Hans G
42640004 Presbytery and Apse, Basilica di Sant'Apollinare in Classe
Presbytery and Apse, Basilica di Sant'Apollinare in Classe, Ravenna; taken with a Canon EOS 1v.
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The Presbytery and Apse Mosaics
The apse mosaic dates from the 6th century and depicts two scenes that blend into each other. At the top is an interestingly symbolic depiction of the Transfiguration (Matthew 17:1-9, Mark 9:2-8, Luke 9:28-36). Christ is represented by a golden cross on a starry blue background, while the three apostles who were present at the Transfiguration - Peter, James and John - are represented by lambs. Flanking the cross against a backdrop of golden skies and sunset-tinged clouds are figurative depictions of Moses and Elijah, labeled with their names.
The large cross is decorated with mosaic gems and a bust of Christ in the center. It has a Latin inscription at its base reading SALVS MVNDI, "Salvation of the World" and a Greek inscription at the top: IXΘYC. This means "fish" in Greek and is also an anagram of the names of Christ: Jesus Christ Son of God Savior."
Below this scene is the namesake of the basilica, St. Apollinaris, labeled with the inscription SANCTVS APOLENARIS. He wears a white dalmatic and purple tunic, the latter embroidered with bees to symbolize eloquence. He is shown in prayer, interceding on behalf of his flock who are represented below by lambs. This is the first known example of choosing a subject other than Christ in Majesty for the apse decoration.
Around the saint is a soft green backdrop populated with rocks, birds, and plants. Among the greenery are pine trees, which can still be seen growing outside the church.
The back wall of the apse between the windows bears mosaic portraits of four Ravenna bishops: Severus, Ecclesius, Ursus and Ursicinus.
The mosaics on the side walls of the apse date from the 7th century. The left wall of the presbytery shows Emperor Constantine IV Pogonatus and his brothers Heraclius and Tiberius handing the "Priviliges" to Reparatus, delegate of Bishop Maurus (671-77).
The right wall shows three Old Testament figures who made sacrifices to God: Abel with his perfect lamb, Melchizadek at a table with his bread, and Abraham with his son Isaac. The theme of sacrifice is related to the Eucharist, which was performed at the high altar beneath the mosaic.
sacred-destinations.com/italy/ravenna-st-apollinare-in-classe
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SANCTUS APOLENARIS, we read in the center of the apse. A solemn inscription which transmits its capital meaning in capital letters. Thus sanctus Vitalis in S. Vitale: titles and figures, somehow central, but the pregnancy of ancient hagiographic devotion is greatly surpassed in the polysymbolism. In fact the true centre of this ecclesiastic basilica, which was intended to serve for the celebration of the Eucharist, is occupied by one of the most splendid (if not the most splendid) theophanies of Christian antiquity: the great symbolic transfiguration which, a robust treatise of symbolic-mystical theology, occupies the whole apse vault. The glorious cross of the resurrection (metamorphosis of the execution-cross of Golgotha) stands in a dominant position and represents Christ himself, protagonist of the transfiguration. The sheep on the right of the Cross (Christ's right) is Peter, the first disciple.
There follow, on the left, another two sheep: James and John. Whereas the two prophets Moses and Elijah (representing the Law and the Prophets) are portrayed in busts. Moses, on Christ's right, is beardless (because he is a prototype of Christ) while Elijah is on the left (Cf. Mark 9, 2-13).
One who interpreted the Cross and the Prophets in an exclusively eschatological sense (E. Dinkler) admitted finding difficulty in explaining the presence of Apollinare, and even more that of the hand of the Father which appears in the golden sky high above the cross. But if the transfiguration is interpreted as a symbol of Easter, and Easter as an offering, a sacrifice, Holy Communion of the Lamb (and of the Cross), we can better explain how the hand of the Father receives the eucharistic sacrifice (the Mass): a Sacrifice offered for the church and the community of the faithful of the Bishop Pastore Sacerdos who is S. Apollinare. In fact the twelve sheep which, six to a side, go towards Pastor Apollinare represent the church of Ravenna which shares in celebration of the Mass and in response to Apollinare's "Mystery of the Faith!" sings, "We announce your death Lord; we proclaim your resurrection; in awaiting your coming." There is eschatology in this awaiting, but all the rest is what went before: Passion, Death and Resurrection at Easter. The four bishops in the four spaces between the windows should be interpreted in this way, that is to say, in the ecclesiastic and eucharistic sense. Founders of churches (the very first, small and no longer extant sanctus Severus; the cathedral sanctus Ursus; S. Vitale Ecclesius, S. Apollinare in Classe Urcinus) they are the historical support of the Ravenna hierarchy, the preachers of the Gospel (which they hold in their hands), the heads of the liturgical congregation of the people of God of the New Testament, inaugurated by sanctus Apolenaris.
initaly.com/regions/byzant/byzant4.htm#santclas
42640004 Presbytery and Apse, Basilica di Sant'Apollinare in Classe
Presbytery and Apse, Basilica di Sant'Apollinare in Classe, Ravenna; taken with a Canon EOS 1v.
.
The Presbytery and Apse Mosaics
The apse mosaic dates from the 6th century and depicts two scenes that blend into each other. At the top is an interestingly symbolic depiction of the Transfiguration (Matthew 17:1-9, Mark 9:2-8, Luke 9:28-36). Christ is represented by a golden cross on a starry blue background, while the three apostles who were present at the Transfiguration - Peter, James and John - are represented by lambs. Flanking the cross against a backdrop of golden skies and sunset-tinged clouds are figurative depictions of Moses and Elijah, labeled with their names.
The large cross is decorated with mosaic gems and a bust of Christ in the center. It has a Latin inscription at its base reading SALVS MVNDI, "Salvation of the World" and a Greek inscription at the top: IXΘYC. This means "fish" in Greek and is also an anagram of the names of Christ: Jesus Christ Son of God Savior."
Below this scene is the namesake of the basilica, St. Apollinaris, labeled with the inscription SANCTVS APOLENARIS. He wears a white dalmatic and purple tunic, the latter embroidered with bees to symbolize eloquence. He is shown in prayer, interceding on behalf of his flock who are represented below by lambs. This is the first known example of choosing a subject other than Christ in Majesty for the apse decoration.
Around the saint is a soft green backdrop populated with rocks, birds, and plants. Among the greenery are pine trees, which can still be seen growing outside the church.
The back wall of the apse between the windows bears mosaic portraits of four Ravenna bishops: Severus, Ecclesius, Ursus and Ursicinus.
The mosaics on the side walls of the apse date from the 7th century. The left wall of the presbytery shows Emperor Constantine IV Pogonatus and his brothers Heraclius and Tiberius handing the "Priviliges" to Reparatus, delegate of Bishop Maurus (671-77).
The right wall shows three Old Testament figures who made sacrifices to God: Abel with his perfect lamb, Melchizadek at a table with his bread, and Abraham with his son Isaac. The theme of sacrifice is related to the Eucharist, which was performed at the high altar beneath the mosaic.
sacred-destinations.com/italy/ravenna-st-apollinare-in-classe
.
SANCTUS APOLENARIS, we read in the center of the apse. A solemn inscription which transmits its capital meaning in capital letters. Thus sanctus Vitalis in S. Vitale: titles and figures, somehow central, but the pregnancy of ancient hagiographic devotion is greatly surpassed in the polysymbolism. In fact the true centre of this ecclesiastic basilica, which was intended to serve for the celebration of the Eucharist, is occupied by one of the most splendid (if not the most splendid) theophanies of Christian antiquity: the great symbolic transfiguration which, a robust treatise of symbolic-mystical theology, occupies the whole apse vault. The glorious cross of the resurrection (metamorphosis of the execution-cross of Golgotha) stands in a dominant position and represents Christ himself, protagonist of the transfiguration. The sheep on the right of the Cross (Christ's right) is Peter, the first disciple.
There follow, on the left, another two sheep: James and John. Whereas the two prophets Moses and Elijah (representing the Law and the Prophets) are portrayed in busts. Moses, on Christ's right, is beardless (because he is a prototype of Christ) while Elijah is on the left (Cf. Mark 9, 2-13).
One who interpreted the Cross and the Prophets in an exclusively eschatological sense (E. Dinkler) admitted finding difficulty in explaining the presence of Apollinare, and even more that of the hand of the Father which appears in the golden sky high above the cross. But if the transfiguration is interpreted as a symbol of Easter, and Easter as an offering, a sacrifice, Holy Communion of the Lamb (and of the Cross), we can better explain how the hand of the Father receives the eucharistic sacrifice (the Mass): a Sacrifice offered for the church and the community of the faithful of the Bishop Pastore Sacerdos who is S. Apollinare. In fact the twelve sheep which, six to a side, go towards Pastor Apollinare represent the church of Ravenna which shares in celebration of the Mass and in response to Apollinare's "Mystery of the Faith!" sings, "We announce your death Lord; we proclaim your resurrection; in awaiting your coming." There is eschatology in this awaiting, but all the rest is what went before: Passion, Death and Resurrection at Easter. The four bishops in the four spaces between the windows should be interpreted in this way, that is to say, in the ecclesiastic and eucharistic sense. Founders of churches (the very first, small and no longer extant sanctus Severus; the cathedral sanctus Ursus; S. Vitale Ecclesius, S. Apollinare in Classe Urcinus) they are the historical support of the Ravenna hierarchy, the preachers of the Gospel (which they hold in their hands), the heads of the liturgical congregation of the people of God of the New Testament, inaugurated by sanctus Apolenaris.
initaly.com/regions/byzant/byzant4.htm#santclas