,,byzantine ,,churches ,,in ,,constantinople ,,macmillan ,,and ,,co41 ,,limited ,,london ,,bombay ,,calcutta ,,melbourne ,,the ,,macmillan ,,company ,,new ,,york ,,boston ,,chicago ,,dallas ,,san ,,francisco ,,the ,,macmillan ,,co4 ,,of ,,canada1 ,,ltd4 ,,toronto ,illustration3 ,,plate ,i4 ,,mediaeval ,,map ,,of ,,constantinople ,,by ,,bondelmontius4 ,frontispiece4 ,,note ,,on ,,the ,,map ,,of ,,constantinople ,for the map forming the frontispiece and the following note ,i am greatly indebted to ,mr4 ,f4 ,w4 ,hasluck1 of the ,british ,school at ,athens4 ,the map is taken from the unpublished ,insularium ,henrici ,martelli ,germani 7,b4,m4 ,add4 ,,mss4 #ae1gfj7 f4 #dj4 ,a short note on the ,,ms41 which may be dated approximately #adij1 is given in the ,annual of the ,british ,school at ,athens1 xii4 #aii4 ,the map of ,constantinople is a derivative of the ,buondelmontius series1 which dates from #adbj1 and forms the base of all known maps prior to the ,conquest4 ,buondelmontius' map of ,constantinople has been published from several ,,mss41 varying considerably in legend and other details3#a the best account of these publications is to be found in ,e4 ,oberhummer's ,konstantinopel unter ,suleiman dem ,grossen1 pp4 #ah ff4 ,the map in ,b4,m4 ,arundel1 #ic1 has since been published in ,annual ,b4,s4,a4 xii4 pl4 i4 ,in the present map the legends are as follows4 ,those marked with a dagger do not occur on hitherto published maps4 ,reference is made below to the ,paris ,,ms4 7best published by ,oberhummer1 loc4 cit471 the ,venetian 7,mordtmann1 ,esquisse1 p4 #de1 ,sathas1 ,greek3 ,mnmeia1 iii41 frontispiece71 and the ,vatican 7,mordtmann1 loc4 cit4 p4 #gc74 ,,tracie ,,pars--,,galatha ,,olim ,,nvnc ,,pera--,pera--,s4 ,dominicus--,arcena--,introitus ,euxini ,maris4 ,,asie ,,minoris ,,pars ,,nvnc ,,tvrchia4--,,tvrchia4 ,tracie pars--,porta ,vlacherne--,symbol3 cross ,ab hec 7sic7 porta ,vlacherne usque ad portam ,sancti ,demetri #f ,m4,p4 et centum et decem turres--,symbol3 cross ,porta ,s4 ,iohannis#a--,porta ,chamici#b--,porta ,crescu--,porta ,crescea--,symbol3 cross ,ab hec 7sic7 porta que dicitur ,crescea usque ad portam ,sancti ,demetri septem ,m4 passuum et turres centum nonaginta octo4 ,et ad portam ,vlacherne #e ,m4 passuum et turres nonaginta sex--,receptaculum ,conticasii#c-,porta olim palacii ,imperatoris--,porta ,s4 ,dimitri--,iudee#d--,pistarie p4#e--,messi p4--,cheone p4#f--,s4 ,andreas--,s4 ,iohannes de ,petra--,hic ,constantinus genuflexus--,symbol3 cross ,ad ,s4 ,salvatorem--,symbol3 cross ,columna ,co7n7s8--,hic ,iustinianus in equo#g--,sancta ,sophia--,hippodromus--,s4 ,demetrius--,s4 ,georgius-,s4 ,lazarus--,domus ,pape--,domus ,s4 ,constantini--,sanctorum ,apostolorum--,porta antiquissima mire 7sic7 arte constructa#h--,s4 ,marta#i--,s4 ,andreas--,s4 ,iohannes de ,studio--,perleftos4 ,f4 ,w4 ,h4 #a ,s4 ,romani8 #b ,porta ,camidi1 ,vat4 #c ,receptaculum fustarum dein ,condoscalli1 ,par4 #d ,porta ,judea1 ,par4 #e ,porta ,piscarii1 ,par4 #f ,porta ,lacherne1 ,par41 delle ,corne1 ,vat41 del ,chinigo 7i4e4 ,greek3 ,kyngiou7 in the xvi4 cent4 ,venetian maps4 #g ,theodosius in aequo eneo1 ,ven4 ,in hoc visus imp4 ,teod4 equo sedens1 ,vat4 #h ,porta antiquissima pulcra1 ,par4 #i ,st4 ,mam 7as87 ,ven4 ,sts4 ,marcus1 ,vat4 ,,byzantine ,,churches ,,in ,,constantinople ,,their ,,history ,,and ,,architecture ,,by ,,alexander ,,van ,,millingen1 ,m4,a41 ,d4,d4 ,,professor ,,of ,,history1 ,,robert ,,college1 ,,constantinople ,,author ,,of ',,byzantine ,,constantinople1' ',,constantinople' ,,assisted ,,by ,,ramsay ,,traquair1 ,a4,r4,i4,b4,a4 ,,lecturer ,,on ,,architecture1 ,,college ,,of ,,art1 ,,edinburgh ,w4 ,s4 ,,george1 ,a4,r4,c4,a41 ,,and ,a4 ,e4 ,,henderson1 ,f4,s4,a4 ,,with ,,maps1 ,,plans1 ,,and ,,illustrations ,,macmillan ,,and ,,co41 ,,limited ,,st4 ,,martin',s ,,street1 ,,london #aiab ,,copyright ,,preface ,this volume is a sequel to the work ,i published1 several years ago1 under the title1 ,byzantine ,constantinople3 the ,walls of the ,city1 and adjoining ,historical ,sites4 ,in that work the city was viewed1 mainly1 as the citadel of the ,roman ,empire in the ,east1 and the bulwark of civilization for more than a thousand years4 ,but the city of ,constantine was not only a mighty fortress4 ,it was1 moreover1 the centre of a great religious community1 which elaborated dogmas1 fostered forms of piety1 and controlled an ecclesiastical administration that have left a profound impression upon the thought and life of mankind4 ,new ,rome was a ,holy ,city4 ,it was crowded with churches1 hallowed1 it was believed1 by the remains of the apostles1 prophets1 saints1 and martyrs of the ,catholic ,church2 shrines at which men gathered to worship1 from near and far1 as before the gates of heaven4 ,these sanctuaries were1 furthermore1 constructed and beautified after a fashion which marks a distinct and important period in the history of art1 and have much to interest the artist and the architect4 ,we have1 consequently1 reasons enough to justify our study of the churches of ,byzantine ,constantinople4 ,of the immense number of the churches which once filled the city but a small remnant survives4 ,earthquakes1 fires1 pillage1 neglect1 not to speak of the facility with which a ,byzantine structure could be shorn of its glory1 have swept the vast majority off the face of the earth1 leaving not a rack behind4 ,in most cases even the sites on which they stood cannot be identified4 ,the places which knew them know them no more4 ,scarcely a score of the old churches of the city are left to us1 all with one exception converted into mosques and sadly altered4 ,the visitor must1 therefore1 be prepared for disappointment4 ,age is not always a crown of glory2 nor does change of ownership and adaptation to different ideas and tastes necessarily conduce to improvement4 ,we are not looking at flowers in their native clime or in full bloom1 but at flowers in a herbarium so to speak1 or left to wither and decay4 ,as we look upon them we have need of imagination to see in faded colours the graceful forms and brilliant hues which charmed and delighted the eyes of men in other days4 ,in the preparation of this work ,i have availed myself of the aid afforded by previous students in the same field of research1 and ,i have gratefully acknowledged my debt to them whenever there has been occasion to do so4 ,at the same time this is a fresh study of the subject1 and has been made with the hope of confirming what is true1 correcting mistakes1 and gathering additional information4 ,attention has been given to both the history and the architecture of these buildings4 ,the materials for the former are1 unfortunately1 all too scanty4 ,no continuous records of any of these churches exist4 ,a few incidents scattered over wide tracts of time constitute all that can be known4 ,still1 disconnected incidents though they be1 they give us glimpses of the characteristic thoughts and feelings of a large mass of our humanity during a long period of history4 ,the student of the architecture of these churches likewise labours under serious disadvantages4 ,turkish colour-wash frequently conceals what is necessary for a complete survey2 while access to the higher parts of a building by means of scaffolding or ladders is often impossible under present circumstances4 ,hence the architect cannot always speak positively1 and must leave many an interesting point in suspense4 ,care has been taken to distinguish the original parts of a building from alterations made in ,byzantine days or since the ,turkish conquest2 while1 by the prominence given to the variety of type which the churches present1 the life and movement observable in ,byzantine ecclesiastical art has been made clear1 and the common idea that it was a stereotyped art has been proved to be without foundation4 ,numerous references to the church of ,s4 ,sophia occur in the course of this volume1 but the reader will not find that great monument of ,byzantine architectural genius dealt with in the studies here offered4 ,the obstacles in the way of a proper treatment of that subject proved insuperable1 while the writings of ,salzenberg1 ,lethaby1 and ,swainson1 and especially the splendid and exhaustive monograph of my friend ,mr4 ,e4 ,m4 ,antoniadi1 seemed to make any attempt of mine in the same direction superfluous if not presumptuous4 ,the omission will1 however1 secure one advantage3 the churches actually studied will not be overshadowed by the grandeur of the ',great ,church1' but will stand clear before the view in all the light that beats upon them4 ,i recall gratefully my obligations to the ,sultan's ,government and to the late ,sir ,nicholas ,o',conor1 ,british ,ambassador at ,constantinople1 for permission to make a scientific examination of the churches of the city4 ,to the present ,british ,ambassador1 ,sir ,gerard ,lowther1 best thanks are due for the facilities enjoyed in the study of the church of ,s4 ,irene4 ,i have been exceedingly fortunate in the architects who have given me the benefit of their professional knowledge and skill in the execution of my task1 and ,i beg that their share in this work should be recognized and appreciated as fully as it deserves4 ,to the generosity of the ,british ,school at ,athens ,i am indebted for being able to secure the services of ,mr4 ,ramsay ,traquair1 ,associate of the ,royal ,institute of ,british ,architects and ,lecturer on ,architecture at the ,college of ,art in ,edinburgh4 ,mr4 ,traquair spent three months in ,constantinople for the express purpose of collecting the materials for the plans1 illustrations1 and notes he has contributed to this work4 ,the chapter on ,byzantine ,architecture is entirely from his pen4 ,he has also described the architectural features of most of the churches2 but ,i have occasionally introduced information from other sources1 or given my own personal observations4 ,i am likewise under deep obligation to ,mr4 ,a4 ,e4 ,henderson1 ,f4,s4,a41 for the generous kindness with which he has allowed me to reproduce his masterly plans of the churches of ,,ss4 ,sergius and ,bacchus1 ,s4 ,mary ,panachrantos1 and many of his photographs and drawings of other churches in the city4 ,i am1 moreover1 indebted to the ,byzantine ,research and ,publication ,fund for courteous permission to present here some of the results of the splendid work done by ,mr4 ,w4 ,s4 ,george1 ,f4,s4,a41 under unique circumstances1 in the study of the church of ,s4 ,irene1 and ,i thank ,mr4 ,george personally for the cordial readiness with which he consented to allow me even to anticipate his own monograph on that very interesting fabric4 ,it is impossible to thank ,professor ,baldwin ,brown1 of the ,university of ,edinburgh1 enough1 for his unfailing kindness whenever ,i consulted him in connection with my work4 ,nor do ,i forget how much ,i owe to ,j4 ,meade ,falkner1 ,esq41 for kindly undertaking the irksome task of revising the proofs of the book while going through the press4 ,i cannot close without calling attention to the brighter day which has dawned on the students of the antiquities of ,constantinople since constitutional government has been introduced in the ,ottoman ,empire4 ,permission to carry on excavations in the city has been promised me4 ,the archaeology of ,new ,rome only waits for wealthy patrons to enable it to reach a position similar to that occupied by archaeological research in other centres of ancient and mediaeval civilizations4 ,but the monuments of the olden time are perishable4 ,of the churches described by ,paspates in his ,byzantine ,studies1 published in #ahgg1 nine have either entirely disappeared or lost more of their original features4 ,it was no part of wisdom to let the books of the cunning ,sibyl become rarer and knowledge poorer by neglecting to secure all that was obtainable when she made her first or even her second offer4 ,,alexander ,,van ,,millingen4 ,,robert ,,college1 ,,constantinople4 ,greek3 ,polis ekklsin galouche1 pistes archge1 orthodoxias podge4 ,,nicetas ,,choniates4 ,,contents ,,page ,,chapter ,i ,,byzantine ,,architecture #a ,,chapter ,,ii ,,church ,,of ,s4 ,,john ,,the ,,baptist ,,of ,,the ,,studion #ce ,,chapter ,,iii ,,church ,,of ,,ss4 ,,sergius ,,and ,,bacchus #fb ,,chapter ,,iv ,,church ,,of ,s4 ,,irene #hd ,,chapter ,v ,,church ,,of ,s4 ,,andrew ,,in ,,krisei #ajf ,,chapter ,,vi ,,church ,,of ,s4 ,,mary ,,panachrantos #abb ,,chapter ,,vii ,,church ,,of ,s4 ,,mary ,,pammakaristos #ach ,,chapter ,,viii ,,church ,,of ,s4 ,,theodosia #afd ,,chapter ,,ix ,,church ,,of ,s4 ,,mary ,,diaconissa #ahc ,,chapter ,x ,,church ,,of ,,ss4 ,,peter ,,and ,,mark #aia ,,chapter ,,xi ,,church ,,of ,,the ,,myrelaion #aif ,,chapter ,,xii ,,church ,,of ,s4 ,,john ,,the ,,baptist ,,in ,,trullo #bja ,,chapter ,,xiii ,,church ,,of ,s4 ,,thekla #bjg ,,chapter ,,xiv ,,church ,,of ,s4 ,,saviour ,,pantepoptes #bab ,,chapter ,,xv ,,church ,,of ,s4 ,,saviour ,,pantokrator #bai ,,chapter ,,xvi ,,church ,,of ,s4 ,,theodore #bdc ,,chapter ,,xvii ,,monastery ,,of ,,manuel #bec ,,chapter ,,xviii ,,monastir ,,mesjedi #bfb ,,chapter ,,xix ,,balaban ,,aga ,,mesjedi #bfe ,,chapter ,,xx ,,church ,,of ,,the ,,gastria #bfh ,,chapter ,,xxi ,,church ,,of ,s4 ,,mary ,,of ,,the ,,mongols #bgb ,,chapter ,,xxii ,,bogdan ,,serai #bhj ,,chapter ,,xxiii ,,church ,,of ,s4 ,,saviour ,,in ,,the ,,chora #bhh ,,chapter ,,xxiv ,,mosaics ,,and ,,frescoes ,,in ,,the ,,church ,,of ,s4 ,,saviour ,,in ,,the ,,chora #cba ,,chapter ,,xxv ,,dating ,,and ,,classification ,,of ,,the ,,churches #ccb ,,bibliography #ccg ,,list ,,of ,,emperors #cda ,,index #cdc ,,plans ,,and ,,illustrations ,,fig4 ,,page #a4 ,kasr ,ibn ,wardan #d #b4 ,der ,aghsy #f #c4 ,der ,aghsy 7,section7 #f #d4 ,s4 ,nicholas1 ,myra #g #e4 ,church of the ,koimesis1 ,nicaea #h #f4 ,church of the ,koimesis1 ,nicaea 7,section7 #i #g4 ,map of ,byzantine ,constantinople facing #ae #h4 ,the ,saucer ,dome or ,dome-,vault #af #i4 ,the ,dome on ,pendentives #af #aj4 ,the ,drum ,dome #ag #aa4 ,diagram of ,vaulting in ,outer ,narthex of ,s4 ,saviour in the ,chora4 #bb ,,church ,,of ,s4 ,,john ,,the ,,baptist ,,of ,,the ,,studion #ab4 ,plan of the ,church #ef #ac4 ,long ,section #eg #ad4 ,cross ,section1 looking east #eh #ae4 ,cross ,section1 looking west #eh #af4 ,elevation of the ,narthex #ei #ag4 ,longitudinal ,section of western portion of the ,nave--,half-cross ,section of the ,nave #ei #ah4 ,details of the ,narthex1 ,colonnade1 ,doors1 ,windows #fj #ai4 ,details of ,doors2 ,details from ,church of ,s4 ,theodore2 ,details from ,s4 ,saviour in the ,chora #fa ,,church ,,of ,,ss4 ,,sergius ,,and ,,bacchus #bj4 ,inscription on the ,frieze in the ,church #gd #ba4 ,exterior ,view of the ,dome #gg #bb4 ,brick ,stamps in the ,church #gi #bc4 ,ground ,plan 7looking up7 #hj #bd4 ,gynaeceum ,plan 7looking up7 #hj #be4 ,plan at base of ,dome 7,cross ,section7 #ha #bf4 ,transverse ,section #ha #bg4 ,section through ,south ,aisle #ha #bh4 ,constructive ,section of the ,interior ,arrangement1 showing ,gynaeceum ,floor1 ,vaulting1 ,roof1 and ,springing of ,dome #hb #bi4 ,constructive ,section of the ,rear1 with ,gynaeceum1 ,floor1 and ,roof removed #hb #cj4 ,sections of ,mouldings #hc ,,church ,,of ,s4 ,,irene #ca4 ,ground ,plan of the ,atrium and ,church facing #ajd #cb4 ,gallery ,plan #ajd #cc4 ,longitudinal ,section #ajd #cd4 ,south ,elevation #ajd #ce4 ,west ,elevation #aje ,,church ,,of ,s4 ,,andrew ,,in ,,krisei #cf4 ,plan of the ,church 7restored7 #aah #cg4 ,plan of the ,church #aai #ch1 #ci4 ,longitudinal ,sections #abj #dj4 ,isometrical ,section 7restored7 #aba ,,church ,,of ,s4 ,,mary ,,panachrantos #da4 ,details of the ,shafts in ,east ,windows of ,south ,church #abd #db4 ,inscription on ,apse of ,north ,church #aca #dc4 ,plan of the ,church 7conjectural7 #ace #dd4 ,plan of the ,church #ace #de4 ,section through the ,north ,church #ace #df4 ,section through the ,south ,church #ace ,,church ,,of ,s4 ,,mary ,,pammakaristos #dg4 ,plan of the ,church 7conjectural7 #aeb #dh4 ,brick ,details from the ,parecclesion #aed #di4 ,inscribed ,string-course on ,apse of the ,parecclesion #aeg #ej4 ,plan of the ,church--,plan of the ,parecclesion--,plan of the ,gynaeceum in the ,parecclesion facing #afj #ea4 ,cross ,section of the ,church1 looking east #afa #eb4 ,the ,parecclesion1 east end of south side #afb #ec4 ,sections in the ,parecclesion--,plan of ,dome in the ,gynaeceum #afc ,,church ,,of ,s4 ,,theodosia #ed4 ,interior of the ,church1 looking west #aga #ee4 ,details from the ,church--,details from ,church of ,s4 ,theodore--,capital and ,shaft found near ,unkapan ,gate #agd #ef4 ,ground ,plan #agi #eg4 ,plan of the ,gynaeceum #ahj #eh4 ,section in the ,gynaeceum #aha #ei4 ,longitudinal ,section of the ,church #aha #fj4 ,isometrical ,section1 showing scheme #ahb ,,church ,,of ,s4 ,,mary ,,diaconissa #fa4 ,plan of the ,church #ahi #fb4 ,longitudinal ,section #aij ,,church ,,of ,,ss4 ,,peter ,,and ,,mark #fc4 ,font in the street to the west of the ,church--,a ,window in ,s4 ,saviour in the ,chora #aid #fd4 ,plan of the ,church #aie #fe4 ,longitudinal ,section #aie ,,church ,,of ,,the ,,myrelaion #ff4 ,plan of the ,church #bjj #fg4 ,longitudinal ,section #bjj ,,church ,,of ,s4 ,,john ,,the ,,baptist ,,in ,,trullo #fh4 ,details from the ,church--,details from the ,pammakaristos--,details from the ,pantepoptes #bjc #fi4 ,details from ,s4 ,andrew in ,krisei--,details from the ,chora #bjd #gj4 ,plan of ,s4 ,john in ,trullo--,longitudinal ,section--,plan of the ,dome #bjf ,,church ,,of ,s4 ,,thekla #ga4 ,plan of the ,church--,cross ,section #bjf ,,church ,,of ,s4 ,,saviour ,,pantepoptes #gb4 ,sketches from the ,church #bac #gc4 ,plan of the ,church--,longitudinal ,section #bag #gd4 ,details from the ,church #bah ,,church ,,of ,s4 ,,saviour ,,pantokrator #ge4 ,details from the ,church--,details from ,s4 ,saviour ,pantepoptes #bbe #gf4 ,inlaid ,marble ,pavement in the ,pantokrator--,tile ,pavement in the ,gallery of ,s4 ,theodosia #bcd #gg4 ,plan of the ,pantokrator facing #bdj #gh4 ,longitudinal ,section through the ,north ,church #bda #gi4 ,longitudinal ,section through the ,central ,church #bda #hj4 ,longitudinal ,section through the ,south ,church #bdb ,,church ,,of ,s4 ,,theodore #ha4 ,details from the ,church #bde #hb4 ,plan of the ,church by ,texier #bdi #hc4 ,part of ,south ,elevation showing the ,side ,chapel by ,texier #bdi #hd4 ,plan of the ,church #bea #he4 ,longitudinal ,section #bea #hf4 ,front ,elevation--,half-,plan of ,central ,dome in the ,narthex #beb #hg4 ,south ,elevation and ,section through ,vaulted ,bay of ,narthex--,half-,plan of ,central ,dome #beb ,,monastery ,,of ,,manuel #hh4 ,plan of the ,refectory #bfa ,,monastir ,,mesjedi #hi4 ,plan of the ,church--,cross ,section #bfa ,,balaban ,,mesjedi #ij4 ,plan of the ,building #bfg #ia4 ,section #bfg ,,church ,,of ,,the ,,gastria #ib4 ,plan of the ,church #bfg ,,church ,,of ,s4 ,,mary ,,of ,,the ,,mongols #ic4 ,exterior ,view #bgc #id4 ,interior ,view #bgd #ie4 ,the ,dome 7,interior ,view7 #bgf #if4 ,plan of ,church #bgi #ig4 ,plan of ,s4 ,nicholas ,methana #bgi ,,bogdan ,,serai #ih4 ,plan of ,upper ,chapel--,half-,section of ,apse--,half-,section of ,east ,end--,longitudinal ,section #bhg ,,church ,,of ,s4 ,,saviour ,,in ,,the ,,chora #ii4 ,details from the ,church #cje #ajj4 ,details of a ,window in the ,gallery #cji #aja4 ,plan of ,s4 ,sophia1 ,salonica #cac #ajb4 ,plan of the ,chora 7restored7 #cad #ajc4 ,bay in the ,chora 7restored7 #cae #ajd4 ,plan of ,church of the ,archangels1 ,syg #caf #aje4 ,plan of the ,chora and the ,parecclesion #cag #ajf4 ,cross ,section1 looking west #cah #ajg4 ,plan of ,upper ,gallery #cah #ajh4 ,section through ,church #cai #aji4 ,section through ,chapel #cai #aaj4 ,plan of ,dome #cbj #aaa4 ,section through ,inner ,narthex #cbj #aab4 ,plan of ,gallery between the ,church and the ,parecclesion #cbj #aac4 ,section of ,north ,gallery #cbj #aad4 ,plan of the ,narthexes1 indicating the positions of their ,mosaics #cba #aae4 ,model of the ,church in the ,mosaic over ,main ,door in the ,inner ,narthex #cbf #aaf4 ,plan of the ,parecclesion1 indicating positions of its ,frescoes #cbh ,,plates ,i4 ,mediaeval ,map of ,constantinople by ,bondelmontius ,frontispiece ,,facing ,,page ,,ii4 ,the ,myrelaion 7since it was burned74 7#a7 ,from the north-west4 7#b7 ,from the south-east #bj ,,iii4 7#a7 ,the ,myrelaion 7since it was burned74 ,the ,interior1 looking east4 7#b7 ,suleiman ,aga ,mesjedi #bd ,,iv4 7#a7 ,bracket in ,s4 ,saviour in the ,chora4 7#b7 ,sculptured ,slab in ,s4 ,theodore4 7#c7 ,s4 ,mary ,diaconissa4 ,heads of ,windows in south arm4 7#d7 ,sculptured ,slab on the ,west ,wall #bh ,,church ,,of ,s4 ,,john ,,of ,,the ,,studion ,v4 7#a7 ,the ,ruined ,interior1 seen from the minaret of the mosque4 7#b7 ,the ,west ,side of the ,church #cf ,,vi4 7#a7 ,faade of the ,narthex4 7#b7 ,the ,ruined ,interior1 at the ,west ,end of the ,north ,side #dj ,,vii4 7#a7 ,entablature and ,anta ,capital in the ,narthex4 7#b7 ,cornice in the ,narthex1 looking up #dd ,,viii4 ,the ,church from the south-east #dh ,,ix4 7#a7 ,the ,east ,end of the ,church4 7#b7 ,east ,end of the ,north ,side of the ,church #eb ,x4 7#a7 ,the ,cistern beside the ,church4 7#b7 ,another ,view of the same #ed ,,the ,,church ,,of ,,ss4 ,,sergius ,,and ,,bacchus ,,xi4 ,the ,interior of the ,church1 looking north-west #fb ,,xii4 7#a7 ,a ,capital in the ,church4 7#b7 ,a ,capital in the ,narthex of ,s4 ,john of the ,studion #ff ,,xiii4 7#a7 ,the ,church from the south-east4 7#b7 ,view in the ,gallery over the ,narthex #gj ,,xiv4 7#a7 ,the ,interior of the ,church1 looking north-east4 7#b7 ,portion of the ,entablature in the ,church #gd ,,xv4 ,the ,baptistery of the ,church of ,s4 ,sophia4 7#a7 ,the ,exterior from the north-east4 7#b7 ,the ,interior of the ,dome1 showing ,continuous ,pendentives #gf ,,the ,,church ,,of ,s4 ,,irene ,,xvi4 ,the ,church from the south-east #hd ,,xvii4 7#a7 ,the ,south ,side4 7#b7 ,the ,north ,side #hf ,,xviii4 ,the ,interior1 looking east #ij ,,xix4 7#a7 ,vaulting at the north-western ,corner of the ,atrium4 7#b7 ,the ,northern ,arch of the ,main ,dome1 seen from the ,south ,gallery #ib ,,xx4 7#a7 ,mosaic in the ,soffit of an ,arch4 7#b7 ,portion of the ,mosaic ,inscription on the ,outer ,arch of the ,apse #if ,,xxi4 7#a7 ,the ,interior1 looking west4 7#b7 ,the ,door at the ,east ,end of the ,north ,aisle #ih ,,xxii4 7#a7 ,vaulting over the ,south ,aisle4 7#b7 ,a ,compartment of ,vaulting in ,south ,aisle1 looking up #ajj ,,xxiii4 7#a7 ,a ,capital in the ,south ,arcade4 7#b7 ,base of a ,column in the ,south ,aisle #ajb ,,the ,,church ,,of ,s4 ,,andrew ,,in ,,krisei ,,xxiv4 ,the ,east ,end of the ,church #ajf ,,xxv4 7#a7 ,the ,church from the south-west4 7#b7 ,the ,interior1 looking south #ajh ,,xxvi4 7#a7 ,a ,capital in the ,inner ,narthex4 7#b7 ,a ,capital in the ,arcade under the ,west ,dome ,arch #aaj ,,xxvii4 7#a7 ,a ,capital in the ,outer ,narthex4 7#b7 ,a ,capital in the ,outer ,narthex #aab ,,xxviii4 7#a7 ,view in the ,outer ,narthex4 7#b7 ,view in the ,inner ,narthex1 looking south #aad ,,xxix4 7#a7 ,view in the ,cloister4 7#b7 ,view in the ,courtyard #aaf ,,xxx4 7#a1 #b1 #c7 ,three ,views of the ,decorated ,doorway in the ,cloister #aah ,,the ,,church ,,of ,s4 ,,mary ,,panachrantos ,,xxxi4 7#a7 ,vault of the ,passage on the ,west of the ,dome in the ,south ,church4 7#b7 ,the ,interior of the ,north ,church1 looking north #abb ,,xxxii4 7#a7 ,the ,north ,church1 looking east4 7#b7 ,the ,north ,church1 looking west #abf ,,xxxiii4 7#a7 ,the ,diaconicon1 looking east4 7#b7 ,the ,western ,dome ,arch in the ,south ,church #abh ,,xxxiv4 7#a7 ,the ,east ,window of the ,south ,church4 7#b7 ,the ,outer ,narthex1 looking south #acj ,,xxxv4 7#a7 ,the ,east ,end of the ,south ,church4 7#b7 ,the ,east ,end of the ,north ,church #acb ,,church ,,of ,s4 ,,mary ,,pammakaristos ,,xxxvi4 7#a7 ,the ,church from the south-east4 7#b7 ,the ,church from the west #ach ,,xxxvii4 7#a7 ,the ,inner ,narthex1 looking south4 7#b7 ,the ,dome1 looking west #adb ,,xxxviii4 ,the ,parecclesion from the south-east #add ,,xxxix4 7#a7 ,the ,east ,end of the ,parecclesion4 7#b7 ,the ,west ,column in the ,parecclesion #adh ,,xl4 7#a7 ,the ,east ,column in the ,parecclesion4 7#b7 ,the ,column flanking the ,east ,window in the ,apse of the ,parecclesion4 7#c7 ,the ,west ,column in the ,parecclesion #aej ,,xli4 7#a7 ,interior ,view of the ,dome in the ,parecclesion4 7#b7 ,mosaic in the ,dome of the ,parecclesion #aed ,,xlii4 ,south ,side of the ,parecclesion #aef ,,church ,,of ,s4 ,,theodosia ,,xliii4 7#a7 ,the ,east ,end of the ,church4 7#b7 ,the ,church from the south-east #afd ,,xliv4 7#a7 ,the ,interior1 looking north-east4 7#b7 ,the ,eastern ,dome ,arch #afh ,,xlv4 7#a7 ,the ,dome over the ,stairway to the ,galleries4 7#b7 ,the ,narthex1 looking north1 and the ,stairway to the ,galleries #agb ,,church ,,of ,s4 ,,mary ,,diaconissa ,,xlvi4 7#a7 ,the ,north-west ,side1 seen from the ,aqueduct of ,valens4 7#b7 ,the ,north ,arm1 looking east #ahb ,,xlvii4 7#a7 ,the ,interior1 looking north-east4 7#b7 ,the ,interior1 looking south-east #ahd ,,xlviii4 7#a7 ,the ,lower ,part of the ,north ,side of the ,east ,end4 7#b7 ,the ,upper ,part of the ,north ,side of the ,east ,end #ahf ,,xlix4 7#a7 ,south ,eikon ,frame4 7#b7 ,detail in the ,south ,eikon ,frame #ahh ,l4 7#a7 ,the ,interior1 looking west4 7#b7 ,a ,capital on the ,column at the ,entrance to the ,church #aij ,,church ,,of ,,ss4 ,,peter ,,and ,,mark ,,li4 7#a7 ,the ,church from the south-east4 7#b7 ,font outside the ,church #aib ,,lii4 7#a7 ,the ,dome1 looking north4 7#b7 ,looking across the ,dome1 from the south-west #aid ,,church ,,of ,,the ,,myrelaion ,,liii4 7#a7 ,the ,south ,side of the ,church4 7#b7 ,the ,narthex1 looking north #aif ,,liv4 7#a7 ,the ,interior1 looking east4 7#b7 ,the south-west ,angle of the ,cross #aih ,,lv4 7#a7 ,s4 ,john in ,trullo from the south-west4 7#b7 ,the ,interior of ,balaban ,mesjedi #bjb ,,lvi4 ,the ,church of ,s4 ,thekla4 7#a7 ,from the north-west4 7#b7 ,the ,east ,end #bjh ,,the ,,church ,,of ,s4 ,,saviour ,,pantepoptes ,,lvii4 7#a7 ,door leading from the ,outer to the ,inner ,narthex4 7#b7 ,the ,dome1 looking west #bab ,,lviii4 7#a7 ,decoration in ,brick on the ,exterior of the ,south ,wall4 7#b7 ,bracket in the ,parecclesion of ,s4 ,mary ,pammakaristos #bad ,,church ,,of ,s4 ,,saviour ,,pantokrator ,,lix4 ,the ,church from the west #bbj ,,lx4 7#a7 ,the ,church from the north-west4 7#b7 ,fragments of ,sculptured ,marbles found in the ,church #bbb ,,lxi4 7#a7 ,interior of the ,south ,church1 looking east4 7#b7 ,the ,southern ,arm of the ,church #bbd ,,lxii4 7#a7 ,entrance from the ,narthex to the ,south ,church4 7#b7 ,interior1 looking from the ,south ,church through into the ,north ,church #bbf ,,lxiii4 7#a7 ,the ,gallery in the ,north ,church1 looking south4 7#b7 ,interior of the ,north ,church1 looking east #bbh ,,lxiv4 7#a7 ,arch in the ,north ,wall of the ,south ,church1 seen from the ,south ,church1 looking north4 7#b7 ,arch in the ,north ,wall of the ,south ,church1 seen from the ,central ,church1 looking south #bcj ,,lxv4 7#a7 ,narthex of the ,north ,church1 looking north4 7#b7 ,outer ,narthex of the ,south ,church1 looking north #bcb ,,lxvi4 7#a7 ,south ,bay in the ,gallery of the ,south ,church4 7#b7 ,view in the ,north ,church1 looking south #bcd ,,lxvii4 7#a7 ,the ,pulpit in the ,south ,church4 7#b7 ,west ,side of the ,central ,bay in the ,gallery of the ,south ,church #bcf ,,lxviii4 7#a7 ,interior of the ,east ,dome in the ,central ,church4 7#b7 ,interior of the ,dome in the ,south ,church1 looking north #bch ,,lxix4 7#a7 ,the ,east ,end from the south4 7#b7 ,east ,window of the ,central ,church4 7#c7 ,the ,east ,end from the north #bdb ,,church ,,of ,s4 ,,theodore ,,lxx4 7#a7 ,the ,north ,end of the ,western ,faade4 7#b7 ,the ,church from the north-west #bdd ,,lxxi4 7#a7 ,the ,central ,dome from the south4 7#b7 ,the ,western ,faade from the south #bdf ,,lxxii4 7#a7 ,the ,south ,cross ,arm 7exterior7 from the south-east4 7#b7 ,the ,east ,end from the south #bdh ,,lxxiii4 7#a7 ,the ,capital on the ,southernmost ,column in the ,faade4 7#b7 ,capital in the ,faade #bej ,,lxxiv4 7#a7 ,the ,outer ,narthex1 looking north4 7#b7 ,capital on the ,north ,side of the ,door leading from the ,outer to the ,inner ,narthex #bed ,,lxxv4 7#a7 ,the ,interior1 looking east4 7#b7 ,the ,interior 7upper part71 looking east #bef ,,the ,,refectory ,,of ,,the ,,monastery ,,of ,,manuel ,,lxxvi4 7#a7 ,from the west4 7#b7 ,from the south-east #beh ,,lxxvii4 ,cistern of ,aetius #bfb ,,church ,,of ,,the ,,gastria ,,lxxviii4 7#a7 ,the ,church from the east4 7#b7 ,the ,entrance #bfh ,,lxxix4 7#a7 ,the ,church from the west4 7#b7 ,the ,interior #bgj ,,bogdan ,,serai ,,lxxx4 7#a7 ,the ,apse in the ,upper ,chapel4 7#b7 ,a ,pendentive of the ,dome4 7#c7 ,the ,chapel1 from the north-west #bhj ,,church ,,of ,s4 ,,saviour ,,in ,,the ,,chora ,,lxxxi4 7#a7 ,the ,church from the west4 7#b7 ,the ,church from the south-east #bhh ,,lxxxii4 7#a7 ,the ,church from the north-east4 7#b7 ,the ,north ,side of the ,church #bib ,,lxxxiii4 7#a7 ,the ,inner ,narthex1 looking south4 7#b7 ,another ,view of the same #bif ,,lxxxiv4 7#a7 ,a ,capital in the ,outer ,narthex4 7#b7 ,another ,capital in the ,outer ,narthex #cjj ,,lxxxv4 7#a7 ,the ,interior1 looking north-west4 7#b7 ,the ,outer ,narthex1 looking south #cjd ,,lxxxvi4 7#a7 ,the ,eikon ,frame on the ,south-eastern ,pier4 7#b7 ,the ,interior1 looking east #cjh ,,lxxxvii4 7#a7 ,the ,cornice above the ,main ,door 7on the ,interior74 7#b7 ,the ,archivolt on the ,north ,wall of the ,parecclesion4 7#c7 ,window ,heads in the ,central ,apse #caj ,,lxxxviii4 7#a7 ,the ,east ,end of the ,parecclesion4 7#b7 ,a ,capital at the ,entrance to the ,parecclesion #cad ,,lxxxix4 7#a7 ,the ,parecclesion1 looking south-east4 7#b7 ,the ,parecclesion1 looking west #caf ,,xc4 7#a7 ,mosaic representing the ,miracle of ,water turned into ,wine4 7#b7 ,mosaic representing ,mary caressed by her parents1 and blessed by priests seated at a banquet #cbb ,,xci4 7#a7 ,mosaic representing the ,registration of ,mary and ,joseph at ,bethlehem4 7#b7 ,mosaic representing ,theodore ,metochites offering the ,church to ,christ #cbf ,,xcii4 ,the ,archivolt on the ,south ,wall of the ,parecclesion1 with the ,epitaph in honour of ,tornikes #ccj ,,chapter ,i ,,byzantine ,,architecture ,i4 ,,planning ,at the beginning of the fifth century1 which is a suitable point from which to date the rise of ,byzantine architecture1 three principal types of church plan prevailed in the ,roman world3-- ,i4 ,the ,basilica3 an oblong hall divided into nave and aisles1 and roofed in wood1 as in the ,italian and ,salonican examples1 or with stone barrel-vaults1 as in ,asia ,minor and ,central ,syria4 ,,ii4 ,the ,octagonal or ,circular plan covered with a stone or brick dome1 a type which may be subdivided according as 7#a7 the dome rests upon the outer walls of the building1 or 7#b7 on columns or piers surrounded by an ambulatory4 ,the ,pantheon and the so-called ,temple of ,minerva ,medica at ,rome are early examples of the first variety1 the first circular1 the second a decagon in plan4 ,s4 ,george at ,salonica is a later circular example4 ,an early instance of the second variety is found in ,s4 ,constanza at ,rome1 and a considerable number of similar churches occur in ,asia ,minor1 dating from the time of ,constantine the ,great or a little later4 ,,iii4 ,the ,cross plan4 ,here we have a square central area covered by a dome1 from which extend four vaulted arms constituting a cross4 ,this type also assumes two distinct forms3 7#a7 ,buildings in which the ground plan is cruciform1 so that the cross shows externally at the ground level4 ,churches of this class are usually small1 and were probably sepulchral chapels rather than churches for public worship4 ,a good example is the tomb of ,galla ,placidia at ,ravenna4 7#b7 ,in the second form of the ,cross church the cross is enclosed within a square1 and appears only above the roofs of the angle chambers4 ,an example is seen in the late ,roman tomb at ,kusr en ,neijs in ,eastern ,palestine4 ,in this instance the central square area is covered with a dome on continuous pendentives2 the four arms have barrel-vaults1 and the angles of the cross are occupied by small chambers1 which bring the ground-plan to the square4 ,the building is assigned to the second century1 and shows that true though continuous pendentives were known at an early date#aj 7,fig4 #h74 ,another example is the ,praetorium at ,musmiyeh1 in ,syria1#aa which probably dates from between #afj and #afi ,a4,d4 ,at some later time it was altered to a church1 and by a curious foreshadowing of the late ,byzantine plan the walls of the internal cross have entirely disappeared from the ground-plan4 ,the dome rests on four columns placed at the inner angles of the cross1 and the vaulted cross arms rest on lintels spanning the space between the columns and the outer walls4 ,from these three types of building are derived the various schemes on which the churches of the ,byzantine ,empire were planned4 ,of the basilican form the only example in ,constantinople that retains its original plan is ,s4 ,john the ,baptist of the ,studion 7p4 #ef71 erected c4 #dfc ,a4,d4 ,the church of ,,ss4 ,sergius and ,bacchus 7p4 #gj7 and the baptistery of ,s4 ,sophia 7p4 #gh7 represent respectively the two varieties of the octagonal plan4 ,in the former the dome rests on piers surrounded by an ambulatory2 in the latter the dome rests upon the outer walls of the buildings4 ,both are foundations of ,justinian the ,great4 ,of the ,cross church plan showing the cross externally at the ground level no example survives in the city4 ,but at least one church of that form was seen at ,constantinople in the case of the church of the ,holy ,apostles4 ,this was essentially a mausoleum1 built originally by ,constantine the ,great and reconstructed by ,justinian to contain the sarcophagi of the sovereigns and the patriarchs of ,new ,rome4#ab ,the church of ,s4 ,mark at ,venice was built on the plan of the ,holy ,apostles4 ,it is a cruciform church with aisles1 but the galleries which might have been expected above them are omitted4 ,the central dome rests on four piers1 and four smaller domes cover the arms4 ,professor ,strzygowski gives examples of cross-planned cells in the catacombs of ,palmyra1#ac and in many ,eastern rock tombs4#ad ,such cross plans are found also in the ,roman catacombs4 ,these subterranean chapels1 of course1 do not show the external treatment1 yet there can be little doubt that the external cross plan was originally sepulchral1 and owes its peculiar system of planning to that fact4 ,on the other hand1 it was adopted in such churches as ,s4 ,mark's at ,venice and in the ,french examples of ,prigord for aesthetic or traditional reasons4 ,in passing now to a consideration of the distinct forms developed from these pre-,byzantine types of church building1 the classification adopted by ,professor ,strzygowski may be followed4 ,in his ,kleinasien he has brought forward a series of buildings which show the manner in which a dome was fitted to the oblong basilica1 producing the domed basilica 7,kuppelbasilica71 an evolution which he regards as ,hellenistic and ,eastern4 ,in contrast to this1 ,strzygowski distinguishes the domed cross church 7,kreuzkuppelkirche71 of which ,s4 ,theodosia in ,constantinople 7p4 #agj7 is the typical example and which is a ,western development4 ,a comparison of the two forms is of great importance for the study of certain ,constantinople churches4 ,illustration3 ,,fig4 #a4--,,kasr ,,ibn ,,wardan 7,strzygowski74 ,the domed basilica1 as the name indicates1 is a basilica with nave and aisles1 in which a square bay in the centre of the nave is covered by a dome on pendentives4 ,to north and south1 within the arches supporting the dome1 appear the nave and gallery arcades of the basilica2 and as the galleried basilica is a usual ,eastern form galleries are usual in the domed basilica4 ,as seen from the central area1 therefore1 the north and south dome arches are filled in with arcades in two stories1 and the side aisles and galleries are covered with barrel vaults running parallel to the axis of the church4 ,at the west end a gallery over the narthex may unite the two side galleries4 ,at ,kasr ibn ,wardan1 instanced by ,strzygowski as a typical domed basilica1#ae there is such a western gallery 7,fig4 #a74 ,according to ,strzygowski the domed basilica is older than the fifth century4 ,the domed basilica remains always an oblong building1 and whilst the two sides to north and south are symmetrical1 the western end retains the basilican characteristics--it has no gallery or arcade communicating with the central area4 ,the narthex communicates with the nave by doors1 and if a gallery is placed above it1 both narthex and gallery are covered by barrel vaults4 ,in the domed cross church 7,kreutzkppelkirche7 the central dome rests on barrel vaults which extend to the outer walls of the building and form the arms of the cross1 the eastern arm forming the bema4 ,the lighting of the church is by windows in the gable walls which terminate the north1 south1 and west cross arms4 ,the prothesis and diaconicon open off the side arms1 and two small chambers in the western angles of the cross bring the plan externally to the usual rectangular form4 ,the domed cross church may have galleries1 as in ,s4 ,theodosia 7p4 #agj71 or may be without them1 as in ,,ss4 ,peter and ,mark 7p4 #aic74 ,where galleries are present they are placed in the cross arms and are supported by arcades at the ground level4 ,the vaults beneath the galleries are cross-groined4 ,the domed cross church is a centrally planned church1 in contrast to the domed basilica1 which is oblong1 and therefore we should expect that where galleries are used they will be formed in all three arms of the cross1 as is the case in ,s4 ,theodosia4 ,there are a number of churches which vary from these types1 but which can generally be placed in one class or the other by the consideration of two main characteristics3 if the dome arches extend to the outer walls the building is a domed cross church2 if the galleries are screened off from the central area by arcades the building is a domed basilica4 ,the church at ,der ,aghsy1#af for instance1 if we had only the plan to guide us1 would appear to be a typical domed basilica 7,fig4 #b71 but on examining the section we find that the north and south dome arches extend over the galleries to the outer walls and form cross arms 7,fig4 #c74 ,the building is1 in fact1 a domed cross church with no gallery in the western arm4 ,above the narthex at the west end1 and separated from the western cross arm1 is a gallery of the type usual in the domed basilica1 so that ,der ,aghsy may be regarded as a domed cross church with features derived from the domed basilica4 ,s4 ,sophia at ,constantinople1 the highest development of the domed basilica1 has a very similar western gallery4 ,illustration3 ,,fig4 #b4--;,,der ,,aghsy 7,rott74 ,the church of ,s4 ,nicholas at ,myra#ag 7,fig4 #d7 has a gallery at the west end1 but the cross arms do not appear to be carried over the galleries4 ,the plan is oblong and the cross-groined vault is not used4 ,the church1 therefore1 takes its place as a domed basilica4 ,illustration3 ,,fig4 #c4--;,,der ,,aghsy--,,section 7,rott74 ,the church of the ,koimesis at ,nicaea#ah 7,figs4 #e and #f7 has no galleries to the sides4 ,the aisles open into the central area by arcades1 above which are triple windows over the aisle vaults4 ,at the western end is a gallery above the narthex4 ,the aisles are barrel-vaulted1 and as the church is planned on an axis from east to west1 and is not symmetrical on all three sides1 it is regarded as a domed basilica4 ,it is such a form as might be developed from a basilica without galleries4 ,illustration3 ,,fig4 #d4--,s4 ,,nicholas1 ,,myra 7,rott74 ,in ,constantinople there are three churches which seem to constitute a type apart1 though resembling in many ways the types just considered4 ,they are ,s4 ,andrew in ,krisei1 7p4 #aag71 ,s4 ,mary ,pammakaristos 7p4 #aej71 and ,s4 ,mary ,panachrantos 7p4 #acj74 ,in these churches1 as originally built1 the central dome is carried on four arches which rise above a one-storied aisle or ambulatory1 allowing of windows in the dome arches on three sides--the eastern dome arch being prolonged to form the bema4 ,the dome arches have arcades communicating with the ambulatory on the north1 south1 and west4 ,the vaulting is executed either with barrel or with cross-groined vaults4 ,these churches are evidently planned from a centre1 not1 like the domed basilicas1 from a longitudinal axis4 ,at the same time the absence of any cross arms differentiates them from the domed cross churches4 ,s4 ,andrew1 which still retains its western arcade1 dates from at least the sixth century1 so that the type was in use during the great period of ,byzantine architecture4 ,indeed1 we should be inclined to regard ,s4 ,andrew as a square form of ,,ss4 ,sergius and ,bacchus1 but without galleries4 ,the type is a natural development from the octagonal domed church with its surrounding ambulatory4 ,illustration3 ,,fig4 #e4--,,the ,,church ,,of ,,the ,,koimesis1 ,,nicaea 7,wulf74 ,the typical late ,byzantine church is a development from the domed cross plan4 ,in three examples in ,constantinople1 ,s4 ,theodosia 7pp4 #agj1 #agb71 ,s4 ,mary ,diaconissa 7p4 #ahe71 and ,,ss4 ,peter and ,mark 7p4 #aic71 we can trace the gradual disappearance of the galleries4 ,s4 ,theodosia1 as has already been mentioned1 has galleries in all three cross arms4 ,in ,s4 ,mary ,diaconissa they are confined to the four angles between the cross arms2 ,,ss4 ,peter and ,mark is a simple cross plan without galleries4 ,in later times it became customary to build many small churches1 with the result that the chambers at the angles of the cross1 of little account even in a large church1 were now too diminutive to be of any value1 and the question how to provide as much room as possible for the worshippers became paramount4 ,accordingly the dome piers were reduced to mere columns connected with the outer walls of the building by arches2 and thus was produced the typical late ,byzantine plan--at the ground level a square1 enclosing four columns2 above1 a ,greek cross with a dome on the centre4 ,illustration3 ,,fig4 #f4--,,the ,,church ,,of ,,the ,,koimesis1 ,,nicaea 7,rott74 ,from its distinguishing feature this type has been styled the 'four column' plan4 ,it appears in many ,constantinopolitan churches1 as1 for example1 ,s4 ,theodore 7p4 #bdh7 and ,s4 ,saviour ,pantepoptes 7p4 #bad74 ,the cross arms are not always equal1 and may be covered with barrel vaults 7p4 #bad7 or with cross-groined vaults 7p4 #aih74 ,the bema is usually a bay added to the eastern arm4 ,the angle chambers have either cross-groined vaults or flat dome vaults4 ,in general the churches of this type in ,constantinople do not differ from the numerous churches of the same class in the provinces4#ai ,a lobed cruciform plan is found in only one church in ,constantinople1 that of ,s4 ,mary of the ,mongols 7p4 #bgg74 ,here the central dome is supported on four piers set across the angles of the square1 so that the pendentives do not come to a point as usual1 but spring from the face of the piers4 ,against each side of the square a semi-dome is set1 thus producing a quatrefoil plan at the vaulting level4 ,both trefoiled and quatrefoiled churches are not uncommon in ,armenia1 such as the cathedral at ,etschmiadzin2#bj trefoiled churches of a later date are found in the western provinces1 and examples have been published from ,servia1#ba ,salonica1#bb and ,greece4#bc ,an unusual form of the cross plan is seen in the building known as ,sanjakdar ,mesjedi 7p4 #bfg71 where a cross is placed within an octagon4 ,probably the building was not originally a church4 ,it resembles the octagon near the ,pantokrator 7p4 #bgj71 and may1 like it1 have been a library4 ,single ,hall ,churches4--,the plans hitherto considered have all been characterised by the presence of aisles1 galleries1 or other spaces adjoining the central area4 ,the churches of the present class consist simply of an oblong hall1 terminating in an apse1 and either roofed in wood1 or covered with domes placed longitudinally1 and resting to north and south on wall arches4 ,examples of this plan are found in ,monastir ,mesjedi 7p4 #bfd71 ,s4 ,thekla 7p4 #baa71 ,bogdan ,serai 7p4 #bhd71 and in the memorial chapels attached to the ,pantokrator 7p4 #bce71 and the ,chora 7p4 #cji74 ,in the case of these two memorial chapels1 their narrow1 long-stretched plan is evidently due to the desire to keep their eastern apses in line with the east end of the churches they adjoin1 and at the same time to bring the western end to the narthex from which they were entered4 ,they are covered with two domes1 a system perhaps derived from ,s4 ,irene 7p4 #id74 ,kefel ,mesjedi 7p4 #beg71 which at first sight resembles a single hall church roofed1 in wood1 was a refectory4 ,its plan may be compared with that of the refectory at the monastery of ,s4 ,luke at ,stiris4#bd ,,ii4 ,,architectural ,,features ,,and ,,details ,apses4--,a fully developed ,byzantine church terminated in three apses3 a large apse1 with the bema or presbytery1 in the centre2 on the right1 the apse of the prothesis where the sacrament was prepared2 on the left1 the apse of the diaconicon1 where the sacred vessels were kept4 ,although there is proof that the prothesis and the diaconicon were in use at a very early period1 yet many churches of the great period1 as for example ,s4 ,john of the ,studion1 ,,ss4 ,sergius and ,bacchus1 and ,s4 ,sophia1 dispensed with these chambers as distinct parts of the building4 ,they were also omitted in small churches of a late date1 where they were replaced by niches on either side of the bema4 ,the three apses usually project from the east wall of the church1 but occasionally 7p4 #bdh7 the two lateral apses are sunk in the wall1 and only the central apse shows on the exterior4 ,as a rule the apses are circular within and polygonal without4 ,it is rare to find them circular on both the interior and the exterior 7p4 #bjc71 and in ,greece such a feature is generally an indication of late date4 ,an octagonal plan1 in which three sides of the octagon appear1 sometimes with short returns to the wall1 is the most common2 but in later churches polygons of more sides are used1 especially for the central apse1 and these are often very irregularly set out4 ,some of the churches of ,constantinople show five1 and even seven sides4 ,bema4--,the bema is rectangular1 and sometimes has concave niches on each side 7p4 #acj74 ,it is covered either with a barrel or with a cross-groined vault1 and communicates with the prothesis and the diaconicon4 ,prothesis and ,diaconicon4--,these chambers are either square 7p4 #bad7 or have a long limb to the east resembling a miniature bema 7p4 #bad74 ,they are lower than the central apse and the cross arms1 so that the cruciform figure of the church shows clearly above them on the exterior1#be though in some churches with galleries small chapels overlooking the bema are placed above them at the gallery level 7,s4 ,theodosia74 ,they have usually a niche on three sides1 and are either dome vaulted or have cross-groined vaults4 ,the combination of a cross-groined vault with four niches springing from the vaulting level is particularly effective4 ,in ,s4 ,saviour in the ,chora 7p4 #cjg7 these chambers are covered with drum domes1 pierced with windows1 but this treatment is quite exceptional4 ,the ,gynecaeum4--,in the development of church building1 the gynecaeum1 or gallery for women1 tends to become less and less important4 ,in ,s4 ,sophia1 ,s4 ,irene1 and ,s4 ,theodosia1 the gallery is a part of the structure4 ,in ,s4 ,mary ,diaconissa 7p4 #ahe7 it is reduced to four boxes at the angles of the cross1 while in ,s4 ,mary ,pammakaristos and ,,ss4 ,peter and ,mark it is absent 7pp4 #adi1 #aic74 ,but though no longer a structural part of the church1 a gynecaeum appears over the narthex in the latest type of church 7p4 #bae74 ,it is generally vaulted in three bays1 corresponding to the three bays of the narthex below1 and opens by three arches into the centre cross arm of the church and into the aisles4 ,the ,narthex4--,unlike the gynecaeum1 the narthex tends in later times to become of greater importance1 and to add a narthex was a favourite method of increasing the size of a church4 ,in basilican churches1 like ,s4 ,john of the ,studion1 the narthex was a long hall in three bays annexed to the west side of the building1 and formed the east side of the atrium4 ,in domed cross churches with galleries the passage under the western gallery was used as a narthex1 being cut off from the central area by the screen arcade which supported the gallery4 ,such a narthex has been styled a 'structural narthex1' as forming an essential part of the central building4 ,it occurs in several of the churches of the city 7p4 #aad74 ,in domed cross churches without galleries1 and in churches of the 'four column' type1 neither narthex nor gallery was possible within the cross1 and accordingly the narthex was added to the west end4 ,it is usually in three bays and opens into the aisles and central area4 ,frequently the ends of the narthex terminate in shallow niches 7p4 #aih74 ,in many churches a second narthex was added 7p4 #aff7 to the first1 sometimes projecting an additional bay at each end1 and communicating with halls or chapels on the north or south1 or on both sides of the church 7p4 #abh74 ,s4 ,mark's at ,venice presents a fine example of such an extension of the narthex4 ,when a church could not be sufficiently enlarged by additional narthexes1 a second church was built alongside the first1 and both churches were joined by a narthex which extended along the front of the two buildings4 ,s4 ,mary ,panachrantos 7p4 #abh7 is a good example of how a church could be thus enlarged from a simple square building into a maze of passages and domes4 ,the ,interior4--,the natural division1 in height1 of an early church1 whether basilican or domical1 was into three stories--the ground level1 the gallery level1 and the clearstory or vault level4 ,in the ,west these structural divisions were developed into the triple composition of nave-arcade1 triforium1 and clearstory4 ,in the ,east1 in conjunction with the dome1 these divisions survive in many examples of the later period4 ,still1 ,byzantine architecture was more concerned with spaces than with lines4 ,large surfaces for marble1 painting1 or mosaic were of prime importance1 and with the disappearance of the gallery the string-course marking the level of the gallery also tended to disappear4 ,in churches with galleries1 like ,s4 ,theodosia 7p4 #agj7 and ,s4 ,mary ,diaconissa 7p4 #ahe71 the string-courses fulfil their function1 the first marking the gallery level1 the second the springing of the vault4 ,in ,,ss4 ,peter and ,mark 7p4 #aic71 which has no gallery1 there is only one string-course1 corresponding in level to the original gallery string-course2 accordingly the main arches are highly stilted above it4 ,the absence of the second string-course is a faulty development1 for a string-course at the vault level would be a functional member1 whereas at the gallery level it is meaningless4 ,in the ,panachrantos 7p4 #acj71 as well as in other churches without a gallery1 the gallery string-course is omitted by a more logical development1 and the string-course at the springing of the vault is retained4 ,openings which do not cut into the vault are then frankly arched1 without impost moulding of any kind4 ,simple vaulted halls1 narthexes1 and passages have usually a string-course at the vaulting level1 broken round shallow pilasters as at the ,chora1 ,s4 ,theodosia1 and the ,myrelaion4 ,sometimes the string-courses or the pilasters or both are omitted1 and their places are respectively taken by horizontal and vertical bands4 ,decorative pilasters flush with the wall are employed in the marble incrustation of ,s4 ,sophia4 ,in churches of the 'four column' type the full triple division is common but with a change in purpose4 ,a gallery in a church of this character is not possible1 for the piers between which the gallery was placed have dwindled into single shafts4 ,hence the first string-course ceases to mark a gallery level and becomes the abacus level of the dome columns1 as in the north and in the south churches of the ,pantokrator4 ,it is then carried round the building1 and forms the impost moulding of the side arches in the bema and of the east window4 ,sometimes1 however1 it does not extend round the bema and apse but is confined to the central part of the church1 as in the ,myrelaion1 ,s4 ,theodore1 and the ,pantepoptes4 ,on the other hand1 in at least one case1 the parecclesion of the ,pammakaristos1 the central part of the chapel is designed in the usual three tiers1 but the apse and bema vaults spring from the lower or abacus string-course1 leaving a lunette in the dome arch above pierced by a large window4 ,a corresponding lunette at the west end opens into the gynecaeum of the chapel4 ,in ,s4 ,john in ,trullo the two string-courses coalesce and the arches connecting the columns with the walls cut into the stilted part of the dome arches1 with the result that all the structural arches and vaults spring from the same level4 ,illustration3 ,,fig4 #g4 7,map of ,,byzantine ,,constantinople7 ,arches4--,though the pointed arch was known and employed in cisterns1 as in the ,cistern of the ,one ,thousand and ,one ,columns1 ,bin-bir-derek1 the circular arch is invariably found in work meant to be seen4 ,the difficulty attending this form1 in which arches of unequal breadth do not rise to the same height1 was overcome1 as in the ,west1 by stilting1 that is1 by raising the smaller arches on straight 'legs' to the required height4 ,the stilted arch1 indeed1 seems to have been admired for its own sake1 as we find it used almost universally both in vaulting and in decorative arches even where it was not structurally required4 ,in windows and in the arches connecting the dome columns to the wall stilting is sometimes carried to extremes4 ,domes4--,the eastern dome of ,s4 ,irene1 erected about #gdj ,a4,d41 is generally considered to be the first example of a dome built on a high drum1 though ,s4 ,sophia of ,salonica1 an earlier structure1 has a low imperfect drum4 ,after this date the characteristics of the ,byzantine dome are the high drum divided by ribs or hollow segments on the interior1 polygonal on the exterior1 and crowned by a cornice which is arched over the windows4#bf ,drumless domes are sometimes found in the later churches1 as in the narthexes of the ,panachrantos and ,s4 ,andrew1 the angle domes of ,s4 ,theodosia1 and in ,bogdan ,serai4 ,these are ribless hemispherical domes of the type shown in ,fig4 #h1 and are in all cases without windows4 ,the earlier system of piercing windows through the dome does not occur in the later churches1 though characteristic of ,turkish work4 ,the three diagrams 7,figs4 #h1 #i1 and #aj7 illustrate the development of the dome3 firstly1 the low saucer dome or dome-vault in which dome and pendentives are part of the same spherical surface2 secondly1 the hemispherical dome on pendentives2 and thirdly1 the hemispherical dome with a drum interposed between it and the pendentives4 ,illustration3 ,,fig4 #h4--,,the ,,saucer ,,dome ,,or ,,dome-,,vault4 ,flat external cornices on the dome are not uncommon in the later churches of ,byzantine ,greece1 as in ,s4 ,sophia at ,monemvasia4#bg ,in ,constantinople only one dome with a flat cornice can be regarded as original1 that of ,s4 ,john in ,trullo1 a church which is exceptional also in other respects4 ,the many other domes in the churches of ,constantinople on high drums and with flat cornices are ,turkish either in whole or in part4 ,the high ribless domes of the ,panachrantos1 for instance1 circular in plan within and without1 with square-headed windows1 plain stone sill1 and flat cornice in moulded plaster1 may be regarded as typical ,turkish drum-domes4 ,as will appear in the sequel1 the dome over the north church of the ,pantokrator and the domes of ,,ss4 ,peter and ,mark1 the ,diaconissa1 and ,s4 ,theodosia1 are also ,turkish4 ,illustration3 ,,fig4 #i4--,,the ,,dome ,,on ,,pendentives4 ,it is most unfortunate that the domes of these three domed cross churches have been altered1 especially as the domes of ,s4 ,mary ,diaconissa and ,s4 ,theodosia are larger than any of the later domes except the large oval dome on the central church of the ,pantokrator which is almost of the same size4 ,it is therefore now difficult to say what was the precise form of the original domes4 ,most probably they were polygonal drum-domes1 and their collapse owing to their size may well have led to the small drum-domes of later times4 ,though not strictly ,byzantine these ,turkish domes are of interest as showing the development of ,byzantine forms under ,turkish rule1 and that reversion to the earlier drumless dome which is so marked a feature of the imperial mosques of the city4 ,illustration3 ,,fig4 #aj4--,,the ,,drum ,,dome4 ,domes are either eight1 twelve1 or sixteen sided1 and usually have a window in each side4 ,these numbers arise naturally from setting a window at each of the cardinal points and then placing one1 two1 or three windows between1 according to the size of the dome4 ,internally the compartments are separated by broad1 flat ribs1 or are concave and form a series of ridges on the dome which die out towards the crown4 ,in sixteen-sided domes of the latter type the alternate sides sometimes correspond to the piers outside1 so that the dome which has sixteen sides within shows only eight sides without1 as in the narthex of ,s4 ,theodore 7p4 #bdf74 ,the octagonal dome of the ,myrelaion 7p4 #aih7 seems to have had only four windows from the beginning4 ,the ribs of a ,byzantine dome are not constructive in the same way as are the ribs of a ,gothic vault4 ,they were built along with the rest of the dome and of the same material1 and are in no way separate from the infilling1 though they no doubt strengthened the shell of the dome by their form#bh4 ,on the outside a circular shaft with a very simple cap is often placed at the angles of the piers1 and from these shafts the brick cornice springs in a series of arches over the windows4 ,sometimes the angle is formed by a point between two half-shafts1 as in the domes of the narthex in ,s4 ,theodore 7p4 #bdf74 ,external ,treatment4--,in the older churches the exterior seems to have been left in simple masses of brickwork1 impressive only by their size and proportion4 ,probably even this effect was not considered of great importance4 ,in later times a very beautiful system of decoration with slender shallow niches was introduced and was applied in particular to the east end and to the apses4 ,the finest examples of this system on a large scale are seen at the ,pantokrator 7p4 #bce7 and ,s4 ,theodosia 7p4 #agc74 ,carefully considered or elaborate external compositions are rare1 and the only examples in ,constantinople are the side chapel of the ,pammakaristos 7p4 #aed7 and the narthex of ,s4 ,theodore 7p4 #bdf74 ,external ,marble and ,mosaic4--,marble and mosaic1 we have reason to know1 were occasionally used on the exterior of churches1#bi though no fragments remain4 ,on the south side of the ,pantepoptes 7p4 #baf7 the string-course does not correspond to the line of the walls1 but projects in a manner which shows that marble must have been employed to line the large windows4 ,a similar projection of the string-course or cornice is not uncommon elsewhere1 though not so evident as in the ,pantepoptes1 and may have been made to receive a marble or mosaic lining4 ,doors and ,windows4--,it is a primary rule in ,byzantine architecture that all constructive openings are arched4 ,whatever may be the eventual form of a door or window the opening is first built in brick with a semicircular head1 and into this opening the marble jambs and lining are fitted leaving a semicircular lunette above4 ,doors are square-headed1 with heavily moulded architraves and cornice1 and the lintel is mitred into the jambs instead of having the more constructive horizontal joint used in the ,west4 ,the doors made of wood or of wood lined with bronze1 swing on top and bottom pivots which turned in bronze-lined sockets in lintel and threshold4 ,they closed with a rebate in the jambs and against the raised threshold4 ,windows were sometimes filled in a similar manner1 as in the palace of the ,porphyrogenitus and in the north gallery of ,s4 ,saviour in the ,chora 7,fig4 #ajj74 ,in the latter double windows or shutters were employed1 opening inwards in the same way as did the doors4 ,these shutters may perhaps be regarded as domestic1 for in the churches1 as is still seen in ,s4 ,sophia though the arrangement has vanished elsewhere1 the entire arched opening was usually filled in with a pierced marble grille4 ,in addition to the simple round-headed windows double and triple windows are found4 ,double windows were naturally formed by dividing the single arch by a central pier4 ,this method presented two varieties3 either the pier was continued up to the containing arch1 thus giving two pointed lights1 or the two lights were covered by separate arches within the main arch4 ,both methods are used in the narthex of ,s4 ,theodore 7p4 #bdg74 ,another variety was produced by placing two single lights together1 with a shaft between them instead of the central pier4 ,but as double windows are not very satisfactory1 triple windows are more common4 ,in this case both the methods just described of forming the windows were adopted4 ,a large semicircular opening divided by two piers will give an arched light between two pointed lights1 or three arched lights1 as in the narthex of ,s4 ,theodore4 ,in the former case1 if shafts are substituted for the piers1 a little adjustment will produce the beautiful form found in the side-chapels of the ,pammakaristos 7p4 #aeb71 and of ,s4 ,saviour in the ,chora 7p4 #caj71 where the two side lights are covered by half-arches whose crowns abut on the capitals of the shafts1 while between and above them rises the semicircular head of the central light4 ,the method of grouping three arched windows of the same height is adopted in apse windows1 each of them occupying one side of the exterior4 ,as the deep1 narrow mullions are set radiating1 the arch is narrower inside than outside4 ,but this difficulty was overcome1 partly by lowering the inner crowns1 so that the arch is conical1 partly by winding the surface4 ,in the ,pantokrator 7p4 #bch71 instead of radiating to the centre of the apse1 the side and mullions are placed parallel to the axis of the church1 thus obviating all difficulty4 ,generally the centre to which the mullions radiate is considerably beyond the apse1 so that any necessary little adjustment of the arch could easily be made4 ,triple windows supported on circular columns are not infrequent in the north and south cross arms4 ,sometimes the central light is larger than the lateral lights1 at other times1 as in the ,pantepoptes1 the three lights are equal4 ,the lower part of these windows was probably filled in with a breastwork of carved slabs1 as in ,s4 ,sophia1 while the upper part was filled by a pierced grille4 ,at present the existing examples of these windows have been built up to the abaci of the capitals1 but in the church of ,s4 ,mary ,diaconissa 7p4 #ahf7 the columns still show the original form on the inside4 ,vaulting4--,all ,byzantine churches of any importance are vaulted in brick4 ,the only exception to this rule in ,constantinople is the little church known as ,monastir ,mesjedi 7p4 #bfd74 ,the different systems of ,byzantine vaulting have been so fully treated by ,choisy and other authorities1 that in the absence of any large amount of new material it is not necessary to give here more than a few notes on the application of these systems in ,constantinople4 ,it should always be kept in view that1 as these vaults were constructed with the lightest of centering1 the surfaces and curves must have been largely determined by the mason as he built1 and would not necessarily follow any definite geometrical development4 ,il serait illusoire1 remarks ,choisy1 d'attribuer toutes les voutes byzantines un trace gomtrique rigoureusement dfini4#cj ,illustration3 ,,plate ,,ii4 7#a7 ,,the ,,myrelaion 7,,since ,,it ,,was ,,burned71 ,,from ,,the ,,north-,,west4 7#b7 ,,the ,,myrelaion 7,,since ,,it ,,was ,,burned71 ,,from ,,the ,,south-,,east4 7,by kind permission of ,h4 ,m4 ,dwight1 ,esq47 ,to face page #bj4 ,the vaults commonly found are the barrel vault1 the cross-groined vault1 and the dome-vault4 ,the first is frequently used over the cross arms and the bema1 and sometimes over the narthex in conjunction with the groined vault 7,diaconissa74 ,it is the simplest method of covering an oblong space1 but it does not easily admit of side windows above the springing4 ,a very beautiful form of cross-groined vault is found in ,s4 ,sophia and in ,,ss4 ,sergius and ,bacchus1 in which the crown is considerably domed1 and the groins1 accordingly1 lose themselves in the vaulting surface4 ,this form is found in ,greek churches of late date1 but does not occur in the later churches of ,constantinople4 ,a full description of the form and construction is given by ,choisy#ca and by ,lethaby and ,swainson4#cb ,the cross-groined vault as found in the ,myrelaion and many other churches of the city is level in the crown1 with clearly marked groins4 ,it is sometimes used with transverse arches resting on pilasters1 or without these adjuncts4 ,one of the most interesting of the vault forms is the dome-vault1 a shallow dome with continuous pendentives4 ,it is distinguished in appearance from the groined vault1 as found in ,s4 ,sophia1 by the absence of any groin line1 and is completely different in construction4 ,the geometrical construction is that of the pendentives of all domes4 ,the four supporting arches intersect a hemispherical surface whose diameter is equal to the diagonal of the supporting square4 ,the pendentives produce at the crown line of the arches a circular plan which is filled in by a saucer dome of the same radius as the pendentives1 constructed of circular brick rings1 the joints of which radiate to the centre4 ,if the space to be covered is not square the broader arches intersect at a higher level1 while the narrow arches are not stilted1 but kept down so as to receive the dome surface1 and in this case the narrow arches are not semicircular1 but segmental4 ,where the difference in size between the two sides was not great1 the difficulty presented was easily overcome by the ,byzantine builder1 who in the later buildings1 at any rate1 rarely built anything within four inches of its geometrical position4 ,where the difference was too great it was frankly accepted1 and we find segmental arches at the narrow ends4 ,illustration3 ,,fig4 #aa4 ,the vaulting of the outer narthex of ,s4 ,saviour in the ,chora illustrates this fully 7,fig4 #aa74 ,though some of the bays of that narthex are oblong and others almost square all are covered with dome vaults4 ,the almost square bays1 although their sides vary considerably1 are covered precisely as if their sides were exactly equal4 ,but in two of the oblong bays1 which are nearly three times as long as they are broad1 such a method could not be applied4 ,longitudinal arches 7,,aa7 were accordingly thrown between the transverse arches 7,,cc7 and made to rest on their spandrils4 ,the oblong form of the intervening space was thus very much reduced1 and over it flat domes are thrown4 ,their rings are true circles1 and as the space they cover is still somewhat oblong they descend lower1 with additional segments of rings 7,,bb71 at the ends than at the sides4 ,in the remaining two oblong bays of the narthex1 the result of introducing the longitudinal arches is to convert a decidedly oblong space in one direction into a slightly oblong space in the opposite direction1 an additional proof1 if any were needed1 that the exact shape of plan with this form of vault was a matter of comparative indifference to the builder4 ,in ,s4 ,sophia the vault springs from the intrados of the transverse arches1 that is1 from the lower edge4 ,in ,,ss4 ,sergius and ,bacchus it springs from a point so slightly raised as to be hardly noticeable4 ,in the later vaults1 however1 the transverse arches1 when present1 are boldly shown1 and the vault springs from the extrados or outer edge 7e4g4 ,s4 ,saviour in the ,chora1 ,s4 ,theodore74 ,construction4--,most of the churches of the city are covered with thick coats of plaster and whitewash1 both within and without4 ,only in a few cases1 where these coatings have fallen away through neglect1 or in some remote corner of a building to which these coatings were never applied1 can the construction and the laying of the brickwork be studied4 ,the two-storied chapel1 known as ,bogdan ,serai 7p4 #bhc71 is almost denuded of plaster1 and is therefore of importance in this connection4 ,the bricks of the wall arches on which its dome rests are laid considerably flatter than the true radiating line1 leaving a triangular piece to be filled in at the crown4 ,on the other hand1 the bricks of the transverse arches under the dome radiate to the centre4 ,it has been supposed that the method followed in the wall arches was employed in order to economise centering1 since bricks could gradually be worked out over the space1 each course simply sticking to the one below4 ,this is undoubtedly the case in some examples4 ,but here centering could not have been of any service in the wall arches1 and the transverse arches are laid without flattening of the courses1 though that arrangement might have been useful in their case4 ,it is therefore more probable that the flattening of the courses in the wall arches is simply a piece of careless workmanship4 ,the pendentives1 like all pendentives that could be examined1 were formed of horizontal courses corbelled out to the circle4 ,the dome1 bema1 and the barrel vault in the lower story 7p4 #bhe7 seem to be laid with true radiating joints4 ,the springing of the barrel vault is formed of four courses of stone laid horizontally and cut to the circle1 and above them the entire barrel is of brick4 ,the dome arches of the ,sanjakdar ,mesjedi 7p4 #bgj7 are formed of three distinct rings1 not bonded into one another4 ,they radiate to the true centre1 and the pendentives are1 as usual1 in horizontal courses4 ,the transverse arches of the outer narthex in ,s4 ,saviour in the ,chora are also built with true radiating courses4 ,the gynecaeum of the side-chapel of the ,pammakaristos 7p4 #aec7 has never been plastered1 and consequently the laying of the brickwork can be seen there to advantage4 ,the little stair leading up to the gallery is covered with a sloping barrel vault built in segments perpendicular to the slope of the stair and could easily have been built without centering4 ,the same remark applies to the cross vault at the head of the stair1 which is similarly constructed in 'slices' parallel to each side 7p4 #aed74 ,the arches of the gynecaeum itself1 the vaults1 and the two little domes1 seem to have true radiating joints4 ,the ribs of the domes are formed in the brickwork1 and are not structurally separate4 ,in these last examples1 and in all door and window openings1 in which the joints invariably radiate from the centre1 a certain amount of centering was inevitable4 ,illustration3 ,,plate ,,iii4 7#a7 ,,the ,,myrelaion 7,,since ,,it ,,was ,,burnt74 ,,interior1 ,,looking ,,east4 7,by kind permission of ,h4 ,m4 ,dwight1 ,esq47 7#b7 ,,suleiman ,,aga ,,mesjedi1 ,,beside ,s4 ,,saviour ,,pantokrator4 ,to face page #bd4 ,on the other hand a little passage in ,s4 ,saviour in the ,chora between the church and the parecclesion 7p4 #caa71 is covered with a barrel vault evidently built without centering4 ,the space is first narrowed by two corbelled courses of stone and1 above them1 by three projecting courses of brick4 ,from this springs the vault1 built from each end in strongly inclined segments4 ,these segments meet in the middle1 leaving a diamond-shaped space filled in with longitudinal courses4 ,like the stairs in the ,pammakaristos1 this passage is very narrow1 some #he cm41 yet the builders thought it necessary to corbel out five courses before venturing to throw a vault without centering4 ,near the ,pantokrator is an octagonal building1 now ,suleiman ,aga ,mesjedi but generally regarded as a ,byzantine library1 which has on each side a large wall arch strongly elliptical in form 7p4 #bgj74 ,two arches of somewhat similar form and apparently original are found in the south end of the gynecaeum of the ,pantokrator 7p4 #bcg74 ,these arches may have been built in this manner to economise centering4 ,still1 in the library they are wall arches easily constructed without centering4 ,failing the examination of a larger number of buildings in ,constantinople we can hardly judge of the later methods of vault and arch construction1 but one point may be further noticed4 ,the wall internally is often set back slightly at each spring course1 so that with the projection of the course a considerable ledge or shelf is left4 ,on this ledge centering could easily be supported and would have required no further framework to the ground4 ,centering seems to have been used for dorm1 arches1 vaults1 and door and window openings4 ,it was not used in small vaults4 ,but it is difficult to imagine any method of constructing such groined vaults as those found in the narthexes of the ,pantokrator without a very considerable amount of centering4 ,ties4--,as a general rule tie rods or beams were used1 either of iron or wood4 ,in the latter case they were painted with leaf or fret ornaments1 and were evidently considered as natural features4 ,but large vaults are often found without such ties as in the narthex of the ,pantokrator4 ,many churches have ties to the dome-arches1 and none to the main vault2 but it is difficult to lay down a fixed rule4 ,the enormous amount of mortar in the walls must have made them yield to a certain degree when newly built1 and some of the larger vaults would have been the better for rods4 ,abutments4--,the system of abutments in the ,byzantine churches of the great period has been carefully studied by ,m4 ,choisy4#cc ,in early examples the dome springs directly from the pendentives on the inside1 but is thickened externally over the haunches1 producing a double curve and an apparent drum4 ,this is seen very clearly in ,,ss4 ,sergius and ,bacchus4 ,in ,s4 ,sophia the numerous windows are cut through this drum1 so that it resembles rather a series of small abutments4 ,the object was to support the crown of the dome by adding weight over the haunches4 ,in both these churches the thrust of the dome and its supporting arches is taken by the two-storied galleries1 which form1 in fact1 flying buttresses within the buildings1 and are adapted to their architectural requirements4 ,the square plan and the enormous size of the dome in ,s4 ,sophia demanded the great buttresses on the sides2 while in ,,ss4 ,sergius and ,bacchus the eight buttresses show only on the outside of the dome and are not carried over the aisles as they are in ,s4 ,sophia4 ,below the roof the arches and piers of the galleries and aisles are arranged so as to carry the thrust to the external walls1 and following the tradition of ,roman vaulting all buttressing is internal4 ,in ,s4 ,irene1 where the true drum dome first appears1 the buttresses between the windows of the dome still remain1 though much reduced in size4 ,a dome raised on a drum can evidently no longer exercise a thrust against the dome-arches2 its thrust must be taken by the drum1 and only its weight can rest on the arches4 ,the weight of the drum and dome rests on the pendentives and dome-arches4 ,their thrust is neutralized by the use of ties and by the barrel vaults of the cross arms1 and these in their turn depend on the thickness of the walls4 ,the lower buildings attached to the church in the form of side-chapels and the narthex also helped to stiffen and buttress the cross walls4 ,the system is by no means perfect in these late churches4 ,it was apparently found impossible to construct drum domes of any size1 except at the extreme risk of their falling in1 and probably it is for this reason that many of the larger domes in late churches1 like ,,ss4 ,peter and ,mark1 ,s4 ,theodosia1 the ,chora1 have fallen4 ,no system of chainage appears to have been used for domes in ,constantinople4 ,flying buttresses probably of the ninth century are used at the west end of ,s4 ,sophia4 ,the double-flying buttress to the apse of the ,chora does not bond with the building and is certainly not original4 ,it may be set down as part of the ,byzantine restoration of the church in the fourteenth century4 ,in any case1 such external flying abutments are alien to the spirit of ,byzantine architecture1 and may be regarded as an importation from the ,west4 ,flying buttresses1 it may here be noted1 are not uncommon in the great mosques of the city4 ,they are found in ,sultan ,bayazid1 ,rustem ,pasha1 ,sultan ,selim1 the ,suleimanieh1 and the ,shahzad4 ,but they are generally trifling in size1 and are rather ornaments than serious attempts to buttress the dome4 ,walls4--,the walls of the earlier churches are built of large thin bricks laid with mortar joints at least as thick as the bricks1 and often of greater thickness4 ,stone is used only in special cases1 as in the main piers of ,s4 ,sophia1 but monolithic marble columns are an important part of the structure4 ,in the later churches stone is used in courses with the bricks to give a banded effect1 and herring-bone1 diamond1 and radiating patterns are frequently introduced4 ,the palace of the ,porphyrogenitus1 the parecclesion of the ,pammakaristos1 and ,bogdan ,serai1 exhibit this style of work4 ,as illustrations of the method adopted in the construction of walls the following measurements may be given1 the sizes being in centimetres3 ---------------------------------------- ----------------------- ,brick4 ,joint4 ---------------------------------------- ----------------------- ,parecclesion of the ,pammakaristos 4#jh 4#jd #d courses brick1 #e joints 4#df --- ,s4 ,john in ,trullo 4#jc 4#jg to 4#ji ,refectory of the ,monastery of ,manuel 4#jd 4#jd to 4#jf #d course stone1 #c joints 4#gh --- #d courses brick1 #e joints 4#cj --- 4#jcge 4#jeb ,bogdan ,serai 4#jce 4#jce 4#jd 4#jd #d courses stone1 #h joints --- 4#ee to 4#fj #d courses brick1 #e joints --- 4#dc to 4#dg ,sanjakdar1 brick 4#jde --- ---------------------------------------- ----------------------- ,building ,procedure4--,the first step in the erection of a building was to obtain the necessary marble columns with their capitals and bases4 ,these seem to have been largely supplied ready made1 and ,constantinople was a great centre for the manufacture and export of stock architectural features4 ,then the main walls were built in brick1 the columns were inserted as required1 the vaults were thrown1 and the whole building was left to settle down4 ,owing to the enormous amount of mortar used this settling must have been very considerable1 and explains why hardly a plumb wall exists in ,constantinople1 and why so many vaults show a pronounced sinking in at the crown or have fallen in and have been rebuilt4 ,after the walls had set the marble facings1 mosaic1 and colour were applied and could be easily adapted to the irregular lines of the walls4 ,byzantine architecture made little use of mouldings4 ,the great extension of flat and spacious decoration rendered unnecessary1 or even objectionable1 any strong line composition4 ,external cornices are in coursed brick1 the alternate courses being laid diagonally so as to form the characteristic dentil4 ,the richest form is that found in the ,pammakaristos1 ,s4 ,theodosia1 and ,s4 ,thekla1 where the small dentil cornice is supported on long tapering corbels1 a design suggested by military machicolations4 ,illustration3 ,,plate ,,iv4 7#a7 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,bracket ,,in ,,the ,,inner ,,narthex4 7#b7 ,s4 ,,theodore4 ,,sculptured ,,marble ,,slab ,,built ,,into ,,the ,,minaret ,,of ,,the ,,mosque4 7#c7 ,s4 ,,mary ,,diaconissa4 ,,heads ,,of ,,windows ,,in ,,south ,,arm4 7#d7 ,s4 ,,mary ,,diaconissa4 ,,sculptured ,,slab ,,on ,,the ,,west ,,wall4 ,to face page #bh4 ,the stone ogee1 cavetto1 or cavetto and bead cornice is common1 but seems in every case to be ,turkish work and is very common in ,turkish buildings4 ,internal cornices and string-courses are in marble1 and are all of the same type1 a splay and fillet4 ,the splayed face is decorated with upright leaves or with a guilloche band1 either carved 7in the ,pantepoptes7 or painted 7in the ,chora71 the carving as in classic work1 serving only to emphasise the colour4 ,the splay is sometimes slightly hollowed1 sometimes1 as in the ,chora1 worked to an ogee4 ,doors4--,doors often have elaborately moulded architraves and cornice4 ,in ,s4 ,john of the ,studion 7p4 #fa71 the oldest example1 the jamb-moulding has a large half-round on the face1 with small ogees and fillets1 all on a somewhat massive scale4 ,the doors of ,s4 ,sophia are very similar4 ,the later mouldings are lighter but the half-round on the face remains a prominent feature4 ,it is now undercut and reduced in size1 and resembles the ,gothic moulding known as the bowtell4 ,this is combined with series of fillets1 small ogees1 and cavettos into jamb-moulds of considerable richness4 ,the cornices are often simply splayed or are formed of a series of ogees1 fillets1 and cavettos4 ,the jamb-mouldings are cut partly on a square and partly on a steep splayed line4 ,in some1 the portion forming the ingo seems to have been regarded as a separated piece though cut from the solid4 ,if in the doors of the ,pantokrator or the ,pantepoptes the line of the inner jamb be continued through the rebate1 it will correspond on the outside with the bowtell moulding1 as though the inner and outer architrave had been cut from one square-edged block1 placing the bowtell at the angle and adding the rebate4 ,this formation is not followed in ,s4 ,john of the ,studion4 ,carving4--,carving is slight1 and is confined to capitals1 string-courses1 and the slabs which filled in the lower parts of screens and windows4 ,fragments of such slabs are found everywhere4 ,they are carved with geometrical interlacing and floral patterns1 often encircling a cross or sacred monogram1 or with simply a large cross4 ,such slabs may be seen still in position in ,s4 ,sophia and in the narthex of ,s4 ,theodore4 ,in the latter they are of verd antique1 and are finely carved on both sides4 ,in later times the embargo on figure sculpture was considerably relaxed4 ,little figures are introduced in the cornices of the eikon frames in the ,diaconissa 7p4 #ahf71 and both in the parecclesion and the outer narthex of the ,chora are found many small busts of angels1 saints1 and warriors carved with great delicacy4 ,the carving in the ,chora is the finest work of the kind excepting that in ,s4 ,sophia4 ,capitals4--,the development of the capital from the ,roman form1 which was suitable only for the lintel1 to the impost capital shaped to receive an arch has been well explained by ,lethaby and ,swainson4 ,according to these authors ,byzantine capitals exhibit seven types4 ,i4 ,the ,impost capital4--,it is found in ,,ss4 ,sergius and ,bacchus1 the outer narthex of the ,chora1 the inner narthex of ,s4 ,andrew and elsewhere4 ,a modification of this type is used in windows4 ,it was employed throughout the style but especially in early times up to the sixth century1 and again in the twelfth1 thirteenth1 and fourteenth centuries4 ,,ii4 ,the ,melon type4--,this is seen on the columns of the lower order in ,,ss4 ,sergius and ,bacchus and on the columns of the narthex of ,s4 ,theodore1 where they have been taken from an older building4 ,the melon capital was probably not in use after the sixth century4 ,,iii4 ,the ,bowl capital4--,this type is used in the great order of ,s4 ,sophia at ,constantinople4 ,it has been thought peculiar to this church1 but the capitals from ,s4 ,stephen at ,triglia in ,bithynia resemble those of ,s4 ,sophia closely4 ,only the peculiar volutes of the ,s4 ,sophia capitals are absent4#cd ,,iv4 ,the ,byzantine or ',pseudo-,ionic4'--,this is found in the upper order of ,,ss4 ,sergius and ,bacchus1 and in the narthex of ,s4 ,andrew4 ,it is an early type1 not used after the sixth century1 and its occurrence in ,s4 ,andrew favours the early date assigned to that church4 ,v4 ,the ,bird and ,basket4--,found in ,constantinople1 only in ,s4 ,sophia4 ,,vi4 ,the ,byzantine ,corinthian4--,this is the commonest form of capital in the later churches1 and must have been in continuous use from the earliest date4 ,it occurs in ,s4 ,john of the ,studion1 the ,diaconissa1 the ,chora1 and in many other churches4 ,here the classic form is accurately adhered to1 but1 as the curved abacus was unsuitable to the arch1 a large splayed abacus or impost block is placed above the capital4 ,it is a general feature of the ,byzantine capital that it projects at no point beyond the impost line of the arch1 thus differing both from the classic and the ,gothic forms4 ,,vii4 ,the ,windblown ,acanthus4--,this is found in the churches of ,salonica and ,ravenna4 ,three examples are mentioned as seen in ,constantinople1 two near the ,diaconissa1 forming bases for the posts of a wooden porch to a house2 one is the cistern commonly known as the cistern of ,pulcheria4 ,window ,capitals4--,in shafted window of several lights1 the impost piers between the arches are of the full thickness of the wall1 but are very narrow from side to side4 ,similarly the shafts are almost slabs placed across the wall1 and sometimes1 as in the ,pammakaristos1 are carved on their narrow faces4 ,the capitals are cubical1 of slight projection at the sides1 but spreading widely at the ends1 while the bases closely resemble capitals turned upside down4 ,as with columns1 the joints at base and necking are bedded in sheet lead4 ,floors4--,the floors are usually of thick red brick tiles1 some 4#ca cm4 square1 or1 as in ,s4 ,theodore1 hexagonal1 4#cd cm4 across by #de cm4 from point to point4 ,marble floors were used when possible1 inlaid with patterns1 or in slabs surrounded by borders of coloured marbles1 as is still seen in a portion of the floor in the ,pantokrator 7,fig4 #gf74 ,decoration4--,of the churches of ,constantinople only ,s4 ,sophia1 ,s4 ,mary ,diaconissa1 the ,south ,church of the ,pantokrator1 and the ,chora1 retain any considerable part of their original decoration4 ,the first is beyond our present scope1 but from the general tone and atmosphere which still linger there we are able to appreciate the effect of the same style of decoration where it survives in less complete form4 ,the accepted method1 as may be observed in the ,chora and the ,diaconissa1 was to split marble slabs so as to form patterns in the veining1 and then to place them upright on the wall4 ,it is probable that the finest slabs were first placed in the centre points of the wall1 and that other slabs or borders were then arranged round them4 ,the centre slabs in the ,chora are of exceptional beauty4 ,the usual design consists of a dado of upright slabs surmounted by panelling to the cornice level1 the panels being outlined with plain or carved beads4 ,in the ,diaconissa the notched dentil form is used for the beads2 in the ,chora1 a 'bead and reel4' ,the arches have radiating voussoirs1 or1 in the ,diaconissa1 a zigzag embattled design1 found also in ,s4 ,demetrius of ,salonica1 though two hundred years must have separated the buildings4 ,in the ,chora the arch spandrils and cornice are inlaid with scroll and geometrical designs in black1 white1 and coloured marbles4 ,the surfaces above the cornice and the interior of the domes gleamed with mosaic1 representing1 as seen in the ,chora1 figures on a gold background4 ,the mosaic cubes are small1 measuring #e mm4 to #g mm41 and are closely set4 ,this is about the same size as the mosaic cubes in ,s4 ,sophia1 but smaller than those at ,ravenna1 which measure about #aj mm4 ,painting4--,in the majority of churches this full decoration with marble and mosaic must have been rendered impossible by the expense1 and accordingly we find examples like the parecclesion at the ,chora decorated with painting1 following exactly the tradition of marble and mosaic4 ,this painting is in tempera on the plaster1 and is executed with a free and bold touch4 ,conclusion4--,byzantine architecture is essentially an art of spaces4 ',architectural' forms1 as we are accustomed to think of them1 are noticeably absent1 but as compensation1 colour was an essential and inseparable part of the architecture4 ,the builder provided great uninterrupted spaces broken only by such lines and features as were structurally necessary--capitals1 columns1 string-courses1 and over these spaces the artist spread a glittering robe of marble or mosaic4 ,no school has ever expressed its structure more simply1 or given fuller scope to the artist1 whether architect or painter4 ,byzantine architecture is not only a school of construction1 it is also a school of painting4 ,most of the churches of ,constantinople have unfortunately lost the latter part of their personality4 ,they are mere ghosts1 their skeletons wrapped in a shroud of whitewash4 ,still the ,greek artist retained his skill to the last1 and the decorative work of ,s4 ,saviour in the ,chora will stand comparison even with the similar work in ,s4 ,sophia4 ,in ,byzantine times the greatness of ,s4 ,sophia tended to crush competition4 ,no other ecclesiastical building approached the ',great ,church4' ,but structural ability was only latent1 and displayed its old power again in the erection of the imperial mosques of the early ,turkish ,sultans1 for they too are monuments of ,greek architectural genius4 ,the origins of ,byzantine architecture have been discussed at great length by ,strzygowski1 ,rivoira1 and many other able writers4 ,much work still remains to be done in the investigation of the later ,roman and early ,byzantine work2 nor does it seem probable that the difficult questions of the ,eastern or the ,western origin of ,byzantine art will ever be finally settled4 ,the beginnings of ,byzantine architecture have never been satisfactorily accounted for4 ,with ,s4 ,sophia it springs almost at once into full glory2 after ,s4 ,sophia comes the long decline4 ,it may1 however1 be noted that the 'endings' of ,roman architecture are similarly obscure4 ,such buildings as the ,colosseum1 in which the order is applied to an arched building1 are evidently transitional1 the ,roman construction and the ,greek decoration1 though joined1 not being merged into one perfect style4 ,even in the baths and other great buildings of ,imperial ,rome the decoration is still ,greek in form and not yet fully adapted to the arched construction4 ,at ,spalatro1 in such parts as the ,porta ,aurea1 a developed style seems to be on the point of emerging1 but it is not too much to say that in no great ,roman building do we find a perfect and homogeneous style4 ,there is nothing in either the planning or the construction of ,s4 ,sophia which cannot be derived from the buildings of the ,roman ,imperial period1 with the exception of the pendentive1 a feature which had to be evolved before the dome could be used with freedom on any building plan on a square4 ,the great brick-concrete vaulted construction is that of the ,roman baths1 and with this is united a system of decoration founded on the classic models1 but showing no trace of the ,greek beam tradition which had ruled in ,rome4 ,s4 ,sophia then may be regarded as the culminating point of one great ,roman-,byzantine school1 of which the art of classic ,rome shows the rise1 and the later ,byzantine art the decline4 ,this view is in accord with history1 for ,constantinople was ,new ,rome1 and here1 if anywhere1 we should expect to find preserved the traditions of ,old ,rome4 ,the division of ,western ,mediaeval ,architecture into the two schools of ,romanesque and ,gothic presents a parallel case4 ,it is now realised that no logical separation can be made between the two so-called styles4 ,similarly we may continue to speak of the ,classic ,roman style and of the ,byzantine style1 although the two really belong to one great era in the history of art4 #aj ,eastern ,palestine ,memoirs1 p4 #agb4 ,a similar dome is given by ,choisy1 ,l',art de btir chez les ,byzantins1 ,plate ,,xv4 #aa ,de ,vog1 ,syrie centrale1 i4 p4 #de1 ,plate ,,vii4 #ab ,drm1 ,handbuch1 ,part ,,ii4 vol4 iii4 pp4 #aae1 #adi4 ,a restored plan is given in ,lethaby's ,mediaeval ,art1 p4 #dg4 #ac ,orient oder ,rom1 p4 #ai4 #ad ,kleinasien1 p4 #aeb4 #ae ,kleinasien1 p4 #aba et seq4 #af ,oskar ,wulf1 ,die ,koimesiskirche in ,nikaea1 p4 #ga4 #ag ,h4 ,rott1 ,kleinasiensche ,denkmler1 p4 #cbi4 #ah ,wulf1 op4 cit4 p4 #bc4 #ai ,for local variations in late churches in ,greece1 see ,traquair's ',churches of ,western ,mani1' ,annual of ,british ,school at ,athens1 xv4 #aijh4 #bj ,strzygowski1 ',das ,etschmiadzin ,evangeliar1' ,byzant4 ,denkmler1 i41 #ahia4 #ba ,ravanica1 ,f4 ,kanitz1 ,serbiens byzantische ,monumente1 ,wien1 #ahfb4 #bb ,pullan and ,texier1 ,s4 ,elias4 #bc ,g4 ,lampakis1 ,les ,antiquits chrtiennes de la ,grce1 ,athens1 #aijb4 #bd ,schultz and ,barnsley1 ,the ,monastery of ,s4 ,luke at ,stiris1 p4 #ac1 fig4 #f4 #be ,see1 however1 ,north ,church in ,s4 ,mary1 ,panachrantos1 p4 #abh4 #bf ,strzygowski's views as to the early date of the drum-dome are not universally accepted4 ,the examples he produces seem rather octagons carried up from the ground to give a clearstory under the dome than true drums interposed between the dome and its pendentives4 #bg ,annual ,b4,s4,a4 xii4 #aije-f4 ,see also ,schultz and ,barnsley1 ,monastery of ,s4 ,luke at ,stiris4 #bh ,see p4 #aed4 #bi ,dome of the ,rock at ,jerusalem4 ,s4 ,mary ,peribleptos2 see ,vida de ,gran ,tamorlan y itinerario del ,ruy ,gonzalez de ,clavijo1 p4 #eb4 #cj ,l',art de btir chez les ,byzantins1 p4 #eg4 #ca ,ibid4 p4 #ii4 #cb ,sancta ,sophia1 p4 #bai4 #cc ,l',art de btir chez les ,byzantins1 p4 #ace4 #cd ,hasluck1 ',bithynica1' ,annual ,b4,s4,a4 ,,xiii4 #aijf-g4 ,,chapter ,,ii ,,the ,,church ,,of ,s4 ,,john ,,the ,,baptist ,,of ,,the ,,studion1 ,,emir ,,ahor ,,jamissi ,the mosque ,emir ,ahor ,jamissi1 situated in the quarter of ,psamathia1 near the modern ,greek church of ,s4 ,constantine1 and at short distance from the ,golden ,gate 7,yedi ,koul71 is the old church of ,s4 ,john the ,baptist1 which was associated with the celebrated monastery of ,studius1 ,greek3 h mon tou ,stoudiou4 ,it may be reached by taking the train from ,sirkiji ,iskelessi to ,psamathia or ,yedi ,koul4#ce ,in favour of the identification of the building1 there is1 first1 the authority of tradition1#cf which in the case of a church so famous may be confidently accepted as decisive4 ,in the next place1 all indications of the character and position of the ,studion1 however vague1 point to ,emir ,ahor ,jamissi as the representative of that church4 ,for the mosque presents the characteristic features which belonged to the ,studion as a basilica of the fifth century1 and stands where that sanctuary stood1 in the district at the south-western angle of the city1#cg and on the left hand of the street leading from ,s4 ,mary ,peribleptos 7,soulou ,monastir7 to the ,golden ,gate4#ch ,furthermore1 as held true of the ,studion1 the mosque is in the vicinity of the ,golden ,gate1#ci and readily accessible from a gate and landing 7,narli ,kapou7 on the shore of the ,sea of ,marmora4#dj ,according to the historian ,theophanes1#da the church was erected in the year #dfc by the patrician ,studius1 after whom the church and the monastery attached to it were named4 ,he is described as a ,roman of noble birth and large means who devoted his wealth to the service of ,god1#db and may safely be identified with ,studius who held the consulship in #ded during the reign of ,marcian4#dc ,if we may trust the ,anonymus1#dd the church erected by ,studius replaced a sanctuary which stood at one time1 like the ,chora1 outside the city4 ,seeing the territory immediately beyond the ,constantinian fortifications was well peopled before its inclusion within the city limits by ,theodosius ,,ii41 there is nothing improbable in the existence of such extra-mural sanctuaries1 and as most1 if not all1 of them would be small buildings1 they would naturally require enlargement or reconstruction when brought within the wider bounds of the capital4 ,according to ,suidas1#de the building was at first a parochial church2 its attachment to a monastery was an after-thought of its founder4 ,the monastery was large and richly endowed1 capable of accommodating one thousand monks4#df ,its first inmates were taken from a fraternity known as the ,akoimeti1 'the sleepless'2 so named because in successive companies they celebrated divine service in their chapels day and night without ceasing1 like the worshippers in the courts of heaven4 ,illustration3 ,,plate ,v4 7#a7 ,s4 ,,john ,,of ,,the ,,studion4 ,,ruined ,,interior1 ,,seen ,,from ,,the ,,minaret ,,of ,,the ,,mosque4 7#b7 ,s4 ,,john ,,of ,,the ,,studion1 ,,from ,,the ,,west4 ,to face page #cf4 ',even thus of old ,our ancestors1 within the still domain ,of vast cathedral or conventual church ,their vigils kept3 where tapers day and night ,on the dim altar burned continually4 ,in token that the ,house was ever more ,watching to ,god4 ,religious men were they2 ,nor would their reason1 tutored to aspire ,above this transitory world1 allow ,that there should pass a moment of the year ,when in their land the ,almighty's service ceased4' ,but this devout practice does not seem to have been long continued at the ,studion2 for we never hear of it in any account of the discipline of the ,house4 ,the monks of the ,studion should therefore not be identified with the ,akoimeti who took up such a determined and independent attitude in the theological conflicts under ,zeno1 ,basiliscus1 and ,justinian the ,great4#dg ,in the course of its history the church underwent noteworthy repairs on two occasions4 ,it was first taken in hand for that purpose1 soon after the middle of the eleventh century1#dh by the ,emperor ,isaac ,comnenus 7#ajeg-eh71 who was interested in the ,house because he and his brother had received part of their education in that 'illustrious and glorious school of virtue4'#di ,what the repairs then made exactly involved is unfortunately not stated4 ,but1 according to ,scylitzes1 they were so extensive that 'to tell in detail what the emperor and empress did for the embellishment of the church would surpass the labour of ,hercules4'#ej ,probably they concerned chiefly the decoration of the edifice4 ,the next repairs on record were made about the year #abij1 in the reign of ,andronicus ,,ii41 by his unfortunate brother ,constantine ,porphyrogenitus4 ,owing to the neglect of the building during the ,latin occupation the roof had fallen in1 the cells of the monks had disappeared1 and sheep grazed undisturbed on the grass which covered the grounds4 ,constantine1 rich1 generous1 fond of popularity1 did all in his power to restore the former glory of the venerated shrine4 ,the new roof was a remarkable piece of work2 large sums were spent upon the proper accommodation of the monks1 and the grounds were enclosed within strong walls4#ea ,like other monastic institutions1 the ,studion suffered greatly at the hands of the iconoclast emperors4 ,under ,constantine ,copronymus1 indeed1 the fraternity was scattered to the winds and practically suppressed1 so that only twelve old members of the ,house were able to take advantage of the permission to return to their former home1 upon the first restoration of eikons in #ghg by the ,empress ,irene4 ,under these circumstances a company of monks1 with the famous abbot ,theodore at their head1 were eventually brought from the monastery of ,saccudio to repeople the ,studion1 and with their advent in #gii the great era in the history of the ,house began1 the number of the monks rising to seven hundred1 if not one thousand4#eb ,theodore had already established a great reputation for sanctity and moral courage4 ,for when ,constantine ,,vi4 repudiated the ,empress ,maria and married ,theodote1 one of her maids of honour1 ,theodore1 though the new empress was his relative1 denounced the marriage and the priest who had celebrated it1 insisting that moral principles should govern the highest and lowest alike1 and for this action he had gladly endured scourging and exile4 ,the ,studion had1 therefore1 a master who feared the face of no man1 and who counted the most terrible sufferings as the small dust of the balance when weighed against righteousness1 and under him the ,house became illustrious for its resistance to the tyranny of the civil power in matters affecting faith and morals4 ,when the ,emperor ,nicephorus ordered the restoration of the priest who had celebrated the marriage of ,constantine ,,vi4 with ,theodote1 not only did ,theodore and his brother ,joseph1 bishop of ,thessalonica1 and their venerable uncle ,plato1 endure imprisonment and exile1 but every monk in the ,studion defied the emperor4 ,summoning the fraternity into his presence1 ,nicephorus bade all who would obey his order go to the right1 and all who dared to disobey him go to the left4 ,not a single man went to the right4 ,under the very eyes of the despot all went to the left1 and in his wrath ,nicephorus broke up the community and distributed the monks among various monasteries4 ,upon the accession of ,michael ,i4 the exiled monks and ,theodore were allowed indeed to return to the ,studion1 peace being restored by the degradation of the priest who had celebrated the obnoxious marriage4 ,but another storm darkened the sky1 when ,leo ,v41 the ,armenian1 in #hac1 renewed the war against eikons4 ,theodore threw himself into the struggle with all the force of his being as their defender4 ,he challenged the right of the imperial power to interfere with religious questions2 he refused to keep silence on the subject2 and on ,palm ,sunday1 in #hae1 led a procession of his monks carrying eikons in their hands in triumph round the monastery grounds4 ,again he was scourged and banished4 ,but he could not be subdued4 ,by means of a large and active correspondence he continued an incessant and powerful agitation against the iconoclasts of the day4 ,nor would he come to terms with ,michael ,,ii41 who had married a nun1 and who allowed the use of eikons only outside the capital4 ,so ,theodore retired1 apparently a defeated man1 to the monastery of ,acritas#ec2 and there1 'on ,sunday1 #aa ,november #hbf1 and about noon1 feeling his strength fail1 he bade them light candles and sing the #aaith psalm1 which seems to have been sung at funerals4 ,at the words3 ,i will never forget ,thy commandments1 for with them ,thou hast quickened me1 he passed away4' ,he was buried on the island of ,prinkipo1 but eighteen years later1 when eikons were finally restored in the worship of the ,orthodox ,church1 his body was transferred to the ,studion1 and laid with great ceremony in the presence of the ,empress ,theodora beside the graves of his uncle ,plato and his brother ,joseph1 in sign that after all he had conquered4#ed ,tandem hic quiescit4 ,,note ,his remains were interred at the east end of the southern aisle1 where his uncle ,plato and his brother ,joseph had been buried before him1 and where ,naucratius and ,nicholas1 his successors as abbots of the ,studion1 were laid to rest after him4 ,greek3 pros t dexi merei en t kat' anatolas tou ,prodromikou temenous pandox kai hier tn martyrn sk1 entha d kai tou hosiou patros hmn ,theodrou h paneukles kai pansebastos timia thk kathidrytai 7,vita ,s4 ,nicolai ,studitae1 ,migne1 ,p4,g4 tome #aje74 ,there1 in fact1 during the recent ,russian exploration of the church1 three coffins were discovered3 one containing a single body1 another four bodies1 and another three bodies4 ,the grave had evidently been disturbed at some time1 for some of the bodies had no head1 and all the coffins lay under the same bed of mortar4 ,no marks were found by which to identify the persons whose remains were thus brought to view4 ,but there can be no doubt that five of the bodies belonged to the five persons mentioned above4 ,to whom the three other bodies belonged is a matter of pure conjecture4 ,they might be the remains of three intimate friends of ,theodore1 viz4 ,athanasius1 ,euthemius1 ,timotheus1 or more probably of the abbots1 ,sophronius 7#hea-ee71 ,achilles 7#heh-fc71 ,theodosius 7#hfc-fd74 ,cf4 ,itin4 russes1 p4 #ajj4 ,it would be a mistake1 however1 to think of ,theodore only as a controversalist and defier of the civil authority4 ,he was a deeply religious man1 a pastor of souls1 and he revived the religious and moral life of men1 far and wide1 not only in his own day1 but long after his life on earth had closed4 ,he made the ,studion the centre of a great spiritual influence1 which never wholly lost the impulse of his personality or the loftiness of his ideal4 ,the forms of medival piety have become antiquated1 and they were often empty and vain1 but we must not be blind to the fact that they were frequently filled with a passion for holy living1 and gave scope for the creation of characters which1 notwithstanding their limitations1 produced great and good men4 ,illustration3 ,,plate ,,vi4 7#a7 ,s4 ,,john ,,of ,,the ,,studion4 ,,fa,,ade ,,of ,,the ,,narthex4 7#b7 ,s4 ,,john ,,of ,,the ,,studion4 ,,the ,,ruined ,,interior3 ,,west ,,end ,,of ,,the ,,north ,,side4 ,to face page #dj4 ,speaking of ,eastern monks and abbots1 especially during the eighth and ninth centuries1 ,mr4 ,finlay1 the historian1 justly remarks that 'the manners1 the extensive charity1 and the pure morality of these abbots1 secured them the love and admiration of the people1 and tended to disseminate a higher standard of morality than had previously prevailed in ,constantinople4 ,this fact must not be overlooked in estimating the various causes which led to the regeneration of the ,eastern ,empire under the iconoclast emperors4 ,while the ,pope winked at the disorders in the palace of ,charlemagne1 the monks of the ,east prepared the public mind for the dethronement of ,constantine ,,vi4 because he obtained an illegal divorce and formed a second marriage4 ,the corruption of monks and the irregularities prevalent in the monasteries of the ,west contrast strongly with the condition of the ,eastern monks4' ,certainly to no one is this tribute of praise due more than to the brotherhood in the monastery of ,studius4 ,the monks of the ,studion1 like most ,greek monks1 lived under the rules prescribed by ,s4 ,basil for the discipline of men who aspired to reach 'the angelic life4' ,theodore1 however1 quickened the spirit which found expression in those rules1 and while inculcating asceticism in its extremest form1 showed greater consideration for the weakness of human nature4 ,the penalties he assigned for transgressions were on the whole less ,draconian than those inflicted before his time4 ,according to the moral ideal cherished in the monastery1 the true life of man was to regard oneself but dust and ashes1 and1 like the angels1 to be ever giving ,god thanks4 ,if a monk repined at such a lot1 he was to castigate himself by eating only dry bread for a week and performing #ejj acts of penance4 ,the prospect of death was always to be held in view4 ,often did the corridors of the monastery resound with the cry1 ',we shall die1 we shall die6' ,the valley of the shadow of death was considered the road to life eternal4 ,a monk could not call even a needle his own4 ,nor were the clothes he wore his personal property4 ,they were from time to time thrown into a heap with the clothes of the other members of the ,house1 and every monk then took from the pile the garment most convenient to his hand4 ,female animals were forbidden the monastery4 ,a monk was not allowed to kiss his mother1 not even at ,easter1 under penalty of excommunication for fifty days4 ,daily he attended seven services1 and had often to keep vigil all night long4 ,there was only one set meal a day2 anything more in the way of food consisted of the fragments which a monk laid aside from that meal4 ,no meat was eaten unless by special permission for reasons of health4 ,if a brother ate meat without permission he went without fish1 eggs1 and cheese for forty days4 ,the ordinary food consisted of vegetables cooked in oil4 ,fish1 cheese1 and eggs were luxuries4 ,two1 sometimes three1 cups of wine were permitted4 ,if a brother was so unfortunate as to break a dish1 he had to stand before the assembled monks at dinner time with covered head1 and hold the broken article in view of all in the refectory4#ee ,it was forbidden to a monk to feel sad4 ,melancholy was a sin1 and was to be overcome by prayer1 one hundred and fifty genuflexions1 and five hundred ,kyrie ,eleisons a day4 ,the monks were required to read regularly in the monastery library4#ef ,the task of copying manuscripts occupied a place of honour1 and was under strict regulations4 ,fifty genuflexions were the penalty prescribed for not keeping one's copy clean2 one hundred and fifty such acts of penance for omitting an accent or mark of punctuation2 thirty1 for losing one's temper and breaking his pen2 fasting on dry bread was the fate of the copyist guilty of leaving out any part of the original1 and three days' seclusion for daring to trust his memory instead of following closely the text before him4#eg ,ignatius of ,smolensk#eh found ,russian monks in the monastery employed in transcribing books for circulation in ,russia4 ,stephen of ,novgorod#ei met two old friends from his town busy copying the ,scriptures4 ,a good monastic scriptorium rendered an immense service2 it did the work of the printing-press4 ,yet1 notwithstanding all restrictions1 men could be happy at the ,studion4 ,one of its inmates for instance congratulates himself thus on his lot there1 ',no barbarian looks upon my face2 no woman hears my voice4 ,for a thousand years no useless 7,greek3 apraktos7 man has entered the monastery of ,studius2 none of the female sex has trodden its court4 ,i dwell in a cell that is like a palace2 a garden1 an oliveyard1 and a vineyard surround me4 ,before me are graceful and luxuriant cypress trees4 ,on one hand is the city with its market-place2 on the other1 the mother of churches and the empire of the world4'#fj ,hymnology was likewise cultivated at the ,studion1 many hymns of the ,greek ,church being composed by ,theodore and his brother ,joseph4 ,two abbots of the monastery became patriarchs3 ,antony 7#ige71fa and ,alexius 7#ajbe71fb the latter on the occasion when he carried the great relic of the ,studion1 the head of ,john the ,baptist1 to ,basil ,,ii4 lying at the point of death4#fc ,at least as early as the reign of ,alexius ,i4 ,comnenus1 the abbot of the ,studion held the first place among his fellow-abbots in the city4 ,his precedence is distinctly recognised in a ,patriarchal ,act of #acha as a right of old standing4#fd ,the spirit of independence which characterized the monastery did not die with the abbot ,theodore4 ,the monks of the ,studion were the most stubborn opponents of the famous ,photius who had been elevated to the patriarchal throne directly from the ranks of the laity1 and in the course of the conflict between him and the monks during the first tenure of his office for ten years1 the abbots of the ,house were changed five times4 ,indeed1 when ,photius appointed ,santabarenus as the abbot1 a man accused of being a ,manichaean1 and who professed to be able to communicate with departed spirits1 many of the monks1 if not all of them1 left their home4 ,nor was this the last assertion of the freedom of conscience for which this monastery was distinguished1 and which makes it memorable in history4 ,like other monasteries the ,studion often served as a place of correction for offenders whom it was expedient to render harmless without recourse to the extreme rigour of the law4 ,santabarenus1 who has just been mentioned1 was sent in his wild youth1 after narrowly escaping a sentence of death at the hands of the ,caesar ,bardas1 to this monastery in the hope of being reformed in the orthodox atmosphere of the ,house4 ,in the reign of ,leo ,,vi4 7#hbf-iab71 an official named ,mousikos was sent hither to be cured of the propensity to accept bribes4#fe ,in #iab1 ,gregoras and ,choirosphacta were obliged to join the brotherhood to repent at leisure for having favoured the attempt of ,constantine ,ducas1 domestic of the ,scholae1 to usurp the throne of ,constantine ,,vii4 ,porphyrogenitus when seven years of age4#ff ,illustration3 ,,plate ,,vii4 7#a7 ,s4 ,,john ,,of ,,the ,,studion4 ,,entablature ,,and ,,anta ,,capital ,,in ,,the ,,narthex4 7#b7 ,s4 ,,john ,,of ,,the ,,studion4 ,,cornice ,,in ,,the ,,narthex1 ,,looking ,,up4 ,to face page #dd4 ,several emperors sought the shelter of the ,studion as a refuge from danger1 or as a retreat from the vanity of the world4 ,thither1 in #ajda1 ,michael ,v4 and his uncle ,constantine fled from the popular fury excited by their deposition of the ,empress ,zoe and the slaughter of three thousand persons in the defence of the palace4 ,the two fugitives made for the monastery by boat1 and betook themselves to the church for sanctuary4 ,but as soon as the place of their concealment became known1 an angry crowd forced a way into the building to wreak vengeance upon them1 and created a scene of which ,psellus has left us a graphic account4 ,upon hearing the news of what was going on1 he and an officer of the imperial guard mounted horse and galloped to the ,studion4 ,a fierce mob was madly attempting to pull down the structure1 and it was with the utmost difficulty that the two friends managed to enter the church and make their way to the altar4 ,the building seemed full of wild animals1 glaring with eyes on fire at their victims1 and making the air resound with the most terrible cries4 ,michael was on his knees clasping the holy table2 ,constantine stood on the right2 both were dressed like monks1 and their features were so transformed by terror as to be almost beyond recognition4 ,the spectacle of greatness thus brought low was so pathetic that ,psellus burst into tears and sobbed aloud4 ,but the crowd only grew more fierce1 and drew nearer and nearer to the fugitives as though to rend them in pieces4 ,only a superstitious dread restrained it from laying hands upon them in a shrine so sacred and venerated4 ,the uproar lasted for hours1 the mob content meanwhile with striking terror and making flight impossible4 ,at length1 late in the afternoon1 the prefect of the city appeared upon the scene1 accompanied by soldiers and followed by large crowds of citizens4 ,he came with instructions to bring ,michael and ,constantine out of the church4 ,in vain did he try the effect of mild words and promises of a gentle fate4 ,the fallen emperor and his uncle clung to the altar more desperately4 ,the prefect then gave orders that the two wretched men should be dragged forth by main force4 ,they gripped the altar yet more tightly1 and in piteous tones invoked the aid of all the eikons in the building4 ,the scene became so heartrending that most of the spectators interfered on behalf of the victims of misfortune1 and only by giving solemn assurance that they would not be put to death was the prefect allowed to proceed to their arrest4 ,michael and ,constantine were then dragged by the feet as far as the ,sigma1 above ,s4 ,mary ,peribleptos 7,soulou ,monastir71 and after having their eyes burnt out were banished to different monasteries1 to muse on the vanity of human greatness and repent of their misdeeds4#fg ,the ,studion appears in the final rupture of the ,eastern and ,western ,churches4#fh ,the immediate occasion was a letter sent by the ,archbishop of ,achrida1 in #ajec1 to the ,bishop of ,trani1 condemning the ,church of ,rome for the use of unleavened bread in the administration of the ,holy ,communion1 and for allowing a fast on ,saturday4 ,nicetas ,stethetos 7,pectoratus71 a member of the ,house renowned for his asceticism1 and for his courage in reproving the scandalous connection of ,constantine ,,ix4 with ,sklerena1 wrote a pamphlet1 in ,latin1 in which1 in addition to the charges against ,rome made by the ,archbishop of ,achrida1 the enforced celibacy of the clergy was denounced4 ,the pamphlet was widely circulated by the ,patriarch ,kerularios1 who wished to bring the dispute between the ,churches to an issue4 ,but the emperor not being prepared to go so far1 invited the ,pope to send three legates to ,constantinople to settle the differences which disturbed the ,christian world4 ,cardinal ,humbert1 one of the legates1 replied to ,nicetas in the most violent language of theological controversy1 and to bring matters to a conclusion an assembly1 which was attended by the ,emperor ,constantine1 his court1 and the ,papal legates1 met at the ,studion on the #bdth of ,june #ajed4 ,a ,greek translation of the pamphlet composed by ,nicetas was then read1 and after the discussion of the subject1 ,nicetas retracted his charges and condemned all opponents of the ,roman ,church4 ,his pamphlet was1 moreover1 thrown into the fire by the emperor's orders1 and on the following day he called upon the ,papal legates1 who were lodged at the palace of the ,peg 7,baloukli71 and was received into the communion of the ,church he had lately denounced4 ,but the patriarch was not so fickle or pliant4 ,he would not yield an iota1 and on the #aeth of ,july #ajed ,cardinal ,humbert laid on the altar of ,s4 ,sophia the bull of excommunication against ,kerularios and all his followers1 which has kept ,western and ,eastern ,christendom divided to this day4 ,when ,michael ,,vii4 7#ajfg-gh7 saw that the tide of popular feeling had turned against him in favour of ,nicephorus ,botoniates1 he meekly retired to this ,house1 declining to purchase a crown with cruelty by calling upon the ,varangian guards to defend his throne with their battle-axes4 ,michael was appointed bishop of ,ephesus1 but after paying one visit to his diocese he returned to ,constantinople and took up his abode in the monastery of ,manuel 7p4 #beg74fi ,to the ,studion1 where he had studied in his youth and which he had embellished1 the ,emperor ,isaac ,comnenus retired1 when pleurisy and the injuries he received while boar-hunting made him realize that he had but a short time to live4 ,in fact1 he survived his abdication for one year only1 but during that period he proved a most exemplary monk1 showing the greatest deference to his abbot1 and besides performing other lowly duties acted as keeper of the monastery gate4 ,how thoroughly he was reconciled to the exchange of a throne for a cell appears in the remark made to his wife1 who had meantime taken the veil at the ,myrelaion1 ',acknowledge that when ,i gave you the crown ,i made you a slave1 and that when ,i took it away ,i set you free4' ,his widow commemorated his death annually at the ,studion1 and on the last occasion surprised the abbot by making a double offering1 saying1 ',i may not live another year1' a presentiment which proved true4 ,according to her dying request1 ,aecatherina was buried in the cemetery of the ,studion1 'as a simple nun1 without any sign to indicate that she was born a ,bulgarian princess and had been a ,roman empress4'#gj ,on the occasion of the triumphal entry of ,michael ,palaeologus into the city in #abfa1 the emperor followed the eikon of the ,theotokos ,hodegetria1 to whom the recovery of the ,empire was attributed1 on foot as far as the ,studion2 and there1 having placed the eikon in the church1 he mounted horse to proceed to ,s4 ,sophia4#ga ,one of the sons of ,sultan ,bajazet was buried at the ,studion4#gb ,the prince had been sent by the ,sultan as a hostage to the ,byzantine ,court1 and being very young attended school in ,constantinople with ,john1 the son of the ,emperor ,manuel4 ,there he acquired a taste for ,greek letters1 and became a convert to the ,christian faith2 but for fear of the ,sultan's displeasure he was long refused permission to be baptized4 ,only when the young man lay at the point of death1 in #adag1 a victim to the plague raging in the city1 was the rite administered1 his schoolmate and friend acting as sponsor4 ,a tombstone from the cemetery of the monastery is built into the ,turkish wall at the north-eastern corner of the church4 ,it bears an epitaph to the following effect3--',in the month of ,september of the year #achg1 fell asleep the servant of ,god1 ,dionysius the ,russian1 on the sixth day of the month4' ,the patrician ,bonus1 who defended the city against the ,avars in #fbg1 while the ,emperor ,heraclius was absent dealing with the ,persians1 was buried at the ,studion4#gc ,on the festival of the ,decapitation of ,s4 ,john the ,baptist1 the emperor attended service at the ,studion in great state4 ,early in the morning the members of the senate assembled therefore at the monastery1 while dignitaries of an inferior rank took their place outside the gate 7,narli ,kapou7 in the city walls below the monastery1 and at the pier at the foot of the steep path that descends from that gate to the shore of the ,sea of ,marmora1 all awaiting the arrival of the imperial barge from the ,great ,palace4 ,both sides of the path were lined by monks of the ,house1 holding lighted tapers1 and as soon as the emperor disembarked1 the officials at the pier and the crowd of monks1 with the abbot at their head1 swinging his silver censer of fragrant smoke1 led the way up to the gate4 ,there a halt was made for the magistri1 patricians1 and omphikialioi 7,greek3 omphikialioi7 to do homage to the sovereign and join the procession1 and then the long train wended its way through the open grounds attached to the monastery 7,greek3 dia tou exaerou71 and through covered passages 7,greek3 dia tn ekeise diabatikn71#gd until it reached the south-eastern end of the narthex 7,greek3 eiserchontai dia tou pros anatolikn dexiou merous tou narthkos74 ,before the entrance at that point1 the emperor put on richly embroidered robes1 lighted tapers1 and then followed the clergy into the church1 to take his stand at the east end of the south aisle4 ,the most important act he performed during the service was to incense the head of ,john the ,baptist enshrined on the right hand of the bema4 ,at the conclusion of the ,office of the day1 he was served by the monks with refreshments under the shade of the trees in the monastery grounds 7,greek3 anadendradion72 and1 after a short rest1 proceeded to his barge with the same ceremonial as attended his arrival1 and returned to the palace4#ge ,illustration3 ,,plate ,,viii4 ,s4 ,,john ,,of ,,the ,,studion1 ,,from ,,the ,,south-,,east4 ,to face page #dh4 ,the church was converted into a mosque in the reign of ,bajazet ,,ii4 7#adha-aeab7 by the ,sultan's equerry1 after whom it is now named4 ,architectural ,features ,the church of ,s4 ,john the ,baptist of the ,studion is a basilica1 and is of special interest because the only surviving example of that type in ,constantinople1 built while the basilica was the dominant form of ecclesiastical architecture in the ,christian world4 ,it has suffered severely since the ,turkish conquest1 especially from the fire which1 in #aghb1 devastated the quarter in which it stands1 and from the fall of its roof1 a few winters ago1 under an unusual weight of snow4 ,still1 what of it remains and the descriptions of its earlier state given by ,gyllius1 ,gerlach1 and other visitors1 enable us to form a fair idea of its original appearance4 ,the recent explorations conducted by the ,russian ,institute at ,constantinople have also added much to our knowledge of the building4 ,it is the oldest church fabric in the city1 and within its precincts we stand amid the surroundings of early ,christian congregations4 ,for1 partly in original forms1 partly in imitations1 we still find here a basilica's characteristic features3 the atrium1 or quadrangular court before the church2 on three of its sides surrounded by cloisters2 in its centre1 the marble phial or fountain1 for the purification of the gathering worshippers2 the narthex1 a pillared porch along the western faade1 where catechumens and penitents1 unworthy to enter the sanctuary itself1 stood afar off2 the interior area divided into nave and aisles by lines of columns2 the semicircular apse at the eastern extremity of the nave for altar and clergy2 and galleries on the other sides of the building to provide ample accommodation for large assemblies of faithful people4 ,,note ,gyllius 7,de ,top4 ,constant4 l4 iv4 c4 #i7 describes the church as follows3 ',quod 7monasterium7 nunc non extat2 aedes extat1 translata in religionem ,mametanam2 in cujus vestibulo sunt quatuor columnae cum trabeatione egregie elaborata2 in interiore parte aedium utrinque columnae sunt septem virides1 nigris maculis velut fragmentis alterius generis lapidum insertis distinctae1 quarum perimeter est sex pedum et sex digitorum4 ,denique earum ratio capitulorum1 epistyliorum opere ,corinthio elaborata1 eadem est quae columnarum vestibuli4 ,supra illas sex existunt totidem columnae in parte aedis superiore4 ,in area aedis ,studianae est cisterna1 cujus lateritias cameras sustinent viginti tres columnae excelsae ,corinthiae4' ,gerlach 7,tagebuch1 p4 #bag2 cf4 pp4 #cei1 #djf7 describes it under the style of the church of ,s4 ,theodore1 for he confounds the monastery of ,studius with that of the ,peribleptos at ,soulou ,monastir3 ',das ist eine sehr hohe und weite ,kirche 7wie die unsern72 hat zwei ,reyhen ,marmel-steiner ,sulen mit ,corinthischen ,knufen 7capitellis71 auff einer jeden ,seiten sieben2 auff deren jeden wieder ein andere ,sule stehet4 ,der ,boden ist mit lauter buntem von ,vgeln und anderen ,thieren gezierten ,marmel auff das schnste gepflstert4' 7,this is a very lofty and broad church 7like our churches74 ,it has two rows of marble columns with ,corinthian capitals1 on either side seven2 over each of which stands again another column4 ,the floor is paved in the most beautiful fashion entirely with variegated marble1 adorned with figures of birds and other animals47 ,choiseul ,gouffier 7,voyage pittoresque en ,grce1 ii4 p4 #dgg71 ,french ambassador to the ,sublime ,porte 7#aggi-ib71 speaks of the church in the following terms3 ',dans l'intrieur sont de chaque ct sept colonnes de vert antique1 surmontes d'une frise de marbre blanc parfaitement sculpte1 qui contient un ordre plus petit et trs bien proportionn avec le premier4 ,je ne sais de quel marbre sont ces secondes colonnes1 parce que les ,turcs qui dfigurent tout ont imagin de les couvrir de chaux4' ,ph4 ,bruun 7,constantinople1 ses sanctuaires et ses reliques au commencement du ,x,ve sicle1 ,odessa1 #ahhc7 identifies with the ,studion one of the churches dedicated to ,s4 ,john1 which ,ruy ,gonzalez de ,clavijo visited in ,constantinople when on his way to the ,court of ,tamerlane4 ,but that church was 'a round church without corners1' 'una quadra redonda sin esquinas1' and had forty-eight columns of verd antique1 'veinte quatro marmoles de jaspe verde1 444 otros veinte quatro marmoles de jaspe verde4' ,what church the ,spanish ambassador had in view1 if his description is correct1 it is impossible to say4 ,no other writer describes such a church in ,constantinople4 ,see the ,note at the end of this chapter for the full text of the ambassador's description4 ,the northern wall of the atrium is original1 as the crosses in brick formed in its brickwork show4 ,the trees which shade the court1 the ,turkish tombstones beneath them1 and the fountain in the centre1 combine to form a very beautiful approach to the church1 and reproduce the general features and atmosphere of its earlier days4 ,the narthex is divided into three bays1 separated by heavy arches4 ,it is covered by a modern wooden roof1 but shows no signs of ever having been vaulted4 ,the centre bay contains in its external wall a beautiful colonnade of four marble columns1 disposed1 to use a classical term1 'in antis4' ,they stand on comparatively poor bases1 but their ,corinthian capitals are exceptionally fine1 showing the richest ,byzantine form of that type of capital4 ,the little birds under the angles of the abaci should not be overlooked4 ,the entablature above the columns1 with its architrave1 frieze1 and cornice1 follows the classic form very closely1 and is enriched in every member4 ,particularly interesting are the birds1 the crosses1 and other figures in the spaces between the modillions and the heavy scroll of the frieze4 ,the drill has been very freely used throughout1 and gives a pleasant sparkle to the work4 ,in the second and fourth intercolumniations there are doorways with moulded jambs1 lintels1 and cornices1 but only the upper parts of these doorways are now left open to serve as windows4 ,the cornice of the entablature returns westwards at its northern and southern ends1 indicating that a colonnade1 with a smaller cornice1 ran along the northern and southern sides of the atrium1 if not also along its western side4 ,the cloisters behind the colonnades1 were connected at their west end with the narthex by two large and elaborately moulded doorways still in position4 ,five doors lead from the narthex into the church2 three opening into the nave1 the others into the aisles4 ,the interior of the church1 now almost a total ruin1 was divided into nave and two aisles by colonnades of seven columns of verd antique marble4 ,but only six of the original columns have survived the injuries which the building has sustained2 the other columns are ,turkish1 and are constructed of wood with painted plaster covering4 ,the colonnades supported an entablature of late ,corinthian type1 which1 as the fall of the ,turkish plaster that once covered it has revealed1 had the same moulding as the entablature in the narthex4 ,the architrave was in three faces1 with a small bead ornament to the upper two1 and finished above with a small projecting moulding4 ,the frieze was an ogee1 bellied in the lower part4 ,of the cornice only the bed mould1 carved with a leaf and tongue1 remains4 ,above each colonnade stood another range of seven#gf columns connected1 probably1 by arches4 ,along the northern1 southern1 and western sides of the church were galleries constructed of wood4 ,those to the north and south still exist in a ruined condition1 and many of the stone corbels which supported the beams remain in the walls4 ,only scanty vestiges of the gallery above the narthex can be now distinguished4 ,its western wall1 the original outer wall of the upper part of the church1 has totally disappeared4 ,its eastern arcade has been replaced by the ,turkish wall which constitutes the present outer wall of that part of the church4 ,but beyond either end of that wall are visible1 though built up1 the old openings by which the gallery communicated with its companion galleries2 while to the west of the wall project the ragged ends of the ,byzantine walls which formed the gallery's northern and southern sides4 ,the nave rose probably to a greater height than it does now1 and had a roof at a higher level than the roofing of the aisles4 ,it doubtless resembled the basilican churches at ,salonica1 either with clearstory windows1 as in ,s4 ,demetrius1 or without such windows1 as in ,eski ,juma ,jamissi4 ,illustration3 ,,plate ,,ix4 7#a7 ,s4 ,,john ,,of ,,the ,,studion4 ,,east ,,end4 ,e4 ,m4 ,antoniadi4 7#b7 ,s4 ,,john ,,of ,,the ,,studion1 ,,north ,,side1 ,,east ,,end4 ,to face page #eb4 ,the nave terminates in a large apse1 semicircular within and showing three sides on the exterior4 ,only the lower part is original2 the ,turkish superstructure is lower and on a smaller scale than the ,byzantine portion it has replaced4 ,there are no side chapels4 ,under the bema the ,russian explorers discovered a small cruciform crypt4 ,the large quantity of mosaic cubes found in the church during the recent ,russian excavations proves that the church was decorated with mosaics1 while the remains of iron plugs in the western wall for holding marble slabs show that the building had the customary marble revetment4 ,but what is curious is to find the mortar pressed over the face of the stones1 and broad decorative joints formed by ruled incised lines and colour4 ,mr4 ,w4 ,s4 ,george suggests that this was a temporary decoration executed pending some delay in the covering of the walls with marble4 ,he also thinks that the importance given to the joint in late ,byzantine work and in ,turkish work may be a development from such early treatment of mortar4 ,the floor of the church was paved with pieces of marble arranged in beautiful patterns1 in which figures of animals and scenes from classic mythology were inlaid4 ,gerlach#gg noticed the beauty of the pavement1 and ,salzenberg#gh represents a portion of it in his work on ,s4 ,sophia4 ,but the members of the ,russian ,institute of ,constantinople have had the good fortune to bring the whole pavement to light4 ,a noticeable feature is the number of doors to the church1 as in ,s4 ,irene4 ,besides the five doors already mentioned1 leading into the interior from the narthex1 there is a door at the eastern end of each aisle1 and close to each of these doors is found both in the southern and northern walls of the building an additional door surmounted by a window4 ,the latter doors and their windows have been walled up4 ,the exterior is in two stories1 corresponding to the ground floor and the galleries4 ,it has two ranges of eight large semicircular-headed windows in the northern and southern walls1 some of them modified1 others built up1 since the building became a mosque4 ,the five windows in the gable of the western wall are1 like the wall itself1 ,turkish4 ,pilasters are placed at the angles and at the apse4 ,on the south side of the church is a cistern1 the roof of which rests on twenty-three columns crowned by beautiful ,corinthian capitals4 ,,note ,the full text of the description given of the church of ,s4 ,john1 mentioned by ,ruy ,gonzalez de ,clavijo1 reads as follows3-- la primera parte 7puerta87 de la ,iglesia es muy alta de obra rica1 delante desta puerta est un grand corral y luego al cuerpo de la ,iglesia1 el qual cuerpo es una quadra redonda sin esquinas muy alta1 es cerrada al derredor de tres grandes naves1 que son cubiertas da un cielo ellas y la quadra4 ha en ella siete altares1 el cielo desta quadra naves las pareds es de obra de musayca muy ricamente labrada1 en ello muchas historias1 la quadra est armada sobre veinte quatro marmoles de jaspe verde1 las dichas naves son sobradadas1 los sobrados dellas salen al cuerpo de la ,iglesia1 alli avia otros veinte quatro marmoles de jaspe verde1 il cielo de la quadra las paredes e de obra musayca1 los andamios de las naves salen sobre el cuerpo de la ,iglesia1 alli do avia de aver verjas avia marmoles pequenos de jaspe4#gi ,with the kind help of ,professor ,cossio of ,madrid1 the ,spanish text may be roughly translated as follows3-- ,and the first part 7door87 of the church is very lofty and richly worked4 ,and before this door is a large court beside the body of the church2 and the said body is a round hall without corners 7or angles71 very lofty1 and enclosed round about by three large naves1 which are covered1 they and the hall1 by one roof4 ,and it 7the church7 has in it seven altars2 and the roof of the hall and naves and the walls are of mosaic work very richly wrought1 in which are 7depicted7 many histories4 ,and the 7roof of the7 hall is placed on twenty-four marble columns of green jasper 7verd antique74 ,and the said naves have galleries1 and the galleries open on the body of the church1 and these have other twenty-four marble columns of green jasper2 and the roof of the hall and the walls are of mosaic work4 ,and the elevated walks of the naves open over the body of the church1#hj and where a balustrade should be found there are small marble columns of jasper4 ,outside the church1 adds the ambassador1 was a beautiful chapel dedicated to ,s4 ,mary1 remarkable for its mosaics4 ,illustration3 ,,plate ,x4 ,s4 ,,john ,,of ,,the ,,studion4 ,,cistern4 ,to face page #ea4 ,illustration3 ,,fig4 #ab4 ,illustration3 ,,fig4 #ac4 ,illustration3 ,,figs4 #ad4 ,,and #ae4 ,illustration3 ,,figs4 #af ,,and #ag4 ,illustration3 ,,fig4 #ah4 ,illustration3 ,,fig4 #ai4 #ce ,the ,latin thesis of ,eugenius ,marin1 ,de ,studio coenobio ,constantinopolitano1 ,paris1 #ahig1 is a most useful work4 #cf ,gyllius1 ,de top4 ,c4,p4 p4 #cac4 #cg ,itinraires russes en ,orient1 p4 #cjf1 traduits pour la ,socit de l',orient ,latin par ,mdme4 ,b4 de ,khitrovo4 #ch ,ibid4 p4 #bca4 ,for all questions concerning the walls of the city ,i refer1 once for all1 to my work1 ,byzantine ,constantinople3 the ,walls and adjoining ,historical ,sites1 published in #ahhi by ,john ,murray1 ,london4 #ci ,paschal ,chronicle1 p4 #gbf4 #dj ,constantine ,porphyrogenitus1 ,de ceremoniis1 pp4 #dfb-c4 #da ,p4 #age4 ,but according to ,epigram #d in the ,anthologia ,graeca epigrammatum 7,stadt-,mueller1 #ahid7 ,studius became consul after the erection of the church and as a reward for its erection4 ,under the heading ,greek3 eis ton naon tou ,prodromou en tois ,stoudiou it says ,greek3 touton ,iann1 ,christou megal theraponti1 ,stoudios aglaon oikon edeimato4 karpalims de tn kamn heureto misthon heln hypatida rhabdon4 ,in ,suidas is a similar epigram in honour of the erection by ,studius of another church2 ,greek3 tou archistratgou ,nakleias in ,phrygia4 #db ,theodori ,studitae vita1 ,migne1 ,patrologia ,graeca1 tome #ii4 #dc ,pasch4 ,chron4 p4 #eia4 #dd ,banduri1 i4 p4 #ed4 ,in the recent excavations carried on in the ,studion by the ,russian ,archaeological ,institute of ,constantinople1 the foundations of an earlier building were discovered below the floor of the church4 ,the line of the foundations ran through the church from north-east to south-west1 parallel to the wall of the cistern to the south-west of the church4 ,perhaps it is too soon to determine the character of the earlier building4 #de ,s4,v43 ,greek3 h tn ,stouditn mon proteron kai katholiks ekklsias n1 hysteron de metlthen eis monn4 ,the reading is doubtful4 ,a proposed emendation is1 ,greek3 tn katholikn ekklsia n4 #df ,codinus1 ,de aed4 p4 #ajb4 #dg ,theophanes1 pp4 #ahg1 #bah2 ,evagrius1 cc4 #ah1 #ai1 #ba4 ,in the list of the abbots who subscribed one of the documents connected with the ,synod held at ,constantinople in #ecf1 the two establishments are clearly distinguished4 ,they are distinguished also by ,antony of ,novgorod in #abjj1 ,itin4 russes1 pp4 #ig1 #ajj4 #dh ,seylitzes1 p4 #fej4 #di ,nicephorus ,bryennius1 p4 #aha4 #ej ,cedrenus1 ii4 p4 #fej4 #ea ,nicephorus ,gregoras1 i4 p4 #aij2 ,stephen of ,novgorod1 who saw the church in #acej1 refers to its 'very lofty roof1' ,itin4 russes1 p4 #abc4 #eb ,theoph4 p4 #gdg2 ,life of ,s4 ,theodore1 ,migne1 ,p4,g4 tome #ii4 #ec ,the modern ,touzla at the northern head of the gulf of ,nicomedia4 ,see the articles by ,mr4 ,siderides and ,mr4 ,meliopoulos in the ,proceedings of the ,greek ,syllogos of ,constantinople1 vol4 xxxi41 #aijg-h4 #ed ,the ,english reader should consult the ,life of ,theodore of ,studium1 by ,miss ,alice ,gardner1 for an excellent presentation of the man and his work4 #ee ,according to ,stephen of ,novgorod 7,itin4 russes1 p4 #aba7 the refectory was an unusually fine hall1 situated near the sea4 #ef ,at a short distance beyond the north-eastern end of the church are some ruined vaults which the ,turks have named ,kietab ,han1 the library4 ,see ,plate ,,iii4 #eg ,for the ,constitution and ,epitamia of the ,studion1 see ,migne1 ,p4,g4 tome #ii4 #eh ,itin4 russes1 p4 #acf4 #ei ,ibid4 p4 #abb 'on envoyait beaucoup de livres de ce couvent en ,russie1 des rglements1 des triodions et autres livres4' ,many members of the ,studion were ,russians4 #fj ,marin1 ,de ,studio1 p4 #aa4 ,see ,marin1 ,les ,moines de ,constantinople1 for the monastic institutions of the city in general4 #fa ,cedren4 ii4 p4 #adg4 #fb ,ibid4 p4 #bab4 #fc ,ibid4 p4 #dgi4 #fd ,acta et diplomata patriarchatus ,constantinop4 t4 ii4 p4 #ab ,greek3 en tais hierais te kai synodikais syneleusesi2 prton men gar pantn ton archimandritn tn ,stoudiou kai ho chronos katestse kai to dikaion auto4 #fe ,theoph4 ,cont4 p4 #cfb4 #ff ,ibid4 p4 #chd4 #fg ,glycas1 p4 #eib2 ,cedrenus1 ii4 p4 #eci2 ,psellus1 pp4 #hg-ic2 ,byzantine ,texts1 edited by ,prof4 ,bury2 cf4 ,schlumberger1 pope byzantine la fin du dixime sicle1 p4 #cgb4 #fh ,see ,cedrenus1 ii4 p4 #eee2 ,will1 ,commemoratio brevis1 p4 #aej2 ,schlumberger1 op4 cit4 chapitre viii4 #fi ,attaliotes1 pp4 #cjd1 #cjf2 ,glycas1 p4 #fag2 ,scylitzes1 pp4 #gch-ci4 #gj ,scylitzes1 pp4 #fdi-ea2 ,bryennius1 p4 #bj4 #ga ,acropolita1 p4 #aig4 #gb ,ducas1 p4 #ii ,greek3 plsion tou naou entos ts pyls4 #gc ,pasch4 ,chron4 pp4 #gbf-bg4 #gd ,mr4 ,pantchenko of the ,russian ,institute at ,constantinople has found evidence that cloisters stood along the east and south sides of the great cistern to the south-west of the church4 #ge ,constant4 ,porphyr4 ,de cer4 ii4 pp4 #efb-c4 #gf ,gyllius says six4 #gg ,see passage from his ,tagebuch quoted on page #ej4 #gh ,altchristliche ,baudenkmler von ,konstantinopel1 ,blatt iv4 #gi ,vida del ,gran ,tamorlan y itinerario1 pp4 #ee-ef 7,madrid1 #aghb74 #hj ,i4e4 ,from the elevated floors of the galleries one could look over the church4 ,,chapter ,,iii ,,the ,,church ,,of ,,ss4 ,,sergius ,,and ,,bacchus1 ,,kutchuk ,,aya ,,sofia ,on the level tract beside the ,sea of ,marmora1 to the south of the ,hippodrome1 and a few paces to the north-west of ,tchatlady ,kapou1 stands the ancient church of ,,ss4 ,sergius and ,bacchus4 ,it is commonly known as the mosque ,kutchuk ,aya ,sofia1 ,little ,s4 ,sophia1 to denote at once its likeness and its unlikeness to the great church of that name4 ,it can be reached by either of the two streets descending from the ,hippodrome to the sea1 or by taking train to ,koum ,kapou1 and then walking eastwards for a short distance along the railroad4 ,there can be no doubt in regard to its identity4 ,for the inscription on the entablature of the lower colonnade in the church proclaims the building to be a sanctuary erected by the ,emperor ,justinian and his ,empress ,theodora to the honour of the martyr ,sergius4 ,the building stands1 moreover1 as ,,ss4 ,sergius and ,bacchus stood1 close to the site of the palace and the harbour of ,hormisdas4#ha ,when ,gyllius visited the city the ,greek community still spoke of the building as the church of ,,ss4 ,sergius and ,bacchus--',templum ,sergii et ,bacchi adhuc superest1 cujus nomen duntaxat ,graeci etiam nunc retinent4'#hb ,illustration3 ,,plate ,,xi4 ,,ss4 ,,sergius ,,and ,,bacchus4 ,,interior1 ,,looking ,,north-,,west4 ,to face page #fb4 ,the foundations of the church were laid in #ebg1 the year of ,justinian's accession1#hc and its erection must have been completed before #ecf1 since it is mentioned in the proceedings of the ,synod held at ,constantinople in that year4#hd ,according to the ,anonymus1 indeed1 the church and the neighbouring church of ,,ss4 ,peter and ,paul were founded after the massacre in the ,hippodrome which suppressed the ,nika ,riot4 ,but the ,anonymus is not a reliable historian4#he ,the church did not stand alone4 ,beside it and united with it1 ,justinian built also a church dedicated to the ,apostles ,peter and ,paul1#hf so that the two buildings formed a double sanctuary1 having a common court and a continuous narthex4 ,they were equal in size and in the richness of the materials employed in their construction1 and together formed one of the chief ornaments of the palace and the city4 ,there was1 however1 one striking difference between them2 ,,ss4 ,sergius and ,bacchus was a domical church1 while ,,ss4 ,peter and ,paul was a basilica4 ,styles of ecclesiastical architecture destined soon to blend together in the grandeur and beauty of ,s4 ,sophia were here seen converging towards the point of their union1 like two streams about to mingle their waters in a common tide4 ,a similar combination of these styles occurs at ,kalat-,semn in the church of ,s4 ,symeon ,stylites1 erected towards the end of the fifth century1 where four basilicas forming the arms of a cross are built on four sides of an octagonal court4#hg ,the saints to whom the church was dedicated were brother officers in the ,roman army1 who suffered death in the reign of ,maximianus1#hh and ,justinian's particular veneration for them was due1 it is said1 to their interposition in his behalf at a critical moment in his career4 ,having been implicated1 along with his uncle1 afterwards ,justin ,i41 in a plot against the ,emperor ,anastasius1 he lay under sentence of death for high treason2 but on the eve of his execution1 a formidable figure1 as some authorities maintain1#hi or as others affirm1 the saints ,sergius and ,bacchus1 appeared to the sovereign in a vision and commanded him to spare the conspirators4 ,thus ,justinian lived to reach the throne1 and when the full significance of his preservation from death became clear in the lustre of the imperial diadem1 he made his deliverers the object of his devout regard4 ,indeed1 in his devotion to them he erected other sanctuaries to their honour also in other places of the ,empire4#ij ,still this church1 founded early in his reign1 situated beside his residence while heir-apparent1 and at the gates of the ,great ,palace1 and withal a gem of art1 must be considered as ,justinian's special thankoffering for his crown4 ,with the church of ,,ss4 ,sergius and ,bacchus was associated a large monastery known1 after the locality in which it stood1 as the monastery of ,hormisdas1 ,greek3 en tois ,hormisdou4 ,it was richly endowed by ,justinian4#ia ,,note ,there is some obscurity in regard to the church of ,,ss4 ,peter and ,paul4 ,according to ,theophanes1#ib the first church in ,constantinople built in honour of those apostles was built at the suggestion of a ,roman senator ,festus1 who on visiting the eastern capital1 in #dii1 was astonished to find no sanctuary there dedicated to saints so eminent in ,christian history1 and so highly venerated by the ,church of the ,west4 ,as appears from a letter addressed in #eai to ,pope ,hormisdas by the papal representative at the court of ,constantinople1 a church of that dedication had been recently erected by ,justinian while holding the office of ,comes ,domesticorum under his uncle ,justin ,i4 ',your son1' says the writer1 'the magnificent ,justinian1 acting as becomes his faith1 has erected a basilica of the ,holy ,apostles1 in which he wishes relics of the martyr ,s4 ,laurentius should be placed4' ',filius vester magnificus vir ,justinianus1 res convenientes fidei suae faciens1 basilicam sanctorum ,apostolorum in qua desiderat ,sancti ,laurentii martyris reliquias esse1 constituit4'#ic ,we have also a letter to the ,pope from ,justinian himself1 in which the writer1 in order to glorify the basilica which he had built in honour of the apostles in his palace1 begs for some links of the chains which had bound the apostles ,peter and ,paul1 and for a portion of the gridiron upon which ,s4 ,laurentius was burnt to death4#id ,the request was readily granted in the same year4 ,the description of the basilica1 as situated in the palace then occupied by ,justinian1 leaves no room for doubt that the sanctuary to which the letters just quoted refer was the church of ,,ss4 ,peter and ,paul which ,procopius describes as near 7,greek3 para7 the palace of ,hormisdas4 ,in that case the church of ,,ss4 ,peter and ,paul was built before the church of ,,ss4 ,sergius and ,bacchus1 for the inscription on the entablature in the latter church1 not to mention ,cedrenus1 distinctly assigns the building to the time when ,justinian and ,theodora occupied the throne4 ,this agrees with the fact that ,procopius#ie records the foundation of ,,ss4 ,peter and ,paul before that of ,,ss4 ,sergius and ,bacchus1 and if this were all he did the matter would be clear4 ,but1 unfortunately1 this is not all ,procopius has done4 ,for after recording the erection of ,,ss4 ,sergius and ,bacchus1 he proceeds to say that ,justinian subsequently 7,greek3 epeita7 joined another 7,greek3 allo7 church1#if a basilica1 to the sanctuary dedicated to those martyrs1 thus leaving upon the reader's mind the impression that the basilica was a later construction4 ,to whom that basilica was consecrated ,procopius does not say4 ,was that basilica the church of ,,ss4 ,peter and ,paul which ,procopius mentioned before recording the erection of ,,ss4 ,sergius and ,bacchus8 ,is he speaking of two or of three churches8 ,the reply to this question must take into account two facts as beyond dispute3 first1 that the church of ,,ss4 ,peter and ,paul1 as the letters cited above make clear1 was earlier than the church of ,,ss4 ,sergius and ,bacchus2 secondly1 that the basilica united to the latter sanctuary was dedicated to the two great apostles2 for scenes which1 according to one authority1#ig occurred in ,s4 ,peter's took place1 according to another authority1#ih in the church of ,,ss4 ,sergius and ,bacchus4 ,in the face of these facts1 ,procopius is either mistaken in regard to the relative age of the two sanctuaries1 or he has not expressed his meaning as clearly as he might have done4 ,to suppose that two sanctuaries dedicated to the great apostles were built by ,justinian within a short time of each other in the same district1 one within the palace1 the other outside the palace1 is a very improbable hypothesis4 ,the question on which side of ,,ss4 ,sergius and ,bacchus the basilica of ,,ss4 ,peter and ,paul stood1 seems decided by the fact that there is more room for a second building on the north than on the south of ,kutchuk ,agia ,sofia4 ,furthermore1 there are traces of openings in the north wall of the church which could serve as means of communication between the two adjoining buildings4 ,ebersolt1 however1 places ,,ss4 ,peter and ,paul on the south side of ,,ss4 ,sergius and ,bacchus4#ii ,a remarkable scene was witnessed in the church in the course of the controversy which raged around the writings known in ecclesiastical history as ',the ,three ,chapters1' the work of three theologians tainted1 it was alleged1 with the heretical opinions of ,nestorius4 ,justinian associated himself with the party which condemned those writings1 and prevailed upon the majority of the bishops in the ,east to subscribe the imperial decree to that effect4 ,but ,vigilius1 the ,pope of the day1 and the bishops in the ,west1 dissented from that judgment1 because the authors of the writings in question had been acquitted from the charge of heresy by the ,council of ,chalcedon4 ,to condemn them after that acquittal was to censure the ,council and reflect upon its authority4 ,under these circumstances ,justinian summoned ,vigilius to ,constantinople in the hope of winning him over by the blandishments or the terrors of the court of ,new ,rome4 ,vigilius reached the city on the #beth of ,january #edg1 and was detained in the ,east for seven years in connection with the settlement of the dispute4 ,he found to his cost that to decide an intricate theological question1 and above all to assert 'the authority of ,s4 ,peter vested in him' against an imperious sovereign and the jealousy of ,eastern ,christendom1 was no slight undertaking4 ,pope and ,emperor soon came into violent collision1 and fearing the consequences ,vigilius sought sanctuary in the church of ,s4 ,peter#ajj as he styles it1 but which ,byzantine writers#aja who record the scene name ,s4 ,sergius4 ,illustration3 ,,plate ,,xii4 7#a7 ,,ss4 ,,sergius ,,and ,,bacchus4 ,,capital4 7#b7 ,s4 ,,john ,,of ,,the ,,studion4 ,,capital ,,in ,,the ,,narthex4 ,to face page #ff4 ,justinian was not the man to stand the affront4 ,he ordered the praetor of the city to arrest the ,pope and conduct him to prison4 ,but when that officer appeared1 ,vigilius grasped the pillars of the altar and refused to surrender4 ,thereupon the praetor ordered his men to drag the ,pope out by main force4 ,seizing ,vigilius by his feet1 holding him by his beard and the hair of his head1 the men pulled with all their might1 but they had to deal with a powerful man1 and he clung fast to the altar with an iron grip4 ,in this tug-of-war the altar at length came crashing to the ground1 the ,pope's strong hands still holding it tight4 ,at this point1 however1 the indignation and sympathy of the spectators could not be restrained2 the assailants of the prostrate prelate were put to flight1 and he was left master of the situation4 ,next day a deputation1 including ,belisarius and ,justin1 the heir-apparent1 waited upon ,vigilius1 and in the emperor's name assured him that resistance to the imperial will was useless1 while compliance with it would save him from further ill-treatment4 ,yielding to the counsels of prudence1 the ,pope returned to the palace of ,placidia1#ajb the residence assigned to him during his stay in the capital4 ,probably at this time arose the custom of placing the churches of ,,ss4 ,peter and ,paul1 and ,,ss4 ,sergius and ,bacchus at the service of the ,latin clergy in ,constantinople1 especially when a representative of the ,pope1 or the ,pope himself1 visited the city4 ,the fact that the church was dedicated to apostles closely associated with ,rome and held in highest honour there1 would make it a sanctuary peculiarly acceptable to clergy from ,western ,europe4 ,this1 however1 did not confer upon ,roman priests an exclusive right to the use of the building1 and the custom of allowing them to officiate there was often more conspicuous in the breach than in the observance4 ,still the ,roman ,see always claimed the use of the church1 for in the letter addressed in #hhj by ,pope ,julius ,,viii4 to ,basil ,i41 that emperor is thanked for permitting ,roman clergy to officiate again in ,,ss4 ,sergius and ,bacchus according to ancient custom3 'monasterium ,sancti ,sergii intra vestram regiam urbem constitutum1 quod sancta ,romana ,ecclesia jure proprio quondam retinuit1 divina inspiratione repleti pro honore ,principis ,apostolorum nostro praesulatui reddidistis4'#ajc ,the most distinguished hegoumenos of the monastery was ,john ,hylilas1 better known1 on account of his learning1 as the ,grammarian1 and nicknamed ,lecanomantis1 the ,basin-,diviner1 because versed in the art of divination by means of a basin of polished brass4 ,he belonged to a noble family of ,armenian extraction1 and became prominent during the reigns of ,leo ,v41 ,michael ,,ii41 and ,theophilus as a determined iconoclast4 ,his enemies styled him ,jannes1 after one of the magicians who withstood ,moses1 to denote his character as a sorcerer and an opponent of the truth4 ,having occasion1 when conducting service in the imperial chapel to read the lesson in which the prophet ,isaiah taunts idolaters with the question1 ',to whom then will ye liken ,god1 or to what likeness will ye compare him8' ,john1 it is said1 turned to ,leo ,v41 and whispered the significant comment1 ',hearest thou1 my lord1 the words of the prophet8 ,they give thee counsel4' ,he was a member of the ,commission charged by that emperor to collect passages from the ,holy ,scriptures and the ,fathers of the ,church that condemned the use of images in worship4 ,prominent iconodules were interned in the monastery of ,hormisdas in the hope that he would turn them from the error of their ways by his arguments and influence4 ,he directed the education of ,theophilus and supported the iconoclastic policy pursued by that pupil when upon the throne4 ,theophilus appointed his tutor syncellus to the ,patriarch ,antony1 employed him in diplomatic missions1#ajd and finally1 upon the death of ,antony1 created him patriarch4 ,the name of ,john can still be deciphered under somewhat curious circumstances1 in the litany which is inscribed on the bronze doors of the ,beautiful ,gate at the south end of the inner narthex of ,s4 ,sophia4 ,when those doors were set up in #hch1 ,theophilus and his empress had no son1 and accordingly1 in the threefold prayer inscribed upon the doors1 the name of ,john was associated with the names of the sovereigns as a mark of gratitude and esteem4 ,but in the course of time a little prince1 to be known in history as ,michael ,,iii41 was born and proclaimed the colleague of his parents4 ,it then became necessary to insert the name of the imperial infant in the litany graven on the ,beautiful ,gate of the ,great ,church1 and to indicate the date of his accession4 ,to add another name to the list of names already there was1 however1 impossible for lack of room2 nor1 even had there been room1 could the name of an emperor follow that of a subject1 though that subject was a patriarch4 ,the only way out of the difficulty1 therefore1 was to erase ,john's name1 and to substitute the name of the little prince with the date of his coming to the throne2 the lesser light must pale before the greater4 ,this was done1 but the bronze proved too stubborn to yield completely to the wishes of courtiers1 and underneath ,michael's name has kept fast hold of the name ,john to this day4 ,the original date on the gate also remains in spite of the attempt to obliterate it4 ,,ss4 ,sergius and ,bacchus was one of the sanctuaries of the city to which the emperor paid an annual visit in state4#aje ,upon his arrival at the church he proceeded to the gallery and lighted tapers at an oratory which stood in the western part of the gallery1 immediately above the ,royal ,gates1 or principal entrance to the church4 ,he went next to the chapel dedicated to the ,theotokos1 also in the gallery1 and after attending to his private devotions there1 took his place in the parakypticon 7,greek3 en t parakyptik tou thysiastriou71 at the north-eastern or south-eastern end of the gallery1 whence he could overlook the bema and follow the public service at the altar4#ajf ,in due course the ,communion elements were brought and administered to him in the chapel of the ,theotokos2 he then retired to the metatorion 7a portion of the gallery screened off with curtains71 while the members of his suite also partook of the ,communion in that chapel4 ,at the close of the service he and his guests partook of some light refreshments1 biscuits and wine1 in a part of the gallery fitted up for that purpose1 and thereafter returned to the palace4 ,architectural ,features ,in the description of the architectural features of the church and for the plans and most of the illustrations in this chapter ,i am under deep obligation to ,mr4 ,a4 ,e4 ,henderson1 ,f4,s4,a4 ,the information gained from him in my frequent visits to the church in his company1 and from his masterly article on the church which appeared in the ,builder of ,january #aijf1 has been invaluable4 ,in design the church is an octagonal building roofed with a dome and enclosed by a rectangle1 with a narthex along the west side4 ,this was a favourite type of ecclesiastical architecture1 and is seen also in another church of the same period1 ,san ,vitale of ,ravenna1 in which ,justinian and ,theodora were interested4 ,there1 however1 the octagonal interior is placed within an octagonal enclosure4 ,the adoption of a rectangular exterior in the ,constantinopolitan sanctuary is a characteristic ,byzantine feature4#ajg ,s4 ,vitale was founded in #ebf1 a year before ,,ss4 ,sergius and ,bacchus4 ,illustration3 ,,plate ,,xiii4 7#a7 ,,ss4 ,,sergius ,,and ,,bacchus4 ,,from ,,the ,,south-,,east4 7#b7 ,,ss4 ,,sergius ,,and ,,bacchus4 ,,in ,,the ,,gallery ,,over ,,the ,,narthex4 ,to face page #gj4 ,as an examination of the plan will show1 the architect's design has not been followed with strict accuracy1 and the result is that both the enclosing square and the interior octagon are very irregular figures4 ,furthermore1 the two portions of the building have not the same orientation1 so that the octagon stands askew within its rectangular frame4 ,how this lack of symmetry should be explained1 whether due to sloven work or the result of the effort to adapt the church to the lines of the earlier church of ,,ss4 ,peter and ,paul1 with which it was united1 is difficult to decide4 ,the court which stands before the ,turkish portico in front of the west side of the building represents the old atrium of the church1 and to the rear of the portico is still found the ancient narthex4 ,at the south end of the narthex is a stone staircase leading to the gallery4 ,the arch at the foot of the staircase is built of fragments from the old ciborium or eikonostasis of the church4 ,the great height 7#j4bd metre or #i inches7 of the steps is found1 according to ,mr4 ,antoniadi1 also in ,s4 ,sophia4 ,the exterior walls1 which are mostly in brick and rubble masonry1 exhibit poor workmanship1 and have undergone considerable repair1 especially on the east4 ,on the south there are two thicknesses of walling4 ,the outer thickness has arched recesses at intervals along its length1 corresponding to openings in the inner thickness1 and thus while buttressing the latter also enlarges slightly the area of the church4 ,the length of the rectangular enclosure from west to east is #aja feet1 with an average breadth of #ggb-a_/b feet from north to south1 excluding the recesses in the latter direction4 ,all the windows of the church have been altered by ,turkish hands1 and are rectangular instead of showing semicircular heads4 ,the passage intervening between the rectangular enclosure and the octagon is divided into two stories1 thus providing the church with an ambulatory below and a gallery above4 ,the domed octagon which forms the core of the building stands at a distance of some #ah-a_/b feet from the rectangle within which it is placed4 ,it measures #ec-a_/b feet by #ej-a_/b feet4 ,the eight piers at its angles rise to a height of #cc-a_/b feet from the floor to the springing of the dome arches4 ,the archways thus formed1 except the bema arch1 are filled in with two pairs of columns in two stories set on the outer plane of the piers4 ,the lower colonnade is surmounted1 after the classic fashion1 by a horizontal entablature profusely carved while the upper columns are bound by arches1 thus making seven sides of the octagon a beautiful open screen of fourteen columns and as many triple arcades1 resplendent with marbles of various hues and rich with carved work4 ,the mass of the piers is relieved by their polygonal form1 a fluted cymatium along their summit1 and a repeating design of a flower between two broad leaves below the entablature4 ,though the flower points upwards it has been mistaken for a cluster of grapes4#ajh ,at the four diagonal points the sides of the octagon are semicircular1 forming exhedrae1 an arrangement which gives variety to the lines of the figure1 widens the central area1 secures more frontage for the gallery1 and helps to buttress the dome4 ,the same feature appears in ,s4 ,sophia1 whereas in ,san ,vitale all the sides of the octagon1 excepting the eastern side1 are semicircular4 ,the extension of the interior area of a building 7square or octagonal7 by means of niches at the angles or in the sides1 or both at the angles and in the sides1 was a common practice4#aji ,there is considerable difference in the size of the piers and the dome arches4 ,the eastern piers stand farther apart than their companions1 and consequently the arch over them1 the triumphal arch of the sanctuary1 is wider and loftier than the other arches4 ,the bays to the north-east and the south-east are also wider than the bays at the opposite angles4 ,the apse is semicircular within1 and shows three sides on the exterior4 ,as in ,s4 ,sophia and ,s4 ,irene1 there is no prothesis or diaconicon4 ,the pairs of columns1 both below and above1 are alternately verd antique and red ,synnada marble1 resting on bases of the blue-veined white marble from the island of ,marmora4 ,the capitals on the lower order are of the beautiful type known as the 'melon capital1' a form found also in ,san ,vitale at ,ravenna and in the porch of ,s4 ,theodore in ,constantinople 7p4 #bdf74 ,the neckings are worked with the capitals1 and enriched by 'egg-and-dart' pointing upwards4 ,in the centre of the capitals was carved the monogram of ,justinian or that of ,theodora4 ,most of the monograms have been effaced1 but the name of the empress still appears on the capital of the western column in the south bay1 while that of ,justinian is found on the first capital in the south-western bay2 on both capitals in the north-western bay1 accompanied by the title ,basileus2 and1 partially1 on the last capital in the north-eastern bay4 ,in the soffit of the architrave are sunk panels of various patterns1 the six-armed cross occurring twice4 ,the beadings of the fasciae are enriched with the designs commonly known as 'rope1' 'bead-and-reel1' 'egg-and-dart1' and again 'bead-and-reel4' ,the frieze is in two heights4 ,the lower portion is a semicircular pulvinar adorned with acanthus leaves1 deeply undercut2 the upper portion is occupied by a long inscription in raised ornamental letters to the honour of ,justinian1 ,theodora1 and ,s4 ,sergius4 ,the cornice is decorated with dentils1 'bead-and-reel1' projecting consols1 'egg-and-dart1' and leaves of acanthus4 ,the inscription 7,fig4 #bj7 may be rendered thus3 ,other sovereigns1 indeed1 have honoured dead men whose labour was useless4 ,but our sceptred ,justinian1 fostering piety1 honours with a splendid abode the servant of ,christ1 ,creator of all things1 ,sergius2 whom nor the burning breath of fire1 nor the sword1 nor other constraints of trials disturbed2 but who endured for the sake of ,god ,christ to be slain1 gaining by his blood heaven as his home4 ,may he in all things guard the rule of the ever-vigilant sovereign1 and increase the power of the ,god-crowned ,theodora whose mind is bright with piety1 whose toil ever is unsparing efforts to nourish the destitute4 ,the inscription is not mere flattery to the founders of the church4 ,justinian and ,theodora were devout after the fashion of their day1 and took a deep interest in the poor4 ,the empress erected an asylum for fallen women1 hostels for strangers1 hospitals for the sick1 and homes for the destitute4 ',on the splendid piece of tapestry embroidered in gold which formed the altar cloth of ,s4 ,sophia1 she was represented with ,justinian as visiting hospitals and churches4'#aaj ,illustration3 ,,fig4 #bj4 ,,inscription ,,on ,,the ,,frieze4 ,to the rear of the southern straight side of the octagon two columns stand under the gallery1 with wide fillets worked on both sides of their bases1 shafts1 and capitals1 showing that a frame of stone or wood was once affixed to them4 ,the capitals are of the ordinary cushion type and bear on opposite faces the monograms ,justinian1 ,basileus4 ,illustration3 ,,plate ,,xiv4 7#a7 ,,ss4 ,,sergius ,,and ,,bacchus4 ,,the ,,interior1 ,,looking ,,north-,,east4 7#b7 ,,ss4 ,,sergius ,,and ,,bacchus4 ,,portion ,,of ,,the ,,entablature4 ,to face page #gd4 ,two feet above the cornice1 or twenty feet from the floor of the church1 the level of the gallery is reached4#aaa ,here the columns are smaller than those below1 and are bound together by arches instead of by an architrave4 ,their capitals represent the type known as the ',pseudo-,ionic' or cushion capital1 in view of its broad head4 ,it appears appropriately here as the form of capital required to carry the impost of an arch upon a capital4 ,at one time1 indeed1 that demand was met by placing upon the capital a distinct block of stone1 a fragment1 so to speak1 of the horizontal architrave4 ,it is the device adopted in ,san ,vitale at ,ravenna1 ,s4 ,demetrius of ,salonica1 and elsewhere1 but never it would seem in ,constantinople1 except in the underground cisterns of the city4 ,it was1 however1 too inartistic to endure1 and eventually was superseded by capitals with a broad flattened head on which the wide impost of an arch could rest securely4#aab ,a free form of acanthus1 deeply undercut on the face towards the central area of the church1 covers the capitals1 and in the centre of that face1 on all the capitals except the eighth 7counting from the north-east7 is carved the monogram of the title ,basileus1 or of ,justinian1 or of ,theodora4 ,in the south side of the gallery stand two columns corresponding to the two columns in the aisle below4 ,they are poor in design and not original4 ,the western capital is ',pseudo-,ionic1'#aac with a plain cross on the northern face4 ,the eastern capital is in the basket form with roundels on the four faces4 ,two additional columns are found in the western portion of the gallery4 ,they are of verd antique and larger than the other columns in this story of the church1 and have sunk crosses in them4 ,the splendour of the interior decoration has certainly been dimmed1 for the walls of the edifice once gleamed with marbles and glittered with mosaics4 ',by the sheen of its marbles1' says ,procopius1#aad 'it was more resplendent than the sun1 and everywhere it was filled profusely with gold4' ,when ,ferguson examined the building1 remains of frescoes or of mosaics1 which have disappeared since his time1 could be distinguished in the narthex4 ,the soffit1 both of the upper and of the lower cymatium on the piers1 projects sufficiently to admit the application of the customary marble incrustation4 ,the proportions of the building are marred by the boarded floor which rises seventeen centimeters above the original pavement1 disguising the real elevation of the dome and of the columns in the lower colonnade4 ,but notwithstanding all changes for the worse the building is still a beautiful structure4 ,very effective especially is the happy combination of the various lines and forms here brought together--the rectilinear and the semicircular sides of the octagon1 the octagonal fabric and the round dome that crowns it1 the horizontal entablature stretched along the summit of the lower story of columns and the arches that leap from column to column in the gallery4 ,this harmonious variety of form has also a historical significance4 ,an old order in architecture and a new order here meet and embrace before the earlier1 having served its age1 passes away and the later comes triumphant to fill another era of the world with fresh beauties4 ,here in the tide of time we look before and after4 ,to the student of architecture the dome of this church is specially interesting4 ,in the application of the dome to the octagon no pendentives are employed4 ,the octagon is carried up to the base of the dome1 which is built in sixteen longitudinal compartments that impinge upon one another and form groins giving to the dome its strength and sweep4 ,on the groins is a plaster moulding1 probably ,byzantine4 ,the eight compartments directly above the dome arches are flat1 and flush with the inner face of the octagon1 and in each of them is a semicircular-headed window4 ,they rise perpendicular to a point a little above the windows1 and then curve with a radius to the centre of the dome4 ,illustration3 ,,plate ,,xv4 ,,the ,,baptistery1 ,s4 ,,sophia1 ,,from ,,the ,,east4 ,,the ,,baptistery1 ,s4 ,,sophia4 ,,the ,,interior1 ,,looking ,,west4 ,to face page #gf4 ,illustration3 ,,fig4 #ba4--,,view ,,of ,,the ,,exterior ,,of ,,the ,,dome ,,of ,,ss4 ,,sergius ,,and ,,bacchus4 ,on the other hand the eight compartments directly above the angles of the octagon are narrower than the preceding compartments2 they have no windows1 and1 what is of special importance to note1 they are deeply concave4#aae ,such marked hollowness is found in later domes as a decorative feature1 but here it is primarily and supremely a constructive device4 ,by its means the concave compartments are set slightly back from the octagon's inner face1 leaving1 at the springing line1 portions of the wall-head to appear as little flat ledges on each side of the angles4 ,this is a most skilful expedient1 and compares favourably with the methods employed elsewhere to apply the dome to the octagon4#aaf ,in the octagonal church of ,s4 ,lorenzo at ,milan the octagon is turned into the circle by the introduction of squinches4 ,in ,san ,vitale a considerable walling is built between the line of the octagon and the springing line of the dome1 while the bed for the dome is formed by introducing1 in the space over the angles of the octagon1 niches which are worked above to the circle on plan4 ,on the other hand1 it is interesting to compare with these methods the method employed in the baptistery of ,s4 ,sophia1 now a ,sultan's ,turb1 near the southern entrance to the inner narthex4 ,although the walls of the building describe a square on the exterior1 they form an octagon on the interior with semicircular bays at the diagonals1 as in ,,ss4 ,sergius and ,bacchus4 ,but in the application of the dome the true pendentive is used4 ,the baptistery was erected shortly before ,s4 ,sophia1 and in view of the erection of the great church4 ,the curvature of the dome of ,,ss4 ,sergius and ,bacchus has three zones1 which have respectively a radius of m4 #h1 7drawn from the centre of the octagon71 m4 #c-a_/d1 and m4 #i-a_/b1 7centre about m4 #b1 below the springing of the dome74 ,the first extends to a point a little above the heads of the dome windows2 the second about m4 #b higher2 the third to the crown of the dome4 ,the groins stop short a little below the dome's apex1 where they are arched into one another1 leaving a saucer-shaped crown now capped by a ,turkish finial4 ,the dome is covered with lead1 and presents an undulating surface owing to the protuberance of its eight concave compartments4#aag ,the system of weighting and buttressing the dome displays great skill1 and will be best understood by studying ,mr4 ,henderson's geometrical and constructive sections of the systems 7,figs4 #bh1 #bi74 ,illustration3 ,,fig4 #bb4--;,,brick ,,stamps ,,in ,,ss4 ,,sergius ,,and ,,bacchus4 7,from rubbings by ,mr4 ,a4 ,e4 ,henderson47 ,at east end of south aisle4 ,in the gallery4 ,illustration3 ,,fig4 #bc4 ,illustration3 ,,fig4 #bd4 ,illustration3 ,,figs4 #be1 #bf1 ,,and #bg4 ,illustration3 ,,fig4 #bh4 ,illustration3 ,,fig4 #bi4 ,illustration3 ,,fig4 #cj4 #ha ,procop4 ,de aed4 i4 c4 #d2 ,banduri1 iii4 p4 #de4 #hb ,de top4 ii4 c4 #ad4 #hc ,cedren4 ii4 pp4 #fdb-dc4 #hd ,mansi1 viii4 col4 #ajaj4 #he ,banduri1 iii4 p4 #de4 ,the church was visited by ,russian pilgrims in #abjj1 #acej1 #acic4--;,itin4 russes1 pp4 #afj1 #abj1 #afd4 #hf ,procop4 ,de aed4 i4 p4 #ahf4 ,s4 ,peter 'near the palace' is mentioned in the list of abbots at the ,synod of ,c4,p4 in #ecf4 ,mansi1 viii4 col4 #icj1 col4 #ici4 ,another document of the same ,synod1 col4 #ajaj1 is signed by ,peter1 hegoumenos of ,,ss4 ,peter and ,paul and of the holy martyrs ,,ss4 ,sergius and ,bacchus4 #hg ,diehl1 ,manuel d'art byzantin1 p4 #ca4 ,antoniadi has drawn my attention to the junction of a basilica and a hexagonal building in a baptistery at ,tivoli4 ,see ,dehio und ,bezold1 ,atlas1 plate i4 fig4 #aj4 #hh ,synax1 ,oct4 #g4 #hi ,du ,cange1 iv4 p4 #ace4 #ij ,cedren4 i4 p4 #fce2 ,procop4 ,secret ,history1 c4 #f2 ,procop4 ,de aed4 ii4 p4 #bcd2 ,theoph4 p4 #cci2 ,theoph4 ,cont4 p4 #aed4 #ia ,cedren4 i4 pp4 #fdb-dc4 ,the ,synaxaria 7,sirmondi7 speak of three churches of ,s4 ,sergius1 in or near ,constantinople2 ,greek3 en tais ,sophiais1 ,oct4 #g2 ,greek3 plsion ts ,aetiou kinsterns1 ,nov4 #i 7near ,monastery of ,manuel1 p4 #beh72 ,greek3 peran en ,rhouphinianais1 ,may #bi 7near ,kadikeui74 #ib ,page #bbj4 #ic ,baronius1 ,annales ecclesiastici1 tom4 ix4 p4 #bec1 ,luccae1 #agda3 'quam basilicam eorum hic in domo nostra sub nomine praedictorum venerabilium constructam1 illustrare et illuminare large dignemini4' #id ,ibid4 p4 #bed4 #ie ,de aed4 i4 p4 #ahf4 #if ,ut supra1 ,greek3 kai epeita kai temenos allo ek plagiou tout parakeimenon 7i4e4 ,,ss4 ,sergius and ,bacchus74 #ig ,baronius1 x4 p4 #dc4 #ih ,theoph4 p4 #cdi2 ,malalas1 p4 #dhe4 #ii ,le ,grand ,palais4 ,epigram #h in the ,anthologia ,graeca epigrammatum 7vol4 i4 ,stadt-,mueller7 celebrates the erection by ,justinian of ,,ss4 ,peter and ,paul1 ,greek3 eis ton naon tn hagin apostoln plsion tou hagiou ,sergiou eis ta ,hormisdou4 #ajj ,baronius1 x4 p4 #dc 'ex domo ,placidiana1 ubi degebat1 confugit ad ibi proxime junctam ecclesiam ,s4 ,petri'2 cf4 ,vigilius' letter1 ,ep4 vii4 t4 i4 ,ep4 ,rom4 pont4 #aja ,theoph4 p4 #cdi2 ,malalas1 p4 #dhe4 #ajb ,notitia4 ,two palaces bearing similar names stood in the ,first ,region of the city1 the ,palatium ,placidianum and the ,domus ,placidiae ,augustae4 ,vigilius refers to the palace in his circular letter1 giving an account of his treatment at ,constantinople4 ,there also the legates of ,pope ,agatho were lodged in #fhj1 on the occasion of the ,first ,council in ,trullo1 and there likewise ,pope ,constantine in #gaj1 when he came to the ,east at the command of ,justinian ,,ii41 took up his abode4--,anastasius ,bibliothecarius1 pp4 #ed1 #fe4 #ajc ,epistola ccli4 ,see ,du ,cange1 ,const4 ,christ4 iv4 p4 #aaf4 #ajd ',under the microscope of modern historical criticism1 444 it is not surprising to find that the famous embassy of ,john the ,grammarian to the court of ,baghdad must be rejected as a fiction irreconcilable with fact4'--,prof4 ,bury in the ,english ,historical ,review1 ,april #aiji4 ,but he was sent on other embassies4 #aje ,constant4 ,porphyr4 pp4 #hg-hh4 #ajf ,similar to the parakypticon at the east end of the southern gallery in ,s4 ,sophia4 ,reiske 7,comment4 ad ,constant4 ,porphyr4 p4 #aie7 defines it as ',fenestra1 quae in sacrificatorium despicit e catechumeniis4' ,cf4 on the whole subject1 ,antoniadi1 ,greek3 ,ekphrasis ts ,hagias ,sophias1 vol4 ii4 p4 #bia1 note #aja2 p4 #cca1 note #aij2 p4 #ccb4 #ajg ,the plan of ,,ss4 ,sergius and ,bacchus is similar to that of the cathedral of ,bosra 7#eaa-ab71 which was also dedicated to the same saints4 ,fergusson1 ,history of ,ancient and ,mediaeval ,architecture1 vol4 i4 p4 #dcb4 #ajh ,gyllius1 ,de ,top4 ,c4,p4 ii4 c4 #af4 ,if the design represented vine leaves and grapes1 it surely did not allude to the god ,bacchus1 but to the vine in the gospel of ,s4 ,john4 ,the small columns on the piers are ,turkish4 #aji ,antoniadi1 ,s4 ,sophia1 vol4 ii1 pp4 #g-i1 draws attention to the development of buildings with sides turned into exhedrae1 from their simplest form to their culmination in ,s4 ,sophia4 ,he refers for illustrations to plans in ,dehio und ,bezold1 ,die kirchliche ,baukunst des ,abendlandes1 vol4 i4 pp4 #bc-ca2 ,atlas1 vol4 i4 plate i4 figures #a1 #b1 #c1 #d1 #g2 plate iii4 figures #a1 #b1 #g4 #aaj ,c4 ,diehl1 ,theodora1 pp4 #bdb1 #cdb4 #aaa ,the ratio of the height of the gallery above the floor of the church to the height of the summit of the dome is1 according to ,antoniadi1 #a_/c4e1 the same as in ,s4 ,sophia as built by ,anthemius4 #aab ',pulvins1' says ,rivoira 7,lombardic ,architecture1 p4 #aa1 ,english translation71 'serve the purpose of providing the springers of the arches with a base corresponding to the wall which they carry1 while allowing the support beneath to be much slighter without injuring the stability of the structure4' #aac ,rivoira1 ut supra1 p4 #fb3 ',the volutes in the ,pseudo-,ionic capital intended to conceal the abruptness of the transition from the square of the pulvin to the round4' #aad ,de aed4 i4 p4 #ahg4 #aae ',the centres of the radii of these concave compartments are formed by having three points given the groins on either side and the angle of the octagon in the centre4 ,with these points for each compartment the radius is given1 and an arc turned giving the concavity required for each web at its springing4'--,a4 ,e4 ,henderson in the ,builder1 ,january #aijf1 p4 #d4 #aaf ,in ,s4 ,george of ,ezra in ,syria 7#eae71 as ,mr4 ,e4 ,m4 ,antoniadi informs me1 the dome overhangs or oversails the angles of the octagon4 #aag ',the dome stands within a polygon of sixteen sides1 that rises four metres above the springing line1 keeping the dome taut and weighting the haunches4 ,against this polygonal casing are set buttresses formed by the extension of the piers of the octagon to within m4 #a-a_/b from the cornice of the dome4 ,these buttresses are in their turn respectively strengthened1 on the rear1 by two small buttresses2 of which those on the north1 south1 east1 and west sides rest on an arch of the gynecaeum1 and carry the thrust to the outer walls of the church1 while the others rest on the exhedrae and the vaulting of the gynecaeum4 ,furthermore1 from the summit of the buttresses formed by the piers of the octagon a small buttress is set against the cupola itself up to the cornice4' ,this marshalling of the buttresses around the dome in three tiers1 while securing the stability of the structure1 is moreover strikingly artistic4 ,see ,fig4 #ba4 ,,chapter ,,iv ,,the ,,church ,,of ,s4 ,,irene #aah-adc ,the church of ,s4 ,irene stands at a short distance to the north-east of ,s4 ,sophia1 in the first court of the ,seraglio4 ,its identity has never been questioned1 for the building was too much in the public eye and too near the centre of the ecclesiastical affairs of the city to render possible any mistake concerning its real character4 ,it is always described as close to ,s4 ,sophia4#aah ,according to the historian ,socrates1#aai it was originally one of the ,christian sanctuaries of the old town of ,byzantium1 a statement we may well believe1 seeing ,byzantium was the seat of a bishop before the foundation of ,constantinople4 ,the designation of the church as 'the ,ancient' or 'the ,old ,church1' ,ecclesia ,antiqua1 ,greek3 h palaia1#abj and the special regard cherished for the church during the earlier history of the city1 are also thus best explained4 ,the original sanctuary was small1#aba but when ,byzantium became the capital of the ,east the old fabric was enlarged and beautified by ,constantine the ,great to harmonize with its grander surroundings1 and was dedicated to ,peace1 in honour of the rest and quiet which settled upon the ,roman world when the founder of the city had vanquished all his rivals after eighteen years of civil war4#abb ,illustration3 ,,plate ,,xvi4 ,abdullah ,frres4 ,s4 ,,irene1 ,,from ,,the ,,south-,,east4 ,to face page #hd4 ,,note ,other churches of the same name were found in ,constantinople3 ,s4 ,irene in the ,seventh ,region1 according to the ,notitia4 ,s4 ,irene in ,sykai 7,galata71 ,greek3 peran en ,sykais2 ,theophanes1 p4 #cec4 ,s4 ,irene by the ,sea1 ,greek3 pros thalassan2 ,nicetas ,choniates1 p4 #bfi2 ,synax41 ,jan4 #aj4 ,the last was also known as the ,new1 ,greek3 ,nea2 ,synax41 ,jan4 #bc4 ,erected in the reign of the ,emperor ,marcian1 it was partially restored by the ,emperor ,manuel ,comnenus after its destruction by fire2 ,nicet4 ,chon4 ut supra4 ,it was styled likewise 'at the ,ferry1' ,greek3 to perama2 ,codinus1 ,de aed4 p4 #hi2 ,banduri1 ii4 p4 #ca4 ,until the year #cfj1 when the church of ,s4 ,sophia was opened to public worship by the ,emperor ,constantius1 ,s4 ,irene appears to have been the cathedral of the city4 ,hence1 probably1 the name sometimes given to it1 the ,patriarchate1 ,greek3 to patriarcheion4#abc ,nor did the church lose its primacy altogether even after the erection of ,s4 ,sophia4 ,on the contrary1 the two churches were regarded as forming one sanctuary2 they were enclosed within the same court1 served by the same clergy1 and known by the same name1 'the ,great ,church1' ,greek3 h ,megal ,ekklsia4#abd ,s4 ,irene was again the sole cathedral building1 while ,s4 ,sophia lay in ruins for eleven years after being set on fire in #djd1 on the occasion of the final banishment of ,john ,chrysostom4 ,s4 ,irene comes prominently into view during the fierce struggle between the adherents of the ,nicene ,creed and the ,arians1 in the half-century which followed the inauguration of ,new ,rome4 ,having been persuaded that the point at issue between the two theological parties was not essential1 and that the agitation of the question was due to love of disputation1 ,constantine the ,great1 who valued peace at almost any price1 attempted to suppress the controversy by his authority1 and accordingly ordered the ,patriarch ,alexander to admit ,arius1 then present in the city1 to the ,holy ,communion4 ,with this order ,alexander1 a champion of the ,nicene ,creed1 refused to comply4 ,whereupon the followers of ,arius decided to have recourse to violence4 ,but on the very eve of the day fixed to carry out their purpose1 ,arius was taken suddenly ill in the ,forum of ,constantine and died on the spot4 ,the historian ,socrates regards the event as the act of ,god1 for when the patriarch heard what the heretics intended to do1 he retired to the church of ,s4 ,irene1 and there for many days and nights1 with fasting and tears1 and with his lips pressed to the altar1 implored divine succour in his terrible extremity4 ',if the opinions of ,arius be true1' the patriarch prayed1 'let me die2 but if they are false let him be judged4' ,the tragic end of ,arius was considered the answer to that prayer4 ,upon the death of ,alexander in #cdc1 at the age of ninety-eight1 the two parties came into collision in regard to the question of his successor4 ,the deceased prelate had recommended two persons as suitable to fill his place3 the presbyter ,paul1 because of his abilities2 the deacon ,macedonius1 on account of his age and venerable appearance4 ,the ,arians favoured ,macedonius1 as more in sympathy with their opinions2 the orthodox1 however1 carried the election and installed ,paul in ,s4 ,irene4 ,the defeated party seems to have submitted1 but the ,emperor ,constantius1 a violent ,arian1 quashed the election1 and appointed ,eusebius of ,nicomedia1 a prominent upholder of the views of ,arius1 bishop of the capital4 ,upon the death of ,eusebius in #cdf the theological combatants again seized the opportunity to try their strength4 ,the orthodox recalled ,paul2 the ,arians consecrated ,macedonius4 ,incensed by these proceedings1 ,constantius1 then at ,antioch1 ordered ,hermogenes1 the magister militum in ,thrace1 to proceed to ,constantinople and drive ,paul from the city4 ,but no sooner did ,hermogenes attempt to execute his instructions than the populace rose1 burnt his house to the ground1 and after dragging him along the streets1 killed him4 ,the emperor was furious4 ,he hurried back to ,constantinople1 banished ,paul1 and reduced by one-half the amount of free bread daily distributed among the citizens4 ,nor did he fully recognize ,macedonius as bishop4 ,under these circumstances ,paul made his way to ,rome1 and1 having secured the support of the ,pope1 reappeared in ,constantinople as the rightful bishop of the see4 ,but the emperor1 again in ,syria1 was not to be baffled4 ,more angry than ever1 he sent peremptory orders to ,philip1 the prefect of ,constantinople1 to expel ,paul and to recognize ,macedonius4 ,by skilful arrangements ,paul was quietly removed from the scene4 ,but to install ,macedonius was a more difficult undertaking4 ,the prefect1 however1 ordered his chariot1 and with ,macedonius seated by his side made for ,s4 ,irene1 under an escort of troops carrying drawn swords4 ,the sharp1 naked weapons alarmed the crowds in the streets1 and without distinction of sect or class men rushed for the church1 everybody trying to outstrip his neighbour in the race to get there first4 ,soon all the approaches to the building were packed to suffocation2 no one stirred backwards or forwards1 and the prefect's chariot was unable to advance4 ,what seemed a hostile barricade of human beings welded together obstructed his path4 ,in vain did the soldiers brandish their swords in the hope of frightening the crowd to disperse4 ,the crowd stood stock still1 not because it would not1 but because it could not move4 ,the soldiers grew angry1 resorted to their weapons1 and cut a way to the church through that compact mass of humanity at the cost of #caej lives2 some of the victims being crushed to death1 others killed at the point of the sword4 ,so was ,macedonius conducted to his throne in the temple of ,peace4#abe ,but the conflict between the opposite parties continued1 and after six years spent in efforts to recover his position1 ,paul was restored to office through the intervention of the ,pope of ,rome1 of the ,emperor ,constans1 and of the ,synod of ,sardica4 ,it was a brief triumph4 ,in #cej ,paul was exiled for life to ,cucusus1 and ,macedonius ruled once more in his stead4#abf ,for the next thirty years ,s4 ,irene with the other churches of the capital remained in the hands of the ,arians4 ,illustration3 ,,plate ,,xvii4 7#a7 ,s4 ,,irene1 ,,south ,,side4 7#b7 ,s4 ,,irene1 ,,north ,,side4 ,,in ,,the ,,distance1 ,s4 ,,sophia4 ,to face page #hf4 ,during that period the ,nicene faith was preached by ,gregory of ,nazianzus only in a small chapel1 subsequently dedicated to ,s4 ,anastasia4#abg ,but with the accession of ,theodosius the ,great the adherents of the ,creed of ,nicaea prevailed1 and the ,second ,general ,council1 held in ,constantinople in #cha1 adopted that creed as the true faith of the ,christian ,church4 ,according to the biographer of ,s4 ,stephen the ,younger1 who enumerates the six ecumenical councils1 and indicates1 in most cases1 where each met1 that famous ,council met in the church of ,s4 ,irene4#abh ,but ,theodore ,lector#abi says the ,council assembled in the church of ,homonoia1 and explains the name of that church as commemorative of the harmony which prevailed among the bishops who gathered there on that occasion4 ,as a matter of fact1 one of the churches of the city bore the name ,homonoia4#acj ,possibly the discrepancy between the statements of the authors just mentioned may be due to a confusion arising from a similar meaning of the names of the two churches4 ,according to the ,anonymus1#aca the usurper ,basiliscus took refuge with his wife and children in ,s4 ,irene1 when he was overthrown in #dgg1 and the ,emperor ,zeno recovered the throne4 ,but1 according to the ,paschal ,chronicle1#acb ,basiliscus fled on that occasion to the great baptistery of ,s4 ,sophia4 ,as that baptistery stood between ,s4 ,irene and ,s4 ,sophia and may have served both churches1 the difference between the two statements is not serious4 ,after standing for two centuries the ,constantinian edifice was burnt to the ground by the fire which the rebel factions in the ,nika ,riot set to the offices of the prefect on ,friday1 the #afth of ,january #ecb4 ,the building had narrowly escaped the same fate in the fire which destroyed ,s4 ,sophia earlier in the course of the riot1 and might have survived also the conflagration in which it actually perished1 but for the strong wind which carried the flames from the praetorium to the church1 devouring on their way the bath of ,alexander1 a part of the hospice of ,eubulus1 and the hospital of ,sampson with its patients4 ,the restoration of the church was included in the magnificent scheme of ,justinian the ,great to build on the wilderness of ashes created by his rebel subjects the finest monuments of his empire4 ,and so ,s4 ,irene rose from its ruins1 the largest sanctuary in ,constantinople1 except ,s4 ,sophia4#acc ,the bricks bearing the mark 'the ,great ,church1' ,greek3 ,megal ',ekklsia1 which are built into a raised bank against the northern wall of the atrium1 afford no indication of the date when ,s4 ,irene was rebuilt4 ,the bank is of comparatively recent origin4#acd ,in the month of ,december #efd1 the thirty-seventh year of ,justinian's reign1 another great fire threatened to destroy the buildings which that emperor had erected in the quarter of the city beside ,s4 ,sophia4 ,the hospital of ,sampson was again burnt down2 the atrium of the ,great ,church1 known as the ,garsonostasion1 suffered2 two monasteries close to ,s4 ,irene perished1 and1 what most concerns us1 the atrium and part of the narthex of ,s4 ,irene itself were consumed4#ace ,how soon these injuries were repaired is not recorded4 ,during the #agf years that followed the reconstruction of the church by ,justinian1 ,s4 ,irene does not appear in history4 ,but in #gdj it was injured by the earthquake which shook ,constantinople in the last year of the reign of ,leo ,,iii4 the ,isaurian4#acf ,theophanes#acg is very precise in regard to the time when the disaster occurred2 it was on the #bfth of ,october1 the ninth indiction1 on a ,wednesday1 at eight o'clock4 ,the damage done both in the city and in the towns of ,thrace and ,bithynia was terrible4 ,in ,nicaea only one church was left standing1 while ,constantinople deplored the ruin of large portions of the landward fortifications and the loss of many churches1 monasteries1 and public monuments4 ,s4 ,irene was then shaken1 and1 as the examination of the building by ,mr4 ,george has proved1 sustained most serious injuries4 ,the ,emperor ,leo died about six months after the disaster1 and it is therefore uncertain whether the church was rebuilt before his death4 ,his first attention was naturally directed to the reconstruction of the fortifications of the city1 where his name still appears1 with that of his son and successor ,constantine ,copronymus1 as the rebuilder of the fallen bulwarks4 ,but although there is no record of the precise date at which the ruined church was repaired1 we may safely assume that if the work was not commenced while ,leo ,,iii4 sat upon the throne1 it was undertaken soon after the accession of ,constantine ,copronymus4 ,s4 ,irene was too important to be long neglected1 and was probably rebuilt during the ascendancy of the iconoclasts4 ,the church reappears for a moment in #heg during the dispute which raged around the persons of ,ignatius and ,photius as to which of them was the lawful patriarch4 ,while the partisans of the latter met in the church of the ,holy ,apostles to depose ,ignatius1 the few bishops who upheld the claims of ,ignatius assembled in ,s4 ,irene to condemn and depose ,photius with equal vehemence4#ach ,the church comes into view once more in connection with the settlement of the quarrel caused in #ijg by the fourth marriage of ,leo ,,vi4 the ,wise4 ,as the union was uncanonical1 the ,patriarch ,nicholas deposed the priest who had celebrated the marriage2 he1 moreover1 refused the ,communion to the emperor1 and treated ,zoe1 the emperor's fourth wife1 as an outcast4 ,for such conduct ,nicholas lost his office1 and a more pliant ecclesiastic was appointed in his place4 ,the inevitable result followed4 ,the religious world was torn by a schism which disturbed ,church and ,state for fifteen years4 ,at length ,romanus ,i4 summoned a council of divines to compose the agitation1 and peace was restored in #iba1 by a decree which condemned a fourth marriage1 but allowed a third marriage under very strict limitations4 ,so important was this decision regarded that it was read annually1 in ,july1 from the pulpit1 and on that occasion the emperor1 with the patriarch1 attended service in ,s4 ,irene1 and at its close took part in a procession from ,s4 ,irene to ,s4 ,sophia1 on the way back to the ,great ,palace4#aci ,illustration3 ,,plate ,,xviii4 ,s4 ,,irene4 ,,the ,,interior1 ,,looking ,,east4 7,with the kind permission of ,professor ,c4 ,gurlitt1 from his work ,die ,baukunst ,konstantinopels1 ,berlin1 ,e4 ,wasmth47 ,to face page #ij4 ,on ,good ,friday the patriarch held a service for catechumens 7,greek3 katchsis7 in ,s4 ,irene1 which the patricians were required to attend4#adj ,the church of ,s4 ,irene has never been used as a mosque4 ,after its enclosure within the precincts of the ,seraglio soon after the ,turkish conquest1 it was converted into an armoury1 probably because it stood in the court occupied by the body of ,janissaries who formed the palace guard1 and it has served that military purpose1 in contradiction to its name1 for the most part ever since4 ,for several years it contained the first collection of antiquities made by the ,turkish ,government1 and some of the objects in that collection still remain to recall the use of the building as a museum2 the most interesting of them being the chain stretched across the mouth of the ,golden ,horn during the siege of #adec1 the monument to the charioteer ,porphyrios1 and the pedestal of the silver statue of the ,empress ,eudocia1 which played a fatal part in the relations of that empress to the great bishop of ,constantinople1 ,john ,chrysostom4 ,since the establishment of the constitutional rgime in the ,ottoman ,empire the building has been turned into a ,museum of ,arms4 ,architectural ,features ,until the recent establishment of constitutional government in ,turkey it was impossible to obtain permission to study this church in a satisfactory manner1 so jealously was even entrance into the building guarded4 ,the nearest approach to anything like a proper examination of the building was when ,salzenberg was allowed to visit the church in #ahdh1 while the church of ,s4 ,sophia was undergoing repairs under the superintendence of the ,italian architect ,fossati4 ,but the liberty accorded to ,salzenberg was not complete1 and1 consequently1 his plan of the church published in his ,altchristliche ,baudenkmler von ,konstantinopel is marred by serious mistakes4 ,happily the new ,government of the ,empire is animated by an enlightened and liberal spirit1 and at the request of ,his ,excellency ,sir ,gerard ,lowther1 ,h4,b4,m4 ,ambassador to the ,sublime ,porte1 permission was granted to the ,byzantine ,research and ,publication ,fund to have the church examined as thoroughly as its condition allowed1 and to make all the plans1 drawings1 and photographs required in the interests of a scientific knowledge of its architectural character4 ,the ,byzantine ,research and ,publication ,fund was fortunate in having as its president1 ,edwin ,freshfield1 ,,ll4,d41 so long distinguished for his devotion to ,byzantine archaeology1 and it is mainly due to his generosity that the means necessary for carrying on the study of the church were provided4 ,the society was1 moreover1 most happy in being able to secure the services of an architect in ,mr4 ,w4 ,s4 ,george1 who already possessed considerable experience in the investigation of ,byzantine buildings at ,salonica and elsewhere4 ,fortunately1 also1 the building was at the same time placed under repair1 in view of its conversion into a museum of arms1 thus affording exceptional facilities for the erection of scaffolding and the removal of plaster and other obstructions4 ,mr4 ,george gave nearly five months to the study of the church1 and the results of his careful investigations will appear in a monograph to be published by the ,byzantine ,research and ,publication ,fund4 ,but with great courtesy1 in view of the fact that ,i was engaged on the present work1 and also because ,i waived my own application for leave to study ,s4 ,irene in favour of the application made by the ,byzantine ,fund1 ,i have been allowed to anticipate that monograph by making use of some of the results of ,mr4 ,george's investigations4 ,for this permission ,i am very grateful1 as it will add much to the value of this volume4 ,i visited the church frequently while ,mr4 ,george was at work upon it1 and my account of its architectural features is based entirely upon the information he then kindly supplied1 and upon the notes he has communicated to me since his return to ,england4 ,illustration3 ,,plate ,,xix4 7#a7 ,s4 ,,irene4 ,,vaulting ,,at ,,the ,,north-,,west ,,corner ,,of ,,the ,,atrium4 7#b7 ,s4 ,,irene4 ,,the ,,northern ,,arch ,,of ,,the ,,main ,,dome1 ,,seen ,,from ,,the ,,south ,,gallery4 ,to face page #ib4 ,the architectural feature which gives to this building a peculiar interest1 in the study of the development of planning and construction1 is the more complete fusion of the basilican type of plan with a domical system of roofing which it presents than is found in any other example of a similar combination4 ,on the west1 where the ground retains its original level1 stands the old atrium1 though much modified by ,turkish repairs and alterations4 ,it had covered arcades on the north1 south1 and west sides1 but only the outer walls of the northern and southern arcades1 with some portions of their inner walls1 and three complete vaulted bays at the northern end of the western arcade1 are ,byzantine4 ,the walls1 vaults1 and piers in other parts of the arcades are ,turkish4 ,there is no trace of the west door which1 under ordinary circumstances1 would form the main entrance to the atrium1 but a ,byzantine doorway1 now built up1 is found close to the narthex1 in the outer wall of the south arcade4 ,the area of the atrium has been1 moreover1 greatly reduced by the erection1 on its four sides1 of an inner range of ,turkish vaulting4 ,five doors led from the atrium to the narthex1 but only the central and the northernmost of these doors are now open1 the latter entrance still retaining its original architrave and cornice of white marble1 with the usual mouldings and a cross worked on the crowning member of the cornice4 ,the present entrance to the church1 however1 is on the north side of the building1 through a porch that leads down a sloping ,turkish passage to the western end of the north aisle4 ,the narthex is in five bays1 the two terminal bays having cross-groined vaults1 the three central1 vaults of a domical character with blunt rounded groins at the springing4 ,the whole vaulting surface of the narthex was once covered with mosaics exhibiting mainly a geometrical pattern4 ,from the narthex three tall arched openings conducted to the nave1 and one opening to each aisle4 ,but the direct communication between the narthex and the northern aisle is now cut off by the insertion of the ,turkish entrance to the church1 although the old doorway to the aisle remains complete4 ,the nave is divided into two large bays of equal breadth but unequal length1 the western bay being the shorter4 ,in the latter the arches which support its roof are1 to the east and west1 semicircular1 while those to north and south are roughly elliptical1 springing from the same level and rising to the same height as the semicircular arches1 but being of shorter span4 ,these elliptical arches extend to the outer walls of the church1 thus partaking of the character of short barrel vaults4 ,upon these arches is raised what has been called an elliptical dome4 ,but in no part has it the character of a true ellipse1 nor does it spring from its supporting arches in the simple regular manner of a dome1 but in the complex manner of a vault built upon arches of unequal curvature4 ,it should therefore rather be called a domical vault4 ,where it shows above the roof it has the appearance of a modified and very low cone covering an irregular elliptical drum4 ,the eastern bay of the nave is square on plan1 bounded by semicircular arches1 all extended so as to form short barrel vaults4 ,the western arch is joined to the eastern arch of the western bay1 thus forming a short barrel vault common to both bays4 ,the vault to the east runs to the semi-dome of the apse2 whilst the vaults to north and south1 like the corresponding vaults in the western bay1 extend to the outer walls and cover the eastern portions of the aisles and galleries4 ,above the supporting arches regular pendentives are formed1 and above these there is a drum carrying a dome4 ,the apse to the east of the nave is semicircular within and covered by a semi-dome4 ,between that semi-dome and the eastern barrel vault of the nave a break is interposed1 giving the bema arch two orders or faces1 with their external and internal angles rounded off1 and the whole surface of the semi-dome and of the bema arch is covered with mosaic4 ,at one time the mosaic extended also over the surface of the barrel vault4 ,the decoration in the semi-dome consists of a large cross in black outline upon a gold ground2 below the cross there are three steps set upon a double band of green that runs round the base of the semi-dome4 ,a geometrical border bounds the semi-dome1 and then comes the following inscription1 an extract from ,psalm lxv4 verses #e1 #f 7the lxiv4 in the ,septuagint version71 on the inner face of the arch3 ,greek3 7,,deut ,,ei7,,sometha ,,en ,,tois ,,agathois ,,tou ,,oikou ,,sou1 ,,hagios ,o ,,naos ,,sou ,,thaumastos ,,en ,,dikaiosyn ,,epakouson ,h,m,n ,o ,,th,,eo,s ,o ,s,t,r ,h,m,n ,h ,,elpis ,,pant,n ,t,n ,,perat,n ,t,s ,g,s ,,kai ,t,n ,,en ,,thalass ,,mak7,,ra7,n4 7,come we will go87 in the good things of thy house4 ,holy is thy temple4 ,thou art wonderful in righteousness4 ,hear us1 ,o ,god our ,saviour2 the hope of all the ends of the earth and of them who are afar off upon the sea4 ,the letters enclosed within curved brackets and the accents#ada above them are paint only2 the letters within square brackets are not in the inscription1 but are supplied where evident contractions render that course necessary4 ,the remaining letters are in unrestored mosaic4 ,probably ,greek37,deut ei7 sometha is a mistake of the restorer for the word ,greek3 plsthsometha in the original text4 ',we shall be filled with the goodness 7or the good things7 of thy house4' ,three other geometrical patterns in mosaic succeed1 after which follows a broad wreath of foliage on the outer face of the bema arch and the words3 ,greek37,,ho ,o7,,ikodom,n ,,eis ,t7,,on ,,oikon ,,sou ,,kai7 ,,anabasin ,,autou1 ,,kai ,t,n ,,epangelian 7,,tou ,,hagiou ,,pneumatos ,,eu ,h,,mas ,,lpeisamen ,,eis ,,to ,o7,,noma ,a7,,utou74 ,the mosaic above the crown of the semi-dome has been injured and restored imperfectly in plaster1 paint1 and gilt4 ,hence the large black patch in it which includes the upper arm of the cross4 ,the letters enclosed within curved brackets are in paint and are manifestly the work of a restorer who has spoiled the grammatical construction of the words and obscured the meaning of the inscription4 ,the remaining letters are in unrestored mosaic4 ,i venture to suggest that the original text was a quotation from ,amos ix4 #f1 with possibly some variations3 ,greek3 ho oikodomn eis ton ouranon anabasin autou kai tn epangelian autou epi ts gs themelin4 ',he who builds his ascent up to the heaven and his command on the foundations of the earth4' ,the words1 ,greek3 lpeisamen eis to onoma autou1 'we have hoped in his name1' may be original 7,psalm xxxii4 #ba2 ,isaiah xxvi4 #h74 ,with these inscriptions may be compared the beautiful collect used at the consecration of a church3 ,greek3 ,akolouthia eis enkainia naou4 ,nai ,despota ,kyrie ho ,theos ho ,str hmn1 h elpis pantn tn peratn ts gs1 epakouson hmn tn hamartln deomenn sou kai katapempson to panagion sou ,pneuma to proskynton kai pantodynamenon kai hagiason ton oikon touton4 ',yea1 ,lord ,god ,almighty our ,saviour1 the hope of all the ends of the earth1 hear us sinners when we call upon thee1 and send thy ,holy ,spirit1 the worshipful and all powerful1 and sanctify this house4' ,below the windows of the apse are ranges of seats for the clergy1 forming a sloping gallery1 and consisting of eleven risers and eleven treads1 so that1 according to the method of seating adopted1 there are five or six or eleven rows of seats4 ,there is no vestige of a special episcopal seat in the centre1 but the stonework has been disturbed2 for some of the seats are built with portions of the moulded base of the marble revetment of the building4 ,underneath the seats runs a narrow semicircular passage originally well lighted through openings#adb in the riser of one range of seats1 and having a doorway at each end4 ,illustration3 ,,plate ,,xx4 7#a7 ,s4 ,,irene4 ,,mosaic ,,on ,,soffit ,,of ,,an ,,arch ,,between ,,the ,,narthex ,,and ,,the ,,atrium4 7#b7 ,s4 ,,irene4 ,,portion ,,of ,,the ,,mosaic ,,inscription ,,on ,,the ,,outer ,,arch ,,of ,,the ,,apse4 ,to face page #if4 ,on either side of the nave1 towards the eastern end of each aisle1 there is an approximately square compartment covered with a domical vault1 and having an opening communicating with the nave immediately to the west of the bema4 ,to the east of these compartments stands what was the original eastern wall of the church1 and in it1 in the north aisle1 a large doorway retaining its architrave and cornice1 is still found4 ,of the corresponding doorway in the south aisle only the threshold is left4 ,these doorways must have communicated with the outer world to the east of the church1 like the doorways which occupy a similar position in the ,studion 7p4 #ec74 ,the northern compartment had an opening1 which is still surmounted by architrave and cornice1 also in its north wall4 ,there are1 moreover1 four other openings or recesses in the northern wall of the church1 and two in the southern4 ,the main portions of the aisles are divided from the nave by light screens of columns1 the eastern and western portions being connected by passages driven through the dome piers4 ,in the eastern nave bay there are four columns1 giving five aisle bays on each side4 ,the columns are very slender1 without any base moulding1 and stand upon square pedestals1 now framed round with ,turkish woodwork4 ,on opening one of these frames the pedestal was found to be a mutilated and imperfectly squared block of stone4 ,such blocks may have served as the core of a marble lining1 or may be damaged material re-used4 ,the capitals are of the ',pseudo-,ionic' type1 with roughly cut ,ionic volutes4 ,the sinking on their lower bed is too large for the necks of the columns4 ,towards the aisles they bear the monograms of ,justinian and ,theodora1 identical with the monograms of these sovereigns in ,s4 ,sophia1 while on the side towards the nave they have a cross in low relief4 ,usually monograms are placed in the more conspicuous position4 ,above the capitals the vaulting that covers the aisles and supports the galleries is of an uncommon type4 ,towards the nave the arches are narrow and raised upon very high stilts2 from each capital a semicircular arch is thrown across to the outer wall1 where is a range of windows1 each of which has an extrados at a slightly higher level than the extrados of the corresponding nave arch2 and thus a long narrow space is left between the four arches of each vault compartment that could be filled1 wholly or in part1 without the use of centering4 ,the result is a narrow1 irregularly curved vault1 shaped to the backs of each of its surrounding arches1 and having1 in the main1 the character of a spherical fragment4 ,the western portion of each aisle is divided from the nave by an irregular arcade supported by a pier and one column1 and1 consequently1 there are three aisle bays to the western nave bay1 and not four as shown by ,salzenburg4 ,the whole interior surfaces of the walls1 up to the level of the springing of the gallery vaulting1 and the nave walls1 up to the gallery level1 were once faced with marble4 ,this is proved by the presence in the walls of many marble plugs and some iron holdfasts1 as well as by remains of the moulded base of the facing4 ,at the eastern extremity of the aisles there are chambers formed by walls built1 as the vertical straight joints and difference of materials employed indicate1 at various periods4 ,the chamber at the end of the northern aisle has an archway1 now built up1 in its eastern wall1 and seems to have served as a vestibule4 ,it is in these chambers that ,salzenberg supposes the staircases leading to the galleries stood1 but it is evident from the character of the walls and vaulting that no such staircases could ever have existed there4 ,the galleries extend over the narthex and over the whole length of the aisles4 ,access to them is now obtained by a wooden staircase and landing of ,turkish construction1 but how they were reached in ,byzantine times is not evident4 ,possibly the fragments of wall on the exterior face of the south wall of the narthex and the traces of vaulting beside them may be the remains of a staircase4 ,or a staircase may have stood to the west of the narthex over the vaulting of the atrium1 where projecting spurs of walls appear4 ,the vaulting of the gallery over the narthex was originally similar to that of the narthex itself1 but only the cross-groined vaults at the corners are ,byzantine2 the three central compartments are ,turkish4 ,five windows in the western wall looked into the atrium1 and as many openings in the eastern wall into the nave and side galleries4 ,below the former range is a string-course corresponding to that which runs round the interior of the building at gallery level4 ,the gallery over each aisle consists of two open portions under the dome arches1 divided from each other by the dome piers1 which are pierced to connect the different parts of the gallery with each other1 and with the gallery over the narthex4 ,in the side walls there is a range of windows at gallery level2 five on each side of the eastern nave bay1 three in the south wall of the western nave bay1 but none1 at present1 in its northern wall4 ,above these windows are two ranges of windows in each lunette under the dome arches1 a system of five and three in the eastern bay1 and of four and two in the western bay4 ,all these windows1 now square-headed1 had originally semicircular heads4 ,the lunette filling the western dome arch had doubtless a similar window arrangement1 though at present it has only one window4 ,illustration3 ,,plate ,,xxi4 7#a7 ,s4 ,,irene4 ,,interior1 ,,looking ,,north-,,west4 7#b7 ,s4 ,,irene4 ,,door ,,at ,,the ,,east ,,end ,,of ,,the ,,north ,,aisle4 ,to face page #ih4 ,the eastern ends of the side galleries have been formed into separate chambers since the ,turkish occupation4 ,of the additions beyond the original east wall of the church1 that to the north was connected with the gallery by a tall wide arch1 while that to the south was divided off from the gallery with only a small door as a means of communication4 ,the southern addition was divided into two chambers as on the ground floor4 ,the walls above gallery level and the large vaulting surfaces of the building are now covered with plaster1 but a close examination proves that if any mosaic or marble revetment ever existed above gallery level1 none of it1 excepting the mosaic in the apse1 remains4 ,looking next at the exterior of the building1 it is to be observed that the ground on the north1 south1 and east has been raised as much as fifteen feet4 ,in many places the walls have undergone ,turkish repair4 ,the apse shows three sides4 ,the drum of the dome is pierced by twenty semicircular-headed windows 7of which only five are now open71 and as their arches and the dome spring at about the same level the heads of the windows impinge upon the dome's surface4 ,two low shoulders cover the eastern pendentives4 ,the plan of the drum is peculiar4 ,from the shoulders1 just mentioned1 to the windows1 it is a square with rounded corners1 one side of the square being joined with and buried in the drum of the western dome vault2 but upon reaching the base of the windows it becomes an accurate circle in plan1 and at the springing of the window arches is set back1 leaving a portion of the piers to appear as buttresses4 ,the upper portion of the drum is carried well up above the springing of the dome1 leaving a large mass of material properly disposed so as to take the thrusts produced4 ,the careful examination of the building by ,mr4 ,george has proved that the fabric is not the work of one age1 but consists of parts constructed at different periods4 ,for the full evidence on the subject we must await the forthcoming monograph on the church4 ,here1 only the main results of ,mr4 ,george's survey can be presented4 ,up to the level of the springing of the aisle vaults1 the walls of the main body of the building1 excepting the narthex and the additions at the east end of the church1 are built of large well-squared stones laid in regular courses1 and are homogeneous throughout4 ,above that level the walls are built in alternate bands of brick and stone1 five courses of brick to five courses of stone being the normal arrangement4 ,the stones in this portion of the walls are smaller and much more roughly squared than those below the springing of the aisle vaults4 ,this brick and stone walling is1 so far as could be ascertained1 homogeneous right up to the domical vault and the dome4 ,as usual the arches and vaults are in brick4 ,a point to be noted is that the recesses or openings in the lower part of the north and south walls of the church do not centre with the windows and vaulting above them2 sometimes1 indeed1 the head of an opening comes immediately below a vaulting arch or rib4 ,again1 at the north-eastern external angle of the apse the wall up to the level of the springing of the aisle vaulting is in stone1 but above that level in brick1 and the two portions differ in the angle which they subtend4 ,evidently there has been rebuilding from a level coinciding with the springing of the aisle vaulting4 ,projecting above the ground at the same place is a square mass of stonework that was left unbuilt upon when that rebuilding took place4 ,the narthex is built of brick1 with bands of large stone at wide intervals1 and is separated by distinct joints from the upper and lower walls of the body of the church4 ,furthermore1 while the two eastern bays on each side of the western portion of the nave continue and belong to the unusual system of vaulting followed in the aisles1 the bay on each side immediately adjoining the narthex belongs to the vaulting system found in the narthex1 and has1 towards the nave1 an arch precisely similar to the arches between the nave and the narthex4 ,the division between the two systems is well marked1 both in the nave and in the aisles1 and points clearly to the fact that the narthex and the body of the church are of different dates4 ,illustration3 ,,plate ,,xxii4 7#a7 ,s4 ,,irene4 ,,vaulting ,,over ,,the ,,south ,,aisle4 7#b7 ,s4 ,,irene4 ,a ,,compartment ,,of ,,south ,,aisle ,,vaulting 7#b7 7,,looking ,,directly ,,upward74 ,to face page #ajj4 ,thus the architectural survey of the building shows that the principal parts of the fabric represent work done upon it on three great occasions1 a conclusion in striking accord with the information already derived from history4 ,for we have seen 7p4 #hi7 that after the destruction of the original ,constantinian church by fire in the ,nika ,riot1 ,justinian the ,great erected a new sanctuary upon the old foundations2 that later in his reign another fire occurred which necessitated the reconstruction of the narthex of that sanctuary2 and that some two centuries later1 towards the close of the reign of ,leo the ,isaurian1 the church was shaken by one of the most violent earthquakes known in ,constantinople1 and subsequently restored probably by that emperor or by his son and successor ,constantine ,copronymus4 ,accordingly1 leaving minor changes out of account1 it is safe to suggest that the walls of the body of the church1 up to the springing of the aisle vaults1 belong to the new church built by ,justinian after the ,nika ,riot in #ecb2 while the narthex1 the aisle vaults immediately adjoining it1 and the upper portion of the western end of the south wall1 represent the repairs made probably by the same emperor after the injuries to the fabric caused by the fire of #efd4 ,the earthquake of #gdj must therefore have shaken down or rendered unstable all the upper part of the building1 but left standing the narthex1 the gallery above it1 and the lower part of the walls of the church4 ,consequently1 the upper part of the building1 the apse1 the dome-arches1 the dome-vault1 and the dome with its drum1 belong to the reconstruction of the church after that earthquake4 ,the buttresses to the apse where it joins the main eastern wall are later additions1 and still later1 but before ,turkish times1 are the short walls at the north and south-eastern corners forming the small eastern chambers4 ,of the building erected by ,constantine the ,great the only possible vestige is the square projection at the north-eastern angle of the apse1 but that is an opinion upon which much stress should not be laid4 ,in harmony with these conclusions is the evidence afforded by the mosaics found in the church4 ,those of the narthex are of the same character as the mosaics in ,s4 ,sophia1 ,constantinople1 and may well have been executed under ,justinian4 ,on the other hand1 the mosaics in the apse are characteristic of the iconoclastic period1 the chief decoration there being a simple cross4 ,for1 as ,finlay#adc has remarked1 ,leo the ,isaurian 'placed the cross on the reverse of many of his gold1 silver1 and copper coins1 and over the gates of his palace1 as a symbol for universal adoration4' ,a similar iconoclastic decoration and a portion of the same verses from ,psalm lxv4 formed the original decoration of the apse in ,s4 ,sophia1 ,salonica4 ,thus also is the presence of capitals bearing the monograms of ,justinian and ,theodora explained1 seeing those sovereigns were intimately connected with the church4 ,and thus also is a reason suggested why those monograms face the aisles instead of the nave2 it was a position which would be assigned to them by a later restorer of the church who was obliged to use old material1 and at the same time felt anxious to conceal the fact as much as possible1 lest the glory of the previous benefactors of the church should eclipse his own renown4 ,illustration3 ,,plate ,,xxiii4 7#a7 ,s4 ,,irene4 ,,capital ,,in ,,south ,,arcade1 ,,seen ,,from ,,the ,,south ,,aisle4 7#b7 ,s4 ,,irene4 ,,base ,,of ,,column ,,in ,,the ,,south ,,aisle1 ,,seen ,,from ,,the ,,south ,,aisle4 ,to face page #ajb4 ,the conclusion that in the present building we have parts representing different periods solves also the problem of the elliptical domical vault4 ,for it is difficult to imagine that a ,byzantine architect with a free hand would choose to build such a vault4 ,but given the supports ,mr4 ,george believes were left standing after the earthquake of #gdj1 and given also the narthex on the west1 the architect's liberty was limited1 and he would be forced to cover the space thus bounded in the best way the circumstances allowed4 ,how the western portion of the church was roofed in ,justinian's time it is impossible to say with certainty4 ,there are buttress slips in the south wall at gallery level and in the nave below1 where the break occurs in the arcade1 that suggest the existence1 in the church as originally built by ,justinian1 of a narthex carrying a gallery4 ,in that case the length of the barrel vault over the western part of the church would be about the length of the barrel vault over the eastern part1 and the church would then show in plan a regular cross with a dome at the centre1 two lateral doors1 one of which is now built up1 giving access to the ends of the narthex4 ,the dates here assigned to the different parts of the building simplify the problem of the tall drum below the main dome4 ,that this could have been built by ,justinian1 as has been supposed1 is difficult of belief if the large domes which are known to have been built by him are carefully examined4 ,it is true that the drum dome of ,s4 ,sophia1 ,salonica1 has also been claimed for ,justinian1 but that drum is low and only partially developed1 and although its date is not known1 the consensus of opinion is against its being so early4 ,the whole question of the development of the drum still awaits treatment at the hands of an investigator who has thoroughly studied the buildings themselves1 and perhaps the publication of the results obtained by ,mr4 ,george at ,s4 ,sophia1 ,salonica1 and ,s4 ,irene1 ,constantinople1 two crucial examples1 will throw some light on the subject4 ,for the present the date here given for the drum of ,s4 ,irene 7i4e4 towards the middle of the eighth century7 is an inherently probable one4 ,in the foregoing description of ,s4 ,irene there is no pretence to an exhaustive statement of facts1 or any claim that the conclusions reached are final4 ,there is still too much plaster on the walls to permit a complete examination of the building4 ,but the conclusions here suggested are those which agree best with the evidence which has been brought to light by ,mr4 ,george under present circumstances4 ,illustration3 ,,fig4 #ca4 ,illustration3 ,,fig4 #cb4 ,illustration3 ,,fig4 #cc4 ,illustration3 ,,fig4 #cd4 ,illustration3 ,,fig4 #ce4 #aah ,socrates1 ii4 c4 #f2 ,corpus juris civilis1 ,nov4 iii4 c4 #c4 #b2 ,itin4 russes1 p4 #aai4 #aai ,socrates1 ii4 c4 #af4 ,so also the author of the ,vita ,pauli ,patr4 ,c4,p4 ,the ,church of ,s4 ,irene1 which the ,anonymus 7,banduri1 ii4 p4 #ca7 says had once been a heathen temple1 was the church of ,s4 ,irene1 ,greek3 to perama4 #abj ,notitia1 regia secunda2 ,codin4 ,de aed4 p4 #gc4 #aba ,socrates1 loc4 cit4 #abb ,ibid4 #abc ,banduri1 ii4 p4 #eb4 #abd ,socrates1 ii4 c4 #af4 #abe ,socrates1 ii4 c4 #af4 #abf ,ibid4 ii4 #ac1 #ae1 #af4 #abg ,ibid4 v4 #g4 #abh ,vita ,s4 ,stephani ,junioris1 ,migne1 ,p4,g4 #ajj1 col4 #aadd1 ,greek3 h deutera en ,kplei en t na ts agias ,eirns4 #abi ,theodore ,lector1 ed4 ,valesius 7#agdh71 p4 #ecc4 ,eutychius afflicted by the divine anger went ,greek3 en t euagei euktri entha pepisteutai anapauesthai meros hiern leipsann tn thespesin ,pantaleontos kai ,marinou1 epikaloumenou tou topou ,homonoia ek tou ekei sunelthontas tous hekaton pentkonta episkopous epi ,theodosiou tou megalou basiles4 ,the passage is preserved in ,john ,damascene1 ,de imaginibus1 book iii4 #acj ,notitia1 ,regio nona1 'continet in se ecclesias duas1 ,cenopolim et ,omonaeam4' #aca ,banduri1 ii4 p4 #be4 #acb ,ad annum #dgh4 #acc ,procop4 ,de aed4 i4 c4 #b2 ,pasch4 ,chron4 p4 #fbb4 #acd ,for this information ,i am indebted to ,mr4 ,w4 ,s4 ,george4 #ace ,theoph4 p4 #cga4 #acf ,patr4 ,nicephorus1 in ,breviario4 #acg ,theoph4 p4 #fcd4 #ach ,mansi1 xv4 #baa2 xvi4 p4 #ah4 ,see ,basile ,i4 par ,albert ,vogt1 p4 #bjf4 #aci ,const4 ,porphyr4 ,de cer4 p4 #ahf2 ,cedren4 ii4 pp4 #bfe1 #bge1 #big4 ,readers of ,russian are referred to ,d4 ,belaev4 ',the ,church of ,s4 ,irene and the ,earthquake in ,c4,p4 #bh ,june #ahid1' ,vizantisky ,vreinennik1 i41 ,st4 ,petersburg1 #ahid1 parts iii4-iv4 section iii4 pp4 #gfi-gih1 and the article by the same author on the ',interior and ,exterior ,view of ,s4 ,irene' in the same periodical1 #ahie1 parts i1 ii4 section i4 pp4 #agg-ahc4 ,for the references to these articles ,i am indebted to ,mr4 ,norman ,e4 ,baynes1 one of our younger ,byzantine scholars4 #adj ,const4 ,porphyr4 ,de ,cer4 p4 #agi4 #ada ,only some of the accents are indicated in the transcription4 #adb ,these openings are now covered with ,turkish wooden staging1 and the passage is therefore quite dark4 #adc ,history of the ,byzantine ,empire1 p4 #cd1 ,everyman ,edition4 ,,chapter ,v ,,the ,,church ,,of ,s4 ,,andrew ,,in ,,krisei1 ,,hoja ,,mustapha ,,pasha ,,mesjedi ,that the old ,byzantine church now converted into the mosque styled ,hoja ,mustapha ,pasha ,mesjedi1 in the quarter of ,juma ,bazaar1 at a short distance to the east of the ,gate of ,selivria was the church of ,s4 ,andrew in ,krisei 7,greek3 ,mon tou ,hagiou ,andreou en ,krisei7#add can be established1 by the indications which ,byzantine writers have given of the site of that famous church1 and by the legend which is still associated with the mosque4 ,according to ,stephen of ,novgorod#ade 7c4 #acej7 the church dedicated to ,s4 ,andrew of ,crete1 who was buried1 as other authorities#adf inform us1 in the district named ,krisis1 stood at a short distance to the north of the monastery of the ,peribleptos4 ,it lay1 therefore1 to the north of the ,armenian church of ,s4 ,george 7,soulou ,monastir7 in the quarter of ,psamathia1 which represents the church of ,s4 ,mary ,peribleptos4 ,the mosque ,hoja ,mustapha ,pasha ,mesjedi lies in the same direction4 ,again1 according to ,pachymeres1#adg the church of ,s4 ,andrew in ,krisei was near the monastery of ,aristina4 ,that monastery1 another authority states1#adh was opposite the church of ,s4 ,mamas4 ,the church of ,s4 ,mamas was on the road between the ,studion and the church of ,s4 ,andrew4#adi ,hence the church of ,s4 ,andrew stood to the north of the ,studion1 the situation occupied by ,hoja ,mustapha ,pasha ,mesjedi4 ,once more1 the site of the mosque corresponds to the position assigned to the church of ,s4 ,andrew on the map of ,bondelmontius 7#adbj71 to the east of the ,gate of ,selivria4 ,finally1 the old church is more definitely identified by the legend of the judicial procedure which clings to the building4 ,in the picturesque courtyard of the mosque1 where the colour of the ,east is still rich and vivid1 there stands an old cypress tree around whose bare and withered branches a slender iron chain is entwined like the skeleton of some extinct serpent4 ,as tradition would have it1 the chain was once endowed with the gift of judgment1 and in cases of dispute could indicate which of the parties concerned told the truth4 ,one day a ,jew who had borrowed money from a ,turk1 on being summoned to pay his debt1 replied that he had done so already4 ,to that statement the ,turk gave the lie direct1 and accordingly1 debtor and creditor were brought to the chain for the settlement of the question at issue4 ,before submitting to the ordeal1 however1 the ,jew placed a cane into the hands of the ,turk1 and then stood under the cypress confident that his honour for truthfulness and honesty would be vindicated4 ,his expectation proved correct1 for the chain touched his head to intimate that he had returned the money he owed4 ,whereupon taking back his cane he left the scene in triumph4 ,literally1 the verdict accorded with fact2 for the cane which the ,jew had handed to his creditor was hollow and contained the sum due to the latter4 ,but the verdict displayed such a lack of insight1 and involved so gross a miscarriage of justice1 that from that day forth the chain lost its reputation and has hung ever since a dishonoured oracle on the dead arms of the cypress1 like a criminal on a gibbet4 ,although this tale cannot be traced to its ,byzantine source1 it is manifestly an echo of the renown which the precincts of the mosque once enjoyed as a throne of judgment before ,turkish times1 and serves to prove that ,hoja ,mustapha ,pasha ,mesjedi is indeed the old church of ,s4 ,andrew in ,krisei4 ,illustration3 ,,plate ,,xxiv4 ,s4 ,,andrew ,,in ,,krisei4 ,,east ,,end4 7,from a ,photograph by ,a4 ,e4 ,henderson1 ,esq47 ,to face page #ajf4 ,the earliest reference to the locality known as ,krisis occurs in the narrative of the martyrdom of ,s4 ,andrew of ,crete given by ,symeon ,metaphrastes1#aej who flourished in the latter part of the ninth century4 ,a devoted iconodule1 ,s4 ,andrew1 came from his native island to ,constantinople1 in the reign of ,constantine ,copronymus 7#gdj-gge71 expressly to rebuke the emperor for opposing the use of eikons in religious worship4 ,as might have been anticipated1 the zeal and courage of the saint only incurred cruel and insulting treatment1 and at length a martyr's death4 ,for1 while his persecutors were dragging him one day along the streets of the city in derision1 a half-witted fisherman stabbed him dead with a knife4 ,so strong was the feeling prevalent at the time against the champion of the cause of eikons that his body was flung among the corpses of murderers and thieves2 but eventually his admirers succeeded in removing it from its foul surroundings and buried it 'in a sacred place which was named ,krisis' 7,greek3 eis hena hieron topon ho hopoios epnomazeto ,krisis74#aea ,it is evident from this statement that the name ,krisis was applied to the locality before the interment of ,s4 ,andrew there2 how long before1 it is impossible to say1 but probably from early times4 ,the body of the martyr was laid in or beside one of the two churches dedicated to saints also named ,s4 ,andrew1 which stood on the ,seventh ,hill of the city already in the sixth century4#aeb ,illustration3 ,,plate ,,xxv4 7#a7 ,s4 ,,andrew ,,in ,,krisei1 ,,from ,,the ,,south-,,west4 7#b7 ,s4 ,,andrew ,,in ,,krisei4 ,,the ,,interior1 ,,looking ,,south4 ,to face page #ajh4 ,,note ,one of these churches was dedicated to ,s4 ,andrew the ,apostle1 and stood 'near the column1' ,greek3 plsion tou stylou2#aec the other to ,s4 ,andrew1 not otherwise identified1 was near the ,gate of ,saturninus1 ,greek3 plsion ts portas tou ,satourninou4#aed ,it is difficult to decide which church is represented by the mosque4 ,for there were two columns on the ,seventh ,hill of the city3 the ,column of ,constantine the ,great1 which stood outside the city bounds1 giving name to the extra-mural district of the ,exokionion now ,alti ,mermer2 and the ,column of ,arcadius now ,avret ,tash4 ,nor can the position of the ,gate of ,saturninus be determined more accurately than that it was an entrance in the portion of the ,constantinian ,walls which traversed the ,seventh ,hill1 the ,xerolophos of ,byzantine days4 ,on the whole1 however1 the indications favour the view that ,hoja ,mustapha ,pasha ,mesjedi represents the church of ,s4 ,andrew near the ,gate of ,saturninus4 ,a church in that position1 though outside the ,constantinian fortification1 was still so near them that it could be1 very appropriately1 described as near one of the city gates4 ,again the ,russian pilgrims#aee who visited the shrines of ,constantinople in the second quarter of the fifteenth century found two churches dedicated to ,s4 ,andrew in this part of the city1 one to ,s4 ,andrew the ,strategos1 the other to ,s4 ,andrew 'mad with the love of ,god' 7',god-intoxicated'74 ,in proceeding northwards from the church of ,s4 ,diomed1 which stood near the ,golden ,gate 7,yedi ,koul71 the ,russian visitor reached first the sanctuary dedicated to ,s4 ,andrew the ,strategos1 and then the church dedicated to ,s4 ,andrew the ',god-intoxicated1' which lay still farther to the north4 ,but this order in the positions of the two churches implies that ,hoja ,mustapha ,pasha ,mesjedi represents the church of ,s4 ,andrew the ,strategos1 a martyr of the fourth century1 viz4 the church which the documents of the sixth century describe as near the ,gate of ,saturninus1 without specifying by what title its patron saint was distinguished4 ,this agrees1 moreover1 with what is known regarding the site of the church of ,s4 ,andrew the ,apostle4 ,it stood to the west of the cistern of ,mokius1#aef the large ruined ,byzantine reservoir1 now ,tchoukour ,bostan1 to the north of ,hoja ,mustapha ,pasha ,mesjedi4 ,the church does not appear again in history1 under the designation ,greek3 en krisei1 until the reign of ,andronicus ,,ii4 7#abhb-acbh71 when it was found1 like so many other churches which survived the ,latin occupation of the city1 in a state demanding extensive repair4 ,it was then embellished and enlarged by the protovestiarissa ,theodora1#aeg a lady who occupied a prominent position in the society of the day1 both as the emperor's cousin1 and on account of her accomplishments and character4 ,in her early youth she was married to ,george ,muzalon1#aeh the favourite counsellor and trusted friend of ,theodore ,,ii4 ,ducas of ,nicaea4 ,what confidence ,muzalon enjoyed may be inferred from the fact that he was associated with the ,patriarch ,arsenius as guardian of the emperor's son1 ,john ,lascaris1 when left the heir to the throne of ,nicaea1 as a child eight years old4#aei ,had ,muzalon not met with an untimely end he might have become the colleague of his ward1 and ,theodora might have worn the imperial crown4 ,the tragic murder of her husband by his political opponents1 while celebrating the obsequies of the ,emperor ,theodore1 provoked a terrible outburst of indignation and grief on her part1#afj and so vehement was her condemnation of the criminals that her uncle1 the treacherous ,michael ,palaeologus1 threatened she would share her husband's fate if she did not control her feelings4#afa ,after the accession of ,michael ,palaeologus to the throne1 her hand was bestowed on the protovestiarius ,raoul1 and hence she is generally known by his name and title as ,raoulaina the protovestiarissa 7,greek3 h ,rhaoulaina prtobestiarissa74 ,one of her beautiful daughters became the wife of ,constantine ,palaeologus1 the ill-fated brother of ,andronicus ,,ii4 ,but1 as already stated1 ,theodora was not only highly connected4 ,like many noble ladies in ,byzantine society1 she cultivated learning1#afb and took a deep interest in the theological discussions and ecclesiastical affairs of her day4 ,she was a devoted adherent of the party attached to the person and memory of the ,patriarch ,arsenius2 the party that never forgave ,michael ,palaeologus for blinding the young ,john ,lascaris and robbing him of the throne1 the party that opposed the subjection of the ,eastern ,church to the ,papal ,see1 and which maintained the freedom of the ,church from the political interference of the emperor4 ,whatever its faults1 that party certainly represented the best moral life of the period4 ,illustration3 ,,plate ,,xxvi4 7#a7 ,s4 ,,andrew ,,in ,,krisei4 ,,capital ,,in ,,the ,,inner ,,narthex4 7#b7 ,s4 ,,andrew ,,in ,,krisei4 ,,capital ,,in ,,the ,,arcade ,,under ,,the ,,west ,,dome ,,arch4 ,to face page #aaj4 ,to heal the schism caused by the attitude of the ,arsenites 'was the serious labour of the ,church and ,state' for half a century4 ,and in pursuance of the policy of conciliation1 ,andronicus ,,ii4 allowed the body of ,arsenius to be brought to ,constantinople from the island of ,proconessus1 where he had died in exile and been buried4 ,the whole city gathered to welcome the remains of the venerated prelate1 and saw them borne in solemn and stately procession from the landing at the ,gate of ,eugenius 7,yali ,kiosk7 to the church of ,s4 ,sophia4 ,there1 robed in pontifical vestments1 the body was first seated upon the patriarchal throne1 then laid before the altar1 while the funeral service was intoned1 and finally placed on the right hand of the bema in a chest locked and sealed for safe keeping4 ,once a week1 however1 the body was exposed to public view1 and all strife seemed hushed in a common devotion to the memory of the saint4 ,it was soon after this event that ,theodora restored the church and monastery of ,s4 ,andrew1 and upon the completion of the work she besought the emperor to allow the remains of ,arsenius to be transferred to that shrine4 ,the request was granted1 and the body was carried to the church of ,st4 ,andrew with as great pomp and ceremony as attended its arrival in the capital4 ,there it was kept until the patriarchate of ,niphon 7#acaa-acad71 when it was again taken to ,s4 ,sophia to appear in the final conclusion of peace between the friends and foes of the deceased4#afc ,standing beside the remains1 ,niphon pronounced1 in the name and by the authority of the dead man1 a general absolution for all offences committed in connection with the quarrels which had raged around the name of ,arsenius2 and so long as ,s4 ,sophia continued to be a ,christian sanctuary the remains were counted among the great treasures of the cathedral4 ',there1' to quote the words of a devout visitor shortly before the ,turkish conquest1 'is found the body of the holy patriarch ,arsenius1 whose body1 still intact1 performs many miracles4'#afd ,during the closing years of her life ,theodora made the monastery or convent of ,s4 ,andrew in ,krisei her home4#afe ,to retire thus from the troubled sea of secular life to the haven of a monastery1 and there prepare for the voyage beyond earthly scenes1 was a common practice in the fashionable world of the men and women of ,byzantine days4 ,and it was natural for a wealthy traveller to leave at the port of call some splendid token of devotion and gratitude4 ,the protovestiarissa was still an inmate of the monastery in #abhi1 when her friend the ,patriarch ,gregory1 to whom she was bound by many ties1 was compelled to resign4#aff ,he was one of the most learned men of his time and took an active part in the efforts to reconcile the ,arsenites4 ,it was during his tenure of office that the body of ,arsenius was brought to the capital1 and subsequently transferred from ,s4 ,sophia to the church of ,s4 ,andrew2 he also opposed the union of the ,churches1 and in the controversy regarding the ',procession of the ,holy ,ghost' which divided ,christendom1 he vigorously defended the doctrine of the ,greek ,communion against ,veccus1 who championed the ,latin ,creed4 ,strongly attached to her friends1 and quick to resent any injustice to them1 ,theodora came forward in the hour of the patriarch's disgrace and offered him a refuge in the monastery of ,aristina1 which stood1 as we have seen1 near the church of ,s4 ,andrew and in the immediate neighbourhood of her own residence4#afg ,it was a fortunate arrangement1 for ,gregory soon fell seriously ill and required all the sympathy and generous kindness which ,theodora was able to extend to him4#afh ,upon his death1 ten short months after his retirement1 ,theodora determined to show again her admiration for the man and his work by honouring his memory with a funeral befitting the position he had held in the ,church4 ,she was prevented from carrying out her intention only by the peremptory and reiterated commands of the emperor1 that ,gregory should be buried as a private person4#afi ,illustration3 ,,plate ,,xxvii4 7#a7 ,s4 ,,andrew ,,in ,,krisei4 ,,capital ,,in ,,the ,,outer ,,narthex4 7#b7 ,s4 ,,andrew ,,in ,,krisei4 ,,capital ,,in ,,the ,,outer ,,narthex4 7,from a ,photograph by ,a4 ,e4 ,henderson41 ,esq47 ,to face page #aab4 ,after the death of ,theodora we have only occasional glimpses of the church and monastery4 ,in #acej ,stephen of ,novgorod came 'to kiss' the relics of ,s4 ,andrew of ,crete1 and describes the convent as 'very beautiful4'#agj ,once1 at least1 a sister proved too frail for her vocation2#aga sometimes a devout and wealthy inmate1 such as ,theognosia1#agb would provide an endowment to enable poor girls to become her heirs in religion2 or the sisterhood was vexed by the dishonesty of parties who had rented the lands from which the convent derived its revenues4#agc ,towards the end of its ,byzantine period another ,russian pilgrim#agd came to honour the remains of ,s4 ,andrew the ,strategos1 and bring the ,christian history of the church to a close4 ,it was converted into a mosque by ,mustapha ,pasha1 ,grand ,vizier in the reign of ,selim ,i4 7#aeab-aebj74age ,the custom of illuminating the minarets of the mosques on the eve of the ,prophet's birthday was introduced first at this mosque4#agf ,architectural ,features ,on account of the serious changes made in the building and its surroundings when it became a mosque1 and after the earthquake of #agfe1 its real character is not immediately apparent4 ,the present entrance is in the northern side1 where a fine ,turkish arcade has been erected4 ,the mihrab is on the south side1 a greater change for the correct orientation of a mosque than is usually necessary in the adaptation of a church to the requirements of a sanctuary in which the worshippers turn towards ,mecca4 ,to the east a hall has been added for the accommodation of women who attend the services2 while on the west is another hall1 where the dervishes of the ,tek attached to the mosque hold their meetings4 ,the north aisle also has been much altered and is covered with ,turkish domes4 ,the first impression produced by the interior of the building is that we have here a church on the trefoil plan1 similar to ,s4 ,mary of the ,mongols 7p4 #bgb7 or ,s4 ,elias of ,salonica1 for the central area is flanked by two semi-domes1 which with the eastern apse form a lobed plan at the vaulting level4 ,a closer examination of the building1 however1 will prove that we are dealing with a structure whose original features have been concealed by extensive ,turkish alterations1 and that the trefoil form is a superficial disguise4 ,the arches supporting the central dome on the north and south sides are filled in with semi-domes which rest on arches thrown diagonally across the 'aisles' on each side of the central dome4 ,these arches are very clumsily set to the sides of an irregular hexagon1 with the central wall arch much larger than the side arches4 ,they have no responds1 and have every appearance of being makeshifts4 ,the eastern dome arch is prolonged into a barrel-vaulted bema1 flanked by shallow niches leading to the prothesis and diaconicon1 and beyond the bema is the semicircular apse4 ,only the diaconicon now remains1 covered by a cross-groined vault1 and its apse pierced by a door leading to the hall of the ,tek4 ,the place of the prothesis has been taken by a similar door and a small ,turkish dome4 ,the western dome arch is filled in with a triple arcade resting on two marble columns with finely carved cubical capitals4 ,above the arcade is a group of three windows whose heads are circular on the inside1 but pointed on the outside4 ,to the west of this arcade is an oblong passage corresponding to the 'inner narthex' of ,s4 ,theodosia4 ,it is in three bays4 ,the central long bay is barrel-vaulted2 the two outer bays open into the north and south 'aisles'2 the bay to the north is covered by a ,turkish dome1 while that to the south has a cross-groined vault which seems to be original4 ,beyond this to the west is the outer narthex1 a fine piece of work1 and1 from the character of its details1 of the same period as the western dome arcade4 ,it is in five bays4 ,the three central bays correspond to the 'inner narthex'2 the middle bay is covered by a low saucer dome on pendentives1 and is separated from the two side bays by columns set against flat pilasters4 ,the latter bays are covered by groined vaults springing from the imposts of the capitals1 which are of the ,byzantine ,ionic type1 with high carved imposts4 ,they resemble the capitals in the gallery of ,,ss4 ,sergius and ,bacchus1 and are worthy of particular notice4 ,illustration3 ,,plate ,,xxviii4 7#a7 ,s4 ,,andrew ,,in ,,krisei4 ,,outer ,,narthex4 7#b7 ,s4 ,,andrew ,,in ,,krisei4 ,,inner ,,narthex1 ,,looking ,,south4 ,to face page #aad4 ,the two outer bays are separated from the central compartment of three bays by strongly projecting pilasters4 ,they are covered by low saucer domes similar to the dome over the central bay1 and communicate on the east with the 'aisles4' ,both outer and inner narthexes are in one story1 above which rise the windows of the western dome arch and the semi-domes on north and south4 ,turning now to the exterior1 the south wall is the only outer wall which is exposed at the ground level4 ,it is faced with finely dressed and polished stone1 with thin joints1 no tiles1 and a stone-moulded cornice4 ,the windows are covered with four centred ,turkish arches and are evident insertions4 ,above the stone cornice rise the low drums of the semi-domes4 ,these1 as well as the square base of the dome and the dome itself1 are faced with polished stone alternating with courses of three bricks set in thick beds of mortar4 ,the angles are plain1 without shafts1 and the drums1 dome base1 and dome are crowned with stone cornices moulded to a reversed ogee4 ,the north and south semi-domes are each pierced by three large windows1 which on the interior cut through the curved surface of the domes1 and on the exterior appear as dormers in the roof above the cornice4 ,accordingly they are double glazed1 with one glazed frame on the inside corresponding to the curved dome surface1 and a second upright glazed frame on the outside4 ,the roofs are covered with lead4 ,the central dome is circular inside1 with a high drum pierced by eight windows4 ,on the outside it is octagonal1 with a window on each side4 ,these have circular arched heads1 but have no moulding1 shaft1 or inset to either arches or sides4 ,the dome is crowned by a moulded stone cornice of the same type as that of the other walls4 ,in attempting to reconstruct the original form of the church we may first note those features which are evidently ,turkish4 ,none of the exterior masonry is ,byzantine1 as the use of polished ashlar with fine joints1 of pointed arches1 and of moulded stone cornices clearly proves4 ,the absence of shafts at the angles of the dome drums and the unrecessed windows are additional proofs of this fact1 and we may conclude that the entire exterior was refaced in ,turkish times4 ,the diagonal arches under the north and south semi-domes are peculiar4 ,furthermore1 in lobed ,byzantine churches the lateral apses project beyond the square outer walls4 ,here they are contained within the walls4#agg ,nor are the semi-domes themselves ,byzantine in character4 ,the large windows in the dome surface and the lead-covered dormers placed above the flat moulded cornice betray a ,turkish hand2 for windows in the dome are universal in the great ,turkish mosques1 and the method of protecting them on the exterior with wooden dormers is quite foreign to ,byzantine ideas4 ,the form of the drums and cornices should be compared with the minor domes of the mosque of ,sultan ,bayazid4 ,a careful examination of the building has led to the following conclusions4 ,the lateral semi-domes with their supporting arches are a ,turkish addition4 ,the central dome1 including the drum1 is probably entirely ,turkish1 and takes the place of an original ribbed dome4 ,the two easternmost domes in the north 'aisle' and those over the inner narthex and the prothesis are also ,turkish1 and1 as already stated1 the exterior of the entire building4 ,on the other hand1 the eastern apse1 the dome arches1 the arcade1 and the windows above it on the west side of the dome1 the inner narthex with the ground vault to the south of it1 and the entire outer narthex1 are parts of the original building1 dating probably from the sixth or seventh century4 ,it should be particularly noticed that the windows over the western dome arcade are circular-headed inside1 though they have been provided with pointed heads on the outside in the process of refacing4 ,illustration3 ,,plate ,,xxix4 7#a7 ,s4 ,,andrew ,,in ,,krisei4 ,,in ,,the ,,cloister ,,on ,,the ,,south ,,side ,,of ,,the ,,church1 ,,looking ,,east4 7#b7 ,s4 ,,andrew ,,in ,,krisei4 ,,the ,,chain ,,on ,,the ,,withered ,,tree ,,in ,,the ,,court ,,on ,,the ,,west ,,of ,,the ,,church4 ,to face page #aaf4 ,if we stand in the northern lateral apse and face the mihrab the reason for the alterations is evident4 ,the original ,christian orientation is ignored1 and the apses1 in place of being lateral1 are terminal4 ,to the left is the old apse left unaltered2 to the right1 the original filling of the dome arch forms a 'nave-arcade' similar to that of the mosque of ,sultan ,bayazid2 while by means of the additional apses the building has been converted into a miniature imperial mosque of the ,s4 ,sophia type1 a distinctly clever piece of ,turkish alteration4 ,in its original form the central dome was surrounded by an 'ambulatory' of one story formed by the aisles and 'inner narthex4' ,such a plan is common to both the domed basilica type and the domed cross type1 the difference depending upon the treatment of the cross arms above4 ,in both types1 however1 the side dome arches are invariably filled in with arcades similar to that filling in the western arch of ,s4 ,andrew4 ,we are therefore justified in restoring such arcades here4 ,the type thus restored differs from the domed cross church in that the cross arms do not extend to the outer walls1 and from the domed basilica in that the western dome arch is treated in a similar manner to the lateral arches4 ,to this type the term 'ambulatory church' may be applied4 ,adjoining the west end of the church is the fine cloister of the ,tek of dervishes1 probably on the lines of the old monastery4 ,all the columns around the court are ,byzantine1 and one of them bears the inscription3 the 7column7 of1 ,theophane--,greek3 h ts ,thephans 7,fig4 #fi74 ,in the south wall is built a beautiful ,byzantine doorway having jambs and lintel decorated on the face with a broad undercut scroll of flat leaves and four-petalled flowers1 running between two rows of egg and dart1 while on the intrados are two bands of floral ornaments separated by a bead moulding4 ,one of the bands is clearly a vine scroll4 ,the method employed here1 of joining leaves to a centre so as to form spiral rosettes1 is found also on some of the small capitals in ,s4 ,sophia4 ,similar rosettes appear in the decoration of the doorway to the ,holy ,sepulchre on the ivory in the ,trivulce collection at ,milan4#agh ,illustration3 ,fig4 #cf4--,,the ,,church ,,of ,s4 ,,andrew ,,in ,,krisei 7,,restored ,,plan74 ,illustration3 ,,plate ,,xxx4 ,s4 ,,andrew ,,in ,,krisei4 ,,the ,,decorated ,,doorway ,,in ,,the ,,cloister4 ,to face page #aah4 ,illustration3 ,,fig4 #cg4 ,illustration3 ,,figs4 #ch ,,and #ci4 ,illustration3 ,fig4 #dj4 #add ,pachym4 ii4 pp4 #ce1 #abc4 #ade ,itin4 russes1 p4 #abb4 #adf ,synax41 ,october #ag4 #adg ,pachym4 ii4 p4 #acc4 #adh ,typicon of ,george ,kappodokes1 quoted by the late lamented ,pre ,j4 ,pargoire in his masterly article on the ',suburb and the ,churches of ,s4 ,mamas1' published in the ,proceedings of the ,institut archologique russe ,constantinople1 vol4 ix4 fasc4 #a1 #cb1 #aijd4 ,in that article the writer demonstrates the erroneousness of the commonly received opinion1 maintained1 ,i regret1 also in ,byzantine ,constantinople1 pp4 #hi-ij1 that the suburb of ,s4 ,mamas was situated near ,eyoub to the west of the ,blachernae quarter4 ,pre ,pargoire proves that the suburb stood on the ,european shore of the ,bosporus near ,beshiktash4 ,he also shows that the church of ,s4 ,mamas1 near the ,gate ,xylokerkou1 stood within the landward walls1 somewhere between the ,studion and ,s4 ,andrew in ,krisei4 ,cf4 ,itinraires russes1 p4 #ajb4 #adi ,the ,anonymus 7,banduri1 iii4 p4 #ed47 places ,s4 ,mamas1 ,greek3 ta ,xylokerkou1 within the city1 between the monastery of ,gastria and that of ,s4 ,saviour in the ,chora4 ,the suburb of ,s4 ,mamas he places 7ut supra1 pp4 #eg-eh7 outside the city between ,galata and the ,diplokionion 7,beshiktash74 ,this is only one proof of the correctness of ,pre ,pargoire's position4 ,see ,pargoire1 ut supra4 #aej ,migne1 ,patr4 ,graec4 tom4 #aae1 ,mensis ,octobr4 p4 #aabh4 #aea ,synax41 ,october #ag4 #aeb ,mansi1 ,sacrorum conciliorum nova et amplissima collectio1 viii4 p4 #hhb4 #aec ,mansi1 ,sacrorum conciliorum nova et amplissima collectio1 viii4 p4 #ijf4 #aed ,itin4 russes1 p4 #bcb4 #aee ,ibid4 #aef ,theoph4 ,cont4 p4 #cbc4 #aeg ,pachym4 ii4 p4 #he2 ,niceph4 ,greg4 i4 pp4 #afg1 #agh4 #aeh ,niceph4 ,greg4 i4 pp4 #afg1 #afh4 #aei ,pachym4 i4 p4 #ci4 #afj ,ibid4 pp4 #ee-fc4 #afa ,ibid4 i4 p4 #ajh4 #afb ,niceph4 ,greg4 i4 p4 #agh4 #afc ,niceph4 ,greg4 i4 p4 #bfb4 #afd ,itin4 russes1 p4 #bbf2 cf4 pp4 #aag1 #ace1 #afa1 #bja4 #afe ,pachym4 ii4 p4 #acb4 #aff ,ibid4 ut supra4 #afg ,pachym4 ii4 p4 #acc2 ,niceph4 ,greg4 p4 #agh4 ,according to the latter historian1 ,theodora erected a special residence for ,gregory near her monastery4 #afh ,pachym4 ut supra4 #afi ,pachym4 ut supra1 p4 #aeb4 #agj ,itin4 russes1 p4 #abb4 #aga ,miklosich et ,mller1 i4 p4 #edh1 year #acga4 #agb ,ibid4 ii4 p4 #cec1 year #adjj4 #agc ,ibid4 ii4 p4 #ejf1 year #adja4 #agd ,itin4 russes1 p4 #bcb4 #age ,paspates1 ,greek3 ,byzantinai ,meletai1 p4 #cai4 #agf ,ibid4 p4 #cbj4 #agg ,e4g4 ,s4 ,elias1 ,salonica2 ,churches on ,mt4 ,athos2 ,s4 ,mary of the ,mongols1 ,constantinople4 ,see plan1 p4 #bgi4 #agh ,see figure #bf in ,diehl's ,manuel d'art byzantin1 p4 #gd4 ,that author 7pp4 #cac-ad7 assigns the church of ,s4 ,andrew to the seventh century1 but recognizes in it also features of the sixth century4 ,,chapter ,,vi ,,the ,,church ,,of ,s4 ,,mary 7,,panachrantos7 ,,of ,,lips1 ,,phener ,,isa ,,mesjedi ,the old ,byzantine church1 now ,phener ,isa ,mesjedi1 in the valley of the ,lycus1 to the south of the mosque of ,sultan ,mehemed1 should be identified as the church of the ,theotokos of ,lips1 although the ,patriarch ,constantius1#agi ,scarlatus ,byzantius and ,paspates#ahj identify that church with ,demirjilar ,mesjedi1 a building which lay to the east of the mosque of ,sultan ,mehemed1 but fell in the earthquake of #aijd4 ,according to the writers just cited1 ,phener ,isa ,mesjedi is the church of the ,theotokos ,panachrantos which appears in connection with certain incidents in the history of the ,patriarch ,veccus4 ,in this view there is a curious mingling of truth and error4 ,for1 as a matter of fact1 ,constantinople did possess a church dedicated to the ,panachrantos which had no connection with the monastery of ,lips4 ,but that church was not the building in the valley of the ,lycus2 it stood in the immediate vicinity of ,s4 ,sophia4 ,furthermore1 while it is certain that there was in the city a church of the ,panachrantos which had nothing whatever to do with the monastery of ,lips1 it is equally true that the sanctuary attached to that monastery was also dedicated to the ,theotokos under the same style4 ,in other words1 ,phener ,isa ,mesjedi was the sanctuary attached to the monastery of ,lips and was dedicated to the ,theotokos ,panachrantos1 but was not the church of that name with which it has been identified by the authorities above mentioned4#aha ,illustration3 ,,plate ,,xxxi4 7#a7 ,s4 ,,mary ,,panachrantos4 ,,vault ,,of ,,the ,,ambulatory ,,passage ,,on ,,the ,,west ,,of ,,the ,,dome ,,in ,,the ,,south ,,church1 ,,looking ,,north4 7#b7 ,s4 ,,mary ,,panachrantos4 ,,the ,,interior ,,of ,,the ,,north ,,church1 ,,looking ,,north4 ,to face page #abb4 ,the correctness of these positions can be readily established4 ,first1 that a monastery of the ,panachrantos and the monastery of ,lips were different ,houses is evident from the express statements of the pilgrim ,zosimus to that effect4 ,for1 according to that visitor to the shrines of the city1 a monastery1 'de ,panakhran1'#ahb stood near ,s4 ,sophia1 'non loin de ,sainte ,sophie4' ,stephen of ,novgorod refers to the monastery of the ',panacrante'#ahc also in the same connection4 ,and the proximity of the ,house to the great cathedral may be inferred likewise from the statements of the pilgrim ,alexander#ahd and of the anonymous pilgrim4#ahe ,on the other hand1 ,zosimus speaks of the monastery of ,lips1 'couvent de femmes ,lipesi1'#ahf as situated in another part of the city4 ,it was closely connected with the monastery of ,kyra ,martha1#ahg from which to ,s4 ,sophia was a far cry4 ,the distinction of the two monasteries is1 moreover1 confirmed by the historians ,pachymeres#ahh and ,nicephorus ,gregoras1#ahi who employ the terms ,panachrantos and ,lips to designate two distinct monastic establishments situated in different quarters of the capital4 ,illustration3 ,,fig4 #da4 ,s4 ,,mary ,,parachrantos4 ,,details ,,of ,,the ,,shafts ,,in ,,the ,,east ,,windows ,,of ,,the ,,south ,,church4 ,in the next place1 the monastery of ,lips did not stand at the point marked by ,demirjilar ,mesjedi4 ,the argument urged in favour of its position at that point is the fact that the monastery is described as near the church of the ,holy ,apostles 7,greek3 plsion tn hagin apostoln74 ,but while proximity to the ,holy ,apostles must mark any edifice claiming to be the monastery of ,lips1 that proximity alone is not sufficient to identify the building4 ,phener#aij ,isa ,mesjedi satisfies that condition equally well4 ,but what turns the balance of evidence in its favour is that it satisfies also every other condition that held true of the monastery of ,lips4 ,that ,house was closely associated with the monastery of ,kyra ,martha1 as ,phrantzes#aia expressly declares1 and as may be inferred from the narratives of the ,russian pilgrims4#aib ,that being so1 the position of ,kyra ,martha will determine likewise that of the monastery of ,lips4 ,now1 ,kyra ,martha lay to the south of the ,holy ,apostles4 ,for it was reached1 says the anonymous pilgrim of the fifteenth century#aic 'en descendent 7du couvent7 des ,aptres dans la direction du midi'2 while ,stephen of ,novgorod#aid reached the ,holy ,apostles in proceeding northwards from the ,kyra ,martha4 ,hence the monastery of ,lips lay to the south of the ,holy ,apostles1 as ,phener ,isa ,mesjedi stands to the south of the mosque of ,sultan ,mehemed1 which has replaced that famous church4 ,with this conclusion agrees1 moreover1 the description given of the district in which the monastery of ,lips stood4 ,it was a remote and quiet part of the city1 like the district in which ,phener ,isa ,mesjedi is situated to-day2 ,greek3 pros ta tou ,liba mer1 topon apokismenon kai hsychon4#aid ,furthermore1 the monastery of ,lips borrowed its name from its founder or restorer1 ,constantine ,lips2#aif and in harmony with that fact we find on the apse of one of the two churches which combine to form ,phener ,isa ,mesjedi an inscription in honour of a certain ,constantine4#aig ,unfortunately the inscription is mutilated1 and there were many ,constantines besides the one surnamed ,lips4 ,still1 the presence of the principal name of the builder of the monastery of ,lips on a church1 which we have also other reasons to believe belonged to that monastery1 adds greatly to the cumulative force of the argument in favour of the view that ,constantine ,lips is the person intended4 ,but1 if necessary1 the argument can be still further strengthened4 ,the church attached to the monastery of ,lips was dedicated to the ,theotokos1 as may be inferred from the circumstance that the annual state visit of the emperor to that shrine took place on the festival of the ,nativity of the ,virgin4#aih ,so likewise was the sanctuary which ,phener ,isa ,mesjedi represents1 for the inscription it bears invokes her blessing upon the building and its builder 7,fig4 #db74 ,would that the identity of all the churches in ,constantinople could be as strongly established4 ,it remains to add in this connection that while the monastery of ,lips and that of the ,panachrantos associated with ,veccus were different ,houses1 the churches of both monasteries were dedicated to the ,theotokos under the same attribute--,panachrantos1 the ,immaculate4 ,the invocation inscribed on ,phener ,isa ,mesjedi addresses the ,theotokos by that epithet4 ,but to identify different churches because of the same dedication is only another instance of the liability to allow similarity of names to conceal the difference between things4 ,the distinction thus established between the two monasteries is important not only in the interests of accuracy2 it also throws light on the following historical incidents4 ,in #abde permission was granted for the transference of the relics of ,s4 ,philip the ,apostle from the church of the ,panachrantos to ,western ,europe4 ,the document authorising that act was signed by the dean of the church and by the treasurer of ,s4 ,sophia4#aii ,the intervention of the latter official becomes more intelligible when we know that the monastery of the ,panachrantos stood near ,s4 ,sophia1 and not1 as ,paspates maintains1 at ,phener ,isa ,mesjedi4 ,again1 the ,patriarch ,veccus took refuge on two occasions in the monastery of the ,panachrantos1 once in #abgi and again in #abhb4 ,he could do so readily and without observation1 as the case demanded1 when the shelter he sought stood in the immediate vicinity of his cathedral and official residence4 ,to escape to a monastery situated in the valley of the ,lycus was1 under the circumstances1 impracticable4 ,illustration3 ,,plate ,,xxxii4 7#a7 ,s4 ,,mary ,,panachrantos4 ,,the ,,north ,,church1 ,,looking ,,east4 7#b7 ,s4 ,,mary ,,panachrantos4 ,,the ,,north ,,church1 ,,looking ,,west4 ,to face page #abf4 ,constantine ,lips was an important personage during the reign of ,leo the ,wise 7#hhf-iab7 and of ,constantine ,,vii4 ,porphyrogenitus 7#iab-ief74 ,under the former emperor he held the offices of protospatharius and domestic of the household4 ,he also went on several missions to the ,prince of ,taron1 in the course of which romance mingled with politics1 with the result that the daughter of ,lips became engaged to the son of the prince4#bjj ,upon the accession of ,constantine ,porphyrogenitus1 ,lips came under a cloud1 on suspicion of being implicated in the plot to raise ,constantine ,ducas to the throne1 and was obliged to flee the capital4#bja ,eventually he was restored to favour1 and enjoyed the dignities of patrician1 proconsul1 commander of the foreign guard1 and drungarius of the fleet4#bjb ,he fell in battle in the war of #iag between the ,empire and the ,bulgarians under ,symeon4#bjc ,the monastery of ,lips was restored in the reign of ,leo the ,wise2 the festival of the dedication of the church being celebrated in the year #ijh1 in the month of ,june4#bjd ,the emperor honoured the occasion with his presence1 and attended a banquet in the refectory of the monastery4 ,but the happy proceedings had not gone far1 when they were suddenly interrupted by a furious south-west wind which burst upon the city and shook houses and churches with such violence that people feared to remain under cover and imagined that the end of the world had come1 until the storm was allayed by a heavy downpour of rain4 ,as the south-west wind was named ,lips1 it is not clear whether the historians who mention this incident intend to explain thereby the origin of ,constantine's surname1 or simply point to a curious coincidence4 ,near the church ,lips erected also a xenodocheion for the reception of strangers4#bjd ,the monastery is mentioned by the ,anonymus of the eleventh century1#bjf but does not appear again until the recovery of the ,empire from the ,latins in #abfa4 ,in the efforts then made to restore all things1 it underwent repairs at the instance of the ,empress ,theodora1#bjg the consort of ,michael ,palaeologus1 and from that time acquired greater importance than it had previously enjoyed4 ,within its precincts1 on the #afth of ,february #acjd1 a cold winter day1 ,theodora herself was laid to rest with great pomp1 and amid the tears of the poor to whom she had been a good friend4#bjh ,there1 two years later1 a splendid service was celebrated for the benefit of the soul of her son ,constantine ,porphyrogenitus1#bji as some compensation for the cruel treatment he had suffered at the hands of his jealous brother ,andronicus4 ,there1 that emperor himself became a monk two years before his death1#baj and there he was buried on the #acth of ,february #accb4 ,the monastery contained also the tomb of the ,empress ,irene1#baa first wife of ,andronicus ,,iii41 and the tomb of the ,russian ,princess ,anna#bab who married ,john ,,vii4 ,palaeologus while crown prince1 but died before she could ascend the throne1 a victim of the great plague which raged in ,constantinople in #adag4 ,the monastery appears once more as the scene of a great religious revival1 when a certain nun ,thomais1 who enjoyed a great reputation for sanctity1 took up her residence in the neighbourhood4 ,so large were the crowds of women who flocked to place themselves under her rule that 'the monastery of ,lips and ,martha' was filled to overflowing4#bac ,the church was converted into a mosque by ,phener ,isa1 who died in #adif1 and has undergone serious alterations since that time4#bad ,illustration3 ,,plate ,,xxxiii4 7#a7 ,s4 ,,mary ,,panachrantos4 ,,the ,,diaconicon1 ,,looking ,,east4 7#b7 ,s4 ,,mary ,,panachrantos4 ,,the ,,arch ,,under ,,west ,,side ,,of ,,the ,,central ,,dome ,,in ,,the ,,south ,,church4 ,to face page #abh4 ,architectural ,features ,the building comprises two churches1 which1 while differing in date and type1 stand side by side1 and communicate with each other through an archway in their common wall1 and through a passage in the common wall of their narthexes4 ,as if to keep the two churches more closely together1 they are bound by an exonarthex1 which1 after running along their western front1 returns eastwards along the southern wall of the south church as a closed cloister or gallery4 ,the ,north ,church4--,the north church is of the normal 'four column' type4 ,the four columns which originally supported the dome were1 however1 removed when the building was converted into a mosque in ,turkish times1 and have been replaced by two large pointed arches which span the entire length of the church4 ,but the old wall arches of the dome-columns are still visible as arched piercings in the spandrils of the ,turkish arches4 ,a similar ,turkish 'improvement' in the substitution of an arch for the original pair of columns is found in the north side of the parecclesion attached to the ,pammakaristos 7p4 #aeb74 ,the dome with its eight windows is likewise ,turkish4 ,the windows are lintelled and the cornice is of the typical ,turkish form4 ,the bema is almost square and is covered by a barrel vault formed by a prolongation of the eastern dome arch2 the apse is lighted by a lofty triple window4 ,by what is an exceptional arrangement1 the lateral chapels are as lofty both on the interior and on the exterior as is the central apse1 but they are entered by low doors4 ,in the normal arrangement1 as1 for instance1 in the ,myrelaion1 the lateral chapels are low and are entered by vaults rising to the same height as those of the angle chambers1 between which the central apse rises higher both externally and internally4 ,the chapels have niches arched above the cornice on three sides1 and are covered by cross-groined vaults which combine with the semicircular heads of the niches to produce a very beautiful effect4 ,to the east they have long bema arches flanked by two small semicircular niches1 and are lighted by small single windows4 ,the church is preceded by a narthex in three bays covered by cross-groined vaults supported on strong transverse arches4 ,at either end it terminates in a large semicircular niche4 ,the northern one is intact1 but of the southern niche only the arched head remains4 ,the lower part of the niche has been cut away to afford access to the narthex of the south church4 ,this would suggest that1 at least1 the narthex of the south church is of later date than the north church4 ,considered as a whole the north church is a good example of its type1 lofty and delicate in its proportions4 ,the ,south ,church4--,the narthex is unsymmetrical to the church and in its present form must be the result of extensive alteration4 ,it is in two very dissimilar bays4 ,that to the north is covered with a cross-groined vault of lath and plaster1 probably on the model of an original vault constructed of brick4 ,a door in the eastern wall leads to the north aisle of the church4 ,the southern bay is separated from its companion by a broad arch4 ,it is an oblong chamber reduced to a figure approaching a square by throwing broad arches across its ends and setting back the wall arches from the cornice4 ,this arrangement allows the bay to be covered by a low drumless dome4 ,two openings1 separated by a pier1 lead respectively to the nave and the southern aisle of the church4 ,the interior of the church has undergone serious alterations since it has become a mosque1 but enough of the original building has survived to show that the plan was that of an 'ambulatory church4' ,each side of the ambulatory is divided into three bays1 covered with cross-groined vaults whose springings to the central area correspond exactly to the columns of such an arcade as that which occupies the west dome bay of ,s4 ,andrew 7p4 #aad74 ,we may therefore safely assume that triple arcades originally separated the ambulatory from the central area and filled in the lower part of the dome arches4 ,the tympana of these arches above were pierced to north1 south1 and west by three windows now built up but whose outlines are still visible beneath the whitewash which has been daubed over them4 ,the angles of the ambulatory are covered by cross vaults4 ,the pointed arches at present opening from the ambulatory to the central area were formed to make the church more suitable for ,moslem worship1 as were those of the north church4 ,in fact we have here a repetition of the treatment of the ,pammakaristos 7p4 #aea71 when converted into a mosque4 ,the use of cross-groined vaults in the ambulatory is a feature which distinguishes this church from the other ambulatory churches of ,constantinople and connects it more closely with the domed-cross church4 ,the vaults in the northern portion of the ambulatory have been partially defaced in the course of ,turkish repairs4 ,illustration3 ,,plate ,,xxxiv4 7#a7 ,s4 ,,mary ,,panachrantos4 ,,east ,,window ,,of ,,the ,,south ,,church4 7#b7 ,s4 ,,mary ,,panachrantos4 ,,the ,,outer ,,narthex1 ,,looking ,,south4 ,to face page #acj4 ,the central apse is lighted by a large triple window4 ,it is covered by a cross-groined vault and has on each side a tall shallow segmental niche whose head rises above the springing cornice4 ,below this the niches have been much hacked away4 ,the passages leading to the lateral chapels are remarkably low1 not more than #a4ij m4 high to the crown of the arch4 ,the southern chapel is similar to the central apse1 and is lighted by a large triple window4 ,the northern chapel is very different4 ,it is much broader2 broader indeed than the ambulatory which leads to it1 and is covered by barrel vaults4 ,the niches in the bema only rise to a short distance above the floor1 not1 as on the opposite side1 to above the cornice4 ,it is lighted by a large triple window similar to those of the other two apses4 ,illustration3 ,,fig4 #db4 ,s4 ,,mary ,,panachrantos4 ,,inscription ,,on ,,the ,,apse ,,of ,,the ,,north ,,church4 ,from love for the mother of ,god 444 beautiful temple 444 ,constantine2 which splendid work 444 of the shining heaven an inhabitant and citizen him show ,o ,immaculate ,one2 friendliness recompensing 444 the temple 444 the gift4 ,the outer narthex on the west of the two churches and the gallery on the south of the south church are covered with cross-groined vaults without transverse arches4 ,the wall of the south church1 which shows in the south gallery1 formed the original external wall of the building4 ,it is divided into bays with arches in two and three orders of brick reveals1 and with shallow niches on the broader piers4 ,the exterior of the two churches is very plain4 ,on the west are shallow wall arcades in one order1 on the south similar arcades in two orders4 ,the northern side is inaccessible owing to the ,turkish houses built against it4 ,on the east all the apses project boldly4 ,the central apse of the south church has seven sides and shows the remains of a decoration of niches in two stories similar to that of the ,pantokrator 7p4 #bce72 the other apses present three sides4 ,the carved work on the window shafts is throughout good4 ,an inscription commemorating the erection of the northern church is cut on a marble string-course which1 when complete1 ran across the whole eastern end1 following the projecting sides of the apses4 ,the letters are sunk and marked with drill holes4 ,wulff is of opinion that the letters were originally filled in with lead1 and1 from the evidence of this lead infilling1 dates the church as late as the fifteenth century4 ,but it is equally possible that the letters were marked out by drill holes which were then connected with the chisel1 and that the carver1 pleased by the effect given by the sharp points of shadow in the drill holes1 deliberately left them4 ,the grooves do not seem suitable for retaining lead4 ,in the course of their history both churches were altered1 even in ,byzantine days4 ,the south church is the earlier structure1 but shows signs of several rebuildings4 ,the irregular narthex and unsymmetrical eastern side chapels are evidently not parts of an original design4 ,in the wall between the two churches there are indications which appear to show the character of these alterations and the order in which the different buildings were erected4 ,illustration3 ,,plate ,,xxxv4 7#a7 ,s4 ,,mary ,,panachrantos4 ,,east ,,end ,,of ,,the ,,south ,,church4 7#b7 ,s4 ,,mary ,,panachrantos4 ,,east ,,end ,,of ,,the ,,north ,,church4 ,to face page #acb4 ,as has already been pointed out1 the north side of the ambulatory in the south church1 which for two-thirds of its length is of practically the same width as the southern and western sides1 suddenly widens out at the eastern end and opens into a side chapel broader than that on the opposite side4 ,the two large piers separating the ambulatory from the central part of the north church are evidently formed by building the wall of one church against the pre-existing wall of the other4 ,the easternmost pier is smaller and1 as can be seen from the plan1 is a continuation of the wall of the north church4 ,clearly the north church was already built when the north-eastern chapel of the south church was erected1 and the existing wall was utilised4 ,as the external architectural style of the three apses of the south church is identical1 it is reasonable to conclude that this part of the south church also is later in date than the north church4 ,for if the entire south church had been built at the same time as the apses1 we should expect to find the lateral chapels similar4 ,but they are not4 ,the vaulting of the central apse and of the southern lateral chapel are similar1 while that of the northern chapel is different4 ,on the same supposition we should also expect to find a similar use of the wall of the north church throughout1 but we have seen that two piers representing the old wall of the south church still remain4 ,the narthex of the south church1 however1 is carried up to the line of the north church wall4 ,the four column type is not found previous to the tenth century4 ,the date of the north church was originally given on the inscription1 but is now obliterated4 ,kondakoff dates it in the eleventh or twelfth century4 ,wulff would put it as late as the fifteenth4 ,but if the view that this church was attached to the monastery of ,lips is correct1 the building must belong to the tenth century4 ,the ambulatory type appears to be early1 and the examples in ,constantinople seem to date from the sixth to the ninth century4 ,it may therefore be concluded that1 unless there is proof to the contrary1 the south church is the earlier4 ,in that case the southernmost parts of the two large piers which separate the two churches represent the old outer wall of the original south church1 whose eastern chapels were then symmetrical4 ,to this the north church was added1 but at some subsequent date the apses of the south church demanded repair and when they were rebuilt1 the north-eastern chapel was enlarged by the cutting away of the old outer wall4 ,to this period also belongs the present inner narthex4 ,the fact that the head of the terminal niche at the south end of the north narthex remains above the communicating door shows that the south narthex is later4 ,the outer narthex and south gallery are a still later addition4 ,illustration3 ,,fig4 #dc4 ,illustration3 ,,fig4 #dd4 ,illustration3 ,,figs4 #de ,,and #df4 #agi ,ancient and ,modern ,c4,p4 pp4 #gj1 #gi4 #ahj ,pp4 #cbb1 #cbe4 #aha ,to ,mhlmann and ,mordtmann1 ,esq4 top4 paragraph #abg1 belongs the credit of the identification of ,phener ,isa ,mesjedi with the monastery of ,lips4 ,but ,i have not seen any full statement of their reasons for that opinion4 #ahb ,itin4 russes1 p4 #bjb4 #ahc ,ibid4 p4 #aai4 #ahd ,ibid4 p4 #afb4 #ahe ,ibid4 p4 #bcj4 #ahf ,ibid4 p4 #bje4 #ahg ,phrantzes1 pp4 #ada2 ,itin4 russes1 pp4 #bje1 #abb1 #bcd4 #ahh i4 p4 #dee2 ii4 p4 #ai4 #ahi i4 p4 #afj4 #aij ,theoph4 ,cont4 p4 #cga4 #aia ,page #ada4 #aib ,itin4 russes1 pp4 #bje1 #bcd4 #aic ,ibid4 p4 #bcd4 #aid ,ibid4 p4 #abb4 #aie ,du ,cange1 iv4 p4 #ic1 quoting the ,life of ,nicholas of the ,studion4 ,the district was named ,greek3 ,merdosagar1 ,leo ,gramm4 p4 #bhj4 #aif ,theoph4 ,cont4 p4 #cga4 #aig ,see inscription1 p4 #aca4 #aih ,codinus1 ,de officiis1 p4 #hj4 #aii ,du ,cange1 iv4 p4 #ic4 #bjj ,const4 ,porphyr4 ,de adm4 imp4 c4 #dc4 #bja ,theoph4 ,cont4 p4 #chd4 #bjb ,const4 ,porphyr4 ut supra4 #bjc ,theoph4 ,cont4 p4 #chi4 #bjd ,ibid4 p4 #cga4 #bje ,banduri1 iii4 p4 #eb4 #bjf ,ut supra4 #bjg ,niceph4 ,greg4 i4 p4 #afb4 #bjh ,pachym4 i4 p4 #cgh4 #bji ,ibid4 p4 #dbe4 #baj ,niceph4 ,greg4 i4 p4 #dfa4 #baa ,cantacuz4 i4 p4 #aic4 #bab ,phrantzes1 p4 #aaj4 #bac ,ibid4 p4 #ada4 #bad ,paspates1 p4 #cbe4 ,,chapter ,,vii ,,the ,,church ,,of ,,the ,,theotokos ,,pammakaristos1 ,,fetiyeh ,,jamissi ,the ,byzantine church1 now ,fetiyeh ,jamissi1 overlooking the ,golden ,horn from the heights of the ,fifth ,hill1 was the church of the ,theotokos ,pammakaristos 7the ,all ,blessed71 attached to the monastery known by that name4 ,regarding the identity of the church there can be no manner of doubt1 as the building remained in the hands of the ,greek community for #ach years after the conquest1 and was during that period the patriarchal cathedral4 ,the questions when and by whom the church was founded cannot be so readily determined4 ,according to a manuscript in the library of the ,greek theological college on the island of ,halki 7one of the small group of islands known as the ,princes' ,islands in the ,sea of ,marmora71 an inscription in the bema of the church ascribed the foundation of the building to ,john ,comnenus and his wife ,anna4#bae ,the manuscript perished in the earthquake which reduced the college to a heap of ruins in #ahid1 but the inscription had fortunately been copied in the catalogue of the library before that disaster occurred4 ,it read as follows3 ,greek3 ,iannou phrontisma ,komnnou tode ,anns te rhizs ,doukiks ts syzygou4 hois antidousa plousian1 hagn1 charin taxais en oik tou theou monotropous4#baf ,illustration3 ,,plate ,,xxxvi4 7#a7 ,s4 ,,mary ,,pammakaristos1 ,,from ,,the ,,south-,,east4 7#b7 ,s4 ,,mary ,,pammakaristos1 ,,from ,,the ,,west4 ,to face page #ach4 ,the legend cannot refer to the ,emperor ,john ,comnenus 7#aaah-aadc71 for his consort was neither named ,anna nor related to the family of ,ducas4 ,she was a ,hungarian princess1 who1 on becoming the emperor's bride1 assumed the name ,irene4 ,mr4 ,siderides1 therefore1 suggests that the persons mentioned in the inscription were that emperor's grandparents1 the curopalates and grand domestic ,john ,comnenus and his wife1 the celebrated ,anna ,dalassena1 who bore likewise the title of ,ducaena4 ,in that case1 as the curopalates and grand domestic died in #ajfg1 the foundation of the church cannot be much later than the middle of the eleventh century4 ,but whether the term ,greek3 phrontisma should be understood to mean that the church was founded by the illustrious persons above mentioned1 or was an object already in existence upon which they bestowed their thought and care1 is not quite certain4 ,mr4 ,siderides is prepared to adopt the latter meaning1 and the architecture of the church allows us to assign the foundation of the building to an earlier date than the age of the grandparents of the ,emperor ,john ,comnenus4 ,but while the connection of the church with those personages must not be overlooked1 the building underwent such extensive repairs in the thirteenth century that the honour of being its founder was transferred to its restorer at that period4 ,pachymeres#bag speaks of the monastery as the monastery of ,michael ,glabas ,tarchaniotes 7,greek3 tn idian monn74 ,while the poet ,philes 7#abge-acdf71 referring to a figure portrayed on the walls of the church1 asks the spectator1 ,seest thou1 ,o stranger1 this great man8 ,he is none other than the protostrator1 the builder of this monastery1 the wonder of the world1 the noble ,glabas4 ,greek3 horas ton andra ton polyn touton1 xene2 ekeinos houtos estin ho prtostratr1 ho dmiourgos ts mons ts enthade1 to thauma ts gs1 ho ,glabas ho gennadas4#bah ,in accordance with these statements1 ,gerlach#bai saw depicted on the walls of the church two figures in archducal attire1 representing the founder of the church and his wife1 with this legend beside them3 ,michael ,ducas ,glabas ,tarchaniotes1 protostrator and founder2 ,maria ,ducaena ,comnena ,palaeologina ,blachena1#bai protostratorissa and foundress4 ,greek3 ,michal ,doukas ,glabas ,tarchanits1 ho prtostratr kai kttr2 ,maria ,doukaina ,komnn ,palaiologina ,blakaina1#bbj h prtostratorissa kai kttrissa4 ,michael ,glabas was created protostrator in #abib1 and acquired the right to appoint the abbot of the monastery before #abie4 ,consequently the completion of the repair of the church at his instance must be assigned to the interval between these dates4 ,the protostrator ,michael ,glabas ,ducas ,tarchaniotes1 who must not be confounded with his namesake the protovestiarius ,michael ,palaeologus ,tarchaniotes1#bba enjoyed the reputation of an able general and wise counsellor in the reign of ,andronicus ,,ii41 although1 being a victim to gout1 he was often unable to serve his country in the former capacity4 ,he was noted also for his piety and his interest in the poor1 as may be inferred from his restoration of the ,pammakaristos and the erection of a xenodocheion4#bbb ,his wife was a niece of the ,emperor ,michael ,palaeologus1 and related1 as her titles imply1 to other great families in the country4 ,a pious woman1 and devoted to her husband1 she proved the sincerity of her affection by erecting to his memory1 as will appear in the sequel1 the beautiful chapel at the south-east end of the church4 ,before her death she retired from the world and assumed the name ,martha in religion4#bbc ,in addition to the figures of the restorers of the church1 portraits in mosaic of the ,emperor ,andronicus and his ,empress ,anna1 as the legends beside the portraits declared1 stood on the right of the main entrance to the patriarchate4#bbd ,symbol3 ,cross,greek3 ,andronikos en ,ch t th pistos basileus kai autokratr ,rhmen ho palaiologos4 ,symbol3 ,cross,greek3 ,anna en ,ch t th pist augousta h palaiologina4 ,as both ,andronicus ,,ii4 and his grandson ,andronicus ,,iii4 were married to ladies named ,anna1 it is not clear which of these imperial couples was here portrayed4 ,the fact that the consort of the former emperor died before the restoration of the church by the protostrator ,michael is certainly in favour of the view supported by ,mr4 ,siderides that the portraits represented the latter emperor and empress4#bbd ,why these personages were thus honoured is not explained4 ,having restored the monastery1 ,michael ,glabas entrusted the direction of its affairs to a certain monk named ,cosmas1 whom he had met and learned to admire during an official tour in the provinces4 ,in due time ,cosmas was introduced to ,andronicus ,,ii41 and won the imperial esteem to such an extent as to be appointed patriarch4#bbf ,the new prelate was advanced in years1 modest1 conciliatory1 but1 withal1 could take a firm stand for what he considered right4 ,on the other hand1 the piety of ,andronicus was not of the kind that adheres tenaciously to a principle or ignores worldly considerations4 ,hence occasions for serious differences between the two men on public questions were inevitable1 and in the course of their disputes the monastery of the ,pammakaristos1 owing to its association with ,cosmas1 became the scene of conflicts between ,church and ,state4 ,illustration3 ,,plate ,,xxxvii4 7#a7 ,s4 ,,mary ,,pammakaristos4 ,,inner ,,narthex1 ,,looking ,,south4 7#b7 ,s4 ,,mary ,,pammakaristos4 ,,the ,,dome1 ,,looking ,,west4 ,to face page #adb4 ,no act of ,andronicus shocked the public sentiment or his day more painfully than the political alliance he cemented by giving his daughter ,simonis1 a mere child of six years1 as a bride to the ,kraal of ,servia1 who was forty years her senior1 and had been already married three times1 not always1 it was alleged1 in the most regular manner4#bbg ,cosmas did everything in his power to prevent the unnatural union1 and when his last desperate effort to have an audience of the emperor on the subject was repelled1 he left the patriarchal residence and retired to his old home at the ,pammakaristos4 ,there1 during the absence of the emperor in ,thessalonica1 where the objectionable marriage was celebrated1 ,cosmas remained for two years1 attending only to the most urgent business of the diocese4#bbh ,upon the return of ,andronicus to the capital1 ,cosmas was conspicuous by his refusal to take part in the loyal demonstrations which welcomed the emperor back4 ,andronicus might well have seized the opportunity to remove the patriarch from office for discourtesy so marked and offensive1 but1 instead of doing so1 he sent a friendly message to the ,pammakaristos1 asking ,cosmas to forget all differences and resume his public duties4 ,achilles in his tent was not to be conciliated so easily4 ,to the imperial request ,cosmas replied by inviting ,andronicus to come to the ,pammakaristos1 and submit the points at issue between the emperor and himself to a tribunal of bishops and other ecclesiastics specially convened for the purpose4 ,he furthermore declared that he would return to the patriarchal residence only if the verdict of the court was in his favour1 otherwise he would resign office4 ,the public feeling against ,andronicus was so strong that he deemed it expedient to comply with this strange demand1 going to the monastery late at night to escape notice4 ,the tribunal having been called to order1 ,cosmas produced his charges against the emperor3 the ,servian marriage2 oppressive taxes upon salt and other necessaries of life1 whereby a heavy burden was laid upon the poor1 on one hand1 and imperial prodigality was encouraged on the other2 failure to treat the petitions addressed to him by ,cosmas with the consideration which they deserved4 ,the defence of ,andronicus was skilful4 ,he maintained that no marriage of the ,kraal had violated ,canon ,law as some persons claimed4 ,he touched the feelings of his audience by dwelling upon the sacrifice he had made as a father in bestowing the hand of a beloved daughter on such a man as the ,servian ,prince2 only reasons of ,state had constrained him to sanction a union so painful to his heart4 ,the taxes to which objection had been taken were not imposed1 he pleaded1 to gratify any personal love of money1 but were demanded by the needs of the ,empire4 ,as to love of money1 he had reasons to believe that it was a weakness of which his accuser was guilty1 and to prove that statement1 he there and then sent two members of the court to the treasurer of the palace for evidence in support of the charge4 ,in regard to the accusation that he did not always favour the petitions addressed to him by the patriarch1 he remarked that it was not an emperor's duty to grant all the petitions he received1 but to discriminate between them according to their merits4 ,at the same time he expressed his readiness to be more indulgent in the future4 ,moved by these explanations1 as well as by the entreaties of the emperor and the bishops present at this strange scene1 held in the dead of night in the secrecy of the monastery1 ,cosmas relented1 and returned next day to the patriarchate4#bbi ,but peace between the two parties was not of long duration4 ,only a few weeks later ,andronicus restored to office a bishop of ,ephesus who had been canonically deposed4 ,cosmas protested1 and when his remonstrances were disregarded1 he withdrew again to the ,pammakaristos1#bcj and refused to allow his seclusion to be disturbed on any pretext4 ,to the surprise of everybody1 however1 he suddenly resumed his functions--in obedience1 he claimed1 to a ,voice which said to him1 ',if thou lovest ,me1 feed ,my sheep4'#bca ,but such conduct weakened his position4 ,his enemies brought a foul charge against him4 ,his demand for a thorough investigation of the libel was refused4 ,and in his vexation he once more sought the shelter of the ,pammakaristos1 abdicated the patriarchal throne1 and threw the ecclesiastical world into a turmoil4#bcb ,even then there were still some1 including the emperor1 who thought order and peace would be more speedily restored by recalling ,cosmas to the office he had laid down4 ,but the opposition to him had become too powerful1 and he was compelled to bid farewell to the retreat he loved1 and to end his days in his native city of ,sozopolis1 a man worsted in battle4#bcc ,illustration3 ,,plate ,,xxxviii4 ,s4 ,,mary ,,pammakaristos4 ,,the ,,parecclesion ,,from ,,the ,,south-,,east4 ,to face page #add4 ,of the life at the ,pammakaristos during the remainder of the period before the ,turkish conquest only a few incidents are recorded4 ,one abbot of the monastery1 ,niphon1 was promoted in #acig to the bishopric of ,old ,patras1 and another named ,theophanes was made bishop of the important ,see of ,heraclea4 ,an instance of the fickleness of fortune was brought home to the monks of the establishment by the disgrace of the logothetes ,gabalas and his confinement in one of their cells1 under the following circumstances3--,in the struggle between ,john ,cantacuzene and ,apocaucus for ascendancy at the court of the ,dowager ,empress ,anna of ,savoy and her son1 ,john ,,vi4 ,palaeologus1 ,gabalas#bcd had been persuaded to join the party of the latter politician by the offer1 among other inducements1 of the hand of ,apocaucus' daughter in marriage4 ,but when ,gabalas urged the fulfilment of the promise1 he was informed that the young lady and her mother had meantime taken a violent aversion to him on account of his corpulent figure4 ,thereupon ,gabalas1 like a true lover1 had recourse to a method of banting recommended by an ,italian quack4 ,but the treatment failed to reduce the flesh of the unfortunate suitor2 it only ruined his health1 and made him even less attractive than before4 ,another promise by which his political support had been gained was the hope that he would share the power which ,apocaucus should win4 ,but this ,apocaucus was unwilling to permit1 alleging as an excuse that his inconvenient partisan had become obnoxious to the empress4 ,the disappointment and anxiety caused by this information wore so upon the mind of the logothetes as to alter his whole appearance4 ,he now became thin indeed1 as if suffering from consumption1 and in his dread of the storm gathering about him he removed his valuable possessions to safe hiding4 ,whereupon the wily ,apocaucus drew the attention of the empress to this strange behaviour1 and aroused her suspicions that ,gabalas was engaged in some dark intrigue against her4 ,no wonder that the logothetes observed in consequence a marked change in the empress's manner towards him1 and in his despair he took sanctuary in ,s4 ,sophia1 and assumed the garb of a monk4 ,the perfidy of ,apocaucus might have stopped at this point1 and allowed events to follow their natural course4 ,but though willing to act a villain's part1 he wished to act it under the mask of a friend1 to betray with a kiss4 ,accordingly he went to ,s4 ,sophia to express his sympathy with ,gabalas1 and played the part of a man overwhelmed with sorrow at a friend's misfortune so well that ,gabalas forgot for a while his own griefs1 and undertook the task of consoling the hypocritical mourner4 ,soon an imperial messenger appeared upon the scene with the order for ,gabalas to leave the church and proceed to the monastery of the ,pammakaristos4 ,and there he remained until1 on the charge of attempting to escape1 he was confined in a stronger prison4 ,another person detained at the ,pammakaristos was a ,turkish rebel named ,zinet1 who in company with a pretender to the throne of ,mehemed ,i41 had fled in #adah to ,constantinople for protection4 ,he was welcomed by the ,byzantine ,government1 which was always glad to receive refugees whom it could use either to gratify or to embarrass the ,ottoman ,court1 as the varying relations between the two empires might dictate4 ,it was a policy that proved fatal at last1 but meanwhile it often afforded some advantage to ,byzantine diplomats4 ,on this occasion it was thought advisable to please the ,sultan1 and while the pretender was confined elsewhere1 ,zinet1 with a suite of ten persons1 was detained in the ,pammakaristos4 ,upon the accession of ,murad ,,ii41 however1 the ,government of ,constantinople thought proper to take the opposite course4 ,accordingly the pretender was liberated1 and ,zinet sent to support the ,turkish party which disputed ,murad's claims4 ,but life at the ,pammakaristos had not won the refugee's heart to the cause of the ,byzantines4 ,the fanatical monks with whom he was associated there had insulted his faith2 his ,greek companions in arms did not afford him all the satisfaction he desired1 and so ,zinet returned at last to his natural allegiance4 ,the conduct of the ,byzantine ,government on this occasion led to the first siege of ,constantinople1 in #adbb1 by the ,turks4 ,the most important event in the history of the monastery occurred after the city had fallen into ,turkish hands4 ,the church then became the cathedral of the patriarchs of ,constantinople4 ,it is true that1 in the first instance1 the conqueror had given the church of the ,holy ,apostles to the ,patriarch ,gennadius as a substitute for the church of ,s4 ,sophia4 ,but the native population did not affect the central quarters of the city1 preferring to reside near the ,golden ,horn and the ,sea of ,marmora4 ,furthermore1 the body of a murdered ,turk was discovered one morning in the court of the ,holy ,apostles1 and excited among his countrymen the suspicion that the murder had been committed by a ,christian hand4#bce ,the few ,greeks settled in the neighbourhood were therefore in danger of retaliation1 and ,gennadius begged permission to withdraw to the ,pammakaristos1 around which a large colony of ,greeks1 who came from other cities to repeople the capital1 had settled4#bcf ,the objection that nuns occupied the monastery at that moment was easily overcome by removing the sisterhood to the small monastery attached to the church of ,s4 ,john in ,trullo 7,achmed ,pasha ,mesjedi7 in the immediate vicinity1#bcg and for #ach years thereafter the throne of seventeen patriarchs of ,constantinople stood in the church of the ,pammakaristos1 with the adjoining monastery as their official residence4#bch ,as the chief sanctuary of the ,greek community1 the building was maintained1 it would appear1 in good order and displayed considerable beauty4 ',even at night1' to quote extravagant praise1 'when no lamp was burning1 it shone like the sun4' ,but even sober ,european visitors in the sixteenth century agree in describing the interior of the church as resplendent with eikons and imperial portraits4 ,it was also rich in relics1 some of them brought by ,gennadius from the church of the ,holy ,apostles and from other sanctuaries lost to the ,greeks4 ,among the interesting objects shown to visitors was a small rude sarcophagus inscribed with the imperial eagle and the name of the ,emperor ,alexius ,comnenus4#bci ,it was so plain and rough that ,schweigger speaks of it as too mean to contain the dust of a ,german peasant4#bdj ,but that any sarcophagus professing to hold the remains of ,alexius ,comnenus should be found at the ,pammakaristos is certainly surprising4 ,that emperor was buried1 according to the historian ,nicetas ,choniates1 in the church of ,s4 ,saviour the ,philanthropist1#bda near the palace of ,mangana1 on the east shore of the city4 ,nor could the body of a ,byzantine autocrator have been laid originally in a sarcophagus such as ,brening and ,schweigger describe4 ,these difficulties in the way of regarding the monument as genuine are met by the suggestion made by ,mr4 ,siderides1 that when the church of ,christ the ,philanthropist was appropriated by the ,turks in connection with the building of the ,seraglio1 some patriotic hand removed the remains of ,alexius ,comnenus from the splendid coffin in which they were first entombed1 and1 placing them in what proved a convenient receptacle1 carried them for safe keeping to the ,pammakaristos4 ,the statement that ,anna ,comnena1 the celebrated daughter of ,alexius ,comnenus1 was also buried in this church rests upon the misunderstanding of a passage in the work of ,m4 ,crusius1 where1 speaking of that princess1 the author says3 ',quae 7,anna7 anno ,domini #aaag vixit2 filia ,alexii ,comneni ,imp4 cujus sepulchrum adhuc exstat in templo patriarchatus ,constantinopli a ,d4 ,steph4 ,gerlachio visum4'#bdb ,but cujus 7whose7 refers1 not to ,anna1 but to ,alexius4 ,this rendering is put beyond dispute by the statement made by ,gerlach in a letter to ,crusius1 that he found1 in the ,pammakaristos1 'sepulchrum ,alexii ,comneni ,greek3 autokratoros1' the tomb of the ,emperor ,alexius ,comnenus4#bdc ,the church was converted into a mosque under ,murad ,,iii4 7#aegd-aeib71 and bears the style ,fetiyeh1 'of the conqueror1' in honour of the conquest of ,georgia and ,azerbaijan during his reign4 ,according to ,gerlach1 the change had been feared for some time1 if for no other reason1 because of the fine position occupied by the church4 ,but quarrels between different factions of the ,greek clergy and between them and ,government officials had also something to do with the confiscation of the building4#bdd ,when the cross1 which glittered above the dome and gleamed far and wide1 indicating the seat of the chief prelate of the ,orthodox ,communion1 was taken down1 'a great sorrow befell the ,christians4'#bdd ,the humble church of ,s4 ,demetrius ,kanabou1 in the district of ,balat1 then became the patriarchal seat until #afad1 when that honour was conferred upon the church which still retains it1 the church of ,s4 ,george in the quarter of ,phanar4 ,illustration3 ,,plate ,,xxxix4 7#a7 ,s4 ,,mary ,,pammakaristos4 ,,east ,,end ,,of ,,the ,,parecclesion4 7#b7 ,s4 ,,mary ,,pammakaristos4 ,,the ,,west ,,column ,,in ,,the ,,parecclesion4 ,to face page #adh4 ,architectural ,features ,owing to the numerous additions and alterations introduced into the original fabric1 both before and since the ,turkish conquest1 the original plan of the building is not immediately apparent4 ,nor does the interior1 with its heavy piers1 raised floor1 and naked walls correspond to the accounts given of its former splendour and beauty4 ,a careful study will1 however1 unravel the tangled scheme which the actual condition of the church presents1 and detect some traces of the beauty which has faded and passed away4 ,the building might be mistaken for a domed church with four aisles1 two narthexes1 and a parecclesion4 ,but notwithstanding all the disguises due to the changes it has undergone1 the original church was unquestionably an 'ambulatory' church4 ,it had1 moreover1 at one time a third narthex1 of which now only the foundations remain on the west side of the church4 ,the present outer narthex is in five bays1 covered by dome vaults on transverse arches1 and is paved with hexagonal tiles4 ,the centre bay is marked by transverse arches of greater breadth and projects slightly on the outside1 forming a plain central feature4 ,at the north end a door led to the third narthex1 but has now been built up2 at the south end is a door inserted in ,turkish times4 ,to the south of the central bay the exterior is treated with plain arcades in two orders of brick2 to the north these are absent1 probably on account of some alterations4 ,at the south end the narthex returns round the church in two bays1 leading to the parecclesion4 ,the inner narthex is in four bays covered with cross-groined vaults without transverse arches1 and is at present separated from the body of the church by three clumsy hexagonal piers1 on to which1 as may be seen in the photograph 7,plate ,,xxxvii471 the groins descend in a very irregular manner4 ,in the inner part of the church is a square central area covered by a lofty drum-dome of twenty-four concave compartments1 alternately pierced by windows4 ,the intermediate compartments correspond to the piers1 and the dome is therefore twelve-sided on the exterior with angle half columns and arches in two orders4 ,internally the dome arches are recessed back from the lower wall face and spring from a heavy string-course4 ,they were originally pierced on the north1 south1 and west sides by three windows similar to those in the west dome arch of ,s4 ,andrew 7p4 #aad74 ,the west side is now occupied by the wooden balcony of a ,turkish house built over the narthex1 but there are no indications of any gallery in that position4 ,below the dome arches the central area communicates with the surrounding ambulatory on the north1 west1 and south sides by large semicircular arches corbelled slightly out from the piers4 ,on the east side the dome arch is open from floor to vault1 and leads by a short bema to a five-sided space covered by a dome and forming a kind of triangular apse1 on the south-eastern side of which is the mihrab4 ,as is clearly shown by the character of its dome windows and masonry1 this structure is a ,turkish addition taking the place of the original three eastern apses1 and is a clever piece of planning to alter the orientation of the building4 ,the ambulatory on the three sides of the central square is covered by barrel vaults on the sides and with cross-groined vaults at the angles4 ,to the east it opened into the eastern lateral chapels1 now swept away1 though the passage from the prothesis to the central apse still remains4 ,on the north side of the church is a passage in three bays covered by dome vaults on transverse arches1 communicating at the west end with the inner narthex1 and at the east terminating in a small chapel covered by an octagonal drum dome4 ,the upper part of the apse of the chapel is still visible on the exterior1 but the lower part has been destroyed and its place taken by a ,turkish window4 ,the floor of the eastern part of the church is raised a step above the general level1 this step being carried diagonally across the floor in the centre part so as to line with the side of the apse containing the mihrab4 ,illustration3 ,,plate ,,xl4 7#a7 ,s4 ,,mary ,,pammakaristos4 ,,the ,,east ,,column ,,in ,,the ,,parecclesion4 7#b7 ,s4 ,,mary ,,pammakaristos4 ,,column ,,flanking ,,the ,,east ,,window ,,of ,,the ,,apse ,,of ,,the ,,parecclesion4 7#c7 ,s4 ,,mary ,,pammakaristos4 ,,the ,,west ,,column ,,in ,,the ,,parecclesion4 ,to face page #aej4 ,in considering the original form of the church there is yet another important point to be noted4 ,it will be seen from the plan that at the ground level the central area is not cruciform1 but is rather an oblong from east to west with large arches on the north and south sides4 ,this oblong is1 however1 reduced to a square at the dome level by arches thrown across the east and west ends1 and this1 in conjunction with the setting back of the dome arches already mentioned1 produces a cruciform plan at the springing level4 ,the oblong character of the central area is characteristic of the domed basilica and distinguishes this church from ,s4 ,andrew or ,s4 ,mary ,panachrantos4 ,the employment of barrel vaults in the ambulatory is also a point of resemblance to the domed basilica type1 though the cross groin is used on the angles4#bdf ,in this feature ,s4 ,mary ,pammakaristos resembles ,s4 ,andrew and differs from ,s4 ,mary ,panachrantos4 ,we are probably justified in restoring triple arcades in all the three lower arches similar to the triple arcade which still remains in ,s4 ,andrew4 ,the present arches do not fit1 and are evidently later alterations for the purpose of gaining internal space as at the ,panachrantos4 ,the hexagonal piers between the ambulatory and the inner narthex are not original1 as is evident from the clumsy manner in which the vaulting descends on to them4 ,they are the remains of the old western external wall of the church left over when it was pierced through1 probably in ,turkish times1 to include the narthex in the interior area of the building4 ,the piers between the ambulatory and the gallery on the north side of the church also seem to be due to openings made for a similar reason in the old northern wall of the church when that gallery was added in ,byzantine days4 ,the dotted lines on the plan show the original form of the piers and wall1 as shown by the outline of the vault springings above4 ,the inner narthex is later than the central church and is of inferior workmanship4 ,the restored plan shows the probable form of the church at that date4 ,the outer narthex was added at a subsequent period4 ,the ,parecclesion4--,the parecclesion forms a complete church of the 'four column' type with a narthex and gynecaeum on the west4 ,on the north side the two columns supporting the dome arches have been removed1 and their place is taken by a large pointed ,turkish arch which spans the chapel from east to west as is done in the north church of the ,panachrantos 7p4 #abi74 ,the southern columns are of green marble with bases of a darker marble and finely carved capitals both bedded in lead4 ,one of these columns1 that to the east1 has been partly built into the mihrab wall4 ,the arms of the cross and the western angle compartments are covered with cross-groined vaults1 while the eastern angle compartments have dome vaults4 ,the bema and the two lateral chapels have cross-groined vaults4 ,as usual the apse is semicircular within and shows to the exterior seven sides1 the three centre sides being filled with a triple window with carved oblong shafts and cubical capitals4 ,illustration3 ,s4 ,,mary ,,pammakaristos ,,probable ,,original ,,plan ,,fig4 #dg4 ,internally the church is divided by string-courses at the abacus level of the columns and at the springing level of the vaults into three stories4 ,the lowest story is now pierced by ,turkish windows but was originally plain2 the middle story is pierced by single-light windows in each of the angle compartments1 and in the cross arm by a three-light window of two quarter arches and a central high semicircular arch1 similar to those in the narthex of the ,chora4 ,the highest story has a single large window in the cross arm4 ,to the east the bema arch springs from the abacus level and all three apses have low vaults1 a somewhat unusual arrangement4 ,this allows of an east window in the tympanum of the dome arch above the bema4 ,the dome is in twelve bays1 each pierced by a window and separated by flat projecting ribs4 ,it retains its mosaics1 representing ,christ in the centre surrounded by twelve prophets4 ,each prophet holds in his hand a scroll inscribed with a characteristic quotation from his writings4 ,the drawing1 for which ,i am indebted to the skill and kindness of ,mr4 ,arthur ,e4 ,henderson1 gives an excellent idea of the scheme of the mosaics4 ,speaking of these mosaics1 ,diehl remarks that we have here1 as in the ,chora1 indications of the ,revival of ,art in the fourteenth century4 ,the ,christ in the centre of the dome is no longer represented as the stern and hard ,pantokrator1 but shows a countenance of infinite benignity and sweetness4 ,the twelve prophets grouped around ,him in the flutings of the dome reveal1 in the variety of their expressions1 in their different attitudes1 in the harmonious colours and elegant draping of their robes1 an artist who seeks to escape from traditional types and create a living work of his own4#bdg ,the narthex is in three bays covered by cross-groined vaults without transverse arches4 ,the lower window is a ,turkish insertion1 and above it1 rising from the vaulting string-course at the level of the abacus course in the church1 is a triple window of the type already described4 ,illustration3 ,,fig4 #dh4 7,for other details see ,fig4 #fh47 ,above the narthex and approached by a narrow stair in the thickness of the west wall is the small gynecaeum4 ,it is in three bays1 separated by strong transverse arches resting on pilasters1 each bay having a deep recess to east and west4 ,the centre bay is covered by a cross-groined vault1 and overlooks the church by a small window pierced in the west cross arm4 ,each of the side bays is covered by a drum dome of sixteen concave bays pierced with eight windows and externally octagonal4 ,the plaster has fallen away from these bays1 allowing us to see that they are built in regular courses of brick with thick mortar joints and without any special strengthening at the lines of juncture or ribs between the compartments4 ,such domes1 therefore1 are not strictly ribbed domes but rather domes in compartments4 ,the 'ribs' no doubt do1 by their extra thickness1 add to the strength of the vault1 but here1 as in most ,byzantine domes1 their purpose is primarily ornamental4 ,illustration3 ,,plate ,,xli4 7#a7 ,s4 ,,mary ,,pammakaristos4 ,,interior ,,view ,,of ,,the ,,dome ,,of ,,the ,,parecclesion4 7#b7 ,s4 ,,mary ,,pammakaristos4 ,,mosaic ,,in ,,the ,,dome ,,of ,,the ,,parecclesion4 ,to face page #aed4 ,the exterior of the chapel1 like the faade of ,s4 ,theodore 7p4 #bdg71 presents a carefully considered scheme of decoration1 characteristic of the later ,byzantine school both here and in the later schools outside ,constantinople4 ,the southern wall is divided externally as it is also internally1 into three stories1 and forms two main compartments corresponding to the narthex and to the cross arm4 ,they are marked by high arches of two orders1 which enclose two triple windows in the upper story of the narthex and of the cross arm4 ,the clue to the composition is given by the middle story1 which contains the two large triple windows of the narthex and of the cross arm1 and the two single lights of the angle compartment1 one on each side of the cross arm triple light4 ,these windows are enclosed in brick arches of two orders and linked together by semicircular arched niches1 of which those flanking the narthex window are slightly larger than the rest1 thus giving a continuous arcade of a very pleasant rhythmic quality4 ,in the lower story the piers of the arches round the triple windows are alone carried down through the inscribed string-course which separates the stories and forms the window-sill4 ,the system of niches is repeated1 flat niches being substituted for the angle compartment windows above4 ,the highest story contains the large single windows which light the cross arm and the gynecaeum1 the former flanked by two semicircular niches1 the latter by two brick roundels with radiating joints4 ,between them1 above the west angle compartment window1 is a flat niche with a ,turkish arch4 ,it is possible that there was originally a break here extending to the cornice1 and that this was filled up during ,turkish repairs4 ,the cornice has two ranges of brick dentils and is arched over the two large windows4 ,the domes on the building have flat angle pilasters supporting an arched cornice4 ,the masonry is in stripes of brick and stone courses1 with radiating joints to the arched niches and a zigzag pattern in the spandrils of the first-story arches4 ,at this level are four carved stone corbels with notches on the upper side1 evidently to take a wooden beam4 ,these must have supported the roof of an external wood cloister4 ,the inscribed string-course already mentioned between the ground and first stories bears a long epitaph in honour of ,michael ,glabas ,tarchaniotes4#bdh 7,fig4 #di47 ,the three apses at the east end are of equal height4 ,the side ones are much worn but were apparently plain4 ,the centre apse is in three stories with alternately flat and circular niches in each side4 ,it is crowned by a machicolated cornice similar to that on the east end of ,s4 ,theodosia4 ,the general composition1 as will be seen from the description1 arises very directly from the internal arrangements of the chapel and is extremely satisfactory4 ,the ranges of arches1 varying in a manner at first irregular1 but presently seen to be perfectly symmetrical1 give a rhythmic swing to the design4 ,the walls are now heavily plastered and the effect of the horizontal bands of brick and stone is lost2 but even in its present state the building is a very delightful example of ,byzantine external architecture4 ,evidently the foundress of the chapel wished the monument she reared to her husband's memory to be as beautiful both within and without as the taste and skill of the times could make it4 ,illustration3 ,,plate ,,xlii4 ,s4 ,,mary ,,pammakaristos4 ,,south ,,side ,,of ,,the ,,parecclesion4 ,to face page #aef4 ,what information we have in regard to the chapel is little1 but clear and definite1 resting as it does on the authority of the two epitaphs which the poet ,philes composed to be inscribed on the interior and exterior walls of the building4 ,one of the epitaphs1 if ever placed in position1 has been destroyed or lies concealed under ,turkish plaster4 ,of the other only fragments remain1 forming part of the scheme of decoration which adorns the south wall of the chapel4 ,but fortunately the complete text of both epitaphs is preserved in the extant writings of their author1 and affords all the information they were meant to record4 ,the chapel was dedicated to ,christ as the ,logos#bdi and was built after the death of the protostrator by his wife ,maria1 or ,martha in religion1 for a mausoleum in which to place his tomb4#bej ,as the protostrator died about #acae1 the chapel was erected soon after that date4 ,an interesting incident occurred in this chapel soon after the ,turkish conquest4 ,one day when the ,sultan was riding through his newly acquired capital he came to the ,pammakaristos1 and upon being informed that it was the church assigned to the ,patriarch ,gennadius1 alighted to honour the prelate with a visit4 ,the meeting took place in this parecclesion1 and the conversation1 of which a summary account was afterwards sent to the ,sultan1 dwelt on the dogmas of the ,christian ,faith4#bea ,illustration3 ,,fig4 #di4 ,the text of the epitaph1 portions of which appear on the exterior face of the south wall of the parecclesion of the church of the ,pammakaristos 7,carmina ,philae1 ccxxiii4 ed4 ,miller1 vol4 i4 pp4 #aag-ah7 reads as follows3-- ,greek3 ,aner1 to phs1 to pneuma1 to prosphthegma mou1 kai touto soi to dron ek ts syzygou2 sy men gar hs agrypnos en machais len hypnois1 hypelthn anti lochms ton taphon2 eg de soi teteucha petraian stegn1 #e m palin heurn ho stratos se synche1 kan deuro ton choun ektinaxas ekrybs1 tou pachous rheusantos hrpags an1 pan hoplon apheis ekkremes t pattal2 tas gar epi gs ebdelyx pastadas #aj en eutelei tribni phygn bion kai pros notous antetax satrapas1 sterrhan metendys ek theou panteuchian4 hs ostreon goun organ soi ton taphon1 kochlon kalyka kentrdous batou2 #ae margare mou1 porphyra1 gs alls rhodon1 ei kai trygthen ekpiez tois lithois hs kai stalagmous proxenein moi dakryn1 autos de kai zn kai ,theon znta blepn hs nous katharos tn pathn tn ex hyls #bj ton son palin thalamon eutrepize moi2 h syzygos prin tauta soi ,martha graphei1 prtostrator kalliste kai tethammenn4#beb ,o my husband1 my light1 my breath1 whom ,i now greet4 ,this gift to thee also is from thy wife4 ,for thou indeed who wast like a sleepless lion in battles ,sleepest1 having to endure the grave1 instead 7of occupying7 thy lair4 ,but ,i have erected for thee a dwelling of stone1 ,lest the army finding thee again1 should trouble thee1 ,although here thou art hidden1 having cast off thy 7body of7 clay1 ,or1 the gross flesh having dropped off1 thou hast been transported above1 ,leaving every weapon hung up on its peg4 ,for thou didst abhor the mansions in the world1#bec ,having fled from life in the cheap cloak 7of a monk71 ,and didst confront invisible potentates1 ,having received instead 7of thine own armour7 a strong panoply from ,god4 ,therefore ,i will construct for thee this tomb as a pearl oyster shell1 ,or shell of the purple dye1 or bud on a thorny brier4 ,o my pearl1 my purple1 rose of another clime1 ,even though being plucked thou art pressed by the stones ,so as to cause me sheddings of tears4 ,yet thou thyself1 both living and beholding the living ,god1 ,as a mind pure from material passions1 ,prepare for me again thy home4 ,martha1#bed thy wife formerly1 writes these things to thee1 ,o protostrator1 fairest also of the dead6 ,the following epitaph in honour of the protostrator ,glabas#bed was to be placed in the parecclesion of the church of the ,pammakaristos 7,carmina ,philae1 ccxix41 ed4 ,miller1 vol4 i4 pp4 #aae-af73-- ,greek3 ,epigramma eis ton naon hon kodomsen h tou prtostratoros symbios apothanonti t andri auts4 h men dia sou pasa tn ontn physis ou dynatai chrein se tn prtn physin2 plrois gar autn alla kai plein meneis1 ,theou ,loge zn kai draki to pan phern1 kan sarx alths heuretheis perigraph1 #e psychais de pistais mystiks enidry monn seaut pgnyn athanaton2 oukoun dechou ton oikon hon teteucha soi deiknynta saphs ts psychs mou tn schesin2 ton syzygon de pheu teleutsanta moi #aj kai ts choiks apanastanta stegs1 oikison eis aphtharton autos pastada1 kantautha trn tn soron tou leipsanou1 m tis enechth syntrib tois osteois4 #ae prtostrator kai tauta sn dpou charin h syzygos prin1 alla nyn ,martha graphei4 ,the whole nature of existing things which thou hast made ,cannot contain ,thee1 the primordial nature1 ,for ,thou fillest it1 and yet remainest more than it2 ,o ,logos of ,god1 living and holding all in the hollow of ,thy hand1 ,although as true flesh ,thou art circumscribed1 ,and dwellest1 mystically1 in faithful souls1 ,establishing for ,thyself an immortal habitation1 ,yet accept the house which ,i have built for ,thee1 ,which shows clearly the disposition of my soul4 ,my husband who1 alas6 has died to me ,and gone forth from his house of clay1 ,do ,thou ,thyself settle in an incorruptible mansion1 ,guarding also here the shrine of his remains1 ,lest any injury should befall his bones4 ,o protostrator1 these things1 too1 for thy sake ,i trow1 ,writes she who erewhile was thy wife1 but now is ,martha4#bef ,illustration3 ,,fig4 #ej4 ,to face page #afj4 ,illustration3 ,,fig4 #ea4 ,illustration3 ,,fig4 #eb4 ,illustration3 ,,fig4 #ec4 #bae ,see the masterly articles of ,mr4 ,siderides in the ,proceedings of the ,greek ,syllogos of ,c4,p42 supplement to vols4 xx4-xxii4 pp4 #ai-cb2 vol4 xxix4 pp4 #bfe-gc4 ,i beg to acknowledge my great indebtedness to their learned author4 #baf ',this is the thoughtful deed of ,john ,comnenus and of his consort ,anna of the family ,ducas4 ,grant to them1 ,o ,pure ,one1 rich grace and appoint them dwellers in the house of ,god4' #bag ,vol4 ii1 p4 #ahc4 #bah ,carmina ,philae1 vol4 i4 ode #bcg1 lines #ba-bc4 ,codex ,paris1 p4 #bda4 #bai ,m4 ,crusius1 ,turcograecia1 p4 #ahi4 #bbj ,it should read1 ,greek3 ,branaina4 ,see ,siderides1 in the ,proceedings of the ,greek ,syllogos of ,c4,p4 vol4 xxix4 p4 #bfg4 #bba ,for the protovestiarius1 see ,pachym4 i4 pp4 #bje1 #dfi2 ii4 pp4 #fh1 #gb1 #baj2 for the protostrator1 see ,pachym4 ii4 pp4 #ab1 #dde4 ,the former died in #abhd1 the latter about #acae4 ,cf4 ,siderides1 ut supra4 ,see on this subject the article of ,a4 ,e4 ,martini in ,atti della ,r4 ,academia di archeologia1 lettere e belle arti1 vol4 xx41 ,napoli1 #aijj4 #bbb ,carmina ,philae1 vol4 i4 ,codex ,florent4 ode #ie1 lines #bhj-hb4 #bbc ,see ,carmina ,philae1 edited by ,e4 ,miller1 odes #ed1 #eg1 #ei1 #ib1 #afd1 #afe1 #bai1 #bcg1 for references to the protostrator1 or to his wife1 or to the ,pammakaristos4 #bbd ,hans ,jacob ,brening1 ,orientalische ,reyss1 chap4 xvii4 p4 #ff4 ,he visited ,constantinople #aegi-hj4 ,the portraits stood ',im ,eingang auff der rechten ,seiten1' or1 as another authority has it1 'in patriarchica porta exteriore1 in pariete dextero ab ingredientibus conspiciuntur1' ,turcograecia1 p4 #ge4 #bbe ,gerlach refers to these portraits1 but without mentioning the names of the persons they represented4 ,the legends were communicated to ,m4 ,crusius 7,turcograecia1 p4 #ge7 by ,theodosius ,zygomalas1 the protonotarius of the patriarch in the time of ,gerlach4 #bbf ,pachym4 ii4 pp4 #ahb-hi4 ,when ,cosmas was appointed patriarch a curious incident occurred4 ,a monk of the monastery of the ,pantepoptes protested against the nomination1 because it had been revealed to him that the person who should fill the vacant office would bear the name ,john4 ,such was the impression made by this prediction that matters were so arranged that somehow ,cosmas was able to claim that name also4 ,whereupon the monk went on to predict how many years ,cosmas would hold office1 and that he would lose that position before his death4 #bbg ,pachym4 ii4 pp4 #bga-gg4 #bbh ,ibid4 pp4 #bgh-hd4 #bbi ,pachym4 ii4 pp4 #bib-ih4 #bcj ,pachym4 ii4 pp4 #bih-cjj4 #bca ,ibid4 ii4 p4 #cjc4 #bcb ,ibid4 pp4 #cda-dc4 #bcc ,ibid4 #cdg-he4 #bcd ,cantacuzene1 ii4 pp4 #ddb-dh2 ,niceph4 ,greg4 pp4 #gja1 #gaj1 #gbf4 #bce ,ducas1 pp4 #aag-ba1 #acd1 #aci-db1 #adh-eb1 #agf4 #bcf ,historia politica1 p4 #af4 #bcg ,phrantzes1 p4 #cjg4 #bch ,see ,gerlach's description in ,turcograecia1 pp4 #ahi-ij4 #bci ,brening1 ,orientalische ,reyss1 p4 #fh1 'zur rechten an der ,mauren ,imp4 ,alexii ,comneni monumentum von ,steinwerck auffs einfltigste and schlechteste4' #bdj ,salomon ,schweigger1 ,ein newe ,reyssbeschreibung auss ,deutschland nach ,constantinopel pp4 #aai-bj1 ,chaplain for more than three years in ,constantinople1 at the ,legation of the ,holy ,roman ,empire1 #aeha4 ,he gives the inscription on the sarcophagus3 ,greek3 ,alexios autokratr tn ,rhmain4 ,there is an eagle to the right of the legend4 #bda ,p4 #ab1 ,greek3 eis hn ekeinos edeimato ,christ t philanthrp monn4 #bdb ,turcograecia1 p4 #df1 where the tomb is further described2 'est id lapideum1 non insistens #d basibus1 sed integro lapide a terra surgens1 altius quam mensa1 ad parietem templi4' #bdc ,turcograecia1 p4 #ahi4 #bdd ,patr4 ,constantius1 p4 #gb4 #bde ,historia politica1 p4 #agh4 #bdf ,a barrel vault is1 however1 used under the west gallery of ,s4 ,theodosia though cross-groined vaults are used in the side 'aisles4' #bdg ,manuel d'art byzantin1 p4 #gdb4 #bdh ,the bands of marble on which the inscription is found were cut from marble slabs which once formed part of a balustrade1 for the upper side of the bands is covered with carved work4 #bdi ,carmina ,philae1 i4 pp4 #aae-af1 lines #d1 #g4 #bej ,ibid4 ,heading to poem1 and lines #aj1 #ac-af4 ,second epitaph p4 #aag1 lines #b1 #e1 #ad4 #bea ,turcograecia1 pp4 #af1 #aji1 ,greek3 endon ts mikras ekklsias kai hraias tou parekklsion4 #beb ,greek3 tethammene 7,cod4 ,mon4 fol4 #ajb74 #bec ,alludes to the retirement of ,glabas from the world as a monk4 #bed ,her name as a nun4 #bee ,in the superscription to this epigram in the ,florentine and ,munich ,,mss4 the name ,greek3 ,glabas is given4 #bef ,in these translations ,i have been assisted chiefly by ,sir ,w4 ,m4 ,ramsay1 ,professor ,bury1 and ,mr4 ,e4 ,m4 ,antoniadi4 ,,chapter ,,viii ,,church ,,of ,s4 ,,theodosia1 ,,gul ,,jamissi ,there can be no doubt that the mosque ,gul ,jamissi 7mosque of the ,rose71 that stands within the ,gate ,aya ,kapou1 near the ,golden ,horn1 was the ,byzantine church of ,s4 ,theodosia4 ,for ,aya ,kapou is the entrance styled in ,byzantine days the ,gate of ,s4 ,theodosia 7,greek3 pyl ts hagias ,theodosias71 because in the immediate vicinity of the church of that dedication4#beg ,this was also the view current on the subject when ,gyllius#beh and ,gerlach#bei visited the city in the sixteenth century4 ,the ,turkish epithet of the gate ',aya1' ,holy1 is thus explained4 ,du ,cange1#bfj contrary to all evidence1 places the church of ,s4 ,theodosia on the northern side of the harbour1 or at its head1 ultra sinum4 ,the saint is celebrated in ecclesiastical history for her opposition to the iconoclastic policy of ,leo the ,isaurian4 ,for when that emperor commanded the eikon of ,christ over the ,bronze ,gate of the ,great ,palace to be removed1 ,theodosia1 at the head of a band of women1 rushed to the spot and overthrew the ladder up which the officer1 charged with the execution of the imperial order1 was climbing to reach the image4 ,in the fall the officer was killed4 ,whereupon a rough soldier seized ,theodosia1 and dragging her to the forum of the ,bous 7,ak ,serai71 struck her dead by driving a ram's horn through her neck4 ,naturally1 when the cause for which she sacrificed her life triumphed1 she was honoured as a martyr1 and men said1 ',the ram's horn1 in killing thee1 ,o ,theodosia1 appeared to thee a new ,horn of ,amalthea4'#bfa ,illustration3 ,,plate ,,xliii4 7#a7 ,s4 ,,theodosia4 ,,the ,,east ,,end4 7,e4 ,m4 ,antoniadi47 7#b7 ,s4 ,,theodosia1 ,,from ,,the ,,south-,,east4 ,to face page #afd4 ,the remains of the martyred heroine were taken for burial to the monastery of ,dexiocrates 7,greek3 to monastrion to onomazomenon ,dexiokratous71 so named either after its founder or after the district in which it was situated4#bfb ,this explains why the ,gate of ,s4 ,theodosia was also designated the ,gate of ,dexiocrates 7,greek3 ,porta ,dexiokratous74#bfc ,the earliest reference to the church of ,s4 ,theodosia occurs in the account of the pilgrimage made by ,anthony1 ,archbishop of ,novgorod1#bfd to ,constantinople in #abjj4 ,alluding to that shrine he says3 ',dans un couvent1' to quote the ,french translation of his narrative1 'de femmes se trouvent les reliques de sainte ,thodosie1 dans une chsse ouverte en argent4' ,another ,russian pilgrim from ,novgorod1#bfe ,stephen1 who was in ,constantinople in #acej1 refers to the convent expressly as the convent of ,s4 ,theodosia3 ',nous allmes vnrer la sainte vierge ,thodosie1 que 7pcheurs7 nous baismes2 il y a l un couvent en son nom au bord de la mer4' ,the convent is again mentioned in the description of ,constantinople by the ,russian pilgrim#bff who visited the city shortly before the ,turkish conquest 7#adbd-ec74 ',de l 7,blachernae7 nous nous dirigemes vers l'est et atteignmes le couvent de ,sainte ,thodosie2 la sainte vierge ,thodosie y repose dans une chsse dcouverte4' ,two other ,russian pilgrims1 ,alexander the scribe 7#acie71 and the deacon ,zosimus 7#adai-ba71 likewise refer to the relics of the saint1 but they do so in terms which create some difficulty4 ,alexander saw the relics in the church of the ,pantokrator1#bfg while ,zosimus found them in the convent of the ',everghetis4'#bfh ,the discrepancy between these statements may indeed be explained as one of the mistakes very easily committed by strangers who spend only a short time in a city1 visit a multitude of similar objects during that brief stay1 and write the account of their travels at hurried moments1 or after returning home4 ,it is on this principle that ,mordtmann#bfi deals with the statement that the relics of ,s4 ,theodosia were kept in the monastery of the ',everghetis4' ,in his opinion ,zosimus confused the monastery of ,s4 ,saviour ,euergetes#bgj with the church of ,s4 ,theodosia1#bga because of the proximity of the two sanctuaries4 ,lapses of memory are of course possible1 but1 on the other hand1 the trustworthiness of a document must not be brushed aside too readily4 ,but the differences in the statements of the ,russian pilgrims1 as to the particular church in which the relics of ,s4 ,theodosia were enshrined1 may be explained without charging any of the good men with a mistake1 if we remember that relics of the same saint might be preserved in several sanctuaries2 that the calendar of the ,greek church celebrates four saints bearing the name ,theodosia2#bgb and1 lastly1 that churches of the same dedication stood in different quarters of the city4 ,in fact1 a church dedicated to the ,theotokos ,euergetes stood on the ,xerolophos above the quarter of ,psamathia4#bgc ,stephen of ,novgorod#bgd makes it perfectly clear that he venerated the relics of ,s4 ,theodosia in two different sanctuaries of the city1 one of them being a church beside the ,golden ,horn1 the other standing on the heights above ,psamathia4 ,so does the anonymous pilgrim4#bgd ,the scribe ,alexander#bgf found the relics of ,s4 ,theodosia both in the ,pantokrator and in the church of ,kirmarta1 above the quarter of ,psamathia4 ,it is clear1 therefore1 that ,zosimus1#bgg who places the relics of ,s4 ,theodosia in the monastery of ',everghetis1' has in mind the church of the ,theotokos ,euergetes above ,psamathia1 and not the church of ,s4 ,saviour ,euergetes which stood near ,s4 ,theodosia beside the ,golden ,horn4 ,,note ,while ,zosimus and ,alexander agree in placing the relics of ,s4 ,theodosia in a church in the region of ,psamathia1 they differ as to the name of that church1 the former naming it ,everghetis1 while the latter styles it ,kirmarta4 ,as appears from statements found on pages #ajh1 #afc1 #bje of the ,itinraires russes1 the two sanctuaries were closely connected4 ,but however this discrepancy should be treated1 there can be no doubt that relics of ,s4 ,theodosia were exhibited1 not only in the church dedicated to her beside the ,golden ,horn1 but also in a church in the south-western part of the city4 ,nor can it be doubted that a church in the latter quarter was dedicated to the ,theotokos ,euergetes4 ,that several churches should have claimed to possess the relics of the heroine who championed the cause of eikons1 assuming that all the ,russian pilgrims had one and the same ,s4 ,theodosia in mind1 is not strange4 ,many other popular saints were honoured in a similar fashion4 ,the shrine of ,s4 ,theodosia was famed for miraculous cures4 ,her horn of plenty was filled with gifts of healing4 ,twice a week1 on ,wednesdays and ,fridays1 according to ,stephen of ,novgorod1 or on ,mondays and ,fridays1 according to another pilgrim1 the relics of the saint were carried in procession and laid upon sick and impotent folk4#bgh ,those were days of high festival4 ,all the approaches to the church were packed with men and women eager to witness the wonders performed4 ,patients representing almost every complaint to which human flesh is heir filled the court4 ,gifts of oil and money poured into the treasury2 the church was a blaze of lighted tapers2 the prayers were long2 the chanting was loud4 ,meanwhile the sufferers were borne one after another to the sacred relics1 'and whoever was sick1' says the devout ,stephen1 'was healed4' ,so profound was the impression caused by one of these cures in #acjf1 that ,pachymeres#bgi considered it his duty1 as the historian of his day1 to record the wonder2 and his example may be followed to furnish an illustration of the beliefs and usages which bulked largely in the religious life witnessed in the churches of ,byzantine ,constantinople4 ,at the time referred to there dwelt in the city a deaf-mute1 a well-known object of charity who supported himself by petty services in benevolent households4 ,while thus employed by a family that resided near the church of the ,holy ,apostles1 the poor man one night saw ,s4 ,theodosia in a dream1 and heard her command to repair with tapers and incense to the church dedicated to her honour4 ,next morning the deaf-mute made his friends understand what had occurred during his sleep1 and with their help found his way to the designated shrine4 ,there he was anointed with the holy oil of the lamp before the saint's eikon1 and bowed long in humble adoration at her feet4 ,nothing remarkable happened at the time4 ,but on his homeward way the devout man felt a strange pain in his ear1 and upon putting his hand to the sore place1 what seemed a winged insect flew out and vanished from view4 ,wondering what this might mean1 he entered the house in which he served1 and set himself to prepare the oven in which the bread for the family was to be baked that day4 ,but all his efforts to kindle the fire were in vain2 the wood only smoked4 ,this went on so long that1 like most persons under the same circumstances1 the much-tried man lost his temper and gave way to the impulse to use bad language4 ,whereupon sonorous imprecations on the obstinate fuel shook the air4 ,the bystanders could not believe their ears4 ,they thought the sounds proceeded from some mysterious voice in the oven4 ,but the deaf-mute protested that he heard his friends talking1 and assured them that the words they heard were his own2 ,s4 ,theodosia had opened his ears and loosed his tongue4 ,the news of the marvel spread far and wide and reached even the court4 ,andronicus ,,ii4 sent for the young man1 interrogated him1 and was so deeply impressed by the recital of what had happened that he determined to proceed to the church of ,s4 ,theodosia in state1 and went thither with the patriarch and the senate1 humbly on foot1 and spent the whole night before the wonder-working shrine in prayer and thanksgiving4 ,illustration3 ,,plate ,,xliv4 7#a7 ,s4 ,,theodosia4 ,,interior1 ,,looking ,,north-,,east4 7#b7 ,s4 ,,theodosia4 ,,the ,,eastern ,,dome ,,arch4 ,to face page #afh4 ,the last scene witnessed in this church as a ,christian sanctuary was pathetic in the extreme4 ,it was the vigil of the day sacred to the memory of the saint1 ,may #bi1 #adec4 ,the siege of the city by the ,turks had reached its crisis4 ,the morning light would see the ,queen of ,cities saved or lost4 ,all hearts were torn with anxiety1 and the religious fervour of the population rose to the highest pitch4 ,already1 in the course of the previous day1 a great procession had gone through the streets of the city1 invoking the aid of ,god and of all ,his saints4 ,the emperor and the leading personages of his court were in ,s4 ,sophia1 praying1 weeping1 embracing one another1 forgiving one another1 all feeling oppressed by a sense of doom4 ,in the terrible darkness the church of ,s4 ,theodosia1 ablaze with lighted tapers1 gleamed like a beacon of hope4 ,an immense congregation1 including many women1 filled the building1 and prayers ascended to ,heaven with unwonted earnestness--when suddenly the tramp of soldiers and strange shouts were heard4 ,had the city indeed fallen8 ,the entrance of ,turkish troops into the church removed all doubt1 and the men and women who had gathered to pray for deliverance were carried off as prisoners of war4#bhj ,according to the ,belgic ,chronicle1 the body of the saint and other relics were thrown into the mire and cast to the dogs4#bha ,architectural ,features ,as the building has undergone extensive repairs since it became a mosque1 care must be taken to distinguish between the original features of the fabric and ,turkish changes and restorations4 ,the pointed dome arches rest on pilasters built against the internal angles of the cross4 ,the dome is windowless1 has no internal drum1 and externally is octagonal with a low drum and a flat cornice4 ,dome1 arches1 and pilasters are all evidently ,turkish reconstructions4 ,the gable walls of the transepts and the western wall are also ,turkish4 ,as the central apse coincided with the orientation of the mosque1 it has retained its original form and some portions of its ,byzantine walls1 but it also has suffered ,turkish alterations4 ,the cross arches in the south gallery and in the narthex are pointed1 and1 in their present form1 unquestionably ,turkish2 but as the vault above them is ,byzantine1 their form may be due to cutting away in order to secure a freer passage round the galleries for the convenience of ,moslem worshippers4 ,the outer narthex is ,turkish1 but the old wall which forms its foundation and traces of an old pavement imply the former existence of a ,byzantine narthex4 ,in spite1 however1 of these serious changes the building preserves its original characteristic features1 and is a good example of a domed-cross church1 with galleries on three sides and domes over the four angle-chambers4 ,the galleries rest on a triple arcade supported by square piers4 ,on the north and south the aisles are covered with cross-groined vaults on oblong compartments1 while the passage or narthex under the western gallery has a barrel vault4 ,the chambers at the north-eastern and south-eastern angles of the cross are thrown into the side chapels1 which thus consist of two bays covered with cross-groined vaults4 ,communication between the chapels and the bema was maintained by passages opening in the ordinary fashion into the eastern bays4 ,in the thickness of each of the eastern dome piers1 and at a short distance above the floor1 is a small chamber4 ,the chamber in the north-eastern pier is lighted by a small opening looking southwards1 and was reached by a door in the east side of the passage leading from the bema to the north-eastern chapel4 ,the door has been walled up1 and the chamber is consequently inaccessible4 ,the chamber in the south-eastern pier is lighted by a window looking northwards1 and has a door in the east side of the passage from the bema to the south-eastern chapel4 ,over the door is a ,turkish inscription#bhb in gilt letters to this effect1 ',tomb of the ,apostles1 disciples of ,jesus4 ,peace to him4' ,the chamber is reached by a short spiral stairway of nine stone steps1 and contains a small marble tomb1 which is covered with shawls1 and has a turban around its headstone4 ,on a bracket in the wall is a lamp ready to be lighted in honour of the deceased4 ,the roof of the chamber is perforated by an opening that runs into the floor at the east end of the southern gallery1 and over the opening is an iron grating4 ,illustration3 ,,fig4 #ed4--,s4 ,,theodosia4 ,,the ,,interior1 ,,looking ,,west4 7,from a ,photograph47 ,access to the galleries is gained by means of a staircase in the northern bay of the passage under the western gallery4 ,for some distance from the floor of the church the staircase has wooden steps1 but from the first landing1 where a door in the northern wall stands on a level with the ground outside the church1 stone steps are employed for the remainder of the way up4 ,the wooden steps are ,turkish1 but may replace ,byzantine steps of the same material4 ,the stone steps are ,byzantine1 and could be reached directly from outside the church through the door situated beside the landing from which they start4 ,probably in ,byzantine days the stone staircase could not be reached from the floor of the church1 and furnished the only means of access to the galleries4 ,the galleries are covered by the barrel vaults of the cross arms4 ,at the east end of the northern and the southern gallery are chapels covered with domes and placed above the prothesis and the diaconicon4 ,as stated already1 the aperture in the roof of the chamber in the south-eastern dome pier opens into the floor of the southern chapel1 and probably a similar aperture in the roof of the corresponding chamber in the north-eastern pier opened into the floor of the chapel at the east end of the northern gallery4 ,the presence of chapels in such an unusual position is explained by the desire to celebrate special services in honour of the saints whose remains were buried in the chambers in the piers1 as though in crypts4 ,the domes over the chapels are hemispherical and rest directly on the pendentives4 ,they are ribless and without drums4 ,the arches on which they rest are semicircular and1 with their infilling of triple windows1 are ,byzantine4 ,we may safely set down all four angle domes as belonging to the original design1 though the arches by which they communicate with the galleries are pointed1 and are therefore ,turkish insertions or enlargements4 ,on the exterior the eastern wall of the church is fairly well preserved4 ,the three apses project boldly2 the central apse in seven sides1 the lateral apses in three sides4 ,although the central apse is unquestionably a piece of ,byzantine work it does not appear to be the original apse of the building1 but a substitute inserted in the course of repairs before the ,turkish conquest4 ,this accounts for its plain appearance as compared with the lateral apses1 which are decorated with four tiers of five niches1 corresponding to the window height and the vaulting-level within the church4 ,as on the apses of the ,pantokrator 7p4 #bce7 the niches are shallow segments in plan1 set back in one brick order1 and without impost moulding4 ,in the lowest tier three arches are introduced between pilasters1 with a window in the central arch4 ,above the four tiers of niches is a boldly corbelled cornice1 like that in the chapel attached to the ,pammakaristos4 ,one cannot help admiring how an effect so decidedly rich and beautiful was produced by very simple means4 ,illustration3 ,,plate ,,xlv4 7#a7 ,s4 ,,theodosia4 ,,dome ,,over ,,the ,,staircase ,,to ,,the ,,galleries4 7#b7 ,s4 ,,theodosia4 ,,the ,,narthex1 ,,looking ,,north4 ,to face page #agb4 ,details of the tiled floor and of several carved fragments are given in ,fig4 #gf4 ,for some time after the conquest the building was used as a naval store4#bhc ,it was converted into a mosque in the reign of ,sultan ,selim ,,ii4 7#aeff-gd7 by a wealthy courtier1 ,hassan ,pasha1 and was known as ,hassan ,pasha ,mesjedi4#bhd ,its title1 the mosque of the ,rose1 doubtless refers to its beauty1 just as another mosque is1 for a similar reason1 styled ,laleli ,jamissi1 the mosque of the ,tulip4 ,before leaving the church we may consider the claims of the tradition that the chamber in the south-eastern dome pier contains the tomb of the last ,byzantine emperor4 ,the tradition was first announced to the general public by the ,patriarch ,constantius in a letter which he addressed in #aheb to ,mr4 ,scarlatus ,byzantius1 his fellow-student in all pertaining to the antiquities and history of ,constantinople4#bhe ,according to the patriarch1 the tradition was accepted by the ,turkish ecclesiastical authorities of the city1 and was current among the old men of the ,greek community resident in the quarter of ,phanar2 he himself knew the tradition even in his boyhood4 ,furthermore1 distinguished ,european visitors who inquired for ,byzantine imperial tombs were directed by ,turkish officials to the church of ,s4 ,theodosia1 as the resting-place of the emperor who died with the ,empire2 and the inscription over the door of the chamber referred to that champion of the ,greek cause4 ,strangely enough1 the patriarch said nothing about this tradition when treating of the church of ,s4 ,theodosia in his book on ,ancient and ,modern ,constantinople1 published in #ahdd4 ,in that work1 indeed1 he assigns the tomb in question to some martyr who suffered during the iconoclastic period4#bhf ,this strange silence he explains in his letter written in #aheb as due to prudence2 he had reason then to 'put the seal of ,alexander upon his lips4' ,illustration3 ,,fig4 #ee4 7,for other details in the church see ,fig4 #gf47 ,the tradition has recently received the honour of being supported by ,mr4 ,siderides1 to whom students of ,byzantine archaeology are so deeply indebted4 ,but while accepting it in general1 ,mr4 ,siderides thinks it is open to correction on two points of detail4 ,in his opinion the church of ,s4 ,theodosia was not the first sanctuary to guard the mortal remains of ,constantine ,palaeologus1 but the second4 ,nor was the body of the fallen hero1 when ultimately brought to this church1 placed1 as the patriarch supposed1 in the chamber in the south-eastern pier1 but in the chamber in the pier to the north-east4 ,the reasons urged in favour of these modifications of the tradition1 as reported by the ,patriarch ,constantius1 are substantially the following3--,in the first place1 the body of the last ,constantine1 after its decapitation1 was1 at the express order of the victorious ,sultan1 buried with royal honours1 ,greek3 meta basiliks tims1#bhg and therefore1 so ,mr4 ,siderides maintains1 must have been interred in the church which then enjoyed the highest rank in the ,greek community of the city1 viz4 the church of the ,holy ,apostles1 the patriarchal cathedral after the appropriation of ,s4 ,sophia by the ,turks4 ,the church of the ,holy ,apostles1 however1 soon lost that distinction1 and was torn down to make room for the mosque which bears the name of the conqueror of the city4 ,under these circumstances what more natural1 asks ,mr4 ,siderides1 than that pious and patriotic hands should remove as many objects of historical or religious value as possible from the doomed shrine1 and deposit them where men might still do them reverence--especially when there was every facility for the removal of such objects1 owing to the fact that a ,christian architect1 ,christoboulos1 had charge of the destruction of the church and of the erection of the mosque4 ,some of those objects were doubtless transferred to the church of the ,pammakaristos1#bhh where the ,patriarch ,gennadius placed his throne after abandoning the church of the ,holy ,apostles2 but others may have been taken elsewhere4 ,and for proof that the church of ,s4 ,theodosia had the honour of being entrusted with the care of some of the relics removed from the ,holy ,apostles1 ,mr4 ,siderides points to the inscription over the doorway leading to the chamber in the south-eastern dome pier4 ,according to the inscription that chamber is consecrated by the remains of ,christ's apostles1 i4e4 the relics which formed the peculiar treasure of the church of the ,holy ,apostles4 ,this being so1 ,mr4 ,siderides argues1 on the strength of the tradition under review1 that the remains of the last ,constantine also were brought from the church of the ,holy ,apostles to ,s4 ,theodosia under the circumstances described4 ,as to the position of the imperial tomb when thus transferred to the church of ,s4 ,theodosia1 ,mr4 ,siderides insists that it cannot be in the chamber in the south-eastern dome pier3 first1 because the religious veneration cherished by ,moslems for the grave in that chamber is inconsistent with the idea that the grave contains the ashes of the enemy who1 in #adec1 resisted the ,sultan's attack upon the city2 secondly1 because the inscription over the doorway leading to the chamber expressly declares the chamber to be the resting-place of ,christ's apostles4 ,hence ,mr4 ,siderides concludes that if the tradition before us has any value1 the tomb of the last ,byzantine emperor was placed in the chamber in the north-eastern pier1 and finds confirmation of that view in the absence of any respect for the remains deposited there4 ,to enter into a minute criticism of this tradition and of the arguments urged in its support would carry us far beyond our scope4 ,nor does such criticism seem necessary4 ,the fact that the last ,constantine was buried with royal honours affords no proof whatever that he was laid to rest in the church of the ,holy ,apostles4 ,if he was ever buried in ,s4 ,theodosia1 he may have been buried there from the first4 ,the lateness of the date when the tradition became public makes the whole story it tells untrustworthy4 ,before a statement published in the early part of the nineteenth century in regard to the interment of the last ,byzantine emperor can have any value1 it must be shown to rest on information furnished nearer the time at which the alleged event occurred4 ,no information of that kind has been produced4 ,on the contrary1 the only contemporary historian of the siege of #adec who refers to the site of the emperor's grave informs us that the head of the last ,constantine was interred in ,s4 ,sophia1 and his mutilated body in ,galata4#bhi ,the patriarchal authorities of the sixteenth century1 as ,mr4 ,siderides admits1 while professing to point out the exact spot where ,constantine ,palaeologus fell1 were ignorant of the place where he was buried4 ,in his work on the mosques of the city1 written in #afbj1 ,evlia ,effendi not only knows nothing of the tradition we are considering1 but says expressly that the emperor was buried elsewhere--in the church of the monastery of ,s4 ,mary ,peribleptos1 known by the ,turks as ,soulou ,monastir1 in the quarter of ,psamathia4 ,in #aheb a story prevailed that the grave of the last ,constantine was in the quarter of ,vefa ,meidan4#bij ,from all these discrepancies it is evident that in the confusion attending the ,turkish capture of the city1 the real site of the imperial grave was soon forgotten1 and that all subsequent indications of its position are mere conjectures1 the offspring of the propensity to find in nameless graves local habitations for popular heroes4 ,,note ,the first edition of ,ancient and ,modern ,constantinople was published in #ahbd4 ,in it there is no mention of any tomb in the church of ,s4 ,theodosia4 ,the second edition of that work appeared in #ahdd1 and there the author speaks of a tomb in the church1 and suggests that it was the tomb of some martyr in the iconoclastic persecution4 ,the patriarch's letter to ,scarlatus ,byzantius was written in #aheb1 and published by the latter in #ahfb4 ,in that letter the patriarch reports for the first time the tradition that the tomb in ,s4 ,theodosia was the tomb of ,constantine ,palaeologus4 ,in #ahea a ,russian visitor to ,constantinople1 ,andrew ,mouravieff1 who published an account of his travels1 says that in the church of ,s4 ,theodosia he was shown a tomb which the officials of the mosque assured him was the tomb of the last ,christian emperor of the city4#bia ,lastly1 but not least1 in #ahcb the church of ,s4 ,theodosia underwent repairs at the ,sultan's orders1 and then a neglected tomb was discovered in the church by the ,christian architect who had charge of the work of restoration1 ,haji ,stephen ,gaitanaki ,maditenou 7see letter of the patriarch74#bib ,it is difficult to resist the impression that the discovery of the tomb at that time gave occasion for the fanciful conjectures current among ,turks and ,greeks in regard to the body interred in the tomb4 ,see the article of ,mr4 ,siderides1 who gives the facts just mentioned1 without drawing the inference ,i have suggested4 ,illustration3 ,,fig4 #ef4 ,illustration3 ,,fig4 #eg4 ,illustration3 ,,figs4 #eh ,,and #ei4 ,illustration3 ,,fig4 #fj4 #beg ,phrantzes1 p4 #bed2 ,pusculus1 iv4 #aij4 #beh ,de ,bospora ,thracio1 vi4 c4 #b4 #bei ,trkisches ,tagebuch1 pp4 #ceh1 #ded2 ,patr4 ,constantius1 p4 #ac4 #bfj ,constant4 ,christ4 iv4 #aij4 #bfa ,synax41 ,may #bi4-- ,greek3 ,keras kriou kteinon se1 ,theodosia1 phth neon soi tes ,amaltheias keras4 #bfb ,banduri1 ii4 p4 #cd4 #bfc ,codinus1 ,de ,s4 ,sophia1 p4 #adg4 #bfd ,itin4 russes1 p4 #ajd4 #bfe ,ibid4 p4 #abe4 #bff ,ibid4 p4 #bcc4 #bfg ,ibid4 p4 #afb4 #bfh ,itin4 russes1 p4 #bje4 #bfi ,esq4 top4 parags4 #fh1 #fi4 #bgj ,pachym4 vol4 i4 p4 #cfe2 ,chroniques grco-romaines1 pp4 #if1 #ig4 #bga ,nicet4 ,chon4 p4 #geb4 #bgb ,synax4 ,march #be1 ,may #bi 7a day sacred to two saints named ,theodosia71 ,july #h4 #bgc ,itin4 russes1 p4 #bje4 ,not far from the church and cistern of ,s4 ,mokius4 #bgd ,ibid4 cf4 pp4 #abb1 #abe4 #bge ,ibid4 pp4 #bcc1 #bcd4 #bgf ,ibid4 pp4 #afb1 #afc4 #bgg ,ibid4 p4 #bje4 #bgh ,itin4 russes1 pp4 #bbe1 #bcc4 #bgi ,pachym4 i4 p4 #cfe4 #bhj ,ducas1 p4 #bic4 #bha ,du ,cange1 iv4 p4 #aij4 #bhb ,merkadi havariyoun eshabi ,issa alaihusselam4 #bhc ,paspates1 p4 #cbb4 #bhd ,leunclavius1 ,pand4 ,turc4 c4 #abh4 #bhe ,greek3 ,syngraphai hai ,elassones4 #bhf ,greek3 ,melets1 ,athens1 #aijh3 ,greek3 ,knstantinou ,palaiologou thanatos1 taphos1 kai spath4 #bhg ,phrantzes1 pp4 #bij-ia1 ,greek3 kai prostaxei autou hoi heurethentes ,christianoi ethapsan to basilikon ptma meta basiliks tims4 #bhh ,e4g41 the column at which ,christ was scourged stood in the church of the ,holy ,apostles before the conquest4 ,it was found by ,gerlach after the conquest in the ,pammakaristos4--,turcograecia1 p4 #ahi4 #bhi ,see the ,muscovite's account in ,dethier's ,collection of ,documents relating to the ,siege of #adec1 vol4 ii4 p4 #aaag4 #bij ,achmed ,mouktar ,pasha1 a recent ,turkish historian of the siege of #adec1 maintains that the emperor was buried in the church of the ,peg 7,baloukli71 outside the walls of the city4 ,there is no persistency in the tradition that associates ,constantine's tomb with the church of ,s4 ,theodosia4 #bia ,letters from the ,east 7in ,russian71 vol4 ii4 pp4 #cdb-dc1 quoted by ,mr4 ,siderides4 #bib ,greek3 ,syngraphai hai ,elassones4 ,,chapter ,,ix ,,the ,,church ,,of ,s4 ,,mary ,,diaconissa1 ,,kalender ,,haneh ,,jamissi ,close to the eastern end of the aqueduct of ,valens1 and to the south of it1 in the quarter of the mosque ,shahzad1 is a beautiful ,byzantine church1 now known as ,kalender ,haneh ,jamissi4 ,it was visited by ,gyllius1#bic who refers to its beautiful marble revetment--vestita crustis varii marmoris--but has1 unfortunately1 nothing to say concerning its dedication4 ,since that traveller's time the very existence of the church was forgotten by the ,greek community of ,constantinople until ,paspates#bid discovered the building in #ahgg4 ,but even that indefatigable explorer of the ancient remains of the city could not get access to the interior1 and it was reserved for ,dr4 ,freshfield in #ahhj to be the first ,european visitor since ,gyllius to enter the building1 and make its interest and beauty known to the general public4#bie ,illustration3 ,,plate ,,xlvi4 7#a7 ,s4 ,,mary ,,diaconissa4 ,,view ,,of ,,the ,,north-,,west ,,side1 ,,taken ,,from ,,the ,,aqueduct ,,of ,,valens4 7#b7 ,s4 ,,mary ,,diaconissa4 ,,the ,,north ,,arm1 ,,looking ,,east4 ,to face page #ahb4 ,the identity of the church is a matter of pure conjecture1 for we have no tradition or documentary evidence on that point4 ,paspates#bif suggests that it may have been the sanctuary connected either with the 'monastery of ,valens and ,daudatus1' or with the 'monastery near the aqueduct1' establishments in existence before the age of ,justinian the ,great4#big ,it cannot be the former1 because the monastery of ,valens and ,daudatus1 which was dedicated to ,s4 ,john the ,baptist1 stood near the church of the ,holy ,apostles close to the western end of the aqueduct of ,valens4 ,it might1 so far as the indication 'near the aqueduct' gives any clue1 be the sanctuary of the latter ,house1 in which case the church was dedicated to ,s4 ,anastasius4#bih ,but the architectural features of ,kalender ,haneh ,jamissi do not belong to the period before ,justinian4 ,mordtmann#bii identifies the building with the church of the ,theotokos in the district of the ,deaconess 7,greek3 naos ts theotokou ta ,diakonisss71 and in favour of this view there is the fact that the site of the mosque corresponds1 speaking broadly1 to the position which that church is known to have occupied somewhere between the forum of ,taurus 7now represented by the ,turkish ,war ,office7 and the ,philadelphium 7the area about the mosque of ,shahzad71 and not far off the street leading to the ,holy ,apostles4 ,furthermore1 the rich and beautiful decoration of the church implies its importance1 so that it may very well be the church of the ,theotokos ,diaconissa1 at which imperial processions from the ,great ,palace to the ,holy ,apostles stopped to allow the emperor to place a lighted taper upon the altar of the shrine4#cjj ,theophanes1#cja the earliest writer to mention the church of the ,diaconissa1 ascribes its foundation to the ,patriarch ,kyriakos 7#eic-fje7 in the fourth year of his patriarchate1 during the reign of the ,emperor ,maurice4 ,according to the historical evidence at our command1 that church was therefore erected towards the close of the sixth century4 ,dr4 ,freshfield1#cjb however1 judging by the form of the church and the character of the dome1 thinks that ,kalender ,haneh ,jamissi is 'not earlier than the eighth century1 and not later than the tenth4' ,lethaby#cjc places it in the period between ,justinian the ,great and the eleventh century4 ',the church1 now the ,kalender mosque of ,constantinople1 probably belongs to the intermediate period4 ,the similar small cruciform church of ,protaton1 ,mount ,athos1 is dated c4 #iej4' ,hence if ,theophanes and his followers are not to clash with these authorities on architecture1 either ,kalender ,haneh ,jamissi is not the church of the ,diaconissa1 or it is a reconstruction of the original fabric of that sanctuary4 ,to restore an old church was not an uncommon practice in ,constantinople1 and ,kalender ,haneh ,jamissi has undoubtedly seen changes in the course of its history4 ,on the other hand1 ,diehl is of the opinion that the building cannot be later than the seventh century and may be earlier4#cjd ,illustration3 ,,plate ,,xlvii4 7#a7 ,s4 ,,mary ,,diaconissa4 ,,the ,,interior1 ,,looking ,,north-,,east4 7#b7 ,s4 ,,mary ,,diaconissa4 ,,the ,,interior1 ,,looking ,,south-,,east4 ,to face page #ahd4 ,architectural ,features ,the church belongs to the domed-cross type4 ,the central area is cruciform1 with barrel vaults over the arms and a dome on the centre4 ,as the arms are not filled in with galleries this cruciform plan is very marked internally4 ,four small chambers1 in two stories1 in the arm angles bring the building to the square form externally4 ,the upper stories are inaccessible except by ladders1 but the supposition that they ever formed1 like the similar stories in the dome piers of ,s4 ,sophia1 portions of continuous galleries along the northern1 western1 and southern walls of the church is precluded by the character of the revetment on the walls4 ,in the development of the domed-cross type1 the church stands logically intermediate between the varieties of that type found respectively in the church of ,s4 ,theodosia and in that of ,,ss4 ,peter and ,mark4 ,the lower story of the north-western pier is covered with a flat circular roof resting on four pendentives1 while the upper story is open to the timbers1 and rises higher than the roof of the church1 as though it were the base of some kind of tower4 ,it presents no indications of pendentives or of a start in vaulting4 ,the original eastern wall of the church has been almost totally torn down and replaced by a straight wall of ,turkish construction4 ,traces of three apses at that end of the building can1 however1 still be discerned2 for the points at which the curve of the central apse started are visible on either side of the ,turkish wall1 and the northern apse shows on the exterior4 ,the northern and southern walls are lighted by large triple windows1 divided by shafts and descending to a marble parapet near the floor 7,plate ,,iv474 ,the dome1 which is large in proportion to the church1 is a polygon of sixteen sides4 ,it rests directly on pendentives1 but has a comparatively high external drum above the roof4 ,it is pierced by sixteen windows which follow the curve of the dome4 ,the flat1 straight external cornice above them is ,turkish1 and there is good reason to suspect that the dome1 taken as a whole1 is ,turkish work1 for it strongly resembles the ,turkish domes found in ,s4 ,theodosia1 ,,ss4 ,peter and ,mark1 and ,s4 ,andrew in ,krisei4 ,the vaults1 moreover1 below the dome are very much distorted2 and the pointed eastern arch like the eastern wall appears to be ,turkish4 ,when portions of the building so closely connected with the dome have undergone ,turkish repairs1 it is not strange that the dome itself should also have received similar treatment4 ,in the western faces of the piers that carry the eastern arch large marble frames of considerable beauty are inserted4 ,the sills are carved and rest on two short columns2 two slender pilasters of verd antique form the sides2 and above them is a flat cornice enriched with overhanging leaves of acanthus and a small bust in the centre4 ,within the frames is a large marble slab4 ,dr4 ,freshfield thinks these frames formed part of the eikonostasis1 but on that view the bema would have been unusually large4 ,the more probable position of the eikonostasis was across the arch nearer the apse4 ,in that case the frames just described formed part of the general decoration of the building1 although1 at the same time1 they may have enclosed isolated eikons4 ,eikons in a similar position are found in ,s4 ,saviour in the ,chora 7,plate ,,lxxxvi474 ,the marble casing of the church is remarkably fine4 ,worthy of special notice is the careful manner in which the colours and veinings of the marble slabs are made to correspond and match4 ,the zigzag inlaid pattern around the arches also deserves particular attention4 ,high up in the western wall1 and reached by the wooden stairs leading to a ,turkish wooden gallery on that side of the church1 are two marble slabs with a door carved in bas-relief upon them4 ,they may be symbols of ,christ as the door of ,his fold 7,plate ,,iv474 ,illustration3 ,,plate ,,xlviii4 7#a7 ,s4 ,,mary ,,diaconissa4 ,,east ,,end1 ,,north ,,side 7,,lower ,,part74 7#b7 ,s4 ,,mary ,,diaconissa4 ,,east ,,end1 ,,north ,,side 7,,upper ,,part74 ,to face page #ahf4 ,the church has a double narthex4 ,as the ground outside the building has been raised enormously 7it rises #ae-bj feet above the floor at the east end7 the actual entrance to the outer narthex is through a cutting in its vault or through a window1 and the floor is reached by a steep flight of stone steps4 ,the narthex is a long narrow vestibule1 covered with barrel vaults1 and has a ,turkish wooden ceiling at the southern end4 ,the esonarthex is covered with a barrel vault between two cross vaults4 ,the entrance into the church stands between two ,corinthian columns1 but they belong to different periods1 and do not correspond to any structure in the building4 ,in fact1 both narthexes have been much altered in their day1 presenting many irregularities and containing useless pilasters4 ,professor ,goodyear refers to this church in support of the theory that in ,byzantine buildings there is an intentional widening of the structure from the ground upwards4 ',it will also be observed1' he says1 'that the cornice is horizontal1 whereas the marble casing above and below the cornice is cut and fitted in oblique lines4444 ,the outward bend on the right side of the choir is #aa-a_/b inches in #cc feet4 ,the masonry surfaces step back above the middle string-course4 ,that these bends are not due to thrust is abundantly apparent from the fact that they are continuous and uniform in inclination up to the solid rear wall of the choir4' ,but in regard to the existence of an intentional widening upwards in this building1 it should be observed3 ,first1 that as the eastern wall of the church1 'the rear wall of the choir1' is ,turkish1 nothing can be legitimately inferred from the features of that wall about the character of ,byzantine construction4 ,secondly1 the set back above the middle string-course on the other walls of the church is an ordinary arrangement in a ,byzantine church1 and if this were all 'the widening' for which ,professor ,goodyear contended there would be no room for difference of opinion4 ,the ledge formed by that set back may have served to support scaffolding4 ,in the next place1 due weight must be given to the distortion which would inevitably occur in ,byzantine buildings4 ,they were fabrics of mortar with brick rather than of brick with mortar1 and consequently too elastic not to settle to a large extent in the course of erection4 ,hence is it that no measurements of a ,byzantine structure1 even on the ground floor1 are accurate within more than #e cm41 while above the ground they vary to a much greater degree1 rendering minute measurements quite valueless4 ,lastly1 as the marble panelling was fitted after the completion of the body of the building1 it had to be adapted to any divergence that had previously occurred in the settling of the walls or the spreading of the vaults4 ,the marble panelling1 it should also be observed1 is here cut to the diagonal at one angle1 and not at the other4 ,apart from the set back of the masonry at the middle string-course1 this church1 therefore1 supplies no evidence for an intentional widening of the structure from the ground upwards4 ,any further widening than that at the middle string-course was accidental1 due to the nature of the materials employed1 not to the device of the builder1 and was allowed by the architect because unavoidable4 ,such irregularities are inherent in the ,byzantine methods of building4 ,illustration3 ,,plate ,,xlix4 7#a7 ,s4 ,,mary ,,diaconissa4 ,,south ,,eikon ,,frame4 7#b7 ,s4 ,,mary ,,diaconissa4 ,,detail ,,in ,,the ,,south ,,eikon ,,frame4 ,to face page #ahh4 ,illustration3 ,,fig4 #fa4 ,illustration3 ,,fig4 #fb4 ,illustration3 ,,plate ,l4 7#a7 ,s4 ,,mary ,,diaconissa1 ,,looking ,,west4 7#b7 ,s4 ,,mary ,,diaconissa4 ,,capital ,,on ,,column ,,at ,,the ,,entrance ,,to ,,the ,,church4 ,to face page #aij4 #bic ,de top4 ,c4,p4 iii4 c4 #f4 #bid ,p4 #cea4 #bie ,archaeologia1 vol4 lv4 part #b1 p4 #dca4 #bif ,p4 #ceb4 #big ,their names appear in the ,letter addressed to ,menas1 by the monks of the city1 at the ,synod of #ecf4 #bih ,in the ,epistle to ,pope ,agapetus the monastery 'near the aqueduct' is described as ',anastasii prope ,agogum1' ,mansi1 viii4 p4 #ijg4 #bii ,esquisses top4 p4 #gj4 #cjj ,const4 ,porphr4 ,de cer4 i4 p4 #ge4 #cja ,p4 #dbh2 ,banduri1 i4 p4 #ah2 viii4 pp4 #fig-ih4 #cjb ,archaeologia1 vol4 lv4 part #b1 p4 #dch4 #cjc ,mediaeval ,art1 p4 #ff4 #cjd ,manuel d'art byzantin1 p4 #cab4 ,,chapter ,x ,,the ,,church ,,of ,,ss4 ,,peter ,,and ,,mark1 ,,hoja ,,atik ,,mustapha ,,jamissi ,the ,byzantine church1 now ,hoja ,atik ,mustapha ,jamissi1 situated in the ,aivan ,serai quarter1 close to the ,golden ,horn1 is commonly regarded as the church of ,,ss4 ,peter and ,mark1 because it stands where the church dedicated to the chief of the apostles and his companion stood1 in the district of ,blachernae 7,aivan ,serai7 and near the ,golden ,horn4#cje ,such indications are too vague for a positive opinion on the subject1 but perhaps the ,patriarch ,constantius1 who is responsible for the identification1 may have relied upon some tradition in favour of the view he has made current4#cjf ,,note ,tafferner1 chaplain to the embassy from ,leopold ,i4 of ,austria to the ,ottoman ,court1 speaking of the patriarchal church in his day 7the present patriarchal church of ,s4 ,george in the ,phanar quarter71 says1 ',aedes haec in patriarchatum erecta est1 postquam ,sultan ,mehemet basilicam ,petri et ,pauli exceptam ,graecis in moscheam defoedavit' 7,caesarea legatio1 p4 #hi1 ,vien4 #affh74 ,probably by the church of ,,ss4 ,peter and ,paul he means this church of ,,ss4 ,peter and ,mark4 ,if so1 the traditional name of the building is carried back to the seventeenth century4 ,the church of ,,ss4 ,peter and ,mark1 it is true1 never served as a patriarchal church4 ,that honour belonged to the church of ,s4 ,demetrius of ,kanabos1 which is in the immediate vicinity1 and has always remained a ,christian sanctuary4 ,tafferner seems to have confused the two churches owing to their proximity to each other4 ,or his language may mean that the patriarchal seat was removed from ,s4 ,demetrius when ,,ss4 ,peter and ,paul was converted into a mosque1 because too near a building which had become a ,moslem place of worship4 ,the church of ,,ss4 ,peter and ,mark was founded1 it is said1 by two patricians of ,constantinople1 named ,galbius and ,candidus1 in #deh1 early in the reign of ,leo ,i4 7#deg-dgd74 ,but the present building cannot be so old4 ,it is a fair question to ask whether it may not be the church of ,s4 ,anastasia referred to in a chrysoboullon of ,john ,palaeologus 7#acdb71 and mentioned by the ,russian pilgrim who visited ,constantinople in the fifteenth century 7#adbd-ec74cjg ,the church of ,,ss4 ,peter and ,mark was erected as a shrine for the supposed tunic of the ,theotokos1 a relic which played an important part in the fortunes of ,constantinople on several occasions1 as 'the palladium of the city and the chaser away of all diseases and warlike foes4' ,as often happened in the acquisition of relics1 the garment had been secured by a pious fraud--a fact which only enhanced the merit of the purloiners1 and gave to the achievement the colour of a romantic adventure4 ,in the course of their pilgrimage to the ,holy ,land1 ,galbius and ,candidus discovered1 in the house of a devout ,hebrew lady who entertained them1 a small room fitted up like a chapel1 fragrant with incense1 illuminated with lamps1 and crowded with worshippers4 ,being informed that the room was consecrated by the presence of a chest containing the robe of the mother of their ,lord1 the pious men begged leave to spend the night in prayer beside the relic1 and while thus engaged were seized by an uncontrollable longing to gain possession of the sacred garment4 ,accordingly they took careful measurements of the chest before them1 and at ,jerusalem ordered an exact facsimile of it to be made4 ,thus equipped they lodged again1 on their homeward journey1 at the house of their ,galilean hostess1 and once more obtained leave to worship in its chapel4 ,watching their opportunity they exchanged the chests1 and forthwith despatched the chest containing the coveted treasure straight to ,constantinople4 ,they themselves tarried behind1 as though loth to quit a spot still hallowed by the sacred robe4 ,upon their return to the capital the pious thieves erected a shrine for their prize on land which they owned in the district of ,blachernae1 and dedicated the building to ,,ss4 ,peter and ,mark instead of to the ,theotokos1 as would have been more appropriate1 in the hope that they would thus conceal the precious relic from the public eye1 and retain it for their special benefit4 ,but the secret leaked out4 ,whereupon the emperor obliged the two patricians to surrender their treasure1 and1 after renovating the neighbouring church of the ,theotokos of ,blachernae1 deposited the relic in that sanctuary as its proper home4 ,illustration3 ,,plate ,,li4 7#a7 ,,ss4 ,,peter ,,and ,,mark1 ,,from ,,the ,,south-,,east4 7#b7 ,,ss4 ,,peter ,,and ,,mark4 ,,font ,,outside ,,the ,,church4 ,to face page #aib4 ,the site of that celebrated church lies at a short distance to the west of ,hoja ,atik ,mustapha ,jamissi1 and is marked by the ,holy ,well which was attached to it4 ,the well1 in whose waters emperors and empresses were wont to bathe1 is now enclosed by a modern ,greek chapel1 and is still the resort of the faithful4 ,architectural ,features ,the plan of the church presents the simplest form of the domed-cross type without galleries4 ,the dome1 without drum1 ribs1 or windows1 is almost certainly a ,turkish reconstruction1 but the dome arches and piers are original4 ,the arms of the cross and the small chambers at its angles are covered with barrel vaults1 and communicate with one another through lofty1 narrow arches4 ,in the treatment of the northern and southern walls of the building considerable architectural elaboration was displayed4 ,at the floor level is a triple arcade2 higher up are three windows resting on the string-course2 and still higher a window divided into three lights4 ,the arches in the church are enormously stilted1 a feature due to the fact that the only string-course in the building1 though structurally corresponding to the vaulting spring1 has been placed at the height of what would properly be the column string-course4 ,the three apses1 much altered by repairs1 project boldly1 all of them showing three sides on the exterior4 ,the roof and the cornice are ,turkish1 and the modern wooden narthex has probably replaced a ,byzantine narthex4 ,on the opposite side of the street lies a cruciform font that belonged to the baptistery of the church4 ,illustration3 ,,fig4 #fc4 ,from a church of this type to the later four-columned plan is but a step4 ,the dome piers of ,,ss4 ,peter and ,mark are still ,symbol3 ,l-shaped1 and form the internal angles of the cross4 ,as the arches between such piers and the external walls increased in size1 the piers became smaller1 until eventually they were reduced to the typical four columns of the late churches4 ,illustration3 ,,plate ,,lii4 7#a7 ,,ss4 ,,peter ,,and ,,mark4 ,,interior ,,of ,,the ,,dome1 ,,looking ,,north4 7#b7 ,,ss4 ,,peter ,,and ,,mark4 ,,looking ,,across ,,the ,,dome ,,from ,,the ,,south-,,west4 ,to face page #aid4 ,illustration3 ,,figs4 #fd ,,and #fe4 #cje ,synax41 ,july #b4 #cjf ,ancient and ,modern ,constantinople1 p4 #hc4 #cjg ,greek3 ,neologou hebdomadiaia epithersis1 ,january #c1 #ahic1 p4 #bje2 ,itin4 russes1 p4 #bcc4 ,,chapter ,,xi ,,the ,,church ,,of ,,the ,,myrelaion1 ,,bodroum ,,jamissi ,the identification of ,bodroum ,jamissi as the church attached to the monastery styled the ,myrelaion rests upon the tradition current in the ,greek community when ,gyllius visited the city4 ,according to that traveller1 the church on the hill rising to the north of the eastern end of the gardens of ,vlanga1 the site of the ancient harbour of ,theodosius1 was known as the ,myrelaion--',supra locum hortorum ,blanchae nuncupatorum1 olim ,portum ,theodosianum continentium1 extremam partem ad ortum solis pertinentem1 clivus a ,septentrione eminet1 in quo est templum vulgo nominatum ,myreleos4'#cjh ,this agrees1 so far1 with the statement of the ,anonymus#cji of the eleventh century1 that the ,myrelaion stood on the side of the city looking towards the ,sea of ,marmora4 ,there is no record of the date when the monastery was founded4 ,but the ,house must have been in existence before the eighth century1 for ,constantine ,copronymus 7#gdj-gge71 the bitter iconoclast1 displayed his contempt for monks and all their ways by scattering the fraternity1 and changing the fragrant name of the establishment1 ,myrelaion1 the place of myrrh-oil1 into the offensive designation1 ,psarelaion1 the place of fish-oil4#caj ,the monastery was restored by the ,emperor ,romanus ,i4 ,lecapenus 7#iai-ide71 who devoted his residence in this district to that object4#caa ,hence the monastery was sometimes described as 'in the palace of the ,myrelaion1'#cab ,greek3 en tois palatiois tou ,myrelaiou1 and as 'the monastery of the ,emperor ,romanus1'#cac ,greek3 ,mon tou basiles ,rhmanou4 ,it was strictly speaking a convent1 and became noteworthy for the distinguished rank of some of its inmates1 and as the mausoleum in which the founder and many members of his family were laid to rest4 ,here ,romanus ,,ii4 sent his sister ,agatha to take the veil1 when he was obliged to dismiss her from the court to soothe the jealousy of his beautiful but wicked consort ,theophano4#cad ,upon the abdication of ,isaac ,comnenus1 his wife ,aecatherina and her daughter ,maria retired to the ,myrelaion1 and there learned that a crown may be a badge of slavery and the loss of it liberty4#cae ,here were buried ,theodora1#caf the wife of ,romanus ,lecapenus1 in #ibc1 and1 eight years later1 his beloved son ,christopher1#cag for whom he mourned1 says the historian of the event1 with a sorrow 'greater than the grievous mourning of the ,egyptians4' ,here also ,helena1 the daughter of ,romanus ,lecapenus1 and wife of ,constantine ,,vii4 ,porphyrogenitus1 was laid to rest1 in #iha1 after an imposing funeral1 in which the body was carried to the grave on a bier of gold adorned with pearls and other precious stones4#cah ,to this monastery were transferred1 from the monastery of ,s4 ,mamas1 near the ,gate of the ,xylokerkou1 the three sarcophagi1 one of them a fine piece of work1 containing the ashes of the ,emperor ,maurice and his children4 ,and here also ,romanus ,lecapenus himself was interred in #idh1 his remains being brought from the island of ,prot1 where his unfilial sons1 ,stephen and ,constantine1 had obliged him to spend the last years of his life as a monk4#cai ,illustration3 ,,plate ,,liii4 ,,myrelaion4 ,,the ,,south ,,side4 ,illustration3 ,,myrelaion4 ,,the ,,narthex1 ,,looking ,,north4 ,to face page #aif4 ,architectural ,features ,the building is on the 'four column' plan4 ,the dome1 placed on a circular drum1 is supported on four piers1 and divided into eight concave compartments1 with windows in the alternate compartments4 ,the arms of the cross1 the chambers at the angles1 and the bema are all covered with cross-groined vaults that spring1 like those in the chapel of the ,pammakaristos 7p4 #aea71 from the vaulting level4 ,the apsidal chambers have dome vaults1 a niche on the east recessed in an arch to form the apse1 and a niche both on the north and the south rising above the vaulting string-course4 ,in the lowest division of the south wall stood originally a triple arcade with a door between the columns4 ,the arcade has been built up1 but the moulded jambs and cornices of the door1 and the arch above it1 now contracted into a window1 still show on the exterior1 while the columns appear within the church4 ,above the column string-course is a range of three windows1 the central window being larger than its companions2 higher up in the gable is a single light4 ,the interior of the church has been much pulled about and cut away4 ,the narthex is in three bays1 separated by strong transverse arches1 and terminates at either end in a high concave niche that shows on the outside4 ,the central bay has a dome vault2 the other bays have cross-groined vaults4 ,the church had no gynecaeum1 although ,pulgher indicates one in his plan4 ,a striking feature of the exterior are the large semicircular buttresses that show beyond the walls of the church--six on the south side1 one on either side of the entrance on the west1 and two on the east1 supporting the apsidal chambers4 ,in the last case1 however1 where entire buttresses would have been at once too large and too close together1 the buttresses are only half semi-circles4 ,the apses project with three sides4 ,the northern side of the church and the roof are modern1 for the building suffered severely in #aghd from fire4#cbj ,the church stands on a platform1 built over a small cistern1 the roof of which is supported by four columns crowned by beautiful capitals4 ,hence the ,turkish name of the mosque1 ,bodroum1 signifying a subterranean hollow4 ,gyllius#cba is mistaken in associating this church with the large underground cistern situated lower down the slope of the hill close to the bath ,kyzlar ,aghassi ,hamam4 ,illustration3 ,,plate ,,liv4 ,,myrelaion4 ,,the ,,interior1 ,,looking ,,east4 ,illustration3 ,,myrelaion4 ,,the ,,south-,,west ,,cross ,,angle4 ,to face page #aih4 ,since the above was in print1 the church has1 unfortunately1 been burnt in the great fire which destroyed a large part of ,stamboul on the #bcrd ,july #aiab 7see ,plates ,,ii41 ,,iii474 ,,note ,gyllius 7,de top4 ,c4,p4 iii4 c4 #h7 places the ,horreum1 the statue of ,maimas1 the house of ,craterus1 the ,modius1 and the arch bearing the two bronze hands1 after passing which a criminal on the way to punishment lost all hope of reprieve1 near this church2 basing that opinion on the statement of ,suidas that these buildings stood near the ,myrelaion4 ,but there was a ,myrelaion also 7,codinus1 ,de aed4 p4 #ajh7 in the district in which the ,shahzad mosque is situated4 ,the buildings above mentioned were near this second ,myrelaion4 ,on the other hand1 the ,chrysocamaron near the ,myrelaion mentioned by ,codinus 7,de signis1 pp4 #fe-ff7 stood near the church under our consideration1 for it was close to the church of ,s4 ,acacius in the ,heptascalon4 ,so also1 doubtless1 did the xenodocheion ,myrelaion 7,du ,cange1 iv4 p4 #afj71 possibly one of the many philanthropic institutions supported by ,helena 7,theoph4 ,cont4 p4 #deh71 the daughter of ,romanus ,lecapenus and wife of ,constantine ,,vii4 ,porphyrogenitus4 ,illustration3 ,,figs4 #ff ,,and #fg4 #cjh ,de top4 ,c4,p4 iii4 c4 #h4 #cji ,banduri1 iii4 p4 #dh4 #caj ,ibid4 ut supra4 #caa ,theoph4 ,cont4 p4 #djb4 #cab ,scylitzes1 in ,cedrenus1 ii4 p4 #fdi4 #cac ,theoph4 ,cont4 p4 #djd4 #cad ,ibid4 pp4 #dfa1 #geg4 #cae ,scylitzes1 ut supra1 pp4 #fdh-di4 #caf ,theoph4 ,cont4 p4 #djb4 #cag ,ibid4 p4 #dbj4 #cah ,ibid4 p4 #dgc4 #cai ,ibid4 pp4 #djc-d4 #cbj ,chevalier1 ,voyage de la ,propontide et du ,pont ,euxin1 vol4 i4 p4 #ajh4 #cba ,de top4 ,c4,p4 iii4 c4 #h1 'habens inter se cisternam1 cujus camera lateritia sustinetur columnis marmoreis circiter sexaginta'2 cf4 ,die byzant4 ,wasserbehlter1 pp4 #ei1 #bbb-bc4 ,the bath of ,kyzlar ,aghassi ,hamam may represent the bath built by the eunuch ,nicetas1 in the reign of ,theophilus1 and was probably supplied with water from the cistern beside it 7,banduri1 vi4 p4 #acc74 ,,chapter ,,xii ,,the ,,church ,,of ,s4 ,,john ,,the ,,baptist ,,in ,,trullo1 ,,achmed ,,pasha ,,mesjedi ,the identification of the church of ,s4 ,john the ,baptist in ,trullo 7,greek3 ,mon tou hagiou prophtou prodromou ,iannou tou en t ,troull7 with the mosque of ,achmed ,pasha ,mesjedi is based on two reasons3 first1 because of their common proximity to the church of the ,pammakaristos1#cbb now ,fetiyeh ,jamissi2 secondly1 on the ground of the tradition current in the ,greek community on that point4 ,the latter reason is in this case particularly strong1 seeing the church of the ,pammakaristos was the patriarchal cathedral almost immediately after the ,turkish conquest1 and retained that honour until #aeia4cbc ,the highest ,greek ecclesiastical authorities were therefore in a position to be thoroughly acquainted with the dedication of a church in their close vicinity4 ,in #aegh the protonotarius of the patriarch showed ,gerlach the site of the ,trullus close to ,achmed ,pasha ,mesjedi4#cbd ,the church is mentioned in history only by ,phrantzes1#cbe who informs us that when the ,patriarch ,gennadius transferred the patriarchal seat to the monastery and church of the ,pammakaristos1 certain nuns previously accommodated in that ,house were removed to the neighbouring monastery of ,s4 ,john ,baptist in ,trullo4 ,phrantzes explains the designation of the church1 'in ,trullo1' as derived from a palace named ,trullus which once stood in the vicinity to the north of the ,pammakaristos4 ,it was the palace1 adds the historian1#cbf in which the ,council of ,constantinople1 known as the ,concilium ,quinisextum 7,greek3 ,penthekt71 or the second ,concilium ,trullanum1 assembled in #fib1 in the reign of ,justinian ,,ii4 ,but the palace ,trullus1 in which the first ,concilium ,trullanum met in #fhj1 was one of the group of buildings forming the ,great ,palace#cbg beside the ,hippodrome1 and there the second ,concilium ,trullanum also held its meetings4#cbh ,phrantzes is therefore mistaken in associating the ,council of #fib with a palace in the vicinity of the ,pammakaristos and ,achmed ,pasha ,mesjedi4 ,but his mistake on that particular point does not preclude the existence of a palace named ,trullus in the neighbourhood of the ,pammakaristos4 ,in fact1 the existence of such a palace in that district is the only possible explanation of the attachment of the style 'in ,trullo' to a church on the site of ,achmed ,pasha ,mesjedi4 ,nor is it strange to find a name pertaining primarily to a building in the ,great ,palace transferred to a similar building situated elsewhere4 ,the imperial residence at the ,hebdomon1 for example1 was named ,magnaura after one of the halls in the ,great ,palace4#cbi ,there was an ,oaton or ,trullus in the palace of ,blachernae1#ccj and in the palace at ,nicaea4#cca ,consequently1 a palace known as the ,oaton or the ,trullus might also be situated near the ,pammakaristos1 to command the fine view from that point of the city4 ,mordtmann1#ccb indeed1 maintains that the building to which ,phrantzes refers was the palace at ,bogdan ,serai1 the subsequent residence of the ,moldavian hospodar in ,turkish days1 and that the church of ,s4 ,john in ,trullo was not ,achmed ,pasha ,mesjedi1 but the church of ,s4 ,john in ,petra 7,kesm ,kaya7 beside that palace4 ,this opinion1 however1 is at variance with the statements of ,phrantzes and ,gerlach4 ,furthermore1 the designation 'in ,petra' was so distinctive a mark of the church of ,s4 ,john near ,kesm ,kaya1 that the church could scarcely have been recognised under another style4 ,illustration3 ,,plate ,,lv4 ,s4 ,,john ,,in ,,trullo1 ,,from ,,the ,,south-,,west4 ,illustration3 ,,balaban ,,mesjedi 7page #bfe74 ,,interior ,,view4 ,to face page #bjb4 ,illustration3 ,,fig4 #fh4 ,architectural ,features ,s4 ,john in ,trullo belongs to the ordinary 'four column' type of church building1 and has a narthex4 ,its three apses are semicircular both within and without1 presenting the only instance in ,constantinople of apses semicircular on the exterior4 ,the central apse projects m4 #c beyond the body of the building1 and was lighted by a large but low window1 divided into three lights by two pilasters crowned with carved capitals 7for details see ,fig4 #fh72 the diaconicon has been built up to form the mihrab of the mosque2 the prothesis1 to the north1 has a barrel vault4 ,illustration3 ,,fig4 #fi4 ,the drum dome is octagonal1 with eight ribs and as many windows4 ,it seems large for the size of the church1 and is lower than usual inside4 ,the windows do not cut into the exterior cornice of the dome4 ,originally the dome arches rested on four piers or columns1 but these have been removed in the course of ,turkish repairs1 and the dome arches are now supported by beams running across the church1 under the impost of the arches4 ,the arms of the cross to the north and south have barrel vaults1 and the walls are pierced by triple windows4 ,two capitals built into the exterior face of the northern wall1 and marked with a cross1 were doubtless the capitals of the shafts which divided the northern window into three lights4 ,the western arm of the cross is covered by the roof of the narthex1 and lighted by a small round-headed window above it4 ,the small narthex is in three bays1 covered with cross-groined vaults4 ,it is not probable that the church was converted into a mosque before #aeia1 when the patriarchal seat was removed from the ,pammakaristos to ,s4 ,demetrius beside the ,xyloporta4 ,nor could the conversion have been later than #aeih1 the year in which ,achmed ,pasha--who converted the building into a mosque--died4#ccc ,illustration3 ,,figs4 #gj ,,and #ga4 #cbb ,phrantzes1 p4 #cjg4 #cbc ,patr4 ,constantius1 p4 #hj4 #cbd ,tagebuch1 p4 #def4 ,on the way eastwards from the residence of the ,moldavian agent 7,bogdan ,serai71 says ,gerlach1 ',auf diesem ,spazier-weg hat mir ,theodosius auch den ,trullum auf der ,seiten des ,patriarchats gegen dem ,sultan ,selim gewiesen4 ,welches vor diesen ein sehr weiter ,platz gewesen1 nun aber nichts mehr da als ein rundes getffeltes ,haus1 wie ein kleines ,kirchlein ist4' ,cf4 his statement reported by ,crusius in ,turcograecia1 p4 #ahi3 ',patriarchatui contiguum est monasteriolum ,joannis ,baptistae a ,graecis sanctimonalibus inhabitatum4' #cbe ,phrantzes1 p4 #cjg2 cf4 ,turcograecia1 p4 #ahi4 #cbf ,it was also styled ,greek3 aton1 'the ,oval1' after the form of its roof or of the body of the building itself 7,synax41 ,sept4 #ad74 ,vita ,stephani4 ,for the ,greek3 aton1 see ,labarte1 ,le ,palais imprial de ,cons'ple1 pp4 #fb1 #aba1 #abb1 #ahf4 #cbg ,vita ,stephani ,junioris1 ,migne1 ,p4,g4 tom4 #ajj1 col4 #aadd ,greek3 en t hier palati1 entha epilegetai ho ,troullos hoper hmeis aton kaloumen4 #cbh ,balsamon1 vol4 i4 col4 #eja ,greek3 en t ,troull tou basilikou palatiou4 #cbi ,theoph4 p4 #eda4 #ccj ,pachym4 i4 p4 #dje4 #cca ,acta et diplomata ,graeca1 iii4 p4 #fe2 cf4 ,paspates1 ,great ,palace1 p4 #bdh1 ,metcalfe's translation4 #ccb ,proceedings of ,greek ,syllogos of ,c4,p41 ,archaeological ,supplement to vol4 xvii4 p4 #h4 ,his principal reason seems to be the fact that a company of nuns occupied some of the cells in the old monastery of ,s4 ,john in ,petra when ,gerlach visited the city4 ,but1 according to ,gerlach1 another sisterhood was at the same time accommodated in the small convent of ,s4 ,john the ,baptist near the patriarchate4--,turcograecia1 p4 #ahi4 #ccc ,cf4 ,paspates1 p4 #cjd4 ,,chapter ,,xiii ,,the ,,church ,,of ,s4 ,,thekla1 ,,toklou ,,ibrahim ,,ded ,,mesjedi ,in the quarter of ,aivan ,serai1 a few paces to the rear of the ,heraclian ,wall1 stands a small mosque known as ,toklou ,ibrahim ,ded ,mesjedi1 the architectural features of which proclaim it at once to be an old ,byzantine chapel4 ,there is no decisive tradition in regard to the identity of the building4 ,the ,patriarch ,constantius is uncertain whether it should be recognised as the church of ,s4 ,nicholas or as the church of ,s4 ,thekla1 two sanctuaries situated in the quarter of ,blachernae4 ,it cannot have been the former1 inasmuch as the site of that church was near the ,holy ,well1 still venerated by ,christians and ,moslems1#ccd in the area enclosed between the ,wall of ,heraclius and the ,wall of ,leo the ,armenian1 now a picturesque ,turkish cemetery4 ,one argument for regarding the building as the church of ,s4 ,thekla1 in this part of the city1 is the striking similarity of its ,turkish name ,toklou to the ,greek name ,thekla1 rendering it exceedingly probable that the former is a corruption of the latter1 and a reminiscence of the original designation of the edifice4#cce ,turkish authorities1 however1 have their own explanation of the name ,toklou4 ,in the ,historical and ,geographical ,dictionary of ,achmed ,rifaat ,effendi1 we are told that a certain ,toklou ,ded was the guardian of the tombs of the companions of ,khaled1 who took part in the first siege of ,constantinople 7#fgc7 by the ,saracens4 ',his real name was ,ghazi ,ismail2 ,dogulu was his nickname4 ,now ,dogh is the ,persian for a drink named ,airan 7a mixture of curds and water71 and he was called ,dogulu ,ded because during the siege his business was to distribute that drink to the troops4 ,at his request a ,christian church near ,aivan ,serai was converted into a mosque4 ,the church was formerly named after its founder1 ,isakias4'#ccf ,another ,turkish explanation of ,toklou derives the epithet from the rare ,turkish term for a yearling lamb1 and accounts for its bestowal upon ,ibrahim ,ded as a pet name given in gratitude for his services to the thirsty soldiers engaged in the siege of the city4#ccg ,in keeping with these stories is the tradition that the cemetery in the area between the ,walls of ,heraclius and ,leo ,v4 the ,armenian1 is the resting-place of ,saracen warriors who fell in the siege of #fgc4 ,but have we not here the fancy-bred tales which ,oriental imagination weaves to veil its ignorance of real facts8 ,when etymology or history fails1 romance is substituted4 ,we may as well believe the tradition that the body of ,eyoub1 the standard-bearer of ,mahomet1 lies buried at the head of the ,golden ,horn1 in the mosque of ,eyoub1 where the ,sultan girds the sword on his accession to the throne4 ,no ,moslem graves could have been tolerated between the lines of the city's fortification in ,byzantine days4 ,the cemetery between the old walls near ,toklou ,ibrahim ,ded ,mesjedi must therefore be later than the ,turkish conquest4 ,and as soon as ,moslems were laid there1 it was almost inevitable that a church in the immediate neighbourhood should either be destroyed or converted into a mosque4 ,by what name that mosque would thenceforth become known was1 of course1 an open question4 ,the new name might be purely ,turkish4 ,but when it sounds like the echo of a name which we know belonged to a ,byzantine building in this quarter of the city before ,turkish times1 it is more reasonable to regard the new name as a transformation of the earlier ,greek term1 than to derive it from fine-spun etymological fancies and historical blunders4 ,the identification1 therefore1 of ,toklou ,ibrahim ,ded ,mesjedi with the church of ,s4 ,thekla1 on the ground of the similarity of the two names1 has a strong presumption in its favour4 ,illustration3 ,,plate ,,lvi4 ,s4 ,,thekla4 ,,north ,,side1 ,,from ,,the ,,north-,,west4 ,illustration3 ,s4 ,,thekla4 ,,east ,,end4 ,to face page #bjh4 ,,note ,,on ,,the ,,church ,,of ,s4 ,,thekla 7,,chapter ,,xiii47 ,on page #bji1 note #c1 ,i have said that if the mosque ,aivas ,effendi 7more correctly ,ivaz ,effendi71 which is situated behind the ,tower of ,isaac ,angelus within the old area of the palace of ,blachernae1 could be proved to stand on the site of a church1 the argument in favour of the identification of the ,church of ,s4 ,thekla with ,toklou ,ded ,mesjedi would be weakened4 ,since this book went to the press1 my learned friend ,mr4 ,x4 ,a4 ,siderides has shown me a passage in the historical work of ,mustapha ,effendi of ,salonica1 published in #ahfe1 where the mosque of ,ivaz ,effendi is described as a church converted into a mosque by a certain ,ivaz ,effendi who died in #aehf1 at the age of ninety4 ,in that case we should have a ,christian sanctuary whose position corresponded strictly with the position occupied by the ,church of ,s4 ,thekla in the palace of ,blachernae1 an indication not exactly accurate in regard to ,toklou ,ded ,mesjedi4 ,in view of the late date of ,mustapha ,effendi's work1 and the absence1 so far as ,i can judge1 of ,byzantine features in the structure of the mosque1 it is difficult to decide if the arguments in favour of the identification of the ,church of ,s4 ,thekla with ,toklou ,ded ,mesjedi are entirely overthrown by the statement of ,mustapha ,effendi4 ,a second consideration in support of this identification is the statement made by ,achmed ,rifaat ,effendi1 that before the church became a mosque it was known by the name of its founder1 ',isakias4' ,for it is a matter of history that the church of ,s4 ,thekla was restored by the ,emperor ,isaac ,comnenus#cch in the eleventh century4 ,the association of his name with the building was therefore perfectly natural1 if the building is indeed the old church of ,s4 ,thekla1 otherwise it is difficult to account for that association4 ,there is1 however1 one objection to this identification that must not be overlooked4 ,according to ,byzantine authorities1 the church of ,s4 ,thekla stood in the palace of ,blachernae 7,greek3 entos tn basilein2 en t palati tn ,blachernn#cci74 ,that palace occupied the heights above ,aivan ,serai1 on which the quarter of ,egri ,kapou and the mosque of ,aivas ,effendi now stand1 within the walls that enclose the western spur of the ,sixth ,hill4 ,toklou ,ibrahim ,ded ,mesjedi1 however1 does not stand within that enclosure1 but immediately to the north of it1 on the level tract that stretches from the foot of the ,sixth ,hill to the ,golden ,horn4 ,if the reasons in favour of regarding the mosque as ,s4 ,thekla were less strong1 this objection would1 perhaps1 be fatal4 ,but the strip of land between the northern wall of the palace enclosure and the sea is so narrow1 and was so closely connected with the life of the imperial residence1 that a building on that tract might with pardonable inaccuracy be described1 as 'in the palace4'#cdj ,the church is mentioned for the first time in the earlier half of the eighth century as a chapel 7,greek3 euktrion7 which ,thekla1 the eldest daughter of the ,emperor ,theophilus1 restored and attached to her residence at ,blachernae4#cda ,the princess was an invalid1 and doubtless retired to this part of the city for the sake of its mild climate4 ,to dedicate the chapel to her patron saint was only natural4 ,as already intimated1 the church was rebuilt from the foundations1 in the eleventh century1 by ,isaac ,comnenus1 in devout gratitude for his escape from imminent death#cdb in the course of his campaign against the barbarous tribes beside the ,danube1 when he was overtaken at the foot of the ,lovitz mountain by a furious tempest of rain and snow4 ,the plain on which his army was encamped soon became a sheet of water1 and many of his men and animals were drowned or frozen to death4 ,thunder1 lightning1 and hurricane combined to produce an awful scene1 and there were moments when the whole world seemed on fire4 ,the emperor took shelter under a large oak1 but1 fearing the tree might be thrown down by the furious wind1 he soon made for open ground4 ,scarcely had he done so when the oak was torn up by the roots and hurled to the earth4 ,a few moments later the emperor would have been killed4 ,this narrow escape occurred on the #bdth ,september1 the festival day of ,s4 ,thekla1 and1 therefore1 attributing his deliverance to her intervention1 ,isaac rebuilt and greatly beautified the old sanctuary dedicated to her in ,blachernae1 and frequently attended services there in her honour4 ,anna ,comnena#cdc speaks of the restored church in the highest terms4 ,according to her it was built at great cost1 displayed rare art1 and was in every way worthy of the occasion which led to its erection4 ,zonaras#cdd is not so complimentary4 ,he describes the church as a monument of the niggardliness of ,isaac ,comnenus4 ,in any case1 it was pulled down and rebuilt in the following century by the ,emperor ,john ,comnenus in splendid style1 and dedicated to the ,saviour4#cde ,as the beauty and wealth of a ,byzantine sanctuary were exhibited in the lavish adornment of the interior1 it is possible that the church of ,s4 ,thekla1 though small and outwardly plain1 may have been a beautiful and rich building in its latest ,christian character4 ,it had then the honour of seeing among the worshippers before its altar ,anna ,dalassena1 the mother of the ,comneni4 ,for1 when charged with the government of the ,empire during the absence of ,alexius ,comnenus from the capital1 that able woman came often to pray in this church1 'lest she should be immersed in merely secular affairs4'#cdf ,architectural ,features 7,for ,plan see p4 #bjf7 ,the building is an oblong hall1 m4 #ac4ee by m4 #e4d1 divided into three compartments4 ,it is now covered with a wooden roof1 but the arrangements of the breaks or pilasters on the walls indicate that it had originally a dome4 ,at the east end is a single apse1 the usual side-apses being represented by two niches4 ,the western compartment served as a narthex4 ,during the repairs of the mosque in #ahij1 frescoes of the eikons which once decorated the walls were brought to view4 ,on the exterior the apse shows three sides1 crowned with a corbelled cornice4 ,the central side is pierced by a window of good workmanship1 divided by a shaft into two lights1 and above the window are two short blind concave niches4 ,high blind concave niches indent the other sides of the apse4 ,in the northern wall are the remains of a triple window1 divided by shafts built in courses4 ,above this is a row of three small windows4 #ccd ,ancient and ,modern ,c4,p4 p4 #df4 #cce ,paspates1 p4 #cei4 #ccf ,for this information ,i am indebted to ,rev4 ,h4 ,o4 ,dwight1 ,,ll4,d41 late of the ,american ,board of ,missions in ,constantinople4 #ccg ,paspates1 p4 #ceg1 note4 #cch ,anna ,comnena1 vol4 i4 p4 #afh4 #cci ,scylitzes1 p4 #fdg 7,cedrenus1 vol4 ii472 ,zonaras1 iii4 p4 #fgb4 #cdj ,if the mosque ,aivas ,effendi could be proved to stand on the site of a church1 the argument against the identification of ,toklou ,ded ,mesjedi with the church of ,s4 ,thekla would be stronger4 #cda ,theoph4 ,cont4 p4 #adg4 #cdb ,anna ,comnena1 vol4 i4 p4 #afh4 #cdc ,ibid4 vol4 i4 p4 #afh4 #cdd ,zonaras1 iii4 p4 #fgb4 #cde ,ibid4 ut supra4 #cdf ,anna ,comnena1 vol4 i4 p4 #afi4 ,,chapter ,,xiv ,,the ,,church ,,of ,s4 ,,saviour ,,pantepoptes1 ,,eski ,,imaret ,,mesjedi ,the reasons which favour the identification of the mosque ,eski ,imaret ,mesjedi1 which is situated on the heights above ,aya ,kapou 7,gate of ,s4 ,theodosia71 with the church of ,s4 ,saviour ,pantepoptes1 the ,all-,seeing 7,greek3 pantepopts71 are the following3 first1 the tradition to that effect1#cdg which in the case of a building so conspicuous can scarcely be mistaken2 secondly1 the correspondence of its position to that of the ,pantepoptes1 on a hill commanding an extensive view of the ,golden ,horn2#cdh and finally1 the architectural features which mark it to be what the church of the ,pantepoptes was1 a building of the ,comnenian period4 ,the church of the ,pantepoptes was founded or restored by ,anna ,dalassena1#cdi the mother of ,alexius ,i4 ,comnenus 7#ajha-aaah71 one of the most remarkable women in ,byzantine history1 combining to a rare degree domestic virtues with great political ambition and administrative ability4 ,for twenty years she was associated with her son in the government of the ,empire1 and was the power behind the throne which he owed largely to her energy and devotion4 ,about the year #aajj she laid aside the cares of state1 and without renouncing altogether her royal style retired to rest in the monastery she had built1 until her death1 five years later1 at an advanced age4#cej ,there is nothing of special importance to record in the annals of the ,house4 ,its inmates were occasionally disturbed by the confinement among them of some dignitary who had offended the ,government1 or by the theological disputes that agitated the ecclesiastical circles of the capital4#cea ,but for the most part life at ,pantepoptes was quiet and peaceful4 ,only once does the monastery stand out conspicuous before the eyes of the world4 ,when the ,venetian ships under ,henrico ,dandolo1 with the army of the ,fourth ,crusade on board1 lined the shore of the ,golden ,horn from ,ispigas and the church of ,s4 ,saviour the ,benefactor to ,blachernae 7i4e4 from ,jubali ,kapoussi to ,aivan ,serai7 on ,easter ,monday1 #abth ,april #abjd1 the ,emperor ,alexius ,murtzuphlus established his headquarters beside the ,pantepoptes4 ,there he pitched his vermilion tent1 marshalled his best troops1 and watched the operations of the enemy4 ,and thence he fled when he saw the walls on the shore below him carried by storm1 and ,flemish knights mounted on horses1 which had been landed from the hostile fleet1 advancing to assault his position4 ,so hurried was his flight that he left his tent standing1 and under its shelter ,count ,baldwin of ,flanders and ,hainault slept away the fatigue of that day's victory4#ceb ,during the ,latin occupation the church passed into the hands of the ,venetians1 and was robbed of many of its relics for the benefit of churches in the ,west4#cec ,upon the ,turkish conquest it served for some time as an imaret or refectory for the students and teachers of the medress1#ced then in course of construction beside the great mosque of ,sultan ,mehemed4 ,hence its ,turkish name4 ,after serving that purpose it was converted into a mosque later in the reign of the conqueror4 ,illustration3 ,,plate ,,lvii4 ,s4 ,,saviour ,,pantepoptes4 ,,door ,,leading ,,from ,,the ,,outer ,,to ,,the ,,inner ,,narthex4 ,,view ,,looking ,,north4 ,illustration3 ,s4 ,,saviour ,,pantepoptes4 ,,the ,,dome1 ,,looking ,,west4 ,to face page #bab4 ,illustration3 ,,fig4 #gb4 ,architectural ,features ,in plan the church belongs to the 'four column' type1 and has two narthexes4 ,the dome1 placed on a drum1 circular within and twelve-sided without1 is carried on four piers which the ,turks have reduced to an irregular octagonal form4 ,it is divided into twelve bays by square ribs1 and is lighted by twelve semicircular-headed windows4 ,the cornice-string is adorned with a running leaf spray of a pleasing and uncommon design4 ,the arms of the cross have barrel vaults1 while the chambers at its angles are covered with cross-groined vaults4 ,the apsidal chambers are small1 with shallow niches on the north1 south1 and west1 and a somewhat deeper niche on the east where the apse stands4 ,these niches are carried up through a vaulting string-course1 carved with a repeating leaf ornament1 and combine with the groined vault above them to produce a charming canopy4 ,the southern transept gable1 though much built up1 still displays the design which occurs so frequently in ,byzantine churches1 namely1 three windows in the lunette of the arch 7the central light rising higher than the sidelights71 and three stilted arches below the vaulting string-course1 resting on two columns and containing three windows which are carried down to a breastwork of carved marble slabs between the columns4 ,the floor of the church is paved with square red bricks1 except in the apses1 where marble is employed4 ,the gynecaeum1 above the inner narthex1 is divided into three bays separated by broad transverse arches4 ,the central bay1 which is larger than its companions1 is covered with a dome vault1 and looks into the body of the church through a fine triple arcade in the lunette of the western arm of the cross4 ,the smaller bays are covered with cross-groined vaults4 ,as elsewhere1 the vaulting-string in the gynecaeum is decorated with carved work4 ,the inner narthex1 like the gynecaeum above it1 is divided into three bays covered with cross-groined vaults1 and communicates with the church1 as usual1 by three doors4 ,its walls seem to have been formerly revetted with marble4 ,in the northern wall is a door1 now closed1 which gave access to a building beyond that side of the church4 ,the exonarthex is also divided in three bays1 separated by transverse arches1 and communicates with the inner narthex by three doors and with the outer world by a single door situated in the central bay4 ,that bay has a low dome without windows1 while the lateral bays have groined vaults4 ,turkish repairs show in the pilasters and the pointed arches which support the original transverse arches4 ,the doors throughout the building are framed in marble jambs and lintels1 adorned in most cases with a running ornament and crosses4 ,in the case of the doors of the exonarthex a red marble1 brche rouge1 is employed1 as in the exonarthex of the ,pantokrator1 another erection of the ,comnenian period4 ,on the exterior the building is much damaged1 but nevertheless preserves traces of considerable elaboration4 ,the walls are of brick1 intermixed with courses of stone1 and on the three sides of the central apse there are remains of patterned brickwork4 ,on the buttresses to the southern wall are roundels with radiating voussoirs in stone and brick1 and if one may judge from the fact that the string-course does not fit the face of the wall1 parts of the exterior of the church were incrusted with marble4 ,the round-headed windows of the dome cut into its cornice4 ,under the church is a cistern#cee which ,bondelmontius deemed worthy of mention4#cef ,until some twenty years ago extensive substructures were visible on the north-east of the church1 affording homes for poor ,greek families4#ceg ,they were probably the foundations of the lofty monastery buildings whose windows commanded the magnificent view of the ,golden ,horn that doubtless suggested the epithet ,pantepoptes1 under which the ,saviour was worshipped in this sanctuary4 ,illustration3 ,,plate ,,lviii4 ,s4 ,,saviour ,,pantepoptes4 ,,exterior ,,decoration ,,in ,,brick1 ,,on ,,south ,,side4 ,illustration3 ,s4 ,,mary ,,pammakaristos4 ,,bracket ,,at ,,the ,,south-,,east ,,angle ,,of ,,the ,,exterior ,,wall ,,of ,,the ,,parecclesion4 ,to face page #bad4 ,s4 ,saviour ,pantepoptes is the most carefully built of the later churches of ,constantinople4 ,the little irregularities of setting out so common in the other churches of the city are here almost entirely absent4 ,this accuracy of building1 the carving of the string-courses1 and the remains of marble decoration both within and on the exterior1 prove exceptional care4 ,for details see ,figs4 #fh1 #gb1 #ge4 ,illustration3 ,,fig4 #gc4 ,illustration3 ,,fig4 #gd4 #cdg ,patr4 ,constantius1 pp4 #gj-hj4 #cdh ,nicet4 ,chon4 p4 #geb4 #cdi ,glycas1 p4 #fbb4 #cej ,ibid4 ,for the career of this distinguished woman1 see ,diehl1 ,figures byzantines4 #cea ,nicet4 ,chon4 pp4 #cae-af2 ,pachym4 i4 pp4 #cad-ae1 ii4 p4 #ahe4 #ceb ,villehardouin1 ,la ,conqute de ,c4,p4 pp4 #ada-dd2 ,chroniques grco-romaines1 pp4 #if1 #ig4 #cec ,riant1 ,exuviae sacrae1 p4 #agh4 #ced ,paspates1 p4 #cad4 #cee ,die byzantinischen ,wasserbehlter von ,k4,p41 von ,dr4 ,p4 ,forcheimer und ,dr4 ,j4 ,strzygowski1 pp4 #ajf-g4 #cef ,librum insularum ,archipelagi1 #fe4 #ceg ,paspates1 p4 #cad4 ,,chapter ,,xv ,,the ,,church ,,of ,s4 ,,saviour ,,pantokrator1 ,,ze,,rek ,,kilissi ,,jamissi ,according to the tradition current in the city when ,gyllius#ceh and ,gerlach#cei explored the antiquities of ,constantinople1 the large ,byzantine church1 now the mosque ,zerek ,kilissi ,jamissi1 overlooking the ,golden ,horn from the heights above ,oun ,kapan1 was the famous church of ,s4 ,saviour ,pantokrator4 ,there is no reason for doubting the accuracy of this identification4 ,the church was so important1 and so closely associated with events which occurred late in the history of the city1 that its identity could not be forgotten by the ,greek ecclesiastical authorities soon after the ,turkish conquest4 ,moreover1 all indications of the position of the church1 although too vague to determine its precise site1 are in harmony with the tradition on the subject4 ,for1 according to ,russian pilgrims to the shrines of ,constantinople1 the ,pantokrator could be reached most readily from the side of the city on the ,golden ,horn1#cfj and stood in the vicinity of the church of the ,holy ,apostles#cfa--particulars that agree with the situation of ,zerek ,kilissi ,jamissi4 ,the church was founded by the ,empress ,irene1#cfb the consort of ,john ,,ii4 ,comnenus 7#aaah-aadc71 and daughter of ,ladislas1 ,king of ,hungary4 ,she came to ,constantinople shortly before #aaje as the ,princess ,pyrisca1 a beautiful girl1 'a plant covered with blossoms1 promising rich fruit1' to marry ,john ,comnenus1 then heir-apparent to the crown of ,alexius ,comnenus1 and adorned eight years of her husband's reign by the simplicity of her tastes and her great liberality to the poor4 ,the monastic institutions of the city also enjoyed her favour1 and not long before her death in #aabf she assumed the veil under the name of ,xen4 ,the foundations of the church were1 probably1 laid soon after her husband's accession to the throne1 and to the church she attached a monastery capable of accommodating seven hundred monks2#cfc a xenodocheion1 a home for aged men1 and a hospital4#cfd ,but the pious and charitable lady had undertaken more than she could perform1 and was obliged to turn to the emperor for sympathy and assistance4 ,accordingly she took him1 one day1 to see the edifice while in course of erection1 and falling suddenly at his feet1 implored him with tears to complete her work4 ,the beauty of the building and the devotion of his wife appealed so strongly to ,john ,comnenus that he forthwith vowed to make the church and monastery the finest in the city1 and altogether worthy of the ,pantokrator to whom they were dedicated2#cfe and so well did he keep his promise1 that the honour of being the founder of the church has been bestowed on him by the historian ,nicetas ,choniates4#cff ,the imperial typicon or charter of the monastery1#cfg granted in #aacf1 made the monastery an autonomous institution1 independent of the patriarch or the prefect of the city1 and exempt from taxes of every description4 ,at the same time it was provided with vineyards and richly endowed4 ,according to ,scarlatus ,byzantius#cfh and the ,patriarch ,constantius1#cfi a mosaic in the building portrayed the ,emperor ,manuel ,comnenus 7#aada-aahj7 in the act of presenting the model of the church to ,christ4 ,if that was the case the church was completed by that emperor4 ,as will immediately appear1 ,manuel certainly enriched the church with relics4 ,illustration3 ,,plate ,,lix4 ,s4 ,,saviour ,,pantokrator1 ,,from ,,the ,,west4 ,to face page #bbj4 ,the history of the ,pantokrator may be conveniently divided into three periods3 the period of the ,comneni2 the period of the ,latin ,empire2 and the period of the ,palaeologi4 ,during the first the following incidents occurred3 ,here1 as was most fitting1 the founders of the church and monastery were laid to rest1 the ,empress ,irene in #aabf1cgj the ,emperor ,john ,comnenus#cga seventeen years later4 ,here their elder son ,isaac was confined1 until the succession to the throne had been settled in favour of his younger brother ,manuel4 ,that change in the natural order of things had been decided upon by ,john ,comnenus while he lay dying in ,cilicia from the effects of a wound inflicted by the fall of a poisoned arrow out of his own quiver1 when boar-hunting in the forests of the ,taurus ,mountains1 and was explained as due to ,manuel's special fitness to assume the care of the ,empire1 and not merely to the fact that he was a father's favourite son4 ,but when the appointment was made ,manuel was with his father in ,cilicia1 while ,isaac was in ,constantinople1 in a position to mount the throne as soon as the tidings of ,john's death reached the capital4 ,the prospect that ,manuel would wear the crown seemed therefore very remote4 ,but ,axuch1 an intimate friend and counsellor of the dying emperor1 started for ,constantinople the moment ,manuel was nominated1 and travelled so fast1 that he reached the city before the news of the emperor's death and of ,manuel's nomination was known there4 ,then1 wasting no time1 ,axuch made sure of the person of ,isaac1 removed him from the palace1 and put him in charge of the monks of the ,pantokrator1 who had every reason to be loyal to the wishes of the deceased sovereign4 ,the wily courtier then set himself to win the leading men in the capital over to the cause of the younger brother1 and1 by the time ,manuel was prepared to enter ,constantinople1 had secured for him a popular welcome and the surrender of ,isaac's claims4#cgb ,in #aadg1 the famous eikon of ,s4 ,demetrius of ,thessalonia was transferred from the magnificent basilica dedicated to the saint in that city to the ,pantokrator4 ,this was done by the order of ,manuel ,comnenus1 at the request of ,joseph1 then abbot of the monastery1 and in accordance with the wishes of the emperor's parents1 the founders of the ,house4#cgc ,it was a great sacrifice to demand of the ,macedonian shrine1 and by way of compensation a larger and more artistic eikon of ,s4 ,demetrius1 in silver and gold1 was hung beside his tomb4 ,but ,constantinople rejoiced in the greater sanctity and virtue of the earlier picture1 and when tidings of its approach were received1 the whole fraternity of the ,pantokrator1 with the senate and an immense crowd of devout persons1 went seven miles out from the city to hail the arrival of the image1 and to bear it in triumph to its new abode1 with psalms and hymns1 lighted tapers1 fragrant incense1 and the gleam of soldiers' spears4 ,thus1 it was believed1 the monastery gained more beauty and security1 the dynasty of the ,comneni more strength1 the ,roman ,empire and the ,queen of cities an invisible but mighty power to keep enemies afar off4 ,in #aaeh ,bertha1 the first wife of ,manuel ,comnenus1 and sister-in-law of the ,emperor ,conrad of ,germany1 was buried in the church4#cgd ,twenty-two years later1 ,manuel ,comnenus himself was laid in its heron in a splendid sarcophagus of black marble with a cover cut in seven protuberances4#cge ,beside the tomb was placed the porphyry slab upon which the body of ,christ was supposed to have been laid after ,his deposition from the cross4 ,the slab was placed there in commemoration of the fact that when it was brought from ,ephesus to ,constantinople1 ,manuel carried it on his broad shoulders all the way up the hill from the harbour of the ,bucoleon 7at ,tchatlady ,kapou71 to the private chapel of the imperial residence near ,s4 ,sophia4#cgf ,nicetas ,choniates thought the aspect of the tomb and of its surroundings very significant4 ,the seven protuberances on its cover represented the seven-hilled city which had been the emperor's throne2 the porphyry slab recalled the mighty deeds which he whose form lay so still and silent in the grave had wrought in the days of his strength2 while the black marble told the grief evoked by his death4 ,robert of ,clari1 who saw the tomb in #abjc1 extols its magnificence4 ',never1' says he1 'was born on this earth a holy man or a holy woman who is buried in so rich and splendid a fashion as this emperor in this abbey4 ,there is found the marble table on which ,our ,lord was laid when taken down from the cross1 and there are still seen the tears which ,our ,lady shed upon it4'#cgg ,some seven months after ,manuel's death a strange spectacle was witnessed at his tomb4 ,his cousin1 ,andronicus ,comnenus1 the torment of his life and one of the worst characters in ,byzantine history1 taking advantage of the intrigues and disturbances which attended the minority of ,manuel's son and successor1 ,alexius ,,ii4 ,comnenus1 left his place of exile in ,paphlagonia and appeared in ,constantinople at the head of an army1 as though the champion of the young sovereign's cause4 ,no sooner had he reached the city than he proceeded to visit ,manuel's tomb1 to show the regard he professed to feel for a relative and sovereign4 ,at the sight of the dark sarcophagus ,andronicus gave way to the most violent paroxysms of grief4 ,so deep and prolonged1 indeed1 did his distress seem1 that his attendants implored him to control his feelings and leave the sad spot4 ,but the mourner protested that he could not quit so hastily a place hallowed by such sacred and tender associations4 ,moreover1 he had not yet said all he had to tell the dead4 ,bending1 therefore1 again over the grave1 ,andronicus continued to address the deceased4 ,the words were inaudible1 but they seemed a fresh outpouring of sorrow1 and deeply affected many of the spectators1 for1 as the mourner had not lived on the best terms with his imperial cousin1 his grief appeared to be the victory of a man's better nature4 ,but those who knew ,andronicus well interpreted his conduct as the performance of a consummate actor1 and understood his whispers to mean curses and vows of vengeance upon his dead and helpless relative4 ,events justified this interpretation4 ,for ,andronicus ere long usurped the throne1 murdered ,alexius1 insulted his remains1 ordered his head to be cut off1 and cast the mutilated corpse into the ,sea of ,marmora to the strains of music4#cgh ,during the ,latin occupation the church was appropriated for worship according to the ritual of the ,roman ,communion1 and many of its relics1 its vessels of gold and silver1 its jewels and vestments1 were carried off to enrich ,s4 ,mark's at ,venice1 and other shrines of ,western ,christendom4 ,how great a value was set upon such trophies1 and by what strange methods they were secured1 is seen in the account which ,guntherus1#cgi a contemporary historian1 gives of the way in which some of the relics of the church were acquired4 ,as soon as the ,crusaders captured the city in #abjd and gave it over to pillage1 a numerous band of looters made for the ,pantokrator in search of spoil1 having heard that many valuables had been deposited for safe keeping within the strong walls around the monastery4 ,among the crowd hastening thither was ,martin1 abbot of the ,cistercian ,abbey of ,parisis in ,alsace1 who accompanied the ,crusade as chaplain and chronicler4 ,the fever of plunder raging about him was too infectious for the good man to escape4 ,when everybody else was getting rich he could not consent to remain poor4 ,his only scruple was not to defile his holy hands with the filthy lucre which worldlings coveted4 ,to purloin sacred relics1 however1 was lawful booty4 ,entering1 therefore1 the ,pantokrator with his chaplain1 ,martin accosted a venerable1 white-bearded man who seemed familiar with the building1 and in stentorian tones demanded where the relics of the church were to be found4 ,the person addressed was1 in fact1 a priest1 though ,martin had mistaken him for a layman on account of the strangeness of the ,greek clerical garb4 ,the priest did not understand ,latin any more than the abbot understood ,greek1 and the situation became awkward1 for the pitch of ,martin's voice made it evident that he was not a person to be trifled with4 ,the old man therefore tried what the ,romance patois1 which he had picked up from foreign residents in the city1 could do to establish intelligible intercourse with the rough visitor4 ,fortunately the crusader also knew something of that patois1 and made the purpose of his visit sufficiently clear4 ,as soon as the iron safe containing the coveted relics was opened1 abbot and chaplain plunged four greedy hands into the hoard and stowed relic after relic under the ample folds of their robes until there was no room for more4 ,thus laden1 the pious thieves made as fast as they could for the ship in which they had come to ,constantinople1 not stopping to converse with friends on the way1 and giving to all curious inquiries the brief and enigmatical reply1 ',we have done well4' ,upon reaching the ship ,martin found himself the happy possessor of no less than sixty-two relics1 including a piece of the ,holy ,cross1 and drops of 'the blood shed for man's redemption4' ,martin wished to start immediately for ,alsace1 but circumstances obliged him to remain in ,constantinople for several months4 ,thanks1 however1 to the priest of the ,pantokrator1 whom the abbot had treated generously1 ,martin secured a small chapel where to conceal his spoils until an opportunity to return home should occur4 ,a fellow-countryman1 indeed1 the only other person let into the secret1 advised him to secure by means of the relics an abbotship1 if not a bishopric1 in the ,holy ,land4 ,but ,martin was above personal ambition1 and notwithstanding all the difficulties involved in the attempt to carry the relics to the ,west1 waited patiently till he could smuggle them out of the city4 ,at length his chance came2 whereupon he embarked for ,venice1 and after a hard and tedious journey of eight months reached home safely4 ,again and again on the way he had narrowly escaped the loss of his treasures at the hands of pirates on the sea and of brigands upon land4 ,but all toils and dangers were forgotten when1 on the #bdth of ,june #abje1 at the head of the brotherhood of which he was the chief1 ,martin placed the relics purloined from the ,pantokrator of ,constantinople upon the high altar of the church of ,parisis with a conqueror's pride and joy1 while the people shouted1 ',blessed be the ,lord ,god1 the ,god of ,israel1 who only doeth wondrous things4' ,there is archaeology even in morals4 ,illustration3 ,,plate ,,lxi4 ,s4 ,,saviour ,,pantokrator4 ,,interior ,,of ,,the ,,south ,,church1 ,,looking ,,east4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,the ,,southern ,,arm ,,of ,,the ,,south ,,church4 ,to face page #bbd4 ,illustration3 ,,fig4 #ge4 ,but while called thus to deplore the removal of many of its valued relics1 the ,pantokrator came during the ,latin period into possession of a sacred object which compensated the house abundantly for all losses of that kind4 ,the church became the shrine of the eikon of the ,theotokos ,hodegetria4 ,no relic was held in higher estimation4 ,it was considered to be the portrait of the mother of our ,lord painted by ,s4 ,luke1 and was brought from ,jerusalem to ,constantinople by the ,empress ,eudocia1 wife of ,theodosius ,,ii41 as a present to her sister-in-law ,pulcheria4 ,it led the hosts of the ,empire to victory1 and shared the honours of their triumphal entry into the capital4 ,when enemies besieged the city1 the eikon was carried in procession through the streets and around the fortifications1 or was placed near the post of danger4 ,after the capture of the city by the ,latins the picture was first taken to ,s4 ,sophia1 then the cathedral of the ,venetian patriarchs of ,constantinople4 ,but the ,venetian clergy of the ,pantokrator claimed the sacred picture as their own1 in virtue of a promise made to them by the ,emperor ,henry2 and when their claim was ignored1 they persuaded the podesta of the ,venetian community to break into ,s4 ,sophia and seize the eikon by force4 ,in vain did the patriarch appear upon the scene with candle and bell to excommunicate the podesta1 his council1 and his agents for the sacrilegious act4 ,the coveted prize was borne off in triumph to the ,pantokrator4 ,in vain did the ,papal ,legate in the city confirm the excommunication of the guilty parties1 and lay their churches under interdict4 ,in vain were those penalties confirmed by the ,pope himself4#chj ,the eikon kept its place in the ,pantokrator notwithstanding all anathemas until the fall of the ,latin ,empire1 when it was removed from the church to lead the procession which came through the ,golden ,gate on the #aeth ,august #abfa1 to celebrate the recovery of ,constantinople by the ,greeks4#cha ,illustration3 ,,plate ,,lxii4 ,s4 ,,saviour ,,pantokrator4 ,,entrance ,,from ,,the ,,narthex ,,to ,,the ,,south ,,church4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,the ,,interior1 ,,looking ,,from ,,the ,,south ,,church ,,through ,,into ,,the ,,north ,,church4 ,to face page #bbf4 ,towards the close of the ,latin occupation the monastery became the residence of the ,latin emperor1 probably because the condition of the public exchequer made it impossible to keep either the ,great ,palace or the palace of ,blachernae in proper repair4 ,money was not plentiful in ,constantinople when ,baldwin ,,ii41 the last ,latin ruler of the city1 was compelled to sell the lead on the roof of his palace for a paltry sum1 and to use the beams of his outhouses for fuel1 nor when he had to leave his son and heir in the hands of the ,capelli at ,venice as security for a loan4 ,still1 the selection of the monastery for the emperor's abode1 even under these trying circumstances1 implies the importance and comparative splendour of the building4 ,here ,baldwin was in residence when the forces of ,michael ,palaeologus1 under the command of ,alexius ,strategopoulos1 approached the city1 and here he received the intelligence1 early in the morning of the #beth of ,july #abfa1 that the ,greeks had entered the city by the ,gate of the ,peg#chb 7,selivri ,kapoussi71 and set fire to the capital at four points4 ,baldwin's first impulse was to make a brave stand4 ,but his fleet and the greater part of his army were absent from the city1 engaged in the siege of ,daphnusium on the coast of the ,black ,sea4 ,meantime the fires kindled by the ,greeks were spreading and drawing nearer and nearer to the ,pantokrator itself4 ,so casting off sword and helmet and every other mark of his station1 ,baldwin took ship and led the flight of the ,latin masters of ,constantinople back to their homes in the ,west4#chc ,the first incident in the history of the ,pantokrator after the restoration of the ,greek ,empire was not fortunate4 ,the monastery then became the object upon which the ,genoese1 who had favoured that event1 and been rewarded with the grant of ,galata as a trading post1 saw fit to vent the grudge they bore against certain ,venetians who1 in the course of the feud between the two republics1 as competitors for the commerce of the ,east1 had injured a church and a tower belonging to the ,genoese colony at ,acre4 ,to destroy some building in ,constantinople associated with ,venice was thought to be the best way to settle the outstanding account1 and so a band of ,genoese made for the ,pantokrator1 over which the banner of ,s4 ,mark had recently floated1 and tore the monastery down to the ground1 making it a greater ruin than the ,venetians had made of the ,genoese buildings in ,syria4 ,then1 not only to deprive the enemy of his property but to turn it also to one's own advantage1 the scattered stones were collected and shipped to ,genoa for the construction of the church of ,s4 ,george in that city4#chd ,illustration3 ,,plate ,,lxiii4 ,s4 ,,saviour ,,pantokrator4 ,,gallery ,,of ,,the ,,north ,,church1 ,,looking ,,south4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,the ,,interior ,,of ,,the ,,north ,,church1 ,,looking ,,east4 ,to face page #bbh4 ,in the reign of ,michael ,palaeologus1 a member of the noble family of the princes of the ,peloponnesus became abbot of the ,pantokrator1 and acquired great influence4 ,he led1 as we shall see1 the mission which conducted the emperor's daughter ,maria to the ,mongolian court1 and when the patriarchal seat was vacant in #abge1 a strong party favoured his appointment to that position instead of ,veccus4#che ,during the period of the ,palaeologi the church frequently served as a mausoleum for members of the imperial family4 ,here in #acag was buried ,irene1 the second wife of ,andronicus ,,ii41 a ,spanish princess and daughter of the ,marquis of ,monferrat4 ,she came to ,constantinople in #abhe1 when only eleven years old1 a beautiful girl1 ,yolande by name1 distinguished for the elegance of her manners1 and for a time was the idol of the court4 ,but what with the desire which she developed to amass wealth1 and to see her sons share in the government of the ,empire1 she ultimately proved the cause of much unhappiness to her husband4#chf ,she deserves to be remembered for bequeathing the funds which enabled ,andronicus ,,ii4 to build the buttresses supporting the walls of ,s4 ,sophia on the north and east4#chg ,here1 in #adbe1 ,manuel ,,ii4 was laid to rest after his long and troubled reign4#chh ,beside him were buried his wife ,irene 7#adej7chi and his three sons1 ,andronicus 7#adbi71cij ,theodore 7#addh71cia ,john ,,vi4 ,palaeologus 7#addh74cib ,here also was placed the tomb of the ,empress ,maria of the house of ,trebizond1 the fourth wife of ,john ,,vii4 ,palaeologus2#cic and not far off was the grave of ,eugenia1 the wife of the despot ,demetrius and daughter of the ,genoese ,gatulazzo1 who had helped to overthrow ,john ,cantacuzene and to recover the throne for the ,palaeologi4#cid ,as we follow to the grave this procession of personages so closely associated with the fall of ,constantinople1 one seems to be watching the slow ebbing away of the life-blood of the ,empire which they could not save4 ,in #adjg ,john ,palaeologus1 then heir-apparent1 added to the endowments of the church by giving it a share in the revenues of the imperial domains at ,cassandra4#cie ,it would appear that the affairs of the monastery about this time were not in a satisfactory state1 for on the advice of the historian ,phrantzes they were put for settlement into the hands of ,macarius1 a monk from ,mt4 ,athos4#cif ,a protosyngellos and abbot of the ,pantokrator was one of the ambassadors sent by ,john ,,vii4 ,palaeologus to ,pope ,martin ,v4 to negotiate the union of the ,churches4#cig ,illustration3 ,,plate ,,lxiv4 ,s4 ,,saviour ,,pantokrator4 ,,arch ,,in ,,the ,,north ,,wall ,,of ,,the ,,south ,,church1 ,,seen ,,from ,,the ,,south ,,church1 ,,looking ,,northwards4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,arch ,,in ,,the ,,north ,,wall ,,of ,,the ,,south ,,church1 ,,seen ,,from ,,the ,,central ,,church1 ,,looking ,,southwards4 ,to face page #bcj4 ,the most famous inmate of the ,pantokrator was ,george ,scholarius1 better known as ,gennadius1 the first patriarch of ,constantinople after the ,turkish conquest4 ,on account of his learning and legal attainments he accompanied the ,emperor ,john ,,vii4 ,palaeologus and the ,patriarch ,joseph to the ,council of ,ferrara and ,florence in #adch1 to take part in the negotiations for the union of ,christendom4 ,as submission to the ,papal demands was the only hope of obtaining the aid of the ,west for the ,roman ,empire in the ,east1 the emperor1 with most of the ,greek clergy in attendance at the council1 subscribed the decrees of that assembly1 and on the #hth ,july #adch the two ,churches were officially reconciled and bound to common action4 ,but it was a union without sufficient religious motive on the one side and without strong political interest on the other4 ,instead of improving the situation it made matters worse4 ,but drowning men clutch even unsubstantial objects1 and accordingly the ,emperor ,constantine ,dragases1 a few years later1 implored again the assistance of the ,pope1 begging him to send a commission of ,roman ecclesiastics to ,constantinople to confer once more with ,greek theologians with the hope of making the union more effective4 ,in response to that request a ,commission was appointed1 having at its head ,cardinal ,isidore1 a ,greek ecclesiastic1 who at the ,council of ,florence had cast in his lot with the ,latins and been created cardinal and titular archbishop of ,kiev4 ,isidore and his colleagues were welcomed with great demonstrations of joy1 and after several meetings with representatives of the ,eastern ,church terms of union were once more devised4 ,the event was celebrated by a religious service in ,s4 ,sophia1 according to ,roman rite1 in the presence of the emperor1 the senate1 and a large body of ecclesiastics4 ,in the order of the prayers offered that day in the cathedral of the ,east the name of the ,pope was mentioned first4 ,but these proceedings only exasperated the opponents of the union1 who had the advantage in numbers and in passionate convictions4 ,seeking for a leader they flocked to the monastery of the ,pantokrator to consult ,gennadius4 ,it was a critical moment4 ,gennadius retired to his cell4 ,then opening the door he affixed his answer in writing upon it1 and again shut himself in4 ,the oracle had spoken3 ',wretched ,romans1 whither have ye strayed1 and gone far from hope in ,god to put your trust in the ,franks8 ,your city and your religion will perish together4 ,you abandon the faith of your fathers and embrace impiety4 ,woe unto you in the day of judgment4' ,the words spread like wildfire and enflamed the excited crowd within and around the monastery4 ,anathemas1 cursing all supporters of the union in the past1 in the present1 and in the future resounded on every hand4 ,the answer of ,gennadius was carried through the city and found an echo among all classes of the population4 ,men ran to the taverns to drink undiluted wine1 in derision of the ,roman practice of mixing water with the wine of the ,holy ,communion2 they shouted themselves hoarse with maledictions on the unionists2 they drank to the honour of the ,theotokos1 invoking her aid as in the days of old1 when she delivered the city out of the hands of the ,persians1 the ,avars1 and the ,saracens4 ,far and wide rose the cry1 ',away with the help and the worship of the ,latin eaters of unleavened bread4'#cih ,the two scenes witnessed1 on the #abth ,december #adeb1 in ,s4 ,sophia and at the ,pantokrator displayed a discord that hastened the downfall of ,new ,rome4 ,that day the party with the watchword1 ',better the turban of the ,turk than the tiara of the ,pope1' gained the victory4 ,upon the capture of the city1 the ,greek community1 owing to the recent death of the ,patriarch ,athanasius1 found itself without an ecclesiastical chief4 ,the conqueror1 anxious to conciliate his ,greek subjects1 proclaimed complete religious toleration1 and gave orders that they should forthwith proceed to the free election of a new patriarch4 ,under the circumstances there could be no question as to the right man for the place4 ,gennadius1 who had opposed the unprofitable ,latin alliance1 and saved the national ,church notwithstanding the ruin of the ,empire1 was unanimously chosen to be the first guide of his people along the strange and difficult path they were now to follow4 ,the choice being confirmed by the ,sultan1 ,gennadius left the ,pantokrator to do homage to the new master of the realm4 ,every mark of honour was paid to the prelate4 ,he was invited to the royal table and granted a long audience1 at which1 following the practice of ,byzantine emperors1 the ,sultan presented him with a magnificent pastoral staff1 and promised to respect all the ancient privileges of the patriarchal see4 ,when ,gennadius took leave1 the ,sultan accompanied him to the foot of the stairs of the palace1 saw him mounted on a fine and richly caparisoned horse1 and ordered the notables of the court to escort him to the church of the ,holy ,apostles1 which was to replace ,s4 ,sophia as the cathedral of the ,greek ,communion4#cii ,it was certainly fortunate for the ,orthodox ,church at that cruel moment in its history to find in one of the cells of the ,pantokrator a man able to win the goodwill of the ,empire's conqueror4 ,when nothing could save the ,state1 ,gennadius saved the nation's ,church1 and with the ,church many forms of national life4 ,muralt1 looking at these transactions from another standpoint1 says1 ',c'est ainsi que les ,grecs virent accompli leur voeu d'tre dlivrs de l'union avec les ,latins4'#djj ,illustration3 ,,plate ,,lxv4 ,s4 ,,saviour ,,pantokrator4 ,,narthex ,,of ,,the ,,north ,,church1 ,,looking ,,north4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,outer ,,narthex ,,of ,,the ,,south ,,church1 ,,looking ,,north4 ,to face page #bcb4 ,it would appear that the ,pantokrator was abandoned by its ,christian owners very soon after the conquest4 ,the great decrease of the ,greek population that followed the downfall of the city left several quarters of ,constantinople with few if any ,christian inhabitants1 and so brought to an end the native religious service in many churches of the capital4 ,for some time thereafter the deserted building was used by fullers and workers in leather as a workshop and dwelling4#dja ,but the edifice was too grand to be allowed to suffer permanent degradation1 and some twenty years later it was consecrated to ,moslem worship by a certain ,zerek ,mehemed ,effendi4#djb ,its actual name1 ,zerek ,kilissi ,jamissi1 recalls the double service the building has rendered1 and the person who diverted it from its earlier to its later use4 ,architectural ,features ,as it stands the ,pantokrator is a combination of three churches1 placed side by side1 and communicating with one another through arched openings in their common walls4 ,the three buildings are not of the same date1 and opinions differ in regard to their relative age4 ,on the whole1 however1 the northern church may be safely considered the earliest structure2 the central church is somewhat later2 the southern church is the latest4 ,illustration3 ,,fig4 #gf4 ,illustration3 ,,plate ,,lxvi4 ,s4 ,,saviour ,,pantokrator4 ,,south ,,bay ,,in ,,the ,,gallery ,,of ,,the ,,south ,,church4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,in ,,the ,,north ,,church1 ,,looking ,,south4 ,to face page #bcd4 ,the ,northern ,church4--,this is a simple and dignified building of the domed 'four column' type1 with a gynaeceum above the narthex4 ,the narthex is in four bays covered with cross-groined vaults on transverse arches4 ,its southern bay1 however1 is a later extension1 running about half-way in front of the central church to give access to a door into that building4 ,only two bays of the original narthex have doors opening into the north church2 the third door which once existed in the northern bay has been partly built up4 ,the narthex is very much out of repair1 and the western wall threatens to fall outwards4 ,the dome1 pierced by eight windows1 shows so many ,turkish features that it may be pronounced as mostly1 if not wholly1 a ,turkish construction4 ,the four square piers which support it are manifestly ,turkish4 ,when ,gyllius visited the church in the sixteenth century the dome arches rested on four columns of ,theban granite1 'hemispherium sustentatur quatuor arcubus1 quos fulciunt quatuor columnae marmoris ,thebaici4'#djc ,barrel vaults cover the arms of the cross1 which1 as usual in churches of this type1 appears distinctly above the roof on the exterior4 ,the southern arm extends to the central church and its vault is pierced by two windows1 inserted1 probably1 to compensate for the loss of light occasioned by the erection of that building4 ,these windows furnish one indication of the earlier date of the north church4 ,the gynaeceum1 like the narthex below it1 is covered with cross-groined vaults and contains a small fireplace4 ,the prothesis and diaconicon have barrel vaults and apses with three sides projecting slightly on the exterior4 ,the main apse has a very lofty triple window1 and shows five sides4 ,all the apses are decorated with high shallow blind niches1 a simple but effective ornament4#djd ,the ,central ,church4--,the central church is an oblong hall covered by two domes1 and terminates in a large apse4 ,it is extremely irregular in plan1 and does not lie parallel to either of the churches between which it stands4 ,the domes are separated by a transverse arch4 ,the western dome1 though flattened somewhat on the four sides1 is approximately circular1 and divided into sixteen shallow concave compartments1 each pierced by a window4 ,some of these windows must have been always blocked by the roof of the north church4 ,the eastern dome is a pronounced oval1 notwithstanding the attempt to form a square base for it by building a subsidiary arch both on the south and on the north4 ,it is divided into twenty-four concave compartments1 twelve of which have windows4 ,the drums of the domes adjoin each other above the transverse arch1 so that the central west window of the eastern dome is pierced through to the western dome4 ,the two windows on either side of that window are blind1 and must always have been so4 ,the floor in the archway leading into the south church is paved with inlaid marbles forming a beautiful design 7,fig4 #gf74 ,if the whole floor of the church was thus decorated the effect must have been extremely rich4 ,on the exterior the apse shows seven sides1 decorated with shallow blind niches4 ,like the church it is very irregularly set out4 7,plate ,,lxix47 ,the central church probably served as a mausoleum for the tombs of the imperial personages interred at the ,pantokrator4 ,in its form and in the arrangement of its domes1 as well as in its position on the south of the church to which it strictly belongs1 it resembles the parecclesion of ,s4 ,saviour in the ,chora 7p4 #caj74 ,illustration3 ,,plate ,,lxvii4 ,s4 ,,saviour ,,pantokrator4 ,,the ,,pulpit ,,in ,,the ,,south ,,church4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,west ,,side ,,of ,,the ,,central ,,bay ,,in ,,the ,,gallery ,,of ,,the ,,south ,,church4 ,to face page #bcf4 ,the ,south ,church4--,the south church is of the same plan as the north church1 but is larger and more richly decorated4 ,it has two narthexes1 which extend to both the north and south beyond the body of the building4 ,the outer narthex1 entered by a single door placed in the centre1 is in five bays1 covered with cross-groined vaults resting on pilasters4 ,its floor is paved with large slabs of ,proconnesian marble surrounded by a border of red marble4 ,five doors lead to the esonarthex--the three central doors being framed in red marble1 the other two in verd antique4 ,on either side of the central door is a window also framed in verd antique1 the jambs of the windows being cut from old columns1 and retaining the circular form on their faces4 ,over the central door and the windows beside it is a large arch between two smaller arches--all three1 as well as their bracket capitals1 now partially built up4 ,there is a door framed in verd antique in each end bay of the narthex4 ,like the outer narthex the esonarthex is in five bays1 and was paved with marble in a similar fashion4 ,but while its other bays are covered with cross-groined vaults the central bay is open to the gallery above1 and is overhung by a drum dome4 ,the gallery was thus divided into two parts by the open central bay1 and both gallery and narthex were lighted by the dome4 ,the exterior of this dome is twelve-sided1 with flat angle pilasters and level moulded plaster cornice4 ,it has evidently been repaired by the ,turks4 ,the inside1 however1 preserves the ,byzantine work4 ,it is in twenty-four concave apartments pierced by twelve windows1 of which those facing the west cross arm of the church are blind4 ,as the original west window still shows from the inside1 though built up1 it would appear that the gynecaeum dome was added after the completion of the main church4 ,at present the open bay is ceiled by the woodwork that forms the floor of the tribune occupied by the ,sultan when he attends worship in the mosque4#dje ,a door in the northern wall of the north bay communicates with the narthex of the north church1 while a door in the eastern wall of the bay gives access to the central church4 ,two doors in similar positions in the bay at the south end of the narthex led to buildings which have disappeared4 ,the three doors leading from the narthex into the church are framed in red marble1 the other doors in white marble4 ,the main dome of the church is in sixteen compartments1 and is pierced by as many windows4 ,its arches rest on four shafted columns1 somewhat ,gothic in character1 and crowned with capitals distinctly ,turkish4 ,these columns have replaced the columns of porphyry1 seven feet in circumference1 which ,gyllius saw bearing the arches of the dome when he visited the church3 'maximum 7tectum7 sustentatur quatuor columnis pyrrhopoecilis1 quarum perimeter habet septem pedes4'#djf ,the southern wall is lighted by a triple window in the gable and a row of three windows below the string-course4 ,the northern wall was treated on the same plan1 but with the modifications rendered necessary by the union of the church with the earlier central church4 ,the triple windows in the gable of that wall are therefore almost blocked by the roof of the central church against which it is built2 while the three windows below the string-course are blind and are cut short by the arch opening into the central church1 as that arch rises higher than the string-course4 ,as explained1 the gynaeceum above the inner narthex is divided by the open central bay of that narthex into two compartments1 each consisting of two bays4 ,the bays to the south are narrow1 with transverse arches of decidedly elliptical form4 ,a window divided by shafts in three lights1 now built up1 stood in the bay at the extreme south1 and similar windows looked down into the open bay of the narthex from the bays on either hand4 ,the northern compartment of the gynaeceum connects with the gynaeceum of the north church4 ,in the interior the apse retains a large portion of its revetment of variously coloured marbles1 and gives some idea of the original splendour of the decoration4 ,fragments of fine carving have been built into the pulpit of the mosque1 and over it is a ,byzantine canopy supported on twin columns looped together1 like the twin columns on the faade of ,s4 ,mark's at ,venice4 ,the lateral apses are covered with cross-groined vaults1 and project in three sides externally1 while the central apse shows seven sides4 ,all are lighted by triple windows1 and decorated on the exterior with niches1 like the other apses in this group of buildings1 and those of ,s4 ,theodosia4 ,in the brickwork found in the fabric of the ,pantokrator1 as ,mr4 ,w4 ,s4 ,george has pointed out1 two sizes of brick are employed1 a larger and a smaller size laid in alternate courses4 ,the larger bricks look like old material used again4 ,illustration3 ,,plate ,,lxviii4 ,s4 ,,saviour ,,pantokrator4 ,,interior ,,of ,,the ,,east ,,dome ,,in ,,the ,,central ,,church4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,interior ,,of ,,the ,,dome ,,in ,,the ,,south ,,church1 ,,looking ,,north4 ,to face page #bch4 ,as already intimated1 the monastery was autonomous 7,greek2 autodespotos1 autexousios71 and its abbot was elected by the brotherhood in the following manner3--,on some suitable occasion the abbot for the time being placed secretly in a box the names of three members of the fraternity whom he considered fit to succeed him after his death1 and having sealed the box deposited it in the sacristy of the church4 ,upon that abbot's death the box was opened in the presence of the whole fraternity1 and the names recommended by the late chief were then put to the vote4 ,if the votes were unanimous the person thus chosen became the new abbot without further delay4 ,but in case of disagreement1 a brother who could neither read nor write placed the same names upon the altar of the church2 there they remained for three days2 and then1 after the celebration of a solemn service1 another illiterate monk drew one name off the altar1 and in doing so decided the question who should fill the vacant office4 ,the church was served by eighty priests and fifty assistants1 who were divided into two sets1 officiating on alternate weeks4 ,in connection with the monastery there was a bath1 capable of containing six persons1 in which the monks were required to bathe twice a month1 except during ,lent1 when the bath was used only in cases of illness4 ,the home for old men supported by the ,house accommodated twenty-four persons1 providing them with bread1 wine1 oil1 cheese1 fuel1 medical attendance1 and small gifts of money4 ,the hospital had fifty beds for the poor4 ,it was divided into five wards3 a ward of ten beds for surgical cases2 another1 of eight beds1 for grave cases2 a third1 of ten beds1 for less serious complaints2 the fourth ward had twelve beds for women2 the fifth contained ten beds for what seemed light cases4 ,each ward was in charge of two physicians1 three medical assistants1 and four servitors4 ,a lady physician1 six lady medical assistants1 and two female nurses1 took charge of the female patients4 ,the sick were visited daily by a house doctor1 who inquired whether they were satisfied with their treatment1 examined their diet1 and saw to the cleanliness of the beds4 ,the ordinary diet consisted of bread1 beans1 onions1 oil1 and wine4#djg ,throughout their history the monasteries of ,constantinople remembered the poor4 7,see ,plate ,,iii47 ,illustration3 ,,fig4 #gg4 ,illustration3 ,,figs4 #gh ,,and #gi4 ,illustration3 ,,fig4 #hj4 ,illustration3 ,,plate ,,lxix4 ,s4 ,,saviour ,,pantokrator4 ,,the ,,east ,,end1 ,,from ,,the ,,south4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,the ,,east ,,window ,,of ,,the ,,central ,,church4 ,illustration3 ,s4 ,,saviour ,,pantokrator4 ,,the ,,east ,,end1 ,,from ,,the ,,north4 ,to face page #bdb4 #ceh ,de top4 ,c4,p4 iv4 c4 #b1 p4 #bhc1 'in supercilio quarti collis vergente ad solis ortum visitur templum ,pantocratoris1 illustre memoria recentium scriptorum4' #cei ,tagebuch1 p4 #aeg4 #cfj ,itin4 russes1 pp4 #aje1 #bcc-cd4 #cfa ,du ,cange1 ,const4 ,christ4 iv4 p4 #ha2 ,itin4 russes1 pp4 #abc1 #bjc-d4 #cfb ,synax41 ,august #ac2 ,cinnamus1 p4 #i2 ,phrantzes1 p4 #baj4 #cfc ,du ,cange1 ,c4,p4 ,christ4 iv4 p4 #ha1 quoting ,anselm1 bishop of ,havelsberg1 who was in ,constantinople as the ambassador of ,lothair the ,great to the ,emperor ,john in #aade4 #cfd ,,ms4 ,no4 #he1 in the ,library of the ,theological ,seminary at ,halki4 #cfe ,synax41 #acth ,august4 #cff ,pp4 #ff1 #aea4 #cfg ,,ms4 ,no4 #he1 in the ,library of the ,theological ,seminary at ,halki4 #cfh ,vol4 i4 p4 #eee4 #cfi ,ancient and ,modern ,c4,p4 p4 #fi4 #cgj ,cinnamus1 p4 #ad2 ,guntherus ,parisiensis in ,riant's ,exuviae sacrae1 p4 #aje4 ,the sarcophagus that forms part of a ,turkish fountain to the west of the church is usually1 but without any proof1 considered to be the tomb of ,irene4 ,a long flight of steps near it leads to the cistern below the church4 #cga ,cinnamus1 p4 #ca4 #cgb ,nicet4 ,chon4 pp4 #ec1 #ef1 #ff4 #cgc ,synax41 ,october #bfth4 #cgd ,nicet4 ,chon4 p4 #aea4 #cge ,ibid4 p4 #bhi4 #cgf ,nicet4 ,chon4 p4 #aea4 #cgg ,riant1 ,exuviae sacrae1 ii4 p4 #bcb4 #cgh ,nicet4 ,chon4 pp4 #ccb-cc1 #ced-ee4 #cgi ,riant1 ,exuviae sacrae1 i4 pp4 #ajd seq4 #chj ,belin1 ,histoire de la latinit de ,constantinople1 pp4 #gc-gd1 #aac-ad4 #cha ,pachym4 i4 p4 #afj2 ,niceph4 ,greg4 p4 #hg2 ,g4 ,acropolita1 pp4 #aif-ig4 ,the last writer says the eikon was taken from the monastery of the ,hodegon1 which was its proper shrine4 ,the eikon may have been removed from the ,pantokrator to the church of ,hodegetria on the eve of the triumphal entry4 #chb ,niceph4 ,greg4 i4 p4 #he4 ,cf4 ,canale1 ,nuova ,storia1 ii4 p4 #aec1 quoted by ,belin1 ,latinit de ,c4,p4 p4 #bb1 'ov'erano la chiesa1 la loggia1 il palazzo dei ,veneziani1' cf4 ,belin1 p4 #ib4 #chc ,george ,acropolita1 p4 #aie4 ,on the contrary1 ,pachymeres represents ,baldwin as taking flight from the palace of ,blachernae1 and embarking at the ,great ,palace4 ,see vol4 i4 of that historian's works1 pp4 #acb-dh4 #chd ,belin1 ,histoire de la latinit de ,c4,p4 pp4 #bb-bc1 quoting ,canale1 ,nuova ,storia1 ii4 p4 #aec2 cf4 ,sauli1 i4 p4 #ee4 ,according to ,fanucci1 the ,venetians themselves removed their national emblems from the ,pantokrator and tore down the monastery4--,belin1 ut supra1 pp4 #hh1 #ib4 #che ,pachym4 i4 p4 #djb4 #chf ,ibid4 ii4 pp4 #hg-hh2 ,niceph4 ,greg4 i4 p4 #afg4 #chg ,ibid4 i4 pp4 #bgc1 #bcc-cd4 #chh ,phrantzes1 p4 #aba4 #chi ,ibid4 p4 #baj4 #cij ,ibid4 p4 #acd4 #cia ,ibid4 p4 #bjc4 #cib ,ibid4 p4 #bjc4 #cic ,ibid4 p4 #aia4 #cid ,ibid4 p4 #aia4 #cie ,muralt1 ad annum4 #cif ,phrantzes1 p4 #aef4 #cig ,ibid4 p4 #aef4 #cih ,ducas1 pp4 #beb-fj4 #cii ,phrantzes1 pp4 #cjd-g4 #djj ,essai de chronographie byzantine1 ii4 p4 #hhi4 #dja ,ducas1 p4 #cah4 #djb ,chadekat1 vol4 i4 p4 #aah1 quoted by ,paspates1 p4 #cab4 #djc ,de top4 ,c4,p4 iv4 c4 #b4 #djd ',the breaking of wall surfaces by pilasters and blind niches is a custom immemorial in ,oriental brickwork4'--,the ,thousand and ,one ,churches1 by ,sir ,w4 ,ramsay and ,miss ,lothian ,bell1 p4 #ddh4 #dje ,it is reached by an inclined plane built against the exterior of the south wall of the church4 #djf ,de top4 ,c4,p4 iv4 c4 #b4 #djg ,for these particulars we are indebted to ,,ms4 #he1 formerly in the library of the theological seminary at ,halki4 ,according to the same authority1 near the ,pantokrator stood a church dedicated to the ,theotokos ,eleousa1 and between the two buildings was the chapel of ,s4 ,michael that contained the tombs of the ,emperor ,john ,comnenus and the ,empress ,irene4 ,but according to ,cinnamus 7pp4 #ad1 #ca71 as we have seen 7p4 #bba71 those tombs were in the ,pantokrator4 ,is it possible that of the three buildings commonly styled the church of the ,pantokrator1 one of the lateral churches was dedicated specially to the ,theotokos ,eleousa1 and that the central building which served as a mausoleum was dedicated to the archangel ,michael8 ,the parecclesion of the ,chora where ,tornikes was buried 7p4 #caj7 was associated1 as the frescoes in its western dome prove1 with the angelic host4 ,,chapter ,,xvi ,,the ,,church ,,of ,s4 ,,theodore1 ,,kilissi ,,mesjedi ,high up the western slope of the ,third ,hill1 in a quiet ,turkish quarter reached by a narrow street leading off ,vefa ,meidan1 stands a small but graceful ,byzantine church1 known since its use as a mosque by the style ,kilissi ,mesjedi4 ,authorities differ in regard to its dedication4 ,gyllius#djh was told that the church had been dedicated to ,s4 ,theodore4 ,on the other hand1 ,le ,noir1 on the strength of information furnished by ,greek friends1 and after him ,bayet1 ,fergusson1 ,salzenberg1 claim it as the church of the ,theotokos of ,lips4 ,but the church of that dedication was certainly elsewhere 7p4 #abc74 ,mordtmann#dji suggests that we have here the church of ,s4 ,anastasia ,pharmacolytria 7,greek3 ts pharmakolytrias71#daj and supports his view by the following argument4 ,in the first place the church of ,s4 ,theodore the ,tiro was situated in the quarter of ,sphorakius1#daa which was in the immediate vicinity of ,s4 ,sophia1#dab and therefore not near ,vefa ,meidan4 ,secondly1 the indications given by ,antony of ,novgorod and by the ,anonymus of the eleventh century respecting the position of ,s4 ,anastasia point to the site of ,kilissi ,mesjedi4 ,the fact that the church was ever supposed to be dedicated to ,s4 ,theodore is1 in ,mordtmann's opinion1 a mistake occasioned by the circumstance that both ,s4 ,theodore and ,s4 ,anastasia were credited with the power of exposing sorcery and frauds1 so that a church associated with one of these saints might readily be transferred to the other1 especially in the confusion which followed the ,turkish conquest4 ,in reply to this line of argument1 it may be urged1 first1 that the presence of a church of ,s4 ,theodore in the district of ,sphorakius does not prevent the existence of a church with a similar dedication in another part of the city4 ,s4 ,theodore was a popular saint4 ,there was a church named after him in the district of ,claudius 7,greek3 ta ,klaudiou72#dac another church built in his honour stood in the district ,carbounaria 7,greek3 ta ,karbounaria72#dad the private chapel of the emperors in the ,great ,palace was dedicated to ,s4 ,theodore2#dae and according to ,phrantzes1#daf a church dedicated at once to ,s4 ,theodore the ,tiro and ,s4 ,theodore the ,general1 as at ,athens1 was erected in ,constantinople in his day4 ,as to the indications supposed to favour the view that the church of ,s4 ,anastasia stood at ,kilissi ,mesjedi1 they are1 to say the least1 exceedingly vague and inconclusive4 ,according to ,antony of ,novgorod#dag the shrine of ,s4 ,anastasia was found near the church of the ,pantokrator1 on the ,fourth ,hill1 whereas ,kilissi ,mesjedi stands on the ,third ,hill4 ,furthermore1 the order in which the ,anonymus#dah refers to the church of ,s4 ,anastasia ,pharmacolytria1 immediately before the ,leomacellum1 which ,mordtmann identifies with the ,et ,meidan1 would allow us to place ,s4 ,anastasia in the valley of the ,lycus4 ,under these circumstances it is wiser to accept the information given to ,gyllius as correct2 for while the ,greeks of his day were not infallible in their identification of the buildings of the city1 there is no evidence that they were mistaken in this particular case4 ,illustration3 ,,plate ,,lxx4 ,s4 ,,theodore4 ,,north ,,end ,,of ,,the ,,western ,,fa,,ade4 ,illustration3 ,s4 ,,theodore4 ,,the ,,church1 ,,from ,,the ,,north-,,west4 ,to face page #bdd4 ,paspates#dai agrees so far with this view1 but maintains1 at the same time1 that the building was the church of ,s4 ,theodore 'in the district of ,sphorakius4' ,that identification is inadmissible1 for beyond all dispute the district of ,sphorakius stood close to ,s4 ,sophia and not at ,vefa ,meidan4 ,mhlmann#dbj likewise regards ,kilissi ,mesjedi as a church of ,s4 ,theodore1 and identifies it with the church dedicated to that saint in the district of ,carbounaria4 ,this is possible1 although the ,anonymus#dba mentions the ,carbounaria before the ,anemodoulion and the forum of ,taurus 7the region of the ,turkish ,war ,office71 and consequently suggests a position for the ,carbounaria much farther to the east than ,vefa ,meidan4 ,still the order in which the ,anonymus mentions places and monuments cannot be confidently appealed to as coincident with their relative positions4 ,illustration3 ,,fig4 #ha4 7,for other details see ,figs4 #ai1 #ed47 ,to which of the many saints named ,theodore in the ,greek ,calendar this church was actually dedicated is a point open to discussion1 but we cannot go far wrong in ascribing it to one of the two most prominent saints of that name1 or1 as sometimes was the case1 to both of them1 ,s4 ,theodore the ,tiro and ,s4 ,theodore the ,general4 ,the former was a young soldier in the ,roman army who was tortured and put to death in #cjf for not taking part in the persecution of ,christians under ,maximian4 ,the latter was a general in the army of ,licinius1 and won the martyr's crown for refusing to sacrifice to false gods1 and for breaking their images in pieces4 ,he was the titular saint of the great church in ,venice before that honour was bestowed upon ,s4 ,mark the ,evangelist4 ,his relics were carried to ,venice from ,constantinople in #abfj1 and his figure still stands on one of the columns in the ,piazzetta of ,s4 ,mark1 with the attribute of a dragon or a crocodile1 symbolic of the false gods he destroyed4#dbb ,architectural ,features ,the church is a good example of the 'four column' type1 with an outer and an inner narthex4 ,the former is in five bays1 and extends to the north and south1 by one bay1 beyond the inner narthex and the body of the church4 ,the terminal bays1 it would seem1 led to cloisters built against the exterior of the northern and southern sides of the building4 ,le ,noir and ,salzenberg#dbc show a cloister along the south side of the church1 with four columns and an apse at its end4 ,the central bay and the two terminal bays are covered with domes on high drums1 without windows4 ,the dome of the central bay has sixteen lobed bays1 while its companions have each eight flat ribs4 ,all traces of the mosaics which ,salzenberg saw in the central dome have disappeared4 ,on the exterior the three domes are octagonal1 decorated with flat niches and angle shafts supporting an arched cornice4 ,the exonarthex deserves special attentions on account of its faade4 ,it is a fine composition of two triple arcades1 separated by a solid piece of masonry containing the door4 ,on either side of the door1 and on the piers at each end of the faade1 are slender flat niches1 similar to those which occur in ,s4 ,mark's1 ,venice4 ,the finely carved capitals of the columns differ in type1 the two northern being a variant of the 'melon type1' the pair to the south being ,corinthian4 ,they are probably old capitals re-used4 ,throughout the building are traces of stones from some older building recut or adapted to the present church4 ,between the columns is a breastwork of carved marble slabs similar in style to those seen in ,s4 ,mark's and in ,s4 ,fosca1 ,torcello4#dbd ,the upper part of the faade does not correspond to the composition below it1 but follows the divisions of the internal vaulting4 ,it is in five circular-arched bays1 each containing an arched window4 ,the infilling is of brick in various patterns4 ,the cornice looks ,turkish4 ,while the masonry of the lower portion of the arcade is in alternate courses of one stone and two bricks1 that of the upper portion has alternate courses of one stone and three bricks4 ,moreover1 while the design of the upper portion is determined by the vaulting of the narthex1 the lower portion takes a more independent line4 ,these differences may indicate different periods of construction1 but we find a similar type of design in other ,byzantine buildings1 as1 for example1 in the walls of the palace of the ,porphyrogenitus1 where the different stories are distinct in design1 and do not closely correspond to one another4 ,the outer narthex of ,s4 ,theodore may have been built entirely at one time1 or its upper story1 vaults1 and domes may have been added to an already existing lower story4 ,but in any case1 notwithstanding all possible adverse criticism1 the total effect produced by the faade is pleasing4 ,it presents a noteworthy and successful attempt to relieve the ordinary plainness and heaviness of a ,byzantine church exterior1 and to give that exterior some grace and beauty4 ,the effect is the more impressive because the narthex is raised considerably above the level of the ground and reached by a flight of steps4 ',taking it altogether1' says ,fergusson1#dbe 'it is perhaps the most complete and elegant church of its class now known to exist in or near the capital1 and many of its details are of great beauty and perfection4' ,illustration3 ,,plate ,,lxxi4 ,s4 ,,theodore4 ,,the ,,central ,,dome1 ,,from ,,the ,,south4 ,illustration3 ,s4 ,,theodore4 ,,the ,,western ,,fa,,ade1 ,,from ,,the ,,south4 ,to face page #bdf4 ,the esonarthex is in three bays covered with barrel vaults1 and terminates at both ends in a shallow niche4 ,the outer arches spring from square buttresses4 ,from each bay a door conducts into the church1 the central door being set in a marble frame and flanked by two ,corinthian columns1 which support a bold wall arcade4 ,the drum of the dome is a polygon of twelve sides1 and was lighted by the same number of windows4 ,it rests on four columns1 which were originally square1 but now have large champs at the angles1 dying out at top and bottom4 ,barrel vaults cover the arms of the cross1 and dome vaults surmount the chambers at its angles4 ,as in the ,pantokrator 7p4 #bce71 the eastern arm is pierced by two windows in the vaulting surface4 ,the central apse is lighted by a triple window1 having oblong shafts1 circular on their inner and outer faces1 and bearing capitals now badly injured4 ,a niche indents the northern1 eastern1 and southern interior walls of the apsidal chapels4 ,the windows in the northern and southern walls of the church have been built up almost to their full height1 leaving only small openings for light at the top4 ,there can be little doubt that they were triple windows with a parapet of carved marble slabs between the shafts4 ,on the exterior the apse shows five sides1 and is decorated by an arcade of five arches and an upper tier of five niches4 ,the lateral apses do not project beyond the face of the eastern wall1 but are slightly marked out by cutting back the sides and forming angular grooves4 ,bayet#dbf assigns the church to the ninth or tenth century1 the age of ,leo the ,wise and ,constantine ,porphyrogenitus4 ,fergusson#dbg is of the same opinion so far as the earlier portions of the building are concerned4 ,but that date is based on the mistaken view that the building is the church of the ,theotokos erected by ,constantine ,lips4 ,diehl#dbh assigns the church to the second half of the eleventh century4 ,illustration3 ,,plate ,,lxxii4 ,s4 ,,theodore4 ,,south ,,cross ,,arm 7,,exterior71 ,,from ,,the ,,south-,,east4 ,illustration3 ,s4 ,,theodore4 ,,the ,,east ,,end1 ,,from ,,the ,,south4 ,to face page #bdh4 ,illustration3 ,,fig4 #hb4--,s4 ,,theodore4 ,,plan ,,as ,,given ,,by ,,texier4 ,illustration3 ,,fig4 #hc4--,s4 ,,theodore4 ,,part ,,of ,,south ,,elevation ,,showing ,,the ,,side ,,chapel ,,as ,,given ,,by ,,texier4 ,in the library of the ,royal ,institute of ,british ,architects1 in ,london1 are four volumes of ,texier's sketches and drawings of buildings in or near ,constantinople4 ,in that collection is found a complete set of drawings of this church1 showing a chapel on both the north and south sides of the building1 and even giving measurements on the south side4 ,texier's drawings are unfortunately very inaccurate1 so that little trust can be placed in any of them4 ,in addition to the plan of the church an elevation is given1 and two sketches covered with indications of elaborate decoration1 but evidently quite imaginary4 ,the chapel on the north side is noticed by no other writer1 and was probably added by ,texier for the sake of symmetry4 ,that on the south side1 as shown by him1 differs in some respects from ,salzenberg4 ,the only thing certain is that a side chapel did exist here4 ,this church presents a good example of the greater interest taken during the later ,byzantine period in the external appearance of a church4 ,to the exterior of the walls and the apses some decoration is now applied4 ,the dome is raised on a polygonal drum1 with shafts at its angles1 and an arched cornice over its windows2 the roof gains more diversity of form and elevation by the multiplication of domes1 by the protrusion of the vaults of the cross arms and of the apses1 thus making the outward garb1 so to speak1 of the building correspond more closely to the figure and proportions of its inner body4 ,in all this we have not yet reached the animation and grace of a ,gothic cathedral1 nor the stateliness that crowns an imperial mosque2 but there is1 at all events1 a decided advance towards a fuller expression of artistic feeling4 7,see ,plates ,,lxxiv41 ,,lxxv47 ,illustration3 ,,plate ,,lxxiii4 ,s4 ,,theodore4 ,,capital ,,on ,,the ,,southernmost ,,column ,,in ,,the ,,fa,,ade4 ,illustration3 ,s4 ,,theodore4 ,,capital ,,in ,,the ,,fa,,ade ,,of ,,the ,,narthex4 ,to face page #bej4 ,illustration3 ,,figs4 #hd ,,and #he4 ,illustration3 ,,figs4 #hf ,,and #hg4 #djh ,de top4 ,c4,p4 iii4 c4 #f4 #dji ,esq4 top4 paragraphs #aaj1 #aad1 #abd1 #abe4 #daj ,banduri1 ii4 p4 #ch4 #daa ,ibid4 i4 p4 #aj4 #dab ,const4 ,porphyr1 ,de cer4 p4 #fbc4 #dac ,banduri1 iii4 pp4 #af1 #dh4 #dad ,ibid4 i4 p4 #ag4 #dae ,const4 ,porphyr1 ,de cer4 p4 #fdj4 #daf ,p4 #adj4 #dag ,itin4 russes1 pp4 #aje-f4 #dah ,banduri1 i4 p4 #af2 ii4 p4 #ch4 #dai ,p4 #cad4 #dbj ,see his paper in the ,mitteilungen des deutschen ,excursions-,club1 ,konstantinopel1 ,erstes ,heft1 #ahhh4 #dba ,banduri1 p4 #af4 #dbb ,see ,the ,monastery of ,st4 ,luke of ,stiris1 p4 #fa4 #dbc ,altchristliche ,baudenkmler von ,k4,p4 plates #cd1 #ce4 #dbd ,pulgher1 ,les ,anciennes glises de ,c4,p4 p4 #bc4 #dbe ,history of ,architecture1 i4 #deh4 #dbf ,l',art byzantin1 p4 #abf4 #dbg ,history of ,architecture1 vol4 i4 p4 #deh4 #dbh ,manuel d'art byzantin1 p4 #dad4 ,,chapter ,,xvii ,,the ,,monastery ,,of ,,manuel1 ,,kefel ,,mesjedi ,the mosque known as ,kefel ,mesjedi1 in the quarter of ,salma ,tomruk1 is commonly supposed to represent the monastery founded by ,manuel1#dbi a distinguished general in the wars with the ,saracens during the reign of ,theophilus 7#hbc-hdb74 ,this opinion is doubtless based upon the circumstance that the monastery in question stood in the vicinity of the cistern of ,aspar1#dcj ,greek3 synengys t kistern tou ,asparos 7the large open reservoir to the east of the ,gate of ,adrianople71 near which ,kefel ,mesjedi is also situated4 ,but that circumstance alone cannot be regarded as sufficient ground for the identification of the two buildings4 ,there are at least five other monasteries mentioned in ,byzantine history1 all distinguished by the mark of their proximity to the cistern of ,aspar4#dca ,and at a short distance to the west of ,kefel ,mesjedi1 and nearer to the cistern of ,aspar1 we find the remains of an old church1 now ,odalar ,mesjedi1 which might with equal force claim to represent the monastery of ,manuel4 ,the commonly received identification may1 however1 be correct as a happy conjecture4 ,mr4 ,siderides1#dcb indeed1 considers the identification of the monastery of ,manuel with ,kefel ,mesjedi a mistake4 ,according to him1 that monastery was a reconstruction or enlargement of the ancient monastery of ,,ss4 ,manuel1 ,sabel1 and ,ishmael1 which stood on the heights above the ,phanar1 now crowned by the mosque of ,sultan ,selim4 ,to the objection that there it would not be near the cistern of ,aspar1 ,mr4 ,siderides replies by denying the correctness of the identification of that cistern with the open reservoir 7,tchoukour ,bostan7 to the east of the gate of ,adrianople1 and in the vicinity of ,kefel ,mesjedi4 ,in ,mr4 ,siderides' opinion the cistern of ,aspar is the beautiful covered cistern1 generally known as the cistern of ,puicheria1 to the south-west of the mosque of ,sultan ,selim4#dcc ,but the dimensions of the cistern ascribed to the famous sister of ,theodosius ,,ii4 do not accord with the size of the cistern of ,aspar4 ,the latter was 'a very large cistern1' ,greek3 tn megistn kinsternan1#dcd while the former is only m4 #bi4a long by m4 #ah wide1 with a roof supported on four rows of seven columns#dce--not a large cistern as works of that class went in ,constantinople4 ,but if the cistern of ,aspar was not situated in the district now marked by the mosque of ,sultan ,selim1 neither could the monastery of ,manuel have been there4 ,mr4 ,siderides1#dcf moreover1 identifies the monastery of ,manuel with that of ,manoueliou ,greek3 tou ,manouliou which appears in the ,proceedings of the ,synod held at ,constantinople in #ecf under ,justinian4#dcg ,this1 however1 does not agree with the statement that the monastery of ,manuel was originally the private residence of the well-known general of that name in the ninth century4 ,furthermore1 it is always dangerous to assume that the same name could not belong to different buildings1 especially when the name occurs at distant intervals in the history of the city4 ,many mistakes in the topography of ,constantinople are due to this false method of identification4 ,as a matter of fact1 the monastery of ,manuel near the cistern of ,aspar was not the only ,house of that name in the capital of the ,east4 ,another monastery of ,manuel stood beside the ,golden ,horn1 in the ,genoese quarter1 between the gate of the ,neorion 7,bagtch ,kapoussi7 and the gate of ,eugenius 7,yali ,kiosk ,kapoussi74 ,it had a pier1 known as the pier of the venerable monastery of ,manuel1 ,greek3 skala ts sebasmias mons tou ,manoul4#dch ,paspates is consequently wrong in associating that pier with ,kefel ,mesjedi4#dci ,illustration3 ,,plate ,,lxxiv4 ,s4 ,,theodore4 ,,the ,,outer ,,narthex1 ,,looking ,,north4 ,illustration3 ,s4 ,,theodore4 ,,capital ,,to ,,the ,,north ,,of ,,the ,,door ,,leading ,,from ,,the ,,outer ,,to ,,the ,,inner ,,narthex4 ,to face page #bed4 ,mordtmann#ddj accepts the identification of ,kefel ,mesjedi with the monastery of ,manuel as correct1 but he identifies it also with the church and monastery which ,gerlach found in this neighbourhood1 and describes under the name of ,aetius 7,greek3 tou ,aetiou74#dda ,when visited by ,gerlach in #aegc1 the church had been converted into a mosque1 and was a beautiful building in excellent preservation4 ,if all that remains of it is the bare structure of ,kefel ,mesjedi1 the city has to mourn a great loss4#ddb 7,plate ,,lxxvii47 ,manuel1 the founder of the monastery1 was the uncle of the ,empress ,theodora1 wife of the ,emperor ,theophilus1 and proved a loyal and devoted servant of the imperial family4 ,twice at the peril of his own life he saved the emperor from capture1 if not from death1 during the wars with the ,saracens4 ,nevertheless1 being accused of treason he fled to the court of ,baghdad and took service under the ,caliph ,mutasim1 until assured that ,constantinople would welcome him back4 ,he was one of the three counsellors appointed by ,theophilus to assist ,theodora during the minority of ,michael ,,iii41 and so highly was he esteemed1 that he was acclaimed emperor by the populace in the ,hippodrome1 and might have worn the crown but for his fidelity to the little prince4 ,silencing the shouts raised in his favour1 he exclaimed1 ',you have an emperor2 my duty and highest honour is to defend his infancy and to secure for him1 even at the price of my blood1 the heritage of his father4' ,in the iconoclastic controversy ,manuel supported the policy of ,theophilus1 and therefore found himself in a difficult position when ,theodora decided to restore the use of eikons4 ,the story is1 that while he lay dangerously ill at the time1 monks of the ,studion assured him that recovery was certain if he vowed to uphold the orthodox cause4 ,the vow was taken1 and upon his restoration to health ,manuel favoured the measures of ,theodora4 ,probably he felt that the current of public feeling on the subject was too strong for him to oppose4 ,but the task of working in harmony with his colleagues in the regency1 ,theoctistus and ,bardas1 was soon found impossible1 and rumours of a plot to blind him and remove him from the administration of affairs led him to retire to his house near the cistern of ,aspar4 ,for some time1 indeed1 he continued to appear occasionally at the palace1 but at last he quitted for ever that scene of intrigue1 and converted his residence into a monastery1 where he might spend the closing days of his life in peace and finally be laid in a quiet grave4#ddc ,illustration3 ,,plate ,,lxxv4 ,s4 ,,theodore4 ,,the ,,interior1 ,,looking ,,east4 ,illustration3 ,s4 ,,theodore4 ,,the ,,interior1 ,,looking ,,east 7,,upper ,,part74 ,to face page #bef4 ,the building which ,manuel bequeathed was reconstructed almost from the foundations1 a large and beautiful edifice1 by the celebrated ,patriarch ,photius4#ddd ,it underwent extensive restoration again at the command of the ,emperor ,romanus ,lecapenus 7#iai-ide71dde in token of his friendship for ,sergius1 the abbot of the monastery1 a nephew of ,photius1 and eventually an occupant of the patriarchal throne for twenty years 7#iii-ajai74 ,in it the ,emperor ,romanus ,argyrus 7#ajbh-ajcd7 confined ,prussianus1 a relative of the ,bulgarian royal family1 on a charge of treason2#ddf and there ,michael ,,vii41 nicknamed ,parapinakes 7the peck-filcher71 because he sold wheat at one-fourth of its proper weight1 and then at an exorbitant price1 ultimately retired after his deposition4#ddg ,the connection of so many prominent persons with the monastery implies the importance of the ,house4 ,architectural ,features ,kefel ,mesjedi is a large oblong hall1 m4 #bb4f long by m4 #g4bb wide1 with walls constructed in alternate courses of four bricks and four stones1 and covered with a lofty timber roof4 ,it terminates to the north in an arch and a semicircular apse in brick4 ,two niches1 with a window between them1 indent the walls of the apse1 and there is a niche in each pier of the arch4 ,the building is entered by a door situated in the middle of the western wall4 ,originally the eastern and western walls1 which form the long sides of the building1 were lighted by two ranges of round-headed windows1 somewhat irregularly spaced4 ,the upper range is situated a little below the ceiling1 and forms a sort of clearstory of ten lights2 the lower range has five windows1 except in the western wall1 where the place of one window is occupied by the entrance4 ,the southern wall is also lighted by two ranges of windows1 the lower windows being much larger than the higher4 ,at some time buttresses were built against the eastern wall4 ,under the west side is a cistern1 the roof of which rests on three columns4 ,in view of all these features it is impossible to believe that the building was a church4 ,its orientation1 the absence of lateral apses in a structure of such dimensions1 the position of the entrance1 are all incompatible with that character4 ,we have here1 undoubtedly1 the refectory and not the sanctuary of the monastic establishment4 ,it resembles the refectory of the ,laura on ,mt4 ,athos1#ddh and that of ,daphni near ,athens4 ,it recalls the 'long and lofty building1' adorned with pictures of saints1 which formed the refectory of the ,peribleptos at ,psamathia4#ddi ,there is a tradition that the use of the building was granted at the conquest to the ,armenian colony which was brought from ,kaffa in #adge to repeople the capital1 ,hence the ,turkish name of the building4#dej ,illustration3 ,,plate ,,lxxvi4 ,,the ,,refectory ,,of ,,the ,,monastery ,,of ,,manuel1 ,,from ,,the ,,west4 ,illustration3 ,,the ,,refectory ,,of ,,the ,,monastery ,,of ,,manuel1 ,,from ,,the ,,south-,,east4 ,to face page #beh4 ,,note ,as ,gerlach's work is rare1 the reader may wish to see his description of the church of ,aetius in the original 7,tagebuch1 pp4 #dee-ef73--,nicht weit hiervon the church of ,s4 ,john in ,petra ist eine sehr schne ,kirche1 ,greek3 ts ,aetiou1 da vor ,zeiten ein sehr gross und weites ,closter gewesen seyn und viel ,huser der ,lehrer und ,lernenden in sich gehabt haben solle4 ,jetzt wird nichts mehr davon gesehen als das zerfallene ,gemuer einer herrlichen ,pforten und eine trockene ,ziternen1 darinnen die ,juden die ,seiden spinnen1 zwirnen und bereiten 7serica nectunt fila74 ,vor der ,kirchen ist ein weiter ,hoff1 rings aber umb denselbe herumb ein bedeckter ,gang 7porticus71 welcher mit schnen auff vergldten viereckichten glsern ,taffeln knstlich gemahlten ,figuren auss dem ,alten und ,neuen ,testament1 und mit griechischen berschrifften gezieret ist1 aber alte ,gesichter derselben aussgekratzet sind4 ,die ,wnde dieser ,umbgnge sind mit ,marmel von allerhand ,farben bekleidet4 ,hat auch #c oder #d hohe ,crepidines oder ,abstze mit der ,propheten1 ,apostel und ,christi ,bildnssen von ,gold4 ,der ,hauss- oder vielmehr ,bau- herr oder auch der ,stiffter 7,greek3 ho kttr71 und sein ,weib1 sind da auch gemahlet in einem ,habit1 fast wie man heut zu ,tage gehet1 aber mit einer ganz fremden ,hauptzierde 7capellitii genere71 class man darauss abnehmen kan1 er sey einer aus den vornehmsten ,kyserlich ,bedienten gewesen1 dann diese ,zierde siehet auss fast wie ein ,hertzogs ,bareht von ,seiden and ,beltzwerck1 der ,bund oder das ,umgewundene 7cinctura7 von mancherley ,farben1 wie heut zu ,tage die ,juden und ,armenier weiss und blau durcheinander tragen4 ,sein ,weib hat einen ,schleyer 7peplum7 fast wie die ,griechinnen4 ,der bedecte ,gang und die ,kirche sind ein ,gebu 7porticus muro etiam templi continetur71 und gehet man durch zwey hohe ,pforten hinein1 welche #d ,theil in sich begreifft1 oder in #d ,theil abgetheilet ist4 #a4 der bedeckte 7,porticus7 ,gang1 dessen ,wnde mit ,marmelstein biss auff die ,helffte bekleidet sind4 ,der ,obertheil1 da die ,schwibbgen 7,laquearia7 anheben1 hat er wie auch die ,schwibbgen selber die ,gemhlde4 ,in diesem ,gang oder ,halle 7porticu7 stehen die ,weiber1 und kommen nicht in die ,kirchen hinein1 wie auch in andere ,kirchen nicht1 als wann sie zum ,abendmahl gehen4 #b4 ist die ,kirche fr sich so mit ,trckischen ,deppichen 7aoreis7 beleget und hat nur ein ,thor4 ,ist ein hohes ,gewlb 7laquearia7 und wie auch die berige #b ,gewlbe 7laquearia7 ganz vergldet und bermahlet1 und die ,wnde von unten an biss an die ,schwibbgen mit dem schnsten ,marmelstein bekleidet4 ,auss diesem gehet man #c4 durch einen niedern ,crepidinem in dem dritten ,theil der ,kirchen1 da der ,bauherr oder ,stiffter mit andern sehr schnen ,bildnssen mit ,gold gemahlet stehen1 mit einem etwas niedern als der vorige ,schwibbgen 7laquearia74 ,auss diesem gehet man in den #dten gewlbten auch gemahlten aber etwas finstern und viel kleine ,fenster in sich haltenden ,ort4 ,aussen an der ,kirchmauren stehet diese ,schrift4 ,illustration3 ,monogram in ,greek4 ,vor dem ,vorhoff 7vestibulo1 ,greek3 propili7 dieser ,kirchen ,greek3 ts ',aetiou zeigte mir ,theodosius den ,ort1 da der letzte ,christliche ,kyser ,constantinus als er bey der ,trckischen ,eroberung der ,stadt fliehen wollen1 von ,pferde gestrtzet1 und tod gefunden seyn solle4 ',not far from here is a very beautiful church where there is said to have been in times past a very large monastery with many houses for teachers and scholars within its walls4 ,nothing of all that is to be seen now except the ruins of a splendid gate and a dry cistern in which the ,jews spin1 throw1 and prepare silk4 ,in front of the church there is a large court surrounded by a covered passage 7porticus71 which is adorned with beautiful figures from the ,old and ,new ,testaments painted on gilded quadrangular glass cubes with ,greek inscriptions2 but the ancient faces of these 7figures7 are scratched out4 ,the walls of this passage are covered with marble of different colours4 ,it has also three or four high crepidines#dea or vaulted compartments 787 with the pictures of the prophets1 of the apostles1 and of ,christ in gold4 ,the master of the house1 or rather the builder1 or perhaps the founder1 ,greek3 ho kttr1 and his wife are also painted there in a costume very much the same as is worn to-day1 but with a very strange head-ornament1 from which we may conclude that he was one of the most distinguished of the imperial staff1 for this ornament looks almost like a duke's biretta of silk and fur2 the belt 7cinctura7 is of different colours1 such as nowadays the ,jews or ,armenians wear1 white and blue mixed4 ,his wife has a veil 7peplum7 almost like that which ,greek women have4 ,the covered passage and the church form one building 7porticus muro etiam templi continetur71 entered by two high gates1 and comprising four parts1 or divided into four parts4 #a4 ,the covered passage 7porticus71 the walls of which as far as half their height are covered with marble4 ,on the upper part1 where the arches begin1 and on the arches themselves are the paintings4 ,in this passage or hall stand the women1 and do not enter the church as they do not enter other churches1 unless they go to the ,lord's supper4 #b4 ,is the church1 as such1 covered with ,turkish rugs1 and has only one gate4 ,it has a high dome1 which1 like the remaining two domes1 is entirely gilded and painted1 and the walls up to the arches are covered with the most beautiful marble4 ,from this one enters #c4 through a low vaulted compartment1 with a somewhat lower arch than the foresaid arches1 the third part of the church1 where the founder with other very beautiful portraits 7pictures7 is painted in gold4 ,from this one enters #d4 a vaulted and also painted1 but rather dark place1 with many small windows4 ,on the outside of the walls of the church there is this inscription#deb-- ,illustration3 ,monogram in ,greek4 ,in front of the porch1 vestibulo1 ,greek3 propili of this church ,theodosius showed me the place where the last ,christian emperor ,constantine1 intending to flee at the ,turkish conquest of the city1 is said to have fallen from his horse and to have been found dead4' ,illustration3 ,,figs4 #hh ,,and #hi4 #dbi ,scarlatus ,byzantius1 p4 #cfi2 ,patr4 ,constantius1 p4 #ha2 ,paspates1 p4 #cjd4 #dcj ,leo ,gramm4 pp4 #bah1 #bbb4 #dca ,siderides1 in ,proceedings of the ,greek ,syllogos of ,c4,p4 vol4 xxviii4 p4 #bfe4 #dcb ,ibid4 p4 #bfc4 #dcc ,proceedings of the ,greek ,syllogos of ,c4,p41 ut supra1 p4 #beh4 #dcd ,pasch4 ,chron4 p4 #eic4 #dce ,die byzantinischen ,wasserbehlter von ,konstantinopel1 von ,dr4 ,forscheimer und ,dr4 ,strzygowski1 pp4 #fb-fc1 #age-agf4 #dcf ,ut supra4 #dcg ,mansi1 viii4 col4 #iij1 col4 #ajed4 #dch ,miklosich et ,mller1 pp4 #bh1 #ej1 #ec1 #ed4 #dci ,p4 #cje4 ,on p4 #afc he places the pier in its proper position4 #ddj ,esq4 top4 p4 #gf2 ,archaeological ,supplement to vol4 xviii4 of the ,proceedings of the ,greek ,syllogos of ,c4,p4 p4 #i4 #dda ,trkisches ,tagebuch1 pp4 #dee-ef2 cf4 ,crusius1 ,turcograecia p4 #aij4 #ddb ,the question thus raised presents serious difficulties4 ,that some building,a in the neighbourhood of ,kefel ,mesjedi was known by the name of ,aetius,b is undoubted4 ,it was a cistern 7,du ,cange1 i4 p4 #if71 and formed one of the landmarks by which the church of ,s4 ,john in ,petra1 situated in this quarter of the city1 was distinguished 7,du ,cange1 iv4 p4 #aeb ,greek3 engista tou ,aetiou74 ,but while that is the case1 ,gyllius 7,de top4 ,c4,p4 iv471 who explored this part of the city in #aeej1 does not mention any ,byzantine church that answers at all to ,gerlach's description of the church of ,aetius1 unless it be the ,chora4 ,that ,gyllius should have overlooked so beautiful a monument of ,byzantine days as the church of ,aetius1 if different from the ,chora1 is certainly very strange4 ,but it is not less strange to find that ,gerlach does not speak of the ,chora4 ,can the difficulty thus presented be removed by the supposition that ,gerlach refers to the ,chora under the name of ,aetius8 ,the position he assigns to the church of ,aetius in relation to the church of ,s4 ,john in ,petra and to the palace of ,constantine 7,tekfour ,serai7 favours that view1 for he places the church of ,aetius between ,s4 ,john and the palace1 exactly where the ,chora would stand in that series of buildings4 ,looking towards the north-west from the windows of a house a little to the east of the ,pammakaristos1 ,gerlach says ',ad ,occasum1 ,boream versus1 ,prodromi ,greek3 mon est1 olim ,greek3 petra2 longius inde1 ,aetii ,greek3 mon2 postea1 ,palatium ,constantini' 7,turcograecia1 p4 #aij74 ,on the other hand1 ,gerlach's description of the church of ,aetius differs in so many particulars from what holds true of the ,chora1 that it is difficult1 if not impossible1 to believe that in that description he had the latter church in mind4 ,unless1 then1 we are prepared to admit grave mistakes in ,gerlach's description1 we must either assume an extraordinary failure on his part and on the part of ,gyllius to notice a most interesting ,byzantine monument1 directly on the path of both explorers in this quarter of the city1 or regret the disappearance of an ancient sanctuary that rivalled the ,chora in splendour4 ,a ,it was probably the ruined cistern with twenty-four columns arranged in four rows of seven pillars each1 near the mosque ,kassim ,aga1 a short distance above ,kefel ,mesjedi4 ,gerlach associates it with the church of ,aetius4 ,b ,tagebuch1 pp4 #dee-ef2 cf4 ,crusius1 ,turcograecia1 p4 #aij4 ,in the documents associated with the ,synod of #ecf in ,constantinople the cistern of ,aetius serves to identify the monastery of ,mara 7,mansi1 viii4 cols4 #iaj1 #icj1 #iij74 ,cf4 ,banduri1 iii4 p4 #di2 v4 p4 #ajf4 #ddc ,there is some uncertainty as to the identity of ,manuel4 ,some authorities distinguish ,manuel the general from ,manuel the uncle of ,theodora1 on the ground that the former is said to have died of wounds received in battle during the reign of ,theophilus 7see ,leo ,gramm4 p4 #bbb74 ,but it would be strange for different ,manuels to reside near the cistern of ,aspar1 and to convert their residences into the monastery of ,manuel in that vicinity4 ,for other reasons for the identification see ,bury1 ,eastern ,roman ,empire1 ,appendix viii4 p4 #dgf4 #ddd ,theodore ,balsamon1 vol4 i4 p4 #ajda2 ,canon ,,vii4 of the ,synod of ,constantinople held under ,photius4 #dde ,theoph4 ,cont4 p4 #dcc1 ,greek3 mon tou ,manoulou4 #ddf ,cedrenus1 ii4 p4 #dhg4 #ddg ,scylitzes1 in ,cedrenus1 ii1 p4 #gch4 #ddh ,h4 ,brockhaus1 ,die ,kunst in den ,athos-,klstern1 p4 #cd2 ,g4 ,millet1 ,le ,monastre de ,daphn4 #ddi ,gerlach1 ,tagebuch1 p4 #ccg4 #dej ,paspates1 p4 #cie4 #dea ,in ,parker's ,glossary of ,architecture1 p4 #ejf1 the term is defined 'quae vulgariter a volta dicitur' 7,matt4 ,par4 #ajef74 ,du ,cange defines the word 'caverna ubi viae conveniunt4' #deb ,according to the ,patriarch ,constantius 7,ancient and ,modern ,constantinople1 p4 #gf71 the monogram-- ,illustration3 ,monogram in ,greek4 was to be seen in his day on the exterior western wall of the ,chora4 ,,chapter ,,xviii ,,monastir ,,mesjedi ,at a short distance within ,top ,kapoussi 7,gate of ,s4 ,romanus7 that pierces the landward walls of the city1 and a little to the south of the street leading to that entrance1 in the quarter of ,tash ,mektep1 ,mustapha ,tchaoush1 stands a lonely ,byzantine chapel which now goes by the name ,monastir ,mesjedi1 the ,chapel of the ,monastery4 ,its present designation tells us all that is certain in regard to the history of the edifice2 it was originally a chapel attached to a ,christian monastery1 and after the ,turkish conquest became a ,moslem place of worshp4 ,paspates#dec is disposed to identify the building with the chapel of the ,theotokos erected in this vicinity1 in the thirteenth or fourteenth century1 by ,phocas ,maroules#ded on the site of the ancient church dedicated to the three martyr sisters ,menodora1 ,metrodora1 and ,nymphodora4#dee ,the chapel built by ,maroules in fact belonged to a convent1 and owing to its comparatively recent date might well be standing to this day4 ,but the evidence in favour of the proposed identification is slight4 ,in a city crowded with sanctuaries more than one small chapel could be situated near the gate of ,s4 ,romanus4 ,an old font1 turned upside down and made to serve as a well-head by having its bottom knocked out1 lies on a vacant lot on the same side of the street as ,monastir ,mesjedi1 but nearer the gate of ,s4 ,romanus1 and seems to mark the site of another sanctuary4 ,so likewise do the four columns crowned with ancient capitals which form the porch of the mosque ,kurkju ,jamissi1 on the north side of the street4 ,illustration3 ,,plate ,,lxxvii4 ,,the ,,cistern ,,of ,,aetius4 ,with the kind permission of ,sir ,benjamin ,stone4 ,to face page #bfb4 ,phocas ,maroules was domestic of the imperial table under ,andronicus ,,ii4 ,palaeologus 7#abhb-acbh74 ,he appears also as the commander of the guards on the city walls that screened the palace of ,blachernae1 when ,andronicus ,,iii4 ,palaeologus1 accompanied by ,john ,cantacuzene1 the protostrator ,synadenus1 and an escort of thirty soldiers1 stood before the gate of ,gyrolimn to parley with the elder emperor4 ,the domestic was the bearer of the messages exchanged between the imperial relatives on that occasion4 ,it was a thankless task4 ,but what troubled the mind of ,maroules most was how to avoid giving offence to both sovereigns and succeed in serving two masters4 ,to salute the grandson as became his rank and pretensions would incur the grandfather's displeasure2 to treat rudely the young prince1 who had come on a friendly errand1 and addressed the domestic in gracious terms1 was an impropriety which the reputation of ,maroules as a paragon of politeness would not allow him to commit4 ,furthermore1 fortune being fickle1 he felt bound as a prudent man to consult her caprices4 ,accordingly1 allowing less discreet officials beside him to insult the younger emperor as much as they pleased1 he himself refrained both from all taunts and from all courteous speech4 ,in response to the greetings of ,andronicus ,,iii4 he said nothing1 but at the same time made a respectful bow1 thus maintaining his good manners and yet guarding his interests whatever turn the dispute between the two emperors might take4 ,john ,cantacuzene1 a kindred spirit1 extols the behaviour of ,maroules in this dilemma as beyond all praise4#def ,after the death of ,maroules his widow and son attempted to turn the convent into a monastery4 ,but the patriarchal court1 before which the case came in #acda1 decided in favour of the claims of the nuns1 on the principle that the intention of the founder should in such matters be always respected4 ,hence convents were not allowed to be changed into monasteries1 nor monasteries into convents4#deg ,architectural ,features 7,for ,plan see p4 #bfa47 ,the building is a small oblong hall roofed in wood1 and terminates at its eastern end in three semicircular apses4 ,it is divided into two unequal compartments by a triple arcade placed near the western end4 ,the side apses are shallow recesses1 scarcely separated from the central apse1 and show three sides on the exterior4 ,the central apse projects six sides1 and is now lighted by a large ,turkish window4 ,the western compartment1 forming the narthex1 is in three bays covered with cross-groined vaults4 ,the cushion capitals on the columns of the arcade are decorated1 on the east and west1 with a rudely cut leaf2 and on the north and south with a cross in a circle4 ,along the exterior of the south wall are traces of a string-course1 of a cloister1 and of a door leading to the western compartment4 ,on the same wall ,paspates#deh saw1 as late as #ahgg1 eikons painted in fresco4 ,the western entrance stands between two pilasters1 and near it is an upright shaft1 buried for the most part in the ground1 probably the vestige of a narthex4 ,in the drawing of the church given by ,paspates1#dei three additional shafts are shown beside the building4 #dec ,p4 #cgf4 #ded ,miklosich et ,mller1 i4 #bba4 #dee ,for lives of these saints1 see ,synax41 ,september #aj2 ,symeon ,metaphrastes1 ii4 p4 #fec4 #def ,cantacuzene1 i4 p4 #bee2 ,niceph4 ,greg4 ix4 pp4 #djg1 #dji4 #deg ,miklosich et ,mller1 i4 p4 #bba4 #deh ,p4 #cgf4 #dei ,ut supra4 ,,chapter ,,xix ,,balaban ,,aga ,,mesjedi ,a small ,byzantine building1 now used for ,moslem worship under the name of ,balaban ,aga ,mesjedi1 is situated in the quarter of ,shahzad1 off the south side of the street leading to the mosque of ,sultan ,mehemed and the gate ,edirne ,kapoussi4 ,mordtmann#dfj proposes to identify it with the church of the ,theotokos in the district of the ,curator 7,greek3 tou ,kouratoros71 the foundation of which is ascribed to ,verina1 the consort of ,leo ,macellus 7#deg-dgd74dfa ,the only reason for this conjecture is that the church in question stood where ,balaban ,aga ,mesjedi stands1 in the neighbourhood of the forum of ,taurus1#dfb now represented by the open area beside the ,war ,office and the mosque of ,sultan ,bajazet4 ,but the plan of the building does not correspond to the description given of the ,theotokos in the district of the ,curator4 ,the latter resembled the ,holy ,sepulchre at ,jerusalem1#dfc and was therefore circular1 whereas ,balaban ,aga ,mesjedi is a hexagon4 ,indeed1 it may be questioned whether the building was ever a church1 seeing it has no room for either a berm1 or an apse1 or an eikonostosis4 ,it may have been the library of a monastic establishment4 ,architectural ,features 7,for ,plans see p4 #bfg47 ,internally the building is an accurate hexagon1 with a deeply arched recess in each side4 ,five recesses have a window1 while in the sixth recess1 instead of a window1 there is a door4 ,the cornice and wooden ceiling are ,turkish4 ,externally the edifice shows four sides1 two circular and two flat projecting bays1 arranged in alternate order4 ,in each of the circular sides are two windows1 while the fifth window and the entrance are respectively in the flat sides4 ,a ,turkish narthex fronts one-half of the building4 7,plate ,,lv47 ,illustration3 ,,figs4 #ij1 #ia1 ,,and #ib4 #dfj ,esq4 top4 p4 #gj4 #dfa ,banduri1 i4 p4 #ah4 #dfb ,synax41 ,july #bbnd1 ,december #gth4 #dfc ,banduri1 ut supra4 ,,chapter ,,xx ,,the ,,church ,,of ,,the ,,gastria1 ,,sanjakdar ,,mesjedi ,this mosque is situated in the quarter of ,psamathia1 at a short distance to the north of the ,armenian church of ,s4 ,george 7,soulou ,monastir71 which stands on the site of the ,byzantine church of ,s4 ,mary ,peribleptos4 ,paspates1#dfd who first recognized the ,byzantine character of the edifice1 regards it as the chapel attached to the convent of the ,gastria 7,greek3 ,mon tn ,gastrin1 ta ,gastria1 i4e4 in the district of the ,flower-pots74 ,his reasons for that opinion are3 first1 the building is situated in the district of ,psamathia1 where the convent of the ,gastria stood2 secondly1 it is in the neighbourhood of the ,studion1 with which the convent of the ,gastria was closely associated during the iconoclastic controversy2 thirdly1 the copious and perennial stream of water that flows through the grounds below the mosque would favour the existence of a flower-garden in this part of the city1 and thus give occasion for the bestowal of the name ,gastria upon the locality4 ,the argument is by no means conclusive4 ,a more fanciful explanation of the name of the district is given by ,byzantine etymologists after their wont4 ,according to them the name was due to the circumstance that the ,empress ,helena1 upon her return from ,jerusalem with her great discovery of the ,holy ,cross1 disembarked at ,psamathia1 and having founded a convent there1 adorned its garden with the pots 7,greek3 ta gastria7 of fragrant shrubs which accompanied the sacred tree on the voyage from ,palestine4#dfe ,more sober historians ascribe the foundation of the convent to ,euphrosyne1 the step-mother of the ,emperor ,theophilus1#dff or to his mother-in-law ,theoctista4#dfg ,both ladies1 it is certain1 were interested in the ,house1 the former taking the veil there1#dfh while the latter resided in the immediate neighbourhood4#dfi ,probably the convent was indebted to both those pious women for benefactions1 and it was unquestionably in their day that the monastery acquired its greatest fame as the centre of female influence in support of the cause of eikons4 ,theoctista was especially active in that cause1 and through her connection with the court not only strengthened the opposition to the policy of her son-in-law1 but also disturbed the domestic peace of the imperial family4 ,whenever the daughters of ,theophilus visited her she took the opportunity to condemn their father's views1 and would press her eikons on the girls' lips for adoration4 ,one day1 after such a visit1 ,pulcheria1 the youngest princess1 a mere child1 in giving an account of what had transpired1 innocently told her father that she had seen and kissed some very beautiful dolls at her grandmother's house4 ,whereupon ,theophilus1 suspecting the real facts1 forbade his daughter to visit ,theoctista again4 ,on another occasion the court fool1 ,denderis1 surprised the ,empress ,theodora in her private chamber kissing eikons and placing them over her eyes4 ',what are these things8' he inquired4 ',my beautiful dolls which ,i love1' she replied4 ,not long afterwards the jester was summoned to amuse ,theophilus while sitting at table4 ',what is the latest news8' asked the emperor4 ',when ,i last visited mamma 7the jester's familiar name for the empress7 ,i saw most beautiful dolls in her room4' ,instantly the emperor rose1 beside himself with rage1 and rushing to his wife's apartments violently denounced her as a heathen and idolater4 ',not at all1' answered ,theodora1 in her softest accents1 'that fool of yours saw me and my maidens looking into a mirror and mistook the faces reflected there for dolls4' ,the emperor did not press the case1 but a few days later the servants of ,theodora caught ,denderis and gave him a sound thrashing for telling tales1 dismissing him with the advice to let dolls alone in the future4 ,in consequence of this experience1 whenever the jester was afterwards asked whether he had seen his 'mamma's' dolls recently1 he put one hand to his mouth and the other far down his back and whispered1 ',don't speak to me about dolls4'#dgj ,such were the pleasantries that relieved the stern warfare against eikons4 ,illustration3 ,,plate ,,lxxviii4 ,,gastria 7,,sanjakar1 ,,mesjedi74 ,,east ,,end4 ,illustration3 ,,gastria 7,,sanjakar1 ,,mesjedi74 ,,the ,,entrance4 ,to face page #bfh4 ,on the occasion of the breach between ,theodora and her son ,michael ,,iii41 on account of the murder of her friend and counsellor ,theoctistos at ,michael's order1 she and her four daughters1 ,thekla1 ,anastasia1 ,anna1 and ,pulcheria1 were confined in the ,gastria1 and there1 with the exception of ,anna1 they were eventually buried4#dga ,at the ,gastria were shown also the tombs of ,theoctista1 her son ,petronas1 ,irene the daughter of ,bardas1 and a small chest containing the lower jaw of ,bardas#dgb himself4 ,it is this connection with the family of ,theophilus1 in life and in death1 that lends chief interest to the ,gastria4 ,architectural ,features 7,for ,plan see p4 #bfg47 ,although the building is now almost a complete ruin1 it still preserves some architectural interest4 ,on the exterior it is an octagonal structure1 with a large arch on each side rising to the cornice1 and thus presents a strong likeness to the ,byzantine building known as ,sheik ,suleiman ,mesjedi1 near the ,pantokrator 7p4 #be74 ,the northern1 southern1 and western arches are pierced by windows4 ,the entrance is in the western arch4 ,the interior presents the form of an equal-armed cross1 the arms being deep recesses covered with semicircular vaults4 ,the dome over the central area has fallen in4 ,the apse1 semicircular within and showing five sides on the exterior1 is attached to the eastern arm4 ,its three central sides are occupied by a triple-shafted window4 ,two shallow niches represent the usual apsidal chambers4 ,a similar niche is found also on both sides of the entrance and on the eastern side of the northern arm of the cross4 ,in the wall to the west of the southern arch is a small chamber4 ,the joint between the apse and the body of the building is straight1 with no bond in the masonry2 nor is the masonry of the two parts of the same character4 ,in the former it is in alternate courses of brick and stone1 while in the latter we find many brick courses and only an occasional stone band4 ,evidently the apse is a later addition4 ,in view of these facts1 the probable conclusion is that the building was originally not a church but a library1 and that it was transformed into a church at some subsequent period in its history to meet some special demand4 ,illustration3 ,,plate ,,lxxix4 ,,gastria 7,,sanjakar74 ,,from ,,the ,,west4 ,illustration3 ,,gastria 7,,sanjakar74 ,,the ,,interior4 ,to face page #bgj4 #dfd ,p4 #cjd4 #dfe ,banduri1 iii4 p4 #ed4 #dff ,leo ,gram4 p4 #bad4 #dfg ,zonaras1 iii4 p4 #ceh4 #dfh ,theoph4 ,cont4 pp4 #fbe1 #fbh1 #gij4 #dfi ,ibid4 p4 #ij4 #dgj ,theoph4 ,cont4 pp4 #ia-ib4 #dga ,ibid4 pp4 #agd1 #feh1 #hbc2 ,codinus1 p4 #bjh4 ,the ,anonymus 7,banduri1 iii4 p4 #eb7 and ,codinus 7,de aed4 p4 #ig7 say that ,theodora and her daughters were confined in the convent of ,euphrosyne at the ,libadia1 ,greek3 ta ,libadia4 ,their mistake is due to the fact that the convent at ,gastria and the convent at ,libadia were both connected with ladies named ,euphrosyne4 ,cf4 ,codinus1 p4 #bjg4 #dgb ,constant4 ,porphyr4 p4 #fdg4 ,,chapter ,,xxi ,,the ,,church ,,of ,s4 ,,mary ,,of ,,the ,,mongols ,the church of ,s4 ,mary of the ,mongols 7,greek3 tn ,mongolin1 tn ,mougoulin1 tou ,mouchliou1 ,mouchlitissa71 which stands on the heights above the quarter of ,phanar1 a short distance to the west of the ,greek ,communal ,school1 was founded in the thirteenth century by ,maria ,palaeologina1 a natural daughter of the ,emperor ,michael ,palaeologus 7#abfa-abhb74 ,as the church has been in ,greek hands ever since its foundation its identity cannot be disputed4 ,the epithet given to the ,theotokos in association with this sanctuary alludes to the fact that ,maria ,palaeologina married a ,khan of the ,mongols1#dgc and bore the title of ,despoina of the ,mongols 7,greek3 ,despoina tn ,mougoulin74#dgd ,the marriage was prompted by no romantic sentiment1 but formed part of the policy by which her father hoped to secure the goodwill of the world for the newly restored ,empire of ,constantinople4 ,while endeavouring to disarm the hostility of ,western ,europe by promoting the union of the ,latin and ,greek ,churches1 he sought to conciliate the people nearer his dominion by matrimonial alliances with their rulers4 ,it was in this way that he courted1 with greater or less success1 the friendship of ,servia1 ,bulgaria1 the ,duchy of ,thebes1 and the ,empire of ,trebizond4 ,and by the same method he tried to win the friendship of the formidable ,mongols settled in ,russia and ,persia4 ,accordingly he bestowed the hand of one natural daughter1 ,euphrosyne1 upon ,nogaya1#dge who had established a ,mongolian principality near the ,black ,sea1 while the hand of ,maria was intended for ,holagu1 famous in history as the destroyer in #abeh of the caliphate of ,baghdad4 ,maria left ,constantinople for her future home in #abfe with a great retinue1 conducted by ,theodosius de ,villehardouin1 abbot of the monastery of the ,pantokrator1 who was styled the ',prince1' because related to the princes of ,achaia and the ,peloponnesus4 ,a rich trousseau accompanied the bride-elect1 and a tent of silk for a chapel1 furnished with eikons of gold affixed to crosses1 and with costly vessels for the celebration of the ,holy ,sacrifice4 ,when the mission reached ,caesarea news came that ,holagu was dead1 but since reasons of state inspired the proposed marriage1 the bridal party continued its journey to the ,mongolian court1 and there in due time ,maria was wedded to ,abaga1 the son and successor of ,holagu1 after the bridegroom had received1 it is said1 ,christian baptism4#dgf ,illustration3 ,,fig4 #ic4--,s4 ,,mary ,,of ,,the ,,mongols4 ,,exterior4 7,from a ,photograph47 ,illustration3 ,,fig4 #id4--,s4 ,,mary ,,of ,,the ,,mongols4 ,,interior4 ,in #abha ,abaga was poisoned by his brother ,achmed1#dgg and ,maria deemed it prudent1 and doubtless welcome1 after an absence of sixteen years1 to return to ,constantinople4 ,she appears again in history during the reign of her brother ,andronicus ,,ii4 ,palaeologus1 when for the second time she was offered as a bride to the ,mongolian prince1 ,charbanda1 who then ruled in ,persia1#dgh the object of this new matrimonial alliance being to obtain the aid of the ,mongols against the ,turks1 who under ,othman had become a dangerous foe and were threatening ,nicaea4 ,with this purpose in view ,maria proceeded to that city1 both to encourage the defence of an important strategic position and to press forward the negotiations with ,charbanda4 ,the ,despoina of the ,mongols1 however1 did not comprehend the character of the enemy with whom she had to deal4 ,her contemptuous demeanour towards ,othman1 and her threats to bring the ,mongols against him1 only roused the spirit of the ,turkish chieftain1 and before the ,greeks could derive any advantage from the #cj1jjj ,mongolian troops sent to their aid1 ,othman stormed the fortress of ,tricocca1 an outpost of ,nicaea1 and made it the base of his subsequent operations4#dgi ,the church was built for the use of a convent which the ,despoina of the ,mongols1 like many other ladies in ,byzantine times1 erected as a haven of refuge for souls who had dedicated their lives to the service of ,god 7,greek3 limena psychn kata theon prosthemenn bioun74 ,she also endowed it with property in the immediate neighbourhood 7,greek3 peri tn topothesian tou ,phanari71 as well as with other lands both within and beyond the city1 and while ,maria lived the nuns had no reason for complaint4 ,but after her death the property of the ,house passed into the hands of ,isaac ,palaeologus ,asanes1 the husband of a certain ,theodora1 whom ,maria had treated as a daughter1 and to whom she bequeathed a share in the convent's revenues4 ,he1 as soon as ,theodora died1 appropriated the property for the benefit of his family1 with the result that the sisterhood fell into debt and was threatened with extinction4 ,in their distress the nuns appealed to ,andronicus ,,iii4 ,palaeologus for protection1 and by the decision of the patriarchal court1 to which the case was referred as the proper tribunal in such disputes1 the convent in #acea regained its rights4#dhj ,illustration3 ,,fig4 #ie4--,s4 ,,mary ,,of ,,the ,,mongols4 ,,the ,,dome4 ,as already intimated1 to this church belongs the interest of having always preserved its original character as a sanctuary of the ,greek ,orthodox ,communion4 ,this distinction it owes to the fact that the church was given to ,christoboulos1 the ,greek architect of the mosque of ,sultan ,mehemed1 as his private property1 to mark the conqueror's satisfaction with the builder's work4 ,the grant was confirmed by ,bajazet ,,ii4 in recognition of the services of the nephew of ,christoboulos in the construction of the mosque which bears that ,sultan's name4 ,twice1 indeed1 attempts were subsequently made to deprive the ,greek community of the church1 once under ,selim ,i4 and again under ,achmed ,,iii4 ,but1 like the law of the ,medes and ,persians1 a ,sultan's decree altereth not1 and by presenting the hatti sheriff of ,sultan ,mehemed the efforts to expropriate the building were frustrated4#dha ,among the ,turks the building is known as ,kan ,kilisse1 the church of ,blood1 and the adjoining street goes by the name ,sanjakdar ,youkousou1 the ascent of the standard-bearer1#dhb terms which refer to the desperate struggle between ,greeks and ,turks at this point on the morning of the capture of the city4#dhc ,architectural ,features ,although the building has always been in ,christian hands it has suffered alterations almost more drastic than any undergone by churches converted into mosques4 ,the interior has been stripped of its original decoration1 and is so blocked by eikons1 chandeliers1 and other ornaments as to render a proper examination of the church extremely difficult4 ,in plan the church is a domed quatrefoil building1 the only example of that type found in ,constantinople4 ,the central dome rests on a cross formed by four semi-domes1 which are further enlarged below the vaulting level by three large semicircular niches4 ,it is placed on a drum of eight concave compartments pierced by windows to the outside circular and crowned with a flat cornice4 ,externally the semi-domes and apse are five-sided4 ,from the interior face of the apse and on its northern wall projects a capital1 adorned with acanthus leaves1 which1 as it could never have stood free in this position1 probably formed part of an eikonostasis in stone4 ,the narthex is in three bays1 the central bay being covered by a barrel vault1 while the lateral bays have low drumless domes on pendentives4 ,the entrance is by a door in the central bay1 and from that bay the church is entered through a passage cut in the central niche of the western semi-dome1 and slightly wider than the niche4 ,the end bays open1 respectively1 into the northern and southern semi-domes by passages or aisles terminating in a diagonal arch4 ,the arches between these aisles and the western semi-dome are pierced1 and thus isolate the western dome piers4 ,on the south the church has been greatly altered2 for the entire southern semi-dome and the southern bay of the narthex have been removed and replaced by three aisles of two bays each4 ,these bays are equal in height1 and are covered by cross-groined vaults with strong transverse pointed arches supported on square piers1 the whole forming a large hall held up by two piers1 and showing the distinct influence of ,italian ,gothic work4 ,this part of the building is modern4 ,on the eastern wall is a large picture of the ,last ,judgment4 ,the plan of this church may be compared with that of ,s4 ,nicholas ,methana 7,fig4 #ig74 ,illustration3 ,,fig4 #if4 ,illustration3 ,,fig4 #ig4 ,s4 ,,nicholas ,,methana 7,lampakes74 #dgc ,pachym4 i4 pp4 #agd-ge4 #dgd ,ibid4 ii4 pp4 #fbj-cg4 #dge ,ibid4 i4 p4 #bca #dgf ,pachym4 ii4 pp4 #agd-ge4 #dgg ,muralt1 ,essai de chronographie byzantine1 vol4 ii4 ad annum4 #dgh ,pachym4 ii4 pp4 #fbj-ba4 #dgi ,ibid4 pp4 #fcg-ch4 #dhj ,miklosich et ,mller1 i4 pp4 #cab1 #cag4 #dha ,patr4 ,constantius1 pp4 #hd-hf4 ,the ,greek community retains also other churches founded before the ,turkish conquest1 but they are wholly modern buildings4 #dhb ,ibid4 pp4 #he-hf4 #dhc ,n4 ,barbaro1 p4 #hah4 ,,chapter ,,xxii ,,bogdan ,,serai ,in a vacant lot of ground on the eastern declivity of the hill above the quarter of ,balat1 and at a short distance to the east of a mass of rock known as ,kesm ,kaya1 stands a ,byzantine chapel to which the name ,bogdan ,serai clings4 ,although now degraded to the uses of a cow-house it retains considerable interest4 ,its name recalls the fact that the building once formed the private chapel attached to the residence of the envoys of the hospodars of ,moldavia 7in ,turkish ,bogdan7 at the ,sublime ,porte2 just as the style ,vlach ,serai given to the church of the ,virgin1 lower down the hill and nearer the ,golden ,horn1 is derived from the residence of the envoys of the ,wallachian hospodars with which that church was connected4 ,according to ,hypselantes1#dhd the ,moldavian residence was erected early in the sixteenth century by ,teutal ,longophetes1 the envoy who presented the submission of his country to ,suleiman the ,magnificent at ,buda in #aeaf1 when the ,sultan was on his way to the siege of ,vienna4 ,upon the return of ,suleiman to ,constantinople the hospodar of the principality came in person to the capital to pay tribute1 and to be invested in his office with the insignia of two horse-tails1 a fur coat1 and the head-dress of a commander in the corps of janissaries4 ,gerlach#dhe gives another account of the matter4 ,according to his informants1 the mansion belonged originally to a certain ,raoul1 who had emigrated to ,russia in #aeah1 and after his death was purchased by ,michael ,cantacuzene as a home for the ,moldavian envoys4 ,it must have been an attractive house1 surrounded by large grounds1 and enjoying a superb view of the city and the ,golden ,horn4 ,it was burnt#dhf in the fire which devastated the district on the #beth ,june #aghd1 and since that catastrophe its grounds have been converted into market gardens or left waste1 and its chapel has been a desecrated pile4 ,but its proud name still haunts the site1 calling to mind political relations which have long ceased to exist4 ,the chapel stood at the north-western end of the residence and formed an integral part of the structure4 ,for high up in the exterior side of the south-eastern wall are the mortises which held the beams supporting the floor of the upper story of the residence2 while lower down in the same wall is a doorway which communicated with the residence on that level4 ,some of the substructures of the residence are still visible4 ,it is not impossible that the house1 or at least some portion of it1 was an old ,byzantine mansion4 ,mordtmann1#dhg indeed1 suggests that it was the palace to which ,phrantzes refers under the name ,trullus 7,greek3 en t ,troul74#dhh ,but that palace stood to the north of the church of the ,pammakaristos 7,fetiyeh ,jamissi71 and had disappeared when ,phrantzes wrote4 ,gerlach1#dhi moreover1 following the opinion of his ,greek friends1 distinguishes between the ,trullus and the ,moldavian residence1 and places the site of the former near the ,byzantine chapel now converted into ,achmed ,pasha ,mesjedi1 to the south of the church of the ,pammakaristos4#dij ,illustration3 ,,plate ,,lxxx4 ,,bogdan ,,serai4 ,,apse ,,of ,,the ,,upper ,,chapel4 ,illustration3 ,,bogdan ,,serai4 ,a ,,pendentive ,,of ,,the ,,dome4 ,illustration3 ,,bogdan ,,serai4 ,,the ,,chapel ,,from ,,the ,,north-,,west4 ,to face page #bhj4 ,opinions differ in regard to the dedication of the chapel4 ,paspates1#dia following the view current among the gardeners who cultivated the market-gardens in the neighbourhood1 maintained that the chapel was dedicated to ,s4 ,nicholas4 ,hence the late ,canon ,curtis1 of the ,crimean ,memorial ,church in ,constantinople1 believed that this was the church of ,,ss4 ,nicholas and ,augustine of ,canterbury1 founded by a ,saxon noble who fled to ,constantinople after the ,norman conquest of ,england4 ,what is certain is that in the seventeenth century the chapel was dedicated to the ,theotokos4 ,du ,cange mentions it under the name1 ,ecclesia ,deiparae ,serai ,bogdaniae4#dib ,mordtmann has proved#dic that ,bogdan ,serai marks the site of the celebrated monastery and church of ,s4 ,john the ,baptist in ,petra1--the title 'in ,petra' being derived from the neighbouring mass of rock1 which the ,byzantines knew as ,greek3 ,palaia ,petra1 and which the ,turks style ,kesm ,kaya1 the ,chopped ,rock4 ,according to a member of the monastery1 who flourished in the eleventh century1 the ,house was founded by a monk named ,bara in the reign of ,anastasius ,i4 7#dia-eah7 near an old half-ruined chapel dedicated to ,s4 ,john the ,baptist1 in what was then a lonely quarter of the city1 between the ,gate of ,s4 ,romanus 7,top ,kapoussi7 and ,blachernae4 ,the monastery becomes conspicuous in the narratives of the ,russian pilgrims to the shrines of the city1 under the designation1 the monastery of ,s4 ,john1 ,rich-in-,god1 because the institution was unendowed and dependent upon the freewill offerings of the faithful1 which 'by the grace of ,god and the care and prayers of ,john' were generous4 ,thrice a year1 on the festivals of the ,baptist and at ,easter1 the public was admitted to the monastery and hospitably entertained4 ,it seems to have suffered during the ,latin occupation1 for it is described in the reign of ,andronicus ,,ii4 as standing abandoned in a vineyard4 ,but it was restored1 and attracted visitors by the beauty of its mosaics and the sanctity of its relics4#did ,in #acha a patriarchal decision conferred upon the abbot the titles of archimandrite and protosyngellos1 and gave him the third place in the order of precedence among the chiefs of the monasteries of the city1 'that thus the outward honours of the house might reflect the virtue and piety which adorned its inner life4'#die ,owing to the proximity of the house to the landward walls1 it was one of the first shrines#dif to become the spoil of the ,turks on the #bith of ,may #adec1 and was soon used as a quarry to furnish materials for new buildings after the conquest4 ,gyllius visited the ruins1 and mistaking the fabric for the church of ,s4 ,john the ,baptist at the ,hebdomon1 gave rise to the serious error of placing that suburb in this part of the city instead of at ,makrikeui beside the ,sea of ,marmora4#dig ,gerlach#dih describes the church as closed because near a mosque4 ,portions1 however1 of the monastic buildings and of the strong wall around them still survived1 and eikons of celebrated saints still decorated the porch4 ,on an eikon of ,christ the title of the monastery1 ,petra1 was inscribed4 ,some of the old cells were then occupied by nuns1 who were maintained by the charitable gifts of wealthy members of the ,greek community4 ,architectural ,features ,the building is in two stories1 and may be described as a chapel over a crypt4 ,it points north-east1 a peculiar orientation probably due to the adaptation of the chapel to the position of the residence with which it was associated4 ,the masonry is very fine and regular1 built in courses of squared stone alternating with four courses of brick1 all laid in thick mortar joints1 and pierced with numerous putlog holes running through the walls4 ,it presents a striking likeness to the masonry in the fortifications of the city4 ,the lower story is an oblong hall covered with a barrel vault1 and terminates in an arch and apse4 ,in the west side of one of the jambs of the arch is a small niche4 ,the vault for one-third of its height is formed by three courses of stone laid horizontally and cut to the circle2 above this it is of brick with radiating joints4 ,here cows are kept4 ,the upper story is m4 #c4ge above the present level of the ground4 ,it is a single hall m4 #h4hj in length and m4 #c4gj wide1 terminating in a bema and a circular apse in brick4 ,over the bema is a barrel vault4 ,a dome1 without drum or windows1 resting on two shallow flat arches in the lateral walls and two deep transverse arches strengthened by a second order of arches1 covers the building4 ,in the wall towards the north-west there is a window between two low niches2 and a similar arrangement is seen in the opposite wall1 except that the door which communicated with the residence occupies the place of the window4 ,the apsidal chambers1 usual in a church1 are here represented by two niches in the bema4 ,externally the apse shows five sides1 and is decorated by a flat niche pierced by a single light in the central side1 and a blind concave niche1 with head of patterned brickwork1 in the two adjacent sides4 ,the dome1 apse1 vaults1 and transverse arches are in brick1 laid in true radiating courses4 ,the absence of windows in the dome is an unusual feature1 which occurs also in the angle domes of ,s4 ,theodosia4 ,the pendentives are in horizontal courses1 corbelled out to the centre1 and at each angle of the pendentives is embedded an earthenware jar1 either for the sake of lightness1 or to improve1 as some think1 the acoustics of the building4 ,this story of the chapel is used as a hayloft4 ,a careful survey of the building shows clearly that the domical character of the chapel is not original1 and that the structure when first erected was a simple hall covered with a wooden roof4 ,both the shallow wall arches and the deep transverse arches under the dome are insertions in the walls of an older fabric4 ,they are not supported on pilasters1 as is the practice elsewhere1 but rest on corbels1 and1 in order to accommodate these corbels1 the lateral niches1 originally of the same height as the central window1 have been reduced in height4 ,a fragment of the original arch still remains1 cut into by the wall arch of the dome4 ,the flat secondary arches crossing the chapel at each end are similarly supported on corbels4 ,this view is confirmed by the examination of the plaster left upon the walls4 ,that plaster has four distinct coats or layers1 upon all of which eikons in tempera are painted4#dii ,the innermost coat is laid between the transverse dome arches and the walls against which they are built4 ,those arches1 therefore1 could not have formed parts of the building when the first coat of plaster was laid1 but must be later additions4 ,in keeping with this fact1 the second coat of painted plaster is found laid both on the arches and on those portions of the old work which the arches did not cover4 ,the secondary arches under the transverse arches at each end belong to a yet later period1 for where they have separated from the arches above them1 decorated plaster1 which at one time formed part of the general ornamentation of the building1 is exposed to view4 ,at this stage in the history of the chapel the third coat of plaster was spread over the walls1 thus giving three coats on the oldest parts where unaltered--two coats on the first alterations1 and one coat on the second alterations4 ,the fourth coat of plaster is still later1 marking some less serious repair of the chapel4 ,the voussoirs of the lateral dome arches should be noticed4 ,they do not radiate to the centre1 but are laid flatter and radiate to a point above the centre4 ,this form of construction1 occurring frequently in ,byzantine arches1 is regarded by some authorities as a method of forming an arch without centering4 ,but in the case of the lateral wall arches before us it occurs where centering could never have been required2 while the apse arch1 where centering would have had structural value1 is formed with true radiating voussoirs4 ,the failure of the voussoirs to radiate to the centre therefore seems to be simply the result of using untapered voussoirs in which the arch form must be obtained by wedge-shaped joints4 ,for if these joints are carelessly formed1 the crown may very well be reached before the requisite amount of radiation has been obtained4 ,on the other hand1 if full centering had been used1 we should expect to find marks of the centering boards on the mortar in the enormously thick joints4 ,but neither here nor in any instance where the jointing was visible have such marks been found4 ,still1 when we consider the large amount of mortar employed in ,byzantine work1 it seems impossible that greater distortions than we actually meet with in ,byzantine edifices would not have occurred1 even during the building1 had no support whatever been given4 ,it seems1 therefore1 safe to assume the use of at any rate light scaffolding and centering to all ,byzantine arches4#ejj ,illustration3 ,,fig4 #ih4 #dhd ,greek3 ,meta tn halsin1 p4 #fa2 cf4 ,paspates1 p4 #cfa4 #dhe ,tagebuch1 p4 #def4 #dhf ,hypselantes1 ut supra1 p4 #fch4 #dhg ,archaeological ,supplement to the ,proceedings of the ,greek ,syllogos of ,c4,p4 vol4 xviii4 p4 #h4 #dhh ,phrantzes1 p4 #cjg4 #dhi ,tagebuch1 p4 #def4 #dij ,see ,chap4 ,,xii4 #dia ,p4 #cfj4 #dib ,constant4 ,christ4 iv4 p4 #afb4 #dic ,see ,archaeological ,supplement to the ,proceedings of the ,greek ,syllogos of ,c4,p4 vol4 xviii4 p4 #h4 #did ,ruy ,gonzalez de ,clavijo in #adjc1 ,vida de ,gran ,tamorlan y itinerario1 p4 #ej 7,madrid1 #aghb73 ',san ,juan del a ,piedra est cerca del palacio del ,emperador' 7i4e4 near the palace of ,blachernae74 #die ,miklosich et ,mller1 i4 ii4 pp4 #ba-bc4 #dif ,ducas1 p4 #bhh4 #dig ,de top4 ,c4,p4 iv4 c4 #d4 #dih ,tagebuch1 p4 #dee4 #dii ,when ,paspates 7p4 #cfj7 visited the chapel1 the eikons were more distinctly visible than at present1 although they bore marks of deliberate injury by ,moslem iconoclasts4 #ejj ,see p4 #bc4 ,,chapter ,,xxiii ,,the ,,church ,,of ,s4 ,,saviour ,,in ,,the ,,chora1 ,,kahri ,,jamissi ,according to the historian ,nicephorus ,gregoras1#eja who was long and closely connected with the church1 the ,chora was founded by ,justinian the ,great1 and then presented the form of a basilica4 ,but there is reason to believe that the edifice erected by that emperor was the reconstruction of an older shrine4 ,the fame of a restorer often eclipsed the memory of the founder of a sanctuary1 especially when the restorer was the superior in rank and reared a larger and more beautiful building4 ,according to ,symeon ,metaphrastes1#ejb the site of the ,chora was first consecrated by the interment of ,s4 ,babylas and his eighty-four disciples1 who were martyred in #bih during the reign of ,maximianus4 ,the scene of their execution1 indeed1 was ,nicomedia2 but friendly hands obtained possession of the bodies of the champions of the faith1 and taking them to ,constantinople1 buried them outside the walls of the city1 towards the north1 in the place subsequently occupied by the monastery of the ,chora4 ,as will appear1 the relics of ,s4 ,babylas and his disciples formed part of the treasures of the ,chora in the ninth century4#ejc ,illustration3 ,,plate ,,lxxxi4 ,s4 ,,saviour ,,in ,,the ,,chora1 ,,from ,,the ,,west4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora1 ,,from ,,the ,,south-,,east4 ,to face page #bhh4 ,the settlement of the approximate date of the foundation of the church depends1 ultimately1 upon the meaning to be attached to the term ,chora 7,greek3 ,chra74 ,there are some writers who incline to the idea that in this connection that term was employed from the first in a mystical sense1 to denote the attribute of ,christ as the sphere of man's highest life2 and there can be no doubt that the word was used in that sense in the fourteenth century4 ,that is unquestionably its meaning in the legends inscribed on mosaics which adorn the walls of the building4 ,greek3 ,,ic ,,xc ,m,r ,,thy ,h ,,ch,,ra ,h ,,ch,,ra ,,tou ,t,n ,z,,nt,n ,,ach,r,,tou ,and it is in that sense that the term is employed by ,cantacuzene#ejd and ,phrantzes4#eje ,on this view the description of the church as 'in the ,chora' throws no light on the date of the church's foundation4 ,other authorities1#ejf however1 maintain that the term ,chora was originally associated with the church in the obvious topographical signification of the word1 to denote territory outside the city limits1 and that its religious reference came into vogue only when changes in the boundaries of ,constantinople made the literal meaning of ,chora no longer applicable4 ,according to this opinion the church was1 therefore1 founded while its site lay beyond the city walls1 and consequently before the year #dac1 after which the site was included within the capital by the erection of the ,theodosian wall4 ,hence1 the phrase 'in the ,chora' had the same signification as the style 'in the fields' which is attached to the church of ,s4 ,martin in ,london1 or the style fuore le mura which belongs to the basilica of ,s4 ,paul and other churches beyond the walls of ,rome to this day4 ,it is certainly in this topographical sense that the term ,chora is understood by the ,byzantine writers in whose works it first appears4 ,that is how the term is used by ,simeon ,metaphrastes#ejg in his description of the site of the monastery in his day1 and that is how the ,anonymus#ejh of the eleventh century and his follower ,codinus#eji understand the term2 for they take special care to explain how a building which lay within the city in their day could be styled ',chora'2 because1 say they1 it once stood without the walls1 on territory1 therefore1 called by the ,byzantines1 ,greek3 chrion1 the country4 ,the literal meaning of a word is earlier than its artificial and poetical signification4 ,and one can easily conceive how1 when the style ,chora was no longer literally correct1 men abandoned the sober ground of common-sense and history to invent recondite meanings inspired by imagination and sentiment4 ,this conclusion is confirmed by the history of the ,chora given in the ,life of ,s4 ,theodore1#eaj an abbot of the monastery1 which ,mr4 ,gedeon discovered in the library of the ,pantokrator on ,mount ,athos4 ,according to that biography1 ,s4 ,theodore was a relative of ,theodora1 the wife of ,justinian the ,great1 and after serving with distinction in the ,persian wars1 and winning greater renown as a monk near ,antioch1 came to ,constantinople about the year #ecj1 at the invitation of his imperial relatives1 to assist in the settlement of the theological controversies of the day4 ,once there he was induced to make the capital his permanent abode by permission to build a monastery1 where he could follow his high calling as fully as in his ,syrian retreat4 ,for that purpose he selected a site on the property of a certain ,charisius1 situated1 as the ,chora is1 on the slope of a hill1 descending on the one hand steeply to the sea1 and rising1 on the other1 to the highest point in the line of the ,theodosian walls1 the point marked by the gate named after ,charisius 7now ,edirn ,kapoussi74 ,the site was already hallowed1 says the biographer of ,s4 ,theodore1 by the presence of a humble monastic retreat and a small chapel4 ,the edifice erected by ,s4 ,theodore was1 however1 soon overthrown by the severe earthquake which shook the city in #eeh1 and all the hopes of the good man would also have been dashed to the ground had the disaster not called forth the sympathy and aid of ,justinian4 ,in the room of the ruined buildings the emperor erected a magnificent establishment1 with chapels dedicated to the ,theotokos1 the ,archangel ,michael1 ,s4 ,anthimus of ,nicomedia1 and the ,forty ,martyrs of ,sebaste4 ,there also stood a hostel for the special accommodation of ,syrian monks on a visit to ,constantinople1 and a hospital for diseases of the eye4#eaa ,in this account of the early history of the ,chora1 there may be1 as ,schmitt#eab thinks1 many inaccuracies4 ,it was easy1 even for a member of the ,house who aspired to authorship1 to confuse persons1 to err in the matter of dates1 and to overlook the changes which the buildings with which he was familiar had undergone before his day4 ,but surely the biographer of ,s4 ,theodore can be trusted where his statements are supported by more reliable authorities1 and we may therefore accept his testimony on the following points3 that the original church of the ,chora was earlier than the reign of ,justinian2 that under ,justinian the old sanctuary was replaced by a new and statelier building2 that the ,chora maintained intimate relations with monasteries in ,syria2 and that with it was associated a church dedicated to the ,archangel ,michael4 ,,note ,the association of a church dedicated to ,s4 ,michael with the ,chora1 and the fact that the ,chora stood on the property of ,charisius1 raise an interesting question4 ,for among the subscriptions to the letter of the monks to ,pope ,hormisdas in #eah1 and the subscriptions to the ,acts of the ,synod held in ,constantinople in #ecf1 stands the name of the abbot of the monastery of the ,archangel ,michael of ,charisius4#eac ,was that monastery identical with the ,chora8 ,if it was1 that fact would be additional evidence that the ,chora was earlier than ,justinian's time4 ,on the other hand1 it is always dangerous to identify buildings because they were situated in the same quarter of the city and dedicated to the same saint4 ,the absence of all reference to the monastery of ,s4 ,michael of ,charisius after the reign of ,justinian1 and yet the association of a church of ,s4 ,michael with the ,chora after his reign1 may be due either to the ruin of that monastery in the earthquake of #eeh1 or to the subsequent union of the two establishments on account of their proximity4 ,the next important event in the history of the ,house was the confinement there of the celebrated general ,priscus1 ,count of the ,excubiti1 at the command of the ,emperor ,heraclius 7#faj-fda74ead ,priscus had taken a leading part in the revolution which overthrew his father-in-law1 the infamous ,phocas1 and placed ,heraclius upon the throne4 ,but notwithstanding that service1 the attitude of the general towards the new rgime was not considered satisfactory1 and with the cruel taunt1 ',wretch1 thou didst not make a good son-in-law2 how canst thou be a true friend8' ,heraclius relegated him to political nonentity by forcing him to become a monk at the ,chora4 ,the new brother did not live long1 but his wealth furnished the fraternity with the means for the erection of a large and beautiful church4 ,schmitt1 indeed1 thinks that the biographer of ,s4 ,theodore1 already cited1 failed to recognise the identity of the person concerning whom he wrote1 and assigned events which occurred in the time of ,heraclius to the reign of ,justinian4 ,according to ,schmitt1 ,s4 ,theodore is really ,priscus under his name in religion1 and to him1 and not to ,justinian1 was the ,chora indebted for its first great era of prosperity4 ,one thing is certain1 the splendid church with which the biographer of ,s4 ,theodore was acquainted1 and the wealth and beauty of which he extols in extravagant terms1 was not the church erected by ,justinian at the ,chora4 ,the latter was a basilica2#eae while the church alluded to in the biography of ,s4 ,theodore was a domical building4#eaf ,probably the fame of ,justinian veiled not only what others had done for the ,chora before him1 but also the services performed by others after his day4 ,illustration3 ,,plate ,,lxxxii4 ,s4 ,,saviour ,,in ,,the ,,chora1 ,,from ,,the ,,north-,,east4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,the ,,north ,,side4 ,to face page #bib4 ,in #gab the ,patriarch ,kyros was confined in the ,chora by the ,emperor ,philippicus for adherence to the tenets of the ,sixth ,general ,council 7#fhj71eag which condemned the attribution of a single will to the person of ,christ4 ,the fidelity of the patriarch to orthodox opinion was commemorated annually in the services held at the ,chora1 as well as in ,s4 ,sophia1 on the #hth of ,january4 ,the monastery was also honoured by the burial there1 in #gdj1 of the ,patriarch ,germanus 7#gad-gcj71 famous for his piety1 his learning1 and above all for his opposition to ,leo the ,isaurian1 when that emperor commenced the crusade against eikons4 ,the tomb of the patriarch was reputed to perform wonderful cures4#eah ,another notable personage buried at the ,chora was the patrician ,bactagius1 an associate of ,artavasdos in the effort1 made in #gdc1 to drive ,constantine ,copronymus from the throne4 ,upon the failure of that attempt ,bactagius was captured1 beheaded in the ,kynegion1 and while his head was displayed to public view in the ,milion for three days1 his mutilated body was taken to the ,chora4 ,this might have seemed sufficient revenge4 ,but the rebel's offence so rankled in the emperor's memory1 that even after the lapse of some thirty years his resentment was not allayed4 ,the widow of ,bactagius was then forced to proceed to the ,chora to disinter the bones of her husband from their resting-place in holy earth1 and carry them in her cloak to the dreary burial-ground of ,pelagion1 where the corpses of persons who committed suicide were thrown4#eai ,like similar institutions the ,chora suffered severely during the iconoclastic period4 ,because of its connection with the ,patriarch ,germanus it became the special object of the hatred of ,constantine ,copronymus for monks and was almost ruined4 ,what he left of it was turned into a secular residence1 and devoted to the confinement of ,artavasdos and his family4 ,there also that rebel1 and his nine children and his wife1 ,constantine's sister1 were eventually buried4#ebj ,with the triumph of the iconodules1 in #hdb1 under ,michael ,,iii4 and his mother the ,empress ,theodora1 happier days dawned upon the ,chora4 ,it was then fortunate in the appointment of ,michael ,syncellus as its abbot1 and under his rule it rapidly recovered from poverty and desolation4 ,the new abbot was a ,syrian monk distinguished for his ability1 his sanctity1 and his devotion to eikons4 ,he came to ,constantinople in #had1 to remonstrate against the religious policy of ,leo the ,armenian1 and1 according to the custom of monks from ,palestine on a visit to the capital1 lodged at the ,chora4 ,but so far from succeeding in the object of his visit1 ,michael was imprisoned and then banished to one of the monasteries on ,mount ,olympus in ,bithynia4 ,accordingly1 when the cause for which he suffered proved victorious1 no honour seemed too great to bestow upon the martyr4 ,it was even proposed to create him patriarch1 but he declined the office1 and supported the appointment of his friend ,methodius to that position4 ,methodius1 in return1 made ,michael his syncellus and abbot of the ,chora4#eba ,under these circumstances it is not surprising that funds were secured for the restoration of the monastery1 and that the brotherhood soon gained great influence in the religious circles of the capital4 ,there is1 however1 no mention now of the church of the ,archangel ,michael or of the church dedicated to the ,theotokos4 ,possibly the death of the abbot in #hdf and lack of money prevented the reconstruction of those sanctuaries4 ,the only churches attached to the ,chora noticed in the biography of ,michael ,syncellus are the church of ,s4 ,anthimus1 containing the relics of ,s4 ,babylas and his eighty-four disciples1 the dependent chapel of ,s4 ,ignatius1 and the church of the ,forty ,martyrs4#ebb ,let it also be noted that there is yet no mention of a church specially consecrated to the ,saviour4 ,after its restoration in the #ith century the ,chora does not appear again in history until the reign of ,alexius ,i4 ,comnenus 7#ajha-aaah71 when1 owing to its great age1 it was found in a state of almost complete ruin4#ebc ,if for no other reason1 the proximity of the church to the palace or ,blachernae1 which had become the favourite residence of the court1 brought the dilapidated pile into notice1 and its restoration was undertaken by the emperor's mother-in-law1 ,maria1 the beautiful and talented granddaughter of ,samuel1 the famous king of ,bulgaria1 and niece of ,aecatherina1 the consort of ,isaac ,i4 ,comnenus4 ,maria had married ,andronicus ,ducas1 a son of ,michael ,,vii41 and the marriage of her daughter ,irene ,ducaena to ,alexius was designed to unite the rival pretensions of the families of the ,comneni and the ,ducas to the throne4 ,it had been strenuously opposed by ,anna ,dalassena1 the mother of ,alexius1 and its accomplishment in #ajgg1 notwithstanding such formidable opposition1 is no slight proof of the diplomatic skill and determination of the mother of the bride4 ,nor can it be doubted that ,irene's mother acted a considerable part in persuading ,alexius1 when he mounted the throne1 not to repudiate his young wife1 as he was tempted to do in favour of a fairer face4 ,perhaps the restoration of the ,chora was a token of gratitude for the triumph of her maternal devotion4 ,the church was rebuilt on the plan which it presents to-day1 for in the account of the repairs made in the fourteenth century it is distinctly stated that they concerned chiefly the outer portion of the edifice4#ebd ,to ,alexius' mother-in-law1 therefore1 may be assigned the central part of the structure1 a cruciform hall2 the dome1 so far as it is not ,turkish1 the beautiful marble incrustation upon the walls1 the mosaic eikons of the ,saviour and of the ,theotokos on the piers of the eastern dome-arch1 and the exquisite marble carving above the latter eikon--all eloquent in praise of the taste and munificence that characterised the eleventh century in ,constantinople4 ,probably the church was then dedicated to the ,saviour1 like the three other ,comnenian churches in the city1 the ,pantepoptes1 the ,pantokrator1 and ,s4 ,thekla4 ,the mother-in-law of ,alexius ,i4 was1 however1 not alone in her interest in the ,chora4 ,her devotion to the monastery was shared also by her grandson the sebastocrator ,isaac4 ,tall1 handsome1 brave1 but ambitious and wayward1 ,isaac was gifted with the artistic temperament1 as his splendid manuscript of the first eight books of the ,old ,testament1 embellished with miniatures by his own hand1 makes clear4#ebe ,if the inscription on the mosaic representing the ,deesis found in the inner narthex really refers to him1 it proves that his influence was felt in the decoration of the building4#ebf ,he certainly erected a magnificent mausoleum for himself in the church4 ,later in his life1 indeed1 he became interested in the restoration of the monastery of ,theotokos ,kosmosoteira at ,viros1 and ordered that mausoleum to be dismantled1 and the marbles1 bronze railing1 and portraits of his parents which adorned it to be transported to ,viros2 but he still allowed his own portrait 'made in the days of his youthful vanity' to remain in the ,chora4#ebg ,,note ,uspenski has identified ,viros with ,ferejik1 a village situated #cj kilometres from ,dedeagatch1 and #bj-be kilometres from ,enos1 'aux embouchures dsertes et marcageuses de la ,maritza4' ,the church is now the mosque of the village4 ,it has five domes and three apses4 ,the central apse is pierced by a modern door4 ,the exonarthex has disappeared and the old principal entrance is walled up4 ,the plan of the church is almost identical with the plan of the ,chora4 ,while the architectural details are poor and indicate haste1 the dimensions of the building imply considerable expense and the wealth of the restorer4 ,there are traces of painting on the walls of the interior1 especially in the domes 7the ,virgin7 and in the two lateral apses4 ,an epitaph of seven lines in the middle of the mosque contains the title 'despotes4' ,according to ,uspenski1 the sebastocrator died soon after #aahb1 the year during which he was engaged on the ,typicon of the monastery at ,viros4 ,the monastery was visited by the ,emperor ,andronicus ,comnenus in #aahe1 by ,isaac ,angelus in #aaie1 and by ,villehardouin in #abje4 ,early in the fourteenth century it was converted into a fortress1 and the country round it was ravaged in #acbb by the ,bulgarians4 ,it was attacked in vain by ,john ,cantucuzene1 but was captured in #acee by ,john ,,vi4 ,palaeologus4 ,illustration3 ,,plate ,,lxxxiii4 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,the ,,inner ,,narthex1 ,,looking ,,south4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,the ,,inner ,,narthex1 ,,looking ,,south4 ,to face page #bif4 ,another name associated with the ,chora at this period is that of the ,patriarch ,cosmas1 who was commemorated annually in the church on the #bnd of ,january4 ,he had occupied the patriarchal seat in days troubled by the intrigues and conflicts which drove first ,michael ,,vii4 ,ducas1 and then ,nicephorus ,botoniates from the throne1 and invested ,alexius ,comnenus with the purple4 ,they were not days most suitable to a man who1 though highly esteemed for his virtues1 was without education or experience in public affairs1 and nearly ninety years old4 ,still1 to his honour be it said1 it was at his earnest request that ,botoniates finally agreed to forego a bloody contest with the ,comneni1 and to withdraw quietly to the monastery of the ,peribleptos4 ,moreover1 when it seemed uncertain whether the victorious ,alexius would remain faithful to ,irene ,ducaena and raise her to the throne1 ,cosmas1 notwithstanding all the efforts of ,anna ,dalassena 7who was ill-disposed towards ,irene7 to persuade him to lay down his office1 firmly refused to resign until he had placed the imperial crown upon the emperor's lawful wife4 ,soon after that event1 on the #gth of ,may #ajha1 the festival of ,s4 ,john the ,evangelist1 ,cosmas1 having celebrated service in the church dedicated to that apostle at the ,hebdomon 7,makrikeui71 turned to his deacon1 saying1 ',take my ,psalter and come with me2 we have nothing more to do here1' and retired to the monastery of ,kallou4 ,his strength for battle was spent4 ,after its restoration under the ,comneni1 the ,chora again disappears from view until the reign of ,michael ,palaeologus 7#abfa-abhb74 ,in the interval the fortunes of the ,empire had suffered serious reverses1 what with domestic strifes and foreign wars4 ,bulgaria had reasserted her independence and established the capital of a new kingdom at ,tirnovo1 while ,constantinople itself had been captured by the forces of the ,fourth ,crusade and made the seat of a ,latin kingdom4 ,consequently1 it is not surprising to find that the ,chora1 like other churches of the ravaged city1 was in a deplorable condition at the close of those calamitous days4 ,nothing seemed to have been done for the repair of the church immediately upon the recovery of the capital in #abfa4 ,the ruin which the ,latin occupants of ,constantinople left behind them was too great to be removed at once4 ,the first reference to the ,chora at this period occurs some fourteen years after the restoration of the ,byzantine ,empire1 when the monastery1 owing to its proximity to the palace of ,blachernae1 was assigned to the ,patriarch ,veccus as the house in which to lodge on the occasion of his audiences with ,michael ,palaeologus1 on ,tuesdays1 to present petitions for the exercise of imperial generosity or justice4 ,but the decay into which the establishment had fallen could not be long ignored1 and a wealthy1 talented1 and influential citizen who resided in the neighbourhood1 ,theodore ,metochites1#ebh decided to restore the edifice as a monument of the artistic revival of his own day4 ,theodore ,metochites was one of the most remarkable men of his day4 ,his tall1 large1 well-proportioned figure1 his bright countenance1 commanded attention wherever he appeared4 ,he was1 moreover1 a great student of ancient ,greek literature and of the literature of later times1 and although never a master of style1 became an author and attempted verse4 ,he was much interested in astronomy1 and one of his pupils1 the historian ,nicephorus ,gregoras1 recognised the true length of the year and proposed the reform of the calendar centuries before ,pope ,gregory4 ,theodore's memory was so retentive that he could converse on any topic with which he was familiar1 as if reading from a book1 and there was scarcely a subject on which he was not able to speak with the authority of an expert4 ,he seemed a living library1 'walking encyclopaedia4' ,in fact1 he belonged to the class of brilliant ,greek scholars who might have regenerated the ,east had not the unfortunate political situation of their country driven them to ,italy to herald and promote the ,renaissance in ,western ,europe4 ,theodore ,metochites was1 moreover1 a politician4 ,he took an active part in the administration of affairs during the reign of ,andronicus ,,ii41 holding the office of ,grand ,logothetes of the ,treasury2 and such was his devotion to politics1 that when acting as a statesman it might be forgotten that he was a scholar4 ,the unhappy strife between ,andronicus ,,ii4 and ,andronicus ,,iii4 caused ,theodore ,metochites the profoundest anxiety1 and it was not his fault if the feud between the grandfather and the grandson refused to be healed4 ,his efforts to bring that disgraceful and disastrous quarrel to an end involved great self-sacrifice and wrecked his career4 ,for the counsels he addressed to ,andronicus ,,iii4 gave mortal offence1 and when the young emperor entered the capital and took up his quarters in the palace of the ,porphyrogenitus 7,tekfour ,serai71 his troops sacked and demolished ,theodore's mansion in that vicinity4 ,the beautiful marbles which adorned the residence were sent as an imperial present to a ,scythian prince1 while the fallen statesman was banished to ,didymotica for two years4 ,upon his return from exile ,theodore found a shelter in the monastery which he had restored in his prosperous days4 ,but there also1 for some two years longer1 the cup of sorrow was pressed to his lips4 ,a malady from which he suffered caused him excruciating pain2 his sons were implicated in a political plot and thrown into prison2 ,andronicus ,,ii41 between whom and himself all communication had been forbidden1 died2 and so the worn-out man assumed the habit of a monk1 and lay down to die on the #acth of ,march #acca1 a month after his imperial friend4 ,his one consolation was the beautiful church he bequeathed to succeeding generations for the worship of ,god4 ,to the renovation of the church ,theodore ,metochites devoted himself heart and soul1 and spent money for that object on a lavish scale4 ,as the central portion of the building was comparatively well preserved1#ebi it was to the outer part of the edifice that he directed his chief attention--the two narthexes and the parecclesion4 ,these were to a large extent rebuilt and decorated with the marbles and mosaics1 which after six centuries1 and notwithstanding the neglect and injuries they have suffered during the greater part of that period1 still excite the admiration they awakened when fresh from the artist's hand4 ,the connection of ,theodore ,metochites with this splendid work is immortalised not only by historians of his day and by himself1#ecj but also by the mosaic which surmounts the main entrance to the church from the inner narthex4 ,there the restorer of the building1 arrayed in his official robes1 and on bended knees1 holds a model of the church in his hands and offers it to the ,saviour seated on a throne4 ,beside the kneeling figure is the legend1 ,greek3 ho kttr logothets tou gennikou ,theodros ho ,metochits1 ',the builder1 ,logothetes of the ,treasury1 ,theodore the ,metochites' 7,plate ,,xci474 ,the restoration of the church must have been completed before the year #acba1 for in that year ,nicephorus ,gregoras#eca describes it as then recently 7,greek3 arti7 renovated1 and in use for the celebration of divine service4 ,how long before #acba the work of repair precisely commenced cannot be determined1 but it was in process as early as #acjc1 for that date is inscribed in ,arabic numerals on the mosaic depicting the miracle at ,cana1 which stands to the right of the figure of ,christ over the door leading from the outer to the inner narthex4 ,but to have reached the stage at which mosaics could be applied the work of restoration must have been commenced sometime before #acjc4 ,illustration3 ,,plate ,,lxxxiv4 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,capital ,,in ,,the ,,outer ,,narthex4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,capital ,,in ,,the ,,outer ,,narthex4 ,to face page #cjj4 ,one of the most distinguished members of the ,chora was the historian ,nicephorus ,gregoras1 who learned to know the monastery through his friendship with ,theodore ,metochites4 ,the two men met first when ,nicephorus came from his native town ,heraclea on the ,black ,sea to ,constantinople1 a youth eager to acquire the knowledge that flourished in the capital4 ,being specially interested in the science of astronomy1 the student placed himself under the instruction of ,theodore1 then the greatest authority on the subject1 and won the esteem and confidence of his master to a degree that ripened into the warmest friendship and the most unreserved intellectual intercourse4 ,in his turn1 ,nicephorus ,gregoras became the instructor of the children of the grand logothetes1 and was treated as a member of the family4 ,he was also associated with the restoration of the ,chora1 attending particularly to the collection of the costly materials required for the embellishment of the church4 ,thus the monastery became his home from youth to old age1 and after ,theodore's death was entrusted to his care4#ecb ,during the fierce controversy which raged around the question whether the light beheld at the ,transfiguration formed part of the divine essence1 and could be seen again after prolonged fasting and gazing upon one's navel1 as the monks of ,mount ,athos and their supporters maintained1 ,nicephorus ,gregoras1 who rejected that idea1 retired from public life to defend what he deemed the cause of truth more effectively4 ,but to contend with a master of legions is ever an unequal struggle4 ,the ,emperor ,john ,cantacuzene1 taking the side of the monks1 condemned their opponent to silence in the ,chora1 and there for some three years ,nicephorus ,gregoras discovered how scenes of happiness can be turned into a veritable hell by imperial disfavour and theological odium4 ,notwithstanding his age1 his physical infirmities1 his services to the monastery1 his intellectual eminence1 he was treated by the fraternity in a manner so inhuman that he would have preferred to be exposed on the mountains to wild beasts4 ,he was obliged to fetch water for himself from the monastery well1 and when1 on one occasion1 he was laid up for several days by an injury to his foot1 none of the brothers ever thought of bringing him water4 ,in winter he was allowed no fire1 and he had often to wait till the frozen water in his cell was melted by the sun before he could wash or drink4 ,the vision of the light of the ,transfiguration did not transfigure the character of its beholders4 ,during this trying period of his life one ray of comfort wandered into the cell of the persecuted man4 ,on the #acth ,december #acea1 in the dead of night1 while the precincts of the monastery were crowded with worshippers attending the vigil of the festival of the ,conception of the ,theotokos1 a strange figure climbed into the prisoner's room through an open window4 ,it proved to be an old friend and former pupil named ,agathangelus1 who had not been seen for ten years owing to his absence from the city4 ,taking advantage of the darkness and of the absorption of the monks in the services of the festival1 he had made this attempt to visit his revered master4 ,eagerly and hurriedly1 for the time at their command was short1 the two friends recounted the story of their lives while separated4 ,rapidly ,agathangelus sketched the course of affairs in ,state and ,church since the seclusion of ,nicephorus ,gregoras2 and the brief visit ended and seemed a dream4 ,but the devoted disciple was not satisfied with a single interview4 ,six months later he contrived to see his master again1 and1 encouraged by success1 saw him again three times1 though at long intervals1 during the three years that ,nicephorus ,gregoras was detained in the ,chora4 ,one great object of these visits was to keep the prisoner informed of events in the world beyond the walls of his cell1 and on the basis of the information thus supplied ,nicephorus ,gregoras wrote part of his important history4 ,when at length1 in #aced1 ,john ,cantucuzene was driven from the throne1 and ,john ,palaeologus reigned in his stead1 ,nicephorus was liberated1#ecc and to the last defended the opinions for which he had suffered4 ,another name associated with the ,chora at this time is that of ,michael ,tornikes1 ,grand ,constable in the reign of ,andronicus ,,ii4 ,he was related1 on his mother's side1 to the emperor1 and stood in high favour at court not only on account of that kinship1 but because of the talents1 character1 and administrative ability which he displayed4 ,he was1 moreover1 a friend of ,theodore ,metochites1 and his political supporter in the efforts made to end the strife between ,andronicus ,,ii4 and ,andronicus ,,iii4#ecd ,upon his death1 ,tornikes was buried in the parecclesion of the ,chora1 and the epitaph composed in his honour has kept its place there to this day 7,plate ,,xcii474 ,in #acdb1 ,sabbas1 a monk of the monastery of ,vatopedi1 who came to ,constantinople as a member of a deputation from ,mount ,athos to reconcile the ,regent ,anna of ,savoy with ,cantacuzene1 was confined in the ,chora on the failure of that mission4#ece ,in view of its proximity to the landward walls1 the ,chora acquired great importance during the fatal siege of #adec4 ,for the inhabitants of the beleagured capital placed their hope for deliverance more upon the saints they worshipped than upon their own prowess2 the spiritual host enshrined in their churches was deemed mightier than the warriors who manned the towers of the fortifications4 ,the sanctuaries beside the walls constituted the strongest bulwarks from which the ',god protected city' was to be defended1 not with earthly1 but with heavenly weapons4 ,the eikon of the ,theotokos ,hodegetria was1 therefore1 taken to the ,chora to guard the post of danger4 ,it represented the ,theotokos as the ,leader of ,god's people in war1 and around it gathered memories of wonderful deliverances and glorious triumphs1 making it seem the banner of wingless victory4 ,when the ,saracens besieged the city the eikon was carried round the fortifications1 and the enemy had fled4 ,it led ,zimisces in his victorious campaign against the ,russians2 it was borne round the fortifications when ,branas assailed the capital in the reign of ,isaac ,angelus1 and the foe disappeared2 and when ,constantinople was recovered from the ,latins1 ,michael ,palaeologus only expressed the general sentiment in placing the eikon on a triumphal car1 and causing it to enter the city before him1 while he humbly followed on foot as far as the ,studion4 ,but the glory of the days of old had departed1 and no sooner did the troops of ,sultan ,mehemed force the ,gate of ,charisius 7,edirn ,kapoussi7 than they made for the ,chora1 and cut the image to pieces4 ,the church of ,s4 ,saviour in the ,chora was the first ,christian sanctuary to fall into the hands of the ,moslem masters of ,constantinople4 ,the building was converted into a mosque by ,ali ,atik ,pasha1 ,grand ,vizier1 between #adie and #aeaa1 in the reign of ,bajazet ,,ii4 ,gyllius visited the church in #aehj1 and expatiates upon the beauty of its marble revetment1 but makes no reference to its mosaics and frescoes4#ecf ,this1 some authorities think1 proves that these decorations were then concealed from view1 because objectionable in a place consecrated to ,moslem worship4 ,but the silence of the traveller may be due to the brevity of his description of the church4 ,there is evidence that the building has suffered much since the ,turkish conquest from earthquake and from fire1 but the precise dates of these disasters cannot be accurately determined4 ,the mosque disappeared from general view until #ahfj1 when it was discovered by a ,greek architect1 the late ,pelopidas ,d4 ,kouppas4 ,mr4 ,carlton ,cumberbatch1 then the ,british ,consul at ,constantinople1 was informed of the fact and spread the news of the fortunate find4 ,the building was in a pitiful condition4 ,the principal dome and the dome of the diaconicon had fallen in2 the walls and vaults were cracked in many places and black with smoke2 wind1 and rain1 and snow had long had free course to do what mischief they pleased4 ,happily there still remained too much beauty to be ignored1 and the ,government was persuaded to take the work of restoration in hand4 ,the building now takes rank with the most interesting sights of the capital1 presenting one of the finest embodiments of the ideal which inspired ,byzantine art4 ,illustration3 ,,plate ,,lxxxv4 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,the ,,interior1 ,,looking ,,north-,,west4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,the ,,outer ,,narthex1 ,,looking ,,south4 ,to face page #cjd4 ,architectural ,features ,as the history of the church prepares us to expect1 the building presents a very irregular plan4 ,the central area is a short-armed ,greek cross surmounted by a dome1 and terminating to the east in a large apse flanked by side chapels now disconnected from it4 ,to the west are two narthexes1 on the south a parecclesion1 and on the north a gallery in two stories4 ,illustration3 ,,fig4 #ii4 ,as the central part of the church is the oldest and of the greatest interest1 the description will begin with the interior1 and deal afterwards with the later exterior accretions4 ,only two doors lead from the inner narthex to the church1 one of them in the centre of the axis and the other to the north4 ,the absence of the corresponding and customary third door1 for which there is space on the south side1 should be noticed1 as it throws light on the original plan of the building4 ,the doors are beautifully treated with marble mouldings and panelled ingoes2 the door to the north recalls the sculptured door in the south gallery of ,s4 ,sophia1 but1 unfortunately1 the carved work of the panels has been destroyed4 ,above the central door1 on the interior1 is a porphyry cornice carved with peacocks drinking at fountains 7,plate ,,lxxxvii474 ,large portions of the beautiful marble revetment on the walls of the church happily remain intact1 and nowhere else in ,constantinople1 except in ,s4 ,sophia1 can this splendid method of colour decoration be studied to greater advantage4 ,slabs of various marbles have been split and placed on the walls so as to form patterns in the veining4 ,the lower part is designed as a dado in ,proconessian striped marble1 with upright posts of dark red at the angles and at intervals on the longer stretches of wall1 and rests on a moulded marble base4 ,above the dado are two bands1 red and green1 separated from the dado and from each other by white fillets4 ,the upper part is filled in with large panels1 especially fine slabs of brown1 green1 or purple having been selected to form the centre panels4 ,the plainer slabs of the side panels are framed in red or green borders1 and outlined with fillets of white marble either plain or carved with the 'bead and reel4' ,the arches have radiating voussoirs1 and the arch spandrils and the frieze under the cornice are inlaid with scroll and geometrical designs in black1 white1 and coloured marbles4 ,the cornice is of grey marble with a 'cyma recta' section1 and is carved with an upright leaf4#ecg ,on the eastern walls of the north and south cross arms1 and flanking the apse1 eikon frames similar to those in the ,diaconissa 7p4 #ahf7 are inserted4 ,the northern frame encloses a mosaic figure of ,christ holding in ,his hands an open book1 on which are the words1 ',come unto ,me all ye who labour and are heavy laden4'#ech ,in the corresponding frame to the south is the figure of the ,virgin1 and1 above it1 an arch of overhanging acanthus leaves enclosed within a square frame with half figures of angels in the spandrils4 ,the arch encloses a medallion bust1 the head of which is defaced1 but which represented the ,saviour1 as is proved by the indication of a cross on the aureola4 ,the spaces at the sides of the medallion are filled in with a pierced scroll showing a dark slab of porphyry behind it1 making a very beautiful arrangement4 ,these frames are distant from the eikonostasis1 which stretched across the front of the bema arch1 nearer to the apse4 ,on the south side are two doors leading to the parecclesion1 and on the north side above the cornice is a small window from the north gallery4 ,the dome rests on a ribbed drum of sixteen concave segments1 and is pierced by eight windows corresponding to the octagonal form of the exterior4 ,the original crown has fallen and been replaced by the present plain ,turkish dome4 ,the prothesis and the diaconicon are represented by chapels to north and south of the apse4 ,as already stated1 they do not now communicate with the bema1 although the position of the old passages between them and the bema is marked by niches in the marble revetment4 ,from the fact that the ,byzantine marble work is continued across these passages it is evident that the chapels were cut off from the apse in ,byzantine days4 ,the north chapel is covered by a drum dome of eight concave sections1 and is entered from the lower story of the gallery on the north side of the church4 ,it should be noticed that the chapel is not placed axially to this gallery4 ,the south chapel is covered by a plain drum dome1 and is now entered from the parecclesion1 evidently as the result of the alterations made when the parecclesion was added4 ,the exterior is very simply treated4 ,the side apses show three sides of an octagon4 ,the central apse has five sides of a very flat polygon1 and is decorated with hollow niches on each side of a large triple window4 ,it was at one time supported by a large double flying buttress1 but the lower arch has fallen in4 ,as the buttress does not bond with the wall it was evidently a later addition4 ,the inner narthex is entered from the outer narthex by a door to the west4 ,it is with its resplendent marble revetment and brilliant mosaics a singularly perfect and beautiful piece of work1 one of the finest gems of ,byzantine ,art4 ,it is divided into four bays1 and is not symmetrically placed to the church4 ,the door stands opposite to the large door of the church and is in the central axis of the building4 ,the bay which it occupies and that immediately to the north are covered by dome vaults resting on strong transverse arches and shallow segmental wall arches4#eci ,the northern end bay is covered with a drum dome of sixteen hollow segments pierced by eight windows4 ,the bay to the south of the door is considerably larger than the other bays1 and is covered by a dome similar in character to that over the northern end bay but of greater diameter4 ,at the south end of the narthex a small door leads to the return bay of the outer narthex in front of the parecclesion4 ,the double-storied annex or gallery on the north of the building is entered by a door in the north bay of the inner narthex4 ,the lower story is covered by a barrel vault with strong transverse arches at intervals4 ,its door to the outside at the west end is now built up4 ,at the east end a door1 unsymmetrically placed1 leads to the small chapel which was originally the prothesis4 ,this story of the gallery seems never to have had windows4 ,the upper story1 reached by a stone stair at the west end in the thickness of the external wall1 is paved in red tiles1 covered with a barrel vault1 and lighted by two small windows in the north wall and one at the east end4 ,these windows still show grooves and bolt holes for casement windows or shutters opening inwards in two leaves 7,figs4 #ai1 #ajj74 ,in the south wall is the little window overlooking the church4 ,illustration3 ,,plate ,,lxxxvi4 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,eikon ,,frame ,,on ,,the ,,south-,,eastern ,,pier4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,the ,,interior1 ,,looking ,,east4 ,to face page #cjh4 ,the outer narthex has a single door to the exterior1 placed on the central axial line1 and is planned symmetrically4 ,the central bay is larger than the others1 and is covered by a dome vault resting on shallow wall arches4 ,on each side are two bays covered by similar dome vaults1 but as the bays are oblong1 the wall arches are brought forward strongly so as to give a form more approaching the square as a base for the dome4 ,the transverse arches are strongly pronounced and have wooden tie beams4 ,at the south end two bays are returned to form an entrance to the parecclesion4 ,in these the transverse arches are even more strongly marked and rest on marble columns set against shallow pilasters4 ,the cubical capitals are of white marble and very beautifully carved with figures of angels and acanthus wreaths4 ,any marble revetment which may once have covered the walls has disappeared1 but mosaics depicting scenes in the ,saviour's life still decorate the vaulting and the lunettes of the arches1 whilst figures of saints appear upon the soffits4 ,the mosaics are damaged and have lost some of their brilliancy2 the background is of gold1 and the mosaic cubes are small1 averaging about #a_/h to #c_/af of an inch4 ,illustration3 ,,fig4 #ajj4 ,the parecclesion is entered from the return bays of the outer narthex through a triple arcade1 now partly built up4 ,the capitals of the columns are ,byzantine ,corinthian1 and retain sufficient traces of their former decoration in dark blue1 gold1 and red to give some idea of the effect of colour on marble in ,byzantine churches4 ,the parecclesion is in two bays4 ,the western bay is covered by a high twelve-sided drum dome1 with windows in each side separated by flat ribs4 ,in the compartments are figures of the archangels in tempera1 with the legend1 ',holy1 ,holy1 ,holy1 is the ,lord ,god4' ,the eastern bay is covered by a dome vault1 and terminates in an apse semicircular within and lighted by a triple window4 ,it has neither prothesis nor diaconicon of its own1 but communicates with the original diaconicon of the main church4 ,the three transverse arches in the bay are tied with wooden tie beams carved with arabesques and retaining traces of gilding4 ,on the north and south walls of the western bay are large arches enclosed in square frames and with finely carved archivolts4 ,above the south arch is a slab inscribed with the epitaph to the memory of the celebrated general ,tornikes4 ,there are no indications of an entrance under the arch4 ,it may have covered a niche1 now built up1 intended to receive a tomb1 possibly the tomb of the sebastocrator ,isaac4 ,the archivolt of the arch in the north wall is formed of acanthus leaves turned over at the points2 the spandrils are filled with the figures of the archangels ,michael and ,gabriel1 bearing appropriate emblems1 and above the crown of the arch is a small bust of ,christ4 ,in both arches the carved work is exactly like that of the eikon frame in the south-eastern pier of the church1 and closely resembles the work on the lintel of the eikon frames in the church of the ,diaconissa4 ,both archivolts were originally coloured1 the background blue1 the carved ornament gilt4 ,the use of figures in the decoration of the church is remarkable4 ,they are in bold relief and executed freely1 but shown only from the waist up4 ,the windows1 like those in the outer narthex1 have a central arch between two semi-circles 7,fig4 #fc74 ,illustration3 ,,plate ,,lxxxvii4 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,interior ,,cornice ,,over ,,main ,,door ,,of ,,the ,,church4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,archivolt ,,on ,,the ,,north ,,side ,,of ,,the ,,parecclesion4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,window ,,heads ,,in ,,the ,,central ,,apse4 ,to face page #caj4 ,two passages1 which cut through the north wall1 lead from the parecclesion to the church4 ,off the passage to the west is a small chamber whose use is not apparent4 ,it may be simply a space left over when the chapel was added4 ,higher up1 in the thickness of the wall1 about ten feet from the floor1 and a little above the springing level of the vaulting in the parecclesion1 is a long1 narrow passage1 lighted by a window at the east end1 and covered by a small barrel vault1 corbelled at the springing1 on two courses of stone and three courses of brick laid horizontally1 thus narrowing the space to a considerable degree4 ,from this corbelling spring the vaulting courses1 which are steeply inclined and run from both ends to the centre1 where the resultant diamond-shaped opening is filled in with horizontal courses 7,fig4 #dh74 ,on the north side of the passage is a broad opening roughly built up1 but which seems originally to have communicated with the south cross arm4 ,the opening is almost central to the cross-arm1 and is directly above the doors leading from the church to the parecclesion4 ,the exterior of the parecclesion and the outer narthex are treated with arcades in two orders of the usual type4 ,on the piers of the arcades are semicircular shafts which in the parecclesion rise to the cornice1 but on the west front stop at the springing course4 ,here they may have supported the wooden roof of a cloister or porch4 ,the apse of the parecclesion has five sides with angle shafts and niches1 alternately flat and concave in three stories4 ,the north wall is a fine example of simple masonry in stripes of brick and stone1 and with small archings and zigzag patterns in the spandrils of the arches4 ,below the parecclesion are two long narrow cisterns having their entrance on the outside of the apse4#edj ,the original plan of the church 7,fig4 #ajb74 ,the greater part of the alterations made in the church date from ,byzantine times1 and the marble coverings then placed upon the walls have effectually covered up any traces which might have given a clue to the original form of the building4 ,in consequence any attempt at restoration must be of a very tentative character4 ,it is evident that there has been a serious movement in the structure due to the weight of the dome and the thrust of the dome arches1 for the walls below the dome are bent outwards in a very pronounced manner4 ,it was in order to check this movement that the flying buttress was applied to the apse1 and in all probability the enormous thickness of the walls surrounding the central cross is due to the same cause4 ,had the walls originally been as thick as at present it is hard to imagine that movement could have taken place4 ,the axial line from east to west1 passing through the doors of both narthexes1 divides the present building into two dissimilar parts4 ,we know that the parecclesion is a later addition1 and if it be removed and the plan of the north side repeated to the south the resulting plan bears a striking resemblance to ,s4 ,sophia at ,salonica 7,fig4 #aja74 ,the position of the prothesis and diaconicon in particular is identical in the two churches4 ,some proof that this was the original form of the building is given by the small chamber in the wall thickness between the church and the parecclesion4 ,for it corresponds to the angle of the south 'aisle1' and on its west wall is a vertical break in the masonry which may be the jamb of the old door to the narthex4 ,this plan gives a narthex in five bays--the three centre ones low1 the two outer covered by domes and leading to the 'aisles4' ,when the parecclesion was added1 the south gallery and two bays of the inner narthex were swept away4 ,the third door leading into the church was built up1 and the present large domed bay added to the shortened narthex4 ,illustration3 ,,fig4 #aja4--,s4 ,,sophia1 ,,salonica4 ,traces of the older structure remain in the wall between the church and the parecclesion4 ,the space already described1 which originally opened from the passage at the higher level to the south cross-arm1 corresponds in width both to the window above and to the space occupied by the doors below4 ,at ,s4 ,sophia1 ,salonica1 the side-arms are filled in with arcades in two stories forming an aisle and gallery4 ,this is the normal domed basilica construction4 ,here1 if we regard the floor of the upper passage 7,b on plan1 p4 #cah7 as the remains of the old gallery floor1--and no other view seems to account for its existence1--the internal elevation was in three stories1 an aisle at the ground level1 above it a gallery1 and above that1 in the arch tympanum1 a triple window4 ,such an arrangement is1 so far as we know1 unique in a small church1 but it is the arrangement used in ,s4 ,sophia1 ,constantinople1 and may well have been derived from that church4 ,the opening is only about one-half of the space1 leaving a broad pier at each side4 ,in this it differs from ,s4 ,sophia1 ,salonica1 but such side piers are present in ,s4 ,sophia1 ,constantinople4 ,the diagrams show a restoration of the plan and internal bay based on these conclusions 7,figs4 #ajb1 #ajc74 ,illustration3 ,,fig4 #ajb4--,s4 ,,saviour ,,in ,,the ,,chora 7restored plan74 ,the gallery on the north side is an addition4 ,the character of the brickwork and of the windows is later than the central church1 but the lack of windows on the ground floor suggests that the 'aisle' was originally lighted from the body of the church4 ,the vaulting gives no clue1 nor are there traces of an opening in the wall between the 'aisle' and the church4 ,the floor level is much higher than that of the passage ',b' 7p4 #cah7 on the opposite side1 and seems to be a new level introduced when the addition was made and the wall thickened4 ,illustration3 ,,plate ,,lxxxviii4 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,east ,,end ,,of ,,the ,,parecclesion4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,capital ,,at ,,the ,,entrance ,,to ,,the ,,parecclesion4 ,to face page #cad4 ,if these conclusions are correct the church was originally a domed basilica resembling ,s4 ,sophia1 ,salonica1 in plan and ,s4 ,sophia1 ,constantinople1 in elevation4 ,the side dome arches had double arcades in two stories1 and above them windows in the dome arches4 ,there are at present no traces of a western gallery1 but such may have existed below the present west windows4 ,later in the history of the church came alterations1 which included the ribbed domes and the gallery on the north side4 ,the side aisles still communicated with the church and the lateral chapels with the bema4 ,illustration3 ,,fig4 #ajc4--,s4 ,,saviour ,,in ,,the ,,chora 7restored bay74 ,the filling up of the arcades1 the thickening of the walls1 the isolation of the lateral chapels1 the removal of the southern aisle1 the alteration of the narthex1 the building of the parecclesion and outer narthex1 and most of the decoration which forms the glory of the church1 belong to the great work of restoration by ,theodore ,metochites early in the fourteenth century4 ,the representation of the church in the mosaic panel above the large door to the church shows a building with a central dome1 a narthex terminating in domed bays1 and a window in the west dome arch4 ,it seems to represent the church as the artist was accustomed to see it previous to the additions 7,fig4 #aae74 ,plain cross plans1 or cross plans with only one lateral gallery1 are not unknown4 ,the church of the ,archangels1 ,syg1#eda shows such a plan and is here reproduced for purposes of comparison4 ,illustration3 ,,plate ,,lxxxix4 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,the ,,parecclesion1 ,,looking ,,south-,,east4 ,illustration3 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,the ,,parecclesion1 ,,looking ,,west4 ,to face page #caf4 ,illustration3 ,,fig4 #ajd4--;,,church ,,of ,,the ,,archangels ,,at ,,syg4 ,illustration3 ,,fig4 #aje4 ,illustration3 ,,figs4 #ajf ,,and #ajg4 ,illustration3 ,,figs4 #ajh ,,and #aji4 ,illustration3 ,,figs4 #aaj1 #aaa1 #aab1 ,,and #aac4 #eja ,vol4 i4 p4 #dei4 #ejb ,synax41 ,sept4 #d1 ,greek3 pistoi de tines eusebeis nyktos elthontes kai ta leipsana en akati embalontes eis to ,byzantion diakomizousi kai en t borei merei ex teichen en trisi larnaxi katathentes1 entha esti mon ,chra eponomazomen1 doxan kai eucharistian t ,the anepempsan4 #ejc ,proceedings of the ,greek ,syllogos of ,c4,p4 vol4 xxiv41 #ahif1 ,supplement1 p4 #cc4 #ejd ,vol4 iii4 p4 #agb4 #eje ,p4 #cf4 #ejf ,paspates1 p4 #cbf4 #ejg ,synax41 ,sept4 #d4 #ejh ,banduri1 iii4 p4 #ed1 ,greek3 chrion n ekeise ex tou ,byzantiou4 #eji ,de aed4 p4 #aba1 ,greek3 eklth de chra dioti tn ,byzantin chrion n ekei1 katha kai h tou ,stoudiou mon1 ex ts poles hyprchen4 #eaj ,written in the second quarter of the ninth century4 #eaa ,supplement to vol4 xxiv4 of the ,proceedings of the ,greek ,syllogos of ,c4,p4 p4 #bc4 ,cf4 ,schmitt1 p4 #bh4 #eab ,in his great monograph on ,kahri ,jamissi published by the ,russian ,institute of ,constantinople1 #aijf4 #eac ,mansi1 ,sacrorum ,conciliorum ,collectio1 tomus viii4 col4 #ijf1 col4 #hhb1 ,greek3 tou hagiou ,michal tn ,charisiou3 ts epikln tn ,charisiou4 #ead ,banduri1 iii4 p4 #ed2 ,codinus4 ,de aed4 p4 #aba ,greek3 h chra prton men euktrion n1 ,priskos ho eparchos kai gambros tou ,phka tou tyrannou perioristheis ekei para tou idiou ektise tautn monn eis kallos kai megethos1 apocharisamenos kai ktmata polla4 #eae ,niceph4 ,greg4 iii4 p4 #dei4 #eaf ,schmitt1 p4 #bh4 #eag ,theoph4 pp4 #eed1 #eef2 ,synax4 ad diem2 ,cedrenus1 i4 p4 #ghd4 #eah ,theoph4 pp4 #fbf-fhj2 ,synax41 ,may #ab4 #eai ,theoph4 pp4 #fdg-h4 #ebj ,life of ,michael ,syncellus1 p4 #ca1 in supplement to vol4 xxiv4 of the ,proceedings of the ,greek ,syllogos of ,c4,p42 cf4 ,schmitt1 p4 #bea4 #eba ,life of ,michael ,syncellus1 ut supra1 pp4 #cj1 #ca4 #ebb ,see supplement to vol4 xxiv4 of the ,proceedings of the ,greek ,syllogos of ,constantinople1 p4 #cc2 cf4 ,schmitt1 pp4 #beg-h4 #ebc ,niceph4 ,greg4 iii4 p4 #dei4 #ebd ,ibid4 i4 p4 #dei4 #ebe ,the manuscript was discovered in the ,seraglio ,library by ,professor ,t4 ,uspenski1 and has been photographically reproduced by the ,russian ,institute of ,constantinople4 #ebf ,the inscription has been injured4 ,it now reads3-- ,symbol3 cross4,greek3 ho 44 os tou pslo 44 tou 444 siles 444 444 xiou 444 44 ou 444 ,see ,schmitt1 pp4 #ch-ci1 who restores the inscription thus3 ,greek3 ho hyios tou hypslotatou basiles ,alexiou tou ,komnnou4 #ebg ,see ,schmitt1 pp4 #ci-dj4 #ebh ,niceph4 ,greg4 i4 p4 #dei4 #ebi ,niceph4 ,greg4 i4 p4 #dei4 ,greek3 houtos habrotera chrsamenos dexia1 pln tou mesaitatou ne panta kals epeskeuase1 cf4 ii4 p4 #ajde4 #ecj ,theodori ,metochitae carmina1 ed4 ,treu4 ,a #ajjd1 et passim4 #eca ,niceph4 ,greg4 i4 p4 #cjc ,greek3 arti tou neourgein epepauto tn ts ,chras monn1 hopsos ho endon etynchane kosmos4 #ecb ,niceph4 ,greg4 ii4 pp4 #ajde-f4 #ecc ,niceph4 ,greg4 iii4 p4 #bdc4 #ecd ,cantacuzene1 i4 p4 #ed4 #ece ,cantacuzene1 ii4 p4 #bji4 #ecf ,de top4 ,c4,p4 iv4 c4 #d3--;,inter palatium ,constantini et portam urbis ,adrianopolitanam extat des in septimo 787 colle1 qu etsi jam tot secula sit intra urbem tamen etiamnum ,greek3 christos chras appellatur1 ex eo1 quod olim esset extra urbem4 ,ex tribus partibus1 ut mos est ,grcorum dium sacrarum1 porticu cingitur4 ,parietes ejus intrinsecus vestiti crustis marmoris varii quadratis1 ita inter se conjunctis ut distinguantur ab immo sursum versus modulis astragalorum1 aliorum baccatorum1 aliorum ter etiam sine baccis4 ,supra quadratas crustas discurrunt tres fasci et tres velut astragali1 quorum duo teretes1 supremus quadratus velut regula4 ,supra fasciam1 denticuli2 supra denticulos1 folia ,corinthia4 ,denique marmor sic mensulis distinguitur ut in commissuris eluceat labor ,corinthicus4 ,sed is plenior apparet in de ,sophi4 #ecg ,cf4 description by ,gyllius1 ,de top4 ,c4,p4 iv4 c4 #d4 #ech ,greek3 deute pros me pantes hoi kopintes kai pephortismenoi kag4444--,matt4 xi4 #bh4 #eci ,for the description of these vaults see p4 #bb4 #edj ,schmitt 7op4 cit4 pp4 #ib-id7 maintains that the parecclesion was originally the refectory of the monastery4 ,but a refectory there would occupy a very unusual position4 ,nor do the frescoes on the walls of the parecclesion correspond to the decoration of the refectory with representations of flowers and of ,christ's miracles1 as described by ,theodore ,metochites3 444 ,greek3 kekosmatai anthesi poikiloi i te poulychrouoisi te baphn 444 kai te diaperes apgeatai mystria thymata ,christou4 #eda ,f4 ,w4 ,hasluck4 ,bithynica1 ,b4,s4,a4 ,annual ,,xiii41 #aijf-g4 ,,chapter ,,xxiv ,,the ,,mosaics ,,in ,s4 ,,saviour ,,in ,,the ,,chora ,as stated already1 the mosaics on the vaults and lunettes of the arches in the outer narthex of the church portray scenes from the life of ,christ1 as recorded in the canonical and the apocryphal ,gospels1 while on the faces and soffits of the arches are depicted the figures of saints 'who desired to look into these things4' ,scenes from the ,saviour's life are also portrayed in the two bays to the west of the parecclesion1 and in the domes and southern bay of the inner narthex4 ,inscriptions on the mosaics explain the subjects depicted4 ,the scenes will be described according to the groups they form in the compartments of the narthex4 ,illustration3 ,,fig4 #aad4--,,plan ,,of ,,the ,,narthexes ,,of ,,the ,,church1 ,,indicating ,,position ,,of ,,their ,,mosaics4 ,illustration3 ,,plate ,,xc4 7#a7 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,mosaic ,,representing ,,the ,,miracle ,,of ,,water ,,turned ,,into ,,wine4 ,,the ,,date #fhaa 7,a4,d4 #acjc71 ,,in ,,arabic ,,numerals1 ,,is ,,above ,,the ,,last ,,figure ,,on ,,the ,,right4 ,sebah and ,joaillier4 7#b7 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,mosaic ,,representing ,,the ,,caressing ,,of ,,mary ,,by ,,her ,,parents1 ,,and ,,the ,,blessing ,,of ,,mary ,,by ,,priests ,,at ,a ,,banquet4 ,to face page #cbb4 ,,outer ,,narthex ,first ,bay 7at the north end74 #a4 ,in the northern lunette4--,the angel announcing to ,joseph1 in a dream1 the birth of ,jesus4 ,to the right1 journey of ,joseph and ,mary from ,nazareth to ,bethlehem4 ,simon the son of ,joseph walks ahead1 carrying a bundle4 ,in the background1 meeting of ,mary and ,elizabeth4 #b4 ,in the eastern lunette4--,the registration of ,joseph and ,mary at ,bethlehem before ,cyrenius4 7,said to be unique in the ,east4#edb7 ,on the arch over the eastern lunette4--,busts 7in medallions7 of ,,ss4 ,mardarius1 ,auxentius 7only one letter of the name remains71 ,,ss4 ,eustratius1 ,orestes4 #c4 ,on the western lunette4--,the ,holy ,family on the way to the first passover of ,jesus at ,jerusalem4 ,on the arch over the western lunette4--,the busts 7in medallions7 of ,,ss4 ,anempodistus1 ,elpidephorus1 ,akindynus1 ,aphthonius1 ,pegasius4 #d4 ,in the vault4--,the scene has disappeared4 ,possibly it represented ,jesus among the doctors in the temple4 #e4 ,on the soffit of the transverse arch1 between the first and second bays4--,to the east1 ,s4 ,andronicus2 to the west1 ,s4 ,tarachus4 ,second ,bay #f4 ,in the eastern lunette4--,the birth of ,jesus4 ,in the background1 to left1 the angel appearing to the shepherds2 to right1 the magi beholding the star shining over the manger in which lies the ,holy ,child1 while an ox and an ass feed in it4 ,in the centre1 ,mary on a couch4 ,in the foreground1 to left1 two women bathing the ,holy ,child2 to the right1 ,joseph seated on the ground and gazing at the ,holy ,child4 ,on the arch above the eastern lunette4--,the busts 7in medallions7 of ,,ss4 ,philemon1 ,leukius1 ,kallinikus1 ,thyrsus1 ,apollonius4 #g4 ,in the western lunette4--,return of the ,holy ,family from ,egypt to ,nazareth4 ,in the arch above the western lunette4--,the busts 7in medallions7 of ,,ss4 ,engraphus 7871 ,menas1 ,hermogenes1 ,laurus1 ,florus1 ,menas1 ,victor1 ,vikentius4 #h4 ,in the vault4--,the baptism of ,jesus2 the scenes in the temptation of ,jesus4 #i4 ,on the second transverse arch4--,to the east1 ,s4 ,george2 to the west1 ,s4 ,demetrius4 ,the ,third or ,central ,bay #aj4 ,in the eastern lunette1 over the door leading to the inner narthex4--,christ in the act of benediction4 #aa4 ,in the western lunette4--,the ,theotokos1 in the attitude of prayer1 with the ,holy ,child1 in a nimbus1 on her breast2 the legend ,greek3 ,,mr ,,thy ,h ,,ch,,ra ,,tou ,,ach,,retou 7the country of the ,infinite72 on the right and left1 an angel4 #ab4 ,in the vault4--,in the north-eastern corner1 the miracle of water turned into wine4 ,the date #acjc1 in ,arabic numerals1 is on this mosaic4 ,in the south-eastern corner1 the miracle of the loaves4 ,these mosaics1 placed on either side of the figure of ,christ1 are emblems of ,his character as the ,giver of ,life4 ,in the north-western corner4--,the sacrifice of a white bullock4 ,in the south-eastern corner4--,the second miracle of the loaves4 #ac4 ,on the third transverse arch4--,two saints1 not named4 ,the ,fourth ,bay #ad4 ,in the eastern lunette4--,to the left1 the magi1 on horseback1 guided by a star1 on their way to ,jerusalem2 to the right1 the magi before ,herod4 ,on the arch above4--,the busts 7in medallions7 of ,,ss4 ,abibus1 ,ghourias1 ,samonas4 #ae4 ,in the western lunette4--,elizabeth fleeing with her child ,john from a soldier who pursues her with a drawn sword in his hand4 ,the scenes in the vault have disappeared4 #af4 ,on the fourth transverse arch4--,two saints1 not named4 ,the ,fifth ,bay #ag4 ,in the eastern lunette4--,herod inquiring of the priests where the ,christ should be born4 ,the busts of three saints on the arch above have disappeared4 #ah4 ,in the western lunette4--,mothers at ,bethlehem seated on the ground1 and mourning the death of their infant children4 ,the mosaics in other parts of this bay have disappeared4 ,the ,outer ,bay fronting the parecclesion ,in the eastern pendentive4--,to the left 7#ai7 the healing of a paralytic2 to the right 7#bj7 the healing of the man sick of the dropsy4 #ba4 ,in the western pendentive4--,to the left1 the healing of another paralytic2 to the right1 ,christ with the ,samaritan woman at the well of ,sychar2 in the lunette1 the massacre of the ,innocents at ,bethlehem4 #bb4 ,in the southern lunette4--,to the left1 ,herod orders the massacre of the ,innocents at ,bethlehem2 to the right1 the massacre of the ,innocents4 ,the other mosaics in this bay have disappeared4 ,the ,inner ,bay fronting the parecclesion #bc4 ,in the vault4--,in the south-western corner4 ,uncertain4 ,possibly1 the fall of the idols in ,egypt at the presence of the ,holy ,child2 to the south of that scene1 ,zacchaeus on the sycamore tree4 ,,inner ,,narthex ,first ,bay 7at the south end of the narthex7 #bd4 ,on the soffit of the first transverse arch4--,to the east1 the healing of the man with a withered arm2 to the west1 the healing of a leper4 ,south ,dome #be4 ,in the crown4--,christ the ,pantokrator4 ,in the flutings1 thirty-nine figures1 arranged in two tiers1 representing the ancestors of ,christ from ,adam to ,esrom1 ,japhet1 and the eleven sons of ,jacob not in the line of ancestry4 #bf4 ,on the south-eastern pendentive4--,the healing of the woman with a bloody issue4 #bg4 ,on the north-eastern pendentive4--,the healing of ,peter's mother-in-law4 #bh4 ,on the south-western pendentive4--,the healing of a deaf and dumb man4 #bi4 ,on the north-western pendentive4--,the healing of two blind men at ,jericho4 #cj4 ,on the eastern wall below the dome1 colossal figures of ,mary and ,christ1 technically named the ,desis4 #ca4 ,on the opposite wall4--,christ healing divers diseases4 ,the mosaics in the three other bays of this narthex depict scenes in the life of ,mary as described in the apocryphal ,protoevangelium of ,s4 ,james and other apocryphal ,gospels4#edc ,first ,bay 7at northern end74--,the ,north ,dome #cb4 ,in the centre4--,the ,theotokos2 in the flutings1 twenty-seven figures arranged in two tiers representing sixteen royal ancestors of ,christ1 from ,david to ,salathiel1 and ,melchisedec1 ,ananias1 ,azarias1 ,misael1 ,daniel1 ,joshua1 ,moses1 ,aaron1 ,ur1 ,samuel1 ,job4 #cc4 ,in the north-eastern pendentive4--,the scene has disappeared4 #cd4 ,in the south-eastern pendentive4--,s4 ,joachim 7,mary's father7 with his sheep in the desert1 praying and mourning that his offerings have been rejected because he was childless4 #ce4 ,in the north-western pendentive4--,the ,high ,priest judging ,mary4 #cf4 ,in the south-western pendentive4--,the ,annunciation to ,mary4 #cg4 ,in the eastern lunette below the dome4--,the ,annunciation to ,s4 ,anna1 the mother of ,mary4 #ch4 ,on the soffit of the transverse arch between the first and second bays4--,to the east1 the meeting of ,s4 ,anna and ,s4 ,joachim2 to the west1 ,joseph taking leave of ,mary before his home1 and proceeding to his work in another part of the country1 accompanied by a servant4 ,second ,bay #ci4 ,in the eastern lunette4--,the birth of ,mary4 #dj4 ,in the western lunette4--,joseph receiving the rod which marks him the successful suitor for ,mary's hand1 and taking her as his bride-elect4 #da4 ,in the vault4--,to the east1 ,mary held in the arms of ,s4 ,joachim1 receiving the blessing of three priests seated at a banquet2 to the west1 the child ,mary caressed by her parents4 ,this scene shows much feeling4 #db4 ,on the soffit of the transverse arch4--,to the east1 ,mary taking her first seven steps ,greek3 h heptabmatizousa2 to the west1 the high priest praying before the rods1 one of which1 by blossoming1 will designate the future husband of ,mary4 #dc4 ,on the eastern wall1 to the north of the main entrance into the church4--,the ,apostle ,peter with the keys in his hand4 ,the ,third ,bay #dd4 ,in the lunette over the main entrance to the church4--,theodore ,metochites on his knees offering the church to ,christ seated on a throne4 ,the legend ,greek3 ho kttr logothets tou gennikou ,theodros ho ,metochits4#edd ,illustration3 ,,plate ,,xci4 ,sebah and ,joaillier4 7#a7 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,mosaic ,,representing ,,the ,,registration ,,of ,,joseph ,,and ,,mary ,,at ,,bethlehem4 ,sebah and ,joaillier4 7#b7 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,mosaic ,,representing ,,theodore ,,metochites ,,offering ,,the ,,church ,,to ,,christ4 ,to face page #cbf4 #de4 ,in the western lunette4--,mary receiving purple and scarlet wool to weave in the veil of the temple4 #df4 ,in the vault4--,on the east1 ,mary admitted to the ,holy of ,holies when three years of age1 lest she should go back to the world2 on the west1 the procession of maidens escorting ,mary to the temple4 #dg4 ,the third transverse arch4--,to the east1 ,mary in the temple receiving bread from the archangel ,gabriel2 to the west1 ,mary in the temple receiving instruction4 #dh4 ,on the eastern wall1 to the south side of the main entrance to the church4--,the ,apostle ,paul4 ,illustration3 ,,fig4 #aae4--,,model ,,of ,,the ,,church ,,of ,s4 ,,saviour ,,in ,,the ,,chora4 ,the scenes represented on these mosaics are not peculiar to this church1 but are a selection from cycles of subjects which from the eleventh century became favourite themes for pictorial treatment on the walls of important churches in the ,byzantine world4 ,several of these scenes are found portrayed also at ,daphni1 ,mistra1 ,s4 ,sophia at ,kiev1 in the churches of ,mt4 ,athos1 on diptychs and manuscripts1#ede as well as in the chapel of the arena at ,padua4 ,the cycle of subjects taken from the life of ,mary was developed mainly in ,syria1 and ,schmitt#edf goes so far as to maintain that the mosaics of the ,chora are copies of ,syrian mosaics executed by a ,syrian artist1 when the church was restored in the ninth century by ,michael ,syncellus1 who1 it will be remembered1 came from ,syria4 ,kondakoff assigns most of the mosaics to the ,comnenian restoration of the church by ,maria ,ducaena in the eleventh or twelfth century4 ,one of them at least1 the ,desis1 has survived2 and there may be others of that period1 for1 as that mosaic proves1 the narthex of the church was decorated when the church was restored by that benefactress of the ,chora4 ,but the testimony of ,nicephorus ,gregoras1#edg of ,theodore ,metochites1#edh and the date marked on the scene representing the miracle of the wine at ,cana1 on the right of the figure of ,christ over the door leading from the outer to the inner narthex1 prove these mosaics to be as a whole the production of the fourteenth century4 ,and this conclusion is confirmed by their unlikeness to mosaic work in the twelfth century1 and by their affinity to other work of the same character done in the fourteenth century4#edi ,in fact1 the mosaics in the ,chora represent a remarkable revival in the history of ,byzantine art4 ,they are characterised by a comparative freedom from tradition1 by closer approximation to reality and nature1 by a charm and a sympathetic quality1 and by a scheme of colour that indicate the coming of a new age and spirit4 ,curiously enough1 they are contemporary with the frescoes of ,giotto at ,padua 7#acjc-acjf74 ,but whatever points of similarity may be detected between them and the work of the ,italian artist1 or between them and the ,italian school before ,giotto1 should be explained as due to a common stock of traditions and to the simultaneous awakening of a new intellectual and artistic life in the ,east and the ,west1 rather than to any direct influence of one school of art upon another4 ,the mosaics of the ,chora are thoroughly ,byzantine4#eej ,the ,frescoes in the ,parecclesion3-- #a4 ,round the apse3 ,six ,fathers of the ,church 7only one figure remains1 and that badly damaged4 ,no names are inscribed74 #b4 ,in the vault of the apse3 a full-length figure of ,christ in a vesica dotted with stars4 ,on either side are groups of figures4 #c4 ,in the crown of the apse-arch3 an angel in a medallion4 #d4 ,in the northern wall1 next the apse3 ,christ with two attendants2 in the background a walled city4 ,the ,eastern ,bay4 ,on the northern wall3 #e4 ,above the arched recess3 two medallion heads of ,,ss4 ,sergius and ,bacchus4 #f4 ,portions of the figure of a warrior4 #g4 ,in the arch above ,nos4 #e and #f3 the ,gate of ,paradise4 #h4 ,in the centre1 one of the cherubims on a pillar4 ,on the left hand1 a multitude1 painted on black background outside ,paradise2 on the right1 ,paradise1 a garden full of trees on a white background4 ,here also are ,john the ,baptist and a figure1 probably the ,virgin and ,child1 on a throne1 attended by two angels4 ,illustration3 ,,fig4 #aaf4--,,plan ,,of ,,the ,,parecclesion1 ,,indicating ,,positions ,,of ,,its ,,frescoes4 ,on the southern wall3 #h4 ,a portion of the figure of an armed angel4 ,above ,no4 #h and at the side of the window3 #i4 ,two men carrying a bier or platform4 ,in front of them a third person giving directions4 #aj4 ,in the arched recess3 full-length figures of ,andronicus ,,ii4 and his family4 ,in the soffit of the arch1 the head of ,christ in a medallion1 with rays issuing from behind the aureola4 #aa4 and #ab4 ,in the spandrils above the recess3 two heads in medallions4 #ac4 ,in the dome vault3 the ,last ,judgment4 ,christ in judgment fills the centre2 behind ,him are the twenty-four elders seated on a long throne2 farther back is gathered the heavenly host4 ,illustration3 ,,plate ,,xcii4 ,s4 ,,saviour ,,in ,,the ,,chora4 ,,archivolt ,,on ,,the ,,south ,,wall ,,of ,,the ,,parecclesion1 ,,with ,,the ,,epitaph ,,in ,,honour ,,of ,,tornikes4 ,to face page #ccj4 #ad4 ,on the north-eastern pendentive3 the ,virgin and ,child in a ,paradise1 with trees on a white background4 #ae4 ,on the south-eastern pendentive3 the ,mouth of ,hell4 #af4 ,on the south pilaster of the dome3 an armed angel4 #ag4 ,above that angel1 on the arch3 a man bearing the ,seven-,branched ,candlestick1 and beside him another man bearing with both hands some object above his head1 perhaps the ,table of ,shew ,bread4 #ah4 ,on the northern pilaster3 a warrior4 #ai4 ,in the centre of the arch3 the ,head of ,christ in a medallion4 ,the ,western ,bay4 #bj4 ,at the south-western corner where the wall is much damaged1 a saint4 #ba4 ,above ,no4 #bj1 to the west of the window3 ,christ appearing to ,his disciples4 #bb4 ,to the east of the window1 an indistinct scene1 perhaps the ,entombment4 #bc4 ,at the north-western corner3 ,s4 ,samona4 #bd4 ,a saint1 not named4 #be4 ,over the door two saints1 one of whom holds a cross4 #bf4 ,the northern archway3 ,in the centre is the door to the narrow passage between the parecclesion and the church4 ,to the left1 ,jacob's ,ladder2 to the right1 ,moses at the ,burning ,bush4 ,in the bush is a medallion of the ,virgin and ,child1 and from the bush an angel addresses ,moses1 who holds his veil in his hand4 #bg1 #bh1 #bi1 #cj4 ,in the pendentives of the dome3 the ,four ,evangelists sitting at desks4 #ca4 ,the dome is divided into twelve segments by ribs1 and is pierced by twelve windows4 ,above each window is an angel holding a spear1 and below him is the legend ',holy4' ,in the crown are the ,virgin and ,child in a medallion4 #cb4 ,a saint holding a small cross2 below1 in the south wall1 the archivolt with the epitaph to ,tornikes above it4 #cc4 ,a warrior saint with his sword and shield4 #cd4 ,above ,nos4 #cb and #cc on the arch1 a figure1 clad in a white mantle and blue robe with a scroll in his hand1 points to an angel1 who holds his drawn sword in the right hand and the scabbard in the left hand1 and seems to be attacking several persons in the right-hand corner4 ,behind him is a walled and fortified city1 probably ,jericho4 #ce4 ,on the north wall3 ,s4 ,eutadius4 #cf4 ,the ,adoration by the magi4 #cg1 #ch4 ,on the west wall3 the figures of two saints1 not named4 ,epitaph in honour of ,tornikes3-- ,greek3 hosous an hathroizoi tis enthade krotous nekrous ho tapheis exelenxei ,torniks1 ho tris aristeus konstaulos megas1 hsper mimous1 beltiste1 pithkous leon4 hos1 basilikn apotechtheis haimatn1 #e pareschen autois prosphy kai ton tropon4 poion gar ouk n arets eidos phern1 hs ho prepn hekaston eztei chronos8 boulphoros d' oun1 kai pro ts hlikias kai dmaggos1 kai krits n anchinous4 #aj kai pros men echthrous taktikn epnei phloga1 keraunos n aphyktos autois athroois1 t de stratia patriks epestatei1 phrourn ta koina1 m klap to sympheron4 kdous de tychn eugenous kai kosmiou #ae kai basilikon proslabn authis genos kai lampron hypodeigma pareis ton bion1 keitai monasts eutels en osteois4 hlie kai g kai teleutaioi krotoi4 penthei de mikrou pan to ,rhmain genos1 #bj hoson per auton agnooun ou tynchanei4 all' mone1 zn kai methistn tas physeis1 ei pou ti kai peprachen aut m prepon lysin paraschn tn ,eden klron didou4 ,in line #g the inscription reads 99,greek3 phcrn99 instead of ,greek3 phern2 in line #bc 99,greek3 propon99 for ,greek3 prepon4 ,good ,friend6 ,however many dead applauses 7celebrities7 ,one may collect here1 ,the entombed ,tornikes1 who was thrice a foremost man or ,grand ,constable1 ,will put them to shame as a lion will put to shame mimicking apes4 ,he who was by birth of royal blood1 ,presented also a manner of life conformed to that descent4 ,for what form of virtue did he not possess ,such as the fitting occasion demanded each8 ,therefore he was a councillor before the usual age1 ,and a popular leader and an acute judge1 ,and upon enemies he breathed a strategic flame 7such as military rules required71 ,and was an irresistible thunderbolt upon their serried ranks4 ,he presided over the army like a father1 ,guarding the commonweal lest any advantage to it should be stolen4 ,contracting a highly-born and seemly marriage connection1 ,and securing thus again royal affinity1#eea ,and leaving his life as a splendid example1 ,he lies a poor monk among bones6 ,o sun1 ,o earth1 ,o final applauses6 ,well-nigh the whole ,roman race laments him1 ,as much of it as is not ignorant of him4 ,but ,o only living ,one and transformer of natures1 ,if perchance he did aught that was not fitting for him1 ,granting him pardon1 give him ,eden as his inheritance4#eeb #edb ,diehl1 tudes byzantines3 ,les mosaques de ,kahri ,djami4 #edc ,an ,english translation of the ,protoevangelium is found in the ,ante-,nicene ,christian ,library1 vol4 xvi4 #edd ,the remarkable head-dress he wears was given him as a special distinction by the ,emperor ,andronicus ,,ii4 ,palaeologus4 ,the poet ,philes 7ode #da in the appendix to vol4 ii4 of his works1 lines #aag-ai7 says ,greek3 phorounta chrysn erythran tn kalyptran hn dron aut synanechonti kratos ,anax ho lampros ,andronikos paresche4 #ede ,a work reproducing1 under the ,pope's authority1 the eighty-two miniatures illustrating the ,life of the ,madonna1 which was composed by a monk ,james in the twelfth century 7,cod4 ,vatic4 ,gr4 #aafb71 is announced 7,danesi1 ,editore1 ,roma1 #aiaa71 with a preface and descriptions of the miniatures by ,cosimo ,stornajolo4 ,the miniatures are said to rival those of the ,greek ,codex #ajbh in the ,national ,library in ,paris4 #edf ,op4 cit4 pp4 #acd-da4 #edg i4 p4 #cjc4 #edh ,carmina 7ed4 ,treu71 ,a4 #ajjd1 #ajci-ajdb2 ,b4 #cbb-ccd4 #edi ,diehl1 tudes byzantines3 ,les mosaques de ,kahri ,djami4 #eej ,see on the whole subject1 ,c4 ,diehl1 in the ,gazette des ,beaux-,arts1 troisime priode1 tome #cc1 and in his ,manuel d'art byzantin1 pp4 #gcb-da2 ,schmitt in his monograph on the ,chora2 ,mhlmann1 ,archiv fr christliche ,kunst1 #ahhf-hg4 #eea ,alludes to his marriage with a relative of the imperial family4 #eeb ,in the translation ,i have been assisted by ,sir ,w4 ,m4 ,ramsay1 ,professor ,bury1 and ,mr4 ,e4 ,m4 ,antoniadi4 ,the meaning of ,greek3 teleutaioi krotoi is not clear4 ,various interpretations have been suggested2 to read ,greek3 brotoi1 mortals1 instead of ,greek3 krotoi1 and to construe ,greek3 teleutaioi adverbially1 'finally1 ,o mortals6'2 to understand a reference to the judgment day1 ',o applauses given at the final judgment'2 to take the phrase as equivalent to1 ',o celebrities at 7or to7 the very end of time'2 to understand it as signifying the eulogies actually given to the deceased by the poet4 ,professor ,tends1 of ,athens1 whom ,i thank for his courtesy in this connection1 suggests that the meaning is similar to that of the phrase ,greek3 ta teleutaia in the modern ,greek form of eulogy1 ,greek3 ekame polla1 alla ta teleutaia tou4444 ',he did many things1 but his last performances6' 7surpassed all his previous deeds74 ,here the meaning would therefore be1 ',o grandest achievements that men praise6' ,,chapter ,,xxv ,,the ,,dating ,,and ,,the ,,classification ,,of ,,the ,,churches ,the dating of the ,constantinople churches is a problem of great difficulty1 and1 in the absence of documentary evidence1 we must often be contented with very indefinite suggestions4 ,many churches are known to have been founded at dates which are evidently earlier than the existing buildings1 and have apparently been rebuilt at some later date of which the record has been lost4 ,other churches are known to have been 'repaired1' and here the question of how far 'repair' means 'rebuilding' is sometimes insoluble4 ,repair may mean simply a fresh coat of paint4 ,the architectural characteristics afford a certain clue1 and the following chronological scheme has been drawn up by their guidance3-- ,the pre-,justinian period is characterised by simple construction and detail of a late ,roman type4 ,of this we have one example--the basilica of ,s4 ,john of the ,studion1 founded about #dfc4 ,the existing building appears to be original4 ,the ,justinian period commences with the beginning of the sixth century4 ,it is characterised by the development of the drumless dome on pendentives4 ,the plan is complicated1 and the buildings are large in comparison with those of later date4 ,to this period belong ,,ss4 ,sergius and ,bacchus 7#ebg ,a4,d471 the baptistery of ,s4 ,sophia1 and the ',great ,church' of ,s4 ,sophia itself4 ,s4 ,andrew in ,krisei and ,s4 ,saviour in the ,chora probably date from this period4 ,the carved detail of the former closely resembles that of ,,ss4 ,sergius and ,bacchus1 and the plan of the latter connects it with ,s4 ,sophia1 ,salonica 7sixth century74 ,the ,justinian period roughly includes the seventh century1 and is followed by a long decline1 marked by the great iconoclastic controversy which lasted almost until the middle of the ninth century4 ,to this period belongs ,s4 ,irene 7#gdj ,a4,d474 ,in plan it is a double-domed cross church4 ,in the arrangement of the dome-arches and galleries it resembles ,s4 ,theodosia1 whilst in the presence of a western gallery over the narthex and in the number of columns in the 'nave arcade' it is like ,s4 ,sophia4 ,the accession of ,basil the ,macedonian 7#hfg ,a4,d47 marks the beginning of the second great period--the ',basilian ,renaissance4' ,we know that this was a period of great religious activity1 and though we have1 unfortunately1 no known dates to guide us1 the development of plan leads us to place a group of churches in the ninth1 tenth1 and eleventh centuries4 ,these are ,s4 ,mary ,pammakaristos1 ,s4 ,mary ,panachrantos1 ,s4 ,theodosia1 ,s4 ,mary ,diaconissa1 and ,,ss4 ,peter and ,mark4 ,they are all churches of considerable size2 ,s4 ,mary ,diaconissa and ,s4 ,theodosia being indeed large4 ,they are characterised by the use of the ambulatory and domed cross plans4 ,the carving is coarse and the capitals are of the clumsy ,byzantine ,corinthian type4 ,the dome is raised on a high drum in ,s4 ,mary ,pammakaristos and ,s4 ,mary ,panachrantos1 though this may be a later addition4 ,the domes of the other three churches seem to be ,turkish4 ,s4 ,mary ,pammakaristos and the south church in ,s4 ,mary ,panachrantos are identical in plan with ,s4 ,andrew in ,krisei1 and it would be possible to date them earlier had we any evidence whatsoever4 ,unfortunately both have been very much altered4 ,s4 ,theodosia1 ,s4 ,mary ,diaconissa1 and ,,ss4 ,peter and ,mark1 taken in this order1 form a series showing the gradual disappearance of the galleries and the evolution of the domed cross church into the 'four columned' church of the next period4 ,the ,myrelaion 7#iai-ide71 if the present church is of that date1 is an unusually early example of this four-columned type4 ,it is generally considered that this plan type dates at the earliest from the eleventh century4 ,there is1 however1 no reason to believe that the church was rebuilt later2 it is a perfectly normal example of its class1 and nowhere is an early example more probable than in ,constantinople4 ,the ,myrelaion may accordingly be taken as marking the commencement of the late ,byzantine period in ,constantinople4 ,the churches are now smaller2 the gynecaeum1 where present1 is placed over the narthex2 the use of patterning in the brickwork of the exterior1 which occurs in some of the ,basilian churches 7e4g4 the cornice of ,s4 ,theodosia71 now becomes important1 and alternate coursing in brick and stone is used with great effect4 ,from this time onwards narthexes were frequently added to the existing churches4 ,s4 ,saviour ,pantokrator 7#aaah-aadc ,a4,d47 is the largest late church in ,constantinople1 and is an unusually large church of its type4 ,s4 ,saviour ,pantepoptes 7#ajha-aaah71 ,s4 ,theodore1 and ,s4 ,john in ,trullo1 belong to the same class4 ,the last1 with its circular dome and apse1 is probably the latest of the three4 ,s4 ,thekla 7#ajeg-ajei7 and ,bogdan ,serai are examples of hall churches of the same period4 ,the monastery of ,manuel was founded in #hbi-hdb ,a4,d41 but the building believed to be the refectory is probably much later4 ,as part of the monastery it might1 of course1 have been built at any date subsequent to the foundation of the ,house4 ,the architecture of the ,sanjakdar does not correspond to the date of the foundation of the monastery of the ,gastria in the ninth century4 ,the building is certainly of late date1 subsequent to the eleventh century4 ,of the ,balaban ,mesjedi it is impossible to say anything4 ,it is the remnant of some ,byzantine structure4 ,from #abjd to #abfa1 during the ,latin ,empire1 we need not look for much building in the ,greek ,church4 ,soon after the fall of that empire comes the erection of ,s4 ,mary of the ,mongols 7#abfa-abhb7 and ,monastir ,jamissi 7#abhb-acbh74 ,in both cases the architectural character is what we should expect4 ,following on this we have1 in the fourteenth century1 the alterations made in ,s4 ,saviour in the ,chora 7c4 #acjj71 and the parecclesion of the ,pammakaristos 7c4 #acae74 ,this was the last effort of pure ,byzantine architecture in ,constantinople4 ,during the hundred years preceding the ,turkish conquest in #adec the gradually increasing pressure from the ,east put a stop to all architectural schemes2 the craftsmen and artists fled to ,italy1 and there took their part in the great revival known as ',the ,renaissance4' ,,suggested ,,chronological ,,table ,century4 ,v4 ,s4 ,john of the ,studion1 #dfc4 ,,vi4 ,,ss4 ,sergius and ,bacchus1 #ebg-cf4 ,s4 ,sophia1 #ecb-cg4 ,s4 ,saviour in the ,chora 7the ,justinian foundation74 ,s4 ,andrew in ,krisei4 ,,viii4 ,s4 ,irene1 #gdj4 ,s4 ,mary ,panachrantos 7,south ,church72 possibly earlier4 ,s4 ,mary ,pammakaristos2 possibly earlier4 ,,ix4 ,s4 ,theodosia4 ,s4 ,mary ,diaconissa4 ,,ss4 ,peter and ,mark4 ,x4 ,the ,myrelaion4 ,s4 ,mary ,panachrantos 7,south ,church74 ,,xi4 ,s4 ,thekla4 ,s4 ,saviour in the ,chora 7restoration in the reign of ,alexius ,i4 ,comnenus74 ,s4 ,saviour ,pantepoptes4 ,s4 ,saviour ,pantokrator4 ,,xii4 ,s4 ,theodore4 ,s4 ,john in ,trullo4 ,refectory of the monastery of ,manuel8 ,bogdan ,serai8 ,,xiii4 ,s4 ,mary of the ,mongols4 ,monastir ,jamissi4 ,,xiv4 ,s4 ,saviour in the ,chora1 #acjf4 ,final restoration by ,theodore ,metochites4 ,parecclesion of the church of ,s4 ,mary ,pammakaristos1 c4 #acae4 ,sanjakdar ,mesjedi 7,gastria78 ,balaban ,mesjedi8 ,,classification ,,of ,,the ,,churches ,,according ,,to ,,their ,,type ,basilica4--,s4 ,john of the ,studion4 ,octagon4--,,ss4 ,sergius and ,bacchus4 ,domed ,basilica4--,s4 ,saviour in the ,chora4 ,ambulatory4--,s4 ,andrew in ,krisei2 ,s4 ,mary ,panachrantos 7,south ,church72 ,s4 ,mary ,pammakaristos4 ,domed ,cross ,church4--,s4 ,irene2 ,s4 ,theodosia2 ,s4 ,mary ,diaconissa2 ,,ss4 ,peter and ,mark4 ,four ,column ,church4--,myrelaion2 ,s4 ,saviour ,pantepoptes2 ,s4 ,saviour ,pantokrator2 ,s4 ,john in ,trullo2 ,s4 ,mary ,panachrantos 7,north ,church72 ,parecclesion of ,s4 ,mary ,pammakaristos4 ,foiled ,plan4--,s4 ,mary of the ,mongols4 ,halls4--,bogdan ,serai2 ,central ,church of the ,pantokrator2 ,monastir ,mesjedi2 ,refectory of the monastery of ,manuel2 ,parecclesion of ,s4 ,saviour in the ,chora2 ,s4 ,thekla4 ,irregular4--,sanjakdar ,mesjedi2 ,balaban ,mesjedi4 ,,books ,,consulted ,,in ,,the ,,preparation ,,of ,,this ,,work ,ante-,nicene ,christian ,library4 ,anthologia ,graeca epigrammatum1 ,stadt-,mueller1 #ahid4 ,,antoniadi1 ,e4 ,m4 ,greek3 ,ekphrasis ts ,hagias ,sophias4 ,,banduri1 ,,anselmi4 ,imperium ,orientale1 sive ,antiquitates ,constantinopolitanae4 ,paris1 #agaa4 ,,baronius4 ,annales ecclesiastici4 ,luccae1 #agda4 ,,belin1 ,m4 ,a4 ,histoire de la ,latinit de ,constantinople4 #bme dition4 ,,bell1 ,miss ,,lothian4 ,notes on a ,journey through ,cilicia and ,lycaonia4 ,,bondelmontius4 ,librum insularum ,archipelagi4 ,,brockhaus4 ,die ,kunst in den ,athosklstern4 ,leipzig1 #ahia4 ,,brunn1 ,,ph4 ,constantinople1 ses sanctuaires et ses rliques au commencement du ,,xv sicle4 ,odessa1 #ahhc4 ,,butler4 ,architecture and other ,arts1 ,,ii4 ,syria4 ,new ,york1 #aijc4 ,,chevalier1 ,j4 ,b4 ,voyage de la ,propontide et du ,pont-,euxin4 ,paris1 #ahjj4 ,,choisy4 ,l',art de btir chez les ,byzantins4 ,paris1 #ahhc4 ,,choiseul-,,gouffier4 ,voyage pittoresque en ,grce4 ,,clavijo1 ,,ruy ,,gonzalez ,,de4 ,vida de ,gran ,tamorlan y itinerario4 ,madrid1 #aghb4 ,,constantius1 ,patriarch4 ,greek3 ,konstantinias ,palaia te kai ,netera1 ,ancient and ,modern ,constantinople1 ,translation by ,j4 ,p4 ,brown4 ,london1 #ahfh2 ,greek3 ,syngraphai hai ,elassones4 ,knstantinoupolis1 #ahff4 ,corpus ,scriptorum ,historiae ,byzantinae4 ,bonn4 ,,crusius1 ,m4 ,turcograecia4 ,,dehio und ,bezold4 ,die kirchliche ,baukunst des ,abendlandes4 ,,dethier1 ,,ph4 ,a4 ,sige de ,constantinople4 ,,didron4 ,christian ,iconography 7,translation from the ,french74 ,london1 #aiaj4 ,,diehl1 ,c4 ,manuel d'art byzantin2 ,figures byzantines4 ,,du ,,cange1 ,c4 ,historia ,byzantina1 ,pars ,,ii4 ,constantinopolis ,christiana4 ,paris1 #afhj4poss4 typo for #ahfj8 ,d,,rm4 ,handbuch4 ,eastern ,palestine ,memoirs4 ,,ebersolt4 ,le ,grand ,palais de ,constantinople4 ,,fergusson1 ,,james4 ,history of ,ancient and ,mediaeval ,architecture4 ,,finlay1 ,g4 ,history of the ,byzantine ,empire4 ,,freshfield1 ,,edwin4 ,archaeologia4 ,,gardner1 ,,miss ,,alice4 ,theodore of ,studium4 ,,gerlach4 ,tagebuch der ,gesandtshaft an die ,ottomanische ,pforte durch ,david ,ungnad1 #aegc-gh4 ,,goodyear1 ,w4 ,h4 ,catalogue of an ,exhibition of ,architectural ,refinements4 ,edinburgh1 #aije4 ,,gyllius1 ,p4 ,de ,constantinopoleos ,topographia4 ,elzevir ed4 #afcb4 ,de ,bosporo ,thracio4 ,elzevir ed4 #afcb4 ,,hasluck1 ,f4 ,w4 ,bithynica4 ,,henderson1 ,a4 ,e4 ,builder1 ,january #aijf4 ,,kanitz4 ,serbiens byzantinische ,monumente4 ,,khitrovo1 ,madame de4 ,itinraires russes 7,translation from ,russian74 ,,labarte1 ,,jules4 ,le ,palais imprial de ,constantinople4 ,,lampakis1 ,professor4 ,les ,antiquits chrtiennes de la ,grce4 ,athens1 #aijb4 ,,lenoir4 ,architecture monastique au moyen ge4 ,,lethaby4 ,mediaeval ,art4 ,,lethaby and ,swainson4 ,sancta ,sophia4 ,,leunclavius4 ,pandectes historiae ,turcicae4 7,migne1 vol4 clix47 ,,mansi4 ,sacrorum ,conciliorum collectio4 ,,marin1 ,abb4 ,les ,moines de ,constantinople4 ,,migne4 ,patrologia ,graeca4 ,,miklosich et ,m,,ller4 ,acta et diplomata ,graeca4 ,vienna1 #ahfe4 ,,millingen1 ,a4 ,,van4 ,byzantine ,constantinople4 ,,mordtmann4 ,esquisse topographique de ,constantinople4 ,m,,hlmann4 ,archiv fr christliche ,kunst1 #ahhf-hg4 ,,muralt1 ,,douard ,,de4 ,essai de chronographie byzantine4 ,geneva1 #ahgc4 ,,notitia ,,dignitatum4 ,ed4 ,seeck4 ,,pargoire1 ,pre ,j4 ,les ,mamas de ,constantinople4 ,,parker4 ,glossary of ,architecture4 ,,paspates1 ,a4 ,greek3 ,meletai ,byzantinai4 ,the ,great ,palace4 ,translation from the ,greek by ,mr4 ,metcalfe4 ,,philes4 ,carmina4 ,,pulgher1 ,d4 ,les glises byzantines de ,constantinople4 ,vienna1 #ahgh4 ,,ramsay1 ,sir ,william1 and ,miss ,lothian ,bell4 ,the ,thousand and ,one ,churches4 ,,riant1 ,conte de4 ,exuviae sacrae4 ,,rivoira1 ,t4 ,g4 ,lombardic ,architecture4 7,translation from ,italian47 ,london1 #aiaj4 ,,rott1 ,h4 ,kleinasiatische ,denkmler4 ,leipzig1 #aijh4 ,,salzenberg4 ,altchristliche ,baudenkmler ,constantinopels4 ,,scarlatus ,,byzantius4 ,greek3 ,h ,knstantinoupolis4 ,athens1 #ahfb4 ,,schlumberger1 ,g4 ,l'pope byzantine la fin du sixime sicle4 ,,schmitt1 ,f4 ,g4 ,kahri ,djamissi4 ,,schultz and ,barnsley4 ,the ,monastery of ,s4 ,luke of ,stiris4 ,london1 #aija4 ,,schweigger1 ,,solomon4 ,ein neue ,reyssbeschreibung auss ,deutschland nach ,constantinopel1 #aeha4 ,,siderides4 ,articles in the ,proceedings of the ,greek ,syllogos of ,constantinople4 ,,socrates4 ,ecclesiastical ,history4 ,,strzygowski1 ,j4 ,orient oder ,rom4 ,leipzig1 #aija4 ,kleinasien1 ,die byzantinischen ,wasserbehlter von4 ,dr4 ,p4 ,forcheimer and ,dr4 ,j4 ,strzygowski4 ,,texier4 ,four volumes of ,sketches in the ,library of the ,royal ,institute of ,british ,architects4 ,london4 ,,texier ,,and ,,pullan4 ,byzantine ,architecture4 ,,uspenski1 ,t4 ,articles in the ,journal of the ,russian ,institute at ,constantinople4 ,,villehardouin4 ,la ,conqute de ,constantinople4 ,,vog ,,de4 ,la ,syrie centrale4 ,,wulff1 ,o4 ,die ,koimisiskirche in ,nikaia4 ,strasburg1 #aijc4 ,,periodicals ,atti della ,r4 ,accademia di archeologia1 lettere1 e belle arte1 vol4 xx4 ,napoli1 #aijj4 ,revue ,archologique4 ,byzantinische ,zeitschrift4 ,bulletin de correspondance hellnique4 ,annual of the ,british ,school at ,athens4 ,proceedings of the ,greek ,syllogos of ,constantinople4 ,mitteilungen des ,deutschen ,excursions-,club1 ,konstantinopel4 ,english ,historical ,review4 ,,list ,,of ,,emperors ,constantine ,i4 the ,great #cjf-ccg ,constantius ,,ii4 #ccg-cfa ,julian #cfa-cfc ,jovian #cfc-cfd ,valens #cfd-cgh ,theodosius ,i4 the ,great #cgh-cie ,arcadius #cie-djh ,theodosius ,,ii4 #djh-dej ,marcian #dej-deg ,leo ,i4 #deg-dgd ,leo ,,ii4 #dgd-dgd ,zeno #dgd-dia ,anastasius ,i4 #dia-eah ,justin ,i4 #eah-ebg ,justinian ,i4 the ,great #ebg-efe ,justin ,,ii4 #efe-egh ,tiberius #egh-ehb ,maurice #ehb-fjb ,phocas #fjb-faj ,heraclius #faj-fda ,heraclius ,constantine ,,iii4 and ,heracleonas #fda-fdb ,constans ,,ii4 #fdb-ffh ,constantine ,,iv4 #ffh-fhe ,justinian ,,ii4 #fhe-fie ,leontius #fie-fig ,tiberius ,,iii4 #fig-gje ,justinian ,,ii4 7restored7 #gje-gaa ,philippicus #gaa-gac ,anastasius ,,ii4 #gac-gae ,theodosius ,,iii4 #gae-gag ,leo ,,iii4 the ,isaurian #gag-gdj ,constantine ,v4 ,copronymus #gdj-gge ,leo ,,iv4 #gge-ggi ,constantine ,,vi4 #ggi-gig ,irene #gig-hjb ,nicephorus ,i4 #hjb-haa ,stauracius #haa ,michael ,i4 ,rhangabe #haa-hac ,leo ,v4 the ,armenian #hac-hbj ,michael ,,ii4 the ,amorian #hbj-hbi ,theophilus #hbi-hdb ,michael ,,iii4 #hdb-hfg ,basil ,i4 #hfg-hhf ,leo ,,vi4 the ,wise #hhf-iab ,constantine ,,vii4 ,porphyrogenitus #iab-ieh ,co-,emperors ,alexander #iab-iac ,romanus ,i4 ,lecapenus #iai-ide ,constantine ,,viii4 and ,stephanus1 sons of ,romanus ,i4 reigned five weeks in #idd ,romanus ,,ii4 #ieh-ifc ,basil ,,ii4 ,bulgaroktonos #ifc-ajbe ,co-,emperors ,nicephorus ,,ii4 ,phocas #ife-ifi ,john ,i4 ,zimisces #ifi-igf ,constantine ,,ix4 #igf-ajbe ,constantine ,,ix4 7sole ,emperor7 #ajbe-ajbh ,romanus ,,iii4 ,argyrus #ajbh-ajcd ,michael ,,iv4 #ajcd-ajdb ,michael ,v4 #ajdb ,zoe and ,theodora #ajdb ,constantine ,x4 ,monomachus #ajdb-ajed ,theodora 7restored7 #ajed-ajef ,michael ,,vi4 ,stratioticus #ajef-ajeg ,isaac ,i4 ,comnenus #ajeg-ajei ,constantine ,,xi4 ,ducas #ajei-ajfg ,michael ,,vii4 ,ducas #ajfg-ajgh ,co-,emperor ,romanus ,,iv4 ,diogenes #ajfg-ajgh ,nicephorus ,,iii4 ,botoniates #ajgh-ajha ,alexius ,i4 ,comnenus #ajha-aaah ,john ,,ii4 ,comnenus #aaah-aadc ,manuel ,i4 ,comnenus #aadc-aahj ,alexius ,,ii4 ,comnenus #aahj-aahc ,andronicus ,i4 ,comnenus #aahc-aahe ,isaac ,,ii4 ,angelus #aahe-aaie ,alexius ,,iii4 ,angelus #aaie-abjc ,isaac ,,ii4 ,angelus 7restored71 ,alexius ,,iv4 ,angelus #abjc-abjd ,nicolas ,canabus #abjd ,alexius ,v4 ,ducas ,murtzuphlus #abjd ,,latin ,,emperors ,,of ,,constantinople ,baldwin ,i4 #abjd-abje ,henry #abje-abaf ,peter #abag-abai ,robert #abai-abbh ,john of ,brienne #abbh-abcg ,baldwin ,,ii4 #abbg-acfa ,,byzantine ,,emperors ,,at ,,nicaea ,theodore ,i4 ,lascaris #abjd-abbb ,john ,,iii4 ,ducas #abbb-abed ,theodore ,,ii4 ,ducas #abed-abei ,john ,,iv4 ,ducas #abei-abfj ,,under ,,the ,,restored ,,byzantine ,,empire ,michael ,,viii4 ,palaeologus #abfj-abhb ,andronicus ,,ii4 ,palaeologus #abhb-acbh ,co-,emperor ,michael ,,ix4 #abie-acbj ,andronicus ,,iii4 ,palaeologus #acbh-acda ,john ,v4 ,palaeologus #acda-acia ,co-,emperor ,john ,,vi4 ,cantacuzene #acda-acee ,manuel ,,ii4 ,palaeologus #acia-adbe ,john ,,vii4 ,palaeologus #adbe-addh ,constantine ,,xii4 ,palaeologus #addh-adec ,,index ,abaga1 #bgd ,achaia1 #bgc ,achilles1 ,abbot of the ,studion1 #dj ,achmed1 ,mongolian ,khan1 #bgd ,achmed ,pasha1 #bje ,achmed ,,iii41 ,sultan1 #bgf ,achrida1 #df ,acre1 #bbh ,acritas1 #ci ,adrianople4 ,see ,gate ,aecatherina1 ,empress1 #dg1 #aig1 #bie ,aetius4 ,see ,church1 ,cistern ,agapetus1 ,pope1 #ahd ,agatha1 #aig ,agathangelus1 #cjb ,agatho1 ,pope1 #fg ,aivan ,serai1 #aia1 #bjg1 #bjh1 #bji1 #bac ,akoimeti1 #cf1 #cg ,ak ,serai4 ,see ,forum of the ,bous ,alexander1 bath of1 #hh ,alexander1 ,patriarch1 #he1 #hf ,alexius1 ,patriarch1 #dc ,alexius ,strategopoulos1 #bbh ,ali ,atik ,mustapha ,pasha1 #cjd ,alsace1 #bbd1 #bbf ,alti ,mermer4 ,see ,exokionion ,anastasia1 daughter of ,emperor ,theophilus1 #bgj ,andrew of ,crete1 #ajh ,andronicus ,ducas1 #bie ,andronicus1 son of ,manuel ,,ii41 #bbi ,anemodoulion1 #bde ,anna ,comnena1 #adg ,anna ,dalassena1 #ach1 #aci1 #baa1 #bab1 #bie1 #big ,anna1 wife of ,andronicus ,,ii41 #ada ,anna of ,savoy1 wife of ,andronicus ,,iii41 #add1 #cjc ,anna1 wife of ,john ,,vii4 ,palaeologus1 #abh ,anna1 daughter of ,emperor ,theophilus1 #bgj ,anselm1 ,bishop of ,havalsberg1 #bbj ,anthemius1 #gd ,anthimus1 ,saint1 #bia1 #bid ,antioch1 #hf1 #bij ,antony1 ,patriarch1 #dc1 #fi ,apocaucus1 #add1 #ade ,aqueduct of ,valens1 #ahc1 #ahd4 ,arian1 ,arius1 #he1 #hf ,armenia1 ,armenian1 #aj1 #ci1 #beh1 #bfh ,arsenius1 ,patriarch1 #aaj1 #aaa1 #aab ,artavasdos1 #bic ,asia ,minor1 #a ,aspar4 ,see ,cistern ,athanasius1 ,patriarch1 #bcb ,athens1 #beh ,athos1 ,mount1 #aaf1 #ahe1 #bcj1 #beh1 #bij1 #cja1 #cjc1 #cbf ,avars1 #dh1 #bcb ,avret ,tash4 ,see ,column of ,arcadius ,axuch1 #bba ,azerbaijan1 #adh ,babylas1 ,saint1 #bhh1 #bid ,bactagius1 #bic ,baghdad1 #fi1 #bee1 #bgb ,bagtch ,kapoussi4 ,see ,gate of the ,neorion ,bajazet ,i41 ,sultan1 #dg ,bajazet ,,ii41 ,sultan1 #di1 #bgf1 #cjd4 ,see ,mosque ,balat1 #adh1 #bhj ,baldwin1 ,count1 #bad ,baloukli4 ,see ,peg ,baptistery of ,s4 ,sophia1 #b1 #gh1 #ccb ,bara1 monk1 #bhb ,bardas1 ,caesar1 #dd1 #bef1 #bgj ,basil1 ,saint1 #da ,belisarius1 #fg ,bertha1 wife of ,manuel ,i4 ,comnenus1 #bbb ,beshiktash1 #ajg ,bithynia1 #cj1 #hi1 #bid ,blachernae1 district of1 #ajf1 #afe1 #aia1 #aic1 #bji1 #baj1 #bac1 #bhb4 ,see ,palace ,black ,sea1 #bbh1 #bgb1 #cjj ,bogdan ,serai4 ,see ,church ,bonus1 #dh ,branas1 #cjc ,bucoleon4 ,see ,harbour1 ,palace ,buda1 #bhj ,bulgaria1 ,bulgarian1 #beg1 #bgb1 #bie1 #big ,byzantium1 #hd ,caesarea1 #bgc ,cana1 #cbg ,candidus1 #aib ,cantacuzene1 ,michael1 #bhj ,capelli1 #bbh ,carbounaria1 district of1 #bdd1 #bde ,cassandra1 #bcj ,chalcedon4 ,see ,council ,charabanda1 #bge ,charisius1 #bij1 #bia4 ,see ,gate ,choirosphacta1 #dd ,christoboulos1 #bgf ,christopher1 son of ,romanus ,i41 #aig ,chrysocameron1 #aii ,chrysostom1 ,s4 ,john1 #ia ,church1 ,chapel1 ,monastery1 of-- ,note4--,under this head the references indicate only the passages in which a church is mentioned outside the special chapter devoted to it4 ,s4 ,acacius1 #aii ,acritas1 #dj ,aetius1 #bee1 #bef1 #bei ,s4 ,anastasia ,pharmacolytria1 #bdc ,s4 ,anastasius1 #ahd ,s4 ,andrew the ,apostle1 #aji ,s4 ,andrew1 near the ,gate of ,saturninus1 #aji ,s4 ,andrew ',god-,intoxicated1' #aji ,s4 ,andrew in ,krisei1 #g1 #h1 #ae1 #cj1 #acj1 #aej1 #aea1 #ahf1 #ccb1 #ccc1 #cce1 #ccf ,s4 ,andrew ,strategos1 #aji ,s4 ,anthimus1 #bia1 #bid ,apostles1 ,holy1 #c1 #fd1 #ij1 #abc1 #abd1 #adf1 #adg1 #afh1 #age1 #agf1 #ahd1 #bai1 #bcc ,archangels1 ,syg1 #caf ,s4 ,aristina1 #ajf1 #aab ,balaban ,aga ,mesjedi1 #ccd1 #cce1 #ccf ,bogdan ,serai1 #aj1 #ae1 #bc1 #bg1 #bh1 #bja1 #bhb1 #ccd1 #cce1 #ccf ,bosra1 #gj ,cenopolis1 #hh ,crimean ,memorial ,church1 #bha ,s4 ,constantine1 #ce ,s4 ,constanza1 #a ,daudatus1 #ahc ,s4 ,demetrius1 ,salonica1 #cb1 #ec1 #ge1 #bbb ,s4 ,demetrius1 ,kanabou1 #adh1 #aia1 #aib1 #bje ,der ,aghsy1 #e ,dexiocrates1 #afe ,s4 ,diomed1 #aji ,s4 ,elias1 ,salonica1 #aj1 #aad1 #aaf ,etschmiadzin1 #aj ,euphrosyn1 ,libadia1 #bgj ,forty ,martyrs of ,sebast1 #bia1 #bid ,s4 ,fosca1 ,torcello1 #bdg ,gastria 7,sanjakdar ,mesjedi71 #aj1 #bd1 #bh1 #ajg1 #ccd1 #cce1 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,r4 ,,clark1 ,limited1 ,edinburgh4 ,transcriber's note3 99 is used around words to mark bold text4