Abstract
This paper examines the Christian art of the first five centuries C.E., which is potentially a source of a great deal of data and information about Christianity during the period in question. The author explains that the origins and development of early Christian art are indebted to a number of factors. These factors are comprised of certain styles associated with certain regions and practices, converts to Christianity adopting pagan practices, and to more than purely aesthetic functions such as pedagogical uses. The paper concludes that early Christian art did not spring into existence without roots. Rather it can be seen as an undisrupted continuous seam going back to ancient religions and practices.

From the Paper
"Textual evidence seems to suggest that certain theologians did indeed go against the production of cultic art objects for the practice of idolatry while perhaps understanding the difference between that and the functional uses of art whether it was decorative, symbolic or didactic. Christians probably understood that smaller objects did not have much significance. So when larger objects did come on to the scene it was not of a great shock since they were not seen as objects of worship and "therefore presented no danger of idolatry." Some scholars believe that many of the Christian converts that came from a polytheistic background abandoned their old practices since they would recognize it was incompatible with their new faith."

Tags:antiquity, theologian, affiliation, landscape, Alexandria, nimbus, Rabbinic, catacomb, motif

Abstract
Early Christian art rarely tries to represent reality as is. This art is characterized by religious symbolism and its purpose is to portray the spiritual world, rather than depict three-dimensional figures. The paper examines how the beliefs of early Christians were reflected in their art. Originally, pagan art contained gods and heroes, but in their place emerged the Christian figures who dominated art for nearly a thousand years. The paper explores how these religious messages were depicted through images of golden halos, in architectural designs, miniature scriptures and supernatural symbols.

From the Paper
"In early Christian art there are often personifications of the sun and moon, which were drawn from pagan imagery, but also came to represent the relationship between the old testament (the moon), which could only be understood in light of the new testament (the sun). Art often focused on the supernatural, and the paintings were rich in symbolic meaning. Radiant colors, suspended angels, and detailed symbols were the motifs used to represent the supernatural. Many early Christian masters were monks and craftsmen. In AD 533, reincarnation was declared a heresy by the Council of Constantinople; before then, reincarnation could be depicted in art as well."

Tags:Christ, Muiredach, Cross, nativity, crucifixion, God

Abstract
The paper reviews "Face To Face; Portraits of the Divine in Early Christianity". The paper explores how and why Christian artists came to depict the Godhead in general and hjrist in particular.

From the Paper
"The formative era of Christianity, specifically the apostolic, postapostolic and patristic periods, proved to be decisive for the development of the faith. To be sure, that might have been expected as being consistent with the first flush of fervor for the new way of conceptualizing God and humankind's relationship to the divine. Yet, Christian thought represented a meaningful departure from pharisaic, legalistic Judaism on one hand, and Hellenistic, Greco-Roman polytheism on the other, which meant that it was considered heresy on one hand, or political rebellion on the..."

Tags:early Christianity, art, iconography

Abstract
This paper examines and describes the traditional symbols and motifs of Celtic Art and discusses how they were so important in Celtic societies that they survived the conversion to Christianity. These Celtic symbols and motifs can also be found in early Christian Art. This paper also includes illustrations of various Celtic artwork.

From the Paper
"Often in illuminated manuscripts one finds a Celtic characteristic of placing red dots around initials that reminiscent of the stippling on metalwork . And a textual tradition that is popular even today, known as diminuendo, in which the first letter of a text is large and the rest diminish in size. Illuminated manuscripts kept not only imagery of the Celts but the superstitions in some cases as well. Many illuminated manuscripts were thought to have special powers, and were often used for "talismanic purposes " including healing and hope for victory in battles. Thus the societies of the Celts and Christians were not only blended in art but in religion and culture as well. Keeping their superstitions and respect for nature, the Celts adopted certain aspects and rituals of Christianity. And Christianity in return adopted many Celtic customs and beliefs."

Tags:art history, celtic art, christian art, symbols motifs gospel

Abstract
This paper examines how art and architecture during the middle ages changed the world in many aspects and how we have adapted many of these styles to many of the modern structures. The paper looks at the history of the architecture and art styles and some of the artists that contributed to the art the from early Christian art to Gothic art. Photographs and pictures are also included.

Outline:
Introduction
Early Christian Art
Artists
Architecture
Byzantine Art
Artists
Architecture
Carolingian Art
Romanesque Art
Artists
Architecture
Gothic Art
Artists
Architecture
Conclusion

From the Paper
"The Carolingian art was during the reign of Charlemagne, who ruled the franks in the year 768. The term Carolingian refers to the reigns of Charlemagne, and his pressing successors, although in stipulations of art the exacting characteristics of Carolingian art did not last long after his empire was divided by three grandsons in the year 843. The painting Art Past and Present (Upper Settle River, New Jersey), during this period were in the concentration of revitalizing both the political harmony and the cultural ideas of the Roman Empire. Many of the works of art illustrate the inspiration of Roman models in unstructured techniques. The Carolingian emperors built large scale architectural projects in stone and supported active centers for manuscript illustration, ivory carving, and metalwork. "

Tags:Byzantine, Christian, Carolingian, Romanesque, Gothic

Abstract
The paper relates that before the Renaissance emerged in Italy, art and architecture had a flat, stylized manner, with little realism or emotional life. The paper looks at the transition from the stylized art of the Byzantine period to the beginning of the Renaissance by focusing on the styles and subjects of painters like Giotto and Duccio in Northern Italy. The paper explains that the philosophy of early Christian art had been that all art should be religious in nature and therefore as unnatural as possible, while during the Renaissance, the human became the most important mover in the cosmic sphere and could therefore be glorified as such.

From the Paper
"Before the Renaissance emerged in Italy, art and architecture had a flat, stylized manner. The subjects of paintings were predominantly religious in nature and had very little realism or emotional life. The Byzantine style, characterized by a rich use of color and very flat, stylized figures, had been a huge departure from the medieval art of its Northern counterparts. The Byzantine style, while still concerned with religious subjects, strove less for realism and more for the abstract and symbolic. Part of this transition had to do with the schism of the Catholic church from east and west; the other had to do with the structures and strictures of the governments in place at the time. Where England, Germany, and France were still yoked under the feudal system, Italy was emerging to be a divergent amalgam of city-states and duchies, each with their own characteristics and power structure."

Tags:Giotto, Duccio, Byzantine, realism, emotions, humanism, religion

Abstract
This paper explores the influences and style of Romanesque art, focusing on works which use the theme of the "Last Judgement." First the paper discusses Romanesque architecture and how the expansion of monasticism influenced this style. Other influences on Romanesque art, such as Byzantium, are also described. The paper continues with a more in-depth examination of the "Last Judgement" theme, stating that it should be understood from a theological point of view which requires us to inquire into the religious teachings of the early middle ages. Various examples of this theme as found in Romanesque art are cited, including works from Italy, France and Spain. The paper concludes by stating that Romanesque art formulated a new visual language which was able to depict and accompany the tenets of the Christian faith with the theme of the "Last Judgment" being central.

From the Paper
"In this context of the expansion of monasticism, Romanesque art combined a number of influences which in turn, gave birth to a new artistic language that was capable of articulating the tenets of the Christian faith using artistic means of expression. For instance, one of the best examples of this new artistic idiom could be found in the realm of architecture, with Romanesque architects inventing the tympanum, on which "The Last Judgment" as well as other scenes from the Bible was painted. Aside from the religious and artistic explanations behind this choice, there was also the very practical intention of preparing the faithful for the ceremonies and prayer which would take place inside the church."

Tags:tympanum, Byzantium, monasticism, Cluny, Saint Denis

From the Paper
"Jesus Christ was born into a Roman world. As Luke tells us, "a decree went out from Caesar Augustus that all the world should be enrolled" (Luke 2:1). In the Romans' view, they and their possessions were the entire world. The Romans had gone on endless military campaigns to subdue their enemies and exert their influence in every accessible corner of the Mediterranean and European worlds. Then, in a similar but more peaceful fashion, Christ's followers went out to spread the word throughout the Roman Empire. It was not until they finally succeeded in acquiring the Roman Emperor Constantine as a convert to Christianity in A.D. 312 that the new religion triumphed and the history of the Western world was transformed. After that "the empire that Constantine ruled as a declared Christian, from 312 to 337, was profoundly different from the classical urban..."

Abstract
This paper explains that Christian art, evolving along with the church, began in the Near East, which was a vast religious and cultural melting pot where all the competing faiths, including Judaism, Christianity, Gnosticism and many others, tended to influence each other. The author points out that the oldest sizable and coherent body of Christian art, which can be traced to no earlier than 200 AD, is the painted murals in the Roman catacombs and the underground burial places of the Christians. The paper relates that the halo around Jesus' head stems from pagan artists, who used a halo, usually of a gold color, to mark the chief of men and women in their pictures, and from the Romans, who associated it with the cult of light as a special gift from God. Chart. List of illustrations but no illustrations.

Table of Contents
The Early Christian Church - The Jews and the Greeks
Byzantine Art
The Christian Empire
Nuns, Monks, and Priests
Saints and Martyrs
The Virgin Mary
The Halo
The Conversion of the Northern Tribes
The Celts
The English
The Saxons
The Holy Roman Emperor
East Rome
Church of St. Sophia
The Icons, the Iconostasis, and Iconoclasm
Icons
Iconostasis
Iconoclasm
The Mystics
The Effect of Islam
A Comparison of Christianity East and West
Early Christian vs. Byzantine Art
Western Society in the Middle Ages
Popes
Society and Religion
Hell and Purgatory
Gothic Cathedrals and Stain Glass Windows
The Renaissance
Exploration
The Reformation
The Modern Age

From the Paper
"The first celibates in the early Christian church were women who lived lives of chastity and cleaned church buildings. These women also helped tend the sick. Many spiritually oriented celibate males started as hermits but eventually these men grouped together, elected an abbot, and agreed to abide by a set of rules. These first nuns and monks were called Benedictines. Priests were allowed to marry in the early church but the idea of a celibate priesthood was raised as early as 324 AD (Council of Nicene) but this was unenforceable. In the early church, a man could marry before he became a priest and still become a priest. He could not marry if he became a priest before marrying. The ideal of the totally celibate priesthood was not enforceable until the 11th Century. A man who wanted to become a bishop was not allowed to be married.
In the Eastern Orthodox Catholic Church, priests still are allowed to marry before taking final vows."

Tags:halo, icon, moon-goddess, mosaics, byzantine

Abstract
This paper examines early Irish art and literature in an effort to gain insight into early Irish heritage and culture. The paper discusses Le Tene art, Celtic art, the emergence of craft centers or workshops, influences on Le Tene art and Le Tene art's influence on other cultures as well as early Christian artifacts, the importance and significance of the Ulster cycle in Irish literature, and how the story "The Tain Bo Cuailgne" represents the rough, common life of the early Irish.

From the Paper
"When attempting to explore early Irish cultures, we can discover much when we observe art and literature in conjunction with historical information. Historical facts only present a portion of the picture, while artifacts and literature fill in the gaps. Art from the Le Tene culture offers incredible insight into early Irish heritage because literacy was not widespread. Symbols and images depicted on pieces discovered at this time represent rituals and beliefs. While most of the population could not write, the literature from the Ulster era helps support what we can learn from artifacts. In addition, when we combine what we see and read from the arts of early Irish cultures, we discover a remarkable connection to historical accounts of these people."

Tags:halstatt, jewelry, warrior, canosa, helmet, agris, kirkburn, sword, Durrnberg, flagon