Byzantine &

Romanesque
BYZANTINE WORLD
[Map 07-01]
Byzantium’s Role in the World Economy
 A little historical background:
•“Byzantine” people called themselves Romans
•Byzantine empire born from a split in the Roman world (5th century)
•Size of Roman empire was just too huge for one person to rule
•Western half of Roman Empire: barbarian chaos, overtaken
•Eastern half of Roman Empire: flourished for 1000 years after Western half
collapsed. (it’s modern-day Istanbul, was Constantinople)- originally founded by
Emperor Constantine
•Byzantines spoke Greek rather than Latin
•Promoted orthodox Christianity, as opposed to western Christianity, which was
centered in Rome
 Byzantine Art

Byzantine art flourished from

about 300 A.D to the 1400s. It grew
out of the early Christian world.
Byzantine art was very religious.
Most Byzantine art was created for
the Eastern Orthodox Church,
made by servants of the courts or
members of religious orders.
Most of these artists remained
anonymous.
"The Virgin and Child" is another popular Byzantine subject for painted wood panel
icons and mosaics. Like the image of Jesus, Mary and the Infant Jesus are also shown in
an agreed-upon conventional way.
Note the similarities of the pose and facial features of Mary as well as the appearance of
the infant.
Key ideas about BYZANTINE ART:
•Byzantine empire born out of remains of Roman Empire- continued
Roman artistic tradition but with Christian themes
•Mosaics, icons, manuscript illumination are a big deal
•Two main elements: reflect the classical past and use hieratic medieval
style (representations are fixed by religious tradition)
•Architects invent PENDENTIVE and SQUINCH
•Buildings known for mysterious and shadowy interiors
 PATRONAGE:

•Church + State = one thing (Byzantine empire) – commissioned art

•Religious works crowd buildings
•Interest in luxury objects – extravagant works in ivory, manuscripts,
and precious metals
•Artists feel like they create art for the glory of God – rarely sign
their names (pride = sin!)
•Many artists were priests, nuns, or priests – artistic production was
an expression of their religious devotion
 The Middle Ages: 3 Major Shifts
• Three major shifts occurred that had far
reaching effects on Western civilization:
oCultural leadership moved north from the
Mediterranean to France, Germany and
the British Isles.
The Middle Ages: 3 major shifts
oChristianity triumphed over paganism and
barbarism
oEmphasis shifted from the here-and-now to
the hereafter (heaven). The body began to
be viewed as corrupt rather than beautiful.
 Byzantine Art
• Byzantine refers to eastern Mediterranean art
from A.D. 330 when Constantine transferred the
seat of the Roman empire from Rome to
Constantinople (also called Byzantium)
 Byzantine Art
• Constantinople became the center of
civilization for early Christian art combined
with Greek ornamental style which was
rich in color and decoration
 Byzantine Art: Mosaics
• Characterized by sumptuous grandeur,
halos spotlighting sacred figures and
shimmering gold backgrounds.
 Byzantine Art: Mosaics
• Flat, stiff human figures were symmetrically
placed, seeming to float as if hung from pegs.
• Tall, slim with almond shaped faces, huge eyes
and solemn expressions gazed straight ahead
without the least hint of movement
Mosaic Comnenus
Justinian and Attendants
Mosaic of Emperor Justinian
Mosaic of Emperor Justinian
Mosaic of Emperor Justinian
 Byzantine Art: Haga Sophia
• Haga Sophia was nearly 3 football fields long
• Combined Roman rectangular basilica layout
with a huge central dome
Haga Sophia
Haga Sophia
Byzantine Art: Haga Sophia
• Pendentives: 4 arches forming a square
supported the weight of the dome
• 40 arched windows encircle the base of
the dome so that it appears to rest on a
halo of light
Haga Sophia
Haga Sophia
Wisconsin Capitol Dome
Many windows in
wall space, fill
structure with light

• Altar at end of nave, not directly under dome

• Large central dome with 40 windows at base –
like a halo over the congregation when filled
with light, dome “floats”
•All sense of weight disappears in the interior
Interior, Hagia Sophia
•Expanding, inflated space
•Light plays a key role
•Glitter of light and mosaics create an illusion of unreality
• Arcade decoration: wall and capitals are flat and thin but richly ornamented
• Lots of space for mosaic decoration: at one time had FOUR acres of gold mosaics on walls
• Walls were whitewashed with plaster, cleaning walls today to reveal decorations
How to put a round dome on flat walls: use a PENDENTIVE!
-triangle-shaped piece of masonry with the dome resting on one long side, and the other two
sides channeling the weight down to the pier below.
PENDENTIVE allows dome to be supported by four piers, one in each corner of the building.
Walls between piers don’t support the dome – can be opened up for more window space!!!
Middle and late Byzantine
architects introduce a variation on
a pendentive called a
SQUINCH! Pendentive vs. Squinch
Squinches in the Hosios Loukas (more about that later…)
 Motifs of scrolls and
foliage, derived from
classical architecture, but
effect is radically different-
no longer look as if they
cushion the impact of the
weight of the column- now
is delicate and pattern
defies the weight of the
stone.

Capital, Hagia Sophia

• SQUINCH has same function as PENDENTIVE (transition weight of a dome onto a flat
wall
• Architects designed pendentives and squinches so that artists could later use these broad
surfaces as painted spaces
 HAGIA SOPHIA (“holy wisdom”)
designed by Anthemius of Tralles and Isidorus of Miletus
532-537, Istanbul
Built in 5 years!
BYZANTINE PAINTINGS, ICONS,
AND MOSAICS
• Most characteristic work of Byzantine art is the ICON – a religious devotional
image usually of portable size and hanging in a place of honor either at home or
in a religious place
• ICON has wooden foundation, covered with coats of paint, sometimes includes
fish glue or putty, cloth placed over this base, layers of stucco applied on top
Coated with varnish to protect it (they are often touched)
• Icons carried in religious processions (this still happens today), sometimes placed
on city walls in times of invasion
• Icon = Veneration of an idea or holy person depicted in a work of art
• Icons are aids to meditation and prayer – a bridge between worshippers and the
holy people they depicted
• Icons displayed on screens in churches - ICONOSTASIS
 ICONOSTASIS example

St. Tikhons Orthodox Monastery, South Canaan, Pennsylvania, USA.

Virgin and Child with Saints and Angels
(Icon)
6th century
Encaustic (wax) on wood

• Many images of the Virgin and Child

show Mary on a throne with Christ in
her lap
• Theodore (left) and George (right) are
warrior-saints (dragon slayers!) =
symbolic of the church over the “evil
serpent” of paganism
• Angels look up at heaven- more realistic
looking than saints. Saints have rich
patterns on their cloaks- hardly show
bodies beneath
Virgin of Vladmir (icon)
11th-12th century
Tempera paint on wood

•Probably from Constantinople

•Mary and Christ embrace tenderly
•Humanized image- personal
•Thought to protect people of the city where it
resided (went to many cities)
•Now in Moscow
 Characteristics of Byzantine Art:

•Combo of Greek, Roman, and formal Medieval style (chapter 14)

•Classically trained artists used innovative poses (unusual angles), soft transitions
between colors, relaxed figure stance
•Medieval-trained artists favored frontal poses, symmetry, and almost weightless bodies.
Little effort to show body (covered with drapery). Perspective unimportant, godl
background, halos
•Byzantine paintings don’t have nudity (it’s immodest and has a pagan association to
mythological art of ancient Greece and Rome)
•Painted manuscripts – fine detail, jewel colors
•Because so few people could read, having a manuscript was a status symbol,
library=temple of learning
Justinian and Attendants, 547 CE, mosaic from San Vitale, Ravenna

Byzantine Emperor Justinian w/ military and clergy

 Details

•Ideal of human beauty is much different than 4th and 5th century short, squat figures
•Now slim and tall, tiny feet, small almond-shaped faces, huge staring eyes, long thin noses, short closed mouths,
bodies are used only for displaying costumes, not moving- eternal present rather than action
•Combination of divine and secular court (clergy and military, church and state)
•Justinian in royal purple (purple used for royalty and sometimes on Jesus)
 Halo • Minimal background, green
base at feet, gold =
timelessness/heaven
• Custom is to approach emperor
with hands covered as sign of
respect
• Nearly every figure here has
one hand covered
• No attempt at psychological
impact or individuality

• Symmetrical, frontal figures

• Holds a “paten”- a shallow bowl or plate for the Eucharist (bread as body of Christ)
• Overlapping of figures, might be in a procession forward
• Figures have no volume, float, overlapping feet
• Maximianus identified- patron saint of San Vitale
• Halo = saintliness, semi-divinity as head of church and state (not separate back then!)
• Positioned over altar in church – Justinian participates in the Mass!

Maximianus
Theodora and Attendants, 547 CE, mosaic from San Vitale, Ravenna
• Empress Theodora = Justinian’s
wife
• Mosaic is positioned by altar –
Theodora and Justinian participate
in the Mass
• Shimmering gold, colored stones,
and glass – each piece positioned
at an odd angle to catch flickering
of candles or sunlight, glittering
world of gold and floating shapes
– what they thought heaven would
be like

Detail
 • Slight displacement of symmetry with Theodora – plays a secondary role to her husband
• Richly robed empress with ladies at royal court
• She stands in an architectural framework, holding a chalice for the ceremony, about to go
behind the curtain held open for her

• Three Magi depicted on

hem of her dress –
bring gifts to baby
Jesus
• Parallel – she’s
bringing a gift (chalice)
to the holy ceremony
(Mass)
Sant’Apollinare in Classe, 549 CE, apse mosaic, Ravenna, Italy
 Sant’Apollinare in Classe interior vs. interior
Who would ever guess it looked like that inside
based on the blah exterior
Stark, unadorned exterior echoes crudeness of
outside world

Richly decorated interior

symbolizes the soul
• Saint Apollinaris (first bishop of Ravenna) has hands raised in orant position (posture of
prayer), dressed in bishop garb
• 12 sheep = 12 apostles, 12 tribes of Israel, and/or parishioners of the church w/ bishop as
symbolic “leader of the flock”

Three upper sheep

symbolize three apostles
who witnessed Jesus’s
transfiguration – the
moment he is revealed to be
divine (Matthew 17:1-8).
Sheep might also represent
the trinity. Wow, sheep are
symbolic! Bonus- they’re
cute too
• Moses and Elijah flank cross (they are Old Testament prophets, and here they watch Christ’s
transfiguration)
• Hand of God comes down from clouds to bless the scene

Flatness of
forms, moving
away from
classical
naturalistic
depictions
Detail
Detail
Detail
PANTOCRATOR, late 11th century, Church of the Dormition, Greece
•mosaic
•Christ in dome over nave of
church- he sees and understands as
he looks down from heaven
•He looks stern, severe, awesome,
and a little menacing – owl like
eyes, forked beard, gap in beard
above chin, hair swept on forehead
 •Christ set in a sea of gold
•Christ’s name written in Greek
•Christ as Pantocrator (ruler of the
universe)
• upper body pose, hand on Bible,
right hand blessing

•strong contrast of light

and dark instead of
showing depth with
subtle tonal gradations
•jagged, geometric folds
Jesus is always largest in fabric
Frequently wearing blue or purple
(royal)
 PANTOCRATOR, 12th century, Monreale, Sicily
-mosaic in Monreale’s cathedral (left)

Smo with
mom and dad

 •Christ at top of wall of mosaics
(hierarchy)
•Monumental scale
•Stern, severe, awesome, grand
•Right hand blessing gesture, left
hand holds Bible written in Latin
and Greek

•Image of Christ also resembles God the Father

(Christ/God combo)
•Pointed arches (hmmm…. this is a hint of
Gothic style, which is soon)
•Massive amounts of mosaics in this cathedral.
Over one acre of gold mosaic- dazzling, heaven-
like
David Composing the Psalms
from the Paris Psalter, 10th
century

•Tempera paint on vellum paper

•Psalter = book of psalms from
Bible
•Classical-looking figures and
landscape
•Vibrant color, variety of colors,
balanced color
•Muscular bodies contrast with
the stiff drapery
•David is inspired by Melody as he plays
harp
•Melody’s body- upper part is classical,
lower part is medieval style
•Personification of Echo holds a loving
cup – prize for musicians
•Lower right – muscular figure
symbolizing Mountains of Bethlehem
•Jewel-like border frames scene
•Manuscript painters had a fine eye for
detail- trained to work with precision
•Gold (like mosaics & icons)
•Paris Psalter is an excellent example of
the sophisticated style of manuscript
painting
Old Testament Trinity
by Andrei Rublev
15th century, tempera paint on
wood
•Heads of angels nearly identical
•Extensive use of gold
•Flat, nearly spaceless background
•Deep colors in fabric
•Luminous colors
•Poses mirror each other
•Byzantine artists liked repeating older art,
no modern advances here
•Old Testament angels who appeared to
Sarah and Abraham in the book of
Genesis- symbol of Christian Trinity (God,
Christ, Holy Spirit)
….and a little sculpture
Saint Michael the Archangel,
early 6th century, ivory
•One leaf of an ivory diptych (don’t buy ivory!)
•Roman elaborate hair style, classical drapery
•Delicate folds, see body beneath fabric
•Detailed classical architecture carved
•Orb and scepter- imperial imagery
•St. Michael hovers in front of arch
•Space is confusing- feet placed on several steps. Is he standing or
floating? Feet are on steps behind the columns, but his wings are in
front of the columns. Hm. Maybe the artist didn’t think this one
through.
•St. Michael spans Jewish, Christian, and Islamic teachings.
Defeated Satan in the war in heaven.
•He is the patron saint of police officers, military, grocers, mariners,
and paratroopers. Just sayin’.
Harbaville Triptych, 10th century, ivory (don’t buy ivory!)
(small portable altar for private use, small-scale relief, 24x28 cm)
•Individualized heads, similar bodies- same size, dressed alike,
symmetrically arranged
•Mostly frontal, but some bodies are slightly turned
•Sharp, crisp lines, delicate carving, jewel-like cuts
•Angels are in medallions
•Many have hands covered= sign of respect/ approaching
someone higher
•Name labels (Medieval trend)
 BYZANTINE SUMMARY!
•Byzantine = eastern half of Roman Empire 1000 years beyond the
fall of Rome, Constantinople is the center- one of the most impressive
cities in history
•Lavish works of art
•Shimmering gold mosaics = heavenly world and opulence
•Icons thought to have spiritual powers
•Ivory carved with great precision
•Invented PENDENTIVE
•Death of Byzantine empire in 1453, but Byzantine art continues in
Russia, eastern Europe, and Greece- lasted into the 20th century!
Romanesque Art
 Romanesque Art:
• Builders borrowed from Roman
architecture creating churches with
rounded arches and columns
• Layout of churches was in cruciform,
symbolizing the body of Christ on the
cross
St. Sernin in Toulouse, France
St. Sernin in Toulouse, France
 Romanesque Art:
• Romaneque churches were plain on the
outside except for sculptural relief by the
main door.
• Most church-goers were illiterate so the
scenes were telling stories in stone.
Last Judgement- Autun
Last Judgement- Autun Cathedral
Last Judgement- Autun Cathedral
 Romanesque Art:
• Manuscripts were sacred objects created
by monks and nuns.
• Lavishly decorated to reflect their sublime,
heavenly content.
• Studded with gems and gold.
Book of Kells
Book of Kells
The Long Hall
 WHAT WAS ROMANESQUE ART LIKE?
• Romanesque: It’s a new style of art, called so, because it is reminiscent
of Roman art
• (But it has got nothing to do with Roman art)
 What was the romanesque art used for?

• Romanesque art aimed (buscaba) to spread (propagar) religion and

bring people closer to God
 What were the main buldings?
• The most representative buildings were churches, cathedrals, and
monasteries.

• Sculptures and paintings were used to convey (transmit) spirituality.

ROMANESQUE ART
 ROMANESQUE
• From the 11th century, a new style of art spread throughout Western
Europe. It is known as Romanesque because it is
reminiscent(rewind/resemblence) of Roman art.
• Romanesque art aimed to spread religion and bring people closer to
God.
• The use of symbols was very important. Everything had a message,
from the shape of the buildings to the materials and motifs used.

• The artists were mostly anonymous craftsmen. Once they had finished
work in one place they usually moved to another place.
• In Architecture, the most representative buildings were churches,
cathedrals and monasteries.

• Sculpture and painting were used to convey spirituality.

 ROMANESQUE ARCHITECTURE
• The main Romanesque buildings were made of stone. At first they had
flat, wooden roofs, but fires were frequent and stone was safer.
Wooden roof
 ROMANESQUE ELEMENTS
• The architects used Roman
elements such as barrel
vaults and domes.
Barrel vault
Domes
• The buildings had round arches and big columns and pillars. The walls
were very thick. The windows were very small, and there were not
many of them. They let little light inside. Consequently, the buildings
looked very solid and compact.
Round arches
Round arches
 Plans
• The plan churches were usually cruciform, to recall the cross on which
Jesus died: a Latin cross.
• The long arm of the cross was made up of one or more naves finishing
in an apse. The shorter arm is called the transept.
Apse
Cruciform plan
 Romanesque sculpture
• In the Middle Ages, art had an educational and religious function.
Most people could not read or write. Images taught them about the
Christian religion. The size and shape of Romanesque sculptures were
adapted to fit into the space available. Human figures were
unrealistic.
Typhanum
Is it schemathic or realistic?
• The sculptures were painted in bright colours. Today most of the
colours have disappeared.
• The facades of the churches, specially the tymphanums, were
decorated with subjects such as Christ in Glory and the Last
Judgement.
Tymphanums
Tymphanums
Christ in Glory (into a Tymphanums)
Sculptures were painted in bright colours
• The capitals and the cloisters were decorated with animals, plants,
Biblical stories, and everyday scenes.

• There were wooden carvings, ussually on the altars. Two main themes
were shown: The Virgin and the Child and Christ on the Cross.
 Capitals
• the upper part of a column
Romanesque Cloister
 ROMANESQUE PAINTING
• The most important paintings were inside churches. Humans figures
were rigid and schematic. Some were painted much bigger than the
rest to show their importance. Bright colours were used. The figures
were outlined in black, and the eyes and hands were emphasised.
There were no background landscapes.
The Virgin with the Child
Christ in Glory

It is painted on a wall
• Mural painting was common on walls, specially in the main aspe near
the altar. The favourite themes were Christ in Glory and the Virgin and
Child
• Panel painting was used on altars and small altarpieces. The lives of
saints and martyrs were shown.
• Miniatures were small paintings wich illustrated bibles and manuscripts.
Miniatures