Abstract
This chapter pursues our theme of paths of attention by looking at images of the Last Judgment in the painted churches of Byzantine and Lusignan Cyprus. It argues that the scene’s arrangement within its architectural setting responds to and can tell us about the activities that took place there. We have long related the powerful vault imagery of the Last Judgment at St. Savior in Chora to the static site of Theodore Metochites’ burial beneath it, but we have rarely related the Last Judgment t...
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