Dr. Ricci tells us that it was originally one of the halls of the baths that were near the present cathedral. But it was converted into a baptistery and ornamented with mosaics by the archbishop Neon of Ravenna (_c_. 449-459) as its inscriptions tell us and is signed with his monogram. The original floor is three metres below that we see, and a second floor about a metre and a half above the original floor has been discovered; this it would seem is that made by Neon, while a third remains about half a metre under the pavement we use, and upon this are set the eight columns, with their capitals, two of them Byzantine and the rest Roman, which uphold the arches of the upper arcade upon which is set the great drum of the dome. The plan is a simple octagon, bare brick without, covered with a "tent" roof of amphorae under the tiles; but within, everywhere encrusted with glorious marbles and mosaics.

It is to the mosaic of the cupola that we instinctively turn first, for it is, perhaps, the finest left to us in Ravenna. It is divided into three parts. In the midst is the Baptism of Our Lord on a gold ground. Christ stands up to His waist in the clear waters of the Jordan, the G.o.d of which river waits upon Him. S. John high up on the bank, his staff, topped with a cross, in his hand, pours the water from a sh.e.l.l upon Our Lord's head while the Dove, an almost heraldic figure, is seen above About this circular mosaic is set a greater circle in which we see, upon a blue ground, the twelve Apostles in procession, each bearing his crown. Nothing left to us of that age is finer or more gravely splendid than these mosaics, they seem to be the highest expression of a great art which has known how to reject the brutal realism of an earlier time and to seize perfectly the secret of decoration. Nothing of the kind more masterly remains to us in Europe.

Beneath these two circles another is set in which are eight panels, each of three parts, where are represented eight temples, four of them with thrones signed with the Cross, and four of them with altars upon which the book of the Gospel is open.

[Ill.u.s.tration: THE BAPTISTERY AND CAMPANILE OF THE CATHEDRAL]

The whole cupola is borne by the upper arcade, where we see sixteen figures of the Prophets in stucco. The upper arcade is in its turn borne by the lower, which is everywhere encrusted with mosaics, restorations of our own time. The walls are panelled with various marbles. In the midst of the building is a huge octagonal font with its _ambo_, and in one of the wall niches is an ancient altar, and in another a vase of marble.

The effect of all this splendour is even to-day very lovely and glorious; what it might have been if it had been properly cared for instead of "restored" we can only guess. Unhappily the "restoration"

has been very radical. Even in the central Baptism, the head and shoulders and right arm of the figure of the Saviour, the head and shoulders and right arm, the right leg and foot of the Baptist and the cross in his his left hand have been destroyed and the whole dimmed and even spoiled. Such as it is, however, where shall we find its equal or anything to compare with it?

From the cathedral group we now turn to the other churches which were built in the time of the old empire in Ravenna for the most part, in the days, that is, of Galla Placidia and her son Valentinian III.

Among these is the church of S. Agata (entrance Via Mazzini 46), which though entirely rebuilt, with its campanile, in the later part of the fifteenth century is since the "restoration" of 1893 interesting, if at all, because the church dates originally from the fifth century. It would seem indeed that it was founded in the time of the Augusta, and to this the walls of part of the nave bear witness, but it was continued later perhaps by the archbishop Exuperantius (_c_. 470) whose monogram appears upon the second column to the left in the nave, and finally completed or in part rebuilt in the sixth century. In the fifteenth century (1476-94), the church was largely rebuilt again, but its tribune with its great mosaic remained till 1688 when it fell. In the sixth century it would seem to have had an atrium or narthex. Its main interest for us to-day lies in the beauty of its columns of bigio antico, cipollino, porphyry, granite, and other marbles belonging to the original church, with their Roman and Byzantine capitals. Also to the right of the nave we see a curious _ambone_ hollowed out of a fragment of a gigantic column of Greek marble. The altar, too, is formed from an ancient sarcophagus which is said to hold the dust of the two archbishops, Sergius, with whom the pope had so much trouble, and Agnellus. According to Agnellus the chronicler there was a portrait of the archbishop S. John Angeloptes in the apse, but this like the great mosaic of the tribune is gone. It was here, however, that S. John got that strange surname of his--Angeloptes. He and his predecessor S. Peter Chrysologus with S. Maximian and Sergius were the great archbishops of this great see. We hear that the emperor Valentinian III., according to Agnellus--but we should place the bishopric of S. John Angeloptes 477-494--"was so much affected by the preaching of this holy man that he took off his imperial crown and humbly on his knees begged his blessing.... Not long after he gave him fourteen cities with their churches to be governed by him _Archieratica potestate_. And even to this day (ninth century), these fourteen cities with their bishops are subject to the church of Ravenna.[1] This bishop first received from the emperor a _Pallium_ of white wool, just such as it is the custom for the pope to wear over the _Duplum_; and he and his successors have used such a vestment even to the present day."

[Footnote 1: The Archbishop of Ravenna at the present day has seven suffragans, Bertinoro, Cervia, Cesena, Comacchio, Forli, Rimini, Sarsina. It is hard to decide whether this man or Peter Chrysologus was the first archbishop of Ravenna.]

This pa.s.sage of Agnellus is important, but does not seem, on examination, to have any real bearing upon the question of the dependence of the See of Ravenna upon Rome. The Pallium was originally an imperial gift to the popes, probably in the fourth century. And the fact that it is the emperor and not the pope who bestowes it upon the archbishop of Ravenna in the fifth century, if it be true, can have no meaning at all in the question of papal supremacy.

Agnellus, whom I have quoted, goes on to tell us of that miracle which gave S. John, archbishop of Ravenna, his surname of Angeloptes or Angel-seer. "When the said John," he tells us, "was singing Ma.s.s in the Basilica of S. Agata and had accomplished all things according to the pontifical rite, after the reading of the Gospel, after the Protestation (? the Credo), the catechumens to whom it was given to see saw marvellous things. For when that most blessed man began the Canon, and made the sign of the Cross over the sacrifice, suddenly an angel from heaven came and stood on the other side of the altar in sight of the bishop. And when after finishing the consecration he had received the Body of the Lord, the a.s.sisting deacon who wished to fulfil his ministry could not see the chalice which he had to hand to him. Suddenly he was moved aside by the angel who offered the holy chalice to the bishop in his place. Then all the priests and people began to shake and to tremble beholding the holy chalice self-moved, inclined to the bishop's mouth, and again lifted into the air, and laid upon the holy altar. A strange thrill pa.s.sed through the waiting mult.i.tude. Some said: 'The deacon is unworthy;' others affirmed, 'Not so, but it is a heavenly visitation.' And so long did the angel stand by the holy man until all the solemnities of the Ma.s.s were ended."

Soon after this strange miracle S. John Angeloptes died and was buried in the basilica of S. Agata behind the altar in the place where he saw the angel standing.

Nothing seems to remain of his tomb or his grave; but the church is full of curious fragments, broken pillars, bits of mosaic, ancient marble panels, beautifully carved, and more than one old sarcophagus.

Somewhere there no doubt the dust of S. John Angeloptes awaits the resurrection.

From S. Agata we pa.s.s to S. Francesco. This church was founded by S.

Peter Chrysologus (429-_c_. 449) and was completed by S. Peter Chrysologus' successor, the archbishop S. Neon (_c_. 459). Its first t.i.tle would seem to have been that of S. Peter Major; we hear, too, that it was called SS. Peter and Paul, and Agnellus in his life of S.

Neon calls the church Basilica Apostolorum. The region of the city in which it stands would seem to have borne also the name _Regio Aposto lorum_, though whether it got the name from the church or the church from it is impossible to decide.[1]

[Footnote 1: The Franciscans conventuals would seem to have possessed the church from 1261 to 1810.]

Unhappily the church has been entirely rebuilt in the eighteenth century, and our interest in it is confined for the most part to the tower, the crypt, the twenty-two columns of Greek marble which uphold the nave, two of which are signed 'P. E.' and four others 'E. V. G.,'

and the tombs. The tall square tower dates, perhaps, from the tenth century, the crypt from the ninth, but the columns are of the fifth century. Perhaps the oldest thing in the church is the sarcophagus on the right of the main door which has on its front Pagan sculptures and on its sides Christian. Close to the holy water stoup is a very lovely sarcophagus of the fourth century with reliefs of Our Lord and eight Apostles. The ribs of the cover have as finials the heads of lions; altogether this is a very splendid and n.o.ble tomb. In the last chapel upon the right we find the great sarcophagus, still used as an altar, of S. Liberius, bishop of Ravenna (_c_. 375), "a great man, a never-failing fountain of charity; who brought much honour to the church," according to Agnellus. The sarcophagus dates from the end of the fourth century and is sculptured in high relief.

I shall return to S. Francesco when I consider Mediaeval Ravenna.[2]

At present I would direct the reader's attention to S. Giovanni Evangelista.

[Footnote 2: See _infra_, p. 245 _et seq_.]

This church was originally founded by Galla Placidia herself, in fulfilment of a vow made by her to S. John Evangelist, when, on her way from Constantinople to Ravenna, she was in danger of shipwreck.[3]

Agnellus tells us that of old the church bore an inscription to this effect, and he gives it to us: _Sancto ac Beatissimo Apostolo Johanni Evangelistae Galla Placidia Augusta c.u.m filio suo Placidio Valentiniano Augusta et filia sua Justa Grata Honoria Augusta, Liberationis penculum marts votum solmentes_. The mosaic of the apse of old represented the incident. Unhappily the church was almost entirely rebuilt in 1747, only the tower of the eleventh century and the portico of the fourteenth being left as they had been. The beautiful fourteenth-century door, however, bears above it a relief of that time in which we see Our Lord, S. John Evangelist, Valentinian III., Galla Placidia with her soldiers and her confessor, S.

Barbatian, with priests. Below this on either side of the arch of the doorway is a representation of the Annunciation and within the arch itself a relief which recounts the miracle which attended the consecration of the church. For the church of S. Giovanni Evangelista was not only founded in recompense for a miracle, but a miracle attended its consecration. It seems that when the church was to be consecrated no relic of S. John Evangelist was to be had. Therefore the Augusta and her confessor gave themselves a whole night to prayer, and suddenly there appeared to them S. John himself, vested like a bishop with a thurible in his hand, with which he incensed the church.

Then when he came to the altar to incense it, and they would have venerated him, he suddenly vanished, only leaving in the hand of the Augusta one of his shoes. This legend, which is represented in relief in the fourteenth-century doorway of S. Giovanni Evangelista, is also the subject of a picture by Rondinelli of Ravenna in the Brera at Milan.

[Footnote 3: See _supra_, p. 41.]

The church has, as I have said, been ruined by the rebuilding of 1747; but there still remain the twenty-four columns of bigio antico with their Roman capitals, which upheld the old basilica, and in the crypt is the ancient high altar of the fifth century. Something, too, of the old church would seem to remain in the much repaired walls of the apse without.

[Ill.u.s.tration: THE CAMPANILE OF S. GIOVANNI EVANGELISTA]

The frescoes by Giotto, sadly repainted, in the fourth chapel on the left, must be noted. They represent the four Evangelists with their symbols over them, and the four Latin fathers of the Church, S.

Jerome, S. Ambrose, S. Austin, and S. Gregory. Certain fragments of a thirteenth-century mosaic pavement are to be seen in the chapel of S.

Bartholomew, which is itself perhaps the oldest part of the church.

We turn now to the church of S. Giovanni Battista which was founded by a certain Baduarius, according to Agnellus, and consecrated by S.

Peter Chrysologus. It is possible that Baduarius was the mere builder, and that he built by order of Galla Placidia. Nothing, however, is left of the old church, which was entirely rebuilt in 1683, except the apse as it is seen from the outside, the round campanile in its first story and the beautiful columns sixteen in number, four of bigio antico, two of pavonazzetto, one of cipollino, and the rest of greco venato, according to Dr. Ricci.

There remains to be considered what is, when all is said, I suppose the n.o.blest monument of the fifth century left to us in Italy or in Europe--the Mausoleum of Galla Placidia.

Agnellus tells us that the Augusta built close to her palace a great church in the shape of a Latin cross. This she dedicated in honour of the Holy Cross which it will be remembered her predecessor S. Helena had discovered in Jerusalem. Of this church, though it has long since disappeared--the "western" part of it having been destroyed in 1602 and what remained restored out of all recognition in 1716--we know a good deal. According to Agnellus it was covered with most precious stones (? marbles) and apparently with mosaics and was full of splendid ornaments. It had, too, a great narthex, and at the end of this Galla Placidia presently built a cruciform oratory for her own mausoleum, where she was to lie between her brother Honorius and her son Valentinian.

[Ill.u.s.tration: Colour Plate THE MAUSOLEUM OF GALLA PLACIDIA]

The Mausoleum of Galla Placidia is the oldest complete building left to us in Ravenna, for it dates from well within the first half of the fifth century, whereas the baptistery, altered and transformed as it was by S. Neon, is as we see it a work of the first years of the second half of that century. Simple as it is, without, a cruciform building of plain brick, within it is so sumptuously and splendidly adorned that not an inch anywhere remains that is not encrusted with mosaic or precious marbles. These mosaics were, before their radical "restoration," perhaps finer and more cla.s.sical than those of the baptistery. It might seem, indeed, that they were perhaps the finest and subtlest work done in the Roman realistic tradition, nor was there perhaps anywhere to be found so n.o.ble a representation of the Good Shepherd as that which adorned this great monument. It is, however, impossible to speak with any confidence of what we see there now, for all has been restored again and again, and is now little better than a _rifacimento_ of our own time, a copy, faithful perhaps, but still a copy, of the work of the fifth century.

Nevertheless, the impression of the whole is very splendid and solemn.

The roofs and dome are covered with mosaics of a wonderful and indescribable night blue, powdered with stars. In the cupola is a cross and at the four angles are set the symbols of the four Evangelists, glorious heraldic figures.

Above the door we see Christ the Good Shepherd, youthful, cla.s.sic in form and repose, very n.o.ble and Roman, seated on a rock in a broken hilly landscape, a cross in His left hand, caressing His sheep with His right. This figure even after "restoration" gives us more than a glimpse of what it once was. Nowhere had Christian art produced so majestic a representation of its Lord; nor had the subject of the Good Shepherd been anywhere more splendidly treated than here.

Over the great sarcophagus, opposite the entrance, we see a very different scene. Here is no longer a youthful Christ, with the hair and the n.o.ble aspect of Apollo, but a bearded and majestic figure in the fullness of manhood, His eyes full of anger, His draperies flying about Him, moving swiftly, the cross on His shoulders, in His left hand an heretical, probably Arian, book which he is about to cast into the furnace in the midst. Upon the extreme left is a case or cupboard in which we see the books of the four Gospels. In the other lunettes we see very gorgeous decorative work of arabesques and stags at a fountain and two doves drinking from a vase. Above in the spandrils of the arches are figures of apostles or saints. Nothing in the world is more solemnly gorgeous in effect than this beautiful rich interior.

The pavement is composed of fragments of the same precious marbles as those which line the lower parts of the walls.

Under the mosaic of the burning of the heretical books we see the mighty sarcophagus of plain Greek marble which once held the body of the Augusta. This, of old, was richly adorned with carved marbles and perhaps with silver or mosaic; and we know that in the fourteenth century certainly it was possible to see within the figure of a woman richly dressed seated in a chair of cedar and this was believed to be the mummy of the Augusta Galla Placidia. However, we hear nothing of it before the fourteenth century, and Dr. Ricci suggests that it may have been an imposture of about that time. It is possible, but perhaps unlikely, for the Augusta was not a saint, and what reason could men have in the thirteenth century, when the very meaning of the empire was about to be forgotten, for such an imposture? However this may be, the figure remained there seated in its chair during the fourteenth, fifteenth, and the greater part of the sixteenth centuries. And indeed, it might have been there still but that in 1577 some children, curious about it and anxious to see a thing so wonderful, thrust a lighted taper into the tomb through one of the holes in the marble, when mummy, vestments, chair and all were consumed, and in a moment nothing remained but a handful of dust.

The sarcophagi under the arches on either side, according to various authorities, hold the dust of the emperor Honorius, the brother of the Augusta, and of Constantius her husband, or of the emperor Valentinian III. her son. It is impossible to decide at this late day exactly who does and who does not lie in these great Christian tombs.

The Mausoleum of the Augusta was long known, though not from its origin, as the sanctuary of SS. Nazaro e Celso. When it was so dedicated I am ignorant, but it was not in the time of the Augusta.

Then, in the fifteenth century, when so much was remembered and so much more was forgotten, it bore the t.i.tle of SS. Gervasio e Protasio, and this name remained to it till the seventeenth century, when the old t.i.tle was revived. To-day although it retains its name of SS.

Nazaro and Celso, it is more rightly and universally known as the Mausoleum of Galla Placidia.

XII

THE ARIAN CHURCHES OF THE SIXTH CENTURY

THE PALACE OF THEODORIC, S. APOLLINARE NUOVO, S. SPIRITO, S. MARIA IN COSMEDIN, THE MAUSOLEUM OF THEODORIC

It was, as we have seen, upon March 5, 493, that Theodoric, king of the Ostrogoths, entered Ravenna as the representative of the emperor at Constantinople. One of his first acts seems to have been the erection of a palace designed for his habitation and that of his successors. Why this should have been so we do not know. It might seem more reasonable to find the Gothic king taking possession of the imperial palace, close to which the Augusta Galla Placidia had erected the church of S. Croce and her tomb. Perhaps this had been destroyed in the revolution or series of revolutions in which the empire in the West had fallen, perhaps it had been ruined in the Gothic siege which endured for some three years. Whatever had befallen it, it was not occupied, restored, or rebuilt by Theodoric. He chose a situation upon the other side of the city and there he built a new palace and beside it a great Arian church, for both he and his Goths were of that sect.

We call the church to-day S. Apollinare Nuovo.

The palace, of which nothing actually remains to us, though certain additions made to it during the exarchate are still standing, was, according to the various chroniclers whose works remain to us, surrounded by porticoes, such as Theodoric built in many places, and was carved with precious marbles and mosaics. It was of considerable size, set in the midst of a park or gardens. Something of what it was we may gather from the mosaics of S. Apollinare Nuovo in which it is conventionally represented. It came to owe much to Amalasuntha who lived there during her brief reign, and more to the exarchs who made it their official residence.