrated on 6 May 1432. It was much later moved for security reasons to the principal cathedral chapel, a now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus started the altarpiece, but that Jan van Eyck—calling himself arte secundus —completed it in 1432. Attribution to the van Eyck brothers has been established through the amount of surviving documentary evidence attached to the commission
Media related to Majestas Domini at Wikimedia Commons
