Mosaics, Paintings and Illuminated Manuscripts of Christian Art From the Fifth to Eight Century

God's Kingdom Art Christian Oil Paintings art history section features information on mosaics, paintings and illuminated manuscripts of early Christian art

Christian Art From the Fifth to Eight Century

Mosaics, Paintings and Illuminated Manuscripts of Christian Art From the Fifth to Eight Century*

The tradition of decorating churches, started under Constantine, was continued and developed during this period.

The decoration of S. Maria Maggiore is perhaps the most important that has survived from this phase. Stylistically, the mosaics which adorn the interior, represent a distinct transition from the late Antique to the Christian era proper. The compositions are set within
landscapes or against architectural backgrounds, but space has largely been negated by a strip of gold which replaces the traditional middle distance. The figures have also been substantially enlarged.

Although the apse mosaics have been lost, those of the arch in front of it survive. The events from the Infancy of Christ, as told in the Apocryphal Gospel of Pseudo-Matthew, have been depicted in the tradition of imperial triumphal monuments such as the Column of Arcadius in Constantinople. The triumph of the emperor over the barbarians has been replaced by the triumph of Christ over unbelievers and pagans. On the nave walls Old Testament leaders such as Moses, Isaac, Jacob and Joshua are represented in scenes which prefigure the Passion of Christ and the Eucharist. The typological association of Old and New Testament scenes was frequently
highlighted by the Early Church Fathers and this tradition was continued well into the Byzantine period.

Not to be ignored are the fine quality mosaics in H. Georgios in Salonika, a palace chapel converted from what had been the Mausoleum of Galerius. Unlike the more expressive works in Italy, which still echo the realism of late Roman and Hellenistic art, these mosaics,
although placed in a Classical setting, are perhaps the first mosaics to display distinctly Early Christian stylistic features.

The apse mosaics in Hosios David in Salonika should be studied in relation to those in the Mausoleum Galla Placidia and the Orthodox Baptistery in Ravenna, for despite the division of the Empire under Theodosius, both its halves remained in close contact and artistic influences ran in both directions.

Equally, the mosaics in S. Apollinare Nuovo (before 526), Ravenna, still resemble to some extent those in S. Maria Maggiore, although spatial recession has almost entirely been eliminated and the figures are more defined by outline than modeling.

The mosaics in the nave are arranged in three registers and include a procession of male and female martyrs proceeding from the palace of Ravenna on one side and from the port of Classe on the other. In the original version, Theodoric, his family and court dignitaries made their appearance here, moving towards the Virgin in the apse. The Martyrs are placed against a green ground and golden sky and are separated by palms, resembling ancient arcades. Although motionless and stereotyped, a quiet rhythm is created by this arrangement, directing the eye of the worshipper to the sanctuary. The christological scenes above the windows illustrate the Miracles of Christ on one side and His Passion on the other. Although characterised by a distinctly personal interpretation, these mosaics clearly reflect the influence of portable icons and miniatures from Constantinople.

The mosaics in S. Vitale in Ravenna (consecrated in 5471 are restricted to the chancel area. Christ, seated on a globe, flanked by angels and Saints, forms the focal point towards which have been directed the processions of Justinian and Theodora, together with their
court officials (on the north and south walls respectively). Compared with the procession of Martyrs in S. Apollinare Nuovo, the rhythm created by the figures is more vigorous. The facial types are also more individualised and alive. The heads of Justinian and Theodora are, in fact, portraits of the emperor and his wife. This is also true of Maximian, the archbishop of Ravenna.

Some of the Old Testament scenes in the sanctuary, for instance The Sacrifices of Abel and Melchizedek, The Hospitality of Abraham and The Sacrifice of Abraham, are once again symbolic of the Eucharist.

Because fresco painting was much less durable than mosaics, very few fifth and sixth century frescoes have survived. And since fresco was inexpensive, and speedier and simpler to execute than the mosaic, we find in those fragments that have survived a greater disparity of style. Two trends have been observed: a continuation of the sophisticated art of the imperial epoch, the other a more schematic, linear two-dimensional tendency. Underneath the ninth-eleventh century frescoes in the ruins of the diaconicon of Santa Maria Antiqua in Rome, some remarkable frescoes from the sixth and seventh century have been found. Both trends mentioned above may be observed here.

In Egypt, some of the early frescoes were buried under dry sand and have been preserved at Antinoe and in the ruined monasteries at Bawit and Sakkara. Although a definite chronology for these frescoes (of a sort, which must have adorned many small chapels) cannot be established, it is believed that they were executed around AD 400. Of a rustic, linear character, it is interesting to
note that these decorations consist almost exclusively of single figures.

Illuminated manuscripts should not be overlooked, because they very often give indications of stylistic and iconographic tendencies in mosaics and frescoes during this Early Christian period. By this time the traditional rolls of papyrus had been replaced by the more convenient codex of parchment pages, bound together between hard, protective covers. This book format largely dictated the type of illustration it contained. In the rolls previously used, continuous narratives were favoured. Although this tradition was continued, the tendency was now more towards single illustrations. At times: the two types are found together. Principally, events from the Gospels
were illustrated, although scientific works by Classical authors were still being reproduced too.

Thus the earliest manuscripts were copies of non Christian works, for instance, the Vatican Virgil of the fifth century, which was probably copied in Rome and which stylistically resembled the mosaics of S. Maria Maggiore. Its importance lies in the fact that Classical stylistic;
ideas were used and adapted to a new content.

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