Imperial bodies and sacred space? Imperial family images between monumental decoration and space definition in Late Antiquity and Byzantium

Piety, Power, or Presence? Strategies of Monumental Visualization of Patronage in Late Antique Ravenna

“…As I have argued elsewhere, the lost mosaic program of San Giovanni Evangelista provides unique evidence to understand diverse ways of commemorating saintly figures as well as living and dead emperors (Carile 2018). Furthermore, it is the first known instance in Ravenna where the patron is celebrated through her depicted image and two inscriptions, which, by naming her, reiterate both the concept expressed in the figural images (the miraculous rescue during a storm) and her fulfillment of a vow to St. John.…”

“…1 In the lower area of the apse, toward the center, was an image of the Empress's friend and mentor Bishop Peter Chrysologus, who was represented performing the liturgy. 2 Flanking him on either side were portraits of the Eastern imperial house: the Emperor Theodosius II and Eudokia on one side and Arcadius and Eudoxia on the other side, the latter two being either Theodosius's parents or his children, named after his parents, and destined to become future emperors (Brubaker 1997;Carile 2018). The images representing the Eastern emperors, likely in full figure, have often been interpreted as devotional images; however, no reliable source allows us to infer a scene of gift-giving.…”

“…However, neither Justinian, Maximian, or even Theodora on the opposite panel, are easily viewable at San Vitale. Indeed, the portraits at the sides of the apse can only be seen if standing inside the sanctuary, where no one but the clergy was admitted (Carile 2018). Due to the depth of the sanctuary and the dazzling effect of light reflecting upon the mosaic surface, the imperial panels can never be clearly and simultaneously seen from the naos.…”