This bilingual
guidebook about two important monuments in Ravenna was published by the Italian
publishing house Franco Cosimo Panini in 2008 and reprinted in 2012. As I write
this review (in 2014) it is still available.
The text as well
as all captions are printed in two languages, Italian and English. The English
translation is done by Wendell Ricketts from CITI Traduzioni in Modena.
There are 126
pages and the format is 17 x 24 cm. The book is lavishly illustrated: there are
120 colour photos plus 65 floor plans and diagrams. The photos are taken by the
Italian photographer Paolo Robino.
The editor is the
Italian journalist and art critic Gianfranco Malafarina, who has edited several
bilingual books for Franco Cosimo Panini, including La Villa Farnesina a Roma
// The Villa Farnesina in Rome (2003) and Il Duomo di Modena // The Cathedral
of Modena (2009).
The book about Ravenna,
which is under review here, is divided into two parts:
*** Part one, la
Basilica di San Vitale, pp. 5-92, i.e. more than 80 pages with text and 69
illustrations - plus a few pictures with no number.
*** Part two, the
so-called Mausoleum of Galla Placidia, pp. 93-125, i.e. more than 30 pages with
text and 33 illustrations - plus a few pictures with no number.
Floor plans and
diagrams accompany each illustration, placing it in its context and identifying
its exact position in relation to the rest of the building. To give just one
example: on page 48 there is a very helpful drawing of the presbytery and the
apse in Basilica di San Vitale. In short: the quality of the illustrations is
extremely high.
The brief
bibliography on page 126 includes a book in Italian by Antonio Paolucci:
Ravenna. Una guida d’arte, published in 1971. This book is also available in
English: Ravenna: An Art Guide, published by Edizioni Salera in 1973.
To the works
listed in the bibliography I wish to add the following: Ravenna: Art and History by Giuseppe Bovini (Longo, 1991, new edition 2008); Ravenna in Late
Antiquity by Deborah Mauskopf Deliyannis (Cambridge University Press, HC 2010,
PB 2014) and Eternal Ravenna: From the Etruscans to the Venetians by
Massimiliano David (Brepols, 2013).
Part one about
the Basilica di San Vitale is divided into 12 short sections:
# 01. General History
# 02. The Exterior
# 03. The Large Cloister
# 04. The Ardica and the Vestibules
# 05. The ambulatory
# 06. The Women’s Gallery
# 07. The Central Chamber
# 08. The Cupola
# 09. The Floor
# 10. The Presbytery
# 11. The Apse
# 12. The Vault of the Presbytery
Here is a quote
from page 11:
“Wonderfully
blended with the mosaic decorations and sophisticated quality of the marble
panels and sculptural work, the architectural design creates enchanting
contrasts of light and shadow, giving rise to a space that is both dramatic and
dynamic, a space that seems to extend infinitely, enveloping and projecting
visitors into a divine dimension.”
Here is a quote
from page 13:
“Thanks to the
geniality of its layout, the brilliant colors of its mosaics decorations and
the richness prospective created by the pinwheel arrangement of the interior,
designed to create an illusion of infinite space, San Vitale constitutes one of
the most exquisite expressions of Byzantine architecture and decorative arts,
deftly united in a marvellous synthesis.”
The famous
mosaic which shows Emperor Justinian and his court gets four pictures: # 47 the
total view; # 48 the soldiers; # 49 Bishop Maximianus; # 50 Justinian. The
equally famous mosaic which shows Empress Theodora and her court also gets four
pictures: # 51 the total view; # 52 Theodora; # 53 two ladies; # 54 five
ladies. I have three comments to the presentation:
(A) Regarding
the former panel, I notice that the editor does not try to identify any figures
except Justinian (in the middle) and Maximianus, whose name is written above
him. Some scholars think we can see Belisarius, Narses and/or Julius
Argentarius in this mosaic. Perhaps they are right.
(B) Regarding
the latter panel, I notice that the editor does not mention Theodora’s dress. The
decoration on the lower part of her dress shows the three wise men offering
gifts to Mary. The same motive is used on the sarcophagus of Isaac the Armenian, which is
mentioned and shown two times: pp. 8 and 28.
(C) Regarding
both panels, I notice that the editor does not mention the shoes. The emperor
and the empress wear better and more colourful shoes than the other figures. Apparently,
one way to indicate their high rank is by giving them better shoes!
Part two about
the so-called Mausoleum of Galla Placidia is divided into four short sections:
# 1. General History
# 2. The Exterior
# 3. The Interior
# 4. The Cupola
Here is a quote
from page 97:
“According to
one legend, the celebrated American songwriter, Cole Porter, on honeymoon in
Ravenna at the end of the 1920s, was so taken by the atmosphere in this small
mausoleum that he composed the melody for ‘Night and Day’ while imagining Galla
Placidia’s star-strewn sky.”
Here is a quote from
page 99:
“In the
Mausoleum of Galla Placidia, the dynamism of the space merges flawlessly with
the mosaic and sculptural elements, creating a sublimely emotional atmosphere
that invites meditation and reflection and which transmits the same spiritual
vitality that surely animated the imperial figures who commissioned its
construction.”
As you can see
from the above, this guidebook has a very systematic approach. The editor will
take you by the hand and walk you through both monuments, step by step. I like
this book. The illustrations are excellent and the captions are informative.
But I have to mention a few things about the English translation which bother
me. There are mistakes and misprints. In addition, there are several cases
where the Italian version of ancient names has not been translated into
English.
** On page 7 we read
about “Illiria and Norico.” In Latin and in English these provinces are known
as Illyricum and Noricum.
** On page 8 we read
about the rich banker “Julian.” In Latin and in English this man is known as
Julius.
** The
sarcophagus of Isaac the Armenian is mentioned and shown on page 8
(illustrations # 4 and 5). According to the Italian caption it is from ca. 420.
According to the English caption it is from the second decade of the 5th
century, which amounts to the same thing. But this person died around 643, as
we are told on page 28. This means the sarcophagus is from the 7th
century.
** The caption
to illustration # 5 on page 22 says: “The large cloister seen from the bell
town.” When the caption is repeated on page 23, we get the correct form: “The
large cloister seen from the bell tower.”
[Incidentally,
the editor forgets to tell you that nowadays the large cloister is a part of
the National Museum (located next to the church). If you wish to enter this
area, you must buy one more ticket. Do not worry about it: the National Museum
is absolutely worth a visit.]
** The caption to illustration # 20 on page 42 says: “The cuple.” When the caption is repeated on page 43, we get the correct form: The cupola.
** The headline
on page 48 says “The presbitery.” The false spelling seems to be inspired by
the Italian word “Il presbiterio.” In the text we have the correct form
“presbytery.” Unfortunately, the false spelling pops up again on page 88.
** The caption
to illustration # 36 on page 59 is flawed in several ways: a word is missing
and two words are misspelled. I have added the missing word and the correct
spelling in square brackets:
“Above the
lunette two winged victory angels [hold] a clipeurs [clipeus], or shield,
containing the cross from which are suspended two Ω’s, a typical glorification
decive [device] of classic derivation.”
** The caption
to illustrations # 51-54 on page 75 says: “With respect to the previous panel,
this scene appears more variegated…” It would be better to say: “Compared with
the previous panel, this scene appears more variegated…”
** On page 96 we
have the following passage: “With her children, Valentinian and Eudossia, Galla
sent the Emperor a series of warm letters…”
Valentinian is
the son of Galla Placidia, who later became Emperor Valentinian III. Eudossia
is the Italian version of the Latin name Eudoxia. Her first name is Licinia and
she is not the daughter of Galla Placidia; she is the daughter of the eastern
Emperor Theodosius II; she was born in 422 and married Valentinian in 437. She outlived
her husband and died in 462. The text should be emended as follows:
“With her son
Valentinian and her daughter-in-law Licinia Eudoxia, Galla Placidia sent the
Emperor a series of warm letters…”
[For more
information about Galla Placidia and her family, see Galla Placidia: The Last Roman
Empress by Hagith Sivan (Oxford University Press, 2011).]
These flaws are
minor, i.e. they do not disturb the meaning and the message of the book, but
they mar the impression of a work which is otherwise perfect. I am disappointed
to see them repeated in the reprint of 2012. I hope they will be corrected in
the next printing.
If you are an
armchair traveller, I am sure you can enjoy this book. If you are planning to go
to Ravenna, this book can help you prepare the visit. Take it with you when you
have a chance to go. It is not too heavy to carry in a shoulder bag. Take it
out when you are standing outside one of these monuments, which are located
next to each other, and let the book guide you through them, step by step. Use
the pictures and the captions to understand what you see. In this way you will
not be overwhelmed by the huge amount of decorations and details.
Ravenna is a
charming city with many interesting monuments. The two cases presented here are
among the top 10 attractions. With this excellent book in your hand you will be
able to make the most of your visit.
PS. You are allowed
to use a camera inside these monuments. In Basilica di San Vitale you may even
use a flash, if you feel you need it. However, in the mausoleum of Galla
Placidia the rules are different: you are not allowed to use a flash, even
though the interior is a bit dim. Therefore you should know that it may be
difficult to take good and sharp pictures inside this building.
Basilica di San Vitale (1)
Basilica di San Vitale (2)
* * *
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