Theodora and Attendants

Theodora and attendants, mosaic from the south wall of the apse, San Vitale, Ravenna, Italy, c. 547.

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 bread. There are images all over the mosaics to symbolize Christ’s redemption of mankind and the remembrance of it through the taking of the Eucharist. The positions of the people are also important. Through the majesty of her robes and her placement at the front of everyone, it is clear that Theodora is incredibly important. Though she is in a courtyard as opposed to the inner palace of the San Vitale and therefore does not have the status of Justinian, the fact that she is portrayed in this mosaic at all shows her influence in Justinian’s court.

This mosaic is significant for a couple of reasons. The first is it parallels with the Justinian, Bishop, Maximianus piece. It is also significant because it shows how the positioning of figures in art expresses rank. As mentioned above, Theodora is situated in the courtyard and not in the palace. This expresses her rank and is an example of how artist communicate to their audience. Another reason this piece is significant is because it points to Theodora as a historical figure. The mere fact that she was depicted in this piece testifies to her unique position in Justinian’s court. It is proof of the power she held in Constantinople.

 

Citations:

Gardner, Helen, Fred S. Kleiner, Christin J. Mamiya, and 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. Print.