Table Of ContentUnderstanding
. .
--,
r l s t l a n
r
Robin Margaret Jensen
UNDERSTANDING
EARLY CHRISTIAN
ART
•
Robin MargaretJ ensen
London and New York
Firs< published 2000
by Roudedge
11 New Fcucr Lane, London EC4P 4EE
Simultaneously published in USA and Canada
th~
by Routledge
29 West 55th Sn...,t, New York, NY 10001
ROUrlfdgf;J an ;mprim of IIx Ta),!or & Franch Gnmp
Cl 2000 Robin Margaret Jensen
The right of Robin Margare! Jensen to Ix- the Author of this
idemifi~d il5
Work has asserted by her in accordance with the Copyright, Designs
~n
and Patent. A(I 1988
Typeset in Garamond by Taylm & Francis Books Lrd
Primed and bound in Great Britain by
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All righ" reserved, No P"rt of thi, book may be reprinted or
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Bri/i,h Libra,)' CaM!oguing in P"bfiral;ON Da/a
A c.mlogue record for ,his book is available from ,he British Libmry
Lih.a'), ofC .f/gms CaM!ogif/g in Puhbeal;.n DaM
Jemen, Robin Margarcr, 1952-
Understand in): t"~rly Christian art I Robin Margare! Jrnsrn.
Includes bibliographicol references and index.
1. An, Early Christian. 2. Chrisrian art and symbolism- To 500.
I. Tide.
N7832.j462000
704.9'482' 0901 5---d,21 99-41887
ISBN 0-4 t 5- 20454- 2 (hbk)
ISBN 0-415- 20455-0 (pbk)
UNDER STA N D I N G EARLY
CHR ISTIA N ART
UlldN"Standillg Early Christiall A rt inregratt:s the motifs and subjects of early
Christian art with the symbols and themes of early Christian literature and
lirurgy.
The book begins widl an analysis of the non-narrative subjects of early
Christian an, for example, rhe Good Shepherd, the praying figure, and fish
and birds. The book then explores rhe narrative images, portraits and
dogmatically oriented figures found in Roman catacomb paiming, sarcoph
agus relief sculpture, and early mosaics, ivories and manuscript illumination.
The parallels between biblical exegesis as found in early homilies and cate
chetical documents and images portraying particular biblical figures also
afC
discussed. Finally, the book examines iconographic themes such as Jonah,
Daniel, Abraham offering Isaac, and Adam and Eve.
U "demandillg Early Chris/iall Ar/ offers an insightful, erudire, and lavishly
illustrated analysis of the meaning and message of early Christianiry as
revealed in the texts and images of the early Christians.
Robin Margarc( Jcnsc n is Associate Professor of the Hisrory of Christianity
at Andover Newton Theological School. She specializes in the hisrory and
character of the early Christian Church, particularly as it is revealed in its
architecture and iconography.
CONTENTS
0/
List illusfm';ons
V II I
.
Acknowledgments
"
..
Abbretli(lfiom XH
Introduction 1
t The character of early Christian iconography: issues and
problems of interpretation 8
2 Non-narrative images: Chris[ian use of classical symbols and
32
popular motifs
3 Pictorial [ypologics and visual exegesis 64
4 Ponraits of the incarna[c God 94
5 Images of the suffering redeemer 130
6 Born again: (he resurrection of [he body and the restoration
of Eden 156
Notes 183
Select bibliography 214
Index 216
'"
ILL US TRATIO NS
I The Good Shepherd, Catacomb of Callis[Us. 10
2 Jonah thrown into the water, Cacacomb ofSts Peter and
Marcellinus. I I
3 Anchor and fish from a [ieulus in [he Catacomb of Priscilla. 18
,
4 Adam and Eve, peacock, and oram, Via Latina Catacomb. 33
Jesus reaching, late fourth-century sarcophagus now in rhe
Musee de l'Arles Antique (Aries). 34
6 Rams' head sarcophagus now in the Vatican Musea Pia Crisriano,
c.250--75. 34
7 Fourth-century sarcophagus now in [he Vatican Museo Pio
Crisriano. 37
8 Orpheus, Camcomb of Domitilla. 41
9 Christ as Helios, Mausoleum M (of the J uJii) beneath St Peter's
Basilica, Rome. 43
10 Fragment of a founh-ccntury sarcophagus now in the Mustc de
I'Arles Antique (ArIes). 44
I I Jesus as philosopher, Catacomb of Domitilla. 46
12 Fish and loaves, Catacomb ofCallistus. 47
13, Sarcophagus of Sta. Maria Anriqua, Rome (front frieze). 49
13b Sarcophagus ofSta. Maria Antiqua: right end. 49
13, Sarcophagus ofSta. Maria Anriqua: left end. 49
'2
14 Banquet, Catacomb ofCallistus.
I ,
Banquet on sarcophagus fragment now in the Vatican
Museo Pio Cristiano. 52
16 Grape harveST sarcophagus now in the Vatican Museo
Pio Cristiano. 60
17 Moses striking the rock, with N oah, Lot and the multiplication
6,
of the loaves and fishes, Catacomb of Peter and Marcellinus.
18 Noah, Catacomb of Peter and Marcellinus. 66
19 Abraham and lsaac, and Balaam with his ass, Via Latina Catacomb. 67
20 Jonah under the gourd vine, Catacomb of Callistus. 69
21 Daniel and lions, Catacomb of Peter and Marcellinus. 73
. ..
Vlll
ILLUSTRAT[ONS
22 Jesus raising Lazarus, Catacomb of Peter and Marcellinus. 76
23 Three youths in the furnace, Via Latina Catacomb. 80
24 Three youths and Nooh, on a fourth-century sarcophagus now
in the Vatican Museo Pio Cristiano. 81
25 The three magi, fourth -century sarcophagus now in the Vatican
Pio Cristiano. 8 I
MU~eD
26 Three youths on sarcophagus end now in the Vatican Museo Pio
Cristiano. 83
27 Late fourth-century sarcophagus now in the Vatican Museo Pia
Cristiano. 86
28 The Christian baptistery at Dura Europos «(.245). 88
29 Peter striking the rock, Catacomb ofCommodilla. 91
30 Fourth-century sarcophagus now in the Vatican Museo
Pio Cristiano. 96
31 Late fourth-cemury sarcuphagus now in the Muste de l'Arles
96
A."q".(A,I~
32 Sarcophagus of J unius Bassus, r. 3 59. Treasury of St Peter"s
Basilica, Rome. 98
33 late fourth-century sarcophagus now in the Musee de rArks
Antique (Arlcs). 100
34 Portrait medallion of Jesus with Peter and Paul, ArchepiscopaJ
chapel, Ravenna. 104
35 Apse of the Basil ica of Sea. Pudenziana, Rome (c. 400). 109
36 Tmnsfiguraeion with ApolIinaris, S. Apollinare in Ciasse,
Ravenna. I11
37 Jesus giving rhe law ro Paul, Apse ofSm. Consranza,
Rome (c.325). [13
38 Jesus giving keys Peter, Apse of Sta. Constanza,
to
Rome (c.325). 114
39 Christ curing rhe man born blind, S. ApolIinare Nuovo,
Ravenna. I 15
40 Christ before Pi late, S. ApoHinare Nuovo, Ravenna. 116
41 Jesus entering Jerusalem, sarcophagus now in the Vatican
Museo Pio Cristiano. 11 7
42 Traditio Legis sarcophagus now in the Vatican Museo Pio
Cristiano. 11 7
43 Passion sarcophagus now in the Vatican Musca Pio Cristiano
(late fourth century). 1 [8
44 Mosaic dome medallion, so-called Arian Baptistery,
Ravenna. liS
45 Mosaic dome medallion, Orthodox (Neonian) Baptistery in
Ravenna. 119
46 Busts of Apollo, Jupiter, and Serapis now in the British Museum,
London. 120
.
"
ILLUSTRAT IONS
47 Second-century figure of Dionysus-Bacchus now in tht' British
l\luseum, London. 121
48 Fifth-century ivory diptych now in the Victoria and Alben
Museum, London. 122
49 Crucifixion from the wooden door ofSra. Sabina, Rome. I 3 I
' 0 Pilgrimagt' ampullae, Moma, Italy. 132
, I
Jesus holding the cross on a fourrh-cenwry sarcophagus now
in rhe Vatican Museo Pio Crisriano. 133
"
Third- and fourth-century funerary inscriptions, S. Lorcnzo
fuori le Mura, Rome. 139
53 Jesus and apostles in a boat. Sarcophagus fragment now in the
Vatican Museo Pio Crisriano. 139
,4 The binding of lsaac, Synagogue of Berh Alpha. 144
" M iraele sarcophagus now in the Val iean Museo Pio CriSliano. 144
,6 Lamb of God on sarcophagus, S. Apollinare in Classf',
Ravenna. 147
" Peacock, Camcomb of Praetexrarus. 160
,8 Good Shepherd, S. ApoHinare Nuovo, Ravenna. 161
'9 Fifrh-century ivory diptych (now in Milan) - detail of women
at the empty tomb. 163
60 Ascension of Elijah. from the wooden door ofSm. Sabina,
Rome. 16,
61 Fourrh-century sarcophagus now in the Vatican Museo Pio
Cristiano. 168
62 Miracle sarcophagus now in the Vatican Museo Pio Crisriano. 169
63 Derail of Jonah Sarcophagus now in the Valican Must"O Pio
Cristiano (late third ct'nwry). 172
64 John baptizing Jesus from sarcophagus now in rhe Mus&: de
I"Aries Antique (Aries). 176
6, Trinity (rearing Adam and Eve now in the Musee de l"Arles
Antique (Aries). 179
66 Octail of Trinity sarcophagus, A rles. Lower left, adoration of the
magI. 181
,
INTROD UC TION
At tilt' bef:inninf: of Alieel III \'(I1JIl(ler/alld. Alin' (who is born! by
Adl'Ul/lIrtJ
"sining by her sister on the bank and of Imvill,l; nothing to do") (,lkes a ~t'k
imo her sister's Ixlok all{j t xclaims: "what is rht" use of a book ... without
pinures or conversationsr
!
This study is writren for rl"aders who (like Al ice) want pictures with their
rn ..
prose, alld who SllSpt:ct or lit,v{' that a study of ancient an objects or ani
facts Offt'f a cliffnem kind of {'ngagl"mt'nt with the study of history than
t("xrs aJont" (ould provide, In fan, ('ven more than merely adding pictures
to
traditional [{'xt-hased history books, these persons might argue that
nOI1-
textu:l1 tvicll'IKt offers an (·qlwlly \"lhtable testimony to the charaCter of
rdigious or s(){i,d life in rhe although it may nor seem as accessible or
JXIS!.
app(lrt"nrly doquem Ilv:li!:lble wrinen records. especially hiscorians
liS to
tnlint·d to consult ,lDcient documems for their evidence. T hose hiscorians
who wish nor only to balance [heir texts with visual images bue also CO ime
grarr the tWO will find that such imegr,uion offers depth, or dimt"nsion.
Ilt"W
co their view of the past.
Althou!!h this might sound simple or t·v("n obvious, the distinct methods
and obieuive of text hiscoriaIl5 and an histori,lns have sometimes
goaL~
undermined that :Ire ne{:essarily inrt"rdisciplimuy. There several
efforL~ ~re
reasons for this. Fi rs!. the rmining of specialists :md the pwnical need for
professional focus l\:lve contribut(,d to what is oftcn unforrunate but
~n
understandable eStrangemem tht· two scholarly worlds. The data
bctw(~cn
often have been divided benvecn ttxt and an historians. ("vcn thou,gh sepa
rate analyses of material obit·us and :lIlcitnt tt'xts miss cruci,ll pawllels and
relationships betwctn the two fields tilM would <lid in the interprcwtion of
both. This division is (lllllcrStaIlJabk. howl'wr, 1:)(:C:lus{" scholars from one
fldd rartly m;ISter tht" voc:lbubry. tools. or techniques of research belonging
tilt" orht"r. ilnd so (":Jch is left the experts for study and interpretation.
to (0
bring rh(" rwo fldds into dialogue are both time-consuming and
Efforr~ to
:Jlso fraughr with professional risk, requiring that individual scholars be
willing to stt"P over tliscipli!wry lines and daringly emer another's field,
oftt"n as kind of inreresred :lnd eager. bur hapless. amateurs.
I
INTRODUCTION
Thus while many intellenual historians find visual art beautiful. inter
('stin1,;. and even provocative, they may be fearful of trying to interpret ir or
incorporate ir inw rheir own rtstarch. The highly specialized methods and
scientific apparatus employed by an hiswrians and archaeologisrs intimi
datt'S them. Alice-like, rhey miglll even prefer a book with piccures, but will
safely limit their use of thOSl' images w mere illusrmtion of the points made
in lhe words on rhe page, rhus unfortunately (and unwiuingiy) puning an
works inw a secondary position lLS service to their own prose.
Arr hisrorians, of course. have been tmined co analyze mau.'riul objects as
essential :md primary (never secondary) monuments of culture. However,
because of the resrricrions on their time or rhe emphases in their tL"'J.ining.
these scholars sometimes have a pamllel gap in their understanding of the
lools and of rext hismri:ms, or lack derailed knowledge of the
[echni~ues
t'ssc:ntial documentary sources that might correspond in time and place with
the art works they wefe scudying. And even if that wefe nOt the case, merely
keeping up with new scholarship in the field is nearly impossible.
Beyond tilt' problems of (im(' ,md [minins, however, is the slightly more
vexing issue of inclination or interest. Scholars workin,g in one fidd may
overlook, or simply lx· uninrerl'stl'd in, questions that would occur to their
collt'a/,;ues in another disciplint:, and while preo(Tupi('{1 with their own ques
tions may miss soml"thing that llppears to be blatantly obvious, profoundly
meaningful. or tantalizingly curious from the vantage point of those others.
Thus tht' need for interdisciplinary research and dialogue makes its case.
Questions that arise in one field of study sometimt'S mUSt be directed
[0
another for consideration and analysis. This is particularly true for scholars
t'n.g'I.ged in the inrerprer:uion of aft, in its meaning or si,gnificance for [he
social group or religious community - something bro.1dly labeled thc "scudy
of iconography." Those scholars who fit intO this C:lregory do, in fact, work
in the inrerSt'Crion between tCXC and !Irt hiscory and have carved om a
distinct field. !ddlOU/,;h in mosr cases they began with rht' mastery of a
2
"home disciplint''' and acquirCtI a broad working knowledge of another.
Such intl'rdiscipiinary adaptability is gt'ning harder and harder to sustain,
for aJJ thl' Stated abovc. A more pl"J.ctical future modd may be that
n~asons
of scholars from di/Tcrem disciplines working as tcams, informin.g and
critiquing one anOther.
But furrht·( complicating thc matter is the subtle but dcfinite dispara/,;e
mem of im:lgcs by man)' of those who come at history through tt'xrs. This
dispaL"'J.gemcnt may have a philosophical or c\'t'n theological b.1sis, or it m:ly
be nearly unconscious. Church historians' efforts to understand or credit
si,gnificance of visual art often parallel the hlmous respollSe of Gregory the
Great tht: bishop Sl.'rt'nus, who reported a case of iconoclasm in fl-larseilles
to
in the early seventh century. Gr(:,I)ory rebuked SerenLLs for destroying images
of the saints by asserting rhat: "what writins presents co readers, a picture
2
