Chapter 8: Late Antiquity Churches, Interiors, and Luxury Arts

Ravenna and Luxury Arts in Late Antiquity

Ravenna's Significance

• Constantinople: Location of Emperor Theodosius I.
• Ravenna: Gains importance during this period due to political and military shifts in the Roman Empire.
• Theodosius I:
  • Makes Christianity the official state religion of the Roman Empire.
  • Bans pagan worship and closes pagan temples.
• Division of Power:
  • After Theodosius I's death, the empire is divided between his sons.
  • Arcadius becomes emperor of the East.
  • Honorius becomes emperor of the West.
• Honorius moves the capital to Ravenna due to attacks and decline in Rome.

Mausoleum of Galla Placidia

• Originally believed to be Galla Placidia's tomb, now thought to be a chapel dedicated to Saint Lawrence.

Exterior

• Plain, bare, and lacking in decoration, sculptural reliefs, or paintings.

Interior

• Lavishly decorated with marble-faced walls and glass mosaics covering every inch above the marble.

Contrast Between Exterior and Interior

• Symbolism: The interior represents the soul, which is what truly matters, while the exterior is merely appearance.
• Transition: The building serves as a transition from the secular, earthly realm to a heavenly, spiritual, sacred space.
• Ideal Christian: The building may symbolize the ideal Christian – simple in external appearance but glorious in inner spirit.
• Mosaics reflect candlelight, creating a beautiful atmosphere.

Interior Decorations

• Heavenly sky covering the interior.
• Lunette-shaped mosaics.
• Star-filled sky design.

Mosaic: Christ as a Good Shepherd

• Located on the entrance wall.
• Christ is depicted in royal robes of gold and purple.
• He holds a scepter, combining a staff and a Christian cross.
• He is portrayed as an imperial prince rather than a simple shepherd.
• Classical influences: Three-dimensional modeling of bodies and creation of depth in the pictorial space.
• Changes in depiction: Reflects Christ's status after Christianity becomes the official religion.
• Composition: Animals are balanced on either side, all facing Christ, drawing focus to the central figure.

Comparison of Depictions of Christ

• Earlier depiction: Simple young boy in a tunic with an animal on his back.
• Later depiction: Royal, princely shepherd sitting amongst the sheep.

Mosaic: The Miracle of the Loaves and Fishes

• Located in another church in Ravenna, about 80 years later.
• Jesus is depicted wearing imperial dress with purple and gold, with a nimbus (halo) inscribed with a cross, symbolizing his divinity.
• Story: Jesus multiplies a few fish and loaves of bread to feed thousands.
• Emphasis: The mosaic focuses on Jesus' divine nature and holy character.
• Minimal details: The narrative is less important than the spiritual message.
• Background: Gold, symbolizing a spiritual quality.
• Changes: Stylistic changes from earlier mosaics, with flatter forms, frontal figures, and gold backgrounds emphasizing spirituality.

Comparison of the Two Mosaics

• Christ as a Good Shepherd: Classical elements, depth, blue sky, more landscape details.
• Miracle of the Loaves and Fishes: Purple and gold, minimal landscape, linear figures, flat forms.
• These differences reflect the shift towards medieval artistic styles.

Luxury Arts: Ivory Carvings

• Formerly known as "minor arts," now referred to as "luxury arts."
• Ivory comes from elephant tusks and is admired for its beauty and exotic origin.
• Ivory objects were costly and considered luxury items.
• Skilled artists were required to carve ivory due to its hardness and irregular shape.

Ivory Box: Suicide of Judas and the Crucifixion of Christ

• Small size: Approximately three inches by four inches.
• The box depicts scenes from the Passion of Christ.

Panel 1: Pontius Pilate, Jesus Carrying the Cross, and Peter's Denial

• Pontius Pilate: Washing his hands, declaring himself free of Jesus' blood. He is depicted on a pedestal, seated on an elaborate throne.
• Jesus Carrying the Cross: On the road to Calvary.
• Peter's Denial: Peter denying Jesus three times before the rooster crows.
  • A woman points to Peter, asking if he was with Jesus.
  • Peter denies knowing Jesus.
  • A rooster symbolizes Peter's denial.

Panel 2: Jesus on the Cross and Judas Hanging

• Jesus on the Cross: Early depiction of the crucifixion.
• Judas Hanging: Judas has hanged himself, with silver coins at his feet.
• Iconography: Establishes iconographical standards for future crucifixion scenes.
• Jesus' Depiction: Strong, powerful body, displayed as an object of worship.
• Figures Present: Mary (Jesus' mother), possibly Joseph of Arimathea or John the disciple, and a Roman soldier who stabs Jesus to confirm his death.

Panel 3: The Tomb and the Resurrection

• The Tomb: Roman soldiers are asleep, and the tomb is open, revealing that Jesus' body is not there, signifying the resurrection.
• Figures present: The two Marys visiting the tomb.

Panel 4: Jesus Appears to His Disciples

• Jesus appears to his disciples, instructing them to spread the good news.
• He is elevated on a podium, gesturing to them, reminiscent of Roman oratory poses.
• Doubting Thomas: Points to the stab wound on Jesus' chest to verify his identity.
• Iconography: The scene shows the wound to Thomas and the mission given to the disciples.
• Shortly after this scene, Jesus ascends to heaven.

Conclusion

• The ivory box contains many scenes on small panels, setting the standard for portraying key Christian events such as Jesus walking on the road to Calvary and the crucifixion.
• Provides a foundation for understanding Christian themes and subject matter in the era.