Question: When were the mosaics at the church in the headquarter of IONOS created?

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: 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.
Document 3: 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 4: 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 5: 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 6: 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 7: 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 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: 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 10: 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 11: 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 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: 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 14: 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 15: Mosaic: In the 5th-century Ravenna, the capital of the Western Roman Empire, became the center of late Roman mosaic art. The Mausoleum of Galla Placidia was decorated with mosaics of high artistic quality in 425–430. The vaults of the small, cross-shaped structure are clad with mosaics on blue background. The central motif above the crossing is a golden cross in the middle of the starry sky. Another great building established by Galla Placidia was the church of San Giovanni Evangelista. She erected it in fulfillment of a vow that she made having escaped from a deadly storm in 425 on the sea voyage from Constantinople to Ravenna. The mosaics depicted the storm, portraits of members of the western and eastern imperial family and the bishop of Ravenna, Peter Chrysologus. They are known only from Renaissance sources because almost all were destroyed in 1747.
ground_truth: 5th–6th centuries
sub_queries: IANOS >> headquarters location Answer: Thessaloniki
When were the mosaics at the church in Thessaloniki created? Answer: 5th–6th centuries