The attitudes and movements of the figures are artistic stereotypes boldly conceived and highly stylised creating strong symmetrical compositions. The figures are flat appearing static they are arranged frontally floating, contained in a spiritual rather than a dimensional space. The backgrounds tend to be solidly golden or toned.
Almost all that survives of the Byzantine architecture are its churches, with their glorious frescoes and mosaics. The use of mosaic is highly associated with Byzantine art covering most wall space. In Ravenna, for example, churches of the 5th and 6th centuries present powerful religious images on walls and vaults in brilliant, glittering colour and a bold, linear style. The Byzantine style continued for many centuries in icon painting. Byzantine architects favoured the central plan covered by a huge dome. An example of this is Hagia Sophia, in Istanbul the Byzantine architects and artisans reached heady heights of magnificence. .
To consider whether and to what extent Byzantine art is classically influenced, we first have to consider the nature of classicism. Classicisms "adherence to recognized aesthetic ideals is accorded greater importance than individuality of expression"2, taking inspiration from the "remains of the Greek and Roman world"3. From this statement we can gather that Byzantine and Classicism are connected to some degree as the Byzantine era is indeed the reign of the Roman Empire. .
The imagery of the funerary art of antique Rome, especially of the sarcophagi, was adapted to the iconography of Christianity, and as we have already discovered Christianity was a huge influence to Byzantium art. In painting, the graphic, summary, and often symbolic style is exemplified in the murals of the Roman catacombs. The 5th and 6th century architecture and mosaics of Ravenna (such as S. Apollinare Nuovo and S. Vitale, Ravenna) represent the richest fusions of classic Roman, Greek, and Byzantine styles.