The purpose of the present article is to provide an analysis of the iconographic sources used in the depiction of Adam and Eve in the 3rd–4th century wall paintings. The scene of the Original Sin initially appeared in wall painting, with the oldest examples dating back to the 3rd century AD. In the following century, images of Adam and Eve were used in both sarcophagus sculpture and crafts. The author of the article compares two different iconographic sources, which together shape the final appearance of Original Sin in the art of the period. A crucial literary source beside the text of Genesis is the apocryphal Lives of Adam and Eve, tracing a different sequence of events related to the story of the Original Sin. On the other hand, the analysis of ancient depictions of Hercules and the goddess Venus reveals an intriguing connection between the representations of the Original Sin and pagan iconography.

Forms and means of theatrical expression in ancient Roman culture, abounding in the diversity of artistic forms, had perfect conditions for development. The cultural activity of man has naturally created the need for stage performances. This publication presents a detailed analysis of the provisions of the synods summoned and debating in the 4th and 5th centuries, A.D. T heir content was carefully referenced, in relation to actors, mimes and circus drivers. The reason for such an outline of research is the classification common to all these professions generally describing them as representatives of performing arts. The analysis on this matter was subjected, inter alia, to canons proclaimed in Elvira (306), Arles (314), Carthage (15 June 401), Hippo (427) and again in Arles (442–506). In order to more fully illustrate the issue cited in the subject, the situation of representatives of performing arts was also discussed on the example of actors in Roman public law and a short description of the history of synods in the ancient Church was presented.