The Apse, the Image and the Icon

This book deals with the apse as a showcase for images in the early Christian and early Byzantine periods. Two opposed traditions, harking back to early imperial times, nourished the invention of the Christian apse image: on the one hand there were statues in apses of pagan temples and imperial cult rooms which were venerated during cult ceremonies, on the other hand, there were apse mosaics in nymphaea where aquatic myths and figures celebrated the amenities of water. Christian apse mosaics originated within this context and in spite of the Old Testament prohibition of the image. Mosaics and frescoes in apses of cult rooms generated very particular effects, evoking in the viewer respect, admiration, awe and maybe even veneration. The capacity of the image to have an impact on the viewer could not be decreed by the Church, but this was an affair manifested more or less casually according to the inventive power of the artist. The Church cared for having apse mosaics not being adored. But it could not prevent images from being adored by private persons and/or control private concerns, such as setting-up of ex votos, in official church apses. From the sixth century on, images - apse-mosaics, frescoes and panel paintings - were installed for `cult-propagan-da'. This book explores the interactions between the various image-media during the early Christian and early Byzantine periods; it particularly investigates the participation of the viewer and of the patron.

This book deals with the apse as a showcase for images in the early Christian and early Byzantine periods. Two opposed traditions, harking back to early imperial times, nourished the invention of the Christian apse image: on the one hand there were statues in apses of pagan temples and imperial cult rooms which were venerated during cult ceremonies, on the other hand, there were apse mosaics in nymphaea where aquatic myths and figures celebrated the amenities of water. Christian apse mosaics originated within this context and in spite of the Old Testament prohibition of the image. Mosaics and frescoes in apses of cult rooms generated very particular effects, evoking in the viewer respect, admiration, awe and maybe even veneration. The capacity of the image to have an impact on the viewer could not be decreed by the Church, but this was an affair manifested more or less casually according to the inventive power of the artist. The Church cared for having apse mosaics not being adored. But it could not prevent images from being adored by private persons and/or control private concerns, such as setting-up of ex votos, in official church apses. From the sixth century on, images - apse-mosaics, frescoes and panel paintings - were installed for 'cult-propaganda'. This book explores the interactions between the various image-media during the early Christian and early Byzantine periods; it particularly investigates the participation of the viewer and of the patron.

Review - English This book deals with the apse as a showcase for images in the early Christian and early Byzantine periods. Two opposed traditions, harking back to early imperial times, nourished the invention of the Christian apse image: on the one hand there were statues in apses of pagan temples and imperial cult rooms which were venerated during cult ceremonies, on the other hand, there were apse mosaics in nymphaea where aquatic myths and figures celebrated the amenities of water. Christian apse mosaics originated within this context and in spite of the Old Testament prohibition of the image. Mosaics and frescoes in apses of cult rooms generated very particular effects, evoking in the viewer respect, admiration, awe and maybe even veneration. The capacity of the image to have an impact on the viewer could not be decreed by the Church, but this was an affair manifested more or less casually according to the inventive power of the artist. The Church cared for having apse mosaics not being adored. But it could not prevent images from being adored by private persons and/or control private concerns, such as setting-up of ex votos, in official church apses. From the sixth century on, images - apse-mosaics, frescoes and panel paintings - were installed for 'cult-propaganda'. This book explores the interactions between the various image-media during the early Christian and early Byzantine periods; it particularly investigates the participation of the viewer and of the patron.

"Review - English This book deals with the apse as a showcase for images in the early Christian and early Byzantine periods. Two opposed traditions, harking back to early imperial times, nourished the invention of the Christian apse image: on the one hand there were statues in apses of pagan temples and imperial cult rooms which were venerated during cult ceremonies, on the other hand, there were apse mosaics in nymphaea where aquatic myths and figures celebrated the amenities of water. Christian apse mosaics originated within this context and in spite of the Old Testament prohibition of the image. Mosaics and frescoes in apses of cult rooms generated very particular effects, evoking in the viewer respect, admiration, awe and maybe even veneration. The capacity of the image to have an impact on the viewer could not be decreed by the Church, but this was an affair manifested more or less casually according to the inventive power of the artist. The Church cared for having apse mosaics not being adored. But it could not prevent images from being adored by private persons and/or control private concerns, such as setting-up of ex votos, in official church apses. From the sixth century on, images - apse-mosaics, frescoes and panel paintings - were installed for 'cult-propaganda'. This book explores the interactions between the various image-media during the early Christian and early Byzantine periods; it particularly investigates the participation of the viewer and of the patron. "