2. Please note:
All of the following examples are from
3rd-
and 4th-
century Christian sarcophagi.
3. How can I identify Jesus in early art?
• Jesus was often depicted using a wand during
his miracles.
4. Jesus used his wand to multiply bread in baskets (left)
and to change jugs of water into wine (right).
5. How can I identify Jesus in early art?
• Jesus was often depicted using a wand during
his miracles.
• Before the last two decades of the 4th
century,
Jesus was often depicted beardless.
7. How can I identify Jesus in early art?
• Jesus was often depicted using a wand for
during his miracles.
• Before the last two decades of the 4th
century,
Jesus was often depicted beardless.
• Jesus was usually depicted with longer hair
than the men around him.
10. How can I identify women in early art?
• Women usually had longer dresses.
11. A woman wearing a long skirt
depicted between two scenes with Jesus.
12. How can I identify women in early art?
• Women usually had longer dresses.
• Before Constantine, some artists – not all –
depicted Christian women without veils
and with short hair.
14. How can I identify women in early art?
• Women usually had longer dresses.
• Before Constantine, some artists – not all –
depicted Christian women without veils
and with short hair.
• After Constantine, almost all artists
depicted Christian women with veils.
32. There is no agreement, however,
about this female figure.
33. This female figure, called the Orante,
appeared often in the earliest Christian art.
34. Graydon F. Snyder says, “In the Christian
culture that emerged about A.D. 180, no
symbol occurs more frequently and integrally
than this female figure with lifted arms.”
35. Snyder says, “She must be the most important
symbol in early Christian art.”
36. Karen Jo Torjesen says, “Although male
figures are occasionally found in this
traditional posture, the overwhelming
number of orantes are female.”
37. Torjesen says this figure is “evidence of
the earliest tradition of women preachers.”
Sarcophagus of the Trees. Musee de l’Arles antique, Arles, France. Dated on its plaque to around 375.
Photo copyright: Kateusz
Unnamed sarcophagus dated 300-325 in the Vatican Museum.
Photo copyright: Kateusz
Sarcophagus of the Columns, dated 330-360 on Vatican Museum plaque. Pontius Pilate washes his hands in a bowl.
Photo copyright: Kateusz
Sarcophagus of Marcia Romania Celsa, dated 300-325 in the Musee de l’Arles antique, Arles, France.
Photo copyright: Kateusz
Sarcophagus of Marcia Romania Celsa, dated 300-325 in the Musee de l’Arles antique, Arles, France.
Photo copyright: Kateusz
Third century “Sarcophage de la Gayolle,” in the civic museum of Brignoles, France.
Photo copyright: Kateusz
Sarcophagus of “Two Brothers” dated 325-350 in the Vatican Museum.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome. This iconography is very similar to that of the Junius Bassius sarcophagus and the Trees sarcophagus from the Via Salaria, both in the Vatican Museum, which have two scenes, one of Paul, balding, arrested, and the other of Peter, with a full head of hair, with his jailers. This is likely Paul because Paul was typically depicted balding. David R. Cartlidge and J. Keith Elliott, Art & the Christian Apocrypha (London: Routledge, 2001), 134-171.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome. This scene is more frequently associated with Peter, who strikes a rock for water, and then baptizes his jailers. In this case, however, the apostle, depicted balding, may represent Paul.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
Snyder, Ante Pacem (Macon, GA: Mercer University Press, 1991), 19.
Snyder, Ante Pacem, 19.
Karen Jo Torjesen, “The Early Christian Orans,” in Women Preachers and Prophets, edited by Beverly Mayne Kienzle and Pamela J. Walker (Berkeley: Univ. of California Press, 1998), 43.
Torjesen, “The Early Christian Orans,” 53.
Snyder, Ante Pacem, 19-20.
Snyder, Ante Pacem, 20.
Snyder, Ante Pacem, 20.
Snyder, Ante Pacem, 20.
The top center square identifies this as the sarcophagus of Marcus Claudianus, a male name. Other sarcophagi with an orante in the center are also identified as tombs of men.
J. Spencer Northcote and W.R. Brownlow, Roma Sotterranea (London: Longmans, 1869), 255-256.
W.H. Withrow, The Catacombs of Rome (New York: Nelson & Phillips, 1877), 308-313.
Sarcophagus of Marcus Claudianus, dated 330-335, in the Palazio Massimo National Museum in Rome.
Photo copyright: Kateusz
4th c. sarcophagus in the Musee de l’Arles Antique, Arles, France.
Photo copyright: Kateusz
4th c. sarcophagus in the Musee de l’Arles Antique, Arles, France.
Photo copyright: Kateusz
4th c. sarcophagus in the crypt of the cathedral in Clermont, France.
Photo copyright: Kateusz
4th c. sarcophagus in the Cathedral of St. Trophime in Arles, France.
Photo copyright: Kateusz
4th c. sarcophagus in the Vatican Museum.
Photo copyright: Kateusz
4th c. sarcophagus in the Vatican Museum.
Photo copyright: Kateusz
4th c. sarcophagus in the Vatican Museum.
Photo copyright: Kateusz
4th c. sarcophagus of a man named Sabinus in the Vatican Museum.
Photo copyright: Kateusz