SANTA MARIA IN PORTO, ITALY

The basilica of Santa Maria in Porto is an important place of Catholic worship in Ravenna It is located on Via Roma, the main road, which crosses the centre of the city from north to south, not far from Porta Nuova. It is home to the Sanctuary of the Madonna Greca (The Greek Virgin), Patroness Saint of Ravenna.

In the first half of the fifteenth century, the Canons Regular of Santa Maria in Porto decided to build their monastery in the city of Ravenna, next to the church of Santa Maria in Porto Fuori. However, the Venetians imposed that the monastery be built within the walls of the city.

Land was bought then near the Porta Nuova, the then southern end of the town. Houses that were occupying the land were demolished on August 5, 1496.  The construction of the monastery was started in the same year to end thirteen years later, in 1509, although the canons settled there since 1503.

In 1511 Pope Julius II lived there during his trip to Romagna and in that same year, the project for the church construction was presented to him by Bernardino Tavella. Construction of the church began in 1553 and lasted several decades: The coverage of the nave was built in 1561 , while the consecration took place on October 8, 1606, by the Archbishop of Ravenna and Cardinal Camerlengo Pietro Aldobrandini. In 1710 the new altar was built, and in 1784, the façade was completed, by Camillo Morigia.

In 1797 the church suffered the effects of the French invasion. The sanctuary was stripped and plundered and the monks were expelled. The following year both the monastery and the church were closed, and were subsequently used as a military barracks. In 1828 the monastery was re-opened but it was closed again in 1886 because of new ecclesiastical laws. The monastery became a confectionery factory.

At the end of the nineteenth century, the church of Santa Maria in Porto was ceded to the diocesan clergy, becoming a parish seat. On the initiative of Archbishop Vincenzo Moretti (1871-1879) and his successors the cult of the Madonna Greca was restored. On 21 April 1900, in its eighth centenary celebrations, the image of the Virgin was solemnly crowned.

July 24, 1944, the church was hit by an unexploded bomb in the choir. The damage was later restored. Today the monastery is partly used as a dwelling of the monks of the Order of St. Paul the First Hermit, who officiate the church still, and in part it is the seat of the Municipal Art Gallery (since 1972 ).

This post is part of the Scenic Weekends meme,

and also part of the Spiritual Sundays meme,

and also part of the inSPIREd Sunday meme.

MAUSOLEUM OF GALLA PLACIDIA, RAVENNA

The Mausoleum of Galla Placidia is a Roman building in Ravenna, Italy. It was listed with seven other structures in Ravenna in the World Heritage List in 1996. The UNESCO experts describe it as "the earliest and best preserved of all mosaic monuments, and at the same time one of the most artistically perfect". The mausoleum is laid out in a Greek cross plan with a central dome on pendentives and barrel vaults over the four transepts. The exterior of the dome is enclosed in a square tower that rises above the gabled lateral wings. The brick surface is set with narrow mortar joints and decorated with blind arcades.

The building was formerly the oratory of the Church of the Holy Cross and now contains three sarcophagi. The largest was thought to contain the remains of Galla Placidia (died 450), daughter of the Roman Emperor Theodosius I. Her embalmed body was reportedly deposited there in a sitting position, clothed with the imperial mantle. In 1577, however, the contents of the sarcophagus were accidentally burned. The sarcophagus to the right is attributed to Galla's son, Emperor Valentinian III, or to her brother, Emperor Honorius. The one on the left is attributed to her husband, Emperor Constantius III.

It is surmised that the structure was built by Galla Placidia, who was a well-known patron of the arts, to be used as a mausoleum for her and her family. There seems to be no evidence to prove or disprove Galla’s connection to the building. The mausoleum was once connected to the narthex of Santa Croce, the church for the imperial palace, built in 417 but now in ruins. Santa Croce was one of the first buildings commissioned by Galla. The floor has been raised by five feet since the fifth century in order to remain above the rising water along the upper Adriatic coast.

The Mausoleum of Galla Placidia. Aelia Galla Placidia (392 – November 27, 450), daughter of the Roman Emperor Theodosius I, was the Regent for Emperor Valentinian III from 423 until his majority in 437, and a major force in Roman politics for most of her life. She was consort to Ataulf king of the Goths from 414-415 until his death, and Empress consort to Constantius III from 417-422 until his death

The lunette over the south wall is thought to depict St. Lawrence standing next to a flaming gridiron. On the opposite side of the gridiron a bookcase is shown with four books, each inscribed with the name of an evangelist. The art historian Gillian Mackie argues that this panel represents the Spanish St. Vincent of Saragossa rather than the Italian St. Lawrence. Mackie cites Galla's connection to Spain; in addition, St. Vincent was martyred by drowning at sea, and Galla and her children had been delivered from shipwreck. The panel seems to be an illustration of the poem about St. Vincent in Prudentius's fifth century Passio Sancti Vincent Martyris. In the poem St. Vincent is ordered to disclose his sacred books to be burned. This explains the cupboard containing the Gospels, which has no satisfactory explanation in the story of St. Lawrence.

The ceiling is all sumptuously decorated with fine mosaic work

The lunette over the north entrance shows a famous mosaic of Christ as the Good Shepherd tending his flocks. He holds an imperial staff joined to the Christian cross, symbolising the combined earthly and heavenly domains. Contrary to later Christian iconography, Christ is shown young and without a beard

The interior of the mausoleum is covered with rich Byzantine mosaics, and light enters through alabaster window panels. The inside contains two famous mosaic lunettes, and the rest of the interior is filled with mosaics of Christian and Apocalyptic symbols. The central bay's upper walls are decorated with four pairs of apostles, including St. Peter and St. Paul, acclaiming a giant gold cross in the center of the dome against a blue sky of stars. Symbols of the four evangelists float among the clouds. The other four apostles appear in the barrel vaults of the transepts

This post is part of Julie's Taphophile Tragics meme.