1. Early Christian & Byzantine Art
A.D

2. Catacombs of Rome
In the first century, Rome's Christians did not have their own cemeteries. If they owned land, they buried their relatives there, otherwise they resorted to common cemeteries, where pagans were buried also. By the beginning of the second century, the Christians started using underground burial tunnels called catacombs to inter their dead and to practice their faith in secret.
The early Christians lived in a mainly pagan and hostile society. The Christians were mistrusted, suspected and accused of the worst crimes. They were persecuted, imprisoned, sentenced to exile or condemned to death. Unable to profess their faith openly, the Christians made use of symbols, which they depicted on the walls of the catacombs and, more often, carved them on the marble-slabs which sealed the tombs.
Early Christian art was created to inspire & teach their faith. Although the images were similar to Roman art, symbolic (religious) content was the aim rather than depicting beauty.

3. The Christians were very fond of symbolism
The Christians were very fond of symbolism. While Christianity was still outlawed, symbols could be used to disguise the teachings of their faith from the Roman authorities.
Byzantine artists had to follow many rules about subject matter, content, and form. Symbolic representation was very important in Byzantine art.
The Good Shepherd with a lamb around his shoulders represents Christ and the soul which He has saved. This symbol is often found in frescoes and relief sculptures.
Ceiling fresco of the Catacomb of Saints Peter & Marcellinus. 4th c.

4. Christian Symbolism
FISH: Another common symbol was the fish. Sometimes it depicts men who have been caught by Christ and his apostles. The Greek word for fish is ichthus. Greek letters, also became a symbol of Jesus himself, each letter standing for a word that explains who he is.
ANCHOR: A third common symbol in the catacombs is a boat anchor. It expresses the firm expectation of eternal life that we Christians enjoy. The anchor was also used as a disguised cross in a day when the cross itself was seldom used for fear of persecution. The crosspiece or "stock" at the top of the anchor reminded Christians of the cross on which Jesus died.

5. Funeral Art King of Heaven
FUNERARY ART was carved with symbolic scenes, that advanced the Christian belief of the soul’s life after death because of Christ’s resurrection. As time passed, the realistic figure proportions & the skill of the sculpting of Roman times deteriorated. Symbolism became more important than realism & design.
King of Heaven
The oldest images of Christ as King are from the 4th century and are consistent with conventional portrayals of the Emperor, centering him in his "court" of saints, his head outlined by an architectural element or a halo.
Images of Christ as a youthful good shepherd expanded to depictions of Him as King of Heaven.

6. Creation of an Empire The Divide
In 313 AD, in a dream the night before an important battle, Constantine the Great, claimed he had a sign from the God of the Christians. Constantine won this battle and thereafter, showed his gratitude to the Christian God by legalizing their religion thus ending the persecution of Christians. Thus, began a new era of expansion in both members of the faith but also of the expression of Christianity in the arts.
The Divide
By the end of the fourth century AD the Empire had been permanently split into two parts, each with it’s own emperor & capital. The Western part was the biggest. It needed a huge army to defend it. Many of the tribes the Romans called the Barbarians joined forces to attack parts of the Empire. The Roman army could not deal with all of these attacks.

7. Early Christian Architecture
In Milan (313 AD) began a monumental period of church building because there was a demand for public places for Christian worship.
The old temples of the Roman gods were too small to hold large congregations. Also the Christians did not want to worship in pagan temples.
Therefore, the early Christian builders copied the design of the large Roman assembly hall: the BASILICA.
Basilica: An ancient Roman floor plan for a style of large building that was used as a meeting place and a hall of judgment. The plan consisted of a central nave, which ended in an apse, flanked by two side aisles. This design became very influential early in Christian architecture and the term Basilica now describes any church with a long nave ending in an apse, with two side aisles.
Most Early Christian architecture was plain on the exterior. The interiors were richly decorated in mosaics and sometimes frescoes. Interiors were also decorated with bits & pieces from the ruins of old Roman buildings. Marble, columns, richly carved capitals, & other stone decorations were now used to glorify God's house.

8. Mosaics Central Plan Churches
Walls were richly decorated with mosaics (a decorative style made with small pieces of glass and stone set in cement). From those churches that have survived, it is clear that they served as the basic model for church architecture in western Europe for centuries.
Central Plan Churches
The Byzantine style in their churches was based on the hall-like basilica plan in the West and central plan in the East.
The Hagia Sophia( , Istanbul, Turkey) was built by the Emperor Justinian as the crowning glory of the Byzantine capital, Constantinople.
It’s most impressive feature is its dome, which rests on four huge piers (massive vertical pillars) that support arches made of cut stone.

9. Hagia Sophia (Continued)
This construction allowed for thinner walls housing many windows to light the interior. It also created the illusion of a lighter weight. The dome itself, seems to soar over a row of windows placed around its base.
The MOSAICS create a dream-like setting due to the abundance of glimmering surfaces.
The interior of churches of this large size were required to be elaborately decorated inside. Works of art had to have bright colours and be large enough to be seen from a distance.

10. Mosaic of San Vitale
This mosaic entitled Justinian and Attendants (547 A.D) found in the San Vitale Church in Ravenna, Italy. It is found on one side of the apse (altar) and includes the Emperor Justinian with the archbishop, deacons, soldiers and attendants. Those bodies of most importance overlap those of lesser importance.
The archbishop beside Justinian places his leg in front of the emperor’s cloak, to depict in spiritual matters that the archbishop was the leader of all people, including the emperor.

11. Byzantine Icons: Sacred Paintings
ICONS are the combination of art and prayer under a set of stylistic rules that evolved in the Eastern Roman Empire. This type of Icon painting remains important in the Eastern Orthodox church today.
Icons have width and height. Depth is absent. The "third" dimension of an icon goes beyond what the eye can see, as it is spiritual.
Icons were usually painted on hardwood, sometimes elaborately framed or encased in precious metals and stones. Egg tempera was the primary medium--water colors mixed with egg yolk. Monks & lay artists who painted icons were thought to be divinely inspired. The profession had considerable prestige, since Saint Luke was believed to have painted icons.
Icons were often used as worship centers in homes but best decorated the interiors of churches especially the large wooden screen (iconostasis) that separated the holy sanctuary from the nave of the Byzantine church.

12. Byzantine Style Features
FIGURE REPRESENTATION had set style characteristics:
The FIGURES appear flat and fairly abstract because Byzantine artists used little shading. Bodies are elongated (tall & slim) and with hanging feet that do not appear to touch the ground (sort of, tippy-toed). Clothing appears flat & linear (seems to be hung on hangers rather than covering 3-D bodies). Large, dark eyes stare directly at the viewer from small, oval shaped faces.
Faces appear expressionless and generally are not exact portraits. Little suggestion of space as figures only overlap to show depth yet all are the same height.

14. Byzantine Fashion WHATS IN: PEARLS, SILK & GOLD
Purple…. But only for the rich & royal & patterns everywhere
MUST HAVES:
Unisex :
TUNICA a long undergarment. The poor wore only this. The wealthy accessorized.
DALMATICA worn over the tunica, belted or unbelted
MANTLE or CLOAK
Embroidered & jewel studded: Boots, Belts and collars