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Santa Costanza church located in Rome, Italy. Constructed between 337-351 AD.  Main materials include brick, marble, and stucco, decorated with mosaics. 

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The Church of Santa Costanza is a central-planned building in Rome, Italy. It was originally built as the mausoleum of Constantina, daughter of Constantine, however later in 1256 it became a church. The Santa Costanza Church is one of the earliest surviving central-planned Christian buildings.

The Church of Santa Costanza’s characteristic features include circular rotunda, massive vault rising above altar, barrel-vaulted passageways around altar – ambulatory, and clerestory. The Church has a vertical axis from the center up through the dome, and as authors Stockstad and Cothren state, “may have functioned as a symbolic “vault of heaven.” The arcade and dome are supported by paired columns with composite capitals and entablature blocks.

The interior of the Church of Santa Costanza reveals important features that are common in Early Christian Art and Architecture. The inside of the Church is covered with mosaics and veneers of fine marbles. The ambulatory vault is decorated with bust portrait of Constantina. She is surrounded by tangle of grapevines filled with putti. Putti are naked cherubs, that came from pagan art. While style and technique of mosaics is inspired by Roman art, there is a meaning related to Christianity. Some putti are harvesting grapes, and others are trampling the grapes to make wine. Wine has an important meaning in Christianity, referring to Eucharist. Trampling of grapes for the making of wine becomes an image of death and resurrection.

Constantina was buried in a large porphyry sarcophagus placed in a rectangular niche on the opposite side of the ambulatory from the entrance. The sarcophagus features motifs similar to those of the putti that make wine in the mosaics of the vault of the ambulatory. The peacocks running along its base symbolize eternal life in paradise and the lone sheep, presumably representing Constantina, may be a member of Jesus’s flock.

The Church of Santa Costanza served as a model for Christian tombs, churches dedicated to martyrs or built on their tombs, and baptisteries. Its visual and formal characteristics were significant because they represented a new form of architecture that differed from traditional Roman basilicas. Constantine the Great played significant role in development of Early Christian Art and Architecture, issuing Edict of Milan in 313. The Church of Santa Costanza is a great example of transition of architecture to a new stage.

Resources: Marilyn Stokstad and Michael W. Cothren, Art History, Fifth Edition, Pearson, 2014.
Videos: Imperial Christian Art

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Basilica of Saint Sabina at the Aventine in Rome, Italy. Was built in the early 5th century, around 422-432 AD. Main materials include brick, stone, marble,wood

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The church of Santa Sabina is a masterpiece of early Christian art and architecture. It is located in Rome (Italy) and was built by Bishop Peter of Illyria between the years 422 and 432. The church is a traditional Roman basilica with a nave and apse, but it also presents new features characteristic of early Christian art and architecture.

One of the most striking features of the church of Santa Sabina is its longitudinal plan. This means that the church has a long, rectangular nave flanked by simple aisles and a rounded apse at the end of the building. The nave is lit by clerestory windows, which allow light to flood the space and create a sense of awe and reverence. Circular arches on either side of the nave form an arcade supported by fluted marble columns with Corinthian capitals. As authors Stockstad and Cothren state, “Corinthian capitals were reused from a second-century pagan building. (Material reused from earlier buildings is known as spolia, Latin for “spoils.”).”  Their use in the church of Santa Sabina represents a transformation of pagan art into Christian art. The spaces between the arches is decorated with mosaics (opus sectile). These mosaics represent chalices (wine cups) and patens (bread plates), essential attributes for the Eucharist.  Above the entrance of the church of Santa Sabina there is an inscription with two female figures from both sides.

The exterior of the church of Santa Sabina is very simple and basic. The facade of the church is made of brick without any decoration. This simplicity contrasts with the ornate interior of the building and serves as a reminder that the true beauty of the church is not in its appearance, but in the spiritual experience it offers its worshippers.

The church of Santa Sabina is an excellent example of the transition from Roman to early Christian architecture. It is also an example of how pagan art was transformed into Christian art. Roman techniques and styles became the inspiration for new techniques, and the result was a new form of art and architecture that reflected the changing values and beliefs of the early Christian Church.

Resources: Marilyn Stokstad and Michael W. Cothren, Art History, Fifth Edition, Pearson, 2014.
Videos: Imperial Christian Art, Watch it: Students on Site: Santa Sabina

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Hagia Sophia, Istanbul, Turkey. Constructed between 532-537 AD. Main materials included brick, stone, marble, mosaics. 

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The church of Hagia Sophia in Constantinople, present-day Istanbul, is one of the most significant buildings in the world for its architectural features and historical importance. Built by Emperor Justinian I and designed by the scholars Anthemius of Thralles and Isidorius of Miletus, the church is a symbol of imperial power and Christian glory. Completed in only five years, the church replaced a 4th century structure that was destroyed during the Nika revolt of 532. The most distinctive feature of Hagia Sophia is its massive dome, said to be suspended from a "golden chain from heaven." The dome is surrounded by semi-domes or conches, which prolong the central space in a longitudinal nave, joining the narthex at one end and the semi-dome of the sanctuary apse at the other.

The processional core of the church, called naos, is flanked by side naves with galleries above them. To reach the sanctuary apse at the rear of the church from the outer courtyard, one must pass through a wide but shallow outer narthex and then an inner narthex, about twice as deep as the outer narthex, under the semi-dome. Inside, flanking the groin-vaulted bays, one can pass under the first semi-dome, between the semicircular exedras, which widen from it to the upper groin vaults; then under the central naos, before passing under the second semi-dome and between its exedras, to finally reach the back of the church.

Hagia Sophia is an innovative hybrid of longitudinal and central architectural planning. The building was designed by builders who perfected their masonry techniques by erecting towers and vaulted halls that formed part of the city's defenses. Its design, bold and awe-inspiring, embodied imperial power and Christian glory. The building was to be a mighty symbol of earthly power, and Justinian compared his achievement to the legendary builder of the First Temple in Jerusalem, saying, "Solomon, I have outdone you."

Hagia Sophia was the main church of Constantinople until the city fell to the Ottoman Turks in 1453, at which time it became a mosque. It later became a museum and today is a monument to Istanbul's cultural and religious history. The architecture of the building was a testament to the power of the Byzantine Empire and the strength of Christianity at the time. It was to inspire awe in visitors and convey the greatness of God's wisdom through its magnificent design. The building was also to inspire a sense of awe in those who entered it, and the grandeur of the structure inspired feelings of awe and piety.

In conclusion, Hagia Sophia is an important building for its innovative combination of longitudinal and central architectural planning, its enormous dome, and its historical significance. The building was designed by builders who perfected their masonry techniques. Hagia Sophia served as a symbol of imperial power and Christian glory. Hagia Sophia is one of the greatest achievements of Byzantine Art and Architecture.

Sources: Marilyn Stokstad and Michael W. Cothren, Art History, Fifth Edition, Pearson, 2014.
Video: Orientation to Hagia Sophia Reading
Hagia Sophia, Istanbul

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The Speyer Cathedral, Speyer, Germany. Constructed between 1030 and 1060 AD. Main materials include wood, brick, stone. 

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The imperial cathedral in Speyer in the Rhine Valley is a monumental structure from the Ottonian and Carolingian periods. Originally built as a church with a wooden roof between 1030 and 1060, the cathedral was later rebuilt between 1080 and 1106 with a stone vault more than 100 feet high.

The original Ottonian church with its wooden roof was a modest structure, but it formed the basis for the present cathedral. Later, the church was rebuilt with a stone vault, which allowed for larger windows and a more spacious interior. At the same time, elaborate columns were added to mark each nave, alternating with smaller columns supporting the vaults of the spans. This rhythmic interplay of heavy and light elements was a hallmark of Ottonian wooden roof architecture and became an important design element at Speyer.

The use of groin vaults was a major innovation in the construction of the cathedral. The groin vaults concentrate the weight and load of the vault on the four corners of the bay, relieving the load on the side walls of the building. This allowed large windows to be placed in each nave, filling the building with light and giving a sense of spaciousness that was unprecedented at the time.

The exterior of the cathedral bears witnesses to its Ottonian and Carolingian heritage. Towering spires and wide transepts mark both ends of the building, with a narthex to the west and a large apse with a main altar to the east. Transept arms project on either side of the apse, and a large octagonal tower rises above the passageway. The choir is framed by two tall, slender towers that convey the sense of balance and harmony typical of the period.

In summary, the Imperial Cathedral of Speyer represents an outstanding achievement of Romanesque architecture. Its history and design reflect the influences of the Ottonian and Carolingian periods as well as the remarkable structural and design innovations made during its construction. Today, it is a testament to the outstanding achievements of its time and a reminder of the enduring legacy of medieval architecture.

Sources: Marilyn Stokstad and Michael W. Cothren, Art History, Fifth Edition, Pearson, 2014.

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 Notre-Dame de Chartres, located in Chartres, France. Constructed between 1194 and 1220. The main materials include stone and stained glass. 

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The Cathedral of Notre Dame in Chartres is an important building that reflects the transition from the experimental style of the twelfth century to the mature Gothic style of the thirteenth century. The cathedral in Chartres, France, dominated the city and was dedicated to the Virgin Mary, making it one of the oldest and most important Christian shrines in France.

One of the most important features of Gothic architecture is the framework supporting ribbed vaults atop slender piers. Notre Dame Cathedral in Chartres adopted this framework, becoming an important prototype of a new architectural style that emphasized space and light. The system of exterior buttresses reinforced the slender columns and allowed for the construction of ever larger cathedrals with ever taller interiors adorned with ever larger stained glass windows.

The most important treasure of Chartres Cathedral was the piece of linen which, according to legend, was worn by the Virgin Mary at the birth of Jesus, making the cathedral an important pilgrimage site. The association of the cloth with important market events, especially the cloth markets held in Chartres on the feast days of the Virgin Mary, made the textile relic a center of local prestige and economy, increasing the cathedral's income not only from pilgrimage but also from tax revenues.

Chartres' west façade retains an early sculptural program created in the decade following the reconstruction of Saint-Denis. The royal portal, which was used only for the important ceremonial entrances of the bishop and his retinue, was decorated with quiet and comfortable sculptures that filled the architectural space. The central tympanum depicts Christ, seated majestically on a throne and returning at the end of time, surrounded by the four evangelists. The apostles, arranged in four groups of three, fill the lintel, while the 24 elders from the Apocalypse line up along the archivolts. The right portal is dedicated to the Incarnation and emphasizes Mary's role in the early life of Christ, from the Annunciation to the Presentation in the Temple. The left portal shows the Ascension, the return of the incarnate God from earth to heaven. The historic capitals, extending across all three doorways at the top of the jambs just below the lintel, depict the earthly life of Jesus in a series of small, vivid narratives. All three openings are flanked by columns with statues of kings, queens, and prophets from the Hebrew Bible, recalling Christ's royal and spiritual origins and the close ties between the church and French royalty.

The image of kings and queens in the Royal Portal gave it its name. The elegant, elongated proportions and linear but realistic draperies of the columns reflect the cylindrical shafts behind them. Their carefully carved, idealized heads radiate a sense of blissful peace. Both the overall design and the individual components of this portal are dominated by tranquility and order-a stark contrast to the dynamic configurations and energetic figures on the portals of Romanesque churches.

Overall, Notre Dame Cathedral in Chartres is a major work of Gothic architecture that reflects the transition from the experimental style of the twelfth century to the mature style of the thirteenth century. Its unique half-timbering, buttress system, and stained-glass windows allowed for the construction of ever larger cathedrals with ever taller interiors. Its connection to important market fairs and textile relics made it an important pilgrimage site, resulting in increased tax revenues. The regal portal with its quietly carved figures, historic capitals, and columned statues conveys a sense of blissful calm and serenity that contrasts with the dynamic configurations and energetic figures of Romanesque churches. The Cathedral of Notre Dame in Chartres is the perfect example of Gothic Architecture.

Sources: Marilyn Stokstad and Michael W. Cothren, Art History, Fifth Edition, Pearson, 2014.
Videos: Chartres Exterior-1, Chartres Exterior-Sculptures, Chartres Exterior Sculpture North Transept.