BASÍLICA DE SAN APOLINAR EL NUEVO

During the 6th century, the city of Ravenna was the most representative focus of the artistic evolution of Christian art. And one of the most relevant constructions of the time was the Basilica of San Apollinaris Nuevo, a paradigm of proto-Byzantine art in the West. The construction of this basilica, of Arian worship and dedicated to Christ the Redeemer, was undertaken between the end of the 5th century and the beginning of the 6th century, carried out by order of the monarch Theodoric.

Ostrogothic in origin, but raised in the Eastern Roman court, Theodoric conquered Ravenna and established his kingdom there, respecting the city and helping to develop its artistic and cultural activity.

After the Byzantine conquest, in the year 540, all the sacred buildings of the Arians were quickly integrated into the Catholic cult, so that this basilica was dedicated to Saint Martin of Tours, a faithful opponent of the Arian heresy. Its current dedication dates from the 9th century, when the relics of Saint Apollinaris, the first bishop of Ravenna, were transferred to this church from the Basilica of Saint Apollinaris “in Classe”. The reason for the transfer is due to security issues, to safeguard the relics, since at that time the basilica was located in Classe, the historic port of Ravenna, exposed and isolated.

To carry out the construction of this basilica, the traditional model of a basilica floor plan with three naves separated by arches on columns, preceded by a portico (narthex) and endowed with an iconostasis in front of the presbytery, was used. It has a free-standing tower, circular in plan, articulated in height on several floors in which openings or mullioned windows that expand in height are opened.

This work constitutes a good example of the passage of paleo-Christian figuration, located in the high mosaic panels, “Byzantine style”, which we observe in the ”Cortejo de Santos”, a technique more precise in which the cutting of the tiles is done in a more delicate and meticulous way. Greater technical precision that provides, when creating the scene, greater dynamism. The very concept of mosaic evokes the idea of a harmonious union of each of the pieces (tesserae), to achieve a much larger and more important whole.

On the contrary, in the upper part we find compositions that are much more symmetrical and noticeably less defined, the result of less technical precision, which can be seen in its workmanship based on larger and less well-cared tesserae.

MOSAICS

To the left of the central nave there is a “Procession of Virgins” that heads towards the apse, located on the north side, and ends with a scene of the “Birth of Jesus”; This procession leaves from Classe, the port of Ravenna, where we can appreciate the boats and also the walls from which the city could be observed.

The virgins are dressed in white Roman-style tunics, although their decoration is oriental in style, an example of the influence and contacts maintained between East and West. All of them carry, supported by their cloak, the crown of martyrdom, and appear with a nimbus of holiness. To culminate this procession, the Three Wise Men prostrate themselves before the Virgin, while the archangels guard the baby Jesus. The Virgin appears in a seated position and with a nimbus. One of the archangels (left) appears pointing to the Magi, while the one next to her also makes an introductory gesture. The two remaining archangels (right) show an acceptance gesture while pointing to the kingship of Christ.

On the south side is “The Procession of the Martyrs”, which depart from the Teodorico palace, a clearly Roman court palace, with galleries, pediments and arches, but with intercolumns that are covered by curtains, which takes us to the world eastern churchman. The courtship scene is a reproduction of that of the virgins, with figures ”gens togata”, symbol of status and social power, with their hands covered so as not to touch the crown of martyrdom. The procession is presided over by San Martín, who wears the cape of a different color, and they appear offering Christ the crown. At the end of this procession, the image of the adult Christ appears, represented with a cruciferous nimbus, robed -in the Roman imperial style- and surrounded by the four protective archangels.

These representations of Virgins and Martyrs in procession symbolize, in a certain way, those that were carried out in the different celebrations of the church; in fact, in the Byzantine liturgy these processions had great importance as an action prior to the sacramental sacrifice. Thus, the procession of both Virgins and Martyrs follow a royal procession, thus creating a symbolic atmosphere.

Mónica Blanco for URBS REGIA

Bango Torviso, I: “Cristiandad y cultura clásica: el arte cristiano. I. Madrid, 2007.
Grabar, A: “La edad de oro de Justiniano. Desde la muerte de Teodorico hasta el islam. Madrid. 1960.
Grabar, A: “Las vías de la creación en la iconografía cristiana. Madrid, 1985.

ARTE BIZANTINO: SAN APOLINAR NUEVO (RÁVENA)

COMENTARIO HISTÓRICO ARTÍSTICO DE LOS MOSAICOS DE LA BASÍLICA DE SAN APOLINAR EL NUEVO DE RÁVENA