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Views from the Choir Loft

Exploring the 5th/6th-Century Mosaics of Ravenna

Fr. David Friel · February 23, 2020

Y CURRENT research project had me studying the stunning mosaics of Ravenna over the last two weeks. These artworks were not completely unknown to me, but I had never had the occasion to explore all the secondary literature that has been devoted to these mosaics. These magnificent images, crafted mostly in the fifth and sixth centuries, are not only attractive to behold, but also deeply theological.

For those who may be unfamiliar with these works of art, a good, concise introduction to the Ravenna churches is found here.

One of the most interesting pieces is the mosaic adorning the apse of Sant’Apollinare in Classe. The presence of Moses and Elijah make clear that the mosaic depicts the scene of the Transfiguration. The figure at the center, however, is not a radiant Christ in splendor, but rather a jeweled cross set in a blue orb. An excellent analysis of the details in this mosaic is found here.

Another masterpiece among the Ravenna mosaics is the set of panels adorning the nave walls of Sant’Apollinare Nuovo. These images show a procession of saints, bearing their gifts to the altar and, ultimately, to the enthroned Christ. The Gospel side of the nave features 22 virgins (all female), while the epistle side features 26 martyrs (all male).

The most architecturally interesting church in Ravenna is undoubtedly San Vitale, consecrated in the year 547. The basilica combines Roman and Byzantine elements. The basic floorplan consists of two concentric octagons, surmounted with a dome.

The apse within San Vitale presents an extraordinary program of interconnected mosaics. The central image displays Christ in Majesty, alongside St. Vitalis and Bishop Ecclesius. On either side of the apse, one finds mosaics of the Emperor Justinian and his Empress, Theodora. In order to understand how all the mosaics in the apse of San Vitale relate to one another, I highly recommend watching this video:

The cluster of Ravenna churches housing these mosaics stand as testimony to the beauty of ancient Christian faith. They also remind us not to fall into the all-too-easy trap of thinking that people living in ancient times were somehow primitive, unrefined, or unintelligent (a position encountered surprisingly often both in popular imagination and in historical studies).

The artist-theologians who crafted the mosaics of Ravenna still have much to teach.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Tagged With: Sacred Architecture, Traditional Catholic Artwork Last Updated: February 26, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Luis Martínez Must Go!
    Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]
    —Jeff Ostrowski
    Urgent! • We Desperately Need Funds!
    A few days ago, the president of Corpus Christi Watershed posted this urgent appeal for funds. Please help us make sure we’re never forced to place our content behind a paywall. We feel it’s crucial that 100% of our content remains free to everyone. We’re a tiny 501(c)3 public charity, entirely dependent upon the generosity of small donors. We have no endowment and no major donors. We run no advertisements and have no savings. We beg you to consider donating $4.00 per month. Thank you!
    —Jeff Ostrowski
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“The Jesuits have spoiled the work of Christian antiquity, under pretext of restoring the hymns in accordance with the laws of metre and elegant language.”

— M. Ulysse Chevalier (1891)

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Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.

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