{"id":1005,"date":"2024-07-30T18:40:51","date_gmt":"2024-07-30T18:40:51","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/chapter\/8-5-spotlight-on-the-world-of-the-spirit-sant-apollinare-in-classe\/"},"modified":"2025-03-19T18:48:43","modified_gmt":"2025-03-19T18:48:43","slug":"8-5-spotlight-on-the-world-of-the-spirit-sant-apollinare-in-classe","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/chapter\/8-5-spotlight-on-the-world-of-the-spirit-sant-apollinare-in-classe\/","title":{"raw":"8.5 Spotlight on the World of the Spirit: Sant' Apollinare in Classe","rendered":"8.5 Spotlight on the World of the Spirit: Sant’ Apollinare in Classe"},"content":{"raw":"
\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"230\"]\"Bronze 8.89<\/strong> Augustus of Prima Porta. 1937 reproduction in front of Sant\u2019 Apollinare in Classe.1<\/a><\/sup>[\/caption]\r\n

According to popular legend, Emperor Caesar Augustus himself founded Ravenna <\/strong>in the first century CE. In reality, settlement in this part of the Po Valley is even older, reaching back to the Umbrians and Etruscans before it was colonized by Rome in the second century BCE. But the dynamic influence of Octavian on this area is unquestioned. He had built a port facility on these sandy islands at the edge of the Adriatic Sea that could hold, repair, and provision 250 ships. For the next 300 years Ravenna would be Rome\u2019s main naval base for the eastern Mediterranean.<\/p>\r\nCivitas Classis, later known as Classe, <\/strong>was a satellite town 8 km south of Ravenna. In Latin the word \u201cclassis\u201d means \u201cfleet\u201d and here, in the days of Octavian, it was the home of some of the dock workers, sailors and tradesmen from the port of Ravenna. It was also situated on marshland and shared similar land subsidence challenges. By the fifth century CE the port at Ravenna had gradually silted up and the Adriatic Sea had receded, leaving Classe as the major commercial port for the Emilia-Romagna region. Having a claim to Octavian\u2019s fame a reproduction of his famous statue was placed in front of the local basilica of Sant\u2019 Apollinare <\/strong>in 1953 [image 8.89].\r\n\r\nIn between the two cities, as well as along the coast, were sand dunes and cemeteries. The burial grounds were properly outside the city of Ravenna, and it was in one of the many Roman-era cemeteries that the first-second century Saint Apollinare, the first bishop of Ravenna, was interred. In the sixth century a church was built over the presumed holy ground. The basilica of Sant\u2019 Apollinare Nuovo in Ravenna (constructed 493-526; dedicated to Sant\u2019 Apollinare in 856)2<\/sup><\/a> and the basilica of Sant\u2019 Apollinare in Classe (built 533-536) both pay tribute to the same saint. The two churches compliment and complete each other. The Ravenna basilica promotes the value of idealism with magnificent nave mosaics while the apse of the Classe basilica shines a spotlight on the mystical world of the spirit.\r\n\r\nSeveral conventions that were standard in Early Christian basilica churches, and remain common in future Romanesque and Gothic churches, are to be observed at the basilica of Sant\u2019 Apollinare in Classe [images 8.90-8.94]:\r\n

    \r\n \t
  1. The orientation <\/strong>of the traditionally-shaped basilica is toward the east. (An east-facing axis was typical of churches until the modern period. If topographic circumstances prohibited an east-facing apse, the altar would still point to the \u201cLiturgical East.\u201d)<\/li>\r\n \t
  2. A strict horizontal axis<\/strong> leading toward the apse was as essential in a basilica as the east-facing orientation.<\/li>\r\n \t
  3. The basilica originally had twin towers <\/strong>on the north and south ends of the narthex. These were sometimes known as the Peter and Paul towers, or at other times they were named in recognition of Bethlehem and Jerusalem. Here, the rectangular north tower remains from the original sixth century construction; the south tower is only remembered in the original plans [image 8.92].<\/li>\r\n \t
  4. As seen at St. Paul\u2019s Outside the Walls in Rome3<\/sup><\/a>, a quadraporticus<\/strong> was frequently located in front of a basilica. At Sant\u2019 Apollinare in Classe a modern road has been constructed along the former edge of the quadraporticus.<\/li>\r\n \t
  5. A splendid cylindrical campanile <\/strong>was added to the building before the year 1000. The bell tower was useful for sounding the canonical hours. Or, the bell ringer could sound it repetitively and loudly as a community warning system (i.e. to call people into town to fight a fire).<\/li>\r\n \t
  6. On the plan it is evident that three doors <\/strong>led from the narthex into the nave [image 8.92]. The significance of \u201cthree\u201d may have been an anti-Arian statement, or they could have been simply in the tradition of centuries of architectural history [images 8.93 and 8.94].<\/li>\r\n \t
  7. Columns<\/strong> divide the interior into a nave<\/strong> and two aisles<\/strong>.<\/li>\r\n \t
  8. Clerestory<\/strong> windows flood the basilica with light.<\/li>\r\n \t
  9. The sanctuary<\/strong> includes a triumphal<\/strong> arch<\/strong> and the apsidal<\/strong> area of the conch.<\/li>\r\n \t
  10. Surprise! There is no transept.<\/li>\r\n<\/ol>\r\n[caption id=\"\" align=\"aligncenter\" width=\"558\"]\"Brick 8.90<\/strong> Sant\u2019 Apollinare in Classe. West fa\u00e7ade rebuilt after World War II.4<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"305\"]\"Aerial 8.91<\/strong> Sant\u2019 Apollinare in Classe. Aerial view.5<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"242\"]\"Floor 8.92<\/strong> Sant\u2019 Apollinare in Classe. Original floor plan.6<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"973\"]\"A 8.93<\/strong> Temple of Amon-Ra, Karnak.7<\/sup><\/a> Three center aisles honor of each of the Egyptian gods Amun, Mut and Khonsu.[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"335\"]\"A 8.94<\/strong> Reconstruction of an Etruscan Temple of the 6th century BCE according to Vitruvius.8<\/sup><\/a> Three doors lead into cellas (rooms) for Jupiter, Juno and Minerva.[\/caption]\r\n\r\n<\/div>\r\nTwo rows of 12 marble columns imported from the Sea of Marmara (literally, Sea of Marble) march the participant steadily forward toward the apse [image 8.95]. Stairs and the triumphal arch set the apse area apart and draw attention to the holy space even when no services are being celebrated. Only the mosaic apse and triumphal arch remain from the original decorating program; the side walls are thought to have also been decorated with Proconnesian marble (from the Sea of Marmara). The altar in which the saint\u2019s relics are, or are not installed, is in the center front of this picture.<\/span>\r\n
    \r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"307\"]\"A 8.95<\/strong> Sant\u2019 Apollinare in Classe. Nave.9<\/sup><\/a>[\/caption]\r\n

    The Basilica of Sant\u2019 Apollinare in Classe is a perfect example of a funerary basilica built over or adjacent to the tomb of an esteemed saint or martyr. The basilica is dedicated to the first bishop of Ravenna, Sant\u2019 Apollinare, but his story is far from uncomplicated. According to tradition he was sent by St. Peter as a missionary to Ravenna where he worked for nearly 20 years before being lapidated (stoned to death) by pagans or teenage hoodlums, ca. 75 CE. In an alternative version of his story, having the audacity to convert people and perform miracles, he was brought before a Roman judge, tortured and martyred about 180 CE.10<\/sup><\/a><\/p>\r\n

    Adding to the complexities of Apollinare\u2019s story, this basilica was begun between 533 and 536. Those dates make it \u201cnewer\u201d than the \u201cNew\u201d basilica of Sant\u2019 Apollinare Nuovo in Ravenna, which was begun during the reign of King Theodoric (r. 493-526). The appellation Nuovo was applied at the rededication when the saint\u2019s relics were transferred from the Classe location during the Amorian dynasty (820-867). This is turning into an overly complex byzantine story (no pun intended!).<\/p>\r\n

    The basilica in Classe was consecrated by Bishop Maximianus on May 9, 549, just a little later than the more famous Basilica of San Vitale<\/a> in Ravenna.11<\/sup><\/a> As with the latter church, construction of the Sant\u2019 Apollinare was made possible by generous subsidies from Julianus Argentarius, the mysterious banker who played a large role in religious life in Ravenna in the first half of the sixth century.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"510\"]\"A 8.96<\/strong> Sant\u2019 Apollinare in Classe. Sanctuary area.12<\/sup><\/a>[\/caption]\r\n

    It is the apse at Sant\u2019 Apollinare in Classe that is so overwhelmingly amazing. As we study the original sanctuary mosaic, at least nine scenes may be identified [image 8.96].<\/p>\r\n

    Scene 1. Where is Christ in this apse? <\/em>Many observers misidentify the central figure [images 8.96 and 8.97] in the lower part of the mosaic as Christ. He is, after all, the largest figure. He has a halo, and is placed in a \u201cdivine\u201d frontal stance. Sorry, but not a good guess. This figure is clearly labeled as \u201cSANCTVS APOLENARIS.\u201d Apollinare is dressed in a chasuble with a bishop\u2019s pallium. His hands are extended in the orant position of prayer.13<\/sup><\/a><\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"435\"]\"A 8.97<\/strong> Sant\u2019 Apollinare in Classe. Apse mosaic.14<\/sup><\/a>[\/caption]\r\n

    Scene 2. Saint Apollinare is standing in a beautiful green landscape with rocks, trees and birds. Twelve sheep walk toward him in orderly lines, six from the left and six from the right. These may represent the twelve apostles. It has been noticed that the first lamb on the saint\u2019s right side is pure white; perhaps it represents Apollinare himself, who was believed, because of his ability to perform miracles, to have been a saint during his lifetime. The other five lambs appear dirty; these could represent catechumens (before baptism). Cleaned neophytes (baptized people) are on the saint\u2019s left side.<\/p>\r\n

    As with all mosaics in Ravenna, those in the Sant\u2019 Apollinare in Classe have been restored on many occasions. Red lines were added in the 1970s restoration to indicate which parts of the mosaic are still original.<\/p>\r\n

    Scene 3. While we\u2019re near the saint, let\u2019s study the landscape [images 8.98 and 8.99]. None of the rocks, trees or birds has the illusionary quality of Greco-Roman art. The details of nature are unimportant. In the flattened presentation of this abstract art people, animals and objects have value not for what they are, but for what they symbolize.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"307\"]\"Detail 8.98<\/strong> Detail of landscape in mosaic of the Good Shepherd at Mausoleum of Galla Placidia. 425-450.15<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"346\"]\"Detail 8.99<\/strong> Sant\u2019 Apollinare in Classe. Landscape in mosaic on the apse. C. 570.16<\/sup><\/a>[\/caption]\r\n

    Scene 4. Perhaps Christ is one of the figures on the back wall of the apse? <\/em>These are also prominent, and each seems to be standing in a niche which has been ornamented with curtains [image 8.96]. Sorry, none of these is Christ. In the first place they are not solitary; the focus is not on one, solo, divine image. These are four early bishops of Ravenna.<\/p>\r\n

    Ecclesius, bishop of Ravenna from 522 to 532, is on the left. We have seen him earlier in the apse mosaic of the San <\/a>Vitale<\/a>.17<\/sup> <\/a>The second is Severus, who was bishop of Ravenna in the 340s and whose cult was gaining momentum at the time of Sant\u2019 Apollinare\u2019s completion. The third is Ursus, who was bishop of Ravenna ca. 405-431 and who was responsible for the construction of Ravenna\u2019s cathedral<\/a> (Basilica Ursiana) and the adjacent Orthodox Baptistery.<\/a>18\u00a0<\/sup><\/a>The fourth bishop is Ursicinus, who was bishop of Ravenna between 533 and 536 and who commissioned the initial basilica of Sant\u2019 Apollinare in Classe. We\u2019ve proven that these are historical, important people, but none is the focal point.<\/p>\r\n

    Scene 5. Look up, to the triumphal arch <\/strong>that surrounds the apse [image 8.96 and 8.105]. The sanctuary area is filled with abstract symbols<\/strong>. It must be remembered: symbols are the language of religion just as numbers are the language of science. Joseph Campbell\u2019s admonition is relevant here: \u201cThose who do not know that symbols hold hidden meaning are like diners going into a restaurant and eating the menu rather than the meal it describes.\u201d19<\/sup><\/a><\/p>\r\n

    The symbols across the lintel of the triumphal arch which forms the fa\u00e7ade of the sanctuary are mostly unfamiliar to the modern reader. We remarked on them earlier in the dome of the Mausoleum of Galla Placidia20<\/sup><\/a>, and they are not difficult for us to identify. Based upon writings from the books of Ezekiel and Revelation and St. Jerome\u2019s fourth century writings, the four writers of New Testament Gospel books are remembered by means of these symbols.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"114\"]\"An 8.100<\/strong> Symbol of John.22<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"119\"]\"A 8.101<\/strong> Symbol of Matthew.23<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"122\"]\"Bearded 8.102<\/strong> Image of Christ.21<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"119\"]\"Lion 8.103<\/strong> Symbol of Mark.24<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"124\"]\"Ox 8.104<\/strong> Symbol of Luke.25<\/sup><\/a>[\/caption]\r\n

    The book of John is very mystical, so the symbol for the writer is the eagle who sees this world from lofty heights [image 8.100]. In a similar manner to eagles soaring toward the sun, John\u2019s commentary was seen as radiating the light of divine knowledge.<\/p>\r\n

    The symbol of a man is used as a mnemonic for the book of Matthew which traces Jesus\u2019 genealogy to demonstrate his human nature [image 8.101].<\/p>\r\n

    Aha! We have found one depiction of Christ. He is shown in the center as Christ the Pantocrator<\/strong>, the omnipotent world ruler. He is both mature and divine, with both a beard and a halo [image 8.102]. He is giving a benediction (blessing) to his followers. (Don\u2019t you sense that there must be two more representations of Christ somewhere nearby?)<\/p>\r\n

    The memory device for the book of Mark is a lion because the text promotes the royal dignity of Jesus [image\u00a08.103].<\/p>\r\n

    The book of Luke describes Jesus\u2019 birth in a stable, so an ox is an appropriate prompt [image 8.104].<\/p>\r\n

    Scene 6. Twelve more sheep may be seen under the horizontal lintel [image 8.105]. Like the twin towers on either side of the narthex, these could be symbolic of faithful worshippers as they proceed in measured steps from the walled cities of Jerusalem and Bethlehem.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"1540\"]\"Sheep 8.105<\/strong> Sant\u2019 Apollinare in Classe. The triumphal arch.26<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"172\"]\"A 8.106<\/strong> Moses.27<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"190\"]\"A 8.107<\/strong> Elijah.28<\/sup><\/a>[\/caption]\r\n\r\nScene 7. The arch itself [image 8.96] has been cleverly utilized as Mount Tabor for a depiction of the event known as \u201cThe Transfiguration.\u201d At this time, as described in the three Synoptic Gospels (Mark, Matthew and Luke), Jesus revealed his divine nature to Peter, James and John. The story emphasized a crucial Anti-Arian theological point by affirming the duality of Christ, who was not only man and God at the same time, but was perceived by men as such at this event. The two large figures floating in the clouds are the prophets Moses and Elijah (labeled \u201cMOYSES\u201d and \u201cHbELYAS\u201d) and the three sheep to the left and right of the cross are symbolic of Peter, James and John.\r\n\r\nThe account from the book of Luke 9:28-36 is perplexing to us, and the event was probably also mystifying to the three disciples. \u201cAnd it came to pass about eight days after these sayings, he took Peter and John and James, and went up into a mountain to pray. And as he prayed, the fashion of his countenance was altered, and his raiment was white and glistering. And, behold, there talked with him two men, which were Moses and Elias: who appeared in glory, and spake of his decease which he should accomplish at Jerusalem. But Peter and they that were with him were heavy with sleep: and when they were awake, they saw his glory, and the two men that stood with him. And it came to pass, as they departed from him, Peter said unto Jesus, Master, it is good for us to be here: and let us make three tabernacles; one for thee, and one for Moses, and one for Elias: not knowing what he said. While he thus spake, there came a cloud, and overshadowed them: and they feared as they entered into the cloud. And there came a voice out of the cloud, saying, \u2018This is my beloved Son: hear him.\u2019 And when the voice was past, Jesus was found alone. And they kept it close, and told no man in those days any of those things which they had seen\u201d (KJV).29<\/sup><\/a>\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"154\"]\"A 8.108<\/strong> Peter.30<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"130\"]\"Two 8.109<\/strong> James and John.31<\/sup><\/a>[\/caption]\r\n\r\nScene 8. It only makes sense that Christ would make a second appearance in this scene of the Transfiguration, and he does. The Divine Presence is expressed as the Hand of God. It is between Moses and Elijah and above the cross. In one\u2019s imagination a voice from the cloud may be heard, saying, \u201cThis is my beloved Son: hear him.\u201d\r\n\r\n<\/div>\r\n

    This hand may also be symbolically interpreted as one of three hands gesturing toward the cross, the other two belonging to Moses and Elijah.<\/span><\/div>\r\n
    \r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"159\"]\"The 8.110<\/strong> Christ at the center of the medallion.33<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"247\"]\"A 8.111<\/strong> The Hand of God at Sant\u2019 Apollinare in Classe.32<\/sup><\/a>[\/caption]\r\n

    Scene 9. The third appearance of Christ is in a large jeweled cross set against a blue background. The cross suggests not only his crucifixion, but his victory over death and the Second Coming, an event that will be as mind-boggling as was the Transfiguration. The surrounding 99 stars in the star-spangled heaven are symbolic of the story of the \u201cNinety- and nine lost sheep\u201d (Luke 15: 4-7).<\/p>\r\n

    Around the cross are additional statements about the significance of Christ. On the left and right arms of the cross are the letters \u0391 (alpha, the first letter of the Greek alphabet) and \u03a9 (omega, the last letter of the Greek alphabet), suggesting that Christ is the beginning and end of all time, and the Lord of All that is really important. Above the cross, we see the Greek word \u0399\u03a7\u0398\u03a5\u03a3, which translates as \u201cfish\u201d, but it is also the acronym for \u201c\u038a\u03b7\u03c3\u03bf\u1fe6\u03c2 \u03a7\u03c1\u03b9\u03c3\u03c4\u03cc\u03c2, \u0398\u03b5\u03bf\u1fe6 \u03a5\u1f31\u03cc\u03c2, \u03a3\u03c9\u03c4\u03ae\u03c1\u201d, or \u201cJesus Christ, Son of God, the Savior,\u201d a familiar phrase for early Christians. Below the cross are, in Latin, the words \u201cSALVS MVNDI\u201d (\u201cSalvation of the World\u201d).<\/p>\r\n\r\n

    \r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"324\"]\"A 8.112<\/strong> Cross at the summit of the semidome.34<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"239\"]\"A 8.113<\/strong> Christ in the center of the cross.35<\/sup>[\/caption]\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n[caption id=\"\" align=\"alignright\" width=\"143\"]\"An 8.114<\/strong> Archangel Michael on the north pier.36<\/sup><\/a>[\/caption]\r\n

    We have identified nine stories presented in the masterpiece of the apse and triumphal arch at Sant\u2019 Apollinare in Classe. As you have observed, a Trinitarian emphasis is still giving \u201ccorrection\u201d to the heretics. To accentuate the need to repair unorthodox thought, just one more example will be given. On the piers (vertical supports) of the triumphal arch are two archangels, Michael and Gabriel. They are thought to have been part of the original sixth century mosaics. They are dressed in imperial tunics and are wearing privileged red shoes. Each is holding a banner which reads \u201cagios, agios, agios,\u201d which is Greek for \u201choly, holy, holy.\u201d The declaration was no doubt a reference to the Holy Trinity and an anti-Arian statement<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"162\"]\"An 8.115<\/strong> Archangel Gabriel on the south pier.37<\/sup><\/a>[\/caption]\r\n

    In Byzantine art we are transported to an ideal alternative world to witness a mystical understanding of beauty. The abstract patterns and symbols suggest a world of the spirit. Unlike the pagan (i.e. Greek) past, the earthly beauty of a human body is no longer the exemplar of supreme beauty. And, contrary to today, neither is nature the exemplar of perfect beauty. These Christians were members neither of the Zeus Affiliates nor of the Sierra Club.<\/p>\r\n

    Under the influence of Augustinian (and ultimately Platonic) thought, the heavenly city of God was so far removed from this earthly city that humans could only catch glimpses. God was understood to be so spiritual, so unitary that humans could not know him directly. As you have witnessed here, God was so removed from the things of this world that we could barely find him. And if you didn\u2019t know to look for God in the center of the cross, you would never find God.<\/p>\r\n

    But we want to glimpse that world! So we devise lamps that will lift us to that mystical realm: tall, elongated candlesticks on which we can place even taller tapering candles. \u201cThat\u2019s the best we can do for today, but perhaps tomorrow\u2019s engineers with theatrical lights can do better.\u201d And, they do!<\/p>\r\n

    You have before you two images of the medallion in the apse at Sant\u2019 Apollinare in Classe. The first was taken on a sunny day, under natural lighting. The second was taken at night when the stage was set for a performance by the Westminster Boys\u2019 Choir.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"291\"]\"A 8.116<\/strong> Daytime view at Sant\u2019 Apollinare in Classe.38<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"318\"]\"A 8.117<\/strong> The medallion under theater lights.39<\/sup><\/a>[\/caption]\r\n\r\n \r\n\r\n \r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"700\"]\"A 8.118<\/strong> The sanctuary at Sant\u2019 Apollinare in Class under theatrical lights, prepared for the Westminster Boys\u2019 Choir, July 4, 2016.40<\/sup><\/a>[\/caption]\r\n\r\nReferences:<\/strong>\r\n

    1<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/3\/3c\/Statua_di_Augusto-_di_fronte_Sant %27 Apollinare _in_Classe.jpg<\/a><\/p>\r\n

    2<\/a>. See Hartman, Kathleen J. \u201cChapter 8, Witnesses for Idealism: Sant\u2019 Apollinare Nuovo.\u201d Humanities: New Meaning from the Ancient World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n

    3<\/a>. See Hartman, Kathleen J. \u201cChapter 7, Constantine\u2019s Great Decisions.\u201d Humanities: New Meaning from the Ancient World. <\/em>Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n

    4<\/a>. Public domain at commons.wikimedia.org\/wiki\/Category:Sant%27Apollinare_in_Classe_(Ravenna)_-_Exterior# \/media \/File:Ravenna- 252-San_Apollinare_in_Classe-1985-gje.jpg<\/p>\r\n

    5<\/a>. European Commission website at http:\/\/www.heritage-route.eu\/en\/ravenna\/gallery\/#.X71LI81Kj4Y<\/a><\/p>\r\n

    6<\/a>. Public domain at commons.wikimedia.org\/wiki\/Category: Plans_of_Sant%27Apollinare_in_Classe_ (Ravenna)#\/ media\/ File:Ravenna,_San'Apollinare_in_Clas se,_alaprajz.gif<\/p>\r\n

    7<\/a>. Public domain at commons.wikimedia.org\/wiki\/File:Great_Temple_of_Ammon_-_Karnak_40.jpg<\/p>\r\n

    8<\/a>. Public domain at www.khanacademy.org\/humanities\/ap-art-history\/ancient-mediterranean-ap\/ap-ancient-etruria\/a\/temple-of-<\/a> minerva-and-the-sculpture-of-apollo-veii<\/a><\/p>\r\n

    9<\/a>. Public domain at ccsearch.creativecommons.org\/photos\/b627f888-2b23-4042-a328-a0febd08dd9a<\/a><\/p>\r\n

    10<\/a>. Peter Chrysologus, Bishop of Ravenna 433-450, declared that Apollinaris did not die of wounds inflicted on him, so he was not a martyr. Verifying that idea, the depiction of him in the apse at Sant\u2019 Apollinare in Classe does not show him with a martyr\u2019s crown. Research conducted in 1954 suggested that only some of the relics were taken to Ravenna and the remainder were still buried in Classe, beneath the present basilica. Was the whole story a prank?<\/p>\r\n

    11<\/a>. See Hartman, Kathleen J. \u201cChapter 8, Justinian, Master of Three Powers: San Vitale.\u201d Humanities: New Meaning from the Ancient World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n

    12<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/a\/a6\/Stappoclasseaps.jpg<\/a><\/p>\r\n

    13<\/a>. See Hartman, Kathleen J. \u201cChapter 7, Anticipating Byzantine Culture.\u201d Humanities: New Meaning from the Ancient World. <\/em>Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n

    14<\/a>. Dr. Steven Zucker and Dr. Beth Harris, \"Sant\u2019 Apollinare in Classe, Ravenna (Italy),\" in Smarthistory<\/em>, December 10, 2015, accessed October 30, 2019, smarthistory.org\/santapollinare-in-classe-ravenna-italy\/<\/p>\r\n

    15<\/a>. Public domain at commons.wikimedia.org\/wiki\/File: Meister_des_Mausoleums_der_ Galla_Placidia_ in_ Ravenna_ 002.jpg<\/p>\r\n

    16<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/0\/02\/Sant%27apollinare_in_classe%2C_mosaici_del_catino%2C_trasfigurazione_simbolica%2<\/a> C_VI_secolo%2C_10_giardino_%28con_restauri%29_2.jpg<\/a><\/p>\r\n

    17<\/a>. See image 8.71 in Hartman, Kathleen J. \u201cChapter 8, Justinian, Master of Three Powers: San Vitale.\u201d Humanities: New Meaning from the <\/em>Ancient<\/em> World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n

    18<\/a>. See Hartman, Kathleen J. \u201cChapter 8, Orthodoxy vs. Heresy: Orthodox and Arian Baptisteries in Ravenna.\u201d Humanities: New Meaning from<\/em> the<\/em> Ancient<\/em> World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n

    19<\/a>. Joseph Campbell, The<\/em> Power<\/em> of<\/em> Myth,<\/em> 1988.<\/p>\r\n

    20<\/a>. See Hartman, Kathleen J. \u201cChapter 8, Development of Symbolic Art: Galla Placidia.\u201d Humanities: New Meaning from the Ancient World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\r\n

    21<\/a>. Ibid.<\/p>\r\n

    22<\/a>. Public domain at commons.wikimedia.org\/wiki\/Sant%27Apollinare_in_Classe#\/media\/File:Sanapolinclasse02.jpg<\/p>\r\n

    23<\/a>. Ibid.<\/p>\r\n

    24<\/a>. Ibid.<\/p>\r\n

    25<\/a>. Ibid.<\/p>\r\n

    26<\/a>. Public domain at commons.wikimedia.org\/wiki\/File:Upper_register_-_Triumphal_arch_-_Sant%27 Apollinare_ in_ Classe_-_Ravenna_2016.jpg<\/p>\r\n

    27<\/a>. Public domain at commons.wikimedia.org\/wiki\/File:Moses_-_Sant%27Apollinare_in_Classe_-_Ravenna_2016.jpg<\/p>\r\n

    28<\/a>. Dr. Steven Zucker and Dr. Beth Harris, \"Sant\u2019Apollinare in Classe, Ravenna (Italy).<\/p>\r\n

    29<\/a>. The Transfiguration was a well-known theme in religious art. Another outstanding sixth-century mosaic depiction of the Transfiguration is at the Monastery of Saint Catherine at the foot of Mount Sinai (Egypt). Renaissance artist Raphael\u2019s final painting, which has become a famous depiction of the Transfiguration, is now at the Vatican Museum.<\/p>\r\n

    30<\/a>. Photo by the author, Kathleen J. Hartman, 2016.<\/p>\r\n

    31<\/a>. Ibid.<\/p>\r\n

    32<\/a>. Dr. Steven Zucker and Dr. Beth Harris, \"Sant\u2019Apollinare in Classe, Ravenna (Italy).<\/p>\r\n

    33<\/a>. Photo by the author, Kathleen J. Hartman, 2016.<\/p>\r\n

    34<\/a>. Ibid.<\/p>\r\n

    35<\/a>. Ibid.<\/p>\r\n

    36<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/3\/3a\/Archangel_Michael_-_Triumphal_arch_-_Sant %27Apollinare_in_Classe_-_Ravenna_2016.jpg<\/p>\r\n

    37<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/f\/fb\/ Sant%27apollinare_in_classe %2C_mosaici _dell %27arcone%2C_arcangelo_gabriele%2C_ VI_secolo.jpg<\/p>\r\n

    38<\/a>. Photo by the author, Kathleen J. Hartman, 2016.<\/p>\r\n

    39<\/a>. Ibid.<\/p>\r\n

    40.<\/a> Ibid.<\/p>\r\n\r\n<\/div>\r\n<\/div>","rendered":"

    \n
    \"Bronze
    8.89<\/strong> Augustus of Prima Porta. 1937 reproduction in front of Sant\u2019 Apollinare in Classe.1<\/a><\/sup><\/figcaption><\/figure>\n

    According to popular legend, Emperor Caesar Augustus himself founded Ravenna <\/strong>in the first century CE. In reality, settlement in this part of the Po Valley is even older, reaching back to the Umbrians and Etruscans before it was colonized by Rome in the second century BCE. But the dynamic influence of Octavian on this area is unquestioned. He had built a port facility on these sandy islands at the edge of the Adriatic Sea that could hold, repair, and provision 250 ships. For the next 300 years Ravenna would be Rome\u2019s main naval base for the eastern Mediterranean.<\/p>\n

    Civitas Classis, later known as Classe, <\/strong>was a satellite town 8 km south of Ravenna. In Latin the word \u201cclassis\u201d means \u201cfleet\u201d and here, in the days of Octavian, it was the home of some of the dock workers, sailors and tradesmen from the port of Ravenna. It was also situated on marshland and shared similar land subsidence challenges. By the fifth century CE the port at Ravenna had gradually silted up and the Adriatic Sea had receded, leaving Classe as the major commercial port for the Emilia-Romagna region. Having a claim to Octavian\u2019s fame a reproduction of his famous statue was placed in front of the local basilica of Sant\u2019 Apollinare <\/strong>in 1953 [image 8.89].<\/p>\n

    In between the two cities, as well as along the coast, were sand dunes and cemeteries. The burial grounds were properly outside the city of Ravenna, and it was in one of the many Roman-era cemeteries that the first-second century Saint Apollinare, the first bishop of Ravenna, was interred. In the sixth century a church was built over the presumed holy ground. The basilica of Sant\u2019 Apollinare Nuovo in Ravenna (constructed 493-526; dedicated to Sant\u2019 Apollinare in 856)2<\/sup><\/a> and the basilica of Sant\u2019 Apollinare in Classe (built 533-536) both pay tribute to the same saint. The two churches compliment and complete each other. The Ravenna basilica promotes the value of idealism with magnificent nave mosaics while the apse of the Classe basilica shines a spotlight on the mystical world of the spirit.<\/p>\n

    Several conventions that were standard in Early Christian basilica churches, and remain common in future Romanesque and Gothic churches, are to be observed at the basilica of Sant\u2019 Apollinare in Classe [images 8.90-8.94]:<\/p>\n

      \n
    1. The orientation <\/strong>of the traditionally-shaped basilica is toward the east. (An east-facing axis was typical of churches until the modern period. If topographic circumstances prohibited an east-facing apse, the altar would still point to the \u201cLiturgical East.\u201d)<\/li>\n
    2. A strict horizontal axis<\/strong> leading toward the apse was as essential in a basilica as the east-facing orientation.<\/li>\n
    3. The basilica originally had twin towers <\/strong>on the north and south ends of the narthex. These were sometimes known as the Peter and Paul towers, or at other times they were named in recognition of Bethlehem and Jerusalem. Here, the rectangular north tower remains from the original sixth century construction; the south tower is only remembered in the original plans [image 8.92].<\/li>\n
    4. As seen at St. Paul\u2019s Outside the Walls in Rome3<\/sup><\/a>, a quadraporticus<\/strong> was frequently located in front of a basilica. At Sant\u2019 Apollinare in Classe a modern road has been constructed along the former edge of the quadraporticus.<\/li>\n
    5. A splendid cylindrical campanile <\/strong>was added to the building before the year 1000. The bell tower was useful for sounding the canonical hours. Or, the bell ringer could sound it repetitively and loudly as a community warning system (i.e. to call people into town to fight a fire).<\/li>\n
    6. On the plan it is evident that three doors <\/strong>led from the narthex into the nave [image 8.92]. The significance of \u201cthree\u201d may have been an anti-Arian statement, or they could have been simply in the tradition of centuries of architectural history [images 8.93 and 8.94].<\/li>\n
    7. Columns<\/strong> divide the interior into a nave<\/strong> and two aisles<\/strong>.<\/li>\n
    8. Clerestory<\/strong> windows flood the basilica with light.<\/li>\n
    9. The sanctuary<\/strong> includes a triumphal<\/strong> arch<\/strong> and the apsidal<\/strong> area of the conch.<\/li>\n
    10. Surprise! There is no transept.<\/li>\n<\/ol>\n
      \"Brick
      8.90<\/strong> Sant\u2019 Apollinare in Classe. West fa\u00e7ade rebuilt after World War II.4<\/sup><\/a><\/figcaption><\/figure>\n
      \"Aerial
      8.91<\/strong> Sant\u2019 Apollinare in Classe. Aerial view.5<\/sup><\/a><\/figcaption><\/figure>\n
      \"Floor
      8.92<\/strong> Sant\u2019 Apollinare in Classe. Original floor plan.6<\/sup><\/a><\/figcaption><\/figure>\n
      \"A
      8.93<\/strong> Temple of Amon-Ra, Karnak.7<\/sup><\/a> Three center aisles honor of each of the Egyptian gods Amun, Mut and Khonsu.<\/figcaption><\/figure>\n
      \"A
      8.94<\/strong> Reconstruction of an Etruscan Temple of the 6th century BCE according to Vitruvius.8<\/sup><\/a> Three doors lead into cellas (rooms) for Jupiter, Juno and Minerva.<\/figcaption><\/figure>\n<\/div>\n

      Two rows of 12 marble columns imported from the Sea of Marmara (literally, Sea of Marble) march the participant steadily forward toward the apse [image 8.95]. Stairs and the triumphal arch set the apse area apart and draw attention to the holy space even when no services are being celebrated. Only the mosaic apse and triumphal arch remain from the original decorating program; the side walls are thought to have also been decorated with Proconnesian marble (from the Sea of Marmara). The altar in which the saint\u2019s relics are, or are not installed, is in the center front of this picture.<\/span><\/p>\n

      \n
      \"A
      8.95<\/strong> Sant\u2019 Apollinare in Classe. Nave.9<\/sup><\/a><\/figcaption><\/figure>\n

      The Basilica of Sant\u2019 Apollinare in Classe is a perfect example of a funerary basilica built over or adjacent to the tomb of an esteemed saint or martyr. The basilica is dedicated to the first bishop of Ravenna, Sant\u2019 Apollinare, but his story is far from uncomplicated. According to tradition he was sent by St. Peter as a missionary to Ravenna where he worked for nearly 20 years before being lapidated (stoned to death) by pagans or teenage hoodlums, ca. 75 CE. In an alternative version of his story, having the audacity to convert people and perform miracles, he was brought before a Roman judge, tortured and martyred about 180 CE.10<\/sup><\/a><\/p>\n

      Adding to the complexities of Apollinare\u2019s story, this basilica was begun between 533 and 536. Those dates make it \u201cnewer\u201d than the \u201cNew\u201d basilica of Sant\u2019 Apollinare Nuovo in Ravenna, which was begun during the reign of King Theodoric (r. 493-526). The appellation Nuovo was applied at the rededication when the saint\u2019s relics were transferred from the Classe location during the Amorian dynasty (820-867). This is turning into an overly complex byzantine story (no pun intended!).<\/p>\n

      The basilica in Classe was consecrated by Bishop Maximianus on May 9, 549, just a little later than the more famous Basilica of San Vitale<\/a> in Ravenna.11<\/sup><\/a> As with the latter church, construction of the Sant\u2019 Apollinare was made possible by generous subsidies from Julianus Argentarius, the mysterious banker who played a large role in religious life in Ravenna in the first half of the sixth century.<\/p>\n

      \"A
      8.96<\/strong> Sant\u2019 Apollinare in Classe. Sanctuary area.12<\/sup><\/a><\/figcaption><\/figure>\n

      It is the apse at Sant\u2019 Apollinare in Classe that is so overwhelmingly amazing. As we study the original sanctuary mosaic, at least nine scenes may be identified [image 8.96].<\/p>\n

      Scene 1. Where is Christ in this apse? <\/em>Many observers misidentify the central figure [images 8.96 and 8.97] in the lower part of the mosaic as Christ. He is, after all, the largest figure. He has a halo, and is placed in a \u201cdivine\u201d frontal stance. Sorry, but not a good guess. This figure is clearly labeled as \u201cSANCTVS APOLENARIS.\u201d Apollinare is dressed in a chasuble with a bishop\u2019s pallium. His hands are extended in the orant position of prayer.13<\/sup><\/a><\/p>\n

      \"A
      8.97<\/strong> Sant\u2019 Apollinare in Classe. Apse mosaic.14<\/sup><\/a><\/figcaption><\/figure>\n

      Scene 2. Saint Apollinare is standing in a beautiful green landscape with rocks, trees and birds. Twelve sheep walk toward him in orderly lines, six from the left and six from the right. These may represent the twelve apostles. It has been noticed that the first lamb on the saint\u2019s right side is pure white; perhaps it represents Apollinare himself, who was believed, because of his ability to perform miracles, to have been a saint during his lifetime. The other five lambs appear dirty; these could represent catechumens (before baptism). Cleaned neophytes (baptized people) are on the saint\u2019s left side.<\/p>\n

      As with all mosaics in Ravenna, those in the Sant\u2019 Apollinare in Classe have been restored on many occasions. Red lines were added in the 1970s restoration to indicate which parts of the mosaic are still original.<\/p>\n

      Scene 3. While we\u2019re near the saint, let\u2019s study the landscape [images 8.98 and 8.99]. None of the rocks, trees or birds has the illusionary quality of Greco-Roman art. The details of nature are unimportant. In the flattened presentation of this abstract art people, animals and objects have value not for what they are, but for what they symbolize.<\/p>\n

      \"Detail
      8.98<\/strong> Detail of landscape in mosaic of the Good Shepherd at Mausoleum of Galla Placidia. 425-450.15<\/sup><\/a><\/figcaption><\/figure>\n
      \"Detail
      8.99<\/strong> Sant\u2019 Apollinare in Classe. Landscape in mosaic on the apse. C. 570.16<\/sup><\/a><\/figcaption><\/figure>\n

      Scene 4. Perhaps Christ is one of the figures on the back wall of the apse? <\/em>These are also prominent, and each seems to be standing in a niche which has been ornamented with curtains [image 8.96]. Sorry, none of these is Christ. In the first place they are not solitary; the focus is not on one, solo, divine image. These are four early bishops of Ravenna.<\/p>\n

      Ecclesius, bishop of Ravenna from 522 to 532, is on the left. We have seen him earlier in the apse mosaic of the San <\/a>Vitale<\/a>.17<\/sup> <\/a>The second is Severus, who was bishop of Ravenna in the 340s and whose cult was gaining momentum at the time of Sant\u2019 Apollinare\u2019s completion. The third is Ursus, who was bishop of Ravenna ca. 405-431 and who was responsible for the construction of Ravenna\u2019s cathedral<\/a> (Basilica Ursiana) and the adjacent Orthodox Baptistery.<\/a>18\u00a0<\/sup><\/a>The fourth bishop is Ursicinus, who was bishop of Ravenna between 533 and 536 and who commissioned the initial basilica of Sant\u2019 Apollinare in Classe. We\u2019ve proven that these are historical, important people, but none is the focal point.<\/p>\n

      Scene 5. Look up, to the triumphal arch <\/strong>that surrounds the apse [image 8.96 and 8.105]. The sanctuary area is filled with abstract symbols<\/strong>. It must be remembered: symbols are the language of religion just as numbers are the language of science. Joseph Campbell\u2019s admonition is relevant here: \u201cThose who do not know that symbols hold hidden meaning are like diners going into a restaurant and eating the menu rather than the meal it describes.\u201d19<\/sup><\/a><\/p>\n

      The symbols across the lintel of the triumphal arch which forms the fa\u00e7ade of the sanctuary are mostly unfamiliar to the modern reader. We remarked on them earlier in the dome of the Mausoleum of Galla Placidia20<\/sup><\/a>, and they are not difficult for us to identify. Based upon writings from the books of Ezekiel and Revelation and St. Jerome\u2019s fourth century writings, the four writers of New Testament Gospel books are remembered by means of these symbols.<\/p>\n

      \"An
      8.100<\/strong> Symbol of John.22<\/sup><\/a><\/figcaption><\/figure>\n
      \"A
      8.101<\/strong> Symbol of Matthew.23<\/sup><\/a><\/figcaption><\/figure>\n
      \"Bearded
      8.102<\/strong> Image of Christ.21<\/sup><\/a><\/figcaption><\/figure>\n
      \"Lion
      8.103<\/strong> Symbol of Mark.24<\/sup><\/a><\/figcaption><\/figure>\n
      \"Ox
      8.104<\/strong> Symbol of Luke.25<\/sup><\/a><\/figcaption><\/figure>\n

      The book of John is very mystical, so the symbol for the writer is the eagle who sees this world from lofty heights [image 8.100]. In a similar manner to eagles soaring toward the sun, John\u2019s commentary was seen as radiating the light of divine knowledge.<\/p>\n

      The symbol of a man is used as a mnemonic for the book of Matthew which traces Jesus\u2019 genealogy to demonstrate his human nature [image 8.101].<\/p>\n

      Aha! We have found one depiction of Christ. He is shown in the center as Christ the Pantocrator<\/strong>, the omnipotent world ruler. He is both mature and divine, with both a beard and a halo [image 8.102]. He is giving a benediction (blessing) to his followers. (Don\u2019t you sense that there must be two more representations of Christ somewhere nearby?)<\/p>\n

      The memory device for the book of Mark is a lion because the text promotes the royal dignity of Jesus [image\u00a08.103].<\/p>\n

      The book of Luke describes Jesus\u2019 birth in a stable, so an ox is an appropriate prompt [image 8.104].<\/p>\n

      Scene 6. Twelve more sheep may be seen under the horizontal lintel [image 8.105]. Like the twin towers on either side of the narthex, these could be symbolic of faithful worshippers as they proceed in measured steps from the walled cities of Jerusalem and Bethlehem.<\/p>\n

      \"Sheep
      8.105<\/strong> Sant\u2019 Apollinare in Classe. The triumphal arch.26<\/sup><\/a><\/figcaption><\/figure>\n
      \"A
      8.106<\/strong> Moses.27<\/sup><\/a><\/figcaption><\/figure>\n
      \"A
      8.107<\/strong> Elijah.28<\/sup><\/a><\/figcaption><\/figure>\n

      Scene 7. The arch itself [image 8.96] has been cleverly utilized as Mount Tabor for a depiction of the event known as \u201cThe Transfiguration.\u201d At this time, as described in the three Synoptic Gospels (Mark, Matthew and Luke), Jesus revealed his divine nature to Peter, James and John. The story emphasized a crucial Anti-Arian theological point by affirming the duality of Christ, who was not only man and God at the same time, but was perceived by men as such at this event. The two large figures floating in the clouds are the prophets Moses and Elijah (labeled \u201cMOYSES\u201d and \u201cHbELYAS\u201d) and the three sheep to the left and right of the cross are symbolic of Peter, James and John.<\/p>\n

      The account from the book of Luke 9:28-36 is perplexing to us, and the event was probably also mystifying to the three disciples. \u201cAnd it came to pass about eight days after these sayings, he took Peter and John and James, and went up into a mountain to pray. And as he prayed, the fashion of his countenance was altered, and his raiment was white and glistering. And, behold, there talked with him two men, which were Moses and Elias: who appeared in glory, and spake of his decease which he should accomplish at Jerusalem. But Peter and they that were with him were heavy with sleep: and when they were awake, they saw his glory, and the two men that stood with him. And it came to pass, as they departed from him, Peter said unto Jesus, Master, it is good for us to be here: and let us make three tabernacles; one for thee, and one for Moses, and one for Elias: not knowing what he said. While he thus spake, there came a cloud, and overshadowed them: and they feared as they entered into the cloud. And there came a voice out of the cloud, saying, \u2018This is my beloved Son: hear him.\u2019 And when the voice was past, Jesus was found alone. And they kept it close, and told no man in those days any of those things which they had seen\u201d (KJV).29<\/sup><\/a><\/p>\n

      \"A
      8.108<\/strong> Peter.30<\/sup><\/a><\/figcaption><\/figure>\n
      \"Two
      8.109<\/strong> James and John.31<\/sup><\/a><\/figcaption><\/figure>\n

      Scene 8. It only makes sense that Christ would make a second appearance in this scene of the Transfiguration, and he does. The Divine Presence is expressed as the Hand of God. It is between Moses and Elijah and above the cross. In one\u2019s imagination a voice from the cloud may be heard, saying, \u201cThis is my beloved Son: hear him.\u201d<\/p>\n<\/div>\n

      This hand may also be symbolically interpreted as one of three hands gesturing toward the cross, the other two belonging to Moses and Elijah.<\/span><\/div>\n
      \n
      \"The
      8.110<\/strong> Christ at the center of the medallion.33<\/sup><\/a><\/figcaption><\/figure>\n
      \"A
      8.111<\/strong> The Hand of God at Sant\u2019 Apollinare in Classe.32<\/sup><\/a><\/figcaption><\/figure>\n

      Scene 9. The third appearance of Christ is in a large jeweled cross set against a blue background. The cross suggests not only his crucifixion, but his victory over death and the Second Coming, an event that will be as mind-boggling as was the Transfiguration. The surrounding 99 stars in the star-spangled heaven are symbolic of the story of the \u201cNinety- and nine lost sheep\u201d (Luke 15: 4-7).<\/p>\n

      Around the cross are additional statements about the significance of Christ. On the left and right arms of the cross are the letters \u0391 (alpha, the first letter of the Greek alphabet) and \u03a9 (omega, the last letter of the Greek alphabet), suggesting that Christ is the beginning and end of all time, and the Lord of All that is really important. Above the cross, we see the Greek word \u0399\u03a7\u0398\u03a5\u03a3, which translates as \u201cfish\u201d, but it is also the acronym for \u201c\u038a\u03b7\u03c3\u03bf\u1fe6\u03c2 \u03a7\u03c1\u03b9\u03c3\u03c4\u03cc\u03c2, \u0398\u03b5\u03bf\u1fe6 \u03a5\u1f31\u03cc\u03c2, \u03a3\u03c9\u03c4\u03ae\u03c1\u201d, or \u201cJesus Christ, Son of God, the Savior,\u201d a familiar phrase for early Christians. Below the cross are, in Latin, the words \u201cSALVS MVNDI\u201d (\u201cSalvation of the World\u201d).<\/p>\n

      \n
      \"A
      8.112<\/strong> Cross at the summit of the semidome.34<\/sup><\/a><\/figcaption><\/figure>\n
      \"A
      8.113<\/strong> Christ in the center of the cross.35<\/sup><\/figcaption><\/figure>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

      \"An
      8.114<\/strong> Archangel Michael on the north pier.36<\/sup><\/a><\/figcaption><\/figure>\n

      We have identified nine stories presented in the masterpiece of the apse and triumphal arch at Sant\u2019 Apollinare in Classe. As you have observed, a Trinitarian emphasis is still giving \u201ccorrection\u201d to the heretics. To accentuate the need to repair unorthodox thought, just one more example will be given. On the piers (vertical supports) of the triumphal arch are two archangels, Michael and Gabriel. They are thought to have been part of the original sixth century mosaics. They are dressed in imperial tunics and are wearing privileged red shoes. Each is holding a banner which reads \u201cagios, agios, agios,\u201d which is Greek for \u201choly, holy, holy.\u201d The declaration was no doubt a reference to the Holy Trinity and an anti-Arian statement<\/p>\n

      \"An
      8.115<\/strong> Archangel Gabriel on the south pier.37<\/sup><\/a><\/figcaption><\/figure>\n

      In Byzantine art we are transported to an ideal alternative world to witness a mystical understanding of beauty. The abstract patterns and symbols suggest a world of the spirit. Unlike the pagan (i.e. Greek) past, the earthly beauty of a human body is no longer the exemplar of supreme beauty. And, contrary to today, neither is nature the exemplar of perfect beauty. These Christians were members neither of the Zeus Affiliates nor of the Sierra Club.<\/p>\n

      Under the influence of Augustinian (and ultimately Platonic) thought, the heavenly city of God was so far removed from this earthly city that humans could only catch glimpses. God was understood to be so spiritual, so unitary that humans could not know him directly. As you have witnessed here, God was so removed from the things of this world that we could barely find him. And if you didn\u2019t know to look for God in the center of the cross, you would never find God.<\/p>\n

      But we want to glimpse that world! So we devise lamps that will lift us to that mystical realm: tall, elongated candlesticks on which we can place even taller tapering candles. \u201cThat\u2019s the best we can do for today, but perhaps tomorrow\u2019s engineers with theatrical lights can do better.\u201d And, they do!<\/p>\n

      You have before you two images of the medallion in the apse at Sant\u2019 Apollinare in Classe. The first was taken on a sunny day, under natural lighting. The second was taken at night when the stage was set for a performance by the Westminster Boys\u2019 Choir.<\/p>\n

      \"A
      8.116<\/strong> Daytime view at Sant\u2019 Apollinare in Classe.38<\/sup><\/a><\/figcaption><\/figure>\n
      \"A
      8.117<\/strong> The medallion under theater lights.39<\/sup><\/a><\/figcaption><\/figure>\n

       <\/p>\n

       <\/p>\n

      \"A
      8.118<\/strong> The sanctuary at Sant\u2019 Apollinare in Class under theatrical lights, prepared for the Westminster Boys\u2019 Choir, July 4, 2016.40<\/sup><\/a><\/figcaption><\/figure>\n

      References:<\/strong><\/p>\n

      1<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/3\/3c\/Statua_di_Augusto-_di_fronte_Sant %27 Apollinare _in_Classe.jpg<\/a><\/p>\n

      2<\/a>. See Hartman, Kathleen J. \u201cChapter 8, Witnesses for Idealism: Sant\u2019 Apollinare Nuovo.\u201d Humanities: New Meaning from the Ancient World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\n

      3<\/a>. See Hartman, Kathleen J. \u201cChapter 7, Constantine\u2019s Great Decisions.\u201d Humanities: New Meaning from the Ancient World. <\/em>Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\n

      4<\/a>. Public domain at commons.wikimedia.org\/wiki\/Category:Sant%27Apollinare_in_Classe_(Ravenna)_-_Exterior# \/media \/File:Ravenna- 252-San_Apollinare_in_Classe-1985-gje.jpg<\/p>\n

      5<\/a>. European Commission website at http:\/\/www.heritage-route.eu\/en\/ravenna\/gallery\/#.X71LI81Kj4Y<\/a><\/p>\n

      6<\/a>. Public domain at commons.wikimedia.org\/wiki\/Category: Plans_of_Sant%27Apollinare_in_Classe_ (Ravenna)#\/ media\/ File:Ravenna,_San’Apollinare_in_Clas se,_alaprajz.gif<\/p>\n

      7<\/a>. Public domain at commons.wikimedia.org\/wiki\/File:Great_Temple_of_Ammon_-_Karnak_40.jpg<\/p>\n

      8<\/a>. Public domain at www.khanacademy.org\/humanities\/ap-art-history\/ancient-mediterranean-ap\/ap-ancient-etruria\/a\/temple-of-<\/a> minerva-and-the-sculpture-of-apollo-veii<\/a><\/p>\n

      9<\/a>. Public domain at ccsearch.creativecommons.org\/photos\/b627f888-2b23-4042-a328-a0febd08dd9a<\/a><\/p>\n

      10<\/a>. Peter Chrysologus, Bishop of Ravenna 433-450, declared that Apollinaris did not die of wounds inflicted on him, so he was not a martyr. Verifying that idea, the depiction of him in the apse at Sant\u2019 Apollinare in Classe does not show him with a martyr\u2019s crown. Research conducted in 1954 suggested that only some of the relics were taken to Ravenna and the remainder were still buried in Classe, beneath the present basilica. Was the whole story a prank?<\/p>\n

      11<\/a>. See Hartman, Kathleen J. \u201cChapter 8, Justinian, Master of Three Powers: San Vitale.\u201d Humanities: New Meaning from the Ancient World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\n

      12<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/a\/a6\/Stappoclasseaps.jpg<\/a><\/p>\n

      13<\/a>. See Hartman, Kathleen J. \u201cChapter 7, Anticipating Byzantine Culture.\u201d Humanities: New Meaning from the Ancient World. <\/em>Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\n

      14<\/a>. Dr. Steven Zucker and Dr. Beth Harris, “Sant\u2019 Apollinare in Classe, Ravenna (Italy),” in Smarthistory<\/em>, December 10, 2015, accessed October 30, 2019, smarthistory.org\/santapollinare-in-classe-ravenna-italy\/<\/p>\n

      15<\/a>. Public domain at commons.wikimedia.org\/wiki\/File: Meister_des_Mausoleums_der_ Galla_Placidia_ in_ Ravenna_ 002.jpg<\/p>\n

      16<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/0\/02\/Sant%27apollinare_in_classe%2C_mosaici_del_catino%2C_trasfigurazione_simbolica%2<\/a> C_VI_secolo%2C_10_giardino_%28con_restauri%29_2.jpg<\/a><\/p>\n

      17<\/a>. See image 8.71 in Hartman, Kathleen J. \u201cChapter 8, Justinian, Master of Three Powers: San Vitale.\u201d Humanities: New Meaning from the <\/em>Ancient<\/em> World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\n

      18<\/a>. See Hartman, Kathleen J. \u201cChapter 8, Orthodoxy vs. Heresy: Orthodox and Arian Baptisteries in Ravenna.\u201d Humanities: New Meaning from<\/em> the<\/em> Ancient<\/em> World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\n

      19<\/a>. Joseph Campbell, The<\/em> Power<\/em> of<\/em> Myth,<\/em> 1988.<\/p>\n

      20<\/a>. See Hartman, Kathleen J. \u201cChapter 8, Development of Symbolic Art: Galla Placidia.\u201d Humanities: New Meaning from the Ancient World.<\/em> Colorado Springs, CO: Pikes Peak Community College, 2020. CC BY-NC 4.0 License.<\/p>\n

      21<\/a>. Ibid.<\/p>\n

      22<\/a>. Public domain at commons.wikimedia.org\/wiki\/Sant%27Apollinare_in_Classe#\/media\/File:Sanapolinclasse02.jpg<\/p>\n

      23<\/a>. Ibid.<\/p>\n

      24<\/a>. Ibid.<\/p>\n

      25<\/a>. Ibid.<\/p>\n

      26<\/a>. Public domain at commons.wikimedia.org\/wiki\/File:Upper_register_-_Triumphal_arch_-_Sant%27 Apollinare_ in_ Classe_-_Ravenna_2016.jpg<\/p>\n

      27<\/a>. Public domain at commons.wikimedia.org\/wiki\/File:Moses_-_Sant%27Apollinare_in_Classe_-_Ravenna_2016.jpg<\/p>\n

      28<\/a>. Dr. Steven Zucker and Dr. Beth Harris, “Sant\u2019Apollinare in Classe, Ravenna (Italy).<\/p>\n

      29<\/a>. The Transfiguration was a well-known theme in religious art. Another outstanding sixth-century mosaic depiction of the Transfiguration is at the Monastery of Saint Catherine at the foot of Mount Sinai (Egypt). Renaissance artist Raphael\u2019s final painting, which has become a famous depiction of the Transfiguration, is now at the Vatican Museum.<\/p>\n

      30<\/a>. Photo by the author, Kathleen J. Hartman, 2016.<\/p>\n

      31<\/a>. Ibid.<\/p>\n

      32<\/a>. Dr. Steven Zucker and Dr. Beth Harris, “Sant\u2019Apollinare in Classe, Ravenna (Italy).<\/p>\n

      33<\/a>. Photo by the author, Kathleen J. Hartman, 2016.<\/p>\n

      34<\/a>. Ibid.<\/p>\n

      35<\/a>. Ibid.<\/p>\n

      36<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/3\/3a\/Archangel_Michael_-_Triumphal_arch_-_Sant %27Apollinare_in_Classe_-_Ravenna_2016.jpg<\/p>\n

      37<\/a>. Public domain at upload.wikimedia.org\/wikipedia\/commons\/f\/fb\/ Sant%27apollinare_in_classe %2C_mosaici _dell %27arcone%2C_arcangelo_gabriele%2C_ VI_secolo.jpg<\/p>\n

      38<\/a>. Photo by the author, Kathleen J. Hartman, 2016.<\/p>\n

      39<\/a>. Ibid.<\/p>\n

      40.<\/a> Ibid.<\/p>\n<\/div>\n<\/div>\n","protected":false},"author":101,"menu_order":10,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-1005","chapter","type-chapter","status-publish","hentry"],"part":399,"_links":{"self":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters\/1005","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/users\/101"}],"version-history":[{"count":7,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters\/1005\/revisions"}],"predecessor-version":[{"id":1616,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters\/1005\/revisions\/1616"}],"part":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/parts\/399"}],"metadata":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters\/1005\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/media?parent=1005"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapter-type?post=1005"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/contributor?post=1005"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/license?post=1005"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}