The Ravenna Mosaics of San Apollinare Nuovo

[David Kone]

I recommend that anyone who is interested in early Christian art take an internet tour of the Ravenna Mosaics of San Apollinare Nuovo, Ravenna (Arian phase) (6th - 7th century). Many of the mosaics from the Arian period still remain which depict the life of Jesus in more human terms.


http://www.hp.uab.edu/image_archive/ulj/uljc.html

http://query.nytimes.com/gst/fullpage.html?res=9B0DE1DD153DF937A35753C1A9619482 60&sec=travel&spon=&pagewanted=all

http://www.paradoxplace.com/Perspectives/Venice%20&%20N%20Italy/Ravenna/San%20Apollinare%20Nuovo.htm

The ceiling in the Arian Baptistery shows John baptizing Christ. The old man sitting to his left is not, as some have written a pagan god or an allegory of the Jordan river but the “old man” as stated in Ephesians 4:22-24

That ye put off concerning the former conversation the old man, which is corrupt according to the deceitful lusts; And be renewed in the spirit of your mind; And that ye put on the new man, which after God is created in righteousness and true holiness.

<img src="http://upload.wikimedia.org/wikipedia/commons/7/7f/Baptistery.Arians06.jpg" width="600" height="450" border="0">
Here Christ is shown as a young boy, "the new man", receiving the spirit of renewal (the Holy Spirit) in the form of a dove.


In the picture below, the mosaic of Justinian's palace, images of the Arian Saints that once stood under the archways have been covered over by curtain mosaics. A few hands can still be seen on the columns.
http://upload.wikimedia.org/wikipedia/en/8/85/Palazzo.jpg

[Danage]

I recommend that anyone who is interested in early Christian art take an internet tour of the Ravenna Mosaics of San Apollinare Nuovo, Ravenna (Arian phase) (6th - 7th century). Many of the mosaics from the Arian period still remain which depict the life of Jesus in more human terms.


http://www.hp.uab.edu/image_archive/ulj/uljc.html

http://query.nytimes.com/gst/fullpage.html?res=9B0DE1DD153DF937A35753C1A9619482 60&sec=travel&spon=&pagewanted=all

http://www.paradoxplace.com/Perspectives/Venice%20&%20N%20Italy/Ravenna/San%20Apollinare%20Nuovo.htm

The ceiling in the Arian Baptistery shows John baptizing Christ. The old man sitting to his left is not, as some have written a pagan god or an allegory of the Jordan river but the “old man” as stated in Ephesians 4:22-24

That ye put off concerning the former conversation the old man, which is corrupt according to the deceitful lusts; And be renewed in the spirit of your mind; And that ye put on the new man, which after God is created in righteousness and true holiness.

http://upload.wikimedia.org/wikipedia/commons/7/7f/Baptistery.Arians06.jpg
Here Christ is shown as a young boy, "the new man", receiving the spirit of renewal (the Holy Spirit) in the form of a dove.


In the picture below, the mosaic of Justinian's palace, images of the Arian Saints that once stood under the archways have been covered over by curtain mosaics. A few hands can still be seen on the columns.
http://upload.wikimedia.org/wikipedia/en/8/85/Palazzo.jpg

Justinian ordered the covering of the Arian saints? Seems a bit late, but I take it the mosaics must have been done after the fall of Ravenna and the Western Roman Empire in 476, but before 538 (the re-conquest of the Italian peninsular by Justinian).

Was the bottom mosaic perhaps ordered by the Heruli who sacked the Western Empire or by the later Arian nations who ruled Ravenna (the Vandals and Ostrogoths)?

[Postulare42]

Quote:
"The ceiling in the Arian Baptistery shows John baptizing Christ. The old man sitting to his left is not, as some have written a pagan god or an allegory of the Jordan river but the “old man” as stated in Ephesians 4:22-24"
__________________________________________________ ___________________________________________

I have a very different reading of the "old man".

He could be Moses, the law bringer. Note the "horns of radiance", a common part of the early iconography about Moses. Moses because the act of the baptism of Jesus:

Matthew 3:15 (Young's Literal Translation)

15"...But Jesus answering said to him, `Suffer now, for thus it is becoming to us to fulfill all righteousness,' then he doth suffer him..."

In this Jesus is shown as fulfilling the whole of the Law. The mosaic artist goes so far as to represent Jesus as naked AND circumcised !

The "old man" could also represent the prophets that fortold the life and message of Jesus. The "horns" of inspiration were also common in the symbology of the period.

He could also represent the author of the account depicted, i.e. Matthew, again with the "tongues of flame" or "horns" of Divine inspiration. Matthew, in later manuscript illuminations was frequently distinguished by bullocks horns or a calf's feet . . . linking him with the "evangelist" interpretation of the "Four Living Creatures" in the Apocalypse of John.

Lastly, he could represent the Father:


Matthew 3:16-17 (Young's Literal Translation)

16"...And having been baptized, Jesus went up immediately from the water, and lo, opened to him were the heavens, and he saw the Spirit of God descending as a dove, and coming upon him,
17and lo, a voice out of the heavens, saying, `This is My Son -- the Beloved, in whom I did delight.'..."

Of interest is that the figure is holding a Lilly of the region of Ravenna. Very early, even to the Romans, the lilly symbolised spring and rebirth.

Of further interest is that the colour of the "horns" and the figure's loinwrap are the same, possibly indicating conception/begotton. The early Arians were by no means antinomian, nor manicheistic. The red linings of the laurel "crowns" in the hands of some of the surrounding figures represent the "martyr's crown" merited by many of the first disciples. To continue with the symbology of colour, if the figure is viewed am Moses and/or the prophets, then the green of the figure's robe of authority (note the draping over the right shoulder) is the same color as that upon which John is standing, possibly indicating his prophetic authority.

I'm not in opposition to the stated interpretation. I just believe that there are viable others.

also:

"...as a lilly among the thorns, so is my beloved..." Song of Solomon, I think, portraying Jesus as pure and chaste, the "chief corner stone" of what would become the heavenly bride of the future bridegroom...unlike the many-times chastised "harlot" that Israel had become.

It should also be considered that he represents all of the above, and more. An invitation to enquiry, discussion and instruction.

I absolutely LOVE that old church. Those craftsmen were also artists of visual poetry.
----------------------------------------------------

INRE Justinian.

Interesting that Empress Theodora was Arian . . .at least politically. Ah..."...the politics of empire..." ! Especially BYZANTINE politics ! :D

[David Kone]

Your different readings have good merit but I am still leaning towards my original statement.

If he is Moses, it is interesting that his horns are deer like and red. What is also noticeable about this is that Jesus has halo but neither of the other characters have one yet the apostles all have one. Now, as John the Baptist is discounted in scripture we may believe that they early Christians did not see him at the level of a saint but I would think that Moses would merit more than little horns.


I think what you wrote …

”The "old man" could also represent the prophets that fortold the life and message of Jesus. The "horns" of inspiration were also common in the symbology of the period.”

… about the prophets has more possibilities.

As to it being the Father, his hand is raised as if he was communicating something.

Who ever this figure is it is clear that in the artist’s mind he is quite important. The red of his antlers and of his undergarment is shared with the beak of the dove and the lips of Jesus.

The fact that the ground under John and the figure’s outer garment are green may indicate the earthy, physical self. The red antlers are like antennas receiving the Law through the spirit and the undergarments are the received Law within the man. He may be Adam (mankind) as per my original premise and his raised hand is that of listening. Perhaps he represents a follower of Christ. Your writing about the lily makes this an especially endearing prospect.

You make some very good points! I wish we could revisit the past and attend the preparation for one of the baptism ceremonies.

It is interesting to me that John is holding a crosier which is associated with shepherds and bishops. Now we know John was not a shepherd. Perhaps this is a portrait of a known bishop of that time.

[Postulare42]

David,

About Moses and the horns, that particular symbology was so strong that it survived until the time of Michelangelo's Moses. As far as John the Baptist sans halo:

Matthew 11:11 (Young's Literal Translation)


11 "...Verily I say to you, there hath not risen, among those born of women, a greater than John the Baptist, but he who is least in the reign of the heavens is greater than he..."

At the time of the mosaic, study and veneration of the Hebrew Scripture was not well established, and the declaration of OT persons as saints had not yet taken hold. Further, anti-semitism was then pretty entrenched among the gentile christians. But I can't account for the lilly in the figure's hand unless it is to represent the "full flowering" of the law. So, I'm still open to it all.

I completely missed the crozier. Perhaps strangely, the early "arians" did not seem to have problems with adding the gospel according to John to the canon.