Early Byzantine Architecture

You don't have to read this. I am just "thinking out loud" and it is easier to do it here than in a formal Word document.
I am working on a paper for my World Cultures & Religions class. My thesis statement: The structure and art within early Byzantine churches represents the combining of church and state."
In A.D. 313, the Emperor Constantine openly recognized Christianity with favor and allowed it to have official standing. According to Krautheimer, "The church became an official body closely linked to the Imperial administration and a political power as well. Christian officials were numerous at the court, and the Imperial favor shown to Christianity led large numbers of civil servants and aristocrats to embrace the new religion" (Early Christian and Byzantine Architecture, p. 17). Due to the large number of people embracing Christianity, the need arose for larger church buildings. However, authorities did not wish to embrace a secular form of architecture when building their churches. Krautheimer further states, "The offiicial and hieratic overtones of the church and the dignity of her Imperial patrons demanded an architectural vocabulary corresponding to the highest class of public buildings, palaces, and temples" (Early Christian and Byzantine Architecture, pp. 18-19). The architecture of the churches needed to be distinct, created in a new form that could be recognizable to the general populace as being "Chrisitan." According to Krautheimer, "for both practical and ideological reasons it was impossible that this new Christian architecture should evolve from the religious architecture of pagan antiquity. Christianity obviously saw in paganism and all its works the very opposite of its own intentions" (Early Christian and Byzantine Architecture, p. 19).
Early Byzantine architecture adopted the form of the domed basilica. Historically, domes in Roman architecture were only used over circular or polygonal structures, but Byzantine architecture used domes over square structures through the use of "pendentives" (A History of Architecture by Sir Bannister Fletcher, p. 241). Pendentives are "curved spherical triangles wich rise from the tops of the supporting piers to provide the transition from the area of the crossing, or the walls of a chapel, to the drum or the dome" (The Oxford Companion to Christian Art and Architecture, p. 581). Rather than adopting any one existing architectural style, the architects of Byzantine churches adopted various characteristics from other structures and combined them to create a unique form still recognizable today as churches.
The architecture of Byzantine churches followed a cross-in-square design. The cross-in-square "describes the shape of a church in which a centrally planned cross form is enclosed within a rectangle" (The Oxford Companion to Christian Art and Architecture, p. 125). Fletcher points out that "in the Byzantine style the exterior closely corresponds with the interior" (A History of Architecture, 241). The basic plans of the churches followed the same form. Byzantine churches all had a central space which was covered by a dome on pendentives. Churches followed a cross-in-square design with the basic shape being a cross and angles filling it in to become and enclosed square. Byzantine churches give a vertical impression, gradually drawing the eye upward toward the central culminating dome (A History of Architecture, p. 256).
Another important feature of Byzantine churches were the rich mosaics within the buildings. The mosaics of the church San Vitale in Ravenna illustrate the close relationship between government and religion. A mosaic of Christ appears on the semi-dome of the main apse. Christ is seated upon the earth with an angel on either side and the four rivers of Paradise pouring out under the globe. On the left he is presenting St. Vitale with the crown of martyrdom. On the left stands Bishop Ecclesius, representing the church.







Two mosaics were later added on the side walls. That on the left is of the Emporor Justinian and his court.






On the right is the Empress Theodora and her court:




In these mosaics, both the Emperor and Empress are making offerings. The appearance of the Emperor and Empress within the church goes to show the close connection between church and state.
So, that's about as far as I have gotten. At this point, my thoughts are still randomly bouncing around in my head and I am just doing by best to condence them all into their proper forms. Does anyone know anything about Byzantine architecture that you would like to add? Does this idea and argument make any sense to anyone?