Byzantine empire Stock Photos and Images

(1,078)See byzantine empire stock video clips

byzantine empire map byzantine empire constantinople byzantine empire painting byzantine empire 1400 byzantine empire 1100 byzantine empire mural byzantine empire cyprus

Page 1 of 11

Byzantine empire Stock Photos and Images

Mosiac. Great Palace of the Byzantine Empire. Istambul Mosaic Museum. Turkey. Stock Photo

RMP50H59–Mosiac. Great Palace of the Byzantine Empire. Istambul Mosaic Museum. Turkey.

Infographic about the Hagia Sophia (today, Istanbul, Turkey), the biggest cathedral of the Byzantine Empire (6th century). [Adobe InDesign (.indd); 4960x3188]. Stock Photo

RM2NEC26R–Infographic about the Hagia Sophia (today, Istanbul, Turkey), the biggest cathedral of the Byzantine Empire (6th century). [Adobe InDesign (.indd); 4960x3188].

Byzantine Empire. Sarcophagus-shaped reliquary. 5th-6th centuries AD. Gypsum. From Apamea, Syria. Neues Museum (New Museum). Berlin. Germany. Stock Photo

RMPP4XXB–Byzantine Empire. Sarcophagus-shaped reliquary. 5th-6th centuries AD. Gypsum. From Apamea, Syria. Neues Museum (New Museum). Berlin. Germany.

Mosaic of Emperor John II Commenus ruled Byzantine Empire 1118-43. Haghia Sofia, Istanbul. Artwork also known as: SANCTUARY. Museum: Haghia Sofia. Stock Photo

RMP7B5YB–Mosaic of Emperor John II Commenus ruled Byzantine Empire 1118-43. Haghia Sofia, Istanbul. Artwork also known as: SANCTUARY. Museum: Haghia Sofia.

Flavius Magnus, Roman senator of Narbo, later Consul of Rome, c.390-475. Byzantine Empire, 5th century. Le Consul Magnus. Empire de Bizance, Ve Siecle. Cabinet des Medailles, Bibliotheque Imperiale. Chromolithograph by Franz Kellerhoven after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T69B9N–Flavius Magnus, Roman senator of Narbo, later Consul of Rome, c.390-475. Byzantine Empire, 5th century. Le Consul Magnus. Empire de Bizance, Ve Siecle. Cabinet des Medailles, Bibliotheque Imperiale. Chromolithograph by Franz Kellerhoven after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Saint Matthew, Byzantine Empire, 10th century. In halo, blue tunic with gold clavus or stripe under a pallium, reading the Gospels. Saint Mathieu, Empire de Byzance, Xe Siecle. From MS 70 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6893K–Saint Matthew, Byzantine Empire, 10th century. In halo, blue tunic with gold clavus or stripe under a pallium, reading the Gospels. Saint Mathieu, Empire de Byzance, Xe Siecle. From MS 70 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Saint Mark, Byzantine Empire, 10th century. In halo, blue tunic with gold clavus or stripe under a pallium, holding the Gospels. Saint Marc, Empire de Byzance, Xe Siecle. From MS 70 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T68Y4E–Saint Mark, Byzantine Empire, 10th century. In halo, blue tunic with gold clavus or stripe under a pallium, holding the Gospels. Saint Marc, Empire de Byzance, Xe Siecle. From MS 70 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Saint Luke, Byzantine Empire, 10th century. In halo, blue tunic with gold clavus or stripe under a pallium, holding the Gospels. Saint Luc, Empire de Byzance, Xe Siecle. From MS 70 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6967P–Saint Luke, Byzantine Empire, 10th century. In halo, blue tunic with gold clavus or stripe under a pallium, holding the Gospels. Saint Luc, Empire de Byzance, Xe Siecle. From MS 70 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Flavius Felix, general and consul in the Western Roman Empire, died 430. From his carved ivory consular dyptich. Byzantine Empire, 5th century. Le Consul Flavius Felix. Empire de Bizance, Ve Siecle. Cabinet des Medailles, Bibliotheque Imperiale. Chromolithograph by Franz Kellerhoven after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6D21P–Flavius Felix, general and consul in the Western Roman Empire, died 430. From his carved ivory consular dyptich. Byzantine Empire, 5th century. Le Consul Flavius Felix. Empire de Bizance, Ve Siecle. Cabinet des Medailles, Bibliotheque Imperiale. Chromolithograph by Franz Kellerhoven after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Bowl with Fish. Culture: Byzantine. Dimensions: Overall: 3 9/16 x 10 1/16 in. (9 x 25.5 cm). Date: 1000-1300. A fish wearing a playful smile swims among reeds. Fishing was an important trade in the Byzantine Empire. Large fish were often centerpieces of banquets and were given as valuable gifts. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAB25T–Bowl with Fish. Culture: Byzantine. Dimensions: Overall: 3 9/16 x 10 1/16 in. (9 x 25.5 cm). Date: 1000-1300. A fish wearing a playful smile swims among reeds. Fishing was an important trade in the Byzantine Empire. Large fish were often centerpieces of banquets and were given as valuable gifts. Museum: Metropolitan Museum of Art, New York, USA.

King Solomon in imperial costume of the Byzantine Empire, 10th century. Salomon, Empire de Byzance, Xe Siecle. Taken from a manuscript of the Gospels in a binding with the arms of King Henry IV, MS 64 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6A238–King Solomon in imperial costume of the Byzantine Empire, 10th century. Salomon, Empire de Byzance, Xe Siecle. Taken from a manuscript of the Gospels in a binding with the arms of King Henry IV, MS 64 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

The Virgin Mary in costume of the Byzantine Empire, 10th century. La Vierge Marie, Empire de Byzance, Xe Siecle. Taken from a manuscript of the Gospels in a binding with the arms of King Henry IV, MS 64 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T68R1J–The Virgin Mary in costume of the Byzantine Empire, 10th century. La Vierge Marie, Empire de Byzance, Xe Siecle. Taken from a manuscript of the Gospels in a binding with the arms of King Henry IV, MS 64 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Saint John the Evangelist, Byzantine Empire, 10th century. In halo, blue tunic with gold clavus or stripe under a pallium, reading the Gospels. Saint Jean Evangeliste, Empire de Byzance, Xe Siecle. From MS 70 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T68DCE–Saint John the Evangelist, Byzantine Empire, 10th century. In halo, blue tunic with gold clavus or stripe under a pallium, reading the Gospels. Saint Jean Evangeliste, Empire de Byzance, Xe Siecle. From MS 70 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Zechariah or Zachiarias, father of John the Baptist, in imperial costume of the Byzantine Empire, 10th century. Zacharie, Empire de Byzance, Xe Siecle. Taken from a manuscript of the Gospels in a binding with the arms of King Henry IV, MS 64 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T68P5T–Zechariah or Zachiarias, father of John the Baptist, in imperial costume of the Byzantine Empire, 10th century. Zacharie, Empire de Byzance, Xe Siecle. Taken from a manuscript of the Gospels in a binding with the arms of King Henry IV, MS 64 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

King Herod of Judea in imperial costume of the Byzantine Empire, 10th century. Herode roi de Judee, Empire de Byzance, Xe Siecle. Taken from a manuscript of the Gospels in a binding with the arms of King Henry IV, MS 64 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6CW6E–King Herod of Judea in imperial costume of the Byzantine Empire, 10th century. Herode roi de Judee, Empire de Byzance, Xe Siecle. Taken from a manuscript of the Gospels in a binding with the arms of King Henry IV, MS 64 G, Bibliotheque Imperiale. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Holy Roman Emperor Otto II 955-983 and Byzantine Princess Theophanu 955-991 being crowned by Jesus Christ. Byzantine Empire, 10th century. Othon II et Theophanie, Empire de Bizance, Xe Siecle. Ivory book cover or part of diptych 337 in the Musee de Cluny. Chromolithograph by Franz Kellerhoven after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T68X9T–Holy Roman Emperor Otto II 955-983 and Byzantine Princess Theophanu 955-991 being crowned by Jesus Christ. Byzantine Empire, 10th century. Othon II et Theophanie, Empire de Bizance, Xe Siecle. Ivory book cover or part of diptych 337 in the Musee de Cluny. Chromolithograph by Franz Kellerhoven after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Portraits of Greek physicians, Byzantine Empire, 6th century. Mythical healers Chiron and Machaon, Pamphiles, Xenocrates of Aphrodisias, Niger, Heraclides with serpent (symbol of Aesculapius), and his tutor Mantias. Greek physicians, Byzantine Empire, 6th century. Medecins Grecs, Empire de Byzance, VIe siecle. Bibliotheque Imp. de Vienne. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6CR97–Portraits of Greek physicians, Byzantine Empire, 6th century. Mythical healers Chiron and Machaon, Pamphiles, Xenocrates of Aphrodisias, Niger, Heraclides with serpent (symbol of Aesculapius), and his tutor Mantias. Greek physicians, Byzantine Empire, 6th century. Medecins Grecs, Empire de Byzance, VIe siecle. Bibliotheque Imp. de Vienne. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Portrait of Gregory of Nazianzus, Archbishop of Constantinople, 329-390. In halo, wearing a pallium with large crosses, holding a jeweled Bible. Ecclesiastical costume of the Byzantine Empire, late 9th century. Saint Gregoire de Nazyance, Empire de Byzance, IXe Siecle. Taken from MS 510 G, Ancien fonds Latin, Bibl. Imp. Chromolithograph by Franz Kellerhoven after Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T687ED–Portrait of Gregory of Nazianzus, Archbishop of Constantinople, 329-390. In halo, wearing a pallium with large crosses, holding a jeweled Bible. Ecclesiastical costume of the Byzantine Empire, late 9th century. Saint Gregoire de Nazyance, Empire de Byzance, IXe Siecle. Taken from MS 510 G, Ancien fonds Latin, Bibl. Imp. Chromolithograph by Franz Kellerhoven after Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Painted Copy of Deesis Mosaic. Culture: Byzantine. Dimensions: 12 ft. 11 1/2 in. × 19 ft. 8 7/8 in. (395 × 601.7 cm). Date: early 20th century (original dated 13th century). The original mosaic displaying the Deesis (Christ flanked by the Virgin and Saint John the Baptist) was one of the finest works produced in Constantinople, capital of the Byzantine Empire. Concealed for centuries after the fall of the city to the Ottoman Turks in 1453, the mosaic was one of the many in Hagia Sophia restored by the Byzantine Institute of America in the late 1930s. The newly revealed mosaics were the focus Stock Photo

RMPB194Y–Painted Copy of Deesis Mosaic. Culture: Byzantine. Dimensions: 12 ft. 11 1/2 in. × 19 ft. 8 7/8 in. (395 × 601.7 cm). Date: early 20th century (original dated 13th century). The original mosaic displaying the Deesis (Christ flanked by the Virgin and Saint John the Baptist) was one of the finest works produced in Constantinople, capital of the Byzantine Empire. Concealed for centuries after the fall of the city to the Ottoman Turks in 1453, the mosaic was one of the many in Hagia Sophia restored by the Byzantine Institute of America in the late 1930s. The newly revealed mosaics were the focus

Intaglio with Saint Theodore Teron Slaying a Many-Headed Dragon. Culture: Byzantine. Dimensions: Overall: 1 5/16 x 1 x 1/4in. (3.4 x 2.6 x 0.6cm). Date: 1300 or later. Theodore Teron (the recruit) was one of several soldier-martyrs whose cults were enormously popular in the later centuries of the Byzantine Empire. This intaglio illustrates Theodore's miraculous slaying of a dragon. The image reflects the revival of classical culture that took place in Byzantium in the 1300s and 1400s; with its naturalistic stance, it recalls classical depictions of Herakles battling the many-headed hydra. Mus Stock Photo

RMPAA65K–Intaglio with Saint Theodore Teron Slaying a Many-Headed Dragon. Culture: Byzantine. Dimensions: Overall: 1 5/16 x 1 x 1/4in. (3.4 x 2.6 x 0.6cm). Date: 1300 or later. Theodore Teron (the recruit) was one of several soldier-martyrs whose cults were enormously popular in the later centuries of the Byzantine Empire. This intaglio illustrates Theodore's miraculous slaying of a dragon. The image reflects the revival of classical culture that took place in Byzantium in the 1300s and 1400s; with its naturalistic stance, it recalls classical depictions of Herakles battling the many-headed hydra. Mus

Temple Pendant with Two Birds Flanking a Tree of Life (front) and Geometric and Vegetal Motifs (back). Culture: Kievan Rus'. Dimensions: Overall: 2 1/8 x 1 7/8 x 9/16 in. (5.4 x 4.8 x 1.5 cm). Date: 11th-12th century. When Kievan Rus, a powerful new state to the north of the Byzantine Empire, accepted Christianity as its official religion in 988, the aristocracy also adopted the manners and dress of the Byzantine court. Local artists soon produced their own versions of Constatinopolitan fashions. This temple pendant of precious metals worked in cloisonné enamel or niello are local variants of Stock Photo

RMPAY75H–Temple Pendant with Two Birds Flanking a Tree of Life (front) and Geometric and Vegetal Motifs (back). Culture: Kievan Rus'. Dimensions: Overall: 2 1/8 x 1 7/8 x 9/16 in. (5.4 x 4.8 x 1.5 cm). Date: 11th-12th century. When Kievan Rus, a powerful new state to the north of the Byzantine Empire, accepted Christianity as its official religion in 988, the aristocracy also adopted the manners and dress of the Byzantine court. Local artists soon produced their own versions of Constatinopolitan fashions. This temple pendant of precious metals worked in cloisonné enamel or niello are local variants of

Portraits of Greek physicians, Byzantine Empire, 6th century. Galen (c. 129-200) on a a chair in the middle. At left, Crateuas or Krateuas (c. 2nd century BC, top), Apollonius Mys (1st century BC, middle) and Andreas (died c. 217 BC, bottom). At right, Dioscurides (c. 40-90 AD, top), Nicander (197-130 BC, center), and Rufus of Ephesus (c. 53-117 AD, bottom). Medecins Grecs, Empire de Byzance, VIe siecle. Bibliotheque Imp. de Vienne. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Pa Stock Photo

RM2T6CRTF–Portraits of Greek physicians, Byzantine Empire, 6th century. Galen (c. 129-200) on a a chair in the middle. At left, Crateuas or Krateuas (c. 2nd century BC, top), Apollonius Mys (1st century BC, middle) and Andreas (died c. 217 BC, bottom). At right, Dioscurides (c. 40-90 AD, top), Nicander (197-130 BC, center), and Rufus of Ephesus (c. 53-117 AD, bottom). Medecins Grecs, Empire de Byzance, VIe siecle. Bibliotheque Imp. de Vienne. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Pa

The Attarouthi Treasure - Chalice. Culture: Byzantine. Dimensions: Overall: 6 15/16 x 9 3/8 x 5 11/16 in. (17.6 x 23.8 x 14.4 cm) Diam. of foot: 3 9/16 in. (9.1 cm) Diam. of knop: 1 5/8 in. (4.2 cm). Date: 500-650. These well-wrought liturgical objects-chalices, censers, a strainer, and a representation of the dove of the Holy Spirit-were among the possessions of a Christian church in the affluent merchant town of Attarouthi in Syria, then one of the richest lands of the Byzantine empire. The chalices, censers, and strainer were used for the Divine Liturgy, or Eucharist service, in which Ch Stock Photo

RMPAPNF6–The Attarouthi Treasure - Chalice. Culture: Byzantine. Dimensions: Overall: 6 15/16 x 9 3/8 x 5 11/16 in. (17.6 x 23.8 x 14.4 cm) Diam. of foot: 3 9/16 in. (9.1 cm) Diam. of knop: 1 5/8 in. (4.2 cm). Date: 500-650. These well-wrought liturgical objects-chalices, censers, a strainer, and a representation of the dove of the Holy Spirit-were among the possessions of a Christian church in the affluent merchant town of Attarouthi in Syria, then one of the richest lands of the Byzantine empire. The chalices, censers, and strainer were used for the Divine Liturgy, or Eucharist service, in which Ch

ROMAN ART. EMPIRE EAST. TURKEY. Detail of one of the existing mosaics in the old palace of the Byzantine Empire. Dated between the 5th-6th century. 'FIGHT BETWEEN A LION AND AN ELEPHANT'. Museum of the Mosaics (Mozaik Uzesi). Istanbul. Stock Photo

RMPPETH2–ROMAN ART. EMPIRE EAST. TURKEY. Detail of one of the existing mosaics in the old palace of the Byzantine Empire. Dated between the 5th-6th century. 'FIGHT BETWEEN A LION AND AN ELEPHANT'. Museum of the Mosaics (Mozaik Uzesi). Istanbul.

Justinian I (527 – 565AD), emperor of the Roman (Byzantine) Empire, from a mosaic in the Basilica of San Vitale. Chromolithograph from Hefner-Alteneck's 'Costumes, Artworks and Appliances from the Middle Ages to the 17th Century,' Frankfurt, 1879. Illustration by Ernst Foerster, lithographed by C.R., and published by Heinrich Keller. Dr. Hefner-Alteneck (1811 - 1903) was a German museum curator, archaeologist, art historian, illustrator and etcher. Stock Photo

RMP6ENR0–Justinian I (527 – 565AD), emperor of the Roman (Byzantine) Empire, from a mosaic in the Basilica of San Vitale. Chromolithograph from Hefner-Alteneck's 'Costumes, Artworks and Appliances from the Middle Ages to the 17th Century,' Frankfurt, 1879. Illustration by Ernst Foerster, lithographed by C.R., and published by Heinrich Keller. Dr. Hefner-Alteneck (1811 - 1903) was a German museum curator, archaeologist, art historian, illustrator and etcher.

Theodora I (c. 500 – 548AD), empress of the Roman (Byzantine) Empire and wife of Emperor Justinian I, from a mosaic in the Basilica of San Vitale. Chromolithograph from Hefner-Alteneck's 'Costumes, Artworks and Appliances from the Middle Ages to the 17th Century,' Frankfurt, 1879. Illustration by Ernst Foerster, lithographed by C.R., and published by Heinrich Keller. Dr. Hefner-Alteneck (1811 - 1903) was a German museum curator, archaeologist, art historian, illustrator and etcher. Stock Photo

RMP6EEW0–Theodora I (c. 500 – 548AD), empress of the Roman (Byzantine) Empire and wife of Emperor Justinian I, from a mosaic in the Basilica of San Vitale. Chromolithograph from Hefner-Alteneck's 'Costumes, Artworks and Appliances from the Middle Ages to the 17th Century,' Frankfurt, 1879. Illustration by Ernst Foerster, lithographed by C.R., and published by Heinrich Keller. Dr. Hefner-Alteneck (1811 - 1903) was a German museum curator, archaeologist, art historian, illustrator and etcher.

Folio from the 'Blue Qur'an'. Dimensions: 11 15/16 x 15 13/16 in. (30.4 x 40.2 cm). Date: second half 9th-mid-10th century. This folio comes from a sumptuous, multivolume Qur'an with indigo pages and silver verse markers that was probably copied in North Africa. Its palette is thought to refer to the purple-dyed, gilded manuscripts made in the neighboring Byzantine empire. As in other early Qur'ans, the script here is difficult to read because the letters have been manipulated to make each line the same length, and the marks necessary to distinguish between letters have been omitted. Museum: Stock Photo

RMPANJ8B–Folio from the 'Blue Qur'an'. Dimensions: 11 15/16 x 15 13/16 in. (30.4 x 40.2 cm). Date: second half 9th-mid-10th century. This folio comes from a sumptuous, multivolume Qur'an with indigo pages and silver verse markers that was probably copied in North Africa. Its palette is thought to refer to the purple-dyed, gilded manuscripts made in the neighboring Byzantine empire. As in other early Qur'ans, the script here is difficult to read because the letters have been manipulated to make each line the same length, and the marks necessary to distinguish between letters have been omitted. Museum:

Mosaic of Empress Irene ruled byzantine Empire 1118-43. Haghia Sofia, Istanbul. Stock Photo

RMP7B387–Mosaic of Empress Irene ruled byzantine Empire 1118-43. Haghia Sofia, Istanbul.

Anonymous Follis (Coin), Attributed to Theodora. Byzantine. Date: 1055-1056. Dimensions: Diam. 3 cm; 8.22 g. Bronze. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX7JCF–Anonymous Follis (Coin), Attributed to Theodora. Byzantine. Date: 1055-1056. Dimensions: Diam. 3 cm; 8.22 g. Bronze. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Heraclius. Byzantine, minted in Constantinople. Date: 638 AD-641 AD. Dimensions: Diam. 2 cm; 4.49 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX56DJ–Solidus (Coin) of Heraclius. Byzantine, minted in Constantinople. Date: 638 AD-641 AD. Dimensions: Diam. 2 cm; 4.49 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Leontius. Byzantine, minted in Constantinople. Date: 695 AD-698 AD. Dimensions: Diam. 2 cm; 4.46 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX4XN5–Solidus (Coin) of Leontius. Byzantine, minted in Constantinople. Date: 695 AD-698 AD. Dimensions: Diam. 2 cm; 4.46 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Constantine IV Pogonatus. Byzantine. Date: 670 AD-680 AD. Dimensions: Diam. 1.5 cm; 4.32 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX78H4–Solidus (Coin) of Constantine IV Pogonatus. Byzantine. Date: 670 AD-680 AD. Dimensions: Diam. 1.5 cm; 4.32 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Theophilus. Byzantine, minted in Constantinople. Date: 829 AD-831 AD. Dimensions: Diam. 2.1 cm; 4.40 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX5C3B–Solidus (Coin) of Theophilus. Byzantine, minted in Constantinople. Date: 829 AD-831 AD. Dimensions: Diam. 2.1 cm; 4.40 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Hyperpyron (Coin) of Andronicus II Palaeologus and Michael IX. Byzantine (?). Date: 1282-1328. Dimensions: Diam. 2.5 cm; 3.67 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX8RDB–Hyperpyron (Coin) of Andronicus II Palaeologus and Michael IX. Byzantine (?). Date: 1282-1328. Dimensions: Diam. 2.5 cm; 3.67 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Tiberius II. Byzantine, minted in Constantinople. Date: 574 AD-582 AD. Dimensions: Diam. 2 cm; 4.44 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX51Y8–Solidus (Coin) of Tiberius II. Byzantine, minted in Constantinople. Date: 574 AD-582 AD. Dimensions: Diam. 2 cm; 4.44 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Tremissis (Coin) of Justinian II. Byzantine, minted in Constantinople. Date: 685 AD-695 AD. Dimensions: Diam. 1.4 cm; 1.38 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX55YX–Tremissis (Coin) of Justinian II. Byzantine, minted in Constantinople. Date: 685 AD-695 AD. Dimensions: Diam. 1.4 cm; 1.38 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Leo V. Byzantine, minted in Constantinople. Date: 813 AD-820 AD. Dimensions: Diam. 1.8 cm; 4.46 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX77MJ–Solidus (Coin) of Leo V. Byzantine, minted in Constantinople. Date: 813 AD-820 AD. Dimensions: Diam. 1.8 cm; 4.46 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Heraclius and Heraclius Constantine. Byzantine, minted in Constantinople. Date: 629 AD-632 AD. Dimensions: Diam. 2.1 cm; 4.49 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX7C3D–Solidus (Coin) of Heraclius and Heraclius Constantine. Byzantine, minted in Constantinople. Date: 629 AD-632 AD. Dimensions: Diam. 2.1 cm; 4.49 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Heraclius and Heraclius Constantine. Byzantine, minted in Constantinople. Date: 613 AD-616 AD. Dimensions: Diam. 2.1 cm; 4.41 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX5M41–Solidus (Coin) of Heraclius and Heraclius Constantine. Byzantine, minted in Constantinople. Date: 613 AD-616 AD. Dimensions: Diam. 2.1 cm; 4.41 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Basil I with Christ Enthroned. Byzantine, minted in Constantinople. Date: 868 AD-870 AD. Dimensions: Diam. 2 cm; 4.37 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX5J7R–Solidus (Coin) of Basil I with Christ Enthroned. Byzantine, minted in Constantinople. Date: 868 AD-870 AD. Dimensions: Diam. 2 cm; 4.37 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Constans II and Constantine IV. Byzantine, minted in Constantinople. Date: 659 AD-668 AD. Dimensions: Diam. 1.4 cm; 4.43 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX77BG–Solidus (Coin) of Constans II and Constantine IV. Byzantine, minted in Constantinople. Date: 659 AD-668 AD. Dimensions: Diam. 1.4 cm; 4.43 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Solidus (Coin) of Constantine V and Leo IV. Byzantine, minted in Constantinople. Date: 751 AD-775 AD. Dimensions: Diam. 1.9 cm; 3.74 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX8K2E–Solidus (Coin) of Constantine V and Leo IV. Byzantine, minted in Constantinople. Date: 751 AD-775 AD. Dimensions: Diam. 1.9 cm; 3.74 g. Gold. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

12 Nummi (Coin) of a Byzantine Emperor. Byzantine, minted in Alexandria. Date: 500 AD-599 AD. Dimensions: Diam. 1.5 cm; 2.64 g. Bronze. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX5CDA–12 Nummi (Coin) of a Byzantine Emperor. Byzantine, minted in Alexandria. Date: 500 AD-599 AD. Dimensions: Diam. 1.5 cm; 2.64 g. Bronze. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

12 Nummi (Coin) of a Byzantine Emperor. Byzantine, minted in Alexandria. Date: 500 AD-599 AD. Dimensions: Diam. 1.4 cm; 2.52 g. Bronze. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX5DC6–12 Nummi (Coin) of a Byzantine Emperor. Byzantine, minted in Alexandria. Date: 500 AD-599 AD. Dimensions: Diam. 1.4 cm; 2.52 g. Bronze. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Fragment of a Bowl. Byzantine; Greece, Thessaloniki. Date: 1201-1400. Dimensions: 4.8 × 10.8 × 7.6 cm (1 7/8 × 4 1/4 × 3 in.). Ceramic. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX5BDP–Fragment of a Bowl. Byzantine; Greece, Thessaloniki. Date: 1201-1400. Dimensions: 4.8 × 10.8 × 7.6 cm (1 7/8 × 4 1/4 × 3 in.). Ceramic. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Flat Flask. Byzantine; Eastern Mediterranean. Date: 401 AD-600 AD. Dimensions: 23 × 17.1 × 2.8 cm (9 × 6 3/4 × 1 1/8 in.). Glass, blown technique. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX7JB3–Flat Flask. Byzantine; Eastern Mediterranean. Date: 401 AD-600 AD. Dimensions: 23 × 17.1 × 2.8 cm (9 × 6 3/4 × 1 1/8 in.). Glass, blown technique. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Fragment of a Plate. Byzantine; Greece, Corinth or Sparta, or Cyprus. Date: 1101-1400. Dimensions: 2.5 × 13.3 × 10.8 cm (1 × 5 1/4 × 4 1/4 in.). Ceramic. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX1583–Fragment of a Plate. Byzantine; Greece, Corinth or Sparta, or Cyprus. Date: 1101-1400. Dimensions: 2.5 × 13.3 × 10.8 cm (1 × 5 1/4 × 4 1/4 in.). Ceramic. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Fragment of a Bowl. Byzantine; Greece, Serres or Cyprus. Date: 1201-1400. Dimensions: 3.2 × 10.5 × 10.5 cm (1 1/4 × 4 1/8 × 4 1/8 in.). Ceramic. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX54P7–Fragment of a Bowl. Byzantine; Greece, Serres or Cyprus. Date: 1201-1400. Dimensions: 3.2 × 10.5 × 10.5 cm (1 1/4 × 4 1/8 × 4 1/8 in.). Ceramic. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

Mosaic Fragment with Grazing Camel. Byzantine; Eastern Mediterranean, probably Syria. Date: 301 AD-500 AD. Dimensions: 143 × 166.5 × 6.5 cm (56 1/4 × 61 1/2 × 2 1/2 in.). Stone in mortar. Origin: Byzantine Empire. Museum: The Chicago Art Institute. Stock Photo

RMRX156A–Mosaic Fragment with Grazing Camel. Byzantine; Eastern Mediterranean, probably Syria. Date: 301 AD-500 AD. Dimensions: 143 × 166.5 × 6.5 cm (56 1/4 × 61 1/2 × 2 1/2 in.). Stone in mortar. Origin: Byzantine Empire. Museum: The Chicago Art Institute.

One of a Pair of Temple Pendants, with Confronted Birds (front) and Human Heads (back). Culture: Kievan Rus'. Dimensions: Overall: 1 7/8 x 1 11/16 x 7/16 in. (4.7 x 4.3 x 1.1 cm). Date: 11th-12th century. When Kievan Rus, a powerful new state to the north of the Byzantine Empire, accepted Christianity as its official religion in 988, the aristocracy also adopted the manners and dress of the Byzantine court. Local artists soon produced their own versions of Constatinopolitan fashions. This temple pendant of precious metals worked in cloisonné enamel or niello are local variants of the more int Stock Photo

RMPB5AME–One of a Pair of Temple Pendants, with Confronted Birds (front) and Human Heads (back). Culture: Kievan Rus'. Dimensions: Overall: 1 7/8 x 1 11/16 x 7/16 in. (4.7 x 4.3 x 1.1 cm). Date: 11th-12th century. When Kievan Rus, a powerful new state to the north of the Byzantine Empire, accepted Christianity as its official religion in 988, the aristocracy also adopted the manners and dress of the Byzantine court. Local artists soon produced their own versions of Constatinopolitan fashions. This temple pendant of precious metals worked in cloisonné enamel or niello are local variants of the more int

One of a Pair of Temple Pendants, with Busts of Male Saints Holding Martyr's Cross (front) and Leaf and Rosette Motifs (back). Culture: Kievan Rus'. Dimensions: Overall: 2 1/8 x 1 7/8 x 9/16 in. (5.4 x 4.8 x 1.5 cm). Date: 11th-12th century. When Kievan Rus, a powerful new state to the north of the Byzantine Empire, accepted Christianity as its official religion in 988, the aristocracy also adopted the manners and dress of the Byzantine court. Local artists soon produced their own versions of Constatinopolitan fashions. This temple pendant of precious metals worked in cloisonné enamel or niel Stock Photo

RMPB3HNY–One of a Pair of Temple Pendants, with Busts of Male Saints Holding Martyr's Cross (front) and Leaf and Rosette Motifs (back). Culture: Kievan Rus'. Dimensions: Overall: 2 1/8 x 1 7/8 x 9/16 in. (5.4 x 4.8 x 1.5 cm). Date: 11th-12th century. When Kievan Rus, a powerful new state to the north of the Byzantine Empire, accepted Christianity as its official religion in 988, the aristocracy also adopted the manners and dress of the Byzantine court. Local artists soon produced their own versions of Constatinopolitan fashions. This temple pendant of precious metals worked in cloisonné enamel or niel

Infographics of the geographical distribution of Roman Empire in the period of Constantine the Great, who reunified western and Eastern part of the emperor and transferred the capital to Constantinople, which was the prelude of the Byzantine emperor. [QuarkXPress (.qxp); 6188x3921]. Stock Photo

RM2NEBRXM–Infographics of the geographical distribution of Roman Empire in the period of Constantine the Great, who reunified western and Eastern part of the emperor and transferred the capital to Constantinople, which was the prelude of the Byzantine emperor. [QuarkXPress (.qxp); 6188x3921].

RMPP850F–Byzantine art. Eastern Roman Empire. Icon. Crucifixion. 9th-13th century. Byzantine Museum. Athens. Greece.

Infographic about Istanbul, the largest city of Turkey and capital of the Eastern Roman Empire or Byzantine and of the Ottoman Empire. In 1923 Ankara became the capital with the proclamation of the Republic of Turkey. Information about location, population, surface and the most representative places is included. [Adobe InDesign (.indd); 5669x3661]. Stock Photo

RM2NEBWD1–Infographic about Istanbul, the largest city of Turkey and capital of the Eastern Roman Empire or Byzantine and of the Ottoman Empire. In 1923 Ankara became the capital with the proclamation of the Republic of Turkey. Information about location, population, surface and the most representative places is included. [Adobe InDesign (.indd); 5669x3661].

RMPP84P9–Byzantine art. Eastern Roman Empire. Icon. Crucifixion. Rhodes workshop. 15th century. Byzantine Museum. Athens. Greece.

Syria. Rueiha. Dead Cities or Forgotten Cities. Northwest Syria. Roman Empire to Byzantine Christianity. 1st to 7th century, abandoned between 8th-10th centuries. Unesco World Heritage Site. Historical photography (before Civil War Syria). Stock Photo

RMP5509W–Syria. Rueiha. Dead Cities or Forgotten Cities. Northwest Syria. Roman Empire to Byzantine Christianity. 1st to 7th century, abandoned between 8th-10th centuries. Unesco World Heritage Site. Historical photography (before Civil War Syria).

The miracle of the Prince of the Synagogue (Shaliach Tzibor)'s daughter. Raised from the dead by Jesus Christ, Jair's daughter lies on a bed, cooled by a slave with a fan, under armed guard. Soldiers in Byzantine armour, late 9th century. La fille du Prince de la Synagogue, Empire de Byzance, IXe Siecle. Taken from MS 510 G, Bibliotheque Imperiale. Chromolithograph by Franz Kellerhoven after Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6D0YF–The miracle of the Prince of the Synagogue (Shaliach Tzibor)'s daughter. Raised from the dead by Jesus Christ, Jair's daughter lies on a bed, cooled by a slave with a fan, under armed guard. Soldiers in Byzantine armour, late 9th century. La fille du Prince de la Synagogue, Empire de Byzance, IXe Siecle. Taken from MS 510 G, Bibliotheque Imperiale. Chromolithograph by Franz Kellerhoven after Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Greece. Mystras. Church of Evangelistria. Built in 14th-15th Century. Byzantine style. Ottoman Empire. Peloponnese. Stock Photo

RMP50WF1–Greece. Mystras. Church of Evangelistria. Built in 14th-15th Century. Byzantine style. Ottoman Empire. Peloponnese.

RMP4XGTN–Greece. Mystras. Church of Evangelistria. Built in 14th-15th Century. Byzantine style. Ottoman Empire. Peloponnese.

RMPNWK8C–Syria. Rueiha. Dead Cities or Forgotten Cities. Northwest Syria. Roman Empire to Byzantine Christianity. 1st to 7th century, abandoned between 8th-10th century. Unesco World Heritage Site. Historical photography (before Syrian Civil War).

Jesus Christ baptized by an angel in Byzantine costumes, 11th century. From a manuscript Gospels, MS 74 G, Bibliotheque Imperiale. L'ange du bapteme, Empire de Byzance, XIe siecle. Chromolithograph by Giare after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6CW00–Jesus Christ baptized by an angel in Byzantine costumes, 11th century. From a manuscript Gospels, MS 74 G, Bibliotheque Imperiale. L'ange du bapteme, Empire de Byzance, XIe siecle. Chromolithograph by Giare after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

King Solomon on his throne with advisors in Byzantine costume, 11th century. The young prince and bearded old sages with gold bands on their shoulders. From a manuscript Gospels, MS 74 G, Bibliotheque Imperiale. Salomon, Empire de Byzance, XIe siecle. Chromolithograph by Giare after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T69Y3J–King Solomon on his throne with advisors in Byzantine costume, 11th century. The young prince and bearded old sages with gold bands on their shoulders. From a manuscript Gospels, MS 74 G, Bibliotheque Imperiale. Salomon, Empire de Byzance, XIe siecle. Chromolithograph by Giare after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Jesus Christ and the apostles in Byzantine costume, 11th century. All with their right hand in their robes, a Byzantine pose. From a manuscript Gospels, MS 74 G, Bibliotheque Imperiale. Jesus et les apotres, Empire de Byzance, XIe siecle. Chromolithograph by Giare after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6A0H6–Jesus Christ and the apostles in Byzantine costume, 11th century. All with their right hand in their robes, a Byzantine pose. From a manuscript Gospels, MS 74 G, Bibliotheque Imperiale. Jesus et les apotres, Empire de Byzance, XIe siecle. Chromolithograph by Giare after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Steelyard Weight with the Bust of a Woman. Culture: Byzantine. Dimensions: 5 1/16 × 3 1/16 × 1 15/16 in., 2 lb. (12.8 × 7.8 × 5 cm, 891g). Date: 4th century. The Egyptian goddess Isis, who became a popular divinity throughout the Roman Empire, may be represented on this weight. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMRC5XPN–Steelyard Weight with the Bust of a Woman. Culture: Byzantine. Dimensions: 5 1/16 × 3 1/16 × 1 15/16 in., 2 lb. (12.8 × 7.8 × 5 cm, 891g). Date: 4th century. The Egyptian goddess Isis, who became a popular divinity throughout the Roman Empire, may be represented on this weight. Museum: Metropolitan Museum of Art, New York, USA.

Saint Leonce of Tripoli, Phoenician soldier and martyr, 4th century. In Byzantine military costume of the 11th century. From a painting by Dominique Papety made in the Agia Lavra Monastery, Mt. Athos, now in the Louvre. Saint Leonce, Empire de Byzance, XIe Siecle. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T69WEH–Saint Leonce of Tripoli, Phoenician soldier and martyr, 4th century. In Byzantine military costume of the 11th century. From a painting by Dominique Papety made in the Agia Lavra Monastery, Mt. Athos, now in the Louvre. Saint Leonce, Empire de Byzance, XIe Siecle. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Saint George, or George of Lydda, Christian saint and martyr, died 303.. In Byzantine military costume of the 11th century. From a painting by Dominique Papety made in the Agia Lavra Monastery, Mt. Athos, now in the Louvre. Saint Georges, Empire de Byzance, XIe siecle. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T68NAH–Saint George, or George of Lydda, Christian saint and martyr, died 303.. In Byzantine military costume of the 11th century. From a painting by Dominique Papety made in the Agia Lavra Monastery, Mt. Athos, now in the Louvre. Saint Georges, Empire de Byzance, XIe siecle. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Saint Mercurius, Greek soldier and Christian martyr, 224-250. In Byzantine military costume of the 11th century. From a painting by Dominique Papety made in the Agia Lavra Monastery, Mt. Athos, now in the Louvre. Saint Mercure, Empire de Byzance, XIe siecle. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T6A0J3–Saint Mercurius, Greek soldier and Christian martyr, 224-250. In Byzantine military costume of the 11th century. From a painting by Dominique Papety made in the Agia Lavra Monastery, Mt. Athos, now in the Louvre. Saint Mercure, Empire de Byzance, XIe siecle. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

The resurrection of Jesus Christ in Byzantine costume, 11th century. Christ stands on a hill with various implements of the Passion (nails, key, hammer, wood) and invites doubting Thomas to touch his wounds. Other apostles stand in the empty tomb. Bibliotheque Imperiale, MS 74 G. La Resurrection, Empire de Byzance, XIe siecle. Chromolithograph by A. Giare after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T68NBY–The resurrection of Jesus Christ in Byzantine costume, 11th century. Christ stands on a hill with various implements of the Passion (nails, key, hammer, wood) and invites doubting Thomas to touch his wounds. Other apostles stand in the empty tomb. Bibliotheque Imperiale, MS 74 G. La Resurrection, Empire de Byzance, XIe siecle. Chromolithograph by A. Giare after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Saint Jacob of Nisibis, bishop who saved his city from a siege by King Shapur II of Persia, died c. 338. In Byzantine military costume of the 11th century. From a painting by Dominique Papety made in the Agia Lavra Monastery, Mt. Athos, now in the Louvre. Saint Jacques le Persan, Empire de Byzance, XIe siecle. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858. Stock Photo

RM2T697CJ–Saint Jacob of Nisibis, bishop who saved his city from a siege by King Shapur II of Persia, died c. 338. In Byzantine military costume of the 11th century. From a painting by Dominique Papety made in the Agia Lavra Monastery, Mt. Athos, now in the Louvre. Saint Jacques le Persan, Empire de Byzance, XIe siecle. Chromolithograph by Emile Beau after an illustration by Claudius Joseph Ciappori from Charles Louandres Les Arts Somptuaires, The Sumptuary Arts, Hangard-Mauge, Paris, 1858.

Marble portrait head of the Emperor Constantine I. Culture: Roman. Dimensions: 37 1/2 × 23 × 26 1/2 in., 1100 lb. (95.3 × 58.4 × 67.3 cm, 499 kg). Date: ca. A.D. 325-370. Constantine the Great was the first Christian emperor of Rome, and his reign had a profound effect on the subsequent development of the Roman, later Byzantine, world. By 325 he had succeeded in reunifying the empire, having defeated the last of his former tetrarchic colleagues, the eastern emperor Licinius. He thereafter aimed to establish a new dynasty and to found a new capital, named Constantinople after himself. Christia Stock Photo

RMPATC96–Marble portrait head of the Emperor Constantine I. Culture: Roman. Dimensions: 37 1/2 × 23 × 26 1/2 in., 1100 lb. (95.3 × 58.4 × 67.3 cm, 499 kg). Date: ca. A.D. 325-370. Constantine the Great was the first Christian emperor of Rome, and his reign had a profound effect on the subsequent development of the Roman, later Byzantine, world. By 325 he had succeeded in reunifying the empire, having defeated the last of his former tetrarchic colleagues, the eastern emperor Licinius. He thereafter aimed to establish a new dynasty and to found a new capital, named Constantinople after himself. Christia

BYZANTINE ART. REPUBLIC OF ALBANIA. Frescoes in Lekuresi Castle. Saranda. Stock Photo

RMP4XM7B–BYZANTINE ART. REPUBLIC OF ALBANIA. Frescoes in Lekuresi Castle. Saranda.

Narses (478–573). General in the service of the Byzantine Emperor Justinian I. Stock Photo

RMP4XJ5J–Narses (478–573). General in the service of the Byzantine Emperor Justinian I.

Triptych Casanatense: Triptych with Deesis and saints. Museum: Museo Nazionale del Palazzo di Venezia, Rome. Author: Byzantine Master. Stock Photo

RM2RHNDNP–Triptych Casanatense: Triptych with Deesis and saints. Museum: Museo Nazionale del Palazzo di Venezia, Rome. Author: Byzantine Master.

The Byzantine Empress Theodora I in her imperial box in the Hippodrome of Constantinople. Museum: PRIVATE COLLECTION. Author: Louis Héctor Leroux (Le Roux). Stock Photo

RM2R6T8X9–The Byzantine Empress Theodora I in her imperial box in the Hippodrome of Constantinople. Museum: PRIVATE COLLECTION. Author: Louis Héctor Leroux (Le Roux).

Byzantine commerce was based on base sheets. It was the financial pillar of their economy. [QuarkXPress (.qxp); 6188x3921]. Stock Photo

RM2NEBR7P–Byzantine commerce was based on base sheets. It was the financial pillar of their economy. [QuarkXPress (.qxp); 6188x3921].

BYZANTINE ART. GREECE. Liturgical roll. Byzantine Museum. Athens. Stock Photo

RMP50N7M–BYZANTINE ART. GREECE. Liturgical roll. Byzantine Museum. Athens.

RMP4XF7Y–BYZANTINE ART. REPUBLIC OF ALBANIA. Frescoes in Lekuresi Castle. Saranda.

RMP5128P–BYZANTINE ART. REPUBLIC OF ALBANIA. Frescoes in Lekuresi Castle. Saranda.

The repulsion of the Russian attack on Constantinople in 941 by the Byzantine fleet (Miniature from the Madrid Skylitzes). Museum: Biblioteca Nacional, Madrid. Stock Photo

RMP9BG93–The repulsion of the Russian attack on Constantinople in 941 by the Byzantine fleet (Miniature from the Madrid Skylitzes). Museum: Biblioteca Nacional, Madrid.

Byzantine art. Capital decorated with a relief of a woman. Byzantine Museum. Athens. Greece. Stock Photo

RMP6T4TM–Byzantine art. Capital decorated with a relief of a woman. Byzantine Museum. Athens. Greece.

RMRCX489–The Feast of Orthodoxy. Museum: BRITISH MUSEUM. Author: Byzantine icon.

Infographic of the Basilica of St. Sophia of Constantinople (Istanbul), built in the VIth century on the orders of the Byzantine emperor Justinian. [Adobe InDesign (.indd); 5078x3248]. Stock Photo

RM2NEC0HG–Infographic of the Basilica of St. Sophia of Constantinople (Istanbul), built in the VIth century on the orders of the Byzantine emperor Justinian. [Adobe InDesign (.indd); 5078x3248].

Infographic about the Battle of Manzikert (East of current Turkey, 1071), in which the Byzantine army was defeated by Seljuk Turks. [Adobe InDesign (.indd); 5078x3188]. Stock Photo

RM2NEC271–Infographic about the Battle of Manzikert (East of current Turkey, 1071), in which the Byzantine army was defeated by Seljuk Turks. [Adobe InDesign (.indd); 5078x3188].

Constantine IV (652-685). Byzantine Emperor from and his retinue granting privilege to the Ravennate church. Mosaic. Basilica of Sant'Apollinare in Classe. Ravenna. Italy. Stock Photo

RMP6HFR4–Constantine IV (652-685). Byzantine Emperor from and his retinue granting privilege to the Ravennate church. Mosaic. Basilica of Sant'Apollinare in Classe. Ravenna. Italy.

Byzantine art. Capital decorated with relief of cupid on a peacock. Byzantine Museum. Athens. Greece. Stock Photo

RMP6T4TN–Byzantine art. Capital decorated with relief of cupid on a peacock. Byzantine Museum. Athens. Greece.

BYZANTINE ART. Hodegetria Church or Aphendiko Church. Built in 1310. Outside view. Mystras. Province of Lakonia. Peloponnese. Stock Photo

RMP512BX–BYZANTINE ART. Hodegetria Church or Aphendiko Church. Built in 1310. Outside view. Mystras. Province of Lakonia. Peloponnese.

Byzantine Art. Syria. 5th Century. Basilica of St. Simeon (476-491). Courtyard with the remains of the St. Simeon column. Around Aleppo. Stock Photo

RMP4XN86–Byzantine Art. Syria. 5th Century. Basilica of St. Simeon (476-491). Courtyard with the remains of the St. Simeon column. Around Aleppo.

Pursuit of Sviatoslav's warriors by the Byzantine army (Miniature from the Madrid Skylitzes). Museum: Biblioteca Nacional, Madrid. Stock Photo

RMP9BG94–Pursuit of Sviatoslav's warriors by the Byzantine army (Miniature from the Madrid Skylitzes). Museum: Biblioteca Nacional, Madrid.

Byzantine art. Column capitals decorated with marble relief of a flower.12th century. Byzantine Museum. Athens. Greece. Stock Photo

RMP78TAC–Byzantine art. Column capitals decorated with marble relief of a flower.12th century. Byzantine Museum. Athens. Greece.

Infographic about the Byzantine dromon, a war ship prototype that appeared between the 6th and 13th centuries. [Adobe InDesign (.indd); 5078x3188]. Stock Photo

RM2NEC5DH–Infographic about the Byzantine dromon, a war ship prototype that appeared between the 6th and 13th centuries. [Adobe InDesign (.indd); 5078x3188].

Eastern Roman Empire. Byzantines (400-600). Women's dress with long tunic. Chromolithography. 'Historia Universal', by César Cantú. Volume III, 1882. Stock Photo

RM2R19KCN–Eastern Roman Empire. Byzantines (400-600). Women's dress with long tunic. Chromolithography. 'Historia Universal', by César Cantú. Volume III, 1882.

Infographic about the basilica of St. Sophia in Constantinople (today Istanbul), paradigm of Byzantine architecture, and the main characteristics of Byzantine art. [QuarkXPress (.qxp); Adobe InDesign (.indd); 4960x3188]. Stock Photo

RM2NEBGCY–Infographic about the basilica of St. Sophia in Constantinople (today Istanbul), paradigm of Byzantine architecture, and the main characteristics of Byzantine art. [QuarkXPress (.qxp); Adobe InDesign (.indd); 4960x3188].

John VIII Palaiologos or Palaeologus (1392-1448). Penultimate reigning Byzantine Emperor, ruling from 1425 to 1448. Engraving. Stock Photo

RMPP6R10–John VIII Palaiologos or Palaeologus (1392-1448). Penultimate reigning Byzantine Emperor, ruling from 1425 to 1448. Engraving.

Byzantine art. Tree of life between two lions. Relief. 12th century. Byzantine Museum. Athens. Greece. Stock Photo

RMP78TA1–Byzantine art. Tree of life between two lions. Relief. 12th century. Byzantine Museum. Athens. Greece.

Basil II, surnamed the Bulgar-slayer (958-1025). Byzantine emperor (976-1025) from de Macedonian Dynasty. Detail from the Menologion of Basil II. 10th Century. Miniature. Vatican Apostolic Library. Italy. Stock Photo

RMP50C9K–Basil II, surnamed the Bulgar-slayer (958-1025). Byzantine emperor (976-1025) from de Macedonian Dynasty. Detail from the Menologion of Basil II. 10th Century. Miniature. Vatican Apostolic Library. Italy.

BYZANTINE ART. Hodegetria Church or Aphendiko Church. Built in 1310. Inside view. The central nave. Mystras. Province of Lakonia. Peloponnese. Stock Photo

RMP512WW–BYZANTINE ART. Hodegetria Church or Aphendiko Church. Built in 1310. Inside view. The central nave. Mystras. Province of Lakonia. Peloponnese.

BYZANTINE ART. Saints Theodore Church. Built between 1290 and 1295 is one of the oldest church in Mistras. Outside view.Province of Lakonia. Peloponnese. Stock Photo

RMP50PK6–BYZANTINE ART. Saints Theodore Church. Built between 1290 and 1295 is one of the oldest church in Mistras. Outside view.Province of Lakonia. Peloponnese.