The sarcophagi of Ravenna h128nf09b

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was wa 4moe, 7sor _— _4a »Vb tae? :wohl .:moa sat 1Ba Ck ato res ‘oy ne Pow -yO ‘ta ebay ot .ve 1woe ".a8 wy oe we 5a) a- + 7: Soa .~aee oO rea :oma soa ‘rey + :« .’7oe .se ‘ca >FB :yore we “abso rr es hk ' we :: Vos ’tt:tkmy ri 14.teah .--:fos fa -rn 'OOF wooo :aa +e' . .,os ns :oo viento .4.ao:“a, .Lae :er ,*'.yt .:ok '-.ake :-. .oo “..+e .-8*.7wil 'aPa iaN ah ts ¥boos yc .*loat-eon ‘.~~‘‘..eT ~,.:..47*-Fos ”cn) rr aeo joof om .hoy wae ih 4wy whee lf L.-.= “eo ete eo> .” oan ‘ . wo yhote rn t : ‘an soe 1as tite a.5we 4:< TOs s..=vay *it.te hoy ‘ ay ' » poe . ve a.need ew ty ss of ee, :a-|the ag oF ,4~ *ion -_ ’‘* ae 4Te ' jan ae ae eee tem, , : ‘ . ’ . . . ~ os po4e ea oe . " . “oe toe to : a Spe : oo se a . oan : or. ey te ey us*.an we tesR aoe .-o. . :oo oy — Dey .:7 va nr rn) ' re ob a robe at an , ‘ . : 1 se toe . a noe OT, : m : .a.ot .‘ano : ee ': -ore jal7whe ‘,' .moo ag Ee ‘ . ' . ol -: Tana are Sa sat moet aot a “ or aye aan * * woe BO *rae t_s ha rer . oo , ae >t yas re cong o woe, yo? > alla ' an) a nr ’ . _ wey t Be eet, 4 oF oo. ee ho ya . . r? » . - . ; . 24 ake * : — os 4 . ~ . wee . . i 2 . ee os? .Coa, cr)

.rae 2xwoe eof tos .wo. :Y !reat ' Pr>se >.. a+ te.awoot a.2con ‘ .yf +s “ae Fan) e Cote eh opt yn eto essy ooet tsrr .oe : tee -.*'aoo .ae. .*:ao .yout eto, ar wt aoe .Raw ”"-Je a‘a.-er -ny oa ao + on nt setts (aede roy .; .7 re a ‘Das a11 oo nee .awey .oa wo 'oer Rowe t::oa ’is ne) we ate anak ,e te.re a.Oy -has 4aoi '.-mo ole 2Lo : :° Fr 4woe ryt sor ye woe we soe ite. on ee ral 3tow wos os .ste not ,pho ..-itoe ‘+ .tay wm, ' 'ar er ite .rae -..1«‘:x-beg a.tee :re -Rms Soe MO cr soe afas ae ae ~: s’ ae fae ~ att ..4 te toa nt xt 1..*ne vtie ' : " « aos 7 i tee, he on aoe oe : coe a7 ' ety 7. La te ao er ' ava th aan hat + +e . tle “4 ’ Se oo :¢ . ot tak ,oe t at wore . et 1 vom ros 1 Se fod eke woe, ous ” eg Tee . tole et . "ee : ~ “ . . sa 10 *; +e “or a? . noe : ei 2 . we tsa ee = re 7 an we wlo« ae he a : . « “ : ' 4 73 t. an . . '.4.'sj- : . poet ae , + a lotes yg i . te et ~ ete : eet a oy ot ee . 4 7 Oy “ fo a re eee ees Sot te G4 vy ton oe Tg po 4 an wey Ey . ays . soy att rooatt * . 2 ~ *, we : oa , a Pee lo woot 1 . ge, aot * : ne foe, Lo eo . . ' ta . : H , soy : a Yoad an : Neo? . . : ce te , ee ee »? . oe . . . atom. wt ° : a, . moe . ' mo : er Lo : aan ve ..toute ~.lore 88, -1. 4. 'oo te et ,a-Bom VR . a20 rs .o4 Boom, :.’re-i. ee Efg'.te7 . .ae ,.°de . te a oe ’tay ws 24het .rs se ye rn .wet 4 :tk::a) noe , 7a,i!ote wan 1oa aioe ofan .ae :*ym ?:‘ ba ...we fs 3,‘. .yh aafae eet ns i ea .ao, eee _-ed ‘a ro .o tole ;8, *oe to ‘my o ‘vw oe ana4 , ways oot at~.aM ,...tae -.we .te oe :ad ..iae! ma ry *’. aan roe -,:.aw oe an 1aos ,st: 4’os :ya oT wea ayy, ee .rots. ,4woe os --* yn ee 7#.‘ee Lt ..note “,.-.”2oF we .?é. . 8.eo! :,ts.ro .te .vey at >. ot ar-ay 20 :oe tNoe ae 8a~rr.Tato tas ne s+ ateo oer? co hoy oo :.oo :L .'.‘an :my .aaPm ee -tte ee roe eet, . .-HS le ~¥Le oa ,..-2 Hy so mot oy tow ' fod a . we st . . , . ~ ” var 2 re et . an) st eo ‘ woo . ‘ 4° 1% soa nd . 7 “y nos . ” . art . 7 yy -a + ’ + tos 7 . moe * ed ' 1 «me of oe se v "6 1 » Pan . . so " 5 i 1 por wy ' . ot aan tye . > Be aoe . 4+ . 7 OR . . + . . ’ . wat :ba to + ' oh oye , . , on . .. _t 7 coe . . sa Coals os 7 . ‘ 3 . one ’ wot we . . . . ca . toe ee woe ot a>pm . Coan? on aTay oa pote ft' nae .woh : ‘ele oy eT :SS an cs, A fot ar voy ‘s ~as :i.;.i' ao Sat Gee 1te mo . - bay bow oemo -~ 4s:4 .wo, a8rr nay Seg a-+ ‘ ee Re hor, -eee cote tea pe an no” ay i ay .ty.“f‘me an Sogn -s.soko *.we : _ae woe eo a..portal ..,‘.v4 ”» ‘' .owot >.tae -'a-* .my se” aan -" *. ~Loo vs :faa, *me p-* ‘ay -Ss .:.,.so noy . ‘..3».',as ' pa REY i Hoot 3 . , : . . 1 a . me, . . . : ; my .?:7ow! ,41” : . . , we ve oles . es zo 4 sot a _f ea me . > 4 . rag a,meg .moo prota . ee ay he oo 5 : : wo, eo 46 ; , ome a ie 7 . toe -, . : > Co °Hat phn * ety oa . ore | to . ' : poe ~ oct vos . a 7” ‘ -* Pier es wits wos te TS . pet ran ms TP 1 *. . + . '’ayo mo aSwoe ,\ vf aoy , ‘ror .y . 7* ety ts4.ett ._.ween an . ’ es .a~,er weg . ha re*.vo -and mee, ®~ttTNs ", ta nos .0 otws :wo tooo a rr os my se 4*¥foo. .-os .:.at vt we Vs fey poyt esoe eX oe moet ' .ary ,won “tot ka wh : 4cv ,PN :ama x.not .soe aand an .7at 2.4ye peor ste eS ‘es . oy aoa J*a. ee .“out .. “Soy a' we --va ron .or + a, vs Poo ty 1 >, . Lo 4 aan , ’ a i . 1 . -a .yaa Co yas Lg 1 H a t Loge hoe ta ra . roe . ' . Soe e , Siw ast a fo pode. . soot » 4 . Foy, . oe * ws ' ‘ nyt . ' an en) an > 7 ‘ : “y ars a Ma ? . a ‘ an . 78 ‘ 7 . : Mya oat re Pot a , .! ot a Pan c _* . sot, . 7 oR, a ar a 5 “ tA ee te ay inet # es 1 ae hot om bas sot , oa : coke sD ew ' ve wee FS 0 io * ‘e Ban a7 . wae ws Fa! c tet St es mo” we te > of . ee os ” ; > ay .

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F 0 23 : eritewe :\: '"yo .whoo mt aa.som .»"yg \ :it..wry & ae aa ‘ayoy? m ye fay fd was 1rr re fon aa2ta oh sof, 1:° oF ;root 4. me . .-Loe »eee mo 'sae 4- wy Neer) + "of woe :an co ot-* “'-not ath ty Tae 8.vrs, ‘o8 »:at 4.tbe a+4 awtlée a:poses cot aPara) .coo oe ‘a..rs a”rot ..‘f , as soy ng aa :yok fa an 'a!,he 2tyeran .ee .se :.*,wet ar ”*'.beh aro. '.at|te'“aos iua :' .-¢ “a *fot 1. ly 7>an zy yhoo oy “eo ..-,wa ."4 ':oia o28 -:PRS :on 7.”...r.wos .‘.4. ’’‘wo :6'r‘.att :i's .ve toot myn? o,* "ey 24. :ante Fa .arr .HL »ge ee Ty a:ar oa nolo :, ...so Lo boat, 44> tae aan .in 41 Ceo ,¥ of .oot 1rv ..:.”e-ove -. .Le :*.pe .‘-oa wey cof ve .va 4. *1 ..can err :re ..es Poy .1 ‘ oo ; » 4 et “4 14 4 . ' : . . a x boone “ : sas .Sem : Cot yh, . ty . eo ty to ee ro oe tN res wht, y . ae aoe : , Mats yooh oa . page yy te an ade eo. to on vt : * nt -7 ~ 3 . Yt . ' moat wt pee Foot t 5 oY spot. . ‘ay re . . ' 7 yo . oak ,:ete Pa soe 1gh he yay 2toa -.ow .:.*le .we : ?.te...pa . ,”nn ao soe .~ . ,a,. .~:a14 hota ””7,we + 'Pv .1nay :re . yay 1.:a,;omon ”: yo a #a) :peo, ».'on mes >? aN oat -coe ,: ,".an :wot .a4 .ey 'ya. pe 2! Toe a, *ae “7 oo ata a.aod Pe a.‘e> 5'sO j";ve .,es ,. .oto '_ “aa], otnoe ree gpao wo .'+:ate .‘roo + me an .tee ylf “r*oo '."‘4 an .meet Soe ’ oo. woe wy ” as moa sae . : heey wo ‘ my . 1 ’ " ao vo ’ o> Le wo! , ' so. : . “ ’ . tM e ° . « : : : ; . . 1 . yet, 1 voy? soy an ae 74 . cok wt ’ ‘ . . . . ote beg Eom oad :f tu ” , re . eo , » ‘ ' «yu ar? ‘ f “ oe . coo a 4 ' . > “h . son .:":rn 'wat : ta , , a .o f Sore sot oate , os . . “ . ~ oe . wg le sor . . : yt te an to > : 4 . : : ‘eos uy ery . ve Meat " ‘ a re ' . se * : : * Saga! sO . so " vo See O : 1 ™ . ‘. at ‘ * a) 2 ° * roy vt Boe at ' ‘ . " a a sy yout : . oo ' a ee ie yee tt . rey wos *, . : rr arr va . fo toe .:nn) ~' :.' rr . sop iboy , ota : wey ”. a., ge eo4 ro, . ‘:te ad xo we, , foe wtao ‘ 7.eTs Ot aren wor . :a-s . ee oo" . soe no', “ .fy ~,* 1n tn . wh ,bros, .ota wy Me oh . 3..ae eee. an wo oa .”a:pO tfy.ansy ote yh 'to : ere aa % a ,:an a-it> yoy .go: :. wots toatl ' .fe toe Lf ,a4 vat me, "fshy .noe "\twas noo, yo ia .7.ron pf.pope -+ a4 rey pote rnx .,”red ::,4 avo, 5'wey 'ohoy ‘. os ..reyes sth yo toys v,roe 7.1 ...my »E ye . ye ‘ -'> :Poyy *oye .ea Soe ~* ,wa - ’a .wee ho i .oa *ard Looe ~...> *.....Pa *.-woe ,:.so .,*..‘.‘';‘.*:'t¥ “r ’ 4 ey ate : nn " ® . : a ‘ ‘ wt ee ae ' 1 yok 3 1 5 tao . vs ey an , . ' oe oo eS ‘ .. ao. . . ° :, nd vo . *,? oh vale ” on woe eth " ia .: oo. : ros Pa . _wif " eho Me ny , ms . wa 1 + ok toe , . tat som . . 1 oot " Pag : 4? coals : . . we % can a « rns rae ,oe : ~ , . ' re ' ' a es ' . . ‘ 2 , om ‘ pHa le . > Pan ’ . Po rigs 'noe atadws vim 17 .ary .ro? oy it' a*aoe we 7. oP woe ny ~.? .ty,Ste hf cam ty ae *-eet ce .*Jy *-? ws awe . .2 ar) Loe 1“ ot..*"tN a"wo a:..mt ).:‘ . ; oh fd hoot Ino tt _ Ma . . ' 3? aut . ~ yey, rn ed . sf ’ te . vf . ‘ 4 : . : sof soe a . ’ atny F no Ps an volo .e ~ “ . . 2 ot pa * poe tee we TY : an yt oan) wr ” . . ar ya wat ye ae) poe ot nota . tor yt Ps ee ~ ‘ kot . *, Foye ote : .:”hos .¢ ot ' whoo zi rr . oe “ee fhe , . “s , tt ‘ ar Fee ‘ee ee 7 “8 . : ns i ad a “oy "* * Te ™ . an,: .Vg rtp ft:«2eR et vt ' '4etaaan an -", .ool ..74 3’of *ot ya Oe wy ayt .oy .nO 4’5:>es .7. . ‘.:' >.Lwe :~.toa wot ue ay cote mod, Se a.r :‘»”r a:yma an .':..-athe ty, ‘.ct oe .fque as el.os wo .teoe “.? .. .+.,,:mo nov ms Via are , oa oT 7" !Bowe ’.“. °tat ”oa 5,ih to .ss :, faho ..“",no wooly :nr) j"ad os ra oo 4tor eos :vie ”avoy vyaret 1yo ..‘' Ie an .”are vo eo .:2oe :...2-oO we hoe apout .ad .,oy aoe ty yoo ad alee > hope 5.‘"4 .‘> .‘*aa ee :,.ae -:Fs ..oa ve ce woe .Cote pve r* *“1? .'*’4,‘.“..*tn .'ry “oe er , Pha , en er) por 4 Mars Y oan an) , . y ‘ te ' yo, . ns to ergs ‘ , ‘ ":»i ¥ , tos wat : * roe vs ' . , ' : * : < ¢ ° + 1 _ ot * ’ ' oe man mo an . ve " : on ‘ , wi? 5 . . * “ fe . . , : ' . . coe, vy ae ta oe ed » ” . . 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Soe yt ' > ‘ SN . . . ’ ' Vag ts ty! Ben, . ,

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ON ARCHAEOLOGY AND FINE ARTS SPONSORED BY

THE ARCHAEOLOGICAL INSTITUTE OF AMERICA AND THE COLLEGE ART ASSOCIATION OF AMERICA

THE SARCOPHAGI

OF RAVENNA ;

| Marion Lawrence

1945 - STUDY - NUMBER 2 PUBLISHED BY THE COLLEGE ART ASSOCIATION OF AMERICA

IN CONJUNCTION WITH THE ART BULLETIN:

.

‘

I, Introduction I II. The Figured Sarcophagi 4 CONTENTS

1. The Rinaldo Workshop 4 2. Other Figured Sarcophagi 13

3. Iconography 23 4. Ornament 28 5. Conclusion 30

III. The Symbolic Sarcophagi 32

1. Catalogue Raisonné42 32 2. Iconography 3. Ornament 47

IV. Conclusion 49 Appendix 50

Index 51 Charts 54 Plates 57

LIST OF ILLUSTRATIONS

} FIGURES 1. Ravenna, Cathedral: front of sarcophagus of Rinaldo. 2. Ravenna, S. Apollinare in Classe: front of Twelve Apostle sarcophagus. 3. Ferrara, Cathedral: front of Certosa sarcophagus. 4. Ravenna, Cathedral: back of sarcophagus of Rinaldo. 5. Ravenna, 8. Apollinare in Classe: back of Twelve Apostle sarcophagus. 6. Ravenna, S. Apollinare in Classe: front of sarcophagus of Theodore. 7. Ravenna, Cathedral: drawing of left end of sarcophagus of Rinaldo. 8. Ravenna, Cathedral: drawing of right end of sarcophagus of Rinaldo. 9. Ravenna, 5. Apollinare in Classe: right end of Twelve Apostle sarcophagus. 10. Ravenna, 8. Apollinare in Classe: right end of sarcophagus of Theodore.

| tI. Ferrara, Cathedral: back of Certosa sarcophagus. 12. Ravenna, 5. Vitale: front of sarcophagus of Isaac. 13. Ravenna, S. Vitale: back of sarcophagus of Isaac. 14. Ferrara, Cathedral: left end of Certosa sarcophagus. 15. Ferrara, Cathedral: right end of Certosa sarcophagus.

16. Ravenna, S. Vitale: left end of sarcophagus of Isaac. ; 17. Ravenna, S. Vitale: right end of sarcophagus of Isaac. 18. Ferrara, $. Francesco: front of Ariosti sarcophagus. 19. Ferrara, 5. Francesco: back of Ariosti sarcophagus. 20. Ravenna, S. Maria in Porto fuori: front of Onesti sarcophagus. 21. Ferrara, 8. Francesco: left end of Ariosti sarcophagus.

| 22. Ferrara, 8. Francesco: front of Ariosti sarcophagus, central Christ. 23. Ravenna, S. Maria in Porto fuori: right end of Onesti sarcophagus. 24. Fusignano: drawings of sarcophagus from Garrucci. 25. Ravenna, S. Francesco: west face of sarcophagus of Liberius. 26. Ravenna, S. Francesco: front of sarcophagus It. 27. Ravenna, 5. Francesco: right end of sarcophagus 11. 28. Arles, Museum: five-arched sarcophagus, detail of front. 29. Rome, Lateran: fragment of sarcophagus front. 30. Constantinople, Ottoman Museum: fragment of sarcophagus (Sardis B). 31. Ravenna, 5. Francesco, Cappella di Braccioforte: front of Pignatta sarcophagus. 32. Ravenna, S. Francesco, Cappella di Braccioforte: back of Pignatta sarcophagus. 33. Ravenna, S. Francesco, Cappella di Braccioforte: right end of Pignatta sarcophagus. 34. Ravenna, S. Francesco, Cappella di Braccioforte: left end of Pignatta sarcophagus. 35. Ravenna, Museo Nazionale: front of sarcophagus. 36. Ravenna, Museo Nazionale: end of sarcophagus. 37. Ravenna, Museo Nazionale: end of sarcophagus. 38. Ravenna, Cathedral: front of sarcophagus of Exuperantius. 39. Ravenna, Cathedral: front of sarcophagus of Barbatianus. 40. Ravenna, Cathedral: back of sarcophagus of Barbatianus. 41. Ravenna, Cathedral: drawings of ends of sarcophagus of Exuperantius by Ricci. 42. Ravenna, Cathedral: drawings of ends of sarcophagus of Barbatianus by Ricci. 43. Ravenna, Baptistery of the Arians: mosaic in dome, the Baptism. 44. Ravenna, Baptistery of the Arians: mosaic in dome, detail of the Procession of the Apostles. 45. Ravenna, S. Apollinare Nuovo: mosaic, Miracle of the Loaves and T'ishes. 46. Athens, National Museum: front of child’s sarcophagus (Megiste ). 47. Paris, Louvre: front of sarcophagus from Palestine. 48, Leyden, Museum of Archaeology: lead sarcophagus. 49. Ravenna, S. Giovanni Battista: front of marble reliquary of SS. Quirico and Giulitta. 50. Ravenna, S. Giovanni Battista: left end of reliquary of SS. Quirico and Giulitta.

vi LIST OF ILLUSTRATIONS 51. Ravenna, S. Giovanni Battista: right end of reliquary of SS. Quirico and Giulitta. 52. Ravenna, Museo Nazionale: front of symbolic sarcophagus. 53. Ravenna, Museo Nazionale: drawing of symbolic sarcophagus from Diehl. 54. Ravenna, S. Apollinare in Classe: front of Lamb sarcophagus. 55. Ravenna, 8. Apollinare in Classe: right end of Lamb sarcophagus. 56. Ravenna, S. Apollinare in Classe: left end of Lamb sarcophagus. 57. Ravenna, S. Francesco, Cappella di Braccioforte: left end of Cross sarcophagus. 58. Padua, 8. Antonio: left end of Bebi sarcophagus. 59. Mondolfo, S. Gervasio: sarcophagus. 60. Ravenna, Tomb of Galla Placidia: sarcophagus of Constantius. 61. Ravenna, Tomb of Galla Placidia: sarcophagus of Honorius. 62. Milan, S. Lorenzo: front of sarcophagus. 63. Ravenna, S. Francesco, Cappella di Braccioforte: front of Cross sarcophagus. 64. Ravenna, S. Apollinare in Classe: front of four-arched sarcophagus. 65. Ravenna, S. Apollinare in Classe: front of six-arched sarcophagus. 66. Padua, S. Antonio: front of Bebi sarcophagus. 67. Ravenna, S, Apollinare in Classe: front of Lamb-and-rinceau sarcophagus. 68. Pesaro, S. Decenzio: front of sarcophagus. 69. Ravenna, 8. Apollinare in Classe: front of Crucifer Lamb sarcophagus. 70. Ravenna, Museo Nazionale: front of child’s sarcophagus with lions. 71. Ravenna, S. Apollinare in Classe: front of sarcophagus of Gratiosus. 72. Ravenna, S. Vittore: front of sarcophagus. 73. Ravenna, 8. Apollinare in Classe: front of sarcophagus of Felix. 74. Ravenna, S. Apollinare in Classe: left end of Lamb-and-rinceau sarcophagus. 75. Ravenna, S. Vitale, court: sarcophagus of Bonifacius. 76. Munich, Staatsbibliothek: Valerianus Gospel, Clm. 6224, Cim. 13, fol. 12a. 77. Nola, S. Felix: apse mosaic now lost (reconstruction by Wickhoff ). 78. Ravenna, S. Apollinare in Classe: detail of mosaic on triumphal arch. 79. Ravenna, S. Vitale: two pulvinos. 80. Ravenna, Cathedral: pulpit of Agnellus.

FOREWORD Tuts monograph is the fourth of a series of studies on early Christian sarcophagi which the author began in Rome nearly twenty years ago and which have appeared from time to time in the ART BULLETIN and in Art Studies. One more chapter on the late sarcophagi of Gaul, which will bring the story down to Merovingian times, is still to be written. The author wishes to express her indebtedness to Professor C. R. Morey at whose suggestion these studies were originally undertaken and whose unflagging interest and critical acumen have contributed much to their completion. The publication of this monograph was made possible by most welcome subventions from the American Council of Learned Societies and Columbia University.

The author wishes also to thank the Institute for Advanced Study for the Fellowship which provided her with the leisure necessary to write the greater part of this monograph. M. L. Barnard College, Columbia University.

ABBREVIATIONS USED IN THE NOTES

A.J.A. The American Journal of Archaeology. ArcH. EPHEMERIS Archaiologike Ephemeris.

ArT BULL. The Art Bulletin. BOLL. D’ARTE Bollettino d’arte.

BULL, ARCH. CRIST. Bullettino di archeologia cristiana.

B.C.H. Bulletin de correspondance hellénique. Byz. ZEIr. Byzantinische Zeitschrift,

CABROL F, Cabrol et H. Leclercq, Dictionnaire d’archéologie chrétienne et de liturgie, Paris, 1907 to date.

CATTANEO R. Cattaneo, Architecture in Italy from the Sixth to the Eleventh Century, London, 1896.

CIAMPINI J. Ciampini, Vetera Monimenti, Rome, 1693, 2 vols. Datton, Catalogue O. M. Dalton, Catalogue of Early Christian Antiquities in the British Museum, London, 1901.

DUTSCHKE H. Diitschke, Ravennatische Studien, Leipzig, 1909. Gatassi, Roma o Bisanzto G. Galassi, Roma o Bisanzio, Rome, 1930.

Gatassti, Scultura G. Galassi, “Scultura romana e bizantina a Ravenna,” L’ Arte, xvi, 1915, Pp. 29-57:

Garruccl, Storia R. Garrucci, Storia dell arte cristiana, Prato, 1879-81, 6 vols. GERKE, Christus F. Gerke, Christus in der spitantiken Plastik, Berlin, 1940. GERKE, Lammerallegor. F. Gerke, “Der Ursprung der Limmerallegorien in der altchristlichen Plastik,” Ze. neutest. Wissen., XXXIII, 1934, pp. 160— 196.

Gero.a, Galla Placidia G. Gerola, Galla Placidia e il cost detto suo mausoleo in Ravenna, Bologna, 1912.

Gero a, Sarcofagi G. Gerola, “Sarcofagi Ravennati inediti,” Stud: Romani, 11, 1914, pp. 401-410.

GoLDMANN K. Goldmann, Die Ravennatischen Sarkophage, Strassburg, 1906. HasELOFF : A. Haseloff, Pre-Romanesque Sculpture in Italy, Florence, 1929. Js. arcu. Insr. Jahrbuch des Deutschen Archiologischen Instituts.

J.H.S. Journal of Hellenic Studies.

LAWRENCE, City-Gate M. Lawrence, “City-Gate Sarcophagi,” ART BULL., X, 1927, pp. I-45.

LAWRENCE, Columnar M. Lawrence, “Columnar Sarcophagi in the Latin West,” ART BULL., XIV, 1932, pp. 103-185.

LAWRENCE, Lanuvium M. Lawrence, “A Sarcophagus at Lanuvium,” A.J.A., xxxu, 1928, Pp. 421-434.

MENDEL, Catalogue G. Mendel, Catalogue des sculptures etc. Musées impériaux ottomans, Constantinople, 1912-14, 3 vols.

Mer. Mus. Butt. Bulletin of the Metropolitan Museum, New York.

Mon. Prior Monuments et Mémoires, Fondation Piot.

Morey, Early Christian C.R. Morey, Early Christian Art, Princeton, 1942.

Morey, Sardis C. R. Morey, The Sarcophagus of Claudia Antonia Sabina and the Asiatic Sarcophagi, Sardis, v, 1, Princeton, 1924.

Nor. scAvI Notizie degli scavi di antichita.

Nuovo BULL. ARCH. CRIST. Nuovo bullettino di archeologia cristiana.

PEIRCE AND TYLER H. Peirce and R. Tyler, L’art byzantin, Paris, 1932, 2 vols,

RIEGL A. Riegl, Spatrémische Kunstindustrie, Vienna, 1927. RIv. ARCH. CRIST. Rivista di archeologia cristiana.

ROBERT C. Robert, Die antiken Sarkophag-reliefs, Berlin, 1890-1919, 2 vols. Roo. Mrrr. Mitteilungen des Deutschen Archaologischen Instituts: Rémische Ab-

R6m. Quart. Rémische Quartalschrift. / teilung.

x ABBREVIATIONS USED IN THE NOTES SERRA | L. Serra, L’Arte nella Marche, Pesaro, 1929. SoPER, [talo-Gallic A. C. Soper, “The Italo-Gallic School of Early Christian Art,” arr BULL., XX, 1938, pp. 145-192.

SOPER, Latin Style A. C, Soper, “The Latin Style on Christian Sarcophagi of the Fourth Century,” ART BULL., XIX, 1937, pp. 148-202.

SYBEL L. von Sybel, Christliche Antike, Marburg, 1906, 2 vols.

Tosca, Storia P. Toesca, Storia dell’arte italiana, 1, I! Medioevo, Turin, 1927. VAN GHEYN G. van den Gheyn, “Les sarcophages byzantins de Ravenne,” Bull. de Pacad. royale @arch, de Belgique, XI, 1901-2, pp. 3-12.

VENTURI, Storia A. Venturi, Storia dell arte italiana, Milan, 1901, vols. 1, 2. Wieert, M.u.M. | J. Wilpert, Die rémischen Mosatken und Malereien, Freiburg, 1916, 4 vols.

WILPERT, Sarcofagi J. Wilpert, J sarcofagi cristiani anticht, Rome, 1929-36, 3 vols. Wutrr, Altchristl. Bildwerke O. Wulff, Altchristliche und mittelalterliche Bildwerke, Kénigliche Museen zu Berlin, Berlin, 1909.

Wutrr, Handbuch O. Wulff, Altchristliche und byzantinische Kunst, Handbuch der Kunstwissenschaft, Berlin, 1914. ZEIT. NEUTEST. WISSEN. Zeitschrift fiir die neutestamentliche Wissenschaft.

INCE the time of Agnellus, the ninth century priest | cophagi have survived which illustrate this.” How rare this who wrote a Lider Pontificalis for his native Ra- characteristic is can be demonstrated by the fact that among venna, the sarcophagi of that city have attracted the = the many hundred Christian sarcophagi published by Wil-

attention of scholars and lovers of art. This is not strange pert, only seven others are carved on four sides.* All but since even the casual visitor is impressed by their number, — two of these Ravenna sarcophagi, moreover, have a unithe quality of their workmanship and their excellent preser- | form architectural treatment of their four sides, a con-

vation. A fitting counterpart to the mosaic decorations of sistency that is found only on the earliest city-gate sarthe churches of Ravenna, the sculpture has never been cophagus (Milan) and on the Prince’s sarcophagus in properly correlated stylistically with the mosaics nor ana- —- Constantinople. This consistency is, however, the rule on lyzed successfully for chronology and origin.* A serious the Greek sarcophagi as on many Asiatic ones,* and is the lacuna has consequently existed in the history of early Chris- —_ result, of course, of the conception of the sarcophagus as a

tian art which the author hopes to fill. house or temple for the body, an idea which is further carSome forty Christian sarcophagi exist today in Ravenna ried out by the form of the cover. Here again the Ravenor are traceable to that city. Unlike their Roman or Gallic _ nate sarcophagi are quite distinct from all other Christian contemporaries they are for the most part complete sar- _— sarcophagi in the West. The prevalent type is semi-cylindricophagi, many retaining their covers and even the surface _ cal, suggesting a barrel vault, and is often, though not alcrispness of their original carving. Few, if any, in the city | ways, covered with a pattern of roof-tiles. This form, rehave been tampered with by later restorers: thus the prob- —s minding one of the lid of an old-fashioned hair trunk, has lem of determining the extent of later reworking which is _—_ survived in Ravenna on twenty-one examples but so far has

so difficult in Rome is eliminated here. They differ mark- | appeared nowhere else in Christian art. There are, how| edly from the products of other early Christian centers in ever, parallels and possible prototypes for it in the East.° many ways. Like the sarcophagi of Greek lands, the earlier © ‘The other type, a gable roof with corner acroteria, occurs

members were as a rule carved on all four sides and thus _nine times,® and is a direct inheritance from pagan sarwere evidently planned to be free standing and not to be — cophagi of North Italy, many of which have almost identiplaced against a wall as were the Latin tombs. Sixteen sar- _— cal lids." This is a rarity on Christian sarcophagi which, 1. For a discussion of earlier bibliography see the Appendix, Amazon sarcophagus in Vienna, Rogert, 1, pl. 27, no. 68. Later p. 50. The text of Agnellus has been published in Migne, Patro- examples, i.e., from the second to the third centuries A.p., are from logiae Latinae, Paris, 1864, CVI, 431-751 and Monumenta Ger- Kephisia near Athens, 2bid., pl. 3, no. 9, from Hierapetra now in

maniae historica, scriptores rerum Langobardicarum, Hanover, London, #bid., pls. 11-12, no. 23, from Salonica, now in the

1878, pp. 265-391. Louvre, zbid., pls. 28-29, no. 69; Delphi, zdid., 111, 3, pls. 137-

2. Two others we are uncertain about (Exuperantius and Osimo) 138, no. 433, and one now in Providence, J. D. Young, “A Sarsince their backs are built into the wall: one (Museum, Figs. 35- cophagus at Providence,” ART BULL., XIII, 1931, pp. 138-159, figs.

37) is fragmentary, the ends separate from the front although it i~5. Of the lintel type, one from Megiste, now in Athens (Fig. was pictured complete with a gabled cover by Ciampini in 1699. 46); one in the Beirut Museum, F. Cumont, “Un sarcophage Sixteen are carved only on the front or on three sides but of these d@enfant trouvé 4 Beyrouth,” Syria, x, 1929, pls. 40-41; two in only one is figured (S. Francesco IH, Figs. 26, 27) and more than Rome, G. Rodenwaldt, Js. arcu. INst., L111, 1938, Arch. Anz., pp. half are late, i.e., of the end of the sixth century or later. Others 4.05 f., pls. 13-20; and one from Salonica now in Constantinople, (Fusignano and Castrocaro) are not counted because of insuffi- MENDEL, Catalogue, 1, no. 32, pp. 119 f. Asiatic sarcophagi which

cient evidence. have survived intact and illustrate this are those of Melfi, Selefkeh

3. Five of these are members of the city-gate atelier, LAWRENCE, now in Constantinople, Rome D, E, and G. The numbers are those

City-Gate, figs. 1-14 and Columnar, nos. 96-99, and no. 14, figs. of Morey, Sardis, figs. 39-41, 61-64, 55, 56-59 and 83-84. 44, 45. Another, the Three Shepherd sarcophagus in the Lateran, 5. See discussion below on p. 29. shows strong stylistic connections with the Asiatic groups, WILPERT, 6. These are on Fusignano, S. Francesco II, Constantius and Sarcofagi, 1, pl. 117, 2-4. The last is the Prince’s sarcophagus dis- Mondolfo, Figs. 24, 26, 60 and 59, and three large covers of pagan covered in 1932 in Constantinople, A. Miifit, E12 Prinzensarkophag type (Figs. 62, 63, DUTSCHKE, fig. 24). Two others in the Museum aus Istanbul, Istanbul, 1934; WILPERT, of. cit., 11, pl. 299, 1-4. are no longer on the sarcophagi although so described by DUTSCHKE

For recent bibliography on the Milan city-gate sarcophagus see (no, 42, p. 38 and no. 44, pp. 39-40). In addition to these there thid., 11, pl. 188, 1-2, pl. 189, 1-2; H. U. von Schoenebeck, “Der are three which have disappeared, CIAMPINI, 11, pl. 111, E and L; Mailainder Sarkophag und seine Nachfolge,” Studi di antichita DeRoss}, BULL. ARCH. CRIST., S. §, H, 1891, pp. 105-115, pl. 7, see

cristiana, X, 1935. note 245 below. 4. Uniform architectural treatment of the four sides occurs on 7. These are a three-niche sarcophagus at Tortona, LAWRENCE, the famous Greek sarcophagi now in Constantinople but found in Columnar, p. 178, pagan no. 5; WILPERT, Sarcofagi, 11, pl. 261, Sidon (the Mourning Women, the Lycian sarcophagus and the 1-43 and apparently all those of the combination type which have Alexander sarcophagus; MENDEL, Catalogue, 1, no. 10, pp. 48—73; retained their cover, i.e., three at Modena, one each at Ferrara, no. 63, pp. 158-171; and no. 68, pp. 171-200) as well as on the Bologna and Milan, LAWRENCE, of. c#f., p. 179, NOS. 16, 21, 22, 17,

2 SARCOPHAGI OF RAVENNA even when they have a gable, show a high sculptured band arched trough (Figs. 18, 25, 26, 65) with five, six or along the front as on the city-gate sarcophagiin Milan and _ seven niches occurs on a few examples but is evidently not

Ancona, or a high inscription block in the middle as at To- completely at home; a combination type (Fig. 61) also lentino.* For the most part, however, the covers of Chris- _ appears sporadically with the lintel and column frame entian sarcophagi are flat with a sculptured band along the closing, however, other architectural forms. Finally there

front.° is the design I have called the panel type where the trough Decoratively also the sarcophagi of Ravenna do not fit is framed in a continuous moulding like a picture. This is

into the regular classifications elsewhere. With the excep- _—as.a rule late and is used for simpler sarcophagi but appears tion of one frieze sarcophagus (a child’s, no. 98 inthe Mu- __ on the Constantius sarcophagus (Fig. 60) as well as on the seum) and a few fragments of Asiatic style,*° all probably | Prince’s sarcophagus of Constantinople.**

imports, the sarcophagi can be divided into four types. The The sarcophagi of Ravenna also differ from those elseprevalent form is that which shows a narrow lintel running — where in the use of fewer figures in the composition. In the

across the top supported only at the two ends by either a — arched types we never find more than a single figure to a pilaster or spirally fluted column. This lintel type (Fig. 1) _ niche,** but the characteristic sparseness is especially notice-

| again is without parallel in Christian art outside of the able in the lintel type where only five figures, or even three, Ravennate series’ although it was recognized years ago as_ — and two palm trees are in general the rule. This is in sharp

a Greek type of pagan sarcophagus’? (Fig. 46). The distinction to the crowding of many figures, sometimes as 23, 24; G. Rodenwaldt, Js. ARCH. INST., XLIX, 1934, Arch. Anz., ROBERT, I, pl. 27, no. 68, and on three examples which Morey in-

p. 291, fig. 2; ébid., XLV, 1930, Arch. Anz., p. 170, figs. 6, 5; cluded as a sub-division of the Asiatic sarcophagi because of their WILPERT, of. cit., 11, pl. 237, 1-4. Garland sarcophagi occasionally use of the Asiatic capital with its double volutes, those of Megiste, have gable covers as one at Nola and another at Ivrea show; Roden- now in Athens (Fig. 46), Torre Nova A, and a small fragment in

waldt, of. cit., LItl, 1938, Arch. Anz., pp. 401-402, figs. 11-12; the Museum at Naples, Morey, Sardis, pp. 43-46, figs. 72-78. As Alinari photo. 15780. Gable covers also occur on three of the im- he himself points out the Attic connections are strong, particularly perial porphyry sarcophagi of Constantinople, J. Ebersolt, Mission for the second member of the group. To these Rodenwaldt has

archéologique de Constantinople, Paris, 1921, pls. 13-16. added the sarcophagus once in the Bardini collection, Florence, 8, LAWRENCE, City-Gate, figs. 2, 3, 4) 9) 10, 11, 13 and 14, ROBERT, It, 3, pl. 139, no. 434, one in Beirut, Cumont, Syria, x, g. Compare for example the Junius Bassus sarcophagus, LAw- 1929, pls. 40-41, and two in Rome, Rodenwaldt, J.H.S., Lr1, RENCE, Columnar, fig. 40; another at Perugia, ibid., fig. 42; two 1933, pp. 202 f.; JB. ARCH. INST., LII1, 1938, Arch. Anz., pp. 414—-

at Arles, WILPERT, Sarcofagt, I, pl. 345 33 pl. Il, 2743 and one at 420, figs. 137203 thid., LV, 1940, Pp. 44 f. He proposes Lycia-

Syracuse, #bid., pl. 92, 2. Pamphylia as a possible place of manufacture and points out the

10. DUTSCHKE, no. 31, pp. 32-33, 143-175, figs. 51, a, b; connections of this type with the Christian sarcophagi of Ravenna, nos. 48-49, pp. 44-45, fig. 223 LAWRENCE, Colummnar, no. 101, particularly with the Pignatta sarcophagus (see below, p. 17). To p. 174; WILPERT, Sarcofagt, 1, pl. 154, 1, 33 LAWRENCE, op. Ccit., these we may add the fragments with the centaurs and lapiths in the

no. 89, p. 173. _ Vatican, ROBERT, 111, 1, pl. 40, no. 132, a sarcophagus from a Greek Ul. The one Christian sarcophagus that might be cited as an island, in the Stroganoff Collection, Leningrad, ib7d., 11, pls. 6-7, exception to this statement is the trough with the Good Shepherd no. 20, another with Dionysiac scenes from Salonica and now in and the vine in the Cathedral of Osimo, a small town on the east Constantinople, MENDEL, Catalogue, 1, no. 32, p. 119, and the garcoast of Italy about ten miles south of Ancona. (Garrucct, Storia, land sarcophagus in the Cathedral of Ivrea in Piedmont, Alinari V, pl. 300, 25 WILP ERT, Sarcofagi, 1, pl. 895 2.) It 18 very badly photograph, 15780. All of these have scenes from Greek myths or weathered and the cover has been lost. At either end is a pilaster the mysteries and with the exception of the Vienna sarcophagus are with six flutes instead of the three usu in Ravenna. ae cap . to be dated in the second or third century a.p. It is to be noted that

show a coloristic technique witch recas ‘Ll ° ete, the ‘h - both fluted pilasters and twisted columns appear and that with a mere 1 - ophages h ut it 3s nn me ot t hineel ands chen few exceptions the mouldings of the lintel are without foliate ornabent oe son : the oe and fn a ‘ hi ' - «thre. acters ne ment. Finally since the Torre Nova sarcophagus is of Pentelic marerd resting on his crook ane facng ne Fee QUA ENCES Pose ble (G. E. Rizzo, Nor. scavi, 1905, p. 410) and since it copies in

He is surrounded by eleven sheep, while a vine rinceau, Issuing at on ;

; . part frieze in Athens we may, George Elderkin either enda from a fluted amphora, the as rest of the space. This Sarcophagus . points Ce “ out, ac. : . cept its Attic origin withfills some confidence, “The of brings to mind the design of the Theodore sarcophagus and the Sid > Hesheria. VIII avd

back of the sarcophagus with the twelve apostles (Figs. 6, 5) with idamara,” i1esperta, >» 1939) PP. Tr4T TTS.

. . . the os vine 13.should Two be ofcompared. the famous sarcophagi Sidon, of the fifth and which At Osimo thefourth stalkcenturies is from less heavy : B.C., are of this type, the Satrap sarcophagus and and more graceful and the leaves are somewhat smaller and sparser; he Lye; M Catal ; ane n0. 6 in this it is like the vine in the mosaic pavement of the third cen- the Lycian one, MENDEL, Galarogue, hae, net al 473 NO. a tury mausoleum in Ancona where one will also find a close parallel PP: 158-171. Apparently never as popusar as the lintes type, it also for the vase (SERRA, p. 4, fig. 1). A similar design with a grape- can be traced back to Greek lands and is completely foreign to the

vine and vase decorates each end. The back is built into the wall. West. ; hers of the col

All surface detail has been lost but the sheep appear very sketchy 14. This occurs on a number of Italian members of the columnar and rather carelessly executed. There is little or no evidence for date Series as opposed to the Gallic preference for several figures and a except the general composition. This seems to ally the sarcophagus scene when possible, cf . LAWRENCE, Golumnar, PP. 125) 153. It is with the early members of the Ravennate group. Certainly it shows the f ule on the Asiatic pagan sarcophagi with arched design, cf.

no connection with early Christian sarcophagi in Rome or else- Bari, Rome H. Rome I, ete., Morey, Sardis, figs. 79, 85-89, and where in the Latin West. It might be of the end of the fourth or appears as well on the sarcophagi produced by Eastern workmen

early years of the fifth century. for the Latin market, cf. Pisa, Campo Santo, LAWRENCE, Colus12. This design occurs on the Amazon sarcophagus in Vienna, nar, fig. 66, pagan no. 31, p. 180.

INTRODUCTION 3 many as eighteen or twenty, on the frieze sarcophagi, while _ these were either cut in modern times, like those of Liberius thirteen or more are not uncommon on the columnar ones. |= and Exuperantius, or are on a cover which does not belong The cleavage is fundamental and demonstrates most clearly with the trough, as in the case of the sarcophagus of Isaac, that we are not dealing asin the case of the frieze sarcophagi _ or the inscription was added for a reburial centuries after

with the Latin illusionistic style of narration which, de- the original manufacture of the sarcophagus (Pignatta and scending from such monuments as the Ara Pacis and the | Theodore).*® The earliest inscription that can be trusted column of Trajan, is responsible for the emphasis on factual = as contemporary is that of the eunuch Seda (died 541) of detail, and the crowding in of as many stories as possible at — the court of Theodoric, but unfortunately this is valuable the expense both of the dignity of the actors and the beauty _—_chiefly as negative evidence, for the sarcophagus belongs to

of the composition. Nor do we find on the Ravenna sar- _ the simple combination type, has no Christian symbols and cophagi the rhythmic repetition of many small units in a _ the two figures originally on it have been cut away.*” One single centralized composition which characterizes many of | must consequently come down to the eighth century where the columnar sarcophagi of the end of the fourth century,a three inscriptions, those of Felix, John and Gratiosus*® design, which as I have demonstrated elsewhere, istraceable (Figs. 73, 71), are of use as evidence of the date of the later to the more oriental section of the Greek East, Asia Mi- — members of the series. We are, therefore, dependent upon nor.’” Their composition is more purely Greek in its clarity _internal evidence and stylistic comparisons for determinand simplicity, its elimination of all but the most essential _ ing even the approximate date of all but the latest sarcophagi actors and properties, its careful symmetry and balance, but — in Ravenna. How difficult this process is is clearly demonabove all in its treatment of the background wall as an ab- strated by the wide diversity of opinion among earlier schol-

straction, positive in its color and texture as in a Greek ars from Diitschke whose chronology starts with the second grave stele or as the gold ground of Byzantine mosaics, but —_ century and who places nearly all the figured sarcophagi negative for any sense of spatial setting. Strikingly absent is _ before the fifth century, to Goldmann who puts the same the coloristic detail of architectural mouldings and capitals, —_ sarcophagi in the seventh century because he accepts the hair and beards, so evident in the work of the city-gate and _—_ seventh century inscriptions on the covers of the monustar-and-wreath ateliers; instead we find a preference for —_ ments of Isaac and Theodore as bona fide evidence for the

moulded cornices, for smooth surfaces, for the leaf-and- troughs. dart pattern, and the Corinthian capital in various but sim- In the face of this dearth of external evidence one must ple forms. How small a part narration plays is clearly _ turn to the sarcophagi themselves. It immediately becomes shown by the singular fact that the historical scenes appear-__ evident that some of them belong together and if not carved

ing on the sarcophagi of Ravenna can be counted on the by the same hand were produced at least in the same workfingers of one hand and that only once is one used for the shop. Others prove to be mavericks which must be fitted front instead of a dogmatic and symbolic theme. Even the - jnto the sequence and explained as best they can. symbolic subject is quickly turned into a more abbreviated

and abstract form by the introduction of symbols such as | peacocks, lambs and the cross which replace the human 16, DUTSCHKE, no. 54, pp. 48-515 no. 15, Pp. 20-225 No. 12,

. . Pp. 9-123 no. 68, pp. §9~623; no. 79, pp. 82-85. Others are asso-

actors entirely on two-thirds of the examples. ciated only by long tradition with prominent people such as HonoFinally the style of the figures though far from uniform rius, ibid., no. 3, pp. 4-7, and Constantius, zbid., no. 1, pp. 1-3. on the various sarcophagi shows as little connection with % Ciscussion below On PP: 33734- 5. fie. 8. Since Theodor;

Christan sacophagi ewhere as do the other features, "7, DOVES no20,9P. 25.26 8.8. Sines Theodore pve Many other differences will be evident as our study pro- Var. Epist., 11, 19, Mon. Germ. hist., Auct. antig., XM, 1894, p. 89),

eresses, this may be by him, as DUTscHKE, pp. 275-278, has suggested. He

likens this edict to a sumptuary law against excessive spending but

; it really only contains an admonition to the sculptor not to abuse

Although an encouraging number of the Ravenna sar- his monopoly. Diitschke suggests that the figures may have been cut cophagi bear inscriptions it develops upon examination that — away in spite because Seda was an Arian. 18. DUTSCHKE, no. 75, pp. 77-78; no. 82, pp. 89-90; no. 81, 15, LAWRENCE, City-Gate, pp. 44-45; Columnar, pp. 163-165. pp. 88-89. See below, pp. 40-41.

1. THE RinaLpo WorRKSHOP HE fine marble sarcophagus in §. Apollinare in — the Lesbian cymation of the lintel, the lily rinceau and the Classe (Figs. 2, 5, 9) which shows Christ seated curious stylized form of the palm tree. All of the sarcophagi in the midst of His apostles and which I shall call = are decorated on four sides”* and the five which retain their for convenience the Twelve Apostle sarcophagus, has by original covers have the semi-cylindrical or vaulted type. many*” been recognized as closely related to one re-used by The fourth side is always decorated with a symbolic scene

Archbishop Theodore (Figs. 6, 10). Their ornamental — which in five cases is the Constantinian monogram beforms are practically identical: pilasters, spoon-leaf capi- | tween peacocks, once between lambs. This monogram aptals, and the Lesbian cymation which is of a peculiar form _ pears on all but the Onesti sarcophagus, and in every case

with a sharply drilled hole at the top between the leaves, the rho is open, an eastern characteristic, which as Alison separated by a slight strut from the groove. The mouldings =F rantz** has shown, is rare in Italy outside of Ravenna. on the curve of the cover and the design of the ends of | The monogram inscribed in Christ’s nimbus is a general these covers are also alike with a central cross flanked by rule also. With the exception of one of the Ferrara sartwo doves”® (Figs. 9, 10). Finally the peacocks of the front | cophagi (Fig. 18) the tombs are all of the lintel type but of the Theodore sarcophagus are repeated in their extraor- _ half of them use pilasters, half twisted columns. The figdinary naturalism on the back of the Twelve Apostle sar- ure style relates a number of the sarcophagi closely and cophagus and placed against a grapevine slightly less elabo- |= many other similarities will appear as our study progresses.

rate but otherwise closely similar. Thus in spite of the An early and fine example of the workshop is the sarabsence of figures on the former, there seems no doubt that cophagus in which Archbishop Rinaldo was later buried®

the two sarcophagi were made in the same workshop and (Figs. 1, 4, 7, 8). The front of the trough shows simply probably even by the same sculptor. Not so generally con- __ three figures. Christ enthroned gestures to St. Paul who nected with these two sarcophagi, however, although Gold- _ hurries toward Him, his body bent in obeisance. Paul holds

mann and Diitschke realized that they were related,”* is | a wreath upright resting on a fold of his mantle and thus that of Archbishop Rinaldo (Figs. 1, 4, 7, 8), now in the _ presents the holy object with reverently covered hands. On Cathedral. Also produced in this workshop, as I hope to __ the other side, St. Peter approaches in a similar position like-

show, were the two sarcophagi now in Ferrara (Figs. 3, wise with a wreath held in the same way but carrying a 18) and the one re-used by the Exarch Isaac (Figs. 12,13, cross over his shoulder as well. This iconography is impor16, 17) which had been replaced in S. Vitale when I was _ tant and will be discussed below. It is clearly not the Mislast in Ravenna, One other is probably related to the group, _ sion to the Apostles, for Peter and Paul already have their

the symbolic sarcophagus of Fusignano (Fig. 24), while | crowns of martyrdom. Christ is seated, not standing as in that of Pietro Onesti in Sta. Maria in Porto fuori (Figs. the latter scene, and He does not give the law but holds an

20, 23) seems to imitate it. open book in His hand as in the Judgment scenes. His Characteristic of this bottega is the spoon-leaf capital throne, of a rectangular form with a high back and square which appears on all of its examples but with one exception _ footstool, appears again on four other members of the work-

on no other Ravennate sarcophagus.” Other features are shop. Here, however, it is placed on the mount, a stylized row of eight cubes from which issue the four rivers of Para19. DUTSCHKE, pp. 85, 218-219; SYBEL, II, p. 204; GALASSI,

Scultura, p. 41; HASELOFF, p. 30. bolic sarcophagi (Figs. 52, 53) because the abraded condition of 20. For a discussion of doves flanking a central cross or mono- their capitals makes the form uncertain. gram see below, pp. 46-47. The lily of the rinceau upon which 23. Except possibly the sarcophagus at Fusignano, see page 11. the doves stand occurs in Ravenna in the mosaics of the vault of 24. “The Provenance of the Open Rho in the Christian Monothe vestibule of the chapel of Pietro II in the Archbishop’s Pal- gram,” A.J.A., XXXIII, 1929, pp. 10-26. ace, GALASSI, Roma o Bisanzio, p. 81, fig. 30, in the stuccoes of the 25. This takes its name from the tradition that Rinaldo ConcoOrthodox Baptistery, ibid., p. 39, fig. 8, and on transenna panels reggio (d. 1321) was buried in it. For the account of the evidence in the Cathedral, GALass!, Scultura, p. 45, figs. 15-16. It also ap- on its subsequent history and the various openings of the tomb see pears growing naturalistically in the apse mosaic of S. Vitale, Ga- S. Muratori, “I sarcofagi ravennati di S. Rainaldo etc.,” BoLL.

LASSI, Roma o Bisanzio, pl. 85. D’ARTE, II, 1908, pp. 324-337. Other bibliography: GarRucct, 21. GOLDMANN, p. 34; DUTSCHKE, pp. 236-237. Storia, v, pl. 345, 1-3; RIEGL, pp. 189-192, fig. 37; VENTURI,

22. The exception is an eclectic example of the late combination Storia, 1, p. 438, fig. 200; GOLDMANN, pp. 7-8, 34-37, pl. 5, fig. type which shows three different kinds of capitals on the front 4a; DUTSCHKE, no. 13, pp. 13-16, 236-250, fig. 4; HASELOFF, pp. alone, Fig. 64, see discussion below, p. 36. I have omitted two sym- 28-29,

THE FIGURED SARCOPHAGI 5 dise.”* To localize the setting even further two squat palm _ ture can be seen by contrasting it with the fine collection of trees are placed as if in pots behind the two saints. These are detailed photographs in Gerke’s Christus in der spatantiken of a curious and arresting form. The trunk is very heavy — Plastzk.®® Christ is young but not the round faced child of

and consists of three layers of overlapping scales sur- the sarcophagus of Junius Bassus and its workshop, nor on mounted by a flat ring at the top. On either side drooping __ the other hand, has He the austerity and intellectual depth over this is a bunch of five fruits, and the branches rising _ of the Christ of the city-gate sarcophagus in Milan or of the

above it, nine in all, are heavy and isolated one from the — fragment with a level entablature in S. Sebastiano in other, but with few details carved on the leaves. This pe- § Rome.** It is rather a happy combination of dignity, beauty culiar treatment is a mark of atelier which occurs again on —_ and agelessness which should be compared with the Christ

three other sarcophagi. The palms which are found on ‘Triumphant of the mosaic in the Archbishop’s Palace in eleven other Ravennate sarcophagi are all quite different, |§ Ravenna and of the Baptism in the Arian Baptistery (Fig.

as a glance at Figs. 31, 35, 38 and Diitschke’s plates will 43). The long oval face and heavy features are similar in show. Nor does this form occur in the mosaics of Ravenna _ effect although the hair hangs lower on the brow and falls (Fig. 44.) or on sarcophagi outside that city’? (Fig. 28). | more closely around the face in the mosaic. The same type

It appears to be unique in early Christian art.”* 1s continued in the small scenes on the north wall of S. A further peculiarity of the scene on the Rinaldo sar- = Apollinare Nuovo (cf. the Multiplication of the Loaves cophagus is the introduction of clouds beside the head of | [Fig. 45] and the Marriage at Cana).* As is customary Christ. This is without parallel in sculpture and must be a _ on the Ravenna sarcophagi Christ has a large nimbus with translation into stone of the stylized, rainbow clouds of the — the Constantinian monogram inscribed on it. This is curi-

mosaics.”” ous iconography which will be discussed below. Christ’s The figures are in somewhat lower projection than cus- —_ costume also differs from the usual form on Christian sartomary on sarcophagi outside of Ravenna. Paul and Peter — cophagi elsewhere. The undertunic has a shorter and nar-

are of easily recognizable type although they show the rower sleeve like a dalmatic, the pallium is wound tightly physiognomy peculiar to the workshop: a small and nar- _across the body just below the chest and its lower hem falls row top to the cranium, particularly on Paul, high placed, —_—horizontally across the legs, instead of diagonally from the prominent ears, a long heavy nose which makes a straight _left knee to the right ankle as we see it in Fig. 28. In both line with the forehead in Greek fashion, and large project- _ cases the long tunic shows below and the pallium is draped ing lips which give almost a negroid appearance. The hair __ so that one end falls in a long fold over the left shoulder. forms a hard cap-like ridge across the forehead and there The appearance of the “‘under-robe” classifies it with Sois no drilled detail either on it or on the superficially ren- _per’s*® “‘Asiatic pallium” as opposed to the more toga-like

dered beards. Christ’s face which is full front has along = draping where the pallium falls to both ankles as on the regular oval, He is beardless, and His hair which is long _—_ frieze sarcophagi. The diagonal draping appears on Peter

upon His shoulders waves away from the face in a few = and Paul whose palliums are so long that they can fly out gentle undulations, with so little detail that it suggests a | behind the figures and cover the outstretched hands by a mantle. How distinct this form is in early Christian sculp- yard or more in front. The folds are plastically carved ris26. DUTSCHKE, p. 13, has suggested that because six of these 30. The author gives us excellent details but since he rarely reform the front row, the number is twelve and thus that they sym- produces the complete object, they must be used in conjunction

bolize the twelve apostles. with other photographs. The text is singularly disappointing. ‘The 27. The palms of the mosaics of which there are a great many author ignores completely any later recutting of his material and examples, in the Baptistery of the Arians, both S. Apollinares, and treats the unfinished work as if complete. He redates many sarS. Vitale, are very tall trees with long slender trunks and delicate cophagi quite arbitrarily without giving any reasons and seems feathery fronds, whose only similarity is the bunches of fruit that completely ignorant of Soper’s two important articles, “The Latin fall on either side. GaALAss!, Roma o Bisanzio, pls. 26-28, 113-114, Style on Christian Sarcophagi of the Fourth Century,” ART BULL.,

94; GarRuccl, Storia, Iv, pl. 258. On the sarcophagi especially XIX, 1937, pp. 148-202, and “The Italo-Gallic School of Early of the city-gate and other columnar types, the palm tree is the usual Christian Art,” ibid., xx, 1938, pp. 145-192. He still calls the accessory of the Mission of the Apostles. As a rule it has a phoenix famous ivory pyxis in Berlin, pl. 89, “Greco-Syrian,” and the in its branches, which never is true in Ravenna, and its form is fragment of an Asiatic sarcophagus, pl. 75, in the same museum

quite different with a much longer trunk, a very small and stylized “Greco-Byzantine.” For his treatment of Ravenna sarcophagi see ° leafy top and with the fruit hanging in a single row across the page 50.

front. 31. GERKE, Christus, pls. 69-70, 60-62. For a discussion of the 28. The author has examined some 150 monuments showing latter, see LAWRENCE, Colummnar, no. 21, pp. 167-168.

palm trees, listed by the Index of Christian Art in Princeton. All 32. GaLass!, Roma o Bisanzio, pls. 67, 47-48. The head of the of these are prior to the eighth century but none of them shows a Christ unfortunately has been restored in the mosaics of the Orrendering at all close to the Rinaldo palm. Nor has a search of thodox Baptistery in Ravenna. The Good Shepherd of Galla Pla-

pagan examples proved helpful. cidia’s tomb, z4id., pl. 8, might be cited in comparison but it has 29. WuLFF, Handbuch, p. 183, and HASsELOFF, p. 29, suggest 2 a rounder face and a larger mass of wavy hair.

derivation of these clouds from painting. 33. SOPER, Latin Style, p. 168.

6 SARCOPHAGI OF RAVENNA ing in a few cord-like ridges, and giving the impression of a _— Apostle sarcophagi (Figs. 10 and 9). In the rounded end soft heavy material. All the actors wear classical sandals, the —_ of the cover of the Rinaldo sarcophagus, however, we find feet are excellently rendered and are planted firmly onthe _—_a simpler monogram in a star form, i.e., with a straight bar

ground, bearing the weight of the figures. This ground, a _ or iota instead of the rho, which appears in a wreath whose narrow strip, 1s horizontal and shows no tendency to slope —_ long lemnisci end in heart-shaped leaves.*® This star form up.** The outstretched right hand of Christ, the only one — of the monogram occurs three times on the cover of the visible, is half again as big as it should be and this almost | Twelve Apostle sarcophagus and is a variant quite usual in alone, I believe, gives the impression of poor proportions § Ravenna.** The right end of our cover has the more ambi-

for which the sarcophagus has been criticized.** tious design of two lambs adoring the monogram cross*” I have described the Rinaldo sarcophagus in some detail _ here elevated upon an enlargement of the spoon-leaf used because I wish thereby to establish the characteristic style of in the capitals. The back has three great Latin crosses and

its workshop. Before we leave it, however, we must ex- is rough hewn. An interesting design covers the front of amine the other sides and the cover. The figured decora- __ the lid: the leaf of the Lesbian cymation on the lintel betion ts here replaced by symbolic scenes: on the back is the low is repeated in an overlapping pattern like roof tiles but beautiful symbolic design (Fig. 4) of peacocks flanking a differentiated from them by its oval shape and marked vein central disc on which is the Constantinian monogram with __ in the center.** This form which I have called the leaf-tile pendant a and w.*° This composition is very close to that —_ pattern occurs on two other members of the workshop but on the front of the Theodore sarcophagus (Fig. 6) except

.e.

hat the bird d P i. ( 5 ) P 40. This occurs frequently on church furnishings in the Greek

that the birds stand on rocky mounds, a tree with four- East. J. Laurent, ‘“Delphes chrétien,” B.C.H., xxl, 1899, pp.

petalled rosettes*’ replaces the grapevine as a background 246 ff., figs. 15, 17-20. It appears on the transenna panels of S. and the monogram is elaborately jeweled “en cabochon.” Marco in Venice, F. Ongania, La basilica di San Marco, Venice,

. .. 1888, V, pts. 5-6, pls. 250, 268-270, 272, 273, 275, 289; ona

The peacocks ar e carved with the same pr ecIsion and fidel- sixth century transenna panel in S, Clemente in Rome, HAsELoFF,

ity to detail, with long undulating necks, tiny heads and pl. 42; on the ambo in verde antico from Salonica and a sarcophaflaring crests and careful differentiation of feathers and gus in the same material, both in Constantinople, MENDEL, Cata-

. . logue, Il, no. 644, pp. 406-408, III], no. 1174, pp. 417-419; ona

eyes in the tails Beautifully rend red, they are somewhat marble sarcophagus, T. Macridy and J. Ebersolt, B.C.H., XLVI, stylized as 1S seen by contrasting them with the Impres- 1922, pp. 384-385, figs. 22-235 and on two transenna panels also sionistic rendering of feathers on the peacocks of the ivory in that city, Ebersolt, Mission archéologique, pl. 35, 1-2. It also chair of Maximianus also in Ravenna.®® The right end occurs twice in a manuscript in Vienna, Nat. Lib., Lat. 847, Morey, (Fig. 8) shows the classical design of a grapevine rising in spatantiken Kanontafeln, Goteborg, 1938, pp. 147~158, has re-

. ; : . an Early Christian, figs. 197-198, pp. 181-182. C. Nordenfalk, Die

two thick stalks from a fluted vase in the center.*? These cently assigned this manuscript to Ravenna simply because it must

wind into a great quatrefoil in which birds peck at the have been made in a center where both Greek and Latin were

bunches of Acain the detail 1 h spoken since the first half of the manuscript is part of a Greek unches of grapes. again the detaus are very Close on the gospel, the second which has the same handwriting, the Latin text

. . ; ipt i h h century.

two sarcophagi. ‘The grape leaves have the same sharp saw- of Rufinus. The wreath with lemnisci and heart-shaped leaves octooth cutting; tendrils, grapes and birds are almost identi- curs in both sections, Professor E. A. Lowe dates this MS. from its

cal. A similar pattern is found on the left end (Fig. 7), script in the second half of the fifth century. ,

_. ; 41. The star monogram is a popular form in Constantinople.

where the Constantinian monogram with a and w appears It appears with six points on the Prince’s sarcophagus, WILPERT,

in a wreath surrounded by a lily rinceau on the upper Sarcofagi, 111, pl. 299; on one of verde antico in the museum, branches of which are again two birds. The lily-like form MENDEL, Catalogue, no. 1174, pp. 417-4195 and 2 cover in the

. . . same place, zbid., no. 1321, pp. 529-5303 on various parapet frag-

of the flowers with the birds closely recalls the design of ments, ibid., 11, no. 722, 723; Ebersolt, of. cit., pls. 35, 36; with the ends of the covers of both the Theodore and Twelve eight points in the sixth century mosaics of the narthex of Hagia Sophia, T. Whittemore, The Mosaics of St. Sophia at Istanbul, 34. This disproves DUTSCHKE’s thesis, p. 240, that the wreaths Paris, 1933, 1, pl. 8. The monogram also appeared on the bases of held upright and the cloth over the hands are in poor perspective the obelisk of Theodosius and of the column of Marcian but both

although he believes it was done for expressionistic purposes. are so injured that we cannot be certain of the form, The star RIEGL, pp. 190~192, points it out as evidence of an early date, prior monogram is also popular both in Greece and in Venice. For the

to the fifth century. former see Laurent, of. cit., figs. 15, 17 and G. A. Soteriou, ARCH. 35. DUTSCHKE, p. 238, suggests that since this is often repeated, EPHEMERIS, 1929, pp. 65 f., figs. 70, 91, 103, 183, 185, all sixit was done intentionally to emphasize the ceremonial character of pointed. For Venice see Ongania, of. cit., V, pts. 5-6, pls. 249-

the proceedings, 251, 275-276 for the six-pointed form; pls. 246, 268 for the 36. For a discussion of peacocks adoring the monogram see be- eight. Both forms occur in Ravenna although the six-pointed is the

low, pp. 44-46. more popular. Too much stress cannot be laid upon this, since both 37. The same rosettes appear beside the monogram on the Theo- forms appear in grave inscriptions all over the Roman Empire. dore sarcophagus. 42. For discussion of this iconography see below, pp. 43-44. 38. PEIRCE AND TYLER, N, pl. 5; VENTURI, Storia, 1, figs. 281- 43. I can see no evidence for DUTSCHKE’s statement, p. 13, that

282. the cover does not belong to this sarcophagus. The marble is the

39. This is a design which, as DOTSCHKE points out, p. 241, same, the overhang no greater than is often the case and finally this Studniczka has traced back in Roman art to the forum of Trajan. repetition of pattern all point to the contrary.

THE FIGURED SARCOPHAGI 7 more significantly it is a feature of the covers of a number __ claim the event with their right hands raised. Christ has a of ancient Greek sarcophagi of which the Alexander sar- __ halo inscribed with the Constantinian monogram but it is cophagus in Constantinople is the most illustrious example. |= much smaller and seems crowded, an effect which is furIt appears on three others in the same museum which were _ ther enhanced by the larger head of the figure. The face is all found, however, in Tripoli in Syria, and on the Stro- —_ of the same general form but the hair, although it reaches . ganoff example from the Greek islands, in Leningrad, on __ the shoulders and is separated from the face in the same

another in Athens, and on a child’s sarcophagus found in manner, now waves in a hard arbitrary zigzag. The cosSalonica and now in Constantinople.** All of these latter tume is almost identical in arrangement except that one examples date in the second and third centuries ap. The end of the mantle now hangs between the knees and touches fact that the leaf-tile pattern is unknown on the tombs in __ the ground. The horizontal line of the lower edge of the Italy (except for the cover now on the Riccardi sarcopha- _pallium that we noted on the Christ of the Rinaldo sargus which does not belong to it) is certainly sufficient evi- cophagus here appears on five of the figures. ‘The peculiarly dence that it had some popularity in Greek lands and Syria. shaped cranium and cap-like hair of Peter of the last exClosely related to the Rinaldo sarcophagus but not by so — ample are reproduced here on the apostle behind that saint, competent an artist is the sarcophagus of the Twelve — and Paul is obviously derived from the same model on both Apostles in §. Apollinare in Classe*® (Figs. 2, 5,9). Here — sarcophagi. The style of this sculptor, however, is a little Christ sits enthroned in the same kind of chair whose foot- _ harder, he cuts into the marble with more emphasis but less stool, however, now rests directly on the ground. Paul ad- —s meaning, witness both the cymation and the folds, he vances very much in the same position as on the Rinaldo _ tends to make a roll at the lower edges of the garments, sarcophagus but instead of holding a wreath he receiveson _ places more emphasis on beards, which the other sculptor the fold of his mantle the roll which Christ is giving him. _—_does not elaborate, and finally renders proportions which On the other side Peter approaches carrying his cross as be- seem much heavier since the heads now are larger in relafore, but bearing a key instead of a wreath. This is peculiar _ tion to the figures. These characteristics are all demon-

iconography, but there can be no doubt of its meaning. strated by the six apostles which appear on the two ends. Christ gives His mission not to Peter, the founder of the They are clearly part of the company of the front. The church of Rome, as we see Him in the scene of the Mission _first apostle of the right end (Fig. 9) is walking as if to join to the Apostles which appears so frequently on the city-gate the others, the next two are arrested in conversation. Their sarcophagi and on other monuments related to them (Fig. _ flat craniums, high placed eyes and prominent noses may

28), but to Paul; while Peter, not without honor for he be taken as the hall-mark of the workshop, while the drapcarries the key and cross, stands in-his customary place on _ing of the pallium and the artist’s retention of the antique

Christ’s left. The theme of the apostles with crowns of custom of covering one hand with the cloth are further martyrdom is relegated to the figures at the ends of the characteristics. scene where two bearded apostles approach in attitudes The fourth side (Fig. 5) and the cover have been disclosely resembling the Peter and Paul of the Rinaldo sar- cussed above and are important chiefly because they prove cophagus.*° Between are two beardless disciples who ac- beyond any possibility of doubt the close connection between this sarcophagus and the one re-used in the seventh cen44. The Alexander sarcophagus, MENDEL, Catalogue, 1, no. 68, tury by Bishop Theodore. This tomb* stands next to the

pp. 171-200. The three from Tripoli are, zbid., 1, no. 26, pp. 109—- +h th les in S. Apollj . 114; II, no. 1169, pp. 408-4125 no. 1159, pp. 397-399. Also O'€ with the Twelve Apostles in S. Apollinare in Classe. the Stroganoff sarcophagus, ROBERT, 11, no. 20, pls. 6-7; Athens It bears on both the front and back of the cover (Fig. 6)

sarcophagus, Rodenwaldt, J.H.S., L111, 1933, p. 185, fig. 2; just above the lower moulding the inscription, T Hic

Salonica, MENDEL, of, cit., 1, nO. 23, pp. 105-107. For a discus- Reauiescit j Theod V.B. t Arcihenj +

sion of the Riccardi sarcophagus and a picture of the cover now on equiescit in pace codorus Vs). Femepiscopus '. it see MorEy, Sardis, pp. §7~59, fig. 102. The presence on a sar- The errors in the Latin and the reversed S are consistent cophagus made by Asiatic workmen for the western market, of a with the date of that bishop in the seventh century but this,

cover of different dimensions and with a Greek pattern, merely hile jt 2; , for th h

shows the eclecticism of the West. while it gives us a convenient name for the sarcophagus, un-

45. CIAMPINI, II, 6, pl. 111, A, B, C; Garrucct, Storia, v, pl. | fortunately does not date the original work. The design of

346, 2-4; VENTURI, Storia, 1, 439, figs. 201, 211; GOLDMANN, pp. _ the front (Fig. 6) can well be acclaimed as one of the most 4-5, 30-33; DUTSCHKE, no. 80, pp. 85-88, figs. 36, a-d; HaserLOFF, pp. 28-30, figs. 32, 33; WILPERT, Sarcofagi, 11, 326, pl.

253, 5. ered hand of the first apostle on the right end for a globe and has

46. GARRUCCI’s suggestion, p. 72, that they are two of the Elders confused the back of the Theodore sarcophagus with this one, of the Apocalypse is refuted by the fact that they carry wreaths and p. 32, although on pls. 5, 6 he shows them correctly. not crowns and that they so closely resemble the apostles of the 47. GARRUCCI, Storia, v, pl. 391, 3; RIEGL, pp. 196-198, figs. Rinaldo sarcophagus. He also explains the ends as the convention 41, 42; VENTURI, Storia, 1, fig. 209; GOLDMANN, pp. 5, 55-56, at Jerusalem described in Gal. 2, 7~9, an assumption for which pl. 6; DOrscHKE, no. 79, pp. 82~85, figs. 35a-c; HASELOFF, p. 30, there is no evidence whatsoever. GOLDMANN, p. §, mistakes the cov- pls. 33, 34:

8 SARCOPHAGI OF RAVENNA beautiful of early Christian sculpture. It isa more elaborate tion to prove or disprove this possibility. The sarcophagus version of the back of our last sarcophagus, for the central reproduces with a few variations the design of that of the

medallion bears the Constantinian monogram with a and Twelve Apostles. Christ is seated on the same kind of . instead of a simple cross, rosettes have been added below _ throne, in the same manner but holds His open book somein front of the peacocks and two small birds inserted be- | what higher and blesses the approaching Paul with His hind them. The back shows the same grapevine in four _—s right hand instead of handing him a scroll. Peter no longer great circles winding from a central looping of the stalks; has the key and holds the cross with bare hands while Paul three acanthus leaves cover the awkward spot where the also, as if to make the composition symmetrical, has acroots would be, and a small cross fills the space above. Vari- quired a cross. The two acclaiming apostles are similar but ous birds and even a rabbit nibble at the bunches of grapes | somewhat more frontal, while the two at the ends closely which hang invitingly at various points. This design al- __ parallel those on the other sarcophagus. Two rosettes have though symmetrical and carefully balanced is still natu- | been added behind them but this makes one think of those ralistic in all its details. The ends show a similar pattern below the peacocks on the Theodore sarcophagus and of except that a stylized rose tree replaces the grapevine. The the ends of the cover of the Twelve Apostle example. The left end was never finished but the design is clearly visible | surface of the marble is badly weathered and the lintel with and repeats that of the right (Fig. 10) although it was not _its decoration is broken off on the front, except for a small

: cut out. It is also a beautiful, symmetrical pattern where the _ section over the left capital which shows the Lesbian cymadove, cross and chalice are in a line, while the curves ofthe tion, but whether it was of the drilled form of the last two flanking birds are echoed and reversed in the rinceau. The examples or not, it is impossible to be sure. The apostles’ end of the cover has already been described. It differs from faces have been injured but what remains is pretty close in that of the Twelve Apostle sarcophagus only in the lion’s _ every case to the corresponding figure on the sarcophagus in head which forms a knob and causes the shortening of the | Ravenna. Christ has the same reduced nimbus with its Concross above almost to the “Greek” form. The decoration stantinian monogram and His hair curls to the shoulders of the front of the cover, however, is quite different. Here in the same zigzag waves. The pallium is draped in the same three rather coarse laurel wreaths enclose a Constantinian | way except for the two acclaiming apostles and Peter, who monogram in the center, the monogram cross at the sides. 8 now approaching slowly with the end of the mantle over The a and w are present in each case. This pattern does _ his arm. In view of the condition it is difficult to determine not dwarf the design on the trough as do the enormous star = whether it is the work of the same sculptor. The style seems

monograms on the other lid, but the higher projection of slightly less competent but is far superior, as Gerola points the wreaths is in rather unpleasant contrast to the delicacy _ out, to that of the six apostles on the ends (Figs. 14, 15).

of the medallion and the vine below. These, unlike their companions on the front, are all rigidly Still another sarcophagus which was first connected with —_ frontal and both bodies and faces are slightly concave. The

the Ravennate group by Gerola** is the one now in the __ heads are larger in proportion, the hands even more enor-

narthex of the Cathedral at Ferrara (Figs. 3, 11, 14,15) | mous and the cap-like hair, projecting ears and sunken but earlier in the Certosa of that city. For convenience I _— mouths are such a travesty of the style of the bottega that it shall call this the Certosa sarcophagus to distinguish it from _ is difficult to believe it contemporary work. It would seem another one in Ferrara (Figs. 18, 19) which will be dis- _ instead to be an imitation by a workman who without train-

cussed below. It was undoubtedly exported from Ravenna ing in the fundamentals of figure sculpture is incapable and Gerola has advanced the theory that this is the sar- even of copying the apostles on the front. He reduces them cophagus of Lauricius, cubicularius of Honorius, and re- _ to a single frontal position and in his treatment of the heads used for Armanno Pungilupi in 1269 when it was brought _— already suggests such works as the Lombard helmet of

to Ferrara.” As the cover has been lost there is no inscrip- King Agilulf.°° This is dated at the end of the sixth cen48. GEROLA, Sarcofagi, pp. 401-410, pls. 24, 25; C. Ricei, “Un tury and it is at this time, I believe, that the work on the sarcofago ravennate del secolo Va Ferrara,” Rassegna PArte, VIII, ends of the Certosa sarcophagus should be placed. The

1921, Pp. 253-260; HasELOFF, p. 28. back (Fig. 11), on the other hand, clearly belongs in the

, 49. his fests apon the statement - Rrcabaldos an bistorian ot workshop, It is executed with great skill and is a variant of was buried in Ferrara in the sarcophagus which had originally held the design on the fourth side of the Rinaldo sarcophagus. Lauricius, the cubicularius of Honorius. L. A. Muratori, Antiqui- Simpler in the absence of ornament on the monogram and tates Italicae medi: aevi, Milan, 1741, V, 96; GEROLA, Sarcofagi,p. —_ the omission of the a and 4, it is more elaborate in that two

ft got on 0 hs Pens aly was uk out nd buried ara pecocks have heen aed beind the two that flank time that the cover was lost. The Certosa at Ferrara was used as a the central disc, All of the birds are done with fine chiseling cemetery from 1813 and sarcophagi from various parts of the city

were brought there. so. HASELOFF, p. 39, pl. 43.

THE FIGURED SARCOPHAGI 9 of the feathers, and fortunately the back must have been _ the apostles on the Rinaldo monument. Their gifts are not protected as it has retained its original crispness of detail. differentiated but consist of bowls, now partly fractured, Especially noteworthy is the naturalistic way the birds at = with what might be coins carved on top. The faces are the corners turn their heads. Behind them are two rose _ badly injured but they all seem to have been beardless and trees of simpler form than on the Rinaldo sarcophagus, but — with hair in short snail-like curls. The central one looks which also recall the pattern on the ends of the Theodore __ back at the man behind him, thus by his gaze breaking the sarcophagus. These many close connections with the first _—_ design into two pairs. There is, however, a definite rhyththree members of our workshop would seem to leave no _ mical repetition of three almost identical units; the space is doubt that this sarcophagus in Ferrara ts another product _— adequately filled but with slightly more void than on the

of the same group of sculptors. Rinaldo sarcophagus. The relief is high and consequently The well-known sarcophagus of the Exarch Isaac four of the arms and two of the legs in the foreground have (Figs. 12, 13, 16, 17) in the church of S. Vitale in Ra- _ been broken off. It is also difficult to judge of the style bevenna” belongs also in our group although it displays some —_—_cause of the condition although it is evident at a glance that

variations from the norm. This tomb takes its name from the sculptor was skillful. The heads are slightly larger in the epitaphs on the circular cover, in Greek on the front _ proportion to the bodies than on Rinaldo’s tomb but not so and in Latin translation on the back, which tell of Isaac an —_Jarge as on the sarcophagus of the Twelve Apostles. Marks

Armenian, who is to be dated in the seventh century; but of the atelier appear in the high placed ears, the cap-like this cover is much too large, is of different marble and hair particularly of the Madonna and the treatment of the clearly was not made originally for the sarcophagus.” Thus —_ folds of the garments which are rather few in number and

the trough must be considered independently. The archi- 4.44 as on the latter sarcophagus to show a corded tectural frame is very close to that of the Rinaldo example ridge at the bottom. The ends fortunately are better prewith the same Lesbian cymation, spoon-leaf capitals and served, They present two scenes of Deliverance. On the twisted columns, although the bases of the latter are a little = Qi6 at the right (Fig. 17), Daniel in Phrygian costume simpler. ‘The figures also stand on a narrow rim in front stands orant between two large and hungry lions who are of the marble wall in the same manner. But this isthe one rendered with graphic realism. Daniel, in contrast, stands Ravennate sarcophagus which proves an exception in its frontally, completely passive, but with still a trace of classifigured scenes for instead of the symmetrical and symbolic 0.) chinsmus and grace. His nose is fractured but the long, group of Christ with His apostles we find the historical sub- heavy oval of the face, the high placed ears and straight alject of the Adoration of the Magi. The scene, furthermore, most pouting mouth recall the Peter of the Rinaldo saris not centralized for the Virgin is placed at the extreme cophagus. The long trousers and belted tunic are rendered left. She is rendered informally, with crossed knees, sitting 4, singular fluency and reveal to a remarkable extent the on a faldstool, and without the nimbus, although the Christ modelling of knee and leg.

Child has a large halo inscribed with the monogram. Its The left end (Fig. 16) shows the Miracle of the Raisproportions and His enormous hand resemble the corre- ing of Lazarus. Christ, a tall graceful figure, here without

sponding features of the Rinaldo sarcophagus. Large even . nbus. advances slowly with dragging foot toward Laza- .

for a two-year-old child, the Christ is clad ceremoniously Spans, Bevan vows d Beis d t hed

like an adult in tunic and pallium. The three Magi ap- rus, 2 small mummy who stan ° " the door of an ares

proach rapidly, again reminding one of the running gait of tomb. This is raised ona high podium of five steps, but it is the arched top that is important and rare. The fourth side 51. CIAMPINI, H, 7, pl. 111, Gand H; C. Spreti, Desideriz Spreti, reverts to the theme popular in this workshop, the Con-

de amplitudine, eversione et restauratione urbis Ravennae, Ra- stantinian monogram between two peacocks (Fig. 13). venna, 1793, 1, no. 276, pl. 8, figs. 1-43 GaRRUCCI, Storia, v, pl. © Here again the similarity to the Rinaldo sarcophagus is

ae wee Pete hes The sarcophagus ene marked in spite of a few variations. The central disc is simoften cited for its iconography: A. Venturi, La Madonna, Milan, pler, and the monogram is without jewels or the A and w. . 900) PP. 263, 2672685 A. Kriicke, Der Nimbus und cereuandte It is raised on the same curious hard leaf, however, which drei K snige, Leipzig, 2909 tt, p. 47s CABROL, III, 2, vol. ta0s, we noted below the monogram cross on the right end of fig. 2810; E. B. Smith, Early Christian Iconography, Princeton, | Rinaldo’s tomb. ‘The peacocks are executed with great deli-

1918, re 43 T15. 1 cacy but are slightly more rigid and less naturalistic than

acgyeazranro pp satyand vn Guess pm 6b Tal- goss of our fst example, and behind them, instead ofa

sarcophagus, For the text of this inscription see DUTSCHKE, pp. rose tree or vine, we find the two palms of the scene on the 11-12. CIAMPINI, p. 7, transliterates it into Latin verse. DUTSCHKE, Rinaldo front. These are of the same peculiarly stylized p. 232, quite gratuitously assumes that the back was worked a cen- form, but are somewhat more coarsely rendered with three tury later than the front or sides and therefore that the sarcophagus ?

was twice re-used. large fruits on either side instead of the five smaller ones

IO SARCOPHAGI OF RAVENNA of the other sarcophagus. Therefore, in spite of the obvious § The ends of the covers also present similar analogies. On variation in the scenes of the front and ends, the similari- _ the right, two peacocks flank the monogram cross like the

ties in ornament and style are sufficient to justify inclusion | lambs on the right end of Rinaldo. The animals have of the Isaac sarcophagus in the workshop and its attribution § merely been transposed; on the Ravenna sarcophagus the to a sculptor who is only slightly less skillful than the mas- —_ lambs are on the cover, the peacocks on the rear of the ter of the Rinaldo sarcophagus and who is closely related trough, while in the Ariosti example just the reverse is the

stylistically to him. case. On the other end (Fig. 21) two similar birds face a Our next example presents still other problems. It is a —_—- vase in which water wells up in a mound. This vase has the

sarcophagus with its cover which was found as recently as same shape as the one with the vine on the right end of the

1920 during some excavations at S. Francesco in Ferrara trough of the Rinaldo sarcophagus, although here it is (Figs. 18, 19, 21, 22). Like so many of its companions in —_—_ without fluted decoration. Both pairs of peacocks also are Ravenna, it had been re-used at a later date, for two small — more simply carved and are without the fine detail of our shields with the coats of arms of the Ariosti and Fontana _ preceding examples but this is probably due to the fact that

families have been carved below the feet of Christ. Corrado they were on the cover and did not draw the attention of Ricci who published** this sarcophagus remarks that sincea the master workman.

Francesco Fontana who died in 1505 married Francesca The scene of the front (Fig. 18), Christ enthroned Ariosti, the insignia probably record his burial in this tomb, | among six of His apostles, while not identical, recalls, of for which the choice of the church of 8. Francesco was most _course, the scene of the sarcophagus of the Twelve Apostles appropriate. Breaking completely with the lintel type, this | and the Certosa sarcophagus in Ferrara, Christ holds an sarcophagus, which for convenience I shall call by the name —_ open book in His left hand and blesses with upraised right of Ariosti, substitutes on the front a design of seven arched —_ hand as on the latter. His throne is of the same rectangular niches, a scheme which, of course, immediately recalls the type with rounded cushion, the footstool is raised and may seven-arch type of columnar sarcophagi. There are also _ originally have been elevated on a mount as on the Rinaldo

in Ravenna two five-arched sarcophagi in the church of example for it is here that the marble has been cut down to S. Francesco whose connections with this example will be _ insert the shields with the coats of arms. Unfortunately the discussed below. Unmistakable evidences of the workshop, sixteenth century sculptor did not stop with this but recut

however, appear. ‘The Lesbian cymation runs along the the face of Christ™* (Fig. 22), adding a slight beard and moulding above the arches in sharp contrast to the arched —_ eyebrows, drilling the pupils of the eyes so that they gaze

sarcophagi outside Ravenna which either eliminate this upward, and reworking the hair, which now retains of the moulding completely, the arches reaching the top of the earlier appearance only its length and the fact that it ows trough, or treat it simply without ornament. The capitals, | away from the face. The whole effect is of a sentimental especially on the ends where they retain their original form, _prettiness, weak in contrast to the original early Christian are of the spoon-leaf type; the high circular cover is identi- _ conception. A and w have been carved on the book and the cal with that of the Rinaldo sarcophagus in the use of the —_ body cut down under the right arm so that it is very slenleaf-tile pattern while its mouldings have the more elabo- _—_ der and sways awkwardly. One thus cannot trust the drap-

rate curved form of the T'welve Apostle example. Finally ing of the pallium although its lower edge, running horithe fourth side (Fig. 19) abandons the arches and, retain- _—zontally above the ankles, seems original. The capitals also

ing the decorated moulding which is most precariously | may have been retouched for here a slightly carved but supported by the acanthus leaves of the corner spandrels of rough and jagged edge has been added to the smooth outthe ends, shows the regular symbolic back of our group, but —_line of the spoon-shaped Jeaves. Two apostles, Peter and

substitutes lambs for the usual peacocks. The chi rho is Paul, approach the Christ with wreaths held on their covof essentially the same form as on the Isaac sarcophagus, ered hands like their parallels on the Rinaldo sarcophagus. resting on the same shell-like leaf. Palm trees of almost Peter is without the cross, which may have been cut away, identical form flank the two animals. The only difference for his face as well as those of all the other apostles has is that now the trunks are divided into four overlapping se- been recut. Thus one cannot trust the proportions or the ries of scales instead of three but the hard rings occur at top details of style or drapery on this sarcophagus. The ends and bottom, while leaves and fruit are exactly the same. (Fig. 21) have fared somewhat better. ‘I'wo niches, each with a single apostle, continue the theme of the front but 53. “Un sarcofago ravennate del secolo V a Ferrara,” Rassegna @ Arte, VIM, 1921, pp. 23-260 figs.; GALASSI, Roma o Bisanzio, 54. There is a slight difference in the color of the marble above p. 57, figs. 26, 27. Ricci dates the sarcophagus in the first half of Christ’s head and since the darker section is curved in an arc, it looks the fifth century and connects it with the two examples in S. Fran- as if a nimbus had been cut away. This, especially with the mono-

cophagi. teenth century.

. cesco, Ravenna, and with the Rinaldo, Onesti and Pignatta sar- gram, would have seemed foreign to an artist of the early six-

THE FIGURED SARCOPHAGI 11 this means that there are only ten apostles. The reduction, conch belong. No two sarcophagi of the latter city, howT believe, is the result of the limitation of the arched design, — ever, have the same form of conch until one comes to the although it occurs occasionally on other sarcophagi with no — symbolic series. The one under discussion on the Ariosti such excuse.’” The apostles are heavier than those on the _ sarcophagus differs from the two in S. Francesco, Ravenna

front and the palliums seem to retain the original draping (Figs. 25, 26) which show substantial archivolts above but the many smooth passages and few folds make one won- _—and a straight line across the bottom; it is perhaps closer to

der if these also have not been tampered with; the faces but not identical with the conch on the Barbatianus saralso may have been recut. The ornament of this sarcopha- cophagus (Fig. 39) where the archivolt is eliminated comgus should be carefully studied. T'wisted columns of ex- __ pletely and the shell curves downward, but here the head traordinary squatness are used except at the corners where of the figure is well below the hinge. It should also be noted fluted columns, reeded nearly half way up, replace them. — that the conch in a wide variety of forms appears in the The arches with very slight archivolts are filled with large | mosaics of Ravenna’ and with no uniformity in the direcflower-like conch shells which radiate from the bottom up __ tion of the radiation. Thus while the arguments for in-

and whose lower edge curves downward in a scallop. In cluding the Ariosti sarcophagus in the atelier cannot be each case the heads of the figures are directly over the | conclusive because of its recut condition, it is incontrohinge. Now although the conch is the usual adornment of __ vertible that it belongs in Ravenna and there is every probthe arch on other columnar sarcophagi, on Christian sar- _ ability that it was made by the Rinaldo workshop.

cophagi outside of Ravenna it invariably radiates down- One other sarcophagus may be ascribed tentatively to ward with the hinge at the top, and is well above the heads = our group. ‘This is the symbolic one in Fusignano (Fig. of the figures, while an archivolt, broad, prominent and 24), which unfortunately I know only from the drawings usually decorated with a coloristic design, frames the whole. _ given by Garrucci.” It is clearly a Ravennate sarcophagus,

As Weigand has shown, the conch radiating downward _ however, of the lintel type with pilasters and spoon-leaf predominates in the Latin West, the conch radiating up- _ capitals. ‘The design within is very close to that of the fourth

ward in the East, although there are a few exceptions.* side of the Ariosti sarcophagus, a Constantinian monoThe conch appears on three other figured sarcophagi in gram with open rho in a grooved ring, adored by two lambs Ravenna and on three symbolic ones and in every case the —_ with palm trees behind them. As far as one can judge from

hinge is at the bottom. Now this is the form of the pagan _—a drawing, the animals are rendered with the same techsarcophag! of Asiatic origin and was imitated from them on _ nique for heads, fleece, hoofs and tails and the palms seem a few monuments which, as I have shown elsewhere, were __ to be of the peculiar type of the workshop but with an extra produced by Eastern ateliers working for the Western mar- _ bunch of fruit. They are placed, however, so that the bodies

ket.°’ It is with these that our Ravennate examples of the of the lambs obscure the lower parts of the trunks and in

, fig. 44. . , . . ‘ tos ~ 59 . . ° . *

55. Only ten apostles appear in the Mission to the Apostles on this they resemble the trees behind the peacocks of the Isaac the city-gate sarcophagi at Ancona and in the Colonna chapel in sarcophagus which also are not isolated in space. The right St. Peter’s, LAWRENCE, City-Gate, figs. 9 and 15, and inthe scene of end repeats these palms but places in front of them follow-

ra _ nal on the sarcophagus of Probus, LawRENCE, Co- ing the design of the left end of the cover of the Ariosti sar56. JB. ARCH, INST., XXIX, 1914, pp. 63 ff. See LAWRENCE, City- cophagus (Fig. 21), two peacocks abutting a central vase

Gate, p. 2, note 4. A long article by M. Bratschkova on this sub- which is topped by a mound, probably indicating water.

ject has subsequently appeared, “Die Muschel in der antiken Kunst, Vase and birds on both sarcophagi seem almost identical in

Bull. de inst. arch. bulgare, x11, 1938, pp. 1-131. The author, a f Ab a th bled

pupil of Rodenwaldt’s, lists nearly 1000 examples but her results orm. ove in the gabled end of the cover are two more cannot be relied upon since the article is full of inexcusable errors. peacocks, this time flanking the monogram cross. Thus the The Gorgonius sarcophagus at Ancona is listed twice, nos. 635 and theme of the right end of the cover of the sarcophagus in

636, dated the first time in the fourth century, the second in the Fer I. It; dal

fifth; the five-arch example in Saint-Maximin (LAWRENCE, Colum- errara reappears as well. is repeated also on the other nar, no. 1, fig. 51) is labelled Aix, no. 671, and even more surprisingly a pagan sarcophagus in the Campo Santo at Pisa, no. 641 nar, fig. 31, and the five-arch muse sarcophagus in the Campo Santo

(ibid., pagan no. 31, fig. 66) is cited p. 46 as Christian along with at Pisa, ibid., fig. 66. the Liberius sarcophagus in Ravenna, dated in the fourth century, 58. The conch shell in the mosaics of Ravenna is apt to be of a and the only reference is to Lasinio’s book of 1814! Six sarcophagi peculiar form, radiating downward with an eagle’s head at the in Ravenna are cited which show the conch, nos. 642-647, but the hinge and a scalloped upper edge, cf. the Tomb of Galla Placidia Honorius sarcophagus in Galla Placidia’s Tomb is dated as of the and S. Apollinare Nuovo, GaLassi, Roma o Bisanzio, pls. 1, 4, 22sixth to seventh century and the last two in S, Apollinare in Classe 29. See below, p. 24, note 116 and LAWRENCE, Colummnar, pp. 131-

(figs. 64 and 65) as of the seventh. No references are given for 132 and note 60. The conch radiates alternately up and down in these last three although the Honortus sarcophagus is one of the the stucco reliefs of the Orthodox Baptistery, GALAsst, of. cit., pl. most frequently reproduced of the Ravennate group. The Ariosti 12, and upward in the mosaics of S. Vitale, zbid., pls. 72, 73. sarcophagus in Ferrara is omitted and the statistic as a whole is in- 59. Storia, v, pl. 393, 1-3. It is mentioned also by DUTscHKE,

complete and inaccurate. p. 263, and by SYBEL, 11, p. 196. Fusignano is 28 kilometers west 57. The Riccardi sarcophagus in Florence, LAWRENCE, Colum- of Ravenna.

12 SARCOPHAGI OF RAVENNA end of Fusignano with the sole difference that in the latter —_ effect. Christ is without the nimbus; His hair is short sugthe space is more crowded and the birds are squeezed in _ gesting a cap and seems to be bound with a fillet; and for under the arms of the cross instead of rearing their heads _ the first time also His face is turned toward Paul, emphaproudly beside the rho. The left end of the trough shows _ sizing the asymmetry of the composition. The apostle at the

another pattern but one familiar to us from the Theodore right, on Christ’s left, is further away than Paul and sarcophagus, doves in the branches of a grapevine, flank- _ stands upright, his body frontal although his face is ing a central cross, which is here again of the monogram __ slightly turned. It is difficult to recognize him as Peter, for

type. Below, covering the awkward root, are three large he is beardless with a long heavy face and hair which acanthus leaves, a juxtaposition of plant forms that we find — sweeps upward away from his forehead. In short, he has

also on the latter sarcophagus. Here they curve upward, _ none of the characteristics of the type used for Peter, but a more graceful and naturalistic arrangement than the — seems rather one of the younger apostles whom we see be-

drooping leaves on the sarcophagus in Ravenna. Finally, side him. On each end are two more apostles bearing the cover presents the leaf-tile pattern which we have wreaths, such as we find on the fronts of the Rinaldo and noted on both the Rinaldo and Ariosti sarcophagi. This lid, Twelve Apostle sarcophagi. They bend at the waist, in an gabled and not semi-cylindrical in type, is thus an excep- — awkward imitation of the running positions of the apostles tion in our workshop but since this form was almost as popu- — gy the two former sarcophagi. There are thus in all eight

lar in Ravenna as the other it should not be a disturbing apostles, all of them beardless except Paul. They are singu_ variation. Two large half palmettes fill the acroteria in larly uniform in type again with the exception of Paul, but front and should be compared with those on the back of the show little resemblance to the style of our workshop, the cover of the Pignatta sarcophagus (Fig. 32). Rosettes are pends being small and rather delicate, the features less inplaced in the smaller acroteria of the ends, a motif which cisively cut. The costumes also differ; all the figures wear we have had occasion to note several times on our earlier shoes instead of sandals, and the palliums are now draped examples. Garrucci gives us no information as to the condi- almost to the ankle and rarely reveal the lower section of tion of the fourth side, which may mean that it was left the tunic. The folds are few and slightly cut and accom. plain, or more probably, that it is built into a wall and there- panying this there seems to be an uncertainty as to the nafore not visible. He draws the upper lintel as a series of ture of the garment and how it should rightly fall; one plain mouldings but again this should be verified °n the should compare especially Paul and the apostle at the right spot. The close conn ection, however, between this sare and those on the ends with the style of the workshop. This i phagus and the Ariosti tomb especially, and ns _ of dis- is in sharp distinction to the definite and realistic handling tinctive ornamental forms, seems to warrant its inclusion of the mantles we have seen, especially on the Rinaldo and ” A cneating varcophagus, which emulates the group al- Twelve Apostle sarcophagi. The design of the back is diffithough it is hard to believe it is one of them, is the tomb re- cult also to reconcile with other work of the atelier. Here

é , , 60 1c: in the center one sees a large disc on which is a small cross,

used in 1119 by Pietro Onesti called il Peccatore™ (Figs. almost but not quite equal-armed. Two small birds A 20, 23). This is in the church of Sta. Maria in Porto fuori, soward it from + palin a on either ide These trees L

just outside the walls of Ravenna. It is also a lintel sar-

vophagus with the usual ornament: Lesbian cymation, though resembling the type used by the workshop differ in “leaf capital and twisted column. Five feures adorn omitting the rings, using a much more slender trunk and

ares s covering it at the top with rows of three small circular

the front, Christ enthroned, who, as on the Twelve Apostle ' 1 in ‘e while

‘Two lions flank a2 central tree such as was flanked by gests rather a pagan or Near Eastern pattern which may lambs on the cover of the Honorius sarcophagus and on the have been brought to the West by either textiles or reliefs.

back of the six-arched one. The tree is coarsely cut and Although the lion has appeared on sarcophagi from early

. : . . 213 .

much stylized, but is probably intended to be a palm tree. _ times, it is not a Christian motif.

The most significant feature, however, is that in eastern With the early eighth century we reach an example that fashion? it grows from a triangular mound. This is with- _ fortunately 1s securely dated. The sarcophagus of Felix out parallel among the many palm trees of other Ravennate (Fig. 73) in S. Apollinare in Classe*® bears on its cover

sarcophagi nor does it appear in the tree type or elsewhere _—-2M Inscription stating that it contains the body of Felix sétsin the columnar series. The lions also should be contrasted Si7mi_ ac ter beatiss. archepiscopi. Felix was archbishop of with those we have studied on earlier sarcophagi (Figs. 17, | Ravenna from 708 to 724. Cover and trough give every in-

37). The relief here of high projection but without plastic dication of belonging together and the workmanship of berendering of details, except for the manes which have been _ing of this period. The sarcophagus is of the combination given a rough scale pattern and the striation of the tops of — tYP®: the outer frame Is formed by a column at one end, a the heads, is novel in the West and seems to be acrude de- _ Pilaster at the other supporting a lintel. Within this are three rivative of the similarly high but uniform projection cou- _‘*Solated aediculae with coarse overlapping mouldings. ‘The pled with stylized details on the Achaemenid reliefs from central one is covered with an illogical small gable which

Persepolis. The poses furthermore are distinctly eastern, #5 on the Honorius sarcop hagus has no inner lintel, but | The juxtaposition of the full-faced head with the profile here the acroteria are still indicated. The podium or base body of the lion on the right, the upraised forepaws and the = "'P°? which columns and pilasters rested has been cut away

tails which curl up over the backs and end in a knob, form leaving a rough surface on the marble. All the details are a peculiar ensemble which may be compared with numer- coarsened but the sarcophagus is an elaborate one and not ous examples of antithetical pairs of animals on Sassanian without decorative effect. Various classical details are badly and Coptic reliefs and textiles. A tiger on a fragment of misunderstood, of course; the end supports are not plumb silk in Brussels is in an almost identical position and a stone with the outer edge of the trough but are set in slightly, relief from Koubatchi in Daghestan shows lions in a simi- capitals have a marked flare and are variously treated, somelar pose.2!° The clumsy rinceau also varies its form and times conforming to the size of the shaft and merging with

Lo, wos . it wi interruption, and sornetimes set i

direction at the right in a manner often encountered in the it without any int PTUpHons . off from it ) art of the Near East and may be compared with ornament by a torus moulding and occasionally much larger than the circumference of the shaft. All have small knobs at the

sides which seem derived from classical volutes but there

>+}‘...

bP.°44 —Nahe > as. . . 416; GOLDMANN, p. 11; DUTSCHKE, no. 38, any similarity ceases as a continuous groove makes the 208. I am indebted to Professor Ernst Herzfeld for pointing out shape of a U across them. Bases are large and clumsy. the significance of this detail as well as the eastern character of the Shafts except for the right hand pilaster, aré unfluted. Two

me Glick and E. Diez. Die Kumst des Islam. Propvt slender candlesticks which should be compared with those

Verlag, Berlin, 1925, fig. 19. the ends of the sarcophagus of Barbatianus flank the 210. O. von Falke, Kunstgeschichte der Seidenweberei, Berlin, arches which themselves contain hanging lamps or crowns 1921, fig. 53. J. Baltrusaitis, Etudes sur Part médiéval en Géorgie whose distorted perspective makes a decorative oval. Next

et en Arménte, Paris, 1929, pl. 60, no. 94. Other textiles where come two lambs which adore the monogram-cross in the

lions flank a tree, vase or fleuron in a similar manner are illustrated . . . d by Falke, op. cit., pl. 103; W. F. Volbach and E. Kuehnel, Late central niche. This is of heavier form and shows a pendant Antique, Coptic and Islamic Textiles of Egypt, New York, 1926,

pls. 51, 533 J. Guiffrey, La collection Kelekian, étoffes et tapis 211. For the rinceau: E. Herzfeld, Die Ausgrabungen von @’Orient et de Venise, Paris, n.d., pl. 19; H. Ernst, Etoffes et tapis- Samarra, Berlin, 1927, 11, pls. 12-14; M, figs. 45, 47, 196. For sertes coptes, Paris, n.d., pl. 44; J. D. Cooney, Pagan and Coptic the palmette: 1, fig. 48, pl. 63.

Egypt, Brooklyn, 1941, pl. 176. Compare also the poses of the 212. Baltrusaitis, of, cit., pl. 32, no. §1. lions on two textiles reproduced by H. Schmidt, “Persian Silks of 213. GARRUCCI, Storia, v, pl. 392, 1; CATTANEO, fig. 4; VENthe Early Middle Ages,” Burl. Mag., LVU1, 1930, p. 284, pls. 1d TURI, Storia, 1, fig. 206; VAN GHEYN, fig, 10, p. 203; GOLDMANN,

and II a. p. 73 DUTSCHKE, no. 75, pp. 77-78, fig. 31.

THE SYMBOLIC SARCOPHAGI 41 A and w, and a closed rho. Above the lambs are two crosses Two other sarcophagi in S. Apollinare in Classe bear inof unequal size suspended in air. Again while completely _ scriptions by which they can be dated. These are so much illogical they fill in the space making an interesting pattern _—_ alike they may be treated together.”*® One bears the name

particularly of the voids. The surface of the various ob- — of John, the other of Gratiosus (Fig. 71) and both have jects is more or less uniform and this is true as well of the —_ the same formula for the inscription as that used by Felix. lambs which are flat with the details incised in the technique Gratiosus was archbishop of Ravenna from 784 to 788 and of the pulpit of Agnellus (Fig. 80). Their long legs and = John VII immediately preceded him, thus securely dating large feet, small heads and bushy tails are in sharp con- _ these tombs in the last quarter of the eighth century. Within . trast, however, to the lambs on that monument, but showa _a wide frame we see three crosses separated by two plaques

striking similarity to the lambs of the mosaic of the tri- with the inscription. The covers are semi-cylindrical but of

214: .

umphal arch of S. Apollinare in Classe (Fig. 78). Here the depressed outline, and show the guilloche pattern in heavier bodies are elongated and flattened in the same manner, the _and tighter form than on our last example and approach-

articulation of the forelegs indicated by the same enclosing ing the rope-pattern. They differ only in that John’s is line and the canine stance marked. Since this mosaic is prob- _ plain while the cover of Gratiosus’ tomb?!” shows three ably of the seventh century,”** it may well have afforded the —_crogses like those on the trough. The left end of the latter model for the sculptor of the Felix sarcophagus and may and the right end of John’s sarcophagus each shows a cross.

account for his treatment which 1s far superior tothaton ‘The other ends are plain. Thus there is nothing but the the Pesaro or the Crucifer Lamb sar cophagi. One feelshere crosses and the guilloche pattern to detain anyone but an that although naturalism is no longer the aim, this style has epigraphist. These crosses are curious in the spirals or vostruck its stride, the change in scale has been assimilated and lutes which terminate the top and the cross arms. A similar

a new type of pattern has been evolved. The two sar- form occurs on four transenna panels in Rome, on the wellcophagi just mentioned of the seventh century seem puerile head in the cloister of St. John Lateran and on another attempts beside that of Felix. The cover shows the guilloche —, -a ncenna panel at Villanova near Bologna.?!® ‘These are pattern which we last saw on the Honorius and four-arched usually dated in the eighth or early ninth century

it is ti withdesign coarserfor and,e. -. , , ; sti1 11Opuilar i e elgnt . . .

sarcophagi but here it ts ane . © 1 ° des “ton rolore Similar crosses appear on a third sarcophagus, now in the istic detail. It becomes a real tes rr P he € nt i ath Archbishop’s Palace but which was found in the Cathedral

cross bisects thewith cover; 1 1les. i erral crosses-In wreaths a . .o. .; . .

furniture and arcinrecta So i 5 ‘ ane nin in excavations of the eighteenth century.”? The front of

neher cid A large cent I h ; h "the trough only has survived and this bears the epitaph of either side of it are two sma Gregorius and Maria which fills the center in a long rec-

and w hanging from the cross bars. As on enclosed the rearinofanthe . . border decorated . tangular plaque, irregular four-arched sarcophagus absolute symmetry is obtained by ; r with a braided guilloche. The strips at the; , ends are nar-

reversing the A with thatthan of the at the ,; , , bands, ; ; rower the andposition show aoftighter design thewhorizontal

right. Finally theforms shapeareofeasy thetocover shows the final trans, ; are ; butofboth parallel in ornament of the eighth formation the semi-cylindrical type. Instead of a slight ; a century. A fleuron or knot isasplaced asymmetrically at either depression of the semi-circle on the Lamb, the four;ter; . end of this plaque and between it and the crosses which arched and the Crucifer Lamb sarcophagi, we see here a ; ; . aa minate the design. These repeat the crosses of the Gratiosus double curved form with a marked concavity just above exceptand thatback theyof have volutes at the base wella the- sarcophagus inscription. Ends both sarcophagus andas200 as at the top and ends of the arms.” The close stylistic cover, are uncarved.between As a dated of sculpture of ; = a ; , comparison theseexample two sarcophagi would indicate the, date early eighth century in Ravenna the importance of the . most in the same period for the tomb ofstressed. Gregorius. The Felix sarcophagus cannot be too much It should . ys . interesting feature about the sarcophagus, however, is the prove of great value in establishing the date of various

transenna and altar fragments which are quite numerous 216. The sarcophagus of John: GaRRUCCI, Storia, v, pl. 392, 2; in northern and central Italy. Most of these have never | GoLpmann, p. 6; DUTSCHKE, no. 82, pp. 89-90, fig. 37. Gratiosus:

been properly photographed or studied. GARRUCCI, of. cit., pl. 392, 33 CATTANEO, P. 200, fig. 103; VAN

GHEYN, fig. 11; GOLDMANN, pp. 5-6; DirscHKE, no. 81, pp.

214. C. Ricci, Monumenti tavole storiche dei mosaict di Ra- 88-89. venna, Rome, 1935, Vil, pl. 66. Ricci’s plate shows clearly that the 217. Diitschke’s statement that the cover does not belong is in-

lambs are part of the original mosaic and not a restoration of the correct.

tenth century as Galassi states (Roma o Bisanzio, p. 198). 218. Kautzsch, op. cit., figs. 54, 55, §8, 60; ToEsca, Storia, fig.

215. See CATTANEO, figs. 37) 39) 43) 45) 59) 74, 923 TOEsca, 176; CATTANEO, fig, 108. Storia, fig. 176; HasELOFF, pls. 45, 46, 47, 533 Kautzsch, of. cit., 219. VAN GHEYN, p. 204, fig. 12; DirscHkKE, p. 24, gives the

figs. 12, 15, 16, 52, 55, 66. The rounded form here is especially inscription. close to that in the border of a mosaic pavement in Ravenna, 220. This variation occurs on a number of transenna panels in ToeEsca, of. cit., fig. 185, which is probably of the sixth century. Rome. See Kautzsch, of. cit., figs. 2, 5, 6, 8, 51, 52, 64.

42 SARCOPHAGI OF RAVENNA inscription which begins T Crux scta adivva nos in judicut —_-vald altar in Cividale of 762?—786?.?* There can be no and thus gives the motivation for the use of crosses on the doubt I think that this sarcophagus belongs in the eighth

front of a sarcophagus. century. It is not of marble; Diitschke suggests granite. Two other sarcophagi in Ravenna belong also in this | Our next example, today in the Museum,””® seems to be period. A badly broken trough in S. Vittore”’* (Fig. 72) of travertine. The trough is covered with an all-over pat~repeats the three crosses of our last examples but with a __ tern of two rows of rinceaux containing a whorl design. striated pattern on their flat surfaces,””* while a more elabo- ‘The latter shows four spokes, grooved and flaring in the

rate double guilloche encloses three sides in a continuous same way as on the ends of the Lamb-and-rinceau sarframe. Between the crosses are stylized trees and, filling in | cophagus of S$. Apollinare in Classe (Fig. 74). Eight rothe spaces above the arms, are flat rosettes. Again one can _settes irregularly placed at the ends complete the design. find parallels for these designs on church furnishings of the | These vary somewhat in size and outline but some of them eighth century. The double guilloche appears in this form = are very close to those on the sarcophagus of S. Vittore. on the ciborium at Valpolicella which bears an inscription |§ Ends and back are plain and the cover is lost. ‘There is very

dating it 712.”°* The formalized trees are coarser versions _little evidence here for date but the two patterns are comof the type found on the transenna panels of Sta. Sabina = mon in the eighth century. Here even the early Christian cited above,”** where also one finds rosettes of similar type. symbols have vanished, to be replaced by a purely decorative These trees should also be compared with those on the Sig- _—_ design and with this we come to the end of our series.

2. ICONOGRAPHY Probably the most interesting scene of the symbolic sar- the figure of Christ and is flanked by twelve lambs who cophagi is the Lamb of God on the mount adored by two __ proceed from Jerusalem on one side, from Bethlehem on apostle lambs.?”7 This occurs on the Constantius sarcopha- __ the other. That this composition goes back at least to the

gus (Fig. 60) and in a later and more formalized pattern fourth century is proved by its appearance on several of the : on the Bebi tomb in Padua (Fig. 66) (see Chart B). In _ city-gate and other columnar sarcophagi,”** although the both cases palm trees flank the animals as they flank the hu- = Lamb is represented usually in front of the mount and not

man actors of earlier scenes. The central Lamb has the standing upon it. The Anagni graffito, already cited as an monogrammed nimbus so there can be no question of His example of Christ giving the law to Peter, also shows the identity. The scene seems to illustrate the passage in Revela- | whole college of apostle lambs, while six only are repretion xtv, 1, ‘And lo a Lamb stood on Mount Sion” but it —_ sented in the gold glass of the Vatican (Museo Sacro) and is a condensed rendering since two lambs have been sub- _ four in the fresco at Grottaferrata.**” These minor works

stituted for the multitude of the faithful. Artistically our are probably echoes of an important apse design in either scene is an isolation of the central feature of the predella — mosaic or fresco which has been lost. In all of them Christ theme which we find in its fullest form in the sixth century _is present also in human form. That the purely symbolic mosaic of the apse of SS. Cosmas and Damian in Rome __ scene in which lambs replace human actors completely as on where the Lamb of God stands on 2 mount directly under our sarcophagi was already in use by the early fifth century is proved by the description by Paulinus of his apse mosaic in

221. P. Amaducci, “Il sarcofago Greco-Romano rinvenuto presso la chiesa di S. Vittore in Ravenna,” BOLL. D’ARTE, I, 1907;

pp. 1~9, fig. 1; DUTSCHKE, no. 70, p. 64. 228, City-gate examples are Milan and Rome, St. Peter’s, Law222, Compare the cross on a transenna fragment in Ancona, RENCE, City-Gate, figs. 2, 5, 15; other columnar sarcophagi, Rome, SERRA, fig. 59. This striation seems to be a crude imitation of the S. Sebastiano, WILPERT, Sarcofagi, 1, pl. 149, which probably had

incised patterns on the many gold Lombard crosses. §. Fuchs, Die twelve lambs, Arles, Rome, Lateran, Arles and Rome, S. Paolo, langobardischen Goldblattkreuze, Berlin, 1938, pls. 4, 5, 6, 9, 10; LAWRENCE, o?. cit., fig. 25, Columnar, figs. 1, 3, 50, in which six, etc. Although irregular these are usually recognizable as some form four, and two lambs respectively flank the Lamb of God. Gerke,

of guilloche. Lammerallegor., pp. 171 £., calls the Constantius sarcophagus the

223. CATTANEO, fig. 29. This pattern is quite common in the original form of this iconography and states that the isolated group period. For other examples see zbid., fig. 86. HASELOFF, pls. 53, 61, of Christ between Peter and Paul and the isolation of an antithetical

and F, Mazzanti, “La scultura ornamentale romana nei bassi pair of lambs both arose in Ravenna. The columnar sarcophagi distempi,” Archivo storico delVarte, 11, 1896, pp. 162-164. prove both of these contentions. 224. Kautzsch, op. cét., fig. 55. Compare also figs. 58, 59. 229. See note 99, p. 20. The Lamb of God probably also oc-

225. HASELOFF, pl. 46. curred on the cover of the Pola casket, SOPER, Italo-Gallic, fig. 19.

226, DUTSCHKE, no, 39, p. 36, fig. 16. He saw traces of pilasters Two lambs appear at the right coming from a city gate. The cenwith a rinceau design but in its present state this sarcophagus seems tral section with the feet of Christ is destroyed along with the top to be of the panel type, a form much more likely in this period. of the mount, although the lower bit with the four rivers has sur227. As evidence that the apostles were thought of as sheep see vived. The Lamb of God on the mount is present on the front of the

Matthew x, 16. casket in another scene but He is without the accompanying lambs.

THE SYMBOLIC SARCOPHAGI 43 the church of St. Felix at Nola.**° Working from this de- important since the names of the apostles are inscribed scription Wickhoff has made a probable reconstruction of | above the lambs, so that there can be no doubt of their the mosaic”** (Fig. 77). Here, to be sure, other symbols of _ identity. Christ such as the cross and dove are both present above the The Lamb of God alone with the cross, or monogramLamb on the mount, while palm trees localize the group in — cross behind Him occurs on the Honorius sarcophagus Paradise as on the Constantius sarcophagus. The scene oc- — (Fig. 61) and on one end of the Lamb sarcophagus (Fig. curred also in the catacombs of Rome and Naples about this 55). On the former two doves perch on the arms of the

time but has survived only in fragmentary form.*** It ap- _ cross; on the latter a single dove with a wreath in its pears as well on a number of minor objects. A silver cap- _ beak flies toward the cross. Although the symbolism is not sella in the Vatican, dated by Arnason c. 425-450, shows ___ clear, the first recalls the description by Paulinus of the the Lamb with a cross behind His back, adored by sixlambs — mosaic at Nola where the cross, the Lamb victim and the who proceed from cities, while a silver amula in the same _apostles “in columbarum choro” are definitely mentioned. museum, probably slightly later in the fifth century, shows ‘The mosaic at Fondi, on the other hand, may have been only two apostle lambs flanking the Lamb of God.*** This very like the Lamb sarcophagus since Paulinus describes abbreviated version occurred on a silver ring once owned _ this as showing Christ as a Lamb standing below the cross by Garrucci and on an architrave in Salona Cathedral; — while the Holy Ghost as a dove flies toward it.** The apse while the full college of apostles was possibly represented on mosaic of Sta. Pudenziana in Rome afforded a slightly

the ivory plaque which, now fragmentary, isin the Terme earlier example of this iconography, if one can trust the Museum in Rome, on an altar rim in the Marseilles Mu- _—_ crude drawing of the nimbed Lamb with a dove descendseum, and on a sarcophagus cover at Spalato.*** The last is _ing on its head, in the Vatican manuscript, Cod. Barb. lat.

4423." This would have been directly under the en-

230. Epist. xxxH, 10. throned Christ.

“Pleno coruscat Trinitas mysterio The scene of two apostle lambs adoring a central cross Stat Christus agno, vox Patris caelo tonat, or monogram is the most popular subject of our symbolic Et per columbam Spiritus Sanctus fluit. . , . Crucem corona lucido cingit globo, sarcophagi where it occurs fifteen times (see Chart B).

Cui coronae sunt corona Apostoli, | Arnason has discussed this iconography* listing seventeen apie figura est in corumbarum choro. other examples, the greater number of which, twelve, are

ia Trinitatis unitas Christo col . . . -

Habente et ipsa Trinitate insignia: found in Italy. One, a mosaic at Enfidaville, is in North Deum revelat vox paterna et Spiritus; Africa and the stone relief with the Entry into Jerusalem Sanctam fatentur crux et agnus vietimams i was found in St. John Studion in Constantinople. To this I Regnum purpura indicant, can add .et. triumphum anipsaadd frescoes in the ca . - IinJ Petram superstat petra two ecclesiae, setinpalma the catacomb of S$. Gaudioso

De qua sonori quattuor fontes meant, . . .

Evangelista viva Christi lumina.” op. ctt., Felix Ravenna, XXXVI, 1930, pls. 1) 2, fig. 2. I have omitted & “Das Ans ‘cin der Basilica des H. Felix the lost fresco of the chapel of St. Felicitas in Rome, BULL. aRcH.

231. F. Wickhoff, “Das aan in a . Althoush Pag CRIST., series 4, III, 1884, pls. 11, 12, and Garruccl, Storia, m1,

zu Nola,” R6m. Oran III, ‘ ” Pp. ww ch TF scctores them on pl. 154, 3, and the apse mosaic of Old St. Peter’s, WILPERT, linus does not mention t ; we “Nine > Cl ° dother mosaics M.u.M., 1, p. 361, fig. 114, because of uncertainty concerning their the analogy of the apse 0} S. pollinare in Ulasse and o Sac date. See Soper, Italo-Gallic, pp. 190 f. and because otherwise it is difficult to fill the space at the bottom on 245. Epist. Xxx0, 17

either side of the Lamb on the mount. Another description by oe a

Paulinus of a mosaic at Fondi does, however, specifically describe “Sanctorum labor et merces sibi rite cohaerent, lambs below the Lamb of God on the mount, Epist. Xxx1I, 17, see Ardua crux pretiumque crucis sublime, corona.

note 235. Ipse Deus, nobis princeps crucis atque coronae, 232. Rome, Cem. Pamphilus; E. Josi, “Il cimitero di Panfilo,” Inter floriferi caeleste nemus paradisi RIV. ARCH. CRIST., 111, 1926, p. 188, fig. 75, and Naples, Cem. S. Sub cruce sanguinea niveo stat Christus in agno, Gaudioso; A. Bellucci, “Le catacombe di S. Gaudioso e di S. Eu- Agnus ut innocua injusto datus hostia leto, febio a Napoli,” Riv. ARCH. CRIST., XI, 1934) Pp. 97. In the latter Alite quem placida sanctus perfundit hiantem the Lamb of God is in a clipeus as on the Bebi sarcophagus in Padua. Spiritus et rutila Genitor de nube coronat. 233. Arnason, op. cit., ART BULL., XX, 1938, p. 212, figs. 24, Et quia praecelsa quasi judex rupe superstat,

2s, 1. Bis geminae pecudis discors agnis genus haedi 244. GaRRUCCT, Storia, vt, pl. 477, 16; F. Bulic, “Scoperte a Circumstant solium ; laevos avertitur haedos

Salona,” NUOVO BULL. ARCH. CRIST., VIII, 1902, p. 134; G. Stuhl- Pastor et emeritos dextra complectitur agnos.” fauth, Die altchristliche Elfenbeinplastik, Freiburg, 1896, pl. 11, 2; 236. Fol. 63v. It is reproduced by WILPERT, M.u.M., 11, p. 586, Arnason, of. cit., fig. 31; CABROL, 1, 1, fig. 206. A curious variant fig, 227. This may have shown the whole college of apostles as of this iconography appears on a relief plastered into a wall of lambs but the mosaic has been cut off at the bottom. S. Marco in Venice where the twelve apostle lambs adore a cross 237. This would be sixteen if we included the lost sarcophagus surmounted by a minute lamb enclosed in a medallion. They are mentioned in note 170. Arnason, of. c#t., ART BULL., Xx, 1938, pp.

labelled OT AFIOI AILTOCTOAOI, A fragment in Ravenna 211-212. See also GERKE, Laémmerallegor., pp. 160-196. The where a similarly small lamb stands on top of a cross and is adored lambs touching or “kissing” the ends of the cross are according to by larger lambs below has been compared with this by Bartoccini, him symbols of the apostles adoring Christ.

44 SARCOPHAGI OF RAVENNA Naples and an ivory of marked Gallic characteristics inthe | the Museo Civico,”** where the crude bodies of the lambs Metropolitan Museum.”** Three fragmentary stone reliefs | and the incised crosses, coupled with the form of the inmust also be added: one found at Geneva and possibly of the _ scription, suggest a late date. Again this can only be a trans-

fifth century, one at Dabravina in Dalmatia, the third at _lation into the form of animals of the scene of Peter and Nicopolis in Greece.?*? Neither of the latter can antedate —_ Paul both carrying crosses that we found on the front of the

the sixth century. Thus the evidence remains predomi- _— Certosa sarcophagus in Ferrara (Fig. 3). Like its human nantly in favor of the origin of this scene in the West, with —_ counterpart it is very rare and seems to be limited to northespecial popularity in Ravenna where it occurred at least __ ern Italy.***

five times on other objects in addition to the sarcophagi. Its Peacocks flanking the symbol of Christ (the monogram, appearance on the sarcophagus of Catervius (d. 379) at cross, or monogram cross) vie with the lambs in popularity Tolentino, however, proves that the theme was already in as they occur on twelve Ravennate sarcophagi**® (see

use by the end of the fourth century.”*° Chart B). Usually the monogram is on a disc with no Lambs flanking the palm tree and nibbling its fruit oc- | apparent support as on the Theodore sarcophagus (Fig. 6), cur twice, on the cover of the Honorius sarcophagus and on __ but in one example it stands on the mount from which the

the back of the six-arched example. This isa much rarer four rivers flow (Fig. 56). Grapevines, rose trees and type but is found on a fragmentary frieze, possibly fromthe — palms occasionally form a background. Much has been lintel of a doorway, which was discovered in Hagia Sophia _—_ written about this theme.”“° The peacock, the bird of Juno, in Constantinople.*** Six lambs approached the palm tree

from either side although on theCABROL, right hand sideVv, & only y ; 8four : 243.

1, cols. 49-50, fig. 4075. Cabrol dates this in

are preserved today. As Gerke has pointed out, this theme the sixth century, on what grounds I have not been able to discover. seems to be a literal illustration of the verse in Revelation, 244. This is of course not to be confused with the Lamb of God

99242 y fly y

“To willAND I give toTYLER, eat of the treeH, of (Pree cross, That appears the silver cross of Justin II . tahim eethat. .overcometh PEIRCE fig.a 136) and is a8)subject particularl life, which is in the midst of the par adise of God. popular on terra cotta lamps from North Africa, see Delattre, The apostle lamb carrying a cross is also very unusual. = Rewue de Part chrétien, 11, 1891, fig. p. 41 (no. 155); fig. p. 47 , This occurred, it will be recalled on the Crucifer Lamb sar- (no. 265); fig. p. 308 (no. 639)3 p. 301 (no. 483); p. 304 (no.

cophagus (Fig. 69) which seems to date from the seventh 535 re 307 sn o2t5 ” p. 229 (no. 838); Iv, 1893, century. Probably contemporary with it is a relief on the 245. These statistics include in addition to the sarcophagi disepitaph of Guntelda from S. Giuliano in Como and now in cussed a semi-cylindrical cover on a sarcophagus in the court of S. Vitale (Fig. 75). It is apparently unpublished. The trough, which is of the lintel type, presents little of interest except a plaque upon 238. Bellucci, op. cit,, Riv. ARCH. CRIST., XI, 1934, figs. 6, 7; which “D, M. Bonifacius” has been cut. Oval discs with escutcheons

Morey, Early Christian, fig. 191. at either end are obviously later additions. The cover shows two 239. I. P. Kirsch, “Sculture cristiane antiche a Ginevra,” Riv. peacocks adoring a central cross with a and w pendant from the _ ARCH. CRIST., I, 1924, p. 180, fig. 5; C. Truhelka, “Die christ- arms, Less naturalistic than the peacocks of the Rinaldo workshop, lichen Denkmiiler Bosniens vu. der Herzogovina,” ROM. QUART., IX, they should be compared with those on the cover of the Lamb sar-

1895, p. 219, fig. 1; A. Philadelphos, “Nikopoleos anaskaphai,” cophagus (Fig. 54). The right end of the cover has a monogram-

ARCH, EPHEMERIS, 1918, p. 34, fig. 1. cross flanked by birds, the left end, the same scene with lambs. Each 240. LAWRENCE, City-Gate, fig. 13. A fragment of an altar in has a lion’s head as handle. The back shows an isolated monogramS. Apollinare in Classe in Ravenna, A. Colasanti, L’art byzantin cross with pendant A and w, a design repeated on the trough below. er Italie, Paris, n.d., 1, pl. 27, should be added to Arnason’s list. Three more examples of our scene might be added. A gabled cover

Another altar frontal from S, Sebastiano in Ravenna showed a which was found outside the Porta Nuova was published with a cross in the central gable, flanked by two lambs in the spandrels crude drawing by De Rossi in BULL. ARCH. CRIST., ser, 5, II, 1891, above, C. Ricci, “Marmi ravennati erratici,” Ausonia, IV, 1909, pp. 105-115, pl. 7. DUTSCHKE (no. 83, p. 91) listed it as lost. This p- 265, fig. 13. This was published as in the Villa Landau in Flor- showed a curious cross on a stepped base and with pendant A and w, ence by G. de Nicola, “Due marmi ravennati in Firenze,” Rtwista adored by two peacocks and with two crosses behind them. GEROLA, darte, 1X, 1916, p. 218, fig. 1. The cross seems to have been cut Sarcofagi, p. 403, describes two peacocks flanking the monogram away as it is scarcely visible in the photograph although it shows with the vine in a simple flower form, on a sarcophagus at Ranchio clearly in the earlier drawings. Nicola dates it in the sixth century near Sarsina in the region of San Marino. Finally at Rovereto but and compares it with the Honorius sarcophagus, A strigil sarcopha- brought from Bologna, the sarcophagus of Hydais is described in gus in the Museum of Valencia, WILPERT, Sarcofagi, 11, pl. 241, 2, the Corpus Inscriptionum Latinarum (x1, no. 815) as having a star shows two animals standing under the labarum, flanking the jew- monogram, two crosses and two peacocks. These last two sarcophagi eled cross. Wilpert interprets these as a deer and a lamb and al- may still exist but I have not been able to find photographs. This though they do not look much like either animal, there seems to be brings the scene on sarcophagi of Ravennate type of which we have

an attempt to differentiate them. record to fifteen.

241. §. Larsen, “A Forerunner of Hagia Sophia,” A.J.A., xLI, 246. GERKE, Lammerallegor., p. 161, states that the original

1937, Pp. 4, fig. 8. Larsen describes two fragments although he il- form with the lambs was replaced by doves or peacocks. See also,

lustrates only one. He dates the frieze from 404 to 415 when the W. Lother, Der Pfau in der altchristlichen Kunst, Studien tiber

propylaea was added. christl. Denkmaler, xvii, Leipzig, 1929; W. Elliger, Zur Entste-

242. GERKE, Ldmmerallegor., p. 171. Rev. 1, 7. Other refer- hung und frithen Entwicklung der altchristlichen Bildkunst, ibid.,

ences to the tree of life are: Rev. XXII, 23 XXII, 14. XXIII, 1934, pp. 83 f.; F. de Ruyt, “Etudes de symbolisme fu-

THE SYMBOLIC SARCOPHAGI 45 was also the symbol of immortality in the Dionysiac cult. of the Seleucids, or 520 A.D, Here two peacocks adore the St. Augustine described its flesh as incorruptible, a concep- —_—cross and with this may be coupled a relief from Bourg tion which together with its practice of shedding its feathers © Mouhash, taken to Saisaniye.”°° A fragmentary stone relief and growing new ones in the spring, led to its becoming a from Thelepte, now in the Museum at Brussa,”** also shows symbol of the resurrection of the body.**" Add to this that —_a cross, although only one peacock has survived. Supposedly

it was the symbol of Spring (it accompanies May in the from Zib near Tyre is a flagstone now in the Louvre” Chronograph of 354 and appears frequently with the Sea- —- with a strange design of a cross in a circle with two peacocks sons**®) and it is easy to understand why the peacock is such below and two animals, possibly lambs, above. From the

a common inhabitant of garden scenes, both pagan and extreme carelessness of the style this is probably later than Christian, and is used so profusely for decoration in the __ the other examples. A wall relief in a tomb at Shafa’ Amr?®® frescoes of the catacombs. It is noteworthy, however, that _in Palestine seems of comparable decadence in the poor re-

the juxtaposition of the monogram, or Cross, with the pea- production I have of it. The stele of John from Constanti- . cocks does not occur among nearly three hundred early _nople now in the Berlin Museum, shows the scene as does Christian examples until a comparatively late date and _also the Rabula Gospel.”*° This makes nine examples from when it appears is distinctly not a feature of Roman iconog- _ the general region of Syria, Palestine and Asia Minor, a raphy. Two frescoes of the fourth century in tomb chap- large number considering the paucity of early Christian els at Sardis and Ephesos seem to be among the earliest |§ monuments in these lands. Seven of these use the cross, two extant examples’*® although a plaque, today on the inside the monogram, In Egypt the scene of peacocks flanking the of the wooden doors of $. Ambrogio in Milan, is if authen- —_ cross occurs in a fresco at Bawit and on two late Coptic tic, another instance. Excessive restoration, however, makes _ stelae,**° although as on the chair of Maximianus peacocks

it questionable.?°° The scene occurs on seven products of occasionally flank other monograms than that of Christ.” the Rinaldo workshop in the fifth century and in Vienna — A _ mosaic from a convent at Dermech near Carthage and 847, a manuscript which has already been cited inconnec- —_ today in the Musée Alaoui, Tunis,”*? adds an example from tion with our sarcophagi for its use of heart-shaped leaves.*** _—_ the sixth or seventh century from North Africa. Here the In the sixth century it was also a popular motif in Ravenna —_s monogram presumably was in the center although that sec-

on church furnishings where it appears at least three times _ tion is badly damaged. A few sporadic examples appear in on transenna panels,?5? and a somewhat cruder and later © Gaul. Two late sarcophagi showed it: the tomb of Abbot version is found in S. Marco in Venice.”** In the Near East — Florentinus, d. 553, in Arles, which we know only from the

examples multiply from the sixth century on. A basalt lintel description of Peiresc, and a cover in the Museum of at Ghour®* near Antioch bears an inscription of 831, era Bourges."°* Two epitaphs, of Nonnita at Amiens, and

: Pauta at Mainz, also show peacocks replacing the customnéraire,” Bull. de PInstitut hist. belge de Rome, XVI, 1936, pp. 164-169; H. Leclercq in CABROL, XIII, 1, 1937) cols. 1075-1097. 255. Ibid., X11, 2, col. 1619.

Lother is little interested in iconography and his discussion is very 256. G. Mendel, “Catalogue du Musée impérial ottoman de

inadequate. Brousse,” B.C.H., XXXIII, 1909, p. 351, fig. 49; Kautzsch, of. cit., 247. St. Augustine, De Civ. Dei, xx1, ch. 1v. Pliny, Natural Hts- fig. 97. tory, Lib. x, cap. Xx11, describes how the peacock sheds its plumage. _ 257. CABROL, X1I1, 1, col. 1099, fig. 9631; E. Michon, “An-

For further discussion, see CABROL, XIII, 1, cols. 1075-1077. tiquités gréco-romaines provenant de Syrie,” Revue Biblique, n.s., 248. J. Strzygowski, JB. ARCH. INST., 1 Ergarz. Heft, 1888, pl. I, 1905, pp. 565-566.

23 and p. 67. 258. CABROL, III, 2, col. 2298, fig. 3152; H. Swoboda, “Die 249. H. C. Butler, Sardis, 1, 1922, pp. 181-183, pls. 4) 53 altpalistinensischen Felsengriber und die Katakomben,” R6m.

V. Schultze, Altchristliche Stadte und Landschaften, 11, Kleinasten, QUART., IV, 1890, fig., p. 322.

25 1926, pp. 100~101. . 259- WULFF, Altchristl. Bildwerke, Pp. 19; no. 32, fig., and Dal250. A. Goldschmidt, Die Kirchenthiir des heiligen A mbrosius tn ton, Byzantine Art and Archaeology, fig. 90; PEIRCE AND TYLER,

Mailand, Strassburg, 1902, p. 16. 11, pl. 202.

251. Nat. Lib., Lat. 84.7. See note 40. 260. Clédat, Mémoires de Plast. franc. du Caire, X11, 1904, pl. 252. Two of these are in §. Apollinare Nuovo, HasELorr, pl. 79; W. Crum, Catalogue général des antiquités égyptiennes du

36; ToEsca, Storia, fig. 161. One in S. Vitale, the so-called sar- Musée du Caire, Cairo, 1902, pl. 49, no. 8680; A. Gayet, Les monucophagus of St. Ecclesius (HAsELOFF, pl. 40, a), is a single slab ments coptes du Musée de Boulag, Mémoires de la Mission arch. which has every appearance of being part of an altar or choir franc. au Caire, 111, 1889, pl. 54, fig. 70, stele 8666. screen. Stylistically this is so close to the pulpit of Agnellus (Fig. 261. PEIRCE AND TYLER, 11, pl. 5; Cooney, Pagan and Christian 80), compare especially the peacocks and stags, that it must date Egypt, pls. 49, 50.

in the last third of the sixth century. Another transenna panel in 262. Musées et collections de PAlgérie et de la Tunisie, xv, S, Agata shows turkey cocks done in much the same technique flank- Tunis, Musée Alaoui, suppl. 1, 1910, p. 14, no. 228 bis, pl. 18, 1.

ing a star monogram (7bid., pl. 37, b). 263. E. Le Blant, Les sarcophages chrétiens de la ville d’Arles, 253. Ongania, of. cit., v, parts 4~5, pl. 249. The monogram Paris, 1878, p. 70, no. 78; E. Le Blant, Les sarcophages chrétiens de here is of the star form as on the Pesaro sarcophagus with which la Gaule, Paris, 1886, p. 58; R. Hamann-MacLean, Friihe Kunst

the technique of the birds should also be compared. im Westfrankischen Reich, Leipzig, 1939, pl. §9. This is probably

254. CABROL, XIII, 1, col, 1092, fig. 9619. the tomb of Calentinus, d. c. 660.

46 SARCOPHAGI OF RAVENNA ary doves beside the monogram.”™* All these have the chi —_ survived in Rome. The use of the monogram in this scene is

rho. A very fragmentary inscription from Aversa in the — more popular in Ravenna and Gaul, the cross in the Near Lateran Museum also shows a crude peacock at the right _— East. flanking a heavily jeweled monogram-cross, the left side is The chalice or vase between peacocks occurs on five broken off." A pair of gold earrings now in the British | Ravennate sarcophagi but this theme is a common one in Museum is of uncertain provenance but may well be eastern —_ early Christian times.””° It is particularly popular, however,

since they are of the same shape and show the same svelte on mosaic pavements in Palestine and Syria and on Coptic peacocks as another earring in the same collection which __ stelae.?”" It appears at least six times in the catacomb paintwas found at Erythrae.”°° A few examples of late date may —_ ings of Rome and Syracuse?”* and at Ravenna in the stucbe added. Fragments of a silver cross of Lombard type were _coes of the Orthodox Baptistery, on a pulvino of S. Vitale found at Beringen in Switzerland.”*" Here peacocks, indi- = (Fig. 79) and on a couple of altars and mosaics.?”*

cated: so crudely as to be almost indecipherable, appear be- Doves adoring the cross or monogram also appear on low a cross which rests on a globe and issurmounted by one. _ twelve of our sarcophagi. They usually stand below and the The ciborium in the Museum at Perugia has peacocksinthe _ scene is a subordinate one on the end or cover, not like the spandrels, a cross in the center of the archivolt, and peacocks _ adoration of the peacocks, the chief scene on the front of the

drink from a chalice which is surmounted by a crosson the _trough.”’* On the Honorius sarcophagus, however, two tomb of Theodota in Pavia, 2 monument which may be doves perch on the arms of the cross behind the Lamb of dated by her death in 720." At least five Italiantransenna = God. These may be likened to the birds in a similar position panels’ show the scene and probably a number of other _ in the Symbolic Resurrection on columnar sarcophagi.?” instances could be found in this period, for by the eighth = T'wo doves flanking a symbol of Christ without doubt stand century the theme has been popularized by Ravenna. To for the apostles as we know from Paulinus of Nola. This summarize our conclusions, of some forty examples which _ iconography has been studied by Arnason who found two

may be dated prior to 700, twenty or so are traceable to hundred examples of doves adoring the monogram and Ravenna or districts closely connected with that city in seventy-two others in which they flanked the cross.?”° The , North Italy. Nine or ten come from the Near East with three more from Egypt. Four examples are found in Gaul, 270. The Index of Christian Art records nearly seventy examples a land which from the fourth century on had strong artis- prior to 700 aA.D.; of these thirty-one come from Egypt or the Near tic connections with Asia Minor, and only one example has East, seven more from North Africa, Ravenna accounts for seven, and eight more come from North Italy or Dalmatia. The purely decorative classical motif of the basket of fruit between peacocks is 264. E. Le Blant, Inscriptions chrétiennes de la Gaule, Paris, _ now replaced by the chalice which has of course a symbolic meaning.

1856, 1, pl. 34, no. 214, p. 430; pl. 40, no. 237, p. 461. 271, For mosaic pavements see M. Avi-Yonah, “Mosaic Pave-' 265. O. Marucchi, I monumenti del museo cristiano Pio-Latera- ments at E] Hamman, Beisin,” Quarterly, Dept. of Antiq. Palesnense, Milan, 1910, pl. 57, no. 40. From the form of the mono- tine, V, 1935~36, pls. 14-17; F. J. Bliss, “Discovery of a Mosaic gram cross it is unlikely that this antedates the fifth century. I have Pavement at Jerusalem,” Quarterly, Palestine Explorat. Fund, omitted the Greek inscription of Leonteis at Anagni (G. B. De- 1894, fig. p. 2593 F. J. Bliss, “Expedition to Moab and Gilead,” Rossi, Inscriptiones christianae urbis Romae, n.s., 1, Rome, 1922, ibid., 1895, fig. p. 207; B. Bagatti, “Edifici cristiani nella regione no. 2634) because there is only one peacock which is placed below del Nebo,” Riv. ARCH. CRIST., XIII, 1936, p. 136, figs. 24, 26; M.

, as an isolated symbol and the monogram terminates the line above. Briggs, “The Mosaic Pavement of Shellil near Gaza,” Burlington 266. DaLTON, Catalogue, pl. 5, no. 276, compare no. 277. A Magazine, XXXII, 1918, p. 185, pl. p. 187. Three more appear in similar earring in Berlin (WuLFF, Altchristl. Bildwerke, no. 1112, Greece, see A. Orlandos, of. cit., Archaiologikon Deltion, X11, 1929, pl. 55) came from Cairo and is dated by Wulff in the sixth century. fig. 73, p. 66, pl. 1, and Philadelphos, of. cit., ARCH. EPHEMERIS, 267. D. Viollier, “Fouilles exécutées par les soins du Musée na- 1917, fig. 6, p. 52, fig. 10, p. 55. For Coptic stelae see Crum, of, cit.,

tional,” Anzeiger fiir schweizertsche Altertumskunde, n.s., X11, pls. 47, 48, 49, 511911, p. 26, fig. 5, pl. 2. Viollier dates this in the seventh century. 272. E. Josi, op. cit., RIV. ARCH. CRIST., III, 1926, p. 193, fig.

268. Torsca, Storia, fig. 173, p. 282. He dates the Perugia 78; J. Wilpert, Die Malereien der Katakomben Roms, Freiburg, ciborium in the eighth century. For the tomb of Theodota see 1903, pls. 31, 25 109, 33 J. Wilpert, Mesmorie, pont. Accad. rom.

HAsELOFF, pl, 44. di arch., 1, 2, 1924, pl. 6; Neuss, op. cit., pl. 4, fig. 9; J. Fiihrer,

269. There are two in Rome (Kautzsch, of, cit., figs. 52, 66), “Ein altchristliches Hypogeum im Bereiche der Vigna Cassia bei one each at Villanova (CATTANEO, fig. 108), Berlin, Deutsches Syrakus,” Bay. Akad. der Wissensch., Abhand., XX, 1905, pl. 5, 1. Museum, from Venice (J. Baum, La sculpture figurale en Europe 273. PEIRCE AND TYLER, I, pls. 134, 138; Colasanti, of. cit., & Pépoque mérovingienne, Paris, 1937, pl. 74, fig. 198), and at 1, pl. 65; GALass!, Roma o Bisanzio, pl. 107; Rohault de Fleury, Modena (ToEsca, Storia, fig. 169). This last example bears an in- La Messe, Paris, 1883, Iv, pl. 279.

scription of Bishop Lopiceno of the first half of the eighth century 274. The four-arched sarcophagus (Fig. 64) does, it is true, and shows two lions and two stags also flanking the cross. Also of show doves on the front but these are three in number and are awkeighth century date, if it was authentic, was the gold crown once wardly posed as filling between the arches, two of which contain owned by DeRossi and ascribed by him to Ravenna (R6m. Quarr., monogram-crosses, III, 1889, pls. 2, 3). Here two peacocks flank a cross in a medal- 275. LAWRENCE, Colummar, figs. 12 and 43. For a discussion of lion. Since its present location is unknown, it is difficult to make a this iconography see Arnason, of. cit., ART BULL., xx, 1938, p.

final judgment but the form of the peacocks, one of which seems 198.

to be wearing a collar, does not help the case. 276. Ibid., pp. 193-201. Since Arnason examined several thou-

THE SYMBOLIC SARCOPHAGI 47 geographical distribution is impressive. The scene occurs _ however, is of a curious mushroom shape. The lions’ tails only two or three times in catacomb frescoes, never on the are raised above their backs but there the resemblance ceases frieze sarcophagi, and on some twenty Roman inscriptions as they do not end in knobs and the animals are much more

out of more than six hundred where the dove is found. realistic. The poses, however, are similar for the one on the There are a few sporadic examples in the Greek East also, left is completely in profile while the other has turned his but the theme is of enormous popularity in Gaul and North _ head outward. An ivory comb at Sens also shows the theme.

Italy in the fifth and sixth centuries where Arnason listsone Here the lions are rampant, their forepaws resting on the hundred and seventy examples.”’ It appears on Spanish tree. The upper border of the comb has an inscription in capitals and was also popular in North Africa where it was gold giving it to Bishop Lupis, d. 623, but the letters are of a common decoration for lamps. The monogram is more __ the thirteenth century. The tradition, however, may well popular in Gaul, the cross in North Italy. The Ravenna _ be correct.”*° Lions flanking a fleuron or palmette have alsarcophagi, however, are almost equally divided with five | ready been mentioned in comparison with our sarcophagus; examples of the cross and four each of the monogram and _ they occur on a relief at Koubatchi in Georgia and on four monogram cross. Thus again we find as so frequently with Coptic textiles." A relief in the Cairo Museum, possibly the art of Ravenna that iconographically its affinities lie with of the seventh century, also shows a candelabrum or fleuron

North Italy and Gaul. between the animals and surprisingly fierce and naturalistic Doves perched on the rim of a large amphora appear on lions flank a vase from which stems the vine on the front of the ends of the two sarcophagi in the tomb of Galla Pla- _ the ivory chair of Maximianus.”®? Thus the theme was evicidia (Figs. 60, 61). This is a very common theme, how- dently of some popularity in Egypt.?** Finally our lions may ever, and one need go no further than the mosaics on the — be compared with those which flank a niche with trees, walls above to find a parallel, although the vase 1s not of the birds and a rinceau, in the reliefs in the tomb chamber at

same form.?78 Shafa’ Amr*** already cited for the peacock and cross. This The peculiar iconography of the child’s sarcophagus _ is probably of the sixth century. (Fig. 70) of lions flanking a tree is not without precedent Thus the symbolic sarcophagi, like the figured ones, have in Christian art of the period. It occurs in the stucco reliefs their own iconographical cycle and present few parallels of the Orthodox Baptistery in Ravenna,*"” where the tree, _ with the large series of Christian sarcophagi elsewhere.

3. ORNAMENT The ornament of the symbolic sarcophagi adds little to (Fig. 39). This type also appears on the Honorius sarthat of the figured series until we come to the seventh and _—cophagus (Fig. 61) and the one in Padua (Fig. 66). The eighth centuries. The capitals have been noted as they oc- _— curious and very crude capitals of the Lamb-and-rinceau curred. The earlier ones have the simple spoon-shaped leaf —_ sarcophagus (Figs. 67, 74.) should be noted. Their extreme

of the Rinaldo workshop and this ts imitated on both the — squareness and flatness may be compared with the upper six-arched and four-arched sarcophagi (Figs. 65,64).On capitals on a page of Vienna 847,°°° a manuscript which has the latter, capitals with “double volutes” as on the Pignatta _—_ already been cited twice for analogies with our sarcophagi,

sarcophagus (Fig. 31) are also found as are others with | and with the capitals on the pulpit in Sto. Spirito, Rasharply serrated leaves like those of the tomb of Barbatianus _venna.”** Similar deformations appear on the capitals of sand examples where the dove is listed in the Index of Christian 280. P. Clemen, “Merowingische und karolingische Plastik,” Art on monuments prior to 700 A.D., a few additional entries would Bonner Jb., XC, 1892, p. 116, fig. 21. not alter his conclusions. DOTSCHKE, pp. 134-135, traced the reli- 281. See note 210. gious symbolism of this motif to Egypt but since only two or three 282. Strzygowski, Koptische Kunst, p. 63, no. 7330, fig. 82; of Arnason’s examples stem from there, this theory is singularly PEIRCE AND TYLER, 1, pl. 5. Lions flank the cross on another Cop-

without support from the artistic evidence. tic relief, Crum, of. cit., pl. 47, no. 8673.

277. A few more examples may be added in Ravenna itself. 283. Asilver plate found at Caubiac and now in the British MuDoves flank the cross in the stuccoes of the Orthodox Baptistery seum shows on its sculptured rim a lion and a panther flanking a (PEIRCE AND TYLER, I, pl. 134), on the moulding of an altar in tree, F. Drexel, “Alexandrinische Silbergefisse der Kaiserzeit,” the Cathedral (Fleury, of. cit., 1, pl. 29), and on a transenna panel Bonner Jb., CXVUI, 1909, p. 183, pl. 7, 2. This is pagan work, howin the Museum (Gatasst, Scultura, fig. 2 5). Another panel very ever, since all the elements, altars, masks and animals are Dionysiac. similar to the one with peacocks flanking the monogram-cross in 284. Swoboda, op. c#t., ROM. QuaRT., IV, 1890, fig. p. 323. S. Apollinare Nuovo, but with doves adoring a cross on a chalice, is 285. Fol. 4 b. See p. 45 and note 40. Nordenfalk, Die spatanti-

preserved in the Museum at Rimini (Fleury, rv, pl. 282). ken Kanontafeln, pl. 45. Square capitals also appear on London, 278. GaLassi, Roma o Bisanzto, figs. 4, 5. See also figs. 1 and 3 Brit. Mus. MS. Harl. 1775 (#bid., pls. 84-102), which Nordenfalk for the vase flanked by doves. The latter occurs on the ends of two places at the end of the sixth century in North Italy. There is more other sarcophagi, the four-arched one and Onesti. Compare also feeling here, however, for the original bell.

the mosaic of S. Vitale, zbid., fig. 75. 286. Colasanti, of. ciz., 11, pl. 69. This is probably of the end of

279. GARRUCCI, Storia, vi, pl. 406, 11. the sixth century.

48 SARCOPHAGI OF RAVENNA three well-headsin Venice,**’ which are probably, however, A decadent ovolo design and a guilloche pattern occur of the ninth century and the extremely summary treatment —_ on the two sarcophagi just mentioned and on the tomb of of the capitals on the ends of this sarcophagus is almost du- = Honorius. Both are classical survivals that are to be ex-

plicated by the capitals on a well-head in Rome.” The pected. The latter can be traced through the clumsier form form on the Felix sarcophagus (Fig. 73) may be taken as _—_— on the Felix sarcophagus to the more elaborate braids of the

valuable evidence of the state of decadence the classical § tomb of Gratiosus and its companions and the double guilcapital had reached in the early years of the eighth century. _loche of the trough in S. Vittore (Fig. 72). Both single and These vary although they all have a marked flare withem- —_ double forms are extremely common in the eighth century

phasis now on the volutes. They cannot be interpreted, | where they are used especially on church furnishings.?”? however, as Ionic rather than Corinthian capitals for the The rinceau which runs up the pilasters of the Lamb-andbell is too deep and the whole design too perpendicular. The _rinceau sarcophagus has already been mentioned. It can be best comparison I have been able to find for this form isin — compared with the pattern on the pilasters of the transenna

the Carolingian Gospels of Loisel,*° a manuscript of the in $. Clemente in Rome, a monument which is dated by school of Reims. Here the volutes are of the same promi- the monogram of Pope John II”? (532-535). Another nence but the U pattern is not apparent, since a triple design popular in the eighth century is the whorl which apmoulding forms the base. It is significant, however, that _ pears on two of our late examples”’* (Fig. 74.) and which, all of these capitals are derived from the Corinthian type. since it helps in dating the sarcophagi, has been discussed None try to reproduce the composite capital popular on _—_ above.

both pagan and Christian sarcophagi outside of Ravenna. Finally the horseshoe arch of the end of the Lamb-andThe conch appears on four of the arched sarcophagi, all _—rinceau sarcophagus deserves some attention. It is unusual

of which date in the sixth century. The shells are singularly in Ravenna, although the triumphal arch of S. Apollinare uniform in type and radiate from the bottom upward. With in Classe has this shape.“ The form occurs sporadically the general flattening of form at the end of the century, the from Roman times on in western Europe and usually indiconch, which suggests depth, is eliminated. It isto be noted — cates Syrian or Muslim influence. It is very common espethat the arches on the Felix sarcophagus are without it, an cially in Merovingian manuscripts,””® and it will be remem-

omission customary from the seventh century on. The bered that it was with one of these that the arches of this conch shell alone as an isolated ornamental form appears — sarcophagus found their closest analogy. above a vase on the left end of the four-arched sarcophagus and as the sole decoration on the cover of the six-arched 292. See notes 215 and 223. For examples of the guilloche in

200 . a . . Roman mosaic pavements, see Mazzanti, of. cit., pp. 176-180.

one.””° Perhaps this was suggested by a similar isolation of 293. HaseLorF, pl. 42, a and b. the conch in the stuccoes of the Orthodox Baptistery.””* 294. The other example is the trough in the Museum, see p. 42. For references for the whorl pattern see note 206.

287. Ibid., 11, pl. 81. They are in the Palazzo Barozzi, the Museo 295. E. DeWald, “The appearance of the horseshoe arch in

Civico, and the Palazzo Battaglia respectively. western Europe,” A.J.A., XXvI, 1922, p. 335. DeWald lists two 288. CATTANEO, p. 191, fig. 97. This was dated by the author in other examples in Ravenna, the end of the cover of the Theodore

the end of the eighth century. sarcophagus (Fig. 10) where a horseshoe effect is achieved, acci-

289. Paris, Bibl. Nat., Lat. 17968, fol. 6 b. Nordenfalk, of. dentally I believe, from carelessness in cutting the profile and the cit, pl. 168. Compare also the Gospel of St. Thierry at Reims, arches of the exedra arcades in S. Vitale. Careful examination of

Boinet, op. cit., pl. 75. these, however, shows merely the use of a stilted arch.

290. DUTSCHKE, figs, 30b and 34b. 296. Zimmermann, Vorkaroling. Miniaturen, 1, pls. 46, 48, 56

291. HASELOFF, pl. 28. © a and b, 63 a and b, 64 a, 74.¢, 79; II, pls. 86, 109, 117, 124, 150.

IV. CONCLUSION HE symbolic sarcophagi of Ravenna cannot be two lambs seems to be limited to Ravenna on Christian summarized with any easy generalizations. Start- _— sarcophagi. Thus the evidence of the figure sarcophagi is ing in the fifth century they overlap chronologi- — supported by the symbolic series. The sarcophagi of Racally the figured series and thus disprove the old assumption _—venna stand apart from the frieze and columnar examples that one could date a sarcophagus by the presence or ab- _— which are so numerous in both Gaul and Rome. sence of figures. By the end of the sixth century, it is true, Some of the figured sarcophagi, as we have seen, are so lambs and peacocks have replaced the human actors and in _ peculiar both in style and iconography and in such sharp the seventh and eighth centuries, together with the cross _ contrast to other sculpture in Italy that they may easily be and other decorative motives, they form the sole adorn- _—imports from Constantinople or Greece itself. Others, alment of the trough. The naturalistic treatment of birdsand _— though with strong eastern affinities, seem to be, like many animals inherited from classical antiquity gradually gives of the mosaics of Ravenna, products of artists who have miway to a crude and incompetent style which by the early — grated bringing their style with them. How this style is eighth century, however, has assumed on the sarcophagus _— gradually modified and vitiated in Italy can be clearly seen of Felix a new decorative and distinctly mediaeval pattern. | on the tomb of Exuperantius and on the recut ends of the The architectural types peculiar to Ravenna are continued — Certosa sarcophagus in Ferrara.

for a while from the figured series but both the lintel and The significant part played by our sarcophagi in the hisarched forms are soon replaced by the continuous frame or _ tory of early Christian sculpture has, I hope, become evi-

, panel design or by a combination type which uses two or _ dent. As a port of entry from the East and, from the early more forms together. Again, after the end of the sixth cen- fifth to the mid-eighth century, the capital city of the West, tury, one looks in vain for the earlier and architecturally Ravenna formed a unique melting pot for Greek and Latin more logical forms. The symbolic sarcophagi seem all to art. Nowhere else can one see so clearly the clash of eastern have been made in Ravennaor near by, with the possible ex- | methods and ideals with the western inheritance of classic ception of the child’s sarcophagus decorated with lions. art and the gradual triumph of the former. Mosaics and sar-

While certain features can be traced to the Greek East, too cophagi both illustrate this and their development runs many distinctly western details appear in conjunction with _ parallel until the seventh century when only the sarcophagi them and the connections with earlier work in Ravenna, _ have survived in sufficient number to afford satisfactory eviespecially with the products of the Rinaldo workshop, are _— dence of style. With these a third element becomes appar-

too strong to permit one to locate them elsewhere. The ent, the gradual barbarian infiltration which at first coarspreference for animal symbolism and the very use of the ens the ornament and causes a curious uncertainty in prolamb, dove and peacock point rather conclusively to north- portion and anatomy. Nowhere else have we so many ern Italy, although the combination of the latter with the § monuments of such quality which illustrate so clearly the cross or monogram, as we have seen, may originally have _ transition from the representational style of the late antique stemmed from the East. This design, however, reaches its _ period to the decorative and expressionistic style of the Mid-

greatest popularity in Ravenna, whence it spreads in the dle Ages, eighth century all over Italy. In fact one may take this an incised design on the cover of a sarcophagus in Bourges of the motif and the apostle lambs adoring the monogram as hall seventh century and a similar design is recorded on the lost sarmarks of the Ravennate symbolic sarcophagus for it is here cophagus of Florentinus, d. 553 (see page 45 and note 263). Lambs das the chief decoration of the flank the monogram-cross on the end of the sarcophagus of Cater-

only that they are foun vius at Tolentino (LAWRENCE, City-Gate, fig. 13) and the mono-

trough.”*” In this position also the Lamb of God flanked by gram on the cover of a fragmentary sarcophagus at Marseilles 297. Peacocks and the monogram, it will be recalled, appear as (Arnason, 09. cit., fig. 27).

9 pp. 225 1.) § P P P

IAMPINI in 1690 (1, pp. 225 f.) gives a valuable descrip- theories and far-fetched comparisons. He placed the second sar-

tion of the tomb of Galla Placidia and the sarcophagi cophagus of S, Francesco (Figs. 26, 27) at the end of the secwithin it. In vol. n, 1699, pl. 11, are drawings of six ond century and the rest of the figured sarcophagi, with a few sarcophagi, one of which is now lost, while another trough, now exceptions, before the year 300. Von Sybel in his handbook, broken up, is shown intact with its cover. C. Bayet, Recherches — Christliche Antike, of 1909, summarized the opinions of earlier pour servir a Vhistoire de la peinture et de la sculpture chréti- writers and stated the problems. He discussed 2 number of sar-

ennes en Orient, Paris, 1879, was the first fundamental study cophagi at some length but left unsolved problems of date and of Ravennate sarcophagi, of which Bayet counted twenty-six. stylistic provenance. Wulff’s handbook of 1914 also discussed He classified them as to subject, pointed out their differences our sarcophagi, stressing their eastern characteristics and trying from the Roman series, and suggested an oriental connection. to prove the Pignatta one “Palestinian.” He cited a variety of Garrucci’s Storia delParte cristiana, in 1879, vol. v, was the first monuments to prove his theories, but none of his comparisons large collection of reproductions of Ravenna sarcophagi. His are very convincing. The article by Galassi, ““Scultura romana e drawings of more than twenty examples are useful even today _bizantina a Ravenna” in L’Arte, 1915, contrasted the “plastic as he usually shows the backs and ends. Although not always re- — Roman tradition” with “Byzantine marble pictures”; believing liable, they supplement the photographs in later books. Cattaneo the latter to be introduced in the mid-sixth century, he pushed in 1890 discussed a few of the sarcophagi and was the first to a number of sarcophagi, which I believe are earlier, into that realize that the tombs of Isaac and Theodore cannot possibly be period. He endeavored also to relate the sarcophagi to the sculpof the seventh century in spite of their inscriptions, He dated tured capitals and transenna panels in Ravenna. A. Colasanti, them in the fifth century. Rieg], Spatromische Kunstindustrie, Lart byzantin en Italie, Paris, 192?, is a large picture book, ist ed. 1901, analy zed the form of composition and rented the useful for its illustrations; the text is negligible. Haseloff, Pre-

sircopnae to his hee a . fo, ies OF late we he art. i - Romanesque Sculpture in Italy, pp. 22-35, stressed the eastern the Liberlus sarcophagus be ore onstantine, owever, the fie character of the Ravennate sarcophagi and realized that those

gnatta one; with at thefigured end of scenes the third believed that the ; . ones and : arecentury closelyand related to the symbolic figured sarcophagi had run their course before the middle of the . . cannot be separated in date. He described a number of sarfifth; century when they were replaced by those of the type of .and ;;. . ; ’ ; or affConstantius. cophagi rather cursorily, passing capitals Honorius Venturi’s Storia dell on artetoitaliana in Caechurch . ; oo furoan

nishings. Wilpert’s great corpus, / sarcofagi cristiani antichi, 1901, vol. 1, first published a large number photographsofofRavenna, .; ; . 1929-36, singularly neglects theofsarcophagi alour sarcophagi. G. van den Gheyn, Les sarcophages byzantins de ... though he pictures five of them. His references in the text are Ravenne, theconcerned first studywith devoted solelyof to Christ Ravennate ; ; the oo, law to Pe. Lae1901—2, . followed . chiefly scene sarcophagi, Cattaneo in his the dating, stressed butgiving did not . _——- ;

analyze the eastern “Byzantine” connection, and discussed ter and with the creation in Ravenna of a new scene of Christ

. , : sarcophagi . “giving the law” to Paul instead. He suggests that Museum mostly the later of the series. Goldmann, DietheRa;;

. a é . . . whom 'T i

vennatischen Sarkophage, in 1906, was the first book on these sarcophagus (Fig. 35) may be assigned to the sculptor, Daniel, to

sarcophagi but it is a slight affair of fifty-eight pages and nine ae heodoric gave the nope OF ane . nauPhare ere plates. The first part is a brief descriptive catalogue of some "0°! 17) giving no reasons bey ond the “orlental character” of

forty sarcophagi, the second a longer text which groups and at- the scenes on the ends, a hypothesis which would necessitate dattempts to date them. Goldmann’s descriptions are incomplete ing that sarcophagus nearly a century later than it can reasonably and frequently inaccurate. He accepted the later inscriptions of be placed. H. L. Gonin, Excerpta A gnell tana, the Ravennate Exuperantius and Isaac as sure evidence for date, thus placing Liber P ontificalis as a Sour ce for the History of Art, Utrecht, the former sarcophagus in the early fifth century, and bringing Cc. 1933, gives a useful analysis of the value of Agnellus. Gerke’s the latter down to the seventh, with which he grouped the Pi- Christus in der spatantiken Plastik, 1940, is a recent discussion gnatta and Museum sarcophagi (Figs. 35-37) and tried to prove which simply confuses the issue since the author divides the repRomanesque affinities! He classified the figured sarcophagi in _—‘Tesentations of Christ into two great groups, those with short three groups which he believed followed each other chrono- hair, and those with long “womanly” hair, although with a few logically; Christ as Emperor, watcher of the dead, Christ the exceptions his examples have little resemblance one to another. teacher and martyr in triumph, and Deliverances, categories He assumes that the symbolic sarcophagi come after the figured which seem to me purely arbitrary. S. Muratori, “I sarcofagi ones, apparently without realizing that a number of the latter ravennati di S. Rainaldo, di S. Barbaziano e del Beato Pietro (Rinaldo, Twelve Apostle, Isaac, Pignatta, etc.) have a symbolic Peccatore ¢ le ultime ricognizioni,” Bou. p’ARTE, 11, 1908, pp. scene on the back and thus disprove his thesis. (For further com-

; . ‘ ye ;

324-337, 1s a valuable article on the Jater history of the sar- ment on this book see note 31.) Morey, Early Christian Art, cophagi. Dititschke’s Ravennatische Studien, of 1909, the only 1942, the most recent treatment of the Ravenna sarcophagi, apthorough study of the sarcophagi to date, is still fundamental to peared after this study was largely written. His brief discussion

any study of them. The first part, an extremely careful and arrives at substantially my chronology for the more important complete catalogue, is handicapped by inadequate photographs. members of the series, points out a number of the eastern paralAll discussion of date and stylistic comparison is relegated to the Jels which I demonstrate and advances the supposition that the second part and here the author betrays a fondness for tenuous more Greek examples were exported from Constantinople.

INDEX a and W, 6, 8-10, 20, 22, 32-37, 39 41 Como, Museo Civico, epitaph of Guntelda, 44

acanthus, 8, 10, 12, 14, 16, 17, 23, 29, 38 conch, 11, 14, 16, 17, 22, 28, 35-38, 48, and notes 56, 58 Adeodatus, see Ravenna, 8S. Giovanni e Paolo Constantinian monogram, 4-11, 13, 16, 18, 20, 22-24, 32-34,

Agiluff, see Florence, Bargello 36-39, 43~47, 49, and note 41; see also monogram cross | Agnellus, 1, 34, see also Ravenna, Cathedral and nimbus monogrammed

Agnus Dei, see Lamb of God Constantinople

Amiens, epitaph of Nonnita, 45 Hagia Sophia, relief, 44

Anagni, SS, Cosmas and Damian, graffito, 42, and note 99 Ottoman Museum, Alexander sarcophagus, 7

Ancona, Cathedral, city-gate sarcophagus, 2, 19, 39 ambo from Salonica, 28

angel, 18, 26 fragment of sarcophagus from Sardis, 15, Fig. 30 Annunciation, 18, 26 Lycian sarcophagus, 29 Antioch, 45, mosaics, 31 marble rim, 27

Ariosti, Francesca, see Ferrara, $. Francesco Prince’s sarcophagus, 1, 2 Arles relief from St. John Studion, 43 Museum, five-arch sarcophagus, 5, Fig. 28 sarcophagus from Salonica, 7

four-arch sarcophagus, 20 sarcophagi from Tripoli, 7

sarcophagus of Abbot Florentinus, 45, and note 297 Constantius, see Ravenna, tomb of Galla Placidia

Armanno Pungilupi, 8 Copenhagen, Museum, sarcophagus from Porta Salaria, Rome,

ARNASON, 43, 46,45,4746; 16, 34 40, 47 Athens Coptic stelae, textiles, National Museum, sarcophagus, 7 cover, gabled, 1, 11, 12, 15, 19, 33-36, and note 170

sarcophagus from Megiste, 15, Fig. 46 semi-cylindrical or rounded, 1, 4, 6, 9, 10, 12, 17, 22, 27; Augustine, Saint, 45 29, 30, 32, 35, 37-39) 41 cross, 3, 4, 6~8, 10, 12, 13, 16, 19, 21-23, 25> 325 33, 35-39%

Baltimore, Walters Art Gallery, silver chalice, 24 41-47, 49

Barbatianus, Saint, see Ravenna, Cathedral cypress tree, 18, and note 86 Bawit, frescoes, 26, 45

Bebi, see Padua, S$. Antonio Dabravina, relief, 44

Belisarius, 33 Daniel in the lions’ den, 9, 20, 27, 30 Beringen, silver cross, 46 deer, 18, and note 87 Berlin Delphi, capital, 29

25 donors, 19-21

Kaiser Friedrich Museum, bronze reliquary from Smyrna, Denizli, see Paris, Louvre

stele of John, 45 dove, 4, 8, 12, 16, 33-38, 43, 45-475 49

Neues Museum, wooden sarcophagus from Abusir, 29 DUTSCHKE, 3, 4, 5, 15-17, 29, 40, 42 Bobbio, 39

Bologna, 39, 41 Elisha, sarcophagus of, see Ravenna, S. Francesco, Pignatta sarCertosa Cemetery, sarcophagus, 35, 36 cophagus Bonifacius, see Ravenna, S. Vitale Enfidaville, mosaic, 43 Bonn, Museum, metal plaque, 27 Ephesos, tomb, fresco, 45

Bourg Mouhash, see Saisaniye Erythrae, 46

Bourges, Museum, cover of sarcophagus, 45, and note 297 Exuperantius, archbishop, see Ravenna, Cathedral Brussa, Museum, relief from Thelepte, 45

Brussels, textiles, 40 faldstool, 9, 27

Felix, archbishop, 32, 40, see also Ravenna, S. Apollinare in

Cairo, Museum, bronze censer, 26 Classe

relief, 47 Ferrara, Cathedral, Certosa sarcophagus, 4, 8-10, 13, 25, 44,

Cambridge, Corpus Christi College, Juvencus 304, 39 49, Figs. 3, 11, 14, 15

Castrocaro, sarcophagus, note 189 Museo dell’ Universita, sarcophagus, 35

CATTANEO, 40 S. Francesco, Ariosti sarcophagus, 4, 10-13, 17, 22, 23,

chalice, 8, 46 28, 32-35, 37, Figs. 18, 19, 21, 22 chi rho, see Constantinian monogram Florence, Baptistery, Riccardi sarcophagus, 7 Christ, 4, 5, 7, 8, 10, 12-28, 30, 42, 43 Bargello, helmet of Agiluff, 8, and note 50

gives keys(?) to Peter, 14 Laurentian Library, Rabula Gospels, 24, 25

gives law to Peter, 19, 20, 24, 25, 30 Fondi, mosaic, 43 gives scroll to Paul, 7, 12, 14, 16, 24, 26 Fontana, Francesco, 10 Mission to the Apostles, 4, 7, 24 FRANTZ, ALISON, 4 raising Lazarus, 9, 20, 27 Fusignano, sarcophagus, 4, 11, 12, 32, 33, 37, Fig. 24 trampling lion and adder, 18, 26

CIAMPINI, 19, 34 Galla Placidia, 22, 26, 31, 33-35, see also Ravenna, tomb of

city-gate sarcophagi, see Ancona, Cathedral; Milan, S. Ambro- Galla Placidia

gio; Paris, Louvre GARRUCCI, II, 12, 43

Cividale, Cathedral, Sigvald altar, 42 Geneva, Musée d’art et d’histoire Cologne, Private Collection, metal plaque, 27 relief, 44

52 INDEX silver plaque of Valentinian II, 24 New York, Metropolitan Museum, ivory, 44

GERKE, 5, 44 Nicopolis, Basilica Domitius, relief, 44

>.

GEROLA, 8 nimbus, monogrammed, 4, §, 7—-Q, 13, 18-21, 23, 24, 27, 28,

Ghonr, lintel, 45 30, 34, 375 38, 42 GOLDMANN, 3, 4, 14, 23 Nola, St. Felix, mosaic, 43, Fig. 77 Gratiosus, archbishop, see Ravenna, S. Apollinare in Classe

Gregorius, see Ravenna, Archbishop’s Palace Odoacer, 31, 34 ; GRIFFING, 24 Onesti, Pietro, see Ravenna, S. Maria in Porto fuori Grottaferrata, fresco, 42, and note 99 Osimo, Cathedral, sarcophagus, 39, and note 11

Honoria, 33 Padua, S. Antonio, sarcophagi of the Bebi family, 24, 38, 42, horseshoe arch, 39, 48 pallium, 5, 7-12, 14-18, 21, 22 palm tree, 2, 4, 5, 9-13, 18, 19, 21, 23, 32, 34-40, 42-44, Isaac, exarch, see Ravenna, S. Vitale and note 27 Honorius, 8, 31, 34, see Ravenna, tomb of Galla Placidia 47, Figs. 58, 66

Imette, 12, 16, 19, 36, 40 John, archbishop, note 191, see Ravenna, S. Apollinare in Classe Parenzo, Cathedval, mossicr, Me, 26

John I, pope, 48 Paris, Biblioth&que Nationale, Gospels of Loisel, Lat. 17968,

Junius Bassus, see Rome, St. Peter’s 48 KAUTZSCH, 22 Louvre, city-gate sarcophagus, 19 Kephista, sarcophagus, 19 flagstone trom 21D: 45 “oli Koubatchi, relief, 40, 47 fragment of sarcop agus from Denizli, 15

Koutais, Cathedral, relief, 40 sarcophagus from Palestine, 29, Fig. 47 Ktellata. well house 29 Paul, saint, 4, §, 7, 8, 10, 12, 14, 16-19, 21, 22, 24, 25, 34

° ° carrying cross, 8, 25, 44.

labarum, 23, 25 Paulinus of Nola, 42, 43, 46, and note 230, 235 lamb, 3, 4, 6, 10-13, 23, 32-45, 49 Pavia, Museo Civico, tomb of Theodota, 46

Lamb of God, 24, 33-35, 37, 38, 42; 435 46, 49 peacock, 3, 4, 6, 8-11, 13, 23, 31, 33, 36-39) 44-47, 49 Lanuvium, sarcophagus, 38 PEIRESC, 45 ; Jaurel wreath, 8, 13, 14, 16, 29, 33, 37 Persepolis, Archaemenid reliefs, 40

Lauricius, 8 Perugia, Museum, ciborium, 46 . Lazarus, raising of, see Christ Pesaro, S. Decenzio, sarcophagus, 38, 39, 41, Fig. 68 Leningrad, Hermitage, silver vessels, 15 Peter, saint, 4) 5) 7-10, 12-19, 21, 22, 24, 25, 34

Stroganoff sarcophagus, 7 carrying cross, 4, 7; 8, 13, 19, 21, 22, 24, 25, 28, 44 Lesbos, Church of Eresos, mosaic, 31 Phrygia, 27 Lesbian cymation, 4, 6-10, 12, 16, 17, 29 Phoenician lead sarcophagi, 29 and note 154, Fig. 48 Liberius, archbishop, 13, 17, and note 64, see Ravenna, S. Fran- Phrygian costume, 9, 20, 27, 30

cesco Pignatta, see Ravenna, S. Francesco

Ni 3 8 3 6, I * ) * 4s * * .

lily rinceau, 4, 6, 13, 22, 29 Proconnesian marble, 30, and note 157 owe wd a ; * 3 47 Quirico, $. and Giulitta, S., see Ravenna, S. Giovanni Battista

. Ravenna

ven British Musca us (Rome A), 1 Rabula, Gospels of, see Florence, Laurentian Library

gold earrings, 46 e ” Ranchio, sarcophagus, note 245

silver censer from Cyprus, 24, 25 oa . terra cotta medallion from Edfu, 26 Archbishop’s Palace, mosaics, 5, 26 ?

sarcophagus of Gregorius and Maria, Al, 42

Magi, Adoration of, 9, 27, 30 Arian Baptistery, mosaics, 5, 26, Figs. 43, 44 Mainz, Museum, epitaph of Pauta, 45 Cathedral, chair of Maximianus, 6, 26, 31, 45, 47 Marseilles, Museum, altar rim, 43 pulpit of Agnellus, 23, 31, 36, 38, 39, 41, Fig. 80 St. Victor, sarcophagus, 38 sarcophagus of Barbatianus, 11, 22-24, 28, 30-32, 34; Maximianus, 21, see Ravenna, Cathedral 40, 4.7, Figs. 39, 40, 42 Megiste, see Athens, National Museum sarcophagus of Exuperantius, 3, 21-23, 28, 30, 35, 49, Milan, Cathedral, ivory bookcover, 25, 38 Figs. 38, 41 __ S. Ambrogio, city-gate sarcophagus, I, 2, §, 19, 39 sarcophagus of Rinaldo, 4-10, 12-18, 22, 24, 25, 30, 335

wooden doors, 45 Figs. 1, 4575 8

S. Aquilino, mosaic, 24 Museum, architectural fragment, 39 S. Lorenzo, sarcophagus, 35, 36 child’s sarcophagus, no. 98, 2

Mondolfo, S. Gervasio, 33 child’s sarcophagus with lions, 40, 47, 49, Fig, 70

monogram cross, 8-] 2, 15, 32, 33; 35-38, 40, 43, 44, 46, 47 fragment of sarcophagus with doubting Thomas, note 86

phials, 24 Figs. 355 36, 37

Monza, Cathedral, ivory diptych, 21 sarcophagus in three fragments, 19 ff.) 24, 25, 27, 30; 34,

MOREY, 28 sarcophagus, no. 495, 32, Fig. 53 mount, 4, 18, 19, 21, 25, 33-38, 42-44 sarcophagus, no. §14, 32, Fig. 52

Munich, Staatsbibliothck, Lat. 6224 (Cim. 13), Valerianus sarcophagus of Seda, 3, 31, and note 187

Gospel, 39, Fig. 76 sarcophagus with rinceau, 39, 42, 48 Orthodox Baptistery, mosaics, 20, 31 Naples, Baptistery, mosaics, 31 stucco reliefs, 18, 26, 27, 46~48, and note 128 Catacombs, 43, and note 232 S. Apollinare in Classe, Crucifer Lamb sarcophagus, 37, 39,

Catacomb S, Gaudioso, 43, 44 41, 44, Fig. 69

. INDEX 53 four-arched sarcophagus, 35-38, 41, 47, 48, Fig. 64 Vatican Bibliotheca, Chronograph of 354, 45 Lamb-and-rinceau sarcophagus, 39, 40, 42, 47, 48, Figs. Cod. Barb, Lat. 4423, 43

67, 74 Vatican Museo Sacro, bronze plaque, 25 mosaics, 41, 48, Fig. 78 silver amula, 43 Lamb sarcophagus, 32-34, 36; 37) 41, 43> Figs. 54, 555 56 gold glass, 42

sarcophagus of Felix, 3, 40, 41, 48, 49, Fig. 73 silver capsella, 43

sarcophagus of Gratiosus, 3, 41, 48, Fig. 71 Rouen, Musée des Antiquités, ivory pyxis, 27

sarcophagus of John VII, 3, 41 Rovereto, sarcophagus of Hydais, note 245 sarcophagus of Theodore, 3, 4, 6-8, 12, 13, 32) 33, 445 RUFFI, 38 Figs. 6, 10

six-arched sarcophagus, 33, 35) 37> 38, 40) 44, 47> 48; S. Elia di Nepi, 39

Fig. 65 Sainte Marie-du-Zit, sarcophagus, 16

Twelve Apostle sarcophagus, 4, 6-10, 12, 13, 15) 17, 18, Saint-Paul-in-Lavanttal, Ambrose, De Fide Catholica, 25

22, 38, Figs. 2, 5, 9 Saisaniye, relief from Bourg Mouhash, 45

S. Apollinare Nuovo, mosaics, 5, 22, 25; 26, Fig. 45 Salona

S. Francesco, sarcophagus of Liberius, 3, 11, 13-17, 21, 22, capital, 22

24, 28-30, 35, Fig. 25 Cathedral, architrave, 43

sarcophagus II, 11, 15 ff., 17, 22) 24, 30, 35, Figs. 26, 27 sarcophagus, 29

Figs. §7, 63 . Samarra, 40

Cappella di Braccioforte, Cross sarcophagus, 32, 36, 37; Salonica, capital, 22, see also Constantinople, Ottoman Museum

Pignatta sarcophagus, 3, 12, 17-21, 26, 28, 30, 35-375 Sardis

47, Figs. 31, 325 33, 34 sarcophagus, see Constantinople, Ottoman Museum

sarcophagus of Del Sale family, 36 tomb, fresco, 45

S. Giovanni Battista, marble reliquary of SS. Quirico and Sassanian reliefs, 40; textiles, 40 Giulitta, 19, 25-27, 30, 31, and note 93, Figs. 49, 50, SCHAFER, 24, 25

61 Seda, eunuch, see Ravenna, Museum .

SS. Giovanni e Paolo, pulpit of Adeodatus, 38 Sens, Cathedral, ivory comb, 47 S. Maria in Porto fuori, Onesti sarcophagus, 4, 12, 13, 15- SERRA; 33

17, 33, Figs. 20, 23 Shafa’ Amr, tomb, relief, 45, 47 S. Spirito, pulpit, 47 Sidonius, 31 S. Vitale, mosaics, 22, 23, 25 SMITH, BALDWIN, 27, 29

pulvino, 31, 46, Fig. 79 SOPER, 5, 15 sarcophagus of Isaac, 3, 4, 9-11, 13, 20, 27, 30, Figs. Spalato, Museum 12, 13, 16, 17 Good Shepherd sarcophagus, 34. sarcophagus(?) of St. Ecclesius, note 252 sarcophagus cover, 43 ;

court, sarcophagus of Bonifacius, note 245, Fig. 75 Strasbourg, Forrer Collection, horn amulet from Achmin, 25

S. Vittore, sarcophagus, 42, 48, Fig. 72 SYBEL, L. VON, 29 tomb of Galla Placidia, mosaics, 20, 31, 47 Syracuse, Catacombs, 46

sarcophagus of Constantius, 2, 33-35, 37, 38) 42) 43, 47, Fig. 60 Theodore, archbishop, see Ravenna, S. Apollinare in Classe sarcophagus of Galla Placidia, 34 Theodoric the Great, 3, 26, 31 sarcophagus of Honorius, 33, 34-37, 40) 41, 43, 44, throne, 4, 10, 12-14, 16, 18, 25

46-48, Fig. 61 Tolentino, Cathedral, city-gate sarcophagus, 2, 27, 29, 39 rho, closed, 19, 34) 35, 41 Trier, St. Paulinus, silver coffin, 27 Riccardi, see Florence, Baptistery Tunis, Musée Alaoui

transenna panels, 45 Traditio Legis, see Christ gives law

RICCI, CORRADO, 10 marble rim from Sbeitla, 27 Rinaldo, archbishop, see Ravenna, Cathedral mosaic from Dermech, 45 rinceau, 13, 22, 23, 37) 39) 40, 42, 47, 48, see also lly rinceau Tuscania, 39

Rivers of Paradise, 4, 25, 33-38) 44 TUSCO, TOMMASO, 34. Rome, 39, 41, 48

Catacombs, frescoes, 27, 43, 45, 46, and note 232 Valentinian II, see Geneva, Musée d’art et d’histoire

Lateran Museum, fragment of star-and-wreath sarcophagus, Valentinian IIT, 30, 31, 33 ,

15, Fig. 29 Valpolicella, ciborium, 42

fragment of tree sarcophagus, 25 Venice

inscription from Aversa, 46 S. Marco, ciborium columns, 28, 38 S. Clemente, transenna panels, 48 reliefs in west facade, 28 SS. Cosmas and Damian, mosaics, 34, 42 relief of lambs, note 234 S. Costanza, mosaics, 31 tomb of Doge Marino Morosini, 24, and note 117 S. Giovanni in Laterano, cloister, well-head, 41 transenna panels, 23, 45 S. Maria Antiqua, fresco, 23 well-heads, 48, and note 287 St. Peter’s, sarcophagus of Junius Bassus, 5, 16 Vermand, metal plaque, 27 S. Pietro in Vincoli, frieze sarcophagus, 27 Vienna, National Library, Lat. 847, 45, 47, note 40

S. Pudenziana, mosaics, 43 Villanova, St. Peter’s, transenna panel, 41 S. Sabina, transenna panels, 42 Virgin Mary, 9, 18, 26, 27, 30

wooden doors, 24, 27 Visitation, 18, 26

S. Sebastiano, fragment of Ievel-entablature sarcophagus, 5

S. Teodoro, mosaics, 25 WEIGAND, II, 24 Terme Museum, ivory, 43 WICKHOFF, 43

ee re eee Chart A—Iconography

CHRIST SEATED, FLANKED BY STANDING APOSTLES

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omnes BT Be LR = Jom ms ceminses PTT ELL ELL

wwe BLELELEL LI

| Chart B—Iconography LAMB OF GOD APOSTLE LAMBS ADORE PEACOCKS ADORE DOVES ADORE

e scone = end : g al. gE 2 2 8 ee KE tT PERE tT ERAT: Oe cer :

commana fanéo = || WBE | TE OPT | | | TT | OB

Honorius, fig. 61 ) PF} ] ty RS Pf ff | Peels tambfosssssé = |_| S| fam] | OP fem | | ee]

rourarchoife-és = HS || WB | | | | | | Sse ty radosterifosoense =P | AS BL | | | P| | | | tt Tt nindofese = TT | TFL OT | BRE | | ORT Ferm aronfgsoar | | | | feet | | PL ee St TT rwigonosfe-ze == || | | pL TT OP ER OE |e redorsterre | TT | | tt tt pet TT ET ee rocweapontofenons { | | ft tf tt | | | itt [ett

renown coos 1 | 1 | Tt ft { | pet | | [ f | —— Tt tT TTT PRT EET Ones 2 fg umbalore | | | | | tT | TT | fet wocmfsse | | | | bel | | | | | | | ft | | wovemsenss = | | | | PRE | | PL | | | tt tT wondotonfs-so = | | | Tt tT | tT | pe] TE TT |

cover, S. Francesco II, fig. 27 Py | tf ft tt tp dd dd eR Rr

cover, Bonifacius, fig. 75 | | ff RAE | fal |

crossreopmeunfe-s7 | | | | | | fet] | [Fpececkatone] | | |

sian, 6 et tT ER Tt TT tt Re

Da {ttt ie Et TT ET TT sivorebot sees | tT | Tt | | tT PT | Tt Se

patorsmonfensoree | | 1 | bet i | | feet | | | | | |

Pero ig 6 ttt pee Fest ET TT cwtoumnies FALL DELLE

mes DP DEPP eee

tambandeineewsfe-6r | | | | fT | ttt Pt | | | | | ty

1

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=

Fic. 1. Ravenna, Cathedral: Rinaldo Sarcophagus, Front

Fic, 2. Ravenna, S. Apollinare in Classe: Twelve Apostle Sarcophagus, Front

' . & Eva , ‘

. +a ,Be aeg: 3yee =, Mee 5 : ee hy ee od ant oi. Sa

; J es - ~ 2 4 a ‘*¢ —— ~ i : i. x > aes agg ms "emt | , .as : aft Sor &fy: We Re Fe° ~~ :>.‘be ¥ %' 4:¥;Pe [ a.‘ a ty~, ie oe Ay a’~—e A be ‘“— \ ef adaw ~~ >: &% pre '’ bud ’of34:\ vi = ; it5Ro abet . wr’ _— ae oa y wi ~~ \ ’ rbe ‘ a icy Y “ae Hs ty Mee a ik —_— Naga ey 8a= > Bi he 1) Mtt=—" RR ssa tar” 3 >a allie WN) Bi!

. eo roeSee“ i, aieBe | >“og ‘ \ ssly ¢ =ots BhBie ||bh IRyee / ROO Bs be art Ue wer Ah SE peeniggs ame "i eee nA ‘be“Ses . Se ink —s . 7 : a ite, : SS ao Gece" %. ee aa VO Q)s . be Yy, as: bee Fe ate at See on ~ pee | eae rae ' — @ : - : , a az x Sat N ~ ~ = ye yy ba ee woe eet , 3 * “ae Fic. 3. Ferrara, Cathedral: Certosa Sarcophagus, Front 3

ant ig Line eee ge ty Se ge Be Pe A : * ~~ Se Pte c 1% - . . sy - x ae .

bee : e}At. 12 Seth! = De 1e i~a) eek: r Vreviate R' Xi ’ VEAL Ry;y*ders are alMy vbAIA 4iy Alp i }i, ¥ al \p : vi y 2paneS P hn PAP. ¢ peated Fé FAIA ENP Pn 5APRS Se ees rec ub Lay on the pe Pe ted. : » : > & ee * y 3 .‘3 ‘ Hey Z a SP Nn 7 ol * : op jhe oR . ? :#. — : v a. Whe Sie = aR

ne Fo BATmess. IEICE RE TE a SAgT RS mart icopagar «2gTONE a ett CT yngmmeeser A 98s BOSSJaa :—Ssi SN y/o F By - op ; — * aft ; 3 4 : r ‘ y . ' hiWie 4 Re BRO ef ifBRET -é > 7 . igp ryt £09 TF yi > 4, '’ LES apis 2 |f eR Ree ear wl - La .< ae ae ON” SFR Ee”). « +Ald :iheS

RS ; 7 Sh. eee ; ~ a ey ae 4 i . re — “~ : er ff v4 a, * " * ~ ae , —~ +. in. ear, a fa : - at, i ” - is P a? 7 enna eeatime OS PW gC mae eee.TS Leak eS+Wp j Ie Bee) ae ae ae afenk aan: aeoD, eegaan :OD ) ; ”, ymet 7 ,;:° was,ae ayoe Senta SeCFP a es SO w OSS RlROLES. a ; FEAy= ~ yiy.;bo=a ;“hetabe, a:

~~ oeye. al Nees, eeCee! aes] Zak ar ip Ze inp N\ 1.4Be) Bae (!21a me, SION Som BY NEPie| NS oYAle (a :IfROCCE on§, v oes Mat—NR sS/ ¥ *hes. a M77 i. By : 7.: ye %«*# -_ ;. ; . ’™ . be ¥ ' 4ek ” Le 2 &, oe \ ry)\Se _ tef4) H i ay Tet » (are 2 'g WAF. Or arwy. ' 2S vy ;i ee a $ , YSe= Ys _ ye‘g. 54ay fy4 :ix» Side} ee — age Ly ca 4 Ti ¢ if) el % % ‘aa RAV gf AAD Ay Ae Pde fi ee Sa? = ‘os AD ihe ‘ . See spe!:3

arr ord pte ry 4, be Feces se s ele = = A .

» So monger sn ie oe igpoemmmeie: aes Alla wy! ze, te SE Le ey be th nad , en BR ae ; ns ; 4 , —s ak A 4 : sane aa a atl ae ae J

, ~' p , 4 ® 7 : . t

ee 7 .

~ S55 3 : we ¥ Ee ee * Fr i*_ee: : ‘eoe WV a aetall 6 i «lef aaa a2 , NeKgcamenhs MEET i ae

Fic. 7. Ravenna, Cathedral: Rinaldo Sarcophagus, Left End Fic. 8. Ravenna, Cathedral: Rinaldo Sarcophagus, Right End

»=“a {e y aea =4% ——— ..; 4pYe Sf 4% aia Big o's >> /_aa. \Ae:Al2.) of oo ive We ; :rOL ‘Ss ‘0 Ayn

C4: a.ws | ~~ We >7oAW 4 YZ, JSS Hy Were? >: tN Y ‘ = : ~7 Pik NY > se Se oan ~~ G RSS oP & tte he a “ “e 4 3) i ° : mig ~*? ) VAD ans eS. . Oe r< bg “SLAW rk ean : r v , J, “wee a v é Leg] wee of - - WS “| = 9 YD

5 |_a Ng-1p I A

7 y, | OE de a™ ati ~— - \7 BYE: ; 1,4 “ee, Lae. &go X\ EHUAN| ban YZ | eam So) phe peo (an : v p 7 ; \ SS ~\iy - >. : = an 5 Me . ¥ » of = Spe ae : ae a —— - — =. zs rn Sg Oe te.£ ~

7... «a2 a~° ”— s a; N;me) ;rt.—o>3Seee Ate —-—— , aAme, ;=— As Be ; aae— - elt ,8“os if

; ” Aaa -: :_~ .a )~ » ee~* So 8+. -—— — : he gi, . . f é a ina ~ ene ited «eee —wedbasinb line ; ro 4 en ot oe aa O50 san iia ae ee ed ons ~ — nam

- 3 ees -F}-}Lif oePete ta- a=* Fic. 11. Ferrara, Cathedral: Certosa Sarcophagus, Back

‘ “ ys ee.

, oN Ne ae ma le

nf 5 se ASagERLE SERS SY RA Ad heiSME alas | ON ey EE fi BEMIS Ge Level Pf Fe

° ee rode ee ea s; te 1=0‘~ ‘ nt inte - . =ss,; seke ietor a fies

ee este ,ee,ieee pes‘ J=o Beak nue ee, S Page ipa Care et

;4 Sb isnt Le are, AE’ ies. ae: ‘: .

’€ ies 4 ! 1 on “ ~ nl . =< ea at ee fe . ; . . 6G ae ee SS Pe F > b' > “Y Ps “> ; era ed es Ait ; es & rh rs ‘ i “ x a 4’ “2 ait cia Seen a a e Rae & %) _— it ee on A AP aig é wi & X feDi.7eae & ;Ssns i,>edEa ,ne*2,z= WA ny‘ .;Be a.*Ne % ste g .PSS Jae }haie i a~ a-2PO keg dRas 23 os 7 { ..qhe ;4 - fs—— " Preee E isA: f = baa! oneaw” 2 - 2 :>‘ieeo. = : ae - F :7= = t he: 4Cail be , a — He ‘*~ a“at “4 *are a - 4a. ~> rr ) alFe

keke seh 4 Feu 1,a aow SS eoao ; Se

.7 at ae Sa | oe +. at ah udp 2 Pig ie se. & ph Sta) oe. igs: at eh . : ah st ‘ : 3 » t 7 a” : rt alee ry ’ "> : ° >. = | Poe & fib» Nah be Bid ee ee 2 . § rr : ? , a wn “ cay & aj “ ++ 7ee? tn-ag at 2is a ’. ,atl ofA} we ae tz ; ‘| 2. &*% FY »* oe ’‘. imoe S2 i i RRS eoe-| =” ‘one '£*oe +—,Mans Yos SS +" ee We ok wen Bite. > y a vot? ~~ ie Maes ee wee een oe ae . oe Ps, “ be 7 a es “2 +t ED toy ‘ F | « +t t . un scennel ; " » a -e ial emer, = , s & ~ rh } ‘ ~* . om “st aa eine’ , Fad ’ we : a? ie B me ‘eels - . R “gage ae aa rai oy ile

as eer tg Woesee | GSE es EAN RAE. | Se* ;Py ne eeae mat MPs ie Pb BD eselie ee a ta ae 7A ~Snee thteaeee fi, tenae SePata ~

og SSE eI OU od os Re a is is Fanaaee Soh ama

Age. Ve RSL et ie aE eps E: ag eNO Carag, 2s - ‘ Fae, ; ™ Gh eee cee Sas set Ben. ah yt ade Pe : i Fy me ‘$y se 2 y i Bae iy ein. A eee ee oe Mae eae Rhinehart tees 9 Pirie tor at aeBs ehfaoeaSceSiena Pier BIRR see It,SEH i ame sail Veale arte a, ager aePn nn ee < TSPie egontBao tsoe ieeee ee Wereaeete ; th 3, OR? 3 XE peo ‘ Ss Saree Fae rey ki Nis han re mete aden Dias, ..” ePaeR andes NS Ee el or ah, SRR Oe Yee igre S om

| omc ti Sot pea ee Mine Re eRe ie |, on ee eh, See SE Ge reeeOM . I“A Bm Bs . SNOT a im, a _ ee y a oe ee “y

1k I AS eee Ne

Fic. 17. Ravenna, S. Vitale: Isaac Sarcophagus, Right End

: :Py W y, }% ‘AE 4" aids ’ , \Pos AVY SA °b, - . Fg . Baas, tyesS ‘.~ ~pe. 4t cr ; *' AF : 9‘% : . eo ‘ Lid

ea oN de TNA ANNE NT WS: PINNING StkieAX Fe Grane? grea oo ayi ae peARTEL ‘yy “.pa Wee ARM EE A ¥GP ROA SK Sk CARS ROae at EL

ee oe —— —— SAS Se SET pee oa oad IG BE OBE 8605 SRR cI: EL Ye a. “ay, ae ae eS

LS" SEZAVAS GRIESE Iaelaeeta NO TA RAS Ania Re A ; af . ' % Mb "al ha a f \ = ie & ; ¥ \ ‘ ~ 4, y Es SEU *

SSS a

A URINE NOee , Me IN sa. 7) SaaS,

:eo P.Re eegL eree ‘ou RE eo eeae Ree ye8a Hic) MA 1 ka Bi \\ ae IN eS 1 14 ina SHAN ¢..

- “~ > £3 SOA IN Eee ae Dail? meat .e, aide oS i> SH; iS LUMA NS

a >t ~~ - r= =< ek eas “A Si" ~ ene ne 5 et . = mY at pf So =

en Me SSoe 5fiat eee ot a“ aSer aeI St.ew 7BY>nied ooé nes ae — ateee Aee Se[ena -> Saved Re RRP (re badaaias

Fic. 18. Ferrara, S. Francesco: Ariosti Sarcophagus, Front

;a>i Seah 4’< YEP. SSR ae WOR RRR eee~ 2 RR oe o, tape t es De 4h in AS S. Se SG

fsea:: 7, i>| ho ‘ ‘iS ‘y \) VUVVYRISNaes EN, ’ ; \p ’ cA” ~ VR ) ~s Ve Soa 2 ~=,» AL x SROSSSEOS AS i ; \) aS Wel Wee WL ee les es CG AN}

i pdeuitin Se) NPAVAUAVAUAEAUAUAWARADK URNS

nTrceStore. Bi"zTe eRAStas erveange = Pere pees Thee= perny om apy~aeas BOR creat rere TORE, a ye : ; mee

j |a, To ', Pr :¥;rewy at : 5.0) -aaaeSs 5 eee ~ ~~ dl is eetCN, eo mH PatySrey &oo wares, Be ARB Se Sy — 3a

pod) 2 EERE ey UW AWS ISR EN AG AGihidbA bak Us Uk era Ay aa

2S (- \a(AS teeaec.ae-2aa *ee Fia BB aes>: oe “y e. on .: 1dm) ae , Fey la SA APCel AA‘ laCy ‘y oon )OS) SP 2Orn ‘wy. AR ee aait)' | i ie [ wy) y J ae i , : 4 r { C4 } J mde bi" # mid : uw ite Mi dU > oi} : '

t/a ae ; : r he : ' ay me res , . | se | . oS Xe . . ra. - Bi ie = Ac wt Hb,

a , . fe i eet { van - begue: i wees. 7a ¥] {+ years?

™ , " we ee ahd dl2, ie » Loos = x1 a TSys - . -* oars fA be ee J 7e* é . esee oeae : SspEN Se ee ; . ”ef Fial co ye ad ae oar1S ™ “. =eee +:

=Re Re en =OO a ee eee ~~ ed ~~ 5\ nce ee eeSF

Fic. 19. Ferrara, S. Francesco: Ariosti Sarcophagus, Back

-_———rrr NT ee oe i a -__-- —— + a a _—_—__— — :

JF : 2 A ee > : ’ f.. 3 ae A ~2 Ae we, % igi A ols Ce ht. 0 en y : 6 Wikre BS AS ME IE TR KS Ts NE SR Eg . =e is 5 a hie 4 oF . aa , ae ee ry ° + " ; ee | Bis . 0 ae ”

* Py a CET: Ree eae PL, OS 2 RM airs eee oe aes BO Soe acl dy, IIE A DEIN INOSaETI OT IIIS Tes“sy iced «4 VPI x »IEIVT SoarEIR wit). S YX, - rere ~ ~et “GRE ; rh:

Me ee see BeeSets PREece rag Th ye See)ee) je:TRS SitesSG agaaSay’ ARS5siph Yj ¥ See, | 4 4 che etl Me 7)" fl u~ as x 4) Eon “sy 4 AK _— q 2 Saae W = Ny IRS ee OY Ne AVE) ad A OS i] |}) Pay

LI ZA PLT PSs“iSY BR) +ee>heBF 4 Y© Dome caria,AA ced «sede Co”eS samen: Hieree vA Yop 2 Oi ds SRT A) he FO eo PN MY kip See @ 4ayi N y enay ‘ y/: Ab ; ~~PREY rae 7) ’ Kj " a MAG + ALY ss , aiteat™ f ’/~sop yenieRT, aes Poa

UY, ~.See i Si oaka~ me AN BeAS i Fea La 6 mept\ Aa) MiEeen Ss cet fp Se : Se Le (ether STR TS | I ac Re RN OR ECS Se OD Fic, 20. Ravenna, S. Maria in Porto fuori: Onesti Sarcophagus, Front

at yf + Sh, am Ss FIO ————— >

Sf © Pipe J Fs, .

£ P, 4 ee = 7 ’ F ¢ 4 oe

MfA. = Ne Hh a * =;~*~

Oe, d % | 7 if 1m " Y e ; . \ =] DANN AS ARCA Nd SUSE Wiz,

\?. ae Ie OR —\ MON oi ov |’

, --" 4 a~~ c ' :oa .*,

| {oe e stBo } hy VF: ,\ ns m \ Ayt;)‘

;aon. : :.#2\;dpon 4' . ee 4\ \\ yy \

); E’7 ‘“4 € {yy . st

.7ey Bee | .ci5stben c ay uo . :‘2 -..for :,: * ny Be! pet ; , — , %

OF a ea me owen : a ae? — ~ ‘. PIS eas. j ‘er Daven Fic. 21. Ferrara, S. Francesco: Ariosti Sarcophagus, Left End

ao ‘s \ shine! “_ ae 4 Ah 2. % “ate Xi on " a “vy ae - = 3 i.

Ky We ‘% fe aa YSf 4 Mio * he loner “my \ at Ls) } q %‘ e7% f if,if kj My rigbt\\\\ os Sys LIAN r&f fy : ./a; *} moat oe' oe, YG -AN ‘\ ‘

;%:oa 4bnRELL NV) Sfob. (ROY ped By) oe. Ya: Une fe an NM SN J). oH ’, i Lata -" AN | pte Ry ~. >NN \: Shae Me ae Dba; Sal Ee po,” , Po +e aes . ed j : *% ia ff 4 Y Af ; eee PN Ge yk ie . SS oA Z BNIB Asia!ye\AeOe FORAYS #{| f\63 , 5Sfp Sek a Paty} peratae bakoe~S ,- 63} (ofab ~a ee it ae ~ ann: r. :te %

at RVR a a ati | BUD A UU ee a eee, * ~~ fan” Taiacop? cries

ee ee Tn oo cae ae ae ee het aoatetES« “eee ae” age". sa Mer . aa eve so r>e ~ Gy. pay Pet) 4asia ag oe ; rata Als --ere . ‘~*~ > © th “Vg pA Sor ds ip 4 ee i)’ pent y Jy Ve j

"ta 4 LAP Area «= Ya ies wi Cans « Gene” 2 Qara ;ssa. 2..AAN JTS ahs we: » oe a hy ; A > omni SO” 4, ape i i igt: f bs “iy ae Sih Re ‘

aBs fd teT fh. ff A ayBN V4 \ wy Vee.an row, ho F \iN) % i ww :DA , SLe VA al

eke ANG SNF} CR PRON] 55 NYP RET PY HR RD fT RIP) FRIES MER PES,

a 2 A WN a a I aE RE IES iNT eT EEN. NDT NL. PORTER REMMI A ae es or ee Os eee > eo Ea ee ee ee

—- AE a RAE A LET I I I, NS LG LIT OE ITS I LICL i OE LOE LI LAEGER IES GT NO a a ie i a lh ek lo Ml 4

bk NSNS ).>,N . Lat ti .WY 4 /\\ ,’WY ~~ 24% — ay he Gy NS x 3 ¢ ~, WY ar 4L,‘fm i 1% inS Cc .)ZX ty 3WAS fs" bi,

\ ey, . rhwe~ Fz ref YS BA RN NZS De 324 Wes ¢ " ed > wot ’ ; > 4 a a ee | — —_—iy,“i! eo~

I\.,BR \\ /Re ff>ie Iy/,As \"* Be IG \\ eee g Ai: \\¥J)gee Sasi, us ~. | ry 5 * he is . | } ui f \ SS “ f w/, ABs . ‘=e ER NS we -/ 7 { j . — mt ty \ // , a ee F a Y ‘i ’ vy Ye, ; “i Ae hy.. Ww ’ ¥ &h -TA 2 Ss .. :J/: .| y} if ésftiet.j ' te: 1eo, r ¥. Sa es,me ia Adi ey hs ify ree j ¥ 5 Mt ph 8 . oer a BE By wy a Ree 2aeto. iat basems a

Year | Werk ‘ ' ) ~ oy IER I ee’ eel ee? tes ee eee a : — Fic. 25. Ravenna, S. Francesco: Liberius Sarcophagus, West Face

aa A ee ~ Psst siden Me : : , : .

. 4 “a 4 , re a * ” ¥ — ’ - | 4 x 7 os " A\

‘ mi € a > _ , ’ se ahh eter cters so P en ee CRON RAERNNO gy i " , (tee a

‘" » iS Me ue . ¥ : coat a =e Sh ! ioe RT ate mm a s rat a a Pat eh gy PN A A Se Pe ee Sg: OE MAE yo FO cae Oa a Me ech pe RM aie Se ee le Cie ee Rae er Nee Fee WE oe (Oa ere Se[Ln ON |if‘ty2gfhe fVy Me ee Warn 2. re WA rae rs, SY «et > 5 a ae ’ i "4 J Gq /; \ s teas ef 13 i aN % 4 a *> '¢ Pr LNA aS ey. } ‘8"s: \\™‘ y/ ¥ pWe, ] a4 /09 4 ii ee H SF aa ar iS ii 4 5a./ CC weAghia (po ey — < =*\;ee eeey *t > eet a[oe Pe «et 7 a XiV,

ie iy sf “4ie! ‘ aes ;4j :,hy, >i. ‘7- fF fAge - ui— Ba q ’ ;4BE) .a¥ /. At } area | fmm & a Btf\\oo? ag (iy ay “(MalmE Fg 7s87) a ON,&! ¥

— .ee£— St Poesahit —: > 2 trBa. -OPT Se, Raut. Piet eeSLE a=we a |NoPyoaae ee OTa,£2ees aeaMS [Mai 3skk ae aN neal am ER Fe Siu a Te i) tme/7s 2S) “en | =e Iki H .. P~ ER « BO AZV EI

- BY. » y es > y, ae vA Ce, aNd war - « t.. “y Fad mE af # me Ne > Aoges = ad). ¥ ”" ¥ yp y er re

Sn ap eaea Bann ia A Mat O25al3 oe" ee aie ee)osWeel, t! ido, Nplate Oe,i ae haer / ¥ ; rt. CM ee uk i Big pn dl sh ppoatn a eeate rentWe fens ae p” aly | Teede q aieme, a ©xea.Sn dotOF be aa ws pusO “bay Fic. 26. Ravenna, S. Francesco: Sarcophagus II, Front °

|

i ae ee ee

ecg EE a b > ~~ CF = > PIE | a 5 ) : ueOS 4% x oe rr 7 i, mano} ED) iS ie ME EONS I ESN

. q weal ar ; , Ee SRPMS Ree AL Oe, GARE CAN ae hn a za

: BRE Ns Crna, Gomer’ Any ae LEDC estateeeOM Mdhee ASS oeNS CABLES EL,aS SOU LN be Se RORPed VET DA, RSGR he boy a Ae

, ; om daggers 23 pee De ee a Ws, gid ee tices d ee es ea Bal , Sapa Ve cee | a ee 7 ov as yPwt i 4*Ve ’ ™“ yna wer eR “ey Gxt \‘al ve!\ ce 1. ae . eo 4 ae. ES ‘. . att ;i ‘:Gis . E an” oo Hin ae Ms * a a f Ey anid = ee fi aif (oe a o ule, er Ns ee x Se er de eo: Ak i a a a a a ee Be IRS MINN Ee a NIE fas, Ss. a A i apo See on he ee? AY er4 See nSAdyPom aw tS \Q See Gap bee Pee AA ee Be if MEN

- Z~~FY : , s.aeWaeSK hy ,Me im xsett cams uN im iee Ty ia | ae) eeng | a .wR i]%A “WE pate ew Ret :Bote a, linAt aoS Sr.29 he a .x Sy eal Ne 4! SQN ¥ ay ,% ¢ ye , i Pee => * / a ah’ FR "me Tan! >: 7 ry ) i % NN S ee iGo! ‘ ge acy A> “i hfe \ ae: te “te 3 ray \ > i be Sey ie: a ge i ee tif oe oy Ye ON) ) , ; f pores ; ae. aria on | amp LL>, Lae a y in aitPAS om oS AneRRR rer > aa 8 PE 2 Fy | ae, Dapeng! Oe.aeom fo 4 s ae Lees b a | ie ies i a 4 il ae” |) aa ¢ ede ‘9 ‘ we toy ‘ ; ms ’\ ‘ vn a } Vad , < ’ - ‘ fi 4 Ii . fy Sas . ra eh Sa, i: EY 4 = . , > CF: was Py oy ae |

,7¢ 5 * 7ay UeSate. a “ ; ra Tr eo ‘ LAV ei ; a. wee 4gee - Y By " i: 3cin Ds athe oe a RAS com BTUM Snages Laer Pewee Se| || ete © tA & ¢ ood emcee Pte “a dy ; 77, pak Bs I OL a Oe aaa re eae C/O NVR Ag | Beejay Ae a4; >g: FAe: 4tT/ — Dy ORR : ee XR % a ag Hffy wf,oR Me Pag HG,RL ny * As oe ron a é9 SSbt) 4 cvsy meee -£ ry ,é

Lata) ae fg 1 Ps) JOPS he 95,i:fa; 2 Can ® ¥fF et 5 re Sele Be y feS! P § deel SF >fia04 : a ‘ >. __* ie ia =.eee ES, saree Samer

Te } Me 3 ™ «5 2 i a eo a ce D i) | eT ae ee ha » as 3

4, 4

Fic. 30. Constantinople, Ottoman Museum: Fragment of Sarcophagus (Sardis B)

—seme,iapk aePs , | | = elected icc ee~

‘ i ’ arte -

ba opie : 2oeLPQS — Ss oY) =p . - ~ae hs oeVIS: VnrtsVeEo beh 7. \tae Bet Y , +e. ¢vRe. ae)-‘)be waeRom AY rg\om 4pres . Waa Ly aoe te Bia eee” Vamcee ae \ teen ‘ES ohd, pe S bie ES yA yee aN ri i* } fay bie ie, A “Sa 4 ‘ L mae ims pa] i ~ ot , \ ee A aren) | |i ae J:; .J (rae /: ;2ar vii wi ay TE i‘ a“ ie“OF k a% MN BP aen Sf °OUTRAR\ f “y aeoo MN » itd) pe ay) ; . ioe fiBee ieoP) |Mogi oH) Aat tet BIN oe ’ taf be’eo | Sie btias Pee bea io gin Te a Se AY . a tee 4 oe | Sie ; Ve eA” ro 7Bea re —‘eimitan fomme: || ,eye Tie¥ Bee

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Fic, 64. Ravenna, S. Apollinare in Classe: Four-arched Sarcophagus, Front

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Fic. 75. Ravenna, S. Vitale, Court: Bonifacius Sarcophagus

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Fic. 79. Ravenna, S. Vitale: Two Pulvinos

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Fic. 80. Ravenna, Cathedral: Pulpit of Agnellus