The article is devoted to the ancient tradition in the European art and the impact of antiquity on our European identity. The issue of reception of ancient models in art, in particular in the architecture of the Middle Ages, thus the epoch that was chronologically closest to the heritage of the Imperium Romanum, has accompanied the author since the very beginning of her academic career. Such personal approach to the issue and strong belief about the significance of the accomplishments of ancient culture for the development of European artistic thought resulted in the fact that the author decided to come back to it. In spite of the passage of time, it is still a valid subject matter, consistently pursued by Polish and foreign researchers.

This paper presents a detailed analysis of the work of Theodoret of Cyrus, the theologian and representative of the fifth-century Antiochian exegetical school, entitled Cure of the Greek Maladies, with reference to the passages presenting the question of pagan worship and, more specifically, his [Theodoret’s] position towards it. The Antiochenian understands perfectly well that literature, culture and philosophy are the meeting point between Christianity and Hellenism. He does not explicitly reject the entire output of Greek culture, because he believes that an attempt to reconcile Christianity with Hellenism is possible, but without the participation of pagan worship. Christianity’s superiority to Hellenism must undoubtedly be granted. The author of the apologia offers the pagans a remedy to cure themselves of the disease of conceit. Theodoret of Cyrus condemned, among other things, secret practices and bowing to statues (III, 84; III 85), rejected bloody and impious sacrifices (VII, 3; VII, 10; VII 22; VII, 24), warned not to confuse the cult of martyrs with supplication offerings to the dead for the well-being of the living (VIII, 33; VIII 34), and was critical of the Greek oracles (X, 2-3; X, 9). In order to show more fully the issue referred to in the theme, the historical and social context of the apologia are analysed and the circumstances of the formation of the author’s own reason and spirituality are also discussed.

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.