When were the mosaics at the church in George Andreadis's city of death created?
5th–6th centuries
Title: Mosaic
Passage: Other important Venetian mosaics can be found in the Cathedral of Santa Maria Assunta in Torcello from the 12th century, and in the Basilical of Santi Maria e Donato in Murano with a restored apse mosaic from the 12th century and a beautiful mosaic pavement (1140). The apse of the San Cipriano Church in Murano was decorated with an impressive golden mosaic from the early 13th century showing Christ enthroned with Mary, St John and the two patron saints, Cipriano and Cipriana. When the church was demolished in the 19th century, the mosaic was bought by Frederick William IV of Prussia. It was reassembled in the Friedenskirche of Potsdam in the 1840s.
Title: Mosaic
Passage: In parts of Italy, which were under eastern artistic influences, like Sicily and Venice, mosaic making never went out of fashion in the Middle Ages. The whole interior of the St Mark's Basilica in Venice is clad with elaborate, golden mosaics. The oldest scenes were executed by Greek masters in the late 11th century but the majority of the mosaics are works of local artists from the 12th–13th centuries. The decoration of the church was finished only in the 16th century. One hundred and ten scenes of mosaics in the atrium of St Mark's were based directly on the miniatures of the Cotton Genesis, a Byzantine manuscript that was brought to Venice after the sack of Constantinople (1204). The mosaics were executed in the 1220s.
Title: Mosaic
Passage: Very few early Byzantine mosaics survived the Iconoclastic destruction of the 8th century. Among the rare examples are the 6th-century Christ in majesty (or Ezekiel's Vision) mosaic in the apse of the Church of Hosios David in Thessaloniki that was hidden behind mortar during those dangerous times. Nine mosaic panels in the Hagios Demetrios Church, which were made between 634 and 730, also escaped destruction. Unusually almost all represent Saint Demetrius of Thessaloniki, often with suppliants before him.
Title: Sierpiński triangle
Passage: Wacław Sierpiński described the Sierpinski triangle in 1915. However, similar patterns appear already in the 13th-century Cosmati mosaics in the cathedral of Anagni, Italy, and other places of central Italy, for carpets in many places such as the nave of the Roman Basilica of Santa Maria in Cosmedin, and for isolated triangles positioned in rotae in several churches and basilicas. In the case of the isolated triangle, the iteration is at least of three levels.
Title: Mosaic
Passage: Mosaic art also flourished in Christian Petra where three Byzantine churches were discovered. The most important one was uncovered in 1990. It is known that the walls were also covered with golden glass mosaics but only the floor panels survived as usual. The mosaic of the seasons in the southern aisle is from this first building period from the middle of the 5th century. In the first half of the 6th century the mosaics of the northern aisle and the eastern end of the southern aisle were installed. They depict native as well as exotic or mythological animals, and personifications of the Seasons, Ocean, Earth and Wisdom.
Title: Mosaic
Passage: In 1913 the Zliten mosaic, a Roman mosaic famous for its many scenes from gladiatorial contests, hunting and everyday life, was discovered in the Libyan town of Zliten. In 2000 archaeologists working in Leptis Magna, Libya, uncovered a 30 ft length of five colorful mosaics created during the 1st or 2nd century AD. The mosaics show a warrior in combat with a deer, four young men wrestling a wild bull to the ground, and a gladiator resting in a state of fatigue, staring at his slain opponent. The mosaics decorated the walls of a cold plunge pool in a bath house within a Roman villa. The gladiator mosaic is noted by scholars as one of the finest examples of mosaic art ever seen — a "masterpiece comparable in quality with the Alexander Mosaic in Pompeii."
Title: Mosaic
Passage: The heyday of mosaic making in Sicily was the age of the independent Norman kingdom in the 12th century. The Norman kings adopted the Byzantine tradition of mosaic decoration to enhance the somewhat dubious legality of their rule. Greek masters working in Sicily developed their own style, that shows the influence of Western European and Islamic artistic tendencies. Best examples of Sicilian mosaic art are the Cappella Palatina of Roger II, the Martorana church in Palermo and the cathedrals of Cefalù and Monreale.
Title: Mosaic
Passage: Southern Italy was also part of the Norman kingdom but great mosaics did not survive in this area except the fine mosaic pavement of the Otranto Cathedral from 1166, with mosaics tied into a tree of life, mostly still preserved. The scenes depict biblical characters, warrior kings, medieval beasts, allegories of the months and working activity. Only fragments survived from the original mosaic decoration of Amalfi's Norman Cathedral. The mosaic ambos in the churches of Ravello prove that mosaic art was widespread in Southern Italy during the 11th–13th centuries.
Title: Mosaic
Passage: Jerusalem with its many holy places probably had the highest concentration of mosaic-covered churches but very few of them survived the subsequent waves of destructions. The present remains do not do justice to the original richness of the city. The most important is the so-called "Armenian Mosaic" which was discovered in 1894 on the Street of the Prophets near Damascus Gate. It depicts a vine with many branches and grape clusters, which springs from a vase. Populating the vine's branches are peacocks, ducks, storks, pigeons, an eagle, a partridge, and a parrot in a cage. The inscription reads: "For the memory and salvation of all those Armenians whose name the Lord knows." Beneath a corner of the mosaic is a small, natural cave which contained human bones dating to the 5th or 6th centuries. The symbolism of the mosaic and the presence of the burial cave indicates that the room was used as a mortuary chapel.
Title: Mosaic
Passage: In the Iconoclastic era, figural mosaics were also condemned as idolatry. The Iconoclastic churches were embellished with plain gold mosaics with only one great cross in the apse like the Hagia Irene in Constantinople (after 740). There were similar crosses in the apses of the Hagia Sophia Church in Thessaloniki and in the Church of the Dormition in Nicaea. The crosses were substituted with the image of the Theotokos in both churches after the victory of the Iconodules (787–797 and in 8th–9th centuries respectively, the Dormition church was totally destroyed in 1922).
Title: Mosaic
Passage: In Rome, Nero and his architects used mosaics to cover some surfaces of walls and ceilings in the Domus Aurea, built 64 AD, and wall mosaics are also found at Pompeii and neighbouring sites. However it seems that it was not until the Christian era that figural wall mosaics became a major form of artistic expression. The Roman church of Santa Costanza, which served as a mausoleum for one or more of the Imperial family, has both religious mosaic and decorative secular ceiling mosaics on a round vault, which probably represent the style of contemporary palace decoration.
Title: Mosaic
Passage: The apse mosaic of the Gelati Monastery is a rare example of mosaic use in Georgia. Began by king David IV and completed by his son Demetrius I of Georgia, the fragmentary panel depicts Theotokos flanked by two archangels. The use of mosaic in Gelati attests to some Byzantine influence in the country and was a demonstration of the imperial ambition of the Bagrationids. The mosaic covered church could compete in magnificence with the churches of Constantinople. Gelati is one of few mosaic creations which survived in Georgia but fragments prove that the early churches of Pitsunda and Tsromi were also decorated with mosaic as well as other, lesser known sites. The destroyed 6th century mosaic floors in the Pitsunda Cathedral have been inspired by Roman prototypes. In Tsromi the tesserae are still visible on the walls of the 7th-century church but only faint lines hint at the original scheme. Its central figure was Christ standing and displaying a scroll with Georgian text.
Title: Mosaic
Passage: Another great undertaking by Constantine Monomachos was the restoration of the Church of the Holy Sepulchre in Jerusalem between 1042 and 1048. Nothing survived of the mosaics which covered the walls and the dome of the edifice but the Russian abbot Daniel, who visited Jerusalem in 1106–1107 left a description: "Lively mosaics of the holy prophets are under the ceiling, over the tribune. The altar is surmounted by a mosaic image of Christ. In the main altar one can see the mosaic of the Exhaltation of Adam. In the apse the Ascension of Christ. The Annunciation occupies the two pillars next to the altar."
Title: Mosaic
Passage: The monastic communities of the Judean Desert also decorated their monasteries with mosaic floors. The Monastery of Martyrius was founded in the end of the 5th century and it was re-discovered in 1982–85. The most important work of art here is the intact geometric mosaic floor of the refectory although the severely damaged church floor was similarly rich. The mosaics in the church of the nearby Monastery of Euthymius are of later date (discovered in 1930). They were laid down in the Umayyad era, after a devastating earthquake in 659. Two six pointed stars and a red chalice are the most important surviving features.
Title: Mosaic
Passage: An exceptionally well preserved, carpet-like mosaic floor was uncovered in 1949 in Bethany, the early Byzantine church of the Lazarium which was built between 333 and 390. Because of its purely geometrical pattern, the church floor is to be grouped with other mosaics of the time in Palestine and neighboring areas, especially the Constantinian mosaics in the central nave at Bethlehem. A second church was built above the older one during the 6th century with another more simple geometric mosaic floor.
Title: George Andreadis
Passage: Andreadis studied at Anatolia College in Thessaloniki on a scholarship, and then studied Political Economy at Freiburg University in Germany. He has visited the Black Sea region of Turkey numerous times and has written extensively about its culture and history, in particular the history of the Pontic Greeks deported in the 1920s.
Title: Mosaic
Passage: The mosaics of the Church of St Stephen in ancient Kastron Mefaa (now Umm ar-Rasas) were made in 785 (discovered after 1986). The perfectly preserved mosaic floor is the largest one in Jordan. On the central panel hunting and fishing scenes are depicted while another panel illustrates the most important cities of the region. The frame of the mosaic is especially decorative. Six mosaic masters signed the work: Staurachios from Esbus, Euremios, Elias, Constantinus, Germanus and Abdela. It overlays another, damaged, mosaic floor of the earlier (587) "Church of Bishop Sergius." Another four churches were excavated nearby with traces of mosaic decoration.
Title: Mosaic
Passage: The last great period of Roman mosaic art was the 12th–13th century when Rome developed its own distinctive artistic style, free from the strict rules of eastern tradition and with a more realistic portrayal of figures in the space. Well-known works of this period are the floral mosaics of the Basilica di San Clemente, the façade of Santa Maria in Trastevere and San Paolo fuori le Mura. The beautiful apse mosaic of Santa Maria in Trastevere (1140) depicts Christ and Mary sitting next to each other on the heavenly throne, the first example of this iconographic scheme. A similar mosaic, the Coronation of the Virgin, decorates the apse of Santa Maria Maggiore. It is a work of Jacopo Torriti from 1295. The mosaics of Torriti and Jacopo da Camerino in the apse of San Giovanni in Laterano from 1288–94 were thoroughly restored in 1884. The apse mosaic of San Crisogono is attributed to Pietro Cavallini, the greatest Roman painter of the 13th century. Six scenes from the life of Mary in Santa Maria in Trastevere were also executed by Cavallini in 1290. These mosaics are praised for their realistic portrayal and attempts of perspective. There is an interesting mosaic medaillon from 1210 above the gate of the church of San Tommaso in Formis showing Christ enthroned between a white and a black slave. The church belonged to the Order of the Trinitarians which was devoted to ransoming Christian slaves.
Title: Mosaic
Passage: The greatest mosaic work of the Palaeologan renaissance in art is the decoration of the Chora Church in Constantinople. Although the mosaics of the naos have not survived except three panels, the decoration of the exonarthex and the esonarthex constitute the most important full-scale mosaic cycle in Constantinople after the Hagia Sophia. They were executed around 1320 by the command of Theodore Metochites. The esonarthex has two fluted domes, specially created to provide the ideal setting for the mosaic images of the ancestors of Christ. The southern one is called the Dome of the Pantokrator while the northern one is the Dome of the Theotokos. The most important panel of the esonarthex depicts Theodore Metochites wearing a huge turban, offering the model of the church to Christ. The walls of both narthexes are decorated with mosaic cycles from the life of the Virgin and the life of Christ. These panels show the influence of the Italian trecento on Byzantine art especially the more natural settings, landscapes, figures.
Title: Mosaic
Passage: Important fragments survived from the mosaic floor of the Great Palace of Constantinople which was commissioned during Justinian's reign. The figures, animals, plants all are entirely classical but they are scattered before a plain background. The portrait of a moustached man, probably a Gothic chieftain, is considered the most important surviving mosaic of the Justinianian age. The so-called small sekreton of the palace was built during Justin II's reign around 565–577. Some fragments survive from the mosaics of this vaulted room. The vine scroll motifs are very similar to those in the Santa Constanza and they still closely follow the Classical tradition. There are remains of floral decoration in the Church of the Acheiropoietos in Thessaloniki (5th–6th centuries).
George Andreadis Mosaic