The Changes in Early Christian Art

The most notable change for me was the change from celebrating the triumphs and achievements of the Imperial rulers to the introduction of Hebrew and early Christian narratives.
While under the rule of Constantine we begin to see the slow adoption of basilicas during Late Antiquity and the first synagogue; in Dura-Europas, in modern day Syria, which was a converted private house alluding to the Hebrews need to practice their faith in secret to avoid persecution or arrest.
Most dramatically, there was a noticeable departure from idealized, heroic, and highly articulated figural representation e.g., the portrait bust of Trajan Decius and the heroic portrait of Trebonianus Galllus, to the portrait of the Four Tetrarchs where art begins to take on a flat, one dimensional look, resembling diminutive cut outs. This less modeled figural representation are favored in the Samuel anoints David mural fresco from the Dura-Europas synagogue, The Good Shepherd, story of Jonah & Orants painted ceiling of the Saint Peter and Marcellinus catacombs of Rome, and again in the Miracle of the Fish and Loaves mosaic from the nave wall of Sant’ Apollinaire Nuovo of Ravenna. Although, we still see remnants of Classical artistic style in the Woman sacrificing at an altar from the Nicomachi and the Symmachi diptych, for the most part a transition is taking hold within the artistic community.
Worth noting is the diptych, which will become a highly popular format along with its sister, the triptych during the early Renaissance period of Europe especially in the altar pieces of 1200-1400.
Mosaics are becoming more commonplace as both decorative art and propaganda vehicles. Whereas the late Romans used monochromatic mosaics sparingly toward the end of the Empire, during Late Antiquity we see a plethora of colored mosaics made in the tesserae technique. These examples foretell the explosion of mosaics which will dominate the next chapter, Byzantium.
Propaganda changed from political to religious over time. Beginning with Old Testament scenes without Christ to eventual inclusion of a young Christ, and then finally our first glimpse at a depiction of Christ’s crucifixation. Again a hint to what is to come when art will openly glorify the crucifixion, lamentation, resurrection, and ascension, and become not just an expression of religious symbolism, but a highly controversial form of propaganda used to shape cultural mores, control the masses, instill/revoke papal power and justify war, persecution, and other unsavory actions. People like Martin Luther will rail against the iconoclasm to come.
As I’m a recent transplant to Portland, I am unfamiliar with any representations of Late Antiquity here. But I can include representations from my hometown, New York City.
From my native New York, a Brooklyn basilica. From this exterior image you can clearly see the narthex, nave, and transept. However, the nave is hidden behind the transept. It’s there, believe me.
http://www.olphbkny.org/english.html

For fun look at mosaic work, check out Little Chapel picassiette architecture – Guernsey on Flickr – modogoo.

(http://www.flickr.com/photos/modagoo/1213508640/)
When I was in Paris recently, I found several of these mosaic murals in the Montmartre district:

http://www.flickr.com/photos/sandrosamigos/3697129071/in/pool-832972@N25

A beautiful mosaic of St Paul in Westminster Cathedral: http://www.flickr.com/photos/paullew/3219334446/

Mausoleums used to be extremely popular here in the US, especially during the 19th and early 20th centuries. The most famous one for us is Grant’s Tomb, in NY.

Try this link to see it and other very famous and opulent mausoleums. http://blog.ratestogo.com/the-most-famous-mausoleums-in-the-world-i/