Ravenna: the world capital of mosaics
After the end of my January 2016 internship in Imola, I had a couple of days left to explore what I could of Italy, and a secretary at the company enthusiastically recommended me Ravenna, a one-hour train ride away. I present below a summary of the city's rich history so the viewers can learn about the context of the various monuments and fully appreciate this thread.
Ravenna has served three times as a capital: first of the declining Western Roman Empire (during the 5th century AD), then of the reign of Theodoric the Great, King of the Ostrogoths (AD 493-526) and finally of the Byzantine Empire in Italy (AD 553-751). Due to this, it is recognized worldwide for its historical and artistic treasures, and preserves in particular the richest mosaic heritage in the world, dating from the 5th and 6th centuries AD, within its early Christian and Byzantine monuments, of which no less than eight have been included on the UNESCO World Heritage List. The art of mosaics itself did not originate in Ravenna, but its greatest expression is to be found there. It can also be said that Christian iconology originated in the city, under a mixture of Roman and Byzantine influences.
The subsequent periods of the city's history also left a legacy of buildings and monuments. In the 8th Century it was conquered by the Lombards, then by the Franks, who donated it to the Church of Rome. During their domination Ravenna was visited by Charlemagne on two occasions: in 787, and in 800 when he was on his way to Rome to be crowned Emperor of the Holy Roman Empire. After his death, duke dynasties were entrusted by the archbishops of feudal titles and powers, until the creation of the Commune in the early 12th century, when several factions formed within the local aristocracy. Some of the most celebrated monuments of this period are the Tomb of poet Dante Alighieri, the Municipal Tower, the monumental gates of the city, and a number of palaces and mansions.
In 1441 Ravenna passed under the dominion of the Venetian Republic. During this period, the walls were rebuilt and the central parts of the city were reshaped. It then passed permanently under the Church’s control in the 16th century. It was in this context that the famous Battle of Ravenna took place between the French and the Spanish (allied of the Italians) on Easter Day 1512, which ended with the papal defeat and the sack of the city by the French. It remained nonetheless under the control of the Church until the arrival of Napoleon in 1859.
Ravenna has served three times as a capital: first of the declining Western Roman Empire (during the 5th century AD), then of the reign of Theodoric the Great, King of the Ostrogoths (AD 493-526) and finally of the Byzantine Empire in Italy (AD 553-751). Due to this, it is recognized worldwide for its historical and artistic treasures, and preserves in particular the richest mosaic heritage in the world, dating from the 5th and 6th centuries AD, within its early Christian and Byzantine monuments, of which no less than eight have been included on the UNESCO World Heritage List. The art of mosaics itself did not originate in Ravenna, but its greatest expression is to be found there. It can also be said that Christian iconology originated in the city, under a mixture of Roman and Byzantine influences.
The subsequent periods of the city's history also left a legacy of buildings and monuments. In the 8th Century it was conquered by the Lombards, then by the Franks, who donated it to the Church of Rome. During their domination Ravenna was visited by Charlemagne on two occasions: in 787, and in 800 when he was on his way to Rome to be crowned Emperor of the Holy Roman Empire. After his death, duke dynasties were entrusted by the archbishops of feudal titles and powers, until the creation of the Commune in the early 12th century, when several factions formed within the local aristocracy. Some of the most celebrated monuments of this period are the Tomb of poet Dante Alighieri, the Municipal Tower, the monumental gates of the city, and a number of palaces and mansions.
In 1441 Ravenna passed under the dominion of the Venetian Republic. During this period, the walls were rebuilt and the central parts of the city were reshaped. It then passed permanently under the Church’s control in the 16th century. It was in this context that the famous Battle of Ravenna took place between the French and the Spanish (allied of the Italians) on Easter Day 1512, which ended with the papal defeat and the sack of the city by the French. It remained nonetheless under the control of the Church until the arrival of Napoleon in 1859.
81 - 100 of 106 Posts
Map: 45
The walls of the presbytery (one side of which can be seen on the left of the picture below) are also covered in mosaics, with two lunettes representing
scenes of sacrifices from the Old Testament, which are symbolically connected with the sacrifice of Christ on the cross: the sacrifice of Abel and Melchisedek on the right, and the sacrifice of Isaac on the left, with three angels appearing to Abraham as a revelation of the Holy Trinity. Above these lunettes are pairs of angels holding medallions with crosses, while mosaic representations of the Four Evangelists under their symbols (angel, lion, ox and eagle) adorn the side walls next to the mullioned windows:
Interior of San Vitale Basilica by Wasso H., on Flickr
Due to the church’s upward thrust, a small and lesser known treasure often goes unnoticed (as it was in my case): a labyrinth is represented on the floor right in front of the altar, with small arrows starting at its center and leading towards the center of the basilica through a winding path. In the early years of Christianity, mazes were often the symbol of sin, and finding the way out of them thus represented an act of rebirth.
The walls of the presbytery (one side of which can be seen on the left of the picture below) are also covered in mosaics, with two lunettes representing
scenes of sacrifices from the Old Testament, which are symbolically connected with the sacrifice of Christ on the cross: the sacrifice of Abel and Melchisedek on the right, and the sacrifice of Isaac on the left, with three angels appearing to Abraham as a revelation of the Holy Trinity. Above these lunettes are pairs of angels holding medallions with crosses, while mosaic representations of the Four Evangelists under their symbols (angel, lion, ox and eagle) adorn the side walls next to the mullioned windows:
Interior of San Vitale Basilica by Wasso H., on FlickrDue to the church’s upward thrust, a small and lesser known treasure often goes unnoticed (as it was in my case): a labyrinth is represented on the floor right in front of the altar, with small arrows starting at its center and leading towards the center of the basilica through a winding path. In the early years of Christianity, mazes were often the symbol of sin, and finding the way out of them thus represented an act of rebirth.
Map: 47
I exit the church from the other side, and head towards the last monument mentioned on the ticket, the so-called Mausoleum of Galla Placidia. Galla Placidia had this structure with a Latin cross plan built around 430 as part of the Basilica of Santa Croce, to whose narthex it was originally connected. It was long believed to have been commissioned by the empress to serve as her resting place, however, modern scholarly opinion is that the structure was instead an oratory dedicated to San Lorenzo, who was the patron saint of the family of Theodosius the Great. The exterior presents a rigorous early Christian Roman style, with brick walls decorated only with blind arches and very narrow windows:
Mausoleum of Galla Placidia by Wasso H., on Flickr
Map: 48
The north facade was once covered in marble, but only a carved lintel survives today above the door:
Entrance door of the Mausoleum of Galla Placidia by Wasso H., on Flickr
I exit the church from the other side, and head towards the last monument mentioned on the ticket, the so-called Mausoleum of Galla Placidia. Galla Placidia had this structure with a Latin cross plan built around 430 as part of the Basilica of Santa Croce, to whose narthex it was originally connected. It was long believed to have been commissioned by the empress to serve as her resting place, however, modern scholarly opinion is that the structure was instead an oratory dedicated to San Lorenzo, who was the patron saint of the family of Theodosius the Great. The exterior presents a rigorous early Christian Roman style, with brick walls decorated only with blind arches and very narrow windows:
Mausoleum of Galla Placidia by Wasso H., on FlickrMap: 48
The north facade was once covered in marble, but only a carved lintel survives today above the door:
Entrance door of the Mausoleum of Galla Placidia by Wasso H., on Flickr
Map: 48
Inside, the lower surfaces are covered in marble slabs with soft yellow hues, and the eastern, western and southern niches house three marble sarcophagi, which tradition says were those of Galla Placidia, her second husband Constantius III, and her son Valentinian III. The tradition however has been discounted by most scholars, and instead the sarcophagi were likely brought here from elsewhere sometime between the 9th and the 14th century. All three sarcophagi were opened in 1738: the one on the left contained two entire heads with a few teeth remaining, and bones covered in soft black mud, while the one on the right disclosed the bones of two people, at least one of which was a woman.
The sarcophagus in the southern niche is the largest one, and has been traditionally associated with Galla Placidia (who actually died and was buried in Rome in 450), but instead was probably the pagan tomb of a noble Roman as it bears no Christian symbols. Various authors in the 14th to 16th centuries recorded that the body of the Empress seated upright on a wooden chair could be seen through a large opening in the back (now closed up), so it seems that a body had been placed in the sarcophagus in the 13th or 14th century with the intention of passing it off as Galla Placidia. In 1577, some local boys threw lit candles in the tomb hoping to get a better look at the body, and the wooden chair and entire body went up in flames. Only a few fragments of bone, a skull, and a few scraps of wood survived.
Inside the Mausoleum of Galla Placidia - Sarcophagus attributed to Empress Galla Placidia by Wasso H., on Flickr
Inside, the lower surfaces are covered in marble slabs with soft yellow hues, and the eastern, western and southern niches house three marble sarcophagi, which tradition says were those of Galla Placidia, her second husband Constantius III, and her son Valentinian III. The tradition however has been discounted by most scholars, and instead the sarcophagi were likely brought here from elsewhere sometime between the 9th and the 14th century. All three sarcophagi were opened in 1738: the one on the left contained two entire heads with a few teeth remaining, and bones covered in soft black mud, while the one on the right disclosed the bones of two people, at least one of which was a woman.
The sarcophagus in the southern niche is the largest one, and has been traditionally associated with Galla Placidia (who actually died and was buried in Rome in 450), but instead was probably the pagan tomb of a noble Roman as it bears no Christian symbols. Various authors in the 14th to 16th centuries recorded that the body of the Empress seated upright on a wooden chair could be seen through a large opening in the back (now closed up), so it seems that a body had been placed in the sarcophagus in the 13th or 14th century with the intention of passing it off as Galla Placidia. In 1577, some local boys threw lit candles in the tomb hoping to get a better look at the body, and the wooden chair and entire body went up in flames. Only a few fragments of bone, a skull, and a few scraps of wood survived.
Inside the Mausoleum of Galla Placidia - Sarcophagus attributed to Empress Galla Placidia by Wasso H., on Flickr
Map: 48
The sarcophagus on the right was traditionally attributed to Emperor Valentinian III, but is now dated to the beginning of the 6th century. Its front panel is carved into three niches. The side niches are arched and enclose a shell and a cross, while the central one has a pointed roof instead of an arch; inside it are two doves perching on the arms of a tall cross, which stands on a rock from which four rivers flow, and on which the Lamb of God stands. The back panel has a similar design (but executed in a simpler manner), while the lid is carved with a pattern resembling overlapping fish scales:
Inside the Mausoleum of Galla Placidia - Sarcophagus attributed to Emperor Valentinian III by Wasso H., on Flickr
The sarcophagus in the left arm is traditionally associated with Emperor Constantius III, and has now been dated to the late 5th century for stylistic reasons. The front panel bears reliefs of a lamb standing upon a rock that is gushing water. The lamb has a halo with the Christogram (XP) and clearly represents Christ, the Lamb of God. On either side are two lambs without halos, probably representing the Apostles, and two palm trees, representing victory. Christograms also occupy the corners of the lid:
Inside the Mausoleum of Galla Placidia - Sarcophagus attributed to Emperor Valentinian III by Wasso H., on Flickr
The sarcophagus on the right was traditionally attributed to Emperor Valentinian III, but is now dated to the beginning of the 6th century. Its front panel is carved into three niches. The side niches are arched and enclose a shell and a cross, while the central one has a pointed roof instead of an arch; inside it are two doves perching on the arms of a tall cross, which stands on a rock from which four rivers flow, and on which the Lamb of God stands. The back panel has a similar design (but executed in a simpler manner), while the lid is carved with a pattern resembling overlapping fish scales:
Inside the Mausoleum of Galla Placidia - Sarcophagus attributed to Emperor Valentinian III by Wasso H., on FlickrThe sarcophagus in the left arm is traditionally associated with Emperor Constantius III, and has now been dated to the late 5th century for stylistic reasons. The front panel bears reliefs of a lamb standing upon a rock that is gushing water. The lamb has a halo with the Christogram (XP) and clearly represents Christ, the Lamb of God. On either side are two lambs without halos, probably representing the Apostles, and two palm trees, representing victory. Christograms also occupy the corners of the lid:
Inside the Mausoleum of Galla Placidia - Sarcophagus attributed to Emperor Valentinian III by Wasso H., on Flickr
I wonder what's going on, the number of views and likes has fallen to zero in the last couple of days :lol: :nuts: Shall I continue to post, or is it not worth it anymore?
Great, very nice updates from Ravenna, wasabi-cat :cheers:
Keep posting, your work on this thread is great!
kay:As for the number of views and likes, don't worry, there's nothing wrong with your thread. It is natural that view and like rates reduce compared to those in the first days of the thread. Newly created threads grab a lots of views, people get curious about them and come in to see, but not necessarily keep following them so regularly.
You should continue to posting (awesome, very nice) photos, wasabi-cat
kay:
Keep posting, your work on this thread is great!
As for the number of views and likes, don't worry, there's nothing wrong with your thread.
OK, I'll continue thenYou should continue to posting (awesome, very nice) photos, wasabi-cat
Thanks for the kind words and for being my most faithful followers guys kay:Wasacat sounds like scat, which can be interpreted in a not so elegant way, so better stick to wasabi-cat :lol:WasabiHoney + cat = wasacat
Map: 48
The upper surfaces of the Mausoleum are entirely decorated with mosaics of rare beauty, that are made to look even brighter by the golden light filtering through windows covered with translucent yellow alabaster slabs. The themes represented in the mosaic decoration show influences of both Roman and Christian traditions:
Inside the Mausoleum of Galla Placidia - Lunettes of the southern arm by Wasso H., on Flickr
The visitor gets lost inside the nocturnal atmosphere generated by the cupola, at the very center of which stands a golden cross, symbol and source of eternal life, in the middle of 570 golden stars arranged in concentric circles on a backdrop of dark blue, while on the sails are the symbolic images of the four Evangelists (two of them are visible in the picture below). The cupola is flanked on the sides by four lunettes depicting eight Apostles arranged in pairs, who with their hand gestures guide our gaze towards the eastern part of the mausoleum, where the first Apostles Peter and Paul stand, whose hands are pointed towards the Cross at the center of the cupola, that is, the Celestial Kingdom. Pairs of doves are also depicted drinking at fountains between the Apostles, symbolizing the souls of Christians drinking from the source of life:
Inside the Mausoleum of Galla Placidia - Lunettes with depictions of the Apostles by Wasso H., on Flickr
The upper surfaces of the Mausoleum are entirely decorated with mosaics of rare beauty, that are made to look even brighter by the golden light filtering through windows covered with translucent yellow alabaster slabs. The themes represented in the mosaic decoration show influences of both Roman and Christian traditions:
Inside the Mausoleum of Galla Placidia - Lunettes of the southern arm by Wasso H., on FlickrThe visitor gets lost inside the nocturnal atmosphere generated by the cupola, at the very center of which stands a golden cross, symbol and source of eternal life, in the middle of 570 golden stars arranged in concentric circles on a backdrop of dark blue, while on the sails are the symbolic images of the four Evangelists (two of them are visible in the picture below). The cupola is flanked on the sides by four lunettes depicting eight Apostles arranged in pairs, who with their hand gestures guide our gaze towards the eastern part of the mausoleum, where the first Apostles Peter and Paul stand, whose hands are pointed towards the Cross at the center of the cupola, that is, the Celestial Kingdom. Pairs of doves are also depicted drinking at fountains between the Apostles, symbolizing the souls of Christians drinking from the source of life:
Inside the Mausoleum of Galla Placidia - Lunettes with depictions of the Apostles by Wasso H., on Flickr
Map: 48
Three other lunettes are located at the end of the mausoleum’s arms, whose barrel vaults are covered by a stylized carpet of flowers on a blue background, representing the Gardens of Eden. The western lunette depicts four deer among shoots of shrubs looking for a source (derived from a step of the Psalms: “as a deer seeks water, so does the soul seek God”); for some reason I didn’t take any photo of it.
On the northern side, above the entrance, is the lunette of The Good Shepherd. It shows the Christ in a quiet bucolic scene, holding an imperial staff joined to a cross, and surrounded by a flock of lambs sheep that all turn towards him (symbolizing the souls of the righteous who rest in Heaven). The Christ is depicted young and without a beard, symbolizing his status as the Lord of eternal life, and also in a more regal manner than prior depictions of him as good shepherd: sitting amongst the flock rather than carrying a lamb on his shoulders, haloed, and robed in gold and purple:
Inside the Mausoleum of Galla Placidia - Lunette of the Good Sheperd by Wasso H., on Flickr
Three other lunettes are located at the end of the mausoleum’s arms, whose barrel vaults are covered by a stylized carpet of flowers on a blue background, representing the Gardens of Eden. The western lunette depicts four deer among shoots of shrubs looking for a source (derived from a step of the Psalms: “as a deer seeks water, so does the soul seek God”); for some reason I didn’t take any photo of it.
On the northern side, above the entrance, is the lunette of The Good Shepherd. It shows the Christ in a quiet bucolic scene, holding an imperial staff joined to a cross, and surrounded by a flock of lambs sheep that all turn towards him (symbolizing the souls of the righteous who rest in Heaven). The Christ is depicted young and without a beard, symbolizing his status as the Lord of eternal life, and also in a more regal manner than prior depictions of him as good shepherd: sitting amongst the flock rather than carrying a lamb on his shoulders, haloed, and robed in gold and purple:
Inside the Mausoleum of Galla Placidia - Lunette of the Good Sheperd by Wasso H., on Flickr
Map: 48
Finally, the southern lunette, the most colorful one, represents the Martyrdom of San Lorenzo. The saint is depicted holding a long cross and a Book of Psalms, walking towards a flaming gridiron to meet his martyrdom, with an open bookcase on the other side containing the four Gospels. The cross in the hands of Saint Lawrence is a reminder that the road to the Celestial Kingdom passes through suffering:
Inside the Mausoleum of Galla Placidia - Lunette of San Lorenzo by Wasso H., on Flickr
All the iconographic themes represent the victory of life over death, with the cross being the way to resurrection. Everywhere there are dark areas lined with touches of gold and vermilion pulsating under the warm light of the alabaster windows. The effect is that of a diffuse tranquility, appropriate for a tomb and for the message of Eternal Life.
Finally, the southern lunette, the most colorful one, represents the Martyrdom of San Lorenzo. The saint is depicted holding a long cross and a Book of Psalms, walking towards a flaming gridiron to meet his martyrdom, with an open bookcase on the other side containing the four Gospels. The cross in the hands of Saint Lawrence is a reminder that the road to the Celestial Kingdom passes through suffering:
Inside the Mausoleum of Galla Placidia - Lunette of San Lorenzo by Wasso H., on FlickrAll the iconographic themes represent the victory of life over death, with the cross being the way to resurrection. Everywhere there are dark areas lined with touches of gold and vermilion pulsating under the warm light of the alabaster windows. The effect is that of a diffuse tranquility, appropriate for a tomb and for the message of Eternal Life.
Map: 39
Having seen all the monuments the ticket grants access to, I decide to head back to the church of Santa Maria in Porto, which should be open by this time. I pass again through Piazza del Popolo, lit in pinkish hues by the now setting sun:
Piazza del Popolo by Wasso H., on Flickr
And take another picture of Palzzo Merlato and the two columns standing in front of it:
Piazza del Popolo - City hall of Ravenna by Wasso H., on Flickr
Having seen all the monuments the ticket grants access to, I decide to head back to the church of Santa Maria in Porto, which should be open by this time. I pass again through Piazza del Popolo, lit in pinkish hues by the now setting sun:
Piazza del Popolo by Wasso H., on FlickrAnd take another picture of Palzzo Merlato and the two columns standing in front of it:
Piazza del Popolo - City hall of Ravenna by Wasso H., on Flickr
Map: 49
From there, I take Via Armando Diaz to go east. A couple of interesting terracotta buildings stand there behind the Dante Alighieri Theater, one of which is Casa Giorgi / Guaccimanni (with the white shutters on the first floor). It dates back to the late 15th century, but only the lunette portal and the Gothic balcony with Istrian stone shelves remain of the original appearance of its Venetian style façade. On the other side is a large arched opening which during the papal dominion led to the lodgings of the Swiss guards on square below, hence its name Largo degli Svizzeri (the spot now occupied by the Alighieri Theater):
Via Armando Diaz by Wasso H., on Flickr
From there, I take Via Armando Diaz to go east. A couple of interesting terracotta buildings stand there behind the Dante Alighieri Theater, one of which is Casa Giorgi / Guaccimanni (with the white shutters on the first floor). It dates back to the late 15th century, but only the lunette portal and the Gothic balcony with Istrian stone shelves remain of the original appearance of its Venetian style façade. On the other side is a large arched opening which during the papal dominion led to the lodgings of the Swiss guards on square below, hence its name Largo degli Svizzeri (the spot now occupied by the Alighieri Theater):
Via Armando Diaz by Wasso H., on Flickr
Map: 50
I turn south at the intersection with Via di Roma. Shortly before arriving to Santa Maria in Porto, I notice a brick façade which had escaped my attention before, and take a closer look at it. This is the Luigi Rasi Theater, housed in the former Church of Santa Chiara. The church was built in the mid 13th century together with the adjacent Franciscan monastery of Santo Stefano in Fundamento. The complex was rebuilt towards the end of the 18th century, then deconsecrated during Napoleon's suppressions, and later converted into a theatre:
Luigi Rasi Theater (former church of Santa Chiara) by Wasso H., on Flickr
Traces of the ancient structure are still visible in the area of the stage, the former apse of the church, which used to be decorated with frescoes of the 14th century representing the Salvation, the Evangelists and the Doctors of the Church. These were removed in the 1950s and restored, and are now on display at the National Museum of Ravenna.
I turn south at the intersection with Via di Roma. Shortly before arriving to Santa Maria in Porto, I notice a brick façade which had escaped my attention before, and take a closer look at it. This is the Luigi Rasi Theater, housed in the former Church of Santa Chiara. The church was built in the mid 13th century together with the adjacent Franciscan monastery of Santo Stefano in Fundamento. The complex was rebuilt towards the end of the 18th century, then deconsecrated during Napoleon's suppressions, and later converted into a theatre:
Luigi Rasi Theater (former church of Santa Chiara) by Wasso H., on FlickrTraces of the ancient structure are still visible in the area of the stage, the former apse of the church, which used to be decorated with frescoes of the 14th century representing the Salvation, the Evangelists and the Doctors of the Church. These were removed in the 1950s and restored, and are now on display at the National Museum of Ravenna.
Map: 52
Arriving at Santa Maria in Porto again, my attention is caught by the monumental Loggetta Lombardesca, with its façade beautifully highlighted by the last rays of the setting sun. It was originally a 16th century monastery belonging to the adjacent church, but underwent frequent reorganizations and changes of use from the time of the Napoleonic suppressions until the early 1970s, when it was fully restored. It houses today the Municipal Art Gallery of Ravenna, which hosts three permanent collections of artworks, paintings, sculptures and mosaics spanning from the 14th century to present day, as well as various temporary art exhibitions:
Loggetta Lombardesca, housing the Municipal Art Gallery of Ravenna by Wasso H., on Flickr
Arriving at Santa Maria in Porto again, my attention is caught by the monumental Loggetta Lombardesca, with its façade beautifully highlighted by the last rays of the setting sun. It was originally a 16th century monastery belonging to the adjacent church, but underwent frequent reorganizations and changes of use from the time of the Napoleonic suppressions until the early 1970s, when it was fully restored. It houses today the Municipal Art Gallery of Ravenna, which hosts three permanent collections of artworks, paintings, sculptures and mosaics spanning from the 14th century to present day, as well as various temporary art exhibitions:
Loggetta Lombardesca, housing the Municipal Art Gallery of Ravenna by Wasso H., on Flickr
Map: 51
The interior of Santa Maria in Porto church is imposing, but unfortunately dimly lit, which affected negatively the quality of the pictures I took there. It is divided into a central nave and two aisles, with a wide transept topped by a high dome. Along the aisles there are six chapels on each side, each with a barrel vault and a marble baroque altar.
At the center of the apse stands the main altar from 1710, above which there is a valuable ciborium (canopy) in polychrome marble, with two angels of Carrara marble on the sides. Behind the altar is a valuable 16th century wooden choir composed of 75 stalls, while at the center of the apse is The Annunciation altarpiece, set within a richly gilded and carved wooden frame:
Inside the Basilica of Santa Maria in Porto - The central nave and the altar by Wasso H., on Flickr
The interior of Santa Maria in Porto church is imposing, but unfortunately dimly lit, which affected negatively the quality of the pictures I took there. It is divided into a central nave and two aisles, with a wide transept topped by a high dome. Along the aisles there are six chapels on each side, each with a barrel vault and a marble baroque altar.
At the center of the apse stands the main altar from 1710, above which there is a valuable ciborium (canopy) in polychrome marble, with two angels of Carrara marble on the sides. Behind the altar is a valuable 16th century wooden choir composed of 75 stalls, while at the center of the apse is The Annunciation altarpiece, set within a richly gilded and carved wooden frame:
Inside the Basilica of Santa Maria in Porto - The central nave and the altar by Wasso H., on Flickr
Map: 51
The arms of the transept also end in semicircular apses bounded by a marble cornice and harboring two noteworthy chapels. The one on the right contains a San Lorenzo painting by a Bolognese artist:
Inside the Basilica of Santa Maria in Porto - Chapel of San Lorenzo by Wasso H., on Flickr
The one on the left houses the Madonna Greca (Greek Madonna), a 9th century marble bas-relief depicting the Virgin Mary praying and dressed in a large cloak, probably of Venetian origin. It is known by this name because according to legend it miraculously arrived in Ravenna from Constantinople in the year 1100:
Inside the Basilica of Santa Maria in Porto - Chapel of the Madonna Greca by Wasso H., on Flickr
The arms of the transept also end in semicircular apses bounded by a marble cornice and harboring two noteworthy chapels. The one on the right contains a San Lorenzo painting by a Bolognese artist:
Inside the Basilica of Santa Maria in Porto - Chapel of San Lorenzo by Wasso H., on FlickrThe one on the left houses the Madonna Greca (Greek Madonna), a 9th century marble bas-relief depicting the Virgin Mary praying and dressed in a large cloak, probably of Venetian origin. It is known by this name because according to legend it miraculously arrived in Ravenna from Constantinople in the year 1100:
Inside the Basilica of Santa Maria in Porto - Chapel of the Madonna Greca by Wasso H., on Flickr81 - 100 of 106 Posts
