kb

1. Late Antique and Byzantine Art
Sandrine Le Bail AP Art History

2. Enduring Statement 3-1
• European medieval art is generally studied
in chronological order and divided into geographical
regions, governing cultures,
and identifiable styles, with associated but distinctive
artistic traditions. There is significant overlap in time,
geography, practice, and heritage of art created within
this time frame and region. Nationalist agendas and
disciplinary divisions based on the predominant
language (Greek, Latin, or Arabic) and religion
(Judaism, Western or Eastern Orthodox Christianity, or
Islam) have caused considerable fragmentation in the
study of medieval art.

3. Essential Knowledge 3-1a
Medieval artistic traditions include late antique, early
Christian, Byzantine, Islamic, migratory, Carolingian*,
Romanesque, and Gothic, named for their principal
culture, religion, government, and/or artistic style.
Continuities and exchanges between coexisting traditions
in medieval Europe are evident in shared artistic forms,
functions, and techniques. Contextual information comes
primarily from literary, theological, and governmental
(both secular and religious) records, which vary in
quantity according to period and geographical region, and
to a lesser extent from archaeological excavations.

4. Essential Knowledge 3-1c
• Medieval artists and architects were heavily
influenced by earlier and contemporary cultures,
including coexisting European cultures. Thus early
medieval and Byzantine art was influenced by
Roman art and by motifs and techniques brought
by migratory tribes from eastern Europe, West
Asia, and Scandinavia. High medieval art was
influenced by Roman, Islamic, and migratory art,
and European Islamic art was influenced by
Roman, migratory, Byzantine, and West Asian art.

5. Image Set
Late Antique (3 works)
48 . Catacomb of Priscilla (Greek Chapel, Orant, Good Shepherd frescos)
49. Santa Sabina. Rome, Italy. Late Antique Europe. c. 422–432 C.E. Brick and stone, wooden roof.
50. Rebecca and Eliezer at the Well and Jacob Wrestling the Angel, from the Vienna Genesis. Early
Byzantine Europe. Early sixth century C.E. Illuminated manuscript (pigments on vellum).
Byzantine Art (3 works)
51. San Vitale. Ravenna, Italy. Early Byzantine Europe. c. 526–547 C.E. Brick, marble, and stone veneer;
mosaic.
52. Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532–537 C.E.
Brick and ceramic elements with stone and mosaic veneer.
54. Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. Sixth or
early seventh century C.E. Encaustic on wood.

6. Late Antique Art
Early Christian Art
Early Jewish Art
Sandrine Le Bail AP Art History

7. A new religion: Christianity
Founded by Jesus
Christ
New Testament
Based on the idea
of Paradise

8. Last supper - Eucharist

9. Persecutions
Larger persecutions: Nero and Diocletian

10. The Christian Bible
• Old Testament
• New Testament :
- 4 Gospels (life of Jesus)
- Acts (works of the Apostles)
- Epistles (letters)
- Apocalypse (Revelation)

11. Early developments in
Christianity
Underground movement
Before 313 CE

12. Important Fact
Pre-Constantinian
Christ was crucified ca.33, but very little
Christian art or architecture survives from the 1st
centuries of Christianity. “Early Christian art”
means the earliest art of Christian content, not
the art of Christians at the time of Jesus, and
comes primarly from the catacombs of Rome.

13. Roman
catacombs
65 known in
Rome
For everybody
4 millions

14. Roman Catacombs

15. Loculus – pl. loculi
Close by slabs
Since Hadrian: only inhumation

17. Arcosolium . Pl. Arcosolia

18. Cubiculum
(pl.cubicula)

19. Chi Ro = Early Christogram

20. Fish and anchor, catacomb of Priscilla,
Rome 2nd-3rd century
Ichtus - Jesus Christ, son of God Saviour

21. Catacomb of Priscilla (Greek Chapel,
Orant, Good Shepherd frescos), 200-
400 tufa and fresco, Rome, Italy
40,000 tombs

22. Catacomb of Priscilla

24. Cubiculum of the Veiled woman,
catacomb of Priscilla, Rome 2nd-3rd
century
Orant
Marriage Motherhood

26. “I am the good shepherd; the good
shepherd gives his life for the sheep”
(John 10:11).
Christ Young and without beard

27. Jonas and the whale

28. Saint Peter and Marcellus

33. The three Youth in the Furnace

34. The Greek Chapel
Scenes from New and Old
Testaments
Benches for funerary banquet Spaces for Sarcophagi

36. Moses
2 youth in the Furnace

37. 3 Magi

38. Breaking of the Bread

39. Oldest
representation of
the Virgin Mary

40. Catacomb of Priscilla (Greek Chapel,
Orant, Good Shepherd frescos), 200-
400 tufa and fresco, Rome, Italy
• Early Christian art appeared in the catacombs
• Influenced by contemporary Roman painting
• Use of symbols
• Representation of Old Testament episodes to
symbolize the new Christian art
• 1st Representation of Christ: Good Shepherd
(young and beardless)

41. Important facts
Early Christian artists profusely decorated the
walls and ceiling of the catacombs with frescoes.
Popular themes were Christ as Good Shepherds
and the salvation of Jonas.
Iconic representation: fish, monogram, anchor,
alpha and omega

42. Early Christian Art
Paleochristian Art
From 313 CE

43. 313 Edict of Milan =
Tolerance to all religion
380 . Edict of
Thessalonic:
Christianity is
the official
religion

44. Constantine and Christianity
Constantine’s Edict of Milan of 313 granted
Christianity legal status equal or superior to the
cults of the traditional gods.
The emperor was the first great patron of
Christian art and built the first churches in
Rome, including Old Saint Peter’s.

45. Adaptation of Roman elements
• Axially planned building (basilicas)
• Centrally planned building (mainly for
mausoleums and baptistery)

46. Basilica Ulpia, Forum of Trajan,
98-117 CE

47. Old Saint Peter’s Basilica, Rome, 333-
390

48. Old Saint Peter’s Basilica, Rome, 333-
390
transept
By Constantine on the tomb of Saint Peter
Altar

49. Old Saint Peter’s Basilica, Rome, 333-
390

50. Santa Sabina. Rome, Italy. Late
Antique Europe. c. 422–432 C.E. Brick
and stone, wooden roof.

52. Apse
Nave (for
men)
Aisles (for
women)

53. Santa Sabina. Rome, Italy. Late
Antique Europe. c. 422–432 C.E. Brick
and stone, wooden roof.

54. Coffered ceiling
Apse
Clerestory windows
Columns from Roman temples = Spoglia

55. Built by Peter of Illyria

57. Oldest representation
of the crucifixion known

58. Santa Sabina. Rome, Italy. Late
Antique Europe. c. 422–432 C.E. Brick
and stone, wooden roof.
• Adaptation of the Roman basilica
• Built by Peter of Illyria
• Pagan architectural elements at the service of
the new god
• No outside decoration, no sculptures
• Men divided from women

59. Santa Costanza, Roma, c.350
Centrally planned building
Mausoleum of Constantina,
Constantine’s daughter

60. Santa Costanza, Roma, c.350
Centrally planned building
Mausoleum of Constantina,
Constantine’s daughter

61. Santa Costanza, Roma, c.350
Rotunda
Narthex
Clerestory window
Dome
Barrel Vaults

62. Santa Costanza, Roma, c.350

63. Santa Costanza, Roma, c.350
Vine scrolls – Sacrifice of
Christ

64. Constantina’s sarcophagus, 340

65. Important Fact
• Ancient Roman basilicas were used as a model
for churches.
• Ancient Roman central plan building (bath,
temple…) were used as a model for
mausoleums and baptisteries.

66. Important Fact
• Ancient Roman basilicas were used as a model
for churches.
• Ancient Roman central plan building (bath,
temple…) were used as a model for
mausoleums and baptisteries.

67. Volumen vs Codex
Volumen Codex (pl. codices)
Parchment or vellum

68. Vellum
(calfskin)
or
Parchment

70. Scribes and Illuminators

71. Rebecca and Eliezer at the Well and Jacob Wrestling
the Angel, from the Vienna Genesis. Early Byzantine
Europe. Early sixth century C.E. Illuminated manuscript
(pigments on vellum).

72. Rebecca and Eliezer at the Well

73. Jacob Wrestling the Angel
Continuous Narration

74. Last judgment of Hu-Nefer, from his tomb
(page from the Book of the Dead). New
Kingdom, 19th Dynasty. c. 1275 B.C.E. Painted
papyrus scroll.
Column of Trajan. Rome, Italy 113 C.E, marble
(column).

75. Rebecca and Eliezer at the Well and Jacob
Wrestling the Angel, from the Vienna Genesis.
Early Byzantine Europe. Early sixth century C.E.
Illuminated manuscript (pigments on vellum).
• Oldest well-preserved painted manuscript containing
biblical scenes
• Written in Greek with illustrations on the bottom of
the page.
• Probably made in Constantinople, Syria or Palestine
• Pages are fine calfskin (vellum) dyed with rich purple,
(same dye used for imperial cloth). The Greek text is
in silver ink.
• Continuous narration (more than one episode of the
story presented within a single frame)
• Culture of transition – Mix of Late Antique style and
Medieval Style

76. David
composing
the
Psalms,
from the
Paris
Psalter,
c.950-970
Psalter: a book of
the psalms from the
Hebrew scriptures.

77. Byzantine Art
Sandrine Le Bail AP Art History

79. Tetrarchs

81. 330 - Foundation of Constantinople
Constantine founded Constantinople (now
Istanbul) on the site of the ancient Greek city of
Byzantium in 324 and dedicated this “New
Rome” to the Christian God in 330.

82. 476 – Disparition of the Western Empire

83. Byzantine Architecture

84. Justinian (r.527-565)
• The first golden age of
Byzantine art was the
result of the lavish
patronage of Justinian.
• Wanted to conquer lost
western territories and
revive elements of the
classical Roman Empire

86. Justinian and Ravenna
The seat of Byzantine power in Italy was
Ravenna, which prospered under Justinian.
San Vitale is Ravenna’s greater church.
Its mosaics, with their weightless, hovering,
frontal figures against a gold background, reveal
the new Byzantine aesthetic.

87. San Vitale. Ravenna, Italy. Early Byzantine
Europe. c. 526–547 C.E. Brick, marble, and
stone veneer; mosaic.

89. Apsidial chapel
sanctuary
Centrally-planned
Narthex

93. Clerestory
Dome

95. Apse mosaic, San Vitale, Ravenna, 540-
547
Saint Vitale Ecclesius

97. Apse mosaic, San Vitale, Ravenna, 540-
547
• Jesus = early Christian style (young and clean-
shaven)
• Sphere = world
• 4 rivers of paradise
• Still naturalism but stiffer
• Frontality
• Golden background - spirituality

98. Court of Justinian, San Vitale, Ravenna,
c. 547

99. Ara Pacis

101. Court of Theodora, San Vitale,
Ravenna, c. 547

103. Characteristics
• Golden background
• Hierarchy
• No perspective
• The folds of the clothes hide the body
• Flat
• Spatial representation not realistic
• Organic body has dematerialized
• Theological basis for this approach to representation
was the idea that the divine was invisible and that the
purpose of religion art was to stimulate spiritual seeing

104. San Vitale. Ravenna, Italy. Early Byzantine
Europe. c. 526–547 C.E. Brick, marble, and
stone veneer; mosaic.
• Dedicated by Bishop Maximianus in 547 in
honor of Saint Vitalis
• Centrally planned church
• The apse and the choir decorations form an
unified composition
• Holy ratification of the emperor Justinian’s
right to rule
• Dual political and religious roles of the
Byzantine emperor

105. Justinian and Constantinople
In Constantinople alone, Justinian built or
restored more than 30 churches. The greatest
was Hagia Sophia, which rivaled the
architectural wonders of Old Rome.

106. Hagia Sophia. Constantinople (Istanbul).
Anthemius of Tralles and Isidorus of Miletus.
532–537 C.E. Brick and ceramic elements with
stone and mosaic veneer.

107. Hagia Sofia, Costantinople, 532-537
Architects: Isodoros of Miletus and Anthemius of
Tralles

108. • For almost 1000 years = seat of the Orthodox
patriarch of Constantine.
• Became a mosque when the Byzantine Empire
fell to the Ottoman Turks
• Now a museum

109. Approximate
reconstruction of
how the Church
appeared in the
12th century

110. lunette

111. Roman:

113. Pendentives

114. Capital

116. Justinian’s
imperial church –
Shows the power
and the
willingness to
unit all Christian

120. A brilliant fusion of central and longitudinal
plans, Hagia Sophia’s 180 foot-high dome rests
on pendentives but seemed to contemporaries
to be suspended “ by a golden chain from
Heaven”

121. Hagia Sophia. Constantinople (Istanbul).
Anthemius of Tralles and Isidorus of Miletus.
532–537 C.E. Brick and ceramic elements with
stone and mosaic veneer.
• Justinian’s most important project
• Formidable dimension
• Plain and simple exterior
• Rich and lavish interior
• Brilliant fusion of central and longitudinal plans
• Use of pendentive to cover a square building but
a circular dome
• The nave of Hagia Sophia was reserved by the
clergy, not the congregation

122. Byzantine Painting

123. Icons
Icon:
devotional
panel
depicting a
sacred image.

124. Iconoclastic
Controversy
(8th -9th
century)
From 726 to 758
and
From 815 to 843

125. Iconoclastic Controversy
• In 726, Leo III (r.717-741) enacted a ban
against picturing the divine, initiating the era
of iconoclasm and the destruction of
countless Early Byzantine artworks.
• Empress Theodora repealed iconoclasm in
843 and in 867, Basil I dedicated a new mosaic
depicting the Theotokos (Mother of God) in
Hagia Sophia. It marked the triumph of the
iconophiles over the iconoclasts.

126. Virgin
(Theotokos) and
Child between
Saints Theodore
and George.
Early Byzantine
Europe. Sixth or
early seventh
century C.E.
Encaustic on
wood.

127. Saint Theodore
Saint Gorges
Hand of godTheotokos
“god bearer”

128. Virgin (Theotokos) and Child between Saints
Theodore and George. Early Byzantine Europe.
Sixth or early seventh century C.E. Encaustic on
wood.• Icon painting is a Byzantine tradition
• Icons are small portable paintings depicting the Christ, the
Virgin or Saints
• Important role in private devotion
• Encaustic on wood continues the tradition of panel painting
in Egypt
• Foreground figures are strictly frontal and have a solemn
demeanor
• Background details are few and suppressed, compressed
and flat
• Traces of Greco-Roman illusionism remain on the faces
• Saints’ bodies in the new Byzantine manner

129. Mary
• Very strong codification
• Hieratic
• Body concealed beneath a blue robe
• Large eye
• Small mouth
• Theodokos “God Bearer”
• Throne of wisdom

130. Theotokos,
apse mosaic,
Hagia Sophia,
Constantinople
867

131. Vladimir
Virgin, 12th
century
Theotokos
Virgin Eleusa
(Tenderness)

132. 1054 – East West Schism
West East
• Roman Catholic Church
• Pope
• Rome
• Latin
• Eastern Orthodox Church
• Patriarch of Constantinople
• Constantinople
• Greek

133. 1204 – Siege of Constantinople

134. 1204 – Siege of Constantinople

135. • In 1204, Latin crusaders sacked
Constantinople, bringing to an end the Middle
Byzantine era.
• In 1261, Michael VIII Palaeologus succeeded
in recapturing the city. Constantinople
remained in Byzantine hands until its capture
by the Ottoman Turks in 1453.