Art History 131 Early Christian Map of Early Christian influence c. 600 CE Timeline: History of Early Christianity Early Christian (c. 325-550 CE)catacombs:era: “Period of Persecution”function: burial ritetheme: eternal lifesignificance: new symbolic contentgreat circle  Dome of HeavenCross  basic symbol of faithChrist the Good Shepherdgesture  “orant”figures: modeling resembles Roman prototypescomposition: compartmentalized & simplified “The Good Shepherd” Catacomb of Saints Peter & Marcellinus c. 325 CE Early Christian sculpture secondary rolebiblically prohibited by Second Commandment no “cult” statuesfreestanding objects linked w/ false gods of pagansscale: anti-monumentalmonumental scale increasingly uncommonshallow spatial depthlacelike surface decorationsarcophogus:forms: evolved from pagan sarcophagi function: funerary resting place for important members of Christian Churchstyle: superimposed Classicismdoll-like bodieslarge headsthemes:broad range of Old & New Testamentpassive scenes calling for dramatic action Sarcophagus of the Good Shepherd (c. 350 CE) (top) Roman Late Empire Ludovisi Sarcophagus (c. 250 CE) vs. (bottom) Early Christian Sarcophagus of the Good Shepherd (c. 350 CE) Sarcophagus of Junius Bassus (c. 350 AD) Early Christian: sculptureSarcophagus of Junius Bassuspatron: senatorhistory: originally placed in or under Old St. Peter's Basilicarediscovered in 1597relief: high iconography:embraces Old and New Testamentscomposition:two (2) registersfive compartments eacheach framed by columnsnarratives:Christ placed at center of each registerenthroned in heavensits above personification of sky god Early Christian: sculpture Christ as the Good Shepherd date: c. 350 CEscale: approx. 3’iconography: appropriated from pagan Mediterraneanaesthetic: Classicalpose: contrappostodrapery: naturalisticRoman tunic & sandalsfalls according to laws of gravityclings to body; reveals weight, mass & volume of figure Early Christian Good Shepherd (c. 350 CE) vs. Archaic Greek Calf-Bearer (c. 550 BCE) Christ as the Good Shepherd from the Mausoleum Galla Placidia (c. 425-50 CE) Detail from mosaic of Christ as the Good Shepherd Early Christian: mosaic The Parting of Lot & Abrahamdate: c. 450 CEsite: nave of Sta. Maria Maggiore (Rome) subject: OT (Genesis)composition:cleaved along CVAfigural groupings assigned by shorthand device of “head cluster”narrative: assisted by gesture, glance & simplified motionposes: attempt @ contrapposto Early Christian: Illuminated Manuscriptsrole: disseminating religious imagerymodels for wall paintingsderived from mosaics material: parchment (vellum) vs. papyrus form: “codex”strong enough to be creased w/out breakingreplaced the roll permitted use of rich colors, including gold Early Christian: Illuminated Manuscripts Vatican Vergil (c. 425 CE) Early Christian: illuminated manuscripts.

1. Art History 131
Early Christian
Map of Early Christian influence
c. 600 CE
Timeline:
History of Early Christianity
Early Christian
(c. 325-550 CE)catacombs:era: “Period of Persecution”function:
burial ritetheme: eternal lifesignificance: new symbolic
modeling resembles Roman prototypescomposition:
compartmentalized & simplified
“The Good Shepherd”

2. Catacomb of Saints Peter & Marcellinus
c. 325 CE
Early Christian
sculpture secondary rolebiblically prohibited by Second
Commandment no “cult” statuesfreestanding objects linked w/
false gods of pagansscale: anti-monumentalmonumental scale
increasingly uncommonshallow spatial depthlacelike surface
decorationsarcophogus:forms: evolved from pagan sarcophagi
function: funerary resting place for important members of
Christian Churchstyle: superimposed Classicismdoll-like
bodieslarge headsthemes:broad range of Old & New
Testamentpassive scenes calling for dramatic action
Sarcophagus of the Good Shepherd
(c. 350 CE)
(top) Roman Late Empire Ludovisi Sarcophagus (c. 250 CE)
vs.
(bottom) Early Christian Sarcophagus of the Good Shepherd
(c. 350 CE)
Sarcophagus of Junius Bassus

3. (c. 350 AD)
Early Christian:
sculptureSarcophagus of Junius Bassuspatron: senatorhistory:
originally placed in or under Old St. Peter's
Basilicarediscovered in 1597relief: high iconography:embraces
Old and New Testamentscomposition:two (2) registersfive
compartments eacheach framed by columnsnarratives:Christ
placed at center of each registerenthroned in heavensits above
personification of sky god
Early Christian:
sculpture
Christ as the Good Shepherd date: c. 350 CEscale: approx.
3’iconography: appropriated from pagan
Mediterraneanaesthetic: Classicalpose: contrappostodrapery:
naturalisticRoman tunic & sandalsfalls according to laws of
gravityclings to body; reveals weight, mass & volume of figure
Early Christian Good Shepherd (c. 350 CE)
vs.
Archaic Greek Calf-Bearer (c. 550 BCE)

4. Christ as the Good Shepherd
from the Mausoleum Galla Placidia
(c. 425-50 CE)
Detail from mosaic of
Christ as the Good Shepherd
Early Christian:
mosaic
The Parting of Lot & Abrahamdate: c. 450 CEsite: nave of Sta.
Maria Maggiore (Rome) subject: OT
(Genesis)composition:cleaved along CVAfigural groupings
assigned by shorthand device of “head cluster”narrative:
assisted by gesture, glance & simplified motionposes:
attempt @ contrapposto
Early Christian:
Illuminated Manuscriptsrole: disseminating religious
imagerymodels for wall paintingsderived from mosaics
material: parchment (vellum) vs. papyrus
form: “codex”strong enough to be creased w/out
breakingreplaced the roll permitted use of rich colors, including
gold

5. Early Christian: Illuminated Manuscripts
Vatican Vergil
(c. 425 CE)
Early Christian:
illuminated manuscriptsRosanno Gospel (c. 500
CE)significance: earliest preserved illuminated NT
bookmedium: silver ink on purple dyed
parchmenticonography: canon establishedSanhedrin Trial of
Jesusevent reported by all four Canonical Gospelscomposition:
-like formbelow
sus vs. Barabbasfigures: Classically formulatedvividly
gesturingattempts at “contrapposto”color: vibrant, harmonious,
& complimentary
“Jacob Wrestling the Angel”
from the Vienna Genesis
(c. 500 CE)
Early ChristianOld St. Peter’s (c. 350 CE)site: Romeform:
basilicaplan: longitudinal realignment elements:atrium
court in front
crossing placed at right angles to naveapse
rather longitudinal

6. nave
Plans for basilicas:
Early Christian vs. Roman Late Empire
Plan & Elevation
Early Christian
Old St. Peter’s Basilica
Early Christian:
ArchitectureSant’ Apollinare Nuovo date: c. 550 CEsite:
Ravenna, Italypatron: Theodoric the Greatera: Period of
Recognitionplan: basilicalacks a transepttower added during
later periodinterior: decorative scheme
(preserved)mosaics of lateral wallstwenty-four (24) columns w/
simplified Corinthian capitalsexterior: opposite of Classical
templeplain brick & unadornedonly a shell shoe shape reflects
interior space
Comparison of plans:
(left) Old St. Peter’s Basilica vs. (right) S. Apollinare

7. Interior (nave and apse)
of Sant’ Apollinare
c. 550 CE
Early Christian: mosaicSant’ Apollinare (con’t.)element::
apseframes the altardrenched w/ lightchoir windowsclerestory
medium: mosaic effect: utmost richnessshimmering
lightbrilliant glittericonography: Christ as Good ShepherdCross
Early Christian:
architectureSanta Costanza (c. 350 CE)site: Romepatron:
Constantineform: circularplan: centralized elements:cupola
(dome)22.5 m diametersupported by twelve (12) pairs of double
columns clerestorypaired columns (w/ Corinthian
capitals)ambulatory ring-shaped, vaulted aisle encircles central
space (nave)decorated w/ mosaics
Santa Costanza
Elevation & Plan

8. c. 350 CE
Santa Costanza (con’t.)ground plan:narthex
(entrance)ambulatorydouble columns (Corinthian)Aisle
elevation:cupolaclerestoryambulatorynarthex
Interior of Santa Costanza:
double columns & barrel vaulting of ambulatory
Vintage mosaic
vaulted ambulatory
Santa Costanza
IMAGE INDEXSlide 2: Map of Early Christian influence c.
600 CESlide 3: Timeline of Early Christian history. Slide 5:
Catacomb of SS. Pietro e Marcellino (4th century
CE), Painted ceiling, Rome, Italy.Slide 7: Jesus the
Good Shepherd (mid-3rd century CE), marble,
height 39 in., Vatican Museums, Rome.Slide 8: Comparison
between (left) Early Christian Good Shepherd (c.
350 CE); and (right) Archaic Greek Calf-Bearer (c.
575 BCE).Slide 9: Sarcophagus of Junius Bassus (c. 350 CE),
marble, 3’ 10 1/2” x 8’, Museo Storico del
Capitolino di S. Pietro, Rome.Slide 10: Detail from
Sarcophagus of Junius Bassus.Slide 11: Jesus the Good
Shepherd (mid-3rd century CE), Marble, height 39”,
Vatican Museums, Rome, Italy.

9. IMAGE INDEXSlide 12: (Top) Late Roman Empire
Sarcophagus of Ludovisi (c. 250 CE); and
(bottom) Early Christian Jesus the Good Shepherd (c. 350
CE)Slide 13: Good Shepherd (c. 425-50 CE), mosaic,
Mausoleum of Galla Placidia, Ravenna, Italy.Slide 14:
Detail of head of Christ from Good Shepherd
mosaic at Mausoleum of Galla Placidia.Slide 15: The
Parting of Lot and Abraham (c. 430 CE), mosaic,
Sta. Maria Maggiore, Rome.Slide 17: Miniature, from the
Vatican Vergil (early 5th century CE),
Biblioteca Apostolica Vaticana, Rome.Slide 18:
“Christ before Pilate,” folio 8 verso of the Rossano
Gospels (c. early sixth century), Tempera on
purple vellum, 11 x 10 ¼ in., Museo Diocesano
d’Arte Sacra, Rossano.
IMAGE INDEXSlide 19: “Jacob Wrestling the Angel,” from the
Vienna Gospel (early 6th century AD), tempera and
silver on dyed vellum, 13 ¼ x 9 ½ in., Österreichische
Nationalbibliothek, Vienna.Slide 20:
Reconstruction drawing of elevation section of Old
St. Peter’s.Slide 21: Aerial view of S. Apollinare (c. 550
AD), in Classe, Ravenna, Italy.Slide 22:
Comparison between (left) Early Christian
plan of Old St. Peter’s and (right) plan of S.
Apollinare.Slide 23: Interior (view toward apse), S.
Apollinare.Slide 24: Mosaic in apse at S. Apollinare.
*
IMAGE INDEXSlide 25: Exterior view of Sta. Constanza (c.

10. 350 CE), Rome.Slide 26:Plan and elevation of Sta.
Constanza.Slide 27: Interior of Sta. Constanza.Slide 28: Vintage
mosaic in vaulted ambulatory at Santa
Costanza.Slide 29: Plan of Old St. Peter’sSlide 30:
Comparison between (left) plan of Old St. Peter’s
(begun c. 333 CE) and (right) plan of the Basilica of
Constantine (c. 300 CE).
*
ART HISTORY 131
Late Medieval:
Romanesque
Romanesque
(c. 1050- man
manneradopts Roman arch & vaulting systems
context: politicalnation/states not yet created; Europe
fragmented into many small territoriesled to distinctive regional
styles
context: economic (feudal)predominantly agricultural society
context: pilgrimagesjourney to holy places/shrines of
Christendomaim: to venerate saints’ relics & miraculous powers
context: First Crusade (c. 1095 AD)aim: to liberate Holy Land
from Moslem ruleresult: revival of trade, travel & culture
context: Apocalypsemillennium came & went w/out predicted
endimagery corresponds to era of psychological terror

11. RomanesqueSt.-Sernin (c. 1100 CE)site: Toulouse,
FRpilgrimage churchbuilt along roads to Santiago de
Compostela pilgrimage center in northwestern SP designed to
accommodate large crowds of lay worshiperslong nave and
transept plan: Latin crossfacade: indicates double aislesnave:
barrel vaultsupported by “transverse” archesaisles: “groin”
vaultstransept: wide projectionapse: radiating chapelstower:
later addition
Romanesque
St. Sernin (cont.)plan: Latin cross (“cruciform”)wide
projecting transeptwest portalbroad naveside aisles
(2x)lanternelongated sanctuarychoirapseambulatoryradiating
chapels
Diagram: ribbed vaults
RomanesqueSt. Sernin nave: barrel vaulttransverse “ribbed”
archesslender, projecting arch-like membersupports vault
divides surface into sections (“bays”)piers: “compound”attached
columns on four (4) sidesCorinthian capitalsalso organize
architectural space by marking-off “bays”
Romanesque
St. Sernin (cont.)aisles: “groin” vaultsintersection of two barrel

12. divided into four compartmentssupport:transverse
“ribs”piers bundled columns w/ Corinthian capitals
Romanesque
Christ in Majesty (c. 1100 CE)location: St. Sernin figure:
“cabochon” reliefconvex bulging formsplays against concave
nichefacial features: schematicdrapery: schematic
symbols/iconography: four evangelists “mandorla”
Romanesque
Apostle (c. 1100 CE)location: St. Sernin aesthetic: blends Late
Classical & Byzantine squat proportionsByzantine
iconic frontalityreverse perspectivedrapery: parallel pleats“wet”
attempt to reveal figure beneath
Romanesque
St. Étienne (1070 CE)site: Normandy (Caen, FR) a.k.a.
“Abbaye aux Hommes” ("Men's Abbey") dedication: St.
Stevenwest façade:minimal decorationbuttress: projecting
support built against external wall counteracts lateral thrust of
vault or arch divides front of church into three vertical
sectionsalso indicates three-tier elevation
Romanesque
St. Étienne

13. surrounded by ambulatory radiating chapels
Romanesque
St. Étienne (cont.)elevation: three-tieredarcadegallery
clerestorynave: “ribbed” vault (b. 1120 CE)sexpartite
vaultingrib vault divided into six bays two diagonal ribsthree
transverse ribs
Romanesque
Autun Cathedral (c. 1125 CE)function: martyrium/pilgrimage
churchobtained some relics of Lazarus (c. 970
CE)crowds demanded new churchexterior: west tympanumLast
Judgment sculpture (Gislebertus)elevation: three-
storyarcade“triforium”clerestorynave: barrel vaultpointed
transverse archesexerts less outward pressure than semicircular
archsupported by “compound” piers
Autun Cathedral
elevation
(c. 1125 CE)
“Last Judgment”
tympanum at Autun Cathedral
(c. 1125 CE)

14. “Last Judgment”
tympanum at Autun Cathedral
(c. 1125 CE)
Romanesque
Durham Cathedraldate: 1093-1130 CEsignificance: precursor to
Gothicdefinitive building of Anglo-Norman
Romanesque“siamese-twin” rib vaulting system over nave
oldest surviving example pointed transverse arches supported on
relatively slender composite piersalternated w/ massive drum
columns scale: enormous (over 400’ length)effect: possible to
cover far more elaborate and complicated ground
plans
Romanesque
Durham Cathedral plan: Latin crossnave: 1/3 wider than St.
Serninaisle as
longalternating support (columns & piers)“Siamese-twin”
ribbed vaults
Romanesque
Durham Cathedral supports: alternating pier systemcylindrical
columnszig-zag textured designcompound piersengaged columns
& pilaster shafts bundled to square or oblong corenave:

15. “ribbed” vaulting systemtransverse arches heavily
delineatedseven sections form double design a.k.a. “Siamese-
twins”
Siamese-twin “ribbed” vaulting system
Nave of Durham Cathedral
(c. 1125 CE)
RomanesqueAbbey of St. Pierre (c. 1065) location: Moissac,
FRfunction: on pilgrimage route of Santiago de
Last Judgment
Romanesque
Christ in Majesty (1100 CE)location: St. Pierre (Moissac,
FR)placement: “tympanum”relief: highiconography:
“mandorla”Christ surrounded by four (4) beastsfigures:
elongateddrapery: schematic
RomanesqueJeremiah (c. 1100 CE)location: St. Pierre (Moissac,
FR)placement: “trumeau”center post supporting lintelstyle:
expressivefigure: elongatedpose: stylizedreverse
perspective“chiasmic”crosses legs; dance-like movementturns

16. head toward interior of churchdrapery: restless rhythms of
calligraphic line
Detail of the Jeremiah “trumeau”
from St. Pierre (Moissac, FR)
“Christ in Majesty”
Tympanum on south portal
St. Pierre, Moissac, FR
(c. 1125 CE)
“Mission of the Apostles”
tympanum at Ste. Madeleine (Vezelay, FR)
(c. 1125 CE)
Romanesque:
painting/tapestryBayeux Tapestry (c. 1075 CE)subject: events
leading up to Norman Conquest of England as well
as invasion itselftechnique: while conventionally referred to as
a "tapestry," it is in fact an embroiderycomposition:
registeredborder strips perform framing functionfunctions both

17. decoratively & as narrativestyle: devoid of classical
refinementsfigures: caricature-likeposes: complicated
movements & gestures
“Battle of Hastings”
Bayeux Tapestry
(c. 1075 CE)
Romanesque:
illuminated manuscriptsMoralia in Job (c. 1100 CE)form:
“initial page”subject: series of initialsdesign: imaginatively
follows shape of lettercolor: richly
ornamentalaesthetic: schematicfigures: attempt at classical
proportionstwisted perspectivepinched waistcomplicated
posesdrapery: schematicmetallic reveals musculature
Romanesque:
illuminated manuscripts
Bury Bible (c. 1100 CE)artist: Master Hugoinfluence:
Byzantinefigures: schematicdrapery: schematiccolor: rich &
vibranticonography: four (4) evangelistsChrist in mandorla
Romanesque:

18. illuminated manuscriptsGospel Book of Abbot Wedricusdate: c.
1150 CE style: combines Carolingian & Byzantine
influencesreverse perspectiveattempts Classical canon of
proportionsschematic/idealized facedrapery: schematic linear
abstract patternstheme: “St. John the Evangelist”
iconography: conventional emblems placed
St. John's life decorativeness: inter-lacing designsfloral
ornament (Classical acanthus)
IMAGE INDEXSlide 3: Aerial view, St.-Sernin, Toulouse,
France (c. 1100 CE).Slide 4: Nave and choir, St.-Sernin.Slide
5: Diagram of ribbed vaults.Slide 6: View of “ribbed” vault
in nave, St.-Sernin.Slide 7: View of “groined” vault in aisle,
St.-Sernin.Slide 8: Christ in Majesty (c. 1100 CE),
ambulatory, St.-Sernin, Toulouse, FR.Slide 9: Apostle
(c. 1100 CE), stone, St.-Sernin, Toulouse, FR. Slide 10:
Exterior, St.-Étienne (1070 CE).Slide 11: Plan, St.-
Étienne.Slide 12: Nave, St.-Étienne (vaulted 1115-20
CE).Slide 13: Nave wall, Autun Cathedral (c. 1120-32 CE),
France.Slide 14: Elevation of Autun Cathedral.
IMAGE INDEXSlide 15/16: “Last Judgment,” tympanum,
Autun Cathedral (c. 1125 CE).Slide 17: Exterior,
Durham Cathedral (1093-1130 CE), England.Slide 18: Plan,
Durham Cathedral. Slide 19: Nave (completed c. 1100 AD),
Durham Cathedral.Slide 20: Ribbed groins of nave, Durham
Cathedral.Slide 21: Abbey of St.-Pierre, Moissac, FR.Slide 22:
Diagram of Romanesque portal ensembles.Slide 23:
Prophet Jeremiah (early 12th century CE), south portal

19. (“trumeau”), Abbey of St.-Pierre, Moissac, FR.Slide 24:
Detail of Prophet Jeremiah, Abbey of St.-Pierre,
Moissac, FR. Slide 25: Tympanum of the south portal (c.
1115-1135 CE), diameter 16’ 6”, Abbey of St.-
Pierre, Moissac, FR.
IMAGE INDEXSlide 26: The Mission of the Apostles (c. 1125
CE), center portal of narthex, Ste. Madeleine, Vezelay,
FR.Slide 28: “The Battle of Hastings” (c. 1075 CE), detail
from the Bayeux Tapestry, wool embroidery on linen,
height approx. 19 1/2”, total length approx.
231’.Slide 29: Initial R with “St. George and the Dragon,” from
the Moralia in Job (early 12th century CE),
illuminated manuscript, 13 3/4 x 9 1/4”, Citeaux,
FR.Slide 30: Master Hugo. “The Vision of Ezekiel” (early
12th century CE), Bury Bible, illuminated
manuscript, Corpus Christi College, Cambridge,
England.Slide 31: “St. John the Evangelist”, from Gospel
Book of Abbot Wedricus (c. 1150 CE), tempera on vellum,
14 x 9 1/2”, Société Archéologique et Historique,
Avesnes-sur- Helpe, France.