!"#$"%$

&

Title: Early Christian Italy, Byzantium, Gupta India Date: 300-600 Source: OUP Medium: worldmapNote:! The Roman empire broke in two and began a slow disintegration. The state adopted the Christian religion, beginning with Armenia and the Roman

Empire. Constantine created Constantinople, the eastern capital of the empire. Hagia Sophia created a new type of monument that focused attention on the interior (as compared to those of the Egyptians and Greeks). The Guptas in India revived the empire of the Mauryans and rock-cut Buddhist and Hindu temples were built. The Huns swept across Europe and India, and ostracized the Hindu religion. (OUP)

! The early Christian period is generally taken as lasting from Constantine to the coronation of Charlemagne in 800 (at the same time as a church schism). The incursions of the Huns into Europe in the 4"#$cent. eventually bought about invasions from the north into Italy, and in 410 Rome was sacked by the Goths under Alaric. The spread of the new religion was arrested during this period until the defeat of Attila, king of the Huns in 451, which aided in the consolidation of Christianity in Europe. In 568 the Lombards invaded and held northern Italy for 200 years.

! Very little architecture remains from Western Europe from 400-800 outside of Italy and the Mediterranean. (Moffett)

300 - 600 CE 300 - 600 CEOUTLINE:1. EARLY CHRISTIAN ITALY: THE INWARD ORIENTATION OF THE CHURCH

Early Jewish and Christian world: art of the 3rd to early 5th cent. - catacombs; Dura-Europos; Ostia Rome during and after Constantine: The Last Classical Buildings in ItalyThe basilica: Trier; Basilica of MaxentiusBasilicas and central plan churches – Rome (the city of) and other places

2. BYZANTIUM: THE DOME AS AN ACT OF FAITH The Central Plan ChurchThe Holy Sepulchre Byzantion/ ConstantinopleRavenna: the Byzantine Satellite in Italy

3. GUPTA INDIA: ROCK-CUT ARCHITECTURE AND THE ART OF SUBTRACTION

church: the principal Christian religious building used in public worship, with a central apse for auditory functions, side aisles for processions and an altar in an apse, usually in the east.plan/ floor plan: from French plan (“a ground-plot of a building”), (wiktionary)Note:! Christian architecture after 313 derived from Roman precedent; at the same time stylistic developments in this period contributed to later buildings

in the medieval period creating a transition between the classical past and the medieval era. (Moffett)! Of Constantine’s considerable buildings in Constantinople, little remains. Most of what is known of the architecture from this early period of

Christianity derives from the remnants that have survived in Syria, Jerusalem…! Christians, in making tombs an important part of veneration the idea of a dark Hades, or death as a realm of pharaonic afterlife was obliterated.

Tombs were perceived as a site of reawakening on the Last Judgment when all were to be judged. The cult was to become such a strong part of Christian practice that a church’s possession of a piece of a saint or martyr’s body in a reliquary bestowed an aura of sanctity on the edifice. (Wiley)

! The early Christian period is generally taken as lasting from Constantine to Charlemagne (800) (Fletcher) but we’ll start and end earlier.

Title: Map: The Late Roman andByzantine World 306-337 CESource: Pearson PublishersNote:Diocletian (r. 284-305) in 286 divided the empire in two. He would rule in the East as Augustus, and Maximian would rule in the West. In 293 Diocletian devised the tetrarchy in which each Augustus designated a subordinate who held the title of Caesar. The tetrarchs ruled the empire from administrative headquarters in Milan, Trier, Thessaloniki and Nicomedia. (Stokstad)

THE ROMAN WORLD 4TH CENTURYTitle: Tabula Peutingeriana (Latin for "The Peutinger Map”)/ Peutinger's Tabula or Peutinger Table (section)—top to bottom: Dalmatian coast, Adriatic Sea, southern Italy, Sicily, African Mediterraneancoast

Source: wikimedia Size: 6.8 m. long, 34 cm. high

Note:An illustrated itinerarium (ancient Roman road map) showingthe layout of the cursus publicus, the road network of the Roman Empire.The map is a 13th-century parchment copy of a possible Roman original. It covers Europe (without the Iberian Peninsula and the British Isles), North Africa, and parts of Asia, including the Middle East, Persia, and India. (wikipedia)

Rome

THE ROMAN WORLD 4TH CENT.

!"#$"%$

%

Title: Catacombs of Priscilla, outside of Rome

Architect: Roman Christian Date: mid 3rd century

Photography source: Pearson

Medium: painted ceiling Size: the combined galleries run for 60-90 miles

catacomb: an underground system of passages used as a cemetery, from ad catacumbas “in the hollows”

Note:! The modern entrance to the catacomb is on the Via Salaria

(NE from Rome) through the cloister of the monastery ofthe Benedictines of Priscilla(wikipedia)

! Christians and Jews used catacombs for burials and funeral ceremonies. They were not sites of communal worship. Long rectangular wall niches called loculi, each held two or three bodies. (Stokstad)

! The Christian and Jewish communities tunneled the catacombs out of the tufa bedrock, much as the Etruscans created the underground tomb chambers in Cerveteri. The catacombs are less elaborate than the Etruscan tombs, but much more extensive. They ring the outskirts of the city. (Gardner)

! If suitable burial land was not available catacombs began to be used; the catacombs may have begun in abandoned quarries. (Moffett)

CATACOMBS

Title: Catacombs of Priscilla outside of Rome: Orant figure in prayerArchitect: Roman Christian Date: mid 3rd century

photography source: Professor Enrique Viola, Department of Geography and History, Luis Vélez de Guevara, School, Ecija (Seville Province, Spain)Medium: n/a Size: n/a

CATACOMBS

orant figures: worshipers with arms outstretched in prayer, can be pagan, Jewish or Christian depending on the context. (Stokstad)Note: n/a

Title: Catacombs of Priscilla outside of Rome

Architect: Roman Christian

Date: mid 3rd centurySource: Professor Enrique Viola, Department of Geography and History, Luis Vélez de Guevara, School, Ecija (Seville Province, Spain)Medium: detail Size: n/a

Note: n/a

CATACOMBS

a

a o.

Title: Catacomb of Saints Peter and Marcellinus, Rome, ceiling painting, Christ as Good Shepherd and tombsArchitect: Roman Christian

Date: c. 3rd to 4th

cent. CESource: n/a

Medium: n/aSize: n/a

cubiculum: Latin, bedroom in a Roman house, but sometimes used in less specific sense t denote other rooms (Fletcher)medallion: any round ornament or decoration (Stokstad)

Note:! approx. 3 kilometers from southeast Rome and the ancient Via Labicana (wikipedia)! Peter and Marcellinus were Christian martyrs. The ceiling of the cubiculum is partitioned by a central medallion and four semicircular lunettes. At

the center is the Good Shepherd. (Stokstad)

CATACOMBS

!"#$"%$

#

Title: Catacomb of Saints Peter and Marcellinus, Rome, Italy, Christ as Good ShepherdArchitect: Roman ChristianDate: c. 3rd to 4th cent.Source: n/a

Medium: ceiling paintingSize: n/asyncretism: artists assimilate images from other traditions –either unconsciously or deliberately – and give them new meanings. (Stokstad)Note:! The best known syncretic

image is the Good Shepherd. In pagan art he was Apollo or Hermes the shepherd, or Orpheus among the animals. For the Christians he became the Good Shepherd of the psalms and gospels. (Stokstad)

! At the right is Jonah being released from the sea monster. At the bottom he is relaxing in paradise, contemplating his salvation. Nice.

CATACOMBSTitle: Catacomb of Saints Peter and Marcellinus, RomeArchitect: Roman ChristianDate: c. 320-40 CE

Source: n/aMedium: ceilingpainting, detail ofJonahSize: n/aNote:! God caused Jonah

to be thrown overboard, swallowed by the sea monster and released, repentant and unscathed. Christians reinterpreted this story as a parable of Christ’s death and resurrection. Here he is being thrown.(Stokstad)

! ketos “sea dragon (Gardner)

CATACOMBS

Title: Coemeterium Maius, near the Catacomb of Priscilla, RomeArchitect: Roman Christian

Date: circa 320-40 CE

Source: Pearson

Medium: n/a

Size: n/a

Note: the groin vault

CATACOMBS Title: Cubiculum of Leonis, Catacomb of Commodilla, near RomeArchitect: Roman ChristianDate: late 4th cent.

Source: Pearson

Medium: cubicula hewn out of tufa, soft volcanic rock, plastered and paintedSize: n/acubicula: small rooms to house sarcophagi (Stokstad)Note:! St. Peter, like Moses

before him, strikes a rock and water flows from it. (left). Peter, imprisoned in Rome, needed water to convert jailers and fellow prisoners. Peter becomes the rock (petros) on which Jesus founded the Church.

! Note the star studded ceiling. Jesus is flanked by the alpha and ", omega. He appears in the guise of a Greek philosopher. The halo came from the conventions of late Roman imperial art. The decoration is a combination of narrative (telling a good story) and iconic (symbolizing core concepts) images. The works of art take on meaning only in relation to the viewers’ stored knowledge of Christian stories and beliefs. (Stokstad)

CATACOMBS

!"#$"%$

&

Title: Map of the Jewish catacombs under VillaTorloniaArchitect: Roman Jewish

Date: 3rd century

Museum: Villa Torlonia, Rome, by courtesy of the Pontificia Commissione di Archeologia Sacra; https://sla.ucpress.edu/c ontent/3/2/212

Medium: diagram

Size: n/a

Note:n/a

CATACOMBSTitle: Menorahs and Ark of the Covenant, wall painting in a Jewish catacombArchitect: Roman JewishDate: 3rd centuryMuseum: Villa Torlonia, RomeMedium: wall paintingSize: 3'11" x 5’9”/ 1.19x 1.8 m.

Note:Here menorahs flank the ark of the covenant. The menorah form probably derives from the ancient Near Eastern tree of life, symbolizing both the end of exile and the paradise to come. The representation of the menorah, one of the items looted from the Second Temple by Titus, kept the memory of the lost treasures alive. (Stokstad)

CATACOMBS

Title: View of the excavation in the sixth season (1932–1933), Dura-EuroposArchitect: Roman Date: 244-245 CE, excavated in the 1920’s and 30’s, now destroyed

Museum: Yale University Art Gallery, Dura-Europos Collection

Medium: photograph Size: n/a

Mithraeum: an underground sanctuary used for the ceremonies of the mystery cult centered around the mythical Persian figure of Mithra.Note:! The variety of religious buildings

excavated at the abandoned Roman outpost of Dura-Europos represents the cosmopolitan religious character of Roman society in the 2"#$and 3%#$

centuries. The settlement – destroyed in 256 CE (by the Sasanians) – included a Jewish house-synagogue, a Christian house-church, shrines to the Persian cults of Mithras and Zoroaster, and temples to Greek and Roman gods including Zeus and Artemis. The understanding of buildings used for worship by 3%#$century Jews and Christians was revolutionized by the discoveries at Dura-Europos. (Stokstad)

! Dura is Roman; Europos is Greek. (Gardner)

DURA-EUROPOSTitle: Dura-Europos Architect: Roman

Date: 244-245, excavated in the 1920’s and 30’s, now destroyed

Museum: Yale University Art Gallery, Dura-Europos Collection

Medium: photographSize: n/a

Note:! Dura included a Jewish

house-synagogue, a Christian house-church, shrines to the Persian cults of Mithras and Zoroaster, and temples to Greek and Roman gods including Zeus and Artemis. (Gardner)

DURA-EUROPOS

Mithraeum

Synagogue

Christian building

Note: grey areas have been excavated.

!"#$"%$

&

Title: Christian House-Church, Dura-Europos, Syria Architect: Roman Christian

Date: c. 240 CE, destroyed 256 CESource: Gardner's Art through the Ages: A Global History, 15th edition by Fred S. Kleiner, 15th edition, 2016Medium: cutaway illustration

Size: baptistry is 22’ x10’Note:! This was a typical Roman house built around a courtyard.

Only a discreet red cross on the doorway distinguished it from the other houses on the block. The Assembly hall could hold 60-70 people. (Stokstad)

DURA-EUROPOSTitle: Model of Walls and Baptismal Font/ Baptistery of a Christian House-Church, Dura-Europos, Syria

Architect: Roman ChristianDate: c. 240 CE, destroyed 256CEMuseum: Dura-Europos Collection. Yale University Art Gallery, NewHaven, ConnecticutMedium: n/aSize: n/afont pl. fonts: fr. Old English font, an early borrowing from Latin fons, fontis, “fountain”, A receptacle in a church for holy water -especially one used in baptism (wiktionary)

Note:! The earliest Christians gathered in private apartments or in buildings constructed after domestic models. Earliest surviving Christian art dates to the

early 3rd century and derives styles and imagery from Jewish and Roman visual traditions in the process called syncretism. Along the walls were scenes from Christ’s miracles and a monumental portrayal of women visiting his tomb about to discover his resurrection. (Stokstad)

! The decorations are the oldest known Christian iconographic program. (Gardner)

DURA-EUROPOS

Title: Excavation of the Dura-Europos synagogue paintings in 1932-1933:TheWest WallArchitect: Roman Jewish

Date: 244-5 CE

Source: Photographing Dura-Europos, 1928 to1937:An Archaeology of the Archive, by J.A. Baird, published in the American Journal of Archaeology, Volume115,No. 3 (July 2011), pp. 427 -446, The American Journal of Archaeology, publication of the Archaeological Institute of America

Medium: tempera on plaster

Size: section approx. 40' (12.19 m) long

synagogue: a Jewish hall for worship

Note:A synagogue can be any large room where the Torah scrolls are kept and read; it was also the site of communal social gatherings. Some synagogues were located in private homes or in buildings originally constructed like homes. This first synagogue in Dura-Europos consisted of an assembly hall, a separate alcove for women and a courtyard. After a remodel in 244-5 men and women shared the hall, and residential rooms were added. The assembly hall had a bench along its walls and a niche for the Torah scrolls. (Stokstad)

DURA-EUROPOS

Title: Wall with Torah niche, from a house-synagogue, Dura-Europos, Syria Architect: Roman Jewish Date: 244-245 CE

Note: Scenes from Jewish history and the story of Moses from Exodus, unfold in a continuous visualnarrative, employing the Roman tradition of epic historical presentation (such as at Trajan’s column.(Stokstad)

Museum: Reconstructed in the National Museum, Damascus, Syria

Medium: tempera on plasterSize: section approx. 40' (12.19m) long

DURA-EUROPOS

!"#$"%$

&

DURA-EUROPOSTitle: The West WallArchitect: Roman Jewish Date: 244-5 CESource: https://en.wikipedia.org/wiki/Dura-Europos_synagogue#/media/File:Dura_Synagogue_ciborium.jpg

Medium: painted reconstruction Size: n/a

ciborium: In ecclesiastical architecture, ("ciborion": !"#$%"&'(in Greek) is a canopy or covering supported by columns, freestanding in the sanctuary, that stands over and covers the altar in a basilica or other church.(wikipedia)

Note:) This is called a ciborium on wikipedia, perhaps as well at the Museum

in Damascus. The definition discussions note there may have been Jewish precedents. The word may derive from an Egyptian water lily used as a drinking vessel, but this is disputed.

) Note the sacrifice of Isaac at top right.

Egyptian water lily or lotus

Title: The Finding of the Baby Moses: Detail of a wall painting from a house-synagogue, Dura-Europos, Syria

Architect: Roman Date: 244-245 CE

Museum: Reconstructed in the National Museum, Damascus, Syria

Medium: tempera on plaster Size: n/a

DURA-EUROPOS

Note: Images such as this one contradicted the long-held scholarly belief that Jews of this period avoided figural decoration of any sort. (Stokstad)

Museum: Reconstructed in the National Museum, Damascus, SyriaMedium: tempera on plaster Size: n/a

DURA-EUROPOS

Title: Moses and Hebrews Crossing the red Sea: detail of a wall painting from a house-synagogue, Dura-Europos, SyriaArchitect: Roman Jewish Date: 244-245 CENote:! Moses here appears twice to signal sequential moments in the dramatic narrative. To the left he leans toward the army of Pharaoh, which is marching

along the path that had been created for the Hebrews by God’s miraculous parting of the waters; at the right he returns the waters over the Egyptian soldiers to prevent their pursuit. Over each scene is a large hand representing God’s presence in the miracles. (Stokstad)

! The use of human hands to represent God is not typical of Jewish tradition and no other image of God appears here.

Museum: Reconstructed in the National Museum, Damascus, Syria

Medium: tempera on plaster Size: n/a

DURA-EUROPOS

Title: The prophet Samuel anointing the future King David: detail of a wall painting from a house-synagogue, Dura-Europos, SyriaArchitect: Roman Jewish Date: 244-245 CENote:! The Dura synagogue surprised scholars because the Second Commandment prohibits Jews from worshiping images. The expressionless figures stand

in frontal rows, and exhibit stylized gestures – characteristics of Late Antique art. David’s brothers look on, one is missing legs. (Gardner)

!"#$"%$

&

Title: Synagogue, Ostia

Architect: Roman Jewish culture

Date: 41-54 CE, continued in use as a synagogue till the fifth century CE

Source: Photo by Vincenzo Suraceo

Medium: n/a Size: n/a Note: n/a

OSTIA

Source: photograph Department of Classical Studies, Loyola University Chicago

Medium: capital detail

Size: n/a

Title: Synagogue floor, Maon (Menois): !orvat Ma'on (Khirbat al-Ma!in) near Nirim, southeast of GazaArchitect: Roman Jewish

Date: circa 530 CE

Museum: Collection of the Israel Antiquities Authority/ Israel Museum, Jerusalem

Medium: Mosaic

Size: n/a Note: n/a

ROMAN PALESTINE

Title: Ritual Objects, Beth Alpha Synagogue floor, Galilee, IsraelArchitect: Marianos and son HaninaDate: 6th centurySource:https://blogs.ancientfaith.com/orthodoxbridge/wp-content/uploads/sites/27/201 3/07/beth-alpha-synagogue-mosaic-ark-1.44.0.1050.788.1024.768.c.jpg

Medium: mosaicSize: n/a

Note: the shrine that holds the Torah is flanked by menorahs and growing lions.This part of the mosaic represents the metaphysical realm.The mosaics also include a zodiac and the sacrifice of Isaac. The synagogue had a a central nave, an aisle on each side, and a vestibule and courtyard. (Stokstad)

ROMAN PALESTINETitle: Zodiac, Beth Alpha Synagogue floor, Galilee, Israel

Architect: Marianos and son HaninaDate: 6th century

Source: wikipedia

Medium: mosaic Size: n/aNote:At the center is the sun in a chariot set against the night sky. The zodiac signs have Hebrew labels. This and the prior panel were in the central nave. (Stokstad)

ROMAN PALESTINE

!"#$"%$

&

Title: Constantine the Great, from the Basilica of Maxentius and Constantine, Rome Date: 325-326 CE Museum: Palazzo dei Conservatori, Musei Capitolini, Rome Medium: Marble (but originally also had bronze on a wood frame)

Size: ht. of head 8'6" (2.6 m); ht. of statue if complete: approx. 40’/ 12m.

CONSTANTINE I THE GREAT Note:! The Advent of Constantine: The First Christian Emperor: By the late 2nd century the

Pax Romana began to falter due to internal and external conflicts. By the mid-third century Rome began to lose its political primacy. Emperors rarely resided there, preferring more strategically located cities such as Milan, Trier, Nicomedia (modern Izmit, Turkey), and Salonika in northern Greece. Rome acquired some of its most magnificent buildings in terms of scale, technique, and decoration such as the Baths of Caracalla and Baths of Diocletian. (OUP)

! After the Tetrarchy the struggle for position followed with Constantine-I and Maximian’s son Maxentius. In 312 Constantine-I emerged victorious at the Battle of the Milvian Bridge where he had his vision that he’d carry the Chi Rho into battle and win. Thereupon he ended the persecution of Christians, with the Edict of Milan, a model of religious toleration in 313. In 324 Constantine-I defeated his last rival, Licinius and ruled as sole emperor until 337. 325 is his last visit to the city of Rome… The defining characteristics of Constantine’s face have been incorporated into a stylized, symmetrical pattern. (Stokstad)

! Constantine’s personality is lost in this immense image of eternal authority. (Gardner)

LATE CLASSICAL BUILDINGS - THE ARCH OFCONSTANTINE

Source: http://googlemapsmania.blogspot.com/2017/10/the-amazing-map-of-rome.html of map by Rodolfo Lanciani, early 20th centurymortar: binding substance, such as cement or lime, to hold rows of masonrytogether.

Note: The Arch of Constantine right and Basilica of Maxentius atcenter

! The Arch of Constantine was built to honor Constantine’s victory over Maxentius! The impact of Christianity on Roman buildings was… a negative one. The imperial forums were abandoned...stones from Roman buildings were

fired in large kilns to make lime for mortar. As late as 1606 Pope Pius V demolished the Temple of Minerva in the Forum of Nerva to obtain building material for the construction of a fountain.

Title: Arch of Constantine, Rome Architect: Roman Date: 312/5

Source: wikipedia

Medium: spolia from earlier monuments including eight freestanding Corinthian columnsSize: dwarfs the arch of Titus (Stokstad)spolia: the incorporation of a fragment from another time or culture into a façade or in a buildingtondi: circular compositionsNote:! Three openings – the outer two

are footways – flanked by columns on high pedestals; topped with a large attic story with elaborate sculptural decoration and an inscription. (Stokstad)

! many of the sculptures were brought from time of Trajan and illustrate events in his reign, but could be seen s “visually transferred the old Roman virtues of strength, courage and piety associated with these earlier exemplary emperors to Constantine himself. New reliefs underneath reused Hadrianic tondi. (Stokstad)

THE ARCH OF CONSTANTINEstatues of prisoners to celebrate the victory of Trajan over the Dacians in2"#$cent.CE.reliefs celebrating the victory of Marcus Aurelius over the Germanic tribes in 174 CE.

tondi taken from a monument to Hadrian

Title: Arch of Constantine,RomeArchitect: Roman Date: 312/5 with earlier incorporated sculpturesSource: https://www.jeffbondono.com/TouristInRome/ArchOfConstantine.html

Medium: spolia from earliermonuments

Size: dwarfs the arch of Titus (Stokstad)hierarchic scale: the use of differences in size to indicate relative importance. (Stokstad).

Note:

THE ARCH OF CONSTANTINE

this would be Constantine; his head is missing

! Hadrianic tondi: the boar hunt demonstrates courage and physical prowess. The classicizing head, form-enhancing drapery and graceful poses of the figures betray a debt to the style of Late Classical Greek art. Constantine had Hadrian’s head recarved with his won or his father’s features. In the strip below, sculptors portrayed a ceremony performed by Constantine during his victory over Maxentius. They employ the blocky and abstract stylizations that became fashionable during the Tetrarchy. This two dimensional hierarchical approach, with its emphasis on authority and power rather than on individualized outward form, is far removed from the classicizing illusionism of earlier imperial reliefs. It is one of the Roman styles that will be adopted by the emerging Christian Church. (Stokstad)

! in other words sculptors are already losing their skills between the tondi and the reliefs below

! The compositional principles of Late Antiquity (such as hierarchic scale and rigid formality) become those of early medieval art. (Gardner)

!"#$"%$

!

Note:! Diocletian, who had proposed a four-man executive system for the empire, retired in 305 to

Spalato, or the “little palace,” on the Dalmatian coast. Diocletian’s abdication ushered in a decade of dynastic infighting, with violent succession disputes. (OUP)

LATE CLASSICAL -PALACE OF

DIOCLETIANTitle: Ruins of the Palace of Diocletian at Spalato (Split)Architect: built for Emperor DiocletianDate: early 4"# cent.Source: wikipediaMedium: reconstruction imageSize: 10 acres+/-

Diocletian’smausoleum

Temple of Jupiter

Title: Diocletian in RetirementSource: Yonge, Charlotte Mary (1823-1901) Young Folk’s History of Rome

! The palace was organized like a military castrum on a cross-axis inside a rectangular set of walls. The predominantly defensive appearance of Diocletian’s palace set the precedent for the fortified castles of medieval Europe.(OUP)

! The two “avenues” intersect at a forum-like courtyard. Note the watchtowers guarding the gates. (Gardner)

! The two northern squares were probably for guests and household officers; the southern portion had the Imperial apartments and an arcaded gallery overlooking the sea. The north, south and west walls are lined with cells for slaves and soldiers. (Fletcher)

Date: 300

Size: 8-10

Architect: built for EmperorDiocletianSource: wikipedia Medium: floor plan acrescastrum: ancient Roman walled military camp with a gridded rectangular layout

Note:

LATE CLASSICAL BUILDINGS - PALACE OF DIOCLETIAN

Title: Ruins of the Palace of Diocletian at Spalato (Split), Dalmatia

Diocletian’s mausoleum

view next slide

women’s apartments

emperor’s bedchamber

bath

Templeof Jupiter

triclinium

Title: Ruins of the Palace of Diocletian at Spalato (Split)Architect: built foremperor Diocletian Date: early 4!" cent.springing point (impost): the point where the curve of an arch begins

Note:# The imperial residence had a temple-like facade with an arch inside the pediment with Diocletian presenting himself as a god. (Gardner)# There are few precedents for the arch form; arches springing directly from the column capitals, and at the porch (center) the whole entablature is

turned into an arch. (Fletcher)

Source: wikipedia Medium: courtyardSize: use people forscale

PALACE OFDIOCLETIAN

Title: Temple of Jupiter (Heliopolis), Phoenicia (Baalbek, Lebanon) Architect: commissioned by emperorAugustus

Date: late 2!"##or early 3$" cent. Note: n/a

Source: wikipedia

Medium: reconstructionimageSize: n/a

LATE CLASSICAL BUILDINGS -TEMPLE OF JUPITER

(HELIOPOLIS), BAALBEK

Augustus

!"#$"%$

&$

Title: Temple of Jupiter (Heliopolis), Phoenicia (Baalbek, Lebanon)Architect: commissionedbyAugustus Date: late 2!"#or early 3$"##

cent.

Source: https://www.pinterest.dk/pin/289497082272258169/

Medium: plan Size: seescale

Note: This plan doesn’t show the Temple of Venus.% Christian fanatics went to Baalbek to destroy idols. They were initially

beaten back and pagan rituals continued there until about 380 CE. But bit by bit the Christian emperors tightened their grip. The sanctuary at Baalbek was eventually destroyed and its remnants redesigned as a relatively humble church. The liquidation of sculptures was so complete that not a single example has survived. So devastating was the destruction of the pagan world that it took a thousandyearsuntil the 15&'#century, before interest in its existence was anything morethan fleeting. (Wiley)

LATE CLASSICAL BUILDINGS - TEMPLE OF JUPITER (HELIOPOLIS), BAALBEK

Templeof Jupiter

Title: Temple of Bacchus (Heliopolis), Phoenicia (Baalbek, Lebanon) Architect: Roman Date: late 2!"#or early 3$" century

Note: n/a

Source: Rijksmuseum

Medium: collotype

Size: n/a

LATE CLASSICAL BUILDINGS - BAALBEK

Title: Temple of Jupiter (Heliopolis), Phoenicia (Baalbek, Lebanon)Architect: commissioned by emperorAugustus

Date: late 2!"#or early 3$"#century

Source: Library of Congress

Medium: Photo,1890

Size: n/a Note: n/a

LATE CLASSICAL BUILDINGS -TEMPLE OF JUPITER

(HELIOPOLIS), BAALBEK

Title: Temple of Venus, Phoenicia (Baalbek, Lebanon)

Architect: Roman Date: mid-3!" century

Source: https://megankmchugh.wordpress.com/portfolio/university-of-arizona-selected-undergraduate-work/sustainability-analyses/building-analysis-temple-of-jupiter-baalbek-arc-231/; https://classicalmonuments.tumblr.com/post/155571499573/temple-of-venus-baalbek-lebanon-3rd-century-ce

Medium: plan Size: seescale

Note:Significant deviations from the norms of Classical art – the platform is scalloped all around the cella; the only instance of five sided Corinthian columns (at the back) and a scalloped entablature this serves to buttress the shallow dome. (Gardner)

Templeof Venus

LATE CLASSICAL BUILDINGS - BAALBEK

there may have been an archhere

!"#$"%$

&&

Title: Temple of Venus, Phoenicia (Baalbek, Lebanon) Architect: Roman Date: mid-3!" century

Source: https://classicalmonuments.tumblr.com/post/155571499573/temple-of-venus-baalbek-lebanon-3rd-century-ce

Medium: plan Size: seescale

Note: note the two drawings (prior slide and this one) are slightly different.

LATE CLASSICAL BUILDINGS -TEMPLE OF VENUS, BAALBEK

Title: Barbarian kingdoms (well, not all are…) Date: 5!"-10!" century Source: OUP Medium: map Size: n/a

Note: Portions of Western Europe that had been part of the Roman Empire entered a sustained period of decline. From the first centuries of the Christian era, outposts of the empire had been repeatedly besieged by waves of nomadic peoples migrating from Central Asia, eventually overran the frontiers established by Rome, and occupied the city of Rome by 476. Gradually the nomads settled, converted to Christianity and attempted to continue Roman government traditions. This was now the Medieval period or Middle Ages, separating Western Rome and the Renaissance. Literacy disappeared. Feudalism became established. (Moffett)

BARBARIAN KINGDOMS(mostly)

Note: plus we get the Karl Marx house!! In the northern capital of Trier, Constantine erected

city walls, a large bath complex, and an imperial palace with a formidable basilica. (OUP)

! In 380 Emperor Gratian made Trier his residence, bringing the flow of money north. (Wiley)

Title: Constantine’s Basilica, Trier GermanyArchitect: builtby Constantine Date: 4"# Cent.Source: below: https://dribbble.com/shots/7031714-City-map-Trier;

right:https://www.wirtschaftsarchaeologie.de/en/wp-content/uploads/sites/2/2014/07/Abb-1_Ver-2.png

Medium: urban plan andtourist map Size: n/a

ROMAN TRIER

Note:! this wasn’t saved by becoming a church, but a 10"#$century holy man made it his cell. Then it became a church… Before that, when entering “you

were faced by a massive iron portcullis; if admitted, you were led into a courtyard, then through to the gate proper. On either side were arcaded towers bristling with guards ready to pour down missiles on any hostile force trapped between the portcullis and the gate.” Peter Heather, The Fall of the Roman Empire, OUP, 2006

! Constantine Chlorus and his son Constantine-I also fortified the city with walls. (Stokstad)

Title: Porta Nigra (Black Gate), Trier, Germany, best preserved Roman building north of the Alps, UNESCOWorld Heritage SiteArtist: Roman built by Constantine Chlorus (r. 293-306) and his son Constantine-I.Date: 4th century CESource: wikipedia,photo by BertholdWerner (right)Medium: Roman city gatewaySize: fourstoreysportcullis: a massive movable defensive grating in a fortified gateway

THE BASILICA

Constantine Chlorus (r. 293-306), Pushkin Museum

!"#$"%$

&%

Title: Audience Hall/ Constantine’s Basilica, Trier (Germany)

Architect: Roman built by Constantine Chlorus (r. 293-306) and his sonConstantine-I, possibly paid for by the Treveri people Date: early 4th cent. CE

Source: wikimedia, photo byKleon3Medium: originally finished in whiteplasterSize: 190’/ 67 m. l, 95’/ 27.5 m. w., 95’/ 30 m. interiorh.

THE BASILICA – AULA PALATINA

basilica: an ancient Roman meeting hall, oblong in plan with a high central space lit by clerestories fr. Greek basilikos “kingly”nave: in a Roman basilica or Christian church, taller central space lit by clerestories, flanked by aisles.

Note: Basilicas, as halls of justice and commercial exchanges, indicate clearly, by their central position, the importance of law and business in Old Rome. These buildings are a link between Classic and Christian architecture. The usual plan was a rectangle, twice as long as its width. Two or four rows of columns formed a ‘nave’. (Fletcher)

Title: Audience Hall/ Constantine’s Basilica, Trier GermanyArtist: Roman built by Constantine Chlorus (r. 293-306) and his son Constantine-I, possiblypaid for by the Treveri people Date: Early 4th cent. Source:http://projects.mcah.columbia.edu/medieval-architecture/htm/related/ma_trier_02.htm

Medium: reconstructed elevation and floor plan Size: see scale

apse: a vaulted semicircular or semi-polygonal wall recess or extension of a hall, usually found at the sanctuary end of a Christian churchnarthex: the transverse vestibule of an early Christian churchNote:! “In the 4"#$century the basilica was flanked by porticoes and the more private areas of the palace. Trier was built by members of the Treveri who

wanted their own Roman city.” Peter Heather, The Fall of the Roman Empire, OUP, 2006! This basilica’s large size and simple plan and structure exemplify the architecture of the tetrarchs: no-nonsense, imposing buildings that would impress

their subjects. Note an apse opposite the door and double tiers of arched windows opening into the single large space. What was the apse in the portico for? (Stokstad)

! Pagan associations rendered Roman temples unsuitable models for Christian worship, but the connotations of assembly hall and court of justice pertaining to basilicas suited the new religion much better. Basilicas could accommodate large crowds and their layout created processional space. With minor modifications (using the seat of the magistrate for an altar) the Roman basilica form was adapted to Christian ritual. (Moffett)

THE BASILICAthronearea

courtyards

basilicahas only atwo-story nave without sideaisles

narthex – assigned to penitents.

apse

Title: Audience Hall of Constantine Chlorus (now known as the Basilica). Interior: view of the nave,TrierMedium: postcard, 1901 – note the niches with statueschancel: the rear, usually eastern, section of a Christian church containing the choir and the principal altar; from the Late Latin word cancellus “lattice" (Fletcher)Note:Very simple inside compared to the Basilica of Maxentius in Rome. (Gardner)

THE BASILICA

Photographic source: Pearson

Medium: originally finished in marble veneers; black and white

mosaic tiles in geometric patterns on the floor, a flat

coffered wooden roof coversthe nave and apse.

Size: height of room100’/30.5m

chancel arch

CONSTANTINE AND THE CHI-RHOTitle: cross surmounted by the Christ/ Constantinian monogram (chi rho) within a wreath with doves picking its fruit.Architect: Roman Date: ca. 340 Size: n/a

Source:https://www.artway.eu/content.php?id=1871&lang=en&action=show

Medium: detail, marble relief on a Roman sarcophagus

Note: but of course the Christian symbols are flanked by Corinthian columns.! Christ is not shown here hanging on the cross. The early

Christians were reluctant to depict him either dead or suffering. Instead, an empty cross hints at what was. Beneath it are two seated soldiers—one dozing off and the other looking up, perhaps pondering the event. This arrangement is evocative of the Resurrection, with the two guards outside the tomb. Intentionally so. By superimposing the cross over the empty tomb, the craftsmen show how the Crucifixion and the Resurrection are one unified event. The cross was not the end of the story. Christ conquered it; he emerged as Victor. (V.E. Jones, artway.eu)

!"#$"%$

&#

THE FORUM -BASILICA OF MAXENTIUS

Title: Plan of the Imperial Forums, Rome - Basilica Of MaxentiusArchitect: Romans

Date: Forums: Caesar 48 BCE; Augustus 2 BCE; Vespasian 75 CE;Trajan 112 CE

Source: Pearson

Size: nave 265’ l., 83’ w. x 120’ h.

Note: When Constantine the Great left Rome and formally dedicated Constantinople as the New Rome in 330 the city of Rome became a backwater almost overnight. (Wiley)

manuscript libraries(2)

onCapitoline hill above the

forum

Trajan’s column

Ulpia

the arced form is good for holding

back the hill

Arch of TitusEmperor Maxentius

Title: Basilica of Maxentius, RomeArchitect: begun by Maxentius, finished by ConstantineDate: begun 306 Source:https://jsah.ucpress.edu/content/69/3/35 2.figures-only

Medium: ruin with 20’ deep brick faced concrete wallsSize: nave 265’ l., 83’ w. x 120’ h.aisle: a lateral division of a Christian church or an ancient Roman basilica parallel to the central nave and separated from it by colonnadesNote:! adjoins the Forum Romanum! this is just the side aisle! This was the last important

imperial government buildings erected in Rome. Basilicas had been columnar halls, but Maxentius ordered his engineers to create the kind of large unbroken vaulted space found in public baths. (Stokstad)

! Constantine’s rival, Maxentius (r. 306–312), began a quite different style of basilica in Rome, one of the grandest vaulted concrete structures. Maxentius promoted his claim to power through the patronage of public projects: the restored Senate house and Temple of Venus and Rome, which stood next to his new basilica and a new hippodrome attached to his palace on the Via Appia. He erected an impressive rotunda, the Mausoleum of Maxentius, a copy of the Pantheon at half scale. The rivalry between Constantine and Maxentius climaxed in 312. Constantine prevailed and attributed his victory to his sympathy for Christianity. As a pro-Christian interloper, Constantine alienated the Roman senatorial class, which nonetheless rewarded him with the Arch of Constantine, next to the Colosseum (OUP)

THE BASILICA – BASILICA NOVA

Title: Basilica of Maxentius, renamed Basilica of Constantine Architect: built by Maxentius Date: circa 307 CE Note: n/a

photographic source: Pearson

Medium: ruinSize: nave 265’ l., 83’ w. x 120’h.

THE BASILICA Title: Reconstruction of The Basilica of Maxentius and Constantine (Basilica Nova).Architect: built by Maxentius Date: 306-313 CE

Source: wikipediaMedium: plan and urban plan of theForum

Size: nave 265’ l., 83’ w. x 120’h.

Note:! Christians would adopt this directional focus

along a central axis from entrance to apse when designing basilican churches. (Stokstad)

THE BASILICA

apse added later

barrel vault above sideaisles

groin vaulted above nave (in three compartments)

original entry

original apse

these walls are buttressing the large center vault – typ. - see their sloping tops, next image (Fletcher)

section of building that remains

!"#$"%$

&'

THE BASILICA

Title: Basilica of Maxentius, renamed Basilica of ConstantineArchitect: built byMaxentiusDate: c. 307 CE

Source: S. Russell Forbes, Rambles in Rome, 1887 https:/ / www.guten berg.org/files/434 16/43416-h/43416-h.htm

Medium: urbanplan

Size: nave265’l., 83’ w. x 120’h.

NORTH SIDE OF THE SACRA VIAA Temple of Antoninus PiusB Temple of Victory C Temple of RomulusD Temple of Venus andRomaE Temple of thePenatesF MediævalPortico G Arch of Titus

Note: one gets the sense how the Basilica was wedged into its location.! In an earlier age, a tomb could not possibly have been mistaken for a basilica or a bathing establishment. Roman architecture created clearly defined

architectural environments for the various urban functions. But by the 3"#$century distinctions were rapidly disappearing and being reformulated, as with Maxentius’ basilica which was modeled on an imperial bath building. In early Christian architecture when house churches were no longer needed, this trend accelerated as various forms were studied and reevaluated for their compatibility with developing liturgical needs. (Wiley

Title: Reconstruction of The Basilica of Maxentius and Constantine (Basilica Nova). Architect: built by Maxentius Date: 306-313 CENote:Constantine put his own stamp on projects Maxentius had started. He may have changed the orientation by adding an imposing new entrance in the center of the long side facing the Via Sacra and a giant apse facing it He also commissioned a colossal 30’ statue of himself for placement within an apse becoming a permanent stand-in the the emperor. (Stokstad)

Source: Pearson Publishing

Medium: reconstruction drawing Size: nave 265’ l., 83’ w. x 120’h.

THE BASILICA

side entry added later

side walls acting as buttresses

barrel vault above side aisles

originalapse note fenestration at theside of the central groinvaults, as lunettes

Title: Church of Santa Maria Degli Angeli (Baths of Diocletian)Architect: Roman and reconstructed in the 16th century following a design by Michelangelo as a church

Date: 4th century, reconstructed in the 16th century

Note: Metaphorically we are seeing the Baths of Diocletian filtered through Michelangelo’s retrofit as a church.

Source: wikipediaMedium: interior view

Title: Reconstruction of the Basilica of Maxentius and Constantine (Basilica Nova) Architect: Roman Date: constructed 306-313 CE

Note: as a similar metaphor here we recreate what this possibly looked like as a basilica.! The columns support entablatures from which spring the nave vaults. (Fletcher)

Source: Modeling, texturing, post work by Tölgyesi András

Medium: illustration

THE BASILICA

!"#$"%$

&'

Title: Elements of Architecture: Basilica-Plan and Central-PlanChurchesSource: Pearsonlongitudinal plan building: any structure designed with a rectangular shape and a longitudinal axis. In a cross shaped building, the main arm of the building would be longer than any arms that cross it, such as a basilica. (Stokstad)central plan: a ground plan that is symmetrical in all directions (rather than an axial plan)Note:! The developing Roman

Christian community had special architectural needs. Greek temples had served as the house and treasury of the gods, but with Christianity an entire community needed to gather inside a building to worship. (OUP)

! They also needed locations for special activities such as the initiation of members, private devotion and burials. Beginning with the age of Constantine, longitudinal-plan pagan basilicas provided the model for congregational churches, and central-plan tombs provided a model for baptisteries and martyr’s shrines. (Stokstad)

! When Constantine conferred official recognition on Christianity and became its first imperial sponsor, the question became what form should their new buildings – churches – not temples, take. (Gardner)

BASILICA AND CENTRAL PLAN CHURCHES Title: Rome Architect: Roman Date: 500 Source:OUPMedium: citymappilgrimage church: asite attracting visitorsthat wish to veneraterelics. (Stokstad)Note:! Building Old St.

Peter’s to the west of the Tiber avoided confrontation between Rome’s Christians and those who worshiped the old gods. The present day church is a replacement. Originally churches, like the temples faced east (like Old St. Peter’s) but by the end of the 4"#$century that was reversed with the entrance on the west, and the apse east. (Gardner)

CHRISTIAN ROME

LEGEND:1-St. Johnin the Lateran/S. Govanni in LateranoBaptistry, (right)2 St. Peter’s(top left)3 Basilicaof Maxentius(center)4 Sta. Maria Maggiore(top right)5 Sta. Sabina(lower left)6St. Paul’s Outside theWalls/ S. Paolo fuori leMura(bottom center)7Sta. Croce in Gerusalemme(right)8Sto. Stefano Rotondo (right)9 the Pantheon (top left)

St. John in the Lateran (the

OldSt. Peter’s

Basilica of Maxentius

Sta. MariaMaggiore

Sta.Sabina

Sto. Lateran PalacewasStefanonextdoor)Rotondo

Aventine Hill

The Forum

! Though the city of Rome had lost its political and economic power it became an important religious and pilgrimage center for it had the burial places of St Peter, Paul and other martyrs. The Christianization of Rome meant Rome was no longer dominated by a forum, agora or palace, but by monasteries, baptisteries and churches in the farthest reaches of the city. (Wiley)

walls ofRome –typ.

Title: St. John in theLateran/S. Giovanni in Laterano,RomeArchitect: built byConstantine-I

Date: transformed from an imperial palace in 314/5 (Wiley)Source: OUP

Medium: 3-D reconstructed drawingSize:colonnade: 75 m. longNote:! This is the

cathedral of Rome. (Moffett)

! Constantine built Rome’s first imperially sponsored church, St. John’s in the Lateran. The Lateran’s layout, which required ample space for gathering and moving in procession, followed a five-aisle longitudinal plan. The emperor also donated the palace next to it to the bishop of Rome. (OUP)

! Greco Roman temples housed only statues of deities and offerings while the priests and worshipers stood outside for the rituals. Basilicas were ideally suited as places for congregation and architects selected these secular building types as models for the first churches. As in basilicas the new churches had clerestory windows above the central aisle/ nave arcade to provide natural illumination [to the center of the building].(Gardner)

! The basilica that imposed a pattern on church buildings by Constantine was the Church of St. John Lateran. Little of the original building is left. The entire outer surface was of little significance. It would be several centuries before the idea of a representative façade, which had previously been nurtured by the Romans would return as a design element in western churches. (Wiley)

! It has been altered at various times as to have lost its original early Christian character. (Fletcher)

THE BASILICAwooden roof – with beams wrapped in gold foilclerestoriesmosaicsapse separated by a columnar screen

colonnade: two rows of 15 huge columns in red, green and yellow.

Note: octagonal! Separate buildings used only for the sacrament of baptism were a feature of

Early Christianity. As [initially] the rite was administered only on Easter, Pentecost and Epiphany, these buildings had to be of considerable size and until the end of the 6"#$cent., they sometimes adjoined the atrium or forecourt of the church, but afterward, and with the introduction of infant baptism, the baptistery was replaced by a font in the church, close to the entrance. When circular Roman temples or tombs were modified to meet the new requirements these were sometimes enlarged. It was difficult to cover the enclosed area with one roof supported only by outside walls, and therefore, whereas the Romans had used internal columns attached to the walls in a decorative way, the early Christians used columns constructively to support the central roof, and surrounded the whole with a one-storied aisle enclosed by an outer wall, which supported a lower roof. (Fletcher).

Title: Lateran Baptistry Date: 432-440

Medium: reconstructiondrawing

Architect: Roman Christian

Source: built by Sixtus III

Size: use people forscale

baptistry: central plan structure usually octagonal for Christian baptismrites

THE CENTRAL PLAN CHURCH

Title: entrance to the Baptistry Source: wikipedia

old Roman bath converted into afont

!"#$"%$

&'

Title: Martyrium of St. Byblas/ Babylas,AntiochArchitect: Roman Christian Date: 378Source: https://en.wikipedia.org/wiki/Church_of_the_Hol y_Apostles#/media/File:The_Kaoussie_Church,_a lso_known_as_the_martyrion_of_Saint_Babylas,_ in_Antioch_(Syria).jpg

Medium: floor plan Size: n/aNote:! believed to have been inspired by the

Church of the Holy Apostles, Constantinople, while it existed.

! Comprised of four aisle-less arms. Baptisteries were new kinds of spaces and they challenged the form of the basilica, which in Roman days was a space without side rooms. Fitting these spaces into the basilica scheme was to become a main design problem in the coming millennium. In St. Byblas, they are simply stapled to the side of the building (Wiley)

THE CENTRAL PLAN CHURCH

baptistry

Architect: Roman Christian

Source: wikipediaSize: seescale

Title: Church of Mary, Ephesus Date: early 5!" century

Medium: plan, urbanplanNote:At St. Mary’s the baptistry is appended to one side of the atrium. (Wiley)

BASILICA AND CENTRAL PLAN – ST. JOHN, EPHESUS

baptistry

Churchof St Mary

atrium

WHITE MONASTERY/ DEIR –EL-ABIAD, EGYPT

Title: White Monastery/ Deir-El-Abiad, Egypt

Architect: Coptic, founded by St. PigolDate: 440 Source: http://egypt.umn.edu/WhiteChurch.html

Medium: plan, limestone ruins Size: seescale

triconch: having apses on three sides of a squarecentral mass; many Syrian churches are built ona triconch plan.

Note:! White refers to white limestone.

(Wikipedia)! Takes on an Egyptian flavor in its

compact boxlike shape. It includes an unusual triconch at the head. (Wiley)

courtyard – formerly a roofednave ? ?? ??

ST. CATHERINE’S MONASTERY, SINAI, EGYPTTitle: S. Catherine’s Monastery, Sinai, Egypt

Architect: built by Emperor Justinian, enclosing the chapel of the BurningBushDate: reconstruction 548-65 Source: https://www.egypttoursplus.com/monastery-of-st-catherine/; https://www.lookandlearn.com/history-images/M250933/Greek-Orthodox-monk-and-St-Catherines-Monastery-on-Mount-Sinaihttps://www.bedawi.com/St_Katherine_EN.html

Medium: entire complex, plan Size: seescale

Note:! Monasticism dates back to the 3"#$cent.

when some devout Christians became hermits in the desert. By the 4%&$cent. some had formed secluded communities. Here Justinian fortified the walls and commissioned the church. (Stokstad)

basilica

!"#$"%$

&'

Title: The Transfiguration, S. Catherine’s Monastery, Sinai, Egypt

Architect: built by Emperor JustinianDate: reconstruction 548-65 Source: Pinterest

Medium: apse mosaic Size: n/a

ST. CATHERINE’S MONASTERY, SINAI, EGYPT

Note:! Because of its remoteness its icons and mosaics escaped the ravages of the Iconoclast

movements of the 8"#$and 9"#$centuries. (Fletcher)! Below Jesus, King David is arrayed like a Byzantine emperor. The three apostles next to

and below Jesus fell to the ground and were overcome by fear, are active and three dimensional rather than flattened. There is no suggestion of a landscape. (Stokstad)

KingDavid

Title: Simon Stylites and scenes from his life;Date: (right) 1550-1575

Source: wikimedia; https://www.oca.org/saints/lives/2019/09/0 1/102448-saint-simeon-stylites-the-elder

Medium: illuminationstylite (pl. stylites): (Christianity, historical) A Christian ascetic in ancient times who lived alone on top of a tall pillar. (wiktionary)Note: Saint Simeon Stylite the Elder/ Symeon the Stylite (c. 390 -459) a Syriac ascetic saint who lived37 years on a small platform on top of a pillar near Aleppo. Several other stylites later followed his model (the Greek word style means "pillar").Shunning worldly glory and striving again to find his lost solitude, the monk [Simeon] chose a previously unknown mode of asceticism. He went up a pillar six to eight feet high, and settled upon it in a little cell, devoting himself to intense prayer and fasting. He gradually increasedthe height of the pillar on which hestood. His final pillar was 80 feet in height. Around him a double wall was raised, which hindered the unruly crowd of people from coming too close and disturbing his prayerful concentration.

STYLITES

Source: OUPMedium: n/a

Size: n/a

Title: Old St. Peters, RomeArchitect: built by Constantine Date: begun 326Source: OUP Medium: Reconstructiondrawing

Size: nave: 300’/ 112 m. long, the largest church in Christendom until the 11!" centurybasilica: an ancient Roman meeting hall, oblong in plan with a high central space lit by clerestoriesLatin cross: cross with one arm longer than the others used for the plan for most Christian churchesrelics: material remains or objects associated with a saint (Stokstad)transept: the transverse arms of a cross-shaped church, a hall crossing the main axis at a right angleNote:# Constantine ordered the construction of a large new basilican

church to mark the place where Christians believed St. Peter was buried. Old St. Peter’s was destroyed and replaced by a new building in the 16!"$century. Old St. Peter’s included architectural elements in a longitudinal plan arrangement that has characterized Christian basilican churches ever since. An atrium, or courtyard, in front of the basilica and a narthex across its width at the entrance end provided a place for people who had not yet been baptized. Five doorways are at the entrance end. Constantine’s architect added an innovative transept. (Stokstad)

# Enshrined St. Peter’s tomb and his relics. The transept became standard much later taking on the symbolism of the Latin cross. Worshipers entered through the narthex. (Gardner)

# note how the narthex forms one side of a quadrangle.# began as a martyrium. (Moffett)

OLD ST. PETER’S, ROME

transept

narthex

steps leading to the atrium; built on sloping ground

platform built over anecropolis

Title: Old St. Peter's Basilica, Rome Architect: built by ConstantineDate: c. 326/7; atrium added later 4th cent.Source: Pearson; plan:http://web.sbu.edu/theology/bychkov/basilica.html

Medium: floor plan; reconstruction drawingSize: approx. 394’/120 m. l., 210’/ 64 m. w.

bema: fr. Greek “platform” (Fletcher)Note:! Constantine-I sponsored the most important church in Christendom, Old St. Peter’s. (OUP)! The atrium: the open colonnaded courtyard was very much like at the Forum of Trajan, but called an

atrium like at a private house. (Gardner)! The nave can be described as a covered street with colonnades on both sides. (Wiley)! An atrium or open rectangular forecourt surrounded by arcades, forms an imposing approach to the

church and at the center is a fountain for ablutions. This is followed by the narthex or porch whichopens onto the nave.The bema mayhavebeen the germof the Medieval transept. (Fletcher)

OLD ST. PETER’S, ROMEbema/ transept

apse

tomb of St.Peter

!"#$"%$

&'

Title: Old St. Peter's, Rome Artist: Jacopo Grimaldi Date:1619

Museum: Vatican Library, Rome

Medium: drawing of interiorSize: n/arafters: the sloping supporting timber planks that run from the ridge beam of a roof to its edge (Gardner)truss: a horizontal spanning structural member made from a web of thin braces, usually arranged as triangles, achieving maximum strength while eliminating mass.Note:! By now concrete had been

forgotten, (but what about the basilica of Maxentius?) so vaulting isn’t used. The art of masonry was also diminished. (Wiley)

! This was a drawing made before Old St. Peter’s was dismantled. Columns supporting an entablature lined the tall nave, forming what is called a nave colonnade, and above the entablature windows within the upper walls brought light directly into the nave. Running parallel to the nave colonnade on each side was another row of columns that created shorter side aisles; these columns supported round arches rather than an entablature. The roofs of both nave and aisles were supported by wooden rafters. (Stokstad)

! Roofs of basilicas were of wood, which the Roman knowledge of the roof truss permitted them to use over very large spaces. (Fletcher)

OLD ST. PETER’S, ROME Title: Old St. Peter's Architect: built by Constantine

Date: (built circa 326, torn down early 16th cent.); 16th cent. painting

Museum: San Martino ai Monti, Rome

Medium: painting of interior; the columns were from pre-Christian buildingsSize: use the people for scale

baldacchino: an ornamental canopy over“Baghdad”, named for where the materialoriginallycame fromcrypt: a room or story beneath the main floor of a church sometimes underground, containing graves, relics or chapels

Note:! Sarcophagi and tombs lined the side aisles

and graves were dug under the floor. (Stokstad)

! Placed at the junction of transept and apse was the tomb of St. Peter, surrounded by a railing marked by a canopy rising on twisted spiral columns that reputedly came from the Temple of Solomon in Jerusalem. (Moffett)

! The nave became a place where those who could afford the cost could be buried, and the floors were soon carpeted with graves. The transept was a unique space. At its focus, over the tomb of St. Peter in the crypt below and just in front of the apse, was a baldacchino. The transept only became common in the 9"#$century with the Carolingians. Large scale communal ritual overlapped with the message of imperial glory. (Wiley)

OLD ST. PETER’S, ROME

baldacchino

Title: Church of Santa Sabina, Rome Architect: built by Bishop Peter of Illyria

Date: c. 422-432 CE Source: wikipedia;https://jisforjourney.com/?p=22527

Medium: plan, brick exterior Size: see scale

Note:! Santa Sabina appears much as it had in the 5"#$century: a nave, single side aisles, and a

rounded apse. (Stokstad)! Early basilicas were austere on the exterior. (Gardner)! St. Sabina is a replica of St. John in the Lateran, but its larger windows show a greater

familiarity with masonry construction. Preserved the Constantinian tradition of a colonnaded basilica. (Wiley)

SANTA SABINA, ROME

altar

Title: Church of Santa Sabina, Rome Architect: built by Bishop Peter of Illyria

Source: wikipedia

Size: n/a

Date: c. 422-432CE

Medium: doorsNote: n/a

One of the earliest depictions of the crucifixion, from the upper left panel

SANTA SABINA, ROME

!"#$"%$

&!

Title: Sta. Sabina on the Aventine Hill, RomeArchitect: built by Bishop Peter of IllyriaDate: mid-5!" century

Source: wikipediaMedium: marble veneer and 24 fluted marble columns

Size: n/aNote: the timber roof# The clerestory windows

would have admitted sunlight not only to illuminate the interior for the performance of the liturgy but also to make visible the frescoes and mosaics that commonly adorned the nave and apse of Early Christian churches. (Gardner)

# The architectural character of the basilican churches is rendered impressive and dignified by the long perspective of columns (supporting semi-circular arches and plain clerestory walls) which carry the eye along to the sanctuary. (Fletcher)

SANTA SABINA, ROME

Title: Sta. Sabina on the Aventine Hill, RomeArchitect: built by Bishop Peter of Illyria Date: mid-5!" century

Note: The spandrels portray chalices and patens for the Eucharist. (Stokstad)

Source: http://blog.stephens.edu/arh101glossary/wp-content/uploads/2016/07/Santa-Sabina-arcade-closer.jpg

Medium: marble veneer and marblecolumns Size: n/a

SANTA SABINA, ROME

Title: Church of Santa SabinaArchitect: built by Bishop Peter of Illyria

Date: c. 422-32 CE

Source: Pearson

Medium: Interior view from side aisle, across the nave toward the entrance. The choir enclosure stands at the lower rightSize: n/a

Note:The columns with Corinthian capitals were reused from a 2!"#cent. pagan building. They support arches rather than an entablature. (Stokstad)

SANTA SABINA, ROME

Title: Sta. Maria Maggiore, RomeArchitect: built under Celestine I (422–432)

Date: 5!"##

century, the façade is 12!"##

century, the campanile is 14!"##

century.

Source: S. Russell Forbes, Rambles in Rome, 1887 https://www.guten berg.org/ files/ 4341 6/43416-h/43416-h.htm

Medium:exterior viewSize: nave 265’l., 83’ w. x 120’h.

Note:$ erected in the immediate aftermath of the Council of Ephesus of 431, which proclaimed Mary Mother of God. (wikipedia)$ the only church of which there is evidence that it was originally a pagan basilica. (Fletcher)

SANTA MARIA MAGGIORE, ROME

!"#$"%$

%$

Title: Sta.Maria Maggiore, RomeArchitect: built under Pope Celestine I (422–432)

Date: c. 432Source: wikipedia Medium: interior view

Size: n/aNote: don’t miss the floor.! like St. Sabina,

preserved the Constantinian tradition of a colonnaded basilica. (Wiley)

! the first major church in the west dedicated to Mary, construction began the year after the Council of Ephesus officially designated Mary as Theotokos “bearer of God” (Gardner)

! closely spaced columns carry the entablature. An “arch of triumph” figurative of the transition through death to eternal life, gave entrance to the sanctuary. The coffers may be from the Renaissance. (Fletcher)

! “The original architecture of Santa Maria Maggiore was classical and traditionally Roman perhaps to convey the idea that Santa Maria Maggiore represented old imperial Rome as well as its Christian future. Asone scholar puts it, "Santa Maria Maggiore so closely resembles a second-centuryimperial basilica that it has sometimes been thought to have been adapted from a basilica for use as a Christian church. Its plan was based on Hellenistic principles stated by Vitruvius at the time of Augustus.” (wikipedia)

SANTA MARIA MAGGIORE, ROME

Title: Sta. Maria MaggioreArchitect: built under Celestine I (422–432)

Date: 5!" century

Source: wikipedia, photo by WolfgangMoroder

Medium: interior view Size: n/a

tessara/ tessarae: Latin for cubes or dice. Atiny stone orpiece of glass cut to the desired shape and size for use informing amosaic (Gardner)

Note:# noteworthy for the 5!"$century cycle of nave mosaics

(see next slide) They were vehicles for instructing the congregation about biblical events and dogma in an age of widespread illiteracy. In Early Christian mosaics the tessarae are usually glass which makes the surfaces sparkle. Because church mosaics were designed to be seen from a distance, usually had larger tessarae, with the cubes set unevenly to catch and reflect light. (Gardner)

# the apse mosaic though is later, though note ones on chancel arch.

# The vista was rounded off by an apse with a semi-dome, lined with marble slabs and owned with a semi-dome encrusted with glittering golden mosaics in which Christ appears surrounded by prophets, saints and martyrs. (Fletcher)

SANTA MARIA MAGGIORE, ROME

SANTA MARIA MAGGIORE, ROMETitle: Sta. MariaMaggiore Architect: built under Celestine I (422–432)Date: 5!" cent. Source: wikimedia, wikipedia Size: n/aMedium: mosaics in the nave: the Story of Moses and the Red Sea, and Bethlehem (on the right side of the chancel arch).

Note:# the biblical scenes show people in togas, showing a continuation of

the classical tradition. Bethlehem has some classical architecture.# These mosaics gave historians insight into artistic, religious, and

social movements during this time. As Margaret Miles explains the mosaics in Santa Maria Maggiore have two goals: one to glorify the Virgin Mary as Theotokos (God-Bearer); and the other to present "a systematic and comprehensive articulation of the relationship of the Hebrew Bible and the Christian scriptures as one in which the Hebrew Bible foreshadows Christianity.”(wikipedia)

# The towns are like those of Roman murals and the figures are still modeled, rather than flat. (Gardner)

Title: Sto. Stefano Rotondo, RomeArchitect: Roman

Date: 468-83Source: it.wikipedia; OUPMedium: plan; reconstruction drawing

Size: 64 m./ 210’ dia.; the largest circular church extant

SANTO STEFANO ROTONDO, ROME

inner ambulatory

outer ambulatory (in 8 segments)

chapel (1 of4)

outerwalls

ambulatory: processional passageway around a shrine or flanking the apse of a Christian churchchapel: a small area within a Christian church containing an altar and used for private prayerNote: rotation discrepancies between the two drawings! Rome after Constantine: The Last Classical Buildings: After Constantine’s departure from Rome in 326, the city slowly yielded power to the Church.

The early Christian basilicas of the fifth century constituted the final works achieved with the classical traditions of ancient Roman architecture. Between the two sackings of Rome (Vandals and Ostrogoths) the popes took the place of the emperors as the prime source of patronage. They sponsored several new churches: Santa Sabina; Santa Maria Maggiore; Santo Stefano Rotondo. They used a particularly refined classical style, a statement of Rome’s ability to survive with dignity. The devastation of Italy continued throughout the sixth century. During the chaos, the popes transformed some of the great imperial monuments of the city, including the Senate house and the Pantheon, into shelters for the church and its institutions. The Pantheon, originally dedicated to all of the gods, now earned respect as a sacred Christian shrine. (OUP)

! embodies a complex intersection of cross and rotunda. (Wiley)! The largest existing circular church. A central circular area is encompassed by concentric inner and outer ambulatories. The outer of these is divided

into eight segments by the four chapels which radiate, in cross formation from the inner ambulatory. (Fletcher)

!"#$"%$

%&

Title: Sto. Stefano Rotondo, Rome Architect: Roman Date: 470’s

Note: n/a

SANTO STEFANO ROTONDO, ROME

Source: teggelaar

Medium: interior view

Size: n/a

Title: Milan

Architect: n/a

Date: n/a

Source:https://dribbble.com/shots/6618008-Milan-city-guide-Map

Medium: tourist mapSize: seescale

Note: San Lorenzo Maggiore and Sant’Ambrogio

! Milan was an imperial residence from 353 onward and became an architectural citer. Five new churches were built and three remain to this day. (Wiley)

MILAN

Title: Sant’Ambrogio, MilanArchitect: built by St. Ambrose, Archbishop of MilanDate: 379–386, reworked in the 11!"#and 12!" centuriesSource: Britannica Medium: atrium court

Size: n/acathedral: a bishop’s church, usually the principal church in a city, derived from cathedra, “chair”. the bishop’s throneNote:Milan on the Eve of the Gothic Advance: As the most important crossroads city in the middle of the plains of Northern Italy’s Po valley, Milan replaced Rome for most of the 4th century as the capital of the western empire. Waves of invaders devastated Milan in the early 5th century, erasing most of its Roman fabric. When the barbarians began to infiltrate Italy as settlers, mercenaries, and eventually rulers, the new power of bishops dominated the Italian cities. Milan’s bishop, St. Ambrose (ca. 338–397) made his base in the recently built cathedral of Santa Tecla. (OUP)

SANT’AMBROGIO, MILAN

Ambrose of MilanTitle: San Lorenzo Maggiore, Milan Architect: Roman Date: 380’s

Note: Ambrose’s imperial rivals created the most impressive early Christian church, now called San Lorenzo, in Milan. Milan’s success as a Christian capital was brief. The early Christian churches of Milan, however, survived relatively unharmed.

Source: wikipediaMedium: viewwithin courtyard Size: n/a

SAN LORENZO MAGGIORE, MILAN

!"#$"%$

%%

SAN LORENZO MAGGIORE, MILANTitle: San Lorenzo Maggiore, MilanArchitect: Roman

Source: wikipedia

Size: n/a

Date: 380’s

Medium: n/a

Note: n/a

LEGEND

Title: San Lorenzo Maggiore, MilanArchitect: Roman

Date: 380’s

Source: en.wikipedia

Medium: double height conch

Size: n/a

Note: n/a

SAN LORENZO

MAGGIORE, MILAN

end of Chapter 6, part 1