ART 305: EARLY MEDIEVAL ART: IMAGING GOD, IMAGING POWER

Exam 2 Study Guide: (Byzantine Art; Snyder, chs. 4-6)

Preparation:

1) You should be able to identify the objects listed below. A full identification includes artist/architect, title/name/subject of object, original place of production, date.

2) In addition, be able to summarize what you have learned about each object from your reading and from class. Be able to explain the object's iconography, patronage, audience, the materials and techniques used, and its relation to other objects and themes of the course. Know the definitions of terms introduced in your reading and in class and be able to use these terms in relation to specific objects.

Format:

The exam will consist of three parts (plus extra credit):

I. Slide Identifications (10 minutes/15 points total): Give a full identification for five slides.

II. Short Answer Comparisons (8 minutes each/18 points each): You will need to fully identify four pairs of slides. And then respond in a paragraph to one question/discussion topic concerning each pair (see list of potential questions/discussion topics below).

III. Architectural Plan (5 minutes/13 points total): Label seven parts of a typical Middle Byzantine church plan (Church of the Dormition, Daphni, figs. 5.23, 5.24, 5.25, 5.26, 5.27, 5.28) – narthex, naos, bema, prothesis, diaconicon, squinch, and iconostasis. And be able to fully identify this particular church, name the architectural type, describe the function of the prothesis and diaconicon, and define squinch.

Extra Credit: Two additional slide identifications (6 points total).

Potential Questions/Discussion Topics:

1) Discuss the program of mosaic decoration in these two buildings. How does each mosaic program connect to the function (one funerary, the other liturgical) of each building?

2) Discuss the mosaic decoration of these two churches in terms of site, patronage, and theological debates/controversies.

3) Compare and contrast these two buildings in terms of architectural elements, as well as the visual and spatial experience. How does each building demonstrate the symbolic goals of early and Middle Byzantine architecture and its decoration?

4) How do these images reflect the persistence or revival of the classical style and iconography of the ancient world?

5) How do these images suggest different ideas about the relationship of earthly rulers to Christ/God?

Objects:

Note: In addition to studying the images in ArtStor, consult the figures in the textbook by Snyder (indicated below), as well as the figures in The Clash of Gods by Mathews.

Anthemius of Tralles and Isidorus of Miletus, Hagia Sophia, Constantinople, 532-537 (figs. 4.2, 4.3, 4.4, 4.6, ).

Emperor Justinian (Barberini Diptych), ivory panel, mid-6th century (fig. 4.1).

Archangel Michael, panel of ivory diptych, early 6th century (fig. 4.14).

Scenes from the Life of David, silver plates, Cyprus, c. 628-630 (fig. 4.15).

Mausoleum of Galla Placidia, Ravenna, c. 425-450 (figs. 4.26, 4.27, 4.28).

Orthodox Baptistry, Ravenna, 450-460 (figs. 4.29, 4.30, 4.31).

Sant’Apollinare in Classe, Ravenna, c. 549 (fig. 4.48).

San Vitale, Ravenna, 546-548 (figs. 4.40, 4.41, 4.42, 4.43, 4.44, 4.45, 4.46, 4.47).

Dome mosaics, Hagios Georgios, Thessaloniki, 5th century (figs. 4.18).

Maiestas Domini, apse mosaic, Hosios David, Latmos monastery, Thessaloniki, 5th century (fig. 4.19).

Transfiguration, apse mosaic (and other mosaics), church of the Monastery of Saint Catherine, Mt. Sinai, c. 550-565 (fig. 4.22).

Virgin and Child Enthroned with Angels and Saints, icon, Monastery of St. Catherine, Mt. Sinai, early7th century (fig. 4.25).

Christ, icon, Monastery of St. Catherine, Mt. Sinai, c. 700 (fig. 4.23).

Virgin and Child Enthroned, apse mosaic, Hagia Sophia, Constantinople, before 867 (fig. 4.9).

Emperor and Enthroned Christ, mosaic in lunette over imperial doorway, Hagia Sophia, Constantinople, c. 900 (fig. 5.4).

Coronation of Emperor Romanus II and Eudocia by Christ, ivory panel, 945-949 (fig. 5.7).

David Composing the Psalms, Paris Psalter, Constantinople, 10th century (fig. 5.14).

Church of the Dormition, Daphni, c. 1080-1100 (figs. 5.23, 5.24, 5.25, 5.26, 5.27, 5.28).

Cathedral of Torcello, Venice, late 12th century (not in textbook).

The Martorana, Palermo, Sicily, c. 1148: Christ Crowing King Roger II of Sicily (fig. 6.11).

Cappella Palatina, Palermo, Sicily, mid-12th century (Figs. 6.12, 6.13, 6.14, 6.15, 6.16, 6.17).

Cathedral of Cefalù, Sicily, c. 1148 (Fig. 6.18).