(artist unknown, located at Ravenna). (c.547). Empress Theodora and Her Attendants [mosaic]. Church of San Vitale, Ravenna, Italy.

Drapery and figure arrangement are stiff but quite well-timed. Decorative framing and body part arrangement are ordered. This work is sensitive to value juxtaposition; pictorial development, while flat, is organically effective at highlighting who is the center of attention. | 

As a work of semi-abstraction, a sensitivity to optical reality is subordinated to the concept of “Emperesshood”. The center of attention in this mosaic is quite obvious, though not to the degree of Darius and Xerxes Receiving Tribute in Persepolis. The purpose is the same: Glory to the state. The empress is enveloped in opulence, much more than any other figure. She is given the most value embellishment (and therefore depth), and the arrangement and gestures of the surrounding figures are just short of fawning. Her placement is offset by the overlapping figures to the right. Overall, this work shows a remarkable use of the value range.

The foremost element is value, in my opinion. There is a readily-identifiable value pattern present and it is used to define shapes, support hierarchy and imply what depth there is to find. As a mosaic, tiny shapes visually merge to create larger ones. They also create pattern-embedded frames for the scene. Those shapes, colors and values are repeated in the scene, binding the work together.

While the mosaic itself is undeniably beautiful, the limitations of the medium, and the demands of the patrons, restrict the illusion of depth. Background scenes are more like cells than occupying illusionistic space. The energy of this work is nearly reflected horizontally (along a vertical axis); however, stable asymmetry applies because of the differences in visual details.

Shapes, while stiff and planar, are mostly natural and figurative and vary from large to tiny. Smaller shapes are found within the scene and in the framing decorations, which help bind the canvas. Background shapes become more mechanical but they blend well because of the assertiveness of the medium. 

The viewer is actually not regarded in this work; the orientation and gazes of the figures, when not rotated, do not converge to a single area. The framing patterns are of nearly-equal importance to the subject matter not only because of how they define the subject, but because they support the elemental repetition present. 

If I had a criticism for this work, it would be its density. Specifically, negative space is respected, but there is not enough value contrast between secondary figures and the background to do more than hint a difference between solid and empty. This work, and its companion of the Empress’ spouse, are undeniably successful at fulfilling the purpose of the patrons. This is to provide official portraits of both absolute wielders of political power of the Byzantine Empire, presented as equals.