Question: Where were the mosaics created at the church, in the city that was captured from the Venetians in 1387?

full_context: Document 1: Ottoman Empire: Ertuğrul, the father of Osman I (founder of the Ottoman Empire), arrived in Anatolia from Merv (Turkmenistan) with 400 horsemen to aid the Seljuks of Rum against the Byzantines. After the demise of the Turkish Seljuk Sultanate of Rum in the 14th century, Anatolia was divided into a patchwork of independent, mostly Turkish states, the so-called Ghazi emirates. One of the emirates was led by Osman I (1258–1326), from whom the name Ottoman is derived. Osman I extended the frontiers of Turkish settlement toward the edge of the Byzantine Empire. It is not well understood how the early Ottomans came to dominate their neighbours, as the history of medieval Anatolia is still little known.
Document 2: Ottoman Empire: Part of the Ottoman territories in the Balkans (such as Thessaloniki, Macedonia and Kosovo) were temporarily lost after 1402 but were later recovered by Murad II between the 1430s and 1450s. On 10 November 1444, Murad II defeated the Hungarian, Polish, and Wallachian armies under Władysław III of Poland (also King of Hungary) and John Hunyadi at the Battle of Varna, the final battle of the Crusade of Varna, although Albanians under Skanderbeg continued to resist. Four years later, John Hunyadi prepared another army (of Hungarian and Wallachian forces) to attack the Turks but was again defeated by Murad II at the Second Battle of Kosovo in 1448.
Document 3: Mosaic: The greatest mosaic work of the Palaeologan renaissance in art is the decoration of the Chora Church in Constantinople. Although the mosaics of the naos have not survived except three panels, the decoration of the exonarthex and the esonarthex constitute the most important full-scale mosaic cycle in Constantinople after the Hagia Sophia. They were executed around 1320 by the command of Theodore Metochites. The esonarthex has two fluted domes, specially created to provide the ideal setting for the mosaic images of the ancestors of Christ. The southern one is called the Dome of the Pantokrator while the northern one is the Dome of the Theotokos. The most important panel of the esonarthex depicts Theodore Metochites wearing a huge turban, offering the model of the church to Christ. The walls of both narthexes are decorated with mosaic cycles from the life of the Virgin and the life of Christ. These panels show the influence of the Italian trecento on Byzantine art especially the more natural settings, landscapes, figures.
Document 4: Near East: It has pleased western historians to write of a decline of the Ottoman Empire as though a stable and uncontested polity of that name once existed. The borders did expand and contract but they were always dynamic and always in "question" right from the beginning. The Ottoman Empire was created from the lands of the former eastern Roman Empire on the occasion of the latter's violent demise. The last Roman emperor died fighting hand-to-hand in the streets of his capital, Constantinople, overwhelmed by the Ottoman military, in May, 1453. The victors inherited his remaining territory in the Balkans.
Document 5: Southern Europe: The Late Middle Ages represented a period of upheaval in Europe. The epidemic known as the Black Death and an associated famine caused demographic catastrophe in Europe as the population plummeted. Dynastic struggles and wars of conquest kept many of the states of Europe at war for much of the period. In the Balkans, the Ottoman Empire, a Turkish state originating in Anatolia, encroached steadily on former Byzantine lands, culminating in the Fall of Constantinople in 1453.
Document 6: Mosaic: There are very few existing mosaics from the Komnenian period but this paucity must be due to accidents of survival and gives a misleading impression. The only surviving 12th-century mosaic work in Constantinople is a panel in Hagia Sophia depicting Emperor John II and Empress Eirene with the Theotokos (1122–34). The empress with her long braided hair and rosy cheeks is especially capturing. It must be a lifelike portrayal because Eirene was really a redhead as her original Hungarian name, Piroska shows. The adjacent portrait of Emperor Alexios I Komnenos on a pier (from 1122) is similarly personal. The imperial mausoleum of the Komnenos dynasty, the Pantokrator Monastery was certainly decorated with great mosaics but these were later destroyed. The lack of Komnenian mosaics outside the capital is even more apparent. There is only a "Communion of the Apostles" in the apse of the cathedral of Serres.
Document 7: Mosaic: The 9th- and 10th-century mosaics of the Hagia Sophia in Constantinople are truly classical Byzantine artworks. The north and south tympana beneath the dome was decorated with figures of prophets, saints and patriarchs. Above the principal door from the narthex we can see an Emperor kneeling before Christ (late 9th or early 10th century). Above the door from the southwest vestibule to the narthex another mosaic shows the Theotokos with Justinian and Constantine. Justinian I is offering the model of the church to Mary while Constantine is holding a model of the city in his hand. Both emperors are beardless – this is an example for conscious archaization as contemporary Byzantine rulers were bearded. A mosaic panel on the gallery shows Christ with Constantine Monomachos and Empress Zoe (1042–1055). The emperor gives a bulging money sack to Christ as a donation for the church.
Document 8: Ottoman Greece: With no further threat by the Serbs and the subsequent Byzantine civil wars, the Ottomans besieged and took Constantinople in 1453 and then advanced southwards into Greece, capturing Athens in 1458. The Greeks held out in the Peloponnese until 1460, and the Venetians and Genoese clung to some of the islands, but by the early 16th century all of mainland Greece and most of the Aegean islands were in Ottoman hands, excluding several port cities still held by the Venetians (Nafplio, Monemvasia, Parga and Methone the most important of them). The mountains of Greece were largely untouched, and were a refuge for Greeks who desired to flee Ottoman rule and engage in guerrilla warfare.
Document 9: Ottoman Empire: In the century after the death of Osman I, Ottoman rule began to extend over the Eastern Mediterranean and the Balkans. Osman's son, Orhan, captured the northwestern Anatolian city of Bursa in 1324, and made it the new capital of the Ottoman state. This Ottoman conquest meant the loss of Byzantine control over northwestern Anatolia. The important city of Thessaloniki was captured from the Venetians in 1387. The Ottoman victory at Kosovo in 1389 effectively marked the end of Serbian power in the region, paving the way for Ottoman expansion into Europe. The Battle of Nicopolis in 1396, widely regarded as the last large-scale crusade of the Middle Ages, failed to stop the advance of the victorious Ottoman Turks.
Document 10: Mosaic: Important Justinian era mosaics decorated the Saint Catherine's Monastery on Mount Sinai in Egypt. Generally wall mosaics have not survived in the region because of the destruction of buildings but the St. Catherine's Monastery is exceptional. On the upper wall Moses is shown in two panels on a landscape background. In the apse we can see the Transfiguration of Jesus on a golden background. The apse is surrounded with bands containing medallions of apostles and prophets, and two contemporary figure, "Abbot Longinos" and "John the Deacon". The mosaic was probably created in 565/6.
Document 11: Mosaic: Very few early Byzantine mosaics survived the Iconoclastic destruction of the 8th century. Among the rare examples are the 6th-century Christ in majesty (or Ezekiel's Vision) mosaic in the apse of the Church of Hosios David in Thessaloniki that was hidden behind mortar during those dangerous times. Nine mosaic panels in the Hagios Demetrios Church, which were made between 634 and 730, also escaped destruction. Unusually almost all represent Saint Demetrius of Thessaloniki, often with suppliants before him.
Document 12: Mosaic: Important fragments survived from the mosaic floor of the Great Palace of Constantinople which was commissioned during Justinian's reign. The figures, animals, plants all are entirely classical but they are scattered before a plain background. The portrait of a moustached man, probably a Gothic chieftain, is considered the most important surviving mosaic of the Justinianian age. The so-called small sekreton of the palace was built during Justin II's reign around 565–577. Some fragments survive from the mosaics of this vaulted room. The vine scroll motifs are very similar to those in the Santa Constanza and they still closely follow the Classical tradition. There are remains of floral decoration in the Church of the Acheiropoietos in Thessaloniki (5th–6th centuries).
Document 13: Middle Ages: Although the Palaeologi emperors recaptured Constantinople from the Western Europeans in 1261, they were never able to regain control of much of the former imperial lands. They usually controlled only a small section of the Balkan Peninsula near Constantinople, the city itself, and some coastal lands on the Black Sea and around the Aegean Sea. The former Byzantine lands in the Balkans were divided between the new Kingdom of Serbia, the Second Bulgarian Empire and the city-state of Venice. The power of the Byzantine emperors was threatened by a new Turkish tribe, the Ottomans, who established themselves in Anatolia in the 13th century and steadily expanded throughout the 14th century. The Ottomans expanded into Europe, reducing Bulgaria to a vassal state by 1366 and taking over Serbia after its defeat at the Battle of Kosovo in 1389. Western Europeans rallied to the plight of the Christians in the Balkans and declared a new crusade in 1396; a great army was sent to the Balkans, where it was defeated at the Battle of Nicopolis. Constantinople was finally captured by the Ottomans in 1453.
Document 14: Ottoman Empire: The son of Murad II, Mehmed the Conqueror, reorganized the state and the military, and conquered Constantinople on 29 May 1453. Mehmed allowed the Orthodox Church to maintain its autonomy and land in exchange for accepting Ottoman authority. Because of bad relations between the states of western Europe and the later Byzantine Empire, the majority of the Orthodox population accepted Ottoman rule as preferable to Venetian rule. Albanian resistance was a major obstacle to Ottoman expansion on the Italian peninsula.
Document 15: Mosaic: Mosaic art also flourished in Christian Petra where three Byzantine churches were discovered. The most important one was uncovered in 1990. It is known that the walls were also covered with golden glass mosaics but only the floor panels survived as usual. The mosaic of the seasons in the southern aisle is from this first building period from the middle of the 5th century. In the first half of the 6th century the mosaics of the northern aisle and the eastern end of the southern aisle were installed. They depict native as well as exotic or mythological animals, and personifications of the Seasons, Ocean, Earth and Wisdom.
ground_truth: 5th–6th centuries
sub_queries: What city was captured from the Venetians in 1387? Answer: Thessaloniki
When were the mosaics at the church in Thessaloniki created? Answer: 5th–6th centuries