Late Antique and Early Christian Art vocabulary Chronology of Early Christianity Pagans, Jews, and Christians The Catacombs and Funerary Art Sculpture Architecture and Mosaics Luxury Arts Illuminated Manuscripts

Late Antique and Early Christian Art Visigoths Pagan invaders of the Roman empire from the northwest, ruled by Alaric. Codex Like a modern book, it is composed of separate leaves enclosed within a cover and bound together at one side. This form superseded the manuscript scroll. Continuous narrative Separate episodes of a story appearing in the same frame. Diptych A hinged writing tablet, often of ivory and carved on the external sides. Illuminated manuscript Luxurious painted books produced before the invention of the printing press. Vellum Calfskin used as a writing surface. Lunette Semicircular frames. Orants Praying figures. Torah The scroll containing the Pentateuch, the first five books of the Hebrew scriptures. Galla Placidia The half-sister of Honorius, emperor of the Western Roman empire. She ruled after his death, after being returned from a kidnapping by the Visigoths, one of whom she had married. Sol Invicturs Christ represented as a pagan deity, the Invincible Sun (Helios in Greek). Theodoric King of the Ostrogoths who conquered Ravenna in 476. He ordered the construction of a three-aisled basilica later known as Sant’Apollinare Nuovo. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Chronology of Early Christianity Crucifixion of Christ ca. 29 Crucifixion of St. Peter ca. 64 Persecution of Christians Trajan Decius 249-251 Diocletian 303-305 Edict of Milan 313 Foundation of Constantinople 324 Christianity becomes state religion 390 Fall of Rome to Alaric the Visigoth 410 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Pagans, Jews, and Christians Dura Europos contained both a synagogue and a Christian community house Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Synagogue Dura Europos, Syria ca. 245-256

Synagogue Interior Wall paintings of Old Testament scenes Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Synagogue Interior Wall paintings of Old Testament scenes from Dura Europos, Syria ca. 245-256 tempera on plaster

Synagogue Interior Wall paintings of Old Testament scenes Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Synagogue Interior Wall paintings of Old Testament scenes from Dura Europos, Syria ca. 245-256 tempera on plaster

Although the Jews did not worship idols, Biblical scenes were painted on synagogue walls and used to illustrate manuscripts. God is never shown except as a hand. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Samuel Anoints David Synagogue Interior Wall paintings of Old Testament scenes from Dura Europos, Syria ca. 245-256 tempera on plaster

God appears as an old man in the synagogue frescoes at Dura-Europos. True or False God appears as an old man in the synagogue frescoes at Dura-Europos. False God never appears in synagogue paintings or illustrated Bibles Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Synagogue Interior Wall paintings of Old Testament scenes from Dura Europos, Syria ca. 245-256 tempera on plaster Ark of the Covenant in the Temple of Dagon

Reconstruction of Christian Community House Dura Europos, Syria Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Reconstruction of Christian Community House Dura Europos, Syria ca. 240-256

Baptistery from Christian Community House Dura Europos, Syria Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Baptistery from Christian Community House Dura Europos, Syria ca. 240-256

Baptistery from Christian Community House Dura Europos, Syria Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Baptistery from Christian Community House Dura Europos, Syria ca. 240-256 tempera paintings Christ Walks on Water

Baptistery from Christian Community House Dura Europos, Syria Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Baptistery from Christian Community House Dura Europos, Syria ca. 240-256 tempera paintings Christ the Good Shepherd

Baptistery from Christian Community House Dura Europos, Syria Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Baptistery from Christian Community House Dura Europos, Syria ca. 240-256 tempera paintings Christ Healing the Paralytic

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

The Catacombs and Funerary Art Catacombs included galleries, cubiculae, and loculi The catacombs were subterranean networks of galleries and chambers designed as cemeteries for the Christian dead, many of them sainted martyrs. They also housed the graves of Jews and other groups, to a lesser extent. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Catacomb showing loculi Rome 3rd-4th centuries

Jonah symbolism for Early Christians; Jonah prefigured Christ, because he spent three days in the belly of a sea monster (or whale) before being spat back out. Christ was buried for three days in the tomb before emerging alive. Jonah and the Whale is a biblical story that prefigured Christ's resurrection Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Good Shepherd, Orants, Story of Jonah Catacomb of Peter and Marcellinus, Rome, Italy early 4th century fresco

A cubiculum is a catacomb chamber. True True or False A cubiculum is a catacomb chamber. True Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Good Shepherd, Orants, Story of Jonah Catacomb of Peter and Marcellinus, Rome, Italy early 4th century fresco

Christ was most often represented during the Period of Persecution as; “The Good Shepherd,” a youthful and loyal protector of the Christian flock. A teacher or learned philosopher. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Good Shepherd Catacomb of Pietro and Marcellino, Rome, Italy early 4th century fresco

Three attributes he acquired during the Period of Recognition; Halo. Purple robe. Throne. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Orant figure Catacomb of Priscilla, Rome,Italy 3th century fresco

Sculpture Borrowed Classical motifs is a feature of the Santa Maria Antiqua sarcophagus and is typical of the emerging Early Christian style Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus with Old and New Testament Scenes from Rome, Italy ca. 270 marble 1 ft. 11 1/4 in. x 6 ft. 2 in.

Sarcophagus with Old and New Testament Scenes from Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus with Old and New Testament Scenes from Rome, Italy ca. 270 marble 1 ft. 11 1/4 in. x 6 ft. 2 in.

Sarcophagus with Old and New Testament Scenes from Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus with Old and New Testament Scenes from Rome, Italy ca. 270 marble 1 ft. 11 1/4 in. x 6 ft. 2 in.

Sarcophagus of Junius Bassus from Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus of Junius Bassus from Rome, Italy ca. 359 marble 3 ft. 10 1/2 in. x 8 ft.

One of the scenes depicted on the Junius Bassus Sarcophagus is the Entry into Jerusalem Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Significance themes that appear on the Sarcophagus of Junius Bassus; Christ seated between Saints Peter and Paul: He is a teacher enthroned between his chief apostles. Christ on a donkey: Christ’s earthly triumph, entering Jerusalem; the pose is reminiscent of Roman equestrian portraits of emperors and generals. Adam and Eve: Their Original Sin of eating the apple required Christ’s death to atone for their sin. In the New Testament Christ is considered the new Adam and Mary the new Eve. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus of Junius Bassus from Rome, Italy ca. 359 marble 3 ft. 10 1/2 in. x 8 ft.

Significance themes that appear on the Sarcophagus of Junius Bassus; Daniel and the lions: Daniel is saved by his faith, prefiguring Christ’s triumph over death. Abraham and Isaac: Abraham’s willingness to sacrifice his only son prefigures God’s sacrifice of his son Jesus. Christ before Pontius Pilate: This is the only scene that alludes to his death; the crucifixion was not shown in the earlier era of Christian art. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus of Junius Bassus from Rome, Italy ca. 359 marble 3 ft. 10 1/2 in. x 8 ft.

Sarcophagus of Junius Bassus from Rome, Italy Raising of Lazarus Fall of Adam and Eve Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus of Junius Bassus from Rome, Italy ca. 359 marble 3 ft. 10 1/2 in. x 8 ft.

Sarcophagus of Junius Bassus from Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus of Junius Bassus from Rome, Italy ca. 359 marble 3 ft. 10 1/2 in. x 8 ft. Christ Entering Jerusalem

The fourth-century marble statue of Christ Enthroned is one of the rare examples of early Christian full-round sculpture Christ Enthroned Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus of Junius Bassus From Rome, Italy ca. 359 marble 3 ft. 10 1/2 in. x 8 ft.

Christ Enthroned ca. 350-375 marble approximately 2 ft. 4 1/2 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Christ Enthroned ca. 350-375 marble approximately 2 ft. 4 1/2 in. high

Architecture and Mosaics

An atrium is a passage around the apse of a church. True or False An atrium is a passage around the apse of a church. False. An atrium is a open colonnaded courtyard The St. Peter's relics were located in the transept of Old St. Peter's. 1. Nave 2. Aisles 3. Apse 4. Transept 5. Narthex 6. Atrium Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Old Saint Peter’s Basilica (plan) Rome, Italy ca. 320

The Early Christian builders modified the plan of the Roman pagan basilica in order to convert it to Christian use modifying the transept, or transverse aisle, ran perpendicular to the nave and lay just before the apse. It housed relics of St. Peter in the Old St. Peter’s basilica and much later became a standard element of church design when its crossing with the nave and apse took on the symbolism of the cross. Two architectural sources for the Early Christian Basilica of Old St. Peter's in Rome were the Basilica Ulpia in the Forum of Trajan and the Aula Palatina at Trier. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Old Saint Peter’s Basilica (restoration drawing) Rome, Italy ca. 320

Old Saint Peter’s Basilica (section) Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Old Saint Peter’s Basilica (section) Rome, Italy ca. 320

The narthex was the entrance porch of Old St. Peter's in Rome.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Aula Palatina (basilica) Trier, Germany Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Aula Palatina (basilica) Trier, Germany early 4th century

Aula Palatina (basilica) Trier, Germany Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Aula Palatina (basilica) Trier, Germany early 4th century

Aula Palatina (basilica) Trier, Germany Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Aula Palatina (basilica) Trier, Germany early 4th century

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Like Old St. Peter's and other early Christian churches, Santa Sabina features a timbered ceiling Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Sabina Rome, Italy ca. 422-432

Santa Sabina Rome, Italy ca. 422-432 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Sabina Rome, Italy ca. 422-432

Santa Costanza Rome, Italy ca. 337-351 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Costanza Rome, Italy ca. 337-351

Which of the following is a centrally-planned structure? The Church of Santa Costanza differs from basilican churches in that it has a central plan, where the building’s parts are all of equal dimension around the center; in this case round. Which of the following is a centrally-planned structure? Church of Santa Costanza Its original purposec ould have been the mausoleum for Constantina, the daughter of Constantine. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Costanza Rome, Italy ca. 337-351

Santa Costanza Rome, Italy ca. 337-351 Longitudinal Section Plan Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Costanza Rome, Italy ca. 337-351 Plan

Santa Costanza vault mosaic Rome, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Costanza vault mosaic Rome, Italy ca. 337-351 tessera mosaic

Early Christian mosaics distinguish them from earlier Roman examples in that; Tesserae are usually made of glass, in order to create sparkle and to catch and reflect the light. Tesserae in Christian mosaics were larger because they were situated far above spectators’ heads. The mosaic of the grape harvest at Santa Costanza symbolizes the Eucharist and blood of Christ Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Costanza vault mosaic Rome, Italy ca. 337-351 tessera mosaic

Qualities of the mosaic medium that made it the favorite of Early Christian and Byzantine artists: Glass tesserae mosaics caught light flooding through windows and could direct attention towards a composition’s most important features. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Maria Maggiore Rome, Italy 432-440 tessera mosaic Drowning of the Egyptians in the Red Sea

Christ appears as Sol Invictus, a familiar pagan diety, in the mosaic from the Mausoleum of the Julii. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Christ as Sol Invictus from the Mausoleum of the Julii Rome, Italy late 3rd century tessera mosaic

Roman illusionistic elements retained in the Early Christian mosaic The Parting of Lot and Abaham: The background and city were similar to those on Trajan’s Column. The figures are solidly represented with cast shadows and modeled in light and dark. Their purpose: The realistic illusionism used here emphasizes that this scene occurred in the earthly world, whereas the flat images used in later Christian art emphasized the spiritual world. THE PARTING OF LOT AND ABRAHAM, c.432-40, a mosaic in the nave arcade of the Church of Santa Maria Maggiore, Rome.

Santa Maria Maggiore Rome, Italy 432-440 tessera mosaic Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Santa Maria Maggiore Rome, Italy 432-440 tessera mosaic Hospitality of Abraham

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Mausoleum of Galla Placidia Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Mausoleum of Galla Placidia Ravenna, Italy ca. 425

Christ as the Good Shepherd appears in Mausoleum of Galla Placidia Two remnants of Roman illusionism that can be found in the mosaic Christ as the Good Shepherd in the mausoleum of Galla Placidia. The landscape extends from foreground to background in a naturalistic way. All the forms cast shadows and have three-dimensional bulk. Christ as the Good Shepherd appears in Mausoleum of Galla Placidia Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Christ as the Good Shepherd from the entrance wall of the Mausoleum of Galla Placidia Ravenna, Italy ca. 425 tessera mosaic

Mausoleum of Galla Placidia Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Mausoleum of Galla Placidia Ravenna, Italy ca. 425 tessera mosaics

Dome Mosaic of Heaven Mausoleum of Galla Placidia Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Dome Mosaic of Heaven Mausoleum of Galla Placidia Ravenna, Italy ca. 425 tessera mosaic

The type of palace church erected in Ravenna by Theodoric is known as a Basilica. Teodorico Mausoleum - Ravenna, Italy.

Two features of the mosaics of St Two features of the mosaics of St. George at Thessalonika that will become standard for Byzantine art is: The formality of the poses and flat, curtainl-ike drapery. Golden background. The Martyrs Onesiphorus and Porphyrius Late 4th century

Saint Apollinare Nuovo Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint Apollinare Nuovo Ravenna, Italy dedicated 504

Saint Apollinare Nuovo Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint Apollinare Nuovo Ravenna, Italy dedicated 504

Saint Apollinare Nuovo Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint Apollinare Nuovo Ravenna, Italy dedicated 504

Saint Apollinare Nuovo Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint Apollinare Nuovo Ravenna, Italy dedicated 504 tessera mosaic Raising of Lazarus

Saint Apollinare Nuovo Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint Apollinare Nuovo Ravenna, Italy dedicated 504 tessera mosaic Miracle of the Loaves and Fishes

Saint Apollinare Nuovo Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint Apollinare Nuovo Ravenna, Italy dedicated 504 tessera mosaic Christ Foretelling Peter’s Denial

Saint Apollinare Nuovo Ravenna, Italy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Saint Apollinare Nuovo Ravenna, Italy dedicated 504 tessera mosaic Ascension of Christ

Illuminated Manuscripts Luxury Arts Illuminated Manuscripts The Vienna Genesis is a/an continuous narrative Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Vienna Genesis Early 6th century tempera, gold, silver on purple vellum 12 1/4 x 9 1/4 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Genesis chapter 32 Jacob travels to meet Esau Jacob travels over the Jabbok brook Jacob wrestles with the Angel Jacob blessed by the Angel Jacob’s 11 sons Vienna Genesis Early 6th century tempera, gold, silver on purple vellum 12 1/4 x 9 1/4 in.

An early Christian manuscript can also be called a codex Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Vienna Genesis Early 6th century tempera, gold, silver on purple vellum 12 1/4 x 9 1/4 in. Genesis chapter 24:15 Rebecca Leaves Nahor Rebecca and Eliezer at the Well

The Rossano Gospels is the earliest illuminated manuscript that contains illustrations of the New Testament Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rossano Gospels early 6th century tempera on purple vellum 11 x 10 1/4 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rossano Gospels early 6th century tempera on purple vellum 11 x 10 1/4 in. Matthew chapter 27 Christ before Pilate

Pilate Washing his Hands, Christ Carrying the Cross, Denial of Peter Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Pilate Washing his Hands, Christ Carrying the Cross, Denial of Peter from a casket ca. 420 ivory 3 x 3 7/8 in.

Suicide of Judas and Crucifixion Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Suicide of Judas and Crucifixion from a casket ca. 420 ivory 3 x 3 7/8 in.

Compare the basilica of Old St Compare the basilica of Old St. Peter's with the reconstruction of the Basilica Nova. What similarities and what differences do you see in the plans, elevations, and building materials used? How did the purposes of the varying parts of the two buildings differ? How was the more "spiritual" purpose of the Christian building reflected in the structure? Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Old Saint Peter’s Basilica (plan) Rome, Italy ca. 320 Basilica Nova reconstruction drawing Rome, Italy 306-312 C.E.

Old Saint Peter’s Basilica (plan) Rome, Italy ca. 320 Basilica Nova reconstruction drawing Rome, Italy 306-312 C.E.

Write at least a page in analysis of the Sarcophagus of Junius Bassus which contains a number of Christian scenes. First describe the architectural framework that surrounds the scenes. What types of columns and capitals do you see? How many are there? What type of entablature is used on the top row and what on the bottom? What sorts of arches are used and what type of creatures decorate the spandrels. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sarcophagus of Junius Bassus from Rome, Italy ca. 359 marble 3 ft. 10 1/2 in. x 8 ft.