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 , 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 Alexandria Left: 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