San Vitale Church: Architecture, Mosaics, and Byzantine Art
Church of San Vitale in Ravenna (Italy)
It is an octagonal church with a centralized plan. The central part is supported by central pillars that hold the central dome. An entrance provides access through a cross-shaped narthex with two towers, which allowed access to the platform or the matroneum floor. These open next to the apse, the prothesis, and the diaconicon.
Inside, the feeling of weightlessness is emphasized throughout the space. The dome is very important in this sense. It is very light, built with clay pipes.
Its support on columns and its light weight allow for a centralized lighting system from the top.
The ornamental system, based on pairs of columns and arches in trios at each level, with Byzantine capitals and decorated mosaics, enhances the building’s lighting.
On the outside, red brick is used, which is surprising for its apparent simplicity in contrast with the interior.
Byzantine Paintings and Mosaics
Byzantine icons, the representation of sacred images, achieved popularity to the point of gaining social influence.
Icons were all sacred images, regardless of their material, whether marbles, mosaics, carvings, or paintings. Over time, they became especially identified with representations made on panels (tempera on panel).
The subjects and their types were stereotyped, and the production was tightly controlled by the Church to avoid new versions that could lead to idolatry. The Byzantine icon encodes the official iconography. Thus, images such as the Virgin in an attitude of Theotokos (Mother of God), Christ Pantocrator (Almighty), Christ as father, and Christ crucified became common. Images of saints were also frequent.
The stylized images are elegant and refined, reflecting the elitist nature of Byzantine art. This leads to a tendency towards rigidity and hieratic figures, very schematic and highly expressive.
The Mosaic
Byzantine mosaics are heirs to early Christian art and are used for wall decoration. Their role is essential as an element of transmitting the symbolism of light reflecting God. However, beyond their symbolism, their richness is a sign of imperial power.
In their creation, marble tiles of different colors or clay tiles with polychrome glass paste are used, always focusing on the impact of color.
The compositions are usually frontal, with single figures. They represent iconic, recurring patterns of rigidity and hieratic style, repeated between landscape or decorative elements.
The best mosaics depict Justinian and Theodora in the Church of San Vitale from the 6th century.
Mosaic of Justinian
In the apse of the Church of San Vitale in Ravenna, two mosaic programs are developed on each side of the altar, facing each other:
To the right is a portrait of Theodora, the Empress, and to the left, the Emperor Justinian.
In both cases, the civil and religious power of both leaders is emphasized.
In the portrait of Justinian, he is seen with Maximian, the Archbishop of Ravenna, and his entourage carrying offerings.
There is an obvious idealization. This is achieved through several characteristics: iscephaly, frontality, feet in a V-shape, horror vacui, repetitive movements in all the characters, hieratic style, and indefinite faces in the entourage. Even Justinian is depicted as young, although he was old, in an effort to idealize him.
The author, however, does not forget that these are human figures and therefore evaluates the testimony of their heads, creating portraits of stunning realism.