A Painting In studying their prototypes the Byzantine artists learned anew the classical conventions for depicting the clothed figure, in which the drapery clings to the body, thus revealing the forms beneath-the so-called damp-fold style. They also wanted to include modeling in light and shade, which not only produces the illusion of three-dimensionality but also lends animation to the painted surfaces. Religious images, however, were only acceptable as long as the human figure was not represented as an actual bodily presence. The artists solved the problem by abstraction, that is, by rendering the darks, halftones, and lights as clearly differentiated patterns or as a network of lines on a flat surface, thus preserving the visual interest of the figure while avoiding any actual modeling and with it the semblance of corporeality. Thus were established those conventions for representing the human figure that endured for the remaining centuries of Byzantine art.
             B Architecture In contrast to the artistic experimentations in the Justinian age, the mid-Byzantine period was one of consolidation. Recurring types of the centralized church were established, and the program of their mosaic decoration was systematized in order to conform to Orthodox beliefs and practices.
             A common type of the mid-Byzantine centralized church was the cross-in-the-square. As at Hagia Sophia, its most prominent feature was the central dome over a square area, from which now radiated the four equal arms of a cross. The dome was usually supported, however, not by pendentives but by squinches (small arches) set diagonally in the corners of the square. The lowest portions of the interior were confined to the small areas that lay between the arms of the cross and the large square within which the whole church was contained.
             Under imperial sponsorship, Early Christian architecture flourished throughout the empire on a monumental scale. Buildings were of two ty...