Images from World History:
Carolingian Italy
Mosaics
1. Mosaic from S. Maria in Cosmedin, Rome. Mary and child. 7th c.
2. Apse mosaic, Sta. Maria Antiqua(?), Rome. Saint Agnes standing between Honorius I and Symmachus,
the church's 4th-century founder and patron. 7th c. Byzantine influence in Rome 6-8th c. seen in the
luminosity.
3. Mosaic fragment from oratory of Pope John VII (705-707) in Vatican (Gotte Vaticane). Before 707 A.D.
Lines imprecise. Colors so subdued the face almost lost.
4. Vault mosaic from chapel of Saint Zenon, Church of Saint Prassede, Rome. An angel. Early 9th c. A.D.
5. Mosaic from chapel of S. Zenone, Church of Saint Prassede, Rome. Mary with Saints Prassede and
Prudenziana. 9th c. A.D. The square halo indicates the person is still alive.
6. Mosaic from chapel of Sainte Zenone, Church of Santa Prassede, Rome. 9th c.
7. Mosaic from the Chapel of Zenon, in the basilica of Saint Prassede. Christ triumphant. 9th c. A.D.
Fresco
1. Fresco from Santa Marie Antiqua, Rome. Saint Abbacyr begging with his medicine box and spatula. 7-8th
c. A.D. The oversized head may reflect Coptic influence. This church served the Greek colony in Rome.
2. Fresco from Sta. Maria Antiqua, Rome. Angel of the Annunciation. Early 8th c. A.D. A heavy
impressionism that anticipates 9th c. Rheims school, with its flickering bouyancy and gibbosity.
3. Fresco from chapel of SS. Quirico e Giulitta, Church of Santa Maria Antiqua, Rome. Crucifixion. 8th c.
Mixes Byzantine and classical elements.
4. Fresco from catacomb of Hermes, Rome. Saint Benedict of Nursia. 8th c. A.D. This is the earliest
known representation of Benedict.
5. Fresco from Sta. Maria Antiqua. Four martyrs. Ca. 741-752 A.D. Shows Byzantine influence.
6. Fresco showing Flight into Egypt. From Johanneskirche, Müstair (Switzerland). 67x59" Italo-Alpine
style, ca. 800 A.D. High point of the Italo-Alpine style. Pure narrative style which is independent of Carolingian
developments.
7. Fresco from Oratory of San Benedetto, Malles Venosta. Perhaps showing the benefactor of the church.
Italo-Alpine style, 9th c. A.D.
8. Church at Malles Venosta (Italian Tyrol). A martyrdom. Italo-Alpine style, 9th c. Closely associated
with Mustair frescoes.
9. Fresco of Last Judgement. Michael and Andrew (or Cyril) are on the right, and Gabriel and Clement
(or Methodius) on the left. 9th c. A.D. (Rome: Saint Clement). Style reflects Byzantine influence in Italy.
10. Fresco from St. Clement, Rome. Originally a contemporary portrait, probably of Theodora, but then
converted in the 9th century into a seated Madonna.
11. Fresco from basilica of Saint Clemente, Rome. Probably 847-855. On the right is Saint Vitus, and
on the left with a square nimbus indicating he is alive, is Pope Leo IX. The central scene might be
the Ascension or the Assumption.
12. Fresco fragment from San Clemente, Rome. Christ. Mid 9th century.
Miniature painting
1. Miniature showing the portico theme from gospels belonging to Lucherius of Lyons' "Form. Spitit." (Paris: Bib.
Nat. ms.lat. 2769, 23 v.) North Italian? Late 7th c. A.D. The design includes birds in homage, which are derived
from Lombard reliefs.
2. Miniature from the the Saint Gregory Homilary (or Gospels) showing Bishop Gregory of Rome giving a blessing.
Ca. 800 A.D. (Verc. Bib. cap ms. 148 f 9v.) Probably originated in Nonantula, North Italy, but shows Frankish, Irish
and Anglo-Saxon influences.
Icons
1. Encaustic panel painting detail of Madonna and Child enthroned. Rome: Santa Maria Nova de Urbe.
Head is 55 cm. The severe construction is mitigated by classical use of delicate color that conveys
immediacy and transcendence simultaneously.
Ivory
1. Ivory box. 10th-century Friuli, Italy. (Cividale: Museo Archeologico). Derived from the Byzantine ivory
box tradition. A secular work with geometric decoration.
2. Apse mosaic, Sta. Maria Antiqua(?), Rome. Saint Agnes standing between Honorius I and Symmachus,
the church's 4th-century founder and patron. 7th c. Byzantine influence in Rome 6-8th c. seen in the
luminosity.
3. Mosaic fragment from oratory of Pope John VII (705-707) in Vatican (Gotte Vaticane). Before 707 A.D.
Lines imprecise. Colors so subdued the face almost lost.
4. Vault mosaic from chapel of Saint Zenon, Church of Saint Prassede, Rome. An angel. Early 9th c. A.D.
5. Mosaic from chapel of S. Zenone, Church of Saint Prassede, Rome. Mary with Saints Prassede and
Prudenziana. 9th c. A.D. The square halo indicates the person is still alive.
6. Mosaic from chapel of Sainte Zenone, Church of Santa Prassede, Rome. 9th c.
7. Mosaic from the Chapel of Zenon, in the basilica of Saint Prassede. Christ triumphant. 9th c. A.D.
1. Fresco from Santa Marie Antiqua, Rome. Saint Abbacyr begging with his medicine box and spatula. 7-8th
c. A.D. The oversized head may reflect Coptic influence. This church served the Greek colony in Rome.
2. Fresco from Sta. Maria Antiqua, Rome. Angel of the Annunciation. Early 8th c. A.D. A heavy
impressionism that anticipates 9th c. Rheims school, with its flickering bouyancy and gibbosity.
3. Fresco from chapel of SS. Quirico e Giulitta, Church of Santa Maria Antiqua, Rome. Crucifixion. 8th c.
Mixes Byzantine and classical elements.
4. Fresco from catacomb of Hermes, Rome. Saint Benedict of Nursia. 8th c. A.D. This is the earliest
known representation of Benedict.
5. Fresco from Sta. Maria Antiqua. Four martyrs. Ca. 741-752 A.D. Shows Byzantine influence.
6. Fresco showing Flight into Egypt. From Johanneskirche, Müstair (Switzerland). 67x59" Italo-Alpine
style, ca. 800 A.D. High point of the Italo-Alpine style. Pure narrative style which is independent of Carolingian
developments.
7. Fresco from Oratory of San Benedetto, Malles Venosta. Perhaps showing the benefactor of the church.
Italo-Alpine style, 9th c. A.D.
8. Church at Malles Venosta (Italian Tyrol). A martyrdom. Italo-Alpine style, 9th c. Closely associated
with Mustair frescoes.
9. Fresco of Last Judgement. Michael and Andrew (or Cyril) are on the right, and Gabriel and Clement
(or Methodius) on the left. 9th c. A.D. (Rome: Saint Clement). Style reflects Byzantine influence in Italy.
10. Fresco from St. Clement, Rome. Originally a contemporary portrait, probably of Theodora, but then
converted in the 9th century into a seated Madonna.
11. Fresco from basilica of Saint Clemente, Rome. Probably 847-855. On the right is Saint Vitus, and
on the left with a square nimbus indicating he is alive, is Pope Leo IX. The central scene might be
the Ascension or the Assumption.
12. Fresco fragment from San Clemente, Rome. Christ. Mid 9th century.
1. Miniature showing the portico theme from gospels belonging to Lucherius of Lyons' "Form. Spitit." (Paris: Bib.
Nat. ms.lat. 2769, 23 v.) North Italian? Late 7th c. A.D. The design includes birds in homage, which are derived
from Lombard reliefs.
2. Miniature from the the Saint Gregory Homilary (or Gospels) showing Bishop Gregory of Rome giving a blessing.
Ca. 800 A.D. (Verc. Bib. cap ms. 148 f 9v.) Probably originated in Nonantula, North Italy, but shows Frankish, Irish
and Anglo-Saxon influences.
1. Encaustic panel painting detail of Madonna and Child enthroned. Rome: Santa Maria Nova de Urbe.
Head is 55 cm. The severe construction is mitigated by classical use of delicate color that conveys
immediacy and transcendence simultaneously.
1. Ivory box. 10th-century Friuli, Italy. (Cividale: Museo Archeologico). Derived from the Byzantine ivory
box tradition. A secular work with geometric decoration.