Byzantine Mosaic is gold ground and holy gravity. For more than a thousand years, from Hagia Sophia in Constantinople to San Vitale in Ravenna, mosaicists laid flat gold tesserae as the infinite light of God, setting against it frontal figures in jewel-toned robes — lapis blue, blood red, imperial purple, emerald green.

This system treats gold as the page itself: a shimmering divine ground, not decoration. Figures and panels are symmetrical, hierarchical, and arch-framed. Letterforms are Roman inscriptional, carved rather than drawn. The effect is quiet and sacred, never casual — the interface as icon, the viewer as pilgrim.