How little we know

Almost nothing is known about Jesus beyond biblical accounts, although we do know quite a bit more about the cultural and political context in which he lived—for example, Jerusalem in the first century. What follows is an introductory historical summary of Christianity. It hardly needs stating that there are many interpretations and disagreements among historians.

Jesus v. Rome

The biblical Jesus, described in the Gospels as the son of a carpenter, was a Jew and a champion of the underdog. He rebelled against the occupying Roman government in what was then Palestine (at this point the Roman Empire stretched across the Mediterranean). He was crucified for upsetting the social order and challenging the authority of the Romans and their local Jewish leaders. The Romans crucified Jesus, a typical method of execution—especially for those accused of crimes against the government.

Jesus’s followers claim that after three days he rose from the grave and later ascended into heaven. His original followers, known as disciples or apostles, traveled great distances and spread Jesus’s message. His life is recorded in the Gospels of Matthew, Mark, Luke, and John, which are found in the New Testament. “Christ” means messiah or savior (this belief in a savior is a traditional part of Jewish theology).

Old and New Testaments

Early on, there were many ways that Christianity was practiced and understood, and it wasn’t until the second century that Christianity began to be understood as a religion distinct from Judaism (it’s helpful to remember that Judaism itself had many different sects). Christians were sometimes severely persecuted by the Romans. In the early fourth century, the Roman Emperor Constantine experienced a miraculous conversion and made it legally acceptable to be a Christian. Less than a hundred years later, the Roman Emperor Theodosius made Christianity the official state religion.

The first Christians were Jews (whose bible we refer to as the Hebrew Bible or Tanakh). But soon pagans too converted to this new religion. Christians saw the predictions of the prophets in the Hebrew Bible come to fulfillment in the life of Jesus Christ—hence the “Bible” of the Christians includes both the Hebrew Bible (or the Old Testament) and the New Testament.

In addition to the fulfillment of prophecy, Christians saw parallels between the events of the Hebrew Bible and the New Testament. These parallels, or foreshadowings, are called typology. One example would be Abraham’s willingness to sacrifice his son, Isaac, and the later sacrifice of Christ on the cross.  We often see these comparisons in Christian art offered as a revelation of God’s plan for the salvation of mankind.

Different Christianities

Unlike Greek and Roman religions (there was both an official “state” religion as well as other cults), Christianity emphasized belief and a personal relationship with God. The doctrines, or main teachings, of Christianity were determined in a series of councils in the early Christian period, such as the Council of Nicea in 325. This resulted in a common statement of belief known as the Nicene Creed, which is still used by some churches today.

Nevertheless, there is great diversity in Christian belief and practice. This was true even in the early days of Christianity, when, for example, Arians (who believed that the three parts of the Holy Trinity were not equal) and Donatists (who held that priests who had renounced their Christian faith during periods of persecution could not administer the sacraments), were considered heretics (someone who goes against official teaching). Today there are approximately 2.2 billion Christians who belong to a multitude of sects.

The two dominant early branches of Christianity were the Catholic and Orthodox Churches, rooted in Western and Eastern Europe respectively. Protestantism (and its different forms) emerged only later, at the beginning of the sixteenth century. Before that there was essentially just one church in Western Europe—what we would call the Roman Catholic church today (to differentiate it from other forms of Christianity in the West such as Lutheranism, Methodism etc.). Christianity spread throughout the world. In the sixteenth century, the Jesuits (a Catholic order), sent missionaries to Asia, North and South America, and Africa often in concert with Europe’s colonial expansion.

Doctrines

Christianity holds that God has a three-part nature—that God is a trinity (God the father, the Holy Spirit, and Jesus Christ) and that it was Jesus’s death on the cross—his sacrifice—that allowed for human beings to have the possibility of eternal life in heaven. [1] In Christian theology, Christ is seen as the second Adam, and Mary (Jesus’s mother) is seen as the second Eve. The idea here is that where Adam and Eve caused original sin, and were expelled from paradise (the Garden of Eden), Mary and Christ made it possible for human beings to have eternal life in paradise (heaven), through Christ’s sacrifice on the cross.

Christian practice centers on the sacrament of the Eucharist, which is sometimes referred to as Communion. Christians eat bread and drink wine to remember Christ’s sacrifice for the sins of humankind. Christ himself initiated this practice at the Last Supper. Catholics and Eastern Orthodox believe that the bread and wine literally transform into the body and blood of Christ, whereas Protestants and other Christians see the Eucharist as symbolic reminder and re-enactment of Christ’s sacrifice.

Christians demonstrate their faith by engaging in good (charitable) works (works of art—like the frescoes by Giotto in the Arena Chapel—were often created as good works). They often engage in rituals (sacraments) such as partaking of the Eucharist or being baptized. Traditional Christian churches have a hierarchical structure of clergy. Devout men and women sometimes become nuns or monks and may separate themselves from the world and live a cloistered life devoted to prayer in a monastery.

Notes:

[1] There are also nontrinitian Christians.

Key events

Two important moments played a critical role in the development of early Christianity:

1. The decision of the Apostle Paul to spread Christianity beyond the Jewish communities of Palestine into the Greco-Roman world.

2. When the Roman Emperor Constantine accepted Christianity and became its patron at the beginning of the fourth century.

The creation and nature of Christian art were directly impacted by these moments.

The spread of Christianity

As implicit in the names of his Epistles, Paul spread Christianity to the Greek and Roman cities of the ancient Mediterranean world. In cities like Ephesus, Corinth, Thessaloniki, and Rome, Paul encountered the religious and cultural experience of the Greco-Roman world. This encounter played a major role in the formation of Christianity.

Christianity as a mystery cult

Christianity in its first three centuries was one of a large number of mystery religions that flourished in the Roman world. Religion in the Roman world was divided between the public, inclusive cults of civic religions and the secretive, exclusive mystery cults. The emphasis in the civic cults was on customary practices, especially sacrifices. Since the early history of the polis or city-state in Greek culture, the public cults played an important role in defining civic identity.

As it expanded and assimilated more people, Rome continued to use the public religious experience to define the identity of its citizens. The polytheism of the Romans allowed the assimilation of the gods of the people it had conquered.

Thus, when the Roman Emperor Hadrian created the Pantheon in the early second century, the building’s dedication to all the gods signified the Roman ambition of bringing cosmos or order to the gods, just as new and foreign societies were brought into political order through the spread of Roman imperial authority. The order of Roman authority on earth is a reflection of the divine cosmos.

For most adherents of mystery cults, there was no contradiction in participating in both the public cults and a mystery cult. The different religious experiences appealed to different aspects of life. In contrast to the civic identity which was at the focus of the public cults, the mystery religions appealed to the participant’s concerns for personal salvation. The mystery cults focused on a central mystery that would only be known by those who had become initiated into the teachings of the cult.

Monotheism

These are characteristics Christianity shares with numerous other mystery cults. In early Christianity emphasis was placed on baptism, which marked the initiation of the convert into the mysteries of the faith. The Christian emphasis on the belief in salvation and an afterlife is consistent with the other mystery cults. The monotheism of Christianity, though, was a crucial difference from the other cults. The refusal of the early Christians to participate in the civic cults due to their monotheistic beliefs lead to their persecution. Christians were seen as anti-social.

The beginnings of an identifiable Christian art can be traced to the end of the second century and the beginning of the third century. Considering the Old Testament prohibitions against graven images, it is important to consider why Christian art developed in the first place. The use of images will be a continuing issue in the history of Christianity. The best explanation for the emergence of Christian art in the early church is due to the important role images played in Greco-Roman culture.

As Christianity gained converts, these new Christians had been brought up on the value of images in their previous cultural experience and they wanted to continue this in their Christian experience. For example, there was a change in burial practices in the Roman world away from cremation to inhumation. Outside the city walls of Rome, adjacent to major roads, catacombs were dug into the ground to bury the dead. Families would have chambers or cubicula dug to bury their members. Wealthy Romans would also have sarcophagi or marble tombs carved for their burial. The Christian converts wanted the same things. Christian catacombs were dug frequently adjacent to non-Christian ones, and sarcophagi with Christian imagery were apparently popular with the richer Christians.

Junius Bassus, a Roman praefectus urbi or high ranking government administrator, died in 359 C.E. Scholars believe that he converted to Christianity shortly before his death accounting for the inclusion of Christ and scenes from the Bible. (Photograph above shows a plaster cast of the original.)

Themes of death and resurrection

A striking aspect of the Christian art of the third century is the absence of the imagery that will dominate later Christian art. We do not find in this early period images of the Nativity, Crucifixion, or Resurrection of Christ, for example. This absence of direct images of the life of Christ is best explained by the status of Christianity as a mystery religion. The story of the Crucifixion and Resurrection would be part of the secrets of the cult.

While not directly representing these central Christian images, the theme of death and resurrection was represented through a series of images, many of which were derived from the Old Testament that echoed the themes. For example, the story of Jonah—being swallowed by a great fish and then after spending three days and three nights in the belly of the beast is vomited out on dry ground—was seen by early Christians as an anticipation or prefiguration of the story of Christ’s own death and resurrection. Images of Jonah, along with those of Daniel in the Lion’s Den, the Three Hebrews in the Firey Furnace, Moses Striking the Rock, among others, are widely popular in the Christian art of the third century, both in paintings and on sarcophagi.

All of these can be seen to allegorically allude to the principal narratives of the life of Christ. The common subject of salvation echoes the major emphasis in the mystery religions on personal salvation. The appearance of these subjects frequently adjacent to each other in the catacombs and sarcophagi can be read as a visual litany: save me Lord as you have saved Jonah from the belly of the great fish, save me Lord as you have saved the Hebrews in the desert, save me Lord as you have saved Daniel in the Lion’s den, etc.

One can imagine that early Christians—who were rallying around the nascent religious authority of the Church against the regular threats of persecution by imperial authority—would find great meaning in the story of Moses of striking the rock to provide water for the Israelites fleeing the authority of the Pharaoh on their exodus to the Promised Land.

Christianity’s canonical texts and the New Testament

One of the major differences between Christianity and the public cults was the central role faith plays in Christianity and the importance of orthodox beliefs. The history of the early Church is marked by the struggle to establish a canonical set of texts and the establishment of orthodox doctrine.

Questions about the nature of the Trinity and Christ would continue to challenge religious authority. Within the civic cults there were no central texts and there were no orthodox doctrinal positions. The emphasis was on maintaining customary traditions. One accepted the existence of the gods, but there was no emphasis on belief in the gods.

The Christian emphasis on orthodox doctrine has its closest parallels in the Greek and Roman world to the role of philosophy. Schools of philosophy centered around the teachings or doctrines of a particular teacher. The schools of philosophy proposed specific conceptions of reality. Ancient philosophy was influential in the formation of Christian theology. For example, the opening of the Gospel of John: “In the beginning was the word and the word was with God…,” is unmistakably based on the idea of the “logos” going back to the philosophy of Heraclitus (ca. 535 – 475 BCE). Christian apologists like Justin Martyr writing in the second century understood Christ as the Logos or the Word of God who served as an intermediary between God and the World.

Early representations of Christ and the apostles

An early representation of Christ found in the Catacomb of Domitilla shows the figure of Christ flanked by a group of his disciples or students. Those experienced with later Christian imagery might mistake this for an image of the Last Supper, but instead this image does not tell any story. It conveys rather the idea that Christ is the true teacher.

Christ draped in classical garb holds a scroll in his left hand while his right hand is outstretched in the so-called ad locutio gesture, or the gesture of the orator. The dress, scroll, and gesture all establish the authority of Christ, who is placed in the center of his disciples. Christ is thus treated like the philosopher surrounded by his students or disciples.

Comparably, an early representation of the apostle Paul (left), identifiable with his characteristic pointed beard and high forehead, is based on the convention of the philosopher, as exemplified by a Roman copy of a late fourth century B.C.E. portrait of the fifth century B.C.E. playwright Sophocles (right).

The relationship between liturgy and architecture—between worship and the space in which it occurs—has a rich history in the Christian tradition. Its roots go back well before the emergence of Christianity to origins in Jewish worship. The term “liturgy” is from a Greek word that means “public service” or “work of the people” and has long been used to describe Christian worship. Today, churches are often described as either “liturgical” (e.g., Catholic, Episcopalian) or “non-liturgical” (e.g., Baptist, Pentecostal) depending on whether or not they use a scripted liturgy (such as the Book of Common Prayer). However, in its most basic sense, a liturgy is simply the order of events in a church service; therefore all churches are liturgical in the sense that all of their services have some kind of structure (welcome, opening prayer, hymn singing, sermon, closing prayer, dismissal, etc.).

Jewish origins

As described in the Jewish Bible (Exodus 25–31), during their exile in the desert, the Israelites made sacrifices to God in the Tabernacle, which was a huge moveable tent. In a large outer court, they made sacrifices, and they burned incense in an inner chamber, dubbed the “Holy of Holies.” The Holy of Holies housed the Ark of the Covenant, which contained the Ten Commandments and the manna (the substance miraculously supplied as food to the Israelites in the wilderness), and was where God chose to reveal his presence. It wasn’t until King Solomon built the Temple in Jerusalem (possibly in the 10th century B.C.E.) that the Jews had a permanent place of worship. Although made of stone, the Temple had a similar layout as the Tabernacle. This Temple was destroyed in 586 B.C.E. and was replaced by the Second Temple (now the location of the Dome of the Rock in Jerusalem).

We don’t know much about the details of Temple liturgy, but worship included animal sacrifices, incense burning, chanting of the Psalms, blessings, and the making and eating of the “showbread” (bread placed on a specially dedicated table in the Temple as an offering to God).

After the Roman commander (and later emperor) Titus destroyed the Second Temple in 70 C.E., the Jews were forced to worship only in their synagogues, which were—and remain today—halls for prayer and study (but not sacrifice). In addition to chanting psalms, prayers, and blessings, services in the synagogue also included the reading of scripture and teaching. This was reflected in the synagogue architecture, which included the bema, a platform from which men could read scripture and teach.

Early Christian worship

Many of the first Christians were Jews and so continued and reinterpreted many practices from the Temple and synagogue. We know from early Christian texts, such as the writings of Tertullian, Irenaeus of Lyons, and Justin Martyr, and the Didache (a 1st- or 2nd-century text of possible Syrian origins) and the New Testament book of Hebrews that early Christian worship included some type of creedal statement, hymns, prayers, the reading of the Septuagint (the Hebrew Bible translated into Greek), teaching, meals, and baptism.

Before the year 313 C.E., when the emperor Constantine legalized Christianity with the Edict of Milan, Christian worship occurred in homes, at grave sites of saints and loved ones, and even outdoors. One of the earliest existing churches (dating to about 254 C.E.) is found at Dura-Europos, a Roman outpost in Syria. This small church had been converted from a typical Roman home, which had a square layout with a courtyard at its center. The church members apparently knocked down one of the walls to create a larger hall for teaching and the celebration of the eucharist (for Catholics, the miraculous transformation of the bread and wine into the body and blood of Christ). One of the rooms was also turned into a baptistery, which contains some of the earliest surviving Christian frescoes.

Christian use of the Roman basilica

Not long after his conversion and subsequent legalization of Christianity, Constantine began an extensive building campaign to support his new state religion in major cities such as Rome, Jerusalem, and Constantinople. In looking for a structure to address the spatial needs of the developing Christian liturgy (such as increasing congregation size and more elaborate processions), he adapted the Roman basilica, which until that point had been used exclusively as a civic building, like the Basilica of Maxentius and Constantine.

Roman basilicas were long rectangular buildings, often with a central nave (a wide, center aisle) and two side aisles. There was at least one semicircular apse, often at one end of the building, in which the magistrates sat and heard their cases. The basilica was in many ways the perfect building to adapt into a church because it did not have the pagan associations that Roman temples did and was large enough to accommodate the growing Christian population.

Early Christian basilicas such as Santa Sabina and San Paolo fuori le Mura (Saint Paul’s Outside the Walls) maintained the basic structure of the Roman basilica, but distinctly Christian elements were added. The bema was retained from the synagogue and continued to be used as the raised platform from which priests preached (by the late Middle Ages this was often attached to a pillar to one side of the central aisle of the nave). Many churches added the ambo, an even higher platform, accessed by stairs, from which the Gospel was read and sermons were preached—in which case the bema was reserved for the recitation of prayers and the reading of the Epistles or Old Testament. Another distinctly Christian architectural element was the transept, which was added near the apse-end of the building to form a cross-shape and provide additional space.

Most significant among the Christian additions to the basilica, and the central focus for the liturgy, was the altar upon which the eucharist was celebrated. Altars were located either right in front of or just inside of the apse (as in Santa Sabina)—that is, within the Christian equivalent of the Jewish Holy of Holies. Up until the Middle Ages, most altars were wooden table-like structures; they then transitioned into stone. In the early 5th century, the Church formally required the installation of saints’ relics (often bone fragments) in altars. This practice was based in part on the tradition of placing altars on top of martyrs’ tombs (like at Saint Peter’s Basilica in Rome) and the text of Revelation 6:9-10, which describes martyrs crying out for justice from under the altar in heaven. The three main areas of the church came to be ascribed with symbolic meaning: the narthex, or entry, was the world; the nave, or main hall, was the Kingdom of God; and the sanctuary, or altar area—like the Holy of Holies—was heaven.

Medieval worship

The structures of both the liturgy and church architecture remained basically the same in the Middle Ages, but became increasingly complex and diverse as Christianity spread throughout the empire. We can think of the liturgy as the script and the church architecture as the stage upon which it was performed. The “actors” were the clergy of course, consisting of priests, deacons, and liturgical assistants, but the congregation also had an essential role. They not only participated in the call and response of prayers and hymns in the liturgy and walked in processions within and without the church walls, but they also practiced personal devotion during the celebration of liturgy. It was not uncommon for lay people to move about the building independent of the liturgy in order to pray or light candles at the smaller shrines in a church’s side chapels.

As is still the case in modern churches, liturgy and architecture mutually influenced one another in the Middle Ages. The walls and floors of medieval churches were often covered with plaques and tombs dedicated to church members and saints, as well as images of Christ, Mary, saints, and angels. These images and memorials influenced the movements of the faithful, as they moved about the church interior to venerate their particular favorites. A shrine of a popular or historically important saint would receive more attention, perhaps in the form of donations, and thus would be embellished. Or if, for example, the bones of a saint or martyr were interred in a particular location of the church, others would seek to be buried as close as possible to that tomb, and so on. These are just a few of the many ways in which theology and devotional practice could influence the church environment and vice versa.

There were also areas of the church that were off-limits for the laity (the non-clergy public), most notably the altar area. Initially the use of chancels, or waist-high walls, were used to separate the congregation from the altar for very practical reasons like keeping dogs away from the bread and the wine of the eucharist or retaining large crowds on major holidays. However, with time, these partitions were made higher and more ornate, peaking in the late Middle Ages when they often reached the ceiling of the church and completely obstructed the congregation’s view of the altar.

Relics and pilgrimage

Images and relics also influenced religious activity on a much larger scale beyond the walls of the church. Religious pilgrimage had been an important part of Christian devotion since the time of Constantine and his building campaign in the Holy Land and Constantinople (a pilgrimage is a journey to a sacred place). Of course, not everyone was financially or physically able to make such a trek and in response, church architecture and religious objects (such as reliquaries) began to invoke elements of particular pilgrimage sites or recreate pilgrimages on a smaller scale. For example, architectural elements of Holy Land buildings such as the Church of the Holy Sepulcher were often referenced in the churches of Western Europe, or even explicitly invoked, as in the name of the basilica of Santa Croce in Gerusalemme (the basilica of the Holy Cross in Jerusalem) in Rome. Relics of important saints were also used to refocus attention. For instance, the founding of a new political center (say, Charlemagne’s palace and chapel at Aachen) often entailed the relocation of relics to embody divine approval and authority and/or entice pilgrims and visitors.

Spiritual architecture

We should also note that, in a sense, the physical progression of the faithful from the nave of the church to the altar—if and when they participated in the eucharist—was itself a small-scale, local version of a pilgrimage, in which they moved from their present reality to the future promise of heaven. The spiritual understanding of the church and its architecture also impacted the actual design of medieval churches. Biblical passages such as Revelation 21:9-21, which describes a vision of an angel measuring the city of the Heavenly Jerusalem, inspired medieval Christians to ascribe spiritual significance to the dimensions and proportions of church architecture. Revelation 21:9-21 is illustrated, for example, in the 11th-century manuscript of Beatus of Liébana’s Commentary on the Apocalypse, which depicts one angel holding a measuring rod in the city center as twelve angels stand at its twelve gates, visually becoming part of the architecture of the Heavenly Jerusalem. While, in a sense, all medieval churches were understood to be symbolic of the Heavenly Jerusalem, some invoked its imagery more literally, as found in the use of semiprecious stones (cf. Rev. 21:9,19) set into the dado (lower walls) of the chapels of Saint Catherine and the Holy Cross at Karlstein, and the chapel of Wenceslas in the Prague Cathedral.

Another example of spiritual architecture is found in the monastic complex of the Plan of Saint Gall, the exact purpose of which remains a matter of scholarly debate today. Christian monasticism dates back to the desert monks of the 4th century. The monks led lives of poverty, prayer, and asceticism which were formalized in several important guidebooks or “rules”; one of the most influential was the Rule of Saint Benedict, which regulated the monks’ lives by hourly prayer and the celebration of the liturgy, or the “offices.” Something of this regulation is visible in the Plan of Saint Gall, which depicts more than forty structures, including a church, a scriptorium (a place where monks who were scribes copied books), residence halls, and buildings for preparing and eating food. Grids and squares dominate the Plan’s buildings and gardens, creating a visual sense of order. Regardless of whether its elaborate schematic was intended for the construction of an actual building in the Carolingian empire, it seems that the Plan of Saint Gall was meant to be a diagram of the ideal, spiritual monastery.

Mapping time

In short, while there was a broad range of experience and understanding of the church and its liturgy throughout Europe—from the peasant who attended rarely if ever, to the clergy who used and often commissioned buildings and furnishings, to the aristocrats who funded much of medieval monumental art and manuscripts, even to kings and the emperor himself—life in the Middle Ages was measured out by the liturgical calendar. Churches were focal points of the medieval landscape and their ceremonies and processions periodically mapped out the sacred even beyond the church walls.

By the beginning of the 4th century Christianity was a growing mystery religion in the cities of the Roman world. It was attracting converts from different social levels. Christian theology and art was enriched through the cultural interaction with the Greco-Roman world. But Christianity would be radically transformed through the actions of a single man.

Rome becomes Christian and Constantine builds churches

In 312, the Emperor Constantine defeated his principal rival Maxentius at the Battle of the Milvian Bridge. Accounts of the battle describe how Constantine saw a sign in the heavens portending his victory. Eusebius, Constantine’s principal biographer, describes the sign as the Chi Rho, the first two letters in the Greek spelling of the name Christos.

After that victory Constantine became the principal patron of Christianity. In 313 he issued the Edict of Milan which granted religious toleration. Although Christianity would not become the official religion of Rome until the end of the 4th century, Constantine’s imperial sanction of Christianity transformed its status and nature. Neither imperial Rome or Christianity would be the same after this moment. Rome would become Christian, and Christianity would take on the aura of imperial Rome.

The transformation of Christianity is dramatically evident in a comparison between the architecture of the pre-Constantinian church and that of the Constantinian and post-Constantinian church. During the pre-Constantinian period, there was not much that distinguished the Christian churches from typical domestic architecture. A striking example of this is presented by a Christian community house, from the Syrian town of Dura-Europos. Here a typical home has been adapted to the needs of the congregation. A wall was taken down to combine two rooms: this was undoubtedly the room for services. It is significant that the most elaborate aspect of the house is the room designed as a baptistry. This reflects the importance of the sacrament of Baptism to initiate new members into the mysteries of the faith. Otherwise this building would not stand out from the other houses. This domestic architecture obviously would not meet the needs of Constantine’s architects.

Emperors for centuries had been responsible for the construction of temples throughout the Roman Empire. We have already observed the role of the public cults in defining one’s civic identity, and Emperors understood the construction of temples as testament to their pietas, or respect for the customary religious practices and traditions. Therefore, it was natural for Constantine to want to construct edifices in honor of Christianity. He built churches in Rome, including the Church of St. Peter, he built churches in the Holy Land, most notably the Church of the Nativity in Bethlehem and the Church of the Holy Sepulcher in Jerusalem, and he built churches in his newly-constructed capital of Constantinople.

The basilica

In creating these churches, Constantine and his architects confronted a major challenge: what should be the physical form of the church? Clearly the traditional form of the Roman temple would be inappropriate both from associations with pagan cults but also from the difference in function. Temples served as treasuries and dwellings for the cult; sacrifices occurred on outdoor altars with the temple as a backdrop. This meant that Roman temple architecture was largely an architecture of the exterior. Since Christianity was a mystery religion that demanded initiation to participate in religious practices, Christian architecture put greater emphasis on the interior. The Christian churches needed large interior spaces to house the growing congregations and to mark the clear separation of the faithful from the unfaithful. At the same time, the new Christian churches needed to be visually meaningful. The buildings needed to convey the new authority of Christianity. These factors were instrumental in the formulation during the Constantinian period of an architectural form that would become the core of Christian architecture to our own time: the Christian Basilica.

The basilica was not a new architectural form. The Romans had been building basilicas in their cities and as part of palace complexes for centuries. A particularly lavish one was the so-called Basilica Ulpia constructed as part of the Forum of the Emperor Trajan in the early 2nd century. Basilicas had diverse functions but essentially they served as formal public meeting places. One of the major functions of the basilicas was as a site for law courts. These were housed in an architectural form known as the apse. In the Basilica Ulpia, these semi-circular forms project from either end of the building, but in some cases, the apses would project off of the length of the building. The magistrate who served as the representative of the authority of the Emperor would sit in a formal throne in the apse and issue his judgments. This function gave an aura of political authority to the basilicas.

The basilica at Trier (Aula Palatina)

Basilicas also served as audience halls as a part of imperial palaces. A well-preserved example is found in the northern German town of Trier. Constantine built a basilica as part of a palace complex in Trier which served as his northern capital. Although a fairly simple architectural form and now stripped of its original interior decoration, the basilica must have been an imposing stage for the emperor. Imagine the emperor dressed in imperial regalia marching up the central axis as he makes his dramatic adventus, or entrance, along with other members of his court. This space would have humbled an emissary who approached the enthroned emperor seated in the apse.

Made for a member of the Roman elite, this early tomb features Old and New Testament scenes in a classical style.

Adapted from Sarcophagus of Junius Bassus, marble, 359 C.E., almost 8 x 6 x 5 feet (Museum of the Treasury of the Basilica of Saint Peter in the Vatican). Speakers: Dr. Beth Harris and Dr. Steven Zucker

Christianity becomes legal

By the middle of the fourth century Christianity had undergone a dramatic transformation. Before Emperor Constantine’s acceptance, Christianity had a marginal status in the Roman world. Attracting converts in the urban populations, Christianity appealed to the faithful’s desires for personal salvation; however, due to Christianity’s monotheism (which prohibited its followers from participating in the public cults), Christians suffered periodic episodes of persecution. By the middle of the fourth century, Christianity under imperial patronage had become a part of the establishment. The elite of Roman society were becoming new converts.

Such an individual was Junius Bassus. He was a member of a senatorial family. His father had held the position of Praetorian prefect, which involved administration of the Western Empire. Junius Bassus held the position of praefectus urbi (“urban prefect”) for Rome, an office established in the early period under the kings, and was responsible for the administration of the city of Rome. It was a position held by members of the most elite families. When Junius Bassus died at the age of 42 in the year 359, a sarcophagus was made for him. As recorded in an inscription on the sarcophagus now in the Vatican collection, Junius Bassus had become a convert to Christianity shortly before his death.

The birth of Christian symbolism in art

The style and iconography of this sarcophagus reflects the transformed status of Christianity. This is most evident in the image at the center of the upper register. Before the time of Constantine, the figure of Christ was rarely directly represented, but here on the Junius Bassus sarcophagus we see Christ prominently represented not in a narrative representation from the New Testament but in a formula derived from Roman Imperial art. The traditio legis (“giving of the law”) was a formula in Roman art to give visual testament to the emperor as the sole source of the law.

Already at this early period, artists had articulated identifiable formulas for representing Saints Peter and Paul. Peter was represented with a bowl haircut and a short cropped beard, while the figure of Paul was represented with a pointed beard and usually a high forehead. In paintings, Peter has white hair and Paul’s hair is black. The early establishment of these formulas was undoubtedly a product of the doctrine of apostolic authority in the early church. Bishops claimed that their authority could be traced back to the original Twelve Apostles.

Peter and Paul held the status as the principal apostles. The Bishops of Rome have understood themselves in a direct succession back to Saint Peter, the founder of the church in Rome and its first bishop. The popularity of the formula of the traditio legis in Christian art in the fourth century was due to the importance of establishing orthodox Christian doctrine.

In contrast to the established formulas for representing Saints Peter and Paul, early Christian art reveals two competing conceptions of Christ. The youthful, beardless Christ, based on representation of Apollo, vied for dominance with the long-haired and bearded Christ, based on representations of Jupiter or Zeus.

The feet of Christ in the Junius Bassus relief rest on the head of a bearded, muscular figure, who holds a billowing veil spread over his head. This is another formula derived from Roman art. A comparable figure appears at the top of the cuirass of the Augustus of Primaporta. The figure can be identified as the figure of Caelus, or the heavens. In the context of the Augustan statue, the figure of Caelus signifies Roman authority and its rule of everything earthly, that is, under the heavens. In the Junius Bassus relief, Caelus’s position under Christ’s feet signifies that Christ is the ruler of heaven.

The lower register directly underneath depicts Christ’s Entry into Jerusalem. This image was also based on a formula derived from Roman imperial art. The adventus was a formula devised to show the triumphal arrival of the emperor with figures offering homage. A relief from the reign of Marcus Aurelius illustrates this formula. In including the Entry into Jerusalem, the designer of the Junius Bassus sarcophagus did not just use this to represent the New Testament story, but with the adventus iconography, this image signifies Christ’s triumphal entry into Jerusalem. Whereas the traditio legis above conveys Christ’s heavenly authority, it is likely that the Entry into Jerusalem in the form of the adventus was intended to signify Christ’s earthly authority. The juxtaposition of the Christ in Majesty and the Entry into Jerusalem suggests that the planner of the sarcophagus had an intentional program in mind.

Old and new together

We can determine some intentionality in the inclusion of the Old and New Testament scenes. For example the image of Adam and Eve shown covering their nudity after the Fall was intended to refer to the doctrine of Original Sin that necessitated Christ’s entry into the world to redeem humanity through His death and resurrection. Humanity is thus in need of salvation from this world.

The inclusion of the suffering of Job on the left hand side of the lower register conveyed the meaning how even the righteous must suffer the discomforts and pains of this life. Job is saved only by his unbroken faith in God.

The scene of Daniel in the lion’s den to the right of the Entry into Jerusalem had been popular in earlier Christian art as another example of how salvation is achieved through faith in God.

Salvation is a message in the relief of Abraham’s sacrifice of Isaac on the left hand side of the upper register. God challenged Abraham’s faith by commanding Abraham to sacrifice his only son Isaac. At the moment when Abraham is about to carry out the sacrifice his hand is stayed by an angel. Isaac is thus saved. It is likely that the inclusion of this scene in the context of the rest of the sarcophagus had another meaning as well. The story of the father’s sacrifice of his only son was understood to refer to God’s sacrifice of his son, Christ, on the Cross. Early Christian theologians attempting to integrate the Old and New Testaments saw in Old Testament stories prefigurations or precursors of New Testament stories. Throughout Christian art the popularity of Abraham’s Sacrifice of Isaac is explained by its typological reference to the Crucifixion of Christ.

Martyrdom

While not showing directly the Crucifixion of Christ, the inclusion of the Judgment of Pilate in two compartments on the right hand side of the upper register is an early appearance in Christian art of a scene drawn from Christ’s Passion. The scene is based on the formula in Roman art of Justitia, illustrated here by a panel made for Marcus Aurelius. Here the emperor is shown seated on the sella curulis dispensing justice to a barbarian figure. On the sarcophagus, Pilate is shown seated also on a sella curulis. The position of Pontius Pilate as the Roman prefect or governor of Judaea undoubtedly carried special meaning for Junius Bassus in his role as praefectus urbi in Rome. Junius Bassus as a senior magistrate would also be entitled to sit on a sella curulis.

Just as Christ was judged by Roman authority, Saints Peter and Paul were martyred under Roman rule. The remaining two scenes on the sarcophagus represent Saints Peter and Paul being led to their martyrdoms. Peter and Paul as the principal apostles of Christ are again given prominence. Their martyrdoms witness Christ’s own death. The artists seem to be making this point by the visual pairing of the scene of Saint Peter being led to his martyrdom and the figure of Christ before Pilate. In both scenes the principal figure is flanked by two other figures.

The importance of Peter and Paul in Rome is made apparent in that two of the major churches that Constantine constructed in Rome were the Church of Saint Peter and the Church of Saint Paul Outside the Walls. The site of the Church of Saint Peter has long believed to be the place of Saint Peter’s burial. The basilica was constructed in an ancient cemetery. Although we can not be certain the the Junius Bassus Sarcophagus was originally intended for this site, it would make sense that a prominent Roman Christian like Junius Bassus would want to be buried in close physical proximity to the burial spot of the founder of the Church of Rome.

Competing styles

At either end of the Junius Bassus sarcophagus appear Erotes harvesting grapes and wheat. A panel with the same subject was probably a part of a pagan sarcophagus made for a child. This iconography is based on images of the seasons in Roman art. Again, the artists have taken conventions from Greek and Roman art and converted it into a Christian context. The wheat and grapes of the classical motif would be understood in the Christian context as a reference to the bread and wine of the Eucharist.

While the proportions are far from the standards of classical art, the style of the relief, especially with the rich folds of drapery and soft facial features, can be seen as classic or alluding to the classical style. Comparably the division of the relief into different registers and further subdivided by an architectural framework alludes to the orderly disposition of classical art. This choice of a style that alludes to classical art was undoubtedly intentional. The art of the period is marked by a number of competing styles. Just as rhetoricians were taught at this period to adjust their oratorical style to the intended audience, the choice of the classical style was seen as an indication of the high social status of the patron, Junius Bassus. In a similar way, the representation of the figures in togas was intentional. In Roman art, the toga was traditionally used as a symbol of high social status.

In both its style and iconography, the Junius Bassus Sarcophagus witnesses the adoption of the tradition of Greek and Roman art by Christian artists. Works like this were appealing to patrons like Junius Bassus who were a part of the upper level of Roman society. Christian art did not reject the classical tradition: rather, the classical tradition will be a reoccurring element in Christian art throughout the Middle Ages.

Basilica of Santa Sabina, 422–432, Rome

Basilicas—a type of building used by the ancient Romans for diverse functions including as a site for law courts—is the category of building that Constantine’s architects adapted to serve as the basis for the new churches. The original Constantinian buildings are now known only in plan, but an examination of a still extant early fifth century Roman basilica, the Church of Santa Sabina, helps us to understand the essential characteristics of the early Christian basilica.

Like the Trier basilica, the Church of Santa Sabina has a dominant central axis that leads from the entrance to the apse, the site of the altar. This central space is known as the nave, and is flanked on either side by side aisles. The architecture is relatively simple with a wooden, truss roof. The wall of the nave is broken by clerestory windows that provide direct lighting in the nave. The wall does not contain the traditional classical orders articulated by columns and entablatures. Now plain, the walls apparently originally were decorated with mosaics.

This interior would have had a dramatically different effect than the classical building. As exemplified by the interior of the Pantheon constructed in the second century by the Emperor Hadrian, the wall in the classical building was broken up into different levels by the horizontals of the entablatures. The columns and pilasters form verticals that tie together the different levels. Although this decor does not physically support the load of the building, the effect is to visualize the weight of the building. The thickness of the classical decor adds solidity to the building.

In marked contrast, the nave wall of Santa Sabina has little sense of weight. The architect was particularly aware of the light effects in an interior space like this. The glass tiles of the mosaics would create a shimmering effect and the walls would appear to float. Light would have been understood as a symbol of divinity. Light was a symbol for Christ. The emphasis in this architecture is on the spiritual effect and not the physical. The opulent effect of the interior of the original Constantinian basilicas is brought out in a Spanish pilgrim’s description of the Church of the Holy Sepulcher in Jerusalem:

The decorations are too marvelous for words. All you can see is gold, jewels and silk. . . . You simply cannot imagine the number and sheer weight of the candles, tapers, lamps and everything else they use for the services. . . . They are beyond description, and so is the magnificent building itself. It was built by Constantine and . . . was decorated with gold, mosaic, and precious marble, as much as his empire could provide.