Mosaics Of San Vitale Mosaics of San Vitale ERIK BUNGO The church of San Vitale in Ravenna was dedicated to St. Vitalis. After the discovery of the bones of the reputed martyrs Agricola and his slave Vitalis at Bologna in the fourth century, Vitalis was widely venerated in the west. The church of which he is the patron saint in Ravenna was begun by Bishop Ecclesius in the second quarter of the sixth century, when the Goths still ruled there. Funds for its construction were supplied by Julianus Argentarius.
The church was completed and consecrated by Bishop Maximian in 547/8, after control had passed to the Byzantines . San Vitale was built on an octagonal plan (Ills. 1), with eight heavy piers supporting the drum and dome. The inspiration for the central plan likely came from the east, for Ecclesius had recently returned from a visit to Constantinople, but the construction is Roman. Of special interest are the mosaics of the sanctuary and apse. The mosaics in San Vitale cover the entire sanctuary (Ills.
2,3). In different symbols and images, they all convey one idea: the redemption of mankind by Christ and the sacramental re-enactment of this event in the eucharistic sacrifice. The compositions must thus be understood as the setting for the rite celebrated in this room and as closely related to it. In the vault there appears the Lamb of God in the midst of a wreath, which is supported by four angels standing on globes. The image of the lamb was introduced into the Roman rite only at the end of the seventh century by Pope Sergius I, a Syrian . But, in the liturgies of the East, this symbol of the Christian sacrifice appears at an earlier date, and we are justified in interpreting its representation in San Vitale as alluding to the eucharistic liturgy (Ills.
4). The first arcade of the sanctuary is decorated with fifteen medallions, showing the images of Christ, of the twelve apostles, and of Gervase and Protase, who, with their father Vitalis, were venerated in this church. In the ancient liturgy of Ravenna, all these saints are mentioned in the so-called diptychs, the Book of Life, listing the names of those whom the church wishes to remember at every Mass (Ills. 4, 5). The next bay on either side shows, above the columns supporting the arcades of the galleries, two sacrificial scenes from the Old Testament.
On our left, the three angels appearing to Abraham in the valley of Mambre (Genesis, chap. 18), and Isaac whom his father is about to sacrifice; on our right, Abel offering a lamb, and Melchizedek with his sacrifice of bread and wine. Above them, there appears the hand of God, the traditional symbol of the divine presence and of God’s acceptance of the sacrifice (Ills. 6, 7). All four scenes allude to the eucharistic sacrifice. To make this significance plain, an altar is depicted between Abel and Melchizedek, on which are placed a chalice and two loaves of bread, identical in shape with that which Melchizedek offers and also with the eucharistic bread which the church used during the sixth century . The altar motif appears again in the opposite mosaic: Isaac is shown kneeling upon an altar, and even the table behind which the three angels are seated resembles the simple wooden altar of Christian antiquity. The three round cakes which Sarah has placed before the heavenly messengers are marked with the sign of the cross and recall again the eucharistic hosts of that time.
In patristic exegesis and in Christian art and literature, the four scenes depicted are among the most frequent symbols of the eucharistic sacrifice. Above these mosaics and flanking the graceful arcades of the gallery, the four evangelists are represented: Matthew and Mark on the left wall, John and Luke on the right. All four appear seated in a mountainous landscape, holding their Gospels on their knees. Their symbolic animals are seen above them; writing utensils are placed at their sides (Ills. 8, 9). The relation of these figures to those below is obvious: as the two tables which Moses received on Mount Sinai contained the Old Law, so the New Regulation is contained in the Gospels.
In the later Middle Ages, Christian art expressed this relation by depicting the apostles standing on the shoulders of the prophets . The mosaics in San Vitale express the same thought. It must be mentioned, however, that the four evangelists are depicted not solely as the authors of the Gospels. They, too, are symbols of the sacramental life of the Christian. As we proceed deeper into the sanctuary, toward the main altar of San Vitale, we face two monumental compositions. The imperial panels in the church of San Vitale at Ravenna are perhaps the most famous of all Byzantine mosaics. The two panels face each other, one on each side of the apse.
The left panel (Ills. 10) shows the Byzantine emperor Justinian in the midst of his attendants. The right panel (Ills. 11) shows the empress Theodora, Justinian’s consort, similarly attended. Each member of the imperial pair wears extravagant purple imperial robes and a crown and is distinguished by a halo.
Each also carries gifts for the church, Justinian a gold paten and Theodora a golden chalice. Each group appears to be advancing toward the center of the apse across a green floor between two jeweled gold columns, which, in Justinian’s panel support a coffered ceiling and in Theodora’s support a carved egg and dart cornice . While the wall behind Justinian’s scene is plain gold, Theodora’s scene has a more elaborate background: a niche with a shell-shaped conch directly behind the figure of the empress, at the left an open doorway hung with a curtain behind a small gushing fountain on a pedestal, and at the right a section of gold ground with a drapery hanging above it . The emperor has, to his right, two prominent dignitaries wearing white mantles with purple tablia over short white tunics embroidered with shoulder ornaments. To their right stands a group of guardsman carrying spears and a shield.
To the emperor’s left is another white-robed dignitary squeezed into a narrow space, to his left a bishop labeled Maximianus carrying a gold cross, and to Maximian’s left two deacons, one carrying a Gospel book and the other a censer . Theodora has two eunuchs to her right, one of whom touches the curtain in front of the doorway as if to lift it, and to her left two prominent noblewomen and a group of five ladies-in-waiting. Inside the church, in the overall context of the decoration of the sanctuary, these panels are located in the apse’s hemicycle, which is otherwise occupied mainly by three large windows (Ills. 12). The panels are integrated into the larger apse decoration by the simple and standard means of ornamental borders and decorative architecture .
The borders include a ubiquitous pearl and jewel band and a scalloped black and white one. The bejeweled columns used at the sides of each panel reappear in a slightly larger size between the windows of the apse. In the simplest sense, the intended purpose of these panels seems clear. It is to glorify the emperor Justinian and his empress, Theodora. In a wider sense, the mosaics may be conceived as a glorification of the whole institution of imperial autocracy, in Italy and throughout the world.
At this time Justinian was vigorously expanding his empire beyond the lands he had inherited in the eastern Mediterranean. In 535, just after conquering northern Africa from the Vandals, the emperor sent an expedition under Belisarius, his most capable general, to take Italy from the Ostrogoths. In 540, after Belisarius secured the surrender of the Ostrogothic king Vitigis and the Ostrogoths’ capital at Ravenna, he held all of Italy except for a few Ostrogothic outposts. At that point, Justinian recalled Belisarius to fight the Persians in the East. The Ostrogoths then rallied and retook much of Italy before the Byzantines finally completed the conquest in 561 . The scholarly consensus is that these mosaics represent an imaginary procession, given that Justinian, Theodora, and Maximian, the archbishop of Ravenna, who is labeled in the mosaic, were never together in the same place after Maximian’s consecration in 546 .
The figures apart from Justinian, Theodora, and Maximian are generally thought to be unidentifiable, though some tentative suggestions have been made for two or three others. After all, the mosaics must be essentially genuine, and the central figures can hardly represent anyone other than Justinian and Theodora, who reigned when the church was consecrated and were contemporaries of Archbishop Maximian. Like other works of imperial art, the mosaics of San Vitale were produced at a certain time for a certain occasion, but they were intended to retain their significance independently of that occasion, once it was past and forgotten. The only explicitly identified character in either panel is Maximian (Ills. 13), the first Bishop of Ravenna to rank as an archbishop, whose name is inscribed above his head.
The only other similarly identified bishop in the church’s mosaics is Ecclesius, represented in the act of offering the church to Christ in the apse at the viewer’s far right. This prominent position mirrors that of the church’s titular saint, Vitalis, whom Christ awards the crown of martyrdom in the same scene at the far left (Ills. 12). We know from the ninth-century chronicler Agnellus, who saw a now missing inscription in San Vitale, that Ecclesius was the bishop who initiated the church’s construction, that Maximian was the consecrating bishop, and that a certain Julianus Argentarius actually had the church built, decorated, and dedicated. Agnellus records that Julianus, a well-known patron of churches in Ravenna and probably a Greek and a banker, paid the substantial sum of 26,000 solidi to build San Vitale . Carved monograms on several capitals in the church name a third bishop, Victor, Maximian’s immediate predecessor, who obviously took a part in the construction.
Ursicinus, who was bishop between Ecclesius and Victor, presumably participated as well. Victor’s episcopate included the year 540, when the Ostrogoths, who followed the Arian heresy although they tolerated Orthodoxy among their subjects, surrendered Ravenna to the Orthodox Byzantines . Since San Vitale was begun under Ecclesius and consecrated by Maximian, the work spanned about two decades and took place under four bishops and two radically different political and religious regimes, one Ostrogoth and Arian and the other Byzantine and Orthodox. The details of the work’s progress and exact participation of each sponsor are not recorded in the sources and can only be conjectured. However, that the panels were planned together as a matching set, depicting the imperial couple bringing gifts to the church, is clear.
They surely belong to the period after 540, because the Ostrogothic kings would hardly have permitted anyone to put up mosaics in their capital that glorified the emperor and empress as rulers at Ravenna. With this background in mind, we can turn our attention to specific details on the imperial panels in San Vitale. The figures in the San Vitale panels are characterized according to conventions of Byzantine portraiture that define their age and position. The mosaicists have done this with indisputable competence and a fairly wide technical repertoire, though without excessive care for details of technique. Among the conventions known to the mosaicists was the indication of age through the choice of colors and the setting of rows in patterns to represent either younger and firmer flesh, as in the faces of Theodora’s ladies-in-waiting and the young lady to their left (Ills.
14), or sagging and paler cheeks – if in a somewhat understated manner – for Theodora herself (Ills. 15) and her closest female companion (Ills. 16). Age is represented for men through hairstyles, beards or a lack of them, and brow and cheek patterns ranging from smooth to furrowed. For instance, Justinian, though clean-shaven, has the shadow of a beard (Ills. 17), while the adolescent second from his right and Theodora’s eunuchs (Ills.
18) have no traces of beards. The visible flesh parts in the San …