Fifth Century. Art of Carved Sarcophagi

By the beginning of the fifth century, the art of the carved sarcophagus was dying out in Milan as well as in Rome, but Ravenna continued to produce examples, made probably by Asiatic craftsmen of considerable skill even if well content to repeat conventional formulae rather than seek for novelty. Some of the picturesque Biblical subjects which dominate the earlier period at Rome were retained but seem gradually to lose their vigour. The theme of the Magi demonstrates this process.

The panel of a fifth-century relic chest, now in the Museum of the Archiepiscopal Palace in Ravenna, shows the three kings wearing their Phrygian caps and pressing eagerly forward in perfect symmetry, while the Virgin, seated on a throne resembling a wickerwork chair with high back, can scarcely restrain Jesus as he bounces forward to receive his gifts. When the same scene occurs on the sarcophagus of the governor Isaac in S. Vitale, admittedly a late example, the cloaks still flow gracefully backwards in the wind but the figures have become rigid and lifeless.

A more abundant group of sarcophagi at Ravenna repeats the theme of Christ dispensing authority. One of these, which, having lost its lid, now serves as the altar in San Francesco, is decorated with an arcade of round-head arches, supported by barley-sugar columns and deeply-drilled Corinthian capitals. Each arched recess contains only one figure. Christ, seated within the central arch on the west side, is shown as remarkably youthful and eager, in the true manner of a second David 'withal of a beautiful countenance and goodly to look upon'. Some of the apostles likewise seem to embody the vigour and enthusiasm of young men while others, by contrast, are represented as bearded and grave.

The same church contains another sarcophagus, made in grey marble of high quality, which interprets Christ as a pattern of youthful beauty (fig. 44). Some of the accompanying apostles clasp their scrolls of authority while one of their number approaches, his hands veiled by the folds of his pallium in token of reverence, to receive the scroll which Christ himself is offering. The lid of this sarcophagus takes the form of a high- pitched roof, with large acroteria at the corners, and a bold decoration of lion-head masks. At each end, birds face one another with a cross between them. This particular type of symbolic ornament became increasingly common in the sixth century; like much symbolism it does not invite exact analysis but suggests powers of the spirit, or perhaps the souls of mankind, finding full realization in the light of Christ's redemptive activity. In that sense the lid repeats, with a rather different emphasis, the motive of the frieze below.

44. Ravenna, S. Francesco: marble sarcophagus

Sometimes the artist is quite content with these emblems and the associations which have accumulated around them. Thus, the sarcophagus of Archbishop Theodore in the church of S. Apollinare in Classe (fig. 45) is decorated with the chi-rho monogram, appearing six times on the lid as well as in the centre of the front face, where it is set between two peacocks; a partridge and another bird nearby peck at bunches of grapes hanging from a carefully cultivated vine. The ends, both of the chest and of the lid, which has the form of a high-pitched coffer, continue, in a rich but somewhat stylized pattern, the theme of a bounteous and meaningful universe, with flowers, crosses and a dove as well as further pairs of birds solemnly confronting one another. Ravening lions' heads also retain their place, this time as projecting handles.

45. Ravenna, S. Apollinare in Classe: sarcophagus of Archbishop Theodore

The collection of sarcophagi in S. Apollinare includes several which follow this same design of long chest topped with a high rounded lid. The marble sarcophagus standing next to that of Theodore resembles its companion in that both sides of the lid display three large wheel-like crosses. The back shows peacocks facing a cross and the ends are elaborately carved with the customary birds, to which, however, three human figures are added—perhaps in order to complete the scene portrayed on the front. This is another variation on the theme of Christ in majesty, worked out in a restrained and orderly fashion (fig. 46).

46. Ravenna, S. Apollinare in Classe. Sarcophagus: Christ receiving the homage of the Apostles

Within a frame bounded by channelled columns six apostles, exactly balanced one against the other, move rhythmically towards the centre, where Christ, looking straight before him, sits on a plain rectangular throne. He is here represented as the august, impassive ruler though long, curly hair adds a softening touch of juvenile grace. On the right side of Christ St Paul advances, with hands veiled, to receive the scroll of the Law; on the left, Peter clasps the long cross and the key which betokens his authority.

Two other apostles raise their hand in acclamation, and at the ends of the panel, two more hasten forward, supporting the laurel crown of triumph on a cloth which covers their hands as a sign of reverence. Considered in the light of the crowded vitality of many earlier sarcophagi, this sixth-century chest exhibits a sense of spacing and control which, though the figures may be rather stiffly posed, recalls the classic period of Greek art, and it is with these dignified examples from Ravenna that the carving of sarcophagi draws to an end and yields to other interests.