All the angles of the mosaics are rounded off as in S. Mark's at Venice and elsewhere. But in S. Vitale they are patterned with bands of distinct colours, and do not interfere with the general effect as they do in S. Mark's, where the brilliant gold catches the light and accentuates the angle. The whole colour scheme of the decoration is green and white relieved by a dull purple, black and deep red set on a rich dull golden ground. However much one admires the later mosaics of Venice and Torcello, Palermo and Monreale, the palm for beautiful colour must be awarded to the glorious art of Ravenna.
At the bases of the columns in the Choir stand the celebrated pagan bas-reliefs called the "Throne of Neptune." In both, a sea-monster lies extended beneath the throne of the god. That on the right has a winged figure holding a trident; in the other, two figures bear a huge conch shell. Sea-horses, dolphins and shells, crowded in between Corinthian pilasters, form the lower panels which two nude boys bear on their shoulders staggering under the heavy weight.
Ravenna's cathedral contains nothing of any architectural interest, as it was rebuilt in the bad period of the eighteenth century. The original edifice, which was erected by S. Ursus in the fourth century, was known as the "Basilica Ursiana." The Archbishop's Palace adjoins the east end, and in it is one of Ravenna's earliest places of Christian worship. The little chapel to which we refer was probably built about 430 and was the work of Peter Chrysologos. With the exception of painted restorations to some of its frescoes it is to-day just as it was when the decorators left it more than fourteen hundred years ago. In the vestibule leading to the chapel one may see the ivory throne of S. Maximianus. This fine specimen of sixth-century art is covered with little ivory panels on which bas-reliefs tell the history of Joseph. In front of the seat are the Saint's monogram, the panels beneath representing the favourite theme of our Lord as a shepherd amidst his sheep, with the four Evangelists attendant. The four legs of the throne appear to be solid ivory; those at the back go right up to the top and must at one time have been splendid tusks.