2.1 — Early Christian and Byzantine Art
This chapter traces the transition from late Roman visual culture to Early Christian imagery, and the rise of Byzantine art centered in Constantinople. We’ll explore house churches, basilica plans, mosaics, icons, and the theological debates that shaped representation.
From Rome to the Christian Empire
Early Christian art emerged in a Roman world: artists adapted familiar forms—sarcophagi reliefs, frescoes, and basilica architecture—to new subjects. After Constantine’s Edict of Milan (313 CE) and the founding of Constantinople (330 CE), imperial support accelerated monumental Christian building.
Catacombs and House Churches
In the 3rd–4th centuries, catacomb frescoes used symbols like the Good Shepherd, Orants (praying figures), Jonah scenes, and the fish to communicate salvation. House churches, such as Dura-Europos, repurposed domestic space for worship and baptism.
Basilica Architecture
The Roman basilica form—rectangular hall with nave, side aisles, apse—became the primary Christian church type. Clerestory windows illuminated the nave; the apse framed the altar and bishop’s cathedra.
- Old St. Peter’s (Rome, 4th c.): A multi-aisled basilica over Peter’s tomb, pilgrimage focus.
- Santa Sabina (Rome, 5th c.): Timber-roofed basilica with marble spolia and carved wooden doors.
Byzantine Innovations
Byzantine art favored centralized plans, domes on pendentives, and lavish interior decoration. Gold-ground mosaics emphasized divine light and immaterial space.
- Hagia Sophia: A vast dome “suspended from heaven” by light-filled pendentives.
- San Vitale (Ravenna): Centralized octagon; mosaics of Justinian and Theodora affirm imperial-sacred authority.
Definition: Icon
A sacred image (often panel painting) of Christ, the Virgin, or saints, used for veneration. In Byzantium, icons mediated divine presence; their making and viewing were governed by theology and ritual.
Iconography and Theology
Debates over images led to Iconoclasm (8th–9th c.), during which many icons were destroyed. The “Triumph of Orthodoxy” restored their use, reinforcing doctrines about the Incarnation and visibility of the divine.
Materials and Techniques
- Mosaics: Glass tesserae with gold and silver leaf set at angles to catch light.
- Manuscripts: Illuminated Gospels (e.g., Rabbula Gospels) with vivid pigments and intricate ornament.
- Ivories and Enamels: Portable luxury objects for devotion and diplomacy.
Note: Light as Theology
In Byzantine churches, shimmering gold mosaics and pierced screens created a sense of immaterial, sacred light—visual theology reinforcing liturgy.
Looking Ahead
Next, Chapter 2.2 explores Islamic art and architecture, tracing new conceptions of space, ornament, and calligraphic design across regions and dynasties.