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Chapter 8Late Antiquity

Gardner’s Art Through the Ages, 14e

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Europe and the Near East in Late Antiquity

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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 different media used to create

Early Christian art. • Find Roman stylistic features that are

incorporated into early Christian art.• Know and cite artistic and architectural

terminology from the period.  

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8.1 The Art of Late Antiquity

• Understand the influence of religion in the art of the Roman Empire in Late Antiquity.

• Understand how Roman art and architecture is changed as a result of Christianity and the decisions of Constantine.

• Relate influences of specific images of Christ. • Understand the different media used to create

early Christian art, particularly frescoes. • Know and cite artistic and architectural

terminology from the period.

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“Late Antique Pagan” Roman Art• Understand the influence of religion in the art

of the Roman Empire in Late Antiquity. • Understand how Roman art and architecture

is changed as a result of Christianity and the decisions of Constantine.

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Figure 8-2 Interior of the synagogue, Dura-Europos, Syria,with wall paintings of Old Testament themes, ca.245–256.Tempera on plaster. Reconstruction in National Museum, Damascus.

Figure 8-3 Samuel anoints David, detail of the mural paintings in the syna-gogue, Dura-Europos, Syria, ca. 245–256. Tempera on plaster, 47 high.

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8-4 Ark of the Covenant and two menorahs, painted wall in a Jewish catacomb, Villa Torlonia, Rome, Italy, third century. Fresco, 3’ 11” high.

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Figure 8-5 Restored cutaway view of the Christian community house, Dura-Europos, Syria, ca. 240–256 (John Burge). (1) former courtyard of private house, (2) meeting hall, (3) baptistery. 9

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Early Christian Images• Describe the appearance of Christ in Early

Christian art. • Understand the different media used to create

early Christian art, particularly frescoes.

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The Expression of Religious Ideas

• Understand how and why religious ideas are expressed in art of the Early Christian period.

• Understand the origins and development of specific images of Christ.

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Figure 8-6 The Good Shepherd, the story of Jonah,and orants, painted ceiling of a cubiculum in the Catacomb of Saints Peter and Marcellinus, Rome, Italy, early fourth century.

8-5A Cubiculum N, Via Dino Compagni Catacomb, Via Latina, Rome, Italy, ca. 320–360.

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8-6A Cubiculum Leonis, Catacomb of Commodilla, Via Ostiense, Rome, Italy, ca. 370–385.

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Figure 8-7 Sarcophagus with philosopher, orant, and Old and New Testament scenes, ca. 270. Marble, 1’ 111/4” x 7’2”. Santa Maria Antiqua, Rome.

8-8 Christ as the Good Shepherd, ca. 300–350. Marble, 3’ 1/4" high. Musei Vaticani, Rome.

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Figure 8-8A Christ seated, from Civita Latina, Italy, ca. 350–375. Marble, 2’ 41/2” high. Museo Nazionale Romano–Palazzo Massimo alle Terme, Rome.

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8.2 Artistic Changes and Constantine

• Understand how and why religious ideas are expressed in art of the Early Christian period.

• Understand the origins and development of specific images of Christ.

• Cite illustrations of religious architecture and their origins, particularly the basilica.

• Understand the media, methods and techniques used to create art, especially mosaics, in the Early Christian period.

• Know and cite artistic and architectural terminology from the period

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Early Religious Architecture• Cite illustrations of religious architecture and

their origins, particularly the basilica.• Examine the ‘basilica plan’ and ‘central plan’

developments of early church architecture.

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Figure 8-9 Restored cutaway view (top) and plan (bottom) of Old Saint Peter’s, Rome, Italy, begun ca. 319 (John Burge). (1) nave, (2) aisle, (3) apse, (4) transept, (5) narthex, (6) atrium.

21Figure 8-10 Interior of Santa Sabina, Rome, Italy, 422–432.

8-10A West doors, Santa Sabina, Rome, ca. 432. Cypress wood, large panels 2’ 9 1/2" X 1’ 3 3/4".

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23Figure 8-11 Interior of Santa Costanza, Rome, Italy, ca. 337–351.

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Figure 8-12 Plan of Santa Costanza, Rome, Italy, ca. 337–351.

25Figure 8-13 Detail of vault mosaic in the ambulatory of Santa Costanza, Rome, Italy, ca. 337–351.

8-13A Christ as Sol Invictus, detail of the mosaic in the vault of the Mausoleum of the Julii (tomb M), Vatican Necropolis, Rome, Italy, late third century.

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Figure 8-13 Closer detail4th c. Ambulatory vault Mosaics: closer view of decorative roundels with putti and birds

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Media, Methods and Techniques• Understand the media, methods and

techniques used to create art, especially mosaics, in the Early Christian period.

• Know and cite artistic and architectural terminology from the period

29Figure 8-14 The parting of Abraham and Lot, nave of Santa Maria Maggiore, Rome, Italy, 432–440. Mosaic, 3’ 4” high.

30Figure 8-15 Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425.

8-16 Interior of the Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425.

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8.3 Rome and Ravenna

• Examine the enduring influence of the classical pagan world in the Christian art of Rome.

• Cite illustrations of early Church architecture, their origins and development, particularly in Ravenna

• Understand the new aesthetic informing the art and how it is different from the art of the classical period.

• Understand the different media and forms used to create early Christian art, particularly illuminated manuscripts.

• Know and cite artistic and architectural terminology from the period

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Changes in Rome and Ravenna• Examine the enduring influence of the

classical pagan world in the Christian art of Rome.

• Cite illustrations of early Church architecture, their origins and development, particularly in Ravenna

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Figure 8-17 Christ as the Good Shepherd, mosaic from the entrance wall of the Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425.

8-17A Mosaic decoration of the dome of the Orthodox Baptistery (San Giovanni in Fonte), Ravenna, Italy, ca. 458.

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Figure 8-18 Interior of Sant’Apollinare Nuovo, Ravenna, Italy, dedicated 504.

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Figure 8-19 Miracle of the loaves and fishes, mosaic from the top register of the nave wall (above the clerestory windows in FIG. 8-18) of Sant’Apollinare Nuovo, Ravenna, Italy, ca. 504.

8-19A Two saints, detail of mosaic frieze of the lower zone of the dome, Hagios Georgios (Church of Saint George), Thessaloniki, Greece, ca. 390–450.

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New Aesthetics and Media• Understand the new aesthetic informing the

art and how it is different from the art of the classical period.

• Understand the different media and forms used to create early Christian art, particularly illuminated manuscripts.

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Figure 8-20 The old farmer Corycus, folio 7 verso of the Vatican Vergil, ca. 400-420. Tempera on parchment, 1’ ½” X 1’. Biblioteca Apostolica Vaticana, Rome.

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Figure 8-21 Rebecca and Eliezer at the well, folio 7 recto of the Vienna Genesis, early sixth century. Tempera, gold, and silver on purple vellum, approx. 1’ 1/4” X 9 1/4”. Österreichische Nationalbibliothek, Vienna.

8-21A The story of Jacob, folio 12 verso of the Vienna Genesis, early sixth century. Tempera, gold, and silver on purple vellum, 1’ 1 1/4" X 9 1/4". Österreichische Nationalbibliothek, Vienna. 42

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Figure 8-22 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.

Figure 8-23 Oceanus and Nereids, and drinking contest between Bacchus and Hercules, “Great Dish,” from Mildenhall, England, mid-fourth century CE. Silver, 1’ 11 ¾” diameter. British Museum, London.

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Figure 8-24 Suicide of Judas and Crucifixion of Christ, plaque from a box, ca. 420. Ivory, 3” X 3 7/8”. British Museum, London.

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Figure 8-25 Woman sacrificing at an altar, right leaf of the diptych of the Nicomachi and the Symmachi, ca. 400. Ivory, 11 3/4” X 5 1/2”. Victoria and Albert Museum, London.

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Discussion Questions Why are the wall paintings at Dura Europos

important to understanding the art of the Late Antique (Roman) and Early Christian time periods?

What visual characteristics of earlier pagan funerary art are seen in Christian art from this period? Does the context change?

What might one speculate as reasons for the absence of a crucified Christ in Early Christian art?

What was/were the purpose(s) of Early Christian art?