Ceiling of the Catacomb of Santissimi Pietro e Marcellino, Rome, 4th century CE (Early Christian)

Catacomb = underground burial place.

Shows the Christian ideas of idolatry: They were forbidden to worship or create idols, but images have power (Gregory the Great suggested using images to educate the illiterate). Solution: make abstract images to emphasize that it isn't real.

Reflects roman murals (landscapes, linear devices), but less naturalistic. Shows influence Roman art had on Christian art and how they adopted the Roman style to suit their religious needs.

In the center: Christ = good shepherd (allusion rather than idol). He looks after and will die for his flock.

Around: scenes from Jonah is typology (comparing new and old testament).  This compares the life of Christ to the life of Jonah: Jonah spent 3 days in whale, Christ in tomb; Jonah was released unharmed, Christ was resurrected in physical wholeness. Because of this, Jonah is presented as preconfiguration (foreseeing) of Christ's life. Old Testament is prophecy of the New Testament.

The scene with Jonah reclining with arm over his head is reminiscent of Endymion (Roman person who was so beautiful he can sleep forever without being disturbed). This way pagan converts would be familiar with the new Christian consepts in the art.

Was made in a time of the political turmoil of Rome's decline. New religion is comforting. Life is less significant because of promise of salvation. Worshipers are depicted standing around the center = faith in salvation.

Portrait of Constantine the Great, early 4th century CE, marble, Museo dei Conservatori, Rome  (Early Christian)

Constantine had a vision that if he converted to Christianity, he will win a battle, so he did.

Eyes are too large, looking up toward god. Head would be very high up.  This is an allusion to his conversion.

Full cap of hair, clean shaving = direct references to Trajan & Augustus (great past emperors)

Fun fact: this head is 8 ft tall.

Arch of Constantine, Rome, 312-315 CE (Early Christian)

Imperial arch traditionally commemorates battles (this one was for the conquest of Maxentius)

Exemplifies Roman cultural use of syncretism because elements are stolen from other arches.  Troyton on top, Jadrian monument in circle.  The sculptors recarved the heads of earlier emperors to resemble Constantine.

Doesn't necessarily mean that artists were no longer creative (even though the talented ones may have fled at this time), but this sculpture harvesting could be a deliberate means to recognize and make connections with older emperors and harness their reputation of emporerness. This was especially important for him because he risked alienation for being the first openly Christian emperor.

Style favors the message-bearing potential rather than naturalism.

Sarcophagus of Junius Bassus, ca. 359 CE, marble, Museo Storico del Capitolino di San Pietro, Rome (Early Christian)

The Christian sarcophagus was adapted from the Roman sarcophagus - made them seem more impressive.  Contrapposto and Roman clothing.

In upper center Christ is on throne with his feet on the head of Roman god of heaven.  Shows that Christ is triumphant over pagan gods. Emphasizes his imperial nature.

There is a use of typology - Adam and Eve after temptation, Daniel and the lion, Christ entering Jerusalem...

Individual self-contained scenes to make connections between.  Adam and Eve were the reason Christ had to die for man's sins.  Abraham willing to sacrifice Issac parallel's god's sacrifice of his only son.

Old Saint Peter’s, Rome, c. 320 CE (Early Christian)

Where St. Peter was martyred.

Nave = main body of church

Transepts = arms of church (T-shaped = Tau)

Apse = end of church; focal point (arch)

Aisles alongside nave

Most important Constantinian church structures were a type of basilica. Modeled after the Roman basilica because it could hold a lot of people (they were designed as meeting halls).

Saint Paul’s Outside the Walls, Rome, begun 385 CE; rebuilt after fire in 1823 (Early Christian)

Shows the glory of a focal point.

Mausoleum of Galla Placidia, Ravenna, 425-450 CE  (Early Christian)

Center of Chritianity moved to Ravenna on a port, easier to defend to protect from Germanic tribes.

Simplistic Greek cross (equal arms), brick outside but glittering mosaics inside!  Outside simpler, but on the inside one leaves the everyday world behind.

Good Shepherd, mosaic, Mausoleum of Galla Placidia, Ravenna, 425-450 CE (Early Christian)

Christ is alluded to by the image of the good shepherd.

Glittery mosaic!

This is at the focal point of the church in the East where the sun rises. Suggests that Christ is the new Apollo: gold and purple tunic = imperial, halo=sun god (Apollo)

Virgin of Vladimir, icon,  probably from Constantinople, 12th century CE, Tretyakov Gallery, Moscow (Byzantine)

Emphasis on the connection between Christ and Mary. Humanistic.

Christ is a little man, so even as an infant he is kingly and knowledgeable of his fate.

Painted on a gold background, indicating that this scene is not reality.

This was supposedly painted by sir Luke of Mary, a guy who actually knew the virgin Mary, so this is supposed to be an actual representation of her.

People began to believe Mary was residing in it, or rather, that it was Mary herself.  It was brought to battle or was placed at city gates for protection.

In the East this led to iconoclasm (calling for destruction of idols) declared by the Emperor.  There was a battle between the Emperor and the church, but this didn't happen in the West.

Cross page from the Lindisfarne Gospels, ca. 700 CE, tempera on vellum,  The British Library, London (Early Medieval)

This illuminated manuscript was made in Ireland.  Monestaries were isolated on islands (retreat into the wilderness to avoid worldly distractions). They made books in order to be self-sufficient.

There is no representation, abstract, indicating that it was meant for a learned community that was literate (not converts).

So complicated one can look at it for years. Can't take it in at one glance.  Medatative, contemplative. Sacred riddle to be pondered for a lifetime.

Chi Rho Iota page, from Book of Matthew from the Book of Kells, ca. 800 CE, ink and pigments on vellum, Trinity College, Dublin (Early Medieval)

Equestrian Monument of a Carolingian Ruler (Charles the Bald?), 9th century CE, bronze, Louvre, Paris (Carolingian)

Christ Enthroned from the Godescalc Gospels (Lectionary), 781-783CE, tempera on vellum, Bibliothèque Nationale, Paris (Carolingian)

Front Cover of Binding, Lindau Gospels, ca. 870 CE, gold and jewels, Pierpont Morgan Library, New York (Carolingian)

Doors of Bishop Bernward, Abbey Church of Saint Michael, Hildesheim, 1015, bronze (Ottonian)

Temptation, detail from the Doors of Bishop Bernward, Abbey Church of Saint Michael, Hildesheim, 1015, bronze (Ottonian)