Traditional medicine

Justinian mosaic in San Vital. History of Byzantine painting

The Basilica of San Vitale (Italian: Basilica di San Vitale) is an early Christian basilica in Ravenna (Italy), the most important monument of Byzantine art in Western Europe. In 1996, Ravenna's early Christian monuments were included as a UNESCO World Heritage Site. It stands out among the eight early Christian monuments of Ravenna for the perfection of its mosaics, which have no equal outside of Constantinople.

The basilica was founded in 527 by Bishop Ecclesius of Ravenna after his return from Byzantium, where he, together with Pope John I, carried out a diplomatic mission on behalf of Theodoric the Great. The temple was consecrated in honor of the early Christian martyr Saint Vitaly of Milan, whose image is placed in the apse conch. The construction was carried out at the expense of the Greek moneylender, Julian Argentarius (Serebrennik). The consecration of the temple was performed on April 19, 548 by Bishop Maximian. All the interior mosaic decoration of the church was created simultaneously in the years 546-547; academician V. N. Lazarev explains the difference in style by the participation of different masters in the work.

In the 13th century, a bell tower was added to the southern wall of the church and the wooden ceilings of the arcades were reconstructed. A large-scale reconstruction of the temple was carried out in the 16th century: in order to combat rising groundwater, the floor level was raised by 80 cm, the presbytery was updated, the wooden choir was removed and the courtyard (1562) and the southern portal of the building were rebuilt. In 1688, the 13th century bell tower was destroyed by an earthquake; it was restored in 1696-1698.

In 1780, the dome of the rotunda and the dome niches, deprived of any decoration during the construction of the church, were painted with frescoes by the Bolognese Barozzi and Gandolfi and the Venetian Guarana.

The basilica was built in the form of an octagonal martyrium of the Byzantine type, similar in architecture to the Church of Sergius and Bacchus in Constantinople. The outer walls do not have any decorative elements and are divided by vertical and horizontal buttresses. The building is topped with a faceted drum dome. The architecture of San Vitale combines elements of classical Roman architecture (dome, portals, stepped towers) with Byzantine influences (three-lobed apse, narrow brick shape, trapezoidal capitals, etc.). The bottom of the interior walls of the basilica is lined with marble, and the inlaid floor of the temple is decorated with geometric patterns.

The structure of the building is supported by eight central pillars, which support a dome with a diameter of 16 meters. To reduce lateral pressure, the dome is given a conical shape. The dome was erected from a lightweight material - clay pipes threaded into each other, fixed one above the other in increasingly narrow horizontal rings. The supporting pillars form a rotunda in the center of the temple, on the second tier of which there are choirs. In the spaces between the pillars of the rotunda there are semicircular two-story arcades located in arcs curved towards the outer walls of the church. Thanks to the described structure of the temple, the inside of the church seems to be flooded with light, and the galleries surrounding it are artificially immersed in mystical semi-darkness, which immediately draws the attention of those entering to the mosaics of the apse and presbytery. The use of this architectural solution led to the achievement of the following spatial effect:

High arcades protruding beyond the ring of dome pillars open up the central space to the eyes of the visitor as soon as he enters the church. While still in the outer circumambulation, he feels that the highly raised dome seems to absorb the entire internal space of the temple. When viewed from the center of the temple, the arcades are perceived as another ring of supports, located between the pillars and outer walls and visually enlarging the interior. Finally, the spatial effect is enhanced by the peculiar shape of the pillars, the volume of which is not perceived by the viewer.

In front of the apse, illuminated by three high windows, the circular circuit of the rotunda is interrupted by the presbytery, surrounded by two-story arcades. The altar is moved outside the apse into the presbytery, and a stationary marble pulpit is installed in it. The capitals of the presbytery arcade are made in the shape of openwork baskets and decorated with the image of a cross placed between two lambs. This design, however, destroys the tectonic nature of the order.

Among the features of San Vitale is the unusual structure of the narthex, located here at an angle to the main axis of the building, passing through the presbytery. The reasons for such a structure of the narthex have not been established: according to various researchers, the architect could thus preserve the memory of the chapels that previously existed on the site of the temple, include two staircase towers into the main volume of the building, or simply create, in addition to the main entrance along the axis of the building, another one in the side parts of the church.

The basilica at Ravenna served as a revered model for Carolingian Revival architecture in general and for its centerpiece, the palace chapel at Aachen. Filippo Brunelleschi studied the design of the dome of San Vitale when developing the design of the first European dome of the New Age (Florence's Cathedral of Santa Maria del Fiore). He especially noted that to lighten the dome of the Ravenna church, hollow clay vessels were used instead of filler.

The main space of the basilica is decorated with marble inlays, and the concave surfaces of the apse (arcades, vaults, conch) and walls (vima) of the presbytery are covered with Byzantine mosaics. The mosaics of San Vitale were intended to demonstrate to the Western world the power and impeccable taste of the Byzantine emperor Justinian during the short-lived rule of the Byzantines in Italy.

The mosaics of San Vitale are a rare example for Europe of early Christian monumental painting created using the Byzantine mosaic technique. Of particular importance are the lifetime portraits of Emperor Justinian and his wife Theodora.

Using mosaics, the masters were able to emphasize the architectural elements of the basilica, emphasizing the symbolic connection between the structural element and the image applied to it:

The mosaics that cover this entire interior with the exception of the plinth perfectly reveal the constructive meaning of the architecture. Lunettes, formwork, walls, arches, niches and vaults are effectively highlighted by various types of decor. Thus, the ribs of the cross vault are reinforced with plant garlands, while the figures of angels, personifying the power of the load-bearing structures, support the central medallion.

- Otto Demus. Mosaics of Byzantine temples

In the side galleries there are several early Christian sarcophagi. Among them, the most notable is the marble sarcophagus of the 5th century, somewhat altered in the middle of the 6th century, in which, as the Greek and Latin inscriptions on the lid say, the Exarch Isaac of Ravenna was buried. On the sides of the sarcophagus you can see bas-reliefs depicting the worship of the Magi, the resurrection of Lazarus, Daniel in the lion's den and a cross with two peacocks.

Apse concha

The conch is decorated with a mosaic depicting Jesus Christ in the form of a young man with a cross-shaped halo, sitting on an azure earthly sphere, surrounded by two angels. Christ in one hand holds a scroll sealed with seven seals (Rev. 5:1), and with the other he holds out the martyr's crown of glory to Saint Vitaly, who is led to him by an angel. The second angel introduces Bishop Ecclesius of Ravenna to Jesus, presenting a model of the Basilica of San Vitale, which he founded, as a gift.

From under the feet of Jesus, over rocky soil covered with lilies, flow the four rivers of Eden: Pishon, Gihon, Hiddekel and Euphrates. This detail glorifies Jesus as the source of living water (Rev. 21:6) and makes the Ravenna image similar to the mosaic of the Latomou monastery (Greece), created in the same period.

V.N. Lazarev notes that the conkha mosaic is one of the most delicate in execution, distinguished by its emphatically symmetrical composition and solemn character. In his opinion, mosaicists who knew Byzantine art in its metropolitan versions worked on its creation. At the same time, the mosaics of the apse also reveal the typically Byzantine immobility of the figures; all the characters are depicted full-face, standing. Even the participants in the two processions seemed to stop for a moment to show themselves in a stationary position to allow the viewer to admire their persons.

Lower level of the apse

On the side walls of the apse, on either side of the windows, there are mosaic portraits depicting Emperor Justinian and his wife Theodora, surrounded by nobles, court ladies and clergy. These are historical portraits created by the best Ravenna masters based on capital samples (V.N. Lazarev believes that these were “royal portraits sent to the provinces of the Byzantine Empire for copying”). The creation of these compositions was a symbol of the triumph of the emperor, who returned Ravenna under Byzantine patronage.

The emperor and his wife are depicted as donors, bringing precious liturgical vessels as gifts to the church. The images, executed as a frieze, are distinguished by their frontal composition and uniformity of poses and gestures. At the same time, the masters were able to depict the imperial family with individual facial features in the image of ideal rulers, and the composition itself conveys the movement of two processions towards the altar.

Justinian I

Emperor Justinian brings a paten as a gift to the church and is depicted, like all other figures, in a frontal pose. His head, crowned with a diadem, is surrounded by a halo, reflecting the Byzantine tradition of marking a reigning person in this way.

Justinian is flanked by courtiers and clergy. Among them stand out: an elderly man in the clothes of a senator (the only one standing in the second row, according to one version, this is the moneylender Julian Argentarius, who financed the construction of the basilica, according to another, the commander Belisarius, according to the third, praefectus praetorio (praetorian prefect) - an official representing the person of the emperor on the day of the consecration of the temple), Bishop Maximian with a cross in his hand and two deacons (one holding the Gospel, and the other a censer). In this mosaic, Justinian and Maximian are depicted as authoritarian representatives of secular and ecclesiastical authority, so their figures occupy a dominant place, and there is even a proud inscription above the bishop’s head: Maximianus. If the portrait of Justinian is most likely a copy from official images sent throughout the empire, then the portraits of Maximian and the character standing in the second row stand out with characteristic features that suggest the mosaicist’s familiarity with the originals.

Luxurious attire gave the mosaic artists the opportunity to display before the viewer all the dazzling richness of their palette - from delicate white and purple tones to bright green and orange-red. They achieved a special subtlety of execution in the faces of the four central figures, composed of smaller cubes. This allowed them to create four characteristics of the portrait that are magnificent in their sharpness, in which, despite the pronounced individual features, there is something in common: a special rigor of expression and the stamp of deep conviction.

Empress Theodora

The Empress is depicted standing in a narfik, in front of her are two bodyguards, one of whom pulls back the curtain in front of the door. In Theodora's hands is a gift to the church - a golden chalice, her head is crowned with a diadem and surrounded by a halo, and a heavy necklace rests on her shoulders. The hem of the Empress's cloak is decorated with a scene of the adoration of the Magi, which is an allusion to Theodora's own offering. The figure of the queen (the only one of all the others) is framed by a niche with a conch, which A. Alföldi considers as a “niche of glorification.” The group of court ladies following Theodora is led by two women whose images are endowed with portrait features (presumably Antonia and Joanna - the wife and daughter of the commander Belisarius); the faces of the remaining court ladies are stereotypical.

And here, luxurious Byzantine attire gave the mosaic artists an opportunity to show off their exquisite color solutions. The colors on the three central female figures are especially beautiful. Their faces are made of smaller and more diversely shaped cubes, which makes it easier to convey portrait likeness. The faces of the other court ladies, like the faces of the guards in the mosaic with Justinian, are stereotypical and have little expressiveness. In them, high art gives way to craft and routine.

Pilgrimage trips to the Church of St. Vitaliy in Ravenna

We are located in the Italian city of Ravenna, opposite the Church of San Vitale. This is a very significant 6th century church. Very old. And it is unusual in that it is a centric type temple. That is, its entire structure is built around the center, unlike the basilica with its oblong axis. Right. After all, when we hear the word “church,” we imagine a building in the shape of a cross, with a long central passage - a nave. But he is not here. But there is an internal gallery surrounding the space in the center. This particular church, on its east side, also has a projection with an apse at the end. From the outside you can see that San Vitale has eight sides, that is, it is an octagon. And above him rises another, smaller one. The outside walls are lined with bricks. Once upon a time, ancient Roman buildings were erected from these bricks, and in the 6th century they were taken from there and used again. The walls are dotted with windows, and this is especially important here, because inside the temple is decorated with simply magnificent mosaics that have been preserved since the early Middle Ages. And, of course, the architects wanted the gold and bright colors of the mosaic to shine in the rays of the sun. Let's go inside and take a look. So we enter the church. The dome rises above us. And the semicircular ledges, which rest on the columns, move in waves around us. The building is supported by massive pillars, but it still looks elegant. Take a look at how the columns on the second tier duplicate the columns on the first. They frame the entire space of the internal gallery below and rise upward on the second, upper tier. But the main treasure of this church is in the eastern part. Let's go there. The eastern aisle of the Church of San Vitale is completely covered with mosaics. It consists of tiny pieces of colored and gilded glass that reflect light. We are approaching the apse - this semicircular protrusion. There are three huge windows, and immediately above them there is a large mosaic. In the center we see Christ. Dressed in purple robes, he sits regally on the globe. The four rivers of paradise flow directly below him, and angels stand on his sides. In his left hand, Christ holds the book of the Apocalypse: seven seals are visible on it. And with his right hand he extends the crown to Saint Vitaly, the main martyr of this city. On the right side of the mosaic is Ecclesius, Bishop of Ravenna, who founded this temple and sponsored its construction. Here he is holding out the church to the angel standing next to Christ. The entire apse is covered with mosaics with images of figures and decorative patterns. And for surfaces lined with marble, the slabs were cut and arranged to create a beautiful abstract design. The town in which such a luxurious temple was built is located far from the capital of the empire, but this emphasizes its importance. The Lamb of God is depicted directly above the altar. This is one of the symbolic images of Christ, which is why he has a halo. The Lamb embodies the idea of Christ's sacrifice for the salvation of mankind. The lamb is surrounded by a laurel wreath, which symbolizes the triumph of Christianity. The wreath is held by four angels who stand on spheres, referring us to the image of Christ in the apse. And here, on the arch at the beginning of the altar, we see Christ again, but now he is older. Yes, in the center there is a shoulder-length image of Christ. He is surrounded by a mandorla - a rainbow glow. To the right and left of the center of the arch are images of 14 figures, including the apostles. We see scenes from the Old Testament - mostly those that foreshadow the life of Christ and his crucifixion - as well as scenes from the New Testament. The columns in the temple are very decorative. They are made of high quality marble brought from the East. In my opinion, the most remarkable thing about them is that their creators completely departed from the classical orders. These columns are not Doric, not Ionic, not Corinthian. The early Christians tried to create their own architectural iconography. And above the capital there is a so-called “heel”, which helps to make the transition from column to arch. The two most important mosaics of San Vitale are on either side of the apse. They depict Emperor Justinian and his wife Theodora. In fact, Justinian and Theodora never came to Ravenna. It is believed that they were depicted in mosaics in order to assert their power over the city. For most of the 5th century, Ravenna was under the rule of Theodoric, king of the Ostrogoths. And Theodoric was an Arian, that is, he did not recognize the dogmas of Orthodoxy. The Arians believed that Christ was created by God the Father, and therefore subordinate to him in the hierarchy of the Trinity. Unlike the Orthodox, they did not consider Christ consubstantial with God the Father. Therefore, Justinian, who ruled Byzantium at the beginning of the 6th century, sent the commander Belisarius to Italy to conquer it, recapture Ravenna and restore Orthodoxy there. As a result, the Arian heresy was suppressed, and here we see the assertion of the power of the Byzantine Empire over Italy. Justinian shows that although he himself is in the East, in Constantinople, his power is strong here in Ravenna. Spiritual power goes hand in hand with political and imperial power. Justinian stands in the center, wearing purple robes. This color was associated with royal power. He is surrounded by courtiers, as well as representatives of the church and the military. Three centers of power: the church, the emperor and the army. Please note that some figures have more original features. The images of Justinian and Maximian have more individuality. It is very likely that their contemporaries would have recognized other people from the emperor’s entourage, but we do not have exact information. But the warriors look more faceless. Emperor Justinian's power is divine, which is why he has a halo over his head. He extends the vessel for the Eucharist towards Christ in the apse. Yes, bread was placed in this vessel for the sacrament of the Eucharist. The figure of Justinian is located in the center of the composition, in a frontal pose; however, in this mosaic all the figures are in frontal poses. The images are schematic, rather conventional, medieval. The naturalism of the classical tradition is a thing of the past. And if you take a closer look at the figures, it becomes clear that the artists were not too concerned about the accuracy of proportions. It's like my legs don't feel the weight of my body. The figures seem to float in the space of eternity, and do not stand on the ground. Next to Justinian we see Bishop Maximian - his name is written at the top, although this is a late insertion - and two priests. Maximian has a large cross in his hands, decorated with stones, and his clothes are also purple, which connects him with the power of the emperor. In the hands of the priest standing next to him is a Gospel in a rich setting, and in the third is a censer. In general, the mosaic depicts a procession led by the emperor to celebrate the sacrament of the Eucharist. And the Eucharist actually took place in the altar part of the church. According to Byzantine tradition, the figures in the mosaic are depicted on a golden background. When we say "Byzantium", we mean the capital of the empire, Constantinople. Now it is called Istanbul. Pay attention to the tesserae - these multi-colored glass cubes. Many of them are gold. It's something like a sandwich: a sheet of gold is sandwiched between two pieces of transparent glass. The tesserae are inserted into the wall at such an angle that the light plays on them beautifully and is reflected, enlivening the surface, so in the light of candles and lamps the mosaic looks absolutely amazing. Let's now look at the opposite wall, where Theodora, wife of Justinian, is depicted. This mosaic is located to the right of the apse windows, directly opposite the image of the emperor. Thus it is argued that Theodora had power equal to that of Justinian. She was a very powerful woman, although she came from a lower class and was allegedly even heterosexual. Several vivid descriptions of her past survive. In the mosaic she appears in incredibly exquisite clothes and jewelry with rubies, emeralds, sapphires and huge pearls. She has a halo over her head, like Justinian, but this does not indicate her holiness, but the divine origin of her power. In Justinian's hands was a dish for bread, for the Eucharist, and Theodora was holding a chalice for wine, also for the Eucharist. And she also appears in an environment symbolizing the imperial court. The curtain is raised, and Theodora seems ready to take part in the sacrament of the Eucharist. Byzantine outfits amaze the imagination. The creators of the mosaic seemed to have tried to transfer all the luxury of Constantinople here to Ravenna. Subtitles by the Amara.org community

The Basilica of San Vitale is a pearl of Byzantine art, miraculously preserved far from Constantinople, in the Italian city of Ravenna.

From the outside, the temple looks very modest, one might even say unprepossessing, and seems quite small. But inside the temple, the interior of the Basilica of San Vitale amazes with the bright colors of ancient mosaics and the sense of space.

The basilica was built in 527-548 on the personal instructions of the Bishop of Ravenna Ecleccia. In the 13th century, a bell tower was added to the south side of the cathedral.

The cathedral has the shape of an octagonal martyrium. The diameter of the dome is 16 meters.

Among the other 7 early Christian monuments of Ravenna, the Basilica of San Vitale has been under the protection of UNESCO since 1996.

The temple is dedicated to the early Christian martyr Saint Vitaly of Milan.

When you enter the basilica, you don’t expect to see such splendor!

Slender columns with lace capitals support numerous arches, creating unusual spatial divisions and a play of light and shadows.

But the most important treasure of the Temple of San Vitale is its absolutely extraordinary mosaic icon paintings.

The luxurious, bright mosaics of the temple were created in the last years of construction with the participation of many craftsmen, so experts find a variety of styles in them.

The best mosaicists from Constantinople created masterpieces on the territory of Italy, for which fate had a much better fate in store than for the unpreserved mosaics in Byzantium itself.

At the end of the 18th century, the dome of the rotunda and the niches under the dome, which previously had no decorations, were painted with frescoes.

The paintings were carried out by Bolognese and Venetian artists.

The concha is decorated with a mosaic depicting Jesus Christ as a young man sitting on an azure celestial sphere, surrounded by two angels.

Christ in one hand holds a scroll sealed with seven seals, and with the other he holds out the crown of glory to Saint Vitaly. The second angel presents Bishop Eclecius to Jesus, presenting a model of the basilica he founded as a gift.

One can endlessly describe the mosaics of San Vitale, but it is absolutely impossible to describe this beauty. This is a must see!

Church of San Vitale in Ravenna

Everything that is momentary, everything that is perishable,

Buried you for centuries.

You sleep like a baby, Ravenna,

Sleepy eternity is in your hands.

Slaves through the Roman gates

They no longer import mosaics,

And the gilding burns out

Within the walls of cool basil, -

Alexander Blok wrote about this amazing city.

Ravenna seems to be a fragment of the Byzantine world, by the will of fate brought to the flat plains of Lombardy. Meanwhile, this city arose in ancient times. It is known that already at the end of the 1st millennium BC. e. here, between the Po and Savio rivers, 120 km south of modern Venice, there was a city that was in allied relations with Rome. Under Emperor Augustus, a large military port was built five kilometers from the city, which served as a base for the Roman fleet on the Adriatic. However, during the Roman Empire, Ravenna remained an inconspicuous provincial city, having more of a defensive rather than a political or cultural significance.

Church of San Vitale in Ravenna

Everything changed dramatically after the division of the empire into Western and Eastern. During the era of the collapse of Rome and the great migration of peoples, Ravenna began to play a vital role in European events. In 402, the Western Roman Emperor Honorius moved his capital here. More than half a century later, in 476, Odoacer, commander of detachments of German mercenaries in Roman service, deposed the last Roman emperor, Romulus Augustulus, and seized power in Italy. Odoacer made Ravenna his capital.

In 493, the Ostrogoths invaded Italy. Odoacer was killed by the Ostrogoth king Theodoric the Great (c. 454–526), and Ravenna became the capital of the Ostrogothic kingdom. In 540, the city was captured by the Byzantines, under whom Ravenna was the main city of the Italian possessions of Byzantium. Two centuries later, in 751, the Lombards captured the city.

Meanwhile, river sediments increasingly pushed the coastline back. Having lost its beautiful harbor, Ravenna completely lost its military and commercial significance, and the once large capital city, a center of culture and science, gradually turned into a remote province. Ravenna still remains a small provincial Italian city, the former greatness of which is reminded only by the beautiful monuments of the early Middle Ages, included in the UNESCO World Heritage List in 1996.

Among these monuments, the first place undoubtedly belongs to the world famous Church of San Vitale. This unique church, built during the reign of the Ostrogoths, in 526, was consecrated in the name of the popular martyr Vitaly in Ravenna already during the Byzantine rule, in 547, under Archbishop Maximian. The image on the walls of the temple of Emperor Justinian I and his wife Theodora serves as undoubted proof that the church was built at the expense of the emperor himself.

From the outside, the church appears relatively small. But this impression disappears as soon as you cross the threshold of the temple. The complex structure of the building consists of octahedrons seemingly inserted into each other - an external two-tier and an internal three-tier, formed by eight pillars and a dome drum. The high dome, arcades and two-story galleries create a cohesive space with an extraordinary richness of viewpoints. As a result, the church, squat and modest on the outside, appears majestic and solemnly magnificent on the inside.

The circular chain of arches and pillars surrounding the person entering opens up towards the altar. Three large windows make it the most illuminated part of the temple and thereby emphasize the extraordinary richness of the decoration. Its lower part is lined with rare varieties of multi-colored marble and alabaster, and magnificent mosaics gently flicker on the walls and vaults...

The mosaics of the Church of San Vitale in Ravenna have long been firmly established in the golden fund of world art. Some of them were made back in the times of the Ostrogoths by Roman or Ravenna craftsmen. Such, for example, is the young beardless Christ, seated in a purple toga on a blue sphere, surrounded by two archangels in white robes, St. Vitaly and Bishop Ecclesius, holding a model of the church in his hands. The faces of the archangels are marked with the stamp of strict and sublime beauty. The light pouring through the windows creates the impression of the immateriality of the figures. The craftsmen who worked in the Church of San Vitale placed pieces of smalt at different angles and did not smooth out the overall surface, thereby achieving the effect of “living” shimmer.

The vaults of the temple are decorated with floral patterns: sometimes green on a gold background, sometimes gold on green. Interwoven into this pattern are the figures of four angels supporting a blue circle with gold stars and an image of a snow-white lamb.

Two huge mosaic paintings placed on the side walls of the apse of the Church of San Vitale are widely known - majestic, glittering with gold and purple, even, perhaps, burdened with oriental pomp. They were undoubtedly created by Constantinople masters. The left mosaic depicts Emperor Justinian surrounded by courtiers, Bishop Maximian of Ravenna and clergy, and the right mosaic depicts Empress Theodora with her retinue. Both mosaics were made around 547. In them one can clearly feel the birth of a new art, which replaced antiquity and has a rare power of spiritual influence on a person.

Outwardly, the images appear frozen, motionless, almost incorporeal. But each of them has amazing energy. Huge, wide-open eyes are fixed on those entering the temple, penetrating into the very soul. This is almost an icon, not a painting. Later, when in Byzantine, and then in Bulgarian, Serbian, Old Russian churches all the walls and pillars will be covered with frescoes or mosaic images, this effect will increase many times over. The stern gaze of saints and righteous people pierces a person through and through, and there is nowhere to hide from the all-seeing and demanding eye - they see your good and your evil. “Truly there is nothing secret that would not become obvious...”

Emperor Justinian. Mosaic of the Church of San Vitale in Ravenna

Emperor Justinian holds in his hands a large bowl with gold coins - a donation for the temple. Strict and majestic figures are equal in height. Justinian stands out with purple robes, contrasting with the white robes of the clergy, a crown and a halo around his head, like a saint. Bishop Maximian holds a cross in his hands, the archdeacon holds the Gospel, and one of the deacons holds a censer. There is clearly a portrait resemblance in the faces of Justinian and especially Bishop Maximian.

The composition, placed on the opposite wall of the apse, depicts Empress Theodora surrounded by courtiers. She also holds a chalice filled with gold coins. On the hem of her purple cloak are embroidered figures of three wise men presenting gifts to the Mother of God. There are luxurious necklaces around the Empress's neck and shoulders. The head is crowned with a crown with long pearl pendants descending to the chest. Around the head, like Justinian, is a halo. To the left of the Empress are the ladies of the court in tunics decorated with precious stones; on the right are the deacon and the eunuch opening the curtain.

The emperor's face frowns. Theodora is depicted as a faded beauty with a tired, thoughtful face. Her gaze reveals a passionate and strong-willed nature... Two people with an amazing destiny, an imperial couple who stood at the head of the largest European country in an extremely turbulent, turning point, eventful era, which in the history of Byzantium today is usually called the “era of Justinian.” During the 38-year reign of Justinian and Theodora, the Byzantine Empire reached the peak of its power.

It is unlikely that Justinian, born into a peasant family in a godforsaken village, could have imagined that fate would elevate him to the throne of a great empire. But his uncle served in the imperial guard. Having distinguished himself in many wars, he made a dizzying career, first becoming a senator, and in 518, as a result of the intricacies of intrigue, he became the Emperor of Byzantium, Justin I. He did not have his own children, and the throne was inherited by the emperor’s nephew, Justinian.

The future Empress Theodora was a prostitute. The daughter of a bear keeper in the Constantinople circus, she performed naked in “living tableaus” for the amusement of the plebs. But Theodora was famous for her beauty, and the heir to the throne, who loved to attend folk shows, drew attention to her. So Theodora became his wife.

There is no need to say how that ball of snakes, which is usually called the Byzantine imperial court, reacted to the new empress. But Theodora’s actions increased sharply during the menacing days of the uprising of 532, known as “Nika” (“Conquer”) - this was the slogan chosen by the urban poor, driven to despair by the extortion of officials. Some senators also joined the rebels, who were outraged by the increasingly diminished role of the Senate under Justinian. A crowd of rebels rushed to set fire to government buildings. Political prisoners were released from prisons. The archive where tax lists and debt documents were kept was burned. The Senate building, the churches of St. Sophia and St. Irene burned down. The rebels intended to storm the emperor's palace. Justinian was already ready to flee the capital.

History attributes Theodora's extraordinary determination in this desperate moment. Boldly entering the council hall, Theodora, turning to the emperor and senators, delivered her famous speech: “The Imperial Purple Cloak is the best shroud for a coffin!”, suggesting that Justinian die as emperor rather than live as an exile. The empress’s firmness had its effect: the recovered government brutally suppressed the uprising, and about 35 thousand people were killed during the massacre on the streets of Constantinople.

And here Justinian and Theodora are here, on the world famous mosaics of the Church of San Vitale. Mosaic masters captured them in their declining years - frozen, inaccessible in their grandeur...

From the book 100 Great Sights of St. Petersburg author Myasnikov senior Alexander Leonidovich

Chesme Church (Church of the Nativity of St. John the Baptist) and Chesme Palace Still, it’s great that there are creations in the world whose perception is not affected by the seasons or the weather. And every meeting with them is a holiday. The view gives such a feeling of celebration

author Gregorovius Ferdinand

BOOK TWO. FROM THE BEGINNING OF THE REIGN OF KING ODOACER TO THE ESTABLISHMENT OF THE EXARCHATE IN RAVENNA IN 568