" data-medium-file="https://lutz-heilmann.info.documents.lutz-heilmann.info.com/2015/12/san-vitale-theodora.jpg?w=300" data-large-file="https://lutz-heilmann.info.papers.wordpush.com/2015/12/san-vitale-theodora.jpg?w=500" class="alignnone size-full wp-image-550" src="https://lutz-heilmann.info.files.wordpush.com/2015/12/san-vitale-theodora.jpg?w=640" alt="san-vitale-theodora" srcset="https://lutz-heilmann.info.files.wordpush.com/2015/12/san-vitale-theodora.jpg 500w, https://lutz-heilmann.info.papers.wordpush.com/2015/12/san-vitale-theodora.jpg?w=150 150w, https://lutz-heilmann.info.documents.lutz-heilmann.info.com/2015/12/san-vitale-theodora.jpg?w=300 300w" sizes="(max-width: 500px) 100vw, 500px" />Theodora and also attendants, mosaic from the southern wevery one of the apse, San Vitale, Ravenna, Italy, c. 547.

You are watching: Empress theodora and her attendants south wall of the apse

In this mosaic, Theodora is holding the cup of wine for the procession of the Eucharist. In a twin mosaic, Justinian holds the cup to disperse the bcheck out. There are images anywhere the mosaics to symbolize Christ’s redemption of mansort and also the remembrance of it via the taking of the Eucharist. The positions of the civilization are likewise vital. Through the majesty of her robes and also her placement at the front of everyone, it is clear that Theodora is very crucial. Though she is in a courtyard as opposed to the inner royal residence of the San Vitale and also therefore does not have the status of Justinian, the fact that she is portrayed in this mosaic at all mirrors her influence in Justinian’s court.

This mosaic is substantial for a pair of reasons. The initially is it parallels through the Justinian, Bishop, Maximianus piece. It is also substantial bereason it reflects how the placing of figures in art expresses rank. As discussed over, Theodora is positioned in the courtyard and not in the royal residence. This expresses her rank and also is an example of how artist communicate to their audience. Anvarious other reason this piece is substantial is because it points to Theodora as a historic number. The mere reality that she was depicted in this item testifies to her distinctive position in Justinian’s court. It is proof of the power she organized in Constantinople.

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Gardner, Helen, Fred S. Kleiner, Christin J. Mamiya, and also Richard G. Tansey. “Rome in the East: The Art of Byzantium” Gardner’s Art through the Ages: The Western Perspective. 11th ed. Belmont, CA: Thomson/Wadsworth, 2003. 266-268. Publish.