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Sarcophagus of Junius Bassus
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Sarcophagus of Junius Bassus
The Sarcophagus of Junius Bassus is a marble Early Christian sarcophagus used for the burial of Junius Bassus, who died in 359. It has been described as "probably the single most famous piece of early Christian relief sculpture." The sarcophagus was originally placed in or under Old St. Peter's Basilica, was rediscovered in 1597, and is now below the modern basilica in the Museo Storico del Tesoro della Basilica di San Pietro (Museum of Saint Peter's Basilica) in the Vatican. The base is approximately 4 x 8 x 4 feet.
Together with the Dogmatic sarcophagus in the same museum, this sarcophagus is one of the oldest surviving high-status sarcophagi with elaborate carvings of Christian themes, and a complicated iconographic programme embracing the Old and New Testaments.
Junius Bassus was an important figure in late antique Rome, a senator who was in charge of the government of the capital as praefectus urbi when he died at the age of 42 in 359. His father had been Praetorian prefect, running the administration of a large part of the Western Empire. Bassus served under Constantius II, son of Constantine I. Bassus, as the inscription on the sarcophagus tells us, converted to Christianity shortly before his death – perhaps on his deathbed. Many still believed, like Tertullian, that it was not possible to be an emperor and a Christian, which also went for the highest officials like Bassus.
The style of the work has been greatly discussed by art historians, especially as its date is certain, which is unusual at this period. All are agreed that the workmanship is of the highest quality available at the time, as one might expect for the tomb of such a prominent figure.
The sarcophagus in many respects shows fewer features of the Late Antique style of sculpture typified in the Arch of Constantine of several decades earlier: "The sculpture ignores practically all the rules obeyed by official reliefs. Some figures are portrayed frontally, but certainly not all, and they are not shown in a thoroughly Late Antique manner; the scenes are three-dimensional and have depth and background .... drapery hangs on recognizable human forms rather than being arranged in predetermined folds; heads are varied, portraying recognisably different people." The sarcophagus has been seen as reflecting a blending of late Hellenistic style with the contemporary Roman or Italian one, seen in the "robust" proportions of the figures, and their slightly over-large heads.
The setting in the niches casts the figures against a background of shadow, giving "an emphatic chiaroscuro effect" – an effect much more noticeable in the original than the cast shown here, which has a more uniform and lighter colour. The cast also lacks the effects created by light on polished or patinated highlights such as the heads of the figures, against the darker recessed surfaces and backgrounds.
Ernst Kitzinger finds "a far more definite reattachment to aesthetic ideals of the Graeco-Roman past" than in the earlier Dogmatic Sarcophagus and that of the "Two Brothers", also in the Vatican Museums. The form continues the increased separation of the scenes; it had been an innovation of the earliest Christian sarcophagi to combine a series of incidents in one continuous (and rather hard to read) frieze, and also to have two registers one above the other, but these examples show a trend to differentiate the scenes, of which the Junius Bassus is the culmination, producing a "multitude of miniature stages", which allow the spectator "to linger over each scene", which was not the intention of earlier reliefs which were only "shorthand pictographs" of each scene, only intended to identify them. He notes a "lyrical, slightly sweet manner" in the carving, even in the soldiers who lead St Peter to his death, which compares to some small carvings from the Hellenized east in the Cleveland Museum of Art, though they are several decades older. Even allowing for "the gradual appropriation of a popular type of Christian tomb by upper-class patrons whose standards asserted themselves increasingly both in the content and in the style of these monuments", Kitzinger concludes that the changes must reflect a larger "regeneration" in style.
The carvings are in high relief on three sides of the sarcophagus, allowing for its placement against a wall. The column and many parts of the figures are carved completely in the round. The arrangement of relief scenes in rows in a columnar framework is an introduction from Asia Minor at about this time. No portrait of the deceased is shown, though he is praised in lavish terms in an inscription; instead, the ten niches are filled with scenes from both the New and Old Testaments, plus one, the Traditio Legis, that has no Scriptural basis.
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Sarcophagus of Junius Bassus
The Sarcophagus of Junius Bassus is a marble Early Christian sarcophagus used for the burial of Junius Bassus, who died in 359. It has been described as "probably the single most famous piece of early Christian relief sculpture." The sarcophagus was originally placed in or under Old St. Peter's Basilica, was rediscovered in 1597, and is now below the modern basilica in the Museo Storico del Tesoro della Basilica di San Pietro (Museum of Saint Peter's Basilica) in the Vatican. The base is approximately 4 x 8 x 4 feet.
Together with the Dogmatic sarcophagus in the same museum, this sarcophagus is one of the oldest surviving high-status sarcophagi with elaborate carvings of Christian themes, and a complicated iconographic programme embracing the Old and New Testaments.
Junius Bassus was an important figure in late antique Rome, a senator who was in charge of the government of the capital as praefectus urbi when he died at the age of 42 in 359. His father had been Praetorian prefect, running the administration of a large part of the Western Empire. Bassus served under Constantius II, son of Constantine I. Bassus, as the inscription on the sarcophagus tells us, converted to Christianity shortly before his death – perhaps on his deathbed. Many still believed, like Tertullian, that it was not possible to be an emperor and a Christian, which also went for the highest officials like Bassus.
The style of the work has been greatly discussed by art historians, especially as its date is certain, which is unusual at this period. All are agreed that the workmanship is of the highest quality available at the time, as one might expect for the tomb of such a prominent figure.
The sarcophagus in many respects shows fewer features of the Late Antique style of sculpture typified in the Arch of Constantine of several decades earlier: "The sculpture ignores practically all the rules obeyed by official reliefs. Some figures are portrayed frontally, but certainly not all, and they are not shown in a thoroughly Late Antique manner; the scenes are three-dimensional and have depth and background .... drapery hangs on recognizable human forms rather than being arranged in predetermined folds; heads are varied, portraying recognisably different people." The sarcophagus has been seen as reflecting a blending of late Hellenistic style with the contemporary Roman or Italian one, seen in the "robust" proportions of the figures, and their slightly over-large heads.
The setting in the niches casts the figures against a background of shadow, giving "an emphatic chiaroscuro effect" – an effect much more noticeable in the original than the cast shown here, which has a more uniform and lighter colour. The cast also lacks the effects created by light on polished or patinated highlights such as the heads of the figures, against the darker recessed surfaces and backgrounds.
Ernst Kitzinger finds "a far more definite reattachment to aesthetic ideals of the Graeco-Roman past" than in the earlier Dogmatic Sarcophagus and that of the "Two Brothers", also in the Vatican Museums. The form continues the increased separation of the scenes; it had been an innovation of the earliest Christian sarcophagi to combine a series of incidents in one continuous (and rather hard to read) frieze, and also to have two registers one above the other, but these examples show a trend to differentiate the scenes, of which the Junius Bassus is the culmination, producing a "multitude of miniature stages", which allow the spectator "to linger over each scene", which was not the intention of earlier reliefs which were only "shorthand pictographs" of each scene, only intended to identify them. He notes a "lyrical, slightly sweet manner" in the carving, even in the soldiers who lead St Peter to his death, which compares to some small carvings from the Hellenized east in the Cleveland Museum of Art, though they are several decades older. Even allowing for "the gradual appropriation of a popular type of Christian tomb by upper-class patrons whose standards asserted themselves increasingly both in the content and in the style of these monuments", Kitzinger concludes that the changes must reflect a larger "regeneration" in style.
The carvings are in high relief on three sides of the sarcophagus, allowing for its placement against a wall. The column and many parts of the figures are carved completely in the round. The arrangement of relief scenes in rows in a columnar framework is an introduction from Asia Minor at about this time. No portrait of the deceased is shown, though he is praised in lavish terms in an inscription; instead, the ten niches are filled with scenes from both the New and Old Testaments, plus one, the Traditio Legis, that has no Scriptural basis.
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