Byzantine style church of San Vitale. Ariadne's Thread: Guide ~ Italy ~ Ravenna ~ Basilica of San Vitale. History: who is Saint Vitaly and who built his church
The Basilica of San Vitale (Italian: Basilica di San Vitale) is an early Christian basilica in Ravenna (Italy), the most important monument of Byzantine art in Western Europe. In 1996, Ravenna's early Christian monuments were included as a UNESCO World Heritage Site. It stands out among the eight early Christian monuments of Ravenna for the perfection of its mosaics, which have no equal outside of Constantinople.
The basilica was founded in 527 by Bishop Ecclesius of Ravenna after his return from Byzantium, where he, together with Pope John I, carried out a diplomatic mission on behalf of Theodoric the Great. The temple was consecrated in honor of the early Christian martyr Saint Vitaly of Milan, whose image is placed in the apse conch. The construction was carried out at the expense of the Greek moneylender, Julian Argentarius (Serebrennik). The consecration of the temple was performed on April 19, 548 by Bishop Maximian. All the interior mosaic decoration of the church was created simultaneously in the years 546-547; academician V. N. Lazarev explains the difference in style by the participation of different masters in the work.
In the 13th century, a bell tower was added to the southern wall of the church and reconstruction was carried out wooden floors arcade A large-scale reconstruction of the temple was carried out in the 16th century: in order to combat rising groundwater, the floor level was raised by 80 cm, the presbytery was updated, the wooden choir was removed and rebuilt patio(1562) and the southern portal of the building. In 1688, the 13th century bell tower was destroyed by an earthquake; it was restored in 1696-1698.
In 1780, the dome of the rotunda and the dome niches, deprived of any decoration during the construction of the church, were painted with frescoes by the Bolognese Barozzi and Gandolfi and the Venetian Guarana.
The basilica was built in the form of an octagonal martyrium of the Byzantine type, similar in architecture to the Church of Sergius and Bacchus in Constantinople. The outer walls do not have any decorative elements and are dissected by vertical and horizontal buttresses. The building is topped with a faceted drum dome. The architecture of San Vitale combines elements of classical Roman architecture (dome, portals, stepped towers) with Byzantine influences (three-lobed apse, narrow brick shape, trapezoidal capitals, etc.). The bottom of the interior walls of the basilica is lined with marble, and the inlaid floor of the temple is decorated with geometric patterns.
The structure of the building is supported by eight central pillars, which support a dome with a diameter of 16 meters. To reduce lateral pressure, the dome is given a conical shape. The dome was erected from a lightweight material - clay pipes threaded into each other, fixed one above the other in increasingly narrow horizontal rings. The supporting pillars form a rotunda in the center of the temple, on the second tier of which there are choirs. In the spaces between the pillars of the rotunda there are semicircular two-story arcades located in arcs curved towards the outer walls of the church. Thanks to the described structure of the temple inner part The church seems flooded with light, and the galleries surrounding it are artificially immersed in a mystical twilight, which immediately draws the attention of those entering to the mosaics of the apse and presbytery. Use of this architectural solution led to the achievement of the following spatial effect:
High arcades protruding beyond the ring of dome pillars open up the central space to the eyes of the visitor as soon as he enters the church. While still in the outer circumambulation, he feels that the highly raised dome seems to absorb the entire internal space of the temple. When viewed from the center of the temple, the arcades are perceived as another ring of supports located between the pillars and external walls and visually enlarging the interior. Finally, the spatial effect is enhanced by the peculiar shape of the pillars, the volume of which is not perceived by the viewer.
In front of the apse, illuminated by three high windows, the circular circuit of the rotunda is interrupted by the presbytery, surrounded by two-story arcades. The altar is moved outside the apse into the presbytery, and a stationary marble pulpit is installed in it. The capitals of the presbytery arcade are made in the shape of openwork baskets and decorated with the image of a cross placed between two lambs. This design, however, destroys the tectonic nature of the order.
Among the features of San Vitale are: unusual device narthex, located here at an angle to the main axis of the building, passing through the presbytery. The reasons for such a structure of the narthex have not been established: according to various researchers, the architect could thus preserve the memory of the chapels that previously existed on the site of the temple, include two staircase towers into the main volume of the building, or simply create, in addition to the main entrance along the axis of the building, another one in the side parts of the church.
The basilica at Ravenna served as a revered model for Carolingian Revival architecture in general and for its centerpiece, the palace chapel at Aachen. Filippo Brunelleschi studied the design of the dome of San Vitale when developing the design of the first European dome of the New Age (Florence's Cathedral of Santa Maria del Fiore). He especially noted that to lighten the dome of the Ravenna church, hollow clay vessels were used instead of filler.
The main space of the basilica is decorated with marble inlay, and the concave surfaces of the apse (arcades, vaults, conch) and walls (vima) of the presbytery are covered with Byzantine mosaics. The mosaics of San Vitale were intended to demonstrate to the Western world the power and impeccable taste of the Byzantine emperor Justinian during the short-lived rule of the Byzantines in Italy.
The mosaics of San Vitale are a rare example for Europe of early Christian monumental painting created using the Byzantine mosaic technique. Of particular importance are the lifetime portraits of Emperor Justinian and his wife Theodora.
Using mosaics, masters were able to emphasize architectural elements basilica, emphasizing the symbolic connection between the structural element and the image applied to it:
The mosaics that cover this entire interior, with the exception of the plinth, perfectly reveal the constructive meaning of the architecture. Lunettes, formworks, walls, arches, niches and vaults are effectively highlighted various types decor. Thus, the ribs of the cross vault are reinforced with plant garlands, while the figures of angels personifying power load-bearing structures, support the central medallion.
- Otto Demus. Mosaics of Byzantine temples
In the side galleries there are several early Christian sarcophagi. Among them, the most notable is the marble sarcophagus of the 5th century, somewhat altered in the middle of the 6th century, in which, as the Greek and Latin inscriptions on the lid say, the Exarch Isaac of Ravenna was buried. On the sides of the sarcophagus you can see bas-reliefs depicting the worship of the Magi, the resurrection of Lazarus, Daniel in the lion's den and a cross with two peacocks.
Apse concha
The conch is decorated with a mosaic depicting Jesus Christ in the form of a young man with a cross-shaped halo, sitting on an azure earthly sphere, surrounded by two angels. Christ in one hand holds a scroll sealed with seven seals (Rev. 5:1), and with the other he holds out the martyr’s crown of glory to Saint Vitaly, who is led to him by an angel. The second angel introduces Bishop Ecclesius of Ravenna to Jesus, presenting a model of the Basilica of San Vitale, which he founded, as a gift.
From under the feet of Jesus, over rocky soil covered with lilies, flow the four rivers of Eden: Pishon, Gihon, Hiddekel and Euphrates. This detail glorifies Jesus as the source of living water (Rev. 21:6) and makes the Ravenna image similar to the mosaic of the Latomou monastery (Greece), created in the same period.
V.N. Lazarev notes that the conkha mosaic is one of the most delicate in execution, distinguished by its emphatically symmetrical composition and solemn character. In his opinion, mosaicists who knew Byzantine art in its metropolitan versions worked on its creation. At the same time, the mosaics of the apse also reveal the typically Byzantine immobility of the figures; all the characters are depicted full-face, standing. Even the participants in the two processions seemed to stop for a moment to show themselves in a stationary position to allow the viewer to admire their persons.
Lower level of the apse
On the side walls of the apse, on either side of the windows, there are mosaic portraits depicting Emperor Justinian and his wife Theodora, surrounded by nobles, court ladies and clergy. These are historical portraits created by the best Ravenna masters based on capital samples (V.N. Lazarev believes that these were “royal portraits sent to the provinces Byzantine Empire for copying"). The creation of these compositions was a symbol of the triumph of the emperor, who returned Ravenna under Byzantine patronage.
The emperor and his wife are depicted as donors, bringing precious liturgical vessels as gifts to the church. The images, executed as a frieze, are distinguished by their frontal composition and uniformity of poses and gestures. At the same time, the masters were able to depict the imperial family with individual facial features in the image of ideal rulers, and the composition itself conveys the movement of two processions towards the altar.
Justinian I
Emperor Justinian brings a paten as a gift to the church and is depicted, like all other figures, in a frontal pose. His head, crowned with a diadem, is surrounded by a halo, reflecting the Byzantine tradition of marking a reigning person in this way.
Justinian is flanked by courtiers and clergy. Among them stand out: an elderly man in the clothes of a senator (the only one standing in the second row, according to one version, this is the moneylender Julian Argentarius, who financed the construction of the basilica, according to another, the commander Belisarius, according to the third, praefectus praetorio (praetorian prefect) - executive, representing the person of the emperor on the day of the consecration of the temple), Bishop Maximian with a cross in his hand and two deacons (one holding the Gospel, and the other a censer). This mosaic depicts Justinian and Maximian as authoritarian representatives of the secular and church authority, therefore their figures occupy a dominant place, and above the head of the bishop there is even a proud inscription: Maximianus. While the portrait of Justinian is most likely a copy of official images sent throughout the empire, the portraits of Maximian and the character standing in the second row stand out characteristic features, suggesting that the mosaicist was familiar with the originals.
Luxurious attire gave the mosaic artists the opportunity to display before the viewer all the dazzling richness of their palette - from delicate white and purple tones to bright green and orange-red. They achieved a special subtlety of execution in the faces of the four central figures, composed of smaller cubes. This allowed them to create four characteristics of the portrait that are magnificent in their sharpness, in which, despite the pronounced individual features, there is something in common: a special rigor of expression and the stamp of deep conviction.
Empress Theodora
The Empress is depicted standing in a narfik, in front of her are two bodyguards, one of whom pulls back the curtain in front of the door. In Theodora's hands is a gift to the church - a golden chalice, her head is crowned with a diadem and surrounded by a halo, and a heavy necklace rests on her shoulders. The hem of the Empress's cloak is decorated with a scene of the adoration of the Magi, which is an allusion to Theodora's own offering. The figure of the queen (the only one of all the others) is framed by a niche with a conch, which A. Alföldi considers as a “niche of glorification.” The group of court ladies following Theodora is led by two women whose images are endowed with portrait features (presumably Antonia and Joanna - the wife and daughter of the commander Belisarius); the faces of the remaining court ladies are stereotypical.
And here, luxurious Byzantine robes gave mosaic artists an opportunity to show off their exquisite color solutions. The colors on the three central female figures are especially beautiful. Their faces are made of smaller and more diversely shaped cubes, which makes it easier to convey portrait likeness. The faces of the other court ladies, like the faces of the guards in the mosaic with Justinian, are stereotypical and have little expressiveness. In them, high art gives way to craft and routine.
Pilgrimage trips to the Church of St. Vitaliy in Ravenna
I also visited Ravenna.
That city is dead and empty.
Ruins, porches, steps -
Thousands of years of muteness
Everything is breathing. Dusk streets humid
Involuntarily causes a sigh.
Footsteps and a lingering echo of noise,
And stones in cracks, and moss.
Hermann Hesse (translation by P. Maltseva)
Ravenna is perhaps the most unusual city in Emilia-Romagna, where I this moment was. I would not call it the most picturesque, I will reserve this status for small towns and villages like or, but it amazes with its uniqueness, some kind of intimate atmosphere and the feeling that you are not in the Middle Ages (as is the case with many Italian cities), and in the era of the dawn of Christianity.
As a background: the first time I visited Ravenna was about 6 years ago - it was my first trip to Italy, on the very first day from Rimini we were taken first to San Marino, and then here. If from San Marino I have memories of amazing lasagna and objectively beautiful views, then the only thing I remembered about Ravenna was that some famous Italian writer was buried there (sorry, Dante) and there was a temple of San Vitale, what a coincidence, my name is also Vitaly.
This time I was brought here on the eve of March 8th. My parents came to visit me in Bologna, and the three of us decided to go to neighboring Ravenna for two days. (I will tell you more about how to get to Ravenna from Bologna, Rimini and Florence at the end of the post). The city greeted us covered with snow, which recently fell not only in, but also covered the entire region. However, neither the snowdrifts, nor the fog that stood on the first day, nor the rain that did not stop on the second, prevented us from enjoying Ravenna and its mosaics.
Ravenna is an ancient city, which quite early became a large and important center of the peninsula. Before the arrival of the Romans, the Umbrians, Etruscans, and Celts managed to live here, although the real history of these places begins already during the decline of the Roman Republic and the dawn of the Empire. In Ravenna, Julius Caesar waited out the winter of 53-52 BC. e. at the height of the Gallic War, and a few years later, in 49, here he gathered troops before crossing the Rubicon River, starting civil war, which from proconsul made him dictator for life.
Port Classis
At the end of the first century BC. e. Emperor Augustus further strengthened the position of Ravenna by stationing here the second most important imperial fleet - Classis Ravennatis. (The first was in Misenum, near modern Naples). The port of Ravenna was located in the port of Classis - then a suburb of Ravenna, now its district.
Jonah William Waterhouse, Emperor Honorius' Favorites
When the Roman Emperor Theodosius died in 395 AD, the empire was divided between his two sons - Flavius Arcadius, who received the Eastern part, Byzantium, and Honorius, who became the ruler of the Western Roman Empire. From Rome he moved the capital first to Mediolanum (modern Milan) and then to the more fortified Ravenna. It was behind the walls of Ravenna that Honorius sat while the Goths, led by Alaric, ravaged Rome and thereby hastened the end of the empire.
From this moment we will begin our walk at a small cruciform building on the territory of the San Vitale complex. This inconspicuous building is one of the oldest in Ravenna and is called the Mausoleo of Galla Placidia. Galla Placidia was the daughter of the same Theodosius, after whose death the empire fell into two parts, and the sister of Honorius, the first emperor of the Western Roman Empire. Having been captured by the Ostrogoths in her youth, she was married to their king. However, the Ostrogoths had a cheerful life, so after a year and a half his betrothed was killed by his own warrior.
All further adventures of Galla would last for several seasons of a good series. I will only say that she, who started her journey so unsuccessfully, eventually actually ruled the entire Western Roman Empire. For a long time it was believed that she built the mausoleum in Ravenna for herself, her second husband and brother. Moreover, there was a legend that Galla's embalmed remains lay for a thousand years inside the sarcophagus, which can now be seen inside, until some curious bungler brought a candle too close to Galla's clothes, thereby causing a fire. Now, however, it is believed that the empress died in Rome and was buried on the site where the current St. Peter's Cathedral stands, and the building itself was a chapel for a neighboring church.
However, the mausoleum is interesting not for this, but for its design. Closely associated with Byzantium, Ravenna adopted this element of art and became famous primarily for the numerous mosaics that adorn the city's main churches.
Unfortunately, I didn’t take pictures inside, so I’m using what Wikipedia kindly provided.
Photos, alas, do not convey everything, but the local mosaics are truly mesmerizing. It would seem that these are not Michelangelo’s frescoes, but they amaze in their own way and sometimes even no less.
We move in time and space and find ourselves at Theodoric’s palace (or rather, its ruins) - not the most interesting building for tourists, but important in the context of the story.
This is what the palace looked like during Theodoric's time. Mosaic in the Church of Sant'Apollinare Nuovo
When the empire finally fell and the Goths conquered Italy, they retained Ravenna as their capital. Theodoric, who became the ruler of the new kingdom, greatly helped the city during his 33 years of reign (yes, an excellent number): he repaired the old Roman aqueduct, returning drinking water to the city, drained the marshy areas around the city, and put in order the port, which began to fall into disrepair.
In general, although he began his rise to power in an aggressive manner, his reign was a time of peace and economic prosperity.
Today you can get inside for 1 euro, but we came when everything was already closed. However, for the most part, only the walls remain of the palace. If it is worth going here, then only in conjunction with the neighboring temple of Sant'Apollinare Nuovo.
Theodoric was an even greater fellow because he allowed the inhabitants of his multinational kingdom to believe what they wanted. The fact is that the Ostrogoths were supporters of Arianism - a movement of Christianity that argued that God the Father and God the Son are not the same thing and that there was a time when there was no God the Son. This idea arose back in the 4th century and was quickly declared a heresy, but the Germanic peoples followed it for a long time. Theodoric did not change anything and allowed both the Arians and the Nicenes, or Orthodox, as the followers of classical Christianity were then called, to coexist peacefully.
As a reminder of this, two buildings have been preserved in Ravenna, the first of which is on the right in the photograph.
Let's go inside and look up, here again main character- mosaics. I don’t know why, but of all the mosaics of Ravenna, this one in the Arian Baptistery impressed me the most. I can’t explain it, you have to feel it.
Emotions aside, there are a few things worth paying attention to. Firstly, to the image of the naked Christ, which by that time had not yet acquired the canon we are accustomed to. (I remind you that this is the end of the 5th - beginning of the 6th centuries). It is important that Jesus looks not to the west, as was customary among the Orthodox, but to the east, “in the Arian way.” Secondly, look at the hands of the apostles - they are all wearing gloves. As I read from sibeaster , who stunningly described all the wealth of Ravenna, giving gifts with covered hands was a Roman tradition, which is reflected in the mosaic.
I would like to pay attention to one more detail. The apostles lined up at the empty throne. What it is? Before us is an image of the prepared throne, that is, the place where Jesus will sit after his second coming. This is a fairly common image, but something else is important - there is a shroud on the throne, and this is another indication of the human nature of Christ, which was so important for the Arians.
Along with the Ostrogoths, those who had once been citizens of the Roman Empire and who professed orthodox Christianity lived in Ravenna. For them, a little earlier, at the end of the 4th century, their own place for baptism was built - the Baptistery of the Orthodox (Battistero degli Ortodossi), or the Baptistery of Neon, named after the archbishop who completed the dome in the middle of the 5th century.
The plot is similar to what we saw in the Arian Baptistery - a naked Jesus, facing west, in the waters of the Jordan, who is depicted on the right as a man, on the left - John the Baptist, on top - the Holy Spirit in the form of a dove. Everything, of course, is in the form of mosaics. If you wish, you can view it in 3D using the link.
Emperor Justinian and his court. Mosaic in the Church of San Vitale
In Byzantium there was always no particular delight in the fact that Ravenna was in the hands of the Ostrogoths. When Justinian ascended the throne of the Eastern Roman Empire in 527, he decided to return the former Roman lands. Ravenna was first on the list, and Byzantine troops captured it in 539. The city became the capital first of the so-called Praetorian prefecture, and then of the exarchate - in fact the province of Byzantium.
With the arrival of Justinian, the oppression of the Arians began, and all their churches were transferred to the Orthodox. A striking example is the Basilica of Sant'Apollinare Nuovo. It was built in the time of Theodoric as a palace temple - today it is separated from the ruins of the royal chambers by a couple of buildings.
It's worth going inside to see... That's right, mosaics! Today, a procession of martyrs and martyrs in front of Jesus and the Mother of God is depicted here, although they say that originally Theodoric and his court were here, but with the arrival of the Byzantines, adjustments were made to the mosaics.
If there is still some variety in men's faces...
There are only twins among the women.
Finally, let's see the most famous temple of the city - the Basilica of San Vitale next to the already familiar mausoleum of Galla Placidia. This is perhaps the most outstanding church of the Byzantine period, and it is truly amazing.
I will again have to use photos from Wiki, where there are many high-quality photographs of San Vitale, because otherwise I cannot show all this beauty.
The most amazing thing is that all this beauty is one and a half thousand years old.
In the context of the entire basilica, the later frescoes on the dome are also fascinating. In general, we were so impressed that we decided to go to San Vitale the next day.
What else remains to be seen in Ravenna? That's right, the tomb of Dante Alighieri (Tomba di Dante). The great poet, who is for the Italian language what Pushkin is for the Russian language, is buried here.
Dante, born in Florence, was expelled from hometown because of political troubles. In Ravenna the author " Divine Comedy"lived for the last 3 years. From time to time, the poet fulfilled ambassadorial obligations, going to other Italian cities. Returning from one of these trips, Dante fell ill with malaria and soon died in Ravenna, where he was buried.
What happened next was definitely not something Dante could have dreamed of in his worst nightmares. After some time, the Florentines realized what they had lost and decided to return to their homeland, if not the living poet, then at least his remains. The closest they came to this was when the Florentines from the Medici family occupied the papal throne - first Leo X, then Clement VII. When the envoys of Leo X came for Dante's remains in 1519, they found an empty sarcophagus. It turned out that the cunning monks, whose building was adjacent to the grave, dug a hole and through it they carried away the bones and ashes so as not to give them to the Pope. Despite persuasion, it was not possible to convince them.
The second time the monks hid Dante’s remains was during the Napoleonic occupation. They did it so well that they could not find it later, and for the next 50 years everyone who came to Ravenna to bow to the author of the Divine Comedy did so in front of an empty sarcophagus. In 1865, the bones were found again, although they were accidentally almost sent to a mass grave - ironically, all this happened during the preparations for the 600th anniversary of the poet's birth. It was lucky that one literate student paid attention to the inscription “ossa Dantis..”, that is, “Dante’s bones.”
Dante's tomb is located next to the nondescript, albeit ancient, Basilica of San Francesco.
Take a look inside, there is a unique crypt, completely flooded with groundwater. It’s interesting to watch fish swimming above the old mosaics,
To finish, there is a nice place nearby - Palazzo della Provincia, where today a curious and small museum is opened: La Cripta Rasponi e i Giardini Pensili. In fact, this is the home of a noble Ravenna family, which created hanging gardens overlooking the city.
We found ourselves here in inappropriate weather, but I can imagine how beautiful it is here when everything is in bloom. If you have time and an extra 2 euros, take a look here.
How to get to Ravenna
You can get to Ravenna by train from (1.5 hours, 7.35 euros), Rimini (1 hour, 4.75 euros) and
It is no secret that every Italian city has something special and unique that can surprise, delight and even turn your head! Ravenna is a real treasure chest, the contents of which dazzle with their extraordinary beauty! Knowledgeable travelers and beauty hunters strive to get to this city in order to have the opportunity to see with their own eyes the indescribable beauty of the local churches and chapels.
Mosaics of Ravenna so beautiful that it is simply impossible to describe them in words. No photographs or videos can convey the warmth and light that they emit.
Many of Ravenna's early Christian temples are listed world heritage UNESCO. Despite the apparent simplicity, ancient churches This city simply delights with its interior decoration. Getting inside each of them, an incredible picture opens up, filled with golden divine light, illuminating everything around. The mosaics of Ravenna are so perfect and beautiful that looking at them literally takes your breath away!
Below we will tell you about the most beautiful churches in Ravenna, whose mosaics are definitely worth seeing.
Basilica of San Vitale in Ravenna and its dazzling mosaics
The Basilica of San Vitale in Ravenna, dedicated to Saint Vitaly of Milan, was built in the middle of the 6th century by the will of Bishop Ecclesius. The building is a typical Ravenna architecture, combining elements of Roman (the shape of the dome and portals, towers) and Byzantine architecture (polygonal apse, capitals). Today the Basilica of San Vitale is under the protection of UNESCO and this is not surprising. The beautiful mosaics decorating its interior are a valuable example of Byzantine art.
The Basilica of San Vitale is located at Via Argentario, 22.
Mausoleum of Galla Placidia and mosaics of the imperial tomb
The Mausoleum of Galla Placidia (in Italian: Mausoleo di Galla Placidia) is located on the territory of the Basilica of San Vitale complex. The tomb was built in the 5th century for the daughter of Theodosius I the Great, the Roman emperor, but was never used for its intended purpose, since Galla Placidia herself was buried in Rome.
The modest structure, built in the shape of a Latin cross, holds a real treasure inside. The magnificent mosaics, presumably created by Byzantine masters, are perfectly preserved.
The Mausoleum of Galla Placidia is located at Via Argentario, 22.
Basilica of Sant'Apollinare Nuovo and Theodoric's mosaics
The Basilica of Sant Apollinare Nuovo (in Italian: Sant Apollinare Nuovo) was erected at the beginning of the 6th century by order of the Ostrogoth king Theodoric the Great as his own court temple and was originally Arian. In 561, the Byzantine Emperor Justinian I handed over the temple to Christians.
The walls of the central nave of the cathedral are completely covered with mosaics, emitting a pleasant golden light. The creation of the mosaic decoration dates back to the period of Theodoric, however, after the transfer of the religious building to the followers of Christ, some of the mosaics were rearranged. Scenes related to Arian teachings were replaced with scenes from the lives of Christian martyrs.
The Basilica of Sant'Apollinare Nuovo is located at Via di Roma, 52
The baptistery is a small room intended for the rite of baptism. Located in Ravenna, the early Christian baptistery, called Noenian, was built by Bishop Urso in the 5th century. The building acquired its interior decoration under his successor, Bishop Neon, from whose name the name of the religious building comes.
The most beautiful mosaics, realized by Byzantine masters, made this building one of the most significant monuments of Byzantine mosaic art.
The Neonian Baptistery is located at Piazza Duomo, 1.
Archbishop's Chapel of St. Andrew
The Chapel of St. Andrew (in Italian: Cappella di Sant’Andrea) is a unique example of an early Christian archiepiscopal chapel that has survived to this day. This building was erected at the end of the 5th century by Bishop Peter II, as a prayer corner intended for the bishops of Ravenna, during the period when Arianism prevailed in the city.
This amazing chapel, distinguished by the special beauty of its mosaics, is located in the Arcivescovile Museum complex, located at Piazza Arcivescovado, 1.
Basilica of Sant'Apollinare in Classe
The temple, located away from the historical center of Ravenna, was erected in the first half of the 6th century with the money of the Byzantine banker Julian Argentarius at the request of Archbishop Ursicino on the burial site of St. Apollinaris. The church is one of the largest structures of early Christian religious architecture.
A new page in the history of Ravenna opens in 540 - the year of its conquest by the Byzantine commander Belisarius. From this moment until 751, when Ravenna was captured by the Lombards, the city was firmly With. 43
With. 44¦ was part of the Byzantine Empire. Given this state of affairs, it would be natural to expect the appearance of Greek masters in Ravenna. However, this just did not happen. Apparently, the local mosaic workshops were so strong that Byzantine officials and clergy preferred to use their services rather than invite craftsmen from overseas. At best, we can only talk about the use of Byzantine models (miniatures, ivory items) by Ravenna artists as objects to imitate. But not a single 6th century Ravenna mosaic can identify the hand of a Byzantine master. That is why the repeatedly expressed hypotheses about inviting numerous teams of Byzantine mosaicists to Ravenna are so groundless 29 . Even more unsubstantiated are the assertions that Byzantine art first replaced Ravenna in the mosaics of San Vitale 30 . And in this case we are dealing with Ravenna art, although it was under strong Byzantine influence. In the other two Ravenna monuments of the fifth decade of the 6th century (Sant Apollinare in Classe and San Michele in Affricisco), local traditions not only dominate, but also undergo a number of changes that can be considered as a further development of the stylistic shifts already evident in the mosaics of Theodoric’s era.
29 This point of view was at one time especially popular among a number of researchers of the 19th century (J. Labarthe, F. Gregorovius, C. Bayeux, E. Münz, E. Dobbert, W. Schulze and others). Cm.: E. K. Redin, Mosaics of Ravenna churches. St. Petersburg 1896, 5–7.
30 G. Galassi. La prima apparizione dello stile bizantino nei mosaici ravennati. - Atti del X Congresso internazionale di storia dell'arte. Roma 1912, 74–79; Id. Roma o Bisanzio, I, 97; G. Bovini. Mosaici di Ravenna. Milano 1956, 35.
The Church of San Vitale 31 is an octagonal martyrium of the Byzantine type, close to the Church of Sergius and Bacchus in Constantinople. It was founded during the reign of Bishop Ecclesia (521–532), but was built between 538 and 545. Apparently, all of her mosaics are simultaneous (546–547), and the difference in their style should be explained not by the fact that they were executed at different times, but by the fact that different masters worked here, moreover, using different samples. The Church of San Vitale was built at the expense of the wealthy banker Julian Argentarius, who is now tended to be viewed as a secret agent of Justinian who prepared the capture of Ravenna by Belisarius. The temple was solemnly consecrated in 547 by Bishop Maximian (546–554), a protege of the same Justinian 32. This once humble deacon from Polo (Pula) in Istria was sent by the Byzantine emperor to Ravenna to pursue his religious policy. Maximian had to overcome strong resistance from the Equals, whose sympathy he eventually won with rich gifts and the construction of numerous churches.
31 J. Quitt. Der Mosaiken-Zyklus von S. Vitale in Ravenna. Eine Apologie des Diophysitismus aus dem VI. Jahrhundert. - ByzDenkm, III 1903, 71–109 (rec. A. Baumstark: OS, I 1904, 423 ff .); Galassi. Roma o Bisanzio, I, 86–100, tav. LXXI–ХCIII; R. Delbrück. Portraits aus den Kaisermosaiken in San Vitale. - AntDenkm, IV 1931, 10–11; J. Strzygowski. Asiens bildende Kunst. Augsburg 1930, 405–415; R. Bartoccini. Un restauro ai mosaici di San Vitale. - FelRav, 43 1934, 58–61; K. M. Swoboda. Die Mosaiken von San Vitale in Ravenna. - Neue Aufgaben der Kunstgeschichte. Brünn 1935, 25–44; S. Bettini. Die Mosaiken von San Vitale in Ravenna. Berlin 1940; G. Rodenwaldt. Bemerkungen zu den Kaisermosaiken in San Vitale. - JdI, 59–60 (1944–1945) 1949, 88–100; S. Muratori. I mosaici ravennati della chiesa di San Vitale. Bergamo 1945; G. Mesini. I musaici (della chiesa di S. Vitale). - ArtGr, 375 1947, 8–10; E. Tea. Una rappresentazione dell"offertorio in S. Vitale. - Ibid., 15–16; C. Cecchelli. Le “Imagines” imperiali in S. Vitale. - FelRav, 54 1950, 5–13; L. Ringbom. Graltempel und Paradies. Beziehungen zwischen Iran und Europa im Mittelalter. - Kungl. Vitterhets Historie och Antikvitets akademiens Handlingar, 73. Stockholm 1951, 148 ff.; F. W. Deichmann. Contributi all" iconografia e al significato storico dei mosaici imperiali in S. Vitale. - FelRav, 60 1952, 5–20; P. Toesca. S. Vitale in Ravenna. I mosaici. Milano 1952; F. W. Deichmann. Gründung und Datierung von San Vitale zu Ravenna. - L "Art del I millenio. Torino 1953, 111–117; S. Bettini. Quadri di consacrazione nell "arte bizantina di Ravenna. - Ibid., 152–180; O. von Simson. Zu den Mosaiken von S. Vitale in Ravenna. - BZ, 46 1953 1, 104–109; G. Bovini. S. Vitale di Ravenna. Milano 1955; P. Michelis. Zur Ikonographie der Mosaiken des Presbyteriums von S. Vitale in Ravenna. - Wissenschaftliche Zeitschrift der Ernst Arndt-Universität Greifswald, Gesellschafts- und sprachwissenschaftliche Reihe I, V 1955–1956, 63–67; A. Bode. Das Rätsel der Basilica di San Vitale in Ravenna. - ZKunstg, XX 1957 1, 52–79; A. Byvanck. I mosaici imperiali di S. Vitale di Ravenna. - CorsiRav, 1958 1, 49–54; Volbach. Frühchristliche Kunst, 76–77, Abb. 157–167; G. Stričević. Iconografia dei mosaici imperiali a San Vitale. - FelRav, 80 1959, 5–27; K. Hauck. Un "immagine imperiale a S. Vitale non ancora identificata. - Ibid., 28–40; K. Wessel. San Vitale in Ravenna. Ein Bau Theoderichs des Grossen? Zu alten und neuen Thesen. - ZKunstg, XXII 1959 3, 201–251; F. Gerke. Nuovi aspetti sull "ordinamento compositivo del mosaici del presbiterio di San Vitale di Ravenna. - CorsiRav, 1960 2, 85–98; A. Grabar. Quel est le sens de l "offrande de Justinien et de Théodora sur les mosaïques de Saint-Vital? - FelRav, 81 1960, 63–77; Ch. Delvoye. Sur la date de la fondation des Saints-Serge-et-Bacchus de Constantinople et de Saint-Vital de Ravenne. - Hommage à L. Hermann. Bruxelles 1960, 263–276; L. Mirkovič. Die Mosaiken von San Vitale zu Ravenna. - Akten XI. Internationalen Byzantinistenkongresses, 396–404; E. Battisti. Per la datazione di alcuni mosaici di Ravenna e di Milano. - Scritti di storia dell"arte in onore di M. Salmi. Roma 1961, 101 ss.; G. Bovini. Significato dei mosaici biblici del presbiterio di S. Vitale di Ravenna. - Corsi Rav, 1962, 193–215; G. Stričević. Sur le problème de l "iconographie des mosaïques impériales de Saint-Vital. - FelRav, 85 1962, 80–100 ; L. Mirkovic. Mosaics near the Church of San Vitale near Raveni. - Bogoslovie, XXII 1–2 1963, 53–81; M. Lawrence. The Iconography of the Mosaics of S. Vitale. - Atti del VI Congresso internazionale di archeologia cristiana. Città del Vaticano 1965, 123–140. The most convincing interpretation of the mosaics of the presbytery is given by E. K. Redin (Mosaics of Ravenna churches, 125 et seq.) and K. Nordstrom (Ravennastudien, 93–98, 102–119). All the speculations of A. Bode about the belonging of the mosaics of San Vitale to the era of Theodoric are completely fantastic, since they are not based on a direct study of the monument, but are a purely literary construction.
32 See: M. Mazzotti. L "attività edilizia di Massimiano di Pola. - FelRav, 71 1956, 5–30; G. Bovini. Massimiano di Pola arcivescovo di Ravenna. - Ibid., 74 1957, 5–27.
When you get to San Vitale, you immediately appreciate the specific properties of the mosaic, which only here truly reveals the beauty hidden in it. Mosaic on smooth surfaces(for example, basil on walls) never looks the same as on curved ones (on arches, vaults, conchs, sails and trompe l'oeil). Only here does it acquire full aesthetic meaning, since smalt cubes placed at different angles begin to sparkle and shimmer in different shades. This is exactly what can be observed in the interior of San Vitale. The central dome space is covered by eight high arches. Through one of them the presbytery opens, seven others enclose the exedra and are divided into two floors by columns and arcades. The large main room is perceived in the streams of light that pour from the windows of the dome and the arched openings of the galleries. Rays of light coming in different directions dematerialize the mosaic, causing its surface to light up with an unearthly shine. Under the influence of uneven lighting, the colors of the mosaic palette acquire such a richness and variety of shades that it would be in vain to look for in mosaics illuminated by even diffused or direct and too bright light. For true artistic perception, the mosaic needs mysterious, flickering lighting. No wonder it goes so well with burning candles. And the mosaics of San Vitale make us feel the charm of that type of monumental painting that was favorite in early Christian and Byzantine temples and which is represented in our time by only a few accidentally preserved monuments.
In San Vitale, mosaics decorate the apse and arch, the vault and the walls of the presbytery (vima). The conch of the apse depicts Christ Emmanuel seated on the earthly sphere. (Table 52). With his left hand he leans on a scroll sealed with seven seals, and with his right hand he holds out the crown of martyrdom to St. Vitaly, whom an angel introduces to him. Another angel meets Bishop Ecclesius, bearing a gift of a model of the church he founded. From the rocky soil strewn with lilies flow four secret rivers, which symbolize the four Gospels. The emphatically symmetrical composition and bright colors reminiscent of precious enamel alloys (green, blue, blue, violet, white in combination with gold) give the entire image a particularly solemn character. Konkha mosaic is one of the most delicate in execution. Worked here experienced craftsmen, who knew Byzantine art in its metropolitan variants.
Much rougher, but in their own way more expressive, are the mosaics of the presbytery, which belong to other artists whose work is more closely connected with local traditions. These mosaics have complex symbolic content, which is based on the idea of the sacrificial nature of Christ. Therefore, here, in accordance with the liturgy, the emphasis is on Old Testament images that hint at the death of Christ on the cross and the sacrament of the Eucharist. On the vault the viewer sees a medallion with a mystical Lamb, which is supported by four angels, and on the walls there are soaring angels carrying medallions with crosses, the Hospitality of Abraham (Table 53)(a clear demonstration of the equality of the Son of God to the persons of the Holy Trinity, denied by the Arians) 33, The sacrifices of Abraham, Abel and Melchizedek (Old Testament prototypes of the death of Christ on the cross and With. 44
With. 45¦ his priestly rank), figures of the prophets Jeremiah and Isaiah (Old Testament prototypes of the evangelists) 34 and three scenes from the life of Moses: Moses receives the laws, the Burning Bush on Mount Horeb and Moses shepherds the flocks of his father-in-law Jethre (theologians viewed Moses as the image and likeness of Christ) . The triple arched openings of the upper gallery are flanked, two on each side, by images of the four evangelists and their symbols above them (the evangelists are introduced here as the authors of the narrative of the Gospel events and as disseminators of Christian teaching). On the entrance arch there are medallions with half-figures of Christ, the twelve apostles and the sons of St. Vitaly of Saints Gervasius and Protasius. Finally, the triumphal arch features two flying angels carrying a medallion with a cross, and two cities: Jerusalem and Bethlehem.
33 Abraham's hospitality had another effect symbolic meaning, since the sacrifice of a calf was considered as a prototype of the Paschal lamb, that is, the death of Christ on the cross. Cm.: Nordström. Ravennastudien, 115.
34 The prophets Isaiah and Jeremiah were also chosen because they predicted the incarnation of the Son of God and his suffering. Cm.: Nordström. Ravennastudien, 118
The mosaics of the presbytery, partially damaged by rough restorations, somewhat fall outside the framework of Ravenna art with their deliberately complex symbolism, which, as is known, was highly valued in Constantinople. Perhaps the iconographic program of these mosaics goes back to Byzantine sources. But in terms of style and character of execution - bold, expressive and at the same time somewhat rough - mosaics are inseparable from the artistic culture of Ravenna. And in them the simplification of form and color relationships makes itself felt. However, the mosaics of the presbytery are characterized by strength and spontaneity of expression, which largely compensates for the primitiveness of the technical techniques. Particularly noteworthy is the interpretation of the rocky landscape, the ledges of which, similar to fragments of crystal, are painted in bright blue, yellow, green, lilac and purple tones and in places touched with gold. At a distance, these colors reveal the volume of the blocks, but up close they are perceived as a dazzlingly bright carpet, enchanting the eye with the beauty of the most unexpected color combinations, which strangely resemble barbaric gold items decorated with enamels.
A special place among the mosaics of San Vitale is occupied by portraits of Justinian and Theodora, placed on the side walls of the apse, on the sides of the windows. Apparently, the best of the Ravenna craftsmen were chosen to perform them, and they were given samples from the capital. These were supposed to be royal portraits sent to the provinces of the Byzantine Empire for copying. Such portraits usually included figures of the emperor and empress with their immediate retinue. Another type of compositional schemes could also have come to Ravenna, used to depict the imperial couple during ceremonial exits, when they brought precious gifts to some church. The Ravenna mosaic artists faced a difficult task: to create, based on such capital samples, original compositions that would convey the fictional historical events, who have never found a place for themselves in reality. And they coped well with this unusual task.
Justinian is depicted bringing a heavy golden cup as a gift to the church (Tables 54–56). He is presented, like all the others, in a strict frontal pose. His head, crowned with a diadem, is surrounded by a halo. Since the king usually removed his diadem at the entrance to the narfik, where he was met by the clergy, there is reason to believe that the mosaic depicts the moment when the procession had not yet entered the church. To the right of Justinian stand two courtiers in patrician robes - these are probably the famous Byzantine commander Belisarius and praepositus, one of the highest ranks of the Byzantine court (only he and the patriarch had the right to place a diadem on the head of the emperor). Next we see bodyguards, whose figures are half-covered by a ceremonial shield with the monogram of Christ. Behind Justinian's left shoulder is visible an elderly man in the clothes of a senator, who is undoubtedly a portrait (this figure for a long time was unreasonably mistaken for the image of the banker Julian Argentarius). The part of the composition to the left of Justinian is filled with figures of Bishop Maximian with a cross in his hand and two deacons, one of whom holds the gospel, and the other a censer. The mosaicist made an obvious compositional miscalculation, since the outer figure barely fits in the place allotted to it, and its slightly outstretched left hand, as if indicating the path for the procession, cuts the column supporting the cassette ceiling. In this group portrait, Justinian and Maximian appear as authoritarian representatives of secular (imperium) and ecclesiastical (sacerdotium) authorities, with the former vested in the imperial potestas and the latter in the episcopal auctoritas. Therefore, their figures occupy a dominant place. For the same reason, there is a proud inscription above the bishop’s head: Maximianus. Luxurious attire gave the mosaic artists the opportunity to display before the viewer all the dazzling richness of their palette - from delicate white and purple tones to bright green and orange-red. They achieved a particular subtlety of execution in the faces of the four central figures, composed of smaller cubes. This allowed them to create four characteristics of the portrait that are magnificent in their sharpness, in which, despite the pronounced individual features, there is something in common: a special severity of expression and the stamp of deep conviction. (Tables 57–60). Theodora stands in the narthex, about to go through the door to the stairs leading to the women's half of the gallery (matroneum). She holds a golden cup in her hands, a luxurious diadem on her head, surrounded by a halo, and a heavy necklace on her shoulders. On the hem of the empress's robe are embroidered golden figures of three magi bearing gifts, hinting at Theodora's offering. For more With. 45
With. 46¦ the solemn figure of the empress is framed by a niche with a conch, which A. Alföldi is inclined to consider as a “niche of glorification” (Glorifikationsnische) 35. Two bodyguards walk in front of Theodora, one of whom pulls back the curtain in front of the door, and the other stands completely motionless, hiding his hand under his robe. Theodora is followed by a group of court ladies, led by the daughter and wife of the general Belisarius. And here, luxurious Byzantine robes gave mosaic artists an opportunity to show off their exquisite color solutions. The colors on the three central female figures are especially beautiful. Their faces are made of smaller and more diversely shaped cubes, which makes it easier to convey portrait likeness. The faces of the other court ladies, like the faces of the guards in the mosaic with Justinian, are stereotypical and have little expressiveness. In them, high art gives way to craft and routine.
35 A. Alföldi. Insignien und Tracht der römischen Kaiser. - RömMitt, I 1935, 133 ff
The mosaics of San Vitale, made at the same time but by different masters, clearly demonstrate how rich a talent pool of artists Ravenna had back in the middle of the 6th century. This is also evidenced by the mosaics of Sant'Apollinare in Classe and San Michele in Affricisco, in which, however, local Ravenna features make themselves felt more strongly and where the beginning decline of Ravenna's monumental painting is already clearly felt. With. 46
¦
The construction of the Church of San Vitale in Ravenna is closely connected with the return of the city under Byzantine patronage. The church was founded under Bishop Ecclesia (526), its decoration was completed in 545, and consecrated in 547. The church belongs to the buildings of the centric type and is an octagonal martyrium. The plane of its facades is broken only by powerful buttresses - external pillars that serve to make the walls stronger. The basis of the structure is made up of eight high pillars supporting the dome. The supports are interconnected by semicircular two-story arcades, so that a wreath of openwork curvilinear forms is formed around the central space. Behind the arcades there is a gallery that goes around the central domed core of the temple. From every point of the building, more and more new views open up: columns with lace capitals seem to float in an endless dance, intersecting ribs of the vaults converge and diverge, countless arches bend...
The walls of the main space are decorated with marble inlay. The concave surfaces of the apse and presbytery are decorated with mosaics. In the conch of the apse is the Savior Emmanuel, seated on a heavenly-colored mandorla. Christ holds out the martyr's crown to St. Vitaly, who is represented by an angel. On the other hand, the angel brings the patron, the builder of the church of St., to the Savior. Ecclesia. Four gospel rivers flow from under the Savior’s feet. Angels and saints are located symmetrically on the sides of Christ: St. Vitaly receives a gift from the Lord, St. Ecclesius himself presents Christ with a model of the temple, but nevertheless the saints do not seem to see each other. Some invisible veil envelops and separates them. They lived at different times, never met each other, but together they appeared before the King of Heaven. Time divided them, but eternity united them. The lower level of the apse depicts historical portraits, which are a kind of sign of the triumph of Emperor Justinian and his military leader Belisarius, who returned Ravenna under Byzantine patronage.
Mosaic of the apse concha (Emmanuel of the Savior) of the Church of San Vitale in Ravenna. 526-547.
The walls of the presbytery are decorated with scenes of Old Testament sacrifices in lunettes above the triple arcades leading from the central altar to the altar and deacon. Above the lunettes, under the arcades of the second tier, in the center there are angels carrying chrisms; on the sides of the angels there are full-length figures of the prophets (Isaiah, Jeremiah), symbolically associated with the scenes of sacrifice in the lunettes. In the same prophetic series are represented Moses at the bush and Moses receiving the laws and tending the flocks. In the arcade level of the second tier, four evangelists are depicted seated at music stands.
Symbolically, the theme of sacrifice at all levels is correlated with the sacrifice of Christ, starting from its Old Testament prototypes and ending with the theme of bringing gifts by real secular and church rulers - Ecclesius, Maximian (Bishop of Ravenna), Justinian and his wife. It is no coincidence that the main Christian sacrificial symbol is depicted in the dome of the church - the apocalyptic Lamb crowning the universe. The medallion with the Lamb is supported by four angels - symbols of the four cardinal directions - surrounded by paradise trees and plants, birds and animals. The slopes of the triumphal arch are decorated with medallions with half-figures of the apostles around the Savior in the castle of the arch.
Mosaic of the dome of the Church of San Vitale in Ravenna. 526-547.
The compositions are dominated by ideal balance. Architectural forms, plant motifs, human bodies, likened to the simplest geometric figures, seem to be drawn using a ruler. The draperies have neither volume nor lively softness. There is no living sensation of substance in anything, not even a remote hint of natural breath. Space finally loses any resemblance to reality. Even the folds of the draperies lie in strict parallel rows without strokes or shadows, signifying the complete dominance of a clean line.
In the apse of the church two processions are depicted bringing gifts to the temple. One of them is headed by Emperor Justinian, a former poor Illyrian peasant, who, thanks to luck and determination, ascended to the heights of the imperial rank and showed a rare combination of lust for power and asceticism, generosity and deceit. At the head of another procession is the wife of Emperor Justinian, Theodora. Theodora, the daughter of a circus caretaker, a dancer and courtesan, brave and intelligent, selfish and vindictive, energetic and beautiful - is rightfully considered the most famous woman Byzantine history. Details of the biographies of the imperial couple served as a favorite topic of gossip among the Constantinople mob, while the wise state institutions of Justinian and the extraordinary mind of Theodora became the subject of attention of historians. However, not a hint of the personal qualities of those depicted can be seen in the detached expression of the big-eyed faces, in the frozen poses of the crowned men. The robes hide the outlines of the figures, turning them into flat silhouettes superimposed on the wall. Everything carnal, momentary, insufficiently decent for the temple seems to have remained outside its boundaries: Justinian and Theodora appear to the audience as ideal images of ideal rulers, illuminated by the reflection of Divine glory. The frieze arrangement of the figures, the monotony in poses and gestures make the composition simple, almost primitive. However, external static, constraint and absolute similarity only emphasize the enormous internal expression of the images. The characters are endowed with powerful spiritual power. This strength is perceived as a manifestation of the inner strength of Christianity itself.
Emperor Justinian with his retinue. Mosaic from the apse of the Church of San Vitale in Ravenna. Fragment. 526-547.
Empress Theodora with her retinue. Mosaic from the apse of the Church of San Vitale in Ravenna. Fragment. 526-547.
Justinian provided the Byzantine church with new economic and legal benefits, and granted it lands and property. According to him, “the source of all the wealth of the churches is the generosity of the emperor.” Therefore, in the Ravenna mosaic, the imperial couple is represented as donors (donators) - both spouses are holding sacrificial liturgical vessels in their hands. The act of making “sacrifice” by earthly rulers closely resonates with the theme of Christ’s pure sacrifice. The gifts of Justinian and his wife become a symbol of the eternal donation of the Byzantine rulers of the Christian church.
