Early Christian Art and Architecture - Christian Art Prior To 313

Christian Art Prior To 313

In the Dura-Europos church, of about 230-256, which of the the very early churches surviving is in the best condition, there are frescos of biblical scenes including a figure of Jesus, as well as Christ as the Good Shepherd. The building was a normal house apparently converted to use as a church. The earliest Christian paintings in the Catacombs of Rome are from a few decades before, and these represent the largest body of examples of Christian art from the pre-Constantinian period, with hundreds of examples decorating tombs or family tomb-chambers. Many are simple symbols, but there are numerous figure paintings either showing orants or female praying figures, usually representing the deceased person, or figures or shorthand scenes from the bible or Christian history.

The style of the catacomb paintings, and the entirety of many decorative elements, are effectively identical to those of the catacombs of other religious groups, whether conventional pagans following Ancient Roman religion, or Jews or followers of the Roman mystery religions. The quality of the painting is low compared to the large houses of the rich, which provide the other main corpus of painting surviving from the period, but the shorthand depiction of figures can have an expressive charm. A similar situation applies at Dura-Europos, where the decoration of the church is comparable in style and quality to that of the (larger and more lavishly painted) Dura-Europos synagogue and the Temple of Bel. At least in such smaller places, it seems that the available artists were used by all religious groups. It may also have been the case that the painted chambers in the cattacombs were decorated in similar style to the best rooms of the homes of the better-off families buried in them, with Christian scenes and symbols replacing those from mythology, literature, paganism and eroticism, although we lack the evidence to confirm this. We do have the same scenes on small pieces in media such as pottery or glass, though less often from this pre-Constantinian period.

There was a preference for what are sometimes called "abbreviated" representations, small groups of say one to four figures forming a single motif which could be easily recognised as representing a particular incident. These vignettes fitted the Roman style of room decoration, set in compartments in a scheme with a geometrical structure (see gallery below). Biblical scenes of figures rescued from mortal danger were very popular; these represented both the Resurrection of Jesus, through typology, and the salvation of the soul of the deceased. Jonah and the whale, the Sacrifice of Isaac, Noah praying in the Ark (represented as an orant in a large box, perhaps with a dove carrying a branch), Moses striking the rock, Daniel in the lion's den and the Three Youths in the Fiery Furnace were all favourites, that could be easily depicted.

Early Christian sarcophagi were a much more expensive option, made of marble and often heavily decorated with scenes in very high relief, worked with drills. Free-standing statues that are unmistakably Christian are very rare, and never very large, as more common subjects such as the Good Shepherd were symbols appealing to several religious and philosphical groups, including Christians, and without context no affiliation can be given to them. Typically sculptures, where they appear, are of rather high quality. One exceptional group that seems clearly Christian is known as the Cleveland Statuettes of Jonah and the Whale, and consists of a group of small statuettes of about 270, including two busts of a young and fashionably dressed couple, from an unknown find-spot, possibly in modern Turkey. The other figures tell the story of Jonah in four pieces, with a Good Shepherd; how they were displayed remains mysterious.

The depiction of Jesus was well-developed by the end of the pre-Constantinian period. He was typically shown in narrative scenes, with a preference for New Testament miracles, and few of scenes from his Passion. A variety of different types of appearance were used, including the thin long-faced figure with long centrally-parted hair that was later to become the norm. But in the earliest images as many show a stocky and short-haired beardless figure in a short tunic, who can only be identified by his context. In many images of miracles Jesus carries a stick or wand, which he points at the subject of the miracle rather like a modern stage magician (though the wand is a good deal larger).

Saints are fairly often seen, with Peter and Paul, both martyred in Rome, by some way the most common in the catacombs there. Both already have their distinctive appearances, retained throughout the history of Christian art. Other saints may not be identifiable unless labelled with an inscription. In the same way some images may represent either the Last Supper or a contemporary agape feast.

• The Three Youths in the Fiery Furnace, catacomb of Priscilla

• Moses striking the rock in the desert, a prototype of baptism

• 3rd century cover for catacomb burial, engraved with the Adoration of the Magi (cast shown)

• Catacomb chamber with (from top): Orants, Jonah and the Whale, Moses striking the rock (left), Noah praying in the ark, Adoration of the Magi. 200-250