The document provides an overview of art in Late Antiquity and Early Christianity between the 3rd and 6th centuries CE. It discusses how Roman art incorporated Christian influences after Constantine, including new images of Christ. Early Christian art was found in catacombs, sarcophagi, and churches using frescoes, mosaics, and illuminated manuscripts. Important sites discussed include the Dura Europos synagogue, Old St. Peter's in Rome, and churches in Ravenna featuring biblical mosaics that combined classical and Christian elements. The document examines changes in artistic media and styles during this transitional period.

1. 1
Chapter 8
Late Antiquity
Gardner’s Art Through the Ages,
14e

2. 2
Europe and the Near East in Late Antiquity

3. 3
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.

4. 4
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.

5. 5
“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.

6. 6
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.

7. 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.
7

8. 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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9. 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.
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10. 10
Early Christian Images
• Describe the appearance of Christ in Early Christian art.
• Understand the different media used to create early Christian
art, particularly frescoes.

11. 11
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.

13. 8-5A Cubiculum N, Via Dino Compagni Catacomb,
Via Latina, Rome, Italy, ca. 320–360.
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14. 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.

16. 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.

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

22. 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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Figure 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.

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

26. 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 detail
4th 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

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

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

31. 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.

35. 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.

38. 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.

42. 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.
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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.

44. 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?