_The Churches_
Though as it has already been said there is but one church which has
survived the Turkish conquest without ever ceasing to be used for its
divine purpose, there are very many buildings in Constantinople still
remaining, with more or less change, that were once hallowed to the
worship of the Church of Christ.
Very many have perished, the most notable among them that Church of
the Holy Apostles, which was destroyed by Mohammed the Conqueror to
build the great mosque which bears his name. But those which still
remain were among the chiefest wonders of the City of the Emperors,
and there is not one of them which does not deserve an extensive
study.
The volumes that have been written on Byzantine architecture cannot be
compressed into a few pages. It must suffice to recall what are the
chief characteristics of the style which may still be seen in its
perfection at Constantinople, as at Salonica. The origin of what had
so wide an extension over the East, of the art which made a new
departure under Constantine, and a still more important one under
Justinian, is simply the basilica, the law court of ancient Rome. A
long nave and aisles separated by rows of pillars, surmounted by a
flat roof and ending in an apse: that is the familiar type of which a
splendid example built under Byzantine influence is to be found in the
church of S. Apollinare Nuovo at Ravenna. To this simple design the
East added the development of the dome. In the sixth century the
domical style decisively replaced the basilican; and nowhere can the
transition be more clearly traced than in Constantinople.
[Illustration: CAPITAL FROM RAVENNA
SHOWING EARLY FORM OF IMPOST
_Metal Socket_
CAPITALS FROM S. SOPHIA (IMPOST ABSORBED)]
We have then, in our examination of the still remaining specimens of
Byzantine art, to observe first the basilicas, then the combination of
basilica with dome, then the examples of the completed domical style.
But this is by no means all. Byzantine art, in the carving of
capitals, in the creation of the impost-capital, in its achievement of
"teaching the column to support the arch," in sculpture, in bronze
work, in the detail of inscriptions, and above all, in mosaic, is
worth the most attentive study, and happily in spite of time, war and
barbarism, Constantinople still furnishes a fruitful field for the
student.
Of the basilicas which existed before the time of Justinian, there are
two impressive examples remaining. The first is the church of S. John
Baptist, once attached to the monastery called the Studium. It was
originally built in 463, and was attached to the monastery founded by
one of the early emigrants from the old Rome, Studius. This monastery
became the most important centre of the Akoimetai, the "sleepless
ones," an order which kept up perpetual intercession for the sins of
the world, and whose importance from the fifth century to the time of
the Latin Conquest was very great.[51] It was in this church that many
of the icons were preserved during the first fury of iconoclasm: in
the monastery, Isaac Comnenus and Michael VII. assumed the monastic
habit.
The church has undergone several restorations, but is now in a ruinous
state. It was turned into a mosque under Bayezid II.--it is called Mir
Achor Djami--but its structural arrangements have not been altered. It
is a basilica with two aisles and apse, narthex and atrium. On each
side the aisles are divided from the nave by seven marble pillars, the
capitals Corinthian, the work below Byzantine. The design on the
capitals is that of the double acanthus, "one leaf lying over and
within another." Outside in the atrium the columns are Corinthian, and
so also below in the great crypt or cistern. The door of the narthex
is inserted between the two columns. Of the many memorials that the
church once contained only one may now be seen. In a wall marking a
small enclosure behind the apse, at the north-east, is a tombstone
upside down on which may be traced the Greek inscription to the
memory of Dionysios, a Russian monk, who fell asleep on September 6,
1387.
[Illustration: COURTYARD OF THE CHURCH OF THE STUDIUM]
Beautiful in its ruin, with the creepers hiding many of the great gaps
in the Western entrance, the church of S. John Baptist does not differ
essentially from the common Western type of basilica. The galleries
(now without floors) mark, it has been said, the advent of organised
monasticism earlier than in the West; but there is, save for some of
the work on the pillars, nothing of an especially Byzantine style
about the church. It seems certain to perish in a few years if nothing
is done. Meanwhile it should be visited by every student of history or
art.
S. Irene, now within the grounds of the Seraglio, is of more
importance. It owes its original foundation to Constantine, but it
suffered severely in the Nika riot and was rebuilt by Justinian in
532. It was again restored in 740. Little if anything has been done to
it since the Turkish Conquest, and it may be taken as certain that
its original structure remains practically unaltered. For the
historical interest of its contents as well as for its architectural
importance, it is well worth a visit; but it is rarely that permission
is accorded to view it.[52] It has been used since the Turkish
Conquest as an armoury, and an irardé from the Sultan himself is
necessary to authorise the Minister of Ordnance to permit any one to
see it.
Its form is basilican, a nave with two aisles and an apse. The dome
rests upon a drum lighted by twenty windows. It is probable that this
was built by Justinian. In the apse is a characteristic feature which
shows what must have been the arrangement at S. Sophia. There are five
rows of seats for the clergy, facing west--an unusual number of seats
I think, for at Ravenna there is but one row. Under the seats there is
a passage round the apse.
There were originally a narthex and an atrium. The narthex seems to
have been thrown into the church, as is shown by the heavy pier
supporting the gallery, with its counterpart in the outer walls ending
abruptly at the wall plate. It seems probable that this was done in
order to make room for the second dome, the original structure being
that of the ordinary Roman basilica. The atrium seems to have
undergone many changes: possibly it is entirely of Mohammedan work, as
it has pointed arches. The interior of the church is solemn and
impressive, an effect due to the great dignity of the general lines.
Originally no doubt the walls and domes were covered with mosaics.
Part of the apse still bears its decoration uncovered with the wash
which is over all the rest of the surface. A gigantic cross of black
tesseræ stretches up the vault, and large inscriptions remain over
the arch. The apse is lighted by three great windows, a feature never
seen in Roman basilicas till much later. The columns which support the
galleries are plain, the arch resting on simple uncarved blocks. It
may be seen, even from this brief description, how interesting the
church is as a representation in Constantinople of the style brought
to the East by the Christian architects of the Empire, and exposed to
many foreign influences, but as yet showing no important signs of
departure from the original type.
But the church is interesting not only architecturally, but
historically. It has never been used for the worship of Islam. It
could be restored in a few hours to the worship of the Christian
Church. Its incongruous contents, too, have an interest. There are
weapons of the Crusaders, chainmail, great swords; the curious
machines of Alexius Comnenus; keys of conquered cities, bags of earth
in token of conquest. There are five fine bells, two with dates 1600
and 1658, one dedicated "Vero Deo Patri Filio Spiritui Sancto." There
are swords of the Janissaries, and their curiously shaped helmets, and
their famous kettle drums, differing in size according to the number
of companies that were assembled. Most interesting of all, perhaps,
are the fragments of the great chain which stretched across the Golden
Horn. In the court are two fine sarcophagi, which are called those of
Constantine and Irene.
[Illustration: COMPARATIVE SIZES OF GREAT AND LITTLE S. SOPHIA.]
[Illustration: PLAN OF SS. SERGIUS AND BACCHUS.]
These two examples of the basilican style are clear and distinct.
There are other churches which have basilican features, but do not
belong to the period before Justinian, and are worthy of detailed
examination. S. Thekla stands back from the walls on the Golden Horn
not far from the gate now called Aivan Serai Kapoussi, which was once
the Porta Kiliomené. The foundation of this is not earlier than the
ninth century, and Anna Comnena mentions its restoration in the
eleventh. It is a curious survival of an early style, for it has no
dome, and is simply a basilica about forty feet long and twenty broad,
with an apse. It was gaily restored a few years ago, and bears as a
mosque the name of Toklou Ibrahim Dedeh Mesjid.
S. Theodore Tyrone (Killisé Djami) stands not far to the west of the
mosque of Suleiman. It was built about 450, but much of the present
building is of the twelfth century. It is not improbable that in its
chief features it may be older than any church in Constantinople. The
central dome has ten arches, perhaps originally windows, now closed.
All the domes are small, and the columns are without ornament. There
are narthex and exo-narthex, and in the latter is a mysterious
opening, full of stones and fragments of mortar, leading, it is said,
to a long passage which the Turks fancy once led to S. Sophia.
But more interesting than either of these is that unique building
which the Turks have happily named "Kutchuk Aya Sofia," little S.
Sophia, the Church of S. Sergius and S. Bacchus.[53] It stands not far
from Koum Kapoussi in the Marmora Walls, and quite close to the
railway. Originally it was connected with the Church of S. Peter and
S. Paul. Procopius describes the churches as standing obliquely
towards each other, "joined together, and vieing one with another.
They have," he says, "a common entrance, are equal to one another in
all respects, are surrounded by a boundary wall, and neither of them
exceeds the other or falls short of it, either in beauty, size, or any
other respect; for each alike reflects the rays of the sun from its
polished marble, and is alike covered with rich gold and adorned with
offerings. In one respect alone they differ, that the one is built
longitudinally, whereas the columns of the other for the most part
stand in a semi-circle. The portico at their entrance is common to
both, and from its great length is called narthex (_i.e._ a reed). The
whole propylea, the atrium, and the doors from the atrium, and the
entrance to the palace, are common to both." A door now closed at the
south of the narthex shows where was the entrance to the Church of S.
Peter and S. Paul. S. Sergius and S. Bacchus has happily suffered but
little. It has, as has been said, a structural narthex. The atrium can
still be traced in the arrangement of the Turkish houses and garden
separated now from the church by a narrow pathway.
The Church of S. Sergius and S. Bacchus is a square with a dome.
Columned exedras fill out the angles of the square under the domed
vaults, and the piers supporting the dome form an octagon. A small
apse is added at the east end. The ground plan of the church almost
exactly repeats that of S. Vitale at Ravenna, which was probably begun
a year before its companion in Constantinople. The resemblance is most
marked in the six windows of the apse, the galleries and the columns
on which they rest. The details also of the work closely resemble each
other. We have the simplest form of the impost capital and the
eight-lobed melon-formed capital. Vine-leaves form part of the
decoration of some of the capitals and of the frieze: some say that
this is a fanciful allusion to the associations of the name of one of
the saints to whom the church is dedicated. Many crosses are cut in
the marble of the west gallery; and on the south side over the
imperial entrance from the palace are the monograms of Justinian and
Theodora.
Justinian built the Church in 527, and dedicated it to the soldier
saints who were martyred under Maximianus, to commemorate his
preservation when he was charged with treason during the reign of
Anastasius. An inscription commemorates the Emperor "inspired by
pity," and his wife Theodora, "the divinely crowned." Its historic
associations are interesting. It was there that representatives of the
Latin Church on a visit to Constantinople were generally allowed to
worship according to their own rite. It is probable that Gregory the
Great, who was so long the Papal representative at the Byzantine
court, often said mass there. It suffered severely during the Latin
conquest, and it was repaired by Michael VIII.
Interesting, and in spite of whitewash and colouring, even beautiful
in itself, it is important architecturally as illustrating the process
which developed the design of S. Irene into that of S. Sophia. Closely
resembling S. Vitale at Ravenna, it is yet, in little, a very distinct
anticipation of the great church of the Divine Wisdom of which we have
now to speak.
Something has been said already (above, pp. 35-39) of the historic
circumstances under which this, "the fairest church in all the world,"
as our Sir John Mandeville hath it, was built. Hardly a month after
the burning of the first church of the Divine Wisdom in 532, the new
building was begun. On S. Stephen's Day 537, it was consecrated. In
558 much of it was seriously damaged by an earthquake, the eastern
part of the dome, with the apse, being thrown down, "destroying in its
fall the holy table, the ciborium, and the ambo." At their
restoration, the dome was raised twenty feet.
From the first, it was recognised as the greatest work that had ever
been completed by architects. Not only the eulogists of Justinian, but
every chronicler of the age, and for some centuries after, bear
testimony to the fascination which its splendour and dignity exercised
upon the imagination of beholders. It was the great outward expression
of the power of a world-empire consecrated to the religion of Christ.
It was the symbol of the offering of all beautiful things, all art,
now conquered from the corruptions of paganism, all riches, all human
skill and thought, to God the Creator. The Divine Wisdom which made
the world and designed all things so great and so fair, was to hallow
all, now that man offered them up in continual sacrifice to God from
Whom alone their use and blessing came. S. Sophia's was the highest
outward expression which man had given to the idea of God's
omnipotence and omnipresence, and to the absolute dependence of man
upon the Divine ordering of life. "Anima naturaliter Christiana" was
the noble saying of Tertullian. The Church of S. Sophia was the
expression of that thought by the genius of Anthemius of Tralles under
the direction of Justinian, Cæsar and Augustus.
We can hardly see the great church better than with the words of
Procopius, the first to describe it, before us.
In his _Ædifices_, a glorification perhaps too glorious of the great
Emperor's wisdom in his buildings, the strange historian, half
soldier, half philosopher, who followed the greatest captain of the
age in his campaigns, who lived in the close presence of the splendid
works which made the men of the sixth century famous in the history of
the world, and yet had a mind utterly sceptical as to real goodness,
entirely credulous of evil, perhaps for once threw aside his sardonic
humour when he wrote of the great church. Here at least, in all those
high-wrought pages, he is sincere.
Justinian, he says, is highly to be regarded for his wisdom and his
good fortune that he found architects and workmen so skilful, and was
"able to choose the most suitable of mankind to execute the noblest of
his works."
It was this, he says, which caused the matchless achievement. Cost was
not spared, workmen were brought from every land.
"The church[54] 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, which 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
watch-tower. The length and breadth are so judiciously arranged that
it appears to be both long and wide without being disproportionate.
"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 (πρόσωπον) 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 semi-cylindrical,
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 (μηνοειδές) 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 stonework 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 (πεσσούς), 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, and reaching to a
great height. Looking at them, you would compare them to perpendicular
cliffs. Upon them, four arches (ἀψῖδες) 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 stonework 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
quadrangular figure, the stonework 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 (θόλος) 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.
[Illustration: SKETCH PLAN OF S. SOPHIA
AA. Outer Porch (Exo-narthex) a. Altar, now destroyed
BB. Porch (narthex) bb. Seats for clergy
CC. Space covered by central Dome cc. Iconostasis, or Screen
DD. " " " Semi-domes d. Ambo or pulpit
EE. " " " Supplementary semi-domes.]
"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 (ἐγγωνίων),
while those which go in the middle parts of the sides are cut square
(ἐν τετραπλεύρῳ).
"They are fastened together not with lime (τίτανος), called
'unslaked' (ἄσβεστον), not with ashphaltum, 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 (στοάς) and cloistered courts (περιστόλους αὐλάς) 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 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 (θυσιαστήριον), 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 (τῶν ἀψίδων) which
I lately mentioned--the architects (μηχανοποιοί) call them loroi--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 (πεσσοί) 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 below (τῶν ἔνερθεν πεσσῶν). 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 (λῶροι) 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 (μηχανικοί) 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."
The description of Procopius is for us no mere antiquarian record. It
is still a guide which may direct us what to look for and how to
explain what we see. S. Sophia is unique in the fact of its survival
in continued use, and in its preservation from the horrors of
"restoration," which have robbed us, all over the civilised world, of
the true work of the greatest Christian architects. The Turks, it must
be honestly said, deserve the thanks of Europe for their preservation
of their greatest work of sacred art. In 1847 Abdul Mejid undertook
the reparation of the damage done by time. He employed the Italian
architect Fossali, who was probably the first to do any important work
at the main part of the building since the time of John VI.
Palæologus. The work on the whole was well done; and it is plain that
it must have been absolutely necessary. The wonder is that his work
was so conservative as it was. It is impossible not to echo the
gratitude of the experts that "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.'"
Evagrius, who may also be regarded as practically a contemporary of
the original building, has also left a description which is worth
quoting, of this "great and incomparable work, hitherto unparalleled
in history, the Church's greatest temple, fair and surpassing, and
beyond the power of words to describe."[55]
"The nave," he says, "of the temple is a dome, lifted on four arches,
and rising to so great a height that from below it is difficult for
the observers to reach with their eyes the apex of the hemisphere;
while from above none who might get there, howsoever hardy he might
be, would for a moment attempt to lean over and cast his eyes to the
bottom. And the arches spring clear from the floor up to the covering
which forms the roof; and on the right and left columns, wrought of
Thessalian stone, are ranged with (_i.e._ are in line with) the piers
of the arches and support upper chambers [enclosed] with other similar
columns, so enabling them that wish to lean forward and see the rites
that are being performed: and it is here that the Empress also when
she is present on the festivals assists at the celebration of the
mysteries. But the arches to the east and the west are left clear
without anything to intercept the marvellous impression of the huge
dimensions. And there are colonnades under the upper chambers already
mentioned, finishing off the vast structure with small columns and
arches." It may be noted here that the figures that Evagrius gives are
inaccurate. The church is 250 feet long from east to west, not
including the narthex or the apse; and it is 235 feet across.
[Illustration: IN THE GALLERY OF S. SOPHIA]
These descriptions are in comparatively sober prose; but besides them
we have the ecstatic eloquence of Paul the Silentiary, a court
official of highest rank, whose poem was probably recited in 563. This
is perhaps the most exact of all the descriptions, but it is far too
long for transcription.[56]
A passage, which certainly loses nothing of its poetry in Mr
Swainson's flowing translation, is of especial interest for its
description of the marble which formed the great glory of the church,
next at least to the mosaics, if not surpassing them.
"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
corn-flowers in grass, with here and there a drift of fallen snow,--a
sweet mingled contrast on the dark shining surface."[57]
I think ancient words such as these speak best of this ancient church.
Yet something must be added of what we see with modern eyes. S. Sophia
strikes the modern at once as unlike the domical churches with which
he is familiar. The dome in S. Sophia is the one essential feature of
the whole building. Every thing leads to it or from it: every thing is
subordinate to it. The effect of immense space is conveyed by this
subordination, very different from the Western use where the dome is
merely part of the general design, usually at the centre of a
cruciform building.
The problem which Anthemius of Tralles set himself to solve was that
of "uniting the longitudinal with the central building"; to this is
added "the appropriate disposition of space, the grouping of
subsidiary chambers and the costliness of mosaic splendours."[58]
Originally the church was approached at the west through an atrium, an
outer narthex and a narthex. The atrium cannot now be traced: the
exo-narthex and narthex still remain, but it seems probable that the
former is not now as it was originally built. The walls and ceiling of
the exo-narthex are quite plain. Five doors give entrance into the
much larger narthex, the walls of which are covered with marble, and
the ceiling has mosaics which have been but little touched.
[Illustration: ORNAMENT ON THE BRAZEN LINTEL ABOVE THE PRINCIPAL DOOR
OF S. SOPHIA
Translation of Inscription:
"The Lord said, 'I am the door of the sheep: by Me if any man enter in,
he shall be saved and shall go in and out and find pasture.'"]
The Christian must enter the church by the north porch, which leads
down a flight of steps into the narthex. He walks forward till he
faces the midst of the church, and there over the great central door,
the largest of the nine which open eastwards from the narthex into
the nave, the mosaic can still be traced, for the paint is almost worn
off. It shows our Lord on His throne with the gospel in His hand, open
at the words "I am the Light of the World." An Emperor kneels at His
feet. It is the Imperial door-way, and by it the sovereign always
entered the church. Immediately above the door and below the mosaic,
is a brass lintel on which may be clearly read the text of the book
represented open upon a throne with a dove spreading its wings above.
"The Lord said, I am the door of the sheep: by Me if any man enter in,
he shall be saved and shall go in and out and find pasture." A heavy
curtain falls over the doorway. It is moved aside and we stand in a
space that seems enormous. The eye looks forward to find itself
carried upward to the great dome. The great arches on the floor
support the smaller arches of the galleries, which extend north, south
and west. From these again the eye is carried to the smaller
semi-domes, thence to the great semi-domes east and west, and so to
the great dome which is the centre of all. The scheme seems at once
amazingly intricate and exceedingly simple. There is an infinity of
detail, but it is never irrelevant to the main idea, and in an
extraordinary manner the feeling of unity is dominant at every point.
It is impossible to rest content with any part: the architect compels
you to see the part only in its relation to the whole.
How should S. Sophia be seen? Every one will have his own preference.
Perhaps it is best first to take the great impression that you obtain
as you look eastward, and then to go slowly round the aisles, looking
again and again towards the centre. The wonderful columns supporting
the galleries, four of dark green marble which came from Ephesus--it
may be from the temple of Artemis--eight of dark red porphyry which
came from the Temple of the Sun at Baalbek and were given by a Roman
lady, Marcia, to Justinian "for the safety of her soul"--have a
magnificent air of strength as well as splendour. Then the details
begin to attract the eye, the brass bases to the columns, the capitals
elaborately carved with designs most beautiful and delicate, the
monograms, still undefaced, of Justinian and Theodora. Here the
elaboration, the extraordinary wealth of detail, on the minute
examination of which hours may be spent delightedly, the endless
variety of the finest work, enchains the attention. For the moment you
forget the splendour of the whole in the beauty of the details. But at
every point, as you look up from the carving of capitals, or the
inscriptions (as on the bronze doors of the narthex, whose Christian
emblems may still clearly be traced), you are brought again to the
central thought. It is a great church for worship. From every side,
from aisles and galleries as from all the length of the great nave,
the eye would turn in the old days towards the iconostasis, and to the
magnificent ambo, of which writers from the contemporaries of
Justinian to the latest Christian pilgrims speak in such glowing
words. As a Christian church, S. Sophia must have been unsurpassed in
its power to solemnise the worshipper.
[Illustration: BRONZE DOOR OF SOUTHERN ENTRANCE TO THE NARTHEX, ST
SOPHIA]
The brightness of the great church, when all the splendid lamps made
the mosaics glitter as the heavens with stars, finds record again and
again in poem and history. That glory is departed, though when the
thousands of lamps are lighted on the nights of Ramazan (the
twenty-eight days fast), something of what it must have been may
perhaps be guessed. The mosaics are covered, not everywhere indeed,
but over a great part of the vast space, with paint and whitewash. The
head of Christ may be dimly traced over the sanctuary. The four
gigantic seraphs on the pendentives remain as of old, save that their
faces are painted over.
Next to the decoration the point of chiefest interest is the mass of
historical memorials that may here and there be discovered. In the
south gallery the Second Council of Constantinople, the sixth General
Council of the Church, was held. The "place of the most noble lady
Theodora" may still be seen in the north gallery. A slab now let into
the floor of the south gallery has the words "Henricus Dandolo." It
once rested over the body of the blind Doge who stormed the city in
1204. The ciphers and monograms are worth attentive study.[59] The
curious water-vessel at the north-west may have stood in the church in
the Christian days. But the multiplication of instances would be
endless. Anyone who wants really to know S. Sophia, must have with him
the noble book of Mr Lethaby and Mr Swainson.
The outside of S. Sophia is comparatively uninteresting, and is
impressive only for the vast size. Seen from the corner of the street
leading to the "Burnt Column," its immense extent, and the height of
the great dome, dwarf every other building within sight. Seen again
from the Bosphorus at the entrance to the Golden Horn, or as a vessel
sails up the Marmora, it stands, as the old writers said of it,
dominating the city. But closer it is almost ugly, and the stripes of
red paint with which Fossati bedecked it do not add to its attraction.
[Illustration: ANCIENT URN IN S. SOPHIA (TOP MODERN)]
Round the great church are some smaller buildings which should not be
forgotten. "Every evidence of the atrium has entirely disappeared": it
was finally destroyed in 1873. At south side are five türbehs, four of
which are of Turkish building, those of Sultans Selim II., Murad III.,
each with his children, Mohammed III., and the sons of Murad III.
Among these that of Selim II. is notable for the beautiful tiles at
the doorway. At the south-west is Justinian's baptistery, now the
türbeh of Mustafa I. (1622). It is a rectangle externally, but within,
an octagon with a low dome, covered with twelfth-century mosaics,
which, when I saw it in 1896, were being covered anew with paint. At
the north-east of the church is a circular building which may very
probably be the earlier baptistery, built by Constantine.[60]
Throughout I have spoken of S. Sophia as a church. Such indeed to the
Christian eye it remains. A few hours would restore its fitness for
its original purpose. The Mihrab, showing the direction of Mecca, the
minber, or pulpit, the Sultan's seat, the immense shields with the
names of the four companions of the prophet, the four minarets,
belong, one feels, but to transitory things. The dedication of S.
Sophia is eternal. S. Sophia is the greatest and most splendid example
of what has been truly called "the last great gift of Hellenic genius,
mediæval Greek architecture"--the last great work of the Greek people.
But it is more. It is the most perfect representation that art has
ever devised in visible outward form of the theology of the Christian
Church. A multitude of detail, all beautiful, all important when
understood, has its true significance solely from its relation to the
central idea, to the whole which is so much more than the parts of
which it is composed. "The Catholic faith is this, that we worship one
God in Trinity, and Trinity in Unity," says the magnificent hymn of
faith which we call the Creed of Saint Athanasius. From that central
doctrine, that dome of theology, shade off other thoughts and facts
which have their importance in exact proportion to their nearness to
the central fact. They all contribute to its support; they are all
really part of it; but they can only be seen in their real meaning
when the one Unifying Truth is seen to be over and above them all.
Is this the narrow view of a Christian priest? Will art critics say
that S. Sophia means quite other things, and draws forth quite other
memories? Not truly, as I think. For S. Sophia is certainly a supreme
expression of Christian faith, and only in relation to that faith can
it be fully understood. "We worship one God": S. Sophia expresses that
thought, and it expresses the myriad reflections of that truth, and
how that worship is visibly presented.
To some art critics, and notably to Jesuit writers, whose sympathy
with the genuine expression of artistic ideas has never been profound,
S. Sophia seems to mark not only the culmination of Byzantine art but
a distinct step in its decadence. Supreme indeed it is, but it is
difficult for any one who knows Constantinople to doubt that the work
which is at its greatest in S. Sophia was continued centuries after
Anthemius had passed away. The same dignity, and sincerity, and
splendour, are striven for, and if they are never attained it is only
because the greatest genius is never repeated.
There are many later churches which carry us back to the vigorous age
of Byzantine art. First must be placed the μονὴ τῆς χώρας,
the Church of S. Saviour "in the country," now called Kahriyeh
Djamissi. It stands on an open space of broken ground near the gate of
Charisius, Edirnè Kapoussi. It is shown to-day, most courteously and
sympathetically, by an imâm with whom it is a pleasure to converse.
The Christian feels almost at home, though the Moslem has long
worshipped where for so many centuries the Holy Sacrifice was offered.
The Church of the Chora was rebuilt, or refounded, by Justinian. The
site had been chosen by Constantine for a monastery which he erected
outside the walls, "in the country." When Justinian built it, it was
within the walls which Theodosius had made. It fell into decay, and
Maria Dukaina, the mother-in-law of Alexius Comnenus, restored it.
Finally Theodore the Logothete, in 1381, completed the work. Of recent
years it has been thoroughly repaired. It has an inner and an outer
narthex, a central church and two side chapels.
No church, save S. Sophia, has more touching memories. Crispus, the
son-in-law of the Emperor Nicephorus Phocas, redecorated it, and found
in it his resting-place as a monk. Patriarchs have retired there.
Theodore, who beautified it, had to seek refuge there when Andronicus
II. was deposed, and he ended his days as a monk within its walls.
Under the sovereigns of the twelfth and thirteenth centuries it was
famous. Near to the palace of Blachernae the Emperors often worshipped
there. It kept for part of the year the sacred picture of the Blessed
Virgin which was believed to have been the work of S. Luke, and was
there yearly shown on Easter Monday for the veneration of the people.
When the Turks broke in, the Janissaries seized the picture and cut it
into fragments, for charms. The church was turned into a mosque very
soon after the conquest. Petrus Gyllius rediscovered it, for it seems
soon to have had its history forgotten; and he noted the beauty of the
capitals.
Architecturally the complication of the style, the many independent
domes, and the practical separation of the chapels from the central
church, illustrate the development of Byzantine architecture in its
later stages. In detail the beautiful acanthus carved in white marble
and carved right through is noticeable. There are also the fragments
of a splendid door, now used as jamb linings, the panels of which were
originally filled with sculpture. The Church of the Chora as we now
have it belongs to a veritable renaissance of Byzantine art, and that
most notably in its mosaics. The apse has a great picture of Christ
with the open Gospel in His hand. It is whitewashed over. The mural
paintings of the side chapels are of little interest; but the mosaics
in the narthex and outer narthex are by far the finest remaining
examples of the art now visible in Constantinople. Those in the outer
narthex represent the history of the B. V. Mary, a wonderful series of
glowing pictures in gold and colours. They are well worth minute study
of the designs, the dresses, and the colours.[61] But the most
striking of all is the splendid figure of Christ enthroned, with
Theodore kneeling to present to Him the renovated church. Theodore
wears the great cap conferred on him as a sign of dignity by
Andronicus II. The Lord, with the Gospel in His left hand, blesses
with the right hand, the thumb and two fingers joined, after the Greek
manner of benediction. It is a noble figure, restrained and solemn. No
longer, as in the earlier representations, is He represented as young
and beardless, but as a Man of middle life, the features and hair
approximating at least to the traditional portrait. But still, and
seemingly to the last in Constantinople, the early reticence which
prevented a representation of the Crucifixion remains. All through the
incidents of His earthly life He is followed by the artistic reverence
of the Byzantines; but His death remains unpictured. The other
separate representation of the Lord in this church shows Him blessing,
as the giver of life.
There are many other churches which should be visited. Of the mediæval
example the most interesting are the church of S. Thekla, S. Mary
Pammakaristos, S. Theodosia (mentioned above, p. 62), the
Pantokrator, SS. Peter and Mark, and the little village church of S.
Mary at the Fountain. Of this last more hereafter. S. Mary
Pammakaristos was built by the sister of Alexius Comnenus early in the
twelfth century. It stands on the hill overlooking the Phanar. Its
design is unlike any other building in the city. The main dome rests
on a drum supported by four arches, these again on another drum and
other arches. There are narthex and outer narthex and a number of
subsidiary chapels, divided from the central chapel by columns of
different sizes and shapes. In the south-east chapel there is still a
splendid mosaic of Christ blessing the apostles. The tomb of Alexius
Comnenus and his famous daughter Anna were here, but they were
destroyed when Murad III. turned the church into a mosque. From 1456
to 1586 it was the patriarchal church. A legend attaches to it which
declares that the patriarch Jeremiah I. preserved it, and all other
churches then remaining, by producing Moslem witnesses before
Suleiman, that the city was really surrendered by capitulation, and
that the churches were guaranteed to the Christians. Two aged Moslems
were brought from Adrianople and their oath was accepted, a strange
story of lying in which neither faith seems to be established by the
truthfulness of its believers.
S. Theodosia, called "the rose mosque" for the horrible tragedy which
marked its last day as a Christian church, is within the Aya Kapou,
the Porta Divae Theodosiæ which was named after it. S. Theodosia was
the first martyr, under Leo the Isaurian, of the iconoclastic
persecutions, and her name was held in special veneration by the
ladies of Constantinople. Her festival is on May 29; and in 1453 when
the city was captured the church was crowded with worshippers, many of
whom had spent the whole night there in prayer. Before midday the
doors were broken down and the sipahis poured in. Over the walls
clustered roses then in bloom, and, within, the columns were wreathed
with them. The picture of the ladies seized and carried off into
slavery lingered in the verses of Turkish poets, and when the church
became a mosque its name was that of the rose, Güil Djami.
The Church of the Pantokrator stands high above the inner bridge, a
little below, and eastwards of, the mosque of Mohammed II. It is a
triple church, separated by columns and all entered from the narthex.
It is probable that it was founded by John Comnenus and his wife
Irene, who died in 1124. The exterior of the apses have much fine
work; and the door and windows of the narthex are well worth careful
examination. Outside in the rough square westwards of the church is a
fine tomb of _verde antico_ which is said to have been the tomb of the
Empress Irene, on which the crosses still remain. Of the three
churches the northern was monastic and the central was the mausoleum
of the Comneni. There slept Irene and her husband John I., Manuel I.
and his wife Irene, a third Irene, the wife of Andronicus II., and
Manuel II. who drove back the Turks from the walls. During the Latin
occupation this church was the patriarchal cathedral; there Morosini
had his throne; and there the holy picture of the B. V. M. (see above
p. 263) was kept by them. When Michael VIII. returned it was brought
forth and borne before him through the Golden Gate. Here in 1453 dwelt
Gennadios who prophecied incessantly against the union of the
churches, and hence he was brought when after the capture of the city
he was chosen patriarch. It is a church of many memories, now almost
deserted. Near it is the ancient library of the monastery, a quaint
disfigured octagonal building that peers over a high wall in a narrow
by-street.
[Illustration: CHURCH OF THE PANTOKRATOR]
These churches--and there are many more--now mosques, yet retain some
of their old dignity; and if they should ever come again into
Christian hands it is very likely that many mosaics and much early
work in them would be rediscovered.
There is another which I cannot forbear to mention, though it hardly
repays the search for it. For many hours in April 1896 did I wander
and inquire and grope through filthy streets, followed by filthier
Turks, whose attentions became embarrassing, till I relieved myself of
them by means of a stern gaze, a threatening forefinger, and a
solemnly delivered passage from Euclid, in English. It is not far from
Aivan Serai, and is approached through the wall now broken down. It is
now called Atik Mustapha Pasha Djamissi, but was consecrated in 451 as
the Church of SS. Peter and Mark, having been built by two patricians,
Gallius and Candidus, "on the shore of the Golden Horn, in the quarter
of Blachernae." It is a sordid, decrepit hovel to-day; but outside it
stands its ancient font, made of a single block of marble, and with
three steps descending to the bottom. It belongs probably to the
earliest years of the reign of Justinian. A pathetic memory, it is
forgotten and uncared for save by a few faithful Greeks who cleanse it
secretly from time to time. Is it ever used secretly now?
These may stand for examples of the many churches which still remain
from Byzantine days. But there are others which should not be
forgotten. The Church of the Patriarchate and the little S. Mary
Mouchliotissa have been mentioned already (above, p. 155). The
Armenian patriarch has his throne in the Church of S. George in the
Psamatia. The churches in Pera and Galata are worth a visit, and
notably S. Georgio a Monte, near the Ottoman bank, and the Armenian
church of S. Gregory, built in 1436, and buried in a back street above
the wharfs not far from Top-haneh. This last contains some fine MSS.
and a sacred picture of Christ, of great antiquity. It witnessed
fearful tragedies in 1876. The open apse of the Armenian churches,
with its altar covered with candles, contrasts with the hidden holy
table of the orthodox church, plain, and concealed behind the high
iconostasis with its closed gates.
The Christianity of Pera and Galata is a strange contrast to the
solemn Mohammedanism of Stambûl. But it is impossible to attend the
offering of the Holy Eucharist in the orthodox churches of Pera and of
the Phanar without feeling how firm and enthusiastic is the faith of
the worshippers. They stand indeed, hardly less than the Armenians,
always on the verge of the undiscovered country.
Ἕως πότε ὁ Δεσπότης.
FOOTNOTES:
[51] See especially "Les Débuts du Monachisme à Constantinople"
(Pargoire) in _Revue des questions historiques_, Jan. 1899, pp. 133,
_sqq._
[52] In 1896 and 1899 application was made on my behalf by the British
Ambassador; on the last occasion the Sultan granted an irardé.
[53] This can be reached from the Hippodrome by a road going
southwards, and easy to find.
[54] _Aedif._ I. i.--The translation here used is that of Mr Aubrey
Stewart, published by the Palestine Pilgrims' Text Society, with
alterations by the late Mr Harold Swainson, as published in the
admirable work of Mr W. R. Lethaby and himself, _Sancta Sophia,
Constantinople, a Study of Byzantine Building_, 1894 (pp. 24-29).
Messrs Lethaby and Swainson insert explanatory divisions of the
description, thus '_The Apse_,' etc. I have inserted the Greek words
where they have transliterated them, and made an occasional slight
alteration. The value of Messrs Lethaby and Swainson's work as an
architectural translation is great.
[55] Evagrius, _Hist. Eccl._, iv. 31.
[56] It may be read in Migne's Patrologia Græca, lxxxvi. (2), and in
the translation in Messrs Lethaby and Swainson's book.
[57] Quoted from Lethaby and Swainson, p. 45.
[58] Kraus, _Geschichte der Christlichen Kunst_, i. 361, 362.
[59] See Lethaby and Swainson, pp. 21 and _sqq._
[60] See Lethaby and Swainson.
[61] Murray's "Guide" gives a complete list of the subjects.
[Illustration: PART OF THE WALLS OF THEODOSIUS: THE SEVEN TOWERS IN
THE BACKGROUND]