SLIDE IDS - Early Medieval, Byzantine, and Islamic Art History

Comprehensive vocabulary flashcards covering the artworks, monuments, architectural principles, and historical terminology of Early Christian, Byzantine, Migration Period, Insular, Islamic, Carolingian, and Ottonian art.

The Good Shepherd, Orants, and the Story of Jonah

Painted ceiling fresco located in the Catacomb of SS. Peter and Marcellinus, Rome. Culture: Early Christian. Date Range: Fourth and Fifth Century (c. 300-400 CE). Depicts Christ as the Good Shepherd in a central medallion surrounded by orant figures and narrative lunettes of Jonah.

Colossus of Constantine

Colossal acrolithic statue of Emperor Constantine the Great, Rome (312-315 CE). Culture: Early Christian, Fourth and Fifth Century (c. 300-400 CE). Combines naturalistic Roman imperial grandeur with stylized, upward-gazing 'soul portrait' eyes.

Constantine's Distribution of Largesse

Relief frieze band on the Arch of Constantine, Rome (c. 315). Culture: Early Christian, Fourth and Fifth Century (c. 300-400 CE). Demonstrates Late Antique artistic shift toward shallow relief, isocephaly, frontal formality, and hieratic scale.

Old Saint-Peter's Basilica

Monumental pilgrimage martyrium church erected over St. Peter's tomb in Rome. Culture: Early Christian, Fourth and Fifth Century (c. 300-400 CE). Key components include an axial plan, entrance atrium, narthex, five-aisled longitudinal nave, transept, and semicircular apse covered by a timber roof.

Santa Maria Maggiore (Nave and Triumphal Arch)

Early Christian basilica in Rome (c. 422-432). Culture: Early Christian, Fourth and Fifth Century (c. 300-400 CE). Features longitudinal nave mosaics depicting Old Testament narratives and a triumphal arch cycle illustrating the Nativity and Infancy of Christ.

Etimasia

The symbolic depiction of the empty, prepared throne awaiting the Second Coming of Christ, accompanied by the Four Beasts of the Apocalypse and the patrons of Rome as seen on the Triumphal Arch of Santa Maria Maggiore.

Traditio Legis (Santa Costanza)

Apse conch mosaic in Santa Costanza, Rome. Culture: Early Christian, Fourth and Fifth Century (c. 300-400 CE). Translates literally to 'passing of the law,' depicting Christ standing atop the four rivers of Paradise giving the legal scroll to St. Peter and St. Paul.

Hagia Sophia

Monumental cathedral in Constantinople/Istanbul built 532-537 CE. Patron: Emperor Justinian. Architects: Anthemius of Tralles and Isidore of Miletus. Culture: Byzantine, Sixth to Mid–Seventh Century (500-650 CE). Famous for its central dome resting on pendentives and extensive revetments of book-cut marble.

Icon of Christ Pantocrator

Encaustic on wood panel ($84\,\text{cm} \times 49.7\,\text{cm}$) preserved at the Monastery of St. Catherine, Mount Sinai. Culture: Byzantine, Sixth to Mid–Seventh Century (500-650 CE). Demonstrates subtle asymmetry in Christ's facial features to represent his dual human and divine natures.

Christ Enthroned with St. Vitalis and Bishop Ecclesius

Apse mosaic in the Church of San Vitale, Ravenna, c. 547. Culture: Byzantine, Sixth to Mid–Seventh Century (500-650 CE). Shows a youthful, purple-clad Christ seated on an azure cosmic orb, handing the martyr's crown to St. Vitalis while Bishop Ecclesius presents a model of the church.

Justinian and his Retinue

Chancel wall mosaic in the Church of San Vitale, Ravenna, c. 547. Culture: Byzantine, Sixth to Mid–Seventh Century (500-650 CE). Depicts Emperor Justinian bearing the Eucharistic bread paten, accompanied by Bishop Maximianus, imperial courtiers, and guards carrying a Chi-Rho shield.

Empress Theodora and Her Attendants

Chancel wall mosaic in the Church of San Vitale, Ravenna, consecrated 547. Culture: Byzantine, Sixth to Mid–Seventh Century (500-650 CE). Depicts Empress Theodora haloed and holding a jeweled chalice for the Eucharistic wine, accompanied by eunuchs and court ladies near an architectural fountain.

Barberini Ivory (The Emperor Triumphant)

Five-part carved ivory imperial plaque leaf ($\sim 10 \times 8.5\,\text{inches}$), produced in Constantinople and housed in the Musée du Louvre, Paris. Culture: Byzantine, Sixth to Mid–Seventh Century (500-650 CE). Portrays a victorious emperor (often identified as Justinian) on a rearing steed blessed by Christ above.

Sant' Apollinare Nuovo

Three-aisled basilica in Ravenna founded in 505 by King Theoderic. Culture: Ostrogothic, Sixth to Mid–Seventh Century (500-650 CE). Notable for three tiers of mosaics illustrating New Testament miracles and parables, standing prophets, and architectural cityscapes.

Palace of Theoderic (Sant' Apollinare Nuovo)

Mosaic panel on the southern nave wall of Sant' Apollinare Nuovo, Ravenna, founded 505. Culture: Ostrogothic, Sixth to Mid–Seventh Century (500-650 CE). Shows the royal palace labeled 'PALATIVM', where figures of Ostrogothic rulers were later blacked out or masked with curtains following Byzantine reconquest.

Saint-Denis (Merovingian Necropolis)

Royal burial site in Paris associated with King Dagobert's church. Culture: Merovingian, Sixth to Mid–Seventh Century (500-650 CE). Served as the premier Christian necropolis and burial center for early Frankish royalty.

Tomb of Queen Arnegonde

Grave assemblage from the royal crypt of the Basilica of Saint-Denis, Paris. Culture: Merovingian, Sixth to Mid–Seventh Century (500-650 CE). Included gold, silver, garnets, filigree, and personal ornaments stamped with her monogram signet ring.

Fibula of Rosmeer

Ornamental disc brooch ($6.4\,\text{cm}$ across) found in Rosmeer. Culture: Merovingian, Sixth to Mid–Seventh Century (500-650 CE). Decorated using gold filigree wirework, cell-work, and cut red garnet cloisonné configured around a cross.

San Pedro de la Nave

Stone ashlar church in Zamora, Spain. Culture: Visigothic, Sixth to Mid–Seventh Century (500-650 CE). Characterized by square-ended apses, side chambers (ergastulae), prominent horseshoe arches, and historiated relief capitals.

Horseshoe Arch

An arch form whose curve continues past a half-circle so that it pinches inward above the level of its springing point. Pre-dates Islam, was utilized in Visigothic architecture, and became a signature structural element of Islamic architecture in the Maghreb and al-Andalus.

Abraham's Sacrifice of Isaac (San Pedro de la Nave)

Historiated stone relief capital from San Pedro de la Nave, Zamora, Spain. Culture: Visigothic, Sixth to Mid–Seventh Century (500-650 CE). Illustrates the Old Testament narrative of Abraham poised to sacrifice Isaac under the divine hand of God with an accompanying Latin inscription.

Crown of Recceswinth

Votive suspension crown from the Treasure of Guarrazar, Spain. Culture: Visigothic, Sixth to Mid–Seventh Century (500-650 CE). Fashioned from openwork gold filigree set with sapphires and pearls, featuring dangling gold letters reading 'RECCESVINTHVS REX OFFERET' ('King Recceswinth offered this').

Gold Belt Buckle from Sutton Hoo

Hollow cast gold buckle from the ship burial at Sutton Hoo, Suffolk, England. Culture: Insular Art, c. 400-650. Densely adorned with intricate zoomorphic interlace containing intertwined biting serpents and predatory birds with niello detailing.

Shoulder Clasps from Sutton Hoo

Hinged gold armor clasps from the Sutton Hoo ship burial, England. Culture: Insular Art, c. 400-650. Adorned with millefiori checkered glass, garnet cloisonné inlays, and overlapping zoomorphic boars on curved ends.

Clochans of Skellig Michael

Corbeled dry-stone 'beehive' monastic dwellings built on the precipitous rocky slopes of Skellig Michael off the coast of Ireland. Culture: Insular Art, c. 400-650. Built without mortar by early Christian ascetic monks seeking isolated contemplation.

Gospels of St. Augustine (St. Luke)

Illuminated manuscript author portrait of Evangelist Luke seated under an architectural arcade, flanked by small narrative vignettes of Christ's life. Produced in Italy [c. 597], now in Cambridge, Corpus Christi. Culture: Early Christian / Late Antique, c. 400-650.

Book of Durrow (St. Matthew)

Full-page illuminated miniature (fol. 21v) representing the Evangelist symbol of St. Matthew (the man). Culture: Insular Art, c. 450-650 (660-680), Ireland. Features an abstract, armless body shaped like a millefiori bell-cloak framed by Celtic interlace.

Lindisfarne Gospel Book (Matthew Writing His Gospel)

Evangelist author portrait (fol. 25v) from Lindisfarne, Ireland/Northumbria. Culture: Insular Art, c. 450-650. Inscribed 'Imago hominis' and 'Hagios Mattheus', showing Matthew penning his gospel while seated on a bench beside a curtained figure.

Chi Rho Iota Page (Book of Kells)

Monumental carpet/incipit page (fol. 34r) from the Book of Kells, Ireland. Culture: Insular Art, c. 450-650. Densely illuminated initial monogram of Christ ($\text{XPI}$) adorned with complex Celtic spirals, zoomorphic knotwork, hidden angels, cats, and mice.

Dome of the Rock

Centrally planned octagonal Islamic shrine erected on the Temple Mount in Jerusalem, begun 691. Culture: Umayyad, seventh and eighth century. Features a gilded wooden dome, dual concentric ambulatories around the sacred rock, book-cut marble, and aniconic Quranic mosaics.

Great Mosque of Córdoba

Hypostyle mosque in Córdoba, Spain, established by Umayyad founder Abd al-Rahman I. Culture: Umayyad, Islamic, seventh-eighth century. Famous for its sprawling prayer hall filled with double-tiered polychrome arches resting on spoliated columns.

Mihrab and Qibla Wall (Great Mosque of Córdoba)

The focal prayer niche indicating the qibla direction toward Mecca in the Great Mosque of Córdoba, Spain. Culture: Islamic Art: Umayyad, seventh-eighth century. Framed by horseshoe and polylobed arches lavishly adorned with gold Byzantine glass tesserae and Arabic inscriptions.

Coronation Gospels

Imperial luxury manuscript produced in Aachen, Germany, containing the opening of the Gospel of John. Culture: Carolingian, Eighth and Ninth Century. Written in gold and silver ink on purple-dyed vellum, reflecting the revival of classical Roman illusionism.

Hagia Irene (Church of Holy Peace)

Byzantine church in Constantinople (Istanbul, Turkey). Culture: Byzantine, Eighth and Ninth Century. Its apse conch preserves stark aniconic mosaic decoration featuring a plain black-outlined cross against a gold ground, emblematic of Iconoclastic artistic strictures.

Church of the Dormition, Nicaea

Byzantine church in Nicaea (Iznik, Turkey), destroyed in 1922. Culture: Byzantine, Eighth and Ninth Century. Documented the physical scars of iconomachy, where an iconoclastic cross was later excised and replaced with an iconodule figural mosaic of the Virgin and Child.

Equestrian Statuette of Charlemagne (?)

Small gilt bronze casting ($24\,\text{cm}$ high) from the Treasury of the Cathedral of Metz (France), now in the Musée du Louvre, Paris. Culture: Carolingian, Eighth and Ninth Century. Emulates Roman imperial equestrian statues, depicting a crowned Carolingian ruler holding an imperial globe.

Ebbo Gospels (Saint John)

Evangelist author portrait from Reims, France. Culture: Carolingian, Eighth and Ninth Century. Exemplifies Carolingian emotional expressionism through rapid, frenzied brushstrokes, vibrating landscape folds, and agitated drapery.

Palace Chapel, Aachen (Interior)

Centralized palatine octagonal chapel in Aachen, Germany. Culture: Carolingian, Eighth and Ninth Century. Modeled after San Vitale in Ravenna, combining an octagonal domed central space, two-story vaulted ambulatory gallery, spoliated marble columns, and polychrome arch voussoirs.

Bronze Doors of the Palace Chapel

Monumental solid-cast bronze double doors at the entrance of the Palace Chapel in Aachen, Germany. Culture: Carolingian, Eighth and Ninth Century. Revived ancient monumental casting techniques and Classical Roman architectural panel ornamentation with lion-head pulls.

Gospel Book of Otto III (Cover)

Luxury jeweled Ottonian treasure binding (c. 900-1000) heavily encrusted with pearls, cabochon gems, and a central spoliated Byzantine ivory plaque depicting the Dormition of the Virgin.

Lothair Cross

Processional crux gemmata ($50\,\text{cm} \times 35\,\text{cm} \times 2.3\,\text{cm}$) made in Cologne, Germany. Culture: Ottonian Art, c. 900-1000. Incorporates gold filigree, pearls, gemstones, a reused ancient Roman cameo of Emperor Augustus at the center, and a seal of King Lothair II.