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Sixth century miniature from the Rabbula Gospels, Biblioteca Medicea Laurenziana, Florence - This beautiful miniature is...
12/14/2025

Sixth century miniature from the Rabbula Gospels, Biblioteca Medicea Laurenziana, Florence - This beautiful miniature is one of the oldest surviving depictions of the Annunciation.

The miniature (folio 4v) is a canon table featuring an image of the Annunciation. On the left there is an image of the Archangel Gabriel who appears with wings and a blue halo and is shown looking towards the Virgin Mary blessing her. Gabriel calls out to the Virgin Mary saying that she is ‘full of grace’ written in Syriac as ܡܠܝܬ ܛܝܒܘܬܐ (Mlyat Taybuta). On the right, the Virgin Mary is shown with a golden halo wearing purple clothing, clothing of an empress. She stands in front of a small home with her hands both giving a blessing to the Archangel and also a blessing of her own womb. Mary responds to the Archangel’s call saying ‘Behold the handmaid of the Lord!’ This is written in Syriac as ܗܐܐܠܝܢ ܐܡܬܗ ܕܡܪܐ (Ha'alein Amateh d-Mara). Mary’s response reveals her as a faithful servant humbly accepting God’s will.

The Rabbula Gospels are an illuminated version of the Syriac Pesh*tta Gospels completed 586 AD and signed by scribe Rabbula from the Bēṯ Zaḡbā Monastery in northern Syria. The text is illustrated with bright, colourful and ornamental illuminations. Miniatures of Mary and Christ and the Ascension of Christ, are among the finest works of early Byzantine iconography. The Gospel Book was brought to Lebanon in the 11th c. and was used as a register for Maronite Patriarchs. The Maronite Patriarch of the ca. late 15th c. brought the Gospel Book to the Laurentian Library in Florence Italy where it was restored, bound and has remained to this day and known as codex Plutei 1.56.

Sixth century miniature from the Rabbula Gospels, Biblioteca Medicea Laurenziana, codex Plutei 1.56, Florence - This bea...
12/07/2025

Sixth century miniature from the Rabbula Gospels, Biblioteca Medicea Laurenziana, codex Plutei 1.56, Florence - This beautiful Late Antique image shows the four Evangelists holding their gospels.

The miniature (folios 9v and 10r) depict the four Evangelists. On the left is Saint John who is shown as a young beardless man with a long scroll. He is identified in Syriac as ܝܘܚܢܢ (Yohanan / John) — Next is Saint Matthew who is shown as an older man with a white beard and white hair seated with an open book on his lap, looking directly at the viewer giving a blessing. He is identified as ܡܬܝ (Mattai / Matthew) — On the following page on the left, Saint Luke is depicted as a middle aged man standing with brown hair and a brown beard holding a closed book ܠܘܩܐ (Luqa / Luke) — Finally, on the right Saint Mark is shown standing holding a book with one hand and giving a blessing with the other hand. He has brown hair and a brown beard and is identified as ܡܪܩܘܣ (Marqos / Mark). Above the four evangelists is a beautifully decorated archway with many birds resting on it. The birds are likely symbols for angelic beings.

The Rabbula Gospels are an illuminated version of the Syriac Pesh*tta Gospels completed 586 AD and signed by scribe Rabbula from the Bēṯ Zaḡbā Monastery in northern Syria. The text is illustrated with bright, colourful and ornamental illuminations. Miniatures of Mary and Christ and the Ascension of Christ, are among the finest works of early Byzantine iconography. The Gospel Book was brought to Lebanon in the 11th c. and was used as a register for Maronite Patriarchs. The Maronite Patriarch of the ca. late 15th c. brought the Gospel Book to the Laurentian Library in Florence Italy where it was restored, bound and has remained to this day.

Ninth century miniatures, Paris Gregory manuscript, Bibliothèque nationale de France, Paris --- This fine miniature depi...
11/30/2025

Ninth century miniatures, Paris Gregory manuscript, Bibliothèque nationale de France, Paris --- This fine miniature depicts the second ecumenical council at Constantinople in 381.

Miniature of the First Council of Constantinople (folio 355 r.) - This image is centered on a throne with an open book, representing Christ as the Word of God, presiding over the council, which is identified in Greek as CΥΝΟΔΟC ΔΕΥΤΕΡΑ (the Second Ecumenical Council) – On the right hand side, there is the figure of the reigning emperor Theodosius I, who has a halo, who is wearing a golden and purple chlamys or cloak. He is identified in Greek as ΘΕΟΔΟCΙΟC Ο ΜΕΓΑC (Theodosius the Great) - The bishops who attended the council are shown wearing their vestments and in conversation. At the bottom, Macedonius, who is identified in Greek as ΜΑΚΕΔΟΝΙΟC is looking towards them with his hand raised. Macedonius’ views were condemned at this council.

This illuminated manuscript is a collection of the Greek text of the ‘Homilies’ of Saint Gregory Nazianzus (329-390) and was in Constantinople between 879 and 883 and was commissioned to be a gift for Emperor Basil I (867-886). It is thought that the Paris Gregory is the oldest surviving illuminated manuscript to have been produced in Constantinople for the period after the end of iconoclasm in 843. The manuscript contains more than forty full-pages of illustrations. Macedonius I was Archbishop of Constantinople from 342-346, and 351-360 and he adhered to a Semi-Arian sect that denied the divinity of the Holy Spirit and opposed the Nicene Creed. Saint Gregory of Nazianzus served as Archbishop of Constantinople from 380-381 and is revered as one of the three holy hierarchs and as a doctor of the church. These views were condemned at the Ecumenical Council of Constantinople in 381, convoked by Emperor Theodosius I (379-395). The fact that the text of Gregory’s homilies were used to make this beautiful manuscript shows how highly Saint Gregory was regarded in the late ninth century. Interestingly, this miniature does not directly relate to any of the homilies within the manuscript and Saint Gregory did not attend the Council Constantinople. The manuscript was previously kept in the library of Cardinal Niccolò Ridolfi, a Florentine patron of the arts and book collector (1501-1550), and Catherine de Medici, a powerful Florentine queen regent and queen consort (1519-1589). The manuscript entered into the Royal Library in Paris in 1599, the predecessor to the Bibliothèque nationale de France (since 1792) and the manuscript has been conserved in Paris since 1599.

Sixth century miniature from the Rabbula Gospels, Biblioteca Medicea Laurenziana, codex Plutei 1.56, Florence - This fin...
11/23/2025

Sixth century miniature from the Rabbula Gospels, Biblioteca Medicea Laurenziana, codex Plutei 1.56, Florence - This fine miniature contains very rich symbolism of the Ascension of Christ.

The miniature (folio 13v) shows the ascended Christ in the upper portion within a blue mandorla shape, representing heaven. He is shown blessing the viewer with one hand. Four winged angels are sustaining him and bringing him his crowns, a sign of him as the eternal king of kings and lord of lords. The image of heaven is being upheld on the four-winged cherubim, with the faces of a man, lion, ox and eagle. In the background there are personifications of day and night witnessing the Ascension — Below there is a crowd witnessing the Ascension. At the centre, the Virgin Mary has a halo and looks directly at the viewer, with her arms raised in prayer. There are two angels who direct the gaze of the twelve people present. The sense is both to show the witness of this event in time and to direct the viewer’s minds to eternity and Christ through prayer.

The Rabbula Gospels are an illuminated version of the Syriac Pesh*tta Gospels completed 586 AD and signed by scribe Rabbula from the Bēṯ Zaḡbā Monastery in northern Syria. The text is illustrated with bright, colourful and ornamental illuminations. Miniatures of Mary and Christ and the Ascension of Christ, are among the finest works of early Byzantine iconography. The Gospel Book was brought to Lebanon in the 11th c. and was used as a register for Maronite Patriarchs. The Maronite Patriarch of the ca. late 15th c. brought the Gospel Book to the Laurentian Library in Florence Italy where it was restored, bound and has remained to this day.

Sixth century miniature from the Rabbula Gospels, Biblioteca Medicea Laurenziana, codex Plutei 1.56, Florence - The mini...
11/16/2025

Sixth century miniature from the Rabbula Gospels, Biblioteca Medicea Laurenziana, codex Plutei 1.56, Florence - The miniature of Mary and Jesus is a beautiful introduction to a Latin Antique gospel book.

The miniature (folio 1b) shows the Virgin Mary holding baby Jesus under a beautifully decorated canopy topped with a green cross. Mary is shown both holding her child with care and presenting Christ and Christ is looking directly at the viewer. Both Mary and Jesus are wearing golden clothing and the canopy is decorated with golden and jeweled colours, giving a sense of transcendence and treasure. There are two peacocks on the top of the canopy, which are symbols of resurrection. The sense of this image is that the contents of the Gospel book are treasures leading to eternal life.

The Rabbula Gospels are an illuminated version of the Syriac Pesh*tta Gospels completed 586 AD and signed by scribe Rabbula from the Bēṯ Zaḡbā Monastery in northern Syria. The text is illustrated with bright, colourful and ornamental illuminations. Miniatures of Mary and Christ and the Ascension of Christ, are among the finest works of early Byzantine iconography. The Gospel Book was brought to Lebanon in the 11th c. and was used as a register for Maronite Patriarchs. The Maronite Patriarch of the ca. late 15th c. brought the Gospel Book to the Laurentian Library in Florence Italy where it was restored, bound and has remained to this day.

Early sixth century miniature and column, Juliana Anicia Codex (Cod. Med. gr. 1, fol. 6v), Österreichische Nationalbibli...
11/09/2025

Early sixth century miniature and column, Juliana Anicia Codex (Cod. Med. gr. 1, fol. 6v), Österreichische Nationalbibliothek, Vienna, and Pilastri Acritani, Venice - This beautiful miniature and column are two excellent examples of Late Antique art and scholarship both associated with Anicia Juliana.

The miniature shows Anicia Juliana seated between two figures, the personifications of phronesis, labelled as ΦΡΟΝΗCΙC (practical wisdom) and megalopsychia, labelled as ΜΕΓΑΛΟΨΥΧΙΑ (magnanimity or having a great soul). Anicia Juliana is seated on a throne looking at the viewer, pointing with one hand to an open book. Phronesis is depicted as a young woman holding a book and pointing towards it. Megalopsychia is depicted as a young man looking up. The sense of this miniature is that the manuscript of De Materia Medica in the following pages is a work of practical wisdom for one with a great soul and a gift from Anicia Juliana for the reader — The Pilastria Acritani contain Greek monograms that have been identified with Anicia Juliana. The column shows images of a fig tree with leaves, symbolizing the church, and bunches of figs, representing the good fruit of the faithful.

The Juliana Anicia Codex, also known as the Vienna Dioscorides manuscript, was made in Constantinople circa 512 AD for Anicia Juliana (Ανικία Ίουλιανή, 461-528), the daughter of Western Roman Emperor Anicius Olybrius (472) and Empress Placidia (472) who was herself daughter of Emperor Valentinian III (425-455). Anicia Juliana spent her life in Constantinople, where she was a patrikia, one of the most noble and wealthy Constantinopolitans at the time. Anicia Juliana was a patron of the arts and is associated with the Vienna Diosordes, which is an illuminated manuscript of the first century medical science text De materia medica. She also credited with building the Church of Saint Polyeuctus in Constantinople (Ἅγιος Πολύευκτος), which was built between 524 and 527, during the reign of Justin I (518-527). This church was the largest in the city at the time and it fell into disrepair and was abandoned in the eleventh century. Spolia from the ruins of the church were used in later constructions in Constantinople and some fragments were also taken in the thirteenth century to Venice, where they have since stood next to Saint Mark’s Basilica and are known as the Pilastri Acritani. In 1961, excavations of the site of Hagios Polyeuctus in Istanbul's Saraçhane neighborhood matched the Pilastri Acritani and confirmed the origin of these columns.

Ninth century mosaics, Chapel of San Zenone in the Basilica of Santa Prassede, Rome - This beautiful small chapel was bu...
11/02/2025

Ninth century mosaics, Chapel of San Zenone in the Basilica of Santa Prassede, Rome - This beautiful small chapel was built during the late period of iconoclasm in Byzantium.

There is a large mosaic above the chapel’s entrance, centred on images of Christ with the twelve Apostles, who are all dressed in white vestments and the Virgin Mary with the Christ-child with ten saints, including eight female saints who are dressed in luxurious clothing and wearing crowns like empresses — The vaulted ceiling is centered by an medallion image of Christ Pantokrator upheld by four angels — The image of Saint Praxedes is from a small thirteenth century niche mosaic within the chapel.

Saint Praxedes (Prassede) and her sister Saint Pudentiana were both second century Christian martyrs from the city of Rome. A church was first built at the site of Santa Prassede in the late fifth century. The church was completely rebuilt in the early ninth century by Pope Paschal I (817-824) and the church was entrusted to a monastery at the time entrusted to Greek speaking monks, who likely came to Rome fleeing iconoclasm in Byzantium. Pope Paschal I built a chapel or oratory dedicated to Saint Zeno as a funerary chapel for his mother Theodora and Pope Paschal was himself buried here. The niche mosaic within the chapel has been dated to the thirteenth century based on its style and ex*****on. Saint Pressede remains an active church to the present day and along with the historic centre of Rome is recognized as a World Heritage Site by UNESCO.

Sixth century Baptistery of Kélibia, Bardo National Museum, Tunis — This beautiful Late Antique mosaic is richly decorat...
10/26/2025

Sixth century Baptistery of Kélibia, Bardo National Museum, Tunis — This beautiful Late Antique mosaic is richly decorated in mosaics.

The baptistery is a cruciform shape, with four seats. The baptistery is surrounded by images of grape vines laden with ripe grapes, representing the church. At the base of the baptistery is the image of a cross with the Greek letters A and Ѡ, representing Christ as the beginning and end of all. There are also images of cruciform decorative shapes, birds, fish and trees, symbols of angels, Christ and paradise — There are four Latin inscriptions - AQVINIVS ET IVLIANA EIVS CVM VILLA ET DEOGRATIAS PROLIBVS (Aquinius and Juliana and their children Villa and Deogratias) - TESELLV AEQVORI PERENNI POSVERVNT (have laid the mosaic tesserae for the eternal water) - SCO BEATISSIMO CYPRIANO EPISCOPO ANTISTE (for the most blessed Saint Cyprian bishop and prelate) - CVM SCO ADELFIO PRESBITERO HVIVSCE VNITATIS (along with the Saint Adelfius priest of this community).

The Baptistery was from the Kélibia Church, which was originally founded in either the fourth or fifth century. The baptistery was added in the late sixth century after the Byzantine reconquest of the region in 534 following the Vandalic War. Saint Cyprian had been Bishop of Carthage from 248-258, when he was martyred for his Christian faith by Roman Proconsul of Africa Galerius Maximus. The baptistery was dedicated by a local family in honour of early Christian martyr Saint Cyprian. The Bardo National Museum was founded in Tunis in 1888 and it houses one of the largest and finest collections of Roman and Byzantine mosaics in the world. The baptistery was rediscovered in archaeological excavations at Demna near Kélibia in 1953. The baptistery was moved to the Bardo Museum in 1955 and has since been restored and on display at the Bardo Museum.

Late fifth century mosaics, Ca****la Arcivescovile, Ravenna - The atrium is decorated with a very beautiful image of the...
10/19/2025

Late fifth century mosaics, Ca****la Arcivescovile, Ravenna - The atrium is decorated with a very beautiful image of the triumphant Christ.

Christ Treading on the Beasts - Christ is depicted as a beardless man with a cruciform halo wearing military clothing. He is holding the cross on his shoulder and an open book in his other hand. The book contains a Latin verse from the Gospel of John - EGO SVM VIA VERITAS ET VITA + (I am the way, the truth and the life) — Christ is depicted as standing on the head of a lion and the head of a snake. This is likely intended to be a depiction of Psalm 91 and symbolically represent Christ’s triumph over death and Satan.

This chapel was built in the late fifth century by Archbishop Peter II of Ravenna (494-519), circa 495 and was dedicated to Saint Peter Chrysologus, Archbishop of Ravenna (433-450). The chapel is part of the museo arcivescovile di Ravenna, which was founded in 1734 and is the oldest diocesan museum in Italy. The Archbishop’s Chapel is considered to be a world heritage site by UNESCO.

Late fifth century mosaics, Ca****la Arcivescovile, Ravenna - These exceptional mosaics are a unique window into Late An...
10/12/2025

Late fifth century mosaics, Ca****la Arcivescovile, Ravenna - These exceptional mosaics are a unique window into Late Antique Italy a few years before the Byzantine reconquest.

Medallion image of Christ - Christ is depicted as being beardless with a cruciform golden halo. His clothing is purple with a golden stripe, representing both his human and divine natures. Christ ia looking directly at the viewer from the top of the arch — Medallion images of Saint James and Saint Thomas - Saint James is shown as a young man with a dark beard wearing white vestments, a sign of purity. He is identified by a Latin inscription IACOBVS. Saint Thomas is likewise identified as a young man with a slightly longer beard and is also wearing white vestments. He is identified with a Latin inscription as THOMAS — Decorative cruciform floral motifs and images of birds, which symbolize angelic beings.

This chapel was built in the late fifth century by Archbishop Peter II of Ravenna (494-519), circa 495 and was dedicated to Saint Peter Chrysologus, Archbishop of Ravenna (433-450). The chapel is part of the museo arcivescovile di Ravenna, which was founded in 1734 and is the oldest diocesan museum in Italy. The Archbishop’s Chapel is considered to be a world heritage site by UNESCO.

Late fifth century mosaics, Ca****la Arcivescovile, Ravenna - These beautiful mosaics were made in Late Antique Ravenna ...
10/04/2025

Late fifth century mosaics, Ca****la Arcivescovile, Ravenna - These beautiful mosaics were made in Late Antique Ravenna just after the fall of the Western Roman Empire and just before the Byzantine reconquest of Italy.

This vault mosaic is centered with a medallion image of a chi-rho Christogram, representing the Greek letters XP, the first two letters of Christ and the Greek Letters A and Ѡ, the first and last letters of the Greek alphabet, symbolizing Christ as the beginning and end of all — There are medallion images of a series of female saints - Saints Euphemia, Eugenia, Cecilia, Daria, Perpetua and Felicity — Saint Euphemia is depicted as a young woman wearing beautiful jewels around her neck like an empress and is identified by a Latin inscription EVFIMIA. The sense is that the saint is triumphant through her witness.

Saint Euphemia was martyred in 303 AD in Chalcedon for refusing to participate during pagan sacrifices, part of the Great Persecution of the Emperor Diocletian (286-305). This chapel was built in the late fifth century by Archbishop Peter II of Ravenna (494-519), circa 495 and was dedicated to Saint Peter Chrysologus, Archbishop of Ravenna (433-450). The chapel is part of the museo arcivescovile di Ravenna, which was founded in 1734 and is the oldest diocesan museum in Italy. The Archbishop’s Chapel is considered to be a world heritage site by UNESCO.

Late fifth century apse mosaic, Ca****la Arcivescovile, Ravenna - The beautiful apse mosaic, demonstrating great skill a...
09/28/2025

Late fifth century apse mosaic, Ca****la Arcivescovile, Ravenna - The beautiful apse mosaic, demonstrating great skill and freshness was made a few years after the fall of the Western Roman Empire.

An image of Christ, shown as a beardless man with a cruciform halo, is directly above the apse. Christ is flanked by images of Saint Peter, identified by the Latin PETRVS and Saint Paul, identified by the Latin PAVLVS. The apse is decorated with a golden cross and stars, representing Christ and eternity. Above the apse, there is a vine, representing the church, with the monogram of Archbishop Peter II who commissioned the mosaic at the top. Medallion mosaics of Christ and the Apostles Peter, Paul, James John, Andrew and Phillip decorate the sides of the apse.

This chapel was built in the late fifth century by Archbishop Peter II of Ravenna (494-519), circa 495 and was dedicated to Saint Peter Chrysologus, Archbishop of Ravenna (433-450). The chapel is part of the museo arcivescovile di Ravenna, which was founded in 1734 and is the oldest diocesan museum in Italy. The Archbishop’s Chapel is considered to be a world heritage site by UNESCO.

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