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Aquileia Basilica [South Hall, 3rd span] – Right Sector
The decoration of the right sector floor of the third span is organized in twenty-four cells in the shape of an octagon, arranged in four vertical rows. Quadrangular and octagonal shapes decorated with geometric patterns made of intertwined knots and braids fill the space between the octagons.
At the center a squared panel is decorated with an unusual representation in early Christian iconography. A blonde girl, with light-blue wings outstretched , wearing a sleeveless cassock fastened at the hips, her bare arms adorned with bracelets on her wrist, raises a laurel wreath with her right hand and holds a palm tree in the left one. The iconographic attributes of this character are the same used in classical times to identify the "Goddess of Victory" - Nike. However, they must be elaborated in a Christian meaning; "Laurus et palma" - laurel and palm - are in fact, notoriously, in early Christian language, symbols of the eternal heavenly reward. The presence of two large craters arranged on the sides of the winged figure reinforces this interpretation. One crater contains loaves, the other, placed to the right of the observer, grapes (however, the latter crater is very damaged and a sure identification of its contents is not possible). The eschatological allegory is thus enriched with all the contextual contributions. Eternal life will be the reward for the sacrifices that the profession of Christian faith requires. According to the allegorical meaning of this figure, it will constitute the true, definitive victory of the Christian.
Individual figures of young offerers or birds on a flowering branches decorate the octagons of the sector. These bidders are girls and men who present bunches of grapes, ears of wheat, loaves, flowers, donuts, birds. They are represented in small pictures inspired by real life scenes.
Only thirteen cells are entirely preserved. The others have been lost or have been partially ruined by the installation of the Basilica columns. The base of a column in the right nave is visible above the Angel's head.
Source: Gian Carlo Menis, “I Mosaici Paleocristiani di Aquileia”
Source: Comune di Aquileia
315 – 320 AD
Aquileia, Basilica di Santa Maria Assunta
Aquileia Basilica [South Hall, 3rd span] – Right Sector
The decoration of the right sector floor of the third span is organized in twenty-four cells in the shape of an octagon, arranged in four vertical rows. Quadrangular and octagonal shapes decorated with geometric patterns made of intertwined knots and braids fill the space between the octagons.
At the center a squared panel is decorated with an unusual representation in early Christian iconography. A blonde girl, with light-blue wings outstretched , wearing a sleeveless cassock fastened at the hips, her bare arms adorned with bracelets on her wrist, raises a laurel wreath with her right hand and holds a palm tree in the left one. The iconographic attributes of this character are the same used in classical times to identify the "Goddess of Victory" - Nike. However, they must be elaborated in a Christian meaning; "Laurus et palma" - laurel and palm - are in fact, notoriously, in early Christian language, symbols of the eternal heavenly reward. The presence of two large craters arranged on the sides of the winged figure reinforces this interpretation. One crater contains loaves, the other, placed to the right of the observer, grapes (however, the latter crater is very damaged and a sure identification of its contents is not possible). The eschatological allegory is thus enriched with all the contextual contributions. Eternal life will be the reward for the sacrifices that the profession of Christian faith requires. According to the allegorical meaning of this figure, it will constitute the true, definitive victory of the Christian.
Individual figures of young offerers or birds on a flowering branches decorate the octagons of the sector. These bidders are girls and men who present bunches of grapes, ears of wheat, loaves, flowers, donuts, birds. They are represented in small pictures inspired by real life scenes.
Only thirteen cells are entirely preserved. The others have been lost or have been partially ruined by the installation of the Basilica columns. The base of a column in the right nave is visible above the Angel's head.
Source: Gian Carlo Menis, “I Mosaici Paleocristiani di Aquileia”
Source: Comune di Aquileia
315 – 320 AD
Aquileia, Basilica di Santa Maria Assunta