Roman provincial art in Ravenna
(5th - 8th century)

Sarcophagi

	1. Sarcophagus, probably that of of Theodoric, made from a porphery bathtub, Ravenna, early 6th c. (Ravenna: Mausoleum of Theodoric). In the sixth century, the Empire was once again united in principle, but in fact the only order was what local armies might impose. The Roman army installed in Italy was Ostrogothic and under the leadership of King Theodoric. It seems both the first and the last of the Ostrogothic rulers in Italy ended up in bathtubs.
	2. Rinaldo Sarcophagus, ca. 430 A.D. (Ravenna: Cathedral). On the front, Peter and Paul hand a wreath to Christ. This outstanding example is marked by its delicate plastic figure style. The Ravenna sarcophagi are distinctive in that they are carved on all sides in the Greek manner and handled architecturally: a semi-cylindar barrel vault roof covered with tiles rests on a lintel, columns or arches. This probably derives from a Near Eastern conception of the sarcophagus as a house for the body, but the artistic expression, with its relative simplicity, compositional balance, and abstract background derives from East Mediterranean mosaic design. This sarcophagus is the best example of the so-called Rinaldo workshop, which is marked by its stylized date palms.
	3. Twelve Apostles Sarcophagus, 6th c. (?) (Classe: S. Apollinaire in Classe). This work is similar to the Rinaldo Sarcophagus and comes from the same workshop, but is less competently done. Paul receives the law from Christ, and Peter with a cross. This iconography is probably East Mediterranean rather than Italian in origin, although it is hard to pin down the prototypes. In any case, the iconographic combination, such as Christ's giving the law of Paul, seems unique to Ravenna.
	4. The Theodore Sarcophagus, 6th century (Classe: S. Apollinaire in Classe). This is the sarcophagus of Archbishop Theodore of Ravenna. Ravenna sarcophagi fall into two groups. The earlier group, called Figurative Sarcophgi, are from 4th to mid 6th c., and show the human figure. Figurative Sarcophagi give way to Symbolic Sarcophagi such as this one with its design of peacocks and medallions, perhaps influenced by Sassanid silks imported from Egypt with peacocks in a surround design. Despite the decline in figurative art, this work from the 6th century shows that early Christian stone sculpture retained its vigor.
	5. The Lamb Sarcophagus, early 6th century, A.D. (Classe: S. Apollinaire in Classe). In the course of the 6th century, symbolic sarcophagi entirely displace the figurative sarcophagi and continue up into the eight century. While the iconography of this symbolic sarcophagus carries on 5th-century traditions, the stylized treatment suggests it is a work of the early 6th century. The legs and tails of the lambs are becoming rather long; the Alpha-Omega rho cross shows East Mediterranean influences, which is natural, given that the aristocracy tended to look to the court in Constantinople to legitimate their resistence to the state in Italy. In general Western bishops became the leaders of the provincial aristocracy and looked to classical traditions to legitimate their independence from state institutions. By the eight century, the last remnants of this Roman cultural tradition ended.
	6. The Six-Arched Sarcophagus, early 6th c. (Classe: S. Apollinaire in Classe). The heavy peacocks on the pedestals reflect a loss of concern for naturalism, as the symbolic significance of the scallop shell and fish scales gains precendence. The need for strong centralization violates the logic of the six arches.
	7. The Lamb and Rinceau Sarcophagus, 7-8th c. (Classe: S. Apollinaire in Classe). Reflects loss of touch with the classical tradition and loss of architectural logic. The pilasters at the ends are merely decorated areas with only a rough hint of capitals, and there is no lintel they support. Naturalism is also gone: the lambs look like dogs, with pointed eyes, erect ears, and long tail.
	8. The Felix Sarcophagus, e. 8th c. A.D. (S. Apollinaire in Classe). Felix, the Archbishop of Ravenna, died in 724 A.D. Column bases have been cut away; lamps hang from porticoes; illogical crosses are merely decorations. While the design is coarse in detail, and the lambs have become horses in the mind of the artist, which indicates no sense of traditional iconography, the overall the design is nevertheless decoratively effective. So this sarcophagus is really more early feudal than a fossil of the classic past.

Miscellaneous

	1. Portrait bust of Amalaswintha (?), de facto successor to Theodoric, 1st half 6th c. A.D. (Rome: Conservatory Palace). After Theodoric's death, his widow struggled on against the restive aristocracy. It finally had its way and she was stabbed in her bathtub.
	2. Bronze cross from Neonian Baptistry, Ravenna. 7th c. A.D.