Ménologe du mois de février - Petit Palais Musee des Beaux Arts de la ville de Paris

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Ménologe du mois de février - Petit Palais Musee des Beaux Arts de la ville de Paris

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Summary

Inscription - Inscriptions en grec au dessus de la tête de chaque saint
Chaque jour du mois de février, indiqué par un chiffre rouge en slavon, est illustré par un ou plusieurs saints ou par une fête : 1 - saint martyr Tryphon, 2 - Sainte Rencontre du Seigneur (ou Présentation au temple de Jésus-Christ), 3 - saint Syméon et sainte Anne, 4 - saint Isidore, 5 - martyre Agathe, 6 - saint Boucole, 7 - saint Parthenios, 8 - prophète Zacharie, 9 - martyr Nicéphore, 10 - martyr Charalampos, 11 - hiéromartyr Blaise et saint Dimitri, 12 - saint Mélèce et mort du saint thaumaturge Alexis, métropolite de Kiev, 13 - saint Martinien, 14 - saint Auxence, 15 - apôtre Onésime, 16 - martyr Pamphile, 17 - magalomartyr Théodore Tiron, 18 - saint Léon, 19 - apôtre Archippe, 20 - saint Léon, évêque de Catane, 21 - saint Eustathe, 22 - invention des reliques d'EUgène, 23 - hiéromartyr Polycarpe, 24 - invention du chef saint Jean le Précurseur, 25 - saint archevêque Taraise, 26 - saint Porphyre, 27 - saint Procope, 28 - saint Basile et saint martyr Protère, 29 - saint Cassien de Rome.

Byzantine architectural and visual style was a style that existed with remarkable homogeneity within the Eastern Roman empire between the 6th century and until the capture of Constantinople by the Turks in 1453. The Byzantine style's presence extended to Greece. Through Venetians, who became Constantinople's archrivals, it spread to Italy, and Sicily, where it persisted almost intact through the 12th century and became a foundation for the Italian Renaissance. Preserved by the Eastern Orthodox church, the Byzantine style spread to eastern Europe, the Balkans, and particularly to Russia, where it remained, with little or no local modification, through the 17th century. Byzantine architecture and painting remained uniform in tradition rather than changed with time and personal expression. The result is a sophistication of style and spiritual expression not paralleled in Western art. As with all large Picryl collections, this one is made with the assistance of AI image recognition. It allows collections of sizes never seen before. We do our best to clean after AI as it is based solely on visual resemblance and we apologize if we missed a few images in the collection that do not belong to the Byzantine style.

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Date

1750 - 1800
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Source

Paris Museum
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Public Domain Dedication

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