Art History 202 2012: Christ as the Good Shepherd Mosaic

On the lower half is an organization of geometric forms. However, the most important mosaic is the representation of Emperor Justinian and Emprise Theodora. Justinian is presented holding a bowl of Eucharistic bread as Theodora carries a chalice or vessel of Eucharistic wine. Due to the orientation of these figures and the ones that surrounds them, it could be suggested that they represent bringing Eucharistic elements into the church. Perhaps even as an offering to christ which is reinforced by the three magi bearing gifts on Theodora's rob.

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

Della francesca's Resurrection depicts Jesus during the resurrection triumphantly standing over four soldiers as they sleep in front of his tomb. The meaning of this fresco is to show how the heavens will always prevail over the human race. The picture also has newly planted trees

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

Jan Van Eyck’s, The Ghent, and Giovanni Bellini’s, San Zaccaria, are both altarpieces. The Ghent altarpiece is located in Saint Bavo’s Cathedral in Ghent and it is a private chapel. The period style of this piece is northern Renaissance and its medium is oil on wood. The San Zaccaria altarpiece is located in Venice and it is also a church. The period style is Italian Renaissance and it is also made out of oil on wood.

Here he’s represented peacefully seated covered in a red robe and his head surrounded with the mandatory golden halo and golden light beaming out of him in the four directions of the world. The light blue background creates a sensation of heavenly ascending and lightness. If you are expecting to see the elaborate paintings and mosaics covering the walls and ceilings of the typical Byzantine-style church, you will be surprised to see that this cathedral is very simplistic compared to the temples in Eastern Europe. Here important biblical scenes are covering walls under arcs from top to bottom. Large scale frescos tell us stories about the birth of Jesus, the last supper, his crucifixion, his resurrection and ascending. The canon is very strict as of what scenes should be depicted and where should they be located. By rule the icons should be stylized, with little details, and the faces should not represent real human faces. This way the worshipers won’t feel like they are praying to a person they know or have seen. Similar rules apply for the space in the icon. There is no perspective or linear gradation which creates a sense of other reality. Styles may change through the centuries but these fundamental rules have never changed since the 8th

In Ravenna, Italy mostly the mosaics are based on the described scenes in The Bible. I like the Christ as Good Shepherd, mosaic it’s in Ravenna, Italy in the interior entrance wall of the Mausoleum of Galla Placidia. It has Jesus seating in the middle where he is surround with his flock and the landscape around him is very nice to see. I like this piece because to me it’s a very powerful and has a meaningful symbolization to the piece. It’s very important to preserve this types of piece that are very ancient for future generation because they will get to see the different kinds of design and ideas that back then did. It helps understand what happen during the time periods and what were some of their customs or religions that they had.

The two time depiction of Christ was, traditional in how it represents the mass. A closer look at the Lamb shows its blood streaming into a chalice. The blood of the Lamb corresponds to Jesus bleeding on the cross during his Passion. The blood is a physical representation of the sacrifice that Jesus made for us. This blood is drunk during mass after the wine is turned into the true blood of Christ. Jesus also made note of this during the last supper when he told his disciples to drink the wine which represents his blood.

They both have the center medallion that portrays Jesus as a humble shepherd who is watching over his flock of sheep. To further illustrate it is a fresco in a catacomb depicting Christian art, is the addition of the semicircles which surround the center medallion. Each of these semicircles that surround the medallion includes a different feathered bird, including peacocks. From previous studies, we know that the ancient Greeks believed that peacocks did not decay after dying. For this reason, they were regarded as a symbol of immortality. Christians adopted this belief, and used this in paintings and mosaics. It is apparent that this unknown is a ceiling fresco in a catacomb, with a fresco painted on the ceiling that shows the deceased religious beliefs. This further illustrated that people of this era believed in Christ and considered him as immortal, by interpreting Jesus’ death and resurrection of everlasting life. Catacombs were decorated with a number of different items, including paintings, statues, ornaments, and other items that identified the dead. Like this one, we can see how the people from this period admired Christ, and used scenes from the Old Testaments to complete their final

observable is the appearance of Christ. From the apse mosaic in San Vitale, we can

1. " Trinity with the Virgin, St. John the Evangelist, and Donors" was created by Masaccio from 1425 to 1428. It's located in the church of Santa Maria Novella in Florence. It is a fresco that measures 21' X 10'5" Masaccio was considered the first great Italian painter of the Quattrocentro period during the Italian Renaissance. His full name was Tommaso di Ser Giovanni di Simone and he was born December 21, 1401 in San Giovanni Valdarno in Florence.

The increase of wealth during the twelfth century allowed artists to showcase their talents in churches. The apse titled Christ in Majesty with Symbols of the Four Evangelists in the church of Santa Maria de Mur displays the representation of divinity through its subject matter, technique, and style. In the apse, the main subjects revolve around scenes from the Old and New Testament with Christ as the focal point. For technique, the artist employed fresco painting instead of mosaics to show the images. The style of the apse avoids a sense of realism by hiding the bodies of the figures in the drapery and using the hierarchy of scale.

Justinian Mosaic is a Byzantine mosaic located in the apse of San Vitale, Ravenna in 540 AD. It was made from gold and glass mosaic tesserae. The artists painted or covered the glass with gold first and then pressed into the plaster background. The artists manipulated the space which was to utilize the illumination of the candles in the church to cause the sparkle of the glass. The overall looking of this piece is luxurious and magnificence. In this piece, Justinian is surrounded by his priests and his military. He is placed in the center of the whole piece, wearing jewelry-crown, jewelry-accessory and gold cloths with a halo behind his head. He offers a gift called Pater which contains the bread used for the Eucharist would be held. The main

These findings as well as findings in layer 1 and layer 5, figure 3.3, in the western mound, seem to add some support of the Brothers of the Abby Church of St. Vincent of finding the tomb of their patron saint. While not necessarily the bones of a saint, there is indication of Roman occupation/ activity of the site. Labeled a and e in layer 7 of Figure 3.2 of the eastern mound, a is a fragment of bronze, highly polished on one side, inscribed “Avgvsta” and e a fragment of glass that is undated and unsourced. In the western mound, figure 3.3 in layer 1 a Roman coin of Constantine the Great dating between 288-337. Also in the western mound in figure 3.3 labeled g, 18 sherds of early Medieval pottery from about 1200 AD. The western mound is viewed and excavated at the road that was cut into the barrow in 1136. Evidence of this being of the work in the building of the church is seen in the pottery from this time period. There seems to be a possibility of the brothers stumbling on a Roman burial in their activities. It is to note that there is claims that the burial uncovered was contained in a sepulcher of marble carved with scenes from the life of Christ and inscribed VINCENZO VIVATIS IN CHRISTO. According to Brother Wilfrid in a letter this burial and stones from it were moved to under the alter in the nave of the church. In an interesting study of the bones and relics with the bones could shed light in if the site did at one point contain a Roman era burial. There is a shadow of doubt concerning the burial as described due to the era’s relic trade and need to draw pilgrims to the church to help with their income. Research in the Roman, burial practices after Constantine the Great’s conversion to Christianity should also be research. In the final layers, layer 1 in figures 3.2 and figure 3.3 of both sides of the barrow are now covered with modern topsoil showing no more