Justin I, also called Justin the Thracian, was Eastern Roman emperor from 518 to 527. Born to a peasant family, he rose through the ranks of the army to become commander of the imperial guard and when Emperor Anastasius died, he out-maneouvered his rivals and was elected as his successor, in spite of being around 68 years old. His reign is significant for the founding of the Justinian dynasty that included his eminent nephew, Justinian I, and three succeeding emperors. His consort was Empress Euphemia.
The Arch of Constantine is a triumphal arch in Rome dedicated to the emperor Constantine the Great. The arch was commissioned by the Roman Senate to commemorate Constantine's victory over Maxentius at the Battle of Milvian Bridge in AD 312. Situated between the Colosseum and the Palatine Hill, the arch spans the Via Triumphalis, the route taken by victorious military leaders when they entered the city in a triumphal procession. Dedicated in 315, it is the largest Roman triumphal arch, with overall dimensions of 21 m (69 ft) high, 25.9 m (85 ft) wide and 7.4 m (24 ft) deep. It has three bays, the central one being 11.5 m (38 ft) high and 6.5 m (21 ft) wide and the laterals 7.4 m (24 ft) by 3.4 m (11 ft) each. The arch is constructed of brick-faced concrete covered in marble.
Byzantine art comprises the body of artistic products of the Eastern Roman Empire, as well as the nations and states that inherited culturally from the empire. Though the empire itself emerged from the decline of western Rome and lasted until the Fall of Constantinople in 1453, the start date of the Byzantine period is rather clearer in art history than in political history, if still imprecise. Many Eastern Orthodox states in Eastern Europe, as well as to some degree the Islamic states of the eastern Mediterranean, preserved many aspects of the empire's culture and art for centuries afterward.
Late antiquity is sometimes defined as spanning from the end of classical antiquity to the local start of the Middle Ages, from around the late 3rd century up to the 7th or 8th century in Europe and adjacent areas bordering the Mediterranean Basin depending on location. The popularisation of this periodization in English has generally been credited to historian Peter Brown, who proposed a period between 150–750 AD. The Oxford Centre for Late Antiquity defines it as "the period between approximately 250 and 750 AD". Precise boundaries for the period are a continuing matter of debate. In the West, its end was earlier, with the start of the Early Middle Ages typically placed in the 6th century, or even earlier on the edges of the Western Roman Empire.
The art of Ancient Rome, and the territories of its Republic and later Empire, includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass are sometimes considered to be minor forms of Roman art, although they were not considered as such at the time. Sculpture was perhaps considered as the highest form of art by Romans, but figure painting was also highly regarded. A very large body of sculpture has survived from about the 1st century BC onward, though very little from before, but very little painting remains, and probably nothing that a contemporary would have considered to be of the highest quality.
Procopius Anthemius was a politician of the Eastern Roman Empire, son of Western Roman Emperor Anthemius. After the death of the Eastern Roman Emperor Leo I, Procopius sided with his brother Marcianus's attempt to overthrow Zeno. When Marcianus's rebellion failed, Procopius fled to Thrace and then to Rome, returning to Constantinople after the death of Zeno and accession of Anastasius I. After his return to Constantinople, he was consul in 515.
Carolingian art comes from the Frankish Empire in the period of roughly 120 years from about 780 to 900—during the reign of Charlemagne and his immediate heirs—popularly known as the Carolingian Renaissance. The art was produced by and for the court circle and a group of important monasteries under Imperial patronage; survivals from outside this charmed circle show a considerable drop in quality of workmanship and sophistication of design. The art was produced in several centres in what are now France, Germany, Austria, northern Italy and the Low Countries, and received considerable influence, via continental mission centres, from the Insular art of the British Isles, as well as a number of Byzantine artists who appear to have been resident in Carolingian centres.
The study of Roman sculpture is complicated by its relation to Greek sculpture. Many examples of even the most famous Greek sculptures, such as the Apollo Belvedere and Barberini Faun, are known only from Roman Imperial or Hellenistic "copies". At one time, this imitation was taken by art historians as indicating a narrowness of the Roman artistic imagination, but, in the late 20th century, Roman art began to be reevaluated on its own terms: some impressions of the nature of Greek sculpture may in fact be based on Roman artistry.
Anicia Juliana was a Late Antique Roman imperial princess, wife of the magister militum of the eastern Roman empire, Areobindus Dagalaiphus Areobindus, patron of the great Church of St Polyeuctus in Constantinople, and owner of the Vienna Dioscurides. She was the daughter of the Roman emperor Olybrius and his wife Placidia, herself the daughter of the emperor Valentinian III and Licinia Eudoxia, through whom Anicia Juliana was also great-granddaughter of the emperor Theodosius II and the sainted empress Aelia Eudocia. During the rule of the Leonid dynasty and the rise of the later Justinian dynasty, Anicia Juliana was thus the most prominent member of both the preceding imperial dynasties, the Valentinianic dynasty established by Valentinian the Great and the related Theodosian dynasty established by Theodosius the Great.
The Portrait of the Four Tetrarchs is a porphyry sculpture group of four Roman emperors dating from around 300 AD. The sculptural group has been fixed to a corner of the façade of St Mark's Basilica in Venice, Italy since the Middle Ages. It probably formed part of the decorations of the Philadelphion in Constantinople, and was removed to Venice in 1204 or soon after.
The Column of Justinian was a Roman triumphal column erected in Constantinople by the Byzantine emperor Justinian I in honour of his victories in 543. It stood in the western side of the great square of the Augustaeum, between the Hagia Sophia and the Great Palace, and survived until 1509, its demolition by the Great earthquake of Constantinople which affected other historical places as well.
The Forum of Theodosius was probably the largest square in Constantinople and stood on the Mese, the major road that ran west from Hagia Sophia. It was originally built by Constantine I, probably on the site of a pre-existing Hellenistic agora called the Strategion, and named the Forum Tauri. In 393, however, it was renamed after Emperor Theodosius I, who rebuilt it after the model of Trajan's Forum in Rome, surrounded by civic buildings such as churches and baths and decorated with a triumphal column at its centre.
The Symmachi–Nicomachi diptych is a book-size Late Antique ivory diptych dating to the late fourth or early fifth century, whose panels depict scenes of ritual pagan religious practices. Both its style and its content reflect a short-lived revival of traditional Roman religion and Classicism at a time when the Roman world was turning towards Christianity and rejecting the Classical tradition.
In Late Antiquity, a consular diptych was a type of diptych intended as a de-luxe commemorative object. The diptychs were generally in ivory, wood or metal and decorated with rich relief sculpture. A consular diptych was commissioned by a consul ordinarius to mark his entry to that post, and was distributed as a commemorative reward to those who had supported his candidature or might support him in the future.
In Late Antiquity, an imperial diptych is a theoretical type of ivory diptych, made up of two leaves of five panels each and each with a central panel representing the emperor or empress. They are so-named in contrast to consular diptychs. They were produced as unique examples, whereas each consular diptych was produced in large numbers to offer to the emperor on certain occasions, principally a nobleman's entry to the consulship.
The Archangel ivory is the largest surviving Byzantine ivory panel, now in the British Museum in London. Dated to the early 6th century, it depicts an archangel holding a sceptre and imperial orb.
The Throne of Maximian is a cathedra that was made for Archbishop Maximianus of Ravenna and is now on display at the Archiepiscopal Museum, Ravenna. It is generally agreed that the throne was carved in the Greek East of the Byzantine Empire and shipped to Ravenna, but there has long been scholarly debate over whether it was made in Constantinople or Alexandria.
Rufius Probianus was a vicarius of the Late Roman Empire. He is known from an ivory diptych on which he appears with his right hand lifted in an oratorical gesture to indicate that he is either speaking or has the right to speak.
The Tyche of Constantinople was the deity of fortune (Tyche) who embodied the guardianship (tutela) of the city of Constantinople in the Roman Imperial era. Malalas says that her name was Anthousa. Her attributes included the mural crown, cornucopia, a ship's prow, and a spear. She was depicted standing or seated on a throne. As the personification of the city, Tyche or Anthousa could be abstracted from her origins as a Classical goddess, and like Victory made tolerable as a symbol for Christians. Under Constantine, the Tychai of Rome and Constantinople together might be presented as personifications of the empire ruling the world.
The Trier Adventus Ivory or the Translation of Relics Ivory is an artwork in the Trier Cathedral Treasury in Trier, Germany. The 4th-century relief is a piece of ivory carving from the Byzantine Empire. It was acquired by the Cathedral of Trier in 1844. The work is considered to be an "enigma of Early Byzantine art" and scholars have debated over the ivory's date of manufacture, its original location, and who is depicted. The panel is relatively intact aside from minimal damage to the top right and bottom left corners and some figures having lost their heads.
