ABSTRACT
In theology, the poetry of St. Symeon the New Theologian recorded his visions of uncreated light and encounters with Christ in unprecedented detail. This aesthetic had its origins in classical painting while its theoretical aspects were entertained by Plato, Aristotle and their philosophical heirs. Aesthetic form pales in front of the vision of God. Accounts of works by famous painters such as Polygnotus, Parrhasius, Apelles, Protogenes and Zeuxis, among others, make it clear that the ability of a painting to convey emotion, character (ethos), physiognomy, presence and animated form was highly valued in Greek antiquity. Byzantine painting used the "Graeco-Roman koine", a blend of classical and Hellenistic styles that Roman artists adapted to their own needs. Mango's detailed description of the materials used for the composition of Christ's head proves the mosaic's technical and aesthetic sophistication. Finally, this chapter presents the church architecture.
