Sacred Fortress

Otto Georg von Simson (1912-1993) was a German art historian, who was educated in

Germany

and

England

. In 1939, he moved to the

United States

, where he taught at several colleges. From 1951 to 1957, he was Professor at the University of Chicago. In 1957 he returned to

Germany

, where he died in 1993.

His book Sacred Fortress: Byzantine Art and Statecraft in Ravenna was published by the University of Chicago Press in 1948. It was reprinted (with a new preface) by the University of Princeton Press in 1987. There are 150 pages, including notes and an index, plus 48 plates with 61 illustrations (black-and-white photographs).

In this book von Simson examines the art of three churches in Ravenna plus a famous chair, known as Maximian’s Throne. When I use the word art, I mean the mosaics or, to be more precise, the most important mosaics in the three churches.

The mosaics are polychrome, i.e. there are many colours. Unfortunately, all illustrations are in black-and-white. To see these mosaics in colour, please turn to Ravenna: An Art Guide (1973) or Ravenna: Art and History (1991).

According to the Dictionary of Art Historians, which is available online, von Simson despised the title of the book. It was suggested by his editor. The dictionary does not tell us what title the author wanted to use.

If we wonder how an editor was inspired to suggest this title, we can turn to page 20 where we are told that “the monuments of Ravenna attest, above all, the admirable logic and consistency of a statecraft capable of planning theological, as well as military, moves simultaneously, as steps leading to the same goal.”

The next sentence refers to Ravenna as “an embattled fortress surrounded by Gothic might.”

The main characters are presented in chapter one:

** Justinian, born ca. 482, ruler of the Byzantine Empire 527-565

** Julianus Argentarius, an architect and/or a builder and/or a banker, who paid 26,000 solidi (gold coins) to finance the construction of San Vitale

** Maximian, born 499, archbishop of Ravenna 546-556

[The author is very fond of Maximian, who is praised as a theological scholar and as Justinian’s representative in Ravenna. On two occasions von Simson uses the word “genius” to describe him: pp. 21 and 111.]

San Vitale, consecrated by Maximian in May 548, is examined in chapter 2. In this chapter the author pays great attention to the dedicatory mosaics in the apse, which show Emperor Justinian and his court on the left and Empress Theodora and her court on the right.

Sant’ Apollinare in Classe, consecrated by Maximian in May 549, is examined in chapter 3. In this chapter the author pays great attention to the mosaic in the apse, which portrays Saint Apollinaris standing below a huge cross.

Maximian’s Throne, a chair that was made for Maximian ca. 550, is examined in chapter 4. With only six pages this chapter is the shortest in the book. Today the chair or cathedra is on display in the Museum of the Archbishop in Ravenna (where you are not allowed to use a camera).

The chair was made in the Christian east, but scholars do not know if it was made in Constantinople or in Alexandria. It is made of several carved ivory panels, which depict figures and scenes from the Bible.

Sant’ Apollinare Nuovo is examined in chapter 5. With more than forty pages this chapter is the longest in the book. This building was consecrated as an Arian church during the reign of Theodoric (493-526). When the Byzantines conquered Ravenna (and later

Italy

), it was decided to modify some of the mosaics inside the building. The author explains how and where this happened. Around 560 the building was consecrated as an orthodox (or Catholic) church by Agnellus (born 487), who was the archbishop of Ravenna 556-570.

I have mixed feelings about this book. On the positive side I can say that the author examines the mosaics of the three churches in Ravenna as well as the famous chair in great detail, and he is able to present some interesting results.

On the negative side I have to say that there are some serious flaws. First of all, the pictures of the polychrome mosaics are in black-and-white. The pictures are quite good, but the lack of colour is deplorable. The old photos from the first edition should have been replaced with new colour pictures when the book was reprinted in 1987.

Secondly, the author tries to connect the mosaics with the rituals and the liturgy of the Christian church. While there is nothing wrong with this idea, he goes completely over board. Sometimes the rituals and the liturgy get so much attention that the mosaics themselves seem to fade into the background.

A third point concerns chapter four about Maximian’s chair. On page 68 the author says:

“It is certain that the cathedra was purchased by Maximian and belonged to him.”

This is not certain at all. Modern scholars assume the chair was a gift from Justinian, but von Simson does not even mention this interpretation, which seems much more likely than his own.

A fourth point concerns chapter five about Sant’ Apollinare Nuovo. On page 103 the author decides to include some additional evidence:

“Of special interest to us is a number of sarcophagi in Ravenna which undoubtedly had been completed by the time that the mosaics in Sant’ Apollinare were executed.”

Having made this statement, he describes the sarcophagus of Isaacius, or Isaac the Armenian, who was the exarch ca. 625-ca. 643, i.e. long after the age of Justinian!

This is, in many ways, an interesting book, but as you can see there are some serious flaws, and therefore I think it deserves a rating of three stars.

PS. For a recent study of this topic, turn to Ravenna in Late Antiquity by Deborah Mauskopf Deliyannis (hardcover 2010, paperback 2013).

* * *

Georg Otto von Simson,

Sacred Fortress: Byzantine Art and Statecraft in Ravenna,

University of Chicago Press, hardcover, 1948,

University of Princeton Press, paperback, 1987

150 pages + 48 plates with 61 illustrations

* * *

For more information about Ravenna see my blogs:

Basilica di S. Vitale (1)

Basilica di S. Vitale (2)

Basilica di S. Apollinare in Classe (1)