The Archbasilica of Saint John Lateran is the oldest church in Rome, built in the 4th century AD under Emperor Constantine. It was one of the first state-sanctioned churches, making it larger than traditional churches. Over centuries of renovations, classical Roman elements were incorporated throughout the church to invoke a sense of grandeur and link the church to the power of the Roman Empire. Decorations, sculptures, and the architecture throughout aim to inspire awe and connect visitors to important figures in both the Empire and early Church.
This document summarizes key aspects of Romanesque and Gothic architecture and art from 1050-1400 CE in Western Europe. It describes defining characteristics of Romanesque architecture like barrel vaults and groin vaults. Important structures from this period mentioned include the Bayeux Tapestry, Santiago de Compostela cathedral, and Durham Cathedral. The transition to Gothic architecture is explored through structures like St. Denis Abbey which introduced pointed arches, rib vaults, and increased use of stained glass windows. High Gothic cathedrals such as Chartres, Reims, and Amiens are analyzed for their flying buttresses, vaulting techniques, extensive stained glass, and sculpture. The development of Gothic sculpture from rigid to natural
The document describes the High Empire period in Rome from 96-192 CE, including structures built by emperors Trajan and Hadrian. Trajan built expansive new forums and markets in Rome, commemorated by structures like the Column of Trajan depicting his military victories. Hadrian's buildings included the Pantheon with its revolutionary dome design. Later emperors like Antoninus Pius and Marcus Aurelius continued expansion and beautification projects in Rome and other cities like Ostia during this period of peak Roman power and influence.
The document summarizes and describes several artworks from the Carolingian and Ottonian periods in medieval Europe. It discusses illuminated manuscripts like The Book of Lindisfarne and Saint Matthew page, as well as sculptures like the Equestrian Statue of Charlemagne and the Bronze Column of Hildesheim. It also describes architectural plans for buildings such as the Lorsch Gatehouse, Palatine Chapel in Aachen, and the ideal monastic community plan from St. Gall.
Charlemagne aimed to culturally revive the Roman Empire during his reign through architecture, sculpture, metalwork and illuminated manuscripts. His palace in Aachen, Germany was the center of the Carolingian Empire, though today only the Palatine Chapel remains. Illuminated manuscripts were handwritten books decorated with miniature illustrations, initials, and borders to enhance the text.
Presentation notes early medieval carolingian, ottonianaddierprice
Carolingian art flourished during the rule of Charlemagne and his successors in the late 8th and 9th centuries. Charlemagne revived classical Roman forms and commissioned lavish manuscripts and architecture to establish himself as the head of a renewed Christian Roman Empire based in Aachen. Manuscripts like the Coronation Gospels and Ebbo Gospels featured illustrations inspired by both classical Roman and contemporary Byzantine styles. Church architecture like the Palatine Chapel in Aachen and the St. Gall Plan incorporated Roman elements like columns and basilican layouts. Under the Ottonian dynasty in the 10th century, artistic traditions continued as seen in buildings like the churches of Gernrode and St
Roman architecture evolved from Etruscan and Greek influences, developing new techniques like the arch, vault and concrete that allowed for larger structures. Some key examples include the Pont du Gard aqueduct, the Colosseum which could seat 50,000, and the Pantheon's monumental dome. Public architecture and facilities like baths and forums reinforced imperial power and provided entertainment for citizens.
Christianity began to rise in Rome in the early centuries AD. It was initially banned and Christians faced persecution, but the message was spread by St. Paul. Over time, Christianity gained acceptance and followers. In 313 AD, Emperor Constantine legalized Christianity, allowing it to be openly practiced. Churches were then built throughout Rome and the empire. Crusades later occurred between the 11th and 13th centuries, with Christians trying to retake the Holy Land from Muslim rule. Moorish rule in Spain during this period saw the construction of impressive architectural structures like the Alhambra palace complex in Granada.
The document outlines the official chronology of ancient Rome from its founding in 753 BCE through the fall of Rome in 476 CE. It then provides details on Roman architecture, innovations like concrete and barrel vaults, as well as domestic and public buildings. Roman painting styles are described, including the four Pompeian styles. Sculpture is also summarized, from realistic portraits of the Republic to imperial propaganda. Overall, the Romans were great builders who developed new architectural forms and had a large impact on Western art through their innovative use of materials and artistic traditions.
This document summarizes key aspects of Romanesque and Gothic architecture and art from 1050-1400 CE in Western Europe. It describes defining characteristics of Romanesque architecture like barrel vaults and groin vaults. Important structures from this period mentioned include the Bayeux Tapestry, Santiago de Compostela cathedral, and Durham Cathedral. The transition to Gothic architecture is explored through structures like St. Denis Abbey which introduced pointed arches, rib vaults, and increased use of stained glass windows. High Gothic cathedrals such as Chartres, Reims, and Amiens are analyzed for their flying buttresses, vaulting techniques, extensive stained glass, and sculpture. The development of Gothic sculpture from rigid to natural
The document describes the High Empire period in Rome from 96-192 CE, including structures built by emperors Trajan and Hadrian. Trajan built expansive new forums and markets in Rome, commemorated by structures like the Column of Trajan depicting his military victories. Hadrian's buildings included the Pantheon with its revolutionary dome design. Later emperors like Antoninus Pius and Marcus Aurelius continued expansion and beautification projects in Rome and other cities like Ostia during this period of peak Roman power and influence.
The document summarizes and describes several artworks from the Carolingian and Ottonian periods in medieval Europe. It discusses illuminated manuscripts like The Book of Lindisfarne and Saint Matthew page, as well as sculptures like the Equestrian Statue of Charlemagne and the Bronze Column of Hildesheim. It also describes architectural plans for buildings such as the Lorsch Gatehouse, Palatine Chapel in Aachen, and the ideal monastic community plan from St. Gall.
Charlemagne aimed to culturally revive the Roman Empire during his reign through architecture, sculpture, metalwork and illuminated manuscripts. His palace in Aachen, Germany was the center of the Carolingian Empire, though today only the Palatine Chapel remains. Illuminated manuscripts were handwritten books decorated with miniature illustrations, initials, and borders to enhance the text.
Presentation notes early medieval carolingian, ottonianaddierprice
Carolingian art flourished during the rule of Charlemagne and his successors in the late 8th and 9th centuries. Charlemagne revived classical Roman forms and commissioned lavish manuscripts and architecture to establish himself as the head of a renewed Christian Roman Empire based in Aachen. Manuscripts like the Coronation Gospels and Ebbo Gospels featured illustrations inspired by both classical Roman and contemporary Byzantine styles. Church architecture like the Palatine Chapel in Aachen and the St. Gall Plan incorporated Roman elements like columns and basilican layouts. Under the Ottonian dynasty in the 10th century, artistic traditions continued as seen in buildings like the churches of Gernrode and St
Roman architecture evolved from Etruscan and Greek influences, developing new techniques like the arch, vault and concrete that allowed for larger structures. Some key examples include the Pont du Gard aqueduct, the Colosseum which could seat 50,000, and the Pantheon's monumental dome. Public architecture and facilities like baths and forums reinforced imperial power and provided entertainment for citizens.
Christianity began to rise in Rome in the early centuries AD. It was initially banned and Christians faced persecution, but the message was spread by St. Paul. Over time, Christianity gained acceptance and followers. In 313 AD, Emperor Constantine legalized Christianity, allowing it to be openly practiced. Churches were then built throughout Rome and the empire. Crusades later occurred between the 11th and 13th centuries, with Christians trying to retake the Holy Land from Muslim rule. Moorish rule in Spain during this period saw the construction of impressive architectural structures like the Alhambra palace complex in Granada.
The document outlines the official chronology of ancient Rome from its founding in 753 BCE through the fall of Rome in 476 CE. It then provides details on Roman architecture, innovations like concrete and barrel vaults, as well as domestic and public buildings. Roman painting styles are described, including the four Pompeian styles. Sculpture is also summarized, from realistic portraits of the Republic to imperial propaganda. Overall, the Romans were great builders who developed new architectural forms and had a large impact on Western art through their innovative use of materials and artistic traditions.
The Carolingian Renaissance saw a revival of learning and culture in Western Europe following the fall of the Roman Empire. Under Charlemagne's rule of the Frankish Kingdom from 768-814 CE, he sought to revive elements of classical Roman civilization. Charlemagne was crowned Holy Roman Emperor by the Pope in 800 CE in Rome, establishing himself as successor to the Roman Emperors. He standardized education, created a new style of writing, and promoted the arts, architecture, and illuminated manuscripts to revive Roman influence. Charlemagne's capital of Aachen featured the first major building constructed in Europe after Rome's fall, reflecting his goal of creating a "New Rome" and asserting his imperial authority.
The document provides an overview of ancient Rome and its architectural achievements. It discusses the founding and expansion of the Roman Republic and Empire between 510 BCE and 337 CE. Examples of Roman construction techniques and important structures are highlighted, including aqueducts in Rome and Segovia as well as several temples constructed according to standardized designs such as the Fortuna Virilis, Maison Carree, and the Pantheon known for its innovative use of concrete and large interior space illuminated by its oculus.
Early Christian art incorporated symbols and imagery from both Roman imperial styles and Jewish traditions to represent their new faith. Scenes from the Old Testament like the story of Jonah were popular subjects in places like the catacombs of Rome. As Christianity became the official religion of the Roman Empire under Constantine, new church buildings like Old St. Peter's in Rome combined the forms of imperial architecture with Christian themes and symbols of faith.
The document provides details about Brunelleschi's architectural works in Florence including the dome of Florence Cathedral, Pazzi Chapel, and San Lorenzo. Some key points summarized:
- Brunelleschi designed the dome of Florence Cathedral using an innovative wooden ribbed structure to span the huge space left by the Gothic cathedral, merging Gothic and classical styles.
- The Pazzi Chapel features a symmetrical rectangular design with harmonious proportions based on mathematical modules. It uses a two-color scheme of gray stone and white walls.
- San Lorenzo church has a Latin cross floor plan with a coffered barrel vaulted central nave and aisles separated by staircases
The document provides an overview of Roman history from the Roman Republic to the Early Empire period. It discusses Roman architecture such as barrel vaults, groin vaults, and domes. It describes temples, funerary reliefs, and portraits from this time. It also summarizes Pompeii and the cities of Vesuvius before the 79 CE eruption. Important emperors like Augustus, Trajan, Hadrian, and the Antonines are briefly mentioned along with some of their architectural accomplishments.
The document provides an overview of ancient Roman art and architecture from the Roman Republic through the Late Empire periods. It summarizes that the Romans ruled a vast multicultural empire, and their art and architecture was eclectic, drawing on both Greek and Etruscan traditions. Key structures discussed include the Colosseum and Pompeii, notable for its preserved wall paintings depicting myths and landscapes in illusionistic styles.
The document provides information on the evolution of church architecture from early Christian to Byzantine and Romanesque styles. It discusses key architectural features of important churches like St. Peter's Basilica, Hagia Sophia, and characteristics of Romanesque architecture. The early Christian churches adopted the basilica model of Roman buildings. Byzantine architecture was influenced by Roman styles but featured Greek crosses, domes, and decorative mosaics. St. Peter's Basilica and Hagia Sophia are given as prominent examples of these styles with details on their exteriors and interiors. Romanesque architecture used semi-circular arches and spanned from the 6th to 11th centuries in medieval Europe.
The Roman Empire spanned over 1/9th of the Earth's surface and ruled over a quarter of humanity across three continents at the height of its power. Roman architecture and town planning had a lasting legacy. They developed advanced building techniques like concrete and the arch, which enabled massive structures like the Colosseum and aqueducts. Roman towns were planned with gridded streets and usually centered around a forum. Notable architectural achievements included amphitheaters, temples, bath complexes, and the iconic Pantheon dome. Roman dress varied by class, gender, and occasion, with tunics and togas for citizens and more elaborate versions for elites.
The document provides an overview of the early Middle Ages in Europe from approximately 200-1000 AD. It describes this period as one of decline following the fall of the Western Roman Empire, known as the Dark Ages, but also the beginnings of new kingdoms like the Franks. A key figure was Charlemagne, who ruled a large empire from 750-800 AD and helped establish feudalism. The church grew in power and influence during this time as well. Architecture was primarily in the Romanesque style with thick stone walls and rounded arches.
The document provides information about various historical and religious sites that Sean Myers visited during his study abroad trip to Turkey and Greece in 2011. It describes important mosques, churches, and archaeological sites in Istanbul, Ephesus, Hierapolis, Laodicea, Colossae, Pergamum, Troy, Philippi, Thessaloniki, Delphi, Eleusis, Corinth, Mycenae, Athens, and Cape Sounion. Key details are provided about the origins, architecture, and significance of each location.
Chapter Six: Early Christian and Byzantine ArchitectureDouglas Vail
This chapter discusses early Christian and Byzantine religious architecture. It begins by explaining how early Christian churches were based on Roman basilica designs after Christianity gained legitimacy under Constantine. Large early Christian churches in Rome accommodated growing congregations. The Byzantine Empire incorporated domes and centralized plans in churches. When Christianity spread to Russia around 1000 CE, Byzantine architectural concepts were adapted into a distinctive Russian style.
The document provides an overview of architecture from the Early Christian period through the Gothic era. It begins by discussing how the Roman Empire split into eastern and western halves in 400 CE. Christianity had become the dominant religion. As new rulers came to power, architectural styles evolved from Early Christian to Byzantine under Constantine, and then to Romanesque. Key events and developments discussed include Constantine moving the capital to Constantinople in 330 CE and constructing Hagia Sophia, the fall of the Western Roman Empire in 410 CE, and the emergence of Gothic architecture in the late medieval period. Stylistic elements of Early Christian, Byzantine, and Romanesque architecture like semicircular arches, vaulting techniques, and basilica
EARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdfEloisaGonda
Early Christian architecture was influenced by existing Roman styles, using materials and architectural features from older Roman buildings. Common structures included basilican churches with naves, side aisles, and apses, as well as separate baptistries. Some key early examples are the Basilica of St. Paul Outside the Walls, Santa Maria Maggiore, and Santa Sabina in Rome. Tombs and catacombs provided underground burial spaces for Christians.
Comparative Analysis between Gothic Architecture & Renaissance Architecture.MussabbirulMuhit
The document provides a comparative analysis of Gothic and Renaissance architecture. It discusses key differences in their time periods, styles, and prominent examples. Gothic architecture originated in 12th century France and used pointed arches, spires, stained glass windows and elaborate sculptures to emphasize verticality, as seen in Amiens Cathedral. Renaissance architecture emerged in 15th century Florence and was inspired by classical Roman symmetry, geometry and orders. This is exemplified by St. Peter's Basilica, which uses pilasters, symmetrical facades and domes rather than the intricate designs of Gothic cathedrals.
Old Saint Peter's Basilica in Rome was constructed in the 4th century AD on the orders of Emperor Constantine. It took 30 years to complete and served as the first St. Peter's Basilica. The basilica followed a basilican plan with a nave flanked by aisles and an apsed transept at the west end. It was later torn down in the early 16th century to make way for the new St. Peter's Basilica.
The document provides an overview of early Christian architecture and Romanesque architecture. It discusses the origins and spread of Christianity in the Roman Empire and the architectural characteristics of early Christian churches, including the basilica form with a nave and aisles. It then summarizes the key elements of Romanesque architecture such as thick walls, round arches, groin vaults and the use of local materials. Specific examples of Romanesque architecture are given for various regions of Europe.
This document provides an overview of architectural styles from ancient Egyptian architecture to Baroque architecture. It describes key characteristics of each style. Egyptian architecture is characterized by pyramidal structures like the Great Pyramids of Giza. Greek architecture used post-and-lintel construction for temples. Roman architecture combined columns, beams and arches, developing techniques like the stone arch and concrete vault. Gothic cathedrals featured pointed arches, large windows, and elaborate decorations. Renaissance architecture was influenced by classical Greek and Roman styles but adapted for original designs. Baroque architecture flourished in the 17th-18th centuries, known for elaborate sculptural ornamentation.
The Early Christian Architecture started in Rome and Constantinople in the 3rd century AD. From these two locations, Early Christian architectural styles spread across Europe and Asia. Early churches were typically simple basilica structures adapted from Roman designs. The basilica floor plan, with a central nave and side aisles separated by columns, provided the space needed for Christian worship ceremonies and processions. Examples like Old St. Peter's Basilica in Rome demonstrate how this classical architectural form was appropriated for early Christian churches.
The document provides an overview of various works of art from early Christian art to Gothic art. It describes key features and styles of different periods including Early Christian artworks depicting Christ as the Good Shepherd, the Sarcophagus of Junius Bassus combining Christian and classical elements, and the development of church architecture like Old St. Peter's Basilica. It also summarizes Byzantine artworks such as the mosaics in Hagia Sophia and San Vitale, as well as Islamic works including the Dome of the Rock and Alhambra. Finally, it outlines Romanesque artworks focusing on portals and sculpture, and Gothic developments in architecture like rib vaults and rose windows.
1 20Art History Unit 5 The Roman Empire2 2.docxmercysuttle
1 / 20
Art History
Unit 5: The Roman Empire
2 / 20 4th century CE. Catacomb of Santissimi Pietro e Marcellino, Rome
Early example of Christian painting. Stylistically similar to Roman wall paintings of Pompeii, which Christian motifs.
The central figure is a shepherd and represents Jesus Christ.
3 / 20 Jacopo Grimaldi. Interior of Old St. Peter’s, Rome. 1619
Original building at St. Peter’s square, Vatican City. Early Christian Art such as this represents the
styles formulated in Rome and the West.
4 / 20 Old St. Peter’s, Rome. Basilica floor plan.
5 / 20 Interior (view through ambulatory into rotunda), Santa Costanza, Rome. ca. 350 CE
6 / 20 Santa Costanza, Rome. Central Floor Plan
7 / 20 Interior of Santa Maria Maggiore, Rome. ca. 440–442 CE
Interiors of Christian worship buildings were decorated using mosaic, which are small stones arranged into a picture.
The overall effect is a glittering jewel-box, one that symbolizes the divine..
8 / 20 The Parting of Lot and Abraham and Shepherds in a Landscape. Mosaic. ca. 432–440 CE
9 / 20 Sarcophagus of Junius Bassus. ca. 359 CE
Commissioned for a prominent Roman official, this sarcophagus has the appearance of Ancient Roman Art sensibilities,
with representational, three-dimensional, human forms. Yet, the images all represent Christian stories from the Bible.
10 / 20 BYZANTINE Art: Exterior, San Vitale, Ravenna, Italy
Byzantine is a style of early Christian art that derives its inspiration from Constantinople, and the church leaders from the east.
11 / 20 Interior (view from the apse), San Vitale, Ravenna, Italy
12 / 20 Emperor Justinian and His Attendants. ca. 547 CE
Byzantine Art represents government leaders in Christian roles and motifs. Where in Rome,
the papacy controlled the Church, in Constantinople it was ruled by the Emperor and a Patriarch.
13 / 20 Empress Theodora and Her Attendants. ca. 547 CE
14 / 20 Exterior, Hagia Sophia, Istanbul
The Hagia Sophia is a Byzantine Church originally built in Constantinople. It survived the Turkish invasions
that led to the fall of the Eastern Christian Empire, and was converted into a Mosque. Today, it is a museum.
15 / 20 Interior, Hagia Sophia, Istanbul
16 / 20
Jacob Wrestling the Angel. Page from the
Vienna Genesis. Early sixth century CE
• Manuscript Illumination played a key role in Early Christians leaders ability
to teach the masses about Christian doctrine.
• These manuscripts are works of art, carefully and methodically crafted
using precious materials to express the utmost in beauty.
• Advancements in paper making during this time led to the discovery of
parchment, a paper made from animal hide and strong enough to bound into
books.
• The image on this page is a continuous narration, which means this one
picture represents the progression of the story as it travels along the road,
rather than one brief moment of time.
17 / 20
Christ Icon. Sixth cen ...
The early Christian church architecture developed from Roman basilica designs to meet the needs of worship spaces. The basilica form was well-suited with its central nave flanked by aisles and an apse at one end. Common features included a narthex entrance hall, clerestory windows above the aisles to light the nave, and an apse containing the altar. Some churches like St. Peter's in Rome were built over martyr tombs and had more complex plans with transepts and triumphal arches framing the apse. This architecture blended Roman architectural traditions with the new programmatic demands of Christian worship spaces.
The Carolingian Renaissance saw a revival of learning and culture in Western Europe following the fall of the Roman Empire. Under Charlemagne's rule of the Frankish Kingdom from 768-814 CE, he sought to revive elements of classical Roman civilization. Charlemagne was crowned Holy Roman Emperor by the Pope in 800 CE in Rome, establishing himself as successor to the Roman Emperors. He standardized education, created a new style of writing, and promoted the arts, architecture, and illuminated manuscripts to revive Roman influence. Charlemagne's capital of Aachen featured the first major building constructed in Europe after Rome's fall, reflecting his goal of creating a "New Rome" and asserting his imperial authority.
The document provides an overview of ancient Rome and its architectural achievements. It discusses the founding and expansion of the Roman Republic and Empire between 510 BCE and 337 CE. Examples of Roman construction techniques and important structures are highlighted, including aqueducts in Rome and Segovia as well as several temples constructed according to standardized designs such as the Fortuna Virilis, Maison Carree, and the Pantheon known for its innovative use of concrete and large interior space illuminated by its oculus.
Early Christian art incorporated symbols and imagery from both Roman imperial styles and Jewish traditions to represent their new faith. Scenes from the Old Testament like the story of Jonah were popular subjects in places like the catacombs of Rome. As Christianity became the official religion of the Roman Empire under Constantine, new church buildings like Old St. Peter's in Rome combined the forms of imperial architecture with Christian themes and symbols of faith.
The document provides details about Brunelleschi's architectural works in Florence including the dome of Florence Cathedral, Pazzi Chapel, and San Lorenzo. Some key points summarized:
- Brunelleschi designed the dome of Florence Cathedral using an innovative wooden ribbed structure to span the huge space left by the Gothic cathedral, merging Gothic and classical styles.
- The Pazzi Chapel features a symmetrical rectangular design with harmonious proportions based on mathematical modules. It uses a two-color scheme of gray stone and white walls.
- San Lorenzo church has a Latin cross floor plan with a coffered barrel vaulted central nave and aisles separated by staircases
The document provides an overview of Roman history from the Roman Republic to the Early Empire period. It discusses Roman architecture such as barrel vaults, groin vaults, and domes. It describes temples, funerary reliefs, and portraits from this time. It also summarizes Pompeii and the cities of Vesuvius before the 79 CE eruption. Important emperors like Augustus, Trajan, Hadrian, and the Antonines are briefly mentioned along with some of their architectural accomplishments.
The document provides an overview of ancient Roman art and architecture from the Roman Republic through the Late Empire periods. It summarizes that the Romans ruled a vast multicultural empire, and their art and architecture was eclectic, drawing on both Greek and Etruscan traditions. Key structures discussed include the Colosseum and Pompeii, notable for its preserved wall paintings depicting myths and landscapes in illusionistic styles.
The document provides information on the evolution of church architecture from early Christian to Byzantine and Romanesque styles. It discusses key architectural features of important churches like St. Peter's Basilica, Hagia Sophia, and characteristics of Romanesque architecture. The early Christian churches adopted the basilica model of Roman buildings. Byzantine architecture was influenced by Roman styles but featured Greek crosses, domes, and decorative mosaics. St. Peter's Basilica and Hagia Sophia are given as prominent examples of these styles with details on their exteriors and interiors. Romanesque architecture used semi-circular arches and spanned from the 6th to 11th centuries in medieval Europe.
The Roman Empire spanned over 1/9th of the Earth's surface and ruled over a quarter of humanity across three continents at the height of its power. Roman architecture and town planning had a lasting legacy. They developed advanced building techniques like concrete and the arch, which enabled massive structures like the Colosseum and aqueducts. Roman towns were planned with gridded streets and usually centered around a forum. Notable architectural achievements included amphitheaters, temples, bath complexes, and the iconic Pantheon dome. Roman dress varied by class, gender, and occasion, with tunics and togas for citizens and more elaborate versions for elites.
The document provides an overview of the early Middle Ages in Europe from approximately 200-1000 AD. It describes this period as one of decline following the fall of the Western Roman Empire, known as the Dark Ages, but also the beginnings of new kingdoms like the Franks. A key figure was Charlemagne, who ruled a large empire from 750-800 AD and helped establish feudalism. The church grew in power and influence during this time as well. Architecture was primarily in the Romanesque style with thick stone walls and rounded arches.
The document provides information about various historical and religious sites that Sean Myers visited during his study abroad trip to Turkey and Greece in 2011. It describes important mosques, churches, and archaeological sites in Istanbul, Ephesus, Hierapolis, Laodicea, Colossae, Pergamum, Troy, Philippi, Thessaloniki, Delphi, Eleusis, Corinth, Mycenae, Athens, and Cape Sounion. Key details are provided about the origins, architecture, and significance of each location.
Chapter Six: Early Christian and Byzantine ArchitectureDouglas Vail
This chapter discusses early Christian and Byzantine religious architecture. It begins by explaining how early Christian churches were based on Roman basilica designs after Christianity gained legitimacy under Constantine. Large early Christian churches in Rome accommodated growing congregations. The Byzantine Empire incorporated domes and centralized plans in churches. When Christianity spread to Russia around 1000 CE, Byzantine architectural concepts were adapted into a distinctive Russian style.
The document provides an overview of architecture from the Early Christian period through the Gothic era. It begins by discussing how the Roman Empire split into eastern and western halves in 400 CE. Christianity had become the dominant religion. As new rulers came to power, architectural styles evolved from Early Christian to Byzantine under Constantine, and then to Romanesque. Key events and developments discussed include Constantine moving the capital to Constantinople in 330 CE and constructing Hagia Sophia, the fall of the Western Roman Empire in 410 CE, and the emergence of Gothic architecture in the late medieval period. Stylistic elements of Early Christian, Byzantine, and Romanesque architecture like semicircular arches, vaulting techniques, and basilica
EARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdfEloisaGonda
Early Christian architecture was influenced by existing Roman styles, using materials and architectural features from older Roman buildings. Common structures included basilican churches with naves, side aisles, and apses, as well as separate baptistries. Some key early examples are the Basilica of St. Paul Outside the Walls, Santa Maria Maggiore, and Santa Sabina in Rome. Tombs and catacombs provided underground burial spaces for Christians.
Comparative Analysis between Gothic Architecture & Renaissance Architecture.MussabbirulMuhit
The document provides a comparative analysis of Gothic and Renaissance architecture. It discusses key differences in their time periods, styles, and prominent examples. Gothic architecture originated in 12th century France and used pointed arches, spires, stained glass windows and elaborate sculptures to emphasize verticality, as seen in Amiens Cathedral. Renaissance architecture emerged in 15th century Florence and was inspired by classical Roman symmetry, geometry and orders. This is exemplified by St. Peter's Basilica, which uses pilasters, symmetrical facades and domes rather than the intricate designs of Gothic cathedrals.
Old Saint Peter's Basilica in Rome was constructed in the 4th century AD on the orders of Emperor Constantine. It took 30 years to complete and served as the first St. Peter's Basilica. The basilica followed a basilican plan with a nave flanked by aisles and an apsed transept at the west end. It was later torn down in the early 16th century to make way for the new St. Peter's Basilica.
The document provides an overview of early Christian architecture and Romanesque architecture. It discusses the origins and spread of Christianity in the Roman Empire and the architectural characteristics of early Christian churches, including the basilica form with a nave and aisles. It then summarizes the key elements of Romanesque architecture such as thick walls, round arches, groin vaults and the use of local materials. Specific examples of Romanesque architecture are given for various regions of Europe.
This document provides an overview of architectural styles from ancient Egyptian architecture to Baroque architecture. It describes key characteristics of each style. Egyptian architecture is characterized by pyramidal structures like the Great Pyramids of Giza. Greek architecture used post-and-lintel construction for temples. Roman architecture combined columns, beams and arches, developing techniques like the stone arch and concrete vault. Gothic cathedrals featured pointed arches, large windows, and elaborate decorations. Renaissance architecture was influenced by classical Greek and Roman styles but adapted for original designs. Baroque architecture flourished in the 17th-18th centuries, known for elaborate sculptural ornamentation.
The Early Christian Architecture started in Rome and Constantinople in the 3rd century AD. From these two locations, Early Christian architectural styles spread across Europe and Asia. Early churches were typically simple basilica structures adapted from Roman designs. The basilica floor plan, with a central nave and side aisles separated by columns, provided the space needed for Christian worship ceremonies and processions. Examples like Old St. Peter's Basilica in Rome demonstrate how this classical architectural form was appropriated for early Christian churches.
The document provides an overview of various works of art from early Christian art to Gothic art. It describes key features and styles of different periods including Early Christian artworks depicting Christ as the Good Shepherd, the Sarcophagus of Junius Bassus combining Christian and classical elements, and the development of church architecture like Old St. Peter's Basilica. It also summarizes Byzantine artworks such as the mosaics in Hagia Sophia and San Vitale, as well as Islamic works including the Dome of the Rock and Alhambra. Finally, it outlines Romanesque artworks focusing on portals and sculpture, and Gothic developments in architecture like rib vaults and rose windows.
1 20Art History Unit 5 The Roman Empire2 2.docxmercysuttle
1 / 20
Art History
Unit 5: The Roman Empire
2 / 20 4th century CE. Catacomb of Santissimi Pietro e Marcellino, Rome
Early example of Christian painting. Stylistically similar to Roman wall paintings of Pompeii, which Christian motifs.
The central figure is a shepherd and represents Jesus Christ.
3 / 20 Jacopo Grimaldi. Interior of Old St. Peter’s, Rome. 1619
Original building at St. Peter’s square, Vatican City. Early Christian Art such as this represents the
styles formulated in Rome and the West.
4 / 20 Old St. Peter’s, Rome. Basilica floor plan.
5 / 20 Interior (view through ambulatory into rotunda), Santa Costanza, Rome. ca. 350 CE
6 / 20 Santa Costanza, Rome. Central Floor Plan
7 / 20 Interior of Santa Maria Maggiore, Rome. ca. 440–442 CE
Interiors of Christian worship buildings were decorated using mosaic, which are small stones arranged into a picture.
The overall effect is a glittering jewel-box, one that symbolizes the divine..
8 / 20 The Parting of Lot and Abraham and Shepherds in a Landscape. Mosaic. ca. 432–440 CE
9 / 20 Sarcophagus of Junius Bassus. ca. 359 CE
Commissioned for a prominent Roman official, this sarcophagus has the appearance of Ancient Roman Art sensibilities,
with representational, three-dimensional, human forms. Yet, the images all represent Christian stories from the Bible.
10 / 20 BYZANTINE Art: Exterior, San Vitale, Ravenna, Italy
Byzantine is a style of early Christian art that derives its inspiration from Constantinople, and the church leaders from the east.
11 / 20 Interior (view from the apse), San Vitale, Ravenna, Italy
12 / 20 Emperor Justinian and His Attendants. ca. 547 CE
Byzantine Art represents government leaders in Christian roles and motifs. Where in Rome,
the papacy controlled the Church, in Constantinople it was ruled by the Emperor and a Patriarch.
13 / 20 Empress Theodora and Her Attendants. ca. 547 CE
14 / 20 Exterior, Hagia Sophia, Istanbul
The Hagia Sophia is a Byzantine Church originally built in Constantinople. It survived the Turkish invasions
that led to the fall of the Eastern Christian Empire, and was converted into a Mosque. Today, it is a museum.
15 / 20 Interior, Hagia Sophia, Istanbul
16 / 20
Jacob Wrestling the Angel. Page from the
Vienna Genesis. Early sixth century CE
• Manuscript Illumination played a key role in Early Christians leaders ability
to teach the masses about Christian doctrine.
• These manuscripts are works of art, carefully and methodically crafted
using precious materials to express the utmost in beauty.
• Advancements in paper making during this time led to the discovery of
parchment, a paper made from animal hide and strong enough to bound into
books.
• The image on this page is a continuous narration, which means this one
picture represents the progression of the story as it travels along the road,
rather than one brief moment of time.
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Christ Icon. Sixth cen ...
The early Christian church architecture developed from Roman basilica designs to meet the needs of worship spaces. The basilica form was well-suited with its central nave flanked by aisles and an apse at one end. Common features included a narthex entrance hall, clerestory windows above the aisles to light the nave, and an apse containing the altar. Some churches like St. Peter's in Rome were built over martyr tombs and had more complex plans with transepts and triumphal arches framing the apse. This architecture blended Roman architectural traditions with the new programmatic demands of Christian worship spaces.
The document provides an overview of architectural styles from ancient Egyptian architecture to modern eclecticism. It describes key characteristics of different styles including:
- Egyptian architecture being characterized by pyramidal structures like the Great Pyramid of Giza which was faced with white limestone.
- Greek architecture most prominently featured temples with post-and-lintel construction in the Doric, Ionic, and Corinthian orders.
- Roman architecture adopted Greek styles and developed the arch, vault and dome structures like in the Pantheon.
- Gothic architecture had large stained glass windows supported by buttresses and rose windows, with ornate doorways and interior decoration.
Renaissance architecture is characterized by features borrowed from ancient Greek and Roman styles from the 15th to 17th centuries. St. Peter's Basilica, located in Vatican City, is considered one of the greatest examples of Renaissance architecture. Designed by Bramante, Michelangelo, Maderno, and Bernini, St. Peter's Basilica has a massive scale, symmetrical facade and interior, a central dome, and arches and columns inspired by classical antiquity. It remains one of the largest churches in the world.
The document provides an overview of early Christian architecture from approximately 300-600 AD. It discusses the influences of declining Rome, military strongholds, castles, and monasteries. Early Christian architecture in Rome was influenced by existing Roman styles but adapted based on geographical location. Churches were modeled after Roman basilicas and often reused materials from pagan temples. Typical features included a nave with side aisles, an entrance hall or narthex, and an apse where the bishop's throne and altar were located.
The document provides an overview of Christian artistic periods from early Christian art to Gothic art. It discusses how early Christian art developed in the catacombs due to persecution before churches were built. Byzantine art was characterized by mosaics, symbolic imagery, and buildings like Hagia Sophia. Gothic architecture featured pointed arches, rib vaulting, rose windows and flying buttresses, seen in cathedrals like Notre Dame and Chartres.
This document provides an overview of Jewish, early Christian, and Byzantine art from the 4th century AD to the late Byzantine period. It begins with descriptions of 4th century frescoes from the Catacombs of Commodilla in Rome depicting Jesus as the Alpha and Omega. It then discusses symbols used in early Christian art such as the fish, cross, and lamb. Architectural developments are reviewed including early basilica and centralized plans as well as specific churches from Rome, Ravenna, and Constantinople. The document concludes with a discussion of the development of icons and iconoclasm during the Middle Byzantine period followed by examples of art and architecture through the late Byzantine era.
This document discusses early Christian art from the 4th to 12th centuries CE. It covers topics such as:
- How Christian art evolved from modest meeting houses to grand churches like Hagia Sophia under Emperor Constantine and his successors.
- The development of Christian iconography and imagery over time, including increasing depictions of Christ as an adult and references to Old Testament stories.
- Important artistic centers like Ravenna whose 6th century mosaics exemplified Byzantine style.
- The debate around iconoclasm and destruction of religious images in the Byzantine Empire between the 8th-9th centuries.
Early Christian/ Early Jewish Art PowerPointsmolinskiel
Early Christian and Jewish art from 200-500 CE was influenced by classical Roman styles but adapted to new religious needs. Early Christian art was created secretly in catacombs and featured narratives from the Bible influenced by Roman imperial styles. As Christianity became the official religion, churches incorporated Roman basilica and central plans, and mosaics and frescoes depicted Christ as triumphant. Early Jewish art, like the Dura Europos synagogue paintings, showed limited biblical narratives in stylized fashions unlike realistic Roman styles due to prohibitions on images.
Recent studies have shown that the death penalty costs states exorbitant amounts of money due to lengthy legal appeals processes. For example, a study found that the death penalty cost Maryland $186 million between 1978 and 1999. Additionally, a report estimated that each execution in California costs $308 million on average due to housing and healthcare for death row inmates. While supporters argue that the death penalty deters crime and punishes the worst offenders, critics claim it is applied unfairly and has led to wrongful convictions. There is an ongoing debate around the morality, effectiveness, and costs of capital punishment in the United States.
1) While the Roman Empire dominated much of Europe, establishing boundaries, subduing barbarians, and allowing for greater resources and prosperity, the city of Rome itself declined in significance over time.
2) As the Roman Empire expanded, power shifted from the Senate to the Emperor and the military legions. Emperors became preoccupied with defending the frontiers and waging wars, neglecting Rome.
3) Religious and political reforms further centralized power, diminished Rome's importance, and established a new capital in Constantinople, so that by the 5th century, Rome was just another frontier town when it fell to invaders.
The document analyzes and compares the constitutions of the United States and Italy. Both constitutions were drafted as rejections of their countries' antidemocratic pasts - the US Constitution rejected British rule, while Italy's rejected fascism. However, their approaches differ: the US Constitution focuses on limiting government power, while Italy's grants extensive rights to citizens. Both establish similar governmental structures, but Italy's constitution provides for more social and economic rights like healthcare and equal pay. Overall, the constitutions demonstrate the different historical experiences that shaped each country.
The document discusses the origins and ongoing consequences of the Catalan independence referendum in Spain. It outlines Catalonia's complex history within Spain, including periods of repression under Franco. While Catalonia now has significant autonomy, the economic crisis has fueled separatist sentiment and claims that Catalonia could be wealthier independent from Spain. The referendum was modeled after Scotland's independence vote, though Catalonia's situation differs in its stronger nationalist pride and history of conflict with Madrid. Failure to address separatist sentiment could lead to greater instability in Spain.
The document summarizes the strengths and weaknesses of the French presidential system. The strengths include the president's ability to rule decisively as the office is politically "untouchable", unlike other democratic systems. This allows the president to focus on urgent matters without worrying about removal from office. However, weaknesses include the large concentration of power in one person, which undermines democratic institutions. The system relies heavily on the competence and personality of the president, with no safeguards for removal if the president becomes weak or indecisive.
Aristotle developed a system of ethics based on finding a virtuous mean between extremes of behavior. He believed that through experience and knowledge, people can learn to act appropriately in different contexts. Unlike Plato, Aristotle thought that philosophy and knowledge were open to all people. He outlined rules for virtuous behavior that took circumstances into account. While circumstances influence actions, individuals still have control over reasoning and responding logically rather than angrily. Aristotle's system provides practical ethical guidance applicable today.
Plato argues that there are two worlds - the temporary physical world perceived by the senses and the permanent metaphysical world of ideas. In Timaeus, he establishes that the physical world is imperfect and changing while the world of ideas is perfect and unchanging. Parmenides clarifies that while the worlds are distinct, the physical world participates in ideas by resembling them. Phaedo explains that through philosophy and reflection, the soul can transcend the physical world and access the unchanging world of knowledge and ideas. Plato thus believes knowledge is permanent and exists in the metaphysical world of perfect forms.
The Arch of Titus in Rome was dedicated by the Roman Senate to Emperor Titus to commemorate his victories, including the sacking of the Temple of Jerusalem. The arch was positioned along the Via Sacra to serve as a gateway for triumphal processions entering the Roman Forum. While more modest in size than other surviving arches in Rome, it originally featured intricate Corinthian columns and reliefs depicting Titus's military achievements. After being damaged over time, restoration work on the arch provides context about its original appearance while preserving an important monument, though it can never fully replicate the splendor of the original structure.
1. Owen Phelps
AH181
Foster
29/9/14
San Giovanni in Laterano
The arch-basilica of Saint John Lateran is distinct from other holy sites among Rome in
several ways. Firstly, the church was built by the Emperor Constantine I in 324 AD, after issuing
the Edict of Toleration (or, Edict of Milan) which legalized the practice of Christianity without
the threat of persecution in 313 AD, making it one of the oldest churches in Rome. Secondly, the
church was one of the first state-sanctioned churches of Rome, which accounts for its imposing
size, which is not lost despite the numerous renovations over the centuries. Thirdly, this
building was very different to what the Romans traditionally used to practice their piety to the
gods, as the Church was built in mind that Christians used the interior of buildings to pray in
rather than outdoor altars, which were common among Polytheist temples that used ritual
sacrifice.
Due to the fact that it was the first “official” church of Rome (and the seat of the Bishop
of Rome), it is unsurprising that very much of the structure is centered around wasted space to
invoke a sense of grandeur, and power to the converts and would-be converts alike. Even
before, when the Church was in its original, and much more humble state, the use of wasted
space would have helped instill a sense of humility among the people entering the building,
thus making it easier for them to believe that they were in the presence of something larger than
themselves – both spiritually, and literally.
Such a feeling of divine power is already channeled even before one enters the church;
the height of the porch, and the structure of the 18th century neoclassical facade, is deliberately
2. imposing as though to confirm that this building is intended for a higher being, much larger
than any mere human. However, there is a bridge between both the divine and the mortal
world with the placement of the handle on the church doors (which were recycled from the old
Curia – the Senate House) located in the portico, which is built to human scale. As such, the size
of the doors were built in mind for God, though humans are permitted to enter. It provides for
an interesting contrast, which perhaps helps the faithful to believe that they, too, are within the
presence of God.
The central knave of the church is flanked by fluted Corinthian columns (a favourite
order of imperial structures during the Roman Empire), which have been worked into the
structure of the church itself. Below lies twelve niches which house Late-Baroque period
sculptures of the twelve apostles. Even with those with a modest knowledge of art periods
would recognize the tell-tale traits of Baroque sculpture: each of these animated figures is
situated in an overly dramatic pose, with folds of billowing clothes, and easily-read expressions
that were built in mind to effortlessly convey an emotional response of wonder, and excitement.
In some ways, the apostles situated here hark back to the various “Great Men” of the Forum of
Augustus, which were placed around the Temple of Mars Ultor. While those great men were
designed to link Augustus into the mythological founders of Rome, so was the intention with
the use of these dramatic apostles: to connect the Church with the followers of Christ. In usual
fashion, Saint Peter and Paul (the two apostles who were crucified in Rome, and to which the
Pope draws his legitimacy from) are nearest to the apse. Even the materials used (the stark
coloured marble) hints at the Church’s classical past, and Rome’s golden age.
Besides the residual Classical elements, and the Baroque additions, one of the most
prominent features of the church is the ceiling. The current ceiling was built around the 16th
century, and was intentionally decorated in such a manner to invoke the glory of the work of
3. God. Keep in mind that the average peasantwould already be overwhelmed when upon
entering the vast church, but staring into a ceiling that was richly ornamented with reds, blues
and golds would appear to them as though they were staring into the heavens themselves. Such
a tactic has proven to be effective: the ceiling appears to be one of the few places that has
remained untouched by later period renovations (space and splendor appear to be the doctrine
of which this church was built upon). Beside the knave lie two aisles where those not yet fully
accepted into the church could observe Mass. Slotted among these aisles are numerous chapels
that are dedicated to other saints, and holy figures. These chapels appear to have been built (or
at least, renovated) in the Baroque periods, which accounts for their more intricate decor, and
vivid sculptures.
In the centre of the church, beyond the knave but just before the apse, lies the Papal
altar, which – like the ceiling – was built in a manner to amaze the senses, and excite the spirit
with its rich colouring, and intricate design. In sharp contrast from the Pagan altars which were
left outside the temples for the use of sacrifice, the altar within Christianity is left indoors, as
evidence of its more sombre methods of praying. However, that doesn’t mean that such a piece
is not consciously used to invoke a sense of awe, and wonder.
The design of the altar is very unlike the rest of the neoclassical-baroque nature of the
interior. Aside from the fact that the top of the altar is suspended upon four columns, the main
architectural style appears to be Gothic, which gives a clue about its age. Interestingly enough,
each of the four columns that hold the top of the altar aloft, have a capital of altering order: one
of which is Ionic, the other Doric, along with two Corinthians – though similar, are not the
same. This is perhaps evidence of the use of Spoila by the Papacy from other abandoned, or
unused structures from Rome’s Imperial period. The altar’s height is brilliantly design for two
reasons: first, it towers over the churchgoers, which invokes the grandeur of not only God, but
4. the wealth and the might of the Church. It very much is a showpiece that demonstrates how
much wealth, and powerthat the Catholic Church possesses if it is able to build such
domineering structures. Secondly, the altar itself effortlessly draws the eye to the various
paintings and frescoes of great figures within Church history, such as Charlemagne, and
Constantine the Great, which are cluttered around the transepts and the lavishing gothic organ.
Constantine holds a special place within the Catholic Church, as he was the Emperor that began
the Church’s triumph over Paganism. With the use of Constantine’s image, the is not only
Church invoking the power of God, while associating itself with the deeds of the Apostles, but
also linking itself with the might and majesty of Imperial Rome – the Empire that held most of
Europe and the Near East under its command. Same with the use of Charlemagne holding the
scepter, who was crowned Emperor of the Romans almost three centuries after the city of Rome
fell to the Goths. In a very thinly veiled hint, the Papacy is crowning itself as the successors (or
at least keepers) to the memory of Rome: an honour that so many European nations attempted
to claim for themselves.
Past the altar lies the Apse, where the Cathedra of the Bishop of Rome is housed right
underneath. The apse is decorated in a mosaic of Christ’s head, flocked with a cloud of Angels.
Below him stand various figures, one of which being the Virgin Mary. The style of the mosaic is
very traditionally minded, and appears to be more Byzantine (Eastern Roman) in style. Perhaps
this motif is designed to provide a link with Early Christian art, which was the fashion during
the later ages of the Empire, and the early periods of the Medieval Age. What is very interesting
is how each of these figures are dressed: each of them appear to be in very decorative, Roman
looking clothing, which provides another reminiscence to the Roman Empire. Indeed, they
appear to be dressed like noblemen, or even Senators, rather than Jewish peasants. Even below
the apse, the Cathedra of which the Pope sits, appears to be fashioned in a style that harks back
5. to the Roman period. Its construction and style appear to be from traditional Roman materials:
lunar marble, fixed with red and green granite, and clean edges. Even its detailed surroundings
appear to be more akin to where an Emperor might sit, rather than a Christian priest: the
patterned tiles and Corinthian columns flanking the throne provide for a stately looking view of
the head of the Catholic Church.
The final – and often overlooked piece – of architecture: the floor. While so many
disregard where they stand in order to pay proper attention to the rest of the basilica, the
styling of the floor was also made to complement the overall design of the church. The patterns
of the floor – along with the coloring and the materials used – are self-consciously styled upon
imperial Roman motifs (other such patterns can be seen within older structures such as the
Pantheon) which were deliberately styled to connect the Papacy to the memory of Rome. After
all, the Papacy’s head – the Supreme Pontiff – was a Roman institution long before it became
associated with Christianity, so the link between the Church and the Empire must have helped
bolster the prestige of the Pontifex Maximus. As such, not only are the walls, and sculptures
where one looks, are Roman, but where one stands as well.
Church architecture is very interesting: on the one hand, the original church looked
nothing like what occupies its space now: it used no traditional Roman elements, and did not
include sculptures, out of their association with Paganism. The wasted space within the old
basilica must have been the only demonstration of God’s presence, which must have been the
explanation as to why the basilica was built so large, yet left so bare. However, the Archbasilica
now appears as though it was built by the Romans themselves, which is exactly what the
Papacy would want to communicate. The church’s lavishing decoration, Roman materials,
Neoclassical motifs and sculptures, along with warm coloring, all play into perpetuating a
6. threefold image of power to all those that enter: that of Rome, that of the Church, and that of
God.