The Nativity. Sinai, 7 c

the Pyrovolitheisa from Vatopedi

When, in 1822, the Holy Mountain was occupied by a Turkish garrison, a soldier dared to shoot at the icon of the Theotokos on the outside of the Monastery, above the entrance. The bullet damaged the right hand of the Theotokos, and the sacrilegious culprit, who was a nephew of the commander of the squad, went mad and hanged himself from an olive tree in the garden opposite the entrance to the Monastery. Now the Monastery was in grave danger of reprisals and looting, but a fellow-soldier of the suicide realised what was going on and told his uncle. The commander admitted that this was indeed a case of divine retribution and ordered that his nephew's body should be denied burial.

Virgin enthroned Sinai 6 c

This outstanding icon has survived in two pieces, unskillfully joined together with wire. It represents the Virgin enthroned, supporting the Child Christ in her lap and flanked by two warrior Saints, the bearded St. Theodore Stratelates on the right and the beardless St. George on the left, both standing in formal pose. Two Archangels are pictured behind the central group, their wide-open eyes staring with awe at the hand of God which descends from heaven emitting a beam of light towards the head of the Holy Virgin. Portrayed frontally, on a slightly larger scale than the rest of the figures composing the icon, the Virgin is seated on the red cushion of the pearl-studded throne, dressed in a dark blue maphorion (veil), her feet in purple shoes resting on a golden footrest adorned with pearls. An intense realism is reflected in the Virgin's white and pink face painted with ample highlights and greed shades, in her strongly accentuated features and large dissimilar eyes with their vivid glance. The Christ Child is pictured seated in a remarkably easy and comfortable pose on His mother's lap. The two Archangels, with their different haloes but otherwise perfectly uniform treatment and classical rendering, form a splendid complement to the central group.
Generally speaking, this icon presents a synthesis of the hieratic character of religious art and the profound meaning of theological doctrine. It symbolizes the mystery of the incarnation of Christ made man and the glory of the Mother of God. This justifies the intense expression of the countenances, the solemn attitudes of the Saints present at the glory of the Mother of God, the awed attention of the Archangels who "behold" the mystery of the incarnation.
The icon is dominated by the formal severity and hieratic character of monumental art in Justinian's age. It also reflects the splendor of the imperial court, particularly in the Saints' attires, and clearly betrays the continuation of Hellenistic tradition in the treatment of the Archangels. This masterpiece, therefore, has been dated by most scholars in the age of Justinian and attributed to an imperial atelier of Constantinople. However, it should be noted that some other scholars maintain that this icon is a Syro-Palestinian work.

It was painted using the encaustic technique and is believed to date to the 6th century (70X49 m)

Virgin and Child from Sinai 6 c

35.5 x 25.5 cm. Encaustic. 6th century. Kiev.
Slightly contraposto Mary is clad in a purple maphorion, yellow ochre chiton and embroidered stole; Christ in purple garment. Gold leaf in striations and haloes. Panel has been cut down, perhaps considerably; possibly the original was full length.

Now all this was done, that it might be fulfilled which was spoken of the Lord by the prophet, saying, Behold, a virgin shall be with child, and shall bring forth a son, and they shall call his name Emmanuel, which being interpreted is, God with us.

Matthew 1:22-23

http://campus.belmont.edu/honors/SinaiIcons/SinaiIcons.html

Deesis Hagia Sofia

Although the exact date of the creation of the mosaic is unknown. There are no surviving Byzantine writings that mention it and Byzantine artists usuially did not sign their works. Based on style it is possible to attribute the mosaic to a specific period of Byzantine art from late 12th to mid 13th centuries. It is believed that the mosaic either dates from 1185 - 1204 (in 1204 the city fell to Crusading armies ending all artsistic patronage in the city) - or just after 1261 when the Byzantines regained their capital from the Latin invaders.

http://mosaicartsource.wordpress.com/2007/01/19/john-the-baptist-mosaic/
http://www.pallasweb.com/deesis/history.html