The mosaic pavement of the Vrina Basilica

The mosaic pavement of the Vrina Plain basilica appear to pre-date that of the Baptistery by almost a generation, dating to the last quarter of the 5th or the first years of the 6th century AD.

In the nave the design is a single composition stretching from the entrance to the sanctuary screen. This long rectangular central scheme is framed by three borders of geometric and plant motifs. The central field consists of irregular octagons, each filled with a variety of motifs including sea-creatures, birds, terrestrial beasts, fruits, flowers, trees and abstract motifs – designed to depict a terrestrial paradise of God’s creation. Superimposed on this scheme are two large tablets, tabulae ansatae, carrying inscriptions.

A variety of fish, a crab, a lobster, shrimps, mushrooms, flowers, a stag and two cruciform designs surround the smaller of the two inscriptions, which reads: In fulfilment of the vow (prayer) of those whose names God knows. This anonymous dedicatory inscription is a public demonstration of the benefactors’ humility and an acknowledgement of God’s omniscience, which obviates any need of spelling out the names (although not apparently the need to record one’s generosity in epigraphic form).

The second large tabula ansata, now largely destroyed, read: […] and rest […] your bodily/material matter […]. This dedication is surrounded by a symmetrically ordered group of animals of sheep and birds facing the inscription. The size of this tablet and the ordered disposition of animals suggest that this was the more important of the two inscriptions on the floor. Close to the sanctuary are depicted birds and trees bearing fruit, while on the threshold itself is a chalice and a vine with two prominent bunches of grapes.

The central feature directly in front of the altar is an arched aedicule, surrounded by two small birds and two cypress trees. Within the arch a single red-flowered plant grew and a lamp was left burning. The richly ornamented octagon panels around this motif are in turn framed by magnificent curling plants with brightly-coloured fruit issuing from fluted trumpets.

The apse was raised up above the level of the mosaic and was entered via a step. Unlike the nave and the bema, the apse had a flagstoned floor. A large robber-cut in the centre of the apse indicated that originally something of importance had been placed here – possibly a confessio or relic-deposit.

Overall it would appear that the disposition of motifs over the floor is not random. Rather, there is a somewhat informal progression from sea-creatures at the entrance, past feral and domestic animals, and the ordered group around the main inscription, to a large assembly of fruit-bearing trees, flowers, birds and animals. This culminates in a large chalice with curling S-shaped handles, and a grape-bearing vine on the threshold to the sanctuary – announcing the eucharistic space around the altar and leading to the plain devotional space holding the relics.

 

• The Churches of Butrint
• The Great Basilica
• QTVR of the great Basilica
• Other Churches at Butrint
• The monastery at Diaporit
• QTVR of the monastery at Diaporit
• Reconstruction of the monastery at Diaporit
• The basilica on the Vrina Plain
• Excavating the Vrina Plain basilica (QTVR)
• The mosaic pavement of the Vrina Basilica
• The mosaic pavement in detail

All God’s creation
The abundant variety of natural life depicted in the Butrint mosaics celebrates the richness of God’s creation; some elements also have specific connotations. The Kantharos vase and vine refer to the eucharist, the symbol of the sacrifice of Christ leading to salvation. Peacocks are symbols of paradise and resurrection; shown eating or drinking from the vase they indicate the route to eternal life. Deer or stags were commonly used as images of the faithful aspiring to Christ: ‘like a hart desires the water brook, so my souls longs for thee, O God.’ Water-birds and fish and other sea-creatures can indicate baptism as well as the members of the Church who are christened. Flowers, ivy, laurel and the wealth of interlocking patterns carry connotations of Paradise: the abundance and peace of eternal bliss.