Early Christian mosaics
- Key People:
- Giotto
- Cimabue
- Juan O’Gorman
- Monir Farmanfarmaian
- Pietro Cavallini
- Related Topics:
- opus vermiculatum
- tessera
- opus sectile
- opus tessellatum
- commesso
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Present-day insight into the crucial early phase of this part of the history of mosaic is limited because of the loss of nearly everything that was made in the field during the first half of the 4th century. Nevertheless, as indicated above, it seems certain that wall mosaics had come into use in Roman art well before Emperor Constantine’s edict of toleration of the Christian faith in 313 ce. Considered to be among the earliest Christian wall mosaics in Rome are those in the church of Santa Costanza built about 320–330 ce as a mausoleum for Constantine’s daughter. The content of the pictures is almost completely Dionysiac and pagan, but a series of small format scenes from the Old and New Testaments were included among the non-Christian pictorial elements of the decoration. Obviously an independent Christian pictorial program for buildings of Santa Costanza’s size and complexity had not yet been developed; and, probably in lieu of that, a Dionysiac program had been chosen because its many allusions to the symbolism of wine lent themselves to a Christian interpretation.
Other monuments of the 4th century bear similar marks of transition. Floor mosaics in the cathedral complex at Aquileia demonstrate that the church before and immediately after Constantine’s edict of tolerance of the Christian faith in 313 ce adhered to the late antique tradition of placing religious pictures in pavements. In the earliest group of Aquileia mosaics (c. 300 ce) objects and animals symbolize the Good Shepherd, while the later group (second decade of 4th century) contains scenes from the story of Jonah, symbolic animals, such as the deer and the lamb, and a representation of the bread and the wine. Before long, pictures of this character were banished from floors, and simpler and more general symbols took their place.
The latest of the preserved transitional works, a decorated cupola in a mausoleum, possibly imperial, at Centcelles (now Constantí, Tarragona), Spain, seems to have been made not long after 350 ce. This very fragmentary decoration has yielded important information about a stage of increasing mastery in the handling of the medium. The scenes from the Old and the New Testament are presented with greater self-confidence and occupy a full, broad zone in the lower part of the cupola. Yet, below it is a stag hunt, rich in symbolic content but adhering closely to the patterns of profane floor mosaics. Stone tesserae dominate in the lower zones, but glass cubes are found in large quantities in the upper. Glass, with its stronger colours, was doubtlessly concentrated in this area intentionally. The zenith of the cupola, weak in lighting and distant from the spectator, needed tesserae of strong reflecting power to make it possible to read its decoration.
A series of large, in part well-preserved mosaics make it possible to follow the progress of the art in 5th-century Italy. Ravenna and Rome have several important works, while Naples and Milan have preserved enough to suggest that workshops of high artistic standard must have existed in many of the large cities of the peninsula. In these works, the tendency to clarify and even underline the content of religious pictures with the help of colour is brought to its full peak. The swing towards a greater employment of glass reached a point at which the mosaics are almost entirely made of this material. In what must be regarded as a late but vigorous revival of the painterly illusionism of antiquity, there is an audacious blending of colours. Among the high points of this trend are the flaming visages of angels in Santa Maria Maggiore, Rome (c. 432–440 ce) and the spiritualized physiognomies of St. Bartholomew and his fellow apostles in the Baptistery of the Orthodox, Ravenna (c. 450). But the designer’s mastery and sophistication are nowhere more overwhelmingly illustrated than in the glowing interior of the so-called Mausoleum of Galla Placidia (c. 450) at Ravenna, with its blue star-filled mosaic dome, and in the decoration of the Naples Baptistery of San Giovanni in Fonte (5th century), with its hypnotizing glimmer.
A Christian language of pictures (iconography) was now developed and its grammar worked out. In cupolas the centre tended to be reserved for depictions of Christ or the cross. In apses there was a trend toward static and symbolical representation of holy figures and a reduction of detail. On the walls of the nave of basilicas were scenes from the Old or the New Testament or both. The largely intact decoration of the church of Santa Maria Maggiore throws some light on the principles involved. Old Testament scenes are distributed on the side walls of the nave in panels measuring about 6 by 6 feet (1.9 by 1.9 metres). There is one panel below each of the basilica’s large windows. The pilasters (columns projecting shallowly from the surface of the wall) between the windows (restored but repeating the original disposition) serve as outer frames for these panels. Before the restoration of the church in the 16th century there were also inner frames, made of stucco; in addition, each panel was adorned with a small pediment (triangular gable) of the same material and thus appeared as if enshrined by a small aedicula (a pedimented niche). The Classical rules governing the relation between the architecture of a building and its decoration may be expected to leave their mark on Christian mosaic art for a long time.
Byzantine mosaics
Early Byzantine mosaics
Mosaics made in Ravenna for the Ostrogoth king Theodoric (493–526 ce) are the first full manifestations of Byzantine art in the West. As seen in two of the foremost works from his time, the Baptistery of the Arians and the church of Sant’Apollinare Nuovo, the gold background now dominates. Accompanying it was silver, a novelty among the mosaics of Italy. In Sant’Apollinare Nuovo, the faces and hands in several of the Christ scenes are set not with glass tesserae but with cubes of stone. Stylistically, these mosaics are characterized by more static figures and less depth and plasticity than in those of the 5th century.
Another remarkable element is the movement, now fully developed, toward an integration of architecture and mosaic decoration. This is most clearly seen in the basilica. In the church of Sant’Apollinare Nuovo, the mosaics are no longer inserted panels but form a continuous “skin” that covers every inch of the wall. The size of the windows and even their number have been reduced, apparently to provide more wall space for pictures. Figures have grown in size, to match the dimensions of architectural components, and they seem to have taken the place of pilasters in the articulation of the room. This trend is given truly monumental expression in the choir of the church of San Vitale at Ravenna, dating from c. 526–548 ce. A profusion of decorative elements is spread like tapestry over the walls and vault, the panels of the emperor Justinian and his consort Theodora near the apse embodying the new spirit in their colour-laden pageantry.
In the East, the circular church of Áyios Geórgios at Thessaloníki, Greece, shows Byzantine mosaic at its earliest flourishing (c. 400 ce). Its partly preserved mosaics display a disposition related to that of the Baptistery of the Orthodox at Ravenna, with a lower zone containing Paradisiac architecture; above this a zone with standing and walking figures and in the centre of the cupola a medallion with a figure of Christ. A uniform gold background dominates the two lower zones, at a time well before it had come into general use in the West. Silver is found in profusion, used for the background in the central medallion as well as a means to enhance the radiation of light from all parts of the mosaic. In the figures of saints the material for faces and hands is chiefly natural stone, its gentle gradations contrasting spectacularly with the violent juxtapositions of coloured glass tesserae of the hair and the garments.
Effects of this kind, which are the hallmark of Byzantine mosaic technique, seem to derive from intentions wholly dissimilar to those which had determined the development of early Christian mosaic art in the West, where the illusionism of Greco-Roman art persisted for a long time. In the great Ravenna mosaics of the 5th century, pictures illustrating the narrative of the Bible or expounding the dogmas of religion were still done in the painterly style of Roman mosaics and wall painting. During the same period, mosaic art of the Eastern Empire, having abandoned conventional illustration, was boldly exploring the way that lay open, in mosaic art, toward a new kind of imagery.
In the mosaics of the 6th century are found the earliest refinement introduced by the Byzantines to enhance the brilliance of gold tesserae. This refinement, already described, involved setting gold cubes at oblique angles to direct their reflections toward the viewer. Used in haloes, the tesserae, obliquely set, convey to the holy figures a miraculous aura of light. The visages of the saints, with their dull stone surfaces and hues reminiscent of actual human skin, add a touch of mysterious reality to this theatre of effects.
Splendid mosaics from many parts of the eastern Mediterranean testify to the continuous cultivation and improvement of these effects. In the city of Thessaloníki the mosaics in the churches of Hosios David (5th century ce) and Áyios Dhimítrios (6th and 7th centuries) exemplify the trend, which is also expressed in apse decorations preserved at Cyprus (church of the Panagia Angeloktistós, at Kiti, and of the Panayía Kanakaria near Lythrangome; both 6th century) and in the Monastery of St. Catherine, Sinai Desert, founded by Justinian.
Apart from the gold ground, which had considerable impact, the technical subtleties essential to these mosaics met very little response outside Byzantium. When Byzantine artisans operated in foreign territory, they brought their particular techniques with them. Again and again the impact of this tradition was felt in the West, though, at its purest, mostly as short-lived episodes. To judge from a few surviving fragments, mosaics executed under Pope John VII (705–707 ce) in a chapel in St. Peter’s, Rome, might have been the work of artisans summoned from Byzantium. Technical and stylistical features demonstrate that the mosaics executed under the earliest Muslim rulers, in the Dome of the Rock at Jerusalem (c. 690 ce) and in the Great Mosque at Damascus (c. 715 ce), are certainly the work of specialists called from Byzantium. Sources testify that even the mosaics in the mosque at Córdoba, Spain (965 ce), were made by Greek craftsmen.
The floor mosaics in the great palace of the Byzantine emperors at Istanbul—with their pastoral scenes, fights with wild animals, and figure groups taken from pagan mythology—testify to an undercurrent of Classical taste in Constantinople. The date, which according to archaeological evidence must be placed as late as about the year 600 ce, demonstrates the tenacity of that taste in the midst of the Christian milieu of the Byzantine metropolis.