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Home , Barberini ivory, Byzantine mosaics, Catacomb of Priscilla, Late Antiquity, Romulus Augustulus, Sabina (region)

EARLY CHRISTIAN /

LATE ANTIQUITY / EARLY CHRISTIAN / Early Christian

The Shift From ‘’ to ‘Religion’ After the Fall of the Western (), the style of art changed dramatically. Creating ideals and proportions took a backseat to teaching the narratives and symbolism of .

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

The Shift From ‘Realism’ to ‘Religion’ After the Fall of the Western (Roman Empire), the style of art changed dramatically. Creating ideals and proportions took a backseat to teaching the narratives and symbolism of Christianity.

The Parts of the Christian Churches The terminology of the churches is used throughout the AP Test. Know all of the terms associated with this presentation.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

The Shift From ‘Realism’ to ‘Religion’ After the Fall of the Western (Roman Empire), the style of art changed dramatically. Creating ideals and proportions took a backseat to teaching the narratives and symbolism of Christianity.

The Parts of the Christian Churches The terminology of the churches is used throughout the AP Test. Know all of the terms associated with this presentation.

Central Plan vs. Plan Originally, there were two basic types of Christian plans. Knowing these plans (and why they were designed as such) should aid you in learning how the needs of Christianity affected these layouts.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

330 - Constantine moved his to and renamed it . Most pieces of Jewish Art were destroyed, and the Jewish people often faced special taxes, restrictions and even persecution. 395 - The Roman Empire split permanently by Emperor into two parts: The WESTERN EMPIRE (Roman) The EASTERN EMPIRE (Byzantine) 410 - is sacked by the . 476 - Augustulus, the last Western , is deposed by the German . 527 - Justinian becomes Eastern Roman emperor. Constantinople covers eight square miles (Manhattan covers twenty-two square miles) with at least 500,000 inhabitants. 53237 - Justinian builds the church of in Constantinople. 726 - Byzantine Emperor Leo III orders all in the destroyed.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Map showing collapse of Western Empire and Justinian’s reign

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

ROMAN Figures are references to Mythology or Government

EARLY CHRISTIAN Stories and references to Christ

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian Synagogue Floor, from Maon, . c 530.

Jewish synagogues contained almost no representational because Jewish law forbade praying to images or idols. Decorative paintings and were displayed on walls to denote religious concepts.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Throughout Art History, The Life of Christ is broken down into three major categories:

INCARNATION The events surrounding Christ’s conception, birth, infancy and childhood.

MINISTRY Keys events include the calling of the twelve apostles, performing miracles and giving sermons.

PASSION The events which include Christ’s arrest, trial, , resurrection and ascension.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Old St. Peter’s in Rome, completed by Constantine I around 324 AD. EARLY CHRISTIAN

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

The term ‘Early Christian’ refers to the preserved works of the first five centuries CE. For the first THREE centuries after Christ’s death, Roman authorities banned Christianity and often persecuted Christians. During this period, Christians concealed their religious practices by digging tunnels outside of Rome. Known as catacombs, these tunnels were underground passageways where early Christians could worship and bury their dead. The catacombs extended up to 90 miles and as deep as five levels.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Catacombs of Priscilla, Rome, ca 320-340 CE. EARLY CHRISTIAN

The Catacombs of Priscilla in Rome are an eight-mile network of tunnels on several levels dug out of soft volcanic tufa, and were used for Christian burials from 2nd to CE. It has just recently been re-opened after five years of conservation. Restorers used laser technology to clean the wall paintings, a highly significant collection of early Christian iconography that includes the earliest known depiction of the and Child dating to around 230 CE. It’s known as the “Queen of the Catacombs” because of the art work and because so many martyrs and popes were buried there.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

The Greek Chapel, Catacombs of Priscilla, Rome, ca 320-340 CE. EARLY CHRISTIAN

Seen here is the so-called Capella Greca, or Greek Chapel, one of the earliest parts of the Catacomb of Priscilla. This vaulted and benched area is noteworthy for its numerous preserved wall paintings, and is located within the area of the cryptoporticus. A cryptoportico is a semi- subterranean gallery whose vaulting supports portico structures above ground and which is lit from openings at the tops of its .

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

The , Catacombs of Priscilla, Rome, ca 320-340 CE. EARLY CHRISTIAN

Roman Christians sometimes decorated their catacomb walls with frescoes depicting the life and teachings of Jesus.

The Catacomb of Priscilla contains a particularly revealing fresco that may date to the 4th century. Here, Christ is depicted as a Good Shepherd, which refers to a passage from the Gospel of John in which Christ said, “I am the good shepherd. A good shepherd lays down his life for the sheep.”

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

The Good Shepherd Fresco, Catacomb of Priscilla, Rome, ca 320-340 CE. EARLY CHRISTIAN

Christ’s physical form is based on Greco-Roman models. He is youthful, clean shaven and clothed in a modest classical tunic. Christ even stands in a classical contrapposto pose and physically resembles a young Apollo.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

The Orant Fresco, Catacombs of Priscilla, Rome, ca 320-340 CE. EARLY CHRISTIAN

In the fresco depicting the three stages of a woman, the most prominent stage is of the woman with her arms raised in the position of the Orant. The Orant is a pagan symbol for the soul; in the Christian context it symbolizes the soul achieving oneness through God and internal glory after death. The prominence of this symbol and its central location indicates the importance of the afterlife and faith in god.

Fresco in both the old and newly restored versions

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Like their pagan contemporaries, wealthy Christians preferred to be buried in marble sarcophagi. The richly carved Sarcophagus of Junius Bassius was made for an important Roman official who converted to Christianity before his death in 359.

This tends to be an important piece as it combines Christian themes Sarcophagus of Junius Bassus, c 359. with Classical architectural EARLY CHRISTIAN and figural elements.

LATE ANTIQUITY / EARLY CHRISTIAN Late AntiquitySarcophagus / Early Christian of Junius Bassus, c 359. EARLY CHRISTIAN

Two registers, 10 panels of OLD and scenes… Christ is depicted in center with Roman themes.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Sarcophagus with philosopher, Rome, , ca 270. EARLY CHRISTIAN

Jesus is represented by two figures on the right, This is Jesus as a child receiving a baptism in the River the small child being baptized and the Shepherd Jordan even though he was baptized at age thirty. to his left. Baptism was significant in the early centuries of The future ministry of Jesus is represented by Christianity because so many adults were converted to the turned head of the young boy to the the new faith in this manner. Shepherd and by the placement of his hand on one of the sheep.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Suicide of Judas and Crucifixion of Christ, plaque from a casket, ivory, ca 420 CE.

The narrative on the box begins with Pilate washing his hands, Jesus carrying the on the road to Calvary, and the denial of Peter, all compressed into a single panel.

The plaque that is illustrated here is the next in the sequence and shows, at the left, Judas hanging from a tree with his open bag of silver dumped on the ground beneath his feet. the Crucifixion is at the right. The Virgin Mary and Joseph are to the left of the cross.

On the other side Longinus thrusts his spear into the side of the "King of the ."

The two remaining panels show two Marys and two soldiers at the open doors of a tomb with an empty coffin and the doubting Thomas touching the wound of the risen Christ. The contrast of Jesus whose body remains strong on the cross The figure of Christ does not appear to be in pain contrasts with the body of his betrayer, Judas, hanging from a because he is displayed on the cross, rather than tree with a limp body and a snapped neck. Visually and hung from it, as though he has conquered death symbolically, this image was meant to show Jesus as a strong and does not suffer. leader and not prone to pain or complete death.

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian BASILICA-PLAN CHURCH (West)

Narthex

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian BASILICA-PLAN CHURCH (West)

Narthex Side

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian BASILICA-PLAN CHURCH (West)

Narthex Side Aisles

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian BASILICA-PLAN CHURCH (West)

Narthex Side Aisles Clerestory

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian BASILICA-PLAN CHURCH (West)

Narthex Side Aisles Clerestory Nave Apse

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian BASILICA-PLAN CHURCH (West)

Narthex Side Aisles Clerestory Nave Apse

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian CENTRAL-PLAN CHURCH (East)

Narthex Side Aisles Naos Apse Exedrae

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Santa , Rome, c422-432 CE. EARLY CHRISTIAN

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Santa Sabina, Rome, c422-432 CE. EARLY CHRISTIAN

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Santa Sabina, Rome, c422-432 CE. EARLY CHRISTIAN

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Santa Costanza, Rome, 350 CE. CENTRAL PLAN CHURCH

LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Mausoleum of Galla , , c425-26 CE EARLY CHRISTIAN LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Mausoleum of Galla Placidia, Ravenna, c425-26 CE EARLY CHRISTIAN LATE ANTIQUITY / EARLY CHRISTIAN Late Antiquity / Early Christian

Mausoleum of Galla Placidia, Ravenna, c425-26 CE EARLY CHRISTIAN LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art

Rebecca and Eliezer at the Well Illuminated (pigments of vellum), Early 6th Century CE. EARLY BYZANTINE

The earliest well preserved painted manuscript we know of that contains biblical scenes is the Vienna Genesis. It has the continuity of a frieze in a scroll. In a continuous narrative, two or more scenes of a story are represented within a single frame. This becomes common in . In this scene from Genesis (24:15-61), Rebecca leaves the of Nahor to fetch water from the well in the first episode. In the second, she gives water to Eliezer and his camels. Nahor is represented as a walled city seen from above, in the same way as the cityscapes on the Column of .

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art

Rebecca and Eliezer at the Well (pigments of vellum), Early 6th Century CE. EARLY BYZANTINE

The action is simplified, Rebecca walks to the well along a colonaded avenue of a Roman city, the source of the well, after indicated by a semi-nude female personification of a spring—a reminder of the persistence of classical motifs. The detail is in the pantomime of the narrative. Rebecca braces her foot on the well as she tips the jug towards Eliezer. The background is a luxurious purple with silver ink. The become more and more elaborate as time went on in Medieval art. They valued the spiritual beauty of the text and the material beauty of the books they created to spread their message.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Rebecca and Eliezer at the Well, Early 6th Century CE.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art

Jacob Wrestling the Illuminated Manuscript (pigments of vellum), Early 6th Century CE. EARLY BYZANTINE

This particular image, which is formed with tempera on vellum, shows a continuous narrative of the story of Jacob falling asleep and getting left behind by his group, then to wake up to a man, wrestles and defeats him only to find he is an angel, and then demands the angel to give him his blessing. The scenes are all connected with characters appearing multiple times, proving it is a continuous narrative, with all the characters living within the pictorial frame. This relates back to the Column of Trajan where the figures took up space in the artwork.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Jacob Wrestling the Angel, Early 6th Century CE.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art

When Emperor Justinian decide to build a church in Constantinople (the greatest city in the world for 400 years), he wanted to make it as grand as his empire. He assigned the task to two mathematicians, and Isidorus. They created the Hagia Sophia (“Holy Wisdom”) Nearly 3 football fields long, and the dome is 180 in diameter! This architectural feat was accomplished with the use of pendentives.

Hagia Sophia, 532-537. , . BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Hagia Sophia, 532-537, Istanbul, Turkey. BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Hagia Sophia, 532-537, Istanbul, Turkey. BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Hagia Sophia, 532-537, Istanbul, Turkey. BYZANTINE

Large, decorated pendentives inside the Hagia Sophia

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Other mosques based on Hagia Sophia

Suleyman Mosque, 1558 CE, Istanbul, Turkey.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Other mosques based on Hagia Sophia

Mosque of Selim II, 1569-1575 CE, Edime, Turkey.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Byzantine Mosaics Byzantine Basics: Three F’s and a G

FLAT: Although the artist includes some shading, figures appear flat, lacking volume that was common with Classical Art.

FLOATING: Figures appear to hover over the ground. Note the pointed 45-degree angle of the feet.

FRONTAL: Unlike the realistic overlapping seen in most Classical art, Byzantine figures are usually turned toward the viewer.

GOLD Byzantine Art shows very little interest in a background. BACKGROUNDS: Byzantine art focuses more on conveying Christian teachings and depicting important figures than on representing the natural world.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Byzantine Mosaics

Mausoleum of Galla Placidia, Ravenna, c425-26 AD EARLY CHRISTIAN

Emperor Justinian and his Attendants, Church of San Vitale, c547. BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Byzantine Mosaics

Miracle of the loaves and fishes, from the top register of the nave wall (above the clerestory windows) or St’Apollinare Nuovo, Ravenna, c504. BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Church of San Vitale, Ravenna, c547.

San Vitale Commissioned by Bishop Ecclesius when Italy was still under Ostrogothic rule, but only completed after Justinian’s conquest of Ravenna. This central-plan, octagonal- shaped building with exedrae that extends out from the building is much different than the typical basilica-based cross plan. Most notably is the interior…

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Church of San Vitale, Ravenna, c547.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Church of San Vitale, Ravenna, c547.

Church of San Vitale, Ravenna, c547. BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Church of San Vitale, Ravenna, c547.

Close-Up of Apse of Church of San Vitale, Ravenna, c547. BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Church of San Vitale, Ravenna, c547.

Emperor Justinian and his Attendants, Church of San Vitale, Ravenna, c547. LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art Church of San Vitale, Ravenna, c547.

Empress Theodora and her Attendants, Church of San Vitale, Ravenna, c547. LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art

The illustrates how early Byzantine art borrowed from symbols of Classical art. The figure, identified as Justinian, rides victoriously similar to the Equestrian statue, with conquered enemies making offerings in the bottom panel.

Although the figures are not proportional as they would be in Classical art, the piece connects the conquests of Justinian with the peace of Christ.

Barberini Ivory, 6th Century. BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art

Virgin () and Child Between the Saints Theodore and George , Late 6th Century. Encaustic on wood. BYZANTINE

Icons were items used as vehicles for prayer to God. Among some of the finest were images of Virgin Mary, known as Theotokos (bearer of God). She was also known as the Seat of Wisdom, often holding a baby Jesus in her lap. During the iconoclasm of the 8th century, most icons like this were destroyed, but a few like this in Mount Sinai, Egypt, survived. This picture is painted with encaustic, which is a pigment with melted wax.

LATE ANTIQUITY / EARLY CHRISTIAN Byzantine Art

After about a hundred years of the Iconoclasm, worshippers began to make diptychs and triptychs to be used as private devotion and for prayers. Hinges allowed them to be folded for transport.

The Harbaville Triptych is a good example of such a piece. Made of ivory, It contains an enthroned Christ flanked by the Virgin Mary and St. John the Baptist.

Harbaville Triptych, 10th Century CE. BYZANTINE

LATE ANTIQUITY / EARLY CHRISTIAN