After the empire's capital was 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 attacks from sophisticated raiding parties and armies. When the country was conquered by foreign armies, people fled to what had once been 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. Once they reached Rome they brought with them relics, celebrations and customs. Rome welcomed them all with open arms. These religious refugees not only strengthened the population of Rome, but their patterns and styles became influential on the art of Rome. Constantine's departure from Rome brought with it the political seat of power. With the dismissal of the political leader, a power vacuum was created. The body that remained in Rome was that of the Christian church, weak as it might be. 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 who held fast to the roots of paganism. Gradually, with the support of the imperial court and the urban masses of the city, the church managed to gain a foothold in the 5th century (Krautheimer 33). Already in 526-530 the church of SS. Cosma e Damiano was created from what had been the offices and audience hall of the city prefect (Krautheimer 71). This state building was located in the Roman Forum and had been completed by none other than Constantine... middle of the page... presentation to Christ, indeed for his salvation. Thus, the bishop's claims to authority are underlined by the very presence of Theodoric, whose testimony 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 papacy, 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 St. Peter and representatives of Christ on earth. Thus, while Ann Marie Yasin may emphasize the symmetrical relationship between Felix IV and the personification of King Theodoric as Saint Theodore, a more nuanced interpretation suggests that the office currently occupied by Felix is ​​actually elevated above that of Theodoric..