These essays on late antiquity traverse a territory in which Christian and pagan imagery and practices compete, coexist, and intermingle. The iconography of the most significant late antique ceramic, African Red Slip Ware, is an important and relatively unexploited vehicle for documenting the diversity and interpenetration of late antique cultures. Literary texts and art in other media, particularly mosaics, provide imagery that complement and enhance the messages of the ceramics. Popular entertainments, pagan cults, mythic heroes, beasts, monsters, and biblical visions are themes dealt with on the patrician and popular levels. With interpretive supplements from these diverse realms, it is possible to achieve greater insight into the life, attitudes, and thought of Late Antiquity.

The Routledge Handbook of Early Christian Art surveys a broad spectrum of Christian art produced from the late second to the sixth centuries. The first part of the book opens with a general survey of the subject and then presents fifteen essays that discuss specific media of visual art—catacomb paintings, sculpture, mosaics, gold glass, gems, reliquaries, ceramics, icons, ivories, textiles, silver, and illuminated manuscripts. Each is written by a noted expert in the field. The second part of the book takes up themes relevant to the study of early Christian art. These seven chapters consider the ritual practices in decorated spaces, the emergence of images of Christ’s Passion and miracles, the functions of Christian secular portraits, the exemplary mosaics of Ravenna, the early modern history of Christian art and archaeology studies, and further reflection on this field called “early Christian art.” Each of the volume’s chapters includes photographs of many of the objects discussed, plus bibliographic notes and recommendations for further reading. The result is an invaluable introduction to and appraisal of the art that developed out of the spread of Christianity through the late antique world. Undergraduate and graduate students of late classical, early Christian, and Byzantine culture, religion, or art will find it an accessible and insightful orientation to the field. Additionally, professional academics, archivists, and curators working in these areas will also find it valuable as a resource for their own research, as well as a textbook or reference work for their students.

"This handbook brings together work by leading scholars of the archaeology of early Christianity in the Mediterranean and surrounding regions. The 34 essays to this volume ground the history, culture, and society of the first seven centuries of Christianity in the latest currents of archaeological method, theory, and research."--

Powerful religious elements for living in the aftermath of trauma are embedded within North African Christian hagiographies. The texts of (1) The Passion of Perpetua and Felicity, (2) The Account of Montanus, Lucius, and their Companions, and (3) The Life of Cyprian of Carthage are stories that offered post traumatic pathways to recovery for its historical readership. These recovery-oriented beliefs and behaviors promoted positive religious coping strategies that revolved around a sense of safety, re-establishing community relationships, an integrated sense of self, and a hopeful story beyond trauma. This book vividly demonstrates that hagiographies played a vital therapeutic role in helping early Christian trauma survivors recover and flourish in the aftermath of disastrous persecutions.

The apostle Peter gradually became one of the most famous figures of the ancient world. His almost undisputed reputation made the disciple an exquisite anchor by which new practices within and outside the Church could be established, including innovations in fields as diverse as architecture, art, cult, epigraphy, liturgy, poetry and politics. This interdisciplinary volume inquires the way in which the figure of Peter functioned as an anchor for various people from different periods and geographical areas. The concept of Anchoring Innovation is used to investigate the history of the reception of the apostle Peter from the first century up to Charlemagne, revealing as much about Peter as about the context in which this reception took place.

In Building the Body of Christ, Daniel C. Cochran argues that monumental Christian art and architecture played a crucial role in the formation of individual and communal identities in late antique Italy. The ecclesiastical buildings and artistic programs that emerged during the fourth and fifth centuries not only reflected Christianity’s changing status within the Roman Empire but also actively shaped those who used them. Emphasizing the importance of materiality and the body in early Christian thought and practice, Cochran shows how bishops and their supporters employed the visual arts to present a Christian identity rooted in the sacred past but expressed in the present through church unity and episcopal authority. He weaves together archaeological and textual evidence to contextualize case studies from Rome, Aquileia, and Ravenna, showing how these sites responded to the diversity of early Christianity as expressed through private rituals and the imperial appropriation of the saints. Cochran shows how these early ecclesiastical buildings and artistic programs worked in conjunction with the liturgy to persuade individuals to adopt alternative beliefs, practices, and values that contributed to the formation of institutional Christianity and the “Christianization” of late antique Italy.

This second volume delves into the intricate dynamics that surrounded the use of Scripture by North African Christians from the late-fourth to the mid-seventh century CE. It focuses on the multivalent ways in which Scripture was incorporated into the fabric of ecclesial existence and theological reflection, as well as on Scripture’s role in informing and supporting these Christians’ decision-making processes. This volume also highlights the intricate theological and philosophical deliberations that were carried out between and among influential North African Christian leaders and scholars—in diverse cultural and geopolitical settings—while paying attention to the complex manner in which these Scripture-laden discourses intersected the wide variety of religious opinions and ecclesiastical and/or theological movements that so clearly marked this region in this era.

In recent years, art historians such as Johannes Deckers (Picturing the Bible, 2009) have argued for a significant transition in fourth- and fifth-century images of Jesus following the conversion of Constantine. Broadly speaking, they perceive the image of a peaceful, benevolent shepherd transformed into a powerful, enthroned Jesus, mimicking and mirroring the dominance and authority of the emperor. The powers of church and state are thus conveniently synthesized in such a potent image. This deeply rooted position assumes that ante-pacem images of Jesus were uniformly humble while post-Constantinian images exuded the grandeur of power and glory. The Art of Empire contends that the art and imagery of Late Antiquity merits a more nuanced understanding of the context of the imperial period before and after Constantine. The chapters in this collection each treat an aspect of the relationship between early Christian art and the rituals, practices, or imagery of the Empire, and offer a new and fresh perspective on the development of Christian art in its imperial background.

Sacred Thresholds. The Door to the Sanctuary in Late Antiquity offers a far-reaching account of boundaries within pagan and Christian sanctuaries: gateways in a precinct, outer doors of a temple or church, inner doors of a cella. The study of these liminal spaces within Late Antiquity – itself a key period of transition during the spread of Christianity, when cultural paradigms were redefined – demands an approach that is both interdisciplinary and diachronic. Emilie van Opstall brings together both upcoming and noted scholars of Greek and Latin literature and epigraphy, archaeology, art history, philosophy, and religion to discuss the experience of those who crossed from the worldly to the divine, both physically and symbolically. What did this passage from the profane to the sacred mean to them, on a sensory, emotive and intellectual level? Who was excluded, and who was admitted? The articles each offer a unique perspective on pagan and Christian sanctuary doors in the Late Antique Mediterranean.

In antiquity, “son of god”—meaning a ruler designated by the gods to carry out their will—was a title used by the Roman emperor Augustus and his successors as a way to reinforce their divinely appointed status. But this title was also used by early Christians to speak about Jesus, borrowing the idiom from Israelite and early Jewish discourses on monarchy. This interdisciplinary volume explores what it means to be God’s son(s) in ancient Jewish and early Christian literature. Through close readings of relevant texts from multiple ancient corpora, including the Hebrew Bible, the New Testament, the Dead Sea Scrolls, Greco-Roman texts and inscriptions, early Christian and Islamic texts, and apocalyptic literature, the chapters in this volume engage a range of issues including messianism, deification, eschatological figures, Jesus, interreligious polemics, and the Roman and Jewish backgrounds of early Christianity and the authors of the Dead Sea Scrolls. The essays in this collection demonstrate that divine sonship is an ideal prism through which to better understand the deep interrelationship of ancient religions and their politics of kingship and divinity. In addition to the editors, the contributors to this volume include Richard Bauckham, Max Botner, George J. Brooke, Jan Joosten, Menahem Kister, Reinhard Kratz, Mateusz Kusio, Michael A. Lyons, Matthew V. Novenson, Michael Peppard, Sarah Whittle, and N. T. Wright.