# Ravenna: the world capital of mosaics



## WasabiHoney (Jan 31, 2011)

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.


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## WasabiHoney (Jan 31, 2011)

Once again, I include informatively a map of the city and a more detailed one of my itinerary in the central areas (delimited in red on the first map) with numbers referencing every spot where I took pictures:

Ravenna map by Wasso H., on Flickr

Ravenna itinerary map by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 1*

Leaving the train station and walking towards the center, I first encounter the church of San Giovanni Evangelista (St John the Evangelist) a short distance away. It was originally built in the 5th century by Empress Galla Placidia, who wished to release herself from a vow made during a sea storm while traveling from Constantinople to Ravenna to attend her son Valentinian’s installation on the throne of the West. The bell tower was erected in the 10th century:

San Giovanni Evangelista church by Wasso H., on Flickr

*Map: 2*

In the Middle Ages, a square portico rose before the entrance, now replaced by a wall with a beautifully carved 14th century Gothic gate:

Gothic portal of San Giovanni Evangelista church by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 3*

Divided into a nave and two side aisles, the church has undergone several changes over time. Furthermore, in 1944 it was severely damaged by an air attack targeting the train station that destroyed the 12th-14th century frescoes and the apse mosaics. The church was then rebuilt in its original form after the war, and still retains some of its original features, including most of the columns and their carved Byzantine capitals. Many of the early mosaics had been lost to renovations in the 16th century, but fragments of the floor mosaics completed in 1213 still survive, and are now displayed along the walls:

Interior of San Giovanni Evangelista church by Wasso H., on Flickr

In the left aisle is a chapel with fragments of 14th century frescoes on its vault, which have been attributed to Giotto, but are more likely by a Rimini artist of the same era:

Chapel with fragments of frescoes inside San Giovanni Evangelista church by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

I continue on Viale Farini until its intersection with Via di Roma, where I turn south, and arrive a little later to one of the city’s famed UNESCO Word Heritage Sites, the Basilica of Sant’Apollinare Nuovo. It was erected by Theodoric the Great as his cathedral in the early 6th century, and originally used as a Palatine Church of Arian religion and dedicated to Christ the Savior. After the Byzantine conquest in the mid 6th century, the Basilica was consecrated to the Orthodox faith and dedicated to Saint Martin of Tours, a foe of Arianism, and those of its mosaics whose themes were too overtly Arian or which expressed the king's glory were covered up. Tradition has it that in the 9th century the relics of St. Apollinaris, the first Archbishop of Ravenna, were removed from the Basilica of Sant’Apollinare in Classe (on the road from Ravenna to Rimini) and transported here, and the church was dedicated to him on that occasion and called Nuovo (New) in order to differentiate it from the church of the same name in Classe.

*Map: 4*

The Basilica’s appearance, with its central nave and lower side aisles, recalls the exterior of the Milanese churches of the same period. Its gabled façade is provided with a mullioned window, topped by two small openings, and decorated with a 16th century marble porch:

Basilica of Sant’Apollinare Nuovo by Wasso H., on Flickr

*Map: 5*

A large cylindrical bell tower was erected near the southern wall in the 10th century, with numerous single-light and mullioned (both biforate and triforate) windows:

Bell tower of Sant’Apollinare Nuovo Basilica by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 6*

I buy an entrance ticket at the booth on the south side that is valid for the Basilica and two others of the city’s UNESCO World Heritage Site complexes (the Archiepiscopal Museum and Neonian Baptistery next to the Duomo, and the San Vitale complex), then enter through a peaceful cloister shaded by some large trees:

Cloister of Sant’Apollinare Nuovo Basilica by Wasso H., on Flickr

Cloister of Sant’Apollinare Nuovo Basilica by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 6*

The elegant bell tower can be seen from within the cloister:

Bell tower of Sant’Apollinare Nuovo Basilica seen from the cloister by Wasso H., on Flickr

as well as the southern façade. There are numerous wide windows on both the southern and northern walls, which make the Basilica the first one built in this style:

Southern facade of Sant’Apollinare Nuovo Basilica seen from the cloister by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 7*

The Basilica’s interior is flooded by the light entering from the windows and looks majestic, with its three naves delimited by two rows of wide arches, and its magnificent heritage of mosaics documenting the stylistic, iconographical and ideological evolution of Byzantine wall mosaics from the era of Theodoric to that of Justinian. The central nave is covered by an impressive colorful roof of wood tiling made in the 17th century:

A first look inside the Basilica of Sant’Apollinare Nuovo by Wasso H., on Flickr

and ends in an elaborately stuccoed Baroque apse dating back to the 16th century and housing an imposing altar. The apse is devoid of mosaics since it was rebuilt after an earthquake that completely destroyed it:

Apse and altar of Sant’Apollinare Nuovo Basilica by Wasso H., on Flickr


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## skymantle (Jul 17, 2010)

Excellent presentation. kay: Looking forward to more. :cheers:


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## WasabiHoney (Jan 31, 2011)

*Map: 7*

During the 18th century, eight chapels were added to the northern lateral nave. One of them is dedicated to Saint Anthony of Padua:

Chapel in Sant’Apollinare Nuovo Basilica by Wasso H., on Flickr

Another one seemingly depicts the Christ dressed in a red tunic and with a crown of thorns, but I couldn’t find information confirming this with certainty:

Chapel in Sant’Apollinare Nuovo Basilica by Wasso H., on Flickr

Nor did I find any information about this other exquisite chapel with the lavish Baroque decorations:

Chapel in Sant’Apollinare Nuovo Basilica by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 7*

The mosaics adorn the imposing spaces above the two orders of twelve columns each, and unfold in three bands. The upper band features 26 boxes with Christological scenes originally from the period of Theodoric, depicting Jesus’ miracles and parables on the north / left wall, and the Passion (excluding the Flagellation and the Crucifixion) and Resurrection on the south / right wall. These constitute the most ancient ever original mosaic work on the New Testament. The Christ, the focal point, is represented larger than the other personages according to the canons of the art of late antiquity. These boxes are separated by decorative mosaic panels depicting a shell-shaped niche.

The middle band consists of 32 haloed figures of Saints, Prophets and Evangelists interspersed with windows, 16 on each side. They are set on a golden background, which symbolically represents pure light. Being executed in a Hellenistic-Roman tradition, they show a certain individuality of expression as compared to the other figures. Peacocks and pheasants stand in pairs above the windows.

Basilica of Sant’Apollinare Nuovo - Mosaics of the north wall by Wasso H., on Flickr

Basilica of Sant’Apollinare Nuovo - Mosaics of the south wall by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 7*

The lower register is the largest in surface and the most important. The left side illustrates a procession of 22 Virgins led by the Three Magi, moving from the port city of Civitas Classis (Classe) towards the Madonna and Child sitting on a throne and surrounded by four angels:

Basilica of Sant’Apollinare Nuovo - Mosaics of the Procession of Virgins (north wall) by Wasso H., on Flickr

To the right is a similar procession of 26 Martyrs led by Saint Martin, moving from the Palace of Theodoric towards Christ enthroned amid four angels. These mosaics were executed when the Basilica has already become an Orthodox church and are a classic example of the Byzantine style; the faces of all the characters follow the same archetype according to the 6th century theology stating that "those who accept the same food (Eucharist) must have the same expression":

Basilica of Sant’Apollinare Nuovo - Mosaics of the Procession of Martyrs (south wall) by Wasso H., on Flickr

Originally, it was Theodoric and his wife who led the right and left procession respectively, but they were replaced by St Martin and the Three Magi in subsequent Byzantine times. The representations of the Palatium (Theodoric's palace) and of Civitas Classis are the only two elements of Theodoric memory that escaped the redecoration done by the Byzantines, however the subjects of the court standing in those parts have been covered, with traces of their figures still seen on some of the columns.


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## WasabiHoney (Jan 31, 2011)

skymantle said:


> Excellent presentation. kay: Looking forward to more. :cheers:


Thank you, I'm glad you like it already  I will follow a similar format for my photo threads from now on whenever possible. I'm saying "whenever possible" because there is hardly any information online for instance about most cities here where I live, you always have to ask the locals about the story of any building etc. and try to filter the subjective content out of it if there is any!


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## Mwifwa (Feb 27, 2018)

Interesting...
Thanks


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## openlyJane (Feb 3, 2010)

Amazing basilica. Beautiful!


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## WasabiHoney (Jan 31, 2011)

*Map: 8*

Exiting the Basilica, I spot an interesting old structure a little below it on Via di Roma, the so called Theodoric’s Palace. Although in reality it dates back to the 7th or 8th century, it is traditionally associated with King Theodoric for having been built in the area of his palace, whose ruins, after being brought to light at the beginning of the 20th century, were unfortunately covered again. The building is probably the remaining part of a 7th or 8th century gatehouse erected to guard the residence of the Exarchs, the governors of Italian provinces ruling on behalf of the Byzantine emperor. The guardhouse was called Calce or Calchi because it was inspired by the one at the entrance of Chalke palace in Constantinople (a name derived from its huge fortified bronze doors):

Remains of Theodoric’s Palace by Wasso H., on Flickr

*Map: 9*

Through various changes, as early as the 9th century, the structure seems to have become a portico in front of the adjacent church of San Salvatore Calchi, demolished in 1503, which in turn was built over the ruins of the imperial palatial complex. Marble remains and fragments of floor mosaics from the palace are preserved in the upper room of the structure.

Remains of Theodoric’s Palace by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 10*

From there, my eye catches what looks like a large church further south on Via di Roma, so I decide to take a look at it. On the way, I pass in front of this elegantly decorated mansion, whose name I didn’t manage to find:

Interesting building on Via Roma by Wasso H., on Flickr

*Map: 11*

A little later, I arrive to the Basilica of Santa Maria in Porto, built in the 16th century and modified in the second half of the 18th century, when the staircase was added and the sumptuous Baroque façade of Istrian stone was decorated in neoclassical style by Camillo Morigia:

Basilica of Santa Maria in Porto by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 11*

The façade is divided in two parts overlapped by a cornice. The lower part extends in width across the church’s 3 naves, and is divided into three sections by four pairs of columns in the Ionic order with a niche between them. The niches house allegoric statues portraying from left to right Charity, Faith, Hope and Humility. Each of the three sections houses a portal, with a broken pediment supported by two smaller Ionic columns. The central portal, larger than the other two, is surmounted by a 17th century Madonna statue. The columns flanking it date back from the 5th century, and were taken from the now disappeared Basilica of San Lorenzo in Caesarea:

Facade of Santa Maria in Porto Basilica by Wasso H., on Flickr

The upper part of the facade, on the other hand, extends only across the width of the central nave. Two pairs of columns in the Corinthian order, again with niches between them, delimit a central section. The left niche houses the statue of San Lorenzo and the right one that of Piero degli Onesti. The central section contains a large rectangular window with a balustrade, flanked by two smaller Corinthian columns and surmounted by the coat of arms of the monastery of Santa Maria in Porto. At the left and right end of the façade respectively stand statues of Sant'Agostino and Sant'Ubaldo, while the uppermost part is a triangular pediment bearing the Marian monogram:

Facade of Santa Maria in Porto Basilica by Wasso H., on Flickr

I’m curious to take a look at the inside of this magnificent church, but it is closed. However I spot on the door a sign telling it will open again two hours later, so I decide to go explore the monuments I originally came for, then return to Santa Maria in Porto on my way back to the train station.


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## WasabiHoney (Jan 31, 2011)

*Map: 12*

I head back north, passing in front of Sant’Apollinare Basilica again, and decide to go west on the cobblestoned Via Marini. Among the buildings lining it, Casa Grossi / Vignuzzi (the light brown brick house on the left) seems to be of particular interest. The portal in Istrian stone, the façade and the window sills date this Mannerist style house back to the 16th or 17th century. In the inner courtyard there is a 16th century well in Verona marble.

Via Mariani by Wasso H., on Flickr

*Map: 13*

A little further stands the impressive Palazzo Corradini / Borghi. This large 17th century palace underwent significant remodeling in the following century. The portal, of disproportionately large size, incorporates an Istrian stone balcony. In the late 19th century, the palace was the seat of the meetings of the Revolutionary Socialist Party of Romagna, and today houses the headquarters of the Ravenna branch of the University of Bologna:

Palazzo Corradini / Borghi, on Via Mariani by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 14*

A little further again stands one of the center’s signature buildings, the Dante Alighieri Theatre. Its first stone was laid in September 1840, when the city decided to build a new structure rather than restoring the 18th century Community Theatre. The new building was erected in a decaying although central area of the city, on the so-called Largo degli Svizzeri (Lot of the Swiss), and named after the famous poet Dante who spent his last days in Ravenna. Its construction was entrusted to the Venetian Meduna brothers, who were previously involved in the second restoration of the Fenice Theatre in Venice. The theatre was inaugurated in May 1852, and soon recognized as one of the best equipped in Italy:

Dante Alighieri Theater by Wasso H., on Flickr

*Map: 15*

Reflecting the style of the Meduna brothers, it presents a neoclassical exterior with an ionic tetrastyle portico above which there are four niches bearing statues of Muses: from left to right, Thalia, Muse of Comedy, Clio, Muse of History, probably Polyhymnia, Muse of Hymns and Sacred Poetry, and Terpsichore, Muse of Dance:

Dante Alighieri Theater by Wasso H., on Flickr


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## capricorn2000 (Nov 30, 2006)

These are nice photos and I really appreciate showing us this beautiful ancient city of Ravenna with her strings of significant histories - 
a total gem of Italy and of Christianity.
However, I just want to make a small correction which is and should have been St John the Evangelist, 
a desciple of Jesus who was different from John the Baptist, a cousin and who baptized Jesus. 
Thanks dude for this photo tour with a guide.



WasabiHoney said:


> Leaving the train station and walking towards the center, I first encounter the church of San Giovanni Evangelista (St John the Baptist) a short distance away.


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## WasabiHoney (Jan 31, 2011)

capricorn2000 said:


> These are nice photos and I really appreciate showing us this beautiful ancient city of Ravenna with her strings of significant histories -
> a total gem of Italy and of Christianity.
> Thanks dude for this photo tour with a guide.


You're welcome, thank you in turn for the kind words and all the likes kay: There is more coming over the next days.



capricorn2000 said:


> However, I just want to make a small correction which is and should have been St John the Evangelist,
> a desciple of Jesus who was different from John the Baptist, a cousin and who baptized Jesus.


Ah yes :doh: Thanks a lot for pointing it out! I know these are two different saints, I just mistranslated the name in a moment of inattention


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## christos-greece (Feb 19, 2008)

Interesting, very nice photos from Ravenna, wasabi-cat :cheers:


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## TimothyR (Feb 17, 2011)

Oustanding thread. The descriptions are very informative. The connection to Byzantium is fascinating.


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## WasabiHoney (Jan 31, 2011)

christos-greece said:


> Interesting, very nice photos from Ravenna, wasabi-cat :cheers:





TimothyR said:


> Oustanding thread. The descriptions are very informative. The connection to Byzantium is fascinating.


Thank you guys, I'm glad you're enjoying it


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## WasabiHoney (Jan 31, 2011)

Ravenna itinerary map by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 14*

The theater occupies the right side of Piazza Giuseppe Garibaldi, which began to take shape in 1852 upon the completion of the building. In 1895, the head office of the Cassa di Risparmio of Ravenna was opened on the opposite side, on the site of older buildings belonging to the Church, which contributed furthermore to rehabilitating the degraded area:

Palazzo Cassa di Risparmio of Ravenna by Wasso H., on Flickr

*Map: 16*

The building is inspired by the Roman Renaissance palaces, and shows an impressive red brick facade bearing intricate terracotta decorations:

Palazzo Cassa di Risparmio of Ravenna by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 16*

In 1926, the new Post Office building was erected on the square (the large building covered in scaffoldings), in the place of the former 17th century Treasury, and joined to the Apostolic Legate Palace which would later become the Prefecture of Ravenna (the pinkish building in the back). The origin of the complex probably dates back to the end of the 13th century, but it was almost entirely rebuilt at the end of the 17th century as a result of the damage caused by a strong earthquake in 1688. It housed the church of Good Death, linked to a confraternity that was responsible for accompanying the condemned to their execution, which took place in the spot where the Alighieri Theater now stands.
In the middle of the square rises the statue of Giuseppe Garibaldi, unveiled in 1892, ten years after Garibaldi’s death. It was first placed in front of San Francesco church, then transported in 1936 to this square that was subsequently renamed after him.

Piazza Giuseppe Garibaldi by Wasso H., on Flickr

*Map: 17*

I spot an intriguing little structure to the south, and take the narrow Via Dante Alighieri right of the Cassa di Risparmio palace to check it out:

Palazzo Cassa di Risparmio of Ravenna by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

On the left, I’m pleasantly surprised to find an open door leading to a couple of charming cloisters, a spot of calm and refined beauty in the city’s historic center. These are the Old Franciscan Cloisters; they were purchased in 2001 by the foundation Cassa di Risparmio di Ravenna, which restored and embellished them. They were part of the convent built by the Franciscans in 1261 next to the church of San Francesco, however the surviving buildings are not the original ones; they date back to the 15th century instead, and bear the mark of the works carried out in the 17th century.

*Map: 18*

The northern cloister is surrounded by columns made of Istrian stone, red Verona marble and Greek marble, with a loggia on the first floor supported by brick pillars with terracotta capitals. In the middle there’s a puteal (wellhead) made of Istrian stone with two bas-relief amphorae and coats of arms:

The northern Franciscan cloister by Wasso H., on Flickr

*Map: 19*

The southern cloister, which remained with the Franciscan friars until 1810, is surrounded by white marble columns with Doric style capitals, and an Istrian stone well decorated with sculptures stands in the middle. A plaque commemorates the spot where in 1519 the monks made a hole to get to the ancient sarcophagus where Dante’s remains were located, and removed them to prevent them from being taken by the Florentines:

The southern Franciscan cloister by Wasso H., on Flickr

The southern cloister houses today the Museo Dantesco (Dante Museum). Opened in September 1921 during the celebrations for the 6th centenary of Dante Alighieri’s death, the museums aims at highlighting the role played in Dante’s life by the city of Ravenna, where the exiled poet spent his last days.


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## WasabiHoney (Jan 31, 2011)

*Map: 19*

The intriguing structure I spotted from Piazza Garibaldi stands at the end of the street right outside the cloisters, and turns out to be Dante Alighieri’s Tomb. It was commissioned by the cardinal Luigi Valenti Gonzaga with the aim of giving the poet a proper burial ground, and built between 1780 and 1782. Up until then, Dante’s remains had been preserved in a little chapel. After being kept hidden by the Franciscan friars for a long time in order to protect them from the Florentines who had claimed them, the remains were found in a nearby spot in 1865 during some renovation works, and they have been resting in the new tomb ever since. A notable interruption occurred during WW2, when they were transferred to the neighboring courtyard and buried under a mound of earth, to ensure that they wouldn’t be lost if Ravenna was hit by enemy fire.
A bas-relief portraying the poet and carved in 1483 by Pietro Lombardo was placed onto the wall in front of the tomb's entrance, while a bronze and silver wreath lies at the foot of the sepulchral ark, donated to the city by the victorious army after WW1:

Dante Alighieri’s tomb by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 20*

In the same area stands the Basilica di San Francesco. Originally dedicated to the Apostles and later to Saint Peter, its construction goes back to the mid-5th century AD. However, very little remains of the early Christian church, because of the frequent reconstructions that have modified the original shape of the building over time, culminating in the radical changes of the late 18th century. The Romanesque square bell tower dates back to the 9th/10th century. The Basilica owes its name to the Franciscan friars Minors who inhabited it between 1261 and 1810, and later again from 1949 up to the present day. In the Middle Ages, San Francesco was the favourite church of Polentani family, who ruled the city and were the hosts of Dante Alighieri. Consequently, the poet himself was probably a regular visitor of this church, where his funeral was celebrated in 1321:

San Francesco church, seen from next to Dante Alighieri’s tomb by Wasso H., on Flickr

*Map: 21*

As happened with most of the churches in Ravenna, the Basilica was many times elevated, and the original floor is now situated 3.6m below street level. Its façade is made of plain bricks animated by only one central mullioned window:

Facade of San Francesco church by Wasso H., on Flickr

The interior is also plainly decorated, but noticeable for an oratory-shaped crypt visible through a window situated under the altar and containing a 5th-century sarcophagus. The crypt floor is now permanently under water, but it’s still possible to catch a glimpse of the mosaic fragments that used to decorate the floor of the original church. I would have been curious to see the said crypt, but sadly the church was closed that day.


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## Brazilian001 (Apr 22, 2012)

Great collection of photos of such a beautiful and interesting city! I really appreciate your very detailed and informative posts. Thank you for sharing these pics with us! kay:


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## VITESKI RED ZMAJA (Apr 2, 2012)

GREAT !!! THANK YOU FOR SHARING !!!


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## WasabiHoney (Jan 31, 2011)

Brazilian001 said:


> Great collection of photos of such a beautiful and interesting city! I really appreciate your very detailed and informative posts. Thank you for sharing these pics with us! kay:


I'm glad you like the thread so much, thank you for following and supporting it  This is probably my most successful thread up to date judging by the number of likes.



VITESKI RED ZMAJA said:


> GREAT !!! THANK YOU FOR SHARING !!!


Thank you for all the likes :hug:


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## WasabiHoney (Jan 31, 2011)

*Map: 22*

I cross Piazza dei Caduti della Liberta and continue to the west, and shortly afterwards arrive to the large complex comprising the Cathedral of Ravenna, the Archiepiscopal Palace and the Neonian Baptistery:

The Cathedral of Ravenna and the Neonian Baptistery by Wasso H., on Flickr

I decide to do a quick tour of the Archiepiscopal Museum, since it’s included on the list of sights which the ticket I bought at the Sant’Apollinare Basilica gives the right to enter. It is located on the first and second floor of the Archiepiscopal Palace, and its collection consists of numerous artworks that belonged to the ancient cathedral and to other buildings now demolished. Unfortunately photography is prohibited inside the museum, so I don’t have any photos to share, but I’ll mention nonetheless its two most important highlights.

The first one is the ivory throne of Maximian, a bishop's throne that was probably made in Constantinople then brought to Ravenna for Maximianus, archbishop of the city between 546 and 556. The throne is among the most precious findings from the ancient world, with its wooden structure covered by finely engraved ivory panels. There were originally 16 panels on the seatback (9 of which are unfortunately missing) decorated with scenes from the life of Jesus and 10 on the armrests, while on the front part of the throne we find the four Evangelists and a medallion representing the "Lamb of God".

The museum also houses the St. Andrew Chapel, the only existing archiepiscopal chapel of the early Christian era that has been preserved intact to the present day, and one of the city’s UNESCO World Heritage Sites. It was erected during the reign of Theodoric (late 5th - early 6th century) as a private oratory for Catholic bishops when Arianism was the main religion of the court. Originally dedicated to Christ, the chapel was then renamed and dedicated to Saint Andrew, whose relics were transported from Constantinople to Ravenna in the mid 6th century. The cross-shaped chapel is preceded by a small vaulted rectangular vestibule decorated with mosaics at the top. The iconography of the mosaic decoration shows an anti-Arian point of view, with Christ being represented as a warrior and frequently appearing in a dominant position in various places of the chapel.


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## WasabiHoney (Jan 31, 2011)

*Map: 22*

Exiting the museum, the next monument awaiting my visit is the Neonian Baptistery, one of Ravenna’s most ancient surviving monuments and also one of its UNESCO World Heritage Sites:

The Neonian Baptistery by Wasso H., on Flickr

It was commissioned by Bishop Urso and built at the beginning of the 5th century on the site of an older Roman bath complex. During the episcopacy of Neon (450 - 475) from whom it takes its name, the Baptistery underwent many restoration works that ended with the reconstruction of the cupola and the realization of the interior decoration still present today.

*Map: 25*

The brick building is octagonal in shape and has four external niches:

The Neonian Baptistery by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 23*

The interior consists of two overlapping rows of arches. Decoration-wise it’s divided into three tiers: the lower one covered with marble pieces, the middle one with stucco-works, while the upper section is adorned with mosaics. At the centre of the dome, a large medallion represents the Baptism of Christ in the river Jordan. This is one of the oldest known mosaic scenes of the subject. The images of the twelve Apostles, divided into two groups led by Saint Peter and Paul, revolve around the central medallion, standing out against a blue background. In the middle of the building, there is also an octagonal font of marble and porphyry rebuilt in the 16th century that still preserves some of its original elements from the 5th century, but sadly it was covered up for restoration works (the white structure):

Mosaics of the dome of the Neonian Baptistery by Wasso H., on Flickr


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## The Cake On BBQ (May 10, 2010)

Great photo tour, I appreciate the descriptive notes


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## WasabiHoney (Jan 31, 2011)

The Duomo (Cathedral) next door is open, so naturally I decide to visit it, although it’s not by itself a UNESCO World Heritage Site. The present appearance of the Cathedral relatively recent; it was completely rebuilt in 1735 on the site of the 4th church of Hagia Anastasis (Holy Resurrection), called Basilica Ursiana after its founder, Bishop Ursus. The original building probably consisted of five naves punctuated by four rows of columns, and the original floor is now over 3 meters below ground level. The church was still very rich in the early Middle Ages, when its walls were covered with marble slabs and mosaics. The medieval phase was preserved until the decision of the archbishop to modernize the cathedral in 1721, despite the strong aversion of various intellectuals of the time.

*Map: 23*

The works ended up involving the destruction of the ancient phase and the almost complete reconstruction of the church in the form visible today, inspired by that of St. Ignatius in Rome:

The Cathedral of Ravenna and the Neonian Baptistery by Wasso H., on Flickr

*Map: 27*

The façade is partly concealed by a great arched portico:

Portico at the entrance of the Cathedral of Ravenna by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 25*

A few parts of the medieval structure survive, including the 10th century (although later remodeled) 35 meter high cylindrical bell tower:

Bell tower of the Cathedral of Ravenna by Wasso H., on Flickr

*Map: 26*

The bell tower features single-light and mullioned windows, similarly to that of Sant’Apollinare Basilica, but with additional narrow windows in the lower part:

Bell tower of the Cathedral of Ravenna by Wasso H., on Flickr

Other remains of the original church, like surviving fragments of mosaics, are preserved in the Archiepiscopal Museum next door.


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## christos-greece (Feb 19, 2008)

And the updates are also great, very nice :cheers:


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## WasabiHoney (Jan 31, 2011)

Ravenna itinerary map by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 24*

The Cathedral’s interior, designed on a Latin cross plan, is now divided into three naves supported by pillars of Corinthian order, and by marble columns with decorated capitals reused after the demolition of the Basilica Ursiana:

Interior of the Cathedral of Ravenna by Wasso H., on Flickr

Interior of the Cathedral of Ravenna by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 24*

In the last decades of the 18th century, further modifications were brought, including the rebuilding of the main altar in 1760. The altar is coated with different kinds of marble (ancient green marble, alabaster, oriental black and white marble), and the apse houses four paintings from the 18th and 19th centuries, showing important episodes of the Church of Ravenna:

Interior of the Cathedral of Ravenna by Wasso H., on Flickr

The dome was also completely rebuilt in 1781. It is 47 meter high, topped by a lantern, and rests on a tambour illuminated by eight big windows:

The dome of the Cathedral of Ravenna, seen from below by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 24*

The arms of the transept house two magnificent 17th century chapels. On the left side is the chapel of the Blessed Sacrament, whose altarpiece depicts "Moses and the Picking of Manna" and is flanked by two columns of pavonazzeto marble:

The chapel of the Blessed Sacrament, inside the Cathedral of Ravenna by Wasso H., on Flickr

The chapel is richly adorned with frescoes: "Melchisedek Blessing Abraham and his Victorious People" in the lunette above the altar, "The Redeemer and the Archangels in Glory in the dome", "The Prophets" in the four pendentives of the dome, and "The Virtues" and "Two Angels with Eucharistic Symbols" in the underarches:

The chapel of the Blessed Sacrament, inside the Cathedral of Ravenna by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 24*

On the right side is the richly stuccoed chapel of the Madonna del Sudore (Our Lady of the Sweat), originally erected in 1630 as a vow of the city in the hope of being spared a plague that had spread all over Italy. The 18th century altar depicts “The Glory of Angels”, carved in Carrara marble. A tabernacle houses a little 14th century tempera wooden tablet by Giotto’s school in Rimini, depicting “The Virgin Carrying the Baby in her Arms”. It is known as Our Lady of the Sweat for a miracle rumored to have occurred in 1512, when the icon sweated blood on the occasion of the tragic Battle of Ravenna:

The Madonna del Sudore chapel, inside the Cathedral of Ravenna by Wasso H., on Flickr

The fresco in the dome represents “The Virgin Amidst the Celestial Chorus”, while the ones in the pendentives are of “The Four Evangelists”:

The Madonna del Sudore chapel, inside the Cathedral of Ravenna by Wasso H., on Flickr

The lateral niches of the chapel house two monumental sarcophagi standing on lion paws.


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## WasabiHoney (Jan 31, 2011)

*Map: 24*

Aside from the elaborate decorations from past centuries, I also find a beautiful nativity village inside the church as a kind of cherry on the cake; although it had been set up for Christmas period, it was still there at the end of January, luckily for me:

Nativity village inside the Cathedral of Ravenna by Wasso H., on Flickr

Nativity village inside the Cathedral of Ravenna by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 27*

In the immediate vicinity of the Cathedral is the circular church of Santa Giustina, built in 1745-47 for the needs of the Confraternity of the Blessed Sacrament and consecrated in 1799. It was originally unadorned; work on the embellishment of the façade began only in 1856 with the laying of the stone plinth, the portal and the lunette:

The church of Santa Giustina by Wasso H., on Flickr

The interior is now elegantly decorated with niches, pilasters, green, pink and white moldings, and Murano glass chandeliers, but sadly I don’t have photos of it as the church was closed. After WW2, it housed the religious services previously carried out in the Duomo that was undergoing restoration, and underwent a major restoration between 2008 and 2009.

*Map: 28*

From there, I head north to search for the last monuments mentioned on my ticket, passing next to the Rasponi Garden (or Garden of Forgotten Herbs). The Cathedral is visible from there in all its majesty, with its windows bathed in the golden light of the late afternoon, as is the garden's external wall:

The Cathedral of Ravenna seen from next to the Rasponi Garden by Wasso H., on Flickr


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## Brazilian001 (Apr 22, 2012)

Excellent updates! kay: 

How long did it take you to go from 1 to 55?


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## WasabiHoney (Jan 31, 2011)

Brazilian001 said:


> Excellent updates! kay:


Thank you :hug: I need more likes to keep me motivated please :lol:



Brazilian001 said:


> How long did it take you to go from 1 to 55?


Depending on what I did between them, either 30 seconds, or 4 hours :lol: You should have noticed the two spots are very close on the map, so I first passed through 55 right after 1, while walking towards the entrance of San Giovanni Battista. I passed there again on my way back to the train station to leave (I had arrived in Ravenna around 2pm, and left around 6pm), and that was when I took the last picture.

I will watch now the second final of the ESC that begins in 10 minutes, and may post new updates tonight after it's over (in about 2:30 hours)


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## Brazilian001 (Apr 22, 2012)

WasabiHoney said:


> Depending on what I did between them, either 30 seconds, or 4 hours :lol: You should have noticed the two spots are very close on the map, so I first passed through 55 right after 1, while walking towards the entrance of San Giovanni Battista. I passed there again on my way back to the train station to leave (I had arrived in Ravenna around 2pm, and left around 6pm), and that was when I took the last picture.


:lol: I meant how long did it take you to complete the whole itinerary. It was the last picture you posted that made me curious. We are still halfway, but the sun has already starting to set.


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## christos-greece (Feb 19, 2008)

Great, very nice updates from Ravenna once again, wasabi-cat :cheers:


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## WasabiHoney (Jan 31, 2011)

Brazilian001 said:


> It was the last picture you posted that made me curious. We are still halfway, but the sun has already starting to set.


It was starting to go lower over the horizon, but not to set yet. That happened around #51 as you will see later, and sadly the pictures I took inside the church at #52 came out very grainy because of that


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## WasabiHoney (Jan 31, 2011)

*Map: 29*

A little later, I arrive to Ravenna’s most central and best known square, Piazza del Popolo (Square of the People), which was built by the Venetians as the core of the renewal process they carried out in the city:

Piazza del Popolo panorama by Wasso H., on Flickr

Its dimensions were defined in the years 1470 – 1480 after widening a small area along the bank of river Padenna, the main channel that used to flow within the city’s medieval walls. Following the example of Piazza San Marco in Venice, two columns were erected on the square in 1483. The lion of San Marco was placed on top of one column, while on the other stood a statue of Saint Apollinaris, patron saint of Ravenna. When Pope Julius II defeated the Venetians in 1509 and conquered the city, the lion of San Marco was replaced by the statue of Saint Vitalis. The square owes its present name to the constitutional referendum of 1946, when more than 88% of Ravenna voters (the highest percentage in Italy) chose republic over monarchy.


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## WasabiHoney (Jan 31, 2011)

*Map: 29*

I present below some of the main buildings lining the square:

Piazza del Popolo panorama by Wasso H., on Flickr

The Town Hall / Palazzo Communale (the crenelated building with the two columns standing in front of it) consists of two adjacent buildings joined by a vault called Cavalcavia that opens onto Via Cairoli. One is the ancient Palazzetto Veneziano (Venetian Palace), on the southwestern side of the square, which was erected by the Venetians as the seat of their governors after conquering the city, and the other is Palazzo Merlato or Palazzo del Comune, which occupies the square’s western side, and was constructed between the late 17th and the 18th century on the spot where the river Padenna used to flow in the Middle Ages. Arcades run along the perimeter of these two palaces. In particular, Palazzetto Veneziano is supported by eight granite columns topped by capitals dating back to Theodoric’s era (late 5th century).

The Palazzo Rasponi del Sale, then Gargantini (the tall beige building on the northeast corner) is a baroque palace built around 1770, an exception in the context of the generalized stagnation of Ravenna in the second half of the 18th century, when many noble families were in economic difficulty.

On the other side is the vast Palazzo della Prefettura (Prefecture Palace, the salmon colored building) occupies about two thirds of the south side of Piazza del Popolo, and was built on the site of the Apostolic Legate Palace, which served as the seat of a permanent representative of the Holy See in Ravenna starting in the 13th century. The building was damaged and rendered unusable during the sack of Ravenna in 1512 by the French, restored several times, then enlarged in 1558 at the expense of the adjacent Palazzetto Veneziano, but was eventually demolished because of the serious damage suffered during the 1688 earthquake, and rebuilt between 1694 and 1696. Serving as the seat of the Prefecture since 1863, it has a simple facade with three orders of windows, embellished by a marble baroque portal with broken tympanum and flanked by columns. The ground floor is made of exposed brick and bounded by a molding in Istrian stone, while a blind attic stands above the last floor.


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## WasabiHoney (Jan 31, 2011)

*Map: 30*

On the east side of the square stands Palazzo del Monte and its clock tower. The clock originally dates back to the late 15th century, when it was incorporated in the façade of the Venetian church of San Ruffillo (later San Sebastiano). The building was then flanked by a second church dedicated to San Marco; together they came to form a single complex, surmounted by a bell tower erected above the clock. Around 1783, architect Camillo Morigia rearranged the façade and gave it a neoclassical style, repositioning the clock on the side of the tower overlooking the square, and in 1789, a new clock mechanism and quadrant were commissioned:

20160127_153120 by Wasso H., on Flickr

*Map: 31*

The ancient religious complex was then deconsecrated during the Napoleonic suppressions, and used over time as the Custom House, the city’s first cinema, and other functions. The building was demolished and entirely rebuilt in 1925, preserving only the façade remodeled by Morigia, and the clock tower took on its current appearance. It houses today the local headquarters of some banks:

Palazzo del Monte by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 31*

To the left of Palazzo del Monte is the baroque Church of Santa Maria del Suffragio, commissioned by the Confraternity of the Blessed Virgin of the Suffragi, and built between 1701 and 1728. It was plagued by numerous static problems, including the collapse of the dome during construction, which led to important structural restorations at the end of the 18th century by Camillo Morigia. The church’s octagonal structure with alternating long and short sides is quite unusual for the city of Ravenna:

Santa Maria del Suffragio church by Wasso H., on Flickr

*Map: 32*

It has an Istrian stone façade consisting of two parts. In the lower part, pilasters with composite capitals support a curvilinear tympanum above the portal, while the upper part bears a triangular tympanum, two volutes flanked by the statues of Justice and Charity, and a bas-relief in the center depicting the liberation of souls from Purgatory:

Santa Maria del Suffragio church by Wasso H., on Flickr

The interior has rich baroque decorations and eight chapels, one on each side of the octagon, containing many statues of saints, but like many other churches it was closed that day.


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## WasabiHoney (Jan 31, 2011)

*Map: 32*

To the north of the church, on Via Serafino Ferruzzi, stands Palazzo Pompili. This refined building dates back to the late 16th or early 17th century, and bears a characteristic Istrian stone base and a Renaissance portal. Above the portal is the partially preserved Pompili family's coat of arms. The obelisks and the volutes of the portal suggest a possible execution by the Ferrara school:

Palazzo Pompili by Wasso H., on Flickr

The Pompili family died out in the late 18th century, and the palace passed to several other owners, one of whom was Serafino Ferruzzi, a prestigious local industrialist whom the street was named after.


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## kokomo (Sep 29, 2009)

When I was touring central Italy a couple of years ago, I decided to take a day and visit Ravenna. My motivation lied on getting to know a city world famous reknown by its mosaics. 

I got several photos to share, I only share one not to hijack the owner's thread, but I got to say that I very much enjoyed this daytrip. I found the city very tranquil and full of beautiful places. A plus? It was almost without tourists so we could roam the place at a leisurely step.


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## WasabiHoney (Jan 31, 2011)

kokomo said:


> I got several photos to share, I only share one not to hijack the owner's thread


Thanks for sharing this one! I did take a picture of this same mosaic (coming later), but from farther away as I only had my cell phone and not a professional camera with an effective zoom mode. The quality of my picture is also noticeably worse, but the vivid colors of the mosaic can still be appreciated.



kokomo said:


> I found the city very tranquil and full of beautiful places.


It is! Maybe a bit too tranquil to my taste, but thinking about it again it allowed me to explore the city and take pictures without any disturbance!



kokomo said:


> A plus? It was almost without tourists so we could roam the place at a leisurely step.


You're right, I had been to Florence the weekend before I visited Ravenna, and felt overwhelmed by the overly touristic vibe and the sheer number of people walking around and snapping pictures, although it was in the dead of winter! There was almost no picture I took there that wasn't "photobombed" by tourists in some part of it :nuts:


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## kokomo (Sep 29, 2009)

If you allow me, I'd like to share a couple more, I know you can add more details than me about the historical background






I really loved the city and for sure would love to come back one day. Gala Placidia's is simply delightful


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## WasabiHoney (Jan 31, 2011)

Thank you! I have a good picture of the Good Sheperd lunette which I will share later, but the Three Magi leading the procession of Virgins (in Sant'Apollinare Basilica) I didn't have in closeup, so it's a great addition kay:

Ravenna itinerary map by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 33*

At the northern end of Via Ferruzzi I come across an unexpected find, a leaning medieval tower reminiscent of a much better known one in a certain other city of Emilia-Romagna. This is Torre Civica or the Municipal Tower. As happened in many other Italian city-states, the ruling class of Ravenna began to raise numerous noble towers as a symbol of power and social prestige at the beginning of the 11th century, and one of them was Torre Civica, built in the 12th century and originally called Torre dei Beccai (Tower of the Butchers). At the end of the 13th century, all noble towers were demolished by order of the papal rector, who wanted to establish his power over the city, and Torre Civica was the only one escaping demolition because it had previously become property of the city:

The leaning Torre Civica, and Casa Melandri by Wasso H., on Flickr

The 39 meter tower was used for centuries as a watchtower and occupied by a guard who would ring a bell in case of alarm, fire or flooding, or for the summoning of the town council. In 2000, its top was removed in order to prevent the possible collapse of the structure, which is subject to a slow underground landslide and consequently to a gradual inclination, caused by its proximity to the ancient river Padenna. Two peculiar stone fragments depicting a head inside a niche, probably of a woman, and a horseman turning his back to her, remain at the base of the tower.


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## WasabiHoney (Jan 31, 2011)

*Map: 35*

Adjacent to Torre Civica is Casa Melandri, a Venetian residence of the 15th -16th century. The three arches with terracotta decorations and some internal walls are the only surviving parts of the original structure, while the rest of the house has been altered over time. The pillars and the upper part of the facade have also been reinforced to withstand the pressure exerted by the leaning tower. The building, formerly belonging to the Melandri family, became property of the city in the 19th century and was first used as a depot of manure, then a garage. It underwent an internal restructuration between 1978 and 1982, and houses today a conference room and public offices:

The leaning Torre Civica, and Casa Melandri by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 33*

Across the street from the tower is this beautiful eclectistic building, whose name I didn’t manage to find:

Beautiful building across the street from Torre Civica by Wasso H., on Flickr

*Map: 34*

While further to the east we find the interesting Casa Maioli / Stanghellini. This Venetian building of the 15th century is made up of two originally distinct dwellings, one of which preserves a long chimney with octagonal section facade and mullioned windows with stone capitals and terracotta arches, typical elements of Venetian architecture:

Casa Maioli / Stanghellini by Wasso H., on Flickr

The inner courtyard contains a well, and analyses have highlighted the presence of four layers of frescoes in the main rooms, probably dated to different periods between the original phase and the 19th century. The house belonged to the noble Maioli family of Faenza in the 19th century, then passed to other owners, and was restored in 1912.


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## WasabiHoney (Jan 31, 2011)

*Map: 36*

Heading west from Torre Civica, I pass next to the impressive Covered market. Its southern façade looks onto Piazza Andrea Costa, whose area had been known for its commercial vocation since ancient times. Excavations began in 1915 to set the foundation for a covered market, which brought to light the 15th century remains of the Marino bridge that crossed the Padenna river. The market with its current dimensions was inaugurated in 1922. It is organized in four large pavilions and embellished with floral-themed decorations of marble and Istrian stone. The façade is made of brick with a base of stone. A total renovation was carried out in the 1980s, and another transformation is underway that will turn it from a food retail market to a mixed shopping center:

Covered Market of Ravenna by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 37*

On Piazza Andrea Costa stands this beautiful building, another one whose name or function I couldn’t find. The 14th century bell tower of the former church of San Michele in Africisco can be seen in the back, with its Gothic mullioned windows:

Interesting building on Piazza Andrea Costa by Wasso H., on Flickr

*Map: 37*

Nearby stands the church of San Domenico, one of the most imposing buildings in Ravenna. It was erected in the 13th century along the Padenna river, together with the adjacent Dominican monastery, and enlarged in the following century. Traces of six pointed arches are still visible in the lower part of the bare 13th century façade (never completed), three on each side of the entrance, probably originally occupied by sarcophagi. The base of the arches is now 1.50 meters below the current street level:

The deconsecrated San Domenico church by Wasso H., on Flickr

The church was almost entirely and quickly rebuilt in the 18th century. The interior has a single nave with seven chapels, three on each side of the nave and one to the left of the apse. Fragments of 14th century frescoes from the Rimini school are preserved in the sacristy and in the bell tower chapel, and the church also hosts Late Renaissance and neoclassical works by major Ravenna painters. Today deconsecrated and used as an exhibition hall, it was closed that afternoon, so I couldn’t take pictures of the certainly impressive interior.


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## WasabiHoney (Jan 31, 2011)

*Map: 38*

From there, I take Via Cavour to go further west, which seems to be the city’s main commercial artery. I find a vault somewhere along it that leads onto a peaceful courtyard with a fountain in the middle and two brick turrets in the back, housing Café Corte Cavour:

Courtyard housing Corte Cavour Cafe by Wasso H., on Flickr

*Map: 39*

I then turn north and arrive to the monumental San Vitale complex, home to the last two monuments mentioned on my ticket. The entrance to the complex is through a 18th century Istrian stone portal with two lateral niches that had elicited at the time a lukewarm reception from the Ravennati, who considered it not to live up to the high construction cost:

Entrance to San Vitale complex by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 40*

Before entering the San Vitale Basilica itself, I decide to take a look at two churches located on Via Galla Placidia, which runs along the right of the complex. The first one is the church of Santa Maria Maggiore; it was erected between 525 and 532, originally on a Latin cross plan, then rebuilt in the 17th century in baroque style. Among the few surviving parts of the original building are the Corinthian columns and the apse, believed by some scholars to be part of a building in which Empress Galla Placidia (daughter of the Roman Emperor Theodosius I, and sister of Emperor Honorius who transferred the capital of the Western Empire from Milan to Ravenna in 402 AD) resided at a time. The cylindrical bell tower dates back to the 9th - 10th century, roughly the same period as the ones of Sant’Apollinare Basilica and the Cathedral:

Santa Maria Maggiore church by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 46*

The apse once had a rich mosaic decoration, which was progressively lost starting in the mid 16th century. Nevertheless, the church still houses Late Renaissance paintings and sculptures, and the tombs of several important personages of Ravenna, most notably of architect Camillo Morigia. At the bottom of the left aisle, it is possible to admire a painting of Saint Paul visiting Saint Agatha in prison, while on the right hand side is an altar housing the very unique Our Lady of the Tumors. Originally known as Madonna of the Swellings, it is a fresco surrounded by an ornate stucco frame and sculptures, which depicts Our Lady with a red swollen cheek and holding the infant Jesus on her lap. The church’s door appears to be open in the picture, so I have no idea why I didn’t go in to explore the interesting interior:

Santa Maria Maggiore church by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 48*

A little further to the north is the Basilica of Santa Croce (of the Holy Cross), which was erected in the first half of the 5th century by Empress Galla Placidia. It originally had three naves preceded by a long narthex (portico) and ending in two symmetrical sacella (oratories for the veneration of saints). The only surviving sacellum was dedicated to San Lorenzo, and is the so called Mausoleum of Galla Placidia, which I will showcase a little later. The church underwent many elevations and reconstructions over the centuries, and is today closed to the public:

Basilica of Santa Croce by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 41*

The apse we see today dates back from the 15th century, the façade from the 17th century and the bell tower from the 18th century. Additionally, the church was separated from the Mausoleum of Galla Placidia at the beginning of the 17th century to make room for the street passing in front of it:

Basilica of Santa Croce by Wasso H., on Flickr

The early Christian Basilica possessed a rich mosaic and stucco decoration, today almost completely lost. Some noteworthy mosaic fragments however are still visible in the structures unearthed around the church:

Mosaics next to Santa Croce basilica by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 44*

I head then for the Basilica of San Vitale. Between the external gate and the church is the Ravenna National Museum, housed within the cloisters of the old Benedictine Monastery of San Vitale built in the early 11th century:

Entrance to Ravenna National Museum by Wasso H., on Flickr

The museum displays many important archaeological findings collected from the 18th century onwards: funeral steles and Roman epigraphs, Oriental marble capitals, decorated sarcophagi, various artifacts dating back to the 5th and 6th centuries, Renaissance bronze statuettes, carved ivory pieces, icons, majolica ceramics, a collection of ancient weapons, and a series of frescoes dating back to the 14th century. However I had limited time left on my hands before the monuments would close, so I decided not to explore the museum, whose entry fee wasn’t comprised in the ticket anyway:

Ravenna National Museum seen from outside San Vitale Basilica by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 43*

The Basilica of San Vitale is one of the world’s most important monuments of Early Christian art. Work on it began in the year before the death of King Theodoric, and it was completed in Byzantine times, consecrated in 548 and dedicated to Saint Vitalis, an early Christian martyr. In this church, the typical division into a nave and two aisles is replaced by a central, octagonal plan inspired by a martyrium (an octagonal structure erected in memory of a martyr) and topped by a cupola:

Basilica of San Vitale by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 46*

The architecture of the Basilica furthermore blends Eastern art with Western tradition: while the symmetry, the dome and the external brick work denote Roman influences, the polygonal apse and the early flying buttresses are typically Byzantine, as is the interior:

Basilica of San Vitale by Wasso H., on Flickr

*Map: 41*

The apse is deep and contains two side chapels:

Basilica of San Vitale by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

On the opposite side stand both the bell tower (which I couldn’t find any information about) and a smaller round tower:

*Map: 41*

Bell tower of San Vitale Basilica by Wasso H., on Flickr

*Map: 44*

Bell tower of San Vitale Basilica by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 45*

On entering the Basilica, the eyes are immediately captured by the elevation and width of spaces:

Interior of San Vitale Basilica by Wasso H., on Flickr

Interior of San Vitale Basilica by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 45*

The colorful baroque frescoes of the cupola and the niches, executed in 1780, are truly impressive:

Interior of San Vitale Basilica by Wasso H., on Flickr

Interior of San Vitale Basilica by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 45*

The Basilica’s highlight however is the stunning mosaic decoration of the apse and the presbytery with its sheer amount of detail and color. The triumphal arch leading there is decorated with fifteen mosaic medallions depicting the twelve Apostles, Saint Gervasius and Saint Protasius (the sons of Saint Vitalis), and Jesus Christ at the center, symbolically supporting the central stone of the arch:

Interior of San Vitale Basilica by Wasso H., on Flickr

The concept of mystical sacrifice occupies a central place in the iconography of the mosaics inside, cutting across various historical periods. The archetype of this sacrifice is the Agnus Dei, the Lamb of God, whose image occupies the center of the vault over the presbytery, directly above the altar. The cross-ribbed vault, richly ornamented with mosaic festoons of leaves, fruit and flowers, converges on a disc depicting the Llamb on a blue background, and carried by four angels dressed in white representing the four corners of the earth. The angels are surrounded by a profusion of flowers, stars, birds and fish representing the flora and fauna of paradise:

Interior of San Vitale Basilica - Mosaics of the apse by Wasso H., on Flickr


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## WasabiHoney (Jan 31, 2011)

*Map: 45*

Below, the top part of the apse’s arch depicts two angels holding a disc with concentric circles and rays radiating from its center, while on the sides are representations of the cities of Bethlehem and Jerusalem, symbolizing the human race (Jerusalem representing the Jews, and Bethlehem the Gentiles).

The Theophany scene in the apse basin is of particular interest. It depicts the young Christ sitting on a blue sphere, with the four rivers of paradise flowing at his feet, and the archangels Michael and Gabriel standing around him. The Christ is offering the Crown of Glory to the martyr San Vitale to the left, while to the right, the bishop Ecclesius offers the Christ the basilica of the next imperial victory:

Interior of San Vitale Basilica - Mosaics of the apse by Wasso H., on Flickr

The lower part of the apse contains the famous panels depicting Emperor Justinian and Empress Theodora surrounded by their courts, which complement each other and symbolize the alliance between Church and State. In the left panel, Justinian, surrounded by a halo of glory (sign of the divine origin of imperial power), presents a gold paten symbolizing the Eucharistic Bread for the newly consecrated basilica. To his right, the Archbishop Maximian leads the procession holding a cross, and is accompanied by two deacons holding a golden Bible and an incense burner. In the right panel, Theodora, also surrounded by a halo of glory, is seen offering a chalice as a gift for the Basilica. To her left are two eunuchs who prepare the way for her cortege. It is believed that the faces of Justinian and Theodora were copied from official imperial portraits and sent especially from Constantinople for the occasion.


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