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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..74471ee --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #66302 (https://www.gutenberg.org/ebooks/66302) diff --git a/old/66302-0.txt b/old/66302-0.txt deleted file mode 100644 index bc5e7e2..0000000 --- a/old/66302-0.txt +++ /dev/null @@ -1,11955 +0,0 @@ -The Project Gutenberg eBook of The Church of Sancta Sophia, Constantinople, -by William Richard Lethaby - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Church of Sancta Sophia, Constantinople - A Study of Byzantine Building - -Author: William Richard Lethaby - Harold Swainson - -Release Date: September 14, 2021 [eBook #66302] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Benjamin Fluehr, Turgut Dincer and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK THE CHURCH OF SANCTA SOPHIA, -CONSTANTINOPLE *** - - - - - SANCTA SOPHIA - CONSTANTINOPLE - - - - - “A work as they report surpassing every edifice in the world.” - - _William of Malmesbury._ - - - “The fairest church in all the world.” - - _Sir John Mandeville._ - - - “A marvellous and costful temple, clept St. Sophie.” - - _Capgrave’s Chronicle._ - - - - - THE CHURCH OF - SANCTA SOPHIA - CONSTANTINOPLE - A STUDY OF BYZANTINE - BUILDING - BY W. R. LETHABY & - HAROLD SWAINSON - - [Illustration] - - 1894 - - Macmillan _&_ Co. London _&_ New York - - - - - RICHARD CLAY AND SONS, LIMITED, - LONDON AND BUNGAY. - - - - -_PREFACE_ - - -_Sancta Sophia is the most interesting building on the world’s surface. -Like Karnak in Egypt, or the Athenian Parthenon, it is one of the four -great pinnacles of architecture, but unlike them this is no ruin, -nor does it belong to a past world of constructive ideas although it -precedes by seven hundred years the fourth culmination of the building -art in Chartres, Amiens, or Bourges, and thus must ever stand as the -supreme monument of the Christian cycle. Far from being a ruin, the -church is one of the best preserved of so ancient monuments, and in -regard to its treatment by the Turks we can only be grateful that S. -Sophia has not been situated in the more learned cities of Europe, such -as Rome, Aachen, or Oxford, during “the period of revived interest in -ecclesiastical antiquities.” Our first object has been to attempt some -disentanglement of the history of the Church and an analysis of its -design and construction; on the one hand, we have been led a step or -two into the labyrinth of Constantinopolitan topography, on the other, -we have thought that the great Church offers the best point of view for -the observation of the Byzantine theory of building._ - -_It may be well for us to state how, in the main, we have shared -our work. The one of us--by the accident of the alphabet, second -named--has done the larger part of the reading and the whole of the -translation required. The first has undertaken more of the constructive -side of the book and the whole of the illustrations. We both visited -Constantinople, and wish to thank Canon Curtis for help then and since. -Mr. Ambrose Poynter has read the proofs. In our text we have thought it -well to incorporate so far as possible the actual words of the writers -to whom we have referred. The dates when the more ancient authors -wrote are given under their names in the index; so are the years of -the accession of the Emperors mentioned in the text. Although we have -made full use of Salzenberg’s great work in the preparation of some of -our illustrations, none are mere transcripts from his book. In some -instances where scales are given to details, the scales are but rough -approximations._ - -_Much remains to be observed at S. Sophia; the Baptistery, the -Cisterns beneath the church, and the Circular Building to the east are -practically unknown, and any fact noted in regard to them will almost -certainly be new. But it is still more important that building customs, -recipes, and traditions should be recorded. Byzantine art still exists -not only on Mount Athos but all over the once Christian East--at -Damascus the builders are still Christians, and the Greek masons of -Turkey, M. Choisy says, are still the faithful representatives of the -builders of the Lower Empire, and their present practice is a sure -commentary on the ancient buildings._ - -_A conviction of the necessity for finding the root of architecture -once again in sound common-sense building and pleasurable craftsmanship -remains as the final result of our study of S. Sophia, that marvellous -work, where, as has so well been said, there is no part where the -principles of rational construction are not applied with “hardiesse” -and “franchise” In estimating so highly the Byzantine method of -building in its greatest example, we see that its forms and results -directly depended on then present circumstances, and then ordinary -materials. It is evident that the style cannot be copied by our -attempting to imitate Byzantine builders; only by being ourselves -and free, can our work be reasonable, and if reasonable, like theirs -universal._ - - -L’ART C’EST D’ÊTRE ABSOLUMENT SOI-MÊME. - - - - -CONTENTS - - - CHAPTER I. Byzantium. New Rome, The Acropolis, The Augusteum. - First and Second Churches of S. Sophia. _page_ 1 - - CHAPTER II. Justinian’s Church. Account of Procopius. Fall of - Dome and Restoration. Accounts of Agathias and Evagrius. _page_ 21 - - CHAPTER III. The Descriptive Poem of Paul the Silentiary, Parts - 1 and 2. _page_ 35 - - CHAPTER IV. The Silentiary’s Account, Part 3. The Ambo. - Coronations in the Ambo. _page_ 53 - - CHAPTER V. Main Divisions. Bema. Altar. Ciborium. Crowns, - &c. Altar Veils. Iconostasis. Prothesis and Diakonikon. Holy Well - and Metatorion. Solea. The Nave and Pavement. Font. Crosses. - Miraculous Marbles, &c. Water Vessels. Images and Tombs. Hangings. - Carpets. Synods. Clergy and Ritual. Adoration of the Cross. - Procession to the Church. _page_ 66 - - CHAPTER VI. § 1. The True Cross and Relics of the Passion. - Other Treasure. Accounts by Russian Pilgrims. § 2. The Lighting of - the Church. _page_ 97 - - CHAPTER VII. § 1. Later History. Occupation of the Church by - the Crusaders. Fall of Constantinople. § 2. The Anonymous Account - of the Church. § 3. Legends. _page_ 122 - - CHAPTER VIII. Fossati’s Reparations. Salzenberg’s Description of - Design, Materials, Construction, and Decoration. _page_ 148 - - CHAPTER IX. Precincts of the Church, &c. Palaces. Hippodrome. - Augusteum. Milion. Horologium. S. Peter’s Chapel, &c. Boundaries - of Church. Atrium. Phiale. Pavement. West Front. Belfry. - Cisterns. Exterior generally. _page_ 173 - - CHAPTER X. § 1. Byzantine Origins. § 2. The Builders of the - Church. § 3. Original Form of the Church: Dome and N. and - S. Arches, Atrium, N.W. and S.W. Angles, Baptistery and Loggia. - § 4. Structural System. Arch Forms. Vaulting. Dome Construction. - Chainage and Walling. Mortar and Cement. _page_ 198 - - CHAPTER XI. § 1. Building Procedure. § 2. Marble Quarries and - Identification of the Marbles. § 3. Application of Marble to the Walls. - § 4. Marble Masonry. Seven Orders of Byzantine Capitals. Distribution - and Dates of Capitals. Shafts and Bases. Responds. Cornices - and Skirtings. Windows, &c. Carving. _page_ 234 - - CHAPTER XII. § 1. Bronze Doors, &c. § 2. Mosaics. Salzenberg’s - Description. First Scheme. Later Scheme. Fossati’s Description. - Tesserae and Fixing. § 3. Glass. Plaster. Painting. § 4. Monograms - and Inscriptions. _page_ 264 - - - - -S. SOPHIA CHAPTER I - -THE CITY OF CONSTANTINE AND THE FIRST CHURCH - - -_Byzantium._--Where the narrow swift-flowing Bosporus, which divides -Asia from the most eastern part of southern Europe, flows into the Sea -of Marmara, a crescent-shaped arm of the sea runs westward into the -land, leaving a narrow promontory, which, like the prow of a boat in -profile, puts out to the east. The point of this promontory is a mass -of rock rising steeply from the sea: divided by a slight transverse -depression from the rest of the land, it forms the first hill of the -seven which were afterwards inclosed by the walls of Constantinople. - -On this crest (by the present Seraglio Point), commanding the passage -to the Euxine, was built, in the seventh century B.C., by colonists -from Megara--with whom Dionysius couples the Corinthians--the -Acropolis, the sacred city and citadel, and within certain limits the -lines of its containing walls may still be traced. The lower city -gathered about the slopes outside the Acropolis, and had other walls -defining its landward limits. Dionysius, the ancient Byzantine writer, -who describes the city before the siege of Severus, 196 A.D., says -that this citadel of Byzantium was on the promontory of the Bosporus, -above the bay called Keras (the Golden Horn). “At a little distance -over the height is the altar of Athena Ecbasia--of the landing--where -the colonists fought as for their own land. There is too a temple -of Poseidon, an ancient one and hence quite plain, which stands over -the sea.... Below the temple of Poseidon, but within the wall, on the -level ground are stadia and gymnasia, and courses for the young.”[1] -This Acropolis is roughly outlined in Fig. 1, the evidence being the -contours of the hill, remains and records of certain walls to be -mentioned later, and the boundaries between the first four regions in -Constantine’s city as given in the _Notitia_,[2] a description of the -city written in the beginning of the fifth century. The Acropolis so -defined has a striking resemblance to other Greek hill cities--Tiryns, -Mycenae, Acrocorinth, and the Acropolis of Athens. In Fig. 1 the -cross shows the site of the present Church of S. Sophia; the arrow -shows the Hippodrome, which, still existing, is the great monument -of pre-Constantinian times, and forms the key for all study of the -subsequent city; O shows the position of the column said to have been -erected by Claudius Gothicus about 270 A.D., which stands at the north -end of the Acropolis overlooking Seraglio or Demetrius Point. - -Of the ancient Greek town few positive remains have come down to -us, with the exception of the coins. A publication by the Greek -Philological Society of Constantinople mentions as among several -pre-Constantinian inscriptions a marble slab found in “the tower next -to the _Zouk Tsesmé_ gate on the left as one ascends to S. Sophia,” -which refers to the stadium erected by Pausanias the General in -477 B.C., “within the walls of Byzantium and below the temple of -Poseidon.”[3] The coins also go back to the fifth century B.C. The -early ones show a cow standing on a dolphin, with the letters BY. In -the third century we have Poseidon seated on a promontory, and later -again a dolphin twined round a trident--all the types having evident -reference to the sea-washed city. Another relic of ancient Byzantium -is still to be seen below the curve of the Hippodrome, where a white -marble capital of good Greek Doric work lies neglected on the seaward -bank of the new railway. - -In addition to the ancient buildings already mentioned, we learn -from Dionysius that the city possessed a temple of Gé Onesidora--the -fruitful earth--which consisted of “an unroofed space surrounded by -a wall of polished stone.” Near by were “temples of Demeter and the -Maiden (Persephone), with many pictures in them, relics of their former -wealth.” This author was also shown the sites of temples to Hera and -Pluto, “the former having been destroyed by Darius, and the latter by -Philip of Macedon.” He also speaks of a large round tower joined to the -wall of the city. - -Some records or legends of the ancient city are also contained in the -_Paschal Chronicle_.[4] After the siege Severus “built the public bath -called Zeuxippus. Now in the middle of the four-porticoed[5] space -stood a bronze _stele_ of the sun, below which he wrote the name of -the sun. The people of Thrace indeed call the place Helion, but the -Byzantines themselves call this same public bath ‘of Zeuxippus’ after -its original name, although the emperor ordered it should be called -Severion. Opposite to it in the acropolis of Byzantium he built the -temple of Apollo, which also faced the two other temples formerly built -by Byzas--one to Artemis with the olive, and the other to Phedalian -Aphrodite. And the figure of the sun was taken from the four-porticoes -and placed in this temple (of Apollo). Opposite the temple of Artemis -he built large kennels, and a theatre opposite the temple of Aphrodite. -He bought houses and gardens from two brothers, and after pulling down -the former and uprooting the latter he built the Hippodrome. Severus -restored the Strategion as well. It was first named by Alexander of -Macedon, who, in his campaign against Darius, reviewed his troops there -before attacking the Persians.” - - -_New Rome_.--It was about 328 A.D. or the following year that -Constantine decided to enlarge this city, which had long been under the -domination of Rome, and to make it his capital. The work of building -was pushed forward with great energy, and it was consecrated in May -330. By an edict engraved on a stone erected in the Strategium, it was -called the New Rome of Constantine. In the documents of the patriarchs -of the Greek Church the city is still called New Rome. - -The quarries of easily wrought marble of large crystalline structure -and soft white colour found in such abundance in the island of -Proconnesus, only a few miles away over the sea to which it has given -its name of Marmara, then as now furnished a perfect building material; -while the still worked quarries of Egypt and Thessaly provided imperial -purple and green. But a richer quarry was doubtless found in the -porphyry and cippolino shafts of the old temples of many a declining -city. - -Constantine’s city does not appear to have been so completely Christian -as the ecclesiastical writers would have us suppose. Zosimus tells us -that Constantine erected a shrine to the Dioscuri in the Hippodrome, -and he mentions the temples of Rhea and the Tyché of the city in a -large four-porticoed forum. A whole population of bronze and marble -statues was brought together from Greece, Asia Minor, and Sicily. The -baths of Zeuxippus alone are said to have had more than sixty bronze -statues,[6] a still greater number were assembled in the Augusteum and -other squares, and in the Hippodrome, where, according to Zosimus,[7] -Constantine placed the Pythian tripod, which had been the central -object in the temple of Apollo at Delphi. On the triple coils of the -bronze serpents in the At-Meidan can still be read the names of the -Greek states, which, after the battle of Plataea, dedicated a tithe of -the spoil to the Delphic oracle, as described by Herodotus.[8] - -An extremely valuable description of ancient Byzantium and the -reconstruction by Constantine is given by Zosimus, writing not much -more than a century after the transformation. “Now the city lay upon -the crest of a hill which forms a part of the isthmus that is made -by what is called the ‘Horn’ (κέρας) and the Propontis. And formerly -it had its gate (πύλη) at the end of the colonnades which Severus -built.” ... “And the wall on its western part descending along with the -crest reached to the temple of Aphrodite, and the sea of Chrysopolis -[Scutari] which is opposite; and in the same way from the crest the -wall descended northward to the harbour which is called Neorion, -and from thence up to the sea which lies directly in front of the -straits through which one enters the Euxine.” ... “This then was the -ancient size of the city. And Constantine erected a circular forum -_where formerly was the gate_, and surrounded it with porticoes of two -storeys. He set up two very big arches of Proconnesian marble opposite -each other; through them one entered the porticoes of Severus or issued -from the ancient city. And wishing to make the city much larger he -further continued the old wall fifteen stadia, and inclosed the city -with a wall which cut off the isthmus from sea to sea.” - -It is clear from this that the ancient land gate of Byzantium stood on -the crest of the ridge close to the site now occupied by the Porphyry -Column (which was set up by Constantine in the New Forum), and formed -the end of a street of columns built by Severus (the _Mese_). From -this gate the wall ran southwards to a temple of Aphrodite, and along -the shore of the Propontis opposite Scutari. Northwards it descended -to the Golden Horn at the Neorion port, and turned along the shore to -Seraglio Point. Now the Neorion port was just outside the entrance to -the modern Galata bridge,[9] and the account agrees perfectly with the -_Notitia_ in which we find the following: “The sixth ward at entering -on it is level ground for a short distance, all the rest is upon the -descent; for it extends from the Forum of Constantine to the stairs -where you ferry over to Sycae [Galata]. It contains the porphyry pillar -of Constantine; the Senate House in the same place, the Neorion port; -the stairs of Sycae, &c.” - -It is evident that the city which Constantine found had been virtually -rebuilt by Severus in the style of the East. From the days when -Alexandria and Antioch were planned a city had become a whole to be -designed according to rule. Essential features of such cities--of -which Palmyra is the best representative--were long avenues of columns -forming the main streets, and a triumphal arch with a central “golden -milestone.” The main street of columns at Constantinople, which we -later hear of by the name of the _Mese_ as forming the way from the -Milion to the Forum of Constantine, cannot be any other than the -“Porticoes of Severus” just mentioned. In the fifth century we find -the _Mese_ referred to in the building laws of Zeno. “We ordain that -none shall be allowed to obstruct with buildings the numerous rows -of columns which are erected in the public porticoes, such as those -leading from what is called the Milion to the Capitol,” any shops -or booths between the columns “must be ornamented on the outside at -least with marble, that they may beautify the city and give pleasure -to the passers by.”[10] Mordtmann shows that this great columned way -occupied very nearly the line of the present Divan Yiulu; indeed, it is -hardly possible to divert the great arteries at any stage of a city’s -evolution, and the _Mese_ itself probably followed the course of a -foot-track to the gate of the Acropolis. - -By building walls across the land between the Golden Horn and the sea -at distances farther and farther from Seraglio Point, the city has been -successively enlarged; the great land walls, within which the shrunken -city now lies, are mainly the work of Theodosius II. These, the walls -of the Constantinople known to the Crusaders, are still comparatively -perfect; a triple line on the land side and a single line around the -sea margin, some fourteen miles of walls, eight or ten to fifteen -feet thick, strengthened by great towers, completely girdles the city -round about. The land-wall of Constantine’s city, situated between the -Acropolis and the present walls, has disappeared, but its course has -been traced (see Fig. 1). - - -_Acropolis._--The topography of ancient Constantinople has engaged -the attention of generations of writers, and an approximation to true -results has undoubtedly been reached. First we must mention Pierre -Gilles, usually called Gyllius, who, travelling to collect MSS. for -Francis I., resided in the city for many years, and died in 1555. Then -Du Cange, in his great work _Constantinopolis Christiana_, 1680, by -a careful comparison of the authorities, certainly made discoveries -in a country he had never visited. The folios of Banduri[11] followed -in 1711; and in 1861 Labarte published a more detailed study of the -Imperial quarter, chiefly based on the ample notices in the Book of -Ceremonies of Constantine Porphyrogenitus. This work, _Le Palais -Impérial de Constantinople et ses Abords_, shows remarkable insight and -critical acumen. Buzantios in _Constantinopolis_, 1861, and Paspates in -his _Byzantinae Melatae_, 1877, made several further identifications. -The latter followed with _The Great Palace of Constantinople_, recently -translated by Mr. Metcalfe, which goes over the same ground as Labarte; -but the excavations for the railway, which now circles Seraglio Point, -had in the meantime exposed some remains, and made the examination of -certain walls possible. - -Although Paspates made several valuable suggestions, many of his -conclusions are certainly not sustained by his reasoning; indeed, -Labarte in many points of divergence was probably much nearer the -facts. Paspates’ views were accepted by Mr. Bury,[12] to be followed -in turn by Mr. Oman in _The Byzantine Empire_ of the “Story of the -Nations” Series. A work in Russian has recently been devoted to the -study of the Palace quarter.[13] Unger’s collection of topographical -references in _Quellen der Byzantinischen Kunstgeschichte_ is also of -the greatest service. - -[Illustration: FIG. 1.--Plan of Constantinople showing its development.] - -In 1892 appeared Dr. Mordtmann’s _Esquisse_, together with a large plan -of the city, on which the probable identifications of the ways and -buildings were laid down; this was prepared at the instance of the -Comte Riant, who, in his _Exuviae Constantinopolitanae_, contributed -the result of much research to our knowledge of Byzantine antiquities. - -[Illustration: FIG. 2.--Plan of the Acropolis, &c., of Constantine’s -city.] - -Dr. Mordtmann, by a study of the whole of the city area and its entire -circumvallation as we have it to-day, in comparison with the written -descriptions, has laid a firmer grasp on the problem. Labarte, he -points out, was chiefly misled by a confusion of the buildings in -the Forum of Constantine and those in the Forum Augusteum--a mistake -elaborated in some respects by Paspates. Labarte thus placed the -porphyry column of Constantine, which still marks the site of the -former, together with other buildings that were quartered about it, -all within the Augusteum, which last he rightly identified with the -present open space to the south-west of S. Sophia. Texier, who in 1834 -made a careful study of the ancient city, rightly distinguished the two -fora.[14] - -Fig. 2 will assist in making clear our views as to the transformation -of the Acropolis under Constantine. The Byzantine brick walls which -now inclose the old Serai Labarte regarded as of late work, and we -think the style of the building would very well bear out Paspates’ -opinion that they were erected by Michael Palaeologus. The excavation -for the railway exposed some remains of a wall near O in our Fig. 1 -which Paspates describes as “built of large stones as much as 10 feet -long by 2½ broad, and 1½ thick.”[15] The rest of the seaward wall still -forming the substructure of the retaining wall of the sea-front of the -old Serai, and running in a direction parallel to the Hippodrome, is -also of stone. This wall is probably ancient or follows the course of -the ancient Acropolis inclosure which is described by Dion Cassius as -“built on rising ground and projecting into the sea.... The walls are -very strong, formed of large squared stones bound together with copper, -and the inside is so strengthened with earth and buildings that the -whole seems one thick wall.”[16] - -The late Anonymous author edited by Banduri says that the wall of -ancient Byzantium commenced at the Golden Horn near the gate of S. -Eugenius to pass along by the Golden Milestone.[17] We place no -reliance on the Anonymous for early history, but there is much to -confirm Mordtmann’s view that an ancient wall occupied this position -and that the Milion--which the Anonymous says was the land gate--was -situated upon its course and formed indeed the entrance from the -Street of Columns. This wall, which Mordtmann says passed on the land -side of the old Serai in front of the modern museum (Tchenli Kiosk) -where there is a high retaining wall, and continued to the west of -S. Sophia not far from the narthex, we consider must be that which -formed the landward inclosure of the Acropolis. The fourth region of -the city, Mordtmann says, was separated from the second by the rock -of the Acropolis and this wall. We are confirmed in our acceptance -of the other wall described by Paspates as the seaward wall of the -Acropolis, not only because it is built against the steep escarpment -of the rock, but by finding that in the division of the city into the -wards or regions of the _Notitia_ the first ward exactly comprised the -space between the wall and the sea; the second region contained the old -Acropolis itself, with a triangle of lower ground at the north against -the Golden Horn, where was probably the sea gate; while the third was -divided from the fourth by the great way which left the Milion gate -on the old landward wall of the Acropolis. Such pre-existing features -naturally formed the boundaries of the wards. - -We now give from the _Notitia Dignitatum_ the descriptions of the -first four regions of the fourteen into which Constantine’s city was -divided, which will show how Constantine occupied the old areas with -the royal and public quarters of his new city. Twelve regions were -included within the walls, and two others were formed by the suburbs of -Blachernae and Galata. - - - REGION I. - - Contains the house of Placidia Augusta; the house of most noble - Marina; the Baths of Arcadius; 27 streets or alleys; 118 houses; - 2 porticoes; 15 private baths; 4 public cornmills; 15 private - cornmills; 4 terraces of steps. It is under one curator, who looks - after the whole region; it has 1 vernaculus, a slave (or messenger) - for all regions; 25 collegiati, who are selected from different - Guilds (Corporati), and help at fires; and 5 street wardens, who - watch the city at night. - - - REGION II. - - Gradually rises with a gentle ascent beginning from the smaller - theatre, and then descends abruptly to the sea. It contains the - Great Church; the Ancient Church; the Senate; the Tribunal built - with porphyry steps; the Baths of Zeuxippus; the theatre; the - amphitheatre; 34 streets or alleys, 98 houses; 4 large porticoes; 13 - private baths; 4 private cornmills; 4 terraces of steps. It had also - 1 curator, 1 vernaculus; 35 collegiati, 5 street wardens. - - - REGION III. - - Is a plane surface in its higher part, where is the Circus, but from - the end of this it descends steeply to the sea. It contains the - Circus Maximus; the house of Pulcheria Augusta; the new harbour; a - semicircular portico, called by the Greeks Sigma; the Tribunal of the - Forum of Constantine; 7 streets; 94 houses; 5 large porticoes; 11 - private baths; 9 private cornmills. It had 1 curator; 1 vernaculus; - it had also 21 collegiati; and 5 street wardens. - - - REGION IV. - - From the Golden Milliarium is prolonged, with hills rising to right - and left in a valley leading to an open space. It contains the - golden Milliarium; the Augusteum; the Basilica; the Nymphaeum; the - Portico of Fanio; a marble ship--the monument of a naval victory--the - church or martyrium of S. Mennas; the Stadium; the Scala Timasii; 32 - streets; 375 houses; 4 large porticoes; 7 private baths; 5 private - cornmills; 7 terraces of steps. It had 1 curator; 1 vernaculus; 45 - collegiati; 5 street wardens. - - -_Augusteum._--Thus Region I., occupying the land between the Acropolis -wall and the sea, was partly reserved for palaces; Region II. coincided -with the Acropolis, and had its south end devoted to the Forum -Augusteum and the Christian Basilicas of S. Sophia (“the Great Church”) -and St. Irene (“the Old Church.”). It will be observed that in the -_Notitia_ the Augusteum is given to Region IV., to which it does indeed -adjoin; Mordtmann[18] considers that the Augusteum, like the buildings -round it, must have belonged to Region II., but suggests that there -may have been a continuation of the open space farther to the west in -Region IV., and some such space as this certainly seems required by -several of the references. - -Gyllius first made the identification of the Augusteum with the present -open space on the south of S. Sophia; in this he was followed by -Labarte, and Mordtmann concurs. Paspates in making the Augusteum occupy -the ground along the east side of the Hippodrome stands alone against, -as it seems to us, all evidence. For example, he is compelled to shift -the inscribed pedestal of the statue of the Empress Eudoxia, which we -cannot but believe was found in its original position (see Mordtmann, -p. 64, and Paspates, p. 105, and below, p. 13). The _Mese_ moreover he -makes the centre of his Augusteum. Mr. Bury thought it proved that the -Augusteum “was also called the Forum of Constantine,” because a passage -in _Cedrenus_ speaks of the Senate House (τὸ σενάτον) as in the Forum -of Constantine. It is perfectly clear however from the _Notitia_ that -there were two Senate Houses--one in the Forum mentioned in the extract -we have given from the description of the sixth ward, and the other -included in the second region as just quoted.[19] - -In the Augusteum was erected a Senate, its front facing the west. “The -Senate,” says Mordtmann, “was placed where to-day stands the Tribunal -of Commerce.” That is, on the east side of the present place of S. -Sophia against what must have been the eastern side of the Augusteum -and the ancient Acropolis, on the seaward wall of which it was probably -founded. In digging the foundations of the Tribunal of Commerce in -1847 the ancient pavement was found, at a depth of twelve feet, and -the base of the celebrated statue of Eudoxia, with an inscription, -marked it as the site of the Courts of Justice (Mordtmann, p. 64). The -statue, Socrates[20] says, was “of silver, and it stood upon a lofty -pedestal (_bema_), not far from the church called S. Sophia, with a -road between.” - -The Augusteum, following the Hippodrome, does not lie four-square with -the cardinal points, but almost diagonally to them: for convenience, -however, we shall speak of the directions as North, South, East, and -West, calling the side towards the _Mese_ the west. On the north side, -and following the same system of alignment, is the present S. Sophia. -The palace of the Patriarch probably adjoined the church, on the north -side of the square. - -The royal palaces mentioned in the _Notitia_ were on the south of the -Augusteum. According to the _Paschal Chronicle_, written about 630 -A.D., Constantine the Great made a palace beside the Hippodrome, “and -the ascent from the palace to the stand of the Hippodrome was by means -of the stair called the spiral” (Paspates, _Great Palace_, p. 47). -This palace does not seem to have become of great importance until -Justinian’s time. The _Notitia_ merely mentions the House of Placidia -Augusta, and the House of the most noble Marina, the daughters of -Arcadius, in the first ward; and the House of Pulcheria Augusta in the -third; and speaks of several other royal palaces in the 9th, 10th, and -11th wards. The palace of the emperor at this time was in the 14th -ward, which was outside the walls and isolated, making “the figure of a -small city by itself;” this is the celebrated palace of Blachernae. - - -_The Church._--It was in May 328 that Helena is said to have discovered -the true cross and other relics at Jerusalem. And this event, which -synchronizes exactly with Constantine’s choice of Byzantium as his -capital, was probably not without direct relation to the foundation -of the church dedicated to Christ. Socrates writes, “A portion of the -cross she (Helena) inclosed in a silver chest and left in Jerusalem as -a memorial, but the other part she sent to the king.”[21] - -Theophanes, Cedrenus, Glycas, Paul the Deacon, Nicephorus Callistus, -and other late historians agree in making Constantine the founder of -the first Church dedicated to the Second Person of the Trinity as -the Divine Wisdom; and Cedrenus even gives a name--Euphrates--to the -architect.[22] Codinus, who wrote in the fifteenth century, alone -relates that Constantine purified a previously existing temple and -dedicated it to Christian uses. - -There is much evidence to show that the church could not have been -completed by Constantine even if he had founded it, or contemplated -its foundation. In the life of the emperor, the Church of the Holy -Apostles, which was built near the Forum of Constantine, and in which -the emperor was buried, is described at length,[23] but it does not -mention S. Sophia, although the author takes pains to enumerate the -Christian objects in the city--saying that there were “many Oratories -and Martyria, and by the fountains in the middle of the agorae were -figures in gilt bronze of the Good Shepherd and of Daniel with the -lions; in the palace was a cross wrought in gold with many coloured -precious stones.”[24] - -In the fifth century _Notitia_, as we have seen, S. Irene is called the -Old Church and S. Sophia the Great Church. - -The historian Socrates, probably the best authority, says that -Constantine “built two churches, one he called Irene and the other the -Apostles,”[25] and he attributes S. Sophia entirely to Constantius. -“The King built the great church which is called Sophia and joined -it to that called Irene, which the father of the king had previously -increased and beautified, and now both churches were included within -one wall and had one title.” - -Upon its completion, it was dedicated, with magnificent ceremony, -by the patriarch Eudoxius on Sunday, February 15th, 360 A.D., “in -the thirty-fourth year after its foundation.”[26] This would fix its -foundation in the year 326 A.D., two years after Constantine, having -defeated Licinius, had begun to reign alone. Cedrenus writes, “Eudoxius -consecrated a _second_ time the Church of the Divine Wisdom, because -after its first completion, and the dedication by Eusebius, it had -fallen and been again restored by Constantius,”[27] and he places this -event in the twenty-second year of Constantius’ reign. - -Cedrenus is a late and credulous writer, and in attributing a first -dedication to Eusebius--who would certainly have told us himself--he -shows how untrustworthy is the whole story. Altogether we cannot -do better than accept the account of Idatius and that given in the -_Paschal Chronicle_, with perhaps a little suspicion on the part which -refers to Constantine, “In this year (360) in the month Peritius was -dedicated the great church of Constantinople, in the thirty-fourth -year from the time when Constantine had laid the foundations. For the -opening ceremony (_encaenia_) Constantius brought many offerings of -gold, and great treasure of silver; many tissues adorned with gold -thread and stones for the sanctuary; for the doors of the church -different curtains (_amphithuriai_) of gold; and for the outside -gateways (_puleones_) many others with gold threads.” According to -the late Anonymous author (see page 129), “in the reign of Theodosius -the Great († 395) and in the patriarchate of Nectarius (381-398), -seventy-four years after the church was built, the roof of the church -was destroyed by fire;” he probably really meant the fire of 404 in -Arcadius’ reign. At that time S. John Chrysostom, incurring the dislike -of the Empress Eudoxia, was banished. He was brought back at the end -of two days, once more preached in S. Sophia, and was exiled again, -with disastrous results, for his partisans set fire to the church and -destroyed it. “This happened on the 20th of June, in the consulship of -Honorius and Aristaenetus” (404).[28] - -The fire was by some thought to be of supernatural origin. Palladius, -the bishop’s biographer, writes, “Then a flame seemed to burst from the -centre of the throne in which he used to sit, and climbed up by the -chains [of lamps] to the roof ... and crept like a wriggling snake upon -the back of the houses of the church.” There was also burnt the Senate, -“lying many paces to the south opposite the church; and the fire spared -only the little house, in which the sacred vessels were kept.” - -The church was again injured by fire, restored by Theodosius II., -and rededicated in 415.[29] Fresh relics were required for this -rededication.[30] One fact of importance in regard to this church is -related by Sozomenus of the Empress Pulcheria. “She dedicated an altar -in the church of Constantinople, a most wonderful work of gold and -precious stones, on behalf of her virginity and her brothers’ empire. -And she wrote this on the face of the table so that it might be clear -to all.”[31] - -From this time until the outbreak known as the Nika sedition, in -January 532, the church is not said to have been further altered. -According to Cedrenus, the records and charters perished with the -church. - -There cannot be a doubt that the present S. Sophia occupies the site -of the first church. A church once made holy by dedication and the -reception of relics could not be transported. Indeed it is possible -that it may occupy the site of one of the Greek temples, for there -was a constant tendency to this supersession on one sacred site; and -the present church stands on the very crest of the old Acropolis. If -there were any sufficient reason to identify the site with that of the -altar of Pallas, the dedication of the church itself would evidently -be one of the many instances of a transference of title from the old -worship. The Parthenon--where Hellenic rites survived to the sixth -century--became a church in this way dedicated to the Holy Wisdom.[32] -The axis of the church seems to point somewhere between 30° and 35° -south of east, where there is a considerable sea prospect and a low -horizon. This direction, either by accident or intention, must agree -very closely with sunrise at the winter solstice:[33] the latitude -of the church being 41° 0′ 26″. The plan will show that the ancient -Hippodrome, and probably the other buildings, were set out in relation -to this axis. - -In comparing the early Basilicas of Constantinian date, both those -that exist and those of which we have descriptions, we find that they -generally, if not invariably, had their doors of entrance at the _east_ -end, and their apses towards the west, exactly the opposite of the more -recent custom. Rohault De Fleury says this was usual in the East till -the fifth century, and the custom continued much later in Rome. Kraus, -in the best study of the subject,[34] writes: “S. Agatha at Ravenna -must be mentioned as the first which had its altar at the east end: it -was built in 417, and in this century the practice became general.” - -Socrates († 440) says of the church of Antioch that “the altar stood -not at the east but at the _west_,” but he speaks of this as contrary -to the usual custom at the time he wrote. This church was founded by -Constantine and finished by his son. The Church of the Apostles at -Constantinople, built by Constantine to contain the relics of S. Luke, -seems also to have been entered at the east, for S. John Chrysostom[35] -speaks of the emperor being buried “in the part in front of the doors,” -and an anonymous author, who wrote about the imperial sepulchres, says -that Constantine’s sarcophagus was “in front towards the east.”[36] - -We shall thus be following the reasonable suggestion of comparative -archæology in saying that the first church of S. Sophia almost -certainly had its entrance doors at the east--the sanctuary end of the -present church. - -The church was probably only of medium size; the length of the present -church is about 250 feet, its vastness being in its width. The _Paschal -Chronicle_ speaks of “its stupendous and marvellous columns all being -ἐκ τετραέντου”; but owing to a variant reading it is difficult to -determine whether it means that the pillars were square, or were set -in a square, or formed four bays. Glycas and Codinus, who wrote a -thousand years after the foundation of the church, say that it was -basilican (_dromika_), and had a wooden roof (_xulotroullos_), and the -latter says that the church of Theodosius had cylindrical vaults. As -it is evident from the rapid destruction by fire that the roofs of the -early churches were of wood, they were probably Basilicas. Only a few -minor particulars, such as the existence of an atrium, and the right -of sanctuary in the bema (_thusiasterion_), can be gathered from the -homilies of S. Chrysostom. Socrates tells us that this patriarch was -wont to preach “in the ambo for the sake of being better heard.”[37] -From Palladius we learn that there was a baptistery (in which the -Sixth Council of Constantinople, A.D. 394,[38] appears to have met) -attached to the church, and it was here Chrysostom took leave of the -deaconesses at his banishment, as described in a passage difficult to -interpret. “He went out of the baptistery on the east side, for there -was no western (exit). The mule which he usually rode was made to stand -westwards before the gate to the church, where is the porch, so that he -might escape the people who were expecting him.” The passage from the -same author about the waters of the font being stained with blood does -not, as is sometimes supposed, necessarily refer to S. Sophia. - -In applying the plan of a church of mean size so that the doors should -face eastwards, we are at once struck by finding that the western -hemicycle of the present church would lie about the apse; and we cannot -but suggest that in this we may have the very _raison d’être_ of the -remarkable plan of the present church, which it would seem might be -properly classed with those churches which have apses at both ends, -like the early basilica at Orleansville near Tunis;[39] the MS. plan of -S. Gall is the best known example; our own early church at Canterbury -was another instance, the result of adding to a church with a western -apse; France furnishes Besançon and Nevers, and Germany numerous -examples. - -It is indeed possible that some parts of the old structure may have -given practical and positive reasons contributing to this result, and -a thorough examination of the cisterns beneath the present floor of S. -Sophia may yet yield full evidence of the first basilica; or if these -vaults were entirely built for Justinian’s church, their material would -almost certainly be derived from the earlier building. - -We suggest that the circular brick building lying at the north-east -angle of the present church belonged to the pre-Justinian church, and -formed its baptistery. It is about forty-five feet exterior diameter, -and the plan as given by Salzenberg shows great resemblance to other -circular structures of the Constantinian age; such as S. Constantia in -Rome, the “tomb of Helen” at Rome, and the round tomb buildings which -adjoined S. Peter’s as shown in the plan of Ciampini.[40] - -The entrance doorway of this building was to the _east_. - -As to its use. In the contemporary account of Justinian’s church, -the poet Paulus, describing the north aisle, says, “On the north is -a door admitting the people to the founts that purify the stains of -mortal life and heal every scar.” He does not mention the present -south-west building, nor has he any other reference to a font. We -suppose therefore that this isolated building on the north-east escaped -the Nika fire, and served as the baptistery of the new church, until -the square building, on the side of the church towards the Augusteum, -which is spoken of in the _Ceremonies_ as the “Great Baptistery by the -Horologium,” was erected for or diverted to this purpose. - -We very probably have some relics of the earlier buildings in certain -capitals which Salzenberg found in the church:[41] the inscribed -bricks,[42] and a Byzantine Corinthian capital now lying in the -courtyard, may likewise have belonged to it. The fine bronze doors -to south porch are evidently earlier than the present church, and so -probably are the slabs of which the screen on south side of first floor -is partly made up. - - - - -CHAPTER II - -JUSTINIAN’S CHURCH - - -_The New Church._--The pre-Justinian church was burnt on the 15th -January, 532[43]--the first day of the sedition--and the work of -reconstruction was begun on the 23rd of the following month.[44] - -Theophanes[45] says the period employed in the construction was five -years eleven months and ten days; the statements therefore of Codinus -and Glycas, that it took seventeen years to build, are completely at -variance with this more credible author. - -The solemn dedication took place, as Marcellinus Comes describes,[46] -on 26th December, 537, Indiction 15, in the eleventh year of -Justinian’s reign. - -A description of this dedication ceremony is given by Theophanes.[47] -“The procession started from the church of Anastasia, Menas the -patriarch sitting in the royal chariot, and the king walking with the -people.” - -In the thirty-second year of Justinian’s reign an earthquake destroyed -a great portion of the newly erected church.[48] - -Now Procopius, whose contemporary history of the edifices built by -Justinian was, according to Krumbacher,[49] finished and published in -the year 558 or the spring of 559 at latest, makes no mention of this -earthquake of 558, though he describes in full how, during the building -of the church, which was completed in 537, the piers of the eastern -arch threatened to give way before it was finished. We may therefore -conclude that he describes Justinian’s church in its first state. - -The translation from Procopius here given is based on that of Mr. -Aubrey Stewart, published by the Palestine Pilgrims’ Text Society, -which has been compared with the original. We give in Fig. 3 a plan of -the church as built by Justinian, so far as the evidence will allow of -an approximately certain restoration. - -As the several different curved portions of the plan are difficult to -distinguish, we propose so far as possible to reserve certain words -for separate parts. The small eastern semicircle and its vault will be -called apse and apsoid respectively. Hemicycle and semidome will refer -to the great semicircle at the east or west and its vault. The pairs of -curved spaces forming the lateral recesses in the hemicycles we propose -to name exedras and their half-domes conchs. - -[Illustration: FIG. 3.--Plan of S. Sophia as built by Justinian.] - -_Procopius._--“The lowest dregs of the people in Byzantium once -assailed the Emperor Justinian in the rebellion called Nika, which -I have clearly described in my _History of the Wars_. To prove that -it was not merely against the emperor but no less against God that -they took up arms, they ventured to burn the church of the Christians -which the people of Byzantium call Sophia, a name most worthy of God. -God permitted them to effect this crime, knowing how great the beauty -of this church would be when restored. Thus the church was entirely -reduced to ashes; but the Emperor Justinian not long afterwards adorned -the new one in such a fashion, that if any one had asked the Christians -in former times, if they wished their church to be destroyed and thus -restored, showing them the appearance of the church which we now -see, I think it probable that they would have prayed that they might -so soon as possible behold their church destroyed, in order that it -might be changed into its present form. The emperor, thinking not of -cost of any kind, pressed on the work, and collected together workmen -(_technitai_) from every land. Anthemius of Tralles, the most skilled -in the builder’s art, not only of his own but of all former times, -carried forward the king’s zealous intentions, organised the labours of -the workmen, and prepared models of the future construction. Associated -with him was another architect (_mechanopoios_) named Isidorus, a -Milesian by birth, a man of intelligence, and worthy to carry out the -plans of the Emperor Justinian. It is indeed a proof of the esteem -with which God regarded the emperor, that He furnished him with men -who would be so useful in effecting his designs, and we are compelled -to admire the wisdom of the emperor, in being able to choose the most -suitable of mankind to execute the noblest of his works. - -“The church consequently presents a most glorious spectacle, -extraordinary to those who behold it, and altogether incredible to -those who are told of it. In height it rises to the very heavens, and -overtops the neighbouring buildings like a ship anchored among them, -appearing above the rest of the city, while it adorns and forms a part -of it. One of its beauties is that being a part of and growing out of -the city, it rises so high that the whole city can be seen as from a -watchtower. The length and breadth are so judiciously arranged that it -appears to be both long and wide without being disproportioned. - -“It is distinguished by indescribable beauty, excelling both in its -size, and in the harmony of its measures, having no part excessive and -none deficient; being more magnificent than ordinary buildings, and -much more elegant than those which are not of so just a proportion. -The church is singularly full of light and sunshine; you would declare -that the place is not lighted by the sun from without, but that the -rays are produced within itself, such an abundance of light is poured -into this church. _The Apse._--Now the head (_prosopon_) of the church -(that is to say the part towards the rising sun, where the sacred -mysteries are performed in honour of God) is built as follows. The -building rises from the ground not in a straight line, but setting -back somewhat obliquely, it retreats in the middle into a rounded form -which those who are learned in these matters call semicylindrical, -rising perpendicularly. _Apsoid and Semidome._--The upper part of -this work ends in the fourth part of a sphere, and above it another -crescent-shaped (_menoeides_) structure is raised upon the adjacent -parts of the building, admirable for its beauty, but causing terror by -the apparent weakness of its construction; for it appears not to rest -upon a secure foundation, but to hang dangerously over the heads of -those below, although it is really supported with especial firmness and -safety. _Exedras._--On each side of these parts are columns standing -upon the floor, which are not placed in a straight line, but arranged -with an inward curve of semicircular shape, one beyond another like the -dancers in a chorus. These columns support above them a crescent-shaped -structure. Opposite the east wall is built another wall, containing -the entrances, and upon either side of it also stand columns, with -stone-work above them, in a half-circle exactly like those previously -described. _Great Piers and Arches._--In the midst of the church are -four masses of stone called piers (_pessoi_), two on the north, and -two on the south sides, opposite and alike, having four columns in the -space between each pair. These piers are formed of large stones fitted -together, the stones being carefully selected, and cleverly jointed -into one another by the masons,[50] and reaching to a great height. -Looking at them, you would compare them to perpendicular cliffs. Upon -them, four arches (_apsides_)[51] arise over a quadrilateral space. -The extremities of these arches join one another in pairs, their ends -resting upon the piers, while the other parts of them rise to a great -height, suspended in the air. Two of these arches, that is those -towards the rising and the setting of the sun, are constructed over the -empty air, but the others have under them some stone-work, and small -columns. _Dome and Pendentives._--Now above these arches is raised a -circular building of a curved form through which the light of day first -shines; for the building, which I imagine overtops the whole country, -has small openings left on purpose, so that the places where these -intervals occur may serve for the light to come through. Thus far I -imagine the building is not incapable of being described, even by a -weak and feeble tongue. As the arches are arranged in a quadrangular -figure, the stone-work between them takes the shape of a triangle, -the lower angle of each triangle, being compressed where the arches -unite, is slender, while the upper part becomes wider as it rises in -the space between them, and ends against the circle which rests upon -them, forming there its remaining angles. A spherical-shaped dome -(_tholos_) standing upon this circle makes it exceedingly beautiful; -from the lightness of the building, it does not appear to rest upon -a solid foundation, but to cover the place beneath as though it were -suspended from heaven by the fabled golden chain. All these parts -surprisingly joined to one another in the air, suspended one from -another, and resting only on that which is next to them, form the work -into one admirably harmonious whole, which spectators do not dwell -upon for long in the mass, as each individual part attracts the eye to -itself. The sight causes men constantly to change their point of view, -and the spectator can nowhere point to any part which he admires more -than the rest. Seeing the art which appears everywhere, men contract -their eyebrows as they look at each part, and are unable to comprehend -such workmanship, but always depart thence, stupefied, through their -incapacity. So much for this. - -“The Emperor Justinian and the architects Anthemius and Isidorus used -many devices to construct so lofty a church with security. One of -these I will now explain, by which a man may form some opinion of the -strength of the whole work; as for the others I am not able to discover -them all, and find it impossible to describe them in words. It is as -follows: The piers, of which I just now spoke, are not constructed in -the same manner as the rest of the building; but in this fashion; they -consist of quadrangular courses of stone, rough by nature, and made -smooth by art; of these stones, those which make the projecting angles -of the pier are cut angularly (_engonios_), while those which go in the -middle parts of the sides are cut square (_tetragonos_). - -“They are fastened together not with lime (_titanos_), called -‘unslaked’ (_asbestos_), not with asphaltum, the boast of Semiramis at -Babylon, nor anything of the kind, but with lead, which, poured into -the interstices, has sunk into the joints of the stones, and binds them -together; this is how they are built. - -“Let us now proceed to describe the remaining parts of the church. The -entire ceiling is covered with pure gold, which adds to its glory, -though the reflections of the gold upon the marble surpass it in -beauty. There are two aisles one above another on each side, which do -not in any way lessen the size of the church, but add to its width. In -length they reach quite to the ends of the building, but in height they -fall short of it; these also have domed ceilings adorned with gold. -Of these two porticoes one [ground floor] is set apart for male and -the other [upper floor] for female worshippers; there is no variety in -them, nor do they differ in any respect from one another, but their -very equality and similarity add to the beauty of the church. Who -could describe these gynaeceum galleries, or the numerous porticoes -(_stoai_) and cloistered courts (_peristuloi aulai_) with which the -church is surrounded? Who could tell of the beauty of the columns and -marbles with which the church is adorned? One would think that one had -come upon a meadow full of flowers in bloom! Who would not admire the -purple tints of some, and the green of others, the glowing red and the -glittering white, and those too, which nature, painter-like, has marked -with the strongest contrasts of colour? Whoever enters there to worship -perceives at once that it is not by any human strength or skill, but -by the favour of God, that this work has been perfected; the mind -rises sublime to commune with God, feeling that He cannot be far off, -but must especially love to dwell in the place which He has chosen; -and this is felt not only when a man sees it for the first time, but -it always makes the same impression upon him, as though he had never -beheld it before. No one ever became weary of this spectacle, but -those who are in the church delight in what they see, and, when they -leave, magnify it in their talk. Moreover it is impossible accurately -to describe the gold, and silver, and gems, presented by the Emperor -Justinian; but by the description of one part, I leave the rest to be -inferred.--That part of the church which is especially sacred, and -where the priests alone are allowed to enter, which is called the -Sanctuary (_thusiasterion_), contains forty thousand pounds’ weight of -silver. - -“The above is an account, written in the most abridged and cursory -manner, describing in the fewest possible words the most admirable -structure of the church at Constantinople, which is called the Great -Church, built by the Emperor Justinian, who did not merely supply the -funds for it, but assisted at its building by the labour and powers -of his mind, as I will now explain. Of the two arches (_apsides_), -which I lately mentioned--the architects (_mechanopoioi_) call them -_loroi_[52]--that one which stands towards the east had been built up -on each side, but had not altogether been completed in the middle, -where it was still imperfect; when the piers (_pessoi_) upon which the -building rested, unable to support the weight which was put upon them, -somehow all at once split open, and seemed as though before long they -would fall to pieces. Upon this Anthemius and Isidorus, terrified at -what had taken place, referred the matter to the emperor, losing all -confidence in their own skill. He at once, I know not by what impulse, -but probably inspired by Heaven, for he is not an architect, ordered -them to complete this arch; for it, said he, resting upon itself, will -no longer need the piers (_pessoi_) below.[53] Now if this story were -unsupported by witnesses, I am well assured that it would seem to be -written in order to flatter, and would be quite incredible; but as -there are many witnesses now alive of what then took place I shall -not hesitate to finish it. The workmen performed his bidding, the -arch was safely suspended, and proved by experiment the truth of his -conception. So much then for this part of the building; now with regard -to the other arches, those looking to the south and to the north, the -following incidents took place. When the arches called _loroi_ were -raised aloft during the building of the church everything below them -laboured under their weight, and the columns which are placed there -shed little scales, as though they had been planed. - -“Alarmed at this, the architects (_mechanikoi_) again referred the -matter to the emperor, who devised the following scheme. He ordered -the upper part of the work that was giving way to be taken down where -it touched the arches for the present, and to be replaced afterwards -when the damp had thoroughly left the fabric. This was done, and the -building has stood safely ever since, so that the structure, as it -were, bears witness to the emperor’s skill.” - - -_Fall of Dome and Restoration._--On the 7th of May, 558, the eastern -part of the dome, “built by Isaurian workmen, with the apse, was -thrown down by an earthquake, destroying in its fall the holy table, -the ciborium, and the ambo.”[54] Reference is made to this in the -opening lines of the Silentiary’s poem (see Chapter III.). According -to Theophanes “the architects attributed its fall to the fact that to -save expense the piers had been made too full of openings. The emperor -restored the piers and raised the dome twenty feet.” The church was -again consecrated in the fifth year after the catastrophe by Eutychius -in the thirty-sixth year of Justinian, on the 24th of December.[55] -Theophanes[56] describes the emperor and patriarch as riding together -to the church in a chariot, and bearing the gospel with them, “while -the people chanted the ‘Lift up your gates.’” - -The church, after its repair, is described by three contemporary -authors--Paul the Silentiary, Agathias, and Evagrius. The poem of the -first of these is given in the next chapter. - - -_Agathias._--Agathias, surnamed the scholar, was born in 536 at -Myrina in Asia Minor,[57] studied at Alexandria, and came in 554 to -Constantinople, where he became known as a historian and a poet, and -died in 582. - -Justinian, he says, restored several buildings after the earthquake, -his especial care however was the great church of S. Sophia.[58] -“Now the former church having been burnt by the angry mob, Justinian -built it up again from the foundations as big and more beautiful -and wonderful, and this most beautiful design was adorned with much -precious metal. He built it in a round form with burnt brick and lime, -it was bound together here and there with iron, but they avoided the -use of wood, so that it should no more be easily burnt. Now Anthemius -was the man who devised and worked at every part. - -“And as by the earthquake the middle portion of the roof and the higher -parts had been destroyed, the king made it stronger, and raised it to -a greater height. Anthemius was then dead, but the young man Isidorus -and the other craftsmen, turning over in their minds the previous -design, and comparing what had fallen with what remained, estimated -where the error lay, and of what kind it was. They determined to leave -the eastern and western arches (_apsides_) as they were. But of the -northern and southern (arches) they brought towards the inside, that -portion of the building which was on the curve.[59] And they made these -arches wider so as to be more in harmony with the others, thus making -the equilateral symmetry more perfect. In this way they were able to -cover the measurelessness of the empty space, and to steal off some of -its extent to form an oblong design. And again they wrought that which -rose up over it in the middle, whether orb (_kuklos_), or hemisphere, -or whatever other name it may be called. And this also became more -straightforward and of a better curve, in every part agreeing with the -line; and at the same time not so wide but higher, so that it did not -frighten the spectators as formerly, but was set much stronger and -safer.” - -[Illustration: FIG. 4.--Longitudinal Section, having regard to Dome as -first built.] - - -_Evagrius._--This historian was born in 536 A.D.[60] at Epiphania on -the Orontes. In his _Ecclesiastical History_ we learn of the suffering -caused by the invasion of Chosroes in 540. From this time all Syria was -continually disturbed, and the educated Christians fell back more and -more on Constantinople. Evagrius came to Constantinople in 589, though -he returned to Antioch afterwards. His history commences with the -Council of Ephesus in 431 and extends to the year 593. He says[61]:-- - -“In the city of Constantinople Justinian constructed many churches -of wonderful beauty in honour of God, and the saints--among them was -a great and incomparable work of a kind that none like it was ever -remembered--the great church of S. Sophia; which excelling in beauty, -far surpasses power of description. - -“As far as I can I will explain it. The nave (_naos_) of the temple has -a dome (_tholos_) over it spreading its weight on four arches, raised -to such a height, that to those looking from below it is difficult -to see the whole hemisphere. And those who are above, however bold -they are, never dare to bend over and look on to the ground: and the -arches are open from the base up to their crown. On the right and left -however, opposite to one another, are ranged columns of Thessalian -marble. These with other neighbouring columns carry upper chambers, -which offer a place to lean forward for those who wish. Here it is that -the empress is wont to attend service on festal days. - -“But the arches to east and west are left so that nothing interferes -with admiration of their size. Now the arcades of the just mentioned -upper chambers are supported from beneath by columns and small arches, -which greatly add to the work. In order that the wonder of this -building may be more easily grasped, I have here placed in feet the -measures of the length, breadth, and height; and of the arches their -diameter and height. The length then from the door opposite the holy -apse, where is offered the bloodless sacrifice, to the apse itself is -190 feet; the breadth of the nave from north to south is 115. The -height from the centre of the dome to the ground is 180 feet. And of -the arches, the width of each in feet is [no number given]. And the -length from east to west is 200 feet. The width of the opening is 75 -feet.[62] There are also to the west two fine porticoes, and everywhere -open courts of wonderful beauty.” - -_Paul the Silentiary._--As this author’s really detailed account of -the church is of considerable length, we have reserved it for the next -chapter, although it was written before the descriptions just given -by Agathias and Evagrius. For the little that is known of the author -we are almost entirely indebted to his friend Agathias, who says: “If -any one living perchance far from this city, wishes to know and see -everything as if present and looking on, let him read what Paulus, son -of Cyrus, son of Florus, has written in hexameter verse; he is chief -of the Royal Silentiaries, and sprung from a noble race; inheriting -ancestral wealth, yet zealously brought up in the study of letters, by -which he was the more glorious and famous. He wrote a number of other -poems worthy of memory and praise, but it seems to me that that which -he wrote on the Great Church is completed with the most skill and -labour, even as its subject is more worthy than any other. For you will -find in his poem the arrangement of the form, and the nature of the -stones explained; the beauty and purpose of the curtains; the lengths -and heights, what is curved and what straight, what projects and what -is suspended. You will learn, too, how with silver and gold the more -sacred part, intended for the divine mysteries, was adorned; as well as -whatever ornament great or small is there, which those who frequent the -church may see.” - -The Silentiaries, of whom Paulus was one, were court officials. -Their office was an exalted one, as they ranked with the senators, -and were employed on all kinds of service, not unfrequently becoming -the historians of the emperor. Paulus belonged to the cultivated and -literary circle, who during Justinian’s reign interested themselves in -literature, and to him are attributed more than eighty poems in the -Anthology.[63] - -The description or rather explanation of S. Sophia was most probably -written and recited as an Opening Ode at the _Encaenia_ of December -24th, 563. Körtum (in Salzenberg) conjectures that the poem was -recited in “a hall of the Imperial Palace,” but Du Cange is probably -more correct in assigning only the first eighty lines to the Palace. -The succeeding lines he says “were addressed to the clergy in the -Patriarch’s Palace,” but we believe, from the antithesis between the -Palace of the Emperor and the House of God, that the address to the -patriarch was spoken within the walls of the church itself, and that -the whole poem, which is divided into three parts, was written to be -recited in connection with the opening ceremony mentioned above. - -It shows us how much architecture was esteemed by Justinian, that the -historian of his wars wrote also a history of his buildings; and the -court poet was employed to celebrate the greatest of them in verse. On -many accounts the poem is the best ancient architectural description -extant. It is exact in accuracy, most orderly in its sequence when read -with a knowledge of the building, and must have been written within its -walls. A close and careful study written when architectural ideas were -in the ascendant--the chief subject of thought in times of peace--it is -no futile attempt to explain a work of genius in terms of mechanics and -foot-rule measurements, after the manner of an architectural lecture, -but it translates the ideas of the artist into the words of the poet. -The conceit of Homeric metre and phrasing is almost a charm at this -distance of time, the poet’s enthusiasm being quite sufficient to carry -off the affectation of attempting an architectural epic. It is not -however in its form but in its stimulus to imagination that we see its -chief value. - - - - -CHAPTER III - -THE SILENTIARY’S POEM--PART I - - -The first eighty lines of the Prelude are an eulogy on the emperor. The -succeeding lines were addressed to the clergy. “We come to you, sirs, -from the home of the emperor, to the home of the Almighty Emperor, the -Deviser of the Universe, by whose grace victory cleaves to our lord. -The august head of our state lent a kindly ear to our words, as he sat -in the hall; now we see the chief of the sacred priests. May he too -favour us, and may none of those who listen carp at our words.” - -The poem itself, in long Homeric hexameters, begins by describing the -general peace throughout the Roman world at the time of the restoration -of S. Sophia. Dr. Körtum notes the following references to events -only then recently passed. The rule of the Vandals in Africa had been -destroyed by Belisarius (534), and a later insurrection quelled (545); -the reign of the Ostrogoths in the West had come to an end (554), and -peace had just been concluded with the Persians (561). There is also an -allusion to the conspiracy of this same year, when an attempt was made -on the emperor’s life. - -The poet then, describing the ruin caused by the earthquake (558) at -S. Sophia, tells us that “the very foundations of the dome failed, and -thick clouds of dust darkened the midday sun. Yet the whole church did -not fall, but only the top of the eastern vault, and a portion of the -dome above. Part lay on the ground, part open to the light of day, -hung suspended in the air.” “But the emperor soon began to build again, -the Genius of New Rome by his side.” - -When the emperor went to the ruins of the church he praised the skilful -craft of Anthemius; “he it was who laid the first foundations of the -church, one skilled to draw a circle or set out a plan.[64] And he gave -to the walls strength to resist the pushing arches, which were like -active demons. This time it was not merely the crown of the arch that -gave way [see above, p. 28], for the very piers were shaken to their -foundations.” - -The poet now describes the building: “Whoever raises his eyes to the -beauteous firmament of the roof, scarce dares to gaze on its rounded -expanse sprinkled with the stars of heaven, but turns to the fresh -green marble below, seeming as it were to see flower-bordered streams -of Thessaly, and budding corn, and woods thick with trees; leaping -flocks too and twining olive-trees, and the vine with green tendrils, -or the deep blue peace of summer sea, broken by the plashing oars of -spray-girt ship. Whoever puts foot within the sacred fane, would live -there for ever, and his eyes well with tears of joy. Thus by Divine -counsel, while angels watched, was the temple built again. - -“At last the holy morn had come, and the great door of the new-built -temple groaned on its opening hinges, inviting emperor and people to -enter; and when the inner part was seen sorrow fled from the hearts of -all, as the sun lit the glories of the temple. ’Twas for the emperor -to lead the way for his people, and on the morrow to celebrate the -birth of Christ. And when the first gleam of light rosy-armed driving -away the dark shadows, leapt from arch to arch, then all the princes -and people with one voice hymned their songs of prayer and praise; and -as they came to the sacred courts, it seemed to them as if the mighty -arches were set in heaven. - -_Apse and Exedras._--“Towards the East unfold triple spaces of -semicircular form; and above, on an upright band of wall, soars aloft -the fourth part of a sphere. Even so, high over its back and triple -crest, shimmer the tail feathers of a peacock, with their countless -eyes. These crowning parts men learned in the builder’s art call -conchs; and certain it is they call them so from a shell of the sea, or -’tis a craftsman’s name. - -_Apse._--“The middle apse holds the stalls (_thokoi_) and steps -(_bathra_) ranged circle-wise. Some on the level of the ground are -massed close together round the centre; and as they rise higher, with -the spaces between them, they widen out little by little, until they -come to the stalls of silver. Thus with increasing circles they ever -wheel round a fixed circle in the pavement. - -_Bema._--“Now the apse is separated [from the nave] by a space between -vertical walls built on strong foundations, with an arch[65] above, not -a portion of a sphere, but in the form of a cylinder cleft in twain. - -_Exedras._--“And westwards again are two conchs on columns, one on -either side; projecting as if stretching out bent arms to embrace the -people singing in the church. They are borne by columns of porphyry, -bright of bloom ranged in semicircular line, and with capitals -(_karenoi_) of gold, carrying the weight of the arches (_kukloi_) -above. These columns were once brought from the cliffs of Thebes, -which stand, like greaved warriors, by the banks of Nile. Thus, on -two columns, on either side, rise the lower parts of either exedra -(_apsis_). And for the support of each, the skilled workman has bent -from below three small semicircular arches (_apsides_); and, beneath -their springing, the tops (_kareata_) of the columns are bound with -well-wrought bronze, overlaid with gold, which drives away all fear. -Now above the porphyry columns stand others from Thessaly, splendid -flowers of fresh green. Here are the fair upper galleries for the -women. These too have arches, as may be seen from below, though they -show six Thessalian columns and not two. And one wonders at the power -of him, who bravely set six columns over two, and has not trembled to -fix their bases over empty air.[66] - -[Illustration: FIG. 5.--Ground Plan.] - -[Illustration: FIG. 6.--Plan of Gynaeceum Galleries. The left-hand side -of each plan shows the vaults, and the right-hand side the iron ties -and wood struts at springing of vaults.] - -“Now the workman has fenced all the spaces between the Thessalian -columns, with stone closures, on which the women can lean and support -their elbows. Thus as you raise your gaze to the eastern arches -(_antuges_) a never-ending wonder appears. - -_Eastern Semidome._--“And upon all of them, above the curved forms -rises yet another vault (_apsis_), borne on the air, raising its head -aloft up to the wide-reaching arch, on whose back are firmly fixed the -lowest courses of the divine head-piece (_koros_) of the centre of the -church. Thus rises on high the deep-bosomed vault, borne above triple -voids below; and through fivefold openings, pierced in its back, filled -with thin plates of glass, comes the morning light scattering sparkling -rays. - - -PART II - -_Western End._--“And looking towards the sunset, one might see the same -as towards the dawn, though a portion differs. For there in the centre -it is not drawn round in a circle, as on the eastern boundary, where -sit the learned priests on seats of resplendent silver, but at the west -end is a vast entrance (_puleon_); not only one door, but three. - -_Narthex._--“And outside of the doors (_pulai_) there stretches a long -porch (_aulon_), receiving beneath wide portals (_thuretroi_) those -that enter; and it is as long as the wondrous church is broad. In the -Greek speech this part is called the narthex. Here through the night -swells the melodious sound, pleasing to the ears of Him who giveth life -to all; when the psalms of David are sung in antiphonal strains--that -sweet-voiced David, whom the divine voice of the Almighty praised, and -whose glorious posterity conceived the sinless Son of God, who was in -Virgin’s pangs brought forth, and subjected to a Mother’s care. Now -into this porch open seven wide holy gates (_puleones_), inviting the -people to enter. One of them is on the south of the narrow porch, and -another opens to Boreas, but the others are opened on creaking hinges -by the doorkeeper (_neokoros_) in the west wall. This wall is the end -of the church. - -“Whither am I carried? What breeze has driven, like a ship at sea, my -errant speech? The very centre of the famous church is all forgotten; -return, my muse, to see the wonders scarcely to be believed when seen -or heard. - -_The Four Piers._--“Alongside of the eastern and western curves -(_kukloi_)--the half-circles with their pairs of columns from -Thebes--stand four strong well-built piers (_toichoi_), naked to look -on in front, but on their sides and backs they have supporting arches, -and the four rest on strong foundations of hard stones. In the joints -the workman has mixed and poured the dust of fireburnt stone, binding -all together with the builder’s art. - -“Above them spring measureless curved arches like the many-coloured -bow of Iris: one opens towards the home of Zephyr, another to Boreas, -another to Notus, and yet another to the fiery Eurus. And every arch -(_antux_) has its foot at either end fixed unshaken, and joined to the -neighbouring curves. But as each rises slowly in the air in bending -line, it separates from the other to which first it was joined. - -_The Pendentives._--“Now the part between these same arches (_apsides_) -is filled with wondrous skill. For where, as needs must be, the arches -bend away from one another, and would have shown empty air, a curved -wall, like a triangle, grows over, touching the rim of the arches on -either side. And the four triangles, creeping over, spread out, until -they become united above the crown of each arch. The middle portion -of the arches, as much as forms the curved rim, the builder’s skill -has formed with thin bricks (_plinthoi_), and has thus made fast the -topmost curves of the house of stone. - -“Now in the joints they have put sheets of soft lead, lest the stones, -as they lie on one another, adding weight to weight, should have their -backs broken. Thus with the lead inserted, the pressure is softened, -and the stone foundation is gently burdened. - -_Cornice of Dome._--“A rim (_antux_) curving round, is firmly fixed on -the backs (of the arches), where rests the base of the hemisphere[67]; -this is the circle of the lowest course which they have set as a crown -on the backs of the arches (_apsides_). And just under the projecting -firmament (_kosmos_), the hanging stones form a narrow curved path, on -which the man who cares for the sacred lights can walk fearlessly, and -trim each in turn. - -_The Dome._--“And above all rises into the immeasurable air the great -helmet [of the dome], which, bending over, like the radiant heavens, -embraces the church. And at the highest part, at the crown, was -depicted[68] the cross, the protector of the city. And wondrous it is -to see how the dome gradually rises, wide below, and growing less as it -reaches higher. It does not however spring upwards to a sharp point, -but is like the firmament which rests on air, though the dome is fixed -on the strong backs of the arches.” - -(Here is a lacuna in the Greek text; two broken lines, 94, 95, speak of -“window openings made in the apses, through which streams the splendour -of the golden morning light.”) - -“With dauntless pen I will describe what plan the emperor devised for -the broad church, and how, with builder’s skill, both the curves of the -arches and the vault of the wide-extended house were formed with thin -bricks (_plinthoi_), and raised on firm foundations. Thus the skilful -master-man, well versed in every craft, formed a ceiling to the lofty -nave. Yet he did not send to the hills of Phœnician Lebanon, nor to -search the dark woods of the Alpine crags, nor where some Assyrian -or Celtic woodman goads on the oxen in dense forests, nor did he -think to use fir (_peuke_) or pine (_elate_) to roof the house. From -neither the glades of Daphne[69] by Orontes, nor from the wooded crags -of Patara[70] came cypress wood, to form a covering for the mighty -temple. For our noble king, since nature could produce no timber great -enough, had it covered with stones (_lithoi_) laid in a round form. -Thus on the four arches (_apsides_) rose, like a beauteous helmet, the -deep-bosomed swelling roof (_kaluptra_): and it seems that the eye, as -it wanders round, gazes on the circling heavens. And beneath the two -great arches (_apsides_), to the east and to the west, you must know -that it is all open, and extended in the air. - -“But towards the murmuring south wind and the cold dry north, a wall, -mighty in strength, rises to the under side of the rounded arch -(_antux_). Now this wall is made bright with eight windows, and rests -below on great props of marble. For beneath it six columns, like the -fresh green of the emerald, in union support untired the weight of -wall. And these again are borne on strong columns fixed immovable on -the ground, glittering jewels of Thessalian marble, with capitals above -them like locks of golden hair. These separate the middle portion -of the glorious nave from the neighbouring aisle (_aithousa_) that -stretches alongside. Never were such columns, blooming with a many-hued -brightness,[71] hewn from the craggy hills of sea-washed Molossis. - -_North Aisle, Centre Division._--“And in the aisle itself, in the -middle space Anthemius of many crafts, and with him Isiodorus the -wise,--for both of them, acting under the will of the king, built the -mighty church--have placed two pairs of columns, and in measure they -are less than those others near them, but they are as bright with fresh -green bloom, and they came from the same quarry. - -“Yet their bases are not placed in a row, one after the other, but they -stand on the pavement two facing two opposite; and above their capitals -on fourfold arches (_seireai_) rises the underside of the women’s -galleries. And close by these columns on the north side is a door, -admitting the people to the founts that purify the stains of mortal -life, and heal every deadly scar. - -“Thus on four columns of beautiful Thessalian stone, in order, placed -here and there, towards the twilight and to the dawn, along the length -of the aisle (_aithousa_) there curves a weight of bending vaults -(_kulindroi_) extending to the walls, which are pierced with openings; -on the northern side they lean on the spaces that join the twin -windows,[72] but on the south, instead of windows are empty spaces like -a colonnade. - -_North Aisle, East and West Divisions._--“And again towards the east -and west stand two columns from Thessaly, with lofty crests, and twin -piers (_stemones_) from famous Proconnesus, fixed close by the doors. -Towards the east there is but one door, though on the side of the cold -north they walk through twain. - -_South Aisle._--“On the south you will see a long aisle as on the -north, yet made bigger. For a part is separated off from the nave by -a wall, and here the emperor takes his accustomed seat on the solemn -festivals, and listens to the reading of the sacred books. - -_Gynaecea._--“And whoever mounts will find on both sides of the church -the aisles for women similar to those below, and there is yet another, -though not like those on either side, above the narthex. - -_Atrium._--“Now on the western side of this divine church you will -see a great open court (_aule_) surrounded by four cloisters. One of -these joins on to the narthex, but the others spread round the sides, -where stand their several paths. In the very centre of the wide garth -stands a spacious phiale, cleft from the Iassian peaks; and from it -bubbling water gushes forth and throws a stream into the air, leaping -up from the pressure of the brazen pipe--a stream that purges away all -suffering, when the people, in the month of the golden vestments[73] -at the mystic feast of Christ, draw the unsullied waters in vessels by -night. And the water shows the power of God; for never will you find -decay on its surface, even if it remains in its vessel, and away from -the fountain for more than a year.[74] - -“Everywhere the walls glitter with wondrous designs, the stone for -which came from the quarries of seagirt Proconnesus. The marbles are -cut and joined like painted patterns, and in stones formed into squares -or eight-sided figures the veins meet to form devices; and the stones -show also the forms of living creatures. - -“And on either side along the flanks and outskirts (_antuges_) of the -beautiful church, you would see open courts (_aulai_). These were all -planned about the building with cunning skill, that it might be bathed -all round by the bright light of day. - -_The Marbles._--“Yet who, even in the measures of Homer, shall sing the -marble pastures gathered on the lofty walls and spreading pavement of -the mighty church? These the iron with its metal tooth has gnawed--the -fresh green from Carystus, and many-coloured marble from the Phrygian -range, in which a rosy blush mingles with white, or it shines bright -with flowers of deep red and silver. There is a wealth of porphyry -too, powdered with bright stars, that has once laden the river boat on -the broad Nile. You would see an emerald green from Sparta, and the -glittering marble with wavy veins, which the tool has worked in the -deep bosom of the Iassian hills, showing slanting streaks blood-red and -livid white. From the Lydian creek came the bright stone mingled with -streaks of red. Stone too there is that the Lybian sun, warming with -his golden light, has nurtured in the deep-bosomed clefts of the hills -of the Moors, of crocus colour glittering like gold; and the product -of the Celtic crags, a wealth of crystals, like milk poured here and -there on a flesh of glittering black. There is the precious onyx, as -if gold were shining through it: and the marble that the land of Atrax -yields, not from some upland glen, but from the level plains; in parts -fresh green as the sea or emerald stone, or again like blue cornflowers -in grass, with here and there a drift of fallen snow,--a sweet mingled -contrast on the dark shining surface. - -_Sectile and carved Spandrils._--“Before I come to the glitter of -the mosaic,[75] I must describe how the mason (_laotoros_), weaving -together with skill thin slabs of marble, has figured on the flat -surface of the walls intertwining curves laden with plenteous fruit, -and baskets, and flowers, and birds sitting on the twigs. And the -curved pattern of a twining vine with shoots like golden ringlets, -weaves a winding chain of clusters; little by little does it put forth -shoots, until it overshadows all the stone near with ripples like -beauteous tresses. Such ornament as this surrounds the church. - -_The Capitals._--“And the lofty crest of every column, beneath the -marble abacus (_peze_), is covered with many a supple curve of waving -acanthus--a wandering chain of barbed points all golden, full of grace. -Thus the marble in bulging forms crowns the deep red columns, as wool -the distaff; the stone glittering with a beauty that charms the heart. - -_The Floor._--“And gladly have the hills of Proconnesus bent their -backs to necessity, and strewed the floor with marble. In parts too -shimmers the polish of the Bosporus stone, with white streaks on black. - -_The Mosaic._--“Now the vaulting is formed of many a little square -(_psephos_) of gold cemented together. And the golden stream of -glittering rays pours down and strikes the eyes of men, so that they -can scarcely bear to look. One might say that one gazed upon the midday -sun in spring, what time he gilds each mountain height. - -_Iconostasis._--“Our emperor has levied from the whole earth, and -brought together the wealth of the barbarians of the west; for as he -did not deem stone a fitting adornment for the divine, eternal temple, -on which [New] Rome has centred the expectancy of joy; he has not -spared enrichments of silver, and so the ridge of Pangaeus[76] and -the height of Sunium[77] have opened all their silver veins, and many -treasure-houses of our subject kings have yielded their stores. - -“For as much of the great church by the eastern arch as was set -apart for the bloodless sacrifices, no ivory, no stone, nor bronze -distinguishes, but it is all fenced with the silver metal. Not only -upon the walls, which separate the holy priests from the crowd of -singers,[78] has he placed mere plates of silver, but he has covered -all the columns themselves with the silver metal, even six sets of -twain; and the rays of light glitter far and wide. Upon them the tool -has formed dazzling circles, beautifully wrought in skilled symmetry -by the craftsman’s hand, in the centre of which is carved the symbol -of the Immaculate God, who took upon Himself the form of man. In -parts stand up an army of winged angels in pairs, with bent necks and -downcast mien (for they could not gaze upon the glory of the Godhead, -though hidden in the form of man to clear man’s flesh from sin). And -elsewhere the tool has fashioned the heralds of the way of God, even -those by whose words were noised abroad, before He took flesh upon Him, -the divine tidings of the Anointed One. Nor had the craftsman forgotten -the forms of those others, whose childhood was with the fishing-basket -and the net; but who left the mean labours of life and unholy cares to -bear witness at the bidding of a heavenly king, fishing even for men, -and forsaking the skill of casting nets to weave the beauteous seine of -eternal life. In other parts art has limned (_kategraphe_) the Mother -of Christ, the vessel of eternal Light, whose womb brought Him forth in -holy travail. - -“But on the middle panels of the sacred screen, which forms the barrier -for the priests, the carver’s art has cut one letter that means many -words, for it combines the name of our king and queen. And he has also -wrought a form like a shield with a boss, showing the cross in the -middle parts. And through the triple doors the screen opens to the -priests. For on each side the skilful hand of the workman has made -small doors. - -_The Ciborium._--“And above the all-holy table of gold rises in the air -a tower (_purgos_) indescribable, reared on fourfold arches of silver. -And it is borne aloft on silver columns, on whose tops every arch rests -its silver feet. And above the arches rises a figure like a cone, yet -it is not complete. For at the bottom its edge (_antux_) does not turn -round in the circular form, but has an eight-sided base, and from -a broad plan it gradually diminishes to a sharp point, having eight -sides of silver. And at the juncture of each to other is, as it were, -a long backbone (_rachis_) which seems to join with the triangular -faces of the eight-sided form, and rises to a single crest, where is -artfully wrought the form of a cup. And the edges of the cup bend over -and assume the form of leaves, and in the midst of it has been placed -a shining silver globe, and the cross surmounts it all. May it be an -omen of peace! But above the arches many a curve of acanthus twines -round the lower part of the cone, and the plant shows sharp projections -which rise up from the groundwork like the fruit of a fragrant pear, -glittering with light. - -“Now where the fitted edges join the flat base are fixed and set bowls -of silver. And in each cup stands as it were a candle, though it is a -glittering symbol not made of wax, and beauty flashes from them and not -light. For they are made round of silver, brightly polished. Thus the -candle flashes a silver ray not the light of fire. - -_The Altar._--“And on columns of gold is raised the all gold slab[79] -of the holy table, standing on gold foundations, and bright with the -glitter of different stones. - -“Whither am I carried? whither tends my unbridled speech? Let my voice -be silent, and not lay bare what is not meet for the eyes of the people -to see. - -_Altar Curtains._--“But, ye priests, as the sacred laws command you, -spread out the curtain dipped in the red dye of the Sidonian shell -and cover the sacred table. Unfold the veils (_kaluptrai_) hanging on -the four sides of silver, and show to the countless crowd a multitude -of beautiful designs in gold of skilful handiwork. On one side is -cunningly wrought the form of Christ. And this was not worked by -skilful hands plying the needle on the stuff, but by the web, the -produce of the worm[80] from distant lands, changing its coloured -threads of many shades. A garment shimmering with gold, like the rays -of rosy-fingered dawn, flashes down to the divine knees, and a chiton, -deep red from the Tyrian shell dye, covers the right shoulder beneath -its well-woven web. The veiling upper robe has slipped away, and pulled -up across the side it only covers the left shoulder, while the forearm -and the hand are bare. He seems to point the fingers of the right -hand, as if preaching the words of Life, and in the left hand He holds -the book of the divine message,--the book that tells what the Messiah -accomplished when his foot was on the earth. And the whole robe shines -with gold; for on it a thin gold thread is led through the web, as if -a fair chain was laid on the cloth in a groove or channel and bound -with silken thread by sharp needles. And on either side stand the two -messengers of God--Paul, full of divine wisdom, and also the mighty -doorkeeper of the Gates of Heaven, binding with both heavenly and -earthly chains. One holds the book pregnant with sacred words, and the -other the form of a cross on a staff of gold. And both the cunning web -has clothed in robes of silver white, and over their sacred heads rises -upward a temple of gold, with triple apses fixed on four columns of -gold. - -“Now on the extreme borders of the curtain shot with gold, unspeakable -art has figured the works of mercy of our city’s kings; here one sees -hospitals for the sick, there sacred fanes, while on either side are -displayed the miracles of Christ; such is the grace and beauty of the -work. - -“But on the other curtains you see the kings of the earth on one side -with their hands joined to those of the Virgin, on the other side with -those of Christ, and all is cunningly wrought by the threads of the -woof with the sheen of a golden warp. Thus is everything adorned with -splendour. Thus may you see all that fills the eyes with wonder. - -_The Lighting._--“No words can describe the light at night-time; one -might say in truth that some midnight sun illumined the glories of the -temple. For the wise forethought of our king has had stretched from -the projecting rim (_antux_) of stone, on whose back is firmly planted -the temple’s air-borne dome, long twisted chains (_seirai_) of beaten -brass, linked in alternating curves with many windings. And these -chains, bending down from every part in a long course, come together -as they fall towards the ground. But before they reach the pavement, -their path from above is checked, and they finish in unison on a circle. - -“And beneath each chain he has caused to be fitted silver discs, -hanging circle-wise in the air, round the space in the centre of the -church. Thus these discs, pendent from their lofty courses, form -a coronet above the heads of men. They have been pierced too by -the weapon of the skilful workman, in order that they may receive -shafts[81] of fire-wrought glass, and hold light on high for men at -night. - -“And not from discs alone does the light shine at night, but in the -circles close by a disc you would see the symbol of the mighty cross, -pierced with many holes, and in its pierced back shines a vessel of -light. Thus hangs the circling chorus of bright lights. Verily you -might say that you gazed on the bright constellation of the Heavenly -Crown by the Great Bear, and the neighbouring Dragon. - -“Thus through the temple wanders the evening light, brightly shining. -In the middle of a larger circle you would find a crown with -lightbearing rim; and above in the centre another noble disc spread its -light in the air, so that night is compelled to flee. - -“Near the aisles too, alongside the columns, they have hung in order -single lamps (_lampter_) apart one from another; and through the whole -length of the far-stretching nave is their path. Beneath each they have -placed a silver vessel, like a balance pan, and in the centre of this -rests a cup of well-burning oil. - -“There is not however one equal level for all the lamps, for you may -see some high, some low, in comely curves of light; and from twisted -chains they sweetly flash in their aerial courses, even as shines -twin-pointed Hyas fixed in the forehead of Taurus. - -“One might also see ships of silver, bearing a flashing freight of -flame, and plying their lofty courses in the liquid air instead of the -sea, fearing no gale from south-west, nor from Boötes, sinking late -to rest. And above the wide floor you would see shapely beams (with -lamps), running between two-horned supports of iron, by whose light -the orders of priests, bound by the rubrics, perform their duties. - -“Some there are along the floor, where the columns have their bases, -and above again others pass, by far-reaching courses, along the -crowning work of the walls. Neither is the base of the deep-bosomed -dome left without light, for along the projecting stone of the curved -cornice the skilful workman suspends single lamps to bronze stakes. -As when some handmaid binds round the neck of a royal virgin a -graceful chain shining with the glitter of fiery gold; even so has our -emperor fixed round all the cornice lights in circle-wise, companions -everywhere to those below. - -“There is also on the silver columns [of the Iconostasis], above their -capitals, a narrow way of access for the lamp-lighter, glittering with -bright clusters; these one might compare to the mountain-nourished -pine, or cypress with fresh branches. From a point ever-widening -circles spread down until the last is reached, even that which curves -round the base; instead of a root, bowls of silver are placed beneath -the trees, with their flaming flowers. And in the centre of this -beauteous wood, the form of the divine cross, pierced with the prints -of the nails, shines with light for mortal eyes. - -“A thousand others within the temple show their gleaming light, hanging -aloft by chains of many windings. Some are placed in the aisles, others -in the centre or to east and West, or on the crowning walls, shedding -the brightness of flame. Thus the night seems to flout the light of -day, and be itself as rosy as the dawn. And whoever gazes on the -lighted trees, with their crown of circles, feels his heart warmed with -joy; and looking on a boat[82] swathed with fire, or some single lamp, -or the symbol of the Divine Christ, all care vanishes from the mind. So -with wayfarers through a cloudless night, as they see the stars rising -from point to point; one watches sweet Hesperus, another’s attention is -fixed on Taurus, and a third contemplates Boötes, or Orion and the cold -Charles’ Wain; the whole heaven, scattered with glittering stars, opens -before them, while the night seems to smile on their way. - -“Thus through the spaces of the great church come rays of light, -expelling clouds of care, and filling the mind with joy. The sacred -light cheers all: even the sailor guiding his bark on the waves, -leaving behind him the unfriendly billows of the raging Pontus, and -winding a sinuous course amidst creeks and rocks, with heart fearful -at the dangers of his nightly wanderings--perchance he has left the -Ægean and guides his ship against adverse currents in the Hellespont, -awaiting with taut forestay the onslaught of a storm from Africa--does -not guide his laden vessel by the light of Cynosure, or the circling -Bear, but by the divine light of the church itself. Yet not only does -it guide the merchant at night, like the rays from the Pharos on the -coast of Africa, but it also shows the way to the living God.” - - - - -CHAPTER IV - -THE AMBO - - -The third part of the description of the Silentiary is devoted to the -ambo, the chief feature in Justinian’s reinstatement of the interior. -It stood far out from the bema, on the central axis of the church. -Germanus, Patriarch of Constantinople from 715-740 A.D., and Simeon -of Thessalonica both speak of this as the right position for ambones; -“the most holy bema should be towards the east, with the ambo in front -of it, if there is room.”[83] The two flights of steps, by which the -ambo--the name of which is derived from the Greek for ascending--was -reached, were on the east and west sides. In the ambo the Gospel was -read, and here was recited a prayer[84] at the conclusion of the -liturgy, which seems to have been a compendium of those previously -uttered in the sanctuary; the priest left the bema, ascended the ambo -on the east side, and prayed with his face towards the west. Important -offices in coronations were also performed here. - -Paulus’ description of the ambo opens with a preface of thirty iambic -lines in praise of the emperor, who has added the “one thing needful -to our all-glorious church.” The importance of this work is made an -excuse for interrupting the “usual pursuits of his hearers even for a -third time.” Twenty hexameter lines are devoted to an invocation to the -apostles and saints, and then follows the description of the ambo. - -“Now in the central space of the wide temple, yet tending rather -towards the east, rises a tower (_purgos_), fair to look upon, set -apart for the reading of the sacred books. Upright it stands on steps, -reached by two flights, one of which stretches towards the west, but -the other towards the dawn. So are they opposite to one another, and -both lead to a space formed like a circle. Now one stone curves round -to form this circular space, though it is not altogether equal to a -complete curve (_tornos_), but it agrees with it except where the edge -of the stone is lengthened; for towards east and west a flight of steps -is drawn out like a neck, projecting from the circled stone. - -[Illustration: FIG. 7.--Plan of the Ambo both above and below.] - -“And up to the height of a man’s girdle our godlike king has formed, -with the help of silver, beauteous walls curving like crescents. He has -not bent silver right round the stone, but a silver plaque (_plax_) -is spread out in the centre, to adorn the circling wall. Thus has the -skilful workman spread out two sure crescents and opened on either side -a flight of steps. - -“Nor does fear seize those descending the sacred steps, because the -sides are unfenced; for hedge walls of glittering marble have been -reared there; and they are high above the steps for the hand of a -man to hold as he mounts, grasping them to ease his way; so on each -side they grow upwards in a rising line, and stop at length with the -steps which are between them. Thus good use is made of the stone; -for they have quarried savage hill, and steep promontory, to have a -far-stretching safeguard to the long flight. And the whole is cunningly -wrought with skilful workmanship, and glitters with ever-changing -brightness. In parts it seems that whirlpools eddy over the surface, -intertwining circles winding under the wandering curves of other -circles. In parts is seen a rosy bloom, mingled with wan paleness, -or fair gleams of light, as from bright spearheads; in other places -shines a softer glory, like the radiance of boxwood, or the delightsome -bees-wax, which mortal men ofttimes lay on the unsullied cliffs, and -turn over beneath the rays of the sun, while it changes to a silver -white; yet not completely altering its substance, it still shows veins -of gold. Even so the deep-stained ivory of many a year’s growth expands -its gleaming flesh on the curved breast. At times it seems to have a -pale green hue. Yet the craftsman has not left it pallid and unadorned, -for he has fixed it in fair and cunningly wrought designs on the stone. -Thus over all in many a curve its beauty is displayed. In parts the -broad surface is tinged with the choicest tint of the pale crocus, or -appears almost without colour, like light creeping round the pointed -horns of the new-born moon. - -“Now near a rocky hill stands the sacred city--Hierapolis--which gives -its name to a well-known marble; and of this is made all the fair floor -of the place where they read the divine wisdom of the holy books; -and it is fitted by the craftsmen’s skill on eight cunningly wrought -columns. Two of these are towards the north, two towards the southern -wind, two towards the east, and two towards the home of evening. Thus -is the floor raised up. And beneath there is as it were another space, -where the priests continue their sacred song. The stone is a covering -to those below, but above it is like a spreading plain, untouched by -the feet of mortals. And the underside the mason (_laotomos_) has cut -out and hollowed, so that, by the craftsmen’s skill, it rises from the -capitals, curving over like the hollow shell-back of the tortoise, or -some oxhide shield held up over the helmet, when the warrior leaps in -the mazes of the Pyrrhic dance. - -“Now the rugged surface (_metopon_) of the stone they have girdled -everywhere with the silver metal; and there the skilled workman, -cutting, with the point of his iron, twining foliage and lovely -flowers, has inlaid the beauteous leaves of ivy, with its clusters and -budding shoots. - -“But with all its steps and floor and the columns as well, the -artificers have formed for it a fixed foundation, and raised a base -(_krepis_), the height of a man’s foot, above the floor of the church; -and in order that they might widen the foundation of the space they -have placed on either side, round the belly (_gaster_) in the middle, -half-circles in stone, and they have surrounded the space with separate -columns arranged in semicircles. Thus the whole belly is widened by -means of four rich columns on either side, to north, and to south; and -the cave space (_speos_), like a house, is surrounded on all sides by a -fence of circling stone. - -“Some of the fair columns that the masons have set up are from the -Phrygian land, towards the Mygdonian heights, hewn with strong axes: -and looking on these flowers of stone, one would say that white lilies -mingled with rose cups, or the soft petals of the shortlived anemone. -Here is abundance of red and a mere tinge of white, there thin sinews -mix with the veins which dye the columns deep red, as with drops from -the Laconian shell. - -“First then at the bottom they have placed the fairly wrought plinth -(_krepis_) supporting all, made beautiful with twisting curves; and -above it they have set stone bases, firmly fixed, cut from the rich -quarries of the Bosporus. Quite white, they glitter, and in branching -veins a deep blue line wanders in the shining flesh. And the bases on -the eight sides the mason has adorned with moulded bronze rings fixed -circle-wise round each base, as round a neck. And through the space of -the whole church shines the glory of each column fixed on its polished -base, like a white cloud wrought into patterns by the ruddy rays of the -rising sun. - -“Thus are ranged in half-circles the company of four, and this half -with the other four they have connected by a fair chiton of stone, -even round the well-formed hollow (_antron_); for the three spaces -between the four columns have been closed by the skilful mason with -fencestones of marble from Hierapolis, firmly fixed on the plinth -(_krepis_). And it is meet that this crown of stone on the fair floor -of the sacred fane should be called of ‘the Holy City’ (_Hierapolis_). -In the boundary is placed a door, slightly curved, through which enters -the priest, to the floor of the hollow cavern (_antron_). - -“Now you must know that the curve (_spelunx_), with columns, and plinth -(_krepis_), and fence wall, is alike on either side, towards Garamas -on the south and towards Arimaspus [to the north]. But the doors the -workmen have not fixed in like places, but one is westwards and the -other eastwards--the western one inclines towards the north, but the -southern gate is towards the east. Moreover the fence-walls do not -stand the same height as the columns, but they rise above the beauteous -pavement, as much as to hide a man in the hollow space (_antron_). But -the eight columns with fair carved capitals come out above the fence -wall, and stand round it on the base with equal spaces between them, -even on the stone plinth. The capitals shine with gold, like high peaks -which the golden-rayed sun strikes with its arrows. - -“And all the capitals on high are crowned above in circled order by -an embracing rim of beams (_douratea antux_), which binds the columns -together in one curve, though at the same time each column is separate -from its fellow. And fixed upon the rim you might see trees, with -clusters as of fire,--the glitter of silver boughs shining afar. Nor -does each sapling wander at will, but it is restrained in a cone-like -form of many edges, from a wide circle ever lessening to a point at the -top. Now the fair girdle (_zoster_) that forms the rim is all crowned -with golden ivy-leaves, and coloured with the sapphire dust. But -towards the home of Zephyr, and also towards the fiery-winged Eurus, -there are fixed upon the rim (_antux_) two crosses of silver, with a -curved spike (_hêlos_) above each, bending like a shepherd’s crook, -flashing a thousand lights to the eyes. - -“In this manner is the shining ambo made; thus have they called it ‘the -place ascended’ (_ambatos_), by holy paths, and here the people direct -their eyes, as they gaze on the divine gospel. - -“And it is to good purpose that they have placed the cut stones in -steps, on whose white surface one might descry thin veins of deep red -like the dye of the sea-shell. For the unpolished stones the mason -has hewn into a long flight (_rachis_) of steps, a strong support for -the feet of men, lest any one slipping from above and falling should -descend all unsteady to the floor; thus in order and in continuous line -one stone, as it rises above another, recedes from it, even as much as -a man ascending plants one step in turn in front of another. - -“And as an island rises amidst the swelling billows, bright with -patterns of cornfields, and vineyards, and blossoming meadows, and -wooded heights, while sailors, as they steer by it, are gladdened, and -the troubles and anxieties of the sea are beguiled; so in the middle -space of the boundless temple rises upright the tower-like ambo of -stone, with its marble pastures like meadows, cunningly wrought with -the beauty of the craftsman’s art. Yet though it stands in the middle, -it is not quite cut off, like an island girdled by the sea, but is -rather like some wave-washed land, extended by a narrow isthmus through -the gray billows into the middle of the sea, and were it not for this -binding chain, it would be cut off and seen as a true island; but -though it projects into the ocean, it is still joined to the mainland -coast by the isthmus, as by a cable. - -“Such is the ambo; for a long path starts from the last step of its -eastern flight, and stretches out until it comes to the space by the -twin silver doors, even striking with its lengthy plinth the fence wall -of the sacred rites; and the path is warded on both sides by walls. Now -for these fence walls they have not placed lofty slabs, but they are as -high up as the navel of a man standing by them; and here the priest, as -he holds the golden gospel, passes along, and the surging crowd strive -to touch the sacred book with their lips and hands, while moving waves -of people break around. - -“Thus is this path prolonged like an isthmus, wave-washed on either -side, and it leads the priest as he descends from the distant ambo with -its lofty cliffs, to the shrine of the holy table. And the whole path -on both sides is fenced with the fresh green stone of Thessaly; and the -abundant rich meadows of the stones bring the delight of beauty to the -eyes. Now at both ends of each slab from Thessaly stand posts of equal -height, not like a cylinder in form: one skilled in figures would say -that the posts were not equal-sided, but have the shape of a lengthened -cube. And the masons (_laotoroi_) have made the joints of the Molossian -slabs, by wedging one stone into another; it is from the Phrygian -land that the stone-cutter (_laotupos_) has had these posts quarried. -And resting the wandering glance there one might see snake-like coils -twining over the fair marble, winding in beauteous paths; there white -and fiery red are set alongside of one another and a flesh colour -between both, the lines bending in alternating coils, as they roll -round in their courses. First on one side, then on another, are seen -the forms of the moon and stars. - -“And on the uppermost rim of the fence wall they have fitted another -long stretching stone, quarried from the same foreland crag, so that -the Thessalian slab is fixed below on the firm foundations of the -plinth, and is bound above by another band of marble; and the edges of -the Thessalian slabs are joined together as in a chain by the square -columns, which are set upright and firm on the foundation. - -“And as when one winds the gold twisted thread in and out over the -many-coloured surface of a Tyrian robe, and adds a fitting pattern -round the bottom edges, or in the fair centre of the robe, or about the -sleeve-holes for the arms while the fresh green web of the cloak shines -like a meadow in spring,--the glory of the golden warp adding beauty to -beauty, and decking it as if with flowers; even so the cunning workman -has cast on the fresh green stones of the sacred rock the glitter of -golden rays, giving a brighter beauty to them. - -“But at the eastern end of the passage, by the holy fence walls of the -altar, they have cut off the isthmus, so as to form a speedier path for -those who pass from side to side. - -“Such works as these has our emperor, bestowing splendid gifts, built -for God the King. For to the great bounties of his peaceful reign he -has added this much-praised temple, so that with divine foresight he -might prepare a gift for the Creator of the world, Christ, King of All. -Be thou, O glory of the eternal Trinity, thrice favourable to this city -of Rome, to our citizens, our emperor, and our much-loved temple.” - - * * * * * - -In following this description we see that it begins on the raised -floor of the ambo which was rounded on two sides, the others being -open to the steps at the east and west. The breast wall on each side -was largely covered with applied silver wrought into patterns; and -the rest, together with the parapet slabs to the steps, were inlaid -in ivory, probably carved like the contemporary bishop’s throne at -Ravenna. The body of the ambo inlaid thus with ivory and silver was -upheld on eight columns, the underside of the floor stone being -hollowed into a flat dome like the fluted soffite of the still older -ambo at S. Apollinare at Ravenna. On either side, around the ambo, was -a semicircle of large columns of rosy-veined Synnada marble on white -bases with bronze annulets and gilt capitals; between the columns -breast-high slabs of Hierapolis marble inclosed a space. The circle of -columns stood on a raised step, and above they were bound together by -a carved beam, the pattern being gilt with the interspaces painted in -ultramarine. On this to east and west stood silver crosses; their upper -limbs “bent like shepherds’ crooks” doubtless formed the ΧΡ monogram. -Silver candelabra, cones of diminishing circles, stood round about on -the top of the beam. From the eastern steps a passage way ran back to -the step of the iconostasis, inclosed on both sides by marble slabs -grooved into posts, bearing a top rail. This closure of Verde antique -slabs was inlaid in white and red patterns and gold mosaic. - -In this description two separate parts appear, the ambo proper reached -by the narrow inclosed way and ascended by steps; and the space entered -by two doors screened off about it by the circle of large columns and -closure slabs, “where the priests continue their sacred song.” So in -Constantine Porphyrogenitus’ _Book of the Ceremonies_[85] we read of -the “psaltae” placed in the ambo singing, “Christ is risen.” - -We know little of the later history of the ambo. The Anonymous Author, -who probably wrote not earlier than the twelfth century, comparing the -mythical splendour of an earlier ambo destroyed by a fall of the dome -to another which he attributes to Justinian’s nephew, Justin, says -they made the latter of marble, with columns covered with silver, and -with silver screens going round the solea. It had no dome. Immediately -after he compares the pavement which he says was destroyed at the same -time with one that _now is_. So that we may assume that he wrote of -an ambo then existing, and that therefore in this instance he may be -trusted.[86] The work attributed to Justin by the Anonymous is really -the restoration under Justinian; he seems to have confused the nephew -of the architect who was then employed with the nephew of the emperor. -Rohault De Fleury,[87] who accepts this story, suggests that a canopied -ambo which appears in the _Menologium_ of Basil (976-1025) figures one -in S. Sophia which may have replaced the former ambo after the fall -of the dome in 975. Robert de Clari (1200) merely says, “The place -from which they read the Gospel is so rich and noble, that we do not -know how to describe the making of it.”[88] The ambo of that time was -destroyed by the Crusaders (1203).[89] Clavijo, the Spanish ambassador, -who saw S. Sophia two hundred years later, has left this description -of the covered ambo then existing. “On the floor in the centre of the -area is a pulpit placed on four columns of jasper; and the sides of it -are overlaid with panels of jasper of many colours, and this pulpit is -surmounted by a cover, which stands on eight very large jasper columns; -and here they preach and read the Gospel on feast days.” - - * * * * * - -_Coronations._--We shall now quote two descriptions of the ceremonies -associated with the ambo at coronations. These are of the age of the -Palaeologi, and the first is especially interesting as describing the -_Megale Eisodos_ and the Celebration. - -“And about the second hour of the same day the prince who is to be -anointed is set upon a shield;[90] the reigning emperor, who may be his -father, and the patriarch take hold of the front part of the shield, -which is also held by the officials of rank and the nobility. They -then raise it, and show the new emperor to the assembled populace. -After he has been greeted with acclamation, they attend him into the -church, where the rest of the ceremony must be completed. Now a little -edifice of wood has previously been prepared for this very purpose, -into which they lead the new emperor, and put on him the purple and -the diadem, which have been blest by the bishops. And round his head -it is customary to put only a chaplet. After this the service of the -Mass (_mustagogia_) proceeds. And near the erection just mentioned a -set of movable steps, also of wood, are prepared, and these they cover -with purple silk. And upon it are placed golden thrones, according to -the number of the princes, not like other thrones, but raised on four -or five steps; here the princes take their seats. The princesses also -ascend with them, and sit on the thrones, wearing their crowns, but -she that is about to be crowned wears a chaplet. Now before the hymn -_Trisagion_ is sung, the patriarch comes out of the bema and ascends -the ambo, and with him are the rulers of the church, all wearing their -sacred robes. He then dismisses them, and summons the princes, and -they immediately arise from their thrones and come to the ambo, while -profound silence is kept by the whole congregation. Then the patriarch -goes through the prayers appointed for the anointing, some silently by -himself, others out loud, praying for the blessing of God on him who -is about to be anointed. After this the new emperor removes from his -head whatever he is wearing, and then it is right for all, as many as -are present, to stand with bared heads. Then the patriarch with the -holy oil anoints the head of the emperor with the form of the cross, -saying with a loud voice ‘Holy’; and as soon as they hear it those -standing on the ambo pronounce it three times, and after them all the -people. After this the crown is brought by deacons from the bema where -they keep it (now it is not above the Holy Table as some say), and -taken to the ambo. If any previously crowned emperor be there, he and -the patriarch take the crown together, and place it on the head of the -prince, the patriarch saying ‘Holy’ in a loud voice. Those in the ambo -repeat it three times, and the people, as after the anointing. Then the -patriarch repeats some more prayers, and the prince descends from the -ambo, not on the side by which he ascended, but on the side which is -turned towards the solea. If he is unmarried he then ascends the steps -and reseats himself upon his throne, but if he has a wife then she also -must be crowned. She is then led, as she rises from the throne, by two -kinswomen one on either side, or if she has no relatives, eunuchs lead -her down from the steps, and stand with her before the solea. Then the -emperor descends from the ambo, and takes the crown held ready by the -kinswomen or eunuchs, and places it upon the head of his wife, and she -kneels before her husband, swearing fealty to him. And the patriarch, -standing by the solea, offers up a prayer for the emperor and empress, -and all their people. Thus the emperor crowns his own wife. And then -both ascend the steps, and sit upon their thrones, and the rest of the -mysteries are proceeded with. But at the singing of the _Trisagion_, or -at the reading from the apostolic writings, or the Gospels, they stand -up. - -“And on both sides of the nave, on wooden steps made for this -purpose, are those called protopsaltae, and domestici, and others of -ecclesiastical rank who know how to sing, and who are called because -of this _kraktai_;[91] all these sing anthems especially made for the -occasion. But when the part of the mysteries which is called _The -Great Entrance_[92] is beginning, the chief of the deacons comes and -summons the emperor, and he comes with them into the prothesis, where -are set out the Holy Elements, and, standing outside the prothesis, -a golden mantle is put upon him over the diadem and the purple; and -in the right hand he holds the cross, which he usually carries when -he wears his crown, but in the left he carries the rod, which he who -is called _deputatus_ usually carries. With these in both hands the -emperor leads the sacred entrance, and on both sides of him march -the Varangi with their axes, and the sons of the nobility armed and -unarmed, about a hundred in all, follow; and immediately behind him -come the deacons in order, and the priests, carrying the vessels for -the service--and other most holy things. And after going round the -nave, as is their wont, when they come into the solea, all the others -stand outside, but the emperor alone enters the solea and finds the -patriarch standing at the sacred screen, and after bowing to one -another the patriarch goes inside, but the emperor remains without, and -then the deacon who followed immediately after the emperor, holding in -his right hand a censer, and in his left what is called the _maphorion_ -of the patriarch, approaches and censes the emperor. The emperor bows -his head, while the deacon with a loud voice calls out, ‘May the Lord -be mindful of the power of thy kingdom in His universal kingdom, now -and always and for ever and ever, Amen.’ And in order the rest of -the deacons and the priests approach and say the same. And when this -is finished the emperor bows to the patriarch, takes off the mandya, -which is taken away by the refendarius. The emperor again ascends the -tribune and sits down on the throne, but he stands during the creed, -the Lord’s Prayer, and the elevation of our Lord’s body. And after the -elevation, if he is not prepared for the Communion he remains seated -till the end of the service. But if he is prepared, the deacons again -come and summon him. And with them he enters into the bema and, having -been given a censer, he censes the Holy Table, looking first of all to -the east, then north, west, and south, and having again censed towards -the east, he censes the patriarch also. The patriarch bows to him and -takes the censer, and censes the emperor in return. After this the -emperor removes the crown, and gives it into the hands of the deacons. -Then the patriarch puts into his hand a portion of our Lord’s body, -and after that he drinks of the life-giving blood, not from a spoon -like the rest of the people, but from the cup itself like the priests. -Then the emperor replaces the crown, and comes out of the bema, and -after the congregation has shared in the Communion, and he has been -blessed by the patriarch, and the priests, and has kissed their right -hands, they lead him to the part called catechumena to receive the -acclamations of the people. When this is finished, he comes down again, -and he and the empress mount on horseback, and ride back to the palace -to partake of a banquet.”[93] - -Codinus Curopalata[94] has also a description, almost in the same -words, but with some additions. The future emperor is “led to the -triclinium called Thomaites, which looks on to the Augusteum, where -are standing the populace with the army. But before the emperor shows -himself, what are called epicombia are thrown to the people by one -of the senators, whom the emperor has selected. These epicombia are -made as follows. They cut pieces of cloth, and in each piece they -bind up three gold and as many silver numismata and three obols, and -then throw them to the people, and they scatter as many thousands of -these as the emperor shall arrange. Now it is customary to throw these -epicombia in the proaulion of the great church, that is in the part -called Augusteum;--he who scatters them standing above the steps of -the Augusteum.” Inside the church a wooden tribunal had been prepared -in the gynaeceum, and at the end of the ceremony “the young emperor -with his wife the empress, and the emperor, his father, and his mother, -ascend. But the golden velothyra hide the tribunal, so that they shall -not be seen. Then the psaltae sing ‘Lift up,’ and immediately the -velothyra are raised, and the princes in the gynaeceum are greeted with -acclamations by the people.” - - - - -CHAPTER V - -THE RITUAL ARRANGEMENTS AND INTERIOR PARTS OF THE CHURCH - - -_Main Divisions._--Du Cange, in the commentary to his edition of the -Silentiary’s Poem, was the first to make a serious attempt to elucidate -the interior arrangements of S. Sophia. This appeared with the poem in -the folio of 1670,[95] but a revised edition was incorporated in his -_Historia Byzantina_, 1680.[96] - -In the first his knowledge of the actual state of the church seems -to have been limited to the description of Gyllius unassisted by any -plan. Drawings of S. Sophia were desiderata at that time, and Grelot -tells us how he was induced to attempt to make them by a knowledge that -others who had been commissioned by the King of France had failed. -Before the publication of his revised edition of 1680 Du Cange had -obtained a plan. This appeared in the same year as Grelot’s work, and -divergences seem to show that the plans were, in great measure at -least, independent of one another. The main text of his commentary -however remained the same, and the alterations, although crucial, were -mostly made by the omission of a few lines here and there without any -attention being specially called to the fact. - -This has been the cause of much confusion, as it has unfortunately -happened that the first edition has been reproduced without remark -in the series of Byzantine texts published at Bonn and in Migne’s -_Patrologiae Cursus Completus_. In this Du Cange placed the iconostasis -“under the great eastern arch which supports the dome,” and thus -included the whole eastern hemicycle in the bema. He devoted the whole -central square under the dome to the “priests and singers,” separating -it from the western hemicycle by “marble columns,” which were obtained -by a curious misreading of Gyllius’ description of the verde antique -columns in the western opening on the _first_ floor. In the centre -between these “marble columns” he placed the “Beautiful” or “Royal -Gate,” and the western hemicycle outside this was alone allotted to -the people. In the corrected edition of 1680 the bema is confined to -the eastern extension, the eastern hemicycle became the solea, and the -central area and western hemicycle are given to the people. - -There is actually very little diversity of opinion in regard to -the main divisions of the church between Du Cange, Neale,[97] and -Salzenberg, but Rohault de Fleury has been misled into making an -engraving of the iconostasis, stretching across the whole hundred feet -of the hemicycle. - -_Bema._--A church, as Simeon of Thessalonica writes, is properly -“divided into three parts, the pronaos, the naos, and the bema.” -The bema (see Plan, Fig. 5) is the raised part within the screen or -iconostasis included by the apse. This was the place set apart for the -priests, who are hence sometimes called “they of the bema.”[98] Decrees -were passed from time to time to enhance its sacred character; as that -no member of the laity should pass beyond the screen, except with the -consent of a bishop. Even the emperor was only allowed there during a -few portions of the liturgy. - -The bema of S. Sophia was indifferently called the _adyta_, -_hierateion_, _thusiasterion_. The history of Michael Attaliotas also -speaks of it as the “second skene, that is, the Holy of Holies.”[99] -The apse proper is by Paulus mentioned apart from the space contained -by the straight walls, and it is possible that this is the _kuklios_ -(cyclius) of Porphyrogenitus. From the poet we gather that the priests’ -stalls against the wall were plated with silver. The upper part of -the curved wall is incrusted with precious marble of sombre golden -tones, beneath which the surface has been disturbed and is now covered -by plain gray slabs. When we recall the immense quantity of silver -that Procopius says was used in the sanctuary, and remember that the -iconostasis and the altar-ciborium were of silver and the Holy Table of -gold, it seems likely that the plating of the silver stalls covered the -whole of this narrow strip, which would not be more than six or eight -feet above the top seat, the level of which we suppose is marked by the -projection of the lower part of the wall. In the small oratory of the -Saviour built by Basil in the palace “the whole pavement was of massive -silver wrought by the hammer and enriched by niello, and the walls to -the right and left were covered with great plates of silver damascened -in gold and glistening with precious stones and pearls.”[100] To this -space we should refer the four panels with images in the wall mentioned -in the _Novgorod Chronicle_,[101] which we suppose were of embossed -silver or enamel. The most eastward point of the apse was occupied by -the patriarch’s throne.[102] A bishop’s chair with a canopy preserved -in the cathedral church of S. George at Constantinople, said to have -belonged to S. Sophia, is in any case quite late. It is of wood, -ornamented with inlaid work representing the two-headed eagle, which -was not adopted earlier than the tenth century. - -In Fig. 8 we give an outline of a miniature in the _Menologium_ (Jan. -16) of the adoration of S. Peter’s chains, which were kept in the -chapel of S. Peter attached to the great church. We have here a bema -fully represented with the altar, ciborium, and apsidal stalls for the -clergy. We can hardly suppose that these latter could have belonged to -a small dependent chapel, and hence the miniature in the symbolic way -of these old drawings is probably intended as a view of the great apse. - -_Altar._--The central object of the bema was the altar, which stood -beneath the cylindrical vault, on the under side of which the two -great watching angels are represented in the mosaic. Paulus says, “On -columns of gold is raised the all golden slab of the Holy Table; it -stands too on a base of gold, and from it gleams the brightness of -precious stones.” The doubtful Anonymous says that it was “supported -on four columns, overlaid with gold,” and again that “it was set up on -solid columns of gold, studded with precious stones;” and that beneath -the altar was a “sea” (_thalassa_) ornamented with gold and precious -stones.[103] This seems to refer to the “base of gold” beneath the -columns. - -[Illustration: FIG. 8.--View of Bema from the _Menologium_.] - -According to Labarte, the description by the Anonymous (see p. 138) -shows that the altar itself was decorated with the bright diversity of -enamel. This he seems to prove by passages in Suidas[104] and Cedrenus. -The last-named writes: “It is formed of gold, of silver, of every kind -of stone and metal and wood, and everything which earth, sea, or the -whole universe contains. Of all these he (Justinian) collected the -most valuable, with some small amount of commoner ones. He then melted -those that would melt, added those that were dry, and poured them -into a mould till it was filled. He wrote upon it, ‘We (Justinian and -Theodora) thy servants, O Christ, bring thee of thine own, praying that -thou wilt graciously accept it, O Son and Word of God made flesh and -crucified for us. Strengthen us in the true faith, increase and guard -this state, which thou hast intrusted to us, through the mediation of -Mary, the holy Virgin, the Mother of God.’” - -However doubtful these late Greek writers are as authorities for -Justinian’s time, enamel was used in later days in the most extravagant -manner, and we cannot doubt that at the time when the Crusaders took -the church the altar was of enamel.[105] Robert de Clari,[106] writing -at this time, says, “the chief altar of the church (S. Sophia) is so -rich that one cannot value it; for the slab which forms the altar is of -gold and of precious cut stones (_esquartelées_) and pearls (_molucs_) -all thrown together.” Nicetas is even clearer; describing the capture -of Constantinople and the sack of the church, he says: “The Holy Table, -made of all kinds of precious materials, cemented together by fire, -and formed into a many-coloured harmony so as to be the wonder of all -nations, was broken in pieces and distributed by the soldiers.”[107] - -It is very probable that some of the enamels added to the Pala d’Oro -at Venice after the sack of Constantinople came from the sanctuary -of S. Sophia, possibly from its altar. Sylvester Sguropulus[108] who -accompanied John Palaeologus to Venice in 1438, describes the Pala -d’Oro as “an icon which is formed out of many, and we heard that some -of these were taken from the Church of S. Sophia.” It may be only a -coincidence that one of the panels of the Pala contains the figure of -Solomon with the Greek inscription, “Wisdom hath builded her house,” -that being the usual legend for Solomon. - -The altar would have been covered, like the altars shown in the mosaics -at Ravenna, and the illustrations of the _Menologium_,[109] by a cloth -reaching on all sides to the floor. These cloths bear very simple -devices--in the centre a plain cross, circle, or star, and at the four -corners _gammidae_ ⛶ which in the code of symbolism probably expressed -the four corners of that world, for which the daily sacrifice was -offered. - -Others however were more richly embroidered. In the _Liber -Pontificalis_ of Agnellus[110] it is said that Maximian, the Archbishop -of Ravenna in Justinian’s time, ordered a most precious altar-cloth -(_endothis_) of byssus, on which was embroidered the whole history of -the Saviour. “It is not possible to imagine the human figures, or the -beasts and birds which are made on it.” The figure of the archbishop -was represented with the inscription, “Praise the Lord with me, for -he hath raised me from the dust.” The Continuator of Theophanes -also speaks of an altar-cloth on which “the birth of the Lord was -represented.”[111] - -The general Greek name for altar-cloth was _endute_. Those at S. -Sophia are thus spoken of by the Anonymous, and we read that Michael -Palaeologus sent to the Pope “an _endute_ of the Great Church, of rose -red, with gold and pearls worked on it.”[112] - -_Ciborium._--The altar stood under a canopy of silver called a -_kiborion_, as is fully described by Paulus. According to the Anonymous -it was patterned with niello or damascening (see p. 138). Such ciboria -are frequently spoken of in the _Lives of the Popes_.[113] Thus Gregory -I. made for S. Peter’s a “ciborium with four columns of pure silver,” -and Leo III. “made for the basilica of S. Paul a ciborium with large -and beautiful columns of the purest silver.” The ciborium of S. -Demetrius at Salonica, a fifth-century work described in the _Acta -Sanctorum_, was also of silver. It supported at the top “a solid sphere -of silver, with wonderful lily-leaves curved round it, and a cross -above.”[114] - -An illustration[115] in an eighth-century Gospel preserved at Venice -represents a ciborium, like that at S. Sophia. We see four arches on -four columns, and from the flat top above rises an octagonal cone. -At the four corners stand bowls, and in each bowl is a candle or a -representation of one, as the Silentiary describes. Pope Leo III. -placed “above the altar of S. Peter four large cups of the purest -silver, every one having in its centre a candle of silver-gilt.”[116] - -The ciborium at S. Sophia described by Paulus may have lasted till -1203; Robert de Clari, writing at this time, says: “Around the altar -there are columns of silver, which carry a canopy (_abitacle_) over the -altar, made like a tower (_clokier_), which is all of massive silver, -and so rich that one cannot estimate its value.” - -_Crowns, &c._--From the first a crown and dove of gold would have -been suspended from the centre of the canopy; such doves are spoken -of as being in use in Constantinople during the Council of 536.[117] -Theophanes says: “On Easter Day Sophia, the widow of Justin II., and -Constantia, the wife of Maurice, gave the Emperor Maurice a crown of -exceeding value. When the emperor saw it, he took it to S. Sophia, and -hung it above the Holy Table by triple chains of gold and precious -stones.”[118] This, Nicephorus Callistus says, was preserved there till -the taking of the city by the Latins.[119] According to Buzantios, the -emperor Leo IV. and his wife Irene also suspended crowns here. Nicetas -speaks of the “crown of the great Constantine, which hung above the -Holy Table;” and again of one “John, surnamed Crassus, who rushed into -S. Sophia and placed on his head a small crown, one of those which hang -round the Holy Table;”[120] and it appears from the account of the -Russian pilgrim Anthony, given in the next chapter, that just before -the Crusade there were thirty crowns suspended from the ciborium--a -beautiful symbolism. - -The splendid hanging crowns at Monza and in the Cluny Museum show us -that these votive crowns were broad circlets of gold incrusted with -large uncut rubies and emeralds with borders of pearls, and strings -of jewels, and other pendants hanging from the rim. A small enamelled -crown for suspension above an altar which is amongst the Constantinople -treasures at S. Mark’s is inscribed ΛΕΟΝ ΔΕϹΠ(ΟΤΗϹ); this, according to -Labarte, must be Leo VI., who died in 911.[121] - -_Altar-veils._--Round the four sides of the ciborium were suspended the -curtains described in such detail by Paulus. They were all the more -wonderful at this time as being silk-woven and not embroidered.[122] -The gold thread however seems to have been “laid” on. By the later -Greeks those curtains were named tetrabela. They were often of deep -red embroidered with gold, and were usually hung on rods going from -capital to capital of the ciborium, as some of the illustrations in the -_Menologium_ show, though others seem to have been suspended from the -curves of the arches. - -_The Iconostasis._--For a description of the screen in front of the -bema, with its columns, beam, panels, and doors plated with silver, -we refer to the Silentiary. A screen of this kind, from the sacred -paintings with which it is adorned, is now called the iconostasis, but -by the Byzantine writers it is usually named _herkos_, _druphrakta_, -_kinklidai_, or _kankelloi_. Such screens were generally of bronze or -marble. The Church of S. John the Evangelist, built by Galla Placidia -at Ravenna, had a screen of silver. At the Church of the Apostles -at Constantinople, built by Constantine, the iconostasis was gilded -bronze. The screen of S. Peter’s in Rome was formed by the twelve -beautiful antique columns which figure in Raphael’s tapestry, standing -in two rows.[123] Eusebius connects twelve columns which stood about -the tomb in the Sepulchre church with the number of the apostles, and -it is possible, as De Fleury suggests, that in the six pairs of pillars -forming the iconostasis at S. Sophia a reference may be seen to the -dismissal of the apostles two by two. From the narrowness of the bema -it seems certain that the coupling of the pillars was transversely to -the screen as shown on our plan, Fig. 5. Thus they easily supported the -passage way, where stood a great gemmed cross and a row of branched -silver candelabra. This was the “narrow way for the lamp-lighter above -the silver columns” described by the Silentiary. - -The decoration of the silver plating of the breastwork and the beam by -figures of apostles, prophets, and angels, and with circles bearing -crosses and monograms, may have been formed in _repoussé_, like a -beautiful gilt panel with a figure of the Virgin and Greek inscription -now at Kensington Museum, which formed a part of the decoration of -the screen at Torcello, but we think it more probable that it was -damascened with gold like the silver work in Basil’s chapel. - -The iconostasis probably reached up to the base of the porphyry strip -which forms the border of the marble plating of the bema; if so it was -about twenty feet high; it had three doors--“The Holy Doors”--that in -the centre being the largest. - -The “gold and silver columns in the middle of the temple” seen by -Benjamin of Tudela, 1173, must refer to the iconostasis. - -When the Crusaders practically sacked the church, the iconostasis, -ciborium, and altar were broken up and distributed. Nicetas says, “The -furniture of surpassing beauty, the silver, which went round the screen -of the bema, the ambo, the doors, and many ornaments, in which gold was -used, were carried away.” The _Novgorod Chronicle_[124] gives a fuller -account of the eventful morning when the doors were broken through and -S. Sophia was invaded. “They broke down the podium of the priests, -ornamented with silver, the twelve silver columns, the four panels -in the wall, decorated with images, and the Holy Table. They also -destroyed the screen walls of the altar placed between the columns, and -twelve crosses which stood above the altar; amongst these were crosses -of metal, like trees, higher than a man. All these things were made of -silver. - -“They carried off also the wonderful table, with the gems and a great -pearl; so great a crime did they commit in ignorance. Moreover they -snatched away forty cups standing on the altar, and silver candelabra, -whose number was so great that it is not possible to enumerate them, -as well as the silver vessels which the Greeks use, more especially on -feast days. - -“They stole a Gospel, that was used for the services, and sacred -crosses and single images and the covering which was above the altar, -and forty censers made of pure gold: they laid hands on all gold and -silver and on priceless vessels in the cupboards, walls, and other -places, in such quantity that they cannot be numbered.” - -Grelot says that before the Turks altered the church the iconostasis -had figures of the Virgin and S. John Baptist between the central and -side-doors and the Twelve Apostles over.[125] - -_Prothesis and Diakonikon._--Two chapels that in Byzantine churches -almost invariably occur right and left of the bema with which they -communicate directly are usually called the prothesis and diakonikon; -they were sacristies, used respectively for the preparation of the -mass and as a treasury or vestry. Du Cange in both editions placed -them in the two exedras of the eastern hemicycle, and in this he is -followed by Salzenberg. The impossibility of this arrangement is shown -by Neale, who suggests that two chambers on either side of the bema -which Du Cange thought were only supplementary were the sacristies -in question. The chapels at the east end of S. Sophia have now been -built up, but the doors that led into them still exist. We are not -however certain that these chapels were built with the church. Paulus -does not mention them, and there do not appear to have been chapels -in this position at S. Sergius. In regard to the use of the prothesis -and diakonikon, Dr. Freshfield[126] considers that the procession with -the bread and wine called the _Megale Eisodos_, described in our last -chapter, only became a part of the ritual in the reign of the successor -of Justinian, to whose time the Cherubic Hymn sung during the ceremony -is referred. The earlier liturgies, he says, contain no directions for -this ceremony, but merely speak of the deacon as moving the elements -from the prothesis table to the altar, and he concludes that the two -side-chapels found in so many churches belong to a time subsequent to -Justin II. Two narrow passages however, right and left of the bema, at -S. Sophia, S. Sergius, S. Irene, and S. Vitale seem to show that they -were intended for access to lateral portions used in connection with -the bema, even if these parts were merely screened from the aisles, -and a comparison of many early churches in Syria and Asia Minor proves -that such chapels were in frequent use if not essential long before -Justinian built his church.[127] See our figures 31 and 32, and compare -Cattaneo, page 60. - -The prothesis and diakonikon of S. Sophia are very infrequently -mentioned by those names. In the catalogue of the Constantinopolitan -patriarchs we read of “relics being kept in the diaconicum.”[128] -The diakonikon is also named where Codinus speaks of the emperor -as “hearing the prayers of S. Basil near the diakonikon,” and the -prothesis is mentioned in the passage on p. 63. Certain divisions -of the church at the east end are however frequently mentioned by -Porphyrogenitus, the Anonymous, and the Russian pilgrims. Thus we have -the skeuophylakium (treasury of vessels) and other chapels referred to. -The skeuophylakium of the Anonymous seems to be the same as the “lesser -sanctuary” of Anthony, by which stood the cross which gave the exact -height of Christ. This lesser sanctuary, or skeuophylakium, is probably -the diakonikon--“the oratory in front of the metatorion”--where the -relics of the Passion were kept.[129] Again we read: “Then by the -right-hand side of the bema, they enter the oratory where stands the -silver crucifix ... after worshipping they ascend by the cochlea -[spiral stair, we suppose at south-east angle where minaret now is] -which is by the part called the Holy Well, to the eastern part of the -right-hand catechumena.” Again, “Then by the right-hand side of the -bema, they enter the oratory where stands the silver crucifix.”[130] - -_The Holy Well and Metatorion._--The Holy Well, so frequently mentioned -in the _Ceremonies_, seems to have been not merely an object but a -division of the church. Labarte makes it a chamber external to the -church on the south side, but the Anonymous shows that it was to the -east, by speaking of “that part of the temple in which was the Holy -Well, the bema, and the ambo.” The author of an account of “the miracle -in the Holy Well of the Great Church” speaks of a picture of Christ -as being by the eastern gate, “where is the holy mouth of the well of -Samaria.”[131] - -The Russian pilgrims generally speak of the Samaritan well, from which -flowed water from the Jordan, as “in the sanctuary:” the Anonymous -Russian says “in the chapel to the right.” At this time it was probably -in one of the eastern chapels, which, may have been identical with -the prothesis or diakonikon. Some passages of the _Ceremonies_ seem -to imply that in the tenth century the Holy Well was without the -building; thus we hear of the “embolos [portico] of the Holy Well:” -and again, “from the Holy Well, they enter by the door leading to the -church;”[132] possibly it was moved later, but probably one of the -eastern attached chapels will fulfil the conditions. In our Fig. 5 -we have followed Du Cange’s ground-plan in the distribution of these -eastern chapels. It is possible that the round north-east building -was used as a great sacristy as Salzenberg suggests; Grelot calls it -so on his plan, and T. Smith says this was a tradition. The Anonymous -definitely distinguishes the Skeuophylakium, the Holy Well, and the -Chapel of S. Peter. - -The Metatorion, frequently spoken of together with the Holy Well, -Labarte and Paspates place on the south side, external to the church. -We think it was probably the name of portions of the side-aisles -screened off by curtains. This would agree with Unger,[133] who -thinks that the word means a “quarter of the church” (_metatio_), -and that Du Cange was mistaken in deriving it from _mutatorium_. -In the _Ceremonies_,--“The princes go out of the right side of the -bema and enter the metatorion.” Again, the patriarch stands within -the iconostasis “on the right-hand side of the bema, towards the -metatorion.” From the metatorion a small door led to the Holy Well. -Again, “they leave the bema by the right-hand side through the small -holy door (in iconostasis) and proceed to the porphyry columns (of -exedra), and by the staircase of the metatorion they enter the -catechumena.”[134] Again, “the emperor takes off his crown in the -metatorion within the Beautiful Gate,” and “within the veil, hanging -in the metatorion at the back of the narthex door.” Metatoria in the -catechumena of S. Sophia and of S. Sergius are also referred to.[135] - -_Solea._--The later writers often mention the solea of S. Sophia. Thus -Cantacuzenus speaks of the emperor passing through the solea up to the -“Holy Doors.”[136] It was immediately outside the iconostasis, and must -have closely agreed with the choir of the singers in a Western church. -Paulus does not use the word, but he describes the singers as occupying -the space in front of the Holy Doors, and embraced by the exedras. The -ambo, with its long passage of approach from the step of the Holy -Doors, divided this space in two, so it is clear that the singers stood -on either side of the ambo. The portion round about the ambo screened -by the circle of columns was reserved for the leaders of the choir, -the Protopsaltae.[137] We cannot infer from the Silentiary that there -was any other screen to the Solea, and no stalls for the singers are -mentioned. - -It is possible that in the tenth century, when the _Book of the -Ceremonies_ was written, the ambo had been modified at least in -regard to the approach from the bema, and that a considerable space -was interposed between it and the Holy Doors, in front of which -there was at this time a porphyry omphalion stone (see our page 96). -Paspates[138] says this is still quite intact, somewhat oval in shape, -seven feet across, and adorned with a mosaic of marbles. It seems -probable from the Anonymous that in these later days the solea was -inclosed by a screen which he says was of silver.[139] - -Paulus describes a part on the south side as being inclosed for the -emperor, and in Porphyrogenitus we read that the emperor had his -seat “near the Holy Doors on the right-hand side.” It is probable -that opposite the emperor’s throne there was another bishop’s chair, -for that in the bema might only be occupied by the bishop in his own -diocese. Grelot indeed reports that the emperor’s and bishop’s thrones -were opposite one another. - -_Nave._--We now come to the central division of the church, the naos or -nave, the square space beneath the dome contained between the four main -piers: its centre was called _omphalos_, _mesomphalos_, or _mesonaos_. - -The pavement, according to the poet Paul, was covered with white -Proconnesian marble and darker Bosporus stone. In the opening lines -of the description before given he seems to compare the veined marble -to flowing streams, or foam-flecked sea, and the ambo is likened to -an island rising from the sea. According to Glycas and Codinus the -first pavement was of various hues like the ocean. The Anonymous, in -comparing a pavement which he says was laid down afterwards with this -supposed earlier one, says that “messengers were sent to Proconnesus, -and marble of a green colour was worked there, as is seen now like -rivers flowing into the sea.” Codinus says, “four rivers of leek-green -marble were like the four streams which flow from Paradise to the sea.” -_As is seen now_ certainly seems to bring something definite before our -eyes, and so far as the pavement can be seen through the narrow chinks -of the matting there is much to confirm this part of the Anonymous. -Grelot tells us that the pavement is laid in compartments. It is of -whitish gray Proconnesian marble, laid in slabs about 4 × 10 feet, with -here and there strips of verde antique about 2 feet wide, which suggest -the quartering of the floor by a great cross. Moreover the square of -rich Alexandrine work still existing, and figured by Salzenberg, lies -on a diagonal, and would thus exactly occupy one of four square spaces -left in the angles (see Fig. 5). Now in the palace the floor of the -bedchamber of Basil had four rivers or streams of Thessalian-green -marble which seemed to flow away from the centre, and the quarters -were filled with mosaics of large eagles.[140] It may also be noticed -that four rivers are depicted as flowing away from the cross on the -central bronze door of narthex. Many parallel examples of pavements, -still existing, confirm the Anonymous in this respect. The mosaic -floors of Italy furnish many instances where the four rivers of Eden -are represented in the several angles as human forms pouring from urns, -waters which are inscribed with the names Gihon, Tigris, Euphrates, and -Pison. The design of the pavement of the Baptistery at Florence has -been much disturbed, but it seems to have represented flowing streams, -which led from the font in the middle to the doors like four paths. It -has been pointed out that the carpet of Chosroes, which is described -as having represented a garden with flowing streams, was a traditional -pattern of which an example showing four streams quartering the field -is in the possession of Mr. Colvin.[141] We understand that a similar -carpet is now in New York. - -We give here a representation of a square of pavement at the centre of -the Western Gynaeceum; it is of Proconnesian slabs with border, and a -disc of verde antico. - -[Illustration: FIG. 9.--Marble Pavement at centre of West Gallery.] - -_Font._--A fine marble font formerly in the precincts of the Mosque -Zeinab Sultana at the west of S. Sophia, and now in the Imperial -Museum, is the one referred to by Paspates as being probably the font -of S. John Baptist (the Baptistery). He writes that there were only -two remaining in Constantinople, the other being a smaller font in -the precincts of the Mosque Kotza Mustapha Pasha.[142] The font in -the museum which we illustrate is 8 feet 2½ inches long, 6 feet 1½ -inches wide, and 4 feet 6 inches high, wrought out of one fine block -of Proconnesian marble. The outside is carefully finished, which shows -that it stood above the floor. The inside is formed into steps, and -about the rim are several roughly sunk crosses, which we suggest -were filled by inlaid votive crosses of metal. Similar fonts are -shown in the mosaics at S. Mark’s and other places. Texier found one -in the marble quarries of Synnada with steps inside, and others are -found in Palestine, one of which, illustrated in the _Memoirs_ of the -Exploration Fund,[143] closely resembles this at Constantinople, which -we may therefore look on as a typical Byzantine font. - -[Illustration: FIG. 10.--Font from Constantinople.] - -_Consecration or other Crosses._--On the great verde antico columns of -the north side of the nave, about six feet above the floor, appear sunk -crosses about six inches high; on the south side shallow sunk panels -occupy similar positions, formed we may suppose by the Turks for the -purpose of destroying the crosses. Similar sunk crosses occur on some -of the marble columns in the gallery at S. Sergius and at Bethlehem; at -Sinai the nave columns bear inlaid bronze crosses. From the character -of those at S. Sophia we should suppose that they were also formerly -filled by inlaid metal; their similarity in size and the regularity -with which they are placed seem to show that they are of the nature of -consecration crosses rather than being merely votive, or rather that -they were made by the builders, just as a farmer crosses his bags of -wheat. In most of the cisterns of Constantinople one column at least -bears a large fairly wrought cross. - -_Miraculous Marbles and Mosaics._--Clavijo describes a large white slab -in the right of the gallery naturally figuring “the Virgin with Christ -in her most holy arms:” beneath this was an altar in a little chapel -where they said mass. These marbles, in which accidental resemblances -to figures might be traced, were evidently much valued. Felix Fabri -describes a slab at the Holy Sepulchre in which S. Jerome and his -lion appeared. “This picture was not produced by art, but by simple -polishing alone.” - -The column of S. Gregory Thaumaturgus, mentioned by Anthony of Novgorod -as by the entrance and “covered with bronze plates,” may possibly be -the celebrated “sweating column,” which is the first square pillar in -the north aisle. At about five feet from the floor it is cased with -bronze, in which a hole is left over the cavities in the pillar which -are supposed to exude the dampness. The indents are smooth, and look -like natural cavities discovered in the marble when it was wrought. -Canon Curtis, who was kind enough to examine the pillar for us, says -it was perfectly dry, and the attendants assured him that water never -oozed out of the cavities, although “a few drops of water might be -easily kept in each of them.” Sweating columns are well known in the -legends of the middle ages. Benjamin of Tudela speaks of two in -Rome which sweated on the anniversary of the fall of Jerusalem, and -Mandeville mentions four pillars in the Holy Sepulchre “that always -drop water, and some men say that they weep for our Lord’s death.” -Stephen of Novgorod speaks of a mosaic of Christ in S. Sophia from -which holy water flowed from the wounds of the feet. - -_Water Vessels._--At the west end of the church in the right and left -exedras stand two large white Proconnesian marble urns about seven -feet high, of beautiful gourd-like forms. They rise from the centre of -polygonal basins, and water is drawn from them through bronze taps. -It has been said that they were brought from Pergamus or Marmora -by Sultan Murad III.[144] The carving of the turban-like tops is -certainly Turkish, but the vessels seem to be of Byzantine form, and -we are disposed to agree with Grelot, who saw them in their present -position before 1680. He says they were kept full of water “to cool the -Mohammedans overheated by their devout gesticulations.” “If they are -not very ancient, they stand in the place of others, which contained -holy water for the Christians who entered the church.” He associates -with these the palindrome inscription given by Gruter (see our page -191), which he says was written on these, or similar, vessels in gold -letters.[145] - -Now a beautiful cantharus in the Church of S. Peter and S. Andrew, on -the island of Murano,[146] which is almost identical with those of S. -Sophia, is stated to have been brought back thence with the Venetian -booty, and bears a Byzantine inscription:-- - - ΑΝΤΛΗϹΑΤΑΙ · ΥΔΩΡ · ΜΕΤΑ · ΕΥΦΡΟϹΥΝΗϹ · ΟΤΙ · ΦΩΝΗ · - ΚΥ · ΕΠΙ · ΤΩΝ · ΥΔΑΤΩΝ · - -(“Draw the water with gladness, for the voice of the Lord is upon the -waters”); together with a monogram which reads ΝΙΚΟΜΕΔΟΥ. Beneath the -monogram appears a stopping where evidently a tap was fixed, in exactly -the position of those to the urns in S. Sophia. The first half of the -latter inscription is on a small vessel of lead found at Tunis, which, -from the character of the decoration, cannot be later than the fourth -or fifth century. The first mention of the vessels in S. Sophia which -we have been able to find is by an English traveller, Fynes Moryson -(1595), who says, “I did see two nuts of marble of huge bigness and -great beauty.” - -We give in Fig. 11 the vessel in the south exedra at S. Sophia, -together with that of Murano, and for further comparison some beautiful -vessels from a relief of Justinian’s time on the ivory throne at -Ravenna. We have omitted the Turkish top of the former. Canon Curtis, -who has specially examined them, writes to us that between the top and -body of each vessel is a copper band which conceals the joint, if there -is a joint. - -_Images and Tombs._--Very few fragments of Christian sculpture remain -in Constantinople. The Silentiary does not mention any sculpture at S. -Sophia. Probably the feeling which was mature in Leo the Isaurian was -always latent; Oriental Christians sharing in the dislike with which -Jew and Moslem regarded statues. Canon Curtis writes: “On the northern -side of the sweating column I used to see parts of a bas-relief -representing, as I thought, a procession, but it was almost concealed -by the metal plates, and now it is entirely hidden.” The wealth of -the church in icons at a late period may be gathered from incidental -references. Not until a late time do we hear of any tombs in the -church. S. Chrysostom and most of the other patriarchs were buried in -the Church of the Holy Apostles. - -Pachymeres mentions “the stele of the three Germani (Patriarchs of -Constantinople) near the porphyry columns on the west.” Nicephorus -Gregoras[147] also writes that the remains of the patriarch Arsenius -were buried in the great Church of S. Sophia. - -[Illustration: FIG. 11.--Water Vessels from S. Sophia and Murano.] - -_Hangings._--The descriptions on several occasions mention veils and -hangings by the names of _vela_ and _velothyra_. With mosaics and -miniatures to help us it is possible to judge of the lavish way in -which these hangings were used. - -The mosaics at Ravenna show veils hanging at the door of the church -through which Theodora is about to enter, and the large elevation of -the Palace of Theodoric, likewise in mosaic, shows hangings in all the -arches of the portico. Such textiles suspended at entrance doorways -are often mentioned by contemporary authors.[148] At S. Sophia the -doors entering the narthex, and those between it and the church, all -have bronze hooks, to which such “door veils” were suspended; and -embroidered Turkish hangings, which roll up from the bottom by means of -cords and pulleys, are still hung to them. In the Byzantine mosaics the -hangings are often shown raised by being gathered into a loose knot, or -by being drawn to the sides and passed once round the pillars between -which they hang. - -[Illustration: FIG. 12.--Vessels of Sixth Century: from Ivory Throne, -Ravenna.] - -The account of the coronation ceremony describes how the royal persons -were seated in the gynaeceum, screened by “golden velothyra,” so -that they should not be seen until the psaltae sang the “Lift up,” -when immediately the velothyra were raised. Of these hangings in the -interior we have a picture in the account given in the continuation -of Theophanes of an ambassador, Iber Curopalates, who visited -Constantinople in 923, and “was taken to the church of S. Sophia, that -he should inspect its beauty and size and precious ornaments. Now -the walls were all draped with cloth of gold before they led him in, -and he, struck with the great size of the church and its wealth of -adornment, exclaimed, ‘Truly this is the house of God,’ and returned -home.”[149] The _Ceremonies_ mention gold hangings in Catechumena above -Royal Door.[150] Nicetas tells us how the Crusaders “spared neither -the house of God nor His ministers, but stripped the great church of -all its fine ornaments and hangings, made of the richest brocades of -inestimable value.” - -We have no doubt that S. Sophia was frequently adorned inside by the -arcades of both tiers having hangings suspended from the iron bars, -which cross all these arches at their springing, exactly like those -shown in the mosaic of Theodoric’s palace. Indeed Ignatius of Smolensk -(_circ._ 1395), who was present at the coronation of Manuel, says that -the women in the galleries remained behind curtains of silk so that -none might see their faces.[151] - -These hangings seem either to have had simple figures such as squares -with large “gammidae” at the corners worked on them, probably in -gold, or they were patterned over with figures, animals, and flowers, -woven in the stuff like the elaborate veils of the altar described by -the Silentiary. The linen vestments found at Panopolis in Egypt show -us that the “gammidae” originated in embroidered shoulder straps, -with seal-like ends applied on either side of the neck opening. Fig. -13 shows two of the door veils represented at Ravenna; that on the -right is from the mosaic in S. Apollinare Nuovo showing the palace. -The gammidae are here exactly of the form found on the early Coptic -linen vestments, and it cannot be doubted that they were “applied” in -a similar way. The pattern on the left is the door-hanging from the -mosaic of S. Vitale; the plain squares are of gold. The designs on the -robes in this mosaic are interesting. Justinian’s chlamys is covered -with birds in circles, the border of Theodora’s robe displays the three -Magi making their offerings; one of her attendants has a robe powdered -with swimming ducks and a mantle with four petalled red roses on a gold -ground, and another robe has five pointed leaves scattered over its -field. Many examples of the figured silks are preserved in museums. -There is at South Kensington Museum a piece of pictured silk of this -kind, probably of Justinian’s time, which is covered with circles, in -each of which is figured a man and a lion. More than a century before -the time of Justinian, Asterius, Bishop of Amasius, had made these -elaborately figured stuffs a subject of satire: “When men so draped -appear in the streets the passers-by regard them like painted walls. -Their clothes are pictures which little children trace out with their -fingers. There are lions, panthers, and bears, also rocks, woods, and -hunters. The most devout carry Christ, His disciples, and His miracles. -Here we may see the marriage in Galilee and the pots of wine; there -is the paralytic carrying his bed, the penitent woman at the feet of -Jesus, or Lazarus come again to life.”[152] - -[Illustration: FIG. 13.--Door Veils of the Sixth Century: Ravenna -Mosaics.] - -Later the patterns became more heraldic and larger in scale, figuring -for the most part great displayed eagles, and griffons, or lions -affronted. A piece of a textile of this kind in the museum at -Düsseldorf, of which there is a full-size copy at South Kensington, -bears golden lions about two feet six inches long, and the names of -Constantine VIII. and Basil on a pallid purple ground. Frauberger[153] -compares this with another signed example of the same age and similar -design preserved at Siegburg, and a third at Autun, “all of which -were intended for church hangings.” The same writer says that after -Justinian’s introduction of silk weaving in 552 and the loss of Bosra -with its purple-dye vats to Chosroes, an imperial textile industry was -established by the Golden Horn, which existed until the fourteenth -century. Here these hangings were probably produced. - -_Carpets._--Portions of the floor of S. Sophia were almost certainly -strewn with carpets. Porphyrogenitus relates of the New Church of Basil -that “woollen carpets (_nakopetai_) called prayer carpets, of wonderful -size and beauty, and resembling the bright plumage of peacocks, were -laid one over another, completely covering the mosaic pavement of -valuable stones.” The carpets and prayer-rugs of the mosques thus had -their direct parallels, if not their prototypes, in the Byzantine -churches. - -_Synods._--The patriarchal registers, dating from the fourteenth -century, speak of synods sitting “in the right-hand catechumena”; this -probably refers to the south gallery, where the vault has displayed in -mosaic the descent of the Holy Ghost on the Apostles. - -Across this gallery there is at present a screen, which possibly, as -Paspates suggests, shut off the part used by the Synods. (See dotted -line on Fig. 6.) The screen is made up of two marble slabs, each -sculptured into the form of panelled double doors, with architraves -and carved panels. Above the opening left between these is a coloured -marble slab. At the top is a carved wood beam, which, being exactly -like the permanent vault ties, is evidently of Justinian’s age; but the -whole is certainly not an original assemblage of the parts. Each slab, -which imitates a pair of wood doors, has a representation of a bronze -ring handle and a lock-plate on one half, and a hasp on the other, all -exactly copied in sculptured marble. We believe that these imitation -doors are earlier than the church; the idea was common in late classic -times. De Vogüé and Dr. Merrill[154] found several tomb doors, -similarly panelled, studded with imitation nails, and having elaborate -knockers, all carved in stone. An example in marble now in the museum -at Leeds closely resembles the S. Sophia slabs. - -_Clergy and Ritual._--In the time of Justinian the total number of -clergy was 525, but at the time of Heraclius this had been increased to -600.[155] They were thus divided:-- - - Presbyters 80 - Deacons 150 - Deaconesses 40 - Subdeacons 70 - Readers 160 - Singers 25 - Doorkeepers 75 - --- - Total 600 - -The subdeacons, according to the forty-third canon of the Council -of Laodicea, stood by the doors. Porphyrogenitus[156] speaks of the -emperor “passing through the narthex of the gynaeceum, where the -deaconesses have their usual place.” The same author also mentions[157] -“hypurgi of the narthex, readers for alternate weeks, ostiarii of -the Holy Well, a domesticus of the subdeacons, and deputati of S. -Sophia.” A series of seals of the officers of S. Sophia is given by -Schlumberger;[158] the seals are those of the klerikos, diakonos, -manglabites, ekdikos, deuteroboetes, protospatharios, and the -chartophulax. An anonymous author[159] gives a list of the officers of -the “holy and great” church which is too long to be given in full, but -we may note some of the duties mentioned. - -The Oeconomus held “one of the flabella, and stood at the right hand of -the altar, when the patriarch was officiating;” while “the sacellarius, -holding a napkin, stood on the left.” The skeuophylax stood in front of -the skeuophylakium, so as to be ready to hand any vessel that might be -wanted. The chartophulax stood near the “holy doors,” and pronounced -the words of the service, “Approach, ye priests.” The castensius holds -the censer, and draws the curtain at the _Trisagion_. The refendarius -and deputati carried the orders of the patriarch to the princes and -nobles, and summoned them to his presence. When the patriarch was -officiating, the protopapas took precedence of all the other priests, -and even gave the communion to the patriarch. The protopsaltes “stood -in the middle of the church between the right and left choirs,” and led -the singing. On one occasion the number of priests was so great “that -the church of S. Sophia, though it is the greatest of all on the earth, -seemed then too small.”[160] - -Up to the eleventh century, services were only performed in S. Sophia -on Sundays and Saints’ days. In the middle of the eleventh century, -Monomachus arranged that the service should be every day, and for this -extra salaries were given.[161] - -Some idea of the ritual of the services may be gathered from the -offices in the _Euchologium_, edited by Goar, the Cherubic and other -hymns, together with the _Ceremonies_ of Porphyrogenitus. An account -given by Anthony of Novgorod is quoted in the next chapter. Bertrandon -Brocquière writes: “I was curious to witness the manner of the Greeks -performing divine service, and went to S. Sophia on a day when the -patriarch officiated. The emperor was present accompanied by his -wife, his mother, and his brother, the despot of the Morea. A Mystery -was represented, the subject of which was the three youths whom -Nebuchadnezzar had ordered to be thrown into the fiery furnace.” - -Having in our last chapter quoted the description of the procession -and celebration of the Mass, we now give the accounts of the Adoration -of the Cross given by Arculf[162] in the seventh century, and by -Porphyrogenitus in the tenth; together with the directions for the -emperor’s procession to the great church. - -_The Adoration of the Cross._--“In the northern part of the interior -of the house (S. Sophia) is shown a very large and beautiful aumbry, -where is kept a wooden chest, in which is shut up that wooden cross of -salvation on which our Saviour hung for the salvation of the world. -This notable chest, as the sainted Arculf relates, is raised with its -treasure of such preciousness upon a golden altar, on three consecutive -days after the lapse of a year. This altar also is in the same round -church, being two cubits long, and one broad. On three consecutive -days only throughout the year is the Lord’s cross raised and placed -on the altar, that is on the day of the supper of the Lord, when the -emperor and the armies enter the church, and, approaching the altar, -after that sacred chest has been opened, kiss the Cross of Salvation. -First of all the emperor of the world kisses it with bent face, then -going up one after another in the order of rank or age all kiss the -cross with honour. Then on the next day, that is on the sixth day of -the week before Easter, the queen, the matrons, and all the women of -the people approach it in the above-mentioned order, and all kiss it -with reverence. On the third day, that is on the Paschal Sabbath, the -bishop, and all the clergy after him, approach in order with fear -and trembling and all honour, kissing the Cross of Victory which is -placed in its chest. When these sacred and joyful kissings of the -sacred cross are finished, that venerable chest is closed, and with -its honoured treasure it is borne back to its aumbry. But this should -also be carefully noted, that there are not two but three short pieces -of wood in the cross, that is the cross beam and the long one which -is cut and divided into two equal parts; while from these threefold -venerated beams when the chest is opened, there arises an odour of a -wonderful fragrance,[163] as if all sorts of flowers had been collected -in it, wonderfully full of sweetness, satiating and gladdening all in -the open space before the inner walls of the church, who stand still as -they enter at that moment; for from the knots of those threefold beams -a sweet-smelling liquid distils, like pressed-out oil, which causes -all men of whatever race, who have assembled and entered the church, -to perceive the above-mentioned fragrance of so great sweetness. This -liquid is such that if even a little drop of it be laid on the sick, -they easily recover their health, whatever be the trouble or disease -they have been afflicted with.” - -The passage from the _Book of the Ceremonies_[164] describing the -Exaltation of the cross on September 14th begins with the emperor -“passing through the palace Manaura, and the upper corridors, ascending -by the wooden staircase, and entering the _catechumena_[165] of the -great church.” After he has reached the catechumena and “lighted -candles, and prayed, he takes his seat in the part on the right-hand -side.” “The emperor then summons the patriarch, who remains for a -short time with the emperor, and then goes out, and comes to the small -secretum, where is kept the Holy Wood, and receives the emperor there. -And as the congregation begin the ‘Glory to God in the Highest,’ the -emperor enters, and kisses the Sacred Wood, and comes out into the -great secretum. Then the emperor, following the Cross, descends by the -great winding staircase, keeping to the left, and passes through the -Didaskalion,[166] where the paschalia are inscribed, and having gone -down the steps, he enters through the great gate of the narthex, and -reaches the royal doors and stands there. The emperor and patriarch now -pass through the middle of the nave, and on the right of the ambo into -the solea; here the emperor stands before the Holy Doors, and gives -the candle he is carrying to the praepositus. He then enters the bema, -and having kissed the Sacred Wood, and turning round, he comes out -again, and passes through the solea, then mounts the third or fourth -step of the ambo and stands there, holding the candle. The patriarch -then comes out of the bema and mounts the ambo with the Sacred Wood, -and the emperor gives his candle to the praepositus, and remains there -until the Wood has been elevated in the four quarters of the ambo. The -emperor and patriarch then descend from the ambo and enter the bema, -and the Wood being placed before them the emperor prays and kisses it, -and coming out through the side of the bema he is conducted by the -patriarch to the Holy Well, and having kissed it, he continues to the -palace.” - -It would almost appear that whereas in the time of Arculph (_circa_ -680) the Cross was kept in one of the north-eastern chambers by the -bema, in the time of Porphyrogenitus (tenth century) it was preserved, -during certain periods, in a secretum accessible from the gynaeceum. -Possibly the small upper chapel on the south side with mosaic ceiling, -and the additions over the south porch, both built about the tenth -century, may be the chambers in question. At the end of the ceremony -the Cross was left in the bema, and it may be that only on the -occasion of the Festival of the Cross was it taken up to the gallery, -preparatory to a procession through all parts of the church. - -_Procession to the Church._--The following is an account of a pageant, -which is the first in the _Book of Ceremonies_--the order of the royal -procession to the Great Church. On the day preceding the feast, notice -was given so that the way might be adorned with flowers. The emperor -and princes carried gifts, and processional candles, and the Cross -of St. Constantine.[167] Priests were sent to receive him with the -Cross of the Lord, which was taken from the church by the Sacristan -(_skeuophulax_). - -In proceeding to the church there were six “receptions.” Three were -in various parts of the palace, “and the princes come to the gate -(Chalké), and the fourth reception takes place outside the barrier of -Chalké; the fifth reception takes place in front of the Great Gate -which leads into the Augusteum; and the sixth reception is at the -Horologium of S. Sophia.”[168] - -“And from thence the princes enter through the Beautiful Gate, and -have their crowns removed by the praepositi within the curtain that -hangs in the chamber, that is to say, the propylaeum of the narthex. -And the patriarch receives them at the door of the narthex with the -usual ceremony.... The lords remove their crowns, kiss the holy Gospel -carried by the archdeacon, greet the patriarch, and proceed up to the -royal doors. Bearing the candles and bowing thrice, the entrance is -made after a prayer by the patriarch; then those carrying the sceptres -and vessels stand right and left of the church; but those bearing the -banners and the books stand on either side in the solea; and the Cross -of St. Constantine is placed on the right side of the bema. And when -the lords come to the Holy Doors and to the porphyry omphalion, the -patriarch alone enters within the screen, by the holy door on the left. -The princes, after bowing thrice, enter with the candles, following -the patriarch, and coming to the holy table they kiss the holy cloth, -and they place as is usual on the holy table the two white veils, and -kiss the holy chalices, and the two discs and the holy corporal cloth, -which are handed to them by the patriarch. And then by the right-hand -side of the bema the princes enter with the patriarch the _Kuklis_, -where is placed the Holy Crucifix of gold, and again they bow with the -candles three times praising God; and the patriarch gives the censer to -the emperor and he censes the crucifix: then they kiss the patriarch, -and take leave of him and enter the oratory, which is in front of the -metatorion, and there, bowing three times and praising God, they kiss -the Holy Cross as well as all the Instruments of our Lord’s Passion, -and then enter the metatorion.” - - - - -CHAPTER VI - -RELICS, TREASURE, AND THE LIGHTING OF THE CHURCH - - -§ 1. RELICS. - -_The True Cross._--There would seem to be little doubt that a discovery -was made about 326 of what was supposed to be the true Cross. S. Cyril -of Jerusalem, writing some twenty-five years later, says that portions -of the Cross were spread all over the world. We have seen (p. 14) that -early historians relate that a portion of this precious relic was sent -to Constantinople by Helena. The principal part however remained at -Jerusalem until it was taken by Chosroes. It is described by some of -the pilgrims to the holy city as being encased in silver. Brought back -from Persia by Heraclius in 628 together with the spear and sponge, -it rested for a brief interval in S. Sophia, where it was “uplifted”; -but it was again returned to Jerusalem until 636,[169] when under the -fear of the coming troubles the larger portion at least was removed. -Rohault de Fleury, who devoted a folio volume to the Instruments of the -Passion, quotes a letter from Anseau, a priest of the Holy Sepulchre -in the twelfth century, which was sent to Paris with a portion of -the Cross. According to this account the Holy Wood was divided into -nineteen small Crosses, of which Constantinople possessed three besides -the “Cross of the Emperor,” and Jerusalem retained four. We have -positive evidence that in the century before Heraclius Constantinople -was a centre where portions of the Cross were to be obtained: thus -Radegunde, wife of Clothaire, received a fragment from Justin II. and -Sophia in 569.[170] At this time, according to John of Ephesus, there -was “a day of the adoration of the Holy Cross of our Saviour; on this -festival the Cross is brought out and set up in the Great Church, and -the senate and all the people of the city assemble to worship it.”[171] -Probably the Exaltation was celebrated concurrently at Jerusalem and at -Constantinople. - -When we more definitely hear of the True Cross at S. Sophia, it is -evident, from the frequent occasions in which it is transported to -different parts of the church, and to the palace, that it was quite -small, a relic in fact. - -Arculf (_circa_ 680), as we have seen, describes it as kept in a chest, -on a golden altar, which was only two cubits long by one broad. He -says: “it should be specially noticed that there are not two but three -short pieces of wood in the cross; that is, the cross beam, and the -long one divided into two equal parts.” - -Now in the _Menologium_ of Basil we have a representation of the -Exaltation of the Cross, which the patriarch is uplifting in an ambo. -It is represented as a double cross made up of three pieces, not of -two. A miniature of the finding of the Cross in the National Library of -Paris shows the same form. Didron remarks that the cross with double -branches probably originated in Greece, “for it is constantly seen in -Attica, in the Morea, and on Mount Athos.” This form appears frequently -on the later coins of Constantinople, and we find that most of the -relics of the True Cross which still exist on Mount Athos and other -places are made up with double arms. A reliquary for the fragment, -said to be that which was sent to Radegunde, was preserved in the -monastery of S. Cross at Poitiers in the last century. The field was of -_cloisonné_ enamel, blue with here and there a red flower. A drawing of -this relic, of which we give an outline,[172] shows that this fragment -of the True Cross was made up in the double-armed form, which was -repeated in the relic at the Ste. Chapelle.[173] Two such relics now -at Venice are doubly interesting, for besides a cross of this form two -supporting figures are represented which are inscribed Constantine and -Helena.[174] Now Cedrenus and other late writers say that in the Kamara -of the Milion were the figures of Constantine and his mother, with the -cross between them. The same composition appears in the mosaics at -the monastery of S. Luke. The two Venice relics bear the names of the -Empresses Maria (1180) and Irene (1350). - -[Illustration: FIG. 14.--Showing form of True Cross at S. Sophia.] - -Fig. 14 represents the Poitiers reliquary; the True Cross as shown in -the _Menologium_; and a cross from a late coin. We cannot doubt that -the Cross at Constantinople was of this form. Was it the result of the -conjunction of three pieces as mentioned by Arculph, or did the upper -arm from the first represent the label? - -With the Cross were associated the other Instruments of the -Passion--the Crown of Thorns, the Sponge and Spear, and slabs from the -Tomb. - -The catalogue of relics by Nicholas Thingeyrensis (1200) says, “In S. -Sophia is the Cross of the Lord which Helena the Queen brought;”[175] -but at that time the greater part of the Cross and other relics of -the Passion seem to have been transferred to the chapel in the palace -of Boucoleon, where they were seen by Robert de Clari (1200). The -anniversary of the day on which they were moved from S. Sophia, August -14th, was kept as a holiday. According to Paspates all the relics of -the Passion were removed in 1234. Baldwin II. took the Crown of Thorns -which was acquired by S. Louis. It is evident, however, from the later -Pilgrims quoted below, and from Mandeville, that a part of the Passion -relics remained or that others were acquired. - -_Other Treasure and Relics._--“Not only kings and patriarchs, but also -private individuals and monks brought to Constantinople relics of the -apostles and martyrs, ancient ikons, and all kinds of sacred objects -connected with the saints of the church. Anything of value in the -whole land of Palestine was for the most part moved to Constantinople, -and such was the reverence for relics that no church, monastery, nor -oratory was built without them.”[176] So early as 415, when S. Sophia -was rededicated, it was necessary to have fresh relics (see page 16). - -A description of the relics and the treasure of Constantinople is given -in the letter supposed to have been written in 1095 by Alexius Comnenus -to Robert, Count of Flanders, in which he craves the assistance of -the West against the Turks. After enumerating the relics scattered -throughout the city, he continues, “If you do not care to fight for -these, and gold will tempt you more, you will find more of it at -Constantinople than in the whole world, for the treasures of its -basilicas alone would be sufficient to furnish all the churches of -Christendom, and all their treasures cannot together amount to those of -S. Sophia, whose riches have never been equalled even in the temple of -Solomon.” - -The dispersion of the relics and treasures of S. Sophia and the other -churches at Constantinople has been exhaustively treated by Count -Riant.[177] The description by Anthony, Archbishop of Novgorod, who -visited S. Sophia in 1200, three years before the capture by the -Crusaders, furnishes the best account of the accumulated riches of the -great church. We give this in full from the French version contained in -_Itinéraires Russes en Orient_.[178] - -“I, Antonius, Archbishop of Novgorod, an unworthy and humble sinner, by -the grace of God and by the help of S. Sophia, who is the Wisdom and -the Eternal Word, reached in safety the imperial city, and entered the -great Catholic and Apostolic Church. We first worshipped S. Sophia, -kissing the two slabs of the Lord’s sepulchre. Furthermore we saw the -seals, and the figure of the Mother of God, nursing Christ. This image -a Jew at Jerusalem pierced in the neck with a knife, and blood flowed -forth. The blood of the image, all dried up, we saw in the smaller -sanctuary. - -“In the sanctuary of S. Sophia is the blood of the holy martyr -Pantaleon with milk,[179] placed in a reliquary like a little branch -or bough, yet without their having mixed. Besides that there is his -head, and the head of the Apostle Quadratus, and many relics of other -saints: the heads of Hermolaus and Stratonicus; the arm of Germanus, -which is laid on those who are to be ordained patriarchs; the image of -the Virgin which Germanus sent in a boat to Rome by sea; and the small -marble table on which Christ celebrated His Supper with the disciples, -as well as His swaddling clothes and the golden vessels, which the Magi -brought with their offerings. - -“There is a large gold ‘disc’ for the mass, given to the patriarch by -Olga, a Russian princess, when she came to the imperial city to be -baptized.[180] In this disc there is a precious stone which displays -the image of Christ, and the seal-impressions from this are used as -charms; but on the upper side the disc is adorned with pearls. - -“In the sanctuary is likewise preserved the real chariot of Constantine -and Helena, made of silver; there are gold plates, enriched with pearls -and little jewels, and numerous others of silver, which are used for -the services on Sundays and feast days: there is water also in the -sanctuary coming out of a well by pipes. - -“Outside the smaller sanctuary[181] is erected the ‘Crux Mensuralis,’ -which shows the height of Christ when on earth; and behind that cross -is buried Anna, who gave her house to S. Sophia, where now is the -smaller sanctuary, and she is buried near. And near this same smaller -sanctuary are the figures of the holy women and of the Virgin Mother -holding Christ, and shedding tears which fall on the eyes of Christ. -They give of the water of the sanctuary for the blessing of the world. - -“In the same part is the chapel of S. Peter the Apostle, where S. -Theophania is buried. She was the guardian of the keys of S. Sophia, -which people used to kiss. There is also suspended the carpet of S. -Nicholas. The iron chains of S. Peter are kept there in a gold chest; -during the feast of ‘S. Peter’s Chains’ the emperor, the patriarch, -and all the congregation kiss them [see Fig. 8]. Near by, in another -chapel, is also shown the crystal of the ancient ambo, destroyed when -the dome fell. - -“By the side of [the images of] the holy women is the tomb of the son -of S. Athenogenius.... There are no other tombs in S. Sophia except -that, and a lamp hangs in front of it, which once fell, full of oil, -without being broken. The place is inclosed by a wood screen, and the -people are not allowed to enter. - -“When one turns towards the gate one sees at the side the column of -S. Gregory the Miracle-Worker, all covered with bronze plates. S. -Gregory appeared near this column, and the people kiss it, and rub -their breasts and shoulders against it to be cured of their pains; -there is also the image of S. Gregory. On his feast day the patriarch -brings his relics to this column. And there placed above a platform is -a great figure of the Saviour in mosaic; it lacks the little finger of -the right hand. When it was finished, the artist looked at it and said, -‘Lord, I have made thee as if alive.’ Then a voice coming from the -picture said, ‘When hast thou seen me?’ The artist was struck dumb and -died, and the finger was not finished, but was made in silver-gilt. - -“Above the gate is depicted on a large panel the Emperor Leo the Wise, -and in front of it is a precious stone, which illuminates S. Sophia at -night-time. This same Emperor Leo took a certain writing from Babylon, -which was found in the tomb of the prophet Daniel. It was copied, and -on it were written the names of the Greek emperors. At the royal gate -is a bronze romanistum[182] or bolt by which the door is closed. Men -and women are brought to it, and if they have drunk serpent poison or -any other poison, they cannot remove the bolt from the mouth, until all -the evil of the disease has trickled away with the saliva. - -“By the great altar on the left is the place where an angel of the Lord -appeared to the boy who was guarding the workmen’s tools, and said, -‘I will not leave this spot as long as S. Sophia shall remain.’ Three -figures are shown in this place, for the angels are painted there; and -a multitude of people come there to pray to God. Not far from there -is the place where they boil the holy oil, burning underneath it old -ikons, whose features one can no longer trace. With this oil they -anoint children at baptism. Above the sanctuary there rises in the air -a great hollow vault covered with gold. In the sanctuary are eighty -candelabra of silver for use on feast days, which occupy the first -place, besides numberless silver candelabra with many golden apples. - -“Above the great altar in the middle is hung the crown of the Emperor -Constantine, set with precious stones and pearls. Below it is a golden -cross, which overhangs a golden dove. The crowns of the other emperors -are hung round the ciborium, which is entirely made of silver and -gold. Thus the altar pillars and the sanctuary and the bema are built -of gold and silver, ingeniously made, and very costly. From the same -ciborium hang thirty smaller crowns, as a remembrance to Christians of -the pieces of money of Judas. To the ciborium were attached curtains, -which were formerly drawn by the bishops during the services. We asked -why they did so, and they answered so that the priests should not see -the women and the people, but should serve the supreme God with a pure -heart and soul. Later the heretics,[183] when nobody could see them as -they were behind the curtains, took the body and blood of Christ, and -spat them out, and trampled on them. The Spirit warned the fathers of -this heresy, and the fathers fixed the curtains to the columns of the -ciborium, and set an archdeacon near the patriarch, metropolitan, or -bishop, so that they should worship God holily without heresy.... When -Jerusalem was taken by Titus many sacred vessels and curtains were -brought to [New] Rome with the royal treasures and given to the church -of S. Sophia. In S. Sophia also are preserved the tables of the Law, as -well as the Ark and manna. The subdeacons, when they sing ‘Alleluia’ -in the ambo, hold in their hands tablets like those of Moses. During -the procession of the Holy Sacrament the eunuchs commence to sing, and -then the subdeacons, and then a monk chants alone. Then many priests -and deacons carry the Holy Sacrament in procession; at this time all -the people not only below, but also in the galleries, weep in great -humility. What then ought to be the fear and humility of the bishops, -the priests, and the deacons in this holy service? - -“How magnificent are the gold and silver chalices, garnished with -precious stones and pearls! When the splendid chest, called Jerusalem, -is brought out with the flabella, there rises amongst the people a -great groaning and weeping.... But here is a wonderful miracle, which -we saw in S. Sophia. Behind the altar of the larger sanctuary is a -gold cross, higher than two men, set with precious stones and pearls. -There hangs before it another gold cross a cubit and a half long, with -three gold lamps, which hang from as many gold arms (the fourth is now -lost). These lamps, the arms or branches, and the cross, were made by -the great Emperor Justinian who built S. Sophia. By virtue of the Holy -Spirit the small cross with the lamps ascended above the big cross, -and again slowly came down again without going out. This miracle took -place after matins, before the commencement of the mass: the priests -who were in the sanctuary saw it, and all the people in the church who -saw it cried with fear and joy, ‘God in His mercy has visited us.’ ... -This great and wonderful miracle was wrought by God in the year 6708 -[A.M.] on Sunday, May 21st, being the Commemoration of S. Constantine -and his mother Helena, during the reign of the Emperor Alexius and -the patriarchate of John. It was on the feast of the 318 fathers. -Iverdiatinus Ostromitza was then living at Constantinople; he was an -ambassador from the great Roman duke. Nedanus, Domagirus, Demetrius, -and Novgaro were also there. - -“At S. Sophia on the right near the sanctuary is a piece of red marble, -on which they place a golden throne; on this throne the emperor is -crowned. This place was surrounded by bronze closures to prevent people -walking on it; but the people kiss it. At this place the Holy Virgin -prayed to her Son, our Lord, on behalf of all Christians; a priest who -was guarding the church at night saw her. On the same side is also -the grand icon of S. Boris and S. Glebe, which artists copy. When -officiating, the patriarch holds it high up in the tribune. - -“In the chapel behind the altar are affixed to the wall the upper -slab of the Lord’s sepulchre, the hammer, the gimlet, and the saw, -with which the cross of the Lord was made; also the iron chain which -was hung to the gate of S. Peter’s prison, and the wood of the cross -which Christ’s neck touched. This is inserted in a reliquary in the -form of a cross. In this chapel above the door is painted S. Stephen, -protomartyr, and a lamp is hung before him; when any one has bad eyes, -they put round his head the rope by which this lamp is hung, and his -eyes are healed. - -“There is also the figure of Christ whose neck the Jew struck,[184] and -the bronze trumpet of Joshua, who took Jericho, and the marble mouth -of the well of Samaria. Near it Christ said to the woman of Samaria, -‘Give me to drink;’ the well mouth has been cut in half, and the -Samaritans still draw water [from the other half]. - -“There lie also the bodies of S. Abercius, S. Gregory, and S. -Sylvester, and the heads of Cyrus and John, and many other relics. -There also is the Baptistery, upon which is painted all the history of -the baptism of Christ by John in the Jordan: and how John taught the -people, and how little children and men threw themselves in the Jordan: -all this was executed by Paul the Skilful during my lifetime, and there -is no painting like this. There are there wooden supports, upon which -the patriarch has had placed the figure of Christ, thirty cubits high; -Paul first painted the Christ with colours made of precious stones and -crushed pearls mixed with water; this image is still at S. Sophia. - -“And when they sing matins at S. Sophia, they sing first before the -great doors of the church, in the narthex, then they enter and sing in -the middle of the church; then they open the paradise gates, and sing -the third time before the altar. Sundays and saints’ days the patriarch -assists at matins and at mass, then he blesses the singers from the -ambo, they stop singing and then say the _polykronia_: then they begin -to sing again, and sing as harmoniously and sweetly as the angels till -the Mass. After matins are finished, they put off their surplices -and then go out and ask the patriarch’s benediction for the mass. -After matins the prologue is read in the ambo till the mass; when the -prologue is finished, the liturgy is commenced, and, after the service -is over, the chief priest in the sanctuary recites the prayer called -‘Of the ambo,’ while the second priest recites it in the church on the -side of the ambo, away from [the sanctuary]: both, when the prayer is -finished, bless the people. In a similar way vespers are sung. There -are no bells at S. Sophia, but a little hand-bat [_hagiosidère_] -which they strike for matins, though they do not strike it for mass -and vespers, as in other churches: they follow the precepts of the -angel in having this bat; the Latins have bells.... When they built S. -Sophia, they inclosed holy relics in the walls of the sanctuary. There -are also many cisterns at S. Sophia. Above [evidently _under_] the -galleries are the cisterns and storehouses of the patriarchs and of -the Church. Vegetables of every kind [suitable for the table] of the -patriarchs, melons, apples, and pears are preserved at the bottom of -the cisterns in baskets hung by cords: when the patriarch wants to eat, -they bring them up quite fresh: and the emperor eats them also. The -bath of the patriarch is also above [under] the galleries; the water -of the fountains mounts by pipes, and the rainwater is preserved in -cisterns. On the galleries are painted all the patriarchs and emperors -of Constantinople, and those who shared their heresies. In the choirs -of the church are five heads ornamented with pearls like a silver [word -indecipherable].... Lazarus, the image painter[185] ... first painted -at Constantinople, in the sanctuary of S. Sophia, the Virgin holding -Christ and two angels.... S. Sophia has 3,000 priests; 500 share in the -benefices of the church and 1,500 have no share; when one of the 500 -priests dies, his place is taken by one of the 1,500.” - - * * * * * - -_Frankish Occupation and After._--Three years after the visit of -Anthony, Constantinople was taken by the Latins. One of the Crusaders, -Villehardouin, writes, “Of holy relics I need only say it contained -more than all Christendom combined; there is no estimating the quantity -of gold, silver, precious vessels, jewels, rich stuffs, silks, robes -of vair, gris, and ermine, and other valuable things--the production -of all the climates in the world. It is the belief of me, Geoffrey -Villehardouin, maréchal of Champagne, that the plunder of this city -exceeded all that has been witnessed since the creation of the world.” - -Much of the accumulated wealth of six centuries--the gifts from -emperors and private individuals of “sacred vessels of gold and pearls -and precious stones”[186]--was removed by the Venetians and Franks. -Many of these precious objects are lost beyond hope of recovery; such -are the candlesticks and crosses. As some representation of these we -give a figure of a gemmed processional cross, with its _seizae_ of -jewels, from the _Menologium_ of Basil (Fig. 15). - -[Illustration: FIG. 15.--Jewelled Processional Cross.] - -In the treasury of S. Mark’s at Venice there is however a rich hoard of -vessels, lamps, and other objects, which were taken from the churches -of Constantinople; and many of these crystal lamps, agate cups, and -enamelled book-covers doubtless belonged to S. Sophia. - -Amongst these may be mentioned an agate chalice with the name -Sisinnius. This may probably be referred to a Patriarch of -Constantinople of that name in 996; another with the name Ignatius to a -patriarch in 877; a third with the inscription “Lord help Romanus, the -Orthodox Emperor” to Romanus Lecapenus (919-944).[187] Extracts from -the Venetian historians mentioning objects brought from Constantinople -are given by Riant. Paulus Maurocenus speaks of “the many holy relics, -and small figures, and chalices and patens and other beautiful things -from the church of S. Sophia;” also, “the very same doors which now -close the church of S. Mark’s ... and two censers of gold from S. -Sophia of such grace and beauty that one cannot see them without being -astounded.” He also mentions, though it is not quite clear if he -associates this with S. Sophia, “The palla of silver-gilt with the -figures of our Lord, the Virgin, the Apostles, prophets, doctors, and -martyrs, which is now placed in the church of S. Mark.”[188] - -The head of S. Pantaleon was taken by Heinrich Ulmen to the church of -the saint at Cologne. - -After the interregnum, S. Sophia was visited by several other Russian -pilgrims, who have left accounts of the church which agree very -closely. Of the fullest of these, which is by an anonymous Russian -writer, 1424-1453, we give a condensed abstract, as it contains one or -two more points, shows the acquisition of other relics in the place -of those lost, and is useful for comparison with the anonymous Greek -author translated in the next chapter:-- - -Near the west door in the middle of the narthex are the doors of the -ark of Noah and the chain which bound the apostle Paul. Above the -door is the miraculous image of the Saviour, and a lamp is suspended -before it. In the sanctuary is the life-giving Cross on which the Jews -crucified Christ. The stone on which He sat and conversed with the -woman of Samaria is in the chapel on the right. Here is the table of -Abraham. At the bottom of the church against the wall to the right -of the altar is the bed of iron on which martyrs were burnt. Here is -a stone coffer with relics of Martyrs and the Innocents. To the left -is the tomb and the whole body of Arsenius: the doors of the ark: the -bench where Jeremiah the prophet wept, and a column by which Peter -wept. To the left are buried S. George and S. Theologos. On the left is -a little shrine beautifully built; it contains the image of the Virgin -which wept when the Franks held Constantinople. Her tears, resembling -pearls, are kept in a coffer before the image. The instruments of the -Passion are exposed from Thursday to Saturday. Beyond is the image of -Christ in marble, and the cross of S. John chained to the wall. Near -the Holy Table in the bema is the tomb of S. John Chrysostom, covered -by a plank overlaid with gold and gems. To the right on entering the -church are situated a well and large basin of marble in which the -patriarch baptizes. One leaves S. Sophia by the south door; at some -steps from the gate, to the left, is the Church of the Holy Saviour; -above the door is suspended an image which an emperor attempted to -destroy. Behind the bema of S. Sophia is the church of S. Nicholas. -Near by in front of the door which is behind the altar of S. Sophia is -the place where they bless the water, plunging in the Cross; a roof -covered with lead surmounts the basin of green marble. It is here they -baptize the emperors; four cypresses and two palms form a crescent -in this place. Some distance in front of the ambo of S. Sophia is a -pedestal of marble which supports the holy chalice; it is within a -stone inclosure, and is covered by a vault of gilt copper. From the -entrance of the church to the ambo is 66 cubits, and it is 30 beyond to -the sanctuary, which is 50 long by 100 wide. The church is 200 cubits -wide and 150 high. Above the first door is Solomon in mosaic in a -circle of azure. - -That these accounts accurately relate the stories of the guardians of -S. Sophia is sufficiently proved by La Brocquière, who was told in 1433 -that S. Sophia possessed “one of the robes of our Lord, the end of the -lance that pierced His side, the sponge that was offered to Him, and -the reed that was put in His hand. I can only say that behind the choir -I was shown the gridiron on which S. Lawrence was roasted [the iron -bed], and a large basin-like stone on which they say Abraham gave the -angels food when they were going to destroy Sodom and Gomorrah.” - - -§ 2. LIGHTING. - -The description by the Silentiary[189] of the lamps and candelabra -which illuminated the Great Church forms one of the most fascinating -parts of the whole poem. Although the multitude of lamps which once -lit up the interior have long disappeared, the main features of the -lighting may be brought back to our imaginations by comparing the -description with illustrative examples. First then in the central -space under the great dome, chains fell from the height of the upper -cornice, where they were probably attached to strong bronze arms which -projected far out like the present metal stakes which project in the -exedras on the first-floor cornice. These chains all terminated at -some height above the floor in supporting the great sweep of a metal -circle to which were suspended flat circular discs of silver, each of -which was pierced with holes into which were dropped glass oil vases -with rims which prevented them falling through. With these discs were -associated crosses of metal which also carried lamps. These, cross and -disc together, or alternately, hanging round in a great circle made a -“circling chorus of bright lights” within which was a large corona of -other lamps and above it a large central disc. - -Then along the sides of the church were rows of lamps in the forms of -silver bowls, and ships; other rows of lights were attached to beams -supported above the floor by metal standards, and to projecting metal -arms, or suspended rods. Upon the beam of the iconostasis was a row -of candelabra, each with a series of horizontal circles diminishing -upwards about the stem, like a fir-tree, issuing from a silver bowl. -Above the centre of the iconostasis was a great standard light-bearing -cross. Round about the ambo similar light trees were placed. - -Light coronae, crosses, or single lamps were favourite gifts to a -church, and in these objects S. Sophia probably became much more -wealthy as time went on. Michael III., for instance, gave to the church -in 867 “a circle (_kuklos_) for lights which they call a polycandelon, -as big as any of the others but all of gold weighing sixty pounds. To -it was given the first and most holy place.”[190] “A chalice and paten -superior to all the others, as well as a polycandelon in the form of -a cross with many lamps,” are also mentioned as given by Michael. His -successor Basil I., “as there was a danger of the sacred lamps being -extinguished for want of oil,” assigned for the use of the church “the -tribute called mantea, so that the light might never be quenched.”[191] -The Anonymous doubtless exaggerates beyond belief with his 300 -polycandela and 6000 lamps all of gold, but the kinds of candelabra he -speaks of must have been perfectly well known (p. 140). - -[Illustration: FIG. 16.--Polycandelon or Disc, for Seventeen Lamps, in -the British Museum.] - -At the end of the twelfth century, Robert de Clari, the knight of -Amiens, wrote--“Throughout the church hang one hundred candelabra, and -there is not one which does not hang from a silver chain as thick as a -man’s arm, and each candelabrum has quite twenty-five lamps or more, -and there is not a single candelabrum which is not worth two hundred -silver marks.” Benjamin of Tudela mentions “candelabra, lamps, and -lanterns, of gold and silver more than any man can name;” and Stephen -of Novgorod (1350) speaks of “a multitude immense, innumerable, of -lamps.” - -Of the great brilliance of illumination obtained in the early churches -there can be no doubt. Paulinus writes that at his church at Nola the -lights were suspended in such profusion that they seemed to float in a -sea. An interesting account of the method of lighting followed at the -Lateran, illustrated by a plan of the circles, is given by Rohault de -Fleury.[192] - -A Byzantine lamp-holder lately sent to the Louvre from Constantinople -is probably almost identical in general form with the “discs” of -Paulus. This polycandelon is a broad flat ring of bronze pierced with -eight holes for as many lights, and suspended by four chains. It bears -a votive inscription which reads, “Lord, remember thee of Thy servant -Abraham, son of Constantine.”[193] - -In the British Museum is a much more ornate example of the same kind of -disc. This is also of bronze, about sixteen inches diameter, pierced -with seventeen holes for the lights, the interspaces being cut away -to form a radiating pattern. We give a drawing of this interesting -lamp, with which we have associated a small pierced plate for a lamp -chain in the same collection (Fig. 16). In the Archæological Museum at -Granada there is an ornamental disc closely resembling the example in -the British Museum. It came from the mosque of Elvira, and probably -belongs to the ninth century. We mention this because the bottom plate -of the modern mosque lamp with the small holes which take glass tubular -vessels eight or ten inches long and only about two inches in diameter, -continues the tradition of the Byzantine polycandela, and the oil -vessels well represent those like spear shafts mentioned by the Poet. - -[Illustration: FIG. 17.--Silver Polycandelon from Lampsacus, in the -British Museum.] - -In another example in the British Museum the disc is not quite flat but -of the form of a dinner plate, the holes for the lamps being around the -rim. This lamp-holder is of silver, and was brought from Lampsacus near -Gallipoli with several altar vessels inscribed with a monogram which -reads ΜΗΝΑ or ΑΜΗΝ. In Fig. 17 we have restored the oil vases. Another -bronze polycandelon has recently been brought from Egypt by Professor -Flinders Petrie: this is about eight inches across (Fig. 18[194]). - -[Illustration: FIG. 18.--Coptic Polycandelon for Four Lamps.] - -On Mount Athos we probably find the best existing parallel to the -circle of discs at S. Sophia in the monastery of Docheiareiu (see Fig. -19).[195] In the words of the Silentiary, “these discs form a coronet.” - -The second crown of lights, which hung within the great circle of discs -at S. Sophia, would also have had a circular rim supported by chains -with lamps suspended beneath, or attached to arms projecting from the -rim. S. Bernard speaks of a church where were placed “not crowns but -wheels with precious stones and lights around them.” To these circular -candelabra ecclesiastical writers usually give the title of coronae. -Leo III. gave to the basilica of S. Andrew at Rome a “gold corona of -lamps set with gems.” Other authors call crowns with lamps of this kind -_phara_; we read in Leo Ostiensis of a “pharum or large crown of silver -with six and thirty lamps hanging from it.”[196] They are also spoken -of as _cycli_, but more generally as _polycandela_. The _Chronicon -Cassinense_ mentions “a pharos or crown of silver, weighing a hundred -librae, twenty cubits round about, with twelve towers projecting from -it, and thirty-six lamps hanging from it. This was fixed outside the -choir, before the great cross, by an iron chain adorned with seven gold -apples.”[197] The same chronicle also speaks of a “silver-gilt corona, -coloured with precious stones, with six crosses hanging from it.” The -great circles of Aix and Hildesheim are the best-known examples of the -ancient coronae. These have twelve towers like that just mentioned, and -they symbolised the New Jerusalem. R. de Fleury suggests that relics -were contained in such turrets. An extremely beautiful pharos in the -Hermitage Museum represents a basilica. - -[Illustration: FIG. 19.--Corona with Lamp Discs, Mount Athos.] - -The light crosses were very generally known throughout Christendom, -and the historian Socrates mentions that crosses of silver with -burning candles upon them were carried in processions in the time of -Chrysostom. According to Anastasius, at S. Peter’s there was a large -pharos “in the form of a cross which hung before the presbyterium -having 1,370 candles;” this was lighted four times a year; also “a -gold carved cross hanging before the altar with twelve candles,” -and “a cross lamp with two little ships and three fishes.” The lamp -cross hanging in S. Mark’s is the best-known example remaining. It -is possible that those at S. Sophia mentioned with the discs hung -horizontally to four chains. - -[Illustration: FIG. 20.--Single Lamp with Votive Inscription.] - -At S. Sophia, in addition to the discs, crosses, and circles, there -were, according to Du Cange, lamps hung from nets. The word which he -interprets in this way is that translated “skiff” (line 480), as it -means a small row-boat. How he gets his interpretation of nets it is -difficult to see. We mention it here for its intrinsic beauty only: it -was a familiar arrangement for lamps. Anastasius in his Lives of the -Popes speaks of one of the churches at Rome having “a pharos in the -form of a net,” and again of a large pharos “like a net with twenty -baskets,” and also “a bronze net with silver baskets.” - -The hanging lamps in the form of ships mentioned by our poet would -have carried the oil vessels round their sides. A most interesting -example of a lamp of this kind is given in the _Dictionary of Christian -Antiquities_ (Smith and Cheetham). It represents a small vessel with -a mast and sail, containing two figures, one steering, and the other -looking out from the prow. These figures are either Peter and Paul -or more probably Christ and Peter. The symbolism of the ship for the -Church is too familiar to need comment; the mast in the centre, without -which the ship is unsafe, as S. Ambrose says, typifies the cross -without which the church is unable to stand. The galley form of lamp -was well known also in antiquity. In the Christian era it was only one -of the many beautiful and suggestive forms in which lamps were made; -some resembled birds, crystal fish, or shells, others again were bowls -of white or emerald glass. - -[Illustration: FIG. 21.--Sixth-century Candlestick.] - -In the sanctuary there would have been suspended large single lamps -which burnt perpetually (_Akoimetoi_). A very fine single Byzantine -lamp of this kind is shown in the fifteenth-century picture by Marco -Marziale in the National Gallery, in which the interior of S. Mark’s -figures as the temple. In Fig. 20 we give a restoration of fragments -of a beautiful early Christian bowl-shaped lamp bearing a votive -inscription figured by Rossi. On Mount Athos Dr. Covel noticed a lamp -of beaten gold set with jewels. - -The treasury of S. Mark’s probably still contains lamps which hung in -S. Sophia: one of especial beauty is a glass bowl with circles cut on -the outside and attached to a metal rim on which is inscribed in Greek, -“St. Panteleon, succour thy servant Zacchariah, Archbishop of Iberia, -Amen.”[198] - -In illustration of the tree-like candelabra which stood above the beam -of the iconostasis, and round the ambo, we may mention the well-known -classical examples. A lamp-bearer in the museum at Brussels is -described as “an _arbuste_ of considerable size and irregular trunk and -branches with lamps suspended from the extremities of its boughs.” -Anastasius mentions a “tree of bronze with candlesticks to the number -of fifty in which were placed wax candles, thirty-six lamps as well -hung from the boughs.” Paulinus also speaks of hanging candelabra -at Nola “with branches like a vine bearing little glass cups which -resembled burning fruit; when they were lighted it was like the sudden -burst into life of spring flowers.” - -[Illustration: FIG. 22.--Candlesticks.] - -Besides all these oil lamps there would have been a great number of -standing candlesticks in the sanctuary. The Anonymous speaks of some -the height of a man. One constant type is represented in Fig. 21; this -is inlaid in mother-of-pearl on the apse walls at Parenzo, and is of -Justinian’s time. Fig. 22 shows two others from the _Menologium_. Wax -candles, which are frequently mentioned, were patterned and coloured. - -The miracle of the moving cross of lights mentioned by Anthony reminds -us of a remarkable custom in regard to the great coronas of lights -in Byzantine churches which is observed on Mount Athos, and also at -Sinai, and is probably ancient. A part of the great festival service -at Vatopedi consists in singing the _Polyeleos_. “When the last of the -multitude of candles had been lighted in the great coronas under the -domes, the monks fetched long poles, with which they pushed out the -candelabra to the full extent that their suspending chains permitted -and then let them go, the result being that in a few minutes the whole -church was filled with slowly swinging lights.”[199] - -The method of lighting described by the Silentiary has not changed in -the unchanging East. S. Sophia is still lighted by a myriad little -lamps arranged in rows, or suspended in circles. The single lamp is a -small glass vessel of oil on which floats the wick; the two typical -forms being like a bowl or an elongated tumbler. These cups are hung -by three chains, or inserted in a ring, at the end of a metal arm, -projecting from the wall or from the rim of a suspended circle. - -[Illustration: FIG. 23.--Hanging Rods for Lamps in S. Sophia until -1850.] - -Up to the time of Fossati’s restoration there was an immense polygon of -probably some sixty feet diameter of iron rods suspended from the dome. -Grelot[200] described it in 1680 as a large circle of iron rods hanging -down to within eight or ten feet of the pavement and having fixed to -it “a prodigious number of lamps, ostrich eggs, and other baubles.” -In the mosque of Achmet, several rings are bound together by straight -rods, making overhead a geometrical arrangement of bars, from which -the lamps are suspended; although these are all Turkish, the system -remained from Byzantine times. Fig. 23 is re-drawn from Fossati. (_Aya -Sophia_, Constantinople, 1852.) One of the most beautiful methods is -that of suspending the lamps to long straight iron bars running the -whole length of the building as at S. John Studius. - -In the mosque of Damascus, before the recent fire, there were hanging -assemblages of circles one above another somewhat similar we may -suppose to the trees of the poet. At Salonica a network of lamps -which hangs almost like a curtain before the bema of S. Demetrius may -illustrate the “nets” if nets there were. During Ramazan festoons of -lamps are hung from minaret to minaret arranged in inscriptions; in -1676 Dr. Covel of Cambridge saw illuminations before the Sultan at -Adrianople which represented “castles, mosques, peacocks, Turkish -writings, &c., extremely pleasant and wonderful to behold.” These were -formed by lamps hung to light frames; the method was probably derived -from Byzantine illuminations such as the fireworks mentioned as being -exhibited in the Hippodrome. - -The four marble pillars that stand up out of the parapet at the western -gallery of S. Sophia (Fig. 41) must always have carried lights on metal -branches at the top, much as at present; and the long metal stakes with -hook ends, that project from the first cornice at the angles of the -exedras, and from which chandeliers hang, are possibly original in some -cases. - -The multiplication of small lights is the most brilliant system of -illumination, for not only is there light everywhere but flame, and -hence no shadows. Whoever sees the great church lighted for the solemn -services of Ramazan, when, according to Fossati, “six thousand lamps -are suspended at various heights,” may imagine the splendour of the -lighted interior in Byzantine times. When, after one of the services, -the lamplighters walked round and extinguished the lamps with a whisk -from long fan-shaped brooms, we saw the need of the passages above the -different cornices; and leaving Constantinople one April evening, as -we slowly wound round the point, while the circle of windows in the -lighted dome seemed to hang above the city, we realised that it was no -idle saying of the poet’s that the mariner guided his laden vessel “by -the divine light of the church itself.” - - - - -CHAPTER VII - -LATER HISTORY AND LEGENDS - - -§ 1. HISTORY. - -From the date of the completion of Justinian’s restored church it has -had to withstand the frequent earthquake shocks which, as we have so -recently seen, devastate the city from time to time. Von Hammer[201] -calculates, from the accounts of the Byzantine historians, that from -the beginning of the seventh to the middle of the fifteenth century -there were twenty-three severe earthquakes, one of which, in 1033, -lasted intermittently for 140 days. In the Turkish records, from 1511 -to 1765, ten earthquakes are mentioned. It is remarkable that in this -length of time the delicately poised construction of the church should -only have required restorations which are relatively unimportant. - -It is difficult to say how far the church suffered during the struggles -about image worship, which raged for more than a century. The question -will be considered more fully when we deal with the mosaics of the -vaults. The restoration of images was finally accomplished in 842,[202] -by Theodora and Michael. - -A belfry was built in the centre of the west front about the year -865:[203] and the eastern walk of the atrium was probably transformed -into an exonarthex at the same time. The first regular restoration -was also undertaken in the second half of the ninth century, under -Basil the Macedonian: “For the wide and lofty western arch of the great -church called S. Sophia was showing rents and threatening to fall. With -the help of the workmen he girded it round and rebuilt it, so that it -was safe and strong. And on it he figured the Virgin with her Child -on her arms, and Peter and Paul, the chief of the apostles, on either -side.”[204] - -[Illustration: FIG. 24.--Plans of Additions to West End. A and C North -and South Porches; B Belfry.] - -The north and south porches and great lateral stairways, which -injuriously altered the exterior, must also have been built by Michael -or Basil, as we find them mentioned in the _Book of Ceremonies._ - -In October 975 an earthquake caused the “hemisphere with the western -arch (_apsis_) to fall.”[205] They were restored again by the same -emperor in six years: he spent, Scylitzes says, “on the machines for -mounting for the workmen to stand on, and for raising the scaffolding, -to build what was fallen; ten centenaria of gold.”[206] According to -Glycas, Romanus Argyrus (1028) beautified the capitals; Scylitzes also -says this emperor “made bright with silver and gold both the capitals -of the great church and of our Lady of Blachernae.”[207] - -The injuries wrought by the Crusaders to S. Sophia are referred to -in Chapter V. Baldwin was crowned here in 1204, and for fifty-seven -years Catholic priests read masses at its altar. On the recapture the -Byzantine emperors made an effort to restore, but the church never -recovered its former splendour. The patriarch Arsenius during the -reign of Michael Palaeologus “restored the bema and ambo and solea at -the king’s expense, besides enriching the church with vestments and -sacred vessels.”[208] In the first half of the fourteenth century, -Andronicus Palaeologus, the elder, strengthened the north and east -sides. Nicephorus Gregoras says the emperor “heard from several -experienced builders that in a short time the parts towards the -north and east would give way, and fall unless strengthened. And he -built pyramidal structures from the foundations and prevented the -threatened destruction,” but bricks and mosaic continued to fall.[209] -The pyramidal structures to the east must be the four great sloping -buttresses which stand over the low attached buildings on that side; -they are shown on Fossati’s plan. Gregoras also inveighs against the -Empress Anna as having, in the reign of Cantacuzenus, robbed the church -of furniture and ornaments, and says that tyranny and oppression were -the chief causes of the destruction of the church. Cantacuzenus, in his -own history,[210] speaks of the damage caused by an earthquake in 1346, -when about a third of the roof fell, destroying “the great stoa by the -side of the bema” (perhaps the iconostasis). This is also referred to -by Gregoras, “the easternmost of the four arches which rival heaven -fell, dragging with it the part of the house which rested on it. The -hidden beauty of the bema was destroyed as well as its ornaments of -sacred icons.”[211] The stoa and bema were restored by the Empress -Anna, the wife of Andronicus Palaeologus, Phaceolatus being prefect -of the works, but the upper parts with the roof had to wait until the -accession of Cantacuzenus in 1347. He restored the decoration both -in marble and mosaic, a work which John Palaeologus finished. Both -emperors were helped “by one Astras, in many things a clever man, but -especially in building, and by John, surnamed Peralta, one of the Latin -subjects of the emperor.”[212] - -The church was necessarily much neglected in the last days of the -Empire. Clavijo, who gave a careful account of the church in 1403 (see -Chapter IX.), says “the outer gates by which the church was approached -were broken and fallen.” He notes that “the Greeks do not call -Constantinople as we name it, but speak of it as _Escomboli_.” This -clearly proves that the derivation of the Turkish name Istambul from -εἰς τὴν πόλιν, “to the city,” is correct.[213] - -The Florentine Bondelmontius, who was there in 1422, says that “only -the dome of the church remained, as everything is fallen down and in -ruins.” This exaggeration is probably explained by a story given by -the Chevalier Bertrandon de la Brocquière, who visited the city eleven -years later, in the course of his remarkable ride from Damascus to -Dijon along the route of the present Oriental express. He attended -service in the church, and writes:--“There the patriarch resides, with -others of the rank of canons. It is situated near the eastern point, -is of a circular shape, and formed of three different parts, one -subterranean, another above the ground, and a third over that. Formerly -it was surrounded by cloisters, and was, it was said, three miles -in circumference.[214] It is now of smaller extent, and only three -cloisters remain, all paved and inlaid with squares of white marble, -and ornamented with large columns of various colours. The gates are -remarkable for their breadth and height, and are of bronze.”[215] The -visit of the Chevalier Bertrandon brings us within twenty years of the -fall of the great city. - -The incidents of the later years of the empire, the vain efforts to -get help from Europe, and the schemes for uniting the Greek and Latin -churches, are described by Chedomil Mijatovich.[216] In the year -before the Fall the negotiations with the West had proceeded so far, -that, on the 12th of December 1452, a _Te Deum_ after the Latin rite -was sung by Cardinal Isidore in S. Sophia, but this did not meet with -favour from the populace. Ducas speaks of the church after that time as -being nothing better than a Jewish synagogue or heathen temple. Five -months later, on the 28th of May 1453, the last Christian service was -held within its walls. At the vesper service on that solemn evening, -the emperor, after praying with great fervour, left his imperial chair, -and, approaching the iconostasis, prostrated himself before the figures -of Christ and the Madonna on either side of the great central door. He -then asked for pardon from any whom he might have offended, and the -ritual proceeded. - -On the morrow at the first capture of the city the Janissaries rushed -to the great church, which they conceived was filled with gold, silver, -and precious stones. They found the doors fastened, but broke them -open, and at once began to pillage. The sultan as soon as possible rode -to S. Sophia. Dismounting on the threshold, with the mystic symbolism -of an Oriental, he stooped down, and, collecting some earth, let it -fall on his turbaned head, as an act of humiliation. Then he entered -the edifice, but stopped in the doorway some moments, and gazed in -silence before him. - -“He saw a Turk breaking the floor with an axe. ‘Wherefore dost thou -that?’ inquired the conqueror. ‘For the faith,’ replied the soldier. -Mahomet in an impulse of anger struck him, saying, ‘Ye have got enough -by pillaging, and enslaving the city, the buildings are mine.’” - -A letter to Pope Nicholas V., written in 1453, describes how “the -profane heathen broke into the marvellous temple of S. Sophia, -unsurpassed by Solomon’s; they reverenced not the sacred images, nay, -rather broke them in pieces; they put out the eyes of the priests, -scattered the relics of the saints, and seized on the gold and -silver.”[217] - -Ducas, who died eleven years after the Fall, bewails “the Great Church, -a new Sion which has now become an altar of the heathen, and is called -the house of Mahomet.” “The dogs hewed down the holy ikons, tore off -the ornaments, the chains, the napkins, and the coverings of the holy -table. Some of the lamps they destroyed, and others they carried away. -They stole the sacred vessels from the skeuophylakium. Everything made -of silver and gold or other precious materials was taken away, and the -church was left naked and desolate as it had never been before.” - -With the exception of the removal of much of the treasure, the church -did not immediately suffer great harm from its new masters. - -On the outside however the destruction of many of the low attached -chambers, and the addition of the minarets, have very much changed -its appearance. The first minaret, which was indeed the first in -Constantinople, was built at the south-east corner by Mahomet the -Conqueror. Selim II., who reigned from 1566 to 1574, built the second -at the north-east corner, and also restored the eastern apse which had -been again damaged by an earthquake: Amurath III. erected the last two -minarets at the western corners.[218] - -“The description of the church of S. Sophia as it now appears,” -which forms one of the chapters in Gyllius’ († 1555) _Topography of -Constantinople_, describes the church before the addition of these -three last minarets. It is interesting to note that he remarks how -little the building had been altered, “and it is despoiled of nothing, -except a little of the metal work [mosaic?] which shows itself in -great abundance through the whole church. The Sanctum Sanctorum, -formerly holy and unpolluted, into which the priests only were suffered -to enter, is still standing, though there is nothing remaining of -the jewels and precious stones which adorned it, these having been -plundered by its sacrilegious enemies.” This is later supported -by Grelot,[219] who writes, “It is decorated with everything that -human industry and skill could devise to render the work absolutely -perfect.... I say nothing about the beautiful pictures, the faces of -which have been destroyed by the Turks.” It is clear from Tournefort -(1702) and Lady Mary Montagu (1717) that the mosaics were not wholly -obliterated; the latter writes, “the figures were in no other way -defaced but by the decays of time: for it is absolutely false that the -Turks defaced all the images they found in the city.” On the other -hand, an Italian MS. description of S. Sophia in the British Museum, -written in 1611, says, “The Turks took away all the beautiful work and -covered everything with whitewash.”[220] It is evident from Dr. Covel’s -MS., quoted later, that much was destroyed, defaced, and plastered -over. Dr. Walsh tells us that one of the smaller vaults fell in about -1820, scattering its mosaic over the floor. - - -§ 2. THE ANONYMOUS ACCOUNT. - -We must now examine the description of the church by the writer -generally called the Anonymous of Combefis (otherwise of Banduri or -Lambecius). Codinus, who is believed to have died soon after the -capture of Constantinople by the Turks, has so closely copied the -Anonymous that the accounts differ only in a few minor particulars. -Combefis says that the text of the Anonymous was collated by Lambecius, -“who produced it from the royal archives” with the _Chronography of the -Logothetae_, a tenth-century work to which the same account is added -as a separate treatise. Labarte however considers that it was written -in the eleventh century: Choisy assigns it to the fourteenth, a view -with which we are inclined to agree; but in any case we cannot think it -earlier than the twelfth century. - -The description by Paulus is so precisely accurate where we can--as is -so largely the case--check it by the existing work, that there cannot -be a doubt of his entire accuracy. With the Anonymous this is not so; -and it must first of all be borne in mind that he professes not to -write of the church as he saw it, but to celebrate its splendour when -first completed by Justinian; in this his account differs entirely -from the Silentiary’s, which there is no sign to show that he had -ever read. The Anonymous has been very largely used by scholars of -the ability of Labarte and Bayet, but we believe him to be entirely -unreliable where he speaks of the former state of the church. He simply -gathers the legends which had grown up, because facts were forgotten, -and enumerates the relics. - -“The great church,[221] known as S. Sophia [formerly a place of heathen -worship--Codinus], was first built of an oblong (_dromica_) form, -like those of S. Andronicus and S. Acacius. On its completion it was -adorned with many statues. This building lasted seventy-four years. -But in the reign of Theodosius the Great, at the time of the second -synod of Constantinople, an Arian uproar arose, during which the roof -of the church was destroyed by fire. The most holy patriarch Nectarius -took up his office at S. Irene, a church which was also built by -Constantine. Then for two [Codinus and Glycas say sixteen] years S. -Sophia was without a roof, until Theodosius, with Rufinus as his master -workman (_magistros_), covered it with cylindrical vaults. After this -it remained unhurt for thirty-nine years, making altogether eighty-five -years (_sic_) from the time of Constantine, until the fifth year of -Justinian’s reign. This was after the massacre in the Circus, in which -thirty-five thousand men were killed, when a faction elected Hypatius -emperor. However, in the fifth year of Justinian’s reign, the Most High -God put it into his mind that he should build a temple to surpass all -that had ever been built from the time of Adam. - -“He wrote therefore to the strategi, toparchs, judges, and satraps -of the different provinces, that with all zeal they should look for -materials--columns, piers, panels, and lattice-doors--everything in -fact that would be useful for building. Obeying the emperor’s letter, -they quickly sent all that could be found from the shrines of the pagan -idols, from baths, and private houses, from every province of east, -west, north, and south, and from all the islands. - -“Eight porphyry columns from Rome, which, according to Plutarch, -Justinian’s secretary, a widow Marcia had received as dowry, were -transmitted to Constantinople. They had formerly stood in a temple of -the Sun built by Valerian, who surrendered himself to the Persians. -Eight others of green, of marvellous beauty, were quarried and sent -from Ephesus by the praetor Constantine. The Marcia, whom I have just -mentioned, wrote to the emperor as follows: ‘I send thee, master, eight -columns from Rome of equal length and size, and the same weight, for -the safety of my soul.’ - -“Of the other columns some were brought from Cyzicus, some from the -Troad, others from the Cyclades and Athens. And when sufficient was -collected for the work seven and a half years had been spent. Then in -the twelfth year of Justinian’s reign, the church built by Constantine -was destroyed with the foundations; the old materials were put aside, -as a sufficient amount of fresh had been prepared; and Justinian began -to buy up the neighbouring houses. The first of these was one belonging -to a widow named Anna, of which the price was estimated at eighty-five -librae. She was however unwilling to sell it to the emperor, and -refused to give it up under five hundred librae; nor did the emperor -gain his purpose by sending the nobles of the court to win her over. -He finally went himself and begged her to sell her house at any price. -But when she saw him as a suppliant, she fell at his feet, saying, -‘Lord and King, I can accept no moneys for my house from thee; I ask -only that I may obtain reward in the day of judgment, and that I may -be buried in a tomb near the future church, so that the memory of my -gift may live for ever.’ The emperor promised that when the church was -finished she should be buried there, for the land which she had given -up, that the memory of it might live for ever. The part which she gave -to the great church is that now occupied by the skeuophylakium, and the -chapel (_naos_) of S. Peter. - -“Then the part which is occupied by the Holy Well, and all about -the thysiasterium, and the place of the ambo, and the middle of the -nave, was the house of a certain eunuch, Antiochus, which was valued -at thirty-eight librae. He was offended because the emperor had not -offered him a proper price for it. Now the emperor was much distressed, -wondering what to do. But the Magister Strategius--a guardian of the -treasures, the adopted brother of the emperor--promised that the -emperor should gain his point by a little guile, and that the other -should sell his house. Now this Antiochus was an eager frequenter -of the Circus, and especially favoured the blue faction. When the -games were about to be given, he was arrested and imprisoned in the -Praetorian prison. Then Antiochus called out from the prison that if he -could only witness the games he would do whatever the emperor wished. -He was then led by the emperor’s orders to his empty seat, and made -to sell his house before the games commenced, the Quaestor and the -whole Senate being witness. Now there used to be the custom, that as -soon as the emperor ascended to his seat the charioteers should begin, -but because they stopped then, until the eunuch had accomplished his -deed of sale, even to the present day the chariots for the races are -accustomed to enter at a slow trot. - -“The whole of the right-hand part of the Gynaeceum[222] up to the -column of S. Basil, and some portion of the nave, was the house of an -eunuch, Chariton, nicknamed Chenopolus, who sold it as a favour for -double its value, which was twelve librae. - -“The left part of the Gynaeceum[222] up to the column of S. Gregory -Thaumaturgus was the house of one Xenophon, a cobbler. When they wanted -to buy this house, besides asking twice the value, which was fourteen -librae, he also demanded that, on the day of the games, the four -charioteers of the four factions should do obeisance to him as well as -to the emperor. The emperor decreed that it should be done as he had -asked, but made him a laughing-stock for ever. For on the day of the -games he was set midway in the boundaries, so that the charioteers, by -way of joke, bowed to his back before beginning their courses, and so -it is still done, and the man is styled ‘Chief of those below.’ He -wears a white chlamys, woven with byssus. - -“On the area of the naos, the four nartheces, the louter, and the parts -adjacent, was the house of Damianus, a noble of Seleucia, the value of -which he estimated at ninety librae, and gladly gave to the emperor. - -“Now Justinian, when he had measured out the site, and found a stone -to act as centre, from the thysiasterium as far as the lower [western] -apse, laid the foundations of the great dome in circle-wise. Now from -the apses right away to the most outside narthex, the foundations -were laid in marshy and spongy ground. And when it had been begun, he -urged Eutychius the patriarch to offer up prayers to God for its safe -building, and then, taking with his own hands lime and stone, giving -thanks to God, he himself laid the first stone in its place. Now -before the church was built he constructed the oratory of S. John the -Precursor with a gilt vault, and various ornamentations of precious -stones. This is generally called the Baptistery, and is situated near -the Horologium. He built at the same time the adjacent portion of the -Metatorium, that he might frequently rest there with his court, and -refresh himself with food. Then also he built the whole of the portico, -which leads from the palace up to the Great Church, so that, as often -as he liked, he might cross over and devote his time to the building, -without being seen by any one. There were one hundred master workmen, -and each had a band of a hundred men under him, making ten thousand men -altogether. Fifty bands took one side, and fifty the other; and by the -emulation between them, the work quickly progressed. - -“The form of the church was shown to the emperor in a dream by an -angel. And the first Deviser (_mechanikos_) of the builders was skilful -and full of sound wisdom, and well versed in building churches. Barley -was put into cooking pots, and its decoction, instead of water, was -mingled with unslaked lime (_asbestos_) and tiles [crushed]. The -mixture, when warm, became viscous and sticky. At the same time they -cut slips off willow trees, which were cast into the cooking pots with -the barley; they then made solid masses, having a length of over fifty -feet, and fifty feet broad, and twenty feet deep, and placed them in -the foundations. They were put there, not hot, nor yet quite cold, that -so they might bind better, and above these masses they placed large -square stones. - -“When the foundations had arisen from the earth two cubits, they had -spent four hundred and fifty-two miliarisia of gold. Money was brought -daily from the palace, and placed in the Horologium, and each of those -who carried stone received a piece of silver, lest any slackness should -come upon them, or they should be tempted to complain. Some of them, -when carrying stone, gave way under the weight, and fell head foremost -and were hurt. Strategius, whom I have mentioned, distributed the -wages: he was a Count of the royal treasury, and foster-brother of -Justinian. - -“Now when the piers (_pinsoi_) had been finished, and the great -columns, both those from Rome and the green ones, had been put in their -position, the emperor left his noonday sleep and devoted himself to -the work, and inspected, with Troilus, a count of the household, all -the polishers (_lithoxooi_), stonecutters (_laotomoi_), carpenters -(_tektonikoi_), and labourers (_oikodomoi_), promising them each week a -nummus more, or as much as each might ask, above their fixed wages. He -used to come to see how the work was proceeding, clad in a white linen -garment, his head covered with a kerchief, and holding a stick in his -hand. - -“And when they had raised the vaults (_apsides_) of the upper floor, -those on the right and on the left, and had covered over these vaults, -the emperor decreed that no miliarisia should be carried from the -palace on Sundays. Now it was the third hour of the day, and Strategius -ordered the men to go to their dinners. As Ignatius, the first -_mechanikos_ of the builders whom I have mentioned above, came down, -he left his son on the right-hand side of the upper floor, where he -had been working, with strict orders to watch the workmen’s tools. He -was a boy of about fourteen. As he was sitting there, a eunuch, clad -in shining garments, and fair to look upon, like one sent from the -palace, appeared to him and said, ‘What is the reason why the workmen -do not quickly finish the work of God, but have left it and gone to -eat?’ To him the boy answered, ‘At the earliest hour, my lord, they -will be here.’ But he cried, ‘Go quickly and bring them.’ When the boy -said that he was not to leave, lest the tools should disappear, the -eunuch said, ‘Go quickly and summon them here, for I swear to thee, my -son, by the Holy Wisdom, whose temple is now being built, I will not -depart, since, by the command of the Word of God, I am to minister and -guard here until you return.’ When he heard this, the boy quickly set -out, leaving the angel of God as guard. And when he had got down, and -gone to his father and the rest, he related everything in order; then -the father took his son and led him to the emperor’s table. For the -emperor was then dining in the oratory of St. John the Precursor, by -the Horologium. When he heard the story, he summoned all his eunuchs, -and showed each in turn to the boy. Then the boy calling out that he -saw none like the one that had appeared, the emperor knew that it was -an angel of the Lord who had addressed the boy, and this was made more -clear, as the boy said that he was clothed in a white robe, his eyes -glittering like fire; then the emperor praised God, saying, ‘God has -accepted my temple.’ And as he had been wondering what name to call it, -he named it S. Sophia, according to interpretation ‘Word of God.’ And -the emperor took counsel with himself and said, ‘I will not allow the -boy to return, so that the angel may guard it for ever, as he promised -by his oath. For if the boy return, the angel will depart.’ Having -consulted with the principal senators and the bishops, the emperor -commanded that the boy should not be sent back to the temple, so that, -by the grace of God, it should have a guardian till the end of the -world. And then the emperor loaded the boy with gifts and honours, -and, with the consent of his father, sent him to the Cyclades. Now -the conversation of the angel with the boy happened on the right-hand -side of the pier of the upper arch, as one ascends towards the dome. -[Codinus says, “near the Syllagonum,” for this it has been suggested -to read Syllagoeum, or “the place of the council”]. - -“When the workmen had continued the work up to the second catechumena, -and the upper columns and arches were built, and they were roofing -the adjacent parts, the emperor began to be anxious for want of -funds. But as he was standing in the upper part of an arch, as they -were about to begin the dome, at the hour of the Sabbath just before -dinner, an eunuch appeared to him, clad in white, and said, ‘Why are -you distressed for money? To-morrow bid some of your nobles to come, -and they shall have as much gold as they wish.’ On the following day -the eunuch came and showed himself to the emperor. The emperor sent to -follow him Strategius, and Basilides the quaestor, and Theodorus the -patrician, and Colocyns who was a praefect, besides fifty servants, -twenty mules, and twenty paniers. With all these he marched out of the -Golden Gate. And when they had come to the Tribunalium, there seemed -to those who were sent to be built there palaces of stupendous beauty. -But when they had dismounted, the eunuch bade them ascend a wonderful -stair, and then, producing a splendid gold key, he opened the door of -a room, and, as Strategius says, the whole floor was heaped with gold -coins. Taking a shovel, the eunuch filled each panier with four hundred -pounds of gold, amounting altogether to eight thousand, and with these -he sent them back to the emperor; and having closed up the room with -the key, he said to them, ‘Take the gold to the emperor, and bid him -spend it on the work.’ The eunuch left them there, and they came and -showed the emperor the gold they had received. He was astonished, and -asked them where they had been, and where the eunuch dwelt. They told -him all in order, and how the wealth of gold was spread on the floor -of the room. The emperor hoped that the eunuch would return, but as -he was disappointed he sent a slave to the place. When the slave had -found the place where the palace had been, and saw that there were -no houses there, he returned, and told all to the emperor. He was -then astonished, but understanding how it was, said, ‘Truly this is a -miracle as all may see;’ and he praised God. - -“Now when they were going to build the thysiasterium and let in the -light through glass windows, the Deviser (_mechanikos_) suggested -that the apsoid (_muax_) should have one light. Then he changed his -mind, and suggested that it should have two, so that it should not be -heavy, because no wooden ties (_ikriomata_) were placed there as in the -narthex, and on the sides of the church. But the rest of the craftsmen -were opposed, saying that one arch (_kamara_) would light the holy -place. Then the chief builder (_protooikodomos_) was at a loss what -to do, because the emperor said at one time that there should be one -arch (_apsis_), and at another time two. Whilst the master (_maistor_) -was thus pondering and anxious, on the fourth day, at the fifth hour, -appeared an angel of the Lord, like the emperor, with royal robes and -red shoes, and said to the craftsman, ‘I will that there be a triple -light, and that the conch be made with three windows,[223] in the -name of the Father, the Son, and the Holy Ghost.’ He then disappeared -quickly. Then the master, struck with wonder, rushed to the palace, -and said to the emperor, ‘You keep not to your word. Until to-day you -wanted one window, and then two, to light the bema; but now, when the -work is all but finished, you come to me and say, three windows shall -light the bema, as a symbol of the Trinity.’ Now the emperor knew that -day that he had not left the palace, and he recognised that an angel of -the Lord had spoken. He said, ‘As I have bidden thee, so do.’ - -“All the piers (_pessoi_) inside and outside were made strong by iron -bars (_mochloi_), so that they were bound together, and made immovable; -the joints of the piers were made with oil and _asbestos_; and upon -them was placed a plating of many marbles (_orthomarmarosis_). - -“The emperor sent Troilus the Cubicular, Thedosius the Prefect, and -Basilides the Quaestor, to Rhodes to have bricks (_besala_) of Rhodian -clay, made all equal in weight and length, with the words engraved on -them, ‘God is in the midst of her, therefore shall she not be moved; -God shall help her, and that right early.’[224] And they sent bricks -of measured sizes to the emperor, twelve of them weigh one of ours; -for the clay is light, spongy, fine, and white; hence arose the common -idea that the dome is built of pumice stone (_kiserion_); but this is -not so, though it is light and of a white colour. - -“Thus the four great arches were built; and when they had been raised -to the level of the dome (_troulos_), on the completion of every -twelfth course, prayers were uttered for the church, and relics of the -saints built in. Thus arose the building; it was then adorned with -marble and covered with mosaic. And into the piers, arcades, and larger -columns they placed relics of the saints. And when the marble plating -had been finished, they applied gold to the margins of the slabs, and -to the capitals of the columns. And the carved work, and the ornaments -of the upper galleries, both of the parts with two stories, and with -three (_diorophoi_ and _triorophoi_), were all covered with pure gold. -The thickness of the gold plating (_petalos_) was two inches.[225] - -“But all the vaults (_orophoi_) of the upper galleries, of the parts -with two stories on the sides, and the vaulting of the nave, and of the -parts adjacent, and of the four nartheces, he gilded with glass mosaic. -He gilded even the proaulia, with their upper chambers, and columns, -and marble slabs. - -“The floor of the nave was adorned with various marbles, both with -the Roman of a rue-green colour and others of a rosy red; and these -were all laid down and polished. The walls outside and all round were -covered with large and valuable stones. - -“The thysiasterium was of shining silver, the barrier (_stethea_), -and its large columns, with the doors, were all of silver. All the -silver was dipped in gold. Four tables were set up in the thysiasterium -supported on columns, and these were gilt. The seven seats of the -priests, on which they sat on either side, with the throne of the -patriarch, and the four columns, were all gilded. And it was forbidden -to go up into the holy place, the _Kuklios_, also called the Holy of -Holies, which is above the steps. - -“He set up also large columns of silver-gilt, and the lilies with -the ciborium. And the ciborium he made with silver and nielloed -(_arguroencauston_). Above the ciborium was a globe of solid gold, -weighing 118 pounds, and golden lilies, weighing six pounds, and above -them a golden cross, with most precious and rare stones, weighing -eighty pounds. Such was the design he made. - -“And as he wished to make the holy table more beautiful than the -rest, and more precious with gold, he collected numerous craftsmen, -and consulted with them. Their opinion and advice was to cast into -the melting pot (_choneuterion_) gold, silver, stones of every kind, -and pearls, copper, electron, lead, tin, iron, glass, and every other -metallic substance. And they ground them all together and formed them -into masses (_olboi_), and poured them into the pot; and when it had -been melted, they took it from the fire and poured it out into a mould -(_tupos_). Thus the holy table was made. And it was then set up by the -emperor on solid columns of gold, studded with precious stones. And -the ‘sea’ (_thalassa_) of the holy table was ornamented with gold and -precious stones. Who can see the holy table without being astonished? -and who can gaze at it on account of the many glinting surfaces? so -that at one time it all appears of gold, from another place all of -silver, and in another of glittering sapphire; and altogether there are -eighty-two different colours of metals and stones and pearls. - -“He made also, above and below, carved ivory doors overlaid with gold, -to the number of 365. In the first entrance into the louter he made -the doors of electron; doors also of electron were in the narthex, -two of them smaller than the middle one, which was much larger, and -of silver dipped in gold (_chrusembaphos_). The architraves also were -overlaid with gold. Three or the doors inside, instead of being made -of new wood, were made of wood from the Ark. He wished to make the -pavement entirely of silver [Codinus says gold], but his advisers -dissuaded him, saying that in the future poor emperors might have it -taken up. And those who persuaded him were Maximian and Hierotheus, -Athenian philosophers and astronomers, saying that in the latter days -poorer rulers would come and take it all away. And following these -counsels the thought was given up. And every day the emperor had 2,000 -miliarisia put in a heap and mingled with earth; and when work was -finished, in the evening, the craftsmen dug out the mound and found the -miliarisia, and this the emperor did that they might be eager for their -work. And collecting the materials, as was said, took seven and a half -years. But the completion of the temple, even with the crowd of workmen -I have mentioned, all labouring with the greatest eagerness, took nine -years two months. - -“The ambo with the solea he paved with sardonyx, and inserted precious -stones; its columns were of solid gold, with carbuncles and crystals -and sapphires; and he overlaid the upper part of the solea richly with -gold. The ambo had also a golden dome studded with pearls, lychnites, -and emeralds. - -“The gold cross of the ambo weighed 100 pounds. It had also -seizae,[226] and lychnites, and was embroidered with pearls. And the -ambo above had a hat-shaped covering (_petasion_), upon[227] supports -(_stethea_). - -“The top of the Holy Well was brought from Samaria. It was considered -sacred, because Christ had sat on it, and talked to the woman. And -the bronze trumpets, which stand by the Holy Well, were brought from -Jericho; they were those at whose blasts by angels the walls of Jericho -fell down. The honoured Cross, to-day in the skeuophylakium, which was -the measure of our Lord’s height, was eagerly sought for in Jerusalem -by the faithful and brought hither. And for this reason they surrounded -it with silver, and all kinds of precious stones, and overlaid it -with gold. And to this day it works healing wonders, and drives away -diseases and demons. And in every column [of the church] both above and -below is placed one sacred relic. - -“He made also golden vessels for the twelve solemn feasts, according -to the sacred Gospels: basins (_cherniboxeses_), ewers (_orkioloi_), -chalices (_diskopoteria_), and patens (_diskoi_); they were all of -solid gold, set with precious stones and pearls. And the number of -the sacred vessels was 1,000; altar-cloths (_endutai_), with rows -of jewels, 300; crowns, 100. Every festal day had its own chalice -covering (_poterokalumma_). There were paten covers (_diskokalummata_) -of gold, with pearls and precious stones, to the number of 1,000; -four-and-twenty gospels, each worth two centenaria; thirty-six -censers of solid gold with precious stones; 300 lamps (_luchnitai_) -weighing forty pounds; 6,000 candelabra (_polycandela_), and clustered -lights[228] of solid gold, for the ambo, the bema, the two gynaecea, -and the narthex. - -“The revenues of 365 farms in Egypt, India, and all the East and West -were devoted to the maintenance of the church. For each holy day was -set aside 1,000 measures of oil, 300 measures of wine, and 1,000 -sacramental loaves. Similarly for the daily services, the clergy, -including the lowest, numbered 1,000, with 100 singers divided into -two for alternate weeks. For the clergy there were cells round the -building; for the singers there were two monasteries. - -“He made five gold crosses, each weighing 100 pounds, which were -adorned with all kinds of precious stones, so that they were each -valued at eight centenaria: also two candlesticks of gold incrusted -with pearls and precious stones, valued at five centenaria, as well -as two other large carved candelabra (_manoualia_) of gold; these -had golden feet, each worth 100 pounds, to stand below the golden -candelabra. He made fifty others too, of silver, of the height of a -man, to stand by the altar. On the adornment of the ambo and solea was -spent 100,000 pounds, which was the tribute levied by Constantine on -Saroboris, King of the Persians, and on many others. The whole church -with the parts outside and around--with the exception of the vessels -and ornaments, which were given by the emperor--cost 800,000 pounds. - -“Now Justinian alone began and alone finished the church with no other -helping him, or even building a part of it. Its beauty is wonderful -to behold; all kinds of pearls glitter there like the sea, and one -seems to see the ever-flowing waters of great rivers. Now the four -boundaries[229] of the church he called after the rivers that flowed -from Paradise, and he made a law that whosoever was excommunicated -should stand there for his sins. And for the phiale in the centre he -made twelve arcades, and lions belching out water for the people to -wash in. On the right side, however, of the right-hand gynaeceum, he -made a basin (_thalassa_) of one cubit for the water to come up in, -and one flight of steps (_klimax_) for the priests to cross above the -water. He placed too in the front of the basin (_dexamene_) an open -tank for the rain (_ombusia_), and carved twelve lions, twelve pards, -twelve deer, and eagles, and hares, and calves, and crows, twelve -of each, and these spouted out the water for the use of the priests -alone. The place was called the place of the lions (_leontarion_) -and metatorion, because there was a golden couch there, that the -emperor might rest on his way to the temple. But who can describe the -comeliness and beauty of the temple, overlaid with resplendent gold -from the crown to the pavement? - -“When the temple and the sacred vessels had been all completed, on -the 24th of December he marched in solemn pomp from the palace to the -Gate of the Augusteum, opening into the Horologium; and he killed -1,000 oxen, 6,000 sheep, 500 deer, 1,000 pigs, 1,000 fowls, and gave -them to the poor and needy, as well as 30,000 measures of wheat. And -the distribution of these on that day took three hours, and then the -emperor entered with the cross, and the patriarch Eutychius, and at -the royal entrance he left the patriarch and walked alone to the -ambo; then, stretching out his hands to heaven, he cried, ‘Glory be -to God who has thought me worthy to finish this work. Solomon, I -have surpassed thee.’ And when the ceremony was over he distributed -largesse, and with the help of Strategius gave away three hundred -pounds of gold. But on the following day he solemnly opened the temple, -and killed even more oxen, and feasted every one for fifteen days -until the feast of Epiphany, praising God. In such a way as this was -the great work completed. - -“Now the new dome which was built by Justinian, and the gorgeous and -wonderful ambo, with the solea, and the patterned pavement of the nave, -lasted seventeen years. But after the death of Justinian, his nephew -Justin succeeded, and in the second year of his reign, and the fifth -day, at the sixth hour the dome fell, and destroyed the wonderful ambo -with the golden supports, and the solea, and all the sardonyx, and -choice pearls and sapphires. But the arches, and the columns, and the -rest of the building remained unhurt. Then the emperor summoned the -skilful mastermen, and inquired what had caused the fall of the dome. -But they answered and said to the king, ‘Your uncle took away too -quickly the supports (_antinux_) for the dome, which were of wood, to -cover it with mosaic; and made it too high so that it should be seen -from everywhere, and thus the craftsmen, by destroying the scaffolding -(_skalosis_) before the foundations had been sufficiently set, caused -the fall of the dome.’ Thus spake they to the king, and they added that -if he wished to build a dome like a hollow cymbal he should follow his -uncle’s example, and send to Rhodes, and should order bricks made in -the same way and of the same weight as the previous ones. The emperor -gave the order, and bricks were brought from Rhodes, similar to the -previous ones. So once more the dome was built, with fifteen fathoms -taken from its height, and formed like a drum so that it should not -again fall. The supports were left for a year, until they knew that -the dome had become well set. But the ambo and solea, which they were -not able to build of an equal magnificence to the former ones, they -are made of marble, with columns covered with silver, and there was -a silver inclosure (_stethos_), round the solea. But the dome of the -ambo he did not build again, frightened by the expense. And for the -pavement, as he was not able to find slabs of such beauty and size -as heretofore, he sent Manasses, a Patrician and Praepositus, to -Proconnesus, and marble was worked there as is seen now, of a green -colour, like rivers flowing into a sea. - -“But when they wished to cut away the scaffolding of the dome, and -to take away the timbers, they filled up the church with water to a -height of five cubits, and threw down the beams into the water, and -thus the lower parts of the walls were uninjured. And he covered it -all with mosaic. Hence there are some who say that Justin, Justinian’s -nephew, built the church, but in this they lie. Let us rather give -thanks to our God who has willed that the great structure should remain -untouched, so that we can enter it, and give the praise that is due to -Christ; for He is worthy of all glory, honour, power, and worship, now -and for ever, Amen.” - - -§ 3. LEGENDS. - -Many of the points in this celebration of the wonders of S. Sophia seem -to be traceable to the writer’s absorbing traditions of the work of -Basil--who built like a goldsmith at his new church--into his account. -In the destructive rapacity of the Crusaders and the interregnum that -followed while they occupied S. Sophia we find such a satisfactory -cause for this half-mythical retrospect undertaken in all good faith -that we cannot think it was written until after the Frankish ascendency. - -We need not suppose that the Anonymous invented even the wildest of -these stories; such stories grow up as a matter of course, and to-day -various forms of some of them are told within the walls of many other -buildings. The accounts given by the Russian pilgrims (see Chapter VI) -agree so closely in many respects with the Anonymous description that -we might think the writer had been their guide in the church. That the -stories were widely told in Constantinople at this time is proved by -the account of S. Sophia given by El Harawi, an Arab traveller, who -visited the city in the thirteenth century. “Here is also Agia Sophia, -the greatest church they have. I was told by Yakub Ibn Abd Allah that -he had entered it: within are 360 doors. And they say one of the angels -resides there; round about this place they have made fences of gold, -and the story they relate of him is very strange.”[230] - -This story of the angel recalls the Wingless Victory of the Athenian -acropolis, but it is probably more closely related to the “Angels of -the Churches” in the Revelation. An interesting reference to this -thought is made by Palladius in his Life of Chrysostom. Before he left -S. Sophia for ever the patriarch entered it saying, “Come let us pray -and say farewell to the Angel of the Church;” but, adds his biographer, -“the Angel departed with him.” We give here an account of the church -from a thirteenth-century English MS., in the British Museum, _Vit. -A._ xx. 14, which refers to the more commonplace part of the story as -told by the Anonymous. “That famous city is endowed with wonderful and -inestimable wealth. In it may be seen the famous church Agia Sophia, -that is the Holy Wisdom; an angel of God appeared and taught the -workmen as they were building. Underneath the church in its cisterns -there is refreshing water, some of which is salt and some of it -rainwater. The church below is borne on one hundred and seventy-three -columns of marbles, and above on two hundred and forty-six. Round the -choir from the top to the bottom it is covered with silver gilt. And -this same choir has an altar ‘starred’ (_stellatum_) all over with -most wonderful and precious stones. In the church are lamps of the -purest silver and gold, and their number cannot be counted. The church -is opened and closed by seven hundred and fifty-two double doors, and -there are windows innumerable. There are seven hundred prebendary -priests, of which three hundred and fifty take each week in turn. Now -the Patriarch of Agia Sophia has in that city one hundred metropolitans -and archbishops, and each metropolitan has seven suffragans in the same -city.” - -The idea of competition with Solomon’s Temple and the Tabernacle would -be sure to suggest itself, and, once received, it would be justified by -many assertions; indeed a tendency to imitate the biblical accounts may -be detected in the Anonymous author. For instance, we have Justinian’s -intention to cover the floor with silver, the description of the gold -vessels for the altar, and the “sea” for the priests. Justinian’s -oft-quoted speech on entering the completed church may be assigned -to this leading idea, which we find expressed as early as the sixth -century by Corippus, the poet-bishop, who says, “Praise of the temple -of Solomon is now silenced, and the Wonders of the World have to yield -the preeminence. Two shrines founded by the wisdom of God have rivalled -Heaven, one the sacred Temple, the other the splendid fane of S. -Sophia, the Vestibule of the Divine Presence.”[231] Glycas, who tells -many of the stories given by the Anonymous, continues the idea further. -Justinian, he says, set up a statue “representing Solomon as looking at -the Great Church and gnashing his teeth with envy.”[232] - -In the Book of Proverbs we read, “Wisdom hath builded her house, she -hath hewn out her seven pillars.” This was also seized upon, and -Michael Psellus speaks of S. Sophia as “the very beautiful temple, the -incomparable home which the Divine Wisdom built in His own name and -which He raised on seven pillars.”[233] Modern writers, Tournefort, -Von Hammer, &c., have delighted to point out that the church has 107 -columns; indeed, with a little humouring, 108 may be counted. The -symmetrical number of the workmen employed according to the Anonymous -may be matched in a legendary account of the building of S. Luke’s, -according to which there were twenty-four protomaistores, each of whom -had twenty-four workmen under him. - -The story of Justinian mixing money with the earth is parallel to -the account, given by Vasari, of Brunelleschi’s scheme for building -the dome of S. Maria del Fiore in Florence. It is impossible that -the church should have been flooded with water, as described by the -Anonymous. There appears to be no basis for the supposition that the -great dome was gilt outside. In the texts of Codinus the dome is said -to be of ivy-wood (κισσηρίνος): this is evidently somebody’s misreading -for pumice-stone (κισήριον). - -The stones were actually supposed to be specifics for diseases by the -Russian pilgrims and others. Clari the Knight of Amiens[234] (1200) -speaks “of the Minster (_Moustier_) of S. Sophia, and the riches which -were there.... There are vaults all round over the church, which are -carried on large columns, very rich; for there is not a column but is -of jasper, or porphyry, or some precious marble, and every column has a -medicinal quality; some keep off _Mal des rains_, some _Mal du flanc_, -and other diseases: and there is nothing in this minster such as a -hinge (_gons_) or band (_verveles_) generally of iron, which is not of -silver.” - -Codinus concludes his account of the church with a story, which may be -classed with a large series, as “the gratitude of employers to their -architects;” imprisoning and blinding them, or cutting off their hands. -It is in a sense one of the truest of stories! The master workman of -the great church, “Ignatius (_sic_), owing to the great favour which -his work won for him from the people, was shut up by the emperor in -his statue in the Augusteum.” To parallel other tales this must be the -artist’s own work which is the instrument of his torture. Here he would -have died of hunger had it not been for his faithful wife, who threw to -him a rope besmeared with liquid pitch; afterwards fire destroyed all -evidence of his flight. - -We have also the customary tales of statues found in the ground when -the church was begun. Gyllius, quoting from Suidas, says that Justinian -discovered more than seventy statues of the Greek deities, the figures -of the twelve signs of the zodiac, and eighty statues of Christian -princes and emperors. The travels that bear the name of Sir John -Mandeville relate that once when an emperor made a grave in S. Sophia, -“they found a body in the earth, and upon the body lay a plate of -gold, that said thus in Hebrew, Greek, and Latin, ‘Jesus Christ shall -be born of the Virgin Mary, and I believe in Him.’ It was laid there -2,000 years before the birth of Christ, and is still preserved in the -treasury of the church. And they say that it was Hermogenes, the wise -man.” - -The legends were not forgotten after the taking of the church. Sandys, -the English traveller, who was in Constantinople about 1610, tells -us that “one of the doors was famed to be the ark of Noe, and is -therefore left bare in some places to be kissed by the devoted people,” -and “the total number of doors was said to be as many as the days of -the year.” - -When this, the church of the world, fell into the hands of the Turks, -many stories came to the West, or arose there without coming. The -poetry of the Fall required the miraculous salvation of the priest -celebrating mass, and the prophecy of his return as told by Theo. -Gautier. It also required a massacre in the church, the riding in of -the proud conqueror, and the mark of his blood-stained hand, which -indeed is still pointed out some twenty feet above the pavement! -Mijatovich, in his history of the last of the emperors, regards the -massacre as unhistorical. - -An English romance almost contemporary with the Fall tells us how the -Turks took possession, - - “For to let theyr hawkys fly - In the chirch of Saint Sofy.” - - - - -CHAPTER VIII - -FOSSATI’S REPARATIONS. SALZENBERG’S DESCRIPTION. - - -Sancta Sophia seems really to have been in a dangerous condition when, -in 1847, the Sultan Abdul Mesjid began a much-needed work of reparation -which was carried on under the guidance of the Italian architect -Fossati, who appears to have taken great pains, and notwithstanding -some alterations and “restorations” in the worst sense he deserves -our gratitude for probably saving the building. In the preface to his -lithograph views published in London in 1852 he says, “The portions of -the building that looked most threatening were reconstructed, and the -lead roofs were repaired. The dome was relieved of four heavy buttress -arches, whose function was taken by a double ceincture of iron around -its base. Thirteen columns of the gynaeceum, which were inclining under -the thrust of the great arches that support the dome, were put straight -again.” The marble work of the interior was cleaned, and the gold -mosaic vaults were cleared of the crust of limewash which concealed -them. All representations of figures were however covered again. The -sultan’s tribune was built, Fossati says, “in the Byzantine style.” The -walls outside, after being repaired, were covered with a coating of -plaster on which red stripes were painted. - -Since this time various remains of the Great Court, which existed as -late as 1873, have entirely disappeared, and the broad bare space, in -front of the exonarthex, has little now to recall the atrium with its -fountain and quadriporticus. - -All study of the church in its condition at that time must be based -on the exhaustive plates and text of Salzenberg.[235] M. Texier had -in 1834 made some drawings at Constantinople, which are now preserved -in the library of the Royal Institute of Architects; and several -coincidences seem to point to Salzenberg’s having had the use of -Texier’s ground plan. In any case Texier was the first to make correct -plans including the upper floor, also the atrium, baptistery, and the -circular building at the north-east. As Salzenberg made full use of the -unique opportunity afforded by the scaffolding, when the building was -given over to the workmen, we have thought it wise to give a condensed -paraphrase of his account where it is descriptive of the structure, -even at the risk of some repetition. Our remarks in other places -where they may overlap are the result of our own observation, from -different points of view. The rest of this chapter is an abridgment of -Salzenberg’s text and descriptive of his plates, and we add nothing -unless in notes or square brackets. - -_Design._--The exterior walls of the atrium, with several entrances, -were built of brick, but the inner sides had marble columns between -square brick piers, two columns to one pier. These carried semicircular -arches. The atrium walks, as remains showed, were barrel-vaulted, and -the vaults were formerly covered with mosaic. The parts for which there -was evidence remaining are shown in darker hatching in Salzenberg’s -plate vi. The outer wall on the north side, with several arched -openings; and traces of the western boundary still existed. - -The long vestibule in front of the narthex has groined vaulting, and -large windows in its west wall; there are some Turkish additions to -this part. A door from each lateral cloister, and two others from the -open atrium, led into it. On either side of the two doors from the -court are strong projecting piers, connected above by a wide arch, -forming a porch-like shelter over the doors. These four piers rise -above the roof of the vestibule.[236] - -Double tiers of buttress arches spring from each of these piers to the -west wall of the church. A close examination of the wall and piers -led to the conviction that they are not contemporary with the church, -but were built later, though partly of old material.[237] The upper -cornices for instance differ. [Modifications here can be explained by -removal of Bell Tower, see p. 194.] The piers were probably erected by -Byzantine builders, to strengthen the western vault. - -Five doors lead to the narthex, the windows of which are above the roof -of the outer vestibule. The walls are covered with marble, and the -vaulting with mosaic; while the walls and ceiling of the exonarthex, -are quite plain. Two other doors enter the narthex at its north and -south ends, and nine lead from it into the church; the large central -entrance being the Royal Door. - -The walls of the church form approximately a square, the length of -which in the interior, exclusive of the apse, is 241 feet, and the -breadth 224.[238] - -The dome measures 100 feet across from the edge of the cornice, but -above the cornice the vaulted space is 104 feet across; it is 179 feet -from the floor to the vertex. The dome rises above the square area on -four huge arches, with a large semidome to the east and another to the -west, each of which embraces three smaller spans. The lateral openings -which thus pierce the east and western semidomes are covered by -_conchs_, but the middle opening in each case has a cylindrical vault, -that to the east being prolonged into the eastern apse. - -At the corners of the central square of the nave rise four large piers, -which are joined by arches to four buttress piers in the northern and -southern walls behind them. The arched openings connect the three parts -into which the aisles are divided by the piers. On either side of each -of the central openings from the eastern and western hemicycles rise -other piers, which are pierced by narrow arched passages, running from -north to south. The piers, eight altogether, carry the whole vaulting -of the nave, as well as a part of that of the side aisles. Between the -middle division of each aisle and the nave are four large columns with -five arches on the ground floor, and on the first floor six smaller -columns with seven arches. Above again is a wall with windows, filling -up the great arches on the north and south sides under the dome. Each -exedra has, on the ground floor, two large columns with three arches, -and, on the floor above, six small columns with seven arches. - -The vault of each division of the aisles is supported on four columns. -Those next the east and west walls of the church, eight in all, are -square, the others are round. The divisions of the galleries follow -those of the aisles underneath. The four main piers however were -pierced by additional arched openings [now filled up] between the -galleries and the nave. The part over the narthex opens to the nave by -three arches, on coupled columns. Above is the immense semicircular -window which fills up the central barrel vault at the western end. - -All the openings towards the nave in the upper aisles have marble -parapets. The vaulting of the lower aisles rests on forty round columns -and eight square ones, and in the galleries on sixty round columns, not -including the coupled columns at the west; this makes in all a hundred -round columns. Possibly the eight square pillars in the aisles were -employed, so that this number should not be exceeded. - -In the walls are numerous large windows, and the dome is pierced by -forty just above the cornice; thus light streams into the church from -every quarter. Much of the dome, including the central circle of mosaic -at the crown, can be seen from the Royal Door. - -The greater number of the buildings which formerly surrounded the -church are either destroyed, or so altered by Turkish minarets and -buttresses that it is difficult to conjecture their original form.[239] - -On the north and south of the narthex are long porches of Byzantine -workmanship, with cylindrical vaults. In the northern one is a flight -of fourteen steps leading down from outside to the narthex. The -southern porch is called by Von Hammer the Vestibule of the Warriors. -It is mentioned by Nicetas as the place where the Archangel Michael -was represented in mosaic. It was through this porch that the emperor -passed to the church, and here some of the bodyguard would remain. The -vaulting still bears the remains of mosaics which are now covered up. - -On the east sides of both the northern and southern porches are -accesses to the gynaeceum, formed of a series of inclined planes. The -entrance to the northern one is from the porch, but the southern stair -is reached from a narrow passage between it and the baptistery. To the -west of the northern and southern porches, in the angles between them -and the outside walls of the atrium, are the two minarets built by -Murad III. - -On the first-floor level, above the southern porch and part of the -adjacent staircase, is a series of chambers,[240] of which the purpose -is not known. The walls of the two larger chambers are covered with -marble, and their ceilings with mosaic. - -Only one stairway is now extant at the east. The minaret built by -Mahomed II., which helps to buttress the south-east corner of the -church, occupies the position of a second. Salzenberg’s Plate xiv. -shows the stairway restored, but in Plate xiii. the northern one is -removed to explain the arrangement of the part of the building to the -south of it. On entering at the door of this north-eastern stairway -one can either mount the ascending planes which wind round a well for -light, or go to the left through a small lobby into the church. On the -right steps ascend to the round building adjacent. The light ‘well’ -once ascended the whole height of the staircase, which seems to have -been formerly still higher, as the eastern wall of the church, which is -here prolonged northwards, rises about four feet above the present roof -of the stairway, and shows the remains of a window. These stairways may -have been built by Andronicus Palaeologus in the fourteenth century, -when he erected the buttress masses which are called pyramids by -Nicephorus Gregoras. All these stairways however were additions to the -building, probably built when the dome abutments were strengthened. -The original staircases to the gynaeceum were in the four piers by -the northern and southern walls of the church, and the steps from the -gynaeceum to the base of the dome still remain.[241] - -In the eastern buttress pier on the south side is a portion of one of -the original staircases, leading _downwards_ from the gynaeceum, though -beneath on the ground floor there is now a vaulted passage.[242] In the -western buttress pier on the south side, at the ground-floor level, -is a vaulted passage adorned with mosaic, and a door leading to an -external addition. In the similar position on the gynaeceum level, the -staircase, which formerly led higher, has been destroyed, to make a way -to the upper floor of this same late annex. - -The south-east porch may have been used by the emperors on non-festal -days, as it was close to the southern aisle where they sat. Three -columns are now placed on each side of this porch; the two outer ones -are of porphyry, and have capitals with a design of a basket and -doves.[243] These capitals are fine Byzantine work, although the arch -above may be Turkish. Here seven steps descend into the church. The -other porch on the north of the east end was destroyed at the last -restoration to make an entrance for the Sultan. Remains of a series -of chambers can still be traced on the east side between the porches: -their roofs must have been below the lower windows of the eastern -wall. The chambers are now built up; but their original plan may be -conjectured from the lead saddle-roofs, which have gutters that conduct -the rainwater through the outer wall. Two doors from the porches, and -two doors from the church--all four now blocked up--show the previous -communication with this row of chambers, which probably contained the -priests’ vestments, and the vessels for the altar. - -Amongst the buildings that surrounded the church must be mentioned -the skeuophylakium, in which was kept the sacred furniture. Here were -placed biers for the state funerals: conspicuous amongst them was -one quite covered with gold, the gift of Studios and Stephanos. This -probably was the isolated round building at the north-east of the -church, reached by the steps previously mentioned. It now has two -floors of wood; for security there were no windows, but only twelve -niches in the wall, in one of which is the door. This building now -serves as a storehouse for the army kitchen (imareh) adjacent, and -is much injured. Windows have been made in the walls, and the door -altered.[244] The baptistery [south-west building] is square outside, -but octagonal with four niches within. It is vaulted by a dome without -ribs. On the east side is an apse, and on the west a porch. The -Anonymous says that the baptistery was formerly called the Chapel of -S. John, and that it was built by Justinian. [Entrance to this is now -obtained by a door, which has been pierced in its north-eastern angle. -The western wall has a semicircular-headed opening, of the same size as -the niches, leading to a narthex or vestibule to which there is now no -access from the outside.] - -In addition to the western entrance, a door on the north, now blocked -up, led through an open porch into a small court. The large cylindrical -arch of this porch had a screen at its northern side, the columns and -door-frame[245] of which are still extant, but the marble lattice is -destroyed. Through an arch in the east wall of this porch the addition -which was made outside the south-west buttress pier could be reached, -where there was a passage into the church. Salzenberg’s plan[246] of -this addition is taken at the level of a landing reached by a staircase -from the passage through the south-west buttress pier. This landing -seems at one time to have been connected with a chamber above the -north porch of the baptistery, and from thence with the stairway at -the south-west angle of the church. Leading upwards from this landing -is the original staircase to the gynaeceum, and at this level there is -a small chapel vaulted with a cupola.[247] The vault is adorned with -mosaic; figures of angels stand in the four pendentives. Originally the -chapel was not lighted; but at the last “restoration” a hole was made -in the roof, which was filled with glass; a passage from this chapel to -the gynaeceum is probably Turkish. The chapel is supposed by the Greeks -to be the one into which the officiating priest disappeared at the -capture by the Turks. - -The Turks turned the baptistery into a storeroom for the oil used in -lighting the church, but on the sudden death of the Sultan Mustapha -I. it was converted into a turbeh. Almost the whole of the church is -raised above vaulted cisterns. An opening in the south aisle[248] gives -access to the water, and there is another opening in the north-west -exedra. The depth of the water prevented a close inspection. - -Of the two additions made in Byzantine times to the centre of the north -and south walls on the outside, and intended to buttress the aisles, -the southern one has been further lengthened by the Turks. To preserve -the use of the door and window in the wall of the church, each addition -was pierced by a passage. Remains of stairways and side passages have -also been found here.[249] Other remains of buildings existed on the -north and south sides of the church, but they were too insufficient to -base any conclusions on them. - -_Materials._--The principal materials employed are brick, and a kind of -peperino stone. The latter is used in those parts of the building which -have to stand great pressure, such as the four large piers in the nave, -the piers to east and west, and the extra projections from the buttress -piers in the side aisles and gynaeceum. In addition a horizontal course -two feet deep runs round the whole building four feet from the floor. - -The outside walls of the original building, like the vaulting, were -entirely of brick, but in the later additions they are formed of -alternate layers of brick and stone, and some of the later buttress -masses are almost entirely of stone. - -The bricks are as a rule about fourteen inches long and two inches -thick; some vaulting bricks brought from the ruins by the porch on the -east measured fourteen inches square and two inches thick; on one side -of them were scratched lines probably made by the three fingers of the -maker, and on the other was an oblong label inclosing an inscription -(1); another had a different inscription (2); and a third, not from -this vault, but of the same size, was also inscribed (3). - -[Illustration] - -[(1) Reads Constantius or Constantine. (2) May be rendered “the -church which is being erected,” by reading a participle of ἐγείρω for -the second and third letter. (3) This is also given in the _Revue -Archéologique_, 1876, with some slight differences in second and third -lines; it is there said to have been found between SS. Sophia and -Irene. It probably reads, “Lord, help Philemon: Indiction 7.” The two -first vowels of Philemon have changed places, and the contraction form -after “ΙΝΔ” is also turned the wrong way.] - -At the base of the dome the bricks are 27 × 9 inches, and two inches -thick. Some appear to be twenty-seven inches square; but at the apex -of the dome, by the hole intended for the lamp-chain, the thickness -is twenty-four inches. There was no trace of the light bricks made in -Rhodes which the Anonymous mentions; although in the pendentives a -light substance, whitish, with impressions of plants in it, was used in -irregular masses. The mortar has a red colour, and was evidently mixed -with crushed brick; the joints are from one to two inches thick. - -The marble of Proconnesus, which somewhat resembles the architectural -marble of Carrara, is employed for the cornices, capitals, and bases of -the columns, and for the windows. - -In Salzenberg’s plans the materials are expressed by different depths -of tint; the darkest being marble, slightly lighter is stone, and a -still lighter brickwork; the additional buildings are represented in -the lightest tones, and the Turkish buildings with strokes and dots. - -_Construction._--The outside walls average a height of seventy feet: -those on the north and south have a thickness of three and a half -feet, that on the east is four and a half feet, and that on the west -between the nave and narthex five feet. Where the arches rest on the -walls there are piers which project about two feet: thus the west wall, -for instance, has in parts a thickness of seven feet. As a general -rule, the interior vaults of wide span continue through the walls, and -appear as arches on the outside face. The window and door openings are -semicircular. The marble finishings were inserted after the completion -of the walls. - -The dome at first sight seems to rest upon four arches each of 100 -feet span; it is, however, only on the east and west that these arches -are open. From north to south the main piers are 106 feet apart, and -their breadth in this direction is fifteen feet eight inches; but on -either side of the nave there are projections, narrowing the opening to -100 feet, and giving the open arches abutments of eighteen feet eight -inches. - -Behind each of these main piers again, at a distance of twenty-nine and -a half feet from them, stands one of the buttress or staircase piers, -which, including the outside wall, is seventeen feet four inches by -twenty-four and a half feet in area. Round arches, which appear below -the vaults, transmit the thrust of the great arches from the main piers -to these buttressing piers. Above these each of the immense buttress -masses which stand right across the aisles, and rise to within eighteen -feet of the springing of the dome, bear upon two relieving arches of -different radii, so as not to load the vaulting beneath.[250] - -The cylindrical arches, which, at the ground-floor aisles and the -gynaeceum, connect the great piers with the outer buttress piers, are -each reinforced by two extra arches, standing on stone additions to -the main piers, from which they project five feet.[251] These arches, -though thus strengthened, are almost all out of shape; those by the two -northern main piers have been pushed out nearly fifteen inches. - -A drawing given in Salzenberg’s text shows the south arch which -supports the dome with the mosaics removed. The piers from east to west -are seventy-two feet apart, and accordingly the span of the arch is -seventy-two feet, its soffite being fifteen feet eight inches. The arch -is five feet deep, formed of two unconnected rings, and on each side -the lower part is laid in horizontal courses so that the portion with -radiating joints is only three quarters of the whole arch. The window -wall which fills the arch opening is four feet thick, and is bonded -with the horizontal courses, but a movement of the arches has caused a -fissure, which is shown in the diagram. These window walls on the south -and north sides have cracked in several places. The upper part of the -window wall on the north side is only twenty-nine inches thick. The -windows have been reduced and strengthened by inserting stone jambs. - -On the north and south side are also two large arches, which project on -the inside three feet from the window wall and rest on the main piers, -having the same height and span as the arches on the east and west. -They complete the square form under the cornice of the dome, and give -the idea that the dome is carried on four arches of 100 feet span: -whereas in reality, as has just been shown, the real supporting arches -on the north and south side are concealed in the window wall, and are -not suggested in any way in the interior decoration, being only visible -on the outside.[252] - -The four principal piers are very carefully built of shaped stones, the -joints, according to Procopius, being run with lead, but the Silentiary -mentions a cement as being used here. - -The height from the floor to the springing of the great arches is -seventy-three feet. - -The arches of seventy-two feet span have abutments of twenty-four and -a half feet, which are increased above the vaults of the gynaeceum to -twenty-nine feet. - -The great arches under the springing of the dome are about four bricks, -or five feet, thick. The depth at the top, including the cornice of -the dome, is about six feet and three quarters. The centre of the -arches is two and a half feet above the springing, so that they are -more than semicircular. In the internal angles formed by them are -the four pendentives. The cornice has a projection of about two feet -nine inches. The lead mentioned by the Silentiary may be found in the -interstices of its stones. - -The dome springs from the cornice on forty piers, about three feet five -inches broad on the inside, and about eight and a half feet deep in -the direction of the radius. They are connected by arches which form -windows four feet nine inches wide. On the outside the piers project -beyond the arches, and may perhaps at one time have been connected with -other arches, forming a drum for the dome: within they form part of the -ribs of the dome. - -In the interior the ribs project at the springing six inches from the -surface of the dome, which is there twenty-nine inches thick, but their -projection gradually diminishes, till they are lost in the great -circle of thirty-seven and a half feet diameter in the centre. In the -interior from rib across to rib is 104 feet, so that all round on the -cornice is the passage two feet nine inches wide, which, according to -Paulus, was used by the lamp-lighter. The dome rises forty-six feet -nine inches above this gangway, so that it is considerably less than a -semicircle in section. The original dome, according to Agathias, must -have been even flatter. Theophanes states the increase in height to -have been twenty feet, and Zonaras twenty-five.[253] - -The dome has now many swellings and depressions which are not visible -from the ground. At the same time we see how immovable domed vaulting -is, if only its supports remain uninjured. - -At the east and west ends of the nave the two cylindrical vaults are -each forty-seven feet across. They rest on the four lesser piers, and -have an abutment of fifteen and a half feet. The four exedras are each -forty-one feet across. All the conchs and semidomes have drums outside, -which are pierced by the windows. The conchs which cover the exedras -have strong arches, where they intersect the semidomes. The weight -of the exedra conchs is chiefly supported by the columns; the upper -columns of the south-east exedra, at the time of the last restoration, -were much inclined, and had to be brought back to the vertical, by -propping the arches, cutting away the old bases, and inserting new -pieces--the columns being surrounded and supported by wooden cradling. -The thickness of the western barrel vault is four feet; the eastern -apse is about three feet thick. The western semidome received an -additional thickness at the restoration. - -_Vaulting of the Aisles._--The three principal divisions of each -aisle are covered by domical vaults. The vault arches rest partly on -columns; and the spaces between these columns and the outside wall are -also vaulted. The middle division of the north and south aisles has -two domical vaults, separated by a barrel vault that opens towards -the nave arches, and to the window in the outside wall. The arches -have iron ties four inches thick, which stretch from the outer wall -to the columns of the nave, and grip them tightly. The four columns -in the aisles which carry the vault are much lower than those between -the aisles and nave, and for this reason the narrow vaulted space, -which joins the aisle vault to the nave arcade, is formed by a stilted -quadrant. - -This arrangement only applies to the lower aisles: above is a stilted -cylindrical vault, running lengthways between the main gynaeceum -vaults, and the arcade towards the nave.[254] Here, besides the iron -ties, there are wooden beams. - -The large arches in the aisles are twenty-nine and a half feet from -column to column. The domical vaulting of the aisles is very flat--a -combination of cross groining and a dome. For, though it starts with -angles at the four corners, it gradually merges into a dome at the -apex. The vaulting bricks are arranged in horizontal circles.[255] -A diagonal band of mosaic starts from each corner, and merges into -a central circle.[256] In the gynaeceum the vaulting is higher and -consists of spherical domes, the radii being half the diagonals of the -spaces covered. The mosaic decoration here again follows the form.[257] - -_Narthex._--The narthex is covered with vaults, similar to those of -the lower aisles of the nave. Each vaulted space is separated from -the next by a segmental arch, six and a half feet wide with a span of -twenty-six and a half feet, which abuts on the west wall of the nave, -and the piers of the outer wall. The vault spaces vary from sixteen and -a half feet in the middle to thirteen and a half feet towards the ends. -The piers of the outer wall are connected together by arches above the -window openings, and the spaces below the windows are filled up with -thin ‘screen’ walls. The upper floor of the narthex is covered with a -semicircular vault, intersected by the window arches between the piers -of the outer wall. These piers are the continuation of those beneath, -and have a width of six feet, and a depth of seven. They had to bear -the thrust of the barrel vault of twenty-six and a half feet span: -the buttresses previously mentioned, springing from the piers of the -propylaeum, were subsequently added to strengthen them. - -In the exonarthex there are cross groins with arches between. The -arches have a span of fourteen and a half feet and an abutment of -seven feet. This seems to be of a later construction than the rest of -the vaulting, and not improbably, as well as the piers, belongs to a -reconstruction of this porch, undertaken to strengthen the west wall of -the narthex. - -All the arches of the nave which stand on columns have iron ties; and -to the three large openings of the gynaeceum at the west end of the -nave there are wooden binders as well. In the lower rows of windows -beneath the dome on both the north and south sides of the nave iron -ties can be seen, which seem to stretch across the whole width of the -large arches which support the dome. - -_Roofs._--All the exterior vaults are covered with lead about a quarter -of an inch thick, which rests on a layer of wooden battens placed -immediately upon the brick vaults. There are several passages and -staircases for access to the roofs. Access to the exterior of the side -aisles and narthex is gained by the staircases in the buttress piers: -the stairs are supported on brick arches. In the north-east pier the -stair space is only four feet eight inches by six feet seven inches, -and in this are placed the flights of stairs two feet eight inches -wide, with a space of fifteen inches between.[258] At the top of each -flight spaces are hollowed out in the wall, which serve as landings -from one flight to another. - -These stairs ascend above the roofs of the side aisles to the upper -part of the buttress piers, from which open passages, with breast-walls -on either side, lead above the buttress piers to the angles at the -base of the dome. There were two flights of steps leading to the -platform of the dome: one of these on the south-east, which Salzenberg -shows dotted in Plate viii., is still quite preserved, though injured -at the upper end; remains too can still be traced of the north-west -stair. A door now built up, on the north side of the south-east stair, -and remains of vaulting in the north-west stair, seem to show that -other passages must have existed. - -The roof of the cylindrical vaulting at the west end of the nave is -reached by means of stairs in the small round towers, which flank it -on the outside.[259] These turrets can also be reached from the roof -of the narthex. Another passage runs along under the narthex roof at -the west (Salz., Plate ix.), which has an opening close to the upper -surface of the vaulting, and from thence any part above the nave can -be reached. Probably this was formerly used for the lighting of the -church. To reach the cornice at the foot of the dome there was an -opening in the wall under one of the dome windows. - -_Decorative Work._--All the constructional forms were shown boldly on -the outside without any adornment; the west front of the narthex next -to the atrium was alone covered with slabs of Proconnesian marble, -some of which are still preserved, but the upper wall surfaces were -perfectly plain. - -In the interior the whole of the walls are plated with rare variegated -marbles, and the vaults are covered with glass mosaic. Two chief -masses of colour in the nave are separated horizontally by a cornice, -and another cornice forms the springing for the vaulting. There are -also cornices at the foot of the dome, and around the walls of the -aisles. All these are of carved white marble in simple profiles. The -lower range of arch spandrils between the piers of the nave is formed -of slabs of white marble completely covered with carving: the upper -spandrils above the gynaeceum arches have sectile work of coloured -marbles. The carving is sharply cut, but conforms very closely to the -general surfaces; according to the old descriptions it was gilt, and -remains of colour still extant show some of the leaf-ornament coloured -with a dark red.[260] - -_Columns._--Amongst the columns are beautiful examples of the dark -green Thessalian marble, now called _verde antico_. Of this are formed -all the round columns in the nave and ground-floor aisles, with the -exception of the eight in the four exedras, which are of dark Theban -porphyry. It could not have been always possible to find a sufficient -number of columns of the same height and diameter, and the transport of -them must have been frequently accompanied by injuries of one kind or -another. There are differences between similarly situated columns, and -in many cases mended fractures appear on the surface of the marble. In -no cases are antique capitals placed on these columns. All the capitals -and bases are of Proconnesian marble, and were wrought by Byzantine -chisels. - -The greater part of the capitals are similar in design, though their -size varies in proportion to the height of the columns which support -them. Salzenberg, in Figs, 1 and 3 of his Plate xv., shows one of the -capitals of the great order. The leaf-work on them--partly acanthus -and partly palm--is very deeply undercut, and lies almost clear of the -ground underneath. In the middle of front and back are monograms. - -Under the capitals are bronze rings eleven and half inches high; each -is composed of three members, with a wrought lock on the side towards -the nave, on which is repeated the monogram of each capital. At the -foot of the columns above the bases are similar rings nine inches high. -These rings occur on all the old columns, with the exception of the -two dual columns of the west gallery. They seem to be let into the -shaft, and, according to the description of the Silentiary, they were -gilded. In addition to these rings, there are on other columns--as, -for instance, the porphyry columns of the exedras--simple rings, -rectangular in section, in positions where cracks and injuries appear; -there being three or four such rings on a column at different heights. -It is possible that some of these are of Turkish origin. - -The bases as a rule have much the same form as the Attic base; the -porphyry columns of the exedras have pedestals[261] below them, because -the shafts were not long enough. - -Each of the great verde antique shafts has a height of twenty-five and -a half feet, and the bronze base-ring has an inside diameter of three -feet seven inches. The capital is three feet ten inches high, and the -upper part five feet eight inches wide, the whole height, including -base and capital, being thirty-three and a half feet. - -The porphyry columns of the western exedras have a total height of -thirty-one feet; the shafts are twenty-two feet and three-quarters -long, and the diameter at the bottom is three feet one inch. The -capital is four feet high, and the abacus above measures towards the -nave four feet nine inches, and towards the aisles four feet eleven -inches. In the direction of the thickness of the arch the side of the -abacus measures five feet, the variation being due to the circular plan -of exedras. - -The columns of the upper storey, which separate the gynaeceum and -the nave, also of verde antique, stand nearer to one another and are -smaller than those below. The total height of those in the middle -division is twenty-two feet five inches; those in the exedras are -twenty-one feet, with a diameter at the bottom of two and a quarter -feet. The capitals are three and a half feet high, and the bases, -including a six-inch bronze ring, two feet one inch.[262] - -The parapet is three feet ten inches high, and of white marble.[263] -It stands between the columns, and like them is set on a stylobate one -foot six inches high, above the lower cornice. It should be noticed how -the wide vaulting of the aisles is contrived, so as not to interfere -with the view through the arched openings of the lower range of columns. - -The columns in the interior of the ground-floor aisles are about -twenty-four feet seven inches high. These capitals are similar to those -already described. Those in the interior of the gynaeceum, with shafts -of Proconnesian marble, have capitals of quite another form.[264] They -are very similar to others in the church of SS. Sergius and Bacchus; -the twin columns in the gynaeceum at the west end of the nave have -similar capitals; the columns being verde antique. In these capitals, -however, the volutes are not arranged diagonally, but show “cushions” -at the side. - -The capitals in the atrium resembled those of the twin columns; though -the cushion was shorter and the top had less projection, and it was -crowned with a flat egg and tongue moulding. The capitals and shafts -were of white marble. The beautiful square capitals of the eight square -white marble pillars in the aisles are shown in Salzenberg’s Plate xvi. - -The arches of the great order have an elaborate leaf-ornament round -them, continuing above the capitals in a horizontal line, resembling in -fact an architrave. [In the centre above each capital is a cross, and -at the crown of the arch is a four or six-armed cross.] The spandrils -are filled with acanthus-ornament, and in the centre of each is a disc -of coloured marble-surrounded by a carved circle in the white marble. -The ornament of the intrados of the arches consists of five divisions -in the width: these are covered with a continuous pattern, seven slabs -casing the intrados of the arch. [The five bands are only carved -alternately, the centre and lateral ones being plain.] See our Fig. 50. - -The respond on the main pier at each end of this arcade is a kind -of pilaster strip,[265] surmounted by a capital in low relief, and -surrounded by a notched border. - -The two cornices running round the nave, which serve as galleries -for the lamplighters, have an extremely simple profile. The -slanting under-surface, divided horizontally by a row of beads, has -acanthus-leaves in the upper part forming a cymatium, and in the lower -modillions carved with ivy and acanthus, and between them, panels with -different leaf-ornaments. Beneath the aisle cornice is a frieze of -marble mosaic. The base mouldings or skirtings are worked out of thin -slabs.[266] - -Salzenberg’s Plate xx. contains a collection of architectural details, -which seem to belong to different periods; Figs. 1, 2, 3 represent -one of the white marble capitals which adorn the two porphyry columns -of the south-east porch. The arch above them is Turkish, and hence it -may be questioned if this was their original position: they seem more -intended for an ornamental structure than to support a load, and they -may perhaps have belonged to a ciborium above the holy table. The two -marble capitals (Figs. 4 and 5), only three inches thick, were found -in the chamber in the north-east buttress mass, above the gynaeceum -roof, together with broken pieces from a window. They may originally -have belonged to the upper part of the building, such as the window -wall under the north arch of the dome.[267] The workmanship is very -different from that in the rest of the church, and is more closely -allied with ancient treatment. Perhaps they are fragments from the -earlier church which found a fresh application in Justinian’s building. -The parapet pillars between the twin columns of the western gynaeceum, -with tall pedestals, are each formed in one piece of verde antique. -Their capitals resemble those of the windows,[268] with the exception -that the former are rounded underneath instead of being square. - -The wood ties which span different arches are adorned on the sides and -beneath with carvings.[269] - -_Windows and Doors._--The lighting of the church is most brilliant; -wherever space or construction permitted, windows of considerable size -were opened, so that light floods the whole church. At the foot of the -dome the light streams in through forty windows, and each of the seven -apses has five openings. The eastern sun sends its first rays through -the six windows in the apse, and the setting sun shines through the -great west lunette. There are twenty-four windows in the two great -tympana, besides large windows in the aisles. - -The windows in the conchs of the exedras are now closed up, the grouped -windows in the great tympana on the north and south are diminished to -insignificant openings, and the large arched openings at the sides -or the end divisions of the aisles seem even in Byzantine times to -have been reduced in size; at least the remains of piers, shown in -Salzenberg’s Plate xiii., indicate that there was originally an opening -with pilasters, similar to those at the eastern end of the side -aisles.[270] - -It is said that Justinian gave instructions that combustible materials -should be avoided. If so, these instructions were followed even to the -windows and doors, for the lattice-work of the former is of marble, and -the panels of the latter are of bronze, or rather they are covered with -bronze. - -Salzenberg[271] gives the inside elevation and section of a window on -the south side of the gynaeceum, with details on a larger scale. The -opening in the wall is brick-arched, and the framework consists of -upright posts, with a thin horizontal architrave dividing the window -into two parts. Between these posts were fitted the breast-wall and -lattice-work. The posts are narrow towards the outside, and the ends of -the architrave rest on thin pieces against the jambs. - -The ‘breast-wall’ at the bottom of the opening and the ‘lattice-work’ -are formed of marble, three inches thick. The openings pierced in -the slabs are about seven or eight inches high, filled with panes of -glass. Between the panes the marble has a width of three and a half -inches, slightly splayed on the inside. A second row of slabs fills the -lower part of the windows pierced with openings, surrounded by wider -margins.[272] - -The great semicircular west window is divided vertically by two columns -with plain capitals and bases; the horizontal division from column -to column is similar to the crowning member of the breast-wall of -the other windows. The lower part is filled with marble slabs, which -conceal the roof of the western gynaeceum. Each panel is ornamented -with a cross upon a circle, and within the latter is a monogram. - -The small windows are simply filled with marble lattice for the glass. -Inside the apse windows of the east end are other windows having -coloured glazing; but these are evidently Turkish. - -Marble door jambs were placed in the openings left in the walls, -just as the posts were inserted in the windows; the middle, or Royal -Door, from the narthex to the nave, is of bronze. All the frames were -moulded, and above are fixed door-hooks, like bent forefingers; these -held rings and leather fastenings, from which were suspended the -customary door-hangings. - -The lintel of the bronze door-frame bears a relief. This represents an -arch, supported by columns above a throne with the book of the Gospel -and the descent of the Holy Ghost in the form of a dove. On it are the -words of S. John, ‘The Lord said, I am the door of the sheep; through -me if any man enter, he shall enter and shall go out, and shall find -pasture.’ The simple bronze door-plating now remaining does not seem to -be original. [See p. 265.] - -Salzenberg,[273] as an example of the marble frames, gives the east -door of north aisle. Like all Byzantine door-frames, the head does -not cut across the jamb, but mitres. This perhaps made it easier for -fixing within the openings left in the walls. Salzenberg[274] also -represents the arched opening, which stands between the Baptistery and -the small court on the south side of the church.[275] There are two -tiers of columns, with a thin architrave band between them. The door -stands between the lower columns; to avoid concealing them the frame is -made as small as possible, as the plan shows. A similar arrangement is -found in the earlier church of S. John Studius.[276] - -The bronze door-plating on the exterior of the south porch entrance is -extremely interesting.[277] A wooden foundation four or five inches -thick is covered with ornamental bronze casings. The borders to the -panels are beautifully modelled, and must be ancient. The other outer -margins, with knobs and rosettes, and the four panels, which are -decorated with monograms, belong to the Byzantine school. In the more -ancient parts the metal is one-eighth to one-fourth inch in thickness, -in the latter it is three-eighths to half an inch. Antique doors must -have been enlarged and fitted with new panel plates. - -_Marble Plating._--Broad horizontal bands run round the nave at -different heights, and the spaces between them are filled with single -panels and vertical sheathing. All the bands and panels have notched -fillets, 1½″ wide, of white marble as borders. The more important -panels have sculptured white marble frames, eleven inches wide with a -“pater noster” and notched-fillet borders on either side. - -The spandrils of the upper arches and the bands beneath the topmost -cornices are incrusted with designs of leaves, flowers, fruits, and -birds formed of different kinds of marble. - -The marble casing to the walls of the nave is arranged as follows.[278] -Above the skirting is a [3′.10″] band of verde antique, then the -notched fillet, then a [1′.5½″] yellow band [oriental alabaster]; above -this is a vertical sheeting [7′.10″] formed of Pavonazzetto marble, -alternating with a yellowish brown marble; then another horizontal band -of yellow. - -Above this stretches a series of panels round the whole nave--a panel -of _rosso_, with two vertical slabs of a dark marble like _porto -venere_ on either side, each surrounded by the sculptured frames. The -space from the top of this series to the lowest cornice is adorned with -two bands of yellow [alabaster], and between them is sheathing similar -to that below. - -The upper division of the nave starts above the cornice with horizontal -bands of white and verde antique; above which are vertical panels of -porphyry, set in a frame of yellow [alabaster], with slabs of the -russet marble on either side. [Then follows another horizontal band of -oriental alabaster, and above it a range of vertical slabs of verde -antique alternating with Synnadan.] - -Beyond this again, and immediately below the upper cornice, is the band -made up of different marbles[279] [_opus sectile_]. A dark brown marble -forms the groundwork, the tendril ornament is white, and the rest is of -red, like rosso antico, and of green serpentine. Similar work incrusts -the spandrils of the gynaeceum arcade. The centre of each is a disc of -green marble, and the whole spandril is edged by a three-inch strip of -pale red. Above the centre of each arch in this spandril decoration are -discs containing crosses, from the arms of which hang seals.[280] The -soffites of the arches are covered with glass mosaic. The aisles are -lined with marbles similarly arranged to those in the nave. - -The walls of the bema are covered with panels of inlaid marble.[281] -These panels in pairs are separated by a plain slab of porphyry. By the -side of the arched opening into the gynaeceum is a panel of porphyry -with a pattern in slight relief, and surrounded with yellow alabaster. -The arched opening into the gynaeceum is closed with a parapet of white -marble, with a carved framework above, formerly fitted, as holes show, -with a metal lattice. - -The lower division of the bema walls is decorated by two rows of -panels, divided by a horizontal band of verde antique. Salzenberg’s -Plate xxii., Fig. 6, shows the frieze directly below the bema cornice, -and the top of a porphyry pilaster-strip with a capital of white -marble; a similar pilaster fills the narrow space on each side of the -apse. - -The walls of the apse are shown on Salzenberg’s Plate xxi. The frieze -beneath the cornice is given in Plate xxii., Fig. 8. The porphyry -ground has an inlaid pattern which slightly projects: the serpentine -in the frieze, Fig. 6, also projects from its rosso ground. The lower -portion of the apse, formerly occupied by the seats of the priests, -is now plated with a white gray marble. This is probably Turkish. The -height of this probably gives the height of the iconostasis, as there -is no sign of any change in the decoration above. - -The marble is fixed to the wall with a dark brown resin. In the -opus sectile, pieces of coloured marble about a quarter of an inch -thick were cut to the forms of the design, and then laid with their -polished faces downward at the bottom of a mould; on this was poured a -three-quarter inch backing of resin mixed with bits of stone and brick. -When set, the slabs so formed were attached to the wall with cement. -The large marble slabs are one to two inches thick, and, besides the -cement, are fastened to the walls by iron [? bronze] clamps. The -pavements of ground floor and gynaeceum are of white marble with dark -gray stripes. [Proconnesian.] In the south-east angle of the square -area under the dome is a square of marble mosaic, of which details -are given in Salzenberg’s Plate xxii., Figs. 9-15. It is formed of a -circular centrepiece of a gray brown granite, ten feet two inches in -diameter, round which are arranged coloured marble discs of various -sizes, set in a mosaic of marbles, with a little glass mosaic in the -angles. - -In the centre of the west end of the gynaeceum is a square [of about -twenty-four feet] in the pavement laid with slabs of “gray cipollino” -[Proconnesian], having a border of verde antique, with a patterned -edging[282] of giallo and rosso on one side, and giallo and serpentine -on the other. [Between this and the parapet is a circular slab of verde -antique four feet seven inches in diameter.] - - - - -CHAPTER IX - -THE ANCIENT PRECINCTS AND EXTERNAL PARTS OF THE CHURCH - - -_Palace._--Before entering on particulars of the exterior of the -church, it will be well to have a clearer view of the edifices in its -immediate neighbourhood as they appeared in the time of Justinian. - -The group of buildings of which the Augusteum was the centre was -profoundly modified by the fire of the Nika Sedition, and by the -building energy of the emperor. The researches of Labarte and Paspates -have been almost entirely confined to the elucidation of the palace as -it existed in the tenth century. - -A restoration of the relative position of the several parts of the -palace, unless by the discovery of remains positive evidence is -obtained, is certainly impossible; the attempt of Labarte was worth -making, but Paspates, in bringing forward another scheme, seems only to -have succeeded in showing how conjectural the whole matter is, although -he speaks of certain scraps of walls as belonging to this or that part -of the palace with as much confidence as if he had found them labelled. -His work carries internal evidence of the greatest inexactness and -confusion, and has proved most misleading, although his citations are -valuable. - -It should not be assumed that wherever a palace is mentioned by the -historians the “Great Palace” is the one referred to, and it must -be remembered that the palace described in the _Ceremonies_ was the -result of gradual growth: indeed, what is required is a chronological -analysis of its history. We have seen in the first chapter that -according to the _Paschal Chronicle_ Constantine built a palace by the -hippodrome, and the _Notitia_ mentions the palaces of Placidia and -Marina in the same neighbourhood. According to Procopius the palace -was almost rebuilt by Justinian, but he only specifically mentions the -Chalké. - -Remains of a palace now on the sea-wall, exactly to the south of the -curve of the hippodrome, are thought to be portions of the palace -“Hormisdas” which Justinian occupied before he came to the throne (B, -on Plan, Fig. 2). Close to the sea-wall farther to the west was the -double church of SS. Sergius and Bacchus and SS. Peter and Paul, of -which the first survives as Little Sancta Sophia (A, on Fig. 2). These -were early works of Justinian, and his monogram and that of Theodora -appear on the capitals of S. Sergius. - -Procopius tells us that the church of S. Sergius was “close to the -king’s palace which was formerly called by the name of Hormisdas. This -was once his own private house,” and when he became emperor “he joined -it to the other imperial apartments.” The Great Palace was higher up -the slope, against the hippodrome and Augusteum, to which its gates -opened. - -It was long after Justinian that the great palace reached its maximum -development; the Chrysotriclinum was erected by his successor Justin -II. The houses of Marina and Placidia were still in use at the end of -the sixth century, although this is mentioned by neither Labarte nor -Paspates. The wedding of the daughter of Phocas was celebrated in the -former,[283] and “the Royal palace of Placidia” is referred to by John -of Ephesus. The writer tells us that Tiberius II., the successor of -Justin II., made large additions to the palace. Before he reigned alone -the wife and daughters of Tiberius occupied the house of Hormisdas, -“as it was situated just below the palace, and he would go down and -spend the evening with them and return early in the morning to the -palace.”[284] - -Justinian II. also added to the palace, and in the ninth century -Theophilus built the Triconcha. Basil the Macedonian still further -increased the assemblage of buildings. - -It is clear that in the time of Justinian there were at least four more -or less separate palaces grouped together--the Great Palace, Hormisdas, -and those of Marina and Placidia. - -_Hippodrome._--The information in regard to the hippodrome brought -together in the works before mentioned, and by Gyllius, cannot be -recapitulated here.[285] As the ground fell away steeply towards the -south, that end had to be raised high on vaults, and this retaining -wall, perhaps forty feet high, forming a semicircular curve, still -exists.[286] On either side rose the tiers of the marble seats. At the -north end was the royal stand, called Kathisma, from which the emperors -watched the games; this was raised above arched chambers, where the -chariots for the arena were kept. The south-west end was called -_Sphendone_--The Curve. A rough draft of Constantinople, made early -in the fifteenth century for Bondelmontius, reproduced by Mordtmann, -shows columns standing on the retaining wall around this curved end. A -clear representation of this semicircle of columns is also given in the -_Nuremberg Chronicle_. Banduri reproduces from Panvinius, who wrote in -the middle of the sixteenth century, a drawing of the hippodrome which -seems to have been made with considerable care. Beneath it is written, -“The ruins of the circus or hippodrome of Constantinople as they were -a hundred years before the capture of the city by the Turks.”[287] -But that it should have been in a ruinous state at this time is not -borne out by the accounts of writers like Clavijo and Bondelmontius, -who described it in the generation before the Fall: on the contrary, -we should suppose this to be one of the draughts for the Venice -view of the city published about 1570, with which it agrees in many -respects.[288] This bird’s-eye view shows the monuments on the Spina, -the Grand Stand and its “Podium” of vaults, and also the high external -retaining wall of the curve, above which the columns again appear, but -set back from its face, so as to leave a passage outside the columns, -the outer wall being finished with a battlement. It is true that in -the engraving it is rendered as if these columns were attached to a -wall, or rather as if a wall were built between the columns, for they -appear both inside and out; but this interpretation cannot be given -to a description of this colonnade by Gyllius.[289] “In the front of -the hippodrome facing the Propontis there was a range of seventeen -pillars of white marble standing when I first came to Constantinople, -going round that part of the hippodrome which lies between south and -west.” They stood on a low wall, about two feet six inches high towards -the hippodrome, but outside it was fifty feet to the ground. They -were of the Corinthian order, three feet five inches in diameter and -twenty-eight feet high, standing eleven feet apart on pedestals; above -them was an architrave to which rings were fixed for curtains. “Above -was another range of pillars, which were remaining some time after the -taking of the city by the Turks.” These last were only reported to -Gyllius; and if we accept such a second tier we may suppose that it -ranged with a colonnade surmounting the containing wall of the terraces -of seats. Paspates makes from this account a wonderful and impossible -arrangement; he supposes the first-mentioned columns to have been -continued along the external sides of the hippodrome, he further rears -the second range on them, and this he thinks upheld the immense mass of -the rising seats. “If we suppose,” he says, “the height of those in the -upper row to have been twenty-one feet, we have about fifty-six feet -as the height of the wall on which the seats for the spectators were -built.” - -These columns probably formed an open screen through which the -spectators might see the sparkling waters of the Propontis, set with -the blue jewels of Prince’s Islands and the white peaks of Olympus -rising far away to the left--one of the most beautiful scenes in the -world. This addition of a natural spectacle behind the scene was -frequently obtained in ancient theatres: the best known is that at -Taormina. Clavijo[290] speaks of the hippodrome as being “surrounded -by white marble pillars,” but he adds “thirty-seven in number.” The -anonymous Russian who wrote about the same time says “thirty columns -and their summits are united by an architrave.” See Fig. 2. An “open -hippodrome” and a “covered hippodrome” are mentioned by the Byzantine -writers. Labarte distinguishing them, placed the latter within the -palace. Byeljayev, however, conjectures that the covered hippodrome -was a part of the Great Hippodrome. Be this as it may, the “rings for -curtains” of Gyllius suggest that portions were sheltered by a Velarium. - -Bondelmontius[291] writes thus of the hippodrome: “In it those cf noble -birth joust in the presence of the people, and there are combats and -tournaments. It is 690 bracchia long and 134 wide, and it is built -above vaults, in which a cistern of the best water covers the whole of -the space mentioned. At the head of the hippodrome are high pillars [of -Kathisma] where the emperor sits with his nobles, and on both sides in -its length are seats of marble arranged in steps where the people sit -and see all the games.” On the outside towards S. Sophia there was the -church of S. Stephen, “from the galleries of which the ladies watched -their chosen champions.” On the Spina he notices a fountain where the -wounded were laid, the two obelisks, and the three serpents “with open -mouths from which, it is said, on days of jousting water, wine, and -milk used to spout.” At the end of the Spina were four small marble -columns where the emperor sat on feast days.[292] - -Besides the bronze serpentine column from Delphi, there still stands -in the hippodrome an Egyptian obelisk, set up by Theodosius I. on a -pedestal sculptured with a representation of the emperor viewing the -games from the Kathisma, and a record of the methods used in erecting -the obelisk by means of ropes and winches. Nicetas in his life of S. -Ignatius says that a brazen pine-apple surmounted this obelisk. A -third monument is a large built-up obelisk of stone, pitted all over -where pins which attached bronze plates were inserted. An inscription -often quoted, records that Constantine, father of Romanus, repaired it -and added to its beauty. The casing of bronze was probably covered with -reliefs and ornament, as was the case with the pillar in the Augusteum, -and the anemodulium, which was set up by Theodosius in the Forum -Tauri. This last was an obelisk entirely cased with bronze, “having -reliefs[293] of cattle, sheep and skipping lambs; peasants labouring or -playing on their pipes, and birds; there was also represented the sea, -and sea-gods, and cupids playing at ball. On the point was a statue of -a woman which turned to the slightest breath of the wind.” - -Among the statues in the hippodrome mentioned by Nicetas as having been -destroyed was the colossal bronze Hercules, and a sundial which was in -the form of an eagle with wide expanded wings trampling on a serpent. -The twelve hours were marked out beneath its wings, six on either side, -and the sun shining through a hole in each wing marked the hour or the -day. Near the eastern goal was a row of statues of charioteers, driving -their chariots and turning the goal. Besides these there were many -other statues of persons and animals; an elephant with a proboscis that -moved is mentioned, but it is not clear however that this last was in -the hippodrome. - -Sigurd, King of Norway, saw the games given here in 1111; there was -a spectacle in which people appeared as if riding in the air, some -sort of fireworks, also music with playing of organs, harps, and other -instruments.[294] Benjamin of Tudela (1161) says, “lions, bears, and -leopards were shown, and all nations of the world were represented, -together with surprising feats of jugglery.” The hippodrome was used -for spectacles after the change of masters. An Italian MS. of 1582 -in the British Museum describes the ambassadors and princes sitting -on staging, with a large stand for the band in the “piazza” of the -hippodrome; the Sultan and his son sat on an inclosed and covered -throne.[295] - -_Augusteum._--“In front of the palace,” says Procopius, “there is a -forum surrounded with columns. The Byzantines call this forum the -Augusteum. On the eastern side stands the Senate-house.” Other writers -speak of it as the Agora of the Milion, or simply as the Milion, -from the building which adjoined it. Zonaras seems to call it the -Proaulion of the Great Church. Round its sides were peristyles, and the -buildings mentioned in the first chapter, most of which were rebuilt by -Justinian. It was laid with a marble floor of long slabs, a portion of -which was discovered many feet below the present level, together with -the inscribed base of the silver statue of Eudoxia, when Fossati built -the new government offices in 1848. - -“Outside the palace the public baths of Zeuxippus and the great -porticoes and all the buildings on either hand as far as the Forum -of Constantine are the work of the emperor Justinian.”[296] Large -pillars have frequently been found which appear to have formed part -of colonnades in the Augusteum. Gyllius saw seven large Corinthian -columns, forty-six feet high over all and “twenty foot ten digits -apart.” On the shaft of one was cut the name of Constantine, with the -signal of the cross he saw in the heavens, and the inscription ΕΝ ΤΟΥΤΩ -ΝΙΚΑ. These, he seems to suggest, may have belonged to the Milion. On -this is built up a characteristic piece of restoration by Paspates, -who sees in the seven columns, standing over twenty feet apart, and -obviously in a straight line, “a square building resting on seven -columns,” to which he adds an upper range of pillars supporting a domed -chamber. Bondelmontius, who is also cited for these columns, says -there were six, and _all in a row_. They were almost certainly a part -of the nine columns seen by Clavijo[297] before the Fall, when he was -told that “a great palace used to stand on the top of them, where the -patriarch and his clergy held their meetings.” - -This great square, surrounded by colonnades, contained so many statues -and other works of art that Labarte well calls it an open air museum. -To the north, opposite the south-west corner of the church, was the -colossal bronze equestrian statue of Justinian surmounting a pillar, -which, according to Procopius, stood on seven stages of steps and was -covered with bronze reliefs. The king looked to the east, and carried -the orb of the earth surmounted by a cross in his hand. The pillar -had originally been erected by Arcadius to support a silver statue of -Theodosius his father. The statue of Justinian, which replaced that -of Theodosius, was destroyed by lightning in 1492.[298] The fragments -were seen by Gyllius, and, from measurements which he gives, it seems -to have been from twice to three times natural size. Bondelmontius says -the pillar was seventy cubits high. A very good drawing of the statue, -now amongst the MSS. of the Serai library, made about the year 1340, is -reproduced by Mordtmann. This pillar and its statue is often called the -Augusteum, and it probably gave its name to the place in which it stood. - -_The Milion._--It is probable that the city milestone existed before -Constantine, who may have built the structure over it. According to -Du Cange[299] the Augusteum, with which it was so closely associated, -was often called by its name; so that Codinus tells us that the church -of S. Phocas was built “in the Milion.” It appears to have formed the -western boundary and gate of this forum, or at least of its inner -part, if divided, and to have been connected with a colonnade running -north and south as well as with the _Mese_. It is spoken of as a -colonnade (_embolos_), as vaulted (_kamara_ and _phournikon_), or as -having many arches (_apsides_). Cedrenus and other writers speak of -statues in the apsis or kamara of the Milion. It can hardly be doubted -that it had four large arches facing different ways. A structure of -this kind remains at Lattaquieh, which is about ten metres square and -was surmounted by a dome. De Vogüé[300] compares it with ruins of a -similar erection found at Palmyra, the Mesomphalion of Nicaea, and the -Umbilicus of Antioch described by Dion Chrysostom, and others. This -last stood at the centre of the two great colonnaded streets that ran -east to west and north to south through the city. - -The principal reference to the Milion is the description by -Nicetas[301] of the struggle with the insurgent troops in the reign of -Alexius Manuel. “As many buildings as adjoined the Great Church and -commanded the Augusteum were seized by the rebels, who scaled the large -_apsis_ which stands over the Milion, and also fortified the church -of S. Alexius, which is joined to the Augusteum. But the imperial -troops made a sally from the great palace and established themselves -in the church of S. John called Diippus; and the agora was full of men -who were injured by those on the _apsis_ of the Milion, and on the -church of S. Alexius. But fresh troops from the palace filled all the -thoroughfares and passages leading to S. Sophia. The rebels, coming out -of the temple and passing by the Augusteum, became engaged with the -others in the narrow ways, and the conflict remained uncertain, until -the imperial troops drove back from the streets those who had come out -of S. Sophia and shut them within the Augusteum. The imperial troops -broke open the gates of the Augusteum, and the rebels were forced from -the top of the Milion by the troops mounting the _apsides_, while the -rest of them, being worsted in the Augusteum, gave way; but a shower -of missiles was kept up from the part called Macron, overlooking the -Augusteum, and the neighbouring chamber of Thomais. They took refuge -in the pronaos of the church, where is the Archangel Michael in mosaic -standing with drawn sword as if on guard. The imperial troops, because -of the narrowness, were unable to follow them with advantage, nor -did the insurgents dare to trust themselves out again. The patriarch -descended into the _proskenion_ or _protekdikeion_ of the church, and -then harangued them to prevent further sacrilege.” - -In the _Ceremonies_ we twice read of the emperor passing through the -nave of S. Sophia and its Royal Gate, then across the narthex, and, by -the _louter_ (fountain), reaching the steps of the _athyr_ (atrium). -“Then he passes through the Milion, and along the Mese and reaches -the Forum, where is the Chapel of S. Constantine.” Labarte, wrongly -explaining this as the Forum Augusteum, instead of that of Constantine, -makes the _louter_ the baptistery, and the _athyr_ its porch. Other -processions from the Palace to the Church through the Milion have been -given by Labarte. - -The colonnades adjoining the Milion are mentioned in the account of a -fire which attacked a part of the Great Church in the reign of Isaac -Angelus. “The parts by the apsis of the Milion, and the Macron, and -the place called the Synods were burnt. The porticoes of Domninus were -reduced to ashes, as well as the two covered ways starting on both -sides of the Milion one of which reaches to the Philadelphion.”[302] -The Philadelphion was towards Constantine’s forum, and the other way -probably led from the Milion north and south to the church and the -palace gate. - -We learn from Agatho the Deacon[303] that in the porticoes (_stoai_) -of the Milion were represented the seven Œcumenical Synods of -Constantinople; this is probably what is meant by Nicetas, where he -speaks of “The Synods” as quoted above (see, however, Mordtmann, p. -68). The seven synods is one of the iconographic schemes given by the -_Byzantine Manual_, and they are represented in the mosaics at the -Nativity Church at Bethlehem. - -_Horologium._--In close connection both with the Milion and the church -was the court of “the time-measure”--a sundial or water-clock. At the -triumphal entry of Basil “they passed along the Mese up to the Milion, -and entered through the embolos of the Milion into the Horologium, and, -having put off their crowns in the metatorium within the Beautiful -Gate, they entered the narthex.”[304] The Horologium is constantly -spoken of as being near the baptistery, and was certainly on the south -side of the church. - -_Baptistery._--In our first chapter we have given reasons for -supposing that the round building at the north-east formed part of -the earlier church and became the baptistery of Justinian’s building. -Buzantios considered that the former was the baptistery “perhaps -also used as a sacristy.” A knowledge of an earlier baptistery would -seem to be implied in the way the south-west building is spoken of -by Porphyrogenitus and later writers as the “Great Baptistery by the -Horologium.” - -According to Codinus and the Anonymous the Great Baptistery was built -before the church, and Salzenberg thought the style was earlier -than that of the church. Is it possible that this was built as an -independent church and only ultimately became the baptistery? It -appears from the account of the Russian pilgrim Anthony that in the -twelfth century its dome was painted with the baptism of Christ in -Jordan, a scheme which agrees with the two baptisteries at Ravenna. - -_St. Peter’s Chapel, &c._--To the east there were some detached -buildings, at least in later times. The Anonymous we have seen mentions -a chapel of St. Peter as near the skeuophylakium. Anthony speaks of -this chapel, in which St. Peter’s chains and the carpet of St. Nicholas -were preserved, as behind the altar. The anonymous Russian says a -chapel of St. Nicholas was behind the bema, and also speaks of a marble -basin covered with a lead roof, “where they baptise the emperors” as -being behind the altar, in a space set round with cypresses. Anna -Comnena also mentions “the chapel of the Hierarch Nicholas” as part -of the Great Church and a place of sanctuary.[305] The passage of St. -Nicholas is also referred to. It is possible that this chapel was -otherwise known as St. Peter’s, and either this or “the place where -they baptise the emperors” may be the present round building--the -ancient baptistery as we suppose. That St. Peter’s chapel was of some -importance and detached seems clear from the _Menologium_. On January -16 was celebrated the adoration of St. Peter’s chains. It is explained -that after Peter’s release, “the chains were found by some believers -and guarded from generation to generation until they were brought to -Constantinople by a pious emperor and placed in the church (ναὸς) of -St. Peter which is near St. Sophia.” We have given a picture of the -chains in Figure 8. A tradition of some of these buildings may be -preserved in an Italian MS. of 1611 in the British Museum. “The ancient -buildings round the church have been ruined by the Turks except a -small part of the close (_canonica_), where they have made dwellings; -there is also the sacristy and the place of the baptistery, which -had originally three vaulted ceilings, one above another. It was of -wonderful architecture and made with six angles. From the sacristy to -the base of the dome is an arquebus shot; between it and the Seraglio -lies a road.” - -_Boundaries._--Probably the fullest and clearest account of the -approach to the church through the Augusteum is given by the Spanish -ambassador Clavijo, who was at Constantinople in 1405, at a time when -many of the buildings in the precincts had been destroyed. In a court -in the front of the church, he saw “nine very large columns of white -marble,” and he was told that before his time a palace had been here, -where the patriarch met the canons in chapter. “And in the same place -before the church stands a stone pillar of marvellous height, on the -top of which is a horse of copper as large as four horses put together; -on the horse was an armed knight with a great plume on his head like -a peacock’s tail. The horse has chains of iron round its body secured -to the column to prevent it from falling, or being moved by the wind. -The horse is very well made, and one fore and one hind leg is raised, -as if it were in the act of prancing. The knight, on its back, has his -right arm raised, with the hand open, while the reins are held with -the left hand. This marvellous horse is said to have been placed here -by the Emperor Justinian, who erected the column. At the entrance to -the church under an arch in front of a gate, is a place adorned with -four columns, and below is a little chapel very rich and beautiful. -And beyond this chapel is the gate to the church covered with bronze -very great and high; beyond again is a little court surrounded by high -galleries [horologium?]. Afterwards there was another gate of bronze -[the south porch]. Beyond this gate there is a ‘nave’ vast and high, -with a ceiling of wood [the exonarthex]. And on the left hand there is -a cloister very large, and beautiful [the atrium], with many stones of -jasper of infinite variety of colour. On the right hand under the said -nave-covered as I have said--and after the second gate, you arrive at -the body of the church, which has five doors, high and large, covered -with bronze, of which that in the middle is the greatest.”[306] - -The present south porch we should suppose is the pronaos mentioned -by Nicetas as that where the Archangel Michael stood on guard. The -exonarthex is now vaulted, but not covered with mosaic; it is bare and -rough, and it seems possible that at one time there may have been a -ceiling of wood. - -Stephen of Novgorod (1350) says that the first gate of the church was -by the column of Justinian; then there was a second, a third, fourth, -fifth and sixth and by the seventh you entered the great church. This -may be exaggeration, but Gyllius speaks of the south entrance formerly -being by six _valvae_ of brass, “now there are only three, ingeniously -worked,” so that there would appear to have been at least one more -double door in his time than the two now existing. If we consult the -careful drawings made by Grelot, which take us half way back to the -conquest, we shall see that the boundaries of the cypress garden on -the south side agree entirely with the present walls. The first of -the turbehs was built here about a hundred years after the conquest, -and we may almost safely assume that it was backed against the outer -wall, as at present. Now when we find Clavijo, some fifty years before -the conquest, in approaching the church from this side, speak of an -outer gateway and a court before the church was reached, we shall -almost certainly be justified in placing this outer gate on the present -boundary. The fountain in the south court we suppose occupies the site -of an ancient fountain. A comparison of Grelot’s plan (1680) with -Fossati’s (1850), will make clear the south boundaries of the church, -as they existed at the time of the conquest. The octagonal building -attached to the south side of the church shown in Fossati’s plan must -be Turkish, probably the library of the sultan mentioned by Pococke. - -The palace of the patriarch, with the library of the Thomaites, we -would place on the ground between the south boundary and the church, -the gardens which belonged to it occupying the ground of one of the -courts. It had evidently been destroyed by the time of Clavijo’s visit, -and for what is known as to the buildings we must refer to Paspates. - -The courts to the north of the church were probably occupied by the -cells of the clergy and the college called Didaskalion (see our page -49); Bondelmontius speaks of “the way of a thousand columns in pairs” -(the Mese) through which the emperor walked to S. Sophia “where the -houses of the 800 clergy were round the church.”[307] - -_The Atrium._--The street lying at an angle to the west wall of the -entrance courtyard, rising steeply towards the hippodrome, is probably -ancient. - -Some considerable remains of the atrium colonnade were in existence in -the present century, but they were finally destroyed in 1873.[308] The -present boundary of the western court appears to occupy the position -of the exterior west wall of the atrium. Outside it there is a level -roadway, beyond which the ground falls rapidly to the street. As the -church stands across a hill the ground had to be made up to a level, -and this, together with the position of the street, would account -for the court not having been square as was usually the case. As -excavations have shown that the pavement of the Hippodrome and the -Augusteum were eight or ten feet below the present level,[309] steps -would have been required to attain the level of the church at the west. -The _Ceremonies_ show that the royal processions entered and left the -church on the south side through the Augusteum, which served as a great -forecourt to the church on this side. Without doubt this was the -principal entrance. Clavijo and other visitors all appear to have -entered the church from the south. When Grelot’s western view was made -(before 1680) no west doors to the atrium existed, but it was entered -from the north and south only. In our plan we have therefore shown only -one door in the west wall of the atrium, possibly there was none (Fig. -3). - -[Illustration: FIG. 25.--Original state of West Front as built by -Justinian.] - -Outside the present south-west entrance of the court there remained -until 1869 a stone inscribed - - ✚ϹΑϹΘϹΕΝΘΑΔΕΚΑΤΟΙΚΙΜΗΔΕΙ.... - -Its form suggests that it was a step, or it may have been a lintel from -one of the doors into the atrium or the rim from a fountain.[310] The -words “The Holy God dwelleth here let no....” may be compared with the -inscriptions for fountains and gates given on pages 84 and 264. - -This atrium court of S. Sophia was called by the Byzantine -authors _aule_, _mesaulion_, _aithria_, and by some late writer, -_garçonastasion_, which Du Cange explains as “the place where pages -wait.” The cloistered walk originally surrounded it and formed a -quadriporticus; although the eastern walk, the present exonarthex, is -inclosed and entirely different from the other colonnaded walks, the -atrium is often referred to as “Four-porticoed” (_Tetrastoon_). It -cannot therefore be doubted that the exonarthex with its great piers -replaced the original eastern walk, for the sake of greater abutment -to the church. This is equally clear from the building itself and the -description of the poet. (See Figs. 3, 24, 25, 29). The “Propylaeum” -often spoken of must either be this exonarthex, or the gateways in the -atrium. - -The cloister walks were vaulted, and the walls covered with marble. One -of the capitals remained in the courtyard as lately as 1873, when it -was drawn by Canon Curtis; it resembled those in the gallery inside, -with deep sculptured dosseret and small volutes below. More than one -writer remarks on the great beauty of the marble shafts. They were -set in close order, and we may see from Salzenberg that, when we add -for their bases, they were some twenty-two feet high, and must have -made a fine portico to the west front. In 1852 two of the pillars -were represented on the plan of Fossati as still _in situ_: now every -evidence of the atrium has entirely disappeared. - -_Phiale._--In the middle of the court was placed a fountain, where, -according to the Silentiary, was a “bubbling stream leaping into the -air from a bronze pipe.” The name given to such a fountain by Greek -writers was phiale or colymbethra, and, by the Latins, cantharus or -nymphaeum. At S. Sophia it was also called “The Laver of the Atrium” -(λουτὴρ μεσαυλίου).[311] The louter or loutron, with its colymbethra, -formed a sanctuary for the pursued: we read in Procopius of their -“fleeing to the church of S. Sophia, and coming to the holy loutron, -and laying hold of the colymbethra which was there.”[312] - -According to the Anonymous author, on whom we place no reliance, the -phiale had twelve arcades or columns, and lions spouted out the water. -Canopied phialae it is true still exist at St. Demetrius at Salonica, -and in the monasteries of Mount Athos. The canopy of the phiale at old -St. Peter’s was of bronze; under it the great pine cone, which still -remains, threw out water in innumerable little threads. On the canopy -were probably placed the beautiful bronze peacocks, which also still -exist.[313] A very beautiful fountain of this kind, at Constantinople, -was placed before the church built by Basil in the palace. The basin -was marble, from which rose a pine cone pierced with holes. Above on -the cornice were placed cocks, stags, and rams, of cast bronze, from -which the water flowed.[314] - -In the Court of the Lions at the Alhambra, the basin of the fountain -rests on lions, and the water runs away from the fountain in four open -streams to the four sides of the cloister. This work was certainly -executed under Byzantine influence, and it is curious to find more than -one small garden fountain at Constantinople in which the water issues -from the mouth of lions. On the other hand it seems probable that the -Anonymous imitated the description of the temple of Solomon and the -laver, which stood on twelve oxen. The other washing place he describes -(see page 141) with the different kinds of animals represented, seems -to be founded on the description of that of Basil’s church. - -Porphyrogenitus speaks of the “cup of the phiale”; and it seems most -probable, considering the simple description of the Silentiary, -that, as in so many ancient churches, it was at first merely a bowl, -standing on a pillar rising from a polygonal basin. In the time of -Michael Palaeologus, there was such a basin on the sides of which “was -engraved on the marble the honoured form of the cross.”[315] A bowl -figured by Gruterus[316] in 1602 as “newly found at Constantinople,” -has been spoken of by Du Cange and others as having belonged to S. -Sophia, although the evidence of this is not very positive.[317] This -was a circular bowl very similar to the well-known representation of a -cantharus of Justinian’s time in the Ravenna mosaic. The inscription -around the rim read equally well in both directions.[318] This circle -being horizontal, we cannot but think, as it would necessarily be -read from outside, that Gruterus was mistaken in putting the bottom -of the letters toward the centre; we have therefore reversed this -in our figure. The words “Wash thy sins, not thy face only,” almost -certainly refer it to a phiale. Eusebius, for instance, speaking of -one of these fountains, says, “it is not meet for an unclean foot to -step on the sacred place within the temple,” and Paulinus tells us -that at Nola those who entered the church washed their hands in a -similar place.[319] Probably, so accurate a writer as Du Cange had good -reasons for referring the bowl in question to S. Sophia. Dr. Covel of -Cambridge, who was at Constantinople from 1670 to 1677, and has left -a valuable MS. now in the British Museum, which we shall have further -occasion to quote, also gives the inscription, which he says came from -the fountain of S. Sophia, but again, it is possible he derived this -from Du Cange, or from Grelot, whom he appears to have met, for some of -the Frenchman’s drawings are included in the MS. - -[Illustration: FIG. 26.--Inscription on Phiale from Gruter.] - -In this collection are drawings of two beautiful phiale cups, which -existed at Ephesus when visited by Dr. Covel. From the simple elegance -of their forms we suppose that these bowls cannot be later than the -sixth century.[320] See Fig. 27. - -_Pavement of the Court._--When the Anonymous tells us that the four -boundaries of the church were called after the rivers that flowed from -Paradise, it is quite evident from the context that he is speaking of -the atrium; and it seems probable that immediately before, where he -speaks of “ever flowing waters of great rivers,” he is describing the -pavement of the court as figuring four streams. This certainly would -furnish a reason for the walks taking their names from the four rivers -of marble which flowed towards them, like the four real streams flow -in the court of the Alhambra. There is much to countenance this theory. -For instance, the atrium of old St. Peter’s was called Paradise: -Simeon of Thessalonica tells us the part outside the doors of a church -represented the creation, as the bema symbolised heaven; and the idea -might easily be referred to the words used in the service for blessing -the waters of the phiale. - -[Illustration: FIG. 27.--Phiale Bowls from Ephesus.] - -This custom of blessing the waters on the eve of Epiphany, to which -Paulus the Silentiary alludes (see page 44), was practised as early -as the end of the fourth century.[321] Goar gives the ritual.[322] -After the evening service the priest with the censer and candlestick -proceeds to the “_luter_ of the _mesaulion_,” chanting “the voice of -the Lord is upon the waters.” Part of the ceremony of blessing included -a prayer, “We beseech thee, O Almighty Father ... who fixed Paradise in -Eden and bade its quadruple spring flow far and wide ... who blessed -the waters for Jacob, and hast bidden us, through thy prophet Isaiah, -to draw water in gladness from the fountains of the Saviour.” The -account of the Anonymous may be a duplication of his description of the -interior, but outside Charlemagne’s church at Aix there is a pine cone -which formerly belonged to a phiale; the water rained from it through -little holes, and about the foot are verses referring to the rivers of -Paradise and Baptism. - -_West Front._--On the east side of the atrium court, against the -west wall of the exonarthex, rise four great piers from which spring -flying arches to the west wall of the church. Salzenberg thought that -the upper arches were Turkish, and that the piers were originally -intended to support equestrian statues, which he therefore shows in -his drawings. Other writers, amongst whom is Fossati, say that the -bronze horses now on the gallery outside the west front of S. Mark’s -at Venice, taken from Constantinople in 1204, came from this position; -but there is not the least authority for this statement, and the horses -at Venice are not half the size of those that would be required to -justify the suggestion. Bondelmontius in 1422 describing the columns -of the city, speaks first of that of Justinian, “secondly of that of -the Cross, where are seen four upright porphyry columns; and on them -were placed four bronze horses which the Venetians took to S. Mark’s at -Venice, but the columns remain.” Brocquière, writing ten years later, -says that “westward [in the city] is a very high square column with -characters traced on it, and bearing on the summit an equestrian statue -of Constantine in bronze. He holds a sceptre in his left hand, with his -right extended towards Turkey in Asia and the road to Jerusalem as if -to denote that the whole of that country was under his government. Near -this column are three [_sic_] others placed in a line, and of single -pieces which bore the three gilt horses now in Venice.” Brocquière -has here certainly confused the column of Justinian, and that of -Constantine, but we may safely accept Bondelmontius. The porphyry -column of Constantine, situated in the Forum Constantine, at this time -bore a cross with the inscription “Holy, Holy, Holy.” Many modern -writers place the four horses in the hippodrome, as Nicetas speaks -of “the arched starting-places for the racers, above which are fixed -powerful horses of gilt bronze, curving their necks and facing one -another as if eager for the course” (Ed. Bonn, p. 150). - -Between the four great piers of the west front there are now three -doorways. If, however, we refer to the plates of Salzenberg, we shall -find that only the two lateral ones are there shown, and that the -position of the central door is occupied by a window; this arrangement -was seen by Texier in 1834, and is shown in a MS. drawing of his, -now in the library of the Royal Institute of Architects. Referring to -the views and plan which Grelot published in 1680, we see the central -bay occupied by a belfry, with a pyramidal top rising above the roof -of the exonarthex. Now in Goar’s _Euchologium_[323] there is a note -to this effect, “The Greeks first took up the use of bells from the -time when Urso Patricio, Doge of Venice, in the year 865, sent them to -Michael the emperor, who greatly valued them, and built a tower for -them against S. Sophia.” We have already seen that large repairs were -made to the west front of the church about this time (page 123), with a -view of counteracting the thrust of the vaults. Before the belfry was -built the Semantron would have been used; this was a plate of bronze or -wood suspended in the atrium and struck like a gong (see Fig. 28). It -appears from the Russian pilgrims that the bells remained in use for -only a short time. A sixteenth century French MS. in the British Museum -speaks of the old square tower and bells. Grelot[324] says “this tower, -formerly the belfry, is now void, the Turks having exchanged the music -of bells for the noise of cannon.” It was not fifty _toises_ high, and -could not have held many bells, or large ones.[325] - -[Illustration: FIG. 28.--Semantron at Constantinople, from Lenoir.] - -The upper story of the narthex, Grelot tells us was supported by six -flying buttresses, and both his exterior views show three complete -piers and flying arches on each side of the tower. The bay next the -belfry on the right was occupied by a low building with a pent roof, in -which were descending steps, at the bottom of which they drew off water -from “the great cisterns under the church, from which it was said a boat -might reach the sea.” As to the doors there were three towards the west, -used when Grelot made his plan, two being those at the extreme north and -south, opposite the lateral atrium walks, and the other, which was less, -and little used, was next the belfry on the left, and is in fact the -left one of the three present doors. The arches, which cover two of the -spaces between the piers and make them into porches, are shown in the -view by Fossati of the unrestored state of the front. - -[Illustration: FIG. 29.--West Front as altered in the Ninth Century.] - -Comparing the drawings of Grelot and the plan given by Du Cange, both -published in 1680, with the present remains, it would appear that there -were formerly ten of these buttresses; two being merged in the central -belfry, and the two outside ones incorporated in the minarets, on the -sides of which traces of them may still be seen. Two others have either -been destroyed by the Turks, or Grelot’s drawings are wrong to this -extent, as no trace seems to remain of more than eight. Of these eight -which now in part remain, Salzenberg only reserves the four at the -centre, on which he places the horses. Our Figs. 26 and 29 represent -the original west front and the altered façade of the ninth century; -see also Plan, Fig. 24. - -_Cisterns._--On the south side of the right-hand pier is a small arch -which gives access to a little recessed chamber in the buttress. From -this and from a similar recess north of the central entrance, water -from the cisterns beneath the church was probably obtained: a cross on -the wall of the little chamber would seem to show that it was a “holy -well.”[326] - -Clavijo says the cisterns beneath the church would float ten galleys, -and C. Lebrun (1714) speaks of ten cisterns and forty columns standing -in the water. The only real description of the cistern we have been -able to find is in Dr. Covel’s MS. diary in the British Museum. In 1676 -he writes, “We went to see the vaults under S. Sophia; they were full -of water, then 17 feet deep, and overhead, from the water up to the -top of the arch was about 2 yards and 6 inches. Every pillar is square -(4½ feet), and distant from another just 12 feet. The bricks are very -broad, thin, and well baked; [it is] not plastered within, the mortar -very hard. They say it goes under [the] At-Meidan, but we could not -enter it. The waste water of the Aqueduct enters into it, and [going] -out of it passing through the Seraglio, goes into the sea by the -dunghill. [There is] severe punishment to [those who] have houses with -offices [draining] into it; or [for those who] throw any filth into it: -the well of S. Sophia [opens] into it and many wells in the Seraglio.” -He gives a diagram plan, showing two rows of eight piers and a third -row of three, although, as no boundary is shown, it is impossible to -say if this is the whole extent (see below).[327] - -_Generally._--Some of the exterior was doubtless cased with marble like -S. Mark’s; indeed some of the marble plating remained in Salzenberg’s -time. “The walls outside (the Anonymous writes) were covered with -large and valuable stones.” Where not so incrusted the narrow coursed -brickwork showed in thin red lines, almost equalled by the thick joints -of the mortar. From this brickwork the marble lattices of the windows, -each with its slab at the bottom charged with a cross, shone out fair, -and the gray lead of the many domes rose above all, curve on curve in -pearly gradation of light. The courts were doubtless closely set with -cypresses, like those which now rise about the turbehs on the south -side. - -Many passages in the Byzantine authors show how much beauty of site was -regarded as essential for a fair church.[328] Procopius, describing -the Church of the Fountain at Constantinople, says, “there was a grove -of cypresses in a rich meadow of blooming flowers, a garden abounding -in fruit, with a gently bubbling spring of sweet water, everything -suggested the site of a church.” - - - - -CHAPTER X - -BUILDING FORMS AND THE BUILDERS - - -§ 1. ORIGINS. - -It may be well to say a few words on the growth of the Byzantine -architecture, of which Justinian’s church is the perfect flower. This -building is often spoken of as if it were at once the first and the -maturest essay in this great style, but this we might know would have -been impossible, even though the links that led up to it were lost, -which is not entirely the case. It is perfectly true, however, as Mr. -Morris says, that “the style leaps into sudden completeness in this -most lovely building.” - -The new wants of the Church soon evolved the complete Christian -basilica, which, it has been said must have been in the mind of the -writer of the Apocalypse as the type of the entire arrangement of -the altar, the twenty-four elders, and the great congregation, in -his vision of the heavenly worship. In the time of Constantine, and -in Rome, alongside of work which was entirely classic, the churches, -with fewer ties to the past to limit development along truly rational -lines, had developed a manner which was a more direct outcome of -the necessities of building with a minimum of merely perfunctory -“architectural” forms--those conventions for the thoughtless -expenditure of the workers’ labour, which in still worse times make -architecture a burden to them instead of a delight. - -This transitional style is rightly called early Christian, or -Constantinian. In the East, the vital part of the empire at this time, -a greater change was taking place that brought back life once again -to the arts of decoration; this may be expressed in a formula as the -re-orientalization of classic art--the linking of simple massive Roman -building to a new decoration, vividly alive and inventive, frank, -bright, and full of colour, and yet as rational in its choice and -application as the construction. In the modern sense the Romans may be -said to have invented building, and the Byzantine-Greeks architecture. - -The Roman system of arched building, covered with brick and concrete -vaulted shells and domes, had been masked by non-functional pillars, -tablements, and pediments in what was thought the true Athenian manner; -at the same time many beautiful decorative expedients were also in use, -such as the lining of walls with large thin marble slabs, or small -pieces of glass of various forms and colours. Mosaic of gold glass -seems to have been known before the time of Constantine.[329] Gold -tesserae probably originated in an at first almost accidental use of -portions of the Roman glass vessels which are decorated by patterns in -gold leaf protected by a thin layer of glass over the surface. Parts of -such vessels are found used decoratively in the Catacombs. - -Byzantine architecture was developed by the use of brick in the -frankest and fullest manner, especially in domical vaulting. Wide spans -were kept in equipoise by other smaller domes. The more concentrated -supports were marble monoliths, and the wall and vault surfaces were -covered by incrustations of marble slabs and glass mosaic. Directness, -an economy of labour relative to the results obtained, is perhaps the -most essential characteristic of the art both in construction and -decoration in the great period. This freedom and rationality mark -it out from all other styles of building, or rather make it include -all other styles, for this reaches the universal. M. Choisy rightly -insists on the fact that the Byzantine builders endeavoured to suppress -preparatory and auxiliary work, and to execute their vaults and domes -without centring. “The greater number of their vaults,” he says “rose -in space without any kind of support.... Their method is not a mere -variation of that of the West, but it is quite a distinct system, not -even derived from a Roman source, but Asiatic. Byzantine art is the -Greek spirit working on Asiatic elements.” Here we have an extreme -statement in one direction, and the word Roman must be used in a narrow -sense; for these Asiatic elements in construction, of which alone M. -Choisy seems to be speaking, whatever were their remote origins must -have been completely absorbed into the larger Rome of the Empire, and -we have no knowledge of any other system of construction in western -Asia from the first to the fourth century than “Roman,” unless we -subdivide this into Palmyrene, Herodian, or construct an imaginary -Persian style out of what went before and came afterwards. Choisy -himself shows that a large use of burnt brick was first made by the -Romans, and that the system of building vaults in sections known in -Assyria and Egypt had been adopted by Roman builders in the East in -the time of Constantine. But this was the essential germ of Byzantine -construction. It was the falling away of a dead scholasticism that -left Roman building in the East free to be shaped into Byzantine -architecture. Mr. Bury, who is extreme in the opposite direction, and -makes the same claim for the continuity of Roman art as he does for the -Empire, suggests that Romaic would be a better term than Byzantine. But -whatever name is given to the political system we must remember that -the arts are shaped by the people, and that the people were truly Greek -who, in the age of Justinian, thought out and left to the modern world -the last great gift of Hellenic genius--mediæval Greek architecture. - -[Illustration: FIG. 30.--Roman Tomb in Palestine.] - -While the art of building in the East, particularly in Syria and Asia -Minor, and possibly in Egypt, was still distinctly Roman, a ferment and -change may be detected which cannot be matched in Rome itself. Both in -construction and ornamentation there is much already at Palmyra and -Baalbec that belongs to the new, and repudiates the rules of merely -official art. - -In Rome the dome never appears to have been finally adapted to a -composite building by being directly applied to a square plan. The dome -on pendentives, so far as we know, was invented and perfected entirely -in the East. M. Choisy figures a building from Jerash, which may be -of the third or fourth century which he considers the earliest known -dome on pendentives. This building, although it is plainly early, has -nothing characteristically Roman about it. A building of the same class -however, recently discovered by the Palestine Exploration Society at -Kusr en Nûeijîs in eastern Palestine,[330] is an ornate example of late -Roman work; Ionic pilasters and carved entablature mask the outside, -while within we have a perfected dome on pendentives covering a central -square area, counterpoised by four barrel vaults. We agree with the -Memoir that--“there can be little hesitation in ascribing this building -to the second century A.D.” This building, probably a mausoleum, in -adjustment of parts, and geometrical development might be a Byzantine -church of three hundred years later. It is a little Sancta Sophia, and -taken together with the Jerash building it makes a class invaluable -as a fixed point to work from.[331] This however like most Syrian -buildings is of stone. - -A church at Koja Kalessi in Isauria,[332] Fig. 31, which there is a -great reason to suppose of early fifth century work, furnishes an -important link. We have here an approximation of the square domed -building to the columned basilica which is most interesting. This -church is substantially complete with women’s galleries opening to the -nave by a second tier of arcades just as at S. Sophia. - -[Illustration: FIG. 31.--Plan of a Church in Isauria.] - -[Illustration: FIG. 32.--Church of the Trinity, Ephesus.] - -The next building we should place in the sequence is the church of the -Trinity at Ephesus of which Hübsch, Wood and Choisy give plans. The -former furnishes a restoration, and speaks of it as probably one of the -earliest of Christian churches, but there is no reason to suppose it -earlier than the beginning of the fifth century. Choisy speaks of it as -a curious monument of transition already Byzantine in structure. Before -seeing Hübsch’s restoration, we had placed an arcade in the lateral -arches, agreeing in every respect with his suggestions; and that this -was the original form is strongly confirmed by the next church--as it -seems to us--in the development. This is the church of S. Sophia at -Salonica, which has long been assigned to Justinian’s reign at a time -subsequent to the erection of S. Sophia, but is now thought to belong -to the fifth century. M. Petros Papageorgios in the _Hestia_[333] -of Athens for October 3rd and November 14th 1893, gives the mosaic -inscription of this church, which he thinks definitely fixes its -decoration in the year 495.[334] - -[Illustration: FIG. 33.--Church of S. Sophia, Salonica. Scale about -forty-five feet to an inch, for three plans.] - -The churches at Cassaba, Ancyra and Myra in Asia Minor engraved in -Texier’s _Asie Mineure_, and repeated by Salzenberg relate themselves -so closely to this chain of development that we believe they will -be found to belong rather to the fifth and sixth centuries than to -the seventh or eighth as those writers thought. The square type with -a central dome persisted independently without coalescing with the -basilica. Such was the domed church at Antioch founded by Constantine -and completed by Constantius; here the central dome was surrounded by -aisles, and formed an octagon. In the churches of St. George at Ezra, -and St. Sergius at Bosra we have domes standing over a central octagon -contained in an external square. These were built about 515, and they -furnished the type that was followed at St. Sergius at Constantinople -which was built only a few years before S. Sophia. - - -§ 2. THE BUILDERS OF THE CHURCH. - -It is noteworthy that the architects who built S. Sophia as well as the -historians who chronicle the work, all, so far as their birth-places -are known, come from Syria and Asia Minor. The flourishing city of -Ephesus was one of the great centres of the transformation of the art -of building; and it was from the neighbouring cities of Tralles and -Miletus, that Anthemius and Isidorus came to Constantinople. - -Of the two master builders who appear to have been employed together by -Justinian, it seems clear, from Procopius and the other writers, that -Anthemius was more especially concerned in the preparation of the first -draft or model, and that Isidorus, by birth a Milesian, was associated -with him in the conduct of the works. - -“Anthemius,” says Paulus, “skilled in setting out a plan, laid the -foundation.” “Anthemius was the man who devised and worked at every -part,” writes Agathias, and this author gives some account of his life. -“Now this Anthemius was born at Tralles, and he was an inventor of -machines; one of those who apply designs to material, and make models -and imitations of real things. He was distinguished in this and had -reached the summit of mathematical knowledge, just as his brother -Metrodorus was distinguished in letters. Besides these there were three -other brothers, Olympus, famous for his knowledge of law, and Dioscorus -and Alexander, both skilled in medicine. Of these Dioscorus lived in -his native land and Alexander in Old Rome. But the fame of the skill -of Anthemius and Metrodorus reached the emperor, and they were invited -to Constantinople, where they spent the rest of their lives, each -presenting wonderful examples of his skill. One taught letters; the -other raised wonderful buildings throughout the city and in many other -places; these, I think, even if nothing were said about them, as long -as they remained unharmed, would be sufficient to win for him perpetual -glory.” - -Stories of his mechanical ingenuity are told by Agathias one of which -is as follows. Anthemius had a quarrelsome neighbour whose room -overhung his ground. He placed here large kettles of water, with an -arrangement of leather pipes and a tube like a trumpet up to the -projecting part; and making the other parts secure, “he heated the -water so that the whole thing burst up like an earthquake.” - -As to the scheme prepared by the master builders for the building, an -examination of the evidence seems to suggest the following antecedent -conditions and governing ideas. 1. The ground levels required a short -and wide church (_ante_, p. 186). 2. An old western apse possibly -suggested the western hemicycle of the new church (_ante_, p. 19). 3. -The plan, while a direct outcome of traditional forms as we have shown, -seems a synthesis of the three types which were then current; the -Basilican like S. John Studius; the square church with a dome like S. -Sergius, and the cross plan of the Church of the Apostles. - -At S. Sergius, the expedient of planning columned exedras to fill out -the angles of the square beneath a domed vault had proved its utility -and beauty. For the influence of the cross type we need only turn to -the plan, and observe that the width across the “transepts” is exactly -the same as the length included by the eastern and western hemicycles. - -The master builders not only designed the church, they came “and worked -at every part,” and lived with their building until their death; they -certainly graduated as workmen, and we hear nothing of their honours -or position, only of their genius.[335] In the words of M. Choisy, “In -Justinian’s time, to build was the essential _rôle_ of the architect.” - -Both master builders are again mentioned as working together on the -occasion of the fortifications of Dara in Mesopotamia, having been -injured by floods. The emperor on hearing of it at Constantinople -“straightway summoned those most celebrated architects Anthemius and -Isidorus mentioned before, and inquired what might be devised.” The -scheme of Chryses, the engineer of the works at Dara, was however -adopted.[336] - -The younger Isidorus who re-erected the dome of S. Sophia Procopius -mentions as having been employed by Justinian in rebuilding the city -of Zenobia in Mesopotamia with its fortifications, churches, baths -and porticoes. “All this work was done under the superintendence of -Isidorus and Joannes, of whom Johannes was a Byzantine and Isidorus -a Milesian by birth, being the nephew of that Isidorus I mentioned -before.” - -To the master builders Procopius, Paulus, and Theophanes give the -names _mechanikos_, _polumechanos_, _mechanopoios_, to which other -writers add _protooikodomos_--“first of the builders,” _magistros_ and -_maistor_. The craftsmen appear to have been classed as _technitai_ -with a foreman over each subdivision. The Latin names of the different -building crafts are given both in Theodosius’ code,[337] and in the -edict of Diocletian,[338] which fixed their wages. This edict is -bilingual, but unfortunately the Greek synonyms for the workmen are -wanting. In the description of the building of S. Sophia, Procopius -speaks of the _lithologos_ or “stone-layer,” who built the big piers, -Paulus and the Anonymous use _laotoros_ and _laotomos_ a “mason” and -“stone-cutter,” wherever marble workers are mentioned, to which must -also be added _lithoxos_ “stone polisher.” The general bricklayers, -&c. are comprised as _oikodomoi_. _Tektonikos_ implies a carpenter. -S. Gregory of Nyssa, in describing a church of S. Theodore, calls the -craftsman who arranged the mosaic tesserae, ὁ συνθέτης τῶν ψηφίδων. - -A list of the chief classes of workmen employed in the sixth century -on a monumental building in Italy given by Cassiodorus,[339] names the -following--Instructor-parietum, sculptor-marmorum, camerarum-rotator, -gypsoplastes, and musivarius. The instructor-parietum is probably -the man who set out the work, the camerarum-rotator is he who turned -the vaults. The gypsoplastes, a literal transcription of γυψοπλάστης, -signifies a worker or modeller in stucco, corresponding to the -plastes-gypsarius of the edict of Diocletian. The musivarius is the -“putter together of tesserae” of S. Gregory. Workmen who understood the -mysteries of “vault turning” seem to have been especially appreciated, -as Theophanes tells us that Isaurian workmen were employed to build the -dome of S. Sophia. - -In the humblest work the personality of the maker is often delightfully -expressed. A Byzantine brick in the British Museum is stamped “ΧΡ. made -by the most excellent Narsis,” and a late Roman glass cup bears the -legend “Ennion made this. Think of it, O buyer.” - -In his inquiry as to the methods of workmanship, M. Choisy says the -Byzantine Greeks did not efface from buildings all traces of the -workman’s individuality. “The workman is no mere passive instrument, -obedient, without any regard to initiative or responsibility, to the -workshop foreman; he is treated as an intelligent power, and finds in -front of him liberty, and a field open to his imagination.” - -In Roman times the system was that we call “division of labour.” -“_L’art roman est un fait d’organisation._” The workman was not an -independent citizen working at his own pleasure for his daily wants; -he was a _functionnaire_, and compulsorily a member of an association -organised by the state on the model of military service. In the East -an altogether freer system seems to have obtained. The guilds were -independent associations, and in Palestine the Carpenter’s Son and the -tentmaker followed their callings irrespective of state authority. -“In Byzantine buildings the same name occurs in turn upon columns, -capitals, or simply squared blocks of stone, and there is nothing to -show that the foreman of the works kept one man at one particular kind -of work. The East never changes; at present the absence of division of -labour in Oriental buildings is most striking. The proprietor chooses a -master workman (_protomaistor_); to this improvised architect he adds -a certain number of head workmen (_maistores_) and their companions, -and these same men will work at digging the foundations, at the masonry -of the walls, and at the carpentry of the roof; even the ironwork and -joinery is scarcely reserved for special workmen.” The terms masters -and companions suggest an arrangement which merits consideration. Like -western workmen the Greek artizans were affiliated to corporations -which have lived to our days. These associations (_sunergasiai_) had -a council, composed exclusively of those, who, by apprenticeship and -trial, had earned the title of masters (_maistores_). - -Each society was presided over by a “protomaistor” helped by -secretaries (_grammateus_ and _kerux_) to summon the meetings. It was -at once a corporation of workmen, a religious brotherhood, and a mutual -aid society: and such societies engaged in mutual acts of hospitality -and assistance between one town and another. - -All workers in the East seem to have been thus associated into guilds, -and municipal life was organised on the guilds. This is evident -at Constantinople as early as the _Notitia_, see p. 11 above. The -members of the guilds had to help at fires, and Lydus gives the cry -which brought them together, “_Omnes Collegiati_.” Demetrius, the -silversmith of Ephesus, called together the _Sunergasia_ when the -craft was in danger; we even hear of strikes. Even unskilled labourers -had their guilds, and Mr. Ramsay has described the Guild of Street -Porters of Smyrna in Roman times (_American Journal of Archæology_, -Vol. I.). The existence of the guilds is the most significant fact of -the social history of the middle ages. In such craft organisation of -labour, free of the financial middlemen who now rightly call themselves -“Contractors,” we see the only hope that building for service, and -ornamenting for delight, can again be made possible. - -Our studies have convinced us that “shop production” went on side by -side with the building organisation. This shop production will be -at once allowed for such things as gold cups and altars, lamps and -bronze doors, but we believe that decorative marble work was largely -produced in this way, and that just as enamelled cups and damascened -doors were “ordered” in Constantinople, so also were sculptured slabs -and capitals. It would be possible to account for mere resemblance by -“influence,” but absolute likeness between the capitals and sculptured -or inlaid slabs found in contemporary buildings, at cities so far -apart as Constantinople, Salonica, Parenzo, Ravenna, and Rome show -that in the fifth and sixth centuries such works were dispersed from a -common centre. So early as the fourth century S. Gregory Nazianzenus -speaks of a priest who came to Constantinople “from Thasos bringing -with him the gold of the church wherewith to buy slabs (_plakes_) of -Proconnesian marble.”[340] These things were not only bought, but -specially commissioned; for instance, the marbles of St. Clemente, -which are almost certainly Constantinople work, bear fine monograms of -John, afterwards elected pope in 532. The great contributing cause for -this, besides the political and artistic position of Constantinople, -was doubtless its possession of an absolutely perfect material in -boundless profusion--the coarse white marble, which we may see to-day -so delightfully wrought in small shops into the tombs, each of which -has its carved tree of cypress, palm, or rose. - - -§ 3. ORIGINAL FORM OF THE CHURCH. - -_Dome_, &c.--Agathias tells us that when Justinian rebuilt the dome it -was made higher, and that large alterations were made to the sustaining -arches on the north and south sides. Salzenberg cites Theophanes and -Zonaras who give the increase of height as twenty and twenty-five feet -respectively. If we examine the longitudinal section we shall see that -the great semidomes of the hemicycles and the apsoid of the bema show -much less of their curvature outside than the present central dome. The -windows in these do not stand above a cornice, but are pierced through -the vaults at middle height; the domical surface being unbroken by -any cornice from springing to crown. The cupola of the baptistery is -also continuous with the pendentives. A dome of this kind, however, -continuing the pendentives, would seem to be impossibly flat, and would -be some thirty feet less than the present height--see A in Fig. 4, the -existing dome rising to B. If a curve between these two be obtained -by lowering the crown of the dome about fifteen feet to C, it may be -noticed that a straight line tangential to the curve of the eastern -apsoid, and also to the great semidome would form similar contact with -the dome. - -Salzenberg, understanding an account of Cedrenus as to a strengthening -of the abutments of the dome to refer to the great buttress masses -which rise above the gynaeceum roof, considers that the external -parts of these masses were additions made at the time of Justinian’s -restoration. These great vertical piles are so essential to the -structure, to the logical beauty of the design, and to the staircase -service of the building; moreover the preparation for them beneath -is so adequate, that we cannot accept this suggestion, and therefore -follow Choisy in considering them original. Now Choisy, examining the -external base of the dome where it forms a square, found that the -four angles had been increased, and that it did not originally form a -square, but rose above the piers and the lateral arches as shown in -Fig. 34, and in Fig. 37, where the first base is shown by hatching and -the additions by dotted lines, A A. “This alteration,” he writes, “is -not hypothetical. I verified the entire absence of bond between the -first base of the dome and the added work” (p. 138). These additions -were built on the lateral arches, and on the top of the piers, altering -the form shown in our Fig. 35 to the present form given by Salzenberg. -That Choisy is right, is borne out by seeing the resemblance of -treatment that there would have been between the growth of the dome on -the north and south and the semidome on the west (see Fig. 34). - -[Illustration: FIG. 34.--View of Vaulted System of S. Sophia, adapted -from Choisy.] - -Again, Salzenberg hardly makes it sufficiently clear that the large -arches in the walls which fill the great vertical semicircles over the -arcades on north and south sides, are in fact the inner surfaces of the -arches which pass between the pairs of piers on north and south sides -(seventy-two feet apart in this direction), and being the whole width -of those piers (fifteen feet eight inches) on soffite they form the -immense arches so well known on the outside. The semicircles of wall, -each of which contains twelve windows, are now filled in beneath these -arches, flush with their _inner faces_, and the arches therefore do not -show to the interior through the decoration (Figs. 4, 36, 38). - -[Illustration: FIG. 35.--Plan of Upper Gallery as first designed.] - -[Illustration: FIG. 36.--Section of Aisles and Gallery.] - -Now Agathias (see page 30) says that at the restoration after the -earthquake in 558, at the north and south arches they brought towards -the inside “the portion of the building which was on the curve.” This, -we think, must refer to the filling wall, in the arches of seventy-two -feet span, which we suppose was formerly on the exterior, and thus left -an upper gallery twelve feet wide and seventy-two feet long open to the -interior. “And they made the arches wider to be in harmony with the -others, thus making the equilateral symmetry more perfect. They thus -reduced the vast space and formed an oblong design.” That is the arches -of seventy-two feet, when filled up on the inside, were no longer -visible, and the dome appeared to stand over arches of 100 feet span on -north and south, as already on east and west, the transverse dimension -of the church being lessened between these points by some twenty-four -feet. Salzenberg understanding Agathias to refer to the apparent arches -of 100 feet span on north and south is unable to offer any explanation. - -[Illustration: FIG. 37.--Plan of Basis of Dome as originally designed, -with Additions A A containing stairs.] - -[Illustration: FIG. 38.--Section between Great and Secondary Orders.] - -The actual evidence in the church, we believe, fully bears out the -interpretation here suggested. What we have called the secondary order -of columns would pass exactly beneath the position given to this wall. -These columns on the gallery floor are very strong, and a very strong -row of arches runs along over them (see Fig. 38). Moreover the curtain -walls in every other instance throughout the church are flush with the -exterior. - -That this space is not available to the interior of S. Sophia has -caused Choisy to criticise the design in this respect as “a solution -undecided, _moyen terme_, _fâcheux_; the large arches by a departure -from ordinary rule being thrown on the outside so that the space -covered by them was lost. S. Sophia Salonica redressed this error.” We -wonder that Choisy’s views as to the original base of the dome did not -cause him to take the further step we have here suggested. The present -form, in which the lateral arches support the square base of the dome, -is at least a possible one; but that the arches when they carried -nothing and thus were actually vaults (as before shown by Choisy) were -not filled with a screen but were mere arches twelve feet on soffite, -lying against the sides of the building seems inconceivable. In our -Figure 34 we have amended Choisy’s view in this respect. Looking on -these lateral arches as vaults we have filled them with a window like -the western vault, and the harmony which results between the sides -and the west end amply verifies our conclusions. One point further. -The upper surface of the base of the dome on the west side should not -be wholly level as shown in Fig. 34, the central third _curves up_ -following the line of the top of semidome. In other words, the great -arch of the interior pushes itself up through the base of the dome, and -this treatment thus recurred at various heights--over large windows of -aisles, over western and lateral lunettes, as we have shown, and over -the semidome. - -Originally, before the interior was narrowed in the way we have -explained, there was a much clearer suggestion of a cross plan: -barrel vaults at north and south being filled at their ends with -large lunettes like the west vault. We suppose that the failure was -mainly in the secondary order, and that the window screen and all -possible weight was entirely removed and transferred to the great -order. Salzenberg was satisfied that there had been great alterations -in this part of the building, and Choisy’s view of the window-wall, -Plate xxv., entirely confirms his opinion. If it could be shown that -the alteration spoken of by Agathias will not bear the interpretation -we put on it, there were earlier troubles at this part mentioned by -Procopius. The best proof, however, we suggest is found in the design. -It has been before pointed out that Choisy and other writers have -too hastily assumed that S. Sophia Salonica was built after the great -church of Constantinople. That it preceded it enforces the present -argument. Grelot (1680) writes that upper galleries remained in the -church in these positions, but he based his assertion on the row of -seven arched recesses just above the main cornice which he thought were -formerly open. It is clear however from an examination of the section -that the arches could only have opened to the vault of the first floor -gynaeceum. That these small arches did open to the vault of the first -floor, seems to be borne out by the fact that above the centre of the -secondary order, where its arch is low, a similar piercing is made, -through which (or the higher arches on each side) and through the seven -arches, a mysterious perspective into the immensity of the dome might -have been obtained by those in the gynaeceum (see Figs. 4, 36, 38). -Shallow arched recesses merely used decoratively seem to have been -little known to early Byzantine art, and arches on the first floor -through the great piers are blocked in a similar way. Moreover such -openings would explain why the vault between the two orders of columns -is so much stilted up into mere darkness. - -_Atrium._--To explain the present confused arrangement of the exterior, -we must remember that from the time of the description of the church by -the Silentiary to its description by Gyllius was a thousand years--as -long as from the time of Alfred to the present day--and in this time we -may well expect alterations and accretions. - -In Chapter IX. we have shown that the present form of the exonarthex, -with its great external piers, was an alteration, made about the time -the belfry was added in the ninth century. Before that time the atrium -was alike on all four sides--a true _quadriporticus_--one of the most -beautiful features of the ancient churches. (See Figs. 3 and 25.) - -_North and South Porches._--Much of the confusion at the north-west -and south-west angles is the result of Turkish attachments, including -the western minarets, which were built in the last quarter of the -sixteenth century. The plan of gynaeceum floor furnishes the best key -to the former arrangement, for where there is Byzantine work above, -it must once have existed below. Comparing the first floor and roof -plans in Salzenberg with the ground plan, it becomes apparent that the -main block was originally finished both at north-west and south-west -angles to the general square of building. The two staircases now at -these angles were added as extra buttressing masses; the original -stairs being the four in the piers of north and south sides. The north -and south porches, with extra building above the latter on the first -floor, were also additions. Besides the irregularity and inferior -style of these buildings the following evidence should be noticed. -The actual form of the north-west angle on the gallery floor; and the -natural reading of the three plans when laid one over the other; broad -arches, which pass across the porches; the fact that the arch in south -porch (dotted in C on Figure 24, see also Fossati, Plate i.) now has -no office; and that above the door at this end of narthex, there is a -window which now merely opens into the south porch. - -An examination of the exterior on the south side shows that the -south-west staircase was built before the porch, or the part above it -at least, because a straight joint in the walling, and the form of the -roofing, here clearly make evident that the apex of the gable roof was -originally over the centre of the staircase, and that the slope has -been subsequently run forward to cover the part above the porch. - -In considering all the other irregularly attached buildings, together -with the historical evidence, it seems clear that the church as -designed and first built was externally a regular parallelogram, -interrupted only by the projection of the apse at the east end; which -was itself masked by a range of low chambers against the east wall, -through which there were two entrances to the church as at present, -and to which other two doors, in the east wall, still visible but now -blocked, gave access. The other external doors, besides those from -narthex, being two on the north and one in the south wall; together -with two external doors at the gynaeceum level, one of which probably -gave access to the gallery along which the emperor passed to the -church, and the other, to the north, may have led to the cells of the -clergy. - -_Baptistery and Loggia._--Of early buildings detached from the church -we have the round building at the north-east, which we regard as having -descended from the earlier church, and the south-west baptistery, with -a loggia attached to its north side. The space between the church -and the baptistery on plan looks like a covered way, leading from -the church with a screen in the middle, but the part next the church -is, and always must have been, open. The part next the baptistery is -covered with a large semicylindrical vault, arched _transversely_ -to the “screen,” and penetrated by a less cylinder in the direction -of the length of the loggia. Rebates (on baptistery side) round the -doorway which stands between the pair of columns show that there was a -door, and strips down the sides of the pillars, which stand above the -transom, show that pierced slabs or other closures filled the arched -front of the vault. If we add breast-high closures in the lateral -openings, as in the portico of St. John Studius, the whole becomes -an inclosed loggia against the baptistery. Salzenberg states that -there was a door in the north wall of baptistery, and Labarte places -another in the western compartment of south aisle of church, but for -the latter there does not appear to be a particle of evidence; and -consequently the court and loggia cannot have formed a direct passage -to the baptistery. 1. Salzenberg on his plan draws the transverse axis -of the baptistery, and that of the western bay of the church; these -do not agree by a foot or two, but the doorway of “screen” agrees -with _neither_, nor is it a mean between them, but varies by excess. -2. In the section (Salzenberg, Plate xi.) it is seen that the present -level of floor in this loggia is that of baptistery, and is below -that of church; but the columns have no bases, therefore the loggia -floor was beneath both church and baptistery. 3. A large arch is shown -between the church and west pier of this loggia, from which it springs -properly, while at the other end it is cut off incomplete by the wall -of the church. These reasons together lead us to suggest that the -loggia is possibly older than the church, and that it may be a part of -an arcade retained when the present church was built. The style of the -screen would readily allow of its being twenty or thirty years older -than S. Sophia. The capitals are not found elsewhere in the church, -while similar ones form the chief order at S. Sergius; and the door is -inserted between the two columns, exactly as in the portico of S. John -Studius. We do not however insist on its being earlier than the church -so much as on the evidence pointing to its being part of a continuous -arcade (see plan, Fig. 39). Doubtless it might be determined from a -careful examination whether the loggia or the baptistery was built -first. - -[Illustration: FIG. 39.--Restoration of Loggia by the Baptistery. Scale -about eight feet to an inch.] - -The way by which the “Great Baptistery” was reached from the bema, as -mentioned in the _Ceremonies_ was probably by this cloister, which -perhaps inclosed one of the courts on the sides of the church, spoken -of by Procopius and the Silentiary. The portion drawn by Salzenberg -still remains, although sadly plastered over and mutilated. - - -§ 4. STRUCTURAL SYSTEM AND VAULTING. - -The geometrical scheme of this building, which in its final form -must be the result of hundreds of adjustments, modifications, and -expedients, to meet newly discovered emergencies, is withal so -seemingly simple, that it may be read as a bare mechanical solution of -the primary conditions. - -The great central area, excepting only the narrow bema, is surrounded -by two stories of vaults; the thrust of the dome over the square of -about 100 feet is not only resisted by these, but by the four immense -buttressing masses (or rather chambers for they are built hollow) -which, pierced by arches, pass right across the aisles. East and -west the dome is sustained by the semidomes of the great hemicycles, -and these in turn by the vaults of the three subdivisions of the -hemicycles. The thrusts are thus distributed in a regular pyramid. -The external wall, which incloses the whole, being built out to the -extremity of the great buttress piers of the north and south sides, -and the lesser piers east and west, is thus little more than a screen, -inclosing the more active parts of the structure. - -One of the most remarkable expedients of this marvellously planned -building is that by which the vaults of the side aisles,--which, having -large spans, necessarily spring comparatively low down--are received -on the secondary order of columns, standing behind the pillars of the -great order. This allows of the stately colonnade on either side of the -central space and those in the four exedras being only controlled by -the height of the upper floor, which is forty-four feet above the area -as is explained by Figs. 36, 38. These secondary pillars also transform -the spaces left by the exedras into square compartments. - -_Arch Forms._--The great arches under the dome have their centres two -feet six inches above the springing line. Those in the principal arcade -appear to be semicircular. In the adjoining exedras, the porphyry -columns not being nearly so long as the green ones, they were set on -pedestals, and the arches are “horseshoe” in form, at least towards the -nave, for they are built “winding,” so as to approach a square impost -on their caps. We say approach, for there is a gradual modification; -the caps being an inch or two wider towards the aisles, the impost -increases this by a few inches more. The openings from gynaeceum at -west end are segmental, some arches to the side windows and the lateral -windows of west elevation, Fig. 25, are bluntly pointed. The transverse -arching of narthex is semielliptical, or rather three-centred, a -segment with the curve at the ends quickened to become tangential -to the wall. The pointed arch is used in the great aqueduct near -Constantinople and in one of the city cisterns: both appear to be of -the age of Justinian.[341] - -_Vaulting._--The vaulting is executed with the mastery and freedom -that comes of confidence in direct methods. Certain portions are -cylindrical, and others are formed by cylindrical cross-penetrations. -The octagon of the baptistery, and the square compartments of the -gynaeceum, are covered by domes which penetrate down into the angles -with continuous pendentives. The larger compartments of the vaults of -the aisles require some explanation. - -Where four semicircular arches open about a square or oblong space, -and it is desired to make the vault conform exactly to them, this may -be accomplished by a semispherical dome, the span of which is equal to -the _diagonal_ of the compartment to be covered; such a vault presents -an unbroken surface. Or two cylindrical vaults may penetrate at -right angles, when the vault is broken by the intersection into four -surfaces. At S. Sophia it was evidently desired to keep the springing -high for the sake of the monolith columns, and yet to maintain, so far -as possible, a domical surface. - -[Illustration: FIG. 40.--Construction of Vaults.] - -Thus in Fig. 40 the dome springing out of the angle requires the height -_a_, the radius being equal to half the diameter; but it was wished to -flatten this to _b_, and yet for the vault to rise everywhere from -the arched line _e_, _c_. Now if the vault conforms to the surfaces -generated by the revolution of the arc _d_, _f_, _b_, about the axis -_o_, _d_, intersecting with a similarly generated surface at right -angles, we get a mean between the domed and cylindrical forms--a -domical vault. The intersections, instead of being everywhere square -on plan as at _x_, _x_, and rising just to the crown of the vault, as -would be the case with cylindrical penetrations, will be obtuse as at -_i_, _i_, and not rising so high will practically leave a large concave -surface unbroken at the crown of the vault. This is the principle of -the vaults of S. Sophia; the gradations being gentle and the means less -obvious, the forms are more like those found in nature, and the result -is extremely beautiful. The forms are further softened by every edge of -arch and vault being rounded, so that the mosaic completely envelops -the whole like a vast embroidered gold tissue. - -There would be no difficulty in construction, for the vault falls -everywhere on an arch in the angle _e_, _f_, _b_ that is in planes -which are radii to the arch. The vaulting of the narthex is made up of -a series of compartments, much narrower than the span, divided by plain -arched bands. To meet the requirements of such oblong spaces two gauges -would be needed. The “winding” of the lines of intersection was not to -be feared, as they were so soon lost in the more domical surface of the -upper part of the vault. - -After the above was written we found the geometrical and practical -construction of these vaults explained in _L’Art de Bâtir chez les -Byzantins_, in a manner which differs from that here given. M. Choisy’s -method is first of all to design the curve of the intersection over the -diagonal of the plan as a segment of a circle: then he considers all -sections of each compartment of the vault, taken parallel to its arch, -and therefore perpendicular to its axis, to be also segments of circles -springing from a series of points on the diagonals, their centres being -on the axis of each vault. - -We cannot agree with this, for, although theoretically the vault so -conceived differs immaterially from the solution we have proposed, yet -practically its erection would be full of difficulty. M. Choisy’s -method is that proposed by M. Viollet-le-Duc for the later Romanesque -vaults, in which, the materials being poor rubble, centring must have -been required. In these Viollet-le-Duc thinks that diagonal centres -were used, and then planks were placed from them to the generating -arches, and the additional height of a domical vault made up by a layer -of earth. It is to be noticed that diagonal centres in this case almost -immediately produced diagonal stone ribs. - -M. Choisy in his most interesting book shows that the chief -consideration in the construction of the Byzantine vaults was to avoid -wooden centring. With this view we entirely agree, but in the system -explained in _L’Art de Bâtir_, the lines of construction would be -arrived at by an elaborate system, which required fixed axes to the -vaults and either a diagonal centre or a rod revolving in a vertical -plane over the diagonal. Then two rods, forming an angle with its apex -touching any given point in the diagonal curve and the ends resting on -the axis of the vault as a base, revolved as a trammel for that course -of the filling. This had to be repeated for a series of points. - -By the method we have suggested nothing was required except a single -template to a fixed angle, the upper arm cut to the curve from the -crown of the arch to the crown of the vault; we may suppose this to -sweep round the generating arches like a trammel, but practically -testing the work with it at the crown, as it gradually grew forward, -was doubtless found sufficient (see Fig. 40). Thus the vault surfaces -gave the conditions of the problem and the intersections found -themselves. - -We did not notice the curious “curve of inflection” of which M. Choisy -speaks; certainly it does not generally exist, although according to -_L’Art de Bâtir_ “S. Sophia is the most curious example which remains -of this singular conception, where the spirit of Greek logic did not -hesitate before anomalies of form” (p. 55). We believe this curve is -deduced only by the logic with which M. Choisy’s follows up his method -of geometrical projection, which certainly generates such an inflected -curve. We cannot say this without at the same time expressing our -great admiration for _L’Art de Bâtir_; its freshness of sight, -clearness, vitality, and logic are entirely delightful. Strzygowski and -Forchheimer[342] follow Choisy’s demonstration; and give an elaborate -and analytical explanation of the curve and its points of inflexion. -One of the cisterns they say showed the inflected line in the axial -sections of the vaults (p. 71). - -Now the cistern vaults are roughly built and some of them may -have settled down; some indeed may have been designed so that -the axial section is horizontal for some distance from the walls -before the doming is commenced, especially in the long direction -of parallelogramic compartments. The essential points are two. Did -these vaults grow forward from the walls and the intersections find -themselves, or was the curve of intersection first designed? Are -horizontal sections through the intersection of two vault surfaces just -above the springing obtuse or acute? The vaults at S. Sophia have the -angles of intersection so obtuse that this first drew our attention to -the subject. - -For a general view of the vaulted system of S. Sophia we would -especially refer to Choisy, whose remarks on the construction of these -vaults are most interesting. He clearly shows how the large flat bricks -made possible the construction of vaults without centring. The extrados -of the arches from which the vaults spring being splayed to a skew -back, the large surfaces of the thin light bricks allowed them to be -stuck up against this skew back, or any part already done, much as if -they were square sheets of cardboard (see left side of Fig. 40). Indeed -the bricks seem sometimes to have been placed quite vertically, but the -better plan seems to have been to incline the beds, the vaults were -thus built in _sections_ rather than in layers. To take the simplest -instance, a cylindrical vault, the arching would begin at one end -against the vertical wall, the rings of large thin bricks being placed -“on edge” in planes of say 60° right down the vault. In other words, -in a longitudinal section of such a vault the joints instead of being -horizontal might be vertical, or a mean between the two. This method -was known in ancient Egypt and at Khorsabad, and the immense vault at -Ctesiphon is built in this way. Although the mosaic covers most of the -vaults at S. Sophia, a vast number are exposed in the contemporary -cisterns, and Choisy seems to have found a cylindrical vault uncovered -in a chamber in one of the buttress masses (Plate ii.), he also shows -the construction of the aisle and narthex vaults (Plates ix. and xi.), -but he does not say if he had any authority for these. We agree with -him that the vaults of S. Sophia owe much of their exceptional beauty -to the fact that arches do not break up the curving expanse of the -vaulting to any appreciable degree; in the narthex the arches become -one with the vault, see Fig. 41. - -[Illustration: FIG. 41.--Section of Narthex and Gallery over showing -Royal Doors. Scale twelve and a half feet to an inch (1/125).] - -[Illustration: FIG. 42.--Dome Construction.] - -_Domes._--In elaborating his theory of Byzantine dome construction -Choisy refers to a passage in Eton’s _Turkish Empire_[343] which -describes domes the latter saw built without any kind of centring. -The builders put a post in the middle about the height of the walls. -To this is fixed a pole reaching to the _inside_ surface of the dome, -which is _free to move in all directions_. Below is attached to the -post another pole, which reaches to the outside and describes the -outside curvature of the cupola. These give the thickness at the top -and bottom and at every intermediate point. “Where they build these -cupolas of bricks they use gypsum instead of lime, finishing one layer -all round before they begin another. Scaffolding is only required for -the workmen to close the opening at the top.” Our diagram A, Fig. 42, -represents this fascinating scheme of building: with such a rod any -point in the whole curvature is defined in a moment; it equally gauges -the horizontal courses and the rise of the dome. Choisy suggests a -second scheme which will be made clear by B. There is no reason, he -points out, why the beds of the bricks in a dome should radiate to the -centre of the curve: in the Byzantine domes the beds were flattened -so that they radiated more or less accurately to the springing of -the opposite side of the dome. The thrusts were thus minimised, and -the construction was facilitated. If rods forming a triangle revolve -about a vertical post as shown, the horizontal curvature is gauged -and the top rod will define the slope for the bed. These rods can -then be raised to another position as shown in the figure. We should -have supposed that little care would be taken with the slope of the -beds, as from the thin bricks used the construction practically became -homogeneous. - -Choisy even thinks that the great dome of S. Sophia may have been built -in the air without centring. C, in Fig. 42, gives his representation of -the construction of the semidomes, which he thinks were built out some -way entirely without support. The outer arch was then built on a centre -and the filling completed “in space” (a straight joint between the arch -and the dome filling is shown in the figure in Salzenberg’s text). We -think it more likely that in all the larger domes auxiliary support was -required “to close the opening at the top,” when the space had been so -contracted that a light centring resting on the part already completed -was all that would be needed. - -From the importance attached to wood ties or girdles built into the -small domes of Mount Athos, we may be certain that some system of -chaining was applied to the great dome of S. Sophia. Choisy gives an -example of the former, and also a dome constructed by interlocking -semicircular bricks, “two courses of which make a circlet absolutely -inextensible.” See B in Fig. 45. The dome of S. Vitale at Ravenna is -built of layers of earthenware pots or tapering tubes, the end of one -fitting into the next and rising in a continuous spiral course, round -and round from the bottom to the crown of the dome. - -The question of dome construction without centring is of the greatest -interest, and much might doubtless be gathered of the traditional -methods still followed in modern Greece, Egypt, Persia, and S. Italy. -Our Fig. 43 represents modern domes in Persia, the upper diagram being -an ordinary type of exterior from a photograph of Koum. The dome -beneath, Fig. 44, is from a sketch made in a Persian caravanserai -by Mr. Wm. Simpson,[344] who describes it as built of burnt brick, -square below, round above. “As I was told that centring was never -used in Persia I presume this one was constructed without it.” This -beautiful form may be considered as four conical squinches penetrating -a hemisphere as at A, or as a gradual transition from square to round, -B. Ancient Persian domes of substantially the same form, in which a -hemisphere penetrates a pyramid, are shown by Dieulafoy.[345] - -[Illustration: FIGS. 43 and 44.--Modern Domes built without Centring.] - -_Chainage and Walling._--In the East the frequency of severe -earthquakes necessitated a manner of construction which should resist -disruption. The massive walls of stone of the Classic period are -cramped together with metal. The stone Byzantine church at Ezra has -a course of interlocking stones forming a chain around the octagon -beneath the dome (Fig. 45 a). At S. Sophia the continuous courses of -stone some feet above the floor, mentioned by Salzenberg, are almost -certainly converted into a chain by cramps; and the stone course at -the springing of the great arches probably has the same function. -In brickwork lateral cohesion was usually obtained by a system of -continuous wood ties, which is described by Choisy as built into the -wall at every five or six feet of height. According to the Greek -architect, M. Kouppas, ties of bond timbers were used in this way in -the construction of the cisterns, “laid not only along the outside -walls but also in parallel rows beneath the lines of pillars and -arches;” other rows of timber were built in either as ties or struts in -continuous lines at the springing of the vaults. - -At S. Sophia there was doubtless a large use made of temporary ties of -this kind during the construction. In many places at the springing of -the gynaeceum vaults the ends of such provisional ties, which have been -sawn away, appear. Besides these there is a series of wood beams which -from the first were intended to be permanent, for they are richly carved -(C in Fig. 45); these are shown by double lines on the right-hand side -of Figs. 5 and 6, the single lines showing the iron ties. These carved -beams, as Choisy points out, are struts rather than ties. If we take one -of the columns standing in an angle in the aisles, an impost of marble -connects it with the wall to which it is nearest, and a carved wood beam -forms a strut to the other wall. The beam across the central bay of -secondary order (Fig. 5) forms a rigid strut to the two wider arches -(see Fig. 38, where, however, by oversight the beam has been omitted; it -is at the springing of narrow arch high above iron tie). Choisy asserts -that “the architect intended to preserve only the struts, all the ties -subject to extension were removed, but their suppression was disastrous, -and they had hastily to replace them by bars of iron which were fixed -with difficulty.” We do not know what reason Choisy had for supposing -the system of iron ties to be an afterthought, unless it is because in -some cases they appear directly above the ends of the removed wooden -ties. Now we believe they occur equally above the carved beams in the -openings from the gallery to the nave, and there is no sign of wood ties -having been removed from the ground-floor vaults, where the iron bars -fulfil such an important function. It is certain that the iron bars to -all the nave arches are original, for the marble casing shows no sign of -alteration, and they are evidently threaded continuously through the -imposts. The important iron ties across the aisles are shown in Fig. 45: -_d_ is the attachment to the column of great order, _e_ to impost of -secondary order behind it, _f_ is a king rod. Across the west gallery -the span is lessened by stone corbels beneath the ties _g_. - -With a view of binding the vaults and walls together into a homogeneous -mass, the arched vaulting of the interior was carried through the -thickness of the walls: in some cases these arches were left open, to -be afterwards filled with a screen of windows. The walling of the sides -of the church is built independently of the great piers, as straight -joints on the exterior show, and Choisy remarks that the independence -of masonry unequally charged was a leading idea in Byzantine -construction; indeed it is obviously necessary where the quantity of -mortar is so great that the brick at times becomes secondary to the -joints. - -[Illustration: FIG. 45.--Methods of Chainage.] - -_Mortar and Cement._--The mortar used by the Byzantine builders -was called Keramotos, from the crushed pottery or tiles which was -used in its composition. In an article in the _Transactions_ of the -Philological Society of Constantinople M. Kouppas[346] enters fully -into the methods which have been traditionally followed in cistern -building, and describes this mortar as formed of powdered unslaked lime -(_asbestos_), crushed pottery, coarse sand, and tow or hair, fully a -third being lime, another third the crushed pottery, about a fifth the -coarse sand, and the rest or 10 per cent. of hair or tow. These were -then mixed together in water. - -M. Kouppas also describes a hydraulic cement made of “coarse lime -(_titanos_) slaked by water into powder, sifted and laid in layers -with cotton shreds. This was thoroughly mixed, and then olive oil was -poured in, and the whole gradually brought to a homogeneous mass.” -Andreossy[347] describes a mixture (called _lukium_) made of a hundred -“ocques” of lime, freshly slaked in the form of powder, twenty-five -“ocques” of linseed oil of the best quality, and twenty drachms of -filaments of cotton. This was reduced to a dough, and then before using -fresh oil was added. Strzygowski[348] also speaks of a Turkish cement -“of six parts by weight linseed oil, eight parts slaked and powdered -lime, and one part of cotton.” He refers to a Roman mixture mentioned -by Pliny of “oil and quicklime.” - -By far the best and earliest account of the methods used for obtaining -lime and making cement at Constantinople is contained in Dr. Covel’s -MS. in the British Museum (1670-7). The lime was burnt in a pit dug -in the ground, the stone, which was hard and black and like “Plymouth -stone,” being piled up in and above it like a beehive hut, an opening -being contrived in the side for inserting fuel, and a smaller pit -dug in the middle for the ashes; it was fired for three days. Then -he describes in detail how a cement was made which recalls what the -Anonymous says of the joints of the piers at S. Sophia being made of -unslaked lime (_asbestos_) and oil: “To make good lukium (a strong -cement as I may call it) they take the above said calx or burnt stone -and slake it with water, and so soon as it is moulded and turned into a -meal (even while it is warm) they work it with linseed oil and cotton -till it is well saturated and brought to the consistency of plaster, -and make present use of it, for it will not rest in its perfection -above one day or two at most, and if they use it immediately after it -is tempered it is certainly the best. In the works of their Bagnos so -soon as it is laid on [as a plastering, understood here] they let the -water come to it, which, by tempering the heat of the lime, hinders -it from cracking. Cotton is better to be mixed amongst it than hair, -it being more tenacious and apt to incorporate.” He again describes a -similar cement (“lukium, an excellent mortar”) used in some waterworks. -“It is made of unslaked lime and beaten brick most finely powdered and -sifted, cotton wool very thinly pulled and strewed on, and then all -slaked with linseed oil and mixed together: then they use it whilst it -is fresh made, otherwise it hardens immediately.”[349] Such a cement -must have had the hardening qualities of gesso; the oil cements or -mastics used in England some fifty years ago were closely allied in -their composition. Modern mortar has lost much by our neglecting the -tradition of using crushed brick. - -Eastern builders spared neither labour nor time in preparing and -testing their materials. Tavernier tells us the waterproof terraces of -the Persian houses were formed of “a layer of lime beaten for eight -days, which became hard like marble.” The materials used in Byzantine -building were tested by long exposure, slaked lime was sealed up in -pits for one or two years; and stones, bricks, and tiles they had -found should not be used new, for, as Vitruvius says, “the only way -of ascertaining their goodness is to try them through a summer and -winter.” - - - - -CHAPTER XI - -MARBLE MASONRY - - -§ 1. BUILDING PROCEDURE. - -The method and sequence of the building operations as followed by -the Byzantines seem to have been very much as follows. After the -form of the building had been more or less decided, the first thing -necessary was to collect marble monolithic shafts. At S. Sophia the -eight verde-antique shafts match one another very closely; they are -all of one length, and vary from 7½ to 8 diameters in proportion. The -four pairs of porphyry shafts in the exedras differ much more; and, -as we have remarked, those in the western exedras seem to be made -up of separate drums. The proportions of these vary from less than -7 diameters on one side to 8½ on the other. The great monoliths are -the largest known, and of nearly normal classic proportion, so we can -readily see that it was necessary to have a certain knowledge where -such marbles might be quarried or otherwise obtained, before even the -foundations were prepared, for the columns decided the heights and -points of support of the building. These once assured, the body of -the structure was proceeded with as a brickwork shell without further -dependence on the masons, who were only required to prepare bases and -capitals, and then the cornices; everything else was completed as a -brick “carcase.” - -At S. Sophia the main square piers are in fact stone, but this was only -for strength, not because they were to be seen finally, any more than -the rough brick. - -The building completed in this form we must remember was made up of -vast masses of thin bricks, of which the mortar occupied probably a -half of the aggregate; this had to thoroughly settle down and dry -before the rest of the marble masonry was inserted, and the wall -casings applied. The marble work, however, was all the while being -prepared, and, the building once ready, the windows were inserted as -screens in the openings previously left; marble jambs and lintels for -the doors were placed in position also, with windows above them filling -out to the brick arches. The walls were then sheeted with their marble -covering, the vaults were overlaid with mosaic, and the pavement was -laid down. In this way, as the bricklayers had not to wait for the -masons, the carcase was completed in the shortest possible time; and -by reserving the application of the marble until the structure was dry -and solid, it was possible to bring together unyielding marble and -brickwork that must have settled down very considerably. - - -§ 2. MARBLE QUARRIES. - -Much confusion exists as to the marbles of which the ancient writers -speak; this has been occasioned necessarily by wrong identifications -when but few ancient quarries had been recovered, and most -unnecessarily by a persistence in using antique names for modern -varieties, long after the true provenance has been discovered, when -the ancient marbles are not “in the market.” It is the Italian names -that have been corrupted in this way, and it would be a great advantage -if they were discarded in England, or better still, used only in -conjunction with the geographical names. In this case as the Italian -names are descriptive, and, as many varieties of marble are found in -the same or neighbouring quarries, we should get a safe nomenclature. -Synnadan would thus be qualified as Pavonazzetto or Fior de Persico, -and the banded varieties from Carystian, Proconnesian, or modern -quarries might without confusion be called cipollino. - -In endeavouring to identify the marbles mentioned by the ancient -writer on S. Sophia, we have made use of Salzenberg’s notes to the -Poem of the Silentiary, and of the researches of Garofalo,[350] -Corsi,[351] and C. O. Müller;[352] and we have also been helped by the -practical knowledge of Mr. W. Brindley. The account of ancient marbles -easily accessible in Professor Middleton’s _Ancient Rome_, 1892, is -substantially an extract from Corsi. - -_Porphyry._--The “porphyry powdered with bright stars” of the poet is -used for the columns of the exedras, and for some of the panels on -the walls. The Anonymous author states that these columns came from a -temple of the Sun, but the Silentiary says “they loaded the boats on -the bosom of the Nile,” and there seems no reason to doubt that the -columns came direct from the porphyry quarries at Mons Porphyrites in -Egypt. This porphyry mountain is at Djebel Dochan, twenty-five miles -north-east from Thebes. Lepsius[353] seems to prove that the quarries -were worked as long as the Nile canal remained open; and ships still -sailed on the canal till the appearance of Islam. Letronne[354] gives -details of the method of transit. The porphyry was brought from the -quarry to the Red Sea, and then by the Nile canal to the Lower Nile, -and hence into the Mediterranean. - -On this evidence we would say that the porphyry used at Constantinople -in Justinian’s reign was quarried for the purpose, and not brought from -Roman buildings. - -_Marmor Molossium._--“The marble that the land of Atrax yields,” is -called elsewhere in the poem “Thessalian,” and, from the province in -Thessaly where it was found, “Molossian.” Corsi and Garofalo both -wrongly describe Molossian as _Fior di Persico_. The marble really is -the brecciated serpentine and limestone, now called Verde Antico, the -_Lapis Atracius_ of the ancients, of which the eight great columns in -the nave and many others are formed. Here again it has been said that -these eight large columns were taken from a building at Ephesus, but -the Silentiary says, “Never were such columns hewn from sea-washed -Molossis,” and we can hardly doubt that they were quarried especially -for S. Sophia, together with the rest of the enormous quantity used in -the church. The quarries were near Atrax in Thessaly, and the marble is -best named as by French writers, Thessalian green. - -_Lapis Lacedaemonius._--“The fresh green, like emerald, from Sparta,” -was probably the porphyry quarried in Mount Taygetus in Laconia. This -green porphyry, called by Corsi _serpentino_, is used in the opus -sectile of S. Sophia. As a green porphyry is obtainable in Egypt, the -former should be distinguished as Spartan. - -_Proconnesium._--“The hills of Proconnesus,” according to Paulus, -“strewed the floor.” The same marble was also used for the columns -in the upper aisles, for the eight square columns below, and for the -capitals, door frames, window lattices and other structural parts; -also for the plating of the lower arcade and other parts of the -wall-surfaces, and as frames to the coloured marbles. It is a soft -white, or white with gray-banded streaks. The quarries of Marmora are -still worked. This marble was greatly prized in Classic times, and -Pliny mentions that it was used at the palace of Mausolus, where, it is -said, the method of plating brick walls with marble was first applied. -It closely resembles gray Carystian but they should not be confounded. - -“The Bosporus stone with white streaks on black,” used for the floor, -was probably the ordinary limestone--black with white veins--used at -Constantinople. - -_Marmor Carystium._--“The fresh green from Carystus,” is the marble now -known as cipollino; it was quarried at Carystus, at the foot of Mount -Ocha, in the island of Euboea. Its beautiful greenish white surface, -marked with broad wavy lines of green or purplish gray, was often -praised by the later classical writers. Its resemblance to the markings -of a sliced onion is the origin of its name. Modern cipollino need not -be confused with true _Carystian marble_, which the ancient material -should always be named. - -_Marmor Phrygium._--“The marble hewn from the Phrygian land towards -the Mygdonian heights,” spoken of as “many-coloured,” has been -identified as the marble which came from Dokimion near Synnada in -Phrygia. The descriptions by Statius and Claudianus of the deep -red-veined marble of Synnada agree closely with the Phrygian and -Mygdonian stone as described by Paulus. It is a brecciated marble of -a rosy colour, slabs of which alternate with verde antique in the -panelling of the side aisles of S. Sophia. - -The quarries at Dokimion were visited by Leake and Texier, and a -recent examination of them by M. Leonti[355] disclosed all shades of -“violet and white, yellow, and the more familiar brecciated white and -rose-red.” This beautiful material is best called Synnadan, as the -modern Italian name Pavonazzetto is also used for the streaked marble -quarried at Carrara. - -_Marmor Hierapolitanum._--“The stone from the sacred city Hierapolis.” -This marble has been identified by Professor Ramsay.[356] It was found -at Thiounta about ten miles N.W. of Hierapolis in Asia Minor. It is -variegated like Synnadan, and was much used for sarcophagi; indeed -Professor Ramsay says, “On every occasion when its use is mentioned, -it was employed to make sarcophagi.” It was called by the name of the -great city which is not far distant, “and to which doubtless orders -from the outer world were sent. Similarly the marble found at Dokimion -was always called Synnadic marble from the time of Strabo, yet Dokimion -was thirty-two miles from Synnada.” - -_Marmor Iassense._--The “Iassian, with slanting veins of blood-red -on livid white,” was used for the phiale. Corsi identifies this with -Porta Santa, but Porta Santa, Garofalo says, came from Chios, and this -conclusion we believe is now accepted. Garofalo thought Iassian to be -the same as the Carian marble mentioned by Porphyrogenitus in his _Life -of Basil the Macedonian_, and says it was quarried on the island quite -close to the coast of Caria. A “stone mingled with streaks of red” is -also mentioned by Paulus as brought from “the Lydian Creek.” Possibly -the port of Iassus is again intended. The ordinary Lapis Lydius was a -black touchstone. The “rosy cipollino,” in which wide bands of deep -red alternate with white, used in the panelling of the aisles does not -seem to be mentioned specifically by Paulus; unless this is the Iassian -marble to which his words would very well apply. A variety of rosy -cipollino, the splendidly figured red and white marble, is obtained in -Laconia. - -_Marmor Numidicum._--“The stone, nurtured in the hills of the Moors, -crocus colour glittering like gold,” is the beautiful warm yellow -African marble from Semittu Colonia, about fifty miles from Tunis, so -highly prized by the Romans, and now called giallo antico. It is used -in S. Sophia in the sectile work. - -_Marmor Celticum._--“The product of the Celtic crags, like milk poured -on a flesh of glittering black,” has been identified as the Bianco e -Nero Antico, quarried in the Pyrenees.[357] The black marble with white -streaks, which occurs in some of the panels in the nave, is probably -the one to which the poet refers. - -_Onychites._--“The precious onyx” mentioned by the poet is the -alabastrites or onychites of the ancients. It is the oriental alabaster -(aragonite) used in the horizontal bands of the nave, and some of the -panels. It is a translucent, fibrous stalagmite formation, generally -of a clear honey-colour. Some of the varieties are strongly veined -with white, and others are much darker. Large ancient quarries of this -Egyptian alabaster have been discovered on the east bank of the Nile. - -Paulus appears to make no mention of the dusky black with dull golden -veins used in the bema apse, which closely resembles the “Porto Venere” -quarried at Spezzia. - -The marble blocks were roughly hewn into shape with picks while still -attached to the rock, and were then separated by the aid of metal -wedges. Many objects discovered show that they were sometimes completed -at the quarry, at other times the blocks were roughly brought to the -sizes and forms required. The quarries appear to have been officially -inspected. Texier found many architectural fragments and blocks at -Dokimion bearing the signs of the inspectors of the block. Professor -Ramsay writes: “The route from Dokimion to the coast is commercially -almost the most important in Asia Minor. The road along which the -enormous monolithic columns were transported passed through Synnada, -where the central office for managing the quarries was situated.” - -[Illustration: FIG. 46.--Marble Slabs and Frieze in Narthex.] - -Ephesus and Alexandria were most important centres for the working -and export of marble, of which such an enormous quantity was required -by the Byzantine builders. The method of slicing up the blocks into -veneer is described by an Eastern pilgrim, Nasiri Khusrau, in 1047. He -says: “In the city of Ramlah there is marble in plenty ... they cut the -marble here with a toothless saw which is worked with Mekkah sand.” This -sand he tells us came from Haifa near Acre (Pal. Pilgrims’ Text Soc. -Compare Pliny, _Hist. Nat._ xxxvi.) - - -§ 3. APPLICATION OF MARBLE. - -At S. Sophia the application of the thin sheathing and incrustations -(the “crustae” of Pliny) of the “delectable variety” of marbles is -made in many ways. First there are the large sheets of the grayish -Proconnesian, opened out side by side “so that the veining of one -follows from the next.” Then the richer varieties are set in bands -and panels with narrow notched fillets between them, and still more -precious slabs are framed round with carved margins of white. Over the -doors entering the aisles at the west there are panels with especially -wide and rich borders of meanders growing from chalices. The large -panels are very often of two pieces with matched veining. Fig. 46 shows -one of a row of strongly veined panels from the narthex with the frieze -above. All the wall plating is arranged with delightful variety as to -size, and in the alternate placing of light against dark, so that there -is no rigidity or over-accurate “setting out.” - -Besides this constant change of size, colour, and arrangement, there -is a great variety in the surface treatment. We have the shallow -channelling into continuous mouldings of the skirtings, some portion -of which has a stiff fret sunk in the surface in addition. Then there -are panels on either side of the great door, and on the faces of the -projections from the great piers in the aisles, coming just above -the eye, (Fig. 48) of plain russet-red or brown which bear severe -abstract patterns, made out by slight sinking into the surface. The -centre in some cases is overlaid with an oval or square of another -precious material such as red or green porphyry or the “onyx”; the -whole of the sunk portions may have been filled by inlays, or in some -the sinking alone may have formed the design. The upper part of the -bema is incrusted with slabs patterned in this way, and here the sunk -portions are entirely inlaid; several parts of this are represented by -Salzenberg. In this work “casements” are sunk into the rosso or other -deep coloured field, and green porphyry and other materials, set off by -yellowish-white lines and spaces are inlaid in geometrical panels, or -friezes of stiff foliage. - -[Illustration: FIG. 47.--Portion of Marble Lining of Aisles. Scale -about 1/50.] - -Our Fig. 47 shows the arrangement of the marble plating on the great -piers towards the middle compartment of the aisles; in this we have -shown one of the enriched panels now only sunk, as inlaid. Fig. 48 -gives outlines of others of these panels. The marble used in the aisles -is as follows. First comes the moulded skirting of white Proconnesian, -then a 3′·3″ band of the streaked variety of the same marble. A band -of verde antique 2′·0″ wide follows, above which is a row of slabs -alternately verde antique and Synnadan. A second similar row of slabs -comes above a band of rosy cipollino. The frieze below the cornice is -of marble sectile work. The passages through the piers are lined with -slabs of streaked Proconnesian marble, nearly fourteen feet high. - -The gynaeceum has two bands at the bottom and an upper band of rosy -cipollino; the wall space between is covered with a row of vertical -slabs of streaked Proconnesian, except the central space on north side -where the slabs are of rosy cipollino. In the spandrils of gynaeceum -arcade at the west are roundels of oriental alabaster. - -[Illustration: FIG. 48.--Marble Panels with Sunk and Inlaid Panels. -Scale about 1/30.] - -[Illustration: FIG. 49.--Inlaid Marble Slabs above Royal Door. Scale -about 1/50.] - -Directly over the Royal Door is a very beautiful arrangement of -decorated slabs. First there is an immense upright piece of verde -antique in the middle, ten or twelve feet high, with two lateral -horizontal pieces making a great cross, in the quarters of which are -panels with sunk and inlaid designs. At the head of the cross is a -fifth panel which displays a still richer form of decoration. It -represents a vaulted recess or ciborium between the columns of which -hang curtains, looped back, and displaying a dark field. Here is the -matrix of a cross which was probably of silver; right and left of the -cross are other matrices, in which were set crowns or other objects, -not to be determined from below. The two upper lateral panels have -sunk geometrical designs. The lower pair are inlaid; their centres are -charged with circles, above and below which are pairs of dolphins. -These inlaid designs are made out in porphyry and green, which -are separated by white lines and spaces which shine out bright, and -are probably of mother of pearl like similar inlaid panels of this -date around the apse at Parenzo. These panels at Parenzo are so much -like those of S. Sophia that we do not doubt they were sent from -Constantinople. There are very similar panels in the baptistery at -Ravenna. - -Finally we have the enriched surfaces of the two ranges of arcade -spandrils. The upper row being sectile work of coloured morsels put -together to form a pattern of scrolls and foliage, and the lower series -having the surface entirely sculptured with the exception of discs of -precious substance which are set in them. - -This uttermost splendour is quiet and soft in its result. The surface -of course has not that mechanically even, repellently smooth, painfully -fitted appearance of modern work. The planes are waved under the hand -sawing, and the face is smooth but hardly polished. The colour in -consequence, gray and russet rising to full yellow, green and reds, -veined, waved, and flowered in all manner of gradations and lovely -combinations, _vibrates_ with a wonderful “bloom” which doubtless owes -much to age; but it is very probable that the marble was polished with -wax encaustic which was so generally used for finishing surfaces by -ancient workers. The wax deepens and mellows the colour and leaves -a dull pleasant polish. We suppose the method followed was that -recommended by Vitruvius for the encaustic polishing of coloured stucco -walls. “Lay on with a brush a coat of melted Punic wax tempered with -oil; then with a brazier of hot charcoal heat all the waxed surface, -forcing the wax to melt in an even way over the whole surface; finally -rub the wall with a wax candle and then polish it with a clean linen -cloth just in the way the nude marble statues are treated. This -practice is called γάνωσις by the Greeks.” Felix Fabri, who travelled -in Palestine at the end of the fifteenth century, describes the rows of -costly columns at Bethlehem, “and they are polished with oil so that a -man can see his face in them as in a mirror.” - -In regard to the wall plating we wish especially to point out the -extremely easy way in which it is applied, without thought of disguise. -The slabs of great size are placed vertically, entirely the reverse of -solid construction; moreover the slabs of the finer panels are opened -out side by side so that the veinings appear in symmetrical patterns. -At the angles the lap shows in the most open way; while it is mitred -where restored. The best account of the actual methods of fixing the -marble slabs to walls by metal clamps which notch into the edges of -the sheet before the adjoining one is fixed, is given by Professor -Middleton, who figures an example of the second century from Rome which -might belong to S. Sophia. - - -§ 4. MARBLE MASONRY. - -After more than a thousand years of working marble through one -complete development, Greek builders, by considering afresh the prime -necessities of material, and a rational system of craftsmanship, opened -the great quarry of ideas in constructive art which is exhaustless. -In a hundred years architecture became truly _organic_, features that -had become mere “vestiges” dropped away, and a new style was complete; -one, not perhaps so completely winning as some forms of Gothic, but the -supremely logical building art that has been. - -If anywhere this vitalising had not been completed, it would have been -in the more decorative forms; but here we find no mere exercise in -applying architectural orders, everything is as real and fresh as in -the structure. Having the Corinthian and Ionic capitals before their -eyes and without forgetting or rejecting them, the Byzantine builders -invented and developed an entirely fresh group of capitals fitted in -the most perfect way for arched brick construction. As Mr. Freeman has -said (_Hist. Essays_, iii. p. 61) of the new architecture: “The problem -was to bring the arch and column into union--in other words to teach -the column to support the arch.” This was done by shaping the block -of marble which formed the capital so that a simple transition from -the square block to the circle of the column was formed. When they -were sculptured, and most of them are most elaborately sculptured, -the general form is not altered but the carving enriches the surface -only. The new “Impost capital” is found throughout the great cistern -generally known as that of Philoxenus which is usually referred to -the time of Constantine. In their study of the vaulted cisterns of -Constantinople Forchheimer and Strzygowski have contributed much -that is new to our knowledge of the architecture of the city and -show that the evidence is entirely against this theory, which was -propounded by Gyllius, whom more recent writers have been content to -copy. This cistern, known to the Turks as Bin Bir direk (thousand and -one columns), they identify with a great cistern which the _Paschal -Chronicle_ says was built by Justinian in 528. We believe with them -that the architecture of the cistern agrees entirely with what we might -expect as an outcome of the special circumstances in the time of the -great building era. “Bin Bir direk exhibits the highest development -of the art of cistern building, and it thus in its particular sphere -resembles S. Sophia; like it the boldness of its construction was -never again equalled by the Byzantines. It would be an explanation of -the bold achievement if it might be assumed that Anthemius proved his -capability in this subterranean work before he made his supreme effort -in S. Sophia. Technical features, however, make it seem probable that -the builder was an Alexandrine.” - -[Illustration: FIG. 50.--Columns of Great Order.] - -[Illustration: FIG. 51.--Capital now Outside Porch at S. Sophia.] - -“It is of the widest significance for the history of Byzantine art that -here throughout the new ‘impost capital’ is employed in its plainest -constructive form. It seems not improbable that the daring builder of -the cistern was the first to make use of this form of capital which -completely broke with classical tradition and is in such perfect accord -with the exigencies of arch-architecture.” This is to go too far; for -if the cistern is rightly referred to 528 it is probable, as we shall -show, that the impost capital had at that time been for many years in -use. - -At S. Sophia the four main varieties of the new capital are all found. -In the cistern the change of form is made by rounding away the angles -at the bottom without reference apparently to any geometrical idea; -but in other capitals which belong essentially to this type the method -seems to have been that explained in Fig. 53 which represents the form -of the caps of the lamp pillars on the front of the western gynaeceum. -They are most delicately carved with a network of ornament, but the -general form is undisturbed as we have explained. The plain capitals of -the west window and the isolated sculptured capital Salzenberg found in -the north aisle are also of this form, which we shall call the Impost -Capital type I. The profile can be made convex or inflected, we are -only speaking of the simplest method of changing the form from a circle -to a square. - -[Illustration: FIG. 52.--Columns in Gallery.] - -Two capitals now used as mounting blocks outside the east porch, which -we illustrate (Fig. 51), furnish us with a sculptured example of a -similar capital in two stages of development, one of them never having -been completed. We give here an outline of the blocked out capital, in -which the method of workmanship may be plainly seen. First, the block -was cut away below convexly to meet the circular shaft. In this state -it exactly resembles the capitals of the cistern. Secondly, on this -was marked a border all round the top; also centre lines running down -each of the faces, about the centre point of each of which a circle of -about seven inches diameter was drawn; and at the bottom the width for -the necking was marked off. Thirdly, the intermediate spaces were sunk -about two inches; the hollow of the abacus was formed; the necking, -and edge of the circular discs were rounded. This brings the capital -to the stage shown in the diagram, the point to be observed being that -the abacus, boss, and necking lie in one surface, first obtained, and -the rest in another face, sunk some two inches below the former. It -cannot be doubted that the style of these capitals is contemporary with -the work at S. Sophia, and the finished one bears a monogram which -appears to read ΘΕΟΔΩΡΟΥ; it is, however, almost identical with that -of Theodora, which occurs on the capitals of the interior. MM. Curtis -and Aristarches,[358] who have written on these monograms, think it -belonged to a portico, restored in 409 by an eparch called Theodoros. -Work of this style was not done at that time, and these capitals -possibly belonged to some of the outer courts of the church mentioned -by Procopius. They resemble the great capitals so closely that they -might almost be preliminary studies. The strips which are left down two -sides of the capitals were customary in the capitals of a Byzantine -colonnade, especially where screens were inserted between. - -[Illustration: FIG. 53.--Rudimentary Form of Capital. Type I.] - -[Illustration: FIG. 54.--Rudimentary Form of Capital. Type II.] - -[Illustration: FIG. 55.--Rudimentary Form of Capital.] - -The two capitals in the loggia by the baptistery furnish a well-defined -variety of the impost capital. The square at the top is here wrought -into curves recalling the antique abacus. These are gathered together -into the circle of the necking in a beautiful convex form which may be -called the Melon type II., see Fig. 54. - -We give in Fig. 50 an outline of the whole column of the great order in -the interior of the church, and in Fig. 56 a diagram of the blocking -out of the capital. The columns here and throughout the great church -being monoliths of fine material, the supporting area is very small -compared to the area of the arch imposts, which are of brick sheeted -with marble. It will be seen that the projection is just that required -by the impost, which springs directly from the outside edge. - -[Illustration: FIG. 56.--Rudimentary Form of Capital. Type III.] - -The great capitals of S. Sophia are remarkable examples of the -evolution of beautiful forms on the mason’s banker; the workman -_finding form_ in the stone block by the application of practical -methods. The lower half of the capital is circular like the shaft, -rising in a slightly swelling curve of a bowl; the upper part is square -like the impost. The basis of form is that of a bowl with a tile placed -above it, and is thus that of the Greek Doric. This type III. in which -the circle does not pass by transition into the square impost, but -changes abruptly, we may call the bowl and tile capital. - -At S. Sophia the surface of the form obtained as shown in the figure is -wrought into crisp acanthus and palm foliage; and is in many places, -especially at the tips of the leafage and behind the monograms, -entirely undercut. The cutting being so sharp, and the shadows so deep, -while at the same time the general form with its broad gradation of -light and shade is so little modified by surface modelling, the effect -is almost that of inlaying black on white. The capitals of the columns -standing in the aisles, and those of the first floor ranged against -the central area, are similar to the great order, but simplified and -reduced. - -The columns of the aisles on the first floor have block capitals, with -small volutes below; Fig. 57 will make the elementary form clear. This -type IV. is really a Byzantine Ionic. The dual columns of west gallery -have a capital in common, which is a variation of these, and the -capitals of atrium were also similar. One capital of the north gallery -is entirely different from all the rest, the block, not being carved -all over continuously, is broken up into several horizontal lines of -ornament. - -For the capitals of the square pillars of ground floor, and others to -the windows, we must refer to Salzenberg; they are all of the simple -block form delicately sculptured. - -Salzenberg also figures two capitals, now on the porphyry columns -at the east porch. These are comparatively small, and may possibly -have belonged to some position in the interior of the church, such -as Justinian’s first ambo. The form is that of a basket with four -doves perched on the rim, and crosses between. Doves associated with -crosses symbolized the Church. Now in St. Clemente at Rome there are -two capitals of this kind which belonged to the ciborium, set up as -the inscription shows while Hormisdas was pope (514-523), they are -figured by Cattaneo, Fig. 7, who says they obviously were sculptured by -Greek chisels. It is thus extremely possible that ours may have been -late additions to the pre-Justinian church, where they also may have -belonged to the ciborium. Rohault de Fleury believed that this form of -capital was intended to represent an offerings basket. - -[Illustration: FIG. 57.--Rudimentary Form of Capital in Gynaeceum. Type -IV.] - -To these Bird and Basket capitals, type V., may be added varieties -of the great class of derivatives from the Corinthian of which this -is in fact one. These were in general use before the block type of -capital was developed. We will here only mention two of these acanthus -capitals. Those in which the leaves are set upright on the stem of the -shaft we will call Byzantine Corinthian and type VI. Those in which the -leaves turn over and bend round the capital we will, with Mr. Ruskin, -call “Wind-blown acanthus,” and type VII. - -_Distribution and Dates of Capitals._--We have referred before to our -belief that Constantinople was a marble working centre from which -sculptured marbles were dispersed to all parts of the Roman world. -Having the chief types of Byzantine capitals before us it will be -convenient to consider this more fully. We suppose that as white -marble had to be bought in any case, the custom grew up of obtaining -the capitals fully wrought. Importation was, of course, a general -antique practice in regard to figure sculpture, columns, and other -objects of marble. Proconnesian marble seems to have been the common -stone of Constantinople so that it is used for the columns and capitals -of the cisterns. We believe that careful examination of the capitals -at Ravenna, Parenzo, and other Byzantine centres will show that they -are in the main of this material. As to design the capitals lying -neglected about the city, together with those _in situ_ in the churches -and cisterns, furnish a perfect museum of the types with which others -dispersed through the whole area of the empire agree in the minutest -particulars of design and workmanship. - -To take the types we have mentioned: - -_Impost Capital, I._--This capital is found with the surface richly -sculptured at S. Sergius. Capitals identical in form and decoration -with the isolated capital of S. Sophia (Salz. Pl. xx., fig. 8) are -found at Parenzo and in Jerusalem. The splendid examples of this type -at S. Vitale, Ravenna, are well known; here the fretwork of sculpture -is almost entirely relieved from the ground. We found an example -absolutely similar at Constantinople. Mr. Ruskin’s “Lily Capital” which -belongs to this group is found at S. Mark’s, at S. Vitale, at Parenzo, -and at Alexandria. Another variety is covered all over with horizontal -bands of zigzag fillets; an example rests in the Tchenli-Kiosk Museum, -others are found at Athens, at Mistra, and a third now at S. Mark’s is -figured in the _Stones of Venice_. The capitals at S. Sophia, Salonica, -figured by Texier are probably the earliest of type I. to which an -approximate date can be given; it was certainly in general use at the -end of the fifth century. - -_Melon Form, II._--These magnificent eight-lobed capitals form the -great order at S. Sergius, and are found at the church usually called -Agia Theotokos. Similar capitals belong to the upper order at S. -Vitale, and others are found at S. Mark’s. Some of the nave columns -of S. Demetrius at Salonica have fine capitals of this type which -although evidently derived from the last probably also originated in -the fifth century. - -_Bowl Type, III._--These, the great capitals of S. Sophia, seem to have -been especially designed for the metropolitan church: the beautiful -palm foliage, however, with which they are sculptured is found again -at Parenzo and on a capital in the Ravenna museum said to have been -brought from Pomposa. The church at Parenzo was begun in 535. - -_Byzantine Ionic, IV._--These occur in their perfected form of block -capital fully sculptured in S. Sergius and at the palace of Hormisdas -in Constantinople, also in the upper order at S. Sophia, Salonica. -Examples are also found at Venice. - -In their earlier form of transition from the “Ionic with a plain -dosseret” an immense number are found in the subterranean structures of -Constantinople. An example has been found in Chalcis.[359] - -_Bird and Basket, V._--S. Sophia furnishes two examples, but there is -no proof that they originally belonged to the building. Another example -is in Cairo. That at S. Clemente, Rome, is signed with the name of John -Mercurius; Piranesi figures a capital of this kind from the Palazzo -Mattei, bearing a monogram which is indecipherable in his plate. -Period, end of fifth century and beginning of sixth. - -_Byzantine Corinthian Type, VI._--These are of great variety; we will -only mention one. In the portico of John Studius the acanthus leaves -are doubled, one leaf lying over and within another, so that a double -row of serrations is shown around the margins (see figure in Salz.). -Similar capitals are found in S. Demetrius, Salonica, and at S. Mark’s, -Venice. This particular form is probably nearly concurrent with the -last, possibly a little earlier. - -_Wind-blown Acanthus, VII._, is represented at Constantinople by two -examples forming bases for the posts of a wooden porch to a house near -Gûl Jami, and another is found in the cistern usually called after -Arcadius or Pulcheria. Absolutely similar capitals are found in S. -Sophia, Salonica (circa 490) and one occurs at S. Demetrius. At Ravenna -fine examples are dated by bearing the monogram of Theodoric. Others -at S. Apollinare in Classe resemble the last so closely that we doubt -their having been made specially for the church built in 534-549. An -example was found in Chalcis with the Ionic capital just referred to -and De Vogüé figures one from Syria. Period, say 425 to 525. - -The seven most typical Byzantine orders were thus being wrought -concurrently at the end of the fifth century, and it seems that the -three last did not long outlast this century. The others in their -central types probably did not continue in use much beyond the sixth -century. After this time somewhat coarse varieties of Byzantine -Corinthian, or Type I., were mostly used. - -[Illustration: FIG. 58.--Bronze Annulets of Columns.] - -The evidence of the original block in the fully sculptured finished -work which we find in the most characteristic examples of the Byzantine -capitals is of primary importance in all marble sculpture, and -differentiates the work of the chisel from being a mere stone model -of a clay model which is practically what most modern sculpture has -become. In many of these capitals the vertical strip shown in Fig. 55 -left in the finished work furnishes a further suggestion of the block -from whence they were hewn. - -_Shafts and Bases._--The usual theory that the Byzantines wrought but -few new marble shafts does not bear scrutiny. Byzantine shafts have -neckings of very slight projection, thus obviating the waste of labour -and material of Roman work.[360] The shafts of the baptistery loggia at -S. Sophia, figured by Salzenberg, furnish good examples; sometimes the -necking, as to the square marble pillars, is a simple broad fillet of -about a quarter of an inch projection. The hundred round shafts of S. -Sophia exhibit a remarkable and beautiful structural expedient by which -the necking is entirely suppressed, and bronze annulets surround the -shaft under the capital and above the base; which prevent the shafts -from sliding or splitting, and retain the lead beds from being forced -out by the weight (see Choisy, p. 15). Large monolithic shafts were the -more apt to split, as they had to be set up contrary to the direction -of the quarry strata. - -[Illustration: FIG. 59.--Marble Pedestals and Skirting Slabs.] - -Fig. 58 represents these bronze zones in association with the great -capitals and bases. The pedestals of the exedra columns A _a_, next -figure, are worked together with the bases in one stone. In these -profiles we again see how little the mouldings disturb the original -form. - -[Illustration: FIG. 60.--Cornice Profiles.] - -_Responds._--A very remarkable feature in the interior, is the way in -which the colour of the marble columns of the arcade is reflected as -it were on the responds, where the arches fall on the great square -piers. A strip of porphyry or verde antique, the width and height -of the free shafts, is inlaid into the marble casing of the piers -absolutely flush, the edge being only defined by a line of the notched -fillet. A flat sculptured slab at the top echoes the capital, and a -base slab of mouldings worked in a vertical plane ranges with the -bases of the columns. Salzenberg’s plate does not render this feature -properly, the “capital” is flat and has straight sides and instead of -the “base” he shows a portion of the wall skirting. Fig. 59 shows this -base in elevation (B), and section (C), ranging with the pedestals of -the exedra, Columns (A). The way in which the sculptured and inlaid -spandrils of the arcades stop against the plain veneering of the great -piers is also most noteworthy. - -_Cornices and Skirtings._--We give here (Fig. 59, D and E) two -profiles of the skirtings where the principle of working out of thin -veneering-slabs is applied to moulded work. The parapet slabs of first -floor are worked in a very similar way; Salzenberg shows design of -front, and they bear flat lozenges between two crosses at the back. See -Fig. 61. - -The cornices of the interior, which really formed walks for the -lamplighters, are made up of no regular combination of curves; they -project steeply forward, the general slanting plane being little -disturbed (A, Fig. 60); they are decorated with rows of acanthus, the -curved tips of which catch the light in bright points. The cornice of -aisle is given at B. We also give a profile of the door-head, which -shows how the mouldings conform to a plane of least labour (C). By the -jambs and heads being mitred together, the difficulty of working stop -ends was also obviated. The mouldings are not sharp and accurate, as is -suggested by Salzenberg’s engravings. - -[Illustration: FIG. 61.--Closures between Pillars, Front of Gynaeceum.] - -We may mention here that all the doors entering the church from the -narthex have raised marble thresholds, that of the Royal Door being a -magnificent piece of verde antique which rises some seven inches above -the level of the floor; the others are of white marble. - -_Windows, &c._--The pierced lattices of the windows also furnish -examples of another beautiful method of marble slab construction. The -large windows are subdivided by marble posts, between which the pierced -lattices make a mere screen. Salzenberg, who found a store-room full of -broken fragments, gives a section of a bar. Windows over the western -entrances, and another at the foot of the south-west stair, which are -similarly pierced out of sheet marble, have a simple meander carved -on the bars (Fig. 62); this we suppose to be of the ninth or tenth -century. The lower part of the window openings going down to the floors -are filled with marble closures, some of which bear flat sculptured -devices, such as a fish in a lozenge, and on the outside a cross; above -this came a second tier of slabs pierced with square openings, which -were possibly covered by marble slabs as opening casements. - -[Illustration: FIG. 62.--Marble Window Lattice.] - -Some of these closures are translucent; one in the West Gallery -over narthex is the well-known “Shining Window” which is mentioned -by Grelot. These transparent slabs of “Phengites” were much used -in Byzantine architecture. The transparent marble slab windows of -S. Miniato are well known. At Ravenna there is a sculptured slab -altarfront, through which shone the light of candles placed behind. - -[Illustration: FIG. 63.--Cipollino Slabs with Cross.] - -Placed against the east side of the marble screen now in south -gynaeceum are slabs of cipollino, which bear large crosses standing -on circles; the relief being very slight and the edges softened these -show in the faintest way; each cross extends over two slabs, the joint -being down the middle. A similar slab with a cross is now placed in the -opening on south side of bema. These cross slabs some seven feet high -are beautiful examples of the proper use of marble. (Fig. 63.) - -[Illustration: FIG. 64.--Forms on Carved Impost Moulding.] - -_Carving._--Of the carved ornament we can only stay to remark on the -large use made of the drill in obtaining points and chains of sharp -shadow: and that in the design new motives and old--the acanthus and -the vine are found side by side, both equally alive. The acanthus -has been redrawn from the leaves which tracery the stones along the -shore; and even the archaic lotus, for centuries degraded into “egg and -tongue,” buds once again into leaf. - - - - -CHAPTER XII - -BRONZE, MOSAICS, INSCRIPTIONS - - -§ 1. BRONZE WORK. - -One of the most interesting facts in connection with the building is -the lavish use of bronze in construction and decoration. There is -every reason to suppose that the bronze casing of the Royal Doorway -entering the church from the narthex, was applied long subsequent to -the building of the church. We give in Fig. 65 a sketch of the bronze -cornice of this door, with its hooks for the door hangings; the left -hand shows the form towards the narthex, the right hand the interior. -The deep-splayed casing of the cornice resembling a sarcophagus may -have suggested the story quoted by Buzantios,[361] that the body of S. -Irene reposed above this doorway. By comparing it with the adjoining -marble doorways, it is apparent that the bronze must be laid over -similar marble forms, and that this deep-splayed casing simply covers -a marble cornice hacked back to one slanting face. Salzenberg gives -a detail of the panel at the centre, and the inscription has already -been quoted. Such inscriptions were general at the entering in of -ancient churches. For instance, a small church[362] in Palestine has -the legend, “This is the gate of the Lord, the righteous shall enter -in thereat,” and a similar inscription is on the lintel of the early -church at Corfu.[363] An isolated lintel at Constantinople has “Open -me the gates of righteousness, that I may enter and praise the Lord.” -Paulinus says that at the door of his church at Nola was written, -“Peace be to thee with peaceful heart and pure, who comest within the -secret place of Christ.” - -[Illustration: FIG. 65.--Bronze Casing to Royal Doorway. Scale 1/60.] - -In a paper on the inscriptions at S. Sophia, by C. G. Curtis and S. -Aristarchês in the _Transactions_ of the Philological Society[364] of -Constantinople the authors point out that S. Sophia was greatly injured -by earthquake on the 25th of October, 975, and restored six years -afterwards, and say that the form of the letters of the inscription -suggests that it was written at this time. Possibly an earthquake -gave a very sufficient reason for such a casing, by fracturing the -great marble lintel, but there appears to have been a whole series of -additions and alterations at this end of the church before this period, -and it might very well have been done at the same time as the mosaic -above it. - -All the doors opening into or from the narthex, with one exception, -are cased in bronze on a wood foundation about five inches thick, -formed into panels. They are all hung in two leaves, and the back -edges against the frame are rounded continuing top and bottom as -pivots on which they revolve. The nine doors entering the church are -comparatively plain, each leaf being divided into three panels. - -The central doors entering the narthex are two panels high, each of -which bore a large cross; these were applied separately, the upper one -under a round arch on pilasters, and the lower beneath a gable also -supported by pilasters. The lower cross is planted on a rock, from which -flow the four rivers, symbol of the Gospel preached to the ends of the -earth. Part of a verse in the mosaic of the apse at Nola as given by -Paulinus makes this symbolism clear. - - “Christ the rock - Of all the church, the base of rock sustains - From which as living streams four fountains flow; - The four evangelists, whose words are gone - Through every land.” - -The margins, framing the panel of this pair of doors, are decorated -with elliptical hollows and pairs of small rosettes alternately (see -Fig. 66). - -[Illustration: FIG. 66.--Central Bronze Door entering Narthex. Scale -about three feet to an inch.] - -The two doors right and left of this central door are less in size; -here each leaf is again divided into two panels. The top one has a -relief of a chalice from which rises the stem of a cross with crisp -acanthus foliage on either side. The lower panel has a large plain -cross. These reliefs are all applied to the panels, the crosses being -made up of four arms, which are separately inserted into a central -boss. The horizontal arms, and in many instances the whole crosses, -have been removed by the Mahommedans. The styles and rails of these -doors are inlaid with strap-like forms and gammidae in silver, and -engraved with a representation of a setting of gems (see Fig. 67). -These inlaid straps, with seal-like ends, exactly repeat the forms -found on door-hangings. See Fig. 13. At S. Sophia the forms have -certainly been taken from similar veils. The large simplicity of the -design of these beautiful bronze doors suggests that they may be of -Justinian’s time. - -The doors still further from the centre, right and left, that is to -say the two end doors of the five entering the narthex, have each leaf -divided into three panels. The top and bottom panels are charged with -crosses; and the centre one, which is smallest, bears an annular boss; -the styles are studded with discs. The south door of narthex, and also -the end doors in the west wall of the nave are similar to these; the -others in this wall, including the great central door from the narthex, -have the big panel in the centre and two smaller ones with circular -boss top and bottom (see Fig. 68). - -[Illustration: FIG. 67.--Bronze Door of Narthex. Scale about four feet -to an inch.] - -The outer doors of the porch at the south end of narthex are still more -remarkable. The panel margins are made up of cast bronze decorated -with meanders, frets, and leaf mouldings, very delicately modelled -in high relief. These are evidently of antique workmanship, possibly -they may be as late as the fourth century, but they can hardly have -been wrought later. The ancient doors have been enlarged by adding -outer margins, consisting of later relief work, and flat metal studded -with little leaf ornaments which form the heads of pins. The panels -have been filled with plates of bronze, which bear an inscription -ingeniously made up of monograms, arranged on crosses in circles; these -are deeply engraved into the metal plates and filled with silver. -It is interesting to find here an example of the damascened work of -which some of the doors in Italy brought from Constantinople are such -remarkable specimens.[365] The letters are beautifully designed, and in -all cases the horizontal arm of the cross is above the centre of the -circle in which it occurs. - -Good engravings of these doors are given by Salzenberg, who however -incorrectly transcribes and arranges the inscription on the panels. Of -this we here give a corrected version, Fig. 69. (The top line in the -figure is actually above the right-hand monograms.) - -The inscription has been deciphered in the previously mentioned -_Transactions_ of the Greek Syllogos at Constantinople. - - [ΘΕΟΦΙΛΟΥ ΚΑΙ] ΜΙΧΑΗΛ ΝΙΚΗΤΩΝ - ΚΥΡΙΕ ΒΟΗΘΕΙ ΘΕΟΦΙΛΩ ΔΕϹΠΟΤΗ - ΘΕΟΤΟΚΕ ΒΟΗΘΕΙ ΘΕΟΔΩΡΑ ΑΥΓΟΥϹΤΗ - ΧΡΙϹΤΕ ΒΟΗΘΕΙ ΜΙΧΑΗΛ ΔΕϹΠΟΤΗ - ΕΤΟΥϹ ΑΠΟ-ΚΤΙϹΕΩϹ ΚΟϹΜΟΥ SΤΜΘ ΙΝΔ.Δ - - (of Theophilus and) Michael Conquerors - (1) Lord, help (2) Theophilos Emperor - (3) Mother of God, help (4) Theodora Augusta - (5) Christ, help (6) Michael Emperor - (7) Year from the creation (8) of the world 6349. Ind. 4 - -The sixth and eighth monograms show evidence of having been altered. -The silver has been removed from the earlier form, and the grooves -having been filled up with bronze fresh letters were inlaid: the -lines stopped out however show a different colour from the original -ground, and so the palimpsest can be read. The revision was made -“after the birth of Michael the first son of Theophilus in 839 and -his coronation in the year 840.[366] Before this time the monogram of -John the patriarch, which may still be traced, occupied the position -of Michael’s monogram: and instead of 6349 Indiction 4, the date was -6347 Indiction 2, thus giving the year beginning September 838, when -John the Sixth was Patriarch of Constantinople.”[367] The inscription -“Michael Conquerors” (which is formed by piercing a bronze plate, -not by damascening, as shown by Salzenberg) occupies the top of the -right-hand leaf of the door: that on the left corresponding to it -is lost. MM. Curtis and Aristarches have restored this as above. The -existing words, it is evident, must have been added after Michael’s -birth and with the alteration of the monograms probably form a memorial -of his coronation. _Murray’s Handbook_ 1893 suggests that the word -Nikêtôn refers to the restoration of images; but the revision of the -inscription was made during the lifetime of Theophilus, who was the -last of the iconoclastic emperors. According to Muralt[368] Theophilus -died Jan. 20 A.M. 6350 (842). Just before, feeling himself to be dying, -he made the empress swear not to re-establish images, and not to depose -the patriarch John. Three weeks however after the emperor’s death, -Methodius was named patriarch. “The victory of the image-worshippers -was celebrated by the installation of the long-banished pictures in S. -Sophia on the 19th of February 842, just thirty days after the death of -Theophilus.”[369] It is almost certain that the conjectural restoration -is correct for Theophilus and Michael are thus associated in a -mural inscription[370] and Niketes was a common title from -Constantine downwards. On the panels are certain pin-holes[371] placed -symmetrically between the monograms; these must have been for the -attachment of reliefs. - -[Illustration: FIG. 68.--Bronze Doors in Narthex. Scale about four feet -to an inch.] - -[Illustration: FIG. 69.--Inscription Damascened in Silver on Bronze -Door.] - - * * * * * - -The Anonymous author speaks of doors of “elektron” and of silver dipped -in gold, but we cannot rely on this any more than on his 365 doors of -ivory. - -Electrum is incorrectly translated as amber in the last edition of -_Murray’s Guide_ (1893). Labarte pointed out that enamel forms the -right equivalent, and for this interpretation he has ample authority. -Theophilus, the Byzantine writer on the arts, continually uses the -word for glass enamels, either set as separate jewels, or fused as -translucent enamels to a metal base. A note in the English edition of -this writer explains that this use of the word was probably extended -from amber to cover other transparent bodies of similar appearance. -From the lavish way in which enamel was used about the tenth century -it is possible that some of the doors such as those in the iconostasis -might have been enamelled. - -As to the “dipping” of silver or bronze with gold the Silentiary tells -us that Justinian “overlaid with gold” the bronze zones of the columns; -and the annulets of the porphyry columns at the east entrance still -show gilding. Buzantios[372] quotes from a MS. chemical treatise in -the Paris library which mentions “dipping bronze like the doors of S. -Sophia,” and Fossati says the head of the Royal Door was gilt. - -Theophilus explains in detail how bronze or silver might be gilt by -fire-gilding, the process here called dipping. The copper in the bronze -had to be pure and free from lead. The gold was ground very fine and -cooked with mercury. This amalgam was then applied to the surface with -a copper bit, like that plumbers use in soldering, and polished with a -wire brush. - -We have given sketches of the bronze collars which surround the -columns, at the junction of capital and shaft, and just above the -bases. The porphyry columns in the two western exedras have many -intermediate annulets at unequal heights; these in some cases were -doubtless intended to bind up longitudinal fractures in the shafts, -which show in many places; but in other instances they appear to cover -the junction of separate drums of porphyry. These are all shown in -Grelot’s interior view. The principal collars are certainly of the time -of Justinian; those under the capitals have square metal bosses or -boxes covering the point where they meet and are pinned together. These -“seals” of the great order bear the monograms of Justinian and Theodora. - -The annulets at the base are made continuous at the joint, and have -the appearance of being brazed: those of the main order are now kept -brightly polished. One of the base annulets in the north gallery is -signed by a monogram as the work “of Stephen.”[373] - -Besides the hooks, in the form of upturned fingers, for the hangings at -the bronze door, similar hooks occur in the marble lintels of the doors -in the narthex and the exonarthex. - - -§ 2. MOSAIC. - -The mosaics of figures exposed at the time of Fossati’s repairs are -many of them figured by Salzenberg, although his harshly coloured -diagrams can but very inadequately represent the beauty of the -originals. We give here his descriptive text in a slightly condensed -form as a basis for our own remarks. Dethier[374] asserts that only a -part of the mosaics discovered were published by Salzenberg, and that -Fossati preserved others inedited in his portfolios.[375] - -The mosaics are formed of glass of various colours cut into small -pieces and applied to the vaults with a cement. The gold mosaic was -made by laying leaf gold on the glass, which was then covered by a -thin film of glass to protect the surface. Silver mosaic was made in -the same way. The gold was used, in spite of its apparent abundance, -with great economy. For instance, in vertical spaces high up and only -visible from almost immediately beneath, the tesserae are arranged -in horizontal rows at a distance of two or three tesserae from each -other with their upper edges projecting. The projecting edge of the -lower row hides the bare space between it and the row above. There -is thus a saving of more than half the material, and great play of -light is obtained. The tympana of the aisles are covered in this way. -The coloured tesserae are set in the usual way, as the difficulties -involved by the other method in the curves of the ornament would -outweigh the saving of material. - -Besides gold and silver, red, blue, and green are the principal -colours; though others are used in the heads of the figures. The -vaulting throughout was covered with a background of gold, on which are -conventional patterns that follow the forms of the construction. Some -of the spaces have representations of figures. - -In the bands of ornament are gamma-crosses [_swastikas_], hearts, -leaves, and crosses, placed in circles, squares, and other figures. -There are no sharp arrises to the vaults, but patterned bands are -placed on the rounded edges. - -The vault of the narthex has its wide transverse bands adorned with -gamma-crosses. In the domed portions between the transverse arches are -diagonal bands which culminate in a circle inclosing a cross.[376] - -The vaults of the gynaeceum, perhaps because they were visible from -the nave, are more elaborate than those of the aisles below.[377] -Salzenberg’s Plate xxv. shows the western dome on the south side, on -which is represented the descent of the Holy Spirit: the arches have -the same ornament as those below.[378] - -Details of the dome are given in Salzenberg’s Plate xxvi. The edges of -the ribs and window openings are covered with bands of ornament. The -faces of the ribs have alternate squares and crosses, which decrease in -size as they get higher. The central space has lost its figure subject, -but it is surrounded by a wide border.[379] The sides of the window -openings are lined with silver mosaic. The lower part of the dome is -not decorated, as the projecting cornice hides it from below.[380] - -The edges of the exedra-conchs have bands similar to those on the great -arches, and the same pattern occurs again on the edges of the eastern -barrel vault, and the bema apse.[381] The rest of the decoration of the -surface of the apses has disappeared. - -Over the centre door from the narthex to the nave is represented Christ -on a throne, holding a Gospel open at the words, “I am the Light of -the world: Peace be with you.” A monarch is prostrate before him, and -in medallions on either side are Mary the Intercessor, and Michael the -Protector.[382] - -The nimbus of Christ has three rays, and His hand blesses in the Greek -manner, by which the fingers represent the initial and final letters of -Jesus Christus. The undergarment has broad gold stripes worked on it, -and the lights are given in silver; it seems to be of silk, the upper -garment appears to be of a white woollen stuff. - -The great western arch has a medallion of the Virgin at the crown, -and full lengths of Peter and Paul at the sides, Peter on the south; -however, only a few remnants of these figures are now left. The border -which surrounds the medallion of the Virgin has colours of the rainbow, -the circle of her halo is red; the flesh colour is fair, and the eyes -are blue. The veil is blue, with a gold cross, and the cloak is also -blue. Under the veil is a kind of band round the head, like that which -the Spanish Jews of Constantinople wear; it is of a blue green colour -with dark stripes; the hair is not visible. Her nimbus has three silver -rays on a gold ground; her hands rest on the shoulders of the Child, -whose right hand blesses, while the left holds the book of the Gospel. - -Peter’s face is dark, the nimbus is blue, the garment is bluish green, -and the gold rod, surmounted by a cross, has red and blue bands. He -thus has the same insignia as the St. Peter on the Ciborium Curtain, -and it is this which, in the mosaic, identifies the figure as Peter, -for there is no inscription. Porphyrogenitus, in his life of Basil, -mentions that when the western arch was restored the pictures of the -Virgin, and the Apostles Peter and Paul were placed there by that -emperor. The figure of Paul has an upper garment of green with silver -lights, and the undergarment is a greenish yellow. The whole figure is -about seventeen feet high, but the head is wanting.[383] - -On the large semicircular walls beneath the northern and southern -dome-arches are a number of figures in mosaic. The seven arched -recesses were filled with representations of martyrs and bishops; -above, between the windows, were six smaller figures of prophets, and -a larger figure at each end. At the height of the upper row of windows -were probably the archangels, but of these only the feet remain. - -The figures that now exist are the following. In the recesses on the -south side, the second from the east is Anthimos, Bishop of Nicomedia, -martyred in 311: in the third is Basil, Bishop of Caesarea, martyred in -379.[384] - -The fourth recess from the east has Gregory Theologos, Patriarch of -Constantinople from 378 to 383. The next figure is Dionysius the -Areopagite; who was converted by St. Paul, and became, tradition says, -Bishop of Athens. In the sixth recess is Nicholas, Bishop of Myra, who -died in 330. This figure is partly destroyed. The seventh, is Gregory, -Bishop of Armenia, who died in 325.[385] - -The figure of Isaiah, which is to the east of the row of windows, -had been covered up (when Salzenberg made his drawings), but it was -described by Fossati as having an undergarment of green with silver -lights, and over it a cloak of a white woollen stuff. The right hand -pointed towards the bema, and in the left was an open scroll with the -inscription, “Behold, a Virgin shall conceive and bear a son.” Under -the figure was a monogram.[386] Higher up again on the same wall was -the inscription:-- - - ΑΙΓ....ΤΗϹΑΘΑΝΑΤΟΥ ϹΟΦΙΑϹ - ΗΡΑ....ΤΟΥΚΕΑΚΗΡΑΤΩΝ.... - -The recesses of the north wall have no mosaics [see below, p. 287.] - -At the height of the windows, the first figure beginning from the east -is Jeremiah.[387] The undergarment has stripes of blue and red, and -the upper represents a russet-coloured woollen stuff. The right hand -blesses, the left has an open roll [with the inscription shown in the -plate, “This is our God; no other shall be compared to Him.”].[388] - -The figure between the first and second window is probably Jonas, as ΑϹ -still remains on the right side of the head, and there is only room for -three letters on the other side. The undergarment is a greenish blue -with silver lights, and has broad red stripes. The nimbus is blue. - -Over the head of this figure is found the remnant of an inscription -ΝΤΙΔΟϹ. This may have belonged to one of the figures above, of which -a sandaled foot and edge of a garment alone remain. The foot does not -stand upon green earth, like the prophets below, and therefore probably -belonged to an angel. Only a part remains of the third prophet from the -east, which was inscribed Habakkuk.[389] - -The mosaics on the soffite of the eastern arch were covered before -drawings were made. At the crown is a medallion with a white ground. -In this is a low throne of gold, with two green cushions upon it; over -them is thrown a blue cloth with a white hem, and upon that is placed -a golden book. Above is also a gold cross with three arms; the middle -one is the longest, and at its intersection with the upright member -is a circle. On the south face of this eastern arch is the figure of -John the Baptist, with long hair, and a brown shaggy garment; his right -hand blesses, and his left holds a cross with three arms. Opposite, on -the north side is the Virgin, with uplifted hands in the attitude of -prayer. She has a white undergarment, bound with a golden girdle, a red -upper garment, and a veil of a green-blue, with a gold hem. Under her -is John Palaeologus, who restored this part, and to whose time these -figures and designs certainly belong. The emperor wears a crown, with -strings of pearls on either side. He has a closely fitting undergarment -of gold, decorated with pearls and embroidery. A magnificent cloak -hangs down from the left shoulder, and round the neck and breast is -a kind of broad gorget richly embroidered. In his right hand is a -sceptre, and in his left a roll. - -The archangel on the south side of the bema vault[390] has a globe in -the left hand, and a staff in the right. He is clad in white, with -imperial red shoes. The arch of the apse bears an inscription, which -ends with the letters ϹΕΙΕ ΠΑΛΙΝ. - -On the conch of the apse is the Mother of God upon a throne, holding -the Child between her knees; her upper garment, which is blue, conceals -the whole figure, except that at the breast, under the arm, and above -the feet, the white and gold garment beneath is visible. The Child -has his right hand uplifted and his left against his breast. He wears -a white garment, with a gold girdle. His hair falls down freely, and -the nimbus has three streams of light. The throne is gold with red -ornaments, but is without a back, and the footstool is of green silk. - -In the dome pendentives are Cherubim with six wings. Each head is four -feet two inches high. The upper feathers of the wings are a light -green, and the under feathers brown.[391] The great centre-piece of the -dome, which, according to Du Cange, represented Christ as Judge of the -World seated upon a rainbow, no longer exists. - -Only one of the domes of the gynaeceum preserves its mosaic ornament -of figures. This[392] represents the descent of the Holy Spirit. Only -a part remains of the throne in the centre; on it is a green cushion, -and a blue cloth with gold patterns. Groups of spectators fill the -pendentives of the vault. - -Above the doorway which leads from the western gynaeceum to the -chambers over the south porch, are remains of figures, which can no -longer be identified.[393] In the ceiling of the chamber over the -stairway is a design of green tendrils on a gold ground.[394] - -The small dome in the chamber which opens out of the western buttress -of the south side on the first-floor level has four angels with -uplifted hands, supporting a medallion in the centre. This design is -similar to that in the side chapel at S. Prassede at Rome. - -“The figure representations belong to the time of Justinian, though the -Silentiary, otherwise so accurate, does not describe them.” - - * * * * * - -_First Scheme._--A reading of Salzenberg’s notes on the figure mosaics -will show how little ground there was for his impression that these -belonged to the time of Justinian, which the last sentence expresses. -Several of these mosaics are dated as being parts of restorations. Thus -he shows that Basil I. placed figures on the arch of the great western -hemicycle, and that those of the great eastern arch are the work of -Palaeologus. - -The subject has been much obscured by insecure assumptions and inexact -assertions. Labarte, who was one of the first to doubt that Justinian -was intended by the figure of the kneeling emperor before Christ over -the Royal Door, thought that the Silentiary described figure-mosaics -as covering the interior.[395] Gerspach in _La Mosaïque_ calls the -emperor ‘Justinian’ and appears to mistake the Pentecost cupola for -the great dome. In regard to the date of the lunette containing the -emperor, Labarte suggested that it was a work of the seventh century, -and that the emperor was Heraclius.[396] Woltmann and Woermann placed -it still later and write, “There is no kind of resemblance between -the beardless portrait of Justinian at Ravenna and this bearded, -gray-headed man. It is more likely to be Basil I. the restorer of the -western apse, and this opinion is supported by the miniatures of his -time.” The pilgrim Anthony seems to refer to it as Leo the Wise, but -the Russians ascribe so many works to this emperor without reason that -this is inconclusive. The forms of the letters in the inscriptions, -however, show that the mosaic is late. Bayet,[397] who has considered -the mosaics afresh, and thinks the silence of Paulus is conclusive as -to the absence of figure-mosaics when the poem was written, about 562, -himself seems to misread some parts of the poet’s description; thus he -thinks patterns in mosaic are intended in lines 607-612. The animals of -the atrium may possibly have been of glass mosaic: but we think it more -likely that inlaid marble like the dolphins of the interior (Fig. 49) -is intended. The baskets of fruit, branches with birds, and the golden -vine in the church, spoken of in lines 668, &c. seem to refer to the -carved and gilt surfaces of the spandrils of the arcade, not to the -mosaic, as Bayet supposes. - -The figure scheme, so far as it can be traced, closely agrees with the -Byzantine Manual of Painting: and the subjects and treatments can be -associated with work in other churches of the ninth and tenth centuries -which have in several cases almost identical designs. Altogether it -may be doubted if a single figure belongs to a time anterior to the -iconoclastic period of the eighth century. - -We believe the original scheme of decoration is best accounted for -without figures, and even if this were not so, we can hardly believe -that in the Patriarchal Church at the door of the Palace figures -would have lasted through the reigns of the iconoclastic emperors and -patriarchs, as they may well have done in remoter churches where the -clergy were on the other side. Leo issued his first decree against -images in 726. Its purport was not, as is often stated, that pictures -should be hung higher in the churches in order that people should not -adore them by kissing: “it commanded that they should be totally -abolished.”[398] - -[Illustration: FIG. 70.--Mosaic of small Vault Compartment next the -Bema.] - -It is well known that a figure of Christ over the entrance to the -palace was destroyed by Leo the Isaurian. Dr. Walsh, who was chaplain -to our embassy at the Porte about 1820, writes, “There stood till very -lately in Constantinople an inscription over the gate of the palace -called Chalces. Under a large cross sculptured over the entrance to the -palace were the following words:-- - -“‘The emperor cannot endure that Christ should be represented -(_graphes_) a mute and lifeless image graven on earthly materials. But -Leo and his young son Constantine have at their gates engraved the -thrice-blessed representation of the cross, the glory of believing -monarchs.’”[399] - -In 768 Nicetas, the patriarch under Constantine, Leo’s son, is said to -have destroyed “the images of gold mosaic and wax encaustic” in all the -churches of Constantinople.[400] And in the life of Theophilus we read, -“throughout every church the figures of the saints were destroyed, and -the forms of beasts and birds were painted in their places.”[401] - -It is quite certain from Procopius and the poem of the Silentiary that -the vaults of Justinian’s church were covered with mosaic. They both -describe the brilliance of the gold glittering surface, but do not -mention any figures. In such detailed descriptions this silence goes -far to show that there was originally no storied scheme of imagery, -like that which the Poet so fully traced out on the curtains and -iconostasis. It seems equally certain that where, describing the dome -on the strong arches, overhanging the interior like the firmament which -rests on air, he says, “at the highest point was depicted (_epigraphe_) -the cross, Protector of the City,” we are to understand that a great -cross in mosaic expanded its arms on the zenith of the dome, and that -the background was strewn with stars. Now this is a well-known scheme, -and it is found at an earlier date in the chapel of Galla Placidia at -Ravenna, and later it is mentioned by Porphyrogenitus in a description -of a domed apartment in the palace. The stars on the dome are more -than once referred to in the poem (page 36), and it is probable that -the surfaces between the ribs as well as the central circle had gold -stars set in azure, the ribs being of gold; nothing less would seem to -justify “the firmament of the roof its rounded expanse sprinkled with -the stars of heaven.” - -It is evident that, however easily figures and pictures might be added -here and there at various dates, the church, being once incrusted with -mosaic, would at no subsequent time have had the enormous areas of -tesserae removed to be again renewed. - -It follows that the ground, and any patterns evenly distributed in -every part of the vaults, are assuredly of the first work. First among -such designs is a jewelled cross thirteen feet high, which is blazoned -on both ground floor and gallery vaults, and which must have been -repeated some twelve times twelve. We give an outline of one of the -smallest vault compartments in the church, the irregular space to the -east directly south of the bema: here three of the crosses can still -be seen through Fossati’s colouring, their interlocking arms spreading -over the whole field. This form of cross, with lobed ends, is found set -in a circle of stars, in the mosaic apsoid of S. Apollinaris in Classe. -(Fig. 70.) - -A similar argument applies to other forms which occur with equal -frequency. A square panel of ornament which alternates with the -crosses, certain diapers, the bands up the edges of the aisle vaults, -and the small circles each containing the six-armed cross or monogram -at the centre of these compartments, would all seem to be parts of the -original work, and these simple elements we believe formed the first -scheme of decoration. Texier figures a mosaic from Salonica made up of -crosses. The splendid simplicity of such a scheme seems entirely in -harmony with S. Sophia, for even figures would disturb the beauty of -the expanse which at each movement glitters like a web of golden mail -swayed by a breeze. - -_Later Mosaics._--For the mosaics displaying figures we refer back to -Salzenberg’s description. Much further information might have been -gathered if he had given copies of the inscriptions which exist, in -however incomplete a state. His section (Plate x.) shows that a long -inscription surrounded the arch of the apse, but in his text he only -gives the last few letters ϹΕΙΕ ΠΑΛΙΝ; this possibly belonged to -the words ἀνεστήσειε πάλιν, “Set up again,” and the whole may have -contained the name of the emperor under whom this restoration was -effected. (See below, p. 287.) - -On the great lunette of the wall of the south side also, where the -tiers of saints and prophets seem a part of a scheme representing -the Church triumphant, or a _Benedicite_, two monograms occur (see -Salzenberg’s Plate ix.); only the first, which reads ΚΥΡΙΕ, is figured -in the text; it is evidently a part of the well-known invocation, -‘Lord, help,’ which requires the name of an emperor or artist to -complete it. - -An inscription between these monograms is partly given in the text; and -supposing it to be correctly rendered the whole probably read “Lord, -help” (_name_ who painted this wall) “of the Immortal Wisdom” (with the -figures) “of the saints”. - -The entire later scheme of the mosaics must have corresponded closely -to that in the New Church in the palace built by Basil, which is -described by Porphyrogenitus. Here, at the centre of the dome, was the -human form of Christ embracing the whole world in His regard; below -were ranges of angels. In the apse was the figure of the Virgin with -arms uplifted in prayer, “a choir of apostles, martyrs, prophets and -patriarchs filled the other spaces of the whole church.” This in turn -resembles very closely the iconography at S. Luke’s. - -[Illustration: FIG. 71.--Restoration of Throne at Crown of Pentecost -Dome.] - -The following instances may be given of the agreement of the mosaics at -S. Sophia with the instructions of the Painter’s Manual. For example, -it directs that over the door of entrance from the narthex Christ be -represented throned, holding the Gospel open at the words, “I am the -Door: by me, if any man enter in, he shall be saved.” At each side the -Virgin and the Prodromos are to be represented. The figure to Christ’s -left at S. Sophia, called Michael by Salzenberg, Grelot tells us was -the Prodromos and he probably followed the traditional ascription, -although the type seems to agree better with an archangel. - -Again, “Inside the Sanctuary at the centre of the vaults draw the -Virgin seated on a throne holding Christ as a little child.”[402] This -exactly describes the apsoid mosaic at S. Sophia. The cupola of the -gynaeceum, representing the descent of the Holy Spirit, is also in -close agreement with the directions given in the Manual:--“The Holy -Spirit is seen in the form of a dove, twelve tongues of fire go out -from it and rest on the apostles.” This subject is treated at S. Luke’s -in a manner almost identical to that at S. Sophia, and it is also found -in a dome at S. Mark’s. - -Diehl in his examination of the mosaics at S. Luke’s has pointed out -that the central circle of the Pentecost cupola at S. Sophia as shown -by Salzenberg in Plate xxxi. is quite insufficient to have contained -the figure of Christ as shown in the restoration given on Plate xxvi., -and that consequently the Holy Spirit as a Dove really occupied this -position as at S. Luke’s. In Fig. 71 we give an amended restoration -of this centre; it will be seen from Salzenberg’s text that he had no -evidence for a figure. The two angels above the sanctuary are described -by Salzenberg as bearing lances or banner poles; these were doubtless -surmounted by Flabella bearing the words - - ΑΓΙΟϹ - ΑΓΙΟϹ - ΑΓΙΟϹ - -as at S. Luke’s and Nicaea.[403] There is a very similar angel holding -a flabellum of this kind in the tenth century Menologium; and the words -Holy, Holy, Holy, are directed to be put on flabella in the manual. - -Again the Manual says, “At the summit of these vaults (opening from the -dome) draw the holy Veil to the east and opposite to it the holy Cup.” -Now in Grelot’s view of the interior, made when many of the mosaics -were still visible, he shows a large square mosaic at the crown of the -bema vault directly over the altar, which he says was “the picture of -Christ’s face upon a napkin called Veronica.” - -The representation of the throne at the centre of the soffite of the -eastern arch (see p. 277) is one of the most beautiful symbolisms of -Byzantine art. At Nicaea the same design occurs in a similar position -on the triumphal arch, and it is inscribed ΕΤΟΙΜΑϹΙΑ ΤΟΥ ΘΡΟΝΟΥ. This -“Preparation of the throne” referred to the second coming of Christ. -Our figure represents a throne of this kind which we offer as an -illustration of that at S. Sophia; it is based on a throne inscribed Η -ΕΤΗΜΑϹΙΑ which appears on the cover of a Byzantine Gospel book at S. -Mark’s.[404] The small dome of the little chapel on the first floor, -Salzenberg says, resembles a dome at S. Prassede. The latter is a work -of the ninth century.[405] - -[Illustration: FIG. 72.--Restoration Throne at Crown of Great E. Arch.] - -Salzenberg’s description seems to account for all the figured mosaics -mentioned by Grelot (1680) except the “Veronica over the sanctuary.” -When Grelot made his drawing there was no figure at the crown of the -dome but only the bands rising to the central wreath. Clavijo however -writes, “The vault of the square is covered with very rich mosaic work, -and in the middle of the vault high over the great altar the image -of God the Father very large is wrought in mosaics of many colours; -but it is so high up that it only looks the size of a man or a little -larger though really it is so big that it measures three palmos between -the eyes.” This must be the Pantocrator of the Manual--“draw near the -summit of the cupola a circle of different colours like a rainbow seen -on clouds in rainy weather. In the centre represent Christ with the -Gospel and this inscription, Jesus Christ, the Almighty.” - -Since the above has been in type we have found a pamphlet published -by the brothers Fossati in 1890,[406] describing a collection of -drawings of S. Sophia, shown by them at Milan. From this we gather the -following additional particulars of the mosaic subjects.--Over the door -of the south porch “was a remarkable mosaic representing the Virgin -and Child, to whom Justinian presents the Church and Constantine the -City.”--A representation of Christ, the Virgin, and S. John, forming -the Trimorphion (Pantocrator, Pantochrante, Pantepopte.)--Two groups -of the Fathers of the Church, thirteen altogether: Ignatius Oneos, -Methodius, Ignatius Theophorus, Gregory Thaumaturgus, John Chrysostom, -Cyril, and Athanasius. [These must occupy the seven recesses on -the north window-wall, as the six others agree with those given by -Salzenberg on the south side].--The Pantocrator on a throne [? supposed -centre of Pentecost dome].--John Palaeologus [? with the Virgin on -north side of great east arch, p. 278].--John Comnenus and Irene with -the Virgin between them.--Constantine XI. and Zoe with Christ between -them.--Alexius Comnenus X. or XI.--Alexander, the brother of Leo [some -of these also were doubtless on the great east and west arches].--Three -Virgins.--S. John with six apostles surrounded by cherubim [? in higher -part of one of the window-walls, p. 277].--Prophets [? of window-wall, -p. 276].--A circle with colossal Pantocrator [? the destroyed centre of -the great dome].--Different emblems with Greek and Latin descriptions. -Besides these, a drawing of Cherubim “saved from the Atrium Portico” -is mentioned; and the inscription on the arch in front of the apse is -given as follows, and may be compared with Salzenberg’s Plate x.:-- - - ΗΙΑΝΙΡϹΕΙΑΡ ΗΡΑΝΘΕΟΗΑΡΙΗΑΡ ΘΕϹΙϹΗΝΑΝΕΑΙϹΕΙΕ - ΠΑΡΙΝ. - -The earliest description of the mosaics entering into any particulars -is that of Dr. Covel’s MS. 1670-7 in the British Museum. “In those -cupolas [of gynaeceum] are imagery of Saints and the story of the -Bible which the Turks have in many places quite defaced and plastered -them all over; in other places only scratched out or disfigured their -faces as the cherubims in the corners under the great dome.” He then -enters into details of the pentecost dome which was the only figured -vault entire; and then describes mosaics in the western gallery not -otherwise mentioned. “In the sides of the second window [from the -south], is Christ coming up from Jordan and the Descent of the Holy -Ghost with these words, Matt. iii., 17:--ΟΥΤΟϹΕϹΤΙΝ, &c., on one side -and over against it, Christ between Moses and Elias with these words, -Matt. xvii., 5:--ΟΥΤΟϹ, &c.” The window jambs of the western gallery -are now plastered, it is probable that a series of mosaics of the life -of Christ covered them. Up to 1840 every visitor seems to have been -offered tesserae, which for better assurance were broken out before -his eyes. The Italian MS. of 1611 also in the British Museum (Harl. -3408), after saying that the walls of the church were lined with marble -adds, “the porch as well, except that this is all worked in mosaic with -growing leaves of great beauty down to the pavement of the porch.”[407] - -[Illustration: FIG. 73.--Mosaic Tesserae, actual size.] - -Signor Boni has noticed that some of the gold tesserae at Parenzo -are inserted at an angle of 30° to the plane of the wall, so as to -be normal to the line of vision, just as Salzenberg describes at S. -Sophia; the same thing occurs at the Dome of the Rock. This, besides -saving the material, aided in flashing the light, a property of the -gold tesserae which was much valued, as several inscriptions from the -mosaics show.[408] In S. Maria in Domnica, the apse--“_Nunc rutilat -jugiter variis decorata metallis_,” again in S. Maria in Trastevere the -vault “_divini rutilat fulgore decoris_,” and at S. Paulo fuori le -Mura the mosaic--“_fulget fulgente decore_.” - -We have examined a handful of gold tesserae from S. Sophia through -the kindness of Mr. James Powell. The cubes average a quarter of an -inch in size, the glass is yellowish, slightly amethyst or dark green. -The surface layer equals stout paper in thickness. At the back of the -tesserae a dusty red appears, which under a glass proves to be of -powdered tile. This roughens and adheres to the surface of the glass, -which was evidently sanded with the powder while in a molten state, and -of course before it was broken into morsels. The first purpose of this -without doubt was to increase the hold of the cubes to the cementing -material, but the reddening--almost like a coat of vermilion paint--may -probably have assisted the gold to show out better than if the tesserae -had been fixed without it into the perfectly white stucco which forms -the bed. The cementing material was an inch or more in thickness, -formed of lime with broken reed for binding, and a considerable amount -of crushed white marble, in the part next the mosaic at least. - - -§ 3. GLASS, PLASTER AND PAINTING. - -The Romans probably largely used coloured glass for windows. The -lattices were sometimes bronze or thin slabs of marble pierced -into a pattern.[409] Sidonius († 484), describing the basilica of -Tours, clearly mentions the patterned windows of green and sapphire -glass.[410] It has been suggested that some of the windows at S. -Sophia were filled with glass of brilliant colour. Theophilus, in his -preface to the section of his work dealing with coloured glass, says, -“I have approached the atrium of Holy Sophia, and beheld the chancel -filled with every variety of divers colours.” He proceeds to describe -windows of painted glass in which the pieces are united by leads: but -assuredly, if coloured windows did exist in the apse of S. Sophia, the -glass was inserted in pierced marble, like the plaster lattices of -the Orientals. Beautiful windows of brilliant-hued glass exist in the -mosques and turbehs. The Arab lattices show us what beautiful mosaics -of jewels may be formed in this way; the singular charm of them is the -spreading and blending of the colours, by reflection from the sides -of the thick dividing bars; lumps of crystal seem to have been used -occasionally in place of glass. Most beautiful ‘braided’ Byzantine -lattices of marble are to be found at S. Mark’s which would be well -characterised as θύραι δεδικτυομέναι which according to Lenoir was the -name of these windows. If coloured glass was used in S. Sophia, we -think it can only have been in small windows of this kind in the apse -and conchs. Labarte thought, from the descriptions of Procopius and -Paulus, that the windows were of white glass which allowed the rays of -the sun to shine through unaltered. It is hardly possible to conceive -of the great windows being of anything else than white glass. - -A fragment of “ancient crystalline” glass from S. Sophia was exhibited -at the Society of Antiquaries in 1876. It is described as only -“one sixteenth of an inch thick, and nearly colourless except for -iridescence.” - -Grelot remarked that the plain glazing was “of round panes set -in plaster,” but this must refer to the gradual filling round of -the panes by repairs, as may at present be seen in the baptistery -windows; although circular panes in a plaster setting were much -used in Byzantine work, the glass being spun in separate discs of -slightly varying sizes was inserted in marble or plaster slabs in -different combinations. Windows of this kind remained in the apse of -the Theotokos church twenty years ago. Dr. Covel is precise as to S. -Sophia in 1676; he says the windows were “cut out of entire stone into -quarries exactly square,” 10 by 12 or 14 inches. “In the first window -of the west gallery (coming in on the south side), are several pieces -of white transparent stone which I take to be Indian alabaster.” - - * * * * * - -Modelled stucco work was much used by late Greek, Roman, and Byzantine -builders. Paulinus tells us that at Nola “a cornice of gypsum” -separated the mosaic and marble of the apse. A large number of -examples from the fourth to the sixth century are found in Rome, -Parenzo, and Ravenna. “About the middle of the fifth century Galla -Placidia built the church of S. Croce in Ravenna ‘of very precious -stones, and with stucco (gypsea) modelled with the tool’ (Agnellus. -_Lib. Pontif._ i. 283). Decorative stuccoes in the apse of S. Ambrose -at Milan were destroyed thirty years ago, as they were supposed to be -‘Baroque.’ Dartein analysed the material and found that it contained -85 per cent. of plaster (gesso), a little lime, sand and brick-dust or -pozzolana.” “The rich decoration of the Chapel of S. Maria at Cividale -(eighth to tenth century), and the Arab-Norman modelled stuccoes of -Sicily show that the traditions of this kind of ornament were not lost -at a later time.”[411] In the churches of Greece this material is -largely used, and its application in Arab work was due to Byzantine -example. At S. Sophia an ornamental plaster frieze runs along both -sides of the south porch: this is a scroll throwing out acanthus leaves -and fruits like poppy seed-vessels. The background is coloured blue. - -[Illustration: FIG. 74.--Plaster Friezes of Gynaeceum.] - -The flat frieze-like cornice of the first floor ornamented with two -patterns of leafage appears to us to be of stucco; we figure these -here, but we have not been able to verify the material. If of stucco, -as we suppose, it is cast or stamped in small square panels as shown: -certainly some of the Byzantine plaster-work, as for instance that -forming the cornice of the apse at S. Apollinare in Classe, was cast in -short sections and then applied. - -The blue background of the plastered frieze just mentioned may remind -us of the decoration of the beam above the columns of the ambo with -gold ivy leaves on a background coloured ultramarine as described by -the poet. (The spade-like leaves which occur in several places in the -mosaic must be ivy.) This decoration of gold and “sapphire” seems -to have been general in Byzantine work. The sculptured beam of the -iconostasis at St. Luke’s has the blue background nearly intact, and -here and there the gold is visible (Diehl, p. 26). - -Traces of the blue ground may also be noticed in the sculptures of Mone -tes Choras at Constantinople. The notched fillet, which separates the -marble panels in S. Sophia, is used so extensively at Venice that Mr. -Ruskin called it the Venetian dentil; the complete intention of this -fillet, he writes, is now only to be seen in pictures, “for like most -of the rest of the mouldings of Venetian buildings it was always either -gilded or painted--often both, gold being laid on the faces of the -dentils and the recesses coloured alternately red and blue.”[412] It is -clear from Paulus that at S. Sophia the sculptured capitals were all -gilt (Part II., lines 129 and 244), as apparently were also the carved -surfaces filling the spandrils of the lower arcade (line 236). The red -colouring which Salzenberg notices was probably the preparation for the -gold. It is thus almost certain that the notched fillets and carved -frames of white marble surrounding the marble wall panels were gilt, as -the Anonymous says, and coloured, thus reflecting as it were from the -wall surfaces the brighter hues of the mosaic vaults. - - -§ 4. MONOGRAMS AND INSCRIPTIONS. - -The poet Paulus speaks of the iconostasis as bearing the names of the -emperor and empress, combined in a monogram--“one letter that means -many words.” - -Such ciphers or monograms had been in use for some centuries, and at -the end of the fifth century they were used as signatures in discs left -in the capitals. They appear at Ravenna in the time of Theodoric; and, -in Constantinople, S. Sophia, S. Sergius, and S. Irene display similar -ciphers of Justinian. At S. Sophia almost every capital is charged with -two monograms which are carved on the bosses on opposite sides of the -capitals. The background is entirely hollowed away, and the monograms -show sharp and clear in the nest-like cup which is held by the serrated -edges of the acanthus leafage. There are four or five main varieties of -which Salzenberg somewhat inaccurately figures two without offering any -explanation. The first type appears on two or three of the coins of -Justinian, of which we have figured an example at large on the -title-page, and in these instances they have been deciphered by Sabatier -as the monogram of that emperor. A ceramic inscription given in the -_Revue Archéologique_ for 1876, repeats the same form. We had made out -that the second variety was probably the word _Basileos_, when, at -Constantinople, we were referred to the paper by Canon Curtis and M. -Aristarches.[413] In this article the monograms are classified according -to their main types and the whole series is figured. Although the -figures are small, this is a thoroughly good piece of work, in the -result obtaining many pairs reading Justinian, Basileos, other pairs -with Theodora Augusta, and one with a date. - -[Illustration: FIG. 75.--Monograms on Capitals of Nave.] - -The capitals of the sixteen great columns of the nave, the capitals of -the lower side aisles--with the exception of those on the eight square -columns,--and the thirty-six columns on the floor above, which screen -the side gynaecea from the nave, bear monograms. We were fortunately -able to examine and draw all of them, but give in Fig. 75 only those -on the back and front of the sixteen great columns of the nave. They -occur in the order in which they are placed on the illustration from -the first column on the left (north) side on entering at the west, to -the corresponding one on the south side.[414] Many of those monograms, -especially those of the galleries, bear evidence of having been -restored. We may recollect that the capitals were said to have been -restored by Romanus (p. 123). It is possible that Fossati tampered -with them; the Italian MS. of 1611 in the British Museum states that -“the Turks have destroyed some figures which were anciently carved -(_intagliarsi_) on the capitals.” - -There are fifty-six examples on the capitals which Curtis and -Aristarches give as being monograms of Justinian; in all these the -letter Ν forms the main lines, to which additions are made, so that the -letters ΙΟΥϹΤΙΝΙΑΝΟΥ can be traced out. Some of these have crosses in -addition. - -The next monogram is that read ΒΑϹΙΛΕΩϹ. It occurs in all on fifty-five -columns, the examples of it in our illustration are B.1, E.2, H.1, P.1, -C.2, P.1, G.2, J.2, L.2, N.2, Q.2, the remnant of K.1, shows that this -was similar. This monogram is found also on the capitals of S. Sergius -and Bacchus, and on three beautiful Basket Capitals at S. Mark’s.[415] - -Several of the fifty-six, classed together as Justinian, furnish -varieties from the clearest typical form. In some a letter appears -which may be read either as Ε or Β, also an Ω and a sign of -contraction: see M.1 and O.1; possibly this is a combination of -Justinian and Basileos or only a variant spelling: this form occurs in -the church of S. Sergius as well as at S. Sophia. - -On twelve capitals is carved the monogram ΘΕΟΔΩΡΑϹ. This is either -designed on the cross form as B.2 F.1, another in the side aisles, and -three in the gynaeceum above, or else as in E.2 it approximates to -Basileos. Two of this latter type also occur in S. Sergius, which shows -how early Justinian associated his wife with him in his architectural -labours. - -Finally from S. Sophia, and from there only, we have twelve examples of -ΑΥΓΟΥϹΤΑϹ. Typical ones are shown in G.1, and A.1-A.2; possibly some of -these, as A.1, may have been read Augustus, if any care was taken in -their distribution. The letters on the last capital Q.1 have been read -by Curtis and Aristarches as ϜΜΒΒ. They take Ϝ to be a capital form of -the obsolete letter which is used for 6 or 6,000, Μ is as usual 40, and -Β is 2. Hence they get 6042 for the year of the world. The lower Β is -then explained as the year of an Indiction, reading it as ΙΒ, or 12. -One Indiction period of fifteen years would have ended in 522 A.D., -and the twelfth year from that would be 534 A.D. equalling 6042 A.M. -Therefore this gives a date, two years after the church was begun, when -they suggest that this capital was put in its place. This ingenious -explanation requires too much adjustment for it to be conclusive, and -the Ϝ form is at least unusual. This monogram looks very white, as if -it had been made up in plaster; if we were assured as to how much is -ancient we might perhaps, if it proved different from the others, find -here the inserted monogram of a later emperor who made repairs. - -Salzenberg gives some monogram signatures from the closures under the -great west window, which are carefully carved and entirely different -from rough masons’ marks, although some of the forms occur amongst -those. We were unable to examine them, and taking Salzenberg’s -representation, we can only suggest that they may be the signatures of -master-workers; one appears to be Phocas. - -M. Choisy[416] has investigated the masons’ marks of S. Sophia; besides -the ordinary signs, he makes out a system of numbering in the pavement -slabs of the galleries. - -Strzygowski[417] pursues the subject of Byzantine marks in general, -much further. He points out the same signs on the columns of S. -Vitale, of Pomposa, and of Parenzo, and in the cistern Bin-Bir-direk -at Constantinople. From this we gather that not only “the columns of -Ravenna, but also the similar architectural features of Constantinople, -Salonica, Parenzo, in fact along the whole coast of the Mediterranean” -were taken from the quarries of Proconnesus, and in the lettering -on the different members we can recognise the working signs of the -quarrymen or masons belonging to the guild, which sprang into existence -there at the founding of New Rome, and which even as early as the end -of the fourth century was exporting to the islands of the Ægean. - -A few other inscriptions on the marble may be briefly noticed. On the -inner border of the marble parapet of the north gallery is scratched, -“Place of the most noble Patrician Lady Theodora,” ending with an -abbreviation that may mean S. Sophia,[418] and again on a panel of the -parapet of the north gallery at the west end is seen, “Timothy, keeper -of the vessels.” Coteler in his _Monumenta Ecclesiae Graecae_ finds -mention of one Timothy, who was skeuophylax of the Great Church at the -time of the Monothelite heresies about 622.[419] - -On a column in the southern gynaeceum occurs the word Teodorus, but the -fact that it is spelt with the Latin T and D proves it to have been -written during the Western supremacy, 1204-1261. - -In the south gallery is a slab forming a part of the paving; “marks in -the face of which seem to suggest that a railing inclosed the space -within which a sarcophagus used to stand, supported by pillars.” This -is inscribed with the name of the blind Doge who led the Venetians -against Constantinople in 1204, and died the following year, “HENRICUS -DANDOLO.” - - - - -NOTE - - -The following additional inscription from the mosaics is given in -Clarke’s _Travels_ (1812). It was taken, he says, in one place, “from -the ceiling of the dome,” but in another place he seems to associate it -with the eastward semidomes:-- - - ΟϹΚΑΙΧΡΥϹΟΥ - ΠΕΝΤΗΚΟΝΤΑ - ΤΑΛΑΝΤΑΘΕΟΚ - ..Ν...ΟΙϹΝΕ - .ΕΚΕΙ..... - - - - -INDEX - - - A - - Abdul Mesjid, restoration by, 148 - - Acacius, S., church of, 129 - - Acanthus, 46, 166, 167, 254, 257, 261, 263 - - Acropolis, 1, 2, 7, 10, 11, 12, 17 - - Additions to church, 154, 155 - - Adoration of Cross, 98 - - Agathias (6th c.), 30, 33, 159, 204, 212, 214 - - Agatho the Deacon, 182 - - Agora of Milion, 179, 181 - - Aisles, 27, 43, 44, 151; - lamps in, 51; - marble, 171, 243; - mosaics, 247; - vaulting, 160, 220, 221 - - Aix, 116, 192 - - Akoimetoi lamps, 118 - - Alexandria, 6, 249; - capital of S. Mark’s at, 255 - - Alexius, S., 181 - - „ Comnenus (1081), 100, 105, 181 - - Altar, 16, 29, 48, 68, 69, 100; - cross placed on, 92; - cloth, 71. - See also Holy Table - - Ambo, 18, 29, 53, 57, 94, 98, 124, 130, 139, 140; - candelabra round, 111, 118; - singers in, 79, 104; - coronations in, 61, 63 - - Amiens, Knight of; - see Robert de Clari - - Amurath III., 127 - - Anastasia, S., church of, 21 - - Anastasius, 116, 117, 119 - - Ancyra, church at, 203 - - Andreossy, 232 - - Andronicus, S., 129 - - „ Palaeologus, 124, 152 - - Anemodulion, 178 - - Anna Comnena (12th c.), 183, 186 - - Anna, Empress, 124 - - Annulets round shafts, 259, 273 - - Anonymous Author (12th c. ?), 24, 26, 28, 30, 36, 43, 204, 248, 270 - - Anthemius, 24, 26, 28, 30, 36, 43, 204, 248, 270 - - Anthony of Novgorod; - see Novgorod - - Antioch, 6, 17, 44, 181, 203 - - _Antux_, 37, 41, 43, 45, 47, 49, 57 - - Apollinaris, S., 258, 283 - - Apostles, church of, 14, 15, 18, 74, 85, 205 - - Apse, 19, 22, 24, 29, 32, 37, 67, 69, 132, 150, 216 - - _Apsides_, 25, 28, 30, 41, 43, 133, 180, 182 - - Apsoid, 22, 25, 209, 210 - - Arcadius (395), 16, 180; - baths of, 11; - cistern, 257 - - Arch, 210, 213; - western restored, 123; - forms, 220 - - Architraves, marble, 138; - bronze, 264 - - Arculf (7th c.), 92, 95, 98 - - Ark of Noah, 109, 138, 147 - - Arrises of vaults, 244 - - Arsenius, 86, 109, 124 - - Asbestos, 27, 132, 136, 231 - - Athos, Mt., 98, 115, 118, 119, 189, 227 - - Atrax, marble, 45, 236 - - Atrium, 18, 44, 122, 148, 152, 182, 185, 191, 215; - capitals of, 166 - - Attaliotas (11th c.), 67 - - Augusteum, 4, 9, 10, 12, 20, 141, 146, 173, 178, 180, 184, 186; - steps of, 65, 95 - - _Aule_, 44, 45, 188 - - - B - - Baalbec, 201 - - Baldwin, I., 124; - II., 100 - - Banduri, 7, 10, 175, 190 - - Baptism of Christ, 44, 106, 183; - of Emperors, 110, 183 - - Baptistery, 18, 19, 20, 81, 106, 132, 152, 155, 183, 209, 217 - - Barley in concrete, 132 - - Base of dome, 210, 214 - - Bases, 165, 258, 260 - - Basil, S., 131, 143, 276; - I. Emperor (867), 111, 123, 175, 182, 279; - church built by, 68, 70, 90, 143, 189 - - Basil II. (976), 89; - see under Menologium - - Beams with lamps, 50, 111 - - Beautiful Gate, 67, 95, 182 - - Belfry, 122, 194, 215 - - Bells, 106, 150, 194 - - Bema, 18, 37, 62, 63, 65, 67, 78, 94; - view of, 69; - restored, 124; - walls of, 171, 242; - see also Thusiasterion - - Benjamin of Tudela, 83, 113, 178 - - Bertrandon de la Brocquière, 92, 110, 125, 193 - - Bethlehem, church of, 83, 182, 240; - built by Justinian, 17 - - Bin Bir Direk, cistern, 248 - - Bishop’s throne, 68, 79 - - Blachernae palace, 11, 123 - - Blessing the water, 110, 192 - - Bondelmontius, 125, 175, 177, 179, 186, 193 - - Bosporus, stone of, 46, 56, 79, 237 - - Bosra, 90, 204 - - Boucoleon palace, 99 - - Bricks, 155, 161, 199, 224, 226, 234; - size of, 155; - inscriptions on, 136, 156, 207 - - Bronze, 172, 180, 189, 264, 272; - hooks, 86, 109, 264, 273; - panels, 168, 170, 265; - rings, 56, 60, 164, 259; - horses at Venice, 193 - - Bruin Code (1700), 196 - - Bury, 7, 12, 200 - - Buttress, 150, 157, 210, 216, 219, 226 - - Buzantios, 7, 183, 264 - - Byeljayev, 8, 177 - - - C - - Camerarum rotator, 206, 207 - - Candelabra, 60, 74, 80, 103, 119 - - Candles on ciborium, 48, 72 - - Cantacuzenus (1341), 62, 65, 124 - - Canterbury, 19 - - Cantharus, 84, 189 - - Capitals, 37, 43, 46, 55, 137, 164, 188, 218; - distribution of, 255; - types, 250, 254 - - Carpets, 81, 90, 102, 183 - - Carystus, marble of, 45, 237 - - Cassiodorus, 206 - - Catechumena, 65, 90, 94, 135 - - Cedrenus (11th c.), 13, 14, 16, 99, 157, 180, 210 - - Cells of clergy, 140, 186, 217 - - Celtic marble, 45, 237 - - Cements, 231, 289 - - Ceremonies, book of (10th c.), 7, 20, 60, 92, 95, 123, 173, 181, 186, - 219 - - Chainage, 228 - - Chains (lamp), 16, 49, 50, 51, 111; - S. Peter’s, 68, 183 - - Chalké Gate, 95, 174 - - Chalices, 96, 104, 108, 110, 111, 140, 242, 267 - - Chalkis, 257 - - Chambers at East-End, 153, 216 - - Chapels, 68, 105, 154, 155, 184 - - Cherubic Hymn, 63, 92 - - Cherubim in mosaic, 278, 287 - - Choir; - see Solea - - Choisy, 128, 199, 200, 207, 210, 214, 222, 224, 226 - - Chosroes, 32, 90, 97 - - Chrysopolis, 5 - - Chrysostom (4th c.), 16, 18, 44, 85, 109, 116, 144 - - Chrysotriclinium, 174 - - Ciborium, 29, 47, 68, 72, 167 - - Cipollino, 263; - rosy, 241, 242 - - Cisterns of Constantinople, 83, 224, 226, 248, 257; - of S. Sophia, 19, 106, 155, 196 - - Clamps, 247 - - Clavijo, 61, 83, 125, 175, 177, 179, 184, 186, 188 - - Clemente S., church at Rome, 209, 254, 257 - - Clergy, 91, 140 - - Cloister on south side, 219 - - Codinus (15th c.), 14, 21, 63, 65, 79, 128, 180, 183 - - Columns, 55, 56, 60, 69, 109, 137, 138, 163, 165, 234, 236; - of S. Basil, 102, 131; - of S. Gregory, 102, 131; - of Hippodrome, 172 - - Colymbethra, 189 - - Conchs, 22, 37, 150, 168, 180 - - Constantine, 4, 6, 10, 14, 15, 99, 101, 103, 105, 129, 179, 180, 193, - 198, 203; - cross of, 95, 96; - Forum of, 3, 5, 6, 9, 12, 14, 179, 182, 193; - VII. Porphyrogenitus (912), 178; - VIII. (1025), 89; - XI. (1059), in mosaic, 287 - - Constantius (337), 15 - - Coptic linen, 88 - - Cornices, 150, 163, 260, 261; - of dome, 41, 150, 159, 163, 166 - - Corona of lights, 50, 51, 111, 115, 119 - - Corippus, 145 - - Corporations, 11, 208 - - Corsi, 236, 238, 239 - - Covel, 118, 121, 128, 191, 232, 288, 290 - - Cross, the true, 14, 92, 93, 94, 96, 98, 105, 109; - adoration of, 92; - exaltation of, 94, 98; - of light, 116, 117; - votive, 82 - - Crowns, 63, 64, 72, 73, 103, 140 - - Crusaders, 6, 161, 70, 87, 100, 124, 143 - - Crustæ, 241 - - Crux Mensuralis, 102, 139 - - Curtains, 33, 48, 49, 95, 103 - - Curtis, 83, 85, 186 - - Curve of inflection, 223 - - - D - - Damascening, 67 - - Dara, 205 - - Deacons, 63, 64, 65, 91 - - Deaconesses, 18, 91 - - Delphi, serpents from, 4, 177 - - Demetrius, S., church of Salonica, 72, 121, 189, 202, 203, 214, 215, - 257 - - Deputatus, 64, 91 - - Dethier, 273 - - De Vogüé, 90, 180 - - Diakonikon, 102 - - Didaskalion, 94, 188 - - Didron, 98 - - Diehl, 285 - - Diocletian, edict of, 206 - - Dion Cassius, 10 - - Dion Chrysostom, 181 - - Dionysius, 13 - - Discs (lamp), 50, 111, 113 - - Division of labour, 207 - - Dokimion, 238 - - Dome, 201, 220, 226; - of S. Sophia, 26, 29, 35, 42, 123, 142, 150, 157, 159, 169, 209, - 210, 219; - mosaics in, 274, 278, 286 - - Domninus, porticoes of, 182 - - Doors of church, 40, 57, 58, 138, 143, 147, 168, 193, 216, 267; - Holy, 79, 94, 96 - - Doorkeepers, 91 - - Door veils, 88 - - Drill, use of, in carving, 263 - - Du Cange, 7, 34, 44, 53, 180, 186, 190; - editions of, 66, 67; - plan by, 78 - - Ducas (15th c.), 126 - - - E - - Earthquakes, 21, 22, 122, 212, 228, 265 - - Eastern chapels, 78 - - Egypt, 4, 177, 200, 226, 228 - - Elektron, 70, 138, 272 - - Embolos of Milion, 180, 182 - - Enamel, 68, 70, 272 - - Encaenia, 15, 21, 34, 36, 141 - - Endute, 71, 140 - - Ephesus, 32, 130, 191, 202; - building centre, 98; - John of (6th c.), 98 - - Equestrian statues, 149, 193 - - Escomboli, 125 - - Etoimasia, 286 - - Euchologium, 62, 92, 194 - - Eudoxia, 16; - statue of, 12, 13, 179 - - Eudoxius, 15 - - Eugenius, gate of, 10 - - Eusebius (4th c.), 14, 74, 190 - - Eutychius, 29, 132, 141 - - Exedras, of S. Sophia, 22, 25, 36, 151, 164, 168, 219, 234, 259; - at S. Sergius, 205 - - Exonarthex, 122, 148, 150, 162, 185, 188, 193, 215 - - Exterior of S. Sophia, 215, 219; - cased with marble, 197 - - Evagrius (6th c.), 29, 32, 33 - - Ezra, 204, 228 - - - F - - Fabri, Felix, 83, 246 - - Fall of city, 125, 126, 147, 175, 179 - - Fanio, portico of, 12 - - Figure scheme in mosaics, 280, 283 - - Fillet, notched, 170, 260, 292 - - Flabella, 91, 104, 285 - - Fonts, 19, 20, 81 - - Fortunatus, 81 - - Forum of Constantine, 3, 5, 6, 9, 12, 13, 14, 179, 182, 193; - Tauri, 178 - - Fossati, 84, 120, 148, 179, 185, 287 - - Foundations, 132 - - Fountains, 177, 185, 188 - - - G - - Galata, 5, 11 - - Galla Placidia, 74, 282 - - Galleries to S. Sophia, 212, 217 - - Gammidae, 71, 88, 267 - - Ganosis, 246 - - Garconostasion, 188 - - Garofalo, 236 - - Germanus (8th c.), patriarch, 85, 100 - - Giallo antico, 172, 239 - - Gilding, 272 - - Glass, 46, 169, 290; - enamels, 272; - mosaic, 172, 273 - - Glycas (12th c.), 21, 79, 123, 129, 145 - - Goar (17th c.), 69, 92, 122, 192, 194 - - Gold, 33, 46, 48, 49, 60, 70, 199, 293 - - Golden Gate, 135; - Horn, 1, 5, 6, 10, 11, 90 - - Gregory, S., of Armenia, 276; - S., of Nazianzene, 209; - S., of Nyssa, 206, 207; - Thaumaturgus, 83, 102, 106, 131, 276, 287 - - Grelot, 66, 78, 84, 120, 127, 185, 188, 190, 193, 215, 285, 291 - - Gruter, 84, 190 - - Gyllius, 12, 66, 127, 146, 175, 177, 179, 185, 193, 248 - - Gynaeceum, 27, 44, 65, 87, 91, 131, 140, 147, 161, 164, 242; - accesses to, 152, 154, 157; - domes, 222; - doors, 210; - pavement, 172, 215; - windows, 168, 171 - - Gypsoplastes, 206 - - Gypsum, use of, 226 - - - H - - Habakkuk in mosaic, 277 - - Haifa sand, 241 - - Hangings, 86 - - Helena, 14, 97, 99 - - Hemicycle, 19, 22, 67, 205, 219 - - Hemisphere, 30, 32, 41, 123 - - Heraclius (610), 91, 97 - - Hierapolis marble, 55, 57, 60, 238 - - Hippodrome, 2, 3, 4, 10, 12, 13, 17, 121, 174, 175, 186, 193 - - Holy table, 29, 48, 63, 68, 70, 96, 138; - see also Altar; - well, 78, 91, 95, 105, 130, 139; - wood, 94, 97, 105 - - Hormisdas, palace of, 174, 257 - - Horologium, 20, 95, 132, 141, 182 - - Hypurgi of narthex, 91 - - - I - - Iassian marble, 44, 45, 238 - - Iconoclasts, 280 - - Iconostasis, 46, 51, 60, 68, 74, 126, 172; - lamps on, 111, 118 - - Icons, 71, 85, 105, 129 - - Idatius (5th c.), 15 - - Jerash, 201 - - Jeremiah in mosaic, 277 - - Jerusalem, 14, 84, 97, 104, 256 - - Ignatius, 88, 108, 133, 140, 177, 287 - - Images, Restoration of, 85, 122 - - Indiction, 21, 269 - - Inscriptions, 90, 190, 205, 264 - - Instructor parietum, 206 - - Instruments of Passion, 96, 97, 109 - - John Studius, S., church of, 120, 218, 257 - - Jonah in mosaic, 277 - - Joshua, trumpets of, 105, 139 - - Irene, S., 12, 129, 264; - Empress, 287 - - Iron ties, 161, 162, 230 - - Isaiah in mosaic, 276 - - Isauria, church in, 201, 202 - - Isaurian workmen, 29, 207 - - Isidorus, the elder, 24, 26, 28; - the younger, 30, 43, 204, 206 - - Justinian I. (527), 14, 20, 24, 29, 34, 61, 70, 88, 90, 104, 119, - 154, 167, 190, 198; - figure of in mosaic, 287; - equestrian statue, 180 - - Justinian II. (685), 174 - - Justin II. (565), 61, 97, 142, 174 - - Ivory inlaid, 55, 60 - - - K - - Kamara, 99, 136, 180 - - Kathisma, 175, 177, 193 - - Klerikos of S. Sophia, 91 - - Kouppas, 228 - - Kraus, 17 - - Krumbacher, 22, 30, 32 - - Kuklios, Kuklis, 68, 90, 138 - - - L - - Labarte, 7, 9, 10, 12, 68, 128, 173, 177, 180, 217 - - Lamplighter, 74, 261 - - Lamps, 111, 144, 250 - - Laotomos, 55, 133, 206 - - Laotoros, 45, 59, 206 - - Lateran, lighting at, 113 - - Lattaquieh, milion at, 180 - - Lattices, window, 154, 168, 197, 261, 290 - - Lazarus, the painter, 107 - - Lead, 27, 41, 150, 259 - - Leo, Pope, 72, 115 - - Leo III. (717), Emperor Edict of, 280 - - Leo VI. (886), Emperor, 73, 103 - - Leo the Deacon (10th c.), 123 - - Lighting, 49, 52, 110 - - Lithologos, 25, 206 - - Lithoxooi, 133, 206 - - Loggia of Baptistery, 217, 252, 258 - - Louter, 132, 138, 182, 189, 192 - - Lukium cement, 232 - - Luke, S., monastery of, 99, 145, 284, 285 - - Lybian marble, 45, 239 - - Lydian marble, 45, 239 - - Lydus, John (6th c.), 3, 6, 42, 208 - - - M - - Macron, 181, 182 - - Magistros, 129, 206 - - Mahomet II., 126, 127, 152 - - Maistor, 136, 206, 208 - - Manaura, palace of, 94 - - Mandeville, 84, 146 - - Manual Byzantine, 182, 284 - - Manuel (1143), 181 - - Marbles, 45, 170, 235; - export of, 240; - application of, 241, 260 - - Marcellinus Comes (6th c.), 21 - - Marina, House of, 11, 14, 174, 175 - - Mark, S., church of, at Alexandria, 256; - at Venice, 82, 108, 109, 193, 197, 256; - monograms, 294 - - Marmora, 84 - - Mass, 62, 92, 106 - - Mechanikos, 29, 132, 133, 136, 206 - - Mechanopoios, 24, 28, 206 - - Megale Eisodos, 62, 63 - - Mekkah Sand, 240 - - Menas, patriarch, 21 - - Menologium, 61, 68, 98, 108, 119, 183; - date, 71 - - Mese, 5, 6, 12, 13, 180, 182, 186 - - Mesomphalos, 79 - - Metatorion, 77, 78, 96, 131, 141, 182 - - Methodius, 287 - - Michael III. (842), 111, 122, 123, 269 - - Miletus, 24, 204 - - Milion, 6, 10, 11, 70, 99, 180, 181, 182 - - Minarets, 127, 151, 152, 215 - - Molossus, marble of, 43, 59, 238 - - Monograms at S. Sophia, 47, 60, 164, 169, 170, 174, 251, 268, 272, 295; - at Ravenna, 292; - at Venice, 294 - - Mordtmann, 5, 6, 8, 9, 12, 175 - - Mortar, 156, 231, 235 - - Mosaics, 42, 46, 69, 199, 206, 282; - figures, 273, 287; - first scheme, 279; - at S. Luke’s, 99; - at S. Mark’s, 82; - at Ravenna, 71, 86 - - Mouldings, 242, 260 - - Murad III., 152 - - Murano, 84, 85 - - Mygdonian marble, 56, 239 - - - N - - Naos, 32, 67, 79, 132 - - Narthex, 40, 44, 106, 140, 150, 182, 216, 225; - vaults, 137, 222, 226; - frieze, 241; - mosaics, 274, 287; - propylaeum, 92, 95, 162, 188 - - Nectarius, 16, 129 - - Neorion Port, 56 - - New church of Brazil, 90, 284 - - New Rome, 4, 36, 46 - - Nicaea, 181, 285 - - Nicetas (13th c.), 70, 150, 177, 181 - - Nicephorus Callistus (14th c.), 14 - - Nicephorus Gregoras (14th c.), 86, 124, 152 - - Nicholas, 102, 110, 183; - of Myra, 276; - Thingeyrensis, 99 - - Niketes, 272 - - Nola, church at, 113, 119, 190, 267, 291 - - Notitia, 2, 5, 11, 12, 13, 14, 15, 174, 208 - - Novgorod, Anthony of, 83, 92, 100, 183; - Stephen of, 84, 113, 185; - Chronicle (13th c.), 68, 75 - - Nuremberg Chronicle (15th c.), 175 - - - O - - Octagon Church, 203; - Baptistery, 186, 220 - - Officers of church, 91 - - Oikodomoi, 133, 200 - - Oil in cements, 136, 232, 233 - - Omphalos omphalion, 89, 96 - - Onyx, 239, 241 - - Opus sectile, 45, 162, 171, 220, 225, 242, 246 - - Orientation, 17 - - Organic architecture, 247 - - Original form of church, 209 - - Oriental alabaster, 170, 171, 239, 242 - - Ostiarii, 91 - - - P - - Pachymeres (13th c.), 71, 85 - - Palace, 7, 13, 132, 173, 174, 175; - of Blachernae, 11, 123; - of Hormisdas, 174, 175; - of Marina, 11, 14, 174; - of Patriarch, 13, 14, 107, 179, 186; - of Placidia, 174, 175 - - Pala d’Oro, 71, 109 - - Palaeologus, 61; - Andronicus II. (1328), 124, 152; - John I. (1356), 124, 278, 287; - John II. (1425), 71, 190; - Michael (1261), 10, 71, 124, 190 - - Palladius (4th c.), 16, 18, 144 - - Palmyra, 6, 181, 201 - - Panels, marble, 68, 171, 241 - - Pantocrator, mosaic, 287 - - Parenzo, 209, 219, 246, 256, 257 - - Paschal Chronicle (7th c.), 3, 13, 15, 174 - - Paspates, 7, 9, 10, 12, 13, 79, 81, 84, 90, 100, 173, 176, 179, 186 - - Passion, instruments of, 96, 99, 100 - - Patriarch, 4, 62, 91, 95, 96, 104, 107, 125, 137, 144, 181 - - Patriarchs’ tombs, 85 - - Paul, S., figure of, 49, 109, 118, 123, 275 - - Paul the Deacon (8th c.), 41 - - Paulus Maurocenus, 108 - - Paulus Silentiarius (6th c.), 20, 33, 67, 70, 79, 128, 159, 160, 204, - 206 - - Paulinus (5th c.), 113, 119, 190, 267 - - Pausanias, 2 - - Pavement of nave, 79, 80, 137, 138, 142, 172; - of atrium, 141, 191; - cloisters, 125; - gynaeceum, 81; - Basil’s church, 68; - Augusteum, 186 - - Pavonazzetto, 170 - - Pendentives, 26, 41, 201, 209 - - Peperino, 155 - - Peter, S., figure of, 49, 118, 123, 275; - chains of, 68, 102, 183; - chapel of, 68, 78, 102, 130, 183, 184; - church of, at Rome, 72, 74, 116, 189, 192 - - Pharos, 116, 117 - - Phengites, 262 - - Phiale, 44, 141, 189, 190, 191 - - Philoxenus, cisterns of, 248 - - Phrygian marble, 45, 56, 59, 237 - - Piers, 22, 25, 28, 29, 41, 79, 133, 157, 159; - of stone, 155, 234; - of west front, 193 - - Plane of least labour, 261 - - Polishing marble, 246 - - Pointed arches, 220 - - Polycandela, 111, 112, 114, 115, 140 - - Porches, 69, 70, 91, 123, 151, 183, 190, 215, 288; - south, 185; - doors of, 268, 270 - - Porphyry, 37, 134, 236 - - Porticoes of Domninus, 182; - of mese, 6; - of milion, 182; - of Severus, 6 - - Porto-Venere marble, 171, 239 - - Pozzolana, 291 - - Praepositus, 94, 95 - - Priests, 47, 67, 91, 107, 140, 144 - - Proaulion, 137, 179 - - Procession to the church, 95 - - Proconnesus, marble of, 4, 44, 46, 79, 80, 81, 156, 163, 164, 166, - 172, 209, 237, 242, 243, 256 - - Procopius, (6th c.), 21, 22, 68, 159, 174, 180, 189, 197, 206, 214 - - Pronaos, 67, 181, 184 - - Prothesis, 63, 64, 75, 77 - - Protomaistor, 145, 207 - - Protooikodomos, 136, 206 - - Protopapas, 91, 93 - - Protospatharios, 91 - - Protopsaltae, 63, 79, 92 - - Psellus (11th c.), 145 - - Pulcheria, 12, 16 - - Purgos of ciborium, 47; - of ambo, 54 - - - Q - - Quadriporticus, 215 - - - R - - Ramazan illuminations, 121 - - Ravenna, 17, 71, 80, 88, 183, 209, 246 - - Readers, 160 - - Receptions on way from Palace, 95 - - Refendarius, 64, 91 - - Relics, 16, 97, 100, 106, 137, 139 - - Resin fixes marble to walls, 172 - - Restoration of image worship, 122; - of S. Sophia, 22, 29, 123, 210, 212 - - Rhodes, bricks from, 136, 142, 156 - - Riant, 19, 100, 108 - - Ribs of dome, 159, 275 - - Robert de Clari (13th c.), 61, 70, 72, 113, 115 - - Rohault de Fleury, 17, 61, 67, 74, 113, 116 - - Roman system of building, 199 - - Romanus Argyrus, (1028), 123, 295 - - Rome, 2, 17, 123, 200, 209 - - Rosso antico, 171, 242 - - Round N.E. building, 78, 154, 217 - - Royal Door, 67, 150, 151, 181, 204; - slabs over, 242 - - Russian Pilgrim, 65, 143, 145 - - - S - - Sacellarius, 91 - - Sacristy, 78, 154, 184; - see Skeuophylakium - - Salonica, see under Demetrius, also Sophia - - Salzenberg, 19, 20, 34, 42, 67, 78, 149-172, 203, 210, 213, 216, 219, - 273 - - Sanctuary, 28, 68, 78, 101, 102, 105, 107, 109; - smaller, 77, 101; - right of in S. Sophia, 189 - - Scaffolding, 123, 142, 226 - - Schlumberger, 91 - - Screen to solea, 79; - in South Gallery, 90, 262 - - Sculptor Marmorum, 206 - - Scylitzes (11th c.), 123 - - Secondary order of columns, 213, 214, 219, 230 - - Selim II., 127 - - Semidomes, 22, 24, 40, 150, 209, 219, 226 - - Senate, 6, 11, 12, 179 - - Sepulchre Holy, slab of, at S. Sophia, 101, 105; - Church of, at Jerusalem, 41, 74, 83, 84 - - Seraglio, 10, 180, 184; - Point, 1, 2, 5, 6 - - Sergius S., church of, at Bosra, 204; - Church of, at Constantinople, 83, 166, 174, 204, 205, 218, 256, - 257, 295, 296 - - Serpentine, 171, 172 - - Services in S. Sophia, 92, 126 - - Severus, 1, 3, 6; - porticoes of, 5, 6 - - Shop production, 208, 256 - - Silver, 28, 33, 37, 40, 46, 47, 54, 56, 60, 70, 74, 75; - in pavement, 68; - in mosaic, 273; - in monograms, 268 - - Simeon of Thessalonica, 67, 192 - - Sinai, Mt., 83, 119 - - Singers, 60, 91, 140 - - Skeuophylax, 91, 95, 297 - - Skeuophylakium, 78, 91, 127, 130, 139, 154, 183 - - Skirtings, 241, 260 - - Socrates (5th c.), 13, 14, 15, 17, 18, 116 - - Solea, 63, 64, 67, 96, 139, 140, 142 - - Solomon, 71, 100, 110, 126, 141, 144, 190 - - Sophia S., church of, at Salonica, 202, 203, 214, 257 - - Sozomenus (5th c.), 16 - - Spandrils of arcades, 45, 163, 166, 170, 242, 260, 293 - - Spartan marble, 65, 239 - - Sphendone, 175 - - Spina, 175, 177 - - Stairways, 94, 123, 162, 210, 216 - - Stalls, 37, 40, 66, 137, 172 - - Strategion, 3, 4 - - Stucco, 291 - - Subdeacons, 91, 104 - - Suidas (10th c.), 70, 146 - - Sundial, 178, 182 - - Sunergasia, 208 - - Synnadan marble, 60, 82, 171, 238, 243 - - Syria, influence of, 201, 204 - - - T - - Technitai, 24, 206 - - Tektonikos, 133, 206 - - Temples at Byzantium, 1-4 - - Tesserae, 45, 274, 288 - - Texier, 10, 149, 193, 203, 283 - - Theodora, wife of Justinian, 70, 86, 88, 294; - wife of Theophilus, 122, 269 - - Theodoric, 86, 88, 257 - - Theodosius I. (379), 16, 129, 177, 180; - Code of, 206 - - Theodosius II. (408), 6, 16 - - Theophanes (9th c.), 14, 20, 29, 72, 100, 207, 209; - Continuator (10th c.), 71, 87, 90 - - Theophilus, Emperor (829), 175, 269; - writer, 272, 290 - - Thessaly, marble of, 32, 37, 40, 44, 58, 59, 130, 164, 236 - - Thomaites, 65, 181, 186 - - Throne, 62, 105; - of bishop, 68; - in mosaic, 277, 279 - - Thusiasterion, 18, 28, 67, 130, 132, 136 - - Tiberius (578), 174 - - Titanos, 27, 232 - - Tombs in S. Sophia, 102 - - Tralles, 24, 204 - - Transparent slabs, 262 - - Trees of light, 51, 57, 118, 119 - - Tribunal with porphyry steps, 11 - - Triconcha, 175 - - Turks capture city, 126, 127, 147 - - Turrets at west end, 163 - - - U - - Ultramarine, 60, 291 - - Undercutting in carving, 254 - - Unger, 8, 78 - - Urns, marble, 84 - - - V - - Varangi, 64 - - Vaults, 69, 150, 160, 161, 199, 200, 207, 219; - mosaic on, 274 - - Vela, 65, 86, 87 - - Venice, 71, 72, 99, 175, 193 - - Verde antique, 67, 81, 82, 164, 165, 166, 167, 170, 172, 242, 260, 261 - - Veronica, 286 - - Villehardouin, 107 - - Virgin, figure of, 83, 109, 123, 275, 278, 284 - - Vitale, S., at Ravenna, 88, 227 - - Von Hammer, 145, 152 - - - W - - Walls of church, 155, 157; - marble casings, 285 - - Wax, encaustic, 246 - - Well, Holy, 78, 91, 95, 105, 130, 139 - - West front, 192 - - Windows, 42, 43, 158, 168, 209, 261 - - Wood, Holy, 94, 95, 97, 105 - - Wood tie beams, 161, 162, 168, 227, 228, 230 - - - Z - - Zeno, building laws of, 6 - - Zenobia, city of, 206 - - Zeuxippus, baths of, 3, 4, 11, 179 - - Zonaras (11th c.), 29, 160, 179, 209 - - Zosimus (5th c.), 4, 5 - - THE END. - - - - -FOOTNOTES - - -[1] Ἀνάπλους Βοσπόρου, ed. C. Wescher, 1874, p. 5. - -[2] _Notitia Dignitatum_, eds. Pancirolus, Venice, 1602, and Seeck -Berlin, 1876. The date given by Seeck for the _Notitia_ is 411-413 A.D. - -[3] Ἑλληνικὸς Φιλολογικὸς Σύλλογος; παράρτημα, 1885. - -[4] Ed. Bonn, i., p. 494. - -[5] Lydus speaks of a fire spreading from the “Forum of Zeuxippus” to -that of Constantine (p. 265). The baths of Zeuxippus are placed at the -north end of the Hippodrome by Labarte and Mordtmann. - -[6] Christodorus, a fifth-century poet.--F. Baumgarten, 1891. - -[7] _Hist._ ed. Bonn, p. 97. - -[8] Rawlinson’s _Herodotus_, 1875, vol. iv., p. 467. - -[9] Mordtmann, _Esquisse topo. de Constantinople_, p. 48 and map. - -[10] _The Museum of Classic. Antiq._ 1857, p. 305. The Capitol was -beyond Forum Cons. Lydus speaks of “the porticoes that pass through -the city and lead to the Forum of Constantine, and the broad space is -screened symmetrically with great and beautiful columns. [Some of] -these porticoes are said to have been built by men from Naples and -Puteoli who came to Byzantium to please Constantine.” (Ed. Bonn, p. -266.) - -[11] _Imperium Orientale_, Paris, 1711. - -[12] Bury, _A History of the later Roman Empire_ (395 A.D. to 800 -A.D.), vol. i., p. 57. Mr. Bury, in an excellent review of Paspates’ -book in _The Scottish Review_, Ap. 1894, gives up the position assigned -to the Augusteum by that author. - -[13] D. Byéljajev, _Byzantina_, St. Petersburg, 1891, reviewed in -_Byzantinische Zeitschrift_, 1892, p. 344. - -[14] MSS., plans, and descriptions, in the Library of R. Inst. Brit. -Architects. - -[15] Paspates, _The Great Palace_, p. 20. Mr. Metcalfe’s translation is -intended throughout. - -[16] Lib. lxxiv., ch. 10. - -[17] Mordtmann, _Esquisse_, pp. 4 and 5. - -[18] _Esquisse Top._ p. 3. - -[19] Zosimus (p. 139) and Lydus (p. 265) say that the Emperor Julian -built a Senate. So also according to Sozomen (ii. 3) and the _Paschal -Chron._ did Constantine. - -[20] _Hist. eccles._ lib. vi., ch. xviii. - -[21] _Ecc. Hist._ lib. i., xvii. - -[22] Du Cange, _Descriptio S. Sophiae_, ed. Bonn, p. 62. - -[23] Eusebius, _De Vita Cons._ lib. iv., cap. lviii-lix. - -[24] _De Vita Cons._ lib. iii., cap. xlviii.-xlix. - -[25] _Eccl. Hist._ ii., xvi. - -[26] Du Cange, p. 63. He quotes the fifth-century author Idatius. - -[27] Ed. Bonn, i., p. 523, and i., p. 530. - -[28] Socrates, _Hist. Eccl._ vi., 18. - -[29] Du Cange, § 3. - -[30] _Pasch. Chron._ ed. Bonn, i., p. 572. - -[31] _Eccl. Hist._ ix., 1. - -[32] See Tozer’s note, Finlay, vol. i., 45. - -[33] Justinian’s church was opened at Christmas. - -[34] Art. “Orientirung” in _Real Encyklopädie der Christlichen -Alterthümer_, 1886, based on Mothes’ schedule in _Die Basilikenformen_, -1865. We hope to show on another occasion that the present church at -Bethlehem which points to the east was entirely rebuilt by Justinian. -There is no proof that S. George Salonica is older than fifth cent. - -[35] _Homilies_ xxvi. and lx. - -[36] _De Sepulcris Imperatorum_, Migne S. G., vol. 157, p. 726. - -[37] Migne, p. 674. - -[38] Bingham, _Antiquities of the Christian Church_, vol. iii., p. 120. - -[39] _Revue Archéologique_, vol. iv., p. 659, and Kugler, _Geschichte -der Baukunst_, vol. i., p. 372. - -[40] For similar early circular baptisteries see Martigny, _Dict. -Christ. Antiq._ - -[41] See Salz., plate xx., figs. 4, 5. - -[42] _Ibid._ p. 19. - -[43] _Chron. Pasch._ ed. Bonn, p. 622. - -[44] Zonaras also gives the true date; according to the Byzantine era -the year of the world 6040. In Cedrenus it appears as 6008, a copyist’s -error in writing ηʼ for μʼ. - -[45] Ed. Bonn, p. 338. - -[46] Migne, _S.L._ vol. li., p. 943. - -[47] Ed. Bonn, p. 378. - -[48] _Theo._ p. 359. - -[49] _Geschichte der Byzantinischen Litteratur_, 1893, p. 42. Ramsay -says it could not have been completed until 560. See _Historical -Geography of Asia Minor_, p. 205. - -[50] λιθολόγος--really one who picks out and lays stones. - -[51] ἁψίς, “a binding together,” used for either an arch or a semidome. - -[52] λωρός, “a thong” or a belt. - -[53] The author seems here to mistake the piers for the temporary -support of the arch while it was being built. - -[54] Theophanes, _Chronographia_, ed. Bonn, vol. i., p. 359. - -[55] _Chron. Pasch._ ed. Bonn, and Zonaras. - -[56] _Chron._ ed. Bonn, p. 369. - -[57] Krumbacher, p. 49. - -[58] Agathias, lib. v. ed. Bonn, p. 296. - -[59] τὴν ἐπὶ τοῦ κυρτώματος οἰκοδόμιαν. - -[60] Krumbacher, p. 53. - -[61] _Hist. Eccles._ iv., chap. 31. - -[62] The dimensions appear so inaccurate that we do not attempt to -explain them. - -[63] Salz. _Alt. Baud._ - -[64] καὶ κέντρον ἕλειν καὶ σχῆμα χαράξαι. - -[65] ἄντυξ, the circular rim of a shield. Used here for the bema-arch. - -[66] Column does not stand directly over column. - -[67] σφαίρης ἡμιτόμοιο, the ἡμισφαίριον of Agathias and Evagrius. This -word is used by Eusebius for the dome of the Holy Sepulchre. - -[68] ἔγραφε leaves no doubt that a mosaic cross on the interior is -intended, and not, as Salzenberg suggests, a cross on the outside. -The full expression for representations in mosaic was καταγράφειν -ψηφῖδι: as in Joannes Lydus († 550), De Magistratibus ii. 20, in his -description of the palace built by the Praetorian Prefect. - -[69] Near Antioch. - -[70] A town of Lycia. - -[71] ἄνθος, a bud, sprout or flower; hence brightness and bloom -generally. - -[72] θύρετρος is elsewhere a door. But “twin doors” has no meaning -here. See plan. - -[73] January; the consuls then entered on their year of office, and -wore chitons of gold thread. See Du Cange, _S. Sophia_, § 22. - -[74] This custom at Antioch is mentioned as early as the time of S. -John Chrysostom in a sermon on the Baptism of Christ. - -[75] ψηφῖδες--pebbles. The usual word for mosaic tesserae. - -[76] In Macedonia. The mines are mentioned by Herodotus. - -[77] The promontory on the south of Attica. The mines were at Laurium. - -[78] πολυγλώσσοιο ὁμίλου, the choir. - -[79] νῶτον, a back, and hence, any wide, flat surface. - -[80] μύρμηξ, the ant; here the silkworm. - -[81] οὐρίαχος. Used in Homer of the butt end of a spear; hence long -narrow glass lamps. See our Fig. 17. - -[82] ἐπακτρίς, a small row-boat. - -[83] See Du Cange, _S. Sophia_, § 70. - -[84] Called ὀπισθάμβωνος εὐχή, the “back” of the ambo. - -[85] Ed. Bonn, p. 74. See also our page 79. - -[86] See Nicetas also on our p. 75. - -[87] _La Messe._, Art. “Ambon,” vol. iii., p. 9. - -[88] Hopf, _Chroniques Gréco-Romanes_, p. 96. - -[89] See our p. 75. - -[90] Cantacuzenus, _Hist._ lib. i., chap. 41, ed. Bonn, p. 196. - -[91] A shortened form of κεκράκται. - -[92] ἡ μεγάλη εἴσοδος, when the Bread and Wine are brought from the -table of the prothesis and placed upon the Holy Table, while the -Cherubic Hymn is sung in honour of “the King of all, invisibly attended -by the spears of the Angelic Hosts.” See Dr. Freshfield’s article -in the _Archaeologia_, vol. xliv., p. 386; he translates a parallel -account from Codinus. - -[93] A Russian pilgrim describing the coronation of Manuel in the -fourteenth century says, “The imperial procession advanced so slowly -that it took three hours to walk from the royal door to the thrones.” -_Soc. de l’Orient Latin, séries géog._ vol. v., p. 143. - -[94] _De Officiis Palatii_, chap. xvii., ed. Bonn, p. 87. - -[95] In _Nicephori Bryennii ... Pauli Silentiarii comment._ - -[96] _Hist. Byz. duplici commentario illustrata._ - -[97] Introduction to the _History of the Eastern Church_. - -[98] Du Cange, _S. Sophia_, § 49. - -[99] Ed. Bonn, p. 259. - -[100] Cons. Porphyr. in Labarte, _Pal. Impérial_, p. 92. - -[101] See our p. 75. - -[102] See Anon. p. 138 below. - -[103] The _Euchologium_, ed. 1647, p. 499, speaks of taking the -garments of those about to become conventuals and placing them on or -in the “little sea” (_thalassidion_) of the Holy Table. Here Goarus -interprets it as “the hollow recess of the Holy Table,” which seems to -have been beneath the table, and used for washing the vessels, like the -piscina in the later Latin church. - -[104] “ἔλεκτρον or ἀλλότυπον united with glass and fine stones; such is -the material of which the Holy Table of S. Sophia is made.” _Glossary -of Suidas_ quoted by Labarte in _Recherches sur la Peinture en Email_, -p. 89. - -[105] Porphyrogenitus describes the table in the chapel built by Basil -the Macedonian as “a mixture of all precious materials placed in order -and bound together by fire into a many-coloured mass of surpassing -beauty, which is the wonder of all nations.” We also read of “Holy -Tables of silver, having gold and precious stones and pearls poured -over them, forming a compact union together.” - -[106] Hopf, _Chroniques Gréco-Romanes_. - -[107] Nic. _Chron. Hist._, ed. Bonn, p. 758. - -[108] _Vera Historia Unionis_, Hague, 1660. - -[109] A MS. Greek service-book made for Basil II. (976-1025) now in the -Vatican Library. A folio was printed from it at Urbino in 1727. - -[110] Migne, S. L. vol. 106, p. 610. - -[111] Migne, S. L. vol. 106, p. 603. - -[112] Pachymeres, _de Mich. Pal._ ed. Bonn, vol. ii., p. 385. - -[113] Du Cange, _S. Sophia_, § 57. - -[114] Texier, _Arch. Byz._, p. 134. - -[115] De Fleury, _La Messe_, vol. ii. and plate cii. - -[116] Du Cange, § 58. - -[117] Bingham, _Antiq. Christ. Church_, vol. iii., p. 123, note. - -[118] Ed. Bonn, vol. i., p. 433. - -[119] Migne, _S. G. Tom._ 147, p. 414. - -[120] Ed. Bonn., pp. 450 and 697. - -[121] Figured in Ongania’s _Il Tesoro di San Marco_. - -[122] Bayet, _L’Art Byzantin_. - -[123] De Fleury, _La Messe_. - -[124] Hopf, _Chroniques Gréco-Romanes_. - -[125] Compare our p. 126. - -[126] _Archaeologia_, vol. xxxiv. - -[127] Paulinus, describing the church at Nola, writes: “Cum duabus -dextra laevaque conchulis intra spatiosum sui ambitum apsis sinuata -laxetur, una earum immolanti hostias jubilationis antistiti patet, -altera post sacerdotem capaci sinu receptat orantes.” Migne, _S.L._, -vol. 61, p. 337. - -[128] Suicerus, _Thesaurus Ecclesiasticus verb. Diaconicum_. - -[129] See p. 96. - -[130] _Cer._ pp. 636 and 565. - -[131] Du Cange, § 76. - -[132] _Cer._ p. 27. A Holy Well is frequently found in the Prothesis. - -[133] _Quellen für Byzantischer Kunstgeschichte._ - -[134] _Cer._ pp. 17 and 167. - -[135] _Cer._ pp. 157 and 160. - -[136] See account of Coronation in previous chapter and of Adoration of -Cross below. - -[137] On Mount Athos; “the Kanonarches, or master of the choir, prompts -the cantors, who sing without books.” A. Riley’s _Mount Athos_. - -[138] _The Great Palace_, p. 96. - -[139] Compare S. Germanus; _La Messe_, iii., p. 91. - -[140] _Theoph. Contin._, ed. Bonn, p. 333. - -[141] Mr. Conway in _Art Journal_, 1891. - -[142] _Great Palace_, pp. 120, 129. - -[143] Vol. iii., p. 321. - -[144] Fossati: also Paspates’ _Byzantinae Meletai_, p. 343. - -[145] _Relation d’un Voyage de Constantinople_, p. 160. This idea -he may have obtained from Rosweyd’s note to Paulinus (1569), saying -fountains in front of churches were succeeded by lustral vases placed -at the vestibule of the temple. “The rim of such a one seems to be -figured in Gruter, p. 1046, with an inscription which was selected from -the Anthology, as is shown by Rigaltius. This line was [also] written -on the sepulchre of St. Diomede.” - -[146] Paciaurdi 1758, _De sacris Balneis_, tab. vi. - -[147] Ed. Bonn, vol. i., p. 262. - -[148] E. Muntz, _Tapisserie_. - -[149] Ed. Bonn, p. 402 and p. 894. - -[150] _Cer._ I., p. 591. - -[151] _Soc. Orient. Latin, séries Géographique_, vol. v. 1889, p. 143. - -[152] See E. Muntz, _Tapisserie_, and M. F. Michel, _Recherches sur ... -des étoffes de Soie_. - -[153] _Jahrbuch des Vereins von alterthumsfreunden in Rheinlande_, -1892, p. 224. - -[154] _Across the Jordan._ - -[155] See Paspates and Salz. - -[156] Ed. Bonn, vol. i., p. 182. - -[157] Vol. i., p. 801. - -[158] _Sigillographie de’ l’Empire Byzantin._ The seal of the church -itself represents Justinian and the Virgin or Theodora supporting the -building. _Cp._ Lenormant, _Revue Numismatique_, 1864, p. 268, pl. xii. - -[159] _Explicatio Officiorum sanctae ac magnae Ecclesiae, Auctore -incerto a Bernardo Medonio edita_, 1655. A Tupikon or Ritual Book of S. -Sophia has been recently found at Patmos: _Byz. Zeit._, 1893. - -[160] _Cantacuzenus_, Bonn, ii., p. 15. - -[161] _Cedrenus_, vol ii., p. 609. - -[162] Pal. Pil. Text. Soc. - -[163] In the _Ceremonies_, book ii., we read that the three crosses -kept in the palace were anointed by the protopapas with balsam, before -being shown. Ed. Bonn, p. 549. - -[164] Ed. Bonn, p. 125. - -[165] κατηχούμενα, a “place for instruction,” used both of upper and -lower aisles. - -[166] The college with a provost (_didaskalos_) and twelve fellows was -between S. Sophia and the Chalkoprateia (see Bury, ii., p. 433), and -therefore according to Mordtmann north of S. Sophia. Descending steps -are only found in the north porch, and this is conclusive against -Labarte and Paspates, who saw in the Didaskalion a mere passage -attached to the south side of the church. Paschalia are the tables of -Easter. - -[167] At this time more than one “life-giving cross” was kept at the -palace and occasionally taken to S. Sophia. _Cerem._ 549. - -[168] Ed. Bonn, p. 14. - -[169] Drapeyron, _L’Empereur Heraclius_, 279. - -[170] Fortunatus celebrated its acceptance by a hymn. - -[171] _J. of Ephesus_, ed. R. P. Smith, 140. - -[172] Figured in Molinier’s _L’Emaillerie_, Paris, 1891. - -[173] Figured in Schlumberger’s _Nicephorus Phocas_. - -[174] See Ongania, _Il Tesoro_, Fig. 33 and p. 102. - -[175] Riant, _Ex. Sac. C.P._, vol. ii., p. 213. - -[176] Paspates, _Byzantinae Meletae_, p. 285. - -[177] _Des Dépouilles Religieuses enlevées à Constantinople au xiii -siècle par les Latins_, 1875, and the fuller work, _Exuviae Sacrae -Constantinopolitanae_, 1877. - -[178] _Soc. Orient Latin. Séries Géog._, vol. v. - -[179] Alluded to on a single page of MS. in the British Museum (_Cott. -Claud._ iv.) - -[180] In the reign of Constantine Porphyrogenitus, see _Ceremonies_, -vol. ii., ch. xv. - -[181] The French translation has _Diakonikon_: Riant, in _Exuv. Sacrae, -C.P._ says “smaller sanctuary:” the Anon. says _skeuophylakium_. - -[182] This must be the same as Robert de Clari’s “buhotiaous” fastened -to the ring of the great door of S. Sophia. - -[183] _I.e._, the iconoclasts, of whom a number of stories are told by -the Russian pilgrims. - -[184] See this story in _Golden Legend_, “Exaltation of the Cross.” - -[185] Lazarus was a martyr in the cause of image-worship. See Bayet, -_L’art Byzantin_. - -[186] Cedrenus, ii., p. 609. Irene gave a cross “distinguished for its -pearls”: Theo. Cont., p. 703. - -[187] Ongania, _Il Tesoro di San Marco_, pp. 57, 59. Rohault de Fleury, -_La Messe_. - -[188] _Exuviae Sacrae Constantinopolitanae._ - -[189] See our p. 49. - -[190] Theoph. Contin., ed. Bonn, p. 211. - -[191] _Ibid._, _Life of Basil_, ch. 79. - -[192] _La Messe_, vol. vi., p. 78. - -[193] See fig. in _Byz. Zeitschrift_, 1893, p. 142. - -[194] In the figure 18 the attachment for the chain is shown at A, the -chain of monograms is taken from Rossi, B shows the provision for the -chains in the last example (Fig. 17), where there is a slight mistake, -the alternate piercings in the rim being crosses as here shown. - -[195] Adapted from a photographic view in A. Riley’s _Mountain of the -Monks_. - -[196] Du Cange. - -[197] Lib. iii. This was at Milan. - -[198] For this and other lamps see especially _La Messe_ and _Il -Tesoro_. - -[199] A. Riley, _Mountain of the Monks_. - -[200] P. 154. - -[201] _Constantinopolis und aer Bosporus_, vol. i., pp. 36-44. - -[202] The images were restored in S. Sophia on the 19th of February. -Pagi. Critica in _Universos Annales Baronii_, vol. iii., p. 587. - -[203] Goar’s _Euchologium_, 1647, p. 560. - -[204] Cons. Porph. _Life of Basil_, ch. 79. - -[205] _Leo Diaconus_, ed. Bonn, p. 176. - -[206] Du Cange, _S. Sophia_, § 35. - -[207] Paspates, _Byzantinae Meletae_. - -[208] _Pachymeres_, ed. Bonn, i., p. 172. - -[209] _Hist. Byzan._, ed. Bonn, p. 273. - -[210] Ed. Bonn, lib. iv., p. 29. - -[211] Nicephorus Gregoras, p. 749. - -[212] Cantacuz., ed. Bonn, p. 30. - -[213] Compare Tozer’s _Turkey_, i. 97. He says Constantinople is still -constantly called “the City” all over the Levant. - -[214] Gyllius reports a similar story. - -[215] Wright’s _Early Travels in Palestine_. - -[216] “Constantine, the last emperor of the Greeks.” - -[217] Brit. Mus. MSS. Add. 6,417. - -[218] Salzenberg, _Altchristliche Baudenkmale_. - -[219] _Relation d’un Voyage de Constantinople_, 1680. - -[220] MS. Harl., 3,408. - -[221] From _Originum Rerumque Constantinopolitarium, variis auctoribus, -manipulus_, F. Franciscus Combefis, Paris, 1664. The same anonymous -description is also given by Banduri, _Imperium Orientale_, ed. 1711, -vol. i. - -[222] Evidently meant for lower aisles. - -[223] If this interpretation can be accepted for στοαί. - -[224] Bricks stamped with long inscriptions of this kind were -frequently used: one from Sirmium is mentioned in _Byzantinische -Zeitschrift_ for 1894, p. 222: “O Lord Christ, help this city, keep off -the Avars and guard Romania and him who writes this, Amen.” - -[225] This may mean the thickness of the marble wall lining in some -places gilt--if it has a meaning. - -[226] σειζαὶ, a network, studded with jewels, suspended from -processional crosses, and from the sides of crowns, see Fig. 15. - -[227] Reading ἐπὶ for ἀντί. - -[228] βοτρυιδόν, “like bunches of grapes.” - -[229] φίνες, Graecised form of the Latin _fines_. - -[230] Quoted in Ibn Batuta, Orient. Trans. Socy. - -[231] Du Cange, notes on Bondelmontius. - -[232] Glycas, _Annalium, Pars V._, ed. Bonn, p. 498. - -[233] Du Cange, _op. cit._ - -[234] Hopf, _Chroniques Gréco-Romanes_, Berlin, 1873, p. 67. - -[235] _Altchristliche Baudenkmale von Constantinopel_, published by -the Prussian Government, Berlin 1854, with metrical version of the -Silentiary’s poem by Dr. Körtum. - -[236] Salzenberg here suggests that these formerly supported equestrian -statues. See his plates ix.-xii. and compare our fig. 29. - -[237] Salz. xx., figs. 9 and 10. - -[238] All dimensions in this chapter are in Prussian feet, 100 of which -= 103 English. - -[239] See Salz., plate vi. - -[240] Salz., plate vii. - -[241] Salz., plates vii., viii., and illustration of stairs in text. - -[242] Salz., plate vi. - -[243] _Ibid._, plate xx. - -[244] Only a short time was allowed to Salzenberg for its examination. -He was convinced it was not a baptistery, but gives no reasons. - -[245] Salz., plate xviii., figs. 9, 13. - -[246] Salz., plate vi. - -[247] Salz., plate vii. - -[248] Salz., plate vi. - -[249] Salz., plates vi., x. - -[250] It is probable, writes Salzenberg, that originally the buttress -masses reached only up to the roof of the gynaeceum, level with the -springing of the great arches; as Cedrenus describes how Justinian, at -the restoration after the fall of the dome, made outside the building, -in the neighbourhood of the main piers, above the roof of the gynaeceum -four staircases, “cochleas” which reached up to the dome “to strengthen -the vaulting.” Theophanes also speaks of new piers which Justinian -erected to strengthen the dome. The circumstances mentioned by -Procopius seem to indicate that the abutments of the great arches were -not sufficient. See our chap. x., § 1, for another interpretation. - -[251] These Salzenberg thought later additions, “for the stone -projections are not bonded to the piers, and the Silentiary says -columns stood in these positions.” We do not so interpret the lines -of the poem, and, although Choisy here follows Salzenberg, it is -impossible to see, if there were additions subsequent to the completion -of the building, how it is that the perfectly symmetrical disposition -of the marble panelling shows no disturbance, and the beautiful carved -cornice which mitres round these projections has had no additions made -to it (our Fig. 47). The straight joints, which Choisy in another place -specially notes as a method of Byzantine building, were here most -wisely applied; for on one side the great pier was of stone, and on the -other the buttress pier is of brick. - -[252] Salzenberg conjectures from Agathias that these arches were -a later addition made when the dome was restored by Justinian. But -without them, as he remarks, there would not have been originally a -square base for the circle of the dome. See explanation of original -form, p. 210. - -[253] Salzenberg assumes from Paulus that “the dome was surmounted by a -cross”: the cross was of mosaic inside. - -[254] See Salz., plate x. The right-hand side is a section through one -of the domical vaults, and the left through the barrel-vault which -connects two domical vaults. The plans, plates vi. and vii., and the -section plate xi., show how close some of the columns stand to the -piers, to which they are joined by small barrel-vaults, intersecting -the domical vaulting. - -[255] A mistake for vertical circles; the large number of cisterns -where the vaults are uncovered make this certain. See our p. 221. - -[256] Salz., plate xxiv. - -[257] Salz., plate xxiii. - -[258] See figure in Salzenberg’s text. - -[259] Salz., plate xi. - -[260] Preparation for the gold. - -[261] Salzenberg’s plate xv., fig. 6. The inclination of the sides of -that shown is much exaggerated, if in any case it exists. - -[262] Salz., plate xvi., fig. 1, 5. - -[263] Plate xvi., figs. 5, 6. - -[264] Salz., plate xvii., figs. 12 and 13. Fig. 14 gives the base, fig. -2 a complete column. - -[265] Salz., plate xv., figs. 7, 8. - -[266] See Salz., plate xv., figs. 1, 4, 5 for lower cornice; plate -xvi., 2 and 3 for upper, figs. 3, 4 for dome cornice, fig. 9 aisle -cornice. This last, says Salzenberg, “is mended in many places with -gypsum, and comes from an earlier building.” We do not know what -earlier building could have furnished a quarter of the quantity used in -S. Sophia. Is it possible that the whole of it is of gypsum? (See our -chapter xii.) The marble skirtings are shown on plates xv. and xvi. - -[267] In a note Salzenberg draws attention to Paulus speaking of eight -windows in this wall, and conjectures that instead of the five upper -windows there was one large opening here. - -[268] Salz., plate xx., fig. 4. Fig. 6 is a capital that was found on -one of the four parapet posts, and removed at the “restoration”; fig. -7 was not found in S. Sophia; fig. 8 was an isolated capital in north -aisle; figs. 9-11 show upper mouldings to the piers of the propylaeum. - -[269] Salz., plate xx., fig. 12 shows the underside of the beam in the -middle of the west gynaeceum; fig. 15 is the side, and fig. 16 the -underside of one in the south gynaeceum; figs. 13 and 14, one in the -north gynaeceum. - -[270] Salz., plate xiv. - -[271] Plate xvii., figs. 1-7. - -[272] See Salz., plate xvii. Fig. 3 is the upper capital, fig. 4 -the lower, figs. 5 and 6 the base, and fig. 7 the under side of the -architrave. Figs. 8, 9, 10 are details of large west window. - -[273] Salz., plate xviii. - -[274] Plate xviii., figs. 10-14. - -[275] See plates vi. and xi. - -[276] Salz., plate iii., fig. 7. - -[277] Salz., plate xix. - -[278] See Salz., plate ix. - -[279] Salz., plate xvi., fig. 4. - -[280] Salz., plate xvi. - -[281] Salz., plates xxi., xxii. Plate xxii., fig. 1 shows the upper -frieze and the panels beneath. - -[282] Salz., plate xxi., fig. 18, and our fig. 9. - -[283] Bury, vol. ii., 202. - -[284] J. of Ephesus wrote _circa_ 590, R. Payne Smith’s translation. - -[285] See also Rambaud, _Revue des Deux Mondes_, Aug. 1871. - -[286] See plan and view in Strzygowski und Forchheimer, _Die -Wasserbehälter von Konstantinopel_. - -[287] _Imperium Orientale_, p. 664. - -[288] See _Ancien Plan de Constantinople imprimé entre 1566 et 1574, -avec Notes explicatives par Caedicius_, 1890. - -[289] Ed. 1562, p. 91. - -[290] Hakluyt Society, 1859, p. 34. - -[291] Migne, _S.G._ vol. 133, p. 695. - -[292] Texier figured in the _Revue Archéologique_, 1845, a small -fountain found near the hippodrome to which it probably formerly -belonged. - -[293] Nicetas, ed. Bonn, p. 857. - -[294] An organ is shown on the sculptured base of the obelisk of -Theodosius. - -[295] MS. Mus. Brit., Sloane 2742, xvi. c. - -[296] Procopius. - -[297] Hakluyt Soc., p. 36. - -[298] _Nuremberg Chronicle._ - -[299] _Constantinopolis Christiana_, lib. i., ch. xxiv. - -[300] _La Syrie Centrale_, p. 75. - -[301] Ed. Bonn, p. 307 _et seq._ - -[302] Nicetas, p. 733. - -[303] Quoted by Buzantios. - -[304] _Ceremonies_, appendix _ad lib._ i., p. 502. - -[305] Ed. Bonn, v., p. 266. - -[306] Hakluyt Soc. series. - -[307] Anna Comnena also speaks of the houses of the Great Church. - -[308] See Curtis, _Broken Bits of Byzantium_, part 2. - -[309] Paspates, p. 40. - -[310] See Curtis, _Broken Bits of Byz._, part 2. - -[311] It may be mentioned that an Italian cantharus, or font, of the -twelfth century, in the possession of Mr. Brindley, has the Latinised -form of the same word in an inscription around its rim which reads - -Artificum summus cui nullus in orbe secundus Hunc luterem clarum -sollerer sculpsit aquae.... - -[312] Quoted by Paspates, _Byzan. Mel._ Note on p. 340. - -[313] Lanciani, _Pagan and Christ. Rome_. - -[314] Labarte, _Pal. Imp._ - -[315] _Pachymeres de Michael Palaeol._, ed. Migne, p. 703. See also Du -Cange, _S. Sophia_, § 22. - -[316] _Inscriptiones Antiquae totius orbis Romani._ - -[317] Grelot is vague in regard to it. Banduri understood him to -mean that the inscription was on the inner water vessels. The Greek -patriarch Constantios accepts it as having belonged to the Phiale. -Buzantios wildly says baptistery. - -[318] An inscrip. in Baptistery Florence, reads-- - - EN GIRO TORTE SOL CICLOS ET ROTOR IGNE. - - -[319] See p. 84 and Kraus for other similar inscriptions. - -[320] The first, he says, “stands by the entrance to an old Bagno,” it -was 4′ 3½″ in diameter. “The second stands in the midst of the cistern -in the square court of the supposed St. John’s Church.” This was 2′ 6″ -in diameter. - -[321] Migne, _Pat. Cur. Com. Series Graeca_, vol. i. - -[322] _Euchologium_, ed. 1647, p. 463. - -[323] Ed. 1647, p. 560. - -[324] _Relation Nouvelle d’un Voyage de Constantinople._ - -[325] In Fig. 29 we have followed his drawings disregarding his -estimate of height. - -[326] Curtis, _Broken Bits of Byz._, Part II. - -[327] - - . . . . . . . . - . . . . . . . . - . . . - - -[328] See P. D. Kouppas, _The Building of Byzantine Churches_. Ἑλλην. -Φιλολ. Συλλ. παραρ. vol. 20-22, p. 38. - -[329] For gold tesserae of second cent. see _Bull. Soc. des Ant._, -1893, p. 76. - -[330] _Eastern Palestine Memoirs_, 1889, p. 172. - -[331] See Fig. 30. - -[332] From the Hellenic Society’s supplement to their journal. - -[333] See also _Byzantinische Zeitschrift_, 1894. - -[334] The inscription states that the work was done while Paul was -archbishop. And-- - - ΜΗΝΙΝΟΕΜΒΡΙΩΙΝΔΙΚΤΙΟΝΙΤΕΤΑΡΤΗΕΤΟΥϹ ΑΠΟΚΤΙϹΕΩϹΚΟϹΜΟΥϲ̣ - -The vital numerals were defaced, but there seemed no doubt that the -last fragment was a part of S (6000) and as the writer states that -there was only room for one more letter, SΔ or 6004 (495) is the only -year that will fit the fourth indiction. “The architect Bubroff is -about to show that the church was built in the fifth century.” - -[335] A book on mechanics (περὶ παραδόξων μηχανημάτων) has been -ascribed to Anthemius. - -[336] Procopius in _Pal. Pilg. Text._, p. 48. - -[337] Lib. xiii., tit. iv. - -[338] Edit. by Waddington, p. 18. - -[339] Giacomo Boni, _Il Duomo di Parenzo_, in _Archivio Storico -dell’Arte_, 1894, p. 5. - -[340] _Migne_, S.G., vol. xxxvii., p. 1090. - -[341] There is no doubt about these arches being truly _pointed_. -They were drawn so by Dr. Covel about 1675, they appear so in the -careful engraving in Miss Pardoe’s _Bosphorus_, and these are fully -confirmed by Strzygowski and Forchheimer, _Die Wasserbehälter von -Konstantinopel_, pp. 12 and 71. The use of the pointed arch in the east -is probably an unbroken tradition from early days in Egypt. - -[342] _Die Wasserbehälter_, p. 130, &c. - -[343] 1799, p. 236. - -[344] _Journal of Roy. Inst. Brit. Archts._, Jan. 1893. - -[345] See also p. 247, 1892, for the conditions of stability of dome of -S. Sophia. - -[346] Ἑλλην. Φιλολ. Συλλ. παραρ. vol. xx., 1892. - -[347] P. 485. - -[348] _Die Byzantinischen Wasserbehälter_, p. 22. - -[349] In another place Covel gives the following. Lukium--unslaked -lime, burnt brick (both in a fine powder), cotton wool very fine pulled -and strewed on, linseed oil. Cistern plaister--Lime, burnt brick, -cotton or flax, water [use] almost dry, smooth it and saturate with oil. - -[350] _Blasii Caryophili opusculum de antiquis marmoribus_, 1743. - -[351] _Trattato delle pietre antiche_, 1833. - -[352] _Ancient Art._ - -[353] _Chronologie von Egypten_, p. 365. - -[354] _Revue des deux Mondes_, 1841. - -[355] In MS. notes lent by Mr. Brindley. - -[356] _Histor. Geography of Asia Minor_, p. 433. - -[357] See Boni, who corrects Corsi, in _La Basilica di San Marco_. - -[358] Ἑλλην. Φιλ. Συλλ. παραρ. 1885, p. 10. - -[359] _Mittheilungen, etc._, _Arch. Inst. Athens_, 1889, xiv. 286. - -[360] Mr. Brindley has shown us a photograph of a half worked Byzantine -column with a flat necking, still attached in a horizontal position to -the rock on its underside while the upper part is rounded. - -[361] Η. Κωνσταντινουπολις, p. 500. - -[362] _Survey of Western Palestine_, vol. iii., p. 357. - -[363] Walsh, _A Residence at Constantinople_, “Errata” to p. 80. - -[364] Ἑλλην. Φιλ. Συλλ. παραρ., vol xvi., 1885, p. 34. - -[365] See Bayet, _L’Art Byzantin_. - -[366] A.M. 5508 of Byzantine chronology coincides with A.D. 1 up to -September 1st. Indictions were cycles of fifteen years commencing -in 312 A.D. Both the years of the world and the Indictions began on -September 1st. - -[367] Ἑλλην. Φιλολ. Συλλ. παραρ., vol. xvi., p. 30. - -[368] _Essai sur la Chronologie Byzantine._ - -[369] Finlay, vol. i., p. 165. - -[370] Mordtmann, p. 36. - -[371] Shown in Salzenberg’s plate. - -[372] Η. Κωνσταντινουπολις, vol. i. p. 500 - -[373] Curtis, _Broken Bits of Byz._, part ii. - -[374] _Le Bosphore et Constantinople_, 1873. - -[375] See below, p. 287. - -[376] See Salz., plate xxiii. Fig. 2 is one of the tympana, the centre -one has figures: fig. 3 transverse arches; fig. 5 soffite of a window. - -[377] Salzenberg’s plate xxiv. gives details of the lower aisles. - -[378] Fig. 2 is the barrel vault near the window; fig. 3 arches and -vault adjoining; fig. 6 the intrados of the arches opening to the nave; -fig. 7 a pattern of the west gynaeceum. - -[379] Plate xxvi., fig. 6. - -[380] See fig. 3 for this cornice, the band beneath, and the edges of -the great arches. - -[381] Fig. 7 gives the borders of the windows in semidomes. - -[382] Salz., plate xxvii. - -[383] Salz. xxxii., fig. 4. - -[384] Salz., plate xxviii. - -[385] Salz., plate xxix. - -[386] Reading ΚΥΡΙΕ. - -[387] Salz., plate xxx. - -[388] The figure of Jeremiah at S. Clemente, Rome, bears the same -inscription. - -[389] Salz., plate xxv., fig. 3. - -[390] Salz., plate xxii. - -[391] Salz., plate xxxi. - -[392] Salz., plate xxxi. - -[393] Salz., plate xxxi., fig. 7. - -[394] _Ibid._ fig 8. - -[395] _Arts Industriels._ - -[396] _Hist. of Painting_, vol. i., p. 234. - -[397] _Recherches._ - -[398] Bury, vol. ii. 432. - -[399] R. Walsh, _Essays on Ancient Coins, &c._, 1828, gives the Greek. - -[400] _American Journ. Archæol._, iv. 143. - -[401] Theoph. Cont. ed. Bonn, p. 99. - -[402] A composition of this kind at Parenzo appears to go up to the -sixth or seventh century. - -[403] See Diehl in _Byz. Zeits._, 1893. - -[404] _Il Tesoro._ - -[405] Pératé, _Archéol. Chrétienne_, with figure, p. 265. - -[406] Relievi storico artistici sulla architettura Bizantina. - -[407] See note above the index. - -[408] _Il Duomo di Parenzo_, p. 26. - -[409] Middleton, _Anc. Rome_, i. 31. - -[410] See Labarte, _Arts Indust._, vol. iii., p. 331. - -[411] Boni, _Il Duomo di Parenzo_, pp. 4, 5. - -[412] _Stones of Venice_, I., xxiii., 13. - -[413] Ἑλλην. Φιλ. Συλλ. παραρ., vol. xvi., 1885, p. 13. - -[414] In our illustration the same capital is distinguished by a -letter, the two sides by 1 and 2, the monograms reading in the -direction of the reference to their position. Those of “N. Aisle” for -instance read from left side of page. - -[415] Two varieties of monograms on capitals at S. Mark’s have been -the subject of much study which Cattaneo sums up in Boïto’s text of -the great monograph on S. Mark’s, but they have never been deciphered. -One (see Photos, vol. ii., p. 127) is a perfect example of Justinian; -three which show in capitals of the upper stage south side are perfect -examples of Basileos--if corresponding monograms probably on the hidden -sides of these capitals are examined, they too may be found to contain -the Justinian monogram. For monograms at S. Sergius see _Byz. Zeit._ -for 1894. - -[416] In _L’Art de Bâtir_ and _Revue Archéologique_, 1876. - -[417] _Die Wasserbehälter von Konstantinopel_, p. 245. - -[418] Curtis, _Broken Bits of Byzantium_, pt. ii. - -[419] Ἑλλ. Φιλ. Συλλ. παραρ., vol. xvi. p. 29. - - - - -TRANSCRIBER’S NOTE - - -This eBook makes the following corrections to the printed text: - - Pg 8 - Quellen der Byzantinischen Kunstgeschicht - Quellen der Byzantinischen Kunstgeschichte - Pg 9 - placed the prophyry column - placed the porphyry column - Pg 22 (footnote) - Geschichte der Byzantinischer Litteratur - Geschichte der Byzantinischen Litteratur - Pg 24 - that he furnished him - that He furnished him - Pg 32 - and the saints among them - and the saints—among them - Pg 35 - the restoration of S. Sophia - the restoration of S. Sophia. - Pg 56 - rings fixed circlewise round each base - rings fixed circle-wise round each base - Pg 94 - reaches the royal doors and stands there.” - reaches the royal doors and stands there. - Pg 109 - by Henrich Ulmen - by Heinrich Ulmen - Pg 118 - above the beam of the iconastasis - above the beam of the iconostasis - Pg 120 - running the whole longth - running the whole length - Pg 122 - from time to time - from time to time. - Pg 124 - patriarch Arsenius during the reign of Michael Palaeologos - patriarch Arsenius during the reign of Michael Palaeologus - Pg 124 - the wife of Andronicus Palaeologos - the wife of Andronicus Palaeologus - Pg 132 - is generally call the Baptistery - is generally called the Baptistery - Pg 135 - in order. and how the wealth - in order, and how the wealth - Pg 136 - said to the craftsman. ‘I will - said to the craftsman, ‘I will - Pg 150 - floor to the vertex, - floor to the vertex. - Pg 151 - immense semircircular window - immense semicircular window - Pg 152 - pyramids by Nicephorus Gregoras - pyramids by Nicephorus Gregoras. - Pg 160 - was used by the lamplighter - was used by the lamp-lighter - Pg 160 - and Zonoras twenty-five - and Zonaras twenty-five - Pg 179 - most of which were re-built by Justinian - most of which were rebuilt by Justinian - Pg 186 (footnote) - See Curtis Broken Bits of Byzantium - See Curtis, Broken Bits of Byzantium - Pg 191 (footnote) - This was 2′ 6″ in. diameter - This was 2′ 6″ in diameter - Pg 192 - Symeon of Thessalonica tells us - Simeon of Thessalonica tells us - Pg 204 - and St. Sergius at Bozra - and St. Sergius at Bosra - Pg 212 - Figs, 4, 36, 38 - Figs. 4, 36, 38 - Pg 217 - above the transome - above the transom - Pg 223 - Viollet-de-Duc thinks that - Viollet-le-Duc thinks that - Pg 232 - filaments of cotton.” This was reduced - filaments of cotton. This was reduced - Pg 233 - It is made of unslaked lime ...” - “It is made of unslaked lime ...” - Pg 268 - the horizonal arm of the cross - the horizontal arm of the cross - Pg 294 - ceramic inscription given in the Revue Archéoogique - ceramic inscription given in the Revue Archéologique - - Make punctuation consistent in section headings. - - Replace Roman numerals with Arabic numerals for section headings - in Chapter VII. - - Paspates’ book, ΒΥΖΑΝΤΙΝΑΙ ΜΕΛΕΤΑΙ, is cited variously as Byzantinae - Meletai, Byzantinae Melatae, and Byzantinae Meletae. These citations - are left unchanged. - -This eBook makes the following adjustments to the Byzantine inscriptions: - - Use Ω (capital omega) where the printed text used a large ω. - - Use Υ (capital upsilon) where the printed text used a - V-shaped character. - -*** END OF THE PROJECT GUTENBERG EBOOK THE CHURCH OF SANCTA SOPHIA, -CONSTANTINOPLE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: The Church of Sancta Sophia, Constantinople</p> -<p style='display:block; margin-top:0; margin-bottom:1em; margin-left:2em; text-indent:0;'>A Study of Byzantine Building</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: William Richard Lethaby and Harold Swainson</div> - -<div style='display:block; margin:1em 0'>Release Date: September 14, 2021 [eBook #66302]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Benjamin Fluehr, Turgut Dincer and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE CHURCH OF SANCTA SOPHIA, CONSTANTINOPLE ***</div> - -<h1>SANCTA SOPHIA<br /> -CONSTANTINOPLE</h1> - -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter" /> - -<p class="quote">“A work as they report surpassing every edifice in the world.”</p> -<p class="right"><i>William of Malmesbury.</i></p> - -<p class="quote p1">“The fairest church in all the world.”</p> -<p class="right"><i>Sir John Mandeville.</i></p> - -<p class="quote p1">“A marvellous and costful temple, clept St. Sophie.”</p> -<p class="right"><i>Capgrave’s Chronicle.</i></p> - -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter" /> - -<p class="center tbig">THE CHURCH OF<br /> -SANCTA SOPHIA<br /> -CONSTANTINOPLE<br /> -A STUDY OF<br /> -BYZANTINE BUILDING<br /> -BY W. R. LETHABY &<br /> -HAROLD SWAINSON -</p> - -<div class="figcenter"> - <img src="images/p000.png" style="width:11em" alt="" /> -</div> - -<p class="center p2">1894</p> - -<p class="center">Macmillan <i>&</i> Co. London <i>&</i> New York -</p> - -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter" /> - -<p class="center"><span class="smcap">Richard Clay and Sons, Limited</span>, -<span class="allsmcap">LONDON AND BUNGAY</span>. -</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="PREFACE"><i>PREFACE</i></h2> - -<p><i>Sancta Sophia is the most interesting building on the world’s -surface. Like Karnak in Egypt, or the Athenian Parthenon, it -is one of the four great pinnacles of architecture, but unlike -them this is no ruin, nor does it belong to a past world of constructive -ideas although it precedes by seven hundred years the -fourth culmination of the building art in Chartres, Amiens, or -Bourges, and thus must ever stand as the supreme monument of -the Christian cycle. Far from being a ruin, the church is one -of the best preserved of so ancient monuments, and in regard to -its treatment by the Turks we can only be grateful that S. -Sophia has not been situated in the more learned cities of -Europe, such as Rome, Aachen, or Oxford, during “the period -of revived interest in ecclesiastical antiquities.” Our first -object has been to attempt some disentanglement of the history of -the Church and an analysis of its design and construction; on -the one hand, we have been led a step or two into the labyrinth -of Constantinopolitan topography, on the other, we have thought -that the great Church offers the best point of view for the observation -of the Byzantine theory of building.</i></p> - -<p><i>It may be well for us to state how, in the main, we have -shared our work. The one of us—by the accident of the alphabet, -second named—has done the larger part of the reading and -the whole of the translation required. The first has undertaken -more of the constructive side of the book and the whole of -the illustrations. We both visited Constantinople, and wish to -thank Canon Curtis for help then and since. Mr. Ambrose -Poynter has read the proofs. In our text we have thought it -well to incorporate so far as possible the actual words of the -writers to whom we have referred. The dates when the more -ancient authors wrote are given under their names in the index; -so are the years of the accession of the Emperors mentioned in -the text. Although we have made full use of Salzenberg’s -great work in the preparation of some of our illustrations, none<span class="pagenum" id="Page_vi">[Pg vi]</span> -are mere transcripts from his book. In some instances where -scales are given to details, the scales are but rough approximations.</i></p> - -<p><i>Much remains to be observed at S. Sophia; the Baptistery, -the Cisterns beneath the church, and the Circular Building to -the east are practically unknown, and any fact noted in regard -to them will almost certainly be new. But it is still more -important that building customs, recipes, and traditions should -be recorded. Byzantine art still exists not only on Mount -Athos but all over the once Christian East—at Damascus the -builders are still Christians, and the Greek masons of Turkey, -M. Choisy says, are still the faithful representatives of the -builders of the Lower Empire, and their present practice is a -sure commentary on the ancient buildings.</i></p> - -<p><i>A conviction of the necessity for finding the root of architecture -once again in sound common-sense building and pleasurable -craftsmanship remains as the final result of our study of -S. Sophia, that marvellous work, where, as has so well been -said, there is no part where the principles of rational construction -are not applied with “hardiesse” and “franchise” In -estimating so highly the Byzantine method of building in its -greatest example, we see that its forms and results directly depended -on then present circumstances, and then ordinary materials. -It is evident that the style cannot be copied by our attempting -to imitate Byzantine builders; only by being -ourselves and free, can our work be -reasonable, and if reasonable, -like theirs -universal.</i></p> - - -<p class="center p1">L’ART C’EST D’ÊTRE ABSOLUMENT SOI-MÊME.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter"> -<p><span class="pagenum" id="Page_vii">[Pg vii]</span></p> - -<h2 class="nobreak" id="CONTENTS">CONTENTS</h2> - -<div class="toc"> - -<p><a href="#CHAPTER_I">CHAPTER I</a>. Byzantium. New Rome, The Acropolis, The Augusteum. -First and Second Churches of S. Sophia. -<span class="tocpage"><i>page</i> 1</span> -</p> - -<p><a href="#CHAPTER_II">CHAPTER II</a>. Justinian’s Church. Account of Procopius. Fall of -Dome and Restoration. Accounts of Agathias and Evagrius. -<span class="tocpage"><i>page</i> 21</span> -</p> - -<p><a href="#CHAPTER_III">CHAPTER III</a>. The Descriptive Poem of Paul the Silentiary, Parts -1 and 2. -<span class="tocpage"><i>page</i> 35</span> -</p> - -<p><a href="#CHAPTER_IV">CHAPTER IV</a>. The Silentiary’s Account, Part 3. The Ambo. -Coronations in the Ambo. -<span class="tocpage"><i>page</i> 53</span> -</p> - -<p><a href="#CHAPTER_V">CHAPTER V</a>. Main Divisions. Bema. Altar. Ciborium. Crowns, -&c. Altar Veils. Iconostasis. Prothesis and Diakonikon. Holy Well -and Metatorion. Solea. The Nave and Pavement. Font. Crosses. -Miraculous Marbles, &c. Water Vessels. Images and Tombs. Hangings. -Carpets. Synods. Clergy and Ritual. Adoration of the Cross. -Procession to the Church. -<span class="tocpage"><i>page</i> 66</span> -</p> - -<p><a href="#CHAPTER_VI">CHAPTER VI</a>. § 1. The True Cross and Relics of the Passion. -Other Treasure. Accounts by Russian Pilgrims. § 2. The Lighting of -the Church. -<span class="tocpage"><i>page</i> 97</span> -</p> - -<p><a href="#CHAPTER_VII">CHAPTER VII</a>. § 1. Later History. Occupation of the Church by -the Crusaders. Fall of Constantinople. § 2. The Anonymous Account -of the Church. § 3. Legends. -<span class="tocpage"><i>page</i> 122</span> -</p> - -<p><a href="#CHAPTER_VIII">CHAPTER VIII</a>. Fossati’s Reparations. Salzenberg’s Description of -Design, Materials, Construction, and Decoration. -<span class="tocpage"><i>page</i> 148</span> -</p> - -<p><a href="#CHAPTER_IX">CHAPTER IX</a>. Precincts of the Church, &c. Palaces. Hippodrome. -Augusteum. Milion. Horologium. S. Peter’s Chapel, &c. Boundaries -of Church. Atrium. Phiale. Pavement. West Front. Belfry. -Cisterns. Exterior generally. -<span class="tocpage"><i>page</i> 173</span> -</p> - -<p><a href="#CHAPTER_X">CHAPTER X</a>. § 1. Byzantine Origins. § 2. The Builders of the -Church. § 3. Original Form of the Church: Dome and N. and -S. Arches, Atrium, N.W. and S.W. Angles, Baptistery and Loggia. -§ 4. Structural System. Arch Forms. Vaulting. Dome Construction. -Chainage and Walling. Mortar and Cement. -<span class="tocpage"><i>page</i> 198</span> -</p> - -<p><a href="#CHAPTER_XI">CHAPTER XI</a>. § 1. Building Procedure. § 2. Marble Quarries and -Identification of the Marbles. § 3. Application of Marble to the Walls.<span class="pagenum" id="Page_viii">[Pg viii]</span> -§ 4. Marble Masonry. Seven Orders of Byzantine Capitals. Distribution -and Dates of Capitals. Shafts and Bases. Responds. Cornices -and Skirtings. Windows, &c. Carving. -<span class="tocpage"><i>page</i> 234</span> -</p> - -<p><a href="#CHAPTER_XII">CHAPTER XII</a>. § 1. Bronze Doors, &c. § 2. Mosaics. Salzenberg’s -Description. First Scheme. Later Scheme. Fossati’s Description. -Tesserae and Fixing. § 3. Glass. Plaster. Painting. § 4. Monograms -and Inscriptions. -<span class="tocpage"><i>page</i> 264</span> -</p> -</div> - -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_1">[Pg 1]</span></p> - -<h2 class="nobreak" id="CHAPTER_I">S. SOPHIA CHAPTER I</h2> -</div> - -<p class="cd">THE CITY OF CONSTANTINE AND THE FIRST CHURCH</p> - - -<p><i>Byzantium.</i>—Where the narrow swift-flowing Bosporus, -which divides Asia from the most eastern part of southern -Europe, flows into the Sea of Marmara, a crescent-shaped -arm of the sea runs westward into the land, leaving a narrow -promontory, which, like the prow of a boat in profile, -puts out to the east. The point of this promontory is a -mass of rock rising steeply from the sea: divided by a slight -transverse depression from the rest of the land, it forms the -first hill of the seven which were afterwards inclosed by -the walls of Constantinople.</p> - -<p>On this crest (by the present Seraglio Point), commanding -the passage to the Euxine, was built, in the seventh -century <span class="allsmcap">B.C.</span>, by colonists from Megara—with whom -Dionysius couples the Corinthians—the Acropolis, the -sacred city and citadel, and within certain limits the lines -of its containing walls may still be traced. The lower -city gathered about the slopes outside the Acropolis, and -had other walls defining its landward limits. Dionysius, -the ancient Byzantine writer, who describes the city before -the siege of Severus, 196 <span class="allsmcap">A.D.</span>, says that this citadel of -Byzantium was on the promontory of the Bosporus, above -the bay called Keras (the Golden Horn). “At a little -distance over the height is the altar of Athena Ecbasia—of -the landing—where the colonists fought as for their<span class="pagenum" id="Page_2">[Pg 2]</span> -own land. There is too a temple of Poseidon, an ancient -one and hence quite plain, which stands over the sea.... -Below the temple of Poseidon, but within the wall, on -the level ground are stadia and gymnasia, and courses for -the young.”<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> This Acropolis is roughly outlined in <a href="#f1">Fig. 1</a>, -the evidence being the contours of the hill, remains and -records of certain walls to be mentioned later, and the -boundaries between the first four regions in Constantine’s -city as given in the <i>Notitia</i>,<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> a description of the city -written in the beginning of the fifth century. The Acropolis -so defined has a striking resemblance to other Greek -hill cities—Tiryns, Mycenae, Acrocorinth, and the Acropolis -of Athens. In <a href="#f1">Fig. 1</a> the cross shows the site of the -present Church of S. Sophia; the arrow shows the -Hippodrome, which, still existing, is the great monument of -pre-Constantinian times, and forms the key for all study -of the subsequent city; O shows the position of the column -said to have been erected by Claudius Gothicus about -270 <span class="allsmcap">A.D.</span>, which stands at the north end of the Acropolis -overlooking Seraglio or Demetrius Point.</p> - -<p>Of the ancient Greek town few positive remains have -come down to us, with the exception of the coins. A publication -by the Greek Philological Society of Constantinople -mentions as among several pre-Constantinian inscriptions a -marble slab found in “the tower next to the <i>Zouk Tsesmé</i> -gate on the left as one ascends to S. Sophia,” which refers -to the stadium erected by Pausanias the General in 477 -<span class="allsmcap">B.C.</span>, “within the walls of Byzantium and below the temple -of Poseidon.”<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> The coins also go back to the fifth century -<span class="allsmcap">B.C.</span> The early ones show a cow standing on a dolphin, -with the letters BY. In the third century we have Poseidon -seated on a promontory, and later again a dolphin twined round -a trident—all the types having evident reference to the sea-washed -city. Another relic of ancient Byzantium is still -to be seen below the curve of the Hippodrome, where a<span class="pagenum" id="Page_3">[Pg 3]</span> -white marble capital of good Greek Doric work lies -neglected on the seaward bank of the new railway.</p> - -<p>In addition to the ancient buildings already mentioned, -we learn from Dionysius that the city possessed a temple -of Gé Onesidora—the fruitful earth—which consisted of -“an unroofed space surrounded by a wall of polished -stone.” Near by were “temples of Demeter and the -Maiden (Persephone), with many pictures in them, relics -of their former wealth.” This author was also shown the -sites of temples to Hera and Pluto, “the former having -been destroyed by Darius, and the latter by Philip of -Macedon.” He also speaks of a large round tower joined -to the wall of the city.</p> - -<p>Some records or legends of the ancient city are also contained -in the <i>Paschal Chronicle</i>.<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> After the siege Severus -“built the public bath called Zeuxippus. Now in the -middle of the four-porticoed<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a> space stood a bronze <i>stele</i> of -the sun, below which he wrote the name of the sun. The -people of Thrace indeed call the place Helion, but the Byzantines -themselves call this same public bath ‘of Zeuxippus’ -after its original name, although the emperor ordered it -should be called Severion. Opposite to it in the acropolis -of Byzantium he built the temple of Apollo, which also -faced the two other temples formerly built by Byzas—one -to Artemis with the olive, and the other to Phedalian Aphrodite. -And the figure of the sun was taken from the four-porticoes -and placed in this temple (of Apollo). Opposite -the temple of Artemis he built large kennels, and a theatre -opposite the temple of Aphrodite. He bought houses and -gardens from two brothers, and after pulling down the -former and uprooting the latter he built the Hippodrome. -Severus restored the Strategion as well. It was first named -by Alexander of Macedon, who, in his campaign against -Darius, reviewed his troops there before attacking the -Persians.”</p> - -<p><span class="pagenum" id="Page_4">[Pg 4]</span></p> - - -<p><i>New Rome</i>.—It was about 328 <span class="allsmcap">A.D.</span> or the following -year that Constantine decided to enlarge this city, which -had long been under the domination of Rome, and to -make it his capital. The work of building was pushed -forward with great energy, and it was consecrated in May -330. By an edict engraved on a stone erected in the -Strategium, it was called the New Rome of Constantine. -In the documents of the patriarchs of the Greek Church -the city is still called New Rome.</p> - -<p>The quarries of easily wrought marble of large crystalline -structure and soft white colour found in such abundance -in the island of Proconnesus, only a few miles away over -the sea to which it has given its name of Marmara, then as -now furnished a perfect building material; while the still -worked quarries of Egypt and Thessaly provided imperial -purple and green. But a richer quarry was doubtless found -in the porphyry and cippolino shafts of the old temples -of many a declining city.</p> - -<p>Constantine’s city does not appear to have been so -completely Christian as the ecclesiastical writers would have -us suppose. Zosimus tells us that Constantine erected a -shrine to the Dioscuri in the Hippodrome, and he mentions -the temples of Rhea and the Tyché of the city in a large -four-porticoed forum. A whole population of bronze and -marble statues was brought together from Greece, Asia -Minor, and Sicily. The baths of Zeuxippus alone are said -to have had more than sixty bronze statues,<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a> a still greater -number were assembled in the Augusteum and other -squares, and in the Hippodrome, where, according to -Zosimus,<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a> Constantine placed the Pythian tripod, which had -been the central object in the temple of Apollo at Delphi. -On the triple coils of the bronze serpents in the At-Meidan -can still be read the names of the Greek states, which, after -the battle of Plataea, dedicated a tithe of the spoil to -the Delphic oracle, as described by Herodotus.<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a></p> - -<p>An extremely valuable description of ancient Byzantium and<span class="pagenum" id="Page_5">[Pg 5]</span> -the reconstruction by Constantine is given by Zosimus, writing -not much more than a century after the transformation. -“Now the city lay upon the crest of a hill which forms -a part of the isthmus that is made by what is called the -‘Horn’ (κέρας) and the Propontis. And formerly it had -its gate (πύλη) at the end of the colonnades which -Severus built.” ... “And the wall on its western part -descending along with the crest reached to the temple of -Aphrodite, and the sea of Chrysopolis [Scutari] which is -opposite; and in the same way from the crest the wall -descended northward to the harbour which is called Neorion, -and from thence up to the sea which lies directly in front -of the straits through which one enters the Euxine.” ... -“This then was the ancient size of the city. And -Constantine erected a circular forum <i>where formerly was the -gate</i>, and surrounded it with porticoes of two storeys. He -set up two very big arches of Proconnesian marble opposite -each other; through them one entered the porticoes of -Severus or issued from the ancient city. And wishing to -make the city much larger he further continued the old wall -fifteen stadia, and inclosed the city with a wall which cut off -the isthmus from sea to sea.”</p> - -<p>It is clear from this that the ancient land gate of -Byzantium stood on the crest of the ridge close to the site -now occupied by the Porphyry Column (which was set up by -Constantine in the New Forum), and formed the end of a -street of columns built by Severus (the <i>Mese</i>). From this -gate the wall ran southwards to a temple of Aphrodite, and -along the shore of the Propontis opposite Scutari. Northwards -it descended to the Golden Horn at the Neorion -port, and turned along the shore to Seraglio Point. Now -the Neorion port was just outside the entrance to the -modern Galata bridge,<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a> and the account agrees perfectly with -the <i>Notitia</i> in which we find the following: “The sixth -ward at entering on it is level ground for a short distance, all -the rest is upon the descent; for it extends from the Forum -of Constantine to the stairs where you ferry over to Sycae -[Galata]. It contains the porphyry pillar of Constantine;<span class="pagenum" id="Page_6">[Pg 6]</span> -the Senate House in the same place, the Neorion port; the -stairs of Sycae, &c.”</p> - -<p>It is evident that the city which Constantine found -had been virtually rebuilt by Severus in the style of the -East. From the days when Alexandria and Antioch were -planned a city had become a whole to be designed according -to rule. Essential features of such cities—of which -Palmyra is the best representative—were long avenues of -columns forming the main streets, and a triumphal arch -with a central “golden milestone.” The main street of -columns at Constantinople, which we later hear of by the -name of the <i>Mese</i> as forming the way from the Milion to -the Forum of Constantine, cannot be any other than the -“Porticoes of Severus” just mentioned. In the fifth -century we find the <i>Mese</i> referred to in the building laws of -Zeno. “We ordain that none shall be allowed to obstruct -with buildings the numerous rows of columns which are -erected in the public porticoes, such as those leading from -what is called the Milion to the Capitol,” any shops or -booths between the columns “must be ornamented on the -outside at least with marble, that they may beautify the city -and give pleasure to the passers by.”<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a> Mordtmann shows -that this great columned way occupied very nearly the line -of the present Divan Yiulu; indeed, it is hardly possible to -divert the great arteries at any stage of a city’s evolution, -and the <i>Mese</i> itself probably followed the course of a foot-track -to the gate of the Acropolis.</p> - -<p>By building walls across the land between the Golden -Horn and the sea at distances farther and farther from -Seraglio Point, the city has been successively enlarged; the -great land walls, within which the shrunken city now lies, -are mainly the work of Theodosius II. These, the walls of -the Constantinople known to the Crusaders, are still comparatively<span class="pagenum" id="Page_7">[Pg 7]</span> -perfect; a triple line on the land side and a single -line around the sea margin, some fourteen miles of walls, -eight or ten to fifteen feet thick, strengthened by great -towers, completely girdles the city round about. The land-wall -of Constantine’s city, situated between the Acropolis -and the present walls, has disappeared, but its course has -been traced (see <a href="#f1">Fig. 1</a>).</p> - - -<p><i>Acropolis.</i>—The topography of ancient Constantinople -has engaged the attention of generations of writers, and an -approximation to true results has undoubtedly been reached. -First we must mention Pierre Gilles, usually called Gyllius, -who, travelling to collect MSS. for Francis I., resided in the -city for many years, and died in 1555. Then Du Cange, in -his great work <i>Constantinopolis Christiana</i>, 1680, by a careful -comparison of the authorities, certainly made discoveries in -a country he had never visited. The folios of Banduri<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a> -followed in 1711; and in 1861 Labarte published a more -detailed study of the Imperial quarter, chiefly based on the -ample notices in the Book of Ceremonies of Constantine -Porphyrogenitus. This work, <i>Le Palais Impérial de -Constantinople et ses Abords</i>, shows remarkable insight and -critical acumen. Buzantios in <i>Constantinopolis</i>, 1861, and -Paspates in his <i>Byzantinae Melatae</i>, 1877, made several -further identifications. The latter followed with <i>The -Great Palace of Constantinople</i>, recently translated by Mr. -Metcalfe, which goes over the same ground as Labarte; but -the excavations for the railway, which now circles Seraglio -Point, had in the meantime exposed some remains, and made -the examination of certain walls possible.</p> - -<p>Although Paspates made several valuable suggestions, -many of his conclusions are certainly not sustained by his -reasoning; indeed, Labarte in many points of divergence -was probably much nearer the facts. Paspates’ views -were accepted by Mr. Bury,<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a> to be followed in turn by<span class="pagenum" id="Page_8">[Pg 8]</span> -Mr. Oman in <i>The Byzantine Empire</i> of the “Story of the -Nations” Series. A work in Russian has recently been -devoted to the study of the Palace quarter.<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a> Unger’s -collection of topographical references in <i>Quellen der Byzantinischen -Kunstgeschichte</i> is also of the greatest service.</p> - -<div class="figcenter" id="f1"> - <img src="images/p008.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 1.</span>—Plan of Constantinople showing its development.</p></div> -</div> - -<p>In 1892 appeared Dr. Mordtmann’s <i>Esquisse</i>, together with -a large plan of the city, on which the probable identifications -of the ways and buildings were laid down; this was prepared<span class="pagenum" id="Page_9">[Pg 9]</span> -at the instance of the Comte Riant, who, in his <i>Exuviae -Constantinopolitanae</i>, contributed the result of much research -to our knowledge of Byzantine antiquities.</p> - -<div class="figcenter" id="f2"> - <img src="images/p009.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 2.</span>—Plan of the Acropolis, &c., of Constantine’s city.</p></div> -</div> - -<p>Dr. Mordtmann, by a study of the whole of the city area -and its entire circumvallation as we have it to-day, in -comparison with the written descriptions, has laid a firmer -grasp on the problem. Labarte, he points out, was chiefly -misled by a confusion of the buildings in the Forum of -Constantine and those in the Forum Augusteum—a mistake -elaborated in some respects by Paspates. Labarte thus -placed the porphyry column of Constantine, which still -marks the site of the former, together with other buildings<span class="pagenum" id="Page_10">[Pg 10]</span> -that were quartered about it, all within the Augusteum, -which last he rightly identified with the present open space -to the south-west of S. Sophia. Texier, who in 1834 made -a careful study of the ancient city, rightly distinguished the -two fora.<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a></p> - -<p><a href="#f2">Fig. 2</a> will assist in making clear our views as to the -transformation of the Acropolis under Constantine. The -Byzantine brick walls which now inclose the old Serai -Labarte regarded as of late work, and we think the style -of the building would very well bear out Paspates’ opinion -that they were erected by Michael Palaeologus. The -excavation for the railway exposed some remains of a wall -near O in our <a href="#f1">Fig. 1</a> which Paspates describes as “built of -large stones as much as 10 feet long by 2½ broad, and -1½ thick.”<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a> The rest of the seaward wall still forming the -substructure of the retaining wall of the sea-front of the -old Serai, and running in a direction parallel to the Hippodrome, -is also of stone. This wall is probably ancient or -follows the course of the ancient Acropolis inclosure which -is described by Dion Cassius as “built on rising ground and -projecting into the sea.... The walls are very strong, -formed of large squared stones bound together with copper, -and the inside is so strengthened with earth and buildings -that the whole seems one thick wall.”<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">[16]</a></p> - -<p>The late Anonymous author edited by Banduri says that -the wall of ancient Byzantium commenced at the Golden -Horn near the gate of S. Eugenius to pass along by the -Golden Milestone.<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a> We place no reliance on the Anonymous -for early history, but there is much to confirm Mordtmann’s -view that an ancient wall occupied this position and that the -Milion—which the Anonymous says was the land gate—was -situated upon its course and formed indeed the entrance -from the Street of Columns. This wall, which Mordtmann -says passed on the land side of the old Serai in front of the<span class="pagenum" id="Page_11">[Pg 11]</span> -modern museum (Tchenli Kiosk) where there is a high -retaining wall, and continued to the west of S. Sophia not -far from the narthex, we consider must be that which -formed the landward inclosure of the Acropolis. The -fourth region of the city, Mordtmann says, was separated -from the second by the rock of the Acropolis and this wall. -We are confirmed in our acceptance of the other wall described -by Paspates as the seaward wall of the Acropolis, not only -because it is built against the steep escarpment of the rock, -but by finding that in the division of the city into the wards -or regions of the <i>Notitia</i> the first ward exactly comprised -the space between the wall and the sea; the second region -contained the old Acropolis itself, with a triangle of lower -ground at the north against the Golden Horn, where was -probably the sea gate; while the third was divided from -the fourth by the great way which left the Milion gate on -the old landward wall of the Acropolis. Such pre-existing -features naturally formed the boundaries of the wards.</p> - -<p>We now give from the <i>Notitia Dignitatum</i> the descriptions -of the first four regions of the fourteen into which -Constantine’s city was divided, which will show how Constantine -occupied the old areas with the royal and public -quarters of his new city. Twelve regions were included -within the walls, and two others were formed by the suburbs -of Blachernae and Galata.</p> - - -<div class="blockquot"> - -<p class="region"><span class="smcap">Region I.</span></p> - -<p>Contains the house of Placidia -Augusta; the house of most noble -Marina; the Baths of Arcadius; -27 streets or alleys; 118 houses; 2 -porticoes; 15 private baths; 4 public -cornmills; 15 private cornmills; 4 -terraces of steps. It is under one -curator, who looks after the whole -region; it has 1 vernaculus, a slave -(or messenger) for all regions; 25 -collegiati, who are selected from -different Guilds (Corporati), and -help at fires; and 5 street wardens, -who watch the city at night.</p> - - -<p class="region"><span class="smcap">Region II.</span></p> - -<p>Gradually rises with a gentle -ascent beginning from the smaller -theatre, and then descends abruptly -to the sea. It contains the Great -Church; the Ancient Church; the -Senate; the Tribunal built with -porphyry steps; the Baths of Zeuxippus; -the theatre; the amphitheatre; -34 streets or alleys, 98 houses; 4 -large porticoes; 13 private baths; -4 private cornmills; 4 terraces of -steps. It had also 1 curator, 1 vernaculus; -35 collegiati, 5 street -wardens.</p> - -<p><span class="pagenum" id="Page_12">[Pg 12]</span></p> - - -<p class="region"><span class="smcap">Region III.</span></p> - -<p>Is a plane surface in its higher -part, where is the Circus, but from -the end of this it descends steeply -to the sea. It contains the Circus -Maximus; the house of Pulcheria -Augusta; the new harbour; a semicircular -portico, called by the -Greeks Sigma; the Tribunal of the -Forum of Constantine; 7 streets; -94 houses; 5 large porticoes; 11 -private baths; 9 private cornmills. -It had 1 curator; 1 vernaculus; it -had also 21 collegiati; and 5 street -wardens.</p> - - -<p class="region"><span class="smcap">Region IV.</span></p> - -<p>From the Golden Milliarium is -prolonged, with hills rising to right -and left in a valley leading to an -open space. It contains the golden -Milliarium; the Augusteum; the -Basilica; the Nymphaeum; the -Portico of Fanio; a marble ship—the -monument of a naval victory—the -church or martyrium of S. Mennas; -the Stadium; the Scala Timasii; -32 streets; 375 houses; 4 large -porticoes; 7 private baths; 5 private -cornmills; 7 terraces of steps. It -had 1 curator; 1 vernaculus; 45 -collegiati; 5 street wardens.</p> -</div> - - -<p class="p1"><i>Augusteum.</i>—Thus Region I., occupying the land between -the Acropolis wall and the sea, was partly reserved for -palaces; Region II. coincided with the Acropolis, and had its -south end devoted to the Forum Augusteum and the -Christian Basilicas of S. Sophia (“the Great Church”) and -St. Irene (“the Old Church.”). It will be observed that in -the <i>Notitia</i> the Augusteum is given to Region IV., to which it -does indeed adjoin; Mordtmann<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">[18]</a> considers that the Augusteum, -like the buildings round it, must have belonged to -Region II., but suggests that there may have been a continuation -of the open space farther to the west in Region IV., -and some such space as this certainly seems required by -several of the references.</p> - -<p>Gyllius first made the identification of the Augusteum -with the present open space on the south of S. Sophia; in -this he was followed by Labarte, and Mordtmann concurs. -Paspates in making the Augusteum occupy the ground along -the east side of the Hippodrome stands alone against, as it -seems to us, all evidence. For example, he is compelled to -shift the inscribed pedestal of the statue of the Empress -Eudoxia, which we cannot but believe was found in its -original position (see Mordtmann, p. 64, and Paspates, p. 105, -and below, p. <a href="#Page_13">13</a>). The <i>Mese</i> moreover he makes the centre -of his Augusteum. Mr. Bury thought it proved that the<span class="pagenum" id="Page_13">[Pg 13]</span> -Augusteum “was also called the Forum of Constantine,” -because a passage in <i>Cedrenus</i> speaks of the Senate House -(τὸ σενάτον) as in the Forum of Constantine. It is -perfectly clear however from the <i>Notitia</i> that there were two -Senate Houses—one in the Forum mentioned in the extract -we have given from the description of the sixth ward, and the -other included in the second region as just quoted.<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">[19]</a></p> - -<p>In the Augusteum was erected a Senate, its front facing -the west. “The Senate,” says Mordtmann, “was placed -where to-day stands the Tribunal of Commerce.” That is, -on the east side of the present place of S. Sophia against -what must have been the eastern side of the Augusteum and -the ancient Acropolis, on the seaward wall of which it was -probably founded. In digging the foundations of the -Tribunal of Commerce in 1847 the ancient pavement was -found, at a depth of twelve feet, and the base of the celebrated -statue of Eudoxia, with an inscription, marked it as -the site of the Courts of Justice (Mordtmann, p. 64). The -statue, Socrates<a id="FNanchor_20" href="#Footnote_20" class="fnanchor">[20]</a> says, was “of silver, and it stood upon -a lofty pedestal (<i>bema</i>), not far from the church called -S. Sophia, with a road between.”</p> - -<p>The Augusteum, following the Hippodrome, does not lie -four-square with the cardinal points, but almost diagonally to -them: for convenience, however, we shall speak of the directions -as North, South, East, and West, calling the side towards -the <i>Mese</i> the west. On the north side, and following the -same system of alignment, is the present S. Sophia. The palace -of the Patriarch probably adjoined the church, on the north -side of the square.</p> - -<p>The royal palaces mentioned in the <i>Notitia</i> were on the -south of the Augusteum. According to the <i>Paschal Chronicle</i>, -written about 630 <span class="allsmcap">A.D.</span>, Constantine the Great made a palace -beside the Hippodrome, “and the ascent from the palace to -the stand of the Hippodrome was by means of the stair called -the spiral” (Paspates, <i>Great Palace</i>, p. 47). This palace does<span class="pagenum" id="Page_14">[Pg 14]</span> -not seem to have become of great importance until Justinian’s -time. The <i>Notitia</i> merely mentions the House of Placidia -Augusta, and the House of the most noble Marina, the -daughters of Arcadius, in the first ward; and the House of -Pulcheria Augusta in the third; and speaks of several other -royal palaces in the 9th, 10th, and 11th wards. The palace -of the emperor at this time was in the 14th ward, which was -outside the walls and isolated, making “the figure of a small -city by itself;” this is the celebrated palace of Blachernae.</p> - - -<p><i>The Church.</i>—It was in May 328 that Helena is said to -have discovered the true cross and other relics at Jerusalem. -And this event, which synchronizes exactly with Constantine’s -choice of Byzantium as his capital, was probably not without -direct relation to the foundation of the church dedicated to -Christ. Socrates writes, “A portion of the cross she (Helena) -inclosed in a silver chest and left in Jerusalem as a memorial, -but the other part she sent to the king.”<a id="FNanchor_21" href="#Footnote_21" class="fnanchor">[21]</a></p> - -<p>Theophanes, Cedrenus, Glycas, Paul the Deacon, -Nicephorus Callistus, and other late historians agree in -making Constantine the founder of the first Church dedicated -to the Second Person of the Trinity as the Divine -Wisdom; and Cedrenus even gives a name—Euphrates—to -the architect.<a id="FNanchor_22" href="#Footnote_22" class="fnanchor">[22]</a> Codinus, who wrote in the fifteenth century, -alone relates that Constantine purified a previously existing -temple and dedicated it to Christian uses.</p> - -<p>There is much evidence to show that the church could -not have been completed by Constantine even if he had -founded it, or contemplated its foundation. In the life of -the emperor, the Church of the Holy Apostles, which was -built near the Forum of Constantine, and in which the -emperor was buried, is described at length,<a id="FNanchor_23" href="#Footnote_23" class="fnanchor">[23]</a> but it does not -mention S. Sophia, although the author takes pains to enumerate -the Christian objects in the city—saying that there -were “many Oratories and Martyria, and by the fountains in -the middle of the agorae were figures in gilt bronze of the<span class="pagenum" id="Page_15">[Pg 15]</span> -Good Shepherd and of Daniel with the lions; in the palace -was a cross wrought in gold with many coloured precious -stones.”<a id="FNanchor_24" href="#Footnote_24" class="fnanchor">[24]</a></p> - -<p>In the fifth century <i>Notitia</i>, as we have seen, S. Irene is -called the Old Church and S. Sophia the Great Church.</p> - -<p>The historian Socrates, probably the best authority, says -that Constantine “built two churches, one he called Irene and -the other the Apostles,”<a id="FNanchor_25" href="#Footnote_25" class="fnanchor">[25]</a> and he attributes S. Sophia entirely -to Constantius. “The King built the great church which is -called Sophia and joined it to that called Irene, which the -father of the king had previously increased and beautified, and -now both churches were included within one wall and had -one title.”</p> - -<p>Upon its completion, it was dedicated, with magnificent ceremony, -by the patriarch Eudoxius on Sunday, February 15th, -360 <span class="allsmcap">A.D.</span>, “in the thirty-fourth year after its foundation.”<a id="FNanchor_26" href="#Footnote_26" class="fnanchor">[26]</a> -This would fix its foundation in the year 326 <span class="allsmcap">A.D.</span>, two years -after Constantine, having defeated Licinius, had begun to -reign alone. Cedrenus writes, “Eudoxius consecrated a <i>second</i> -time the Church of the Divine Wisdom, because after its first -completion, and the dedication by Eusebius, it had fallen and -been again restored by Constantius,”<a id="FNanchor_27" href="#Footnote_27" class="fnanchor">[27]</a> and he places this event -in the twenty-second year of Constantius’ reign.</p> - -<p>Cedrenus is a late and credulous writer, and in attributing -a first dedication to Eusebius—who would certainly have told -us himself—he shows how untrustworthy is the whole story. -Altogether we cannot do better than accept the account of -Idatius and that given in the <i>Paschal Chronicle</i>, with perhaps -a little suspicion on the part which refers to Constantine, “In -this year (360) in the month Peritius was dedicated the great -church of Constantinople, in the thirty-fourth year from -the time when Constantine had laid the foundations. For -the opening ceremony (<i>encaenia</i>) Constantius brought many -offerings of gold, and great treasure of silver; many tissues -adorned with gold thread and stones for the sanctuary; for<span class="pagenum" id="Page_16">[Pg 16]</span> -the doors of the church different curtains (<i>amphithuriai</i>) of -gold; and for the outside gateways (<i>puleones</i>) many others -with gold threads.” According to the late Anonymous author -(see page <a href="#Page_129">129</a>), “in the reign of Theodosius the Great († 395) -and in the patriarchate of Nectarius (381-398), seventy-four -years after the church was built, the roof of the church -was destroyed by fire;” he probably really meant the fire of -404 in Arcadius’ reign. At that time S. John Chrysostom, -incurring the dislike of the Empress Eudoxia, was banished. -He was brought back at the end of two days, once more -preached in S. Sophia, and was exiled again, with disastrous -results, for his partisans set fire to the church and destroyed -it. “This happened on the 20th of June, in the consulship -of Honorius and Aristaenetus” (404).<a id="FNanchor_28" href="#Footnote_28" class="fnanchor">[28]</a></p> - -<p>The fire was by some thought to be of supernatural origin. -Palladius, the bishop’s biographer, writes, “Then a flame -seemed to burst from the centre of the throne in which he -used to sit, and climbed up by the chains [of lamps] to the -roof ... and crept like a wriggling snake upon the back of -the houses of the church.” There was also burnt the Senate, -“lying many paces to the south opposite the church; and -the fire spared only the little house, in which the sacred -vessels were kept.”</p> - -<p>The church was again injured by fire, restored by Theodosius -II., and rededicated in 415.<a id="FNanchor_29" href="#Footnote_29" class="fnanchor">[29]</a> Fresh relics were required for -this rededication.<a id="FNanchor_30" href="#Footnote_30" class="fnanchor">[30]</a> One fact of importance in regard to this -church is related by Sozomenus of the Empress Pulcheria. -“She dedicated an altar in the church of Constantinople, a -most wonderful work of gold and precious stones, on behalf -of her virginity and her brothers’ empire. And she wrote -this on the face of the table so that it might be clear to -all.”<a id="FNanchor_31" href="#Footnote_31" class="fnanchor">[31]</a></p> - -<p>From this time until the outbreak known as the Nika -sedition, in January 532, the church is not said to have -been further altered. According to Cedrenus, the records and -charters perished with the church.</p> - -<p><span class="pagenum" id="Page_17">[Pg 17]</span></p> - -<p>There cannot be a doubt that the present S. Sophia occupies -the site of the first church. A church once made holy by -dedication and the reception of relics could not be transported. -Indeed it is possible that it may occupy the site of one of the -Greek temples, for there was a constant tendency to this -supersession on one sacred site; and the present church -stands on the very crest of the old Acropolis. If there were -any sufficient reason to identify the site with that of the -altar of Pallas, the dedication of the church itself would -evidently be one of the many instances of a transference of -title from the old worship. The Parthenon—where Hellenic -rites survived to the sixth century—became a church in this -way dedicated to the Holy Wisdom.<a id="FNanchor_32" href="#Footnote_32" class="fnanchor">[32]</a> The axis of the -church seems to point somewhere between 30° and 35° south -of east, where there is a considerable sea prospect and a low -horizon. This direction, either by accident or intention, must -agree very closely with sunrise at the winter solstice:<a id="FNanchor_33" href="#Footnote_33" class="fnanchor">[33]</a> the -latitude of the church being 41° 0′ 26″. The plan will show -that the ancient Hippodrome, and probably the other buildings, -were set out in relation to this axis.</p> - -<p>In comparing the early Basilicas of Constantinian date, -both those that exist and those of which we have descriptions, -we find that they generally, if not invariably, had their doors -of entrance at the <i>east</i> end, and their apses towards the west, -exactly the opposite of the more recent custom. Rohault -De Fleury says this was usual in the East till the fifth century, -and the custom continued much later in Rome. Kraus, in -the best study of the subject,<a id="FNanchor_34" href="#Footnote_34" class="fnanchor">[34]</a> writes: “S. Agatha at Ravenna -must be mentioned as the first which had its altar at the east -end: it was built in 417, and in this century the practice -became general.”</p> - -<p>Socrates († 440) says of the church of Antioch that “the -altar stood not at the east but at the <i>west</i>,” but he speaks of<span class="pagenum" id="Page_18">[Pg 18]</span> -this as contrary to the usual custom at the time he wrote. -This church was founded by Constantine and finished by his -son. The Church of the Apostles at Constantinople, built -by Constantine to contain the relics of S. Luke, seems also to -have been entered at the east, for S. John Chrysostom<a id="FNanchor_35" href="#Footnote_35" class="fnanchor">[35]</a> speaks -of the emperor being buried “in the part in front of the -doors,” and an anonymous author, who wrote about the -imperial sepulchres, says that Constantine’s sarcophagus was -“in front towards the east.”<a id="FNanchor_36" href="#Footnote_36" class="fnanchor">[36]</a></p> - -<p>We shall thus be following the reasonable suggestion of -comparative archæology in saying that the first church of S. -Sophia almost certainly had its entrance doors at the east—the -sanctuary end of the present church.</p> - -<p>The church was probably only of medium size; the -length of the present church is about 250 feet, its vastness -being in its width. The <i>Paschal Chronicle</i> speaks of “its -stupendous and marvellous columns all being ἐκ τετραέντου”; -but owing to a variant reading it is difficult to determine -whether it means that the pillars were square, or were set in -a square, or formed four bays. Glycas and Codinus, who -wrote a thousand years after the foundation of the church, -say that it was basilican (<i>dromika</i>), and had a wooden roof -(<i>xulotroullos</i>), and the latter says that the church of -Theodosius had cylindrical vaults. As it is evident from -the rapid destruction by fire that the roofs of the early -churches were of wood, they were probably Basilicas. Only -a few minor particulars, such as the existence of an atrium, -and the right of sanctuary in the bema (<i>thusiasterion</i>), can -be gathered from the homilies of S. Chrysostom. Socrates -tells us that this patriarch was wont to preach “in the ambo -for the sake of being better heard.”<a id="FNanchor_37" href="#Footnote_37" class="fnanchor">[37]</a> From Palladius we -learn that there was a baptistery (in which the Sixth Council -of Constantinople, <span class="allsmcap">A.D.</span> 394,<a id="FNanchor_38" href="#Footnote_38" class="fnanchor">[38]</a> appears to have met) attached -to the church, and it was here Chrysostom took leave of the -deaconesses at his banishment, as described in a passage difficult<span class="pagenum" id="Page_19">[Pg 19]</span> -to interpret. “He went out of the baptistery on the -east side, for there was no western (exit). The mule which -he usually rode was made to stand westwards before the gate -to the church, where is the porch, so that he might escape -the people who were expecting him.” The passage from -the same author about the waters of the font being stained -with blood does not, as is sometimes supposed, necessarily -refer to S. Sophia.</p> - -<p>In applying the plan of a church of mean size so that the -doors should face eastwards, we are at once struck by finding -that the western hemicycle of the present church would lie -about the apse; and we cannot but suggest that in this we -may have the very <i>raison d’être</i> of the remarkable plan of -the present church, which it would seem might be properly -classed with those churches which have apses at both ends, -like the early basilica at Orleansville near Tunis;<a id="FNanchor_39" href="#Footnote_39" class="fnanchor">[39]</a> the MS. -plan of S. Gall is the best known example; our own early -church at Canterbury was another instance, the result of -adding to a church with a western apse; France furnishes -Besançon and Nevers, and Germany numerous examples.</p> - -<p>It is indeed possible that some parts of the old structure -may have given practical and positive reasons contributing -to this result, and a thorough examination of the cisterns -beneath the present floor of S. Sophia may yet yield full -evidence of the first basilica; or if these vaults were entirely -built for Justinian’s church, their material would almost -certainly be derived from the earlier building.</p> - -<p>We suggest that the circular brick building lying at the -north-east angle of the present church belonged to the pre-Justinian -church, and formed its baptistery. It is about -forty-five feet exterior diameter, and the plan as given by Salzenberg -shows great resemblance to other circular structures -of the Constantinian age; such as S. Constantia in Rome, the -“tomb of Helen” at Rome, and the round tomb buildings -which adjoined S. Peter’s as shown in the plan of Ciampini.<a id="FNanchor_40" href="#Footnote_40" class="fnanchor">[40]</a></p> - -<p><span class="pagenum" id="Page_20">[Pg 20]</span></p> - -<p>The entrance doorway of this building was to the <i>east</i>.</p> - -<p>As to its use. In the contemporary account of Justinian’s -church, the poet Paulus, describing the north aisle, says, “On -the north is a door admitting the people to the founts that -purify the stains of mortal life and heal every scar.” He -does not mention the present south-west building, nor has he -any other reference to a font. We suppose therefore that -this isolated building on the north-east escaped the Nika -fire, and served as the baptistery of the new church, until -the square building, on the side of the church towards the -Augusteum, which is spoken of in the <i>Ceremonies</i> as the -“Great Baptistery by the Horologium,” was erected for or -diverted to this purpose.</p> - -<p>We very probably have some relics of the earlier buildings -in certain capitals which Salzenberg found in the church:<a id="FNanchor_41" href="#Footnote_41" class="fnanchor">[41]</a> -the inscribed bricks,<a id="FNanchor_42" href="#Footnote_42" class="fnanchor">[42]</a> and a Byzantine Corinthian capital now -lying in the courtyard, may likewise have belonged to it. -The fine bronze doors to south porch are evidently earlier -than the present church, and so probably are the slabs of -which the screen on south side of first floor is partly made up.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_21">[Pg 21]</span></p> - -<h2 class="nobreak" id="CHAPTER_II">CHAPTER II</h2> -</div> - -<p class="cd">JUSTINIAN’S CHURCH</p> - - -<p><i>The New Church.</i>—The pre-Justinian church was burnt -on the 15th January, 532<a id="FNanchor_43" href="#Footnote_43" class="fnanchor">[43]</a>—the first day of the sedition—and -the work of reconstruction was begun on the 23rd of -the following month.<a id="FNanchor_44" href="#Footnote_44" class="fnanchor">[44]</a></p> - -<p>Theophanes<a id="FNanchor_45" href="#Footnote_45" class="fnanchor">[45]</a> says the period employed in the construction -was five years eleven months and ten days; the statements -therefore of Codinus and Glycas, that it took seventeen years -to build, are completely at variance with this more credible -author.</p> - -<p>The solemn dedication took place, as Marcellinus Comes -describes,<a id="FNanchor_46" href="#Footnote_46" class="fnanchor">[46]</a> on 26th December, 537, Indiction 15, in the -eleventh year of Justinian’s reign.</p> - -<p>A description of this dedication ceremony is given by -Theophanes.<a id="FNanchor_47" href="#Footnote_47" class="fnanchor">[47]</a> “The procession started from the church of -Anastasia, Menas the patriarch sitting in the royal chariot, -and the king walking with the people.”</p> - -<p>In the thirty-second year of Justinian’s reign an earthquake -destroyed a great portion of the newly erected -church.<a id="FNanchor_48" href="#Footnote_48" class="fnanchor">[48]</a></p> - -<p>Now Procopius, whose contemporary history of the<span class="pagenum" id="Page_22">[Pg 22]</span> -edifices built by Justinian was, according to Krumbacher,<a id="FNanchor_49" href="#Footnote_49" class="fnanchor">[49]</a> -finished and published in the year 558 or the spring of 559 -at latest, makes no mention of this earthquake of 558, -though he describes in full how, during the building of the -church, which was completed in 537, the piers of the eastern -arch threatened to give way before it was finished. We may -therefore conclude that he describes Justinian’s church in its -first state.</p> - -<p>The translation from Procopius here given is based on -that of Mr. Aubrey Stewart, published by the Palestine -Pilgrims’ Text Society, which has been compared with the -original. We give in <a href="#f3">Fig. 3</a> a plan of the church as built by -Justinian, so far as the evidence will allow of an approximately -certain restoration.</p> - -<p>As the several different curved portions of the plan are -difficult to distinguish, we propose so far as possible to reserve -certain words for separate parts. The small eastern semicircle -and its vault will be called apse and apsoid respectively. -Hemicycle and semidome will refer to the great semicircle -at the east or west and its vault. The pairs of curved spaces -forming the lateral recesses in the hemicycles we propose to -name exedras and their half-domes conchs.</p> - -<div class="figcenter" id="f3"> - <img src="images/p023.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 3.</span>—Plan of S. Sophia as built by Justinian.</p></div> -</div> - -<p><i>Procopius.</i>—“The lowest dregs of the people in Byzantium -once assailed the Emperor Justinian in the rebellion -called Nika, which I have clearly described in my <i>History -of the Wars</i>. To prove that it was not merely against the -emperor but no less against God that they took up arms, -they ventured to burn the church of the Christians which -the people of Byzantium call Sophia, a name most worthy of -God. God permitted them to effect this crime, knowing -how great the beauty of this church would be when restored. -Thus the church was entirely reduced to ashes; but the -Emperor Justinian not long afterwards adorned the new one -in such a fashion, that if any one had asked the Christians in -former times, if they wished their church to be destroyed -and thus restored, showing them the appearance of the<span class="pagenum" id="Page_24">[Pg 24]</span> -church which we now see, I think it probable that they -would have prayed that they might so soon as possible behold -their church destroyed, in order that it might be changed -into its present form. The emperor, thinking not of cost of -any kind, pressed on the work, and collected together workmen -(<i>technitai</i>) from every land. Anthemius of Tralles, the most -skilled in the builder’s art, not only of his own but of all -former times, carried forward the king’s zealous intentions, -organised the labours of the workmen, and prepared models -of the future construction. Associated with him was another -architect (<i>mechanopoios</i>) named Isidorus, a Milesian by birth, -a man of intelligence, and worthy to carry out the plans of -the Emperor Justinian. It is indeed a proof of the esteem -with which God regarded the emperor, that He furnished -him with men who would be so useful in effecting his designs, -and we are compelled to admire the wisdom of the emperor, -in being able to choose the most suitable of mankind to -execute the noblest of his works.</p> - -<p>“The church consequently presents a most glorious -spectacle, extraordinary to those who behold it, and altogether -incredible to those who are told of it. In height it rises to the -very heavens, and overtops the neighbouring buildings like a -ship anchored among them, appearing above the rest of the city, -while it adorns and forms a part of it. One of its beauties -is that being a part of and growing out of the city, it rises -so high that the whole city can be seen as from a watchtower. -The length and breadth are so judiciously arranged -that it appears to be both long and wide without being -disproportioned.</p> - -<p>“It is distinguished by indescribable beauty, excelling both -in its size, and in the harmony of its measures, having no -part excessive and none deficient; being more magnificent -than ordinary buildings, and much more elegant than those -which are not of so just a proportion. The church is -singularly full of light and sunshine; you would declare that -the place is not lighted by the sun from without, but that -the rays are produced within itself, such an abundance of -light is poured into this church. <i>The Apse.</i>—Now the head -(<i>prosopon</i>) of the church (that is to say the part towards the<span class="pagenum" id="Page_25">[Pg 25]</span> -rising sun, where the sacred mysteries are performed in -honour of God) is built as follows. The building rises from -the ground not in a straight line, but setting back somewhat -obliquely, it retreats in the middle into a rounded form -which those who are learned in these matters call semicylindrical, -rising perpendicularly. <i>Apsoid and Semidome.</i>—The -upper part of this work ends in the fourth part of -a sphere, and above it another crescent-shaped (<i>menoeides</i>) -structure is raised upon the adjacent parts of the building, -admirable for its beauty, but causing terror by the apparent -weakness of its construction; for it appears not to rest upon -a secure foundation, but to hang dangerously over the heads -of those below, although it is really supported with especial -firmness and safety. <i>Exedras.</i>—On each side of these parts -are columns standing upon the floor, which are not placed -in a straight line, but arranged with an inward curve of -semicircular shape, one beyond another like the dancers in a -chorus. These columns support above them a crescent-shaped -structure. Opposite the east wall is built another wall, -containing the entrances, and upon either side of it also -stand columns, with stone-work above them, in a half-circle -exactly like those previously described. <i>Great Piers and -Arches.</i>—In the midst of the church are four masses of -stone called piers (<i>pessoi</i>), two on the north, and two on the -south sides, opposite and alike, having four columns in the -space between each pair. These piers are formed of large -stones fitted together, the stones being carefully selected, and -cleverly jointed into one another by the masons,<a id="FNanchor_50" href="#Footnote_50" class="fnanchor">[50]</a> and -reaching to a great height. Looking at them, you would -compare them to perpendicular cliffs. Upon them, four -arches (<i>apsides</i>)<a id="FNanchor_51" href="#Footnote_51" class="fnanchor">[51]</a> arise over a quadrilateral space. The -extremities of these arches join one another in pairs, their -ends resting upon the piers, while the other parts of them -rise to a great height, suspended in the air. Two of these -arches, that is those towards the rising and the setting of the -sun, are constructed over the empty air, but the others have -under them some stone-work, and small columns. <i>Dome<span class="pagenum" id="Page_26">[Pg 26]</span> -and Pendentives.</i>—Now above these arches is raised a circular -building of a curved form through which the light of day first -shines; for the building, which I imagine overtops the -whole country, has small openings left on purpose, so that -the places where these intervals occur may serve for the -light to come through. Thus far I imagine the building -is not incapable of being described, even by a weak and -feeble tongue. As the arches are arranged in a quadrangular -figure, the stone-work between them takes the shape of a -triangle, the lower angle of each triangle, being compressed -where the arches unite, is slender, while the upper part becomes -wider as it rises in the space between them, and ends against the -circle which rests upon them, forming there its remaining -angles. A spherical-shaped dome (<i>tholos</i>) standing upon this -circle makes it exceedingly beautiful; from the lightness -of the building, it does not appear to rest upon a solid -foundation, but to cover the place beneath as though it -were suspended from heaven by the fabled golden chain. -All these parts surprisingly joined to one another in the air, -suspended one from another, and resting only on that which -is next to them, form the work into one admirably harmonious -whole, which spectators do not dwell upon for long in the -mass, as each individual part attracts the eye to itself. The -sight causes men constantly to change their point of view, -and the spectator can nowhere point to any part which he -admires more than the rest. Seeing the art which appears -everywhere, men contract their eyebrows as they look at each -part, and are unable to comprehend such workmanship, but -always depart thence, stupefied, through their incapacity. -So much for this.</p> - -<p>“The Emperor Justinian and the architects Anthemius and -Isidorus used many devices to construct so lofty a church with -security. One of these I will now explain, by which a man -may form some opinion of the strength of the whole work; -as for the others I am not able to discover them all, and find -it impossible to describe them in words. It is as follows: -The piers, of which I just now spoke, are not constructed in -the same manner as the rest of the building; but in this -fashion; they consist of quadrangular courses of stone, rough<span class="pagenum" id="Page_27">[Pg 27]</span> -by nature, and made smooth by art; of these stones, those -which make the projecting angles of the pier are cut angularly -(<i>engonios</i>), while those which go in the middle parts of the -sides are cut square (<i>tetragonos</i>).</p> - -<p>“They are fastened together not with lime (<i>titanos</i>), called -‘unslaked’ (<i>asbestos</i>), not with asphaltum, the boast of Semiramis -at Babylon, nor anything of the kind, but with lead, -which, poured into the interstices, has sunk into the joints -of the stones, and binds them together; this is how they are -built.</p> - -<p>“Let us now proceed to describe the remaining parts of the -church. The entire ceiling is covered with pure gold, which -adds to its glory, though the reflections of the gold upon the -marble surpass it in beauty. There are two aisles one above -another on each side, which do not in any way lessen the size -of the church, but add to its width. In length they reach -quite to the ends of the building, but in height they fall -short of it; these also have domed ceilings adorned with -gold. Of these two porticoes one [ground floor] is set apart -for male and the other [upper floor] for female worshippers; -there is no variety in them, nor do they differ in any respect -from one another, but their very equality and similarity add -to the beauty of the church. Who could describe these -gynaeceum galleries, or the numerous porticoes (<i>stoai</i>) and -cloistered courts (<i>peristuloi aulai</i>) with which the church is -surrounded? Who could tell of the beauty of the columns -and marbles with which the church is adorned? One would -think that one had come upon a meadow full of flowers in -bloom! Who would not admire the purple tints of some, -and the green of others, the glowing red and the glittering -white, and those too, which nature, painter-like, has marked -with the strongest contrasts of colour? Whoever enters -there to worship perceives at once that it is not by any human -strength or skill, but by the favour of God, that this work -has been perfected; the mind rises sublime to commune with -God, feeling that He cannot be far off, but must especially -love to dwell in the place which He has chosen; and this is -felt not only when a man sees it for the first time, but it -always makes the same impression upon him, as though he<span class="pagenum" id="Page_28">[Pg 28]</span> -had never beheld it before. No one ever became weary of -this spectacle, but those who are in the church delight in what -they see, and, when they leave, magnify it in their talk. -Moreover it is impossible accurately to describe the gold, -and silver, and gems, presented by the Emperor Justinian; -but by the description of one part, I leave the rest to be -inferred.—That part of the church which is especially sacred, -and where the priests alone are allowed to enter, which is -called the Sanctuary (<i>thusiasterion</i>), contains forty thousand -pounds’ weight of silver.</p> - -<p>“The above is an account, written in the most abridged and -cursory manner, describing in the fewest possible words the -most admirable structure of the church at Constantinople, -which is called the Great Church, built by the Emperor -Justinian, who did not merely supply the funds for it, but -assisted at its building by the labour and powers of his mind, -as I will now explain. Of the two arches (<i>apsides</i>), which -I lately mentioned—the architects (<i>mechanopoioi</i>) call them -<i>loroi</i><a id="FNanchor_52" href="#Footnote_52" class="fnanchor">[52]</a>—that one which stands towards the east had been built -up on each side, but had not altogether been completed in -the middle, where it was still imperfect; when the piers -(<i>pessoi</i>) upon which the building rested, unable to support -the weight which was put upon them, somehow all at once -split open, and seemed as though before long they would fall -to pieces. Upon this Anthemius and Isidorus, terrified at -what had taken place, referred the matter to the emperor, -losing all confidence in their own skill. He at once, I know -not by what impulse, but probably inspired by Heaven, for he -is not an architect, ordered them to complete this arch; for -it, said he, resting upon itself, will no longer need the piers -(<i>pessoi</i>) below.<a id="FNanchor_53" href="#Footnote_53" class="fnanchor">[53]</a> Now if this story were unsupported by -witnesses, I am well assured that it would seem to be written -in order to flatter, and would be quite incredible; but as -there are many witnesses now alive of what then took place -I shall not hesitate to finish it. The workmen performed his -bidding, the arch was safely suspended, and proved by experiment<span class="pagenum" id="Page_29">[Pg 29]</span> -the truth of his conception. So much then for -this part of the building; now with regard to the other -arches, those looking to the south and to the north, the -following incidents took place. When the arches called -<i>loroi</i> were raised aloft during the building of the church -everything below them laboured under their weight, and the -columns which are placed there shed little scales, as though -they had been planed.</p> - -<p>“Alarmed at this, the architects (<i>mechanikoi</i>) again referred -the matter to the emperor, who devised the following -scheme. He ordered the upper part of the work that was -giving way to be taken down where it touched the arches -for the present, and to be replaced afterwards when the damp -had thoroughly left the fabric. This was done, and the -building has stood safely ever since, so that the structure, as -it were, bears witness to the emperor’s skill.”</p> - - -<p><i>Fall of Dome and Restoration.</i>—On the 7th of May, 558, -the eastern part of the dome, “built by Isaurian workmen, -with the apse, was thrown down by an earthquake, destroying -in its fall the holy table, the ciborium, and the ambo.”<a id="FNanchor_54" href="#Footnote_54" class="fnanchor">[54]</a> -Reference is made to this in the opening lines of the -Silentiary’s poem (see Chapter <a href="#CHAPTER_III">III</a>.). According to Theophanes -“the architects attributed its fall to the fact that to -save expense the piers had been made too full of openings. -The emperor restored the piers and raised the dome twenty -feet.” The church was again consecrated in the fifth year -after the catastrophe by Eutychius in the thirty-sixth year of -Justinian, on the 24th of December.<a id="FNanchor_55" href="#Footnote_55" class="fnanchor">[55]</a> Theophanes<a id="FNanchor_56" href="#Footnote_56" class="fnanchor">[56]</a> describes -the emperor and patriarch as riding together to the church -in a chariot, and bearing the gospel with them, “while the -people chanted the ‘Lift up your gates.’”</p> - -<p>The church, after its repair, is described by three contemporary -authors—Paul the Silentiary, Agathias, and -Evagrius. The poem of the first of these is given in the -next chapter.</p> - -<p><span class="pagenum" id="Page_30">[Pg 30]</span></p> - - -<p><i>Agathias.</i>—Agathias, surnamed the scholar, was born in -536 at Myrina in Asia Minor,<a id="FNanchor_57" href="#Footnote_57" class="fnanchor">[57]</a> studied at Alexandria, and -came in 554 to Constantinople, where he became known as -a historian and a poet, and died in 582.</p> - -<p>Justinian, he says, restored several buildings after the earthquake, -his especial care however was the great church of -S. Sophia.<a id="FNanchor_58" href="#Footnote_58" class="fnanchor">[58]</a> “Now the former church having been burnt -by the angry mob, Justinian built it up again from the -foundations as big and more beautiful and wonderful, and -this most beautiful design was adorned with much precious -metal. He built it in a round form with burnt brick and -lime, it was bound together here and there with iron, but -they avoided the use of wood, so that it should no more be -easily burnt. Now Anthemius was the man who devised and -worked at every part.</p> - -<p>“And as by the earthquake the middle portion of the roof -and the higher parts had been destroyed, the king made it -stronger, and raised it to a greater height. Anthemius was -then dead, but the young man Isidorus and the other craftsmen, -turning over in their minds the previous design, and -comparing what had fallen with what remained, estimated -where the error lay, and of what kind it was. They determined -to leave the eastern and western arches (<i>apsides</i>) as -they were. But of the northern and southern (arches) they -brought towards the inside, that portion of the building -which was on the curve.<a id="FNanchor_59" href="#Footnote_59" class="fnanchor">[59]</a> And they made these arches wider -so as to be more in harmony with the others, thus making -the equilateral symmetry more perfect. In this way they -were able to cover the measurelessness of the empty space, -and to steal off some of its extent to form an oblong design. -And again they wrought that which rose up over it in the -middle, whether orb (<i>kuklos</i>), or hemisphere, or whatever -other name it may be called. And this also became more -straightforward and of a better curve, in every part agreeing -with the line; and at the same time not so wide but higher, -so that it did not frighten the spectators as formerly, but was -set much stronger and safer.”</p> - -<p><span class="pagenum" id="Page_31">[Pg 31]</span></p> - -<div class="figcenter" id="f4"> - <img src="images/p031.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 4.</span>—Longitudinal Section, having regard to Dome as first built.</p></div> -</div> - -<p><span class="pagenum" id="Page_32">[Pg 32]</span></p> - - -<p><i>Evagrius.</i>—This historian was born in 536 <span class="allsmcap">A.D.</span><a id="FNanchor_60" href="#Footnote_60" class="fnanchor">[60]</a> at -Epiphania on the Orontes. In his <i>Ecclesiastical History</i> we -learn of the suffering caused by the invasion of Chosroes in -540. From this time all Syria was continually disturbed, -and the educated Christians fell back more and more on -Constantinople. Evagrius came to Constantinople in 589, -though he returned to Antioch afterwards. His history -commences with the Council of Ephesus in 431 and extends -to the year 593. He says<a id="FNanchor_61" href="#Footnote_61" class="fnanchor">[61]</a>:—</p> - -<p>“In the city of Constantinople Justinian constructed -many churches of wonderful beauty in honour of God, and -the saints—among them was a great and incomparable work -of a kind that none like it was ever remembered—the great -church of S. Sophia; which excelling in beauty, far surpasses -power of description.</p> - -<p>“As far as I can I will explain it. The nave (<i>naos</i>) of the -temple has a dome (<i>tholos</i>) over it spreading its weight on -four arches, raised to such a height, that to those looking -from below it is difficult to see the whole hemisphere. And -those who are above, however bold they are, never dare to -bend over and look on to the ground: and the arches are -open from the base up to their crown. On the right and -left however, opposite to one another, are ranged columns of -Thessalian marble. These with other neighbouring columns -carry upper chambers, which offer a place to lean forward -for those who wish. Here it is that the empress is wont to -attend service on festal days.</p> - -<p>“But the arches to east and west are left so that nothing -interferes with admiration of their size. Now the arcades of -the just mentioned upper chambers are supported from -beneath by columns and small arches, which greatly add to -the work. In order that the wonder of this building may -be more easily grasped, I have here placed in feet the -measures of the length, breadth, and height; and of the -arches their diameter and height. The length then from the -door opposite the holy apse, where is offered the bloodless -sacrifice, to the apse itself is 190 feet; the breadth of the<span class="pagenum" id="Page_33">[Pg 33]</span> -nave from north to south is 115. The height from the -centre of the dome to the ground is 180 feet. And of the -arches, the width of each in feet is [no number given]. -And the length from east to west is 200 feet. The width of -the opening is 75 feet.<a id="FNanchor_62" href="#Footnote_62" class="fnanchor">[62]</a> There are also to the west two fine -porticoes, and everywhere open courts of wonderful beauty.”</p> - -<p><i>Paul the Silentiary.</i>—As this author’s really detailed -account of the church is of considerable length, we have -reserved it for the next chapter, although it was written before -the descriptions just given by Agathias and Evagrius. -For the little that is known of the author we are almost -entirely indebted to his friend Agathias, who says: “If any -one living perchance far from this city, wishes to know and -see everything as if present and looking on, let him read -what Paulus, son of Cyrus, son of Florus, has written in -hexameter verse; he is chief of the Royal Silentiaries, and -sprung from a noble race; inheriting ancestral wealth, yet -zealously brought up in the study of letters, by which he -was the more glorious and famous. He wrote a number of -other poems worthy of memory and praise, but it seems to -me that that which he wrote on the Great Church is completed -with the most skill and labour, even as its subject is -more worthy than any other. For you will find in his poem -the arrangement of the form, and the nature of the stones -explained; the beauty and purpose of the curtains; the -lengths and heights, what is curved and what straight, what -projects and what is suspended. You will learn, too, how -with silver and gold the more sacred part, intended for the -divine mysteries, was adorned; as well as whatever ornament -great or small is there, which those who frequent the church -may see.”</p> - -<p>The Silentiaries, of whom Paulus was one, were court -officials. Their office was an exalted one, as they ranked -with the senators, and were employed on all kinds of service, -not unfrequently becoming the historians of the emperor. -Paulus belonged to the cultivated and literary circle, who -during Justinian’s reign interested themselves in literature,<span class="pagenum" id="Page_34">[Pg 34]</span> -and to him are attributed more than eighty poems in the -Anthology.<a id="FNanchor_63" href="#Footnote_63" class="fnanchor">[63]</a></p> - -<p>The description or rather explanation of S. Sophia was -most probably written and recited as an Opening Ode at the -<i>Encaenia</i> of December 24th, 563. Körtum (in Salzenberg) -conjectures that the poem was recited in “a hall of -the Imperial Palace,” but Du Cange is probably more -correct in assigning only the first eighty lines to the Palace. -The succeeding lines he says “were addressed to the clergy in -the Patriarch’s Palace,” but we believe, from the antithesis -between the Palace of the Emperor and the House of God, -that the address to the patriarch was spoken within the -walls of the church itself, and that the whole poem, which is -divided into three parts, was written to be recited in connection -with the opening ceremony mentioned above.</p> - -<p>It shows us how much architecture was esteemed by -Justinian, that the historian of his wars wrote also a history -of his buildings; and the court poet was employed to celebrate -the greatest of them in verse. On many accounts -the poem is the best ancient architectural description -extant. It is exact in accuracy, most orderly in its sequence -when read with a knowledge of the building, and must have -been written within its walls. A close and careful study -written when architectural ideas were in the ascendant—the -chief subject of thought in times of peace—it is no futile -attempt to explain a work of genius in terms of mechanics -and foot-rule measurements, after the manner of an architectural -lecture, but it translates the ideas of the artist into -the words of the poet. The conceit of Homeric metre -and phrasing is almost a charm at this distance of time, -the poet’s enthusiasm being quite sufficient to carry off the -affectation of attempting an architectural epic. It is not -however in its form but in its stimulus to imagination that -we see its chief value.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_35">[Pg 35]</span></p> - -<h2 class="nobreak" id="CHAPTER_III">CHAPTER III</h2> -</div> - -<p class="cd">THE SILENTIARY’S POEM—PART I</p> - - -<p>The first eighty lines of the Prelude are an eulogy on -the emperor. The succeeding lines were addressed to the -clergy. “We come to you, sirs, from the home of the -emperor, to the home of the Almighty Emperor, the -Deviser of the Universe, by whose grace victory cleaves to -our lord. The august head of our state lent a kindly ear -to our words, as he sat in the hall; now we see the chief of -the sacred priests. May he too favour us, and may none of -those who listen carp at our words.”</p> - -<p>The poem itself, in long Homeric hexameters, begins by -describing the general peace throughout the Roman world -at the time of the restoration of S. Sophia. Dr. Körtum -notes the following references to events only then recently -passed. The rule of the Vandals in Africa had been -destroyed by Belisarius (534), and a later insurrection -quelled (545); the reign of the Ostrogoths in the West had -come to an end (554), and peace had just been concluded -with the Persians (561). There is also an allusion to the -conspiracy of this same year, when an attempt was made on -the emperor’s life.</p> - -<p>The poet then, describing the ruin caused by the earthquake -(558) at S. Sophia, tells us that “the very -foundations of the dome failed, and thick clouds of dust -darkened the midday sun. Yet the whole church did not -fall, but only the top of the eastern vault, and a portion of -the dome above. Part lay on the ground, part open to the<span class="pagenum" id="Page_36">[Pg 36]</span> -light of day, hung suspended in the air.” “But the -emperor soon began to build again, the Genius of New -Rome by his side.”</p> - -<p>When the emperor went to the ruins of the church he -praised the skilful craft of Anthemius; “he it was who -laid the first foundations of the church, one skilled to draw -a circle or set out a plan.<a id="FNanchor_64" href="#Footnote_64" class="fnanchor">[64]</a> And he gave to the walls -strength to resist the pushing arches, which were like active -demons. This time it was not merely the crown of the arch -that gave way [see above, p. <a href="#Page_28">28</a>], for the very piers were -shaken to their foundations.”</p> - -<p>The poet now describes the building: “Whoever raises -his eyes to the beauteous firmament of the roof, scarce dares -to gaze on its rounded expanse sprinkled with the stars of -heaven, but turns to the fresh green marble below, seeming -as it were to see flower-bordered streams of Thessaly, -and budding corn, and woods thick with trees; leaping -flocks too and twining olive-trees, and the vine with green -tendrils, or the deep blue peace of summer sea, broken by -the plashing oars of spray-girt ship. Whoever puts foot -within the sacred fane, would live there for ever, and his eyes -well with tears of joy. Thus by Divine counsel, while -angels watched, was the temple built again.</p> - -<p>“At last the holy morn had come, and the great door of -the new-built temple groaned on its opening hinges, inviting -emperor and people to enter; and when the inner part was -seen sorrow fled from the hearts of all, as the sun lit the -glories of the temple. ’Twas for the emperor to lead the -way for his people, and on the morrow to celebrate the birth -of Christ. And when the first gleam of light rosy-armed -driving away the dark shadows, leapt from arch to arch, -then all the princes and people with one voice hymned their -songs of prayer and praise; and as they came to the sacred -courts, it seemed to them as if the mighty arches were set in -heaven.</p> - -<p><i>Apse and Exedras.</i>—“Towards the East unfold triple spaces -of semicircular form; and above, on an upright band of -wall, soars aloft the fourth part of a sphere. Even so, high<span class="pagenum" id="Page_37">[Pg 37]</span> -over its back and triple crest, shimmer the tail feathers of a -peacock, with their countless eyes. These crowning parts men -learned in the builder’s art call conchs; and certain it is they -call them so from a shell of the sea, or ’tis a craftsman’s -name.</p> - -<p><i>Apse.</i>—“The middle apse holds the stalls (<i>thokoi</i>) and steps -(<i>bathra</i>) ranged circle-wise. Some on the level of the ground -are massed close together round the centre; and as they rise -higher, with the spaces between them, they widen out little -by little, until they come to the stalls of silver. Thus with -increasing circles they ever wheel round a fixed circle in the -pavement.</p> - -<p><i>Bema.</i>—“Now the apse is separated [from the nave] by a -space between vertical walls built on strong foundations, -with an arch<a id="FNanchor_65" href="#Footnote_65" class="fnanchor">[65]</a> above, not a portion of a sphere, but in the -form of a cylinder cleft in twain.</p> - -<p><i>Exedras.</i>—“And westwards again are two conchs on -columns, one on either side; projecting as if stretching -out bent arms to embrace the people singing in the church. -They are borne by columns of porphyry, bright of bloom -ranged in semicircular line, and with capitals (<i>karenoi</i>) of -gold, carrying the weight of the arches (<i>kukloi</i>) above. -These columns were once brought from the cliffs of Thebes, -which stand, like greaved warriors, by the banks of Nile. -Thus, on two columns, on either side, rise the lower parts of -either exedra (<i>apsis</i>). And for the support of each, the -skilled workman has bent from below three small semicircular -arches (<i>apsides</i>); and, beneath their springing, the -tops (<i>kareata</i>) of the columns are bound with well-wrought -bronze, overlaid with gold, which drives away all fear. Now -above the porphyry columns stand others from Thessaly, -splendid flowers of fresh green. Here are the fair upper -galleries for the women. These too have arches, as may be -seen from below, though they show six Thessalian columns -and not two. And one wonders at the power of him, who -bravely set six columns over two, and has not trembled to fix -their bases over empty air.<a id="FNanchor_66" href="#Footnote_66" class="fnanchor">[66]</a></p> - -<p><span class="pagenum" id="Page_38">[Pg 38]</span></p> - -<div class="figcenter" id="f5"> - <img src="images/p038.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 5.</span>—Ground Plan.</p></div> -</div> - -<p><span class="pagenum" id="Page_39">[Pg 39]</span></p> - -<div class="figcenter" id="f6"> - <img src="images/p039.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 6.</span>—Plan of Gynaeceum Galleries. The left-hand side of each plan shows the -vaults, and the right-hand side the iron ties and wood struts at springing of vaults.</p></div> -</div> - -<p><span class="pagenum" id="Page_40">[Pg 40]</span></p> - -<p>“Now the workman has fenced all the spaces between the -Thessalian columns, with stone closures, on which the women -can lean and support their elbows. Thus as you raise your -gaze to the eastern arches (<i>antuges</i>) a never-ending wonder -appears.</p> - -<p><i>Eastern Semidome.</i>—“And upon all of them, above the -curved forms rises yet another vault (<i>apsis</i>), borne on the -air, raising its head aloft up to the wide-reaching arch, on -whose back are firmly fixed the lowest courses of the divine -head-piece (<i>koros</i>) of the centre of the church. Thus rises -on high the deep-bosomed vault, borne above triple voids -below; and through fivefold openings, pierced in its back, -filled with thin plates of glass, comes the morning light -scattering sparkling rays.</p> - - -<div class="smcap center p1">Part II</div> - -<p><i>Western End.</i>—“And looking towards the sunset, one might -see the same as towards the dawn, though a portion differs. -For there in the centre it is not drawn round in a circle, as -on the eastern boundary, where sit the learned priests on -seats of resplendent silver, but at the west end is a vast -entrance (<i>puleon</i>); not only one door, but three.</p> - -<p><i>Narthex.</i>—“And outside of the doors (<i>pulai</i>) there stretches -a long porch (<i>aulon</i>), receiving beneath wide portals (<i>thuretroi</i>) -those that enter; and it is as long as the wondrous -church is broad. In the Greek speech this part is called the -narthex. Here through the night swells the melodious -sound, pleasing to the ears of Him who giveth life to all; -when the psalms of David are sung in antiphonal strains—that -sweet-voiced David, whom the divine voice of the -Almighty praised, and whose glorious posterity conceived -the sinless Son of God, who was in Virgin’s pangs brought -forth, and subjected to a Mother’s care. Now into this -porch open seven wide holy gates (<i>puleones</i>), inviting the -people to enter. One of them is on the south of the narrow -porch, and another opens to Boreas, but the others are -opened on creaking hinges by the doorkeeper (<i>neokoros</i>) in -the west wall. This wall is the end of the church.</p> - -<p><span class="pagenum" id="Page_41">[Pg 41]</span></p> - -<p>“Whither am I carried? What breeze has driven, like a -ship at sea, my errant speech? The very centre of the -famous church is all forgotten; return, my muse, to see -the wonders scarcely to be believed when seen or heard.</p> - -<p><i>The Four Piers.</i>—“Alongside of the eastern and western -curves (<i>kukloi</i>)—the half-circles with their pairs of columns -from Thebes—stand four strong well-built piers (<i>toichoi</i>), -naked to look on in front, but on their sides and backs they -have supporting arches, and the four rest on strong foundations -of hard stones. In the joints the workman has mixed -and poured the dust of fireburnt stone, binding all together -with the builder’s art.</p> - -<p>“Above them spring measureless curved arches like the -many-coloured bow of Iris: one opens towards the home of -Zephyr, another to Boreas, another to Notus, and yet another -to the fiery Eurus. And every arch (<i>antux</i>) has its foot at -either end fixed unshaken, and joined to the neighbouring -curves. But as each rises slowly in the air in bending line, -it separates from the other to which first it was joined.</p> - -<p><i>The Pendentives.</i>—“Now the part between these same -arches (<i>apsides</i>) is filled with wondrous skill. For where, -as needs must be, the arches bend away from one another, -and would have shown empty air, a curved wall, like a -triangle, grows over, touching the rim of the arches on either -side. And the four triangles, creeping over, spread out, until -they become united above the crown of each arch. The -middle portion of the arches, as much as forms the curved rim, -the builder’s skill has formed with thin bricks (<i>plinthoi</i>), and -has thus made fast the topmost curves of the house of stone.</p> - -<p>“Now in the joints they have put sheets of soft -lead, lest the stones, as they lie on one another, adding -weight to weight, should have their backs broken. Thus -with the lead inserted, the pressure is softened, and the stone -foundation is gently burdened.</p> - -<p><i>Cornice of Dome.</i>—“A rim (<i>antux</i>) curving round, is firmly -fixed on the backs (of the arches), where rests the base of the -hemisphere<a id="FNanchor_67" href="#Footnote_67" class="fnanchor">[67]</a>; this is the circle of the lowest course which<span class="pagenum" id="Page_42">[Pg 42]</span> -they have set as a crown on the backs of the arches (<i>apsides</i>). -And just under the projecting firmament (<i>kosmos</i>), the -hanging stones form a narrow curved path, on which the man -who cares for the sacred lights can walk fearlessly, and trim -each in turn.</p> - -<p><i>The Dome.</i>—“And above all rises into the immeasurable -air the great helmet [of the dome], which, bending over, -like the radiant heavens, embraces the church. And at the -highest part, at the crown, was depicted<a id="FNanchor_68" href="#Footnote_68" class="fnanchor">[68]</a> the cross, the -protector of the city. And wondrous it is to see how the -dome gradually rises, wide below, and growing less as it -reaches higher. It does not however spring upwards to a -sharp point, but is like the firmament which rests on air, -though the dome is fixed on the strong backs of the arches.”</p> - -<p>(Here is a lacuna in the Greek text; two broken lines, -94, 95, speak of “window openings made in the apses, -through which streams the splendour of the golden morning -light.”)</p> - -<p>“With dauntless pen I will describe what plan the emperor -devised for the broad church, and how, with builder’s skill, -both the curves of the arches and the vault of the wide-extended -house were formed with thin bricks (<i>plinthoi</i>), and -raised on firm foundations. Thus the skilful master-man, -well versed in every craft, formed a ceiling to the lofty -nave. Yet he did not send to the hills of Phœnician -Lebanon, nor to search the dark woods of the Alpine crags, -nor where some Assyrian or Celtic woodman goads on the -oxen in dense forests, nor did he think to use fir (<i>peuke</i>) or -pine (<i>elate</i>) to roof the house. From neither the glades of -Daphne<a id="FNanchor_69" href="#Footnote_69" class="fnanchor">[69]</a> by Orontes, nor from the wooded crags of Patara<a id="FNanchor_70" href="#Footnote_70" class="fnanchor">[70]</a> -came cypress wood, to form a covering for the mighty -temple. For our noble king, since nature could produce no -timber great enough, had it covered with stones (<i>lithoi</i>) laid -in a round form. Thus on the four arches (<i>apsides</i>) rose,<span class="pagenum" id="Page_43">[Pg 43]</span> -like a beauteous helmet, the deep-bosomed swelling roof -(<i>kaluptra</i>): and it seems that the eye, as it wanders round, -gazes on the circling heavens. And beneath the two great -arches (<i>apsides</i>), to the east and to the west, you must know -that it is all open, and extended in the air.</p> - -<p>“But towards the murmuring south wind and the cold dry -north, a wall, mighty in strength, rises to the under side of -the rounded arch (<i>antux</i>). Now this wall is made bright -with eight windows, and rests below on great props of -marble. For beneath it six columns, like the fresh green of -the emerald, in union support untired the weight of wall. -And these again are borne on strong columns fixed immovable -on the ground, glittering jewels of Thessalian marble, with -capitals above them like locks of golden hair. These separate -the middle portion of the glorious nave from the neighbouring -aisle (<i>aithousa</i>) that stretches alongside. Never were -such columns, blooming with a many-hued brightness,<a id="FNanchor_71" href="#Footnote_71" class="fnanchor">[71]</a> hewn -from the craggy hills of sea-washed Molossis.</p> - -<p><i>North Aisle, Centre Division.</i>—“And in the aisle itself, in -the middle space Anthemius of many crafts, and with him -Isiodorus the wise,—for both of them, acting under the -will of the king, built the mighty church—have placed two -pairs of columns, and in measure they are less than those -others near them, but they are as bright with fresh green -bloom, and they came from the same quarry.</p> - -<p>“Yet their bases are not placed in a row, one after the -other, but they stand on the pavement two facing two -opposite; and above their capitals on fourfold arches (<i>seireai</i>) -rises the underside of the women’s galleries. And close -by these columns on the north side is a door, admitting the -people to the founts that purify the stains of mortal life, -and heal every deadly scar.</p> - -<p>“Thus on four columns of beautiful Thessalian stone, in -order, placed here and there, towards the twilight and to the -dawn, along the length of the aisle (<i>aithousa</i>) there curves a -weight of bending vaults (<i>kulindroi</i>) extending to the walls, -which are pierced with openings; on the northern side they<span class="pagenum" id="Page_44">[Pg 44]</span> -lean on the spaces that join the twin windows,<a id="FNanchor_72" href="#Footnote_72" class="fnanchor">[72]</a> but on the -south, instead of windows are empty spaces like a -colonnade.</p> - -<p><i>North Aisle, East and West Divisions.</i>—“And again -towards the east and west stand two columns from Thessaly, -with lofty crests, and twin piers (<i>stemones</i>) from -famous Proconnesus, fixed close by the doors. Towards -the east there is but one door, though on the side of the -cold north they walk through twain.</p> - -<p><i>South Aisle.</i>—“On the south you will see a long aisle as -on the north, yet made bigger. For a part is separated off -from the nave by a wall, and here the emperor takes his -accustomed seat on the solemn festivals, and listens to the -reading of the sacred books.</p> - -<p><i>Gynaecea.</i>—“And whoever mounts will find on both sides -of the church the aisles for women similar to those below, -and there is yet another, though not like those on either -side, above the narthex.</p> - -<p><i>Atrium.</i>—“Now on the western side of this divine church -you will see a great open court (<i>aule</i>) surrounded by four -cloisters. One of these joins on to the narthex, but the -others spread round the sides, where stand their several -paths. In the very centre of the wide garth stands a -spacious phiale, cleft from the Iassian peaks; and from it -bubbling water gushes forth and throws a stream into the -air, leaping up from the pressure of the brazen pipe—a -stream that purges away all suffering, when the people, in -the month of the golden vestments<a id="FNanchor_73" href="#Footnote_73" class="fnanchor">[73]</a> at the mystic feast of -Christ, draw the unsullied waters in vessels by night. And -the water shows the power of God; for never will you find -decay on its surface, even if it remains in its vessel, and away -from the fountain for more than a year.<a id="FNanchor_74" href="#Footnote_74" class="fnanchor">[74]</a></p> - -<p>“Everywhere the walls glitter with wondrous designs, the -stone for which came from the quarries of seagirt Proconnesus.<span class="pagenum" id="Page_45">[Pg 45]</span> -The marbles are cut and joined like painted -patterns, and in stones formed into squares or eight-sided -figures the veins meet to form devices; and the stones show -also the forms of living creatures.</p> - -<p>“And on either side along the flanks and outskirts (<i>antuges</i>) -of the beautiful church, you would see open courts (<i>aulai</i>). -These were all planned about the building with cunning -skill, that it might be bathed all round by the bright light -of day.</p> - -<p><i>The Marbles.</i>—“Yet who, even in the measures of Homer, -shall sing the marble pastures gathered on the lofty walls -and spreading pavement of the mighty church? These the -iron with its metal tooth has gnawed—the fresh green from -Carystus, and many-coloured marble from the Phrygian -range, in which a rosy blush mingles with white, or it shines -bright with flowers of deep red and silver. There is a -wealth of porphyry too, powdered with bright stars, that -has once laden the river boat on the broad Nile. You -would see an emerald green from Sparta, and the glittering -marble with wavy veins, which the tool has worked in the -deep bosom of the Iassian hills, showing slanting streaks -blood-red and livid white. From the Lydian creek came -the bright stone mingled with streaks of red. Stone too -there is that the Lybian sun, warming with his golden light, -has nurtured in the deep-bosomed clefts of the hills of the -Moors, of crocus colour glittering like gold; and the -product of the Celtic crags, a wealth of crystals, like milk -poured here and there on a flesh of glittering black. There -is the precious onyx, as if gold were shining through it: -and the marble that the land of Atrax yields, not from some -upland glen, but from the level plains; in parts fresh green -as the sea or emerald stone, or again like blue cornflowers -in grass, with here and there a drift of fallen snow,—a sweet -mingled contrast on the dark shining surface.</p> - -<p><i>Sectile and carved Spandrils.</i>—“Before I come to the glitter -of the mosaic,<a id="FNanchor_75" href="#Footnote_75" class="fnanchor">[75]</a> I must describe how the mason (<i>laotoros</i>), -weaving together with skill thin slabs of marble, has -figured on the flat surface of the walls intertwining curves<span class="pagenum" id="Page_46">[Pg 46]</span> -laden with plenteous fruit, and baskets, and flowers, and birds -sitting on the twigs. And the curved pattern of a twining -vine with shoots like golden ringlets, weaves a winding -chain of clusters; little by little does it put forth shoots, -until it overshadows all the stone near with ripples like -beauteous tresses. Such ornament as this surrounds the -church.</p> - -<p><i>The Capitals.</i>—“And the lofty crest of every column, -beneath the marble abacus (<i>peze</i>), is covered with many a -supple curve of waving acanthus—a wandering chain of -barbed points all golden, full of grace. Thus the marble in -bulging forms crowns the deep red columns, as wool the -distaff; the stone glittering with a beauty that charms the -heart.</p> - -<p><i>The Floor.</i>—“And gladly have the hills of Proconnesus -bent their backs to necessity, and strewed the floor with -marble. In parts too shimmers the polish of the Bosporus -stone, with white streaks on black.</p> - -<p><i>The Mosaic.</i>—“Now the vaulting is formed of many a -little square (<i>psephos</i>) of gold cemented together. And -the golden stream of glittering rays pours down and strikes -the eyes of men, so that they can scarcely bear to look. -One might say that one gazed upon the midday sun in -spring, what time he gilds each mountain height.</p> - -<p><i>Iconostasis.</i>—“Our emperor has levied from the whole -earth, and brought together the wealth of the barbarians of -the west; for as he did not deem stone a fitting adornment -for the divine, eternal temple, on which [New] Rome has -centred the expectancy of joy; he has not spared enrichments -of silver, and so the ridge of Pangaeus<a id="FNanchor_76" href="#Footnote_76" class="fnanchor">[76]</a> and -the height of Sunium<a id="FNanchor_77" href="#Footnote_77" class="fnanchor">[77]</a> have opened all their silver veins, -and many treasure-houses of our subject kings have yielded -their stores.</p> - -<p>“For as much of the great church by the eastern arch as -was set apart for the bloodless sacrifices, no ivory, no stone, -nor bronze distinguishes, but it is all fenced with the silver -metal. Not only upon the walls, which separate the holy<span class="pagenum" id="Page_47">[Pg 47]</span> -priests from the crowd of singers,<a id="FNanchor_78" href="#Footnote_78" class="fnanchor">[78]</a> has he placed mere plates -of silver, but he has covered all the columns themselves -with the silver metal, even six sets of twain; and the -rays of light glitter far and wide. Upon them the tool -has formed dazzling circles, beautifully wrought in skilled -symmetry by the craftsman’s hand, in the centre of which is -carved the symbol of the Immaculate God, who took upon -Himself the form of man. In parts stand up an army of -winged angels in pairs, with bent necks and downcast mien -(for they could not gaze upon the glory of the Godhead, -though hidden in the form of man to clear man’s flesh from -sin). And elsewhere the tool has fashioned the heralds of -the way of God, even those by whose words were noised -abroad, before He took flesh upon Him, the divine tidings -of the Anointed One. Nor had the craftsman forgotten -the forms of those others, whose childhood was with the -fishing-basket and the net; but who left the mean labours -of life and unholy cares to bear witness at the bidding of a -heavenly king, fishing even for men, and forsaking the skill -of casting nets to weave the beauteous seine of eternal life. -In other parts art has limned (<i>kategraphe</i>) the Mother of -Christ, the vessel of eternal Light, whose womb brought -Him forth in holy travail.</p> - -<p>“But on the middle panels of the sacred screen, which -forms the barrier for the priests, the carver’s art has cut one -letter that means many words, for it combines the name of -our king and queen. And he has also wrought a form like -a shield with a boss, showing the cross in the middle parts. -And through the triple doors the screen opens to the -priests. For on each side the skilful hand of the workman -has made small doors.</p> - -<p><i>The Ciborium.</i>—“And above the all-holy table of gold -rises in the air a tower (<i>purgos</i>) indescribable, reared on -fourfold arches of silver. And it is borne aloft on silver -columns, on whose tops every arch rests its silver feet. -And above the arches rises a figure like a cone, yet it is not -complete. For at the bottom its edge (<i>antux</i>) does not -turn round in the circular form, but has an eight-sided base,<span class="pagenum" id="Page_48">[Pg 48]</span> -and from a broad plan it gradually diminishes to a sharp -point, having eight sides of silver. And at the juncture of -each to other is, as it were, a long backbone (<i>rachis</i>) which -seems to join with the triangular faces of the eight-sided -form, and rises to a single crest, where is artfully wrought -the form of a cup. And the edges of the cup bend over -and assume the form of leaves, and in the midst of it has -been placed a shining silver globe, and the cross surmounts -it all. May it be an omen of peace! But above the arches -many a curve of acanthus twines round the lower part of -the cone, and the plant shows sharp projections which rise -up from the groundwork like the fruit of a fragrant pear, -glittering with light.</p> - -<p>“Now where the fitted edges join the flat base are fixed -and set bowls of silver. And in each cup stands as it were a -candle, though it is a glittering symbol not made of wax, -and beauty flashes from them and not light. For they are -made round of silver, brightly polished. Thus the candle -flashes a silver ray not the light of fire.</p> - -<p><i>The Altar.</i>—“And on columns of gold is raised the all -gold slab<a id="FNanchor_79" href="#Footnote_79" class="fnanchor">[79]</a> of the holy table, standing on gold foundations, -and bright with the glitter of different stones.</p> - -<p>“Whither am I carried? whither tends my unbridled -speech? Let my voice be silent, and not lay bare what is -not meet for the eyes of the people to see.</p> - -<p><i>Altar Curtains.</i>—“But, ye priests, as the sacred laws command -you, spread out the curtain dipped in the red dye of -the Sidonian shell and cover the sacred table. Unfold the -veils (<i>kaluptrai</i>) hanging on the four sides of silver, and -show to the countless crowd a multitude of beautiful designs -in gold of skilful handiwork. On one side is cunningly -wrought the form of Christ. And this was not worked by -skilful hands plying the needle on the stuff, but by the web, -the produce of the worm<a id="FNanchor_80" href="#Footnote_80" class="fnanchor">[80]</a> from distant lands, changing its -coloured threads of many shades. A garment shimmering -with gold, like the rays of rosy-fingered dawn, flashes down -to the divine knees, and a chiton, deep red from the Tyrian<span class="pagenum" id="Page_49">[Pg 49]</span> -shell dye, covers the right shoulder beneath its well-woven -web. The veiling upper robe has slipped away, and pulled -up across the side it only covers the left shoulder, while the -forearm and the hand are bare. He seems to point the -fingers of the right hand, as if preaching the words of Life, -and in the left hand He holds the book of the divine message,—the -book that tells what the Messiah accomplished when -his foot was on the earth. And the whole robe shines with -gold; for on it a thin gold thread is led through the web, as -if a fair chain was laid on the cloth in a groove or channel -and bound with silken thread by sharp needles. And on -either side stand the two messengers of God—Paul, full of -divine wisdom, and also the mighty doorkeeper of the Gates -of Heaven, binding with both heavenly and earthly chains. -One holds the book pregnant with sacred words, and the -other the form of a cross on a staff of gold. And both the -cunning web has clothed in robes of silver white, and over -their sacred heads rises upward a temple of gold, with triple -apses fixed on four columns of gold.</p> - -<p>“Now on the extreme borders of the curtain shot with gold, -unspeakable art has figured the works of mercy of our city’s -kings; here one sees hospitals for the sick, there sacred -fanes, while on either side are displayed the miracles of -Christ; such is the grace and beauty of the work.</p> - -<p>“But on the other curtains you see the kings of the earth -on one side with their hands joined to those of the Virgin, -on the other side with those of Christ, and all is cunningly -wrought by the threads of the woof with the sheen of a -golden warp. Thus is everything adorned with splendour. -Thus may you see all that fills the eyes with wonder.</p> - -<p><i>The Lighting.</i>—“No words can describe the light at night-time; -one might say in truth that some midnight sun -illumined the glories of the temple. For the wise forethought -of our king has had stretched from the projecting -rim (<i>antux</i>) of stone, on whose back is firmly planted the -temple’s air-borne dome, long twisted chains (<i>seirai</i>) of -beaten brass, linked in alternating curves with many windings. -And these chains, bending down from every part in a long -course, come together as they fall towards the ground. But<span class="pagenum" id="Page_50">[Pg 50]</span> -before they reach the pavement, their path from above is -checked, and they finish in unison on a circle.</p> - -<p>“And beneath each chain he has caused to be fitted silver -discs, hanging circle-wise in the air, round the space in the -centre of the church. Thus these discs, pendent from their -lofty courses, form a coronet above the heads of men. They -have been pierced too by the weapon of the skilful workman, -in order that they may receive shafts<a id="FNanchor_81" href="#Footnote_81" class="fnanchor">[81]</a> of fire-wrought glass, -and hold light on high for men at night.</p> - -<p>“And not from discs alone does the light shine at night, -but in the circles close by a disc you would see the symbol -of the mighty cross, pierced with many holes, and in its -pierced back shines a vessel of light. Thus hangs the -circling chorus of bright lights. Verily you might say that -you gazed on the bright constellation of the Heavenly -Crown by the Great Bear, and the neighbouring Dragon.</p> - -<p>“Thus through the temple wanders the evening light, -brightly shining. In the middle of a larger circle you -would find a crown with lightbearing rim; and above in -the centre another noble disc spread its light in the air, so -that night is compelled to flee.</p> - -<p>“Near the aisles too, alongside the columns, they have hung -in order single lamps (<i>lampter</i>) apart one from another; and -through the whole length of the far-stretching nave is their -path. Beneath each they have placed a silver vessel, like a -balance pan, and in the centre of this rests a cup of well-burning -oil.</p> - -<p>“There is not however one equal level for all the lamps, -for you may see some high, some low, in comely curves of -light; and from twisted chains they sweetly flash in their -aerial courses, even as shines twin-pointed Hyas fixed in the -forehead of Taurus.</p> - -<p>“One might also see ships of silver, bearing a flashing -freight of flame, and plying their lofty courses in the liquid -air instead of the sea, fearing no gale from south-west, nor -from Boötes, sinking late to rest. And above the wide floor -you would see shapely beams (with lamps), running between<span class="pagenum" id="Page_51">[Pg 51]</span> -two-horned supports of iron, by whose light the orders -of priests, bound by the rubrics, perform their duties.</p> - -<p>“Some there are along the floor, where the columns have -their bases, and above again others pass, by far-reaching -courses, along the crowning work of the walls. Neither is -the base of the deep-bosomed dome left without light, for -along the projecting stone of the curved cornice the skilful -workman suspends single lamps to bronze stakes. As when -some handmaid binds round the neck of a royal virgin a -graceful chain shining with the glitter of fiery gold; even -so has our emperor fixed round all the cornice lights in -circle-wise, companions everywhere to those below.</p> - -<p>“There is also on the silver columns [of the Iconostasis], -above their capitals, a narrow way of access for the lamp-lighter, -glittering with bright clusters; these one might -compare to the mountain-nourished pine, or cypress with -fresh branches. From a point ever-widening circles spread -down until the last is reached, even that which curves round -the base; instead of a root, bowls of silver are placed -beneath the trees, with their flaming flowers. And in the -centre of this beauteous wood, the form of the divine cross, -pierced with the prints of the nails, shines with light for -mortal eyes.</p> - -<p>“A thousand others within the temple show their gleaming -light, hanging aloft by chains of many windings. Some are -placed in the aisles, others in the centre or to east and West, or -on the crowning walls, shedding the brightness of flame. Thus -the night seems to flout the light of day, and be itself as -rosy as the dawn. And whoever gazes on the lighted trees, -with their crown of circles, feels his heart warmed with joy; -and looking on a boat<a id="FNanchor_82" href="#Footnote_82" class="fnanchor">[82]</a> swathed with fire, or some single -lamp, or the symbol of the Divine Christ, all care vanishes -from the mind. So with wayfarers through a cloudless night, -as they see the stars rising from point to point; one watches -sweet Hesperus, another’s attention is fixed on Taurus, and a -third contemplates Boötes, or Orion and the cold Charles’ -Wain; the whole heaven, scattered with glittering stars, opens -before them, while the night seems to smile on their way.</p> - -<p><span class="pagenum" id="Page_52">[Pg 52]</span></p> - -<p>“Thus through the spaces of the great church come rays of -light, expelling clouds of care, and filling the mind with joy. -The sacred light cheers all: even the sailor guiding his bark -on the waves, leaving behind him the unfriendly billows of -the raging Pontus, and winding a sinuous course amidst -creeks and rocks, with heart fearful at the dangers of his -nightly wanderings—perchance he has left the Ægean and -guides his ship against adverse currents in the Hellespont, -awaiting with taut forestay the onslaught of a storm from -Africa—does not guide his laden vessel by the light of -Cynosure, or the circling Bear, but by the divine light of -the church itself. Yet not only does it guide the merchant -at night, like the rays from the Pharos on the coast of Africa, -but it also shows the way to the living God.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_53">[Pg 53]</span></p> - -<h2 class="nobreak" id="CHAPTER_IV">CHAPTER IV</h2> -</div> - -<p class="cd">THE AMBO</p> - - -<p>The third part of the description of the Silentiary is -devoted to the ambo, the chief feature in Justinian’s reinstatement -of the interior. It stood far out from the bema, -on the central axis of the church. Germanus, Patriarch -of Constantinople from 715-740 <span class="allsmcap">A.D.</span>, and Simeon of -Thessalonica both speak of this as the right position -for ambones; “the most holy bema should be towards -the east, with the ambo in front of it, if there is room.”<a id="FNanchor_83" href="#Footnote_83" class="fnanchor">[83]</a> -The two flights of steps, by which the ambo—the name of -which is derived from the Greek for ascending—was reached, -were on the east and west sides. In the ambo the Gospel -was read, and here was recited a prayer<a id="FNanchor_84" href="#Footnote_84" class="fnanchor">[84]</a> at the conclusion of -the liturgy, which seems to have been a compendium of those -previously uttered in the sanctuary; the priest left the bema, -ascended the ambo on the east side, and prayed with his face -towards the west. Important offices in coronations were also -performed here.</p> - -<p>Paulus’ description of the ambo opens with a preface of -thirty iambic lines in praise of the emperor, who has added -the “one thing needful to our all-glorious church.” The -importance of this work is made an excuse for interrupting -the “usual pursuits of his hearers even for a third time.” -Twenty hexameter lines are devoted to an invocation to the -apostles and saints, and then follows the description of the -ambo.</p> - -<p><span class="pagenum" id="Page_54">[Pg 54]</span></p> - -<p>“Now in the central space of the wide temple, yet tending -rather towards the east, rises a tower (<i>purgos</i>), fair to look -upon, set apart for the reading of the sacred books. Upright -it stands on steps, reached by two flights, one of which -stretches towards the west, but the other towards the dawn. -So are they opposite to one another, and both lead to a space -formed like a circle. Now one stone curves round to form -this circular space, though it is not altogether equal to a -complete curve (<i>tornos</i>), but it agrees with it except where -the edge of the -stone is lengthened; -for towards -east and west a -flight of steps is -drawn out like a -neck, projecting -from the circled -stone.</p> - -<div class="figcenter" id="f7"> - <img src="images/p054.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 7.</span>—Plan of the Ambo both above and below.</p></div> -</div> - -<p>“And up to the -height of a man’s -girdle our godlike -king has formed, -with the help of -silver, beauteous -walls curving like -crescents. He has -not bent silver -right round the -stone, but a silver -plaque (<i>plax</i>) is -spread out in the centre, to adorn the circling wall. Thus -has the skilful workman spread out two sure crescents and -opened on either side a flight of steps.</p> - -<p>“Nor does fear seize those descending the sacred steps, because -the sides are unfenced; for hedge walls of glittering -marble have been reared there; and they are high above the -steps for the hand of a man to hold as he mounts, grasping -them to ease his way; so on each side they grow upwards in -a rising line, and stop at length with the steps which are<span class="pagenum" id="Page_55">[Pg 55]</span> -between them. Thus good use is made of the stone; for -they have quarried savage hill, and steep promontory, to have -a far-stretching safeguard to the long flight. And the whole -is cunningly wrought with skilful workmanship, and glitters -with ever-changing brightness. In parts it seems that whirlpools -eddy over the surface, intertwining circles winding -under the wandering curves of other circles. In parts is seen -a rosy bloom, mingled with wan paleness, or fair gleams of -light, as from bright spearheads; in other places shines a -softer glory, like the radiance of boxwood, or the delightsome -bees-wax, which mortal men ofttimes lay on the unsullied -cliffs, and turn over beneath the rays of the sun, while it -changes to a silver white; yet not completely altering its -substance, it still shows veins of gold. Even so the deep-stained -ivory of many a year’s growth expands its gleaming -flesh on the curved breast. At times it seems to have a pale -green hue. Yet the craftsman has not left it pallid and unadorned, -for he has fixed it in fair and cunningly wrought -designs on the stone. Thus over all in many a curve its -beauty is displayed. In parts the broad surface is tinged -with the choicest tint of the pale crocus, or appears almost -without colour, like light creeping round the pointed horns -of the new-born moon.</p> - -<p>“Now near a rocky hill stands the sacred city—Hierapolis—which -gives its name to a well-known marble; and of this -is made all the fair floor of the place where they read the -divine wisdom of the holy books; and it is fitted by the -craftsmen’s skill on eight cunningly wrought columns. Two -of these are towards the north, two towards the southern -wind, two towards the east, and two towards the home of -evening. Thus is the floor raised up. And beneath there -is as it were another space, where the priests continue their -sacred song. The stone is a covering to those below, but -above it is like a spreading plain, untouched by the feet of -mortals. And the underside the mason (<i>laotomos</i>) has cut -out and hollowed, so that, by the craftsmen’s skill, it rises -from the capitals, curving over like the hollow shell-back of -the tortoise, or some oxhide shield held up over the helmet, -when the warrior leaps in the mazes of the Pyrrhic dance.</p> - -<p><span class="pagenum" id="Page_56">[Pg 56]</span></p> - -<p>“Now the rugged surface (<i>metopon</i>) of the stone they have -girdled everywhere with the silver metal; and there the -skilled workman, cutting, with the point of his iron, twining -foliage and lovely flowers, has inlaid the beauteous leaves of -ivy, with its clusters and budding shoots.</p> - -<p>“But with all its steps and floor and the columns as well, the -artificers have formed for it a fixed foundation, and raised a -base (<i>krepis</i>), the height of a man’s foot, above the floor of -the church; and in order that they might widen the foundation -of the space they have placed on either side, round the -belly (<i>gaster</i>) in the middle, half-circles in stone, and they -have surrounded the space with separate columns arranged in -semicircles. Thus the whole belly is widened by means of -four rich columns on either side, to north, and to south; and -the cave space (<i>speos</i>), like a house, is surrounded on all sides -by a fence of circling stone.</p> - -<p>“Some of the fair columns that the masons have set up are -from the Phrygian land, towards the Mygdonian heights, -hewn with strong axes: and looking on these flowers of stone, -one would say that white lilies mingled with rose cups, or the -soft petals of the shortlived anemone. Here is abundance of -red and a mere tinge of white, there thin sinews mix with the -veins which dye the columns deep red, as with drops from the -Laconian shell.</p> - -<p>“First then at the bottom they have placed the fairly -wrought plinth (<i>krepis</i>) supporting all, made beautiful with -twisting curves; and above it they have set stone bases, firmly -fixed, cut from the rich quarries of the Bosporus. Quite -white, they glitter, and in branching veins a deep blue line -wanders in the shining flesh. And the bases on the eight -sides the mason has adorned with moulded bronze rings fixed -circle-wise round each base, as round a neck. And through -the space of the whole church shines the glory of each column -fixed on its polished base, like a white cloud wrought into -patterns by the ruddy rays of the rising sun.</p> - -<p>“Thus are ranged in half-circles the company of four, and -this half with the other four they have connected by a fair -chiton of stone, even round the well-formed hollow (<i>antron</i>); -for the three spaces between the four columns have been<span class="pagenum" id="Page_57">[Pg 57]</span> -closed by the skilful mason with fencestones of marble from -Hierapolis, firmly fixed on the plinth (<i>krepis</i>). And it is -meet that this crown of stone on the fair floor of the sacred -fane should be called of ‘the Holy City’ (<i>Hierapolis</i>). In -the boundary is placed a door, slightly curved, through which -enters the priest, to the floor of the hollow cavern (<i>antron</i>).</p> - -<p>“Now you must know that the curve (<i>spelunx</i>), with -columns, and plinth (<i>krepis</i>), and fence wall, is alike on either -side, towards Garamas on the south and towards Arimaspus -[to the north]. But the doors the workmen have not fixed -in like places, but one is westwards and the other eastwards—the -western one inclines towards the north, but the southern -gate is towards the east. Moreover the fence-walls do not -stand the same height as the columns, but they rise above the -beauteous pavement, as much as to hide a man in the hollow -space (<i>antron</i>). But the eight columns with fair carved -capitals come out above the fence wall, and stand round it on -the base with equal spaces between them, even on the stone -plinth. The capitals shine with gold, like high peaks which -the golden-rayed sun strikes with its arrows.</p> - -<p>“And all the capitals on high are crowned above in circled -order by an embracing rim of beams (<i>douratea antux</i>), which -binds the columns together in one curve, though at the same -time each column is separate from its fellow. And fixed -upon the rim you might see trees, with clusters as of fire,—the -glitter of silver boughs shining afar. Nor does each -sapling wander at will, but it is restrained in a cone-like form -of many edges, from a wide circle ever lessening to a point -at the top. Now the fair girdle (<i>zoster</i>) that forms the rim -is all crowned with golden ivy-leaves, and coloured with -the sapphire dust. But towards the home of Zephyr, and -also towards the fiery-winged Eurus, there are fixed upon the -rim (<i>antux</i>) two crosses of silver, with a curved spike (<i>hêlos</i>) -above each, bending like a shepherd’s crook, flashing a thousand -lights to the eyes.</p> - -<p>“In this manner is the shining ambo made; thus have they -called it ‘the place ascended’ (<i>ambatos</i>), by holy paths, and -here the people direct their eyes, as they gaze on the divine -gospel.</p> - -<p><span class="pagenum" id="Page_58">[Pg 58]</span></p> - -<p>“And it is to good purpose that they have placed the cut -stones in steps, on whose white surface one might descry thin -veins of deep red like the dye of the sea-shell. For the unpolished -stones the mason has hewn into a long flight (<i>rachis</i>) -of steps, a strong support for the feet of men, lest any one -slipping from above and falling should descend all unsteady -to the floor; thus in order and in continuous line one stone, -as it rises above another, recedes from it, even as much as a -man ascending plants one step in turn in front of another.</p> - -<p>“And as an island rises amidst the swelling billows, bright -with patterns of cornfields, and vineyards, and blossoming -meadows, and wooded heights, while sailors, as they steer by -it, are gladdened, and the troubles and anxieties of the sea -are beguiled; so in the middle space of the boundless temple -rises upright the tower-like ambo of stone, with its marble -pastures like meadows, cunningly wrought with the beauty of -the craftsman’s art. Yet though it stands in the middle, it is -not quite cut off, like an island girdled by the sea, but is -rather like some wave-washed land, extended by a narrow -isthmus through the gray billows into the middle of the sea, -and were it not for this binding chain, it would be cut off -and seen as a true island; but though it projects into the -ocean, it is still joined to the mainland coast by the isthmus, -as by a cable.</p> - -<p>“Such is the ambo; for a long path starts from the last -step of its eastern flight, and stretches out until it comes to -the space by the twin silver doors, even striking with its -lengthy plinth the fence wall of the sacred rites; and the -path is warded on both sides by walls. Now for these fence -walls they have not placed lofty slabs, but they are as high -up as the navel of a man standing by them; and here the -priest, as he holds the golden gospel, passes along, and the -surging crowd strive to touch the sacred book with their -lips and hands, while moving waves of people break around.</p> - -<p>“Thus is this path prolonged like an isthmus, wave-washed -on either side, and it leads the priest as he descends from the -distant ambo with its lofty cliffs, to the shrine of the holy -table. And the whole path on both sides is fenced with the -fresh green stone of Thessaly; and the abundant rich<span class="pagenum" id="Page_59">[Pg 59]</span> -meadows of the stones bring the delight of beauty to the -eyes. Now at both ends of each slab from Thessaly stand -posts of equal height, not like a cylinder in form: one -skilled in figures would say that the posts were not equal-sided, -but have the shape of a lengthened cube. And the -masons (<i>laotoroi</i>) have made the joints of the Molossian slabs, -by wedging one stone into another; it is from the Phrygian -land that the stone-cutter (<i>laotupos</i>) has had these posts -quarried. And resting the wandering glance there one might -see snake-like coils twining over the fair marble, winding in -beauteous paths; there white and fiery red are set alongside -of one another and a flesh colour between both, the lines -bending in alternating coils, as they roll round in their -courses. First on one side, then on another, are seen the -forms of the moon and stars.</p> - -<p>“And on the uppermost rim of the fence wall they have -fitted another long stretching stone, quarried from the same -foreland crag, so that the Thessalian slab is fixed below on -the firm foundations of the plinth, and is bound above by -another band of marble; and the edges of the Thessalian -slabs are joined together as in a chain by the square -columns, which are set upright and firm on the foundation.</p> - -<p>“And as when one winds the gold twisted thread in and -out over the many-coloured surface of a Tyrian robe, and -adds a fitting pattern round the bottom edges, or in the fair -centre of the robe, or about the sleeve-holes for the arms -while the fresh green web of the cloak shines like a -meadow in spring,—the glory of the golden warp adding -beauty to beauty, and decking it as if with flowers; even so -the cunning workman has cast on the fresh green stones of -the sacred rock the glitter of golden rays, giving a brighter -beauty to them.</p> - -<p>“But at the eastern end of the passage, by the holy fence -walls of the altar, they have cut off the isthmus, so as to form -a speedier path for those who pass from side to side.</p> - -<p>“Such works as these has our emperor, bestowing splendid -gifts, built for God the King. For to the great bounties of -his peaceful reign he has added this much-praised temple, so<span class="pagenum" id="Page_60">[Pg 60]</span> -that with divine foresight he might prepare a gift for the -Creator of the world, Christ, King of All. Be thou, O glory -of the eternal Trinity, thrice favourable to this city of Rome, -to our citizens, our emperor, and our much-loved temple.”</p> - -<hr class="tb" /> - -<p>In following this description we see that it begins on -the raised floor of the ambo which was rounded on two -sides, the others being open to the steps at the east and west. -The breast wall on each side was largely covered with applied -silver wrought into patterns; and the rest, together with -the parapet slabs to the steps, were inlaid in ivory, probably -carved like the contemporary bishop’s throne at Ravenna. -The body of the ambo inlaid thus with ivory and silver was -upheld on eight columns, the underside of the floor stone -being hollowed into a flat dome like the fluted soffite of the -still older ambo at S. Apollinare at Ravenna. On either -side, around the ambo, was a semicircle of large columns of -rosy-veined Synnada marble on white bases with bronze -annulets and gilt capitals; between the columns breast-high -slabs of Hierapolis marble inclosed a space. The -circle of columns stood on a raised step, and above they were -bound together by a carved beam, the pattern being gilt -with the interspaces painted in ultramarine. On this to east -and west stood silver crosses; their upper limbs “bent like -shepherds’ crooks” doubtless formed the ΧΡ monogram. -Silver candelabra, cones of diminishing circles, stood round -about on the top of the beam. From the eastern steps a -passage way ran back to the step of the iconostasis, -inclosed on both sides by marble slabs grooved into posts, -bearing a top rail. This closure of Verde antique slabs was -inlaid in white and red patterns and gold mosaic.</p> - -<p>In this description two separate parts appear, the ambo -proper reached by the narrow inclosed way and ascended by -steps; and the space entered by two doors screened off about -it by the circle of large columns and closure slabs, “where -the priests continue their sacred song.” So in Constantine -Porphyrogenitus’ <i>Book of the Ceremonies</i><a id="FNanchor_85" href="#Footnote_85" class="fnanchor">[85]</a> we read of the -“psaltae” placed in the ambo singing, “Christ is risen.”</p> - -<p><span class="pagenum" id="Page_61">[Pg 61]</span></p> - -<p>We know little of the later history of the ambo. The -Anonymous Author, who probably wrote not earlier than the -twelfth century, comparing the mythical splendour of an -earlier ambo destroyed by a fall of the dome to another -which he attributes to Justinian’s nephew, Justin, says they -made the latter of marble, with columns covered with silver, -and with silver screens going round the solea. It had no -dome. Immediately after he compares the pavement which -he says was destroyed at the same time with one that <i>now is</i>. -So that we may assume that he wrote of an ambo then -existing, and that therefore in this instance he may be -trusted.<a id="FNanchor_86" href="#Footnote_86" class="fnanchor">[86]</a> The work attributed to Justin by the Anonymous -is really the restoration under Justinian; he seems to have -confused the nephew of the architect who was then employed -with the nephew of the emperor. Rohault De Fleury,<a id="FNanchor_87" href="#Footnote_87" class="fnanchor">[87]</a> who -accepts this story, suggests that a canopied ambo which -appears in the <i>Menologium</i> of Basil (976-1025) figures one -in S. Sophia which may have replaced the former ambo -after the fall of the dome in 975. Robert de Clari (1200) -merely says, “The place from which they read the Gospel is -so rich and noble, that we do not know how to describe the -making of it.”<a id="FNanchor_88" href="#Footnote_88" class="fnanchor">[88]</a> The ambo of that time was destroyed by -the Crusaders (1203).<a id="FNanchor_89" href="#Footnote_89" class="fnanchor">[89]</a> Clavijo, the Spanish ambassador, who -saw S. Sophia two hundred years later, has left this description -of the covered ambo then existing. “On the floor in -the centre of the area is a pulpit placed on four columns -of jasper; and the sides of it are overlaid with panels -of jasper of many colours, and this pulpit is surmounted -by a cover, which stands on eight very large jasper -columns; and here they preach and read the Gospel on -feast days.”</p> - -<hr class="tb" /> - -<p><i>Coronations.</i>—We shall now quote two descriptions of the -ceremonies associated with the ambo at coronations. These -are of the age of the Palaeologi, and the first is especially<span class="pagenum" id="Page_62">[Pg 62]</span> -interesting as describing the <i>Megale Eisodos</i> and the -Celebration.</p> - -<p>“And about the second hour of the same day the prince -who is to be anointed is set upon a shield;<a id="FNanchor_90" href="#Footnote_90" class="fnanchor">[90]</a> the reigning -emperor, who may be his father, and the patriarch take -hold of the front part of the shield, which is also held by -the officials of rank and the nobility. They then raise it, and -show the new emperor to the assembled populace. After he -has been greeted with acclamation, they attend him into the -church, where the rest of the ceremony must be completed. -Now a little edifice of wood has previously been prepared for -this very purpose, into which they lead the new emperor, and -put on him the purple and the diadem, which have been blest -by the bishops. And round his head it is customary to put -only a chaplet. After this the service of the Mass (<i>mustagogia</i>) -proceeds. And near the erection just mentioned a set of -movable steps, also of wood, are prepared, and these they -cover with purple silk. And upon it are placed golden -thrones, according to the number of the princes, not like -other thrones, but raised on four or five steps; here the -princes take their seats. The princesses also ascend with -them, and sit on the thrones, wearing their crowns, but she -that is about to be crowned wears a chaplet. Now before -the hymn <i>Trisagion</i> is sung, the patriarch comes out of the -bema and ascends the ambo, and with him are the rulers of -the church, all wearing their sacred robes. He then dismisses -them, and summons the princes, and they immediately -arise from their thrones and come to the ambo, while profound -silence is kept by the whole congregation. Then the patriarch -goes through the prayers appointed for the anointing, some -silently by himself, others out loud, praying for the blessing -of God on him who is about to be anointed. After this the -new emperor removes from his head whatever he is wearing, -and then it is right for all, as many as are present, to stand -with bared heads. Then the patriarch with the holy oil -anoints the head of the emperor with the form of the cross, -saying with a loud voice ‘Holy’; and as soon as they hear -it those standing on the ambo pronounce it three times, and<span class="pagenum" id="Page_63">[Pg 63]</span> -after them all the people. After this the crown is brought -by deacons from the bema where they keep it (now it is not -above the Holy Table as some say), and taken to the ambo. -If any previously crowned emperor be there, he and the -patriarch take the crown together, and place it on the head -of the prince, the patriarch saying ‘Holy’ in a loud voice. -Those in the ambo repeat it three times, and the people, as -after the anointing. Then the patriarch repeats some more -prayers, and the prince descends from the ambo, not on the -side by which he ascended, but on the side which is turned -towards the solea. If he is unmarried he then ascends the -steps and reseats himself upon his throne, but if he has a -wife then she also must be crowned. She is then led, as she -rises from the throne, by two kinswomen one on either side, -or if she has no relatives, eunuchs lead her down from the -steps, and stand with her before the solea. Then the -emperor descends from the ambo, and takes the crown held -ready by the kinswomen or eunuchs, and places it upon the -head of his wife, and she kneels before her husband, swearing -fealty to him. And the patriarch, standing by the solea, -offers up a prayer for the emperor and empress, and all their -people. Thus the emperor crowns his own wife. And then -both ascend the steps, and sit upon their thrones, and the -rest of the mysteries are proceeded with. But at the singing -of the <i>Trisagion</i>, or at the reading from the apostolic -writings, or the Gospels, they stand up.</p> - -<p>“And on both sides of the nave, on wooden steps made for -this purpose, are those called protopsaltae, and domestici, -and others of ecclesiastical rank who know how to sing, -and who are called because of this <i>kraktai</i>;<a id="FNanchor_91" href="#Footnote_91" class="fnanchor">[91]</a> all these sing -anthems especially made for the occasion. But when the -part of the mysteries which is called <i>The Great Entrance</i><a id="FNanchor_92" href="#Footnote_92" class="fnanchor">[92]</a> is -beginning, the chief of the deacons comes and summons the -emperor, and he comes with them into the prothesis, where<span class="pagenum" id="Page_64">[Pg 64]</span> -are set out the Holy Elements, and, standing outside the -prothesis, a golden mantle is put upon him over the diadem -and the purple; and in the right hand he holds the cross, -which he usually carries when he wears his crown, but in the -left he carries the rod, which he who is called <i>deputatus</i> -usually carries. With these in both hands the emperor -leads the sacred entrance, and on both sides of him march -the Varangi with their axes, and the sons of the nobility -armed and unarmed, about a hundred in all, follow; and -immediately behind him come the deacons in order, and the -priests, carrying the vessels for the service—and other -most holy things. And after going round the nave, as is -their wont, when they come into the solea, all the others -stand outside, but the emperor alone enters the solea and -finds the patriarch standing at the sacred screen, and after -bowing to one another the patriarch goes inside, but the -emperor remains without, and then the deacon who followed -immediately after the emperor, holding in his right hand -a censer, and in his left what is called the <i>maphorion</i> of -the patriarch, approaches and censes the emperor. The -emperor bows his head, while the deacon with a loud voice -calls out, ‘May the Lord be mindful of the power of thy -kingdom in His universal kingdom, now and always and for -ever and ever, Amen.’ And in order the rest of the deacons and -the priests approach and say the same. And when this is -finished the emperor bows to the patriarch, takes off the -mandya, which is taken away by the refendarius. The -emperor again ascends the tribune and sits down on the -throne, but he stands during the creed, the Lord’s Prayer, -and the elevation of our Lord’s body. And after the elevation, -if he is not prepared for the Communion he remains -seated till the end of the service. But if he is prepared, -the deacons again come and summon him. And with them -he enters into the bema and, having been given a censer, he -censes the Holy Table, looking first of all to the east, then -north, west, and south, and having again censed towards the -east, he censes the patriarch also. The patriarch bows to him -and takes the censer, and censes the emperor in return. -After this the emperor removes the crown, and gives it into<span class="pagenum" id="Page_65">[Pg 65]</span> -the hands of the deacons. Then the patriarch puts into his -hand a portion of our Lord’s body, and after that he drinks -of the life-giving blood, not from a spoon like the rest of -the people, but from the cup itself like the priests. Then -the emperor replaces the crown, and comes out of the bema, -and after the congregation has shared in the Communion, -and he has been blessed by the patriarch, and the priests, -and has kissed their right hands, they lead him to the part -called catechumena to receive the acclamations of the people. -When this is finished, he comes down again, and he and the -empress mount on horseback, and ride back to the palace to -partake of a banquet.”<a id="FNanchor_93" href="#Footnote_93" class="fnanchor">[93]</a></p> - -<p>Codinus Curopalata<a id="FNanchor_94" href="#Footnote_94" class="fnanchor">[94]</a> has also a description, almost in the -same words, but with some additions. The future emperor is -“led to the triclinium called Thomaites, which looks on to the -Augusteum, where are standing the populace with the army. -But before the emperor shows himself, what are called -epicombia are thrown to the people by one of the senators, -whom the emperor has selected. These epicombia are made -as follows. They cut pieces of cloth, and in each piece they -bind up three gold and as many silver numismata and three -obols, and then throw them to the people, and they scatter as -many thousands of these as the emperor shall arrange. Now -it is customary to throw these epicombia in the proaulion of -the great church, that is in the part called Augusteum;—he -who scatters them standing above the steps of the Augusteum.” -Inside the church a wooden tribunal had been prepared in the -gynaeceum, and at the end of the ceremony “the young -emperor with his wife the empress, and the emperor, his -father, and his mother, ascend. But the golden velothyra -hide the tribunal, so that they shall not be seen. Then the -psaltae sing ‘Lift up,’ and immediately the velothyra are -raised, and the princes in the gynaeceum are greeted with -acclamations by the people.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_66">[Pg 66]</span></p> - -<h2 class="nobreak" id="CHAPTER_V">CHAPTER V</h2> -</div> - -<p class="cd">THE RITUAL ARRANGEMENTS AND INTERIOR PARTS OF THE -CHURCH</p> - - -<p><i>Main Divisions.</i>—Du Cange, in the commentary to his -edition of the Silentiary’s Poem, was the first to make a -serious attempt to elucidate the interior arrangements of S. -Sophia. This appeared with the poem in the folio of 1670,<a id="FNanchor_95" href="#Footnote_95" class="fnanchor">[95]</a> -but a revised edition was incorporated in his <i>Historia -Byzantina</i>, 1680.<a id="FNanchor_96" href="#Footnote_96" class="fnanchor">[96]</a></p> - -<p>In the first his knowledge of the actual state of the -church seems to have been limited to the description of -Gyllius unassisted by any plan. Drawings of S. Sophia -were desiderata at that time, and Grelot tells us how he was -induced to attempt to make them by a knowledge that -others who had been commissioned by the King of France -had failed. Before the publication of his revised edition of -1680 Du Cange had obtained a plan. This appeared in -the same year as Grelot’s work, and divergences seem to -show that the plans were, in great measure at least, independent -of one another. The main text of his commentary -however remained the same, and the alterations, although -crucial, were mostly made by the omission of a few lines -here and there without any attention being specially called -to the fact.</p> - -<p>This has been the cause of much confusion, as it has -unfortunately happened that the first edition has been<span class="pagenum" id="Page_67">[Pg 67]</span> -reproduced without remark in the series of Byzantine texts -published at Bonn and in Migne’s <i>Patrologiae Cursus Completus</i>. -In this Du Cange placed the iconostasis “under the -great eastern arch which supports the dome,” and thus -included the whole eastern hemicycle in the bema. He -devoted the whole central square under the dome to the -“priests and singers,” separating it from the western hemicycle -by “marble columns,” which were obtained by a -curious misreading of Gyllius’ description of the verde -antique columns in the western opening on the <i>first</i> floor. -In the centre between these “marble columns” he placed -the “Beautiful” or “Royal Gate,” and the western hemicycle -outside this was alone allotted to the people. In the corrected -edition of 1680 the bema is confined to the eastern -extension, the eastern hemicycle became the solea, and the -central area and western hemicycle are given to the people.</p> - -<p>There is actually very little diversity of opinion in regard -to the main divisions of the church between Du Cange, -Neale,<a id="FNanchor_97" href="#Footnote_97" class="fnanchor">[97]</a> and Salzenberg, but Rohault de Fleury has been -misled into making an engraving of the iconostasis, stretching -across the whole hundred feet of the hemicycle.</p> - -<p><i>Bema.</i>—A church, as Simeon of Thessalonica writes, is -properly “divided into three parts, the pronaos, the naos, and -the bema.” The bema (see Plan, <a href="#f5">Fig. 5</a>) is the raised part -within the screen or iconostasis included by the apse. This -was the place set apart for the priests, who are hence -sometimes called “they of the bema.”<a id="FNanchor_98" href="#Footnote_98" class="fnanchor">[98]</a> Decrees were -passed from time to time to enhance its sacred character; -as that no member of the laity should pass beyond the -screen, except with the consent of a bishop. Even the -emperor was only allowed there during a few portions of -the liturgy.</p> - -<p>The bema of S. Sophia was indifferently called the -<i>adyta</i>, <i>hierateion</i>, <i>thusiasterion</i>. The history of Michael -Attaliotas also speaks of it as the “second skene, that is, -the Holy of Holies.”<a id="FNanchor_99" href="#Footnote_99" class="fnanchor">[99]</a> The apse proper is by Paulus -mentioned apart from the space contained by the straight<span class="pagenum" id="Page_68">[Pg 68]</span> -walls, and it is possible that this is the <i>kuklios</i> (cyclius) of -Porphyrogenitus. From the poet we gather that the priests’ -stalls against the wall were plated with silver. The upper -part of the curved wall is incrusted with precious marble of -sombre golden tones, beneath which the surface has been -disturbed and is now covered by plain gray slabs. When -we recall the immense quantity of silver that Procopius -says was used in the sanctuary, and remember that the -iconostasis and the altar-ciborium were of silver and the -Holy Table of gold, it seems likely that the plating of the -silver stalls covered the whole of this narrow strip, which -would not be more than six or eight feet above the top seat, -the level of which we suppose is marked by the projection -of the lower part of the wall. In the small oratory of the -Saviour built by Basil in the palace “the whole pavement -was of massive silver wrought by the hammer and enriched -by niello, and the walls to the right and left were covered -with great plates of silver damascened in gold and glistening -with precious stones and pearls.”<a id="FNanchor_100" href="#Footnote_100" class="fnanchor">[100]</a> To this space we should -refer the four panels with images in the wall mentioned in -the <i>Novgorod Chronicle</i>,<a id="FNanchor_101" href="#Footnote_101" class="fnanchor">[101]</a> which we suppose were of embossed -silver or enamel. The most eastward point of the apse was -occupied by the patriarch’s throne.<a id="FNanchor_102" href="#Footnote_102" class="fnanchor">[102]</a> A bishop’s chair with -a canopy preserved in the cathedral church of S. George at -Constantinople, said to have belonged to S. Sophia, is in any -case quite late. It is of wood, ornamented with inlaid work -representing the two-headed eagle, which was not adopted -earlier than the tenth century.</p> - -<p>In <a href="#f8">Fig. 8</a> we give an outline of a miniature in the <i>Menologium</i> -(Jan. 16) of the adoration of S. Peter’s chains, which -were kept in the chapel of S. Peter attached to the great -church. We have here a bema fully represented with the -altar, ciborium, and apsidal stalls for the clergy. We can -hardly suppose that these latter could have belonged to a -small dependent chapel, and hence the miniature in the -symbolic way of these old drawings is probably intended as a -view of the great apse.</p> - -<p><span class="pagenum" id="Page_69">[Pg 69]</span></p> - -<p><i>Altar.</i>—The central object of the bema was the altar, -which stood beneath the cylindrical vault, on the under side -of which the two great watching angels are represented in -the mosaic. Paulus says, “On columns of gold is raised the -all golden slab of the Holy Table; it stands too on a base -of gold, and from it gleams the brightness of precious -stones.” The doubtful Anonymous says that it was “supported -on four columns, overlaid with gold,” and again that -“it was set up on solid columns of gold, studded with -precious stones;” and that beneath the altar was a “sea” -(<i>thalassa</i>) ornamented with gold and precious stones.<a id="FNanchor_103" href="#Footnote_103" class="fnanchor">[103]</a> This -seems to refer to the “base of gold” beneath the columns.</p> - -<div class="figcenter" id="f8"> - <img src="images/p069.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 8.</span>—View of Bema from the <i>Menologium</i>.</p></div> -</div> - -<p>According to Labarte, the description by the Anonymous -(see p. <a href="#Page_138">138</a>) shows that the altar itself was decorated with<span class="pagenum" id="Page_70">[Pg 70]</span> -the bright diversity of enamel. This he seems to prove by -passages in Suidas<a id="FNanchor_104" href="#Footnote_104" class="fnanchor">[104]</a> and Cedrenus. The last-named writes: -“It is formed of gold, of silver, of every kind of stone and -metal and wood, and everything which earth, sea, or the -whole universe contains. Of all these he (Justinian) -collected the most valuable, with some small amount of -commoner ones. He then melted those that would melt, -added those that were dry, and poured them into a mould -till it was filled. He wrote upon it, ‘We (Justinian and -Theodora) thy servants, O Christ, bring thee of thine own, -praying that thou wilt graciously accept it, O Son and Word -of God made flesh and crucified for us. Strengthen us in -the true faith, increase and guard this state, which thou hast -intrusted to us, through the mediation of Mary, the holy -Virgin, the Mother of God.’”</p> - -<p>However doubtful these late Greek writers are as authorities -for Justinian’s time, enamel was used in later days in the -most extravagant manner, and we cannot doubt that at the -time when the Crusaders took the church the altar was of -enamel.<a id="FNanchor_105" href="#Footnote_105" class="fnanchor">[105]</a> Robert de Clari,<a id="FNanchor_106" href="#Footnote_106" class="fnanchor">[106]</a> writing at this time, says, “the -chief altar of the church (S. Sophia) is so rich that one -cannot value it; for the slab which forms the altar is of -gold and of precious cut stones (<i>esquartelées</i>) and pearls -(<i>molucs</i>) all thrown together.” Nicetas is even clearer; describing -the capture of Constantinople and the sack of the -church, he says: “The Holy Table, made of all kinds of -precious materials, cemented together by fire, and formed -into a many-coloured harmony so as to be the wonder of all -nations, was broken in pieces and distributed by the soldiers.”<a id="FNanchor_107" href="#Footnote_107" class="fnanchor">[107]</a></p> - -<p>It is very probable that some of the enamels added to the<span class="pagenum" id="Page_71">[Pg 71]</span> -Pala d’Oro at Venice after the sack of Constantinople came -from the sanctuary of S. Sophia, possibly from its altar. -Sylvester Sguropulus<a id="FNanchor_108" href="#Footnote_108" class="fnanchor">[108]</a> who accompanied John Palaeologus to -Venice in 1438, describes the Pala d’Oro as “an icon which -is formed out of many, and we heard that some of these -were taken from the Church of S. Sophia.” It may be only a -coincidence that one of the panels of the Pala contains the -figure of Solomon with the Greek inscription, “Wisdom -hath builded her house,” that being the usual legend for -Solomon.</p> - -<p>The altar would have been covered, like the altars shown -in the mosaics at Ravenna, and the illustrations of the -<i>Menologium</i>,<a id="FNanchor_109" href="#Footnote_109" class="fnanchor">[109]</a> by a cloth reaching on all sides to the floor. -These cloths bear very simple devices—in the centre a plain -cross, circle, or star, and at the four corners <i>gammidae</i> ⛶ -which in the code of symbolism probably expressed the four -corners of that world, for which the daily sacrifice was -offered.</p> - -<p>Others however were more richly embroidered. In the -<i>Liber Pontificalis</i> of Agnellus<a id="FNanchor_110" href="#Footnote_110" class="fnanchor">[110]</a> it is said that Maximian, the -Archbishop of Ravenna in Justinian’s time, ordered a most -precious altar-cloth (<i>endothis</i>) of byssus, on which was -embroidered the whole history of the Saviour. “It is not -possible to imagine the human figures, or the beasts and -birds which are made on it.” The figure of the archbishop -was represented with the inscription, “Praise the Lord with -me, for he hath raised me from the dust.” The Continuator -of Theophanes also speaks of an altar-cloth on which “the -birth of the Lord was represented.”<a id="FNanchor_111" href="#Footnote_111" class="fnanchor">[111]</a></p> - -<p>The general Greek name for altar-cloth was <i>endute</i>. Those -at S. Sophia are thus spoken of by the Anonymous, and we -read that Michael Palaeologus sent to the Pope “an <i>endute</i> of -the Great Church, of rose red, with gold and pearls worked -on it.”<a id="FNanchor_112" href="#Footnote_112" class="fnanchor">[112]</a></p> - -<p><span class="pagenum" id="Page_72">[Pg 72]</span></p> - -<p><i>Ciborium.</i>—The altar stood under a canopy of silver -called a <i>kiborion</i>, as is fully described by Paulus. According -to the Anonymous it was patterned with niello or -damascening (see p. <a href="#Page_138">138</a>). Such ciboria are frequently -spoken of in the <i>Lives of the Popes</i>.<a id="FNanchor_113" href="#Footnote_113" class="fnanchor">[113]</a> Thus Gregory I. -made for S. Peter’s a “ciborium with four columns of pure -silver,” and Leo III. “made for the basilica of S. Paul -a ciborium with large and beautiful columns of the purest -silver.” The ciborium of S. Demetrius at Salonica, a fifth-century -work described in the <i>Acta Sanctorum</i>, was also of -silver. It supported at the top “a solid sphere of silver, -with wonderful lily-leaves curved round it, and a cross -above.”<a id="FNanchor_114" href="#Footnote_114" class="fnanchor">[114]</a></p> - -<p>An illustration<a id="FNanchor_115" href="#Footnote_115" class="fnanchor">[115]</a> in an eighth-century Gospel preserved at -Venice represents a ciborium, like that at S. Sophia. We see -four arches on four columns, and from the flat top above -rises an octagonal cone. At the four corners stand bowls, -and in each bowl is a candle or a representation of one, as -the Silentiary describes. Pope Leo III. placed “above the -altar of S. Peter four large cups of the purest silver, every -one having in its centre a candle of silver-gilt.”<a id="FNanchor_116" href="#Footnote_116" class="fnanchor">[116]</a></p> - -<p>The ciborium at S. Sophia described by Paulus may have -lasted till 1203; Robert de Clari, writing at this time, says: -“Around the altar there are columns of silver, which carry -a canopy (<i>abitacle</i>) over the altar, made like a tower (<i>clokier</i>), -which is all of massive silver, and so rich that one cannot -estimate its value.”</p> - -<p><i>Crowns, &c.</i>—From the first a crown and dove of gold -would have been suspended from the centre of the canopy; -such doves are spoken of as being in use in Constantinople -during the Council of 536.<a id="FNanchor_117" href="#Footnote_117" class="fnanchor">[117]</a> Theophanes says: “On Easter -Day Sophia, the widow of Justin II., and Constantia, the wife -of Maurice, gave the Emperor Maurice a crown of exceeding -value. When the emperor saw it, he took it to S. Sophia, -and hung it above the Holy Table by triple chains of gold and<span class="pagenum" id="Page_73">[Pg 73]</span> -precious stones.”<a id="FNanchor_118" href="#Footnote_118" class="fnanchor">[118]</a> This, Nicephorus Callistus says, was preserved -there till the taking of the city by the Latins.<a id="FNanchor_119" href="#Footnote_119" class="fnanchor">[119]</a> According -to Buzantios, the emperor Leo IV. and his wife Irene also -suspended crowns here. Nicetas speaks of the “crown of the -great Constantine, which hung above the Holy Table;” and -again of one “John, surnamed Crassus, who rushed into S. -Sophia and placed on his head a small crown, one of those -which hang round the Holy Table;”<a id="FNanchor_120" href="#Footnote_120" class="fnanchor">[120]</a> and it appears from -the account of the Russian pilgrim Anthony, given in the -next chapter, that just before the Crusade there were thirty -crowns suspended from the ciborium—a beautiful symbolism.</p> - -<p>The splendid hanging crowns at Monza and in the Cluny -Museum show us that these votive crowns were broad circlets -of gold incrusted with large uncut rubies and emeralds with -borders of pearls, and strings of jewels, and other pendants -hanging from the rim. A small enamelled crown for suspension -above an altar which is amongst the Constantinople -treasures at S. Mark’s is inscribed <span class="inscribe">ΛΕΟΝ ΔΕϹΠ(ΟΤΗϹ)</span>; this, -according to Labarte, must be Leo VI., who died in 911.<a id="FNanchor_121" href="#Footnote_121" class="fnanchor">[121]</a></p> - -<p><i>Altar-veils.</i>—Round the four sides of the ciborium were -suspended the curtains described in such detail by Paulus. -They were all the more wonderful at this time as being -silk-woven and not embroidered.<a id="FNanchor_122" href="#Footnote_122" class="fnanchor">[122]</a> The gold thread however -seems to have been “laid” on. By the later Greeks those -curtains were named tetrabela. They were often of deep -red embroidered with gold, and were usually hung on rods -going from capital to capital of the ciborium, as some of -the illustrations in the <i>Menologium</i> show, though others -seem to have been suspended from the curves of the -arches.</p> - -<p><i>The Iconostasis.</i>—For a description of the screen in front -of the bema, with its columns, beam, panels, and doors plated -with silver, we refer to the Silentiary. A screen of this kind, -from the sacred paintings with which it is adorned, is now -called the iconostasis, but by the Byzantine writers it is<span class="pagenum" id="Page_74">[Pg 74]</span> -usually named <i>herkos</i>, <i>druphrakta</i>, <i>kinklidai</i>, or <i>kankelloi</i>. -Such screens were generally of bronze or marble. The -Church of S. John the Evangelist, built by Galla Placidia at -Ravenna, had a screen of silver. At the Church of the -Apostles at Constantinople, built by Constantine, the iconostasis -was gilded bronze. The screen of S. Peter’s in Rome -was formed by the twelve beautiful antique columns which -figure in Raphael’s tapestry, standing in two rows.<a id="FNanchor_123" href="#Footnote_123" class="fnanchor">[123]</a> Eusebius -connects twelve columns which stood about the tomb in the -Sepulchre church with the number of the apostles, and it is -possible, as De Fleury suggests, that in the six pairs of pillars -forming the iconostasis at S. Sophia a reference may be seen -to the dismissal of the apostles two by two. From the -narrowness of the bema it seems certain that the coupling -of the pillars was transversely to the screen as shown on our -plan, <a href="#f5">Fig. 5</a>. Thus they easily supported the passage way, -where stood a great gemmed cross and a row of branched -silver candelabra. This was the “narrow way for the lamp-lighter -above the silver columns” described by the Silentiary.</p> - -<p>The decoration of the silver plating of the breastwork -and the beam by figures of apostles, prophets, and angels, -and with circles bearing crosses and monograms, may have -been formed in <i>repoussé</i>, like a beautiful gilt panel with a -figure of the Virgin and Greek inscription now at Kensington -Museum, which formed a part of the decoration of the -screen at Torcello, but we think it more probable that it -was damascened with gold like the silver work in Basil’s -chapel.</p> - -<p>The iconostasis probably reached up to the base of the -porphyry strip which forms the border of the marble plating -of the bema; if so it was about twenty feet high; it had -three doors—“The Holy Doors”—that in the centre being -the largest.</p> - -<p>The “gold and silver columns in the middle of the temple” -seen by Benjamin of Tudela, 1173, must refer to the iconostasis.</p> - -<p>When the Crusaders practically sacked the church, the -iconostasis, ciborium, and altar were broken up and distributed.<span class="pagenum" id="Page_75">[Pg 75]</span> -Nicetas says, “The furniture of surpassing beauty, -the silver, which went round the screen of the bema, the -ambo, the doors, and many ornaments, in which gold was -used, were carried away.” The <i>Novgorod Chronicle</i><a id="FNanchor_124" href="#Footnote_124" class="fnanchor">[124]</a> gives a -fuller account of the eventful morning when the doors were -broken through and S. Sophia was invaded. “They broke -down the podium of the priests, ornamented with silver, the -twelve silver columns, the four panels in the wall, decorated -with images, and the Holy Table. They also destroyed the -screen walls of the altar placed between the columns, and -twelve crosses which stood above the altar; amongst these -were crosses of metal, like trees, higher than a man. All -these things were made of silver.</p> - -<p>“They carried off also the wonderful table, with the gems -and a great pearl; so great a crime did they commit in -ignorance. Moreover they snatched away forty cups standing -on the altar, and silver candelabra, whose number was so great -that it is not possible to enumerate them, as well as the silver -vessels which the Greeks use, more especially on feast days.</p> - -<p>“They stole a Gospel, that was used for the services, and -sacred crosses and single images and the covering which was -above the altar, and forty censers made of pure gold: they laid -hands on all gold and silver and on priceless vessels in the -cupboards, walls, and other places, in such quantity that -they cannot be numbered.”</p> - -<p>Grelot says that before the Turks altered the church the -iconostasis had figures of the Virgin and S. John Baptist -between the central and side-doors and the Twelve Apostles -over.<a id="FNanchor_125" href="#Footnote_125" class="fnanchor">[125]</a></p> - -<p><i>Prothesis and Diakonikon.</i>—Two chapels that in Byzantine -churches almost invariably occur right and left of the bema -with which they communicate directly are usually called the -prothesis and diakonikon; they were sacristies, used respectively -for the preparation of the mass and as a treasury or -vestry. Du Cange in both editions placed them in the two -exedras of the eastern hemicycle, and in this he is followed by -Salzenberg. The impossibility of this arrangement is shown -by Neale, who suggests that two chambers on either side of<span class="pagenum" id="Page_76">[Pg 76]</span> -the bema which Du Cange thought were only supplementary -were the sacristies in question. The chapels at the east end -of S. Sophia have now been built up, but the doors that led -into them still exist. We are not however certain that these -chapels were built with the church. Paulus does not mention -them, and there do not appear to have been chapels in this -position at S. Sergius. In regard to the use of the prothesis -and diakonikon, Dr. Freshfield<a id="FNanchor_126" href="#Footnote_126" class="fnanchor">[126]</a> considers that the procession -with the bread and wine called the <i>Megale Eisodos</i>, described -in our last chapter, only became a part of the ritual in the -reign of the successor of Justinian, to whose time the Cherubic -Hymn sung during the ceremony is referred. The earlier -liturgies, he says, contain no directions for this ceremony, but -merely speak of the deacon as moving the elements from the -prothesis table to the altar, and he concludes that the two -side-chapels found in so many churches belong to a time -subsequent to Justin II. Two narrow passages however, -right and left of the bema, at S. Sophia, S. Sergius, S. Irene, -and S. Vitale seem to show that they were intended for access -to lateral portions used in connection with the bema, even if -these parts were merely screened from the aisles, and a comparison -of many early churches in Syria and Asia Minor -proves that such chapels were in frequent use if not essential -long before Justinian built his church.<a id="FNanchor_127" href="#Footnote_127" class="fnanchor">[127]</a> See our figures <a href="#f31">31</a> -and <a href="#f32">32</a>, and compare Cattaneo, page 60.</p> - -<p>The prothesis and diakonikon of S. Sophia are very infrequently -mentioned by those names. In the catalogue of -the Constantinopolitan patriarchs we read of “relics being -kept in the diaconicum.”<a id="FNanchor_128" href="#Footnote_128" class="fnanchor">[128]</a> The diakonikon is also named -where Codinus speaks of the emperor as “hearing the prayers -of S. Basil near the diakonikon,” and the prothesis is mentioned -in the passage on p. <a href="#Page_63">63</a>. Certain divisions of the -church at the east end are however frequently mentioned by<span class="pagenum" id="Page_77">[Pg 77]</span> -Porphyrogenitus, the Anonymous, and the Russian pilgrims. -Thus we have the skeuophylakium (treasury of vessels) and -other chapels referred to. The skeuophylakium of the -Anonymous seems to be the same as the “lesser sanctuary” -of Anthony, by which stood the cross which gave the exact -height of Christ. This lesser sanctuary, or skeuophylakium, -is probably the diakonikon—“the oratory in front of the -metatorion”—where the relics of the Passion were kept.<a id="FNanchor_129" href="#Footnote_129" class="fnanchor">[129]</a> -Again we read: “Then by the right-hand side of the bema, -they enter the oratory where stands the silver crucifix ... -after worshipping they ascend by the cochlea [spiral stair, we -suppose at south-east angle where minaret now is] which is by -the part called the Holy Well, to the eastern part of the right-hand -catechumena.” Again, “Then by the right-hand side -of the bema, they enter the oratory where stands the silver -crucifix.”<a id="FNanchor_130" href="#Footnote_130" class="fnanchor">[130]</a></p> - -<p><i>The Holy Well and Metatorion.</i>—The Holy Well, so -frequently mentioned in the <i>Ceremonies</i>, seems to have been -not merely an object but a division of the church. Labarte -makes it a chamber external to the church on the south side, -but the Anonymous shows that it was to the east, by speaking -of “that part of the temple in which was the Holy Well, the -bema, and the ambo.” The author of an account of “the -miracle in the Holy Well of the Great Church” speaks of a -picture of Christ as being by the eastern gate, “where is the -holy mouth of the well of Samaria.”<a id="FNanchor_131" href="#Footnote_131" class="fnanchor">[131]</a></p> - -<p>The Russian pilgrims generally speak of the Samaritan -well, from which flowed water from the Jordan, as “in the -sanctuary:” the Anonymous Russian says “in the chapel -to the right.” At this time it was probably in one of the -eastern chapels, which, may have been identical with the prothesis -or diakonikon. Some passages of the <i>Ceremonies</i> seem -to imply that in the tenth century the Holy Well was -without the building; thus we hear of the “embolos -[portico] of the Holy Well:” and again, “from the Holy -Well, they enter by the door leading to the church;”<a id="FNanchor_132" href="#Footnote_132" class="fnanchor">[132]</a> -possibly it was moved later, but probably one of the eastern<span class="pagenum" id="Page_78">[Pg 78]</span> -attached chapels will fulfil the conditions. In our <a href="#f5">Fig. 5</a> we -have followed Du Cange’s ground-plan in the distribution of -these eastern chapels. It is possible that the round north-east -building was used as a great sacristy as Salzenberg suggests; -Grelot calls it so on his plan, and T. Smith says this -was a tradition. The Anonymous definitely distinguishes the -Skeuophylakium, the Holy Well, and the Chapel of S. Peter.</p> - -<p>The Metatorion, frequently spoken of together with the -Holy Well, Labarte and Paspates place on the south side, -external to the church. We think it was probably the name -of portions of the side-aisles screened off by curtains. -This would agree with Unger,<a id="FNanchor_133" href="#Footnote_133" class="fnanchor">[133]</a> who thinks that the word -means a “quarter of the church” (<i>metatio</i>), and that Du -Cange was mistaken in deriving it from <i>mutatorium</i>. In the -<i>Ceremonies</i>,—“The princes go out of the right side of the -bema and enter the metatorion.” Again, the patriarch -stands within the iconostasis “on the right-hand side of -the bema, towards the metatorion.” From the metatorion -a small door led to the Holy Well. Again, “they leave -the bema by the right-hand side through the small holy -door (in iconostasis) and proceed to the porphyry columns -(of exedra), and by the staircase of the metatorion they -enter the catechumena.”<a id="FNanchor_134" href="#Footnote_134" class="fnanchor">[134]</a> Again, “the emperor takes off -his crown in the metatorion within the Beautiful Gate,” and -“within the veil, hanging in the metatorion at the back of -the narthex door.” Metatoria in the catechumena of S. -Sophia and of S. Sergius are also referred to.<a id="FNanchor_135" href="#Footnote_135" class="fnanchor">[135]</a></p> - -<p><i>Solea.</i>—The later writers often mention the solea of -S. Sophia. Thus Cantacuzenus speaks of the emperor -passing through the solea up to the “Holy Doors.”<a id="FNanchor_136" href="#Footnote_136" class="fnanchor">[136]</a> It -was immediately outside the iconostasis, and must have -closely agreed with the choir of the singers in a Western -church. Paulus does not use the word, but he describes the -singers as occupying the space in front of the Holy Doors, -and embraced by the exedras. The ambo, with its long<span class="pagenum" id="Page_79">[Pg 79]</span> -passage of approach from the step of the Holy Doors, -divided this space in two, so it is clear that the singers stood -on either side of the ambo. The portion round about the -ambo screened by the circle of columns was reserved for -the leaders of the choir, the Protopsaltae.<a id="FNanchor_137" href="#Footnote_137" class="fnanchor">[137]</a> We cannot infer -from the Silentiary that there was any other screen to the -Solea, and no stalls for the singers are mentioned.</p> - -<p>It is possible that in the tenth century, when the <i>Book of -the Ceremonies</i> was written, the ambo had been modified at -least in regard to the approach from the bema, and that a -considerable space was interposed between it and the Holy -Doors, in front of which there was at this time a porphyry -omphalion stone (see our page <a href="#Page_96">96</a>). Paspates<a id="FNanchor_138" href="#Footnote_138" class="fnanchor">[138]</a> says this is -still quite intact, somewhat oval in shape, seven feet across, -and adorned with a mosaic of marbles. It seems probable -from the Anonymous that in these later days the solea was -inclosed by a screen which he says was of silver.<a id="FNanchor_139" href="#Footnote_139" class="fnanchor">[139]</a></p> - -<p>Paulus describes a part on the south side as being inclosed -for the emperor, and in Porphyrogenitus we read that the -emperor had his seat “near the Holy Doors on the right-hand -side.” It is probable that opposite the emperor’s -throne there was another bishop’s chair, for that in the bema -might only be occupied by the bishop in his own diocese. -Grelot indeed reports that the emperor’s and bishop’s -thrones were opposite one another.</p> - -<p><i>Nave.</i>—We now come to the central division of the -church, the naos or nave, the square space beneath the dome -contained between the four main piers: its centre was called -<i>omphalos</i>, <i>mesomphalos</i>, or <i>mesonaos</i>.</p> - -<p>The pavement, according to the poet Paul, was covered -with white Proconnesian marble and darker Bosporus stone. -In the opening lines of the description before given he seems -to compare the veined marble to flowing streams, or foam-flecked -sea, and the ambo is likened to an island rising from the -sea. According to Glycas and Codinus the first pavement was<span class="pagenum" id="Page_80">[Pg 80]</span> -of various hues like the ocean. The Anonymous, in comparing -a pavement which he says was laid down afterwards -with this supposed earlier one, says that “messengers were -sent to Proconnesus, and marble of a green colour was -worked there, as is seen now like rivers flowing into the -sea.” Codinus says, “four rivers of leek-green marble were -like the four streams which flow from Paradise to the sea.” <i>As -is seen now</i> certainly seems to bring something definite before -our eyes, and so far as the pavement can be seen through -the narrow chinks of the matting there is much to confirm -this part of the Anonymous. Grelot tells us that the -pavement is laid in compartments. It is of whitish gray -Proconnesian marble, laid in slabs about 4 × 10 feet, with -here and there strips of verde antique about 2 feet wide, -which suggest the quartering of the floor by a great cross. -Moreover the square of rich Alexandrine work still existing, -and figured by Salzenberg, lies on a diagonal, and would thus -exactly occupy one of four square spaces left in the angles -(see <a href="#f5">Fig. 5</a>). Now in the palace the floor of the bedchamber -of Basil had four rivers or streams of Thessalian-green -marble which seemed to flow away from the centre, -and the quarters were filled with mosaics of large eagles.<a id="FNanchor_140" href="#Footnote_140" class="fnanchor">[140]</a> -It may also be noticed that four rivers are depicted as -flowing away from the cross on the central bronze door of -narthex. Many parallel examples of pavements, still existing, -confirm the Anonymous in this respect. The mosaic -floors of Italy furnish many instances where the four rivers -of Eden are represented in the several angles as human -forms pouring from urns, waters which are inscribed with -the names Gihon, Tigris, Euphrates, and Pison. The -design of the pavement of the Baptistery at Florence has -been much disturbed, but it seems to have represented flowing -streams, which led from the font in the middle to the -doors like four paths. It has been pointed out that the -carpet of Chosroes, which is described as having represented -a garden with flowing streams, was a traditional pattern of -which an example showing four streams quartering the field<span class="pagenum" id="Page_81">[Pg 81]</span> -is in the possession of Mr. Colvin.<a id="FNanchor_141" href="#Footnote_141" class="fnanchor">[141]</a> We understand that a -similar carpet is now in New York.</p> - -<p>We give here a representation of a square of pavement at -the centre of the Western Gynaeceum; it is of Proconnesian -slabs with border, and a disc of verde antico.</p> - -<div class="figcenter" id="f9"> - <img src="images/p081.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 9.</span>—Marble Pavement at centre of West Gallery.</p></div> -</div> - -<p><i>Font.</i>—A fine marble font formerly in the precincts of -the Mosque Zeinab Sultana at the west of S. Sophia, and -now in the Imperial Museum, is the one referred to by -Paspates as being probably the font of S. John Baptist (the -Baptistery). He writes that there were only two remaining -in Constantinople, the other being a smaller font in the -precincts of the Mosque Kotza Mustapha Pasha.<a id="FNanchor_142" href="#Footnote_142" class="fnanchor">[142]</a> The font -in the museum which we illustrate is 8 feet 2½ inches long, -6 feet 1½ inches wide, and 4 feet 6 inches high, wrought out -of one fine block of Proconnesian marble. The outside is -carefully finished, which shows that it stood above the floor. -The inside is formed into steps, and about the rim are<span class="pagenum" id="Page_82">[Pg 82]</span> -several roughly sunk crosses, which we suggest were filled -by inlaid votive crosses of metal. Similar fonts are shown -in the mosaics at S. Mark’s and other places. Texier found -one in the marble quarries of Synnada with steps inside, and -others are found in Palestine, one of which, illustrated in -the <i>Memoirs</i> of the Exploration Fund,<a id="FNanchor_143" href="#Footnote_143" class="fnanchor">[143]</a> closely resembles -this at Constantinople, which we may therefore look on as a -typical Byzantine font.</p> - -<div class="figcenter" id="f10"> - <img src="images/p082.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 10.</span>—Font from Constantinople.</p></div> -</div> - -<p><span class="pagenum" id="Page_83">[Pg 83]</span></p> - -<p><i>Consecration or other Crosses.</i>—On the great verde antico -columns of the north side of the nave, about six feet above -the floor, appear sunk crosses about six inches high; on the -south side shallow sunk panels occupy similar positions, -formed we may suppose by the Turks for the purpose of -destroying the crosses. Similar sunk crosses occur on some -of the marble columns in the gallery at S. Sergius and at -Bethlehem; at Sinai the nave columns bear inlaid bronze -crosses. From the character of those at S. Sophia we should -suppose that they were also formerly filled by inlaid metal; -their similarity in size and the regularity with which they -are placed seem to show that they are of the nature of -consecration crosses rather than being merely votive, or rather -that they were made by the builders, just as a farmer crosses -his bags of wheat. In most of the cisterns of Constantinople -one column at least bears a large fairly wrought cross.</p> - -<p><i>Miraculous Marbles and Mosaics.</i>—Clavijo describes a -large white slab in the right of the gallery naturally figuring -“the Virgin with Christ in her most holy arms:” beneath -this was an altar in a little chapel where they said mass. -These marbles, in which accidental resemblances to figures -might be traced, were evidently much valued. Felix Fabri -describes a slab at the Holy Sepulchre in which S. Jerome -and his lion appeared. “This picture was not produced by -art, but by simple polishing alone.”</p> - -<p>The column of S. Gregory Thaumaturgus, mentioned by -Anthony of Novgorod as by the entrance and “covered with -bronze plates,” may possibly be the celebrated “sweating -column,” which is the first square pillar in the north aisle. -At about five feet from the floor it is cased with bronze, -in which a hole is left over the cavities in the pillar which -are supposed to exude the dampness. The indents are -smooth, and look like natural cavities discovered in the marble -when it was wrought. Canon Curtis, who was kind enough -to examine the pillar for us, says it was perfectly dry, and the -attendants assured him that water never oozed out of the -cavities, although “a few drops of water might be easily kept -in each of them.” Sweating columns are well known in the -legends of the middle ages. Benjamin of Tudela speaks of<span class="pagenum" id="Page_84">[Pg 84]</span> -two in Rome which sweated on the anniversary of the fall of -Jerusalem, and Mandeville mentions four pillars in the Holy -Sepulchre “that always drop water, and some men say that -they weep for our Lord’s death.” Stephen of Novgorod -speaks of a mosaic of Christ in S. Sophia from which holy -water flowed from the wounds of the feet.</p> - -<p><i>Water Vessels.</i>—At the west end of the church in the -right and left exedras stand two large white Proconnesian -marble urns about seven feet high, of beautiful gourd-like -forms. They rise from the centre of polygonal basins, and -water is drawn from them through bronze taps. It has -been said that they were brought from Pergamus or -Marmora by Sultan Murad III.<a id="FNanchor_144" href="#Footnote_144" class="fnanchor">[144]</a> The carving of the turban-like -tops is certainly Turkish, but the vessels seem to be of -Byzantine form, and we are disposed to agree with Grelot, -who saw them in their present position before 1680. He -says they were kept full of water “to cool the Mohammedans -overheated by their devout gesticulations.” “If -they are not very ancient, they stand in the place of others, -which contained holy water for the Christians who entered -the church.” He associates with these the palindrome inscription -given by Gruter (see our page <a href="#Page_191">191</a>), which he says -was written on these, or similar, vessels in gold letters.<a id="FNanchor_145" href="#Footnote_145" class="fnanchor">[145]</a></p> - -<p>Now a beautiful cantharus in the Church of S. Peter -and S. Andrew, on the island of Murano,<a id="FNanchor_146" href="#Footnote_146" class="fnanchor">[146]</a> which is almost -identical with those of S. Sophia, is stated to have been -brought back thence with the Venetian booty, and bears a -Byzantine inscription:—</p> - -<p class="inscribe"> -ΑΝΤΛΗϹΑΤΑΙ · ΥΔΩΡ · ΜΕΤΑ · ΕΥΦΡΟϹΥΝΗϹ · ΟΤΙ · ΦΩΝΗ · -ΚΥ · ΕΠΙ · ΤΩΝ · ΥΔΑΤΩΝ · -</p> - -<p class="continue">(“Draw the water with gladness, for the voice of the<span class="pagenum" id="Page_85">[Pg 85]</span> -Lord is upon the waters”); together with a monogram -which reads <span class="inscribe">ΝΙΚΟΜΕΔΟΥ</span>. Beneath the monogram appears -a stopping where evidently a tap was fixed, in exactly the -position of those to the urns in S. Sophia. The first half -of the latter inscription is on a small vessel of lead found -at Tunis, which, from the character of the decoration, cannot -be later than the fourth or fifth century. The first mention -of the vessels in S. Sophia which we have been able to find -is by an English traveller, Fynes Moryson (1595), who -says, “I did see two nuts of marble of huge bigness and -great beauty.”</p> - -<p>We give in <a href="#f11">Fig. 11</a> the vessel in the south exedra at -S. Sophia, together with that of Murano, and for further -comparison some beautiful vessels from a relief of Justinian’s -time on the ivory throne at Ravenna. We have omitted -the Turkish top of the former. Canon Curtis, who has -specially examined them, writes to us that between the top -and body of each vessel is a copper band which conceals the -joint, if there is a joint.</p> - -<p><i>Images and Tombs.</i>—Very few fragments of Christian -sculpture remain in Constantinople. The Silentiary does -not mention any sculpture at S. Sophia. Probably the -feeling which was mature in Leo the Isaurian was always -latent; Oriental Christians sharing in the dislike with -which Jew and Moslem regarded statues. Canon Curtis -writes: “On the northern side of the sweating column I -used to see parts of a bas-relief representing, as I thought, -a procession, but it was almost concealed by the metal -plates, and now it is entirely hidden.” The wealth of the -church in icons at a late period may be gathered from -incidental references. Not until a late time do we hear -of any tombs in the church. S. Chrysostom and most of -the other patriarchs were buried in the Church of the -Holy Apostles.</p> - -<p>Pachymeres mentions “the stele of the three Germani -(Patriarchs of Constantinople) near the porphyry columns -on the west.” Nicephorus Gregoras<a id="FNanchor_147" href="#Footnote_147" class="fnanchor">[147]</a> also writes that the<span class="pagenum" id="Page_86">[Pg 86]</span> -remains of the patriarch Arsenius were buried in the great -Church of S. Sophia.</p> - -<div class="figcenter" id="f11"> - <img src="images/p086.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 11.</span>—Water Vessels from S. Sophia and Murano.</p></div> -</div> - -<p><i>Hangings.</i>—The descriptions on several occasions mention -veils and hangings by the names of <i>vela</i> and <i>velothyra</i>. -With mosaics and miniatures to help us it is possible to -judge of the lavish way in which these hangings were used.</p> - -<p>The mosaics at Ravenna show veils hanging at the door of -the church through which Theodora is about to enter, and -the large elevation of the Palace of Theodoric, likewise in -mosaic, shows hangings in all the arches of the portico. -Such textiles suspended at entrance doorways are often -mentioned by contemporary authors.<a id="FNanchor_148" href="#Footnote_148" class="fnanchor">[148]</a> At S. Sophia the -doors entering the narthex, and those between it and -the church, all have bronze hooks, to which such “door -veils” were suspended; and embroidered Turkish hangings, -which roll up from the bottom by means of cords -and pulleys, are still hung to them. In the Byzantine -mosaics the hangings are often shown raised by being -gathered into a loose knot, or by being drawn to the sides -and passed once round the pillars between which they hang.</p> - -<p><span class="pagenum" id="Page_87">[Pg 87]</span></p> - -<div class="figcenter" id="f12"> - <img src="images/p087.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 12.</span>—Vessels of Sixth Century: from Ivory Throne, Ravenna.</p></div> -</div> - -<p>The account of the coronation ceremony describes how the -royal persons were seated in the gynaeceum, screened by -“golden velothyra,” so that they should not be seen until -the psaltae sang the “Lift up,” when immediately the -velothyra were raised. Of these hangings in the interior we -have a picture in the account given in the continuation of -Theophanes of an ambassador, Iber Curopalates, who visited -Constantinople in 923, and “was taken to the church of -S. Sophia, that he should inspect its beauty and size and -precious ornaments. Now the walls were all draped with -cloth of gold before they led him in, and he, struck with -the great size of the church and its wealth of adornment, -exclaimed, ‘Truly this is the house of God,’ and returned -home.”<a id="FNanchor_149" href="#Footnote_149" class="fnanchor">[149]</a> The <i>Ceremonies</i> mention gold hangings in Catechumena -above Royal Door.<a id="FNanchor_150" href="#Footnote_150" class="fnanchor">[150]</a> Nicetas tells us how the Crusaders -“spared neither the house of God nor His ministers, but -stripped the great church of all its fine ornaments and hangings, -made of the richest brocades of inestimable value.”</p> - -<p>We have no doubt that S. Sophia was frequently adorned -inside by the arcades of both tiers having hangings suspended<span class="pagenum" id="Page_88">[Pg 88]</span> -from the iron bars, which cross all these arches at their -springing, exactly like those shown in the mosaic of Theodoric’s -palace. Indeed Ignatius of Smolensk (<i>circ.</i> 1395), -who was present at the coronation of Manuel, says that the -women in the galleries remained behind curtains of silk so -that none might see their faces.<a id="FNanchor_151" href="#Footnote_151" class="fnanchor">[151]</a></p> - -<p>These hangings seem either to have had simple figures -such as squares with large “gammidae” at the corners -worked on them, probably in gold, or they were patterned -over with figures, animals, and flowers, woven in the stuff -like the elaborate veils of the altar described by the Silentiary. -The linen vestments found at Panopolis in Egypt show us -that the “gammidae” originated in embroidered shoulder -straps, with seal-like ends applied on either side of the neck -opening. <a href="#f13">Fig. 13</a> shows two of the door veils represented -at Ravenna; that on the right is from the mosaic in S. -Apollinare Nuovo showing the palace. The gammidae are -here exactly of the form found on the early Coptic linen -vestments, and it cannot be doubted that they were “applied” -in a similar way. The pattern on the left is the door-hanging -from the mosaic of S. Vitale; the plain squares are of -gold. The designs on the robes in this mosaic are interesting. -Justinian’s chlamys is covered with birds in circles, the -border of Theodora’s robe displays the three Magi making -their offerings; one of her attendants has a robe powdered -with swimming ducks and a mantle with four petalled red -roses on a gold ground, and another robe has five pointed -leaves scattered over its field. Many examples of the figured -silks are preserved in museums. There is at South Kensington -Museum a piece of pictured silk of this kind, -probably of Justinian’s time, which is covered with circles, -in each of which is figured a man and a lion. More -than a century before the time of Justinian, Asterius, -Bishop of Amasius, had made these elaborately figured -stuffs a subject of satire: “When men so draped appear -in the streets the passers-by regard them like painted walls. -Their clothes are pictures which little children trace out -with their fingers. There are lions, panthers, and bears,<span class="pagenum" id="Page_89">[Pg 89]</span> -also rocks, woods, and hunters. The most devout carry -Christ, His disciples, and His miracles. Here we may see the -marriage in Galilee and the pots of wine; there is the paralytic -carrying his bed, the penitent woman at the feet of -Jesus, or Lazarus come again to life.”<a id="FNanchor_152" href="#Footnote_152" class="fnanchor">[152]</a></p> - -<div class="figcenter" id="f13"> - <img src="images/p089.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 13.</span>—Door Veils of the Sixth Century: Ravenna Mosaics.</p></div> -</div> - -<p>Later the patterns became more heraldic and larger in -scale, figuring for the most part great displayed eagles, and -griffons, or lions affronted. A piece of a textile of this kind -in the museum at Düsseldorf, of which there is a full-size -copy at South Kensington, bears golden lions about two feet -six inches long, and the names of Constantine VIII. and -Basil on a pallid purple ground. Frauberger<a id="FNanchor_153" href="#Footnote_153" class="fnanchor">[153]</a> compares -this with another signed example of the same age and -similar design preserved at Siegburg, and a third at Autun, -“all of which were intended for church hangings.” The same<span class="pagenum" id="Page_90">[Pg 90]</span> -writer says that after Justinian’s introduction of silk weaving -in 552 and the loss of Bosra with its purple-dye vats to -Chosroes, an imperial textile industry was established by the -Golden Horn, which existed until the fourteenth century. -Here these hangings were probably produced.</p> - -<p><i>Carpets.</i>—Portions of the floor of S. Sophia were almost -certainly strewn with carpets. Porphyrogenitus relates of -the New Church of Basil that “woollen carpets (<i>nakopetai</i>) -called prayer carpets, of wonderful size and beauty, and -resembling the bright plumage of peacocks, were laid one -over another, completely covering the mosaic pavement of -valuable stones.” The carpets and prayer-rugs of the -mosques thus had their direct parallels, if not their prototypes, -in the Byzantine churches.</p> - -<p><i>Synods.</i>—The patriarchal registers, dating from the fourteenth -century, speak of synods sitting “in the right-hand -catechumena”; this probably refers to the south gallery, -where the vault has displayed in mosaic the descent of the -Holy Ghost on the Apostles.</p> - -<p>Across this gallery there is at present a screen, which -possibly, as Paspates suggests, shut off the part used by the -Synods. (See dotted line on <a href="#f6">Fig. 6</a>.) The screen is made -up of two marble slabs, each sculptured into the form of -panelled double doors, with architraves and carved panels. -Above the opening left between these is a coloured marble -slab. At the top is a carved wood beam, which, being exactly -like the permanent vault ties, is evidently of Justinian’s age; -but the whole is certainly not an original assemblage of -the parts. Each slab, which imitates a pair of wood doors, -has a representation of a bronze ring handle and a lock-plate -on one half, and a hasp on the other, all exactly copied in -sculptured marble. We believe that these imitation doors -are earlier than the church; the idea was common in late -classic times. De Vogüé and Dr. Merrill<a id="FNanchor_154" href="#Footnote_154" class="fnanchor">[154]</a> found several -tomb doors, similarly panelled, studded with imitation nails, -and having elaborate knockers, all carved in stone. An -example in marble now in the museum at Leeds closely -resembles the S. Sophia slabs.</p> - -<p><span class="pagenum" id="Page_91">[Pg 91]</span></p> - -<p><i>Clergy and Ritual.</i>—In the time of Justinian the total -number of clergy was 525, but at the time of Heraclius this -had been increased to 600.<a id="FNanchor_155" href="#Footnote_155" class="fnanchor">[155]</a> They were thus divided:—</p> - -<table border="0" summary="clergy" class="p1"> -<colgroup> -<col width="50%" /> -<col width="50%" /> -</colgroup> -<tr><td>Presbyters</td><td class="tdr">80</td></tr> -<tr><td>Deacons</td><td class="tdr">150</td></tr> -<tr><td>Deaconesses</td><td class="tdr">40</td></tr> -<tr><td>Subdeacons</td><td class="tdr">70</td></tr> -<tr><td>Readers</td><td class="tdr">160</td></tr> -<tr><td>Singers</td><td class="tdr">25</td></tr> -<tr><td>Doorkeepers</td><td class="tdr">75</td></tr> -<tr class="summary"><td>Total</td><td class="tdr">600</td></tr> -</table> - -<p class="p1">The subdeacons, according to the forty-third canon of the -Council of Laodicea, stood by the doors. Porphyrogenitus<a id="FNanchor_156" href="#Footnote_156" class="fnanchor">[156]</a> -speaks of the emperor “passing through the narthex of the -gynaeceum, where the deaconesses have their usual place.” -The same author also mentions<a id="FNanchor_157" href="#Footnote_157" class="fnanchor">[157]</a> “hypurgi of the narthex, -readers for alternate weeks, ostiarii of the Holy Well, a -domesticus of the subdeacons, and deputati of S. Sophia.” -A series of seals of the officers of S. Sophia is given by -Schlumberger;<a id="FNanchor_158" href="#Footnote_158" class="fnanchor">[158]</a> the seals are those of the klerikos, diakonos, -manglabites, ekdikos, deuteroboetes, protospatharios, and the -chartophulax. An anonymous author<a id="FNanchor_159" href="#Footnote_159" class="fnanchor">[159]</a> gives a list of the -officers of the “holy and great” church which is too long -to be given in full, but we may note some of the duties -mentioned.</p> - -<p>The Oeconomus held “one of the flabella, and stood at -the right hand of the altar, when the patriarch was officiating;” -while “the sacellarius, holding a napkin, stood on -the left.” The skeuophylax stood in front of the skeuophylakium, -so as to be ready to hand any vessel that might be -wanted. The chartophulax stood near the “holy doors,” -and pronounced the words of the service, “Approach, ye -priests.” The castensius holds the censer, and draws the -curtain at the <i>Trisagion</i>. The refendarius and deputati -carried the orders of the patriarch to the princes and nobles,<span class="pagenum" id="Page_92">[Pg 92]</span> -and summoned them to his presence. When the patriarch -was officiating, the protopapas took precedence of all the -other priests, and even gave the communion to the patriarch. -The protopsaltes “stood in the middle of the church between -the right and left choirs,” and led the singing. On one -occasion the number of priests was so great “that the -church of S. Sophia, though it is the greatest of all on the -earth, seemed then too small.”<a id="FNanchor_160" href="#Footnote_160" class="fnanchor">[160]</a></p> - -<p>Up to the eleventh century, services were only performed -in S. Sophia on Sundays and Saints’ days. In the middle of -the eleventh century, Monomachus arranged that the service -should be every day, and for this extra salaries were given.<a id="FNanchor_161" href="#Footnote_161" class="fnanchor">[161]</a></p> - -<p>Some idea of the ritual of the services may be gathered -from the offices in the <i>Euchologium</i>, edited by Goar, the -Cherubic and other hymns, together with the <i>Ceremonies</i> -of Porphyrogenitus. An account given by Anthony of -Novgorod is quoted in the next chapter. Bertrandon Brocquière -writes: “I was curious to witness the manner of the -Greeks performing divine service, and went to S. Sophia -on a day when the patriarch officiated. The emperor was -present accompanied by his wife, his mother, and his brother, -the despot of the Morea. A Mystery was represented, the -subject of which was the three youths whom Nebuchadnezzar -had ordered to be thrown into the fiery furnace.”</p> - -<p>Having in our last chapter quoted the description of the -procession and celebration of the Mass, we now give the -accounts of the Adoration of the Cross given by Arculf<a id="FNanchor_162" href="#Footnote_162" class="fnanchor">[162]</a> -in the seventh century, and by Porphyrogenitus in the -tenth; together with the directions for the emperor’s -procession to the great church.</p> - -<p><i>The Adoration of the Cross.</i>—“In the northern part of the -interior of the house (S. Sophia) is shown a very large and -beautiful aumbry, where is kept a wooden chest, in which is -shut up that wooden cross of salvation on which our Saviour -hung for the salvation of the world. This notable chest, as -the sainted Arculf relates, is raised with its treasure of such -preciousness upon a golden altar, on three consecutive days<span class="pagenum" id="Page_93">[Pg 93]</span> -after the lapse of a year. This altar also is in the same -round church, being two cubits long, and one broad. On -three consecutive days only throughout the year is the Lord’s -cross raised and placed on the altar, that is on the day of the -supper of the Lord, when the emperor and the armies enter -the church, and, approaching the altar, after that sacred chest -has been opened, kiss the Cross of Salvation. First of all -the emperor of the world kisses it with bent face, then going -up one after another in the order of rank or age all kiss the -cross with honour. Then on the next day, that is on the -sixth day of the week before Easter, the queen, the matrons, -and all the women of the people approach it in the above-mentioned -order, and all kiss it with reverence. On the -third day, that is on the Paschal Sabbath, the bishop, and -all the clergy after him, approach in order with fear and -trembling and all honour, kissing the Cross of Victory which -is placed in its chest. When these sacred and joyful kissings -of the sacred cross are finished, that venerable chest is closed, -and with its honoured treasure it is borne back to its aumbry. -But this should also be carefully noted, that there are not two -but three short pieces of wood in the cross, that is the cross -beam and the long one which is cut and divided into two -equal parts; while from these threefold venerated beams -when the chest is opened, there arises an odour of a wonderful -fragrance,<a id="FNanchor_163" href="#Footnote_163" class="fnanchor">[163]</a> as if all sorts of flowers had been collected in -it, wonderfully full of sweetness, satiating and gladdening all -in the open space before the inner walls of the church, who -stand still as they enter at that moment; for from the knots -of those threefold beams a sweet-smelling liquid distils, like -pressed-out oil, which causes all men of whatever race, who -have assembled and entered the church, to perceive the above-mentioned -fragrance of so great sweetness. This liquid is -such that if even a little drop of it be laid on the sick, they -easily recover their health, whatever be the trouble or disease -they have been afflicted with.”</p> - -<p>The passage from the <i>Book of the Ceremonies</i><a id="FNanchor_164" href="#Footnote_164" class="fnanchor">[164]</a> describing<span class="pagenum" id="Page_94">[Pg 94]</span> -the Exaltation of the cross on September 14th begins with -the emperor “passing through the palace Manaura, and the -upper corridors, ascending by the wooden staircase, and entering -the <i>catechumena</i><a id="FNanchor_165" href="#Footnote_165" class="fnanchor">[165]</a> of the great church.” After he has -reached the catechumena and “lighted candles, and prayed, -he takes his seat in the part on the right-hand side.” “The -emperor then summons the patriarch, who remains for a short -time with the emperor, and then goes out, and comes to the -small secretum, where is kept the Holy Wood, and receives -the emperor there. And as the congregation begin the -‘Glory to God in the Highest,’ the emperor enters, and kisses -the Sacred Wood, and comes out into the great secretum. -Then the emperor, following the Cross, descends by the great -winding staircase, keeping to the left, and passes through the -Didaskalion,<a id="FNanchor_166" href="#Footnote_166" class="fnanchor">[166]</a> where the paschalia are inscribed, and having -gone down the steps, he enters through the great gate of -the narthex, and reaches the royal doors and stands there. -The emperor and patriarch now pass through the middle of -the nave, and on the right of the ambo into the solea; here -the emperor stands before the Holy Doors, and gives the -candle he is carrying to the praepositus. He then enters the -bema, and having kissed the Sacred Wood, and turning round, -he comes out again, and passes through the solea, then mounts -the third or fourth step of the ambo and stands there, holding -the candle. The patriarch then comes out of the bema -and mounts the ambo with the Sacred Wood, and the emperor -gives his candle to the praepositus, and remains there until -the Wood has been elevated in the four quarters of the ambo. -The emperor and patriarch then descend from the ambo and -enter the bema, and the Wood being placed before them -the emperor prays and kisses it, and coming out through -the side of the bema he is conducted by the patriarch<span class="pagenum" id="Page_95">[Pg 95]</span> -to the Holy Well, and having kissed it, he continues to -the palace.”</p> - -<p>It would almost appear that whereas in the time of -Arculph (<i>circa</i> 680) the Cross was kept in one of the north-eastern -chambers by the bema, in the time of Porphyrogenitus -(tenth century) it was preserved, during certain -periods, in a secretum accessible from the gynaeceum. -Possibly the small upper chapel on the south side with -mosaic ceiling, and the additions over the south porch, both -built about the tenth century, may be the chambers in -question. At the end of the ceremony the Cross was left -in the bema, and it may be that only on the occasion of -the Festival of the Cross was it taken up to the gallery, preparatory -to a procession through all parts of the church.</p> - -<p><i>Procession to the Church.</i>—The following is an account of -a pageant, which is the first in the <i>Book of Ceremonies</i>—the -order of the royal procession to the Great Church. On the -day preceding the feast, notice was given so that the way -might be adorned with flowers. The emperor and princes -carried gifts, and processional candles, and the Cross of St. -Constantine.<a id="FNanchor_167" href="#Footnote_167" class="fnanchor">[167]</a> Priests were sent to receive him with the Cross -of the Lord, which was taken from the church by the -Sacristan (<i>skeuophulax</i>).</p> - -<p>In proceeding to the church there were six “receptions.” -Three were in various parts of the palace, “and the princes -come to the gate (Chalké), and the fourth reception takes -place outside the barrier of Chalké; the fifth reception takes -place in front of the Great Gate which leads into the -Augusteum; and the sixth reception is at the Horologium -of S. Sophia.”<a id="FNanchor_168" href="#Footnote_168" class="fnanchor">[168]</a></p> - -<p>“And from thence the princes enter through the Beautiful -Gate, and have their crowns removed by the praepositi -within the curtain that hangs in the chamber, that is to say, -the propylaeum of the narthex. And the patriarch receives -them at the door of the narthex with the usual ceremony.... -The lords remove their crowns, kiss the holy Gospel<span class="pagenum" id="Page_96">[Pg 96]</span> -carried by the archdeacon, greet the patriarch, and proceed -up to the royal doors. Bearing the candles and bowing -thrice, the entrance is made after a prayer by the patriarch; -then those carrying the sceptres and vessels stand right and -left of the church; but those bearing the banners and the -books stand on either side in the solea; and the Cross of St. -Constantine is placed on the right side of the bema. And -when the lords come to the Holy Doors and to the porphyry -omphalion, the patriarch alone enters within the screen, by -the holy door on the left. The princes, after bowing thrice, -enter with the candles, following the patriarch, and coming -to the holy table they kiss the holy cloth, and they place -as is usual on the holy table the two white veils, and kiss the -holy chalices, and the two discs and the holy corporal cloth, -which are handed to them by the patriarch. And then by -the right-hand side of the bema the princes enter with the -patriarch the <i>Kuklis</i>, where is placed the Holy Crucifix of -gold, and again they bow with the candles three times -praising God; and the patriarch gives the censer to the -emperor and he censes the crucifix: then they kiss the -patriarch, and take leave of him and enter the oratory, -which is in front of the metatorion, and there, bowing -three times and praising God, they kiss the Holy Cross -as well as all the Instruments of our Lord’s Passion, and -then enter the metatorion.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_97">[Pg 97]</span></p> - -<h2 class="nobreak" id="CHAPTER_VI">CHAPTER VI</h2> -</div> - -<p class="cd">RELICS, TREASURE, AND THE LIGHTING OF THE CHURCH</p> - - -<h3>§ 1. RELICS.</h3> - -<p><i>The True Cross.</i>—There would seem to be little doubt -that a discovery was made about 326 of what was supposed -to be the true Cross. S. Cyril of Jerusalem, writing some -twenty-five years later, says that portions of the Cross were -spread all over the world. We have seen (p. <a href="#Page_14">14</a>) that -early historians relate that a portion of this precious relic -was sent to Constantinople by Helena. The principal part -however remained at Jerusalem until it was taken by -Chosroes. It is described by some of the pilgrims to the -holy city as being encased in silver. Brought back from -Persia by Heraclius in 628 together with the spear and -sponge, it rested for a brief interval in S. Sophia, where -it was “uplifted”; but it was again returned to Jerusalem -until 636,<a id="FNanchor_169" href="#Footnote_169" class="fnanchor">[169]</a> when under the fear of the coming troubles the -larger portion at least was removed. Rohault de Fleury, who -devoted a folio volume to the Instruments of the Passion, -quotes a letter from Anseau, a priest of the Holy Sepulchre -in the twelfth century, which was sent to Paris with a portion -of the Cross. According to this account the Holy Wood was -divided into nineteen small Crosses, of which Constantinople -possessed three besides the “Cross of the Emperor,” and -Jerusalem retained four. We have positive evidence that in -the century before Heraclius Constantinople was a centre -where portions of the Cross were to be obtained: thus<span class="pagenum" id="Page_98">[Pg 98]</span> -Radegunde, wife of Clothaire, received a fragment from -Justin II. and Sophia in 569.<a id="FNanchor_170" href="#Footnote_170" class="fnanchor">[170]</a> At this time, according to -John of Ephesus, there was “a day of the adoration of the -Holy Cross of our Saviour; on this festival the Cross is -brought out and set up in the Great Church, and the senate -and all the people of the city assemble to worship it.”<a id="FNanchor_171" href="#Footnote_171" class="fnanchor">[171]</a> -Probably the Exaltation was celebrated concurrently at -Jerusalem and at Constantinople.</p> - -<p>When we more definitely hear of the True Cross at S. -Sophia, it is evident, from the frequent occasions in which it -is transported to different parts of the church, and to the -palace, that it was quite small, a relic in fact.</p> - -<p>Arculf (<i>circa</i> 680), as we have seen, describes it as kept in -a chest, on a golden altar, which was only two cubits long -by one broad. He says: “it should be specially noticed -that there are not two but three short pieces of wood in the -cross; that is, the cross beam, and the long one divided into -two equal parts.”</p> - -<p>Now in the <i>Menologium</i> of Basil we have a representation -of the Exaltation of the Cross, which the patriarch is uplifting -in an ambo. It is represented as a double cross made -up of three pieces, not of two. A miniature of the finding -of the Cross in the National Library of Paris shows the -same form. Didron remarks that the cross with double -branches probably originated in Greece, “for it is constantly -seen in Attica, in the Morea, and on Mount Athos.” This -form appears frequently on the later coins of Constantinople, -and we find that most of the relics of the True Cross which -still exist on Mount Athos and other places are made up -with double arms. A reliquary for the fragment, said to be -that which was sent to Radegunde, was preserved in the -monastery of S. Cross at Poitiers in the last century. The -field was of <i>cloisonné</i> enamel, blue with here and there a -red flower. A drawing of this relic, of which we give an -outline,<a id="FNanchor_172" href="#Footnote_172" class="fnanchor">[172]</a> shows that this fragment of the True Cross was -made up in the double-armed form, which was repeated in<span class="pagenum" id="Page_99">[Pg 99]</span> -the relic at the Ste. Chapelle.<a id="FNanchor_173" href="#Footnote_173" class="fnanchor">[173]</a> Two such relics now at -Venice are doubly interesting, for besides a cross of this -form two supporting figures are represented which are -inscribed Constantine and Helena.<a id="FNanchor_174" href="#Footnote_174" class="fnanchor">[174]</a> Now Cedrenus and -other late writers say that in the Kamara of the Milion -were the figures of Constantine and his mother, with the -cross between them. The same composition appears in the -mosaics at the monastery of -S. Luke. The two Venice -relics bear the names of the -Empresses Maria (1180) -and Irene (1350).</p> - -<div class="figcenter" id="f14"> - <img src="images/p099.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 14.</span>—Showing form of True Cross -at S. Sophia.</p></div> -</div> - -<p><a href="#f14">Fig. 14</a> represents the -Poitiers reliquary; the True -Cross as shown in the <i>Menologium</i>; -and a cross from a -late coin. We cannot doubt -that the Cross at Constantinople -was of this form. -Was it the result of the conjunction -of three pieces as -mentioned by Arculph, or -did the upper arm from the -first represent the label?</p> - -<p>With the Cross were -associated the other Instruments -of the Passion—the -Crown of Thorns, the -Sponge and Spear, and slabs -from the Tomb.</p> - -<p>The catalogue of relics by Nicholas Thingeyrensis (1200) -says, “In S. Sophia is the Cross of the Lord which Helena -the Queen brought;”<a id="FNanchor_175" href="#Footnote_175" class="fnanchor">[175]</a> but at that time the greater part of -the Cross and other relics of the Passion seem to have -been transferred to the chapel in the palace of Boucoleon, -where they were seen by Robert de Clari (1200). The<span class="pagenum" id="Page_100">[Pg 100]</span> -anniversary of the day on which they were moved from -S. Sophia, August 14th, was kept as a holiday. According -to Paspates all the relics of the Passion were removed in -1234. Baldwin II. took the Crown of Thorns which was -acquired by S. Louis. It is evident, however, from the -later Pilgrims quoted below, and from Mandeville, that a -part of the Passion relics remained or that others were -acquired.</p> - -<p><i>Other Treasure and Relics.</i>—“Not only kings and -patriarchs, but also private individuals and monks brought -to Constantinople relics of the apostles and martyrs, ancient -ikons, and all kinds of sacred objects connected with the -saints of the church. Anything of value in the whole land -of Palestine was for the most part moved to Constantinople, -and such was the reverence for relics that no church, -monastery, nor oratory was built without them.”<a id="FNanchor_176" href="#Footnote_176" class="fnanchor">[176]</a> So early -as 415, when S. Sophia was rededicated, it was necessary to -have fresh relics (see page <a href="#Page_16">16</a>).</p> - -<p>A description of the relics and the treasure of Constantinople -is given in the letter supposed to have been written in -1095 by Alexius Comnenus to Robert, Count of Flanders, -in which he craves the assistance of the West against the -Turks. After enumerating the relics scattered throughout -the city, he continues, “If you do not care to fight for these, -and gold will tempt you more, you will find more of it at -Constantinople than in the whole world, for the treasures -of its basilicas alone would be sufficient to furnish all the -churches of Christendom, and all their treasures cannot -together amount to those of S. Sophia, whose riches have -never been equalled even in the temple of Solomon.”</p> - -<p>The dispersion of the relics and treasures of S. Sophia -and the other churches at Constantinople has been exhaustively -treated by Count Riant.<a id="FNanchor_177" href="#Footnote_177" class="fnanchor">[177]</a> The description by -Anthony, Archbishop of Novgorod, who visited S. Sophia -in 1200, three years before the capture by the Crusaders,<span class="pagenum" id="Page_101">[Pg 101]</span> -furnishes the best account of the accumulated riches of the -great church. We give this in full from the French version -contained in <i>Itinéraires Russes en Orient</i>.<a id="FNanchor_178" href="#Footnote_178" class="fnanchor">[178]</a></p> - -<p>“I, Antonius, Archbishop of Novgorod, an unworthy and -humble sinner, by the grace of God and by the help of -S. Sophia, who is the Wisdom and the Eternal Word, reached -in safety the imperial city, and entered the great Catholic -and Apostolic Church. We first worshipped S. Sophia, -kissing the two slabs of the Lord’s sepulchre. Furthermore -we saw the seals, and the figure of the Mother of God, -nursing Christ. This image a Jew at Jerusalem pierced in -the neck with a knife, and blood flowed forth. The blood -of the image, all dried up, we saw in the smaller sanctuary.</p> - -<p>“In the sanctuary of S. Sophia is the blood of the holy -martyr Pantaleon with milk,<a id="FNanchor_179" href="#Footnote_179" class="fnanchor">[179]</a> placed in a reliquary like a -little branch or bough, yet without their having mixed. -Besides that there is his head, and the head of the Apostle -Quadratus, and many relics of other saints: the heads of -Hermolaus and Stratonicus; the arm of Germanus, which -is laid on those who are to be ordained patriarchs; the -image of the Virgin which Germanus sent in a boat to -Rome by sea; and the small marble table on which Christ -celebrated His Supper with the disciples, as well as His -swaddling clothes and the golden vessels, which the Magi -brought with their offerings.</p> - -<p>“There is a large gold ‘disc’ for the mass, given to the -patriarch by Olga, a Russian princess, when she came to the -imperial city to be baptized.<a id="FNanchor_180" href="#Footnote_180" class="fnanchor">[180]</a> In this disc there is a precious -stone which displays the image of Christ, and the seal-impressions -from this are used as charms; but on the upper -side the disc is adorned with pearls.</p> - -<p>“In the sanctuary is likewise preserved the real chariot -of Constantine and Helena, made of silver; there are -gold plates, enriched with pearls and little jewels, and -numerous others of silver, which are used for the services on<span class="pagenum" id="Page_102">[Pg 102]</span> -Sundays and feast days: there is water also in the sanctuary -coming out of a well by pipes.</p> - -<p>“Outside the smaller sanctuary<a id="FNanchor_181" href="#Footnote_181" class="fnanchor">[181]</a> is erected the ‘Crux -Mensuralis,’ which shows the height of Christ when on -earth; and behind that cross is buried Anna, who gave her -house to S. Sophia, where now is the smaller sanctuary, and -she is buried near. And near this same smaller sanctuary -are the figures of the holy women and of the Virgin Mother -holding Christ, and shedding tears which fall on the eyes of -Christ. They give of the water of the sanctuary for the -blessing of the world.</p> - -<p>“In the same part is the chapel of S. Peter the Apostle, -where S. Theophania is buried. She was the guardian of -the keys of S. Sophia, which people used to kiss. There is -also suspended the carpet of S. Nicholas. The iron chains -of S. Peter are kept there in a gold chest; during the feast -of ‘S. Peter’s Chains’ the emperor, the patriarch, and all the -congregation kiss them [see <a href="#f8">Fig. 8</a>]. Near by, in another -chapel, is also shown the crystal of the ancient ambo, -destroyed when the dome fell.</p> - -<p>“By the side of [the images of] the holy women is the -tomb of the son of S. Athenogenius.... There are no -other tombs in S. Sophia except that, and a lamp hangs -in front of it, which once fell, full of oil, without being -broken. The place is inclosed by a wood screen, and the -people are not allowed to enter.</p> - -<p>“When one turns towards the gate one sees at the side the -column of S. Gregory the Miracle-Worker, all covered with -bronze plates. S. Gregory appeared near this column, and -the people kiss it, and rub their breasts and shoulders against -it to be cured of their pains; there is also the image of S. -Gregory. On his feast day the patriarch brings his relics to -this column. And there placed above a platform is a great -figure of the Saviour in mosaic; it lacks the little finger of -the right hand. When it was finished, the artist looked at -it and said, ‘Lord, I have made thee as if alive.’ Then a -voice coming from the picture said, ‘When hast thou seen<span class="pagenum" id="Page_103">[Pg 103]</span> -me?’ The artist was struck dumb and died, and the finger -was not finished, but was made in silver-gilt.</p> - -<p>“Above the gate is depicted on a large panel the -Emperor Leo the Wise, and in front of it is a precious -stone, which illuminates S. Sophia at night-time. This -same Emperor Leo took a certain writing from Babylon, -which was found in the tomb of the prophet Daniel. It was -copied, and on it were written the names of the Greek -emperors. At the royal gate is a bronze romanistum<a id="FNanchor_182" href="#Footnote_182" class="fnanchor">[182]</a> or -bolt by which the door is closed. Men and women are -brought to it, and if they have drunk serpent poison or -any other poison, they cannot remove the bolt from the -mouth, until all the evil of the disease has trickled away -with the saliva.</p> - -<p>“By the great altar on the left is the place where an angel -of the Lord appeared to the boy who was guarding the -workmen’s tools, and said, ‘I will not leave this spot as long -as S. Sophia shall remain.’ Three figures are shown in this -place, for the angels are painted there; and a multitude of -people come there to pray to God. Not far from there -is the place where they boil the holy oil, burning underneath -it old ikons, whose features one can no longer trace. -With this oil they anoint children at baptism. Above the -sanctuary there rises in the air a great hollow vault covered -with gold. In the sanctuary are eighty candelabra of silver -for use on feast days, which occupy the first place, besides -numberless silver candelabra with many golden apples.</p> - -<p>“Above the great altar in the middle is hung the crown -of the Emperor Constantine, set with precious stones and -pearls. Below it is a golden cross, which overhangs a -golden dove. The crowns of the other emperors are hung -round the ciborium, which is entirely made of silver and -gold. Thus the altar pillars and the sanctuary and the -bema are built of gold and silver, ingeniously made, and -very costly. From the same ciborium hang thirty smaller -crowns, as a remembrance to Christians of the pieces of -money of Judas. To the ciborium were attached curtains,<span class="pagenum" id="Page_104">[Pg 104]</span> -which were formerly drawn by the bishops during the -services. We asked why they did so, and they answered -so that the priests should not see the women and the -people, but should serve the supreme God with a pure -heart and soul. Later the heretics,<a id="FNanchor_183" href="#Footnote_183" class="fnanchor">[183]</a> when nobody could -see them as they were behind the curtains, took the body -and blood of Christ, and spat them out, and trampled -on them. The Spirit warned the fathers of this heresy, and -the fathers fixed the curtains to the columns of the ciborium, -and set an archdeacon near the patriarch, metropolitan, or -bishop, so that they should worship God holily without -heresy.... When Jerusalem was taken by Titus many -sacred vessels and curtains were brought to [New] Rome -with the royal treasures and given to the church of S. -Sophia. In S. Sophia also are preserved the tables of the -Law, as well as the Ark and manna. The subdeacons, when -they sing ‘Alleluia’ in the ambo, hold in their hands tablets -like those of Moses. During the procession of the Holy -Sacrament the eunuchs commence to sing, and then the -subdeacons, and then a monk chants alone. Then many -priests and deacons carry the Holy Sacrament in procession; -at this time all the people not only below, but also in the -galleries, weep in great humility. What then ought to be -the fear and humility of the bishops, the priests, and the -deacons in this holy service?</p> - -<p>“How magnificent are the gold and silver chalices, -garnished with precious stones and pearls! When the -splendid chest, called Jerusalem, is brought out with the -flabella, there rises amongst the people a great groaning -and weeping.... But here is a wonderful miracle, which -we saw in S. Sophia. Behind the altar of the larger -sanctuary is a gold cross, higher than two men, set with -precious stones and pearls. There hangs before it another -gold cross a cubit and a half long, with three gold lamps, -which hang from as many gold arms (the fourth is now -lost). These lamps, the arms or branches, and the cross, -were made by the great Emperor Justinian who built S.<span class="pagenum" id="Page_105">[Pg 105]</span> -Sophia. By virtue of the Holy Spirit the small cross with -the lamps ascended above the big cross, and again slowly -came down again without going out. This miracle took -place after matins, before the commencement of the mass: -the priests who were in the sanctuary saw it, and all the -people in the church who saw it cried with fear and joy, -‘God in His mercy has visited us.’ ... This great and -wonderful miracle was wrought by God in the year 6708 -[<span class="allsmcap">A.M.</span>] on Sunday, May 21st, being the Commemoration of -S. Constantine and his mother Helena, during the reign of -the Emperor Alexius and the patriarchate of John. It was -on the feast of the 318 fathers. Iverdiatinus Ostromitza was -then living at Constantinople; he was an ambassador from -the great Roman duke. Nedanus, Domagirus, Demetrius, -and Novgaro were also there.</p> - -<p>“At S. Sophia on the right near the sanctuary is a piece of -red marble, on which they place a golden throne; on this -throne the emperor is crowned. This place was surrounded -by bronze closures to prevent people walking on it; but -the people kiss it. At this place the Holy Virgin prayed to -her Son, our Lord, on behalf of all Christians; a priest who -was guarding the church at night saw her. On the same -side is also the grand icon of S. Boris and S. Glebe, which -artists copy. When officiating, the patriarch holds it high -up in the tribune.</p> - -<p>“In the chapel behind the altar are affixed to the wall the -upper slab of the Lord’s sepulchre, the hammer, the gimlet, -and the saw, with which the cross of the Lord was made; -also the iron chain which was hung to the gate of S. Peter’s -prison, and the wood of the cross which Christ’s neck -touched. This is inserted in a reliquary in the form of a -cross. In this chapel above the door is painted S. Stephen, -protomartyr, and a lamp is hung before him; when any one -has bad eyes, they put round his head the rope by which -this lamp is hung, and his eyes are healed.</p> - -<p>“There is also the figure of Christ whose neck the Jew -struck,<a id="FNanchor_184" href="#Footnote_184" class="fnanchor">[184]</a> and the bronze trumpet of Joshua, who took -Jericho, and the marble mouth of the well of Samaria.<span class="pagenum" id="Page_106">[Pg 106]</span> -Near it Christ said to the woman of Samaria, ‘Give me to -drink;’ the well mouth has been cut in half, and the -Samaritans still draw water [from the other half].</p> - -<p>“There lie also the bodies of S. Abercius, S. Gregory, and -S. Sylvester, and the heads of Cyrus and John, and many -other relics. There also is the Baptistery, upon which is -painted all the history of the baptism of Christ by John in -the Jordan: and how John taught the people, and how -little children and men threw themselves in the Jordan: all -this was executed by Paul the Skilful during my lifetime, -and there is no painting like this. There are there wooden -supports, upon which the patriarch has had placed the figure -of Christ, thirty cubits high; Paul first painted the Christ -with colours made of precious stones and crushed pearls -mixed with water; this image is still at S. Sophia.</p> - -<p>“And when they sing matins at S. Sophia, they sing first -before the great doors of the church, in the narthex, then -they enter and sing in the middle of the church; then they -open the paradise gates, and sing the third time before the -altar. Sundays and saints’ days the patriarch assists at -matins and at mass, then he blesses the singers from the -ambo, they stop singing and then say the <i>polykronia</i>: then -they begin to sing again, and sing as harmoniously and -sweetly as the angels till the Mass. After matins are -finished, they put off their surplices and then go out and -ask the patriarch’s benediction for the mass. After matins -the prologue is read in the ambo till the mass; when the -prologue is finished, the liturgy is commenced, and, after the -service is over, the chief priest in the sanctuary recites the -prayer called ‘Of the ambo,’ while the second priest recites -it in the church on the side of the ambo, away from [the -sanctuary]: both, when the prayer is finished, bless the -people. In a similar way vespers are sung. There are no -bells at S. Sophia, but a little hand-bat [<i>hagiosidère</i>] which -they strike for matins, though they do not strike it for mass -and vespers, as in other churches: they follow the precepts of -the angel in having this bat; the Latins have bells.... -When they built S. Sophia, they inclosed holy relics in -the walls of the sanctuary. There are also many cisterns at<span class="pagenum" id="Page_107">[Pg 107]</span> -S. Sophia. Above [evidently <i>under</i>] the galleries are the -cisterns and storehouses of the patriarchs and of the Church. -Vegetables of every kind [suitable for the table] of the -patriarchs, melons, apples, and pears are preserved at the -bottom of the cisterns in baskets hung by cords: when the -patriarch wants to eat, they bring them up quite fresh: and -the emperor eats them also. The bath of the patriarch is -also above [under] the galleries; the water of the fountains -mounts by pipes, and the rainwater is preserved in cisterns. -On the galleries are painted all the patriarchs and emperors -of Constantinople, and those who shared their heresies. In -the choirs of the church are five heads ornamented with pearls -like a silver [word indecipherable].... Lazarus, the -image painter<a id="FNanchor_185" href="#Footnote_185" class="fnanchor">[185]</a> ... first painted at Constantinople, in the -sanctuary of S. Sophia, the Virgin holding Christ and two -angels.... S. Sophia has 3,000 priests; 500 share in the -benefices of the church and 1,500 have no share; when one of -the 500 priests dies, his place is taken by one of the 1,500.”</p> - -<hr class="tb" /> - -<p><i>Frankish Occupation and After.</i>—Three years after the -visit of Anthony, Constantinople was taken by the Latins. -One of the Crusaders, Villehardouin, writes, “Of holy -relics I need only say it contained more than all Christendom -combined; there is no estimating the quantity -of gold, silver, precious vessels, jewels, rich stuffs, silks, -robes of vair, gris, and ermine, and other valuable things—the -production of all the climates in the world. It -is the belief of me, Geoffrey Villehardouin, maréchal of -Champagne, that the plunder of this city exceeded all that -has been witnessed since the creation of the world.”</p> - -<p>Much of the accumulated wealth of six centuries—the -gifts from emperors and private individuals of “sacred -vessels of gold and pearls and precious stones”<a id="FNanchor_186" href="#Footnote_186" class="fnanchor">[186]</a>—was -removed by the Venetians and Franks. Many of these -precious objects are lost beyond hope of recovery; such are<span class="pagenum" id="Page_108">[Pg 108]</span> -the candlesticks and crosses. As some representation of -these we give a figure of a gemmed processional cross, with -its <i>seizae</i> of jewels, from the <i>Menologium</i> of Basil (<a href="#f15">Fig. 15</a>).</p> - -<div class="figcenter" id="f15"> - <img src="images/p108.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 15.</span>—Jewelled Processional Cross.</p></div> -</div> - -<p>In the treasury of S. Mark’s -at Venice there is however a -rich hoard of vessels, lamps, -and other objects, which were -taken from the churches of -Constantinople; and many of -these crystal lamps, agate cups, -and enamelled book-covers -doubtless belonged to S. -Sophia.</p> - -<p>Amongst these may be mentioned -an agate chalice with -the name Sisinnius. This may -probably be referred to a -Patriarch of Constantinople of -that name in 996; another -with the name Ignatius to a -patriarch in 877; a third with -the inscription “Lord help -Romanus, the Orthodox Emperor” -to Romanus Lecapenus -(919-944).<a id="FNanchor_187" href="#Footnote_187" class="fnanchor">[187]</a> Extracts from -the Venetian historians mentioning -objects brought from -Constantinople are given by -Riant. Paulus Maurocenus -speaks of “the many holy -relics, and small figures, and -chalices and patens and other -beautiful things from the -church of S. Sophia;” also, -“the very same doors which -now close the church of S. Mark’s ... and two censers -of gold from S. Sophia of such grace and beauty that -one cannot see them without being astounded.” He also<span class="pagenum" id="Page_109">[Pg 109]</span> -mentions, though it is not quite clear if he associates this -with S. Sophia, “The palla of silver-gilt with the figures of -our Lord, the Virgin, the Apostles, prophets, doctors, and -martyrs, which is now placed in the church of S. Mark.”<a id="FNanchor_188" href="#Footnote_188" class="fnanchor">[188]</a></p> - -<p>The head of S. Pantaleon was taken by Heinrich Ulmen to -the church of the saint at Cologne.</p> - -<p>After the interregnum, S. Sophia was visited by several -other Russian pilgrims, who have left accounts of the church -which agree very closely. Of the fullest of these, which is -by an anonymous Russian writer, 1424-1453, we give a condensed -abstract, as it contains one or two more points, shows -the acquisition of other relics in the place of those lost, and -is useful for comparison with the anonymous Greek author -translated in the next chapter:—</p> - -<p>Near the west door in the middle of the narthex are the -doors of the ark of Noah and the chain which bound the -apostle Paul. Above the door is the miraculous image of -the Saviour, and a lamp is suspended before it. In the -sanctuary is the life-giving Cross on which the Jews crucified -Christ. The stone on which He sat and conversed with the -woman of Samaria is in the chapel on the right. Here is -the table of Abraham. At the bottom of the church against -the wall to the right of the altar is the bed of iron on which -martyrs were burnt. Here is a stone coffer with relics of -Martyrs and the Innocents. To the left is the tomb and -the whole body of Arsenius: the doors of the ark: the -bench where Jeremiah the prophet wept, and a column by -which Peter wept. To the left are buried S. George and -S. Theologos. On the left is a little shrine beautifully -built; it contains the image of the Virgin which wept when -the Franks held Constantinople. Her tears, resembling pearls, -are kept in a coffer before the image. The instruments of the -Passion are exposed from Thursday to Saturday. Beyond is -the image of Christ in marble, and the cross of S. John chained -to the wall. Near the Holy Table in the bema is the tomb of -S. John Chrysostom, covered by a plank overlaid with gold and -gems. To the right on entering the church are situated a well -and large basin of marble in which the patriarch baptizes. One<span class="pagenum" id="Page_110">[Pg 110]</span> -leaves S. Sophia by the south door; at some steps from the gate, -to the left, is the Church of the Holy Saviour; above the door -is suspended an image which an emperor attempted to destroy. -Behind the bema of S. Sophia is the church of S. Nicholas. -Near by in front of the door which is behind the altar of -S. Sophia is the place where they bless the water, plunging -in the Cross; a roof covered with lead surmounts the basin -of green marble. It is here they baptize the emperors; -four cypresses and two palms form a crescent in this place. -Some distance in front of the ambo of S. Sophia is a -pedestal of marble which supports the holy chalice; it is -within a stone inclosure, and is covered by a vault of gilt -copper. From the entrance of the church to the ambo is 66 -cubits, and it is 30 beyond to the sanctuary, which is 50 long -by 100 wide. The church is 200 cubits wide and 150 -high. Above the first door is Solomon in mosaic in a circle -of azure.</p> - -<p>That these accounts accurately relate the stories of the -guardians of S. Sophia is sufficiently proved by La Brocquière, -who was told in 1433 that S. Sophia possessed “one of the -robes of our Lord, the end of the lance that pierced His side, -the sponge that was offered to Him, and the reed that was put -in His hand. I can only say that behind the choir I was -shown the gridiron on which S. Lawrence was roasted [the -iron bed], and a large basin-like stone on which they say -Abraham gave the angels food when they were going to -destroy Sodom and Gomorrah.”</p> - - -<h3>§ 2. LIGHTING.</h3> - -<p>The description by the Silentiary<a id="FNanchor_189" href="#Footnote_189" class="fnanchor">[189]</a> of the lamps and candelabra -which illuminated the Great Church forms one of the -most fascinating parts of the whole poem. Although the -multitude of lamps which once lit up the interior have long -disappeared, the main features of the lighting may be brought -back to our imaginations by comparing the description with -illustrative examples. First then in the central space under<span class="pagenum" id="Page_111">[Pg 111]</span> -the great dome, chains fell from the height of the upper -cornice, where they were probably attached to strong bronze -arms which projected far out like the present metal stakes -which project in the exedras on the first-floor cornice. These -chains all terminated at some height above the floor in supporting -the great sweep of a metal circle to which were -suspended flat circular discs of silver, each of which was -pierced with holes into which were dropped glass oil vases -with rims which prevented them falling through. With these -discs were associated crosses of metal which also carried lamps. -These, cross and disc together, or alternately, hanging round -in a great circle made a “circling chorus of bright lights” -within which was a large corona of other lamps and above it -a large central disc.</p> - -<p>Then along the sides of the church were rows of lamps in -the forms of silver bowls, and ships; other rows of lights -were attached to beams supported above the floor by metal -standards, and to projecting metal arms, or suspended -rods. Upon the beam of the iconostasis was a row of -candelabra, each with a series of horizontal circles diminishing -upwards about the stem, like a fir-tree, issuing from a silver -bowl. Above the centre of the iconostasis was a great -standard light-bearing cross. Round about the ambo -similar light trees were placed.</p> - -<p>Light coronae, crosses, or single lamps were favourite -gifts to a church, and in these objects S. Sophia probably -became much more wealthy as time went on. Michael III., -for instance, gave to the church in 867 “a circle (<i>kuklos</i>) -for lights which they call a polycandelon, as big as any of the -others but all of gold weighing sixty pounds. To it was -given the first and most holy place.”<a id="FNanchor_190" href="#Footnote_190" class="fnanchor">[190]</a> “A chalice and paten -superior to all the others, as well as a polycandelon in the -form of a cross with many lamps,” are also mentioned as given -by Michael. His successor Basil I., “as there was a danger -of the sacred lamps being extinguished for want of oil,” -assigned for the use of the church “the tribute called -mantea, so that the light might never be quenched.”<a id="FNanchor_191" href="#Footnote_191" class="fnanchor">[191]</a> The<span class="pagenum" id="Page_112">[Pg 112]</span> -Anonymous doubtless exaggerates beyond belief with his -300 polycandela and 6000 lamps all of gold, but the kinds<span class="pagenum" id="Page_113">[Pg 113]</span> -of candelabra he speaks of must have been perfectly well -known (p. <a href="#Page_140">140</a>).</p> - -<div class="figcenter" id="f16"> - <img src="images/p112.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 16.</span>—Polycandelon or Disc, for Seventeen Lamps, in the British Museum.</p></div> -</div> - -<p>At the end of the twelfth century, Robert de Clari, the -knight of Amiens, wrote—“Throughout the church hang one -hundred candelabra, and there is not one which does not hang -from a silver chain as thick as a man’s arm, and each candelabrum -has quite twenty-five lamps or more, and there -is not a single candelabrum which is not worth two -hundred silver marks.” Benjamin of Tudela mentions -“candelabra, lamps, and lanterns, of gold and silver more -than any man can name;” and Stephen of Novgorod -(1350) speaks of “a multitude immense, innumerable, of -lamps.”</p> - -<p>Of the great brilliance of illumination obtained in the -early churches there can be no doubt. Paulinus writes that -at his church at Nola the lights were suspended in such profusion -that they seemed to float in a sea. An interesting -account of the method of lighting followed at the Lateran, -illustrated by a plan of the circles, is given by Rohault de -Fleury.<a id="FNanchor_192" href="#Footnote_192" class="fnanchor">[192]</a></p> - -<p>A Byzantine lamp-holder lately sent to the Louvre from -Constantinople is probably almost identical in general form -with the “discs” of Paulus. This polycandelon is a broad -flat ring of bronze pierced with eight holes for as many -lights, and suspended by four chains. It bears a votive -inscription which reads, “Lord, remember thee of Thy servant -Abraham, son of Constantine.”<a id="FNanchor_193" href="#Footnote_193" class="fnanchor">[193]</a></p> - -<p>In the British Museum is a much more ornate example of -the same kind of disc. This is also of bronze, about sixteen -inches diameter, pierced with seventeen holes for the -lights, the interspaces being cut away to form a radiating -pattern. We give a drawing of this interesting lamp, with -which we have associated a small pierced plate for a lamp -chain in the same collection (<a href="#f16">Fig. 16</a>). In the Archæological -Museum at Granada there is an ornamental disc -closely resembling the example in the British Museum. It -came from the mosque of Elvira, and probably belongs to<span class="pagenum" id="Page_114">[Pg 114]</span> -the ninth century. -We mention this -because the bottom -plate of the -modern mosque -lamp with the -small holes which -take glass tubular -vessels eight or -ten inches long -and only about -two inches in diameter, -continues -the tradition of -the Byzantine -polycandela, and -the oil vessels well -represent those -like spear shafts -mentioned by the -Poet.</p> - -<div class="figcenter" id="f17"> - <img src="images/p114.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 17.</span>—Silver Polycandelon from Lampsacus, -in the British Museum.</p></div> -</div> - -<p>In another example -in the -British Museum -the disc is not -quite flat but of -the form of a dinner -plate, the holes for the lamps being around the rim. -This lamp-holder is of silver, and was brought from Lampsacus -near Gallipoli with several altar vessels inscribed -with a monogram which reads <span class="inscribe">ΜΗΝΑ</span> or <span class="inscribe">ΑΜΗΝ</span>. In -<a href="#f17">Fig. 17</a> we have restored the oil vases. Another bronze -polycandelon has recently been brought from Egypt by -Professor Flinders Petrie: this is about eight inches across -(<a href="#f18">Fig. 18</a><a id="FNanchor_194" href="#Footnote_194" class="fnanchor">[194]</a>).</p> - -<p><span class="pagenum" id="Page_115">[Pg 115]</span></p> - -<div class="figcenter" id="f18"> - <img src="images/p115.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 18.</span>—Coptic Polycandelon for Four Lamps.</p></div> -</div> - -<p>On Mount Athos -we probably find -the best existing -parallel to the circle -of discs at S. Sophia -in the monastery of -Docheiareiu (see -<a href="#f19">Fig. 19</a>).<a id="FNanchor_195" href="#Footnote_195" class="fnanchor">[195]</a> In the -words of the Silentiary, -“these discs -form a coronet.”</p> - -<p>The second crown -of lights, which hung -within the great -circle of discs at S. -Sophia, would also -have had a circular -rim supported by -chains with lamps -suspended beneath, -or attached to arms -projecting from the -rim. S. Bernard -speaks of a church where were placed “not crowns but wheels -with precious stones and lights around them.” To these -circular candelabra ecclesiastical writers usually give the title -of coronae. Leo III. gave to the basilica of S. Andrew at -Rome a “gold corona of lamps set with gems.” Other -authors call crowns with lamps of this kind <i>phara</i>; we read -in Leo Ostiensis of a “pharum or large crown of silver with -six and thirty lamps hanging from it.”<a id="FNanchor_196" href="#Footnote_196" class="fnanchor">[196]</a> They are also -spoken of as <i>cycli</i>, but more generally as <i>polycandela</i>. The -<i>Chronicon Cassinense</i> mentions “a pharos or crown of silver, -weighing a hundred librae, twenty cubits round about, with -twelve towers projecting from it, and thirty-six lamps hanging -from it. This was fixed outside the choir, before the -great cross, by an iron chain adorned with seven gold apples.”<a id="FNanchor_197" href="#Footnote_197" class="fnanchor">[197]</a><span class="pagenum" id="Page_116">[Pg 116]</span> -The same chronicle also speaks of a “silver-gilt corona, -coloured with precious stones, with six crosses hanging from -it.” The great circles of Aix and Hildesheim are the best-known -examples of the ancient coronae. These have twelve -towers like that just mentioned, and they symbolised the -New Jerusalem. R. de Fleury suggests that relics were -contained in such turrets. An extremely beautiful pharos -in the Hermitage Museum represents a basilica.</p> - -<div class="figcenter" id="f19"> - <img src="images/p116.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 19.</span>—Corona with Lamp Discs, Mount Athos.</p></div> -</div> - -<p>The light crosses were very generally known throughout -Christendom, and the historian Socrates mentions that -crosses of silver with burning candles upon them were -carried in processions in the time of Chrysostom. According -to Anastasius, at S. Peter’s there was a large pharos “in -the form of a cross which hung before the presbyterium -having 1,370 candles;” this was lighted four times a year;<span class="pagenum" id="Page_117">[Pg 117]</span> -also “a gold carved cross hanging before the altar with twelve -candles,” and “a cross lamp with two little ships and three -fishes.” The lamp cross hanging in S. Mark’s is the best-known -example remaining. It is possible that those at S. -Sophia mentioned with the discs hung horizontally to four -chains.</p> - -<div class="figcenter" id="f20"> - <img src="images/p117.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 20.</span>—Single Lamp with Votive Inscription.</p></div> -</div> - -<p>At S. Sophia, in addition to the discs, crosses, and circles, -there were, according to Du Cange, lamps hung from nets. -The word which he interprets in this way is that translated -“skiff” (line 480), as it means a small row-boat. How he -gets his interpretation of nets it is difficult to see. We -mention it here for its intrinsic beauty only: it was a familiar -arrangement for lamps. Anastasius in his Lives of the -Popes speaks of one of the churches at Rome having -“a pharos in the form of a net,” and again of a large pharos -“like a net with twenty baskets,” and also “a bronze net -with silver baskets.”</p> - -<p>The hanging lamps in the form of ships mentioned by our -poet would have carried the oil vessels round their sides. A -most interesting example of a lamp of this kind is given in -the <i>Dictionary of Christian Antiquities</i> (Smith and Cheetham). -It represents a small vessel with a mast and sail, containing<span class="pagenum" id="Page_118">[Pg 118]</span> -two figures, one steering, and the other -looking out from the prow. These figures are -either Peter and Paul or more probably Christ -and Peter. The symbolism of the ship for the -Church is too familiar to need comment; the -mast in the centre, without which the ship is -unsafe, as S. Ambrose says, typifies the cross -without which the church is unable to stand. -The galley form of lamp was well known also -in antiquity. In the Christian era it was only -one of the many beautiful and suggestive forms -in which lamps were made; some resembled -birds, crystal fish, or shells, others again were -bowls of white or emerald glass.</p> - -<div class="figcenter" id="f21"> - <img src="images/p118.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 21.</span>—Sixth-century -Candlestick.</p></div> -</div> - -<p>In the sanctuary there would have been suspended -large single lamps which burnt perpetually -(<i>Akoimetoi</i>). A very fine single -Byzantine lamp of this kind is shown in the -fifteenth-century picture by Marco Marziale in -the National Gallery, in which the interior of -S. Mark’s figures as the temple. In <a href="#f20">Fig. 20</a> we -give a restoration of fragments of a beautiful -early Christian bowl-shaped lamp bearing a -votive inscription figured by Rossi. On Mount -Athos Dr. Covel noticed a lamp of beaten gold -set with jewels.</p> - -<p>The treasury of S. Mark’s probably still -contains lamps which hung in S. Sophia: one -of especial beauty is a glass bowl with circles cut on the -outside and attached to a metal rim on which is inscribed -in Greek, “St. Panteleon, succour thy servant Zacchariah, -Archbishop of Iberia, Amen.”<a id="FNanchor_198" href="#Footnote_198" class="fnanchor">[198]</a></p> - -<p>In illustration of the tree-like candelabra which stood -above the beam of the iconostasis, and round the ambo, we -may mention the well-known classical examples. A lamp-bearer -in the museum at Brussels is described as “an <i>arbuste</i> -of considerable size and irregular trunk and branches with -lamps suspended from the extremities of its boughs.”<span class="pagenum" id="Page_119">[Pg 119]</span> -Anastasius mentions a “tree of bronze -with candlesticks to the number of -fifty in which were placed wax candles, -thirty-six lamps as well hung from -the boughs.” Paulinus also speaks -of hanging candelabra at Nola “with -branches like a vine bearing little -glass cups which resembled burning -fruit; when they were lighted it was -like the sudden burst into life of -spring flowers.”</p> - -<div class="figcenter" id="f22"> - <img src="images/p119.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 22.</span>—Candlesticks.</p></div> -</div> - -<p>Besides all these oil lamps there -would have been a great number of -standing candlesticks in the sanctuary. -The Anonymous speaks of some the -height of a man. One constant type is represented in -<a href="#f21">Fig. 21</a>; this is inlaid in mother-of-pearl on the apse -walls at Parenzo, and is of Justinian’s time. <a href="#f22">Fig. 22</a> shows -two others from the <i>Menologium</i>. Wax candles, which are -frequently mentioned, were patterned and coloured.</p> - -<p>The miracle of the moving cross of lights mentioned by -Anthony reminds us of a remarkable custom in regard to the -great coronas of lights in Byzantine churches which is observed -on Mount Athos, and also at Sinai, and is probably ancient. -A part of the great festival service at Vatopedi consists in -singing the <i>Polyeleos</i>. “When the last of the multitude of -candles had been lighted in the great coronas under the domes, -the monks fetched long poles, with which they pushed out -the candelabra to the full extent that their suspending chains -permitted and then let them go, the result being that in a -few minutes the whole church was filled with slowly swinging -lights.”<a id="FNanchor_199" href="#Footnote_199" class="fnanchor">[199]</a></p> - -<p>The method of lighting described by the Silentiary has -not changed in the unchanging East. S. Sophia is still lighted -by a myriad little lamps arranged in rows, or suspended in -circles. The single lamp is a small glass vessel of oil on -which floats the wick; the two typical forms being like a bowl -or an elongated tumbler. These cups are hung by three chains,<span class="pagenum" id="Page_120">[Pg 120]</span> -or inserted in a ring, at the end of a metal arm, projecting -from the wall or from the rim of a suspended circle.</p> - -<div class="figcenter" id="f23"> - <img src="images/p120.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 23.</span>—Hanging Rods for Lamps in S. Sophia until 1850.</p></div> -</div> - -<p>Up to the time of Fossati’s restoration there was an -immense polygon of probably some sixty feet diameter of -iron rods suspended from the dome. Grelot<a id="FNanchor_200" href="#Footnote_200" class="fnanchor">[200]</a> described it in -1680 as a large circle of iron rods hanging down to within -eight or ten feet of the pavement and having fixed to it “a -prodigious number of lamps, ostrich eggs, and other baubles.” -In the mosque of Achmet, several rings are bound together -by straight rods, making overhead a geometrical arrangement -of bars, from which the lamps are suspended; although -these are all Turkish, the system remained from Byzantine -times. <a href="#f23">Fig. 23</a> is re-drawn from Fossati. (<i>Aya Sophia</i>, -Constantinople, 1852.) One of the most beautiful methods -is that of suspending the lamps to long straight iron bars -running the whole length of the building as at S. John -Studius.</p> - -<p>In the mosque of Damascus, before the recent fire, there -were hanging assemblages of circles one above another somewhat -similar we may suppose to the trees of the poet. At<span class="pagenum" id="Page_121">[Pg 121]</span> -Salonica a network of lamps which hangs almost like a -curtain before the bema of S. Demetrius may illustrate the -“nets” if nets there were. During Ramazan festoons of -lamps are hung from minaret to minaret arranged in inscriptions; -in 1676 Dr. Covel of Cambridge saw illuminations -before the Sultan at Adrianople which represented -“castles, mosques, peacocks, Turkish writings, &c., extremely -pleasant and wonderful to behold.” These were formed by -lamps hung to light frames; the method was probably -derived from Byzantine illuminations such as the fireworks -mentioned as being exhibited in the Hippodrome.</p> - -<p>The four marble pillars that stand up out of the parapet at -the western gallery of S. Sophia (<a href="#f41">Fig. 41</a>) must always have -carried lights on metal branches at the top, much as at -present; and the long metal stakes with hook ends, that -project from the first cornice at the angles of the exedras, -and from which chandeliers hang, are possibly original in -some cases.</p> - -<p>The multiplication of small lights is the most brilliant -system of illumination, for not only is there light everywhere -but flame, and hence no shadows. Whoever sees the great -church lighted for the solemn services of Ramazan, when, -according to Fossati, “six thousand lamps are suspended at -various heights,” may imagine the splendour of the lighted -interior in Byzantine times. When, after one of the services, -the lamplighters walked round and extinguished the lamps -with a whisk from long fan-shaped brooms, we saw the need -of the passages above the different cornices; and leaving -Constantinople one April evening, as we slowly wound round -the point, while the circle of windows in the lighted dome -seemed to hang above the city, we realised that it was no idle -saying of the poet’s that the mariner guided his laden vessel -“by the divine light of the church itself.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_122">[Pg 122]</span></p> - -<h2 class="nobreak" id="CHAPTER_VII">CHAPTER VII</h2> -</div> - -<p class="cd">LATER HISTORY AND LEGENDS</p> - - -<h3>§ 1. HISTORY.</h3> - -<p>From the date of the completion of Justinian’s restored -church it has had to withstand the frequent earthquake -shocks which, as we have so recently seen, devastate the -city from time to time. Von Hammer<a id="FNanchor_201" href="#Footnote_201" class="fnanchor">[201]</a> calculates, from -the accounts of the Byzantine historians, that from the -beginning of the seventh to the middle of the fifteenth -century there were twenty-three severe earthquakes, one of -which, in 1033, lasted intermittently for 140 days. In the -Turkish records, from 1511 to 1765, ten earthquakes are -mentioned. It is remarkable that in this length of time the -delicately poised construction of the church should only have -required restorations which are relatively unimportant.</p> - -<p>It is difficult to say how far the church suffered during the -struggles about image worship, which raged for more than a -century. The question will be considered more fully when we -deal with the mosaics of the vaults. The restoration of -images was finally accomplished in 842,<a id="FNanchor_202" href="#Footnote_202" class="fnanchor">[202]</a> by Theodora and -Michael.</p> - -<p>A belfry was built in the centre of the west front about -the year 865:<a id="FNanchor_203" href="#Footnote_203" class="fnanchor">[203]</a> and the eastern walk of the atrium was -probably transformed into an exonarthex at the same time.<span class="pagenum" id="Page_123">[Pg 123]</span> -The first regular restoration was also undertaken in the -second half of the ninth century, under Basil the Macedonian: -“For the wide and lofty western arch of the great -church called S. Sophia was showing rents and threatening to -fall. With the help of the workmen he girded it round and -rebuilt it, so that it was safe and strong. And on it he -figured the Virgin with her Child on her arms, and Peter -and Paul, the chief of the apostles, on either side.”<a id="FNanchor_204" href="#Footnote_204" class="fnanchor">[204]</a></p> - -<div class="figcenter" id="f24"> - <img src="images/p123.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 24.</span>—Plans of Additions to West End. A and C North and South -Porches; B Belfry.</p></div> -</div> - -<p>The north and south porches and great lateral stairways, -which injuriously altered the exterior, must also have been -built by Michael or Basil, as we find them mentioned in the -<i>Book of Ceremonies.</i></p> - -<p>In October 975 an earthquake caused the “hemisphere -with the western arch (<i>apsis</i>) to fall.”<a id="FNanchor_205" href="#Footnote_205" class="fnanchor">[205]</a> They were restored -again by the same emperor in six years: he spent, Scylitzes -says, “on the machines for mounting for the workmen to -stand on, and for raising the scaffolding, to build what was -fallen; ten centenaria of gold.”<a id="FNanchor_206" href="#Footnote_206" class="fnanchor">[206]</a> According to Glycas, -Romanus Argyrus (1028) beautified the capitals; Scylitzes -also says this emperor “made bright with silver and gold -both the capitals of the great church and of our Lady of -Blachernae.”<a id="FNanchor_207" href="#Footnote_207" class="fnanchor">[207]</a></p> - -<p><span class="pagenum" id="Page_124">[Pg 124]</span></p> - -<p>The injuries wrought by the Crusaders to S. Sophia are -referred to in Chapter V. Baldwin was crowned here in 1204, -and for fifty-seven years Catholic priests read masses at its -altar. On the recapture the Byzantine emperors made an -effort to restore, but the church never recovered its former -splendour. The patriarch Arsenius during the reign of -Michael Palaeologus “restored the bema and ambo and solea -at the king’s expense, besides enriching the church with -vestments and sacred vessels.”<a id="FNanchor_208" href="#Footnote_208" class="fnanchor">[208]</a> In the first half of the -fourteenth century, Andronicus Palaeologus, the elder, -strengthened the north and east sides. Nicephorus Gregoras -says the emperor “heard from several experienced builders -that in a short time the parts towards the north and east -would give way, and fall unless strengthened. And he -built pyramidal structures from the foundations and prevented -the threatened destruction,” but bricks and mosaic -continued to fall.<a id="FNanchor_209" href="#Footnote_209" class="fnanchor">[209]</a> The pyramidal structures to the east -must be the four great sloping buttresses which stand over -the low attached buildings on that side; they are shown on -Fossati’s plan. Gregoras also inveighs against the Empress -Anna as having, in the reign of Cantacuzenus, robbed the -church of furniture and ornaments, and says that tyranny -and oppression were the chief causes of the destruction of -the church. Cantacuzenus, in his own history,<a id="FNanchor_210" href="#Footnote_210" class="fnanchor">[210]</a> speaks of the -damage caused by an earthquake in 1346, when about a third -of the roof fell, destroying “the great stoa by the side of the -bema” (perhaps the iconostasis). This is also referred to by -Gregoras, “the easternmost of the four arches which rival -heaven fell, dragging with it the part of the house which -rested on it. The hidden beauty of the bema was destroyed -as well as its ornaments of sacred icons.”<a id="FNanchor_211" href="#Footnote_211" class="fnanchor">[211]</a> The stoa and bema -were restored by the Empress Anna, the wife of Andronicus -Palaeologus, Phaceolatus being prefect of the works, but the -upper parts with the roof had to wait until the accession of -Cantacuzenus in 1347. He restored the decoration both in -marble and mosaic, a work which John Palaeologus finished.<span class="pagenum" id="Page_125">[Pg 125]</span> -Both emperors were helped “by one Astras, in many things -a clever man, but especially in building, and by John, surnamed -Peralta, one of the Latin subjects of the emperor.”<a id="FNanchor_212" href="#Footnote_212" class="fnanchor">[212]</a></p> - -<p>The church was necessarily much neglected in the last -days of the Empire. Clavijo, who gave a careful account of -the church in 1403 (see Chapter <a href="#CHAPTER_IX">IX</a>.), says “the outer gates by -which the church was approached were broken and fallen.” -He notes that “the Greeks do not call Constantinople as we -name it, but speak of it as <i>Escomboli</i>.” This clearly proves that -the derivation of the Turkish name Istambul from εἰς τὴν -πόλιν, “to the city,” is correct.<a id="FNanchor_213" href="#Footnote_213" class="fnanchor">[213]</a></p> - -<p>The Florentine Bondelmontius, who was there in 1422, -says that “only the dome of the church remained, as everything -is fallen down and in ruins.” This exaggeration is -probably explained by a story given by the Chevalier Bertrandon -de la Brocquière, who visited the city eleven years -later, in the course of his remarkable ride from Damascus to -Dijon along the route of the present Oriental express. He -attended service in the church, and writes:—“There the -patriarch resides, with others of the rank of canons. It is -situated near the eastern point, is of a circular shape, and -formed of three different parts, one subterranean, another -above the ground, and a third over that. Formerly it was -surrounded by cloisters, and was, it was said, three miles -in circumference.<a id="FNanchor_214" href="#Footnote_214" class="fnanchor">[214]</a> It is now of smaller extent, and only -three cloisters remain, all paved and inlaid with squares of -white marble, and ornamented with large columns of various -colours. The gates are remarkable for their breadth and -height, and are of bronze.”<a id="FNanchor_215" href="#Footnote_215" class="fnanchor">[215]</a> The visit of the Chevalier -Bertrandon brings us within twenty years of the fall of the -great city.</p> - -<p>The incidents of the later years of the empire, the vain -efforts to get help from Europe, and the schemes for uniting -the Greek and Latin churches, are described by Chedomil<span class="pagenum" id="Page_126">[Pg 126]</span> -Mijatovich.<a id="FNanchor_216" href="#Footnote_216" class="fnanchor">[216]</a> In the year before the Fall the negotiations -with the West had proceeded so far, that, on the 12th of -December 1452, a <i>Te Deum</i> after the Latin rite was sung by -Cardinal Isidore in S. Sophia, but this did not meet with -favour from the populace. Ducas speaks of the church after -that time as being nothing better than a Jewish synagogue or -heathen temple. Five months later, on the 28th of May -1453, the last Christian service was held within its walls. -At the vesper service on that solemn evening, the emperor, -after praying with great fervour, left his imperial chair, and, -approaching the iconostasis, prostrated himself before the -figures of Christ and the Madonna on either side of the -great central door. He then asked for pardon from any -whom he might have offended, and the ritual proceeded.</p> - -<p>On the morrow at the first capture of the city the Janissaries -rushed to the great church, which they conceived was -filled with gold, silver, and precious stones. They found the -doors fastened, but broke them open, and at once began to -pillage. The sultan as soon as possible rode to S. Sophia. -Dismounting on the threshold, with the mystic symbolism of -an Oriental, he stooped down, and, collecting some earth, let -it fall on his turbaned head, as an act of humiliation. Then -he entered the edifice, but stopped in the doorway some -moments, and gazed in silence before him.</p> - -<p>“He saw a Turk breaking the floor with an axe. -‘Wherefore dost thou that?’ inquired the conqueror. ‘For -the faith,’ replied the soldier. Mahomet in an impulse of -anger struck him, saying, ‘Ye have got enough by pillaging, -and enslaving the city, the buildings are mine.’”</p> - -<p>A letter to Pope Nicholas V., written in 1453, describes -how “the profane heathen broke into the marvellous temple -of S. Sophia, unsurpassed by Solomon’s; they reverenced not -the sacred images, nay, rather broke them in pieces; they put -out the eyes of the priests, scattered the relics of the saints, -and seized on the gold and silver.”<a id="FNanchor_217" href="#Footnote_217" class="fnanchor">[217]</a></p> - -<p>Ducas, who died eleven years after the Fall, bewails “the -Great Church, a new Sion which has now become an altar of<span class="pagenum" id="Page_127">[Pg 127]</span> -the heathen, and is called the house of Mahomet.” “The -dogs hewed down the holy ikons, tore off the ornaments, the -chains, the napkins, and the coverings of the holy table. Some -of the lamps they destroyed, and others they carried away. -They stole the sacred vessels from the skeuophylakium. -Everything made of silver and gold or other precious -materials was taken away, and the church was left naked and -desolate as it had never been before.”</p> - -<p>With the exception of the removal of much of the -treasure, the church did not immediately suffer great harm -from its new masters.</p> - -<p>On the outside however the destruction of many of the -low attached chambers, and the addition of the minarets, -have very much changed its appearance. The first minaret, -which was indeed the first in Constantinople, was built at -the south-east corner by Mahomet the Conqueror. Selim II., -who reigned from 1566 to 1574, built the second at the -north-east corner, and also restored the eastern apse which -had been again damaged by an earthquake: Amurath III. -erected the last two minarets at the western corners.<a id="FNanchor_218" href="#Footnote_218" class="fnanchor">[218]</a></p> - -<p>“The description of the church of S. Sophia as it now -appears,” which forms one of the chapters in Gyllius’ († 1555) -<i>Topography of Constantinople</i>, describes the church before the -addition of these three last minarets. It is interesting to -note that he remarks how little the building had been -altered, “and it is despoiled of nothing, except a little of the -metal work [mosaic?] which shows itself in great abundance -through the whole church. The Sanctum Sanctorum, formerly -holy and unpolluted, into which the priests only -were suffered to enter, is still standing, though there is -nothing remaining of the jewels and precious stones which -adorned it, these having been plundered by its sacrilegious -enemies.” This is later supported by Grelot,<a id="FNanchor_219" href="#Footnote_219" class="fnanchor">[219]</a> who writes, -“It is decorated with everything that human industry and -skill could devise to render the work absolutely perfect.... -I say nothing about the beautiful pictures, the faces -of which have been destroyed by the Turks.” It is clear<span class="pagenum" id="Page_128">[Pg 128]</span> -from Tournefort (1702) and Lady Mary Montagu (1717) -that the mosaics were not wholly obliterated; the latter writes, -“the figures were in no other way defaced but by the decays -of time: for it is absolutely false that the Turks defaced all -the images they found in the city.” On the other hand, an -Italian MS. description of S. Sophia in the British Museum, -written in 1611, says, “The Turks took away all the -beautiful work and covered everything with whitewash.”<a id="FNanchor_220" href="#Footnote_220" class="fnanchor">[220]</a> It -is evident from Dr. Covel’s MS., quoted later, that much -was destroyed, defaced, and plastered over. Dr. Walsh tells -us that one of the smaller vaults fell in about 1820, scattering -its mosaic over the floor.</p> - - -<h3>§ 2. THE ANONYMOUS ACCOUNT.</h3> - -<p>We must now examine the description of the church by -the writer generally called the Anonymous of Combefis -(otherwise of Banduri or Lambecius). Codinus, who is -believed to have died soon after the capture of Constantinople -by the Turks, has so closely copied the Anonymous that -the accounts differ only in a few minor particulars. Combefis -says that the text of the Anonymous was collated by -Lambecius, “who produced it from the royal archives” with -the <i>Chronography of the Logothetae</i>, a tenth-century work -to which the same account is added as a separate treatise. -Labarte however considers that it was written in the eleventh -century: Choisy assigns it to the fourteenth, a view with -which we are inclined to agree; but in any case we cannot -think it earlier than the twelfth century.</p> - -<p>The description by Paulus is so precisely accurate where -we can—as is so largely the case—check it by the existing -work, that there cannot be a doubt of his entire accuracy. -With the Anonymous this is not so; and it must first of -all be borne in mind that he professes not to write of the -church as he saw it, but to celebrate its splendour when first -completed by Justinian; in this his account differs entirely -from the Silentiary’s, which there is no sign to show that he<span class="pagenum" id="Page_129">[Pg 129]</span> -had ever read. The Anonymous has been very largely used -by scholars of the ability of Labarte and Bayet, but we -believe him to be entirely unreliable where he speaks of the -former state of the church. He simply gathers the legends -which had grown up, because facts were forgotten, and -enumerates the relics.</p> - -<p>“The great church,<a id="FNanchor_221" href="#Footnote_221" class="fnanchor">[221]</a> known as S. Sophia [formerly a place -of heathen worship—Codinus], was first built of an oblong -(<i>dromica</i>) form, like those of S. Andronicus and S. Acacius. -On its completion it was adorned with many statues. This -building lasted seventy-four years. But in the reign of -Theodosius the Great, at the time of the second synod of -Constantinople, an Arian uproar arose, during which the -roof of the church was destroyed by fire. The most holy -patriarch Nectarius took up his office at S. Irene, a church -which was also built by Constantine. Then for two -[Codinus and Glycas say sixteen] years S. Sophia was -without a roof, until Theodosius, with Rufinus as his master -workman (<i>magistros</i>), covered it with cylindrical vaults. -After this it remained unhurt for thirty-nine years, making -altogether eighty-five years (<i>sic</i>) from the time of Constantine, -until the fifth year of Justinian’s reign. This -was after the massacre in the Circus, in which thirty-five -thousand men were killed, when a faction elected Hypatius -emperor. However, in the fifth year of Justinian’s reign, -the Most High God put it into his mind that he should -build a temple to surpass all that had ever been built from -the time of Adam.</p> - -<p>“He wrote therefore to the strategi, toparchs, judges, and -satraps of the different provinces, that with all zeal they -should look for materials—columns, piers, panels, and lattice-doors—everything -in fact that would be useful for building. -Obeying the emperor’s letter, they quickly sent all that could -be found from the shrines of the pagan idols, from baths, -and private houses, from every province of east, west, north, -and south, and from all the islands.</p> - -<p><span class="pagenum" id="Page_130">[Pg 130]</span></p> - -<p>“Eight porphyry columns from Rome, which, according -to Plutarch, Justinian’s secretary, a widow Marcia had -received as dowry, were transmitted to Constantinople. -They had formerly stood in a temple of the Sun built by -Valerian, who surrendered himself to the Persians. Eight -others of green, of marvellous beauty, were quarried and -sent from Ephesus by the praetor Constantine. The Marcia, -whom I have just mentioned, wrote to the emperor as -follows: ‘I send thee, master, eight columns from Rome -of equal length and size, and the same weight, for the -safety of my soul.’</p> - -<p>“Of the other columns some were brought from Cyzicus, -some from the Troad, others from the Cyclades and Athens. -And when sufficient was collected for the work seven and -a half years had been spent. Then in the twelfth year of -Justinian’s reign, the church built by Constantine was -destroyed with the foundations; the old materials were put -aside, as a sufficient amount of fresh had been prepared; -and Justinian began to buy up the neighbouring houses. -The first of these was one belonging to a widow named -Anna, of which the price was estimated at eighty-five librae. -She was however unwilling to sell it to the emperor, and -refused to give it up under five hundred librae; nor did the -emperor gain his purpose by sending the nobles of the court -to win her over. He finally went himself and begged her -to sell her house at any price. But when she saw him as a -suppliant, she fell at his feet, saying, ‘Lord and King, I can -accept no moneys for my house from thee; I ask only that -I may obtain reward in the day of judgment, and that I -may be buried in a tomb near the future church, so that the -memory of my gift may live for ever.’ The emperor -promised that when the church was finished she should be -buried there, for the land which she had given up, that the -memory of it might live for ever. The part which she gave -to the great church is that now occupied by the skeuophylakium, -and the chapel (<i>naos</i>) of S. Peter.</p> - -<p>“Then the part which is occupied by the Holy Well, and -all about the thysiasterium, and the place of the ambo, and -the middle of the nave, was the house of a certain eunuch,<span class="pagenum" id="Page_131">[Pg 131]</span> -Antiochus, which was valued at thirty-eight librae. He was -offended because the emperor had not offered him a proper -price for it. Now the emperor was much distressed, -wondering what to do. But the Magister Strategius—a -guardian of the treasures, the adopted brother of the -emperor—promised that the emperor should gain his point -by a little guile, and that the other should sell his house. -Now this Antiochus was an eager frequenter of the Circus, -and especially favoured the blue faction. When the games -were about to be given, he was arrested and imprisoned in -the Praetorian prison. Then Antiochus called out from the -prison that if he could only witness the games he would do -whatever the emperor wished. He was then led by the -emperor’s orders to his empty seat, and made to sell his -house before the games commenced, the Quaestor and the -whole Senate being witness. Now there used to be the -custom, that as soon as the emperor ascended to his seat the -charioteers should begin, but because they stopped then, -until the eunuch had accomplished his deed of sale, even to -the present day the chariots for the races are accustomed to -enter at a slow trot.</p> - -<p>“The whole of the right-hand part of the Gynaeceum[222] up -to the column of S. Basil, and some portion of the nave, was -the house of an eunuch, Chariton, nicknamed Chenopolus, -who sold it as a favour for double its value, which was -twelve librae.</p> - -<p>“The left part of the Gynaeceum<a id="FNanchor_222" href="#Footnote_222" class="fnanchor">[222]</a> up to the column of -S. Gregory Thaumaturgus was the house of one Xenophon, -a cobbler. When they wanted to buy this house, besides -asking twice the value, which was fourteen librae, he also -demanded that, on the day of the games, the four charioteers -of the four factions should do obeisance to him as well -as to the emperor. The emperor decreed that it should be -done as he had asked, but made him a laughing-stock for -ever. For on the day of the games he was set midway in -the boundaries, so that the charioteers, by way of joke, -bowed to his back before beginning their courses, and so it<span class="pagenum" id="Page_132">[Pg 132]</span> -is still done, and the man is styled ‘Chief of those below.’ -He wears a white chlamys, woven with byssus.</p> - -<p>“On the area of the naos, the four nartheces, the louter, -and the parts adjacent, was the house of Damianus, a noble -of Seleucia, the value of which he estimated at ninety librae, -and gladly gave to the emperor.</p> - -<p>“Now Justinian, when he had measured out the site, and -found a stone to act as centre, from the thysiasterium as far -as the lower [western] apse, laid the foundations of the -great dome in circle-wise. Now from the apses right away -to the most outside narthex, the foundations were laid in -marshy and spongy ground. And when it had been begun, -he urged Eutychius the patriarch to offer up prayers to God -for its safe building, and then, taking with his own hands -lime and stone, giving thanks to God, he himself laid the -first stone in its place. Now before the church was built -he constructed the oratory of S. John the Precursor with a -gilt vault, and various ornamentations of precious stones. -This is generally called the Baptistery, and is situated near the -Horologium. He built at the same time the adjacent -portion of the Metatorium, that he might frequently rest -there with his court, and refresh himself with food. Then -also he built the whole of the portico, which leads from the -palace up to the Great Church, so that, as often as he liked, -he might cross over and devote his time to the building, -without being seen by any one. There were one hundred -master workmen, and each had a band of a hundred men -under him, making ten thousand men altogether. Fifty -bands took one side, and fifty the other; and by the -emulation between them, the work quickly progressed.</p> - -<p>“The form of the church was shown to the emperor in a -dream by an angel. And the first Deviser (<i>mechanikos</i>) of -the builders was skilful and full of sound wisdom, and well -versed in building churches. Barley was put into cooking -pots, and its decoction, instead of water, was mingled with -unslaked lime (<i>asbestos</i>) and tiles [crushed]. The mixture, -when warm, became viscous and sticky. At the same time -they cut slips off willow trees, which were cast into the -cooking pots with the barley; they then made solid masses,<span class="pagenum" id="Page_133">[Pg 133]</span> -having a length of over fifty feet, and fifty feet broad, and -twenty feet deep, and placed them in the foundations. -They were put there, not hot, nor yet quite cold, that so -they might bind better, and above these masses they placed -large square stones.</p> - -<p>“When the foundations had arisen from the earth two -cubits, they had spent four hundred and fifty-two miliarisia -of gold. Money was brought daily from the palace, and -placed in the Horologium, and each of those who carried -stone received a piece of silver, lest any slackness should -come upon them, or they should be tempted to complain. -Some of them, when carrying stone, gave way under the -weight, and fell head foremost and were hurt. Strategius, -whom I have mentioned, distributed the wages: he was -a Count of the royal treasury, and foster-brother of -Justinian.</p> - -<p>“Now when the piers (<i>pinsoi</i>) had been finished, and the -great columns, both those from Rome and the green ones, -had been put in their position, the emperor left his noonday -sleep and devoted himself to the work, and inspected, -with Troilus, a count of the household, all the polishers -(<i>lithoxooi</i>), stonecutters (<i>laotomoi</i>), carpenters (<i>tektonikoi</i>), -and labourers (<i>oikodomoi</i>), promising them each week a -nummus more, or as much as each might ask, above their -fixed wages. He used to come to see how the work was -proceeding, clad in a white linen garment, his head covered -with a kerchief, and holding a stick in his hand.</p> - -<p>“And when they had raised the vaults (<i>apsides</i>) of the -upper floor, those on the right and on the left, and had -covered over these vaults, the emperor decreed that no -miliarisia should be carried from the palace on Sundays. -Now it was the third hour of the day, and Strategius -ordered the men to go to their dinners. As Ignatius, the -first <i>mechanikos</i> of the builders whom I have mentioned -above, came down, he left his son on the right-hand side of -the upper floor, where he had been working, with strict -orders to watch the workmen’s tools. He was a boy of -about fourteen. As he was sitting there, a eunuch, clad in -shining garments, and fair to look upon, like one sent from<span class="pagenum" id="Page_134">[Pg 134]</span> -the palace, appeared to him and said, ‘What is the reason -why the workmen do not quickly finish the work of God, -but have left it and gone to eat?’ To him the boy -answered, ‘At the earliest hour, my lord, they will be -here.’ But he cried, ‘Go quickly and bring them.’ -When the boy said that he was not to leave, lest the -tools should disappear, the eunuch said, ‘Go quickly and -summon them here, for I swear to thee, my son, by the -Holy Wisdom, whose temple is now being built, I will not -depart, since, by the command of the Word of God, I am to -minister and guard here until you return.’ When he heard -this, the boy quickly set out, leaving the angel of God as -guard. And when he had got down, and gone to his father -and the rest, he related everything in order; then the father -took his son and led him to the emperor’s table. For the -emperor was then dining in the oratory of St. John the -Precursor, by the Horologium. When he heard the story, -he summoned all his eunuchs, and showed each in turn to -the boy. Then the boy calling out that he saw none like -the one that had appeared, the emperor knew that it was an -angel of the Lord who had addressed the boy, and this was -made more clear, as the boy said that he was clothed in a -white robe, his eyes glittering like fire; then the emperor -praised God, saying, ‘God has accepted my temple.’ And -as he had been wondering what name to call it, he named -it S. Sophia, according to interpretation ‘Word of God.’ -And the emperor took counsel with himself and said, ‘I -will not allow the boy to return, so that the angel may -guard it for ever, as he promised by his oath. For if the -boy return, the angel will depart.’ Having consulted with -the principal senators and the bishops, the emperor commanded -that the boy should not be sent back to the temple, -so that, by the grace of God, it should have a guardian till -the end of the world. And then the emperor loaded the -boy with gifts and honours, and, with the consent of his -father, sent him to the Cyclades. Now the conversation of -the angel with the boy happened on the right-hand side of -the pier of the upper arch, as one ascends towards the dome. -[Codinus says, “near the Syllagonum,” for this it has<span class="pagenum" id="Page_135">[Pg 135]</span> -been suggested to read Syllagoeum, or “the place of the -council”].</p> - -<p>“When the workmen had continued the work up to the -second catechumena, and the upper columns and arches were -built, and they were roofing the adjacent parts, the emperor -began to be anxious for want of funds. But as he was -standing in the upper part of an arch, as they were about to -begin the dome, at the hour of the Sabbath just before -dinner, an eunuch appeared to him, clad in white, and said, -‘Why are you distressed for money? To-morrow bid -some of your nobles to come, and they shall have as much -gold as they wish.’ On the following day the eunuch came -and showed himself to the emperor. The emperor sent -to follow him Strategius, and Basilides the quaestor, and -Theodorus the patrician, and Colocyns who was a praefect, -besides fifty servants, twenty mules, and twenty paniers. -With all these he marched out of the Golden Gate. And -when they had come to the Tribunalium, there seemed to -those who were sent to be built there palaces of stupendous -beauty. But when they had dismounted, the eunuch -bade them ascend a wonderful stair, and then, producing a -splendid gold key, he opened the door of a room, and, as -Strategius says, the whole floor was heaped with gold coins. -Taking a shovel, the eunuch filled each panier with four -hundred pounds of gold, amounting altogether to eight -thousand, and with these he sent them back to the emperor; -and having closed up the room with the key, he said to -them, ‘Take the gold to the emperor, and bid him spend -it on the work.’ The eunuch left them there, and they -came and showed the emperor the gold they had received. -He was astonished, and asked them where they had been, -and where the eunuch dwelt. They told him all in order, -and how the wealth of gold was spread on the floor of the -room. The emperor hoped that the eunuch would return, -but as he was disappointed he sent a slave to the place. -When the slave had found the place where the palace had -been, and saw that there were no houses there, he returned, -and told all to the emperor. He was then astonished, -but understanding how it was, said, ‘Truly this is a miracle -as all may see;’ and he praised God.</p> - -<p><span class="pagenum" id="Page_136">[Pg 136]</span></p> - -<p>“Now when they were going to build the thysiasterium -and let in the light through glass windows, the Deviser -(<i>mechanikos</i>) suggested that the apsoid (<i>muax</i>) should have -one light. Then he changed his mind, and suggested that -it should have two, so that it should not be heavy, because -no wooden ties (<i>ikriomata</i>) were placed there as in the -narthex, and on the sides of the church. But the rest of the -craftsmen were opposed, saying that one arch (<i>kamara</i>) would -light the holy place. Then the chief builder (<i>protooikodomos</i>) -was at a loss what to do, because the emperor said at one -time that there should be one arch (<i>apsis</i>), and at another -time two. Whilst the master (<i>maistor</i>) was thus pondering -and anxious, on the fourth day, at the fifth hour, appeared -an angel of the Lord, like the emperor, with royal robes and -red shoes, and said to the craftsman, ‘I will that there be a -triple light, and that the conch be made with three windows,<a id="FNanchor_223" href="#Footnote_223" class="fnanchor">[223]</a> -in the name of the Father, the Son, and the Holy Ghost.’ -He then disappeared quickly. Then the master, struck with -wonder, rushed to the palace, and said to the emperor, ‘You -keep not to your word. Until to-day you wanted one -window, and then two, to light the bema; but now, when -the work is all but finished, you come to me and say, three -windows shall light the bema, as a symbol of the Trinity.’ -Now the emperor knew that day that he had not left the -palace, and he recognised that an angel of the Lord had -spoken. He said, ‘As I have bidden thee, so do.’</p> - -<p>“All the piers (<i>pessoi</i>) inside and outside were made -strong by iron bars (<i>mochloi</i>), so that they were bound -together, and made immovable; the joints of the piers -were made with oil and <i>asbestos</i>; and upon them was placed -a plating of many marbles (<i>orthomarmarosis</i>).</p> - -<p>“The emperor sent Troilus the Cubicular, Thedosius the -Prefect, and Basilides the Quaestor, to Rhodes to have bricks -(<i>besala</i>) of Rhodian clay, made all equal in weight and -length, with the words engraved on them, ‘God is in the -midst of her, therefore shall she not be moved; God shall -help her, and that right early.’<a id="FNanchor_224" href="#Footnote_224" class="fnanchor">[224]</a> And they sent bricks of<span class="pagenum" id="Page_137">[Pg 137]</span> -measured sizes to the emperor, twelve of them weigh one of -ours; for the clay is light, spongy, fine, and white; hence -arose the common idea that the dome is built of pumice -stone (<i>kiserion</i>); but this is not so, though it is light and of -a white colour.</p> - -<p>“Thus the four great arches were built; and when they had -been raised to the level of the dome (<i>troulos</i>), on the completion -of every twelfth course, prayers were uttered for the -church, and relics of the saints built in. Thus arose the -building; it was then adorned with marble and covered -with mosaic. And into the piers, arcades, and larger -columns they placed relics of the saints. And when the -marble plating had been finished, they applied gold to the -margins of the slabs, and to the capitals of the columns. -And the carved work, and the ornaments of the upper -galleries, both of the parts with two stories, and with -three (<i>diorophoi</i> and <i>triorophoi</i>), were all covered with pure -gold. The thickness of the gold plating (<i>petalos</i>) was two -inches.<a id="FNanchor_225" href="#Footnote_225" class="fnanchor">[225]</a></p> - -<p>“But all the vaults (<i>orophoi</i>) of the upper galleries, of the -parts with two stories on the sides, and the vaulting of the -nave, and of the parts adjacent, and of the four nartheces, -he gilded with glass mosaic. He gilded even the proaulia, -with their upper chambers, and columns, and marble slabs.</p> - -<p>“The floor of the nave was adorned with various marbles, -both with the Roman of a rue-green colour and others of a -rosy red; and these were all laid down and polished. The -walls outside and all round were covered with large and -valuable stones.</p> - -<p>“The thysiasterium was of shining silver, the barrier -(<i>stethea</i>), and its large columns, with the doors, were all of -silver. All the silver was dipped in gold. Four tables were -set up in the thysiasterium supported on columns, and these -were gilt. The seven seats of the priests, on which they sat -on either side, with the throne of the patriarch, and the four<span class="pagenum" id="Page_138">[Pg 138]</span> -columns, were all gilded. And it was forbidden to go up -into the holy place, the <i>Kuklios</i>, also called the Holy of -Holies, which is above the steps.</p> - -<p>“He set up also large columns of silver-gilt, and the lilies -with the ciborium. And the ciborium he made with silver -and nielloed (<i>arguroencauston</i>). Above the ciborium was a -globe of solid gold, weighing 118 pounds, and golden lilies, -weighing six pounds, and above them a golden cross, with -most precious and rare stones, weighing eighty pounds. Such -was the design he made.</p> - -<p>“And as he wished to make the holy table more beautiful -than the rest, and more precious with gold, he collected -numerous craftsmen, and consulted with them. Their -opinion and advice was to cast into the melting pot -(<i>choneuterion</i>) gold, silver, stones of every kind, and pearls, -copper, electron, lead, tin, iron, glass, and every other -metallic substance. And they ground them all together and -formed them into masses (<i>olboi</i>), and poured them into the -pot; and when it had been melted, they took it from the fire -and poured it out into a mould (<i>tupos</i>). Thus the holy table -was made. And it was then set up by the emperor on solid -columns of gold, studded with precious stones. And the -‘sea’ (<i>thalassa</i>) of the holy table was ornamented with gold -and precious stones. Who can see the holy table without -being astonished? and who can gaze at it on account of the -many glinting surfaces? so that at one time it all appears of -gold, from another place all of silver, and in another of -glittering sapphire; and altogether there are eighty-two -different colours of metals and stones and pearls.</p> - -<p>“He made also, above and below, carved ivory doors overlaid -with gold, to the number of 365. In the first entrance -into the louter he made the doors of electron; doors also of -electron were in the narthex, two of them smaller than the -middle one, which was much larger, and of silver dipped in -gold (<i>chrusembaphos</i>). The architraves also were overlaid -with gold. Three or the doors inside, instead of being made -of new wood, were made of wood from the Ark. He wished -to make the pavement entirely of silver [Codinus says gold], -but his advisers dissuaded him, saying that in the future<span class="pagenum" id="Page_139">[Pg 139]</span> -poor emperors might have it taken up. And those who -persuaded him were Maximian and Hierotheus, Athenian -philosophers and astronomers, saying that in the latter days -poorer rulers would come and take it all away. And -following these counsels the thought was given up. And -every day the emperor had 2,000 miliarisia put in a heap and -mingled with earth; and when work was finished, in the -evening, the craftsmen dug out the mound and found the -miliarisia, and this the emperor did that they might be eager -for their work. And collecting the materials, as was said, -took seven and a half years. But the completion of the temple, -even with the crowd of workmen I have mentioned, all labouring -with the greatest eagerness, took nine years two months.</p> - -<p>“The ambo with the solea he paved with sardonyx, and -inserted precious stones; its columns were of solid gold, with -carbuncles and crystals and sapphires; and he overlaid the -upper part of the solea richly with gold. The ambo had -also a golden dome studded with pearls, lychnites, and -emeralds.</p> - -<p>“The gold cross of the ambo weighed 100 pounds. It had -also seizae,<a id="FNanchor_226" href="#Footnote_226" class="fnanchor">[226]</a> and lychnites, and was embroidered with pearls. -And the ambo above had a hat-shaped covering (<i>petasion</i>), -upon<a id="FNanchor_227" href="#Footnote_227" class="fnanchor">[227]</a> supports (<i>stethea</i>).</p> - -<p>“The top of the Holy Well was brought from Samaria. -It was considered sacred, because Christ had sat on it, and -talked to the woman. And the bronze trumpets, which -stand by the Holy Well, were brought from Jericho; they -were those at whose blasts by angels the walls of Jericho -fell down. The honoured Cross, to-day in the skeuophylakium, -which was the measure of our Lord’s height, was -eagerly sought for in Jerusalem by the faithful and brought -hither. And for this reason they surrounded it with silver, -and all kinds of precious stones, and overlaid it with gold. -And to this day it works healing wonders, and drives away -diseases and demons. And in every column [of the church] -both above and below is placed one sacred relic.</p> - -<p><span class="pagenum" id="Page_140">[Pg 140]</span></p> - -<p>“He made also golden vessels for the twelve solemn feasts, -according to the sacred Gospels: basins (<i>cherniboxeses</i>), ewers -(<i>orkioloi</i>), chalices (<i>diskopoteria</i>), and patens (<i>diskoi</i>); they -were all of solid gold, set with precious stones and pearls. -And the number of the sacred vessels was 1,000; altar-cloths -(<i>endutai</i>), with rows of jewels, 300; crowns, 100. -Every festal day had its own chalice covering (<i>poterokalumma</i>). -There were paten covers (<i>diskokalummata</i>) of gold, with -pearls and precious stones, to the number of 1,000; four-and-twenty -gospels, each worth two centenaria; thirty-six -censers of solid gold with precious stones; 300 lamps -(<i>luchnitai</i>) weighing forty pounds; 6,000 candelabra (<i>polycandela</i>), -and clustered lights<a id="FNanchor_228" href="#Footnote_228" class="fnanchor">[228]</a> of solid gold, for the ambo, -the bema, the two gynaecea, and the narthex.</p> - -<p>“The revenues of 365 farms in Egypt, India, and all the -East and West were devoted to the maintenance of the -church. For each holy day was set aside 1,000 measures of -oil, 300 measures of wine, and 1,000 sacramental loaves. -Similarly for the daily services, the clergy, including the -lowest, numbered 1,000, with 100 singers divided into -two for alternate weeks. For the clergy there were cells -round the building; for the singers there were two monasteries.</p> - -<p>“He made five gold crosses, each weighing 100 pounds, -which were adorned with all kinds of precious stones, so that -they were each valued at eight centenaria: also two candlesticks -of gold incrusted with pearls and precious stones, -valued at five centenaria, as well as two other large carved -candelabra (<i>manoualia</i>) of gold; these had golden feet, each -worth 100 pounds, to stand below the golden candelabra. -He made fifty others too, of silver, of the height of a man, -to stand by the altar. On the adornment of the ambo and -solea was spent 100,000 pounds, which was the tribute levied by -Constantine on Saroboris, King of the Persians, and on many -others. The whole church with the parts outside and around—with -the exception of the vessels and ornaments, which -were given by the emperor—cost 800,000 pounds.</p> - -<p>“Now Justinian alone began and alone finished the church<span class="pagenum" id="Page_141">[Pg 141]</span> -with no other helping him, or even building a part of it. -Its beauty is wonderful to behold; all kinds of pearls glitter -there like the sea, and one seems to see the ever-flowing -waters of great rivers. Now the four boundaries<a id="FNanchor_229" href="#Footnote_229" class="fnanchor">[229]</a> of the -church he called after the rivers that flowed from Paradise, -and he made a law that whosoever was excommunicated -should stand there for his sins. And for the phiale in the -centre he made twelve arcades, and lions belching out water -for the people to wash in. On the right side, however, of -the right-hand gynaeceum, he made a basin (<i>thalassa</i>) of one -cubit for the water to come up in, and one flight of steps -(<i>klimax</i>) for the priests to cross above the water. He placed -too in the front of the basin (<i>dexamene</i>) an open tank for the -rain (<i>ombusia</i>), and carved twelve lions, twelve pards, twelve -deer, and eagles, and hares, and calves, and crows, twelve of -each, and these spouted out the water for the use of the -priests alone. The place was called the place of the lions -(<i>leontarion</i>) and metatorion, because there was a golden -couch there, that the emperor might rest on his way to the -temple. But who can describe the comeliness and beauty -of the temple, overlaid with resplendent gold from the -crown to the pavement?</p> - -<p>“When the temple and the sacred vessels had been all completed, -on the 24th of December he marched in solemn pomp -from the palace to the Gate of the Augusteum, opening into -the Horologium; and he killed 1,000 oxen, 6,000 sheep, -500 deer, 1,000 pigs, 1,000 fowls, and gave them to the -poor and needy, as well as 30,000 measures of wheat. And -the distribution of these on that day took three hours, and -then the emperor entered with the cross, and the patriarch -Eutychius, and at the royal entrance he left the patriarch -and walked alone to the ambo; then, stretching out his -hands to heaven, he cried, ‘Glory be to God who has thought -me worthy to finish this work. Solomon, I have surpassed -thee.’ And when the ceremony was over he distributed -largesse, and with the help of Strategius gave away three -hundred pounds of gold. But on the following day he -solemnly opened the temple, and killed even more oxen, and<span class="pagenum" id="Page_142">[Pg 142]</span> -feasted every one for fifteen days until the feast of Epiphany, -praising God. In such a way as this was the great work -completed.</p> - -<p>“Now the new dome which was built by Justinian, and -the gorgeous and wonderful ambo, with the solea, and the -patterned pavement of the nave, lasted seventeen years. But -after the death of Justinian, his nephew Justin succeeded, and -in the second year of his reign, and the fifth day, at the sixth -hour the dome fell, and destroyed the wonderful ambo with -the golden supports, and the solea, and all the sardonyx, and -choice pearls and sapphires. But the arches, and the columns, -and the rest of the building remained unhurt. Then the -emperor summoned the skilful mastermen, and inquired what -had caused the fall of the dome. But they answered and -said to the king, ‘Your uncle took away too quickly the -supports (<i>antinux</i>) for the dome, which were of wood, to -cover it with mosaic; and made it too high so that it should -be seen from everywhere, and thus the craftsmen, by destroying -the scaffolding (<i>skalosis</i>) before the foundations had been -sufficiently set, caused the fall of the dome.’ Thus spake -they to the king, and they added that if he wished to build -a dome like a hollow cymbal he should follow his uncle’s -example, and send to Rhodes, and should order bricks made -in the same way and of the same weight as the previous -ones. The emperor gave the order, and bricks were brought -from Rhodes, similar to the previous ones. So once more -the dome was built, with fifteen fathoms taken from its -height, and formed like a drum so that it should not again -fall. The supports were left for a year, until they knew that -the dome had become well set. But the ambo and solea, -which they were not able to build of an equal magnificence -to the former ones, they are made of marble, with columns -covered with silver, and there was a silver inclosure (<i>stethos</i>), -round the solea. But the dome of the ambo he did not -build again, frightened by the expense. And for the pavement, -as he was not able to find slabs of such beauty and size -as heretofore, he sent Manasses, a Patrician and Praepositus, -to Proconnesus, and marble was worked there as is seen -now, of a green colour, like rivers flowing into a sea.</p> - -<p><span class="pagenum" id="Page_143">[Pg 143]</span></p> - -<p>“But when they wished to cut away the scaffolding of the -dome, and to take away the timbers, they filled up the church -with water to a height of five cubits, and threw down the -beams into the water, and thus the lower parts of the walls -were uninjured. And he covered it all with mosaic. Hence -there are some who say that Justin, Justinian’s nephew, built -the church, but in this they lie. Let us rather give thanks -to our God who has willed that the great structure should -remain untouched, so that we can enter it, and give the praise -that is due to Christ; for He is worthy of all glory, honour, -power, and worship, now and for ever, Amen.”</p> - - -<h3>§ 3. LEGENDS.</h3> - -<p>Many of the points in this celebration of the wonders -of S. Sophia seem to be traceable to the writer’s absorbing -traditions of the work of Basil—who built like a goldsmith -at his new church—into his account. In the destructive -rapacity of the Crusaders and the interregnum that followed -while they occupied S. Sophia we find such a satisfactory -cause for this half-mythical retrospect undertaken in all good -faith that we cannot think it was written until after the -Frankish ascendency.</p> - -<p>We need not suppose that the Anonymous invented even -the wildest of these stories; such stories grow up as a matter -of course, and to-day various forms of some of them are told -within the walls of many other buildings. The accounts given -by the Russian pilgrims (see Chapter <a href="#CHAPTER_VI">VI</a>) agree so closely in -many respects with the Anonymous description that we might -think the writer had been their guide in the church. That -the stories were widely told in Constantinople at this time is -proved by the account of S. Sophia given by El Harawi, an -Arab traveller, who visited the city in the thirteenth century. -“Here is also Agia Sophia, the greatest church they have. I -was told by Yakub Ibn Abd Allah that he had entered it: -within are 360 doors. And they say one of the angels resides -there; round about this place they have made fences of gold, -and the story they relate of him is very strange.”<a id="FNanchor_230" href="#Footnote_230" class="fnanchor">[230]</a></p> - -<p><span class="pagenum" id="Page_144">[Pg 144]</span></p> - -<p>This story of the angel recalls the Wingless Victory of -the Athenian acropolis, but it is probably more closely -related to the “Angels of the Churches” in the Revelation. -An interesting reference to this thought is made by Palladius -in his Life of Chrysostom. Before he left S. Sophia for ever -the patriarch entered it saying, “Come let us pray and say -farewell to the Angel of the Church;” but, adds his -biographer, “the Angel departed with him.” We give -here an account of the church from a thirteenth-century -English MS., in the British Museum, <i>Vit. A.</i> xx. 14, which -refers to the more commonplace part of the story as told -by the Anonymous. “That famous city is endowed with -wonderful and inestimable wealth. In it may be seen the -famous church Agia Sophia, that is the Holy Wisdom; an -angel of God appeared and taught the workmen as they -were building. Underneath the church in its cisterns there -is refreshing water, some of which is salt and some of it rainwater. -The church below is borne on one hundred and -seventy-three columns of marbles, and above on two hundred -and forty-six. Round the choir from the top to the bottom -it is covered with silver gilt. And this same choir has an -altar ‘starred’ (<i>stellatum</i>) all over with most wonderful -and precious stones. In the church are lamps of the purest -silver and gold, and their number cannot be counted. The -church is opened and closed by seven hundred and fifty-two -double doors, and there are windows innumerable. There -are seven hundred prebendary priests, of which three hundred -and fifty take each week in turn. Now the Patriarch of -Agia Sophia has in that city one hundred metropolitans and -archbishops, and each metropolitan has seven suffragans in -the same city.”</p> - -<p>The idea of competition with Solomon’s Temple and the -Tabernacle would be sure to suggest itself, and, once received, -it would be justified by many assertions; indeed a tendency -to imitate the biblical accounts may be detected in the -Anonymous author. For instance, we have Justinian’s -intention to cover the floor with silver, the description of -the gold vessels for the altar, and the “sea” for the priests. -Justinian’s oft-quoted speech on entering the completed<span class="pagenum" id="Page_145">[Pg 145]</span> -church may be assigned to this leading idea, which we find -expressed as early as the sixth century by Corippus, the poet-bishop, -who says, “Praise of the temple of Solomon is now -silenced, and the Wonders of the World have to yield the preeminence. -Two shrines founded by the wisdom of God have -rivalled Heaven, one the sacred Temple, the other the splendid -fane of S. Sophia, the Vestibule of the Divine Presence.”<a id="FNanchor_231" href="#Footnote_231" class="fnanchor">[231]</a> -Glycas, who tells many of the stories given by the Anonymous, -continues the idea further. Justinian, he says, set up a -statue “representing Solomon as looking at the Great Church -and gnashing his teeth with envy.”<a id="FNanchor_232" href="#Footnote_232" class="fnanchor">[232]</a></p> - -<p>In the Book of Proverbs we read, “Wisdom hath builded -her house, she hath hewn out her seven pillars.” This was -also seized upon, and Michael Psellus speaks of S. Sophia as -“the very beautiful temple, the incomparable home which -the Divine Wisdom built in His own name and which He -raised on seven pillars.”<a id="FNanchor_233" href="#Footnote_233" class="fnanchor">[233]</a> Modern writers, Tournefort, Von -Hammer, &c., have delighted to point out that the church -has 107 columns; indeed, with a little humouring, 108 may -be counted. The symmetrical number of the workmen -employed according to the Anonymous may be matched in -a legendary account of the building of S. Luke’s, according -to which there were twenty-four protomaistores, each of -whom had twenty-four workmen under him.</p> - -<p>The story of Justinian mixing money with the earth is -parallel to the account, given by Vasari, of Brunelleschi’s -scheme for building the dome of S. Maria del Fiore in -Florence. It is impossible that the church should have been -flooded with water, as described by the Anonymous. There -appears to be no basis for the supposition that the great -dome was gilt outside. In the texts of Codinus the dome -is said to be of ivy-wood (κισσηρίνος): this is evidently somebody’s -misreading for pumice-stone (κισήριον).</p> - -<p>The stones were actually supposed to be specifics for -diseases by the Russian pilgrims and others. Clari the -Knight of Amiens<a id="FNanchor_234" href="#Footnote_234" class="fnanchor">[234]</a> (1200) speaks “of the Minster<span class="pagenum" id="Page_146">[Pg 146]</span> -(<i>Moustier</i>) of S. Sophia, and the riches which were there.... -There are vaults all round over the church, which -are carried on large columns, very rich; for there is not a -column but is of jasper, or porphyry, or some precious -marble, and every column has a medicinal quality; some -keep off <i>Mal des rains</i>, some <i>Mal du flanc</i>, and other -diseases: and there is nothing in this minster such as a -hinge (<i>gons</i>) or band (<i>verveles</i>) generally of iron, which is -not of silver.”</p> - -<p>Codinus concludes his account of the church with a story, -which may be classed with a large series, as “the gratitude -of employers to their architects;” imprisoning and blinding -them, or cutting off their hands. It is in a sense one of the -truest of stories! The master workman of the great church, -“Ignatius (<i>sic</i>), owing to the great favour which his work -won for him from the people, was shut up by the emperor in -his statue in the Augusteum.” To parallel other tales this -must be the artist’s own work which is the instrument of -his torture. Here he would have died of hunger had it not -been for his faithful wife, who threw to him a rope -besmeared with liquid pitch; afterwards fire destroyed all -evidence of his flight.</p> - -<p>We have also the customary tales of statues found in the -ground when the church was begun. Gyllius, quoting from -Suidas, says that Justinian discovered more than seventy -statues of the Greek deities, the figures of the twelve signs -of the zodiac, and eighty statues of Christian princes and -emperors. The travels that bear the name of Sir John -Mandeville relate that once when an emperor made a grave -in S. Sophia, “they found a body in the earth, and upon the -body lay a plate of gold, that said thus in Hebrew, Greek, -and Latin, ‘Jesus Christ shall be born of the Virgin Mary, -and I believe in Him.’ It was laid there 2,000 years before -the birth of Christ, and is still preserved in the treasury of -the church. And they say that it was Hermogenes, the -wise man.”</p> - -<p>The legends were not forgotten after the taking of the -church. Sandys, the English traveller, who was in Constantinople -about 1610, tells us that “one of the doors was<span class="pagenum" id="Page_147">[Pg 147]</span> -famed to be the ark of Noe, and is therefore left bare in -some places to be kissed by the devoted people,” and “the -total number of doors was said to be as many as the days -of the year.”</p> - -<p>When this, the church of the world, fell into the hands -of the Turks, many stories came to the West, or arose there -without coming. The poetry of the Fall required the -miraculous salvation of the priest celebrating mass, and the -prophecy of his return as told by Theo. Gautier. It also -required a massacre in the church, the riding in of the proud -conqueror, and the mark of his blood-stained hand, which -indeed is still pointed out some twenty feet above the pavement! -Mijatovich, in his history of the last of the emperors, -regards the massacre as unhistorical.</p> - -<p>An English romance almost contemporary with the Fall -tells us how the Turks took possession,</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“For to let theyr hawkys fly</div> - <div class="verse indent1">In the chirch of Saint Sofy.”</div> - </div> -</div> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_148">[Pg 148]</span></p> - -<h2 class="nobreak" id="CHAPTER_VIII">CHAPTER VIII</h2> -</div> - -<p class="cd">FOSSATI’S REPARATIONS. SALZENBERG’S DESCRIPTION.</p> - - -<p>Sancta Sophia seems really to have been in a dangerous -condition when, in 1847, the Sultan Abdul Mesjid began a -much-needed work of reparation which was carried on under -the guidance of the Italian architect Fossati, who appears to -have taken great pains, and notwithstanding some alterations -and “restorations” in the worst sense he deserves our -gratitude for probably saving the building. In the preface -to his lithograph views published in London in 1852 he says, -“The portions of the building that looked most threatening -were reconstructed, and the lead roofs were repaired. The -dome was relieved of four heavy buttress arches, whose -function was taken by a double ceincture of iron around its -base. Thirteen columns of the gynaeceum, which were -inclining under the thrust of the great arches that support -the dome, were put straight again.” The marble work of -the interior was cleaned, and the gold mosaic vaults were -cleared of the crust of limewash which concealed them. -All representations of figures were however covered again. -The sultan’s tribune was built, Fossati says, “in the -Byzantine style.” The walls outside, after being repaired, -were covered with a coating of plaster on which red stripes -were painted.</p> - -<p>Since this time various remains of the Great Court, which -existed as late as 1873, have entirely disappeared, and the -broad bare space, in front of the exonarthex, has little now -to recall the atrium with its fountain and quadriporticus.</p> - -<p>All study of the church in its condition at that time must<span class="pagenum" id="Page_149">[Pg 149]</span> -be based on the exhaustive plates and text of Salzenberg.<a id="FNanchor_235" href="#Footnote_235" class="fnanchor">[235]</a> -M. Texier had in 1834 made some drawings at Constantinople, -which are now preserved in the library of the Royal -Institute of Architects; and several coincidences seem to -point to Salzenberg’s having had the use of Texier’s ground -plan. In any case Texier was the first to make correct plans -including the upper floor, also the atrium, baptistery, and the -circular building at the north-east. As Salzenberg made full -use of the unique opportunity afforded by the scaffolding, -when the building was given over to the workmen, we have -thought it wise to give a condensed paraphrase of his -account where it is descriptive of the structure, even at -the risk of some repetition. Our remarks in other places -where they may overlap are the result of our own observation, -from different points of view. The rest of this chapter -is an abridgment of Salzenberg’s text and descriptive of his -plates, and we add nothing unless in notes or square brackets.</p> - -<p><i>Design.</i>—The exterior walls of the atrium, with several -entrances, were built of brick, but the inner sides had marble -columns between square brick piers, two columns to one pier. -These carried semicircular arches. The atrium walks, as -remains showed, were barrel-vaulted, and the vaults were -formerly covered with mosaic. The parts for which there was -evidence remaining are shown in darker hatching in Salzenberg’s -plate vi. The outer wall on the north side, with -several arched openings; and traces of the western boundary -still existed.</p> - -<p>The long vestibule in front of the narthex has groined -vaulting, and large windows in its west wall; there are some -Turkish additions to this part. A door from each lateral -cloister, and two others from the open atrium, led into it. -On either side of the two doors from the court are strong -projecting piers, connected above by a wide arch, forming a -porch-like shelter over the doors. These four piers rise -above the roof of the vestibule.<a id="FNanchor_236" href="#Footnote_236" class="fnanchor">[236]</a></p> - -<p><span class="pagenum" id="Page_150">[Pg 150]</span></p> - -<p>Double tiers of buttress arches spring from each of these -piers to the west wall of the church. A close examination of -the wall and piers led to the conviction that they are not -contemporary with the church, but were built later, though -partly of old material.<a id="FNanchor_237" href="#Footnote_237" class="fnanchor">[237]</a> The upper cornices for instance -differ. [Modifications here can be explained by removal of -Bell Tower, see p. <a href="#Page_194">194</a>.] The piers were probably erected -by Byzantine builders, to strengthen the western vault.</p> - -<p>Five doors lead to the narthex, the windows of which are -above the roof of the outer vestibule. The walls are covered -with marble, and the vaulting with mosaic; while the walls -and ceiling of the exonarthex, are quite plain. Two other -doors enter the narthex at its north and south ends, and nine -lead from it into the church; the large central entrance -being the Royal Door.</p> - -<p>The walls of the church form approximately a square, -the length of which in the interior, exclusive of the apse, is -241 feet, and the breadth 224.<a id="FNanchor_238" href="#Footnote_238" class="fnanchor">[238]</a></p> - -<p>The dome measures 100 feet across from the edge -of the cornice, but above the cornice the vaulted space is -104 feet across; it is 179 feet from the floor to the vertex. -The dome rises above the square area on four huge arches, -with a large semidome to the east and another to the west, -each of which embraces three smaller spans. The lateral -openings which thus pierce the east and western semidomes -are covered by <i>conchs</i>, but the middle opening in each case -has a cylindrical vault, that to the east being prolonged into -the eastern apse.</p> - -<p>At the corners of the central square of the nave rise four -large piers, which are joined by arches to four buttress piers -in the northern and southern walls behind them. The -arched openings connect the three parts into which the aisles -are divided by the piers. On either side of each of the -central openings from the eastern and western hemicycles -rise other piers, which are pierced by narrow arched -passages, running from north to south. The piers, eight<span class="pagenum" id="Page_151">[Pg 151]</span> -altogether, carry the whole vaulting of the nave, as well as -a part of that of the side aisles. Between the middle -division of each aisle and the nave are four large columns -with five arches on the ground floor, and on the first floor -six smaller columns with seven arches. Above again is a -wall with windows, filling up the great arches on the north -and south sides under the dome. Each exedra has, on the -ground floor, two large columns with three arches, and, on -the floor above, six small columns with seven arches.</p> - -<p>The vault of each division of the aisles is supported on -four columns. Those next the east and west walls of the -church, eight in all, are square, the others are round. The -divisions of the galleries follow those of the aisles underneath. -The four main piers however were pierced by additional -arched openings [now filled up] between the galleries and -the nave. The part over the narthex opens to the nave by -three arches, on coupled columns. Above is the immense -semicircular window which fills up the central barrel vault at -the western end.</p> - -<p>All the openings towards the nave in the upper aisles -have marble parapets. The vaulting of the lower aisles rests -on forty round columns and eight square ones, and in the -galleries on sixty round columns, not including the coupled -columns at the west; this makes in all a hundred round -columns. Possibly the eight square pillars in the aisles were -employed, so that this number should not be exceeded.</p> - -<p>In the walls are numerous large windows, and the dome -is pierced by forty just above the cornice; thus light streams -into the church from every quarter. Much of the dome, -including the central circle of mosaic at the crown, can be -seen from the Royal Door.</p> - -<p>The greater number of the buildings which formerly -surrounded the church are either destroyed, or so altered by -Turkish minarets and buttresses that it is difficult to conjecture -their original form.<a id="FNanchor_239" href="#Footnote_239" class="fnanchor">[239]</a></p> - -<p>On the north and south of the narthex are long porches -of Byzantine workmanship, with cylindrical vaults. In the -northern one is a flight of fourteen steps leading down from<span class="pagenum" id="Page_152">[Pg 152]</span> -outside to the narthex. The southern porch is called by -Von Hammer the Vestibule of the Warriors. It is mentioned -by Nicetas as the place where the Archangel Michael was -represented in mosaic. It was through this porch that the -emperor passed to the church, and here some of the bodyguard -would remain. The vaulting still bears the remains of -mosaics which are now covered up.</p> - -<p>On the east sides of both the northern and southern -porches are accesses to the gynaeceum, formed of a series of -inclined planes. The entrance to the northern one is from -the porch, but the southern stair is reached from a narrow -passage between it and the baptistery. To the west of the -northern and southern porches, in the angles between them -and the outside walls of the atrium, are the two minarets -built by Murad III.</p> - -<p>On the first-floor level, above the southern porch and -part of the adjacent staircase, is a series of chambers,<a id="FNanchor_240" href="#Footnote_240" class="fnanchor">[240]</a> of -which the purpose is not known. The walls of the two -larger chambers are covered with marble, and their ceilings -with mosaic.</p> - -<p>Only one stairway is now extant at the east. The -minaret built by Mahomed II., which helps to buttress the -south-east corner of the church, occupies the position of a -second. Salzenberg’s Plate xiv. shows the stairway restored, -but in Plate xiii. the northern one is removed to explain the -arrangement of the part of the building to the south of it. -On entering at the door of this north-eastern stairway one -can either mount the ascending planes which wind round a -well for light, or go to the left through a small lobby into -the church. On the right steps ascend to the round building -adjacent. The light ‘well’ once ascended the whole height -of the staircase, which seems to have been formerly still -higher, as the eastern wall of the church, which is here -prolonged northwards, rises about four feet above the present -roof of the stairway, and shows the remains of a window. -These stairways may have been built by Andronicus Palaeologus -in the fourteenth century, when he erected the buttress -masses which are called pyramids by Nicephorus Gregoras.<span class="pagenum" id="Page_153">[Pg 153]</span> -All these stairways however were additions to the building, -probably built when the dome abutments were strengthened. -The original staircases to the gynaeceum were in the four -piers by the northern and southern walls of the church, and -the steps from the gynaeceum to the base of the dome still -remain.<a id="FNanchor_241" href="#Footnote_241" class="fnanchor">[241]</a></p> - -<p>In the eastern buttress pier on the south side is a portion -of one of the original staircases, leading <i>downwards</i> from -the gynaeceum, though beneath on the ground floor there is -now a vaulted passage.<a id="FNanchor_242" href="#Footnote_242" class="fnanchor">[242]</a> In the western buttress pier on the -south side, at the ground-floor level, is a vaulted passage -adorned with mosaic, and a door leading to an external -addition. In the similar position on the gynaeceum level, -the staircase, which formerly led higher, has been destroyed, -to make a way to the upper floor of this same late annex.</p> - -<p>The south-east porch may have been used by the emperors -on non-festal days, as it was close to the southern aisle -where they sat. Three columns are now placed on each -side of this porch; the two outer ones are of porphyry, and -have capitals with a design of a basket and doves.<a id="FNanchor_243" href="#Footnote_243" class="fnanchor">[243]</a> These -capitals are fine Byzantine work, although the arch above -may be Turkish. Here seven steps descend into the church. -The other porch on the north of the east end was destroyed -at the last restoration to make an entrance for the Sultan. -Remains of a series of chambers can still be traced on the -east side between the porches: their roofs must have been -below the lower windows of the eastern wall. The -chambers are now built up; but their original plan may be -conjectured from the lead saddle-roofs, which have gutters -that conduct the rainwater through the outer wall. Two -doors from the porches, and two doors from the church—all -four now blocked up—show the previous communication -with this row of chambers, which probably contained the -priests’ vestments, and the vessels for the altar.</p> - -<p>Amongst the buildings that surrounded the church must -be mentioned the skeuophylakium, in which was kept the sacred -furniture. Here were placed biers for the state funerals:<span class="pagenum" id="Page_154">[Pg 154]</span> -conspicuous amongst them was one quite covered with -gold, the gift of Studios and Stephanos. This probably was -the isolated round building at the north-east of the church, -reached by the steps previously mentioned. It now has two -floors of wood; for security there were no windows, but -only twelve niches in the wall, in one of which is the door. -This building now serves as a storehouse for the army -kitchen (imareh) adjacent, and is much injured. Windows -have been made in the walls, and the door altered.<a id="FNanchor_244" href="#Footnote_244" class="fnanchor">[244]</a> -The baptistery [south-west building] is square outside, but -octagonal with four niches within. It is vaulted by a -dome without ribs. On the east side is an apse, and on the -west a porch. The Anonymous says that the baptistery was -formerly called the Chapel of S. John, and that it was built -by Justinian. [Entrance to this is now obtained by a door, -which has been pierced in its north-eastern angle. The -western wall has a semicircular-headed opening, of the same -size as the niches, leading to a narthex or vestibule to which -there is now no access from the outside.]</p> - -<p>In addition to the western entrance, a door on the north, -now blocked up, led through an open porch into a small -court. The large cylindrical arch of this porch had a screen -at its northern side, the columns and door-frame<a id="FNanchor_245" href="#Footnote_245" class="fnanchor">[245]</a> of which -are still extant, but the marble lattice is destroyed. Through -an arch in the east wall of this porch the addition which was -made outside the south-west buttress pier could be reached, -where there was a passage into the church. Salzenberg’s -plan<a id="FNanchor_246" href="#Footnote_246" class="fnanchor">[246]</a> of this addition is taken at the level of a landing -reached by a staircase from the passage through the south-west -buttress pier. This landing seems at one time to have -been connected with a chamber above the north porch of the -baptistery, and from thence with the stairway at the south-west -angle of the church. Leading upwards from this landing is -the original staircase to the gynaeceum, and at this level -there is a small chapel vaulted with a cupola.<a id="FNanchor_247" href="#Footnote_247" class="fnanchor">[247]</a> The vault is<span class="pagenum" id="Page_155">[Pg 155]</span> -adorned with mosaic; figures of angels stand in the four pendentives. -Originally the chapel was not lighted; but at -the last “restoration” a hole was made in the roof, which -was filled with glass; a passage from this chapel to the -gynaeceum is probably Turkish. The chapel is supposed -by the Greeks to be the one into which the officiating priest -disappeared at the capture by the Turks.</p> - -<p>The Turks turned the baptistery into a storeroom -for the oil used in lighting the church, but on the sudden -death of the Sultan Mustapha I. it was converted into a -turbeh. Almost the whole of the church is raised above -vaulted cisterns. An opening in the south aisle<a id="FNanchor_248" href="#Footnote_248" class="fnanchor">[248]</a> gives access -to the water, and there is another opening in the north-west -exedra. The depth of the water prevented a close -inspection.</p> - -<p>Of the two additions made in Byzantine times to the -centre of the north and south walls on the outside, and -intended to buttress the aisles, the southern one has been -further lengthened by the Turks. To preserve the use of -the door and window in the wall of the church, each addition -was pierced by a passage. Remains of stairways and side -passages have also been found here.<a id="FNanchor_249" href="#Footnote_249" class="fnanchor">[249]</a> Other remains of -buildings existed on the north and south sides of the church, -but they were too insufficient to base any conclusions on -them.</p> - -<p><i>Materials.</i>—The principal materials employed are brick, -and a kind of peperino stone. The latter is used in those -parts of the building which have to stand great pressure, -such as the four large piers in the nave, the piers to east and -west, and the extra projections from the buttress piers in the -side aisles and gynaeceum. In addition a horizontal course -two feet deep runs round the whole building four feet from -the floor.</p> - -<p>The outside walls of the original building, like the -vaulting, were entirely of brick, but in the later additions -they are formed of alternate layers of brick and stone, and -some of the later buttress masses are almost entirely of stone.</p> - -<p>The bricks are as a rule about fourteen inches long and<span class="pagenum" id="Page_156">[Pg 156]</span> -two inches thick; some vaulting bricks brought from the -ruins by the porch on the east measured fourteen inches -square and two inches thick; on one side of them were -scratched lines probably made by the three fingers of the -maker, and on the other was an oblong label inclosing an -inscription (1); another had a different inscription (2); -and a third, not from this vault, but of the same size, -was also inscribed (3).</p> - -<div class="figcenter" id="p156"> - <img src="images/p156.png" alt="" /> -</div> - -<p class="p1">[(1) Reads Constantius or Constantine. (2) May be -rendered “the church which is being erected,” by reading -a participle of ἐγείρω for the second and third letter. (3) -This is also given in the <i>Revue Archéologique</i>, 1876, with -some slight differences in second and third lines; it is there -said to have been found between SS. Sophia and Irene. It -probably reads, “Lord, help Philemon: Indiction 7.” The -two first vowels of Philemon have changed places, and the -contraction form after “<span class="inscribe">ΙΝΔ</span>” is also turned the wrong -way.]</p> - -<p>At the base of the dome the bricks are 27 × 9 inches, -and two inches thick. Some appear to be twenty-seven -inches square; but at the apex of the dome, by the hole -intended for the lamp-chain, the thickness is twenty-four -inches. There was no trace of the light bricks made in -Rhodes which the Anonymous mentions; although in the -pendentives a light substance, whitish, with impressions of -plants in it, was used in irregular masses. The mortar -has a red colour, and was evidently mixed with crushed -brick; the joints are from one to two inches thick.</p> - -<p>The marble of Proconnesus, which somewhat resembles -the architectural marble of Carrara, is employed for the -cornices, capitals, and bases of the columns, and for the -windows.</p> - -<p>In Salzenberg’s plans the materials are expressed by -different depths of tint; the darkest being marble, slightly -lighter is stone, and a still lighter brickwork; the additional<span class="pagenum" id="Page_157">[Pg 157]</span> -buildings are represented in the lightest tones, and the -Turkish buildings with strokes and dots.</p> - -<p><i>Construction.</i>—The outside walls average a height of -seventy feet: those on the north and south have a thickness -of three and a half feet, that on the east is four and a half -feet, and that on the west between the nave and narthex five -feet. Where the arches rest on the walls there are piers -which project about two feet: thus the west wall, for instance, -has in parts a thickness of seven feet. As a general rule, -the interior vaults of wide span continue through the walls, -and appear as arches on the outside face. The window and -door openings are semicircular. The marble finishings were -inserted after the completion of the walls.</p> - -<p>The dome at first sight seems to rest upon four arches -each of 100 feet span; it is, however, only on the east and -west that these arches are open. From north to south the -main piers are 106 feet apart, and their breadth in this -direction is fifteen feet eight inches; but on either side of -the nave there are projections, narrowing the opening to 100 -feet, and giving the open arches abutments of eighteen feet -eight inches.</p> - -<p>Behind each of these main piers again, at a distance of -twenty-nine and a half feet from them, stands one of the -buttress or staircase piers, which, including the outside wall, -is seventeen feet four inches by twenty-four and a half feet -in area. Round arches, which appear below the vaults, -transmit the thrust of the great arches from the main piers -to these buttressing piers. Above these each of the immense -buttress masses which stand right across the aisles, and -rise to within eighteen feet of the springing of the dome, -bear upon two relieving arches of different radii, so as not -to load the vaulting beneath.<a id="FNanchor_250" href="#Footnote_250" class="fnanchor">[250]</a></p> - -<p><span class="pagenum" id="Page_158">[Pg 158]</span></p> - -<p>The cylindrical arches, which, at the ground-floor aisles -and the gynaeceum, connect the great piers with the outer -buttress piers, are each reinforced by two extra arches, -standing on stone additions to the main piers, from which -they project five feet.<a id="FNanchor_251" href="#Footnote_251" class="fnanchor">[251]</a> These arches, though thus -strengthened, are almost all out of shape; those by the -two northern main piers have been pushed out nearly -fifteen inches.</p> - -<p>A drawing given in Salzenberg’s text shows the south -arch which supports the dome with the mosaics removed. -The piers from east to west are seventy-two feet apart, and -accordingly the span of the arch is seventy-two feet, its -soffite being fifteen feet eight inches. The arch is five feet -deep, formed of two unconnected rings, and on each side -the lower part is laid in horizontal courses so that the -portion with radiating joints is only three quarters of the -whole arch. The window wall which fills the arch opening -is four feet thick, and is bonded with the horizontal -courses, but a movement of the arches has caused a fissure, -which is shown in the diagram. These window walls on -the south and north sides have cracked in several places. -The upper part of the window wall on the north side is -only twenty-nine inches thick. The windows have been -reduced and strengthened by inserting stone jambs.</p> - -<p>On the north and south side are also two large arches, -which project on the inside three feet from the window wall -and rest on the main piers, having the same height and span -as the arches on the east and west. They complete the<span class="pagenum" id="Page_159">[Pg 159]</span> -square form under the cornice of the dome, and give the -idea that the dome is carried on four arches of 100 feet span: -whereas in reality, as has just been shown, the real supporting -arches on the north and south side are concealed in the -window wall, and are not suggested in any way in the -interior decoration, being only visible on the outside.<a id="FNanchor_252" href="#Footnote_252" class="fnanchor">[252]</a></p> - -<p>The four principal piers are very carefully built of shaped -stones, the joints, according to Procopius, being run with -lead, but the Silentiary mentions a cement as being used -here.</p> - -<p>The height from the floor to the springing of the great -arches is seventy-three feet.</p> - -<p>The arches of seventy-two feet span have abutments of -twenty-four and a half feet, which are increased above the -vaults of the gynaeceum to twenty-nine feet.</p> - -<p>The great arches under the springing of the dome are -about four bricks, or five feet, thick. The depth at the top, -including the cornice of the dome, is about six feet and -three quarters. The centre of the arches is two and a half -feet above the springing, so that they are more than semicircular. -In the internal angles formed by them are the -four pendentives. The cornice has a projection of about -two feet nine inches. The lead mentioned by the Silentiary -may be found in the interstices of its stones.</p> - -<p>The dome springs from the cornice on forty piers, about -three feet five inches broad on the inside, and about eight -and a half feet deep in the direction of the radius. They -are connected by arches which form windows four feet nine -inches wide. On the outside the piers project beyond the -arches, and may perhaps at one time have been connected -with other arches, forming a drum for the dome: within -they form part of the ribs of the dome.</p> - -<p>In the interior the ribs project at the springing six inches -from the surface of the dome, which is there twenty-nine -inches thick, but their projection gradually diminishes, till<span class="pagenum" id="Page_160">[Pg 160]</span> -they are lost in the great circle of thirty-seven and a half -feet diameter in the centre. In the interior from rib across -to rib is 104 feet, so that all round on the cornice is the -passage two feet nine inches wide, which, according to Paulus, -was used by the lamp-lighter. The dome rises forty-six feet -nine inches above this gangway, so that it is considerably less -than a semicircle in section. The original dome, according -to Agathias, must have been even flatter. Theophanes -states the increase in height to have been twenty feet, -and Zonaras twenty-five.<a id="FNanchor_253" href="#Footnote_253" class="fnanchor">[253]</a></p> - -<p>The dome has now many swellings and depressions which -are not visible from the ground. At the same time we see -how immovable domed vaulting is, if only its supports -remain uninjured.</p> - -<p>At the east and west ends of the nave the two cylindrical -vaults are each forty-seven feet across. They rest on the -four lesser piers, and have an abutment of fifteen and a half -feet. The four exedras are each forty-one feet across. All -the conchs and semidomes have drums outside, which are -pierced by the windows. The conchs which cover the exedras -have strong arches, where they intersect the semidomes. -The weight of the exedra conchs is chiefly supported by -the columns; the upper columns of the south-east exedra, -at the time of the last restoration, were much inclined, and -had to be brought back to the vertical, by propping the -arches, cutting away the old bases, and inserting new pieces—the -columns being surrounded and supported by wooden -cradling. The thickness of the western barrel vault is four -feet; the eastern apse is about three feet thick. The -western semidome received an additional thickness at the -restoration.</p> - -<p><i>Vaulting of the Aisles.</i>—The three principal divisions of -each aisle are covered by domical vaults. The vault arches -rest partly on columns; and the spaces between these -columns and the outside wall are also vaulted. The middle -division of the north and south aisles has two domical -vaults, separated by a barrel vault that opens towards the<span class="pagenum" id="Page_161">[Pg 161]</span> -nave arches, and to the window in the outside wall. The -arches have iron ties four inches thick, which stretch from -the outer wall to the columns of the nave, and grip them -tightly. The four columns in the aisles which carry the -vault are much lower than those between the aisles and -nave, and for this reason the narrow vaulted space, which -joins the aisle vault to the nave arcade, is formed by a -stilted quadrant.</p> - -<p>This arrangement only applies to the lower aisles: above -is a stilted cylindrical vault, running lengthways between -the main gynaeceum vaults, and the arcade towards the -nave.<a id="FNanchor_254" href="#Footnote_254" class="fnanchor">[254]</a> Here, besides the iron ties, there are wooden beams.</p> - -<p>The large arches in the aisles are twenty-nine and a half -feet from column to column. The domical vaulting of the -aisles is very flat—a combination of cross groining and a -dome. For, though it starts with angles at the four corners, -it gradually merges into a dome at the apex. The vaulting -bricks are arranged in horizontal circles.<a id="FNanchor_255" href="#Footnote_255" class="fnanchor">[255]</a> A diagonal band -of mosaic starts from each corner, and merges into a central -circle.<a id="FNanchor_256" href="#Footnote_256" class="fnanchor">[256]</a> In the gynaeceum the vaulting is higher and consists -of spherical domes, the radii being half the diagonals -of the spaces covered. The mosaic decoration here again -follows the form.<a id="FNanchor_257" href="#Footnote_257" class="fnanchor">[257]</a></p> - -<p><i>Narthex.</i>—The narthex is covered with vaults, similar to -those of the lower aisles of the nave. Each vaulted space -is separated from the next by a segmental arch, six and -a half feet wide with a span of twenty-six and a half feet, -which abuts on the west wall of the nave, and the piers -of the outer wall. The vault spaces vary from sixteen and -a half feet in the middle to thirteen and a half feet towards -the ends. The piers of the outer wall are connected together -by arches above the window openings, and the spaces below<span class="pagenum" id="Page_162">[Pg 162]</span> -the windows are filled up with thin ‘screen’ walls. The -upper floor of the narthex is covered with a semicircular -vault, intersected by the window arches between the piers -of the outer wall. These piers are the continuation of those -beneath, and have a width of six feet, and a depth of seven. -They had to bear the thrust of the barrel vault of twenty-six -and a half feet span: the buttresses previously mentioned, -springing from the piers of the propylaeum, were subsequently -added to strengthen them.</p> - -<p>In the exonarthex there are cross groins with arches -between. The arches have a span of fourteen and a half -feet and an abutment of seven feet. This seems to be of a -later construction than the rest of the vaulting, and not -improbably, as well as the piers, belongs to a reconstruction -of this porch, undertaken to strengthen the west wall of the -narthex.</p> - -<p>All the arches of the nave which stand on columns have -iron ties; and to the three large openings of the gynaeceum -at the west end of the nave there are wooden binders as -well. In the lower rows of windows beneath the dome on -both the north and south sides of the nave iron ties can be -seen, which seem to stretch across the whole width of the -large arches which support the dome.</p> - -<p><i>Roofs.</i>—All the exterior vaults are covered with lead -about a quarter of an inch thick, which rests on a layer of -wooden battens placed immediately upon the brick vaults. -There are several passages and staircases for access to the -roofs. Access to the exterior of the side aisles and narthex -is gained by the staircases in the buttress piers: the stairs are -supported on brick arches. In the north-east pier the stair -space is only four feet eight inches by six feet seven inches, -and in this are placed the flights of stairs two feet eight inches -wide, with a space of fifteen inches between.<a id="FNanchor_258" href="#Footnote_258" class="fnanchor">[258]</a> At the top -of each flight spaces are hollowed out in the wall, which -serve as landings from one flight to another.</p> - -<p>These stairs ascend above the roofs of the side aisles to -the upper part of the buttress piers, from which open -passages, with breast-walls on either side, lead above the<span class="pagenum" id="Page_163">[Pg 163]</span> -buttress piers to the angles at the base of the dome. -There were two flights of steps leading to the platform of -the dome: one of these on the south-east, which Salzenberg -shows dotted in Plate viii., is still quite preserved, though -injured at the upper end; remains too can still be traced -of the north-west stair. A door now built up, on the north -side of the south-east stair, and remains of vaulting in the -north-west stair, seem to show that other passages must -have existed.</p> - -<p>The roof of the cylindrical vaulting at the west end of -the nave is reached by means of stairs in the small round -towers, which flank it on the outside.<a id="FNanchor_259" href="#Footnote_259" class="fnanchor">[259]</a> These turrets can -also be reached from the roof of the narthex. Another -passage runs along under the narthex roof at the west (Salz., -Plate ix.), which has an opening close to the upper surface of -the vaulting, and from thence any part above the nave can be -reached. Probably this was formerly used for the lighting -of the church. To reach the cornice at the foot of the -dome there was an opening in the wall under one of the -dome windows.</p> - -<p><i>Decorative Work.</i>—All the constructional forms were -shown boldly on the outside without any adornment; the -west front of the narthex next to the atrium was alone -covered with slabs of Proconnesian marble, some of which are -still preserved, but the upper wall surfaces were perfectly -plain.</p> - -<p>In the interior the whole of the walls are plated with -rare variegated marbles, and the vaults are covered with -glass mosaic. Two chief masses of colour in the nave are -separated horizontally by a cornice, and another cornice -forms the springing for the vaulting. There are also -cornices at the foot of the dome, and around the walls of -the aisles. All these are of carved white marble in simple -profiles. The lower range of arch spandrils between the -piers of the nave is formed of slabs of white marble -completely covered with carving: the upper spandrils above -the gynaeceum arches have sectile work of coloured -marbles. The carving is sharply cut, but conforms very<span class="pagenum" id="Page_164">[Pg 164]</span> -closely to the general surfaces; according to the old -descriptions it was gilt, and remains of colour still extant -show some of the leaf-ornament coloured with a dark -red.<a id="FNanchor_260" href="#Footnote_260" class="fnanchor">[260]</a></p> - -<p><i>Columns.</i>—Amongst the columns are beautiful examples -of the dark green Thessalian marble, now called <i>verde antico</i>. -Of this are formed all the round columns in the nave and -ground-floor aisles, with the exception of the eight in -the four exedras, which are of dark Theban porphyry. -It could not have been always possible to find a sufficient -number of columns of the same height and diameter, and -the transport of them must have been frequently accompanied -by injuries of one kind or another. There are -differences between similarly situated columns, and in -many cases mended fractures appear on the surface of -the marble. In no cases are antique capitals placed on these -columns. All the capitals and bases are of Proconnesian -marble, and were wrought by Byzantine chisels.</p> - -<p>The greater part of the capitals are similar in design, -though their size varies in proportion to the height of the -columns which support them. Salzenberg, in Figs, 1 and 3 -of his Plate xv., shows one of the capitals of the great -order. The leaf-work on them—partly acanthus and partly -palm—is very deeply undercut, and lies almost clear of the -ground underneath. In the middle of front and back are -monograms.</p> - -<p>Under the capitals are bronze rings eleven and half inches -high; each is composed of three members, with a wrought -lock on the side towards the nave, on which is repeated the -monogram of each capital. At the foot of the columns -above the bases are similar rings nine inches high. These -rings occur on all the old columns, with the exception of the -two dual columns of the west gallery. They seem to be let into -the shaft, and, according to the description of the Silentiary, -they were gilded. In addition to these rings, there are on -other columns—as, for instance, the porphyry columns of the -exedras—simple rings, rectangular in section, in positions -where cracks and injuries appear; there being three or four<span class="pagenum" id="Page_165">[Pg 165]</span> -such rings on a column at different heights. It is possible -that some of these are of Turkish origin.</p> - -<p>The bases as a rule have much the same form as the -Attic base; the porphyry columns of the exedras have -pedestals<a id="FNanchor_261" href="#Footnote_261" class="fnanchor">[261]</a> below them, because the shafts were not long -enough.</p> - -<p>Each of the great verde antique shafts has a height of -twenty-five and a half feet, and the bronze base-ring has an -inside diameter of three feet seven inches. The capital is -three feet ten inches high, and the upper part five feet eight -inches wide, the whole height, including base and capital, -being thirty-three and a half feet.</p> - -<p>The porphyry columns of the western exedras have a -total height of thirty-one feet; the shafts are twenty-two -feet and three-quarters long, and the diameter at the bottom -is three feet one inch. The capital is four feet high, and the -abacus above measures towards the nave four feet nine inches, -and towards the aisles four feet eleven inches. In the -direction of the thickness of the arch the side of the -abacus measures five feet, the variation being due to the -circular plan of exedras.</p> - -<p>The columns of the upper storey, which separate the -gynaeceum and the nave, also of verde antique, stand nearer -to one another and are smaller than those below. The total -height of those in the middle division is twenty-two feet -five inches; those in the exedras are twenty-one feet, with a -diameter at the bottom of two and a quarter feet. The -capitals are three and a half feet high, and the bases, including -a six-inch bronze ring, two feet one inch.<a id="FNanchor_262" href="#Footnote_262" class="fnanchor">[262]</a></p> - -<p>The parapet is three feet ten inches high, and of white -marble.<a id="FNanchor_263" href="#Footnote_263" class="fnanchor">[263]</a> It stands between the columns, and like them is -set on a stylobate one foot six inches high, above the lower -cornice. It should be noticed how the wide vaulting of -the aisles is contrived, so as not to interfere with the view -through the arched openings of the lower range of columns.</p> - -<p>The columns in the interior of the ground-floor aisles<span class="pagenum" id="Page_166">[Pg 166]</span> -are about twenty-four feet seven inches high. These capitals -are similar to those already described. Those in the interior -of the gynaeceum, with shafts of Proconnesian marble, have -capitals of quite another form.<a id="FNanchor_264" href="#Footnote_264" class="fnanchor">[264]</a> They are very similar to -others in the church of SS. Sergius and Bacchus; the twin -columns in the gynaeceum at the west end of the nave have -similar capitals; the columns being verde antique. In these -capitals, however, the volutes are not arranged diagonally, -but show “cushions” at the side.</p> - -<p>The capitals in the atrium resembled those of the twin -columns; though the cushion was shorter and the top had -less projection, and it was crowned with a flat egg and -tongue moulding. The capitals and shafts were of white -marble. The beautiful square capitals of the eight square -white marble pillars in the aisles are shown in Salzenberg’s -Plate xvi.</p> - -<p>The arches of the great order have an elaborate leaf-ornament -round them, continuing above the capitals in a -horizontal line, resembling in fact an architrave. [In the -centre above each capital is a cross, and at the crown of the -arch is a four or six-armed cross.] The spandrils are filled -with acanthus-ornament, and in the centre of each is a disc -of coloured marble-surrounded by a carved circle in the -white marble. The ornament of the intrados of the arches -consists of five divisions in the width: these are covered with -a continuous pattern, seven slabs casing the intrados of -the arch. [The five bands are only carved alternately, the -centre and lateral ones being plain.] See our <a href="#f50">Fig. 50</a>.</p> - -<p>The respond on the main pier at each end of this arcade -is a kind of pilaster strip,<a id="FNanchor_265" href="#Footnote_265" class="fnanchor">[265]</a> surmounted by a capital in low -relief, and surrounded by a notched border.</p> - -<p>The two cornices running round the nave, which serve as -galleries for the lamplighters, have an extremely simple profile. -The slanting under-surface, divided horizontally by a row of -beads, has acanthus-leaves in the upper part forming a cymatium, -and in the lower modillions carved with ivy and<span class="pagenum" id="Page_167">[Pg 167]</span> -acanthus, and between them, panels with different leaf-ornaments. -Beneath the aisle cornice is a frieze of marble -mosaic. The base mouldings or skirtings are worked out of -thin slabs.<a id="FNanchor_266" href="#Footnote_266" class="fnanchor">[266]</a></p> - -<p>Salzenberg’s Plate xx. contains a collection of architectural -details, which seem to belong to different periods; -Figs. 1, 2, 3 represent one of the white marble capitals -which adorn the two porphyry columns of the south-east -porch. The arch above them is Turkish, and hence it may -be questioned if this was their original position: they seem -more intended for an ornamental structure than to support a -load, and they may perhaps have belonged to a ciborium -above the holy table. The two marble capitals (Figs. 4 and -5), only three inches thick, were found in the chamber in the -north-east buttress mass, above the gynaeceum roof, together -with broken pieces from a window. They may originally -have belonged to the upper part of the building, such as the -window wall under the north arch of the dome.<a id="FNanchor_267" href="#Footnote_267" class="fnanchor">[267]</a> The workmanship -is very different from that in the rest of the church, -and is more closely allied with ancient treatment. Perhaps -they are fragments from the earlier church which found a -fresh application in Justinian’s building. The parapet pillars -between the twin columns of the western gynaeceum, with -tall pedestals, are each formed in one piece of verde antique. -Their capitals resemble those of the windows,<a id="FNanchor_268" href="#Footnote_268" class="fnanchor">[268]</a> with the -exception that the former are rounded underneath instead of -being square.</p> - -<p><span class="pagenum" id="Page_168">[Pg 168]</span></p> - -<p>The wood ties which span different arches are adorned on -the sides and beneath with carvings.<a id="FNanchor_269" href="#Footnote_269" class="fnanchor">[269]</a></p> - -<p><i>Windows and Doors.</i>—The lighting of the church is most -brilliant; wherever space or construction permitted, windows -of considerable size were opened, so that light floods the -whole church. At the foot of the dome the light streams in -through forty windows, and each of the seven apses has five -openings. The eastern sun sends its first rays through the -six windows in the apse, and the setting sun shines through -the great west lunette. There are twenty-four windows in the -two great tympana, besides large windows in the aisles.</p> - -<p>The windows in the conchs of the exedras are now closed -up, the grouped windows in the great tympana on the north -and south are diminished to insignificant openings, and the -large arched openings at the sides or the end divisions of the -aisles seem even in Byzantine times to have been reduced in -size; at least the remains of piers, shown in Salzenberg’s -Plate xiii., indicate that there was originally an opening with -pilasters, similar to those at the eastern end of the side aisles.<a id="FNanchor_270" href="#Footnote_270" class="fnanchor">[270]</a></p> - -<p>It is said that Justinian gave instructions that combustible -materials should be avoided. If so, these instructions were -followed even to the windows and doors, for the lattice-work -of the former is of marble, and the panels of the latter are of -bronze, or rather they are covered with bronze.</p> - -<p>Salzenberg<a id="FNanchor_271" href="#Footnote_271" class="fnanchor">[271]</a> gives the inside elevation and section of a -window on the south side of the gynaeceum, with details on -a larger scale. The opening in the wall is brick-arched, and -the framework consists of upright posts, with a thin horizontal -architrave dividing the window into two parts. Between -these posts were fitted the breast-wall and lattice-work. The -posts are narrow towards the outside, and the ends of the -architrave rest on thin pieces against the jambs.</p> - -<p>The ‘breast-wall’ at the bottom of the opening and the -‘lattice-work’ are formed of marble, three inches thick.<span class="pagenum" id="Page_169">[Pg 169]</span> -The openings pierced in the slabs are about seven or eight -inches high, filled with panes of glass. Between the panes the -marble has a width of three and a half inches, slightly splayed -on the inside. A second row of slabs fills the lower part of -the windows pierced with openings, surrounded by wider -margins.<a id="FNanchor_272" href="#Footnote_272" class="fnanchor">[272]</a></p> - -<p>The great semicircular west window is divided vertically -by two columns with plain capitals and bases; the horizontal -division from column to column is similar to the crowning -member of the breast-wall of the other windows. The lower -part is filled with marble slabs, which conceal the roof of the -western gynaeceum. Each panel is ornamented with a cross -upon a circle, and within the latter is a monogram.</p> - -<p>The small windows are simply filled with marble lattice -for the glass. Inside the apse windows of the east end are -other windows having coloured glazing; but these are -evidently Turkish.</p> - -<p>Marble door jambs were placed in the openings left in the -walls, just as the posts were inserted in the windows; the -middle, or Royal Door, from the narthex to the nave, is of -bronze. All the frames were moulded, and above are fixed -door-hooks, like bent forefingers; these held rings and -leather fastenings, from which were suspended the customary -door-hangings.</p> - -<p>The lintel of the bronze door-frame bears a relief. This -represents an arch, supported by columns above a throne -with the book of the Gospel and the descent of the Holy -Ghost in the form of a dove. On it are the words of S. John, -‘The Lord said, I am the door of the sheep; through me if -any man enter, he shall enter and shall go out, and shall find -pasture.’ The simple bronze door-plating now remaining -does not seem to be original. [See p. <a href="#Page_265">265</a>.]</p> - -<p>Salzenberg,<a id="FNanchor_273" href="#Footnote_273" class="fnanchor">[273]</a> as an example of the marble frames, gives the -east door of north aisle. Like all Byzantine door-frames, the -head does not cut across the jamb, but mitres. This perhaps<span class="pagenum" id="Page_170">[Pg 170]</span> -made it easier for fixing within the openings left in the walls. -Salzenberg<a id="FNanchor_274" href="#Footnote_274" class="fnanchor">[274]</a> also represents the arched opening, which stands -between the Baptistery and the small court on the south -side of the church.<a id="FNanchor_275" href="#Footnote_275" class="fnanchor">[275]</a> There are two tiers of columns, with -a thin architrave band between them. The door stands -between the lower columns; to avoid concealing them the -frame is made as small as possible, as the plan shows. A -similar arrangement is found in the earlier church of S. John -Studius.<a id="FNanchor_276" href="#Footnote_276" class="fnanchor">[276]</a></p> - -<p>The bronze door-plating on the exterior of the south porch -entrance is extremely interesting.<a id="FNanchor_277" href="#Footnote_277" class="fnanchor">[277]</a> A wooden foundation -four or five inches thick is covered with ornamental bronze -casings. The borders to the panels are beautifully modelled, -and must be ancient. The other outer margins, with knobs and -rosettes, and the four panels, which are decorated with monograms, -belong to the Byzantine school. In the more ancient -parts the metal is one-eighth to one-fourth inch in thickness, -in the latter it is three-eighths to half an inch. Antique doors -must have been enlarged and fitted with new panel plates.</p> - -<p><i>Marble Plating.</i>—Broad horizontal bands run round the -nave at different heights, and the spaces between them are -filled with single panels and vertical sheathing. All the bands -and panels have notched fillets, 1½″ wide, of white marble -as borders. The more important panels have sculptured -white marble frames, eleven inches wide with a “pater -noster” and notched-fillet borders on either side.</p> - -<p>The spandrils of the upper arches and the bands beneath -the topmost cornices are incrusted with designs of leaves, -flowers, fruits, and birds formed of different kinds of marble.</p> - -<p>The marble casing to the walls of the nave is arranged as -follows.<a id="FNanchor_278" href="#Footnote_278" class="fnanchor">[278]</a> Above the skirting is a [3′.10″] band of verde -antique, then the notched fillet, then a [1′.5½″] yellow band -[oriental alabaster]; above this is a vertical sheeting [7′.10″] -formed of Pavonazzetto marble, alternating with a yellowish -brown marble; then another horizontal band of yellow.</p> - -<p>Above this stretches a series of panels round the whole<span class="pagenum" id="Page_171">[Pg 171]</span> -nave—a panel of <i>rosso</i>, with two vertical slabs of a dark -marble like <i>porto venere</i> on either side, each surrounded by -the sculptured frames. The space from the top of this -series to the lowest cornice is adorned with two bands of -yellow [alabaster], and between them is sheathing similar to -that below.</p> - -<p>The upper division of the nave starts above the cornice -with horizontal bands of white and verde antique; above -which are vertical panels of porphyry, set in a frame of -yellow [alabaster], with slabs of the russet marble on either -side. [Then follows another horizontal band of oriental -alabaster, and above it a range of vertical slabs of verde -antique alternating with Synnadan.]</p> - -<p>Beyond this again, and immediately below the upper -cornice, is the band made up of different marbles<a id="FNanchor_279" href="#Footnote_279" class="fnanchor">[279]</a> [<i>opus -sectile</i>]. A dark brown marble forms the groundwork, the -tendril ornament is white, and the rest is of red, like rosso -antico, and of green serpentine. Similar work incrusts the -spandrils of the gynaeceum arcade. The centre of each is a -disc of green marble, and the whole spandril is edged by a three-inch -strip of pale red. Above the centre of each arch in -this spandril decoration are discs containing crosses, from the -arms of which hang seals.<a id="FNanchor_280" href="#Footnote_280" class="fnanchor">[280]</a> The soffites of the arches are -covered with glass mosaic. The aisles are lined with marbles -similarly arranged to those in the nave.</p> - -<p>The walls of the bema are covered with panels of inlaid -marble.<a id="FNanchor_281" href="#Footnote_281" class="fnanchor">[281]</a> These panels in pairs are separated by a plain slab -of porphyry. By the side of the arched opening into the -gynaeceum is a panel of porphyry with a pattern in slight -relief, and surrounded with yellow alabaster. The arched -opening into the gynaeceum is closed with a parapet of white -marble, with a carved framework above, formerly fitted, as -holes show, with a metal lattice.</p> - -<p>The lower division of the bema walls is decorated by two -rows of panels, divided by a horizontal band of verde antique. -Salzenberg’s Plate xxii., Fig. 6, shows the frieze directly<span class="pagenum" id="Page_172">[Pg 172]</span> -below the bema cornice, and the top of a porphyry pilaster-strip -with a capital of white marble; a similar pilaster fills -the narrow space on each side of the apse.</p> - -<p>The walls of the apse are shown on Salzenberg’s Plate xxi. -The frieze beneath the cornice is given in Plate xxii., Fig. 8. -The porphyry ground has an inlaid pattern which slightly -projects: the serpentine in the frieze, Fig. 6, also projects -from its rosso ground. The lower portion of the apse, -formerly occupied by the seats of the priests, is now plated -with a white gray marble. This is probably Turkish. The -height of this probably gives the height of the iconostasis, as -there is no sign of any change in the decoration above.</p> - -<p>The marble is fixed to the wall with a dark brown resin. -In the opus sectile, pieces of coloured marble about a quarter -of an inch thick were cut to the forms of the design, -and then laid with their polished faces downward at the -bottom of a mould; on this was poured a three-quarter -inch backing of resin mixed with bits of stone and brick. -When set, the slabs so formed were attached to the -wall with cement. The large marble slabs are one to two -inches thick, and, besides the cement, are fastened to the -walls by iron [? bronze] clamps. The pavements of ground -floor and gynaeceum are of white marble with dark gray -stripes. [Proconnesian.] In the south-east angle of the -square area under the dome is a square of marble mosaic, -of which details are given in Salzenberg’s Plate xxii., -Figs. 9-15. It is formed of a circular centrepiece of -a gray brown granite, ten feet two inches in diameter, -round which are arranged coloured marble discs of various -sizes, set in a mosaic of marbles, with a little glass mosaic in -the angles.</p> - -<p>In the centre of the west end of the gynaeceum is a square -[of about twenty-four feet] in the pavement laid with slabs -of “gray cipollino” [Proconnesian], having a border of verde -antique, with a patterned edging<a id="FNanchor_282" href="#Footnote_282" class="fnanchor">[282]</a> of giallo and rosso on one -side, and giallo and serpentine on the other. [Between this -and the parapet is a circular slab of verde antique four -feet seven inches in diameter.]</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_173">[Pg 173]</span></p> - -<h2 class="nobreak" id="CHAPTER_IX">CHAPTER IX</h2> -</div> - -<p class="cd">THE ANCIENT PRECINCTS AND EXTERNAL PARTS OF THE -CHURCH</p> - - -<p><i>Palace.</i>—Before entering on particulars of the exterior of -the church, it will be well to have a clearer view of the -edifices in its immediate neighbourhood as they appeared in -the time of Justinian.</p> - -<p>The group of buildings of which the Augusteum was the -centre was profoundly modified by the fire of the Nika -Sedition, and by the building energy of the emperor. The -researches of Labarte and Paspates have been almost entirely -confined to the elucidation of the palace as it existed in the -tenth century.</p> - -<p>A restoration of the relative position of the several parts -of the palace, unless by the discovery of remains positive -evidence is obtained, is certainly impossible; the attempt of -Labarte was worth making, but Paspates, in bringing forward -another scheme, seems only to have succeeded in showing -how conjectural the whole matter is, although he speaks of -certain scraps of walls as belonging to this or that part of -the palace with as much confidence as if he had found them -labelled. His work carries internal evidence of the greatest -inexactness and confusion, and has proved most misleading, -although his citations are valuable.</p> - -<p>It should not be assumed that wherever a palace is -mentioned by the historians the “Great Palace” is the one -referred to, and it must be remembered that the palace -described in the <i>Ceremonies</i> was the result of gradual growth:<span class="pagenum" id="Page_174">[Pg 174]</span> -indeed, what is required is a chronological analysis of its -history. We have seen in the first chapter that according -to the <i>Paschal Chronicle</i> Constantine built a palace by the -hippodrome, and the <i>Notitia</i> mentions the palaces of Placidia -and Marina in the same neighbourhood. According to Procopius -the palace was almost rebuilt by Justinian, but he only -specifically mentions the Chalké.</p> - -<p>Remains of a palace now on the sea-wall, exactly to the -south of the curve of the hippodrome, are thought to be -portions of the palace “Hormisdas” which Justinian -occupied before he came to the throne (B, on Plan, <a href="#f2">Fig. 2</a>). -Close to the sea-wall farther to the west was the double -church of SS. Sergius and Bacchus and SS. Peter and Paul, of -which the first survives as Little Sancta Sophia (A, on <a href="#f2">Fig. 2</a>). -These were early works of Justinian, and his monogram and -that of Theodora appear on the capitals of S. Sergius.</p> - -<p>Procopius tells us that the church of S. Sergius was “close -to the king’s palace which was formerly called by the name -of Hormisdas. This was once his own private house,” and -when he became emperor “he joined it to the other imperial -apartments.” The Great Palace was higher up the slope, -against the hippodrome and Augusteum, to which its gates -opened.</p> - -<p>It was long after Justinian that the great palace reached its -maximum development; the Chrysotriclinum was erected by -his successor Justin II. The houses of Marina and Placidia -were still in use at the end of the sixth century, although this -is mentioned by neither Labarte nor Paspates. The wedding -of the daughter of Phocas was celebrated in the former,<a id="FNanchor_283" href="#Footnote_283" class="fnanchor">[283]</a> and -“the Royal palace of Placidia” is referred to by John of -Ephesus. The writer tells us that Tiberius II., the successor -of Justin II., made large additions to the palace. Before he -reigned alone the wife and daughters of Tiberius occupied -the house of Hormisdas, “as it was situated just below the -palace, and he would go down and spend the evening with -them and return early in the morning to the palace.”<a id="FNanchor_284" href="#Footnote_284" class="fnanchor">[284]</a></p> - -<p>Justinian II. also added to the palace, and in the ninth<span class="pagenum" id="Page_175">[Pg 175]</span> -century Theophilus built the Triconcha. Basil the Macedonian -still further increased the assemblage of buildings.</p> - -<p>It is clear that in the time of Justinian there were at least -four more or less separate palaces grouped together—the -Great Palace, Hormisdas, and those of Marina and Placidia.</p> - -<p><i>Hippodrome.</i>—The information in regard to the hippodrome -brought together in the works before mentioned, and -by Gyllius, cannot be recapitulated here.<a id="FNanchor_285" href="#Footnote_285" class="fnanchor">[285]</a> As the ground fell -away steeply towards the south, that end had to be raised -high on vaults, and this retaining wall, perhaps forty feet -high, forming a semicircular curve, still exists.<a id="FNanchor_286" href="#Footnote_286" class="fnanchor">[286]</a> On either -side rose the tiers of the marble seats. At the north end -was the royal stand, called Kathisma, from which the -emperors watched the games; this was raised above arched -chambers, where the chariots for the arena were kept. The -south-west end was called <i>Sphendone</i>—The Curve. A -rough draft of Constantinople, made early in the fifteenth -century for Bondelmontius, reproduced by Mordtmann, shows -columns standing on the retaining wall around this curved -end. A clear representation of this semicircle of columns is -also given in the <i>Nuremberg Chronicle</i>. Banduri reproduces -from Panvinius, who wrote in the middle of the sixteenth -century, a drawing of the hippodrome which seems -to have been made with considerable care. Beneath it is -written, “The ruins of the circus or hippodrome of -Constantinople as they were a hundred years before the -capture of the city by the Turks.”<a id="FNanchor_287" href="#Footnote_287" class="fnanchor">[287]</a> But that it should -have been in a ruinous state at this time is not borne out by -the accounts of writers like Clavijo and Bondelmontius, who -described it in the generation before the Fall: on the contrary, -we should suppose this to be one of the draughts for the -Venice view of the city published about 1570, with which -it agrees in many respects.<a id="FNanchor_288" href="#Footnote_288" class="fnanchor">[288]</a> This bird’s-eye view shows -the monuments on the Spina, the Grand Stand and its<span class="pagenum" id="Page_176">[Pg 176]</span> -“Podium” of vaults, and also the high external retaining -wall of the curve, above which the columns again appear, but -set back from its face, so as to leave a passage outside the -columns, the outer wall being finished with a battlement. It -is true that in the engraving it is rendered as if these columns -were attached to a wall, or rather as if a wall were built -between the columns, for they appear both inside and out; -but this interpretation cannot be given to a description of -this colonnade by Gyllius.<a id="FNanchor_289" href="#Footnote_289" class="fnanchor">[289]</a> “In the front of the hippodrome -facing the Propontis there was a range of seventeen pillars of -white marble standing when I first came to Constantinople, -going round that part of the hippodrome which lies between -south and west.” They stood on a low wall, about two feet -six inches high towards the hippodrome, but outside it was fifty -feet to the ground. They were of the Corinthian order, three -feet five inches in diameter and twenty-eight feet high, standing -eleven feet apart on pedestals; above them was an architrave -to which rings were fixed for curtains. “Above was another -range of pillars, which were remaining some time after the -taking of the city by the Turks.” These last were only -reported to Gyllius; and if we accept such a second tier we -may suppose that it ranged with a colonnade surmounting the -containing wall of the terraces of seats. Paspates makes -from this account a wonderful and impossible arrangement; -he supposes the first-mentioned columns to have been continued -along the external sides of the hippodrome, he further -rears the second range on them, and this he thinks upheld the -immense mass of the rising seats. “If we suppose,” he says, -“the height of those in the upper row to have been twenty-one -feet, we have about fifty-six feet as the height of the wall -on which the seats for the spectators were built.”</p> - -<p>These columns probably formed an open screen through -which the spectators might see the sparkling waters of the -Propontis, set with the blue jewels of Prince’s Islands and -the white peaks of Olympus rising far away to the left—one of -the most beautiful scenes in the world. This addition of a -natural spectacle behind the scene was frequently obtained -in ancient theatres: the best known is that at Taormina.<span class="pagenum" id="Page_177">[Pg 177]</span> -Clavijo<a id="FNanchor_290" href="#Footnote_290" class="fnanchor">[290]</a> speaks of the hippodrome as being “surrounded by -white marble pillars,” but he adds “thirty-seven in number.” -The anonymous Russian who wrote about the same time -says “thirty columns and their summits are united by an -architrave.” See <a href="#f2">Fig. 2</a>. An “open hippodrome” and -a “covered hippodrome” are mentioned by the Byzantine -writers. Labarte distinguishing them, placed the -latter within the palace. Byeljayev, however, conjectures -that the covered hippodrome was a part of the Great -Hippodrome. Be this as it may, the “rings for curtains” -of Gyllius suggest that portions were sheltered by a -Velarium.</p> - -<p>Bondelmontius<a id="FNanchor_291" href="#Footnote_291" class="fnanchor">[291]</a> writes thus of the hippodrome: “In -it those cf noble birth joust in the presence of the people, -and there are combats and tournaments. It is 690 bracchia -long and 134 wide, and it is built above vaults, in which a -cistern of the best water covers the whole of the space -mentioned. At the head of the hippodrome are high pillars -[of Kathisma] where the emperor sits with his nobles, and on -both sides in its length are seats of marble arranged in steps -where the people sit and see all the games.” On the outside -towards S. Sophia there was the church of S. Stephen, “from -the galleries of which the ladies watched their chosen -champions.” On the Spina he notices a fountain where the -wounded were laid, the two obelisks, and the three serpents -“with open mouths from which, it is said, on days of jousting -water, wine, and milk used to spout.” At the end of the -Spina were four small marble columns where the emperor sat -on feast days.<a id="FNanchor_292" href="#Footnote_292" class="fnanchor">[292]</a></p> - -<p>Besides the bronze serpentine column from Delphi, there -still stands in the hippodrome an Egyptian obelisk, set up by -Theodosius I. on a pedestal sculptured with a representation -of the emperor viewing the games from the Kathisma, and a -record of the methods used in erecting the obelisk by means -of ropes and winches. Nicetas in his life of S. Ignatius<span class="pagenum" id="Page_178">[Pg 178]</span> -says that a brazen pine-apple surmounted this obelisk. A -third monument is a large built-up obelisk of stone, pitted -all over where pins which attached bronze plates were inserted. -An inscription often quoted, records that Constantine, -father of Romanus, repaired it and added to its -beauty. The casing of bronze was probably covered with -reliefs and ornament, as was the case with the pillar in the -Augusteum, and the anemodulium, which was set up by -Theodosius in the Forum Tauri. This last was an obelisk -entirely cased with bronze, “having reliefs<a id="FNanchor_293" href="#Footnote_293" class="fnanchor">[293]</a> of cattle, sheep -and skipping lambs; peasants labouring or playing on their -pipes, and birds; there was also represented the sea, and -sea-gods, and cupids playing at ball. On the point was a -statue of a woman which turned to the slightest breath of -the wind.”</p> - -<p>Among the statues in the hippodrome mentioned by Nicetas -as having been destroyed was the colossal bronze Hercules, -and a sundial which was in the form of an eagle with wide -expanded wings trampling on a serpent. The twelve hours -were marked out beneath its wings, six on either side, and -the sun shining through a hole in each wing marked the hour -or the day. Near the eastern goal was a row of statues of -charioteers, driving their chariots and turning the goal. -Besides these there were many other statues of persons and -animals; an elephant with a proboscis that moved is mentioned, -but it is not clear however that this last was in the -hippodrome.</p> - -<p>Sigurd, King of Norway, saw the games given here in -1111; there was a spectacle in which people appeared as if -riding in the air, some sort of fireworks, also music with -playing of organs, harps, and other instruments.<a id="FNanchor_294" href="#Footnote_294" class="fnanchor">[294]</a> Benjamin -of Tudela (1161) says, “lions, bears, and leopards were shown, -and all nations of the world were represented, together with -surprising feats of jugglery.” The hippodrome was used -for spectacles after the change of masters. An Italian MS. -of 1582 in the British Museum describes the ambassadors -and princes sitting on staging, with a large stand for the<span class="pagenum" id="Page_179">[Pg 179]</span> -band in the “piazza” of the hippodrome; the Sultan and -his son sat on an inclosed and covered throne.<a id="FNanchor_295" href="#Footnote_295" class="fnanchor">[295]</a></p> - -<p><i>Augusteum.</i>—“In front of the palace,” says Procopius, -“there is a forum surrounded with columns. The Byzantines -call this forum the Augusteum. On the eastern side stands -the Senate-house.” Other writers speak of it as the Agora of -the Milion, or simply as the Milion, from the building which -adjoined it. Zonaras seems to call it the Proaulion of the -Great Church. Round its sides were peristyles, and the -buildings mentioned in the first chapter, most of which were -rebuilt by Justinian. It was laid with a marble floor of -long slabs, a portion of which was discovered many feet below -the present level, together with the inscribed base of the -silver statue of Eudoxia, when Fossati built the new -government offices in 1848.</p> - -<p>“Outside the palace the public baths of Zeuxippus and -the great porticoes and all the buildings on either hand as far -as the Forum of Constantine are the work of the emperor -Justinian.”<a id="FNanchor_296" href="#Footnote_296" class="fnanchor">[296]</a> Large pillars have frequently been found which -appear to have formed part of colonnades in the Augusteum. -Gyllius saw seven large Corinthian columns, forty-six feet -high over all and “twenty foot ten digits apart.” On the -shaft of one was cut the name of Constantine, with the -signal of the cross he saw in the heavens, and the inscription -<span class="inscribe">ΕΝ ΤΟΥΤΩ ΝΙΚΑ</span>. These, he seems to suggest, may have -belonged to the Milion. On this is built up a characteristic -piece of restoration by Paspates, who sees in the seven -columns, standing over twenty feet apart, and obviously in a -straight line, “a square building resting on seven columns,” -to which he adds an upper range of pillars supporting a -domed chamber. Bondelmontius, who is also cited for these -columns, says there were six, and <i>all in a row</i>. They were -almost certainly a part of the nine columns seen by Clavijo<a id="FNanchor_297" href="#Footnote_297" class="fnanchor">[297]</a> -before the Fall, when he was told that “a great palace used to -stand on the top of them, where the patriarch and his clergy -held their meetings.”</p> - -<p><span class="pagenum" id="Page_180">[Pg 180]</span></p> - -<p>This great square, surrounded by colonnades, contained -so many statues and other works of art that Labarte well -calls it an open air museum. To the north, opposite the south-west -corner of the church, was the colossal bronze equestrian -statue of Justinian surmounting a pillar, which, according to -Procopius, stood on seven stages of steps and was covered -with bronze reliefs. The king looked to the east, and -carried the orb of the earth surmounted by a cross in his -hand. The pillar had originally been erected by Arcadius to -support a silver statue of Theodosius his father. The -statue of Justinian, which replaced that of Theodosius, was -destroyed by lightning in 1492.<a id="FNanchor_298" href="#Footnote_298" class="fnanchor">[298]</a> The fragments were seen -by Gyllius, and, from measurements which he gives, it seems -to have been from twice to three times natural size. -Bondelmontius says the pillar was seventy cubits high. A -very good drawing of the statue, now amongst the MSS. -of the Serai library, made about the year 1340, is reproduced -by Mordtmann. This pillar and its statue is often called -the Augusteum, and it probably gave its name to the place -in which it stood.</p> - -<p><i>The Milion.</i>—It is probable that the city milestone existed -before Constantine, who may have built the structure over -it. According to Du Cange<a id="FNanchor_299" href="#Footnote_299" class="fnanchor">[299]</a> the Augusteum, with which -it was so closely associated, was often called by its name; so -that Codinus tells us that the church of S. Phocas was built -“in the Milion.” It appears to have formed the western -boundary and gate of this forum, or at least of its inner -part, if divided, and to have been connected with a colonnade -running north and south as well as with the <i>Mese</i>. It is -spoken of as a colonnade (<i>embolos</i>), as vaulted (<i>kamara</i> and -<i>phournikon</i>), or as having many arches (<i>apsides</i>). Cedrenus -and other writers speak of statues in the apsis or kamara of the -Milion. It can hardly be doubted that it had four large arches -facing different ways. A structure of this kind remains at -Lattaquieh, which is about ten metres square and was surmounted -by a dome. De Vogüé<a id="FNanchor_300" href="#Footnote_300" class="fnanchor">[300]</a> compares it with ruins<span class="pagenum" id="Page_181">[Pg 181]</span> -of a similar erection found at Palmyra, the Mesomphalion of -Nicaea, and the Umbilicus of Antioch described by Dion -Chrysostom, and others. This last stood at the centre of the -two great colonnaded streets that ran east to west and north -to south through the city.</p> - -<p>The principal reference to the Milion is the description -by Nicetas<a id="FNanchor_301" href="#Footnote_301" class="fnanchor">[301]</a> of the struggle with the insurgent troops in the -reign of Alexius Manuel. “As many buildings as adjoined -the Great Church and commanded the Augusteum were seized -by the rebels, who scaled the large <i>apsis</i> which stands over -the Milion, and also fortified the church of S. Alexius, which -is joined to the Augusteum. But the imperial troops made -a sally from the great palace and established themselves in -the church of S. John called Diippus; and the agora was -full of men who were injured by those on the <i>apsis</i> of the -Milion, and on the church of S. Alexius. But fresh troops -from the palace filled all the thoroughfares and passages -leading to S. Sophia. The rebels, coming out of the -temple and passing by the Augusteum, became engaged with -the others in the narrow ways, and the conflict remained -uncertain, until the imperial troops drove back from the -streets those who had come out of S. Sophia and shut them -within the Augusteum. The imperial troops broke open the -gates of the Augusteum, and the rebels were forced from the -top of the Milion by the troops mounting the <i>apsides</i>, while -the rest of them, being worsted in the Augusteum, gave way; -but a shower of missiles was kept up from the part called -Macron, overlooking the Augusteum, and the neighbouring -chamber of Thomais. They took refuge in the pronaos of -the church, where is the Archangel Michael in mosaic -standing with drawn sword as if on guard. The imperial -troops, because of the narrowness, were unable to follow -them with advantage, nor did the insurgents dare to trust -themselves out again. The patriarch descended into the -<i>proskenion</i> or <i>protekdikeion</i> of the church, and then harangued -them to prevent further sacrilege.”</p> - -<p>In the <i>Ceremonies</i> we twice read of the emperor -passing through the nave of S. Sophia and its Royal Gate,<span class="pagenum" id="Page_182">[Pg 182]</span> -then across the narthex, and, by the <i>louter</i> (fountain), -reaching the steps of the <i>athyr</i> (atrium). “Then he passes -through the Milion, and along the Mese and reaches the -Forum, where is the Chapel of S. Constantine.” Labarte, -wrongly explaining this as the Forum Augusteum, instead -of that of Constantine, makes the <i>louter</i> the baptistery, -and the <i>athyr</i> its porch. Other processions from the -Palace to the Church through the Milion have been given -by Labarte.</p> - -<p>The colonnades adjoining the Milion are mentioned in the -account of a fire which attacked a part of the Great Church -in the reign of Isaac Angelus. “The parts by the apsis of -the Milion, and the Macron, and the place called the Synods -were burnt. The porticoes of Domninus were reduced to -ashes, as well as the two covered ways starting on both sides -of the Milion one of which reaches to the Philadelphion.”<a id="FNanchor_302" href="#Footnote_302" class="fnanchor">[302]</a> -The Philadelphion was towards Constantine’s forum, and the -other way probably led from the Milion north and south to -the church and the palace gate.</p> - -<p>We learn from Agatho the Deacon<a id="FNanchor_303" href="#Footnote_303" class="fnanchor">[303]</a> that in the porticoes -(<i>stoai</i>) of the Milion were represented the seven Œcumenical -Synods of Constantinople; this is probably what is meant -by Nicetas, where he speaks of “The Synods” as quoted -above (see, however, Mordtmann, p. 68). The seven synods -is one of the iconographic schemes given by the <i>Byzantine -Manual</i>, and they are represented in the mosaics at the -Nativity Church at Bethlehem.</p> - -<p><i>Horologium.</i>—In close connection both with the Milion -and the church was the court of “the time-measure”—a -sundial or water-clock. At the triumphal entry of Basil -“they passed along the Mese up to the Milion, and entered -through the embolos of the Milion into the Horologium, -and, having put off their crowns in the metatorium within -the Beautiful Gate, they entered the narthex.”<a id="FNanchor_304" href="#Footnote_304" class="fnanchor">[304]</a> The -Horologium is constantly spoken of as being near the -baptistery, and was certainly on the south side of the -church.</p> - -<p><span class="pagenum" id="Page_183">[Pg 183]</span></p> - -<p><i>Baptistery.</i>—In our first chapter we have given reasons -for supposing that the round building at the north-east -formed part of the earlier church and became the baptistery -of Justinian’s building. Buzantios considered that the -former was the baptistery “perhaps also used as a sacristy.” -A knowledge of an earlier baptistery would seem to be -implied in the way the south-west building is spoken of by -Porphyrogenitus and later writers as the “Great Baptistery -by the Horologium.”</p> - -<p>According to Codinus and the Anonymous the Great -Baptistery was built before the church, and Salzenberg -thought the style was earlier than that of the church. Is -it possible that this was built as an independent church -and only ultimately became the baptistery? It appears -from the account of the Russian pilgrim Anthony that in -the twelfth century its dome was painted with the baptism -of Christ in Jordan, a scheme which agrees with the two -baptisteries at Ravenna.</p> - -<p><i>St. Peter’s Chapel, &c.</i>—To the east there were some -detached buildings, at least in later times. The Anonymous -we have seen mentions a chapel of St. Peter as near the -skeuophylakium. Anthony speaks of this chapel, in which -St. Peter’s chains and the carpet of St. Nicholas were preserved, -as behind the altar. The anonymous Russian says a -chapel of St. Nicholas was behind the bema, and also speaks -of a marble basin covered with a lead roof, “where they -baptise the emperors” as being behind the altar, in a space -set round with cypresses. Anna Comnena also mentions -“the chapel of the Hierarch Nicholas” as part of the -Great Church and a place of sanctuary.<a id="FNanchor_305" href="#Footnote_305" class="fnanchor">[305]</a> The passage of -St. Nicholas is also referred to. It is possible that this -chapel was otherwise known as St. Peter’s, and either this or -“the place where they baptise the emperors” may be the -present round building—the ancient baptistery as we suppose. -That St. Peter’s chapel was of some importance and detached -seems clear from the <i>Menologium</i>. On January 16 was -celebrated the adoration of St. Peter’s chains. It is explained -that after Peter’s release, “the chains were found by some<span class="pagenum" id="Page_184">[Pg 184]</span> -believers and guarded from generation to generation until -they were brought to Constantinople by a pious emperor -and placed in the church (ναὸς) of St. Peter which is near -St. Sophia.” We have given a picture of the chains in -<a href="#f8">Figure 8</a>. A tradition of some of these buildings may be -preserved in an Italian MS. of 1611 in the British Museum. -“The ancient buildings round the church have been ruined -by the Turks except a small part of the close (<i>canonica</i>), -where they have made dwellings; there is also the sacristy -and the place of the baptistery, which had originally three -vaulted ceilings, one above another. It was of wonderful -architecture and made with six angles. From the sacristy to -the base of the dome is an arquebus shot; between it and -the Seraglio lies a road.”</p> - -<p><i>Boundaries.</i>—Probably the fullest and clearest account of -the approach to the church through the Augusteum is given -by the Spanish ambassador Clavijo, who was at Constantinople -in 1405, at a time when many of the buildings in the -precincts had been destroyed. In a court in the front of the -church, he saw “nine very large columns of white marble,” -and he was told that before his time a palace had been here, -where the patriarch met the canons in chapter. “And in -the same place before the church stands a stone pillar of -marvellous height, on the top of which is a horse of copper -as large as four horses put together; on the horse was an -armed knight with a great plume on his head like a peacock’s -tail. The horse has chains of iron round its body -secured to the column to prevent it from falling, or being -moved by the wind. The horse is very well made, and one -fore and one hind leg is raised, as if it were in the act of -prancing. The knight, on its back, has his right arm raised, -with the hand open, while the reins are held with the left -hand. This marvellous horse is said to have been placed -here by the Emperor Justinian, who erected the column. -At the entrance to the church under an arch in front of a -gate, is a place adorned with four columns, and below is a -little chapel very rich and beautiful. And beyond this chapel -is the gate to the church covered with bronze very great and -high; beyond again is a little court surrounded by high<span class="pagenum" id="Page_185">[Pg 185]</span> -galleries [horologium?]. Afterwards there was another -gate of bronze [the south porch]. Beyond this gate -there is a ‘nave’ vast and high, with a ceiling of wood -[the exonarthex]. And on the left hand there is a -cloister very large, and beautiful [the atrium], with many -stones of jasper of infinite variety of colour. On the right -hand under the said nave-covered as I have said—and -after the second gate, you arrive at the body of the church, -which has five doors, high and large, covered with bronze, of -which that in the middle is the greatest.”<a id="FNanchor_306" href="#Footnote_306" class="fnanchor">[306]</a></p> - -<p>The present south porch we should suppose is the pronaos -mentioned by Nicetas as that where the Archangel Michael -stood on guard. The exonarthex is now vaulted, but not -covered with mosaic; it is bare and rough, and it seems possible -that at one time there may have been a ceiling of wood.</p> - -<p>Stephen of Novgorod (1350) says that the first gate -of the church was by the column of Justinian; then there -was a second, a third, fourth, fifth and sixth and by the -seventh you entered the great church. This may be -exaggeration, but Gyllius speaks of the south entrance -formerly being by six <i>valvae</i> of brass, “now there are only -three, ingeniously worked,” so that there would appear to -have been at least one more double door in his time than -the two now existing. If we consult the careful drawings -made by Grelot, which take us half way back to the conquest, -we shall see that the boundaries of the cypress garden -on the south side agree entirely with the present walls. -The first of the turbehs was built here about a hundred -years after the conquest, and we may almost safely assume -that it was backed against the outer wall, as at present. -Now when we find Clavijo, some fifty years before the -conquest, in approaching the church from this side, speak -of an outer gateway and a court before the church was -reached, we shall almost certainly be justified in placing -this outer gate on the present boundary. The fountain -in the south court we suppose occupies the site of an -ancient fountain. A comparison of Grelot’s plan (1680) -with Fossati’s (1850), will make clear the south boundaries<span class="pagenum" id="Page_186">[Pg 186]</span> -of the church, as they existed at the time of the conquest. -The octagonal building attached to the south side of the -church shown in Fossati’s plan must be Turkish, probably -the library of the sultan mentioned by Pococke.</p> - -<p>The palace of the patriarch, with the library of the -Thomaites, we would place on the ground between the -south boundary and the church, the gardens which belonged -to it occupying the ground of one of the courts. It had -evidently been destroyed by the time of Clavijo’s visit, -and for what is known as to the buildings we must refer -to Paspates.</p> - -<p>The courts to the north of the church were probably -occupied by the cells of the clergy and the college called -Didaskalion (see our page <a href="#Page_49">49</a>); Bondelmontius speaks of -“the way of a thousand columns in pairs” (the Mese) -through which the emperor walked to S. Sophia “where the -houses of the 800 clergy were round the church.”<a id="FNanchor_307" href="#Footnote_307" class="fnanchor">[307]</a></p> - -<p><i>The Atrium.</i>—The street lying at an angle to the west -wall of the entrance courtyard, rising steeply towards the -hippodrome, is probably ancient.</p> - -<p>Some considerable remains of the atrium colonnade were in -existence in the present century, but they were finally destroyed -in 1873.<a id="FNanchor_308" href="#Footnote_308" class="fnanchor">[308]</a> The present boundary of the western court -appears to occupy the position of the exterior west wall of the -atrium. Outside it there is a level roadway, beyond which -the ground falls rapidly to the street. As the church stands -across a hill the ground had to be made up to a level, and -this, together with the position of the street, would account -for the court not having been square as was usually the -case. As excavations have shown that the pavement of the -Hippodrome and the Augusteum were eight or ten feet -below the present level,<a id="FNanchor_309" href="#Footnote_309" class="fnanchor">[309]</a> steps would have been required -to attain the level of the church at the west. The -<i>Ceremonies</i> show that the royal processions entered and -left the church on the south side through the Augusteum, -which served as a great forecourt to the church on -<span class="pagenum" id="Page_188">[Pg 188]</span> -this side. Without doubt this was the principal entrance. -Clavijo and other visitors all appear to have entered the -church from the south. When Grelot’s western view was -made (before 1680) no west doors to the atrium existed, but -it was entered from the north and south only. In our plan -we have therefore shown only one door in the west wall -of the atrium, possibly there was none (<a href="#f3">Fig. 3</a>).</p> - -<div class="figcenter" id="f25"> - <img src="images/p187.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 25.</span>—Original state of West Front as built by Justinian.</p></div> -</div> - -<p>Outside the present south-west entrance of the court there -remained until 1869 a stone inscribed</p> - -<p class="inscribe"> -✚ϹΑϹΘϹΕΝΘΑΔΕΚΑΤΟΙΚΙΜΗΔΕΙ.... -</p> - -<p class="continue">Its form suggests that it was a step, or it may have been a -lintel from one of the doors into the atrium or the rim -from a fountain.<a id="FNanchor_310" href="#Footnote_310" class="fnanchor">[310]</a> The words “The Holy God dwelleth -here let no....” may be compared with the inscriptions -for fountains and gates given on pages 84 and 264.</p> - -<p>This atrium court of S. Sophia was called by the -Byzantine authors <i>aule</i>, <i>mesaulion</i>, <i>aithria</i>, and by some late -writer, <i>garçonastasion</i>, which Du Cange explains as “the place -where pages wait.” The cloistered walk originally surrounded -it and formed a quadriporticus; although the eastern -walk, the present exonarthex, is inclosed and entirely different -from the other colonnaded walks, the atrium is often referred -to as “Four-porticoed” (<i>Tetrastoon</i>). It cannot therefore -be doubted that the exonarthex with its great piers replaced -the original eastern walk, for the sake of greater abutment -to the church. This is equally clear from the building -itself and the description of the poet. (See Figs. <a href="#f3">3</a>, <a href="#f24">24</a>, <a href="#f25">25</a>, -<a href="#f29">29</a>). The “Propylaeum” often spoken of must either -be this exonarthex, or the gateways in the atrium.</p> - -<p>The cloister walks were vaulted, and the walls covered -with marble. One of the capitals remained in the courtyard -as lately as 1873, when it was drawn by Canon Curtis; -it resembled those in the gallery inside, with deep sculptured -dosseret and small volutes below. More than one writer -remarks on the great beauty of the marble shafts. They -were set in close order, and we may see from Salzenberg -that, when we add for their bases, they were some twenty-two<span class="pagenum" id="Page_189">[Pg 189]</span> -feet high, and must have made a fine portico to the -west front. In 1852 two of the pillars were represented on -the plan of Fossati as still <i>in situ</i>: now every evidence of -the atrium has entirely disappeared.</p> - -<p><i>Phiale.</i>—In the middle of the court was placed a fountain, -where, according to the Silentiary, was a “bubbling stream -leaping into the air from a bronze pipe.” The name given -to such a fountain by Greek writers was phiale or colymbethra, -and, by the Latins, cantharus or nymphaeum. At -S. Sophia it was also called “The Laver of the Atrium” -(λουτὴρ μεσαυλίου).<a id="FNanchor_311" href="#Footnote_311" class="fnanchor">[311]</a> The louter or loutron, with its -colymbethra, formed a sanctuary for the pursued: we read -in Procopius of their “fleeing to the church of S. Sophia, -and coming to the holy loutron, and laying hold of the -colymbethra which was there.”<a id="FNanchor_312" href="#Footnote_312" class="fnanchor">[312]</a></p> - -<p>According to the Anonymous author, on whom we place -no reliance, the phiale had twelve arcades or columns, and -lions spouted out the water. Canopied phialae it is true -still exist at St. Demetrius at Salonica, and in the monasteries -of Mount Athos. The canopy of the phiale at old -St. Peter’s was of bronze; under it the great pine cone, -which still remains, threw out water in innumerable little -threads. On the canopy were probably placed the beautiful -bronze peacocks, which also still exist.<a id="FNanchor_313" href="#Footnote_313" class="fnanchor">[313]</a> A very beautiful -fountain of this kind, at Constantinople, was placed before -the church built by Basil in the palace. The basin was -marble, from which rose a pine cone pierced with holes. -Above on the cornice were placed cocks, stags, and rams, of -cast bronze, from which the water flowed.<a id="FNanchor_314" href="#Footnote_314" class="fnanchor">[314]</a></p> - -<p>In the Court of the Lions at the Alhambra, the basin of -the fountain rests on lions, and the water runs away from the -fountain in four open streams to the four sides of the cloister.<span class="pagenum" id="Page_190">[Pg 190]</span> -This work was certainly executed under Byzantine influence, -and it is curious to find more than one small garden fountain -at Constantinople in which the water issues from the mouth -of lions. On the other hand it seems probable that the -Anonymous imitated the description of the temple of -Solomon and the laver, which stood on twelve oxen. -The other washing place he describes (see page <a href="#Page_141">141</a>) with -the different kinds of animals represented, seems to be -founded on the description of that of Basil’s church.</p> - -<p>Porphyrogenitus speaks of the “cup of the phiale”; -and it seems most probable, considering the simple description -of the Silentiary, that, as in so many ancient churches, it -was at first merely a bowl, standing on a pillar rising -from a polygonal basin. In the time of Michael Palaeologus, -there was such a basin on the sides of which “was -engraved on the marble the honoured form of the cross.”<a id="FNanchor_315" href="#Footnote_315" class="fnanchor">[315]</a> -A bowl figured by Gruterus<a id="FNanchor_316" href="#Footnote_316" class="fnanchor">[316]</a> in 1602 as “newly found at -Constantinople,” has been spoken of by Du Cange and -others as having belonged to S. Sophia, although the evidence -of this is not very positive.<a id="FNanchor_317" href="#Footnote_317" class="fnanchor">[317]</a> This was a circular -bowl very similar to the well-known representation of a -cantharus of Justinian’s time in the Ravenna mosaic. The -inscription around the rim read equally well in both directions.<a id="FNanchor_318" href="#Footnote_318" class="fnanchor">[318]</a> -This circle being horizontal, we cannot but think, as -it would necessarily be read from outside, that Gruterus was -mistaken in putting the bottom of the letters toward the -centre; we have therefore reversed this in our figure. The -words “Wash thy sins, not thy face only,” almost certainly -refer it to a phiale. Eusebius, for instance, speaking of one -of these fountains, says, “it is not meet for an unclean foot -to step on the sacred place within the temple,” and Paulinus -tells us that at Nola those who entered the church washed<span class="pagenum" id="Page_191">[Pg 191]</span> -their hands in a -similar place.<a id="FNanchor_319" href="#Footnote_319" class="fnanchor">[319]</a> Probably, -so accurate a -writer as Du Cange -had good reasons for -referring the bowl in -question to S. Sophia. -Dr. Covel of Cambridge, -who was at -Constantinople from -1670 to 1677, and -has left a valuable -MS. now in the British -Museum, which -we shall have further -occasion to quote, -also gives the inscription, -which he says came from the fountain of S. Sophia, but -again, it is possible he derived this from Du Cange, or -from Grelot, whom he appears to have met, for some of the -Frenchman’s drawings are included in the MS.</p> - -<div class="figcenter" id="f26"> - <img src="images/p191.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 26.</span>—Inscription on Phiale from Gruter.</p></div> -</div> - -<p>In this collection are drawings of two beautiful phiale -cups, which existed at Ephesus when visited by Dr. Covel. -From the simple elegance of their forms we suppose that these -bowls cannot be later than the sixth century.<a id="FNanchor_320" href="#Footnote_320" class="fnanchor">[320]</a> See <a href="#f27">Fig. 27</a>.</p> - -<p><i>Pavement of the Court.</i>—When the Anonymous tells us -that the four boundaries of the church were called after the -rivers that flowed from Paradise, it is quite evident from the -context that he is speaking of the atrium; and it seems -probable that immediately before, where he speaks of “ever -flowing waters of great rivers,” he is describing the pavement -of the court as figuring four streams. This certainly -would furnish a reason for the walks taking their names from -the four rivers of marble which flowed towards them, like<span class="pagenum" id="Page_192">[Pg 192]</span> -the four real streams flow -in the court of the Alhambra. -There is much to -countenance this theory. -For instance, the atrium of -old St. Peter’s was called -Paradise: Simeon of Thessalonica -tells us the part -outside the doors of a church -represented the creation, as -the bema symbolised heaven; -and the idea might easily be -referred to the words used -in the service for blessing -the waters of the phiale.</p> - -<div class="figcenter" id="f27"> - <img src="images/p192.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 27.</span>—Phiale Bowls from Ephesus.</p></div> -</div> - -<p>This custom of blessing -the waters on the eve of -Epiphany, to which Paulus -the Silentiary alludes (see -page <a href="#Page_44">44</a>), was practised as -early as the end of the fourth century.<a id="FNanchor_321" href="#Footnote_321" class="fnanchor">[321]</a> Goar gives the -ritual.<a id="FNanchor_322" href="#Footnote_322" class="fnanchor">[322]</a> After the evening service the priest with the -censer and candlestick proceeds to the “<i>luter</i> of the -<i>mesaulion</i>,” chanting “the voice of the Lord is upon the -waters.” Part of the ceremony of blessing included a prayer, -“We beseech thee, O Almighty Father ... who fixed -Paradise in Eden and bade its quadruple spring flow far and -wide ... who blessed the waters for Jacob, and hast -bidden us, through thy prophet Isaiah, to draw water in -gladness from the fountains of the Saviour.” The account -of the Anonymous may be a duplication of his description -of the interior, but outside Charlemagne’s church at Aix -there is a pine cone which formerly belonged to a phiale; -the water rained from it through little holes, and about the -foot are verses referring to the rivers of Paradise and -Baptism.</p> - -<p><i>West Front.</i>—On the east side of the atrium court,<span class="pagenum" id="Page_193">[Pg 193]</span> -against the west wall of the exonarthex, rise four great piers -from which spring flying arches to the west wall of the church. -Salzenberg thought that the upper arches were Turkish, and that -the piers were originally intended to support equestrian statues, -which he therefore shows in his drawings. Other writers, -amongst whom is Fossati, say that the bronze horses now -on the gallery outside the west front of S. Mark’s at Venice, -taken from Constantinople in 1204, came from this position; -but there is not the least authority for this statement, and the -horses at Venice are not half the size of those that would be -required to justify the suggestion. Bondelmontius in 1422 -describing the columns of the city, speaks first of that of -Justinian, “secondly of that of the Cross, where are seen -four upright porphyry columns; and on them were placed -four bronze horses which the Venetians took to S. Mark’s at -Venice, but the columns remain.” Brocquière, writing ten -years later, says that “westward [in the city] is a very high -square column with characters traced on it, and bearing on -the summit an equestrian statue of Constantine in bronze. -He holds a sceptre in his left hand, with his right extended -towards Turkey in Asia and the road to Jerusalem as if to -denote that the whole of that country was under his government. -Near this column are three [<i>sic</i>] others placed in a -line, and of single pieces which bore the three gilt horses -now in Venice.” Brocquière has here certainly confused the -column of Justinian, and that of Constantine, but we may -safely accept Bondelmontius. The porphyry column of -Constantine, situated in the Forum Constantine, at this time -bore a cross with the inscription “Holy, Holy, Holy.” -Many modern writers place the four horses in the hippodrome, -as Nicetas speaks of “the arched starting-places for -the racers, above which are fixed powerful horses of gilt -bronze, curving their necks and facing one another as if -eager for the course” (Ed. Bonn, p. 150).</p> - -<p>Between the four great piers of the west front there are -now three doorways. If, however, we refer to the plates of -Salzenberg, we shall find that only the two lateral ones are -there shown, and that the position of the central door is -occupied by a window; this arrangement was seen by Texier<span class="pagenum" id="Page_194">[Pg 194]</span> -in 1834, and is shown in a MS. drawing of his, now in the -library of the Royal Institute of Architects. Referring -to the views and plan which Grelot published in 1680, we -see the central bay occupied by a belfry, with a pyramidal -top rising above the roof of the exonarthex. Now in -Goar’s <i>Euchologium</i><a id="FNanchor_323" href="#Footnote_323" class="fnanchor">[323]</a> there is a note to this effect, “The -Greeks first took up the use of bells from the time when -Urso Patricio, Doge of Venice, in the year 865, sent -them to Michael the emperor, who greatly valued them, -and built a tower for them against S. Sophia.” We have -already seen that large repairs were made to the west front -of the church about this -time (page <a href="#Page_123">123</a>), with a -view of counteracting the -thrust of the vaults. Before -the belfry was built -the Semantron would have -been used; this was a -plate of bronze or wood -suspended in the atrium -and struck like a gong -(see <a href="#f28">Fig. 28</a>). It appears -from the Russian pilgrims -that the bells remained in -use for only a short time. A sixteenth century French -MS. in the British Museum speaks of the old square tower -and bells. Grelot<a id="FNanchor_324" href="#Footnote_324" class="fnanchor">[324]</a> says “this tower, formerly the belfry, is -now void, the Turks having exchanged the music of bells -for the noise of cannon.” It was not fifty <i>toises</i> high, and -could not have held many bells, or large ones.<a id="FNanchor_325" href="#Footnote_325" class="fnanchor">[325]</a></p> - -<div class="figcenter" id="f28"> - <img src="images/p194.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 28.</span>—Semantron at Constantinople, -from Lenoir.</p></div> -</div> - -<p>The upper story of the narthex, Grelot tells us was supported -by six flying buttresses, and both his exterior views -show three complete piers and flying arches on each side of -the tower. The bay next the belfry on the right was occupied -by a low building with a pent roof, in which were descending -<span class="pagenum" id="Page_196">[Pg 196]</span> -steps, at the bottom of which they drew off water from “the -great cisterns under the church, from which it was said a boat -might reach the sea.” As to the doors there were three -towards the west, used when Grelot made his plan, two being -those at the extreme north and south, opposite the lateral -atrium walks, and the other, which was less, and little used, -was next the belfry on the left, and is in fact the left one of -the three present doors. The arches, which cover two of the -spaces between the piers and make them into porches, are -shown in the view by Fossati of the unrestored state of the -front.</p> - -<div class="figcenter" id="f29"> - <img src="images/p195.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 29.</span>—West Front as altered in the Ninth Century.</p></div> -</div> - -<p>Comparing the drawings of Grelot and the plan given by -Du Cange, both published in 1680, with the present remains, -it would appear that there were formerly ten of these buttresses; -two being merged in the central belfry, and the two -outside ones incorporated in the minarets, on the sides of which -traces of them may still be seen. Two others have either been -destroyed by the Turks, or Grelot’s drawings are wrong to -this extent, as no trace seems to remain of more than eight. -Of these eight which now in part remain, Salzenberg only -reserves the four at the centre, on which he places the -horses. Our Figs. <a href="#f26">26</a> and <a href="#f29">29</a> represent the original west -front and the altered façade of the ninth century; see also -Plan, <a href="#f24">Fig. 24</a>.</p> - -<p><i>Cisterns.</i>—On the south side of the right-hand pier is a -small arch which gives access to a little recessed chamber in -the buttress. From this and from a similar recess north of -the central entrance, water from the cisterns beneath the -church was probably obtained: a cross on the wall of the -little chamber would seem to show that it was a “holy -well.”<a id="FNanchor_326" href="#Footnote_326" class="fnanchor">[326]</a></p> - -<p>Clavijo says the cisterns beneath the church would float -ten galleys, and C. Lebrun (1714) speaks of ten cisterns and -forty columns standing in the water. The only real description -of the cistern we have been able to find is in Dr. -Covel’s MS. diary in the British Museum. In 1676 he -writes, “We went to see the vaults under S. Sophia; they -were full of water, then 17 feet deep, and overhead, from<span class="pagenum" id="Page_197">[Pg 197]</span> -the water up to the top of the arch was about 2 yards and -6 inches. Every pillar is square (4½ feet), and distant from -another just 12 feet. The bricks are very broad, thin, and -well baked; [it is] not plastered within, the mortar very -hard. They say it goes under [the] At-Meidan, but we -could not enter it. The waste water of the Aqueduct enters -into it, and [going] out of it passing through the Seraglio, -goes into the sea by the dunghill. [There is] severe punishment -to [those who] have houses with offices [draining] into -it; or [for those who] throw any filth into it: the well of -S. Sophia [opens] into it and many wells in the Seraglio.” -He gives a diagram plan, showing two rows of eight piers -and a third row of three, although, as no boundary is shown, -it is impossible to say if this is the whole extent (see below).<a id="FNanchor_327" href="#Footnote_327" class="fnanchor">[327]</a></p> - -<p><i>Generally.</i>—Some of the exterior was doubtless cased with -marble like S. Mark’s; indeed some of the marble plating -remained in Salzenberg’s time. “The walls outside (the -Anonymous writes) were covered with large and valuable -stones.” Where not so incrusted the narrow coursed brickwork -showed in thin red lines, almost equalled by the thick joints -of the mortar. From this brickwork the marble lattices of -the windows, each with its slab at the bottom charged with -a cross, shone out fair, and the gray lead of the many domes -rose above all, curve on curve in pearly gradation of light. -The courts were doubtless closely set with cypresses, like -those which now rise about the turbehs on the south side.</p> - -<p>Many passages in the Byzantine authors show how much -beauty of site was regarded as essential for a fair church.<a id="FNanchor_328" href="#Footnote_328" class="fnanchor">[328]</a> -Procopius, describing the Church of the Fountain at Constantinople, -says, “there was a grove of cypresses in a rich -meadow of blooming flowers, a garden abounding in fruit, -with a gently bubbling spring of sweet water, everything -suggested the site of a church.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_198">[Pg 198]</span></p> - -<h2 class="nobreak" id="CHAPTER_X">CHAPTER X</h2> -</div> - -<p class="cd">BUILDING FORMS AND THE BUILDERS</p> - - -<h3>§ 1. ORIGINS.</h3> - -<p>It may be well to say a few words on the growth of the -Byzantine architecture, of which Justinian’s church is the -perfect flower. This building is often spoken of as if it -were at once the first and the maturest essay in this great -style, but this we might know would have been impossible, -even though the links that led up to it were lost, which is -not entirely the case. It is perfectly true, however, as Mr. -Morris says, that “the style leaps into sudden completeness -in this most lovely building.”</p> - -<p>The new wants of the Church soon evolved the complete -Christian basilica, which, it has been said must have been in -the mind of the writer of the Apocalypse as the type of the -entire arrangement of the altar, the twenty-four elders, and -the great congregation, in his vision of the heavenly worship. -In the time of Constantine, and in Rome, alongside -of work which was entirely classic, the churches, with fewer -ties to the past to limit development along truly rational -lines, had developed a manner which was a more direct outcome -of the necessities of building with a minimum of -merely perfunctory “architectural” forms—those conventions -for the thoughtless expenditure of the workers’ -labour, which in still worse times make architecture a -burden to them instead of a delight.</p> - -<p>This transitional style is rightly called early Christian, -or Constantinian. In the East, the vital part of the empire<span class="pagenum" id="Page_199">[Pg 199]</span> -at this time, a greater change was taking place that brought -back life once again to the arts of decoration; this may be -expressed in a formula as the re-orientalization of classic -art—the linking of simple massive Roman building to a -new decoration, vividly alive and inventive, frank, bright, -and full of colour, and yet as rational in its choice and -application as the construction. In the modern sense the -Romans may be said to have invented building, and the -Byzantine-Greeks architecture.</p> - -<p>The Roman system of arched building, covered with -brick and concrete vaulted shells and domes, had been -masked by non-functional pillars, tablements, and pediments -in what was thought the true Athenian manner; at the -same time many beautiful decorative expedients were also in -use, such as the lining of walls with large thin marble slabs, -or small pieces of glass of various forms and colours. -Mosaic of gold glass seems to have been known before the -time of Constantine.<a id="FNanchor_329" href="#Footnote_329" class="fnanchor">[329]</a> Gold tesserae probably originated in -an at first almost accidental use of portions of the Roman -glass vessels which are decorated by patterns in gold leaf -protected by a thin layer of glass over the surface. Parts of -such vessels are found used decoratively in the Catacombs.</p> - -<p>Byzantine architecture was developed by the use of brick in -the frankest and fullest manner, especially in domical vaulting. -Wide spans were kept in equipoise by other smaller domes. -The more concentrated supports were marble monoliths, -and the wall and vault surfaces were covered by incrustations -of marble slabs and glass mosaic. Directness, an -economy of labour relative to the results obtained, is perhaps -the most essential characteristic of the art both in construction -and decoration in the great period. This freedom and -rationality mark it out from all other styles of building, or -rather make it include all other styles, for this reaches the -universal. M. Choisy rightly insists on the fact that the -Byzantine builders endeavoured to suppress preparatory and -auxiliary work, and to execute their vaults and domes -without centring. “The greater number of their vaults,” -he says “rose in space without any kind of support....<span class="pagenum" id="Page_200">[Pg 200]</span> -Their method is not a mere variation of that of the West, -but it is quite a distinct system, not even derived from a -Roman source, but Asiatic. Byzantine art is the Greek -spirit working on Asiatic elements.” Here we have an -extreme statement in one direction, and the word Roman -must be used in a narrow sense; for these Asiatic elements -in construction, of which alone M. Choisy seems to be -speaking, whatever were their remote origins must have been -completely absorbed into the larger Rome of the Empire, -and we have no knowledge of any other system of construction -in western Asia -from the first to the fourth -century than “Roman,” -unless we subdivide this -into Palmyrene, Herodian, -or construct an imaginary -Persian style out of what -went before and came afterwards. -Choisy himself shows -that a large use of burnt -brick was first made by the -Romans, and that the system -of building vaults in sections -known in Assyria and -Egypt had been adopted by -Roman builders in the East -in the time of Constantine. -But this was the essential -germ of Byzantine construction. -It was the falling -away of a dead scholasticism that left Roman building -in the East free to be shaped into Byzantine architecture. -Mr. Bury, who is extreme in the opposite direction, and -makes the same claim for the continuity of Roman art as -he does for the Empire, suggests that Romaic would be a -better term than Byzantine. But whatever name is given to -the political system we must remember that the arts are -shaped by the people, and that the people were truly Greek -who, in the age of Justinian, thought out and left to the<span class="pagenum" id="Page_201">[Pg 201]</span> -modern world the last great gift of Hellenic genius—mediæval -Greek architecture.</p> - -<div class="figcenter" id="f30"> - <img src="images/p200.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 30.</span>—Roman Tomb in Palestine.</p></div> -</div> - -<p>While the art of building in the East, particularly -in Syria and Asia Minor, and possibly in Egypt, was -still distinctly Roman, a ferment and change may be -detected which cannot be matched in Rome itself. Both in -construction and ornamentation there is much already at -Palmyra and Baalbec that belongs to the new, and repudiates -the rules of merely official art.</p> - -<p>In Rome the dome never appears to have been finally -adapted to a composite building by being directly applied to a -square plan. The dome on pendentives, so far as we know, -was invented and perfected entirely in the East. M. Choisy -figures a building from Jerash, which may be of the third -or fourth century which he considers the earliest known -dome on pendentives. This building, although it is plainly -early, has nothing characteristically Roman about it. A -building of the same class however, recently discovered -by the Palestine Exploration Society at Kusr en Nûeijîs in -eastern Palestine,<a id="FNanchor_330" href="#Footnote_330" class="fnanchor">[330]</a> is an ornate example of late Roman work; -Ionic pilasters and carved entablature mask the outside, while -within we have a perfected dome on pendentives covering a -central square area, counterpoised by four barrel vaults. We -agree with the Memoir that—“there can be little hesitation -in ascribing this building to the second century <span class="allsmcap">A.D.</span>” -This building, probably a mausoleum, in adjustment of -parts, and geometrical development might be a Byzantine -church of three hundred years later. It is a little Sancta -Sophia, and taken together with the Jerash building it -makes a class invaluable as a fixed point to work from.<a id="FNanchor_331" href="#Footnote_331" class="fnanchor">[331]</a> -This however like most Syrian buildings is of stone.</p> - -<p>A church at Koja Kalessi in Isauria,<a id="FNanchor_332" href="#Footnote_332" class="fnanchor">[332]</a> <a href="#f31">Fig. 31</a>, which there -is a great reason to suppose of early fifth century work, -furnishes an important link. We have here an approximation -of the square domed building to the columned basilica -which is most interesting. This church is substantially<span class="pagenum" id="Page_202">[Pg 202]</span> -complete with women’s galleries opening to the nave by a -second tier of arcades just as at S. Sophia.</p> - -<div class="figcenter" id="f31"> - <img src="images/p202.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 31.</span>—Plan of a Church in -Isauria.</p></div> -</div> - -<div class="figcenter" id="f32"> - <img src="images/p202b.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 32.</span>—Church of the Trinity, Ephesus.</p></div> -</div> - -<p>The next building we should place in the sequence is the -church of the Trinity at Ephesus of which Hübsch, Wood -and Choisy give plans. The former furnishes a restoration, -and speaks of it as probably one of the earliest of Christian -churches, but there is no reason to suppose it earlier than -the beginning of the fifth century. Choisy speaks of it -as a curious monument of transition already Byzantine in -structure. Before seeing Hübsch’s restoration, we had -placed an arcade in the lateral arches, agreeing in every -respect with his suggestions; and that this was the original -form is strongly confirmed by the next church—as it seems -to us—in the development. This is the church of S. Sophia -at Salonica, which has long been assigned to Justinian’s -reign at a time subsequent to the erection of S. Sophia, but -is now thought to belong to the fifth century. M. Petros<span class="pagenum" id="Page_203">[Pg 203]</span> -Papageorgios -in the <i>Hestia</i><a id="FNanchor_333" href="#Footnote_333" class="fnanchor">[333]</a> of -Athens for October -3rd and -November 14th -1893, gives the -mosaic inscription -of this -church, which -he thinks definitely -fixes its -decoration in -the year 495.<a id="FNanchor_334" href="#Footnote_334" class="fnanchor">[334]</a></p> - -<div class="figcenter" id="f33"> - <img src="images/p203.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 33.</span>—Church of S. Sophia, Salonica. Scale about -forty-five feet to an inch, for three plans.</p></div> -</div> - -<p>The churches -at Cassaba, Ancyra -and Myra -in Asia Minor -engraved in -Texier’s <i>Asie -Mineure</i>, and -repeated by Salzenberg -relate -themselves so closely to this chain of development that -we believe they will be found to belong rather to the fifth -and sixth centuries than to the seventh or eighth as those -writers thought. The square type with a central dome -persisted independently without coalescing with the basilica. -Such was the domed church at Antioch founded by Constantine -and completed by Constantius; here the central dome -was surrounded by aisles, and formed an octagon. In the -<span class="pagenum" id="Page_204">[Pg 204]</span>churches of St. George at Ezra, and St. Sergius at Bosra -we have domes standing over a central octagon contained -in an external square. These were built about 515, and -they furnished the type that was followed at St. Sergius at -Constantinople which was built only a few years before S. -Sophia.</p> - - -<h3>§ 2. THE BUILDERS OF THE CHURCH.</h3> - -<p>It is noteworthy that the architects who built S. Sophia as -well as the historians who chronicle the work, all, so far as -their birth-places are known, come from Syria and Asia Minor. -The flourishing city of Ephesus was one of the great centres -of the transformation of the art of building; and it was -from the neighbouring cities of Tralles and Miletus, that -Anthemius and Isidorus came to Constantinople.</p> - -<p>Of the two master builders who appear to have been employed -together by Justinian, it seems clear, from Procopius -and the other writers, that Anthemius was more especially -concerned in the preparation of the first draft or model, and -that Isidorus, by birth a Milesian, was associated with him in -the conduct of the works.</p> - -<p>“Anthemius,” says Paulus, “skilled in setting out a plan, -laid the foundation.” “Anthemius was the man who devised -and worked at every part,” writes Agathias, and this author -gives some account of his life. “Now this Anthemius was -born at Tralles, and he was an inventor of machines; one of -those who apply designs to material, and make models and -imitations of real things. He was distinguished in this and -had reached the summit of mathematical knowledge, just -as his brother Metrodorus was distinguished in letters. -Besides these there were three other brothers, Olympus, -famous for his knowledge of law, and Dioscorus and -Alexander, both skilled in medicine. Of these Dioscorus -lived in his native land and Alexander in Old Rome. But -the fame of the skill of Anthemius and Metrodorus reached -the emperor, and they were invited to Constantinople, where -they spent the rest of their lives, each presenting wonderful -examples of his skill. One taught letters; the other raised<span class="pagenum" id="Page_205">[Pg 205]</span> -wonderful buildings throughout the city and in many other -places; these, I think, even if nothing were said about them, -as long as they remained unharmed, would be sufficient to -win for him perpetual glory.”</p> - -<p>Stories of his mechanical ingenuity are told by Agathias -one of which is as follows. Anthemius had a quarrelsome -neighbour whose room overhung his ground. He placed -here large kettles of water, with an arrangement of leather -pipes and a tube like a trumpet up to the projecting part; -and making the other parts secure, “he heated the water so -that the whole thing burst up like an earthquake.”</p> - -<p>As to the scheme prepared by the master builders for the -building, an examination of the evidence seems to suggest the -following antecedent conditions and governing ideas. 1. The -ground levels required a short and wide church (<i>ante</i>, p. <a href="#Page_186">186</a>). -2. An old western apse possibly suggested the western hemicycle -of the new church (<i>ante</i>, p. <a href="#Page_19">19</a>). 3. The plan, while a -direct outcome of traditional forms as we have shown, seems -a synthesis of the three types which were then current; the -Basilican like S. John Studius; the square church with a dome -like S. Sergius, and the cross plan of the Church of the -Apostles.</p> - -<p>At S. Sergius, the expedient of planning columned exedras -to fill out the angles of the square beneath a domed vault -had proved its utility and beauty. For the influence of the -cross type we need only turn to the plan, and observe that the -width across the “transepts” is exactly the same as the length -included by the eastern and western hemicycles.</p> - -<p>The master builders not only designed the church, they -came “and worked at every part,” and lived with their -building until their death; they certainly graduated as workmen, -and we hear nothing of their honours or position, only -of their genius.<a id="FNanchor_335" href="#Footnote_335" class="fnanchor">[335]</a> In the words of M. Choisy, “In Justinian’s -time, to build was the essential <i>rôle</i> of the architect.”</p> - -<p>Both master builders are again mentioned as working -together on the occasion of the fortifications of Dara in -Mesopotamia, having been injured by floods. The emperor<span class="pagenum" id="Page_206">[Pg 206]</span> -on hearing of it at Constantinople “straightway summoned -those most celebrated architects Anthemius and Isidorus -mentioned before, and inquired what might be devised.” -The scheme of Chryses, the engineer of the works at -Dara, was however adopted.<a id="FNanchor_336" href="#Footnote_336" class="fnanchor">[336]</a></p> - -<p>The younger Isidorus who re-erected the dome of S. Sophia -Procopius mentions as having been employed by Justinian in -rebuilding the city of Zenobia in Mesopotamia with its -fortifications, churches, baths and porticoes. “All this work -was done under the superintendence of Isidorus and Joannes, -of whom Johannes was a Byzantine and Isidorus a Milesian by -birth, being the nephew of that Isidorus I mentioned before.”</p> - -<p>To the master builders Procopius, Paulus, and Theophanes -give the names <i>mechanikos</i>, <i>polumechanos</i>, <i>mechanopoios</i>, to which -other writers add <i>protooikodomos</i>—“first of the builders,” -<i>magistros</i> and <i>maistor</i>. The craftsmen appear to have been -classed as <i>technitai</i> with a foreman over each subdivision. -The Latin names of the different building crafts are given -both in Theodosius’ code,<a id="FNanchor_337" href="#Footnote_337" class="fnanchor">[337]</a> and in the edict of Diocletian,<a id="FNanchor_338" href="#Footnote_338" class="fnanchor">[338]</a> -which fixed their wages. This edict is bilingual, but unfortunately -the Greek synonyms for the workmen are wanting. -In the description of the building of S. Sophia, Procopius -speaks of the <i>lithologos</i> or “stone-layer,” who built the big -piers, Paulus and the Anonymous use <i>laotoros</i> and <i>laotomos</i> a -“mason” and “stone-cutter,” wherever marble workers are -mentioned, to which must also be added <i>lithoxos</i> “stone -polisher.” The general bricklayers, &c. are comprised as -<i>oikodomoi</i>. <i>Tektonikos</i> implies a carpenter. S. Gregory of -Nyssa, in describing a church of S. Theodore, calls the -craftsman who arranged the mosaic tesserae, ὁ συνθέτης -τῶν ψηφίδων.</p> - -<p>A list of the chief classes of workmen employed in the -sixth century on a monumental building in Italy given by -Cassiodorus,<a id="FNanchor_339" href="#Footnote_339" class="fnanchor">[339]</a> names the following—Instructor-parietum, -sculptor-marmorum, camerarum-rotator, gypsoplastes, and<span class="pagenum" id="Page_207">[Pg 207]</span> -musivarius. The instructor-parietum is probably the man -who set out the work, the camerarum-rotator is he who -turned the vaults. The gypsoplastes, a literal transcription -of γυψοπλάστης, signifies a worker or modeller in stucco, -corresponding to the plastes-gypsarius of the edict of -Diocletian. The musivarius is the “putter together of -tesserae” of S. Gregory. Workmen who understood the -mysteries of “vault turning” seem to have been especially -appreciated, as Theophanes tells us that Isaurian workmen -were employed to build the dome of S. Sophia.</p> - -<p>In the humblest work the personality of the maker is often -delightfully expressed. A Byzantine brick in the British -Museum is stamped “<span class="inscribe">ΧΡ</span>. made by the most excellent -Narsis,” and a late Roman glass cup bears the legend “Ennion -made this. Think of it, O buyer.”</p> - -<p>In his inquiry as to the methods of workmanship, M. -Choisy says the Byzantine Greeks did not efface from buildings -all traces of the workman’s individuality. “The workman -is no mere passive instrument, obedient, without any regard -to initiative or responsibility, to the workshop foreman; he -is treated as an intelligent power, and finds in front of him -liberty, and a field open to his imagination.”</p> - -<p>In Roman times the system was that we call “division of -labour.” “<i>L’art roman est un fait d’organisation.</i>” The -workman was not an independent citizen working at his own -pleasure for his daily wants; he was a <i>functionnaire</i>, and -compulsorily a member of an association organised by the -state on the model of military service. In the East an -altogether freer system seems to have obtained. The guilds -were independent associations, and in Palestine the Carpenter’s -Son and the tentmaker followed their callings irrespective of -state authority. “In Byzantine buildings the same name -occurs in turn upon columns, capitals, or simply squared -blocks of stone, and there is nothing to show that the -foreman of the works kept one man at one particular -kind of work. The East never changes; at present the -absence of division of labour in Oriental buildings is most -striking. The proprietor chooses a master workman (<i>protomaistor</i>); -to this improvised architect he adds a certain<span class="pagenum" id="Page_208">[Pg 208]</span> -number of head workmen (<i>maistores</i>) and their companions, -and these same men will work at digging the foundations, at -the masonry of the walls, and at the carpentry of the roof; -even the ironwork and joinery is scarcely reserved for special -workmen.” The terms masters and companions suggest an -arrangement which merits consideration. Like western workmen -the Greek artizans were affiliated to corporations which -have lived to our days. These associations (<i>sunergasiai</i>) had -a council, composed exclusively of those, who, by apprenticeship -and trial, had earned the title of masters (<i>maistores</i>).</p> - -<p>Each society was presided over by a “protomaistor” -helped by secretaries (<i>grammateus</i> and <i>kerux</i>) to summon -the meetings. It was at once a corporation of workmen, a -religious brotherhood, and a mutual aid society: and such -societies engaged in mutual acts of hospitality and assistance -between one town and another.</p> - -<p>All workers in the East seem to have been thus associated -into guilds, and municipal life was organised on the guilds. -This is evident at Constantinople as early as the <i>Notitia</i>, -see p. <a href="#Page_11">11</a> above. The members of the guilds had to help at -fires, and Lydus gives the cry which brought them together, -“<i>Omnes Collegiati</i>.” Demetrius, the silversmith of Ephesus, -called together the <i>Sunergasia</i> when the craft was in danger; -we even hear of strikes. Even unskilled labourers had their -guilds, and Mr. Ramsay has described the Guild of Street -Porters of Smyrna in Roman times (<i>American Journal of -Archæology</i>, Vol. I.). The existence of the guilds is the most -significant fact of the social history of the middle ages. -In such craft organisation of labour, free of the financial -middlemen who now rightly call themselves “Contractors,” -we see the only hope that building for service, and ornamenting -for delight, can again be made possible.</p> - -<p>Our studies have convinced us that “shop production” -went on side by side with the building organisation. This -shop production will be at once allowed for such things as -gold cups and altars, lamps and bronze doors, but we believe -that decorative marble work was largely produced in this -way, and that just as enamelled cups and damascened doors -were “ordered” in Constantinople, so also were sculptured<span class="pagenum" id="Page_209">[Pg 209]</span> -slabs and capitals. It would be possible to account for mere -resemblance by “influence,” but absolute likeness between -the capitals and sculptured or inlaid slabs found in contemporary -buildings, at cities so far apart as Constantinople, -Salonica, Parenzo, Ravenna, and Rome show that in the -fifth and sixth centuries such works were dispersed from -a common centre. So early as the fourth century S. Gregory -Nazianzenus speaks of a priest who came to Constantinople -“from Thasos bringing with him the gold of the church -wherewith to buy slabs (<i>plakes</i>) of Proconnesian marble.”<a id="FNanchor_340" href="#Footnote_340" class="fnanchor">[340]</a> -These things were not only bought, but specially commissioned; -for instance, the marbles of St. Clemente, which -are almost certainly Constantinople work, bear fine monograms -of John, afterwards elected pope in 532. The great -contributing cause for this, besides the political and artistic -position of Constantinople, was doubtless its possession of an -absolutely perfect material in boundless profusion—the coarse -white marble, which we may see to-day so delightfully -wrought in small shops into the tombs, each of which has its -carved tree of cypress, palm, or rose.</p> - - -<h3>§ 3. ORIGINAL FORM OF THE CHURCH.</h3> - -<p><i>Dome</i>, &c.—Agathias tells us that when Justinian rebuilt -the dome it was made higher, and that large alterations were -made to the sustaining arches on the north and south sides. -Salzenberg cites Theophanes and Zonaras who give the increase -of height as twenty and twenty-five feet respectively. -If we examine the longitudinal section we shall see that the -great semidomes of the hemicycles and the apsoid of the bema -show much less of their curvature outside than the present -central dome. The windows in these do not stand above a -cornice, but are pierced through the vaults at middle height; -the domical surface being unbroken by any cornice from -springing to crown. The cupola of the baptistery is also -continuous with the pendentives. A dome of this kind, -however, continuing the pendentives, would seem to be impossibly -flat, and would be some thirty feet less than the<span class="pagenum" id="Page_210">[Pg 210]</span> -present height—see <span class="allsmcap">A</span> in <a href="#f4">Fig. 4</a>, the existing dome rising to -<span class="allsmcap">B</span>. If a curve between these two be obtained by lowering -the crown of the dome about fifteen feet to <span class="allsmcap">C</span>, it may be -noticed that a straight line tangential to the curve of the -eastern apsoid, and also to the great semidome would form -similar contact with the dome.</p> - -<p>Salzenberg, understanding an account of Cedrenus as to a -strengthening of the abutments of the dome to refer to the -great buttress masses which rise above the gynaeceum roof, -considers that the external parts of these masses were additions -made at the time of Justinian’s restoration. These -great vertical piles are so essential to the structure, to the -logical beauty of the design, and to the staircase service of -the building; moreover the preparation for them beneath is -so adequate, that we cannot accept this suggestion, and -therefore follow Choisy in considering them original. Now -Choisy, examining the external base of the dome where it -forms a square, found that the four angles had been increased, -and that it did not originally form a square, but -rose above the piers and the lateral arches as shown in <a href="#f34">Fig. 34</a>, -and in <a href="#f37">Fig. 37</a>, where the first base is shown by hatching and -the additions by dotted lines, A A. “This alteration,” -he writes, “is not hypothetical. I verified the entire absence -of bond between the first base of the dome and the added -work” (p. 138). These additions were built on the lateral -arches, and on the top of the piers, altering the form shown -in our <a href="#f35">Fig. 35</a> to the present form given by Salzenberg. -That Choisy is right, is borne out by seeing the resemblance -of treatment that there would have been between the -growth of the dome on the north and south and the semidome -on the west (see <a href="#f34">Fig. 34</a>).</p> - -<div class="figcenter" id="f34"> - <img src="images/p211.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 34.</span>—View of Vaulted System of S. Sophia, adapted from Choisy.</p></div> -</div> - -<p>Again, Salzenberg hardly makes it sufficiently clear that -the large arches in the walls which fill the great vertical -semicircles over the arcades on north and south sides, are in -fact the inner surfaces of the arches which pass between the -pairs of piers on north and south sides (seventy-two feet apart -in this direction), and being the whole width of those piers -(fifteen feet eight inches) on soffite they form the immense -arches so well known on the outside. The semicircles of wall, -<span class="pagenum" id="Page_212">[Pg 212]</span> -each of which contains twelve -windows, are now filled in -beneath these arches, flush -with their <i>inner faces</i>, and the -arches therefore do not show -to the interior through the -decoration (Figs. <a href="#f4">4</a>, <a href="#f36">36</a>, <a href="#f38">38</a>).</p> - -<div class="figcenter" id="f35"> - <img src="images/p212.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 35.</span>—Plan of Upper Gallery as first -designed.</p></div> -</div> - -<div class="figcenter" id="f36"> - <img src="images/p212b.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 36.</span>—Section of Aisles and Gallery.</p></div> -</div> - -<p>Now Agathias (see page -<a href="#Page_30">30</a>) says that at the restoration -after the earthquake -in 558, at the north -and south arches they -brought towards the inside -“the portion of the building -which was on the curve.” -This, we think, must refer to -the filling wall, in the arches -of seventy-two feet span, -which we suppose was formerly -on the exterior, and -thus left an upper gallery -twelve feet wide and seventy-two -feet long open to the -interior. “And they made -the arches wider to be in -harmony with the others, -thus making the equilateral -symmetry more perfect. -They thus reduced the vast -space and formed an oblong -design.” That is the arches -of seventy-two feet, when -filled up on the inside, were -no longer visible, and the -dome appeared to stand over -arches of 100 feet span on -north and south, as already -on east and west, the transverse -dimension of the<span class="pagenum" id="Page_213">[Pg 213]</span> -church being -lessened between -these -points by some -twenty-four -feet. Salzenberg -understanding Agathias -to refer to -the apparent -arches of 100 -feet span on -north and south -is unable to -offer any explanation.</p> - -<div class="figcenter" id="f37"> - <img src="images/p213.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 37.</span>—Plan of Basis of Dome as originally designed, -with Additions A A containing stairs.</p></div> -</div> - -<div class="figcenter" id="f38"> - <img src="images/p213b.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 38.</span>—Section between Great and Secondary -Orders.</p></div> -</div> - -<p>The actual -evidence in the church, -we believe, fully bears -out the interpretation -here suggested. What -we have called the -secondary order of -columns would pass -exactly beneath the -position given to this -wall. These columns -on the gallery floor -are very strong, and -a very strong row of -arches runs along -over them (see <a href="#f38">Fig. -38</a>). Moreover the -curtain walls in every -other instance -throughout the church -are flush with the -exterior.</p> - -<p>That this space is not available to the interior of S. Sophia<span class="pagenum" id="Page_214">[Pg 214]</span> -has caused Choisy to criticise the design in this respect -as “a solution undecided, <i>moyen terme</i>, <i>fâcheux</i>; the large -arches by a departure from ordinary rule being thrown on the -outside so that the space covered by them was lost. S. Sophia -Salonica redressed this error.” We wonder that Choisy’s -views as to the original base of the dome did not cause him -to take the further step we have here suggested. The present -form, in which the lateral arches support the square base -of the dome, is at least a possible one; but that the arches -when they carried nothing and thus were actually vaults (as -before shown by Choisy) were not filled with a screen but -were mere arches twelve feet on soffite, lying against the sides -of the building seems inconceivable. In our <a href="#f34">Figure 34</a> we -have amended Choisy’s view in this respect. Looking on these -lateral arches as vaults we have filled them with a window -like the western vault, and the harmony which results -between the sides and the west end amply verifies our -conclusions. One point further. The upper surface of the -base of the dome on the west side should not be wholly level -as shown in <a href="#f34">Fig. 34</a>, the central third <i>curves up</i> following -the line of the top of semidome. In other words, the great -arch of the interior pushes itself up through the base of the -dome, and this treatment thus recurred at various heights—over -large windows of aisles, over western and lateral lunettes, -as we have shown, and over the semidome.</p> - -<p>Originally, before the interior was narrowed in the way we -have explained, there was a much clearer suggestion of a -cross plan: barrel vaults at north and south being filled at their -ends with large lunettes like the west vault. We suppose -that the failure was mainly in the secondary order, and that -the window screen and all possible weight was entirely -removed and transferred to the great order. Salzenberg was -satisfied that there had been great alterations in this part of -the building, and Choisy’s view of the window-wall, Plate -xxv., entirely confirms his opinion. If it could be shown that -the alteration spoken of by Agathias will not bear the interpretation -we put on it, there were earlier troubles at this -part mentioned by Procopius. The best proof, however, we -suggest is found in the design. It has been before pointed<span class="pagenum" id="Page_215">[Pg 215]</span> -out that Choisy and other writers have too hastily assumed -that S. Sophia Salonica was built after the great -church of Constantinople. That it preceded it enforces -the present argument. Grelot (1680) writes that upper -galleries remained in the church in these positions, but he -based his assertion on the row of seven arched recesses -just above the main cornice which he thought were formerly -open. It is clear however from an examination of the section -that the arches could only have opened to the vault of the -first floor gynaeceum. That these small arches did open to -the vault of the first floor, seems to be borne out by the -fact that above the centre of the secondary order, where its -arch is low, a similar piercing is made, through which (or the -higher arches on each side) and through the seven arches, a -mysterious perspective into the immensity of the dome might -have been obtained by those in the gynaeceum (see Figs. <a href="#f4">4</a>, -<a href="#f36">36</a>, <a href="#f38">38</a>). Shallow arched recesses merely used decoratively -seem to have been little known to early Byzantine art, and -arches on the first floor through the great piers are blocked -in a similar way. Moreover such openings would explain -why the vault between the two orders of columns is so much -stilted up into mere darkness.</p> - -<p><i>Atrium.</i>—To explain the present confused arrangement of -the exterior, we must remember that from the time of the description -of the church by the Silentiary to its description by -Gyllius was a thousand years—as long as from the time of -Alfred to the present day—and in this time we may well -expect alterations and accretions.</p> - -<p>In Chapter IX. we have shown that the present form of -the exonarthex, with its great external piers, was an alteration, -made about the time the belfry was added in the ninth -century. Before that time the atrium was alike on all four -sides—a true <i>quadriporticus</i>—one of the most beautiful -features of the ancient churches. (See Figs. <a href="#f3">3</a> and <a href="#f25">25</a>.)</p> - -<p><i>North and South Porches.</i>—Much of the confusion at the -north-west and south-west angles is the result of Turkish -attachments, including the western minarets, which were built -in the last quarter of the sixteenth century. The plan of -gynaeceum floor furnishes the best key to the former<span class="pagenum" id="Page_216">[Pg 216]</span> -arrangement, for where there is Byzantine work above, it -must once have existed below. Comparing the first floor -and roof plans in Salzenberg with the ground plan, it -becomes apparent that the main block was originally finished -both at north-west and south-west angles to the general -square of building. The two staircases now at these angles -were added as extra buttressing masses; the original stairs -being the four in the piers of north and south sides. The -north and south porches, with extra building above the latter -on the first floor, were also additions. Besides the irregularity -and inferior style of these buildings the following evidence -should be noticed. The actual form of the north-west angle -on the gallery floor; and the natural reading of the three -plans when laid one over the other; broad arches, which -pass across the porches; the fact that the arch in south -porch (dotted in C on <a href="#f24">Figure 24</a>, see also Fossati, Plate i.) -now has no office; and that above the door at this end of -narthex, there is a window which now merely opens into the -south porch.</p> - -<p>An examination of the exterior on the south side shows -that the south-west staircase was built before the porch, -or the part above it at least, because a straight joint in the -walling, and the form of the roofing, here clearly make -evident that the apex of the gable roof was originally over -the centre of the staircase, and that the slope has been -subsequently run forward to cover the part above the -porch.</p> - -<p>In considering all the other irregularly attached buildings, -together with the historical evidence, it seems clear that the -church as designed and first built was externally a regular -parallelogram, interrupted only by the projection of the apse -at the east end; which was itself masked by a range of low -chambers against the east wall, through which there were two -entrances to the church as at present, and to which other two -doors, in the east wall, still visible but now blocked, gave -access. The other external doors, besides those from narthex, -being two on the north and one in the south wall; together -with two external doors at the gynaeceum level, one of which -probably gave access to the gallery along which the emperor<span class="pagenum" id="Page_217">[Pg 217]</span> -passed to the church, and the other, to the north, may have -led to the cells of the clergy.</p> - -<p><i>Baptistery and Loggia.</i>—Of early buildings detached from -the church we have the round building at the north-east, which -we regard as having descended from the earlier church, and -the south-west baptistery, with a loggia attached to its north -side. The space between the church and the baptistery on -plan looks like a covered way, leading from the church with -a screen in the middle, but the part next the church is, and -always must have been, open. The part next the baptistery -is covered with a large semicylindrical vault, arched <i>transversely</i> -to the “screen,” and penetrated by a less cylinder in -the direction of the length of the loggia. Rebates (on -baptistery side) round the doorway which stands between -the pair of columns show that there was a door, and strips -down the sides of the pillars, which stand above the transom, -show that pierced slabs or other closures filled the -arched front of the vault. If we add breast-high closures in -the lateral openings, as in the portico of St. John Studius, the -whole becomes an inclosed loggia against the baptistery. -Salzenberg states that there was a door in the north wall of -baptistery, and Labarte places another in the western compartment -of south aisle of church, but for the latter there -does not appear to be a particle of evidence; and consequently -the court and loggia cannot have formed a direct -passage to the baptistery. 1. Salzenberg on his plan draws -the transverse axis of the baptistery, and that of the western -bay of the church; these do not agree by a foot or two, but -the doorway of “screen” agrees with <i>neither</i>, nor is it a mean -between them, but varies by excess. 2. In the section -(Salzenberg, Plate xi.) it is seen that the present level of -floor in this loggia is that of baptistery, and is below that of -church; but the columns have no bases, therefore the loggia -floor was beneath both church and baptistery. 3. A large -arch is shown between the church and west pier of this loggia, -from which it springs properly, while at the other end it -is cut off incomplete by the wall of the church. These -reasons together lead us to suggest that the loggia is possibly -older than the church, and that it may be a part of an arcade<span class="pagenum" id="Page_218">[Pg 218]</span> -retained when the present church was built. The style of the -screen would readily allow of its being twenty or thirty years -older than S. Sophia. The capitals are not found elsewhere in -the church, while similar ones form the chief order at S. -Sergius; and the door is inserted between the two columns, -exactly as in the portico of S. John Studius. We do not -however insist on its being earlier than the church so much as -on the evidence pointing to its being part of a continuous -arcade (see plan, <a href="#f39">Fig. 39</a>). Doubtless it might be determined<span class="pagenum" id="Page_219">[Pg 219]</span> -from a careful examination whether the loggia or -the baptistery was built first.</p> - -<div class="figcenter" id="f39"> - <img src="images/p218.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 39.</span>—Restoration of Loggia by the Baptistery. Scale about eight feet -to an inch.</p></div> -</div> - -<p>The way by which the “Great Baptistery” was reached -from the bema, as mentioned in the <i>Ceremonies</i> was probably -by this cloister, which perhaps inclosed one of the courts on -the sides of the church, spoken of by Procopius and the -Silentiary. The portion drawn by Salzenberg still remains, -although sadly plastered over and mutilated.</p> - - -<h3>§ 4. STRUCTURAL SYSTEM AND VAULTING.</h3> - -<p>The geometrical scheme of this building, which in its -final form must be the result of hundreds of adjustments, -modifications, and expedients, to meet newly discovered -emergencies, is withal so seemingly simple, that it may be -read as a bare mechanical solution of the primary conditions.</p> - -<p>The great central area, excepting only the narrow bema, -is surrounded by two stories of vaults; the thrust of the -dome over the square of about 100 feet is not only resisted -by these, but by the four immense buttressing masses (or -rather chambers for they are built hollow) which, pierced by -arches, pass right across the aisles. East and west the dome -is sustained by the semidomes of the great hemicycles, and -these in turn by the vaults of the three subdivisions of the -hemicycles. The thrusts are thus distributed in a regular -pyramid. The external wall, which incloses the whole, -being built out to the extremity of the great buttress piers -of the north and south sides, and the lesser piers east and -west, is thus little more than a screen, inclosing the more -active parts of the structure.</p> - -<p>One of the most remarkable expedients of this marvellously -planned building is that by which the vaults of the -side aisles,—which, having large spans, necessarily spring -comparatively low down—are received on the secondary -order of columns, standing behind the pillars of the great -order. This allows of the stately colonnade on either side -of the central space and those in the four exedras being only -controlled by the height of the upper floor, which is forty-four<span class="pagenum" id="Page_220">[Pg 220]</span> -feet above the area as is explained by Figs. <a href="#f36">36</a>, <a href="#f38">38</a>. -These secondary pillars also transform the spaces left by the -exedras into square compartments.</p> - -<p><i>Arch Forms.</i>—The great arches under the dome have their -centres two feet six inches above the springing line. Those -in the principal arcade appear to be semicircular. In the -adjoining exedras, the porphyry columns not being nearly so -long as the green ones, they were set on pedestals, and the -arches are “horseshoe” in form, at least towards the -nave, for they are built “winding,” so as to approach a square -impost on their caps. We say approach, for there is a -gradual modification; the caps being an inch or two wider -towards the aisles, the impost increases this by a few inches -more. The openings from gynaeceum at west end are -segmental, some arches to the side windows and the lateral -windows of west elevation, <a href="#f25">Fig. 25</a>, are bluntly pointed. The -transverse arching of narthex is semielliptical, or rather -three-centred, a segment with the curve at the ends quickened -to become tangential to the wall. The pointed arch is used -in the great aqueduct near Constantinople and in one of the -city cisterns: both appear to be of the age of Justinian.<a id="FNanchor_341" href="#Footnote_341" class="fnanchor">[341]</a></p> - -<p><i>Vaulting.</i>—The vaulting is executed with the mastery -and freedom that comes of confidence in direct methods. -Certain portions are cylindrical, and others are formed by -cylindrical cross-penetrations. The octagon of the baptistery, -and the square compartments of the gynaeceum, are -covered by domes which penetrate down into the angles with -continuous pendentives. The larger compartments of the -vaults of the aisles require some explanation.</p> - -<p>Where four semicircular arches open about a square or -oblong space, and it is desired to make the vault conform -exactly to them, this may be accomplished by a semispherical -dome, the span of which is equal to the <i>diagonal</i> of the -compartment to be covered; such a vault presents an<span class="pagenum" id="Page_221">[Pg 221]</span> -unbroken surface. Or two cylindrical vaults may penetrate -at right angles, when the vault is broken by the intersection -into four surfaces. At S. Sophia it was evidently desired -to keep the springing high for the sake of the monolith -columns, and yet to maintain, so far as possible, a domical -surface.</p> - -<div class="figcenter" id="f40"> - <img src="images/p221.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 40.</span>—Construction of Vaults.</p></div> -</div> - -<p>Thus in <a href="#f40">Fig. 40</a> the dome springing out of the angle -requires the height <i>a</i>, the radius being equal to half the -diameter; but it was wished to flatten this to <i>b</i>, and yet for<span class="pagenum" id="Page_222">[Pg 222]</span> -the vault to rise everywhere from the arched line <i>e</i>, <i>c</i>. Now -if the vault conforms to the surfaces generated by the -revolution of the arc <i>d</i>, <i>f</i>, <i>b</i>, about the axis <i>o</i>, <i>d</i>, intersecting -with a similarly generated surface at right angles, we get a -mean between the domed and cylindrical forms—a domical -vault. The intersections, instead of being everywhere -square on plan as at <i>x</i>, <i>x</i>, and rising just to the crown of the -vault, as would be the case with cylindrical penetrations, will -be obtuse as at <i>i</i>, <i>i</i>, and not rising so high will practically -leave a large concave surface unbroken at the crown of the -vault. This is the principle of the vaults of S. Sophia; the -gradations being gentle and the means less obvious, the -forms are more like those found in nature, and the result is -extremely beautiful. The forms are further softened by -every edge of arch and vault being rounded, so that the -mosaic completely envelops the whole like a vast embroidered -gold tissue.</p> - -<p>There would be no difficulty in construction, for the -vault falls everywhere on an arch in the angle <i>e</i>, <i>f</i>, <i>b</i> that is -in planes which are radii to the arch. The vaulting of the -narthex is made up of a series of compartments, much narrower -than the span, divided by plain arched bands. To -meet the requirements of such oblong spaces two gauges -would be needed. The “winding” of the lines of intersection -was not to be feared, as they were so soon lost in -the more domical surface of the upper part of the vault.</p> - -<p>After the above was written we found the geometrical and -practical construction of these vaults explained in <i>L’Art de -Bâtir chez les Byzantins</i>, in a manner which differs from that -here given. M. Choisy’s method is first of all to design the -curve of the intersection over the diagonal of the plan as a -segment of a circle: then he considers all sections of each -compartment of the vault, taken parallel to its arch, and -therefore perpendicular to its axis, to be also segments of -circles springing from a series of points on the diagonals, -their centres being on the axis of each vault.</p> - -<p>We cannot agree with this, for, although theoretically the -vault so conceived differs immaterially from the solution we -have proposed, yet practically its erection would be full of<span class="pagenum" id="Page_223">[Pg 223]</span> -difficulty. M. Choisy’s method is that proposed by M. -Viollet-le-Duc for the later Romanesque vaults, in which, -the materials being poor rubble, centring must have been -required. In these Viollet-le-Duc thinks that diagonal -centres were used, and then planks were placed from them -to the generating arches, and the additional height of a -domical vault made up by a layer of earth. It is to be -noticed that diagonal centres in this case almost immediately -produced diagonal stone ribs.</p> - -<p>M. Choisy in his most interesting book shows that the -chief consideration in the construction of the Byzantine -vaults was to avoid wooden centring. With this view we -entirely agree, but in the system explained in <i>L’Art de Bâtir</i>, -the lines of construction would be arrived at by an elaborate -system, which required fixed axes to the vaults and either a -diagonal centre or a rod revolving in a vertical plane over -the diagonal. Then two rods, forming an angle with its -apex touching any given point in the diagonal curve and -the ends resting on the axis of the vault as a base, revolved -as a trammel for that course of the filling. This had to be -repeated for a series of points.</p> - -<p>By the method we have suggested nothing was required -except a single template to a fixed angle, the upper arm cut -to the curve from the crown of the arch to the crown of the -vault; we may suppose this to sweep round the generating -arches like a trammel, but practically testing the work with -it at the crown, as it gradually grew forward, was doubtless -found sufficient (see <a href="#f40">Fig. 40</a>). Thus the vault surfaces gave -the conditions of the problem and the intersections found -themselves.</p> - -<p>We did not notice the curious “curve of inflection” of -which M. Choisy speaks; certainly it does not generally -exist, although according to <i>L’Art de Bâtir</i> “S. Sophia -is the most curious example which remains of this singular -conception, where the spirit of Greek logic did not hesitate -before anomalies of form” (p. 55). We believe this curve -is deduced only by the logic with which M. Choisy’s follows -up his method of geometrical projection, which certainly -generates such an inflected curve. We cannot say this<span class="pagenum" id="Page_224">[Pg 224]</span> -without at the same time expressing our great admiration for -<i>L’Art de Bâtir</i>; its freshness of sight, clearness, vitality, -and logic are entirely delightful. Strzygowski and Forchheimer<a id="FNanchor_342" href="#Footnote_342" class="fnanchor">[342]</a> -follow Choisy’s demonstration; and give an -elaborate and analytical explanation of the curve and its -points of inflexion. One of the cisterns they say showed -the inflected line in the axial sections of the vaults (p. 71).</p> - -<p>Now the cistern vaults are roughly built and some of -them may have settled down; some indeed may have been -designed so that the axial section is horizontal for some -distance from the walls before the doming is commenced, -especially in the long direction of parallelogramic compartments. -The essential points are two. Did these vaults -grow forward from the walls and the intersections find -themselves, or was the curve of intersection first designed? -Are horizontal sections through the intersection of two -vault surfaces just above the springing obtuse or acute? -The vaults at S. Sophia have the angles of intersection so -obtuse that this first drew our attention to the subject.</p> - -<p>For a general view of the vaulted system of S. Sophia we -would especially refer to Choisy, whose remarks on the -construction of these vaults are most interesting. He -clearly shows how the large flat bricks made possible the -construction of vaults without centring. The extrados of -the arches from which the vaults spring being splayed to a -skew back, the large surfaces of the thin light bricks allowed -them to be stuck up against this skew back, or any part -already done, much as if they were square sheets of cardboard -(see left side of <a href="#f40">Fig. 40</a>). Indeed the bricks seem -sometimes to have been placed quite vertically, but the -better plan seems to have been to incline the beds, the vaults -were thus built in <i>sections</i> rather than in layers. To take -the simplest instance, a cylindrical vault, the arching would -begin at one end against the vertical wall, the rings of large -thin bricks being placed “on edge” in planes of say 60° -right down the vault. In other words, in a longitudinal -section of such a vault the joints instead of being horizontal -might be vertical, or a mean between the two. This method<span class="pagenum" id="Page_226">[Pg 226]</span> -was known in ancient Egypt and at Khorsabad, and the immense -vault at Ctesiphon is built in this way. Although -the mosaic covers most of the vaults at S. Sophia, a vast -number are exposed in the contemporary cisterns, and Choisy -seems to have found a cylindrical vault uncovered in a -chamber in one of the buttress masses (Plate ii.), he also -shows the construction of the aisle and narthex vaults (Plates -ix. and xi.), but he does not say if he had any authority -for these. We agree with him that the vaults of S. Sophia -owe much of their exceptional beauty to the fact that arches -do not break up the curving expanse of the vaulting to any -appreciable degree; in the narthex the arches become one -with the vault, see <a href="#f41">Fig. 41</a>.</p> - -<div class="figcenter" id="f41"> - <img src="images/p225.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 41.</span>—Section of Narthex and Gallery over showing Royal Doors. Scale twelve -and a half feet to an inch (1/125).</p></div> -</div> - -<div class="figcenter" id="f42"> - <img src="images/p226.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 42.</span>—Dome Construction.</p></div> -</div> - -<p><i>Domes.</i>—In elaborating his theory of Byzantine dome -construction Choisy refers to a passage in Eton’s <i>Turkish -Empire</i><a id="FNanchor_343" href="#Footnote_343" class="fnanchor">[343]</a> which describes domes the latter saw built without -any kind of centring. The builders put a post in the -middle about the height of the walls. To this is fixed a -pole reaching to the <i>inside</i> surface of the dome, which is -<i>free to move in all directions</i>. Below is attached to the post -another pole, which reaches to the outside and describes the -outside curvature of the cupola. These give the thickness -at the top and bottom and at every intermediate point. -“Where they build these cupolas of bricks they use gypsum -instead of lime, finishing one layer all round before they -begin another. Scaffolding is only required for the workmen -to close the opening at the top.” Our diagram <span class="allsmcap">A</span>, <a href="#f42">Fig. 42</a>, -represents this fascinating scheme of building: with such a -rod any point in the whole curvature is defined in a moment; it -equally gauges the horizontal courses and the rise of the dome.<span class="pagenum" id="Page_227">[Pg 227]</span> -Choisy suggests a second scheme which will be made clear -by <span class="allsmcap">B</span>. There is no reason, he points out, why the beds of the -bricks in a dome should radiate to the centre of the curve: -in the Byzantine domes the beds were flattened so that they -radiated more or less accurately to the springing of the -opposite side of the dome. The thrusts were thus minimised, -and the construction was facilitated. If rods forming -a triangle revolve about a vertical post as shown, the -horizontal curvature is gauged and the top rod will define -the slope for the bed. These rods can then be raised to -another position as shown in the figure. We should have -supposed that little care would be taken with the slope of -the beds, as from the thin bricks used the construction -practically became homogeneous.</p> - -<p>Choisy even thinks that the great dome of S. Sophia may -have been built in the air without centring. <span class="allsmcap">C</span>, in <a href="#f42">Fig. 42</a>, -gives his representation of the construction of the semidomes, -which he thinks were built out some way entirely -without support. The outer arch was then built on a centre -and the filling completed “in space” (a straight joint between -the arch and the dome filling is shown in the figure -in Salzenberg’s text). We think it more likely that in all -the larger domes auxiliary support was required “to close -the opening at the top,” when the space had been so contracted -that a light centring resting on the part already -completed was all that would be needed.</p> - -<p>From the importance attached to wood ties or girdles built -into the small domes of Mount Athos, we may be certain -that some system of chaining was applied to the great dome -of S. Sophia. Choisy gives an example of the former, and -also a dome constructed by interlocking semicircular bricks, -“two courses of which make a circlet absolutely inextensible.” -See <span class="allsmcap">B</span> in <a href="#f45">Fig. 45</a>. The dome of S. Vitale at Ravenna is built -of layers of earthenware pots or tapering tubes, the end of one -fitting into the next and rising in a continuous spiral course, -round and round from the bottom to the crown of the dome.</p> - -<p>The question of dome construction without centring is of -the greatest interest, and much might doubtless be gathered -of the traditional methods still followed in modern Greece,<span class="pagenum" id="Page_228">[Pg 228]</span> -Egypt, Persia, and S. Italy. Our <a href="#f43_44">Fig. 43</a> represents modern -domes in Persia, the upper diagram being an ordinary type -of exterior from a photograph of Koum. The dome beneath, -<a href="#f43_44">Fig. 44</a>, is from a sketch made in a Persian caravanserai by -Mr. Wm. Simpson,<a id="FNanchor_344" href="#Footnote_344" class="fnanchor">[344]</a> who describes it as built of burnt brick, -square below, round above. “As I was told that centring -was never used in Persia I presume this one was constructed -without it.” This beautiful form may be considered as four -conical squinches penetrating a hemisphere as at <span class="allsmcap">A</span>, or as -a gradual transition from square to round, <span class="allsmcap">B</span>. Ancient -Persian domes of substantially the same form, in which a -hemisphere penetrates a pyramid, are shown by Dieulafoy.<a id="FNanchor_345" href="#Footnote_345" class="fnanchor">[345]</a></p> - -<div class="figcenter" id="f43_44"> - <img src="images/p229.png" alt="" /> - <div class="caption"><p><span class="smcap">Figs.</span> 43 and 44.—Modern Domes built without Centring.</p></div> -</div> - -<p><i>Chainage and Walling.</i>—In the East the frequency of -severe earthquakes necessitated a manner of construction -which should resist disruption. The massive walls of stone -of the Classic period are cramped together with metal. The -stone Byzantine church at Ezra has a course of interlocking -stones forming a chain around the octagon beneath the dome -(<a href="#f45">Fig. 45</a> a). At S. Sophia the continuous courses of stone -some feet above the floor, mentioned by Salzenberg, are -almost certainly converted into a chain by cramps; and the -stone course at the springing of the great arches probably -has the same function. In brickwork lateral cohesion was -usually obtained by a system of continuous wood ties, which -is described by Choisy as built into the wall at every five or -six feet of height. According to the Greek architect, M. -Kouppas, ties of bond timbers were used in this way in the -construction of the cisterns, “laid not only along the outside -walls but also in parallel rows beneath the lines of pillars and -arches;” other rows of timber were built in either as ties or -struts in continuous lines at the springing of the vaults.</p> - -<p>At S. Sophia there was doubtless a large use made of temporary -ties of this kind during the construction. In many -places at the springing of the gynaeceum vaults the ends of -such provisional ties, which have been sawn away, appear. -Besides these there is a series of wood beams which from the -<span class="pagenum" id="Page_230">[Pg 230]</span> -first were intended to be permanent, for they are richly -carved (<span class="allsmcap">C</span> in <a href="#f45">Fig. 45</a>); these are shown by double lines on -the right-hand side of Figs. <a href="#f5">5</a> and <a href="#f6">6</a>, the single lines showing -the iron ties. These carved beams, as Choisy points out, are -struts rather than ties. If we take one of the columns standing -in an angle in the aisles, an impost of marble connects it -with the wall to which it is nearest, and a carved wood beam -forms a strut to the other wall. The beam across the central -bay of secondary order (<a href="#f5">Fig. 5</a>) forms a rigid strut to the -two wider arches (see <a href="#f38">Fig. 38</a>, where, however, by oversight -the beam has been omitted; it is at the springing of narrow -arch high above iron tie). Choisy asserts that “the architect -intended to preserve only the struts, all the ties subject to -extension were removed, but their suppression was disastrous, -and they had hastily to replace them by bars of iron which -were fixed with difficulty.” We do not know what reason -Choisy had for supposing the system of iron ties to be an -afterthought, unless it is because in some cases they appear -directly above the ends of the removed wooden ties. Now -we believe they occur equally above the carved beams in the -openings from the gallery to the nave, and there is no sign -of wood ties having been removed from the ground-floor -vaults, where the iron bars fulfil such an important function. -It is certain that the iron bars to all the nave arches are -original, for the marble casing shows no sign of alteration, -and they are evidently threaded continuously through the -imposts. The important iron ties across the aisles are -shown in <a href="#f45">Fig. 45</a>: <i>d</i> is the attachment to the column of great -order, <i>e</i> to impost of secondary order behind it, <i>f</i> is a king -rod. Across the west gallery the span is lessened by stone -corbels beneath the ties <i>g</i>.</p> - -<p>With a view of binding the vaults and walls together into -a homogeneous mass, the arched vaulting of the interior was -carried through the thickness of the walls: in some cases -these arches were left open, to be afterwards filled with a -screen of windows. The walling of the sides of the church -is built independently of the great piers, as straight joints on -the exterior show, and Choisy remarks that the independence -of masonry unequally charged was a leading idea in Byzantine<span class="pagenum" id="Page_231">[Pg 231]</span> -construction; indeed it is obviously necessary where the -quantity of mortar is so great that the brick at times becomes -secondary to the joints.</p> - -<div class="figcenter" id="f45"> - <img src="images/p231.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 45.</span>—Methods of Chainage.</p></div> -</div> - -<p><i>Mortar and Cement.</i>—The mortar used by the Byzantine -builders was called Keramotos, from the crushed pottery or -tiles which was used in its composition. In an article in the -<i>Transactions</i> of the Philological Society of Constantinople M. -Kouppas<a id="FNanchor_346" href="#Footnote_346" class="fnanchor">[346]</a> enters fully into the methods which have been -traditionally followed in cistern building, and describes this -mortar as formed of powdered unslaked lime (<i>asbestos</i>), -crushed pottery, coarse sand, and tow or hair, fully a third -being lime, another third the crushed pottery, about a fifth<span class="pagenum" id="Page_232">[Pg 232]</span> -the coarse sand, and the rest or 10 per cent. of hair or tow. -These were then mixed together in water.</p> - -<p>M. Kouppas also describes a hydraulic cement made of -“coarse lime (<i>titanos</i>) slaked by water into powder, sifted and -laid in layers with cotton shreds. This was thoroughly -mixed, and then olive oil was poured in, and the whole -gradually brought to a homogeneous mass.” Andreossy<a id="FNanchor_347" href="#Footnote_347" class="fnanchor">[347]</a> -describes a mixture (called <i>lukium</i>) made of a hundred -“ocques” of lime, freshly slaked in the form of powder, -twenty-five “ocques” of linseed oil of the best quality, and -twenty drachms of filaments of cotton. This was reduced -to a dough, and then before using fresh oil was added. -Strzygowski<a id="FNanchor_348" href="#Footnote_348" class="fnanchor">[348]</a> also speaks of a Turkish cement “of six parts -by weight linseed oil, eight parts slaked and powdered lime, -and one part of cotton.” He refers to a Roman mixture -mentioned by Pliny of “oil and quicklime.”</p> - -<p>By far the best and earliest account of the methods used -for obtaining lime and making cement at Constantinople is -contained in Dr. Covel’s MS. in the British Museum -(1670-7). The lime was burnt in a pit dug in the ground, -the stone, which was hard and black and like “Plymouth -stone,” being piled up in and above it like a beehive hut, an -opening being contrived in the side for inserting fuel, and a -smaller pit dug in the middle for the ashes; it was fired for -three days. Then he describes in detail how a cement was -made which recalls what the Anonymous says of the joints -of the piers at S. Sophia being made of unslaked lime -(<i>asbestos</i>) and oil: “To make good lukium (a strong -cement as I may call it) they take the above said calx or -burnt stone and slake it with water, and so soon as it is -moulded and turned into a meal (even while it is warm) they -work it with linseed oil and cotton till it is well saturated -and brought to the consistency of plaster, and make present -use of it, for it will not rest in its perfection above one day -or two at most, and if they use it immediately after it is -tempered it is certainly the best. In the works of their -Bagnos so soon as it is laid on [as a plastering, understood<span class="pagenum" id="Page_233">[Pg 233]</span> -here] they let the water come to it, which, by tempering the -heat of the lime, hinders it from cracking. Cotton is better -to be mixed amongst it than hair, it being more tenacious -and apt to incorporate.” He again describes a similar cement -(“lukium, an excellent mortar”) used in some waterworks. -“It is made of unslaked lime and beaten brick most finely -powdered and sifted, cotton wool very thinly pulled and -strewed on, and then all slaked with linseed oil and mixed -together: then they use it whilst it is fresh made, otherwise it -hardens immediately.”<a id="FNanchor_349" href="#Footnote_349" class="fnanchor">[349]</a> Such a cement must have had the -hardening qualities of gesso; the oil cements or mastics used -in England some fifty years ago were closely allied in their -composition. Modern mortar has lost much by our neglecting -the tradition of using crushed brick.</p> - -<p>Eastern builders spared neither labour nor time in preparing -and testing their materials. Tavernier tells us the -waterproof terraces of the Persian houses were formed of “a -layer of lime beaten for eight days, which became hard like -marble.” The materials used in Byzantine building were -tested by long exposure, slaked lime was sealed up in pits for -one or two years; and stones, bricks, and tiles they had found -should not be used new, for, as Vitruvius says, “the only -way of ascertaining their goodness is to try them through a -summer and winter.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_234">[Pg 234]</span></p> - -<h2 class="nobreak" id="CHAPTER_XI">CHAPTER XI</h2> -</div> - -<p class="cd">MARBLE MASONRY</p> - - -<h3>§ 1. BUILDING PROCEDURE.</h3> - -<p>The method and sequence of the building operations as -followed by the Byzantines seem to have been very much as -follows. After the form of the building had been more or -less decided, the first thing necessary was to collect marble -monolithic shafts. At S. Sophia the eight verde-antique -shafts match one another very closely; they are all of one -length, and vary from 7½ to 8 diameters in proportion. The -four pairs of porphyry shafts in the exedras differ much -more; and, as we have remarked, those in the western exedras -seem to be made up of separate drums. The proportions of -these vary from less than 7 diameters on one side to 8½ on -the other. The great monoliths are the largest known, and -of nearly normal classic proportion, so we can readily see that -it was necessary to have a certain knowledge where such -marbles might be quarried or otherwise obtained, before even -the foundations were prepared, for the columns decided the -heights and points of support of the building. These once -assured, the body of the structure was proceeded with as a -brickwork shell without further dependence on the masons, -who were only required to prepare bases and capitals, and -then the cornices; everything else was completed as a brick -“carcase.”</p> - -<p>At S. Sophia the main square piers are in fact stone, but -this was only for strength, not because they were to be seen -finally, any more than the rough brick.</p> - -<p><span class="pagenum" id="Page_235">[Pg 235]</span></p> - -<p>The building completed in this form we must remember -was made up of vast masses of thin bricks, of which the -mortar occupied probably a half of the aggregate; this had -to thoroughly settle down and dry before the rest of the -marble masonry was inserted, and the wall casings applied. -The marble work, however, was all the while being prepared, -and, the building once ready, the windows were inserted as -screens in the openings previously left; marble jambs and -lintels for the doors were placed in position also, with -windows above them filling out to the brick arches. The -walls were then sheeted with their marble covering, the -vaults were overlaid with mosaic, and the pavement was laid -down. In this way, as the bricklayers had not to wait for -the masons, the carcase was completed in the shortest possible -time; and by reserving the application of the marble until -the structure was dry and solid, it was possible to bring -together unyielding marble and brickwork that must have -settled down very considerably.</p> - - -<h3>§ 2. MARBLE QUARRIES.</h3> - -<p>Much confusion exists as to the marbles of which the -ancient writers speak; this has been occasioned necessarily by -wrong identifications when but few ancient quarries had been -recovered, and most unnecessarily by a persistence in using -antique names for modern varieties, long after the true -provenance has been discovered, when the ancient marbles are -not “in the market.” It is the Italian names that have been -corrupted in this way, and it would be a great advantage if -they were discarded in England, or better still, used only in -conjunction with the geographical names. In this case as -the Italian names are descriptive, and, as many varieties of -marble are found in the same or neighbouring quarries, we -should get a safe nomenclature. Synnadan would thus be -qualified as Pavonazzetto or Fior de Persico, and the banded -varieties from Carystian, Proconnesian, or modern quarries -might without confusion be called cipollino.</p> - -<p>In endeavouring to identify the marbles mentioned by the<span class="pagenum" id="Page_236">[Pg 236]</span> -ancient writer on S. Sophia, we have made use of Salzenberg’s -notes to the Poem of the Silentiary, and of the researches of -Garofalo,<a id="FNanchor_350" href="#Footnote_350" class="fnanchor">[350]</a> Corsi,<a id="FNanchor_351" href="#Footnote_351" class="fnanchor">[351]</a> and C. O. Müller;<a id="FNanchor_352" href="#Footnote_352" class="fnanchor">[352]</a> and we have also been -helped by the practical knowledge of Mr. W. Brindley. The -account of ancient marbles easily accessible in Professor -Middleton’s <i>Ancient Rome</i>, 1892, is substantially an extract -from Corsi.</p> - -<p><i>Porphyry.</i>—The “porphyry powdered with bright stars” -of the poet is used for the columns of the exedras, and for -some of the panels on the walls. The Anonymous author -states that these columns came from a temple of the Sun, but -the Silentiary says “they loaded the boats on the bosom of -the Nile,” and there seems no reason to doubt that the -columns came direct from the porphyry quarries at Mons -Porphyrites in Egypt. This porphyry mountain is at Djebel -Dochan, twenty-five miles north-east from Thebes. Lepsius<a id="FNanchor_353" href="#Footnote_353" class="fnanchor">[353]</a> -seems to prove that the quarries were worked as long as the -Nile canal remained open; and ships still sailed on the canal -till the appearance of Islam. Letronne<a id="FNanchor_354" href="#Footnote_354" class="fnanchor">[354]</a> gives details of the -method of transit. The porphyry was brought from the -quarry to the Red Sea, and then by the Nile canal to the -Lower Nile, and hence into the Mediterranean.</p> - -<p>On this evidence we would say that the porphyry used -at Constantinople in Justinian’s reign was quarried for the -purpose, and not brought from Roman buildings.</p> - -<p><i>Marmor Molossium.</i>—“The marble that the land of -Atrax yields,” is called elsewhere in the poem “Thessalian,” -and, from the province in Thessaly where it was found, -“Molossian.” Corsi and Garofalo both wrongly describe -Molossian as <i>Fior di Persico</i>. The marble really is the -brecciated serpentine and limestone, now called Verde -Antico, the <i>Lapis Atracius</i> of the ancients, of which the -eight great columns in the nave and many others are formed. -Here again it has been said that these eight large columns -were taken from a building at Ephesus, but the Silentiary<span class="pagenum" id="Page_237">[Pg 237]</span> -says, “Never were such columns hewn from sea-washed -Molossis,” and we can hardly doubt that they were quarried -especially for S. Sophia, together with the rest of the -enormous quantity used in the church. The quarries were -near Atrax in Thessaly, and the marble is best named as by -French writers, Thessalian green.</p> - -<p><i>Lapis Lacedaemonius.</i>—“The fresh green, like emerald, -from Sparta,” was probably the porphyry quarried in -Mount Taygetus in Laconia. This green porphyry, called -by Corsi <i>serpentino</i>, is used in the opus sectile of S. Sophia. -As a green porphyry is obtainable in Egypt, the former -should be distinguished as Spartan.</p> - -<p><i>Proconnesium.</i>—“The hills of Proconnesus,” according -to Paulus, “strewed the floor.” The same marble was also -used for the columns in the upper aisles, for the eight -square columns below, and for the capitals, door frames, -window lattices and other structural parts; also for the -plating of the lower arcade and other parts of the wall-surfaces, -and as frames to the coloured marbles. It is a soft -white, or white with gray-banded streaks. The quarries -of Marmora are still worked. This marble was greatly -prized in Classic times, and Pliny mentions that it was used -at the palace of Mausolus, where, it is said, the method of -plating brick walls with marble was first applied. It closely -resembles gray Carystian but they should not be confounded.</p> - -<p>“The Bosporus stone with white streaks on black,” -used for the floor, was probably the ordinary limestone—black -with white veins—used at Constantinople.</p> - -<p><i>Marmor Carystium.</i>—“The fresh green from Carystus,” -is the marble now known as cipollino; it was quarried at -Carystus, at the foot of Mount Ocha, in the island of -Euboea. Its beautiful greenish white surface, marked with -broad wavy lines of green or purplish gray, was often -praised by the later classical writers. Its resemblance to -the markings of a sliced onion is the origin of its name. -Modern cipollino need not be confused with true <i>Carystian -marble</i>, which the ancient material should always be named.</p> - -<p><i>Marmor Phrygium.</i>—“The marble hewn from the<span class="pagenum" id="Page_238">[Pg 238]</span> -Phrygian land towards the Mygdonian heights,” spoken -of as “many-coloured,” has been identified as the marble -which came from Dokimion near Synnada in Phrygia. The -descriptions by Statius and Claudianus of the deep red-veined -marble of Synnada agree closely with the Phrygian -and Mygdonian stone as described by Paulus. It is a -brecciated marble of a rosy colour, slabs of which alternate -with verde antique in the panelling of the side aisles of -S. Sophia.</p> - -<p>The quarries at Dokimion were visited by Leake and -Texier, and a recent examination of them by M. Leonti<a id="FNanchor_355" href="#Footnote_355" class="fnanchor">[355]</a> -disclosed all shades of “violet and white, yellow, and the -more familiar brecciated white and rose-red.” This beautiful -material is best called Synnadan, as the modern Italian -name Pavonazzetto is also used for the streaked marble -quarried at Carrara.</p> - -<p><i>Marmor Hierapolitanum.</i>—“The stone from the sacred -city Hierapolis.” This marble has been identified by -Professor Ramsay.<a id="FNanchor_356" href="#Footnote_356" class="fnanchor">[356]</a> It was found at Thiounta about ten -miles N.W. of Hierapolis in Asia Minor. It is variegated -like Synnadan, and was much used for sarcophagi; indeed -Professor Ramsay says, “On every occasion when its use is -mentioned, it was employed to make sarcophagi.” It was -called by the name of the great city which is not far distant, -“and to which doubtless orders from the outer world were -sent. Similarly the marble found at Dokimion was always -called Synnadic marble from the time of Strabo, yet Dokimion -was thirty-two miles from Synnada.”</p> - -<p><i>Marmor Iassense.</i>—The “Iassian, with slanting veins of -blood-red on livid white,” was used for the phiale. Corsi -identifies this with Porta Santa, but Porta Santa, Garofalo -says, came from Chios, and this conclusion we believe is now -accepted. Garofalo thought Iassian to be the same as the -Carian marble mentioned by Porphyrogenitus in his <i>Life of -Basil the Macedonian</i>, and says it was quarried on the island -quite close to the coast of Caria. A “stone mingled with -streaks of red” is also mentioned by Paulus as brought from<span class="pagenum" id="Page_239">[Pg 239]</span> -“the Lydian Creek.” Possibly the port of Iassus is again -intended. The ordinary Lapis Lydius was a black touchstone. -The “rosy cipollino,” in which wide bands of deep -red alternate with white, used in the panelling of the aisles -does not seem to be mentioned specifically by Paulus; -unless this is the Iassian marble to which his words would -very well apply. A variety of rosy cipollino, the splendidly -figured red and white marble, is obtained in Laconia.</p> - -<p><i>Marmor Numidicum.</i>—“The stone, nurtured in the hills -of the Moors, crocus colour glittering like gold,” is the -beautiful warm yellow African marble from Semittu -Colonia, about fifty miles from Tunis, so highly prized by -the Romans, and now called giallo antico. It is used in -S. Sophia in the sectile work.</p> - -<p><i>Marmor Celticum.</i>—“The product of the Celtic crags, -like milk poured on a flesh of glittering black,” has -been identified as the Bianco e Nero Antico, quarried in -the Pyrenees.<a id="FNanchor_357" href="#Footnote_357" class="fnanchor">[357]</a> The black marble with white streaks, -which occurs in some of the panels in the nave, is probably -the one to which the poet refers.</p> - -<p><i>Onychites.</i>—“The precious onyx” mentioned by the -poet is the alabastrites or onychites of the ancients. It is -the oriental alabaster (aragonite) used in the horizontal -bands of the nave, and some of the panels. It is a translucent, -fibrous stalagmite formation, generally of a clear -honey-colour. Some of the varieties are strongly veined -with white, and others are much darker. Large ancient -quarries of this Egyptian alabaster have been discovered on -the east bank of the Nile.</p> - -<p>Paulus appears to make no mention of the dusky black -with dull golden veins used in the bema apse, which closely -resembles the “Porto Venere” quarried at Spezzia.</p> - -<p>The marble blocks were roughly hewn into shape with -picks while still attached to the rock, and were then separated -by the aid of metal wedges. Many objects discovered -show that they were sometimes completed at the quarry, at -other times the blocks were roughly brought to the sizes -and forms required. The quarries appear to have been<span class="pagenum" id="Page_240">[Pg 240]</span> -officially inspected. -Texier -found many architectural -fragments -and blocks -at Dokimion -bearing the signs -of the inspectors -of the block. -Professor Ramsay -writes: “The -route from Dokimion -to the -coast is commercially -almost -the most important -in Asia -Minor. The -road along which -the enormous -monolithic columns -were transported -passed -through Synnada, -where the central -office for managing -the quarries -was situated.”</p> - -<div class="figcenter" id="f46"> - <img src="images/p240.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 46.</span>—Marble Slabs and Frieze in Narthex.</p></div> -</div> - -<p>Ephesus and -Alexandria were -most important -centres for the -working and export of marble, of which such an enormous -quantity was required by the Byzantine builders. -The method of slicing up the blocks into veneer is described -by an Eastern pilgrim, Nasiri Khusrau, in 1047. He -says: “In the city of Ramlah there is marble in plenty -... they cut the marble here with a toothless saw -which is worked with Mekkah sand.” This sand he -<span class="pagenum" id="Page_242">[Pg 242]</span> -tells us came from Haifa near Acre (Pal. Pilgrims’ Text -Soc. Compare Pliny, <i>Hist. Nat.</i> xxxvi.)</p> - - -<h3>§ 3. APPLICATION OF MARBLE.</h3> - -<p>At S. Sophia the application of the thin sheathing and -incrustations (the “crustae” of Pliny) of the “delectable -variety” of marbles is made in many ways. First there are -the large sheets of the grayish Proconnesian, opened out -side by side “so that the veining of one follows from the -next.” Then the richer varieties are set in bands and panels -with narrow notched fillets between them, and still more -precious slabs are framed round with carved margins of white. -Over the doors entering the aisles at the west there are -panels with especially wide and rich borders of meanders -growing from chalices. The large panels are very often of -two pieces with matched veining. <a href="#f46">Fig. 46</a> shows one of -a row of strongly veined panels from the narthex with the -frieze above. All the wall plating is arranged with delightful -variety as to size, and in the alternate placing of light -against dark, so that there is no rigidity or over-accurate -“setting out.”</p> - -<p>Besides this constant change of size, colour, and arrangement, -there is a great variety in the surface treatment. We -have the shallow channelling into continuous mouldings of -the skirtings, some portion of which has a stiff fret sunk in -the surface in addition. Then there are panels on either -side of the great door, and on the faces of the projections -from the great piers in the aisles, coming just above the eye, -(<a href="#f48">Fig. 48</a>) of plain russet-red or brown which bear severe -abstract patterns, made out by slight sinking into the surface. -The centre in some cases is overlaid with an oval or -square of another precious material such as red or green -porphyry or the “onyx”; the whole of the sunk portions -may have been filled by inlays, or in some the sinking alone -may have formed the design. The upper part of the bema -is incrusted with slabs patterned in this way, and here the -sunk portions are entirely inlaid; several parts of this are -represented by Salzenberg. In this work “casements” are<span class="pagenum" id="Page_243">[Pg 243]</span> -sunk into the rosso or other deep coloured field, and green -porphyry and other materials, set off by yellowish-white -lines and spaces are inlaid in geometrical panels, or friezes -of stiff foliage.</p> - -<div class="figcenter" id="f47"> - <img src="images/p241.jpg" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 47.</span>—Portion of Marble Lining of Aisles. Scale about 1/50.</p></div> -</div> - -<p>Our <a href="#f47">Fig. 47</a> shows the arrangement of the marble plating -on the great piers towards the middle compartment of the -aisles; in this we have shown one of the enriched panels -now only sunk, as inlaid. <a href="#f48">Fig. 48</a> gives outlines of others of -these panels. The marble used in the aisles is as follows. -First comes the moulded skirting of white Proconnesian, -then a 3′·3″ band of the streaked variety of the same marble. -A band of verde antique 2′·0″ wide follows, above which is a -row of slabs alternately verde antique and Synnadan. A -second similar row of slabs comes above a band of rosy -cipollino. The frieze below the cornice is of marble sectile -work. The passages through the piers are lined with slabs -of streaked Proconnesian marble, nearly fourteen feet high.</p> - -<p>The gynaeceum has two bands at the bottom and an -upper band of rosy cipollino; the wall space between is -covered with a row of vertical slabs of streaked Proconnesian, -except the central space on north side where the slabs are of -rosy cipollino. In the spandrils of gynaeceum arcade at -the west are roundels of oriental alabaster.</p> - -<div class="figcenter" id="f48"> - <img src="images/p244.jpg" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 48.</span>—Marble Panels with Sunk and Inlaid Panels. Scale about 1/30.</p></div> -</div> - -<div class="figcenter" id="f49"> - <img src="images/p245.jpg" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 49.</span>—Inlaid Marble Slabs above Royal Door. Scale about 1/50.</p></div> -</div> - -<p>Directly over the Royal Door is a very beautiful arrangement -of decorated slabs. First there is an immense upright -piece of verde antique in the middle, ten or twelve feet high, -with two lateral horizontal pieces making a great cross, -in the quarters of which are panels with sunk and inlaid -designs. At the head of the cross is a fifth panel which -displays a still richer form of decoration. It represents -a vaulted recess or ciborium between the columns of which -hang curtains, looped back, and displaying a dark field. -Here is the matrix of a cross which was probably of silver; -right and left of the cross are other matrices, in which were -set crowns or other objects, not to be determined from -below. The two upper lateral panels have sunk geometrical -designs. The lower pair are inlaid; their centres are -charged with circles, above and below which are pairs -of dolphins. These inlaid designs are made out in porphyry<span class="pagenum" id="Page_246">[Pg 246]</span> -and green, which are separated by white lines and -spaces which shine out bright, and are probably of mother -of pearl like similar inlaid panels of this date around the -apse at Parenzo. These panels at Parenzo are so much like -those of S. Sophia that we do not doubt they were sent -from Constantinople. There are very similar panels in the -baptistery at Ravenna.</p> - -<p>Finally we have the enriched surfaces of the two ranges -of arcade spandrils. The upper row being sectile work of -coloured morsels put together to form a pattern of scrolls -and foliage, and the lower series having the surface entirely -sculptured with the exception of discs of precious substance -which are set in them.</p> - -<p>This uttermost splendour is quiet and soft in its result. -The surface of course has not that mechanically even, -repellently smooth, painfully fitted appearance of modern -work. The planes are waved under the hand sawing, and -the face is smooth but hardly polished. The colour in -consequence, gray and russet rising to full yellow, green -and reds, veined, waved, and flowered in all manner -of gradations and lovely combinations, <i>vibrates</i> with a -wonderful “bloom” which doubtless owes much to age; -but it is very probable that the marble was polished with -wax encaustic which was so generally used for finishing -surfaces by ancient workers. The wax deepens and mellows -the colour and leaves a dull pleasant polish. We suppose -the method followed was that recommended by Vitruvius -for the encaustic polishing of coloured stucco walls. “Lay -on with a brush a coat of melted Punic wax tempered with -oil; then with a brazier of hot charcoal heat all the waxed -surface, forcing the wax to melt in an even way over the -whole surface; finally rub the wall with a wax candle and -then polish it with a clean linen cloth just in the way the -nude marble statues are treated. This practice is called γάνωσις -by the Greeks.” Felix Fabri, who travelled in Palestine at -the end of the fifteenth century, describes the rows of costly -columns at Bethlehem, “and they are polished with oil so -that a man can see his face in them as in a mirror.”</p> - -<p>In regard to the wall plating we wish especially to point<span class="pagenum" id="Page_247">[Pg 247]</span> -out the extremely easy way in which it is applied, without -thought of disguise. The slabs of great size are placed -vertically, entirely the reverse of solid construction; moreover -the slabs of the finer panels are opened out side by -side so that the veinings appear in symmetrical patterns. -At the angles the lap shows in the most open way; while it -is mitred where restored. The best account of the actual -methods of fixing the marble slabs to walls by metal clamps -which notch into the edges of the sheet before the adjoining -one is fixed, is given by Professor Middleton, who figures -an example of the second century from Rome which might -belong to S. Sophia.</p> - - -<h3>§ 4. MARBLE MASONRY.</h3> - -<p>After more than a thousand years of working marble -through one complete development, Greek builders, by -considering afresh the prime necessities of material, and -a rational system of craftsmanship, opened the great quarry -of ideas in constructive art which is exhaustless. In a -hundred years architecture became truly <i>organic</i>, features -that had become mere “vestiges” dropped away, and a new -style was complete; one, not perhaps so completely winning -as some forms of Gothic, but the supremely logical building -art that has been.</p> - -<p>If anywhere this vitalising had not been completed, it -would have been in the more decorative forms; but here we -find no mere exercise in applying architectural orders, everything -is as real and fresh as in the structure. Having the -Corinthian and Ionic capitals before their eyes and without -forgetting or rejecting them, the Byzantine builders invented -and developed an entirely fresh group of capitals fitted in -the most perfect way for arched brick construction. As -Mr. Freeman has said (<i>Hist. Essays</i>, iii. p. 61) of the new -architecture: “The problem was to bring the arch and -column into union—in other words to teach the column -to support the arch.” This was done by shaping the -block of marble which formed the capital so that a simple<span class="pagenum" id="Page_248">[Pg 248]</span> -transition from the square block to -the circle of the column was formed. -When they were sculptured, and most -of them are most elaborately sculptured, -the general form is not altered -but the carving enriches the surface -only. The new “Impost capital” is -found throughout the great cistern -generally known as that of Philoxenus -which is usually referred to the -time of Constantine. In their study -of the vaulted cisterns of Constantinople -Forchheimer and Strzygowski -have contributed much that is new to -our knowledge of the architecture of -the city and show that the evidence -is entirely against this theory, which -was propounded by Gyllius, whom -more recent writers have been content -to copy. This cistern, known to the -Turks as Bin Bir direk (thousand and -one columns), they identify with a -great cistern which the <i>Paschal Chronicle</i> -says was built by Justinian in -528. We believe with them that -the architecture of the cistern agrees -entirely with what we might expect -as an outcome of the special circumstances -in the time of the great building -era. “Bin Bir direk exhibits the -highest development of the art of -cistern building, and it thus in its -particular sphere resembles S. Sophia; -like it the boldness of its construction -was never again equalled by the Byzantines. -It would be an explanation -of the bold achievement if it might -be assumed that Anthemius proved -his capability in this subterranean work<span class="pagenum" id="Page_249">[Pg 249]</span> -before he made his supreme effort in S. Sophia. Technical -features, however, make it seem probable that the builder was -an Alexandrine.”</p> - -<div class="figcenter" id="f50"> - <img src="images/p248.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 50.</span>—Columns of -Great Order.</p></div> -</div> - -<div class="figcenter" id="f51"> - <img src="images/p249.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 51.</span>—Capital now Outside Porch at S. Sophia.</p></div> -</div> - -<p>“It is of the widest significance for the history of Byzantine -art that here throughout the new ‘impost capital’ is -employed in its plainest constructive form. It seems not -improbable that the daring builder of the cistern was the -first to make use of this form of capital which completely -broke with classical tradition and is in such perfect -accord with the exigencies of arch-architecture.” This is -to go too far; for if the cistern is rightly referred to 528 it -is probable, as we shall show, that the impost capital had at -that time been for many years in use.</p> - -<p>At S. Sophia the four main varieties of the new capital are -all found. In the cistern the change of form is made by<span class="pagenum" id="Page_250">[Pg 250]</span> -rounding away the angles at -the bottom without reference -apparently to any geometrical -idea; but in other capitals -which belong essentially to -this type the method seems -to have been that explained -in <a href="#f53">Fig. 53</a> which represents -the form of the caps of the -lamp pillars on the front of -the western gynaeceum. They -are most delicately carved -with a network of ornament, -but the general form is undisturbed -as we have explained. -The plain capitals -of the west window and the -isolated sculptured capital -Salzenberg found in the north -aisle are also of this form, -which we shall call the Impost -Capital type I. The -profile can be made convex -or inflected, we are only -speaking of the simplest -method of changing the -form from a circle to a -square.</p> - -<div class="figcenter" id="f52"> - <img src="images/p250.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 52.</span>—Columns in Gallery.</p></div> -</div> - -<p>Two capitals now used as -mounting blocks outside the -east porch, which we illustrate -(<a href="#f51">Fig. 51</a>), furnish us -with a sculptured example of -a similar capital in two -stages of development, one -of them never having been -completed. We give here -an outline of the blocked -out capital, in which the<span class="pagenum" id="Page_251">[Pg 251]</span> -method of workmanship -may be -plainly seen. First, -the block was cut -away below convexly -to meet the circular -shaft. In this state -it exactly resembles -the capitals of the -cistern. Secondly, -on this was marked -a border all round -the top; also centre -lines running down each of the faces, about the centre point -of each of which a circle of about seven inches diameter -was drawn; and at the bottom the width for the necking -was marked off. Thirdly, the intermediate spaces were -sunk about two inches; the hollow of the abacus was -formed; the necking, and edge of the circular discs were -rounded. This brings the capital to the stage shown in -the diagram, the point to be observed being that the abacus, -boss, and necking lie in one surface, first obtained, and -the rest in another face, sunk some two inches below the -former. It cannot -be doubted that the -style of these capitals -is contemporary -with the work at S. -Sophia, and the finished -one bears a -monogram which -appears to read -<span class="inscribe">ΘΕΟΔΩΡΟΥ</span>; it is, -however, almost -identical with that -of Theodora, which -occurs on the capitals -of the interior. -MM. Curtis and<span class="pagenum" id="Page_252">[Pg 252]</span> -Aristarches,<a id="FNanchor_358" href="#Footnote_358" class="fnanchor">[358]</a> who have written on these monograms, think -it belonged to a portico, restored in 409 by an eparch -called Theodoros. Work of this style was not done at -that time, and these capitals possibly belonged to some of -the outer courts of the church mentioned by Procopius. -They resemble the great capitals so closely that they might -almost be preliminary studies. The strips which are left -down two sides of the capitals were customary in the capitals -of a Byzantine colonnade, especially where screens were -inserted between.</p> - -<div class="figcenter" id="f53"> - <img src="images/p251.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 53.</span>—Rudimentary Form of Capital. Type I.</p></div> -</div> - -<div class="figcenter" id="f54"> - <img src="images/p251b.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 54.</span>—Rudimentary Form of Capital. Type II.</p></div> -</div> - -<div class="figcenter" id="f55"> - <img src="images/p252.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 55.</span>—Rudimentary Form of Capital.</p></div> -</div> - -<p>The two capitals in the loggia by the baptistery furnish -a well-defined variety of the impost capital. The square at -the top is here wrought into curves recalling the antique -abacus. These are gathered together into the circle of the -necking in a beautiful convex form which may be called the -Melon type II., see <a href="#f54">Fig. 54</a>.</p> - -<p>We give in <a href="#f50">Fig. 50</a> an outline of the whole column of the -great order in the interior of the church, and in <a href="#f56">Fig. 56</a> a -diagram of the blocking out of the capital. The columns<span class="pagenum" id="Page_253">[Pg 253]</span> -here and throughout the great church being monoliths of -fine material, the supporting area is very small compared -to the area of the arch imposts, which are of brick sheeted -with marble. It will be seen that the projection is just -that required by the impost, which springs directly from the -outside edge.</p> - -<div class="figcenter" id="f56"> - <img src="images/p253.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 56.</span>—Rudimentary Form of Capital. Type III.</p></div> -</div> - -<p>The great capitals of S. Sophia are remarkable examples -of the evolution of beautiful forms on the mason’s banker; -the workman <i>finding form</i> in the stone block by the application -of practical methods. The lower half of the -capital is circular like the shaft, rising in a slightly swelling -curve of a bowl; the upper part is square like the impost. -The basis of form is that of a bowl with a tile placed -above it, and is thus that of the Greek Doric. This<span class="pagenum" id="Page_254">[Pg 254]</span> -type III. in which the circle does not pass by transition into -the square impost, but changes abruptly, we may call the -bowl and tile capital.</p> - -<p>At S. Sophia the surface of the form obtained as shown -in the figure is wrought into crisp acanthus and palm -foliage; and is in many places, especially at the tips of -the leafage and behind the monograms, entirely undercut. -The cutting being so sharp, and the shadows so deep, while -at the same time the general form with its broad gradation -of light and shade is so little modified by surface modelling, -the effect is almost that of inlaying black on white. The -capitals of the columns standing in the aisles, and those of -the first floor ranged against the central area, are similar to -the great order, but simplified and reduced.</p> - -<p>The columns of the aisles on the first floor have block -capitals, with small volutes below; <a href="#f57">Fig. 57</a> will make the -elementary form clear. This type IV. is really a Byzantine -Ionic. The dual columns of west gallery have a capital in -common, which is a variation of these, and the capitals of -atrium were also similar. One capital of the north gallery -is entirely different from all the rest, the block, not being -carved all over continuously, is broken up into several -horizontal lines of ornament.</p> - -<p>For the capitals of the square pillars of ground floor, -and others to the windows, we must refer to Salzenberg; -they are all of the simple block form delicately sculptured.</p> - -<p>Salzenberg also figures two capitals, now on the -porphyry columns at the east porch. These are comparatively -small, and may possibly have belonged to some -position in the interior of the church, such as Justinian’s -first ambo. The form is that of a basket with four doves -perched on the rim, and crosses between. Doves associated -with crosses symbolized the Church. Now in St. Clemente -at Rome there are two capitals of this kind which belonged -to the ciborium, set up as the inscription shows while -Hormisdas was pope (514-523), they are figured by -Cattaneo, Fig. 7, who says they obviously were sculptured -by Greek chisels. It is thus extremely possible that ours -may have been late additions to the pre-Justinian church,<span class="pagenum" id="Page_255">[Pg 255]</span> -where they also may have belonged to the ciborium. -Rohault de Fleury believed that this form of capital was -intended to represent an offerings basket.</p> - -<div class="figcenter" id="f57"> - <img src="images/p255.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 57.</span>—Rudimentary Form of Capital in Gynaeceum. Type IV.</p></div> -</div> - -<p>To these Bird and Basket capitals, type V., may be added -varieties of the great class of derivatives from the Corinthian -of which this is in fact one. These were in general use -before the block type of capital was developed. We will -here only mention two of these acanthus capitals. Those in -which the leaves are set upright on the stem of the shaft we -will call Byzantine Corinthian and type VI. Those in -which the leaves turn over and bend round the capital we -will, with Mr. Ruskin, call “Wind-blown acanthus,” and -type VII.</p> - -<p><i>Distribution and Dates of Capitals.</i>—We have referred -before to our belief that Constantinople was a marble -working centre from which sculptured marbles were dispersed -to all parts of the Roman world. Having the chief -types of Byzantine capitals before us it will be convenient -to consider this more fully. We suppose that as white marble<span class="pagenum" id="Page_256">[Pg 256]</span> -had to be bought in any case, the custom grew up of obtaining -the capitals fully wrought. Importation was, of course, -a general antique practice in regard to figure sculpture, -columns, and other objects of marble. Proconnesian marble -seems to have been the common stone of Constantinople so -that it is used for the columns and capitals of the cisterns. -We believe that careful examination of the capitals at -Ravenna, Parenzo, and other Byzantine centres will show -that they are in the main of this material. As to design -the capitals lying neglected about the city, together with -those <i>in situ</i> in the churches and cisterns, furnish a perfect -museum of the types with which others dispersed through -the whole area of the empire agree in the minutest particulars -of design and workmanship.</p> - -<p>To take the types we have mentioned:</p> - -<p><i>Impost Capital, I.</i>—This capital is found with the surface -richly sculptured at S. Sergius. Capitals identical in form -and decoration with the isolated capital of S. Sophia -(Salz. Pl. xx., fig. 8) are found at Parenzo and in -Jerusalem. The splendid examples of this type at S. Vitale, -Ravenna, are well known; here the fretwork of sculpture is -almost entirely relieved from the ground. We found an -example absolutely similar at Constantinople. Mr. Ruskin’s -“Lily Capital” which belongs to this group is found at -S. Mark’s, at S. Vitale, at Parenzo, and at Alexandria. -Another variety is covered all over with horizontal bands of -zigzag fillets; an example rests in the Tchenli-Kiosk -Museum, others are found at Athens, at Mistra, and a -third now at S. Mark’s is figured in the <i>Stones of Venice</i>. -The capitals at S. Sophia, Salonica, figured by Texier are -probably the earliest of type I. to which an approximate -date can be given; it was certainly in general use at the end -of the fifth century.</p> - -<p><i>Melon Form, II.</i>—These magnificent eight-lobed capitals -form the great order at S. Sergius, and are found at the -church usually called Agia Theotokos. Similar capitals -belong to the upper order at S. Vitale, and others are found -at S. Mark’s. Some of the nave columns of S. Demetrius -at Salonica have fine capitals of this type which although<span class="pagenum" id="Page_257">[Pg 257]</span> -evidently derived from the last probably also originated in -the fifth century.</p> - -<p><i>Bowl Type, III.</i>—These, the great capitals of S. Sophia, seem -to have been especially designed for the metropolitan church: -the beautiful palm foliage, however, with which they are -sculptured is found again at Parenzo and on a capital in the -Ravenna museum said to have been brought from Pomposa. -The church at Parenzo was begun in 535.</p> - -<p><i>Byzantine Ionic, IV.</i>—These occur in their perfected form -of block capital fully sculptured in S. Sergius and at the palace -of Hormisdas in Constantinople, also in the upper order at S. -Sophia, Salonica. Examples are also found at Venice.</p> - -<p>In their earlier form of transition from the “Ionic with a -plain dosseret” an immense number are found in the subterranean -structures of Constantinople. An example has been -found in Chalcis.<a id="FNanchor_359" href="#Footnote_359" class="fnanchor">[359]</a></p> - -<p><i>Bird and Basket, V.</i>—S. Sophia furnishes two examples, but -there is no proof that they originally belonged to the building. -Another example is in Cairo. That at S. Clemente, Rome, is -signed with the name of John Mercurius; Piranesi figures a -capital of this kind from the Palazzo Mattei, bearing a -monogram which is indecipherable in his plate. Period, end -of fifth century and beginning of sixth.</p> - -<p><i>Byzantine Corinthian Type, VI.</i>—These are of great variety; -we will only mention one. In the portico of John Studius the -acanthus leaves are doubled, one leaf lying over and within -another, so that a double row of serrations is shown around -the margins (see figure in Salz.). Similar capitals are found -in S. Demetrius, Salonica, and at S. Mark’s, Venice. This -particular form is probably nearly concurrent with the last, -possibly a little earlier.</p> - -<p><i>Wind-blown Acanthus, VII.</i>, is represented at Constantinople -by two examples forming bases for the posts of a -wooden porch to a house near Gûl Jami, and another is found -in the cistern usually called after Arcadius or Pulcheria. -Absolutely similar capitals are found in S. Sophia, Salonica -(circa 490) and one occurs at S. Demetrius. At Ravenna fine -examples are dated by bearing the monogram of Theodoric.<span class="pagenum" id="Page_258">[Pg 258]</span> -Others at S. Apollinare in Classe resemble the last so closely -that we doubt their having been made specially for the church -built in 534-549. An example was found in Chalcis with -the Ionic capital just referred to and De Vogüé figures one -from Syria. Period, say 425 to 525.</p> - -<p>The seven most typical Byzantine orders were thus being -wrought concurrently at the end of the fifth century, and it -seems that the three last did not long outlast this century. -The others in their central types probably did not continue -in use much beyond the sixth century. After this time -somewhat coarse varieties -of Byzantine Corinthian, -or Type I., were mostly -used.</p> - -<div class="figcenter" id="f58"> - <img src="images/p258.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 58.</span>—Bronze Annulets of Columns.</p></div> -</div> - -<p>The evidence of the -original block in the fully -sculptured finished work -which we find in the most -characteristic examples of -the Byzantine capitals is -of primary importance in -all marble sculpture, and -differentiates the work of -the chisel from being a -mere stone model of a -clay model which is practically -what most modern -sculpture has become. In -many of these capitals the vertical strip shown in <a href="#f55">Fig. 55</a> left -in the finished work furnishes a further suggestion of the -block from whence they were hewn.</p> - -<p><i>Shafts and Bases.</i>—The usual theory that the Byzantines -wrought but few new marble shafts does not bear scrutiny. -Byzantine shafts have neckings of very slight projection, -thus obviating the waste of labour and material of Roman -work.<a id="FNanchor_360" href="#Footnote_360" class="fnanchor">[360]</a> The shafts of the baptistery loggia at S. Sophia,<span class="pagenum" id="Page_259">[Pg 259]</span> -figured by Salzenberg, furnish good examples; sometimes -the necking, as to the square marble pillars, is a simple broad -fillet of about a quarter of an inch projection. The hundred -round shafts of S. Sophia exhibit a remarkable and beautiful -structural expedient by which the necking is entirely suppressed, -and bronze annulets surround the shaft under the -capital and above the base; which prevent the shafts from -sliding or splitting, and retain the lead beds from being -forced out by the weight (see Choisy, p. 15). Large -monolithic shafts were the more apt to split, as they -had to be set up contrary to the direction of the quarry -strata.</p> - -<div class="figcenter" id="f59"> - <img src="images/p259.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 59.</span>—Marble Pedestals and Skirting Slabs.</p></div> -</div> - -<p><a href="#f58">Fig. 58</a> represents these bronze zones in association with -the great capitals and bases. The pedestals of the exedra -columns <span class="allsmcap">A</span> <i>a</i>, next figure, are worked together with the bases<span class="pagenum" id="Page_260">[Pg 260]</span> -in one stone. In these profiles we again see how little the -mouldings disturb the original form.</p> - -<div class="figcenter" id="f60"> - <img src="images/p260.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 60.</span>—Cornice Profiles.</p></div> -</div> - -<p><i>Responds.</i>—A very remarkable feature in the interior, is -the way in which the colour of the marble columns of the -arcade is reflected as it were on the responds, where the -arches fall on the great square piers. A strip of porphyry -or verde antique, the width and height of the free shafts, is -inlaid into the marble casing of the piers absolutely flush, -the edge being only defined by a line of the notched fillet. -A flat sculptured slab at the top echoes the capital, and a -base slab of mouldings worked in a vertical plane ranges -with the bases of the columns. Salzenberg’s plate does not -render this feature properly, the “capital” is flat and has -straight sides and instead of the “base” he shows a portion -of the wall skirting. <a href="#f59">Fig. 59</a> shows this base in elevation (B), -and section (C), ranging with the pedestals of the exedra, -Columns (A). The way in which the sculptured and -inlaid spandrils of the arcades stop against the plain veneering -of the great piers is also most noteworthy.</p> - -<p><i>Cornices and Skirtings.</i>—We give here (<a href="#f59">Fig. 59</a>, D and E) -two profiles of the skirtings where the principle of working -out of thin veneering-slabs is applied to moulded work. -The parapet slabs of first floor are worked in a very similar<span class="pagenum" id="Page_261">[Pg 261]</span> -way; Salzenberg shows design of front, and they bear flat -lozenges between two crosses at the back. See <a href="#f61">Fig. 61</a>.</p> - -<p>The cornices of the interior, which really formed walks -for the lamplighters, are made up of no regular combination -of curves; they project steeply forward, the general -slanting plane being little disturbed (A, <a href="#f60">Fig. 60</a>); they are -decorated with rows of acanthus, the curved tips of which -catch the light in bright points. The cornice of aisle is given -at B. We also give a profile of the door-head, which shows -how the mouldings conform to a plane of least labour (C). -By the jambs and heads being mitred together, the difficulty -of working stop ends was also obviated. The mouldings -are not sharp and accurate, as is suggested by Salzenberg’s -engravings.</p> - -<div class="figcenter" id="f61"> - <img src="images/p261.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 61.</span>—Closures between Pillars, Front of Gynaeceum.</p></div> -</div> - -<p>We may mention here that all the doors entering the -church from the narthex have raised marble thresholds, that -of the Royal Door being a magnificent piece of verde -antique which rises some seven inches above the level of -the floor; the others are of white marble.</p> - -<p><i>Windows, &c.</i>—The pierced lattices of the windows also -furnish examples of another beautiful method of marble slab -construction. The large windows are subdivided by marble -posts, between which the pierced lattices make a mere screen. -Salzenberg, who found a store-room full of broken fragments, -gives a section of a bar. Windows over the western entrances,<span class="pagenum" id="Page_262">[Pg 262]</span> -and another at the foot of -the south-west stair, which -are similarly pierced out of -sheet marble, have a simple -meander carved on the bars -(<a href="#f62">Fig. 62</a>); this we suppose -to be of the ninth or tenth -century. The lower part of -the window openings going -down to the floors are filled -with marble closures, some -of which bear flat sculptured -devices, such as a fish -in a lozenge, and on the -outside a cross; above this -came a second tier of slabs -pierced with square openings, -which were possibly -covered by marble slabs as -opening casements.</p> - -<div class="figcenter" id="f62"> - <img src="images/p262.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 62.</span>—Marble Window Lattice.</p></div> -</div> - -<p>Some of these closures -are translucent; one in the -West Gallery over narthex -is the well-known “Shining -Window” which is mentioned -by Grelot. These -transparent slabs of “Phengites” -were much used in -Byzantine architecture. The -transparent marble slab -windows of S. Miniato are -well known. At Ravenna -there is a sculptured slab -altarfront, through which -shone the light of candles -placed behind.</p> - -<div class="figcenter" id="f63"> - <img src="images/p262b.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 63.</span>—Cipollino Slabs with Cross.</p></div> -</div> - -<p>Placed against the east -side of the marble screen -now in south gynaeceum<span class="pagenum" id="Page_263">[Pg 263]</span> -are slabs of cipollino, which bear large crosses standing on -circles; the relief being very slight and the edges softened -these show in the faintest way; each cross extends over two -slabs, the joint being down the middle. A similar slab with -a cross is now placed in the opening on south side of -bema. These cross -slabs some seven feet -high are beautiful -examples of the -proper use of marble. -(<a href="#f63">Fig. 63</a>.)</p> - -<div class="figcenter" id="f64"> - <img src="images/p263.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 64.</span>—Forms on Carved Impost Moulding.</p></div> -</div> - -<p><i>Carving.</i>—Of the -carved ornament we -can only stay to remark -on the large -use made of the -drill in obtaining -points and chains of -sharp shadow: and -that in the design new motives and old—the acanthus and -the vine are found side by side, both equally alive. The -acanthus has been redrawn from the leaves which tracery -the stones along the shore; and even the archaic lotus, for -centuries degraded into “egg and tongue,” buds once again -into leaf.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_264">[Pg 264]</span></p> - -<h2 class="nobreak" id="CHAPTER_XII">CHAPTER XII</h2> -</div> - -<p class="cd">BRONZE, MOSAICS, INSCRIPTIONS</p> - - -<h3>§ 1. BRONZE WORK.</h3> - -<p>One of the most interesting facts in connection with the -building is the lavish use of bronze in construction and -decoration. There is every reason to suppose that the bronze -casing of the Royal Doorway entering the church from the -narthex, was applied long subsequent to the building of the -church. We give in <a href="#f65">Fig. 65</a> a sketch of the bronze cornice -of this door, with its hooks for the door hangings; the left -hand shows the form towards the narthex, the right hand the -interior. The deep-splayed casing of the cornice resembling -a sarcophagus may have suggested the story quoted by -Buzantios,<a id="FNanchor_361" href="#Footnote_361" class="fnanchor">[361]</a> that the body of S. Irene reposed above this -doorway. By comparing it with the adjoining marble doorways, -it is apparent that the bronze must be laid over similar -marble forms, and that this deep-splayed casing simply covers -a marble cornice hacked back to one slanting face. Salzenberg -gives a detail of the panel at the centre, and the -inscription has already been quoted. Such inscriptions were -general at the entering in of ancient churches. For instance, -a small church<a id="FNanchor_362" href="#Footnote_362" class="fnanchor">[362]</a> in Palestine has the legend, “This is the gate -of the Lord, the righteous shall enter in thereat,” and a -similar inscription is on the lintel of the early church -at Corfu.<a id="FNanchor_363" href="#Footnote_363" class="fnanchor">[363]</a> An isolated lintel at Constantinople has “Open<span class="pagenum" id="Page_265">[Pg 265]</span> -me the gates of righteousness, that I may enter and -praise the Lord.” Paulinus says that at the door of his -church at Nola was written, “Peace be to thee with peaceful -heart and pure, who comest within the secret place of -Christ.”</p> - -<div class="figcenter" id="f65"> - <img src="images/p265.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 65.</span>—Bronze Casing to Royal Doorway. Scale 1/60.</p></div> -</div> - -<p>In a paper on the inscriptions at S. Sophia, by C. G. Curtis -and S. Aristarchês in the <i>Transactions</i> of the Philological -Society<a id="FNanchor_364" href="#Footnote_364" class="fnanchor">[364]</a> of Constantinople the authors point out that S. -Sophia was greatly injured by earthquake on the 25th of -October, 975, and restored six years afterwards, and say that -the form of the letters of the inscription suggests that it was -written at this time. Possibly an earthquake gave a very -sufficient reason for such a casing, by fracturing the great -marble lintel, but there appears to have been a whole series of -additions and alterations at this end of the church before this -period, and it might very well have been done at the same -time as the mosaic above it.</p> - -<p>All the doors opening into or from the narthex, with one -exception, are cased in bronze on a wood foundation about five -inches thick, formed into panels. They are all hung in two -leaves, and the back edges against the frame are rounded continuing -top and bottom as pivots on which they revolve. The -nine doors entering the church are comparatively plain, each -leaf being divided into three panels.</p> - -<p>The central doors entering the narthex are two panels -high, each of which bore a large cross; these were applied -separately, the upper one under a round arch on pilasters, and -<span class="pagenum" id="Page_267">[Pg 267]</span> -the lower beneath a gable also supported by pilasters. The -lower cross is planted on a rock, from which flow the four -rivers, symbol of the Gospel preached to the ends of the -earth. Part of a verse in the mosaic of the apse at Nola as -given by Paulinus makes this symbolism clear.</p> - -<div class="poetry-container"> -<div class="poetry"> -<div class="stanza"> -<div class="verse indent12">“Christ the rock</div> -<div class="verse indent0">Of all the church, the base of rock sustains</div> -<div class="verse indent0">From which as living streams four fountains flow;</div> -<div class="verse indent0">The four evangelists, whose words are gone</div> -<div class="verse indent0">Through every land.”</div> -</div> -</div> -</div> - -<p>The margins, framing the panel of this pair of doors, are -decorated with elliptical hollows and pairs of small rosettes -alternately (see <a href="#f66">Fig. 66</a>).</p> - -<div class="figcenter" id="f66"> - <img src="images/p266.jpg" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 66.</span>—Central Bronze Door entering Narthex. Scale about three feet -to an inch.</p></div> -</div> - -<p>The two doors right and left of this central door are less -in size; here each leaf is again divided into two panels. -The top one has a relief of a chalice from which rises the -stem of a cross with crisp acanthus foliage on either side. -The lower panel has a large plain cross. These reliefs are -all applied to the panels, the crosses being made up of four -arms, which are separately inserted into a central boss. The -horizontal arms, and in many instances the whole crosses, have -been removed by the Mahommedans. The styles and rails of -these doors are inlaid with strap-like forms and gammidae in -silver, and engraved with a representation of a setting of gems -(see <a href="#f67">Fig. 67</a>). These inlaid straps, with seal-like ends, exactly -repeat the forms found on door-hangings. See <a href="#f13">Fig. 13</a>. -At S. Sophia the forms have certainly been taken from similar -veils. The large simplicity of the design of these beautiful -bronze doors suggests that they may be of Justinian’s time.</p> - -<p>The doors still further from the centre, right and left, that -is to say the two end doors of the five entering the narthex, -have each leaf divided into three panels. The top and -bottom panels are charged with crosses; and the centre one, -which is smallest, bears an annular boss; the styles are -studded with discs. The south door of narthex, and also -the end doors in the west wall of the nave are similar to these; -the others in this wall, including the great central door from -the narthex, have the big panel in the centre and two smaller -ones with circular boss top and bottom (see <a href="#f68">Fig. 68</a>).</p> - -<p><span class="pagenum" id="Page_268">[Pg 268]</span></p> - -<div class="figcenter" id="f67"> - <img src="images/p268.jpg" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 67.</span>—Bronze Door of Narthex. Scale about -four feet to an inch.</p></div> -</div> - -<p>The outer doors of the porch at the south end of narthex -are still more remarkable. The panel margins are made up -of cast bronze decorated with meanders, frets, and leaf -mouldings, very delicately modelled in high relief. These -are evidently of antique workmanship, possibly they may be -as late as the fourth -century, but they can -hardly have been -wrought later. The -ancient doors have -been enlarged by adding -outer margins, -consisting of later relief -work, and flat -metal studded with -little leaf ornaments -which form the heads -of pins. The panels -have been filled with -plates of bronze, -which bear an inscription -ingeniously made -up of monograms, -arranged on crosses in -circles; these are -deeply engraved into -the metal plates and -filled with silver. It -is interesting to find -here an example of -the damascened work -of which some of the -doors in Italy brought -from Constantinople are such remarkable specimens.<a id="FNanchor_365" href="#Footnote_365" class="fnanchor">[365]</a> The -letters are beautifully designed, and in all cases the horizontal -arm of the cross is above the centre of the circle in which it -occurs.</p> - -<p>Good engravings of these doors are given by Salzenberg,<span class="pagenum" id="Page_269">[Pg 269]</span> -who however incorrectly transcribes and arranges the inscription -on the panels. Of this we here give a corrected version, -<a href="#f69">Fig. 69</a>. (The top line in the figure is actually above the -right-hand monograms.)</p> - -<p>The inscription has been deciphered in the previously -mentioned <i>Transactions</i> of the Greek Syllogos at Constantinople.</p> - -<table border="0" summary="Inscription" class="decipher p1"> -<tr><td colspan="2" class="center"><span class="inscribe">[ΘΕΟΦΙΛΟΥ ΚΑΙ] ΜΙΧΑΗΛ ΝΙΚΗΤΩΝ</span></td></tr> -<tr><td><span class="inscribe">ΚΥΡΙΕ ΒΟΗΘΕΙ</span></td><td><span class="inscribe">ΘΕΟΦΙΛΩ ΔΕϹΠΟΤΗ</span></td></tr> -<tr><td><span class="inscribe">ΘΕΟΤΟΚΕ ΒΟΗΘΕΙ</span></td><td><span class="inscribe">ΘΕΟΔΩΡΑ ΑΥΓΟΥϹΤΗ</span></td></tr> -<tr><td><span class="inscribe">ΧΡΙϹΤΕ ΒΟΗΘΕΙ</span></td><td><span class="inscribe">ΜΙΧΑΗΛ ΔΕϹΠΟΤΗ</span></td></tr> -<tr><td><span class="inscribe">ΕΤΟΥϹ ΑΠΟ-ΚΤΙϹΕΩϹ</span></td><td><span class="inscribe">ΚΟϹΜΟΥ SΤΜΘ ΙΝΔ.Δ</span></td></tr> - -<tr><td><span class="p1 blk">(of Theophilus and)</span></td><td><span class="p1 blk">Michael Conquerors</span></td></tr> -<tr><td>(1) Lord, help</td><td>(2) Theophilos Emperor</td></tr> -<tr><td>(3) Mother of God, help</td><td>(4) Theodora Augusta</td></tr> -<tr><td>(5) Christ, help</td><td>(6) Michael Emperor</td></tr> -<tr><td>(7) Year from the creation</td><td>(8) of the world 6349. Ind. 4</td></tr> -</table> - -<p class="p1">The sixth and eighth monograms show evidence of -having been altered. The silver has been removed from -the earlier form, and the grooves having been filled up with -bronze fresh letters were inlaid: the lines stopped out -however show a different colour from the original ground, -and so the palimpsest can be read. The revision was made -“after the birth of Michael the first son of Theophilus -in 839 and his coronation in the year 840.<a id="FNanchor_366" href="#Footnote_366" class="fnanchor">[366]</a> Before this -time the monogram of John the patriarch, which may still -be traced, occupied the position of Michael’s monogram: -and instead of 6349 Indiction 4, the date was 6347 Indiction -2, thus giving the year beginning September 838, when -John the Sixth was Patriarch of Constantinople.”<a id="FNanchor_367" href="#Footnote_367" class="fnanchor">[367]</a> The -inscription “Michael Conquerors” (which is formed by -piercing a bronze plate, not by damascening, as shown -by Salzenberg) occupies the top of the right-hand leaf of<span class="pagenum" id="Page_270">[Pg 270]</span> -the door: that on the left corresponding to it is lost. -MM. Curtis and Aristarches have restored this as above. -The existing words, it is evident, must have been added after -Michael’s birth and with the alteration of the monograms -probably form a memorial of his coronation. <i>Murray’s -Handbook</i> 1893 suggests -that the word -Nikêtôn refers to the -restoration of images; -but the revision of the -inscription was made -during the lifetime of -Theophilus, who was -the last of the iconoclastic -emperors. According -to Muralt<a id="FNanchor_368" href="#Footnote_368" class="fnanchor">[368]</a> -Theophilus died Jan. -20 <span class="allsmcap">A.M.</span> 6350 (842). -Just before, feeling -himself to be dying, -he made the empress -swear not to re-establish -images, and -not to depose the -patriarch John. Three -weeks however after -the emperor’s death, -Methodius was named -patriarch. “The victory -of the image-worshippers -was celebrated -by the installation -of the long-banished -pictures in S. Sophia on the 19th of February 842, -just thirty days after the death of Theophilus.”<a id="FNanchor_369" href="#Footnote_369" class="fnanchor">[369]</a> It is -almost certain that the conjectural restoration is correct for -Theophilus and Michael are thus associated in a mural -<span class="pagenum" id="Page_272">[Pg 272]</span>inscription<a id="FNanchor_370" href="#Footnote_370" class="fnanchor">[370]</a> and Niketes was a common title from Constantine -downwards. On the panels are certain pin-holes<a id="FNanchor_371" href="#Footnote_371" class="fnanchor">[371]</a> -placed symmetrically between the monograms; these must -have been for the attachment of reliefs.</p> - -<div class="figcenter" id="f68"> - <img src="images/p270.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 68.</span>—Bronze Doors in Narthex. Scale about -four feet to an inch.</p></div> -</div> - -<div class="figcenter" id="f69"> - <img src="images/p271.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 69.</span>—Inscription Damascened in Silver on Bronze Door.</p></div> -</div> - -<hr class="tb" /> - -<p>The Anonymous author speaks of doors of “elektron” -and of silver dipped in gold, but we cannot rely on this -any more than on his 365 doors of ivory.</p> - -<p>Electrum is incorrectly translated as amber in the last -edition of <i>Murray’s Guide</i> (1893). Labarte pointed out -that enamel forms the right equivalent, and for this -interpretation he has ample authority. Theophilus, the -Byzantine writer on the arts, continually uses the word -for glass enamels, either set as separate jewels, or fused -as translucent enamels to a metal base. A note in the -English edition of this writer explains that this use of -the word was probably extended from amber to cover other -transparent bodies of similar appearance. From the lavish -way in which enamel was used about the tenth century -it is possible that some of the doors such as those in the -iconostasis might have been enamelled.</p> - -<p>As to the “dipping” of silver or bronze with gold -the Silentiary tells us that Justinian “overlaid with gold” -the bronze zones of the columns; and the annulets of the -porphyry columns at the east entrance still show gilding. -Buzantios<a id="FNanchor_372" href="#Footnote_372" class="fnanchor">[372]</a> quotes from a MS. chemical treatise in the Paris -library which mentions “dipping bronze like the doors of S. -Sophia,” and Fossati says the head of the Royal Door was gilt.</p> - -<p>Theophilus explains in detail how bronze or silver might -be gilt by fire-gilding, the process here called dipping. The -copper in the bronze had to be pure and free from lead. -The gold was ground very fine and cooked with mercury. -This amalgam was then applied to the surface with a copper -bit, like that plumbers use in soldering, and polished with -a wire brush.</p> - -<p>We have given sketches of the bronze collars which -surround the columns, at the junction of capital and shaft,<span class="pagenum" id="Page_273">[Pg 273]</span> -and just above the bases. The porphyry columns in the -two western exedras have many intermediate annulets at -unequal heights; these in some cases were doubtless intended -to bind up longitudinal fractures in the shafts, which show -in many places; but in other instances they appear to cover -the junction of separate drums of porphyry. These are all -shown in Grelot’s interior view. The principal collars are -certainly of the time of Justinian; those under the capitals -have square metal bosses or boxes covering the point where -they meet and are pinned together. These “seals” of -the great order bear the monograms of Justinian and -Theodora.</p> - -<p>The annulets at the base are made continuous at the -joint, and have the appearance of being brazed: those of -the main order are now kept brightly polished. One of -the base annulets in the north gallery is signed by a monogram -as the work “of Stephen.”<a id="FNanchor_373" href="#Footnote_373" class="fnanchor">[373]</a></p> - -<p>Besides the hooks, in the form of upturned fingers, for -the hangings at the bronze door, similar hooks occur in -the marble lintels of the doors in the narthex and the -exonarthex.</p> - - -<h3>§ 2. MOSAIC.</h3> - -<p>The mosaics of figures exposed at the time of Fossati’s -repairs are many of them figured by Salzenberg, although -his harshly coloured diagrams can but very inadequately -represent the beauty of the originals. We give here his -descriptive text in a slightly condensed form as a basis for -our own remarks. Dethier<a id="FNanchor_374" href="#Footnote_374" class="fnanchor">[374]</a> asserts that only a part of the -mosaics discovered were published by Salzenberg, and that -Fossati preserved others inedited in his portfolios.<a id="FNanchor_375" href="#Footnote_375" class="fnanchor">[375]</a></p> - -<p>The mosaics are formed of glass of various colours cut -into small pieces and applied to the vaults with a cement. -The gold mosaic was made by laying leaf gold on the glass, -which was then covered by a thin film of glass to protect the -surface. Silver mosaic was made in the same way. The gold<span class="pagenum" id="Page_274">[Pg 274]</span> -was used, in spite of its apparent abundance, with great -economy. For instance, in vertical spaces high up and only -visible from almost immediately beneath, the tesserae are -arranged in horizontal rows at a distance of two or three -tesserae from each other with their upper edges projecting. -The projecting edge of the lower row hides the bare space -between it and the row above. There is thus a saving of -more than half the material, and great play of light is -obtained. The tympana of the aisles are covered in this -way. The coloured tesserae are set in the usual way, as the -difficulties involved by the other method in the curves of the -ornament would outweigh the saving of material.</p> - -<p>Besides gold and silver, red, blue, and green are the -principal colours; though others are used in the heads of the -figures. The vaulting throughout was covered with a background -of gold, on which are conventional patterns that -follow the forms of the construction. Some of the spaces -have representations of figures.</p> - -<p>In the bands of ornament are gamma-crosses [<i>swastikas</i>], -hearts, leaves, and crosses, placed in circles, squares, and -other figures. There are no sharp arrises to the vaults, -but patterned bands are placed on the rounded edges.</p> - -<p>The vault of the narthex has its wide transverse bands -adorned with gamma-crosses. In the domed portions between -the transverse arches are diagonal bands which culminate in a -circle inclosing a cross.<a id="FNanchor_376" href="#Footnote_376" class="fnanchor">[376]</a></p> - -<p>The vaults of the gynaeceum, perhaps because they were -visible from the nave, are more elaborate than those of -the aisles below.<a id="FNanchor_377" href="#Footnote_377" class="fnanchor">[377]</a> Salzenberg’s Plate xxv. shows the -western dome on the south side, on which is represented the -descent of the Holy Spirit: the arches have the same -ornament as those below.<a id="FNanchor_378" href="#Footnote_378" class="fnanchor">[378]</a></p> - -<p>Details of the dome are given in Salzenberg’s Plate -xxvi. The edges of the ribs and window openings are<span class="pagenum" id="Page_275">[Pg 275]</span> -covered with bands of ornament. The faces of the ribs -have alternate squares and crosses, which decrease in size -as they get higher. The central space has lost its figure -subject, but it is surrounded by a wide border.<a id="FNanchor_379" href="#Footnote_379" class="fnanchor">[379]</a> The sides of -the window openings are lined with silver mosaic. The lower -part of the dome is not decorated, as the projecting cornice -hides it from below.<a id="FNanchor_380" href="#Footnote_380" class="fnanchor">[380]</a></p> - -<p>The edges of the exedra-conchs have bands similar to -those on the great arches, and the same pattern occurs again -on the edges of the eastern barrel vault, and the bema apse.<a id="FNanchor_381" href="#Footnote_381" class="fnanchor">[381]</a> -The rest of the decoration of the surface of the apses has -disappeared.</p> - -<p>Over the centre door from the narthex to the nave is represented -Christ on a throne, holding a Gospel open at the words, -“I am the Light of the world: Peace be with you.” A -monarch is prostrate before him, and in medallions on either -side are Mary the Intercessor, and Michael the Protector.<a id="FNanchor_382" href="#Footnote_382" class="fnanchor">[382]</a></p> - -<p>The nimbus of Christ has three rays, and His hand blesses -in the Greek manner, by which the fingers represent the -initial and final letters of Jesus Christus. The undergarment -has broad gold stripes worked on it, and the lights are given -in silver; it seems to be of silk, the upper garment appears -to be of a white woollen stuff.</p> - -<p>The great western arch has a medallion of the Virgin at -the crown, and full lengths of Peter and Paul at the sides, -Peter on the south; however, only a few remnants of these -figures are now left. The border which surrounds the -medallion of the Virgin has colours of the rainbow, the circle -of her halo is red; the flesh colour is fair, and the eyes are -blue. The veil is blue, with a gold cross, and the cloak is also -blue. Under the veil is a kind of band round the head, like -that which the Spanish Jews of Constantinople wear; it is of -a blue green colour with dark stripes; the hair is not visible. -Her nimbus has three silver rays on a gold ground; her hands<span class="pagenum" id="Page_276">[Pg 276]</span> -rest on the shoulders of the Child, whose right hand blesses, -while the left holds the book of the Gospel.</p> - -<p>Peter’s face is dark, the nimbus is blue, the garment is -bluish green, and the gold rod, surmounted by a cross, has -red and blue bands. He thus has the same insignia as the -St. Peter on the Ciborium Curtain, and it is this which, in -the mosaic, identifies the figure as Peter, for there is no -inscription. Porphyrogenitus, in his life of Basil, mentions -that when the western arch was restored the pictures of the -Virgin, and the Apostles Peter and Paul were placed there -by that emperor. The figure of Paul has an upper garment -of green with silver lights, and the undergarment is a -greenish yellow. The whole figure is about seventeen feet -high, but the head is wanting.<a id="FNanchor_383" href="#Footnote_383" class="fnanchor">[383]</a></p> - -<p>On the large semicircular walls beneath the northern and -southern dome-arches are a number of figures in mosaic. -The seven arched recesses were filled with representations of -martyrs and bishops; above, between the windows, were six -smaller figures of prophets, and a larger figure at each end. -At the height of the upper row of windows were probably -the archangels, but of these only the feet remain.</p> - -<p>The figures that now exist are the following. In the -recesses on the south side, the second from the east is -Anthimos, Bishop of Nicomedia, martyred in 311: in the -third is Basil, Bishop of Caesarea, martyred in 379.<a id="FNanchor_384" href="#Footnote_384" class="fnanchor">[384]</a></p> - -<p>The fourth recess from the east has Gregory Theologos, -Patriarch of Constantinople from 378 to 383. The next -figure is Dionysius the Areopagite; who was converted by -St. Paul, and became, tradition says, Bishop of Athens. In -the sixth recess is Nicholas, Bishop of Myra, who died in -330. This figure is partly destroyed. The seventh, is -Gregory, Bishop of Armenia, who died in 325.<a id="FNanchor_385" href="#Footnote_385" class="fnanchor">[385]</a></p> - -<p>The figure of Isaiah, which is to the east of the row of -windows, had been covered up (when Salzenberg made -his drawings), but it was described by Fossati as having an -undergarment of green with silver lights, and over it a cloak -of a white woollen stuff. The right hand pointed towards<span class="pagenum" id="Page_277">[Pg 277]</span> -the bema, and in the left was an open scroll with the -inscription, “Behold, a Virgin shall conceive and bear a son.” -Under the figure was a monogram.<a id="FNanchor_386" href="#Footnote_386" class="fnanchor">[386]</a> Higher up again on -the same wall was the inscription:—</p> - -<p class="inscribe"> -ΑΙΓ....ΤΗϹΑΘΑΝΑΤΟΥ ϹΟΦΙΑϹ<br /> -ΗΡΑ....ΤΟΥΚΕΑΚΗΡΑΤΩΝ....<br /> -</p> - -<p>The recesses of the north wall have no mosaics [see below, -p. <a href="#Page_287">287</a>.]</p> - -<p>At the height of the windows, the first figure beginning -from the east is Jeremiah.<a id="FNanchor_387" href="#Footnote_387" class="fnanchor">[387]</a> The undergarment has stripes -of blue and red, and the upper represents a russet-coloured -woollen stuff. The right hand blesses, the left has an open -roll [with the inscription shown in the plate, “This is our -God; no other shall be compared to Him.”].<a id="FNanchor_388" href="#Footnote_388" class="fnanchor">[388]</a></p> - -<p>The figure between the first and second window is -probably Jonas, as <span class="inscribe">ΑϹ</span> still remains on the right side of the -head, and there is only room for three letters on the other -side. The undergarment is a greenish blue with silver -lights, and has broad red stripes. The nimbus is blue.</p> - -<p>Over the head of this figure is found the remnant of an -inscription <span class="inscribe">ΝΤΙΔΟϹ</span>. This may have belonged to one of -the figures above, of which a sandaled foot and edge of a -garment alone remain. The foot does not stand upon green -earth, like the prophets below, and therefore probably -belonged to an angel. Only a part remains of the third -prophet from the east, which was inscribed Habakkuk.<a id="FNanchor_389" href="#Footnote_389" class="fnanchor">[389]</a></p> - -<p>The mosaics on the soffite of the eastern arch were covered -before drawings were made. At the crown is a medallion -with a white ground. In this is a low throne of gold, with -two green cushions upon it; over them is thrown a blue -cloth with a white hem, and upon that is placed a golden -book. Above is also a gold cross with three arms; the -middle one is the longest, and at its intersection with the -upright member is a circle. On the south face of this<span class="pagenum" id="Page_278">[Pg 278]</span> -eastern arch is the figure of John the Baptist, with long -hair, and a brown shaggy garment; his right hand blesses, -and his left holds a cross with three arms. Opposite, on the -north side is the Virgin, with uplifted hands in the attitude -of prayer. She has a white undergarment, bound with a -golden girdle, a red upper garment, and a veil of a green-blue, -with a gold hem. Under her is John Palaeologus, -who restored this part, and to whose time these figures and -designs certainly belong. The emperor wears a crown, with -strings of pearls on either side. He has a closely fitting -undergarment of gold, decorated with pearls and embroidery. -A magnificent cloak hangs down from the left shoulder, and -round the neck and breast is a kind of broad gorget richly -embroidered. In his right hand is a sceptre, and in his left -a roll.</p> - -<p>The archangel on the south side of the bema vault<a id="FNanchor_390" href="#Footnote_390" class="fnanchor">[390]</a> has -a globe in the left hand, and a staff in the right. He is clad -in white, with imperial red shoes. The arch of the apse bears -an inscription, which ends with the letters <span class="inscribe">ϹΕΙΕ ΠΑΛΙΝ</span>.</p> - -<p>On the conch of the apse is the Mother of God upon a -throne, holding the Child between her knees; her upper -garment, which is blue, conceals the whole figure, except -that at the breast, under the arm, and above the feet, the -white and gold garment beneath is visible. The Child has -his right hand uplifted and his left against his breast. He -wears a white garment, with a gold girdle. His hair falls -down freely, and the nimbus has three streams of light. -The throne is gold with red ornaments, but is without a -back, and the footstool is of green silk.</p> - -<p>In the dome pendentives are Cherubim with six wings. -Each head is four feet two inches high. The upper feathers of -the wings are a light green, and the under feathers brown.<a id="FNanchor_391" href="#Footnote_391" class="fnanchor">[391]</a> -The great centre-piece of the dome, which, according to -Du Cange, represented Christ as Judge of the World seated -upon a rainbow, no longer exists.</p> - -<p>Only one of the domes of the gynaeceum preserves its -mosaic ornament of figures. This<a id="FNanchor_392" href="#Footnote_392" class="fnanchor">[392]</a> represents the descent of<span class="pagenum" id="Page_279">[Pg 279]</span> -the Holy Spirit. Only a part remains of the throne in the -centre; on it is a green cushion, and a blue cloth with -gold patterns. Groups of spectators fill the pendentives -of the vault.</p> - -<p>Above the doorway which leads from the western -gynaeceum to the chambers over the south porch, are -remains of figures, which can no longer be identified.<a id="FNanchor_393" href="#Footnote_393" class="fnanchor">[393]</a> -In the ceiling of the chamber over the stairway is a design -of green tendrils on a gold ground.<a id="FNanchor_394" href="#Footnote_394" class="fnanchor">[394]</a></p> - -<p>The small dome in the chamber which opens out of the -western buttress of the south side on the first-floor level -has four angels with uplifted hands, supporting a medallion -in the centre. This design is similar to that in the side -chapel at S. Prassede at Rome.</p> - -<p>“The figure representations belong to the time of -Justinian, though the Silentiary, otherwise so accurate, does -not describe them.”</p> - -<hr class="tb" /> - -<p><i>First Scheme.</i>—A reading of Salzenberg’s notes on the -figure mosaics will show how little ground there was for -his impression that these belonged to the time of Justinian, -which the last sentence expresses. Several of these mosaics -are dated as being parts of restorations. Thus he shows -that Basil I. placed figures on the arch of the great western -hemicycle, and that those of the great eastern arch are the -work of Palaeologus.</p> - -<p>The subject has been much obscured by insecure assumptions -and inexact assertions. Labarte, who was one of the -first to doubt that Justinian was intended by the figure of the -kneeling emperor before Christ over the Royal Door, thought -that the Silentiary described figure-mosaics as covering the -interior.<a id="FNanchor_395" href="#Footnote_395" class="fnanchor">[395]</a> Gerspach in <i>La Mosaïque</i> calls the emperor -‘Justinian’ and appears to mistake the Pentecost cupola for -the great dome. In regard to the date of the lunette -containing the emperor, Labarte suggested that it was a -work of the seventh century, and that the emperor was -Heraclius.<a id="FNanchor_396" href="#Footnote_396" class="fnanchor">[396]</a> Woltmann and Woermann placed it still later<span class="pagenum" id="Page_280">[Pg 280]</span> -and write, “There is no kind of resemblance between -the beardless portrait of Justinian at Ravenna and this -bearded, gray-headed man. It is more likely to be Basil I. -the restorer of the western apse, and this opinion is supported -by the miniatures of his time.” The pilgrim Anthony seems -to refer to it as Leo the Wise, but the Russians ascribe so -many works to this emperor without reason that this is inconclusive. -The forms of the letters in the inscriptions, -however, show that the mosaic is late. Bayet,<a id="FNanchor_397" href="#Footnote_397" class="fnanchor">[397]</a> who has -considered the mosaics afresh, and thinks the silence of -Paulus is conclusive as to the absence of figure-mosaics -when the poem was written, about 562, himself seems -to misread some parts of the poet’s description; thus -he thinks patterns in mosaic are intended in lines 607-612. -The animals of the atrium may possibly have been of glass -mosaic: but we think it more likely that inlaid marble -like the dolphins of the interior (<a href="#f49">Fig. 49</a>) is intended. The -baskets of fruit, branches with birds, and the golden vine -in the church, spoken of in lines 668, &c. seem to refer to -the carved and gilt surfaces of the spandrils of the arcade, -not to the mosaic, as Bayet supposes.</p> - -<p>The figure scheme, so far as it can be traced, closely -agrees with the Byzantine Manual of Painting: and the -subjects and treatments can be associated with work in other -churches of the ninth and tenth centuries which have in -several cases almost identical designs. Altogether it -may be doubted if a single figure belongs to a time anterior -to the iconoclastic period of the eighth century.</p> - -<p>We believe the original scheme of decoration is best -accounted for without figures, and even if this were not -so, we can hardly believe that in the Patriarchal Church at -the door of the Palace figures would have lasted through -the reigns of the iconoclastic emperors and patriarchs, -as they may well have done in remoter churches where -the clergy were on the other side. Leo issued his first -decree against images in 726. Its purport was not, as is -often stated, that pictures should be hung higher in the -churches in order that people should not adore them<span class="pagenum" id="Page_281">[Pg 281]</span> -by kissing: “it commanded that they should be totally -abolished.”<a id="FNanchor_398" href="#Footnote_398" class="fnanchor">[398]</a></p> - -<div class="figcenter" id="f70"> - <img src="images/p281.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 70.</span>—Mosaic of small Vault Compartment next the Bema.</p></div> -</div> - -<p>It is well known that a figure of Christ over the entrance -to the palace was destroyed by Leo the Isaurian. Dr. Walsh, -who was chaplain to our embassy at the Porte about 1820, -writes, “There stood till very lately in Constantinople an -inscription over the gate of the palace called Chalces. Under -a large cross sculptured over the entrance to the palace were -the following words:—</p> - -<p>“‘The emperor cannot endure that Christ should be -represented (<i>graphes</i>) a mute and lifeless image graven on -earthly materials. But Leo and his young son Constantine -have at their gates engraved the thrice-blessed representation -of the cross, the glory of believing monarchs.’”<a id="FNanchor_399" href="#Footnote_399" class="fnanchor">[399]</a></p> - -<p><span class="pagenum" id="Page_282">[Pg 282]</span></p> - -<p>In 768 Nicetas, the patriarch under Constantine, Leo’s -son, is said to have destroyed “the images of gold mosaic -and wax encaustic” in all the churches of Constantinople.<a id="FNanchor_400" href="#Footnote_400" class="fnanchor">[400]</a> -And in the life of Theophilus we read, “throughout every -church the figures of the saints were destroyed, and the forms -of beasts and birds were painted in their places.”<a id="FNanchor_401" href="#Footnote_401" class="fnanchor">[401]</a></p> - -<p>It is quite certain from Procopius and the poem of the -Silentiary that the vaults of Justinian’s church were covered -with mosaic. They both describe the brilliance of the gold -glittering surface, but do not mention any figures. In -such detailed descriptions this silence goes far to show that -there was originally no storied scheme of imagery, like that -which the Poet so fully traced out on the curtains and iconostasis. -It seems equally certain that where, describing the dome -on the strong arches, overhanging the interior like the -firmament which rests on air, he says, “at the highest point -was depicted (<i>epigraphe</i>) the cross, Protector of the City,” -we are to understand that a great cross in mosaic expanded -its arms on the zenith of the dome, and that the background -was strewn with stars. Now this is a well-known scheme, -and it is found at an earlier date in the chapel of Galla -Placidia at Ravenna, and later it is mentioned by Porphyrogenitus -in a description of a domed apartment in the palace. -The stars on the dome are more than once referred to in -the poem (page <a href="#Page_36">36</a>), and it is probable that the surfaces -between the ribs as well as the central circle had gold stars -set in azure, the ribs being of gold; nothing less would -seem to justify “the firmament of the roof its rounded -expanse sprinkled with the stars of heaven.”</p> - -<p>It is evident that, however easily figures and pictures -might be added here and there at various dates, the church, -being once incrusted with mosaic, would at no subsequent -time have had the enormous areas of tesserae removed to -be again renewed.</p> - -<p>It follows that the ground, and any patterns evenly -distributed in every part of the vaults, are assuredly of -the first work. First among such designs is a jewelled<span class="pagenum" id="Page_283">[Pg 283]</span> -cross thirteen feet high, which is blazoned on both ground -floor and gallery vaults, and which must have been repeated -some twelve times twelve. We give an outline of one of -the smallest vault compartments in the church, the irregular -space to the east directly south of the bema: here three of -the crosses can still be seen through Fossati’s colouring, their -interlocking arms spreading over the whole field. This form -of cross, with lobed ends, is found set in a circle of stars, in -the mosaic apsoid of S. Apollinaris in Classe. (<a href="#f70">Fig. 70</a>.)</p> - -<p>A similar argument applies to other forms which occur -with equal frequency. A square panel of ornament which -alternates with the crosses, certain diapers, the bands up -the edges of the aisle vaults, and the small circles each -containing the six-armed cross or monogram at the centre -of these compartments, would all seem to be parts of the -original work, and these simple elements we believe formed -the first scheme of decoration. Texier figures a mosaic -from Salonica made up of crosses. The splendid simplicity -of such a scheme seems entirely in harmony with S. Sophia, -for even figures would disturb the beauty of the expanse -which at each movement glitters like a web of golden mail -swayed by a breeze.</p> - -<p><i>Later Mosaics.</i>—For the mosaics displaying figures we -refer back to Salzenberg’s description. Much further information -might have been gathered if he had given copies -of the inscriptions which exist, in however incomplete a -state. His section (Plate x.) shows that a long inscription -surrounded the arch of the apse, but in his text he only -gives the last few letters <span class="inscribe">ϹΕΙΕ ΠΑΛΙΝ</span>; this possibly belonged -to the words ἀνεστήσειε πάλιν, “Set up again,” and the -whole may have contained the name of the emperor under -whom this restoration was effected. (See below, p. <a href="#Page_287">287</a>.)</p> - -<p>On the great lunette of the wall of the south side also, -where the tiers of saints and prophets seem a part of a -scheme representing the Church triumphant, or a <i>Benedicite</i>, -two monograms occur (see Salzenberg’s Plate ix.); only -the first, which reads <span class="inscribe">ΚΥΡΙΕ</span>, is figured in the text; it is -evidently a part of the well-known invocation, ‘Lord, help,’ -which requires the name of an emperor or artist to complete it.</p> - -<p><span class="pagenum" id="Page_284">[Pg 284]</span></p> - -<p>An inscription between these monograms is partly given -in the text; and supposing it to be correctly rendered the -whole probably read “Lord, help” (<i>name</i> who painted this -wall) “of the Immortal Wisdom” (with the figures) “of -the saints”.</p> - -<p>The entire later scheme of the mosaics must have -corresponded closely to that in the New Church in the -palace built by Basil, which is described by Porphyrogenitus. -Here, at the centre of the dome, was the human form of -Christ embracing the whole world in His regard; below were -ranges of angels. In the apse was the figure of the Virgin -with arms uplifted in prayer, -“a choir of apostles, martyrs, -prophets and patriarchs filled -the other spaces of the whole -church.” This in turn resembles -very closely the iconography -at S. Luke’s.</p> - -<div class="figcenter" id="f71"> - <img src="images/p284.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 71.</span>—Restoration of Throne at -Crown of Pentecost Dome.</p></div> -</div> - -<p>The following instances may -be given of the agreement of -the mosaics at S. Sophia with -the instructions of the Painter’s -Manual. For example, it directs -that over the door of entrance -from the narthex Christ be -represented throned, holding -the Gospel open at the words, “I am the Door: by me, if -any man enter in, he shall be saved.” At each side the -Virgin and the Prodromos are to be represented. The figure -to Christ’s left at S. Sophia, called Michael by Salzenberg, -Grelot tells us was the Prodromos and he probably followed -the traditional ascription, although the type seems to agree -better with an archangel.</p> - -<p>Again, “Inside the Sanctuary at the centre of the vaults -draw the Virgin seated on a throne holding Christ as a -little child.”<a id="FNanchor_402" href="#Footnote_402" class="fnanchor">[402]</a> This exactly describes the apsoid mosaic at -S. Sophia. The cupola of the gynaeceum, representing the<span class="pagenum" id="Page_285">[Pg 285]</span> -descent of the Holy Spirit, is also in close agreement with -the directions given in the Manual:—“The Holy Spirit -is seen in the form of a dove, twelve tongues of fire go out -from it and rest on the apostles.” This subject is treated -at S. Luke’s in a manner almost identical to that at S. -Sophia, and it is also found in a dome at S. Mark’s.</p> - -<p>Diehl in his examination of the mosaics at S. Luke’s -has pointed out that the central circle of the Pentecost -cupola at S. Sophia as shown by Salzenberg in Plate xxxi. -is quite insufficient to have contained the figure of Christ -as shown in the restoration given on Plate xxvi., and that -consequently the Holy Spirit as a Dove really occupied this -position as at S. Luke’s. In <a href="#f71">Fig. 71</a> we give an amended -restoration of this centre; it will be seen from Salzenberg’s -text that he had no evidence for a figure. The two angels -above the sanctuary are described by Salzenberg as bearing -lances or banner poles; these were doubtless surmounted -by Flabella bearing the words</p> - -<p class="inscribe"> -ΑΓΙΟϹ<br /> -ΑΓΙΟϹ<br /> -ΑΓΙΟϹ<br /> -</p> - -<p class="continue">as at S. Luke’s and -Nicaea.<a id="FNanchor_403" href="#Footnote_403" class="fnanchor">[403]</a> There is a very similar angel holding a flabellum -of this kind in the tenth century Menologium; and the words -Holy, Holy, Holy, are directed to be put on flabella in the -manual.</p> - -<p>Again the Manual says, “At the summit of these vaults -(opening from the dome) draw the holy Veil to the east -and opposite to it the holy Cup.” Now in Grelot’s view -of the interior, made when many of the mosaics were still -visible, he shows a large square mosaic at the crown of -the bema vault directly over the altar, which he says was -“the picture of Christ’s face upon a napkin called Veronica.”</p> - -<p>The representation of the throne at the centre of the -soffite of the eastern arch (see p. <a href="#Page_277">277</a>) is one of the most -beautiful symbolisms of Byzantine art. At Nicaea the same -design occurs in a similar position on the triumphal arch, -and it is inscribed <span class="inscribe">ΕΤΟΙΜΑϹΙΑ ΤΟΥ ΘΡΟΝΟΥ</span>. This -“Preparation of the throne” referred to the second coming -of Christ. Our figure represents a throne of this kind<span class="pagenum" id="Page_286">[Pg 286]</span> -which we offer as an illustration of that at S. Sophia; it is -based on a throne inscribed <span class="inscribe">Η ΕΤΗΜΑϹΙΑ</span> which appears -on the cover of a Byzantine Gospel book at S. Mark’s.<a id="FNanchor_404" href="#Footnote_404" class="fnanchor">[404]</a> -The small dome of the little chapel on the first floor, -Salzenberg says, resembles a dome at S. Prassede. The -latter is a work of the ninth century.<a id="FNanchor_405" href="#Footnote_405" class="fnanchor">[405]</a></p> - -<div class="figcenter" id="f72"> - <img src="images/p286.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 72.</span>—Restoration Throne at -Crown of Great E. Arch.</p></div> -</div> - -<p>Salzenberg’s description seems to account for all the -figured mosaics mentioned by Grelot (1680) except the -“Veronica over the sanctuary.” When Grelot made his -drawing there was no figure at the crown of the dome but -only the bands rising to the central wreath. Clavijo however -writes, “The vault of the -square is covered with very -rich mosaic work, and in the -middle of the vault high over -the great altar the image of -God the Father very large is -wrought in mosaics of many -colours; but it is so high up -that it only looks the size of -a man or a little larger though -really it is so big that it -measures three palmos between -the eyes.” This must be the -Pantocrator of the Manual—“draw -near the summit of the -cupola a circle of different colours like a rainbow seen on -clouds in rainy weather. In the centre represent Christ with -the Gospel and this inscription, Jesus Christ, the Almighty.”</p> - -<p>Since the above has been in type we have found a pamphlet -published by the brothers Fossati in 1890,<a id="FNanchor_406" href="#Footnote_406" class="fnanchor">[406]</a> describing a collection -of drawings of S. Sophia, shown by them at Milan. -From this we gather the following additional particulars of -the mosaic subjects.—Over the door of the south porch “was -a remarkable mosaic representing the Virgin and Child, to -whom Justinian presents the Church and Constantine the -City.”—A representation of Christ, the Virgin, and S. John,<span class="pagenum" id="Page_287">[Pg 287]</span> -forming the Trimorphion (Pantocrator, Pantochrante, Pantepopte.)—Two -groups of the Fathers of the Church, thirteen -altogether: Ignatius Oneos, Methodius, Ignatius Theophorus, -Gregory Thaumaturgus, John Chrysostom, Cyril, and Athanasius. -[These must occupy the seven recesses on the north -window-wall, as the six others agree with those given by -Salzenberg on the south side].—The Pantocrator on a throne -[? supposed centre of Pentecost dome].—John Palaeologus -[? with the Virgin on north side of great east arch, p. <a href="#Page_278">278</a>].—John -Comnenus and Irene with the Virgin between them.—Constantine -XI. and Zoe with Christ between them.—Alexius -Comnenus X. or XI.—Alexander, the brother of -Leo [some of these also were doubtless on the great east -and west arches].—Three Virgins.—S. John with six apostles -surrounded by cherubim [? in higher part of one of the -window-walls, p. <a href="#Page_277">277</a>].—Prophets [? of window-wall, p. <a href="#Page_276">276</a>].—A -circle with colossal Pantocrator [? the destroyed centre -of the great dome].—Different emblems with Greek and -Latin descriptions. Besides these, a drawing of Cherubim -“saved from the Atrium Portico” is mentioned; and the -inscription on the arch in front of the apse is given as -follows, and may be compared with Salzenberg’s Plate x.:—</p> - -<p class="inscribe center"> -ΗΙΑΝΙΡϹΕΙΑΡ ΗΡΑΝΘΕΟΗΑΡΙΗΑΡ ΘΕϹΙϹΗΝΑΝΕΑΙϹΕΙΕ -ΠΑΡΙΝ.<br /> -</p> - -<p>The earliest description of the mosaics entering into any -particulars is that of Dr. Covel’s MS. 1670-7 in the British -Museum. “In those cupolas [of gynaeceum] are imagery of -Saints and the story of the Bible which the Turks have in -many places quite defaced and plastered them all over; in -other places only scratched out or disfigured their faces as -the cherubims in the corners under the great dome.” He -then enters into details of the pentecost dome which was the -only figured vault entire; and then describes mosaics in the -western gallery not otherwise mentioned. “In the sides of -the second window [from the south], is Christ coming up -from Jordan and the Descent of the Holy Ghost with these -words, Matt. iii., 17:—<span class="inscribe">ΟΥΤΟϹΕϹΤΙΝ</span>, &c., on one side and -over against it, Christ between Moses and Elias with these<span class="pagenum" id="Page_288">[Pg 288]</span> -words, Matt. xvii., 5:—<span class="inscribe">ΟΥΤΟϹ</span>, &c.” The window jambs -of the western gallery are now plastered, it is probable that -a series of mosaics of the life of Christ covered them. Up -to 1840 every visitor seems to have been offered tesserae, -which for better assurance were broken out before his eyes. -The Italian MS. of 1611 also in the British Museum -(Harl. 3408), after saying that the walls of the church -were lined with -marble adds, -“the porch as -well, except -that this is all -worked in mosaic -with growing -leaves of -great beauty -down to the -pavement of -the porch.”<a id="FNanchor_407" href="#Footnote_407" class="fnanchor">[407]</a></p> - -<div class="figcenter" id="f73"> - <img src="images/p288.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 73.</span>—Mosaic Tesserae, actual size.</p></div> -</div> - -<p>Signor Boni -has noticed -that some of -the gold tesserae -at Parenzo -are inserted -at an -angle of 30° to -the plane of the -wall, so as to -be normal to -the line of vision, just as Salzenberg describes at S. Sophia; -the same thing occurs at the Dome of the Rock. This, -besides saving the material, aided in flashing the light, a -property of the gold tesserae which was much valued, as -several inscriptions from the mosaics show.<a id="FNanchor_408" href="#Footnote_408" class="fnanchor">[408]</a> In S. Maria -in Domnica, the apse—“<i>Nunc rutilat jugiter variis decorata -metallis</i>,” again in S. Maria in Trastevere the vault “<i>divini<span class="pagenum" id="Page_289">[Pg 289]</span> -rutilat fulgore decoris</i>,” and at S. Paulo fuori le Mura the -mosaic—“<i>fulget fulgente decore</i>.”</p> - -<p>We have examined a handful of gold tesserae from S. Sophia -through the kindness of Mr. James Powell. The cubes -average a quarter of an inch in size, the glass is yellowish, -slightly amethyst or dark green. The surface layer equals -stout paper in thickness. At the back of the tesserae a -dusty red appears, which under a glass proves to be of -powdered tile. This roughens and adheres to the surface -of the glass, which was evidently sanded with the powder -while in a molten state, and of course before it was broken -into morsels. The first purpose of this without doubt was -to increase the hold of the cubes to the cementing material, -but the reddening—almost like a coat of vermilion paint—may -probably have assisted the gold to show out better than -if the tesserae had been fixed without it into the perfectly -white stucco which forms the bed. The cementing material -was an inch or more in thickness, formed of lime with broken -reed for binding, and a considerable amount of crushed white -marble, in the part next the mosaic at least.</p> - - -<h3>§ 3. GLASS, PLASTER AND PAINTING.</h3> - -<p>The Romans probably largely used coloured glass for -windows. The lattices were sometimes bronze or thin slabs of -marble pierced into a pattern.<a id="FNanchor_409" href="#Footnote_409" class="fnanchor">[409]</a> Sidonius († 484), describing -the basilica of Tours, clearly mentions the patterned windows -of green and sapphire glass.<a id="FNanchor_410" href="#Footnote_410" class="fnanchor">[410]</a> It has been suggested that some -of the windows at S. Sophia were filled with glass of brilliant -colour. Theophilus, in his preface to the section of his work -dealing with coloured glass, says, “I have approached the -atrium of Holy Sophia, and beheld the chancel filled with every -variety of divers colours.” He proceeds to describe windows -of painted glass in which the pieces are united by leads: -but assuredly, if coloured windows did exist in the apse of -S. Sophia, the glass was inserted in pierced marble, like<span class="pagenum" id="Page_290">[Pg 290]</span> -the plaster lattices of the Orientals. Beautiful windows of -brilliant-hued glass exist in the mosques and turbehs. The -Arab lattices show us what beautiful mosaics of jewels may -be formed in this way; the singular charm of them is the -spreading and blending of the colours, by reflection from the -sides of the thick dividing bars; lumps of crystal seem to -have been used occasionally in place of glass. Most beautiful -‘braided’ Byzantine lattices of marble are to be found -at S. Mark’s which would be well characterised as θύραι -δεδικτυομέναι which according to Lenoir was the name of -these windows. If coloured glass was used in S. Sophia, -we think it can only have been in small windows of this -kind in the apse and conchs. Labarte thought, from the -descriptions of Procopius and Paulus, that the windows were -of white glass which allowed the rays of the sun to shine -through unaltered. It is hardly possible to conceive of the -great windows being of anything else than white glass.</p> - -<p>A fragment of “ancient crystalline” glass from S. Sophia -was exhibited at the Society of Antiquaries in 1876. It is -described as only “one sixteenth of an inch thick, and -nearly colourless except for iridescence.”</p> - -<p>Grelot remarked that the plain glazing was “of round -panes set in plaster,” but this must refer to the gradual -filling round of the panes by repairs, as may at present be -seen in the baptistery windows; although circular panes in -a plaster setting were much used in Byzantine work, the -glass being spun in separate discs of slightly varying sizes -was inserted in marble or plaster slabs in different combinations. -Windows of this kind remained in the apse of -the Theotokos church twenty years ago. Dr. Covel is -precise as to S. Sophia in 1676; he says the windows were -“cut out of entire stone into quarries exactly square,” 10 -by 12 or 14 inches. “In the first window of the west -gallery (coming in on the south side), are several pieces of -white transparent stone which I take to be Indian alabaster.”</p> - -<hr class="tb" /> - -<p>Modelled stucco work was much used by late Greek, -Roman, and Byzantine builders. Paulinus tells us that -at Nola “a cornice of gypsum” separated the mosaic and<span class="pagenum" id="Page_291">[Pg 291]</span> -marble of the apse. A large number of examples from the -fourth to the sixth century are found in Rome, Parenzo, -and Ravenna. “About the middle of the fifth century -Galla Placidia built the church of S. Croce in Ravenna -‘of very precious stones, and with stucco (gypsea) modelled -with the tool’ (Agnellus. <i>Lib. Pontif.</i> i. 283). Decorative -stuccoes in the apse of S. Ambrose at Milan were destroyed -thirty years ago, as they were supposed to be ‘Baroque.’ -Dartein analysed the material and found that it contained -85 per cent. of plaster (gesso), a little lime, sand and brick-dust -or pozzolana.” “The rich decoration of the Chapel of -S. Maria at Cividale (eighth to tenth century), and the Arab-Norman -modelled stuccoes of Sicily show that the traditions -of this kind of ornament were not lost at a later time.”<a id="FNanchor_411" href="#Footnote_411" class="fnanchor">[411]</a> -In the churches of Greece this material is largely used, and -its application in Arab work was due to Byzantine example. -At S. Sophia an ornamental plaster frieze runs along both -sides of the south porch: this is a scroll throwing out -acanthus leaves and fruits like poppy seed-vessels. The -background is coloured blue.</p> - -<div class="figcenter" id="f74"> - <img src="images/p291.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 74.</span>—Plaster Friezes of Gynaeceum.</p></div> -</div> - -<p>The flat frieze-like cornice of the first floor ornamented -with two patterns of leafage appears to us to be of stucco; -we figure these here, but we have not been able to -verify the material. If of stucco, as we suppose, it is cast -or stamped in small square panels as shown: certainly some of -the Byzantine plaster-work, as for instance that forming the -cornice of the apse at S. Apollinare in Classe, was cast in -short sections and then applied.</p> - -<p><span class="pagenum" id="Page_292">[Pg 292]</span></p> - -<p>The blue background of the plastered frieze just mentioned -may remind us of the decoration of the beam above -the columns of the ambo with gold ivy leaves on a background -coloured ultramarine as described by the poet. -(The spade-like leaves which occur in several places in the -mosaic must be ivy.) This decoration of gold and -“sapphire” seems to have been general in Byzantine work. -The sculptured beam of the iconostasis at St. Luke’s has the -blue background nearly intact, and here and there the gold -is visible (Diehl, p. 26).</p> - -<p>Traces of the blue ground may also be noticed in the -sculptures of Mone tes Choras at Constantinople. The -notched fillet, which separates the marble panels in S. Sophia, -is used so extensively at Venice that Mr. Ruskin called it -the Venetian dentil; the complete intention of this fillet, -he writes, is now only to be seen in pictures, “for like most -of the rest of the mouldings of Venetian buildings it was -always either gilded or painted—often both, gold being laid -on the faces of the dentils and the recesses coloured -alternately red and blue.”<a id="FNanchor_412" href="#Footnote_412" class="fnanchor">[412]</a> It is clear from Paulus that at -S. Sophia the sculptured capitals were all gilt (Part II., lines -129 and 244), as apparently were also the carved surfaces -filling the spandrils of the lower arcade (line 236). The -red colouring which Salzenberg notices was probably the -preparation for the gold. It is thus almost certain that the -notched fillets and carved frames of white marble surrounding -the marble wall panels were gilt, as the Anonymous says, -and coloured, thus reflecting as it were from the wall -surfaces the brighter hues of the mosaic vaults.</p> - - -<h3>§ 4. MONOGRAMS AND INSCRIPTIONS.</h3> - -<p>The poet Paulus speaks of the iconostasis as bearing the -names of the emperor and empress, combined in a monogram—“one -letter that means many words.”</p> - -<p>Such ciphers or monograms had been in use for some -centuries, and at the end of the fifth century they were used -as signatures in discs left in the capitals. They appear at -<span class="pagenum" id="Page_294">[Pg 294]</span> -Ravenna in the time of Theodoric; and, in Constantinople, -S. Sophia, S. Sergius, and S. Irene display similar ciphers of -Justinian. At S. Sophia almost every capital is charged with -two monograms which are carved on the bosses on opposite -sides of the capitals. The background is entirely hollowed -away, and the monograms show sharp and clear in the nest-like -cup which is held by the serrated edges of the acanthus -leafage. There are four or five main varieties of which -Salzenberg somewhat inaccurately figures two without offering -any explanation. The first type appears on two or three -of the coins of Justinian, of which we have figured an example -at large on the title-page, and in these instances they -have been deciphered by Sabatier as the monogram of that -emperor. A ceramic inscription given in the <i>Revue Archéologique</i> -for 1876, repeats the same form. We had made out -that the second variety was probably the word <i>Basileos</i>, when, -at Constantinople, we were referred to the paper by Canon -Curtis and M. Aristarches.<a id="FNanchor_413" href="#Footnote_413" class="fnanchor">[413]</a> In this article the monograms -are classified according to their main types and the whole -series is figured. Although the figures are small, this is a -thoroughly good piece of work, in the result obtaining many -pairs reading Justinian, Basileos, other pairs with Theodora -Augusta, and one with a date.</p> - -<div class="figcenter" id="f75"> - <img src="images/p293.png" alt="" /> - <div class="caption"><p><span class="smcap">Fig. 75.</span>—Monograms on Capitals of Nave.</p></div> -</div> - -<p>The capitals of the sixteen great columns of the nave, the -capitals of the lower side aisles—with the exception of those -on the eight square columns,—and the thirty-six columns on -the floor above, which screen the side gynaecea from the -nave, bear monograms. We were fortunately able to -examine and draw all of them, but give in <a href="#f75">Fig. 75</a> only -those on the back and front of the sixteen great columns of -the nave. They occur in the order in which they are placed -on the illustration from the first column on the left (north) -side on entering at the west, to the corresponding one on the -south side.<a id="FNanchor_414" href="#Footnote_414" class="fnanchor">[414]</a> Many of those monograms, especially those of<span class="pagenum" id="Page_295">[Pg 295]</span> -the galleries, bear evidence of having been restored. We -may recollect that the capitals were said to have been -restored by Romanus (p. 123). It is possible that Fossati -tampered with them; the Italian MS. of 1611 in the -British Museum states that “the Turks have destroyed some -figures which were anciently carved (<i>intagliarsi</i>) on the -capitals.”</p> - -<p>There are fifty-six examples on the capitals which Curtis -and Aristarches give as being monograms of Justinian; in -all these the letter <span class="inscribe">Ν</span> forms the main lines, to which additions -are made, so that the letters <span class="inscribe">ΙΟΥϹΤΙΝΙΑΝΟΥ</span> can be -traced out. Some of these have crosses in addition.</p> - -<p>The next monogram is that read <span class="inscribe">ΒΑϹΙΛΕΩϹ</span>. It occurs -in all on fifty-five columns, the examples of it in our -illustration are <span class="allsmcap">B.1</span>, <span class="allsmcap">E.2</span>, <span class="allsmcap">H.1</span>, <span class="allsmcap">P.1</span>, <span class="allsmcap">C.2</span>, <span class="allsmcap">P.1</span>, <span class="allsmcap">G.2</span>, <span class="allsmcap">J.2</span>, <span class="allsmcap">L.2</span>, <span class="allsmcap">N.2</span>, -<span class="allsmcap">Q.2</span>, the remnant of <span class="allsmcap">K.1</span>, shows that this was similar. This -monogram is found also on the capitals of S. Sergius and -Bacchus, and on three beautiful Basket Capitals at S. Mark’s.<a id="FNanchor_415" href="#Footnote_415" class="fnanchor">[415]</a></p> - -<p>Several of the fifty-six, classed together as Justinian, -furnish varieties from the clearest typical form. In some a -letter appears which may be read either as <span class="inscribe">Ε</span> or <span class="inscribe">Β</span>, also an <span class="inscribe">Ω</span> -and a sign of contraction: see <span class="allsmcap">M.1</span> and <span class="allsmcap">O.1</span>; possibly this is -a combination of Justinian and Basileos or only a variant -spelling: this form occurs in the church of S. Sergius as well -as at S. Sophia.</p> - -<p>On twelve capitals is carved the monogram <span class="inscribe">ΘΕΟΔΩΡΑϹ</span>. -This is either designed on the cross form as <span class="allsmcap">B.2 F.1</span>, another -in the side aisles, and three in the gynaeceum above, or else -as in <span class="allsmcap">E.2</span> it approximates to Basileos. Two of this latter -type also occur in S. Sergius, which shows how early Justinian -associated his wife with him in his architectural labours.</p> - -<p><span class="pagenum" id="Page_296">[Pg 296]</span></p> - -<p>Finally from S. Sophia, and from there only, we have -twelve examples of <span class="inscribe">ΑΥΓΟΥϹΤΑϹ</span>. Typical ones are shown in -<span class="allsmcap">G.1</span>, and <span class="allsmcap">A.1-A.2</span>; possibly some of these, as <span class="allsmcap">A.1</span>, may have -been read Augustus, if any care was taken in their distribution. -The letters on the last capital <span class="allsmcap">Q.1</span> have been read by Curtis -and Aristarches as <span class="inscribe">ϜΜΒΒ</span>. They take <span class="inscribe">Ϝ</span> to be a capital -form of the obsolete letter which is used for 6 or 6,000, -<span class="inscribe">Μ</span> is as usual 40, and <span class="inscribe">Β</span> is 2. Hence they get 6042 for -the year of the world. The lower <span class="inscribe">Β</span> is then explained as -the year of an Indiction, reading it as <span class="inscribe">ΙΒ</span>, or 12. One -Indiction period of fifteen years would have ended in -522 <span class="allsmcap">A.D.</span>, and the twelfth year from that would be 534 <span class="allsmcap">A.D.</span> -equalling 6042 <span class="allsmcap">A.M.</span> Therefore this gives a date, two -years after the church was begun, when they suggest that -this capital was put in its place. This ingenious explanation -requires too much adjustment for it to be conclusive, and -the <span class="inscribe">Ϝ</span> form is at least unusual. This monogram looks very -white, as if it had been made up in plaster; if we were -assured as to how much is ancient we might perhaps, if it -proved different from the others, find here the inserted -monogram of a later emperor who made repairs.</p> - -<p>Salzenberg gives some monogram signatures from the -closures under the great west window, which are carefully -carved and entirely different from rough masons’ marks, -although some of the forms occur amongst those. We -were unable to examine them, and taking Salzenberg’s -representation, we can only suggest that they may be the -signatures of master-workers; one appears to be Phocas.</p> - -<p>M. Choisy<a id="FNanchor_416" href="#Footnote_416" class="fnanchor">[416]</a> has investigated the masons’ marks of S. -Sophia; besides the ordinary signs, he makes out a system -of numbering in the pavement slabs of the galleries.</p> - -<p>Strzygowski<a id="FNanchor_417" href="#Footnote_417" class="fnanchor">[417]</a> pursues the subject of Byzantine marks in -general, much further. He points out the same signs on -the columns of S. Vitale, of Pomposa, and of Parenzo, and -in the cistern Bin-Bir-direk at Constantinople. From this -we gather that not only “the columns of Ravenna, but also -the similar architectural features of Constantinople, Salonica,<span class="pagenum" id="Page_297">[Pg 297]</span> -Parenzo, in fact along the whole coast of the Mediterranean” -were taken from the quarries of Proconnesus, and in the -lettering on the different members we can recognise the -working signs of the quarrymen or masons belonging to the -guild, which sprang into existence there at the founding of -New Rome, and which even as early as the end of the fourth -century was exporting to the islands of the Ægean.</p> - -<p>A few other inscriptions on the marble may be briefly -noticed. On the inner border of the marble parapet of the -north gallery is scratched, “Place of the most noble -Patrician Lady Theodora,” ending with an abbreviation -that may mean S. Sophia,<a id="FNanchor_418" href="#Footnote_418" class="fnanchor">[418]</a> and again on a panel of the -parapet of the north gallery at the west end is seen, -“Timothy, keeper of the vessels.” Coteler in his <i>Monumenta -Ecclesiae Graecae</i> finds mention of one Timothy, who -was skeuophylax of the Great Church at the time of the -Monothelite heresies about 622.<a id="FNanchor_419" href="#Footnote_419" class="fnanchor">[419]</a></p> - -<p>On a column in the southern gynaeceum occurs the word -Teodorus, but the fact that it is spelt with the Latin T and -D proves it to have been written during the Western supremacy, -1204-1261.</p> - -<p>In the south gallery is a slab forming a part of the -paving; “marks in the face of which seem to suggest that -a railing inclosed the space within which a sarcophagus used -to stand, supported by pillars.” This is inscribed with the -name of the blind Doge who led the Venetians against Constantinople -in 1204, and died the following year, “<span class="smcap">Henricus -Dandolo</span>.”</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_298">[Pg 298]</span></p> - -<h3 class="nobreak" id="NOTE">NOTE</h3> -</div> - - -<p>The following additional inscription from the mosaics -is given in Clarke’s <i>Travels</i> (1812). It was taken, he says, -in one place, “from the ceiling of the dome,” but in -another place he seems to associate it with the eastward -semidomes:—</p> - -<p class="inscribe"> -ΟϹΚΑΙΧΡΥϹΟΥ<br /> -ΠΕΝΤΗΚΟΝΤΑ<br /> -ΤΑΛΑΝΤΑΘΕΟΚ<br /> -..Ν...ΟΙϹΝΕ<br /> -.ΕΚΕΙ.....<br /> -</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_299">[Pg 299]</span></p> - -<h2 class="nobreak" id="INDEX">INDEX</h2> -</div> - - -<ul class="index"> -<li class="ifrst">A</li> - -<li class="indx">Abdul Mesjid, restoration by, <a href="#Page_148">148</a></li> - -<li class="indx">Acacius, S., church of, <a href="#Page_129">129</a></li> - -<li class="indx">Acanthus, <a href="#Page_46">46</a>, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>, <a href="#Page_254">254</a>, <a href="#Page_257">257</a>, <a href="#Page_261">261</a>, <a href="#Page_263">263</a></li> - -<li class="indx">Acropolis, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>, <a href="#Page_7">7</a>, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_17">17</a></li> - -<li class="indx">Additions to church, <a href="#Page_154">154</a>, <a href="#Page_155">155</a></li> - -<li class="indx">Adoration of Cross, <a href="#Page_98">98</a></li> - -<li class="indx">Agathias (6th c.), <a href="#Page_30">30</a>, <a href="#Page_33">33</a>, <a href="#Page_159">159</a>, <a href="#Page_204">204</a>, <a href="#Page_212">212</a>, <a href="#Page_214">214</a></li> - -<li class="indx">Agatho the Deacon, <a href="#Page_182">182</a></li> - -<li class="indx">Agora of Milion, <a href="#Page_179">179</a>, <a href="#Page_181">181</a></li> - -<li class="indx">Aisles, <a href="#Page_27">27</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_151">151</a>;</li> -<li class="isub1">lamps in, <a href="#Page_51">51</a>;</li> -<li class="isub1">marble, <a href="#Page_171">171</a>, <a href="#Page_243">243</a>;</li> -<li class="isub1">mosaics, <a href="#Page_247">247</a>;</li> -<li class="isub1">vaulting, <a href="#Page_160">160</a>, <a href="#Page_220">220</a>, <a href="#Page_221">221</a></li> - -<li class="indx">Aix, <a href="#Page_116">116</a>, <a href="#Page_192">192</a></li> - -<li class="indx">Akoimetoi lamps, <a href="#Page_118">118</a></li> - -<li class="indx">Alexandria, <a href="#Page_6">6</a>, <a href="#Page_249">249</a>;</li> -<li class="isub1">capital of S. Mark’s at, <a href="#Page_255">255</a></li> - -<li class="indx">Alexius, S., <a href="#Page_181">181</a></li> - -<li class="indx">„ Comnenus (1081), <a href="#Page_100">100</a>, <a href="#Page_105">105</a>, <a href="#Page_181">181</a></li> - -<li class="indx">Altar, <a href="#Page_16">16</a>, <a href="#Page_29">29</a>, <a href="#Page_48">48</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_100">100</a>;</li> -<li class="isub1">cross placed on, <a href="#Page_92">92</a>;</li> -<li class="isub1">cloth, <a href="#Page_71">71</a>.</li> -<li class="isub1">See also Holy Table</li> - -<li class="indx">Ambo, <a href="#Page_18">18</a>, <a href="#Page_29">29</a>, <a href="#Page_53">53</a>, <a href="#Page_57">57</a>, <a href="#Page_94">94</a>, <a href="#Page_98">98</a>, <a href="#Page_124">124</a>, <a href="#Page_130">130</a>, <a href="#Page_139">139</a>, <a href="#Page_140">140</a>;</li> -<li class="isub1">candelabra round, <a href="#Page_111">111</a>, <a href="#Page_118">118</a>;</li> -<li class="isub1">singers in, <a href="#Page_79">79</a>, <a href="#Page_104">104</a>;</li> -<li class="isub1">coronations in, <a href="#Page_61">61</a>, <a href="#Page_63">63</a></li> - -<li class="indx">Amiens, Knight of;</li> -<li class="isub1">see Robert de Clari</li> - -<li class="indx">Amurath III., <a href="#Page_127">127</a></li> - -<li class="indx">Anastasia, S., church of, <a href="#Page_21">21</a></li> - -<li class="indx">Anastasius, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_119">119</a></li> - -<li class="indx">Ancyra, church at, <a href="#Page_203">203</a></li> - -<li class="indx">Andreossy, <a href="#Page_232">232</a></li> - -<li class="indx">Andronicus, S., <a href="#Page_129">129</a></li> - -<li class="indx">„ Palaeologus, <a href="#Page_124">124</a>, <a href="#Page_152">152</a></li> - -<li class="indx">Anemodulion, <a href="#Page_178">178</a></li> - -<li class="indx">Anna Comnena (12th c.), <a href="#Page_183">183</a>, <a href="#Page_186">186</a></li> - -<li class="indx">Anna, Empress, <a href="#Page_124">124</a></li> - -<li class="indx">Annulets round shafts, <a href="#Page_259">259</a>, <a href="#Page_273">273</a></li> - -<li class="indx">Anonymous Author (12th c. ?), <a href="#Page_24">24</a>, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>, <a href="#Page_36">36</a>, <a href="#Page_43">43</a>, <a href="#Page_204">204</a>, <a href="#Page_248">248</a>, <a href="#Page_270">270</a></li> - -<li class="indx">Anthemius, <a href="#Page_24">24</a>, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>, <a href="#Page_36">36</a>, <a href="#Page_43">43</a>, <a href="#Page_204">204</a>, <a href="#Page_248">248</a>, <a href="#Page_270">270</a></li> - -<li class="indx">Anthony of Novgorod;</li> -<li class="isub1">see Novgorod</li> - -<li class="indx">Antioch, <a href="#Page_6">6</a>, <a href="#Page_17">17</a>, <a href="#Page_44">44</a>, <a href="#Page_181">181</a>, <a href="#Page_203">203</a></li> - -<li class="indx"><i>Antux</i>, <a href="#Page_37">37</a>, <a href="#Page_41">41</a>, <a href="#Page_43">43</a>, <a href="#Page_45">45</a>, <a href="#Page_47">47</a>, <a href="#Page_49">49</a>, <a href="#Page_57">57</a></li> - -<li class="indx">Apollinaris, S., <a href="#Page_258">258</a>, <a href="#Page_283">283</a></li> - -<li class="indx">Apostles, church of, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_18">18</a>, <a href="#Page_74">74</a>, <a href="#Page_85">85</a>, <a href="#Page_205">205</a></li> - -<li class="indx">Apse, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>, <a href="#Page_24">24</a>, <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_37">37</a>, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_132">132</a>, <a href="#Page_150">150</a>, <a href="#Page_216">216</a></li> - -<li class="indx"><i>Apsides</i>, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>, <a href="#Page_41">41</a>, <a href="#Page_43">43</a>, <a href="#Page_133">133</a>, <a href="#Page_180">180</a>, <a href="#Page_182">182</a></li> - -<li class="indx">Apsoid, <a href="#Page_22">22</a>, <a href="#Page_25">25</a>, <a href="#Page_209">209</a>, <a href="#Page_210">210</a></li> - -<li class="indx">Arcadius (395), <a href="#Page_16">16</a>, <a href="#Page_180">180</a>;</li> -<li class="isub1">baths of, <a href="#Page_11">11</a>;</li> -<li class="isub1">cistern, <a href="#Page_257">257</a></li> - -<li class="indx">Arch, <a href="#Page_210">210</a>, <a href="#Page_213">213</a>;</li> -<li class="isub1">western restored, <a href="#Page_123">123</a>;</li> -<li class="isub1">forms, <a href="#Page_220">220</a></li> - -<li class="indx">Architraves, marble, <a href="#Page_138">138</a>;</li> -<li class="isub1">bronze, <a href="#Page_264">264</a></li> - -<li class="indx">Arculf (7th c.), <a href="#Page_92">92</a>, <a href="#Page_95">95</a>, <a href="#Page_98">98</a></li> - -<li class="indx">Ark of Noah, <a href="#Page_109">109</a>, <a href="#Page_138">138</a>, <a href="#Page_147">147</a></li> - -<li class="indx">Arrises of vaults, <a href="#f48">244</a></li> - -<li class="indx">Arsenius, <a href="#Page_86">86</a>, <a href="#Page_109">109</a>, <a href="#Page_124">124</a></li> - -<li class="indx">Asbestos, <a href="#Page_27">27</a>, <a href="#Page_132">132</a>, <a href="#Page_136">136</a>, <a href="#Page_231">231</a></li> - -<li class="indx"><span class="pagenum" id="Page_300">[Pg 300]</span>Athos, Mt., <a href="#Page_98">98</a>, <a href="#Page_115">115</a>, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>, <a href="#Page_189">189</a>, <a href="#Page_227">227</a></li> - -<li class="indx">Atrax, marble, <a href="#Page_45">45</a>, <a href="#Page_236">236</a></li> - -<li class="indx">Atrium, <a href="#Page_18">18</a>, <a href="#Page_44">44</a>, <a href="#Page_122">122</a>, <a href="#Page_148">148</a>, <a href="#Page_152">152</a>, <a href="#Page_182">182</a>, <a href="#Page_185">185</a>, <a href="#Page_191">191</a>, <a href="#Page_215">215</a>;</li> -<li class="isub1">capitals of, <a href="#Page_166">166</a></li> - -<li class="indx">Attaliotas (11th c.), <a href="#Page_67">67</a></li> - -<li class="indx">Augusteum, <a href="#Page_4">4</a>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_12">12</a>, <a href="#Page_20">20</a>, <a href="#Page_141">141</a>, <a href="#Page_146">146</a>, <a href="#Page_173">173</a>, <a href="#Page_178">178</a>, <a href="#Page_180">180</a>, <a href="#Page_184">184</a>, <a href="#Page_186">186</a>;</li> -<li class="isub1">steps of, <a href="#Page_65">65</a>, <a href="#Page_95">95</a></li> - -<li class="indx"><i>Aule</i>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_188">188</a></li> - - -<li class="ifrst">B</li> - -<li class="indx">Baalbec, <a href="#Page_201">201</a></li> - -<li class="indx">Baldwin, I., <a href="#Page_124">124</a>;</li> -<li class="isub1">II., <a href="#Page_100">100</a></li> - -<li class="indx">Banduri, <a href="#Page_7">7</a>, <a href="#Page_10">10</a>, <a href="#Page_175">175</a>, <a href="#Page_190">190</a></li> - -<li class="indx">Baptism of Christ, <a href="#Page_44">44</a>, <a href="#Page_106">106</a>, <a href="#Page_183">183</a>;</li> -<li class="isub1">of Emperors, <a href="#Page_110">110</a>, <a href="#Page_183">183</a></li> - -<li class="indx">Baptistery, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_81">81</a>, <a href="#Page_106">106</a>, <a href="#Page_132">132</a>, <a href="#Page_152">152</a>, <a href="#Page_155">155</a>, <a href="#Page_183">183</a>, <a href="#Page_209">209</a>, <a href="#Page_217">217</a></li> - -<li class="indx">Barley in concrete, <a href="#Page_132">132</a></li> - -<li class="indx">Base of dome, <a href="#Page_210">210</a>, <a href="#Page_214">214</a></li> - -<li class="indx">Bases, <a href="#Page_165">165</a>, <a href="#Page_258">258</a>, <a href="#Page_260">260</a></li> - -<li class="indx">Basil, S., <a href="#Page_131">131</a>, <a href="#Page_143">143</a>, <a href="#Page_276">276</a>;</li> -<li class="isub1">I. Emperor (867), <a href="#Page_111">111</a>, <a href="#Page_123">123</a>, <a href="#Page_175">175</a>, <a href="#Page_182">182</a>, <a href="#Page_279">279</a>;</li> -<li class="isub1">church built by, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>, <a href="#Page_90">90</a>, <a href="#Page_143">143</a>, <a href="#Page_189">189</a></li> - -<li class="indx">Basil II. (976), <a href="#Page_89">89</a>;</li> -<li class="isub1">see under Menologium</li> - -<li class="indx">Beams with lamps, <a href="#Page_50">50</a>, <a href="#Page_111">111</a></li> - -<li class="indx">Beautiful Gate, <a href="#Page_67">67</a>, <a href="#Page_95">95</a>, <a href="#Page_182">182</a></li> - -<li class="indx">Belfry, <a href="#Page_122">122</a>, <a href="#Page_194">194</a>, <a href="#Page_215">215</a></li> - -<li class="indx">Bells, <a href="#Page_106">106</a>, <a href="#Page_150">150</a>, <a href="#Page_194">194</a></li> - -<li class="indx">Bema, <a href="#Page_18">18</a>, <a href="#Page_37">37</a>, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>, <a href="#Page_78">78</a>, <a href="#Page_94">94</a>;</li> -<li class="isub1">view of, <a href="#Page_69">69</a>;</li> -<li class="isub1">restored, <a href="#Page_124">124</a>;</li> -<li class="isub1">walls of, <a href="#Page_171">171</a>, <a href="#Page_242">242</a>;</li> -<li class="isub1">see also Thusiasterion</li> - -<li class="indx">Benjamin of Tudela, <a href="#Page_83">83</a>, <a href="#Page_113">113</a>, <a href="#Page_178">178</a></li> - -<li class="indx">Bertrandon de la Brocquière, <a href="#Page_92">92</a>, <a href="#Page_110">110</a>, <a href="#Page_125">125</a>, <a href="#Page_193">193</a></li> - -<li class="indx">Bethlehem, church of, <a href="#Page_83">83</a>, <a href="#Page_182">182</a>, <a href="#Page_240">240</a>;</li> -<li class="isub1">built by Justinian, <a href="#Page_17">17</a></li> - -<li class="indx">Bin Bir Direk, cistern, <a href="#Page_248">248</a></li> - -<li class="indx">Bishop’s throne, <a href="#Page_68">68</a>, <a href="#Page_79">79</a></li> - -<li class="indx">Blachernae palace, <a href="#Page_11">11</a>, <a href="#Page_123">123</a></li> - -<li class="indx">Blessing the water, <a href="#Page_110">110</a>, <a href="#Page_192">192</a></li> - -<li class="indx">Bondelmontius, <a href="#Page_125">125</a>, <a href="#Page_175">175</a>, <a href="#Page_177">177</a>, <a href="#Page_179">179</a>, <a href="#Page_186">186</a>, <a href="#Page_193">193</a></li> - -<li class="indx">Bosporus, stone of, <a href="#Page_46">46</a>, <a href="#Page_56">56</a>, <a href="#Page_79">79</a>, <a href="#Page_237">237</a></li> - -<li class="indx">Bosra, <a href="#Page_90">90</a>, <a href="#Page_204">204</a></li> - -<li class="indx">Boucoleon palace, <a href="#Page_99">99</a></li> - -<li class="indx">Bricks, <a href="#Page_155">155</a>, <a href="#Page_161">161</a>, <a href="#Page_199">199</a>, <a href="#Page_224">224</a>, <a href="#Page_226">226</a>, <a href="#Page_234">234</a>;</li> -<li class="isub1">size of, <a href="#Page_155">155</a>;</li> -<li class="isub1">inscriptions on, <a href="#Page_136">136</a>, <a href="#Page_156">156</a>, <a href="#Page_207">207</a></li> - -<li class="indx">Bronze, <a href="#Page_172">172</a>, <a href="#Page_180">180</a>, <a href="#Page_189">189</a>, <a href="#Page_264">264</a>, <a href="#Page_272">272</a>;</li> -<li class="isub1">hooks, <a href="#Page_86">86</a>, <a href="#Page_109">109</a>, <a href="#Page_264">264</a>, <a href="#Page_273">273</a>;</li> -<li class="isub1">panels, <a href="#Page_168">168</a>, <a href="#Page_170">170</a>, <a href="#Page_265">265</a>;</li> -<li class="isub1">rings, <a href="#Page_56">56</a>, <a href="#Page_60">60</a>, <a href="#Page_164">164</a>, <a href="#Page_259">259</a>;</li> -<li class="isub1">horses at Venice, <a href="#Page_193">193</a></li> - -<li class="indx">Bruin Code (1700), <a href="#Page_196">196</a></li> - -<li class="indx">Bury, <a href="#Page_7">7</a>, <a href="#Page_12">12</a>, <a href="#Page_200">200</a></li> - -<li class="indx">Buttress, <a href="#Page_150">150</a>, <a href="#Page_157">157</a>, <a href="#Page_210">210</a>, <a href="#Page_216">216</a>, <a href="#Page_219">219</a>, <a href="#Page_226">226</a></li> - -<li class="indx">Buzantios, <a href="#Page_7">7</a>, <a href="#Page_183">183</a>, <a href="#Page_264">264</a></li> - -<li class="indx">Byeljayev, <a href="#Page_8">8</a>, <a href="#Page_177">177</a></li> - - -<li class="ifrst">C</li> - -<li class="indx">Camerarum rotator, <a href="#Page_206">206</a>, <a href="#Page_207">207</a></li> - -<li class="indx">Candelabra, <a href="#Page_60">60</a>, <a href="#Page_74">74</a>, <a href="#Page_80">80</a>, <a href="#Page_103">103</a>, <a href="#Page_119">119</a></li> - -<li class="indx">Candles on ciborium, <a href="#Page_48">48</a>, <a href="#Page_72">72</a></li> - -<li class="indx">Cantacuzenus (1341), <a href="#Page_62">62</a>, <a href="#Page_65">65</a>, <a href="#Page_124">124</a></li> - -<li class="indx">Canterbury, <a href="#Page_19">19</a></li> - -<li class="indx">Cantharus, <a href="#Page_84">84</a>, <a href="#Page_189">189</a></li> - -<li class="indx">Capitals, <a href="#Page_37">37</a>, <a href="#Page_43">43</a>, <a href="#Page_46">46</a>, <a href="#Page_55">55</a>, <a href="#Page_137">137</a>, <a href="#Page_164">164</a>, <a href="#Page_188">188</a>, <a href="#Page_218">218</a>;</li> -<li class="isub1">distribution of, <a href="#Page_255">255</a>;</li> -<li class="isub1">types, <a href="#Page_250">250</a>, <a href="#Page_254">254</a></li> - -<li class="indx">Carpets, <a href="#Page_81">81</a>, <a href="#Page_90">90</a>, <a href="#Page_102">102</a>, <a href="#Page_183">183</a></li> - -<li class="indx">Carystus, marble of, <a href="#Page_45">45</a>, <a href="#Page_237">237</a></li> - -<li class="indx">Cassiodorus, <a href="#Page_206">206</a></li> - -<li class="indx">Catechumena, <a href="#Page_65">65</a>, <a href="#Page_90">90</a>, <a href="#Page_94">94</a>, <a href="#Page_135">135</a></li> - -<li class="indx">Cedrenus (11th c.), <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_16">16</a>, <a href="#Page_99">99</a>, <a href="#Page_157">157</a>, <a href="#Page_180">180</a>, <a href="#Page_210">210</a></li> - -<li class="indx">Cells of clergy, <a href="#Page_140">140</a>, <a href="#Page_186">186</a>, <a href="#Page_217">217</a></li> - -<li class="indx">Celtic marble, <a href="#Page_45">45</a>, <a href="#Page_237">237</a></li> - -<li class="indx">Cements, <a href="#Page_231">231</a>, <a href="#Page_289">289</a></li> - -<li class="indx">Ceremonies, book of (10th c.), <a href="#Page_7">7</a>, <a href="#Page_20">20</a>, <a href="#Page_60">60</a>, <a href="#Page_92">92</a>, <a href="#Page_95">95</a>, <a href="#Page_123">123</a>, <a href="#Page_173">173</a>, <a href="#Page_181">181</a>, <a href="#Page_186">186</a>, <a href="#Page_219">219</a></li> - -<li class="indx">Chainage, <a href="#Page_228">228</a></li> - -<li class="indx">Chains (lamp), <a href="#Page_16">16</a>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>, <a href="#Page_111">111</a>;</li> -<li class="isub1">S. Peter’s, <a href="#Page_68">68</a>, <a href="#Page_183">183</a></li> - -<li class="indx">Chalké Gate, <a href="#Page_95">95</a>, <a href="#Page_174">174</a></li> - -<li class="indx">Chalices, <a href="#Page_96">96</a>, <a href="#Page_104">104</a>, <a href="#Page_108">108</a>, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>, <a href="#Page_140">140</a>, <a href="#Page_242">242</a>, <a href="#Page_267">267</a></li> - -<li class="indx">Chalkis, <a href="#Page_257">257</a></li> - -<li class="indx">Chambers at East-End, <a href="#Page_153">153</a>, <a href="#Page_216">216</a></li> - -<li class="indx">Chapels, <a href="#Page_68">68</a>, <a href="#Page_105">105</a>, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>, <a href="#Page_184">184</a></li> - -<li class="indx">Cherubic Hymn, <a href="#Page_63">63</a>, <a href="#Page_92">92</a></li> - -<li class="indx">Cherubim in mosaic, <a href="#Page_278">278</a>, <a href="#Page_287">287</a></li> - -<li class="indx">Choir;</li> -<li class="isub1">see Solea</li> - -<li class="indx">Choisy, <a href="#Page_128">128</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_207">207</a>, <a href="#Page_210">210</a>, <a href="#Page_214">214</a>, <a href="#Page_222">222</a>, <a href="#Page_224">224</a>, <a href="#Page_226">226</a></li> - -<li class="indx">Chosroes, <a href="#Page_32">32</a>, <a href="#Page_90">90</a>, <a href="#Page_97">97</a></li> - -<li class="indx">Chrysopolis, <a href="#Page_5">5</a></li> - -<li class="indx">Chrysostom (4th c.), <a href="#Page_16">16</a>, <a href="#Page_18">18</a>, <a href="#Page_44">44</a>, <a href="#Page_85">85</a>, <a href="#Page_109">109</a>, <a href="#Page_116">116</a>, <a href="#Page_144">144</a></li> - -<li class="indx">Chrysotriclinium, <a href="#Page_174">174</a></li> - -<li class="indx">Ciborium, <a href="#Page_29">29</a>, <a href="#Page_47">47</a>, <a href="#Page_68">68</a>, <a href="#Page_72">72</a>, <a href="#Page_167">167</a></li> - -<li class="indx">Cipollino, <a href="#Page_263">263</a>;</li> -<li class="isub1">rosy, <a href="#f47">241</a>, <a href="#Page_242">242</a></li> - -<li class="indx">Cisterns of Constantinople, <a href="#Page_83">83</a>, <a href="#Page_224">224</a>, <a href="#Page_226">226</a>, <a href="#Page_248">248</a>, <a href="#Page_257">257</a>;</li> -<li class="isub1">of S. Sophia, <a href="#Page_19">19</a>, <a href="#Page_106">106</a>, <a href="#Page_155">155</a>, <a href="#Page_196">196</a></li> - -<li class="indx">Clamps, <a href="#Page_247">247</a></li> - -<li class="indx">Clavijo, <a href="#Page_61">61</a>, <a href="#Page_83">83</a>, <a href="#Page_125">125</a>, <a href="#Page_175">175</a>, <a href="#Page_177">177</a>, <a href="#Page_179">179</a>, <a href="#Page_184">184</a>, <a href="#Page_186">186</a>, <a href="#Page_188">188</a></li> - -<li class="indx">Clemente S., church at Rome, <a href="#Page_209">209</a>, <a href="#Page_254">254</a>, <a href="#Page_257">257</a></li> - -<li class="indx">Clergy, <a href="#Page_91">91</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Cloister on south side, <a href="#Page_219">219</a></li> - -<li class="indx">Codinus (15th c.), <a href="#Page_14">14</a>, <a href="#Page_21">21</a>, <a href="#Page_63">63</a>, <a href="#Page_65">65</a>, <a href="#Page_79">79</a>, <a href="#Page_128">128</a>, <a href="#Page_180">180</a>, <a href="#Page_183">183</a></li> - -<li class="indx">Columns, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_60">60</a>, <a href="#Page_69">69</a>, <a href="#Page_109">109</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_163">163</a>, <a href="#Page_165">165</a>, <a href="#Page_234">234</a>, <a href="#Page_236">236</a>;</li> -<li class="isub1">of S. Basil, <a href="#Page_102">102</a>, <a href="#Page_131">131</a>;</li> -<li class="isub1">of S. Gregory, <a href="#Page_102">102</a>, <a href="#Page_131">131</a>;</li> -<li class="isub1">of Hippodrome, <a href="#Page_172">172</a></li> - -<li class="indx">Colymbethra, <a href="#Page_189">189</a></li> - -<li class="indx">Conchs, <a href="#Page_22">22</a>, <a href="#Page_37">37</a>, <a href="#Page_150">150</a>, <a href="#Page_168">168</a>, <a href="#Page_180">180</a></li> - -<li class="indx">Constantine, <a href="#Page_4">4</a>, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_99">99</a>, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>, <a href="#Page_105">105</a>, <a href="#Page_129">129</a>, <a href="#Page_179">179</a>, <a href="#Page_180">180</a>, <a href="#Page_193">193</a>, <a href="#Page_198">198</a>, <a href="#Page_203">203</a>;</li> -<li class="isub1">cross of, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>;</li> -<li class="isub1">Forum of, <a href="#Page_3">3</a>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>, <a href="#Page_14">14</a>, <a href="#Page_179">179</a>, <a href="#Page_182">182</a>, <a href="#Page_193">193</a>;</li> -<li class="isub1">VII. Porphyrogenitus (912), <a href="#Page_178">178</a>;</li> -<li class="isub1">VIII. (1025), <a href="#Page_89">89</a>;</li> -<li class="isub1">XI. (1059), in mosaic, <a href="#Page_287">287</a></li> - -<li class="indx">Constantius (337), <a href="#Page_15">15</a></li> - -<li class="indx">Coptic linen, <a href="#Page_88">88</a></li> - -<li class="indx">Cornices, <a href="#Page_150">150</a>, <a href="#Page_163">163</a>, <a href="#Page_260">260</a>, <a href="#Page_261">261</a>;</li> -<li class="isub1">of dome, <a href="#Page_41">41</a>, <a href="#Page_150">150</a>, <a href="#Page_159">159</a>, <a href="#Page_163">163</a>, <a href="#Page_166">166</a></li> - -<li class="indx">Corona of lights, <a href="#Page_50">50</a>, <a href="#Page_51">51</a>, <a href="#Page_111">111</a>, <a href="#Page_115">115</a>, <a href="#Page_119">119</a></li> - -<li class="indx">Corippus, <a href="#Page_145">145</a></li> - -<li class="indx">Corporations, <a href="#Page_11">11</a>, <a href="#Page_208">208</a></li> - -<li class="indx">Corsi, <a href="#Page_236">236</a>, <a href="#Page_238">238</a>, <a href="#Page_239">239</a></li> - -<li class="indx">Covel, <a href="#Page_118">118</a>, <a href="#Page_121">121</a>, <a href="#Page_128">128</a>, <a href="#Page_191">191</a>, <a href="#Page_232">232</a>, <a href="#Page_288">288</a>, <a href="#Page_290">290</a></li> - -<li class="indx">Cross, the true, <a href="#Page_14">14</a>, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96</a>, <a href="#Page_98">98</a>, <a href="#Page_105">105</a>, <a href="#Page_109">109</a>;</li> -<li class="isub1">adoration of, <a href="#Page_92">92</a>;</li> -<li class="isub1">exaltation of, <a href="#Page_94">94</a>, <a href="#Page_98">98</a>;</li> -<li class="isub1">of light, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>;</li> -<li class="isub1"><span class="pagenum" id="Page_301">[Pg 301]</span>votive, <a href="#Page_82">82</a></li> - -<li class="indx">Crowns, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>, <a href="#Page_103">103</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Crusaders, <a href="#Page_6">6</a>, <a href="#Page_161">161</a>, <a href="#Page_70">70</a>, <a href="#Page_87">87</a>, <a href="#Page_100">100</a>, <a href="#Page_124">124</a>, <a href="#Page_143">143</a></li> - -<li class="indx">Crustæ, <a href="#f47">241</a></li> - -<li class="indx">Crux Mensuralis, <a href="#Page_102">102</a>, <a href="#Page_139">139</a></li> - -<li class="indx">Curtains, <a href="#Page_33">33</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>, <a href="#Page_95">95</a>, <a href="#Page_103">103</a></li> - -<li class="indx">Curtis, <a href="#Page_83">83</a>, <a href="#Page_85">85</a>, <a href="#Page_186">186</a></li> - -<li class="indx">Curve of inflection, <a href="#Page_223">223</a></li> - - -<li class="ifrst">D</li> - -<li class="indx">Damascening, <a href="#Page_67">67</a></li> - -<li class="indx">Dara, <a href="#Page_205">205</a></li> - -<li class="indx">Deacons, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_91">91</a></li> - -<li class="indx">Deaconesses, <a href="#Page_18">18</a>, <a href="#Page_91">91</a></li> - -<li class="indx">Delphi, serpents from, <a href="#Page_4">4</a>, <a href="#Page_177">177</a></li> - -<li class="indx">Demetrius, S., church of Salonica, <a href="#Page_72">72</a>, <a href="#Page_121">121</a>, <a href="#Page_189">189</a>, <a href="#Page_202">202</a>, <a href="#Page_203">203</a>, <a href="#Page_214">214</a>, <a href="#Page_215">215</a>, <a href="#Page_257">257</a></li> - -<li class="indx">Deputatus, <a href="#Page_64">64</a>, <a href="#Page_91">91</a></li> - -<li class="indx">Dethier, <a href="#Page_273">273</a></li> - -<li class="indx">De Vogüé, <a href="#Page_90">90</a>, <a href="#Page_180">180</a></li> - -<li class="indx">Diakonikon, <a href="#Page_102">102</a></li> - -<li class="indx">Didaskalion, <a href="#Page_94">94</a>, <a href="#Page_188">188</a></li> - -<li class="indx">Didron, <a href="#Page_98">98</a></li> - -<li class="indx">Diehl, <a href="#Page_285">285</a></li> - -<li class="indx">Diocletian, edict of, <a href="#Page_206">206</a></li> - -<li class="indx">Dion Cassius, <a href="#Page_10">10</a></li> - -<li class="indx">Dion Chrysostom, <a href="#Page_181">181</a></li> - -<li class="indx">Dionysius, <a href="#Page_13">13</a></li> - -<li class="indx">Discs (lamp), <a href="#Page_50">50</a>, <a href="#Page_111">111</a>, <a href="#Page_113">113</a></li> - -<li class="indx">Division of labour, <a href="#Page_207">207</a></li> - -<li class="indx">Dokimion, <a href="#Page_238">238</a></li> - -<li class="indx">Dome, <a href="#Page_201">201</a>, <a href="#Page_220">220</a>, <a href="#Page_226">226</a>;</li> -<li class="isub1">of S. Sophia, <a href="#Page_26">26</a>, <a href="#Page_29">29</a>, <a href="#Page_35">35</a>, <a href="#Page_42">42</a>, <a href="#Page_123">123</a>, <a href="#Page_142">142</a>, <a href="#Page_150">150</a>, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>, <a href="#Page_169">169</a>, <a href="#Page_209">209</a>, <a href="#Page_210">210</a>, <a href="#Page_219">219</a>;</li> -<li class="isub1">mosaics in, <a href="#Page_274">274</a>, <a href="#Page_278">278</a>, <a href="#Page_286">286</a></li> - -<li class="indx">Domninus, porticoes of, <a href="#Page_182">182</a></li> - -<li class="indx">Doors of church, <a href="#Page_40">40</a>, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>, <a href="#Page_138">138</a>, <a href="#Page_143">143</a>, <a href="#Page_147">147</a>, <a href="#Page_168">168</a>, <a href="#Page_193">193</a>, <a href="#Page_216">216</a>, <a href="#Page_267">267</a>;</li> -<li class="isub1">Holy, <a href="#Page_79">79</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96</a></li> - -<li class="indx">Doorkeepers, <a href="#Page_91">91</a></li> - -<li class="indx">Door veils, <a href="#Page_88">88</a></li> - -<li class="indx">Drill, use of, in carving, <a href="#Page_263">263</a></li> - -<li class="indx">Du Cange, <a href="#Page_7">7</a>, <a href="#Page_34">34</a>, <a href="#Page_44">44</a>, <a href="#Page_53">53</a>, <a href="#Page_180">180</a>, <a href="#Page_186">186</a>, <a href="#Page_190">190</a>;</li> -<li class="isub1">editions of, <a href="#Page_66">66</a>, <a href="#Page_67">67</a>;</li> -<li class="isub1">plan by, <a href="#Page_78">78</a></li> - -<li class="indx"><span class="pagenum" id="Page_302">[Pg 302]</span>Ducas (15th c.), <a href="#Page_126">126</a></li> - - -<li class="ifrst">E</li> - -<li class="indx">Earthquakes, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_122">122</a>, <a href="#Page_212">212</a>, <a href="#Page_228">228</a>, <a href="#Page_265">265</a></li> - -<li class="indx">Eastern chapels, <a href="#Page_78">78</a></li> - -<li class="indx">Egypt, <a href="#Page_4">4</a>, <a href="#Page_177">177</a>, <a href="#Page_200">200</a>, <a href="#Page_226">226</a>, <a href="#Page_228">228</a></li> - -<li class="indx">Elektron, <a href="#Page_70">70</a>, <a href="#Page_138">138</a>, <a href="#Page_272">272</a></li> - -<li class="indx">Embolos of Milion, <a href="#Page_180">180</a>, <a href="#Page_182">182</a></li> - -<li class="indx">Enamel, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>, <a href="#Page_272">272</a></li> - -<li class="indx">Encaenia, <a href="#Page_15">15</a>, <a href="#Page_21">21</a>, <a href="#Page_34">34</a>, <a href="#Page_36">36</a>, <a href="#Page_141">141</a></li> - -<li class="indx">Endute, <a href="#Page_71">71</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Ephesus, <a href="#Page_32">32</a>, <a href="#Page_130">130</a>, <a href="#Page_191">191</a>, <a href="#Page_202">202</a>;</li> -<li class="isub1">building centre, <a href="#Page_98">98</a>;</li> -<li class="isub1">John of (6th c.), <a href="#Page_98">98</a></li> - -<li class="indx">Equestrian statues, <a href="#Page_149">149</a>, <a href="#Page_193">193</a></li> - -<li class="indx">Escomboli, <a href="#Page_125">125</a></li> - -<li class="indx">Etoimasia, <a href="#Page_286">286</a></li> - -<li class="indx">Euchologium, <a href="#Page_62">62</a>, <a href="#Page_92">92</a>, <a href="#Page_194">194</a></li> - -<li class="indx">Eudoxia, <a href="#Page_16">16</a>;</li> -<li class="isub1">statue of, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_179">179</a></li> - -<li class="indx">Eudoxius, <a href="#Page_15">15</a></li> - -<li class="indx">Eugenius, gate of, <a href="#Page_10">10</a></li> - -<li class="indx">Eusebius (4th c.), <a href="#Page_14">14</a>, <a href="#Page_74">74</a>, <a href="#Page_190">190</a></li> - -<li class="indx">Eutychius, <a href="#Page_29">29</a>, <a href="#Page_132">132</a>, <a href="#Page_141">141</a></li> - -<li class="indx">Exedras, of S. Sophia, <a href="#Page_22">22</a>, <a href="#Page_25">25</a>, <a href="#Page_36">36</a>, <a href="#Page_151">151</a>, <a href="#Page_164">164</a>, <a href="#Page_168">168</a>, <a href="#Page_219">219</a>, <a href="#Page_234">234</a>, <a href="#Page_259">259</a>;</li> -<li class="isub1">at S. Sergius, <a href="#Page_205">205</a></li> - -<li class="indx">Exonarthex, <a href="#Page_122">122</a>, <a href="#Page_148">148</a>, <a href="#Page_150">150</a>, <a href="#Page_162">162</a>, <a href="#Page_185">185</a>, <a href="#Page_188">188</a>, <a href="#Page_193">193</a>, <a href="#Page_215">215</a></li> - -<li class="indx">Exterior of S. Sophia, <a href="#Page_215">215</a>, <a href="#Page_219">219</a>;</li> -<li class="isub1">cased with marble, <a href="#Page_197">197</a></li> - -<li class="indx">Evagrius (6th c.), <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a></li> - -<li class="indx">Ezra, <a href="#Page_204">204</a>, <a href="#Page_228">228</a></li> - - -<li class="ifrst">F</li> - -<li class="indx">Fabri, Felix, <a href="#Page_83">83</a>, <a href="#Page_246">246</a></li> - -<li class="indx">Fall of city, <a href="#Page_125">125</a>, <a href="#Page_126">126</a>, <a href="#Page_147">147</a>, <a href="#Page_175">175</a>, <a href="#Page_179">179</a></li> - -<li class="indx">Fanio, portico of, <a href="#Page_12">12</a></li> - -<li class="indx">Figure scheme in mosaics, <a href="#Page_280">280</a>, <a href="#Page_283">283</a></li> - -<li class="indx">Fillet, notched, <a href="#Page_170">170</a>, <a href="#Page_260">260</a>, <a href="#Page_292">292</a></li> - -<li class="indx">Flabella, <a href="#Page_91">91</a>, <a href="#Page_104">104</a>, <a href="#Page_285">285</a></li> - -<li class="indx">Fonts, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_81">81</a></li> - -<li class="indx">Fortunatus, <a href="#Page_81">81</a></li> - -<li class="indx">Forum of Constantine, <a href="#Page_3">3</a>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_179">179</a>, <a href="#Page_182">182</a>, <a href="#Page_193">193</a>;</li> -<li class="isub1">Tauri, <a href="#Page_178">178</a></li> - -<li class="indx">Fossati, <a href="#Page_84">84</a>, <a href="#Page_120">120</a>, <a href="#Page_148">148</a>, <a href="#Page_179">179</a>, <a href="#Page_185">185</a>, <a href="#Page_287">287</a></li> - -<li class="indx">Foundations, <a href="#Page_132">132</a></li> - -<li class="indx">Fountains, <a href="#Page_177">177</a>, <a href="#Page_185">185</a>, <a href="#Page_188">188</a></li> - - -<li class="ifrst">G</li> - -<li class="indx">Galata, <a href="#Page_5">5</a>, <a href="#Page_11">11</a></li> - -<li class="indx">Galla Placidia, <a href="#Page_74">74</a>, <a href="#Page_282">282</a></li> - -<li class="indx">Galleries to S. Sophia, <a href="#Page_212">212</a>, <a href="#Page_217">217</a></li> - -<li class="indx">Gammidae, <a href="#Page_71">71</a>, <a href="#Page_88">88</a>, <a href="#Page_267">267</a></li> - -<li class="indx">Ganosis, <a href="#Page_246">246</a></li> - -<li class="indx">Garconostasion, <a href="#Page_188">188</a></li> - -<li class="indx">Garofalo, <a href="#Page_236">236</a></li> - -<li class="indx">Germanus (8th c.), patriarch, <a href="#Page_85">85</a>, <a href="#Page_100">100</a></li> - -<li class="indx">Giallo antico, <a href="#Page_172">172</a>, <a href="#Page_239">239</a></li> - -<li class="indx">Gilding, <a href="#Page_272">272</a></li> - -<li class="indx">Glass, <a href="#Page_46">46</a>, <a href="#Page_169">169</a>, <a href="#Page_290">290</a>;</li> -<li class="isub1">enamels, <a href="#Page_272">272</a>;</li> -<li class="isub1">mosaic, <a href="#Page_172">172</a>, <a href="#Page_273">273</a></li> - -<li class="indx">Glycas (12th c.), <a href="#Page_21">21</a>, <a href="#Page_79">79</a>, <a href="#Page_123">123</a>, <a href="#Page_129">129</a>, <a href="#Page_145">145</a></li> - -<li class="indx">Goar (17th c.), <a href="#Page_69">69</a>, <a href="#Page_92">92</a>, <a href="#Page_122">122</a>, <a href="#Page_192">192</a>, <a href="#Page_194">194</a></li> - -<li class="indx">Gold, <a href="#Page_33">33</a>, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>, <a href="#Page_60">60</a>, <a href="#Page_70">70</a>, <a href="#Page_199">199</a>, <a href="#f75">293</a></li> - -<li class="indx">Golden Gate, <a href="#Page_135">135</a>;</li> -<li class="isub1">Horn, <a href="#Page_1">1</a>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>, <a href="#Page_90">90</a></li> - -<li class="indx">Gregory, S., of Armenia, <a href="#Page_276">276</a>;</li> -<li class="isub1">S., of Nazianzene, <a href="#Page_209">209</a>;</li> -<li class="isub1">S., of Nyssa, <a href="#Page_206">206</a>, <a href="#Page_207">207</a>;</li> -<li class="isub1">Thaumaturgus, <a href="#Page_83">83</a>, <a href="#Page_102">102</a>, <a href="#Page_106">106</a>, <a href="#Page_131">131</a>, <a href="#Page_276">276</a>, <a href="#Page_287">287</a></li> - -<li class="indx">Grelot, <a href="#Page_66">66</a>, <a href="#Page_78">78</a>, <a href="#Page_84">84</a>, <a href="#Page_120">120</a>, <a href="#Page_127">127</a>, <a href="#Page_185">185</a>, <a href="#Page_188">188</a>, <a href="#Page_190">190</a>, <a href="#Page_193">193</a>, <a href="#Page_215">215</a>, <a href="#Page_285">285</a>, <a href="#Page_291">291</a></li> - -<li class="indx">Gruter, <a href="#Page_84">84</a>, <a href="#Page_190">190</a></li> - -<li class="indx">Gyllius, <a href="#Page_12">12</a>, <a href="#Page_66">66</a>, <a href="#Page_127">127</a>, <a href="#Page_146">146</a>, <a href="#Page_175">175</a>, <a href="#Page_177">177</a>, <a href="#Page_179">179</a>, <a href="#Page_185">185</a>, <a href="#Page_193">193</a>, <a href="#Page_248">248</a></li> - -<li class="indx">Gynaeceum, <a href="#Page_27">27</a>, <a href="#Page_44">44</a>, <a href="#Page_65">65</a>, <a href="#Page_87">87</a>, <a href="#Page_91">91</a>, <a href="#Page_131">131</a>, <a href="#Page_140">140</a>, <a href="#Page_147">147</a>, <a href="#Page_161">161</a>, <a href="#Page_164">164</a>, <a href="#Page_242">242</a>;</li> -<li class="isub1">accesses to, <a href="#Page_152">152</a>, <a href="#Page_154">154</a>, <a href="#Page_157">157</a>;</li> -<li class="isub1">domes, <a href="#Page_222">222</a>;</li> -<li class="isub1">doors, <a href="#Page_210">210</a>;</li> -<li class="isub1">pavement, <a href="#Page_172">172</a>, <a href="#Page_215">215</a>;</li> -<li class="isub1">windows, <a href="#Page_168">168</a>, <a href="#Page_171">171</a></li> - -<li class="indx">Gypsoplastes, <a href="#Page_206">206</a></li> - -<li class="indx">Gypsum, use of, <a href="#Page_226">226</a></li> - - -<li class="ifrst">H</li> - -<li class="indx">Habakkuk in mosaic, <a href="#Page_277">277</a></li> - -<li class="indx">Haifa sand, <a href="#f47">241</a></li> - -<li class="indx">Hangings, <a href="#Page_86">86</a></li> - -<li class="indx">Helena, <a href="#Page_14">14</a>, <a href="#Page_97">97</a>, <a href="#Page_99">99</a></li> - -<li class="indx">Hemicycle, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>, <a href="#Page_67">67</a>, <a href="#Page_205">205</a>, <a href="#Page_219">219</a></li> - -<li class="indx">Hemisphere, <a href="#Page_30">30</a>, <a href="#Page_32">32</a>, <a href="#Page_41">41</a>, <a href="#Page_123">123</a></li> - -<li class="indx">Heraclius (610), <a href="#Page_91">91</a>, <a href="#Page_97">97</a></li> - -<li class="indx">Hierapolis marble, <a href="#Page_55">55</a>, <a href="#Page_57">57</a>, <a href="#Page_60">60</a>, <a href="#Page_238">238</a></li> - -<li class="indx">Hippodrome, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>, <a href="#Page_10">10</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_17">17</a>, <a href="#Page_121">121</a>, <a href="#Page_174">174</a>, <a href="#Page_175">175</a>, <a href="#Page_186">186</a>, <a href="#Page_193">193</a></li> - -<li class="indx">Holy table, <a href="#Page_29">29</a>, <a href="#Page_48">48</a>, <a href="#Page_63">63</a>, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>, <a href="#Page_96">96</a>, <a href="#Page_138">138</a>;</li> -<li class="isub1">see also Altar;</li> -<li class="isub1">well, <a href="#Page_78">78</a>, <a href="#Page_91">91</a>, <a href="#Page_95">95</a>, <a href="#Page_105">105</a>, <a href="#Page_130">130</a>, <a href="#Page_139">139</a>;</li> -<li class="isub1">wood, <a href="#Page_94">94</a>, <a href="#Page_97">97</a>, <a href="#Page_105">105</a></li> - -<li class="indx">Hormisdas, palace of, <a href="#Page_174">174</a>, <a href="#Page_257">257</a></li> - -<li class="indx">Horologium, <a href="#Page_20">20</a>, <a href="#Page_95">95</a>, <a href="#Page_132">132</a>, <a href="#Page_141">141</a>, <a href="#Page_182">182</a></li> - -<li class="indx">Hypurgi of narthex, <a href="#Page_91">91</a></li> - - -<li class="ifrst">I</li> - -<li class="indx">Iassian marble, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_238">238</a></li> - -<li class="indx">Iconoclasts, <a href="#Page_280">280</a></li> - -<li class="indx">Iconostasis, <a href="#Page_46">46</a>, <a href="#Page_51">51</a>, <a href="#Page_60">60</a>, <a href="#Page_68">68</a>, <a href="#Page_74">74</a>, <a href="#Page_126">126</a>, <a href="#Page_172">172</a>;</li> -<li class="isub1">lamps on, <a href="#Page_111">111</a>, <a href="#Page_118">118</a></li> - -<li class="indx">Icons, <a href="#Page_71">71</a>, <a href="#Page_85">85</a>, <a href="#Page_105">105</a>, <a href="#Page_129">129</a></li> - -<li class="indx">Idatius (5th c.), <a href="#Page_15">15</a></li> - -<li class="indx">Jerash, <a href="#Page_201">201</a></li> - -<li class="indx">Jeremiah in mosaic, <a href="#Page_277">277</a></li> - -<li class="indx">Jerusalem, <a href="#Page_14">14</a>, <a href="#Page_84">84</a>, <a href="#Page_97">97</a>, <a href="#Page_104">104</a>, <a href="#Page_256">256</a></li> - -<li class="indx">Ignatius, <a href="#Page_88">88</a>, <a href="#Page_108">108</a>, <a href="#Page_133">133</a>, <a href="#Page_140">140</a>, <a href="#Page_177">177</a>, <a href="#Page_287">287</a></li> - -<li class="indx">Images, Restoration of, <a href="#Page_85">85</a>, <a href="#Page_122">122</a></li> - -<li class="indx">Indiction, <a href="#Page_21">21</a>, <a href="#Page_269">269</a></li> - -<li class="indx">Inscriptions, <a href="#Page_90">90</a>, <a href="#Page_190">190</a>, <a href="#Page_205">205</a>, <a href="#Page_264">264</a></li> - -<li class="indx">Instructor parietum, <a href="#Page_206">206</a></li> - -<li class="indx">Instruments of Passion, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>, <a href="#Page_109">109</a></li> - -<li class="indx">John Studius, S., church of, <a href="#Page_120">120</a>, <a href="#Page_218">218</a>, <a href="#Page_257">257</a></li> - -<li class="indx">Jonah in mosaic, <a href="#Page_277">277</a></li> - -<li class="indx">Joshua, trumpets of, <a href="#Page_105">105</a>, <a href="#Page_139">139</a></li> - -<li class="indx">Irene, S., <a href="#Page_12">12</a>, <a href="#Page_129">129</a>, <a href="#Page_264">264</a>;</li> -<li class="isub1">Empress, <a href="#Page_287">287</a></li> - -<li class="indx">Iron ties, <a href="#Page_161">161</a>, <a href="#Page_162">162</a>, <a href="#Page_230">230</a></li> - -<li class="indx">Isaiah in mosaic, <a href="#Page_276">276</a></li> - -<li class="indx">Isauria, church in, <a href="#Page_201">201</a>, <a href="#Page_202">202</a></li> - -<li class="indx">Isaurian workmen, <a href="#Page_29">29</a>, <a href="#Page_207">207</a></li> - -<li class="indx">Isidorus, the elder, <a href="#Page_24">24</a>, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>;</li> -<li class="isub1">the younger, <a href="#Page_30">30</a>, <a href="#Page_43">43</a>, <a href="#Page_204">204</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Justinian I. (527), <a href="#Page_14">14</a>, <a href="#Page_20">20</a>, <a href="#Page_24">24</a>, <a href="#Page_29">29</a>, <a href="#Page_34">34</a>, <a href="#Page_61">61</a>, <a href="#Page_70">70</a>, <a href="#Page_88">88</a>, <a href="#Page_90">90</a>, <a href="#Page_104">104</a>, <a href="#Page_119">119</a>, <a href="#Page_154">154</a>, <a href="#Page_167">167</a>, <a href="#Page_190">190</a>, <a href="#Page_198">198</a>;</li> -<li class="isub1">figure of in mosaic, <a href="#Page_287">287</a>;</li> -<li class="isub1">equestrian statue, <a href="#Page_180">180</a></li> - -<li class="indx">Justinian II. (685), <a href="#Page_174">174</a></li> - -<li class="indx">Justin II. (565), <a href="#Page_61">61</a>, <a href="#Page_97">97</a>, <a href="#Page_142">142</a>, <a href="#Page_174">174</a></li> - -<li class="indx"><span class="pagenum" id="Page_303">[Pg 303]</span>Ivory inlaid, <a href="#Page_55">55</a>, <a href="#Page_60">60</a></li> - - -<li class="ifrst">K</li> - -<li class="indx">Kamara, <a href="#Page_99">99</a>, <a href="#Page_136">136</a>, <a href="#Page_180">180</a></li> - -<li class="indx">Kathisma, <a href="#Page_175">175</a>, <a href="#Page_177">177</a>, <a href="#Page_193">193</a></li> - -<li class="indx">Klerikos of S. Sophia, <a href="#Page_91">91</a></li> - -<li class="indx">Kouppas, <a href="#Page_228">228</a></li> - -<li class="indx">Kraus, <a href="#Page_17">17</a></li> - -<li class="indx">Krumbacher, <a href="#Page_22">22</a>, <a href="#Page_30">30</a>, <a href="#Page_32">32</a></li> - -<li class="indx">Kuklios, Kuklis, <a href="#Page_68">68</a>, <a href="#Page_90">90</a>, <a href="#Page_138">138</a></li> - - -<li class="ifrst">L</li> - -<li class="indx">Labarte, <a href="#Page_7">7</a>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_12">12</a>, <a href="#Page_68">68</a>, <a href="#Page_128">128</a>, <a href="#Page_173">173</a>, <a href="#Page_177">177</a>, <a href="#Page_180">180</a>, <a href="#Page_217">217</a></li> - -<li class="indx">Lamplighter, <a href="#Page_74">74</a>, <a href="#Page_261">261</a></li> - -<li class="indx">Lamps, <a href="#Page_111">111</a>, <a href="#Page_144">144</a>, <a href="#Page_250">250</a></li> - -<li class="indx">Laotomos, <a href="#Page_55">55</a>, <a href="#Page_133">133</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Laotoros, <a href="#Page_45">45</a>, <a href="#Page_59">59</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Lateran, lighting at, <a href="#Page_113">113</a></li> - -<li class="indx">Lattaquieh, milion at, <a href="#Page_180">180</a></li> - -<li class="indx">Lattices, window, <a href="#Page_154">154</a>, <a href="#Page_168">168</a>, <a href="#Page_197">197</a>, <a href="#Page_261">261</a>, <a href="#Page_290">290</a></li> - -<li class="indx">Lazarus, the painter, <a href="#Page_107">107</a></li> - -<li class="indx">Lead, <a href="#Page_27">27</a>, <a href="#Page_41">41</a>, <a href="#Page_150">150</a>, <a href="#Page_259">259</a></li> - -<li class="indx">Leo, Pope, <a href="#Page_72">72</a>, <a href="#Page_115">115</a></li> - -<li class="indx">Leo III. (717), Emperor Edict of, <a href="#Page_280">280</a></li> - -<li class="indx">Leo VI. (886), Emperor, <a href="#Page_73">73</a>, <a href="#Page_103">103</a></li> - -<li class="indx">Leo the Deacon (10th c.), <a href="#Page_123">123</a></li> - -<li class="indx">Lighting, <a href="#Page_49">49</a>, <a href="#Page_52">52</a>, <a href="#Page_110">110</a></li> - -<li class="indx">Lithologos, <a href="#Page_25">25</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Lithoxooi, <a href="#Page_133">133</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Loggia of Baptistery, <a href="#Page_217">217</a>, <a href="#Page_252">252</a>, <a href="#Page_258">258</a></li> - -<li class="indx">Louter, <a href="#Page_132">132</a>, <a href="#Page_138">138</a>, <a href="#Page_182">182</a>, <a href="#Page_189">189</a>, <a href="#Page_192">192</a></li> - -<li class="indx">Lukium cement, <a href="#Page_232">232</a></li> - -<li class="indx">Luke, S., monastery of, <a href="#Page_99">99</a>, <a href="#Page_145">145</a>, <a href="#Page_284">284</a>, <a href="#Page_285">285</a></li> - -<li class="indx">Lybian marble, <a href="#Page_45">45</a>, <a href="#Page_239">239</a></li> - -<li class="indx">Lydian marble, <a href="#Page_45">45</a>, <a href="#Page_239">239</a></li> - -<li class="indx">Lydus, John (6th c.), <a href="#Page_3">3</a>, <a href="#Page_6">6</a>, <a href="#Page_42">42</a>, <a href="#Page_208">208</a></li> - - -<li class="ifrst">M</li> - -<li class="indx">Macron, <a href="#Page_181">181</a>, <a href="#Page_182">182</a></li> - -<li class="indx">Magistros, <a href="#Page_129">129</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Mahomet II., <a href="#Page_126">126</a>, <a href="#Page_127">127</a>, <a href="#Page_152">152</a></li> - -<li class="indx">Maistor, <a href="#Page_136">136</a>, <a href="#Page_206">206</a>, <a href="#Page_208">208</a></li> - -<li class="indx"><span class="pagenum" id="Page_304">[Pg 304]</span>Manaura, palace of, <a href="#Page_94">94</a></li> - -<li class="indx">Mandeville, <a href="#Page_84">84</a>, <a href="#Page_146">146</a></li> - -<li class="indx">Manual Byzantine, <a href="#Page_182">182</a>, <a href="#Page_284">284</a></li> - -<li class="indx">Manuel (1143), <a href="#Page_181">181</a></li> - -<li class="indx">Marbles, <a href="#Page_45">45</a>, <a href="#Page_170">170</a>, <a href="#Page_235">235</a>;</li> -<li class="isub1">export of, <a href="#Page_240">240</a>;</li> -<li class="isub1">application of, <a href="#f47">241</a>, <a href="#Page_260">260</a></li> - -<li class="indx">Marcellinus Comes (6th c.), <a href="#Page_21">21</a></li> - -<li class="indx">Marina, House of, <a href="#Page_11">11</a>, <a href="#Page_14">14</a>, <a href="#Page_174">174</a>, <a href="#Page_175">175</a></li> - -<li class="indx">Mark, S., church of, at Alexandria, <a href="#Page_256">256</a>;</li> -<li class="isub1">at Venice, <a href="#Page_82">82</a>, <a href="#Page_108">108</a>, <a href="#Page_109">109</a>, <a href="#Page_193">193</a>, <a href="#Page_197">197</a>, <a href="#Page_256">256</a>;</li> -<li class="isub1">monograms, <a href="#Page_294">294</a></li> - -<li class="indx">Marmora, <a href="#Page_84">84</a></li> - -<li class="indx">Mass, <a href="#Page_62">62</a>, <a href="#Page_92">92</a>, <a href="#Page_106">106</a></li> - -<li class="indx">Mechanikos, <a href="#Page_29">29</a>, <a href="#Page_132">132</a>, <a href="#Page_133">133</a>, <a href="#Page_136">136</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Mechanopoios, <a href="#Page_24">24</a>, <a href="#Page_28">28</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Megale Eisodos, <a href="#Page_62">62</a>, <a href="#Page_63">63</a></li> - -<li class="indx">Mekkah Sand, <a href="#Page_240">240</a></li> - -<li class="indx">Menas, patriarch, <a href="#Page_21">21</a></li> - -<li class="indx">Menologium, <a href="#Page_61">61</a>, <a href="#Page_68">68</a>, <a href="#Page_98">98</a>, <a href="#Page_108">108</a>, <a href="#Page_119">119</a>, <a href="#Page_183">183</a>;</li> -<li class="isub1">date, <a href="#Page_71">71</a></li> - -<li class="indx">Mese, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_180">180</a>, <a href="#Page_182">182</a>, <a href="#Page_186">186</a></li> - -<li class="indx">Mesomphalos, <a href="#Page_79">79</a></li> - -<li class="indx">Metatorion, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>, <a href="#Page_96">96</a>, <a href="#Page_131">131</a>, <a href="#Page_141">141</a>, <a href="#Page_182">182</a></li> - -<li class="indx">Methodius, <a href="#Page_287">287</a></li> - -<li class="indx">Michael III. (842), <a href="#Page_111">111</a>, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>, <a href="#Page_269">269</a></li> - -<li class="indx">Miletus, <a href="#Page_24">24</a>, <a href="#Page_204">204</a></li> - -<li class="indx">Milion, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>, <a href="#Page_70">70</a>, <a href="#Page_99">99</a>, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>, <a href="#Page_182">182</a></li> - -<li class="indx">Minarets, <a href="#Page_127">127</a>, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>, <a href="#Page_215">215</a></li> - -<li class="indx">Molossus, marble of, <a href="#Page_43">43</a>, <a href="#Page_59">59</a>, <a href="#Page_238">238</a></li> - -<li class="indx">Monograms at S. Sophia, <a href="#Page_47">47</a>, <a href="#Page_60">60</a>, <a href="#Page_164">164</a>, <a href="#Page_169">169</a>, <a href="#Page_170">170</a>, <a href="#Page_174">174</a>, <a href="#Page_251">251</a>, <a href="#Page_268">268</a>, <a href="#Page_272">272</a>, <a href="#Page_295">295</a>;</li> -<li class="isub1">at Ravenna, <a href="#Page_292">292</a>;</li> -<li class="isub1">at Venice, <a href="#Page_294">294</a></li> - -<li class="indx">Mordtmann, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>, <a href="#Page_175">175</a></li> - -<li class="indx">Mortar, <a href="#Page_156">156</a>, <a href="#Page_231">231</a>, <a href="#Page_235">235</a></li> - -<li class="indx">Mosaics, <a href="#Page_42">42</a>, <a href="#Page_46">46</a>, <a href="#Page_69">69</a>, <a href="#Page_199">199</a>, <a href="#Page_206">206</a>, <a href="#Page_282">282</a>;</li> -<li class="isub1">figures, <a href="#Page_273">273</a>, <a href="#Page_287">287</a>;</li> -<li class="isub1">first scheme, <a href="#Page_279">279</a>;</li> -<li class="isub1">at S. Luke’s, <a href="#Page_99">99</a>;</li> -<li class="isub1">at S. Mark’s, <a href="#Page_82">82</a>;</li> -<li class="isub1">at Ravenna, <a href="#Page_71">71</a>, <a href="#Page_86">86</a></li> - -<li class="indx">Mouldings, <a href="#Page_242">242</a>, <a href="#Page_260">260</a></li> - -<li class="indx">Murad III., <a href="#Page_152">152</a></li> - -<li class="indx">Murano, <a href="#Page_84">84</a>, <a href="#Page_85">85</a></li> - -<li class="indx">Mygdonian marble, <a href="#Page_56">56</a>, <a href="#Page_239">239</a></li> - - -<li class="ifrst">N</li> - -<li class="indx">Naos, <a href="#Page_32">32</a>, <a href="#Page_67">67</a>, <a href="#Page_79">79</a>, <a href="#Page_132">132</a></li> - -<li class="indx">Narthex, <a href="#Page_40">40</a>, <a href="#Page_44">44</a>, <a href="#Page_106">106</a>, <a href="#Page_140">140</a>, <a href="#Page_150">150</a>, <a href="#Page_182">182</a>, -<a href="#Page_216">216</a>, <a href="#f41">225</a>;</li> -<li class="isub1">vaults, <a href="#Page_137">137</a>, <a href="#Page_222">222</a>, <a href="#Page_226">226</a>;</li> -<li class="isub1">frieze, <a href="#f47">241</a>;</li> -<li class="isub1">mosaics, <a href="#Page_274">274</a>, <a href="#Page_287">287</a>;</li> -<li class="isub1">propylaeum, <a href="#Page_92">92</a>, <a href="#Page_95">95</a>, <a href="#Page_162">162</a>, <a href="#Page_188">188</a></li> - -<li class="indx">Nectarius, <a href="#Page_16">16</a>, <a href="#Page_129">129</a></li> - -<li class="indx">Neorion Port, <a href="#Page_56">56</a></li> - -<li class="indx">New church of Brazil, <a href="#Page_90">90</a>, <a href="#Page_284">284</a></li> - -<li class="indx">New Rome, <a href="#Page_4">4</a>, <a href="#Page_36">36</a>, <a href="#Page_46">46</a></li> - -<li class="indx">Nicaea, <a href="#Page_181">181</a>, <a href="#Page_285">285</a></li> - -<li class="indx">Nicetas (13th c.), <a href="#Page_70">70</a>, <a href="#Page_150">150</a>, <a href="#Page_177">177</a>, <a href="#Page_181">181</a></li> - -<li class="indx">Nicephorus Callistus (14th c.), <a href="#Page_14">14</a></li> - -<li class="indx">Nicephorus Gregoras (14th c.), <a href="#Page_86">86</a>, <a href="#Page_124">124</a>, <a href="#Page_152">152</a></li> - -<li class="indx">Nicholas, <a href="#Page_102">102</a>, <a href="#Page_110">110</a>, <a href="#Page_183">183</a>;</li> -<li class="isub1">of Myra, <a href="#Page_276">276</a>;</li> -<li class="isub1">Thingeyrensis, <a href="#Page_99">99</a></li> - -<li class="indx">Niketes, <a href="#Page_272">272</a></li> - -<li class="indx">Nola, church at, <a href="#Page_113">113</a>, <a href="#Page_119">119</a>, <a href="#Page_190">190</a>, <a href="#Page_267">267</a>, <a href="#Page_291">291</a></li> - -<li class="indx">Notitia, <a href="#Page_2">2</a>, <a href="#Page_5">5</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_174">174</a>, <a href="#Page_208">208</a></li> - -<li class="indx">Novgorod, Anthony of, <a href="#Page_83">83</a>, <a href="#Page_92">92</a>, <a href="#Page_100">100</a>, <a href="#Page_183">183</a>;</li> -<li class="isub1">Stephen of, <a href="#Page_84">84</a>, <a href="#Page_113">113</a>, <a href="#Page_185">185</a>;</li> -<li class="isub1">Chronicle (13th c.), <a href="#Page_68">68</a>, <a href="#Page_75">75</a></li> - -<li class="indx">Nuremberg Chronicle (15th c.), <a href="#Page_175">175</a></li> - - -<li class="ifrst">O</li> - -<li class="indx">Octagon Church, <a href="#Page_203">203</a>;</li> -<li class="isub1">Baptistery, <a href="#Page_186">186</a>, <a href="#Page_220">220</a></li> - -<li class="indx">Officers of church, <a href="#Page_91">91</a></li> - -<li class="indx">Oikodomoi, <a href="#Page_133">133</a>, <a href="#Page_200">200</a></li> - -<li class="indx">Oil in cements, <a href="#Page_136">136</a>, <a href="#Page_232">232</a>, <a href="#Page_233">233</a></li> - -<li class="indx">Omphalos omphalion, <a href="#Page_89">89</a>, <a href="#Page_96">96</a></li> - -<li class="indx">Onyx, <a href="#Page_239">239</a>, <a href="#f47">241</a></li> - -<li class="indx">Opus sectile, <a href="#Page_45">45</a>, <a href="#Page_162">162</a>, <a href="#Page_171">171</a>, <a href="#Page_220">220</a>, <a href="#f41">225</a>, <a href="#Page_242">242</a>, <a href="#Page_246">246</a></li> - -<li class="indx">Orientation, <a href="#Page_17">17</a></li> - -<li class="indx">Organic architecture, <a href="#Page_247">247</a></li> - -<li class="indx">Original form of church, <a href="#Page_209">209</a></li> - -<li class="indx">Oriental alabaster, <a href="#Page_170">170</a>, <a href="#Page_171">171</a>, <a href="#Page_239">239</a>, <a href="#Page_242">242</a></li> - -<li class="indx">Ostiarii, <a href="#Page_91">91</a></li> - - -<li class="ifrst">P</li> - -<li class="indx">Pachymeres (13th c.), <a href="#Page_71">71</a>, <a href="#Page_85">85</a></li> - -<li class="indx">Palace, <a href="#Page_7">7</a>, <a href="#Page_13">13</a>, <a href="#Page_132">132</a>, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>, <a href="#Page_175">175</a>;</li> -<li class="isub1">of Blachernae, <a href="#Page_11">11</a>, <a href="#Page_123">123</a>;</li> -<li class="isub1">of Hormisdas, <a href="#Page_174">174</a>, <a href="#Page_175">175</a>;</li> -<li class="isub1">of Marina, <a href="#Page_11">11</a>, <a href="#Page_14">14</a>, <a href="#Page_174">174</a>;</li> -<li class="isub1">of Patriarch, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_107">107</a>, <a href="#Page_179">179</a>, <a href="#Page_186">186</a>;</li> -<li class="isub1">of Placidia, <a href="#Page_174">174</a>, <a href="#Page_175">175</a></li> - -<li class="indx">Pala d’Oro, <a href="#Page_71">71</a>, <a href="#Page_109">109</a></li> - -<li class="indx">Palaeologus, <a href="#Page_61">61</a>;</li> -<li class="isub1">Andronicus II. (1328), <a href="#Page_124">124</a>, <a href="#Page_152">152</a>;</li> -<li class="isub1">John I. (1356), <a href="#Page_124">124</a>, <a href="#Page_278">278</a>, <a href="#Page_287">287</a>;</li> -<li class="isub1">John II. (1425), <a href="#Page_71">71</a>, <a href="#Page_190">190</a>;</li> -<li class="isub1">Michael (1261), <a href="#Page_10">10</a>, <a href="#Page_71">71</a>, <a href="#Page_124">124</a>, <a href="#Page_190">190</a></li> - -<li class="indx">Palladius (4th c.), <a href="#Page_16">16</a>, <a href="#Page_18">18</a>, <a href="#Page_144">144</a></li> - -<li class="indx">Palmyra, <a href="#Page_6">6</a>, <a href="#Page_181">181</a>, <a href="#Page_201">201</a></li> - -<li class="indx">Panels, marble, <a href="#Page_68">68</a>, <a href="#Page_171">171</a>, <a href="#f47">241</a></li> - -<li class="indx">Pantocrator, mosaic, <a href="#Page_287">287</a></li> - -<li class="indx">Parenzo, <a href="#Page_209">209</a>, <a href="#Page_219">219</a>, <a href="#Page_246">246</a>, <a href="#Page_256">256</a>, <a href="#Page_257">257</a></li> - -<li class="indx">Paschal Chronicle (7th c.), <a href="#Page_3">3</a>, <a href="#Page_13">13</a>, <a href="#Page_15">15</a>, <a href="#Page_174">174</a></li> - -<li class="indx">Paspates, <a href="#Page_7">7</a>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_79">79</a>, <a href="#Page_81">81</a>, <a href="#Page_84">84</a>, <a href="#Page_90">90</a>, <a href="#Page_100">100</a>, <a href="#Page_173">173</a>, <a href="#Page_176">176</a>, <a href="#Page_179">179</a>, <a href="#Page_186">186</a></li> - -<li class="indx">Passion, instruments of, <a href="#Page_96">96</a>, <a href="#Page_99">99</a>, <a href="#Page_100">100</a></li> - -<li class="indx">Patriarch, <a href="#Page_4">4</a>, <a href="#Page_62">62</a>, <a href="#Page_91">91</a>, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a href="#Page_104">104</a>, <a href="#Page_107">107</a>, <a href="#Page_125">125</a>, <a href="#Page_137">137</a>, <a href="#Page_144">144</a>, <a href="#Page_181">181</a></li> - -<li class="indx">Patriarchs’ tombs, <a href="#Page_85">85</a></li> - -<li class="indx">Paul, S., figure of, <a href="#Page_49">49</a>, <a href="#Page_109">109</a>, <a href="#Page_118">118</a>, <a href="#Page_123">123</a>, <a href="#Page_275">275</a></li> - -<li class="indx">Paul the Deacon (8th c.), <a href="#Page_41">41</a></li> - -<li class="indx">Paulus Maurocenus, <a href="#Page_108">108</a></li> - -<li class="indx">Paulus Silentiarius (6th c.), <a href="#Page_20">20</a>, <a href="#Page_33">33</a>, <a href="#Page_67">67</a>, <a href="#Page_70">70</a>, <a href="#Page_79">79</a>, <a href="#Page_128">128</a>, <a href="#Page_159">159</a>, <a href="#Page_160">160</a>, <a href="#Page_204">204</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Paulinus (5th c.), <a href="#Page_113">113</a>, <a href="#Page_119">119</a>, <a href="#Page_190">190</a>, <a href="#Page_267">267</a></li> - -<li class="indx">Pausanias, <a href="#Page_2">2</a></li> - -<li class="indx">Pavement of nave, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_142">142</a>, <a href="#Page_172">172</a>;</li> -<li class="isub1">of atrium, <a href="#Page_141">141</a>, <a href="#Page_191">191</a>;</li> -<li class="isub1">cloisters, <a href="#Page_125">125</a>;</li> -<li class="isub1">gynaeceum, <a href="#Page_81">81</a>;</li> -<li class="isub1">Basil’s church, <a href="#Page_68">68</a>;</li> -<li class="isub1">Augusteum, <a href="#Page_186">186</a></li> - -<li class="indx">Pavonazzetto, <a href="#Page_170">170</a></li> - -<li class="indx">Pendentives, <a href="#Page_26">26</a>, <a href="#Page_41">41</a>, <a href="#Page_201">201</a>, <a href="#Page_209">209</a></li> - -<li class="indx">Peperino, <a href="#Page_155">155</a></li> - -<li class="indx">Peter, S., figure of, <a href="#Page_49">49</a>, <a href="#Page_118">118</a>, <a href="#Page_123">123</a>, <a href="#Page_275">275</a>;</li> -<li class="isub1">chains of, <a href="#Page_68">68</a>, <a href="#Page_102">102</a>, <a href="#Page_183">183</a>;</li> -<li class="isub1">chapel of, <a href="#Page_68">68</a>, <a href="#Page_78">78</a>, <a href="#Page_102">102</a>, <a href="#Page_130">130</a>, <a href="#Page_183">183</a>, <a href="#Page_184">184</a>;</li> -<li class="isub1">church of, at Rome, <a href="#Page_72">72</a>, <a href="#Page_74">74</a>, <a href="#Page_116">116</a>, <a href="#Page_189">189</a>, <a href="#Page_192">192</a></li> - -<li class="indx">Pharos, <a href="#Page_116">116</a>, <a href="#Page_117">117</a></li> - -<li class="indx">Phengites, <a href="#Page_262">262</a></li> - -<li class="indx">Phiale, <a href="#Page_44">44</a>, <a href="#Page_141">141</a>, <a href="#Page_189">189</a>, <a href="#Page_190">190</a>, <a href="#Page_191">191</a></li> - -<li class="indx"><span class="pagenum" id="Page_305">[Pg 305]</span>Philoxenus, cisterns of, <a href="#Page_248">248</a></li> - -<li class="indx">Phrygian marble, <a href="#Page_45">45</a>, <a href="#Page_56">56</a>, <a href="#Page_59">59</a>, <a href="#Page_237">237</a></li> - -<li class="indx">Piers, <a href="#Page_22">22</a>, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_41">41</a>, <a href="#Page_79">79</a>, <a href="#Page_133">133</a>, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>;</li> -<li class="isub1">of stone, <a href="#Page_155">155</a>, <a href="#Page_234">234</a>;</li> -<li class="isub1">of west front, <a href="#Page_193">193</a></li> - -<li class="indx">Plane of least labour, <a href="#Page_261">261</a></li> - -<li class="indx">Polishing marble, <a href="#Page_246">246</a></li> - -<li class="indx">Pointed arches, <a href="#Page_220">220</a></li> - -<li class="indx">Polycandela, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Porches, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>, <a href="#Page_91">91</a>, <a href="#Page_123">123</a>, <a href="#Page_151">151</a>, <a href="#Page_183">183</a>, <a href="#Page_190">190</a>, <a href="#Page_215">215</a>, <a href="#Page_288">288</a>;</li> -<li class="isub1">south, <a href="#Page_185">185</a>;</li> -<li class="isub1">doors of, <a href="#Page_268">268</a>, <a href="#Page_270">270</a></li> - -<li class="indx">Porphyry, <a href="#Page_37">37</a>, <a href="#Page_134">134</a>, <a href="#Page_236">236</a></li> - -<li class="indx">Porticoes of Domninus, <a href="#Page_182">182</a>;</li> -<li class="isub1">of mese, <a href="#Page_6">6</a>;</li> -<li class="isub1">of milion, <a href="#Page_182">182</a>;</li> -<li class="isub1">of Severus, <a href="#Page_6">6</a></li> - -<li class="indx">Porto-Venere marble, <a href="#Page_171">171</a>, <a href="#Page_239">239</a></li> - -<li class="indx">Pozzolana, <a href="#Page_291">291</a></li> - -<li class="indx">Praepositus, <a href="#Page_94">94</a>, <a href="#Page_95">95</a></li> - -<li class="indx">Priests, <a href="#Page_47">47</a>, <a href="#Page_67">67</a>, <a href="#Page_91">91</a>, <a href="#Page_107">107</a>, <a href="#Page_140">140</a>, <a href="#Page_144">144</a></li> - -<li class="indx">Proaulion, <a href="#Page_137">137</a>, <a href="#Page_179">179</a></li> - -<li class="indx">Procession to the church, <a href="#Page_95">95</a></li> - -<li class="indx">Proconnesus, marble of, <a href="#Page_4">4</a>, <a href="#Page_44">44</a>, <a href="#Page_46">46</a>, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>, <a href="#Page_156">156</a>, <a href="#Page_163">163</a>, <a href="#Page_164">164</a>, <a href="#Page_166">166</a>, <a href="#Page_172">172</a>, <a href="#Page_209">209</a>, <a href="#Page_237">237</a>, <a href="#Page_242">242</a>, <a href="#Page_243">243</a>, <a href="#Page_256">256</a></li> - -<li class="indx">Procopius, (6th c.), <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_68">68</a>, <a href="#Page_159">159</a>, <a href="#Page_174">174</a>, <a href="#Page_180">180</a>, <a href="#Page_189">189</a>, <a href="#Page_197">197</a>, <a href="#Page_206">206</a>, <a href="#Page_214">214</a></li> - -<li class="indx">Pronaos, <a href="#Page_67">67</a>, <a href="#Page_181">181</a>, <a href="#Page_184">184</a></li> - -<li class="indx">Prothesis, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_75">75</a>, <a href="#Page_77">77</a></li> - -<li class="indx">Protomaistor, <a href="#Page_145">145</a>, <a href="#Page_207">207</a></li> - -<li class="indx">Protooikodomos, <a href="#Page_136">136</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Protopapas, <a href="#Page_91">91</a>, <a href="#Page_93">93</a></li> - -<li class="indx">Protospatharios, <a href="#Page_91">91</a></li> - -<li class="indx">Protopsaltae, <a href="#Page_63">63</a>, <a href="#Page_79">79</a>, <a href="#Page_92">92</a></li> - -<li class="indx">Psellus (11th c.), <a href="#Page_145">145</a></li> - -<li class="indx">Pulcheria, <a href="#Page_12">12</a>, <a href="#Page_16">16</a></li> - -<li class="indx">Purgos of ciborium, <a href="#Page_47">47</a>;</li> -<li class="isub1">of ambo, <a href="#Page_54">54</a></li> - - -<li class="ifrst">Q</li> - -<li class="indx">Quadriporticus, <a href="#Page_215">215</a></li> - - -<li class="ifrst">R</li> - -<li class="indx">Ramazan illuminations, <a href="#Page_121">121</a></li> - -<li class="indx"><span class="pagenum" id="Page_306">[Pg 306]</span>Ravenna, <a href="#Page_17">17</a>, <a href="#Page_71">71</a>, <a href="#Page_80">80</a>, <a href="#Page_88">88</a>, <a href="#Page_183">183</a>, <a href="#Page_209">209</a>, <a href="#Page_246">246</a></li> - -<li class="indx">Readers, <a href="#Page_160">160</a></li> - -<li class="indx">Receptions on way from Palace, <a href="#Page_95">95</a></li> - -<li class="indx">Refendarius, <a href="#Page_64">64</a>, <a href="#Page_91">91</a></li> - -<li class="indx">Relics, <a href="#Page_16">16</a>, <a href="#Page_97">97</a>, <a href="#Page_100">100</a>, <a href="#Page_106">106</a>, <a href="#Page_137">137</a>, <a href="#Page_139">139</a></li> - -<li class="indx">Resin fixes marble to walls, <a href="#Page_172">172</a></li> - -<li class="indx">Restoration of image worship, <a href="#Page_122">122</a>;</li> -<li class="isub1">of S. Sophia, <a href="#Page_22">22</a>, <a href="#Page_29">29</a>, <a href="#Page_123">123</a>, <a href="#Page_210">210</a>, <a href="#Page_212">212</a></li> - -<li class="indx">Rhodes, bricks from, <a href="#Page_136">136</a>, <a href="#Page_142">142</a>, <a href="#Page_156">156</a></li> - -<li class="indx">Riant, <a href="#Page_19">19</a>, <a href="#Page_100">100</a>, <a href="#Page_108">108</a></li> - -<li class="indx">Ribs of dome, <a href="#Page_159">159</a>, <a href="#Page_275">275</a></li> - -<li class="indx">Robert de Clari (13th c.), <a href="#Page_61">61</a>, <a href="#Page_70">70</a>, <a href="#Page_72">72</a>, <a href="#Page_113">113</a>, <a href="#Page_115">115</a></li> - -<li class="indx">Rohault de Fleury, <a href="#Page_17">17</a>, <a href="#Page_61">61</a>, <a href="#Page_67">67</a>, <a href="#Page_74">74</a>, <a href="#Page_113">113</a>, <a href="#Page_116">116</a></li> - -<li class="indx">Roman system of building, <a href="#Page_199">199</a></li> - -<li class="indx">Romanus Argyrus, (1028), <a href="#Page_123">123</a>, <a href="#Page_295">295</a></li> - -<li class="indx">Rome, <a href="#Page_2">2</a>, <a href="#Page_17">17</a>, <a href="#Page_123">123</a>, <a href="#Page_200">200</a>, <a href="#Page_209">209</a></li> - -<li class="indx">Rosso antico, <a href="#Page_171">171</a>, <a href="#Page_242">242</a></li> - -<li class="indx">Round N.E. building, <a href="#Page_78">78</a>, <a href="#Page_154">154</a>, <a href="#Page_217">217</a></li> - -<li class="indx">Royal Door, <a href="#Page_67">67</a>, <a href="#Page_150">150</a>, <a href="#Page_151">151</a>, <a href="#Page_181">181</a>, <a href="#Page_204">204</a>;</li> -<li class="isub1">slabs over, <a href="#Page_242">242</a></li> - -<li class="indx">Russian Pilgrim, <a href="#Page_65">65</a>, <a href="#Page_143">143</a>, <a href="#Page_145">145</a></li> - - -<li class="ifrst">S</li> - -<li class="indx">Sacellarius, <a href="#Page_91">91</a></li> - -<li class="indx">Sacristy, <a href="#Page_78">78</a>, <a href="#Page_154">154</a>, <a href="#Page_184">184</a>;</li> -<li class="isub1">see Skeuophylakium</li> - -<li class="indx">Salonica, see under Demetrius, also Sophia</li> - -<li class="indx">Salzenberg, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_34">34</a>, <a href="#Page_42">42</a>, <a href="#Page_67">67</a>, <a href="#Page_78">78</a>, <a href="#Page_149">149-172</a>, <a href="#Page_203">203</a>, <a href="#Page_210">210</a>, <a href="#Page_213">213</a>, <a href="#Page_216">216</a>, <a href="#Page_219">219</a>, <a href="#Page_273">273</a></li> - -<li class="indx">Sanctuary, <a href="#Page_28">28</a>, <a href="#Page_68">68</a>, <a href="#Page_78">78</a>, <a href="#Page_101">101</a>, <a href="#Page_102">102</a>, <a href="#Page_105">105</a>, <a href="#Page_107">107</a>, <a href="#Page_109">109</a>;</li> -<li class="isub1">smaller, <a href="#Page_77">77</a>, <a href="#Page_101">101</a>;</li> -<li class="isub1">right of in S. Sophia, <a href="#Page_189">189</a></li> - -<li class="indx">Scaffolding, <a href="#Page_123">123</a>, <a href="#Page_142">142</a>, <a href="#Page_226">226</a></li> - -<li class="indx">Schlumberger, <a href="#Page_91">91</a></li> - -<li class="indx">Screen to solea, <a href="#Page_79">79</a>;</li> -<li class="isub1">in South Gallery, <a href="#Page_90">90</a>, <a href="#Page_262">262</a></li> - -<li class="indx">Sculptor Marmorum, <a href="#Page_206">206</a></li> - -<li class="indx">Scylitzes (11th c.), <a href="#Page_123">123</a></li> - -<li class="indx">Secondary order of columns, <a href="#Page_213">213</a>, <a href="#Page_214">214</a>, <a href="#Page_219">219</a>, <a href="#Page_230">230</a></li> - -<li class="indx">Selim II., <a href="#Page_127">127</a></li> - -<li class="indx">Semidomes, <a href="#Page_22">22</a>, <a href="#Page_24">24</a>, <a href="#Page_40">40</a>, <a href="#Page_150">150</a>, <a href="#Page_209">209</a>, <a href="#Page_219">219</a>, <a href="#Page_226">226</a></li> - -<li class="indx">Senate, <a href="#Page_6">6</a>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_179">179</a></li> - -<li class="indx">Sepulchre Holy, slab of, at S. Sophia, <a href="#Page_101">101</a>, <a href="#Page_105">105</a>;</li> -<li class="isub1">Church of, at Jerusalem, <a href="#Page_41">41</a>, <a href="#Page_74">74</a>, <a href="#Page_83">83</a>, <a href="#Page_84">84</a></li> - -<li class="indx">Seraglio, <a href="#Page_10">10</a>, <a href="#Page_180">180</a>, <a href="#Page_184">184</a>;</li> -<li class="isub1">Point, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a></li> - -<li class="indx">Sergius S., church of, at Bosra, <a href="#Page_204">204</a>;</li> -<li class="isub1">Church of, at Constantinople, <a href="#Page_83">83</a>, <a href="#Page_166">166</a>, <a href="#Page_174">174</a>, <a href="#Page_204">204</a>, <a href="#Page_205">205</a>, <a href="#Page_218">218</a>, <a href="#Page_256">256</a>, <a href="#Page_257">257</a>, <a href="#Page_295">295</a>, <a href="#Page_296">296</a></li> - -<li class="indx">Serpentine, <a href="#Page_171">171</a>, <a href="#Page_172">172</a></li> - -<li class="indx">Services in S. Sophia, <a href="#Page_92">92</a>, <a href="#Page_126">126</a></li> - -<li class="indx">Severus, <a href="#Page_1">1</a>, <a href="#Page_3">3</a>, <a href="#Page_6">6</a>;</li> -<li class="isub1">porticoes of, <a href="#Page_5">5</a>, <a href="#Page_6">6</a></li> - -<li class="indx">Shop production, <a href="#Page_208">208</a>, <a href="#Page_256">256</a></li> - -<li class="indx">Silver, <a href="#Page_28">28</a>, <a href="#Page_33">33</a>, <a href="#Page_37">37</a>, <a href="#Page_40">40</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_54">54</a>, <a href="#Page_56">56</a>, <a href="#Page_60">60</a>, <a href="#Page_70">70</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>;</li> -<li class="isub1">in pavement, <a href="#Page_68">68</a>;</li> -<li class="isub1">in mosaic, <a href="#Page_273">273</a>;</li> -<li class="isub1">in monograms, <a href="#Page_268">268</a></li> - -<li class="indx">Simeon of Thessalonica, <a href="#Page_67">67</a>, <a href="#Page_192">192</a></li> - -<li class="indx">Sinai, Mt., <a href="#Page_83">83</a>, <a href="#Page_119">119</a></li> - -<li class="indx">Singers, <a href="#Page_60">60</a>, <a href="#Page_91">91</a>, <a href="#Page_140">140</a></li> - -<li class="indx">Skeuophylax, <a href="#Page_91">91</a>, <a href="#Page_95">95</a>, <a href="#Page_297">297</a></li> - -<li class="indx">Skeuophylakium, <a href="#Page_78">78</a>, <a href="#Page_91">91</a>, <a href="#Page_127">127</a>, <a href="#Page_130">130</a>, <a href="#Page_139">139</a>, <a href="#Page_154">154</a>, <a href="#Page_183">183</a></li> - -<li class="indx">Skirtings, <a href="#f47">241</a>, <a href="#Page_260">260</a></li> - -<li class="indx">Socrates (5th c.), <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_116">116</a></li> - -<li class="indx">Solea, <a href="#Page_63">63</a>, <a href="#Page_64">64</a>, <a href="#Page_67">67</a>, <a href="#Page_96">96</a>, <a href="#Page_139">139</a>, <a href="#Page_140">140</a>, <a href="#Page_142">142</a></li> - -<li class="indx">Solomon, <a href="#Page_71">71</a>, <a href="#Page_100">100</a>, <a href="#Page_110">110</a>, <a href="#Page_126">126</a>, <a href="#Page_141">141</a>, <a href="#Page_144">144</a>, <a href="#Page_190">190</a></li> - -<li class="indx">Sophia S., church of, at Salonica, <a href="#Page_202">202</a>, <a href="#Page_203">203</a>, <a href="#Page_214">214</a>, <a href="#Page_257">257</a></li> - -<li class="indx">Sozomenus (5th c.), <a href="#Page_16">16</a></li> - -<li class="indx">Spandrils of arcades, <a href="#Page_45">45</a>, <a href="#Page_163">163</a>, <a href="#Page_166">166</a>, <a href="#Page_170">170</a>, <a href="#Page_242">242</a>, <a href="#Page_260">260</a>, <a href="#f75">293</a></li> - -<li class="indx">Spartan marble, <a href="#Page_65">65</a>, <a href="#Page_239">239</a></li> - -<li class="indx">Sphendone, <a href="#Page_175">175</a></li> - -<li class="indx">Spina, <a href="#Page_175">175</a>, <a href="#Page_177">177</a></li> - -<li class="indx">Stairways, <a href="#Page_94">94</a>, <a href="#Page_123">123</a>, <a href="#Page_162">162</a>, <a href="#Page_210">210</a>, <a href="#Page_216">216</a></li> - -<li class="indx">Stalls, <a href="#Page_37">37</a>, <a href="#Page_40">40</a>, <a href="#Page_66">66</a>, <a href="#Page_137">137</a>, <a href="#Page_172">172</a></li> - -<li class="indx">Strategion, <a href="#Page_3">3</a>, <a href="#Page_4">4</a></li> - -<li class="indx">Stucco, <a href="#Page_291">291</a></li> - -<li class="indx">Subdeacons, <a href="#Page_91">91</a>, <a href="#Page_104">104</a></li> - -<li class="indx">Suidas (10th c.), <a href="#Page_70">70</a>, <a href="#Page_146">146</a></li> - -<li class="indx">Sundial, <a href="#Page_178">178</a>, <a href="#Page_182">182</a></li> - -<li class="indx">Sunergasia, <a href="#Page_208">208</a></li> - -<li class="indx">Synnadan marble, <a href="#Page_60">60</a>, <a href="#Page_82">82</a>, <a href="#Page_171">171</a>, <a href="#Page_238">238</a>, <a href="#Page_243">243</a></li> - -<li class="indx">Syria, influence of, <a href="#Page_201">201</a>, <a href="#Page_204">204</a></li> - - -<li class="ifrst">T</li> - -<li class="indx">Technitai, <a href="#Page_24">24</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Tektonikos, <a href="#Page_133">133</a>, <a href="#Page_206">206</a></li> - -<li class="indx">Temples at Byzantium, <a href="#Page_1">1-4</a></li> - -<li class="indx">Tesserae, <a href="#Page_45">45</a>, <a href="#Page_274">274</a>, <a href="#Page_288">288</a></li> - -<li class="indx">Texier, <a href="#Page_10">10</a>, <a href="#Page_149">149</a>, <a href="#Page_193">193</a>, <a href="#Page_203">203</a>, <a href="#Page_283">283</a></li> - -<li class="indx">Theodora, wife of Justinian, <a href="#Page_70">70</a>, <a href="#Page_86">86</a>, <a href="#Page_88">88</a>, <a href="#Page_294">294</a>;</li> -<li class="isub1">wife of Theophilus, <a href="#Page_122">122</a>, <a href="#Page_269">269</a></li> - -<li class="indx">Theodoric, <a href="#Page_86">86</a>, <a href="#Page_88">88</a>, <a href="#Page_257">257</a></li> - -<li class="indx">Theodosius I. (379), <a href="#Page_16">16</a>, <a href="#Page_129">129</a>, <a href="#Page_177">177</a>, <a href="#Page_180">180</a>;</li> -<li class="isub1">Code of, <a href="#Page_206">206</a></li> - -<li class="indx">Theodosius II. (408), <a href="#Page_6">6</a>, <a href="#Page_16">16</a></li> - -<li class="indx">Theophanes (9th c.), <a href="#Page_14">14</a>, <a href="#Page_20">20</a>, <a href="#Page_29">29</a>, <a href="#Page_72">72</a>, <a href="#Page_100">100</a>, <a href="#Page_207">207</a>, <a href="#Page_209">209</a>;</li> -<li class="isub1">Continuator (10th c.), <a href="#Page_71">71</a>, <a href="#Page_87">87</a>, <a href="#Page_90">90</a></li> - -<li class="indx">Theophilus, Emperor (829), <a href="#Page_175">175</a>, <a href="#Page_269">269</a>;</li> -<li class="isub1">writer, <a href="#Page_272">272</a>, <a href="#Page_290">290</a></li> - -<li class="indx">Thessaly, marble of, <a href="#Page_32">32</a>, <a href="#Page_37">37</a>, <a href="#Page_40">40</a>, <a href="#Page_44">44</a>, <a href="#Page_58">58</a>, <a href="#Page_59">59</a>, <a href="#Page_130">130</a>, <a href="#Page_164">164</a>, <a href="#Page_236">236</a></li> - -<li class="indx">Thomaites, <a href="#Page_65">65</a>, <a href="#Page_181">181</a>, <a href="#Page_186">186</a></li> - -<li class="indx">Throne, <a href="#Page_62">62</a>, <a href="#Page_105">105</a>;</li> -<li class="isub1">of bishop, <a href="#Page_68">68</a>;</li> -<li class="isub1">in mosaic, <a href="#Page_277">277</a>, <a href="#Page_279">279</a></li> - -<li class="indx">Thusiasterion, <a href="#Page_18">18</a>, <a href="#Page_28">28</a>, <a href="#Page_67">67</a>, <a href="#Page_130">130</a>, <a href="#Page_132">132</a>, <a href="#Page_136">136</a></li> - -<li class="indx">Tiberius (578), <a href="#Page_174">174</a></li> - -<li class="indx">Titanos, <a href="#Page_27">27</a>, <a href="#Page_232">232</a></li> - -<li class="indx">Tombs in S. Sophia, <a href="#Page_102">102</a></li> - -<li class="indx">Tralles, <a href="#Page_24">24</a>, <a href="#Page_204">204</a></li> - -<li class="indx">Transparent slabs, <a href="#Page_262">262</a></li> - -<li class="indx">Trees of light, <a href="#Page_51">51</a>, <a href="#Page_57">57</a>, <a href="#Page_118">118</a>, <a href="#Page_119">119</a></li> - -<li class="indx">Tribunal with porphyry steps, <a href="#Page_11">11</a></li> - -<li class="indx">Triconcha, <a href="#Page_175">175</a></li> - -<li class="indx">Turks capture city, <a href="#Page_126">126</a>, <a href="#Page_127">127</a>, <a href="#Page_147">147</a></li> - -<li class="indx">Turrets at west end, <a href="#Page_163">163</a></li> - - -<li class="ifrst">U</li> - -<li class="indx">Ultramarine, <a href="#Page_60">60</a>, <a href="#Page_291">291</a></li> - -<li class="indx">Undercutting in carving, <a href="#Page_254">254</a></li> - -<li class="indx">Unger, <a href="#Page_8">8</a>, <a href="#Page_78">78</a></li> - -<li class="indx"><span class="pagenum" id="Page_307">[Pg 307]</span>Urns, marble, <a href="#Page_84">84</a></li> - - -<li class="ifrst">V</li> - -<li class="indx">Varangi, <a href="#Page_64">64</a></li> - -<li class="indx">Vaults, <a href="#Page_69">69</a>, <a href="#Page_150">150</a>, <a href="#Page_160">160</a>, <a href="#Page_161">161</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_207">207</a>, <a href="#Page_219">219</a>;</li> -<li class="isub1">mosaic on, <a href="#Page_274">274</a></li> - -<li class="indx">Vela, <a href="#Page_65">65</a>, <a href="#Page_86">86</a>, <a href="#Page_87">87</a></li> - -<li class="indx">Venice, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>, <a href="#Page_99">99</a>, <a href="#Page_175">175</a>, <a href="#Page_193">193</a></li> - -<li class="indx">Verde antique, <a href="#Page_67">67</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>, <a href="#Page_164">164</a>, <a href="#Page_165">165</a>, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>, <a href="#Page_170">170</a>, <a href="#Page_172">172</a>, <a href="#Page_242">242</a>, <a href="#Page_260">260</a>, <a href="#Page_261">261</a></li> - -<li class="indx">Veronica, <a href="#Page_286">286</a></li> - -<li class="indx">Villehardouin, <a href="#Page_107">107</a></li> - -<li class="indx">Virgin, figure of, <a href="#Page_83">83</a>, <a href="#Page_109">109</a>, <a href="#Page_123">123</a>, <a href="#Page_275">275</a>, <a href="#Page_278">278</a>, <a href="#Page_284">284</a></li> - -<li class="indx">Vitale, S., at Ravenna, <a href="#Page_88">88</a>, <a href="#Page_227">227</a></li> - -<li class="indx">Von Hammer, <a href="#Page_145">145</a>, <a href="#Page_152">152</a></li> - - -<li class="ifrst">W</li> - -<li class="indx">Walls of church, <a href="#Page_155">155</a>, <a href="#Page_157">157</a>;</li> -<li class="isub1">marble casings, <a href="#Page_285">285</a></li> - -<li class="indx">Wax, encaustic, <a href="#Page_246">246</a></li> - -<li class="indx">Well, Holy, <a href="#Page_78">78</a>, <a href="#Page_91">91</a>, <a href="#Page_95">95</a>, <a href="#Page_105">105</a>, <a href="#Page_130">130</a>, <a href="#Page_139">139</a></li> - -<li class="indx">West front, <a href="#Page_192">192</a></li> - -<li class="indx">Windows, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_158">158</a>, <a href="#Page_168">168</a>, <a href="#Page_209">209</a>, <a href="#Page_261">261</a></li> - -<li class="indx">Wood, Holy, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_97">97</a>, <a href="#Page_105">105</a></li> - -<li class="indx">Wood tie beams, <a href="#Page_161">161</a>, <a href="#Page_162">162</a>, <a href="#Page_168">168</a>, <a href="#Page_227">227</a>, <a href="#Page_228">228</a>, <a href="#Page_230">230</a></li> - - -<li class="ifrst">Z</li> - -<li class="indx">Zeno, building laws of, <a href="#Page_6">6</a></li> - -<li class="indx">Zenobia, city of, <a href="#Page_206">206</a></li> - -<li class="indx">Zeuxippus, baths of, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>, <a href="#Page_11">11</a>, <a href="#Page_179">179</a></li> - -<li class="indx">Zonaras (11th c.), <a href="#Page_29">29</a>, <a href="#Page_160">160</a>, <a href="#Page_179">179</a>, <a href="#Page_209">209</a></li> - -<li class="indx">Zosimus (5th c.), <a href="#Page_4">4</a>, <a href="#Page_5">5</a></li> -</ul> - - -<p class="center p3">THE END.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter footnotes"> -<h2 class="nobreak" id="FOOTNOTES">FOOTNOTES</h2> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> Ἀνάπλους Βοσπόρου, ed. C. Wescher, 1874, p. 5.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> <i>Notitia Dignitatum</i>, eds. Pancirolus, Venice, 1602, and Seeck Berlin, -1876. The date given by Seeck for the <i>Notitia</i> is 411-413 <span class="allsmcap">A.D.</span></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> Ἑλληνικὸς Φιλολογικὸς Σύλλογος; παράρτημα, 1885.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> Ed. Bonn, i., p. 494.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> Lydus speaks of a fire spreading from the “Forum of Zeuxippus” to -that of Constantine (p. 265). The baths of Zeuxippus are placed at the -north end of the Hippodrome by Labarte and Mordtmann.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> Christodorus, a fifth-century poet.—F. Baumgarten, 1891.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> <i>Hist.</i> ed. Bonn, p. 97.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> Rawlinson’s <i>Herodotus</i>, 1875, vol. iv., p. 467.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> Mordtmann, <i>Esquisse topo. de Constantinople</i>, p. 48 and map.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_10" href="#FNanchor_10" class="label">[10]</a> <i>The Museum of Classic. Antiq.</i> 1857, p. 305. The Capitol was -beyond Forum Cons. Lydus speaks of “the porticoes that pass through -the city and lead to the Forum of Constantine, and the broad space is -screened symmetrically with great and beautiful columns. [Some of] -these porticoes are said to have been built by men from Naples and -Puteoli who came to Byzantium to please Constantine.” (Ed. Bonn, p. -266.)</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_11" href="#FNanchor_11" class="label">[11]</a> <i>Imperium Orientale</i>, Paris, 1711.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_12" href="#FNanchor_12" class="label">[12]</a> Bury, <i>A History of the later Roman Empire</i> (395 <span class="allsmcap">A.D.</span> to 800 <span class="allsmcap">A.D.</span>), -vol. i., p. 57. Mr. Bury, in an excellent review of Paspates’ book in -<i>The Scottish Review</i>, Ap. 1894, gives up the position assigned to the -Augusteum by that author.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_13" href="#FNanchor_13" class="label">[13]</a> D. Byéljajev, <i>Byzantina</i>, St. Petersburg, 1891, reviewed in <i>Byzantinische -Zeitschrift</i>, 1892, p. 344.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_14" href="#FNanchor_14" class="label">[14]</a> MSS., plans, and descriptions, in the Library of R. Inst. Brit. -Architects.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_15" href="#FNanchor_15" class="label">[15]</a> Paspates, <i>The Great Palace</i>, p. 20. Mr. Metcalfe’s translation is -intended throughout.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_16" href="#FNanchor_16" class="label">[16]</a> Lib. lxxiv., ch. 10.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_17" href="#FNanchor_17" class="label">[17]</a> Mordtmann, <i>Esquisse</i>, pp. 4 and 5.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_18" href="#FNanchor_18" class="label">[18]</a> <i>Esquisse Top.</i> p. 3.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_19" href="#FNanchor_19" class="label">[19]</a> Zosimus (p. 139) and Lydus (p. 265) say that the Emperor Julian -built a Senate. So also according to Sozomen (ii. 3) and the <i>Paschal -Chron.</i> did Constantine.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_20" href="#FNanchor_20" class="label">[20]</a> <i>Hist. eccles.</i> lib. vi., ch. xviii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_21" href="#FNanchor_21" class="label">[21]</a> <i>Ecc. Hist.</i> lib. i., xvii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_22" href="#FNanchor_22" class="label">[22]</a> Du Cange, <i>Descriptio S. Sophiae</i>, ed. Bonn, p. 62.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_23" href="#FNanchor_23" class="label">[23]</a> Eusebius, <i>De Vita Cons.</i> lib. iv., cap. lviii-lix.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_24" href="#FNanchor_24" class="label">[24]</a> <i>De Vita Cons.</i> lib. iii., cap. xlviii.-xlix.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_25" href="#FNanchor_25" class="label">[25]</a> <i>Eccl. Hist.</i> ii., xvi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_26" href="#FNanchor_26" class="label">[26]</a> Du Cange, p. 63. He quotes the fifth-century author Idatius.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_27" href="#FNanchor_27" class="label">[27]</a> Ed. Bonn, i., p. 523, and i., p. 530.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_28" href="#FNanchor_28" class="label">[28]</a> Socrates, <i>Hist. Eccl.</i> vi., 18.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_29" href="#FNanchor_29" class="label">[29]</a> Du Cange, § 3.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_30" href="#FNanchor_30" class="label">[30]</a> <i>Pasch. Chron.</i> ed. Bonn, i., p. 572.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_31" href="#FNanchor_31" class="label">[31]</a> <i>Eccl. Hist.</i> ix., 1.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_32" href="#FNanchor_32" class="label">[32]</a> See Tozer’s note, Finlay, vol. i., 45.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_33" href="#FNanchor_33" class="label">[33]</a> Justinian’s church was opened at Christmas.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_34" href="#FNanchor_34" class="label">[34]</a> Art. “Orientirung” in <i>Real Encyklopädie der Christlichen Alterthümer</i>, -1886, based on Mothes’ schedule in <i>Die Basilikenformen</i>, 1865. We hope -to show on another occasion that the present church at Bethlehem which -points to the east was entirely rebuilt by Justinian. There is no proof -that S. George Salonica is older than fifth cent.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_35" href="#FNanchor_35" class="label">[35]</a> <i>Homilies</i> xxvi. and lx.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_36" href="#FNanchor_36" class="label">[36]</a> <i>De Sepulcris Imperatorum</i>, Migne S. G., vol. 157, p. 726.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_37" href="#FNanchor_37" class="label">[37]</a> Migne, p. 674.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_38" href="#FNanchor_38" class="label">[38]</a> Bingham, <i>Antiquities of the Christian Church</i>, vol. iii., p. 120.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_39" href="#FNanchor_39" class="label">[39]</a> <i>Revue Archéologique</i>, vol. iv., p. 659, and Kugler, <i>Geschichte der -Baukunst</i>, vol. i., p. 372.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_40" href="#FNanchor_40" class="label">[40]</a> For similar early circular baptisteries see Martigny, <i>Dict. Christ. -Antiq.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_41" href="#FNanchor_41" class="label">[41]</a> See Salz., plate xx., figs. 4, 5.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_42" href="#FNanchor_42" class="label">[42]</a> <i>Ibid.</i> p. 19.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_43" href="#FNanchor_43" class="label">[43]</a> <i>Chron. Pasch.</i> ed. Bonn, p. 622.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_44" href="#FNanchor_44" class="label">[44]</a> Zonaras also gives the true date; according to the Byzantine era -the year of the world 6040. In Cedrenus it appears as 6008, a copyist’s -error in writing ηʼ for μʼ.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_45" href="#FNanchor_45" class="label">[45]</a> Ed. Bonn, p. 338.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_46" href="#FNanchor_46" class="label">[46]</a> Migne, <i>S.L.</i> vol. li., p. 943.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_47" href="#FNanchor_47" class="label">[47]</a> Ed. Bonn, p. 378.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_48" href="#FNanchor_48" class="label">[48]</a> <i>Theo.</i> p. 359.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_49" href="#FNanchor_49" class="label">[49]</a> <i>Geschichte der Byzantinischen Litteratur</i>, 1893, p. 42. Ramsay says -it could not have been completed until 560. See <i>Historical Geography of Asia Minor</i>, p. 205.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_50" href="#FNanchor_50" class="label">[50]</a> λιθολόγος—really one who picks out and lays stones.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_51" href="#FNanchor_51" class="label">[51]</a> ἁψίς, “a binding together,” used for either an arch or a semidome.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_52" href="#FNanchor_52" class="label">[52]</a> λωρός, “a thong” or a belt.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_53" href="#FNanchor_53" class="label">[53]</a> The author seems here to mistake the piers for the temporary support -of the arch while it was being built.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_54" href="#FNanchor_54" class="label">[54]</a> Theophanes, <i>Chronographia</i>, ed. Bonn, vol. i., p. 359.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_55" href="#FNanchor_55" class="label">[55]</a> <i>Chron. Pasch.</i> ed. Bonn, and Zonaras.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_56" href="#FNanchor_56" class="label">[56]</a> <i>Chron.</i> ed. Bonn, p. 369.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_57" href="#FNanchor_57" class="label">[57]</a> Krumbacher, p. 49.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_58" href="#FNanchor_58" class="label">[58]</a> Agathias, lib. v. ed. Bonn, p. 296.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_59" href="#FNanchor_59" class="label">[59]</a> τὴν ἐπὶ τοῦ κυρτώματος οἰκοδόμιαν.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_60" href="#FNanchor_60" class="label">[60]</a> Krumbacher, p. 53.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_61" href="#FNanchor_61" class="label">[61]</a> <i>Hist. Eccles.</i> iv., chap. 31.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_62" href="#FNanchor_62" class="label">[62]</a> The dimensions appear so inaccurate that we do not attempt to -explain them.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_63" href="#FNanchor_63" class="label">[63]</a> Salz. <i>Alt. Baud.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_64" href="#FNanchor_64" class="label">[64]</a> καὶ κέντρον ἕλειν καὶ σχῆμα χαράξαι.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_65" href="#FNanchor_65" class="label">[65]</a> ἄντυξ, the circular rim of a shield. Used here for the bema-arch.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_66" href="#FNanchor_66" class="label">[66]</a> Column does not stand directly over column.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_67" href="#FNanchor_67" class="label">[67]</a> σφαίρης ἡμιτόμοιο, the ἡμισφαίριον of Agathias and Evagrius. This -word is used by Eusebius for the dome of the Holy Sepulchre.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_68" href="#FNanchor_68" class="label">[68]</a> ἔγραφε leaves no doubt that a mosaic cross on the interior is intended, -and not, as Salzenberg suggests, a cross on the outside. The full expression -for representations in mosaic was καταγράφειν ψηφῖδι: as in Joannes -Lydus († 550), De Magistratibus ii. 20, in his description of the palace -built by the Praetorian Prefect.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_69" href="#FNanchor_69" class="label">[69]</a> Near Antioch.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_70" href="#FNanchor_70" class="label">[70]</a> A town of Lycia.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_71" href="#FNanchor_71" class="label">[71]</a> ἄνθος, a bud, sprout or flower; hence brightness and bloom -generally.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_72" href="#FNanchor_72" class="label">[72]</a> θύρετρος is elsewhere a door. But “twin doors” has no meaning -here. See plan.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_73" href="#FNanchor_73" class="label">[73]</a> January; the consuls then entered on their year of office, and wore -chitons of gold thread. See Du Cange, <i>S. Sophia</i>, § 22.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_74" href="#FNanchor_74" class="label">[74]</a> This custom at Antioch is mentioned as early as the time of S. John -Chrysostom in a sermon on the Baptism of Christ.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_75" href="#FNanchor_75" class="label">[75]</a> ψηφῖδες—pebbles. The usual word for mosaic tesserae.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_76" href="#FNanchor_76" class="label">[76]</a> In Macedonia. The mines are mentioned by Herodotus.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_77" href="#FNanchor_77" class="label">[77]</a> The promontory on the south of Attica. The mines were at Laurium.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_78" href="#FNanchor_78" class="label">[78]</a> πολυγλώσσοιο ὁμίλου, the choir.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_79" href="#FNanchor_79" class="label">[79]</a> νῶτον, a back, and hence, any wide, flat surface.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_80" href="#FNanchor_80" class="label">[80]</a> μύρμηξ, the ant; here the silkworm.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_81" href="#FNanchor_81" class="label">[81]</a> οὐρίαχος. Used in Homer of the butt end of a spear; hence long -narrow glass lamps. See our <a href="#f17">Fig. 17</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_82" href="#FNanchor_82" class="label">[82]</a> ἐπακτρίς, a small row-boat.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_83" href="#FNanchor_83" class="label">[83]</a> See Du Cange, <i>S. Sophia</i>, § 70.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_84" href="#FNanchor_84" class="label">[84]</a> Called ὀπισθάμβωνος εὐχή, the “back” of the ambo.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_85" href="#FNanchor_85" class="label">[85]</a> Ed. Bonn, p. 74. See also our page <a href="#Page_79">79</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_86" href="#FNanchor_86" class="label">[86]</a> See Nicetas also on our p. <a href="#Page_75">75</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_87" href="#FNanchor_87" class="label">[87]</a> <i>La Messe.</i>, Art. “Ambon,” vol. iii., p. 9.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_88" href="#FNanchor_88" class="label">[88]</a> Hopf, <i>Chroniques Gréco-Romanes</i>, p. 96.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_89" href="#FNanchor_89" class="label">[89]</a> See our p. <a href="#Page_75">75</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_90" href="#FNanchor_90" class="label">[90]</a> Cantacuzenus, <i>Hist.</i> lib. i., chap. 41, ed. Bonn, p. 196.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_91" href="#FNanchor_91" class="label">[91]</a> A shortened form of κεκράκται.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_92" href="#FNanchor_92" class="label">[92]</a> ἡ μεγάλη εἴσοδος, when the Bread and Wine are brought from the -table of the prothesis and placed upon the Holy Table, while the Cherubic -Hymn is sung in honour of “the King of all, invisibly attended by the -spears of the Angelic Hosts.” See Dr. Freshfield’s article in the <i>Archaeologia</i>, -vol. xliv., p. 386; he translates a parallel account from Codinus.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_93" href="#FNanchor_93" class="label">[93]</a> A Russian pilgrim describing the coronation of Manuel in the fourteenth -century says, “The imperial procession advanced so slowly that -it took three hours to walk from the royal door to the thrones.” <i>Soc. -de l’Orient Latin, séries géog.</i> vol. v., p. 143.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_94" href="#FNanchor_94" class="label">[94]</a> <i>De Officiis Palatii</i>, chap. xvii., ed. Bonn, p. 87.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_95" href="#FNanchor_95" class="label">[95]</a> In <i>Nicephori Bryennii ... Pauli Silentiarii comment.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_96" href="#FNanchor_96" class="label">[96]</a> <i>Hist. Byz. duplici commentario illustrata.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_97" href="#FNanchor_97" class="label">[97]</a> Introduction to the <i>History of the Eastern Church</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_98" href="#FNanchor_98" class="label">[98]</a> Du Cange, <i>S. Sophia</i>, § 49.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_99" href="#FNanchor_99" class="label">[99]</a> Ed. Bonn, p. 259.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_100" href="#FNanchor_100" class="label">[100]</a> Cons. Porphyr. in Labarte, <i>Pal. Impérial</i>, p. 92.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_101" href="#FNanchor_101" class="label">[101]</a> See our p. <a href="#Page_75">75</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_102" href="#FNanchor_102" class="label">[102]</a> See Anon. p. <a href="#Page_138">138</a> below.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_103" href="#FNanchor_103" class="label">[103]</a> The <i>Euchologium</i>, ed. 1647, p. 499, speaks of taking the garments of -those about to become conventuals and placing them on or in the -“little sea” (<i>thalassidion</i>) of the Holy Table. Here Goarus interprets -it as “the hollow recess of the Holy Table,” which seems to have been -beneath the table, and used for washing the vessels, like the piscina in -the later Latin church.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_104" href="#FNanchor_104" class="label">[104]</a> “ἔλεκτρον or ἀλλότυπον united with glass and fine stones; such -is the material of which the Holy Table of S. Sophia is made.” <i>Glossary -of Suidas</i> quoted by Labarte in <i>Recherches sur la Peinture en Email</i>, p. 89.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_105" href="#FNanchor_105" class="label">[105]</a> Porphyrogenitus describes the table in the chapel built by Basil the -Macedonian as “a mixture of all precious materials placed in order and -bound together by fire into a many-coloured mass of surpassing beauty, -which is the wonder of all nations.” We also read of “Holy Tables -of silver, having gold and precious stones and pearls poured over them, -forming a compact union together.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_106" href="#FNanchor_106" class="label">[106]</a> Hopf, <i>Chroniques Gréco-Romanes</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_107" href="#FNanchor_107" class="label">[107]</a> Nic. <i>Chron. Hist.</i>, ed. Bonn, p. 758.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_108" href="#FNanchor_108" class="label">[108]</a> <i>Vera Historia Unionis</i>, Hague, 1660.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_109" href="#FNanchor_109" class="label">[109]</a> A MS. Greek service-book made for Basil II. (976-1025) now in the -Vatican Library. A folio was printed from it at Urbino in 1727.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_110" href="#FNanchor_110" class="label">[110]</a> Migne, S. L. vol. 106, p. 610.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_111" href="#FNanchor_111" class="label">[111]</a> Migne, S. L. vol. 106, p. 603.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_112" href="#FNanchor_112" class="label">[112]</a> Pachymeres, <i>de Mich. Pal.</i> ed. Bonn, vol. ii., p. 385.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_113" href="#FNanchor_113" class="label">[113]</a> Du Cange, <i>S. Sophia</i>, § 57.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_114" href="#FNanchor_114" class="label">[114]</a> Texier, <i>Arch. Byz.</i>, p. 134.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_115" href="#FNanchor_115" class="label">[115]</a> De Fleury, <i>La Messe</i>, vol. ii. and plate cii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_116" href="#FNanchor_116" class="label">[116]</a> Du Cange, § 58.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_117" href="#FNanchor_117" class="label">[117]</a> Bingham, <i>Antiq. Christ. Church</i>, vol. iii., p. 123, note.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_118" href="#FNanchor_118" class="label">[118]</a> Ed. Bonn, vol. i., p. 433.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_119" href="#FNanchor_119" class="label">[119]</a> Migne, <i>S. G. Tom.</i> 147, p. 414.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_120" href="#FNanchor_120" class="label">[120]</a> Ed. Bonn., pp. 450 and 697.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_121" href="#FNanchor_121" class="label">[121]</a> Figured in Ongania’s <i>Il Tesoro di San Marco</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_122" href="#FNanchor_122" class="label">[122]</a> Bayet, <i>L’Art Byzantin</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_123" href="#FNanchor_123" class="label">[123]</a> De Fleury, <i>La Messe</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_124" href="#FNanchor_124" class="label">[124]</a> Hopf, <i>Chroniques Gréco-Romanes</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_125" href="#FNanchor_125" class="label">[125]</a> Compare our p. <a href="#Page_126">126</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_126" href="#FNanchor_126" class="label">[126]</a> <i>Archaeologia</i>, vol. xxxiv.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_127" href="#FNanchor_127" class="label">[127]</a> Paulinus, describing the church at Nola, writes: “Cum duabus -dextra laevaque conchulis intra spatiosum sui ambitum apsis sinuata -laxetur, una earum immolanti hostias jubilationis antistiti patet, altera -post sacerdotem capaci sinu receptat orantes.” Migne, <i>S.L.</i>, vol. 61, -p. 337.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_128" href="#FNanchor_128" class="label">[128]</a> Suicerus, <i>Thesaurus Ecclesiasticus verb. Diaconicum</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_129" href="#FNanchor_129" class="label">[129]</a> See p. <a href="#Page_96">96</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_130" href="#FNanchor_130" class="label">[130]</a> <i>Cer.</i> pp. 636 and 565.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_131" href="#FNanchor_131" class="label">[131]</a> Du Cange, § 76.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_132" href="#FNanchor_132" class="label">[132]</a> <i>Cer.</i> p. 27. A Holy Well is frequently found in the Prothesis.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_133" href="#FNanchor_133" class="label">[133]</a> <i>Quellen für Byzantischer Kunstgeschichte.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_134" href="#FNanchor_134" class="label">[134]</a> <i>Cer.</i> pp. 17 and 167.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_135" href="#FNanchor_135" class="label">[135]</a> <i>Cer.</i> pp. 157 and 160.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_136" href="#FNanchor_136" class="label">[136]</a> See account of Coronation in previous chapter and of Adoration -of Cross below.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_137" href="#FNanchor_137" class="label">[137]</a> On Mount Athos; “the Kanonarches, or master of the choir, -prompts the cantors, who sing without books.” A. Riley’s <i>Mount Athos</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_138" href="#FNanchor_138" class="label">[138]</a> <i>The Great Palace</i>, p. 96.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_139" href="#FNanchor_139" class="label">[139]</a> Compare S. Germanus; <i>La Messe</i>, iii., p. 91.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_140" href="#FNanchor_140" class="label">[140]</a> <i>Theoph. Contin.</i>, ed. Bonn, p. 333.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_141" href="#FNanchor_141" class="label">[141]</a> Mr. Conway in <i>Art Journal</i>, 1891.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_142" href="#FNanchor_142" class="label">[142]</a> <i>Great Palace</i>, pp. 120, 129.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_143" href="#FNanchor_143" class="label">[143]</a> Vol. iii., p. 321.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_144" href="#FNanchor_144" class="label">[144]</a> Fossati: also Paspates’ <i>Byzantinae Meletai</i>, p. 343.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_145" href="#FNanchor_145" class="label">[145]</a> <i>Relation d’un Voyage de Constantinople</i>, p. 160. This idea he may -have obtained from Rosweyd’s note to Paulinus (1569), saying fountains in -front of churches were succeeded by lustral vases placed at the vestibule -of the temple. “The rim of such a one seems to be figured in Gruter, -p. 1046, with an inscription which was selected from the Anthology, -as is shown by Rigaltius. This line was [also] written on the sepulchre -of St. Diomede.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_146" href="#FNanchor_146" class="label">[146]</a> Paciaurdi 1758, <i>De sacris Balneis</i>, tab. vi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_147" href="#FNanchor_147" class="label">[147]</a> Ed. Bonn, vol. i., p. 262.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_148" href="#FNanchor_148" class="label">[148]</a> E. Muntz, <i>Tapisserie</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_149" href="#FNanchor_149" class="label">[149]</a> Ed. Bonn, p. 402 and p. 894.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_150" href="#FNanchor_150" class="label">[150]</a> <i>Cer.</i> I., p. 591.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_151" href="#FNanchor_151" class="label">[151]</a> <i>Soc. Orient. Latin, séries Géographique</i>, vol. v. 1889, p. 143.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_152" href="#FNanchor_152" class="label">[152]</a> See E. Muntz, <i>Tapisserie</i>, and M. F. Michel, <i>Recherches sur ... -des étoffes de Soie</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_153" href="#FNanchor_153" class="label">[153]</a> <i>Jahrbuch des Vereins von alterthumsfreunden in Rheinlande</i>, 1892, p. 224.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_154" href="#FNanchor_154" class="label">[154]</a> <i>Across the Jordan.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_155" href="#FNanchor_155" class="label">[155]</a> See Paspates and Salz.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_156" href="#FNanchor_156" class="label">[156]</a> Ed. Bonn, vol. i., p. 182.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_157" href="#FNanchor_157" class="label">[157]</a> Vol. i., p. 801.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_158" href="#FNanchor_158" class="label">[158]</a> <i>Sigillographie de’ l’Empire Byzantin.</i> The seal of the church itself -represents Justinian and the Virgin or Theodora supporting the building. -<i>Cp.</i> Lenormant, <i>Revue Numismatique</i>, 1864, p. 268, pl. xii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_159" href="#FNanchor_159" class="label">[159]</a> <i>Explicatio Officiorum sanctae ac magnae Ecclesiae, Auctore incerto a -Bernardo Medonio edita</i>, 1655. A Tupikon or Ritual Book of S. Sophia -has been recently found at Patmos: <i>Byz. Zeit.</i>, 1893.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_160" href="#FNanchor_160" class="label">[160]</a> <i>Cantacuzenus</i>, Bonn, ii., p. 15.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_161" href="#FNanchor_161" class="label">[161]</a> <i>Cedrenus</i>, vol ii., p. 609.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_162" href="#FNanchor_162" class="label">[162]</a> Pal. Pil. Text. Soc.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_163" href="#FNanchor_163" class="label">[163]</a> In the <i>Ceremonies</i>, book ii., we read that the three crosses kept in the -palace were anointed by the protopapas with balsam, before being shown. -Ed. Bonn, p. 549.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_164" href="#FNanchor_164" class="label">[164]</a> Ed. Bonn, p. 125.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_165" href="#FNanchor_165" class="label">[165]</a> κατηχούμενα, a “place for instruction,” used both of upper and lower -aisles.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_166" href="#FNanchor_166" class="label">[166]</a> The college with a provost (<i>didaskalos</i>) and twelve fellows was between -S. Sophia and the Chalkoprateia (see Bury, ii., p. 433), and therefore -according to Mordtmann north of S. Sophia. Descending steps are only -found in the north porch, and this is conclusive against Labarte and -Paspates, who saw in the Didaskalion a mere passage attached to the south -side of the church. Paschalia are the tables of Easter.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_167" href="#FNanchor_167" class="label">[167]</a> At this time more than one “life-giving cross” was kept at the palace -and occasionally taken to S. Sophia. <i>Cerem.</i> 549.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_168" href="#FNanchor_168" class="label">[168]</a> Ed. Bonn, p. 14.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_169" href="#FNanchor_169" class="label">[169]</a> Drapeyron, <i>L’Empereur Heraclius</i>, 279.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_170" href="#FNanchor_170" class="label">[170]</a> Fortunatus celebrated its acceptance by a hymn.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_171" href="#FNanchor_171" class="label">[171]</a> <i>J. of Ephesus</i>, ed. R. P. Smith, 140.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_172" href="#FNanchor_172" class="label">[172]</a> Figured in Molinier’s <i>L’Emaillerie</i>, Paris, 1891.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_173" href="#FNanchor_173" class="label">[173]</a> Figured in Schlumberger’s <i>Nicephorus Phocas</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_174" href="#FNanchor_174" class="label">[174]</a> See Ongania, <i>Il Tesoro</i>, Fig. 33 and p. 102.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_175" href="#FNanchor_175" class="label">[175]</a> Riant, <i>Ex. Sac. C.P.</i>, vol. ii., p. 213.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_176" href="#FNanchor_176" class="label">[176]</a> Paspates, <i>Byzantinae Meletae</i>, p. 285.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_177" href="#FNanchor_177" class="label">[177]</a> <i>Des Dépouilles Religieuses enlevées à Constantinople au xiii siècle par les -Latins</i>, 1875, and the fuller work, <i>Exuviae Sacrae Constantinopolitanae</i>, -1877.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_178" href="#FNanchor_178" class="label">[178]</a> <i>Soc. Orient Latin. Séries Géog.</i>, vol. v.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_179" href="#FNanchor_179" class="label">[179]</a> Alluded to on a single page of MS. in the British Museum (<i>Cott. -Claud.</i> iv.)</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_180" href="#FNanchor_180" class="label">[180]</a> In the reign of Constantine Porphyrogenitus, see <i>Ceremonies</i>, vol. ii., -ch. xv.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_181" href="#FNanchor_181" class="label">[181]</a> The French translation has <i>Diakonikon</i>: Riant, in <i>Exuv. Sacrae, -C.P.</i> says “smaller sanctuary:” the Anon. says <i>skeuophylakium</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_182" href="#FNanchor_182" class="label">[182]</a> This must be the same as Robert de Clari’s “buhotiaous” fastened -to the ring of the great door of S. Sophia.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_183" href="#FNanchor_183" class="label">[183]</a> <i>I.e.</i>, the iconoclasts, of whom a number of stories are told by the -Russian pilgrims.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_184" href="#FNanchor_184" class="label">[184]</a> See this story in <i>Golden Legend</i>, “Exaltation of the Cross.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_185" href="#FNanchor_185" class="label">[185]</a> Lazarus was a martyr in the cause of image-worship. See Bayet, -<i>L’art Byzantin</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_186" href="#FNanchor_186" class="label">[186]</a> Cedrenus, ii., p. 609. Irene gave a cross “distinguished for its -pearls”: Theo. Cont., p. 703.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_187" href="#FNanchor_187" class="label">[187]</a> Ongania, <i>Il Tesoro di San Marco</i>, pp. 57, 59. Rohault de Fleury, <i>La Messe</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_188" href="#FNanchor_188" class="label">[188]</a> <i>Exuviae Sacrae Constantinopolitanae.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_189" href="#FNanchor_189" class="label">[189]</a> See our p. <a href="#Page_49">49</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_190" href="#FNanchor_190" class="label">[190]</a> Theoph. Contin., ed. Bonn, p. 211.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_191" href="#FNanchor_191" class="label">[191]</a> <i>Ibid.</i>, <i>Life of Basil</i>, ch. 79.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_192" href="#FNanchor_192" class="label">[192]</a> <i>La Messe</i>, vol. vi., p. 78.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_193" href="#FNanchor_193" class="label">[193]</a> See fig. in <i>Byz. Zeitschrift</i>, 1893, p. 142.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_194" href="#FNanchor_194" class="label">[194]</a> In the <a href="#f18">figure 18</a> the attachment for the chain is shown at A, the -chain of monograms is taken from Rossi, B shows the provision for the -chains in the last example (<a href="#f17">Fig. 17</a>), where there is a slight mistake, the -alternate piercings in the rim being crosses as here shown.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_195" href="#FNanchor_195" class="label">[195]</a> Adapted from a photographic view in A. Riley’s <i>Mountain of the -Monks</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_196" href="#FNanchor_196" class="label">[196]</a> Du Cange.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_197" href="#FNanchor_197" class="label">[197]</a> Lib. iii. This was at Milan.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_198" href="#FNanchor_198" class="label">[198]</a> For this and other lamps see especially <i>La Messe</i> and <i>Il Tesoro</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_199" href="#FNanchor_199" class="label">[199]</a> A. Riley, <i>Mountain of the Monks</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_200" href="#FNanchor_200" class="label">[200]</a> P. 154.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_201" href="#FNanchor_201" class="label">[201]</a> <i>Constantinopolis und aer Bosporus</i>, vol. i., pp. 36-44.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_202" href="#FNanchor_202" class="label">[202]</a> The images were restored in S. Sophia on the 19th of February. -Pagi. Critica in <i>Universos Annales Baronii</i>, vol. iii., p. 587.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_203" href="#FNanchor_203" class="label">[203]</a> Goar’s <i>Euchologium</i>, 1647, p. 560.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_204" href="#FNanchor_204" class="label">[204]</a> Cons. Porph. <i>Life of Basil</i>, ch. 79.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_205" href="#FNanchor_205" class="label">[205]</a> <i>Leo Diaconus</i>, ed. Bonn, p. 176.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_206" href="#FNanchor_206" class="label">[206]</a> Du Cange, <i>S. Sophia</i>, § 35.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_207" href="#FNanchor_207" class="label">[207]</a> Paspates, <i>Byzantinae Meletae</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_208" href="#FNanchor_208" class="label">[208]</a> <i>Pachymeres</i>, ed. Bonn, i., p. 172.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_209" href="#FNanchor_209" class="label">[209]</a> <i>Hist. Byzan.</i>, ed. Bonn, p. 273.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_210" href="#FNanchor_210" class="label">[210]</a> Ed. Bonn, lib. iv., p. 29.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_211" href="#FNanchor_211" class="label">[211]</a> Nicephorus Gregoras, p. 749.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_212" href="#FNanchor_212" class="label">[212]</a> Cantacuz., ed. Bonn, p. 30.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_213" href="#FNanchor_213" class="label">[213]</a> Compare Tozer’s <i>Turkey</i>, i. 97. He says Constantinople is still constantly -called “the City” all over the Levant.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_214" href="#FNanchor_214" class="label">[214]</a> Gyllius reports a similar story.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_215" href="#FNanchor_215" class="label">[215]</a> Wright’s <i>Early Travels in Palestine</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_216" href="#FNanchor_216" class="label">[216]</a> “Constantine, the last emperor of the Greeks.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_217" href="#FNanchor_217" class="label">[217]</a> Brit. Mus. MSS. Add. 6,417.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_218" href="#FNanchor_218" class="label">[218]</a> Salzenberg, <i>Altchristliche Baudenkmale</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_219" href="#FNanchor_219" class="label">[219]</a> <i>Relation d’un Voyage de Constantinople</i>, 1680.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_220" href="#FNanchor_220" class="label">[220]</a> MS. Harl., 3,408.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_221" href="#FNanchor_221" class="label">[221]</a> From <i>Originum Rerumque Constantinopolitarium, variis auctoribus, -manipulus</i>, F. Franciscus Combefis, Paris, 1664. The same anonymous -description is also given by Banduri, <i>Imperium Orientale</i>, ed. 1711, vol. i.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_222" href="#FNanchor_222" class="label">[222]</a> Evidently meant for lower aisles.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_223" href="#FNanchor_223" class="label">[223]</a> If this interpretation can be accepted for στοαί.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_224" href="#FNanchor_224" class="label">[224]</a> Bricks stamped with long inscriptions of this kind were frequently -used: one from Sirmium is mentioned in <i>Byzantinische Zeitschrift</i> for -1894, p. 222: “O Lord Christ, help this city, keep off the Avars and -guard Romania and him who writes this, Amen.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_225" href="#FNanchor_225" class="label">[225]</a> This may mean the thickness of the marble wall lining in some -places gilt—if it has a meaning.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_226" href="#FNanchor_226" class="label">[226]</a> σειζαὶ, a network, studded with jewels, suspended from processional -crosses, and from the sides of crowns, see <a href="#f15">Fig. 15</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_227" href="#FNanchor_227" class="label">[227]</a> Reading ἐπὶ for ἀντί.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_228" href="#FNanchor_228" class="label">[228]</a> βοτρυιδόν, “like bunches of grapes.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_229" href="#FNanchor_229" class="label">[229]</a> φίνες, Graecised form of the Latin <i>fines</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_230" href="#FNanchor_230" class="label">[230]</a> Quoted in Ibn Batuta, Orient. Trans. Socy.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_231" href="#FNanchor_231" class="label">[231]</a> Du Cange, notes on Bondelmontius.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_232" href="#FNanchor_232" class="label">[232]</a> Glycas, <i>Annalium, Pars V.</i>, ed. Bonn, p. 498.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_233" href="#FNanchor_233" class="label">[233]</a> Du Cange, <i>op. cit.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_234" href="#FNanchor_234" class="label">[234]</a> Hopf, <i>Chroniques Gréco-Romanes</i>, Berlin, 1873, p. 67.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_235" href="#FNanchor_235" class="label">[235]</a> <i>Altchristliche Baudenkmale von Constantinopel</i>, published by the -Prussian Government, Berlin 1854, with metrical version of the Silentiary’s -poem by Dr. Körtum.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_236" href="#FNanchor_236" class="label">[236]</a> Salzenberg here suggests that these formerly supported equestrian -statues. See his plates ix.-xii. and compare our <a href="#f29">fig. 29</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_237" href="#FNanchor_237" class="label">[237]</a> Salz. xx., figs. 9 and 10.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_238" href="#FNanchor_238" class="label">[238]</a> All dimensions in this chapter are in Prussian feet, 100 of which = -103 English.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_239" href="#FNanchor_239" class="label">[239]</a> See Salz., plate vi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_240" href="#FNanchor_240" class="label">[240]</a> Salz., plate vii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_241" href="#FNanchor_241" class="label">[241]</a> Salz., plates vii., viii., and illustration of stairs in text.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_242" href="#FNanchor_242" class="label">[242]</a> Salz., plate vi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_243" href="#FNanchor_243" class="label">[243]</a> <i>Ibid.</i>, plate xx.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_244" href="#FNanchor_244" class="label">[244]</a> Only a short time was allowed to Salzenberg for its examination. -He was convinced it was not a baptistery, but gives no reasons.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_245" href="#FNanchor_245" class="label">[245]</a> Salz., plate xviii., figs. 9, 13.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_246" href="#FNanchor_246" class="label">[246]</a> Salz., plate vi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_247" href="#FNanchor_247" class="label">[247]</a> Salz., plate vii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_248" href="#FNanchor_248" class="label">[248]</a> Salz., plate vi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_249" href="#FNanchor_249" class="label">[249]</a> Salz., plates vi., x.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_250" href="#FNanchor_250" class="label">[250]</a> It is probable, writes Salzenberg, that originally the buttress masses -reached only up to the roof of the gynaeceum, level with the springing -of the great arches; as Cedrenus describes how Justinian, at the restoration -after the fall of the dome, made outside the building, in the -neighbourhood of the main piers, above the roof of the gynaeceum four -staircases, “cochleas” which reached up to the dome “to strengthen -the vaulting.” Theophanes also speaks of new piers which Justinian -erected to strengthen the dome. The circumstances mentioned by -Procopius seem to indicate that the abutments of the great arches were -not sufficient. See our chap. <a href="#CHAPTER_X">x</a>., § 1, for another interpretation.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_251" href="#FNanchor_251" class="label">[251]</a> These Salzenberg thought later additions, “for the stone projections -are not bonded to the piers, and the Silentiary says columns stood in these -positions.” We do not so interpret the lines of the poem, and, although -Choisy here follows Salzenberg, it is impossible to see, if there were -additions subsequent to the completion of the building, how it is that -the perfectly symmetrical disposition of the marble panelling shows no -disturbance, and the beautiful carved cornice which mitres round these -projections has had no additions made to it (our <a href="#f47">Fig. 47</a>). The straight -joints, which Choisy in another place specially notes as a method of -Byzantine building, were here most wisely applied; for on one side the -great pier was of stone, and on the other the buttress pier is of brick.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_252" href="#FNanchor_252" class="label">[252]</a> Salzenberg conjectures from Agathias that these arches were a later -addition made when the dome was restored by Justinian. But without -them, as he remarks, there would not have been originally a square base -for the circle of the dome. See explanation of original form, p. <a href="#Page_210">210</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_253" href="#FNanchor_253" class="label">[253]</a> Salzenberg assumes from Paulus that “the dome was surmounted by -a cross”: the cross was of mosaic inside.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_254" href="#FNanchor_254" class="label">[254]</a> See Salz., plate x. The right-hand side is a section through one of -the domical vaults, and the left through the barrel-vault which connects -two domical vaults. The plans, plates vi. and vii., and the section plate xi., -show how close some of the columns stand to the piers, to which they -are joined by small barrel-vaults, intersecting the domical vaulting.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_255" href="#FNanchor_255" class="label">[255]</a> A mistake for vertical circles; the large number of cisterns where -the vaults are uncovered make this certain. See our p. <a href="#Page_221">221</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_256" href="#FNanchor_256" class="label">[256]</a> Salz., plate xxiv.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_257" href="#FNanchor_257" class="label">[257]</a> Salz., plate xxiii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_258" href="#FNanchor_258" class="label">[258]</a> See figure in Salzenberg’s text.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_259" href="#FNanchor_259" class="label">[259]</a> Salz., plate xi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_260" href="#FNanchor_260" class="label">[260]</a> Preparation for the gold.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_261" href="#FNanchor_261" class="label">[261]</a> Salzenberg’s plate xv., fig. 6. The inclination of the sides of that -shown is much exaggerated, if in any case it exists.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_262" href="#FNanchor_262" class="label">[262]</a> Salz., plate xvi., fig. 1, 5.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_263" href="#FNanchor_263" class="label">[263]</a> Plate xvi., figs. 5, 6.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_264" href="#FNanchor_264" class="label">[264]</a> Salz., plate xvii., figs. 12 and 13. Fig. 14 gives the base, fig. 2 a complete -column.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_265" href="#FNanchor_265" class="label">[265]</a> Salz., plate xv., figs. 7, 8.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_266" href="#FNanchor_266" class="label">[266]</a> See Salz., plate xv., figs. 1, 4, 5 for lower cornice; plate xvi., 2 and 3 -for upper, figs. 3, 4 for dome cornice, fig. 9 aisle cornice. This last, says -Salzenberg, “is mended in many places with gypsum, and comes from an -earlier building.” We do not know what earlier building could have -furnished a quarter of the quantity used in S. Sophia. Is it possible -that the whole of it is of gypsum? (See our chapter <a href="#CHAPTER_XII">xii</a>.) The marble -skirtings are shown on plates xv. and xvi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_267" href="#FNanchor_267" class="label">[267]</a> In a note Salzenberg draws attention to Paulus speaking of eight -windows in this wall, and conjectures that instead of the five upper -windows there was one large opening here.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_268" href="#FNanchor_268" class="label">[268]</a> Salz., plate xx., fig. 4. Fig. 6 is a capital that was found on one -of the four parapet posts, and removed at the “restoration”; fig. 7 was not -found in S. Sophia; fig. 8 was an isolated capital in north aisle; figs. -9-11 show upper mouldings to the piers of the propylaeum.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_269" href="#FNanchor_269" class="label">[269]</a> Salz., plate xx., fig. 12 shows the underside of the beam in the -middle of the west gynaeceum; fig. 15 is the side, and fig. 16 the underside -of one in the south gynaeceum; figs. 13 and 14, one in the north -gynaeceum.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_270" href="#FNanchor_270" class="label">[270]</a> Salz., plate xiv.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_271" href="#FNanchor_271" class="label">[271]</a> Plate xvii., figs. 1-7.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_272" href="#FNanchor_272" class="label">[272]</a> See Salz., plate xvii. Fig. 3 is the upper capital, fig. 4 the lower, -figs. 5 and 6 the base, and fig. 7 the under side of the architrave. Figs. -8, 9, 10 are details of large west window.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_273" href="#FNanchor_273" class="label">[273]</a> Salz., plate xviii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_274" href="#FNanchor_274" class="label">[274]</a> Plate xviii., figs. 10-14.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_275" href="#FNanchor_275" class="label">[275]</a> See plates vi. and xi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_276" href="#FNanchor_276" class="label">[276]</a> Salz., plate iii., fig. 7.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_277" href="#FNanchor_277" class="label">[277]</a> Salz., plate xix.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_278" href="#FNanchor_278" class="label">[278]</a> See Salz., plate ix.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_279" href="#FNanchor_279" class="label">[279]</a> Salz., plate xvi., fig. 4.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_280" href="#FNanchor_280" class="label">[280]</a> Salz., plate xvi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_281" href="#FNanchor_281" class="label">[281]</a> Salz., plates xxi., xxii. Plate xxii., fig. 1 shows the upper frieze and -the panels beneath.</p> - -</div> - -<div class="footnote"> - - <p><a id="Footnote_282" href="#FNanchor_282" class="label">[282]</a> Salz., plate xxi., fig. 18, and our <a href="#f9">fig. 9</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_283" href="#FNanchor_283" class="label">[283]</a> Bury, vol. ii., 202.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_284" href="#FNanchor_284" class="label">[284]</a> J. of Ephesus wrote <i>circa</i> 590, R. Payne Smith’s translation.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_285" href="#FNanchor_285" class="label">[285]</a> See also Rambaud, <i>Revue des Deux Mondes</i>, Aug. 1871.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_286" href="#FNanchor_286" class="label">[286]</a> See plan and view in Strzygowski und Forchheimer, <i>Die Wasserbehälter -von Konstantinopel</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_287" href="#FNanchor_287" class="label">[287]</a> <i>Imperium Orientale</i>, p. 664.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_288" href="#FNanchor_288" class="label">[288]</a> See <i>Ancien Plan de Constantinople imprimé entre 1566 et 1574, avec Notes -explicatives par Caedicius</i>, 1890.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_289" href="#FNanchor_289" class="label">[289]</a> Ed. 1562, p. 91.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_290" href="#FNanchor_290" class="label">[290]</a> Hakluyt Society, 1859, p. 34.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_291" href="#FNanchor_291" class="label">[291]</a> Migne, <i>S.G.</i> vol. 133, p. 695.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_292" href="#FNanchor_292" class="label">[292]</a> Texier figured in the <i>Revue Archéologique</i>, 1845, a small fountain -found near the hippodrome to which it probably formerly belonged.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_293" href="#FNanchor_293" class="label">[293]</a> Nicetas, ed. Bonn, p. 857.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_294" href="#FNanchor_294" class="label">[294]</a> An organ is shown on the sculptured base of the obelisk of Theodosius.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_295" href="#FNanchor_295" class="label">[295]</a> MS. Mus. Brit., Sloane 2742, xvi. c.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_296" href="#FNanchor_296" class="label">[296]</a> Procopius.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_297" href="#FNanchor_297" class="label">[297]</a> Hakluyt Soc., p. 36.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_298" href="#FNanchor_298" class="label">[298]</a> <i>Nuremberg Chronicle.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_299" href="#FNanchor_299" class="label">[299]</a> <i>Constantinopolis Christiana</i>, lib. i., ch. xxiv.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_300" href="#FNanchor_300" class="label">[300]</a> <i>La Syrie Centrale</i>, p. 75.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_301" href="#FNanchor_301" class="label">[301]</a> Ed. Bonn, p. 307 <i>et seq.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_302" href="#FNanchor_302" class="label">[302]</a> Nicetas, p. 733.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_303" href="#FNanchor_303" class="label">[303]</a> Quoted by Buzantios.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_304" href="#FNanchor_304" class="label">[304]</a> <i>Ceremonies</i>, appendix <i>ad lib.</i> i., p. 502.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_305" href="#FNanchor_305" class="label">[305]</a> Ed. Bonn, v., p. 266.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_306" href="#FNanchor_306" class="label">[306]</a> Hakluyt Soc. series.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_307" href="#FNanchor_307" class="label">[307]</a> Anna Comnena also speaks of the houses of the Great Church.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_308" href="#FNanchor_308" class="label">[308]</a> See Curtis, <i>Broken Bits of Byzantium</i>, part 2.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_309" href="#FNanchor_309" class="label">[309]</a> Paspates, p. 40.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_310" href="#FNanchor_310" class="label">[310]</a> See Curtis, <i>Broken Bits of Byz.</i>, part 2.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_311" href="#FNanchor_311" class="label">[311]</a> It may be mentioned that an Italian cantharus, or font, of the twelfth -century, in the possession of Mr. Brindley, has the Latinised form of the -same word in an inscription around its rim which reads</p> - -<p>Artificum summus cui nullus in orbe secundus Hunc luterem clarum -sollerer sculpsit aquae....</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_312" href="#FNanchor_312" class="label">[312]</a> Quoted by Paspates, <i>Byzan. Mel.</i> Note on p. 340.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_313" href="#FNanchor_313" class="label">[313]</a> Lanciani, <i>Pagan and Christ. Rome</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_314" href="#FNanchor_314" class="label">[314]</a> Labarte, <i>Pal. Imp.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_315" href="#FNanchor_315" class="label">[315]</a> <i>Pachymeres de Michael Palaeol.</i>, ed. Migne, p. 703. See also Du -Cange, <i>S. Sophia</i>, § 22.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_316" href="#FNanchor_316" class="label">[316]</a> <i>Inscriptiones Antiquae totius orbis Romani.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_317" href="#FNanchor_317" class="label">[317]</a> Grelot is vague in regard to it. Banduri understood him to mean -that the inscription was on the inner water vessels. The Greek patriarch -Constantios accepts it as having belonged to the Phiale. Buzantios -wildly says baptistery.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_318" href="#FNanchor_318" class="label">[318]</a> An inscrip. in Baptistery Florence, reads—</p> - -<div class="blockquot"> - -<p>EN GIRO TORTE SOL CICLOS ET ROTOR IGNE.</p> -</div> - - -</div> - -<div class="footnote"> - -<p><a id="Footnote_319" href="#FNanchor_319" class="label">[319]</a> See p. <a href="#Page_84">84</a> and Kraus for other similar inscriptions.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_320" href="#FNanchor_320" class="label">[320]</a> The first, he says, “stands by the entrance to an old Bagno,” it was -4′ 3½″ in diameter. “The second stands in the midst of the cistern in -the square court of the supposed St. John’s Church.” This was 2′ 6″ in -diameter.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_321" href="#FNanchor_321" class="label">[321]</a> Migne, <i>Pat. Cur. Com. Series Graeca</i>, vol. i.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_322" href="#FNanchor_322" class="label">[322]</a> <i>Euchologium</i>, ed. 1647, p. 463.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_323" href="#FNanchor_323" class="label">[323]</a> Ed. 1647, p. 560.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_324" href="#FNanchor_324" class="label">[324]</a> <i>Relation Nouvelle d’un Voyage de Constantinople.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_325" href="#FNanchor_325" class="label">[325]</a> In <a href="#f29">Fig. 29</a> we have followed his drawings disregarding his estimate -of height.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_326" href="#FNanchor_326" class="label">[326]</a> Curtis, <i>Broken Bits of Byz.</i>, Part II.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_327" href="#FNanchor_327" class="label">[327]</a></p> - -<p class="right" style="width: 10em"> -. . . . . . . .<br /> -. . . . . . . .<br /> -. . . -</p> - - -</div> - -<div class="footnote"> - -<p><a id="Footnote_328" href="#FNanchor_328" class="label">[328]</a> See P. D. Kouppas, <i>The Building of Byzantine Churches</i>. Ἑλλην. -Φιλολ. Συλλ. παραρ. vol. 20-22, p. 38.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_329" href="#FNanchor_329" class="label">[329]</a> For gold tesserae of second cent. see <i>Bull. Soc. des Ant.</i>, 1893, p. 76.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_330" href="#FNanchor_330" class="label">[330]</a> <i>Eastern Palestine Memoirs</i>, 1889, p. 172.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_331" href="#FNanchor_331" class="label">[331]</a> See <a href="#f30">Fig. 30</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_332" href="#FNanchor_332" class="label">[332]</a> From the Hellenic Society’s supplement to their journal.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_333" href="#FNanchor_333" class="label">[333]</a> See also <i>Byzantinische Zeitschrift</i>, 1894.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_334" href="#FNanchor_334" class="label">[334]</a> The inscription states that the work was done while Paul was archbishop. -And—</p> - -<p class="inscribe">ΜΗΝΙΝΟΕΜΒΡΙΩΙΝΔΙΚΤΙΟΝΙΤΕΤΑΡΤΗΕΤΟΥϹ -ΑΠΟΚΤΙϹΕΩϹΚΟϹΜΟΥϲ̣</p> - -<p>The vital numerals were defaced, but there seemed no doubt that the -last fragment was a part of <span class="inscribe">S</span> (6000) and as the writer states that there -was only room for one more letter, <span class="inscribe">SΔ</span> or 6004 (495) is the only year -that will fit the fourth indiction. “The architect Bubroff is about to -show that the church was built in the fifth century.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_335" href="#FNanchor_335" class="label">[335]</a> A book on mechanics (περὶ παραδόξων μηχανημάτων) has been ascribed -to Anthemius.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_336" href="#FNanchor_336" class="label">[336]</a> Procopius in <i>Pal. Pilg. Text.</i>, p. 48.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_337" href="#FNanchor_337" class="label">[337]</a> Lib. xiii., tit. iv.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_338" href="#FNanchor_338" class="label">[338]</a> Edit. by Waddington, p. 18.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_339" href="#FNanchor_339" class="label">[339]</a> Giacomo Boni, <i>Il Duomo di Parenzo</i>, in <i>Archivio Storico dell’Arte</i>, -1894, p. 5.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_340" href="#FNanchor_340" class="label">[340]</a> <i>Migne</i>, S.G., vol. xxxvii., p. 1090.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_341" href="#FNanchor_341" class="label">[341]</a> There is no doubt about these arches being truly <i>pointed</i>. They were -drawn so by Dr. Covel about 1675, they appear so in the careful engraving -in Miss Pardoe’s <i>Bosphorus</i>, and these are fully confirmed by -Strzygowski and Forchheimer, <i>Die Wasserbehälter von Konstantinopel</i>, -pp. 12 and 71. The use of the pointed arch in the east is probably an -unbroken tradition from early days in Egypt.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_342" href="#FNanchor_342" class="label">[342]</a> <i>Die Wasserbehälter</i>, p. 130, &c.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_343" href="#FNanchor_343" class="label">[343]</a> 1799, p. 236.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_344" href="#FNanchor_344" class="label">[344]</a> <i>Journal of Roy. Inst. Brit. Archts.</i>, Jan. 1893.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_345" href="#FNanchor_345" class="label">[345]</a> See also p. 247, 1892, for the conditions of stability of dome of S. -Sophia.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_346" href="#FNanchor_346" class="label">[346]</a> Ἑλλην. Φιλολ. Συλλ. παραρ. vol. xx., 1892.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_347" href="#FNanchor_347" class="label">[347]</a> P. 485.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_348" href="#FNanchor_348" class="label">[348]</a> <i>Die Byzantinischen Wasserbehälter</i>, p. 22.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_349" href="#FNanchor_349" class="label">[349]</a> In another place Covel gives the following. Lukium—unslaked lime, -burnt brick (both in a fine powder), cotton wool very fine pulled and -strewed on, linseed oil. Cistern plaister—Lime, burnt brick, cotton or -flax, water [use] almost dry, smooth it and saturate with oil.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_350" href="#FNanchor_350" class="label">[350]</a> <i>Blasii Caryophili opusculum de antiquis marmoribus</i>, 1743.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_351" href="#FNanchor_351" class="label">[351]</a> <i>Trattato delle pietre antiche</i>, 1833.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_352" href="#FNanchor_352" class="label">[352]</a> <i>Ancient Art.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_353" href="#FNanchor_353" class="label">[353]</a> <i>Chronologie von Egypten</i>, p. 365.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_354" href="#FNanchor_354" class="label">[354]</a> <i>Revue des deux Mondes</i>, 1841.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_355" href="#FNanchor_355" class="label">[355]</a> In MS. notes lent by Mr. Brindley.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_356" href="#FNanchor_356" class="label">[356]</a> <i>Histor. Geography of Asia Minor</i>, p. 433.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_357" href="#FNanchor_357" class="label">[357]</a> See Boni, who corrects Corsi, in <i>La Basilica di San Marco</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_358" href="#FNanchor_358" class="label">[358]</a> Ἑλλην. Φιλ. Συλλ. παραρ. 1885, p. 10.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_359" href="#FNanchor_359" class="label">[359]</a> <i>Mittheilungen, etc.</i>, <i>Arch. Inst. Athens</i>, 1889, xiv. 286.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_360" href="#FNanchor_360" class="label">[360]</a> Mr. Brindley has shown us a photograph of a half worked Byzantine -column with a flat necking, still attached in a horizontal position to the -rock on its underside while the upper part is rounded.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_361" href="#FNanchor_361" class="label">[361]</a> Η. Κωνσταντινουπολις, p. 500.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_362" href="#FNanchor_362" class="label">[362]</a> <i>Survey of Western Palestine</i>, vol. iii., p. 357.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_363" href="#FNanchor_363" class="label">[363]</a> Walsh, <i>A Residence at Constantinople</i>, “Errata” to p. 80.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_364" href="#FNanchor_364" class="label">[364]</a> Ἑλλην. Φιλ. Συλλ. παραρ., vol xvi., 1885, p. 34.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_365" href="#FNanchor_365" class="label">[365]</a> See Bayet, <i>L’Art Byzantin</i>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_366" href="#FNanchor_366" class="label">[366]</a> <span class="allsmcap">A.M.</span> 5508 of Byzantine chronology coincides with <span class="allsmcap">A.D.</span> 1 up to -September 1st. Indictions were cycles of fifteen years commencing in -312 <span class="allsmcap">A.D.</span> Both the years of the world and the Indictions began on -September 1st.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_367" href="#FNanchor_367" class="label">[367]</a> Ἑλλην. Φιλολ. Συλλ. παραρ., vol. xvi., p. 30.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_368" href="#FNanchor_368" class="label">[368]</a> <i>Essai sur la Chronologie Byzantine.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_369" href="#FNanchor_369" class="label">[369]</a> Finlay, vol. i., p. 165.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_370" href="#FNanchor_370" class="label">[370]</a> Mordtmann, p. 36.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_371" href="#FNanchor_371" class="label">[371]</a> Shown in Salzenberg’s plate.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_372" href="#FNanchor_372" class="label">[372]</a> Η. Κωνσταντινουπολις, vol. i. p. 500</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_373" href="#FNanchor_373" class="label">[373]</a> Curtis, <i>Broken Bits of Byz.</i>, part ii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_374" href="#FNanchor_374" class="label">[374]</a> <i>Le Bosphore et Constantinople</i>, 1873.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_375" href="#FNanchor_375" class="label">[375]</a> See below, p. <a href="#Page_287">287</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_376" href="#FNanchor_376" class="label">[376]</a> See Salz., plate xxiii. Fig. 2 is one of the tympana, the centre one -has figures: fig. 3 transverse arches; fig. 5 soffite of a window.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_377" href="#FNanchor_377" class="label">[377]</a> Salzenberg’s plate xxiv. gives details of the lower aisles.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_378" href="#FNanchor_378" class="label">[378]</a> Fig. 2 is the barrel vault near the window; fig. 3 arches and vault -adjoining; fig. 6 the intrados of the arches opening to the nave; fig. 7 -a pattern of the west gynaeceum.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_379" href="#FNanchor_379" class="label">[379]</a> Plate xxvi., fig. 6.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_380" href="#FNanchor_380" class="label">[380]</a> See fig. 3 for this cornice, the band beneath, and the edges of the -great arches.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_381" href="#FNanchor_381" class="label">[381]</a> Fig. 7 gives the borders of the windows in semidomes.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_382" href="#FNanchor_382" class="label">[382]</a> Salz., plate xxvii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_383" href="#FNanchor_383" class="label">[383]</a> Salz. xxxii., fig. 4.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_384" href="#FNanchor_384" class="label">[384]</a> Salz., plate xxviii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_385" href="#FNanchor_385" class="label">[385]</a> Salz., plate xxix.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_386" href="#FNanchor_386" class="label">[386]</a> Reading ΚΥΡΙΕ.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_387" href="#FNanchor_387" class="label">[387]</a> Salz., plate xxx.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_388" href="#FNanchor_388" class="label">[388]</a> The figure of Jeremiah at S. Clemente, Rome, bears the same -inscription.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_389" href="#FNanchor_389" class="label">[389]</a> Salz., plate xxv., fig. 3.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_390" href="#FNanchor_390" class="label">[390]</a> Salz., plate xxii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_391" href="#FNanchor_391" class="label">[391]</a> Salz., plate xxxi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_392" href="#FNanchor_392" class="label">[392]</a> Salz., plate xxxi.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_393" href="#FNanchor_393" class="label">[393]</a> Salz., plate xxxi., fig. 7.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_394" href="#FNanchor_394" class="label">[394]</a> <i>Ibid.</i> fig 8.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_395" href="#FNanchor_395" class="label">[395]</a> <i>Arts Industriels.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_396" href="#FNanchor_396" class="label">[396]</a> <i>Hist. of Painting</i>, vol. i., p. 234.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_397" href="#FNanchor_397" class="label">[397]</a> <i>Recherches.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_398" href="#FNanchor_398" class="label">[398]</a> Bury, vol. ii. 432.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_399" href="#FNanchor_399" class="label">[399]</a> R. Walsh, <i>Essays on Ancient Coins, &c.</i>, 1828, gives the Greek.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_400" href="#FNanchor_400" class="label">[400]</a> <i>American Journ. Archæol.</i>, iv. 143.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_401" href="#FNanchor_401" class="label">[401]</a> Theoph. Cont. ed. Bonn, p. 99.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_402" href="#FNanchor_402" class="label">[402]</a> A composition of this kind at Parenzo appears to go up to the sixth -or seventh century.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_403" href="#FNanchor_403" class="label">[403]</a> See Diehl in <i>Byz. Zeits.</i>, 1893.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_404" href="#FNanchor_404" class="label">[404]</a> <i>Il Tesoro.</i></p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_405" href="#FNanchor_405" class="label">[405]</a> Pératé, <i>Archéol. Chrétienne</i>, with figure, p. 265.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_406" href="#FNanchor_406" class="label">[406]</a> Relievi storico artistici sulla architettura Bizantina.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_407" href="#FNanchor_407" class="label">[407]</a> See <a href="#NOTE">note</a> above the index.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_408" href="#FNanchor_408" class="label">[408]</a> <i>Il Duomo di Parenzo</i>, p. 26.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_409" href="#FNanchor_409" class="label">[409]</a> Middleton, <i>Anc. Rome</i>, i. 31.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_410" href="#FNanchor_410" class="label">[410]</a> See Labarte, <i>Arts Indust.</i>, vol. iii., p. 331.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_411" href="#FNanchor_411" class="label">[411]</a> Boni, <i>Il Duomo di Parenzo</i>, pp. 4, 5.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_412" href="#FNanchor_412" class="label">[412]</a> <i>Stones of Venice</i>, I., xxiii., 13.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_413" href="#FNanchor_413" class="label">[413]</a> Ἑλλην. Φιλ. Συλλ. παραρ., vol. xvi., 1885, p. 13.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_414" href="#FNanchor_414" class="label">[414]</a> In our illustration the same capital is distinguished by a letter, the -two sides by 1 and 2, the monograms reading in the direction of the -reference to their position. Those of “N. Aisle” for instance read from -left side of page.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_415" href="#FNanchor_415" class="label">[415]</a> Two varieties of monograms on capitals at S. Mark’s have been the -subject of much study which Cattaneo sums up in Boïto’s text of the -great monograph on S. Mark’s, but they have never been deciphered. One -(see Photos, vol. ii., p. 127) is a perfect example of Justinian; three -which show in capitals of the upper stage south side are perfect examples -of Basileos—if corresponding monograms probably on the hidden sides of -these capitals are examined, they too may be found to contain the -Justinian monogram. For monograms at S. Sergius see <i>Byz. Zeit.</i> for -1894.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_416" href="#FNanchor_416" class="label">[416]</a> In <i>L’Art de Bâtir</i> and <i>Revue Archéologique</i>, 1876.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_417" href="#FNanchor_417" class="label">[417]</a> <i>Die Wasserbehälter von Konstantinopel</i>, p. 245.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_418" href="#FNanchor_418" class="label">[418]</a> Curtis, <i>Broken Bits of Byzantium</i>, pt. ii.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_419" href="#FNanchor_419" class="label">[419]</a> Ἑλλ. Φιλ. Συλλ. παραρ., vol. xvi. p. 29.</p> - -</div> -</div> - -<hr class="chap x-ebookmaker-drop" /> -<div class="chapter transnote"> -<h2 class="nobreak" id="TRANSCRIBERS_NOTE">TRANSCRIBER’S NOTE</h2> -<p class="left">This eBook makes the following corrections to the printed text:</p> -<ul> -<li>Pg 8 - <ul> - <li><i>Quellen der Byzantinischen Kunstgeschicht</i></li> - <li><i>Quellen der Byzantinischen <span class="u">Kunstgeschichte</span></i></li> - </ul> -</li> -<li>Pg 9 - <ul> - <li>placed the prophyry column</li> - <li>placed the <span class="u">porphyry</span> column</li> - </ul> -</li> -<li>Pg 22 (footnote) - <ul> - <li><i>Geschichte der Byzantinischer Litteratur</i></li> - <li><i>Geschichte der <span class="u">Byzantinischen</span> Litteratur</i></li> - </ul> -</li> -<li>Pg 24 - <ul> - <li>that he furnished him</li> - <li>that <span class="u">He</span> furnished him</li> - </ul> -</li> -<li>Pg 32 - <ul> - <li>and the saints among them</li> - <li>and the saints<span class="u">—</span>among them</li> - </ul> -</li> -<li>Pg 35 - <ul> - <li>the restoration of S. Sophia</li> - <li>the restoration of S. Sophia<span class="u">.</span></li> - </ul> -</li> -<li>Pg 56 - <ul> - <li>rings fixed circlewise round each base</li> - <li>rings fixed <span class="u">circle-wise</span> round each base</li> - </ul> -</li> -<li>Pg 94 - <ul> - <li>reaches the royal doors and stands there.”</li> - <li>reaches the royal doors and stands <span class="u">there.</span></li> - </ul> -</li> -<li>Pg 109 - <ul> - <li>by Henrich Ulmen</li> - <li>by <span class="u">Heinrich</span> Ulmen</li> - </ul> -</li> -<li>Pg 118 - <ul> - <li>above the beam of the iconastasis</li> - <li>above the beam of the <span class="u">iconostasis</span></li> - </ul> -</li> -<li>Pg 120 - <ul> - <li>running the whole longth</li> - <li>running the whole <span class="u">length</span></li> - </ul> -</li> -<li>Pg 122 - <ul> - <li>from time to time</li> - <li>from time to time<span class="u">.</span></li> - </ul> -</li> -<li>Pg 124 - <ul> - <li>patriarch Arsenius during the reign of Michael Palaeologos</li> - <li>patriarch Arsenius during the reign of Michael <span class="u">Palaeologus</span></li> - </ul> -</li> -<li>Pg 124 - <ul> - <li>the wife of Andronicus Palaeologos</li> - <li>the wife of Andronicus <span class="u">Palaeologus</span></li> - </ul> -</li> -<li>Pg 132 - <ul> - <li>is generally call the Baptistery</li> - <li>is generally <span class="u">called</span> the Baptistery</li> - </ul> -</li> -<li>Pg 135 - <ul> - <li>in order. and how the wealth</li> - <li>in order<span class="u">,</span> and how the wealth</li> - </ul> -</li> -<li>Pg 136 - <ul> - <li>said to the craftsman. ‘I will</li> - <li>said to the craftsman<span class="u">,</span> ‘I will</li> - </ul> -</li> -<li>Pg 150 - <ul> - <li>floor to the vertex,</li> - <li>floor to the vertex<span class="u">.</span></li> - </ul> -</li> -<li>Pg 151 - <ul> - <li>immense semircircular window</li> - <li>immense <span class="u">semicircular</span> window</li> - </ul> -</li> -<li>Pg 152 - <ul> - <li>pyramids by Nicephorus Gregoras</li> - <li>pyramids by Nicephorus Gregoras<span class="u">.</span></li> - </ul> -</li> -<li>Pg 160 - <ul> - <li>was used by the lamplighter</li> - <li>was used by the <span class="u">lamp-lighter</span></li> - </ul> -</li> -<li>Pg 160 - <ul> - <li>and Zonoras twenty-five</li> - <li>and <span class="u">Zonaras</span> twenty-five</li> - </ul> -</li> -<li>Pg 179 - <ul> - <li>most of which were re-built by Justinian</li> - <li>most of which were <span class="u">rebuilt</span> by Justinian</li> - </ul> -</li> -<li>Pg 186 (footnote) - <ul> - <li>See Curtis <i>Broken Bits of Byzantium</i></li> - <li>See Curtis<span class="u">,</span> <i>Broken Bits of Byzantium</i></li> - </ul> -</li> -<li>Pg 191 (footnote) - <ul> - <li>This was 2′ 6″ in. diameter</li> - <li>This was 2′ 6″ <span class="u">in</span> diameter</li> - </ul> -</li> -<li>Pg 192 - <ul> - <li>Symeon of Thessalonica tells us</li> - <li><span class="u">Simeon</span> of Thessalonica tells us</li> - </ul> -</li> -<li>Pg 204 - <ul> - <li>and St. Sergius at Bozra</li> - <li>and St. Sergius at <span class="u">Bosra</span></li> - </ul> -</li> -<li>Pg 212 - <ul> - <li>Figs, 4, 36, 38</li> - <li>Figs<span class="u">.</span> 4, 36, 38</li> - </ul> -</li> -<li>Pg 217 - <ul> - <li>above the transome</li> - <li>above the <span class="u">transom</span></li> - </ul> -</li> -<li>Pg 223 - <ul> - <li>Viollet-de-Duc thinks that</li> - <li><span class="u">Viollet-le-Duc</span> thinks that</li> - </ul> -</li> -<li>Pg 232 - <ul> - <li>filaments of cotton.” This was reduced</li> - <li>filaments of <span class="u">cotton.</span> This was reduced</li> - </ul> -</li> -<li>Pg 233 - <ul> - <li>It is made of unslaked lime ...”</li> - <li><span class="u">“</span>It is made of unslaked lime ...”</li> - </ul> -</li> -<li>Pg 268 - <ul> - <li>the horizonal arm of the cross</li> - <li>the <span class="u">horizontal</span> arm of the cross</li> - </ul> -</li> -<li>Pg 294 - <ul> - <li>ceramic inscription given in the <i>Revue Archéoogique</i></li> - <li>ceramic inscription given in the <i>Revue <span class="u">Archéologique</span></i></li> - </ul> -</li> -<li>Make punctuation consistent in section headings.</li> -<li>Replace Roman numerals with Arabic numerals for section headings in Chapter VII.</li> -<li>Paspates’ book, ΒΥΖΑΝΤΙΝΑΙ ΜΕΛΕΤΑΙ, is cited variously as Byzantinae Meletai, Byzantinae Melatae, and Byzantinae Meletae. These citations are left unchanged.</li> -</ul> - -<p class="left">This eBook makes the following adjustments to the Byzantine inscriptions:</p> -<ul> -<li>Use Ω (capital omega) where the printed text used a large ω.</li> -<li>Use Υ (capital upsilon) where the printed text used a V-shaped character.</li> -</ul> - -</div> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE CHURCH OF SANCTA SOPHIA, CONSTANTINOPLE ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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