Are you passionate about art and want to work on excavations around the world? This program will help you achieve it" 

Art has become a universal means for human beings to express themselves. This has been the case since the era of the first men, who painted their experiences in caves to tell others where food was stored or even how to properly hunt prey. Therefore, drawing techniques have been fundamental for the development of archeology, since they allow us to understand concepts that cannot be expressed in words.  

In this sense, studying history through Art and Archeology is fundamental to organize the information in a coherent manner and favor the transmission of knowledge to future generations. In addition to training any specialist to carry out studies to determine the veracity of a canvas or to participate in its restoration. For all these reasons, this Master's Degree has been designed to help students achieve various professional objectives, from participating in Greco-Roman-inspired urban planning works to working on archeological excavations from anywhere in the world.  

Thus, the program begins by exploring the contributions of ancient history and its influence on the cultural, political and socioeconomic foundations of today, prioritizing the lines of thought of each people. Then, the origins of the history of art and certain basic elements of anthropology and archeology will be analyzed, the former being responsible for studying the human being in an integral way, taking into account the feature that they do not share with animals: culture.  

A distinction will also be made between the art and culture of India, Africa, Asia and the Middle East, taking into account a key period in these societies: the Middle Ages. On the other hand, students will be motivated to recognize the characters of classical mythology, such as Zeus, Hera, Poseidon, among others; comparing their iconographies with those found in the Christian religion.  

This program covers all the relevant topics to help students develop in different research and cultural development projects, offering a complete agenda that adapts to the needs of the professional field. All this, moreover, condensed in a completely online modality and with continuous access regardless of the place where the future graduate is located.

History, from an artistic point of view, helps to understand the form of communication of ancient civilizations" 

This Master's Degree in Art and Archeology contains the most complete and up-to-date scientific program on the market. The most important features include:   

• The development of case studies presented by experts in art and archeology
• The graphic, schematic, and eminently practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice 
• Practical exercises where self-assessment can be used to improve learning 
• Its special emphasis on innovative methodologies   
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments  
• Content that is accessible from any fixed or portable device with an Internet connection  

To be able to distinguish the iconographic elements and to which period they belong is a great quality of the artists" 

The program’s teaching staff includes professionals from the sector who contribute their work experience to this training program, as well as renowned specialists from leading societies and prestigious universities.   

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive training programmed to train in real situations.   

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

You will have access to the virtual classroom from anywhere in the world. Register now to get started"

You will learn, through case studies, how to differentiate between different cultures and civilizations"

The content of this Master's Degree in Art and Archeology is structured in a syllabus with 10 modules, which have been carefully selected by the group of experts in charge of teaching each class. In this way, not only is the content up to date, but it also covers all the requirements of an ever-shrinking and increasingly select professional market.  

What can an archeologist specializing in art do? The answers are endless and you will find them all thanks to this program" 

Module 1.  History of Antiquity I 

1.1. Introduction to Ancient History 

1.1.1. Concept of Ancient History 
1.1.2. Geographic Framework 
1.1.3. General Features of Ancient History 
1.1.4. Chronology 

1.2. The Urban Revolution and the Formation of the State 

1.2.1. Origins (c. 15000-9500 B.C.) 
1.2.2. Neolithic in the Near East (9,500-7000 B.C.) 
1.2.3. The Urban Revolution in Mesopotamia (c. 7000-5100 B.C.) 

1.3. Mesopotamia in the 3rd Millennium B.C. and Egypt from the Tinite Stage to the First Intermediate Period 

1.3.1. Mesopotamia in the 3rd Millennium B.C.
1.3.2. The Tinite Stage in Egypt 
1.3.3. The Old Kingdom (III-VI dynasty)  
1.3.4. First Intermediate Period (VII-XI Dynasties) 

1.4. II Millennium B.C..  

1.4.1. The Paleobabylonian Stage   
1.4.2. New Populations: Hittites and Hurrians 
1.4.3. Late Bronze Age 

1.5. Egypt in the Middle Kingdom and the Second Intermediate Period 

1.5.1. The Middle Kingdom: the XI and XII Dynasties   
1.5.2. The Second Intermediate Period (XIII-XVII dynasties)  

1.6. Mesopotamia in the 1st Millennium 

1.6.1. The Assyrian Empire (934-609) 
1.6.2. The Neo-Babylonian Empire (626-539 B.C.) 

1.7. Egypt: The New Egyptian Kingdom 

1.7.1. The XVIII Dynasty 
1.7.2. The XIX Dynasty  
1.7.3. The XX Dynasty 

1.8. Egypt in the Third Intermediate Period 

1.8.1. The XXI Dynasty   
1.8.2. The Libyan Dominion: XXII and XXIII Dynasties 
1.8.3. The XXIV Dynasty 
1.8.4. The XXV Dynasty: Nubia Dominates Egypt 

1.9. The Late Egyptian Period (664-332 B.C.) 

1.9.1. The XXVIth Dynasty or Saite Stage 
1.9.2. XXVII to XXXI Dynasties 

10.1. The Persian Empire 

10.1.1. Introduction  
10.1.2. The Zenith of the Empire: Darius I (521-486 B. C) 
10.1.3. Xerxes I (486-465 B. C) 
10.1.4. Monarchs People between 465 and 330 B.C.

Module 2. Ancient Art I 

2.1. Prehistory The Origins of Art 

2.1.1. Introduction 
2.1.2. Figuration and Abstraction in Prehistoric Art 
2.1.3. The Art of the Paleolithic Hunters   
2.1.4. Origin of Paint 
2.1.5. Naturalism and Magic  
2.1.6. Artist, Shaman and Hunter  
2.1.7. The Importance of the Caves of Altamira 

2.2. Neolithic First Farmers and Ranchers  

2.2.1. Domestication of Animals and Plants, and the First Settlements 
2.2.2. Everyday Life as an Artistic Theme 
2.2.3. Figurative Art 
2.2.4. Levantine Art 
2.2.5. Schematic Art, Ceramics and Body Ornamentation 
2.2.8. Megalithic Constructions 

2.3. Egypt Predynastic and Ancient Empire Art 

2.3.1. Introduction 
2.3.2. The First Dynasties    
2.3.3. Architecture    

2.3.3.1. Mastabas and Pyramids  
2.3.3.2. The Pyramids of Giza    

2.3.4. The Sculpture of the Ancient Empire   

2.4. Egyptian Art of the Middle and New Empires 

2.4.1. Introduction 
2.4.2. The Architecture of the New Empire 
2.4.3. The Great Temples of the New Empire  
2.4.4. Sculpture 
2.4.5. The Revolution of Tell el-Amarna 

2.5. Late Egyptian Art and the Evolution of Painting 

2.5.1. The Last Period of Egyptian History   
2.5.2. The Last Temples   
2.5.3. The Evolution of Egyptian Painting  

2.5.3.1. Introduction 
2.5.3.2. The Technique 
2.5.3.3. The Topics 
2.5.3.4. The Evolution 

2.6. Early Mesopotamian Art 

2.6.1. Introduction 
2.6.2. Mesopotamian Protohistory    
2.6.3. The First Sumerian Dynasties    
2.6.4. Architecture  

2.6.4.1. Introduction 
2.6.4.2. The Temple   

2.6.5. Akkadian Art   
2.6.6. The Period Considered Neo-Enumerical 
2.6.7. The Importance of Lagash  
2.6.8. The Fall of Ur  
2.6.9. Elamite Art 

2.7. Babylonian and Assyrian Art     

2.7.1. Introduction 
2.7.2. The Kingdom of Mari 
2.7.3. The Early Babylonian Period 
2.7.4. The Code of Hammurabi 
2.7.4. The Assyrian Empire 
2.7.5. Assyrian Palaces and Their Architecture 
2.7.6. Assyrian Fine Arts 
2.7.7. The Fall of the Babylonian Empire and Neo-Babylonian Art 

2.8. The Art of the Hittites 

2.8.1. The Background and Formation of the Hittite Empire  
2.8.2.  Wars against Assyria and Egypt 
2.8.3. The Hatti Period and Its First Stage  
2.8.4. The Ancient Kingdom of the Hittites The Empire  
2.8.5. The Dark Ages of the Hittite Culture   

2.9. Phoenician Art   

2.9.1. Introduction 
2.9.2. The People of the Sea 
2.9.3. Importance of Purple 
2.9.3. Influences from Egypt and Mesopotamia  
2.9.4. Phoenician Expansion  

2.10. Persian Art 

2.10.1. The Expansion of the Medes and the Destruction of the Assyrian Empire 
2.10.2. The Formation of the Persian Kingdom  
2.10.3. Persian Capitals 
2.10.4. Art in the Palace of Darius at Persepolis 
2.10.5. Funerary Architecture and Eclectic Art 
2.10.6. The Parthian and Sassanid Empire

Module 3. Ancient History II 

3.1. The First Greece  

3.1.1. Cretan-Mycenaean Greece   
3.1.2. The Dark Ages  

3.2. Archaic Greece  

3.2.1. Formation of the Polis  
3.2.2. The Transformation of the Aristocratic Regime  
3.2.3. Economic Evolution: Currency and Trade Development  
3.2.4. Greek Colonization: Causes, Characteristics, and Development  
3.2.5. Sparta and Athens in the Archaic Era  

3.3. Classical Greece  

3.3.1. Medical Wars  
3.3.2. The Athenian Maritime Empire  
3.3.3. Democracy in Athens  
3.3.4. Economy and Agrarian Society in the 5th Century ad. C  
3.3.5. The Peloponnesian War  
3.3.6. Alejandro Magno  

3.4. Hellenistic Greece  

3.4.1. Characteristics of the Hellenistic Realization: The Structure and Organization of the Hellenistic Kingdoms  
3.4.2. Ptolemaic Monarchy  
3.4.3. Greek Cities  
3.4.4. Greek Leagues 
3.4.5. The Hellenistic Economy: General Characteristics  
3.4.6. Hellenistic Society  
3.4.7. Hellenistic Culture  

3.5. The Origins of Rome and Monarchic Rome  

3.5.1. Pre-roman Italy  
3.5.2. The Foundation of Rome  
3.5.3. The City of Romulus  
3.5.4. The First Kings of Rome  
3.5.5. The Etruscans  
3.5.6. Etruscan Kings  

3.6. The Roman Republic  

3.6.1. Origins of the Republic  
3.6.2. The Conflict between Patricians and Plebeians  
3.6.3. Conquest of Italy  
3.6.4. The Government of the Republic  
3.6.5. Mediterranean Expansion: The Punic Wars and the Conquest of the Orient  

3.7.  End of the Republic  

3.7.1. Imperialism and Its Consequences  
3.7.2. Attempts at Reform by the Gracos  
3.7.3. Mario and Sila  
3.7.4. From Pompey to Caesar  
3.7.5. Dissolution of the Republic  

3.8. Augustus and the Principality  

3.8.1. The Creation of the Empire  
3.8.2. The Julio-Claudian Dynasty  
3.8.3. The First Crisis of the Empire: The Year of the Four Emperors  
3.8.4. The Flavian Dynasty  
3.8.5. Antonian Dynasty  

3.9. The Crisis and the Recovery of the Empire  

3.9.1. The Dynasty of the Severi  
3.9.2. The Great Crisis: Military Anarchy  
3.9.3. Diocletian and Tetrarchy  

3.10. Late Antiquity  

3.10.1. The New Empire of Constantine and the Constantian Dynasty  
3.10.2. Emperor Julian  
3.10.3. The Valentinian Era  
3.10.4. Theodosius I and the Theodosian Dynasty  
3.10.5. The Fall of the Empire

Module 4. Ancient Art III 

4.1. Greece Pre-hellenic Art     

4.1.1. Introduction The Different Writing Systems 
4.1.2. Cretan Art 
4.1.3. Mycenaean Art 

4.2. Archaic Greek Art 

4.2.1. Greek Art 
4.2.2. The Origins and Evolution of the Greek Temple 
4.2.3. Architectural Orders 
4.2.4. Sculpture 
4.2.5. Geometric Ceramics 

4.3. Early Classicism   

4.3.1. The Great Panhellenic Sanctuaries 
4.3.2. Free-Standing Sculpture in Classicism 
4.3.3. The Importance of Myron and Polyclitus 
4.3.4. Ceramics and Other Arts 

4.4. Art During the Age of Pericles 

4.4.1. Introduction 
4.4.2. Phidias and the Parthenon 
4.4.3. The Acropolis of Athens  
4.4.4. Other Contributions by Pericles 
4.4.5. Pictorial Art 

4.5. Greek Art of the 4th Century BC. 

4.5.1. The Crisis of the Classical Polis and Its Repercussions for Art 
4.5.2. Praxiteles   
4.5.3. Scopas Drama   
4.5.4. Lysippus' Naturalism 
4.5.5. Funerary Stelae and Greek Painting  

4.6. Hellenistic Art  

4.6.1. Hellenism 
4.6.2. Pathos in Hellenistic Sculpture 
4.6.3. Hellenistic Schools 
4.6.4. Painting and Applied Arts  

4.7. Etruscan Art 

4.7.1. Introduction Etruscan Tombs and Sepulchral Figurines  
4.7.2. Etruscan Religion and Sculptural Production 
4.7.3. Mural Painting and the Minor Arts  

4.8. The Origins of Roman Art and Art in the Age of Augustus and His Successors  

4.8.1. Introduction The First Temples of Rome and the Origins of Roman Portraiture 
4.8.2. Greek Idealism and Latin Naturalism  
4.8.3. The Architecture of the Caesars and the Decoration of Roman Houses  
4.8.4. The Official Portrait and the Sumptuary Arts  

4.9. Art During the Flavian and Antonine Periods, and the Late Roman Period I 

4.9.1. Rome's Great Monuments   
4.9.2. The Pantheon   
4.9.3. Sculpture  

4.10. Art During the Flavian and Antonine Periods, and the Late Roman Period II  

4.10.1. Decorative and Pictorial Styles  
4.10.2. The Crisis of the Lower Empire 
4.10.3. The Dissolution of Classicism in Sculpture

Module 5. Anthropology II 

5.1. Political Anthropology I 

5.1.1. Introduction 
5.1.2. Hunter-Gatherer Societies  
5.1.3. Tribal Societies 
5.1.4. Village Chiefs, Village Councils and Other Institutions  

5.2. Political Anthropology II 

5.2.1. Headquarters  
5.2.2. The States  
5.2.3. From Ancient State to Modern State 

5.3. Anthropology of Beliefs I 

5.3.1. Introduction   
5.3.2. From Evolutionism to Historical Particularism   
5.3.3. From Durkheim and Weber to Functionalism 

5.4. Anthropology of Beliefs II 

5.4.1. Magic: Sorcerers, Witches, Shamans and Divination  
5.4.2. Religion: Supernatural Forces and Beings, and Their Specialists  
5.4.3. Dogmas and Worldviews  

5.5. Anthropology of Beliefs III 

5.5.1. Rituals  
5.5.2. Myths  
5.5.3. Signs, Symbols and Archetypes 

5.6. Gender and Culture  

5.6.1. Ethno-Androcentrism in Anthropology 
5.6.2. Men and Women in the Theoretical Construction  
5.6.3. Anthropology of Women, Feminist Anthropology and Anthropology of Gender 

5.7. Gender Relations in the Classical Currents of Anthropological Thought 

5.7.1. Evolutionism, Matriarchy and Women  
5.7.2. Primitive and Civilized Women  
5.7.3. Nature, Culture and Women   
5.7.4. Materialism and Gender Relations 

5.8. Labor and Gender 

5.8.1. The Sexual Division of Labor 
5.8.2. Production, Reproduction and Forced Fecundity   
5.8.3. Slavery, Women and Production 

5.9. Sex, Gender and Ethnicity  

5.9.1. A Historical-Anthropological Approach to Sex and Race  
5.9.2. Sex, Race and Anthropology Textbooks   
5.9.3. Gender, Race and Slavery  
5.9.4. The Gender Perspective in Development 

5.10. Anthropological Practice in Extreme Situations  

5.10.1. Ethnocide  
5.10.2. Community Violence  
5.10.3. Genocide 

Module 6. African, Islamic, Hindu, Oceanic and Far Eastern Art 

6.1. African Art I 

6.1.1. The First Settlers  
6.1.2. Discovery and Development of African Art 
6.1.3. The Civilizations of Nok and Ife and the Art of the Kingdom of Benin 

6.2. African Art II 

6.2.1. African Wood Carvings 
6.2.2. Ceramic Techniques 
6.2.3. Owo's Style and Afro-Portuguese Art 

6.3. Oceanic Art 

6.3.1. Melanesia and New Guinea 
6.3.2. Art in the Sepik Basin and the Massim Area and the Trobriand Islands  
6.3.3. The Island of New Zealand, Micronesia and Polynesia  
6.3.4. New Zealand, the Hawaiian and Easter Islands, and the Art of the Australian Aborigines  

6.4. Islamic Art 

6.4.1. Introduction  
6.4.2. The Expansion of the Islamic Empire and Its Art 
6.4.3. Islam in Persia, Turkey and India   
6.4.4. Decorative Arts in the Islamic World 

6.5. The Art of Ancient and Classical India   

6.5.1. Historical Context 
6.5.2. Buddhism and Hellenism  
6.5.3. The Gupta Era 

6.6. Medieval Indian Art  

6.6.1. Historical Context Pala Art  
6.6.2. Medieval Architecture    
6.6.3. The Temples According to Their Roof 
6.6.4. The Importance of Doors 
6.6.5. Mysore Style 

6.7. The Plastic Arts of India   

6.7.1. Sculpture 
6.7.2. Painting  
6.7.3. Brahma, the Creator and Shiva, the Destroyer   

6.8. The Art of Southeast Asia 

6.8.1. Khmer Culture and Art 
6.8.2. The Importance of Angkor Wat 
6.8.3. Java and Tailandia 

6.9. The Art of China 

6.9.1. The First Dynasties 
6.9.2. Medieval China and T'ang Classicism  
6.9.3. Song, Yuan, Ming and Tsing Dynasties 

6.10. The Art of Japan 

6.10.1. Historical Context 
6.10.2. The Nara and Heian Periods  
6.10.3. From Samurai Culture to Modern Japan

Module 7. Christian Archeology  

7.1. Introduction 

7.1.1. Definition  
7.1.2. Object of Study 
7.1.3. Sources 
7.1.4. History 
7.1.5. Auxiliary Science of Church History 
7.1.6. Theological Site 

7.2. Paleochristian Burials  

7.2.1. Rites and Beliefs Surrounding Death  
7.2.2. The Martyrs' Tomb 
7.2.3. Legal Ownership 
7.2.4. Open Air Cemeteries 

7.3. Catacombs 

7.3.1. The Enclosure  
7.3.2. Christian Catacombs  
7.3.3. Administration  
7.3.4. Catacombs Elements 
7.3.5. Localisation 

7.4. Roman Catacombs 

7.4.1. San Calixto Cemetery  
7.4.2. Crypt of the Popes 
7.4.3. Sacrament Chapels 
7.4.4. Priscilla Cemetery  
7.4.5. Greek Chapel  
7.4.6. The Arenary  
7.4.7. Domitila Cemetery  
7.4.8. The Martyr's Basilica  
7.4.9. San Sebastian Cemetery or "Ad Catacombs"  
7.4.10. Vatican Cemetery  
7.4.11. St. Peter's Tomb  
7.4.12. St. Peter's Tomb 

7.5. Catacomb Painting  

7.5.1. Features  
7.5.2. General Subject Matter 
7.5.3. Procedures. Symbolism  
7.5.4. Cryptograms  
7.5.5. Iconography  

7.6. Christian Buildings 

7.6.1. Pre-peace Church Buildings 
7.6.2. Domus Ecclesiae 
7.6.3. Titles 
7.6.4. Buildings for Cultural Purposes  
7.6.5. Baptistery 
7.6.6. Diaconies 
7.6.7. Description of the Apocalypse 
7.6.8. Archeological Remains 

7.7. Christian Basilica 

7.7.1. Functional Reason 
7.7.2. Origins  
7.7.3. Components  
7.7.4. The Constantinian Basilicas (St. John Lateran and St. Peter's in the Vatican)  
7.7.5. Cemetery Basilicas  
7.7.6. Palestinian Basilicas  
7.7.7. Other Imperial Basilicas 
7.7.8. Some Peculiarities of the Basilicas of the 4th Century 

7.8. Evolution of the Christian Basilica in the 5th and 6th Centuries 

7.8.1. The Apogee of Basilica Architecture during the 5th Century 
7.8.2. The Vault and the Dome in the 6th Century 
7.8.3. Architectural Elements 
7.8.4. The Centered Floor  
7.8.5. The Great Dome-Covered Temples  
7.8.6. The Reform of St. Peter's in the Vatican 
7.8.7. Other 6th Century Buildings 

7.9. Paleochristian Byzantine Art 

7.9.1. Features  
7.9.2. Architecture 
7.9.3. Mosaics  
7.9.4. Constantinople 
7.9.5. Ravenna 

7.10. Painting and Sculpture  

7.10.1. Painting and Mosaic of the 5th and 6th Centuries 
7.10.2. Away from the Catacomb Types 
7.10.3. Painting and Mosaics 
7.10.4. The Sarcophagus 
7.10.5. Marfiles 
7.10.6. Freestanding Sculpture 
7.10.7. Iconography 

7.11. Brief Notions of Paleography 

7.11.1. Classification of Graphics  
7.11.2. Abbreviations 

Module 8. Classical Iconography 

8.1. Study of Images in Figurative Art  

8.1.1. The Different Studies  
8.1.2. Iconography 
8.1.3. Iconographic Sources 

8.2. Iconographic Repertoire I 

8.2.1. Zeus 
8.2.2. Hera 
8.2.3. Poseidon 

8.3. Iconographic Repertoire II 

8.3.1. Aphrodite 
8.3.2. Eros  
8.3.3. Hephaestus 

8.4. Iconographic Repertoire III 

8.4.1. Ares 
8.4.2. Athena 
8.4.3. Apollo 

8.5. Iconographic Repertoire IV 

8.5.1. Artemis 
8.5.2. Hermes 
8.5.3. Dionysus 

8.6. Iconographic Repertoire V 

8.6.1. Demeter  
8.6.2. Hades and Persephone  
8.6.3. Hecate 

8.7. The Wives of Zeus 

8.7.1. Metis  
8.7.2. Themis 
8.7.3. Mnemosyne 

8.8. Descendants of Zeus 

8.8.1. The Moiras 
8.8.2. The Hours 
8.8.3. The Thanks  
8.8.4. The Muses  

8.9. Myths in Art 

8.9.1. Greek Mythology 
8.9.2. Venus and Adonis 
8.9.3. Cephalus and Procris 

8.10. Representation in Art  

8.10.1. Genre Paintings, Medieval Calendars and Flemish Primitives 
8.10.2. Quinten Massys and Pieter Brueghel the Elder 
8.10.3. Dutch Painters and Landscape Paintings 
8.10.4. Joaquim Patinir, Brueghel the Elder, Meindert Hobbema, Jacob Van Ruisdael and Caspar David Friedrich

Module 9. Artistic Techniques 

9.1. Sculpture 

9.1.1. Wood Sculpture 

9.1.1.1. Materials and Instruments 
9.1.1.2. Conservation and Restoration  

9.1.2. Stone Sculpture 

9.1.2.1. Materials and Instruments 
9.1.2.2. Techniques  

9.1.3. Ivory Sculpture 
9.1.4. Metal Sculpture 

9.1.4.1. Introduction 
9.1.4.2. Used Metals 
9.1.4.3. Metalworking Techniques 
9.1.4.4. Restoration and Conservation of Bronzes 

9.2. The Glyptic and Other Works  

9.2.1. Introduction 
9.2.2. Incision, Seals and Cameos 
9.2.3. Chemical Incision, Cutting and Diamond  
9.2.4. Rock Crystal, Jades, and Amber, Ivory and Coral 

9.3. Ceramics 

9.3.1. Introduction 
9.3.2. Terracotta and Ceramic Tile 
9.3.3. Porcelain 
9.3.4. Stoneware, Earthenware and Stucco 

9.4. Glass 

9.4.1 The Origins of Glass 
9.4.2. Ancient Techniques for the Production of Glass Objects  
9.4.3. Blown Glass 

9.5. Drawing 

9.5.1. The First Graphic Manifestations 
9.5.2. Drawing on Parchment and Paper 
9.5.3. Pastel 

9.6. Engraving and Stamping 

9.6.1. Introduction  
9.6.2. Woodcutting and Lithography 
9.6.3. Copper Engraving 

9.6.3.1. Copper Engraving Techniques 

9.6.4. Direct Engraving of the Metal Plate 
9.6.5. Indirect Etching of Sheet Metal with Mordant 
9.6.6. Lithography and Other Techniques 

9.7. Painting  

9.7.1. Ancient Mural Painting 
9.7.2. The Fresco  

9.7.2.1. Introduction 
9.7.2.2. The Restoration of the Frescoes 

9.7.3. The Temple 
9.7.4. The Miniature 
9.7.5. Oil Painting 
9.7.6. Watercolor and Gouache 

9.8. Mosaic and Inlay 

9.8.1. Lithostrate 
9.8.2. Mosaics in Vitreous Paste 
9.8.3. Embedding 

9.9. The Showcase 

9.9.1. General Problems and Elaboration Techniques 
9.9.2. The Color, Grisaille and Silver Yellow 
9.9.3. The Problem of Light 

9.10. Fabrics 

9.10.1. Fabrics and Textiles 
9.10.2. Upholstery 
9.10.3. Carpets 

Module 10. Christian Iconography 

10.1. Iconographic Cycles 

10.1.1. Joaquin and Ana Cycle 
10.1.2. Childhood of Mary Cycle 
10.1.3. Choice of Husband and Betrothal 

10.2. The Importance of the Cycle of the Annunciation of Mary  

10.2.1. Cycle of Mary's Annunciation 
10.2.2. The Announcement of Mary in the East 
10.2.3. The Announcement of Mary in the West 

10.3. Liturgical Iconography 

10.3.1. Sacred Vessels      

10.3.1.1. Types of Vessels 
10.3.1.2. Secondary 

10.3.2. Interior Liturgical Vestments  
10.3.3. Outer Liturgical Vestments   
10.3.4. Complements 

10.4. Liturgical Colors and Insignia 

10.4.1. Liturgical Colors  
10.4.2. Major Liturgical Insignia  
10.4.3. Minor Liturgical Insignia 

10.5. Symbolism  

10.5.1. Symbols in Iconography 
10.5.2. Cycle of the Virgin 
10.5.3. Pentecost 

10.6. Sanctoral I 

10.6.1. St. Catherine of Alexandria 
10.6.2. St. Barbara  
10.6.3. St. Cecilia 
10.6.4. St. Cristobal 

10.7. Sanctoral II 

10.7.1. St. Lawrence Deacon 
10.7.2. St. Anthony Abbot 
10.7.3. Santiago Apostle 
10.7.4. St. Michael the Archangel 

10.8. Sanctoral III 

10.8.1. St. Blas 
10.8.2. San Sebastián 
10.8.3. St. Roch 
10.8.4. St. Lazarus 

10.9. Sanctoral IV 

10.9.1. St. Lucia 
10.9.2. St. Agueda 
10.9.3. St. Agnes 
10.9.4. St. Isidore 

10.10. Sanctuary V 

10.10.1. St. John Nepomucene  
10.10.2. St. Helena 
10.10.3. St. Ferdinand the King 
10.10.4. St. Louis, King of France

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