built by Neon in
the reign of Theodoric.

The wonderful basilica of Sta. Sophia at Constantinople was just
completed, and the novelty of its plan and immense effect Produced by
its dome, a method of construction entirely novel in Roman architecture,
doubtless excited the admiration of the Emperor and led to the adoption
of a similar plan for S. Vitale. S. Vitale 18 by no means a copy of Sta.
Sophia, but unquestionably was strongly influenced by it.

It was founded in 540, and consecrated in 547. It is octagonal in plan,
with an inner structure of eight large piers, arranged in a circle,
connected by arches which support a pendentive dome. Following the
custom then in vogue, its interior is incrusted throughout with
elaborate mosaics in a wealth of color. The most elaborate design and
richest color is used in the apse, which was the centre of display in
all Byzantine churches.

[Illustration: XXI. Capital from the Apse of the Church of S. Vitale,
Ravenna, Italy.]

XXI.

CAPITAL FROM THE APSE OF THE CHURCH OF S. VITALE, RAVENNA, ITALY.

This is one of the most beautiful and most characteristic capitals of
the Byzantine style. Its form and decoration are both typical of the
style. The flat treatment of the interlace of the vine motive is very
generally used, and can be seen in great variety in S. Vitale and
elsewhere. The ornament is here enriched with gold and color. In the
double capitals of Ravenna the upper member, or cushion, is usually
ornamented with symbolic designs drawn from various sources, both Pagan
and Christian.

[Illustration: XXII. Capital from the Church of S. Vitale, Ravenna,
Italy.]

XXII.

CAPITAL FROM THE CHURCH OF S. VITALE, RAVENNA, ITALY.

Here again is the rhomboidal double capital of a much more severe design
than that of the preceding plate, but with a remarkable delicacy and
refinement of treatment.

[Illustration: XXIII. Capital from the Church of S. Vitale, Ravenna,
Italy.]

XXIII.

CAPITAL FROM THE CHURCH OF S. VITALE, RAVENNA, ITALY.

This is a mean between the two extreme types shown in Plates XXI. and
XXII.

In all these examples the treatment of the angles should be noted.
Strong confining lines, with a distinct upward tendency of the ornament,
contrasted with the flat sides, contribute much to the good effect of
these capitals as constructive members.

[Illustration: XXIV. Capital in the Museum of the Accademia di Belle
Arti, Ravenn