1. Late Antiquity and Rise of Christianity (200-500 A.D.)

3. Baths of Caracalla (212-16 A.D.)

4. Baths of Diocletian (298-305 A.D.)

5. Basilica of Maxentius (307-12 A.D.)

6. Porta Nigra (Black Gate)- Trier

8. Sarcophagus of a philosopher, A.D. 270-280 Vatican Museums, Rome Many Romans were led to seek solace in philosophy because of the insecurity during this period. This sculpture depicts an enthroned Roman philosopher holding a scroll, while being flanked by two standing women. There are other philosophers in the background that were students of the central deceased teacher. This type of sarcophagus became very popular for Christian burials, where the wise-man motif was used not only to portray the deceased but also Christ flanked by his apostles. The frontal three-part compositions such as this were quite common in Early Christian art.

9. Arch of Constantine

10. Distribution of largess, detail of the north frieze of the arch of Constantine Rome, Italy, 312-315 A.D. Constantine is shown here with attendants, distributing largess to grateful citizens who approach him Figures move without natural movement, but like that of puppets It’s a shallow relief without separately cut heads, depicting just a crowd of people Simply a picture of frozen actors, distinguishing the imperial donor, his attendants to his sides, and the recipients of the largess at the bottom The rigid formality is consistent with a new set of values supplanting classical notions and revealing new principles of the Middle Ages The arch of Constantine was the quintessential monument of its era, showing respect for second century sculpture, but rejecting classical design, therefore paving the way for iconic art of the Middle Ages

12. CATACOMBS

13. Dura Europos- Domus Ecclesiae

14. From Roman to Christian Basilica

15. Early Christian Sculpture Sarcophagus with philosopher, Rome, Italy, ca 270 Figure 11-4 Jesus is represented by two figures on the right, the small child being baptized and the Shepherd to his left. The future ministry of Jesus is represented by the turned head of the young boy to the Shepherd and by the placement of his hand on one of the sheep. This is Jesus as a child receiving a baptism in the River Jordan even though he was baptized at age thirty. Baptism was significant in the early centuries of Christianity because so many adults were converted to the new faith in this manner. The baptism in Christianity includes a cleansing of all sins and a birth into the Christian faith.

16. Mosaics The Miracle of the loaves and the fishes, mosaic, Rome, Italy, ca 504 Figure 11-17 Jesus, beardless, in the imperial dress of gold and purple, and now distinguished by the cross-inscribed nimbus (halo) that signifies his divinity, faces directly toward the viewer. With extended arms he directs his disciples to distribute to the great crowd the miraculously increased supply of bread and fish he has produced. The artist made no attempt to supply details of the event. The emphasis is instead on the holy character of it, the spiritual fact that Jesus is performing a miracle by the power of his divinity.miracle The fact of the miracle takes it out of the world of time and of incident. The presence of almighty power, not anecdotal narrative, is the important aspect of this scene. The inattention to the narration of the actual event and instead the focus on Christ's divine power suggests a spiritual significance. The figures are aligned laterally and moved close to the foreground; they are framed by a golden screen behind their backs. The blue sky of the mortal world has given way to the ethereal magnificence of heavenly gold.

17. Ivory Carving Suicide of Judas and Crucifixion of Christ, plaque from a casket, ivory, ca 420 The narrative on the box begins with Pilate washing his hands, Jesus carrying the cross on the road to Calvary, and the denial of Peter, all compressed into a single panel. The plaque that is illustrated here is the next in the sequence and shows, at the left, Judas hanging from a tree with his open bag of silver dumped on the ground beneath his feet. the Crucifixion is at the right. The Virgin Mary and Joseph are to the left of the cross. On the other side Longinus thrusts his spear into the side of the "King of the Jews." The two remaining panels show two Marys and two soldiers at the open doors of a tomb with an empty coffin and the doubting Thomas touching the wound of the risen Christ. The figure of Christ does not appear to be in pain because he is displayed on the cross, rather than hung from it, as though he has conquered death and does not suffer. The contrast of Jesus whose body remains strong on the cross contrasts with the body of his betrayer, Judas, hanging from a tree with a limp body and a snapped neck. Visually and symbolically, this image was meant to show Jesus as a strong leader and not prone to pain or complete death. Figure 11-21