Ravenna’s opulent ‘soul’ revealed

Eleanor Hughes takes a close look at the historic sites of Ravenna, in Italy's Emilia-Romagna region, which was once capital of the Western Roman Empire.

The exterior of Mausoleum of Galla Placidia. PHOTOS: ELEANOR HUGHES

Mausoleum of Galla Placidia

Ravenna's Mausoleum of Galla Placidia is a simple, brown-brick building, built between AD425 and 450. I wasn’t expecting much inside. According to my guide, Chiara, its simplicity is representative of a good Christian; the exterior of the building like the body, unimportant. What is important is the inside; the precious soul. I enter the doorway.

The sun shining through alabaster windows gives a golden glow to a stunning celestial interior. Cobalt mosaics blanketing the roof, a night sky to gold leafed stars, symbolise paradise; the cross at the centre, Jesus. Walls, arches and ceiling are exquisitely, colourfully mosaicked with figures and scenes, gold leaf adding richness. Chiara points out apostles either side of windows; white-haired and bearded St Peter holding the Keys of Heaven; St Paul, balding and brown-bearded, carries scrolls, the letters of St Paul. Doves drinking water symbolise Christians partaking of the water of eternal life. Evangelists, St Mark is represented by the lion; St John the eagle; St Matthew an angel and St Luke, the bull.

Galla Placidia, Empress of the Western Roman Empire from AD425 to AD437, wished to be buried here. But if she was, she is no longer. Opened in the 1960s, the three marble tombs within were empty.

Ravenna, in Italy’s Emilia-Romagna region, was capital of the Western Roman Empire, the Ostrogothic Kingdom, and the Byzantine Empire during the 5th and 6th century AD. Every king and emperor during that time built monuments and today, eight of these are Unesco World Heritage sites.

The second, of the five I visit in the old part of the city, is around 150m away.

The exterior of the Basilica of San Vitale.

Basilica of San Vitale

A Byzantine monument, the plain, brown-bricked Basilica of San Vitale was built 100 years after the mausoleum. Between two-storeyed, grey and white swirled marble arches, high arched windows along its octagonal walls beam light on to vibrant, jewel-like scenes. The most famous mosaic, located in an apse, portrays purple-robed Emperor Justinian, a gold brooch on his shoulder, ruler from AD527 to 565. Soldiers and Archbishop Maximianus stand next to him. Opposite, mother of pearl has been used to depict Empress Theodora’s jewels. She stands with her court all wearing richly decorated dresses which look embroidered rather than mosaicked.

Not only do the mosaicked ceilings and walls depict history, but also bible stories; a way to teach them to the illiterate. Chiara points out the symbolism; white lilies a sign of purity; peacocks immortality; the gold background, God’s glory. Air, represented by the sky on the ceiling, water on a wall, fire, the orange flames appearing to flicker, and above a door a countryside landscape, earth, symbolise God’s creation.

I wander the hushed interior, across 16th-century marble, around roped-off 6th-century mosaic floors, and reach two stone stairs surrounding a square, sunken area covered by water. Ravenna was built on a wetland and a water table lies directly below the Basilica. It is thought a chapel holding the bones of Saint Vitale once stood in this square, a small church surrounding it a century before the soaring basilica was built.

Sinners once crawled along the marble labyrinth inlaid before the altar following its white arrows, turning and turning to reach the seashell at the centre, a symbol of purification where paradise is depicted above. Having Chiara explain the meaning behind what I’m seeing adds so much to the overwhelming sights here.

 

 

Walking the old, cobbled city I notice street names are mosaicked on buildings. Mosaics decorate doorway arches and public seating; plaques display mosaicked flowers. We stop in at the elegant, two-storey, historic Mercato Coperto – the food market. One has stood here for centuries. Inside, displays of colourful salamis, cheeses and pasta are like mosaics of Italian cuisine. Tortellini, passatelli, tagliatelle, gnocchi, and Ravenna’s speciality, cappellacci. I watch a woman rolling out green dough to make more ravioli. My mouth waters but it is not yet lunchtime.

Neonian Baptistery

The circular 10th-century bell tower next to Ravenna’s Cathedral, rebuilt in the 1700s, reminds me of Pisa’s Leaning Tower. In the cathedral’s shadow, the 5th-century, octagonal Neonian Baptistery is Ravenna’s most ancient building and still used for baptisms. Having sunk 3m its original door is unusable. Bar the floor, disused baptismal pool and the Roman stuccos between the windows, the interior is opulently mosaicked. I focus on the intricate detail; the shadowy folds of Apostles’ robes; draping curtains; three-dimensional porticos; the River Jordan’s rippling waters in Christ’s baptisimal scene on the cupola; feet and hands formed with splinters of marble.

The Archiepiscopal Chapel.

Archiepiscopal Chapel

Around the corner, the Archiepiscopal Museum, once the Bishop’s Palace dating to the 5th century, is home to the 6th-century Archiepiscopal Chapel. At its entrance, the gold mosaicked ceiling, adorned with jewel-coloured birds and white flowers, glistens. Jesus, fighting for the faith, holds the cross as a sword and a book bearing the words "I am the way, the truth and the life". At his feet lie symbols of evil — a lion and snake. Within the chapel a golden cross glows; historical faces adorn mosaicked arches; 16th-century frescoes replace lost tiles. It was once a private chapel, only bishops viewing its beauty.

We pass many mosaic workshops on a stroll taking us through Piazza del Popolo, Ravenna’s central square. Lined with centuries-old mustard, salmon and pastel-coloured three-storey buildings, its outdoor cafes are busy. The mustard and cream-painted town hall looks over two columns. Atop one is the winged lion, the symbol of St. Mark, on the other Ravenna’s patron, Saint Vitale.

After overeating; piadina, a traditional flatbread dating back to Roman times, passatelli, a rich pasta of breadcrumbs, parmesan cheese and eggs sprinkled with truffle slivers, and cappelletto stuffed with cheese and pear, I was ready for the last Unesco site. We walk via Dante’s tomb and the Basilica St Francis where, below the main altar, I peer through a window into its 10th-century flooded crypt. Under water lie patches of mosaic floor from the original 5th-century church. Goldfish swim above them.

 

The exterior of Basilica di Sant'Apollinare Nuovo.

Basilica di Sant’Apollinare Nuovo

Built in the time of Theodoric, King of the Ostrogoths, Basilica di Sant’Apollinare Nuovo’s lofty nave is airy and bright. Above arches supported by 12 columns, and below arched windows, the life-sized Procession of the Virgins, women in gold mosaicked gowns imitating lavishly embroidered fabric, is opposite white-robed men, the Procession of the Martyrs. The stunning, gold leaf background apparently shimmers in morning light. Above, scenes from Jesus’ life; the Last Supper, crucifixion, resurrection, three wise men and various miracles, are thought to be one of the most ancient, complete representations of his life.

Ravenna’s exterior might be plain but its soul is truly precious.