(artist(s) unknown) (l.6th). Virgin and Child with Saints and Angels [encaustic on wood]. Monastery of Saint Catherine, Mount Sinai, Egypt.

The development of forms in this work carries an undeniable reference to the realism preferred during the Roman Empire. In fact, realism slightly edges out abstraction, which is quite surprising because this work is decidedly Middle Byzantine. Symmetrical order prevails, of course; it is a near-horizontal reflection in perception, weight and energy. Of particular note, in my opinion, are the delicately realistic clothing folds, patterning that conforms not to the picture plane but to the surface they develop and formal modelling. Adding to the realism are the indirect gazes of all but the far-right figure, Saint George.

The pictorial arrangement of the figures is typical of Byzantine expression. The composition is exceedingly dense with little negative space. The Virgin and Child are saturated in formal choices referencing their royalty. This and the repeated framing of their forms by the throne and surrounding figures in addition to their central location place primary focus on them. The flanking Saints are wearing garb similar to Justinian's and Theodora's attendants in their mosaics at the Church of San Vitale. There is an unmistakable vertical "flow" to this work, which ends up carrying the eye upward and off the canvas as it follows the heavenward gazes of the two angels in the background.

A distinctive textural and sense of depth development, in addition to chromatic royal purples and golds, serve to harmonize this rendering. A pleasing and intuitive distribution of contrasting hues and associated values keep the eye moving around the canvas, though it does strongly favor organization. The artist has created an interesting interplay of circular forms and vertical edges. Though this work is formally and emotionally stable, it somehow avoids becoming too static.

Clearly the Virgin was a highly regarded figure to the Byzantines, inseparable from the exhaustive sense of devotion they demonstrated to her Son. In this case, she is regarded as the seat of wisdom, a throne for Christ as she was his vessel, due in large part to her association as an intermediary between heaven and Earth partially through her association with forgiveness.