Introduction of Early Christian Architecture

• Early Christian architecture at Rome was influenced by, and was the
logical outcome of, existing Roman architecture.
• With Christianity widely accepted as a state religion in Rome it was
necessary for architecture to respond to the demands of the religion
for worship space.
• Mode of worship was the most important determinant of the form
of the church.
• Christianity has inspired the building of some of the greatest
architectural monuments.

2
• The requirements include:-
 A path for processional entry and exit of the clergy
 An altar area, where the clergy celebrate mass
 A space for the segregation of the clergy from the congregation
during procession and communion
 Burial space.

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• The invention of Christian church
was one of the brilliant solutions
in architectural history.
• Form of early church: Combine
some ideas & reject some.
• This was achieved by a process of
assimilating and rejecting various
precedents, such as the Greek
temple, the Roman public
building and the private Roman
house.

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Common Architecture Characteristics

• Utilized as far as possible the materials from Roman temples which

had become useless for their original purpose for their new
buildings.
• Their churches, modeled on Roman basilicas, used old columns
which by various devices were brought to a uniform height.
• Early Christian buildings hardly have the architectural value of a style
produced by the solution of constructive problems.

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Characteristic of the Early Christian Church Building

• Simplicity in Design and Treatment

• Coarseness in Execution
• Early Christian Architecture is Transitional Architecture and have no
own structure.
• The church building as we know it grew out of a number of features
of the Ancient Roman period:
1. The house church
2. The atrium
3. The basilica
4. The bema
5. The mausoleum: centrally-planned building
6. The cruciform ground plan: Latin or Greek cross
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 House Church

• Clement of Alexandria, an early church father, wrote of worshipping

in a house. The Dura-Europos church was found to be used as a
Christian meeting place in AD 232, with one small room serving as
a baptistery.
• At many points in subsequent history, various Christian groups
worshipped in homes, often due to persecution by the state church
or the civil government.

The Dura-Europos house church, ca. 232, with

chapel area on right.
Atrium

• When Early Christian

communities began to build
churches they drew on one
particular feature of the houses
that preceded them, the atrium,
or courtyard with
a colonnade surrounding it.
• Most of these atriums have
disappeared.

8
A fine example remains at
the Basilica of San Clemente
(Rome)
Basilica

• Basilica is a rectangular early

Christian or medieval church,
usually having a nave with
clerestories, two or four aisles, one
or more vaulted apses, and a timber
roof.

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• Commonest form of the early church.
• Unlike the earlier Roman phase, the
interiors were give more importance than
exterior.
• Rectangular hall, timber-roofed with
coffers & richly glided ceiling (hiding the
roof truss) on nave.
• Usually with one or two aisles to each side
of the central nave separated by rows of
rustic marble columns, sometimes
carrying flat entablatures & sometimes,
rows of arches.
• The width of aisles was half that of the
central nave.
• Apse at one end facing the principal 10
entrances at the other end.
• Bema / Transept – a raised platform where altar was placed & from
where the clergy officiated.
• A courtyard (atrium) having a central fountain for ablutions &
surrounded by colonnaded ambulatory.
• A narthex – corresponding to entrance foyer, preceding the nave.
• The nave & bema received light from clerestory above the aisles &
were pierced with windows.
• Above aisles & between clerestory windows, the walls may be faced
with marble, or mosaics made up from small tesserae of coloured
glass.
• The nave terminates into a ‘triumphal arch’, perhaps having
iridescent (brightly coloured & changing) mosaics.
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• The semicircular walls of the apse ended into a dome, whose
interiors had mosaics depicting narrative scenes from Bible or single
figures seen against stylised landscapes or plain gold grounds.
• The flooring was of grey-white & black marble, inlaid with geometric
patterns of coloured marble.
• The columns, capitals & similar features from old Roman buildings
were frequently reused to enhance the liveliness of the interiors.
• In the new churches, arches were more often used to span between
columns of a colonnade instead of flat entablatures.

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• Basilica churches had either closely spaced columns carrying the
entablature, or more widely spaced columns carrying semicircular
arches.

13
• The basilica church with there or five
aisles, covered by a simple timber roof,
is typical of the Early Christian style as
opposed to the vaulted Byzantine
church with its central circular dome
placed over a square by means of
pendentives and surrounded by
smaller domes.

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• It s long perspective of oft-repeated columns which carry the eye
along to the sanctuary; a treatment which, combined with the
comparatively low height of interiors, makes these churches appear
longer than they really are, as it seen in S. Paolo fuori le Mura, and S.
Maria Maggiore

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• Many basilica churches were
erected out of fragments taken
from older buildings, and present a
curious mixture of columns,
capitals, and etc, and are noble
specimens of ancient and severe
architectural work.
• The illustration which we give of
part of the nave, arcade, and apse
of one of these, Sant’ Apollinare in
Classe, shows the dignified yet
ornate aspect of one of the most
carefully executed of these
buildings. 17
SANT’ APOLLINARE, RAVENNA. PART
OF THE ARCADE AND APSE
1) Propylaeum- the entrance building of a sacred precinct, whether
church or imperial palace.
Parts of an Early Christian Basilica
2) Atrium- in early Christian, Byzantine, and medieval architecture, the
forecourt of a church; as a rule enveloped by four colonnaded Old St. Peter's in Rome
porticoes.

3) Narthex- the entrance hall or porch proceding the nave of a church.

4) Nave- the great central space in a church. In longitudinal churches, it

extends from the entrance to the apse (or only to the crossing if the
church has one) and is usually flanked by side aisles.

5) Side Aisle- one of the corridors running parallel to the nave of a

church and separated from it by an arcade or colonnade.

6) Crossing- the area in a church where the transept and the nave
intersect.

7) Transept- in a cruciform church, the whole arm set at right angles to

the nave. Note that the transept appears infrequently in Early Christian
churches. Old St. Peter's is one of the few example of a basilica with a
transept from this period. The transept would not become a standard
component of the Christian church until the Carolingian period.

8) Apse- a recess, sometimes rectangular but usually semicircular, in

the wall at the end of a Roman basilica or Christian church. The apse in
the Roman basilica frequently contained an image of the Emperor and
was where the magistrate dispensed laws. In the Early Christian
basilica, the apses contained the "cathedra" or throne of the bishop
and the altar.

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Mausoleum

• Monumental form of tomb.

• A mausoleum is a house of
the dead, although ii is often
as much a symbol as a
sepulchre.
• This term has been
employed for large,
monumental, and stately
tombs, usually erected for
distinguished or prominent
individuals.

19
Mausoleum of Costantia (d. 534), featured a taller, domed,
central circular section surrounded by a vaulted
ambulatory.
Latin Cross & Greek Cross

• Greek cross; Latin cross; rotunda: These terms usually refer to the
shape of a church.
• A Greek cross church has four arms having the same length.
• A Latin cross church has the arm of the entrance longer than the
other arms.

Greek cross- the plans of SS. Martina Latin cross plan- building process of S. Pietro in
e Luca) Vaticano 20
Rotunda- the plans of S. Bernardo alle
Terme
Construction System

A. Plans
• The Early Christians followed the basilican model for their new
churches.
• May also have used old Roman halls, baths, dwelling-houses, and
even pagan temples as places of worship.

B. Walls
• These were still constructed according to Roman methods of using
rubble or concrete, faced with plaster, brick, or stone.
• Mosaic decoration was added internally, and sometimes also
externally on west facades.
• Little regard was paid to external architectural effect.
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C. Openings
• Arcades, doors, and windows were either spanned by a semicircular
arch
• Which in nave arcades, often rested directly on the capitals without
any entablatures, or were spanned by a lintel.

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D. Roof
• Timber roofs covered the central nave, and only simple forms of
construction, such as king and queen post trusses, were employed.
• The narrower side aisles were occasionally vaulted.
• The apse was usually domed and lined with beautiful glass mosaics,
which formed a fitting background to the sanctuary.

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E. Columns
• Differ both in design and size, often taken from earlier Roman
buildings. It was natural that early Christian builders should use
materials and ornament of the pagan Romans.
• Used Tuscan, Doric, Ionic, Corinthian, or Composite from ancient
Roman buildings, except those in S. Paolo fuori le Mura.
• The carved capitals are governed by Roman pagan precedent and
sometimes by that of Byzantine, and in both the acanthus leaf forms
an important part.

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27
 Pang Ling Xiang
28
F. Moulding
• Coarse variations of old
Roman types, and the
carving, though rich in
general effect, is crude; for
the technique of the
craftsman had gradually
declined.
• Enrichments were incised
on moldings in low relief,
and the acanthus
ornament, although still
copied from the antique,
became more conventional 29
in form.
G. Ornaments
• The introduction of color gave
richness and glimmering mystery
to interiors.
• The mosaics which was the
principal form of interior
ornament, lined the domed apses
generally represented Christ
surrounded by apostles and saints
with all those symbolic emblems.
Usually made of glass
• Fresco painting usually in figure
forms
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S. Giovanni in Laterano (AD 313-320)

• A typical example of the early Christian church is S. Giovanni in

Laterano Rome.
• It was the first church commission by Emperor Constantine.
• It was built as the Cathedral of the Bishop of Rome.
• It was remodelled several times.
• The church consists of a central nave flanked by two narrow isles
and separated from them by a monumental colonnade.
• The central nave rose above the isle roof, and the inner isle rose
above the outer.
• The nave terminated at an apse.
• The structure was of brick faced concrete covered with simple
trussed-timber roof.
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33
St. Peter, Rome (AD 333)

• Present day St. Peters in Vatican City – a rebuilding of a totally

different design & on a substantially enlarged scale.
• St Peter was the most important of the basilica churches built by
Constantine.
• The original church survived without much change until towards the
end of 15th Century & the nave for another century.
• Remains of old foundation are present below the present flooring
but details of atrium are obscure.

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• It was built in the shape of Latin cross, with a gable roof, timbered
on inside & at 30.0m high at centre.
• The church has a triple entrance gate leading to an atrium. The
atrium known as Garden of Paradise with 5 doors.
• The Basilica had a wooden roof of interlocking rafters.
• The nave did not lead directly to the apse but instead ends in a
transverse space that is as high as the nave.
• The nave ended with an arch & the walls had parallel windows each
with frescos.

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36
37
38
The Church of St. Clement

• Located in Rome, Italy.

• Rebuilt in 1084-1108.

39
• Ante-portico, or porch.
• Atrium, or court; under which the penitent, and those who had fallen away from the faith,
demanded the prayers of the passers by.
• One of the side aisles, in which were the men, the catachumens, and the newly converted.
• Aisles on the right for the women, narrower than the other.
• Space enclosed with a low wall of marble, within which were the acolytes, the exorcists, and other
functionaries of the minor orders.
• Sanctuary terminated in a semicircle, round which is the bench for the priests with the episcopal
seat; in the center an isolated altar, and in front the Confession.

40
Elevation of the ante-portico or porch before the atrium of
the Church of St. Clement, Rome

41
At the center of San Clemente's forecourt there is a 42
fountain, a traditional symbol of the Blessed Virgin
Mary
View of the nave, the schola cantorum
with ambos to either side,
the altar and confessio under the
ciborium,and the bema at the back of
the apse

43
 Part of the low wall or dado forming the enclosure of
the choir of St. Clement. Another portion of the same.

Profile of the marble pulpit for the reading of the

Epistle.

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Front of the Ambon, designed for the reading of the
Gospel, accompanied by the column on which was, and
still is, placed the paschal candle.
 The richly profiled altar is inscribed with a dedication to St.
Clement, whose relics, along with those of St. Ignatius, lie
directly underneath in the confessio. Here is a beautiful detail,
common in paleo-Christian churches, yet unfortunately never
seen today. The confessio is simply a chamber for relics below an
altar. As a unit, the confessio and altar form a cube, which is the
ideal geometry of an altar.

Viewof thenave, thescholacantorumwithambosto

either side, the altar and confessio under the 45
ciborium andthe bema atthe back oftheapse.
Thealtar sitsjust proudof thecenter of thehalf-dome, theapse. The spectacular mosaictells us that thisistruly the new Garden
of Eden. From the Cross's base grows a sumptuously poetic Tree of Life, filled with doves, peacocks, phoenixes, and images of 46
varioussaints.
Introduction of Byzantine Architecture

• Byzantine architecture is the architecture of the Byzantine Empire.

• The empire gradually emerged as a distinct artistic and cultural
entity from what is today referred to as the Roman Empire after AD
330,
• When the Roman Emperor Constantine moved the capital of the
Roman Empire east from Rome to Byzantium. Byzantium, "New
Rome", was later renamed Constantinople and is now called
Istanbul.
• The empire endured for more than a millennium, dramatically
influencing Medieval and Renaissance era architecture
• After capture of Constantinople by the Ottoman Turks in 1453, the
architecture of the Ottoman Empire developed 47
• Buildings increased in geometric complexity, brick and plaster were
used in addition to stone in the decoration of important public
structures.
• Classical order were used more freely, Mosaics replaced carved
decoration, complex domes rested upon massive piers, and windows
filtered light through thin sheets of alabaster to softly illuminate
interiors.

48
Map of Europe and Western Asia

49
50
51
Influences

Geographical –
• Byzantine stood on seven hills. It is at
the junction of Europe and Asia, which
are divided by a narrow strip of water.
• It was also at the intersection of two
great highways of commerce- the
water highway between black sea and
Mediterranean sea and the trade route
between Europe and Asia.
• Constantinople had no good building
stone there fore local material such as
clay for bricks and rubble for concrete
had to be imported. Marble was
brought from quarries in the island and 52
along the shores of eastern
Mediterranean sea to Constantinople.
Geological –
• Geological influences may be said to have acted indirectly on Early
Christian architecture for the ruins of Roman buildings often
provided the quarry where materials were obtained.
• This influenced the style, both as regards construction and
decoration.
• Columns and other architectural features, as well as fine sculptures
and mosaics from older buildings, were incorporated into basilica
churches of the new faith.

53
Climate –
• The climate was rather Hot.
• Small windows at high level
and few openings were
used.
• Flat roof in combination
with domes.
• The open courtyards
surrounded by sheltering
arcades features are
predominant.

54
Religious –
• Constantine established
Christianity as the state
religion of Roman Empire
and it followed that the
chief erected in byzantine is
new capital were churches
for new region.
• Christianity has inspired the
building of some of the
greatest architectural
monuments.

55
Architectural Characteristics

• It represents fusion of oriental and

roman classical Architecture.
• The massive decoration had its origin
in the ‘Babylonian Style’ while dome
construction was incorporated from
Rome.
• Horizontal lands were introduced the
domical roof created an impression
of vast enclosed space.
• Interiors were decorated with
massive glass work and lavish
decoration with mosaics.
56
1. Planning
• Use of centrals square plans.
• On square divisions to accommodate domes for roofing system is
the measure characteristic feature.
• Modifications in Basilican plan consisted of:
a. Deletion of atrium court
b. Incorporation of Nartex or vestibule as on Basilica of
Constantinople
c. Deletion of Belfry towers.
• Square plan of the eastern churches were termed as ‘Greek Cross
Plans’.

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58
2. Form
• The form of eastern churches was mainly characterized faithful
correspondence between internal and external roof profiles.
• A smooth profile due to absence of belfry towers, just a position of
dome on the sky line gives the style a distinct character in strong
contrast of the spiky profile of early Christian churches.
• Externally Byzantine churches were characterized by brick work in
courses and marble bands on the brick walls.
• Practice of horizontal bands of marble called striations was
introduced.
• The structural use of marginal columns made them massive.

59
3. Byzantine Domes
• A primitive form of dome and the barrel vault is of great quality.
• In some districts vaults were compelled to built in stone, brick or
mud, because there was no wood and tools to work.
• In all such cases some form of dome or tunnel vault had to devised
for shelter.
• In tracing the growth of the dome in horizontal times, it has been
regarded as an out come of the eastern empire, because it was at
Constantinople and in the byzantine province that it was employed
in ecclesiastical structure.
• But it was the Romans who in reality developed the use of dome as
of all other applications of the semicircular arch from Rome, gets
carried to Constantinople and from the same source different parts 60
of western empire.
Called domical vaults, or cloister vaults, these are Also called sail vaults, pendentive
domes which maintain a polygonal shape in their domes, or Byzantine domes,
horizontal cross section.

61
62
• What is a pendentive?
• A concave triangle supporting
a corner of a circular dome
built over a square space.
• A triangular curved surface
between two arches and
beneath a dome.
• In masonry the pendentives
thus receive the weight of the
dome, concentrating it at the
four corners where it can be
received by the piers beneath.
63
• The construction of Dome

64
65
Hagia Sofia

• It has a spacious nave covered by lofty cultural dome carried on

pendentive.
• A succession of smaller domes carries interior of size 102ft x 265ft
and built up to a main dome of size 102’ in dia and 184’ in height.
• A dome carries a corona of 40 arched windows shedding light in
interior.
• At east end of nave, is vaulted sanctuary apse and at west end a
great narthex which opens into a atrium.
• On the north and south sides, side aisles carrying massive vaults
supported on green and white marble columns.
• The interior surfaces are cladded with polycomarbles and gold
mosaic. Encrusted upon the brick core of structure.
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68
69
Dome
• The style of the Hagia Sophia or
Church of Divine Wisdom, was
to have a large dome in the
middle of the structure.
• The dome rests on 4 massive
pillars which are arranged in a
square.
• The pendentives, which are
triangular segments of a
sphere, taper to points at the
bottom.
• The pendentives thus receive
the weight of the dome,
concentrating it at the four 70
corners.
 Pang Ling Xiang
71
Note pendentive of Hagia Sophia
Materials
• Byzantine mosaics were deliberately
set into the plaster at angles so as to
create illusion of movement under
candlelight.
• Polychrome marbles, elegant columns
and fine wall revetments, gold vessels
and ornaments, exquisite mosaics, the
huge dome, half-domes, vaults and
arches, the elaborately carved capitals,
friezes and cornices, the arcades, the
one hundred windows
• The interplay of light and shade filling
the faithful with awe and delight and 72
revealing to the beholder the
everlasting beauty of perfection.
After Conquest
• Turkish conquest of
Constantinople in 1453, Hagia
Sophia became a mosque,
• Interior figure mosaics were
obscured under coatings of
plaster and painted ornament
• The four slender minarets, were
added singly and at different
times;

73
74
Is Early Christian Architecture same with Byzantine
Architecture?
• Byzantine architecture has a lot in common with early Christian
architecture.
• Why don't we just classify early Christian architecture as Byzantine
architecture?
i. The reason is that Byzantine architecture diverges from early
Christian architecture.
ii. The Byzantines established a style and form all their own, from
the size and shape of their churches to the style of their
decorations.

75
• Byzantine architecture shared many of the qualities of early
Christian architecture: the use of mosaic to decorate surfaces, the
focus on the apse, or half domed alcove at the front of the church,
and the use of clerestory, or windows at a high level to bring in light.
All of these trends carried over from Christian times.
• The main difference between early Christian and Byzantine art and
architecture can be summarized in two words: bigger and more.
Byzantine churches featured more clerestory windows and mosaics
on every conceivable surface

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