diff options
Diffstat (limited to 'old/66302-0.txt')
| -rw-r--r-- | old/66302-0.txt | 11955 |
1 files changed, 0 insertions, 11955 deletions
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. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |