SPEAKER 2: What we do have is an extraordinary apse mosaic. Seen from the outside, the Basilica of Sant'Apollinare Nuovo is architecturally quite simple. But here His voice is suggested by the presence of a hand reaching down from the golden heavens (see figure 5). In SantApollinare Nuovo, the faces and hands in several of the Christ scenes are set not with glass tesserae but with cubes of stone. Our editors will review what youve submitted and determine whether to revise the article. Like the empire it served, it was a direct continuation from its Imperial Roman predecessor, but played a far greater role in the defence and survival of the state than its earlier iteration. All is culminated in the material wax becoming immaterial fire in praise of God. In Aramaic it explicitly refers to a royal park. As St Irenaeus (died c. 202 AD) tells us, The Church has been planted as a paradise in this world. One key to the deeper meaning of our mosaic is given in fact some days before the event of the Transfiguration itself. This suggests, as with Melchezidek, a union of priestly and royal ministries. Why the stars, and why are the clouds coloured? I think there are few examples of liturgical art that embody such a wide spectrum of Christs work as this mosaic at SantApollinare in Classe. In so doing, Christ raised up the created and fallen human life that He had assumed (the six days of creation), so that it could participate in divine and eternal life (the eighth day). But this visual discourse is not merely to be observed. The wise artist or craftsperson uses their power over the medium with love and discernment, to raise the raw material into something even more beautiful. The mosaic is a representation of the famous story from the Bible of Jesus feeding the 5,000 with the 5 loaves and 2 fish. Apse 6th century, triumphal arch 7th -12th century. Truly I tell you, some who are standing here will not taste death before they see the kingdom of God.. Ironically, this mosaic of the Transfiguration does not depict the transfigured Christ, or at least, not His full figure clothed in brilliant white as is usually the case. The twelve lambs beside him represent all the faithful, and the garden around him is a microcosm of the whole creation that he and all the faithful offer in the Eucharist, and upon which the Holy Spirit descends and transforms. during the time of Theodoric. For the Persians it came to refer to their expansive walled gardens. It depicts the priest King Melchezidek standing behind an altar with bread and wine, with Abel offering a lamb on his right, and Abraham offering Isaac on his left. Justin, that the Eastern Orthodox Church could learn a lot from the creative approach of the early Western Church when it comes to expressing timeless theological truths in its church schema. There's tremendous detail in B It embraces you. The way that the holy bishop and martyr is set within the scene suggests that he has a broader significance. 3 (#99152), Dr. Elena FitzPatrick Sifford on casta paintings, A new pictorial language: the image in early medieval art, A Global Middle Ages through the Pages of Decorated Books, Travel, trade and exploration in the Middle Ages, Musical imagery in the Global Middle Ages, Coming Out: Queer Erasure and Censorship from the Middle Ages to Modernity, The Buddhas long journey to Europe and Africa, The lives of Christ and the Virgin in Byzantine art, The life of Christ in medieval and Renaissance art, Visions of Paradise in a Global Middle Ages, Written in the Stars: Astronomy and Astrology in Medieval Manuscripts, Parchment (the good, the bad, and the ugly), Words, words, words: medieval handwriting, Making books for profit in medieval times, Medieval books in leather (and other materials), The medieval origins of the modern footnote, An Introduction to the Bestiary, Book of Beasts in the Medieval World, Early Christian art and architecture after Constantine, About the chronological periods of the Byzantine Empire, Byzantine Iconoclasm and the Triumph of Orthodoxy, Early Byzantine architecture after Constantine, Innovative architecture in the age of Justinian, SantApollinare in Classe, Ravenna (Italy), Empress Theodora, rhetoric, and Byzantine primary sources, Art and architecture of Saint Catherines Monastery at Mount Sinai, Byzantine Mosaic of a Personification, Ktisis, The Byzantine Fieschi Morgan cross reliquary, Cross-cultural artistic interaction in the Early Byzantine period, Regional variations in Middle Byzantine architecture, Middle Byzantine secular architecture and urban planning, A work in progress: Middle Byzantine mosaics in Hagia Sophia, Mosaics and microcosm: the monasteries of Hosios Loukas, Nea Moni, and Daphni, Byzantine frescoes at Saint Panteleimon, Nerezi, Book illumination in the Eastern Mediterranean, A Byzantine vision of Paradise The Harbaville Triptych, Cross-cultural artistic interaction in the Middle Byzantine period, Basilica of Santa Maria Assunta, Torcello, Mobility and reuse: the Romanos chalices and the chalice with hares, Byzantium, Kyivan Rus, and their contested legacies, Plunder, War, and the Horses of San Marco, Byzantine architecture and the Fourth Crusade, Late Byzantine secular architecture and urban planning, Picturing salvation Choras brilliant Byzantine mosaics and frescoes, Charlemagne (part 1 of 2): An introduction, Charlemagne (part 2 of 2): The Carolingian revival, Matthew in the Coronation Gospels and Ebbo Gospels, Depicting Judaism in a medieval Christian ivory, Bronze doors, Saint Michaels, Hildesheim (Germany), Pilgrimage routes and the cult of the relic, Church and Reliquary of Sainte-Foy, France, Pentecost and Mission to the Apostles Tympanum, Basilica Ste-Madeleine, Vzelay (France), Manuscript production in the abbeys of Normandy, The Romanesque churches of Tuscany: San Miniato in Florence and Pisa Cathedral, The Art of Conquest in England and Normandy, The Second Norman Conquest | Lanfrancs Reforms, The English castle: dominating the landscape, Motte and Bailey Castles and the Norman Conquest | Windsor Castle Case Study, Historiated capitals, Church of Sant Miquel, Camarasa, The Painted Apse of Sant Climent, Tall, with Christ in Majesty, Plaque with the Journey to Emmaus and Noli Me Tangere, Conservation: Cast of the Prtico de la Gloria, Cecily Brown on medieval sculptures of the Madonna and Child, Birth of the Gothic: Abbot Suger and the ambulatory at St. Denis, Saint Louis Bible (Moralized Bible or Bible moralise), Christs Side Wound and Instruments of the Passion from the Prayer Book of Bonne of Luxembourg, Ivory casket with scenes from medieval romances, Four styles of English medieval architecture at Ely Cathedral, Matthew Pariss itinerary maps from London to Palestine, The Crucifixion, c. 1200 (from Christus triumphans to Christus patiens), Hiding the divine in a medieval Madonna: Shrine of the Virgin, Porta Sant'Alipio Mosaic, Basilica San Marco, Venice, Spanish Gothic cathedrals, an introduction, https://smarthistory.org/santapollinare-nuovo/. There is some iconography that can only be described as miraculous. Or to use another analogy, as spiritual gardeners we are to cultivate the wild and wonderful world into a garden. Detail. to build a torch so precious.[2]. Global shipping available. But I would suggest that Saint Apollinare, as well as being an individual person, a bishop and a saint, also represents the whole Church in her Eucharistic fullness, giving thanks for and offering all creation. These bishops, together with Saint Apollinare (the first bishop of Ravenna), serve to locate within the apostolic succession each priest who celebrates in the basilica. They spoke about his departure, which he was about to bring to fulfilment at Jerusalem. In this article I want to explore some of the themes expressed by this splendid mosaic. Leonardo's Last Supper, but this is so different in how the artist represented the story. Abraham is also priestly, ready even to offer his own son on the altar. They symbolize the four evangelists: the eagle is John; the man Matthew, the lion Mark, and the ox Luke. The Gospel of Matthew makes very clear the connection between the Taboric experience and the Second Coming when he writes: Truly, I say to you, there are some standing here who will not taste death before they see the Son of man coming in his kingdom (Matthew 16:28). It is where we are in intimate communion with God. I so enjoyed reading this article and found it not only educational but spiritually moving. And above the cross is the Greek word for fish, , the famous acrostic formed by the initials of five Greek words meaning Jesus Christ, Son of God, the Saviour.. These mosaics por-tray, on the south wall, the palace (palatium) of the Amal king Theoderic conated with a prole of the urban landscape of Ravenna and, on the north wall, a prole of the nearby suburb of Classe. So the cross in our mosaic is the sign of the Son of Man that will appear in the heavens in the last days, a sign of His Second Coming. The purpose of His incarnation was to gather all creation into Himself, and in particular to unite our human nature with His own divine nature. Christs parable of the lost sheep (Matthew 18:10-14) speaks of the shepherd leaving ninety-nine of his flock to find the one lost sheep. The three bands of mosaics correspond to those on the left wall . The Cross: Christs Second Coming in glory, The jewelled Cross, sign of Christs transfiguration, crucifixion and Second Coming. The upper tier. Italy, 5th-6th century. Our mosaic seems to be saying that the Transfiguration transports us humans back to paradise, our original home where we were intended to meet and commune with God. But, as we shall see, these themes are nevertheless theologically implicit because the mosaic explicitly links the Transfiguration with the Holy Liturgy and the Lords Second Coming. We are clearly looking not at a wild forest but a garden, one cared for by men and women. People visit mountaintops, but they do not stay there. This tier capitulates all that happens below. THE MOSAIC APSE OF SANTAPOLLINARE IN CLASSE, RAVENNA: SantApollinare in Classe mosaic. Every ministry that Bishops, priests and lay possess is in fact a participation in Christs ministry. The event is . 5 April 2006. Whom do you seek? Supposing him to be the gardener, she said to him, Sir, if you have carried him away, tell me where you have laid him, and I will take him away.. Our mosaic reflects all these associations. In this case, He has become the Gardener in Eden. Photos by Steven Zucker. 12th century, Saint Catherine's Monastery. Sometimes in the Gospels people blurt out things that appear to be mistakes but end up being prophetical. This was a church that One sees such palms in many other Italian mosaics, such as at Sant'Apollinare Nuovo in Ravenna (6 th c.), the ceiling mosaic of Arian Baptistery also in Ravenna (5 th c.), at Santa Prassede in Rome (9 th c.), and in the apse mosaic of Santa Cecilia also in Rome (9 th c.). Lucky for us ! So what our mosaic concentrates on is not so much Christs transfiguration but ours. So what our mosaic concentrates on is not so much Christs transfiguration as ours. Mountains are not a place of instasy and a place to remain, but gardens can be. Church and her theology of artistic beauty. Italiano: Basilica di Sant'Apollinare Nuovo a Ravenna: 'Il porto di Classe.'. We don't know how accurate We recall that not only did Christs person shine with light on Tabor, but also His inanimate garments. Light thereby literally comes from within the mosaic itself, and is not merely reflected off its surface. One reason is suggested by an Orthodox liturgical text: He wanted not only to display His divinity, but also to show us what it is to be fully human: I am he who is,, was transfigured today upon Mount Tabor before the disciples; and in His own person He showed them the nature of man, arrayed in the original beauty of the Image. Apollinaris of Ravenna (Italian: Apollinare; Greek: , Apollinarios, Late Latin: Apolenaris) is a Syrian saint, whom the Roman Martyrology describes as "a bishop who, according to tradition, while spreading among the nations the unsearchable riches of Christ, led his flock as a good shepherd and honoured the Church of Classis near Ravenna by a glorious martyrdom." It is a place of intimacy, a place to dwell and enjoy.People visit mountaintops, but they do not stay there. This haloed saint stands in the midst of the garden, with his hands raised in prayer. We will never spam you or share your information with others. were changed at that point to reflect Orthodox beliefs and to erase what was felt Our mosaic develops this theme of priestly offering still further, but we shall discuss this a bit later. Early Christian, 493-504; established by Theodoric when he was king of Italy; palace church; relics of St. Apollinarus brought here in 9th cent. This is an appropriate scene, both because of the Holy Liturgy that is celebrated in front of it and because of our mosaics priestly and regal theme. the pattern of these textiles. On one side female Mosaic. Unlike perhaps the most famous church in Ravenne, San Vitale, which is a central plan, Sant'Apollinare Nuovo is a Basilica plan. Two men, Moses and Elijah, appeared in glorious splendour, talking with Jesus. St Irenaeus reminds us that though Adam and Eve were sinless before the fall they were not yet perfect. In the internal faade of the basilica of Sant'Apollinare Nuovo is exhibited a rectangular fragment of detached mosaic depicting a sovereign: he is in a frontal position surrounded by a golden halo and with his head adorned with a pearl diadem and precious stones from which the pendilia (hanging chains) descend. The secret to this mosaic lies in the fact that it depicts not merely the past, but also the present and the future. The mosaic aims to encompass not just the beginning but also the end, the fulfilment of Gods work of salvation in Christ. These and other anomalies immediately invite us on a journey to try and discover their meaning. The Basilica of Sant' Apollinare Nuovo is a basilica church in Ravenna, Italy. Photos cannot do justice to this mosaic. Peter and his companions were very sleepy, but when they became fully awake, they saw his glory and the two men standing with him. when Christ announced, one of you will betray me, but he also would have said, here's the bread, this is my body. They are labelled Moses and Elijah (MOYSES and HbELYAS to be precise), and it is they who appeared with Christ during the Transfiguration. Whom do you seek? Supposing him to be the gardener, she said to him, Sir, if you have carried him away, tell me where you have laid him, and I will take him away.. Melchizedeks garment is identical to those worn by high priests Aaron in the third century fresco at Dura-Europos and Caiaphas in the sixth century mosaic in nearby SantApollinare Nuovo. Luke tells us that eight days before His Transfiguration (Matthew and Mark say six), Christ spoke to His disciples of His Second Coming, saying that He would come in His glory and in the glory of the Father and of the holy angels. We have instead the cross, with Christs face set in a small medallion at its crossing, and the large figure of Saint Apollinare. Likewise, Christ returned to the world with His three disciples after His Transfiguration. Secondly, the curvature of the apse itself is a form of enclosure. NOT! The mosaic is a profound theological discourse. Eight is thus a symbol of the created world assumed into the divine life, in a union without confusion. Santa Maria Maggiore. Of much greater significance, however, are the sumptuous mosaics that cover the walls of the nave. The mosaic possesses various concentric bands of enclosure. Material creation plays an essential role in or union with God. Please check your entries and try again. But this visual discourse is not merely to be observed. For, as St Paul so poetically writes, the Father raised us up with him, and made us sit with him in the heavenly places in Christ Jesus (Ephesians 2:6). They are angelic warriors sent to war against demonic enemies and protect the world and the Church. Mosaic The Three Magi In Sant Apollinare Nuovo In Ravenna close. It is as though Christ were stepping back a little in order to bring our transfigured state to the fore. And instead of the mountain of Tabor we have a garden. A hand symbolizing the voice of the Father. There are in fact ninety-nine stars in our mosaic. Photo by Steven Zucker. The Basilica of Sant'Apollinare Nuovo is a basilica church in Ravenna, Italy. It is however not impossible that it is a remake of an earlier work made at the same time as the conch mosaic, in the sixth century. Perhaps we could look to some of these examples for inspiration. Also, on either side of the great jewelled cross are three sheep. This Arian church was originally dedicated in 504 AD to 'Christ the Redeemer'. 53249) and SantApollinare Nuovo, Ravenna (c. 490). Basilica di Sant'Apollinare Nuovo: Mosaics! The Father has raised us up with Christ and made us sit with Him in heavenly places. In the centre is Christ in a medallion. 2023 Orthodox Arts Journal | All Rights Reserved | Facebook|Twitter|D&DbyRolla Creative, LLC. and to promulgate an understanding of There He walks and talks with us. The disciples kept this to themselves and did not tell anyone at that time what they had seen. Ours is a seventh century work, but of poor quality, probably due to the multiple restorations it has suffered over the centuries. In Christian symbolism bees represent the immortality of the soul and the resurrection (for a hive seems to come back from the dead after three months of winter hibernation). All this fecundity is finally embraced and contained by a broad arch of foliage that supports a host of birds, singing no doubt. Moses and Elijah are depicted plainly either side of the cross. my blood, and remember me. The Aryans believe that as people grow old, they become a "man of sorrow." These Splendid Mosaics at Basilica Sant'Apollinare Nuovo Will Take Your Breath Away (Ravenna, Italy). esk; Dansk; Deutsch; English; Espaol; Franais . This is the same principle He applies when He tells the disciples that He must depart this world so that He can send them the Holy Spirit. The Church can prophetically oppose a secular power that acts contrary to Gods commandments, but it can also accept material assistance from it if this genuinely aids the Churchs spiritual work and benefits peoples lives. people changes the images for "political" purposes. In Christ, the Father has raised us up and made us sit with Him in heavenly places. which glowing fire ignites for Gods honour, As Metropolitan Kallistos Ware has written, One is priest (Christ); some are priests (the ordained clergy); all are priests (the laity). Above the paradisiacal landscape with Apollinaris, on a golden background, the hand of God emerges from the white clouds. The effect of seeing exactly the same iconography again and again, no matter how profound its original conception might be, can be to put us to sleep spiritually rather than open our noetic eyes. But we can delve deeper still into our mosaics other layers of meaning. This is graphically affirmed by two passages in the ancient hymn Exsultet, sung in the Western Church by a deacon in front of the Paschal candle. Both the mosaic and the synoptic Gospel accounts affirm that the Transfiguration was in fact a foretaste given to the three apostles - and to us of His coming again in glory to establish His Kingdom without end. But gardens can be. Basilica di Sant'Apollinare Nuovo: Incredible mosaics and columns of which you should not miss detail - See 2,083 traveler reviews, 2,347 candid photos, and great deals for Ravenna, Italy, at Tripadvisor. It is interesting to contrast this scene with that in Genesis. They may well be profits. Mosaics, Sant'Apollinare in Classe, Ravenna, 6th century. This Privilegia mosaic encapsulates the Orthodox ideal of symphony between Church and state. the other side female, replaced the mosaics created But we shall come to these later. The Cross: Christs Second Coming in glory, The jewelled Cross, sign of Christs transfiguration, crucifixion and Second Coming. $4.95 + $4.65 shipping. This Mass names the Virgin Mary, male apostles, and saints, and seven female martyrs (each depicted in Ravenna's Basilica of Sant'Apollinare Nuovo): St. Felicitas, St. Perpetua, St. Agatha, St. Lucy, St. Agnes, St. Cecilia, and St. Anastasia. church, furthest toward the apse where the Eucharist would be performed, is a scene of the Last Supper. This tier capitulates all that happens below. Sponsored. While the fleets of the unified Roman Empire faced few great naval threats, operating as a policing force vastly inferior in . So we are now in a place to gather together all these connotations of the term paradise and relate them to our mosaic. This theme of beginning and end is further alluded to by the depiction (executed in the 7th century) of Jerusalem and Bethlehem atop the triumphal arch. By the 6th century BC the Assyrians had adopted it as pardesu, domain. Thank you everyone. So much for the mosaics similarities with the Gospel accounts. Some of the Church Fathers say that Adam and Eve were in fact clothed with light before the fall, and only became naked when they turned from Gods way. How are we to understand the large figure of Saint Apollinare (identified by the inscription SANCTVS APOLENARIS)? The shrubs, rocks and flowering plants are likewise arranged, with a perfect imperfection. The great meadow of luminescent green mingles with blue and gold, adorned with imperial reds. He did not want to overwhelm us. Let us know if you have suggestions to improve this article (requires login). Set against this deep expanse the whiteness of the sheep and the saints garments seem brighter still. As we have discussed, our mosaic concentrates on the purpose of events in Christs life, and not just the events themselves. The disciples kept this to themselves and did not tell anyone at that time what they had seen. We were made in the image of God, but had the task to grow in His likeness through love for and obedience to Him. the capital city had been moved to Ravenna, bearded man with gold halo, cross [symbol of martyrdom], book; striped tunic [dalmatica] worn by deacons and bishops, mantle [pallium] conferred on bishop by Pope; cupboard with gospel books; metal grille w/fire, because Lawrence was grilled alive, Christ is a beardless youth, long hair, halo; holding cross in one hand, feeding lamb; in gold and purple as an imperial figure; pose reflects both Christian and classical (Orpheus) imagery, style of mosaics (Mausoleum of Galla Placidia), Late Antique Roman; impressionistic, illusionistic; floor, space, depth, perspective, small; dark blue background; 567 8-pointed stars in concentric circles; gold cross, arms pointing eastward, seven stars (of the Apocalypse or planets), four symbols of the Evangelists, shaped like a pinecone, sign of immortality. 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