# data[].attributes.headline
Met Museum Heilbrunn Timeline of Art History

# data[].attributes.subject
Met Museum Heilbrunn Timeline of Art History

# data[].attributes.body
Search the world and explore  how art shaped our world.

# data[].attributes.attachment_link.provider_name
The Met’s Heilbrunn Timeline of Art History

# data[].attributes.attachment_link.title
Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

# data[].attributes.attachment_link.description
The story of art and global culture through the Museum’s collection.

# data[].attributes.headline
Columbia University - Islamic Architecture - Virtual Reality

# data[].attributes.subject
Columbia University - Islamic Architecture - Virtual Reality

# data[].attributes.attachment_link.title
Islamic Architecture | Real Virtual | Columbia University in the City of New York

# data[].attributes.attachment_link.description
Interior view of entrance to Nasrid Palaces Interior view #1 of Mexuar Interior view #2 of Mexuar Interior view of the Oratory Exterior view of the Façade of Comares and Court of the Golden Room Interior view of Golden Room Exterior view of the Court of Myrtles Interior view of

# data[].attributes.headline
Los Angeles County Museum of Art - Islamic Art

# data[].attributes.subject
Los Angeles County Museum of Art - Islamic Art

# data[].attributes.body
Lots of interesting images and information

# data[].attributes.attachment_link.title
The Islamic art collection at the Los Angeles County Museum of Art, LACMA

# data[].attributes.attachment_link.description
Gateway to the collection of Islamic art at the Los Angeles County Museum of Art, LACMA.

# data[].attributes.body
Contains nearly 12,000 objects

# data[].attributes.attachment_link.readable_text
Although the Museum acquired some seals and jewelry from Islamic countries as early as 1874, and a number of Turkish textiles in 1879, it received its first major group of Islamic objects in 1891, as a bequest of Edward C. Moore. Since then, the collection has grown through gifts, bequests, and purchases, as well as through Museum-sponsored excavations at Nishapur, Iran, in 1935-39 and in 1947. Until 1932, when the Department of Near Eastern Art was established, all of these objects were overseen by the Department of Decorative Arts. By 1963, the number of objects had increased to a point that necessitated an official departmental division between the ancient Near Eastern and the Islamic portions of the collection, and the Department of Islamic Art was founded.

In 2011, after an extensive renovation, the Museum opened fifteen dramatic new Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia. The greatly enlarged and freshly conceived galleries highlight both the diversity and the interconnectedness of the numerous cultures represented, with multiple entryways that allow visitors to approach the galleries-and the art displayed within-from different perspectives.

Read more about the rich history of Islamic art at the Museum.

# data[].attributes.attachment_link.description
The Met's collection of Islamic art ranges in date from the seventh to the nineteenth century. Its more than 15,000 objects reflect the great diversity and range of the cultural traditions of Islam.

# data[].attributes.body
Includes Architecture, Art, Literature, Music, Sports, Lifestyle

# data[].attributes.attachment_link.title
Introduction to Islamic Architecture | Muslim Heritage

# data[].attributes.attachment_link.description
Furthermore, there are views circulating in the West which reject the "islamisation" of architecture, arguing that Muslim architecture was used by Orientalists only to differentiate it from other types of architecture. This prejudice is often argued by the misconception of Islam's reluctance to building and urbanisation which circulates among some scholars.

# data[].attributes.headline
Columbia University - Early Christian and Byzantine Architecture - Virtual Reality

# data[].attributes.subject
Columbia University - Early Christian and Byzantine Architecture - Virtual Reality

# data[].attributes.attachment_link.title
Early Christian & Byzantine Architecture | Real Virtual | Columbia University in the City of New York

# data[].attributes.attachment_link.description
In 330 AD, Constantine the Great transferred the capital of the Roman Empire to the city of Byzantion on the shores of the Bosporus. During the early Byzantine period (330-700), the Empire included Eastern Europe, the Roman Near East, Egypt and portions of North Africa.

# data[].attributes.attachment_link.readable_text
Byzantine architecture is the architecture of the Byzantine empire. The empire emerged gradually after AD 330, when Constantine moved the capital of the Roman empire to Byzantium, which was later renamed Constantinople and is now Istanbul.
Byzantine architecture - General considerations
Byzantine architecture - General considerationsEarly Byzantine architecture is essentially a continuation of Roman architecture. Prime examples survive mostly in Ravenna and Constantinople and include the churches of St Irene, St Sophia, and Sts Sergius and Bakchus, the latter often referred to as Little Hagia Sophia. Secular structures include the walls of Constantinople and Basilica Cistern. A frieze in the Ostrogothic palace in Ravenna (now S Apollinare Nuovo) depicts an early Byzantine palace.
Gradually, a style emerged which was influenced more by the architecture of the near east, and used the Greek cross plan for the church architecture which mostly stands today. Brick replaced stone, classical orders were used more freely, mosaics replaced carved decoration, and complex domes were erected.
Architectural style, Medieval architecture, Russian architecture, Neo-Byzantine Architecture Byzantine architecture - Detailed description
As early as the building of Constantine's churches in Palestine there were two chief types of plan in use: the basilican, or axial, type, represented by the basilica at the Holy Sepulchre, and the circular, or central, type, represented by the great octagonal church once at Antioch. Those of the latter type we must suppose were nearly always vaulted, for a central dome would seem to furnish their very raison d'etre. The central space was sometimes surrounded by a very thick wall, in which deep recesses, to the interior, were formed, as at the noble church of St George, Salonica (5th century?), or by a vaulted aisle, as at Sta Costanza, Rome (4th century); or annexes were thrown out from the central space in such a way as to form a cross, in which these additions helped to counterpoise the central vault, as at the mausoleum of Galla Placidia, Ravenna (5th century). The most famous church of this type was that of the Holy Apostles, Constantinople. Vaults appear to have been early applied to the basilican type of plan; for instance, at St Irene, Constantinople (6th century), the long body of the church is covered by two domes.At St Sergius, Constantinople, and San Vitale, Ravenna, churches of the central type, the space under the dome was enlarged by having apsidal additions made to the octagon. Finally, at Hagia Sophia (6th century) a combination was made which is perhaps the most remarkable piece of planning ever contrived. A central space of 100 ft (30 m) square is increased to 200 ft (60 m) in length by adding two hemicycles to it to the east and the west; these are again extended by pushing out three minor apses eastward, and two others, one on either side of a straight extension, to the west. This unbroken area, about 260 ft (80 m) long, the larger part of which is over 100 ft (30 m) wide, is entirely covered by a system of domical surfaces. Above the conchs of the small apses rise the two great semi-domes which cover the hemicycles, and between these bursts out the vast lome over the central square. On the two sides, to the north and south of the dome, it is supported by vaulted aisles in two storeys which bring the exterior form to a general square.
At the Holy Apostles (6th century) five domes were applied to a cruciform plan, that in the midst being the highest. After the 6th century there were no churches built which in any way competed in scale with these great works of Justinian, and the plans more or less tended to approximate to one type. The central area covered by the dome was included in a considerably larger square, of which the four divisions, to the east, west, north and south, were carried up higher in the vaulting and roof system than the four corners, forming in this way a sort of nave and transepts. Sometimes the central space was square, sometimes octagonal, or at least there were eight piers supporting the dome instead of four, and the nave and transepts were narrower in proportion.

If we draw a square and divide each side into three so that the middle parts are greater than the others, and then divide the area into nine from these points, we approximate to the typical setting out of a plan of this time. Now add three apses on the east side opening from the three divisions, and opposite to the west put a narrow entrance porch running right across the front. Still in front put a square court. The court is the atrium and usually has a fountain in the middle under a canopy resting on pillars. The entrance porch is the nartliex. The central area covered by the dome is the solea, the place for the choir of singers. Here also stood the ambo. Across the eastern side of the central square was a screen which divided off the bema, where the altar was situated, from the body of the church; this screen, bearing images, is the iconastasis. The altar was protected by a canopy or ciborium resting on pillars. Rows of rising seats around the curve of the apse with the patriarch's throne at the middle eastern point formed the syntironon. The two smaller compartments and apses at the sides of the bema were sacristies, the diaconicon and protozesis.

The continuous influence from the East is strangely shown in the fashion of decorating external brick walls of churches built about the 12th century, in which bricks roughly carved into form are set up so as to make bands of ornamentation which it is quite clear are imitated from Cufic writing. This fashion was associated with the disposition of the exterior brick and stone work generally into many varieties of pattern, zig-zags, key-patterns &c.; and, as similar decoration is found in many Persian buildings, it is probable that this custom also was derived from the East. The domes and vaults to the exterior were covered with lead or with tiling of the Roman variety. The window and door frames were of marble. The interior surfaces were adorned all over by mosaics or frescoes in the higher parts of the edifice, and below with incrustations of marble slabs, which were frequently of very beautiful varieties, and disposed so that, although in one surface, the coloring formed a series of large panels. The better marbles were opened out so that the two surfaces produced by the division formed a symmetrical pattern resembling somewhat the marking of skins of beasts.

Byzantine architecture - Byzantine influence
Ultimately, Byzantine architecture in the West gave way to Romanesque and Gothic architecture. In the East it exerted a profound influence on early Islamic architecture, with notable examples including the Umayyad Great Mosque of Damascus and the Dome of the Rock in Jerusalem. In Russia, Romania, and other Orthodox countries the Byzantine architecture persisted even longer, finally giving birth to local schools of architecture. Neo-Byzantine architecture had a small following in the wake of the Neo-Gothic of the nineteenth century. It was developed on a wide-scale basis in Russia by Konstantin Thon and his numerous disciples.
Byzantine architecture - Essential monuments
In modern day Egypt Saint Catherine's Monastery, Mount Sinai In modern day Georgia Djvari, Mtskheta In modern day Greece St Demetrios Cathedral in Salonica Nea Moni Katholikon, Chios Monastery of Daphni near Athens Monastery of Hosios Lukas in Phocide Brontocheion monastery, Mistra Monasteries of Mount Athos In modern day Italy Mausoleum of Galla Placidia, Ravenna Palace of the Exarch, Ravenna San Vitale, Ravenna San Marco, Venice Torcello Cathedral, Venice In modern day Turkey Hagia Sophia, Istanbul [1] Hagia Irene, Istanbul [2] Sts Sergius and Bacchus, Istanbul [3] St Saviour at Chora, Istanbul [4] St Mary Pammakaristos, Istanbul [5] Elmali Kilise, Cappadocia Hagia Sophia, Trapezunt In modern day Ukraine Saint Sophia Cathedral, Kiev Neo-Byzantine monuments St. Volodymyr's Cathedral, Kiev St Nicholas Naval Cathedral, Kronstadt Alexander Nevski Cathedral, Sofia New Athos Monastery near Sukhum Temple of Saint Sava, Belgrade Westminster Cathedral, London.

# data[].attributes.attachment_link.description
Byzantine architecture is the architecture of the Byzantine empire. The empire emerged gradually after AD 330, when Constantine moved the capital of the Roman empire to Byzantium, which was later renamed Constantinople and is now Istanbul. Byzantine architecture - General considerations Byzantine architecture - General considerationsEarly Byzantine architecture is essentially a continuation of Roman architecture.

# data[].attributes.headline
Art Institute of Chicago - Byzantine Art

# data[].attributes.subject
Art Institute of Chicago - Byzantine Art

# data[].attributes.body
103 pieces

# data[].attributes.attachment_link.title
Ancient and Byzantine: Byzantine | The Art Institute of Chicago

# data[].attributes.attachment_link.description
© 2013 The Art Institute of Chicago. All rights reserved.

# data[].attributes.body
Medieval Art and the Cloisters

# data[].attributes.attachment_link.title
Medieval Art and The Cloisters | The Metropolitan Museum of Art

# data[].attributes.attachment_link.description
The Museum's collection of medieval and Byzantine art is among the most comprehensive in the world. Displayed in both the Main Building and in the Metropolitan's branch in northern Manhattan, The Cloisters museum and gardens, the collection encompasses the art of the Mediterranean and Europe from the fall of Rome in the fourth century to the beginning of the Renaissance in the early sixteenth century.