are two different, yet linked, representations of Jesus—as the Good
Shepherd and as a child receiving baptism in the Jordan River,
though he really was baptized at age 30 (see “The Life of Jesus in
Art,” pages 296–297). The sculptor suggested the future ministry of
the baptized Jesus by turning the child’s head toward the Good
Shepherd and by placing his right hand on one of the sheep. In the
early centuries of Christianity, baptism was usually delayed almost
to the moment of death because it cleansed the Christian of all sin.
One of those who was baptized on his deathbed was the emperor
Constantine (see Chapter 10).
JUNIUS BASSUS SARCOPHAGUSAnother pagan convert
to Christianity was the city prefect of Rome, Junius Bassus, who, ac-
cording to the inscription on his sarcophagus (FIG. 11-7), was bap-
tized just before he died in 359. The sarcophagus is of eclectic for-
mat—decorated only on three sides in the western Roman manner
(see Chapter 10), but divided into two registers of five compart-
ments, each framed by columns in the tradition of Asiatic sar-
cophagi (FIG. 10-61). In contrast to the Santa Maria Antiqua sar-
cophagus (FIG. 11-6), the deceased does not appear on the body of
the coffin. Instead, stories from the Old and New Testaments fill the
niches. Christ has pride of place and appears in the central compart-
ment of each register: as a teacher enthroned between his chief
apostles, Saints Peter and Paul (above), and triumphantly entering
Jerusalem on a donkey (below). Appropriately, the sculptor placed
the scene of Christ’s heavenly triumph above that of his earthly tri-
umph. Both compositions owe a great deal to official Roman art. In
the center of the upper zone, Christ, like an enthroned Roman em-
peror, sits above a personification of the sky god holding a billowing
mantle over his head, indicating that Christ is ruler of the universe.
The scene below derives from portrayals of Roman emperors enter-
ing cities on horseback, but Christ’s steed and the absence of impe-
rial attributes contrast sharply with the imperial models the sculptor
used as compositional sources.
All of the Old Testament scenes on the Junius Bassus sarcopha-
gus are precursors of New Testament events (see “Jewish Subjects in
Christian Art,” page 293). Adam and Eve, for example, are in the sec-
ond niche from the left on the lower level. Their Original Sin of eat-
ing the apple in the Garden of Eden ultimately necessitated Christ’s
sacrifice for the salvation of humankind. To the right of the entry
into Jerusalem is Daniel, unscathed by flanking lions, saved by his
faith. At the upper left, Abraham is about to sacrifice Isaac. Chris-
tians believe this Old Testament story was a prefiguration of God’s
sacrifice of his own son, Jesus.
The Crucifixion itself, however, does not appear on the Junius
Bassus sarcophagus. Indeed, the subject was very rare in Early Chris-294 Chapter 11 LATE ANTIQUITY11-7Sarcophagus of Junius Bassus, from Rome, Italy, ca. 359. Marble, 3 101 – 2 8 . Museo Storico del Tesoro della Basilica di San Pietro, Rome.
The wealthiest Christians, like the recently converted city prefect Junius Bassus, favored elaborately decorated sarcophagi. Here, biblical episodes
from Adam and Eve to Christ before Pilate appear in 10 niches.
1 ft.