historyВЕСТНИК РГГУ. Серия «Литературоведение. Языкознание. Культурология»RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series2073-6355RSUH10.28995/2686-7249-2023-1-61-76history-1298Research ArticleДаниловские чтения. Античность – Средневековье – Ренессанс. Памятник в контексте эпохиConference dedicated to the memory of Irina Danilova. Antiquity – Middle Ages – Renaissance. A Masterpiece in the Context of its TimeМозаичная декорация оратория св. Венанция при Латеранском баптистерии в РимеMosaic decoration of the San Venanzio chapel in the Laterаn Baptistery in RomeЛидоваМ. А.LidovaM. A.

Мария А. Лидова, кандидат искусствоведения

630090, Новосибирск, ул. Николаева, д. 8

Maria A. Lidova, Cand. of Sci. (Art Studies)

bld. 8, Nikolaev St., Novosibirsk, 630090

mlidova@mail.ruИнститут философии и права Сибирского отделения РАНРоссияInstitute of Philosophy and Law of the Siberan Branch of the Russian Academy of SciencesRussian Federation202317022023016176Copyright © Лидова М.А., 20232023Лидова М.А.Lidova M.A.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://history.rsuh.ru/jour/article/view/1298

Статья посвящена мозаичной декорации, украшающей заалтарную стену в римской часовне, примыкающей к Латеранскому баптистерию и посвященной св. Венанцию. Исполненный на стенах часовни цикл состоит из нескольких частей. Особый интерес представляет программа апсиды, включающая череду святых мучеников, расположенных как внутри конхи, так и по сторонам от алтарной ниши. Выбор этих святых, как и общая иконография, не находит прямых аналогий в других памятниках и, вероятно, является результатом личных пожеланий заказчика – папы Иоанна IV (640–642), а использованные художниками особые приемы и композиционные принципы позволяют пролить свет на своеобразие художественного языка работавших в Риме раннесредневековых мастеров.

The present contribution is focused on analysis of the mosaic decoration in the chapel of St Venatius (San Venanzio), adjacent to the Lateran Baptistery in Rome. The rich cycle unfolding on the walls of the chapel combines several visual motifs. Particularly noteworthy is the representation in the apse that brings together the image of the orant Virgin and a group of saints, who form a row of figures. This row continues on the outer walls of the altar niche, with four saints on each side. The choice of these saints along with the general iconography of the chapel do not find direct parallels in other early medieval monuments. Therefore, it can be argued that the Roman decoration under discussion was inspired primarily by the wishes and personal agenda of Pope John IV (640–642), who commissioned this program and was depicted in the apse offering the building of the chapel. Besides studying the rendering of saints in this mosaic, the paper offers an insight into the visual trends and artistic expertise of craftsmen working at Rome in the first half of the seventh century.

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The authors declare that there are no conflicts of interest present.