Notes on the iconographic programme of apsidal mosaics in the basilica Euphrasiana of Poreč

Abstract

Iconographic programme of mosaics in the eastern part of the Euphrasius' basilica in Poreč displays Chrislologieal and Marian themes. The former are located above the triumphal arch and at its ceiling, while the latter occupy entire apse cavity above incrustations in marble. So expressive Marian motives can hardly be found elsewhere in the Western Christian world even compared to apsidal mosaic programmes from Ravenna and Rome basilicas. Ravenna and Poreč mosaics share considerable artistic and technological similarities, while differences among them most probably signify an evolution normal for the time when churches were no longer built in Italy nor were made any mosaics. Master craftsmen might have gone somewhere else in search for work. Marian themes appear in Rome from the first half of the 7th century. Christological sequence above the triumphal arch consists of mosaics representing Christ dressed in purple sitting on the globe and surrounded by Apostles. A characteristic feature of these mosaics is highly individualised representation of the Apostles: differently shaped heads, hairdressings and certain physiognomic traits, also various attributes (keys, books, martyr wreaths, and so on). Majority of the Apostles are tonsured. The ceiling of the arch is decorated with an array of medallions each representing either a virgin or a martyr. The central medallion, now depicting the Lamb of God, is a result of an incorrect reconstruction from the 19‘" century, originally representing head of the bearded Christ as in S Vitale. Virgins have veils over their heads as a symbol of chastity according to the Tertullian's work De virginibus velandis. The interior of the apse is decorated exclusively with the Marian themes. The central scene depicts St Mary holding baby Jesus in her lap. To her left is the "Poreč" group consisting of Archdeacon Claudius and his son Euphrasius, Bishop Euphrasius, and Confessor Maurus, the most important person of the Poreč Church from the time before the acknowledgment of Christianity. To her right stand another group: three figures with the attributes of martyrs without any legends, remaining thus anonymous. In addition, they lack the highly distinctive individual features characteristic for the previous group, so are usually considered as unknown Poreč martyrs. However, it seems more plausible that they have to do with the compositional symmetry of the scene, since both literary and epigraphic sources lack any information on Poreč saints other than Maurus. There is no doubt that Bishop Euphrasius, who built the basilica, would have named other Poreč martyrs if he had been in possession of their relics, as he did in the case of Maurus. All the figures surrounding St Mary are also tonsured. Scenes of botli Lhc Annunciation and the Visitation are placed in the lower part of the apse and above the incrustations. Three figures, also in connection with St Mary, arc represented at the pylons between windows. One is the Archangel Gabriel who announced the birth of Christ to the Virgin Mary, the other is the priest Zachary, husband of Mary's cousin Elisabeth and father of St John the Baptist. In his hands he holds a censer and a reliquary shaped as a small sarcophagus. Some figural compositions not entirely deciphered occur on both objects. The composition on the censor probably represents the three Magi in front of Herod showing a star (Herod's bust is missing). The scenes on the reliquary represent Daniel among lions and, probably, the three Magi bringing gifts (one Magus and the Madonna arc missing). The last figure appearing on the pylons is John the Baptist, the annunciator of Jesus Christ. Venerating St Mary since the very beginnings of the Christianity constantly grew among Christians and especially after the Synod of Ephesus in 431. Nonetheless, it is hard to believe that such a sudden iconographical change could have happened without any motive. That was probably an article of faith issued at the Fifth Ecumenical Synod (the 2nd Synod of Constantinople) in the year 553 when Mary was proclaimed Sancta Maria et gloriosa Mater Dei, semper virgo. This proclamation and building of the church are more or less contemporary (most scholars date the basilica and its mosaics around the middle of the 6th century); thus, the motives focused on St Mary should be dated accordingly - in the period shortly after 553.