Types of Christian churches: rotunda and basilica. Types of early Christian churches: rotunda and basilica

“Eternal painting” - mosaic, widely used already in antiquity, was adopted by Christian art in the 4th century. When the emperor himself became a Christian, huge basilica churches began to be built at all ends of the empire, and memorial rotundas - martyria - were erected at holy places. Christian buildings needed interior decoration, and the fine arts faced new challenges.

Firstly, mosaic images moved from floors, where they were common decoration, to the vaults of buildings. However, even in Christian buildings, the floor continued to be decorated with mosaics, which also included figurative images. Then the mosaic technique itself changed. Instead of the dull color of natural stones, mosaics began to be laid out from colored cubes of glass mass - smalt.

In the Roman mausoleum of the daughter of Emperor Constantine Constanta (in the Middle Ages erroneously called the Church of Santa Constanza), which is a rotunda with a circular walk, numerous scenes of grape harvesting and wine preparation are presented, made in a completely Roman spirit. Mosaics on a white background cover the arch of the bypass gallery like a carpet. However, behind the images of vines and little men trampling the collected grapes in a winepress, as well as pecking fruits and birds drinking from cups, quite Christian symbols can be discerned.

The art of those years remains largely allegorical, filled with symbols and allegories. Several more centuries will pass until (at least on a theoretical level) the principles on which Orthodox icon painting will be based are formulated, and the forms of church art itself come closer to the types familiar to modern believers. The Fifth-Sixth Council of Trullo, held in Constantinople in 692 (which supplemented the two ecumenical councils that preceded it), decided in canon 82 the following:

“On some images of honest icons, a lamb is drawn, pointed by the finger of the Forerunner, which is accepted as the image of grace, representing the true Lamb, Christ our God, predetermined to us by law. So, lovingly accepting the ancient images and canopy (shadows), as symbols and designs of the truth, devoted to the Church , we prefer grace and truth, accepting it as the fulfillment of the law. So, in order to present the accomplishment through the eyes of everyone through pictures, we determine from now on to imprint on icons in human image instead of the ancient lamb - the Lamb who takes away the sin of the world, Christ our God, so that through this to discern the height of the humility of God the Word and to be guided to the remembrance of His life in the flesh, suffering and saving death, and the redemption that came from this to the world.”

In practice, Christian art of the IV-VI centuries. either continued to use some familiar images that already existed in the catacombs, or took subjects and compositions of Roman art as a basis. The most important borrowings were made from Roman official imperial art. This was all the more logical since the architectural form of the temple was based on the type of secular public building - a basilica, intended by the Romans for legal proceedings, business and political meetings.

From the very beginning, the most important place for placing images in basilica churches was the vault of the altar apse, towards which the gaze and movement of every person who entered was directed.

One of the first Christian scenes to occupy the apse vault was the scene “Traditio Legis” (Giving of the Law). In Roman art, this scene depicted the emperor installing an official. In the same mausoleum of Constanta, two mosaics from the mid-4th century based on this composition have been preserved.

The first of them shows Christ seated on a ball, thus depicted as the Cosmocrator, the Ruler of the whole world. The prophet Moses approaches Him in a ceremonial position, accepting the scroll of the law from the hands of Christ with the bottom of his robe. The ten palm trees standing around them allude to the Ten Commandments.

On the mosaic of another apse, the apostles Peter and Paul approach the standing Christ. The Lord, with his hand raised in a gesture of triumph, stands above the mountain from which four rivers of paradise flow (Genesis 2: 10-14). Unfortunately, the mosaics have suffered from time, and the faces on them have been severely distorted as a result of repairs.

Another, more significant theme of the altar mosaics was eschatology. This expressed the fervent expectation of the second coming of Christ, especially characteristic of the early Church.

The mosaic in the apse of the Roman church of Santa Pudenziana, made at the turn of the 4th-5th centuries, represents the second coming of Christ.

In the center is the Lord in golden robes, seated on a throne as Lord and Judge. On either side of Him sit the apostles in a semicircle, of whom Peter and Paul are immediately recognizable, over whose heads certain women (personifications) hold laurel wreaths. The apostles, who represent the entirety of the Church, sit on thrones according to the words of the Gospel: “... in the rebirth, when the Son of Man sits on the throne of His glory, you also will sit on twelve thrones, judging the twelve tribes of Israel” (Matthew 19:28).

The whole scene is presented against the backdrop of the city - Heavenly Jerusalem (Rev. 21). In the sky, covered with bluish-white-scarlet clouds, a victorious Cross floats, on the sides of which there are four winged creatures - a man, a lion, a calf and an eagle. The Cross that appeared in heaven is decorated with gold and precious stones. This is a sign of victory, not passions. Similar images go back to the cross that appeared in a vision to Emperor Constantine and was erected by him as a monument to his victory over Maxentius. Colored clouds, as if illuminated by dawn, have become a common detail in eschatological compositions, and animals taken from the vision of the prophet Ezekiel (Ezekiel 1) indicate that theophany is happening before our eyes - the appearance of God.

In another Roman temple, dedicated to the holy martyrs Cosmas and Damian, a mosaic from the 6th century depicts the coming Christ, as if descending to us on a staircase from the clouds.

The Lord's right hand is raised in a welcoming, triumphant gesture. The Apostles Peter and Paul, placing their hands on the shoulders of the martyrs, present them to Christ. The saints, as befits the meeting of a Roman triumphant, present wreaths as gifts to the Lord, holding them respectfully in covered hands.

The composition is closed by Saint Theodore in patrician clothing, also with a wreath in his covered hands, and Pope Felix with a model of the temple he built in his hands. The image of the pope was later redone and stands out for the naturalism characteristic of the new time.

Another subject for the images in the altar was the Transfiguration of Christ, also understood as a theophany. Two famous examples of this scene survive in two different parts of Christendom. Both images were created in the 6th century.

In the Basilica of San Apollinare in Klyase in Ravenna, Italy, the Garden of Eden is depicted in the apse vault. In the golden sky above him, covered with the same colored clouds, in a sky-blue sphere filled with stars, a victorious, triumphant Cross is revealed. If you look closely, you can also discern a small face of Christ placed on the crosshairs. The letters Alpha and Omega also refer to Christ (Rev. 22:13) and leave no doubt that the Cross surrounded by round glory is a symbolic image of the Lord himself. The motif of the circle or celestial sphere itself will become firmly established in Christian art. Thanks to its frequently occurring almond-shaped shape, it will receive the name mandorla. In icon painting, this motif will become an exclusive attribute of Christ himself or the Mother of God holding her Son in her arms. Denoting primarily divine glory, the sphere also points to the appearance of another, heavenly world.

The prophets Elijah and Moses soaring in the clouds leave no doubt that this is the Transfiguration. The hand descending from above the sphere, denoting the Divine right hand, indicates the voice of God the Father (Matthew 17: 5). Below you can see three sheep, which are an allegorical image of the apostles. Other sheep, twelve in number, approach the figure of the holy Bishop Apollinaris, depicted below in the center in the pose of an orant - praying.

The Transfiguration is presented completely differently on the mosaic in the basilica of the monastery of St. Catherine on Mount Sinai, executed by masters sent from Constantinople.

Here the image is strict, laconic and one might say “historical”. There is no allegory in it, but symbolism remains, helping to convey the supernatural essence of what is happening. In fact, this is already an example of mature church art. All Orthodox icon painting will follow this path in the future.

Against a solid golden background, excluding a hint of sensory reality, in shining white robes, Christ is depicted surrounded by a mandorla and Elijah and Moses talking with Him. Christ’s right hand is raised in a blessing gesture, and in His halo, which would later become generally accepted, a cross is depicted. Below are the fallen apostles, two of whom raised their hands in surprise and contemplation. Peter lies under the feet of Christ, forming, as it were, a foundation, in which one can see an allusion to the Gospel words: “You are Peter (the stone), and on this rock I will build My Church” (Matthew 16:18).

Returning to the topic of Old Testament prototypes, we should recall another image from the 5th century, preserved in the small temple of the Hosios David monastery in Thessaloniki.

Here the epiphany is presented close to the text of the book of the prophet Ezekiel (Ezekiel 1, 2), who is depicted right there on the edge of the composition, listening to God’s voice. The prophet Habakkuk sits symmetrically on his other side.

In the center, in a sparkling sphere on a rainbow, Christ sits, solemnly raising his hand, with his left hand He shows an unfolded scroll with the inscription: “Here is He, our God! We trusted in Him, and He saved us!” (Isa. 25:9). Christ is depicted young and beardless, which was already very common in the frescoes of the catacombs. Subsequently, this type will be included in icon painting under the name of the Savior Emmanuel (Matthew 1: 23). Like the image of Christ the Ancient of Days (i.e., an old man), this image points to the eternity of Christ, who appeared in visions to the prophets even before the incarnation. From under the feet of Christ flow four rivers of paradise, reminiscent of the words of the Apocalypse: “And he showed me a pure river of the water of life, clear as crystal, coming from the throne of God and of the Lamb” (Rev. 22: 1). From the four sides of the glory surrounding Christ, four winged animals look out, this time holding the codes of the Gospels.

In addition to the central composition in the apse vault, the basilica was decorated with images on the triumphal arch framing the apse and the walls of the central nave. These cycles, which contain Old Testament and Gospel scenes, will be discussed later.

Basilicas, as already noted, were not the only type of Christian buildings. Already from the 4th century, a number of centric domed buildings appeared, the picturesque design of which is all the more important, since subsequently it was the domed type of building that would become the predominant form of the temple in Byzantine and, more broadly, Orthodox architecture.

To be continued...

>> Types of Christian churches: rotunda and basilica. Mosaic decor. Christian symbolism. Mausoleum of Constantius in Rome. Mausoleum of Galla Placidia in Ravenna. Basilica of Santa Maria Maggiore in Rome

TYPES OF CHRISTIAN TEMPLES: ROTONDA AND BASILIA. MOSAIC DECOR. CHRISTIAN SYMBOLICS

Mausoleum of Constantius 14 in Rome. Mausoleum of Galla Placidia 15 in Ravenna. Basilica of Santa Maria Maggiore in Rome

The period in the history of art from the moment Emperor Constantine recognized the rights of the Christian religion in 313 until the formation of the Byzantine style under Justinian the Great in the 1st century. is called early Christian. In general, it represents European art, developing under the influence of Christianity.

Christianity– one of the three world religions along with Islam and Buddhism. Its basis is faith in Jesus Christ 16 - the God-man who came into the world with the goal of atonement for human sins by death on the cross. Having risen on the third day and ascended on the fortieth, he showed the possibility of resurrection and eternal life for every person who believes in him. The life and deeds of Jesus Christ are set out in the four canonical Gospels included in the biblical book of the New Testament.

The formation of a spiritual space based on the Christian faith and the establishment of religious ritual necessitated the need for religious buildings. In architecture, two types of churches (houses of God) have been established, dating back to the buildings of Ancient Rome - the rotunda and the basilica.

In the form of a rotunda with a clearly defined central axis, baptisteries for baptism or mausoleums for the burial of saints were built. The oldest are the Mausoleum of Constantius in Rome and the Mausoleum of Galla Placidia in Ravenna. The round shape of the Copstaptia mausoleum in Rome (IV century) recalls the eternity of the Church of Christ. Its internal space is divided by columns into a bypass zone and a central one, topped with a dome. The mausoleum of Galla Placidia in Ravenna (5th century) has a special shape of a cross, symbolizing Jesus Christ. At the intersection of the arms of the cross, it is crowned by a square tower, hiding a domed completion inside (see color incl., Fig. 21). It was in the mausoleum of Galla Placidia that the transition from a round dome to rectangular walls was first made using four spherical triangles - sails.

A Christian basilica, for example Sapta Maria Maggiore in Rome (IV century), is likened to a ship that delivers Christian to the Kingdom of Heaven, and is intended for church worship and storage of relics. Santa Maria Maggiore, like any basilica, is an elongated rectangular building, divided from the inside by a colonnade into three parts. Thanks to the vaults - flat wooden floors with rafters resembling the keel of a ship, the passage began to be called a nave (Latin navis - ship), and the middle nave is always higher and wider than the side ones.

The basilica is illuminated through windows cut into the upper part of the walls above the colonnade of the central nave and on the side walls. The entrance is located on one of the short sides. It leads to the narthex, a room intended for people preparing for baptism. The opposite short wall ends with an apse - a semicircular projection with large windows. Its internal space, covered with a semi-dome and raised above the general floor level, is called the altar. The boundary between the central nave and the altar, where parishioners are not allowed, resembles the outline of a triumphal arch. In front of the facade there is a tower and a vast open courtyard surrounded by a colonnade reminiscent of a Roman atrium.

Extremely simple in form, devoid of any decoration on the outside, early Christian churches were richly decorated with mosaics inside. Moreover, the mosaic does not just cover the walls, but, as it were, replaces them. Since it consists of small pieces of smalt of different sizes, varying degrees of transparency and is laid out at different angles, the light is not reflected from the rough surface, but seems to be scattered, softening the edges and dissolving the planes in its transparent flow. The interior is perceived as a transformed world, as a symbol of the soul, which shines the more, the more inconspicuous its bodily shell is.

Depending on the type of temple, accents in the interior decor were placed differently. In central-domed buildings, such as the mausoleum of Galla Placidia, the walls are covered with marble slabs, and the arched ends, vaults, sails and domes are covered with mosaics.

In the center of the dome of the mausoleum, a golden cross glows as a symbol of the torment and victory of Christ over death and golden stars are scattered. As if from their circling on sails, the outline of which is indicated by blue-green serpentine on a wine-red background, a golden angel, calf, lion and eagle emerge - symbolic designations of the evangelists Matthew, Luke, Mark, John 17. The walls and vaults are lined with dark blue smalt, its background is dotted with golden shoots of acanthus, blue cornflowers, and white daisies. Like a phantom among this variety of colors, golden fallow deer appear drinking from a spring, snow-white figures of the apostles, the young Good Shepherd surrounded by white-fleeced sheep on an emerald green meadow (see color incl., Fig. 22). In the magical space of the mausoleum, the colors glow with an unearthly brilliance, and it is no coincidence that one of the ancient hexameters says about their radiance: “Either the light was born here, or it was caught here and now rules freely.”

In basilicas, decorative compositions were placed above the colonnade of the central nave and in the apse, promoting the movement of the viewer in a straight line. Moreover, the significance of the image increased as it approached the altar. In the Church of Santa Maria Maggiore in Rome, above the arcade of the central nave, Old Testament scenes are located, in particular the story of the first appearance of God to man - the forefather Abraham.

Cross and symbols of the evangelists. Dome.

V century Mausoleum of Galla Placidia. Ravenna

Questions and tasks
1. What types of temples became widespread in the era of early Christianity?
2. What is common in the decor of early Christian churches of any type? What places especially stand out when decorating the interior with mosaics in central-domed churches and basilicas?
3. How were the images of ancient Roman mosaics interpreted in Christian art? To answer, use the illustrations from task No. 10 in the workbook.

Emokhonova L. G., World artistic culture: textbook for grade 10: secondary (complete) general education (basic level) - M.: Publishing Center "Academy", 2008.

Lesson plans for 10th grade art lessons download, textbooks and books for free, development of art lessons online

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Early Christian architecture includes most European structures that were built between 350 and 525 AD, although some historians believe that construction of early Christian churches began even earlier, in 100 AD. Among the decorative elements used by ancient Christians in the building designs of that period were frescoes, mosaics and sculptures. Early Christian Architecture is almost similar to Romanesque, but is distinguished by a more impressionistic representation of space. This list contains 25 incredible examples of this type of architecture.

Sant'Apollinare in Classe

The Basilica of Sant'Apollinare in Classe is located in Italy and is one of the key landmarks of Ravenna, Italy, built in 538. Widely recognized as one of the most outstanding examples of the earliest Christian basilicas, this structure is noted for the simplicity and purity of its design. The unique basilica has a nave and only two aisles.

San Marco in Rome

The Basilica of San Marco is located in the capital of Italy and was built in 336. This small basilica in Rome was built for St. Mark the Evangelist, whose remains are located under its main altar. The sanctuary is in the ancient basilica format, and the interior has elements of early Christian architecture, with a wooden ceiling and mosaics.

Sant'Apollinare Nuovo

The Basilica of Sant'Apollinare Nuovo is also in Ravenna and was built in 504. Established in the 5th century by the Ostrogoth king Theodore the Great, this basilica was dedicated to the Savior. The apse and atrium of this structure have undergone several reconstructions, but the mosaics of its side walls and 24 columns are well preserved to this day.

Santa Constanza

Santa Constanza is located in Rome and was built in 350. This 4th century church in Rome was built during the reign of Constantine I as a mausoleum for his daughter. The church has a circular shape and an ambulatory that surrounds the central dome. The original structure is decorated with stone patterns on its walls. This building is considered the main example of early Christian architecture.

Basilica Ulpia

The Basilica Ulpia is located in Rome and was built in the years 98-117. It is an old Roman civil structure and is one of the most important ancient basilicas in Rome. Unlike most Christian churches, Ulpia did not serve any religious functions, but was the administration of trade and justice during ancient times. It is distinguished by a large central nave, with four aisles on the sides, as well as rows of columns and semicircular apses.

Church of St. Mary of Zion

This temple was founded in Ethiopia in the 4th century. Considered the most important church in Ethiopia, the Shrine of St. Mary of Zion is said to house the Ark of the Covenant. The original structure was built during the reign of Ethiopia's first Christian emperor, Izan. Today the temple serves as a pilgrimage center for Ethiopian Christians.

Basilica of Aparana

The basilica is located in Armenia and was founded in 390. Located in the province of Aragatsotn, the Basilica of the Holy Cross is one of the earliest Armenian churches in Aparan. The original structure was destroyed but partially restored to its original form in 1877.

Al Jubail

Al-Jubail was founded in Saudi Arabia in the 4th century. This is an old Nestorian church that was only discovered in 1986. The Saudi government is hiding this building from tourists and even local residents in order to minimize damage and preserve such an important historical heritage as much as possible.

Rotunda of St. George

Built by the Romans in the 4th century, St. George's Rotunda in Sofia, Bulgaria - An early Christian red brick rotunda. It is the oldest building in the city. The rotunda is located in the center of the ancient city of Serdica, has a cylindrical domed structure with a square foundation and is famous for its frescoes from the 12th to 14th centuries.

Basilica of Sant'Eustorgio

Sant'Eustorgio is a 4th century basilica in Milan. It is a popular stopover for pilgrims traveling to the Holy Land and is the site of the tomb of the Three Wise Men. The basilica has an outstanding interior with a nave and two aisles with cross vaults. The restored basilica was built in the Romanesque style, but it was originally an early Christian building.

Basilica of San Nazaro

The full name of the structure is San Nazaro in Brolo, the structure was built in 382 in Milan. Known as the oldest Latin cross church in all of Europe, San Nazaro was originally built as a gift to the apostles. The plan of this church is a Greek cross, with apses on the arms. Below its altar are relics of the apostles, and the nave ceiling is made of wooden sections.

Saint-Pierre-au-Nonin

The Basilica of Saint-Pierre-aux-Nonins was built in 380 in Metz, France. This structure was originally built as part of a Roman bath complex, but was later converted into a chapel. Known as the oldest church in France, it is now one of the most popular Benedictine monastery chapels in Europe.

San Simpliciano

The basilica of 374 in Milan, San Simpliciano is located in the heart of the city and is the second oldest basilica in Italy, built in the shape of a Latin cross. The facades have galleries, which are portals with windows and arches at the top. The bell tower is also decorated with characteristic mullioned windows.

San Lorenzo

San Lorenzo in Milan is a basilica dating back 364 years. The largest church with a rotunda for its time, the Basilica of San Lorenzo is one of the most important churches in the city. It is located near the Basilica Park on an artificial hill along Via Ticinese, surrounded by water canals and consists of a square hall with four apses.

Monastery of St. Anthony

The Monastery of Saint Anthony is located in the western desert of Egypt and was built in 356. The Coptic Orthodox monastery is located in an Egyptian oasis, hidden deep in the Red Sea Mountains. It is considered one of the oldest monasteries in the world. The monastery is also one of the most prominent in Egypt due to its structure, with private gardens, a mill and paintings of knights in bright colors.

Trier Cathedral

Trier Cathedral was built in 340 in the city of Trier, Germany. It is the oldest Roman Catholic Church in Trier and is known for its rich history and longevity. The center of the cathedral's main chapel is made of Roman brick and has five symmetrical sections. It also has an apsidal half-cylinder on its outer façade.

Church of Peter and Paul, Serbia

The Church of the Holy Apostles Peter and Paul was built in the 4th century in the city of Novi Pazar, Serbia. This is the Serbian Orthodox Church - the oldest church in Serbia. Founded during Roman rule, it is the most spiritual place of the Serbian Church. The structure has large columns and an octagonal tower hiding an internal dome.

Santa Maria in Trastevere

The Roman church of Santa Maria in Trastevere was built in 340. The Basilica is one of the oldest churches in all of Rome. In the architectural appearance of the building, 22 granite columns dedicated to the Corinthian and Ionian capitals immediately stand out. The interior of the basilica is filled with mosaics by Pietro Cavallini.

Saint Paul's Cathedral

St. Peter's Basilica is a legendary structure in the Vatican dating back to 333. Known as the largest church in the world,Saint Paul's Cathedral- the most popular Christian church today. This is one of the most important places of pilgrimage, especially among Catholics, one of the holiest Catholic places. The church is also considered the greatest structure of its age in terms of architecture.

Panagia Ekatontapuliani

Panagia Ekatontapouliani is located in Parikia, Greece. The structure was built in 326 and is also known as the Church of 100 Doors - a historical church on the island of Paros. The main chapel is surrounded by two other chapels, which have a total of one hundred doors - hence the name.

Basilica of Sant'Amborgio

The Basilica of Sant'Amborgio is located in Milan and dates back to 313. The oldest basilica in Milan, with a hut-shaped façade and loggias on several levels. The lowest loggia has three galleries, while the upper loggia used to be the place where bishops blessed citizens. The galleries are supported by pillars and semi-columns.

Church in Antioch

St. Peter's Church is located in Antioch, Türkiye. It was built between the 3rd and 4th centuries. Considered one of the oldest churches in the Christian world, with a cave carved into the mountainside of Mount Starius. The church has floor mosaics and frescoes on the right side of the altar. The stone altar is located in the very center, with a stone platform on top.

Echmiadzin Cathedral

Etchmiadzin Cathedral is located in the city of Vagharshapat in Armenia and was founded in the period from 301 to 303. The main cathedral of the Armenian Apostolic Church, Etchmiadzin is one of the oldest cathedrals in the world. The building was built after Armenia adopted Christianity during the third century. It has wooden doors and frescoes of scenes from the Old Testament, and a cruciform plan with a central dome, piers and four apses.

Megiddo Church

Megiddo is a church in Israel, built in 300 on the hill of the same name. It is one of the oldest churches in the Holy Land and is now an archaeological site. The structure was built during a period when Christians were persecuted by the Roman Empire. Among the most noteworthy features of this church is its large mosaic, which contains a Greek inscription and several geometric figures and Christian symbols.

Dura-Europos

The Church of Dura-Europos was built in Syria between 233 and 256. It is known as the earliest identified Christian church in Syria. Dura Europos was converted into a temple after the Persian conquest. It is a house with a separate hall-like room and frescoes that serve as its baptistery. The interior is also filled with ancient Christian paintings. In continuation, read about the mostunusual churchesand cathedrals of the world.

A temple (house) is a building that has a religious purpose; services to God are performed in it, as well as religious ceremonies are held. In addition to the main religious functions, the temple carries a certain idea of ​​​​people about the universe. Temples also had another purpose (before Christianity), they served as a refuge, or a place for resolving important issues and trade.
A Christian church is considered only a building that has an altar in which the Eucharist (thanksgiving) is celebrated - a great sacrament.

Christian churches have a long history. Since the time when Christianity was not one of the main religions, and was subject to persecution by the authorities and other religions. Christians gathered for service only in the catacombs (dungeons where burials were held), where, according to the laws of that time, gatherings of people who professed their religion were not prohibited.
Thus, underground churches, they are called “crypts,” already had an altar (most often a tomb) on which the sacrament of the Eucharist was performed. Since those times, the tradition of placing holy relics on the altar and decorating the walls of temples with images from the holy book has remained.
Only in the 4th century did the construction of above-ground Christian churches begin, when the religion was recognized as dominant (Edict of Milan 313). This happened thanks to Emperor Constantine.

The main types of temples are the basilica and the cross-domed temple.
Basilica- a structure that has a rectangular and elongated shape, divided from the inside by several rows (from 2) of pillars or columns that create naves (an architectural space of a longitudinal shape). Often the central nave was higher than the side ones. It also had a protrusion - an apse (the protruding part where the altar is located), where the presbytery (place for the clergy) was located.
A special feature of the basilica is also that the entrance is located on the western side of the temple, and the altar is on the eastern side. This placement symbolizes the coming of Christians to God (repentance). In Christianity, the west is associated with sinfulness, and the east with divinity. Near the part where the altar is located, the temple is intersected by transverse naves, which gave it the shape of a cross.
The most common are three-nave basilicas. They are created using two internal rows of columns; in the side naves there are often choirs (an oblong-shaped room for the clergy or church choir), as well as “matroneums” (special galleries for women, because it was adopted from the Jews, the separate presence of men and women in temple).
Often, in especially large temples, in front of the main room there were open courtyards with columns placed along the entire perimeter; they are called atriums.

Great importance was given to decorating the interior of the basilica. The temple was decorated mainly from the inside. For this they used marble, beautiful wall frescoes, and mosaics that were laid out both on the walls and on the floor. But special attention was paid to decorating the main and sacred part of the temple - the altar. The façade of the basilica was often not decorated.
This model of the temple remained unchanged for a long time.

Starting from the 12th-13th centuries, other types of temples appeared - the Gothic cathedral. They differed from the early Christian ones in that they were covered with stone vaults.

The Gothic temple began to rise high, thanks to the fact that new technologies and architectural elements were used in construction, among them a flying buttress. The weight of the vault was transferred to the walls, this relieved the temple from the internal columns and made it possible to create large windows, which made it spacious and bright.

The altar was also separated from the main volume of the temple by a partition. The restriction on the presence of men and women together in churches has disappeared.

Now not only the internal walls of the temple were decorated, but also its façade. Thus, they tried to convey the “word of God” beyond the walls of the temple.
After the division of the United Christian Church, the Eastern (Orthodox) Church developed the Cross-domed Byzantine type of temple.

Cross-dome

Its characteristic features are that the temple had a cruciform shape (close to a square) and a high dome that housed windows.

The naves (both longitudinal and transverse) are now of equal length, and when crossing they create a Greek (equal-ended) cross. Hence the name itself - Cross-dome. At the same time, rotundas (round temples) appeared.

Orthodox church

Starting from the 15-16th century, iconostases began to appear in Orthodox churches; they separated the altar part of the temple from its middle part. The iconostasis is a wall with rows of icons.
The narthex (a place for people who could not enter the middle of the temple) began to be called the narthex, and its outer part - the porch (a platform with stairs to enter the temple).
In order to be able to conduct simultaneous services by several priests (on major holidays and events), extensions to the temple were introduced.

Baptistery

A separate building, often round in shape, near the temple, it is intended for the baptismal ceremony. In its center there is a font that can fit an adult. Nowadays a baptistery is rarely built.

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Early Christian art Types of Christian churches: rotunda and basilica. Mosaic decor. Christian symbolism. Mausoleum of Constantius in Rome. Mausoleum of Galla Placidia in Ravenna. Basilica of Santa Maria Maggiore in Rome

The period in the history of art from the moment Emperor Constantine recognized the rights of the Christian religion in 313 until the formation of the Byzantine style under Justinian the Great in the 1st century. is called early Christian. In general, it represents European art, developing under the influence of Christianity. . Christianity is one of the three world religions along with Islam and Buddhism. Its basis is faith in Jesus Christ 16 - the God-man who came into the world with the goal of atonement for human sins by death on the cross. Having risen on the third day and ascended on the fortieth, he showed the possibility of resurrection and eternal life for every person who believes in him. The life and deeds of Jesus Christ are set out in the four canonical Gospels included in the biblical book of the New Testament.

In architecture, two types of churches (houses of God) have been established, dating back to the buildings of Ancient Rome - the rotunda and the basilica. In the form of a rotunda with a clearly defined central axis, baptisteries for baptism or mausoleums for the burial of saints were built. The oldest are the Mausoleum of Constantius in Rome and the Mausoleum of Galla Placidia in Ravenna. The round shape of the Mausoleum of Constantius in Rome (IV century) recalls the eternity of the Church of Christ. Its internal space is divided by columns into a bypass zone and a central one, topped with a dome. The mausoleum of Galla Placidia in Ravenna (5th century) has a special shape of a cross, symbolizing Jesus Christ. At the intersection of the arms of the cross, it is crowned by a square tower, hiding a domed completion inside (see color incl., Fig. 21). It was in the mausoleum of Galla Placidia that the transition from a round dome to rectangular walls was first made using four spherical triangles - sails.

Mausoleum of Constantina (Italian: Mausoleo di Costantina), or Mausoleum of St. Constantia (Italian: Mausoleo di Santa Costanza) - mausoleum of the 4th century. on the eastern outskirts of Rome, the resting place of the daughter of Constantine the Great - Constantina. Famous for its mosaics from the 4th century. The mausoleum has a round shape with a diameter of 29 meters. During restoration in 1620, the massive porphyry sarcophagus of Constantine was moved to the papal collection of antiquities in the Pius Clementine Museum in the Vatican. After Constantine was canonized, the mausoleum (in 1254) was converted into a church dedicated to her name.

Mosaic ceiling

The interior of the tomb-temple is simple, but at the same time spacious and functional. In the center, illuminated by sunlight, there previously stood a sarcophagus with the body of the saint. Although the Mausoleum of Constantius in Rome looks somewhat neglected from the outside, it is still beautiful inside. The massive dome of the tomb (and now the church) rests on twelve pairs of double columns. The diameter of the inner part of the dome is 22.5 meters, and the total diameter of the building is about 29 meters. Previously, the massive sacrophagus of Constantina was installed here, but it has now been moved to the collection of antiquities of the Pius Clemente Museum. Antique mosaic frescoes of the 4th century AD have been preserved in the mausoleum.

Mausoleum of Galla Placidia in Ravenna

The Mausoleum of Galla Placidia (Italian: Mausoleo di Galla Placidia) is a cross-domed building located next to the Basilica of San Vitale in Ravenna. The mausoleum dates from approximately the second quarter of the 5th century and is decorated with the earliest surviving Ravenna mosaics. Although the construction is attributed to Galla Placidia, daughter of Emperor Theodosius the Great, the mausoleum did not become her burial place. In 1996, the mausoleum, among other early Christian monuments of Ravenna, was included in the list of World Heritage Sites under number 788.

All surfaces of the dome, arches and lunettes are covered with mosaics. Restoration work carried out at the turn of the 19th - 20th centuries further enhanced the soft and restrained mood created by the mosaics. Now the light entering the mausoleum only through small narrow windows acquires a golden hue due to the fact that it passes through the alabaster slabs with which the windows were covered in 1908. The impression of golden light is further enhanced by the yellowish marble slabs with which the lower part of the walls was lined at the end of the 19th century.

The mosaic decoration of the mausoleum is distinguished by rare splendor and places it among the most important monuments of early Christian art. The mosaics, although dedicated to different subjects, form an organically unified whole. All of them follow the ancient Roman - Hellenistic mosaic tradition. Italian mosaicists loved few, thick and deep colors - blue, green and wine red. The very dark blue color on the ceiling of the mausoleum of Galla Placidia is unusually and somehow incomprehensibly deep

Cross and Starry Sky - mosaic in the dome

The Good Shepherd Jesus is depicted as a young beardless shepherd youth, around whom sheep walk on the green grass, and the Messiah affectionately touches one of them. Unlike the catacomb painting, where the Shepherd was an ordinary village shepherd, here Jesus is dressed in a golden tunic, and a purple cloak lies on his knees. He sits on a hill (the image of a throne), holding a cross in his hand.

Basilica Basilica (from the Greek basilik - royal house), a rectangular building in plan, divided inside by rows of columns or pillars into longitudinal parts - naves (usually three to five). The central nave, ending with an apse, is higher and wider than the side ones. Basilicas appeared in ancient Rome, where they served as premises for court and trade; in the Middle Ages this type of building was adapted for Christian churches. In basilica churches, a transverse nave (transept) was added to the longitudinal naves in the eastern part. The intersection of the longitudinal naves and transept forms a crosshair and in plan resembles the letter “T” or the so-called. Latin cross (a type of cross that recalls the crucified Christ).

Basilica of St. Paul

The Basilica of St. Paul outside the city walls (Italian: Basilica di San Paolo fuori le Mura; San Paolo fuori le Mura) is one of the four great, or patriarchal, basilicas of Rome (along with St. Peter's, St. John's Lateran and the Basilica of Santa Maria Maggiore). Unlike all the others, it is located behind the Aurelian Walls, in the southern part of the Eternal City. In 1980 it was inscribed on the World Heritage List. Unlike other patriarchal basilicas, the Cathedral of St. Paul outside the wall did not undergo significant changes either during the Renaissance or the Baroque era, but on July 15, 1823 it burned down almost to the ground. Among the losses is a mosaic by Pietro Cavallini in the apse, but a 5th-century mosaic (commissioned by Galla Placidia) miraculously survived. The restoration of the temple continued until 1840, and a completely new classicist facade was built. Malachite and lapis lazuli were sent by Tsar Nicholas I to recreate the altar. The re-consecration of the temple took place only in 1855.

Basilica interior

Basilica of Santa Maria Maggiore Santa Maria Maggiore (Italian: Basilica di S.Maria Maggiore) is a church, papal basilica, one of the four main basilicas of Rome. An interesting legend is associated with its foundation. On one summer night in 352, the Madonna appeared to Pope Liberius and the wealthy Roman Giovanni Patrizio in a dream and ordered them to build a church on the spot where snow would fall the next day. The next morning, August 5, 352, there was snow on the Esquiline, where the basilica now stands. After this they began to build the church. It was replaced by a basilica built in the 440s. Pope Sixtus III and dedicated to Our Lady.