Vocabulary
Aisle: Passage or open corridor of a church, hall, or other building that parallels the main space,
usually on both sides.
Ambulatory: The passage around the apse in a basilican church.
Atrium: An unroofed interior courtyard or room in a Roman house.
Baptistry: A building used for Christian ritual of baptism.
Basilica
Plan: A plan consisting of nave and side aisles, often with transept and usually with apse.
Central-plan
building: Any structure designed with a primary central space.
Cherubim: The second highest order of angels, small naked child.
Crypt: The vaulted underground space beneath the floor of the church.
Good
Shepherd: A man carrying a sheep or calf or with a sheep or calf at his side.
Impost: A block, serving to concentrate the weight above, imposed between the capital of a
column and the lowest block of an arch above.
Latin-Cross
Plan: A crossed-shaped building plan, incorporating a long nave and shorter transept arms.
Lunette: A semicircular shape; on a wall, often framed by an arch over a door or window.
Manuscript: A handwritten book or document.
Narthex: The vestibule or entrance porch of a church.
Nave: The central aisle of a basilica, two or three stories high and flanked by aisles
Orant: A standing figure praying with outstretched arms and upraised hands.
Parchment: A writing surface made from treated skins of animals and used during antiquity and
the middle ages.
Portal: A grand enterance, door, or gate, usually to an important public building.
Rotunda: Any building constructed in a circular shape.
Spandrel: The area of wall adjoining the exterior curve of an arch between its springing and the
keystone.
Syncretism: In religion or philosophy, the union of different ideas or principles.
Transept: The arm of a cruciform church, perpendicular to the nave.
Triforium: The element of the interior elevation of a church, found between the nave arcade or
colonnade and the clerestory.
Vault: An arched masonry structure that spans an interior space.
Vellum: A fine animal skin prepared for writing and painting.
Menorahs: Seven-branched lamps
Loculi Long rectangular niches in the wall
Cubicula: Small rooms
Medal-lion: round ornament
Attributes: Identifying accessories
House-Synagouge: Jewish place of worship located in the home
House-church: Christian place of worship located in the home
Naos: Space containing the central dome
Nave
colonnade: Columns supporting an entableture lined nave
Apsidal: End of the nave and isles
Nave
arcade: Created by columns supporting round arches
Ciborium: Pavilion-like sturcture supported on four columns
Putti: Naked male child angels
Cruciform: Cross-shaped
Blind
Arcade: Series of decorative arches applied to a solid wall
Cenotaphs: Memorial tombs
Codex: Type of book
Miniatures: Illustrations in books
Illuminated: Manuscripts decorated with red and gold
Abstract: Any art that does not represent observable aspects of nature or transforms visable
forms into a pattern resembling the original model.
Buttress: A type of architectural support. Usually consists of massive masonry with wide base
built against an exterior wall to brace the wall and strengthen the vaults.
Cloisonne: An enamel technique in which metal strips are affixed to the surface to form the
design.
Crossing: The part of a cross-shaped church where the nave and transept meet.
Diptych: Two panels of equal size (usaully decorated with paintings or reliefs) hinged together.
Gallery: A place where art is exhibited, specifically an art gallery.
Hieratic: In painting and sculpture, a formalized style for representing rulers or sacred or
priestly figures.
Icon: An image in any material representing a sacred figure or event.
Iconoclasm: The banning or destruction of images, especially icons and religous art.
Mandorla: Light encircling, or emanating from, the entire figure of a sacred person.
Naos: The princiapal room in a temple or church.
Oculus: In architecture, a circular opening.
Pendentive: The concave triangular section of a wall that forms the transition between a square
or polygonal space and the circular base of a dome.
Picture
plan: The theoretical spatial plane corresponding with the actual surface of a painting.
Pier: A masonry support made up of many stones, or rubble and concrete.
Scriptorium: A room in a monastery for writing or copying manuscrips
Squinch: An arch or lintel build across the upper corners of a space, allowing a circular or
polygonal dome to be more securely set above the walls.
Trompe l' oeil: A manner of representation in which the appearance of natural space and objects
is re-created with the express intention of fooling the eye of the viewer.
Iconoclasm: Image breaking
Muqarnas: Stalacite form of multiple squinches
Exedrae:
Reverse
perspective:
Vignettes: Lively smaller scenes
Quincunx: nine-bay, cross in square
Shater: Stepply pitched, tentlike rook form designed to keep dangerously large accumulations of
snow from forming
Study guide
Art History -Chap 7 Study GuideMaterials and Techniques
1. Manuscripts were hand written books. They often included illustrations, but
techniques for combining pictures and text varied. The illustrations in the
manuscripts were called miniatures. They were decorated with gold and colors and
were illuminated. The covers came in the form of wooden boards covered with
leather. The books were put together by folding a large sheet of parchment twice,
cutting the edges free, then sewing the sheets together up the center.
2. Metal works during the Byzantine period used precious metals such as gold and silver. It
included the use of relief on the main subject as well on the intricate decorations. They
also include jewels, colored glass, and delicate cloisonne, which is an enamel technique
in which metal strips are affixed to the surface to form the design. The resulting areas are
then filled with glass.
3. Pendentives and squinches are two different methods of supporting a dome. A squinch is
formed by a wood beam that is itself supported by an arch, giving it a niche-like or
trumpet shape Pendentives are more sophisticated. They are a curving triangular vault
springing from the corners of a rectangular area to transition between walls and the base
of the dome.
Diagrams
The Dove: A symbol of purity, resembling peace when it is shown bearing an olive branch, a
white dove is the symbolic embodiment of the Holy Spirit
The Fish: One of the earliest symbols for Jesus Christ. Because of its association with baptism
in the water it is a symbol for all Christians
The Lamb: Symbolizes Jesus' sacrifice on the cross as the Lamb of God, a flock of sheep
represent the apostles
The Four Evangelists: Saint Matthew is represented as an angel, Saint Mark is a lion, Saint
Luke an Ox, and Saint John is shown as an eagle.
The Monogram of the Chi-Rho: The initials 'X' and 'P' that make up the Chi-Rho were the first
two Greek letters of the word Christos. The emblem was sometimes seen enclosed by a halo
The Crosses: Latin, Greek & Roman: Symbolizes the suffering and triumph of Jesus'
crucifixion and the resurrection of Christ
Early Christian Church Plans
1. Basilican Plan Church: COPIED PIC FROM BOOK
2. Central Plan Church: COPIED PIC FROM BOOK
Compare and Discuss
3. Dura Europos is the site of both a house-synagogue and a house-church. The synagogue
survived primarily to the fact that it was infilled to strengthen the city's fortifications. The
synagogue was built like a house and contained an assembly hall with a niche for torah
scrolls, an alcove for women, and a courtyard. Jewish murals filled the synagogue's
interior. They included narratives and symbolic scenes of Jewish history. The church was
a typical Roman house with rooms and a courtyard and a second floor apartment.
Artwork included murals above a niche with a water basin for baptism depicting the
Good Shepherd and of Adam and Eve.
4. The Santa Maria Maggiore was dedicated to the Virgin Mary. The mosaics show a
renewed interest in the earlier classicizing style of Roman art. Mosaics along the nave
wall illustrate Old testament stories of the Jewish patriarchs and heroes. Decorations in
the church were meant to praise God through their splendor. It uses the basilca-plan.
The San Vitale uses the central plan. The design is a central-domed octagon extended by
exedra-like semicircular bays. The whole of the domes rests on eight squinches and large
piers. Artwork here include an image of Christ enthroned in the apse. Other images relate
to its celebration of the Eucharist.
5. The Pantheon appeared to be like any other classical temple as you approach it so the
ornate and grand dome you see inside is not excepted. The Hagia Sophia is as grand
outside as it is in. The exterior tells you have splendid the interior is. You have view of
the dome and the half domes. The Hagia Sophia lacks the oculus of the Pantheon. Also
instead on niches the dome of the Hagia Sophia has a band of windows at the base giving
the dome the appearance it was floating.
6.
Good Shepherd
Transfiguration of Christ
Christ Pantokrator
Here Christ is shown as
a shepherd in imperial
robes, a crowned halo,
and carrying a staff
with a cross on the top
Here Christ is shown standing in a
blue halo that surrounds him and a
gold halo that surrounds his head. He
emits rays of light and stands beside
the prophets Moses and Elijah.
Combines two persons: father
and son; judge and savior.
Christ is shown once again
with a halo surrounding his
head. Here he carries a bible
1. The Katholikon is connected to the Theotokos. It lies on a central plan. Its dome is
supported by squinches. It also contains a complex variety of forms such as domes, groin
vaults, barrel vaults, pendentives, and squinches
The Santa Constanza consists of a rotunda and an ambulatory. It has Composite capitals
and entablature blacks that support the arcade and dome. Interior is sheathed in mosaics
and fine marble.
1/3 of the images
7-14 Santa Costanza
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Consists of large rotunda with an encircling barrel vaulted passageway called ambulatory
Part of the mausoleum of Constantina
Now dedicated to Santa Costanza
Composite capitals
7-15 Harvesting of Grapes
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Mosaic in ambulatory vault of the Church of Santa Costanza
Decorated with a tangle of grapevines and puttis (naked male angels)
Roman style, technique, and subject
7-17 Mausoleum of Galla Placidia
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Exterior and interior of chapel differ greatly to represent passage from the real world to
the supernatural one
Lunette mosaic of Martyrdom of Saint Lawrence
Sarcophagus in niches
7-18 Good Shepard
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Mosaic in the lunette above the west entrance to the Mausoleum of Galla
Contains classical elements:
o Illusionistic shading suggesting a single light source
o Intimation of landscape in rocks and foilage
Changes in the conception of Jesus the Shepherd
o Once depicted as a simple shepherd boy carrying a sheep
o Here a young adult with a golden halo, in imperial robes, and a staff with a cross
at the end instead of a shepherds crook
Stylized landscaped elements more rigid
Art History -Chap 7 - Images part 2
7-8 Good Shepherd, Orants, and story Jonah
Painted Ceiling of the catacomb of saints Pierto and Marcellion, Rome, 4th century. Has a central medallion and
four lunettes. The center holds the Good Shepherd with a Greek like pose, it was taken from the idea that Jesus said
that he was a good shepherd . The four lunettes contain the story of Jonah, which is sometimes interpreted as the
death of Christ. In between the lunettes are Orants, figures with raised hands as a symbol of prayer.
7-5 Wall with Torah niche
From a house-synagogue, Dura-Europos, Syria. 244-245. Tempera on Plaster. A synagogue is a Jewish place of
worship, this one was built like a house, this one was built like a house. It contains an assembly hall, a niche to hold
the Torah, an alcove for women, and a courtyard. After it was finished residential rooms were added. The two
architectural things that stood put in the assembly hal, a bench along the walls and a niche for the torah.
7-16 Mausoleum of Galla Placidia, Ravenna
Italy. C. 425-426. Funerary chapel attached to the Church of the imperial palace. Made when Galla Placida was
regent for sane. It was believed that her and her family were buried there, Made in Cruciform with a barrel vault on
each of the arms and pendentive domes they are not visible from the exterior because of the shape of the roofs. On
the exterior there was a cornice and blind arcading.
7-12 Parting of Lot and Abraham
Mosaic in the nave arcade, Church of Santa Maria Maggione, Rome 432-40, 4’11” x 6’8”. From a story from the
first book of the first book of the scriptures were they had grown too many so lot part the group with a group of
people to Jordan while Abraham stayed in Canaan. The parting between the too man is shown by their separation.
The Mosaic references to the Roman illusionist style in the 3-d figures in the background, with the people sheep and
blue sky made with pieces of marble glass.
Expired
7-31: Church of Sant' Apollinare in Classe
Consecrated in 549 by Bishop Maximus. There is no atrium and its simple exterior
reflects the interior space. There is a narthes entrance that spans the width of the
ground floor, a tall nave with clerestory ends in a semi-circle apse
7-32: The transfiguration of Christ With Saint Apollinaris, First Bishop of Ravenna
Nothing interferes visually with the movement forward from the entrance to the
raised sanctuary which extends from a triumphal-arch opening into the semicircular apse. The mosaic depicts an array of men and sheep in a stylized
landscape. The jeweled cross and head of Christ in the center represent the
Transfiguration of Christ's divinity
7-38: Virgin and Child with Saints and Angels
Mary is viewed as the powerful, ever-forgiving intercessor, appealing to her Divine
Son on behalf of repentant worshipers. She was also called the Seat of Wisdom and
many images depict Mary holding Jesus on her lap in a way that suggests she
represents the throne of Solomon. The men standing beside the Virgin Mary on
either side are the warrior-saints Theodore and George (said to have slain dragons,
representing the triumph of the church over the 'evil serpent' of paganism). The
saints are the most stylized of the figures depicted.
7-39: Cathedral of Saint Mark, Venice
Saint Mark's domed compartments produce a complex space with five separate
vertical axes. Marble covers the lower walls and golden mosaics glimmer above,
covering the vaults, pendentives, and domes. Barrel vaults with domed
intersections
7-42: Virgin of Vladimir
Distinctly humanized approach suggests the growing desire reflected in Byzantine
art for a more immediate and personal religion. Paintings like this known as the
Virgin of Compassion depict the Virgin and Christ Child pressing their cheeks
together and gazing tenderly towards each other.
7-44: Christ Pantokrator
This bust length mosaic portray Christ carrying the bible. It fills the central dome
of the Church of the Cormition. Hovers in a golden glory, combines two persons of
the Trinity- Father and Son, Judge and savior.
7-52: Funerary Chapel Church of the Monastery of Christ in Chora
The funerary chapel was added by Theodore Metochites to the west side of the
church. It is entirely painted with themes appropriate to such a setting, the last
judgment is painted on the vault of the nave, and Anastasis, Christ's descent into
limbo to rescue Adam, Eve, and other virtuous people from Satan
7.4 Jonah Swallowed and Jonah Cast Up:
-two statuettes of a group from the eastern Mediterranean, probably Asia Minor,
probably 3rd cent. Marble
-Function is unknown
-Illustrate the biblical story w/ the same literalness and enthusiasm as the paintings on
the catacomb ceiling
4.10 Church of Santa Sabina, Rome: 422-32
-constructed by Bishop Peter of Illyria
-most early Christian churches have been rebuilt but this one still looks as much as it did
the 5th cent.
-shows basic elements of a basilica: nave w/ side aisles, lit by clerestory windows, ending
in a round apse
7.11 Interior, Church of Santa Sabina
-exterior is brickwork; interior is marble veneer and fluted marble columns w/
Corinthian capitals
-columns support round arches, creating a nave arcade, in contrast to a nave colonnade
-spandrels are inlaid w/ marble images of the chalice and paten (plate that holds the
bread) , the essential equipment for the Eucharistic rite that took place at the altar
-décor of the upper wall between is lost, and a paneled ceiling covers the rafter roof
-the triforium (the blind wall between the arcade and the clerestory) typically had
painting or mosaics w/ scenes from the Old Testament or the Gospels
7.20 Resurrection and Angel w/ Two Marys at the Tomb:
-panel of a diptych, found in Rome, c. 400, ivory
-top register shows the moment of Christ's resurrection in both symbolic and narrative
terms. As the soldiers guard his tomb sleep, the evangelists Luke (ox) and Matthew
(man in the upper right) acknowledge the event from the clouds
-bottom register shows the moment when Mary, mother of the apostle James, and Mary
Magdalen learn from a young man that the tomb is empty
-top panels of the carved doors of the tomb show the Raising of Lazarus, the Gospel
story in which Jesus brings a man back to life to prove his divine power
-Christian theme: varied natural poses, soled modeling, architectural details of the
tomb, decorative framing patterns
7.25 Transfiguration of Christ:
-mosaic in the apse, Church of the Virgin, Monastery of Saint Catherine, Mount Sinai,
Egypt. C. 548-65
-shows the transfigured Christ in a triple blue mandorla (an almond-shaped halo that
surrounds Christ's whole figure) against a golden sky that fills the half dome of the apse
-the figure of Christ emits rays of life, & the standing Old Testament prophets Moses &
Elijah affirm his divinity
-apostles feel to the ground w/ fear & amazement while Christ is relaxed
-Shows Peter below, John at the left, and James at the right
-Mount tabor is represented as a narrow strip at the bottom, half green & half reflecting
the golden light
-abstract contrasts w/ the continuing classical influence
7.29 Emperor Justinian and his attendants
-mosaic on north wall of the apse, Church of San Vitale, Ravenna, Italy. C. 547
-Justinian carries a large golden paten for the Host and stands next to Maximianus, who
holds a golden, jewel-encrusted cross
-priestly celebrants at the right carry the Gospels, encased in a golden, jeweled book
cover, symbolizing the coming of the Word, and a censer containing burning incense to
purify the altar prior to the Mass
7.30 Empress Theodora and her attendants
-mosaic on south wall of the apse, Church of San Vitale. C. 547
-Theodora stands beneath a fluted shell canopy & singled out by a gold halo-like disk
and elaborate crown, carries a huge golden chalice studded w/ jewels
-presents the chalice both as an offering for th Mass and as a gift of great value for Christ
-w/ it she emulates the Magi, depicted at the bottom of her purple robe, who brought
valuable gifts to the infant Jesus
-courtyard fountain stand to the left of the panel and patterned draperies adorn the
openings at the left and right
7.54 Barma and Postnik. Cathedral of Saint Basil the Blessed, Moscow. 1555-61
-Russian preference for complexity and verticality combined with Byzantine
architecture in a spectacular style epitomized by the Cathedral of Saint Basil the Blassed
in Moscow
-First Russian Czar, Ivan the 4th, "the Terrible", commissioned the church and the
architects (Barma and Postnik)
-Instead of a central dome, the architects employed a typical Russian form called a
shater
-surrounded by 8 chapels, each w/ its own dome seeming to grow budlike from the
slender stalk of a very tall drum
-plan: a nine-bay, cross-in-square, or quincunx, design surrounded by four more
chapels, all on a podium approached by a covered stair
7-9 Reconstruction drawing of Old Saint Peter’s basilica, Roma
c.320-27, atruim added in later 4th century, about 394’ long and 210’ wide
Had double aisles instead of the one on each side of the nave
It was built over where they thought Saint Peter was buried, Christ named Peter the head of the
church so the church was thought to protect the tomb
IT was called “old” because it was later replaced with a new one in the 16th century
Narthex across the width of the building protects 5 doorways a large central portal into the nave
and 2 portals on each sides opening to 4 side aisles
Had a T form made of the aisles
7-13 Plan of the Church of Santa Costanza, Rome
C.338-50
Built like a tholos
Was a central plan church
Built right outside of Rome, mausoleum for Constantine
Made into a church in 1256 for Santa Costanza, meaning christian princess
Tall rotunda with a barrel-vaulted passageway
A ring of paired columns with composite capitols
7-21 Sarcophagus of Junius Bassus
c.359, marble, 4’x8’, Grottoes of Saint Peter
Junius Bassus was a Roman official
Inscription says that he was newly baptized and he was 42 when he died
Has 2 registers, divided by column in equal length, each has an earthly scene
Christ shows up with Peter and Paul, giving them the Christian law, like God gave to Moses
Has typological exegesis, combining Old and New testaments
7-33 Archangle Michael
Panel of a diptych, probably from the court workshop at Constantinople, Early 6th century ivory
17”x5½
Missing the other half which completes the inscription
The angel is shown as a divine messenger holding a staff in his left hand and a spear in the right
symbolizing worldly powers
Has an orb below the arch, framed by a wreath, on scallop sled
He is floating in mid air
7-35 Page with Rebecca at the well
From Book of Genesis, either from Syria of Palestine, early 6th century. Tempera, gold and
silver paint on purple-dyed vellum, 13 ½ x 9 7/8”
May have been made for imperial patron because purple dye is very costly
Is in codex form written in Greek with picture at bottom
It depicts the story where Rebecca at the Well, it shows a continuous narrative
7-49 archangel Michael, icon
Late 10th or early. Silver with enamel 19x 14”
Blessing viewers with upraised hands
The head and hands are in relief with more intricate relief and enamel decoration. The halo and
wings are made with jewels, colored glass, and cloisonné
He always appears in same frontal pose with idealized youthfulness
7-50 Page with David the Psalmist
From Paris Psalter, second half of the 10th century paint on vellum 14x10 ½”
Version of Psalms, a scene with out text
Shows Daviv (author of Psalma)
Based the illustration on classical illustration
3-D figures in receding space with lush foliage and a stream perhaps from ancient Rome
Uses atmospheric prospective