The Justinian and Theodora mosaics inhabit the apse, the most sacred part of the church, usually only populated by religious imagery. This certainly makes a bold statement! Both Emperor and Empress appear to take part in a religious procession, which perhaps explains or justifies this positioning.
Justinian
Justinian and his retinue appear on the left (when facing the altar). The Emperor is in full imperial garb and carries a paten, the vessel used to hold the consecrated Eucharistic bread at Mass. He stands in a group of clergymen, courtiers, and soldiers. Just beside him appears Maximianus, the Bishop of Ravenna who consecrated the church, identified by an inscription. The Bishop holds a jeweled cross, while the priests next to him carry an equally-ornate Gospel book and an incense burner. Belisarius, the general who conquered Ravenna, is standing next to Justinian on the other side.
Depending on how you look, either the Emperor or the Bishop can seem to stand in front of the other (Justinian’s shoulder is in front, but so is Maximianus’ foot). Scholars have interpreted this as a reference to the tension caused by Justinian’s desire for spiritual, as well as temporal, power. The key figures in this panel have individualized facial features, as though they were meant to be recognized by viewers. These portrait-like representations are not necessarily flattering. Evidence suggests that Maximianus’ name and face are later editions, supplanting an image of an earlier Bishop of Ravenna.
Theodora
A similar mosaic panel on the other side of the apse depicts Theodora and her retinue of male and female courtiers. Elaborately dressed, she carries the chalice for the Eucharistic wine. The women that accompany her, including one who may represent Belisarius’ wife – Antonina, also wear rich and elegant clothing. Unlike the Justinian mosaic, which appears on a solid gold background, Theodora’s group stands in front of an architectural niche. There is a fountain to the left side of the composition, and one of the male courtiers holds back a curtain so she can pass through. Both Justinian and Theodora appear with halos, usually taken to refer to their supposed divine right to rule, rather than to any claims of sainthood.
Although the Justinian and Theodora mosaics depict a type of Eucharistic procession that might have actually occurred, they do not recount a real event. The imperial couple never visited Ravenna at all, never mind participating in a procession at San Vitale. A more likely explanation would be that they wanted to remind the people of Ravenna who was in charge now. These mosaics assert the Emperor and Empress’ political power and religious importance despite the geographical distance from their new territory.