XI

THE CATHOLIC CHURCHES OF THE FIFTH CENTURY

THE CATHEDRAL, BAPTISTERY, ARCIVESCOVADO, S. AGATA, S. PIETRO MAGGIORE, S. GIOVANNI EVANGELISTA, S. GIOVANNI BATTISTA, AND THE MAUSOLEUM OF GALLA PLACIDIA

Ravenna, as we see her to-day, is like no other city in Italy. As in her geography and in her history, so in her aspect, she is a place apart, a place very distinctive and special, and with a physiognomy and appearance all her own. What we see in her is still really the city of Honorius, of Galla Placidia, of Theodoric, of Belisarius and Na.r.s.es, of the exarchate, in a word, of the mighty revolution in which Europe, all we mean by Europe, so nearly foundered, and which here alone is still splendidly visible to us in the great Roman and Byzantine works of that time.

For the age, the Dark Age, of her glory is illumined by no other city in Italy or indeed in the world. She was the splendour of that age, a lonely splendour. And because, when that age came to an end, she was practically abandoned--abandoned, that is, by the great world--just as about the same time she was abandoned by the sea, much of her ancient beauty has remained to her through all the centuries since, even down to our own day, when, lovelier than ever in her lonely marsh, she is a place so lugubrious, so infinitely still and sad, full of the autumn wind and the rumours of silence of the tomb, of the most reverent of all tombs--the tomb of the empire.

We shall not find in Ravenna anything at all, any building, that is, or work of art, of cla.s.sical antiquity; all she was, all she did, all she possessed in the great years of the empire has perished. Nor shall we find much that may have been hers in the smaller life that came to her in the beginning of the Middle Age, or that was hers in the time of the Renaissance; the memory and the dust of Dante, a few churches, a few frescoes, a few pictures, a few palaces; nothing beside. For all these we must go to Pompeii and to Rome, or to Florence, Siena, a.s.sisi, and Venice; in Ravenna we shall find something more rare, but not these. She remains a city of the Dark Age, of the fifth, sixth, seventh, and eighth centuries, and she is full of the churches, the tombs, and the art of that time, early Christian and Byzantine things that we shall not find elsewhere, or, at any rate, not in the same abundance, perfection, and beauty.

And yet though so much remains, her story since the time of Charlemagne might seem to be little else but a long catalogue of pillage and destruction. Charlemagne himself began this cruel work when he carried off the mosaics and the marbles, the ornaments of the imperial palace, to adorn Aix-la-Chapelle, and since his day not a century has pa.s.sed without adding to this vandalism; the worst offenders being the fourteenth, fifteenth, sixteenth, seventeenth, eighteenth, and nineteenth centuries, which by rebuilding, by frank pillage, by mere destruction, by earthquakes, by contempt, and worst of all by restoration have utterly destroyed much that should have remained for ever, and have altogether spoilt and transformed most of that which, almost by chance it might seem, remains.

And so it comes to pa.s.s that the oldest buildings remaining to us to-day in Ravenna are to be found in the baptistery, the cathedral, the arcivescovado, and the mausoleum of Galla Placidia, the oldest complete building being the last. Let us then first consider these.

The first bishop, the "Apostle" of Ravenna, according to Agnellus, was S. Apollinaris, a Syrian of Antioch, the friend and disciple of S.

Peter, who, as we know, had been bishop of Antioch for seven years before he went to Rome. Apollinaris followed S. Peter to the Eternal City and was appointed by him bishop of Ravenna, whither he came to establish the church. There might seem to be some doubt as to his martyrdom; but, according to Agnellus, he was succeeded by his disciple S. Aderitus, and he in his turn by S. Eleucadius, a theologian, who is said to have written commentaries upon the books of the Old and New Testaments, and to have been followed as bishop by S.

Martia.n.u.s, a n.o.ble whom S. Apollinaris had ordained deacon. There follows in the _Liber Pontificalis_ of Agnellus a list of twelve bishops, S. Calocerus, S. Proculus, S. Probus, S. Datus, S. Liberius, S. Agapetus, S. Marcellinus, S. Severus (c. 344), S. Liberius II., S.

Probus II., S. Florentius, and S. Liberius III., who occupy the see before we come to S. Ursus, who "first began to build a Temple to G.o.d, so that the Christians previously scattered about in huts should be collected into one sheepfold."[1] S. Ursus, according to Dr.

Holder-Egger, ruled in Ravenna from 370 to 396, and his church was dedicated in 385; but a later authority[2] would seem to place his pontificate later, and to argue that it immediately preceded that of S. Peter Chrysologus, who, the same authority a.s.serts, was elected in 429. All agree that S. Ursus reigned for twenty-six years, and therefore, if he immediately preceded S. Peter Chrysologus, he was elected not in 370, but in 403; that is to say, in or about the same time as Honorius took up his residence in Ravenna.

[Footnote 1: "Iste piimus hic initiavit Templum construere Dei, ut plebes Christianorum quae in singulis tuguriis vagabant in unum ovile piissimus collegeret Pastor ... Igitur aedificavit iste Beatissimus Praesul infra hanc Civitatem Ravennam Sanctam Ecclesiam Catholicam, quo omnes a.s.sidue concurremus, quam de suo nomine Ursianam nominavit ... "]

[Footnote 2: A Testi Rasponi, _Note Marginali al Liber Pontificalis di Agnello Ravennate_ in _Atti e Memorie della R. Dep. di St. Pat. per la Romagna_, iii. 27 (Bologna, 1909-10).]

However that may be, we must attribute the foundation of a new cathedral church in Ravenna to S. Ursus, for till this day it bears his name, Ecclesia Ursiana, though it appears to have been dedicated in honour of the Resurrection (Anastasis.)

[Ill.u.s.tration: THE CATHEDRAL (_Basilica Ursiana_)]

Agnellus gives us a fairly full account of this church, which consisted of five naves divided and upheld by four rows of fifty-six[1] columns of precious marble from the temple of Jupiter.

That the church was approached by steps we learn from Agnellus in his life of S. Exuperantius, for he there tells us that Felix the patrician was killed "on the steps of the Ecclesia Ursiana." Both the vault and the walls were adorned with mosaics,[2] which Agnellus describes and which would seem to have covered then or later the whole of the interior; the wall on the women's side of the church being decorated with a figure of S. Anastasia, while over all was a dome "adorned with various coloured tiles representing different figures."

When Agnellus wrote (ninth century) this great church was of course standing, but doubtless it had been added to and adorned from century to century, and it is impossible to learn from his description, or indeed any other that we have, what was due therein to S. Ursus and what to his successors. One of the most splendid ornaments the church possessed would seem to have been a ciborium of silver, borne by columns which stood over the high altar also of silver. This is said by Agnellus to have been placed there by the bishop S. Victor, who seems to have ruled in Ravenna from about 537 to 544. It is said to have cost, with the consent of Justinian, the whole revenue of Italy for a year and to have weighed some one hundred and twenty pounds. The whole stood in the midst of a circular choir of marble, itself covered with silver it might seem, if we may believe a chronicler of Vicenza of the fifteenth century, quoted by Zirardini,[3] who says: "In the great church of Ravenna all the choir, the altar, and the great tabernacle over the altar are of silver." Before the altar was the _Schola Caniorum_.

[Footnote 1: Fabri, however, in his _Sacre Memorie_, says there were forty-nine columns.]

[Footnote 2: Agnellus gives the names of the mosaicists Euserius or Cuserius, Paulus, Agatho, Satius, and Stepha.n.u.s.]

[Footnote 3: Zirardini, _De Antiquis Sacris Ravennae Aedificiis_.]

Agnellus tells us further in his life of S. Felix (_c_. 693) that that bishop built a _Salutatorium_ (? Sacristy), "whence the bishop and his a.s.sistants proceeded at the Introit of the Ma.s.s into the presence of the people." But the Epigram which Agnellus quotes from this building would seem to suggest that the _salutatorium_ was rather then rebuilt than added for the first time to the church.

The magnificent basilica, one of the most splendid in Italy, was sacked by the French in April 1512, but, as Dr. Corrado Ricci says, it was not they who destroyed the church itself, but the _accademici_ of the eighteenth century, who, instead of conserving the glorious building, then some thirteen hundred years old, began in 1733 to pull it down, to break up the beautiful capitals and columns of precious marbles, and to make out of the fragments the pavement of the new church we still see, begun in 1734 by Gian Frances...o...b..onamici da Rimini. Only the apse with its beautiful great mosaic remained for a few years till at last it too was destroyed.

Thus the church we have in place of the old Basilica Ursiana is a building of the eighteenth century, and all that we care for in it is the fragments that are to be found there of its glorious predecessor.

These are few in number and of little account. Supporting the central arch of the portico are two marble columns which belonged to the old basilica, and by the main door are two others of granite which came perhaps from the old nave.

Entering the church we find ourselves in a cruciform building consisting of three naves, divided by twenty-four columns of marble, transept, and apse, with a dome over the crossing. In the second chapel on the right is an ancient marble sarcophagus said to be that of S. Exuperantius, bishop of Ravenna about 470. The magnificent tomb carved in high relief did not, however, belong to the old cathedral, but was brought here when the church of S. Agnese was destroyed. In the south transept is the chapel of the Madonna del Sudore, where on either side are two other sarcophagi of marble adorned with figures and symbols. That on the right is said to be the tomb of S.

Barbatia.n.u.s, confessor of Galla Placidia, and was originally in the church of S. Lorenzo in Caesarea, whence it was brought to the cathedral in the thirteenth century by the archbishop Bonifazio de'

Fieschi, whom Dante found in Purgatory among the gluttons:

"Bonifazio che pasturo col rocco molte genti..."

He brought the sarcophagus to the cathedral for his own tomb and there I suppose he was buried. The sarcophagus upon the left was likewise used in 1321 as a tomb for himself by the archbishop, Rainaldo Concoreggio. This, too, is sculptured with a bas-relief of Christ, a nimbus round His head, a book in His hand, seated on a throne set on a rock, out of which four rivers flow. With outstretched hand He gives a crown to S. Paul, while S. Peter bearing a cross holds a crown, just received, in his hand. The sculpture on the sarcophagus of S.

Barbatia.n.u.s is ruder.

The high altar is of course modern, but within it is an ancient marble sarcophagus of the sixth century, in which it is said the dust of nine bishops of about that time lies.

But one n.o.ble thing remains here among all the modern trash to remind us of all we have lost: the glorious processional cross of silver called of S. Agnello. Yet even this, n.o.ble as it is, does not come to us from Roman or Byzantine times it seems, but is rather a work of the eleventh century.

In the midst of this great cross, upon one side, is the Blessed Virgin praying, and upon the other Christ rising from the tomb. Upon the arms of the cross, and the uprights, are forty medallions of saints, of which three would seem to be archbishops. I say this beautiful and precious thing comes to us from the eleventh century; but it has been very much restored at various times and is now largely a work of the sixteenth century. Dr. Ricci tells us that on the side where we see the Madonna only the five medallions on the lower upright and the two last of the upper are original; while upon that of the Risen Christ, only the five medallions on the lower upright are untouched, all the rest is restoration.

Beneath the eighteenth-century apse of the cathedral is the ancient crypt, no longer to be seen; it does not, according to Dr. Ricci, date earlier than the ninth century nor do any of the other crypts in the city.

In the left aisle a few fragments from the old church remain recognisable. They are the marble slabs of an _ambo_ erected by S.

Agnellus, archbishop of Ravenna in the middle of the sixth century.

There we read: _Servus Christi Agnellus Episcopus hunc pyrgum fecit_.

Among these are some earlier panels of the fifth century. In the treasury, again, we find two other panels from the _ambo_ of S.

Agnellus, and a strange calendar carved upon a slab of marble to enable one to find the feast of Easter in any year from 532 to 626; this is certainly of the sixth century.

A certain number of Mediaeval and Renaissance things are also to be seen in the church. Here in the treasury we have a cross of silver gilt, with reliefs of the Crucifixion, G.o.d the Father, the Blessed Virgin, S. John Baptist, and S. Mary Magdalen, dating from the middle of the fourteenth century (1366). Over the entrance to the sacristy is a fres...o...b.. Guido Reni of Elijah the prophet fed by an angel. Within, is a good picture by Marco Palmezzano: a Pieta with S. John Baptist; while the Chapel of the Blessed Sacrament is decorated by him and his pupils.

It is obvious, then, that very little remains to us of the original Basilica Ursiana; nor can we reckon among that little the beautiful round and isolated campanile. This is not older than the ninth century, and has been much tampered with, especially in the sixteenth century, after an earthquake, and in the seventeenth century after both earthquake and fire. Indeed, the upper storey dates entirely from 1658.

As it is with the cathedral, so it is with the _Arcivescovado_. Of the old palace of the Bishops of Ravenna only a few walls, a tower, and a wonderful little chapel remain. What we see now is work of the sixteenth and the seventeenth centuries after a restoration at the end of the nineteenth. The old vast palace which has been destroyed was the work of many archbishops, achieved during many centuries. It consisted of a series of buildings grouped about the palace which the archbishop S. Peter Chrysologus built in the fifth century, and its most magnificent part was due to S. Maximian, archbishop of Ravenna in the time of Justinian. All their work, which we would so gladly see, is gone except the little chapel of S. Peter Chrysologus, which he built and signed in one of the arches in the fifth century.[1]

[Footnote 1: According to Rasponi the chapel was dedicated originally to S. Andrea and is to be identified with the Monasterium di S.

Andrea, which was not built by S. Peter Chrysologus (429-_c_. 449), but by Peter II. (494-_c_. 519). Cf. Rasponi, _Note Marginali al Liber Pontificalis di Agnello Ravennate_ (Atti e Memorie della R. Dep. di Stor. Pat. per la Romagna, iii. 27), Bologna, 1909-1910.]

Of this great man Agnellus records: "He was beautiful in appearance, lovely in aspect; before him there was no bishop like him in wisdom, nor any other after him." He was a native of Imola, then called Forum Cornelii, and was ordained deacon by the bishop of that city, one Cornelius, of whom he always speaks with affection and grat.i.tude. When the bishop of Ravenna died, it is said the clergy of the cathedral, then just built or building, with the people, chose a successor, and besought the bishop of Imola to go to Rome to obtain the confirmation of the pope. Cornelius took with him his deacon Peter, and the pope, who had been commanded so to do by the Prince of the Apostles in a dream, refused to ratify the election already made, but proposed Peter the deacon as the bishop chosen by S. Peter himself. Peter was there and then consecrated bishop, was conducted to Ravenna, and received with acclamation. He is said to have found a certain amount of paganism still remaining in his diocese, and to have completely extirpated it. He often preached before the Augusta Galla Placidia and her son Valentinian III., and he was perhaps the first archbishop of the see, Ravenna till his time having been suffragan to Milan. He seems to have died about 450 in Imola. Among his many buildings, which included the monastery of S. Andrea at Cla.s.sis, is the little chapel now dedicated in his honour in the _Arcivescovado_ of Ravenna. It is perhaps the only one of his works which remains. The little square chamber, out of which the sanctuary opens, is upheld by four arches, which are covered, as is the vaulting, with most precious mosaics, still of the fifth century, though they have been and are still being much restored. On the angles of the vaulting, on a gold ground, we see four glorious white angels holding aloft in their upraised hands the symbol of Our Lord. Between them are the mighty signs of the Four Evangelists, the angel, the lion, the ox, and the eagle. In the key, as it were, of the arches east and west is a medallion of Our Lord, and three by three under the arch on either side the eleven Apostles and S. Paul, who takes the place of Judas instead of Matthias. In the key of the arches north and south is a medallion of the symbol of Christ, and three by three under the arch on either side six saints, the men to the right SS. Damian, Fabian, Sebastian, Chrysanthus, Chrysologus, and Ca.s.sia.n.u.s; the women to the left SS. Cecilia, Eugenia, Eufemia, Felicitas, Perpetua, and Daria. Here the SS. Fabian, Sebastian, and Damian, Dr. Ricci tells us, are altogether restorations. For the rest, these mosaics have suffered much, both from restoration, properly so called, and from painting.

The pavement is old and beautiful, as I think are the walls, but the frescoes, once by Luca Longhi, are most unworthy and out of place. The recess which now contains the altar might seem not to have made a part of the original chapel or oratory; it appears it was only in the eighteenth century that the two were thrown into one. At that time the mosaics of the Blessed Virgin and of S. Apollinaris and S. Vitalis were brought here from the old cathedral.

Just outside this wonderful little chapel in the _Arcivescovado_ there is an apartment devoted to Roman and other remains found from time to time in Ravenna: a torso of a statue, a work of Roman antiquity, should be noted, as should certain fragments of a frieze, also an antique Roman work. Here, too, is preserved the splendid cope of S.

Giovanni Angeloptes who was archbishop from 477 to 494[1] when he died.

[Footnote 1: Cf. A. Testi Rasponi, _op. cit. supra_.]

In another apartment of the _Arcivescovado_ is preserved a relic of another great archbishop of Ravenna: the ivory throne of S.

Maximia.n.u.s. This is a magnificent work of the early part of the sixth century, and is one of the most splendid works known to us of its kind. It was made for the cathedral of Ravenna, but in or about the year 1001 it was carried off by the Venetians and given by doge Pietro Orseolo II. to the emperor Otto III., who left it to the church of Ravenna on his death. It is entirely formed of ivory leaves, most of them carved sumptuously in relief. In front we see the monogram of _Maximia.n.u.s Episcopus_ and under it are carvings of S. John Baptist between the Four Evangelists; all these between elaborately carved decorative panels. About the throne to right and left is the story of Joseph in ten panels, and upon the back in the seven panels that remain[2] the miracles of Our Lord. Altogether it is a work of the most lovely kind, and certainly Byzantine.

[Footnote 2: Four of those missing, Dr. Ricci tells us, have of late years been discovered, one in the Naples Museum (1893), one in the collection of Count Stroganoff (1903), one at Pesaro (1894), and another in the Archaeological Museum at Milan (1905).]

We shall come upon S. Maximia.n.u.s again in S. Vitale, where something must be said of him. He lies, as has already been noted, in one of the great sarcophagi in the second chapel on the right in the cathedral.

From the _Arcivescovado_ we pa.s.s to what is now the most remarkable building of the group--the Baptistery.