RAVENNA Its Churches and Monuments

Progress, Volume XI, Issue 8, 1 April 1916, Page 587

RAVENNA Its Churches and Monuments

By S. HURST SEAGEH, F.R.1.8.A., F.N.Z.1.A., Christchurch

To those who have studied the history of Ravenna and had the opportunity of visiting and revelling in its art, the news that bombs had been dropped from a German aeroplane and had partly destroyed the Church of Sant' Apollinare Nuovo comes as a great shock: a shock which vividly recalls and deepens the delightful memories of this intensely interesting but little visited city. It is not in the direct route of tourists, but to the student of Italian art and history it is, next to Rome, the most fascinating of

all Italian cities. In some periods of art indeed Rome herself has nothing to compare with the works at Ravenna. For in the time of Rome's greatest troubles when the Empire was being battered to pieces by the northern hordes, it was to Ravenna that the Roman Emperor Honorius fled for safety and there founded in 402 A.D. a new capital. Here he and his sister Galla Placidia, the mother of Valentinian 111., dwelt in comparative peace so that while Alaric and his West Goths were destroying the classic art of Rome, Galla Placidia was erecting Christian churches and other buildings, some of which now stand to remind us of this glorious time in the history of the city. Its strength and safety lay in the surrounding lagoons making it impossible for an enemy to approach the city except along an easily defended causeway. It was a second Venice,

its buildings were raised on piles and the tidal-waters of the Adriatic rose and fell against their marble walls. Its beauty and safety attracted the barbarian masters whom in the fifth and early part of the sixth century occupied the throne of the Caesars. The short occupation of Odaocer has left no trace but his conqueror Theodoric the Great, King of the East Goths, raised the city to its former splendour, and added to the beautiful works of art which already adorned it. He like most of the other Teuton leaders had embraced Christianity but they were pupils of TJlphilas the good bishop and apostle of the Goths,

who taught them that Christ was the first and noblest of all created beings but was not the Eternal Son of God and that there was no Trinity. These were the teachings of Arius the fourth century bishop of Alexandria, and thus his followers, the Arians, were held as heretics ;by the Roman catholics the upholders of the Nicene creed. This has a most important bearing on the art of Ravenna, for Theodoric great basilcan church which has now been partly destroyed by Teuton bombs, was erected as an Arian church and sumptuously decorated with pictorial mosaics inculcating the teachings of the Arian faith. When in 526 the wise and tolerant reign of Theodoric closed and the eastern and western Roman Empires were again united under the Orthodox Christian Emperor, Justinian, this heretical church of Theodoric was condemned and a part of the —together with the greater part of the pictorial mosaics des-

troyed. It was ordered by the Roman Catholic conquerors that everything which could serve to perpetuate the memory of this hated Arian Gothic king should be obliterated. His body was taken from his mausoleum- -which was renamed the Rotunda—name was cut out from the walls of his buildings, his churches re-dedicated. In spite of all this destruction Theodoric's memory lives in the history of Ravenna, and his name is indelibly associated with his church, his palace and his tomb. It has been left for his Teuton descendants with their criminal bomb throwing to endeavour to destroy what Justinian and succeeding conquerors and plunderers have left of his works; works which are treasured most highly by the Italians to-day, and on which large sums have

been spent for their preservation. But although Justinian's conquering general, Belisarius, destroyed so much of Theodoric's work, to Justinian belongs the credit of erectiing two of the most famous churches at Ravenna for his orthodox followers the basilican church of Sant' Apollinare in Classe, and the Byzantine octagonal church of San Vitale—the most beautiful specimen of Byzantine architecture in Italy. The name of this Basilican church reminds us of the first bishop of Ravenna, St. Apollinaris— companion of St. Peter, who sent him to preach the Gospel on the eastern coast of Italy, and it reminds us also of the time in the earlier days of the Empire when the port of Ravenna— three miles from the city—was the headquarters of the Adriatic fleet. On the shores round the port arose the large and important suburb of "Classis," with its arsenals and ship-building yards. How important it was, can be inferred by the fact that during the reign of Justinian, was built there the largest of the

Ravenna churches, and that it was dedicated to Ravenna’s patron saint. The present dedication of Theodoric’s church is thus misleading, the “Nuovo” referring not to the church which was commenced nearly half a century earlier than the church at Classis, but to the fresh dedication which was given it when the relics of the saint were transferred hither from Classis in the 9th century. By Theodoric it was dedicated to Christ, by his immediate successors to St. Martin the Roman centurian of Constantine’s army who became the famous Bishop of Tours, while at the same time another warrior saint of Nero’s army— Vitalis—was chosen as the patron saint of Justinian’s church in Ravenna. This removal of relics from the church at Classis to that in Ravenna, emphasises the remarkable change which had been gradually taking place. Year after year deposits had been brought down the

rivers Montone and Ronco, and the harbour where once two hundred and fifty sail had proudly ridden at anchor, was gradually filled up. The deposits extended into the Adriatic about three miles forming a barren malarial waste around the ancient suburb. The cause of its prosperity having thus ceased to exist the suburb quickly declined. It was destroyed in the Bth century by the Lombard Luitprand, even its ruins have now entirely disappeared, and Sant’ Apollinarc stands not in Chassis but alone in a vast desolate plain, a noble historic monument the sole memorial of the glory of ancient days. No causeway is needed to reach Ravenna to-day. It is approached by means of a branch line from the railway running between Bologna and Rimini. The first impression is extremely depressing for the desolation of the district has extended to the town. There is no hum of city life for what life there is has hidden itself in the numerous Renaissance palaces which now do duty as stores and shops.

THE ROMAN PERIOD The historic monuments in Rome, Florence, and Venice, are surrounded by busy modern cities, but

Ravenna is essentially a city of the past, and the enjoyment of her monuments is perhaps intensified by their isolation. This is felt strongly on visiting its most ancient monument, the Mausoleum of Galla

Placidia, for we are transported at once from the grey depressing environments into the brilliant rays of art. It is one of the smallest of historic art treas-

ures, its plan is in the form of an equal armed cross —the greatest dimension being under fifty feet. The exterior is of plain brickwork, but the interior reveals to us a casket of Oriental splendour encrust-

ed with gems. The only direct light admitted is through the doorway at the end of one of the arms, what other light there is finds its way in through thin sheets of richly coloured alabaster in perfect harmony with the variegated marble walls. As we stand with our backs to the entrance, the flood of light behind us brilliantly illumines the large sarcophagus of Galla Placidia, standing in the opposite space, while in the spaces to the right and left, are partly seen those of Constantius her husband and Valentinian her son. Above them on the sweep of vault and circle of dome, are the symbols of their faith, gleaming forth from a deep azure background, spangled with golden stars and bordered by bands

of classical decorative forms, all wrought in exquisite mosaics of lapis lazuli and turquoise matrix forming rich harmonies in blue, green and gold. The -walls only have been restored, the vaults and dome are splendid examples of sth century Roman art, wonderfully preserved through the succeeding troubled times. The three churches built by Galla Placidia have been rebuilt to such an extent that but little of the original work remains, but in the Archbishop’s palace there still stands a beautiful little chapel—the Capella di San Pier Crisologo—vaulted and decorated in the same manner as the mausoleum. On the arches are portraits of saints, while in the central vault white-robed angels support the monogram of Christ. In this chapel is placed one of the most valued art treasures of Ravenna a richly carved ivory throne presented by Pietro Viseolo 11. Doge of Venice, to the Emperor Otho 111. in 1001. Of the period immediately preceding the Gothic conquest, there remains a very interesting example,

the Baptistry adjoining the cathedral. The Cathedral is an 18th century church, interesting only because it stands on the 4th century crypt, but the Baptistry shows the adaptation of an ancient Roman bath for Christian purposes. This was a common practice among early Christians, No more suitable places could be found than the ancient frigidarium or the tepidarium for baptism by immersion. The Ravenna example which now bears the name of the Baptistry of the Orthodox, is a domed octagonal building and the very beautiful sth century mosaics lining the whole of the walls and dome, have not lost their value to any great extent by restorations. There still remain around the walls, the fine figures of prophets, and the procession of apostles round the base of the dome, radiating from and leading the eye forcibly up to the mosaic of the baptism of Christ on the top-most part of it. THE GOTHIC PERIOD There was no break in the historic sequence of art when Theodoric continued the series of Ravenna’s churches. Though educated in Byzantium at a time when Byzantine art was reaching its culminating point, he yet preferred to employ Roman artists to execute his designs, so that in his churches we find but little indication of Byzantine influence. His name is associated with two churches, the Arian Baptistry, his palace, and his tomb. Of these the church of Sant’ Apollinare Nuovo, which has been damaged, is by far the most interesting in Ravenna. His other church San Teodoro, now Spirito Santo, has been rebuilt, and his Arian Baptistry has been freely restored. His circular tomb (thirty-six feet in diameter), covered with a single block of Istrian Marble weighing four hundred and seventy tons, still stands as he left it, but his palace was destroyed. The lower portion was being revealed by the excavations made at the time of my visitl9oß. They had not long been unearthed, but already several fine mosaic pavements had been discovered, giving promise that the plan of the whole would be made clear. The exterior of Sant’ Apollinare Nuovo—with its circular bell tower of the 9th centurygives no promise of the glorious vision within. On entering the central western door of the nave, we are held entranced. In the whole range of Christian mosaics there is nothing more decoratively splendid than this. Over the long series of nave arches on our left, we sec a procession of twenty-two maidens, who dazzle us by the splendour of their robes, embroidered with gold and flowers, their diadems, necklaces and girdles, glittering with gold and gems. • The very monotony of their forms and attitudes, fascinates and charms, becoming as impressive as the musical rhythm of a grand litany. The ground on which they tread is sprinkled with flowers, and they pass under palm branches, laden with fruit. At the west end of this marvellous procession is the city of Chassis, from which they are proceeding to lay the crowns they carry at the feet of the enthroned Madonna and Infant Christ, to whom also the three wise men are offering their tributes.

On the right hand side is another procession of white robed martyrs carrying crowns. At the western end is the palace of Theodoric, and at the east, a bearded Christ, enthroned, and attended by four winged angels corresponding to those surrounding the Madonna. These glorious processions of virgins and martyrs are the work of Byzantine artists of the 6th century, who destroyed this portion of Theodoric’s work, but left the end groups and architectural mosaics, together with the fine series of prophets and saints, and pictorial mosaics on the upper parts of the walls. Thus are brought together side by side typical examples of the Roman and Byzantine manner, the one showing careful individual statuesque figures standing out from a plain gold or coloured background, the other showing a total disregard for truth of human form, treating it only as an excuse for the skilful display of a superb decorative effect. THE BYZANTINE PERIOD Of the two existing churches erected under Justinian, one—Sant’ Apollinare in Classc—follows the Roman basilican plan, and the vault of the apse is decorated with a beautiful 6th century symbolic mosaic after the Roman manner. Here therefore the sequence is not broken, but on visiting the other church —San Vitale see at once the striking difference in architectural and decorative forms which had been developed by the combination of Roman and Greek art at Byzantium. For this church based wholly on Byzantine art and carried out by Byzantine artists, at the same time as Santa Sophia, at Byzantium (now Constantinople), shows, in contrast to the simple basilican plan, with its long nave and aisles—an octagonal plan, with a central, two-storied octagonal space, having at its angles eight massive piers, supporting arches which carry a well-lighted dome. The openings between the piers are filled with lower and upper triple arcades, semi-circular on plan and terminating in a semi-vault under the pier arches. It can at once be realized that this architectural form, though simple in itself, would produce a most beautiful intricate effect, and wonderful play of brilliant light and depth of shade, a delightful mingling of columns and arches, and infinite variety as we move to different points of view especially from the gallery—the “Matroneo”—or place reserved for women. It would be beautiful if built of plain brickwork, but imagine this beautiful form, clothed in choicest variegated marbles, in beautiful mosaics, rich in designfull of symbolism and of resplendent colour—the capitals richly carved, and you will realize what a perfect gem of art Justinian has left for our instruction and delight. The decoration was not completed in the main body of the church, and unfortunately modern art is doing what it can to spoil it, but the eastern end is as I have attempted to describe it, and has a mosaic on one side representing Justinian surrounded by his court, and on the other, his queen Theodora, surrounded by her ladies. There are in Ravenna also, some mediaeval fragments and many churches of the Renaissance period,

neither better nor worse than the mass of them to-be seen elsewhere. The glory of Ravenna is as I have said in its past, but there is promise of a glorious future, for science is turning the malarial wastes into good agricultural land, and there is reason to hope that the Italian prosperity which Garibaldi made possible, will be extended to this ancient city, where his wife Anita laid down her life for her country’s sake and where Italy’s greatest poet lies at rest."

A “ Snail-Shell n Stair

NOVEL CONCRETE STAIRS The only spiral concrete staircase of its kind in the world has just been placed in the tower of the Southwest Museum in Los Angeles, California.

Similar stairways exist elsewhere, as in the tower of St. Paul's and the tower of the cathedral in the city of Mexico, but they were built before the age of concrete. When vieAved from above, its resemblance to the shell of a snail at once gave it a name. Mr. Frank Reed, writing in "The Engineering Record" (New York), says:—- " It is, for its purpose here, an improvement over Sir Christopher "Wren's masterpiece spiral stairway ascending the interior Avail in the tower of St. Paul's Cathedral, London. The Southwest Museum helical staircase is built inside a well in the centre of the tower, thus not only preserving for shelves or mounted objects the entire interior wallspace of the tower, but also supplying on its own exterior wall additional space which may be employed for museum-purposes The tower contain-

ing the stairway is seven stories in height, with three mezzanine balconies in the three upper stories, giving the equivalent of ten stories. The tower is thirty-five feet square, and is supported by twelve

columns and external walls eight inches thick, reinforced with steel. It rests on a solid concrete slab or raft three feet six inches thick. The total height is one hundred and twenty-five feet and the weight is one thousand tons. The construction was carried

on continuously, a story being poured at a time. The staircase well is nine feet two inches in external diameter and is supported by four corner columns with eight inch walls between them, with light and ventilation openings at each story. The stair is known as a caracole, on account of the likeness to a snailshell presented by a vertical view, as shown in one of

the photographs. With one exception it is the only helical staircase in America having a hollow centre, the other one being an ancient stone staircase in the tower of the cathedral in the city of Mexico. The stairway contains one hundred and sixty steps with seven and a half inch rise each, and was built around a galvanized iron form in the shape of a pipe, while wooden forms were placed for the stairs. Material was prepared at a special rock-crushing and sand plant located about one mile from the building, in a dry river-bed."