-Eight-sided church -Plain exterior; porch added later, in the Renaissance -Large windows for illuminating interior designs -Combination of axial and central plans -Spoila: bricks taken from ruined Roman buildings reused here
--Mysterious space symbolically connects with the music elements of religion -Banker Julianus Argentarius financed the building of San Vitale
-Christian church
-Symmetry, frontality -Slight impression of procession forward -Figures have no volume -Minimal background
--Emperor Justinian, as the central image, dominates all: emperor’s rank is indicated by his centrality, halo, fibula, and crown -Dressed in royal purple and gold -Divine authority symbolized by the halo -To his left the clergy, to his right the military
-Justinian holds a paten, or plate, for the Eucharist; participating in the service of the Mass almost as if he were a celebrant– his position over the altar enhances this reference. -Justinian appears as head of church and state; regent of Christ on earth
--Archbishop Maxianus is identified; he is the patron of San Vitale -XP or Chi Rho, the monogram of Christ, on soldiers' shields shows them as defenders of the faith, or Christs soldiers on earth
-Slight displacement of absolute symmetry with Empress Theodora; she plays a secondary role to her husband -She is frontal and moving to our left -Figures are flattened and weightless
--Richly robed empress and ladies at court. -The three Magi, who bring gifts to the baby Jesus, are depicted on the hem of her dress.
-She holds a chalice for the wine; participating in the service of the Mass almost as if she were a celebrant -She is juxtaposed with Emperor Justinian on the falling wall; both figures hold the sacred items for the Mass