LATE ANTIQUE AND EARLY
CHRISTIAN ART
EUGENIA LANGAN
MATER ACADEMY CHARTER HIGH SCHOOL
HIALEAH GARDENS, FLORIDA
WITH APOLOGIES TO FRED KLEINERT
THEME:
TRANSFORMERS
 CHRISTIANITY, A HELLENIZED FORM OF
JUDAISM, ADOPTED THE MYTHS OF EARLIER
RELIGIONS (SUMERIAN, EGYPTIAN,
BABYLONIAN, PERSIAN, GREEK, JEWISH,
ROMAN) AND TRANSFORMED THEM INTO A
SUPERHERO
 CHRISTIAN ART ADOPTED MOTIFS AND
ICONOGRAPHY OF EARLIER RELIGIONS/
CIVILIZATIONS
TIMELINE:
 1st CENTURY:
 6 – JUDEA BECAME ROMAN PROVINCE  MANY
JEWISH REVOLTS
 © 29 – CRUCIFIXION OF JESUS
 © 64 – CRUCIFIXION OF ST. PETER
 © 70 – FIRST BOOK OF NEW TESTAMENT (NT)
(GOSPEL OF MATTHEW) WRITTEN
 ALSO © 70: TITUS DEFEATED FIRST MAJOR
JEWISH REVOLT IN JUDEA AKA FIRST JEWISHROMAN WAR – DESTRUTION OF 2ND TEMPLE
 2ND AND 3RD CENTURIES:
 © 120–130 – LAST GOSPEL (JOHN) WRITTEN
 132–36 -- THIRD (LAST) JEWISH ROMAN WAR 
EXPULSION OF JEWS FROM JERUSALEM/ JUDEA (2ND
DIASPORA) – HADRIAN RENAMES JUDEA “SYRIA
PALAESTINA” 
 X’IANITY CLEARLY SEPARATE FROM JUDAISM,
SPREADS LIKE WILDFIRE THROUGH EMPIRE
 ROMAN PERSECUTION OF CHRISTIANS, ESPECIALLY
TRAJAN DECIUS (AND LATER, DIOCLETIAN IN EARLY
4TH C.)
 BY 300, X’IANITY IS EMPIRE’S MAJORITY RELIGION
(AT LEAST IN URBAN CENTERS)
SPREAD OF CHRISTIANITY:
BY 325
BY 600
 4TH CENTURY:
 313 – EDICT OF MILAN: X’IANITY LEGAL
 324 – FOUNDATION OF CONSTANTINOPLE
 325 – 1ST COUNCIL OF NICEA – ROMAN EMPEROR
= HEAD OF CHURCH
 380 - THEODOSIUS I MAKES X’IANITY OFFICIAL
RELIGION OF ROMAN EMPIRE
 391 - THEODOSIUS I BANS “PAGAN” WORSHIP
 410 - FALL OF ROME TO ALARIC THE VISIGOTH 
CAPITAL OF WESTERN EMPIRE MOVED TO
RAVENNA
GOALS
 UNDERSTAND THE INFLUENCE OF RELIGION IN THE
ART OF THE ROMAN EMPIRE IN LATE ANTIQUITY.
 EXAMINE THE ART FORMS AND ARCHITECTURE OF
LATE ANTIQUITY.
 UNDERSTAND THE NEW AESTHETIC INFORMING THE
ART AND HOW IT IS DIFFERENT FROM THE ART OF
THE CLASSICAL PERIOD.
 KNOW AND CITE ARTISTIC AND ARCHITECTURAL
TERMINOLOGY FROM THE PERIOD.
 UNDERSTAND THE DIFFERENT MEDIA USED TO
CREATE EARLY CHRISTIAN ART, PARTICULARLY NEW
MEDIA.
 UNDERSTAND HOW ROMAN ART AND
ARCHITECTURE IS CHANGED AS A RESULT OF
CHRISTIANITY AND THE DECISIONS OF
CONSTANTINE.
 EXAMINE THE ENDURING INFLUENCE OF THE
CLASSICAL PAGAN WORLD IN THE CHRISTIAN ART OF
ROME.
 RELATE INFLUENCES ON SPECIFIC IMAGES OF
CHRIST.
 CITE ILLUSTRATIONS OF EARLY CHURCH
ARCHITECTURE, THEIR ORIGINS AND
DEVELOPMENT, PARTICULARLY IN RAVENNA
DURA-EUROPOS
“ THE POMPEI OF THE DESERT”
WHY IS IT CALLED THAT?
DURA WAS ABANDONED AFTER PERSIAN
(SASANIAN) CONQUEST, 265 – BUILDINGS
LEFT (MOSTLY) INTACT
SYNAGOGUE, DURA-EUROPOS, SYRIA © 245-256
(ORIGINALLY A PRIVATE HOUSE)
INTERIOR OF THE SYNAGOGUE, DURA-EUROPOS,
SYRIAI,WTH WALL PAINTINGS OF OLD TESTAMENT
THEMES, © 245–256. TEMPERA ON PLASTER.
RECONSTRUCTION IN NATIONAL MUSEUM, DAMASCUS
WHAT IS THE FUNCTION
AND NAME OF THIS
NICHE IN A
SYNAGOGUE?
 THE ARK – WHERE
TORAH SCROLLS ARE
KEPT
 ALWAYS ON WALL
TOWARD JERUSALEM
(EAST IN THE WEST!)
WHAT’S REMARKABLE ABOUT THE SYNAGOGUE AT
DURA – EUROPOS?
 JEWISH PAINTINGS OF HUMAN FIGURES (BUT NOT
GOD), IN APPARENT VIOLATION OF 2ND
COMMANDMENT – MAY INDICATE THERE WAS
OTHER JEWISH REPRESENTATIONAL ART
SAMUEL ANOINTS DAVID, DETAIL OF THE MURAL
PAINTINGS IN THE SYNAGOGUE, DURA-EUROPOS.
TEMPERA ON PLASTER, 47” HIGH.
CLASSICAL (ROMAN) CONTINUITIES?
STYLE:
DRAPING
ICONOGRAPHY:
DAVID WEARS PURPLE TOGA
CHANGES?
STYLE: STRICT FRONTALITY, LACK OF NATURALISM
AND INDIVIDUATION
DESTRUCTION OF THE TEMPLE AND THE ARK OF
THE COVENANT, DETAIL OF WALL PAINTINGS,
SYNAGOGUE AT DURA-EUROPA
RESTORED CUTAWAY VIEW OF THE CHRISTIAN
COMMUNITY HOUSE, DURA-EUROPOS, SYRIA, © 240–256
(JOHN BURGE). (1) FORMER COURTYARD OF PRIVATE
HOUSE, (2) MEETING HALL, (3) BAPTISTERY.
BAPTISTERY FROM THE CHRISTIAN
COMMUNITY HOUSE, DURA-EUROPOS, SYRIA
JESUS WALKS ON WATER,
DETAIL OF WALL
PAINTING, BAPTISTERY
FROM CHRISTIAN
COMMUNITY
HOUSE,DURA-EUROPOS
STYLISTIC CHANGES?
 TOTAL LACK OF
CONCERN FOR
NATURALISM – ALMOST A
CARTOON
POSSIBLE REASONS?
UNSKILLED ARTIST?
LACK OF CONCERN WITH
THIS WORLD?
JESUS, THE GOOD SHEPHERD, DETAIL OF WALL
PAINTING, BAPTISTERY FROM CHRISTIAN
COMMUNITY HOUSE, DURA-EUROPOS
JESUS HEALING THE
PARALYTIC, DETAIL OF
WALL PAINTING,
BAPTISTERY FROM
CHRISTIAN
COMMUNITY HOUSE, DURA
EUROPOS
“UNDERGROUND” CHRISTIAN ART
EARLY CHRISTIAN ART IN ROME, 3RD – EARLY 4TH Cs.
ROMAN CATACOMB
3RD – 4TH CENTURIES
THOSE
NICHES
ARE
CALLED?
LOCULI
(“LITTLE
PLACE) –
FOR
CORPSE
GOOD SHEPHERD, ORANTS, STORY OF JONAH,
CUBICULUM, CATACOMB OF PIETRO AND MARCELLINO,
ROME, EARLY 4TH CENTURY. FRESCO.
WHAT’S A CUBICULUM?
MORTUARY CHAPEL
GOOD SHEPHERD,
CATACOMB OF PIETRO
AND MARCELLINO
WHAT’S MISSING FROM
DEPICTIONS OF JESUS
YOU’RE USED TO SEEING?
HALO, TOGA/ROBES – ANY
INDICIA OF DIVINITY OR
ROYALTY
WHY?
X’IANS PERSECUTED,
UNDERGROUND CULT
ARE THERE ANY
CLASSICAL ELEMENTS
HERE?
ALLUSION TO
CONTRAPPOSTO
A LITTLE DRAPING
A LITTLE MODELING –
INTEREST IN ANATOMY
WHAT DOES THE SHEEP
ON HIS SHOULDER
SYMBOLIZE?
SAVED SINNER
WHAT PART OF THE FRESCO IS THIS?
STORY OF JONAH
WHY IS THE STORY DEPICTED IN AN X’IAN
CATACOMB?
OT PREFIGURATION OF DEATH & REBIRTH OF JESUS
WHAT ARE
THOSE
HEMISPHERICAL
SECTIONS OF
THE PAINTING
CALLED?
LUNETTES
THESE ARE ________
FIGURES
ORANT – ORARE= TO
PRAY
L, FROM CATACOMB OF PIETRO AND
MARCELLINO, R., FROM CATACOMB
OF PRISCILLA, EARLY 4TH C.
SARCOPHAGUS WITH ORANT, PHILOSOPHER, AND OLD
AND NEW TESTAMENT SCENES, FROM ROME © 270.
MARBLE, 1’ 11 ¼” X 6’ 2”
IDENTIFY OT AND NT SCENES, CLASSICAL AND NONCLASSICAL ELEMENTS
WHY ARE FACES OF ORANT AND PHILOSOPHER
BLANK?
MASS-PRODUCED, FACES FILLED IN WHEN PURCHASED
SARCOPHAGUS WITH OLD AND NEW TESTAMENT
SCENES – WHAT IS THIS?
STORY OF JONAH
SARCOPHAGUS WITH OLD AND NEW TESTAMENT
SCENES – ANYTHING VERY DIFFERENT ABOUT THIS?
DISREGARD OF TIME -- BABY JESUS RIGHT NEXT TO
ADULT JESUS
ABOVE-GROUND
CHRISTIANITY
THE INFLUENCE OF
CONSTANTINE
SCULPTURE
SARCOPHAGUS OF JUNIUS BASSUS, FROM ROME
© 359. MARBLE, 3’ 10 1/2” X 8’. MUSEO STORICO DEL
TESORO DELLA BASILICA DI SAN PIETRO, ROME.
IN WHAT WAYS DOES THE SARCOPHAGUS REFLECT
THE INFLUENCE OF CONSTANINE?
 JUNIUS BASSO WAS PREFECT OF ROME
 CHRIST ENTHRONED
 EQUESTRIAN CHRIST
SARCOPHAGUS OF JUNIUS BASSUS - CHRIST
ENTHRONED AND CHRIST ENTERING JERUSALEM
SARCOPHAGUS OF JUNIUS BASSUS – RESURRECTION
OF LAZARUS, ADAM AND EVE
IDENTIFY AND DESCRIBE WAYS THE SARCOPHAGUS
FOLLOWS AND DEPARTS FROM CLASSICAL
CONVENTIONS
CHRIST ENTHRONED,
FROM CIVITA LATINA ©
350–375. MARBLE, 2’ 41/2”
HIGH. MUSEO NAZIONALE
ROMANO–PALAZZO
MASSIMO ALLE TERME,
ROME.
BE FAMILIAR WITH
THEORIES WHY EARLY
X’IAN FREE-STANDING
SCULPTURE IS RARE
WHICH GREEK/ ROMAN
GOD DO THESE EARLY
PORTRAITS EVOKE?
APOLLO
SUN GOD
CHRIST AS SOL INVICTUS
FROM THE MAUSOLEUM
OF THE JULII (BENEATH
ST. PETER’S), ROME.
DETAIL OF MOSAIC,
LATE 3RD C.
NOTE GRAPE LEAVES!
ARCHITECTURE AND MOSAICS
2
2
3
4
1
5
6
2
2
PLAN OF OLD SAINT PETER’S, ROME, BEGUN © 319
(1) NAVE, (2) AISLE, (3) APSE, (4) TRANSEPT, (5)
NARTHEX, (6) ATRIUM.
HOW DOES THE PLAN DIFFER FROM TRADITIONAL
ROMAN BASILICA?
LONGITUDINAL AXIS, NARTHEX
NOTE
IMPORTANCE
OF LIGHT IN
X’IAN
CHURCHES
COMPARE:
BASILICA
NOVA AND
OLD ST. PETER’S
ANOTHER RECONSTRUCTION DRAWING OF OLD
ST. PETER’S
WORKSHOP OF RAPHAEL, THE DONATION OF
CONSTANTINE © 1520 – 24, FRESCO, APOSTOLIC
PALACE, VATICAN, SHOWS INTERIOR OF OLD ST.
PETER’S
?
BALDACCHINO
OVER MARTYRIUM
OF ST. PETER
WHERE DID THE COLUMNS IN OLD ST. PETER’S
AND MOST EARLY CHRISTIAN CHURCHES COME
FROM?
OLDER CLASSICAL BUILDINGS – PARTS OF OLDER
ART AND ARCHITECTURE ARE CALLED?
SPOLIA
WHERE DID WE SEE USE OF SPOLIA BEFORE?
ARCH OF CONSTANTINE
AULA PALATINA, TRIER, GERMANY, EARLY 4TH C.
AULA PALATINA
SANTA SABINA, ROME © 422-432
STA. SABINA: NOTE LONGITUDINAL ORIENTATION
AND IMPORTANCE OF LIGHT
SANTA COSTANZA, ROME © 337-351 –
FUNCTION?
MAUSOLEUM – OF CONSTANTINE’S DAUGHTER?
SECTION AND PLAN
OF STA. COSTANZA
WHAT KIND OF PLAN?
CENTRAL
ANTECEDENTS OF
THIS BUILDING?
THOLOS TEMPLES
PANTHEON
MAUSOLEUM OF
DIOCLETIAN
AMBULATORY
STA. COSTANZA
STA. COSTANZA
AMBULATORY VAULT
MOSAIC
DETAIL OF STA. COSTANZA AMBULATORY VAULT MOSAIC - IT
DEPICTS?
PUTTI HARVESTING GRAPES AND MAKING WINE - SIGNIFICANCE?
DIONYSUS/ BACCHUS & BLOOD OF JESUS
DETAIL, STA. COSTANZA AMBULATORY
VAULT MOSAIC
DETAIL OF STA. CONSTANZA AMBULATORY VAULT MOSAIC –
ROUNDELS WITH PUTTI, BIRDS AND BEASTS – “PAGAN” OR X’IAN?
NAVE, SANTA MARIA MAGGIORE © 432 – 440 – WHY IS THIS CHURCH
SIGNIFICANT?
FIRST IN WEST DEDICATED TO MARY – COMMEMORATES
HER DESIGNATION AS THEOTOKUS (COUNCIL OF EPHESUS)
THE PARTING OF ABRAHAM AND LOT, NAVE OF STA.
MARIA MAGGIORE, MOSAIC 3’ 4” HIGH.
SIGNIFICANCE OF STORY?
CLASSICAL AND PURELY X’IAN ELEMENTS?
PHARAOH’S
SOLDIERS
DROWNING IN THE
RED SEA, NAVE OF
STA. MARIA
MAGGIORE
RAVENNA
MAUSOLEUM OF GALLA PLACIDIA, RAVENNA © 425
PLAN?
CENTRAL – GREEK CROSS
CHRIST AS THE GOOD SHEPHERD, ENRANCE WALL
MOSAIC, MAUSOLEUM OF GALLA PLACIDA.
ICONOGRAPHY: WHAT’S NEW?
CROSS
HALO
MAUSOLEUM OF GALLA PLACIDIA
ROTUNDA MOSAIC, MAUSOLEUM OF GALLA PLACIDIA
SANT’ APOLLINARE
NUOVO, RAVENNA,
DEDICATED 504
BY?
THEODORIC THE
OSTROGOTH –
AFTER FALL OF
ROME TO ALARIC,
WESTERN EMPIRE
WAS RULED BY
GERMANIC TRIBES
BELL TOWER ADDED 9TH OR 10TH C.
NAVE, ST. APOLLINARE NUOVO
WALL MOSAICS,
ST. APOLLINARE
NUOVO
MIRACLE OF THE LOAVES AND FISHES, MOSAIC FROM
THE TOP REGISTER OF THE NAVE WALL (ABOVE THE
CLERESTORY WINDOWS), ST. APOLLINARE NUOVO
IDENTIFY CLASSICAL, PURELY X’IAN ELEMENTS
RESURRECTION OF LAZARUS, MOSAIC FROM TOP
REGISTER OF NAVE WALL, ST. APOLLINARE
NUOVO
JESUS FORETELLING PETER’S BETRAYAL, MOSAIC,
TOP REGISTER NAVE WALL, ST. APOLLINARE NUOVO
ASCENSION
OF CHRIST, MOSAIC, TOP REGISTER
NAVE WALL., ST. APOLLINARE NUOVO
NEW MEDIA
ILLUMINATED MANUSCRIPTS
THE OLD
FARMER
CORYCUS,
FOLIO 7 VERSO
OF THE
VATICAN
VERGIL, © 400420.
TEMPERA ON
PARCHMENT,
1’ ½” X 1’.
BIBLIOTECA
APOSTOLICA
VATICANA,
ROME.
CLASSICAL SUBJECT – CLASSICAL ELEMENTS?
NATURALISTIC, PERSPECTIVE (FORESHORTENING
AND ATOMOSPHERIC
REBECCA AND
ELIEZER AT THE
WELL, FOLIO 7
RECTO OF THE
VIENNA GENESIS,
EARLY 6TH
CENTURY.
TEMPERA, GOLD,
AND SILVER ON
PURPLE VELLUM,
APPROX. 1’ 1/4” X 9
1/4”.
ÖSTERREICHISCHE
NATIONALBIBLIOTHEK,
VIENNA
MORE CLASSICAL OR MORE CHRISTIAN?
GENESIS 32, VIENNA
GENESIS
.
VIENNA GENESIS, GENESIS 32:
JACOB TRAVELS TO MEET ESAU
JACOB TRAVELS OVER THE JABBOK BROOK
JACOB WRESTLES WITH THE ANGEL
JACOB BLESSED BY THE ANGEL
JACOB’S 11 SONS
CONTINUOUS/ SIMULTANEOUS NARRATIVE
CHRIST BEFORE
PILATE, FOLIO 8 VERSO
OF THE ROSSANO
GOSPELS, EARLY SIXTH
CENTURY. TEMPERA
ON PURPLE VELLUM,
11” X 10 1/4”. MUSEO
DIOCESANO D’ARTE
SACRA, ROSSANO.
MATTHEW 27
JEWISH ELDERS DEMANDING EXECUTION OF
CHRIST, ROSSANO GENESIS
CLASSICAL, X’IAN ELEMENTS? WHICH
PREDOMINATES?
CHRIST BEFORE PILATE, ROSSANO GENESIS
CLASSICAL, X’IAN ELEMENTS – WHICH
PREDOMINATES?
IVORY CARVINGS
SUICIDE OF JUDAS AND CRUCIFIXION OF
CHRIST, PLAQUE FROM A BOX, © 420. IVORY,
3” X 3 7/8”. BRITISH MUSEUM, LONDON.
SAME QUESTION!
PILATE WASHING HIS HANDS, CHRIST CARRYING THE
CROSS, DENIAL OF PETER (FROM 5TH C. IVORY BOX IN
BRITSH MUSEUM)
DISTINCTIVELY X’IAN ELEMENTS?
WOMAN SACRIFICING AT AN
ALTAR, RIGHT LEAF OF THE
DIPTYCH OF THE
NICOMACHI AND THE
SYMMACHI © 400. IVORY,
11 ¾” X 5 ½”.
VICTORIA AND ALBERT
MUSEUM, LONDON.
STYLE?
PURELY CLASSICAL!
WHY?