LATE ANTIQUITYGARDINER CHAPTER 11-2PP. 295-301

ARCHITECTURE AND MOSAICS

Regular church services took place in private community houses like that at Dura-Europos

Once Constantine granted Christianity imperial sponsorship there was a need to construct churches

New churches had to1. Meet the requirements of Christian liturgy

(the official ritual of public worship)2. Provide a proper monumental setting for

the celebration of Christian faith3. Accommodate rapidly growing numbers

of worshipers

Constantine was the first major patron of Christian architecture

Constantine constructs elaborate basilicas, memorials, and mausoleums in Rome, in Constantinople ( his “New Rome”), and in Bethlehem and Jerusalem

ROME – OLD SAINT PETER’S

Restored cutaway view of Old Saint Peter’s in Rome, begun 319

The greatest of Constantine’s churches

Built on the western side of the Tiber on the spot where it was believed the Peter was buried

Could house 3000-4000 worshipers Locate on a terrace on the slope of

the Vatican Hill -> it enshrined the 2nd holiest site in Christendom, the 1st being the the Holy Sepulchre in Jerusalem -> site of Christ’s ressurection

The plan resembled a Roman basilica not a pagan temple -> Christians did not want their churches to look like pagan shrines

Unlike pagan rituals that took place outside the temple, Christians congregated inside the church

Wide central nave flanking aisles NARTHEX = entryway to the basilica Unobstructed view across the nave to the

altar in the apse at the other end TRANSEPT = transverse aisle, area

perpendicular to the nave and between the nave and the apse

Also contained an open colonnaded courtyard in front of the narthex -> ATRIUM

Exterior not decorated

Interior – frescoes, mosaics, marble columns, and costly ornaments

BALDACHINNO (domical canopy over an altar) – marble structure marked the spot of Saint Peter’s tomb

SANTA SABINA Interior of Santa Sabina, Rome, 422-432

Built a century after Old Saint Peter’s -> more modest proportions -> Early Christian in character

Corinthian nave arcade

Chancel arch

Apse

Nave is drenched in light coming from clerestory windows

Exterior had plain brick walls resembling those of the Aula Palatine in Trier

SANTA COSTANZA Interior of Santa Costanza, Rome,

337-351 Most Christian churches were of the

rectangular basilica design Early Christian architects also copied

another classical architectural type -> the CENTRAL-PLAN building = the building’s part are of equal or almost equal dimensions around the center

Central-plan buildings -> mostly round or polygonal domed structures

Central-plan buildings would become the preferred form for Byzantine churches

Plan of Santa Costanza, Rome, 337-351

Possibly built as a mausoleum for Constantine’s daughter

1= narthex 2 = ambulatory -> ringlike barrel

vaulted corridor separated from the central domed cylinder by a dozen pairs of columns

Severe brick exterior Interior richly adorned with

mosaics

VAULT MOSAICS OF SANTA CONSTANZA

Detail of vault mosaic in the ambulatory of Santa Costanza, Rome, 337-351

Scenes of putti harvesting grapes and producing wine -> motifs associated with Bacchus, but for a Christian it brought to mind the wine of the Eucharist and Christ’s blood

SANTA MARIA MAGGIORE The parting of Abraham and Lot, nave of Santa

Maria Maggiore, Rome, 432-440, mosaic

Mosaics used to provide a beautiful setting in churches, and instruct the congregation about biblical stories and Christian dogma

This scene shows the Old Testament scene of Lot leading his family to the evil city of Sodom and Abraham leading his family to Canaan

Cleavage of the two groups -> figures engage in sharp dialogue of glance and gesture -> simplified motion -> but still elements of classical heritage = figures in light and dark, cast shadows, loom w/massive solidity