1. CONSTANTINOPLE AND THE BYZANTINE EMPIRE Byzantium Chapter 10 Byzantium

2. Two Romes In 325, Constantine, the first Christian ruler of the Roman empire, decided to remake Byzantium, a relatively unimportant harbor city on the shores of the Bosporus Sea, as his new imperial capital Strategic location—straits linking the Black Sea with the Aegean, less likely to be invaded by the Germanic tribes that were threatening Rome Renamed the city to Constantinople, the polis of Constantine

3. Early Byzantine and Medieval Constantinople

4. Constantine’s Second Rome In Constantinople, Constantine built forums, baths, and palaces that were in every way reminiscent of those in Rome Every province in the Empire was ordered to send him statuary and art to adorn the new city At the heart of the city he erected not a temple but a Christian basilica. Named Hagia Eirene, “Holy Peace,” it stood across from the emperor’s palace

5. Horses of San Marco Gilt-bronze, life-size 2 nd -3 rd centuries Constantine installed these horses in his hippodrome, the giant entertainment complex for horse and chariot races he built to match Rome’s Circus Maximus

6. The Fall of Rome 286 CE —Roman emperor Diocletian divided the Empire into two halves, the Eastern Greek empire and the Western Latin empire 410 CE —Visigoths sacked Rome 476 CE —Odoacer, a Germanic leader, named himself king of Italy 493 CE —Theodoric, the Ostrogothic king and a Christian who had been raised in the imperial palace of Constantinople, overthrew Odoacer and ruled Italy until 526

7. Constantinople Under Justinian and Theodora Justinian (r. 527-65) retook North Africa from the Visigoths in 535, and a year later he began a campaign to retake Italy from the successors of Theodoric Launched a massive building program Two of his most impressive structures are the Hagia Sophia (“Holy Wisdom”) in Constantinople and St. Catherine’s Monastery at the foot of Mt. Sinai in the desert near the Sinai Peninsula in modern Egypt

8. Hagia Sophia 532-37

9. Hagia Sophia First Hagia Sophia, erected by Constantine’s son, Constantius II, had burned Constantine hired as architects two mathematicians, Isidorus of Miletus and Anthemius of Tralles Their completely original design consisted of a giant dome (184’ high and 112 in diameter)on a square base, the thrust of the dome carried on four giant arches. Between the arches are triangular curving vault sections, called pendentives At the base of the dome, 40 windows circle of light that makes the dome appear to float above the naos, underscoring its symbolic function as the dome of heaven

10. Plan and Section of Hagia Sophia

11. Interior of Hagia Sophia

12. Theotokos and Child with Justinian and Constantine Mosaic, Hagia Sophia 10 th century Byzantine culture rarely, if ever, referred to Mary as “the Virgin.” Instead, she was the Theotokos, the “Mother of God”

13. “So the church has been made a spectacle of great beauty, stupendous to those who see it and altogether incredible to those who hear of it.” --from Procopius, On Justinian’s Buildings (ca. 537)

14. St. Catherine’s Monastery ca. 548-65

15. Transfiguration of Christ Matt. 17:1-6—moment when Jesus becomes a dazzling vision on Mt. Tabor and a heavenly voice proclaims him to be God’s son Mosaic made up of tesserae, small pieces of stone or glass, that creates an irregular surface off which light reflects Artists evidently had no interest in depicting the visual appearance of the material world; instead, they turned their attention to the supernatural event No perspectival depth, highly stylized figures, hieratic style (Jesus, most important figure, is largest)

16. Transfiguration of Christ Mosaic ca. 548-65

17. Theotokos and Child with Saint Theodore and Saint George Monastery of St. Catherine Encaustic on board, 27” x 19 ¾ “, 6 th century

18. Ravenna and the Western Empire The most extensive examples of Byzantine art survive in Ravenna, a relatively small city in northern Italy that in 402 had been made capital of the Western Empire Due to its position on the Adriatic, it became a thriving trade center As many as 60 churches may have been built in the city from 400-750 Sant’Apollinare Nuovo, built by Ostrogothic ruler Theodoric, is one of the best preserved sixth-century Byzantine churches

19. Nave of Sant’Apollinare Nuovo ca. 500 and later

20. The Healing of the Blind Wall Mosaic, Sant’Apollinare Nuovo ca. 500 One of at least 26 scenes that depict the life of Christ at the top of the nave mosaics above the clerestory The series as a whole may be the earliest surviving example of such a complete iconography

21. The Three Magi Approaching the Virgin and Child Mosaic, Sant’Apollinare Nuovo ca. 561 Instead of the severe Roman togas of the Gospel scenes, the three magi wear Oriental clothing The names of the magi are inscribed across the top of the mosaic

22. San Vitale A unique central plan building, similar to Santa Constanza in Rome, but octagonal in design rather than circular Exterior is exceedingly plain. Inside, the elaborate decoration symbolizes the richness of the spiritual world On the apse’s side walls are two mosaics, one featuring the emperor Justinian and the other the empress Theodora Reverse perspective—space extends forward from the picture plane, with parallel lines converging on the beholder’s eye

23. Exterior and Plan of San Vitale, Ravenna Dedicated 547

24. San Vitale Mosaics Haloed Justinian carries a paten, the plate on which the bread is placed in celebration of the Eucharist Empress holds a chalice of wine for the Eucharist. On the bottom of her robe are the Three Magi, who like her come bearing gifts to the Virgin and Child Propaganda to remind the faithful of the emperor’s divine authority, the union of the political and the spiritual Justinian and Theodora never actually set foot in Ravenna, let alone San Vitale

25. Emperor Justinian with Maximian, Clergy, Courtiers, and Soldiers San Vitale, Ravenna, 547

26. Empress Theodora with Courtiers and Ladies of Her Court San Vitale, Ravenna, ca. 547

27. The Iconoclast Controversy Iconoclasm, from the Greek eikon, “icon” or “image,” and klao, “break” or “destroy,” is the practice of destroying religious images Byzantine emperor Leo III (r. 717-41), decided that the Muslim success in attacks against the Byzantine Empire were a sign of God’s approval of their practice of barring images from their mosques In 730 he issued an edict requiring the removal of all religious images from all churches. Thus began a schism, a radical division, between the Eastern Orthodox churches and the Western Roman Catholic about visual imagery

28. The Crucifixion and Iconoclasts Chludov Psalter, 7 ¾” x 6” ca. 850-75 At the bottom of the page, two iconoclasts raise a sponge, just dipped in a vase of lime whitewash, to an icon of Christ and begin to paint over it. The image suggests that to destroy an image of Christ is tantamount to crucifying Jesus

29. The Icon in the Second Golden Age When the Macedonian dynasty (867-1056) came to power, the Byzantine Empire enjoyed a cultural rebirth of art and architecture Artists of the Macedonian era turned to both classical and Justinian models, lending the traditional icon a more naturalistic air and an almost Hellenistic emotional appeal

30. Crucifixion Mosaic, Church of the Dormition, Daphni, Greece Late 11 th century The skull at the foot of the cross symbolizes Golgotha, the “place of the skull,” a hill outside Jerusalem. Many believed it was the site of Adam’s burial and of the Crucifixion

31. Christ the Pantocrator A chief innovation of the era was the icon of Christ the Pantocrator Pantocrator literally means “Lord (or master) of Everything (the universe).” It is often translated as “Almighty,” combining father and son, judge and savior

32. Christ Pantocrator Mosaic, Church of the Dormition, Daphni, Greece ca. 1080-1100