Early Christian
Early in the 20th century it was thought that Christian art began after the death of Christ or, at least, in the second half of the 1st century ad. But later discoveries and studies showed that a truly Christian art—that is, with a style quite distinctive from Pagan Roman art—did not exist before the end of the 2nd or beginning of the 3rd century. When it ended, or rather developed into something else, is harder to say. Early Christian art penetrated all the provinces of the Roman Empire, adapting itself to existing pagan art. It subsequently created its own forms, which varied according to local stylistic evolution. The new capital at Constantinople (ancient Byzantium), founded by the emperor Constantine the Great (306–337), was to be an important centre of art. The art produced there, now known as Byzantine art, extended throughout the entire Christian East. It is customary to distinguish early Christian art of the West or Latin part from the Christian arts of regions dominated by the Greek language and to consider the latter as proto-Byzantine, while acknowledging, however, a certain latitude in the initial date of this separation: 330, the foundation of Constantinople; 395, the separation of the Greek part of the empire from its Latin sector; or, finally, the reign of Justinian (527–565). The transition from the earlier to the later art discussed in the next sections took place at different times in different locations; therefore, there can be no precise chronological boundary. Only after Justinian’s reign did many Eastern regions submit to the ascendancy of the art of Constantinople, following until the 6th and even the 7th century the paths traced by Christian art in its beginnings. In the West the end of Early Christian art is easier to determine. Closely tied to Roman art, it finished with the collapse of the empire at the end of the 5th century. Then, transformed into a multitude of regional art styles, it assimilated various influences from the East and from the barbaric peoples who superseded their Roman masters.
The vague boundaries of this art in time and space make a definition of its character difficult. Its style evolved from the current Greco-Roman art. The new elements lay not in form but in content: places of worship very different from pagan temples, iconography drawn from the Scriptures. As the hold of the church over public and private life grew, these new elements tended to set traditional subjects completely aside. Early Christian art, while deeply rooted in Greco-Roman art, became a new entity, as distinct from ancient art as from that of the Middle Ages. An obvious difference is the absence of monumental public sculpture. Early Christian sculpture was limited to small pieces and private memorials and only gradually became incorporated into ecclesiastical architecture.