Editing Madonna (art) (section)

===Byzantine influence on the West===
[[File:Italo-Byzantinischer Maler des 13. Jahrhunderts 001.jpg|thumb|upright|13th century ''Madonna with Child'' in the [[Italo-Byzantine]] style]]

Very few early images of the Virgin Mary survive, though the depiction of the Madonna has roots in ancient pictorial and sculptural traditions that informed the earliest Christian communities throughout Europe, Northern Africa and the Middle East.  Important to Italian tradition are [[Byzantine art|Byzantine]] [[icons]], especially those created in [[Constantinople]] (Istanbul), the capital of the longest, enduring [[medieval]] civilization whose icons participated in civic life and were celebrated for their miraculous properties.  Byzantium (324–1453) saw itself as the true [[Ancient Rome|Rome]], if [[Greek language|Greek]]-speaking, Christian empire with colonies of Italians living among its citizens, participating in [[Crusades]] at the borders of its land, and ultimately, plundering its churches, palaces and monasteries of many of its treasures.  Later in the [[Middle Ages]], the [[Cretan school]] was the main source of icons for the West, and the artists there could adapt their style to Western [[iconography]] when required.

While theft is one way that Byzantine images made their way West to Italy, the relationship between Byzantine icons and Italian images of the Madonna is far more rich and complicated.  Byzantine art played a long, critical role in Western Europe, especially when Byzantine territories included parts of Eastern Europe, Greece and much of Italy itself.  Byzantine manuscripts, ivories, gold, silver and [[Byzantine silk|luxurious textiles]] were distributed throughout the West.  In Byzantium, Mary's usual title was the [[Theotokos]] or Mother of God, rather than the Virgin Mary and it was believed that [[salvation]] was delivered to the faithful at the moment of God's [[incarnation]]. That [[theological]] concept takes pictorial form in the image of Mary holding her infant son.

However, what is most relevant to the Byzantine heritage of the Madonna is twofold.  First, the earliest surviving independent images of the Virgin Mary are found in Rome, the center of Christianity in the medieval West.  One is a valued possession of [[Santa Maria in Trastevere]], one of the many Roman churches dedicated to the Virgin Mary.  Another, a splintered, repainted ghost of its former self, is venerated at the [[Pantheon, Rome|Pantheon]], that great architectural wonder of the Ancient [[Roman Empire]], that was rededicated to Mary as an expression of the Church's triumph.  Both evoke Byzantine tradition in terms of their medium, that is, the technique and materials of the paintings, in that they were originally painted in [[tempera]] (egg yolk and ground pigments) on wooden panels.  In this respect, they share the Ancient Roman heritage of Byzantine icons.  Second, they share [[iconography]], or subject matter.  Each image stresses the maternal role that Mary plays, representing her in relationship to her infant son.  It is difficult to gauge the dates of the cluster of these earlier images, however, they seem to be primarily works of the 7th and 8th centuries.