Ravenna’s Early Christian Mosaics: Orthodox Baptistery & Sant’Apollinare Nuovo
Baptistery of the Orthodox Mosaics
Mosaics appear in the Baptistery of the Orthodox. Saint Peter and Saint Paul, as the main apostles, flank the throne of Christ who presides over the composition in the outer ring. Meanwhile, the scene of the Baptism is designed symmetrically: the figure of Christ occupies the center, flanked by the Baptist and the personification of the Jordan River.
After Justinian’s conquest in 540, the building was reconsecrated to the Catholic faith, as were many others by the emperor. It became an oratory dedicated to the Virgin Mary. In the eighth century, it was called Santa Maria in Cosmedin or Santa Maria Bella (Beautiful Saint Mary in Greek).
Sant’Apollinare Nuovo (Ravenna, 493-525)
History and Architecture
Theodoric built buildings for the Arian faith, but there is nothing distinctly Gothic in their style.
This building was constructed between 493-525, but in 540, it was reconsecrated as a Catholic church.
It was erected in the Caesareum district, near the former palace of Emperor Honorius.
Initially, when built by Theodoric, it was consecrated to Christ, hence the importance of depicting the public life of Christ in the interior mosaics.
In 540, it curiously took the name of Saint Martin (San MartÃn de Tours), a saint known for fighting against heretics. It is unclear why Justinian changed the church’s name.
We know that in the mid-ninth century, it was dedicated to Saint Apollinaris. This happened because the relics of Saint Apollinaris, which were then in Sant’Apollinare in Classe, were moved here. This is why the church became known as Sant’Apollinare Nuovo (Saint Apollinaris the New).
In the West, martyria (buildings dedicated to martyrs) could be incorporated within a basilica plan.
The plan is not Ostrogothic; it is a classical Western basilica plan from the 5th century.
The cylindrical bell tower is an addition from the 8th or 9th centuries.
It features a large central nave, higher than the side aisles, a projecting apse, and a narthex (entrance porch).
It underwent reforms, including work by the Franciscans.
The roof of the apse was constructed using tubuli fictiles (terracotta tubes, similar to pieces of amphorae) to make it lighter.
Interior
The interior layout is that of a simple basilica. The apse has been completely rebuilt, but the mosaics on the nave walls are preserved. The two upper friezes date from the Ostrogothic period (Theodoric’s reign). The lowest frieze, while retaining some structural elements from the Ostrogothic period, shows significant changes made by the Byzantines after 540.
We are aware that the original floor level was about 1.20 meters lower than the current one. Architectural reforms in the 16th century involved raising the floor level, which required adding sections to the columns and raising their bases.
Arcades separate the nave from the aisles. These consist of two rows of 12 columns each, made of Greek marble. They feature simplified Corinthian capitals with acanthus leaves and impost blocks (pulvins) above them. The spandrels (the triangular spaces above the arches facing the central nave) are decorated with crosses.
Compared to churches like Santa Sabina in Rome, the nave is notably wide, possibly reflecting regional architectural preferences.
The church retains elements like an iconostasis (screen separating the sanctuary) and a bema (raised platform), including an ambo (pulpit, the term used in the East).
Mosaics
There is debate whether the mosaic style is primarily influenced by Milanese or Byzantine traditions.
Another challenge in studying the mosaics is distinguishing the original work from later interventions. These include the Byzantine remodeling under Justinian around 540 and restorations in the 19th century by Felice Kibel, which were sometimes quite extensive.
It is believed that during Theodoric’s reign, when this was a palatine church, the mosaics included three levels:
- The upper levels depicted scenes from the life of Christ.
- A lower level likely featured figures from the Ostrogothic court, possibly Theodoric himself. These figures were systematically erased after Justinian’s conquest to remove any trace of the Ostrogothic dynasty and Arianism. Only subtle remnants, like hands near the columns, remain.
In place of the erased Ostrogothic figures, the Byzantines introduced the magnificent processional friezes of male and female saints we see today. These processions are more dynamic and clearly show Byzantine artistic influence.
Mosaic Details: Palace and City Views
One notable mosaic section depicts the Palace of Theodoric and the city of Ravenna (labelled CIVI CLASSIS). The representation of the palace follows classical Roman conventions, showing buildings framed by arches. However, figures originally depicted within these arches (likely Theodoric and his court) were removed during the Byzantine era, leaving empty spaces or replaced with curtains. Some details, like hands on columns, subtly hint at the erased figures.