Reign of the Emperor Justinian

¶ … reign of the Emperor Justinian is largely considered to be the beginning of the period of art known as Early Byzantine Art which is considered the first of the three golden ages of Byzantine Art. Said period ended with the onset of Iconoclasm that occurred during the reign of Leo III from 527 A.D. To 726 A.D. Justinian's reign was a highly successful one characterized by his driving the German Ostrogoths out of Italy, the Vandals from Africa, and the defeat of the Bulgars along the northern frontier of the Roman Empire. During Justinian's reign, active construction of churches and cathedrals began in and around Constantinople all of which were built in a style that is now known as the Byzantine style.

One of the art pieces that still exists from the early Byzantine period indentified as the Barberini Ivory depicts an emperor, likely Justinian, riding triumphantly on a rearing horse. The style of art depicted is a brief return to the pagan imagery of an earlier Roman time. The piece combines images of God and the military that tends to reinforce the idea that God was approving of the actions of the emperor. This imagery is supported by the placement of a figure of the Christian God accompanied by two angels. The God figure is shown blessing the emperor as he returns from battle.

Another representative piece from the early Byzantine period is the work entitled Justinian and the Attendants. Unlike the Barberini Ivory, this piece depicts a much different Justinian. In this work, Justinian is depicted as a kind, mild individual who mixes the power of his empire with the sanctity of the church in such a manner as to indicate oneness. This picture displays a world where the church and the state are united in their efforts and not as separate, sometimes warring entities as they were so often depicted in western art. This piece is a harbinger of what will eventually divide the eastern and western Christian Church which was partially secularism.

Chapter 10

The golden color of the Dome of the Rock is one of the identifying features of the Old City of Jerusalem. It is one of the first things that one notices as he approaches the City and it has been in its present location since the late 7th Century. The origins of his construction are heavily debated but its significance as the location where Abraham prepared the sacrifice of his son Isaac to God has importance to the Christian, Jewish, and Islamic religions. For the Muslims it is also believed to be the location where the prophet Muhammad ascended into the sky.

The octagonal design and central dome mark the Dome of the Rock as being atypical mosque design in the Muslim world. The typical mosque follows a distinctive design. All such mosques have a dome and a minaret but the dome is not centrally located as it is in the Dome of the Rock. The typical mosque also contains a qibla wall which advises worshipers of the direction of their prayers and a rectangular interior space. The Dome of the Rock, however, has none of these typical elements which bring into serious question how and who built the original structure. Some architectural experts claim that the structure most closely resembles several Christian Churches near the Dome of the Rock and the theory, of course, is that the Dome was built by the early Christians. Regardless of what the function of the original Dome of the Rock might have been, it has been adopted by the Muslims and due to its historical connection to Abraham and, more importantly, its connection to the prophet Mohammed, the Dome of the Rock is one of the most important structures in the modern Muslim religion.

Chapter 11

At first glance these two art figures appear to be quite similar. The Gero Crucifix and Lindau Gospel Cover are separated in time by only a hundred years but they are remarkably different.

The Lindau Gospel Cover originates from the Carolingian period and is quite ornate containing embossed gold, pearls, and other precious stones. The cover is so ornate it almost tells the entire story that is contained within its covers. The Gero Crucifix, on the other hand, is far more simplistic. It is constructed of wood and was designed during the Ottonian art period.

Although the Lindau cover is unique for being ornate, little attention spent depicting Christ on the Cross. The Gero Crucifix, on the other hand, is simple but the artist has spent considerable time detailing the human nature of Christ on the Cross and the nature of his suffering. The Gero displays a beaten man, head down, body twisted, knees bent sideways, and arms hanging listless, and a sagging body. The Lindau cover displays none of this features and, instead, shows a solid body with no signs of suffering.

As indicated earlier, the two works are separated by less than a hundred years but display a compelling difference in how the crucifixion is viewed. The Lindau Gospel cover is a beautiful work of art but tends to be out of step with the historical image of how the crucifixion has been viewed by Christians throughout the subsequent centuries. The image depicted by the Gero Crucifix has become the standard image for most Christians and has remained virtually unchanged through the many centuries since its original introduction during the Dark Ages.

Chapter 12

The most recognizable feature of the Romanesque Basilica of Saint-Sernin is its enormous size. The Basilica was built in the 11th century to accommodate the large number of pilgrims traveling to Santiago de Compostela in Spain. Santiago de Compostela became a favorite pilgrimage site when remains were allegedly found of St. James the Greater one of the original apostles. At its height Santiago de Compostable was the third most popular pilgrimage site in Christendom trailing only Rome and Jerusalem as potential destinations. Pilgrimages to the site were dependent on the great number of relics of St. James and sites such as the Basilica of Saint-Sermin were constructed in order to accommodate these pilgrims. Adding to the appeal of the Basilica as a pilgrim site was the death of its first bishop, Saturninus, who was martyred. The legend was that Bishop Saturninus refused to pay homage to one of the local gods and was bludgeoned to death as he was riding through the streets on a bull. The legend of his death spread rapidly and when his relics were placed in the Basilica it became a favorite site for pilgrimages.

The enormous size of the Basilica is one of the features that make pilgrimages to this location so popular. Unlike many similar pilgrimage Basilicas, the Basilica at Saint-Sermin is able to accommodate large numbers of pilgrims comfortably. Displaying the large number of relics that are available at Saint-Sermin would ordinarily present a problem but, again, the size and layout of Saint-Sermin makes their display more convenient. Saint-Sermin is shaped like a cross and has numerous smaller chapels inside the Basilica that provide an opportunity to display the relics. Finally, Saint-Sermin was also built with aisles that surround the Basilica's nave. This physical design allows visitors or pilgrims to visit the various chapels throughout the Basilica without disturbing any Mass or other service that might be taking place in the main section of the Basilica.