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Synagogue at Dura-Europos (244-245), Syria
--courtyard, assembly area, separate area for women (renovation then let men and women congregate together)
--biblical stories wrap around the room in the narrative roman tradition of official historical story-telling (paintings show parting and unparting of the red sea with gods hand clear in both, showing his divine presence in every miracle)
--use of hieratic scale
--bench along the walls and niche for Torah scrolls
Synagogue at Beth Alpha (6th century, Israel)
--mosaic floor w geometric pattern (but figural and symbolic compositions in the middle)
--three naves, vestibule, and courtyard
--near eastern and classical influence
SS. Pietro e Marcellino (4th century)--ceiling detail
--shows story of jonah and the sea monster where he is swallowed and spat out after three days (allegory for resurrection of christ)
--depicts christians buried within those very walls
--central medallion with four semicircular lunettes framed by arches
The Good Shepherd (250-300)
--can be see at the catacombs or Marcellino
--harks back to story of Jonah again and jesus's promise to be the good shepherd
Old St Peter's Basilica (333)--rome, vatican city
--what st. peter's basilica used to be like
--gatehouse leadings into fountain and atrium area, side aisles around the nave leading to transept with clerestory lighting
--nave ends with an arch that shows Constantine and St. Peter presenting a model of the church to christ for his approval
Oratory of Galla Placidia, Ravenna (425)
--image of christ as a shepherd (symbol of the shepherd definitely used across cultures)
--sort of made in the guise of constantine (shares a lot of his features)
--good shepherd mosaic
--a more regal depiction of jesus (which makes sense if he's being compared to constantine) where he isn't really doing hard work, but rather sitting in a robe among his flock adorned w a hallow (effortlessness in his divinity)
--realism begins to be sacrificed for iconography: welcome to the middle ages
Anthemius and Isidorus, Hagia Sophia, Istanbul, 532-537
--so many windows where light can come through
--during rain of justinian, early byzantine
--"the church of holy wisdom"
--4 towering minorets were not there at the time of justinians creation, added later by the turks (turned it from a church to a mosque)
--humongous building, huge dome
--unassuming outside, amazing inside w so many colors and the LIGHT WOW!!!! (illusion that the dome is resting on light), the light "transforms substance into an abstract spiritual vision"
--formed using pendentives
--dome combined w long horizontal building, like the parthenon, feat of building (essentially a domed basilica)
--used brick instead of concrete (distinctly byzantine)
--Greek orthodox
--nave was for clergy, not congregation
--CHURCH AND STATE ARE ONE!
--size of rome, mystery of catholocism
San Vitale, Ravenna, 547
--construction began by Bishop Eclesius
--centrally planned
--two concentric octagons (inner forms the interior w clerestory lighting)
--mosaic theme is holy ratification of justinian's right to rule
--solidifies emperor as proprietor of the church, shows him presenting plans to jesus for approval
--procession taking place in san vitale, jesus and justinian united by purple on robes
--placement is purposefully vague, floating, divine
--loses the squatness of early christian, more elegant figures
--divine are invisible (this image is just to stimulate religion, not to necessarily tell a story
--BYZANTINE ART IS NOT REALISTIC, THE SKY ISN'T GOLD (disparages matter and material values)
--image of theodora as well leading a similar procession (didn't have to do this, shows that she's his right hand man, sort of like nefertiti and akhenaten)
--neither of them were ever here, complete fiction
--3 magi on her robe show that she belongs w people who offered gifts to christ
Virgin of Vladimir (11th-12th century)
--rejection of iconoclasm
--middle byzantine
--stylized abstraction from years of working and reworking
--all the hallmarks of a byzantine icon (long straight nose, small mouth, gold sky and robes, unbroken contour holding the two together
--virgin of compassion, pressing cheek to son caring
--symbol of byzantium's cultural and religious mission to the slavic world
Khludov Psalter (9th century)
--destruction of icons equivalent to torture of christ
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