This chapter discusses the evolution of pagan iconography in Late Antiquity, examining how depictions of traditional gods and rituals changed between 300 and 700 CE. It challenges earlier interpretations that associate this period with artistic decline, instead emphasising continuity and transformation in the representation of pagan themes across various media. Drawing on legal, literary, epigraphic and archaeological evidence, the chapter provides a comprehensive perspective on the artistic and religious landscape of the period. It discusses key examples such as the Arch of Constantine, which repurposed older sacrificial motifs, and later fourth-century artworks like the Symmachi ivory diptych, which continued to depict pagan sacrifices despite the growing influence of Christianity. The chapter also examines the selective destruction of pagan imagery, particularly the mutilated reliefs from the Aphrodisias Sebasteion, demonstrating how sacrificial depictions were specifically targeted. The chapter concludes by noting that while sacrificial iconography faded, other pagan motifs – especially those associated with gods like Dionysus and Venus – remained prevalent in mosaics, silverware and textiles. This enduring presence underscores the adaptability of pagan imagery, which continued to influence artistic traditions long after the fall of the Roman Empire.

This chapter examines the phenomenon of spolia in Late Antiquity, focusing on the reuse of architectural and sculptural elements in new contexts. It explores examples from Rome, Milan, Ravenna, Thessaloniki and Constantinople, analysing how materials were repurposed for practical, aesthetic and ideological purposes. The contribution differentiates between indiscriminate reuse for construction and the deliberate selection of objects for symbolic or propagandistic reasons. One major discussion centres on the Arch of Constantine (312–15 CE), which incorporates second-century reliefs from monuments dedicated to Trajan, Hadrian and Marcus Aurelius. The chapter considers whether this reuse was driven by practical necessity due to a lack of skilled artisans or intended as an ideological statement aligning Constantine with past emperors. In religious contexts, the Lateran Basilica and Old St Peter’s in Rome reused columns and marbles, transferring imperial grandeur to Christian spaces. This study also investigates the role of spolia in fortifications, with repurposed materials found in city walls, cisterns and military installations. Highlighting how this practice continued into the medieval period, when spolia became more prominent in church facades and mosques, the chapter argues that reuse in Late Antiquity was not simply a result of economic constraints but a deliberate process that shaped architectural and artistic traditions.