{"id":974,"date":"2024-07-30T18:40:18","date_gmt":"2024-07-30T18:40:18","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/chapter\/8-4-justinian-master-of-three-powers\/"},"modified":"2025-03-19T18:25:10","modified_gmt":"2025-03-19T18:25:10","slug":"8-4-justinian-master-of-three-powers","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/chapter\/8-4-justinian-master-of-three-powers\/","title":{"raw":"8.4 Justinian, Master of Three Powers","rendered":"8.4 Justinian, Master of Three Powers"},"content":{"raw":"
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Basilica of San Vitale, Ravenna<\/h2>\r\n[caption id=\"\" align=\"aligncenter\" width=\"566\"]\"Octagonal 8.63<\/strong> Basilica of San Vitale. 526-547, Ravenna.1<\/sup><\/a> Form attributed to Isidore of Miletus.[\/caption]\r\n

After Constantine himself, the Emperor Justinian I <\/strong>is the most prominent individual in the history of the Western Roman Empire. In 527 Justinian<\/a> had just begun his reign in the Eastern part of the Empire and was desirous of also reclaiming the lost western-half<\/a> of the historical Roman Empire.<\/a> With a similar intent to that the proclamation made by Constantine\u2019s colossal statue at the Basilica Nova,2<\/sup><\/a> Justinian wanted a fail-safe demonstration of his power. As an exemplification of that authoritative power, the exclusivity of Orthodox theology would be of primary importance.<\/p>\r\n

Justinian adopted the project to make sure that this city, the sedes imperialis <\/em>(Imperial seat) of the Western Roman Empire, would be worthy of the glorious ritual which would demonstrate his authority. His power was proclaimed in Ravenna not with a triumphal arch or colossal statue, but with this remarkable basilica.3<\/sup><\/a> His ultimate objective would be met at this location: all would recognize his proud mastery of three types of power: political, military and religious.<\/p>\r\n

The building of the Basilica of San Vitale <\/strong>[image 8.63] had probably been begun by Ecclesius, the Orthodox bishop in Ravenna, the year before Justinian\u2019s reign commenced. In 524 the bishop had visited Constantinople with Pope John I. While there he had been stunned by Byzantine buildings, both new and old, and returned to Ravenna filled with inspiration. The location was auspicious: archaeological excavations have revealed the remains of a small fifth century chapel with mosaic floors. That site was had perhaps been consecrated to St. Vitalis (San Vitale), a local soldier from the first, or possibly fourth, century who was said to have undergone various tortures to make him abjure his faith. Finally the martyr was thrown in a ditch and stones and dirt were heaped upon him. According to the tradition repeated in Ravenna, Vitalis and his wife Valeria were the parents of Milanese martyrs Gervasius and Protasius.4<\/sup><\/a> Adhering to the Roman tradition of \u201cpater familias\u201d <\/em>the rank of father held precedence over the sons; therefore, Ravenna, home of the father, held a higher status and was more \u201cdeserving\u201d of being the western sedes<\/em> imperialis<\/em> than Milan.<\/p>\r\n

The now soggy floor of the old chapel is 27.5 inches (70 centimeters) below the floor of the present basilica of San Vitale and is today covered by ground water [image 8.64]. The hole in the floor of San Vitale isn\u2019t much to look at, but the political status of Ravenna and the relics of the saint made it a faithworthy justification for a centrally-planned building overlaying the former chapel, in the popular style then being built in Constantinople.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"309\"]\"A 8.64<\/strong> Basilica of San Vitale. \u201cView\u201d of the remains of the fifth century chapel consecrated to St. Vitalis.6<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"384\"]\"Brick 8.65<\/strong> Mausoleum of Galla Placidia. 425-450, Ravenna.5<\/sup><\/a>[\/caption]\r\n

Adding to its prime-real estate status, the chapel was adjacent to the magnificent Mausoleum of Galla Placidia [image 8.65].7<\/sup><\/a> The Mausoleum had not been built around a relic but it did have an inspirational stellar dome. (Not incidentally, because of subsidence the floor of the Mausoleum had been raised 56 inches (1.43 meters) in the sixteenth century. We should be grateful anything is still standing in Ravenna!)<\/p>\r\n

The specific inspiration for San Vitale may have come from several sources, but these aerial perspectives [images\u00a08.66 and 8.67] encourage us to appreciate the unique similarity of the central<\/strong> plans<\/strong> of Santa Costanza8<\/sup><\/a> in Rome and San Vitale in Ravenna. The axis <\/strong>of both structures is up toward the central dome.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"279\"]\"Round 8.66<\/strong> Bird's eye view of the Mausoleo di Santa Costanza (right) and the ruins of Constantine's funerary hall, where Costanza may have originally been buried (left). Built before 350 CE, Rome.10<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"187\"]\"Bird\u2019s 8.67<\/strong> Bird\u2019s eye view of San Vitale, Ravenna. Built 526-547.9<\/sup><\/a>[\/caption]\r\n

Both buildings were formed by two concentric rings which designate a circular ambulatory <\/strong>[images 8.66 and 8.67]. San Vitale adds further symbolism to the annular vault with an eight-sided octagon. The central octagon is looped by seven exedrae <\/em>(semi-circles) which suggest God as an infinite power which expands in all directions. The eighth exedra opens into the sanctuary<\/strong>, which ends in an eastwardly projecting apse <\/strong>that reaches up into the second story gallery <\/strong>area. The central octagon is surrounded by a second octagon, which forms the second story ambulatory. The 197\u2019 tiburum <\/strong>(lantern tower) is above the central octagon [image 8.68]. It, too, is a symbolic eight-sided octagon. On the west side is the narthex<\/strong>, through which we have entered.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"170\"]\"Ground-plan 8.68<\/strong> Plan of the Mausoleum of Santa Costanza, Rome, Italy. C. 350 CE.12<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"189\"]\"An 8.69<\/strong> San Vitale plan.11<\/sup><\/a>[\/caption]\r\n

As we approach the nave we are encouraged to \u201cLook up! Look forward!\u201d That has been a recurring refrain ever since we arrived in Ravenna. Here elongated Roman arches, in double arcades, lead to vaulted semi-domes, then more arches, and then the central dome. The overwhelming changing patterns of light, reflecting off of sparkling glass tesserae <\/em>and polished marble, were very intentional. It is likely that glass windows originally captured that light from every direction; these, reset in 1904, are an alabaster imitation.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"450\"]\"Stunning 8.70<\/strong> Basilica of San Vitale. Wide angle photo of the interior.13<\/sup> <\/a>The dome was frescoed in 1780 by Serafino Barozzi and Ubaldo Gandolfi of Bologna and Jacopo Guarana of the Giambattista Tiepolo School, Venice.[\/caption]\r\n

Mystical configurations in support of Orthodox theology are all around us [image 8.70]. The tiburum (lantern tower) is eight sided, like the nearby baptismal fonts.14<\/sup> <\/a>Eight windows, symbolizing infinity, emphasize the octagonal shape. The apse has two levels, symbolizing heaven and earth. The apse also has three windows which is just one of several references to the Trinitarian fervor to be seen in this church.<\/p>\r\n

The apse mosaic illustrates the Second Coming [images 8.71]. A beardless Christ is wearing a purple tunic with a broad golden stripe (clavus<\/em>) and sitting on a blue globe. Christ\u2019s head is surrounded by a halo in which we see a jeweled cross. The gold background suggests this is a heavenly scene which is complimented by the Four Rivers15<\/sup> <\/a>flowing out of Paradise. In his left hand Christ has a scroll with the seven seals of the Apocalypse from the Book of Revelation.16<\/sup> <\/a>In his right hand he is acting like a Greek Nike as he extends the martyr\u2019s crown to the local hero, St. Vitalis. Because this is a timeless and eternal event, Christ will forever be honoring his followers.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"650\"]\"A 8.71<\/strong> Basilica of San Vitale. In the apse a youthful Christ passes a crown of glory to Saint Vitalis.17<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"655\"]\"The 8.73<\/strong> Basilica of San Vitale. Underside of the Triumphal Arch.19<\/sup><\/a>[\/caption]\r\n

Christ is flanked by two winged angels. The angel on our left has his hand on Vitalis\u2019 shoulder, introducing him to Christ. The angel on the right introduces Ecclesius, the Orthodox bishop of Ravenna, who is presenting a miniature model of his project, this very church, to Christ. While the church had been started in 526, most of the construction probably occurred after the Justinian\u2019s reconquest of Ravenna in 540. Byzantine workmen, materials and the most up-to-date architectural ideas would have poured into the Classe\u2019s ports from Constantinople and the east, along with innovative ideas in mosaic artistry.<\/p>\r\n

In the apse we see a youthful Christ. Look above you at the triumphal arch and into the vault [images 8.72 and 8.74]. There are, in this sanctuary area, a total of three representations of Christ. Can <\/em>you find them?<\/em><\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"218\"]\"A 8.72<\/strong> Basilica of San Vitale. Christ at the summit of the Triumphal Arch.18<\/sup><\/a>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"265\"]\"The 8.74<\/strong> Basilica of San Vitale. Vault over the apse.20<\/sup><\/a>[\/caption]\r\n\r\n \r\n\r\n \r\n\r\n \r\n


In the vault over the apse is another clear demonstration of the perfection of Trinitarian thought. You may recall the completeness of \u201c27\u201d as a derivative of three times three times three (3 x 3 x 3=27). Look around; can you <\/em>find<\/em> the<\/em> superlative<\/em> example<\/em> of<\/em> 27?<\/em><\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"284\"]\"A 8.75<\/strong> Basilica of San Vitale. Lamb of God at the peak of the vault.xxi The spotless, unblemished lamb is surrounded by 27 stars.22<\/sup><\/a>[\/caption]\r\n

In Trinitarian fervor, the three appearances of Christ portray him in three different stages:<\/p>\r\n\r\n