Another body of water the Byzantine Empire used to help them develop their civilization was the Mediterranean Sea. Eerdmans, , XIV, The conquests of Justinian in Italy could be considered as part of, what has already been discussed as, his Imperial ambition to restore the former Roman Empire of Constantine. I think the most observable is the appearance of Christ. By Penelope J.
In the procession that moves from the right to the left of the mosaic, Theodora occupies the central position, as if guarded by both sides by her retinue. Ravenna, as the original capital of the Ostrogothic Kingdom, and now the capital of Byzantine Italy, housed a population accustomed to having been ruled by Gothic and Arian overlords. He became the principal historian of the 6th century, documenting the works and wars of Justinian I. This essay on Formal Analysis: Empress Theodora and Her Attendants was written and submitted by user Enrique Daniels to help you with your own studies. Davies, Walter B.
The Europe of the 6th century CE witnessed the apex of the Eastern Roman Empire as well as the simultaneous rise to maturescence of the Byzantine civilization, the foundations of which had been established under the 4th-century CE rule of Constantine the Great; the first Emperor to tolerate Christianity and one of the last to rule a united Roman world. The mosaics share the theme of the Eucharistic meal: both Emperor and Empress, accompanied by dignitaries and their courtly retinue, carry a chalice and dish, believed to represent the wine and bread in an offertory procession. Treadgold, Warren.
Ravenna Italy. London: Longman, Early Medieval Architecture as Bearer of Meaning. The Word Made Flesh.
Shepard, Jonathan. Reprinted in Leon Bernard and Theodore B. Fairleigh Dickinson University Press, The Basilica of St. Oxford: Blackwell, Columbia University press,
The Origin of Medieval Drama. Color and light devices are arranged so that the composition appears perfectly balanced, although it is formally asymmetrical.
Basilica of San Vitale is the main location in this art work. These mosaics are culturally significant in that curiously, besides obviously reflecting the aesthetic values of the art of Constantinople, they lack any contemporary works that match their style and design from the rest of the Empire. The right panel mosaic depicts Emperor Justinian with golden halo, standing in the middle of court officials, guards, and Bishop Maximian. Related Papers. By Penelope J. San Vitale, Ravenna, Italy.
The artwork done on the walls is permanent.
LTD, In her hands, the Empress holds a precious goblet of gold and gems, which she hands over to the man on her left. These mosaics are culturally significant in that curiously, besides obviously reflecting the aesthetic values of the art of Constantinople, they lack any contemporary works that match their style and design from the rest of the Empire. That is to say, these mosaics artfully realize the growing frequency during the early middle-ages of Christian theocratic-styled despots who sanction, enforce, and wield their influence through a close relationship with the Church and its dogma, particularly, in this case, within the Byzantine Empire. Its size is really difficult for us to tell because it shows the dome shape design from inside the church