Hosios Loukas Monastery: Landscape And History

We decided to build a multi-story parking lot around the SAIT campus as there is less parking space for the students and it takes very long in the morning to find a parking space. So, the purpose of this project is to provide an idea to SAIT for building another parking lot for convenience of students. In order to do that we are going to perform Phase 1 and Phase 2.

walls, there are paintings of the Life of the Virgin. On the bottom of the walls there are images of the seven ecumenical councils. The song “The Last Judgement” is painted on the west wall. Numerous figures of martyrs are painted on the pillars, and there are also many icons. There used to be an icon of “Our Lady of Vladimir,” but later on the icon was moved to St. Basil’s Cathedral so it wouldn’t be stolen because it was so expensive. There are icons of the Virgin Hodegetria, Saint George, Trinity. There is a large iconostasis, which is a screen bearing icon that separates the sanctuary from the nave, that occupies the whole wide wall of the cathedral.

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.

In contrast, the Cuxa Cloister, as part of the Catalan monastery of Saint-Michel-de-Cuxa, allowed monks to contemplate at their leisure (accession number: 25.120.398–.954). There wasn’t a fixed time or schedule they had to adhere to in order to access the Cloister. A pleasant pink, this marble cloister is 2,743 x 2,377 cm. Created circa 1130–40, prior to the Chapel, the Cloister also monbs to immerse themselves in nature and consider Christ’s teachings before or after mass. Being at the heart of the monastery, the centralized location of the space made it easily accessible, and a popular space for monks to wash themselves and their clothing. Yet, this space isn’t just for tending to one’s physical needs, it’s also for one’s spiritual ones. Filled with heavy symbolism, the sculptures feature mermaids, animals with two bodies and lion devouring people, to symbolize tensions between good and evil. The space, while physically open is more concerned with opening the mind and letting in Christ’s teachings in a self-guided way. Similar to the Chapel, the symbolism in the Cloister, is a visual reminder of

From the very first moment when entering the cathedral one is likely to be struck by the silence dominating the massive interior. In spite of the somewhat annoying number of curious tourists (others probably saw my curiosity just as annoying as the noise), the church manages to maintain its quiet and peaceful nature. This is truly remarkable, taking into account that it is constantly filled with tourists through visiting hours.

This was normally dry but could be flooded by pipes if necessary. Behind this was a set of three walls to get through. The first, a low wall to shield a line of archers. However, if attackers managed to get through the first wall, they had to overcome the second wall which was 27 feet high. This sheltered even more troops.

in detailed carvings. The new cathedral was built to stabilize the older cathedral. There is an

The edifice in itself was rather imposing. It was a large construction similar to European cathedrals. From the point of view of the religious feeling, I considered it to be more appropriate than catholic churches that resemble more to museums and are extraordinary in their art. Usually in catholic churches the edifice is impressive in its shape and construction and the first thought is to associate it to a pierce of art rather than a place of prayer. By comparison, this Orthodox Church was not that lavishing in details or artistic nature and the outside paintings set a religious feeling as I entered. A cemetery or a place for holy burials such as the former priests that served at the Church surrounded this church. This is not mandatory to happen but most of the times, Orthodox churches have in the vicinity the cemetery.

They are both viewed as an example as to how a well-ordered society should function and operate during their respective time periods. The Heorot and monastery are also different in many ways as well. The monastery is viewed as a religious building by its people, it is also the home to many monks. While Heorot is a eating hall for the king and his warriors. Heorot is also a place where the warriors prepare for their battles, and the king keeps his most valuable pieces of gold and silver.

The first painting - Oath of the Horatii has been painted in Rome in the Neo-Classical style. This paining is referred as one of the best known works of art, which has been produced by this artist of style of eclectic. In the scientific literature, the painting is referred as the representation of the new school of art, which is mainly grounded on the fervent investigation of antique and a returning to classical techniques, used in the timeframe of the late 18th century.

The first sight of this painting extremely moved me. In this work, no other figures are represented and the setting is not recognizable. In the depth of his eyes one can see the suffering and pain for our human sacrifice. As well as this one can also see the holy look on the facial expression as he gently carries the cross. On the cross, above the left hand in Greek letters, “domenikos theotokopoulos epoiei” is written. “Christ Carrying the Cross” is one of the most intriguing work of art. It belongs to Robert Lehman collection since 1953. Its size is 41 3/8 * 31 in. (105 * 79 cm) and the material used to make it is oil on canvas.

When Christianity was introduced as a successor to Judaism, Roman Empire’s official religion was still Paganism. As a result Christianity was a mystery religion in Roman Empire before it became an official Religion. In this period we do not see any churches, and people used to gather in a secret place in order to pray. These places were like ordinary homes, but they changed inside, so it could be used for religion purposes. A really good example of it is Dura Europos house church. It has a simple architecture, as we can see they even broke the wall inside the house to make it bigger as to serve gatherings. After Constantine declared Christianity as an official religion, everything changed. In this essay I aim to discuss how Roman art became Christian Art. In other words, I will explain how Romans used their art and style as a formula to create art based on Christianity principals.

The buildings had barrel vaults columns and windows and doors with rounded arches. The buildings were solid and heavy with small windows which made the insides very dimly lit. This lack of light is apparent in the film as a way to describe the general mindset and lifestyle of monastic life in the Middle Ages. Romanesque architecture is known for its large internal spaces. Annaud uses these Middle Age details in his construction of the set. As Professor Russell describes in the Medieval Culture lecture the different rooms of the monastery contained the cloister which connected the dormitory, refectory, scriptorium, kitchen, cellar, and herbal garden. The small windows, arched doorways and the non-human void of expressivity capitals and sculptures were all true to the times. Annaud constructed this Romanesque church set built specifically to shoot majority of the film. The attention and detail that he put into making sure that the backdrop provided a true and accurate account for how religious architecture was in the Middle Ages furthered the success of the film.

     Examples of Romanesque sculpture are dated back to the last decade of the eleventh century and then first decades of the twelfth. “The primary source of artistic patronage was provided by the monastic institutions, for whom sculptors executed large relief carvings for the decoration of church portals and richly ornate capitals for cloisters” (Cleaver 156)

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