Even architects adopted this new ideology. Churches built during this early period, such as San Vitale in Ravenna, c. 527-47, have no carving, ornament or other applied design elements on their exteriors. However the interior is extremely elaborate with marble and granite walls, mosaics (Empress Theodora and Retinue), and above the altar, 24-karat gold mosaics depicting Christ as King of Heaven. Another example is Abrahamís Hospitality and the Sacrifice of Isaac. A mosaic is an assemblage of cubes of glass each with melted color and gold inside. When illuminated by candle or torchlight the walls of mosaics would glisten as if jewelry. In other words, the churchís exteriority was humble and void of superficial elegance, while the interiority, the home of the spirit is beautified, radiant, and glistening.




In this image, the figures display neither bones, muscles, nor biologically correct proportions. Their clothing is drapery rather than dress. The lines do not suggest creases or folds, nor do they follow the hills and valleys of the bodies beneath. High and low values are not reflective of how objects are visually perceived on earth. But, isnít that the point? This scene is supra-natural. These are not mortals who reside on planet Earth and are not bound by the rules of gravity, mass, light and shade, etc. The three figures seated at the table are angels. Abrahamís arm is cropped off at the right, but even he is a semi-divine figure, being one of the patriarchs of Judaism. Therefore, this scene should not be judged according to earthly standards, only heavenly standards.