Early Christian Art – Christian Artwork and Biblical Paintings
Early Christian art emerged within the late Roman world, with identifiable surviving examples appearing around the late second and early third centuries. Burial painting, sarcophagi, small objects, mosaics, and basilica decoration adapted familiar Greco-Roman forms to express Christian ideas about salvation, scripture, community, and authority. Later medieval and Renaissance works belong to the tradition’s legacy, not to the early Christian period itself.
A Brief History of Early Christian Art
Survival is uneven, and objects cannot always be identified as Christian from style alone. The lack of securely identifiable art from Christianity’s first generations has several possible causes: the community’s small scale, Jewish debates about images, use of perishable or ordinary objects, archaeological loss, and the fact that many Christians shared the visual language of their non-Christian neighbors. Roman persecution was periodic rather than continuous.
Art historians often organize the material around 313 CE, when the emperors Constantine and Licinius issued the Edict of Milan granting religious toleration. This was a major change in legal and institutional conditions, but not the moment Christianity became the empire’s official religion; that occurred under Theodosius I in 380.
Let us now explore the various periods of early Christian artwork and Christian sculptures.
| Phase | Common settings and media | Key change |
|---|---|---|
| Late 2nd–early 4th century | Catacomb painting, house churches, sarcophagi, small objects | Christian subjects use shared Roman forms and condensed salvation imagery |
| After 313 | Large basilicas, monumental sculpture, wall and apse mosaics | Legal toleration and imperial patronage increase scale and visibility |
| Late 4th–6th century | Rome, Ravenna, Constantinople, the eastern Mediterranean, and beyond | Christian imperial imagery, doctrine, liturgy, and regional traditions interact |
| Later legacy | Medieval churches, icons, manuscripts, Renaissance altarpieces and frescoes | Early subjects and formats are reinterpreted in new institutions and styles |
Symbolism in Early Christian Art
Early Christian images often look familiar because makers adapted the visual vocabulary of the Roman world. Ambiguity may sometimes have offered discretion, but the widespread claim that every symbol was a secret code hiding from persecutors is too simple. In funerary settings, motifs such as the Good Shepherd, Jonah, banquet scenes, or praying figures could communicate hope, rescue, and salvation to an initiated community while remaining legible within broader Roman culture.
Symbols were not a fixed one-to-one code: meaning depended on their combination, setting, inscription, and audience.
The symbol of the cross was not used to represent Jesus until many centuries later, as in the early days of Christianity, crucifixion was a common form of punishment for various offenses and therefore would not have been exclusively linked with Christianity, but rather with incivility.
Another symbol often used to represent Christ was the symbol of unity and peace, the dove.
Early Christian Art Before 313 CE
Besides the early Roman occupation discrimination against Christianity and Christian art, several other possible factors could have resulted in a lack of art representing Christian figures. The people of that time were influenced by several different theologies and philosophies; some believed that God could be experienced directly, others thought he couldn’t, and others thought that if he could, then he should not be physically depicted.
Modern historians have suggested that it was perhaps the prominent belief at the time that it was simply not possible to perceive the divine, let alone recreate it.
Historians also suggest that perhaps the main reason Christian art does not exist in the earliest days of the religion is that the majority of folk were poor and did not own any property. Once the economic situation improved for them, they were able to afford to indulge in hobbies such as Christian paintings, Christian sculptures, and Christian architecture.
The house church at Dura-Europos in present-day Syria was adapted around 232–233 CE and buried when the city’s defenses were reinforced before its destruction in the 250s. Its excavated remains—not an intact church still in use—preserved a baptistery with images including Christ healing the paralytic. Roman catacomb paintings from overlapping dates include praying figures, biblical rescue stories, and personifications such as the Good Shepherd; their imagery cannot be arranged into a simple before-and-after sequence.
Stylistically, these early Christian paintings that adorned the walls of the catacombs were very similar to other catacombs of many other religious groups, including the Roman mystery religions, paganism, or those that belonged to members of the Jewish faith. Compared to the art of the rich, these paintings were relatively low in quality but depicted a charming expressiveness of the figures.
Early Christian art from this period often created “abbreviated” scenes, where well-known religious incidents were represented by one to four figures.
This fitted Roman habits of organizing ceilings and walls into geometric compartments. Common subjects show biblical figures rescued from danger—Jonah, Daniel among the lions, Noah, the three Hebrews in the furnace, Moses striking the rock, and the sacrifice of Isaac. Explicit images of the Crucifixion, Nativity, and Resurrection are notably absent from the earliest surviving phase, even though themes of death and salvation pervade it.
Christian sculpture from this period survives mainly in sarcophagi and small objects. The Good Shepherd was especially adaptable because pastoral bearers and protectors already appeared in Greco-Roman imagery; Christian context could connect the figure with Christ and salvation. Attributions of small figurines remain difficult when an inscription or unmistakable narrative is absent.
By the early fourth century, artists had several ways to evoke Christ—as shepherd, teacher, wonder-worker, or youthful figure—but no single portrait type was fully fixed.
Abbreviated Old and New Testament narratives stressed deliverance and divine power. More explicit Passion imagery and competing beardless or bearded types of Christ became increasingly prominent after imperial patronage changed the public scale of Christian art.
Early Christian Art After 313 CE
Constantine defeated Maxentius at the Milvian Bridge in 312 CE and became a major patron of Christianity. The Edict of Milan, agreed with Licinius in 313, granted toleration and restored confiscated property. Constantine sponsored churches in Rome, Jerusalem, and Constantinople, but religious change remained gradual and contested; traditional cults did not disappear at once.
The small and discreet buildings usually used for religious worship soon proved to be too small after Christianity experienced an explosion in growth.
Many pagan temples were still used by their original followers, and in some places like Rome, Christians refused to attend worship there until they were converted to churches in the 6th and 7th centuries. Many temples were unsuitable for transition to Christian adaptation as pagans mostly used their windowless temples for the storage of religious objects and worshipped outside.
Thus, Constantine set about constructing churches such as the Church of St. Peter in Rome, the Church of the Holy Sepulchre in Jerusalem, as well as many churches in the newly named capital city of Constantinople.
A major challenge that faced the architects was deciding on a new layout and form for religious worship, as the previous designs were created for a different functionality than the Christian method of indoor communion. These new churches needed to be large to house the ever-growing Christian fellowship and to make a visible distinction between the faithless and the faithful.
Based on these factors, it was decided to incorporate the architectural form of the basilica and adorn it appropriately with rich religious symbolism and artwork.
Basilicas were not new and had been built centuries previously for use as extensions to palaces, public meeting halls, or courts of law. These courts usually had a judge presiding from a chair situated at the end of the hall in a semi-circular dome overlooking the hall. This imposing aesthetic carried over from court of law to place of worship, to the priest standing at his altar.
Importance of the Christian Church
Once Christianity had been legalized as a religion, the styles of Christian art began to expand even more. As more Christian churches were constructed, and most of the public (both rich and poor) adopted Christianity, the type of art that was present in the churches became more distinguished to suit its surroundings and worshippers.
The influence of the Christian church on the art of this time was great, as more complicated and extravagant artworks were commissioned to artists, as seen by the surviving frescos and mosaics from this period.
Naturally, the dominant theme that was seen within Christian art was Christianity, with many sacred images from the religion being depicted in the numerous artworks that were produced. During the Medieval period, the Christian church dominated every aspect of society’s lives. All individuals, regardless of their status, vehemently believed in the existence of God, Heaven, and Hell, and that the only way to enter Heaven was to abide by the rules of the Roman Catholic church.
Since its starting point throughout the first century of the Roman Empire, Christianity immediately began to spread around the world. Thus, over time, the Christian church quickly became the biggest and most powerful benefactor of the arts, as many paintings and sculptures were commissioned for the inside of churches.
This meant that the subject matter in these artworks focused solely on religion, as one of the aims was to create an identity for the religion and to draw in parishioners.
Resurrection of Christ
One of the most commonly depicted themes that have been fundamental to the Christian religion and in Christian art is the resurrection of Christ. Whether portrayed as part of a series of works or in a single instance, the life, death, and resurrection of Jesus exists as the most integral component of Christianity and makes up the majority of the artworks found in churches.
Through different periods, the theme of resurrection has been explored and displayed in a variety of ways, as each art period had influence on the artworks that were created.
Mosaic Art
An art form that proved to be incredibly popular during the early Christian art period, and more hard-wearing than traditional fresco paintings, was mosaic art. This type of art formed a crucial part of early Christian art, however, our knowledge surrounding mosaic art is somewhat limited as only certain artworks have survived from the first half of the 4th century.
As Christianity became an official religion of the Roman empire at the start of the 4th century, grand Christian basilicas were scheduled to be constructed.
Within these new places of worship, artworks were needed to adorn the walls and ceilings. Thus, magnificent and opulent glass-colored mosaics were used, which quickly became very popular. The four main basilicas of Rome were said to “shine like Heaven on Earth” thanks to their use of mosaics, with some of these mosaics still seen today if you visit them.
The use of mosaic in art attested to the sheer strength of Christianity during this time, as it was an extremely expensive and delicate material to work with.
The early Christian basilicas that were adorned with mosaic art demonstrated the strong influence of Christianity over society, with these stunning basilicas reminding us of that power even today. In the late 16th century, an official Vatican mosaic workshop was established in the Vatican City to pay homage to this art form, and still exists today.
Later Christian Art: Medieval and Renaissance Legacies
The works in this section are not early Christian art. They show how biblical subjects, devotional images, church patronage, and monumental decoration continued to change in medieval and Renaissance Europe. Patronage came from religious institutions, rulers, confraternities, civic bodies, and private individuals; images could support devotion and teaching, mark status, structure ritual, or invite sophisticated interpretation.
Christian artists from the Early Renaissance started adding a touch of realism to their art, making the figures look more true to life and the settings more natural and realistic.
By doing so, they hoped to draw the viewer into the artwork and empathize more with the subjects and subject matter by recognizing themselves in the faces and settings of the paintings. Throughout this period, artists continued to refine their processes, becoming ever more influential on the masses and simultaneously influenced by the masses.
During this period, church elders were continuously stressing the humanity of Jesus and how the congregation should be leading their lives using his as an example. Therefore, the artwork of this time depicts a Jesus that portrays human frailties and suffering, as well as divinity and themes connected to images of his birth and death. Both of these periods of Christ’s life convey aspects of Christian belief that are a fundamental part of the doctrine, being the concepts of incarnation and resurrection.
Let us now look at a few examples of religious Renaissance art.
Madonna and Child (c. 1300) by Duccio di Buoninsegna
| Artist | Duccio di Buoninsegna |
| Year | c. 1300 |
| Medium | Tempera and gold on wood |
| Where It Is Currently Housed | Metropolitan Museum of Art, New York City |
Duccio di Buoninsegna was an extremely influential Renaissance artist of the early 14th century, and his version of the Madonna and child is thought to have been painted sometime around the year 1300. Compared to larger versions of the Madonna and child found in churches and altars, this painting is comparatively small and was most likely created to be a personal image for devotional use.
The painting’s use for devotional purposes can be hinted at by the burnt edges, most likely obtained from the use of candles at a small altar at its base.
Despite the simplistic nature of the composition, this artwork marks a departure from the Byzantine era’s use of less detailed iconic images, and the attempt to move closer to portraying images likely to create an emotional connection between the viewer and the art piece.
These aspects of humanism can be seen in the artist’s use of emotive human gestures between the mother and the child sitting on her lap, as well as the detailed garments.
The Last Supper (c. 1495) by Leonardo da Vinci
| Artist | Leonardo da Vinci |
| Year | c. 1495 – 1498 |
| Medium | Tempera on gesso, pitch, and mastic |
| Where It Is Currently Housed | Santa Maria delle Grazie, Milan |
Possibly one of the world’s most easily recognized paintings, Leonardo da Vinci painted The Last Supper in the late 15th century. Housed in the convent of Santa Maria delle Grazie in Milan, Leonardo began the mural around 1495 for the complex renovated under his patron, Ludovico Sforza.
As the name suggests, the painting depicts the scene of Christ’s last dinner with his apostles.
Da Vinci has tried to capture the moment of consternation among his followers as he announces that one of the apostles would eventually betray him. Each apostle is depicted with a different reaction to his revelation, all displaying varying degrees of shock, anger, and disbelief. As was common with other paintings of the last supper from that era, da Vinci has positioned all the apostles at one side of the table so that none of them have their backs facing the viewer. Most other versions of this scene have Judas placed on the other end of the table away from all the apostles, but in his rendition, Leonardo placed Judas in the shadows.
Despite many attempts at restoration throughout the years, very little of the original painting still exists.
When Sforza renovated the church, his builders used moisture-retaining rubble to fill the walls, which resulted in the paint being unable to get a decent grip on the walls from the start. The painting already began to show signs of deterioration shortly after it was finished. Two copies of The Last Supper have been found that were made by da Vinci’s assistants before the final one was painted. One is now housed at the Royal Academy of Arts and the other is housed at the Church of St. Ambrogio in Switzerland.
The Creation of Adam (1512) by Michelangelo
| Artist | Michelangelo |
| Year | c. 1512 |
| Medium | Fresco |
| Where It Is Currently Housed | Sistine Chapel, Vatican City |
Michelangelo painted this famous fresco from 1508 until 1512, and it forms part of the ceiling of the Sistine Chapel. Considered one of the most famous biblical paintings in the world, it depicts the moment God gave life to Adam.
Michelangelo was originally commissioned to paint the twelve apostles on the sides that support the ceiling, but he managed to convince Pope Julius to give him free artistic reign, suggesting a far more complex scheme than initially devised.
Centering around the nine chapters from the Book of Genesis, the composition contains over 300 various figures and stretches over 500 square meters. It is segmented into three parts: the creation of the earth, the creation of humankind, and the fall from the grace of God. God is portrayed as an old, gray-haired white man cloaked in a swirling robe. Adam is depicted without any clothing and is reclining on the ground.
God’s right arm is outstretched with his index finger reaching to touch Adam’s finger, thereby bestowing life upon him. Adam’s left arm is stretched out, a mirror image of the pose of God, a symbolic reflection that man was made in the image of God. Much debate has arisen as to the identities of the twelve figures surrounding God.
The figure beneath God’s arm is often interpreted as Eve, although alternative readings exist; the surrounding figures are likewise not securely identified.
The Tower of Babel (1563) by Pieter Bruegel the Elder
| Artist | Pieter Bruegel the Elder |
| Year | c. 1563 |
| Medium | Oil on wood panel |
| Where It Is Currently Housed | Kunsthistorisches Museum, Vienna |
Pieter Bruegel the Elder created three different paintings with the Tower of Babel as its subject matter. The first was painted in Rome and was a miniature created on ivory. The other two are the only surviving works that aren’t lost to time. They are referred to as the “Great” Tower and the “Little” tower. Both of these were painted on wood panels using oil paint.
One is now housed at the Kunsthistorisches Museum, Vienna, and the other at the Museum Boijmans Van Beuningen in Rotterdam.
The painting housed in Rotterdam is approximately half the size of the other one. Although they are based on the same subject and contain the same basic compositions, once one takes a closer look, it becomes evident that all the details vary greatly, from the landscape to the sky to the vastly different-looking tower.
This artwork portrays the building of the Tower of Babylon, a story from the Book of Genesis in which humanity unifies and creates a building that can reach the heavens in celebration of their achievements. This portrayal of the Tower of Babylon contains architecture that is notably Roman.
The tower’s stacked arcades recall Roman monuments such as the Colosseum, connecting biblical pride with architecture recognizable to Bruegel’s European audience. More specific political or confessional readings remain interpretations rather than settled fact.
Notable Early Christian Artworks
Two monuments—the Sarcophagus of Junius Bassus and Sant’Apollinare Nuovo—show the scale and range of Christian art after toleration, from elite funerary sculpture in Rome to an Ostrogothic palace church whose mosaics were later altered under Byzantine rule.
Sarcophagus of Junius Bassus
| Artist | Unknown |
| Year | 359 AD |
| Medium | Marble |
| Where It Is Currently Housed | Museo Storico del Tesoro della Basilica di San Pietro, Vatican City |
This early Christian sarcophagus was made around 359 CE for the burial of Junius Bassus and is made from marble. It is considered the most famous of Christian sculptures and was originally placed under Old St. Peter’s Basilica until its rediscovery in 1597. It is now housed under the Saint Peter’s Basilica Museum in the Vatican. The detailed iconography embraces imagery from the old and new Testaments, along with the Dogmatic Sarcophagus.
This Christian sculpture is one of the oldest surviving sarcophagi of this quality and status.
The sarcophagus’s owner, Junius Bassus, was a senator in charge of the capital who died at the early age of 42. As Bassus was a high-ranking official, it was believed that someone couldn’t be both a senator and pious Christian. However, it is said that he converted to Christianity on his deathbed. The carvings are on three sides of the sarcophagus, allowing it to be displayed and positioned against a wall. The Anatolian style of arranging reliefs in columnar frameworks can be seen applied to this art piece.
Its scenes include the sacrifice of Isaac, Adam and Eve, Christ’s entry into Jerusalem, the judgment of Pilate, Daniel in the lions’ den, and the arrest of Peter.
Basilica of Sant’Apollinare Nuovo
| Artist | Unknown builders; commissioned under Theodoric |
| Year | c. 500; mosaics altered in the 560s |
| Medium | Brick architecture and glass-and-stone mosaics |
| Where It Is Currently Housed | Ravenna, Italy |
Sant’Apollinare Nuovo—not the separate basilica of Sant’Apollinare in Classe—was built around 500 as the palace church of the Ostrogothic king Theodoric. It originally served the Arian court. After Byzantine forces took Ravenna, the church was rededicated and sections of its mosaics were altered in the 560s to remove or replace references to Theodoric’s regime.
When the artifacts of Saint Apollinaris were transferred there in 856 CE, it became known as the Basilica of Saint Apollinaris.
The upper mosaics preserve cycles of Christ’s miracles, teachings, and Passion. In the sheep-and-goats scene, Christ separates the blessed sheep from the condemned goats; flanking angels use contrasting colors to structure the judgment. Calling the red angel the first appearance of the Devil is unsupported and confuses an angelic attendant with later devil iconography.
As part of Ravenna’s UNESCO-listed early Christian monuments, the church is especially valuable because its surviving and altered mosaics record shifts among Ostrogothic, Arian, Byzantine, and Catholic authority.
Later Reinterpretations of Biblical Subjects
The following Mannerist and Renaissance paintings are included as later comparisons. They are separated here to prevent their dates and artistic conventions from being mistaken for early Christian evidence.
Moses Striking the Rock (1624) by Joachim Anthonisz Wtewael
| Artist | Joachim Anthonisz Wtewael |
| Year | 1624 |
| Medium | Oil on panel |
| Where It Is Currently Housed | National Gallery of Art, Washington D.C. |
Moses striking the Rock was created in 1624 by Joachim Anthonisz Wtewael and typifies his lifelong association with and use of mannerism. Mannerists created artificial yet elegant scenes using elongated figures, alternating light, as well as dark patterns and contorted poses. This artwork portrays the moment that God enabled Moses to lead the Israelites out of the land of Egypt, as told in the Book of Exodus.
Surrounded by the children, women, and animals, Moses strikes the rock with the very same rod that he had previously used to part the Red Sea.
This story had particular meaning to the artist and other Dutch people as they were able to draw parallels between their fight for independence from the Spanish and the biblical story. Moses was seen as a religious allegory of their own leader, Prince William of Orange, who was the hero of the Dutch Revolt, and like Moses, did not live to see his promised land.
Wtewael was an ardent supporter of Orange, and it is thought that his decision to paint the scene was done to help revitalize the public perception of the Prince to their version of Moses incarnate.
Adoration of the Magi (1481) by Leonardo da Vinci
| Artist | Leonardo da Vinci |
| Year | 1481 |
| Medium | Oil on wood |
| Where It Is Currently Housed | Uffizi Gallery, Florence |
Leonardo da Vinci was commissioned by the monks of San Donato in Florence to paint The Adoration of the Magi in 1481. He, however, departed for Milan the next year, leaving the painting incomplete. Since 1670, it has been housed at the Uffizi Gallery in Florence.
In this unfinished Christian artwork, da Vinci has portrayed the Virgin Mary and Child in the foreground, and the Magi kneeling at her feet in devotion with the figures all forming a triangular shape on the canvas.
In the background, a semicircle of people can be seen accompanying the virgin and child, one of which seems to be a self-portrait of da Vinci himself. On the left of the background are the ruins of a pagan building. Workmen can be seen carrying out repair works to sections of it. On the right of the scene is a rocky landscape and men fighting on horseback. It has been suggested that the ruins on the left are possibly a reference to the basilica of Maxentius.
It was part of Medieval legend that the basilica would stand until the miracle of a virgin birth.
The basilica was rumored to have suddenly collapsed on the night of the birth of Christ, but in truth, it would be many years before it was even built. The palm tree has been said to be a symbolic representation of both ancient Rome as well as Mary herself. This is due to the phrase from the Song of Solomon “you are as stately as a palm tree”. Its symbolism of Rome stems from the use of the palm tree to represent the triumph of good over evil, and the triumph over death.
Transfiguration (1516 – 1520) by Raphael
| Artist | Raphael |
| Year | 1516 – 1520 |
| Medium | Oil on wood |
| Where It Is Currently Housed | Pinacoteca Vaticana, Vatican City |
Commissioned by Cardinal Giulio de Medici and created for the Narbonne Cathedral in France, this altarpiece was the last painting by Raphael, the Italian Renaissance master. He worked on it from 1516 until he died in 1520.
From the time of its creation until early in the 20th century, it was regarded as the most famous oil painting in the known world.
This artwork depicts two distinct biblical stories from the Gospel of Matthew. On the top half of the canvas is a depiction of the transfiguration of Christ as he radiates in glory, hovering above James, John, and Peter, who look on in wonder. On the lower half of the canvas, the apostles attempt and fail to exorcise demons from a child and eagerly await the return of Jesus. The arrival of Christ has resulted in the child being cured as he stands with his mouth agape and his arm raised towards the hovering Christ.
As his last work of art, Raphael created this artwork as his last testament to the miraculous ability of Christ to heal the sick. This final masterpiece is said to contain stylistic elements of both Baroque painting and the Mannerism movement. At its most basic level, the painting represents the dichotomy of the Divine nature of Christ contrasted with the struggles and flaws associated with mankind.
Early Christian art developed through adaptation, not isolation. Before 313, burial spaces, house churches, sarcophagi, and portable objects used shared Roman forms for new communities and beliefs. Toleration and imperial patronage then enabled monumental basilicas and mosaics. Medieval, Renaissance, and later artists inherited biblical subjects but transformed them for different patrons, doctrines, functions, and audiences.
Take a look at our Christian artwork webstory here!
Frequently Asked Questions
Why Is It So Hard to Find Early Examples of Christian Art?
Early communities were small, objects were often ordinary or perishable, and Christian identity is not always obvious in material that shares Roman visual conventions. Jewish and Christian debates about images, uneven patronage, archaeological loss, and periodic persecution all matter. The record becomes clearer around the late second and third centuries; it should not be explained by poverty or secrecy alone.
What Subject Matter Did Early Christian Artists Paint?
The earliest surviving works emphasize salvation and deliverance: Jonah, Daniel, Noah, Moses, the sacrifice of Isaac, healing miracles, banquet imagery, praying figures, and Christ as Good Shepherd or teacher. Explicit Nativity, Crucifixion, and Resurrection images are uncommon or absent in the earliest phase and become more prominent later.
What Changed After the Edict of Milan in 313?
Legal toleration and imperial patronage allowed Christian worship and imagery to become more public and monumental. Large basilicas, richly carved sarcophagi, and extensive mosaic programs proliferated. Christianity did not become the empire’s official religion in 313, however; that later development is associated with Theodosius I in 380.
Are Renaissance Biblical Paintings Early Christian Art?
No. “Early Christian” generally refers to art of late antiquity, often from about the late second through the sixth or seventh century depending on region and scholarly framework. Duccio, Leonardo, Michelangelo, Raphael, Bruegel, and Wtewael belong to much later medieval, Renaissance, Mannerist, or Baroque contexts, even when they depict the same scriptures.
Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.
Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20th century, as well as the important impact that female artists have had on the development of art history.
Learn more about Isabella Meyer and the Art in Context Team.
Cite this Article
Isabella, Meyer, “Early Christian Art – Christian Artwork and Biblical Paintings.” Art in Context. August 20, 2021. URL: https://artincontext.org/christian-art/
Meyer, I. (2021, 20 August). Early Christian Art – Christian Artwork and Biblical Paintings. Art in Context. https://artincontext.org/christian-art/
Meyer, Isabella. “Early Christian Art – Christian Artwork and Biblical Paintings.” Art in Context, August 20, 2021. https://artincontext.org/christian-art/.
