Late Roman ecclesiastical synthesis

Mosaics

	1. Mosaic pavement detail of a fisherman, ca. 314 A.D. (Aquileia Cathedral pavement). Wealthier Christian churches were the leaders in the creation of a developed Roman art that was not simply derivative of Greek traditions and escaped Roman cold conservativism. This mosaic adopts pagan motifs such as the Nilotic scene. but behind the traditional naturalistic content that imitates painting is Christian symbolism (icthys, fisherman). The fisherman is created with vertical rows of small tesserae that maintain a classical plastic sense, but the rest consists of horizontal rows of larger tesserae that reflect a new sense of linear stylization that is no longer indebted to painting techniques.
	2. Mosaic of female bacchantes and putti, first half 4th century (Rome: S. Costanza ambulatory vault). The potential to create an autonomous mosaic art was delayed by the senatorial reaction in Rome, which was aesthetically conservative, and by the incorporation of the Christian church into the Roman establishment. The white ground and geometric patterns of this ambulatory vault mosaic from San Costanza recall Roman floor mosaics, and the work reflects a reconciliation with Roman pagan motifs, such as the peacock, dove and grapevine, by making them into Christian symbols.
	3. Apse mosaic from the same basilica showing Christ and Peter, 4th c. A.D. (Rome: Basilica of S. Costanza). Christian church architecture was often based on the Roman law court (the basilica), and in this case the focus on the apse end lent itself to the display of major Christian themes. Here Christ is ruler of the world (Pantocrator), which reflects the interaction of Roman political ideology and what had been an essentially private faith. [Unfortunately, the colors here are the result of aging film and are not realistic.]
	4. Mosaic from 1st half of 4th c. A.D. (Rome: Santa Costanza), much restored. This is one of the oldest Christian mosaics. It is naturalistic in composition and employs pagan motifs, but adapted to Christian ends. The white ground recalls mosaic pavements.
	5. Mosaic of the Life of the Virgin and Christ, 432-440 A.D. (Rome: Sta Maria Maggiore). Christ is a worldly king on a throne, but Mary is not yet a queen with nimbus, but only a mother. We see in this mosaic a late manifestation of Italo-Roman plebian tastes, as seen in the narrative wordliness and emotional coloration.
	6. Mosaic in the Basilica of Santa Maria Maggiore, Rome. 5th c. In the sixth century, Santa Maria Maggiore became the the parish church of the Greek settlement associated with the Exarch of Ravenna, and as such was the principal church in Rome.
	7. Mosaics from the triumphal arch in the basilica of Saint Paul, Rome, 5th century.
	8. Apse mosaic from the Saint Rufina chapel in the basilica of Saint John in Lateran, Rome, 5th c. A.D.
	9. Apse mosaic from the Basilica of San Clemente, Rome, 12th c. With exception of the crucifixion, this mosaic is based on a 4-5th c. design.