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The Mausoleum of Santa Costanza and Its Decorations

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The Mausoleum of Santa Costanza and Its Decorations MASARYK UNIVERSITY FACULTY OF ARTS Department of Art History History of Art The Mausoleum of Santa Costanza and its Decorations Bachelor thesis author: Veronika Borůvková supervisor: prof. Ivan Foletti, MA, Docteur es Lettres Brno 2020 I hereby declare that I worked on this bachelor thesis on my own and that I used only sources listed in the bibliography. _______________________________ At this point, I would love to express my thanks to the supervisor of this bachelor thesis, Ivan Foletti, without whose guidance, support, and help I would not be able to finish this work. I am sincerely grateful for his attitude, precious advices, and patience. Many thanks belong also to my family and Michal for their continuous support and understanding. Thank you. TABLE OF CONTENTS INTRODUCTION 7 STATE OF RESEARCH 9 The first studies 9 The 20th century 12 New discovery, new speculations 16 Summary 20 THE SPACE OF SANTA COSTANZA 21 Description of the mausoleum – current state 21 Restoration interventions 24 Reconstruction of the former appearance of Santa Costanza 26 Reconstruction of the lost tambour decoration – drawings 28 Mosaic decoration 29 Mosaics of the vault and the tower 29 Mosaics of the apses and the niches 33 Mosaic of the dome 36 Summary 38 THE DATING, FOUNDER, AND FUNCTION OF SANTA COSTANZA 39 The founder and dating of the cemetery basilica 39 The founder and dating of Santa Costanza – available documents 40 The dating based on archaeological evidence – the structure under Santa Costanza 42 Function of the building – baptistery, mausoleum? 44 A) Baptistery 44 B) Mausoleum 46 Summary 49 ICONOGRAPHY OF THE MOSAIC DECORATIONS 50 A) Iconography of the ambulatory, tower, and the dome 50 The sacrifice of Elijah 52 Tobias catches a fish 52 Daniel rescues Susanna 53 The sacrifice of Cain and Abel 53 Dating 54 B) Iconography of the apses 55 The so called Traditio Legis in late antiquity – the left apse 57 The real handover of the Law – the right apse 58 Dating 60 Interpretation of the decoration within the space of Santa Costanza 61 Summary 62 CONCLUSION 64 BIBLIOGRAPHY 66 Primary sources 66 Secondary sources 67 THE LIST OF IMAGES 79 INTRODUCTION There are many references to the Mausoleum of Santa Costanza in Rome, today the Church of Santa Costanza, an outstanding monument of early Christian times. The building began to attract more attention in the 16th century, and there is nothing to be surprised about, since its origin, function, and even nature of its decorations has always been a subject of doubts. The lack of information caused misjudgement and wrong interpretation of the building as a temple of the god of vine and grape harvest – Bacchus. However, with growing interest in the monument, Santa Costanza was scrutinized by more researchers who have proven its Christian character. This imperial mausoleum is today generally dated to the mid-4th century,1 which means more or less two decades after the Emperor Constantine the Great left Rome in 326.2 The city was in a process of slow Christianization, however, it remained pagan until the end of the 4th century.3 Thus, Santa Costanza is an exceptional example of a private imperial monument erected at the time when Christianity had not yet won over paganism in Rome. The decoration of the building reflects this period and that is most likely the main reason for doubts about its Christian character. The mosaics adorning Santa Costanza need to be, therefore, closely examined, in order to understand their meaning in the context of the period of its construction. At the same time, the imperial character of the monument mentioned in previous lines is still uncertain as well, considering that the testimonies given by available primary sources vary. This matter needs to be examined by studying all primary sources speaking of the mausoleum and its founder. As several aspects still remain unclear, the following pages humbly attempt to find much needed answers. The first chapter tries to acquaint the reader with the approach to the mausoleum throughout history, from the aforementioned 16th century until nowadays. The second chapter of this thesis briefly describes the monument in order to give the reader a general overview of its appearance not only today but also at the time of its construction, since its former appearance is almost completely lost. Therefore, the second chapter tries to reconstruct it by the examination of preserved drawings and other testimonies that are products of the aforesaid attention paid to this monument. The third chapter relies on archaeological finds and primary sources mentioning the mausoleum, attempts to date the building more accurately and hopefully get closer to the solution of the question of its plausible founder. This matter is also closely related to the function and the ritual that took place in the rotunda. 1 JOHNSON 2014, p. 139. 2 For more about Constantine the Great see FACENNA 1959, "COSTANTINO I". 3 KRAUTHEIMER 2000, p. 35. 7 Finally, the last chapter, basing on the description of the mosaics, aims to justify their presence in this funeral monument, and, to the extent of the author's abilities, unify the diverse identification of individual iconographical themes. At the same time, this chapter should serve as a comprehensive unification of all previously scrutinized aspects of this monument, and a culmination of this thesis. It attempts to explain the meaning of the mosaics in connection with its patron and the function of the rotunda. To conclude, the key meaning of this thesis is to give a general summary of the Mausoleum of Santa Costanza in Rome, while paying attention to all issues concerning this monument. The main outcome should be general understanding of the mausoleum and its significance in the 4th century Rome. 8 STATE OF RESEARCH Considering the extensive bibliography relative to the Mausoleum of Santa Costanza, it is not possible to discuss every single work referring to the monument in the following text. Its aim is rather to introduce crucial works with their ideas and conclusions and present how their writers approached the monument throughout history. The first studies First of all, it is necessary to mention Pompeo Ugonio's (half of the 16th century-1614)4 testimony, an extremely important unpublished manuscript describing the entire decoration, found in 1878.5 Ugonio comprehensively analysed the state of conservation of the decoration in Santa Costanza during his three visits to the mausoleum in 1594 and 1608. Thanks to him we can learn which scenes adorned the dome, although it must be said that his description is not complete due to the poor state of the mosaics. It is a very precious testimony, on which bases great part of later studies as well as this thesis. Santa Costanza is briefly mentioned in Roma Sotterranea written by Antonio Bosio (1576- 1629)6 in 1632.7 He states that Constantine the Great is the builder of both the mausoleum and the cemetery basilica. In addition to the mausoleum and the basilica, Bosio mentions a baptistery where emperor's sister and daughter were supposed to be baptized. It must be said that he finds the mausoleum and the baptistery to be two different buildings.8 Bosio is the second to speak of the dome mosaic. He is sure that still recognizable figures can be described as ecclesiastical, while this belief is based on the type of their clothing.9 The first document that brings an overall study of the building including its purpose and mosaic decoration was Giovanni Giustino Ciampini's (1633-1698)10 De sacris aedificiis a Constantino Magno constructis synopsis historica published in 1639.11 He considers the rotunda to be originally a baptistery 4 For more information see HEID 2012, "Pompeo Ugoni(o)/Pompeius Ugonius Bibliothekar, pp. 1256-1257. 5 Pompeo Ugonio, MS. 161 NC6, fol. 1103-10; A part regarding Santa Costanza is conserved in Biblioteca Comunale Ariostea, Ferrara. 6 For more information see HEID – GRANDE 2012, "Antonio Bosio/Antonius Bosius. Katakombenforscher", pp. 215-219. 7 BOSIO 1632, pp. 417, 419. 8 BOSIO 1632, p. 417. 9 BOSIO 1632, p. 419. 10 For more information see BARBERINI 2012, "Giovanni Giustino Ciampini/Joannes Justinus Ciampinus. Gelehrter, Antiquar", pp. 314-316. 11 CIAMPINI 1639, pp. 130-137. 9 built by the Emperor Constantine the Great, turned into the mausoleum of the emperor's daughter Constantina after her death in 337.12 Ciampini presents an extensive description of mosaic decoration of the vault and two apses, and analysis of its iconography. His interpretation of the mosaic in the left apse is especially worth mentioning: Ciampini connects the inscription Dominus pacem dat held by Christ with one particular sentence of the John's gospel; Christ is saying to the apostles, namely to Philip and Thomas: "Peace I leave with you, my peace I give you."13 Based on this sentence which concurs with the Latin inscription, Ciampini considers the two men represented next to Christ to be Philip and Thomas. Other apostles are represented, in a symbolic way, as sheep in the bottom part of the mosaic. Les edifices antiques de Rome dessinés et mesurés tres exactement by Antoine Babuty Desgodets (1653-1728) focuses mainly on the dimensions of the building and ignores the mosaic decoration and their dating as well as the dating of the building.14 On the other hand, Desgodets shortly mentions two opinions on the function of this building – it was built either as a burial place or as a temple of Bacchus.15 Giovanni Giustino Ciampini describes the dome mosaic in his Vetera monimenta.16 It is a first description of the lost decoration, based on Pietro Santi Bartoli's copy of a drawing found in Monasterio del Escorial.17 However, Ciampini published only Bartoli's copy, not the original drawing.
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