Byzantine Culture

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The Mosaics of Ravenna

Explore the mosaics of Ravenna, the finest surviving Byzantine mosaics outside Constantinople. From the famous Justinian and Theodora panels in San Vitale to the Orthodox Baptistery, discover the splendor of early Byzantine art.

Ravenna, the small city on the Adriatic coast of northeastern Italy, contains the most important surviving collection of early Byzantine mosaics outside Constantinople. The mosaics of Ravenna, dating from the late fifth to the early seventh century, are a unique witness to the art of the early Byzantine period, before the Iconoclast controversy destroyed much of the religious art of the preceding centuries. The mosaics of Ravenna, especially those of the Church of San Vitale and the Basilica of Sant’Apollinare in Classe, are among the supreme masterpieces of early Christian art, and they are a major element of the cultural heritage of Italy and the world.

The mosaics of Ravenna were produced under a series of rulers, including the Western Roman emperors, the Ostrogothic kings, the Byzantine emperors, and the local archbishops, and they reflect the complex political and religious history of the city. The most important mosaics are those of the period of Byzantine rule, especially those of the reign of Emperor Justinian I, but the city also has important mosaics from the preceding and following periods.

The History of Ravenna

The Capital of the Western Empire

Ravenna became the capital of the Western Roman Empire in 402 AD, when the emperor Honorius moved his court there from Milan. The choice of Ravenna was strategic, since the city was surrounded by marshes and accessible only by causeways, and it was thus easier to defend than Milan. The city remained the capital of the Western Empire until 476, when the last Western Roman emperor, Romulus Augustulus, was deposed by the Germanic general Odoacer.

Ravenna was then the capital of the Ostrogothic kingdom of Italy, which was established by Theodoric the Great in 493. The Ostrogoths ruled Italy from Ravenna until 540, when the city was captured by the Byzantine general Belisarius. The Byzantine rule of Ravenna lasted until 751, when the city was conquered by the Lombards. The period of Byzantine rule, especially the period of Justinianic rule, was the most brilliant period of the city’s history, and it is during this period that the most important mosaics were produced.

The mosaics of Ravenna are a unique record of the art of the early Byzantine period. The city was captured by the Lombards in 751, and the region was eventually incorporated into the Papal States. The mosaics were preserved through the centuries, although many were damaged or destroyed by neglect, fire, and war. The most important restoration of the mosaics took place in the late nineteenth and early twentieth centuries, when the Italian government undertook a major program of restoration.

The Mausoleum of Galla Placidia

The Oldest Mosaics

The Mausoleum of Galla Placidia, a small building adjoining the Church of Santa Croce, contains the oldest surviving mosaics in Ravenna. The mausoleum was built in the second quarter of the fifth century, probably as the burial place of Galla Placidia, the half-sister of the emperor Honorius, although there is some doubt about the identification. The mosaics, which cover the walls and the ceiling of the small building, are among the most beautiful examples of early Christian mosaic art.

The most famous mosaic in the Mausoleum of Galla Placidia is the image of Christ as the Good Shepherd, depicted as a young man in a short tunic, with a sheep across his shoulders. The image, which is rendered in a classical style, is one of the most popular early Christian images, and it is often cited as an example of the transition from the classical to the Christian artistic tradition. The mosaics also include images of saints, evangelists, and biblical scenes, all rendered in the rich blue of the gold ground mosaic technique.

The Mausoleum of Galla Placidia is also famous for its deep blue color, which dominates the small building and which has given the building its popular name, the “Blue Mausoleum.” The blue is produced by the use of deep blue glass tesserae, which were imported from the eastern Mediterranean, and which are among the most beautiful examples of early mosaic technique.

The Orthodox Baptistery

The Dome Mosaic

The Orthodox Baptistery, also known as the Neonian Baptistery, contains one of the most important surviving mosaics of the early Christian period. The baptistery, which was built in the late fourth or early fifth century, was the place where new Christians were baptized, and it is decorated with a remarkable cycle of mosaics that includes scenes of the apostles and the baptism of Christ.

The most famous mosaic in the Orthodox Baptistery is the dome mosaic, which depicts the baptism of Christ by John the Baptist. The scene is set against a deep blue background, with the figures of Christ and John standing in the waters of the Jordan, and the Holy Spirit descending in the form of a dove. The dome mosaic is one of the earliest surviving depictions of the baptism of Christ, and it is a major witness to the early Christian iconography of the subject.

The baptistery was also called the Orthodox Baptistery to distinguish it from the Arian Baptistery, which was built by the Ostrogothic king Theodoric for the use of his Arian Christian community. The Arian Baptistery, which is now also a national monument, contains a different cycle of mosaics, including a famous dome mosaic depicting the baptism of Christ surrounded by the twelve apostles.

The Church of San Vitale

The Justinian and Theodora Panels

The Church of San Vitale, a small octagonal church in the center of Ravenna, is the most famous of the early Byzantine buildings in the city. The church was built in the early sixth century, possibly under the influence of Emperor Justinian I himself, although the church is not mentioned in the historical records until the seventh century. The church is famous for its remarkable cycle of mosaics, which are among the most important surviving works of early Byzantine art.

The most famous of the San Vitale mosaics are the twin panels of Emperor Justinian I and Empress Theodora, which face each other on the walls of the apse. The two panels depict the imperial couple in ceremonial procession, accompanied by clergy and courtiers, and they are the most important surviving portraits of the Byzantine imperial family. The panels are also a major witness to the development of imperial iconography in the Christian period, since they present the emperor as both ruler and priest.

The Justinian panel depicts the emperor in a purple cloak, holding a golden paten, the vessel used in the Eucharist, accompanied by clergy and soldiers. The Theodora panel depicts the empress in a similar procession, holding a golden chalice, accompanied by ladies of the court. The two panels are among the most reproduced works of Byzantine art, and they have been the subject of intense scholarly study. The imperial iconography of the panels, with the emperor and empress presented as the patrons of the church and the celebrants of the Eucharist, has been the model for the representation of imperial power in Christian art for centuries.

The Apse and the Vault

The apse of San Vitale contains a magnificent mosaic of Christ in Majesty, with the apostles and the symbols of the evangelists. The figure of Christ is depicted as a young man, with a halo, holding an open book, and surrounded by the four evangelists. The apse mosaic is one of the most beautiful examples of early Byzantine apse decoration, and it has been the model for many later Byzantine apse mosaics.

The vault of the sanctuary contains a famous image of the Lamb of God on a throne, surrounded by the four living creatures of the Apocalypse. The image, which is rendered in a more abstract style than the apse mosaic, is a major example of early Byzantine apse decoration. The vault also contains images of the prophets and the patriarchs, which are connected to the Lamb by tendrils of vine, in a complex allegorical program.

The Basilica of Sant’Apollinare Nuovo

The Palace Church of Theodoric

The Basilica of Sant’Apollinare Nuovo, originally called the Basilica of the Palace, was built by the Ostrogothic king Theodoric as the palace church. The church, which was converted to Christian use after the Byzantine conquest, contains a remarkable cycle of mosaics, including a famous cycle of the miracles and the parables of Christ, and a famous cycle of the procession of the virgins and the martyrs.

The most famous mosaics in Sant’Apollinare Nuovo are the two famous processions. The first, on the north wall, depicts the procession of the virgins, with 22 virgin martyrs approaching the throne of the Virgin Mary and the Christ child, led by the three magi. The second, on the south wall, depicts the procession of the martyrs, with 26 male martyrs approaching the throne of Christ, led by Saint Martin of Tours. The two processions are among the most important surviving examples of early Byzantine narrative art, and they have been the subject of intense scholarly study.

The mosaics of Sant’Apollinare Nuovo were partially damaged during the Byzantine period, when the images of the Ostrogothic kings and queens were replaced with curtains. The original Ostrogothic figures can be glimpsed behind the curtains, and the replacement of the images is a vivid witness to the religious and political changes that the city underwent in the sixth century.

The Basilica of Sant’Apollinare in Classe

The Bishop’s Mausoleum

The Basilica of Sant’Apollinare in Classe, located a few kilometers south of Ravenna, is one of the most important surviving examples of early Byzantine architecture. The basilica was built in the early sixth century as the burial place of Saint Apollinaris, the first bishop of Ravenna, and it is famous for its remarkable apse mosaic, which depicts the Transfiguration of Christ.

The apse mosaic of Sant’Apollinare in Classe is one of the most beautiful examples of early Byzantine apse decoration. The mosaic depicts Saint Apollinaris in a praying posture, surrounded by a flock of sheep, with a great cross rising above him and the hand of God emerging from the sky. The image of the Transfiguration is rendered in a luminous style, with the use of gold ground and deep blue tesserae, and it is one of the most famous images of early Christian art.

The basilica is also famous for its remarkable marble decoration, including the marble columns and the marble revetment of the walls. The marble was imported from the eastern Mediterranean, and it is among the most beautiful examples of early Byzantine marble work. The basilica is, in this sense, a major witness to the wealth and the artistic sophistication of the early Byzantine period.

The Significance of the Ravenna Mosaics

A Unique Witness to Early Byzantine Art

The mosaics of Ravenna are a unique witness to the art of the early Byzantine period. The city was a center of Byzantine power in the West, and the mosaics were produced by artists who had been trained in Constantinople and in the eastern Mediterranean. The mosaics are, in this sense, a major element of the cultural heritage of Byzantium, and they have been the subject of intense scholarly study.

The mosaics of Ravenna are also a major element of the cultural heritage of Italy. The city was part of the Italian state from the late nineteenth century onward, and the mosaics have been the subject of major restoration campaigns, including the famous restorations of the late nineteenth and early twentieth centuries, which uncovered many of the most important images. The mosaics are now part of a UNESCO World Heritage Site, and they are a major tourist attraction in the modern city.

The mosaics of Ravenna are also a major element of the heritage of the Christian world. The mosaics are among the most important surviving examples of early Christian art, and they have been the inspiration for Christian art for centuries. The mosaics are, in this sense, a major witness to the development of Christian iconography, and they remain a major element of the Christian artistic heritage.

Conclusion

The mosaics of Ravenna are among the most important surviving works of early Byzantine art, and they are a major element of the cultural heritage of Italy, the Christian world, and the world at large. The mosaics, dating from the late fifth to the early seventh century, are a unique witness to the art of the early Byzantine period, and they are a major element of the development of Christian iconography. The most famous of the mosaics, the twin panels of Justinian and Theodora in the Church of San Vitale, are among the most reproduced works of Byzantine art, and they have been the subject of intense scholarly study. The mosaics of Ravenna remain a major element of the cultural heritage of the modern world, and they continue to inspire and to inform our understanding of the early Byzantine civilization.

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