THE MOSAICs IN THE SAN VITALE IN RAVENNA
PortrAIt OF A FamilY
Hubert de
Vries
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One of the few
heraldic shields known from the time of the conquest of Italy by the
Byzantines in the 6th century is represented on the mosaics in the San Vitale
in Ravenna. It is a green shield with a golden bordure set with preciuous
stones and charged with a golden christogram
covering the whole surface. Such a shield is also known from a silver dish from
the 4th century on which Emperor Constantius II is represented between his
squire, who is bearing such a shield, and Victoria. [1] Here we
will try to determine who was the owner of the shield on the Ravenna mosaics.
To achieve this it is necessary to determine who the other individuals on the
mosaics are. |
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The Mosaics |
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In the choir of teh San Vitale in Ravenna
there are three important mosaics. Accoording to the accepted interpretation these
are representing Christ, Saint Vitus, Emperor Justinian I and Empress
Theodora and their retinue. A prelate is identified by the name of
Maximianus. A closer view of the
individuals represented leads to the conclusion that not Justinian I the
Great is represented but Tiberius II Constantine with his retinue. The
argumentation is as follows: In the period in which the mosaics can be
made there reigned four emperors: Justinian I from 527 - 565, Justin II from 565 - 578, Tiberius II Constantine from 578 - 582 and Maurice
Tiberius from 582 - 602. In Ravenna Maximian was bishop from 546 - 556. He
played an important role in the building of the churches in Ravenna. Justinian I was married to Theodora, Justin
II to Sophia, Tiberius II Constantine to Anastasia and Maurice to
Constantina, the daughter of Tiberius II Constantine and Anastasia. In Italy Belisarius was prefect from 536 -
541 and from 544 - 549. He was succeeded by Narses (552-567) and Flavius
Longinus (567-583). This last one became the first exarch of Ravenna and he was succeeded during the reign of
Maurice by another five exarchs (military governors), In the
interim periods of 541 - 544 and from 549- 552 the territory around Ravenna
was occupied by the Ostrogoths. [2] In this period there were four Popes:
Vigilius (537-555), Pelagius I (555-561), John III (561-574), Benedict I
(574-579) en Pelagius II (579-590). The bishops, later patriarchs of Aquilei,
we can leave out of consideration, amongst other because they came under
strong Longobard influence after 569. All these individuals can be represented on
the mosaics also because the making of mosaics was an expensive thing which
only the elite could afford |
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The mosaic in the apse represent a coronation. In
the middle is a man seated, dressed
in purple with
a halo with a cross around his head and keeping a codicil in his left hand.
He is sitting on a blue sphere representing the universe. The halo with the cross makes him the
highest administrator or pantocrator.
He presents a crown and a staff to a man dressed in a white tunica and cloak who, with an accepting gesture
upholds his cloak. On the left side of the seated man is a prelate dressed in
purple. The representation is escorted by two angels, the messengers of
heaven symbolizing a divine mandate. |
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b. The
Mosaic on the Northern Wall On the northern wall there is a
mosaic representing a man with a crown and a halo dressed in purple. On his shoulder
there is a gold-embroidered patch ensigned with a green eagle. On the tablion there are also green eagles,
encircled in red. Next to him are high officials and clergymen. Above the
clergyman on his left side the name of
Maximianus is written by which, according to the accepted opinion, it is
meant bishop Maximian of Ravenna (546-556). On the extreme right side of the
central person there are soldiers of which the foremost is equipped with a
green shield ensigned with a christogram. c. The Mosaic on the Southern Wall On the southern
waal there is a mosaic representing a crowned
and nimbused woman dressed in purple. She holds a chalice
in her hands. On the edge of her cloak there are the Three Magi
with their offerings. Next to her are two men and two women an on a less
prominent place on her left side are another five women. |
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ad. a. The individuals represented on mosaic in the
apse are quite young. The central one is certainly an Emperor because of his
purple attire. The oher man is crowned by him. Also in relation with the man
on the northern mosaic and the eagle on his shoulder, an important warrior or
a caesar is certainly represented.
The eagle indicates a rank equal to a consul,
here: a merarch or legate of a
legion (= 5000 men). [3] d The mosaics have to be made later than 539 because it was only in
that year that Ravenna
was captured by Belisarius. [4] It is not likely that the mosaics were begun
in the hectic period between 539 and 552. Also the church was consecrated
only in 547 and for that reason we can suppose that the construction was only
completed in that year. Justinian I would have been 69 years old. The person
thus cannot, represent Justinian I. as he is too young, and also the traits
of the man do not resemble the other preserved
portaits of Justinian I. Considering when the central figure of the mosaic was created, it is more likely to represent Justinian I’s successor, Justin II, his nephew. Justin II, born about 520, but was paralyzed in both legs which made him unsuited for the office. It is also suggested that he was of an unstable state of mind. This gave immediate cause to serious intrigues in the palace. Gibbon continues: This domestic animosity was refined into a generous resolution of seeking a successor, not in his family, but in the republic: and the artful Sophia (his wife) recommended Tiberius, his faithful captain of the guards, [….]. The ceremony of his elevation to the rank of Caesar, or Augustus, was performed (A.D. 574, December) in the portico of the palace, in the presence of the patriarch and the senate. In a speech the Eperor said: “You behold the ensigns of supreme power. You are about to receive them not from my hand, but from the hand of God.” [5] So the mosaic in the apse likely represents
the coronation of caesar of
Tiberius in 574. The patriarch at
that time was Benedict I (574-579). The portrait of Justin II can be compared
with his portrait on the so-called Cross of Justin in the Treasur of the St.
Peter in Rome. The portrait on coins of Justin II in any case does not rule
out that the mosaic represents Justin II. Justin II died on 5 October 578 after a
reign of 13 years. He was succeeded by Tiberius II Constantine. |
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ad. b. The
man in the middle of
the northern mosaic has the same features as the man in the white cloak on the
mosaic in the apse. Certainly they represent the same man who was known, by
the way, because of his handsome features. The mosaic however, taking into
account that the crown lacks a cross, represents Tiberius as a caesar, surrounded by high officials and
prelates. On coins minted during his reign he is represented with a crown on
which there is a cross and such a cross is also customary for Emperors
reigning later. For co-emperors like Tiberius II Constantine between 574 and
578 it is always missing. The shield of the armed man on the right side
of the Emperor is striking. The main color of the shield is green and for
that reason it is unlikely that it was of the color of Justinian I’ guard.
During his reign there were two factions competing with each other on the race course - the “Greens” and the
“Blues”. Justinian I was a great fan of the “Blues” and for that reason it is
unlikely that his guard was equipped with blue
shields. [6] Justin at least took a neutral
position in the struggle: At his accession, the proclamation of equal and
rigorous justice indirectly condemned the partiality of the former reign. “Ye
blues, Justinian is no more! Ye greens, he is still alive!” [7] Tiberius very well could have
been more dedicated to the “Greens” which would explain the color of his
shield. [8] For the rest it is possible and even likely
that is not Tiberius II Constantine’s squire depicted but rather the
then Comes Domesticorum, also the Comes
Excubitores, the commander of the Imperial Guard. [9] That this official bore a shield
is proved by the Comes Domesticorum
equitum et peditum of Honorius, Stilicho († 408). This is decorated with
scales ordered radially and a medallion of the two portrais of the Emperors. [10] according to the Notitia Dignitatum from the beginning of the 5th
cenury both comes had a shield
charged with a sun, symbolizing the Romand Empire. These shields still had a
traditional (pagan) Roman character but this would change soon afterwards, in
any case in the East. On the plinth of the so-called Pile of Arcadius from
403, probably being somewhat younger than the part of the Notitia Dignitatum
for the Eastern Empire, there are shields charged in the same way with the
Christogram as the shield of Ravenna. [11] The first is oval, the other
eight-cornered and they can very well have belonged to the comes domesticorum equitum and the comes
domesticorum peditum.
Unfortunately no shields of later such important officials are known to exist
so that it is not possible to verify if the shield of Ravenna stands at the
end of an uninterrupted development. When we accept
that the man with the shield actually represents a Comes Excubitores
we can also verify who held this office at the time of Tiberius. Justin I had
been the Comes Excubitores of Anastasius before and Tiberius himself
the one for Justin II. The Comes Excubitores of Tiberius II
Constantine was Maurice, the later Emperor. The man represented then is
likely Maurice and the shield the “arms” of the Comes Excubitores. It
is also likely, taking into account the fact that it is also on the Pile of
Arcadius, that the shield was also
used by Tiberius II Constantine and also by Justin I. The high official next to Tiberius II
Constantine may be the governor of Ravenna (prefect of Italy) who certainly had his place in the retinue of
Tiberius II Constantine in Ravenna. In 574-578 the then serving governor was
Flavius Longinus (567-583/’84). It is also very unlikely that bishop Maximian
is represented because at the time of the creation of the mosaics he had
alsready been dead for twenty years. The prelate on the northern mosaic is
dressed in the same fashion as the prelate on the mosaic of the apse but he was
much older and in addition to his tonsure, already balding. For that reason
it is likely that again, taking into account the date of creation, that
Benedict I is represented. He would die in 579. Why the name Maxentius was written above the prelate
will probably remain a mystery for ever, one that will continue to confuse
historians for ages. |
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ad. c. While the northern mosaic represents
Tiberius I Constantine the southern mosaic represents the wife of Tiberius. [12] In 578, instead of marrying Sophia,
Justin I ‘s widow, as was expected, Tiberius preferred his wife Ino, also called Anastasia, to
whom he was married earlier in secret an action that Sophia was determined to
avenge. Anastasia and Tiberius had two daughters who were married at the end Tiberius’ life
to Maurice and Germanus, He simultaneously apponted them caesar and they became his successors. For this reason it is
likely that the people next to Anastasia represent her daughters and their
husbands. The man on the right of Anastasia, when we compare both men with
the representation of Maurice on the northern mosaic, should be Maurice then.
[13] Defending this
hypothesis is the fact that the man next to Anastasia is of about the same
age as Tiberius on the northern wall, which is further supported by the fact
that both were born about 540. The utmost right
daugter we also meet on later representations. She probably was Constantina,
Maurice’s wife. At what date Tiberius took this measures is
not very clear. It is suggested that he took them only when he was fallen
seriously ill in 582. This would imply that the mosaic with Anastasia was not
created at the same time as the one on the northern wall but only in 582.
This may be confirmed by the (although minor) difference in style of both
mosaics. Also Constantina is represented elewhere, namely on an icon from Sinai
Monastery (see
below), between her parents with a child on her lap. This could not have been
possible if the marriage between her and Maurice would not have been
concluded before 582. Only the marriage of his other daughter to Germanus
would have been approved of then in 582. |
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As a conclusion, we
propose that it is Emperor Tiberius II Constantine and Empress
Anastasia (Ino) who are represented on the
mosaics in the San Vitale. This fixes the date of creation of the mosaics
within the reign of Tiberius, namely 578-582. The patriarch was then Pelagius II (579-590), the prefect of Italy Flavius
Longinus. .... and Continuing When we accept that on the mosaics Tiberius
II Constaine and Anastasia are represented, we can also try to determine some
of their portraits. The portrais of Tiberius, Anastasia and Constantina for
example can be compared with the portrait of a family in the S. Maria
Antiqua
representing Tiberius with his wife, his daughter and his son in law. This
fresco should have been created right after the marriage of Maurice and
Constantina. To compare is also a fresco of S. Denetrius in the same church
which probably represents Maurice. Finally the representations of the Emperor
and the Empress, together with their sons in law and their daughters bring us
to the solution of the question who are represented on the Virgin and
Child Icon from
the Monastery of St. Catharine in Sinai. The resemblance between the woman
and the parents is striking. At the same time we may notice that the Emperor
has grown a beard and that Anastasia has grown old rapidly. Probably Tiberius
was probably already ill, if not dead and the portrait was created
posthumously. The importance of the conclusion that on the
Ravenna mosaics not Justinian I but Tiberius II Constantine is
represented is that also some other representations can be
determined and a gallery of portraits of the House of Justin becomes a
possibility. |
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Golden solidus of J ustinian I 534-538. Golden medal of
Justinian I. Constantinople. Æ 8,6 cm Paris. Bibl. Du Louvre, Cabinet des Médailles. Galvanoplastic copy. |
Mosaic in Constantinople with the portrait of Justinian I |
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Golden solidus of Justin II dated 567/568 |
Image of Justin II on
the Cross of Justin. |
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Image of Justin II on the absidial mosaic in the San Vitale
ca. 574. |
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Image of Tiberius II Constantine on the absidial mosiac. Notice the medaillon with the black eagle. |
Tiberius II Constantine on the mosaic of the northern wall. Notice the medaillon with the
green eagle |
Solidus of Tiberius II Constantine. Notice the akakia, the greek cross on the crown and the sceptre
with the eagle. |
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Fresco in the S. Maria Antigua in Rome. On this fresco, which is to be compared with the Sinaï-icon below, Tiberius
II Constantine and his wife Anastasia are depicted between their daughter
Constantina and her fiancé Maurice. Maybe this fresco was made at the
occasion of the wedding of Constanina and Maurice. Until now it was not known which “saints”
were depicted: „ I santi dei quali solo Dio sa il nome”.[14] |
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On the mosaic on the southern wall the Empress Anastasia is depicted standing between the future emperor Maurice and her two daughters, the
one on the right probably Constantina. |
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Golden solidus of Maurice |
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Image of Constantina between
her father Tiberius II Constantine and her mother empress Anastasia. 6th cent. Paint on wood. H.: 68 cm. Sinaï,
monastery of St. Catharina. The eldest son of Maurice, Theodosius, was
crowned emperor at the age of 4½. We can safely accept that he is depicted
here in the arms of his mother. (See also
Gibbon, II. p. 904
n. 50.) |
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Icon (Hodgetria) S.
Maria Nova. During a 1950s restoration
of a 13th century picture, an older painting was discovered. The
faces of the Virgin Mary and Jesus may be dated to the later 6th
century. [15] So,
likely, if we compare this effigy with the portrait of Anastasia from Sinaï,
this is an early portrait of Ino (Anastasia)
with her little daughter Constantina. |
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Virgin and Child. Encaustic on wood, VIth cent. Kiev City Museum of Eastern and Western Art. No. 112 жк.
H. 36.5 W. 20.5 cm.[16] This is an even better portrait of
Constantina. |
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© Hubert de Vries 2006-06-20; Updated 2009-07-08;
Translated in English 2015-01-21
[1] Silver dish of Constantius II. / Hermitage
Museum, St. Petersburg inv. n° 1820/79 / Æ 24,8 cm. Weight 660 g. /
Acquired in 1892. Found in Kerch, 1891. Niello and gilding have disappeared in
several places. The reverse is considerably damaged, showing cracks. The dish
is of the patera type. The reverse is plain, fitted with a ring for
suspension. The Emperor is shown mounted; on the right is the figure of
Victoria with a crown in her hand; in her other hand she holds a palm branch.
On the left is a guard with a shield bearing the XP-monogram. Under the feet of
the Emperor’s horse is a shield with an umbo, belonging to a vanquished enemy.
Some of the details are enriched with gilding or niello.
[2] Under their kings Witigis (536-540), Ildibad (540-541), Eraric (541), Totila
(541-552) and Teias (552).
[3] Threadgold, Warren: Byzantium and its army
284-1081. Stanford
U.P, 1995. p. 96.
[4]
Gibbon XLI. p. 677
[5] Gibbon, op. cit. XLV. p. 858.
[6] Gibbon op. cit. XL. P. 572. A secret attachment to the family or sect of Anastasius, was imputed to
the greens; the blues were zealously devoted to the cause of orthodoxy and
Justinian, and their grateful patron, protected the disorders of a faction,
whose seasonable tumults overawed the palace, the senate, and the capitals of
the East.
[7]
Gibbon XL. P. 573. About the plays he writes (XL pp. 570 e.v.): The
race, in its first institution, was a simple contest of two chariots, whose
drivers were distinguished by white
and red liveries; two additional
colours, a light green, and a
cærulean blue, were afterwards
introduced. [….] The four factions soon acquired a legal establisment, and a
mysterious origin, and their fanciful colours were derived from the various
appearances of nature in the four seasons of the year; the red dog-star of
summer, the snows of winter, the deep shades of autumn, and the cheerful
verdure of the spring.
[8]
At the death of Justin a rival was appointed as his successor by one of
the factions. This rival, Justinian, son of Germanus, was supported by Sophia
after the succession of Tiberius. Tiberius in any case should have had to make
his choice between the factions.
[9]
In the time of Justinian I the imperial guard was organized in scholae of 500 armed men, each commanded
by a domestic. The comes domesticorum
commanded not only the domestics of the scholae
but also the domestics of other army divisions and border troops. The 1st schola was effectually in charge of
guarding the Emperor. See: Threadgold,
Warren: Byzantium and its army 284-1081. Stanford U.P, 1995. Pp. 91 ff..
The Comes
Excubitores was the commander of the Palace Guardians, the Excubitores, created by Emperor Leo as a
counterbalance against the influence of the Germans in the imperial army. The
difference between the two officials may have been discontinued during the
reign of Justinian I. The strenght of the scholae
of 3500 armed men matches the eagle as a badge of distinction.
[10] On an ivory diptych in the treasury
of Monza Cathedral.
[11] Grabar, A.: L’Empereur dans l’art byzantin:
Recherches sur l’art officiel de
l’empire d’orient. Paris, 1936. Repr. London, 1971. Pp. 74-84, Pl. XIII-XV.
[12]
The possibiliy that Sophia is represented, I think, taking into account
the stressed relations between Tiberius and Sophia, impossible.
[13]
In particular the hairstyle is of importance for this recognition.
[14]
Matthiae, Guglielmo: Pittura Romana del Medioevo. Roma, 1966.
[15] Andaloro, Maria: Römische Mittelalter. Kunst und Kultur in Rom
von der Spätantike bis Giotto. Regensburg, 2002. Pp. 40-41.
[16] Published in Bank, A.: Byzantine Art in the Collections of the USSR. Moscow, 1966. No. 110