Ravenna in north-eastern Italy is known as the city of mosaics. Here, art and history were created piece by piece.

The Byzantine art form has left stunning legacies in Ravenna, the capital of the Western Roman empire, centre of the Ostrogothic kingdom that for a few decades replaced it, and an early centre of Christianity.

Ravenna’s artistic riches make it and nearby Classe a UNESCO world-heritage site, and this is mostly due to the mosaics. The images mix the worlds of divine and earthly power, showing dazzling glimpses of a world that otherwise vanished more than a millennium ago.

The intriguing element of many of these mosaics is that they remain a powerful document of the spiritual precepts of the period, which were marked by theological struggle between opposing visions of Christianity.

One of the surprises of these mosaic-filled buildings is their comparatively unassuming exteriors. Unadorned red-brick forms conceal the blaze of bright colour within.

Mosaic art in the
service of God

Four vivid examples of Ravenna mosaic art remain – the Basilica di San Vitale, the Basilica di Sant'Apollinare Nuovo, the Basilica di Sant'Apollinare Classe, and the relatively small Mausoleo di Galla Placidia – though there are several others.

We know that the emperor Charlemagne was impressed by the 6th century Basilica di San Vitale, which is far more striking inside than its brick encasement. The unusual octagonal structure was built from Roman remains and Charlemagne wanted the format repeated in his chapel at Aachen. He might even have taken columns from it to use, as spiritual and symbolic supports for his church revival in northern Europe.

The magnificent San Vitale presbytery is dominated by three images of Christ, including as the sacrificial lamb and the mature, bearded Saviour. Its theological argument supports the divine essence of Christ in an era of bitter theological debate on the nature of the Saviour. This was an era when the so-called Arian belief challenged the then established doctrines.

One mosaic depicts the emperor Justinian, who for a while restored Byzantine-Roman power in the region after the defeat of the Ostrogoths, his generals and court officials. Another shows his consort Theodora and her court ladies. Early biblical stories such as Abraham, bidden to sacrifice of Isaac, are shown, among Old Testament prophets.

The frescoes in the main dome were added in the 18th century.

Roman churches with Byzantine style

Basilica di Sant'Apollinare Nuovo is a Romanesque basilica that has three rows of stunning mosaic images either side of the nave. The top row shows scenes from the life of Christ, the second row saints and prophets, and the third processions of virgins and martyrs on either side. An image of the palace of the Ostrogothic king Theodoric – builder of the church – is portrayed on one side, the nearby harbour of Classe on the other.

The Three Magi also make an appearance, doing homage to Virgin and Child.

The church began as an Arian cathedral and stood at the centre of the struggle between Arianism and Roman doctrine. Arianism denied the divinity of Christ and it is believed Theodoric himself, an advocate of the Arian belief, was later erased from the display, perhaps at the order of Justinian.

The church was reconsecrated as Catholic and dedicated to St Martin, champion of the fight against heresy, before further reconsecration to Apollinaris when the saint’s relics arrived in the 9th century.

Aside from the rich mosaic work, the church’s semicircular apse is spread with ceiling paintings.

The Basilica di Sant'Apollinare in nearby Classe, the place where the late Western Roman empire based its fleet, is hardly less impressive. This church was built to house the remains of Apollinaris, patron of Ravenna, who according to the martyrology met his death in Classe, probably in the 2nd century. Apollinaris fell victim to the last of a series of beatings inflicted on him during an imperial persecution of Christians. His relics were later transferred to Ravenna for safety.

The oldest mosaics are dated to the 6th century. The saint is portrayed in the apse is his role as bishop, a shepherd of his flock, but three further sheep represent Peter, James and John. Above him the Transfiguration of Christ is depicted, with the hand of God reaching from the clouds, and the prophets Elijah and Moses.

In this church the designs above the arcades are framed in medallions, but these are painted images. Mosaic designs are, however, used between the arches above their ornate columns.

Elsewhere, the emperor Constantine makes an appearance, handing over permission for Ravenna’s church. The church became the necropolis of Ravenna archbishops.

Mausoleum for a queen

The outwardly unassuming cross-shaped Mausoleo di Galla Placidia is named as the resting place of Galla Placidia, daughter and mother of Roman emperors, wife of a third and a Visigothic queen, and for a while Roman regent. The details we have of her 4th and 5th century life are tantalising. The prize of her daughter’s hand of was the reason Attila gave for ravaging Gaul and Italy after 450.

Whether Galla Placidia lay in the chamber is doubtful. She was eventually buried in Rome’s old St Peter’s and the building has been linked to St Laurence. But the rich decoration would have befitted a woman of grace and power.

From the barrel-vaulted entrance the star patterns, plant designs and images are set on an indigo background. The theme is the journey to eternal life, featuring angels, apostles and the martyrdom of St Laurence.

Other mosaic highlights of Ravenna include:
● The so-called Baptistero degli Ariani, one of the oldest buildings in Ravenna, comes from the 5th century, the period of the Arian beliefs decreed by Theodoric. The dome retains the mosaic image of the baptism of Christ, surrounded by the apostles.
● The Baptisterio neoniano, the 5th century building where the dome mosaic again shows St John baptising Christ. The 20th century restoration of this image has been criticised, but for the viewer the impact remains. The apostles surround the scene in a wheel, encircled by motifs.
● The Museo Arcivescovile, part of the palace of the Ravenna bishops, where the chapel vestibule showing the Redeemer and the ceiling are richly decorated.
● Domus dei Tappeti di Pietra, known as the “Domus of the Carpets of Stone”, is in contrast a floor mosaic showing scenes such as the dance of seasons personified, with Time playing the tune on a set of pipes. The Good Shepherd also appears.

Ravenna has many beautiful sights, but it is the mosaics that live vividly in the memory of visitors. The city is among Raven Guides’ list of 11 of the most beautiful European cities many visitors miss.
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