The Mosaics of Thessaloniki Revisited
English language edition
Edited by Antony Eastmond and Myrto Hatzaki
Essays on the chronology and interpretation of the Byzantine mosaics of Thessaloniki.
Thessaloniki contains the finest collection of surviving Byzantine mosaics in any one city. Made over the course of a millennium between the fourth and the fourteenth century, they show the dynamism and longevity of the medium throughout the life of the Byzantine Empire. Yet despite the quantity and quality of the mosaics in Thessaloniki, they have remained relatively unknown compared with the mosaics elsewhere in Greece and in Constantinople.
Controversy and debate have surrounded the dating, function and meaning of many of the monuments and their mosaics. These issues, of the chronology of the monuments and the meanings of their mosaics, form the focus of The Mosaics of Thessaloniki Revisited.
Mosaics of Thessaloniki, 4th–14th century (2012) – also available from UEP documents and illustrates the huge range of Thessaloniki’s mosaics that are now accessible and visible to all, however distant or hidden their locations in each church.
Chairman’s foreword A.P. LEVENTIS
Note from the Ephor IOANNIS O. KANONIDIS
Introduction ANTONY EASTMOND
The mosaics of Thessaloniki: the state of research BEAT BRENK
Considerations on the chronology of the Rotunda mosaics HJALMAR TORP
Colour, light and luminosity in the Rotunda mosaics BENTE KIILERICH
Peacocks, rainbows and handsome men: perceiving physical beauty in the early Byzantine mosaics of Thessaloniki MYRTO HATZAKI
Ezekiel’s Vision in Late Antiquity: The case of the mosaic of Moni Latomou, Thessaloniki LAURA NASRALLAH
The mosaics of the basilica of St Demetrios CHARALAMBOS BAKIRTZIS
After iconoclasm — forwards or backwards? ROBIN CORMACK
The mosaics of the church of the Holy Apostles. Byzantine mosaics in the fourteenth century LIZ JAMES
The Byzantine mosaics of Thessaloniki in the nineteenth century DIMITRA KOTOULA
Charalambos Bakirtzis is a Regular member of the Central Archaeological Committee of the Hellenic Ministry of Culture and is Director of the A. G. Leventis Foundation in Nicosia, Cyprus.
Beat Brenk has been Invited Professor at Johns Hopkins University Baltimore, Stanford University, Williamstown (Mass), Tokyo University, and the Scuola Normale Superiore di Pisa. He has written books and articles on early Christian, medieval and byzantine art.
Robin Cormack is Professor Emeritus of the History of Art in the University of London and teaches in the Classics Faculty, University of Cambridge. He has acted as a curator for twelve public exhibitions, including recently The Road to Byzantium, in the Hermitage Rooms, Somerset House and the major Royal Academy exhibition Byzantium 330-1453.
Antony Eastmond is A. G. Leventis Professor of Byzantine art history and Dean & Deputy Director at the Courtauld Institute of Art. His latest publication is Tamta's World: the life and encounters of a medieval noblewoman from the Middle East to Mongolia (Cambridge, 2017). He curated the exhibition Byzantium's Other Empire: Trebizond (Istanbul 2016).
Myrto Hatzaki is Curator of the A. G. Leventis Foundation's Collection of European Art. Her book Beauty and the Male Body in Byzantium was published in 2008 by Palgrave Macmillan.
Liz James is Professor of Art History at the University of Sussex. Her latest book, Mosaics in the Medieval World: From Late Antiquity to the Fifteenth Century, is published by Cambridge University Press (2017).
Bente Kiilerich is Professor of Art History at the University of Bergen. She has published widely on late antique, early Christian and Byzantine art and archaeology, as well as on Greek sculpture and the reception of ancient art in contemporary culture.
Dimitra Kotoula works as an archaeologist and art-historian for the Greek Ministry of Culture and the British School at Athens. She has also been a Visiting Research Fellow at the Center for Hellenic Studies, King's College, London.
Laura Nasrallah is Professor of New Testament and Early Christianity at Harvard University. Her publications include An Ecstasy of Folly: Prophecy and Authority in Early Christianity and Christian Responses to Roman Art and Architecture: The Second-Century Church Amid the Spaces of Empire.
Hjalmar Torp is Professor Emeritus of Medieval Art History at the University of Oslo and former Director of the Norwegian Institute in Rome. He has published widely on late antique, early Christian, Byzantine and medieval art and archaeology.