Early Christian Art

Introduction

The period "Early Christian" refers to roughly the first five centuries A.D.

The term "Byzantine" is the name of a style that originated in the Eastern Roman Empire, it is also used to include works made in Italy under Byzantine influence, beginning roughly in the sixth century under Emperor Justinian.

Before Constantine declared Christianity a state religion, Christians worshiped in secrecy, in private dwellings and sometimes in underground chambers beneath the city of Rome, and other cities, called Catacombs. Roman law protected any tomb, and even during periods of severe persecution, the sites were protected.

Catacombs were mainly a place of burial for the Christian dead. Many chambers were decorated with frescoes of Christian symbolism to distinguish it from pagan tombs. We have to be careful about style of these works. The are very crude, naive craftsmanship, similar to folk art.

One such fresco was found in a catacomb on the ceiling dating from the late third, early fourth century A.D.

Detail of Jonah, Thrown Into the Sea, Catacomb of Saints Peter and Marcellinus

• The story of Jonah foreshadows Christ’s death and resurrection:

  • Jonah is swallowed by a great fish (symbolic of the tomb), spends three days inside, and is released beneath a vine, a symbol of resurrection and Christ’s blood.

  • Jonah’s salvation despite disobedience emphasizes God’s mercy and the promise of forgiveness.

Also included are orantes (figures in prayer with raised arms), representing souls of the deceased in supplication and hope. Together, these images form a symbolic program centered on the promise of salvation through prayer and divine grace.

Style and Meaning in Early Christian Art

While rich in meaning, this early art marks a shift away from Classical realism:

• Flat backgrounds and little depth—figures appear to float

• Hierarchical scale replaces natural proportion:

  • Christ is largest

  • Orantes are smaller

  • Jonah is smallest

• Figures show tonal modeling rather than detailed line work, hinting at light and shadow

• Classical elements remain, but the focus has shifted: From material clarity to spiritual symbolism

Early Christian artists were beginning to transform Classical style to reflect Christian thought—a movement from the earthly to the eternal, from the natural to the transcendental.

The Good Shepherd Sarcophagus, Late 4th Century

The same funerary motifs found in catacomb paintings appear on Christian sarcophagi—stone coffins carved with symbolic imagery.

Unlike painting and architecture, sculpture played a secondary role in Early Christian art. To avoid associations with pagan idolatry, Christians rejected large, freestanding statues in favor of low-relief carvings on sarcophagi. These works avoided spatial depth and emphasized shallow, decorative surfaces, often rich with symbolism.

Sculpture in the round was rare and mostly limited to portrait busts or small figures like the Good Shepherd, which symbolized Christ’s care and salvation.

Beginning in the mid-3rd century, marble sarcophagi were commissioned for elite members of the Church. One notable example is the Good Shepherd Sarcophagus (Late 4th century):

• Christ appears centrally placed and larger than surrounding figures, reflecting a hierarchy of scale.

• The vine imagery symbolizes the Eucharistic wine, a reference to Christ’s blood and sacrifice.

• The scene is symbolic, not realistic, focusing on spiritual presence rather than physical form.

Just as we saw the decline of realism in late Roman works like the Arch of Constantine, Early Christian sculpture continued to shift from the material to the spiritual, using imagery to communicate faith, salvation, and eternal life.

Early Christian Architecture: Constantine and the Basilica

Pre-Constantinian Worship

• In the first three centuries, Christian architecture was not monumental.

• Christians worshipped privately in homes or small chapels, avoiding public attention.

The Impact of Constantine

• With Emperor Constantine’s support (4th century), Christianity became legal and later the state religion.

• This change led to:

  • A rise in church attendance and social standing.

  • The need for a formal church hierarchy (dioceses ruled by bishops, modeled after Roman civil government).

  • The development of a more elaborate liturgy, evolving from informal gatherings to ceremonial rituals resembling imperial court practices.

  • A demand for large, impressive places of worship.

Types of Early Christian Churches

Two major church types emerged to meet the needs of the Christian community:

1. The Basilica (developed in the Early Christian period)

2. The Centralized Church (developed in the Byzantine period)

Church Decoration: Mosaics in Early Christian Basilicas

• The decoration of Early Christian basilicas marks one of the period's greatest artistic achievements.

• Large wall surfaces—above the nave, over the triumphal arch, and in the apse—offered ideal spaces for narrative scenes and symbolic imagery.

• Decoration included frescoes, but mosaics became the most distinctive and enduring medium.

The Apse Mosaic

The apse is the holiest and most sacred area of the basilica, symbolizing the heavens, where Christ and the saints reign eternally. Its decoration was carefully designed to serve as a visual focal point and to enhance the spiritual atmosphere of the space. Functioning like a backdrop for the liturgy, the apse mosaic provided a celestial setting for the sacred drama of the Mass taking place below.

Stylistic Features:

• Christ is rendered with a high degree of classical naturalism—graceful proportions, subtle modeling, and a sense of movement.

• This reflects a blend of Greco-Roman realism and emerging Christian symbolism, characteristic of 5th-century art.

• The shift from realism to a symbolic, spiritual style is just beginning here.

Subject Matter:

• The mosaic shows Christ teaching the apostles, standing before an idealized version of the Heavenly Jerusalem.

• The landscape behind Him may reference the Holy Sepulchre in Jerusalem, and the cross symbolizes the True Cross erected on Golgotha, the site of the Crucifixion.

Symbolic Elements:

• The four evangelists (gospel writers) appear in their animal forms, a reference to Ezekiel’s vision and the Book of Revelation:

  • Matthew – Winged man/angel

  • Mark – Lion

  • Luke – Ox

  • John – Eagle

• These symbols were not fixed until the 4th century, but here they clearly identify the evangelists and evoke apocalyptic imagery, suggesting Christ as king presiding over the end times.

Apostles and Church Symbolism:

• Peter and Paul are being crowned by female personifications of the Church of the Jews (behind Peter) and the Church of the Gentiles (behind Paul).

• Originally, 12 apostles were shown; only 10 remain due to later restoration.

This mosaic reflects the transitional nature of Early Christian art—still grounded in naturalism, but increasingly focused on symbolism and the spiritual realm. As Christian art continues to evolve, the emphasis on realism will diminish, giving way to a more abstract, transcendent visual language.

Go to Byzantine Art Page