ARH 2050: History of Visual Arts I
Dr. S. Bundrick
22 October 2002
ART OF LATE ANTIQUITY
A Plurality of Religions:
Mithraeum, Dura-Europos, Syria, ca. AD 250
Jewish house-synagogue, Dura-Europos, Syria, ca. 245-256
Christian house-church, Dura-Europos, Syria, ca. 240-256
Catacomb of Saints Peter and Marcellinus, Rome, early 4th c. AD
Painted ceiling with Good Shepherd, Jonah, and orants
The Age of Constantine:
Arch of Constantine, Rome, AD 312-315
Colossal portrait of Constantine, Rome, ca. AD 315-330
Basilica Nova (Basilica of Maxentius and Constantine), Rome,
ca. AD 306-312
Old St. Peter’s, Rome, begun ca. AD 320
Santa Constanza, Rome, ca. 337-351
Images of Christ:
Christ as Sol Invictus, detail of a vault mosaic in the Mausoleum of the
Julii, Rome, late 3rd c AD
Sarcophagus of Junius Bassus, from Rome, ca. AD 359
Statuette of Christ enthroned, ca. AD 350-375
Ivory plaque with suicide of Judas and the Crucifixion, ca. AD 420
Mausoleum of Galla Placidia, Ravenna, ca. AD 425
Exterior and interior views
Mosaic with Christ as the Good Shepherd
Sant’Apollinare Nuovo, Ravenna, dedicated AD 504
Interior view
Mosaic with Miracle of Loaves and Fishes
Terms:
Torah
Eucharist
ambulatory tesserae
Ecumenical Councils
nave
Honorius
apse
narthex
longitudinal plan
11.1
11.2
11.3
10.76
10.78
10.79
11.7
11.9-11
11.12
11.5
11.6
11.21
11.14-15
11.16-17
transept
central plan
Important Dates:
AD 313: Edict of Milan-Christianity officially recognized by Roman government
AD 325: Council of Nicaea, called by emperor Constantine
AD 330: Constantine moves capital of empire from Rome to Constantinople
AD 380: Theodosius I proclaims Christian as the premier state religion
AD 395: Roman Empire split permanently in two by Theodosius I, becoming
the Western (Roman) empire and the Eastern (Byzantine) empire
Important Dates:
AD 313: Edict of Milan-Christianity officially recognized
AD 325: Council of Nicaea, called by emperor Constantine
AD 330: Constantine moves capital of empire from Rome to Constantinople
AD 380: Theodosius I proclaims Christian as the premier state religion
AD 391: Theodosius I bans pagan worship
AD 394: Olympic Games abolished as part of laws against pagan practices
AD 395: Roman Empire split permanently in two by Theodosius I, becoming
the Western (Roman) empire and the Eastern (Byzantine) empire
AD 404: emperor Honorius moves Italian capital from Milan to Ravenna
AD 410: Rome falls to Alaric, king of the Visigoths
AD 451: Council of Chalcedon
AD 476: collapse of the Western Roman empire under barbarian pressure; Ravenna
falls to Odoacer, first Germanic king of Italy
AD 493: Theodoric, king of the Ostragoths, overthrows Odoacer and establishes
Ravenna as his capital
LATE ANTIQUITY LECTURE NOTES:
-AD 313: Edict of Milan-Christianity officially recognized as a state religion-religious
tolerance for all religions in the empire
-Council of Nicaea, called by Constantine in 325-formalized many Christian beliefs,
including that of the divinity of Jesus Christ
-life and teachings of Jesus recorded in the NT Gospels between c. 70 and c. 100 AD"gospels" comes from Old English translation of Latin word derived from Greek word
euangelion ("good news")-Four Evangelists
-AD 330: Constantine moves capital of empire from Rome to Constantinople
-AD 395-Roman Empire split permanently in two by emperor Theodosius I, becoming th
Western (Roman) empire and the Eastern (Byzantine) empire-Latin-speaking West and
Greek-speaking East
-AD 476-collapse of the Western Roman empire
-Early Christianity: Christianity appealed to the poor and powerless-many early converts
were women and people from lower classes-Christianity persisted and spread despite
sporadic persecution-as well-educated, upper-class Romans joined the Church during its
first century of rapid growth, they gradually instituted more elaborate organizational
structure coupled with increasingly sophisticated doctrine
-Christian rites prompted development of special buildings (churches) as well as
specialized equipment-Christians began to use the visual arts to instruct the congregation
as well as to glorify God
-almost no examples of specifically Christian art exist before the 3rd c AD
-syncretism-assimilating images from other traditions-Christian art drew its styles and
imagery from Jewish and classical traditions early on
A Plurality of Religions
-incredible religious diversity of the Roman Empire
-Dura-Europos in Syria: Dura was the Roman name, Europos the Greek—town probably
founded during Hellenistic period—fell into Parthian rule by end of 2nd c—capture by
Trajan in 115 but then reverted to Parthian control—165: Romans under Marcus Aurelius
retake Dura—256: Dura becomes a Sassanian town, former population evacuated but
buildings left largely intact—more than a dozen different cult buildings
-neither Judiasm nor Christianity were approved religions in the Roman world
-make point that both Judaism and Christianity are scriptural religions (unlike the others)
*Mithraeum, Dura-Europos, Syria, ca. AD 250
*Jewish house-synagogue, Dura-Europos, Syria, ca. 245-256
Interior view with Old Testament paintings
-extensive cycle of mural paintings depitcing biblical themes
-originally a private house with central courtyard, converted into a synagogue during later
part of 2nd century
-discovery of ptngs surprised scholars because of apparent contradiction of Second
Commandment forbidding graven images—however, it seems that Jews did not worship
idols but did have biblical stories on the painted walls of synagogues and on painted
manuscripts—Yahweh himself however is never shown except maybe as a hand
appearing from above
-paintings record history of Jewish people as well as illustrating scripture
-style of stories: frontal figures, little or no action, stylized gestures, lack of volume and
shadow
-Torah niche: housed the sacred Torah (scroll containing the Pentateuch, the first five
books of Hebrew scripture)
-painting just to right of niche: prophet Samuel anoints David as future king of Israel as
his five brothers look on—Samuel is largest figure to draw viewer’s attention—David
and brothers are emotionless—David distinguished by his purple toga, purple as color
associated with the Roman emperor, signifying his royalty
*Christian house-church, Dura-Europos, Syria, ca.240-256
Reconstruction; interior view of baptistery
-also a remodeled house with central courtyard—meeting hall could only accommodate
up to 70 people—had a raised platform at one end where congregation leader sat or stood
-another room had canopy-covered font for baptismal rites
-upstairs a communal dining room may have existed for celebration of the Eucharist
-poorly preseved mural paintings in the baptistery
-contrast modest worship house with the grand pagan temples
-Christian communities small in number at this period and often attracted most
impoverished members of society
-found promise of afterlife where rich and poor judged equally very attractive
-Diocletian ordered fresh round of persections in AD 303 to 305, concerned by increased
popularity of Christianity in the Roman army
The Age of Constantine:
*Arch of Constantine, Rome, AD 312-315
*Coins with portraits of Constantine: nummus, AD 307 and
medallion, ca. AD 315
-Constantine’s reign marks the transition between the “classical” and “medieval” worlds
-first coin: struck shortly after death of Constantine’s father, before he defeated
Maxentius and become sole emperor—adopted imagery of the tetrarchs, very symbolic,
iconic, almost generic tetrarch portrait
-second coin: marks the transformation of Constantine’s portrait type—rejection of the
mature tetrarchic style to the imagery of youth, compare to portraits of Augustus and to
the colossal portrait—also suggests the dual nature of Constantine’s rule—appears as
imperator (general), wearing armor, helmet, shield (latter carries image of Romulus and
Remus)—but instead of carrying the scepter of the pagan Roman emperor, hehols a cross
crowned by an orb, a Christian symbol—also a Christogram (chi rho) found on the front
of his helmet—he is both a Roman emperor and a soldier in the army of the Lord
*Colossal portrait of Constantine, Rome, ca. AD 315-330
-from the Basilica of Maxentius and Constantine-statue of seated emperor-only a few
marble frags survive--head, hand, knee, elbow, foot
-brick core, wooden torso covered with bronze and head and limbs of marble
-seminude seated portrait based on Roman images of Jupiter—held an orb (global symbol
of power) in his extended left hand
-head is 8 1/2 ft high and eights over eight tons
-frontal aspect
-eyes large inproportion to rest of the head-directed upward
-colossal 30 ft portrait statue placed in original apse of the basiica-permanent standin for
the emperor rep'ing him whenver conduct of business legally required his presence
-features of traditional Roman portraiture plus abstract qualities cf Tetrarchs
-heavy jaw, hooked nose, jutting chin typical of Constantine-incorporated into rigid,
symmetrical pattern in which other features (eg eyes, eyebrows, hair) have been
simplified into geometric arcs
-return to the youthful ideal established by Augustus, break with tetrarchic or soldieremperor style—cf also images of Trajan
-first beardless imperial image since Hadrian
*Basilica Nova (Basilica of Maxentius and Constantine), Rome,
ca. AD 306-312
-last important imperial government building erected in Rome itself
-begun by Maxentius during his short reign-completed by Constantine prior to leaving
Rome for new capital of Constantinople
-functioned as an administrative center and provided magnificent setting for the emperor
when he appeared as supreme judge
-earlier basilicas had been columnar halls, but Maxentius' architects created a large,
unbroken, vaulted space, cf. public baths
-central hall covered with groin vaults-side aisles covered with lower barrel vaults acting
as buttresses (projecting supports) for central groin vault-allowed generous window
openings in the clerestory areas over the side walls
-three of the brick-and-concrete barrel vaults still survive
-originally measured 300 by 215 ft-vaults of central nave rose to height of 115 ft-groin
vaulted porch extended across the short side on the southeast, sheltered a triple entrance
to central hall
-opposite end of long axis was apse, which acted as focal point for the building
-Constantine's architects added another entrance to the SW, probably to accomodate
crowds, and another apse on the short side
-interior was richly marbled and stuccoed
-spacious, fully illuminated, uninterrupted by rows of vertical supports, constructed of
highly malleable, versatile, fireproof material-monument to ingenuity of Roman
architects
*Old St. Peter’s, Rome, begun ca. AD 320
Restored plan, reconstructions
-AD 313-Edict of Milan-religious toleration, combined with Constantine's active support
of Christianity, allowed Christianity to enter a new phase-as soon as Constantine
consolidated imperial power (c. AD 324), he began a vast building program, including a
monumental basilica to be constructed at the place where Christians believed St Peter
was buried-Peter had died during persecutions of Nero (c. AD 64), was leader of the
apostles who established first Christian community in Rome-venerated as precursor of
the popes-according to tradition Peter was crucified upside down at his own request so
taht his martyrdom would be seen as lesser than Jesus' crucifixion
-Constantine as first patron of Christian architecture
-located new churches on city’s outskirts to avoi confrontations between Christian and
pagan ideologies
-excavations under the present day St Peter’s have revealed a 2nd c memorial erected in
honor of Peter at his reputed grave
-AD 325-Constantine's mother St Helena visits Palestine-she convinces him to build a
number of churches and shrines in Jerusalem
-perhaps as early as 320 Constantine decided to build a grand new basilica on the site of
the tomb to protect it and make it accessible to the faithful-in the early second century
Christians had placed a monument over what they believed to be the tomb
-as Old St Peter's became the pope's church, it came to signify the superior power of the
bishop of Rome over all other bishops in Christendom
-our knowledge of Old St Peter's (completely replaced in the 16th century) is based on
written descriptions, drawings made before and while it was being dismantled, the study
of other churches inspired by it, and modern archaeological excavations at the site
-builders leveled the hillside cemetery on which it was to be located, destroying many
tombs-atop a large concrete foundation they erected a building complex arranged on a
central axis-worshipers climbed flight of steps to a large gatehouse and crossed a
colonnaded atrium with a central fountain
-architectural elements that would later characterize basilica-plan churches-narthex
(porch) across width of building protected five doorways (large central portal leading to
nave; two portals on each side opening onto double side aisles)-nave rose one story
higher to provide for upper level clerestory to light interior-nave and aisles had open
timberwork ceilings-nave lined with columns supporting entablature-columns of side
aisles supported series of round arches-transept at end of nave and aisles-formed a T
anticipating later Latin cross church plan
-below the church, St Peter's tomb marked by permanent, pavilionlike ciborium on four
columns-catacombs beneath the church-over time crypt created for pope burials
-variety of functions for Old St Peter's: congregational church, pilgrimage shrine
commemorating a place of martyrdom and containing relics of a holy person, funeral
hall-burial place
-could hold 3000-4000 worshipers—nave 300 ft long
-sheer size, harmonious proportions, simple geometric forms, dramatic contrast between
exterior simplicity and interior luxury
-combination of architectural grandeur, adaptability, and practicality in 4th c basilica plan
churches
-interior of Old St Peter's cf. interior of Sta Maria Maggiore (432-440)-note that Sta
Maria Maggiore was the first church in Rome dedicated to Virgin Mary after Council of
Ephesus (431), in which Mary was declared Theotokos (bearer of God)
-adaptation of Roman basilica type for churches: a) Christians didn’t want to use pagan
temple type architecture; b) pagan temples were not for rituals inside, Christians had to
have buildings for worshipers to actually worship in
-literary sources describe the beautiful objects inside, most donated by Constantine
*Santa Constanza, Rome, ca. 337-351
Plan, section, views
-central-plan=another option for Christian buildings-tholos tomb idea adapted by
Christian builders for tombs, martyrs' churches, and baptistries, also cf. Pantheon as
immediate predecessor—central plan used for churches in the East more than in the West
-interior design modified to include an ambulatory—a dozen pairs of columns here
separate the corridor from the domed cylinder (12=number of apostles)
-mausoleum of Constantina, daughter of Constantine=Sta Constanza-one of the earliest
surviving central-plan Christian buildings
-built outside walls of Rome just before 350
-consecrated as a church in 1256-now dedicated to Sta Constanza
-tall rotunda with encircling barrel-vaulted passageway (ambulatory)-double ring of
paired columns with composite capitals and richly molded entablature blocks supports
arcade and dome
-interior entirely sheathed in mosaics and fine marble
-ambulatory mosaics-syncretic images
-Harvesting of Grapes mosaic-tangle of grapevines filled with putti (naked male childangels, cherubs) derived from classical art who vie with birds to harvest grapes-along
botton edges on each side, putti drive wagonloads of grapes toward pavilions covering
large vats in which more putti trample grapes into juice-technique, subject, and style are
Roman but meaning has been altered-this type of scene familiar to pagan followers of
Bacchus, but in Christian context wine suggests wine of the Eucharist—mosaic also
includes bust portrait of Constantia herself
-note Constantina was Christian, but her husband was pagan
Images of Christ:
-prior to Constantine, artists almost invariably represented Christ as Good Shepherd or as
young teacher
-only after Christianity became official religion did Christ take on imperial attributes like
halo, purple robe, and throne denoting rulership
-eventually artists depicted Christ with beard of mature adult
-schisms and heresies--Arianism and Monophysitism
-Arianism: Arius (c. 250-336)-leader in the church of Alexandria-believed that Jesus was
coeternal with God but was not fully divine, having been made by God-Council of
Nicaea in 325 declared doctrine of Trinity to be orthodox and denounced Arianism as
heretical
-Monophysitism: took opposite viewpoint-believed Jesus was fully divine, even while on
earth-Council of Chalcedon (451) addressed this belief and declared Jesus to be of human
and divine nature in one-this did not put an end to Monophysitism, which remained
strong in Egypt, Syria, Palestine, and Armenia
-St. Jerome (ca. 347-420)—translates from Hebrew, Greek, and Latin versions of the
Bible into Latin Vulgate, the official version
*Christ as Sol Invictus, detail of a vault mosaic in the Mausoleum of the
Julii, Rome, late 3rd c AD
-earliest known mosaic of explicitly Christian content—vault mosaic in late 3rd c
Christian mausoleum not far from St Peter’s tomb in Roman cemetery beneath St Peter’s
church
-Christ in the guise of a pagan deity, Sol Invictus (Greek Helios)—Invincible Sun—vines
all around suggesting the Eucharist
-holds an orb in left hand characterizing him as ruler of the universe
-halo around head makes it clear he is Christ not Sol, rays suggesting pattern of the cross
*Catacomb of Saints Peter and Marcellinus, Rome, early 4th c. AD
Painted ceiling with Good Shepherd, Jonah, and orants
-“Early Christian art”—refers to earliest preserved works with Christian subjects, not art
from the time of Jesus—little known about the art of the first Christians
-most significant works of early Christian art are the less conspicuous
-catacombs: vast network of underground galleries and chambers designed as cemeteries
for burying the Christian dead—to lesser extent catacombs housed graves of Jews and
others
-tunneled catacombs out of the tufa bedrock—less elaborate than Etruscan tombs but
more extensive
-name catacombs derives from “ad catacumbas,” which means “in the hollows”
-catacombs in Rome comprise galleries estimated to run for 60 to 90 miles—in constant
use from 2nd through 4th centuries—many have held as many as 4 million bodies
-in accordance with Roman custom, Christians had to be buried outside a city’s walls on
private property, usually purchased by a confraternity of Christian families pooling funds
-first builders dug a gallery three to four feet wide around the perimeter of the burial
ground at a convenient level below surface—in walls they cut opening to receive bodies
of the dead (loculi, placed one above another like shelves)—often small rooms (cubicula)
cut out of the rock to serve as mortuary chapels—once the original permieter galleries
full, they cut other galleries at right angles to them, continued process, then dug lower
levels connected by staircases—some catacomb systems had five levels
-when Christianity became officially sanctioned, catacombs fell into disuse except as
holy places—monument to martyrs visited by pious, who could worship there
-frescoes that decorated the cubicula were Roman in style but Christian in subject
-ceiling fresco in this catacomb (Peter and Marcellinus) similar to vaulted ceiling design
in many Roman houses and tombs
-large circle like Dome of Heaven, with cross shape inside—cross’s arms terminate in
four lunettes with key episodes from story of Jonah—Jonah and the whale at right (whale
looks like a Greek style sea dragon)—at the bottom Jonah contemplates salvation and
mercy of God—Jonah popular subject in Early Christian art as prefiguration of Christ
(Jonah in whale for three days, Christ in tomb for three days)
-compartments between the lunettes: orants (praying figures) raising arms in ancient
attitude of prayer—make ujp a corss-section of Christian family seeking heavenly
afterlife: man, woman, and at least one child
-central medallion: Christ as Good Shepherd—motif actually goes back to Archaic Greek
art—Christ is youthful and loyal protector of the Christian flock—John 10:11 (“I am the
good shepherd; the good shepherd gives his life for the sheep”)
-prior to Constantine, artists almost invariably represented Christ as Good Shepherd or as
young teacher
-only after Christianity became official religion did Christ take on imperial attributes like
halo, purple robe, and throne denoting rulership
-eventually artists depicted Christ with beard of mature adult
-style of catacomb frescoes: often a quick, sketchy, impressionistic style—vast majority
of people buried there could not afford to hire best artists—also keep in mind these
weren’t the most savory places to make art: decomposing corpses, poor lighting,
humidity
*Sarcophagus of Junius Bassus, from Rome, ca. AD 359
-Christians rejected cremation—wealthy Christians had sarcophagi
-decoration of the sarcophagi could include a collection of subjects as in the catacombs
-Junius Bassus: a Christian convert and the city prefect of Rome—according to
inscription on the sarcophagus he was baptized just before his death in ad 359
-decorated only on the front in the western Roman manner—divided into two registers of
five compartments, separated by columns in trradition of Asiatic sarcophagi
-stories from OT and NT fill the niches—Christ has pride of place and appears in center
of each register—as a youthful teacher between Peter and Paul; and triumphantly entering
Jerusalem on a donkey—both compositions owe a great deal to Roman imperial imagery
-Christ like an enthroned emperor sits above a personification of the sky indicating he is
ruler of the universe—Christ as ruler of the universe—scene below cf. scenes of emperor
entering cities on horseback—scene of Christ’s heavenly triumph situated over scene of
earthly triumph
-OT scenes significant: Adam and Eve in second niche from left on lower level (their
original sin necessitated Christ’s sacrifice)—right of entry: Daniel in lions’ den, saved by
faith (note this figure has been inaccurately restored as a saint); upper left: Abraham
about to sacrifice Isaac (parable for God’s sacrifice of his son Jesus)—far left: Job on the
dung heap
-Crucifixion is not here—rare subject in early Christian art and unknown before 5th c—
Christ’s divinity and life as teacher and miracle worker emphasized here—Passion
alluded to in scene of Christ being led before Pilate (upper right)
*Statuette of Christ enthroned, ca. AD 350-375
-monumental sculpture increasingly uncommon during the fourth century—statues of
pagan gods and myth. figures continued to be madde, but in decreased numbers—
Christians tended to suspect freestanding statues, seeing them in association with pagan
idols—Early Christian houses of worship had no statues
-rare instances of Early Christian “idols”—may reflect the Greco-Roman background of
many converts
-less than three feet tall, freestanding version of the teacher on the Junius sarc.
-Christ’s head is of a long-haired Apollo type youth—statuary type cf Roman
philosophers of advanced age—highlights Christ as youthful teacher—wears Roman
toga, tunic, and sandals, holds unopened scroll in hand—original provenance unknown
*Ivory plaque with suicide of Judas and the Crucifixion, ca. AD 420
-a plaque for a casket, scenes of Christ’s Passion—ivory working as an early Christian
luxury work
-this plaque shows Judas hanging from tree with bag of silver at his feet; Crucifixion,
with Mary and Joseph of Arimathea at left, on other side Longinus thrusts spear into
Christ’s side
-series of plaques one of the oldest preserved Passion cycles in art—other scenes: Pilate
washing hands, Christ carrying cross, Peter’s denial, Marys at the tomb, Doubting
Thomas
-earliest known Crucifixion scene—Christ still beardless—superhuman tolerance to
pain—muscular, nearly nude, heroic figure—displayed on a cross, overcoming death—
striking contrast to the hanging Judas
*Mausoleum of Galla Placidia, Ravenna, ca. AD 425
Exterior and interior views
Mosaic with Christ as the Good Shepherd
-as Rome lost political importance, major buildings erected in new Italian capitals of
Milan and Ravenna to the north
-AD 395-Emperor Theodosius I splits Roman Empire into two parts, each ruled by one of
his sons-Arcadius (r. 383-408) gets Eastern Empire, Honorius (r. 395-423) gets Western
Empire with capital at Milan-when Germanic settlers laid siege to Milan in 402, Honorius
moved capital to Ravenna on east coast of Italy
-Ravenna offers military security through naval base at Classis, also direct access by sea
to Constantinople-flourished under Roman rule
-one of earliest surviving Christian structures in Ravenna-fuenrary chapel attached to the
church of the imperial palace
-constructed when Honorius' half sister, Galla Placidia, was acting as regent (r. 425-440)
in the West for her son-she and her family were believed to be buried in this chapel,
hence the name—she married a Visigothic chieftain
-cruciform (cross-shaped) building-each arm covered with a barrel vault-space at the
intersection of the arms is covered with a pedentive dome (dome formed of pedentives)
-fuses longitudinal basilica plan and central plan--plain exterior decorated with blind arcading-series of ornamental arches applied to solid
wall-tall slit windows, simple cornice that surrounds and unifies the four arms
-vaults covering arms of cross hidden from view on outside by sloping tile-covered roofs
-interior contrasts dramatically with exterior-transition designed to simulate passage fro
real world into supernatural world
-view into interior from western entrance: abstract patterns of mosaic suggesting starry
sky-panels of veined marble sheath walls-four central arches covered by foliage and
floral designs-walls above central arches filled with figures of apostles gesturing like
orators-birds flank fountain between them symbolizing eternal life in heaven
-lunette mosaic with Martyrdom of St Lawrence-building probably dedicated to him-saint
holds cross and gestures under window toward the metal grill on which he was roasted-at
left stands tall cabinet containing the Gospels, signifying the faith for which he died
-lunette above entrance portal (opposite St Lawrence): mosaic of Good Shepherd-Jesus as
beardless young adult wearing imperial gold and purple robes, holding long golden staff
ending in a cross instead of a shepherd's crook-large golden halo (used by artists to
distinguish rulers for ordinary people-later used for holy personages)
-contains familiar classical elements-illusionistic shading and shadows to suggest single
light source acting on solid forms-suggestion of landscape-traditional animal poses-note
the sheep are symmetrically balanced in groups of three, but their arrangement is rather
loose and informal (contrast Sant'Apollinare in Classe apse mosaic)
-stylized elements of natural landscape-arranged rigidly-individual plants placed at
regular intervals to fill spaces between animals-rocks stepped back into shallow space
that rises from foreground plane and ends in foliage fronds-rocky band at bottom
resembles cliff faces riddled with clefts
-Good Shepherd-example of syncretism-in pagan art he was Hermes the shepherd or
Orpheus among the animals
*Sant’Apollinare Nuovo, Ravenna, dedicated AD 504
View of nave
Mosaic with Miracle of Loaves and Fishes
-three-aisled basilica-construction order by Ostragothic king Theodoric—his own palacechurch
-ninth century-relics of Saint Apollinaris were transferred to this church, known since
that time as Sant'Apollinare Nuovo
-mosaic decoration in three zones (upper two date from time of Theodoric)-OT patriarchs
and prophets rep'd between clerestory windows-above them scenes from life of Christ
alternate with decorative panels (scenes that constitute a major epiphany, eg the Baptism
or Transfiguration, are absent)-lowest zone originaly bore subjects of either Arian or
political character-after Byzantine conquest of Ravenna, Bishop Agnellus ordered all
mosaics referring to Theodoric and Arianism removed, to be replaced by procession of
orthodox saints (male on one side, female on the other)-subjects on other levels left intact
-Miracles of Loaves and Fishes-dates from c. 500-stylistic change since Galla PlacidiaJesus is beardless and in imperial gold and purple-faces directly to us as he directs
disciples to distribute bread and fish-artist has made no attempt to supply details-focus on
symbolism not narrative, on the sacramental character of the event, fact that Jesus is
performing a miracle-story told with bare minimum of figures needed to make meaning
explicit-figures aligned laterally, moved close to foreground, placed in shallow picutre
box cut off by flat gold background-landscape setting merely sugested by a few rocks and
bushes-neutral gold as standard background color from now on, replacing the blue sky in
the Good Shepherd mosaic-handling of individual figures shows some Roman
illusionism-they cast shadows and stil retain some of their former volume