E06018: Mosaics from the late 5th or early 6th c., depicting the Apostles, in the Arian Baptistry in Ravenna, northern Italy.
online resource
posted on 2018-07-19, 00:00authored byfrances
Mosaics from the Arian Baptistery, Ravenna
Twelve apostles are depicted against a gold background on the dome of the baptistry. Their portraits are arranged like spokes on a wheel around a central roundel depicting Christ’s baptism by *John (the Baptist, S00020) in the river Jordan. A personification of the river is also depicted.
The apostles are all haloed and all apart from *Peter (S00036) and *Paul (S00008) hold a crown. Peter holds the keys and Paul books. All other apostles are depicted differently. They stand in different poses, some are bearded, some are old and some are young. Yet it is hard to identify these apostles with certainty as none of the apostles are labelled. All the apostles are turned towards a jewelled throne – which is placed between Peter and Paul – on which a cross and purple cloth are seated.
Description: Frances Trzeciak.
History
Evidence ID
E06018
Saint Name
Apostles, unnamed or name lost : S00084
Paul, the Apostle : S00008
Peter the Apostle : S00036
John the Baptist : S00020
Place of evidence - City name in other Language(s)
Ravenna
Sardinia
Sardinia
Sardegna
Sardinia
Cult activities - Places
Cult building - dependent (chapel, baptistery, etc.)
Cult activities - Use of Images
Commissioning/producing an image
Source
These mosaics are still visible in the Arian Baptistry today. They have been restored - along with several other late antique mosaics from Ravenna - to reflect their late antique form.
Discussion
The extent to which this baptistry and the Orthodox baptistry (E05780) – which was built around the same time – reflect the doctrinal convictions of their founders has been debated. The composition in both is remarkably similar: in both mosaics twelve apostles are depicted circling a medallion. In this medallion, Christ is baptised by John the Baptist and flanked by a personification of the River Jordan. Yet, for example, the Apostles in the Arian baptistry all face an unoccupied throne: perhaps this reflects the honour owed to God the Father – in Arian thought – above the human Christ? But it is easy to read too much into these differences: the most striking thing about the two mosaics is the similarity between the two images. Indeed, as Sam Barber has highlighted, the two mosaics would never be viewed together, but on separate occasions which could likely be months apart. It is possible that Arian or Orthodox convictions determined the composition of these two mosaics, but it is equally possible that they are – following Deborah Mauskopf Deliyannis’ argument – neutral.
Bibliography
Further Reading:
Barber, Sam, "Defining Difference or Connecting Spaces? Similarity and Meaning in the Arian Baptistry, Ravenna," in: M. Boulton, J. Hawkes, and H. Stoner (eds.), Place and Space in the Medieval World (New York, 2018), 149-158.
Deichmann, Friederich Wilhelm, Ravenna, Hauptstadt des spätantiken Abendlandes, vol. 1-3, (Wiesbaden, 1958-89).
Deliyannis, Deborah Mauskopf, Ravenna in Late Antiquity (Cambridge, 2010).
Jäggi, Carola, Ravenna: Kunst und Kultur einer spätantiken Residenzstadt; die Bauten und Mosaiken des 5. und 6. Jahrhunderts (Regensburg, 2016).
Verhoeven, Mariëtte, The Early Christian Monuments of Ravenna: Transformations and Memory (Turnhout, 2011).