Question: What is the mosaic in the church of the location where IANOS is headquartered known as?

full_context: Document 1: Religion in ancient Rome: The introduction of new or equivalent deities coincided with Rome's most significant aggressive and defensive military forays. In 206 BC the Sibylline books commended the introduction of cult to the aniconic Magna Mater (Great Mother) from Pessinus, installed on the Palatine in 191 BC. The mystery cult to Bacchus followed; it was suppressed as subversive and unruly by decree of the Senate in 186 BC. Greek deities were brought within the sacred pomerium: temples were dedicated to Juventas (Hebe) in 191 BC, Diana (Artemis) in 179 BC, Mars (Ares) in 138 BC), and to Bona Dea, equivalent to Fauna, the female counterpart of the rural Faunus, supplemented by the Greek goddess Damia. Further Greek influences on cult images and types represented the Roman Penates as forms of the Greek Dioscuri. The military-political adventurers of the Later Republic introduced the Phrygian goddess Ma (identified with Roman Bellona, the Egyptian mystery-goddess Isis and Persian Mithras.)
Document 2: Mosaic: Only scant remains prove that mosaics were still used in the Early Middle Ages. The Abbey of Saint-Martial in Limoges, originally an important place of pilgrimage, was totally demolished during the French Revolution except its crypt which was rediscovered in the 1960s. A mosaic panel was unearthed which was dated to the 9th century. It somewhat incongruously uses cubes of gilded glass and deep green marble, probably taken from antique pavements. This could also be the case with the early 9th century mosaic found under the Basilica of Saint-Quentin in Picardy, where antique motifs are copied but using only simple colors. The mosaics in the Cathedral of Saint-Jean at Lyon have been dated to the 11th century because they employ the same non-antique simple colors. More fragments were found on the site of Saint-Croix at Poitiers which might be from the 6th or 9th century.
Document 3: 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 4: Apollo: Apollo (Attic, Ionic, and Homeric Greek: Ἀπόλλων, Apollōn (GEN Ἀπόλλωνος); Doric: Ἀπέλλων, Apellōn; Arcadocypriot: Ἀπείλων, Apeilōn; Aeolic: Ἄπλουν, Aploun; Latin: Apollō) is one of the most important and complex of the Olympian deities in classical Greek and Roman religion and Greek and Roman mythology. The ideal of the kouros (a beardless, athletic youth), Apollo has been variously recognized as a god of music, truth and prophecy, healing, the sun and light, plague, poetry, and more. Apollo is the son of Zeus and Leto, and has a twin sister, the chaste huntress Artemis. Apollo is known in Greek-influenced Etruscan mythology as Apulu.
Document 5: Mosaic: In the Iconoclastic era, figural mosaics were also condemned as idolatry. The Iconoclastic churches were embellished with plain gold mosaics with only one great cross in the apse like the Hagia Irene in Constantinople (after 740). There were similar crosses in the apses of the Hagia Sophia Church in Thessaloniki and in the Church of the Dormition in Nicaea. The crosses were substituted with the image of the Theotokos in both churches after the victory of the Iconodules (787–797 and in 8th–9th centuries respectively, the Dormition church was totally destroyed in 1922).
Document 6: Mosaic: Christian mosaic art also flourished in Rome, gradually declining as conditions became more difficult in the Early Middle Ages. 5th century mosaics can be found over the triumphal arch and in the nave of the basilica of Santa Maria Maggiore. The 27 surviving panels of the nave are the most important mosaic cycle in Rome of this period. Two other important 5th century mosaics are lost but we know them from 17th-century drawings. In the apse mosaic of Sant'Agata dei Goti (462–472, destroyed in 1589) Christ was seated on a globe with the twelve Apostles flanking him, six on either side. At Sant'Andrea in Catabarbara (468–483, destroyed in 1686) Christ appeared in the center, flanked on either side by three Apostles. Four streams flowed from the little mountain supporting Christ. The original 5th-century apse mosaic of the Santa Sabina was replaced by a very similar fresco by Taddeo Zuccari in 1559. The composition probably remained unchanged: Christ flanked by male and female saints, seated on a hill while lambs drinking from a stream at its feet. All three mosaics had a similar iconography.
Document 7: 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 8: Apollo: In literary contexts, Apollo represents harmony, order, and reason—characteristics contrasted with those of Dionysus, god of wine, who represents ecstasy and disorder. The contrast between the roles of these gods is reflected in the adjectives Apollonian and Dionysian. However, the Greeks thought of the two qualities as complementary: the two gods are brothers, and when Apollo at winter left for Hyperborea, he would leave the Delphic oracle to Dionysus. This contrast appears to be shown on the two sides of the Borghese Vase.
Document 9: Athens: In Ancient Greek, the name of the city was Ἀθῆναι (Athēnai, pronounced (a. thɛ̂ː. nai̯) in Classical Attic) a plural. In earlier Greek, such as Homeric Greek, the name had been current in the singular form though, as Ἀθήνη (Athēnē). It was possibly rendered in the plural later on, like those of Θῆβαι (Thêbai) and Μυκῆναι (Μukênai). The root of the word is probably not of Greek or Indo - European origin, and is possibly a remnant of the Pre-Greek substrate of Attica. In antiquity, it was debated whether Athens took its name from its patron goddess Athena (Attic Ἀθηνᾶ, Athēnā, Ionic Ἀθήνη, Athēnē, and Doric Ἀθάνα, Athānā) or Athena took her name from the city. Modern scholars now generally agree that the goddess takes her name from the city, because the ending - ene is common in names of locations, but rare for personal names. During the medieval period, the name of the city was rendered once again in the singular as Ἀθήνα. However, after the establishment of the modern Greek state, and partly due to the conservatism of the written language, Ἀθῆναι (aˈθine) became again the official name of the city and remained so until the abandonment of Katharevousa in the 1970s, when Ἀθήνα, Athína, became the official name.
Document 10: Mosaic: Jerusalem with its many holy places probably had the highest concentration of mosaic-covered churches but very few of them survived the subsequent waves of destructions. The present remains do not do justice to the original richness of the city. The most important is the so-called "Armenian Mosaic" which was discovered in 1894 on the Street of the Prophets near Damascus Gate. It depicts a vine with many branches and grape clusters, which springs from a vase. Populating the vine's branches are peacocks, ducks, storks, pigeons, an eagle, a partridge, and a parrot in a cage. The inscription reads: "For the memory and salvation of all those Armenians whose name the Lord knows." Beneath a corner of the mosaic is a small, natural cave which contained human bones dating to the 5th or 6th centuries. The symbolism of the mosaic and the presence of the burial cave indicates that the room was used as a mortuary chapel.
Document 11: 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 12: 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 13: Religion in ancient Rome: Several versions of a semi-official, structured pantheon were developed during the political, social and religious instability of the Late Republican era. Jupiter, the most powerful of all gods and "the fount of the auspices upon which the relationship of the city with the gods rested", consistently personified the divine authority of Rome's highest offices, internal organization and external relations. During the archaic and early Republican eras, he shared his temple, some aspects of cult and several divine characteristics with Mars and Quirinus, who were later replaced by Juno and Minerva. A conceptual tendency toward triads may be indicated by the later agricultural or plebeian triad of Ceres, Liber and Libera, and by some of the complementary threefold deity-groupings of Imperial cult. Other major and minor deities could be single, coupled, or linked retrospectively through myths of divine marriage and sexual adventure. These later Roman pantheistic hierarchies are part literary and mythographic, part philosophical creations, and often Greek in origin. The Hellenization of Latin literature and culture supplied literary and artistic models for reinterpreting Roman deities in light of the Greek Olympians, and promoted a sense that the two cultures had a shared heritage.
Document 14: IANOS: IANOS SA is a Greek-based book, music and art retailer with several stores in the two major cities, Thessaloniki and Athens. It was named after the ancient Roman god Janus, as a link to the identity and mission of the company. IANOS sells through its concept-store chain a large variety of books, cds, art objects, periodicals, gifts and stationery. Also, it offers event venues, seminars, art galleries, a publishing house, an art café, it operates web sales (for online shopping) and runs an internet radio.
Document 15: Greece: Regarding the classical music, it was through the Ionian islands (which were under western rule and influence) that all the major advances of the western European classical music were introduced to mainland Greeks. The region is notable for the birth of the first School of modern Greek classical music (Heptanesean or Ionian School, Greek: Επτανησιακή Σχολή), established in 1815. Prominent representatives of this genre include Nikolaos Mantzaros, Spyridon Xyndas, Spyridon Samaras and Pavlos Carrer. Manolis Kalomiris is considered the founder of the Greek National School of Music.
ground_truth: Christ in majesty (or Ezekiel's Vision)
sub_queries: IANOS >> headquarters location Answer: Thessaloniki
The mosaic in the church in Thessaloniki is know as what? Answer: Christ in majesty (or Ezekiel's Vision)