Painting and Mosaic Decoration in Fourth Century Christian Art - Christian Art History

God's Kingdom Art Christian Oil Paintings art history section features information on painting and mosaic decoration in fourth century Christian art

Fourth Century Christian Art

Painting and Mosaic Decoration in Fourth Century Christian Art*

The vast expanse of wall surface within the Early Christian basilica was admirably suited to painted or mosaic decoration. But, no wall paintings have survived from fourth century churches. Some catacomb paintings are assigned to this period, for instance, those in Sts. Pietro e Marcellino in Rome. The subject matter is richer than in the earlier paintings, forms are well defined, colours more vibrant, and the types depicted are more individualised. Stylistically, however, fourth century painting is still indebted to late Antique works.

Pavement and mosaic decoration were widely used by the Romans, and were further developed during the Christian era when mosaics were first used for large-scale figurative art. The use of small closely-set tesserae made it possible to cover the curves of arches and vaulted ceilings with vibrant colour. For mosaic pavements, such as are to be seen in the Great Palace in Constantinople, only stone tesserae were used, whereas tesserae of tinted or gilt glass were employed for wall mosaics in churches. Because of its being a more durable medium, the Mosaic decoration on walls, domes, apses as well as on floors, has naturally been better preserved than have the frescoes.

All the churches from this period in Constantinople have been destroyed. The mosaics in the vault of S. Constanza in Rome represent the style and iconography from this period, still heavily indebted to classical antiquity. Divided by decorative frames into rectangular sections, cupids, birds, animals, fruit and vases, as well as pastoral scenes are depicted - enclosed by medallions, vine scrolls or branches bearing fruit. They are symbolic, for instance, of the power of the spirit and purification.

Apart from some freestanding sculpture such as the colossal statue of Constantine the Great (Museo dei Conservatori), which was strongly influenced by pagan prototypes, the relief work from this period includes some remarkable triumphal monuments such as Constantine's Arch in Rome. This was begun in 312 to celebrate the victory over Maxentius and relied almost entirely on pagan triumphal programmes. The fragmentary relief of the Obelisk of Theodosius I with his Court in the Hippodrome in Constantinople, c. 390, depicts the emperor in his imperial "box" watching a chariot race. Notable here is some decisive deviation from Classical prototypes: strict frontality, rigid immobility and symmetry; "inverted" perspective; and a gradation in the size of the figures according to their importance. All these devices were used to heighten the sense of unreality and dematerialisation.

Also in Constantinople are to be found the two colossal columns erected by the Theodosian emperors, imitating those of Trajara and Marcus Aurelius in Rome.

Many sarcophagi of the fourth century are of inferior quality, whereas some, such as the Sarcophagus of Two Brothers (Lateran Museum, Rome) and the Sarcophagus of Junius Bassius (Vatican Grottoes) are rooted in the Classical tradition and characterised by modeling
in the round and natural, varied poses. New is the division into two registers and the separation of figures by columns and other architectural devices, resulting in greater clarity. Interesting also is the greater variety of scenes depicted.

Much of the relief work of the fourth century, such as the Reliquary Casket (Museo Cristiano in Brescia); the Diptych of Adam in Paradise (Museo Nazionale, Florence) and the Silver Casket with embossed reliefs (British Museum, London) are, although Christian in subject matter, still entirely pagan in spirit and form.

*Based on notes compiled by Karin M. Skawran for the University of South Africa.