Wednesday 23 February 2022

Categories without Criteria or The Telos of Credentialism



Investigating the foundations of the House of Lies brings us to some deceptively critical components. The form without content called credentialism & the fruit-fly tier memory.

If you are new to the Band, this post is an introduction to the point of this blog that needs updating. Older posts are in the archive on the right. Shorter occult posts and other topics have menu pages above. 
Comments are welcome, but moderated for obvious reasons. If you don't see it right away, don't worry. We check regularly and it will be up there.



When the topic of credentialism comes up it's usually in the context of ballooning paper requirements for jobs or positions. Unnecessary resume padding that forces people into unproductive degree and certificate programs at considerable cost in time and money. This is totally legitimate and a another sign that our beast system - what we call the House of Lies - is in a terminal state. But what it misses is how big a part of the House of Lies credentialism actually is. 




This is a legitimate problem. Inflated credentialing is a terrible way to add selectivity to a job where it isn't necessary. It's just an arms race. And as the need to push numbers through institutions goes up, the difficulty goes down. The only change is the necessity of wasted years and money on "school". This improves unemployment numbers while breeding fields of debt cows.






A full account of credentialism reveals a much deeper problem. It is actually a critically important manifestation of the reality-representation inversion we've explored in recent posts. And that's a deep structural mechanism of the fake, manipulative, centralized beast system that we currently inhabit. The House of Lies. The House of Lies absolutely requires huge numbers of denizen-perpetuators to be possible - functionally second species or FTS-2 identified in the last two posts. And FTS-2 couldn't exist the way it does without the credentialist processes

Narrative-huffing needs narratives to huff, but it can't huff them all. That means there has to be some way to differentiate the lies they uptake as fake truth from the ones they don't. Enter the credential - an inherently meaningless chit that has the same name as something significant. A reality inverted into a false representation that curates the lies in the House of them.



Credetialism is connected to symbolism on FTS-2's glowing screens. The credentialed expert is indicated by posing in a costume while flourescently lit. It tells the huffer that this credentialed.





The Band is often critical of what we call fruit-fly tier memories. This is the wide-spread inability to remember programming accepted without logical or empirical reason in the face of new programming, also without logical or empirical reason. It’s an integral part of how the beast system operates today and the operating system of what we call the functional second species. 

If we assume human behavior should reflect response to observed reality, the functional second species is opposite. It's why they're sometimes less charitably called the idiot masses. FTS-2 [Functionally two species 2] ignores sensory evidence when making choices and won’t or can’t make logical connections. They respond emotionally to inputs from designated “sources” without empirical or rational assessment. Like a puppet in a lab coat.



We've mentioned this symbolism. It's deeply programed. This unfortunate ad has the look of a poor translation, but makes the point.

This is a character, not a vocational model. And when programmed properly, FTS-2 will associate it with smartness, knowledge, and reliable truth.





Actually look at these pictures. 

It's symbolic image creation. And think how reinforced this is.





















The FTS-2 processing problem is temporal. Observation is cumulative and logical relations unfold over time. Both are time sequenced. Consider how a child learns by accumulating pieces of information while growing the capacity to understand what they mean. Cumulative observation and logical relations. This implies the necessity of a working memory. Unless you remember that the pretty glowing stove burnt the first time you touched it, you won’t know to stay away. And forget about building more complex social or intellectual comprehension. 


The utility of reason and evidence are tied to time and memory.


Learning isn’t just temporal, it’s judgmental. Because not all the information we receive is reliable. Consider the first time we encounter a liar. Someone that presents their information as positive knowledge when it isn't. 



To avoid being victimized, we have to make more complex judgments than simple information uptake. This means drawing on past lessons – observed and reasoned – and applying them to the present situation. 

Pattern recognition.






And judgments based on pattern recognition require... well... recognition. Remembering previous experiences from different points in time and how they relate to one another and the present. 


Judgement is the application of reason and evidence through time and memory


And that brings us to the dyscivilizational nature of the fruit-fly tier memories of FTS-2. It’s not amnesia like the guy in Momento – he actually remembers a ton of functional information about how things work, but no personal details, people, or relationships. FTS-2 remembers who people are and what their job entails. What they can’t do is remember what they believed in a way that makes it accessible for learning or judgment. 



The fruit fly is an excellent metaphor. Mindlessly flocking to whatever the beast media lie food source is with no regard for what happened last time.

There's an unchanging quality to the behavior pattern that would be impressive were it not so societally destructive.













This is because the beliefs aren’t grounded in cumulative observation or logical assessment. They have no temporal build-up. No chain of pieces. And so there is no idea of comparative – or any other - relations across time in them. There’s nothing empirical or rational in how they’re created, so there is no empirical or rational process in how they’re appraised.  The beliefs are simply given by the glowing screen atemporally. The fruit-fly tier memory sees the world as a context-less perpetual present. 

It’s how the self-evidence nonsense and error of the “pandemic” was accepted by a critical mass of idiots without a moment’s reflection on the idiocy. And how when the measures did nothing to stop the spread, the idiots kept embracing not only the idiocy but the liars who continue to promote it. It seems almost impossible how for all the contradictions of previous epidemiological knowledge, fake claims, and psycho-socio-cultural destruction, the perpetrators never lost their ill-founded “credibility”. 



Previous epidemiological knowledge is easy to account for. A population defined by inverted education and plummeting IQs is too stupid for technical knowledge. The Band will miss indoor plumbing.













But fake claims need to be cross-referenced with observed reality. Noting that the curve didn’t flatten after two weeks and that !vax rates don’t correspond to case numbers means having to remember what was said and applying it to what is happening.



These official Scottish numbers are aggregate not normalized rates, but the trend is diametrically opposite the liars' claims about !vax efficacy and safety. Like this bit of beast propaganda from a year ago.

Remember?









Note – we aren’t accepting the validity of “case numbers”. We are merely pointing out obvious signs within the beast’s own metrics. Like the liars' conga from it makes you immune to you're not immune but it stops transmission to it doesn't stop transmission but it minimizes symptoms... And the same liars! In reality we're hovering around [it worsens infection, outcomes, and may blow out your immune system]. 



Put another way...

If it's fool me once, shame on you and fool me twice, shame on me, what's fool me over and over and over?






















Societal destruction is observational but needs some reasoning to make sense of the accumulated observations. Hardly anything complex – but being aware of implications of masking children during speech and social development years, paying people to not work, and vaporizing the economic base does require a rudimentary time consciousness. And if all you can do as a species is uptake atemporal snippets without any empirical or logical processing then this is impossible. 

The disconnected snippets can't linger. The snippet uptake process doesn't involve any of the necessarily temporal dimensions of learning and judgment. It's atemporal - simply an ephemeral emotional impulse. Easily dispelled and forgotten when the next atemporal ephemeral impulse from the screen takes over.



This is why the Band spends so much time on the simple foundational bases of knowledge and truth. What we can know and how we can know it requires us to pay attention to  observations and rational assessments over time. It's how we learn instead of unreflectively leaping at anything someone says that pushes some emotional button.

Remember the logos-pathos distinction. How you feel about something can be related to the truth or completely detached from it. They aren't intrinsically linked - beyond applying to you.












So fruit-fly tier memory is a series of disconnected emotional impressions. Disconnected meaning detached from alignment with empirical reality or any sort of logical consistency. They can have an internal emotional thematic “consistency” – all the scattershot pandemic lies play off the same basic unfounded fear foundations. But this internal consistency is simply fragments of disconnected fictional narratives that share a topic. But what they don't do is form a coherent whole like chapters in a book would. And even better, as narratives, the fragments don't conform to external reality or internal logic. Just think about that for a moment. Imagine living like that...



Fruit-fly tier memory is fragments around a theme and not just a fake narrative because narrative implies some sort of internal logic. We balk at stories that violate their own internal rules. If someone was telling the Robin Hood story and suddenly Robin wiped the Sheriff out with an air strike, the narrative would collapse under it’s own absurdity. Or if he suddenly flew and shot lasers from his eyes. Or commanded a vast army of undead warriors. They’re elements with no logical connection to what had been going on.






A flow of disconnected vignettes with no rational connection beyond FEAR! CASES! is essentially the pandemic “story”. There nary a scrap of the logical consistency of the kind you see in narratives. Or the real world that narratives apply to. Nothing that happens has any real tie to what just happened. The only consistency is rhetorical.  

Being able to assess if a narrative is consistent requires temporal continuity. You need to understand what happened to assess what’s happening. It's cumulative, and cumulative implies accumulating over time. Truthful narratives have this necessarily temporal internal consistency, making it impossible to ascertain if something is true or false with a fragmented fruit-flu tier memory. 

However... rhetoric doesn't require internal consistency.



The visual equivalent to the "pandemic" would be something like this. None of the elements make logical sense in a way that you can connect them together to actually be reflective of material reality. But they work around a common emotional resonance.

That's the thing about emotional triggering. Each piece is a an appeal to emotion with no inherent connection to sequence. Rhetorical claims can be true - or false - on a case by case basis, but that’s irrelevant how effective they are as rhetoric. Good rhetoric makes you feel the way the rhetorician wants, true or false. Bad rhetoric doesn’t, also true or false. 













The pandemic “story” - in quotations because it doesn't actually cohere as a story - is rhetorically consistent because logically inconsistent and empirically false pieces all fall into the same basket of feelings. They don't follow in a cause-effect way that describes anything real, but each reinforces a basal fear - CASES! - and the illusion that [retarded thing X] can magically alleviate it. When it doesn’t, the next piece taps into the same fear and offers the same fake remedy. Wash rinse repeat.

This is what we mean when we say the pieces are disconnected. They aren’t describing what is really happening, and they don't follow logically. But that doesn’t matter to a fruit-fly tier memory that can’t build observational knowledge or make rational assessments across time. All that matters is an irrational, unreal “feeling” of dread and trust in the glowing screen. That is the continuity. And each new piece can be as far-fetched or contradictory to the previous one as long as it comes from the same trusted source and feeds into the fear. 




The connecting theme is a false emotional impression.











The Band isn’t going to waste space on “trust the science” idiocy. That’s a category error. Science as conventionally defined is empirical and rational. It is observably and logically verifiable, making trust irrelevant. You don't have to trust you eyesight when walking through a door and not into a wall or not touching a glowing stove. You know because it's empirically and rationally verifiable. Where "trust" factors in is with the scientists



Are they actually employing empirically, logically verifiable methods and protocols? Or are they hacks mouthing prescripted talking points from government and industry? 

Neither choice has any bearing at all on the scientific method as a form of knowledge production.












Two things are happening here. 

1. The meaning of “science” is inverted into something other than rationally structured empitrical assessment. We've called it Science! That’s pure beast-funded-and-generated narrative blathered by white-coated midwits who lack the cognitive ability to assess the discursive contextualization and conceptual underpinnings of their own disciplines. Useful idiots who can spin up whatever “justifications” their paymasters prefer.

It's more than just corruption. Professional science tends to attract those in the IQ danger zone - smart enough to master some specialized processes and technical vocabulary, but not smart enough to see the inherently limiting assumptions that their processes and vocabularies are founded on. This isn't something that can be explained - it's a cognitive ceiling. When the Band encounters materialists that can't understand the self-limiting nature of materialism, we write them off as someone worth discussing serious matters with. This is related to our post on thinking and will be coming up again in the next big project.



Talking to a science midwit is like talking to someone that knows every nanometer of a world in a box without being able to understand the box.









2. To the idiot masses, science is one of those terms that retains the credibility of its original definition - the Scientific Method as systematized empiricism - despite it now being inverted into the opposite. It becomes a signifier of fake “truths” that it is onto-epistemologically incapable of providing but sounds convincing to a degrading population of glowing screen watchers. In other words, more rhetorical comfort that doesn’t describe reality in an empirical or logical way. 

But it makes FTS-2 feel reassured...



So there’s that.















As noted, what “trust the science” really means is "trust the scientists". Science is a verifiable process, either done well or poorly. Spokeslabcoats that don’t show their work or respond to third-party criticism are like rhetoric and truth – inherently unrelated. They may engage in the scientific method, though most don’t. They may spew lies for beast paymasters. Neither has any relevance to whether they self-identify as “scientist” or wear an inane costume. And yet, the self-identified inane costume-wearer is what the narrative-huffers are actually thinking of when "scientist" comes to mind.

One might think that that’s wrong. That a title should reflect the reality and not an arbitrary claim without external truth value. But that one would be unaware of that what is true has no place in the House of Lies. And how one of its central tentpoles is replacing reality with what started as... wait for it... a representation. That is, credentialism. Just not the credentialism you might be thinking of.



Credentialism usually refers to the increase in amount of formal education required for a position. Generally unnecessary education. As in we used to take high school grads and now we need a master's. 

The problem is that is forces people into time and resource-burning programs for no actual reason. 









The Band is referring to a deeper inversion beneath the proliferation of pointless years in school. The standard critique of credentialism assumes that the unnecessary educational credentials do correspond to some actual knowledge. That the problems is that you don't need a master's in administration to work reception in a hotel. The master's teaches you stuff but that stuff is superfluous for the position. Real knowledge unrelated to the activity - like an engineer driving a cab or a landscaper with a doctorate in poetry. 

What is overlooked is that the credential increasingly doesn't refer to any truthful knowledge at all. Some facility with an "academic discipline", which more and more simply means politicized Progressive! materialist lies. It's not that the master's is unneeded knowledge for the desk clerk. It's that the master's is beast inversion that isn't knowledge of reality at all.



The credential was to represent a skillset, knowledge base, or achievement. It meant the holder could do something.

Now, with bloated enrollment, declining student IQs. and beast narrative service, a "college diploma" is mostly meaningless. A participation trophy in an inversion camp with little to no connection to reality. What was a representation is values as a thing in itself.



Hold on to the idea of a credential as a worthless representation pretending to hold the value of something it doesn't actually represent. Now go back to how FTS-2 uptakes their disjointed rhetorical pap. The glowing screen is the  conduit for their “trusted sources”. But here's the rub. They have fruit-fly tier memories, and they can't make observational or logical assessments. So how does a source become “trusted”? The glowing screen tells them, but we know that. The question is how trust is built if you can't remember beliefs or make rational judgements?














In the beast system, a position, designation, or accolade is a credential. The "authority" doesn't come from actual, logically and empirically sound knowledge or expertise. It comes solely from the position, designation, or accolade. Whatever the chosen credential. And how do the fruit flies know to trust them? They're the ones that are identified as such on the glowing screens.

The glowing screen - t.v. or big tech - is like the meta-credential. Being on it is incontrovertible "proof" to any FTS-2 narrative huffer that the shill in question is an "expert". That they speak Truth as if in voices of fire. 



We've used this meme before but it's just dead on accurate. There's really nothing to add.

It doesn't matter if what spokeslabcoats say is nonsensical or even what they actually know. If' they're on the glowing screen, the fruit-fly tier memories know to trust them.

 



The thing is, the hollow beast credentialed "experts" are presented as if they actually have real truthful knowledge. It's what makes this so bizarre to people who can make observations and draw logical conclusions. Those odd occasions of exposure to mainstream media are dizzying sprays of self-evident absurdity and logical incoherence. It seems unbelievable that anyone could fall for it. Yet the masses mindlessly repeat the shifting incoherent drivel like pull-string dolls.

Observation - Fruit-fly tier memory has some correlation to intelligence but intelligence level doesn't determine it.



Law of averages dictates some of them would have triple digit IQs. That's the old functional retard category - not actually mentally deficient but acting as if you are.












The role of the glowing screen as credential tells us credentialism in the House of Lies is more complex than making one supposedly representative credential into the end in itself. It's layered, with each credentialed tier building on the one before

First up is the chit. This is the intrinsically meaningless certificate purchased from a "college" for years of productive life and an extraordinary amount of money. The chit will be emblazoned with the name of an academic discipline, but doesn't mean two things in particular. 

1. That the academic discipline is known or understood in any meaningful way. 

2. That the academic discipline - even if it was perfectly known - has any connection to empirical or logical reality. The exception - some technical fields that are defined by specific skills, though even these can be watered down to the point of uselessness. 


Apart from a few technical specialties, the chit-holder is almost guaranteed not to be asked about their discipline when job hunting. And even there, the bulk of "coursework" won't matter at all.

It's unlikely any employer will care about their grades either. And there's no guarantee that the chit will gain employment. But without it, entire sections of the beast economy is closed.









Second is the position. Some chit-holders are hired into "positions". These come with titles that correlate to some sort of activity, but like the discipline on the chit are disconnected from empirical or logical verification. This is how we get the proliferation of criminally stupid "officials" responsible for failing real things from urban planning to public health. 

Observation - "meritocracy" is a lie parroted by ignoramuses. To have a meritocracy, there have to be standards that are assessed by some form of impartial evaluation with the most meretricious being selected. And failure to maintain the standards needs to result in termination. Since neither of these have anything to do with how chit-holders are installed in positions, there is obviously no meritocracy.



Try to imagine any merit-based system where this mendacious, psychopathic midwitted freak is in charge of... anything. 













Finally comes appearance on the glowing screen. There are thousands of chit-holding position holders sapping parasitically off the system who spend their lives in relative obscurity. Some even accrue considerable wealth and influence. But to be accepted by the fruit fly tier memory as trusted, they have to be featured on t.v. or big tech. 



The process is sequential - like a pyramid of fakeness. The chit is needed for the position, and the position is needed to be featured on the glowing screen. 

But it's a chain of inverted credentials. At no point is there a necessary link to empirical or logical truth.















Note that you can assess the actual value of each stage logically and empirically. Is the diploma-holder is actually innumerate? Is the “scientist” is  making self-evidently false claims? Is the talking head is only there because they serve the narrative engineers? Is there any demonstrated truth-value in any of the purported skill or knowledge?

But assessment takes observation and reason, memory and time – that is, more than a FTS-2 fruit-fly tier memory. So vertically integrated House of Lies credentialing determines what to trust. And since there is no temporal logical judgment, the credential can say whatever it wants, whenever it wants and be taken as True! – so long as it maintains the rhetorical consistency. 



Which is how a liar saying "two weeks to flatten the curve" can become record cases after two years without losing credibility in the tiny minds of the huffers. There’s no functional mnemonic capacity to log the first claim, compare it to the later one, cross-reference it to reality, and draw a conclusion.

So long as the liar has the right House of Lies chit and appears on the right House of Lies screen, each statement becomes truth. 









It can only end when the trusted sources declare a new rhetorical theme to respond to... 


















The rise of credentialism was unnoticed by FTS-2 because it is a temporal process. Their fruit-fly tier memories can't make make connections or assess relational changes that take place at different points in time. So long as the current trusted expert calls it by the familiar name, it will be treated as the same no matter how much it changes.

Consider education, since it’s the font of chit production that replaces expertise at the most basic level in the House of Lies. Colleges and universities are bizarre when you really think about them - as in try and define what exactly it is that they are and do. What their actual purpose in society is. Everyone is familiar with the concept of "going to college", and we've all heard how they're essential to the economy and "innovation". But what are they? Try and succinctly define them. Then think about "essential" entities that lack a clear mission statement or even basic identity.



Children going to a monastery as students, illumination from the Decretum Gratiani, a mid-14th century Bolognese manuscript of canon law, UB Leipzig, Rep. II 9b (CCXLIII), fol. 200v

Modern “university” is a bizarre phenomenon – an incoherent institutional pastiche with roots going back to the Middle Ages and before. The first university in Europe appeared around 1088. Before that it was monastic and cathedral schools.






The medieval university taught the Trivium and Quadrivium - the seven Liberal Arts - and law and medicine. They were limited to a small segment of the population - the wealthy or smart - and not considered essential drivers of the economy. But the point isn't to comprehensively describe the early university. It's to note that the early university had an easy-to-define identity and purpose and wasn't an absurd drain public resources.

Simple questions are a good litmus test for beast nonsense. Again, what is the comparably succinct statement of purpose of a contemporary university? The lack of succinct answer indicates the  problem. It has no clear definition because it is founded on nothing more than the lies and projected desires of countless House of Lies functionaries. Some high points…



Philosophy and the Seven Liberal Arts, illumination from Herrad of Landsberg's Hortus deliciarum, around 1180

The original universities had a limited list of subjects - the Liberal arts with medicine and law. This is the birth of the modern “discipline” – the arbitrarily defined knowledge categories that universities are built on. Faculties, departments, etc.

It's noteworthy that the split between pure or basic and applied knowledge was there from the beginning.
















Each discipline develops its own methods and procedures. Almost their own cants. This is because they were originally completely different. The Quadrivium - music, arithmetic, geometry, and astronomy - and the Trivium - grammar, logic, and rhetoric - are based on numbers and words but don't really overlap methodologically much beyond that.

The purpose was also clearly defined from the outset. The quantitative Quadrivium was comprised of subjects believed to relate to what was believed to be the basic harmonies of the cosmos. The Trivium was a set essential knowledge for civic life. Of course this implies that universal truth and civic essentials were accepted by people at the time - a problem for the satanic inversives in the House of Lies. We assume medicine and law were subjects that were better suited to university-type teaching than in other venues.

Over time, disciplines proliferate without any sense of larger consistency...




What do Bachelors of Creative Writing, Mathematics, Social Work, History, and Finance have in common epistemologically? What vision of the world or civilization ties them together? The incoherence of the credential factory is apparent in its structure. 

This has two levels - internal and external. The external is what people on the outside see. That fading canard that a chit with one of these disciplines on it represents meaningful understanding of that body of knowledge. Internally, standards are continually loosened to accommodate larger numbers of dumber students and the whole galaxy of politicized retardery that comes with government centralized control and dumber bloated faculty. How the discipline is presented - what trivial body of work is required for the chit - is not a reflection of any fixed truth. It's merely what the chit-masters are prioritizing at the time. Or just time-filler to push the cash cows through. Or both. Google some current university syllabi - the results are pretty shocking.



Doctors performing a cadaver dissection. Miniature from the Book of Properties of Things (De proprietatibus rerum) by Barthelemy the Englishman, 1475-1500.

Medieval medicine is a forerunner of the idea that university should be linked to vocational training. This gets the the main incoherence in the university today – “academic research” vs. practical value. These are inherently contradictory impulses, but both are endlessly blathered when university is discussed. 




Teaching was a way for the academics to pay the bills, introducing the necessity of selling value to clients. This amped up in the Renaissance, when Humanists were competing against the Scholastic establishment by peddling the socio-cultural value of their own version of the liberal arts to the rich elites. The elite dimension is central. The historical image of the university had two factors – the presumption of intelligence and the connection to wealth and prestige. Both are forms of social currency, and related but different. 

Fast forward to the 20th century and the idea that some bastard hybrid of elite finishing school and technical college should be the backbone of society. This was the era of cultural madness preceding collapse – godless de-moralization, rabid materialism, catastrophic war, mass migration, complete inversion of art and culture – the foundations of the House of Lies. 



"Free speech" protests at Berkeley in "the 60s". What did these pampered assholes achieve other than blow open the fiction that university was anything other than an instrument of cultural degradation. Consider "free speech" at Berkeley today... 





Twentieth-century university is a basket of incoherent impulses starting with the absurdity that everyone can partake in advanced study without diminishing quality or content. That working in hermetic academic disciplines is also somehow “advanced research” with efficient and direct socio-economic benefit. That economic incubation and pure knowledge generation aren’t contradictory imperatives. That the above-average socio-economic profile of college graduates meant passing through college will make everyone richer. 

University was never the indicator of intelligence that it was thought to be, but it used to represent a floor. A college man had a minimum mix of smarts and self-discipline. 



Hardly a cognitive elite, but substantially smarter than the average, with the prestige schools on the smarter side of that.

It's hard to get current numbers that aren't just repetitions of the old 110-115, but the sheer number of bodies in colleges and universities indicates that there has to be some decline. This piece is interesting. It's probably overly optimistic since it doesn't incorporate the dropping general IQs. To say nothing of the moron covid cohort coming along.




Note that the second half of the 20th century was a sustained process of removing what need for intelligence there had been. Everything from GI Bills, to draft deferments, to legacy admissions, to affirmative action, to enrolment bloat, to every other non-performance based criteria is further affirmation that being smart isn’t the primary correlate with university. It can't be. Anything other than IQ-type assessment is a necessary admission of criteria other than pure intelligence.

Yet despite this, as the population has grown commensurably larger and less capable, the chit requirements have diminished. 



Graph from a good piece on rising grades. Whether "keeping people out of the war" or maintaining consumer satisfaction, is irrelevant to the larger picture. The grade isn't a metric that  correlates to knowledge/performance over time.

So what is it?



It's not just the As either...

















There's another number that's continually risen as well. The cost of the chit. Melting standards in a diluting talent pool are no impediment to skyrocketing costs - way beyond other expenses. Here's another graph from a few years back. Note the correlation with the GPAs. It appears that it isn't  "knowledge" that university sells.



What's deceptive about much blather about educational costs is the assumption that the "education" is otherwise constant. But with bloating enrolments and cratering standards, it isn't. Grasp that cost and difficulty are both moving. In opposite directions.





The rapid decline will be astonishing even to someone educated in the later 20th century. Yet people not even all that long out of the system cling to their own experiences and standards instead of assessing what is happening right now.

Whenever the reason for or definition of something doesn't correspond to what is happening, the real reason or definition is elsewhere. The assumption is that a degree in mathematics implies some degree of advanced quantitative reasoning. A degree in history implies some information processing and communication ability. And so on. These aren’t value judgments, they’re existential qualities without which the disciplines don’t exist. Replace that with a scrip saying "History" and all you've done is demonstrate that historical expertise is irrelevant to what the scrip is cashed in for. 

Exactly. But first an aside.

There are certain contextual limits to the level of degradation. Having mentioned math, there’s a degree of inherent conceptual difficulty in the material in some fields that provides a floor. 



But how many math majors are there? Probably the same pool who would have been math majors 80 years ago. Probably ditto for physics and engineering. The bloat isn't taking place in intrinsically challenging areas. It's the arts, the social sciences, and the myriad of designated pre-career programs that have proliferated like mushrooms.






Relative bloat is a semiotic issue. Quantitative expression is highly cumulative, in that the upper-level operations are  impossible without fully grasping the lower-level ones first. It doesn't matter what it's applied to - this cumulative nature is implicit in mathematical languages themselves. No algebra without arithmetic, no calculus without algebra, and so on. And if a level becomes incomprehensible, the journey ends. So the nature of the quantitative language itself limits watering down. 



If vector analysis requires calculus, the most you can do is require simpler problems. And we're sure they do that. But the subject can't be formulated with only arithmetic. In that case, it's not vector analysis but random numbers on a page.

In other words, a canon of objective prior knowledge is needed to make sense of these functions.










Qualitative language - written and spoken words and texts - is different. Once you can read and write, the meaning-making structures are essentially constant. A sentence can be more or less complex, but the basic grammatical combinatory operations apply. You can even decipher grammatically incorrect sentences in a way that isn't possible with number strings that break mathematical rules. Because of this, there is no intrinsic standard of difficulty in a course based on words beyond basic literacy. It's not cumulative is the same necessary way. 



There's no inherent curb on a literature course that maxes out with the Cat in the Hat. There's nothing inherent to stop a psychology class from being entirely Youtube videos. There's no inherent reason a social work course can't consist only of short simplistic lists that don't map onto human realities.







The premise is that a magic fairy called "disciplinary standards" was supposed to ensure that text-based fields maintained the cumulative rigor of the quantitative counterparts. But the House of Lies is built on switching representation for reality. Without an intrinsic criteria, corrupt functionaries can simply blather about "excellence" and do whatever they want. That's what no intrinsic standards means. Something like history can abolish any canon or standard and propel the bloat through with greater ease.

And the evisceration of traditional fields is outstripped by the generation of new clusters that never had any standards to eviscerate. So the chit may say “history” or "conflict studies" on it, but apart from those areas with intrinsic requirements, there is no necessary correlation to a body of knowledge or set of skills. Just that demonstration we mentioned that what it denotes isn't the the expected measure of expertise or intelligence. 



What is denoted is money paid - and generally borrowed - and time put in.

Borrow the money, sink the time, get the chit...












An alien visitor would wonder how such a retarded system either came to be or is continually tolerated. The answer takes us to the next level of the integrated credentialism pyramid. 


In the beast system, most positions require little skill or knowledge. 


We obviously aren't talking about technical fields, but that’s different. They either need those forms of training that have intrinsic knowledge or provide it themselves. But consider most chit-requiring busywork, service industry jobs with no connection to academic disciplines, and virtually anything in the ever-growing, “public” sector. 

It doesn’t matter if you know anything. There was no need for a college degree in the first place. It’s a clearing house to manage unemployment figures and a debt-creation ponzi scheme. No one cares what your degree is in. And most work requires minimal intelligence or critical thinking. It’s a clown world Idiocracy where there is no intrinsic correlation between what people do and the standard of living they enjoy. 



Just consider the intellectual firepower vs. the pay of the faces on the glowing screen.











The advantage to this system goes beyond the debt and warehousing. The artificial bubble world is House of Lies finishing school, where huge numbers of immature narrative huffers can be indoctrinated into any moral inversion the beast is pushing. And while it's true that the "academic disciplinary" knowledge is irrelevant, there are opportunities to show compliance with and willingness to whore for the beast system. 

The rest follows.




The integrated credentialism of the House of Lies is one meaningless representation standing in for its reality atop another. Selectivity refers to the number available positions, not requirements of  intelligence or expertise. Pyramiding layers of form without content climaxing in momentary fame among the fruit-fly tier memories and their glowing screens. Otherwise, how would they know what to believe?

And like any soulless husk, form without content is short lived.

We’re watching it. 
















Thursday 3 February 2022

Glimpsing Heaven in Ravenna - the Mosaics of San Vitale

 

Something different. A close look at a tremendous 6th-century monument to the good, the beautiful, and the true that lays bare the myths of progress while showing that the serpent was always in the garden..
 
If you are new to the Band, this post is an introduction to the point of this blog that needs updating. Older posts are in the archive on the right. Shorter occult posts and other topics have menu pages above. 
Comments are welcome, but moderated for obvious reasons. If you don't see it right away, don't worry. We check regularly and it will be up there.







One of the canaries in the coal mine for the collapse of Western civilization into the beast system and its House of Lies was the degeneration of art. The Band’s arts of the West posts have been slowly tracing this process from the ancient past – we’re in the late Renaissance now and have no idea how long the journey will take. If we could post more frequently…

Anyhow, the nature of the journey isn’t just slow. It’s also big picture, meaning we can only look at some big themes and not go into too much detail about specifics. This post is different – an in-depth look at a remarkable monument that hasn’t gotten its due. Think of it as a cross between the arts of the West and a Truth of Culture post. A focus on one noteworthy thing but something historical instead of more recent culture. That would be the incredible 6th-century church of San Vitale in Ravenna, the most impressive of that Italian city’s impressive collection of early Christian monuments. And typical of a Truth in Culture post, we can use the close look to make some larger observations.



Everything about San Vitale screams quality and care in the pursuit of beauty for the glory of God. Even the floors are works of art - like this mosaic of fine marbles and tilework. 

This is what you walk on...










Here’s one larger observation – before art could be jacked and inverted it had to be isolated and cut off from culture. This is the demented “autonomy” we’ve mentioned in earlier posts. 



Maurice Denis, Sunlight on the Terrace, 1890, oil on... who cares.

Consider this quote from French supper-hack Maurice Denis from 1890 - "a picture, before it is a picture of a battle horse, a nude woman, or some story, is essentially a flat surface covered in colors arranged in a certain order." 

The correct response was who? Or perhaps who cares? But the slow corrosive drip of cultural entropy rotted the entire abscess of modernism out of these humble beginnings.










The idea that art has no purpose or definition other than being art. Self-deifying morons leapt at this because it promised to free them from coercion and control of academies and elite clients like aristocracy and church. The reality was that in one swoop it wiped out the entire historical set of purposes and references that justified and supported the arts from the jump. 

Look at me! I can scribble on a page and no one can say it’s not art!

Wait a minute… That do what thou wilt’s music!



Max Pechstein, Young Woman with a Red Fan, 1910

Everything about this is aggressively ugly. From the clashing garish colors to forms that look like they were cut from cheese.

Of course, autonomy was an extreme position. What happened was that into the 20th century any retarded "movement" could declare what art "should be" and scribble and splatter accordingly. Here's a decent piece written from within a beast system framework that covers the contextual range of meaning connected to autonomous art.














Two main problems. 

1. “Freedom” doesn't exist.



The Band’s pick for most misunderstood concept ever. You don't have to accept Maslow as the last word to see there is no “freedom” in a world where we are dependent on things for survival. Especially not in a complex social structure involving the cooperation of countless stakeholders. Freedom is an abstract concept that can only be relative in material existence. Freedom from something. 

A societal structure like “art” can’t be free because it depends on societal entities for support. So art can only be free from some faction or another. And since it can’t be what they claim… ding ding ding liars!













2. Art is a societal structure or space. 



Horace Vernet, Julius II Ordering Bramante, Michelangelo, and Raphael to Build the Vatican and St. Peter's, 1827, oil, Louvre  

Art has no intrinsic identity outside of man-made rules. Even stating that it exists autonomously is an act of creative definition. Someone will always be driving the making and consumption of art. The real meaning of modern autonomy meant kicking out the old arbiters of quality and replacing them with the new definers – the critics then academics of the modern beast art world.



The old authorities wanted certain things from their art – quality, meaning, etc. The modern beast system was in the early stages of tearing culture down, and so would squander resources on the opposite. It was “autonomy” that reached the peak in the idea that art has to be meaningless and not represent anything. Then that became not representing anything connected to beauty, reality, or tradition. When “postmodernism” restored the idea of meaning, the chain was broken.

The redefinition to inversion process is something we’ve covered in detail elsewhere. Click for a post.



Jeff Koons, Three Ball Total Equilibrium Tank (Two Dr J Silver Series, Spalding NBA Tip-Off), 1985, Tate London

Postmodern art reacted to the absurd seriousness and autonomous claims of modernism  by reconnecting with reference. Whether reference to tradition, politics or culture. But it's reference without beauty, truth, or skill. Just hackwork to launder money while further degrading the cultural fabric. 

Something like this is easy to disdain. But actually think what is says when enormous financial and cultural resources are expended on pretending this is worthy of... anything. Trite appeals to the Emperor's New Clothes or the like can't scratch the surface of the civilizational suicide across all cultural and intellectual levels.







Ironically the path to redefinition-inversion of art into Art! began with the formalization of the arts in the Italian Renaissance. Ironic considering the towering genius associated with that era. But this is where the arts were first defined in critical terms instead of cultural convention or client desires. And defining the arts as a thing apart was the first step to isolating, jacking, and inverting. If art is merely a culturally-determined mode of expression, it's too broad for a sociopathic cadre of freaks to control then pervert. But turn it into a niche ghetto? It's the same process that happened across Western culture in the 20th century.

In the Renaissance, painting, sculpture, and architecture were singled out as uniquely worthy of liberal arts status as "art". This allowed them to be granted the prestigious "theoretical" designation. And that was the first step to the small cadre of critics and experts taking over.



The Mona Lisa, the David, and Brunelleschi's dome are masterpieces. But they drew arbitrary limits over Western art and tied definitions to self-declared elites.









The Band defines art as a process or relation and not as a set of universal rules or institutions. Logos + Techne or L+T. It’s connected to our understanding of the basic nature of reality, but it’s not necessary to go into that to give a working explanation [click for a post if interested in exploring further]. We've recognized that art is difficult to define because it is one of those concepts that brings together levels of reality in a composite creative act. It is skillfully crafted material but material skillfully crafted with the intention of visualizing some form of higher truth. This could be truth about people, society, or nature, but at its peak there is something of the divine. Truth with a capital T, manifested materially as beauty.

We've also recognized that art has appeared in almost every time and place. It's far too broad to bind to narrow rules of imaginatively constipated critics. L+T doesn't specify what truth or what skillful making, but leaves that up to specific artist and culture to determine. It looks like this.



Art has to have an element of technical skill and connect to truth in some manner. That’s it. It can be painting, sculpture, and architecture. It can also be tapestry, mosaic, digital art, collage, stained glass, metalwork, etc. Just Logos and techne as culturally preferred.

But that rules out almost all the official Art! produced since the dawn of modernism.








Alexander Ignatiev, Beams, oil on canvas, 21st century, private

There are still plenty of real artists today. They just work independently, and outside of the  official beast system. .







The Band's L+T definition recognizes that art is human cultural activity and will take different forms in different cultures. Something like the mosaics of San Vitale don’t fit into the beast concept of Art!  - the mosaics aren’t painting or sculpture, the subject matter is overtly Christian, and the whole thing gets its impact from the assembly of pieces working together. It doesn’t conform to the ‘fits in a gallery controlled by sociopaths’ model. But it does fit L+T. 
































The mosaic interior was the preferred form of high status decoration in early Christian Italy. It’s certainly high technical skill. And it drips logos – the pieces together place you in a dazzling experience of God’s grace. There’s even some aristocratic inversion. In short, a tour de force of aesthetics and history.


San Vitale was completed in 547, placing it at a tumultuous time in Italian history. The Western Roman Empire had fallen and the last emperor Romulus Augustus deposed by Odoacer in 476. Odoacer had in turn been deposed and executed by Theodoric, King of the Ostrogoths and founder of the Ostrogothic Kingdom in northern Italy.



His capital was Ravenna – an important late imperial city and last capital of the Western Empire after Rome became unmanageable. Theodoric was a smart administrator and balanced the differnign customs and beliefs of his Arian Christian Ostrocothic and Orthodox Christian subjects. He even maintained parallel legal systems. 












Arianism was a branch of early Christianity that rejected the full divinity of Christ and the concept of God as a Trinity. It was declared heretical at the Council of Nicea in 325, but lingered in some areas - especially the Germanic tribes - until as late as the seventh century. Theodoric and his Ostrogoths were mostly Arian, but the majority of his Roman subjects were Orthodox. By allowing both to flourish let him keep the peace and enjoy widespread support.

Ravenna contains monuments with Arian and Orthodox characteristics – evidence of the unusual coexistence under Theodoric. 



The Baptistery of Neon or Orthodox Baptistery was built over the 5th century. The Arian Baptistry was built by Theodoric in the early 6th century. 


Like Charlemagne several centuries later, Theodoric saw his people as culturally backwards compared to the Romans. He worked to “enculturate” the Ostrogoths with classical learning and impressive late antique-style architecture. Civic harmony and good relations with his Roman subjects facilitated this and made Ravenna the jewel of the West for a time.



The Mausoleum of Theoderic, built around 520, Ravenna

Theodoric was buried in a round monumental tomb after Roman custom. The style and stonework is Ostrogothic. The hybrid structure is a perfect metaphor for the way Theodoric's rule spanned two worlds.














All things come to an end, and the Ostrogothic Kingdom collapsed under Byzantine invasion and conflict with the northern Franks. The Byzantines were the main cause – the Emperor Justinian had hoped to reconquer the lost Western territories and plunged the Italian peninsula into a horrible wasting war. While ultimately victorious, the Byzantine triumph was short lived. The Lombards exploited the weakness of a ravaged Italy and invaded from the north, bringing another wave of misery and strife. This was the context that led to the founding of Venice that we discussed in an earlier post.

Ravenna was left as the jewel of early Christian architecture and art. Late Roman, Ostrogothic and Byzantine constructions coexist in the finest collection of building from this era anywhere. And of all these monuments, S. Vitale is the highlight.



Some fortuitous history is involved – Ravenna was a major center in the 5th and 6th centuries but sort of fell off the map after that. Without the steady growth and redevelopment of places like Milan or Rome, the core of late antique buildings wasn’r redeveloped. 





The church itself was begun in 526 by Bishop Ecclesius under Ostrogothic rule and completed in 547 by the Byzantine Bishop Maximian. It commemorates a local saint of historically questionable origins who remained popular through the political changes. Construction was financed by a wealthy local banker so funds were no object. The long construction time probably includes delays caused by the Byzantine-Ostrogothic Wars. 



Aerial view of San Vitale with the small fifth-century Mausoleum of Galla Placidia in the immediate foreground. The tower was a later addition.













San Vitale stands out for it's shape. It is centrally-planed, meaning it is designed symmetrically around a central point and not a longitudinal basilica like Old St. Peter's or the other early Christian churches in Ravenna. For contrast, the Basilica of Sant' Apollinare in Classe - another Ravenna landmark - is contemporary with San Vitale but laid out like a traditional basilica. It was started in the early 6th century and funded by the same banker - Iulianus Argentarius - and consecrated by Bishop Maximian in  549.





























San Vitale is different, a two level centrally planned octagonal structure with a taller domed central area surrounded by a two-story walkway or ambulatory. Originally only the roughly 90’ diameter central dome was vaulted while the surrounding ambulatory having flat timber trussed roofs. It's easier to show than explain.



San Vitale in plan with a photo of the upper portion.

The building consists of concentric octagons - the lower being the outer ambulatory and the upper the domed core. The two are connected by columned exedra or curved spaces between the supporting piers of the dome. The apse breaks the symmetry and provides the ritual focus. A narthex is just a porch. The ambulatory vaults indicated by light dotted lines were a later addition,

The complex floorplan isn't discernable from the outside. Here, the octagonal geometry is more clear.













Looking at San Vitale today, the big flying buttresses stand out. These were added in the 12th century for extra support when the ambulatory was vaulted. Vaulted construction is heavier but channels the additional force down onto the supporting elements. This also includes lateral force vectors that push outward. The original walls weren’t designed to hold up to this so the buttresses – a Gothic building technique – provided the stabilizing counter-thrust.



View with two of the external buttresses. They push against the wall opposite the points where the lateral thrust of the roof vaults pushes out. This prevents them from toppling the wall and locks the structure together.






Early Christian exteriors are deceptive by design - hiding the inner splendor behind plain exteriors. It is true that San Vitale's polygonal shape makes it somewhat interesting from the outside, but there is no superfluous ornament. Older classical architecture was outwardly splendid because the public didn’t have access to the interior. The inside of a Greco-Roman temple held a cult statue but was restricted to the priests and privileged VIPs who administered the rituals. The public was addressed outside and experienced the temple as a god’s house. A special structure that stood out from other buildings with its classical orders and carved reliefs.

 This recreation of the temple of Venus and Rome in imperial Rome shows the difference between the outward-oriented decoration of a classical temple and the plain exterior of an early Christian church like San Vitale. 



























A church was different from a temple because the whole congregation was active on the inside. Christianity defined itself in antiquity as set apart from the everyday world. It became prominent relatively late on the imperial scene and grew by attracting converts away from the traditional worldly focus of Roman life. A plain outside and splendid interior symbolized the personal journey to Christianity as inward focused and distinct from regular life, just as the religion prioritized salvation and the soul over worldly pleasure and fame. Entering a church meant leaving the ordinary material existence for a special place of spiritual wonder. An interior journey that visually called to mind the indescribable wonders to come in the Kingdom of God.

S. Vitale is a perfect example of this. The plain brick exterior does show the complex construction but had minimal decoration and no color. There is nothing to hint at the splendor that awaits beyond the door. 




























This hasn’t changed, regardless of what the narrative engineers of the House of Lies say.

S. Vitale starts with the complex plan. It’s an octagon surrounded by openings instead of straight sides or walls. Seven of the openings are exedrae - semi-circular concavities – and the eighth a rectangular sanctuary & apse. The apse extends through and past the ambulatory. It's easy to see in this aerial and cutaway view below.



This view shows the concentric octagonal shape very clearly. It's centered on the sanctuary and apse - the apse of the semi-circular projection at the bottom of the upper picture. The raised area in the outer ambulatory with the triple window behind the apse is the sanctuary.

The cut-away looks through the ambulatory into the domed central core. The inside of the apse and sanctuary are not shown but we can see one of the concave exedra curving out from the core into the ambulatory. The sanctuary cuts right across it to the central core. The gallery just refers to the upper story of the ambulatory. 

























Moving inside, visitors enter into the ambulatory. There is a choice - either follow it around the perimeter or pass through one of the columned exedrae into the core. Today, the ambulatory has a heavy groin vaulted ceiling - the one that required the addition of the flying buttresses on the outside. This was added around 1100 instead of what was probably a flat timber roof. The vaulting is a better match for columned interior and central dome, but the walls weren't originally designed to bear the lateral thrust. Hence the buttressing.



View of the ambulatory with the vaulted roof. Note the textured stone paneling along the walls. This was a Roman custom for high status interior decoration that carried into early Christian times.


The groin vaults in the ambulatory from below. We don't believe that they were ever decorated.














The first part of the stepping into another spiritual world experience comes from the shape of San Vitale. Using bulging columned exedrae instead of walls or even straight colonnades creates the impression of a moving indeterminate space. A spatial experience different from anything in everyday life.



The way the exedrae push into the ambulatory give flowing glimpses of the core & makes the interior seem mysterious. 

The vaults may not have been decorated but the carved capitals on the columns and ornamental tile floor are originals 




















Columns and capitals are a central part of Classical Greco-Roman architecture, but San Vitale's also show the transition into the early Middle Ages. The giveaway is the disappearance of the standard Classical orders for newer versions.



Close-up of a Byzantine-style basket capital. Entering the Middle Ages, Classical orders - Tuscan, Doric. Ionic, Corinthian, Composite - all fall out of use. The basket capital has foliate elements but is different.


 







Detail of the floor mosaic. Mosaic floors were a Roman tradition that carried over. The peacock retains it’s meaning as symbol of the Resurrection.









Seven sides of the central octagon are exedrae - the eighth is the sanctuary and apse. This cuts completely across the ambulatory, making it the terminus whether you go left or right from the entrance. Of course, the break isn't a sharp wall but triple arch with columns, giving a partial view into the decorated space beyond. 

It looks like this...





























The whole interior experience of San Vitale is moving, shifting views hinting at something wonderful across the veil. There difference here is that you can step through and see it.



An exedra bulges towards you. Pass between the basket capitals of the curving triple arch...


... and look up past the galleries on the opposite side towards the central dome. The apse and sanctuary are directly across.






































The center of San Vitale is visionary. 

The painting in the  dome is from the 18th century. The Baroque angels are spectacular but a little out of place in the early Christian setting.




 
But the curving shapes of the exedrae with their galleries & windows create a flowing, mystical space.

Step out of this world.





























Photos can't do it justice, but these are pretty good. Turning the octagon’s sides into concave exedrae with curving arcades makes the interior feel less solid & material. The massive exterior brickwork seems to melt away into a mindset more conducive to sacred encounter.





























The structure is simpler than the visuals would suggest. It uses Roman vaulting techniques to raise the dome on a ring of self-supporting arches. The bulging exedrae with the galleries function like buttresses to counter some of the lateral thrust from the dome. Relieving arches - vaults built into the walls to transfer forces - in the corners above each pier and between and below the upper windows contain pressure in the transitional area between the upper circle and lower octagon.

Look at the picture right above and compare it to the diagram.



Red arrows show the downward force from the dome, around the relieving arches to the gallery vaults and on to the piers. Vaulting is like a skeletal system that makes large masonry spaces possible. The purple arrows show the buttressing counter-thrust of the gallery vaults pushing in. The green line marks the surprisingly stable base on the gallery vaults to hold the dome. 









Looking from the ambulatory into the center catches some of how this space seems to ebb & flow around you as you move through it. Immaterial or less material describes it - especially when compared to the impression of a heavy polygonal exterior.



The light and decoration add to the otherworldly experience. The only place where the complexity resolves into clarity is upward. Everything flows into the circular dome. Structurally, it's a natural result of the vaulting. But symbolically it marks heaven as the ultimate answer that clarifies the world's mysteries.







The sanctuary & apse are the focal point of San Vitale and where the most spectacular mosaics can be found. These mosaics are what make the church such a treasure of early Christian art. The group is extensive and well preserved so we can still appreciate and understand the meaning. And how art worked to create a message in the early Christian era.

The sanctuary breaks through the two stories of the ambulatory & stands out from the rest of the flowing, immaterial space.



Look towards the sanctuary and the flowing space of the central exedrae. The sanctuary and apse are the bright greenish opening on the left - the sanctuary the bigger two-story space and the apse the smaller one that extends off the edge of the picture to the right. 

The color comes from the mosaics and brightness from the additional windows. As the location of the altar and ritual focal point of the church it is supposed to clearly stand out.



And a look straight in. There's ornamental stone paneling on the lowest level and mosaic decoration above that up to the ceiling vaults.




























Enter the sanctuary through a colorful arch with fifteen mosaic roundels or circular pictures. The triple arches on either side open into the ambulatory. The side walls are divided into two levels. The lower is between the ambulatory arches and the bottom of the upper triple arched opening connecting to the gallery. The upper surrounds the gallery opening. The mosaics show scenes from the Old Testament below and the New Testament above.

The far wall is mostly the arched opening into the apse with more mosaic above that. 





























The appeal of mosaic comes from the vivid colors and effect of light on the reflective surfaces. A mosaic is a picture made up of individual tiles called tesserae set into mortar like pixels. It's an old technique that goes back to ancient Rome and the Near East and is very durable. To destroy a mosaic you have to destroy the wall. The tiles are mainly glazed pottery, fired at high temperatures and made shiny by the metallic glassy finish, although pieces of colored glass and semi-precious stones could be used as well. Gold mosaic tiles use real gold foil hammered extremely thin - gold maintains it's color and reflectivity at extreme thinness. This is bright, visually splendid, and luxurious. 

Take a look at the mosaic of Empress Theodora from an angle. The rough texture of the tesserae is easy to see. This - along with the reflectivity of the materials - creates the flickering shimmering effect. The placement of the tesserae is also representative. Look how her halo seems to radiate outward while the rest of the gold background doesn't.





























The arch between the nave and sanctuary is called the triumphal arch. As in the triumph over death through salvation that was reenacted in the ritual of the Mass that took place at the altar. Early Christian art coordinated the positions and subjects of the pictures to turn the space into a symbolic experience that you walk into. 



The roundels on the triumphal arch depict the twelve Apostles with the martyred sons of St. Vitalis at the bottom and Jesus in the middle. Each has a name. 

Much of the fantastic effect of San Vitale comes from all the colorful abstract decoration. Shapes, plants, animals, stars, etc. - a feast of vibrant color





A close-up of St. Gerbasius -  a martyred son of St. Vitalis - shows the mosaic technique. Gold was used to make the halo shine. The artists were very skilled, carefully selecting textures and shades to create subtle light and shade effects. 





























The costume is associated with the Roman elite. It may be consistent for the Vitalis' sons, but doesn't fit the historical reality of the Apostles. Meaningful associations for the audience re more important than strict accuracy. The average sixth-century person isn't going to be too up on first-century fashions in the Holy Land. They will recognize late Roman styles, so showing the saints as patricians also shows their importance and nobility in a language people will understand. Heavenly aristocrats gets the idea across.

The martyr is certainly worthy of that status. What greater commitment to faith over this world is there than laying down ones life for it?



The other side of the arch. Each saint is individualized but shown in a common format that shows their group identity. The Apostles and later martyrs belong to the same sacred "family".





















Putting the saints in that order around the triumphal arch isn't random. The two Roman martyrs are placed lowest and closest to the visitor - just as they are in time and culturally. The Apostles are above them - higher physically like their status and historical proximity to Jesus. Then, at the top, the most important Apostles to the Romans - Peter and Paul - flanking a roundel of Jesus.

Note the golden background and rotated orientation. The saints support the savior who looks right at you as you enter. The cross-shaped or cruciform halo was a standard Byzantine, early Christian, and medieval indicator of Jesus. The rainbow represents God's saving promise and, along with the gold background, Jesus' cosmic nature. 




























The choice of costume is important too. Just as the saints are shown in patrician Roman garb, Jesus wears the purple robes of an emperor. Christianity started as a religion of humility - it is an oft-stressed Biblical virtue - but things changed once Constantine converted and it became the imperial religion. There was a tradition of treating the emperor as divine, ascending to heaven after death or conflated with the sun god or Sol Invictus. The monotheistic nature of Christianity prevented claims of divinity, but the imperial cult adapted and the emperor became a sort of Neoplatonic image of Jesus. Reciprocally, Jesus became portrayed as a heavenly emperor. 



This mosaic in the apse of the Roman church of Santa Pudenziana dates to ~385-415, making it one of the oldest. Note how Jesus is already in golden robes and enthroned on a jeweled throne. The Imperial Christ as emperor of heaven was well-established by San Vitale a century and a half later.


















Early Christian symbolism corresponds with location in the interior - in this case on the triumphal arch. Since the arch is the transition into the more sacred space of the sanctuary, entering it means passing intercessory figures of rising status. Martyr saints, then Apostles, then Jesus himself mark the crossing.

Look back from the sanctuary, through the triumphal arch, back into the domed nave. It's a nice contrast between the spaces and a look at the symbolic transition. 





























Entering the sanctuary confronts us with a wealth of mosaics. The side walls are divided into two levels - scenes of Old Testament sacrifices on the bottom and New Testament Evangelists up above. Hierarchical arrangements of the Testaments were common in early Christian art because they visualized typological connections. Early Christian theologians interpreted the Old Testament as prefiguring the New - not just through prophecy, but structure and symbolism as well. Old Testament characters, events, numbers, and other signs were taken as foreshadowing things in the Gospels. Putting an Old Testament scene under a New one shows how one rests on and fulfills the other. 



The sanctuary with its two-level division. Note that the ceiling is vaulted and the arched structure marked out by mosaic patterns. Knowing that early Christian art coordinates subjects and placement for symbolic purposes, we can be sure that the structural configuration will correspond with the images chosen. 





The lower level of the right side wall shows Old Testament sacrifices of Abel & Melchizedek surrounded by prophets Isaiah & Moses. 

Above them, Matthew & Luke along with their symbols of man & lion flank the window.











The basket capitals in the sanctuary have another level of ornateness. The vines and flowers are carved out deeply and backed with color. Up above, an pair of lambs and a cross alludes to the Christological theme of the mosaics.
























It's the mosaic work that really steals the show. Look how intricate they are, even when not depicting figures or scenes. these colorful abstract patterns are complemented by the grain in the marble columns and the basket capitals to make an overall spectacular display. 






























The meaning is carried by the pictorial mosaics. The main lower scene on this wall is the Sacrifice of Abel & Melchizedek. It ties a lot of ideas together into an imperial Byzantine flavored interpretation of Christianity. Melchizedek was a relatively minor figure in the Genesis narrative - especially compared to Abraham - who became an important symbol because he was priest and king. This made him a typological reference or prefiguration of am imperial concept of the Messiah. Since the emperor was conceived as a Nonplatonic image of Jesus, the combined political and sacerdotal authorities of Melchizedek became a foreshadowing allegory of the same dual nature of the emperor. 





















The nature of the sacrifices are significant. Abel's lamb makes a typoligical reference to Jesus, the sacrificial Lamb of God to come. Abel will himself be martyred as a result. Abraham offers a disk of bread that seems to glow. It's another sacrificial typology - this time to the Eucharistic wafer and made more obvious by the presence of the chalice on the altar. Rural and royal come together with symbolic references to Jesus' sacrificial body.

Historically, the emphasis on the Eucharist shows its replacement of the older custom of agape feast was well established by thus point. The relationships are almost diagrammatic.



Symmetry is used to show basic equivalence. The Old Testament altar is turned out like a Christian one. Lamb & Host, king & victim opposite the chalice beneath the Hand of God. The rainbow as always represents the divine.

The gemmated cross is symbol of Christ’s divinity. It, the hand of God & chalice make a vertical heaven-earth axis. Mirrored angels align with Abel & Melchizedek to further emphasize their equivalence.






There are two depictions of Moses to the left of Abel. One is a direct reference to Biblical narrative, the other is more symbolic. Although placed in the same late Classical landscape setting, they are not talking place in the same time and place. The "integrity" of the image is one place where early Christian and medieval pictorial story-telling is different from modern ideas of art. Ironically, it's the modern version that follows Aristotle's unities of time and narrative by showing one single moment in per picture. The older form didn't necessarily treat the background as a unified vision and could include multiple events or the same figure multiple times.



The upper figure is Moses surrounded by fire on a hillside representing of the Burning Bush. 

The lower is more typological - Moses tending to sheep foreshadowing Jesus as Good Shepherd.











Like the Apostles in the triumphal arch, Moses wears Roman attire and not what you'd consider Bronze Age Middle Eastern garb. It's the same idea - the patrician costume and hairstyle indicated him as important and a leader in a way the San Vitale audience could understand.

Here's another look at the Burning Bush scene. The whole mountain is aflame - maybe suggesting the blazing light of God. Note the hand of God at the upper left directing Moses. It makes a connection with His presence in the Abel and Melchizedek scene, complete with rainbow clouds to indicate the divine. Removing his sandal because he's on sacred ground is a nice narrative touch.




























The prophet Isaiah is on the other side of the wall next to Melchizedek. He is also dressed in Roman attire but isn't involved in any identifiable activity. He stands next to a crown to show his lofty status and carries a scroll to indicate his prophecy.



The art is technically good. Isaiah is in a classically-derived pose, standing naturally and turning to look over his shoulder. The sweeping lines of his robes nicely complement the shape of the panel and the background forms.









Technical close-up of Isaiah showing his features, wrinkled robes, and mottled gold halo. The different tones enhance the glittering effect of reflected light. Note the use of color and brightness to make his beard seem three-dimensional.










The sanctuary wall mosaics put the Evangelists over the Old Testament scenes and prophets, just as the New rests on the Old spiritually. Matthew & Mark appear above the Abel & Melchizedek scene. Each of them is beneath a symbolic creature - the four beasts of the tetramorph that came to represent the four Gospels and their writers in the early Christian period. There is some variation in the relationships, but the most common connects the man to Matthew, the lion to Mark, the ox to Luke, and the eagle to John.

The Biblical foundation for the Tetramorph comes mainly from two places - the books of Ezekiel and Revelation. Here's Jesus enthroned surrounded by the four beasts of the Tetramorph from an illuminated manuscript from around the year 1000.



Jubilation over the fall of Babylon, circa 1000, Bamberg Apokalypse, Bamberg, Staatsbibliothek, MS A. II. 42, folio 47 verso

And I looked, and, behold, a whirlwind came out of the north, a great cloud, and a fire infolding itself... Also out of the midst thereof came the likeness of four living creatures... As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle. Ezekiel 1:4-10

And before the throne there was a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, were four beasts full of eyes before and behind. And the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle.
 Revelation 4:6-7



The appearance of the Tetramorph symbols in 6th-century San Vitale shows how well-established they were by this point. 































Matthew & Mark sit in stylized classical like Moses and Isaiah landscapes writing their Gospels. The common setting shows the basic connection between the two while the relative position shows their different spiritual status. Mark’s Tetramorph symbol is a man - in a clever touch the man doubles as the angel bringing the divine inspiration of his Gospel.



The inclusion of symbolic birds - the stork & peacock - are allusions to the Resurrection that tie to the typological salvations below.










Close-ups of the Tetramorph symbols. The man/angel gestures towards Matthew’s head as he writes, touching his head to show inspiration. Mark’s lion is modeled in golds and browns and is very ferocious looking.






























The opposite side of the San Vitale sanctuary repeats the same configuration of Old Testament scenes & prophet under two Evangelists - Luke and John to round out the four. The big idea is to surround the visitor in a sensually pleasing environment where the meaning of the pictures adds meaning to the experience of beauty. The glittering splendor also relays a message. Conversely, the beauty makes the message more appealing. This symbiosis can be described in terms of rhetorical and dialectical appeal. The beauty and splendor create an emotional response, the narratives depict a logical - literally typological - network of Biblical references, and the two reinforce each other. 

On this side, scenes from the story of Abraham appears in the lunette with Jeremiah & Moses on either side.

































Both sides separate the Old and New Testament levels with mirrored angels carrying a gemmated cross. The cross is a symbol of the divine nature of Christ - note the rainbow ring around it - that connects the two Testaments around the fundamental Christian mystery.

It is important to remember that San Vitale was completed after the Byzantine reconquest of Ravenna and that that had a religious aspect as well as a political one. The new Byzantine regieme was Orthodox unlike the Arian Ostrogoths, and had a different opinion on the nature of Jesus' divinity. Symbols like the gemmated cross make an Orthodox statement emphasizing Jesus' divine nature in a context where it had been denied.



Classically-inspired angels with the gemmated cross. Gemmated just means decorated to look as if it is covered in gems.

The angels increase the symmetry and match up with their counterparts on the opposite side.










The main Abraham panel combines two scenes. The left and center are taken up by the three visitors from Genesis 18 with Abraham and Sarah bringing their meal. On the right is the sacrifice of Isaac.




















The story of the three visitors is interpreted as an Orthodox allegory of the Trinity and a rebuttal of Arian ideas. And the Lord appeared unto him in the plains of Mamre: and he sat in the tent door in the heat of the day (Genesis 18:1). Jesus can't be part of the Trinity - a hypostasis of God - if he lacks a divine nature. But there's more to the symbolism - a complex but specific typological reference to Jesus.



On the left is Sarah, who will have a divinely-inspired birth. And he said, I will certainly return unto thee according to the time of life; and, lo, Sarah thy wife shall have a son. And Sarah heard it in the tent door, which was behind him (Genesis 18:10). The congruity with the birth of Christ is exactly the sort of thing typological prefiguration drew on. 

The little structure that clearly is too small to be realistic is a carry-over from Roman art, where minimal architecture was used to suggest setting. This carries through the Middle Ages.



In the center group, the representation of God/Trinity appears with bread that resembles Eucharistic wafers. Together they form an allegory of God - or one hypostasis or the Logos - incarnating and dying for us. The link is reinforced by the circular shape of the bread-hosts & Trinity halos. 

This is the same Eucharist that the real communicants at the real altar right below took part in. You see the divine meaning in your communion.





There may be a play on the word incarnatus for incarnation and the carnis Abraham offers is guests. We may be reaching, but they did speak Latin in 6th-century Ravenna. The plate is another circular offering anyhow.











In the right, the theme of sacrifice makes another connection to Abel and Melchizedek on the opposite wall. Note the familiar hand of God with rainbow clouds in the usual role of showing direct divine intervention. 
















The typological symbolism of early Christian art can be quite inventive. Look at the two lunettes together in relation to the real Mass on the alter between them and the Orthodox rejection of Arianism. The Incarnation and redemptive sacrifice of Jesus, contemporary ritual reenactment, and theological debate can be foreshadowed visually by carefully placed and related depictions of Old Testament stories.

Jeremiah & Moses are the prophets above the Abraham scene. They further support the typological connection to the salvation of humanity through Jesus. Matthew - the most genealogical Gospel - provides the link between Jesus & Jeremiah. Moses is receiving the Old Covenant that foreshadows and is replaced in the new.



Close-up of Jeremiah with his prophetic scroll. Probably the one ignored and burned by Jehoiakim , but it could also be a more generic reference to prophecy. The crown - like Isaiah's opposite - alludes to the ultimate triumph that he predicts. Note the enduring Roman attire. The costumes are excellent.

















Moses appears on a fantastical mountain setting & looks down towards the viewer in the sanctuary below. The hand of God is shown handing him the Commandments in scroll form. 




























The position of the Apostles is the same as on the other side - John & Luke  in Roman garb seated in a post-Classical landscape beneath doves, urns & vine scrolls. Here too, the symbolic beasts of the Tetramorph appear above them - John's is the eagle and Luke's is the ox or bull.



John is on the left with his writing table with pen & ink, Gospel, and symbolic beast. The eagle was associated with John because his Gospel is the most celestial in it’s metaphysical discussion of Logos.











Luke sits with his Gospel & basket of scrolls. His ox or bull association may come from the prominence of the Temple and its sacrifices in his Gospel. Luke’s is the one that tells of Jesus’ presentation & debate with doctors in the Temple.
















The mosaics continue into the vault of S. Vitale in Ravenna is a vision of mosaic color & symbolic decoration. The Lamb of God at the center lines up with the bearded Jesus seen earlier in the rainbow at the center of the triumphal arch. Four angels surround the Lamb, one in each highly decorated quadrant. The quadrants alternate primarily green and gold hues and are separated by ornate bands. We can’t think of another ceiling quite like this.


































The decorative plan features Roman-derived vine scrolls & plant motifs only cranked up to a higher pitch by with shining mosaic color. Roman art used vegetal and abstract forms to create ornate backgrounds, and this crossed into early Christianity. The difference is that the Roman versions tend to be clearly delineated even when intricate. Early Christian art is trying to create an overall experience of heavenly splendor that feels like another world. Remember the contrast with the plain undecorated exterior. At San Vitale, it's the vivid colors and shining mosaic surfaces that add this effect.



Each quadrant had an angel on a globe supporting the central roundel with the Lamb. The detail is almost lost in the shimmer on the tiles.

Lively animals fill the spaces, but balanced spacing prevents the impression of crowding.









Close-up of an angel in Roman robes standing in a version of the classical contrapposto. The bland, wide-eyed expression is typical of early Christian and Byzantine art. The globe it stands on represents the world, indicating that this is a metaphysical representation. The animals emerging from the decoration probably symbolize life and fecundity under the rule of the Lamb/Kingdom of God.

The colors are eye-catching, but note the 3D effect created by subtly blurring the edges of the forms & strategic use of white tiles.











Another good look at the detail. Life and fecundity certainly fit the decorative bands that mark the structure of the vault. The peacock was an early Christian symbol of resurrection and immortality. 

Meaning corresponds to placement. The vaulting physically support and lead to the Lamb of God in the center so the decoration represents the life and salvation that the Lamb is the source of. 


















The Lamb of God in the center. The bright white tiles against the shadow on his forehead makes his head appear to shine in the dim light of the sanctuary. Almost like it is bedecked in stars. 

The ring around the Lamb is filled with vegetation and fruits. More life. 















The last group of mosaics in San Vitale are in the apse - a cosmic enthroned Jesus over panels of the emperor & empress on the side walls. The placement-subject correlation still applies but it's different. The vertical arrangement is still symbolic but not expressive of Old and New Testament typologies. Now the relationship is a metaphysical one relating earthly to heavenly power structures. It's as purely false as any other secular transcendence, but that's typical of the imperial jacking and inversion of Christianity. 

Unlike the satano-globalist beast system, the lie is surrounded by Christian truths to provide a moralizing veneer. The beast system rejects this because it implies that Christianity is a moral standard. One adds a false dimention to an objective moral frame, the other rejects and inverts the frame itself. Different points on the same continuum of secular transcendent decline, but still different in the moment.



Jesus in imperial purple enthroned on the world is the Neoplatonic image of cosmic emperor. The Byzantine emperor and empress Justinian & Theodora are shown below as his earthly manifestation. 

The vertical relations & similar arrangements in the pictures diagram this imperial theology.













The curve of the apse semi-dome helps it stand in as the vault of the heavens. The shape also makes it into an environment. Apse mosaics wrap around the space below, bending & drawing you into a more physically real relationship.



This photo shows how the curve of the apse makes it seem like Jesus and his entourage are bending down towards you. It doesn't show in head-on shots because the photos flatten the curve.













The apse mosaic features a beardless Jesus enthroned on a celestial globe wearing imperial purple & gold. This is the same emperor archetype seen in the roundel at the beginning of the post, but with a more youthful appearance. St. Vitalis, Bishop Ecclesius who started the construction & two angels are arranged around him like an imperial court.


























The figures are set in a paradisiacal garden that is not of this world. The rainbow presence of Jesus' throne - a representation of either the world or the cosmic spheres - shows the figures are in a different place metaphysically. It is a depiction of heaven imagined as an imperial court, with Jesus as model emperor and the saints and angels as his courtiers. 



The young beardless Jesus was common in early Christian art. This is a fairly late example - the bearded version in the roundel is closer to the standard look familiar to us. The cruciform halo indicates his identity without doubt.

Here he extends the martyr’s crown to St. Vitalis & holds a scroll symbolizing the word of God. The shades of blue in the sphere - reference to the world and/or the interlocking spheres of ancient cosmology are especially striking.



Close-up of Jesus’ face with his identifying cruciform halo. This was limited to Jesus. The mottled gold tesserae enhance the sparkle.

Wide staring eyes in late imperial portraits as a symbol of power and authority.












Jesus’ heavenly court gathers beneath rainbow clouds and a solid gold background. The rainbow is a sign of the divine and the gold has a couple of effects. The shining background shows that this is a mystical space of golden light and not anywhere in the material world. Without a sense of place, the figures seem to float before this radiance, suspended between divine abstraction and our reality. Combined with the forward lean, they really seem intercede between us an heaven as they do theologically. The way they are placed reinforces the meaning and effect.



On our left. St. Vitalis receives his crown of martyrdom. 

Note his incredibly elaborate robe. Luxury here becomes a symbol of his spiritual status, marking his as a sort of "spiritual aristocracy".




On our right is Bishop Ecclesius who began the construction of S. Vitale, although it was Bishop Maximian that finished it.

He presents a small model of his centrally-planned church - this type of offeringwas a common way patrons of major works were shown in early Christian & Byzantine art.




















A few other features of the apse wall add to the symbolic content. Above the apse are depictions of Jerusalem & Bethlehem the central cities in the Gospel story and settings for the Incarnation and Passion of Christ.



The cities are labeled - otherwise they're not recognizable. The use of small, symbolic references to places was common in early Christian art and continued through the Midle Ages.










At the center of the apse arch is a gemmated chi-rho in a divine rainbow ring. these are the Greek initials of Christ and a common symbol for him. 

Among other things, S. Vitale is a treasury of early Christian symbolism.






Above the chi-rho, a pair of mirrored angels tie the wall to similar pairs on the side walls. These wear the same type of Roman garb but carry a colorful starburst pattern that picks up on the design of the initials below. Effective unity across types of imagery and areas of the interior.































This has been a long journey. The final mosaics show the Emperor and Empress and their courts as worldly expressions of Jesus's divine imperium. It’s an assertion by analogy with Justinian as Neoplatonic image on of God on earth. We already noted how the cult of the emperor was transposed onto Christianity. This is a more direct assertion of the relationship.



The Justinian fresco curves slightly with the wall. In this view, the heavenly garden in the apse mosaic under S. Vitalis is just visible around the window arch.

Note the stunning marble inlay below.

















Close-up of the marble inlay in the apse. The Romans traditionally used colored stone panels on the walls of luxury buildings. This is a late but stunning example of that art. More intarsia than mosaic, the patterns complement the rest of the interior.











Justinian appears at the center of his entourage, just as Jesus does above. The group includes Bishop Maximian who finished the church and is identified by name - remember the late Bishop Ecclesius is already shown in heaven. The inclusion of secular & ecclesiastic figures around him show his dominance over both spiritual and worldly affairs. Note the imperial purple robe that associates him visually with Jesus. The red shoes are... interesting.



























Imperial Christianity hijacks & inverts scripture & tradition from the early. The idea of emperor is a metaphysical icon of Christ is pure secular transcendence and an inversion of the Biblical charge to render unto Caesar what is Caesar's and God what is God's. The conflation of worldly and sacred authority is a forerunner of the Christian humanist blasphemies of the Renaissance.

The mosaic is stunning though. 



On the left are the secular powers - the generals & soldiers, possibly including Belisarius who reconquered Italy. Their presence would be powerful given the recent conclusion of the Gothic-Byzantine wars.

Note the chi-rho shield carried by the soldiers. Christian warriors with the same initial seen in gemmated in the sky above.


















On the right - bishops & deacons including Maximian with gemmated book, cross, and incense censer. Bald Maximian looks like a portrait. He became bishop near project’s end & may be a last-minute replacement for his late predecessor. Hence the label.

Secular & sacred authority. Together with the soldiers, they embody Justianian's authority across the sacred and secular domains.














Justinian occupies the center in imperial purple mantle & gold tablion with woven birds. The detail in his garments and crown is phenomenal. Like Jesus he occupies the center of his court

The basket he carries is likely for offerings. 


























Technique close-up of Justinian’s face. Different color tesserae model his complexion. His jeweled crown is very detailed. Note the halo with hints of cosmic rainbow to assert divine status and connect him to the scene of Christ above.

Mortal vanity has always plagued the church.






















The last of our S. Vitale in Ravenna mosaics is the Empress Theodora & her entourage opposite Justinian. It’s designed as a companion piece with similar lay-out reflecting their different realities in the Byzantine court. Theodora is in imperial purple with a halo & holding an offering like her husband. The curve of the apse makes it seem as if the curtained door actually leads out of the scene.

































Imperial status as worldly image of Jesus. Her advisors & ladies-in-waiting are hierarchically arranged around her. The details & colors are stunning. Like the architecture feature that covers Theodora like a canopy and fits the curve of her halo.



Empress Theodora & her entourage shows the lavish detail of San Vitale mosaics. The flatness & staring eyes show that eastern-flavored transition from classical to medieval art. But the details like the fountain & curtain are engaging.
















Close-up of Theodora. Staring eyes & blank expression go back to late imperial authority portraits. The detailed crown, natural folds of her falling robe & modeled complexion are just remarkable. 

The hint of rainbow in the halo shows her divine status like that of Justinian and ties her to Jesus above. Her robe shows the three Magi - high- status figures with obvious royal appeal to an imperial Christian.
























Technique close-up. The pixelated picture-making is astonishing, especially to eyes accustomed to shoddy modern garbage. 


















Put the three together & the visual relationship is clear. The imperial couple manifest Jesus’ heavenly imperium on earth. The rainbow halos of the emperor & empress indicates this divine conduit through their exalted personages.




Too bad it was inverted nonsense.

Secular transcendence fails because material reality is time bound and changing. Metaphysical absolutes can't exist here. They can be represented, but they can't be found in and of themselves. This is a central observation that runs through the Band and the basic reason why every attempt at forging a utopian ideology of human perfection fails. An when flawed fallen humans pretend to be pure arbiters of divine Truth? The history speaks for itself.



The mosaic artists of San Vitale are brilliant. Absolute masters of their craft. Theodora seems to pulse with radiant divine light. But it's still just a picture, and what it depicts is subject to reality.

Shortly after San Vitale, the Byzantine Empire began centuries of long, slow decline. Forget image of Christ - there hasn't been a Byzantine emperor for almost 600 years. Half-assed Ottoman blathering about Third Rome doesn't count. The depiction is false.




But the beauty isn't. 

San Vitale was produced in a climate where Logos was the arbiter of Truth. Where even the vain auto-idolatry of emperors took place within a frame of objective morality. And where God was the highest good. This was an environment where the good, the beautiful, and the true express the same underlying nature of reality. Perhaps not visible in itself, but representable in works of breathtaking sublimity.

People often look at the garbage culture vomited out of the beast and wonder what happened? Why can't we have spaces like San Vitale? Not necessarily the style - there are plenty of beautiful structures from other periods - but the quality? The answer is that we could. We just need to reconnect as a culture with the essential element that made expressions like this possible...







































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