Basilica of Sant’Apollinare in

Classe (near Ravenna), c. 530

CE

Transfiguration of Christ/ four evangelists/ the hand of god at the top of the apse/ depiction of sheep

Apollinaris and his chasuble with bees/ use of flat symbols to clearly tell a story (avoidance of

overlapping)/ Monophysitism

Transfiguration of Jesus, apse mosaic from the Church of the Virgin at the monastery of Saint

Catherine (Mount Sinai, Egypt), c. 565

mandorla (vesica pisces)/ use of a field of gold/ floating, elongated figures

Ascension of Christ, from the Rabbula Gospels (Zagba,

Syria), 586

Rabbula Gospels/ Ascension of Christ/ importance of the

Theotokos/ possibly based on a lost

painting or mosaic

Virgin (Thetokos) and Child between Saints Theodore

and George, sixth or early seventh

century icon, encaustic on wood

icon/ frontality of figures/ iconoclasts

and iconophiles/ eyes of the saints

Sixth century

icons form the

monastery of St.

Catherine (Mt. Sinai,

Egypt)

Left: Blessing

Christ Right: St. Peter

David composing the Psalms, from the Paris Psalter,

c. 950-970, tempera on

vellum

reaction against Iconoclasm/

Basil I/ mixture of pagan and

Biblical images/ renewed interest

in Classical imagery

Isaiah’s Prayer, from the Paris

Psalter

The Harbaville Triptych, c. 950, ivory

use of a triptych/ Deesis / natural, classicizing spirit

Back of The Harbaville Triptych

St. Marks (Venice) begun 1063     

St. Mark/ Greek cross plan

Below: St. Mark on his way to

AlexandriaLeft: Burial of St.

Mark

five pendentive domes/ Christian orthodox

rituals of the proskynesis and the

aspasmos/bema

bold asymmetrical mosaic

compositions/ Anastasis/ jagged angularities and

schematic drapery

Agony in the Garden

a quadriga of gilded bronze horses