Editing Late antiquity (section)

==Sculpture and art==
[[File:Venice – The Tetrarchs 03.jpg|thumb|left|[[Portrait of the Four Tetrarchs|''The Four Tetrarchs'']], in [[Porphyry (geology)|porphyry]], later sacked from [[Constantinople]], [[St. Marks, Venice]]]]

The stylistic changes characteristic of late antique art mark the end of classical [[Roman art]] and the beginnings of [[medieval art]]. As a complicated period bridging between Roman art and later medieval styles (such as [[Byzantine art|that of the Byzantines]]), the late antique period saw a transition from the classical idealized [[Realism (visual arts)|realism]] tradition largely influenced by ancient Greek art to the more iconic, stylized art of the Middle Ages.{{sfn|Kitzinger|1977|pp=2–21}} Unlike classical art, late antique art does not emphasize the beauty and movement of the body, but rather, hints at the spiritual reality behind its subjects{{citation needed|date=June 2022}}. Additionally, mirroring the rise of Christianity and the collapse of the Western Roman Empire, painting and freestanding sculpture gradually fell from favor in the artistic community. Replacing them were greater interests in mosaics, architecture, and relief sculpture.{{Citation needed|date=April 2024}}

As the soldier emperors such as [[Maximinus Thrax]] (r. 235–238) emerged from the provinces in the 3rd century, they brought with them their own regional influences and artistic tastes. For example, artists jettisoned the classical portrayal of the human body for one that was more rigid and frontal. This is markedly evident in the combined [[Porphyry (geology)|porphyry]] [[Portrait of the Four Tetrarchs]] in [[Venice]]. With these stubby figures clutching each other and their swords, all [[individualism]], [[Naturalism (art)|naturalism]], Roman [[verism]], and Greek [[idealism]] diminish.{{sfn|Kitzinger|1977|p=9}}{{sfn|Kitzinger|1977|pp=12–13}} The [[Arch of Constantine]] in Rome, which re-used earlier classicising [[relief]]s together with ones in the new style, shows the contrast especially clearly.{{sfn|Kitzinger|1977|pp=7–8}} In nearly all artistic media, simpler shapes were adopted and once natural designs were abstracted. Additionally hierarchy of scale overtook the preeminence of perspective and other classical models for representing spatial organization.{{Citation needed|date=April 2024}}

From {{circa|300}} [[Early Christian art]] began to create new public forms, which now included [[sculpture]], previously distrusted by Christians as it was so important in pagan worship. [[Sarcophagi]] carved in relief had already become highly elaborate, and Christian versions adopted new styles, showing a series of different tightly packed scenes rather than one overall image (usually derived from Greek [[history painting]]) as was the norm. Soon the scenes were split into two registers, as in the [[Dogmatic Sarcophagus]] or the [[Sarcophagus of Junius Bassus]] (the last of these exemplifying a partial revival of classicism).{{sfn|Kitzinger|1977|pp=15–28}}

Nearly all of these more abstracted conventions could be observed in the glittering mosaics of the era, which during this period moved from being decoration derivative from painting used on floors (and walls likely to become wet) to a major vehicle of religious art in churches. The glazed surfaces of the [[tesserae]] sparkled in the light and illuminated the basilica churches. Unlike their [[fresco]] predecessors, much more emphasis was placed on demonstrating a symbolic fact rather than on rendering a realistic scene. As time progressed during the late antique period, art become more concerned with biblical themes and influenced by interactions of Christianity with the Roman state. Within this Christian subcategory of Roman art, dramatic changes were also taking place in the [[Depiction of Jesus]]. Jesus Christ had been more commonly depicted as an itinerant philosopher, teacher or as the "Good Shepherd", resembling the traditional iconography of Hermes. He was increasingly given Roman elite status, and shrouded in purple robes like the emperors with orb and scepter in hand — this new type of depiction is variously thought to be derived from either the iconography of [[Jupiter (mythology)|Jupiter]] or of classical philosophers.{{Citation needed|date=April 2024}}

As for luxury arts, manuscript illumination on vellum and parchment emerged from the 5th century, with a few manuscripts of Roman literary classics like the [[Vergilius Vaticanus]] and the [[Vergilius Romanus]], but increasingly Christian texts, of which [[Quedlinburg Itala fragment]] (420–430) is the oldest survivor. Carved ivory [[diptych]]s were used for secular subjects, as in the imperial and [[consular diptych]]s presented to friends, as well as religious ones, both Christian and pagan – they seem to have been especially a vehicle for the last group of powerful pagans to resist Christianity, as in the late 4th century [[Symmachi–Nicomachi diptych]].{{sfn|Kitzinger|1977|pp=29–34}} Extravagant [[hoard]]s of silver plate are especially common from the 4th century, including the [[Mildenhall Treasure]], [[Esquiline Treasure]], [[Hoxne Hoard]], and the imperial [[Missorium of Theodosius I]].{{sfn|Kitzinger|1977|pp=34–38}}