1. LATE ANTIQUITY
GARDNER CHAPTER 11-2 PP

2. ARCHITECTURE AND MOSAICS
early church services took place in private community houses like that at Dura-Europos
Once Constantine granted Christianity imperial sponsorship there was a need to construct churches
New churches had to
Meet the requirements of Christian liturgy (the official ritual of public worship)
Provide a proper monumental setting for the celebration of Christian faith
Accommodate rapidly growing numbers of worshipers
Constantine was the first major patron of Christian architecture
Constantine constructs elaborate basilicas, memorials, and mausoleums in Rome, in Constantinople ( his “New Rome”), and in Bethlehem and Jerusalem

3. ROME – OLD SAINT PETER’S
Restored cutaway view of Old Saint Peter’s in Rome, begun 319
The greatest of Constantine’s churches
Built on the western side of the Tiber on the spot where it was believed the Peter was buried
Could house worshipers
Locate on a terrace on the slope of the Vatican Hill -> it enshrined the 2nd holiest site in Christendom, the 1st being the the Holy Sepulchre in Jerusalem -> site of Christ’s ressurection

4. The plan resembled a Roman basilica not a pagan temple -> Christians did not want their churches to look like pagan shrines
Unlike pagan rituals that took place outside the temple, Christians congregated inside the church
Wide central nave
flanking aisles
NARTHEX = entryway to the basilica
Unobstructed view across the nave to the altar in the apse at the other end
TRANSEPT = transverse aisle, area perpendicular to the nave and between the nave and the apse
Also contained an open colonnaded courtyard in front of the narthex -> ATRIUM
Exterior not decorated
Interior – frescoes, mosaics, marble columns, and costly ornaments
BALDACHINNO (domical canopy over an altar) – marble structure marked the spot of Saint Peter’s tomb

5. (3-49/1) SANTA SABINA - Exterior Rome, Italy Late Antique Europe c
(3-49/1) SANTA SABINA - Exterior Rome, Italy Late Antique Europe c C.E. Brick and stone, wooden roof
FLASHCARD
Exterior had plain brick walls -> basilica plan
Exterior plain, interior beautiful -> reflects the Christian idea of a person may be poor, diseased, and ugly on the outside but inside you’re a beautiful

6. (3-49/2) SANTA SABINA - Interior Rome, Italy Late Antique Europe c
(3-49/2) SANTA SABINA - Interior Rome, Italy Late Antique Europe c C.E. Brick and stone, wooden roof
FLASHCARD
Interior of Santa Sabina, Rome,
Built a century after Old Saint Peter’s -> more modest proportions -> Early Christian in character
Three aisled basilica -> Corinthian nave arcade -> no transepts
SPOLIA -> Corinthian columns taken from the Temple of Juno -> repurposed for this church -> triumph of Christianity over paganism
Chancel arch
Apse
Nave is drenched in light coming from clerestory windows

7. (3-49/3) SANTA SABINA - Plan Rome, Italy Late Antique Europe c
(3-49/3) SANTA SABINA - Plan Rome, Italy Late Antique Europe c C.E. Brick and stone, wooden roof
FLASHCARD

8. SANTA COSTANZA Interior of Santa Costanza, Rome, 337- 351
Most Christian churches were of the rectangular basilica design
Early Christian architects also copied another classical architectural type -> the CENTRAL-PLAN building = the building’s part are of equal or almost equal dimensions around the center
Central-plan buildings -> mostly round or polygonal domed structures
Central-plan buildings would become the preferred form for Byzantine churches

9. Plan of Santa Costanza, Rome, 337-351
Possibly built as a mausoleum for Constantine’s daughter
1= narthex
2 = ambulatory -> ringlike barrel vaulted corridor separated from the central domed cylinder by a dozen pairs of columns
Severe brick exterior
Interior richly adorned with mosaics

10. VAULT MOSAICS OF SANTA CONSTANZA
Detail of vault mosaic in the ambulatory of Santa Costanza, Rome,
Scenes of putti harvesting grapes and producing wine -> motifs associated with Bacchus, but for a Christian it brought to mind the wine of the Eucharist and Christ’s blood
VAULT MOSAICS OF SANTA CONSTANZA

11. SANTA MARIA MAGGIORE
The parting of Abraham and Lot, nave of Santa Maria Maggiore, Rome, , mosaic
Mosaics used to provide a beautiful setting in churches, and instruct the congregation about biblical stories and Christian dogma
This scene shows the Old Testament scene of Lot leading his family to the evil city of Sodom and Abraham leading his family to Canaan
Cleavage of the two groups -> figures engage in sharp dialogue of glance and gesture -> simplified motion -> but still elements of classical heritage = figures in light and dark, cast shadows, loom w/massive solidity