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  • Essay / Christian mosaics in Rome - 1514

    After the empire's capital moved to Byzantium, renamed Constantinople, Rome became a shell of its former self. As the empire's borders collapsed, the defenseless country became vulnerable to attack by raiding parties and sophisticated armies. When the country was conquered by foreign armies, the population fled to what was once the world's central power. As these people flocked to Rome to escape the conquering hordes and seek 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. Arriving in Rome, they brought with them relics, festivals and customs. Rome welcomed them all with open arms. These religious refugees not only strengthened the population of Rome, but their projects and styles became influential on the art of Rome. Constantine's departure from Rome took with him the political seat of power. With the removal of the political leader, a power vacuum was created. The body that remained in Rome was that of the Christian Church, weak as it was. Rome's identity was so deeply rooted in pagan tradition that, despite his best efforts, Constantine was unable to fully convert it. The ancient capital was still home to a powerful group of aristocrats firmly attached to the roots of paganism. Gradually, with the support of the imperial court and the urban masses of the city, the church was able to establish itself in the 5th century (Krautheimer 33). From 526-530, the church of SS. Cosma e Damiano was transformed from what was once the offices and courtroom of the city prefect (Krautheimer 71). This state building was located in the Roman Forum and was completed by none other than Constantine... middle of paper ...... introduction to Christ, indeed for his salvation. Thus, the bishop's claims to authority are underscored by the very presence of Theodoric, whose testimony to Peter's authority undermines his own. The emphasis on Peter's primacy in the writings of Felix IV and his papacy predecessors, as well as their efforts to seek autonomy from the Ostrogoths and the Roman Senate, further suggest that the particular composition of this mosaic apse is intended to reaffirm the power of the Roman bishops as spiritual descendants of Saint Peter and representatives of Christ on earth. Thus, although Ann Marie Yasin may emphasize the symmetrical relationship between Felix IV and the personification of King Theodoric in the guise of Saint Theodore, a more nuanced interpretation suggests that the office Felix currently occupies is in fact elevated compared to that of Theodoric..