Historic Ornament, Vol. 1 (of 2): Treatise on decorative art and architectural ornamentWard, James
History
Historic Ornament, Vol. 1 (of 2): Treatise on decorative art and architectural ornament
Ward, James
Architecture -- History; Decoration and ornament -- History; Decorative arts -- History
The nave usually had three entrance doors, and the aisles one or more
each. As the heathen religions, and consequently the ancient temples,
fell into disuse, there was plenty of building materials ready formed
and dressed, which the architects of the new buildings appropriated for
their own purposes in the erection of the basilicas. This accounts for
the great number of Roman Corinthian and Ionic columns found in the
buildings of the early Christian architecture, and we often find that
when an ancient column was too short, it was simply raised on a higher
base, and if too long it was cut down to fit its new position. It was
generally in the later basilicas that this occurred, as might be
expected, for the earlier basilicas are richer and better decorated in
their beautiful details, seeing that the early Christian builders had
the first choice of the rich ornamental work of architectural sculpture
that had belonged to the ancient Roman temples. The church of S.
Apollinare in Classe at Ravenna may be cited as one of the most finished
and most beautiful of the early basilicas, which was erected with much
of this old material. Although the Christian architects and artists were
slow in producing new forms of plastic art, as long as they could adapt
the existing fragments of architectural sculpture to their uses; on the
other hand, the art of painting and decorating by mosaic pictures on the
great spaces of the walls and ceilings of the basilicas was developed to
a high degree of monumental splendour, and brilliant effects were gained
by the use of gold and bright colours.
Mosaics as wall decoration in the basilicas were suggested by the
paintings in the catacombs. These primitive paintings were borrowed in
their form and essence from ancient mythological works. At first, some
of the earliest efforts at decoration in the catacombs consisted merely
of monograms and symbols, such as the Greek letters Alpha and Omega, and
the initials or monogram of Christ.
[Illustration: Fig. 332.—Painting from the Catacomb of S. Agnese.]
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