Throughout history, people have always known that the Sun is the source of life and that it directly affects our spirit and our growth and development. By studying the astronomical orientations of many temples left behind by our ancestors all over the world, experts have confirmed that they are related to the movement of the Sun, as well as other celestial bodies. Architects Janko Rožič and Jonel Kolić recently discovered a similar connection with the Sun after years of research in the complex of Euphrasian Basilica in Poreč. Their conclusion is as follows: “Based on all the explored principles of light and space, it is possible to establish that the entire complex of Euphrasiana with the basilica, atrium, and baptistery is an exceptional architectural composition, a medium of light that unifies Christian time and holy space.”
The triconch Euphrasian Basilica is the only preserved early Byzantine monument in Croatia dating back to the 6th century. This period is characterized by the decoration of the interior walls of churches with mosaics and frescoes, with the main nave emphasized by an iconostasis. When Slovenian architect Janko Rožič visited the Euphrasian Basilica on the Feast of the Assumption, August 15, 2012, he noticed an interesting movement of sunlight. Specifically, around 6 pm, the light was entering through three windows of the western facade and illuminating the altar and the bishop’s chair. In the next moment, the light moved towards the depiction of the Virgin Mary on the right side of the ciborium. Then, the Sun disappeared behind the bell tower (built only in the 16th century) for 15 minutes and then reappeared exactly on the icon of the archangel Gabriel, who announces Jesus’ birth to the Virgin Mary on the left side of the same ciborium.
virtual model of the basilica in order to track the movement of light and important dates. This allowed them to see how the movement of sunlight was before the addition of the bell tower on the western side of the baptistery in the 16th century and the chapels on the southern side of the basilica, which were built in the 18th and 19th centuries. The model showed them how the sun, before the additions, illuminated specific icons on different dates with three beams of sunlight. One beam is always the main one, illuminating the icon of the saint being celebrated that day, while the other two beams follow and illuminate the Episcopal throne, Episcopal bench, etc. To verify the authenticity of the 3D model, the two of them visited the Euphrasian Basilica on important Christian dates.
“We checked and photographed the lighting situations we obtained using the model during 2016 and 2017. They are as follows: March 25th (Annunciation) when the sunlight illuminates the Archangel Gabriel, June 21st (summer solstice) is directed at the longi The longitudinal axis of the basilica and the baptistery, on August 15th, illuminates the altar, the bishop’s seat, and the depiction of the Annunciation on the ciborium. On September 8th (Little Lady), it illuminates the Virgin Mary with the child, and on December 25th (Christmas), it depicts Jesus Christ at the top of the triumphal arch with the words EGO SUM LUX VERA.”
Rožič adds that their research proves that with the fall of Constantinople, the understanding of architecture, which includes the light that unites Christian iconography and cosmic rhythms, was lost, and the Renaissance revival of antiquity failed to notice and reconstruct it.
“We cannot know exactly when this knowledge was lost, but the Sun has always been significant in architecture, as it creates the atmosphere. However, it is remarkable that these builders, in the 6th century, created not only a sundial but also a Christian calendar based on the sun in the basilica, and the iconography itself corresponds to the sun’s radiance, telling a story with light.”
The year of the beginning of the construction of Euphrasian Basilica is unknown due to the lack of documentation. chapter in the episcopacy of Bishop Euphrasius of Poreč. He had a inscription carved into the apse of the south nave, at the base of the altar, which does not indicate the year of construction: “The servant of God, Bishop Euphrasius, built this church from the ground up in the eleventh year of his episcopacy.”
From another, larger inscription in the apsidal mosaic, we can learn something about the construction of the basilica and the previous damaged pre-Euphrasian structure: “This temple was once so worn out that it was on the verge of collapse. It was neither reinforced with oak beams, nor was it built with large stones on the walls. The decaying roof hung threateningly, about to fall. When the devout priest Euphrasius saw that the building was about to collapse, he demolished it to transform it into something more beautiful. He built the temple from the ground up, and as you can see, it now shines with colorful stones. When he completed the work, he held a grand celebration, gathered the faithful in the church, and dedicated it in the name of Christ…”
With the addition of the apse, Euphrasius’ basilica dedicated to the Assumption of Mary represents a new, developed phase. I type of building, and it was built according to the requirements of new architectural ideas that spread from Ravenna. Eighteen tall marble pillars that separate the aisles are identical to the ones in Ravenna. The basilica is adorned with numerous mosaics, and since it lacks a dome, above the apse sits Christ Pantocrator.
Thus, the Euphrasian Basilica can also be classified among the temples whose builders recognized messages in the movement of the Sun and its light, the content of which we have not yet fully deciphered.