Early Christian Art After 200 AD to early 5th Century

New Vocabulary-- Catacombs Altar Nave Apse Narthex Transept Codex

323 AD, Constantine moved the Roman Empire to Byzantium, Greek town that became Constantinople and then Istanbul- acknowledged new power of Eastern Provinces and was symbolic of the Empire’s newfound Christianity Split empire in half- Western half fell to Germanic tribes Split Church in half- Pope in Rome and Patriarch in Byzantium- Catholicism v. Orthodox Church Pope was dependent on civic authority while the Patriarch was both political and religious leader Must look at art under two headings- Early Christian Art- prior to the splitting of the church (first 5 centuries AD) Byzantine Art- Eastern part of empire, a certain style- became an artistic differentiation- Western Empire art became the Middle Ages Eastern Art- became more and more oriental, not included in Middle Ages art- more Greek

Painted Ceiling, 4th C. AD. Catacombs of SS. Pietra Early Christian art found mostly in Catacombs- Christian underground tombs-usually not found in Rome, but in older Christian strongholds in North Africa and Near East Catacomb paintings are similar to Roman painting, but a much more symbolic meaning Circles suggest the dome of heaven, inscribed with the cross- Shepherd in the middle stands for Christ, old testament imagery mixed with new testament

Section, Old St. Peter’s, Begun 333 AD The Basilica served as a model for new Churches Constantine focused on building many new churches for new Christians! Basilica is a combination assembly hall, temple, and private house Similar to Roman model- long nave flanked by aisles and lit with Clerestory windows, apse, wooden ceiling Plan, Old St. Peter’s

Interior, Old St. Peter’s (no longer standing) Old Roman Basilica served as a fitting example because of its large, uninterrupted interior spaces for a large number of Christians and an Imperial feel that linked Christianity with its new role as state religion Interior, Old St. Peter’s (no longer standing) The building had to be given a new focus to make it appropriate for Christianity- the altar, which was placed in front of the apse at the eastern end of the nave, entrances were moved from the side to the western end- became a single longitudinal axis

S. Apollinare in Classe, Ravenna, 533-49 Plain,unadorned exterior, just a shell for the interior- this is the exact opposite of the Classical Greek idea of the Temple Interior of the church is completely opposite the outside

Interior, S. Apollinare in Classe, Ravenna, 533-49 Pure light and color, have left behind the everyday world Mosaics and marble surfaces

Domed buildings popular- round or polygonal buildings topped with a dome- taken from Roman bath design- became baptisteries (bath was a sacred rite) and funerary chapels Sta. Constanza (Constantine’s daughter)- domed cylindrical core lit by clerestory windows, ring shaped aisle or ambulatory Sta. Constanza, Rome, c 350

4th C. Building of churches- huge areas to be decorated, little is left to know about paintings, but more masterful than catacomb artists- paintings spread over nave walls, triumphal arch, and apse Mosaics- great new art form –composed of small pieces of colored material set in plaster- used by the Sumerians, Greeks, Romans (Battle of Issus)- these were floor mosaics- color lacked brilliance since colors were limited to those found in nature New mosaics made from colored glass (not seen before) – far greater color range and intensity- glass was shiny and became tiny reflectors of light Greco-Roman- guiding principle of architecture was of balance of opposing forces (contrapposto)- sculpture fit this principle Early Christian- weightiness of architecture- thickness was hidden- bland, expressionless walls needed mosaics like Greek architecture needed sculpture surface is denied to create an illusion of unreality (Roman painting- more of an illusion of reality)- a realm of the symbolic narrative scenes show the illusionistic traditions being transformed by new content- condensing complex action into a visual form to be read at a distance- like column of Trajan- but because these are biblical scenes of holiness, the reader of the artwork is already expected to know the story- so it can be more symbolic than realistic

Prototypes of mosaics were illustrated manuscripts- duplication of holy text on a vast scale -parchment became available in Greece (before that, papyrus was used in Egypt)- more durable- strong enough to be creased – a bound book is called a Codex 1st-4th century vellum codex replaced parchment scrolls- because there was no unrolling and rolling, illustrations could survive longer Vienna Genesis, 6th C, AD

Vienna Genesis- Written in silver (now turned black) on purple vellum), with brilliantly colored illustrations- shows sequences of events in each illustration- progression of space becomes progression of time- called continuous narration- goes back to Egypt and Mesopotamia- permits spatial economy Vienna Genesis, 6th C. AD

Sarcophagus of Julius Bassus, 359 AD Sculpture took a secondary role during early Christian art due to prohibition of graven images in the bible- seemed too Pagan- became less monumental-smaller scale Early sculpture found on sarcophagi

Detail, Sarcophagus of Junius Bassus, 359 AD Colonnaded front split into compartments of old and new testament scenes All scenes stress the divine Christ rather than the human nature of Christ- suffering is only hinted at Has a classicistic feel to it- in the Greek tradition, but doll-like quality like the arch of Constantine

Priestess of Bacchus, 390-400 Diptych designed for private ownership- pagan subjects, reproduced but no longer understood- borrowed subject matter, but seen in relationship to Christ- Very classicist in nature- Paganism was still in the culture, still aware of their pagan roots Priestess of Bacchus, 390-400

Portrait of Eutropios,C. 450 Monumental sculpture was still popular with the emperors. Continued he tradition of portraits of high officials Interest in individualizations, but more interested in spiritual ideal rather than physical self- became more idealized and expressive This reminds of us late Roman portraits but has a much more other-worldly quality- emphasized by the abstraction Last gasp of Greek sculpture in the round Portrait of Eutropios,C. 450