- Copyright Page
- List of Contributors
- The Archaeology of Early Christianity: The History, Methods, and State of a Field
- Archaeology of the Gospels
- New Testament Archaeology Beyond the Gospels
- The Catacombs
- Burials and Human Remains of the Eastern Mediterranean in Early Christian Context
- The Archaeology of Early Monastic Communities
- Baptisteries in Ancient Sites and Rites
- Baths, Christianity, and Bathing Culture in Late Antiquity
- The Art of the Catacombs
- Visual Rhetoric of Early Christian Reliquaries
- An <i>Anarchéologie</i> of Icons
- Spolia and the “Victory of Christianity”
- Early Christian Mosaics in Context
- Amulets and the Ritual Efficacy of Christian Symbols
- Christian Archaeology in Palestine: The Roman and Byzantine Periods
- The Church of the East Until the Eighth Century
- The Holy Island: An Archaeology of Early Christian Cyprus
- Asia Minor
- Community, Church, and Conversion in the Prefecture of Illyricum and the Cyclades
- The Early Christian Archaeology of the Balkans
- The Archaeology of Early Italian Churches in Context, 313–569 CE
- The Christianization of Gaul: Buildings and Territories
- Britain and Ireland, 100–700 CE
- Christian Landscapes in the Iberian Peninsula: The Archaeological Evidence (Fourth–Sixth Centuries)
- Incorporating Christian Communities in North Africa: Churches as Bodies of Communal History
- Archaeology of Early Christianity in Egypt
Abstract and Keywords
The art of the catacombs was born in Rome between the second and third centuries and is manifested especially in the pictorial decorations of the cubicula and other hypogeal environments. The extremely simplified artistic typology echoes the Second Pompeian style through the use of red and green lines that run across the walls and the faces of the monuments. Initially this grid contained neutral figures selected from the pagan repertoire; later those images were replaced by Christian scenes inspired by biblical and salvific imagery. The art of the catacombs also includes funerary sculpture, particularly sarcophagi, and the so-called minor arts, such as gilded glass, ivory dolls, and mosaic tesserae. The catacombal decorations ended at the beginning of the fifth century, when funerary use ceased in these subterranean cemeteries.
Fabrizio Bisconti, Professor of Late Antique Archaeology and Early Christian Art and Iconography, Roma Tre University and Pontifical Institute of Christian Archaeology, Rome, Italy.
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