Iconography on Christ as the Good Shepherd in the Mausoleum of Galla Placidia

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The mosaic in the Mausoleum of Galla Placidia of Christ as the Good Shepherd (Ravenna, Italy, ca.45) has been claimed to be the "finest example of Early Christian mosaic in existence." The balanced composition, rich, vibrant colors, paradisiacal tone, and peaceful theme all contribute to produce a timeless work of art. Truly, as a whole the image is stunning. Successful as it is aesthetically, the mosaic's greatest achievement is found in the iconographical content and value. The artist thoughtfully and skillfully used common pagan symbols to teach of Christ's relationship to his followers.

The Good Shepherd

The image of the Good Shepherd was taken from common, pagan iconography to teach of Christ's guiding role in Christianity . Shepherds and ram bearers were common in art during the years preceding the formal era of early Christian art. They represented a variety of themes including different seasons . These images were common to the wealthy and the poor alike. As the popularity of Christian art rose in the third century, the image of a shepherd tenderly caring for or saving his sheep was quickly adopted and frequently used among Christian artists as a representation of Christ . The image was very success and commonly used because it could easily be interpreted as the Good Shepherd and referred directly to Jesus Christ's teachings .

The image taught clearly and quickly Christ's role as the Savior. Christ as the Good Shepherd has been named by scholars "a metaphor for Christ in relation to his followers." Because of its frequent previous use in pre-Christian art, it was an image that was easily identified and understood. It portrayed the Savior as a leader and teacher that could tenderly relate to the needs of his followers and was personally and intimately involved in their salvation. Christ as the Good Shepherd was often portrayed in the earliest Christian centuries in the catacombs and from Dura Europos where it is the central figure . Those earliest Christians undoubtedly looked often to this image of a loving, personable God and Savior as a source of hope and refuge during their fierce persecution before Constantine's conversion. While, to non-Christians, it was simply another rendering of a pagan theme parallel to Hermes Kriophoros, the calf bearer, to believing and faithful Christians it was a solemn declaration of peace, comfort, and hope through Jesus Christ. Reverend J. Spencer Northcote describes that "a shepherd is…in itself, a natural object and as such may be painted by Pagans and Christians alike; but it was of the very essence of Christian art to represent natural objects as embodying some hidden spiritual association; and surely no image was more calculated to raise the courage and warm the affections of those who were called upon to live in the shadow of perpetual danger, than that of the Good Shepherd who laid down His life for the sheep." The mosaic of the Good Shepherd found in the Mausoleum of Galla Placidia was rendered many years after the heavy persecution of the early Christians. In fact, it is thought to be perhaps the last appearance of Christ as the Good Shepherd in early Christian art . When created, the mosaic was founded on a solid establishment of renderings of the same powerful theme that had been repeated for years. Surely, this image served its contemporaries as a reminiscent reminder of its importance and use in early Christian persecution as well as a resplendent, noble proclamation of Christianity's continued faith and trust in the Jesus as their Master and Redeemer.

The Sheep

The six sheep in the mosaic represent the followers of Christ . Often in both the Old and New Testament Christ's followers were referred to as "[his] people and the sheep of [his] pasture." Accordingly, early Christian artists used sheep to humbly symbolize Christ's adherents. Murray describes the sheep in early Christian art as "one of the commonest symbols of the faithful." While sheep also frequently represented Christ's twelve apostles , those of the mosaic found in the Mausoleum of Galla Placidia simply represented the faithful Christian community as a whole.

The sheep shown in the mosaic educate the viewer of the role of the followers of Christ. In a symmetrically balanced composition, the sheep also help to focus the full attention of the mosaic on Christ. Each sheep's attention is fixed to the shepherd, thus echoing to the viewer Christ's universal invitation, "Look unto me and be ye saved, all the ends of the earth; for I am God and there is none else." Of significant import is the sheep directly to Jesus' left. It glows as it beams into the shepherd's face. The shepherd gently caresses it with his right hand and shows the warm affection and nurture he offers to all his flock as they draw near to him. The Good Shepherd is shown as the example of a perfect leader and protector. The artist seems to be making a threefold declaration in his depiction of the sheep and their interaction with the shepherd. To the faithful Christians he echoes Peter's comforting words, "For ye were as sheep going astray; but are now returned unto the Shepherd and Bishop of your souls." To the bishops and other clergy of the congregation he urges with Christ, "Feed my lambs…feed my sheep." And, to the unbeliever, those who "have gone astray" and "have turned…to his [their] way," he extends Jesus' promising invitation, "I am the door by me if any man enter in, he shall be saved, and shall go in and out, and find pasture…I am come that they might have life, and that they might have it more abundantly."

The Cross

The cross held by the Good Shepherd symbolizes Christ and emphasizes the significance of his suffering and sacrifice. The cross is, without doubt, the most common and most popular symbol in all Christian art. It predated images of the Crucifixion and continued to be a vital icon through the Middle Ages . Originally, until the third century, the cross was explicitly avoided due to its "shameful association with the Crucifixion." But, a significant, miraculous event helped turn that tide. In a battle with one of his pagan opponents, Constantine had witnessed the sign of the cross in the sky and was promised, "in this sign you will conquer." Constantine gave specific orders regarding his soldiers' display of the symbol and the victory was won. Thereafter, the cross became a celebrated symbol of victory through Christ . The cross is likewise represented in the mosaic of Christ as the Good Shepherd. Yet, instead of a military victory, it is representative of Christ's spiritual victory�his victory over sin and . This theme is momentous to the thesis of the mosaic, namely Christ as the Good Shepherd. It is through that central victorious act that Jesus Christ has all power to lead his followers "to lie down in green pastures" and, in the end, save them. With Christ boldly lifting his cross as a ensign, the artist also reflects his teaching, "But he that is an hireling, and not the shepherd, whose own the sheep are not, seeth the wolf coming, and leaveth the sheep, and fleeth and the wolf catcheth them, and scattereth the sheep….[But] I am the good shepherd…and I lay down my life for the sheep."

The Robe

The Good Shepherd's robe also represents his sacrifice as well as his divine royalty. This mosaic characterizes an important turning point in early Christian depictions of the Good Shepherd. The shepherd is not shown with a simple tunic and a crook as displayed in numerous earlier catacomb paintings, rather, he is reverentially shown with imperial clothes "a gold dalmatic with blue clavi and a mantle of royal purple, features which testify to a direct influence of the ceremonies and art of the Imperial court." The purple is particularly important, referring directly to "Christ's Passion" and, most specifically, to the purple robe he wore while being mocked and abused by the Roman soldiers . The juxtaposition of that same purple, which represents his suffering, on the robes that represent the imperial of Byzantium is triumphantly powerful. While, at one time he submitted himself to wicked men and suffered and died, he overcame sin and , and now, because of his victory, he is adored by his sheep not only as a king, but an Emperor�"the King of kings, and Lord of lords."

The Image of Christ

The personal image of the Good Shepherd was rendered to help the viewer more easily recognize Christ and His role as Savior. There literally is no evidence indicating the physical appearance of Christ . Isaiah made a bleak reference to Christ's physical attributes when he said, "he hath no form nor comeliness; and when we shall see him, there is no beauty that we should desire him." Yet, it wasn't a lack of description that made the earliest Christian artists cautious in rendering Christ. Murray asserts, "for many years the Jewish revulsion from representations of the Divine affected the first Christians (mostly Jews themselves), and [Christ] was therefore symbolized by such things as the chi-rho monogram, the fish (ichthys), a lamb, a cross." It wasn't until much later that representations of Christ's person began to be used, and when they were used it wasn't in effort to render a portrait of him, rather, to describe, by his image, his character and divine mission. To fully understand the rendering of Christ's image in the mosaic we must "understand that all representations of Christ as the Good Shepherd are merely symbolical of His office, and none produce any lineaments of a true likeness." Christ is shown in the mosaic following the Greek (or Hellenistic) version where he is a young beardless man . His thick dark hair that falls to his shoulders is suggestive of the Greek god Apollo . This physical similarity to Apollo was no happenstance. Christ was thus rendered to teach about his mission. Apollo was the son of Zeus and the god of truth and light. Immediately a common visitor, and even investigators of Christianity would recognize his divine Sonship and relate him to truth. The image would enhance the viewers understanding of Christ because of a Roman background steeped in the belief of Greek gods.

Conclusion

No doubt, the mosaic of Christ as the Good Shepherd in the Mausoleum of Galla Placidia is an aesthetically beautiful work of art as well as a profound and deeply thought-provoking sermon through its iconography. It was created to testify of Christ and his redeeming role as well as "[remind] men of the rewards promised by Christ to those who follow him and of their own ability, even in this world, to share in the glory of the next; [it made] visible the splendour by which the believing Christian was already surrounded. The whole emphasis…is on life on Christ reigning in heaven; on the eternal happiness promised to his followers." Indeed, it has fulfilled and continues to fulfill it grand purpose in teaching the viewer about Jesus Christ and how to nurture and strengthen a relationship with him.

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