Arian Baptistery

Among the eight UNESCO monuments in Ravenna there is the Arian Baptistery, now called the Church of the Holy Spirit. The baptistery is an octagonal brick building, decorated with four small apses and rather small in size.

At one time, however, its structure was about 2 metres higher than today's street level. This divergence is due to the phenomenon of subsidence, common to many other ancient buildings in the city, which consists of a slow sinking caused by sandy and unstable soil.

Built around the end of the 5th century AD, as its name suggests, the baptistery is closely linked to the Arian religion, professed by King Theodoric and his court. It is no coincidence, therefore, that the baptistery stands not far from the so-called Palace of Theodoric, which according to some scholars can be identified with the ruins visible in today's Via di Roma, and the Basilica of Sant'Apollinare Nuovo, where the palatine chapel for the exclusive use of the king himself probably stood.

The theologian Arius founded this doctrine between the 3rd and 4th century A.D., which differed from the orthodox cult because of his convictions regarding the figure of Christ, considered secondary to that of God. Because of these beliefs, Arianism was later considered heretical and condemned by the Council of Nicaea.

At the time of Theodoric, both cults were professed in Ravenna: this is why in addition to the Arian Baptistery we also find the Orthodox Baptistery.

What to see in the Arian Baptistery

Although many of the original decorations of the baptistery have been lost, we can still admire the splendid mosaic of the dome depicting the baptism of Christ. This scene was reflected in the water of the baptismal font, located just below the vault, creating a refined play of cross-references.

The mosaic depicts the naked figure of Christ immersed in the waters of the River Jordan, whose personification we see in the man sitting to his left. To his right is John the Baptist. Turning our gaze away from the central scene we notice the procession of the 12 apostles, intent on advancing towards a throne on which stands a cross wrapped in a purple cloth.

This last detail of the composition bears witness to the theological divergences between the Arian and Orthodox cults. The cross on the throne is in fact a symbol of Jesus' human suffering, and thus emphasises his earthly nature. In the Neonian Baptistery, on the other hand, the Apostles are depicted worshipping the figure of Christ who, occupying the central part of the dome, is directly connected to his divine nature.

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