Question: When were the mosaics at the church in George Andreadis's city of death created?

full_context: Document 1: Alexander Gerschenkron: Born in Odessa, then part of the Russian Empire, Gerschenkron fled the country during the Russian Civil War in 1920 to Austria, where he attended the University of Vienna, earning a doctorate in 1928. After the Anschluss in 1938, he emigrated to the United States.
Document 2: 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 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: Kostas Bakoyannis: Born 1978 in Athens to New Democracy politicians Dora and Pavlos Bakoyannis, Kostas Bakoyannis lost his father Pavlos in 1989, when he was assassinated by the leftist terrorist group, Revolutionary Organization 17 November. He studied history and International Relations at Brown University and graduated from Harvard with a Master of Public Administration. He is currently working on his PhD thesis at St Antony's College, Oxford, in the field of Political Science and International Relations. He speaks English and German. Kostas Bakoyannis’ articles are often published in the Greek and foreign press.
Document 5: Black people: Beginning several centuries ago, during the period of the Ottoman Empire, tens of thousands of Black Africans were brought by slave traders to plantations and agricultural areas situated between Antalya and Istanbul in present-day Turkey. Some of their descendants remained in situ, and many migrated to larger cities and towns. Other blacks slaves were transported to Crete, from where they or their descendants later reached the İzmir area through the population exchange between Greece and Turkey in 1923, or indirectly from Ayvalık in pursuit of work.
Document 6: 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 7: Greeks: Greek colonies and communities have been historically established on the shores of the Mediterranean Sea and Black Sea, but the Greek people have always been centered around the Aegean and Ionian seas, where the Greek language has been spoken since the Bronze Age. Until the early 20th century, Greeks were distributed between the Greek peninsula, the western coast of Asia Minor, the Black Sea coast, Cappadocia in central Anatolia, Egypt, the Balkans, Cyprus, and Constantinople. Many of these regions coincided to a large extent with the borders of the Byzantine Empire of the late 11th century and the Eastern Mediterranean areas of ancient Greek colonization. The cultural centers of the Greeks have included Athens, Thessalonica, Alexandria, Smyrna, and Constantinople at various periods.
Document 8: Haldun Taner: He was born on March 16, 1915 in Istanbul. After graduating from the Galatasaray High School in 1935, he studied politics and economy at the University of Heidelberg in Germany, until a serious health problem forced him to return to Turkey, where he graduated from the Faculty of German Literature and Linguistics in 1950. He also studied theatre and philosophy at the University of Vienna between 1955 and 1957 under the direction of Heinz Kindermann (1894–1985), an Austrian theater and literary scholar.
Document 9: Greeks: During and after the Greek War of Independence, Greeks of the diaspora were important in establishing the fledgling state, raising funds and awareness abroad. Greek merchant families already had contacts in other countries and during the disturbances many set up home around the Mediterranean (notably Marseilles in France, Livorno in Italy, Alexandria in Egypt), Russia (Odessa and Saint Petersburg), and Britain (London and Liverpool) from where they traded, typically in textiles and grain. Businesses frequently comprised the extended family, and with them they brought schools teaching Greek and the Greek Orthodox Church.
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: Greeks: The traditional Greek homelands have been the Greek peninsula and the Aegean Sea, the Southern Italy (Magna Graecia), the Black Sea, the Ionian coasts of Asia Minor and the islands of Cyprus and Sicily. In Plato's Phaidon, Socrates remarks, "we (Greeks) live around a sea like frogs around a pond" when describing to his friends the Greek cities of the Aegean. This image is attested by the map of the Old Greek Diaspora, which corresponded to the Greek world until the creation of the Greek state in 1832. The sea and trade were natural outlets for Greeks since the Greek peninsula is rocky and does not offer good prospects for agriculture.
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: 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.
Document 14: 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 15: George Andreadis: Andreadis studied at Anatolia College in Thessaloniki on a scholarship, and then studied Political Economy at Freiburg University in Germany. He has visited the Black Sea region of Turkey numerous times and has written extensively about its culture and history, in particular the history of the Pontic Greeks deported in the 1920s.
ground_truth: 5th–6th centuries
sub_queries: George Andreadis >> place of death Answer: Thessaloniki
When were the mosaics at the church in Thessaloniki created? Answer: 5th–6th centuries