Question 1

If viewed from below, wouldn't the length of the bodies appear more normal?  If viewed straight on, it would seem that the bodies have been "fore-lengthened" to account for the usual point of view:  On the floor.

Accepted Answer

Yes, one finds this in any Orthodox church with traditional iconography.

Question 2

Why is this example of Byzantine art found in Italy? Was Italy part of the Eastern Roman Empire at this time?

Accepted Answer

Italy switched hands a lot after the fall of the western half of the old Roman Empire.  Justinian is known for reforming the laws and for expanding the Empire.  This was part of that expansion.

Question 3

I thought it was against the rules to create any graven image of anything in God's realm for fear it would be worshipped. So as a compromise they made things look abstracted from reality. This is explained here http://smarthistory.khanacademy.org/The-Evolution-of-the-Medieval-Style.html

Accepted Answer

That rule, known as the iconoclasm only lasted from 730-787 when the second Nicean Council declared images were "quite in harmony with the history of the spread of the gospel". http://en.wikipedia.org/wiki/Iconoclasm#Byzantine_iconoclasm

Question 4

Does anyone know where and when the elongated bodies began to appear in the Byzantine era? If it began when Hellenistic art was still being made, we'd know the odd proportions were intentional. If it started later more likely the skills had just been lost.

Accepted Answer

The elongated otherworldly effect you ask about came about several hundred years after the Hellenistic period. It was long believed that it was a loss of skills but that is no longer the prevailing belief.  Evidence has been found that the same artist could sculpt in an otherworldly style for a Christian patron and in a more naturalistic style for a pagan patron during the last 50 years of the Roman Empire. Therefore it seems to point to it being an intentional step back from the naturalistic.

Question 5

This is in a church called San Vitale.  Was there a Saint Vitale?

Accepted Answer

There were a few saints named Vitalis, and it is unclear whether this basilica was named after Saint Vitalis of Milan or Saints Vitalis who is associated with Saint Agricola.

Question 6

why is there a circle around the emperor's head?

Accepted Answer

Halos in iconography represent Church recognized sanctity. These weren't added during the life of the person, but after their repose. In the Eastern Orthodox Church, he has always been recognized as St Justinian.

Question 7

I find this film and actually these mosaics very moving. The idea of the divine person (like the emperor) participating in the ceremony is lurking in my mind in connection to one of the saint kings (associated with the topic of my bachelor thesis), who (not being a priest) was preparing the Eucharist (I mean, the bread) himself, which was one of proofs for his sanctity. Does anyone know, how this idea develops in the West Christantity?

Accepted Answer

I can't answer your question, but if you're moved, you should try to see them in person sometime.

Question 8

Is it possible to get some Byzantine Catholic art history videos?

Accepted Answer

Just to make sure, the patron of the San Vitale is Emperor Justinian??

Question 9

Is the symbol on the sheild being held by the soldiers from Constantines banner?

Accepted Answer

Actually, a more proper context to this is from the Greek. The symbol is known as Chi Rho (pronounced Hee Ro) from the Greek letters: Χ Ρ. They are the first 2 letters of Christ. Constantine hadn't converted to Christianity until the very end of his own life, but his mother, Helena, was a Christian. While the symbol is included in Constantine's own identity, it was being used many years prior within the Church. http://en.wikipedia.org/wiki/Chi_Rho

AP®︎/College Art History

Course: AP®︎/College Art History > Unit 5

San Vitale, Ravenna

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