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“What earlier generations held as sacred, remains sacred and great for us too…” Pope Benedict XVI (7 July 2007)

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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 served as Parochial Vicar at Saint Anselm Church in Northeast Philly before earning a doctorate in liturgical theology at The Catholic University of America. He presently serves as Vocation Director for the Archdiocese of Philadelphia.—(Read full biography).

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Quick Thoughts

Alabama Assessment!

We received this evaluation of Symposium 2022 from an Alabama participant:

“Oh, how the Symposium echoed the words of Cardinal Merry Del Val: …choosing only what is most conformed to Thy glory, which is my final aim. In one short and fast paced week, the faculty and attendees showed me the hand of God and our Lady working in our lives. The wide range of education—from Gregorian Chant, jazz modes in organ improvisation, to ‘staying sane’ while leading a choir—were certainly first-class knowledge from the best teachers of the art. However, the most powerful lesson was learning how to pray as a choir. The sacrifice of putting songs together, taking time to learn the sacred text, meditating on the church teaching through the chants, and gaining the virtues required to persevere in these duties were not only qualities of a choir but of a saint. The sanctification of the lives of the attendees was a beautiful outcome of this event … and that in itself is worth more than a beautifully-sung Solesmes style chant!”

—Jeff Ostrowski
PDF Download • Trinity Sunday (22 pages)

Feel free to download this Organ Accompaniment Booklet for Trinity Sunday (Second Vespers). Notice how the modes progress by number. Psalm 1 is mode 1; Psalm 2 is mode 2; Psalm 3 is mode 3; Psalm 4 is mode 4; Psalm 5 is mode 5. I am told by an expert that other feasts (such as Corpus Christi) are likewise organized by mode, and it’s called a “numerical office.”

—Jeff Ostrowski
10 June 2022 • “Official” rhythm of plainsong

I continue to search for the most beautiful way to present the “pure” Editio Vaticana scores. (Technically, the “pure” rhythm of the official edition is what everyone is supposed to use.) You can download my latest attempt, which is the Introit for this coming Sunday: Feast of the Most Holy Trinity. Because this is not an ancient feast, the Introit had to be adapted (perhaps around 750AD). Prior Johner says the adaptation is “not an entirely happy one.”

—Jeff Ostrowski

Random Quote

“Since the English is not meant to be sung, but only to tell people who do not understand Latin what the text means, a simple paraphrase in prose is sufficient. The versions are not always very literal. Literal translations from Latin hymns would often look odd in English. I have tried to give in a readable, generally rhythmic form the real meaning of the text.”

— Fr. Adrian Fortescue (1913)

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