Christian Mosaics in Rome

After the move of the empire’s capital to Byzantium, renamed Constantinople, Rome became a shell of its former self. As the borders of the empire collapsed, the undefended country became vulnerable to attacks from raiding parties and sophisticated armies alike. As the land was conquered by foreign armies, the people fled to what had once been the central power of the world. As these people flocked to Rome to escape the conquering hordes and seeking freedom from religious persecution, the deflated city began to find a new identity. This identity was carried by monks fleeing the Iconoclasm of the East. As they arrived in Rome they brought with them relics, feasts and customs. Rome welcomed them all with open arms. These religious refugees bolstered not only Rome’s population but their schemes and styles became influential on Rome’s art.

Constantine’s departure from Rome took with him the political seat of power. With the removal of the political head a power vacuum was created. The body that remained in Rome was that of the Christian church, feeble though it may have been. Rome’s identity was so deeply rooted in the pagan tradition that despite his best efforts Constantine was unable to convert it entirely. The former capital was still home to a powerful group of aristocrats which held on firmly to the roots of paganism. Gradually, with the support of the imperial court and the city’s urban masses, the church was able to gain a foothold in the fifth century (Krautheimer 33).

As early as 526-530 the church of SS. Cosma e Damiano was converted from what had been the offices and audience hall of the city prefect (Krautheimer 71). This building of state was placed in the Roman Forum and had been completed by none other than Constantine...

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...troduction to Christ, indeed for his salvation. Thus, the bishop’s claims to authority are underscored by the very presence of Theoderic, whose witness to Peter’s authority undermines his own. The emphasis placed on the primacy of Peter in the writings of Felix IV and his predecessors in the pontificate, as well as their efforts to seek autonomy from the Ostrogoths and the Roman senate, further suggests that the particular composition of this apse mosaic is intended to reaffirm the power of the Roman bishops as spiritual descendants of Saint Peter and Christ’s representatives on earth. Thus, while Ann Marie Yasin may emphasize the symmetrical relationship between Felix IV and the personification of King Theoderic in the guise of Saint Theodore, a more nuanced interpretation suggests that the office Felix currently occupies is in fact elevated over that of Theoderic.