Daily Updates
Week Nine: 17 November
17 November. Clare O'Keeffe Reporting
The Mausoleum of Santa Costanza
Constructed in 350 A.D. as the resting place for Constantine the Great's daughter, the mausoleum of Santa Costanza combines a variety of different architectural traditions. Located one mile outside the Porta Pia on the Via Nomentana, the mausoleum is adjacent to the funerary basilica of St. Agnese who was martyred in Domitian's stadium by Diocletian. The early Christian architects were able to use elements of three separate building traditions - imperial mausolea, the Pantheon, and basilicas - to create this unique and influential space. The building has a circular plan that immediately calls to mind the imperial mausolea of Augustus and Hadrian. Like these spaces, the Mausoleum of Santa Costanza has a distinct vertical axis. Unlike these buildings, however, the Mausoleum of Santa Costanza is designed to be entered by the public and used as a space of worship and prayer. In this way it is taking its cues from the Pantheon. But there is also a third tradition at work in plan of the building. With its clearstory windows, double row of columns, and large apse opposite the main entrance, the Mausoleum of Santa Costanza is a basilica that has been turned in on itself. This would have been more obvious when it was originally constructed and its narthex-like double apsidal porch was still in place. Clearly the architects were willing to take risks, and this is on display in the layout of the interior of the structure. There are 24 granite columns carrying an arcade of twelve arches. Outside of the columns is an annularly vaulted space that is flanked by niches on the walls. Yet the arcade is not completely even, the arches are of varying sizes. Indeed only from the entrance do the arches and niches match up. Visual effect was the focus, not symmetry. This is a clear break from the classical tradition of perfection and symmetry. The glass mosaics that encircle the space follow an interesting sequence. As one travels from the door to the main apse the images gain in complexity. Near the door they are simple geometric shapes and are mostly composed of white space. Next to the apse, however, they are brimming with images and utilize gold tesserae. There is an obvious hierarchy of images. Christianity was just becoming acceptable in the upper classes of the empire, and the images can be viewed as either secular or Christian. The images are deliberately vague. Take for example, the scene of the putti making wine. This image calls to mind both the pagan Dionysian cults and Christ's references to his status as the vine of life. Depending on the state-of-mind of the viewer, the images can correctly be interpreted in either manner. This ambiguity is echoed in Constantina's sarcophagus that is given a place of honor in the large apse directly opposite from the entrance. The original is now located in the Vatican Museums and is carved with images of putti making wine. This building is important because it demonstrates that while architects were willing to make daring choices during the 4th century, the emperor's family chose conservative rather than overt Christian art to decorate the ambitious space.
Plan of the Mausoleum of Santa Costanza. (After Oakeshott 1965).
Section of the Mausoleum of Santa Costanza (After Sear 1982).
Exterior of the Mausoleum of Santa Costanza. Note the simple form and lack of elaborate decoration.
The view from the entrance of the Mausoleum. Despite the circular plan, the opposite apse is clearly the focus. Note the differing sizes of the arches.
The clearstory windows. These windows, which are a traditional feature of basilicas, provided all the light to the interior of the building.
Kyle and Minkun examining the replica of Constantina's sarcophagus. It occupies the largest apse and is the focus of the entire building.
Detail of the Putti picking grapes on Constantina's porphyry sarcophagus. This original is located in the Vatican Museums.
Detail of the second mosaic. Note the simplicity of the repeating design. The fish could be construed as a reference to Jesus, yet are ambiguous.
Detail of Putting making wine. This image is deliberately unclear. It can be seen as either a secular, pastoral image or as a reference to Christ as the vine of life or the grapes of wrath on judgment day.
Detail of the "paradise" mosaic. Note the use of gold in the mosaic. This is the only mosaic that features gold accents.