Early Christian art and architecture (or Paleochristian art) is the art produced by Christians, or under Christian patronage, from the earliest period of Christianity to, depending on the definition, sometime between 260 and 525. In practice, identifiably Christian art only survives from the 2nd century onwards.[1] After 550, Christian art is classified as Byzantine, or according to region.[1][2]
It is hard to know when distinctly Christian art began. Prior to 100, Christians may have been constrained by their position as a persecuted group from producing durable works of art. Since Christianity as a religion was not well represented in the public sphere,[citation needed] the lack of surviving art may reflect a lack of funds for patronage, and simply small numbers of followers. The Old Testament restrictions against the production of graven (an idol or fetish carved in wood or stone) images (see also Idolatry and Christianity) may also have constrained Christians from producing art. Christians may have made or purchased art with paganiconography, but given it Christian meanings, as they later did. If this happened, "Christian" art would not be immediately recognizable as such.
Early Christianity used the same artistic media as the surrounding pagan culture. These media included fresco, mosaics, sculpture, and manuscript illumination. Early Christian art used not only Roman forms but also Roman styles. Late classical style included a proportional portrayal of the human body and impressionistic presentation of space. Late classical style is seen in early Christian frescos, such as those in the Catacombs of Rome, which include most examples of the earliest Christian art.[3][4][5]
Early Christian art and architecture adapted Roman artistic motifs and gave new meanings to what had been pagan symbols. Among the motifs adopted were the peacock, Vitis viniferavines, and the "Good Shepherd". Early Christians also developed their own iconography; for example, such symbols as the fish (ikhthus) were not borrowed from pagan iconography.
Early Christian art is generally divided into two periods by scholars: before and after either the Edict of Milan of 313, bringing the so-called Triumph of the Church under Constantine, or the First Council of Nicea in 325. The earlier period being called the Pre-Constantinian or Ante-Nicene Period and after being the period of the First seven Ecumenical Councils.[6] The end of the period of early Christian art, which is typically defined by art historians as being in the 5th–7th centuries, is thus a good deal later than the end of the period of early Christianity as typically defined by theologians and church historians, which is more often considered to end under Constantine, around 313–325.
During the persecution of Christians under the Roman Empire, Christian art was necessarily and deliberately furtive and ambiguous, using imagery that was shared with pagan culture but had a special meaning for Christians. The earliest surviving Christian art comes from the late 2nd to early 4th centuries on the walls of Christian tombs in the catacombs of Rome. From literary evidence, there may well have been panel icons which, like almost all classical painting, have disappeared. Initially Jesus was represented indirectly by pictogram symbols such as the Ichthys (fish), peacock, Lamb of God, or an anchor (the Labarum or Chi-Rho was a later development). Later personified symbols were used, including Jonah, whose three days in the belly of the whale pre-figured the interval between the death and resurrection of Jesus, Daniel in the lion's den, or Orpheus' charming the animals. The image of "The Good Shepherd", a beardless youth in pastoral scenes collecting sheep, was the most common of these images, and was probably not understood as a portrait of the historical Jesus.[7] These images bear some resemblance to depictions of kouros figures in Greco-Roman art. The "almost total absence from Christian monuments of the period of persecutions of the plain, unadorned cross" except in the disguised form of the anchor,[8] is notable. The Cross, symbolizing Jesus' crucifixion on a cross, was not represented explicitly for several centuries, possibly because crucifixion was a punishment meted out to common criminals, but also because literary sources noted that it was a symbol recognised as specifically Christian, as the sign of the cross was made by Christians from very early on.
The popular conception that the Christian catacombs were "secret" or had to hide their affiliation is probably wrong; catacombs were large-scale commercial enterprises, usually sited just off major roads to the city, whose existence was well known. The inexplicit symbolic nature of many early Christian visual motifs may have had a function of discretion in other contexts, but on tombs, they probably reflect a lack of any other repertoire of Christian iconography.[9]
The dove is a symbol of peace and purity. It can be found with a halo or celestial light. In one of the earliest known Trinitarian images, "the Throne of God as a Trinitarian image" (a marble relief carved c.400 CE in the collection of the Prussian Cultural Heritage Foundation), the dove represents the Spirit. It is flying above an empty throne representing God, in the throne are a chlamys (cloak) and diadem representing the Son. The Chi-Rho monogram, XP, apparently first used by Constantine I, consists of the first two characters of the name 'Christos' in Greek.
A general assumption that early Christianity was generally aniconic, opposed to religious imagery in both theory and practice until about 200, has been challenged by Paul Corby Finney's analysis of early Christian writing and material remains (1994). This distinguishes three different sources of attitudes affecting early Christians on the issue: "first that humans could have a direct vision of God; second that they could not; and, third, that although humans could see God they were best advised not to look, and were strictly forbidden to represent what they had seen". These derived respectively from Greek and Near Eastern pagan religions, from Ancient Greek philosophy, and from the Jewish tradition and the Old Testament. Of the three, Finney concludes that "overall, Israel's aversion to sacred images influenced early Christianity considerably less than the Greek philosophical tradition of invisible deity apophatically defined", so placing less emphasis on the Jewish background of most of the first Christians than most traditional accounts.[10] Finney suggests that "the reasons for the non-appearance of Christian art before 200 have nothing to do with principled aversion to art, with other-worldliness, or with anti-materialism. The truth is simple and mundane: Christians lacked land and capital. Art requires both. As soon as they began to acquire land and capital, Christians began to experiment with their own distinctive forms of art".[11]
In the Dura-Europos church, of about 230–256, which is in the best condition of the surviving very early churches, there are frescos of biblical scenes including a figure of Jesus, as well as Christ as the Good Shepherd. The building was a normal house apparently converted to use as a church.[12][13] The earliest Christian paintings in the Catacombs of Rome are from a few decades before, and these represent the largest body of examples of Christian art from the pre-Constantinian period, with hundreds of examples decorating tombs or family tomb-chambers. Many are simple symbols, but there are numerous figure paintings either showing orants or female praying figures, usually representing the deceased person, or figures or shorthand scenes from the bible or Christian history.
The style of the catacomb paintings, and the entirety of many decorative elements, are effectively identical to those of the catacombs of other religious groups, whether conventional pagans following Ancient Roman religion, or Jews or followers of the Roman mystery religions. The quality of the painting is low compared to the large houses of the rich, which provide the other main corpus of painting surviving from the period, but the shorthand depiction of figures can have an expressive charm.[14][15][16] A similar situation applies at Dura-Europos, where the decoration of the church is comparable in style and quality to that of the (larger and more lavishly painted) Dura-Europos synagogue and the Temple of Bel. At least in such smaller places, it seems that the available artists were used by all religious groups. It may also have been the case that the painted chambers in the catacombs were decorated in similar style to the best rooms of the homes of the better-off families buried in them, with Christian scenes and symbols replacing those from mythology, literature, paganism and eroticism, although we lack the evidence to confirm this.[17][18][19] We do have the same scenes on small pieces in media such as pottery or glass,[20] though less often from this pre-Constantinian period.
There was a preference for what are sometimes called "abbreviated" representations, small groups of say one to four figures forming a single motif which could be easily recognised as representing a particular incident. These vignettes fitted the Roman style of room decoration, set in compartments in a scheme with a geometrical structure (see gallery below).[21] Biblical scenes of figures rescued from mortal danger were very popular; these represented both the Resurrection of Jesus, through typology, and the salvation of the soul of the deceased. Jonah and the whale,[22][23] the Sacrifice of Isaac, Noah praying in the Ark (represented as an orant in a large box, perhaps with a dove carrying a branch), Moses striking the rock, Daniel in the lion's den and the Three Youths in the Fiery Furnace ([24]) were all favourites, that could be easily depicted.[25][26][21][27][28]
Early Christian sarcophagi were a much more expensive option, made of marble and often heavily decorated with scenes in very high relief, worked with drills. Free-standing statues that are unmistakably Christian are very rare, and never very large, as more common subjects such as the Good Shepherd were symbols appealing to several religious and philosophical groups, including Christians, and without context no affiliation can be given to them. Typically sculptures, where they appear, are of rather high quality. One exceptional group that seems clearly Christian is known as the Cleveland Statuettes of Jonah and the Whale,[29][21] and consists of a group of small statuettes of about 270, including two busts of a young and fashionably dressed couple, from an unknown find-spot, possibly in modern Turkey. The other figures tell the story of Jonah in four pieces, with a Good Shepherd; how they were displayed remains mysterious.[30]
The depiction of Jesus was well-developed by the end of the pre-Constantinian period. He was typically shown in narrative scenes, with a preference for New Testament miracles, and few of scenes from his Passion. A variety of different types of appearance were used, including the thin long-faced figure with long centrally-parted hair that was later to become the norm. But in the earliest images as many show a stocky and short-haired beardless figure in a short tunic, who can only be identified by his context. In many images of miracles Jesus carries a stick or wand, which he points at the subject of the miracle rather like a modern stage magician (though the wand is a good deal larger).
Saints are fairly often seen, with Peter and Paul, both martyred in Rome, by some way the most common in the catacombs there. Both already have their distinctive appearances, retained throughout the history of Christian art. Other saints may not be identifiable unless labelled with an inscription. In the same way some images may represent either the Last Supper or a contemporary agape feast.
In the 4th century, the rapidly growing Christian population, now supported by the state, needed to build larger and grander public buildings for worship than the mostly discreet meeting places they had been using, which were typically in or among domestic buildings. Pagan temples remained in use for their original purposes for some time and, at least in Rome, even when deserted were shunned by Christians until the 6th or 7th centuries, when some were converted to churches.[34] Elsewhere this happened sooner. Architectural formulas for temples were unsuitable, not simply for their pagan associations, but because pagan cult and sacrifices occurred outdoors under the open sky in the sight of the gods, with the temple, housing the cult figures and the treasury, as a windowless backdrop.
The usable model at hand, when Emperor Constantine I wanted to memorialize his imperial piety, was the familiar conventional architecture of the basilica. There were several variations of the basic plan of the secular basilica, always some kind of rectangular hall, but the one usually followed for churches had a center nave with one aisle at each side, and an apse at one end opposite to the main door at the other. In, and often also in front of, the apse was a raised platform, where the altar was placed and the clergy officiated. In secular buildings this plan was more typically used for the smaller audience halls of the emperors, governors, and the very rich than for the great public basilicas functioning as law courts and other public purposes.[35]
This was the normal pattern used for Roman churches, and generally in the Western Empire, but the Eastern Empire, and Roman Africa, were more adventurous, and their models were sometimes copied in the West, for example in Milan. All variations allowed natural light from windows high in the walls, a departure from the windowless sanctuaries of the temples of most previous religions, and this has remained a consistent feature of Christian church architecture. Formulas giving churches with a large central area were to become preferred in Byzantine architecture, which developed styles of basilica with a dome early on.[36] Within the dome architecture Christian churches used them to venerate icons at a larger than life scale, while Christians remained covered and inside. [37]
A particular and short-lived type of building, using the same basilican form, was the funerary hall, which was not a normal church, though the surviving examples long ago became regular churches, and they always offered funeral and memorial services, but a building erected in the Constantinian period as an indoor cemetery on a site connected with early Christian martyrs, such as a catacomb. The six examples built by Constantine outside the walls of Rome are: Old Saint Peter's Basilica, the older basilica dedicated to Saint Agnes of which Santa Costanza is now the only remaining element, San Sebastiano fuori le mura, San Lorenzo fuori le Mura, Santi Marcellino e Pietro al Laterano, and one in the modern park of Villa Gordiani.[38]
A martyrium was a building erected on a spot with particular significance, often over the burial of a martyr. No particular architectural form was associated with the type, and they were often small. Many became churches, or chapels in larger churches erected adjoining them. With baptistries and mausolea, their often smaller size and different function made martyria suitable for architectural experimentation.[39]
Among the key buildings, not all surviving in their original form, are:
With the final legalization of Christianity, the existing styles of Christian art continued to develop, and take on a more monumental and iconic character. Before long very large Christian churches began to be constructed, and the majority of the rich elite adapted Christianity, and public and elite Christian art became grander to suit the new spaces and clients. Hans Belting wrote that "in late antiquity... Christianity adopted the cult images of the "pagans", in a complete reversal of its original attitude, and developed an image practice of its own." But large free-standing sculpture, the medium for the most prominent pagan images, continued to be distrusted and largely shunned for some centuries, and virtually up to the present day in the Orthodox world.[41]
Although borrowings of motifs such as the Virgin and Child from pagan religious art had been pointed out as far back as the Protestant Reformation, when John Calvin and his followers gleefully used them as a stick with which to beat all Christian art, the belief of André Grabar, Andreas Alföldi, Ernst Kantorowicz and other early 20th-century art historians that Roman Imperial imagery was a much more significant influence "has become universally accepted". A book by Thomas F. Mathews in 1994 attempted to overturn this thesis, very largely denying influence from Imperial iconography in favour of a range of other secular and religious influence, but was roughly handled by academic reviewers.[42]
More complex and expensive works are seen, as the wealthy gradually converted, and more theological complexity appears, as Christianity became subject to acrimonious doctrinal disputes. At the same time a very different type of art is found in the new public churches that were now being constructed. Somewhat by accident, the best group of survivals of these is from Rome where, together with Constantinople and Jerusalem, they were presumably at their most magnificent. Mosaic now becomes important; fortunately this survives far better than fresco, although it is vulnerable to well-meaning restoration and repair. It seems to have been an innovation of early Christian churches to put mosaics on the wall and use them for sacred subjects; previously, the technique had essentially been used for floors and walls in gardens. By the end of the period the style of using a gold ground had developed that continued to characterize Byzantine images, and many medieval Western ones.
With more space, narrative images containing many people develop in churches, and also begin to be seen in later catacomb paintings. Continuous rows of biblical scenes appear (rather high up) along the side walls of churches. The best-preserved 5th-century examples are the set of Old Testament scenes along the nave walls of Santa Maria Maggiore in Rome. These can be compared to the paintings of Dura-Europos, and probably also derive from a lost tradition of both Jewish and Christian illustrated manuscripts, as well as more general Roman precedents.[43][44] The large apses contain images in an iconic style, which gradually developed to centre on a large figure, or later just the bust, of Christ, or later of the Virgin Mary. The earliest apses show a range of compositions that are new symbolic images of the Christian life and the Church.
No panel paintings, or "icons" from before the 6th century have survived in anything like an original condition, but they were clearly produced, and becoming more important throughout this period.
Gold sandwich glass or gold glass was a technique for fixing a layer of gold leaf with a design between two fused layers of glass, developed in Hellenistic glass and revived in the 3rd century. There are a very fewer larger designs, but the great majority of the around 500 survivals are roundels that are the cut-off bottoms of wine cups or glasses used to mark and decorate graves in the Catacombs of Rome by pressing them into the mortar. The great majority are 4th century, extending into the 5th century. Most are Christian, but many pagan and a few Jewish, and had probably originally been given as gifts on marriage, or festive occasions such as New Year. Their iconography has been much studied, although artistically they are relatively unsophisticated.[45] Their subjects are similar to the catacomb paintings, but with a difference balance including more portraiture of the deceased (usually, it is presumed). The progression to an increased number of images of saints can be seen in them.[46] The same technique began to be used for gold tesserae for mosaics in the mid-1st century in Rome, and by the 5th century these had become the standard background for religious mosaics.
↑ Marucchi, Orazio. "Archæology of the Cross and Crucifix." The Catholic Encyclopedia. Vol. 4. New York: Robert Appleton Company, 1908. 7 Sept. 2018 online
↑ The book was The Clash of Gods: A Reinterpretation of Early Christian Art by Thomas F. Mathews. Review by: W. Eugene Kleinbauer (quoted, from p. 937), Speculum, Vol. 70, No. 4 (Oct., 1995), pp. 937-941, Medieval Academy of America, JSTOR; JSTOR has other reviews, all with criticisms along similar lines: Peter Brown, The Art Bulletin, Vol. 77, No. 3 (Sep., 1995), pp. 499–502; RW. Eugene Kleinbauer, Speculum, Vol. 70, No. 4 (Oct., 1995), pp. 937–941, Liz James, The Burlington Magazine, Vol. 136, No. 1096 (Jul., 1994), pp. 458–459;Annabel Wharton, The American Historical Review, Vol. 100, No. 5 (Dec., 1995), pp. 1518–1519 .
An icon is a religious work of art, most commonly a painting, in the cultures of the Eastern Orthodox, Oriental Orthodox, and Catholic churches. The most common subjects include Jesus, Mary, saints, and angels. Although especially associated with portrait-style images concentrating on one or two main figures, the term also covers most of the religious images in a variety of artistic media produced by Eastern Christianity, including narrative scenes, usually from the Bible or the lives of saints.
In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.
Christian art is sacred art which uses subjects, themes, and imagery from Christianity. Most Christian groups use or have used art to some extent, including early Christian art and architecture and Christian media.
The Catacombs of Rome are ancient catacombs, underground burial places in and around Rome, of which there are at least forty, some rediscovered only in recent decades.
The depiction of Jesus in pictorial form dates back to early Christian art and architecture, as aniconism in Christianity was rejected within the ante-Nicene period. It took several centuries to reach a conventional standardized form for his physical appearance, which has subsequently remained largely stable since that time. Most images of Jesus have in common a number of traits which are now almost universally associated with Jesus, although variants are seen.
Byzantine art comprises the body of artistic products of the Eastern Roman Empire, as well as the nations and states that inherited culturally from the empire. Though the empire itself emerged from the decline of western Rome and lasted until the Fall of Constantinople in 1453, the start date of the Byzantine period is rather clearer in art history than in political history, if still imprecise. Many Eastern Orthodox states in Eastern Europe, as well as to some degree the Islamic states of the eastern Mediterranean, preserved many aspects of the empire's culture and art for centuries afterward.
The art of Ancient Rome, and the territories of its Republic and later Empire, includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass are sometimes considered to be minor forms of Roman art, although they were not considered as such at the time. Sculpture was perhaps considered as the highest form of art by Romans, but figure painting was also highly regarded. A very large body of sculpture has survived from about the 1st century BC onward, though very little from before, but very little painting remains, and probably nothing that a contemporary would have considered to be of the highest quality.
The Via Latina was a Roman road of Italy, running southeast from Rome for about 200 kilometers.
A crux gemmata is a form of cross typical of Early Christian and Early Medieval art, where the cross, or at least its front side, is principally decorated with jewels. In an actual cross, rather than a painted image of one, the reverse side often has engraved images of the Crucifixion of Jesus or other subjects.
The Good Shepherd is an image used in the pericope of John 10:1–21, in which Jesus Christ is depicted as the Good Shepherd who lays down his life for his sheep. Similar imagery is used in Psalm 23 and Ezekiel 34:11–16. The Good Shepherd is also discussed in the other gospels, the Epistle to the Hebrews, the First Epistle of Peter and the Book of Revelation.
Santa Costanza is a 4th-century church in Rome, Italy, on the Via Nomentana, which runs north-east out of the city. It is a round building with well preserved original layout and mosaics. It has been built adjacent to a horseshoe-shaped church, now in ruins, which has been identified as the initial 4th-century cemeterial basilica of Saint Agnes. Santa Costanza and the old Saint Agnes were both constructed over the earlier catacombs in which Saint Agnes is believed to be buried.
The Christianization of sites that had been pagan occurred as a result of conversions in early Christian times, as well as an important part of the strategy of Interpretatio Christiana during the Christianization of pagan peoples. The landscape itself was Christianized, as prominent features were rededicated to Christian saints, sometimes quite directly, as when the island of Oglasa in the Tyrrhenian Sea was christened Montecristo.
Old St. Peter's Basilica was the church buildings that stood, from the 4th to 16th centuries, where St. Peter's Basilica stands today in Vatican City. Construction of the basilica, built over the historical site of the Circus of Nero, began during the reign of Roman Emperor Constantine I. The name "old St. Peter's Basilica" has been used since the construction of the current basilica to distinguish the two buildings.
Christ in Majesty or Christ in Glory is the Western Christian image of Christ seated on a throne as ruler of the world, always seen frontally in the centre of the composition, and often flanked by other sacred figures, whose membership changes over time and according to the context. The image develops from Early Christian art, as a depiction of the Heavenly throne as described in 1 Enoch, Daniel 7, and The Apocalypse of John. In the Byzantine world, the image developed slightly differently into the half-length Christ Pantocrator, "Christ, Ruler of All", a usually unaccompanied figure, and the Deesis, where a full-length enthroned Christ is entreated by Mary and St. John the Baptist, and often other figures. In the West, the evolving composition remains very consistent within each period until the Renaissance, and then remains important until the end of the Baroque, in which the image is ordinarily transported to the sky.
Catholic art is art produced by or for members of the Catholic Church. This includes visual art (iconography), sculpture, decorative arts, applied arts, and architecture. In a broader sense, Catholic music and other art may be included as well. Expressions of art may or may not attempt to illustrate, supplement and portray in tangible form Catholic teaching. Catholic art has played a leading role in the history and development of Western art since at least the 4th century. The principal subject matter of Catholic art has been the life and times of Jesus Christ, along with people associated with him, including his disciples, the saints, and motifs from the Catholic Bible.
The Sarcophagus of Junius Bassus is a marble Early Christian sarcophagus used for the burial of Junius Bassus, who died in 359. It has been described as "probably the single most famous piece of early Christian relief sculpture." The sarcophagus was originally placed in or under Old St. Peter's Basilica, was rediscovered in 1597, and is now below the modern basilica in the Museo Storico del Tesoro della Basilica di San Pietro in the Vatican. The base is approximately 4 x 8 x 4 feet.
A martyrium (Latin) or martyrion (Greek), sometimes anglicized martyry, is a church or shrine built over the tomb of a Christian martyr. It is associated with a specific architectural form, centered on a central element and thus built on a central plan, that is, of a circular or sometimes octagonal or cruciform shape.
Gold glass or gold sandwich glass is a luxury form of glass where a decorative design in gold leaf is fused between two layers of glass. First found in Hellenistic Greece, it is especially characteristic of the Roman glass of the Late Empire in the 3rd and 4th century AD, where the gold decorated roundels of cups and other vessels were often cut out of the piece they had originally decorated and cemented to the walls of the catacombs of Rome as grave markers for the small recesses where bodies were buried. About 500 pieces of gold glass used in this way have been recovered. Complete vessels are far rarer. Many show religious imagery from Christianity, traditional Greco-Roman religion and its various cultic developments, and in a few examples Judaism. Others show portraits of their owners, and the finest are "among the most vivid portraits to survive from Early Christian times. They stare out at us with an extraordinary stern and melancholy intensity". From the 1st century AD the technique was also used for the gold colour in mosaics.
The Catacombs of San Sebastiano are a hypogeum cemetery in Rome, Italy, rising along Via Appia Antica, in the Ardeatino Quarter. It is one of the very few Christian burial places that has always been accessible. The first of the former four floors is now almost completely destroyed.
The Catacombs of Domitilla are an underground Christian cemetery named after the Domitilla family that had initially ordered them to be dug. Located in Rome, Italy, are the human-made subterranean passageways used for cemeteries and religious practice. They are among the largest catacombs in Rome, spreading out 17 km, largely along the ancient Via Ardeatine, laid out on four levels, and housing approximately 15,000 bodies underground. The Catacombs of Domitilla are the only catacombs in Rome that have an underground Basilica and are of one only five Roman catacombs open to the public. Constructed during the second and third centuries, this labyrinth of underground passages contains frescoes and a wealth of Christian iconography while also presenting masterful engineering skills and innovative architectural techniques.
References
Balch, David L. (2000). Roman Domestic Art & Early House Churches (Wissenschaftliche Untersuchungen zum Neuen Testament Series), Mohr Siebeck, ISBN3161493834, 9783161493836
Finney, Paul Corby (1997). The Invisible God: The Earliest Christians on Art, Oxford University Press, ISBN0195113810, 9780195113815
Grig, Lucy (2004). "Portraits, Pontiffs and the Christianization of Fourth-Century Rome", Papers of the British School at Rome, Vol. 72, pp.203–230, JSTOR
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