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Church of Santa Sabina, built in Rome between 422-432 (*photos courtesy of Pearson)

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During the year fourth century the Roman Empire witnessed a shift in legislation regarding religious freedom that would alter the political, social, and artistic climate of the nation.  In 313 Constantine issued the Edict of Milan, granting all people in the Roman Empire the freedom to worship any god of their choosing (Stokstad and Cothren). The new edict would inspire the public to exercise their rights of freedom of religion both inwardly and externally through the creation of artwork, statues, and architecture. The rising Roman Christianity community sought to invest in new architectural endeavors in hopes due to the varying practices associated with the religious cult as opposed to the Greek temples of before. Authors Stokstad and Cothren state that they required a space, “…to gather inside a building to worship. Christians also needed locations for special activities such as the initiation of new members, private devotion, and burials.” This is what Bishop Peter of Illyria hoped to establish with creation of the Church of Santa Sabina. This early depiction of Christian architecture drew inspiration from the Early Christian Basilica with its internal layout. Stokstad and Cothren describe the building as including, “a nave lit by clerestory windows, flanked by single side aisles, and ending in a rounded apse.” The building also incorporates the use of brick, marble for columns, and spolia (materials reused from older buildings). Students on Site, Santa Sabina illustrates one of the architecture’s main attractions, its opus sectile mosaic. These decorations run along the arcade. The use of red and green geometric symbols and varied motifs are meant to illustrate the Eucharist. Other visual focal points include a mosaic displayed above the entrance wall. Importantly, the image’s text includes the inscription of the name, “Peter,” referring to the church’s donor. The construction and decoration of the building was meant to inspire both those already of the Christian faith and those newly joining the religion. The architects were meant to construct a space that encouraged congregation and transformed once “pagan spaces” into “Christian spaces.” The simplicity of churches’  halls reflected the previously standing basilicas while the interior’s embellishments signified the start of early Christian architecture with depictions of biblical stories and imagery.

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Cathedral of St.Mark, built in Venice in 1063

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By the late fifth and sixth century the expanse of the Byzantine Empire connected Northern Africa, much of Italy, and parts of Spain. The result of its large influence was an amalgamation in artistic styles combining different religious and regionally practices. The emerging artistic style served to emulate the significance of the Christian faith while symbolizing the artistic alliance of Islamic and Christian faith despite political rivalries (Gand). As seen in The Enduring Magnificence of Hagia Sophia, buildings now paired materials to their ability to heighten visitors experience within the building. Stone became a popular material as it amplified the chanting and singing of the congregation. However, debates regarding the implications of iconoclasm resulted in a divide within the Byzantine Empire. While some feared that these images would lead individuals into idolatry others stated that they served to ‘proclaim Christ as God incarnate” while serving for intermediaries between heavenly beings and mortals (Stokstad and Cothren).

The Cathedral of St. Mark came as a result of changes in Venice’s trading status in the tenth century. Constantinople had granted merchants the ability to control commerce between the east and west, increasing the wealth of the city (Stokstad and Cothren). Construction was expensive and with a monetary influx the Doge of Venice’s requests for a church to replace the palace chapel were granted. The building was inspired by Byzantine domed churches and would house the relics of St. Mark the apostle like the palace chapel had previously. The victories from iconophiles in 843 prompted the subject matter for many Byzantine art pieces. Images of Christ, angels, miracles, and other biblical symbols decorated the interior. The Cathedral of St.Mark’s main attraction includes golden ornamentation alongside panels of mosaics depicting stories from the New Testament. Pictures within the church aided individuals who were not literate, images allowed them to visually “read” the stories of the Bible and follow along through sermons. Other architectural features include a Greek Cross layout and the use of domes, each separated by barrel vaults and supported by pendentives (Stokstad and Cothren).

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The Benedictine church of San Clemente, built in Rome during the 11th century

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The year 999 inspired nation wide anxieties about the rumored apocalypse looming over the new millennial. The people of Christendom had read Biblical prophecies foretelling the end of the world. As a result, the relief that washed over the nation as they woke up to the year 1000 safe inspired a boom in construction. In celebration, churches were built to “glorify the Lord and his saints” (Stokstad and Cothren). Every aspect including, layout, materials, and artwork were meant to celebrate and encourage public worship. The Romanesque style also symbolizes political and religious changes during this time in which national figures like Duke William II of Normandy ally with the Church. Both the Church and state shared the goal of spreading Christianity allowing the two to mutually benefit from the partnership, Christian rulers received land grants for construction and political leaders had the church to spread Christianity (Stokstad and Cothren).

The Benedictine Church of San Clemente was built on the remains of a Roman sanctuary of Mithras. The building displays an emphasis on masonry like most of the architecture built in the Romanesque style. Stone was favorable for its durability and strength over time but also the acoustic qualities it provided. The stone’s echo was deemed appropriate for Gregorian chants. However, stone also symbolized a sense of permanence and intimidation. As discussed in Inside the Medieval Mind: Power, the accumulation of these structures’ location, materials, and layout served to remind townspeople of their positions within society. The Romanesque style is evident in the building’s use of Roman spolia from the previous existing church’s to create the church’s columns. The church’s main attraction includes the mosaics that decorate the apse. The style of these mosaics move away from realism and instead adopt ornamental patterns and designs and emphasize symmetry and repetition (Stokstad and Cothren). This can be seen in the middle row of 12 sheep meant to represent the apostles and two stags positioned at the bottom of the cross. There is a continued desire to return to the classics because they believed the simplicity of the past was better and closer to purity than the advancements of the future.

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Cathedral of Notre-Dame at Reims or Reims Cathedral, built in Champagne, France in the 13th century

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The twelfth and thirteenth century French government began to centralize its government. Advancements in architectural technology, increases in financial resources, changes in governmental structures, and heightened intellectual and spiritual aspirations all played a vital role in France’s building boom.  The explosion in construction resulted in the creation of Abbot Suger’s Abbey Church of Saint-Denis, what’s thought to be origin of Gothic Architecture.

Reims Cathedral was built after the previous church burned in fire causing local townspeople to voice their desires for a new church in its place. Five master masons, Jean d’Orbais, Jean le Loup, Gaucher de Reims, Bernard de Soissons, and Robert de Coucy, worked throughout the years to complete the building over its century of construction (Stockstad and Cothren). The church was the coronation church for the kings of France which can be seen in the building’s rebuild in the Gothic style. The extended nave is believed to be reference to the procession during the coronation ceremony (Stockstad and Cothren). It was important for royalty to have these complex and intimidating structures as part of the crown to reinforce their right to divine rule.  Stained-glass windows also highlight the importance of the church’s royal audience and recent influx in wealth. The illuminated windows also play on a major characteristic of Gothic architecture, the importance of light. Light was believed to be a physical manifestation of God. The images of the stained-glass brought congregations closer to the heavens literally and metaphorically. Each panel displayed a segment to a larger story allowing audiences who were illiterate to follow along with passages during sermon. The ethereal quality of the windows is also seen in the building’s grand height, reinforcing the power and dominance of the church (Gand). Reims Cathedral also incorporates sculpture throughout its exterior. Figures can be seen depicting the Annunciation, where archangel Gabriel announces to Mary that she will birth Jesus (Stockstand and Cothren). The bodies are stylized with elongated bodies, graceful mannerism, and small heads, all characteristics of Gothic art. Gothic architecture signifies a big migration away from the simplicity and subtlety of previous styles. Humble appreciations of God are now seen as weak while expressive and lavish displays are seen as holy.