L3 W2 Christian art in Med Constantine PDF

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Introduction to Medieval Art W2 L3 Lecture Notes The classical Tradition 2/10/17 Arch of Constantine Rome 3113-15 - a landmark in centre of Rome * Elizabeth Marlowe reconstruction of the original appearance of the arch, monument which marks * his legitimacy as rightful leaders, one of many in rome. the emperor would walk though after victory .Constantine connecting the imperial status to a divine one * paganism depicted, constantine doesn't become christian till end of his live, he legalised * Christianity .arch depicts events later became connected to legalisation of christianity * Frieze - arriving in centre of rome giving a speech. ceremonial side and battle shown, not clear .link its linked to christianity - can actually see pagan sacrifice going on arch considerable reuse of works from earlier period * Roundels from 2C reused from earlier monument * late images, stockier figures, centralised images * rostrum * static composition compared to entangles images of later works. stylistically different form is .better in late mid ages ?would a viewer engage with this different when faced with the whole work/monument *

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question of decline - Vasari, not impressed he thought work was reused as they couldn't find * good craftsmen in their own time. see the old as superior work which they can no longer create .and so take from other monuments reuse - other thoughts, Constantine needs to prove his legitimacy in Rome over rival, re-carved * in various ways. features show constantine and earlier emperors makes him at one with these. .*Strategic value by linking Constantine to the past, carving his features into old emperors faces .reuse of material as a choice rather than necessarily. (spolia) spoils, seen throughout med art * demonstration of power, appropriating materials from existing buildings - showing he’s * .arrived He is not patron of triumphal arch. but Constantine was creating new city; he created a church * . the Basilica Constantinian .before now churches where more domestic, hidden away buildings * this draws on classical tradition - form; large area for meeting and worship. He build one in Trier, *

.but not as impressive all the columns take from existing buildings or imperial marble reserves, for his Basilica, power * .as he can access all this material. Corinthian and ionic Spolioated interior decoration - not sure what it looked like * similar building; S Constanza Pier Santi Bartoli gives christian interpretation of classical * .scenes in the art work New testament images in works - Marble sarcophagus of Junius Bassus, Rome, scene from * bible christ as classical man, Adam and Eve, scenes from peter and Paul's life Santa Maria Maggiore Rome 5th C trends adopted 5th C mosaics over the triumphal arch, * .impressive sweep of columns also taken from an earlier building but are matching transposition of the form of the triumphal arch - no longer created outside in rome; brought to * .interior christian setting. with relatively static centralised images Christ (as subject matter) teaching in the temple - elements of the late antique style transposed * .into christian art works of art from antiquity are later used and reframed in later works of art * issues of survival - the more durable aspects of classical art which would survive; gem, stone * .and lesser extent Bronze - so primarily sculptural; repackaging classical works Cameo of Constantine's family 316 reused on the Ada gospel book C8/9thC stripping the top * .of a hard stone which is made up of different coloured layers * o m e t h o u g h t t h i s was naturally produced in the stone, or admired for its textural artistry. unlikely they would know .it was Constantine's family. image of 5 figures and 2 eagles

Shrine of the Three Kings 1200 some gems; to signify the shrine is special, used just because * ?they are precious virtual christianity, an gem thought to be christian by people reusing them at the time were * .actually classical images Reuse and interpretation - The Herimann Cross, reused lapis lazuli head (of the Empress * .Livia?) 1049 Cologne ,how would people have read this images - did they realise it was a women.or thought young man * may have been used for its material thought it was a precious stone which has christialogical * .significance people may have valued skill they were made or seen as natural occurring images, unlikely they * .would have been recognised as past individuals

.on Arch use of less precious materials * Images reworked to become different people a roman lady re-carved into saint * roman funeral art -got reused put into buildings and received a roman goddess turned into the .virgin Mary Monumental Bronzes - San Marco, venice Spolia taken by Venetians from Constantinople, brought the works back. to symbolise their triumph, here used the horses over Byzantine empire; inheriting this tradition, not inside, moved from secular to religious space from .arch to church .pagan antiquity made to christian art. political revival *

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