1. EARLY CHRISTIAN / BYZANTINE ART

2. 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.

3. 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.

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

5. Constantine moved his capital to Byzantium and renamed it CONSTANTINOPLE. 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 Theodosius I into two parts:
The WESTERN EMPIRE (Roman)
The EASTERN EMPIRE (Byzantine)
410 - Rome is sacked by the Visigoths.
476 - Romulus Augustulus, the last Western Roman emperor, is deposed by the German Odoacer.
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 Hagia Sophia in Constantinople.
726 - Byzantine Emperor Leo III orders all icons in the Byzantine Empire destroyed.

6. Map showing collapse of Western Empire and Justinian’s reign

7. ROMAN SARCOPHAGUS
Figures are references to Mythology or Government
EARLY CHRISTIAN
Stories and references to Christ

8. Throughout Art History, The Life of Jesus Christ is broken down into three major categories:
INCARNATION
MINISTRY
PASSION
The events surrounding Christ’s conception, birth, infancy and childhood.
Keys events include the calling of the twelve apostles, performing miracles and giving sermons.
The events which include Christ’s arrest, trial, crucifixion, resurrection and ascension.

9. 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.

10. Catacombs of Priscilla,
Rome, ca 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 5th century 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 Madonna 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. 

11. 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 arches.

12. The Good Shepherd Fresco, Catacombs of Priscilla, Rome, ca 320-340 CE
The Good Shepherd Fresco, Catacombs of Priscilla, Rome, ca 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.”

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

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

15. Sarcophagus of Junius Bassus, c 359. 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 with Classical architectural and figural elements.
Sarcophagus of Junius Bassus, c 359. EARLY CHRISTIAN

16. Sarcophagus of Junius Bassus, c 359. EARLY CHRISTIAN
Two registers, 10 panels of OLD and NEW Testament scenes… Christ is depicted in center with Roman themes.

17. Suicide of Judas and Crucifixion of Christ,
Ivory Carving
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 cross 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 Jews."
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 figure of Christ does not appear to be in pain because he is displayed on the cross, rather than hung from it, as though he has conquered death and does not suffer.
The contrast of Jesus whose body remains strong on the cross contrasts with the body of his betrayer, Judas, hanging from a tree with a limp body and a snapped neck. Visually and symbolically, this image was meant to show Jesus as a strong leader and not prone to pain or complete death.

18. BASILICA-PLAN CHURCH (West)
Narthex

19. BASILICA-PLAN CHURCH (West)
Narthex
Side Aisles

20. BASILICA-PLAN CHURCH (West)
Narthex
Side Aisles
Clerestory

21. BASILICA-PLAN CHURCH (West)
Narthex
Side Aisles
Clerestory
Nave

22. BASILICA-PLAN CHURCH (West)
Narthex
Side Aisles
Clerestory
Nave
Apse

23. Narthex Side Aisles Clerestory Nave Apse Triforium
BASILICA-PLAN CHURCH (West)
Narthex
Side Aisles
Clerestory
Nave
Apse
Triforium

24. CENTRAL-PLAN CHURCH (East)
Narthex
Side Aisles
Naos
Apse
Exedrae

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

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

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

28. Santa Costanza, Rome, 350 CE.
CENTRAL PLAN CHURCH

29. Map showing collapse of Western Empire and Justinian’s reign

30. Characteristics of Byzantine Art
Did not think themselves as Byzantine – they thought themselves as roman
No separation of church and state
Best works of art were commissioned by both
Religious art served as decoration and promotion
Most artists worked anonymously
The production of icons was a Byzantine specialty
Felt that icons provided people with a reminder of what they were faithful to
Produced a hot debate over idol worship – many thought that icons were sacrilegious
Miracle of the loaves and fishes, Mosaic from the top register of the nave wall (above the clerestory windows) or St’Apollinare Nuovo, Ravenna, c504. BYZANTINE

31. Hagia Sophia, 532-537, Istanbul, Turkey. BYZANTINE

32. 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, Anthemius 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, Istanbul, Turkey. Brick, ceramic, tile, stone, mosaic. BYZANTINE

33. Hagia Sophia, 532-537, Istanbul, Turkey. BYZANTINE

34. Large, decorated pendentives inside the Hagia Sophia
Hagia Sophia, , Istanbul, Turkey. BYZANTINE
Large, decorated pendentives inside the Hagia Sophia

35. San Vitale, brick, marble stone. Ravenna, Italy. 547.
Church of San Vitale, Ravenna, c547.
San Vitale, brick, marble stone. Ravenna, Italy. 547.
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 latin cross plan.

36. Church of San Vitale, Ravenna, c547. BYZANTINE

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

38. Church of San Vitale, Ravenna, c547.

39. Byzantine Basics: Three F’s and a G
Byzantine Mosaics
Byzantine Basics: Three F’s and a G
FLAT:
FLOATING:
FRONTAL:
GOLD BACKGROUNDS:
Although the artist includes some shading, figures appear flat, lacking volume that was common with Classical Art.
Figures appear to hover over the ground. Note the pointed 45-degree angle of the feet.
Unlike the realistic overlapping seen in most Classical art, Byzantine figures are usually turned toward the viewer.
Byzantine Art shows very little interest in a background. Byzantine art focuses more on conveying Christian teachings and depicting important figures than on representing the natural world.

40. Mausoleum of Galla Placidia, Ravenna, c425-26 AD EARLY CHRISTIAN
Byzantine Mosaics
Mausoleum of Galla Placidia, Ravenna, c AD
EARLY CHRISTIAN
Emperor Justinian and his Attendants,
Church of San Vitale, c547.
BYZANTINE

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

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

43. Church of San Vitale, Ravenna, c547.
Empress Theodora and her Attendants, Church of San Vitale, Ravenna, c547.

44. Virgin (Theotokos) and Child Between the Saints Theodore and George Icon, 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.

45. Jacob Wrestling the Angel, Early 6th Century CE.

46. Rebecca and Eliezer at the Well Illuminated Manuscript (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 Medieval art. In this scene from Genesis (24:15-61), Rebecca leaves the city 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 Trajan.

47. Rebecca and Eliezer at the Well Illuminated Manuscript (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 manuscripts 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.

48. Rebecca and Eliezer at the Well, Early 6th Century CE.

49. Jacob Wrestling the Angel 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.