Oh, Ravenna! — Basilica of San Vitale, Ravenna, Italy

 

I think, for me, the most breathtaking of Ravenna’s mosaiced monuments is the Basilica of San Vitale. I could sit in there and look at the walls and ceilings for hours (nearly did, actually). Apparently, the Byzantine mosaics here are the largest and best preserved outside Istanbul (which was, of course, formerly Constantinople, the Byzantine capital).

Building of the church started in 527 AD during the period of the Ostrogothic kingdom. San Vitale was completed by the Byzantines and consecrated in 547 AD or 548 AD (sources differ). The exterior has both Roman and Byzantine elements, but nothing outside prepares the visitor for the stunningly colourful and shimmering interior decoration.

above: Mystic Lamb mosaic in domed vault at San Vitale.

above: On either side of the apse arch you can see depictions of the walled cities of Jerusalem and Bethlehem.

A definite wow factor takes over on entering San Vitale. Sixth-century mosaic depictions of Moses, Abel, Aaron and the Twelve Tribes of Israel, episodes in the life of Abraham; the Apostles with their associated animal symbols; the city walls of Jerusalem and Bethlehem; peacocks, lions, and lambs crowd almost every wall and ceiling. Christ the Redeemer sits atop the celestial globe in the vault of the apse, receiving a model of the church from Bishop Ecclesius (who started the construction under King Theodoric), alongside St. Vitale receiving a martyr’s crown (he was martyred during the reign of the Emperor Diocletian). 

above: Christ the Redeemer receiving a model of the church from Bishop Ecclesius.

above: Episodes from the life of Abraham.

above: Detail showing Moses above, and below, Aaron and chiefs of the Twelve Tribes of Israel.

above: Detail showing Abel and Melchizedek.

The most famous mosaics here, though, are those portraying the Emperor Justinian and his Empress, Theodora, with attendants and clergy. It is unusual for secular figures such as these to be on show like this in a church, especially given that this is within the altar area, which was forbidden to women. Justinian and Theodora face one another on opposite walls, and they are respectively shown carrying a gold paten and a gold goblet, which would appear to be religious offerings. Justinian is accompanied by both clerical and military attendants, and Theodora by her ladies, resplendent in fine clothes and jewellery. Though the Emperor and Empress apparently never visited Ravenna, the mosaics symbolise their power and its martial and religious aspects. Halos surrounding each of their heads indicate that their rule has divine approval. It’s interesting to compare all of this with the excising of images of Theodoric and his entourage in the nearby church of St. Apollinare Nuovo (see my piece about that for more details) that took place after the Ostrogoths were toppled from power and the Byzantines assumed control of Ravenna.

above and below: Mosaic panels showing, respectively, Justinian and Theodora with their attendants.

above: To the left you can see the position of the mosaic panel showing Justinian, just beneath the apse mosaic showing Christ. The one showing Theodora is directly opposite.

Seeing the interior of this building made me feel jolly glad that Thomas Cromwell never lived nearby and was therefore never in a position to get his hands on San Vitale, since I suppose he would have entirely ignored its artistic merits and torn it all apart and had it replaced with some nice, bare walls. Thank goodness no such so-called reforming zeal existed here. San Vitale is a truly magnificent building, one of the most richly beautiful I have ever seen, and a feast for the eyes I would gladly consume all over again, given half a chance.

 above: Exterior of San Vitale.

For a comprehensive history of Ravenna throughout late antiquity and the early Middle Ages, I can recommend Ravenna: Capital of Empire, Crucible of Europe by Judith Herrin ISBN: 9780241954454