A triptych consists of three parts or pieces, in contrast to a diptych, which has two.
The Harbaville triptych is named after a 19th-century owner, and represents a portable altar for personal prayer and spiritual status.
Triptychs were often crafted from ivory, gold, and enamel, signifying both spiritual value and wealth.
The structure includes a central panel flanked by two wings that close over it, offering an intimate representation of its devotional purpose.
The triptych features two registers with figures in an undefined space:
Top Center: Jesus enthroned between Mary and Saint John, symbolizing intercession for humanity (Diasis).
Bottom Panel: Saint Peter depicted under Jesus, with other saints (Paul, John, Andrew).
Wings' Figures: Military saints and personal portraits of the patrons, indicating status and devotion.
Figures are individualized, moving away from traditional frontal poses to a varied representation, displaying three-quarter views and profiles.
In the closed view, the front shows a cross inscribed with letters I C and X C (Jesus Christ), below which is the word Nika (victory).
The ivory carvings detail two historical figures: Emperor Romanos II and Empress Eudokia, representing a personal relationship with holy figures.
Their depictions convey notions of strength in faith and authority, with imaginative portrayals of children presented as adults.
The Paris Psalter, a book of psalms, emphasizes King David's authorship attributed to him as a significant musical and royal figure.
It features 14 illustrations, with 8 focusing on David, where he is depicted in a royal manner reminiscent of Orpheus from Greek mythology.
Depictions demonstrate a blend of pagan and Christian imagery.
The artwork exhibits a classical influence with naturalistic poses and drapery, moving past strict geometric styles.
Virgin of Vladimir icon, likely made in Constantinople, showcases a tender portrayal of Mary and baby Jesus, marking a shift in emotional representation.
Its historical significance lies in its earlier depictions of maternal affection, setting the stage for future works.
Constant retouching has left the icon in a deteriorated state but maintains its importance in artistic lineage.
This icon of Saint Michael the Archangel shows him with a sword and orb of authority, demonstrating luxurious enamel techniques like cloisonne, which creates vibrant hues.
Despite wear, the artistic complexity showcases the transition towards a luscious Byzantine aesthetic.
Many icons were transported to the West by Crusaders post-Byzantine golden age, illustrating cultural exchanges.
Church of Christ in Cora, renovated by Theodore Metochetes, features a major expansion and decorative frescoes highlighting scenes from the Old and New Testaments.
Notable fresco: Anastasis (Resurrection)—Jesus rescuing Adam and Eve from Limbo, indicative of apocryphal narratives.
Decor affects perspective, with a more humane and emotional connection, demonstrated in Mary's childhood mosaic.
Icons emphasized narrative over realistic representation, focusing on iconography over naturalism, often leading to a unique artistic formula.
Following Constantinople's fall, Russia viewed itself as the Third Rome and intensified icon veneration, leading to a flourishing cultural revival in Eastern Orthodoxy.
The Trinity icon, depicting Abraham's visitation by three angels, reflects the theological transition towards trinitarian symbolism.
Figures are geometrically stylized and meant to present a unified spiritual essence rather than individual distinction.
Icons served functional purposes in worship and processions, meant to educate viewers through vivid imagery.