EArly Christian

Late Antique and Early Christian Art

William V. Ganis, PhD

Judaism is the "religion, philosophy, and way of life" of the Jewish people.[1] Judaism, originating in the Hebrew Bible (also known as theTanakh) and explored in later texts such as the Talmud, is considered by Jews to be the expression of the covenantal relationship God developed with the Children of Israel.

-Wikipedia

Jewish Art

• ' …Le t s g o b a c k t o w h e r e it a ll b e g a n• Ancient Jewish art goes over centuries ago. In those times the prevalent opinion was that

creating art by drawing and sculpting was a violation of the second commandment "graven images". Despite this approach, Jewish people had a need to express their longing for beauty and art. Their solution was found by focusing on adornment of their ceremonial objects and producing less by using graphic arts.

• It c a n b e t r a c e d b a c k t o t h e s o u r c e s• You can find several historical reports documenting the creation of Jewish art throughout

history. Take the Bible for example; it records the building of altars and later of a tabernacle that the Israelites carried through their desert wandering when led out of Egypt. These creations all accumulate to one historical figure, do you know who I'm talking about?

• Th e f ir s t c r e a t o r a n c ie n t J e w is h a r t• The first Jewish artist on record was named Bezalel. He was an architect, sculptor and

designer of holy garments. Mostly he was known for making the Tabernacle that contained the Ark of the Covenant. Now let's move to a matter that may be puzzling you right about now…

• Wit h c e n t u r ie s o f c r e a t in g w h y d o s o f e w o b je c t s?r e m a in

• Unfortunately, because the Jews were exiled and persecuted over the years, many ancient Jewish art objects created prior to the sixteenth century did not survive. Among the items that have remained are the beautiful mosaics of Beth Alpha in Israel and segments of an ancient synagogue in Duro-Europos, Syria. But this is not all!

• An o t h e r r e a s o n f o r t h e r a r e n e s s o f t h e s e o b je c t s• After the Babylonian Captivity, Jewish cultural advancement slowed down, Jews became

scattered throughout the globe, wandering and persecuted. Those living in Europe were not permitted to take part in the creation of art. This was because art was considered to be under the influence of the church. So how did this all change?

• …Th e t u r n in g p o in t• This approach began fading towards the end of the eighteen century with the growing

popularity of the spirit of emancipation and the emphasis on education. This change eventually opened the doors of art academies to Jews. Parallel to this development there grew an interest in and demand for Judaica.

• Th e m o s t s ig n if ic a n t d e v e lo p m e n t• Around this time, the Zionist movement began to grow and the link to the land of Israel as

the home of the Jewish nation became stronger. The Bezalel School of the Arts was founded in Jerusalem in 1906. And headed by its founder, Boris Schatz, it led the first modern movement to create a contemporary Jewish style of art.

• Wh e n c o n t e m p o r a r y a n d a n c ie n t c o m e t o g e t h e r• Jewish ceremonial art created today is influenced by the spirit of the Bezalel School but

also takes the liberty to combine a variety of antique styles with modern materials such as glass, plastic and porcelain. These items are purchased all over the world, some bought by collectors, some to be used when worshiping God and others as valued gifts. But always, using Jewish art strengthens your belief in the continuity of Jewish history and cultural development

Chronology of Early Christianity

Crucifixion of Christ ca. 29

Crucifixion of St. Peter ca. 64

Persecution of ChristiansTrajan Decius 249-251Diocletian 303-305

Edict of Milan 313

Foundation of Constantinople 324

Christianity becomes state religion 390

Fall of Rome to Alaric the Visigoth 410

Synagogue

Dura Europos, Syria

ca. 245-256

Synagogue is a Jewish house of prayer.

The synagogue contains a forecourt and house of assembly with painted walls depicting people and animals, and a Torah shrine in the western wall facingJerusalem. The paintings cover the walls of the main "Assembly Room", using three levels of pictures over a dado frieze of symbols in most places, reaching a height of about 7 metres. The scenes depicted are drawn from the Hebrew Bible and include many narrative scenes, and some single figure "portraits" - 58 scenes in total, probably representing about 60% of the original number. They include the Sacrifice of Isaac and other Genesis stories, Moses receiving the Tablets of the Law, Moses leading the Hebrews out of Egypt, the visions of Ezekiel, and many others. The Hand of God motif is used to represent divine intervention in a scene. 

Synagogue InteriorWall paintings of Old Testament scenes

from Dura Europos, Syria

ca. 245-256tempera on plaster

The paintings cover the walls of the main "Assembly Room", using three levels of pictures over a dado frieze of symbols in most places, reaching a height of about 7 metres.

Synagogue InteriorWall paintings of Old Testament scenes

from Dura Europos, Syria

ca. 245-256tempera on plaster

Ark of the Covenant in the Temple of Dagon

The scenes depicted are drawn from the Hebrew Bible and include many narrative scenes, and some single figure "portraits" - 58 scenes in total, probably representing about 60% of the original number.

Reconstruction of Christian Community House

Dura Europos, Syria

ca. 240-256

Baptistery from Christian Community House

Dura Europos, Syria

ca. 240-256

Baptistery from Christian Community House

Dura Europos, Syria

ca. 240-256tempera paintings Christ Walks on Water

Baptistery from Christian Community House

Dura Europos, Syria

ca. 240-256tempera paintings

Christ the Good Shepherd

Baptistery from Christian Community House

Dura Europos, Syria

ca. 240-256tempera paintings Christ Healing the Paralytic

Catacomb showing loculi

Rome

3rd-4th centuries

The  C a t a c o m b s o f R o m e  are ancient catacombs, or underground burial places under or near Rome, Italy, of which there are at least forty, some discovered only in recent decades. Though most famous for Christian burials, they include pagan andJewish burials, either in separate catacombs or mixed together.

Lo c u lu s  (pl. Loculi) is a Latin word literally meaning little p lace  and was used in a number of senses. In architecture it is a recess large enough to receive a human corpse. Usually found in either a catacomb, hypogeum, mausoleum or other place of entombment. Loculus can also refer to an alternative name for a sarcophagus.  

Good Shepherd, Orants, Story of Jonah

Catacomb of Pietro and Marcellino, Rome, Italy

early 4th centuryfresco

O r a n t  is a type of gesture during prayer in which the hands are raised, set apart, and the palms face outward. It was once common in early Christianity, and can frequently be seen in early Christian art. For example, orant gestures are depicted in Roman catacombs as vault frescos that date to the 4th century C.E.

Good Shepherd

Catacomb of Pietro and Marcellino, Rome, Italy

early 4th centuryfresco

Orant figure

Catacomb of Priscilla, Rome,Italy

3th centuryfresco

Sarcophagus with Old and New Testament Scenes

from Rome, Italy

ca. 270marble1 ft. 11 1/4 in. x 6 ft. 2 in.

A s a r c o p h a g u s  is a funeral receptacle for a corpse, most commonly carved or cut from stone. The word "sarcophagus" comes from theGreek σαρξ  sarx meaning "flesh", and φαγειν phag e in meaning "to eat", hence sarkophag us means "flesh-eating"; from the phrase lithos sarkophag os. (λιθος σαρκοφάγος) The word came to refer to the limestone that was thought to decompose the flesh of corpses interred within it.

Sarcophagus with Old and New Testament Scenes

from Rome, Italy

ca. 270marble1 ft. 11 1/4 in. x 6 ft. 2 in.

Sarcophagus with Old and New Testament Scenes

from Rome, Italy

ca. 270marble1 ft. 11 1/4 in. x 6 ft. 2 in.

Sarcophagus of Junius Bassus

from Rome, Italy

ca. 359marble3 ft. 10 1/2 in. x 8 ft.

Iu n iu s B a s s u s s ig n oTh e o t e c n iu s  (June 317 - 25 August 359) was an ancient Roman politician. The son of the praetorian prefect Junius Annius Bassus, he was v ir clarissimus and v icarius of Rome as well as prae fe ctus urb i . The important Sarcophagus of Junius Bassus shows him to have been a Christian.

Early Christian Art -This is the art and architecture produced for the unsplited Christian church. This art extends over the Late Antique period, Roman art and architecture (the late 2nd - 7th century), and the Byzantine art and architecture (from 5th - 7th century).

   Before the Edict of Milan (313), which made Christianity the

Roman Empire's state religion, Christian art was restricted to the decoration of the hidden places of worship. Most early religious artists worked in manner that was derived from Roman art, appropriately stylized to suit the spirituality of the religion.

Early Christians used the same artistic media as the surrounding pagan culture. These media included fresco, mosaics, sculpture, and manuscript illumination. Early Christian art not only used Roman forms, it also used Roman styles. Late classical style included a proportional portrayal of the human body and impressionistic presentation of space. Late classical style is seen in early Christian frescos, such as those in the catacombs of Rome.

Sarcophagus of Junius Bassus

from Rome, Italy

ca. 359marble3 ft. 10 1/2 in. x 8 ft.

Sarcophagus of Junius Bassus

from Rome, Italy

ca. 359marble3 ft. 10 1/2 in. x 8 ft.

Sarcophagus of Junius Bassus

from Rome, Italy

ca. 359marble3 ft. 10 1/2 in. x 8 ft.

Raising of Lazarus Fall of Adam and Eve

Sarcophagus of Junius Bassus

from Rome, Italy

ca. 359marble3 ft. 10 1/2 in. x 8 ft.

Christ Entering Jerusalem

Sarcophagus of Junius Bassus

From Rome, Italy

ca. 359marble3 ft. 10 1/2 in. x 8 ft.

Christ Enthroned

Christ Enthroned

ca. 350-375marbleapproximately 2 ft. 4 1/2 in. high

Old Saint Peter’s Basilica (restoration drawing)

Rome, Italy

ca. 320

Old Saint Peter’s Basilica (plan)

Rome, Italy

ca. 320

1. Nave

2. Aisles

3. Apse

4. Transept

5. Narthex

6. Atrium

Old Saint Peter’s Basilica (section)

Rome, Italy

ca. 320

Aula Palatina (basilica)

Trier, Germany

early 4th century

The Aula Palatina was built around 310 AD as a part of the palace complex. Originally it was not a free standing building but had other smaller buildings attached to it, such as a forehall, an entrance vestibule and some service buildings. The Aula Palatina was equipped with a floor and wall heating system (hypocaust).

Aula Palatina (basilica)

Trier, Germany

early 4th century

Aula Palatina (basilica)

Trier, Germany

early 4th century

Santa Sabina

Rome, Italy

ca. 422-432

Santa Sabina was built by Priest Petrus of Illyria, a Dalmatian priest, between 422 and 432 on the site of the house of the Roman matron Sabina, who was later declared a Christian saint. It was originally near a temple of Juno.

Pope Honorius III approved in 1216 the Order of Preachers, now commonly known as the Dominicans. On June 5, 1222, Honorius III ceded the church of Santa Sabina to Saint Dominic, the founder of the Order of Preachers

Santa Sabina

Rome, Italy

ca. 422-432

Santa Costanza

Rome, Italy

ca. 337-351

Santa Costanza

Rome, Italy

ca. 337-351

The church was built under Constantine, probably by Constantina, next to the cemetery of Sant'Agnese fuori le mura, where Saint Agnes, who allegedly had healed Constantina, was buried. After their deaths, Constantine's daughters Constantina and Helena were buried here[1]. Since Constantina was venerated as saint, the mausoleum was consecrated as a church in 1254 by Pope Alexander IV.

Santa Costanza

Rome, Italy

ca. 337-351

Longitudinal Section

Plan

Santa Costanza vault mosaic

Rome, Italy

ca. 337-351tessera mosaic

Santa Costanza vault mosaic

Rome, Italy

ca. 337-351tessera mosaic

Christ as Sol Invictusfrom the Mausoleum of the Julii

Rome, Italy

late 3rd centurytessera mosaic

The Tomb of the Julii has a famous but unique mosaic of Christ as Sol Invictus,

a sun-god

Santa Maria Maggiore

Rome, Italy

432-440tessera mosaic Drowning of the Egyptians in the Red Sea

 The pope wanted a shrine built at the site where an apparition of the Blessed Virgin Mary appeared in identical dreams shared by a local patrician Giovanni Patrizio and his wife and by the pope. According to tradition, the outline of the church was physically laid out on the ground of the nobleman's property by Liberius himself under a miraculous, but predicted, snowfall that took place on the night of 4–5 August 352 (or 358)

Santa Maria Maggiore

Rome, Italy

432-440tessera mosaic Hospitality of Abraham

Mausoleum of Galla Placidia

Ravenna, Italy

ca. 425

( Th e b u ild in g f o rm e r ly t h e o r a t o r y o f a w id e r c h u r c h o f t h e H o ly

) C r o s s c o n t a in s t h r e e  s a r c o p h a g i; it w a s s a id

t h a t t h e la r g e s t w a s t h a t o f   G a lla P la c id ia ,

( 4 5 0 , d ie d d a u g h t e r o f t h e R o m a n Em p e r o r  

Th e o d o s iu s I), a n d t h a t h e r e m b a lm e d b o d y w a s d e p o s it e d t h e r e in

, a s it t in g p o s it io n c lo t h e d w it h t h e ; im p e r ia l m a n t le in

1 5 7 7 , , h o w e v e r t h e c o n t e n t s o f t h e

s a r c o p h a g u s w e r e a c c id e n t a lly b u r n e d .

Th e s a r c o p h a g u s t o t h e r ig h t is a t t r ib u t e d t o

Em p e r o r   Va le n t in ia n III '   o r t o G a lla P la c id ia s

, b r o t h e r Em p e r o r  H o n o r iu s . Th e o n e o n

t h e le f t is a t t r ib u t e d t o ' G a lla P la c id ia s

, h u s b a n d Em p e r o r  C o n s t a n t iu s III.

Ae lia G a lla P la c id ia   (3 9 2 – 2 7 , 4 5 0 ), N o v e m b e r

d a u g h t e r o f t h e   R o m a n Em p e r o r  

Th e o d o s iu s I, w a s t h e c o n s o r t o f   A t a u lf  

k in g o f t h e G o t h s   a n d a f t e r h is d e a t h t h e

Em p r e s s c o n s o r t o f  C o n s t a n t iu s III,  

We s t e r n R o m a n Em p e r o r.

Christ as the Good Shepherdfrom the entrance wall of the Mausoleum of Galla Placidia

Ravenna, Italy

ca. 425tessera mosaic

Mausoleum of Galla Placidia

Ravenna, Italy

ca. 425tessera mosaics

Dome Mosaic of HeavenMausoleum of Galla Placidia

Ravenna, Italy

ca. 425tessera mosaic

Saint Apollinare Nuovo

Ravenna, Italy

dedicated 504

Saint Apollinare Nuovo

Ravenna, Italy

dedicated 504

The row below contains large mosaics in Byzantine style, lacking any individuality, having all identical expressions. These were executed about 50 years after the time of bishop Agnellus, when the church had already become a Catholic church. To the left is a procession of the 22 Virgins of the Byzantine period, lead by the Three Magi, moving from the city of Classe towards the group of the Madonna and Child surrounded by four angels.

Saint Apollinare Nuovo

Ravenna, Italy

dedicated 504

Saint Apollinare Nuovo

Ravenna, Italy

dedicated 504tessera mosaic

Raising of Lazarus

Saint Apollinare Nuovo

Ravenna, Italy

dedicated 504tessera mosaic

Miracle of the Loaves and Fishes

Saint Apollinare Nuovo

Ravenna, Italy

dedicated 504tessera mosaic

Christ Foretelling Peter’s Denial

Saint Apollinare Nuovo

Ravenna, Italy

dedicated 504tessera mosaic

Ascension of Christ

Vienna Genesis

Early 6th centurytempera, gold, silver on purple vellum12 1/4 x 9 1/4 in.

The text is a fragment of the Book of Genesis in the Greek Septuagint translation. The text is frequently abbreviated. There are twenty-four surviving folios each with a miniatures at the bottom of both sides. It is thought that there were originally about ninety-six folios and 192 illustrations. It is written in uncials with silver ink on calfskin parchment dyed a rich purple. This shade of purple dye was also used to dye imperial cloth.

Vienna Genesis

Early 6th centurytempera, gold, silver on purple vellum12 1/4 x 9 1/4 in.

Genesis chapter 32

Jacob travels to meet EsauJacob travels over the Jabbok brookJacob wrestles with the AngelJacob blessed by the AngelJacob’s 11 sons

Vienna Genesis

Early 6th centurytempera, gold, silver on purple vellum12 1/4 x 9 1/4 in.

Genesis chapter 24:15

Rebecca Leaves Nahor Rebecca and Eliezer at the Well

Rossano Gospels

early 6th centurytempera on purple vellum11 x 10 1/4 in.

Th e R o s s a n o G o s p e ls n a r r a t e d t h e e v e n t s o f

' J e s u s li f e w h ic h w e r e a h u g e c o n t r o v e r s y in t h e . E a r ly B y z a n t in e p e r io d In

3 2 5 C o n s t a n t in e I c a l le d t h e F ir s t E c u m e n ic a l

C o u n c il t o d e t e rm in e . O r t h o d o x t h e o lo g y Th e

s e c o n d c o u n c il w a s 4 5 1 c a lle d in t o d is c u s s

t h e m a t t e r o f t h e d u a lit y . o f C h r is t Th e d u a lit y o f

C h r is t b e c a m e p e r h a p s t h e m o s t c o n t r o v e r s ia l

is s u e o f B y z a n t iu m in t h e5 0 0 ' s a n d c o n t in u e d

t h r o u g h o u t t h e h is t o r y o f. C h r is t ia n it y Th e

O r t h o d o x C h r is t ia n s b e lie v e d t h a t C h r is t w a s

e q u a lly h u m a n a n d d iv in e w h ile t h e m o n o p h y s it e s

b e lie v e d t h a t C h r is t w a s b o t h m a n a n d d iv in e . Th e

a r g u m e n t c e n t e r e d a r o u n d C h r is t ia n a r t .

Th is c o n f l ic t le d t o C o n s t a n t in e c o n v e n in g

t h e Ic o n o c la s t ic C o u n c il 7 5 4 o f w h ic h d e c id e d

t h a t t h e r e s h o u ld b e n o m o r e r e p r e s e n t a t io n s o f

C h r is t o r a n y o t h e r , r e lig io u s f ig u r e s a n d

t h a t a ll im a g e s o f r e lig io u s c o n t e n t b e

.d e s t r o y e d  

Rossano Gospels

early 6th centurytempera on purple vellum11 x 10 1/4 in.

Matthew chapter 27

Christ before Pilate

Pilate Washing his Hands, Christ Carrying the Cross, Denial of Peter

from a casketca. 420ivory3 x 3 7/8 in.

Suicide of Judas and Crucifixion

from a casketca. 420ivory3 x 3 7/8 in.