875:
887:
839:
468:
477:
851:
1574:
500:
133:
515:
380:
902:
1777:
1598:
914:
746:
51:
326:
863:
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1533:
140:
799:. Justinian himself stands in the middle, with soldiers on his right and clergy on his left, emphasizing that Justinian is the leader of both church and state of his empire. The later insertion of Bishop Maximian's name above his head suggests that the mosaic may have been modified in 547, replacing the representation of the prior bishop with that of Maximian's.
737:
663:
All these mosaics are executed in the
Hellenistic-Roman tradition: lively and imaginative, with rich colours and a certain perspective, and with a vivid depiction of the landscape, plants and birds. The polychrome colors and shapes, as well as the preference for geometric pattern over representation
826:
Persian Empire. One scholar has argued that
Theodora was depicted after her death in 548, but that theory has not been widely accepted due to other evidence that the mosaics were completed by 547 when the church was consecrated. This is the only certain image of the Empress Theodora, and stands in
806:
of the mosaic perhaps shows that
Justinian and his entourage are inside the church. The figures are placed in a V shape; Justinian is placed in the front and in the middle to show his importance with Bishop Maximian on his left and lesser individuals being placed behind them. This placement can be
718:
mosaic centers on a youthful depiction of Jesus Christ, seated on a blue globe, robed in purple, flanked by angels, offering with his right hand the martyr's crown to Saint Vitale, while on his left Bishop
Ecclesius offers a model of the church, in his role as the symbolic donor of the church.
818:. The Empress holds the Eucharistic vessel for the Precious Blood, and her panel differs from that of Justinian in having a more complex background, with a fountain, cupola, and lavish hangings. They are adorned with intricately patterned textiles, possibly luxurious
660:. Above the arch, on both sides, two angels hold a disc and beside them a representation of the cities of Jerusalem and Bethlehem. They symbolize the human race (Jerusalem representing the Jews, and Bethlehem the Gentiles).
426:
The central vault used a western technique of hollow tubes inserted into each other, rather than bricks. This method was the first recorded structural use of terra-cotta forms, which later evolved into modern
1471:
Proceedings of VIIIth
Conference of the International Committee for the Conservation of Mosaics (ICCM). Wall and Floor Mosaics: Conservation, Maintenance, Presentation, Thessaloniki 29 October - 3 November
1377:
Proceedings of VIIIth
Conference of the International Committee for the Conservation of Mosaics (ICCM). Wall and Floor Mosaics: Conservation, Maintenance, Presentation, Thessaloniki 29 October - 3 November
422:
equal to 16.38 kilograms (36.11 lb) of gold. It has been suggested that Julius originated in the eastern part of the
Byzantine Empire, where there was a long-standing tradition of public benefactions.
1374:
Alberti, Livia; Muscolino, Cetty (2005). "The conservation of the mosaics of San Vitale in
Ravenna, Italy, 1989-1999: Construction technique and treatment methodology". In Bakirtzis, C. (ed.).
789:
guards and deacons. The halo around his head gives him the same aspect as Christ in the dome of the apse, but is part of the tradition of rendering the imperial family with haloes described by
561:, of which nothing at all survives. The bell tower has four bells. The tenor bell dates to the 16th century. According to legends, the church was erected on the site of the martyrdom of
765:
side walls are two famous mosaic panels, completed in 547. On viewer left (but privileged right side from perspective of Christ in apse) is a mosaic depicting the East Roman
Emperor
410:
The construction of the church was sponsored by local banker and architect Julius
Argentarius. Very little is known of Julius, but he also sponsored the construction of the nearby
1556:
1065:
1276:
356:
and architecture, and its mosaics in particular are some of the most-studied works in Byzantine art. It is one of eight structures in Ravenna inscribed on the
1630:
637:. A pair of angels, holding a medallion with a cross, crowns each lunette. On the side walls the corners, next to the mullioned windows, have mosaics of the
1468:
Tedeschi, Claudia; Muscolino, Cetty (2005). "Il pavimento musivo di San Vitale: Nuove osservazioni riguardanti l'aula ottagonale". In Bakirtzis, C. (ed.).
1355:
530:. The dome, shape of doorways, and stepped towers are typical of Roman style, while the polygonal apse, capitals, narrow bricks, and an early example of
1819:
1508:
Age of spirituality : late antique and early Christian art, third to seventh century: Catalogue of the exhibition Nov. 19, 1977 - Feb. 12, 1978
874:
1083:
886:
1544:
838:
641:, under their symbols (angel, lion, ox and eagle), and dressed in white. Especially the portrayal of the lion is remarkable in its ferocity.
443:
83:
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132:
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163:
66:
961:
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411:
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1463:. Loeb Classical Library. Translated by H.B. Dewing and Glanville Downey. Cambridge, Massachusetts: Harvard University Press.
1446:
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981:
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1824:
1676:
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367:, though its centrally-planned design is not typical of the basilica form. Within the Roman Catholic Church it holds the
542:. San Vitale is of extreme importance in Byzantine art, as it is the only major church from the period of the Emperor
1101:
850:
368:
901:
1721:
418:
of Julius Argentarius may appear among the courtiers on the Justinian mosaic. The final cost amounted to 26,000
811:
562:
490:
1804:
1506:
648:
is richly ornamented with mosaic festoons of leaves, fruit and flowers, converging on a crown encircling the
508:
35:
280:
1834:
1537:
1275:
Walker, Alicia (2021). "Cross-cultural Interaction in the Early Byzantine Period". In Freeman, Evan (ed.).
156:
467:
1701:
1401:
Andreescu-Treadgold, Irina; Treadgold, Warren (1997). "Procopius and the Imperial Panels of San Vitale".
574:
570:
862:
1564:
1082:
Ousterhout, Robert (2021). "Innovative Architecture in the Age of Justinian". In Freeman, Evan (ed.).
656:, and every surface is covered with a profusion of flowers, stars, birds and animals, including many
645:
476:
1686:
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is known as the jeweled style in Late Antiquity. They were finished when Ravenna was still under
78:
1176:
749:
1706:
1696:
1354:
McClanan, Anne (2021). "Empress Theodora, Rhetoric and Byzantine Art". In Freeman, Evan (ed.).
814:
solemn and formal, with a golden halo, crown and jewels, and a group of court women as well as
527:
205:
1396:. Translated by D. Mauskopf Deliyannis. Washington: The Catholic University of American Press.
514:
1761:
782:
396:
90:
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8:
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601:, was possibly reserved for married women. A series of mosaics in the lunettes above the
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1043:
977:
790:
786:
670:
341:
933:, an 18th-century house in Devon, England, that is supposedly based on the Basilica.
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are typical of the Byzantine. The church is most famous for its wealth of Byzantine
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1741:
1716:
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1651:
1435:
1410:
1389:
1320:
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1199:
969:
638:
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1063:
Basilica of S. Vitale: Justification for the inclusion to the World Heritage List.
1746:
1726:
1478:(in Italian). Thessaloniki, Greece: Hellenic Ministry of Culture. pp. 73–80.
1069:
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711:. It has a great gold fascia with twining flowers, birds, and horns of plenty.
684:
551:
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The main building of the church is laid out octagonally. The building combines
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71:
1608:
1793:
1756:
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1253:
770:
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353:
178:
165:
1201:"San Vitale and the Justinian Mosaic" in Smarthistory Guide to Byzantine Art
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seen through the overlapping feet of the individuals present in the mosaic.
1799:
1172:
1168:
753:
736:
688:
618:
504:
383:
The interior of the dome, with Baroque frescoes from the late 18th century.
338:
102:
1602:
1430:
1008:. Vol. 1. trans. Rushford, G.M. London: William Heinemann. pp.
803:
766:
649:
543:
486:
293:
50:
827:
contrast to her depiction in some of the political rhetoric of the era.
1422:
1384:. Thessaloniki, Greece: Hellenic Ministry of Culture. pp. 169–180.
1340:
1308:
1261:
1229:
930:
774:
676:
594:
432:
392:
407:, which followed his partial re-conquest of the Western Roman Empire.
352:. The sixth-century church is an important surviving example of early
1456:
704:
602:
400:
325:
1414:
1324:
1245:
629:, representatives of the twelve tribes of Israel, and the story of
622:
565:. However, there is some confusion as to whether this is the Saint
539:
364:
1042:(4 ed.). New Haven, CT: Yale University Press. p. 234.
815:
657:
606:
582:
535:
439:
345:
244:
1532:
1098:
1005:
Lombardic Architecture: Its Origin, Development and Derivatives
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with a golden halo, standing next to court officials, generals
626:
419:
387:
The church's construction began in 526 on the orders of Bishop
357:
1585:
653:
614:
610:
605:
depict sacrifices from the Old Testament: the Hospitality of
349:
1437:
Art of the Byzantine Empire, 352-1453: Sources and Documents
1400:
1306:
1227:
819:
762:
715:
634:
630:
31:
1511:. New York: Metropolitan Museum of Art. pp. 666–667.
363:. Its foundational inscription describes the church as a
1485:
Sacred Fortress: Byzantine Art and Statecraft in Ravenna
442:
frescoes on the dome were made between 1778 and 1782 by
435:
and gallery were vaulted only later in the Middle Ages.
1142:
The Jeweled Style: Poetry and Poetics in Late Antiquity
1102:
Gardner's Art Through the Ages: Volume I, Chapters 1-18
687:
is decorated with fifteen mosaic medallions, depicting
1307:
Andreescu-Treadgold, Irina; Treadgold, Warren (1997).
1228:
Andreescu-Treadgold, Irina; Treadgold, Warren (1997).
538:, the largest and best-preserved specimens outside of
1562:
810:
On the opposite wall, the more elaborate panel shows
1105:(12th ed.). Mason, OH: Wadsworth. p. 332.
593:
The central section is surrounded by two superposed
554:, its overall design is a "double-shelled octagon."
1099:Kleiner, Fred, Fred S.; Christin J. Mamiya (2008).
1434:
557:Some speculate that it reflects the design of the
1467:
573:whose body was discovered (together with that of
391:. At the time, Ravenna was under the rule of the
1791:
1388:
1373:
1309:"Procopius and the Imperial Panels of S. Vitale"
1230:"Procopius and the Imperial Panels of S. Vitale"
722:
1638:
668:rule . The apse is flanked by two chapels, the
139:
1624:
1545:History of Byzantine Architecture: San Vitale
1487:. Princeton, NJ: Princeton University Press.
1394:The Book of Pontiffs of the Church of Ravenna
1557:Adrian Fletcher's Paradoxplace Ravenna Pages
968:(online ed.), Oxford University Press,
1145:. Cornell University Press. pp. 66–121
1035:
371:for its historic and ecclesial importance.
1631:
1617:
1482:
1291:
1198:Farber, Alan (2021). Freeman, Evan (ed.).
1081:
1039:Early Christian and Byzantine Architecture
559:Byzantine Imperial Palace Audience Chamber
49:
1501:
1455:
959:
399:completed construction in 547, preceding
1820:Palaeo-Christian architecture in Ravenna
1441:. Toronto: University of Toronto Press.
1353:
609:(Genesis 18:1-16), and the Sacrifice of
513:
498:
378:
324:
1001:
966:The Oxford Dictionary of Late Antiquity
14:
1792:
1274:
1197:
1157:
680:, typical for Byzantine architecture.
546:to survive virtually intact. Like the
1672:Basilica of Sant'Apollinare in Classe
1612:
1429:
1357:A Smarthistory Guide to Byzantine Art
1278:A Smarthistory Guide to Byzantine Art
1085:A Smarthistory Guide to Byzantine Art
412:Basilica of Sant'Apollinare in Classe
285:Cultural: (i), (ii), (iii), (iv)
1165:"Byzantine Art: San Vitale, Ravenna"
974:10.1093/acref/9780198662778.001.0001
942:History of Roman and Byzantine domes
548:Church of Saints Sergios and Bacchos
275:Early Christian Monuments of Ravenna
1551:Great Buildings On-line: San Vitale
518:Ceiling mosaic above the presbytery
24:
1367:
1294:Art and ceremony in late antiquity
1002:Rivoira, Giovanni Teresio (1910).
750:Byzantine Art: San Vitale, Ravenna
683:Inside, the intrados of the great
25:
1851:
1677:Basilica of Sant'Apollinare Nuovo
1526:
1296:. University of California Press.
868:Emperor Justinian and his retinue
652:. The crown is supported by four
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1596:
1584:
1572:
1531:
912:
900:
885:
873:
861:
849:
837:
744:
735:
703:, the sons of Saint Vitale. The
475:
466:
138:
131:
27:Minor basilica in Ravenna, Italy
1722:Palazzo della Ragione (Ferrara)
1347:
1300:
1285:
1268:
1221:
1208:
1191:
960:Nicholson, Oliver, ed. (2018),
880:Empress Theodora and attendants
457:
1216:Gardner's Art Through the Ages
1132:
1127:Gardner's Art Through the Ages
1119:
1092:
1075:
1056:
1029:
1024:Gardner's Art Through the Ages
1016:
995:
953:
707:was begun in 525 under bishop
644:The cross-ribbed vault in the
30:For the eponymous basilica in
13:
1:
1830:World Heritage Sites in Italy
1810:Byzantine sacred architecture
1036:Krautheimer, Richard (1986).
947:
723:Justinian and Theodora panels
588:
245:http://www.ravennamosaici.it/
84:Archdiocese of Ravenna-Cervia
36:Basilica of San Vitale (Rome)
1815:Basilica churches in Ravenna
1483:Von Simson, Otto G. (1987).
7:
1825:Octagonal churches in Italy
1702:Mausoleum of Galla Placidia
1292:MacCormack, Sabine (1981).
924:
844:Ground plan of the building
414:at around the same time. A
369:honorific title of basilica
329:Exterior view of St. Vitale
10:
1856:
1072:Retrieved on May 30, 2015.
907:The interior of San Vitale
830:
503:Triumphal arch mosaics of
374:
257:UNESCO World Heritage Site
29:
1773:
1647:
1139:Roberts, Michael (1989).
1068:October 29, 2007, at the
743:
734:
729:
319:
315:0.14 ha (0.35 acres)
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89:
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65:
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43:
1687:Castello di Montecuccolo
1662:Basilica of San Domenico
55:The Church of San Vitale
1692:Ducal Palace of Colorno
1707:Mausoleum of Theoderic
1697:Ducal Palace of Modena
1667:Basilica of San Vitale
1138:
519:
511:
384:
335:Basilica of San Vitale
330:
157:Geographic coordinates
1762:San Petronio Basilica
1540:at Wikimedia Commons
796:The King's Two Bodies
597:. The upper one, the
517:
502:
382:
328:
1805:6th-century churches
1732:Palazzo dei Diamanti
1538:San Vitale (Ravenna)
1214:Kleiner and Mamiya.
1125:Kleiner and Mamiya.
1022:Kleiner and Mamiya,
429:structural clay tile
405:Exarchate of Ravenna
389:Ecclesius of Ravenna
267:Church of St. Vitale
44:Church of San Vitale
18:Iulianus Argentarius
1835:Early Christian art
1767:Tempio Malatestiano
1179:on October 27, 2014
937:List of Roman domes
761:At the foot of the
403:'s creation of the
361:World Heritage List
175: /
1752:Piacenza Cathedral
1737:Palazzo Schifanoia
1657:Baptistery of Neon
894:Sacrifice of Isaac
822:imported from the
528:Byzantine elements
520:
512:
385:
331:
264:Official name
147:Shown within Italy
1784:
1783:
1536:Media related to
1518:978-0-87099-179-0
1494:978-0-691-00276-7
1448:978-0-8020-6627-5
1112:978-0-495-46740-3
1049:978-0-300-05294-7
983:978-0-19-866277-8
791:Ernst Kantorowicz
759:
758:
532:flying buttresses
323:
322:
228:Construction cost
16:(Redirected from
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1779:
1742:Palazzo Contrari
1717:Modena Cathedral
1682:Castello Estense
1652:Arian Baptistery
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1579:Byzantine Empire
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1313:The Art Bulletin
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1234:The Art Bulletin
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1175:. Archived from
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812:Empress Theodora
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639:Four Evangelists
567:Vitalis of Milan
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179:44.42°N 12.196°E
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103:Year consecrated
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41:
40:
21:
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1790:
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1747:Parma Cathedral
1727:Palazzo Re Enzo
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1607:
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1503:Weitzmann, Kurt
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1415:10.2307/3046283
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1370:
1368:Further reading
1365:
1360:. Smarthistory.
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1348:
1325:10.2307/3046283
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1301:
1290:
1286:
1281:. Smarthistory.
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1269:
1246:10.2307/3046283
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1222:
1218:, pp. 333, 336.
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1209:
1204:. Smarthistory.
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1088:. Smarthistory.
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1076:
1070:Wayback Machine
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804:gold background
783:Bishop Maximian
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701:Saint Protasius
697:Saint Gervasius
613:; the story of
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1505:, ed. (1979).
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1427:
1409:(4): 708–723.
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575:Saint Agricola
552:Constantinople
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764:
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579:Saint Ambrose
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560:
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184:44.42; 12.196
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33:
19:
1786:
1712:Mirabilandia
1666:
1591:Architecture
1530:
1507:
1484:
1470:
1461:On Buildings
1460:
1436:
1431:Mango, Cyril
1406:
1403:Art Bulletin
1402:
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1287:
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1237:
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1210:
1200:
1193:
1181:. Retrieved
1177:the original
1173:Khan Academy
1169:Smarthistory
1159:
1147:. Retrieved
1141:
1134:
1126:
1121:
1100:
1094:
1084:
1077:
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1031:
1023:
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987:, retrieved
965:
955:
893:
809:
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794:
760:
754:Smarthistory
713:
689:Jesus Christ
682:
675:
669:
662:
643:
619:Burning Bush
598:
595:ambulatories
592:
571:Saint Vitale
556:
521:
505:Jesus Christ
458:Architecture
437:
425:
409:
386:
339:late antique
334:
332:
232:
195:Architecture
892:The mosaic
856:Apse mosaic
767:Justinian I
650:Lamb of God
599:matrimoneum
544:Justinian I
487:Justinian I
485:Mosaics of
303:1996 (20th
300:Inscription
182: /
67:Affiliation
1794:Categories
1183:January 8,
989:2020-05-18
962:"basilica"
948:References
931:A La Ronde
775:Belisarius
769:, clad in
677:diaconicon
646:presbytery
589:Mosaic art
444:S. Barozzi
433:ambulatory
393:Ostrogoths
170:12°11′46″E
167:44°25′12″N
1457:Procopius
1333:0004-3079
1254:0004-3079
1129:, p. 333.
1026:, p. 332,
824:Sassanian
787:palatinae
709:Ecclesius
705:theophany
671:prothesis
569:, or the
401:Justinian
290:Reference
220:Completed
206:Byzantine
1559:(photos)
1553:(photos)
1547:(photos)
1459:(1961).
1433:(1986).
1392:(2004).
1149:March 1,
1066:Archived
925:See also
693:Apostles
674:and the
658:peacocks
623:Jeremiah
617:and the
603:triforia
585:in 393.
540:Istanbul
509:Apostles
507:and the
491:Theodora
365:basilica
281:Criteria
117:Location
112:Location
79:Province
61:Religion
1840:Ravenna
1565:Portals
1423:3046283
1341:3046283
1262:3046283
831:Gallery
816:eunuchs
607:Abraham
583:Bologna
536:mosaics
440:Baroque
375:History
346:Ravenna
305:Session
294:788-002
272:Part of
239:Website
231:26,000
1515:
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1331:
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1109:
1046:
980:
779:Narses
666:Gothic
654:angels
627:Isaiah
431:. The
420:solidi
358:UNESCO
342:church
233:solidi
91:Region
34:, see
1476:(PDF)
1419:JSTOR
1382:(PDF)
1337:JSTOR
1258:JSTOR
820:silks
615:Moses
611:Isaac
577:) by
524:Roman
350:Italy
337:is a
201:Style
1603:Arts
1513:ISBN
1489:ISBN
1472:2002
1443:ISBN
1378:2002
1329:ISSN
1250:ISSN
1185:2013
1151:2024
1107:ISBN
1044:ISBN
1012:–65.
978:ISBN
802:The
777:and
763:apse
716:apse
714:The
699:and
695:and
635:Cain
633:and
631:Abel
625:and
526:and
489:and
450:and
438:The
333:The
312:Area
32:Rome
1800:547
1411:doi
1321:doi
1242:doi
1171:at
970:doi
793:in
581:in
550:in
344:in
223:547
215:527
107:547
1796::
1417:.
1407:79
1405:.
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1317:79
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1311:.
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1248:.
1238:79
1236:.
1232:.
1167:.
1010:64
976:,
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348:,
1632:e
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1618:v
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1323::
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1244::
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1115:.
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972::
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307:)
38:.
20:)
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