UNIT3.1

Catacombs of Priscilla

Rome, Italy. c. 200–400 C.E. Tufa + fresco

Form

• Subterranean passageways, cubicula, arched ceilings

• Frescoes in buon fresco

• Roman style: frontal figures, hierarchical scale

Historical Context

• Early Christian art, Rome

• Time of persecution, underground worship

• Wealthy patron Priscilla

• Blend of Roman + Christian imagery

Content

• Good Shepherd, Jonah, miracles of Christ

• Earliest Virgin Mary + Child image

• Salvation, resurrection, eternal life

• Over 40,000 tombs, martyrs

Function

• Christian burial site

• Family commemoration of dead

• Worship and prayer space

• Affirmation of salvation and eternal life

 The Vienna Genesis, Rebecca and Eliezer at the Well

Early Byzantine, Syria. c. 6th century C.E. Illuminated manuscript, purple-dyed vellum, silver ink

Form

• Illuminated manuscript, continuous narrative

• Silver ink on purple-dyed vellum

• Classical style: naturalistic figures, flowing drapery

• Small scale, detailed, luxury materials

Historical Context

• Early Byzantine period

• Christian manuscript for wealthy patrons

• Preservation of classical Roman artistic traditions

• Produced in a Christian scriptorium

Content

• Story of Rebecca and Eliezer (Genesis 24)

• Continuous narrative: multiple moments in one scene

• Figures in landscape with architectural elements

• Themes of divine guidance, marriage, providence

Function

• Luxury devotional object

• Instruction in biblical stories

• Display of wealth and piety

• Aid to meditation and teaching

San Vitale

Ravenna, Italy. 526–547 C.E. Early Byzantine. Brick, marble, mosaic

Form

• Central-plan church, octagonal shape

• Dome, clerestory windows

• Interior: marble columns, mosaics with gold backgrounds

• Use of tesserae for shimmering effect

Historical Context

• Early Byzantine period, under Emperor Justinian I

• Ravenna as a Byzantine administrative center in Italy

• Christianity as state religion

• Blend of Roman architectural techniques + Eastern decoration

Content

• Interior mosaics: Emperor Justinian + attendants, Empress Theodora + court

• Biblical scenes: Christ, angels, saints

• Symbolism of imperial + divine authority

Function

• Place of Christian worship

• Showcase of imperial power and piety

• Commemoration of saints (St. Vitalis)

• Expression of divine authority on earth

Santa Sabina

Rome, Italy. 422–432 C.E. Early Christian. Brick, stone, wooden roof

Form

• Basilica plan, longitudinal nave

• Wooden roof, clerestory windows

• Marble columns, plain exterior, decorated interior

• Rounded arches, simple, elegant design

Historical Context

• Early Christian period, post-Constantine legalization of Christianity

• Roman basilica adapted for Christian worship

• Reflects early Christian emphasis on interior space for congregational worship

Content

• Nave with aisles, altar, apse

• Original mosaics (now mostly lost)

• Symbolism of light and space

• Christian iconography focused on Eucharist and salvation

Function

• Christian worship and liturgy

• Community gathering space

• Teaching Christian beliefs through architecture and decoration

• Example of early Christian adaptation of Roman architecture

Great Mosque of Córdoba

Córdoba, Spain. Umayyad dynasty. 785–786 C.E. Stone masonry

Form

• Hypostyle hall with double-tiered horseshoe arches

• Reused Roman/Visigoth columns (spolia)

• Mihrab with intricate mosaics, gold tesserae

• Courtyard with fountain, minaret (later bell tower)

Historical Context

• Built under Umayyad dynasty after fleeing Damascus

• Córdoba as Islamic capital in al-Andalus

• Fusion of Roman, Visigothic, Islamic forms

• Later converted to Christian cathedral after Reconquista

Content

• Prayer hall with rhythmic arches

• Mihrab niche richly decorated, geometric + vegetal motifs

• Kufic calligraphy, no figural imagery

• Symbol of paradise, light, infinity

Function

• Place of Islamic worship (salat)

• Political + religious symbol of Umayyad power

• Demonstration of cultural + artistic blending

• Later Christian cathedral (continuity + transformation)

Hagia Sophia

Form:

• Brick, ceramic, stone; massive dome on pendentives

• Innovative central dome with light-filled windows

Function:

• Originally a Christian church, later mosque, now museum

Content:

• Gold mosaics, marble, calligraphy added under Ottomans

Historical Context:

• Constantinople, 532–537 CE, by Anthemius & Isidorus

• Symbol of Justinian’s imperial power and divine wisdom

Virgin (Theotokos) and Child between Saints Theodore and George

Form:

• Encaustic on wood panel (icon painting)

• Stylized, frontal figures with gold background

Function:

• Private devotional image (icon)

Content:

• Mary holding Christ; flanked by warrior saints; angels above

Historical Context:

• 6th century CE, Monastery of St. Catherine, Sinai

• Reflects early Byzantine icon veneration before Iconoclasm

Alhambra

Form:

• Whitewashed adobe, wood, tile, and stucco

• Intricate arabesques, calligraphy, and muqarnas ceilings

Function:

• Royal palace and citadel for Nasrid rulers

Content:

• Courtyards, fountains, inscriptions from the Qur’an

Historical Context:

• Granada, Spain, 1354–1391 CE, Nasrid Dynasty

• Last Islamic dynasty in Spain; showcases paradise imagery

Pyxis of al-Mughira

Form:

• Ivory carved container with relief scenes

• Fine linear carving and vegetal motifs

Function:

• Luxury object, gift for royal youth

Content:

• Scenes of princely activities; inscriptions of blessings

Historical Context:

• Umayyad Spain, 968 CE

• Reflects luxury arts of Islamic court culture

Mosque of Selim II

Form:

• Brick and stone; central dome higher than Hagia Sophia

• Geometric symmetry and light-filled interior

Function:

• Imperial mosque honoring Selim II

Content:

• Domed square prayer hall, decorated with Iznik tile

Historical Context:

• Edirne, Turkey, 1568–1575 CE, architect Sinan

• Ottoman architectural pinnacle; mathematical harmony

Merovingian Looped Fibulae

Form:

• Silver gilt worked with inlay of garnets and glass

• Zoomorphic and interlacing designs

Function:

• Brooch used to fasten garments; symbol of status

Content:

• Decorative motifs merging Roman and barbarian traditions

Historical Context:

• Mid-6th century, early Medieval Europe

• Reflects Frankish craftsmanship and status display

Lindisfarne Gospels

Form:

• Illuminated manuscript; ink, pigments, and gold on vellum

• Hiberno-Saxon interlace and animal motifs

Function:

• Display gospel for use in church and devotion

Content:

• Cross-carpet page, evangelist portraits, intricate decoration

Historical Context:

• 700 CE, England

• Fusion of Celtic, Roman, and Christian traditions

Church of Sainte-Foy

Form:

• Stone, Romanesque style; barrel vaults and heavy arches

• Cruciform plan

Function:

• Pilgrimage church housing relics of Sainte Foy

Content:

• Tympanum of Last Judgment; reliquary statue of saint

Historical Context:

• Conques, France, 1050–1130 CE

• Part of pilgrimage route to Santiago de Compostela

Bayeux Tapestry

Form:

• Embroidered wool on linen, 230 ft long

• Sequential narrative style

Function:

• Political propaganda celebrating Norman conquest

Content:

• Battle of Hastings scenes; Latin inscriptions

Historical Context:

• England, 1066–1080 CE

• Commissioned by Bishop Odo to honor William the Conqueror

Chartres Cathedral

Form:

• Limestone and stained glass; Gothic architecture

• Flying buttresses, pointed arches, ribbed vaults

Function:

• Cathedral dedicated to Virgin Mary

Content:

• Rose windows, Royal Portal sculptures

Historical Context:

• Chartres, France, 1194–1220 CE

• High Gothic emphasis on light as divine presence

Dedication Page with Blanche of Castile and King Louis IX of France

Form:

• Illuminated manuscript, tempera, gold leaf on vellum

• Geometric framing and rich colors

Function:

• Moralized Bible for royal education

Content:

• Queen Blanche instructing young Louis IX

• Below: monk and scribe creating manuscript

Historical Context:

• 1225–1245 CE, France

• Gothic art reflecting royal patronage and moral teaching

Röttgen Pietà

Form:

• Painted wood sculpture; emotional expressionism

• Distorted, angular figures

Function:

• Encouraged personal connection to Christ’s suffering

Content:

• Mary mourning the dead Christ

Historical Context:

• Germany, 1300–1325 CE

• Gothic focus on human pain and empathy

Golden Haggadah

Form:

• Illuminated manuscript, pigments and gold leaf on vellum

• Gothic style figures and detailed narrative scenes

Function:

• Used during Passover to tell the story of Exodus

Content:

• Scenes from Genesis and Exodus before the Haggadah text

Historical Context:

• Spain, c. 1320 CE

• Jewish manuscript influenced by Christian Gothic art