Roman Influence in Early Christian Art

The Edict of Milan, passed in 313 AD brought about drastic changes in the way the Roman Empire was governed, as well as the how art was used. Although building off classic Roman art, the Early Christian church sought to draw a distinction between the material and the immaterial. In order to do this, artist of the Early Christian time period began to abstract Roman techniques. Roman treatments of architectural decoration, illustration, and sculpture would be abstracted, which would allow the masses to see the essence of this emerging Christian art.

Once the Emperor Constantine declared Christianity to be the official religion of the church, the way in which people worshiped would be changed forever. Previously, Christians would worship and artistically express themselves in the catacombs of Rome or in their private homes. After 313 however, all this would change. Now, instead of private homes being the places of worship, churches were constructed where the masses could gather and worship openly. Christianity had moved from an alternative religion to the staple religion of the Empire. Constantine wanted churches to be visible all throughout the empire; however the church was no where near completion unless it was decorated with a Biblical narrative.

Eastern and Western Europe, both Christian, had different ways of not only artistic style, but also of the church plan. In Western Europe the Christian basilica became the model for how churches were to be constructed throughout the Western part of the Empire. Old St. Peter's provides an appropriate example. The characteristics of this Christian Basilica are reminiscent of Roman imperial basilica, featuring a long nave, clerestory windows, an apse, and focus on the procession from the entrance to the altar at the opposite end. The Eastern Church had a central plan, much like Santa Costanza in Rome. The building is polygonal or round in shape capped off by a dome. Imperial structures that existed were Diocletian's mausoleum at his Palace in Spalato. As the function of the Christian basilica was to honor the saints, the function of the central plan was funerary purposes.

From the church plans to the artwork, Roman influences can be identified all throughout Early Christian art. The architectural decorations that were used were the barrel vaults in the Mausoleum of Galla Placidia in Ravenna, reflective of their use in the Sanctuary of Fortuna. Also in the Mausoleum are mosaics like Good Shepherd an art form that the Christians used to portray a message, much like the way the Romans used murals. Only the Christians used tessare and glittering gold to create an illusion of divinity, whereas the Romans painted scenes on walls. The impact of walking from the mundane outside to inside this structure with colorful, shimmering bits of glass plastered all over the walls would have had a tremendous spiritual impact. The Column of Trajan also helped solve the problem of condensing complex actions into a unified whole. It was imperative that not only should a narrative be read at a distance, but also that the complex message is received, much like what is accomplished in The Parting of Lot and Abraham and Shepherds in a Landscape.

Early Christian illustrated books also carried on the tradition of illusionism that the Romans employed. Vellum Codexes had replaced parchment, allowing these "books" to be bound. The illustrations resemble mosaics, in that they portray a framed narrative. This is evident in the Vatican Vergil and Quedlinburg. The Codex of this time continues to portray a narrative and create illusion interpreted by the people.

Sculpture is another art form that carved a place in history for the Early Christians. The influence from the Romans in sculpture is evident, especially in the Sarcophagus of Junius Bassus, whose figures can be compared to the relief on the Arch of Constantine. The figures are placed deep within a space, drapery shows the body, the figures are distributing their weight, and there is a clear narrative. On the surface, these old methods are apparent, however, when comparing this sarcophagus with a similar Roman sculpture, there are numerous notable differences. For one, the heads on the figures are too large for the body, the gesturing hand is largest, and Jesus resembles Apollo. Whereas the Romans were concerned with the narrative and aesthetics, the Early Christians were concerned with the narrative and the immaterial. It was not about beauty, but rather the message it contained. There is no longer a focus on beauty or attachment to the world. This further abstraction becomes clearer in Byzantine art.

Art from the East and West although intertwined, do share differences. The Byzantine mosaics tend to treat their divine subjects like stoic Greek philosophers or Roman leaders, Christ is a good example as he wears a beard (Zeus) and is gesturing with his right had (Marcus Aurelius, Augustus of Primaporta). The Latin West seemed to have more action and movement in their Mosaics, like The Parting of Lot and Abraham. In Byzantine paintings, the heads are always oval with small mouths but large eyes and faces are flat (Virgin and Child Enthroned, Justinius and His Attendants). This abstraction is meant to show the "unseen". What is meant to be gathered from these observations? The subject's eyes are large and prominent, much like the eyes on Portrait of Constantine the Great with eyes fixated on heaven.

Relying on the classical styles of Greece and Rome, Anthemius and Isidorus synthesized a structure that combines the best of both worlds. The massive Hagia Sophia appears weightless from the inside with numerous columns and arches forming the shell of the building while the mosaics glitter in the light from the dome. The airy, majestic atmosphere gives the Hagia Sophia a supernatural quality. All the growth that emerged from the Early Christian and Byzantine is culminated in production of the Hagia Sophia.

Davies, Penelope, Denny, Walter, Hofrichter, Frima, Jacobs, Joseph, Roberts, Ann, and Simon, David.
Janson's History of Art: The Western Tradition. Seventh Edition. Pearson: New Jersey.