*Right – San Vitale, Ravenna, Italy, 527-47
*Left - Emperoress Theodora and Retinue
, San Vitale, mosaic, 547 *Right - Mosaic depicting Christ as Pantokrator, Cicily, 1183
*Sainte-Foy, France, 1050-1120
*Left – Christ Entering Jerusalem, Duccio, 1308-11
West facade, *Chartres Cathedral
*Right – The Lamentation, Giotto, fresco, 1305-6
*St. Mark, Donatello, 1411-13, 7’9”, marble.
*The Birth of Venus, Botticelli, tempera, 1480
*Mona Lisa, Leonardo da Vinci, 1503-05
*Last Supper, Leonardo da Vinci,
*Pieta, Michelangelo, 1500
*Sistine Chapel, Michelangelo, Vatican, 1473-80, fresco
*The Annunciation, Titian, 1560, Oil
*February, Limbourgh Brothers, 9”, 1416
*Merode Altarpiece, Robert Campin, Oil, 1426
*Isenheim Altarpiece, Matthias Grunewald, 1515
*The Harvesters, Petier Brueghel the Elder, 1565, oil. Netherland artist
*The Last Supper, Tintoretto, 1592-94, oil
This chapter focuses on the rise in Christianity in western Europe and the arts of Byzantium.
Early Christians borrowed iconography from Greek and Roman art.
Early Christian churches were constructed in the style of a Roman building called a basilica. It consists of an apse, nave, aisles, and clerestory.
•Nave: Open central space
•Clerestory: Upward extension pierced with windows.
A transcept and a narthex were also added to Christian architecture to form the basic vocabulary of a church
•Transcept: Lengthwise extensions perpendicular to the nave. Together they form a cross plan for a church.
•Narthex: An entry porch into a church.
Byzantine artwork combines images of earthly power and splendor with ones based in Christian iconography.
The major axis is vertical, symbolizing earth and heaven.
Artwork is more flattened and