San Apollinare Nuovo, San Vitale, and Mausoleum of Galla Placidia in Ravenna - Essay Example

? What can be understood from the mosaic decoration of Churches: San Apollinare Nuovo, San Vitale, and mausoleum of Galla Placidia in Ravenna Introduction The mosaic techniques have been used to decorate walls and floors of buildings since many years ego. At first the mosaic decoration was very simple, but gradually it developed in colors and designs like in Byzantine art. After the peace of the church when churches have been used as public places and mosaics have was transfered from floor to wall, the mosaic did not have role only in decoration of the church but in educational aspect. The mosaics were usually pointed to religious stories about the Christ, saints and martyrs. 1 This essay is about the Byzantine mosaics of the Mausoleum of Galla Placidia, San Apollinare in Nuovo and the basilica of San Vitale and how important they were in showing the religious stories from scriptures. This essay is organized as follows: In part 1, the wall mosaics of two basilicas and one mausoleum will be discussed and subject of each mosaic will be explained specifically. The Mausoleum of Galla Placidia, in the shape of Greek cross, dated back to the middle of the fifth century AD. In this mausoleum the subject of the mosaics came very simple. 2 The basilica of San Apollinare Nuovo was built by Theodoric in about sixth century AD. The mosaic of the nave has been survived from late antique. Twenty two females on the wall of one side the nave refer to the section at the end of the church (apse) that shows Virgin with a child seated on the chair with angles around them and on the other side twenty six male mention to Christ. 3 Basilica of San Vitale in Ravenna, which dated back to Emperor Justinian, was built in 548. There are two mosaic decorations on the sides of apse; one of them is emperor Justinian and the other is the empress Theodora. Both of them are standing among their attendants and have a halo around their head. Other mosaic decorations in this church would be also discussed. In part 2, some considerable points about the mosaics of Galla Placidia, San Apollinare in Nuovo and San Vitale and what we understand about the symbols, and the theory of colors will be explained. 1- A brief look through basilicas and mausoleum 1.1 Galla Placidia The monument of Galla Placidia (fig. 1) dated to fifth century has a cross shape plan and over the barrel vaults and the central of arch, almost blue and gold mosaics designed it. The vaults have vegetal or flowery models. What makes the monument so important, is in the central of the dome where we can see the baptistery of the Orthodox on the gold background and the twelve apostles were around on the blue background. The arch has decorated with many stars on a dark background. Above the entrance, there is an important mosaic named “Christ as Good Shepherd.” He has a gold halo around his head and wears gold tunic while holding a big cross. There are six ships around him and the Christ is feeding one of them .(fig. 1)  Another mosaic (fig. 2) on the opposite side is showing St. Lawrence standing on the right side of the fire while holding a cross on his right hand and a book on his left hand. On the other side, there is a cabinet with open doors and a window is located between this cabinet and St. Lawrence.4 This mosaic because of the saints moving to the testimony is a kind of drama. 5 Symbols, like lamb, cross and star used in Byzantine art were the impressions of early Christian art. The symbols had been used as a secret before the peace of the church.6 During Theodoric cross was symbol of victory and at Ravenna it was used with Christ. 7 Cross in the hands of St. Lawrence represents testimony of Christ and deacon. A cross of Good Shepherd is symbol of herd and emotion. 8 The background of the mosaic of central vault is dark blue and on it there are several gold stars which are circled around a gold cross. Seven stars are among the cross which represent three things: first, the seven stars of apocalypse, second, the chance and third the seven planets. On the four corners of dome there are four figures with wings. They are four living things of apocalypse.9 In Roman art the blue sky with stars is very famous, but here because of the cross in the middle of the dome the meaning of it is not clear. There is a theory which state that this cross is pointed to the second coming Christ.10 If this theory is true it could change religion throughout the nation.  Fig. 1 Fig. 2 1.2 S. Apollinare Nuovo S. Apollinare was built about after 500 AD by Gothic emperor Theodoric near his mansions and it was devoted to the Redeemer. This church is an outstanding example of the mosaic decoration in conformity with the claims and the act of the Early Christian church after some changes made during Byzantine (in the sixth century AD).11The mosaic decoration of the nave walls of the church were divided into three parts. There was a large surface which was situated in a way that on the top of it there were windows bases and at the bottom it was the arcading which was held up by a number of columns. The area between the windows made up the second part. The third part was made up of the ceiling and the top of the windows. (figure. 3) 12 A number of rectangular planes form the uppermost band including Christ’s life and passion, interchanging with the decorative panels, which show a big shell. Two doves and a cross are put on the top of it. In the panels on the left-hand wall, most part of that shows the miracles of Christ. The scenes have only few figures which look similar. Normally, Christ looks young and he does not have any beard, whereas on the other scenes Christ’s life has been shown while having many figures, usually in a grouped form. Here Christ is older and is being shown with beard. 13 Figure 3. The features of iconographic illustration of Christ do not prove that the date for the left-hand and right-hand panel is the same, but the most obvious homogeneity of style can be seen. This has been emphasised by similarity in the figures’ proportions. This is indicated by the colouring and the gold background. The colours include great portion of white part of the Apostles’ robes, red portion of them for Christ and the tender green portion for the earth. The general colouring has been heightened by yellow and dark red. The design of colour is outstanding in the panel depicting Christ along with the two angles. The angels are showing different animals. One is displaying a white sheep in reddish dress and the other one presents the goats in blue and in the centre, Christ is wearing a purple dress.14 Considering the subject, two scenes are showing the Raising of Lazarus and the Denial of St Peter. One of the sculptures belonging to early Christian sarcophagi of the fourth century shows the Apostles’ life. 15 Against the gold background between the windows, the solemn figures are covered in white holding rolls and books. These indications are likely to show that they are prophet and not saints. They represent a uniform idea, although they can be recognized by their attitude. The simplicity of the design can help distinguish the thirty-two full faces and also distinguish the hand of artists that is working in Roman style.16 It is concluded that for better understanding the message of the mosaics of the S. Apollinare which are dated to mid six century AD they were located above the nave walls. Also, the heads of the figures tend to the east that leads the viewer’s eye to the major organizing (the Virgin with a child and Christ on the gold back ground). 17 1.3 San Vitale In Ravenna in the church of San Vitale (fig. 3) built in 547, there are imperial mosaics in this octagon building especially the two apse mosaics which seem to have ritual subject show emperor Justinian I (on the left) (fig. 4) wearing a diadem with his attendants and the church official, Maximian (having an inscription and being the administrator of making mosaics of San Vitale), holding paten and empress Theodora (fig. 5) on the opposite side, carrying a bowl among her attendants, while one of them is drawing the curtain to let them pass through. They are similar to each other because of using comprehensive gold in background, are wearing white and purple clothes while standing in a rigid state and the shape of bodies seems to be Byzantine.18It seems that they live in unrealistic world, even though the concentration on the faces like Maximian’s clearly reveals the ability of characters. White has been used in eyes to take them up which help to have more sense of strength. 19 It is confusing why these two mosaics located in the apse of Ravenna church because the apsidal sanctuary is the place where women did not permitted to go and the liturgy was made there.20 The unknown point is that why the Theodore mosaic is situated in San Vitale. Firstly, Theodora showed Justinian tradition during their territory. Secondly, the imperial portraiture has a model which is available in the Western capital of the Byzantine, Ravenna. Thirdly, the empress Theodora had a so powerful character at that time that the church could not disregard her. A holy space was related to Theodora and that is because she was the real donor of San Vitale. It is rational to assume from Theodora’s personality that she would insist on the patronage‘s privilege. This includes the advantage of visual representation. There is one suggestion that Theodora’s mosaic built after her death as a memorial of her impressive role during her life.21 Figure 3. San Vitale, Ravenna Figure 4. Emperor Justinian and the followers Figure 5. Empress Theodora The church of San Vitale has one of the best mosaic collections among its contemporaries. The ceiling of the choir (526- 47 AD) is decorated with mosaic almost in gold and green. Two angles can be seen in the picture, San Vitale, Bishop Ecclesius and among them the Redeemer sitting on the blue globe. In the central of the mosaic of choir arch is a white Lamb (fig. 4) on the blue background with white and gold stars. Four angels are around it while keeping their arms up and standing on the blue globes. They are holding fruits and wreath of flowers and are separated with long narrow pieces of fruits and green leaves. 22 The decoration of the sides of the walls upon the triforium is the same as vine branches and bunches of grapes. Among the landscape are four evangelists looking up to give revelation and write the Gospels with white dress and individual sign of himself over him (lion, cow) (fig. 6). Two angels (fig. 7) on the lunettes are saving a disc that has a cross on it. Around them on the left, the prophet Jeremiah is standing with a role in his hands and on the right, Moses received the law from God. Underneath, the heads of some clans from Israel are surrounded Aaron. 23 Figure 6. Figure 7. Figure 8. Two Angels holding a disk  Figure 9. Two lunettes are under the triforium on the left side that has been shown two events of Abraham’s life. Three angels declared Abraham and Sarah about the birth of a baby that they should victimize to God. On the right side,Abel and Melchisedec are looking up to the air when making an offer to God. Abel is a shepherd with poor clothes sacrificing a sheep, while Melchisedec is wearing official robes. A hand that seems as a sign of God is shown through the clouds. 24 (fig. 9) Two angles are above this lunette like the lunette on the left , again keeping a disc with cross. This is an important piece of work because it demonstrates how the angels declared Abraham and Sarah about the birth of a baby that would be God. The prophet Isaiah is located on the right side of these two angels and on the left again is the Moses but in two scenes, the first Moses (fig. 10) is giving food to the herd of Jethro, above it, the second Moses is fastening the lace of his sandals while looking at god. A fully decorated arch separates the choir and apse and in center of it two horizontal angels save a shield and in two sides of them Jerusalem and Bethlehem cities are shown. It is obvious that colors and scenes used in these mosaics are close to reality. 25 Figure10. The tonality of the mosaics is very low, for example, the colors used for the land are greens and heavy yellow, dark and weak blues represent air and water. Clouds have different colors such as grey, blues, greens, reds and purples. Also white has its own importance among other colors, the clothes, rocks and peaks of mountains, and lines around trees. This application of colors shows the local mosaics tradition that has source in naturalism. 26 Figure 11. the Christ, Redeemer, the apse mosaic The apse mosaic has its own inclination (fig. 11). The background is nearly gold and the ground is decorated with flowers. The young shaved Redeemer is sitting on the blue globe with purple robe and around his head is a halo. He extends his right hand to give the valuable crown to San Vitale. Two angels are standing in two sides, protecting him. On the left the Bishop Ecclesius wearing toga carries the church model in his hand. There are harmonized figures with the equal height which have established a balance composition. 27 This structure is very similar to previous mosaics in Ravenna because of the colors and design, like the ground full of flowers and the sky with red and blue clouds. Therefore, the assumption of relating the mosaic to the Ravenna workshop should not be ignored, that is working under Byzantine impact in a novel way. 28 2. Considerable points Early Mosaics were used on the floor. After times when it moved on the walls it brought the topic with itself. In the fourth and fifth century the wall mosaics revealed some features that shows Byzantine art. These features can be seen in the mausoleum of Galla Placidia. The first most important matter that is simplifying the subject in comparison with earlier mosaics is that these works have simpler design. For example, the mosaic of the martyrdom of St Lawrence is divided in to 3 sections only. On the right St Lawrence is standing, in the middle there is fire and on the left the cupboard. The background is colored with light blue that an endless space appears in the mind. 29 In St Apollinare like Galla Placidia the mosaics are simpler in subject and the movements of figures. The second matter of Byzantine art features is enlarging Christ than other figures in one scene. For instance, the figures of Virgin Mary and Christ at the end of the church (apse) are seated on the chair and the saints on both sides are smaller. 30 The figures in the all mosaics have splendid clothes usually in white, purple and red, although they are hard and with no depth. It is understood from the face that the figures are not from a real world because there is no emotion in their eyes and they live in world without time. In the Theodora panel the eyes are looking up by white color used in them to make more effect on viewer. 31 In the mosaic of Virgin and child, all figures are looking forward and with full face that is more imposing. Conclusion The mosaic decoration of the mausoleum of Galla Placidia, the basilica of San Vitale and San Apollinare in Nuovo are very famous in Ravenna, Italy. All these churches have had great mosaic decoration during Byzantine period. The mausoleum of Galla Placidia from fifth century AD is famous because its dome is decorated with stars on the dark blue background and a gold cross on the central of it. The construction of San Vitale started by Bishop Ecclesiusand in 526 AD and ended in 547 AD. It was not a big Byzantine octagon church but have wonderful mosaic decoration of nave and apse. The two colors gold and green are used a lot in these mosaics. San Apollinare Nuovo is another church from the 6th century AD and has many figurative mosaics. The walls and apse in this church like the two previous churches are decorated with magnificent mosaics. The two sides of the walls show a Christ in his daily life. From these colorful mosaics it can be concluded that the colors which is used in all these mosaics help the structure and composition of the scenes to show it better, also have more impact on viewers because of the religious subjects that they have. Another matter is simplification of the subjects that used in Byzantine art and help Christian art to distinct from pagan. 32 Bibliography 1. Bovini, Giuseppe. 195?. Ravenna Mosaics, The Arts Council of Great Britain 2. Calkins, Robert G. 1979. monuments of medieval art, New York : Dutton 3. Charlotte Smith, Janet. 1990. Form and Function of the Side Chambers of Fifth- and Sixth-Century Churches in Ravenna, University of California Press on behalf of the Society of Architectural 4. Ferguson, McHugh, Norris, 1998. Encyclopedia of early Christianity, Library of Congress Cataloging in Publication Data 5. Goodyear, W.H. 1980. Roman and medieval art, 6. Herrin, J. 2007. Byzantium: The Surprising life of a Medieval Empire, London: Princeton University Press 7. Mackie, Gillian. 1990. New Light on the So-Called Saint Lawrence Panel at the Mausoleum of Galla Placidia, Ravenna, International Center of Medieval Art 8. Mango, Cyril. 2002. The Oxford History of Byzantium, Oxford: Oxford University Press 9. Mauskopf Deliyannis. 2010. Deborah. Ravenna in Late Antiquity, Cambridge University Press 10. Simson, Otto Georg von. 1987. Sacred Fortress: Byzantine art and statecraft in Ravenna, Princeton, N.J. : Princeton University Press 11. Spieser, J. M. 1998. The Representation of Christ in the Apses of Early Christian Churches, International centre of Medieval Art 12. Treadgold, Warren. 1997. A History of Byzantine State and Society, California: Stanford University Press 13. Wheeler, Bonnie. 1993. Representations of the Feminine in the Middle Ages, Academics Press 14. Wolfgang, Fritz. Volbach. 1946. Early Christian Mosaics: from the Fourth to the Seventh Centuries: Rome, Naples, Milan, Ravenna, New York : Oxford university press 15. Winfield, David. 2005. Byzantine Mosaic Work, Cyprus: Moufflon Publications Ltd  Read More