Early Christian and Byzantine Art Vocabulary Catacomb: Cubicula Synagogue Basilica Evangelists Nave Apse Buttress Putto/Putti Catacomb Orant Sarcophagus Narthex Transept Codex Illuminated Manuscript Parchment/vellum Chalice/patten Pendentives Icons Iconoclasts/iconophiles Chi-rho

Judaic, Synagogue at Dura Europos, Syria, 244-245 CE The Synagogue discovered in Dura-Europos is one of the temples of the various religions existing in Dura at that time. It shows that there were a few Jewish families. Some were Christians and the rest of the population had adopted other religions prevailing in the Roman Period. The interior has mural paintings in four rows. The three upper rows depict scenes from the Old Testament, whereas the lower one shows a tiger, a lioness and a mask not relating to the upper scenes. The ceiling of the Synagogue is decorated with terracotta square slabs bearing motifs incarnating flora in human forms, or forms of flowers, roses, fruits and corn-ears etc.

The Exodus from Egypt This panel illustrates key events of the Exodus in a triptych moving from right to left. The right portion shows Moses leading the people of Israel as they leave behind Egypt, with its doors open. In the center of the panel, Moses has raised his hand, apparently holding a rod, over the sea to destroy the pursuing Egyptians (Exod 14:26-29). On the left Moses appears with the people of Israel, organized in twelve tribes, at his right hand. They have safely crossed through the Sea under the care of God, whose protecting hands overshadow them.

Roman Catacombs, Late Roman Early 4th century Not a fun place to be-not used for regular worship, but just for burial Art is created rapidly under miserable conditions

Early Christian, Three Hebrew Youths in the Fiery Furnace, Early 3rd Century, Catacomb of Pricilla, Rome

Many different scenes all separated by a thin line Content is important because it shows how Christian images derive from Jewish images Themes of Salvation and peace in the afterlife Good Shepherd is a classical image: Calfbearer, offering sacrifice, as well as a God who cares for his flock Brings to mind a peaceful afterlife (Christ referred to himself as a Good Shepherd) Orant figure is of Prayer to any god Jonah and the Whale comes from Jewish Narrative-old testament books of Jewish Law Christianity comes out of Jewish religion which rarely depicted god-2nd commandment Images of one who is saved after death-Jonah and Whale Christianity had no artistic vocabulary of their own-it’s a young religion with a bible just becoming organized into a volume Christians take OT and suit it to NT so that Jonah becomes a Christ-like figure being saved after death Early Christian, Catacomb of Ss. Peter and Marcelinus, Rome, 4th century

Images often speak to members of all faiths Christianity has no individual imagery-it evolves by using borrowed images from Pagan and Judaism Orant figure-possible to all faiths Menorah, Jewish Hercules and Cerberius with Alcestis and Hades

Early Christian, Sarcophagus of Maria Antigua, 270

Relief detail from a marble sarcophagus of a vintage scene, ca Relief detail from a marble sarcophagus of a vintage scene, ca. 3rd century, Rome

Early Christian, Good Shepherd, late 3rd century, Rome

Early Christian, Old Saint Peter’s, Rome, ca. 320 Narthex Transept aisles 313 edict of Milan legalized Christianity 325 Council of Nicaea declared official state religion Paganism declines rapidly and Christians are allowed to practice anywhere they want Need for public churches-most outside perimeter of City since Christianity wasn’t predominant before the Council of Nicaea-cover catacombs St. Peter’s is in the city because it covers the supposed site of St. Peter’s Burial Christianity takes even architecture and adapts it to suit its needs. Very plain exterior like the Aula palatine Many people can get a good look at the ritual from this building Destroyed in 15th century

Late Roman, Aula Palatina, Trier, Germany, 4th cent. Typical Roman meeting hall, for public use, not Christian or Religious Traditional Basilica style in Germany where Constantine constructed his new palace Traditional Roman materials: wood, bricks, and stucco for a lighter surface NO side aisles, need buttresses for open windows that weaken the walls, 95 feet tall

Nave Apse Will be used by later Christians

Early Christian, Santa Sabina, Interior, Rome, 422-32 See interior of something like St. Peter’s Filled with mosaics or frescos Windows above, corinthian columns and arcades, apse and triumphal arch Early Christian, Santa Sabina, Interior, Rome, 422-32

Christ as Good Shepherd, Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425

Martyrdom of St. Lawrence, Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425

Santa Costanza, Rome, ca. 337-351

Elevation and Plan, Santa Costanza Central Plan Greek cross

Early Byzantine, Hagia Sophia, Constantinople, 532-537 Sits on a hill to hover over the city like the heavens 270’ long by 240 wide and 180 feet from top of dome to floor 108’ diameter of the dome Dome collapsed after 20 years-too wide to be supported Round dome on square building Anthemius of Tralles and Isidorus of Miletus 19

Dome rests on a series of windows that appear to be a halo of heavenly light Light causes the mosaics to sparkle and shine-very spiritual interior Central plan causes emperor to be involved in the ritual and religious function Segregates others in the congregation Names the emperor in its decoration 20

Pendentives

San Vitale, Ravenna, 526-47

Early Byzantine, San Vitale, Apse View, Ravenna, 526-47

Early Byzantine, Justinian and his Courtiers, San Vitale, 547 547-in a Church that was Arian Ostragoths under Theodoric Justinian reasserts himself as emperor over this land Shows the role the emperor plays in the church-censer, patten, badge, purple robe, crown and halo Bishop maximianus-labeled as the authority while the Emperor is in Constantinople Off perspective-classicism Early Byzantine, Justinian and his Courtiers, San Vitale, 547 26

Early Byzantine, Theodora and her Courtiers, San Vitale, 547 Racy life of Empress Theodora NO way known to show a woman in power. Things have to be accomodated Greater crown, taller, in a niche, purple, no badge-but the magi on the dress, holds chalice Behind curtain, definite space, courtyard perhaps-shows rank beneath the emperor Mixture of images of Authority and Femininity Early Byzantine, Theodora and her Courtiers, San Vitale, 547 27

Early Byzantine, Virgin Enthroned with Saints Icon, 6th century Tempera Theotokos Hieratic Private and public use Making of icons-mystical experience Use of them-healing properties, devotion item medium Different depictions of the Virgin and Child Repainted due to blackening from smoke, repainted-faces left original Presence of the saint St. Theodore and George Medalions 28

Iconoclasm 726-843

Middle Byzantine, Virgin and Child (Theotokos), Hagia Sophia, 867

Church of the Dormition, Nicaea, Greece, restored, 787

Christ as Pantocrator, church of the Dormition, Daphni, Greece, ca

Pantocrator, Church of the Dormition, Daphni, Greece, ca. 1100

Middle Byzantine, The Lamentation, Saint Pantaleimon, Macedonia, 1164 Not a scene in the bible Emotions, gestures John grabs his hand and looks at his face in disbeleif St. Peter and Nicodemus mourn over the death as well, Angels weep and hover in the blue sky-lapiz Change from a flat ground-environment Rock, idea of space and time Dramatic display becomes re-invented over the Renaissance 34

Virgin and Child (Theotokos), late 11th-early12th century, Russia Virgin of Compassion

Middle Byzantine, St. Mark’s Basilica, Venice, 1063 begun Variant of the central plan Equal arms-Greek cross with five great domes Stone domes gilded to be brilliant Still looks back to the east for basiss of architecture Built to house relics of St. Mark-earlier church destroyed by fire, this is the third on the same site Middle Byzantine, St. Mark’s Basilica, Venice, 1063 begun 36

Rebecca and Eliezer at the Well, Vienna Genesis, early 6th century Codex Illuminated manuscript Folio Vellum Tempera

David Composing the Psalms, the Paris Psalter, ca. 950-970