Ravenna is cold in February, but the sun still manages to warm the ancient stone archways. I place my cheek against a rough granite surface and feel the heat and energy collected over time. I have just spent the morning sitting in the Orthodox Baptistery, staring up at mosaics so carefully placed in the ceiling during the 4th and 5^th centuries. The apostles march in procession above us, each carrying a triumphal laurel. In the center, John the Baptist is pouring the water from the River Jordan over the head of Jesus, who stands naked in the rippled pool. The Holy Spirit in the form of a dove dives into the blessing held aloft by John. To one side stands the pagan water god with a reed in one hand and a garment in another.

While admiring the intricate images, we are joined by two groups of Italian children. One school excursion after another quietly fills the domed building as a teacher explains the history and imagery that envelopes us. The octagonal room is relatively small and the space intimate. At one point a teacher asks, “Why did they use so many symbols in their art at that time?” Her answer: “Because the symbols conveyed la saggezza, the wisdom of that age.”

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