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of royalty and the gold stripes suggestion a connection to the Roman emperors. Peter also approaches Christ in supplication, like one would approach the
Emperor. This is one of the first examples in Christian art of Christ being portrayed in the same way as the emperor or royalty. It is a concept that would later be prevalent in Christian art and architecture. In this apse Christ is not just portrayed as royalty but as the ruler of the world, of all existence. He sits atop a blue sphere, a clear symbol for the world or universe. From this perch he hands keys to Peter. This is a clear sign of Christ, and the power of heaven, giving authority and holy power to man. It is also important to note that Peter was Rome's first bishop so this meant Roman authority was sanctioned by God. This concept and picture of Christ as the almighty ruler and creator of the world would be the norm in the artwork of later churches, but it first appears here at Santa Costanza.
407:, as can be seen from the exterior. It is built of brick-faced concrete and its structure is basically two rings supported by columns placed around a vertical central axis. The upper ring sits on the columns while the "lower ring encloses a circular ambulatory whose space flows between the columns into the axial cylinder." This design essentially creates two spaces or two worlds, that of the ambulatory and that of the upper dome. The screens of the ambulatory and inner ring create a dark contrast to the bright upper space of the dome. This contrast of light can be seen in the picture of the main interior. The single door, flanked by two arched niches, would originally have been an internal arch or doorway leading straight into the Constaninian basilica or funerary hall, half-way along its length. There is a short vestibule inside the door, opening to the ambulatory.
560:. The pagan appearance of such images of grapes, fruit, birds, and mythological figures represent the period of transition between paganism to Christianity that was taking place in Rome at this time. Bacchic motifs were often used in the funerary monuments of late antiquity and although a decided religious shift was taking place in Rome it would be logical that some traditional imagery would persist and be adopted by the new tradition. The theme continues in the floor mosaics which were similar in style to those in the ambulatory, filled with cupids, birds, and Bacchus and grapevines. This may reflect the merging of pagan and Christian values in Rome, or alternatively construction under the non-Christian Julian. These mosaics probably represent the sort of decoration found in the Imperial palaces of the period, and in general have needed little restoration.
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658:, a hard purple stone, reserved by the Romans for use only by the imperial family, whose colour purple was. It was quarried from only one place, Mons Porphyriticus (Coptos, Egypt), making it even more exclusive. It appears, but can not be certain, that the sarcophagus of Constantina is a copy of that of Constantine I, her father, which is now lost. A piece of what is believed to be his sarcophagus is similar in style and of the same material. A cast replica has been placed in the church, though in the ambulatory; presumably its original position was in the centre of the church, now occupied by the altar. There is another in the
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687:. (This would be odd, however, because Julian was a staunch pagan.) If true, the larger of the two porphyry sarcophagi there would belong to Helena, and the smaller to Constantina, the opposite of what has been traditionally thought. The earlier triconch building of the 330s was probably indeed built for Constantina, but she later had to take second place to her sister. Then, as Constantina's fame as a saintly figure developed in the Middle Ages, their roles became reversed in the popular mind.
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elaborated
Constantina's devotion to Saint Agnes, but it now cannot be determined if this was a factor in the choice of location, although in general terms early Christians believed that their souls benefited from being buried close to martyrs, which was almost certainly a major attraction of the funerary hall to those who paid to be buried in it. Attaching an important mausoleum as an annex to a church was a common practice in Rome and can be seen the cases of other Roman churches such as the
478:. In particular, the ring vault mosaics are well preserved and consist of eleven divisions of ornamental motifs, some of which are repeated. The mosaics here were composed using pieces of marble unlike the composition using glass cubes that would become popular in later works. The use of color is significant as the mosaics encompass a narrow range of colors including dark green, brown, red and yellow on a relatively plain light backdrop. This color scheme is comparable to earlier
507:, the earliest surviving examples of this depiction; they probably date to the 5th or 7th century, though there has been much discussion of this. Like many mosaics of the period, both have suffered from restoration and both show elements of Roman imperial imagery, representing early examples of the conflation of this with Christian art. A mosaic with two women wearing white, reported as being behind the sarcophagus in the Renaissance, has now gone and was never drawn.
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516:: Christ is shown with Saints Peter and Paul giving Peter the scroll representing law, with the inscription, "DOMINUS PACEM DAT," or "The Lord is giving Peace." A few sheep represent his role as shepherd governing and leading his flock. Christ is clothed in golden robes, suggesting his power and supremacy. He is shown rising above paradise, which further shows his dominance over both heaven and earth.
608:: "the surface is dominated by an intricate pattern of stylized vine-stems into which are fitted cherubs...with this scene of Dionysiac exuberance, and the hope of future blessedness which it implies, two peacocks, birds of immortality, are completely in accord". The scene presents an image of nature and plenty complete with grape vines, sheep and birds. The putti are framed in
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601:, where it was moved during the late 18th century and is on display. The smaller was moved in St Peter's itself (left transept) in 1606. It is now thought that the larger sarcophagus traditionally related to Constantina may in fact have housed her sister Helena, and the less spectacular one, also removed to the Vatican, was actually Constantina's.
433:. Opposite the entrance in this central space there is "a kind of baldacchino...rises above a porphyry plaque which, below the middle arch of the center room, once seems to have carried the princess's sarcophagus". This is where the sarcophagus of Constantina, or perhaps the second one, would have rested. The ambulatory is
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objects. The fifth and eighth panels depict circles with alternating floral and figurative designs and panel six displays representations of boughs and greenery accompanied by birds and vessels. These naturalistic ornaments suggest to the viewer ideas of beauty and abundance and reflect the decorations found in
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scrolls, above which there are several images of masks. Aside from the natural scene, there are also four portraits including
Constantia herself, "on the lid, four graceful portrait heads, one apparently that of Constantina, look calmly out over this assurance that the best is yet to be". The imagery
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in appearance and make no obvious
Christian allusions. The surface of area of many of these mosaic panels is occupied by a profusion of vine and plant ornament as well as containing geometric patterns, small heads or figures within compartmented frames, birds with branches of foliage, vases and other
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The structure of Santa
Costanza reflects its original function as the mausoleum of one or both Constantine's two daughters, Constantia and Helena, rather than as the church it became much later. The centralized design put "direct physical emphasis on the person or place to be honored" and was popular
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Of the original
Basilica of St Agnese, only about a third of the main outer wall survives, from the north side and the apse at the eastern end, but at less than the original height. By the 7th-century the basilica had fallen into ruins and was too large to be refurbished, and the current much smaller
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In the second apse, Christ appears somewhat more simply but still as supremely powerful. His robes are not quite as rich as in the other apse, but still suggest power. He wears a simple tunic but it is purple and gold. This suggests not only holy power, but human power given that purple is the color
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and is 22.5 meters or 74 feet in diameter. The ambulatory has most of the surviving mosaics in the church. Larger arches mark the cardinal points in the mausoleum. The walls were probably covered in slabs of colourful marble, as was usual in imperial buildings. Santa
Costanza was also to some extent
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that contained the relics of Saint Agnes, who was martyred as a thirteen-year-old, and which was attached to the ancient basilica of Saint Agnese mid-way along the liturgical north side. The basilica was originally a "funerary hall" rather than a church in the modern sense. Later legend considerably
203:, later also known as Constantia or Costanza, who died in AD 354. However, more recent excavations have called this date (and therefore the original purpose of the building) into question. Ultimately, Constantina's sarcophagus was housed here, but it may have been moved from an earlier location.
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made watercolour copies of what then survived. In these several biblical scenes appear, resembling catacomb paintings from the 3rd century, including
Susanna and the Elders, Tobias, the sacrifice of Cain and Abel, the sacrifice of Elias on Mount Carmel, possibly Lot receiving the angels, Moses
556:, the Roman god of wine. It was because of the predominance of this imagery that during the Renaissance period the building came to be known as the “Tempio di Bacco” and believed to have a pagan origin. This type of scene also appears on Constantina's sarcophagus, as it does on the ends of the
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The huge funerary hall or
Constantinian basilica gradually fell out of use and into ruins, with the base of the wall now surviving for about a third of the original circuit of exterior walls, but Santa Costanza has survived all but intact. It is documented that
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18th-century reconstruction of the original plan of the funerary hall and two mausolea, with Santa
Costanza at top (modern views do not support the lower one). The ground slopes away sharply on the right, and there are large buttresses, which survive.
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striking the rock for water, and possibly even Noah building the ark. The upper row of mosaics, largely missing by the 16th century, is thought to have had scenes from the New Testament since it has the Miracle of the Centurion. These mosaics have
172:, which runs north-east out of the city. It is a round building with well preserved original layout and mosaics. It has been built adjacent to a horseshoe-shaped church, now in ruins, which has been identified as the initial 4th-century cemeterial
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Some consider that the building was only later reassigned as a church dedicated to Santa Costanza. The veneration of Constantina as "Santa Costanza" (Saint Constance) is only known from the 16th century onward, and her name is not included in the
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built by Constantine there at the same time as the funerary hall. This was assumed to be the structure that survives. But excavations in 1992 discovered an earlier building beneath, and the existing building is now dated to around 350 AD.
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That could suggest that the current church is the second Christian building on the site, and may be some decades later than traditionally thought, being built as a mausoleum for Constantina's sister Helena in the reign of her husband
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The mausoleum is of circular form with an ambulatory surrounding a central dome. The fabric of Santa Costanza survives in essentially its original form. Despite the loss of the coloured stone veneers of the walls, some damage to the
215:. The vaults of the apses and ambulatory display well preserved examples of Late Roman mosaics. A key component which is missing from the decorative scheme is the mosaic of the central dome. In the sixteenth century,
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In all this confusion we are certain of one thing: it is premature to claim that Santa Costanza was erected between 337 and 350 as a mausoleum for and by Constantina, daughter of Constantine the Great.
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Santa Costanza is located a minute's walk to the side of the Via Nomentana, a short way outside the ancient walls of Rome. The road follows the ancient Roman route which runs north-east from Rome to
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Significantly one particular panel is especially pagan in character and depicts grapevine scrolls accompanied by cupids picking grapes and crafting them into wine, a depiction that seems to recall
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a new type of building. It was different from earlier styles in that the roof, which would previously have been typically flat and made with wood, was instead designed as a dome and vault.
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Blasen, Philippe Henri, "De sancta Agnete Romana e fontibus Latinis antiquissimis... Sainte Agnès de Rome dans les sources latines les plus anciennes jusqu'à Augustin d'Hippone",
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compositions of the first half of the fourth century and dates these compositions to very soon after the completion of the structure as opposed to being later additions.
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and acanthus-scrolls and a calendar of saints in the upper row. This, in conjunction with the two apses is where the majority of Christian imagery occurs.
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illustrations the church was likely once covered with mosaic decoration but today all that remains are those in the two apses and those in the ring
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celebrated mass there in 865, the first time that "Santa Costanza" is recorded as its name, but its consecration as a church was not until 1254, by
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184:, still standing nearby, is distinct from the older ruined one.) Santa Costanza and the old Saint Agnes were both constructed over the earlier
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supports the drum below the dome, and separates the area of the ambulatory beyond, which is much darker, as light from twelve windows in the
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does not reach this area as well. In contrast, the central area is well-lit, creating interplay between dark and light in the interior.
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for mausoleums and places of baptisms at this time. Other early Christian buildings with a similar origin and a circular plan include
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presented of wine and nature are not inherently Christian but could be perceived as such considering the use of wine in the
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The mosaics of the central dome no longer exist, but a picture of them can still be reconstructed as between 1538 and 1540
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View of the mausoleum of Santa Costanza and the remaining wall of the Constantinian basilica (photo taken from its apse).
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Two large porphyry sarcophagi from the church are now in the Vatican; the larger and more famous (illustrated) in the
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748:. Taidehistoriallisia Tutkimuksia – Konsthistoriska Studier (Art Historical Studies) 27. Helsinki. pp. 22–42
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vault are contemporary with the building, and show a stark contrast to those in the apses, being essentially
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and incorrect restoration, the building stands in excellent condition as a prime example of
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Age of spirituality: late antique and early Christian art, third to seventh century
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ringing a high central space topped by a shallow dome, which is raised on a round
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of either Constantina or her sister Helena has survived intact, and is now in the
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According to the traditional view, Santa Costanza was built around the reign of
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The sarcophagus is massive with the chest measuring 128 cm or 4 ft 2
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1374:; full text available online from The Metropolitan Museum of Art Libraries
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View into the apse of the ruined basilica, from in front of Santa Costanza
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The churches and catacombs of early Christian Rome: a comprehensive guide
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It was traditionally thought that construction began during the reign of
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The Origins of Medieval Architecture: Building in Europe, A.D. 600–900
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An arched arcade with twelve pairs of granite columns decorated with
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Santa Costanza is a circular, centralized structure, with a circular
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Understanding Architecture: Its Elements, History and Meaning
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Constantina's sarcophagus has complex symbolic designs in
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The mosaics of the ambulatory vault and the paired columns
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337:(d. 335) baptized Constantina and her paternal aunt in a
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Stanley, David J., "New Discoveries at Santa Costanza",
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Dolphins and mortar dating – Santa Costanza reconsidered
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The mosaics of Santa Costanza are important examples of
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would be outside the image below the bottom left corner.
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records that Constantina's body was brought back from
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133:Early Christian art and architecture
1280:. New Haven: Yale University Press.
634:in high, 233 cm or 7 ft 7
593:, originally stood in the mausoleum
358:(now the Church of St. George) in
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1409:Chiesa Mausoleo di Santa Costanza
1296:Early Christian and Byzantine Art
1269:Early Christian and Byzantine Art
286:The mausoleum was built over the
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1081:. Constable and Company Limited.
1044:Anthony, Edgar Waterman (1935).
1028:. Constable and Company Limited.
1446:Roman Catholic churches in Rome
536:The 4th-century mosaics on the
1405:– Santa Costanza Photo Gallery
1243:(in German). Joachim Schäfer.
882:McClendon, Charles B. (2005).
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1285:Krautheimer, Richard (1979).
1276:Deckers, Johannes G. (2007).
1136:Schug-Wille, Christa (1969).
1079:Byzantine Art and Archaeology
1063:. Princeton University Press.
1026:Byzantine Art and Archaeology
1007:Monuments of the Early Church
952:The Origins of Christian Art
697:Architecture of ancient Rome
660:Museum of Roman Civilization
589:Sarcophagus of Constantina,
558:Sarcophagus of Junius Bassus
180:. (Note that the much later
1362:, no. 108 & 246, 1979,
1271:. Baltimore: Penguin Books.
164:is a 4th-century church in
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1419:Santa Costanza | Art Atlas
1399:– De Imperatoribus Romanis
1364:Metropolitan Museum of Art
1138:Art of the Byzantine World
1097:Holloway, R. Ross (2004).
702:Early Christian sarcophagi
470:As evidenced by surviving
354:as his mausoleum, and the
1318:. Sussex Academic Press.
1234:Schäfer, Joachim (2003).
880:For an updated plan see:
547:Early Christian catacombs
524:Mosaics in the ambulatory
510:One of the apses shows a
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313:Sant'Agnese fuori le mura
248:Sant'Agnese fuori le mura
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1303:Milburn, Robert (1988).
1101:. Yale University Press.
800:Roth, Leland M. (1993).
532:Mosaic in the ambulatory
1267:Beckwith, John (1970).
847:. Wadsworth Publishing.
654:in wide. It is made of
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1343:45–46 (2011): 253–281.
1312:Webb, Matilda (2001).
1099:Constantine & Rome
1077:Dalton, O. M. (1961).
1024:Dalton, O. M. (1961).
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843:Kleiner, Fred (2015).
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1466:Rome Q. XVII Trieste
1441:4th-century churches
1393:at Wikimedia Commons
1140:. Holle Verlag GMBH.
1059:Ling, Roger (1998).
1046:A History of Mosaics
739:Ă…sa Ringbom (2003).
570:Francisco de Holanda
486:Mosaics in the apses
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348:Split Cathedral
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1391:Santa Costanza
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1379:External links
1377:
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1413:Find a Grave
1366:, New York,
1357:
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1304:
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1268:
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1222:Deckers 2007
1217:
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1200:, p. 77
1198:Milburn 1988
1176:
1169:Medieval Art
1168:
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1124:Deckers 2007
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750:. Retrieved
741:
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564:Central dome
551:
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511:
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495:
480:Roman mosaic
476:barrel vault
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382:Architecture
368:
360:Thessaloniki
344:
328:
322:
311:Basilica of
309:
285:
280:
258:
217:watercolours
205:
190:
161:
160:
112:Architecture
1397:Constantina
869:Lowden 1997
831:Lowden 1997
773:|work=
505:Pantocrator
224:sarcophagus
201:Constantina
178:Saint Agnes
144:4th century
78: /
1435:Categories
1261:References
1250:3000129979
817:0064301583
752:1 December
581:Sarcophagi
538:ambulatory
442:Decoration
424:clerestory
401:ambulatory
243:Piranesi's
155:Piranesi's
66:12°31′03″E
63:41°55′21″N
1181:Webb 2001
969:Webb 2001
933:Webb 2001
909:Webb 2001
775:ignored (
765:cite book
615:Eucharist
575:caryatids
395:Structure
339:baptistry
288:catacombs
197:mausoleum
186:catacombs
1422:Archived
1241:(CD-ROM)
691:See also
677:triconch
656:porphyry
610:acanthus
364:Galerius
273:Bithynia
269:Ammianus
261:Nomentum
255:Location
221:porphyry
174:basilica
91:Location
1356:, ed.,
649:⁄
639:⁄
629:⁄
619:Bacchus
554:Bacchus
542:secular
455:Mosaics
319:Purpose
281:History
265:Mentana
234:History
209:mosaics
102:Country
1370:
1322:
1247:
892:
814:
606:relief
121:Church
746:(PDF)
718:Notes
465:apses
195:as a
128:Style
106:Italy
1368:ISBN
1320:ISBN
1245:ISBN
890:ISBN
812:ISBN
784:link
777:help
754:2015
405:drum
277:Gaul
166:Rome
96:Rome
1411:at
808:249
263:or
176:of
1437::
1188:^
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