48. Catacomb of Priscilla

 

Catacomb of Priscilla

Rome, Italy. Late Antique Europe. c. 200-400 C.E. Excavated tufa and fresco

The wall paintings are considered the first Christian artwork.

Greek Chapel

Content: 10 km or more than 5 miles wide  At least 40,000 tombs  Multiple sarcophagi for family members Concept originated in ancient Egypt  Small table  Scenes from Old and New Testaments (on the walls) Depiction of figures suffering on account of their faith Book of Daniel Divine intervention - young Jewish men told to worship a Pagan golden idol, they refused, were sentenced to be burned alive but then saved Originated under the papacy of Pope Zephyrin (199-217) Location where most important pontiffs of the 3rd century  Context: 5th century  Underground, in the north of Rome  The oldest part of the catacombs Closest to the entrance of Priscilla's villa Place where the earliest Christians were buries Some Christians would come here to practice their faith covertly  Form: "Cubiculum"  Passageways are stacked on top of each other (general) Roman first style* painting  Building up of plaster on the wall to look like marble Wanted the tomb to look rich and valuable Function: Burial location for the actual members of Priscilla's family NOT a place of worship or prayer (to God), not really a chapel

Orant

Content: Scenes from a Christian woman's life Marriage, childbirth, death (orant position) (Left) Being married by a 'seedless bishop'  (Right) Seated in a chair nursing her newborn baby, reference to motherhood (Center) Pose of prayer (orant) to represent her soul in the afterlife as it rises up to heaven; she is resurrected  Her eyes look upward to heaven, referring to her salvation Directly underneath a Good Shepherd fresco Context: "Cubiculum of the Veil" (Title)  Woman is in a veil for each scene of her life Establishment of positions of worship Orant  Particularly important in Early Christian art (c. 2nd - 6th) Woman represents hope of the family that she would be well received and happy in the afterlife Was painted in dim light of oil lanterns (viewed now through fluorescent lighting) Form: Arms outstretched as if reaching upwards towards god (orant); popular prayer position Minimalistic use of perspective and bodily proportions Long, amorphous body of clothing instead of curves of the human form Always facing the front Hierarchy of scale used to depict the scenes small to large, middle to sides in order of the importance of each event Not in very good condition; only preserved because it was underground, and not exposed to wear and tear of natural elements on the surface Shadow placed under her chin to create illusionism Hands are too large for her body, but face is represented naturalistically Function: Abstract representation of soul of the deceased Educational and instructive Showing Christians what a good Christian life was like Demonstrated important aspects of life Christians must experience, road to salvation Enclosed with a lunette at the back of the cubiculum

Good Shepherd frescoes "Breaking of the Bread"

Content: Different scenes of the Old and New Testaments Abraham in the center Isaac off to the right carrying wood  Sacrifice of Isaac Abraham's wrists stayed by an angel Breaking of the Bread  Long table, 7 men behind it  NOT 12 apostles and Christ 7 blankets (3 on one side, 4 on the other) filled with bread Christ as the Good Shepherd Surrounded by 3 goats, one over his shoulder  Represented young, has no beard (alludes to earliness of art)  Doves with olive branches Context: Christ represented as the Good Shepherd  Central figure of shallow domed ceiling  (Later) Christian art  Isaac about to be killed by Abraham (hence "Sacrifice")  Abraham's willingness to sacrifice his own son foreshadowed God's willingness to sacrifice Christ References to miracles Christ performed throughout his life and liturgy  Typical of Christian iconography  Practice of the Eucharist Bread and wine as the body and blood of Christ Not set scenes, invention of iconography Christ will care for his followers as a shepherd tends his flock  Form: Simplistic style, straightforward Nothing exists in it without educational value  Multiple curved and angular lines Diminished hierarchy of scale  To indicate the significance of religious figures Foreshortening of dishes on table Stance (GS) is representative of contrapposto  Represented center frontal with goats and bushes with doves on either side Very symmetrical  Symbols that surround the roundel (balance of earth and heaven) Peacocks - symbol of eternal life Quail - symbol of the earth  Function: Martyrdom/inspirational scenes  Divine revelation, worship, and devotion Embodiment and reinforcement of Christian faith

Vocabulary List

1. Cubiculum - (n.) Latin word for "bedroom"  2. Pontiff - (n.) the Pope  3. Orant - (n.) Latin for "one who is praying or pleading"; posture or     bodily attitude of prayer, usually standing, with the elbows close to the  sides of the body and with the hands outstretched sideways, palms up  4. Catacomb - (n.) human-made subterranean passageways for     religious practice; chambers of burial  5. Fresco - (n.) a painting done rapidly in watercolor on wet plaster on  a wall or ceiling, so that the colors penetrate the plaster and become     fixed as it dries  6. Lunette - (n.) an arched aperture or window, especially one in a domed ceiling; a fortification with two faces forming a projecting angle, and two flanks

Other:

• Gateways to Art excerpt
• "In the catacombs, frescoes ornament both the places used for burial and the rooms in which people could congregate. The paintings consisted of pagan, Jewish, and Christian scenes. Although the same imagery was seen by Romans of all three faiths, particular subjects, such as banquet scenes or shepherds, would be interpreted differently, according to the viewer's religion. For example, the central figure in the Christian fresco from the catacombs of Priscilla is shown standing in a praying position [orant]. Such a pose appears in pagan art, but it has a distinct meaning for Christians, who understand the figure to be praying to their god. Using imagery, such as this prayerful person, that was familiar to practitioners of other religions probably helped win potential converts to Christianity while also conveying a clear message to existing believers." (p. 479)

Links:

• https://www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/medieval-europe-islamic-world/v/catacomb-priscilla
• https://www.britannica.com/topic/orant
• http://www.bbc.com/culture/story/20150224-the-secrets-of-the-catacombs
• http://www.vatican.va/roman_curia/pontifical_commissions/archeo/inglese/documents/rc_com_archeo_doc_20011010_cataccrist_en.html
• https://smecsundaymorningforum.org/2012/04/26/the-good-shepherd-fresco-ca-ad-225-catacomb-of-priscilla-rome-italy/