,,sancta ,,sophia ,,constantinople 8,a work as they report surpassing every edifice in the world40 ,william of ,malmesbury4 8,the fairest church in all the world40 ,sir ,john ,mandeville4 8,a marvellous and costful temple1 clept ,st4 ,sophie40 ,capgrave's ,chronicle4 ,,the ,,church ,,of ,,sancta ,,sophia ,,constantinople ,a ,,study ,,of ,,byzantine ,,building ,,by ,w4 ,r4 ,,lethaby ,,harold ,,swainson ,illustration #ahid ,macmillan ,co4 ,london ,new ,york ,,richard ,,clay ,,and ,,sons1 ,,limited1 ,,london ,,and ,,bungay4 ,,preface ,sancta ,sophia is the most interesting building on the world's surface4 ,like ,karnak in ,egypt1 or the ,athenian ,parthenon1 it is one of the four great pinnacles of architecture1 but unlike them this is no ruin1 nor does it belong to a past world of constructive ideas although it precedes by seven hundred years the fourth culmination of the building art in ,chartres1 ,amiens1 or ,bourges1 and thus must ever stand as the supreme monument of the ,christian cycle4 ,far from being a ruin1 the church is one of the best preserved of so ancient monuments1 and in regard to its treatment by the ,turks we can only be grateful that ,s4 ,sophia has not been situated in the more learned cities of ,europe1 such as ,rome1 ,aachen1 or ,oxford1 during 8the period of revived interest in ecclesiastical antiquities40 ,our first object has been to attempt some disentanglement of the history of the ,church and an analysis of its design and construction2 on the one hand1 we have been led a step or two into the labyrinth of ,constantinopolitan topography1 on the other1 we have thought that the great ,church offers the best point of view for the observation of the ,byzantine theory of building4 ,it may be well for us to state how1 in the main1 we have shared our work4 ,the one of us--by the accident of the alphabet1 second named--has done the larger part of the reading and the whole of the translation required4 ,the first has undertaken more of the constructive side of the book and the whole of the illustrations4 ,we both visited ,constantinople1 and wish to thank ,canon ,curtis for help then and since4 ,mr4 ,ambrose ,poynter has read the proofs4 ,in our text we have thought it well to incorporate so far as possible the actual words of the writers to whom we have referred4 ,the dates when the more ancient authors wrote are given under their names in the index2 so are the years of the accession of the ,emperors mentioned in the text4 ,although we have made full use of ,salzenberg's great work in the preparation of some of our illustrations1 none are mere transcripts from his book4 ,in some instances where scales are given to details1 the scales are but rough approximations4 ,much remains to be observed at ,s4 ,sophia2 the ,baptistery1 the ,cisterns beneath the church1 and the ,circular ,building to the east are practically unknown1 and any fact noted in regard to them will almost certainly be new4 ,but it is still more important that building customs1 recipes1 and traditions should be recorded4 ,byzantine art still exists not only on ,mount ,athos but all over the once ,christian ,east--at ,damascus the builders are still ,christians1 and the ,greek masons of ,turkey1 ,m4 ,choisy says1 are still the faithful representatives of the builders of the ,lower ,empire1 and their present practice is a sure commentary on the ancient buildings4 ,a conviction of the necessity for finding the root of architecture once again in sound common-sense building and pleasurable craftsmanship remains as the final result of our study of ,s4 ,sophia1 that marvellous work1 where1 as has so well been said1 there is no part where the principles of rational construction are not applied with 8hardiesse0 and 8franchise0 ,in estimating so highly the ,byzantine method of building in its greatest example1 we see that its forms and results directly depended on then present circumstances1 and then ordinary materials4 ,it is evident that the style cannot be copied by our attempting to imitate ,byzantine builders2 only by being ourselves and free1 can our work be reasonable1 and if reasonable1 like theirs universal4 ,l',,art ,c',,est ,d',,tre ,,absolument ,,soi-,m,,me4 ,,contents ,,chapter ,i4 ,byzantium4 ,new ,rome1 ,the ,acropolis1 ,the ,augusteum4 ,first and ,second ,churches of ,s4 ,sophia4 page #a ,,chapter ,,ii4 ,justinian's ,church4 ,account of ,procopius4 ,fall of ,dome and ,restoration4 ,accounts of ,agathias and ,evagrius4 page #ba ,,chapter ,,iii4 ,the ,descriptive ,poem of ,paul the ,silentiary1 ,parts #a and #b4 page #ce ,,chapter ,,iv4 ,the ,silentiary's ,account1 ,part #c4 ,the ,ambo4 ,coronations in the ,ambo4 page #ec ,,chapter ,v4 ,main ,divisions4 ,bema4 ,altar4 ,ciborium4 ,crowns1 c4 ,altar ,veils4 ,iconostasis4 ,prothesis and ,diakonikon4 ,holy ,well and ,metatorion4 ,solea4 ,the ,nave and ,pavement4 ,font4 ,crosses4 ,miraculous ,marbles1 c4 ,water ,vessels4 ,images and ,tombs4 ,hangings4 ,carpets4 ,synods4 ,clergy and ,ritual4 ,adoration of the ,cross4 ,procession to the ,church4 page #ff ,,chapter ,,vi4 #a4 ,the ,true ,cross and ,relics of the ,passion4 ,other ,treasure4 ,accounts by ,russian ,pilgrims4 #b4 ,the ,lighting of the ,church4 page #ig ,,chapter ,,vii4 #a4 ,later ,history4 ,occupation of the ,church by the ,crusaders4 ,fall of ,constantinople4 #b4 ,the ,anonymous ,account of the ,church4 #c4 ,legends4 page #abb ,,chapter ,,viii4 ,fossati's ,reparations4 ,salzenberg's ,description of ,design1 ,materials1 ,construction1 and ,decoration4 page #adh ,,chapter ,,ix4 ,precincts of the ,church1 c4 ,palaces4 ,hippodrome4 ,augusteum4 ,milion4 ,horologium4 ,s4 ,peter's ,chapel1 c4 ,boundaries of ,church4 ,atrium4 ,phiale4 ,pavement4 ,west ,front4 ,belfry4 ,cisterns4 ,exterior generally4 page #agc ,,chapter ,x4 #a4 ,byzantine ,origins4 #b4 ,the ,builders of the ,church4 #c4 ,original ,form of the ,church3 ,dome and ,n4 and ,s4 ,arches1 ,atrium1 ,n4,w4 and ,s4,w4 ,angles1 ,baptistery and ,loggia4 #d4 ,structural ,system4 ,arch ,forms4 ,vaulting4 ,dome ,construction4 ,chainage and ,walling4 ,mortar and ,cement4 page #aih ,,chapter ,,xi4 #a4 ,building ,procedure4 #b4 ,marble ,quarries and ,identification of the ,marbles4 #c4 ,application of ,marble to the ,walls4 #d4 ,marble ,masonry4 ,seven ,orders of ,byzantine ,capitals4 ,distribution and ,dates of ,capitals4 ,shafts and ,bases4 ,responds4 ,cornices and ,skirtings4 ,windows1 c4 ,carving4 page #bcd ,,chapter ,,xii4 #a4 ,bronze ,doors1 c4 #b4 ,mosaics4 ,salzenberg's ,description4 ,first ,scheme4 ,later ,scheme4 ,fossati's ,description4 ,tesserae and ,fixing4 #c4 ,glass4 ,plaster4 ,painting4 #d4 ,monograms and ,inscriptions4 page #bfd ,s4 ,,sophia ,,chapter ,i ,,the ,,city ,,of ,,constantine ,,and ,,the ,,first ,,church ,byzantium4--,where the narrow swift-flowing ,bosporus1 which divides ,asia from the most eastern part of southern ,europe1 flows into the ,sea of ,marmara1 a crescent-shaped arm of the sea runs westward into the land1 leaving a narrow promontory1 which1 like the prow of a boat in profile1 puts out to the east4 ,the point of this promontory is a mass of rock rising steeply from the sea3 divided by a slight transverse depression from the rest of the land1 it forms the first hill of the seven which were afterwards inclosed by the walls of ,constantinople4 ,on this crest 7by the present ,seraglio ,point71 commanding the passage to the ,euxine1 was built1 in the seventh century ,b4,c41 by colonists from ,megara--with whom ,dionysius couples the ,corinthians--the ,acropolis1 the sacred city and citadel1 and within certain limits the lines of its containing walls may still be traced4 ,the lower city gathered about the slopes outside the ,acropolis1 and had other walls defining its landward limits4 ,dionysius1 the ancient ,byzantine writer1 who describes the city before the siege of ,severus1 #aif ,a4,d41 says that this citadel of ,byzantium was on the promontory of the ,bosporus1 above the bay called ,keras 7the ,golden ,horn74 8,at a little distance over the height is the altar of ,athena ,ecbasia--of the landing--where the colonists fought as for their own land4 ,there is too a temple of ,poseidon1 an ancient one and hence quite plain1 which stands over the sea4444 ,below the temple of ,poseidon1 but within the wall1 on the level ground are stadia and gymnasia1 and courses for the young40#a ,this ,acropolis is roughly outlined in ,fig4 #a1 the evidence being the contours of the hill1 remains and records of certain walls to be mentioned later1 and the boundaries between the first four regions in ,constantine's city as given in the ,notitia1#b a description of the city written in the beginning of the fifth century4 ,the ,acropolis so defined has a striking resemblance to other ,greek hill cities--,tiryns1 ,mycenae1 ,acrocorinth1 and the ,acropolis of ,athens4 ,in ,fig4 #a the cross shows the site of the present ,church of ,s4 ,sophia2 the arrow shows the ,hippodrome1 which1 still existing1 is the great monument of pre-,constantinian times1 and forms the key for all study of the subsequent city2 ,o shows the position of the column said to have been erected by ,claudius ,gothicus about #bgj ,a4,d41 which stands at the north end of the ,acropolis overlooking ,seraglio or ,demetrius ,point4 ,of the ancient ,greek town few positive remains have come down to us1 with the exception of the coins4 ,a publication by the ,greek ,philological ,society of ,constantinople mentions as among several pre-,constantinian inscriptions a marble slab found in 8the tower next to the ,zouk ,tsesm gate on the left as one ascends to ,s4 ,sophia10 which refers to the stadium erected by ,pausanias the ,general in #dgg ,b4,c41 8within the walls of ,byzantium and below the temple of ,poseidon40#c ,the coins also go back to the fifth century ,b4,c4 ,the early ones show a cow standing on a dolphin1 with the letters ,,by4 ,in the third century we have ,poseidon seated on a promontory1 and later again a dolphin twined round a trident--all the types having evident reference to the sea-washed city4 ,another relic of ancient ,byzantium is still to be seen below the curve of the ,hippodrome1 where a white marble capital of good ,greek ,doric work lies neglected on the seaward bank of the new railway4 ,in addition to the ancient buildings already mentioned1 we learn from ,dionysius that the city possessed a temple of ,g ,onesidora--the fruitful earth--which consisted of 8an unroofed space surrounded by a wall of polished stone40 ,near by were 8temples of ,demeter and the ,maiden 7,persephone71 with many pictures in them1 relics of their former wealth40 ,this author was also shown the sites of temples to ,hera and ,pluto1 8the former having been destroyed by ,darius1 and the latter by ,philip of ,macedon40 ,he also speaks of a large round tower joined to the wall of the city4 ,some records or legends of the ancient city are also contained in the ,paschal ,chronicle4#d ,after the siege ,severus 8built the public bath called ,zeuxippus4 ,now in the middle of the four-porticoed#e space stood a bronze stele of the sun1 below which he wrote the name of the sun4 ,the people of ,thrace indeed call the place ,helion1 but the ,byzantines themselves call this same public bath #8of ,zeuxippus' after its original name1 although the emperor ordered it should be called ,severion4 ,opposite to it in the acropolis of ,byzantium he built the temple of ,apollo1 which also faced the two other temples formerly built by ,byzas--one to ,artemis with the olive1 and the other to ,phedalian ,aphrodite4 ,and the figure of the sun was taken from the four-porticoes and placed in this temple 7of ,apollo74 ,opposite the temple of ,artemis he built large kennels1 and a theatre opposite the temple of ,aphrodite4 ,he bought houses and gardens from two brothers1 and after pulling down the former and uprooting the latter he built the ,hippodrome4 ,severus restored the ,strategion as well4 ,it was first named by ,alexander of ,macedon1 who1 in his campaign against ,darius1 reviewed his troops there before attacking the ,persians40 ,new ,rome4--,it was about #cbh ,a4,d4 or the following year that ,constantine decided to enlarge this city1 which had long been under the domination of ,rome1 and to make it his capital4 ,the work of building was pushed forward with great energy1 and it was consecrated in ,may #ccj4 ,by an edict engraved on a stone erected in the ,strategium1 it was called the ,new ,rome of ,constantine4 ,in the documents of the patriarchs of the ,greek ,church the city is still called ,new ,rome4 ,the quarries of easily wrought marble of large crystalline structure and soft white colour found in such abundance in the island of ,proconnesus1 only a few miles away over the sea to which it has given its name of ,marmara1 then as now furnished a perfect building material2 while the still worked quarries of ,egypt and ,thessaly provided imperial purple and green4 ,but a richer quarry was doubtless found in the porphyry and cippolino shafts of the old temples of many a declining city4 ,constantine's city does not appear to have been so completely ,christian as the ecclesiastical writers would have us suppose4 ,zosimus tells us that ,constantine erected a shrine to the ,dioscuri in the ,hippodrome1 and he mentions the temples of ,rhea and the ,tych of the city in a large four-porticoed forum4 ,a whole population of bronze and marble statues was brought together from ,greece1 ,asia ,minor1 and ,sicily4 ,the baths of ,zeuxippus alone are said to have had more than sixty bronze statues1#f a still greater number were assembled in the ,augusteum and other squares1 and in the ,hippodrome1 where1 according to ,zosimus1#g ,constantine placed the ,pythian tripod1 which had been the central object in the temple of ,apollo at ,delphi4 ,on the triple coils of the bronze serpents in the ,at-,meidan can still be read the names of the ,greek states1 which1 after the battle of ,plataea1 dedicated a tithe of the spoil to the ,delphic oracle1 as described by ,herodotus4#h ,an extremely valuable description of ancient ,byzantium and the reconstruction by ,constantine is given by ,zosimus1 writing not much more than a century after the transformation4 8,now the city lay upon the crest of a hill which forms a part of the isthmus that is made by what is called the #8,horn' 77 and the ,propontis4 ,and formerly it had its gate 77 at the end of the colonnades which ,severus built40 444 8,and the wall on its western part descending along with the crest reached to the temple of ,aphrodite1 and the sea of ,chrysopolis ,scutari which is opposite2 and in the same way from the crest the wall descended northward to the harbour which is called ,neorion1 and from thence up to the sea which lies directly in front of the straits through which one enters the ,euxine40 444 8,this then was the ancient size of the city4 ,and ,constantine erected a circular forum where formerly was the gate1 and surrounded it with porticoes of two storeys4 ,he set up two very big arches of ,proconnesian marble opposite each other2 through them one entered the porticoes of ,severus or issued from the ancient city4 ,and wishing to make the city much larger he further continued the old wall fifteen stadia1 and inclosed the city with a wall which cut off the isthmus from sea to sea40 ,it is clear from this that the ancient land gate of ,byzantium stood on the crest of the ridge close to the site now occupied by the ,porphyry ,column 7which was set up by ,constantine in the ,new ,forum71 and formed the end of a street of columns built by ,severus 7the ,mese74 ,from this gate the wall ran southwards to a temple of ,aphrodite1 and along the shore of the ,propontis opposite ,scutari4 ,northwards it descended to the ,golden ,horn at the ,neorion port1 and turned along the shore to ,seraglio ,point4 ,now the ,neorion port was just outside the entrance to the modern ,galata bridge1#i and the account agrees perfectly with the ,notitia in which we find the following3 8,the sixth ward at entering on it is level ground for a short distance1 all the rest is upon the descent2 for it extends from the ,forum of ,constantine to the stairs where you ferry over to ,sycae ,galata4 ,it contains the porphyry pillar of ,constantine2 the ,senate ,house in the same place1 the ,neorion port2 the stairs of ,sycae1 c40 ,it is evident that the city which ,constantine found had been virtually rebuilt by ,severus in the style of the ,east4 ,from the days when ,alexandria and ,antioch were planned a city had become a whole to be designed according to rule4 ,essential features of such cities--of which ,palmyra is the best representative--were long avenues of columns forming the main streets1 and a triumphal arch with a central 8golden milestone40 ,the main street of columns at ,constantinople1 which we later hear of by the name of the ,mese as forming the way from the ,milion to the ,forum of ,constantine1 cannot be any other than the 8,porticoes of ,severus0 just mentioned4 ,in the fifth century we find the ,mese referred to in the building laws of ,zeno4 8,we ordain that none shall be allowed to obstruct with buildings the numerous rows of columns which are erected in the public porticoes1 such as those leading from what is called the ,milion to the ,capitol10 any shops or booths between the columns 8must be ornamented on the outside at least with marble1 that they may beautify the city and give pleasure to the passers by40#aj ,mordtmann shows that this great columned way occupied very nearly the line of the present ,divan ,yiulu2 indeed1 it is hardly possible to divert the great arteries at any stage of a city's evolution1 and the ,mese itself probably followed the course of a foot-track to the gate of the ,acropolis4 ,by building walls across the land between the ,golden ,horn and the sea at distances farther and farther from ,seraglio ,point1 the city has been successively enlarged2 the great land walls1 within which the shrunken city now lies1 are mainly the work of ,theodosius ,,ii4 ,these1 the walls of the ,constantinople known to the ,crusaders1 are still comparatively perfect2 a triple line on the land side and a single line around the sea margin1 some fourteen miles of walls1 eight or ten to fifteen feet thick1 strengthened by great towers1 completely girdles the city round about4 ,the land-wall of ,constantine's city1 situated between the ,acropolis and the present walls1 has disappeared1 but its course has been traced 7see ,fig4 #a74 ,acropolis4--,the topography of ancient ,constantinople has engaged the attention of generations of writers1 and an approximation to true results has undoubtedly been reached4 ,first we must mention ,pierre ,gilles1 usually called ,gyllius1 who1 travelling to collect ,,mss4 for ,francis ,i41 resided in the city for many years1 and died in #aeee4 ,then ,du ,cange1 in his great work ,constantinopolis ,christiana1 #afhj1 by a careful comparison of the authorities1 certainly made discoveries in a country he had never visited4 ,the folios of ,banduri#aa followed in #agaa2 and in #ahfa ,labarte published a more detailed study of the ,imperial quarter1 chiefly based on the ample notices in the ,book of ,ceremonies of ,constantine ,porphyrogenitus4 ,this work1 ,le ,palais ,imprial de ,constantinople et ses ,abords1 shows remarkable insight and critical acumen4 ,buzantios in ,constantinopolis1 #ahfa1 and ,paspates in his ,byzantinae ,melatae1 #ahgg1 made several further identifications4 ,the latter followed with ,the ,great ,palace of ,constantinople1 recently translated by ,mr4 ,metcalfe1 which goes over the same ground as ,labarte2 but the excavations for the railway1 which now circles ,seraglio ,point1 had in the meantime exposed some remains1 and made the examination of certain walls possible4 ,although ,paspates made several valuable suggestions1 many of his conclusions are certainly not sustained by his reasoning2 indeed1 ,labarte in many points of divergence was probably much nearer the facts4 ,paspates' views were accepted by ,mr4 ,bury1#ab to be followed in turn by ,mr4 ,oman in ,the ,byzantine ,empire of the 8,story of the ,nations0 ,series4 ,a work in ,russian has recently been devoted to the study of the ,palace quarter4#ac ,unger's collection of topographical references in ,quellen der ,byzantinischen ,kunstgeschichte is also of the greatest service4 ,illustration3 ,,fig4 #a4--,plan of ,constantinople showing its development4 ,in #ahib appeared ,dr4 ,mordtmann's ,esquisse1 together with a large plan of the city1 on which the probable identifications of the ways and buildings were laid down2 this was prepared at the instance of the ,comte ,riant1 who1 in his ,exuviae ,constantinopolitanae1 contributed the result of much research to our knowledge of ,byzantine antiquities4 ,illustration3 ,,fig4 #b4--,plan of the ,acropolis1 c41 of ,constantine's city4 ,dr4 ,mordtmann1 by a study of the whole of the city area and its entire circumvallation as we have it to-day1 in comparison with the written descriptions1 has laid a firmer grasp on the problem4 ,labarte1 he points out1 was chiefly misled by a confusion of the buildings in the ,forum of ,constantine and those in the ,forum ,augusteum--a mistake elaborated in some respects by ,paspates4 ,labarte thus placed the porphyry column of ,constantine1 which still marks the site of the former1 together with other buildings that were quartered about it1 all within the ,augusteum1 which last he rightly identified with the present open space to the south-west of ,s4 ,sophia4 ,texier1 who in #ahcd made a careful study of the ancient city1 rightly distinguished the two fora4#ad ,fig4 #b will assist in making clear our views as to the transformation of the ,acropolis under ,constantine4 ,the ,byzantine brick walls which now inclose the old ,serai ,labarte regarded as of late work1 and we think the style of the building would very well bear out ,paspates' opinion that they were erected by ,michael ,palaeologus4 ,the excavation for the railway exposed some remains of a wall near ,o in our ,fig4 #a which ,paspates describes as 8built of large stones as much as #aj feet long by #b broad1 and #a thick40#ae ,the rest of the seaward wall still forming the substructure of the retaining wall of the sea-front of the old ,serai1 and running in a direction parallel to the ,hippodrome1 is also of stone4 ,this wall is probably ancient or follows the course of the ancient ,acropolis inclosure which is described by ,dion ,cassius as 8built on rising ground and projecting into the sea4444 ,the walls are very strong1 formed of large squared stones bound together with copper1 and the inside is so strengthened with earth and buildings that the whole seems one thick wall40#af ,the late ,anonymous author edited by ,banduri says that the wall of ancient ,byzantium commenced at the ,golden ,horn near the gate of ,s4 ,eugenius to pass along by the ,golden ,milestone4#ag ,we place no reliance on the ,anonymous for early history1 but there is much to confirm ,mordtmann's view that an ancient wall occupied this position and that the ,milion--which the ,anonymous says was the land gate--was situated upon its course and formed indeed the entrance from the ,street of ,columns4 ,this wall1 which ,mordtmann says passed on the land side of the old ,serai in front of the modern museum 7,tchenli ,kiosk7 where there is a high retaining wall1 and continued to the west of ,s4 ,sophia not far from the narthex1 we consider must be that which formed the landward inclosure of the ,acropolis4 ,the fourth region of the city1 ,mordtmann says1 was separated from the second by the rock of the ,acropolis and this wall4 ,we are confirmed in our acceptance of the other wall described by ,paspates as the seaward wall of the ,acropolis1 not only because it is built against the steep escarpment of the rock1 but by finding that in the division of the city into the wards or regions of the ,notitia the first ward exactly comprised the space between the wall and the sea2 the second region contained the old ,acropolis itself1 with a triangle of lower ground at the north against the ,golden ,horn1 where was probably the sea gate2 while the third was divided from the fourth by the great way which left the ,milion gate on the old landward wall of the ,acropolis4 ,such pre-existing features naturally formed the boundaries of the wards4 ,we now give from the ,notitia ,dignitatum the descriptions of the first four regions of the fourteen into which ,constantine's city was divided1 which will show how ,constantine occupied the old areas with the royal and public quarters of his new city4 ,twelve regions were included within the walls1 and two others were formed by the suburbs of ,blachernae and ,galata4 ,,region ,i4 ,contains the house of ,placidia ,augusta2 the house of most noble ,marina2 the ,baths of ,arcadius2 #bg streets or alleys2 #aah houses2 #b porticoes2 #ae private baths2 #d public cornmills2 #ae private cornmills2 #d terraces of steps4 ,it is under one curator1 who looks after the whole region2 it has #a vernaculus1 a slave 7or messenger7 for all regions2 #be collegiati1 who are selected from different ,guilds 7,corporati71 and help at fires2 and #e street wardens1 who watch the city at night4 ,,region ,,ii4 ,gradually rises with a gentle ascent beginning from the smaller theatre1 and then descends abruptly to the sea4 ,it contains the ,great ,church2 the ,ancient ,church2 the ,senate2 the ,tribunal built with porphyry steps2 the ,baths of ,zeuxippus2 the theatre2 the amphitheatre2 #cd streets or alleys1 #ih houses2 #d large porticoes2 #ac private baths2 #d private cornmills2 #d terraces of steps4 ,it had also #a curator1 #a vernaculus2 #ce collegiati1 #e street wardens4 ,,region ,,iii4 ,is a plane surface in its higher part1 where is the ,circus1 but from the end of this it descends steeply to the sea4 ,it contains the ,circus ,maximus2 the house of ,pulcheria ,augusta2 the new harbour2 a semicircular portico1 called by the ,greeks ,sigma2 the ,tribunal of the ,forum of ,constantine2 #g streets2 #id houses2 #e large porticoes2 #aa private baths2 #i private cornmills4 ,it had #a curator2 #a vernaculus2 it had also #ba collegiati2 and #e street wardens4 ,,region ,,iv4 ,from the ,golden ,milliarium is prolonged1 with hills rising to right and left in a valley leading to an open space4 ,it contains the golden ,milliarium2 the ,augusteum2 the ,basilica2 the ,nymphaeum2 the ,portico of ,fanio2 a marble ship--the monument of a naval victory--the church or martyrium of ,s4 ,mennas2 the ,stadium2 the ,scala ,timasii2 #cb streets2 #cge houses2 #d large porticoes2 #g private baths2 #e private cornmills2 #g terraces of steps4 ,it had #a curator2 #a vernaculus2 #de collegiati2 #e street wardens4 ,augusteum4--,thus ,region ,i41 occupying the land between the ,acropolis wall and the sea1 was partly reserved for palaces2 ,region ,,ii4 coincided with the ,acropolis1 and had its south end devoted to the ,forum ,augusteum and the ,christian ,basilicas of ,s4 ,sophia 78the ,great ,church07 and ,st4 ,irene 78the ,old ,church4074 ,it will be observed that in the ,notitia the ,augusteum is given to ,region ,,iv41 to which it does indeed adjoin2 ,mordtmann#ah considers that the ,augusteum1 like the buildings round it1 must have belonged to ,region ,,ii41 but suggests that there may have been a continuation of the open space farther to the west in ,region ,,iv41 and some such space as this certainly seems required by several of the references4 ,gyllius first made the identification of the ,augusteum with the present open space on the south of ,s4 ,sophia2 in this he was followed by ,labarte1 and ,mordtmann concurs4 ,paspates in making the ,augusteum occupy the ground along the east side of the ,hippodrome stands alone against1 as it seems to us1 all evidence4 ,for example1 he is compelled to shift the inscribed pedestal of the statue of the ,empress ,eudoxia1 which we cannot but believe was found in its original position 7see ,mordtmann1 p4 #fd1 and ,paspates1 p4 #aje1 and below1 p4 #ac74 ,the ,mese moreover he makes the centre of his ,augusteum4 ,mr4 ,bury thought it proved that the ,augusteum 8was also called the ,forum of ,constantine10 because a passage in ,cedrenus speaks of the ,senate ,house 7 7 as in the ,forum of ,constantine4 ,it is perfectly clear however from the ,notitia that there were two ,senate ,houses--one in the ,forum mentioned in the extract we have given from the description of the sixth ward1 and the other included in the second region as just quoted4#ai ,in the ,augusteum was erected a ,senate1 its front facing the west4 8,the ,senate10 says ,mordtmann1 8was placed where to-day stands the ,tribunal of ,commerce40 ,that is1 on the east side of the present place of ,s4 ,sophia against what must have been the eastern side of the ,augusteum and the ancient ,acropolis1 on the seaward wall of which it was probably founded4 ,in digging the foundations of the ,tribunal of ,commerce in #ahdg the ancient pavement was found1 at a depth of twelve feet1 and the base of the celebrated statue of ,eudoxia1 with an inscription1 marked it as the site of the ,courts of ,justice 7,mordtmann1 p4 #fd74 ,the statue1 ,socrates#bj says1 was 8of silver1 and it stood upon a lofty pedestal 7bema71 not far from the church called ,s4 ,sophia1 with a road between40 ,the ,augusteum1 following the ,hippodrome1 does not lie four-square with the cardinal points1 but almost diagonally to them3 for convenience1 however1 we shall speak of the directions as ,north1 ,south1 ,east1 and ,west1 calling the side towards the ,mese the west4 ,on the north side1 and following the same system of alignment1 is the present ,s4 ,sophia4 ,the palace of the ,patriarch probably adjoined the church1 on the north side of the square4 ,the royal palaces mentioned in the ,notitia were on the south of the ,augusteum4 ,according to the ,paschal ,chronicle1 written about #fcj ,a4,d41 ,constantine the ,great made a palace beside the ,hippodrome1 8and the ascent from the palace to the stand of the ,hippodrome was by means of the stair called the spiral0 7,paspates1 ,great ,palace1 p4 #dg74 ,this palace does not seem to have become of great importance until ,justinian's time4 ,the ,notitia merely mentions the ,house of ,placidia ,augusta1 and the ,house of the most noble ,marina1 the daughters of ,arcadius1 in the first ward2 and the ,house of ,pulcheria ,augusta in the third2 and speaks of several other royal palaces in the #ith1 #ajth1 and #aath wards4 ,the palace of the emperor at this time was in the #adth ward1 which was outside the walls and isolated1 making 8the figure of a small city by itself20 this is the celebrated palace of ,blachernae4 ,the ,church4--,it was in ,may #cbh that ,helena is said to have discovered the true cross and other relics at ,jerusalem4 ,and this event1 which synchronizes exactly with ,constantine's choice of ,byzantium as his capital1 was probably not without direct relation to the foundation of the church dedicated to ,christ4 ,socrates writes1 8,a portion of the cross she 7,helena7 inclosed in a silver chest and left in ,jerusalem as a memorial1 but the other part she sent to the king40#ba ,theophanes1 ,cedrenus1 ,glycas1 ,paul the ,deacon1 ,nicephorus ,callistus1 and other late historians agree in making ,constantine the founder of the first ,church dedicated to the ,second ,person of the ,trinity as the ,divine ,wisdom2 and ,cedrenus even gives a name--,euphrates--to the architect4#bb ,codinus1 who wrote in the fifteenth century1 alone relates that ,constantine purified a previously existing temple and dedicated it to ,christian uses4 ,there is much evidence to show that the church could not have been completed by ,constantine even if he had founded it1 or contemplated its foundation4 ,in the life of the emperor1 the ,church of the ,holy ,apostles1 which was built near the ,forum of ,constantine1 and in which the emperor was buried1 is described at length1#bc but it does not mention ,s4 ,sophia1 although the author takes pains to enumerate the ,christian objects in the city--saying that there were 8many ,oratories and ,martyria1 and by the fountains in the middle of the agorae were figures in gilt bronze of the ,good ,shepherd and of ,daniel with the lions2 in the palace was a cross wrought in gold with many coloured precious stones40#bd ,in the fifth century ,notitia1 as we have seen1 ,s4 ,irene is called the ,old ,church and ,s4 ,sophia the ,great ,church4 ,the historian ,socrates1 probably the best authority1 says that ,constantine 8built two churches1 one he called ,irene and the other the ,apostles10#be and he attributes ,s4 ,sophia entirely to ,constantius4 8,the ,king built the great church which is called ,sophia and joined it to that called ,irene1 which the father of the king had previously increased and beautified1 and now both churches were included within one wall and had one title40 ,upon its completion1 it was dedicated1 with magnificent ceremony1 by the patriarch ,eudoxius on ,sunday1 ,february #aeth1 #cfj ,a4,d41 8in the thirty-fourth year after its foundation40#bf ,this would fix its foundation in the year #cbf ,a4,d41 two years after ,constantine1 having defeated ,licinius1 had begun to reign alone4 ,cedrenus writes1 8,eudoxius consecrated a second time the ,church of the ,divine ,wisdom1 because after its first completion1 and the dedication by ,eusebius1 it had fallen and been again restored by ,constantius10#bg and he places this event in the twenty-second year of ,constantius' reign4 ,cedrenus is a late and credulous writer1 and in attributing a first dedication to ,eusebius--who would certainly have told us himself--he shows how untrustworthy is the whole story4 ,altogether we cannot do better than accept the account of ,idatius and that given in the ,paschal ,chronicle1 with perhaps a little suspicion on the part which refers to ,constantine1 8,in this year 7#cfj7 in the month ,peritius was dedicated the great church of ,constantinople1 in the thirty-fourth year from the time when ,constantine had laid the foundations4 ,for the opening ceremony 7encaenia7 ,constantius brought many offerings of gold1 and great treasure of silver2 many tissues adorned with gold thread and stones for the sanctuary2 for the doors of the church different curtains 7amphithuriai7 of gold2 and for the outside gateways 7puleones7 many others with gold threads40 ,according to the late ,anonymous author 7see page #abi71 8in the reign of ,theodosius the ,great 7 #cie7 and in the patriarchate of ,nectarius 7#cha-cih71 seventy-four years after the church was built1 the roof of the church was destroyed by fire20 he probably really meant the fire of #djd in ,arcadius' reign4 ,at that time ,s4 ,john ,chrysostom1 incurring the dislike of the ,empress ,eudoxia1 was banished4 ,he was brought back at the end of two days1 once more preached in ,s4 ,sophia1 and was exiled again1 with disastrous results1 for his partisans set fire to the church and destroyed it4 8,this happened on the #bjth of ,june1 in the consulship of ,honorius and ,aristaenetus0 7#djd74bh ,the fire was by some thought to be of supernatural origin4 ,palladius1 the bishop's biographer1 writes1 8,then a flame seemed to burst from the centre of the throne in which he used to sit1 and climbed up by the chains of lamps to the roof 444 and crept like a wriggling snake upon the back of the houses of the church40 ,there was also burnt the ,senate1 8lying many paces to the south opposite the church2 and the fire spared only the little house1 in which the sacred vessels were kept40 ,the church was again injured by fire1 restored by ,theodosius ,,ii41 and rededicated in #dae4bi ,fresh relics were required for this rededication4#cj ,one fact of importance in regard to this church is related by ,sozomenus of the ,empress ,pulcheria4 8,she dedicated an altar in the church of ,constantinople1 a most wonderful work of gold and precious stones1 on behalf of her virginity and her brothers' empire4 ,and she wrote this on the face of the table so that it might be clear to all40#ca ,from this time until the outbreak known as the ,nika sedition1 in ,january #ecb1 the church is not said to have been further altered4 ,according to ,cedrenus1 the records and charters perished with the church4 ,there cannot be a doubt that the present ,s4 ,sophia occupies the site of the first church4 ,a church once made holy by dedication and the reception of relics could not be transported4 ,indeed it is possible that it may occupy the site of one of the ,greek temples1 for there was a constant tendency to this supersession on one sacred site2 and the present church stands on the very crest of the old ,acropolis4 ,if there were any sufficient reason to identify the site with that of the altar of ,pallas1 the dedication of the church itself would evidently be one of the many instances of a transference of title from the old worship4 ,the ,parthenon--where ,hellenic rites survived to the sixth century--became a church in this way dedicated to the ,holy ,wisdom4#cb ,the axis of the church seems to point somewhere between #cj and #ce south of east1 where there is a considerable sea prospect and a low horizon4 ,this direction1 either by accident or intention1 must agree very closely with sunrise at the winter solstice3#cc the latitude of the church being #da #j #bf4 ,the plan will show that the ancient ,hippodrome1 and probably the other buildings1 were set out in relation to this axis4 ,in comparing the early ,basilicas of ,constantinian date1 both those that exist and those of which we have descriptions1 we find that they generally1 if not invariably1 had their doors of entrance at the east end1 and their apses towards the west1 exactly the opposite of the more recent custom4 ,rohault ,de ,fleury says this was usual in the ,east till the fifth century1 and the custom continued much later in ,rome4 ,kraus1 in the best study of the subject1#cd writes3 8,s4 ,agatha at ,ravenna must be mentioned as the first which had its altar at the east end3 it was built in #dag1 and in this century the practice became general40 ,socrates 7 #ddj7 says of the church of ,antioch that 8the altar stood not at the east but at the west10 but he speaks of this as contrary to the usual custom at the time he wrote4 ,this church was founded by ,constantine and finished by his son4 ,the ,church of the ,apostles at ,constantinople1 built by ,constantine to contain the relics of ,s4 ,luke1 seems also to have been entered at the east1 for ,s4 ,john ,chrysostom#ce speaks of the emperor being buried 8in the part in front of the doors10 and an anonymous author1 who wrote about the imperial sepulchres1 says that ,constantine's sarcophagus was 8in front towards the east40#cf ,we shall thus be following the reasonable suggestion of comparative archology in saying that the first church of ,s4 ,sophia almost certainly had its entrance doors at the east--the sanctuary end of the present church4 ,the church was probably only of medium size2 the length of the present church is about #bej feet1 its vastness being in its width4 ,the ,paschal ,chronicle speaks of 8its stupendous and marvellous columns all being 02 but owing to a variant reading it is difficult to determine whether it means that the pillars were square1 or were set in a square1 or formed four bays4 ,glycas and ,codinus1 who wrote a thousand years after the foundation of the church1 say that it was basilican 7dromika71 and had a wooden roof 7xulotroullos71 and the latter says that the church of ,theodosius had cylindrical vaults4 ,as it is evident from the rapid destruction by fire that the roofs of the early churches were of wood1 they were probably ,basilicas4 ,only a few minor particulars1 such as the existence of an atrium1 and the right of sanctuary in the bema 7thusiasterion71 can be gathered from the homilies of ,s4 ,chrysostom4 ,socrates tells us that this patriarch was wont to preach 8in the ambo for the sake of being better heard40#cg ,from ,palladius we learn that there was a baptistery 7in which the ,sixth ,council of ,constantinople1 ,a4,d4 #cid1ch appears to have met7 attached to the church1 and it was here ,chrysostom took leave of the deaconesses at his banishment1 as described in a passage difficult to interpret4 8,he went out of the baptistery on the east side1 for there was no western 7exit74 ,the mule which he usually rode was made to stand westwards before the gate to the church1 where is the porch1 so that he might escape the people who were expecting him40 ,the passage from the same author about the waters of the font being stained with blood does not1 as is sometimes supposed1 necessarily refer to ,s4 ,sophia4 ,in applying the plan of a church of mean size so that the doors should face eastwards1 we are at once struck by finding that the western hemicycle of the present church would lie about the apse2 and we cannot but suggest that in this we may have the very raison d'tre of the remarkable plan of the present church1 which it would seem might be properly classed with those churches which have apses at both ends1 like the early basilica at ,orleansville near ,tunis2#ci the ,,ms4 plan of ,s4 ,gall is the best known example2 our own early church at ,canterbury was another instance1 the result of adding to a church with a western apse2 ,france furnishes ,besanon and ,nevers1 and ,germany numerous examples4 ,it is indeed possible that some parts of the old structure may have given practical and positive reasons contributing to this result1 and a thorough examination of the cisterns beneath the present floor of ,s4 ,sophia may yet yield full evidence of the first basilica2 or if these vaults were entirely built for ,justinian's church1 their material would almost certainly be derived from the earlier building4 ,we suggest that the circular brick building lying at the north-east angle of the present church belonged to the pre-,justinian church1 and formed its baptistery4 ,it is about forty-five feet exterior diameter1 and the plan as given by ,salzenberg shows great resemblance to other circular structures of the ,constantinian age2 such as ,s4 ,constantia in ,rome1 the 8tomb of ,helen0 at ,rome1 and the round tomb buildings which adjoined ,s4 ,peter's as shown in the plan of ,ciampini4#dj ,the entrance doorway of this building was to the east4 ,as to its use4 ,in the contemporary account of ,justinian's church1 the poet ,paulus1 describing the north aisle1 says1 8,on the north is a door admitting the people to the founts that purify the stains of mortal life and heal every scar40 ,he does not mention the present south-west building1 nor has he any other reference to a font4 ,we suppose therefore that this isolated building on the north-east escaped the ,nika fire1 and served as the baptistery of the new church1 until the square building1 on the side of the church towards the ,augusteum1 which is spoken of in the ,ceremonies as the 8,great ,baptistery by the ,horologium10 was erected for or diverted to this purpose4 ,we very probably have some relics of the earlier buildings in certain capitals which ,salzenberg found in the church3#da the inscribed bricks1#db and a ,byzantine ,corinthian capital now lying in the courtyard1 may likewise have belonged to it4 ,the fine bronze doors to south porch are evidently earlier than the present church1 and so probably are the slabs of which the screen on south side of first floor is partly made up4 ,,chapter ,,ii ,,justinian',s ,,church ,the ,new ,church4--,the pre-,justinian church was burnt on the #aeth ,january1 #ecbdc--the first day of the sedition--and the work of reconstruction was begun on the #bcrd of the following month4#dd ,theophanes#de says the period employed in the construction was five years eleven months and ten days2 the statements therefore of ,codinus and ,glycas1 that it took seventeen years to build1 are completely at variance with this more credible author4 ,the solemn dedication took place1 as ,marcellinus ,comes describes1#df on #bfth ,december1 #ecg1 ,indiction #ae1 in the eleventh year of ,justinian's reign4 ,a description of this dedication ceremony is given by ,theophanes4#dg 8,the procession started from the church of ,anastasia1 ,menas the patriarch sitting in the royal chariot1 and the king walking with the people40 ,in the thirty-second year of ,justinian's reign an earthquake destroyed a great portion of the newly erected church4#dh ,now ,procopius1 whose contemporary history of the edifices built by ,justinian was1 according to ,krumbacher1#di finished and published in the year #eeh or the spring of #eei at latest1 makes no mention of this earthquake of #eeh1 though he describes in full how1 during the building of the church1 which was completed in #ecg1 the piers of the eastern arch threatened to give way before it was finished4 ,we may therefore conclude that he describes ,justinian's church in its first state4 ,the translation from ,procopius here given is based on that of ,mr4 ,aubrey ,stewart1 published by the ,palestine ,pilgrims' ,text ,society1 which has been compared with the original4 ,we give in ,fig4 #c a plan of the church as built by ,justinian1 so far as the evidence will allow of an approximately certain restoration4 ,as the several different curved portions of the plan are difficult to distinguish1 we propose so far as possible to reserve certain words for separate parts4 ,the small eastern semicircle and its vault will be called apse and apsoid respectively4 ,hemicycle and semidome will refer to the great semicircle at the east or west and its vault4 ,the pairs of curved spaces forming the lateral recesses in the hemicycles we propose to name exedras and their half-domes conchs4 ,illustration3 ,,fig4 #c4--,plan of ,s4 ,sophia as built by ,justinian4 ,procopius4--8,the lowest dregs of the people in ,byzantium once assailed the ,emperor ,justinian in the rebellion called ,nika1 which ,i have clearly described in my ,history of the ,wars4 ,to prove that it was not merely against the emperor but no less against ,god that they took up arms1 they ventured to burn the church of the ,christians which the people of ,byzantium call ,sophia1 a name most worthy of ,god4 ,god permitted them to effect this crime1 knowing how great the beauty of this church would be when restored4 ,thus the church was entirely reduced to ashes2 but the ,emperor ,justinian not long afterwards adorned the new one in such a fashion1 that if any one had asked the ,christians in former times1 if they wished their church to be destroyed and thus restored1 showing them the appearance of the church which we now see1 ,i think it probable that they would have prayed that they might so soon as possible behold their church destroyed1 in order that it might be changed into its present form4 ,the emperor1 thinking not of cost of any kind1 pressed on the work1 and collected together workmen 7technitai7 from every land4 ,anthemius of ,tralles1 the most skilled in the builder's art1 not only of his own but of all former times1 carried forward the king's zealous intentions1 organised the labours of the workmen1 and prepared models of the future construction4 ,associated with him was another architect 7mechanopoios7 named ,isidorus1 a ,milesian by birth1 a man of intelligence1 and worthy to carry out the plans of the ,emperor ,justinian4 ,it is indeed a proof of the esteem with which ,god regarded the emperor1 that ,he furnished him with men who would be so useful in effecting his designs1 and we are compelled to admire the wisdom of the emperor1 in being able to choose the most suitable of mankind to execute the noblest of his works4 8,the church consequently presents a most glorious spectacle1 extraordinary to those who behold it1 and altogether incredible to those who are told of it4 ,in height it rises to the very heavens1 and overtops the neighbouring buildings like a ship anchored among them1 appearing above the rest of the city1 while it adorns and forms a part of it4 ,one of its beauties is that being a part of and growing out of the city1 it rises so high that the whole city can be seen as from a watchtower4 ,the length and breadth are so judiciously arranged that it appears to be both long and wide without being disproportioned4 8,it is distinguished by indescribable beauty1 excelling both in its size1 and in the harmony of its measures1 having no part excessive and none deficient2 being more magnificent than ordinary buildings1 and much more elegant than those which are not of so just a proportion4 ,the church is singularly full of light and sunshine2 you would declare that the place is not lighted by the sun from without1 but that the rays are produced within itself1 such an abundance of light is poured into this church4 ,the ,apse4--,now the head 7prosopon7 of the church 7that is to say the part towards the rising sun1 where the sacred mysteries are performed in honour of ,god7 is built as follows4 ,the building rises from the ground not in a straight line1 but setting back somewhat obliquely1 it retreats in the middle into a rounded form which those who are learned in these matters call semicylindrical1 rising perpendicularly4 ,apsoid and ,semidome4--,the upper part of this work ends in the fourth part of a sphere1 and above it another crescent-shaped 7menoeides7 structure is raised upon the adjacent parts of the building1 admirable for its beauty1 but causing terror by the apparent weakness of its construction2 for it appears not to rest upon a secure foundation1 but to hang dangerously over the heads of those below1 although it is really supported with especial firmness and safety4 ,exedras4--,on each side of these parts are columns standing upon the floor1 which are not placed in a straight line1 but arranged with an inward curve of semicircular shape1 one beyond another like the dancers in a chorus4 ,these columns support above them a crescent-shaped structure4 ,opposite the east wall is built another wall1 containing the entrances1 and upon either side of it also stand columns1 with stone-work above them1 in a half-circle exactly like those previously described4 ,great ,piers and ,arches4--,in the midst of the church are four masses of stone called piers 7pessoi71 two on the north1 and two on the south sides1 opposite and alike1 having four columns in the space between each pair4 ,these piers are formed of large stones fitted together1 the stones being carefully selected1 and cleverly jointed into one another by the masons1#ej and reaching to a great height4 ,looking at them1 you would compare them to perpendicular cliffs4 ,upon them1 four arches 7apsides7#ea arise over a quadrilateral space4 ,the extremities of these arches join one another in pairs1 their ends resting upon the piers1 while the other parts of them rise to a great height1 suspended in the air4 ,two of these arches1 that is those towards the rising and the setting of the sun1 are constructed over the empty air1 but the others have under them some stone-work1 and small columns4 ,dome and ,pendentives4--,now above these arches is raised a circular building of a curved form through which the light of day first shines2 for the building1 which ,i imagine overtops the whole country1 has small openings left on purpose1 so that the places where these intervals occur may serve for the light to come through4 ,thus far ,i imagine the building is not incapable of being described1 even by a weak and feeble tongue4 ,as the arches are arranged in a quadrangular figure1 the stone-work between them takes the shape of a triangle1 the lower angle of each triangle1 being compressed where the arches unite1 is slender1 while the upper part becomes wider as it rises in the space between them1 and ends against the circle which rests upon them1 forming there its remaining angles4 ,a spherical-shaped dome 7tholos7 standing upon this circle makes it exceedingly beautiful2 from the lightness of the building1 it does not appear to rest upon a solid foundation1 but to cover the place beneath as though it were suspended from heaven by the fabled golden chain4 ,all these parts surprisingly joined to one another in the air1 suspended one from another1 and resting only on that which is next to them1 form the work into one admirably harmonious whole1 which spectators do not dwell upon for long in the mass1 as each individual part attracts the eye to itself4 ,the sight causes men constantly to change their point of view1 and the spectator can nowhere point to any part which he admires more than the rest4 ,seeing the art which appears everywhere1 men contract their eyebrows as they look at each part1 and are unable to comprehend such workmanship1 but always depart thence1 stupefied1 through their incapacity4 ,so much for this4 8,the ,emperor ,justinian and the architects ,anthemius and ,isidorus used many devices to construct so lofty a church with security4 ,one of these ,i will now explain1 by which a man may form some opinion of the strength of the whole work2 as for the others ,i am not able to discover them all1 and find it impossible to describe them in words4 ,it is as follows3 ,the piers1 of which ,i just now spoke1 are not constructed in the same manner as the rest of the building2 but in this fashion2 they consist of quadrangular courses of stone1 rough by nature1 and made smooth by art2 of these stones1 those which make the projecting angles of the pier are cut angularly 7engonios71 while those which go in the middle parts of the sides are cut square 7tetragonos74 8,they are fastened together not with lime 7titanos71 called #8unslaked' 7asbestos71 not with asphaltum1 the boast of ,semiramis at ,babylon1 nor anything of the kind1 but with lead1 which1 poured into the interstices1 has sunk into the joints of the stones1 and binds them together2 this is how they are built4 8,let us now proceed to describe the remaining parts of the church4 ,the entire ceiling is covered with pure gold1 which adds to its glory1 though the reflections of the gold upon the marble surpass it in beauty4 ,there are two aisles one above another on each side1 which do not in any way lessen the size of the church1 but add to its width4 ,in length they reach quite to the ends of the building1 but in height they fall short of it2 these also have domed ceilings adorned with gold4 ,of these two porticoes one ground floor is set apart for male and the other upper floor for female worshippers2 there is no variety in them1 nor do they differ in any respect from one another1 but their very equality and similarity add to the beauty of the church4 ,who could describe these gynaeceum galleries1 or the numerous porticoes 7stoai7 and cloistered courts 7peristuloi aulai7 with which the church is surrounded8 ,who could tell of the beauty of the columns and marbles with which the church is adorned8 ,one would think that one had come upon a meadow full of flowers in bloom6 ,who would not admire the purple tints of some1 and the green of others1 the glowing red and the glittering white1 and those too1 which nature1 painter-like1 has marked with the strongest contrasts of colour8 ,whoever enters there to worship perceives at once that it is not by any human strength or skill1 but by the favour of ,god1 that this work has been perfected2 the mind rises sublime to commune with ,god1 feeling that ,he cannot be far off1 but must especially love to dwell in the place which ,he has chosen2 and this is felt not only when a man sees it for the first time1 but it always makes the same impression upon him1 as though he had never beheld it before4 ,no one ever became weary of this spectacle1 but those who are in the church delight in what they see1 and1 when they leave1 magnify it in their talk4 ,moreover it is impossible accurately to describe the gold1 and silver1 and gems1 presented by the ,emperor ,justinian2 but by the description of one part1 ,i leave the rest to be inferred4--,that part of the church which is especially sacred1 and where the priests alone are allowed to enter1 which is called the ,sanctuary 7thusiasterion71 contains forty thousand pounds' weight of silver4 8,the above is an account1 written in the most abridged and cursory manner1 describing in the fewest possible words the most admirable structure of the church at ,constantinople1 which is called the ,great ,church1 built by the ,emperor ,justinian1 who did not merely supply the funds for it1 but assisted at its building by the labour and powers of his mind1 as ,i will now explain4 ,of the two arches 7apsides71 which ,i lately mentioned--the architects 7mechanopoioi7 call them loroi#eb--that one which stands towards the east had been built up on each side1 but had not altogether been completed in the middle1 where it was still imperfect2 when the piers 7pessoi7 upon which the building rested1 unable to support the weight which was put upon them1 somehow all at once split open1 and seemed as though before long they would fall to pieces4 ,upon this ,anthemius and ,isidorus1 terrified at what had taken place1 referred the matter to the emperor1 losing all confidence in their own skill4 ,he at once1 ,i know not by what impulse1 but probably inspired by ,heaven1 for he is not an architect1 ordered them to complete this arch2 for it1 said he1 resting upon itself1 will no longer need the piers 7pessoi7 below4#ec ,now if this story were unsupported by witnesses1 ,i am well assured that it would seem to be written in order to flatter1 and would be quite incredible2 but as there are many witnesses now alive of what then took place ,i shall not hesitate to finish it4 ,the workmen performed his bidding1 the arch was safely suspended1 and proved by experiment the truth of his conception4 ,so much then for this part of the building2 now with regard to the other arches1 those looking to the south and to the north1 the following incidents took place4 ,when the arches called loroi were raised aloft during the building of the church everything below them laboured under their weight1 and the columns which are placed there shed little scales1 as though they had been planed4 8,alarmed at this1 the architects 7mechanikoi7 again referred the matter to the emperor1 who devised the following scheme4 ,he ordered the upper part of the work that was giving way to be taken down where it touched the arches for the present1 and to be replaced afterwards when the damp had thoroughly left the fabric4 ,this was done1 and the building has stood safely ever since1 so that the structure1 as it were1 bears witness to the emperor's skill40 ,fall of ,dome and ,restoration4--,on the #gth of ,may1 #eeh1 the eastern part of the dome1 8built by ,isaurian workmen1 with the apse1 was thrown down by an earthquake1 destroying in its fall the holy table1 the ciborium1 and the ambo40#ed ,reference is made to this in the opening lines of the ,silentiary's poem 7see ,chapter ,,iii474 ,according to ,theophanes 8the architects attributed its fall to the fact that to save expense the piers had been made too full of openings4 ,the emperor restored the piers and raised the dome twenty feet40 ,the church was again consecrated in the fifth year after the catastrophe by ,eutychius in the thirty-sixth year of ,justinian1 on the #bdth of ,december4#ee ,theophanes#ef describes the emperor and patriarch as riding together to the church in a chariot1 and bearing the gospel with them1 8while the people chanted the #8,lift up your gates4'0 ,the church1 after its repair1 is described by three contemporary authors--,paul the ,silentiary1 ,agathias1 and ,evagrius4 ,the poem of the first of these is given in the next chapter4 ,agathias4--,agathias1 surnamed the scholar1 was born in #ecf at ,myrina in ,asia ,minor1#eg studied at ,alexandria1 and came in #eed to ,constantinople1 where he became known as a historian and a poet1 and died in #ehb4 ,justinian1 he says1 restored several buildings after the earthquake1 his especial care however was the great church of ,s4 ,sophia4#eh 8,now the former church having been burnt by the angry mob1 ,justinian built it up again from the foundations as big and more beautiful and wonderful1 and this most beautiful design was adorned with much precious metal4 ,he built it in a round form with burnt brick and lime1 it was bound together here and there with iron1 but they avoided the use of wood1 so that it should no more be easily burnt4 ,now ,anthemius was the man who devised and worked at every part4 8,and as by the earthquake the middle portion of the roof and the higher parts had been destroyed1 the king made it stronger1 and raised it to a greater height4 ,anthemius was then dead1 but the young man ,isidorus and the other craftsmen1 turning over in their minds the previous design1 and comparing what had fallen with what remained1 estimated where the error lay1 and of what kind it was4 ,they determined to leave the eastern and western arches 7apsides7 as they were4 ,but of the northern and southern 7arches7 they brought towards the inside1 that portion of the building which was on the curve4#ei ,and they made these arches wider so as to be more in harmony with the others1 thus making the equilateral symmetry more perfect4 ,in this way they were able to cover the measurelessness of the empty space1 and to steal off some of its extent to form an oblong design4 ,and again they wrought that which rose up over it in the middle1 whether orb 7kuklos71 or hemisphere1 or whatever other name it may be called4 ,and this also became more straightforward and of a better curve1 in every part agreeing with the line2 and at the same time not so wide but higher1 so that it did not frighten the spectators as formerly1 but was set much stronger and safer40 ,illustration3 ,,fig4 #d4--,longitudinal ,section1 having regard to ,dome as first built4 ,evagrius4--,this historian was born in #ecf ,a4,d4#fj at ,epiphania on the ,orontes4 ,in his ,ecclesiastical ,history we learn of the suffering caused by the invasion of ,chosroes in #edj4 ,from this time all ,syria was continually disturbed1 and the educated ,christians fell back more and more on ,constantinople4 ,evagrius came to ,constantinople in #ehi1 though he returned to ,antioch afterwards4 ,his history commences with the ,council of ,ephesus in #dca and extends to the year #eic4 ,he says#fa3-- 8,in the city of ,constantinople ,justinian constructed many churches of wonderful beauty in honour of ,god1 and the saints--among them was a great and incomparable work of a kind that none like it was ever remembered--the great church of ,s4 ,sophia2 which excelling in beauty1 far surpasses power of description4 8,as far as ,i can ,i will explain it4 ,the nave 7naos7 of the temple has a dome 7tholos7 over it spreading its weight on four arches1 raised to such a height1 that to those looking from below it is difficult to see the whole hemisphere4 ,and those who are above1 however bold they are1 never dare to bend over and look on to the ground3 and the arches are open from the base up to their crown4 ,on the right and left however1 opposite to one another1 are ranged columns of ,thessalian marble4 ,these with other neighbouring columns carry upper chambers1 which offer a place to lean forward for those who wish4 ,here it is that the empress is wont to attend service on festal days4 8,but the arches to east and west are left so that nothing interferes with admiration of their size4 ,now the arcades of the just mentioned upper chambers are supported from beneath by columns and small arches1 which greatly add to the work4 ,in order that the wonder of this building may be more easily grasped1 ,i have here placed in feet the measures of the length1 breadth1 and height2 and of the arches their diameter and height4 ,the length then from the door opposite the holy apse1 where is offered the bloodless sacrifice1 to the apse itself is #aij feet2 the breadth of the nave from north to south is #aae4 ,the height from the centre of the dome to the ground is #ahj feet4 ,and of the arches1 the width of each in feet is no number given4 ,and the length from east to west is #bjj feet4 ,the width of the opening is #ge feet4#fb ,there are also to the west two fine porticoes1 and everywhere open courts of wonderful beauty40 ,paul the ,silentiary4--,as this author's really detailed account of the church is of considerable length1 we have reserved it for the next chapter1 although it was written before the descriptions just given by ,agathias and ,evagrius4 ,for the little that is known of the author we are almost entirely indebted to his friend ,agathias1 who says3 8,if any one living perchance far from this city1 wishes to know and see everything as if present and looking on1 let him read what ,paulus1 son of ,cyrus1 son of ,florus1 has written in hexameter verse2 he is chief of the ,royal ,silentiaries1 and sprung from a noble race2 inheriting ancestral wealth1 yet zealously brought up in the study of letters1 by which he was the more glorious and famous4 ,he wrote a number of other poems worthy of memory and praise1 but it seems to me that that which he wrote on the ,great ,church is completed with the most skill and labour1 even as its subject is more worthy than any other4 ,for you will find in his poem the arrangement of the form1 and the nature of the stones explained2 the beauty and purpose of the curtains2 the lengths and heights1 what is curved and what straight1 what projects and what is suspended4 ,you will learn1 too1 how with silver and gold the more sacred part1 intended for the divine mysteries1 was adorned2 as well as whatever ornament great or small is there1 which those who frequent the church may see40 ,the ,silentiaries1 of whom ,paulus was one1 were court officials4 ,their office was an exalted one1 as they ranked with the senators1 and were employed on all kinds of service1 not unfrequently becoming the historians of the emperor4 ,paulus belonged to the cultivated and literary circle1 who during ,justinian's reign interested themselves in literature1 and to him are attributed more than eighty poems in the ,anthology4#fc ,the description or rather explanation of ,s4 ,sophia was most probably written and recited as an ,opening ,ode at the ,encaenia of ,december #bdth1 #efc4 ,krtum 7in ,salzenberg7 conjectures that the poem was recited in 8a hall of the ,imperial ,palace10 but ,du ,cange is probably more correct in assigning only the first eighty lines to the ,palace4 ,the succeeding lines he says 8were addressed to the clergy in the ,patriarch's ,palace10 but we believe1 from the antithesis between the ,palace of the ,emperor and the ,house of ,god1 that the address to the patriarch was spoken within the walls of the church itself1 and that the whole poem1 which is divided into three parts1 was written to be recited in connection with the opening ceremony mentioned above4 ,it shows us how much architecture was esteemed by ,justinian1 that the historian of his wars wrote also a history of his buildings2 and the court poet was employed to celebrate the greatest of them in verse4 ,on many accounts the poem is the best ancient architectural description extant4 ,it is exact in accuracy1 most orderly in its sequence when read with a knowledge of the building1 and must have been written within its walls4 ,a close and careful study written when architectural ideas were in the ascendant--the chief subject of thought in times of peace--it is no futile attempt to explain a work of genius in terms of mechanics and foot-rule measurements1 after the manner of an architectural lecture1 but it translates the ideas of the artist into the words of the poet4 ,the conceit of ,homeric metre and phrasing is almost a charm at this distance of time1 the poet's enthusiasm being quite sufficient to carry off the affectation of attempting an architectural epic4 ,it is not however in its form but in its stimulus to imagination that we see its chief value4 ,,chapter ,,iii ,,the ,,silentiary',s ,,poem--,,part ,i ,the first eighty lines of the ,prelude are an eulogy on the emperor4 ,the succeeding lines were addressed to the clergy4 8,we come to you1 sirs1 from the home of the emperor1 to the home of the ,almighty ,emperor1 the ,deviser of the ,universe1 by whose grace victory cleaves to our lord4 ,the august head of our state lent a kindly ear to our words1 as he sat in the hall2 now we see the chief of the sacred priests4 ,may he too favour us1 and may none of those who listen carp at our words40 ,the poem itself1 in long ,homeric hexameters1 begins by describing the general peace throughout the ,roman world at the time of the restoration of ,s4 ,sophia4 ,dr4 ,krtum notes the following references to events only then recently passed4 ,the rule of the ,vandals in ,africa had been destroyed by ,belisarius 7#ecd71 and a later insurrection quelled 7#ede72 the reign of the ,ostrogoths in the ,west had come to an end 7#eed71 and peace had just been concluded with the ,persians 7#efa74 ,there is also an allusion to the conspiracy of this same year1 when an attempt was made on the emperor's life4 ,the poet then1 describing the ruin caused by the earthquake 7#eeh7 at ,s4 ,sophia1 tells us that 8the very foundations of the dome failed1 and thick clouds of dust darkened the midday sun4 ,yet the whole church did not fall1 but only the top of the eastern vault1 and a portion of the dome above4 ,part lay on the ground1 part open to the light of day1 hung suspended in the air40 8,but the emperor soon began to build again1 the ,genius of ,new ,rome by his side40 ,when the emperor went to the ruins of the church he praised the skilful craft of ,anthemius2 8he it was who laid the first foundations of the church1 one skilled to draw a circle or set out a plan4#fd ,and he gave to the walls strength to resist the pushing arches1 which were like active demons4 ,this time it was not merely the crown of the arch that gave way see above1 p4 #bh1 for the very piers were shaken to their foundations40 ,the poet now describes the building3 8,whoever raises his eyes to the beauteous firmament of the roof1 scarce dares to gaze on its rounded expanse sprinkled with the stars of heaven1 but turns to the fresh green marble below1 seeming as it were to see flower-bordered streams of ,thessaly1 and budding corn1 and woods thick with trees2 leaping flocks too and twining olive-trees1 and the vine with green tendrils1 or the deep blue peace of summer sea1 broken by the plashing oars of spray-girt ship4 ,whoever puts foot within the sacred fane1 would live there for ever1 and his eyes well with tears of joy4 ,thus by ,divine counsel1 while angels watched1 was the temple built again4 8,at last the holy morn had come1 and the great door of the new-built temple groaned on its opening hinges1 inviting emperor and people to enter2 and when the inner part was seen sorrow fled from the hearts of all1 as the sun lit the glories of the temple4 ',twas for the emperor to lead the way for his people1 and on the morrow to celebrate the birth of ,christ4 ,and when the first gleam of light rosy-armed driving away the dark shadows1 leapt from arch to arch1 then all the princes and people with one voice hymned their songs of prayer and praise2 and as they came to the sacred courts1 it seemed to them as if the mighty arches were set in heaven4 ,apse and ,exedras4--8,towards the ,east unfold triple spaces of semicircular form2 and above1 on an upright band of wall1 soars aloft the fourth part of a sphere4 ,even so1 high over its back and triple crest1 shimmer the tail feathers of a peacock1 with their countless eyes4 ,these crowning parts men learned in the builder's art call conchs2 and certain it is they call them so from a shell of the sea1 or 'tis a craftsman's name4 ,apse4--8,the middle apse holds the stalls 7thokoi7 and steps 7bathra7 ranged circle-wise4 ,some on the level of the ground are massed close together round the centre2 and as they rise higher1 with the spaces between them1 they widen out little by little1 until they come to the stalls of silver4 ,thus with increasing circles they ever wheel round a fixed circle in the pavement4 ,bema4--8,now the apse is separated from the nave by a space between vertical walls built on strong foundations1 with an arch#fe above1 not a portion of a sphere1 but in the form of a cylinder cleft in twain4 ,exedras4--8,and westwards again are two conchs on columns1 one on either side2 projecting as if stretching out bent arms to embrace the people singing in the church4 ,they are borne by columns of porphyry1 bright of bloom ranged in semicircular line1 and with capitals 7karenoi7 of gold1 carrying the weight of the arches 7kukloi7 above4 ,these columns were once brought from the cliffs of ,thebes1 which stand1 like greaved warriors1 by the banks of ,nile4 ,thus1 on two columns1 on either side1 rise the lower parts of either exedra 7apsis74 ,and for the support of each1 the skilled workman has bent from below three small semicircular arches 7apsides72 and1 beneath their springing1 the tops 7kareata7 of the columns are bound with well-wrought bronze1 overlaid with gold1 which drives away all fear4 ,now above the porphyry columns stand others from ,thessaly1 splendid flowers of fresh green4 ,here are the fair upper galleries for the women4 ,these too have arches1 as may be seen from below1 though they show six ,thessalian columns and not two4 ,and one wonders at the power of him1 who bravely set six columns over two1 and has not trembled to fix their bases over empty air4#ff ,illustration3 ,,fig4 #e4--;,ground ,plan4 ,illustration3 ,,fig4 #f4--,plan of ,gynaeceum ,galleries4 ,the left-hand side of each plan shows the vaults1 and the right-hand side the iron ties and wood struts at springing of vaults4 8,now the workman has fenced all the spaces between the ,thessalian columns1 with stone closures1 on which the women can lean and support their elbows4 ,thus as you raise your gaze to the eastern arches 7antuges7 a never-ending wonder appears4 ,eastern ,semidome4--8,and upon all of them1 above the curved forms rises yet another vault 7apsis71 borne on the air1 raising its head aloft up to the wide-reaching arch1 on whose back are firmly fixed the lowest courses of the divine head-piece 7koros7 of the centre of the church4 ,thus rises on high the deep-bosomed vault1 borne above triple voids below2 and through fivefold openings1 pierced in its back1 filled with thin plates of glass1 comes the morning light scattering sparkling rays4 ,,part ,,ii ,western ,end4--8,and looking towards the sunset1 one might see the same as towards the dawn1 though a portion differs4 ,for there in the centre it is not drawn round in a circle1 as on the eastern boundary1 where sit the learned priests on seats of resplendent silver1 but at the west end is a vast entrance 7puleon72 not only one door1 but three4 ,narthex4--8,and outside of the doors 7pulai7 there stretches a long porch 7aulon71 receiving beneath wide portals 7thuretroi7 those that enter2 and it is as long as the wondrous church is broad4 ,in the ,greek speech this part is called the narthex4 ,here through the night swells the melodious sound1 pleasing to the ears of ,him who giveth life to all2 when the psalms of ,david are sung in antiphonal strains--that sweet-voiced ,david1 whom the divine voice of the ,almighty praised1 and whose glorious posterity conceived the sinless ,son of ,god1 who was in ,virgin's pangs brought forth1 and subjected to a ,mother's care4 ,now into this porch open seven wide holy gates 7puleones71 inviting the people to enter4 ,one of them is on the south of the narrow porch1 and another opens to ,boreas1 but the others are opened on creaking hinges by the doorkeeper 7neokoros7 in the west wall4 ,this wall is the end of the church4 8,whither am ,i carried8 ,what breeze has driven1 like a ship at sea1 my errant speech8 ,the very centre of the famous church is all forgotten2 return1 my muse1 to see the wonders scarcely to be believed when seen or heard4 ,the ,four ,piers4--8,alongside of the eastern and western curves 7kukloi7--the half-circles with their pairs of columns from ,thebes--stand four strong well-built piers 7toichoi71 naked to look on in front1 but on their sides and backs they have supporting arches1 and the four rest on strong foundations of hard stones4 ,in the joints the workman has mixed and poured the dust of fireburnt stone1 binding all together with the builder's art4 8,above them spring measureless curved arches like the many-coloured bow of ,iris3 one opens towards the home of ,zephyr1 another to ,boreas1 another to ,notus1 and yet another to the fiery ,eurus4 ,and every arch 7antux7 has its foot at either end fixed unshaken1 and joined to the neighbouring curves4 ,but as each rises slowly in the air in bending line1 it separates from the other to which first it was joined4 ,the ,pendentives4--8,now the part between these same arches 7apsides7 is filled with wondrous skill4 ,for where1 as needs must be1 the arches bend away from one another1 and would have shown empty air1 a curved wall1 like a triangle1 grows over1 touching the rim of the arches on either side4 ,and the four triangles1 creeping over1 spread out1 until they become united above the crown of each arch4 ,the middle portion of the arches1 as much as forms the curved rim1 the builder's skill has formed with thin bricks 7plinthoi71 and has thus made fast the topmost curves of the house of stone4 8,now in the joints they have put sheets of soft lead1 lest the stones1 as they lie on one another1 adding weight to weight1 should have their backs broken4 ,thus with the lead inserted1 the pressure is softened1 and the stone foundation is gently burdened4 ,cornice of ,dome4--8,a rim 7antux7 curving round1 is firmly fixed on the backs 7of the arches71 where rests the base of the hemisphere#fg2 this is the circle of the lowest course which they have set as a crown on the backs of the arches 7apsides74 ,and just under the projecting firmament 7kosmos71 the hanging stones form a narrow curved path1 on which the man who cares for the sacred lights can walk fearlessly1 and trim each in turn4 ,the ,dome4--8,and above all rises into the immeasurable air the great helmet of the dome1 which1 bending over1 like the radiant heavens1 embraces the church4 ,and at the highest part1 at the crown1 was depicted#fh the cross1 the protector of the city4 ,and wondrous it is to see how the dome gradually rises1 wide below1 and growing less as it reaches higher4 ,it does not however spring upwards to a sharp point1 but is like the firmament which rests on air1 though the dome is fixed on the strong backs of the arches40 7,here is a lacuna in the ,greek text2 two broken lines1 #id1 #ie1 speak of 8window openings made in the apses1 through which streams the splendour of the golden morning light407 8,with dauntless pen ,i will describe what plan the emperor devised for the broad church1 and how1 with builder's skill1 both the curves of the arches and the vault of the wide-extended house were formed with thin bricks 7plinthoi71 and raised on firm foundations4 ,thus the skilful master-man1 well versed in every craft1 formed a ceiling to the lofty nave4 ,yet he did not send to the hills of ,phnician ,lebanon1 nor to search the dark woods of the ,alpine crags1 nor where some ,assyrian or ,celtic woodman goads on the oxen in dense forests1 nor did he think to use fir 7peuke7 or pine 7elate7 to roof the house4 ,from neither the glades of ,daphne#fi by ,orontes1 nor from the wooded crags of ,patara#gj came cypress wood1 to form a covering for the mighty temple4 ,for our noble king1 since nature could produce no timber great enough1 had it covered with stones 7lithoi7 laid in a round form4 ,thus on the four arches 7apsides7 rose1 like a beauteous helmet1 the deep-bosomed swelling roof 7kaluptra73 and it seems that the eye1 as it wanders round1 gazes on the circling heavens4 ,and beneath the two great arches 7apsides71 to the east and to the west1 you must know that it is all open1 and extended in the air4 8,but towards the murmuring south wind and the cold dry north1 a wall1 mighty in strength1 rises to the under side of the rounded arch 7antux74 ,now this wall is made bright with eight windows1 and rests below on great props of marble4 ,for beneath it six columns1 like the fresh green of the emerald1 in union support untired the weight of wall4 ,and these again are borne on strong columns fixed immovable on the ground1 glittering jewels of ,thessalian marble1 with capitals above them like locks of golden hair4 ,these separate the middle portion of the glorious nave from the neighbouring aisle 7aithousa7 that stretches alongside4 ,never were such columns1 blooming with a many-hued brightness1#ga hewn from the craggy hills of sea-washed ,molossis4 ,north ,aisle1 ,centre ,division4--8,and in the aisle itself1 in the middle space ,anthemius of many crafts1 and with him ,isiodorus the wise1--for both of them1 acting under the will of the king1 built the mighty church--have placed two pairs of columns1 and in measure they are less than those others near them1 but they are as bright with fresh green bloom1 and they came from the same quarry4 8,yet their bases are not placed in a row1 one after the other1 but they stand on the pavement two facing two opposite2 and above their capitals on fourfold arches 7seireai7 rises the underside of the women's galleries4 ,and close by these columns on the north side is a door1 admitting the people to the founts that purify the stains of mortal life1 and heal every deadly scar4 8,thus on four columns of beautiful ,thessalian stone1 in order1 placed here and there1 towards the twilight and to the dawn1 along the length of the aisle 7aithousa7 there curves a weight of bending vaults 7kulindroi7 extending to the walls1 which are pierced with openings2 on the northern side they lean on the spaces that join the twin windows1#gb but on the south1 instead of windows are empty spaces like a colonnade4 ,north ,aisle1 ,east and ,west ,divisions4--8,and again towards the east and west stand two columns from ,thessaly1 with lofty crests1 and twin piers 7stemones7 from famous ,proconnesus1 fixed close by the doors4 ,towards the east there is but one door1 though on the side of the cold north they walk through twain4 ,south ,aisle4--8,on the south you will see a long aisle as on the north1 yet made bigger4 ,for a part is separated off from the nave by a wall1 and here the emperor takes his accustomed seat on the solemn festivals1 and listens to the reading of the sacred books4 ,gynaecea4--8,and whoever mounts will find on both sides of the church the aisles for women similar to those below1 and there is yet another1 though not like those on either side1 above the narthex4 ,atrium4--8,now on the western side of this divine church you will see a great open court 7aule7 surrounded by four cloisters4 ,one of these joins on to the narthex1 but the others spread round the sides1 where stand their several paths4 ,in the very centre of the wide garth stands a spacious phiale1 cleft from the ,iassian peaks2 and from it bubbling water gushes forth and throws a stream into the air1 leaping up from the pressure of the brazen pipe--a stream that purges away all suffering1 when the people1 in the month of the golden vestments#gc at the mystic feast of ,christ1 draw the unsullied waters in vessels by night4 ,and the water shows the power of ,god2 for never will you find decay on its surface1 even if it remains in its vessel1 and away from the fountain for more than a year4#gd 8,everywhere the walls glitter with wondrous designs1 the stone for which came from the quarries of seagirt ,proconnesus4 ,the marbles are cut and joined like painted patterns1 and in stones formed into squares or eight-sided figures the veins meet to form devices2 and the stones show also the forms of living creatures4 8,and on either side along the flanks and outskirts 7antuges7 of the beautiful church1 you would see open courts 7aulai74 ,these were all planned about the building with cunning skill1 that it might be bathed all round by the bright light of day4 ,the ,marbles4--8,yet who1 even in the measures of ,homer1 shall sing the marble pastures gathered on the lofty walls and spreading pavement of the mighty church8 ,these the iron with its metal tooth has gnawed--the fresh green from ,carystus1 and many-coloured marble from the ,phrygian range1 in which a rosy blush mingles with white1 or it shines bright with flowers of deep red and silver4 ,there is a wealth of porphyry too1 powdered with bright stars1 that has once laden the river boat on the broad ,nile4 ,you would see an emerald green from ,sparta1 and the glittering marble with wavy veins1 which the tool has worked in the deep bosom of the ,iassian hills1 showing slanting streaks blood-red and livid white4 ,from the ,lydian creek came the bright stone mingled with streaks of red4 ,stone too there is that the ,lybian sun1 warming with his golden light1 has nurtured in the deep-bosomed clefts of the hills of the ,moors1 of crocus colour glittering like gold2 and the product of the ,celtic crags1 a wealth of crystals1 like milk poured here and there on a flesh of glittering black4 ,there is the precious onyx1 as if gold were shining through it3 and the marble that the land of ,atrax yields1 not from some upland glen1 but from the level plains2 in parts fresh green as the sea or emerald stone1 or again like blue cornflowers in grass1 with here and there a drift of fallen snow1--a sweet mingled contrast on the dark shining surface4 ,sectile and carved ,spandrils4--8,before ,i come to the glitter of the mosaic1#ge ,i must describe how the mason 7laotoros71 weaving together with skill thin slabs of marble1 has figured on the flat surface of the walls intertwining curves laden with plenteous fruit1 and baskets1 and flowers1 and birds sitting on the twigs4 ,and the curved pattern of a twining vine with shoots like golden ringlets1 weaves a winding chain of clusters2 little by little does it put forth shoots1 until it overshadows all the stone near with ripples like beauteous tresses4 ,such ornament as this surrounds the church4 ,the ,capitals4--8,and the lofty crest of every column1 beneath the marble abacus 7peze71 is covered with many a supple curve of waving acanthus--a wandering chain of barbed points all golden1 full of grace4 ,thus the marble in bulging forms crowns the deep red columns1 as wool the distaff2 the stone glittering with a beauty that charms the heart4 ,the ,floor4--8,and gladly have the hills of ,proconnesus bent their backs to necessity1 and strewed the floor with marble4 ,in parts too shimmers the polish of the ,bosporus stone1 with white streaks on black4 ,the ,mosaic4--8,now the vaulting is formed of many a little square 7psephos7 of gold cemented together4 ,and the golden stream of glittering rays pours down and strikes the eyes of men1 so that they can scarcely bear to look4 ,one might say that one gazed upon the midday sun in spring1 what time he gilds each mountain height4 ,iconostasis4--8,our emperor has levied from the whole earth1 and brought together the wealth of the barbarians of the west2 for as he did not deem stone a fitting adornment for the divine1 eternal temple1 on which ,new ,rome has centred the expectancy of joy2 he has not spared enrichments of silver1 and so the ridge of ,pangaeus#gf and the height of ,sunium#gg have opened all their silver veins1 and many treasure-houses of our subject kings have yielded their stores4 8,for as much of the great church by the eastern arch as was set apart for the bloodless sacrifices1 no ivory1 no stone1 nor bronze distinguishes1 but it is all fenced with the silver metal4 ,not only upon the walls1 which separate the holy priests from the crowd of singers1#gh has he placed mere plates of silver1 but he has covered all the columns themselves with the silver metal1 even six sets of twain2 and the rays of light glitter far and wide4 ,upon them the tool has formed dazzling circles1 beautifully wrought in skilled symmetry by the craftsman's hand1 in the centre of which is carved the symbol of the ,immaculate ,god1 who took upon ,himself the form of man4 ,in parts stand up an army of winged angels in pairs1 with bent necks and downcast mien 7for they could not gaze upon the glory of the ,godhead1 though hidden in the form of man to clear man's flesh from sin74 ,and elsewhere the tool has fashioned the heralds of the way of ,god1 even those by whose words were noised abroad1 before ,he took flesh upon ,him1 the divine tidings of the ,anointed ,one4 ,nor had the craftsman forgotten the forms of those others1 whose childhood was with the fishing-basket and the net2 but who left the mean labours of life and unholy cares to bear witness at the bidding of a heavenly king1 fishing even for men1 and forsaking the skill of casting nets to weave the beauteous seine of eternal life4 ,in other parts art has limned 7kategraphe7 the ,mother of ,christ1 the vessel of eternal ,light1 whose womb brought ,him forth in holy travail4 8,but on the middle panels of the sacred screen1 which forms the barrier for the priests1 the carver's art has cut one letter that means many words1 for it combines the name of our king and queen4 ,and he has also wrought a form like a shield with a boss1 showing the cross in the middle parts4 ,and through the triple doors the screen opens to the priests4 ,for on each side the skilful hand of the workman has made small doors4 ,the ,ciborium4--8,and above the all-holy table of gold rises in the air a tower 7purgos7 indescribable1 reared on fourfold arches of silver4 ,and it is borne aloft on silver columns1 on whose tops every arch rests its silver feet4 ,and above the arches rises a figure like a cone1 yet it is not complete4 ,for at the bottom its edge 7antux7 does not turn round in the circular form1 but has an eight-sided base1 and from a broad plan it gradually diminishes to a sharp point1 having eight sides of silver4 ,and at the juncture of each to other is1 as it were1 a long backbone 7rachis7 which seems to join with the triangular faces of the eight-sided form1 and rises to a single crest1 where is artfully wrought the form of a cup4 ,and the edges of the cup bend over and assume the form of leaves1 and in the midst of it has been placed a shining silver globe1 and the cross surmounts it all4 ,may it be an omen of peace6 ,but above the arches many a curve of acanthus twines round the lower part of the cone1 and the plant shows sharp projections which rise up from the groundwork like the fruit of a fragrant pear1 glittering with light4 8,now where the fitted edges join the flat base are fixed and set bowls of silver4 ,and in each cup stands as it were a candle1 though it is a glittering symbol not made of wax1 and beauty flashes from them and not light4 ,for they are made round of silver1 brightly polished4 ,thus the candle flashes a silver ray not the light of fire4 ,the ,altar4--8,and on columns of gold is raised the all gold slab#gi of the holy table1 standing on gold foundations1 and bright with the glitter of different stones4 8,whither am ,i carried8 whither tends my unbridled speech8 ,let my voice be silent1 and not lay bare what is not meet for the eyes of the people to see4 ,altar ,curtains4--8,but1 ye priests1 as the sacred laws command you1 spread out the curtain dipped in the red dye of the ,sidonian shell and cover the sacred table4 ,unfold the veils 7kaluptrai7 hanging on the four sides of silver1 and show to the countless crowd a multitude of beautiful designs in gold of skilful handiwork4 ,on one side is cunningly wrought the form of ,christ4 ,and this was not worked by skilful hands plying the needle on the stuff1 but by the web1 the produce of the worm#hj from distant lands1 changing its coloured threads of many shades4 ,a garment shimmering with gold1 like the rays of rosy-fingered dawn1 flashes down to the divine knees1 and a chiton1 deep red from the ,tyrian shell dye1 covers the right shoulder beneath its well-woven web4 ,the veiling upper robe has slipped away1 and pulled up across the side it only covers the left shoulder1 while the forearm and the hand are bare4 ,he seems to point the fingers of the right hand1 as if preaching the words of ,life1 and in the left hand ,he holds the book of the divine message1--the book that tells what the ,messiah accomplished when his foot was on the earth4 ,and the whole robe shines with gold2 for on it a thin gold thread is led through the web1 as if a fair chain was laid on the cloth in a groove or channel and bound with silken thread by sharp needles4 ,and on either side stand the two messengers of ,god--,paul1 full of divine wisdom1 and also the mighty doorkeeper of the ,gates of ,heaven1 binding with both heavenly and earthly chains4 ,one holds the book pregnant with sacred words1 and the other the form of a cross on a staff of gold4 ,and both the cunning web has clothed in robes of silver white1 and over their sacred heads rises upward a temple of gold1 with triple apses fixed on four columns of gold4 8,now on the extreme borders of the curtain shot with gold1 unspeakable art has figured the works of mercy of our city's kings2 here one sees hospitals for the sick1 there sacred fanes1 while on either side are displayed the miracles of ,christ2 such is the grace and beauty of the work4 8,but on the other curtains you see the kings of the earth on one side with their hands joined to those of the ,virgin1 on the other side with those of ,christ1 and all is cunningly wrought by the threads of the woof with the sheen of a golden warp4 ,thus is everything adorned with splendour4 ,thus may you see all that fills the eyes with wonder4 ,the ,lighting4--8,no words can describe the light at night-time2 one might say in truth that some midnight sun illumined the glories of the temple4 ,for the wise forethought of our king has had stretched from the projecting rim 7antux7 of stone1 on whose back is firmly planted the temple's air-borne dome1 long twisted chains 7seirai7 of beaten brass1 linked in alternating curves with many windings4 ,and these chains1 bending down from every part in a long course1 come together as they fall towards the ground4 ,but before they reach the pavement1 their path from above is checked1 and they finish in unison on a circle4 8,and beneath each chain he has caused to be fitted silver discs1 hanging circle-wise in the air1 round the space in the centre of the church4 ,thus these discs1 pendent from their lofty courses1 form a coronet above the heads of men4 ,they have been pierced too by the weapon of the skilful workman1 in order that they may receive shafts#ha of fire-wrought glass1 and hold light on high for men at night4 8,and not from discs alone does the light shine at night1 but in the circles close by a disc you would see the symbol of the mighty cross1 pierced with many holes1 and in its pierced back shines a vessel of light4 ,thus hangs the circling chorus of bright lights4 ,verily you might say that you gazed on the bright constellation of the ,heavenly ,crown by the ,great ,bear1 and the neighbouring ,dragon4 8,thus through the temple wanders the evening light1 brightly shining4 ,in the middle of a larger circle you would find a crown with lightbearing rim2 and above in the centre another noble disc spread its light in the air1 so that night is compelled to flee4 8,near the aisles too1 alongside the columns1 they have hung in order single lamps 7lampter7 apart one from another2 and through the whole length of the far-stretching nave is their path4 ,beneath each they have placed a silver vessel1 like a balance pan1 and in the centre of this rests a cup of well-burning oil4 8,there is not however one equal level for all the lamps1 for you may see some high1 some low1 in comely curves of light2 and from twisted chains they sweetly flash in their aerial courses1 even as shines twin-pointed ,hyas fixed in the forehead of ,taurus4 8,one might also see ships of silver1 bearing a flashing freight of flame1 and plying their lofty courses in the liquid air instead of the sea1 fearing no gale from south-west1 nor from ,botes1 sinking late to rest4 ,and above the wide floor you would see shapely beams 7with lamps71 running between two-horned supports of iron1 by whose light the orders of priests1 bound by the rubrics1 perform their duties4 8,some there are along the floor1 where the columns have their bases1 and above again others pass1 by far-reaching courses1 along the crowning work of the walls4 ,neither is the base of the deep-bosomed dome left without light1 for along the projecting stone of the curved cornice the skilful workman suspends single lamps to bronze stakes4 ,as when some handmaid binds round the neck of a royal virgin a graceful chain shining with the glitter of fiery gold2 even so has our emperor fixed round all the cornice lights in circle-wise1 companions everywhere to those below4 8,there is also on the silver columns of the ,iconostasis1 above their capitals1 a narrow way of access for the lamp-lighter1 glittering with bright clusters2 these one might compare to the mountain-nourished pine1 or cypress with fresh branches4 ,from a point ever-widening circles spread down until the last is reached1 even that which curves round the base2 instead of a root1 bowls of silver are placed beneath the trees1 with their flaming flowers4 ,and in the centre of this beauteous wood1 the form of the divine cross1 pierced with the prints of the nails1 shines with light for mortal eyes4 8,a thousand others within the temple show their gleaming light1 hanging aloft by chains of many windings4 ,some are placed in the aisles1 others in the centre or to east and ,west1 or on the crowning walls1 shedding the brightness of flame4 ,thus the night seems to flout the light of day1 and be itself as rosy as the dawn4 ,and whoever gazes on the lighted trees1 with their crown of circles1 feels his heart warmed with joy2 and looking on a boat#hb swathed with fire1 or some single lamp1 or the symbol of the ,divine ,christ1 all care vanishes from the mind4 ,so with wayfarers through a cloudless night1 as they see the stars rising from point to point2 one watches sweet ,hesperus1 another's attention is fixed on ,taurus1 and a third contemplates ,botes1 or ,orion and the cold ,charles' ,wain2 the whole heaven1 scattered with glittering stars1 opens before them1 while the night seems to smile on their way4 8,thus through the spaces of the great church come rays of light1 expelling clouds of care1 and filling the mind with joy4 ,the sacred light cheers all3 even the sailor guiding his bark on the waves1 leaving behind him the unfriendly billows of the raging ,pontus1 and winding a sinuous course amidst creeks and rocks1 with heart fearful at the dangers of his nightly wanderings--perchance he has left the gean and guides his ship against adverse currents in the ,hellespont1 awaiting with taut forestay the onslaught of a storm from ,africa--does not guide his laden vessel by the light of ,cynosure1 or the circling ,bear1 but by the divine light of the church itself4 ,yet not only does it guide the merchant at night1 like the rays from the ,pharos on the coast of ,africa1 but it also shows the way to the living ,god40 ,,chapter ,,iv ,,the ,,ambo ,the third part of the description of the ,silentiary is devoted to the ambo1 the chief feature in ,justinian's reinstatement of the interior4 ,it stood far out from the bema1 on the central axis of the church4 ,germanus1 ,patriarch of ,constantinople from #gae-gdj ,a4,d41 and ,simeon of ,thessalonica both speak of this as the right position for ambones2 8the most holy bema should be towards the east1 with the ambo in front of it1 if there is room40#hc ,the two flights of steps1 by which the ambo--the name of which is derived from the ,greek for ascending--was reached1 were on the east and west sides4 ,in the ambo the ,gospel was read1 and here was recited a prayer#hd at the conclusion of the liturgy1 which seems to have been a compendium of those previously uttered in the sanctuary2 the priest left the bema1 ascended the ambo on the east side1 and prayed with his face towards the west4 ,important offices in coronations were also performed here4 ,paulus' description of the ambo opens with a preface of thirty iambic lines in praise of the emperor1 who has added the 8one thing needful to our all-glorious church40 ,the importance of this work is made an excuse for interrupting the 8usual pursuits of his hearers even for a third time40 ,twenty hexameter lines are devoted to an invocation to the apostles and saints1 and then follows the description of the ambo4 8,now in the central space of the wide temple1 yet tending rather towards the east1 rises a tower 7purgos71 fair to look upon1 set apart for the reading of the sacred books4 ,upright it stands on steps1 reached by two flights1 one of which stretches towards the west1 but the other towards the dawn4 ,so are they opposite to one another1 and both lead to a space formed like a circle4 ,now one stone curves round to form this circular space1 though it is not altogether equal to a complete curve 7tornos71 but it agrees with it except where the edge of the stone is lengthened2 for towards east and west a flight of steps is drawn out like a neck1 projecting from the circled stone4 ,illustration3 ,,fig4 #g4--,plan of the ,ambo both above and below4 8,and up to the height of a man's girdle our godlike king has formed1 with the help of silver1 beauteous walls curving like crescents4 ,he has not bent silver right round the stone1 but a silver plaque 7plax7 is spread out in the centre1 to adorn the circling wall4 ,thus has the skilful workman spread out two sure crescents and opened on either side a flight of steps4 8,nor does fear seize those descending the sacred steps1 because the sides are unfenced2 for hedge walls of glittering marble have been reared there2 and they are high above the steps for the hand of a man to hold as he mounts1 grasping them to ease his way2 so on each side they grow upwards in a rising line1 and stop at length with the steps which are between them4 ,thus good use is made of the stone2 for they have quarried savage hill1 and steep promontory1 to have a far-stretching safeguard to the long flight4 ,and the whole is cunningly wrought with skilful workmanship1 and glitters with ever-changing brightness4 ,in parts it seems that whirlpools eddy over the surface1 intertwining circles winding under the wandering curves of other circles4 ,in parts is seen a rosy bloom1 mingled with wan paleness1 or fair gleams of light1 as from bright spearheads2 in other places shines a softer glory1 like the radiance of boxwood1 or the delightsome bees-wax1 which mortal men ofttimes lay on the unsullied cliffs1 and turn over beneath the rays of the sun1 while it changes to a silver white2 yet not completely altering its substance1 it still shows veins of gold4 ,even so the deep-stained ivory of many a year's growth expands its gleaming flesh on the curved breast4 ,at times it seems to have a pale green hue4 ,yet the craftsman has not left it pallid and unadorned1 for he has fixed it in fair and cunningly wrought designs on the stone4 ,thus over all in many a curve its beauty is displayed4 ,in parts the broad surface is tinged with the choicest tint of the pale crocus1 or appears almost without colour1 like light creeping round the pointed horns of the new-born moon4 8,now near a rocky hill stands the sacred city--,hierapolis--which gives its name to a well-known marble2 and of this is made all the fair floor of the place where they read the divine wisdom of the holy books2 and it is fitted by the craftsmen's skill on eight cunningly wrought columns4 ,two of these are towards the north1 two towards the southern wind1 two towards the east1 and two towards the home of evening4 ,thus is the floor raised up4 ,and beneath there is as it were another space1 where the priests continue their sacred song4 ,the stone is a covering to those below1 but above it is like a spreading plain1 untouched by the feet of mortals4 ,and the underside the mason 7laotomos7 has cut out and hollowed1 so that1 by the craftsmen's skill1 it rises from the capitals1 curving over like the hollow shell-back of the tortoise1 or some oxhide shield held up over the helmet1 when the warrior leaps in the mazes of the ,pyrrhic dance4 8,now the rugged surface 7metopon7 of the stone they have girdled everywhere with the silver metal2 and there the skilled workman1 cutting1 with the point of his iron1 twining foliage and lovely flowers1 has inlaid the beauteous leaves of ivy1 with its clusters and budding shoots4 8,but with all its steps and floor and the columns as well1 the artificers have formed for it a fixed foundation1 and raised a base 7krepis71 the height of a man's foot1 above the floor of the church2 and in order that they might widen the foundation of the space they have placed on either side1 round the belly 7gaster7 in the middle1 half-circles in stone1 and they have surrounded the space with separate columns arranged in semicircles4 ,thus the whole belly is widened by means of four rich columns on either side1 to north1 and to south2 and the cave space 7speos71 like a house1 is surrounded on all sides by a fence of circling stone4 8,some of the fair columns that the masons have set up are from the ,phrygian land1 towards the ,mygdonian heights1 hewn with strong axes3 and looking on these flowers of stone1 one would say that white lilies mingled with rose cups1 or the soft petals of the shortlived anemone4 ,here is abundance of red and a mere tinge of white1 there thin sinews mix with the veins which dye the columns deep red1 as with drops from the ,laconian shell4 8,first then at the bottom they have placed the fairly wrought plinth 7krepis7 supporting all1 made beautiful with twisting curves2 and above it they have set stone bases1 firmly fixed1 cut from the rich quarries of the ,bosporus4 ,quite white1 they glitter1 and in branching veins a deep blue line wanders in the shining flesh4 ,and the bases on the eight sides the mason has adorned with moulded bronze rings fixed circle-wise round each base1 as round a neck4 ,and through the space of the whole church shines the glory of each column fixed on its polished base1 like a white cloud wrought into patterns by the ruddy rays of the rising sun4 8,thus are ranged in half-circles the company of four1 and this half with the other four they have connected by a fair chiton of stone1 even round the well-formed hollow 7antron72 for the three spaces between the four columns have been closed by the skilful mason with fencestones of marble from ,hierapolis1 firmly fixed on the plinth 7krepis74 ,and it is meet that this crown of stone on the fair floor of the sacred fane should be called of #8the ,holy ,city' 7,hierapolis74 ,in the boundary is placed a door1 slightly curved1 through which enters the priest1 to the floor of the hollow cavern 7antron74 8,now you must know that the curve 7spelunx71 with columns1 and plinth 7krepis71 and fence wall1 is alike on either side1 towards ,garamas on the south and towards ,arimaspus to the north4 ,but the doors the workmen have not fixed in like places1 but one is westwards and the other eastwards--the western one inclines towards the north1 but the southern gate is towards the east4 ,moreover the fence-walls do not stand the same height as the columns1 but they rise above the beauteous pavement1 as much as to hide a man in the hollow space 7antron74 ,but the eight columns with fair carved capitals come out above the fence wall1 and stand round it on the base with equal spaces between them1 even on the stone plinth4 ,the capitals shine with gold1 like high peaks which the golden-rayed sun strikes with its arrows4 8,and all the capitals on high are crowned above in circled order by an embracing rim of beams 7douratea antux71 which binds the columns together in one curve1 though at the same time each column is separate from its fellow4 ,and fixed upon the rim you might see trees1 with clusters as of fire1--the glitter of silver boughs shining afar4 ,nor does each sapling wander at will1 but it is restrained in a cone-like form of many edges1 from a wide circle ever lessening to a point at the top4 ,now the fair girdle 7zoster7 that forms the rim is all crowned with golden ivy-leaves1 and coloured with the sapphire dust4 ,but towards the home of ,zephyr1 and also towards the fiery-winged ,eurus1 there are fixed upon the rim 7antux7 two crosses of silver1 with a curved spike 7hlos7 above each1 bending like a shepherd's crook1 flashing a thousand lights to the eyes4 8,in this manner is the shining ambo made2 thus have they called it #8the place ascended' 7ambatos71 by holy paths1 and here the people direct their eyes1 as they gaze on the divine gospel4 8,and it is to good purpose that they have placed the cut stones in steps1 on whose white surface one might descry thin veins of deep red like the dye of the sea-shell4 ,for the unpolished stones the mason has hewn into a long flight 7rachis7 of steps1 a strong support for the feet of men1 lest any one slipping from above and falling should descend all unsteady to the floor2 thus in order and in continuous line one stone1 as it rises above another1 recedes from it1 even as much as a man ascending plants one step in turn in front of another4 8,and as an island rises amidst the swelling billows1 bright with patterns of cornfields1 and vineyards1 and blossoming meadows1 and wooded heights1 while sailors1 as they steer by it1 are gladdened1 and the troubles and anxieties of the sea are beguiled2 so in the middle space of the boundless temple rises upright the tower-like ambo of stone1 with its marble pastures like meadows1 cunningly wrought with the beauty of the craftsman's art4 ,yet though it stands in the middle1 it is not quite cut off1 like an island girdled by the sea1 but is rather like some wave-washed land1 extended by a narrow isthmus through the gray billows into the middle of the sea1 and were it not for this binding chain1 it would be cut off and seen as a true island2 but though it projects into the ocean1 it is still joined to the mainland coast by the isthmus1 as by a cable4 8,such is the ambo2 for a long path starts from the last step of its eastern flight1 and stretches out until it comes to the space by the twin silver doors1 even striking with its lengthy plinth the fence wall of the sacred rites2 and the path is warded on both sides by walls4 ,now for these fence walls they have not placed lofty slabs1 but they are as high up as the navel of a man standing by them2 and here the priest1 as he holds the golden gospel1 passes along1 and the surging crowd strive to touch the sacred book with their lips and hands1 while moving waves of people break around4 8,thus is this path prolonged like an isthmus1 wave-washed on either side1 and it leads the priest as he descends from the distant ambo with its lofty cliffs1 to the shrine of the holy table4 ,and the whole path on both sides is fenced with the fresh green stone of ,thessaly2 and the abundant rich meadows of the stones bring the delight of beauty to the eyes4 ,now at both ends of each slab from ,thessaly stand posts of equal height1 not like a cylinder in form3 one skilled in figures would say that the posts were not equal-sided1 but have the shape of a lengthened cube4 ,and the masons 7laotoroi7 have made the joints of the ,molossian slabs1 by wedging one stone into another2 it is from the ,phrygian land that the stone-cutter 7laotupos7 has had these posts quarried4 ,and resting the wandering glance there one might see snake-like coils twining over the fair marble1 winding in beauteous paths2 there white and fiery red are set alongside of one another and a flesh colour between both1 the lines bending in alternating coils1 as they roll round in their courses4 ,first on one side1 then on another1 are seen the forms of the moon and stars4 8,and on the uppermost rim of the fence wall they have fitted another long stretching stone1 quarried from the same foreland crag1 so that the ,thessalian slab is fixed below on the firm foundations of the plinth1 and is bound above by another band of marble2 and the edges of the ,thessalian slabs are joined together as in a chain by the square columns1 which are set upright and firm on the foundation4 8,and as when one winds the gold twisted thread in and out over the many-coloured surface of a ,tyrian robe1 and adds a fitting pattern round the bottom edges1 or in the fair centre of the robe1 or about the sleeve-holes for the arms while the fresh green web of the cloak shines like a meadow in spring1--the glory of the golden warp adding beauty to beauty1 and decking it as if with flowers2 even so the cunning workman has cast on the fresh green stones of the sacred rock the glitter of golden rays1 giving a brighter beauty to them4 8,but at the eastern end of the passage1 by the holy fence walls of the altar1 they have cut off the isthmus1 so as to form a speedier path for those who pass from side to side4 8,such works as these has our emperor1 bestowing splendid gifts1 built for ,god the ,king4 ,for to the great bounties of his peaceful reign he has added this much-praised temple1 so that with divine foresight he might prepare a gift for the ,creator of the world1 ,christ1 ,king of ,all4 ,be thou1 ,o glory of the eternal ,trinity1 thrice favourable to this city of ,rome1 to our citizens1 our emperor1 and our much-loved temple40 99 99 99 99 99 ,in following this description we see that it begins on the raised floor of the ambo which was rounded on two sides1 the others being open to the steps at the east and west4 ,the breast wall on each side was largely covered with applied silver wrought into patterns2 and the rest1 together with the parapet slabs to the steps1 were inlaid in ivory1 probably carved like the contemporary bishop's throne at ,ravenna4 ,the body of the ambo inlaid thus with ivory and silver was upheld on eight columns1 the underside of the floor stone being hollowed into a flat dome like the fluted soffite of the still older ambo at ,s4 ,apollinare at ,ravenna4 ,on either side1 around the ambo1 was a semicircle of large columns of rosy-veined ,synnada marble on white bases with bronze annulets and gilt capitals2 between the columns breast-high slabs of ,hierapolis marble inclosed a space4 ,the circle of columns stood on a raised step1 and above they were bound together by a carved beam1 the pattern being gilt with the interspaces painted in ultramarine4 ,on this to east and west stood silver crosses2 their upper limbs 8bent like shepherds' crooks0 doubtless formed the monogram4 ,silver candelabra1 cones of diminishing circles1 stood round about on the top of the beam4 ,from the eastern steps a passage way ran back to the step of the iconostasis1 inclosed on both sides by marble slabs grooved into posts1 bearing a top rail4 ,this closure of ,verde antique slabs was inlaid in white and red patterns and gold mosaic4 ,in this description two separate parts appear1 the ambo proper reached by the narrow inclosed way and ascended by steps2 and the space entered by two doors screened off about it by the circle of large columns and closure slabs1 8where the priests continue their sacred song40 ,so in ,constantine ,porphyrogenitus' ,book of the ,ceremonies#he we read of the 8psaltae0 placed in the ambo singing1 8,christ is risen40 ,we know little of the later history of the ambo4 ,the ,anonymous ,author1 who probably wrote not earlier than the twelfth century1 comparing the mythical splendour of an earlier ambo destroyed by a fall of the dome to another which he attributes to ,justinian's nephew1 ,justin1 says they made the latter of marble1 with columns covered with silver1 and with silver screens going round the solea4 ,it had no dome4 ,immediately after he compares the pavement which he says was destroyed at the same time with one that now is4 ,so that we may assume that he wrote of an ambo then existing1 and that therefore in this instance he may be trusted4#hf ,the work attributed to ,justin by the ,anonymous is really the restoration under ,justinian2 he seems to have confused the nephew of the architect who was then employed with the nephew of the emperor4 ,rohault ,de ,fleury1#hg who accepts this story1 suggests that a canopied ambo which appears in the ,menologium of ,basil 7#igf-ajbe7 figures one in ,s4 ,sophia which may have replaced the former ambo after the fall of the dome in #ige4 ,robert de ,clari 7#abjj7 merely says1 8,the place from which they read the ,gospel is so rich and noble1 that we do not know how to describe the making of it40#hh ,the ambo of that time was destroyed by the ,crusaders 7#abjc74hi ,clavijo1 the ,spanish ambassador1 who saw ,s4 ,sophia two hundred years later1 has left this description of the covered ambo then existing4 8,on the floor in the centre of the area is a pulpit placed on four columns of jasper2 and the sides of it are overlaid with panels of jasper of many colours1 and this pulpit is surmounted by a cover1 which stands on eight very large jasper columns2 and here they preach and read the ,gospel on feast days40 99 99 99 99 99 ,coronations4--,we shall now quote two descriptions of the ceremonies associated with the ambo at coronations4 ,these are of the age of the ,palaeologi1 and the first is especially interesting as describing the ,megale ,eisodos and the ,celebration4 8,and about the second hour of the same day the prince who is to be anointed is set upon a shield2#ij the reigning emperor1 who may be his father1 and the patriarch take hold of the front part of the shield1 which is also held by the officials of rank and the nobility4 ,they then raise it1 and show the new emperor to the assembled populace4 ,after he has been greeted with acclamation1 they attend him into the church1 where the rest of the ceremony must be completed4 ,now a little edifice of wood has previously been prepared for this very purpose1 into which they lead the new emperor1 and put on him the purple and the diadem1 which have been blest by the bishops4 ,and round his head it is customary to put only a chaplet4 ,after this the service of the ,mass 7mustagogia7 proceeds4 ,and near the erection just mentioned a set of movable steps1 also of wood1 are prepared1 and these they cover with purple silk4 ,and upon it are placed golden thrones1 according to the number of the princes1 not like other thrones1 but raised on four or five steps2 here the princes take their seats4 ,the princesses also ascend with them1 and sit on the thrones1 wearing their crowns1 but she that is about to be crowned wears a chaplet4 ,now before the hymn ,trisagion is sung1 the patriarch comes out of the bema and ascends the ambo1 and with him are the rulers of the church1 all wearing their sacred robes4 ,he then dismisses them1 and summons the princes1 and they immediately arise from their thrones and come to the ambo1 while profound silence is kept by the whole congregation4 ,then the patriarch goes through the prayers appointed for the anointing1 some silently by himself1 others out loud1 praying for the blessing of ,god on him who is about to be anointed4 ,after this the new emperor removes from his head whatever he is wearing1 and then it is right for all1 as many as are present1 to stand with bared heads4 ,then the patriarch with the holy oil anoints the head of the emperor with the form of the cross1 saying with a loud voice #8,holy'2 and as soon as they hear it those standing on the ambo pronounce it three times1 and after them all the people4 ,after this the crown is brought by deacons from the bema where they keep it 7now it is not above the ,holy ,table as some say71 and taken to the ambo4 ,if any previously crowned emperor be there1 he and the patriarch take the crown together1 and place it on the head of the prince1 the patriarch saying #8,holy' in a loud voice4 ,those in the ambo repeat it three times1 and the people1 as after the anointing4 ,then the patriarch repeats some more prayers1 and the prince descends from the ambo1 not on the side by which he ascended1 but on the side which is turned towards the solea4 ,if he is unmarried he then ascends the steps and reseats himself upon his throne1 but if he has a wife then she also must be crowned4 ,she is then led1 as she rises from the throne1 by two kinswomen one on either side1 or if she has no relatives1 eunuchs lead her down from the steps1 and stand with her before the solea4 ,then the emperor descends from the ambo1 and takes the crown held ready by the kinswomen or eunuchs1 and places it upon the head of his wife1 and she kneels before her husband1 swearing fealty to him4 ,and the patriarch1 standing by the solea1 offers up a prayer for the emperor and empress1 and all their people4 ,thus the emperor crowns his own wife4 ,and then both ascend the steps1 and sit upon their thrones1 and the rest of the mysteries are proceeded with4 ,but at the singing of the ,trisagion1 or at the reading from the apostolic writings1 or the ,gospels1 they stand up4 8,and on both sides of the nave1 on wooden steps made for this purpose1 are those called protopsaltae1 and domestici1 and others of ecclesiastical rank who know how to sing1 and who are called because of this kraktai2#ia all these sing anthems especially made for the occasion4 ,but when the part of the mysteries which is called ,the ,great ,entrance#ib is beginning1 the chief of the deacons comes and summons the emperor1 and he comes with them into the prothesis1 where are set out the ,holy ,elements1 and1 standing outside the prothesis1 a golden mantle is put upon him over the diadem and the purple2 and in the right hand he holds the cross1 which he usually carries when he wears his crown1 but in the left he carries the rod1 which he who is called deputatus usually carries4 ,with these in both hands the emperor leads the sacred entrance1 and on both sides of him march the ,varangi with their axes1 and the sons of the nobility armed and unarmed1 about a hundred in all1 follow2 and immediately behind him come the deacons in order1 and the priests1 carrying the vessels for the service--and other most holy things4 ,and after going round the nave1 as is their wont1 when they come into the solea1 all the others stand outside1 but the emperor alone enters the solea and finds the patriarch standing at the sacred screen1 and after bowing to one another the patriarch goes inside1 but the emperor remains without1 and then the deacon who followed immediately after the emperor1 holding in his right hand a censer1 and in his left what is called the maphorion of the patriarch1 approaches and censes the emperor4 ,the emperor bows his head1 while the deacon with a loud voice calls out1 #8,may the ,lord be mindful of the power of thy kingdom in ,his universal kingdom1 now and always and for ever and ever1 ,amen4' ,and in order the rest of the deacons and the priests approach and say the same4 ,and when this is finished the emperor bows to the patriarch1 takes off the mandya1 which is taken away by the refendarius4 ,the emperor again ascends the tribune and sits down on the throne1 but he stands during the creed1 the ,lord's ,prayer1 and the elevation of our ,lord's body4 ,and after the elevation1 if he is not prepared for the ,communion he remains seated till the end of the service4 ,but if he is prepared1 the deacons again come and summon him4 ,and with them he enters into the bema and1 having been given a censer1 he censes the ,holy ,table1 looking first of all to the east1 then north1 west1 and south1 and having again censed towards the east1 he censes the patriarch also4 ,the patriarch bows to him and takes the censer1 and censes the emperor in return4 ,after this the emperor removes the crown1 and gives it into the hands of the deacons4 ,then the patriarch puts into his hand a portion of our ,lord's body1 and after that he drinks of the life-giving blood1 not from a spoon like the rest of the people1 but from the cup itself like the priests4 ,then the emperor replaces the crown1 and comes out of the bema1 and after the congregation has shared in the ,communion1 and he has been blessed by the patriarch1 and the priests1 and has kissed their right hands1 they lead him to the part called catechumena to receive the acclamations of the people4 ,when this is finished1 he comes down again1 and he and the empress mount on horseback1 and ride back to the palace to partake of a banquet40#ic ,codinus ,curopalata#id has also a description1 almost in the same words1 but with some additions4 ,the future emperor is 8led to the triclinium called ,thomaites1 which looks on to the ,augusteum1 where are standing the populace with the army4 ,but before the emperor shows himself1 what are called epicombia are thrown to the people by one of the senators1 whom the emperor has selected4 ,these epicombia are made as follows4 ,they cut pieces of cloth1 and in each piece they bind up three gold and as many silver numismata and three obols1 and then throw them to the people1 and they scatter as many thousands of these as the emperor shall arrange4 ,now it is customary to throw these epicombia in the proaulion of the great church1 that is in the part called ,augusteum2--he who scatters them standing above the steps of the ,augusteum40 ,inside the church a wooden tribunal had been prepared in the gynaeceum1 and at the end of the ceremony 8the young emperor with his wife the empress1 and the emperor1 his father1 and his mother1 ascend4 ,but the golden velothyra hide the tribunal1 so that they shall not be seen4 ,then the psaltae sing #8,lift up1' and immediately the velothyra are raised1 and the princes in the gynaeceum are greeted with acclamations by the people40 ,,chapter ,v ,,the ,,ritual ,,arrangements ,,and ,,interior ,,parts ,,of ,,the ,,church ,main ,divisions4--,du ,cange1 in the commentary to his edition of the ,silentiary's ,poem1 was the first to make a serious attempt to elucidate the interior arrangements of ,s4 ,sophia4 ,this appeared with the poem in the folio of #afgj1ie but a revised edition was incorporated in his ,historia ,byzantina1 #afhj4if ,in the first his knowledge of the actual state of the church seems to have been limited to the description of ,gyllius unassisted by any plan4 ,drawings of ,s4 ,sophia were desiderata at that time1 and ,grelot tells us how he was induced to attempt to make them by a knowledge that others who had been commissioned by the ,king of ,france had failed4 ,before the publication of his revised edition of #afhj ,du ,cange had obtained a plan4 ,this appeared in the same year as ,grelot's work1 and divergences seem to show that the plans were1 in great measure at least1 independent of one another4 ,the main text of his commentary however remained the same1 and the alterations1 although crucial1 were mostly made by the omission of a few lines here and there without any attention being specially called to the fact4 ,this has been the cause of much confusion1 as it has unfortunately happened that the first edition has been reproduced without remark in the series of ,byzantine texts published at ,bonn and in ,migne's ,patrologiae ,cursus ,completus4 ,in this ,du ,cange placed the iconostasis 8under the great eastern arch which supports the dome10 and thus included the whole eastern hemicycle in the bema4 ,he devoted the whole central square under the dome to the 8priests and singers10 separating it from the western hemicycle by 8marble columns10 which were obtained by a curious misreading of ,gyllius' description of the verde antique columns in the western opening on the first floor4 ,in the centre between these 8marble columns0 he placed the 8,beautiful0 or 8,royal ,gate10 and the western hemicycle outside this was alone allotted to the people4 ,in the corrected edition of #afhj the bema is confined to the eastern extension1 the eastern hemicycle became the solea1 and the central area and western hemicycle are given to the people4 ,there is actually very little diversity of opinion in regard to the main divisions of the church between ,du ,cange1 ,neale1#ig and ,salzenberg1 but ,rohault de ,fleury has been misled into making an engraving of the iconostasis1 stretching across the whole hundred feet of the hemicycle4 ,bema4--,a church1 as ,simeon of ,thessalonica writes1 is properly 8divided into three parts1 the pronaos1 the naos1 and the bema40 ,the bema 7see ,plan1 ,fig4 #e7 is the raised part within the screen or iconostasis included by the apse4 ,this was the place set apart for the priests1 who are hence sometimes called 8they of the bema40#ih ,decrees were passed from time to time to enhance its sacred character2 as that no member of the laity should pass beyond the screen1 except with the consent of a bishop4 ,even the emperor was only allowed there during a few portions of the liturgy4 ,the bema of ,s4 ,sophia was indifferently called the adyta1 hierateion1 thusiasterion4 ,the history of ,michael ,attaliotas also speaks of it as the 8second skene1 that is1 the ,holy of ,holies40#ii ,the apse proper is by ,paulus mentioned apart from the space contained by the straight walls1 and it is possible that this is the kuklios 7cyclius7 of ,porphyrogenitus4 ,from the poet we gather that the priests' stalls against the wall were plated with silver4 ,the upper part of the curved wall is incrusted with precious marble of sombre golden tones1 beneath which the surface has been disturbed and is now covered by plain gray slabs4 ,when we recall the immense quantity of silver that ,procopius says was used in the sanctuary1 and remember that the iconostasis and the altar-ciborium were of silver and the ,holy ,table of gold1 it seems likely that the plating of the silver stalls covered the whole of this narrow strip1 which would not be more than six or eight feet above the top seat1 the level of which we suppose is marked by the projection of the lower part of the wall4 ,in the small oratory of the ,saviour built by ,basil in the palace 8the whole pavement was of massive silver wrought by the hammer and enriched by niello1 and the walls to the right and left were covered with great plates of silver damascened in gold and glistening with precious stones and pearls40#ajj ,to this space we should refer the four panels with images in the wall mentioned in the ,novgorod ,chronicle1#aja which we suppose were of embossed silver or enamel4 ,the most eastward point of the apse was occupied by the patriarch's throne4#ajb ,a bishop's chair with a canopy preserved in the cathedral church of ,s4 ,george at ,constantinople1 said to have belonged to ,s4 ,sophia1 is in any case quite late4 ,it is of wood1 ornamented with inlaid work representing the two-headed eagle1 which was not adopted earlier than the tenth century4 ,in ,fig4 #h we give an outline of a miniature in the ,menologium 7,jan4 #af7 of the adoration of ,s4 ,peter's chains1 which were kept in the chapel of ,s4 ,peter attached to the great church4 ,we have here a bema fully represented with the altar1 ciborium1 and apsidal stalls for the clergy4 ,we can hardly suppose that these latter could have belonged to a small dependent chapel1 and hence the miniature in the symbolic way of these old drawings is probably intended as a view of the great apse4 ,altar4--,the central object of the bema was the altar1 which stood beneath the cylindrical vault1 on the under side of which the two great watching angels are represented in the mosaic4 ,paulus says1 8,on columns of gold is raised the all golden slab of the ,holy ,table2 it stands too on a base of gold1 and from it gleams the brightness of precious stones40 ,the doubtful ,anonymous says that it was 8supported on four columns1 overlaid with gold10 and again that 8it was set up on solid columns of gold1 studded with precious stones20 and that beneath the altar was a 8sea0 7thalassa7 ornamented with gold and precious stones4#ajc ,this seems to refer to the 8base of gold0 beneath the columns4 ,illustration3 ,,fig4 #h4--,view of ,bema from the ,menologium4 ,according to ,labarte1 the description by the ,anonymous 7see p4 #ach7 shows that the altar itself was decorated with the bright diversity of enamel4 ,this he seems to prove by passages in ,suidas#ajd and ,cedrenus4 ,the last-named writes3 8,it is formed of gold1 of silver1 of every kind of stone and metal and wood1 and everything which earth1 sea1 or the whole universe contains4 ,of all these he 7,justinian7 collected the most valuable1 with some small amount of commoner ones4 ,he then melted those that would melt1 added those that were dry1 and poured them into a mould till it was filled4 ,he wrote upon it1 #8,we 7,justinian and ,theodora7 thy servants1 ,o ,christ1 bring thee of thine own1 praying that thou wilt graciously accept it1 ,o ,son and ,word of ,god made flesh and crucified for us4 ,strengthen us in the true faith1 increase and guard this state1 which thou hast intrusted to us1 through the mediation of ,mary1 the holy ,virgin1 the ,mother of ,god4'0 ,however doubtful these late ,greek writers are as authorities for ,justinian's time1 enamel was used in later days in the most extravagant manner1 and we cannot doubt that at the time when the ,crusaders took the church the altar was of enamel4#aje ,robert de ,clari1#ajf writing at this time1 says1 8the chief altar of the church 7,s4 ,sophia7 is so rich that one cannot value it2 for the slab which forms the altar is of gold and of precious cut stones 7esquarteles7 and pearls 7molucs7 all thrown together40 ,nicetas is even clearer2 describing the capture of ,constantinople and the sack of the church1 he says3 8,the ,holy ,table1 made of all kinds of precious materials1 cemented together by fire1 and formed into a many-coloured harmony so as to be the wonder of all nations1 was broken in pieces and distributed by the soldiers40#ajg ,it is very probable that some of the enamels added to the ,pala d',oro at ,venice after the sack of ,constantinople came from the sanctuary of ,s4 ,sophia1 possibly from its altar4 ,sylvester ,sguropulus#ajh who accompanied ,john ,palaeologus to ,venice in #adch1 describes the ,pala d',oro as 8an icon which is formed out of many1 and we heard that some of these were taken from the ,church of ,s4 ,sophia40 ,it may be only a coincidence that one of the panels of the ,pala contains the figure of ,solomon with the ,greek inscription1 8,wisdom hath builded her house10 that being the usual legend for ,solomon4 ,the altar would have been covered1 like the altars shown in the mosaics at ,ravenna1 and the illustrations of the ,menologium1#aji by a cloth reaching on all sides to the floor4 ,these cloths bear very simple devices--in the centre a plain cross1 circle1 or star1 and at the four corners gammidae which in the code of symbolism probably expressed the four corners of that world1 for which the daily sacrifice was offered4 ,others however were more richly embroidered4 ,in the ,liber ,pontificalis of ,agnellus#aaj it is said that ,maximian1 the ,archbishop of ,ravenna in ,justinian's time1 ordered a most precious altar-cloth 7endothis7 of byssus1 on which was embroidered the whole history of the ,saviour4 8,it is not possible to imagine the human figures1 or the beasts and birds which are made on it40 ,the figure of the archbishop was represented with the inscription1 8,praise the ,lord with me1 for he hath raised me from the dust40 ,the ,continuator of ,theophanes also speaks of an altar-cloth on which 8the birth of the ,lord was represented40#aaa ,the general ,greek name for altar-cloth was endute4 ,those at ,s4 ,sophia are thus spoken of by the ,anonymous1 and we read that ,michael ,palaeologus sent to the ,pope 8an endute of the ,great ,church1 of rose red1 with gold and pearls worked on it40#aab ,ciborium4--,the altar stood under a canopy of silver called a kiborion1 as is fully described by ,paulus4 ,according to the ,anonymous it was patterned with niello or damascening 7see p4 #ach74 ,such ciboria are frequently spoken of in the ,lives of the ,popes4#aac ,thus ,gregory ,i4 made for ,s4 ,peter's a 8ciborium with four columns of pure silver10 and ,leo ,,iii4 8made for the basilica of ,s4 ,paul a ciborium with large and beautiful columns of the purest silver40 ,the ciborium of ,s4 ,demetrius at ,salonica1 a fifth-century work described in the ,acta ,sanctorum1 was also of silver4 ,it supported at the top 8a solid sphere of silver1 with wonderful lily-leaves curved round it1 and a cross above40#aad ,an illustration#aae in an eighth-century ,gospel preserved at ,venice represents a ciborium1 like that at ,s4 ,sophia4 ,we see four arches on four columns1 and from the flat top above rises an octagonal cone4 ,at the four corners stand bowls1 and in each bowl is a candle or a representation of one1 as the ,silentiary describes4 ,pope ,leo ,,iii4 placed 8above the altar of ,s4 ,peter four large cups of the purest silver1 every one having in its centre a candle of silver-gilt40#aaf ,the ciborium at ,s4 ,sophia described by ,paulus may have lasted till #abjc2 ,robert de ,clari1 writing at this time1 says3 8,around the altar there are columns of silver1 which carry a canopy 7abitacle7 over the altar1 made like a tower 7clokier71 which is all of massive silver1 and so rich that one cannot estimate its value40 ,crowns1 c4--,from the first a crown and dove of gold would have been suspended from the centre of the canopy2 such doves are spoken of as being in use in ,constantinople during the ,council of #ecf4aag ,theophanes says3 8,on ,easter ,day ,sophia1 the widow of ,justin ,,ii41 and ,constantia1 the wife of ,maurice1 gave the ,emperor ,maurice a crown of exceeding value4 ,when the emperor saw it1 he took it to ,s4 ,sophia1 and hung it above the ,holy ,table by triple chains of gold and precious stones40#aah ,this1 ,nicephorus ,callistus says1 was preserved there till the taking of the city by the ,latins4#aai ,according to ,buzantios1 the emperor ,leo ,,iv4 and his wife ,irene also suspended crowns here4 ,nicetas speaks of the 8crown of the great ,constantine1 which hung above the ,holy ,table20 and again of one 8,john1 surnamed ,crassus1 who rushed into ,s4 ,sophia and placed on his head a small crown1 one of those which hang round the ,holy ,table20#abj and it appears from the account of the ,russian pilgrim ,anthony1 given in the next chapter1 that just before the ,crusade there were thirty crowns suspended from the ciborium--a beautiful symbolism4 ,the splendid hanging crowns at ,monza and in the ,cluny ,museum show us that these votive crowns were broad circlets of gold incrusted with large uncut rubies and emeralds with borders of pearls1 and strings of jewels1 and other pendants hanging from the rim4 ,a small enamelled crown for suspension above an altar which is amongst the ,constantinople treasures at ,s4 ,mark's is inscribed 772 this1 according to ,labarte1 must be ,leo ,,vi41 who died in #iaa4aba ,altar-veils4--,round the four sides of the ciborium were suspended the curtains described in such detail by ,paulus4 ,they were all the more wonderful at this time as being silk-woven and not embroidered4#abb ,the gold thread however seems to have been 8laid0 on4 ,by the later ,greeks those curtains were named tetrabela4 ,they were often of deep red embroidered with gold1 and were usually hung on rods going from capital to capital of the ciborium1 as some of the illustrations in the ,menologium show1 though others seem to have been suspended from the curves of the arches4 ,the ,iconostasis4--,for a description of the screen in front of the bema1 with its columns1 beam1 panels1 and doors plated with silver1 we refer to the ,silentiary4 ,a screen of this kind1 from the sacred paintings with which it is adorned1 is now called the iconostasis1 but by the ,byzantine writers it is usually named herkos1 druphrakta1 kinklidai1 or kankelloi4 ,such screens were generally of bronze or marble4 ,the ,church of ,s4 ,john the ,evangelist1 built by ,galla ,placidia at ,ravenna1 had a screen of silver4 ,at the ,church of the ,apostles at ,constantinople1 built by ,constantine1 the iconostasis was gilded bronze4 ,the screen of ,s4 ,peter's in ,rome was formed by the twelve beautiful antique columns which figure in ,raphael's tapestry1 standing in two rows4#abc ,eusebius connects twelve columns which stood about the tomb in the ,sepulchre church with the number of the apostles1 and it is possible1 as ,de ,fleury suggests1 that in the six pairs of pillars forming the iconostasis at ,s4 ,sophia a reference may be seen to the dismissal of the apostles two by two4 ,from the narrowness of the bema it seems certain that the coupling of the pillars was transversely to the screen as shown on our plan1 ,fig4 #e4 ,thus they easily supported the passage way1 where stood a great gemmed cross and a row of branched silver candelabra4 ,this was the 8narrow way for the lamp-lighter above the silver columns0 described by the ,silentiary4 ,the decoration of the silver plating of the breastwork and the beam by figures of apostles1 prophets1 and angels1 and with circles bearing crosses and monograms1 may have been formed in repouss1 like a beautiful gilt panel with a figure of the ,virgin and ,greek inscription now at ,kensington ,museum1 which formed a part of the decoration of the screen at ,torcello1 but we think it more probable that it was damascened with gold like the silver work in ,basil's chapel4 ,the iconostasis probably reached up to the base of the porphyry strip which forms the border of the marble plating of the bema2 if so it was about twenty feet high2 it had three doors--8,the ,holy ,doors0--that in the centre being the largest4 ,the 8gold and silver columns in the middle of the temple0 seen by ,benjamin of ,tudela1 #aagc1 must refer to the iconostasis4 ,when the ,crusaders practically sacked the church1 the iconostasis1 ciborium1 and altar were broken up and distributed4 ,nicetas says1 8,the furniture of surpassing beauty1 the silver1 which went round the screen of the bema1 the ambo1 the doors1 and many ornaments1 in which gold was used1 were carried away40 ,the ,novgorod ,chronicle#abd gives a fuller account of the eventful morning when the doors were broken through and ,s4 ,sophia was invaded4 8,they broke down the podium of the priests1 ornamented with silver1 the twelve silver columns1 the four panels in the wall1 decorated with images1 and the ,holy ,table4 ,they also destroyed the screen walls of the altar placed between the columns1 and twelve crosses which stood above the altar2 amongst these were crosses of metal1 like trees1 higher than a man4 ,all these things were made of silver4 8,they carried off also the wonderful table1 with the gems and a great pearl2 so great a crime did they commit in ignorance4 ,moreover they snatched away forty cups standing on the altar1 and silver candelabra1 whose number was so great that it is not possible to enumerate them1 as well as the silver vessels which the ,greeks use1 more especially on feast days4 8,they stole a ,gospel1 that was used for the services1 and sacred crosses and single images and the covering which was above the altar1 and forty censers made of pure gold3 they laid hands on all gold and silver and on priceless vessels in the cupboards1 walls1 and other places1 in such quantity that they cannot be numbered40 ,grelot says that before the ,turks altered the church the iconostasis had figures of the ,virgin and ,s4 ,john ,baptist between the central and side-doors and the ,twelve ,apostles over4#abe ,prothesis and ,diakonikon4--,two chapels that in ,byzantine churches almost invariably occur right and left of the bema with which they communicate directly are usually called the prothesis and diakonikon2 they were sacristies1 used respectively for the preparation of the mass and as a treasury or vestry4 ,du ,cange in both editions placed them in the two exedras of the eastern hemicycle1 and in this he is followed by ,salzenberg4 ,the impossibility of this arrangement is shown by ,neale1 who suggests that two chambers on either side of the bema which ,du ,cange thought were only supplementary were the sacristies in question4 ,the chapels at the east end of ,s4 ,sophia have now been built up1 but the doors that led into them still exist4 ,we are not however certain that these chapels were built with the church4 ,paulus does not mention them1 and there do not appear to have been chapels in this position at ,s4 ,sergius4 ,in regard to the use of the prothesis and diakonikon1 ,dr4 ,freshfield#abf considers that the procession with the bread and wine called the ,megale ,eisodos1 described in our last chapter1 only became a part of the ritual in the reign of the successor of ,justinian1 to whose time the ,cherubic ,hymn sung during the ceremony is referred4 ,the earlier liturgies1 he says1 contain no directions for this ceremony1 but merely speak of the deacon as moving the elements from the prothesis table to the altar1 and he concludes that the two side-chapels found in so many churches belong to a time subsequent to ,justin ,,ii4 ,two narrow passages however1 right and left of the bema1 at ,s4 ,sophia1 ,s4 ,sergius1 ,s4 ,irene1 and ,s4 ,vitale seem to show that they were intended for access to lateral portions used in connection with the bema1 even if these parts were merely screened from the aisles1 and a comparison of many early churches in ,syria and ,asia ,minor proves that such chapels were in frequent use if not essential long before ,justinian built his church4#abg ,see our figures #ca and #cb1 and compare ,cattaneo1 page #fj4 ,the prothesis and diakonikon of ,s4 ,sophia are very infrequently mentioned by those names4 ,in the catalogue of the ,constantinopolitan patriarchs we read of 8relics being kept in the diaconicum40#abh ,the diakonikon is also named where ,codinus speaks of the emperor as 8hearing the prayers of ,s4 ,basil near the diakonikon10 and the prothesis is mentioned in the passage on p4 #fc4 ,certain divisions of the church at the east end are however frequently mentioned by ,porphyrogenitus1 the ,anonymous1 and the ,russian pilgrims4 ,thus we have the skeuophylakium 7treasury of vessels7 and other chapels referred to4 ,the skeuophylakium of the ,anonymous seems to be the same as the 8lesser sanctuary0 of ,anthony1 by which stood the cross which gave the exact height of ,christ4 ,this lesser sanctuary1 or skeuophylakium1 is probably the diakonikon--8the oratory in front of the metatorion0--where the relics of the ,passion were kept4#abi ,again we read3 8,then by the right-hand side of the bema1 they enter the oratory where stands the silver crucifix 444 after worshipping they ascend by the cochlea spiral stair1 we suppose at south-east angle where minaret now is which is by the part called the ,holy ,well1 to the eastern part of the right-hand catechumena40 ,again1 8,then by the right-hand side of the bema1 they enter the oratory where stands the silver crucifix40#acj ,the ,holy ,well and ,metatorion4--,the ,holy ,well1 so frequently mentioned in the ,ceremonies1 seems to have been not merely an object but a division of the church4 ,labarte makes it a chamber external to the church on the south side1 but the ,anonymous shows that it was to the east1 by speaking of 8that part of the temple in which was the ,holy ,well1 the bema1 and the ambo40 ,the author of an account of 8the miracle in the ,holy ,well of the ,great ,church0 speaks of a picture of ,christ as being by the eastern gate1 8where is the holy mouth of the well of ,samaria40#aca ,the ,russian pilgrims generally speak of the ,samaritan well1 from which flowed water from the ,jordan1 as 8in the sanctuary30 the ,anonymous ,russian says 8in the chapel to the right40 ,at this time it was probably in one of the eastern chapels1 which1 may have been identical with the prothesis or diakonikon4 ,some passages of the ,ceremonies seem to imply that in the tenth century the ,holy ,well was without the building2 thus we hear of the 8embolos portico of the ,holy ,well30 and again1 8from the ,holy ,well1 they enter by the door leading to the church20#acb possibly it was moved later1 but probably one of the eastern attached chapels will fulfil the conditions4 ,in our ,fig4 #e we have followed ,du ,cange's ground-plan in the distribution of these eastern chapels4 ,it is possible that the round north-east building was used as a great sacristy as ,salzenberg suggests2 ,grelot calls it so on his plan1 and ,t4 ,smith says this was a tradition4 ,the ,anonymous definitely distinguishes the ,skeuophylakium1 the ,holy ,well1 and the ,chapel of ,s4 ,peter4 ,the ,metatorion1 frequently spoken of together with the ,holy ,well1 ,labarte and ,paspates place on the south side1 external to the church4 ,we think it was probably the name of portions of the side-aisles screened off by curtains4 ,this would agree with ,unger1#acc who thinks that the word means a 8quarter of the church0 7metatio71 and that ,du ,cange was mistaken in deriving it from mutatorium4 ,in the ,ceremonies1--8,the princes go out of the right side of the bema and enter the metatorion40 ,again1 the patriarch stands within the iconostasis 8on the right-hand side of the bema1 towards the metatorion40 ,from the metatorion a small door led to the ,holy ,well4 ,again1 8they leave the bema by the right-hand side through the small holy door 7in iconostasis7 and proceed to the porphyry columns 7of exedra71 and by the staircase of the metatorion they enter the catechumena40#acd ,again1 8the emperor takes off his crown in the metatorion within the ,beautiful ,gate10 and 8within the veil1 hanging in the metatorion at the back of the narthex door40 ,metatoria in the catechumena of ,s4 ,sophia and of ,s4 ,sergius are also referred to4#ace ,solea4--,the later writers often mention the solea of ,s4 ,sophia4 ,thus ,cantacuzenus speaks of the emperor passing through the solea up to the 8,holy ,doors40#acf ,it was immediately outside the iconostasis1 and must have closely agreed with the choir of the singers in a ,western church4 ,paulus does not use the word1 but he describes the singers as occupying the space in front of the ,holy ,doors1 and embraced by the exedras4 ,the ambo1 with its long passage of approach from the step of the ,holy ,doors1 divided this space in two1 so it is clear that the singers stood on either side of the ambo4 ,the portion round about the ambo screened by the circle of columns was reserved for the leaders of the choir1 the ,protopsaltae4#acg ,we cannot infer from the ,silentiary that there was any other screen to the ,solea1 and no stalls for the singers are mentioned4 ,it is possible that in the tenth century1 when the ,book of the ,ceremonies was written1 the ambo had been modified at least in regard to the approach from the bema1 and that a considerable space was interposed between it and the ,holy ,doors1 in front of which there was at this time a porphyry omphalion stone 7see our page #if74 ,paspates#ach says this is still quite intact1 somewhat oval in shape1 seven feet across1 and adorned with a mosaic of marbles4 ,it seems probable from the ,anonymous that in these later days the solea was inclosed by a screen which he says was of silver4#aci ,paulus describes a part on the south side as being inclosed for the emperor1 and in ,porphyrogenitus we read that the emperor had his seat 8near the ,holy ,doors on the right-hand side40 ,it is probable that opposite the emperor's throne there was another bishop's chair1 for that in the bema might only be occupied by the bishop in his own diocese4 ,grelot indeed reports that the emperor's and bishop's thrones were opposite one another4 ,nave4--,we now come to the central division of the church1 the naos or nave1 the square space beneath the dome contained between the four main piers3 its centre was called omphalos1 mesomphalos1 or mesonaos4 ,the pavement1 according to the poet ,paul1 was covered with white ,proconnesian marble and darker ,bosporus stone4 ,in the opening lines of the description before given he seems to compare the veined marble to flowing streams1 or foam-flecked sea1 and the ambo is likened to an island rising from the sea4 ,according to ,glycas and ,codinus the first pavement was of various hues like the ocean4 ,the ,anonymous1 in comparing a pavement which he says was laid down afterwards with this supposed earlier one1 says that 8messengers were sent to ,proconnesus1 and marble of a green colour was worked there1 as is seen now like rivers flowing into the sea40 ,codinus says1 8four rivers of leek-green marble were like the four streams which flow from ,paradise to the sea40 ,as is seen now certainly seems to bring something definite before our eyes1 and so far as the pavement can be seen through the narrow chinks of the matting there is much to confirm this part of the ,anonymous4 ,grelot tells us that the pavement is laid in compartments4 ,it is of whitish gray ,proconnesian marble1 laid in slabs about #d #aj feet1 with here and there strips of verde antique about #b feet wide1 which suggest the quartering of the floor by a great cross4 ,moreover the square of rich ,alexandrine work still existing1 and figured by ,salzenberg1 lies on a diagonal1 and would thus exactly occupy one of four square spaces left in the angles 7see ,fig4 #e74 ,now in the palace the floor of the bedchamber of ,basil had four rivers or streams of ,thessalian-green marble which seemed to flow away from the centre1 and the quarters were filled with mosaics of large eagles4#adj ,it may also be noticed that four rivers are depicted as flowing away from the cross on the central bronze door of narthex4 ,many parallel examples of pavements1 still existing1 confirm the ,anonymous in this respect4 ,the mosaic floors of ,italy furnish many instances where the four rivers of ,eden are represented in the several angles as human forms pouring from urns1 waters which are inscribed with the names ,gihon1 ,tigris1 ,euphrates1 and ,pison4 ,the design of the pavement of the ,baptistery at ,florence has been much disturbed1 but it seems to have represented flowing streams1 which led from the font in the middle to the doors like four paths4 ,it has been pointed out that the carpet of ,chosroes1 which is described as having represented a garden with flowing streams1 was a traditional pattern of which an example showing four streams quartering the field is in the possession of ,mr4 ,colvin4#ada ,we understand that a similar carpet is now in ,new ,york4 ,we give here a representation of a square of pavement at the centre of the ,western ,gynaeceum2 it is of ,proconnesian slabs with border1 and a disc of verde antico4 ,illustration3 ,,fig4 #i4--,marble ,pavement at centre of ,west ,gallery4 ,font4--,a fine marble font formerly in the precincts of the ,mosque ,zeinab ,sultana at the west of ,s4 ,sophia1 and now in the ,imperial ,museum1 is the one referred to by ,paspates as being probably the font of ,s4 ,john ,baptist 7the ,baptistery74 ,he writes that there were only two remaining in ,constantinople1 the other being a smaller font in the precincts of the ,mosque ,kotza ,mustapha ,pasha4#adb ,the font in the museum which we illustrate is #h feet #b inches long1 #f feet #a inches wide1 and #d feet #f inches high1 wrought out of one fine block of ,proconnesian marble4 ,the outside is carefully finished1 which shows that it stood above the floor4 ,the inside is formed into steps1 and about the rim are several roughly sunk crosses1 which we suggest were filled by inlaid votive crosses of metal4 ,similar fonts are shown in the mosaics at ,s4 ,mark's and other places4 ,texier found one in the marble quarries of ,synnada with steps inside1 and others are found in ,palestine1 one of which1 illustrated in the ,memoirs of the ,exploration ,fund1#adc closely resembles this at ,constantinople1 which we may therefore look on as a typical ,byzantine font4 ,illustration3 ,,fig4 #aj4--;,font from ,constantinople4 ,consecration or other ,crosses4--,on the great verde antico columns of the north side of the nave1 about six feet above the floor1 appear sunk crosses about six inches high2 on the south side shallow sunk panels occupy similar positions1 formed we may suppose by the ,turks for the purpose of destroying the crosses4 ,similar sunk crosses occur on some of the marble columns in the gallery at ,s4 ,sergius and at ,bethlehem2 at ,sinai the nave columns bear inlaid bronze crosses4 ,from the character of those at ,s4 ,sophia we should suppose that they were also formerly filled by inlaid metal2 their similarity in size and the regularity with which they are placed seem to show that they are of the nature of consecration crosses rather than being merely votive1 or rather that they were made by the builders1 just as a farmer crosses his bags of wheat4 ,in most of the cisterns of ,constantinople one column at least bears a large fairly wrought cross4 ,miraculous ,marbles and ,mosaics4--,clavijo describes a large white slab in the right of the gallery naturally figuring 8the ,virgin with ,christ in her most holy arms30 beneath this was an altar in a little chapel where they said mass4 ,these marbles1 in which accidental resemblances to figures might be traced1 were evidently much valued4 ,felix ,fabri describes a slab at the ,holy ,sepulchre in which ,s4 ,jerome and his lion appeared4 8,this picture was not produced by art1 but by simple polishing alone40 ,the column of ,s4 ,gregory ,thaumaturgus1 mentioned by ,anthony of ,novgorod as by the entrance and 8covered with bronze plates10 may possibly be the celebrated 8sweating column10 which is the first square pillar in the north aisle4 ,at about five feet from the floor it is cased with bronze1 in which a hole is left over the cavities in the pillar which are supposed to exude the dampness4 ,the indents are smooth1 and look like natural cavities discovered in the marble when it was wrought4 ,canon ,curtis1 who was kind enough to examine the pillar for us1 says it was perfectly dry1 and the attendants assured him that water never oozed out of the cavities1 although 8a few drops of water might be easily kept in each of them40 ,sweating columns are well known in the legends of the middle ages4 ,benjamin of ,tudela speaks of two in ,rome which sweated on the anniversary of the fall of ,jerusalem1 and ,mandeville mentions four pillars in the ,holy ,sepulchre 8that always drop water1 and some men say that they weep for our ,lord's death40 ,stephen of ,novgorod speaks of a mosaic of ,christ in ,s4 ,sophia from which holy water flowed from the wounds of the feet4 ,water ,vessels4--,at the west end of the church in the right and left exedras stand two large white ,proconnesian marble urns about seven feet high1 of beautiful gourd-like forms4 ,they rise from the centre of polygonal basins1 and water is drawn from them through bronze taps4 ,it has been said that they were brought from ,pergamus or ,marmora by ,sultan ,murad ,,iii4#add ,the carving of the turban-like tops is certainly ,turkish1 but the vessels seem to be of ,byzantine form1 and we are disposed to agree with ,grelot1 who saw them in their present position before #afhj4 ,he says they were kept full of water 8to cool the ,mohammedans overheated by their devout gesticulations40 8,if they are not very ancient1 they stand in the place of others1 which contained holy water for the ,christians who entered the church40 ,he associates with these the palindrome inscription given by ,gruter 7see our page #aia71 which he says was written on these1 or similar1 vessels in gold letters4#ade ,now a beautiful cantharus in the ,church of ,s4 ,peter and ,s4 ,andrew1 on the island of ,murano1#adf which is almost identical with those of ,s4 ,sophia1 is stated to have been brought back thence with the ,venetian booty1 and bears a ,byzantine inscription3-- 78,draw the water with gladness1 for the voice of the ,lord is upon the waters072 together with a monogram which reads 4 ,beneath the monogram appears a stopping where evidently a tap was fixed1 in exactly the position of those to the urns in ,s4 ,sophia4 ,the first half of the latter inscription is on a small vessel of lead found at ,tunis1 which1 from the character of the decoration1 cannot be later than the fourth or fifth century4 ,the first mention of the vessels in ,s4 ,sophia which we have been able to find is by an ,english traveller1 ,fynes ,moryson 7#aeie71 who says1 8,i did see two nuts of marble of huge bigness and great beauty40 ,we give in ,fig4 #aa the vessel in the south exedra at ,s4 ,sophia1 together with that of ,murano1 and for further comparison some beautiful vessels from a relief of ,justinian's time on the ivory throne at ,ravenna4 ,we have omitted the ,turkish top of the former4 ,canon ,curtis1 who has specially examined them1 writes to us that between the top and body of each vessel is a copper band which conceals the joint1 if there is a joint4 ,images and ,tombs4--,very few fragments of ,christian sculpture remain in ,constantinople4 ,the ,silentiary does not mention any sculpture at ,s4 ,sophia4 ,probably the feeling which was mature in ,leo the ,isaurian was always latent2 ,oriental ,christians sharing in the dislike with which ,jew and ,moslem regarded statues4 ,canon ,curtis writes3 8,on the northern side of the sweating column ,i used to see parts of a bas-relief representing1 as ,i thought1 a procession1 but it was almost concealed by the metal plates1 and now it is entirely hidden40 ,the wealth of the church in icons at a late period may be gathered from incidental references4 ,not until a late time do we hear of any tombs in the church4 ,s4 ,chrysostom and most of the other patriarchs were buried in the ,church of the ,holy ,apostles4 ,pachymeres mentions 8the stele of the three ,germani 7,patriarchs of ,constantinople7 near the porphyry columns on the west40 ,nicephorus ,gregoras#adg also writes that the remains of the patriarch ,arsenius were buried in the great ,church of ,s4 ,sophia4 ,illustration3 ,,fig4 #aa4--,water ,vessels from ,s4 ,sophia and ,murano4 ,hangings4--,the descriptions on several occasions mention veils and hangings by the names of vela and velothyra4 ,with mosaics and miniatures to help us it is possible to judge of the lavish way in which these hangings were used4 ,the mosaics at ,ravenna show veils hanging at the door of the church through which ,theodora is about to enter1 and the large elevation of the ,palace of ,theodoric1 likewise in mosaic1 shows hangings in all the arches of the portico4 ,such textiles suspended at entrance doorways are often mentioned by contemporary authors4#adh ,at ,s4 ,sophia the doors entering the narthex1 and those between it and the church1 all have bronze hooks1 to which such 8door veils0 were suspended2 and embroidered ,turkish hangings1 which roll up from the bottom by means of cords and pulleys1 are still hung to them4 ,in the ,byzantine mosaics the hangings are often shown raised by being gathered into a loose knot1 or by being drawn to the sides and passed once round the pillars between which they hang4 ,illustration3 ,,fig4 #ab4--,vessels of ,sixth ,century3 from ,ivory ,throne1 ,ravenna4 ,the account of the coronation ceremony describes how the royal persons were seated in the gynaeceum1 screened by 8golden velothyra10 so that they should not be seen until the psaltae sang the 8,lift up10 when immediately the velothyra were raised4 ,of these hangings in the interior we have a picture in the account given in the continuation of ,theophanes of an ambassador1 ,iber ,curopalates1 who visited ,constantinople in #ibc1 and 8was taken to the church of ,s4 ,sophia1 that he should inspect its beauty and size and precious ornaments4 ,now the walls were all draped with cloth of gold before they led him in1 and he1 struck with the great size of the church and its wealth of adornment1 exclaimed1 #8,truly this is the house of ,god1' and returned home40#adi ,the ,ceremonies mention gold hangings in ,catechumena above ,royal ,door4#aej ,nicetas tells us how the ,crusaders 8spared neither the house of ,god nor ,his ministers1 but stripped the great church of all its fine ornaments and hangings1 made of the richest brocades of inestimable value40 ,we have no doubt that ,s4 ,sophia was frequently adorned inside by the arcades of both tiers having hangings suspended from the iron bars1 which cross all these arches at their springing1 exactly like those shown in the mosaic of ,theodoric's palace4 ,indeed ,ignatius of ,smolensk 7circ4 #acie71 who was present at the coronation of ,manuel1 says that the women in the galleries remained behind curtains of silk so that none might see their faces4#aea ,these hangings seem either to have had simple figures such as squares with large 8gammidae0 at the corners worked on them1 probably in gold1 or they were patterned over with figures1 animals1 and flowers1 woven in the stuff like the elaborate veils of the altar described by the ,silentiary4 ,the linen vestments found at ,panopolis in ,egypt show us that the 8gammidae0 originated in embroidered shoulder straps1 with seal-like ends applied on either side of the neck opening4 ,fig4 #ac shows two of the door veils represented at ,ravenna2 that on the right is from the mosaic in ,s4 ,apollinare ,nuovo showing the palace4 ,the gammidae are here exactly of the form found on the early ,coptic linen vestments1 and it cannot be doubted that they were 8applied0 in a similar way4 ,the pattern on the left is the door-hanging from the mosaic of ,s4 ,vitale2 the plain squares are of gold4 ,the designs on the robes in this mosaic are interesting4 ,justinian's chlamys is covered with birds in circles1 the border of ,theodora's robe displays the three ,magi making their offerings2 one of her attendants has a robe powdered with swimming ducks and a mantle with four petalled red roses on a gold ground1 and another robe has five pointed leaves scattered over its field4 ,many examples of the figured silks are preserved in museums4 ,there is at ,south ,kensington ,museum a piece of pictured silk of this kind1 probably of ,justinian's time1 which is covered with circles1 in each of which is figured a man and a lion4 ,more than a century before the time of ,justinian1 ,asterius1 ,bishop of ,amasius1 had made these elaborately figured stuffs a subject of satire3 8,when men so draped appear in the streets the passers-by regard them like painted walls4 ,their clothes are pictures which little children trace out with their fingers4 ,there are lions1 panthers1 and bears1 also rocks1 woods1 and hunters4 ,the most devout carry ,christ1 ,his disciples1 and ,his miracles4 ,here we may see the marriage in ,galilee and the pots of wine2 there is the paralytic carrying his bed1 the penitent woman at the feet of ,jesus1 or ,lazarus come again to life40#aeb ,illustration3 ,,fig4 #ac4--;,door ,veils of the ,sixth ,century3 ,ravenna ,mosaics4 ,later the patterns became more heraldic and larger in scale1 figuring for the most part great displayed eagles1 and griffons1 or lions affronted4 ,a piece of a textile of this kind in the museum at ,dsseldorf1 of which there is a full-size copy at ,south ,kensington1 bears golden lions about two feet six inches long1 and the names of ,constantine ,,viii4 and ,basil on a pallid purple ground4 ,frauberger#aec compares this with another signed example of the same age and similar design preserved at ,siegburg1 and a third at ,autun1 8all of which were intended for church hangings40 ,the same writer says that after ,justinian's introduction of silk weaving in #eeb and the loss of ,bosra with its purple-dye vats to ,chosroes1 an imperial textile industry was established by the ,golden ,horn1 which existed until the fourteenth century4 ,here these hangings were probably produced4 ,carpets4--,portions of the floor of ,s4 ,sophia were almost certainly strewn with carpets4 ,porphyrogenitus relates of the ,new ,church of ,basil that 8woollen carpets 7nakopetai7 called prayer carpets1 of wonderful size and beauty1 and resembling the bright plumage of peacocks1 were laid one over another1 completely covering the mosaic pavement of valuable stones40 ,the carpets and prayer-rugs of the mosques thus had their direct parallels1 if not their prototypes1 in the ,byzantine churches4 ,synods4--,the patriarchal registers1 dating from the fourteenth century1 speak of synods sitting 8in the right-hand catechumena02 this probably refers to the south gallery1 where the vault has displayed in mosaic the descent of the ,holy ,ghost on the ,apostles4 ,across this gallery there is at present a screen1 which possibly1 as ,paspates suggests1 shut off the part used by the ,synods4 7,see dotted line on ,fig4 #f47 ,the screen is made up of two marble slabs1 each sculptured into the form of panelled double doors1 with architraves and carved panels4 ,above the opening left between these is a coloured marble slab4 ,at the top is a carved wood beam1 which1 being exactly like the permanent vault ties1 is evidently of ,justinian's age2 but the whole is certainly not an original assemblage of the parts4 ,each slab1 which imitates a pair of wood doors1 has a representation of a bronze ring handle and a lock-plate on one half1 and a hasp on the other1 all exactly copied in sculptured marble4 ,we believe that these imitation doors are earlier than the church2 the idea was common in late classic times4 ,de ,vog and ,dr4 ,merrill#aed found several tomb doors1 similarly panelled1 studded with imitation nails1 and having elaborate knockers1 all carved in stone4 ,an example in marble now in the museum at ,leeds closely resembles the ,s4 ,sophia slabs4 ,clergy and ,ritual4--,in the time of ,justinian the total number of clergy was #ebe1 but at the time of ,heraclius this had been increased to #fjj4aee ,they were thus divided3-- ,presbyters #hj ,deacons #aej ,deaconesses #dj ,subdeacons #gj ,readers #afj ,singers #be ,doorkeepers #ge --- ,total #fjj ,the subdeacons1 according to the forty-third canon of the ,council of ,laodicea1 stood by the doors4 ,porphyrogenitus#aef speaks of the emperor 8passing through the narthex of the gynaeceum1 where the deaconesses have their usual place40 ,the same author also mentions#aeg 8hypurgi of the narthex1 readers for alternate weeks1 ostiarii of the ,holy ,well1 a domesticus of the subdeacons1 and deputati of ,s4 ,sophia40 ,a series of seals of the officers of ,s4 ,sophia is given by ,schlumberger2#aeh the seals are those of the klerikos1 diakonos1 manglabites1 ekdikos1 deuteroboetes1 protospatharios1 and the chartophulax4 ,an anonymous author#aei gives a list of the officers of the 8holy and great0 church which is too long to be given in full1 but we may note some of the duties mentioned4 ,the ,oeconomus held 8one of the flabella1 and stood at the right hand of the altar1 when the patriarch was officiating20 while 8the sacellarius1 holding a napkin1 stood on the left40 ,the skeuophylax stood in front of the skeuophylakium1 so as to be ready to hand any vessel that might be wanted4 ,the chartophulax stood near the 8holy doors10 and pronounced the words of the service1 8,approach1 ye priests40 ,the castensius holds the censer1 and draws the curtain at the ,trisagion4 ,the refendarius and deputati carried the orders of the patriarch to the princes and nobles1 and summoned them to his presence4 ,when the patriarch was officiating1 the protopapas took precedence of all the other priests1 and even gave the communion to the patriarch4 ,the protopsaltes 8stood in the middle of the church between the right and left choirs10 and led the singing4 ,on one occasion the number of priests was so great 8that the church of ,s4 ,sophia1 though it is the greatest of all on the earth1 seemed then too small40#afj ,up to the eleventh century1 services were only performed in ,s4 ,sophia on ,sundays and ,saints' days4 ,in the middle of the eleventh century1 ,monomachus arranged that the service should be every day1 and for this extra salaries were given4#afa ,some idea of the ritual of the services may be gathered from the offices in the ,euchologium1 edited by ,goar1 the ,cherubic and other hymns1 together with the ,ceremonies of ,porphyrogenitus4 ,an account given by ,anthony of ,novgorod is quoted in the next chapter4 ,bertrandon ,brocquire writes3 8,i was curious to witness the manner of the ,greeks performing divine service1 and went to ,s4 ,sophia on a day when the patriarch officiated4 ,the emperor was present accompanied by his wife1 his mother1 and his brother1 the despot of the ,morea4 ,a ,mystery was represented1 the subject of which was the three youths whom ,nebuchadnezzar had ordered to be thrown into the fiery furnace40 ,having in our last chapter quoted the description of the procession and celebration of the ,mass1 we now give the accounts of the ,adoration of the ,cross given by ,arculf#afb in the seventh century1 and by ,porphyrogenitus in the tenth2 together with the directions for the emperor's procession to the great church4 ,the ,adoration of the ,cross4--8,in the northern part of the interior of the house 7,s4 ,sophia7 is shown a very large and beautiful aumbry1 where is kept a wooden chest1 in which is shut up that wooden cross of salvation on which our ,saviour hung for the salvation of the world4 ,this notable chest1 as the sainted ,arculf relates1 is raised with its treasure of such preciousness upon a golden altar1 on three consecutive days after the lapse of a year4 ,this altar also is in the same round church1 being two cubits long1 and one broad4 ,on three consecutive days only throughout the year is the ,lord's cross raised and placed on the altar1 that is on the day of the supper of the ,lord1 when the emperor and the armies enter the church1 and1 approaching the altar1 after that sacred chest has been opened1 kiss the ,cross of ,salvation4 ,first of all the emperor of the world kisses it with bent face1 then going up one after another in the order of rank or age all kiss the cross with honour4 ,then on the next day1 that is on the sixth day of the week before ,easter1 the queen1 the matrons1 and all the women of the people approach it in the above-mentioned order1 and all kiss it with reverence4 ,on the third day1 that is on the ,paschal ,sabbath1 the bishop1 and all the clergy after him1 approach in order with fear and trembling and all honour1 kissing the ,cross of ,victory which is placed in its chest4 ,when these sacred and joyful kissings of the sacred cross are finished1 that venerable chest is closed1 and with its honoured treasure it is borne back to its aumbry4 ,but this should also be carefully noted1 that there are not two but three short pieces of wood in the cross1 that is the cross beam and the long one which is cut and divided into two equal parts2 while from these threefold venerated beams when the chest is opened1 there arises an odour of a wonderful fragrance1#afc as if all sorts of flowers had been collected in it1 wonderfully full of sweetness1 satiating and gladdening all in the open space before the inner walls of the church1 who stand still as they enter at that moment2 for from the knots of those threefold beams a sweet-smelling liquid distils1 like pressed-out oil1 which causes all men of whatever race1 who have assembled and entered the church1 to perceive the above-mentioned fragrance of so great sweetness4 ,this liquid is such that if even a little drop of it be laid on the sick1 they easily recover their health1 whatever be the trouble or disease they have been afflicted with40 ,the passage from the ,book of the ,ceremonies#afd describing the ,exaltation of the cross on ,september #adth begins with the emperor 8passing through the palace ,manaura1 and the upper corridors1 ascending by the wooden staircase1 and entering the catechumena#afe of the great church40 ,after he has reached the catechumena and 8lighted candles1 and prayed1 he takes his seat in the part on the right-hand side40 8,the emperor then summons the patriarch1 who remains for a short time with the emperor1 and then goes out1 and comes to the small secretum1 where is kept the ,holy ,wood1 and receives the emperor there4 ,and as the congregation begin the #8,glory to ,god in the ,highest1' the emperor enters1 and kisses the ,sacred ,wood1 and comes out into the great secretum4 ,then the emperor1 following the ,cross1 descends by the great winding staircase1 keeping to the left1 and passes through the ,didaskalion1#aff where the paschalia are inscribed1 and having gone down the steps1 he enters through the great gate of the narthex1 and reaches the royal doors and stands there4 ,the emperor and patriarch now pass through the middle of the nave1 and on the right of the ambo into the solea2 here the emperor stands before the ,holy ,doors1 and gives the candle he is carrying to the praepositus4 ,he then enters the bema1 and having kissed the ,sacred ,wood1 and turning round1 he comes out again1 and passes through the solea1 then mounts the third or fourth step of the ambo and stands there1 holding the candle4 ,the patriarch then comes out of the bema and mounts the ambo with the ,sacred ,wood1 and the emperor gives his candle to the praepositus1 and remains there until the ,wood has been elevated in the four quarters of the ambo4 ,the emperor and patriarch then descend from the ambo and enter the bema1 and the ,wood being placed before them the emperor prays and kisses it1 and coming out through the side of the bema he is conducted by the patriarch to the ,holy ,well1 and having kissed it1 he continues to the palace40 ,it would almost appear that whereas in the time of ,arculph 7circa #fhj7 the ,cross was kept in one of the north-eastern chambers by the bema1 in the time of ,porphyrogenitus 7tenth century7 it was preserved1 during certain periods1 in a secretum accessible from the gynaeceum4 ,possibly the small upper chapel on the south side with mosaic ceiling1 and the additions over the south porch1 both built about the tenth century1 may be the chambers in question4 ,at the end of the ceremony the ,cross was left in the bema1 and it may be that only on the occasion of the ,festival of the ,cross was it taken up to the gallery1 preparatory to a procession through all parts of the church4 ,procession to the ,church4--,the following is an account of a pageant1 which is the first in the ,book of ,ceremonies--the order of the royal procession to the ,great ,church4 ,on the day preceding the feast1 notice was given so that the way might be adorned with flowers4 ,the emperor and princes carried gifts1 and processional candles1 and the ,cross of ,st4 ,constantine4#afg ,priests were sent to receive him with the ,cross of the ,lord1 which was taken from the church by the ,sacristan 7skeuophulax74 ,in proceeding to the church there were six 8receptions40 ,three were in various parts of the palace1 8and the princes come to the gate 7,chalk71 and the fourth reception takes place outside the barrier of ,chalk2 the fifth reception takes place in front of the ,great ,gate which leads into the ,augusteum2 and the sixth reception is at the ,horologium of ,s4 ,sophia40#afh 8,and from thence the princes enter through the ,beautiful ,gate1 and have their crowns removed by the praepositi within the curtain that hangs in the chamber1 that is to say1 the propylaeum of the narthex4 ,and the patriarch receives them at the door of the narthex with the usual ceremony4444 ,the lords remove their crowns1 kiss the holy ,gospel carried by the archdeacon1 greet the patriarch1 and proceed up to the royal doors4 ,bearing the candles and bowing thrice1 the entrance is made after a prayer by the patriarch2 then those carrying the sceptres and vessels stand right and left of the church2 but those bearing the banners and the books stand on either side in the solea2 and the ,cross of ,st4 ,constantine is placed on the right side of the bema4 ,and when the lords come to the ,holy ,doors and to the porphyry omphalion1 the patriarch alone enters within the screen1 by the holy door on the left4 ,the princes1 after bowing thrice1 enter with the candles1 following the patriarch1 and coming to the holy table they kiss the holy cloth1 and they place as is usual on the holy table the two white veils1 and kiss the holy chalices1 and the two discs and the holy corporal cloth1 which are handed to them by the patriarch4 ,and then by the right-hand side of the bema the princes enter with the patriarch the ,kuklis1 where is placed the ,holy ,crucifix of gold1 and again they bow with the candles three times praising ,god2 and the patriarch gives the censer to the emperor and he censes the crucifix3 then they kiss the patriarch1 and take leave of him and enter the oratory1 which is in front of the metatorion1 and there1 bowing three times and praising ,god1 they kiss the ,holy ,cross as well as all the ,instruments of our ,lord's ,passion1 and then enter the metatorion40 ,,chapter ,,vi ,,relics1 ,,treasure1 ,,and ,,the ,,lighting ,,of ,,the ,,church #a4 ,,relics4 ,the ,true ,cross4--,there would seem to be little doubt that a discovery was made about #cbf of what was supposed to be the true ,cross4 ,s4 ,cyril of ,jerusalem1 writing some twenty-five years later1 says that portions of the ,cross were spread all over the world4 ,we have seen 7p4 #ad7 that early historians relate that a portion of this precious relic was sent to ,constantinople by ,helena4 ,the principal part however remained at ,jerusalem until it was taken by ,chosroes4 ,it is described by some of the pilgrims to the holy city as being encased in silver4 ,brought back from ,persia by ,heraclius in #fbh together with the spear and sponge1 it rested for a brief interval in ,s4 ,sophia1 where it was 8uplifted02 but it was again returned to ,jerusalem until #fcf1afi when under the fear of the coming troubles the larger portion at least was removed4 ,rohault de ,fleury1 who devoted a folio volume to the ,instruments of the ,passion1 quotes a letter from ,anseau1 a priest of the ,holy ,sepulchre in the twelfth century1 which was sent to ,paris with a portion of the ,cross4 ,according to this account the ,holy ,wood was divided into nineteen small ,crosses1 of which ,constantinople possessed three besides the 8,cross of the ,emperor10 and ,jerusalem retained four4 ,we have positive evidence that in the century before ,heraclius ,constantinople was a centre where portions of the ,cross were to be obtained3 thus ,radegunde1 wife of ,clothaire1 received a fragment from ,justin ,,ii4 and ,sophia in #efi4agj ,at this time1 according to ,john of ,ephesus1 there was 8a day of the adoration of the ,holy ,cross of our ,saviour2 on this festival the ,cross is brought out and set up in the ,great ,church1 and the senate and all the people of the city assemble to worship it40#aga ,probably the ,exaltation was celebrated concurrently at ,jerusalem and at ,constantinople4 ,when we more definitely hear of the ,true ,cross at ,s4 ,sophia1 it is evident1 from the frequent occasions in which it is transported to different parts of the church1 and to the palace1 that it was quite small1 a relic in fact4 ,arculf 7circa #fhj71 as we have seen1 describes it as kept in a chest1 on a golden altar1 which was only two cubits long by one broad4 ,he says3 8it should be specially noticed that there are not two but three short pieces of wood in the cross2 that is1 the cross beam1 and the long one divided into two equal parts40 ,now in the ,menologium of ,basil we have a representation of the ,exaltation of the ,cross1 which the patriarch is uplifting in an ambo4 ,it is represented as a double cross made up of three pieces1 not of two4 ,a miniature of the finding of the ,cross in the ,national ,library of ,paris shows the same form4 ,didron remarks that the cross with double branches probably originated in ,greece1 8for it is constantly seen in ,attica1 in the ,morea1 and on ,mount ,athos40 ,this form appears frequently on the later coins of ,constantinople1 and we find that most of the relics of the ,true ,cross which still exist on ,mount ,athos and other places are made up with double arms4 ,a reliquary for the fragment1 said to be that which was sent to ,radegunde1 was preserved in the monastery of ,s4 ,cross at ,poitiers in the last century4 ,the field was of cloisonn enamel1 blue with here and there a red flower4 ,a drawing of this relic1 of which we give an outline1#agb shows that this fragment of the ,true ,cross was made up in the double-armed form1 which was repeated in the relic at the ,ste4 ,chapelle4#agc ,two such relics now at ,venice are doubly interesting1 for besides a cross of this form two supporting figures are represented which are inscribed ,constantine and ,helena4#agd ,now ,cedrenus and other late writers say that in the ,kamara of the ,milion were the figures of ,constantine and his mother1 with the cross between them4 ,the same composition appears in the mosaics at the monastery of ,s4 ,luke4 ,the two ,venice relics bear the names of the ,empresses ,maria 7#aahj7 and ,irene 7#acej74 ,illustration3 ,,fig4 #ad4--,showing form of ,true ,cross at ,s4 ,sophia4 ,fig4 #ad represents the ,poitiers reliquary2 the ,true ,cross as shown in the ,menologium2 and a cross from a late coin4 ,we cannot doubt that the ,cross at ,constantinople was of this form4 ,was it the result of the conjunction of three pieces as mentioned by ,arculph1 or did the upper arm from the first represent the label8 ,with the ,cross were associated the other ,instruments of the ,passion--the ,crown of ,thorns1 the ,sponge and ,spear1 and slabs from the ,tomb4 ,the catalogue of relics by ,nicholas ,thingeyrensis 7#abjj7 says1 8,in ,s4 ,sophia is the ,cross of the ,lord which ,helena the ,queen brought20#age but at that time the greater part of the ,cross and other relics of the ,passion seem to have been transferred to the chapel in the palace of ,boucoleon1 where they were seen by ,robert de ,clari 7#abjj74 ,the anniversary of the day on which they were moved from ,s4 ,sophia1 ,august #adth1 was kept as a holiday4 ,according to ,paspates all the relics of the ,passion were removed in #abcd4 ,baldwin ,,ii4 took the ,crown of ,thorns which was acquired by ,s4 ,louis4 ,it is evident1 however1 from the later ,pilgrims quoted below1 and from ,mandeville1 that a part of the ,passion relics remained or that others were acquired4 ,other ,treasure and ,relics4--8,not only kings and patriarchs1 but also private individuals and monks brought to ,constantinople relics of the apostles and martyrs1 ancient ikons1 and all kinds of sacred objects connected with the saints of the church4 ,anything of value in the whole land of ,palestine was for the most part moved to ,constantinople1 and such was the reverence for relics that no church1 monastery1 nor oratory was built without them40#agf ,so early as #dae1 when ,s4 ,sophia was rededicated1 it was necessary to have fresh relics 7see page #af74 ,a description of the relics and the treasure of ,constantinople is given in the letter supposed to have been written in #ajie by ,alexius ,comnenus to ,robert1 ,count of ,flanders1 in which he craves the assistance of the ,west against the ,turks4 ,after enumerating the relics scattered throughout the city1 he continues1 8,if you do not care to fight for these1 and gold will tempt you more1 you will find more of it at ,constantinople than in the whole world1 for the treasures of its basilicas alone would be sufficient to furnish all the churches of ,christendom1 and all their treasures cannot together amount to those of ,s4 ,sophia1 whose riches have never been equalled even in the temple of ,solomon40 ,the dispersion of the relics and treasures of ,s4 ,sophia and the other churches at ,constantinople has been exhaustively treated by ,count ,riant4#agg ,the description by ,anthony1 ,archbishop of ,novgorod1 who visited ,s4 ,sophia in #abjj1 three years before the capture by the ,crusaders1 furnishes the best account of the accumulated riches of the great church4 ,we give this in full from the ,french version contained in ,itinraires ,russes en ,orient4#agh 8,i1 ,antonius1 ,archbishop of ,novgorod1 an unworthy and humble sinner1 by the grace of ,god and by the help of ,s4 ,sophia1 who is the ,wisdom and the ,eternal ,word1 reached in safety the imperial city1 and entered the great ,catholic and ,apostolic ,church4 ,we first worshipped ,s4 ,sophia1 kissing the two slabs of the ,lord's sepulchre4 ,furthermore we saw the seals1 and the figure of the ,mother of ,god1 nursing ,christ4 ,this image a ,jew at ,jerusalem pierced in the neck with a knife1 and blood flowed forth4 ,the blood of the image1 all dried up1 we saw in the smaller sanctuary4 8,in the sanctuary of ,s4 ,sophia is the blood of the holy martyr ,pantaleon with milk1#agi placed in a reliquary like a little branch or bough1 yet without their having mixed4 ,besides that there is his head1 and the head of the ,apostle ,quadratus1 and many relics of other saints3 the heads of ,hermolaus and ,stratonicus2 the arm of ,germanus1 which is laid on those who are to be ordained patriarchs2 the image of the ,virgin which ,germanus sent in a boat to ,rome by sea2 and the small marble table on which ,christ celebrated ,his ,supper with the disciples1 as well as ,his swaddling clothes and the golden vessels1 which the ,magi brought with their offerings4 8,there is a large gold #8disc' for the mass1 given to the patriarch by ,olga1 a ,russian princess1 when she came to the imperial city to be baptized4#ahj ,in this disc there is a precious stone which displays the image of ,christ1 and the seal-impressions from this are used as charms2 but on the upper side the disc is adorned with pearls4 8,in the sanctuary is likewise preserved the real chariot of ,constantine and ,helena1 made of silver2 there are gold plates1 enriched with pearls and little jewels1 and numerous others of silver1 which are used for the services on ,sundays and feast days3 there is water also in the sanctuary coming out of a well by pipes4 8,outside the smaller sanctuary#aha is erected the #8,crux ,mensuralis1' which shows the height of ,christ when on earth2 and behind that cross is buried ,anna1 who gave her house to ,s4 ,sophia1 where now is the smaller sanctuary1 and she is buried near4 ,and near this same smaller sanctuary are the figures of the holy women and of the ,virgin ,mother holding ,christ1 and shedding tears which fall on the eyes of ,christ4 ,they give of the water of the sanctuary for the blessing of the world4 8,in the same part is the chapel of ,s4 ,peter the ,apostle1 where ,s4 ,theophania is buried4 ,she was the guardian of the keys of ,s4 ,sophia1 which people used to kiss4 ,there is also suspended the carpet of ,s4 ,nicholas4 ,the iron chains of ,s4 ,peter are kept there in a gold chest2 during the feast of #8,s4 ,peter's ,chains' the emperor1 the patriarch1 and all the congregation kiss them see ,fig4 #h4 ,near by1 in another chapel1 is also shown the crystal of the ancient ambo1 destroyed when the dome fell4 8,by the side of the images of the holy women is the tomb of the son of ,s4 ,athenogenius4444 ,there are no other tombs in ,s4 ,sophia except that1 and a lamp hangs in front of it1 which once fell1 full of oil1 without being broken4 ,the place is inclosed by a wood screen1 and the people are not allowed to enter4 8,when one turns towards the gate one sees at the side the column of ,s4 ,gregory the ,miracle-,worker1 all covered with bronze plates4 ,s4 ,gregory appeared near this column1 and the people kiss it1 and rub their breasts and shoulders against it to be cured of their pains2 there is also the image of ,s4 ,gregory4 ,on his feast day the patriarch brings his relics to this column4 ,and there placed above a platform is a great figure of the ,saviour in mosaic2 it lacks the little finger of the right hand4 ,when it was finished1 the artist looked at it and said1 #8,lord1 ,i have made thee as if alive4' ,then a voice coming from the picture said1 #8,when hast thou seen me8' ,the artist was struck dumb and died1 and the finger was not finished1 but was made in silver-gilt4 8,above the gate is depicted on a large panel the ,emperor ,leo the ,wise1 and in front of it is a precious stone1 which illuminates ,s4 ,sophia at night-time4 ,this same ,emperor ,leo took a certain writing from ,babylon1 which was found in the tomb of the prophet ,daniel4 ,it was copied1 and on it were written the names of the ,greek emperors4 ,at the royal gate is a bronze romanistum#ahb or bolt by which the door is closed4 ,men and women are brought to it1 and if they have drunk serpent poison or any other poison1 they cannot remove the bolt from the mouth1 until all the evil of the disease has trickled away with the saliva4 8,by the great altar on the left is the place where an angel of the ,lord appeared to the boy who was guarding the workmen's tools1 and said1 #8,i will not leave this spot as long as ,s4 ,sophia shall remain4' ,three figures are shown in this place1 for the angels are painted there2 and a multitude of people come there to pray to ,god4 ,not far from there is the place where they boil the holy oil1 burning underneath it old ikons1 whose features one can no longer trace4 ,with this oil they anoint children at baptism4 ,above the sanctuary there rises in the air a great hollow vault covered with gold4 ,in the sanctuary are eighty candelabra of silver for use on feast days1 which occupy the first place1 besides numberless silver candelabra with many golden apples4 8,above the great altar in the middle is hung the crown of the ,emperor ,constantine1 set with precious stones and pearls4 ,below it is a golden cross1 which overhangs a golden dove4 ,the crowns of the other emperors are hung round the ciborium1 which is entirely made of silver and gold4 ,thus the altar pillars and the sanctuary and the bema are built of gold and silver1 ingeniously made1 and very costly4 ,from the same ciborium hang thirty smaller crowns1 as a remembrance to ,christians of the pieces of money of ,judas4 ,to the ciborium were attached curtains1 which were formerly drawn by the bishops during the services4 ,we asked why they did so1 and they answered so that the priests should not see the women and the people1 but should serve the supreme ,god with a pure heart and soul4 ,later the heretics1#ahc when nobody could see them as they were behind the curtains1 took the body and blood of ,christ1 and spat them out1 and trampled on them4 ,the ,spirit warned the fathers of this heresy1 and the fathers fixed the curtains to the columns of the ciborium1 and set an archdeacon near the patriarch1 metropolitan1 or bishop1 so that they should worship ,god holily without heresy4444 ,when ,jerusalem was taken by ,titus many sacred vessels and curtains were brought to ,new ,rome with the royal treasures and given to the church of ,s4 ,sophia4 ,in ,s4 ,sophia also are preserved the tables of the ,law1 as well as the ,ark and manna4 ,the subdeacons1 when they sing #8,alleluia' in the ambo1 hold in their hands tablets like those of ,moses4 ,during the procession of the ,holy ,sacrament the eunuchs commence to sing1 and then the subdeacons1 and then a monk chants alone4 ,then many priests and deacons carry the ,holy ,sacrament in procession2 at this time all the people not only below1 but also in the galleries1 weep in great humility4 ,what then ought to be the fear and humility of the bishops1 the priests1 and the deacons in this holy service8 8,how magnificent are the gold and silver chalices1 garnished with precious stones and pearls6 ,when the splendid chest1 called ,jerusalem1 is brought out with the flabella1 there rises amongst the people a great groaning and weeping4444 ,but here is a wonderful miracle1 which we saw in ,s4 ,sophia4 ,behind the altar of the larger sanctuary is a gold cross1 higher than two men1 set with precious stones and pearls4 ,there hangs before it another gold cross a cubit and a half long1 with three gold lamps1 which hang from as many gold arms 7the fourth is now lost74 ,these lamps1 the arms or branches1 and the cross1 were made by the great ,emperor ,justinian who built ,s4 ,sophia4 ,by virtue of the ,holy ,spirit the small cross with the lamps ascended above the big cross1 and again slowly came down again without going out4 ,this miracle took place after matins1 before the commencement of the mass3 the priests who were in the sanctuary saw it1 and all the people in the church who saw it cried with fear and joy1 #8,god in ,his mercy has visited us4' 444 ,this great and wonderful miracle was wrought by ,god in the year #fgjh ,a4,m4 on ,sunday1 ,may #bast1 being the ,commemoration of ,s4 ,constantine and his mother ,helena1 during the reign of the ,emperor ,alexius and the patriarchate of ,john4 ,it was on the feast of the #cah fathers4 ,iverdiatinus ,ostromitza was then living at ,constantinople2 he was an ambassador from the great ,roman duke4 ,nedanus1 ,domagirus1 ,demetrius1 and ,novgaro were also there4 8,at ,s4 ,sophia on the right near the sanctuary is a piece of red marble1 on which they place a golden throne2 on this throne the emperor is crowned4 ,this place was surrounded by bronze closures to prevent people walking on it2 but the people kiss it4 ,at this place the ,holy ,virgin prayed to her ,son1 our ,lord1 on behalf of all ,christians2 a priest who was guarding the church at night saw her4 ,on the same side is also the grand icon of ,s4 ,boris and ,s4 ,glebe1 which artists copy4 ,when officiating1 the patriarch holds it high up in the tribune4 8,in the chapel behind the altar are affixed to the wall the upper slab of the ,lord's sepulchre1 the hammer1 the gimlet1 and the saw1 with which the cross of the ,lord was made2 also the iron chain which was hung to the gate of ,s4 ,peter's prison1 and the wood of the cross which ,christ's neck touched4 ,this is inserted in a reliquary in the form of a cross4 ,in this chapel above the door is painted ,s4 ,stephen1 protomartyr1 and a lamp is hung before him2 when any one has bad eyes1 they put round his head the rope by which this lamp is hung1 and his eyes are healed4 8,there is also the figure of ,christ whose neck the ,jew struck1#ahd and the bronze trumpet of ,joshua1 who took ,jericho1 and the marble mouth of the well of ,samaria4 ,near it ,christ said to the woman of ,samaria1 #8,give me to drink2' the well mouth has been cut in half1 and the ,samaritans still draw water from the other half4 8,there lie also the bodies of ,s4 ,abercius1 ,s4 ,gregory1 and ,s4 ,sylvester1 and the heads of ,cyrus and ,john1 and many other relics4 ,there also is the ,baptistery1 upon which is painted all the history of the baptism of ,christ by ,john in the ,jordan3 and how ,john taught the people1 and how little children and men threw themselves in the ,jordan3 all this was executed by ,paul the ,skilful during my lifetime1 and there is no painting like this4 ,there are there wooden supports1 upon which the patriarch has had placed the figure of ,christ1 thirty cubits high2 ,paul first painted the ,christ with colours made of precious stones and crushed pearls mixed with water2 this image is still at ,s4 ,sophia4 8,and when they sing matins at ,s4 ,sophia1 they sing first before the great doors of the church1 in the narthex1 then they enter and sing in the middle of the church2 then they open the paradise gates1 and sing the third time before the altar4 ,sundays and saints' days the patriarch assists at matins and at mass1 then he blesses the singers from the ambo1 they stop singing and then say the polykronia3 then they begin to sing again1 and sing as harmoniously and sweetly as the angels till the ,mass4 ,after matins are finished1 they put off their surplices and then go out and ask the patriarch's benediction for the mass4 ,after matins the prologue is read in the ambo till the mass2 when the prologue is finished1 the liturgy is commenced1 and1 after the service is over1 the chief priest in the sanctuary recites the prayer called #8,of the ambo1' while the second priest recites it in the church on the side of the ambo1 away from the sanctuary3 both1 when the prayer is finished1 bless the people4 ,in a similar way vespers are sung4 ,there are no bells at ,s4 ,sophia1 but a little hand-bat hagiosidre which they strike for matins1 though they do not strike it for mass and vespers1 as in other churches3 they follow the precepts of the angel in having this bat2 the ,latins have bells4444 ,when they built ,s4 ,sophia1 they inclosed holy relics in the walls of the sanctuary4 ,there are also many cisterns at ,s4 ,sophia4 ,above evidently under the galleries are the cisterns and storehouses of the patriarchs and of the ,church4 ,vegetables of every kind suitable for the table of the patriarchs1 melons1 apples1 and pears are preserved at the bottom of the cisterns in baskets hung by cords3 when the patriarch wants to eat1 they bring them up quite fresh3 and the emperor eats them also4 ,the bath of the patriarch is also above under the galleries2 the water of the fountains mounts by pipes1 and the rainwater is preserved in cisterns4 ,on the galleries are painted all the patriarchs and emperors of ,constantinople1 and those who shared their heresies4 ,in the choirs of the church are five heads ornamented with pearls like a silver word indecipherable4444 ,lazarus1 the image painter#ahe 444 first painted at ,constantinople1 in the sanctuary of ,s4 ,sophia1 the ,virgin holding ,christ and two angels4444 ,s4 ,sophia has #c1jjj priests2 #ejj share in the benefices of the church and #a1ejj have no share2 when one of the #ejj priests dies1 his place is taken by one of the #a1ejj40 99 99 99 99 99 ,frankish ,occupation and ,after4--,three years after the visit of ,anthony1 ,constantinople was taken by the ,latins4 ,one of the ,crusaders1 ,villehardouin1 writes1 8,of holy relics ,i need only say it contained more than all ,christendom combined2 there is no estimating the quantity of gold1 silver1 precious vessels1 jewels1 rich stuffs1 silks1 robes of vair1 gris1 and ermine1 and other valuable things--the production of all the climates in the world4 ,it is the belief of me1 ,geoffrey ,villehardouin1 marchal of ,champagne1 that the plunder of this city exceeded all that has been witnessed since the creation of the world40 ,much of the accumulated wealth of six centuries--the gifts from emperors and private individuals of 8sacred vessels of gold and pearls and precious stones0#ahf--was removed by the ,venetians and ,franks4 ,many of these precious objects are lost beyond hope of recovery2 such are the candlesticks and crosses4 ,as some representation of these we give a figure of a gemmed processional cross1 with its seizae of jewels1 from the ,menologium of ,basil 7,fig4 #ae74 ,illustration3 ,,fig4 #ae4--;,jewelled ,processional ,cross4 ,in the treasury of ,s4 ,mark's at ,venice there is however a rich hoard of vessels1 lamps1 and other objects1 which were taken from the churches of ,constantinople2 and many of these crystal lamps1 agate cups1 and enamelled book-covers doubtless belonged to ,s4 ,sophia4 ,amongst these may be mentioned an agate chalice with the name ,sisinnius4 ,this may probably be referred to a ,patriarch of ,constantinople of that name in #iif2 another with the name ,ignatius to a patriarch in #hgg2 a third with the inscription 8,lord help ,romanus1 the ,orthodox ,emperor0 to ,romanus ,lecapenus 7#iai-idd74ahg ,extracts from the ,venetian historians mentioning objects brought from ,constantinople are given by ,riant4 ,paulus ,maurocenus speaks of 8the many holy relics1 and small figures1 and chalices and patens and other beautiful things from the church of ,s4 ,sophia20 also1 8the very same doors which now close the church of ,s4 ,mark's 444 and two censers of gold from ,s4 ,sophia of such grace and beauty that one cannot see them without being astounded40 ,he also mentions1 though it is not quite clear if he associates this with ,s4 ,sophia1 8,the palla of silver-gilt with the figures of our ,lord1 the ,virgin1 the ,apostles1 prophets1 doctors1 and martyrs1 which is now placed in the church of ,s4 ,mark40#ahh ,the head of ,s4 ,pantaleon was taken by ,heinrich ,ulmen to the church of the saint at ,cologne4 ,after the interregnum1 ,s4 ,sophia was visited by several other ,russian pilgrims1 who have left accounts of the church which agree very closely4 ,of the fullest of these1 which is by an anonymous ,russian writer1 #adbd-adec1 we give a condensed abstract1 as it contains one or two more points1 shows the acquisition of other relics in the place of those lost1 and is useful for comparison with the anonymous ,greek author translated in the next chapter3-- ,near the west door in the middle of the narthex are the doors of the ark of ,noah and the chain which bound the apostle ,paul4 ,above the door is the miraculous image of the ,saviour1 and a lamp is suspended before it4 ,in the sanctuary is the life-giving ,cross on which the ,jews crucified ,christ4 ,the stone on which ,he sat and conversed with the woman of ,samaria is in the chapel on the right4 ,here is the table of ,abraham4 ,at the bottom of the church against the wall to the right of the altar is the bed of iron on which martyrs were burnt4 ,here is a stone coffer with relics of ,martyrs and the ,innocents4 ,to the left is the tomb and the whole body of ,arsenius3 the doors of the ark3 the bench where ,jeremiah the prophet wept1 and a column by which ,peter wept4 ,to the left are buried ,s4 ,george and ,s4 ,theologos4 ,on the left is a little shrine beautifully built2 it contains the image of the ,virgin which wept when the ,franks held ,constantinople4 ,her tears1 resembling pearls1 are kept in a coffer before the image4 ,the instruments of the ,passion are exposed from ,thursday to ,saturday4 ,beyond is the image of ,christ in marble1 and the cross of ,s4 ,john chained to the wall4 ,near the ,holy ,table in the bema is the tomb of ,s4 ,john ,chrysostom1 covered by a plank overlaid with gold and gems4 ,to the right on entering the church are situated a well and large basin of marble in which the patriarch baptizes4 ,one leaves ,s4 ,sophia by the south door2 at some steps from the gate1 to the left1 is the ,church of the ,holy ,saviour2 above the door is suspended an image which an emperor attempted to destroy4 ,behind the bema of ,s4 ,sophia is the church of ,s4 ,nicholas4 ,near by in front of the door which is behind the altar of ,s4 ,sophia is the place where they bless the water1 plunging in the ,cross2 a roof covered with lead surmounts the basin of green marble4 ,it is here they baptize the emperors2 four cypresses and two palms form a crescent in this place4 ,some distance in front of the ambo of ,s4 ,sophia is a pedestal of marble which supports the holy chalice2 it is within a stone inclosure1 and is covered by a vault of gilt copper4 ,from the entrance of the church to the ambo is #ff cubits1 and it is #cj beyond to the sanctuary1 which is #ej long by #ajj wide4 ,the church is #bjj cubits wide and #aej high4 ,above the first door is ,solomon in mosaic in a circle of azure4 ,that these accounts accurately relate the stories of the guardians of ,s4 ,sophia is sufficiently proved by ,la ,brocquire1 who was told in #adcc that ,s4 ,sophia possessed 8one of the robes of our ,lord1 the end of the lance that pierced ,his side1 the sponge that was offered to ,him1 and the reed that was put in ,his hand4 ,i can only say that behind the choir ,i was shown the gridiron on which ,s4 ,lawrence was roasted the iron bed1 and a large basin-like stone on which they say ,abraham gave the angels food when they were going to destroy ,sodom and ,gomorrah40 #b4 ,,lighting4 ,the description by the ,silentiary#ahi of the lamps and candelabra which illuminated the ,great ,church forms one of the most fascinating parts of the whole poem4 ,although the multitude of lamps which once lit up the interior have long disappeared1 the main features of the lighting may be brought back to our imaginations by comparing the description with illustrative examples4 ,first then in the central space under the great dome1 chains fell from the height of the upper cornice1 where they were probably attached to strong bronze arms which projected far out like the present metal stakes which project in the exedras on the first-floor cornice4 ,these chains all terminated at some height above the floor in supporting the great sweep of a metal circle to which were suspended flat circular discs of silver1 each of which was pierced with holes into which were dropped glass oil vases with rims which prevented them falling through4 ,with these discs were associated crosses of metal which also carried lamps4 ,these1 cross and disc together1 or alternately1 hanging round in a great circle made a 8circling chorus of bright lights0 within which was a large corona of other lamps and above it a large central disc4 ,then along the sides of the church were rows of lamps in the forms of silver bowls1 and ships2 other rows of lights were attached to beams supported above the floor by metal standards1 and to projecting metal arms1 or suspended rods4 ,upon the beam of the iconostasis was a row of candelabra1 each with a series of horizontal circles diminishing upwards about the stem1 like a fir-tree1 issuing from a silver bowl4 ,above the centre of the iconostasis was a great standard light-bearing cross4 ,round about the ambo similar light trees were placed4 ,light coronae1 crosses1 or single lamps were favourite gifts to a church1 and in these objects ,s4 ,sophia probably became much more wealthy as time went on4 ,michael ,,iii41 for instance1 gave to the church in #hfg 8a circle 7kuklos7 for lights which they call a polycandelon1 as big as any of the others but all of gold weighing sixty pounds4 ,to it was given the first and most holy place40#aij 8,a chalice and paten superior to all the others1 as well as a polycandelon in the form of a cross with many lamps10 are also mentioned as given by ,michael4 ,his successor ,basil ,i41 8as there was a danger of the sacred lamps being extinguished for want of oil10 assigned for the use of the church 8the tribute called mantea1 so that the light might never be quenched40#aia ,the ,anonymous doubtless exaggerates beyond belief with his #cjj polycandela and #fjjj lamps all of gold1 but the kinds of candelabra he speaks of must have been perfectly well known 7p4 #adj74 ,illustration3 ,,fig4 #af4--,polycandelon or ,disc1 for ,seventeen ,lamps1 in the ,british ,museum4 ,at the end of the twelfth century1 ,robert de ,clari1 the knight of ,amiens1 wrote--8,throughout the church hang one hundred candelabra1 and there is not one which does not hang from a silver chain as thick as a man's arm1 and each candelabrum has quite twenty-five lamps or more1 and there is not a single candelabrum which is not worth two hundred silver marks40 ,benjamin of ,tudela mentions 8candelabra1 lamps1 and lanterns1 of gold and silver more than any man can name20 and ,stephen of ,novgorod 7#acej7 speaks of 8a multitude immense1 innumerable1 of lamps40 ,of the great brilliance of illumination obtained in the early churches there can be no doubt4 ,paulinus writes that at his church at ,nola the lights were suspended in such profusion that they seemed to float in a sea4 ,an interesting account of the method of lighting followed at the ,lateran1 illustrated by a plan of the circles1 is given by ,rohault de ,fleury4#aib ,a ,byzantine lamp-holder lately sent to the ,louvre from ,constantinople is probably almost identical in general form with the 8discs0 of ,paulus4 ,this polycandelon is a broad flat ring of bronze pierced with eight holes for as many lights1 and suspended by four chains4 ,it bears a votive inscription which reads1 8,lord1 remember thee of ,thy servant ,abraham1 son of ,constantine40#aic ,in the ,british ,museum is a much more ornate example of the same kind of disc4 ,this is also of bronze1 about sixteen inches diameter1 pierced with seventeen holes for the lights1 the interspaces being cut away to form a radiating pattern4 ,we give a drawing of this interesting lamp1 with which we have associated a small pierced plate for a lamp chain in the same collection 7,fig4 #af74 ,in the ,archological ,museum at ,granada there is an ornamental disc closely resembling the example in the ,british ,museum4 ,it came from the mosque of ,elvira1 and probably belongs to the ninth century4 ,we mention this because the bottom plate of the modern mosque lamp with the small holes which take glass tubular vessels eight or ten inches long and only about two inches in diameter1 continues the tradition of the ,byzantine polycandela1 and the oil vessels well represent those like spear shafts mentioned by the ,poet4 ,illustration3 ,,fig4 #ag4--,silver ,polycandelon from ,lampsacus1 in the ,british ,museum4 ,in another example in the ,british ,museum the disc is not quite flat but of the form of a dinner plate1 the holes for the lamps being around the rim4 ,this lamp-holder is of silver1 and was brought from ,lampsacus near ,gallipoli with several altar vessels inscribed with a monogram which reads or 4 ,in ,fig4 #ag we have restored the oil vases4 ,another bronze polycandelon has recently been brought from ,egypt by ,professor ,flinders ,petrie3 this is about eight inches across 7,fig4 #ahaid74 ,illustration3 ,,fig4 #ah4--;,coptic ,polycandelon for ,four ,lamps4 ,on ,mount ,athos we probably find the best existing parallel to the circle of discs at ,s4 ,sophia in the monastery of ,docheiareiu 7see ,fig4 #ai74aie ,in the words of the ,silentiary1 8these discs form a coronet40 ,the second crown of lights1 which hung within the great circle of discs at ,s4 ,sophia1 would also have had a circular rim supported by chains with lamps suspended beneath1 or attached to arms projecting from the rim4 ,s4 ,bernard speaks of a church where were placed 8not crowns but wheels with precious stones and lights around them40 ,to these circular candelabra ecclesiastical writers usually give the title of coronae4 ,leo ,,iii4 gave to the basilica of ,s4 ,andrew at ,rome a 8gold corona of lamps set with gems40 ,other authors call crowns with lamps of this kind phara2 we read in ,leo ,ostiensis of a 8pharum or large crown of silver with six and thirty lamps hanging from it40#aif ,they are also spoken of as cycli1 but more generally as polycandela4 ,the ,chronicon ,cassinense mentions 8a pharos or crown of silver1 weighing a hundred librae1 twenty cubits round about1 with twelve towers projecting from it1 and thirty-six lamps hanging from it4 ,this was fixed outside the choir1 before the great cross1 by an iron chain adorned with seven gold apples40#aig ,the same chronicle also speaks of a 8silver-gilt corona1 coloured with precious stones1 with six crosses hanging from it40 ,the great circles of ,aix and ,hildesheim are the best-known examples of the ancient coronae4 ,these have twelve towers like that just mentioned1 and they symbolised the ,new ,jerusalem4 ,r4 de ,fleury suggests that relics were contained in such turrets4 ,an extremely beautiful pharos in the ,hermitage ,museum represents a basilica4 ,illustration3 ,,fig4 #ai4--;,corona with ,lamp ,discs1 ,mount ,athos4 ,the light crosses were very generally known throughout ,christendom1 and the historian ,socrates mentions that crosses of silver with burning candles upon them were carried in processions in the time of ,chrysostom4 ,according to ,anastasius1 at ,s4 ,peter's there was a large pharos 8in the form of a cross which hung before the presbyterium having #a1cgj candles20 this was lighted four times a year2 also 8a gold carved cross hanging before the altar with twelve candles10 and 8a cross lamp with two little ships and three fishes40 ,the lamp cross hanging in ,s4 ,mark's is the best-known example remaining4 ,it is possible that those at ,s4 ,sophia mentioned with the discs hung horizontally to four chains4 ,illustration3 ,,fig4 #bj4--,single ,lamp with ,votive ,inscription4 ,at ,s4 ,sophia1 in addition to the discs1 crosses1 and circles1 there were1 according to ,du ,cange1 lamps hung from nets4 ,the word which he interprets in this way is that translated 8skiff0 7line #dhj71 as it means a small row-boat4 ,how he gets his interpretation of nets it is difficult to see4 ,we mention it here for its intrinsic beauty only3 it was a familiar arrangement for lamps4 ,anastasius in his ,lives of the ,popes speaks of one of the churches at ,rome having 8a pharos in the form of a net10 and again of a large pharos 8like a net with twenty baskets10 and also 8a bronze net with silver baskets40 ,the hanging lamps in the form of ships mentioned by our poet would have carried the oil vessels round their sides4 ,a most interesting example of a lamp of this kind is given in the ,dictionary of ,christian ,antiquities 7,smith and ,cheetham74 ,it represents a small vessel with a mast and sail1 containing two figures1 one steering1 and the other looking out from the prow4 ,these figures are either ,peter and ,paul or more probably ,christ and ,peter4 ,the symbolism of the ship for the ,church is too familiar to need comment2 the mast in the centre1 without which the ship is unsafe1 as ,s4 ,ambrose says1 typifies the cross without which the church is unable to stand4 ,the galley form of lamp was well known also in antiquity4 ,in the ,christian era it was only one of the many beautiful and suggestive forms in which lamps were made2 some resembled birds1 crystal fish1 or shells1 others again were bowls of white or emerald glass4 ,illustration3 ,,fig4 #ba4--,sixth-century ,candlestick4 ,in the sanctuary there would have been suspended large single lamps which burnt perpetually 7,akoimetoi74 ,a very fine single ,byzantine lamp of this kind is shown in the fifteenth-century picture by ,marco ,marziale in the ,national ,gallery1 in which the interior of ,s4 ,mark's figures as the temple4 ,in ,fig4 #bj we give a restoration of fragments of a beautiful early ,christian bowl-shaped lamp bearing a votive inscription figured by ,rossi4 ,on ,mount ,athos ,dr4 ,covel noticed a lamp of beaten gold set with jewels4 ,the treasury of ,s4 ,mark's probably still contains lamps which hung in ,s4 ,sophia3 one of especial beauty is a glass bowl with circles cut on the outside and attached to a metal rim on which is inscribed in ,greek1 8,st4 ,panteleon1 succour thy servant ,zacchariah1 ,archbishop of ,iberia1 ,amen40#aih ,in illustration of the tree-like candelabra which stood above the beam of the iconostasis1 and round the ambo1 we may mention the well-known classical examples4 ,a lamp-bearer in the museum at ,brussels is described as 8an arbuste of considerable size and irregular trunk and branches with lamps suspended from the extremities of its boughs40 ,anastasius mentions a 8tree of bronze with candlesticks to the number of fifty in which were placed wax candles1 thirty-six lamps as well hung from the boughs40 ,paulinus also speaks of hanging candelabra at ,nola 8with branches like a vine bearing little glass cups which resembled burning fruit2 when they were lighted it was like the sudden burst into life of spring flowers40 ,illustration3 ,,fig4 #bb4--;,candlesticks4 ,besides all these oil lamps there would have been a great number of standing candlesticks in the sanctuary4 ,the ,anonymous speaks of some the height of a man4 ,one constant type is represented in ,fig4 #ba2 this is inlaid in mother-of-pearl on the apse walls at ,parenzo1 and is of ,justinian's time4 ,fig4 #bb shows two others from the ,menologium4 ,wax candles1 which are frequently mentioned1 were patterned and coloured4 ,the miracle of the moving cross of lights mentioned by ,anthony reminds us of a remarkable custom in regard to the great coronas of lights in ,byzantine churches which is observed on ,mount ,athos1 and also at ,sinai1 and is probably ancient4 ,a part of the great festival service at ,vatopedi consists in singing the ,polyeleos4 8,when the last of the multitude of candles had been lighted in the great coronas under the domes1 the monks fetched long poles1 with which they pushed out the candelabra to the full extent that their suspending chains permitted and then let them go1 the result being that in a few minutes the whole church was filled with slowly swinging lights40#aii ,the method of lighting described by the ,silentiary has not changed in the unchanging ,east4 ,s4 ,sophia is still lighted by a myriad little lamps arranged in rows1 or suspended in circles4 ,the single lamp is a small glass vessel of oil on which floats the wick2 the two typical forms being like a bowl or an elongated tumbler4 ,these cups are hung by three chains1 or inserted in a ring1 at the end of a metal arm1 projecting from the wall or from the rim of a suspended circle4 ,illustration3 ,,fig4 #bc4--;,hanging ,rods for ,lamps in ,s4 ,sophia until #ahej4 ,up to the time of ,fossati's restoration there was an immense polygon of probably some sixty feet diameter of iron rods suspended from the dome4 ,grelot#bjj described it in #afhj as a large circle of iron rods hanging down to within eight or ten feet of the pavement and having fixed to it 8a prodigious number of lamps1 ostrich eggs1 and other baubles40 ,in the mosque of ,achmet1 several rings are bound together by straight rods1 making overhead a geometrical arrangement of bars1 from which the lamps are suspended2 although these are all ,turkish1 the system remained from ,byzantine times4 ,fig4 #bc is re-drawn from ,fossati4 7,aya ,sophia1 ,constantinople1 #aheb47 ,one of the most beautiful methods is that of suspending the lamps to long straight iron bars running the whole length of the building as at ,s4 ,john ,studius4 ,in the mosque of ,damascus1 before the recent fire1 there were hanging assemblages of circles one above another somewhat similar we may suppose to the trees of the poet4 ,at ,salonica a network of lamps which hangs almost like a curtain before the bema of ,s4 ,demetrius may illustrate the 8nets0 if nets there were4 ,during ,ramazan festoons of lamps are hung from minaret to minaret arranged in inscriptions2 in #afgf ,dr4 ,covel of ,cambridge saw illuminations before the ,sultan at ,adrianople which represented 8castles1 mosques1 peacocks1 ,turkish writings1 c41 extremely pleasant and wonderful to behold40 ,these were formed by lamps hung to light frames2 the method was probably derived from ,byzantine illuminations such as the fireworks mentioned as being exhibited in the ,hippodrome4 ,the four marble pillars that stand up out of the parapet at the western gallery of ,s4 ,sophia 7,fig4 #da7 must always have carried lights on metal branches at the top1 much as at present2 and the long metal stakes with hook ends1 that project from the first cornice at the angles of the exedras1 and from which chandeliers hang1 are possibly original in some cases4 ,the multiplication of small lights is the most brilliant system of illumination1 for not only is there light everywhere but flame1 and hence no shadows4 ,whoever sees the great church lighted for the solemn services of ,ramazan1 when1 according to ,fossati1 8six thousand lamps are suspended at various heights10 may imagine the splendour of the lighted interior in ,byzantine times4 ,when1 after one of the services1 the lamplighters walked round and extinguished the lamps with a whisk from long fan-shaped brooms1 we saw the need of the passages above the different cornices2 and leaving ,constantinople one ,april evening1 as we slowly wound round the point1 while the circle of windows in the lighted dome seemed to hang above the city1 we realised that it was no idle saying of the poet's that the mariner guided his laden vessel 8by the divine light of the church itself40 ,,chapter ,,vii ,,later ,,history ,,and ,,legends #a4 ,,history4 ,from the date of the completion of ,justinian's restored church it has had to withstand the frequent earthquake shocks which1 as we have so recently seen1 devastate the city from time to time4 ,von ,hammer#bja calculates1 from the accounts of the ,byzantine historians1 that from the beginning of the seventh to the middle of the fifteenth century there were twenty-three severe earthquakes1 one of which1 in #ajcc1 lasted intermittently for #adj days4 ,in the ,turkish records1 from #aeaa to #agfe1 ten earthquakes are mentioned4 ,it is remarkable that in this length of time the delicately poised construction of the church should only have required restorations which are relatively unimportant4 ,it is difficult to say how far the church suffered during the struggles about image worship1 which raged for more than a century4 ,the question will be considered more fully when we deal with the mosaics of the vaults4 ,the restoration of images was finally accomplished in #hdb1bjb by ,theodora and ,michael4 ,a belfry was built in the centre of the west front about the year #hfe3bjc and the eastern walk of the atrium was probably transformed into an exonarthex at the same time4 ,the first regular restoration was also undertaken in the second half of the ninth century1 under ,basil the ,macedonian3 8,for the wide and lofty western arch of the great church called ,s4 ,sophia was showing rents and threatening to fall4 ,with the help of the workmen he girded it round and rebuilt it1 so that it was safe and strong4 ,and on it he figured the ,virgin with her ,child on her arms1 and ,peter and ,paul1 the chief of the apostles1 on either side40#bjd ,illustration3 ,,fig4 #bd4--,plans of ,additions to ,west ,end4 ,a and ,c ,north and ,south ,porches2 ,b ,belfry4 ,the north and south porches and great lateral stairways1 which injuriously altered the exterior1 must also have been built by ,michael or ,basil1 as we find them mentioned in the ,book of ,ceremonies4 ,in ,october #ige an earthquake caused the 8hemisphere with the western arch 7apsis7 to fall40#bje ,they were restored again by the same emperor in six years3 he spent1 ,scylitzes says1 8on the machines for mounting for the workmen to stand on1 and for raising the scaffolding1 to build what was fallen2 ten centenaria of gold40#bjf ,according to ,glycas1 ,romanus ,argyrus 7#ajbh7 beautified the capitals2 ,scylitzes also says this emperor 8made bright with silver and gold both the capitals of the great church and of our ,lady of ,blachernae40#bjg ,the injuries wrought by the ,crusaders to ,s4 ,sophia are referred to in ,chapter ,v4 ,baldwin was crowned here in #abjd1 and for fifty-seven years ,catholic priests read masses at its altar4 ,on the recapture the ,byzantine emperors made an effort to restore1 but the church never recovered its former splendour4 ,the patriarch ,arsenius during the reign of ,michael ,palaeologus 8restored the bema and ambo and solea at the king's expense1 besides enriching the church with vestments and sacred vessels40#bjh ,in the first half of the fourteenth century1 ,andronicus ,palaeologus1 the elder1 strengthened the north and east sides4 ,nicephorus ,gregoras says the emperor 8heard from several experienced builders that in a short time the parts towards the north and east would give way1 and fall unless strengthened4 ,and he built pyramidal structures from the foundations and prevented the threatened destruction10 but bricks and mosaic continued to fall4#bji ,the pyramidal structures to the east must be the four great sloping buttresses which stand over the low attached buildings on that side2 they are shown on ,fossati's plan4 ,gregoras also inveighs against the ,empress ,anna as having1 in the reign of ,cantacuzenus1 robbed the church of furniture and ornaments1 and says that tyranny and oppression were the chief causes of the destruction of the church4 ,cantacuzenus1 in his own history1#baj speaks of the damage caused by an earthquake in #acdf1 when about a third of the roof fell1 destroying 8the great stoa by the side of the bema0 7perhaps the iconostasis74 ,this is also referred to by ,gregoras1 8the easternmost of the four arches which rival heaven fell1 dragging with it the part of the house which rested on it4 ,the hidden beauty of the bema was destroyed as well as its ornaments of sacred icons40#baa ,the stoa and bema were restored by the ,empress ,anna1 the wife of ,andronicus ,palaeologus1 ,phaceolatus being prefect of the works1 but the upper parts with the roof had to wait until the accession of ,cantacuzenus in #acdg4 ,he restored the decoration both in marble and mosaic1 a work which ,john ,palaeologus finished4 ,both emperors were helped 8by one ,astras1 in many things a clever man1 but especially in building1 and by ,john1 surnamed ,peralta1 one of the ,latin subjects of the emperor40#bab ,the church was necessarily much neglected in the last days of the ,empire4 ,clavijo1 who gave a careful account of the church in #adjc 7see ,chapter ,,ix471 says 8the outer gates by which the church was approached were broken and fallen40 ,he notes that 8the ,greeks do not call ,constantinople as we name it1 but speak of it as ,escomboli40 ,this clearly proves that the derivation of the ,turkish name ,istambul from 1 8to the city10 is correct4#bac ,the ,florentine ,bondelmontius1 who was there in #adbb1 says that 8only the dome of the church remained1 as everything is fallen down and in ruins40 ,this exaggeration is probably explained by a story given by the ,chevalier ,bertrandon de la ,brocquire1 who visited the city eleven years later1 in the course of his remarkable ride from ,damascus to ,dijon along the route of the present ,oriental express4 ,he attended service in the church1 and writes3--8,there the patriarch resides1 with others of the rank of canons4 ,it is situated near the eastern point1 is of a circular shape1 and formed of three different parts1 one subterranean1 another above the ground1 and a third over that4 ,formerly it was surrounded by cloisters1 and was1 it was said1 three miles in circumference4#bad ,it is now of smaller extent1 and only three cloisters remain1 all paved and inlaid with squares of white marble1 and ornamented with large columns of various colours4 ,the gates are remarkable for their breadth and height1 and are of bronze40#bae ,the visit of the ,chevalier ,bertrandon brings us within twenty years of the fall of the great city4 ,the incidents of the later years of the empire1 the vain efforts to get help from ,europe1 and the schemes for uniting the ,greek and ,latin churches1 are described by ,chedomil ,mijatovich4#baf ,in the year before the ,fall the negotiations with the ,west had proceeded so far1 that1 on the #abth of ,december #adeb1 a ,te ,deum after the ,latin rite was sung by ,cardinal ,isidore in ,s4 ,sophia1 but this did not meet with favour from the populace4 ,ducas speaks of the church after that time as being nothing better than a ,jewish synagogue or heathen temple4 ,five months later1 on the #bhth of ,may #adec1 the last ,christian service was held within its walls4 ,at the vesper service on that solemn evening1 the emperor1 after praying with great fervour1 left his imperial chair1 and1 approaching the iconostasis1 prostrated himself before the figures of ,christ and the ,madonna on either side of the great central door4 ,he then asked for pardon from any whom he might have offended1 and the ritual proceeded4 ,on the morrow at the first capture of the city the ,janissaries rushed to the great church1 which they conceived was filled with gold1 silver1 and precious stones4 ,they found the doors fastened1 but broke them open1 and at once began to pillage4 ,the sultan as soon as possible rode to ,s4 ,sophia4 ,dismounting on the threshold1 with the mystic symbolism of an ,oriental1 he stooped down1 and1 collecting some earth1 let it fall on his turbaned head1 as an act of humiliation4 ,then he entered the edifice1 but stopped in the doorway some moments1 and gazed in silence before him4 8,he saw a ,turk breaking the floor with an axe4 #8,wherefore dost thou that8' inquired the conqueror4 #8,for the faith1' replied the soldier4 ,mahomet in an impulse of anger struck him1 saying1 #8,ye have got enough by pillaging1 and enslaving the city1 the buildings are mine4'0 ,a letter to ,pope ,nicholas ,v41 written in #adec1 describes how 8the profane heathen broke into the marvellous temple of ,s4 ,sophia1 unsurpassed by ,solomon's2 they reverenced not the sacred images1 nay1 rather broke them in pieces2 they put out the eyes of the priests1 scattered the relics of the saints1 and seized on the gold and silver40#bag ,ducas1 who died eleven years after the ,fall1 bewails 8the ,great ,church1 a new ,sion which has now become an altar of the heathen1 and is called the house of ,mahomet40 8,the dogs hewed down the holy ikons1 tore off the ornaments1 the chains1 the napkins1 and the coverings of the holy table4 ,some of the lamps they destroyed1 and others they carried away4 ,they stole the sacred vessels from the skeuophylakium4 ,everything made of silver and gold or other precious materials was taken away1 and the church was left naked and desolate as it had never been before40 ,with the exception of the removal of much of the treasure1 the church did not immediately suffer great harm from its new masters4 ,on the outside however the destruction of many of the low attached chambers1 and the addition of the minarets1 have very much changed its appearance4 ,the first minaret1 which was indeed the first in ,constantinople1 was built at the south-east corner by ,mahomet the ,conqueror4 ,selim ,,ii41 who reigned from #aeff to #aegd1 built the second at the north-east corner1 and also restored the eastern apse which had been again damaged by an earthquake3 ,amurath ,,iii4 erected the last two minarets at the western corners4#bah 8,the description of the church of ,s4 ,sophia as it now appears10 which forms one of the chapters in ,gyllius' 7 #aeee7 ,topography of ,constantinople1 describes the church before the addition of these three last minarets4 ,it is interesting to note that he remarks how little the building had been altered1 8and it is despoiled of nothing1 except a little of the metal work mosaic8 which shows itself in great abundance through the whole church4 ,the ,sanctum ,sanctorum1 formerly holy and unpolluted1 into which the priests only were suffered to enter1 is still standing1 though there is nothing remaining of the jewels and precious stones which adorned it1 these having been plundered by its sacrilegious enemies40 ,this is later supported by ,grelot1#bai who writes1 8,it is decorated with everything that human industry and skill could devise to render the work absolutely perfect4444 ,i say nothing about the beautiful pictures1 the faces of which have been destroyed by the ,turks40 ,it is clear from ,tournefort 7#agjb7 and ,lady ,mary ,montagu 7#agag7 that the mosaics were not wholly obliterated2 the latter writes1 8the figures were in no other way defaced but by the decays of time3 for it is absolutely false that the ,turks defaced all the images they found in the city40 ,on the other hand1 an ,italian ,,ms4 description of ,s4 ,sophia in the ,british ,museum1 written in #afaa1 says1 8,the ,turks took away all the beautiful work and covered everything with whitewash40#bbj ,it is evident from ,dr4 ,covel's ,,ms41 quoted later1 that much was destroyed1 defaced1 and plastered over4 ,dr4 ,walsh tells us that one of the smaller vaults fell in about #ahbj1 scattering its mosaic over the floor4 #b4 ,,the ,,anonymous ,,account4 ,we must now examine the description of the church by the writer generally called the ,anonymous of ,combefis 7otherwise of ,banduri or ,lambecius74 ,codinus1 who is believed to have died soon after the capture of ,constantinople by the ,turks1 has so closely copied the ,anonymous that the accounts differ only in a few minor particulars4 ,combefis says that the text of the ,anonymous was collated by ,lambecius1 8who produced it from the royal archives0 with the ,chronography of the ,logothetae1 a tenth-century work to which the same account is added as a separate treatise4 ,labarte however considers that it was written in the eleventh century3 ,choisy assigns it to the fourteenth1 a view with which we are inclined to agree2 but in any case we cannot think it earlier than the twelfth century4 ,the description by ,paulus is so precisely accurate where we can--as is so largely the case--check it by the existing work1 that there cannot be a doubt of his entire accuracy4 ,with the ,anonymous this is not so2 and it must first of all be borne in mind that he professes not to write of the church as he saw it1 but to celebrate its splendour when first completed by ,justinian2 in this his account differs entirely from the ,silentiary's1 which there is no sign to show that he had ever read4 ,the ,anonymous has been very largely used by scholars of the ability of ,labarte and ,bayet1 but we believe him to be entirely unreliable where he speaks of the former state of the church4 ,he simply gathers the legends which had grown up1 because facts were forgotten1 and enumerates the relics4 8,the great church1#bba known as ,s4 ,sophia formerly a place of heathen worship--,codinus1 was first built of an oblong 7dromica7 form1 like those of ,s4 ,andronicus and ,s4 ,acacius4 ,on its completion it was adorned with many statues4 ,this building lasted seventy-four years4 ,but in the reign of ,theodosius the ,great1 at the time of the second synod of ,constantinople1 an ,arian uproar arose1 during which the roof of the church was destroyed by fire4 ,the most holy patriarch ,nectarius took up his office at ,s4 ,irene1 a church which was also built by ,constantine4 ,then for two ,codinus and ,glycas say sixteen years ,s4 ,sophia was without a roof1 until ,theodosius1 with ,rufinus as his master workman 7magistros71 covered it with cylindrical vaults4 ,after this it remained unhurt for thirty-nine years1 making altogether eighty-five years 7sic7 from the time of ,constantine1 until the fifth year of ,justinian's reign4 ,this was after the massacre in the ,circus1 in which thirty-five thousand men were killed1 when a faction elected ,hypatius emperor4 ,however1 in the fifth year of ,justinian's reign1 the ,most ,high ,god put it into his mind that he should build a temple to surpass all that had ever been built from the time of ,adam4 8,he wrote therefore to the strategi1 toparchs1 judges1 and satraps of the different provinces1 that with all zeal they should look for materials--columns1 piers1 panels1 and lattice-doors--everything in fact that would be useful for building4 ,obeying the emperor's letter1 they quickly sent all that could be found from the shrines of the pagan idols1 from baths1 and private houses1 from every province of east1 west1 north1 and south1 and from all the islands4 8,eight porphyry columns from ,rome1 which1 according to ,plutarch1 ,justinian's secretary1 a widow ,marcia had received as dowry1 were transmitted to ,constantinople4 ,they had formerly stood in a temple of the ,sun built by ,valerian1 who surrendered himself to the ,persians4 ,eight others of green1 of marvellous beauty1 were quarried and sent from ,ephesus by the praetor ,constantine4 ,the ,marcia1 whom ,i have just mentioned1 wrote to the emperor as follows3 #8,i send thee1 master1 eight columns from ,rome of equal length and size1 and the same weight1 for the safety of my soul4' 8,of the other columns some were brought from ,cyzicus1 some from the ,troad1 others from the ,cyclades and ,athens4 ,and when sufficient was collected for the work seven and a half years had been spent4 ,then in the twelfth year of ,justinian's reign1 the church built by ,constantine was destroyed with the foundations2 the old materials were put aside1 as a sufficient amount of fresh had been prepared2 and ,justinian began to buy up the neighbouring houses4 ,the first of these was one belonging to a widow named ,anna1 of which the price was estimated at eighty-five librae4 ,she was however unwilling to sell it to the emperor1 and refused to give it up under five hundred librae2 nor did the emperor gain his purpose by sending the nobles of the court to win her over4 ,he finally went himself and begged her to sell her house at any price4 ,but when she saw him as a suppliant1 she fell at his feet1 saying1 #8,lord and ,king1 ,i can accept no moneys for my house from thee2 ,i ask only that ,i may obtain reward in the day of judgment1 and that ,i may be buried in a tomb near the future church1 so that the memory of my gift may live for ever4' ,the emperor promised that when the church was finished she should be buried there1 for the land which she had given up1 that the memory of it might live for ever4 ,the part which she gave to the great church is that now occupied by the skeuophylakium1 and the chapel 7naos7 of ,s4 ,peter4 8,then the part which is occupied by the ,holy ,well1 and all about the thysiasterium1 and the place of the ambo1 and the middle of the nave1 was the house of a certain eunuch1 ,antiochus1 which was valued at thirty-eight librae4 ,he was offended because the emperor had not offered him a proper price for it4 ,now the emperor was much distressed1 wondering what to do4 ,but the ,magister ,strategius--a guardian of the treasures1 the adopted brother of the emperor--promised that the emperor should gain his point by a little guile1 and that the other should sell his house4 ,now this ,antiochus was an eager frequenter of the ,circus1 and especially favoured the blue faction4 ,when the games were about to be given1 he was arrested and imprisoned in the ,praetorian prison4 ,then ,antiochus called out from the prison that if he could only witness the games he would do whatever the emperor wished4 ,he was then led by the emperor's orders to his empty seat1 and made to sell his house before the games commenced1 the ,quaestor and the whole ,senate being witness4 ,now there used to be the custom1 that as soon as the emperor ascended to his seat the charioteers should begin1 but because they stopped then1 until the eunuch had accomplished his deed of sale1 even to the present day the chariots for the races are accustomed to enter at a slow trot4 8,the whole of the right-hand part of the ,gynaeceum#bbb up to the column of ,s4 ,basil1 and some portion of the nave1 was the house of an eunuch1 ,chariton1 nicknamed ,chenopolus1 who sold it as a favour for double its value1 which was twelve librae4 8,the left part of the ,gynaeceum#bbb up to the column of ,s4 ,gregory ,thaumaturgus was the house of one ,xenophon1 a cobbler4 ,when they wanted to buy this house1 besides asking twice the value1 which was fourteen librae1 he also demanded that1 on the day of the games1 the four charioteers of the four factions should do obeisance to him as well as to the emperor4 ,the emperor decreed that it should be done as he had asked1 but made him a laughing-stock for ever4 ,for on the day of the games he was set midway in the boundaries1 so that the charioteers1 by way of joke1 bowed to his back before beginning their courses1 and so it is still done1 and the man is styled #8,chief of those below4' ,he wears a white chlamys1 woven with byssus4 8,on the area of the naos1 the four nartheces1 the louter1 and the parts adjacent1 was the house of ,damianus1 a noble of ,seleucia1 the value of which he estimated at ninety librae1 and gladly gave to the emperor4 8,now ,justinian1 when he had measured out the site1 and found a stone to act as centre1 from the thysiasterium as far as the lower western apse1 laid the foundations of the great dome in circle-wise4 ,now from the apses right away to the most outside narthex1 the foundations were laid in marshy and spongy ground4 ,and when it had been begun1 he urged ,eutychius the patriarch to offer up prayers to ,god for its safe building1 and then1 taking with his own hands lime and stone1 giving thanks to ,god1 he himself laid the first stone in its place4 ,now before the church was built he constructed the oratory of ,s4 ,john the ,precursor with a gilt vault1 and various ornamentations of precious stones4 ,this is generally called the ,baptistery1 and is situated near the ,horologium4 ,he built at the same time the adjacent portion of the ,metatorium1 that he might frequently rest there with his court1 and refresh himself with food4 ,then also he built the whole of the portico1 which leads from the palace up to the ,great ,church1 so that1 as often as he liked1 he might cross over and devote his time to the building1 without being seen by any one4 ,there were one hundred master workmen1 and each had a band of a hundred men under him1 making ten thousand men altogether4 ,fifty bands took one side1 and fifty the other2 and by the emulation between them1 the work quickly progressed4 8,the form of the church was shown to the emperor in a dream by an angel4 ,and the first ,deviser 7mechanikos7 of the builders was skilful and full of sound wisdom1 and well versed in building churches4 ,barley was put into cooking pots1 and its decoction1 instead of water1 was mingled with unslaked lime 7asbestos7 and tiles crushed4 ,the mixture1 when warm1 became viscous and sticky4 ,at the same time they cut slips off willow trees1 which were cast into the cooking pots with the barley2 they then made solid masses1 having a length of over fifty feet1 and fifty feet broad1 and twenty feet deep1 and placed them in the foundations4 ,they were put there1 not hot1 nor yet quite cold1 that so they might bind better1 and above these masses they placed large square stones4 8,when the foundations had arisen from the earth two cubits1 they had spent four hundred and fifty-two miliarisia of gold4 ,money was brought daily from the palace1 and placed in the ,horologium1 and each of those who carried stone received a piece of silver1 lest any slackness should come upon them1 or they should be tempted to complain4 ,some of them1 when carrying stone1 gave way under the weight1 and fell head foremost and were hurt4 ,strategius1 whom ,i have mentioned1 distributed the wages3 he was a ,count of the royal treasury1 and foster-brother of ,justinian4 8,now when the piers 7pinsoi7 had been finished1 and the great columns1 both those from ,rome and the green ones1 had been put in their position1 the emperor left his noonday sleep and devoted himself to the work1 and inspected1 with ,troilus1 a count of the household1 all the polishers 7lithoxooi71 stonecutters 7laotomoi71 carpenters 7tektonikoi71 and labourers 7oikodomoi71 promising them each week a nummus more1 or as much as each might ask1 above their fixed wages4 ,he used to come to see how the work was proceeding1 clad in a white linen garment1 his head covered with a kerchief1 and holding a stick in his hand4 8,and when they had raised the vaults 7apsides7 of the upper floor1 those on the right and on the left1 and had covered over these vaults1 the emperor decreed that no miliarisia should be carried from the palace on ,sundays4 ,now it was the third hour of the day1 and ,strategius ordered the men to go to their dinners4 ,as ,ignatius1 the first mechanikos of the builders whom ,i have mentioned above1 came down1 he left his son on the right-hand side of the upper floor1 where he had been working1 with strict orders to watch the workmen's tools4 ,he was a boy of about fourteen4 ,as he was sitting there1 a eunuch1 clad in shining garments1 and fair to look upon1 like one sent from the palace1 appeared to him and said1 #8,what is the reason why the workmen do not quickly finish the work of ,god1 but have left it and gone to eat8' ,to him the boy answered1 #8,at the earliest hour1 my lord1 they will be here4' ,but he cried1 #8,go quickly and bring them4' ,when the boy said that he was not to leave1 lest the tools should disappear1 the eunuch said1 #8,go quickly and summon them here1 for ,i swear to thee1 my son1 by the ,holy ,wisdom1 whose temple is now being built1 ,i will not depart1 since1 by the command of the ,word of ,god1 ,i am to minister and guard here until you return4' ,when he heard this1 the boy quickly set out1 leaving the angel of ,god as guard4 ,and when he had got down1 and gone to his father and the rest1 he related everything in order2 then the father took his son and led him to the emperor's table4 ,for the emperor was then dining in the oratory of ,st4 ,john the ,precursor1 by the ,horologium4 ,when he heard the story1 he summoned all his eunuchs1 and showed each in turn to the boy4 ,then the boy calling out that he saw none like the one that had appeared1 the emperor knew that it was an angel of the ,lord who had addressed the boy1 and this was made more clear1 as the boy said that he was clothed in a white robe1 his eyes glittering like fire2 then the emperor praised ,god1 saying1 #8,god has accepted my temple4' ,and as he had been wondering what name to call it1 he named it ,s4 ,sophia1 according to interpretation #8,word of ,god4' ,and the emperor took counsel with himself and said1 #8,i will not allow the boy to return1 so that the angel may guard it for ever1 as he promised by his oath4 ,for if the boy return1 the angel will depart4' ,having consulted with the principal senators and the bishops1 the emperor commanded that the boy should not be sent back to the temple1 so that1 by the grace of ,god1 it should have a guardian till the end of the world4 ,and then the emperor loaded the boy with gifts and honours1 and1 with the consent of his father1 sent him to the ,cyclades4 ,now the conversation of the angel with the boy happened on the right-hand side of the pier of the upper arch1 as one ascends towards the dome4 ,codinus says1 8near the ,syllagonum10 for this it has been suggested to read ,syllagoeum1 or 8the place of the council04 8,when the workmen had continued the work up to the second catechumena1 and the upper columns and arches were built1 and they were roofing the adjacent parts1 the emperor began to be anxious for want of funds4 ,but as he was standing in the upper part of an arch1 as they were about to begin the dome1 at the hour of the ,sabbath just before dinner1 an eunuch appeared to him1 clad in white1 and said1 #8,why are you distressed for money8 ,to-morrow bid some of your nobles to come1 and they shall have as much gold as they wish4' ,on the following day the eunuch came and showed himself to the emperor4 ,the emperor sent to follow him ,strategius1 and ,basilides the quaestor1 and ,theodorus the patrician1 and ,colocyns who was a praefect1 besides fifty servants1 twenty mules1 and twenty paniers4 ,with all these he marched out of the ,golden ,gate4 ,and when they had come to the ,tribunalium1 there seemed to those who were sent to be built there palaces of stupendous beauty4 ,but when they had dismounted1 the eunuch bade them ascend a wonderful stair1 and then1 producing a splendid gold key1 he opened the door of a room1 and1 as ,strategius says1 the whole floor was heaped with gold coins4 ,taking a shovel1 the eunuch filled each panier with four hundred pounds of gold1 amounting altogether to eight thousand1 and with these he sent them back to the emperor2 and having closed up the room with the key1 he said to them1 #8,take the gold to the emperor1 and bid him spend it on the work4' ,the eunuch left them there1 and they came and showed the emperor the gold they had received4 ,he was astonished1 and asked them where they had been1 and where the eunuch dwelt4 ,they told him all in order1 and how the wealth of gold was spread on the floor of the room4 ,the emperor hoped that the eunuch would return1 but as he was disappointed he sent a slave to the place4 ,when the slave had found the place where the palace had been1 and saw that there were no houses there1 he returned1 and told all to the emperor4 ,he was then astonished1 but understanding how it was1 said1 #8,truly this is a miracle as all may see2' and he praised ,god4 8,now when they were going to build the thysiasterium and let in the light through glass windows1 the ,deviser 7mechanikos7 suggested that the apsoid 7muax7 should have one light4 ,then he changed his mind1 and suggested that it should have two1 so that it should not be heavy1 because no wooden ties 7ikriomata7 were placed there as in the narthex1 and on the sides of the church4 ,but the rest of the craftsmen were opposed1 saying that one arch 7kamara7 would light the holy place4 ,then the chief builder 7protooikodomos7 was at a loss what to do1 because the emperor said at one time that there should be one arch 7apsis71 and at another time two4 ,whilst the master 7maistor7 was thus pondering and anxious1 on the fourth day1 at the fifth hour1 appeared an angel of the ,lord1 like the emperor1 with royal robes and red shoes1 and said to the craftsman1 #8,i will that there be a triple light1 and that the conch be made with three windows1#bbc in the name of the ,father1 the ,son1 and the ,holy ,ghost4' ,he then disappeared quickly4 ,then the master1 struck with wonder1 rushed to the palace1 and said to the emperor1 #8,you keep not to your word4 ,until to-day you wanted one window1 and then two1 to light the bema2 but now1 when the work is all but finished1 you come to me and say1 three windows shall light the bema1 as a symbol of the ,trinity4' ,now the emperor knew that day that he had not left the palace1 and he recognised that an angel of the ,lord had spoken4 ,he said1 #8,as ,i have bidden thee1 so do4' 8,all the piers 7pessoi7 inside and outside were made strong by iron bars 7mochloi71 so that they were bound together1 and made immovable2 the joints of the piers were made with oil and asbestos2 and upon them was placed a plating of many marbles 7orthomarmarosis74 8,the emperor sent ,troilus the ,cubicular1 ,thedosius the ,prefect1 and ,basilides the ,quaestor1 to ,rhodes to have bricks 7besala7 of ,rhodian clay1 made all equal in weight and length1 with the words engraved on them1 #8,god is in the midst of her1 therefore shall she not be moved2 ,god shall help her1 and that right early4'#bbd ,and they sent bricks of measured sizes to the emperor1 twelve of them weigh one of ours2 for the clay is light1 spongy1 fine1 and white2 hence arose the common idea that the dome is built of pumice stone 7kiserion72 but this is not so1 though it is light and of a white colour4 8,thus the four great arches were built2 and when they had been raised to the level of the dome 7troulos71 on the completion of every twelfth course1 prayers were uttered for the church1 and relics of the saints built in4 ,thus arose the building2 it was then adorned with marble and covered with mosaic4 ,and into the piers1 arcades1 and larger columns they placed relics of the saints4 ,and when the marble plating had been finished1 they applied gold to the margins of the slabs1 and to the capitals of the columns4 ,and the carved work1 and the ornaments of the upper galleries1 both of the parts with two stories1 and with three 7diorophoi and triorophoi71 were all covered with pure gold4 ,the thickness of the gold plating 7petalos7 was two inches4#bbe 8,but all the vaults 7orophoi7 of the upper galleries1 of the parts with two stories on the sides1 and the vaulting of the nave1 and of the parts adjacent1 and of the four nartheces1 he gilded with glass mosaic4 ,he gilded even the proaulia1 with their upper chambers1 and columns1 and marble slabs4 8,the floor of the nave was adorned with various marbles1 both with the ,roman of a rue-green colour and others of a rosy red2 and these were all laid down and polished4 ,the walls outside and all round were covered with large and valuable stones4 8,the thysiasterium was of shining silver1 the barrier 7stethea71 and its large columns1 with the doors1 were all of silver4 ,all the silver was dipped in gold4 ,four tables were set up in the thysiasterium supported on columns1 and these were gilt4 ,the seven seats of the priests1 on which they sat on either side1 with the throne of the patriarch1 and the four columns1 were all gilded4 ,and it was forbidden to go up into the holy place1 the ,kuklios1 also called the ,holy of ,holies1 which is above the steps4 8,he set up also large columns of silver-gilt1 and the lilies with the ciborium4 ,and the ciborium he made with silver and nielloed 7arguroencauston74 ,above the ciborium was a globe of solid gold1 weighing #aah pounds1 and golden lilies1 weighing six pounds1 and above them a golden cross1 with most precious and rare stones1 weighing eighty pounds4 ,such was the design he made4 8,and as he wished to make the holy table more beautiful than the rest1 and more precious with gold1 he collected numerous craftsmen1 and consulted with them4 ,their opinion and advice was to cast into the melting pot 7choneuterion7 gold1 silver1 stones of every kind1 and pearls1 copper1 electron1 lead1 tin1 iron1 glass1 and every other metallic substance4 ,and they ground them all together and formed them into masses 7olboi71 and poured them into the pot2 and when it had been melted1 they took it from the fire and poured it out into a mould 7tupos74 ,thus the holy table was made4 ,and it was then set up by the emperor on solid columns of gold1 studded with precious stones4 ,and the #8sea' 7thalassa7 of the holy table was ornamented with gold and precious stones4 ,who can see the holy table without being astonished8 and who can gaze at it on account of the many glinting surfaces8 so that at one time it all appears of gold1 from another place all of silver1 and in another of glittering sapphire2 and altogether there are eighty-two different colours of metals and stones and pearls4 8,he made also1 above and below1 carved ivory doors overlaid with gold1 to the number of #cfe4 ,in the first entrance into the louter he made the doors of electron2 doors also of electron were in the narthex1 two of them smaller than the middle one1 which was much larger1 and of silver dipped in gold 7chrusembaphos74 ,the architraves also were overlaid with gold4 ,three or the doors inside1 instead of being made of new wood1 were made of wood from the ,ark4 ,he wished to make the pavement entirely of silver ,codinus says gold1 but his advisers dissuaded him1 saying that in the future poor emperors might have it taken up4 ,and those who persuaded him were ,maximian and ,hierotheus1 ,athenian philosophers and astronomers1 saying that in the latter days poorer rulers would come and take it all away4 ,and following these counsels the thought was given up4 ,and every day the emperor had #b1jjj miliarisia put in a heap and mingled with earth2 and when work was finished1 in the evening1 the craftsmen dug out the mound and found the miliarisia1 and this the emperor did that they might be eager for their work4 ,and collecting the materials1 as was said1 took seven and a half years4 ,but the completion of the temple1 even with the crowd of workmen ,i have mentioned1 all labouring with the greatest eagerness1 took nine years two months4 8,the ambo with the solea he paved with sardonyx1 and inserted precious stones2 its columns were of solid gold1 with carbuncles and crystals and sapphires2 and he overlaid the upper part of the solea richly with gold4 ,the ambo had also a golden dome studded with pearls1 lychnites1 and emeralds4 8,the gold cross of the ambo weighed #ajj pounds4 ,it had also seizae1#bbf and lychnites1 and was embroidered with pearls4 ,and the ambo above had a hat-shaped covering 7petasion71 upon#bbg supports 7stethea74 8,the top of the ,holy ,well was brought from ,samaria4 ,it was considered sacred1 because ,christ had sat on it1 and talked to the woman4 ,and the bronze trumpets1 which stand by the ,holy ,well1 were brought from ,jericho2 they were those at whose blasts by angels the walls of ,jericho fell down4 ,the honoured ,cross1 to-day in the skeuophylakium1 which was the measure of our ,lord's height1 was eagerly sought for in ,jerusalem by the faithful and brought hither4 ,and for this reason they surrounded it with silver1 and all kinds of precious stones1 and overlaid it with gold4 ,and to this day it works healing wonders1 and drives away diseases and demons4 ,and in every column of the church both above and below is placed one sacred relic4 8,he made also golden vessels for the twelve solemn feasts1 according to the sacred ,gospels3 basins 7cherniboxeses71 ewers 7orkioloi71 chalices 7diskopoteria71 and patens 7diskoi72 they were all of solid gold1 set with precious stones and pearls4 ,and the number of the sacred vessels was #a1jjj2 altar-cloths 7endutai71 with rows of jewels1 #cjj2 crowns1 #ajj4 ,every festal day had its own chalice covering 7poterokalumma74 ,there were paten covers 7diskokalummata7 of gold1 with pearls and precious stones1 to the number of #a1jjj2 four-and-twenty gospels1 each worth two centenaria2 thirty-six censers of solid gold with precious stones2 #cjj lamps 7luchnitai7 weighing forty pounds2 #f1jjj candelabra 7polycandela71 and clustered lights#bbh of solid gold1 for the ambo1 the bema1 the two gynaecea1 and the narthex4 8,the revenues of #cfe farms in ,egypt1 ,india1 and all the ,east and ,west were devoted to the maintenance of the church4 ,for each holy day was set aside #a1jjj measures of oil1 #cjj measures of wine1 and #a1jjj sacramental loaves4 ,similarly for the daily services1 the clergy1 including the lowest1 numbered #a1jjj1 with #ajj singers divided into two for alternate weeks4 ,for the clergy there were cells round the building2 for the singers there were two monasteries4 8,he made five gold crosses1 each weighing #ajj pounds1 which were adorned with all kinds of precious stones1 so that they were each valued at eight centenaria3 also two candlesticks of gold incrusted with pearls and precious stones1 valued at five centenaria1 as well as two other large carved candelabra 7manoualia7 of gold2 these had golden feet1 each worth #ajj pounds1 to stand below the golden candelabra4 ,he made fifty others too1 of silver1 of the height of a man1 to stand by the altar4 ,on the adornment of the ambo and solea was spent #ajj1jjj pounds1 which was the tribute levied by ,constantine on ,saroboris1 ,king of the ,persians1 and on many others4 ,the whole church with the parts outside and around--with the exception of the vessels and ornaments1 which were given by the emperor--cost #hjj1jjj pounds4 8,now ,justinian alone began and alone finished the church with no other helping him1 or even building a part of it4 ,its beauty is wonderful to behold2 all kinds of pearls glitter there like the sea1 and one seems to see the ever-flowing waters of great rivers4 ,now the four boundaries#bbi of the church he called after the rivers that flowed from ,paradise1 and he made a law that whosoever was excommunicated should stand there for his sins4 ,and for the phiale in the centre he made twelve arcades1 and lions belching out water for the people to wash in4 ,on the right side1 however1 of the right-hand gynaeceum1 he made a basin 7thalassa7 of one cubit for the water to come up in1 and one flight of steps 7klimax7 for the priests to cross above the water4 ,he placed too in the front of the basin 7dexamene7 an open tank for the rain 7ombusia71 and carved twelve lions1 twelve pards1 twelve deer1 and eagles1 and hares1 and calves1 and crows1 twelve of each1 and these spouted out the water for the use of the priests alone4 ,the place was called the place of the lions 7leontarion7 and metatorion1 because there was a golden couch there1 that the emperor might rest on his way to the temple4 ,but who can describe the comeliness and beauty of the temple1 overlaid with resplendent gold from the crown to the pavement8 8,when the temple and the sacred vessels had been all completed1 on the #bdth of ,december he marched in solemn pomp from the palace to the ,gate of the ,augusteum1 opening into the ,horologium2 and he killed #a1jjj oxen1 #f1jjj sheep1 #ejj deer1 #a1jjj pigs1 #a1jjj fowls1 and gave them to the poor and needy1 as well as #cj1jjj measures of wheat4 ,and the distribution of these on that day took three hours1 and then the emperor entered with the cross1 and the patriarch ,eutychius1 and at the royal entrance he left the patriarch and walked alone to the ambo2 then1 stretching out his hands to heaven1 he cried1 #8,glory be to ,god who has thought me worthy to finish this work4 ,solomon1 ,i have surpassed thee4' ,and when the ceremony was over he distributed largesse1 and with the help of ,strategius gave away three hundred pounds of gold4 ,but on the following day he solemnly opened the temple1 and killed even more oxen1 and feasted every one for fifteen days until the feast of ,epiphany1 praising ,god4 ,in such a way as this was the great work completed4 8,now the new dome which was built by ,justinian1 and the gorgeous and wonderful ambo1 with the solea1 and the patterned pavement of the nave1 lasted seventeen years4 ,but after the death of ,justinian1 his nephew ,justin succeeded1 and in the second year of his reign1 and the fifth day1 at the sixth hour the dome fell1 and destroyed the wonderful ambo with the golden supports1 and the solea1 and all the sardonyx1 and choice pearls and sapphires4 ,but the arches1 and the columns1 and the rest of the building remained unhurt4 ,then the emperor summoned the skilful mastermen1 and inquired what had caused the fall of the dome4 ,but they answered and said to the king1 #8,your uncle took away too quickly the supports 7antinux7 for the dome1 which were of wood1 to cover it with mosaic2 and made it too high so that it should be seen from everywhere1 and thus the craftsmen1 by destroying the scaffolding 7skalosis7 before the foundations had been sufficiently set1 caused the fall of the dome4' ,thus spake they to the king1 and they added that if he wished to build a dome like a hollow cymbal he should follow his uncle's example1 and send to ,rhodes1 and should order bricks made in the same way and of the same weight as the previous ones4 ,the emperor gave the order1 and bricks were brought from ,rhodes1 similar to the previous ones4 ,so once more the dome was built1 with fifteen fathoms taken from its height1 and formed like a drum so that it should not again fall4 ,the supports were left for a year1 until they knew that the dome had become well set4 ,but the ambo and solea1 which they were not able to build of an equal magnificence to the former ones1 they are made of marble1 with columns covered with silver1 and there was a silver inclosure 7stethos71 round the solea4 ,but the dome of the ambo he did not build again1 frightened by the expense4 ,and for the pavement1 as he was not able to find slabs of such beauty and size as heretofore1 he sent ,manasses1 a ,patrician and ,praepositus1 to ,proconnesus1 and marble was worked there as is seen now1 of a green colour1 like rivers flowing into a sea4 8,but when they wished to cut away the scaffolding of the dome1 and to take away the timbers1 they filled up the church with water to a height of five cubits1 and threw down the beams into the water1 and thus the lower parts of the walls were uninjured4 ,and he covered it all with mosaic4 ,hence there are some who say that ,justin1 ,justinian's nephew1 built the church1 but in this they lie4 ,let us rather give thanks to our ,god who has willed that the great structure should remain untouched1 so that we can enter it1 and give the praise that is due to ,christ2 for ,he is worthy of all glory1 honour1 power1 and worship1 now and for ever1 ,amen40 #c4 ,,legends4 ,many of the points in this celebration of the wonders of ,s4 ,sophia seem to be traceable to the writer's absorbing traditions of the work of ,basil--who built like a goldsmith at his new church--into his account4 ,in the destructive rapacity of the ,crusaders and the interregnum that followed while they occupied ,s4 ,sophia we find such a satisfactory cause for this half-mythical retrospect undertaken in all good faith that we cannot think it was written until after the ,frankish ascendency4 ,we need not suppose that the ,anonymous invented even the wildest of these stories2 such stories grow up as a matter of course1 and to-day various forms of some of them are told within the walls of many other buildings4 ,the accounts given by the ,russian pilgrims 7see ,chapter ,,vi7 agree so closely in many respects with the ,anonymous description that we might think the writer had been their guide in the church4 ,that the stories were widely told in ,constantinople at this time is proved by the account of ,s4 ,sophia given by ,el ,harawi1 an ,arab traveller1 who visited the city in the thirteenth century4 8,here is also ,agia ,sophia1 the greatest church they have4 ,i was told by ,yakub ,ibn ,abd ,allah that he had entered it3 within are #cfj doors4 ,and they say one of the angels resides there2 round about this place they have made fences of gold1 and the story they relate of him is very strange40#bcj ,this story of the angel recalls the ,wingless ,victory of the ,athenian acropolis1 but it is probably more closely related to the 8,angels of the ,churches0 in the ,revelation4 ,an interesting reference to this thought is made by ,palladius in his ,life of ,chrysostom4 ,before he left ,s4 ,sophia for ever the patriarch entered it saying1 8,come let us pray and say farewell to the ,angel of the ,church20 but1 adds his biographer1 8the ,angel departed with him40 ,we give here an account of the church from a thirteenth-century ,english ,,ms41 in the ,british ,museum1 ,vit4 ,a4 xx4 #ad1 which refers to the more commonplace part of the story as told by the ,anonymous4 8,that famous city is endowed with wonderful and inestimable wealth4 ,in it may be seen the famous church ,agia ,sophia1 that is the ,holy ,wisdom2 an angel of ,god appeared and taught the workmen as they were building4 ,underneath the church in its cisterns there is refreshing water1 some of which is salt and some of it rainwater4 ,the church below is borne on one hundred and seventy-three columns of marbles1 and above on two hundred and forty-six4 ,round the choir from the top to the bottom it is covered with silver gilt4 ,and this same choir has an altar #8starred' 7stellatum7 all over with most wonderful and precious stones4 ,in the church are lamps of the purest silver and gold1 and their number cannot be counted4 ,the church is opened and closed by seven hundred and fifty-two double doors1 and there are windows innumerable4 ,there are seven hundred prebendary priests1 of which three hundred and fifty take each week in turn4 ,now the ,patriarch of ,agia ,sophia has in that city one hundred metropolitans and archbishops1 and each metropolitan has seven suffragans in the same city40 ,the idea of competition with ,solomon's ,temple and the ,tabernacle would be sure to suggest itself1 and1 once received1 it would be justified by many assertions2 indeed a tendency to imitate the biblical accounts may be detected in the ,anonymous author4 ,for instance1 we have ,justinian's intention to cover the floor with silver1 the description of the gold vessels for the altar1 and the 8sea0 for the priests4 ,justinian's oft-quoted speech on entering the completed church may be assigned to this leading idea1 which we find expressed as early as the sixth century by ,corippus1 the poet-bishop1 who says1 8,praise of the temple of ,solomon is now silenced1 and the ,wonders of the ,world have to yield the preeminence4 ,two shrines founded by the wisdom of ,god have rivalled ,heaven1 one the sacred ,temple1 the other the splendid fane of ,s4 ,sophia1 the ,vestibule of the ,divine ,presence40#bca ,glycas1 who tells many of the stories given by the ,anonymous1 continues the idea further4 ,justinian1 he says1 set up a statue 8representing ,solomon as looking at the ,great ,church and gnashing his teeth with envy40#bcb ,in the ,book of ,proverbs we read1 8,wisdom hath builded her house1 she hath hewn out her seven pillars40 ,this was also seized upon1 and ,michael ,psellus speaks of ,s4 ,sophia as 8the very beautiful temple1 the incomparable home which the ,divine ,wisdom built in ,his own name and which ,he raised on seven pillars40#bcc ,modern writers1 ,tournefort1 ,von ,hammer1 c41 have delighted to point out that the church has #ajg columns2 indeed1 with a little humouring1 #ajh may be counted4 ,the symmetrical number of the workmen employed according to the ,anonymous may be matched in a legendary account of the building of ,s4 ,luke's1 according to which there were twenty-four protomaistores1 each of whom had twenty-four workmen under him4 ,the story of ,justinian mixing money with the earth is parallel to the account1 given by ,vasari1 of ,brunelleschi's scheme for building the dome of ,s4 ,maria del ,fiore in ,florence4 ,it is impossible that the church should have been flooded with water1 as described by the ,anonymous4 ,there appears to be no basis for the supposition that the great dome was gilt outside4 ,in the texts of ,codinus the dome is said to be of ivy-wood 773 this is evidently somebody's misreading for pumice-stone 774 ,the stones were actually supposed to be specifics for diseases by the ,russian pilgrims and others4 ,clari the ,knight of ,amiens#bcd 7#abjj7 speaks 8of the ,minster 7,moustier7 of ,s4 ,sophia1 and the riches which were there4444 ,there are vaults all round over the church1 which are carried on large columns1 very rich2 for there is not a column but is of jasper1 or porphyry1 or some precious marble1 and every column has a medicinal quality2 some keep off ,mal des rains1 some ,mal du flanc1 and other diseases3 and there is nothing in this minster such as a hinge 7gons7 or band 7verveles7 generally of iron1 which is not of silver40 ,codinus concludes his account of the church with a story1 which may be classed with a large series1 as 8the gratitude of employers to their architects20 imprisoning and blinding them1 or cutting off their hands4 ,it is in a sense one of the truest of stories6 ,the master workman of the great church1 8,ignatius 7sic71 owing to the great favour which his work won for him from the people1 was shut up by the emperor in his statue in the ,augusteum40 ,to parallel other tales this must be the artist's own work which is the instrument of his torture4 ,here he would have died of hunger had it not been for his faithful wife1 who threw to him a rope besmeared with liquid pitch2 afterwards fire destroyed all evidence of his flight4 ,we have also the customary tales of statues found in the ground when the church was begun4 ,gyllius1 quoting from ,suidas1 says that ,justinian discovered more than seventy statues of the ,greek deities1 the figures of the twelve signs of the zodiac1 and eighty statues of ,christian princes and emperors4 ,the travels that bear the name of ,sir ,john ,mandeville relate that once when an emperor made a grave in ,s4 ,sophia1 8they found a body in the earth1 and upon the body lay a plate of gold1 that said thus in ,hebrew1 ,greek1 and ,latin1 #8,jesus ,christ shall be born of the ,virgin ,mary1 and ,i believe in ,him4' ,it was laid there #b1jjj years before the birth of ,christ1 and is still preserved in the treasury of the church4 ,and they say that it was ,hermogenes1 the wise man40 ,the legends were not forgotten after the taking of the church4 ,sandys1 the ,english traveller1 who was in ,constantinople about #afaj1 tells us that 8one of the doors was famed to be the ark of ,noe1 and is therefore left bare in some places to be kissed by the devoted people10 and 8the total number of doors was said to be as many as the days of the year40 ,when this1 the church of the world1 fell into the hands of the ,turks1 many stories came to the ,west1 or arose there without coming4 ,the poetry of the ,fall required the miraculous salvation of the priest celebrating mass1 and the prophecy of his return as told by ,theo4 ,gautier4 ,it also required a massacre in the church1 the riding in of the proud conqueror1 and the mark of his blood-stained hand1 which indeed is still pointed out some twenty feet above the pavement6 ,mijatovich1 in his history of the last of the emperors1 regards the massacre as unhistorical4 ,an ,english romance almost contemporary with the ,fall tells us how the ,turks took possession1 8,for to let theyr hawkys fly ,in the chirch of ,saint ,sofy40 ,,chapter ,,viii ,,fossati',s ,,reparations4 ,,salzenberg',s ,,description4 ,sancta ,sophia seems really to have been in a dangerous condition when1 in #ahdg1 the ,sultan ,abdul ,mesjid began a much-needed work of reparation which was carried on under the guidance of the ,italian architect ,fossati1 who appears to have taken great pains1 and notwithstanding some alterations and 8restorations0 in the worst sense he deserves our gratitude for probably saving the building4 ,in the preface to his lithograph views published in ,london in #aheb he says1 8,the portions of the building that looked most threatening were reconstructed1 and the lead roofs were repaired4 ,the dome was relieved of four heavy buttress arches1 whose function was taken by a double ceincture of iron around its base4 ,thirteen columns of the gynaeceum1 which were inclining under the thrust of the great arches that support the dome1 were put straight again40 ,the marble work of the interior was cleaned1 and the gold mosaic vaults were cleared of the crust of limewash which concealed them4 ,all representations of figures were however covered again4 ,the sultan's tribune was built1 ,fossati says1 8in the ,byzantine style40 ,the walls outside1 after being repaired1 were covered with a coating of plaster on which red stripes were painted4 ,since this time various remains of the ,great ,court1 which existed as late as #ahgc1 have entirely disappeared1 and the broad bare space1 in front of the exonarthex1 has little now to recall the atrium with its fountain and quadriporticus4 ,all study of the church in its condition at that time must be based on the exhaustive plates and text of ,salzenberg4#bce ,m4 ,texier had in #ahcd made some drawings at ,constantinople1 which are now preserved in the library of the ,royal ,institute of ,architects2 and several coincidences seem to point to ,salzenberg's having had the use of ,texier's ground plan4 ,in any case ,texier was the first to make correct plans including the upper floor1 also the atrium1 baptistery1 and the circular building at the north-east4 ,as ,salzenberg made full use of the unique opportunity afforded by the scaffolding1 when the building was given over to the workmen1 we have thought it wise to give a condensed paraphrase of his account where it is descriptive of the structure1 even at the risk of some repetition4 ,our remarks in other places where they may overlap are the result of our own observation1 from different points of view4 ,the rest of this chapter is an abridgment of ,salzenberg's text and descriptive of his plates1 and we add nothing unless in notes or square brackets4 ,design4--,the exterior walls of the atrium1 with several entrances1 were built of brick1 but the inner sides had marble columns between square brick piers1 two columns to one pier4 ,these carried semicircular arches4 ,the atrium walks1 as remains showed1 were barrel-vaulted1 and the vaults were formerly covered with mosaic4 ,the parts for which there was evidence remaining are shown in darker hatching in ,salzenberg's plate vi4 ,the outer wall on the north side1 with several arched openings2 and traces of the western boundary still existed4 ,the long vestibule in front of the narthex has groined vaulting1 and large windows in its west wall2 there are some ,turkish additions to this part4 ,a door from each lateral cloister1 and two others from the open atrium1 led into it4 ,on either side of the two doors from the court are strong projecting piers1 connected above by a wide arch1 forming a porch-like shelter over the doors4 ,these four piers rise above the roof of the vestibule4#bcf ,double tiers of buttress arches spring from each of these piers to the west wall of the church4 ,a close examination of the wall and piers led to the conviction that they are not contemporary with the church1 but were built later1 though partly of old material4#bcg ,the upper cornices for instance differ4 ,modifications here can be explained by removal of ,bell ,tower1 see p4 #aid4 ,the piers were probably erected by ,byzantine builders1 to strengthen the western vault4 ,five doors lead to the narthex1 the windows of which are above the roof of the outer vestibule4 ,the walls are covered with marble1 and the vaulting with mosaic2 while the walls and ceiling of the exonarthex1 are quite plain4 ,two other doors enter the narthex at its north and south ends1 and nine lead from it into the church2 the large central entrance being the ,royal ,door4 ,the walls of the church form approximately a square1 the length of which in the interior1 exclusive of the apse1 is #bda feet1 and the breadth #bbd4bch ,the dome measures #ajj feet across from the edge of the cornice1 but above the cornice the vaulted space is #ajd feet across2 it is #agi feet from the floor to the vertex4 ,the dome rises above the square area on four huge arches1 with a large semidome to the east and another to the west1 each of which embraces three smaller spans4 ,the lateral openings which thus pierce the east and western semidomes are covered by conchs1 but the middle opening in each case has a cylindrical vault1 that to the east being prolonged into the eastern apse4 ,at the corners of the central square of the nave rise four large piers1 which are joined by arches to four buttress piers in the northern and southern walls behind them4 ,the arched openings connect the three parts into which the aisles are divided by the piers4 ,on either side of each of the central openings from the eastern and western hemicycles rise other piers1 which are pierced by narrow arched passages1 running from north to south4 ,the piers1 eight altogether1 carry the whole vaulting of the nave1 as well as a part of that of the side aisles4 ,between the middle division of each aisle and the nave are four large columns with five arches on the ground floor1 and on the first floor six smaller columns with seven arches4 ,above again is a wall with windows1 filling up the great arches on the north and south sides under the dome4 ,each exedra has1 on the ground floor1 two large columns with three arches1 and1 on the floor above1 six small columns with seven arches4 ,the vault of each division of the aisles is supported on four columns4 ,those next the east and west walls of the church1 eight in all1 are square1 the others are round4 ,the divisions of the galleries follow those of the aisles underneath4 ,the four main piers however were pierced by additional arched openings now filled up between the galleries and the nave4 ,the part over the narthex opens to the nave by three arches1 on coupled columns4 ,above is the immense semicircular window which fills up the central barrel vault at the western end4 ,all the openings towards the nave in the upper aisles have marble parapets4 ,the vaulting of the lower aisles rests on forty round columns and eight square ones1 and in the galleries on sixty round columns1 not including the coupled columns at the west2 this makes in all a hundred round columns4 ,possibly the eight square pillars in the aisles were employed1 so that this number should not be exceeded4 ,in the walls are numerous large windows1 and the dome is pierced by forty just above the cornice2 thus light streams into the church from every quarter4 ,much of the dome1 including the central circle of mosaic at the crown1 can be seen from the ,royal ,door4 ,the greater number of the buildings which formerly surrounded the church are either destroyed1 or so altered by ,turkish minarets and buttresses that it is difficult to conjecture their original form4#bci ,on the north and south of the narthex are long porches of ,byzantine workmanship1 with cylindrical vaults4 ,in the northern one is a flight of fourteen steps leading down from outside to the narthex4 ,the southern porch is called by ,von ,hammer the ,vestibule of the ,warriors4 ,it is mentioned by ,nicetas as the place where the ,archangel ,michael was represented in mosaic4 ,it was through this porch that the emperor passed to the church1 and here some of the bodyguard would remain4 ,the vaulting still bears the remains of mosaics which are now covered up4 ,on the east sides of both the northern and southern porches are accesses to the gynaeceum1 formed of a series of inclined planes4 ,the entrance to the northern one is from the porch1 but the southern stair is reached from a narrow passage between it and the baptistery4 ,to the west of the northern and southern porches1 in the angles between them and the outside walls of the atrium1 are the two minarets built by ,murad ,,iii4 ,on the first-floor level1 above the southern porch and part of the adjacent staircase1 is a series of chambers1#bdj of which the purpose is not known4 ,the walls of the two larger chambers are covered with marble1 and their ceilings with mosaic4 ,only one stairway is now extant at the east4 ,the minaret built by ,mahomed ,,ii41 which helps to buttress the south-east corner of the church1 occupies the position of a second4 ,salzenberg's ,plate xiv4 shows the stairway restored1 but in ,plate xiii4 the northern one is removed to explain the arrangement of the part of the building to the south of it4 ,on entering at the door of this north-eastern stairway one can either mount the ascending planes which wind round a well for light1 or go to the left through a small lobby into the church4 ,on the right steps ascend to the round building adjacent4 ,the light #8well' once ascended the whole height of the staircase1 which seems to have been formerly still higher1 as the eastern wall of the church1 which is here prolonged northwards1 rises about four feet above the present roof of the stairway1 and shows the remains of a window4 ,these stairways may have been built by ,andronicus ,palaeologus in the fourteenth century1 when he erected the buttress masses which are called pyramids by ,nicephorus ,gregoras4 ,all these stairways however were additions to the building1 probably built when the dome abutments were strengthened4 ,the original staircases to the gynaeceum were in the four piers by the northern and southern walls of the church1 and the steps from the gynaeceum to the base of the dome still remain4#bda ,in the eastern buttress pier on the south side is a portion of one of the original staircases1 leading downwards from the gynaeceum1 though beneath on the ground floor there is now a vaulted passage4#bdb ,in the western buttress pier on the south side1 at the ground-floor level1 is a vaulted passage adorned with mosaic1 and a door leading to an external addition4 ,in the similar position on the gynaeceum level1 the staircase1 which formerly led higher1 has been destroyed1 to make a way to the upper floor of this same late annex4 ,the south-east porch may have been used by the emperors on non-festal days1 as it was close to the southern aisle where they sat4 ,three columns are now placed on each side of this porch2 the two outer ones are of porphyry1 and have capitals with a design of a basket and doves4#bdc ,these capitals are fine ,byzantine work1 although the arch above may be ,turkish4 ,here seven steps descend into the church4 ,the other porch on the north of the east end was destroyed at the last restoration to make an entrance for the ,sultan4 ,remains of a series of chambers can still be traced on the east side between the porches3 their roofs must have been below the lower windows of the eastern wall4 ,the chambers are now built up2 but their original plan may be conjectured from the lead saddle-roofs1 which have gutters that conduct the rainwater through the outer wall4 ,two doors from the porches1 and two doors from the church--all four now blocked up--show the previous communication with this row of chambers1 which probably contained the priests' vestments1 and the vessels for the altar4 ,amongst the buildings that surrounded the church must be mentioned the skeuophylakium1 in which was kept the sacred furniture4 ,here were placed biers for the state funerals3 conspicuous amongst them was one quite covered with gold1 the gift of ,studios and ,stephanos4 ,this probably was the isolated round building at the north-east of the church1 reached by the steps previously mentioned4 ,it now has two floors of wood2 for security there were no windows1 but only twelve niches in the wall1 in one of which is the door4 ,this building now serves as a storehouse for the army kitchen 7imareh7 adjacent1 and is much injured4 ,windows have been made in the walls1 and the door altered4#bdd ,the baptistery south-west building is square outside1 but octagonal with four niches within4 ,it is vaulted by a dome without ribs4 ,on the east side is an apse1 and on the west a porch4 ,the ,anonymous says that the baptistery was formerly called the ,chapel of ,s4 ,john1 and that it was built by ,justinian4 ,entrance to this is now obtained by a door1 which has been pierced in its north-eastern angle4 ,the western wall has a semicircular-headed opening1 of the same size as the niches1 leading to a narthex or vestibule to which there is now no access from the outside4 ,in addition to the western entrance1 a door on the north1 now blocked up1 led through an open porch into a small court4 ,the large cylindrical arch of this porch had a screen at its northern side1 the columns and door-frame#bde of which are still extant1 but the marble lattice is destroyed4 ,through an arch in the east wall of this porch the addition which was made outside the south-west buttress pier could be reached1 where there was a passage into the church4 ,salzenberg's plan#bdf of this addition is taken at the level of a landing reached by a staircase from the passage through the south-west buttress pier4 ,this landing seems at one time to have been connected with a chamber above the north porch of the baptistery1 and from thence with the stairway at the south-west angle of the church4 ,leading upwards from this landing is the original staircase to the gynaeceum1 and at this level there is a small chapel vaulted with a cupola4#bdg ,the vault is adorned with mosaic2 figures of angels stand in the four pendentives4 ,originally the chapel was not lighted2 but at the last 8restoration0 a hole was made in the roof1 which was filled with glass2 a passage from this chapel to the gynaeceum is probably ,turkish4 ,the chapel is supposed by the ,greeks to be the one into which the officiating priest disappeared at the capture by the ,turks4 ,the ,turks turned the baptistery into a storeroom for the oil used in lighting the church1 but on the sudden death of the ,sultan ,mustapha ,i4 it was converted into a turbeh4 ,almost the whole of the church is raised above vaulted cisterns4 ,an opening in the south aisle#bdh gives access to the water1 and there is another opening in the north-west exedra4 ,the depth of the water prevented a close inspection4 ,of the two additions made in ,byzantine times to the centre of the north and south walls on the outside1 and intended to buttress the aisles1 the southern one has been further lengthened by the ,turks4 ,to preserve the use of the door and window in the wall of the church1 each addition was pierced by a passage4 ,remains of stairways and side passages have also been found here4#bdi ,other remains of buildings existed on the north and south sides of the church1 but they were too insufficient to base any conclusions on them4 ,materials4--,the principal materials employed are brick1 and a kind of peperino stone4 ,the latter is used in those parts of the building which have to stand great pressure1 such as the four large piers in the nave1 the piers to east and west1 and the extra projections from the buttress piers in the side aisles and gynaeceum4 ,in addition a horizontal course two feet deep runs round the whole building four feet from the floor4 ,the outside walls of the original building1 like the vaulting1 were entirely of brick1 but in the later additions they are formed of alternate layers of brick and stone1 and some of the later buttress masses are almost entirely of stone4 ,the bricks are as a rule about fourteen inches long and two inches thick2 some vaulting bricks brought from the ruins by the porch on the east measured fourteen inches square and two inches thick2 on one side of them were scratched lines probably made by the three fingers of the maker1 and on the other was an oblong label inclosing an inscription 7#a72 another had a different inscription 7#b72 and a third1 not from this vault1 but of the same size1 was also inscribed 7#c74 ,illustration 7#a7 ,reads ,constantius or ,constantine4 7#b7 ,may be rendered 8the church which is being erected10 by reading a participle of for the second and third letter4 7#c7 ,this is also given in the ,revue ,archologique1 #ahgf1 with some slight differences in second and third lines2 it is there said to have been found between ,,ss4 ,sophia and ,irene4 ,it probably reads1 8,lord1 help ,philemon3 ,indiction #g40 ,the two first vowels of ,philemon have changed places1 and the contraction form after 80 is also turned the wrong way4 ,at the base of the dome the bricks are #bg #i inches1 and two inches thick4 ,some appear to be twenty-seven inches square2 but at the apex of the dome1 by the hole intended for the lamp-chain1 the thickness is twenty-four inches4 ,there was no trace of the light bricks made in ,rhodes which the ,anonymous mentions2 although in the pendentives a light substance1 whitish1 with impressions of plants in it1 was used in irregular masses4 ,the mortar has a red colour1 and was evidently mixed with crushed brick2 the joints are from one to two inches thick4 ,the marble of ,proconnesus1 which somewhat resembles the architectural marble of ,carrara1 is employed for the cornices1 capitals1 and bases of the columns1 and for the windows4 ,in ,salzenberg's plans the materials are expressed by different depths of tint2 the darkest being marble1 slightly lighter is stone1 and a still lighter brickwork2 the additional buildings are represented in the lightest tones1 and the ,turkish buildings with strokes and dots4 ,construction4--,the outside walls average a height of seventy feet3 those on the north and south have a thickness of three and a half feet1 that on the east is four and a half feet1 and that on the west between the nave and narthex five feet4 ,where the arches rest on the walls there are piers which project about two feet3 thus the west wall1 for instance1 has in parts a thickness of seven feet4 ,as a general rule1 the interior vaults of wide span continue through the walls1 and appear as arches on the outside face4 ,the window and door openings are semicircular4 ,the marble finishings were inserted after the completion of the walls4 ,the dome at first sight seems to rest upon four arches each of #ajj feet span2 it is1 however1 only on the east and west that these arches are open4 ,from north to south the main piers are #ajf feet apart1 and their breadth in this direction is fifteen feet eight inches2 but on either side of the nave there are projections1 narrowing the opening to #ajj feet1 and giving the open arches abutments of eighteen feet eight inches4 ,behind each of these main piers again1 at a distance of twenty-nine and a half feet from them1 stands one of the buttress or staircase piers1 which1 including the outside wall1 is seventeen feet four inches by twenty-four and a half feet in area4 ,round arches1 which appear below the vaults1 transmit the thrust of the great arches from the main piers to these buttressing piers4 ,above these each of the immense buttress masses which stand right across the aisles1 and rise to within eighteen feet of the springing of the dome1 bear upon two relieving arches of different radii1 so as not to load the vaulting beneath4#bej ,the cylindrical arches1 which1 at the ground-floor aisles and the gynaeceum1 connect the great piers with the outer buttress piers1 are each reinforced by two extra arches1 standing on stone additions to the main piers1 from which they project five feet4#bea ,these arches1 though thus strengthened1 are almost all out of shape2 those by the two northern main piers have been pushed out nearly fifteen inches4 ,a drawing given in ,salzenberg's text shows the south arch which supports the dome with the mosaics removed4 ,the piers from east to west are seventy-two feet apart1 and accordingly the span of the arch is seventy-two feet1 its soffite being fifteen feet eight inches4 ,the arch is five feet deep1 formed of two unconnected rings1 and on each side the lower part is laid in horizontal courses so that the portion with radiating joints is only three quarters of the whole arch4 ,the window wall which fills the arch opening is four feet thick1 and is bonded with the horizontal courses1 but a movement of the arches has caused a fissure1 which is shown in the diagram4 ,these window walls on the south and north sides have cracked in several places4 ,the upper part of the window wall on the north side is only twenty-nine inches thick4 ,the windows have been reduced and strengthened by inserting stone jambs4 ,on the north and south side are also two large arches1 which project on the inside three feet from the window wall and rest on the main piers1 having the same height and span as the arches on the east and west4 ,they complete the square form under the cornice of the dome1 and give the idea that the dome is carried on four arches of #ajj feet span3 whereas in reality1 as has just been shown1 the real supporting arches on the north and south side are concealed in the window wall1 and are not suggested in any way in the interior decoration1 being only visible on the outside4#beb ,the four principal piers are very carefully built of shaped stones1 the joints1 according to ,procopius1 being run with lead1 but the ,silentiary mentions a cement as being used here4 ,the height from the floor to the springing of the great arches is seventy-three feet4 ,the arches of seventy-two feet span have abutments of twenty-four and a half feet1 which are increased above the vaults of the gynaeceum to twenty-nine feet4 ,the great arches under the springing of the dome are about four bricks1 or five feet1 thick4 ,the depth at the top1 including the cornice of the dome1 is about six feet and three quarters4 ,the centre of the arches is two and a half feet above the springing1 so that they are more than semicircular4 ,in the internal angles formed by them are the four pendentives4 ,the cornice has a projection of about two feet nine inches4 ,the lead mentioned by the ,silentiary may be found in the interstices of its stones4 ,the dome springs from the cornice on forty piers1 about three feet five inches broad on the inside1 and about eight and a half feet deep in the direction of the radius4 ,they are connected by arches which form windows four feet nine inches wide4 ,on the outside the piers project beyond the arches1 and may perhaps at one time have been connected with other arches1 forming a drum for the dome3 within they form part of the ribs of the dome4 ,in the interior the ribs project at the springing six inches from the surface of the dome1 which is there twenty-nine inches thick1 but their projection gradually diminishes1 till they are lost in the great circle of thirty-seven and a half feet diameter in the centre4 ,in the interior from rib across to rib is #ajd feet1 so that all round on the cornice is the passage two feet nine inches wide1 which1 according to ,paulus1 was used by the lamp-lighter4 ,the dome rises forty-six feet nine inches above this gangway1 so that it is considerably less than a semicircle in section4 ,the original dome1 according to ,agathias1 must have been even flatter4 ,theophanes states the increase in height to have been twenty feet1 and ,zonaras twenty-five4#bec ,the dome has now many swellings and depressions which are not visible from the ground4 ,at the same time we see how immovable domed vaulting is1 if only its supports remain uninjured4 ,at the east and west ends of the nave the two cylindrical vaults are each forty-seven feet across4 ,they rest on the four lesser piers1 and have an abutment of fifteen and a half feet4 ,the four exedras are each forty-one feet across4 ,all the conchs and semidomes have drums outside1 which are pierced by the windows4 ,the conchs which cover the exedras have strong arches1 where they intersect the semidomes4 ,the weight of the exedra conchs is chiefly supported by the columns2 the upper columns of the south-east exedra1 at the time of the last restoration1 were much inclined1 and had to be brought back to the vertical1 by propping the arches1 cutting away the old bases1 and inserting new pieces--the columns being surrounded and supported by wooden cradling4 ,the thickness of the western barrel vault is four feet2 the eastern apse is about three feet thick4 ,the western semidome received an additional thickness at the restoration4 ,vaulting of the ,aisles4--,the three principal divisions of each aisle are covered by domical vaults4 ,the vault arches rest partly on columns2 and the spaces between these columns and the outside wall are also vaulted4 ,the middle division of the north and south aisles has two domical vaults1 separated by a barrel vault that opens towards the nave arches1 and to the window in the outside wall4 ,the arches have iron ties four inches thick1 which stretch from the outer wall to the columns of the nave1 and grip them tightly4 ,the four columns in the aisles which carry the vault are much lower than those between the aisles and nave1 and for this reason the narrow vaulted space1 which joins the aisle vault to the nave arcade1 is formed by a stilted quadrant4 ,this arrangement only applies to the lower aisles3 above is a stilted cylindrical vault1 running lengthways between the main gynaeceum vaults1 and the arcade towards the nave4#bed ,here1 besides the iron ties1 there are wooden beams4 ,the large arches in the aisles are twenty-nine and a half feet from column to column4 ,the domical vaulting of the aisles is very flat--a combination of cross groining and a dome4 ,for1 though it starts with angles at the four corners1 it gradually merges into a dome at the apex4 ,the vaulting bricks are arranged in horizontal circles4#bee ,a diagonal band of mosaic starts from each corner1 and merges into a central circle4#bef ,in the gynaeceum the vaulting is higher and consists of spherical domes1 the radii being half the diagonals of the spaces covered4 ,the mosaic decoration here again follows the form4#beg ,narthex4--,the narthex is covered with vaults1 similar to those of the lower aisles of the nave4 ,each vaulted space is separated from the next by a segmental arch1 six and a half feet wide with a span of twenty-six and a half feet1 which abuts on the west wall of the nave1 and the piers of the outer wall4 ,the vault spaces vary from sixteen and a half feet in the middle to thirteen and a half feet towards the ends4 ,the piers of the outer wall are connected together by arches above the window openings1 and the spaces below the windows are filled up with thin #8screen' walls4 ,the upper floor of the narthex is covered with a semicircular vault1 intersected by the window arches between the piers of the outer wall4 ,these piers are the continuation of those beneath1 and have a width of six feet1 and a depth of seven4 ,they had to bear the thrust of the barrel vault of twenty-six and a half feet span3 the buttresses previously mentioned1 springing from the piers of the propylaeum1 were subsequently added to strengthen them4 ,in the exonarthex there are cross groins with arches between4 ,the arches have a span of fourteen and a half feet and an abutment of seven feet4 ,this seems to be of a later construction than the rest of the vaulting1 and not improbably1 as well as the piers1 belongs to a reconstruction of this porch1 undertaken to strengthen the west wall of the narthex4 ,all the arches of the nave which stand on columns have iron ties2 and to the three large openings of the gynaeceum at the west end of the nave there are wooden binders as well4 ,in the lower rows of windows beneath the dome on both the north and south sides of the nave iron ties can be seen1 which seem to stretch across the whole width of the large arches which support the dome4 ,roofs4--,all the exterior vaults are covered with lead about a quarter of an inch thick1 which rests on a layer of wooden battens placed immediately upon the brick vaults4 ,there are several passages and staircases for access to the roofs4 ,access to the exterior of the side aisles and narthex is gained by the staircases in the buttress piers3 the stairs are supported on brick arches4 ,in the north-east pier the stair space is only four feet eight inches by six feet seven inches1 and in this are placed the flights of stairs two feet eight inches wide1 with a space of fifteen inches between4#beh ,at the top of each flight spaces are hollowed out in the wall1 which serve as landings from one flight to another4 ,these stairs ascend above the roofs of the side aisles to the upper part of the buttress piers1 from which open passages1 with breast-walls on either side1 lead above the buttress piers to the angles at the base of the dome4 ,there were two flights of steps leading to the platform of the dome3 one of these on the south-east1 which ,salzenberg shows dotted in ,plate viii41 is still quite preserved1 though injured at the upper end2 remains too can still be traced of the north-west stair4 ,a door now built up1 on the north side of the south-east stair1 and remains of vaulting in the north-west stair1 seem to show that other passages must have existed4 ,the roof of the cylindrical vaulting at the west end of the nave is reached by means of stairs in the small round towers1 which flank it on the outside4#bei ,these turrets can also be reached from the roof of the narthex4 ,another passage runs along under the narthex roof at the west 7,salz41 ,plate ix471 which has an opening close to the upper surface of the vaulting1 and from thence any part above the nave can be reached4 ,probably this was formerly used for the lighting of the church4 ,to reach the cornice at the foot of the dome there was an opening in the wall under one of the dome windows4 ,decorative ,work4--,all the constructional forms were shown boldly on the outside without any adornment2 the west front of the narthex next to the atrium was alone covered with slabs of ,proconnesian marble1 some of which are still preserved1 but the upper wall surfaces were perfectly plain4 ,in the interior the whole of the walls are plated with rare variegated marbles1 and the vaults are covered with glass mosaic4 ,two chief masses of colour in the nave are separated horizontally by a cornice1 and another cornice forms the springing for the vaulting4 ,there are also cornices at the foot of the dome1 and around the walls of the aisles4 ,all these are of carved white marble in simple profiles4 ,the lower range of arch spandrils between the piers of the nave is formed of slabs of white marble completely covered with carving3 the upper spandrils above the gynaeceum arches have sectile work of coloured marbles4 ,the carving is sharply cut1 but conforms very closely to the general surfaces2 according to the old descriptions it was gilt1 and remains of colour still extant show some of the leaf-ornament coloured with a dark red4#bfj ,columns4--,amongst the columns are beautiful examples of the dark green ,thessalian marble1 now called verde antico4 ,of this are formed all the round columns in the nave and ground-floor aisles1 with the exception of the eight in the four exedras1 which are of dark ,theban porphyry4 ,it could not have been always possible to find a sufficient number of columns of the same height and diameter1 and the transport of them must have been frequently accompanied by injuries of one kind or another4 ,there are differences between similarly situated columns1 and in many cases mended fractures appear on the surface of the marble4 ,in no cases are antique capitals placed on these columns4 ,all the capitals and bases are of ,proconnesian marble1 and were wrought by ,byzantine chisels4 ,the greater part of the capitals are similar in design1 though their size varies in proportion to the height of the columns which support them4 ,salzenberg1 in ,figs1 #a and #c of his ,plate xv41 shows one of the capitals of the great order4 ,the leaf-work on them--partly acanthus and partly palm--is very deeply undercut1 and lies almost clear of the ground underneath4 ,in the middle of front and back are monograms4 ,under the capitals are bronze rings eleven and half inches high2 each is composed of three members1 with a wrought lock on the side towards the nave1 on which is repeated the monogram of each capital4 ,at the foot of the columns above the bases are similar rings nine inches high4 ,these rings occur on all the old columns1 with the exception of the two dual columns of the west gallery4 ,they seem to be let into the shaft1 and1 according to the description of the ,silentiary1 they were gilded4 ,in addition to these rings1 there are on other columns--as1 for instance1 the porphyry columns of the exedras--simple rings1 rectangular in section1 in positions where cracks and injuries appear2 there being three or four such rings on a column at different heights4 ,it is possible that some of these are of ,turkish origin4 ,the bases as a rule have much the same form as the ,attic base2 the porphyry columns of the exedras have pedestals#bfa below them1 because the shafts were not long enough4 ,each of the great verde antique shafts has a height of twenty-five and a half feet1 and the bronze base-ring has an inside diameter of three feet seven inches4 ,the capital is three feet ten inches high1 and the upper part five feet eight inches wide1 the whole height1 including base and capital1 being thirty-three and a half feet4 ,the porphyry columns of the western exedras have a total height of thirty-one feet2 the shafts are twenty-two feet and three-quarters long1 and the diameter at the bottom is three feet one inch4 ,the capital is four feet high1 and the abacus above measures towards the nave four feet nine inches1 and towards the aisles four feet eleven inches4 ,in the direction of the thickness of the arch the side of the abacus measures five feet1 the variation being due to the circular plan of exedras4 ,the columns of the upper storey1 which separate the gynaeceum and the nave1 also of verde antique1 stand nearer to one another and are smaller than those below4 ,the total height of those in the middle division is twenty-two feet five inches2 those in the exedras are twenty-one feet1 with a diameter at the bottom of two and a quarter feet4 ,the capitals are three and a half feet high1 and the bases1 including a six-inch bronze ring1 two feet one inch4#bfb ,the parapet is three feet ten inches high1 and of white marble4#bfc ,it stands between the columns1 and like them is set on a stylobate one foot six inches high1 above the lower cornice4 ,it should be noticed how the wide vaulting of the aisles is contrived1 so as not to interfere with the view through the arched openings of the lower range of columns4 ,the columns in the interior of the ground-floor aisles are about twenty-four feet seven inches high4 ,these capitals are similar to those already described4 ,those in the interior of the gynaeceum1 with shafts of ,proconnesian marble1 have capitals of quite another form4#bfd ,they are very similar to others in the church of ,,ss4 ,sergius and ,bacchus2 the twin columns in the gynaeceum at the west end of the nave have similar capitals2 the columns being verde antique4 ,in these capitals1 however1 the volutes are not arranged diagonally1 but show 8cushions0 at the side4 ,the capitals in the atrium resembled those of the twin columns2 though the cushion was shorter and the top had less projection1 and it was crowned with a flat egg and tongue moulding4 ,the capitals and shafts were of white marble4 ,the beautiful square capitals of the eight square white marble pillars in the aisles are shown in ,salzenberg's ,plate xvi4 ,the arches of the great order have an elaborate leaf-ornament round them1 continuing above the capitals in a horizontal line1 resembling in fact an architrave4 ,in the centre above each capital is a cross1 and at the crown of the arch is a four or six-armed cross4 ,the spandrils are filled with acanthus-ornament1 and in the centre of each is a disc of coloured marble-surrounded by a carved circle in the white marble4 ,the ornament of the intrados of the arches consists of five divisions in the width3 these are covered with a continuous pattern1 seven slabs casing the intrados of the arch4 ,the five bands are only carved alternately1 the centre and lateral ones being plain4 ,see our ,fig4 #ej4 ,the respond on the main pier at each end of this arcade is a kind of pilaster strip1#bfe surmounted by a capital in low relief1 and surrounded by a notched border4 ,the two cornices running round the nave1 which serve as galleries for the lamplighters1 have an extremely simple profile4 ,the slanting under-surface1 divided horizontally by a row of beads1 has acanthus-leaves in the upper part forming a cymatium1 and in the lower modillions carved with ivy and acanthus1 and between them1 panels with different leaf-ornaments4 ,beneath the aisle cornice is a frieze of marble mosaic4 ,the base mouldings or skirtings are worked out of thin slabs4#bff ,salzenberg's ,plate xx4 contains a collection of architectural details1 which seem to belong to different periods2 ,figs4 #a1 #b1 #c represent one of the white marble capitals which adorn the two porphyry columns of the south-east porch4 ,the arch above them is ,turkish1 and hence it may be questioned if this was their original position3 they seem more intended for an ornamental structure than to support a load1 and they may perhaps have belonged to a ciborium above the holy table4 ,the two marble capitals 7,figs4 #d and #e71 only three inches thick1 were found in the chamber in the north-east buttress mass1 above the gynaeceum roof1 together with broken pieces from a window4 ,they may originally have belonged to the upper part of the building1 such as the window wall under the north arch of the dome4#bfg ,the workmanship is very different from that in the rest of the church1 and is more closely allied with ancient treatment4 ,perhaps they are fragments from the earlier church which found a fresh application in ,justinian's building4 ,the parapet pillars between the twin columns of the western gynaeceum1 with tall pedestals1 are each formed in one piece of verde antique4 ,their capitals resemble those of the windows1#bfh with the exception that the former are rounded underneath instead of being square4 ,the wood ties which span different arches are adorned on the sides and beneath with carvings4#bfi ,windows and ,doors4--,the lighting of the church is most brilliant2 wherever space or construction permitted1 windows of considerable size were opened1 so that light floods the whole church4 ,at the foot of the dome the light streams in through forty windows1 and each of the seven apses has five openings4 ,the eastern sun sends its first rays through the six windows in the apse1 and the setting sun shines through the great west lunette4 ,there are twenty-four windows in the two great tympana1 besides large windows in the aisles4 ,the windows in the conchs of the exedras are now closed up1 the grouped windows in the great tympana on the north and south are diminished to insignificant openings1 and the large arched openings at the sides or the end divisions of the aisles seem even in ,byzantine times to have been reduced in size2 at least the remains of piers1 shown in ,salzenberg's ,plate xiii41 indicate that there was originally an opening with pilasters1 similar to those at the eastern end of the side aisles4#bgj ,it is said that ,justinian gave instructions that combustible materials should be avoided4 ,if so1 these instructions were followed even to the windows and doors1 for the lattice-work of the former is of marble1 and the panels of the latter are of bronze1 or rather they are covered with bronze4 ,salzenberg#bga gives the inside elevation and section of a window on the south side of the gynaeceum1 with details on a larger scale4 ,the opening in the wall is brick-arched1 and the framework consists of upright posts1 with a thin horizontal architrave dividing the window into two parts4 ,between these posts were fitted the breast-wall and lattice-work4 ,the posts are narrow towards the outside1 and the ends of the architrave rest on thin pieces against the jambs4 ,the #8breast-wall' at the bottom of the opening and the #8lattice-work' are formed of marble1 three inches thick4 ,the openings pierced in the slabs are about seven or eight inches high1 filled with panes of glass4 ,between the panes the marble has a width of three and a half inches1 slightly splayed on the inside4 ,a second row of slabs fills the lower part of the windows pierced with openings1 surrounded by wider margins4#bgb ,the great semicircular west window is divided vertically by two columns with plain capitals and bases2 the horizontal division from column to column is similar to the crowning member of the breast-wall of the other windows4 ,the lower part is filled with marble slabs1 which conceal the roof of the western gynaeceum4 ,each panel is ornamented with a cross upon a circle1 and within the latter is a monogram4 ,the small windows are simply filled with marble lattice for the glass4 ,inside the apse windows of the east end are other windows having coloured glazing2 but these are evidently ,turkish4 ,marble door jambs were placed in the openings left in the walls1 just as the posts were inserted in the windows2 the middle1 or ,royal ,door1 from the narthex to the nave1 is of bronze4 ,all the frames were moulded1 and above are fixed door-hooks1 like bent forefingers2 these held rings and leather fastenings1 from which were suspended the customary door-hangings4 ,the lintel of the bronze door-frame bears a relief4 ,this represents an arch1 supported by columns above a throne with the book of the ,gospel and the descent of the ,holy ,ghost in the form of a dove4 ,on it are the words of ,s4 ,john1 #8,the ,lord said1 ,i am the door of the sheep2 through me if any man enter1 he shall enter and shall go out1 and shall find pasture4' ,the simple bronze door-plating now remaining does not seem to be original4 ,see p4 #bfe4 ,salzenberg1#bgc as an example of the marble frames1 gives the east door of north aisle4 ,like all ,byzantine door-frames1 the head does not cut across the jamb1 but mitres4 ,this perhaps made it easier for fixing within the openings left in the walls4 ,salzenberg#bgd also represents the arched opening1 which stands between the ,baptistery and the small court on the south side of the church4#bge ,there are two tiers of columns1 with a thin architrave band between them4 ,the door stands between the lower columns2 to avoid concealing them the frame is made as small as possible1 as the plan shows4 ,a similar arrangement is found in the earlier church of ,s4 ,john ,studius4#bgf ,the bronze door-plating on the exterior of the south porch entrance is extremely interesting4#bgg ,a wooden foundation four or five inches thick is covered with ornamental bronze casings4 ,the borders to the panels are beautifully modelled1 and must be ancient4 ,the other outer margins1 with knobs and rosettes1 and the four panels1 which are decorated with monograms1 belong to the ,byzantine school4 ,in the more ancient parts the metal is one-eighth to one-fourth inch in thickness1 in the latter it is three-eighths to half an inch4 ,antique doors must have been enlarged and fitted with new panel plates4 ,marble ,plating4--,broad horizontal bands run round the nave at different heights1 and the spaces between them are filled with single panels and vertical sheathing4 ,all the bands and panels have notched fillets1 #a wide1 of white marble as borders4 ,the more important panels have sculptured white marble frames1 eleven inches wide with a 8pater noster0 and notched-fillet borders on either side4 ,the spandrils of the upper arches and the bands beneath the topmost cornices are incrusted with designs of leaves1 flowers1 fruits1 and birds formed of different kinds of marble4 ,the marble casing to the walls of the nave is arranged as follows4#bgh ,above the skirting is a #c4aj band of verde antique1 then the notched fillet1 then a #a4e yellow band oriental alabaster2 above this is a vertical sheeting #g4aj formed of ,pavonazzetto marble1 alternating with a yellowish brown marble2 then another horizontal band of yellow4 ,above this stretches a series of panels round the whole nave--a panel of rosso1 with two vertical slabs of a dark marble like porto venere on either side1 each surrounded by the sculptured frames4 ,the space from the top of this series to the lowest cornice is adorned with two bands of yellow alabaster1 and between them is sheathing similar to that below4 ,the upper division of the nave starts above the cornice with horizontal bands of white and verde antique2 above which are vertical panels of porphyry1 set in a frame of yellow alabaster1 with slabs of the russet marble on either side4 ,then follows another horizontal band of oriental alabaster1 and above it a range of vertical slabs of verde antique alternating with ,synnadan4 ,beyond this again1 and immediately below the upper cornice1 is the band made up of different marbles#bgi opus sectile4 ,a dark brown marble forms the groundwork1 the tendril ornament is white1 and the rest is of red1 like rosso antico1 and of green serpentine4 ,similar work incrusts the spandrils of the gynaeceum arcade4 ,the centre of each is a disc of green marble1 and the whole spandril is edged by a three-inch strip of pale red4 ,above the centre of each arch in this spandril decoration are discs containing crosses1 from the arms of which hang seals4#bhj ,the soffites of the arches are covered with glass mosaic4 ,the aisles are lined with marbles similarly arranged to those in the nave4 ,the walls of the bema are covered with panels of inlaid marble4#bha ,these panels in pairs are separated by a plain slab of porphyry4 ,by the side of the arched opening into the gynaeceum is a panel of porphyry with a pattern in slight relief1 and surrounded with yellow alabaster4 ,the arched opening into the gynaeceum is closed with a parapet of white marble1 with a carved framework above1 formerly fitted1 as holes show1 with a metal lattice4 ,the lower division of the bema walls is decorated by two rows of panels1 divided by a horizontal band of verde antique4 ,salzenberg's ,plate xxii41 ,fig4 #f1 shows the frieze directly below the bema cornice1 and the top of a porphyry pilaster-strip with a capital of white marble2 a similar pilaster fills the narrow space on each side of the apse4 ,the walls of the apse are shown on ,salzenberg's ,plate xxi4 ,the frieze beneath the cornice is given in ,plate xxii41 ,fig4 #h4 ,the porphyry ground has an inlaid pattern which slightly projects3 the serpentine in the frieze1 ,fig4 #f1 also projects from its rosso ground4 ,the lower portion of the apse1 formerly occupied by the seats of the priests1 is now plated with a white gray marble4 ,this is probably ,turkish4 ,the height of this probably gives the height of the iconostasis1 as there is no sign of any change in the decoration above4 ,the marble is fixed to the wall with a dark brown resin4 ,in the opus sectile1 pieces of coloured marble about a quarter of an inch thick were cut to the forms of the design1 and then laid with their polished faces downward at the bottom of a mould2 on this was poured a three-quarter inch backing of resin mixed with bits of stone and brick4 ,when set1 the slabs so formed were attached to the wall with cement4 ,the large marble slabs are one to two inches thick1 and1 besides the cement1 are fastened to the walls by iron 8 bronze clamps4 ,the pavements of ground floor and gynaeceum are of white marble with dark gray stripes4 ,proconnesian4 ,in the south-east angle of the square area under the dome is a square of marble mosaic1 of which details are given in ,salzenberg's ,plate xxii41 ,figs4 #i-ae4 ,it is formed of a circular centrepiece of a gray brown granite1 ten feet two inches in diameter1 round which are arranged coloured marble discs of various sizes1 set in a mosaic of marbles1 with a little glass mosaic in the angles4 ,in the centre of the west end of the gynaeceum is a square of about twenty-four feet in the pavement laid with slabs of 8gray cipollino0 ,proconnesian1 having a border of verde antique1 with a patterned edging#bhb of giallo and rosso on one side1 and giallo and serpentine on the other4 ,between this and the parapet is a circular slab of verde antique four feet seven inches in diameter4 ,,chapter ,,ix ,,the ,,ancient ,,precincts ,,and ,,external ,,parts ,,of ,,the ,,church ,palace4--,before entering on particulars of the exterior of the church1 it will be well to have a clearer view of the edifices in its immediate neighbourhood as they appeared in the time of ,justinian4 ,the group of buildings of which the ,augusteum was the centre was profoundly modified by the fire of the ,nika ,sedition1 and by the building energy of the emperor4 ,the researches of ,labarte and ,paspates have been almost entirely confined to the elucidation of the palace as it existed in the tenth century4 ,a restoration of the relative position of the several parts of the palace1 unless by the discovery of remains positive evidence is obtained1 is certainly impossible2 the attempt of ,labarte was worth making1 but ,paspates1 in bringing forward another scheme1 seems only to have succeeded in showing how conjectural the whole matter is1 although he speaks of certain scraps of walls as belonging to this or that part of the palace with as much confidence as if he had found them labelled4 ,his work carries internal evidence of the greatest inexactness and confusion1 and has proved most misleading1 although his citations are valuable4 ,it should not be assumed that wherever a palace is mentioned by the historians the 8,great ,palace0 is the one referred to1 and it must be remembered that the palace described in the ,ceremonies was the result of gradual growth3 indeed1 what is required is a chronological analysis of its history4 ,we have seen in the first chapter that according to the ,paschal ,chronicle ,constantine built a palace by the hippodrome1 and the ,notitia mentions the palaces of ,placidia and ,marina in the same neighbourhood4 ,according to ,procopius the palace was almost rebuilt by ,justinian1 but he only specifically mentions the ,chalk4 ,remains of a palace now on the sea-wall1 exactly to the south of the curve of the hippodrome1 are thought to be portions of the palace 8,hormisdas0 which ,justinian occupied before he came to the throne 7,b1 on ,plan1 ,fig4 #b74 ,close to the sea-wall farther to the west was the double church of ,,ss4 ,sergius and ,bacchus and ,,ss4 ,peter and ,paul1 of which the first survives as ,little ,sancta ,sophia 7,a1 on ,fig4 #b74 ,these were early works of ,justinian1 and his monogram and that of ,theodora appear on the capitals of ,s4 ,sergius4 ,procopius tells us that the church of ,s4 ,sergius was 8close to the king's palace which was formerly called by the name of ,hormisdas4 ,this was once his own private house10 and when he became emperor 8he joined it to the other imperial apartments40 ,the ,great ,palace was higher up the slope1 against the hippodrome and ,augusteum1 to which its gates opened4 ,it was long after ,justinian that the great palace reached its maximum development2 the ,chrysotriclinum was erected by his successor ,justin ,,ii4 ,the houses of ,marina and ,placidia were still in use at the end of the sixth century1 although this is mentioned by neither ,labarte nor ,paspates4 ,the wedding of the daughter of ,phocas was celebrated in the former1#bhc and 8the ,royal palace of ,placidia0 is referred to by ,john of ,ephesus4 ,the writer tells us that ,tiberius ,,ii41 the successor of ,justin ,,ii41 made large additions to the palace4 ,before he reigned alone the wife and daughters of ,tiberius occupied the house of ,hormisdas1 8as it was situated just below the palace1 and he would go down and spend the evening with them and return early in the morning to the palace40#bhd ,justinian ,,ii4 also added to the palace1 and in the ninth century ,theophilus built the ,triconcha4 ,basil the ,macedonian still further increased the assemblage of buildings4 ,it is clear that in the time of ,justinian there were at least four more or less separate palaces grouped together--the ,great ,palace1 ,hormisdas1 and those of ,marina and ,placidia4 ,hippodrome4--,the information in regard to the hippodrome brought together in the works before mentioned1 and by ,gyllius1 cannot be recapitulated here4#bhe ,as the ground fell away steeply towards the south1 that end had to be raised high on vaults1 and this retaining wall1 perhaps forty feet high1 forming a semicircular curve1 still exists4#bhf ,on either side rose the tiers of the marble seats4 ,at the north end was the royal stand1 called ,kathisma1 from which the emperors watched the games2 this was raised above arched chambers1 where the chariots for the arena were kept4 ,the south-west end was called ,sphendone--,the ,curve4 ,a rough draft of ,constantinople1 made early in the fifteenth century for ,bondelmontius1 reproduced by ,mordtmann1 shows columns standing on the retaining wall around this curved end4 ,a clear representation of this semicircle of columns is also given in the ,nuremberg ,chronicle4 ,banduri reproduces from ,panvinius1 who wrote in the middle of the sixteenth century1 a drawing of the hippodrome which seems to have been made with considerable care4 ,beneath it is written1 8,the ruins of the circus or hippodrome of ,constantinople as they were a hundred years before the capture of the city by the ,turks40#bhg ,but that it should have been in a ruinous state at this time is not borne out by the accounts of writers like ,clavijo and ,bondelmontius1 who described it in the generation before the ,fall3 on the contrary1 we should suppose this to be one of the draughts for the ,venice view of the city published about #aegj1 with which it agrees in many respects4#bhh ,this bird's-eye view shows the monuments on the ,spina1 the ,grand ,stand and its 8,podium0 of vaults1 and also the high external retaining wall of the curve1 above which the columns again appear1 but set back from its face1 so as to leave a passage outside the columns1 the outer wall being finished with a battlement4 ,it is true that in the engraving it is rendered as if these columns were attached to a wall1 or rather as if a wall were built between the columns1 for they appear both inside and out2 but this interpretation cannot be given to a description of this colonnade by ,gyllius4#bhi 8,in the front of the hippodrome facing the ,propontis there was a range of seventeen pillars of white marble standing when ,i first came to ,constantinople1 going round that part of the hippodrome which lies between south and west40 ,they stood on a low wall1 about two feet six inches high towards the hippodrome1 but outside it was fifty feet to the ground4 ,they were of the ,corinthian order1 three feet five inches in diameter and twenty-eight feet high1 standing eleven feet apart on pedestals2 above them was an architrave to which rings were fixed for curtains4 8,above was another range of pillars1 which were remaining some time after the taking of the city by the ,turks40 ,these last were only reported to ,gyllius2 and if we accept such a second tier we may suppose that it ranged with a colonnade surmounting the containing wall of the terraces of seats4 ,paspates makes from this account a wonderful and impossible arrangement2 he supposes the first-mentioned columns to have been continued along the external sides of the hippodrome1 he further rears the second range on them1 and this he thinks upheld the immense mass of the rising seats4 8,if we suppose10 he says1 8the height of those in the upper row to have been twenty-one feet1 we have about fifty-six feet as the height of the wall on which the seats for the spectators were built40 ,these columns probably formed an open screen through which the spectators might see the sparkling waters of the ,propontis1 set with the blue jewels of ,prince's ,islands and the white peaks of ,olympus rising far away to the left--one of the most beautiful scenes in the world4 ,this addition of a natural spectacle behind the scene was frequently obtained in ancient theatres3 the best known is that at ,taormina4 ,clavijo#bij speaks of the hippodrome as being 8surrounded by white marble pillars10 but he adds 8thirty-seven in number40 ,the anonymous ,russian who wrote about the same time says 8thirty columns and their summits are united by an architrave40 ,see ,fig4 #b4 ,an 8open hippodrome0 and a 8covered hippodrome0 are mentioned by the ,byzantine writers4 ,labarte distinguishing them1 placed the latter within the palace4 ,byeljayev1 however1 conjectures that the covered hippodrome was a part of the ,great ,hippodrome4 ,be this as it may1 the 8rings for curtains0 of ,gyllius suggest that portions were sheltered by a ,velarium4 ,bondelmontius#bia writes thus of the hippodrome3 8,in it those cf noble birth joust in the presence of the people1 and there are combats and tournaments4 ,it is #fij bracchia long and #acd wide1 and it is built above vaults1 in which a cistern of the best water covers the whole of the space mentioned4 ,at the head of the hippodrome are high pillars of ,kathisma where the emperor sits with his nobles1 and on both sides in its length are seats of marble arranged in steps where the people sit and see all the games40 ,on the outside towards ,s4 ,sophia there was the church of ,s4 ,stephen1 8from the galleries of which the ladies watched their chosen champions40 ,on the ,spina he notices a fountain where the wounded were laid1 the two obelisks1 and the three serpents 8with open mouths from which1 it is said1 on days of jousting water1 wine1 and milk used to spout40 ,at the end of the ,spina were four small marble columns where the emperor sat on feast days4#bib ,besides the bronze serpentine column from ,delphi1 there still stands in the hippodrome an ,egyptian obelisk1 set up by ,theodosius ,i4 on a pedestal sculptured with a representation of the emperor viewing the games from the ,kathisma1 and a record of the methods used in erecting the obelisk by means of ropes and winches4 ,nicetas in his life of ,s4 ,ignatius says that a brazen pine-apple surmounted this obelisk4 ,a third monument is a large built-up obelisk of stone1 pitted all over where pins which attached bronze plates were inserted4 ,an inscription often quoted1 records that ,constantine1 father of ,romanus1 repaired it and added to its beauty4 ,the casing of bronze was probably covered with reliefs and ornament1 as was the case with the pillar in the ,augusteum1 and the anemodulium1 which was set up by ,theodosius in the ,forum ,tauri4 ,this last was an obelisk entirely cased with bronze1 8having reliefs#bic of cattle1 sheep and skipping lambs2 peasants labouring or playing on their pipes1 and birds2 there was also represented the sea1 and sea-gods1 and cupids playing at ball4 ,on the point was a statue of a woman which turned to the slightest breath of the wind40 ,among the statues in the hippodrome mentioned by ,nicetas as having been destroyed was the colossal bronze ,hercules1 and a sundial which was in the form of an eagle with wide expanded wings trampling on a serpent4 ,the twelve hours were marked out beneath its wings1 six on either side1 and the sun shining through a hole in each wing marked the hour or the day4 ,near the eastern goal was a row of statues of charioteers1 driving their chariots and turning the goal4 ,besides these there were many other statues of persons and animals2 an elephant with a proboscis that moved is mentioned1 but it is not clear however that this last was in the hippodrome4 ,sigurd1 ,king of ,norway1 saw the games given here in #aaaa2 there was a spectacle in which people appeared as if riding in the air1 some sort of fireworks1 also music with playing of organs1 harps1 and other instruments4#bid ,benjamin of ,tudela 7#aafa7 says1 8lions1 bears1 and leopards were shown1 and all nations of the world were represented1 together with surprising feats of jugglery40 ,the hippodrome was used for spectacles after the change of masters4 ,an ,italian ,,ms4 of #aehb in the ,british ,museum describes the ambassadors and princes sitting on staging1 with a large stand for the band in the 8piazza0 of the hippodrome2 the ,sultan and his son sat on an inclosed and covered throne4#bie ,augusteum4--8,in front of the palace10 says ,procopius1 8there is a forum surrounded with columns4 ,the ,byzantines call this forum the ,augusteum4 ,on the eastern side stands the ,senate-house40 ,other writers speak of it as the ,agora of the ,milion1 or simply as the ,milion1 from the building which adjoined it4 ,zonaras seems to call it the ,proaulion of the ,great ,church4 ,round its sides were peristyles1 and the buildings mentioned in the first chapter1 most of which were rebuilt by ,justinian4 ,it was laid with a marble floor of long slabs1 a portion of which was discovered many feet below the present level1 together with the inscribed base of the silver statue of ,eudoxia1 when ,fossati built the new government offices in #ahdh4 8,outside the palace the public baths of ,zeuxippus and the great porticoes and all the buildings on either hand as far as the ,forum of ,constantine are the work of the emperor ,justinian40#bif ,large pillars have frequently been found which appear to have formed part of colonnades in the ,augusteum4 ,gyllius saw seven large ,corinthian columns1 forty-six feet high over all and 8twenty foot ten digits apart40 ,on the shaft of one was cut the name of ,constantine1 with the signal of the cross he saw in the heavens1 and the inscription 4 ,these1 he seems to suggest1 may have belonged to the ,milion4 ,on this is built up a characteristic piece of restoration by ,paspates1 who sees in the seven columns1 standing over twenty feet apart1 and obviously in a straight line1 8a square building resting on seven columns10 to which he adds an upper range of pillars supporting a domed chamber4 ,bondelmontius1 who is also cited for these columns1 says there were six1 and all in a row4 ,they were almost certainly a part of the nine columns seen by ,clavijo#big before the ,fall1 when he was told that 8a great palace used to stand on the top of them1 where the patriarch and his clergy held their meetings40 ,this great square1 surrounded by colonnades1 contained so many statues and other works of art that ,labarte well calls it an open air museum4 ,to the north1 opposite the south-west corner of the church1 was the colossal bronze equestrian statue of ,justinian surmounting a pillar1 which1 according to ,procopius1 stood on seven stages of steps and was covered with bronze reliefs4 ,the king looked to the east1 and carried the orb of the earth surmounted by a cross in his hand4 ,the pillar had originally been erected by ,arcadius to support a silver statue of ,theodosius his father4 ,the statue of ,justinian1 which replaced that of ,theodosius1 was destroyed by lightning in #adib4bih ,the fragments were seen by ,gyllius1 and1 from measurements which he gives1 it seems to have been from twice to three times natural size4 ,bondelmontius says the pillar was seventy cubits high4 ,a very good drawing of the statue1 now amongst the ,,mss4 of the ,serai library1 made about the year #acdj1 is reproduced by ,mordtmann4 ,this pillar and its statue is often called the ,augusteum1 and it probably gave its name to the place in which it stood4 ,the ,milion4--,it is probable that the city milestone existed before ,constantine1 who may have built the structure over it4 ,according to ,du ,cange#bii the ,augusteum1 with which it was so closely associated1 was often called by its name2 so that ,codinus tells us that the church of ,s4 ,phocas was built 8in the ,milion40 ,it appears to have formed the western boundary and gate of this forum1 or at least of its inner part1 if divided1 and to have been connected with a colonnade running north and south as well as with the ,mese4 ,it is spoken of as a colonnade 7embolos71 as vaulted 7kamara and phournikon71 or as having many arches 7apsides74 ,cedrenus and other writers speak of statues in the apsis or kamara of the ,milion4 ,it can hardly be doubted that it had four large arches facing different ways4 ,a structure of this kind remains at ,lattaquieh1 which is about ten metres square and was surmounted by a dome4 ,de ,vog#cjj compares it with ruins of a similar erection found at ,palmyra1 the ,mesomphalion of ,nicaea1 and the ,umbilicus of ,antioch described by ,dion ,chrysostom1 and others4 ,this last stood at the centre of the two great colonnaded streets that ran east to west and north to south through the city4 ,the principal reference to the ,milion is the description by ,nicetas#cja of the struggle with the insurgent troops in the reign of ,alexius ,manuel4 8,as many buildings as adjoined the ,great ,church and commanded the ,augusteum were seized by the rebels1 who scaled the large apsis which stands over the ,milion1 and also fortified the church of ,s4 ,alexius1 which is joined to the ,augusteum4 ,but the imperial troops made a sally from the great palace and established themselves in the church of ,s4 ,john called ,diippus2 and the agora was full of men who were injured by those on the apsis of the ,milion1 and on the church of ,s4 ,alexius4 ,but fresh troops from the palace filled all the thoroughfares and passages leading to ,s4 ,sophia4 ,the rebels1 coming out of the temple and passing by the ,augusteum1 became engaged with the others in the narrow ways1 and the conflict remained uncertain1 until the imperial troops drove back from the streets those who had come out of ,s4 ,sophia and shut them within the ,augusteum4 ,the imperial troops broke open the gates of the ,augusteum1 and the rebels were forced from the top of the ,milion by the troops mounting the apsides1 while the rest of them1 being worsted in the ,augusteum1 gave way2 but a shower of missiles was kept up from the part called ,macron1 overlooking the ,augusteum1 and the neighbouring chamber of ,thomais4 ,they took refuge in the pronaos of the church1 where is the ,archangel ,michael in mosaic standing with drawn sword as if on guard4 ,the imperial troops1 because of the narrowness1 were unable to follow them with advantage1 nor did the insurgents dare to trust themselves out again4 ,the patriarch descended into the proskenion or protekdikeion of the church1 and then harangued them to prevent further sacrilege40 ,in the ,ceremonies we twice read of the emperor passing through the nave of ,s4 ,sophia and its ,royal ,gate1 then across the narthex1 and1 by the louter 7fountain71 reaching the steps of the athyr 7atrium74 8,then he passes through the ,milion1 and along the ,mese and reaches the ,forum1 where is the ,chapel of ,s4 ,constantine40 ,labarte1 wrongly explaining this as the ,forum ,augusteum1 instead of that of ,constantine1 makes the louter the baptistery1 and the athyr its porch4 ,other processions from the ,palace to the ,church through the ,milion have been given by ,labarte4 ,the colonnades adjoining the ,milion are mentioned in the account of a fire which attacked a part of the ,great ,church in the reign of ,isaac ,angelus4 8,the parts by the apsis of the ,milion1 and the ,macron1 and the place called the ,synods were burnt4 ,the porticoes of ,domninus were reduced to ashes1 as well as the two covered ways starting on both sides of the ,milion one of which reaches to the ,philadelphion40#cjb ,the ,philadelphion was towards ,constantine's forum1 and the other way probably led from the ,milion north and south to the church and the palace gate4 ,we learn from ,agatho the ,deacon#cjc that in the porticoes 7stoai7 of the ,milion were represented the seven cumenical ,synods of ,constantinople2 this is probably what is meant by ,nicetas1 where he speaks of 8,the ,synods0 as quoted above 7see1 however1 ,mordtmann1 p4 #fh74 ,the seven synods is one of the iconographic schemes given by the ,byzantine ,manual1 and they are represented in the mosaics at the ,nativity ,church at ,bethlehem4 ,horologium4--,in close connection both with the ,milion and the church was the court of 8the time-measure0--a sundial or water-clock4 ,at the triumphal entry of ,basil 8they passed along the ,mese up to the ,milion1 and entered through the embolos of the ,milion into the ,horologium1 and1 having put off their crowns in the metatorium within the ,beautiful ,gate1 they entered the narthex40#cjd ,the ,horologium is constantly spoken of as being near the baptistery1 and was certainly on the south side of the church4 ,baptistery4--,in our first chapter we have given reasons for supposing that the round building at the north-east formed part of the earlier church and became the baptistery of ,justinian's building4 ,buzantios considered that the former was the baptistery 8perhaps also used as a sacristy40 ,a knowledge of an earlier baptistery would seem to be implied in the way the south-west building is spoken of by ,porphyrogenitus and later writers as the 8,great ,baptistery by the ,horologium40 ,according to ,codinus and the ,anonymous the ,great ,baptistery was built before the church1 and ,salzenberg thought the style was earlier than that of the church4 ,is it possible that this was built as an independent church and only ultimately became the baptistery8 ,it appears from the account of the ,russian pilgrim ,anthony that in the twelfth century its dome was painted with the baptism of ,christ in ,jordan1 a scheme which agrees with the two baptisteries at ,ravenna4 ,st4 ,peter's ,chapel1 c4--,to the east there were some detached buildings1 at least in later times4 ,the ,anonymous we have seen mentions a chapel of ,st4 ,peter as near the skeuophylakium4 ,anthony speaks of this chapel1 in which ,st4 ,peter's chains and the carpet of ,st4 ,nicholas were preserved1 as behind the altar4 ,the anonymous ,russian says a chapel of ,st4 ,nicholas was behind the bema1 and also speaks of a marble basin covered with a lead roof1 8where they baptise the emperors0 as being behind the altar1 in a space set round with cypresses4 ,anna ,comnena also mentions 8the chapel of the ,hierarch ,nicholas0 as part of the ,great ,church and a place of sanctuary4#cje ,the passage of ,st4 ,nicholas is also referred to4 ,it is possible that this chapel was otherwise known as ,st4 ,peter's1 and either this or 8the place where they baptise the emperors0 may be the present round building--the ancient baptistery as we suppose4 ,that ,st4 ,peter's chapel was of some importance and detached seems clear from the ,menologium4 ,on ,january #af was celebrated the adoration of ,st4 ,peter's chains4 ,it is explained that after ,peter's release1 8the chains were found by some believers and guarded from generation to generation until they were brought to ,constantinople by a pious emperor and placed in the church 77 of ,st4 ,peter which is near ,st4 ,sophia40 ,we have given a picture of the chains in ,figure #h4 ,a tradition of some of these buildings may be preserved in an ,italian ,,ms4 of #afaa in the ,british ,museum4 8,the ancient buildings round the church have been ruined by the ,turks except a small part of the close 7canonica71 where they have made dwellings2 there is also the sacristy and the place of the baptistery1 which had originally three vaulted ceilings1 one above another4 ,it was of wonderful architecture and made with six angles4 ,from the sacristy to the base of the dome is an arquebus shot2 between it and the ,seraglio lies a road40 ,boundaries4--,probably the fullest and clearest account of the approach to the church through the ,augusteum is given by the ,spanish ambassador ,clavijo1 who was at ,constantinople in #adje1 at a time when many of the buildings in the precincts had been destroyed4 ,in a court in the front of the church1 he saw 8nine very large columns of white marble10 and he was told that before his time a palace had been here1 where the patriarch met the canons in chapter4 8,and in the same place before the church stands a stone pillar of marvellous height1 on the top of which is a horse of copper as large as four horses put together2 on the horse was an armed knight with a great plume on his head like a peacock's tail4 ,the horse has chains of iron round its body secured to the column to prevent it from falling1 or being moved by the wind4 ,the horse is very well made1 and one fore and one hind leg is raised1 as if it were in the act of prancing4 ,the knight1 on its back1 has his right arm raised1 with the hand open1 while the reins are held with the left hand4 ,this marvellous horse is said to have been placed here by the ,emperor ,justinian1 who erected the column4 ,at the entrance to the church under an arch in front of a gate1 is a place adorned with four columns1 and below is a little chapel very rich and beautiful4 ,and beyond this chapel is the gate to the church covered with bronze very great and high2 beyond again is a little court surrounded by high galleries horologium84 ,afterwards there was another gate of bronze the south porch4 ,beyond this gate there is a #8nave' vast and high1 with a ceiling of wood the exonarthex4 ,and on the left hand there is a cloister very large1 and beautiful the atrium1 with many stones of jasper of infinite variety of colour4 ,on the right hand under the said nave-covered as ,i have said--and after the second gate1 you arrive at the body of the church1 which has five doors1 high and large1 covered with bronze1 of which that in the middle is the greatest40#cjf ,the present south porch we should suppose is the pronaos mentioned by ,nicetas as that where the ,archangel ,michael stood on guard4 ,the exonarthex is now vaulted1 but not covered with mosaic2 it is bare and rough1 and it seems possible that at one time there may have been a ceiling of wood4 ,stephen of ,novgorod 7#acej7 says that the first gate of the church was by the column of ,justinian2 then there was a second1 a third1 fourth1 fifth and sixth and by the seventh you entered the great church4 ,this may be exaggeration1 but ,gyllius speaks of the south entrance formerly being by six valvae of brass1 8now there are only three1 ingeniously worked10 so that there would appear to have been at least one more double door in his time than the two now existing4 ,if we consult the careful drawings made by ,grelot1 which take us half way back to the conquest1 we shall see that the boundaries of the cypress garden on the south side agree entirely with the present walls4 ,the first of the turbehs was built here about a hundred years after the conquest1 and we may almost safely assume that it was backed against the outer wall1 as at present4 ,now when we find ,clavijo1 some fifty years before the conquest1 in approaching the church from this side1 speak of an outer gateway and a court before the church was reached1 we shall almost certainly be justified in placing this outer gate on the present boundary4 ,the fountain in the south court we suppose occupies the site of an ancient fountain4 ,a comparison of ,grelot's plan 7#afhj7 with ,fossati's 7#ahej71 will make clear the south boundaries of the church1 as they existed at the time of the conquest4 ,the octagonal building attached to the south side of the church shown in ,fossati's plan must be ,turkish1 probably the library of the sultan mentioned by ,pococke4 ,the palace of the patriarch1 with the library of the ,thomaites1 we would place on the ground between the south boundary and the church1 the gardens which belonged to it occupying the ground of one of the courts4 ,it had evidently been destroyed by the time of ,clavijo's visit1 and for what is known as to the buildings we must refer to ,paspates4 ,the courts to the north of the church were probably occupied by the cells of the clergy and the college called ,didaskalion 7see our page #di72 ,bondelmontius speaks of 8the way of a thousand columns in pairs0 7the ,mese7 through which the emperor walked to ,s4 ,sophia 8where the houses of the #hjj clergy were round the church40#cjg ,the ,atrium4--,the street lying at an angle to the west wall of the entrance courtyard1 rising steeply towards the hippodrome1 is probably ancient4 ,some considerable remains of the atrium colonnade were in existence in the present century1 but they were finally destroyed in #ahgc4cjh ,the present boundary of the western court appears to occupy the position of the exterior west wall of the atrium4 ,outside it there is a level roadway1 beyond which the ground falls rapidly to the street4 ,as the church stands across a hill the ground had to be made up to a level1 and this1 together with the position of the street1 would account for the court not having been square as was usually the case4 ,as excavations have shown that the pavement of the ,hippodrome and the ,augusteum were eight or ten feet below the present level1#cji steps would have been required to attain the level of the church at the west4 ,the ,ceremonies show that the royal processions entered and left the church on the south side through the ,augusteum1 which served as a great forecourt to the church on this side4 ,without doubt this was the principal entrance4 ,clavijo and other visitors all appear to have entered the church from the south4 ,when ,grelot's western view was made 7before #afhj7 no west doors to the atrium existed1 but it was entered from the north and south only4 ,in our plan we have therefore shown only one door in the west wall of the atrium1 possibly there was none 7,fig4 #c74 ,illustration3 ,,fig4 #be4--,original state of ,west ,front as built by ,justinian4 ,outside the present south-west entrance of the court there remained until #ahfi a stone inscribed 4444 ,its form suggests that it was a step1 or it may have been a lintel from one of the doors into the atrium or the rim from a fountain4#caj ,the words 8,the ,holy ,god dwelleth here let no44440 may be compared with the inscriptions for fountains and gates given on pages #hd and #bfd4 ,this atrium court of ,s4 ,sophia was called by the ,byzantine authors aule1 mesaulion1 aithria1 and by some late writer1 garonastasion1 which ,du ,cange explains as 8the place where pages wait40 ,the cloistered walk originally surrounded it and formed a quadriporticus2 although the eastern walk1 the present exonarthex1 is inclosed and entirely different from the other colonnaded walks1 the atrium is often referred to as 8,four-porticoed0 7,tetrastoon74 ,it cannot therefore be doubted that the exonarthex with its great piers replaced the original eastern walk1 for the sake of greater abutment to the church4 ,this is equally clear from the building itself and the description of the poet4 7,see ,figs4 #c1 #bd1 #be1 #bi74 ,the 8,propylaeum0 often spoken of must either be this exonarthex1 or the gateways in the atrium4 ,the cloister walks were vaulted1 and the walls covered with marble4 ,one of the capitals remained in the courtyard as lately as #ahgc1 when it was drawn by ,canon ,curtis2 it resembled those in the gallery inside1 with deep sculptured dosseret and small volutes below4 ,more than one writer remarks on the great beauty of the marble shafts4 ,they were set in close order1 and we may see from ,salzenberg that1 when we add for their bases1 they were some twenty-two feet high1 and must have made a fine portico to the west front4 ,in #aheb two of the pillars were represented on the plan of ,fossati as still in situ3 now every evidence of the atrium has entirely disappeared4 ,phiale4--,in the middle of the court was placed a fountain1 where1 according to the ,silentiary1 was a 8bubbling stream leaping into the air from a bronze pipe40 ,the name given to such a fountain by ,greek writers was phiale or colymbethra1 and1 by the ,latins1 cantharus or nymphaeum4 ,at ,s4 ,sophia it was also called 8,the ,laver of the ,atrium0 7 74#caa ,the louter or loutron1 with its colymbethra1 formed a sanctuary for the pursued3 we read in ,procopius of their 8fleeing to the church of ,s4 ,sophia1 and coming to the holy loutron1 and laying hold of the colymbethra which was there40#cab ,according to the ,anonymous author1 on whom we place no reliance1 the phiale had twelve arcades or columns1 and lions spouted out the water4 ,canopied phialae it is true still exist at ,st4 ,demetrius at ,salonica1 and in the monasteries of ,mount ,athos4 ,the canopy of the phiale at old ,st4 ,peter's was of bronze2 under it the great pine cone1 which still remains1 threw out water in innumerable little threads4 ,on the canopy were probably placed the beautiful bronze peacocks1 which also still exist4#cac ,a very beautiful fountain of this kind1 at ,constantinople1 was placed before the church built by ,basil in the palace4 ,the basin was marble1 from which rose a pine cone pierced with holes4 ,above on the cornice were placed cocks1 stags1 and rams1 of cast bronze1 from which the water flowed4#cad ,in the ,court of the ,lions at the ,alhambra1 the basin of the fountain rests on lions1 and the water runs away from the fountain in four open streams to the four sides of the cloister4 ,this work was certainly executed under ,byzantine influence1 and it is curious to find more than one small garden fountain at ,constantinople in which the water issues from the mouth of lions4 ,on the other hand it seems probable that the ,anonymous imitated the description of the temple of ,solomon and the laver1 which stood on twelve oxen4 ,the other washing place he describes 7see page #ada7 with the different kinds of animals represented1 seems to be founded on the description of that of ,basil's church4 ,porphyrogenitus speaks of the 8cup of the phiale02 and it seems most probable1 considering the simple description of the ,silentiary1 that1 as in so many ancient churches1 it was at first merely a bowl1 standing on a pillar rising from a polygonal basin4 ,in the time of ,michael ,palaeologus1 there was such a basin on the sides of which 8was engraved on the marble the honoured form of the cross40#cae ,a bowl figured by ,gruterus#caf in #afjb as 8newly found at ,constantinople10 has been spoken of by ,du ,cange and others as having belonged to ,s4 ,sophia1 although the evidence of this is not very positive4#cag ,this was a circular bowl very similar to the well-known representation of a cantharus of ,justinian's time in the ,ravenna mosaic4 ,the inscription around the rim read equally well in both directions4#cah ,this circle being horizontal1 we cannot but think1 as it would necessarily be read from outside1 that ,gruterus was mistaken in putting the bottom of the letters toward the centre2 we have therefore reversed this in our figure4 ,the words 8,wash thy sins1 not thy face only10 almost certainly refer it to a phiale4 ,eusebius1 for instance1 speaking of one of these fountains1 says1 8it is not meet for an unclean foot to step on the sacred place within the temple10 and ,paulinus tells us that at ,nola those who entered the church washed their hands in a similar place4#cai ,probably1 so accurate a writer as ,du ,cange had good reasons for referring the bowl in question to ,s4 ,sophia4 ,dr4 ,covel of ,cambridge1 who was at ,constantinople from #afgj to #afgg1 and has left a valuable ,,ms4 now in the ,british ,museum1 which we shall have further occasion to quote1 also gives the inscription1 which he says came from the fountain of ,s4 ,sophia1 but again1 it is possible he derived this from ,du ,cange1 or from ,grelot1 whom he appears to have met1 for some of the ,frenchman's drawings are included in the ,,ms4 ,illustration3 ,,fig4 #bf4--;,inscription on ,phiale from ,gruter4 ,in this collection are drawings of two beautiful phiale cups1 which existed at ,ephesus when visited by ,dr4 ,covel4 ,from the simple elegance of their forms we suppose that these bowls cannot be later than the sixth century4#cbj ,see ,fig4 #bg4 ,pavement of the ,court4--,when the ,anonymous tells us that the four boundaries of the church were called after the rivers that flowed from ,paradise1 it is quite evident from the context that he is speaking of the atrium2 and it seems probable that immediately before1 where he speaks of 8ever flowing waters of great rivers10 he is describing the pavement of the court as figuring four streams4 ,this certainly would furnish a reason for the walks taking their names from the four rivers of marble which flowed towards them1 like the four real streams flow in the court of the ,alhambra4 ,there is much to countenance this theory4 ,for instance1 the atrium of old ,st4 ,peter's was called ,paradise3 ,simeon of ,thessalonica tells us the part outside the doors of a church represented the creation1 as the bema symbolised heaven2 and the idea might easily be referred to the words used in the service for blessing the waters of the phiale4 ,illustration3 ,,fig4 #bg4--,phiale ,bowls from ,ephesus4 ,this custom of blessing the waters on the eve of ,epiphany1 to which ,paulus the ,silentiary alludes 7see page #dd71 was practised as early as the end of the fourth century4#cba ,goar gives the ritual4#cbb ,after the evening service the priest with the censer and candlestick proceeds to the 8luter of the mesaulion10 chanting 8the voice of the ,lord is upon the waters40 ,part of the ceremony of blessing included a prayer1 8,we beseech thee1 ,o ,almighty ,father 444 who fixed ,paradise in ,eden and bade its quadruple spring flow far and wide 444 who blessed the waters for ,jacob1 and hast bidden us1 through thy prophet ,isaiah1 to draw water in gladness from the fountains of the ,saviour40 ,the account of the ,anonymous may be a duplication of his description of the interior1 but outside ,charlemagne's church at ,aix there is a pine cone which formerly belonged to a phiale2 the water rained from it through little holes1 and about the foot are verses referring to the rivers of ,paradise and ,baptism4 ,west ,front4--,on the east side of the atrium court1 against the west wall of the exonarthex1 rise four great piers from which spring flying arches to the west wall of the church4 ,salzenberg thought that the upper arches were ,turkish1 and that the piers were originally intended to support equestrian statues1 which he therefore shows in his drawings4 ,other writers1 amongst whom is ,fossati1 say that the bronze horses now on the gallery outside the west front of ,s4 ,mark's at ,venice1 taken from ,constantinople in #abjd1 came from this position2 but there is not the least authority for this statement1 and the horses at ,venice are not half the size of those that would be required to justify the suggestion4 ,bondelmontius in #adbb describing the columns of the city1 speaks first of that of ,justinian1 8secondly of that of the ,cross1 where are seen four upright porphyry columns2 and on them were placed four bronze horses which the ,venetians took to ,s4 ,mark's at ,venice1 but the columns remain40 ,brocquire1 writing ten years later1 says that 8westward in the city is a very high square column with characters traced on it1 and bearing on the summit an equestrian statue of ,constantine in bronze4 ,he holds a sceptre in his left hand1 with his right extended towards ,turkey in ,asia and the road to ,jerusalem as if to denote that the whole of that country was under his government4 ,near this column are three sic others placed in a line1 and of single pieces which bore the three gilt horses now in ,venice40 ,brocquire has here certainly confused the column of ,justinian1 and that of ,constantine1 but we may safely accept ,bondelmontius4 ,the porphyry column of ,constantine1 situated in the ,forum ,constantine1 at this time bore a cross with the inscription 8,holy1 ,holy1 ,holy40 ,many modern writers place the four horses in the hippodrome1 as ,nicetas speaks of 8the arched starting-places for the racers1 above which are fixed powerful horses of gilt bronze1 curving their necks and facing one another as if eager for the course0 7,ed4 ,bonn1 p4 #aej74 ,between the four great piers of the west front there are now three doorways4 ,if1 however1 we refer to the plates of ,salzenberg1 we shall find that only the two lateral ones are there shown1 and that the position of the central door is occupied by a window2 this arrangement was seen by ,texier in #ahcd1 and is shown in a ,,ms4 drawing of his1 now in the library of the ,royal ,institute of ,architects4 ,referring to the views and plan which ,grelot published in #afhj1 we see the central bay occupied by a belfry1 with a pyramidal top rising above the roof of the exonarthex4 ,now in ,goar's ,euchologium#cbc there is a note to this effect1 8,the ,greeks first took up the use of bells from the time when ,urso ,patricio1 ,doge of ,venice1 in the year #hfe1 sent them to ,michael the emperor1 who greatly valued them1 and built a tower for them against ,s4 ,sophia40 ,we have already seen that large repairs were made to the west front of the church about this time 7page #abc71 with a view of counteracting the thrust of the vaults4 ,before the belfry was built the ,semantron would have been used2 this was a plate of bronze or wood suspended in the atrium and struck like a gong 7see ,fig4 #bh74 ,it appears from the ,russian pilgrims that the bells remained in use for only a short time4 ,a sixteenth century ,french ,,ms4 in the ,british ,museum speaks of the old square tower and bells4 ,grelot#cbd says 8this tower1 formerly the belfry1 is now void1 the ,turks having exchanged the music of bells for the noise of cannon40 ,it was not fifty toises high1 and could not have held many bells1 or large ones4#cbe ,illustration3 ,,fig4 #bh4--,semantron at ,constantinople1 from ,lenoir4 ,the upper story of the narthex1 ,grelot tells us was supported by six flying buttresses1 and both his exterior views show three complete piers and flying arches on each side of the tower4 ,the bay next the belfry on the right was occupied by a low building with a pent roof1 in which were descending steps1 at the bottom of which they drew off water from 8the great cisterns under the church1 from which it was said a boat might reach the sea40 ,as to the doors there were three towards the west1 used when ,grelot made his plan1 two being those at the extreme north and south1 opposite the lateral atrium walks1 and the other1 which was less1 and little used1 was next the belfry on the left1 and is in fact the left one of the three present doors4 ,the arches1 which cover two of the spaces between the piers and make them into porches1 are shown in the view by ,fossati of the unrestored state of the front4 ,illustration3 ,,fig4 #bi4--,west ,front as altered in the ,ninth ,century4 ,comparing the drawings of ,grelot and the plan given by ,du ,cange1 both published in #afhj1 with the present remains1 it would appear that there were formerly ten of these buttresses2 two being merged in the central belfry1 and the two outside ones incorporated in the minarets1 on the sides of which traces of them may still be seen4 ,two others have either been destroyed by the ,turks1 or ,grelot's drawings are wrong to this extent1 as no trace seems to remain of more than eight4 ,of these eight which now in part remain1 ,salzenberg only reserves the four at the centre1 on which he places the horses4 ,our ,figs4 #bf and #bi represent the original west front and the altered faade of the ninth century2 see also ,plan1 ,fig4 #bd4 ,cisterns4--,on the south side of the right-hand pier is a small arch which gives access to a little recessed chamber in the buttress4 ,from this and from a similar recess north of the central entrance1 water from the cisterns beneath the church was probably obtained3 a cross on the wall of the little chamber would seem to show that it was a 8holy well40#cbf ,clavijo says the cisterns beneath the church would float ten galleys1 and ,c4 ,lebrun 7#agad7 speaks of ten cisterns and forty columns standing in the water4 ,the only real description of the cistern we have been able to find is in ,dr4 ,covel's ,,ms4 diary in the ,british ,museum4 ,in #afgf he writes1 8,we went to see the vaults under ,s4 ,sophia2 they were full of water1 then #ag feet deep1 and overhead1 from the water up to the top of the arch was about #b yards and #f inches4 ,every pillar is square 7#d feet71 and distant from another just #ab feet4 ,the bricks are very broad1 thin1 and well baked2 it is not plastered within1 the mortar very hard4 ,they say it goes under the ,at-,meidan1 but we could not enter it4 ,the waste water of the ,aqueduct enters into it1 and going out of it passing through the ,seraglio1 goes into the sea by the dunghill4 ,there is severe punishment to those who have houses with offices draining into it2 or for those who throw any filth into it3 the well of ,s4 ,sophia opens into it and many wells in the ,seraglio40 ,he gives a diagram plan1 showing two rows of eight piers and a third row of three1 although1 as no boundary is shown1 it is impossible to say if this is the whole extent 7see below74#cbg ,generally4--,some of the exterior was doubtless cased with marble like ,s4 ,mark's2 indeed some of the marble plating remained in ,salzenberg's time4 8,the walls outside 7the ,anonymous writes7 were covered with large and valuable stones40 ,where not so incrusted the narrow coursed brickwork showed in thin red lines1 almost equalled by the thick joints of the mortar4 ,from this brickwork the marble lattices of the windows1 each with its slab at the bottom charged with a cross1 shone out fair1 and the gray lead of the many domes rose above all1 curve on curve in pearly gradation of light4 ,the courts were doubtless closely set with cypresses1 like those which now rise about the turbehs on the south side4 ,many passages in the ,byzantine authors show how much beauty of site was regarded as essential for a fair church4#cbh ,procopius1 describing the ,church of the ,fountain at ,constantinople1 says1 8there was a grove of cypresses in a rich meadow of blooming flowers1 a garden abounding in fruit1 with a gently bubbling spring of sweet water1 everything suggested the site of a church40 ,,chapter ,x ,,building ,,forms ,,and ,,the ,,builders #a4 ,,origins4 ,it may be well to say a few words on the growth of the ,byzantine architecture1 of which ,justinian's church is the perfect flower4 ,this building is often spoken of as if it were at once the first and the maturest essay in this great style1 but this we might know would have been impossible1 even though the links that led up to it were lost1 which is not entirely the case4 ,it is perfectly true1 however1 as ,mr4 ,morris says1 that 8the style leaps into sudden completeness in this most lovely building40 ,the new wants of the ,church soon evolved the complete ,christian basilica1 which1 it has been said must have been in the mind of the writer of the ,apocalypse as the type of the entire arrangement of the altar1 the twenty-four elders1 and the great congregation1 in his vision of the heavenly worship4 ,in the time of ,constantine1 and in ,rome1 alongside of work which was entirely classic1 the churches1 with fewer ties to the past to limit development along truly rational lines1 had developed a manner which was a more direct outcome of the necessities of building with a minimum of merely perfunctory 8architectural0 forms--those conventions for the thoughtless expenditure of the workers' labour1 which in still worse times make architecture a burden to them instead of a delight4 ,this transitional style is rightly called early ,christian1 or ,constantinian4 ,in the ,east1 the vital part of the empire at this time1 a greater change was taking place that brought back life once again to the arts of decoration2 this may be expressed in a formula as the re-orientalization of classic art--the linking of simple massive ,roman building to a new decoration1 vividly alive and inventive1 frank1 bright1 and full of colour1 and yet as rational in its choice and application as the construction4 ,in the modern sense the ,romans may be said to have invented building1 and the ,byzantine-,greeks architecture4 ,the ,roman system of arched building1 covered with brick and concrete vaulted shells and domes1 had been masked by non-functional pillars1 tablements1 and pediments in what was thought the true ,athenian manner2 at the same time many beautiful decorative expedients were also in use1 such as the lining of walls with large thin marble slabs1 or small pieces of glass of various forms and colours4 ,mosaic of gold glass seems to have been known before the time of ,constantine4#cbi ,gold tesserae probably originated in an at first almost accidental use of portions of the ,roman glass vessels which are decorated by patterns in gold leaf protected by a thin layer of glass over the surface4 ,parts of such vessels are found used decoratively in the ,catacombs4 ,byzantine architecture was developed by the use of brick in the frankest and fullest manner1 especially in domical vaulting4 ,wide spans were kept in equipoise by other smaller domes4 ,the more concentrated supports were marble monoliths1 and the wall and vault surfaces were covered by incrustations of marble slabs and glass mosaic4 ,directness1 an economy of labour relative to the results obtained1 is perhaps the most essential characteristic of the art both in construction and decoration in the great period4 ,this freedom and rationality mark it out from all other styles of building1 or rather make it include all other styles1 for this reaches the universal4 ,m4 ,choisy rightly insists on the fact that the ,byzantine builders endeavoured to suppress preparatory and auxiliary work1 and to execute their vaults and domes without centring4 8,the greater number of their vaults10 he says 8rose in space without any kind of support4444 ,their method is not a mere variation of that of the ,west1 but it is quite a distinct system1 not even derived from a ,roman source1 but ,asiatic4 ,byzantine art is the ,greek spirit working on ,asiatic elements40 ,here we have an extreme statement in one direction1 and the word ,roman must be used in a narrow sense2 for these ,asiatic elements in construction1 of which alone ,m4 ,choisy seems to be speaking1 whatever were their remote origins must have been completely absorbed into the larger ,rome of the ,empire1 and we have no knowledge of any other system of construction in western ,asia from the first to the fourth century than 8,roman10 unless we subdivide this into ,palmyrene1 ,herodian1 or construct an imaginary ,persian style out of what went before and came afterwards4 ,choisy himself shows that a large use of burnt brick was first made by the ,romans1 and that the system of building vaults in sections known in ,assyria and ,egypt had been adopted by ,roman builders in the ,east in the time of ,constantine4 ,but this was the essential germ of ,byzantine construction4 ,it was the falling away of a dead scholasticism that left ,roman building in the ,east free to be shaped into ,byzantine architecture4 ,mr4 ,bury1 who is extreme in the opposite direction1 and makes the same claim for the continuity of ,roman art as he does for the ,empire1 suggests that ,romaic would be a better term than ,byzantine4 ,but whatever name is given to the political system we must remember that the arts are shaped by the people1 and that the people were truly ,greek who1 in the age of ,justinian1 thought out and left to the modern world the last great gift of ,hellenic genius--medival ,greek architecture4 ,illustration3 ,,fig4 #cj4--,roman ,tomb in ,palestine4 ,while the art of building in the ,east1 particularly in ,syria and ,asia ,minor1 and possibly in ,egypt1 was still distinctly ,roman1 a ferment and change may be detected which cannot be matched in ,rome itself4 ,both in construction and ornamentation there is much already at ,palmyra and ,baalbec that belongs to the new1 and repudiates the rules of merely official art4 ,in ,rome the dome never appears to have been finally adapted to a composite building by being directly applied to a square plan4 ,the dome on pendentives1 so far as we know1 was invented and perfected entirely in the ,east4 ,m4 ,choisy figures a building from ,jerash1 which may be of the third or fourth century which he considers the earliest known dome on pendentives4 ,this building1 although it is plainly early1 has nothing characteristically ,roman about it4 ,a building of the same class however1 recently discovered by the ,palestine ,exploration ,society at ,kusr en ,neijs in eastern ,palestine1#ccj is an ornate example of late ,roman work2 ,ionic pilasters and carved entablature mask the outside1 while within we have a perfected dome on pendentives covering a central square area1 counterpoised by four barrel vaults4 ,we agree with the ,memoir that--8there can be little hesitation in ascribing this building to the second century ,a4,d40 ,this building1 probably a mausoleum1 in adjustment of parts1 and geometrical development might be a ,byzantine church of three hundred years later4 ,it is a little ,sancta ,sophia1 and taken together with the ,jerash building it makes a class invaluable as a fixed point to work from4#cca ,this however like most ,syrian buildings is of stone4 ,a church at ,koja ,kalessi in ,isauria1#ccb ,fig4 #ca1 which there is a great reason to suppose of early fifth century work1 furnishes an important link4 ,we have here an approximation of the square domed building to the columned basilica which is most interesting4 ,this church is substantially complete with women's galleries opening to the nave by a second tier of arcades just as at ,s4 ,sophia4 ,illustration3 ,,fig4 #ca4--,plan of a ,church in ,isauria4 ,illustration3 ,,fig4 #cb4--;,church of the ,trinity1 ,ephesus4 ,the next building we should place in the sequence is the church of the ,trinity at ,ephesus of which ,hbsch1 ,wood and ,choisy give plans4 ,the former furnishes a restoration1 and speaks of it as probably one of the earliest of ,christian churches1 but there is no reason to suppose it earlier than the beginning of the fifth century4 ,choisy speaks of it as a curious monument of transition already ,byzantine in structure4 ,before seeing ,hbsch's restoration1 we had placed an arcade in the lateral arches1 agreeing in every respect with his suggestions2 and that this was the original form is strongly confirmed by the next church--as it seems to us--in the development4 ,this is the church of ,s4 ,sophia at ,salonica1 which has long been assigned to ,justinian's reign at a time subsequent to the erection of ,s4 ,sophia1 but is now thought to belong to the fifth century4 ,m4 ,petros ,papageorgios in the ,hestia#ccc of ,athens for ,october #crd and ,november #adth #ahic1 gives the mosaic inscription of this church1 which he thinks definitely fixes its decoration in the year #die4ccd ,illustration3 ,,fig4 #cc4--;,church of ,s4 ,sophia1 ,salonica4 ,scale about forty-five feet to an inch1 for three plans4 ,the churches at ,cassaba1 ,ancyra and ,myra in ,asia ,minor engraved in ,texier's ,asie ,mineure1 and repeated by ,salzenberg relate themselves so closely to this chain of development that we believe they will be found to belong rather to the fifth and sixth centuries than to the seventh or eighth as those writers thought4 ,the square type with a central dome persisted independently without coalescing with the basilica4 ,such was the domed church at ,antioch founded by ,constantine and completed by ,constantius2 here the central dome was surrounded by aisles1 and formed an octagon4 ,in the churches of ,st4 ,george at ,ezra1 and ,st4 ,sergius at ,bosra we have domes standing over a central octagon contained in an external square4 ,these were built about #eae1 and they furnished the type that was followed at ,st4 ,sergius at ,constantinople which was built only a few years before ,s4 ,sophia4 #b4 ,,the ,,builders ,,of ,,the ,,church4 ,it is noteworthy that the architects who built ,s4 ,sophia as well as the historians who chronicle the work1 all1 so far as their birth-places are known1 come from ,syria and ,asia ,minor4 ,the flourishing city of ,ephesus was one of the great centres of the transformation of the art of building2 and it was from the neighbouring cities of ,tralles and ,miletus1 that ,anthemius and ,isidorus came to ,constantinople4 ,of the two master builders who appear to have been employed together by ,justinian1 it seems clear1 from ,procopius and the other writers1 that ,anthemius was more especially concerned in the preparation of the first draft or model1 and that ,isidorus1 by birth a ,milesian1 was associated with him in the conduct of the works4 8,anthemius10 says ,paulus1 8skilled in setting out a plan1 laid the foundation40 8,anthemius was the man who devised and worked at every part10 writes ,agathias1 and this author gives some account of his life4 8,now this ,anthemius was born at ,tralles1 and he was an inventor of machines2 one of those who apply designs to material1 and make models and imitations of real things4 ,he was distinguished in this and had reached the summit of mathematical knowledge1 just as his brother ,metrodorus was distinguished in letters4 ,besides these there were three other brothers1 ,olympus1 famous for his knowledge of law1 and ,dioscorus and ,alexander1 both skilled in medicine4 ,of these ,dioscorus lived in his native land and ,alexander in ,old ,rome4 ,but the fame of the skill of ,anthemius and ,metrodorus reached the emperor1 and they were invited to ,constantinople1 where they spent the rest of their lives1 each presenting wonderful examples of his skill4 ,one taught letters2 the other raised wonderful buildings throughout the city and in many other places2 these1 ,i think1 even if nothing were said about them1 as long as they remained unharmed1 would be sufficient to win for him perpetual glory40 ,stories of his mechanical ingenuity are told by ,agathias one of which is as follows4 ,anthemius had a quarrelsome neighbour whose room overhung his ground4 ,he placed here large kettles of water1 with an arrangement of leather pipes and a tube like a trumpet up to the projecting part2 and making the other parts secure1 8he heated the water so that the whole thing burst up like an earthquake40 ,as to the scheme prepared by the master builders for the building1 an examination of the evidence seems to suggest the following antecedent conditions and governing ideas4 #a4 ,the ground levels required a short and wide church 7ante1 p4 #ahf74 #b4 ,an old western apse possibly suggested the western hemicycle of the new church 7ante1 p4 #ai74 #c4 ,the plan1 while a direct outcome of traditional forms as we have shown1 seems a synthesis of the three types which were then current2 the ,basilican like ,s4 ,john ,studius2 the square church with a dome like ,s4 ,sergius1 and the cross plan of the ,church of the ,apostles4 ,at ,s4 ,sergius1 the expedient of planning columned exedras to fill out the angles of the square beneath a domed vault had proved its utility and beauty4 ,for the influence of the cross type we need only turn to the plan1 and observe that the width across the 8transepts0 is exactly the same as the length included by the eastern and western hemicycles4 ,the master builders not only designed the church1 they came 8and worked at every part10 and lived with their building until their death2 they certainly graduated as workmen1 and we hear nothing of their honours or position1 only of their genius4#cce ,in the words of ,m4 ,choisy1 8,in ,justinian's time1 to build was the essential rle of the architect40 ,both master builders are again mentioned as working together on the occasion of the fortifications of ,dara in ,mesopotamia1 having been injured by floods4 ,the emperor on hearing of it at ,constantinople 8straightway summoned those most celebrated architects ,anthemius and ,isidorus mentioned before1 and inquired what might be devised40 ,the scheme of ,chryses1 the engineer of the works at ,dara1 was however adopted4#ccf ,the younger ,isidorus who re-erected the dome of ,s4 ,sophia ,procopius mentions as having been employed by ,justinian in rebuilding the city of ,zenobia in ,mesopotamia with its fortifications1 churches1 baths and porticoes4 8,all this work was done under the superintendence of ,isidorus and ,joannes1 of whom ,johannes was a ,byzantine and ,isidorus a ,milesian by birth1 being the nephew of that ,isidorus ,i mentioned before40 ,to the master builders ,procopius1 ,paulus1 and ,theophanes give the names mechanikos1 polumechanos1 mechanopoios1 to which other writers add protooikodomos--8first of the builders10 magistros and maistor4 ,the craftsmen appear to have been classed as technitai with a foreman over each subdivision4 ,the ,latin names of the different building crafts are given both in ,theodosius' code1#ccg and in the edict of ,diocletian1#cch which fixed their wages4 ,this edict is bilingual1 but unfortunately the ,greek synonyms for the workmen are wanting4 ,in the description of the building of ,s4 ,sophia1 ,procopius speaks of the lithologos or 8stone-layer10 who built the big piers1 ,paulus and the ,anonymous use laotoros and laotomos a 8mason0 and 8stone-cutter10 wherever marble workers are mentioned1 to which must also be added lithoxos 8stone polisher40 ,the general bricklayers1 c4 are comprised as oikodomoi4 ,tektonikos implies a carpenter4 ,s4 ,gregory of ,nyssa1 in describing a church of ,s4 ,theodore1 calls the craftsman who arranged the mosaic tesserae1 4 ,a list of the chief classes of workmen employed in the sixth century on a monumental building in ,italy given by ,cassiodorus1#cci names the following--,instructor-parietum1 sculptor-marmorum1 camerarum-rotator1 gypsoplastes1 and musivarius4 ,the instructor-parietum is probably the man who set out the work1 the camerarum-rotator is he who turned the vaults4 ,the gypsoplastes1 a literal transcription of 1 signifies a worker or modeller in stucco1 corresponding to the plastes-gypsarius of the edict of ,diocletian4 ,the musivarius is the 8putter together of tesserae0 of ,s4 ,gregory4 ,workmen who understood the mysteries of 8vault turning0 seem to have been especially appreciated1 as ,theophanes tells us that ,isaurian workmen were employed to build the dome of ,s4 ,sophia4 ,in the humblest work the personality of the maker is often delightfully expressed4 ,a ,byzantine brick in the ,british ,museum is stamped 84 made by the most excellent ,narsis10 and a late ,roman glass cup bears the legend 8,ennion made this4 ,think of it1 ,o buyer40 ,in his inquiry as to the methods of workmanship1 ,m4 ,choisy says the ,byzantine ,greeks did not efface from buildings all traces of the workman's individuality4 8,the workman is no mere passive instrument1 obedient1 without any regard to initiative or responsibility1 to the workshop foreman2 he is treated as an intelligent power1 and finds in front of him liberty1 and a field open to his imagination40 ,in ,roman times the system was that we call 8division of labour40 8,l'art roman est un fait d'organisation40 ,the workman was not an independent citizen working at his own pleasure for his daily wants2 he was a functionnaire1 and compulsorily a member of an association organised by the state on the model of military service4 ,in the ,east an altogether freer system seems to have obtained4 ,the guilds were independent associations1 and in ,palestine the ,carpenter's ,son and the tentmaker followed their callings irrespective of state authority4 8,in ,byzantine buildings the same name occurs in turn upon columns1 capitals1 or simply squared blocks of stone1 and there is nothing to show that the foreman of the works kept one man at one particular kind of work4 ,the ,east never changes2 at present the absence of division of labour in ,oriental buildings is most striking4 ,the proprietor chooses a master workman 7protomaistor72 to this improvised architect he adds a certain number of head workmen 7maistores7 and their companions1 and these same men will work at digging the foundations1 at the masonry of the walls1 and at the carpentry of the roof2 even the ironwork and joinery is scarcely reserved for special workmen40 ,the terms masters and companions suggest an arrangement which merits consideration4 ,like western workmen the ,greek artizans were affiliated to corporations which have lived to our days4 ,these associations 7sunergasiai7 had a council1 composed exclusively of those1 who1 by apprenticeship and trial1 had earned the title of masters 7maistores74 ,each society was presided over by a 8protomaistor0 helped by secretaries 7grammateus and kerux7 to summon the meetings4 ,it was at once a corporation of workmen1 a religious brotherhood1 and a mutual aid society3 and such societies engaged in mutual acts of hospitality and assistance between one town and another4 ,all workers in the ,east seem to have been thus associated into guilds1 and municipal life was organised on the guilds4 ,this is evident at ,constantinople as early as the ,notitia1 see p4 #aa above4 ,the members of the guilds had to help at fires1 and ,lydus gives the cry which brought them together1 8,omnes ,collegiati40 ,demetrius1 the silversmith of ,ephesus1 called together the ,sunergasia when the craft was in danger2 we even hear of strikes4 ,even unskilled labourers had their guilds1 and ,mr4 ,ramsay has described the ,guild of ,street ,porters of ,smyrna in ,roman times 7,american ,journal of ,archology1 ,vol4 ,i474 ,the existence of the guilds is the most significant fact of the social history of the middle ages4 ,in such craft organisation of labour1 free of the financial middlemen who now rightly call themselves 8,contractors10 we see the only hope that building for service1 and ornamenting for delight1 can again be made possible4 ,our studies have convinced us that 8shop production0 went on side by side with the building organisation4 ,this shop production will be at once allowed for such things as gold cups and altars1 lamps and bronze doors1 but we believe that decorative marble work was largely produced in this way1 and that just as enamelled cups and damascened doors were 8ordered0 in ,constantinople1 so also were sculptured slabs and capitals4 ,it would be possible to account for mere resemblance by 8influence10 but absolute likeness between the capitals and sculptured or inlaid slabs found in contemporary buildings1 at cities so far apart as ,constantinople1 ,salonica1 ,parenzo1 ,ravenna1 and ,rome show that in the fifth and sixth centuries such works were dispersed from a common centre4 ,so early as the fourth century ,s4 ,gregory ,nazianzenus speaks of a priest who came to ,constantinople 8from ,thasos bringing with him the gold of the church wherewith to buy slabs 7plakes7 of ,proconnesian marble40#cdj ,these things were not only bought1 but specially commissioned2 for instance1 the marbles of ,st4 ,clemente1 which are almost certainly ,constantinople work1 bear fine monograms of ,john1 afterwards elected pope in #ecb4 ,the great contributing cause for this1 besides the political and artistic position of ,constantinople1 was doubtless its possession of an absolutely perfect material in boundless profusion--the coarse white marble1 which we may see to-day so delightfully wrought in small shops into the tombs1 each of which has its carved tree of cypress1 palm1 or rose4 #c4 ,,original ,,form ,,of ,,the ,,church4 ,dome1 c4--,agathias tells us that when ,justinian rebuilt the dome it was made higher1 and that large alterations were made to the sustaining arches on the north and south sides4 ,salzenberg cites ,theophanes and ,zonaras who give the increase of height as twenty and twenty-five feet respectively4 ,if we examine the longitudinal section we shall see that the great semidomes of the hemicycles and the apsoid of the bema show much less of their curvature outside than the present central dome4 ,the windows in these do not stand above a cornice1 but are pierced through the vaults at middle height2 the domical surface being unbroken by any cornice from springing to crown4 ,the cupola of the baptistery is also continuous with the pendentives4 ,a dome of this kind1 however1 continuing the pendentives1 would seem to be impossibly flat1 and would be some thirty feet less than the present height--see ,a in ,fig4 #d1 the existing dome rising to ,b4 ,if a curve between these two be obtained by lowering the crown of the dome about fifteen feet to ,c1 it may be noticed that a straight line tangential to the curve of the eastern apsoid1 and also to the great semidome would form similar contact with the dome4 ,salzenberg1 understanding an account of ,cedrenus as to a strengthening of the abutments of the dome to refer to the great buttress masses which rise above the gynaeceum roof1 considers that the external parts of these masses were additions made at the time of ,justinian's restoration4 ,these great vertical piles are so essential to the structure1 to the logical beauty of the design1 and to the staircase service of the building2 moreover the preparation for them beneath is so adequate1 that we cannot accept this suggestion1 and therefore follow ,choisy in considering them original4 ,now ,choisy1 examining the external base of the dome where it forms a square1 found that the four angles had been increased1 and that it did not originally form a square1 but rose above the piers and the lateral arches as shown in ,fig4 #cd1 and in ,fig4 #cg1 where the first base is shown by hatching and the additions by dotted lines1 ,a ,a4 8,this alteration10 he writes1 8is not hypothetical4 ,i verified the entire absence of bond between the first base of the dome and the added work0 7p4 #ach74 ,these additions were built on the lateral arches1 and on the top of the piers1 altering the form shown in our ,fig4 #ce to the present form given by ,salzenberg4 ,that ,choisy is right1 is borne out by seeing the resemblance of treatment that there would have been between the growth of the dome on the north and south and the semidome on the west 7see ,fig4 #cd74 ,illustration3 ,,fig4 #cd4--,view of ,vaulted ,system of ,s4 ,sophia1 adapted from ,choisy4 ,again1 ,salzenberg hardly makes it sufficiently clear that the large arches in the walls which fill the great vertical semicircles over the arcades on north and south sides1 are in fact the inner surfaces of the arches which pass between the pairs of piers on north and south sides 7seventy-two feet apart in this direction71 and being the whole width of those piers 7fifteen feet eight inches7 on soffite they form the immense arches so well known on the outside4 ,the semicircles of wall1 each of which contains twelve windows1 are now filled in beneath these arches1 flush with their inner faces1 and the arches therefore do not show to the interior through the decoration 7,figs4 #d1 #cf1 #ch74 ,illustration3 ,,fig4 #ce4--,plan of ,upper ,gallery as first designed4 ,illustration3 ,,fig4 #cf4--,section of ,aisles and ,gallery4 ,now ,agathias 7see page #cj7 says that at the restoration after the earthquake in #eeh1 at the north and south arches they brought towards the inside 8the portion of the building which was on the curve40 ,this1 we think1 must refer to the filling wall1 in the arches of seventy-two feet span1 which we suppose was formerly on the exterior1 and thus left an upper gallery twelve feet wide and seventy-two feet long open to the interior4 8,and they made the arches wider to be in harmony with the others1 thus making the equilateral symmetry more perfect4 ,they thus reduced the vast space and formed an oblong design40 ,that is the arches of seventy-two feet1 when filled up on the inside1 were no longer visible1 and the dome appeared to stand over arches of #ajj feet span on north and south1 as already on east and west1 the transverse dimension of the church being lessened between these points by some twenty-four feet4 ,salzenberg understanding ,agathias to refer to the apparent arches of #ajj feet span on north and south is unable to offer any explanation4 ,illustration3 ,,fig4 #cg4--,plan of ,basis of ,dome as originally designed1 with ,additions ,a ,a containing stairs4 ,illustration3 ,,fig4 #ch4--,section between ,great and ,secondary ,orders4 ,the actual evidence in the church1 we believe1 fully bears out the interpretation here suggested4 ,what we have called the secondary order of columns would pass exactly beneath the position given to this wall4 ,these columns on the gallery floor are very strong1 and a very strong row of arches runs along over them 7see ,fig4 #ch74 ,moreover the curtain walls in every other instance throughout the church are flush with the exterior4 ,that this space is not available to the interior of ,s4 ,sophia has caused ,choisy to criticise the design in this respect as 8a solution undecided1 moyen terme1 fcheux2 the large arches by a departure from ordinary rule being thrown on the outside so that the space covered by them was lost4 ,s4 ,sophia ,salonica redressed this error40 ,we wonder that ,choisy's views as to the original base of the dome did not cause him to take the further step we have here suggested4 ,the present form1 in which the lateral arches support the square base of the dome1 is at least a possible one2 but that the arches when they carried nothing and thus were actually vaults 7as before shown by ,choisy7 were not filled with a screen but were mere arches twelve feet on soffite1 lying against the sides of the building seems inconceivable4 ,in our ,figure #cd we have amended ,choisy's view in this respect4 ,looking on these lateral arches as vaults we have filled them with a window like the western vault1 and the harmony which results between the sides and the west end amply verifies our conclusions4 ,one point further4 ,the upper surface of the base of the dome on the west side should not be wholly level as shown in ,fig4 #cd1 the central third curves up following the line of the top of semidome4 ,in other words1 the great arch of the interior pushes itself up through the base of the dome1 and this treatment thus recurred at various heights--over large windows of aisles1 over western and lateral lunettes1 as we have shown1 and over the semidome4 ,originally1 before the interior was narrowed in the way we have explained1 there was a much clearer suggestion of a cross plan3 barrel vaults at north and south being filled at their ends with large lunettes like the west vault4 ,we suppose that the failure was mainly in the secondary order1 and that the window screen and all possible weight was entirely removed and transferred to the great order4 ,salzenberg was satisfied that there had been great alterations in this part of the building1 and ,choisy's view of the window-wall1 ,plate xxv41 entirely confirms his opinion4 ,if it could be shown that the alteration spoken of by ,agathias will not bear the interpretation we put on it1 there were earlier troubles at this part mentioned by ,procopius4 ,the best proof1 however1 we suggest is found in the design4 ,it has been before pointed out that ,choisy and other writers have too hastily assumed that ,s4 ,sophia ,salonica was built after the great church of ,constantinople4 ,that it preceded it enforces the present argument4 ,grelot 7#afhj7 writes that upper galleries remained in the church in these positions1 but he based his assertion on the row of seven arched recesses just above the main cornice which he thought were formerly open4 ,it is clear however from an examination of the section that the arches could only have opened to the vault of the first floor gynaeceum4 ,that these small arches did open to the vault of the first floor1 seems to be borne out by the fact that above the centre of the secondary order1 where its arch is low1 a similar piercing is made1 through which 7or the higher arches on each side7 and through the seven arches1 a mysterious perspective into the immensity of the dome might have been obtained by those in the gynaeceum 7see ,figs4 #d1 #cf1 #ch74 ,shallow arched recesses merely used decoratively seem to have been little known to early ,byzantine art1 and arches on the first floor through the great piers are blocked in a similar way4 ,moreover such openings would explain why the vault between the two orders of columns is so much stilted up into mere darkness4 ,atrium4--,to explain the present confused arrangement of the exterior1 we must remember that from the time of the description of the church by the ,silentiary to its description by ,gyllius was a thousand years--as long as from the time of ,alfred to the present day--and in this time we may well expect alterations and accretions4 ,in ,chapter ,,ix4 we have shown that the present form of the exonarthex1 with its great external piers1 was an alteration1 made about the time the belfry was added in the ninth century4 ,before that time the atrium was alike on all four sides--a true quadriporticus--one of the most beautiful features of the ancient churches4 7,see ,figs4 #c and #be47 ,north and ,south ,porches4--,much of the confusion at the north-west and south-west angles is the result of ,turkish attachments1 including the western minarets1 which were built in the last quarter of the sixteenth century4 ,the plan of gynaeceum floor furnishes the best key to the former arrangement1 for where there is ,byzantine work above1 it must once have existed below4 ,comparing the first floor and roof plans in ,salzenberg with the ground plan1 it becomes apparent that the main block was originally finished both at north-west and south-west angles to the general square of building4 ,the two staircases now at these angles were added as extra buttressing masses2 the original stairs being the four in the piers of north and south sides4 ,the north and south porches1 with extra building above the latter on the first floor1 were also additions4 ,besides the irregularity and inferior style of these buildings the following evidence should be noticed4 ,the actual form of the north-west angle on the gallery floor2 and the natural reading of the three plans when laid one over the other2 broad arches1 which pass across the porches2 the fact that the arch in south porch 7dotted in ,c on ,figure #bd1 see also ,fossati1 ,plate i47 now has no office2 and that above the door at this end of narthex1 there is a window which now merely opens into the south porch4 ,an examination of the exterior on the south side shows that the south-west staircase was built before the porch1 or the part above it at least1 because a straight joint in the walling1 and the form of the roofing1 here clearly make evident that the apex of the gable roof was originally over the centre of the staircase1 and that the slope has been subsequently run forward to cover the part above the porch4 ,in considering all the other irregularly attached buildings1 together with the historical evidence1 it seems clear that the church as designed and first built was externally a regular parallelogram1 interrupted only by the projection of the apse at the east end2 which was itself masked by a range of low chambers against the east wall1 through which there were two entrances to the church as at present1 and to which other two doors1 in the east wall1 still visible but now blocked1 gave access4 ,the other external doors1 besides those from narthex1 being two on the north and one in the south wall2 together with two external doors at the gynaeceum level1 one of which probably gave access to the gallery along which the emperor passed to the church1 and the other1 to the north1 may have led to the cells of the clergy4 ,baptistery and ,loggia4--,of early buildings detached from the church we have the round building at the north-east1 which we regard as having descended from the earlier church1 and the south-west baptistery1 with a loggia attached to its north side4 ,the space between the church and the baptistery on plan looks like a covered way1 leading from the church with a screen in the middle1 but the part next the church is1 and always must have been1 open4 ,the part next the baptistery is covered with a large semicylindrical vault1 arched transversely to the 8screen10 and penetrated by a less cylinder in the direction of the length of the loggia4 ,rebates 7on baptistery side7 round the doorway which stands between the pair of columns show that there was a door1 and strips down the sides of the pillars1 which stand above the transom1 show that pierced slabs or other closures filled the arched front of the vault4 ,if we add breast-high closures in the lateral openings1 as in the portico of ,st4 ,john ,studius1 the whole becomes an inclosed loggia against the baptistery4 ,salzenberg states that there was a door in the north wall of baptistery1 and ,labarte places another in the western compartment of south aisle of church1 but for the latter there does not appear to be a particle of evidence2 and consequently the court and loggia cannot have formed a direct passage to the baptistery4 #a4 ,salzenberg on his plan draws the transverse axis of the baptistery1 and that of the western bay of the church2 these do not agree by a foot or two1 but the doorway of 8screen0 agrees with neither1 nor is it a mean between them1 but varies by excess4 #b4 ,in the section 7,salzenberg1 ,plate xi47 it is seen that the present level of floor in this loggia is that of baptistery1 and is below that of church2 but the columns have no bases1 therefore the loggia floor was beneath both church and baptistery4 #c4 ,a large arch is shown between the church and west pier of this loggia1 from which it springs properly1 while at the other end it is cut off incomplete by the wall of the church4 ,these reasons together lead us to suggest that the loggia is possibly older than the church1 and that it may be a part of an arcade retained when the present church was built4 ,the style of the screen would readily allow of its being twenty or thirty years older than ,s4 ,sophia4 ,the capitals are not found elsewhere in the church1 while similar ones form the chief order at ,s4 ,sergius2 and the door is inserted between the two columns1 exactly as in the portico of ,s4 ,john ,studius4 ,we do not however insist on its being earlier than the church so much as on the evidence pointing to its being part of a continuous arcade 7see plan1 ,fig4 #ci74 ,doubtless it might be determined from a careful examination whether the loggia or the baptistery was built first4 ,illustration3 ,,fig4 #ci4--,restoration of ,loggia by the ,baptistery4 ,scale about eight feet to an inch4 ,the way by which the 8,great ,baptistery0 was reached from the bema1 as mentioned in the ,ceremonies was probably by this cloister1 which perhaps inclosed one of the courts on the sides of the church1 spoken of by ,procopius and the ,silentiary4 ,the portion drawn by ,salzenberg still remains1 although sadly plastered over and mutilated4 #d4 ,,structural ,,system ,,and ,,vaulting4 ,the geometrical scheme of this building1 which in its final form must be the result of hundreds of adjustments1 modifications1 and expedients1 to meet newly discovered emergencies1 is withal so seemingly simple1 that it may be read as a bare mechanical solution of the primary conditions4 ,the great central area1 excepting only the narrow bema1 is surrounded by two stories of vaults2 the thrust of the dome over the square of about #ajj feet is not only resisted by these1 but by the four immense buttressing masses 7or rather chambers for they are built hollow7 which1 pierced by arches1 pass right across the aisles4 ,east and west the dome is sustained by the semidomes of the great hemicycles1 and these in turn by the vaults of the three subdivisions of the hemicycles4 ,the thrusts are thus distributed in a regular pyramid4 ,the external wall1 which incloses the whole1 being built out to the extremity of the great buttress piers of the north and south sides1 and the lesser piers east and west1 is thus little more than a screen1 inclosing the more active parts of the structure4 ,one of the most remarkable expedients of this marvellously planned building is that by which the vaults of the side aisles1--which1 having large spans1 necessarily spring comparatively low down--are received on the secondary order of columns1 standing behind the pillars of the great order4 ,this allows of the stately colonnade on either side of the central space and those in the four exedras being only controlled by the height of the upper floor1 which is forty-four feet above the area as is explained by ,figs4 #cf1 #ch4 ,these secondary pillars also transform the spaces left by the exedras into square compartments4 ,arch ,forms4--,the great arches under the dome have their centres two feet six inches above the springing line4 ,those in the principal arcade appear to be semicircular4 ,in the adjoining exedras1 the porphyry columns not being nearly so long as the green ones1 they were set on pedestals1 and the arches are 8horseshoe0 in form1 at least towards the nave1 for they are built 8winding10 so as to approach a square impost on their caps4 ,we say approach1 for there is a gradual modification2 the caps being an inch or two wider towards the aisles1 the impost increases this by a few inches more4 ,the openings from gynaeceum at west end are segmental1 some arches to the side windows and the lateral windows of west elevation1 ,fig4 #be1 are bluntly pointed4 ,the transverse arching of narthex is semielliptical1 or rather three-centred1 a segment with the curve at the ends quickened to become tangential to the wall4 ,the pointed arch is used in the great aqueduct near ,constantinople and in one of the city cisterns3 both appear to be of the age of ,justinian4#cda ,vaulting4--,the vaulting is executed with the mastery and freedom that comes of confidence in direct methods4 ,certain portions are cylindrical1 and others are formed by cylindrical cross-penetrations4 ,the octagon of the baptistery1 and the square compartments of the gynaeceum1 are covered by domes which penetrate down into the angles with continuous pendentives4 ,the larger compartments of the vaults of the aisles require some explanation4 ,where four semicircular arches open about a square or oblong space1 and it is desired to make the vault conform exactly to them1 this may be accomplished by a semispherical dome1 the span of which is equal to the diagonal of the compartment to be covered2 such a vault presents an unbroken surface4 ,or two cylindrical vaults may penetrate at right angles1 when the vault is broken by the intersection into four surfaces4 ,at ,s4 ,sophia it was evidently desired to keep the springing high for the sake of the monolith columns1 and yet to maintain1 so far as possible1 a domical surface4 ,illustration3 ,,fig4 #dj4--;,construction of ,vaults4 ,thus in ,fig4 #dj the dome springing out of the angle requires the height a1 the radius being equal to half the diameter2 but it was wished to flatten this to b1 and yet for the vault to rise everywhere from the arched line e1 c4 ,now if the vault conforms to the surfaces generated by the revolution of the arc d1 f1 b1 about the axis o1 d1 intersecting with a similarly generated surface at right angles1 we get a mean between the domed and cylindrical forms--a domical vault4 ,the intersections1 instead of being everywhere square on plan as at x1 x1 and rising just to the crown of the vault1 as would be the case with cylindrical penetrations1 will be obtuse as at i1 i1 and not rising so high will practically leave a large concave surface unbroken at the crown of the vault4 ,this is the principle of the vaults of ,s4 ,sophia2 the gradations being gentle and the means less obvious1 the forms are more like those found in nature1 and the result is extremely beautiful4 ,the forms are further softened by every edge of arch and vault being rounded1 so that the mosaic completely envelops the whole like a vast embroidered gold tissue4 ,there would be no difficulty in construction1 for the vault falls everywhere on an arch in the angle e1 f1 b that is in planes which are radii to the arch4 ,the vaulting of the narthex is made up of a series of compartments1 much narrower than the span1 divided by plain arched bands4 ,to meet the requirements of such oblong spaces two gauges would be needed4 ,the 8winding0 of the lines of intersection was not to be feared1 as they were so soon lost in the more domical surface of the upper part of the vault4 ,after the above was written we found the geometrical and practical construction of these vaults explained in ,l',art de ,btir chez les ,byzantins1 in a manner which differs from that here given4 ,m4 ,choisy's method is first of all to design the curve of the intersection over the diagonal of the plan as a segment of a circle3 then he considers all sections of each compartment of the vault1 taken parallel to its arch1 and therefore perpendicular to its axis1 to be also segments of circles springing from a series of points on the diagonals1 their centres being on the axis of each vault4 ,we cannot agree with this1 for1 although theoretically the vault so conceived differs immaterially from the solution we have proposed1 yet practically its erection would be full of difficulty4 ,m4 ,choisy's method is that proposed by ,m4 ,viollet-le-,duc for the later ,romanesque vaults1 in which1 the materials being poor rubble1 centring must have been required4 ,in these ,viollet-le-,duc thinks that diagonal centres were used1 and then planks were placed from them to the generating arches1 and the additional height of a domical vault made up by a layer of earth4 ,it is to be noticed that diagonal centres in this case almost immediately produced diagonal stone ribs4 ,m4 ,choisy in his most interesting book shows that the chief consideration in the construction of the ,byzantine vaults was to avoid wooden centring4 ,with this view we entirely agree1 but in the system explained in ,l',art de ,btir1 the lines of construction would be arrived at by an elaborate system1 which required fixed axes to the vaults and either a diagonal centre or a rod revolving in a vertical plane over the diagonal4 ,then two rods1 forming an angle with its apex touching any given point in the diagonal curve and the ends resting on the axis of the vault as a base1 revolved as a trammel for that course of the filling4 ,this had to be repeated for a series of points4 ,by the method we have suggested nothing was required except a single template to a fixed angle1 the upper arm cut to the curve from the crown of the arch to the crown of the vault2 we may suppose this to sweep round the generating arches like a trammel1 but practically testing the work with it at the crown1 as it gradually grew forward1 was doubtless found sufficient 7see ,fig4 #dj74 ,thus the vault surfaces gave the conditions of the problem and the intersections found themselves4 ,we did not notice the curious 8curve of inflection0 of which ,m4 ,choisy speaks2 certainly it does not generally exist1 although according to ,l',art de ,btir 8,s4 ,sophia is the most curious example which remains of this singular conception1 where the spirit of ,greek logic did not hesitate before anomalies of form0 7p4 #ee74 ,we believe this curve is deduced only by the logic with which ,m4 ,choisy's follows up his method of geometrical projection1 which certainly generates such an inflected curve4 ,we cannot say this without at the same time expressing our great admiration for ,l',art de ,btir2 its freshness of sight1 clearness1 vitality1 and logic are entirely delightful4 ,strzygowski and ,forchheimer#cdb follow ,choisy's demonstration2 and give an elaborate and analytical explanation of the curve and its points of inflexion4 ,one of the cisterns they say showed the inflected line in the axial sections of the vaults 7p4 #ga74 ,now the cistern vaults are roughly built and some of them may have settled down2 some indeed may have been designed so that the axial section is horizontal for some distance from the walls before the doming is commenced1 especially in the long direction of parallelogramic compartments4 ,the essential points are two4 ,did these vaults grow forward from the walls and the intersections find themselves1 or was the curve of intersection first designed8 ,are horizontal sections through the intersection of two vault surfaces just above the springing obtuse or acute8 ,the vaults at ,s4 ,sophia have the angles of intersection so obtuse that this first drew our attention to the subject4 ,for a general view of the vaulted system of ,s4 ,sophia we would especially refer to ,choisy1 whose remarks on the construction of these vaults are most interesting4 ,he clearly shows how the large flat bricks made possible the construction of vaults without centring4 ,the extrados of the arches from which the vaults spring being splayed to a skew back1 the large surfaces of the thin light bricks allowed them to be stuck up against this skew back1 or any part already done1 much as if they were square sheets of cardboard 7see left side of ,fig4 #dj74 ,indeed the bricks seem sometimes to have been placed quite vertically1 but the better plan seems to have been to incline the beds1 the vaults were thus built in sections rather than in layers4 ,to take the simplest instance1 a cylindrical vault1 the arching would begin at one end against the vertical wall1 the rings of large thin bricks being placed 8on edge0 in planes of say #fj right down the vault4 ,in other words1 in a longitudinal section of such a vault the joints instead of being horizontal might be vertical1 or a mean between the two4 ,this method was known in ancient ,egypt and at ,khorsabad1 and the immense vault at ,ctesiphon is built in this way4 ,although the mosaic covers most of the vaults at ,s4 ,sophia1 a vast number are exposed in the contemporary cisterns1 and ,choisy seems to have found a cylindrical vault uncovered in a chamber in one of the buttress masses 7,plate ii471 he also shows the construction of the aisle and narthex vaults 7,plates ix4 and xi471 but he does not say if he had any authority for these4 ,we agree with him that the vaults of ,s4 ,sophia owe much of their exceptional beauty to the fact that arches do not break up the curving expanse of the vaulting to any appreciable degree2 in the narthex the arches become one with the vault1 see ,fig4 #da4 ,illustration3 ,,fig4 #da4--,section of ,narthex and ,gallery over showing ,royal ,doors4 ,scale twelve and a half feet to an inch 7#a_/abe74 ,illustration3 ,,fig4 #db4--;,dome ,construction4 ,domes4--,in elaborating his theory of ,byzantine dome construction ,choisy refers to a passage in ,eton's ,turkish ,empire#cdc which describes domes the latter saw built without any kind of centring4 ,the builders put a post in the middle about the height of the walls4 ,to this is fixed a pole reaching to the inside surface of the dome1 which is free to move in all directions4 ,below is attached to the post another pole1 which reaches to the outside and describes the outside curvature of the cupola4 ,these give the thickness at the top and bottom and at every intermediate point4 8,where they build these cupolas of bricks they use gypsum instead of lime1 finishing one layer all round before they begin another4 ,scaffolding is only required for the workmen to close the opening at the top40 ,our diagram ,a1 ,fig4 #db1 represents this fascinating scheme of building3 with such a rod any point in the whole curvature is defined in a moment2 it equally gauges the horizontal courses and the rise of the dome4 ,choisy suggests a second scheme which will be made clear by ,b4 ,there is no reason1 he points out1 why the beds of the bricks in a dome should radiate to the centre of the curve3 in the ,byzantine domes the beds were flattened so that they radiated more or less accurately to the springing of the opposite side of the dome4 ,the thrusts were thus minimised1 and the construction was facilitated4 ,if rods forming a triangle revolve about a vertical post as shown1 the horizontal curvature is gauged and the top rod will define the slope for the bed4 ,these rods can then be raised to another position as shown in the figure4 ,we should have supposed that little care would be taken with the slope of the beds1 as from the thin bricks used the construction practically became homogeneous4 ,choisy even thinks that the great dome of ,s4 ,sophia may have been built in the air without centring4 ,c1 in ,fig4 #db1 gives his representation of the construction of the semidomes1 which he thinks were built out some way entirely without support4 ,the outer arch was then built on a centre and the filling completed 8in space0 7a straight joint between the arch and the dome filling is shown in the figure in ,salzenberg's text74 ,we think it more likely that in all the larger domes auxiliary support was required 8to close the opening at the top10 when the space had been so contracted that a light centring resting on the part already completed was all that would be needed4 ,from the importance attached to wood ties or girdles built into the small domes of ,mount ,athos1 we may be certain that some system of chaining was applied to the great dome of ,s4 ,sophia4 ,choisy gives an example of the former1 and also a dome constructed by interlocking semicircular bricks1 8two courses of which make a circlet absolutely inextensible40 ,see ,b in ,fig4 #de4 ,the dome of ,s4 ,vitale at ,ravenna is built of layers of earthenware pots or tapering tubes1 the end of one fitting into the next and rising in a continuous spiral course1 round and round from the bottom to the crown of the dome4 ,the question of dome construction without centring is of the greatest interest1 and much might doubtless be gathered of the traditional methods still followed in modern ,greece1 ,egypt1 ,persia1 and ,s4 ,italy4 ,our ,fig4 #dc represents modern domes in ,persia1 the upper diagram being an ordinary type of exterior from a photograph of ,koum4 ,the dome beneath1 ,fig4 #dd1 is from a sketch made in a ,persian caravanserai by ,mr4 ,wm4 ,simpson1#cdd who describes it as built of burnt brick1 square below1 round above4 8,as ,i was told that centring was never used in ,persia ,i presume this one was constructed without it40 ,this beautiful form may be considered as four conical squinches penetrating a hemisphere as at ,a1 or as a gradual transition from square to round1 ,b4 ,ancient ,persian domes of substantially the same form1 in which a hemisphere penetrates a pyramid1 are shown by ,dieulafoy4#cde ,illustration3 ,,figs4 #dc and #dd4--,modern ,domes built without ,centring4 ,chainage and ,walling4--,in the ,east the frequency of severe earthquakes necessitated a manner of construction which should resist disruption4 ,the massive walls of stone of the ,classic period are cramped together with metal4 ,the stone ,byzantine church at ,ezra has a course of interlocking stones forming a chain around the octagon beneath the dome 7,fig4 #de a74 ,at ,s4 ,sophia the continuous courses of stone some feet above the floor1 mentioned by ,salzenberg1 are almost certainly converted into a chain by cramps2 and the stone course at the springing of the great arches probably has the same function4 ,in brickwork lateral cohesion was usually obtained by a system of continuous wood ties1 which is described by ,choisy as built into the wall at every five or six feet of height4 ,according to the ,greek architect1 ,m4 ,kouppas1 ties of bond timbers were used in this way in the construction of the cisterns1 8laid not only along the outside walls but also in parallel rows beneath the lines of pillars and arches20 other rows of timber were built in either as ties or struts in continuous lines at the springing of the vaults4 ,at ,s4 ,sophia there was doubtless a large use made of temporary ties of this kind during the construction4 ,in many places at the springing of the gynaeceum vaults the ends of such provisional ties1 which have been sawn away1 appear4 ,besides these there is a series of wood beams which from the first were intended to be permanent1 for they are richly carved 7,c in ,fig4 #de72 these are shown by double lines on the right-hand side of ,figs4 #e and #f1 the single lines showing the iron ties4 ,these carved beams1 as ,choisy points out1 are struts rather than ties4 ,if we take one of the columns standing in an angle in the aisles1 an impost of marble connects it with the wall to which it is nearest1 and a carved wood beam forms a strut to the other wall4 ,the beam across the central bay of secondary order 7,fig4 #e7 forms a rigid strut to the two wider arches 7see ,fig4 #ch1 where1 however1 by oversight the beam has been omitted2 it is at the springing of narrow arch high above iron tie74 ,choisy asserts that 8the architect intended to preserve only the struts1 all the ties subject to extension were removed1 but their suppression was disastrous1 and they had hastily to replace them by bars of iron which were fixed with difficulty40 ,we do not know what reason ,choisy had for supposing the system of iron ties to be an afterthought1 unless it is because in some cases they appear directly above the ends of the removed wooden ties4 ,now we believe they occur equally above the carved beams in the openings from the gallery to the nave1 and there is no sign of wood ties having been removed from the ground-floor vaults1 where the iron bars fulfil such an important function4 ,it is certain that the iron bars to all the nave arches are original1 for the marble casing shows no sign of alteration1 and they are evidently threaded continuously through the imposts4 ,the important iron ties across the aisles are shown in ,fig4 #de3 d is the attachment to the column of great order1 e to impost of secondary order behind it1 f is a king rod4 ,across the west gallery the span is lessened by stone corbels beneath the ties g4 ,with a view of binding the vaults and walls together into a homogeneous mass1 the arched vaulting of the interior was carried through the thickness of the walls3 in some cases these arches were left open1 to be afterwards filled with a screen of windows4 ,the walling of the sides of the church is built independently of the great piers1 as straight joints on the exterior show1 and ,choisy remarks that the independence of masonry unequally charged was a leading idea in ,byzantine construction2 indeed it is obviously necessary where the quantity of mortar is so great that the brick at times becomes secondary to the joints4 ,illustration3 ,,fig4 #de4--,methods of ,chainage4 ,mortar and ,cement4--,the mortar used by the ,byzantine builders was called ,keramotos1 from the crushed pottery or tiles which was used in its composition4 ,in an article in the ,transactions of the ,philological ,society of ,constantinople ,m4 ,kouppas#cdf enters fully into the methods which have been traditionally followed in cistern building1 and describes this mortar as formed of powdered unslaked lime 7asbestos71 crushed pottery1 coarse sand1 and tow or hair1 fully a third being lime1 another third the crushed pottery1 about a fifth the coarse sand1 and the rest or #aj per cent4 of hair or tow4 ,these were then mixed together in water4 ,m4 ,kouppas also describes a hydraulic cement made of 8coarse lime 7titanos7 slaked by water into powder1 sifted and laid in layers with cotton shreds4 ,this was thoroughly mixed1 and then olive oil was poured in1 and the whole gradually brought to a homogeneous mass40 ,andreossy#cdg describes a mixture 7called lukium7 made of a hundred 8ocques0 of lime1 freshly slaked in the form of powder1 twenty-five 8ocques0 of linseed oil of the best quality1 and twenty drachms of filaments of cotton4 ,this was reduced to a dough1 and then before using fresh oil was added4 ,strzygowski#cdh also speaks of a ,turkish cement 8of six parts by weight linseed oil1 eight parts slaked and powdered lime1 and one part of cotton40 ,he refers to a ,roman mixture mentioned by ,pliny of 8oil and quicklime40 ,by far the best and earliest account of the methods used for obtaining lime and making cement at ,constantinople is contained in ,dr4 ,covel's ,,ms4 in the ,british ,museum 7#afgj-g74 ,the lime was burnt in a pit dug in the ground1 the stone1 which was hard and black and like 8,plymouth stone10 being piled up in and above it like a beehive hut1 an opening being contrived in the side for inserting fuel1 and a smaller pit dug in the middle for the ashes2 it was fired for three days4 ,then he describes in detail how a cement was made which recalls what the ,anonymous says of the joints of the piers at ,s4 ,sophia being made of unslaked lime 7asbestos7 and oil3 8,to make good lukium 7a strong cement as ,i may call it7 they take the above said calx or burnt stone and slake it with water1 and so soon as it is moulded and turned into a meal 7even while it is warm7 they work it with linseed oil and cotton till it is well saturated and brought to the consistency of plaster1 and make present use of it1 for it will not rest in its perfection above one day or two at most1 and if they use it immediately after it is tempered it is certainly the best4 ,in the works of their ,bagnos so soon as it is laid on as a plastering1 understood here they let the water come to it1 which1 by tempering the heat of the lime1 hinders it from cracking4 ,cotton is better to be mixed amongst it than hair1 it being more tenacious and apt to incorporate40 ,he again describes a similar cement 78lukium1 an excellent mortar07 used in some waterworks4 8,it is made of unslaked lime and beaten brick most finely powdered and sifted1 cotton wool very thinly pulled and strewed on1 and then all slaked with linseed oil and mixed together3 then they use it whilst it is fresh made1 otherwise it hardens immediately40#cdi ,such a cement must have had the hardening qualities of gesso2 the oil cements or mastics used in ,england some fifty years ago were closely allied in their composition4 ,modern mortar has lost much by our neglecting the tradition of using crushed brick4 ,eastern builders spared neither labour nor time in preparing and testing their materials4 ,tavernier tells us the waterproof terraces of the ,persian houses were formed of 8a layer of lime beaten for eight days1 which became hard like marble40 ,the materials used in ,byzantine building were tested by long exposure1 slaked lime was sealed up in pits for one or two years2 and stones1 bricks1 and tiles they had found should not be used new1 for1 as ,vitruvius says1 8the only way of ascertaining their goodness is to try them through a summer and winter40 ,,chapter ,,xi ,,marble ,,masonry #a4 ,,building ,,procedure4 ,the method and sequence of the building operations as followed by the ,byzantines seem to have been very much as follows4 ,after the form of the building had been more or less decided1 the first thing necessary was to collect marble monolithic shafts4 ,at ,s4 ,sophia the eight verde-antique shafts match one another very closely2 they are all of one length1 and vary from #g to #h diameters in proportion4 ,the four pairs of porphyry shafts in the exedras differ much more2 and1 as we have remarked1 those in the western exedras seem to be made up of separate drums4 ,the proportions of these vary from less than #g diameters on one side to #h on the other4 ,the great monoliths are the largest known1 and of nearly normal classic proportion1 so we can readily see that it was necessary to have a certain knowledge where such marbles might be quarried or otherwise obtained1 before even the foundations were prepared1 for the columns decided the heights and points of support of the building4 ,these once assured1 the body of the structure was proceeded with as a brickwork shell without further dependence on the masons1 who were only required to prepare bases and capitals1 and then the cornices2 everything else was completed as a brick 8carcase40 ,at ,s4 ,sophia the main square piers are in fact stone1 but this was only for strength1 not because they were to be seen finally1 any more than the rough brick4 ,the building completed in this form we must remember was made up of vast masses of thin bricks1 of which the mortar occupied probably a half of the aggregate2 this had to thoroughly settle down and dry before the rest of the marble masonry was inserted1 and the wall casings applied4 ,the marble work1 however1 was all the while being prepared1 and1 the building once ready1 the windows were inserted as screens in the openings previously left2 marble jambs and lintels for the doors were placed in position also1 with windows above them filling out to the brick arches4 ,the walls were then sheeted with their marble covering1 the vaults were overlaid with mosaic1 and the pavement was laid down4 ,in this way1 as the bricklayers had not to wait for the masons1 the carcase was completed in the shortest possible time2 and by reserving the application of the marble until the structure was dry and solid1 it was possible to bring together unyielding marble and brickwork that must have settled down very considerably4 #b4 ,,marble ,,quarries4 ,much confusion exists as to the marbles of which the ancient writers speak2 this has been occasioned necessarily by wrong identifications when but few ancient quarries had been recovered1 and most unnecessarily by a persistence in using antique names for modern varieties1 long after the true provenance has been discovered1 when the ancient marbles are not 8in the market40 ,it is the ,italian names that have been corrupted in this way1 and it would be a great advantage if they were discarded in ,england1 or better still1 used only in conjunction with the geographical names4 ,in this case as the ,italian names are descriptive1 and1 as many varieties of marble are found in the same or neighbouring quarries1 we should get a safe nomenclature4 ,synnadan would thus be qualified as ,pavonazzetto or ,fior de ,persico1 and the banded varieties from ,carystian1 ,proconnesian1 or modern quarries might without confusion be called cipollino4 ,in endeavouring to identify the marbles mentioned by the ancient writer on ,s4 ,sophia1 we have made use of ,salzenberg's notes to the ,poem of the ,silentiary1 and of the researches of ,garofalo1#cej ,corsi1#cea and ,c4 ,o4 ,mller2#ceb and we have also been helped by the practical knowledge of ,mr4 ,w4 ,brindley4 ,the account of ancient marbles easily accessible in ,professor ,middleton's ,ancient ,rome1 #ahib1 is substantially an extract from ,corsi4 ,porphyry4--,the 8porphyry powdered with bright stars0 of the poet is used for the columns of the exedras1 and for some of the panels on the walls4 ,the ,anonymous author states that these columns came from a temple of the ,sun1 but the ,silentiary says 8they loaded the boats on the bosom of the ,nile10 and there seems no reason to doubt that the columns came direct from the porphyry quarries at ,mons ,porphyrites in ,egypt4 ,this porphyry mountain is at ,djebel ,dochan1 twenty-five miles north-east from ,thebes4 ,lepsius#cec seems to prove that the quarries were worked as long as the ,nile canal remained open2 and ships still sailed on the canal till the appearance of ,islam4 ,letronne#ced gives details of the method of transit4 ,the porphyry was brought from the quarry to the ,red ,sea1 and then by the ,nile canal to the ,lower ,nile1 and hence into the ,mediterranean4 ,on this evidence we would say that the porphyry used at ,constantinople in ,justinian's reign was quarried for the purpose1 and not brought from ,roman buildings4 ,marmor ,molossium4--8,the marble that the land of ,atrax yields10 is called elsewhere in the poem 8,thessalian10 and1 from the province in ,thessaly where it was found1 8,molossian40 ,corsi and ,garofalo both wrongly describe ,molossian as ,fior di ,persico4 ,the marble really is the brecciated serpentine and limestone1 now called ,verde ,antico1 the ,lapis ,atracius of the ancients1 of which the eight great columns in the nave and many others are formed4 ,here again it has been said that these eight large columns were taken from a building at ,ephesus1 but the ,silentiary says1 8,never were such columns hewn from sea-washed ,molossis10 and we can hardly doubt that they were quarried especially for ,s4 ,sophia1 together with the rest of the enormous quantity used in the church4 ,the quarries were near ,atrax in ,thessaly1 and the marble is best named as by ,french writers1 ,thessalian green4 ,lapis ,lacedaemonius4--8,the fresh green1 like emerald1 from ,sparta10 was probably the porphyry quarried in ,mount ,taygetus in ,laconia4 ,this green porphyry1 called by ,corsi serpentino1 is used in the opus sectile of ,s4 ,sophia4 ,as a green porphyry is obtainable in ,egypt1 the former should be distinguished as ,spartan4 ,proconnesium4--8,the hills of ,proconnesus10 according to ,paulus1 8strewed the floor40 ,the same marble was also used for the columns in the upper aisles1 for the eight square columns below1 and for the capitals1 door frames1 window lattices and other structural parts2 also for the plating of the lower arcade and other parts of the wall-surfaces1 and as frames to the coloured marbles4 ,it is a soft white1 or white with gray-banded streaks4 ,the quarries of ,marmora are still worked4 ,this marble was greatly prized in ,classic times1 and ,pliny mentions that it was used at the palace of ,mausolus1 where1 it is said1 the method of plating brick walls with marble was first applied4 ,it closely resembles gray ,carystian but they should not be confounded4 8,the ,bosporus stone with white streaks on black10 used for the floor1 was probably the ordinary limestone--black with white veins--used at ,constantinople4 ,marmor ,carystium4--8,the fresh green from ,carystus10 is the marble now known as cipollino2 it was quarried at ,carystus1 at the foot of ,mount ,ocha1 in the island of ,euboea4 ,its beautiful greenish white surface1 marked with broad wavy lines of green or purplish gray1 was often praised by the later classical writers4 ,its resemblance to the markings of a sliced onion is the origin of its name4 ,modern cipollino need not be confused with true ,carystian marble1 which the ancient material should always be named4 ,marmor ,phrygium4--8,the marble hewn from the ,phrygian land towards the ,mygdonian heights10 spoken of as 8many-coloured10 has been identified as the marble which came from ,dokimion near ,synnada in ,phrygia4 ,the descriptions by ,statius and ,claudianus of the deep red-veined marble of ,synnada agree closely with the ,phrygian and ,mygdonian stone as described by ,paulus4 ,it is a brecciated marble of a rosy colour1 slabs of which alternate with verde antique in the panelling of the side aisles of ,s4 ,sophia4 ,the quarries at ,dokimion were visited by ,leake and ,texier1 and a recent examination of them by ,m4 ,leonti#cee disclosed all shades of 8violet and white1 yellow1 and the more familiar brecciated white and rose-red40 ,this beautiful material is best called ,synnadan1 as the modern ,italian name ,pavonazzetto is also used for the streaked marble quarried at ,carrara4 ,marmor ,hierapolitanum4--8,the stone from the sacred city ,hierapolis40 ,this marble has been identified by ,professor ,ramsay4#cef ,it was found at ,thiounta about ten miles ,n4,w4 of ,hierapolis in ,asia ,minor4 ,it is variegated like ,synnadan1 and was much used for sarcophagi2 indeed ,professor ,ramsay says1 8,on every occasion when its use is mentioned1 it was employed to make sarcophagi40 ,it was called by the name of the great city which is not far distant1 8and to which doubtless orders from the outer world were sent4 ,similarly the marble found at ,dokimion was always called ,synnadic marble from the time of ,strabo1 yet ,dokimion was thirty-two miles from ,synnada40 ,marmor ,iassense4--,the 8,iassian1 with slanting veins of blood-red on livid white10 was used for the phiale4 ,corsi identifies this with ,porta ,santa1 but ,porta ,santa1 ,garofalo says1 came from ,chios1 and this conclusion we believe is now accepted4 ,garofalo thought ,iassian to be the same as the ,carian marble mentioned by ,porphyrogenitus in his ,life of ,basil the ,macedonian1 and says it was quarried on the island quite close to the coast of ,caria4 ,a 8stone mingled with streaks of red0 is also mentioned by ,paulus as brought from 8the ,lydian ,creek40 ,possibly the port of ,iassus is again intended4 ,the ordinary ,lapis ,lydius was a black touchstone4 ,the 8rosy cipollino10 in which wide bands of deep red alternate with white1 used in the panelling of the aisles does not seem to be mentioned specifically by ,paulus2 unless this is the ,iassian marble to which his words would very well apply4 ,a variety of rosy cipollino1 the splendidly figured red and white marble1 is obtained in ,laconia4 ,marmor ,numidicum4--8,the stone1 nurtured in the hills of the ,moors1 crocus colour glittering like gold10 is the beautiful warm yellow ,african marble from ,semittu ,colonia1 about fifty miles from ,tunis1 so highly prized by the ,romans1 and now called giallo antico4 ,it is used in ,s4 ,sophia in the sectile work4 ,marmor ,celticum4--8,the product of the ,celtic crags1 like milk poured on a flesh of glittering black10 has been identified as the ,bianco e ,nero ,antico1 quarried in the ,pyrenees4#ceg ,the black marble with white streaks1 which occurs in some of the panels in the nave1 is probably the one to which the poet refers4 ,onychites4--8,the precious onyx0 mentioned by the poet is the alabastrites or onychites of the ancients4 ,it is the oriental alabaster 7aragonite7 used in the horizontal bands of the nave1 and some of the panels4 ,it is a translucent1 fibrous stalagmite formation1 generally of a clear honey-colour4 ,some of the varieties are strongly veined with white1 and others are much darker4 ,large ancient quarries of this ,egyptian alabaster have been discovered on the east bank of the ,nile4 ,paulus appears to make no mention of the dusky black with dull golden veins used in the bema apse1 which closely resembles the 8,porto ,venere0 quarried at ,spezzia4 ,the marble blocks were roughly hewn into shape with picks while still attached to the rock1 and were then separated by the aid of metal wedges4 ,many objects discovered show that they were sometimes completed at the quarry1 at other times the blocks were roughly brought to the sizes and forms required4 ,the quarries appear to have been officially inspected4 ,texier found many architectural fragments and blocks at ,dokimion bearing the signs of the inspectors of the block4 ,professor ,ramsay writes3 8,the route from ,dokimion to the coast is commercially almost the most important in ,asia ,minor4 ,the road along which the enormous monolithic columns were transported passed through ,synnada1 where the central office for managing the quarries was situated40 ,illustration3 ,,fig4 #df4--,marble ,slabs and ,frieze in ,narthex4 ,ephesus and ,alexandria were most important centres for the working and export of marble1 of which such an enormous quantity was required by the ,byzantine builders4 ,the method of slicing up the blocks into veneer is described by an ,eastern pilgrim1 ,nasiri ,khusrau1 in #ajdg4 ,he says3 8,in the city of ,ramlah there is marble in plenty 444 they cut the marble here with a toothless saw which is worked with ,mekkah sand40 ,this sand he tells us came from ,haifa near ,acre 7,pal4 ,pilgrims' ,text ,soc4 ,compare ,pliny1 ,hist4 ,nat4 xxxvi47 #c4 ,,application ,,of ,,marble4 ,at ,s4 ,sophia the application of the thin sheathing and incrustations 7the 8crustae0 of ,pliny7 of the 8delectable variety0 of marbles is made in many ways4 ,first there are the large sheets of the grayish ,proconnesian1 opened out side by side 8so that the veining of one follows from the next40 ,then the richer varieties are set in bands and panels with narrow notched fillets between them1 and still more precious slabs are framed round with carved margins of white4 ,over the doors entering the aisles at the west there are panels with especially wide and rich borders of meanders growing from chalices4 ,the large panels are very often of two pieces with matched veining4 ,fig4 #df shows one of a row of strongly veined panels from the narthex with the frieze above4 ,all the wall plating is arranged with delightful variety as to size1 and in the alternate placing of light against dark1 so that there is no rigidity or over-accurate 8setting out40 ,besides this constant change of size1 colour1 and arrangement1 there is a great variety in the surface treatment4 ,we have the shallow channelling into continuous mouldings of the skirtings1 some portion of which has a stiff fret sunk in the surface in addition4 ,then there are panels on either side of the great door1 and on the faces of the projections from the great piers in the aisles1 coming just above the eye1 7,fig4 #dh7 of plain russet-red or brown which bear severe abstract patterns1 made out by slight sinking into the surface4 ,the centre in some cases is overlaid with an oval or square of another precious material such as red or green porphyry or the 8onyx02 the whole of the sunk portions may have been filled by inlays1 or in some the sinking alone may have formed the design4 ,the upper part of the bema is incrusted with slabs patterned in this way1 and here the sunk portions are entirely inlaid2 several parts of this are represented by ,salzenberg4 ,in this work 8casements0 are sunk into the rosso or other deep coloured field1 and green porphyry and other materials1 set off by yellowish-white lines and spaces are inlaid in geometrical panels1 or friezes of stiff foliage4 ,illustration3 ,,fig4 #dg4--,portion of ,marble ,lining of ,aisles4 ,scale about #a_/ej4 ,our ,fig4 #dg shows the arrangement of the marble plating on the great piers towards the middle compartment of the aisles2 in this we have shown one of the enriched panels now only sunk1 as inlaid4 ,fig4 #dh gives outlines of others of these panels4 ,the marble used in the aisles is as follows4 ,first comes the moulded skirting of white ,proconnesian1 then a #cc band of the streaked variety of the same marble4 ,a band of verde antique #bj wide follows1 above which is a row of slabs alternately verde antique and ,synnadan4 ,a second similar row of slabs comes above a band of rosy cipollino4 ,the frieze below the cornice is of marble sectile work4 ,the passages through the piers are lined with slabs of streaked ,proconnesian marble1 nearly fourteen feet high4 ,the gynaeceum has two bands at the bottom and an upper band of rosy cipollino2 the wall space between is covered with a row of vertical slabs of streaked ,proconnesian1 except the central space on north side where the slabs are of rosy cipollino4 ,in the spandrils of gynaeceum arcade at the west are roundels of oriental alabaster4 ,illustration3 ,,fig4 #dh4--,marble ,panels with ,sunk and ,inlaid ,panels4 ,scale about #a_/cj4 ,illustration3 ,,fig4 #di4--;,inlaid ,marble ,slabs above ,royal ,door4 ,scale about #a_/ej4 ,directly over the ,royal ,door is a very beautiful arrangement of decorated slabs4 ,first there is an immense upright piece of verde antique in the middle1 ten or twelve feet high1 with two lateral horizontal pieces making a great cross1 in the quarters of which are panels with sunk and inlaid designs4 ,at the head of the cross is a fifth panel which displays a still richer form of decoration4 ,it represents a vaulted recess or ciborium between the columns of which hang curtains1 looped back1 and displaying a dark field4 ,here is the matrix of a cross which was probably of silver2 right and left of the cross are other matrices1 in which were set crowns or other objects1 not to be determined from below4 ,the two upper lateral panels have sunk geometrical designs4 ,the lower pair are inlaid2 their centres are charged with circles1 above and below which are pairs of dolphins4 ,these inlaid designs are made out in porphyry and green1 which are separated by white lines and spaces which shine out bright1 and are probably of mother of pearl like similar inlaid panels of this date around the apse at ,parenzo4 ,these panels at ,parenzo are so much like those of ,s4 ,sophia that we do not doubt they were sent from ,constantinople4 ,there are very similar panels in the baptistery at ,ravenna4 ,finally we have the enriched surfaces of the two ranges of arcade spandrils4 ,the upper row being sectile work of coloured morsels put together to form a pattern of scrolls and foliage1 and the lower series having the surface entirely sculptured with the exception of discs of precious substance which are set in them4 ,this uttermost splendour is quiet and soft in its result4 ,the surface of course has not that mechanically even1 repellently smooth1 painfully fitted appearance of modern work4 ,the planes are waved under the hand sawing1 and the face is smooth but hardly polished4 ,the colour in consequence1 gray and russet rising to full yellow1 green and reds1 veined1 waved1 and flowered in all manner of gradations and lovely combinations1 vibrates with a wonderful 8bloom0 which doubtless owes much to age2 but it is very probable that the marble was polished with wax encaustic which was so generally used for finishing surfaces by ancient workers4 ,the wax deepens and mellows the colour and leaves a dull pleasant polish4 ,we suppose the method followed was that recommended by ,vitruvius for the encaustic polishing of coloured stucco walls4 8,lay on with a brush a coat of melted ,punic wax tempered with oil2 then with a brazier of hot charcoal heat all the waxed surface1 forcing the wax to melt in an even way over the whole surface2 finally rub the wall with a wax candle and then polish it with a clean linen cloth just in the way the nude marble statues are treated4 ,this practice is called by the ,greeks40 ,felix ,fabri1 who travelled in ,palestine at the end of the fifteenth century1 describes the rows of costly columns at ,bethlehem1 8and they are polished with oil so that a man can see his face in them as in a mirror40 ,in regard to the wall plating we wish especially to point out the extremely easy way in which it is applied1 without thought of disguise4 ,the slabs of great size are placed vertically1 entirely the reverse of solid construction2 moreover the slabs of the finer panels are opened out side by side so that the veinings appear in symmetrical patterns4 ,at the angles the lap shows in the most open way2 while it is mitred where restored4 ,the best account of the actual methods of fixing the marble slabs to walls by metal clamps which notch into the edges of the sheet before the adjoining one is fixed1 is given by ,professor ,middleton1 who figures an example of the second century from ,rome which might belong to ,s4 ,sophia4 #d4 ,,marble ,,masonry4 ,after more than a thousand years of working marble through one complete development1 ,greek builders1 by considering afresh the prime necessities of material1 and a rational system of craftsmanship1 opened the great quarry of ideas in constructive art which is exhaustless4 ,in a hundred years architecture became truly organic1 features that had become mere 8vestiges0 dropped away1 and a new style was complete2 one1 not perhaps so completely winning as some forms of ,gothic1 but the supremely logical building art that has been4 ,if anywhere this vitalising had not been completed1 it would have been in the more decorative forms2 but here we find no mere exercise in applying architectural orders1 everything is as real and fresh as in the structure4 ,having the ,corinthian and ,ionic capitals before their eyes and without forgetting or rejecting them1 the ,byzantine builders invented and developed an entirely fresh group of capitals fitted in the most perfect way for arched brick construction4 ,as ,mr4 ,freeman has said 7,hist4 ,essays1 iii4 p4 #fa7 of the new architecture3 8,the problem was to bring the arch and column into union--in other words to teach the column to support the arch40 ,this was done by shaping the block of marble which formed the capital so that a simple transition from the square block to the circle of the column was formed4 ,when they were sculptured1 and most of them are most elaborately sculptured1 the general form is not altered but the carving enriches the surface only4 ,the new 8,impost capital0 is found throughout the great cistern generally known as that of ,philoxenus which is usually referred to the time of ,constantine4 ,in their study of the vaulted cisterns of ,constantinople ,forchheimer and ,strzygowski have contributed much that is new to our knowledge of the architecture of the city and show that the evidence is entirely against this theory1 which was propounded by ,gyllius1 whom more recent writers have been content to copy4 ,this cistern1 known to the ,turks as ,bin ,bir direk 7thousand and one columns71 they identify with a great cistern which the ,paschal ,chronicle says was built by ,justinian in #ebh4 ,we believe with them that the architecture of the cistern agrees entirely with what we might expect as an outcome of the special circumstances in the time of the great building era4 8,bin ,bir direk exhibits the highest development of the art of cistern building1 and it thus in its particular sphere resembles ,s4 ,sophia2 like it the boldness of its construction was never again equalled by the ,byzantines4 ,it would be an explanation of the bold achievement if it might be assumed that ,anthemius proved his capability in this subterranean work before he made his supreme effort in ,s4 ,sophia4 ,technical features1 however1 make it seem probable that the builder was an ,alexandrine40 ,illustration3 ,,fig4 #ej4--;,columns of ,great ,order4 ,illustration3 ,,fig4 #ea4--;,capital now ,outside ,porch at ,s4 ,sophia4 8,it is of the widest significance for the history of ,byzantine art that here throughout the new #8impost capital' is employed in its plainest constructive form4 ,it seems not improbable that the daring builder of the cistern was the first to make use of this form of capital which completely broke with classical tradition and is in such perfect accord with the exigencies of arch-architecture40 ,this is to go too far2 for if the cistern is rightly referred to #ebh it is probable1 as we shall show1 that the impost capital had at that time been for many years in use4 ,at ,s4 ,sophia the four main varieties of the new capital are all found4 ,in the cistern the change of form is made by rounding away the angles at the bottom without reference apparently to any geometrical idea2 but in other capitals which belong essentially to this type the method seems to have been that explained in ,fig4 #ec which represents the form of the caps of the lamp pillars on the front of the western gynaeceum4 ,they are most delicately carved with a network of ornament1 but the general form is undisturbed as we have explained4 ,the plain capitals of the west window and the isolated sculptured capital ,salzenberg found in the north aisle are also of this form1 which we shall call the ,impost ,capital type ,i4 ,the profile can be made convex or inflected1 we are only speaking of the simplest method of changing the form from a circle to a square4 ,illustration3 ,,fig4 #eb4--;,columns in ,gallery4 ,two capitals now used as mounting blocks outside the east porch1 which we illustrate 7,fig4 #ea71 furnish us with a sculptured example of a similar capital in two stages of development1 one of them never having been completed4 ,we give here an outline of the blocked out capital1 in which the method of workmanship may be plainly seen4 ,first1 the block was cut away below convexly to meet the circular shaft4 ,in this state it exactly resembles the capitals of the cistern4 ,secondly1 on this was marked a border all round the top2 also centre lines running down each of the faces1 about the centre point of each of which a circle of about seven inches diameter was drawn2 and at the bottom the width for the necking was marked off4 ,thirdly1 the intermediate spaces were sunk about two inches2 the hollow of the abacus was formed2 the necking1 and edge of the circular discs were rounded4 ,this brings the capital to the stage shown in the diagram1 the point to be observed being that the abacus1 boss1 and necking lie in one surface1 first obtained1 and the rest in another face1 sunk some two inches below the former4 ,it cannot be doubted that the style of these capitals is contemporary with the work at ,s4 ,sophia1 and the finished one bears a monogram which appears to read 2 it is1 however1 almost identical with that of ,theodora1 which occurs on the capitals of the interior4 ,,mm4 ,curtis and ,aristarches1#ceh who have written on these monograms1 think it belonged to a portico1 restored in #dji by an eparch called ,theodoros4 ,work of this style was not done at that time1 and these capitals possibly belonged to some of the outer courts of the church mentioned by ,procopius4 ,they resemble the great capitals so closely that they might almost be preliminary studies4 ,the strips which are left down two sides of the capitals were customary in the capitals of a ,byzantine colonnade1 especially where screens were inserted between4 ,illustration3 ,,fig4 #ec4--,rudimentary ,form of ,capital4 ,type ,i4 ,illustration3 ,,fig4 #ed4--,rudimentary ,form of ,capital4 ,type ,,ii4 ,illustration3 ,,fig4 #ee4--,rudimentary ,form of ,capital4 ,the two capitals in the loggia by the baptistery furnish a well-defined variety of the impost capital4 ,the square at the top is here wrought into curves recalling the antique abacus4 ,these are gathered together into the circle of the necking in a beautiful convex form which may be called the ,melon type ,,ii41 see ,fig4 #ed4 ,we give in ,fig4 #ej an outline of the whole column of the great order in the interior of the church1 and in ,fig4 #ef a diagram of the blocking out of the capital4 ,the columns here and throughout the great church being monoliths of fine material1 the supporting area is very small compared to the area of the arch imposts1 which are of brick sheeted with marble4 ,it will be seen that the projection is just that required by the impost1 which springs directly from the outside edge4 ,illustration3 ,,fig4 #ef4--,rudimentary ,form of ,capital4 ,type ,,iii4 ,the great capitals of ,s4 ,sophia are remarkable examples of the evolution of beautiful forms on the mason's banker2 the workman finding form in the stone block by the application of practical methods4 ,the lower half of the capital is circular like the shaft1 rising in a slightly swelling curve of a bowl2 the upper part is square like the impost4 ,the basis of form is that of a bowl with a tile placed above it1 and is thus that of the ,greek ,doric4 ,this type ,,iii4 in which the circle does not pass by transition into the square impost1 but changes abruptly1 we may call the bowl and tile capital4 ,at ,s4 ,sophia the surface of the form obtained as shown in the figure is wrought into crisp acanthus and palm foliage2 and is in many places1 especially at the tips of the leafage and behind the monograms1 entirely undercut4 ,the cutting being so sharp1 and the shadows so deep1 while at the same time the general form with its broad gradation of light and shade is so little modified by surface modelling1 the effect is almost that of inlaying black on white4 ,the capitals of the columns standing in the aisles1 and those of the first floor ranged against the central area1 are similar to the great order1 but simplified and reduced4 ,the columns of the aisles on the first floor have block capitals1 with small volutes below2 ,fig4 #eg will make the elementary form clear4 ,this type ,,iv4 is really a ,byzantine ,ionic4 ,the dual columns of west gallery have a capital in common1 which is a variation of these1 and the capitals of atrium were also similar4 ,one capital of the north gallery is entirely different from all the rest1 the block1 not being carved all over continuously1 is broken up into several horizontal lines of ornament4 ,for the capitals of the square pillars of ground floor1 and others to the windows1 we must refer to ,salzenberg2 they are all of the simple block form delicately sculptured4 ,salzenberg also figures two capitals1 now on the porphyry columns at the east porch4 ,these are comparatively small1 and may possibly have belonged to some position in the interior of the church1 such as ,justinian's first ambo4 ,the form is that of a basket with four doves perched on the rim1 and crosses between4 ,doves associated with crosses symbolized the ,church4 ,now in ,st4 ,clemente at ,rome there are two capitals of this kind which belonged to the ciborium1 set up as the inscription shows while ,hormisdas was pope 7#ead-ebc71 they are figured by ,cattaneo1 ,fig4 #g1 who says they obviously were sculptured by ,greek chisels4 ,it is thus extremely possible that ours may have been late additions to the pre-,justinian church1 where they also may have belonged to the ciborium4 ,rohault de ,fleury believed that this form of capital was intended to represent an offerings basket4 ,illustration3 ,,fig4 #eg4--,rudimentary ,form of ,capital in ,gynaeceum4 ,type ,,iv4 ,to these ,bird and ,basket capitals1 type ,v41 may be added varieties of the great class of derivatives from the ,corinthian of which this is in fact one4 ,these were in general use before the block type of capital was developed4 ,we will here only mention two of these acanthus capitals4 ,those in which the leaves are set upright on the stem of the shaft we will call ,byzantine ,corinthian and type ,,vi4 ,those in which the leaves turn over and bend round the capital we will1 with ,mr4 ,ruskin1 call 8,wind-blown acanthus10 and type ,,vii4 ,distribution and ,dates of ,capitals4--,we have referred before to our belief that ,constantinople was a marble working centre from which sculptured marbles were dispersed to all parts of the ,roman world4 ,having the chief types of ,byzantine capitals before us it will be convenient to consider this more fully4 ,we suppose that as white marble had to be bought in any case1 the custom grew up of obtaining the capitals fully wrought4 ,importation was1 of course1 a general antique practice in regard to figure sculpture1 columns1 and other objects of marble4 ,proconnesian marble seems to have been the common stone of ,constantinople so that it is used for the columns and capitals of the cisterns4 ,we believe that careful examination of the capitals at ,ravenna1 ,parenzo1 and other ,byzantine centres will show that they are in the main of this material4 ,as to design the capitals lying neglected about the city1 together with those in situ in the churches and cisterns1 furnish a perfect museum of the types with which others dispersed through the whole area of the empire agree in the minutest particulars of design and workmanship4 ,to take the types we have mentioned3 ,impost ,capital1 ,i4--,this capital is found with the surface richly sculptured at ,s4 ,sergius4 ,capitals identical in form and decoration with the isolated capital of ,s4 ,sophia 7,salz4 ,pl4 xx41 fig4 #h7 are found at ,parenzo and in ,jerusalem4 ,the splendid examples of this type at ,s4 ,vitale1 ,ravenna1 are well known2 here the fretwork of sculpture is almost entirely relieved from the ground4 ,we found an example absolutely similar at ,constantinople4 ,mr4 ,ruskin's 8,lily ,capital0 which belongs to this group is found at ,s4 ,mark's1 at ,s4 ,vitale1 at ,parenzo1 and at ,alexandria4 ,another variety is covered all over with horizontal bands of zigzag fillets2 an example rests in the ,tchenli-,kiosk ,museum1 others are found at ,athens1 at ,mistra1 and a third now at ,s4 ,mark's is figured in the ,stones of ,venice4 ,the capitals at ,s4 ,sophia1 ,salonica1 figured by ,texier are probably the earliest of type ,i4 to which an approximate date can be given2 it was certainly in general use at the end of the fifth century4 ,melon ,form1 ,,ii4--,these magnificent eight-lobed capitals form the great order at ,s4 ,sergius1 and are found at the church usually called ,agia ,theotokos4 ,similar capitals belong to the upper order at ,s4 ,vitale1 and others are found at ,s4 ,mark's4 ,some of the nave columns of ,s4 ,demetrius at ,salonica have fine capitals of this type which although evidently derived from the last probably also originated in the fifth century4 ,bowl ,type1 ,,iii4--,these1 the great capitals of ,s4 ,sophia1 seem to have been especially designed for the metropolitan church3 the beautiful palm foliage1 however1 with which they are sculptured is found again at ,parenzo and on a capital in the ,ravenna museum said to have been brought from ,pomposa4 ,the church at ,parenzo was begun in #ece4 ,byzantine ,ionic1 ,,iv4--,these occur in their perfected form of block capital fully sculptured in ,s4 ,sergius and at the palace of ,hormisdas in ,constantinople1 also in the upper order at ,s4 ,sophia1 ,salonica4 ,examples are also found at ,venice4 ,in their earlier form of transition from the 8,ionic with a plain dosseret0 an immense number are found in the subterranean structures of ,constantinople4 ,an example has been found in ,chalcis4#cei ,bird and ,basket1 ,v4--,s4 ,sophia furnishes two examples1 but there is no proof that they originally belonged to the building4 ,another example is in ,cairo4 ,that at ,s4 ,clemente1 ,rome1 is signed with the name of ,john ,mercurius2 ,piranesi figures a capital of this kind from the ,palazzo ,mattei1 bearing a monogram which is indecipherable in his plate4 ,period1 end of fifth century and beginning of sixth4 ,byzantine ,corinthian ,type1 ,,vi4--,these are of great variety2 we will only mention one4 ,in the portico of ,john ,studius the acanthus leaves are doubled1 one leaf lying over and within another1 so that a double row of serrations is shown around the margins 7see figure in ,salz474 ,similar capitals are found in ,s4 ,demetrius1 ,salonica1 and at ,s4 ,mark's1 ,venice4 ,this particular form is probably nearly concurrent with the last1 possibly a little earlier4 ,wind-blown ,acanthus1 ,,vii41 is represented at ,constantinople by two examples forming bases for the posts of a wooden porch to a house near ,gl ,jami1 and another is found in the cistern usually called after ,arcadius or ,pulcheria4 ,absolutely similar capitals are found in ,s4 ,sophia1 ,salonica 7circa #dij7 and one occurs at ,s4 ,demetrius4 ,at ,ravenna fine examples are dated by bearing the monogram of ,theodoric4 ,others at ,s4 ,apollinare in ,classe resemble the last so closely that we doubt their having been made specially for the church built in #ecd-edi4 ,an example was found in ,chalcis with the ,ionic capital just referred to and ,de ,vog figures one from ,syria4 ,period1 say #dbe to #ebe4 ,the seven most typical ,byzantine orders were thus being wrought concurrently at the end of the fifth century1 and it seems that the three last did not long outlast this century4 ,the others in their central types probably did not continue in use much beyond the sixth century4 ,after this time somewhat coarse varieties of ,byzantine ,corinthian1 or ,type ,i41 were mostly used4 ,illustration3 ,,fig4 #eh4--;,bronze ,annulets of ,columns4 ,the evidence of the original block in the fully sculptured finished work which we find in the most characteristic examples of the ,byzantine capitals is of primary importance in all marble sculpture1 and differentiates the work of the chisel from being a mere stone model of a clay model which is practically what most modern sculpture has become4 ,in many of these capitals the vertical strip shown in ,fig4 #ee left in the finished work furnishes a further suggestion of the block from whence they were hewn4 ,shafts and ,bases4--,the usual theory that the ,byzantines wrought but few new marble shafts does not bear scrutiny4 ,byzantine shafts have neckings of very slight projection1 thus obviating the waste of labour and material of ,roman work4#cfj ,the shafts of the baptistery loggia at ,s4 ,sophia1 figured by ,salzenberg1 furnish good examples2 sometimes the necking1 as to the square marble pillars1 is a simple broad fillet of about a quarter of an inch projection4 ,the hundred round shafts of ,s4 ,sophia exhibit a remarkable and beautiful structural expedient by which the necking is entirely suppressed1 and bronze annulets surround the shaft under the capital and above the base2 which prevent the shafts from sliding or splitting1 and retain the lead beds from being forced out by the weight 7see ,choisy1 p4 #ae74 ,large monolithic shafts were the more apt to split1 as they had to be set up contrary to the direction of the quarry strata4 ,illustration3 ,,fig4 #ei4--,marble ,pedestals and ,skirting ,slabs4 ,fig4 #eh represents these bronze zones in association with the great capitals and bases4 ,the pedestals of the exedra columns ,a a1 next figure1 are worked together with the bases in one stone4 ,in these profiles we again see how little the mouldings disturb the original form4 ,illustration3 ,,fig4 #fj4--;,cornice ,profiles4 ,responds4--,a very remarkable feature in the interior1 is the way in which the colour of the marble columns of the arcade is reflected as it were on the responds1 where the arches fall on the great square piers4 ,a strip of porphyry or verde antique1 the width and height of the free shafts1 is inlaid into the marble casing of the piers absolutely flush1 the edge being only defined by a line of the notched fillet4 ,a flat sculptured slab at the top echoes the capital1 and a base slab of mouldings worked in a vertical plane ranges with the bases of the columns4 ,salzenberg's plate does not render this feature properly1 the 8capital0 is flat and has straight sides and instead of the 8base0 he shows a portion of the wall skirting4 ,fig4 #ei shows this base in elevation 7,b71 and section 7,c71 ranging with the pedestals of the exedra1 ,columns 7,a74 ,the way in which the sculptured and inlaid spandrils of the arcades stop against the plain veneering of the great piers is also most noteworthy4 ,cornices and ,skirtings4--,we give here 7,fig4 #ei1 ,d and ,e7 two profiles of the skirtings where the principle of working out of thin veneering-slabs is applied to moulded work4 ,the parapet slabs of first floor are worked in a very similar way2 ,salzenberg shows design of front1 and they bear flat lozenges between two crosses at the back4 ,see ,fig4 #fa4 ,the cornices of the interior1 which really formed walks for the lamplighters1 are made up of no regular combination of curves2 they project steeply forward1 the general slanting plane being little disturbed 7,a1 ,fig4 #fj72 they are decorated with rows of acanthus1 the curved tips of which catch the light in bright points4 ,the cornice of aisle is given at ,b4 ,we also give a profile of the door-head1 which shows how the mouldings conform to a plane of least labour 7,c74 ,by the jambs and heads being mitred together1 the difficulty of working stop ends was also obviated4 ,the mouldings are not sharp and accurate1 as is suggested by ,salzenberg's engravings4 ,illustration3 ,,fig4 #fa4--;,closures between ,pillars1 ,front of ,gynaeceum4 ,we may mention here that all the doors entering the church from the narthex have raised marble thresholds1 that of the ,royal ,door being a magnificent piece of verde antique which rises some seven inches above the level of the floor2 the others are of white marble4 ,windows1 c4--,the pierced lattices of the windows also furnish examples of another beautiful method of marble slab construction4 ,the large windows are subdivided by marble posts1 between which the pierced lattices make a mere screen4 ,salzenberg1 who found a store-room full of broken fragments1 gives a section of a bar4 ,windows over the western entrances1 and another at the foot of the south-west stair1 which are similarly pierced out of sheet marble1 have a simple meander carved on the bars 7,fig4 #fb72 this we suppose to be of the ninth or tenth century4 ,the lower part of the window openings going down to the floors are filled with marble closures1 some of which bear flat sculptured devices1 such as a fish in a lozenge1 and on the outside a cross2 above this came a second tier of slabs pierced with square openings1 which were possibly covered by marble slabs as opening casements4 ,illustration3 ,,fig4 #fb4--,marble ,window ,lattice4 ,some of these closures are translucent2 one in the ,west ,gallery over narthex is the well-known 8,shining ,window0 which is mentioned by ,grelot4 ,these transparent slabs of 8,phengites0 were much used in ,byzantine architecture4 ,the transparent marble slab windows of ,s4 ,miniato are well known4 ,at ,ravenna there is a sculptured slab altarfront1 through which shone the light of candles placed behind4 ,illustration3 ,,fig4 #fc4--;,cipollino ,slabs with ,cross4 ,placed against the east side of the marble screen now in south gynaeceum are slabs of cipollino1 which bear large crosses standing on circles2 the relief being very slight and the edges softened these show in the faintest way2 each cross extends over two slabs1 the joint being down the middle4 ,a similar slab with a cross is now placed in the opening on south side of bema4 ,these cross slabs some seven feet high are beautiful examples of the proper use of marble4 7,fig4 #fc47 ,illustration3 ,,fig4 #fd4--;,forms on ,carved ,impost ,moulding4 ,carving4--,of the carved ornament we can only stay to remark on the large use made of the drill in obtaining points and chains of sharp shadow3 and that in the design new motives and old--the acanthus and the vine are found side by side1 both equally alive4 ,the acanthus has been redrawn from the leaves which tracery the stones along the shore2 and even the archaic lotus1 for centuries degraded into 8egg and tongue10 buds once again into leaf4 ,,chapter ,,xii ,,bronze1 ,,mosaics1 ,,inscriptions #a4 ,,bronze ,,work4 ,one of the most interesting facts in connection with the building is the lavish use of bronze in construction and decoration4 ,there is every reason to suppose that the bronze casing of the ,royal ,doorway entering the church from the narthex1 was applied long subsequent to the building of the church4 ,we give in ,fig4 #fe a sketch of the bronze cornice of this door1 with its hooks for the door hangings2 the left hand shows the form towards the narthex1 the right hand the interior4 ,the deep-splayed casing of the cornice resembling a sarcophagus may have suggested the story quoted by ,buzantios1#cfa that the body of ,s4 ,irene reposed above this doorway4 ,by comparing it with the adjoining marble doorways1 it is apparent that the bronze must be laid over similar marble forms1 and that this deep-splayed casing simply covers a marble cornice hacked back to one slanting face4 ,salzenberg gives a detail of the panel at the centre1 and the inscription has already been quoted4 ,such inscriptions were general at the entering in of ancient churches4 ,for instance1 a small church#cfb in ,palestine has the legend1 8,this is the gate of the ,lord1 the righteous shall enter in thereat10 and a similar inscription is on the lintel of the early church at ,corfu4#cfc ,an isolated lintel at ,constantinople has 8,open me the gates of righteousness1 that ,i may enter and praise the ,lord40 ,paulinus says that at the door of his church at ,nola was written1 8,peace be to thee with peaceful heart and pure1 who comest within the secret place of ,christ40 ,illustration3 ,,fig4 #fe4--;,bronze ,casing to ,royal ,doorway4 ,scale #a_/fj4 ,in a paper on the inscriptions at ,s4 ,sophia1 by ,c4 ,g4 ,curtis and ,s4 ,aristarchs in the ,transactions of the ,philological ,society#cfd of ,constantinople the authors point out that ,s4 ,sophia was greatly injured by earthquake on the #beth of ,october1 #ige1 and restored six years afterwards1 and say that the form of the letters of the inscription suggests that it was written at this time4 ,possibly an earthquake gave a very sufficient reason for such a casing1 by fracturing the great marble lintel1 but there appears to have been a whole series of additions and alterations at this end of the church before this period1 and it might very well have been done at the same time as the mosaic above it4 ,all the doors opening into or from the narthex1 with one exception1 are cased in bronze on a wood foundation about five inches thick1 formed into panels4 ,they are all hung in two leaves1 and the back edges against the frame are rounded continuing top and bottom as pivots on which they revolve4 ,the nine doors entering the church are comparatively plain1 each leaf being divided into three panels4 ,the central doors entering the narthex are two panels high1 each of which bore a large cross2 these were applied separately1 the upper one under a round arch on pilasters1 and the lower beneath a gable also supported by pilasters4 ,the lower cross is planted on a rock1 from which flow the four rivers1 symbol of the ,gospel preached to the ends of the earth4 ,part of a verse in the mosaic of the apse at ,nola as given by ,paulinus makes this symbolism clear4 8,christ the rock ,of all the church1 the base of rock sustains ,from which as living streams four fountains flow2 ,the four evangelists1 whose words are gone ,through every land40 ,the margins1 framing the panel of this pair of doors1 are decorated with elliptical hollows and pairs of small rosettes alternately 7see ,fig4 #ff74 ,illustration3 ,,fig4 #ff4--;,central ,bronze ,door entering ,narthex4 ,scale about three feet to an inch4 ,the two doors right and left of this central door are less in size2 here each leaf is again divided into two panels4 ,the top one has a relief of a chalice from which rises the stem of a cross with crisp acanthus foliage on either side4 ,the lower panel has a large plain cross4 ,these reliefs are all applied to the panels1 the crosses being made up of four arms1 which are separately inserted into a central boss4 ,the horizontal arms1 and in many instances the whole crosses1 have been removed by the ,mahommedans4 ,the styles and rails of these doors are inlaid with strap-like forms and gammidae in silver1 and engraved with a representation of a setting of gems 7see ,fig4 #fg74 ,these inlaid straps1 with seal-like ends1 exactly repeat the forms found on door-hangings4 ,see ,fig4 #ac4 ,at ,s4 ,sophia the forms have certainly been taken from similar veils4 ,the large simplicity of the design of these beautiful bronze doors suggests that they may be of ,justinian's time4 ,the doors still further from the centre1 right and left1 that is to say the two end doors of the five entering the narthex1 have each leaf divided into three panels4 ,the top and bottom panels are charged with crosses2 and the centre one1 which is smallest1 bears an annular boss2 the styles are studded with discs4 ,the south door of narthex1 and also the end doors in the west wall of the nave are similar to these2 the others in this wall1 including the great central door from the narthex1 have the big panel in the centre and two smaller ones with circular boss top and bottom 7see ,fig4 #fh74 ,illustration3 ,,fig4 #fg4--;,bronze ,door of ,narthex4 ,scale about four feet to an inch4 ,the outer doors of the porch at the south end of narthex are still more remarkable4 ,the panel margins are made up of cast bronze decorated with meanders1 frets1 and leaf mouldings1 very delicately modelled in high relief4 ,these are evidently of antique workmanship1 possibly they may be as late as the fourth century1 but they can hardly have been wrought later4 ,the ancient doors have been enlarged by adding outer margins1 consisting of later relief work1 and flat metal studded with little leaf ornaments which form the heads of pins4 ,the panels have been filled with plates of bronze1 which bear an inscription ingeniously made up of monograms1 arranged on crosses in circles2 these are deeply engraved into the metal plates and filled with silver4 ,it is interesting to find here an example of the damascened work of which some of the doors in ,italy brought from ,constantinople are such remarkable specimens4#cfe ,the letters are beautifully designed1 and in all cases the horizontal arm of the cross is above the centre of the circle in which it occurs4 ,good engravings of these doors are given by ,salzenberg1 who however incorrectly transcribes and arranges the inscription on the panels4 ,of this we here give a corrected version1 ,fig4 #fi4 7,the top line in the figure is actually above the right-hand monograms47 ,the inscription has been deciphered in the previously mentioned ,transactions of the ,greek ,syllogos at ,constantinople4 - ,s 4 7of ,theophilus and7 ,michael ,conquerors 7#a7 ,lord1 help 7#b7 ,theophilos ,emperor 7#c7 ,mother of ,god1 help 7#d7 ,theodora ,augusta 7#e7 ,christ1 help 7#f7 ,michael ,emperor 7#g7 ,year from the creation 7#h7 of the world #fcdi4 ,ind4 #d ,the sixth and eighth monograms show evidence of having been altered4 ,the silver has been removed from the earlier form1 and the grooves having been filled up with bronze fresh letters were inlaid3 the lines stopped out however show a different colour from the original ground1 and so the palimpsest can be read4 ,the revision was made 8after the birth of ,michael the first son of ,theophilus in #hci and his coronation in the year #hdj4cff ,before this time the monogram of ,john the patriarch1 which may still be traced1 occupied the position of ,michael's monogram3 and instead of #fcdi ,indiction #d1 the date was #fcdg ,indiction #b1 thus giving the year beginning ,september #hch1 when ,john the ,sixth was ,patriarch of ,constantinople40#cfg ,the inscription 8,michael ,conquerors0 7which is formed by piercing a bronze plate1 not by damascening1 as shown by ,salzenberg7 occupies the top of the right-hand leaf of the door3 that on the left corresponding to it is lost4 ,,mm4 ,curtis and ,aristarches have restored this as above4 ,the existing words1 it is evident1 must have been added after ,michael's birth and with the alteration of the monograms probably form a memorial of his coronation4 ,murray's ,handbook #ahic suggests that the word ,niktn refers to the restoration of images2 but the revision of the inscription was made during the lifetime of ,theophilus1 who was the last of the iconoclastic emperors4 ,according to ,muralt#cfh ,theophilus died ,jan4 #bj ,a4,m4 #fcej 7#hdb74 ,just before1 feeling himself to be dying1 he made the empress swear not to re-establish images1 and not to depose the patriarch ,john4 ,three weeks however after the emperor's death1 ,methodius was named patriarch4 8,the victory of the image-worshippers was celebrated by the installation of the long-banished pictures in ,s4 ,sophia on the #aith of ,february #hdb1 just thirty days after the death of ,theophilus40#cfi ,it is almost certain that the conjectural restoration is correct for ,theophilus and ,michael are thus associated in a mural inscription#cgj and ,niketes was a common title from ,constantine downwards4 ,on the panels are certain pin-holes#cga placed symmetrically between the monograms2 these must have been for the attachment of reliefs4 ,illustration3 ,,fig4 #fh4--;,bronze ,doors in ,narthex4 ,scale about four feet to an inch4 ,illustration3 ,,fig4 #fi4--;,inscription ,damascened in ,silver on ,bronze ,door4 99 99 99 99 99 ,the ,anonymous author speaks of doors of 8elektron0 and of silver dipped in gold1 but we cannot rely on this any more than on his #cfe doors of ivory4 ,electrum is incorrectly translated as amber in the last edition of ,murray's ,guide 7#ahic74 ,labarte pointed out that enamel forms the right equivalent1 and for this interpretation he has ample authority4 ,theophilus1 the ,byzantine writer on the arts1 continually uses the word for glass enamels1 either set as separate jewels1 or fused as translucent enamels to a metal base4 ,a note in the ,english edition of this writer explains that this use of the word was probably extended from amber to cover other transparent bodies of similar appearance4 ,from the lavish way in which enamel was used about the tenth century it is possible that some of the doors such as those in the iconostasis might have been enamelled4 ,as to the 8dipping0 of silver or bronze with gold the ,silentiary tells us that ,justinian 8overlaid with gold0 the bronze zones of the columns2 and the annulets of the porphyry columns at the east entrance still show gilding4 ,buzantios#cgb quotes from a ,,ms4 chemical treatise in the ,paris library which mentions 8dipping bronze like the doors of ,s4 ,sophia10 and ,fossati says the head of the ,royal ,door was gilt4 ,theophilus explains in detail how bronze or silver might be gilt by fire-gilding1 the process here called dipping4 ,the copper in the bronze had to be pure and free from lead4 ,the gold was ground very fine and cooked with mercury4 ,this amalgam was then applied to the surface with a copper bit1 like that plumbers use in soldering1 and polished with a wire brush4 ,we have given sketches of the bronze collars which surround the columns1 at the junction of capital and shaft1 and just above the bases4 ,the porphyry columns in the two western exedras have many intermediate annulets at unequal heights2 these in some cases were doubtless intended to bind up longitudinal fractures in the shafts1 which show in many places2 but in other instances they appear to cover the junction of separate drums of porphyry4 ,these are all shown in ,grelot's interior view4 ,the principal collars are certainly of the time of ,justinian2 those under the capitals have square metal bosses or boxes covering the point where they meet and are pinned together4 ,these 8seals0 of the great order bear the monograms of ,justinian and ,theodora4 ,the annulets at the base are made continuous at the joint1 and have the appearance of being brazed3 those of the main order are now kept brightly polished4 ,one of the base annulets in the north gallery is signed by a monogram as the work 8of ,stephen40#cgc ,besides the hooks1 in the form of upturned fingers1 for the hangings at the bronze door1 similar hooks occur in the marble lintels of the doors in the narthex and the exonarthex4 #b4 ,,mosaic4 ,the mosaics of figures exposed at the time of ,fossati's repairs are many of them figured by ,salzenberg1 although his harshly coloured diagrams can but very inadequately represent the beauty of the originals4 ,we give here his descriptive text in a slightly condensed form as a basis for our own remarks4 ,dethier#cgd asserts that only a part of the mosaics discovered were published by ,salzenberg1 and that ,fossati preserved others inedited in his portfolios4#cge ,the mosaics are formed of glass of various colours cut into small pieces and applied to the vaults with a cement4 ,the gold mosaic was made by laying leaf gold on the glass1 which was then covered by a thin film of glass to protect the surface4 ,silver mosaic was made in the same way4 ,the gold was used1 in spite of its apparent abundance1 with great economy4 ,for instance1 in vertical spaces high up and only visible from almost immediately beneath1 the tesserae are arranged in horizontal rows at a distance of two or three tesserae from each other with their upper edges projecting4 ,the projecting edge of the lower row hides the bare space between it and the row above4 ,there is thus a saving of more than half the material1 and great play of light is obtained4 ,the tympana of the aisles are covered in this way4 ,the coloured tesserae are set in the usual way1 as the difficulties involved by the other method in the curves of the ornament would outweigh the saving of material4 ,besides gold and silver1 red1 blue1 and green are the principal colours2 though others are used in the heads of the figures4 ,the vaulting throughout was covered with a background of gold1 on which are conventional patterns that follow the forms of the construction4 ,some of the spaces have representations of figures4 ,in the bands of ornament are gamma-crosses swastikas1 hearts1 leaves1 and crosses1 placed in circles1 squares1 and other figures4 ,there are no sharp arrises to the vaults1 but patterned bands are placed on the rounded edges4 ,the vault of the narthex has its wide transverse bands adorned with gamma-crosses4 ,in the domed portions between the transverse arches are diagonal bands which culminate in a circle inclosing a cross4#cgf ,the vaults of the gynaeceum1 perhaps because they were visible from the nave1 are more elaborate than those of the aisles below4#cgg ,salzenberg's ,plate xxv4 shows the western dome on the south side1 on which is represented the descent of the ,holy ,spirit3 the arches have the same ornament as those below4#cgh ,details of the dome are given in ,salzenberg's ,plate xxvi4 ,the edges of the ribs and window openings are covered with bands of ornament4 ,the faces of the ribs have alternate squares and crosses1 which decrease in size as they get higher4 ,the central space has lost its figure subject1 but it is surrounded by a wide border4#cgi ,the sides of the window openings are lined with silver mosaic4 ,the lower part of the dome is not decorated1 as the projecting cornice hides it from below4#chj ,the edges of the exedra-conchs have bands similar to those on the great arches1 and the same pattern occurs again on the edges of the eastern barrel vault1 and the bema apse4#cha ,the rest of the decoration of the surface of the apses has disappeared4 ,over the centre door from the narthex to the nave is represented ,christ on a throne1 holding a ,gospel open at the words1 8,i am the ,light of the world3 ,peace be with you40 ,a monarch is prostrate before him1 and in medallions on either side are ,mary the ,intercessor1 and ,michael the ,protector4#chb ,the nimbus of ,christ has three rays1 and ,his hand blesses in the ,greek manner1 by which the fingers represent the initial and final letters of ,jesus ,christus4 ,the undergarment has broad gold stripes worked on it1 and the lights are given in silver2 it seems to be of silk1 the upper garment appears to be of a white woollen stuff4 ,the great western arch has a medallion of the ,virgin at the crown1 and full lengths of ,peter and ,paul at the sides1 ,peter on the south2 however1 only a few remnants of these figures are now left4 ,the border which surrounds the medallion of the ,virgin has colours of the rainbow1 the circle of her halo is red2 the flesh colour is fair1 and the eyes are blue4 ,the veil is blue1 with a gold cross1 and the cloak is also blue4 ,under the veil is a kind of band round the head1 like that which the ,spanish ,jews of ,constantinople wear2 it is of a blue green colour with dark stripes2 the hair is not visible4 ,her nimbus has three silver rays on a gold ground2 her hands rest on the shoulders of the ,child1 whose right hand blesses1 while the left holds the book of the ,gospel4 ,peter's face is dark1 the nimbus is blue1 the garment is bluish green1 and the gold rod1 surmounted by a cross1 has red and blue bands4 ,he thus has the same insignia as the ,st4 ,peter on the ,ciborium ,curtain1 and it is this which1 in the mosaic1 identifies the figure as ,peter1 for there is no inscription4 ,porphyrogenitus1 in his life of ,basil1 mentions that when the western arch was restored the pictures of the ,virgin1 and the ,apostles ,peter and ,paul were placed there by that emperor4 ,the figure of ,paul has an upper garment of green with silver lights1 and the undergarment is a greenish yellow4 ,the whole figure is about seventeen feet high1 but the head is wanting4#chc ,on the large semicircular walls beneath the northern and southern dome-arches are a number of figures in mosaic4 ,the seven arched recesses were filled with representations of martyrs and bishops2 above1 between the windows1 were six smaller figures of prophets1 and a larger figure at each end4 ,at the height of the upper row of windows were probably the archangels1 but of these only the feet remain4 ,the figures that now exist are the following4 ,in the recesses on the south side1 the second from the east is ,anthimos1 ,bishop of ,nicomedia1 martyred in #caa3 in the third is ,basil1 ,bishop of ,caesarea1 martyred in #cgi4chd ,the fourth recess from the east has ,gregory ,theologos1 ,patriarch of ,constantinople from #cgh to #chc4 ,the next figure is ,dionysius the ,areopagite2 who was converted by ,st4 ,paul1 and became1 tradition says1 ,bishop of ,athens4 ,in the sixth recess is ,nicholas1 ,bishop of ,myra1 who died in #ccj4 ,this figure is partly destroyed4 ,the seventh1 is ,gregory1 ,bishop of ,armenia1 who died in #cbe4che ,the figure of ,isaiah1 which is to the east of the row of windows1 had been covered up 7when ,salzenberg made his drawings71 but it was described by ,fossati as having an undergarment of green with silver lights1 and over it a cloak of a white woollen stuff4 ,the right hand pointed towards the bema1 and in the left was an open scroll with the inscription1 8,behold1 a ,virgin shall conceive and bear a son40 ,under the figure was a monogram4#chf ,higher up again on the same wall was the inscription3-- 4444 44444444 ,the recesses of the north wall have no mosaics see below1 p4 #bhg4 ,at the height of the windows1 the first figure beginning from the east is ,jeremiah4#chg ,the undergarment has stripes of blue and red1 and the upper represents a russet-coloured woollen stuff4 ,the right hand blesses1 the left has an open roll with the inscription shown in the plate1 8,this is our ,god2 no other shall be compared to ,him404#chh ,the figure between the first and second window is probably ,jonas1 as still remains on the right side of the head1 and there is only room for three letters on the other side4 ,the undergarment is a greenish blue with silver lights1 and has broad red stripes4 ,the nimbus is blue4 ,over the head of this figure is found the remnant of an inscription 4 ,this may have belonged to one of the figures above1 of which a sandaled foot and edge of a garment alone remain4 ,the foot does not stand upon green earth1 like the prophets below1 and therefore probably belonged to an angel4 ,only a part remains of the third prophet from the east1 which was inscribed ,habakkuk4#chi ,the mosaics on the soffite of the eastern arch were covered before drawings were made4 ,at the crown is a medallion with a white ground4 ,in this is a low throne of gold1 with two green cushions upon it2 over them is thrown a blue cloth with a white hem1 and upon that is placed a golden book4 ,above is also a gold cross with three arms2 the middle one is the longest1 and at its intersection with the upright member is a circle4 ,on the south face of this eastern arch is the figure of ,john the ,baptist1 with long hair1 and a brown shaggy garment2 his right hand blesses1 and his left holds a cross with three arms4 ,opposite1 on the north side is the ,virgin1 with uplifted hands in the attitude of prayer4 ,she has a white undergarment1 bound with a golden girdle1 a red upper garment1 and a veil of a green-blue1 with a gold hem4 ,under her is ,john ,palaeologus1 who restored this part1 and to whose time these figures and designs certainly belong4 ,the emperor wears a crown1 with strings of pearls on either side4 ,he has a closely fitting undergarment of gold1 decorated with pearls and embroidery4 ,a magnificent cloak hangs down from the left shoulder1 and round the neck and breast is a kind of broad gorget richly embroidered4 ,in his right hand is a sceptre1 and in his left a roll4 ,the archangel on the south side of the bema vault#cij has a globe in the left hand1 and a staff in the right4 ,he is clad in white1 with imperial red shoes4 ,the arch of the apse bears an inscription1 which ends with the letters 4 ,on the conch of the apse is the ,mother of ,god upon a throne1 holding the ,child between her knees2 her upper garment1 which is blue1 conceals the whole figure1 except that at the breast1 under the arm1 and above the feet1 the white and gold garment beneath is visible4 ,the ,child has his right hand uplifted and his left against his breast4 ,he wears a white garment1 with a gold girdle4 ,his hair falls down freely1 and the nimbus has three streams of light4 ,the throne is gold with red ornaments1 but is without a back1 and the footstool is of green silk4 ,in the dome pendentives are ,cherubim with six wings4 ,each head is four feet two inches high4 ,the upper feathers of the wings are a light green1 and the under feathers brown4#cia ,the great centre-piece of the dome1 which1 according to ,du ,cange1 represented ,christ as ,judge of the ,world seated upon a rainbow1 no longer exists4 ,only one of the domes of the gynaeceum preserves its mosaic ornament of figures4 ,this#cib represents the descent of the ,holy ,spirit4 ,only a part remains of the throne in the centre2 on it is a green cushion1 and a blue cloth with gold patterns4 ,groups of spectators fill the pendentives of the vault4 ,above the doorway which leads from the western gynaeceum to the chambers over the south porch1 are remains of figures1 which can no longer be identified4#cic ,in the ceiling of the chamber over the stairway is a design of green tendrils on a gold ground4#cid ,the small dome in the chamber which opens out of the western buttress of the south side on the first-floor level has four angels with uplifted hands1 supporting a medallion in the centre4 ,this design is similar to that in the side chapel at ,s4 ,prassede at ,rome4 8,the figure representations belong to the time of ,justinian1 though the ,silentiary1 otherwise so accurate1 does not describe them40 99 99 99 99 99 ,first ,scheme4--,a reading of ,salzenberg's notes on the figure mosaics will show how little ground there was for his impression that these belonged to the time of ,justinian1 which the last sentence expresses4 ,several of these mosaics are dated as being parts of restorations4 ,thus he shows that ,basil ,i4 placed figures on the arch of the great western hemicycle1 and that those of the great eastern arch are the work of ,palaeologus4 ,the subject has been much obscured by insecure assumptions and inexact assertions4 ,labarte1 who was one of the first to doubt that ,justinian was intended by the figure of the kneeling emperor before ,christ over the ,royal ,door1 thought that the ,silentiary described figure-mosaics as covering the interior4#cie ,gerspach in ,la ,mosaque calls the emperor #8,justinian' and appears to mistake the ,pentecost cupola for the great dome4 ,in regard to the date of the lunette containing the emperor1 ,labarte suggested that it was a work of the seventh century1 and that the emperor was ,heraclius4#cif ,woltmann and ,woermann placed it still later and write1 8,there is no kind of resemblance between the beardless portrait of ,justinian at ,ravenna and this bearded1 gray-headed man4 ,it is more likely to be ,basil ,i4 the restorer of the western apse1 and this opinion is supported by the miniatures of his time40 ,the pilgrim ,anthony seems to refer to it as ,leo the ,wise1 but the ,russians ascribe so many works to this emperor without reason that this is inconclusive4 ,the forms of the letters in the inscriptions1 however1 show that the mosaic is late4 ,bayet1#cig who has considered the mosaics afresh1 and thinks the silence of ,paulus is conclusive as to the absence of figure-mosaics when the poem was written1 about #efb1 himself seems to misread some parts of the poet's description2 thus he thinks patterns in mosaic are intended in lines #fjg-fab4 ,the animals of the atrium may possibly have been of glass mosaic3 but we think it more likely that inlaid marble like the dolphins of the interior 7,fig4 #di7 is intended4 ,the baskets of fruit1 branches with birds1 and the golden vine in the church1 spoken of in lines #ffh1 c4 seem to refer to the carved and gilt surfaces of the spandrils of the arcade1 not to the mosaic1 as ,bayet supposes4 ,the figure scheme1 so far as it can be traced1 closely agrees with the ,byzantine ,manual of ,painting3 and the subjects and treatments can be associated with work in other churches of the ninth and tenth centuries which have in several cases almost identical designs4 ,altogether it may be doubted if a single figure belongs to a time anterior to the iconoclastic period of the eighth century4 ,we believe the original scheme of decoration is best accounted for without figures1 and even if this were not so1 we can hardly believe that in the ,patriarchal ,church at the door of the ,palace figures would have lasted through the reigns of the iconoclastic emperors and patriarchs1 as they may well have done in remoter churches where the clergy were on the other side4 ,leo issued his first decree against images in #gbf4 ,its purport was not1 as is often stated1 that pictures should be hung higher in the churches in order that people should not adore them by kissing3 8it commanded that they should be totally abolished40#cih ,illustration3 ,,fig4 #gj4--,mosaic of small ,vault ,compartment next the ,bema4 ,it is well known that a figure of ,christ over the entrance to the palace was destroyed by ,leo the ,isaurian4 ,dr4 ,walsh1 who was chaplain to our embassy at the ,porte about #ahbj1 writes1 8,there stood till very lately in ,constantinople an inscription over the gate of the palace called ,chalces4 ,under a large cross sculptured over the entrance to the palace were the following words3-- 8#8,the emperor cannot endure that ,christ should be represented 7graphes7 a mute and lifeless image graven on earthly materials4 ,but ,leo and his young son ,constantine have at their gates engraved the thrice-blessed representation of the cross1 the glory of believing monarchs4'0#cii ,in #gfh ,nicetas1 the patriarch under ,constantine1 ,leo's son1 is said to have destroyed 8the images of gold mosaic and wax encaustic0 in all the churches of ,constantinople4#djj ,and in the life of ,theophilus we read1 8throughout every church the figures of the saints were destroyed1 and the forms of beasts and birds were painted in their places40#dja ,it is quite certain from ,procopius and the poem of the ,silentiary that the vaults of ,justinian's church were covered with mosaic4 ,they both describe the brilliance of the gold glittering surface1 but do not mention any figures4 ,in such detailed descriptions this silence goes far to show that there was originally no storied scheme of imagery1 like that which the ,poet so fully traced out on the curtains and iconostasis4 ,it seems equally certain that where1 describing the dome on the strong arches1 overhanging the interior like the firmament which rests on air1 he says1 8at the highest point was depicted 7epigraphe7 the cross1 ,protector of the ,city10 we are to understand that a great cross in mosaic expanded its arms on the zenith of the dome1 and that the background was strewn with stars4 ,now this is a well-known scheme1 and it is found at an earlier date in the chapel of ,galla ,placidia at ,ravenna1 and later it is mentioned by ,porphyrogenitus in a description of a domed apartment in the palace4 ,the stars on the dome are more than once referred to in the poem 7page #cf71 and it is probable that the surfaces between the ribs as well as the central circle had gold stars set in azure1 the ribs being of gold2 nothing less would seem to justify 8the firmament of the roof its rounded expanse sprinkled with the stars of heaven40 ,it is evident that1 however easily figures and pictures might be added here and there at various dates1 the church1 being once incrusted with mosaic1 would at no subsequent time have had the enormous areas of tesserae removed to be again renewed4 ,it follows that the ground1 and any patterns evenly distributed in every part of the vaults1 are assuredly of the first work4 ,first among such designs is a jewelled cross thirteen feet high1 which is blazoned on both ground floor and gallery vaults1 and which must have been repeated some twelve times twelve4 ,we give an outline of one of the smallest vault compartments in the church1 the irregular space to the east directly south of the bema3 here three of the crosses can still be seen through ,fossati's colouring1 their interlocking arms spreading over the whole field4 ,this form of cross1 with lobed ends1 is found set in a circle of stars1 in the mosaic apsoid of ,s4 ,apollinaris in ,classe4 7,fig4 #gj47 ,a similar argument applies to other forms which occur with equal frequency4 ,a square panel of ornament which alternates with the crosses1 certain diapers1 the bands up the edges of the aisle vaults1 and the small circles each containing the six-armed cross or monogram at the centre of these compartments1 would all seem to be parts of the original work1 and these simple elements we believe formed the first scheme of decoration4 ,texier figures a mosaic from ,salonica made up of crosses4 ,the splendid simplicity of such a scheme seems entirely in harmony with ,s4 ,sophia1 for even figures would disturb the beauty of the expanse which at each movement glitters like a web of golden mail swayed by a breeze4 ,later ,mosaics4--,for the mosaics displaying figures we refer back to ,salzenberg's description4 ,much further information might have been gathered if he had given copies of the inscriptions which exist1 in however incomplete a state4 ,his section 7,plate x47 shows that a long inscription surrounded the arch of the apse1 but in his text he only gives the last few letters 2 this possibly belonged to the words 1 8,set up again10 and the whole may have contained the name of the emperor under whom this restoration was effected4 7,see below1 p4 #bhg47 ,on the great lunette of the wall of the south side also1 where the tiers of saints and prophets seem a part of a scheme representing the ,church triumphant1 or a ,benedicite1 two monograms occur 7see ,salzenberg's ,plate ix472 only the first1 which reads 1 is figured in the text2 it is evidently a part of the well-known invocation1 #8,lord1 help1' which requires the name of an emperor or artist to complete it4 ,an inscription between these monograms is partly given in the text2 and supposing it to be correctly rendered the whole probably read 8,lord1 help0 7name who painted this wall7 8of the ,immortal ,wisdom0 7with the figures7 8of the saints04 ,the entire later scheme of the mosaics must have corresponded closely to that in the ,new ,church in the palace built by ,basil1 which is described by ,porphyrogenitus4 ,here1 at the centre of the dome1 was the human form of ,christ embracing the whole world in ,his regard2 below were ranges of angels4 ,in the apse was the figure of the ,virgin with arms uplifted in prayer1 8a choir of apostles1 martyrs1 prophets and patriarchs filled the other spaces of the whole church40 ,this in turn resembles very closely the iconography at ,s4 ,luke's4 ,illustration3 ,,fig4 #ga4--,restoration of ,throne at ,crown of ,pentecost ,dome4 ,the following instances may be given of the agreement of the mosaics at ,s4 ,sophia with the instructions of the ,painter's ,manual4 ,for example1 it directs that over the door of entrance from the narthex ,christ be represented throned1 holding the ,gospel open at the words1 8,i am the ,door3 by me1 if any man enter in1 he shall be saved40 ,at each side the ,virgin and the ,prodromos are to be represented4 ,the figure to ,christ's left at ,s4 ,sophia1 called ,michael by ,salzenberg1 ,grelot tells us was the ,prodromos and he probably followed the traditional ascription1 although the type seems to agree better with an archangel4 ,again1 8,inside the ,sanctuary at the centre of the vaults draw the ,virgin seated on a throne holding ,christ as a little child40#djb ,this exactly describes the apsoid mosaic at ,s4 ,sophia4 ,the cupola of the gynaeceum1 representing the descent of the ,holy ,spirit1 is also in close agreement with the directions given in the ,manual3--8,the ,holy ,spirit is seen in the form of a dove1 twelve tongues of fire go out from it and rest on the apostles40 ,this subject is treated at ,s4 ,luke's in a manner almost identical to that at ,s4 ,sophia1 and it is also found in a dome at ,s4 ,mark's4 ,diehl in his examination of the mosaics at ,s4 ,luke's has pointed out that the central circle of the ,pentecost cupola at ,s4 ,sophia as shown by ,salzenberg in ,plate xxxi4 is quite insufficient to have contained the figure of ,christ as shown in the restoration given on ,plate xxvi41 and that consequently the ,holy ,spirit as a ,dove really occupied this position as at ,s4 ,luke's4 ,in ,fig4 #ga we give an amended restoration of this centre2 it will be seen from ,salzenberg's text that he had no evidence for a figure4 ,the two angels above the sanctuary are described by ,salzenberg as bearing lances or banner poles2 these were doubtless surmounted by ,flabella bearing the words as at ,s4 ,luke's and ,nicaea4#djc ,there is a very similar angel holding a flabellum of this kind in the tenth century ,menologium2 and the words ,holy1 ,holy1 ,holy1 are directed to be put on flabella in the manual4 ,again the ,manual says1 8,at the summit of these vaults 7opening from the dome7 draw the holy ,veil to the east and opposite to it the holy ,cup40 ,now in ,grelot's view of the interior1 made when many of the mosaics were still visible1 he shows a large square mosaic at the crown of the bema vault directly over the altar1 which he says was 8the picture of ,christ's face upon a napkin called ,veronica40 ,the representation of the throne at the centre of the soffite of the eastern arch 7see p4 #bgg7 is one of the most beautiful symbolisms of ,byzantine art4 ,at ,nicaea the same design occurs in a similar position on the triumphal arch1 and it is inscribed 4 ,this 8,preparation of the throne0 referred to the second coming of ,christ4 ,our figure represents a throne of this kind which we offer as an illustration of that at ,s4 ,sophia2 it is based on a throne inscribed which appears on the cover of a ,byzantine ,gospel book at ,s4 ,mark's4#djd ,the small dome of the little chapel on the first floor1 ,salzenberg says1 resembles a dome at ,s4 ,prassede4 ,the latter is a work of the ninth century4#dje ,illustration3 ,,fig4 #gb4--,restoration ,throne at ,crown of ,great ,e4 ,arch4 ,salzenberg's description seems to account for all the figured mosaics mentioned by ,grelot 7#afhj7 except the 8,veronica over the sanctuary40 ,when ,grelot made his drawing there was no figure at the crown of the dome but only the bands rising to the central wreath4 ,clavijo however writes1 8,the vault of the square is covered with very rich mosaic work1 and in the middle of the vault high over the great altar the image of ,god the ,father very large is wrought in mosaics of many colours2 but it is so high up that it only looks the size of a man or a little larger though really it is so big that it measures three palmos between the eyes40 ,this must be the ,pantocrator of the ,manual--8draw near the summit of the cupola a circle of different colours like a rainbow seen on clouds in rainy weather4 ,in the centre represent ,christ with the ,gospel and this inscription1 ,jesus ,christ1 the ,almighty40 ,since the above has been in type we have found a pamphlet published by the brothers ,fossati in #ahij1djf describing a collection of drawings of ,s4 ,sophia1 shown by them at ,milan4 ,from this we gather the following additional particulars of the mosaic subjects4--,over the door of the south porch 8was a remarkable mosaic representing the ,virgin and ,child1 to whom ,justinian presents the ,church and ,constantine the ,city40--,a representation of ,christ1 the ,virgin1 and ,s4 ,john1 forming the ,trimorphion 7,pantocrator1 ,pantochrante1 ,pantepopte47--,two groups of the ,fathers of the ,church1 thirteen altogether3 ,ignatius ,oneos1 ,methodius1 ,ignatius ,theophorus1 ,gregory ,thaumaturgus1 ,john ,chrysostom1 ,cyril1 and ,athanasius4 ,these must occupy the seven recesses on the north window-wall1 as the six others agree with those given by ,salzenberg on the south side4--,the ,pantocrator on a throne 8 supposed centre of ,pentecost dome4--,john ,palaeologus 8 with the ,virgin on north side of great east arch1 p4 #bgh4--;,john ,comnenus and ,irene with the ,virgin between them4--,constantine ,,xi4 and ,zoe with ,christ between them4--,alexius ,comnenus ,x4 or ,,xi4--,alexander1 the brother of ,leo some of these also were doubtless on the great east and west arches4--,three ,virgins4--,s4 ,john with six apostles surrounded by cherubim 8 in higher part of one of the window-walls1 p4 #bgg4--,prophets 8 of window-wall1 p4 #bgf4--;,a circle with colossal ,pantocrator 8 the destroyed centre of the great dome4--,different emblems with ,greek and ,latin descriptions4 ,besides these1 a drawing of ,cherubim 8saved from the ,atrium ,portico0 is mentioned2 and the inscription on the arch in front of the apse is given as follows1 and may be compared with ,salzenberg's ,plate x43-- 4 ,the earliest description of the mosaics entering into any particulars is that of ,dr4 ,covel's ,,ms4 #afgj-g in the ,british ,museum4 8,in those cupolas of gynaeceum are imagery of ,saints and the story of the ,bible which the ,turks have in many places quite defaced and plastered them all over2 in other places only scratched out or disfigured their faces as the cherubims in the corners under the great dome40 ,he then enters into details of the pentecost dome which was the only figured vault entire2 and then describes mosaics in the western gallery not otherwise mentioned4 8,in the sides of the second window from the south1 is ,christ coming up from ,jordan and the ,descent of the ,holy ,ghost with these words1 ,matt4 iii41 #ag3--1 c41 on one side and over against it1 ,christ between ,moses and ,elias with these words1 ,matt4 xvii41 #e3--1 c40 ,the window jambs of the western gallery are now plastered1 it is probable that a series of mosaics of the life of ,christ covered them4 ,up to #ahdj every visitor seems to have been offered tesserae1 which for better assurance were broken out before his eyes4 ,the ,italian ,,ms4 of #afaa also in the ,british ,museum 7,harl4 #cdjh71 after saying that the walls of the church were lined with marble adds1 8the porch as well1 except that this is all worked in mosaic with growing leaves of great beauty down to the pavement of the porch40#djg ,illustration3 ,,fig4 #gc4--,mosaic ,tesserae1 actual size4 ,signor ,boni has noticed that some of the gold tesserae at ,parenzo are inserted at an angle of #cj to the plane of the wall1 so as to be normal to the line of vision1 just as ,salzenberg describes at ,s4 ,sophia2 the same thing occurs at the ,dome of the ,rock4 ,this1 besides saving the material1 aided in flashing the light1 a property of the gold tesserae which was much valued1 as several inscriptions from the mosaics show4#djh ,in ,s4 ,maria in ,domnica1 the apse--8,nunc rutilat jugiter variis decorata metallis10 again in ,s4 ,maria in ,trastevere the vault 8divini rutilat fulgore decoris10 and at ,s4 ,paulo fuori le ,mura the mosaic--8fulget fulgente decore40 ,we have examined a handful of gold tesserae from ,s4 ,sophia through the kindness of ,mr4 ,james ,powell4 ,the cubes average a quarter of an inch in size1 the glass is yellowish1 slightly amethyst or dark green4 ,the surface layer equals stout paper in thickness4 ,at the back of the tesserae a dusty red appears1 which under a glass proves to be of powdered tile4 ,this roughens and adheres to the surface of the glass1 which was evidently sanded with the powder while in a molten state1 and of course before it was broken into morsels4 ,the first purpose of this without doubt was to increase the hold of the cubes to the cementing material1 but the reddening--almost like a coat of vermilion paint--may probably have assisted the gold to show out better than if the tesserae had been fixed without it into the perfectly white stucco which forms the bed4 ,the cementing material was an inch or more in thickness1 formed of lime with broken reed for binding1 and a considerable amount of crushed white marble1 in the part next the mosaic at least4 #c4 ,,glass1 ,,plaster ,,and ,,painting4 ,the ,romans probably largely used coloured glass for windows4 ,the lattices were sometimes bronze or thin slabs of marble pierced into a pattern4#dji ,sidonius 7 #dhd71 describing the basilica of ,tours1 clearly mentions the patterned windows of green and sapphire glass4#daj ,it has been suggested that some of the windows at ,s4 ,sophia were filled with glass of brilliant colour4 ,theophilus1 in his preface to the section of his work dealing with coloured glass1 says1 8,i have approached the atrium of ,holy ,sophia1 and beheld the chancel filled with every variety of divers colours40 ,he proceeds to describe windows of painted glass in which the pieces are united by leads3 but assuredly1 if coloured windows did exist in the apse of ,s4 ,sophia1 the glass was inserted in pierced marble1 like the plaster lattices of the ,orientals4 ,beautiful windows of brilliant-hued glass exist in the mosques and turbehs4 ,the ,arab lattices show us what beautiful mosaics of jewels may be formed in this way2 the singular charm of them is the spreading and blending of the colours1 by reflection from the sides of the thick dividing bars2 lumps of crystal seem to have been used occasionally in place of glass4 ,most beautiful #8braided' ,byzantine lattices of marble are to be found at ,s4 ,mark's which would be well characterised as which according to ,lenoir was the name of these windows4 ,if coloured glass was used in ,s4 ,sophia1 we think it can only have been in small windows of this kind in the apse and conchs4 ,labarte thought1 from the descriptions of ,procopius and ,paulus1 that the windows were of white glass which allowed the rays of the sun to shine through unaltered4 ,it is hardly possible to conceive of the great windows being of anything else than white glass4 ,a fragment of 8ancient crystalline0 glass from ,s4 ,sophia was exhibited at the ,society of ,antiquaries in #ahgf4 ,it is described as only 8one sixteenth of an inch thick1 and nearly colourless except for iridescence40 ,grelot remarked that the plain glazing was 8of round panes set in plaster10 but this must refer to the gradual filling round of the panes by repairs1 as may at present be seen in the baptistery windows2 although circular panes in a plaster setting were much used in ,byzantine work1 the glass being spun in separate discs of slightly varying sizes was inserted in marble or plaster slabs in different combinations4 ,windows of this kind remained in the apse of the ,theotokos church twenty years ago4 ,dr4 ,covel is precise as to ,s4 ,sophia in #afgf2 he says the windows were 8cut out of entire stone into quarries exactly square10 #aj by #ab or #ad inches4 8,in the first window of the west gallery 7coming in on the south side71 are several pieces of white transparent stone which ,i take to be ,indian alabaster40 99 99 99 99 99 ,modelled stucco work was much used by late ,greek1 ,roman1 and ,byzantine builders4 ,paulinus tells us that at ,nola 8a cornice of gypsum0 separated the mosaic and marble of the apse4 ,a large number of examples from the fourth to the sixth century are found in ,rome1 ,parenzo1 and ,ravenna4 8,about the middle of the fifth century ,galla ,placidia built the church of ,s4 ,croce in ,ravenna #8of very precious stones1 and with stucco 7gypsea7 modelled with the tool' 7,agnellus4 ,lib4 ,pontif4 i4 #bhc74 ,decorative stuccoes in the apse of ,s4 ,ambrose at ,milan were destroyed thirty years ago1 as they were supposed to be #8,baroque4' ,dartein analysed the material and found that it contained #he per cent4 of plaster 7gesso71 a little lime1 sand and brick-dust or pozzolana40 8,the rich decoration of the ,chapel of ,s4 ,maria at ,cividale 7eighth to tenth century71 and the ,arab-,norman modelled stuccoes of ,sicily show that the traditions of this kind of ornament were not lost at a later time40#daa ,in the churches of ,greece this material is largely used1 and its application in ,arab work was due to ,byzantine example4 ,at ,s4 ,sophia an ornamental plaster frieze runs along both sides of the south porch3 this is a scroll throwing out acanthus leaves and fruits like poppy seed-vessels4 ,the background is coloured blue4 ,illustration3 ,,fig4 #gd4--,plaster ,friezes of ,gynaeceum4 ,the flat frieze-like cornice of the first floor ornamented with two patterns of leafage appears to us to be of stucco2 we figure these here1 but we have not been able to verify the material4 ,if of stucco1 as we suppose1 it is cast or stamped in small square panels as shown3 certainly some of the ,byzantine plaster-work1 as for instance that forming the cornice of the apse at ,s4 ,apollinare in ,classe1 was cast in short sections and then applied4 ,the blue background of the plastered frieze just mentioned may remind us of the decoration of the beam above the columns of the ambo with gold ivy leaves on a background coloured ultramarine as described by the poet4 7,the spade-like leaves which occur in several places in the mosaic must be ivy47 ,this decoration of gold and 8sapphire0 seems to have been general in ,byzantine work4 ,the sculptured beam of the iconostasis at ,st4 ,luke's has the blue background nearly intact1 and here and there the gold is visible 7,diehl1 p4 #bf74 ,traces of the blue ground may also be noticed in the sculptures of ,mone tes ,choras at ,constantinople4 ,the notched fillet1 which separates the marble panels in ,s4 ,sophia1 is used so extensively at ,venice that ,mr4 ,ruskin called it the ,venetian dentil2 the complete intention of this fillet1 he writes1 is now only to be seen in pictures1 8for like most of the rest of the mouldings of ,venetian buildings it was always either gilded or painted--often both1 gold being laid on the faces of the dentils and the recesses coloured alternately red and blue40#dab ,it is clear from ,paulus that at ,s4 ,sophia the sculptured capitals were all gilt 7,part ,,ii41 lines #abi and #bdd71 as apparently were also the carved surfaces filling the spandrils of the lower arcade 7line #bcf74 ,the red colouring which ,salzenberg notices was probably the preparation for the gold4 ,it is thus almost certain that the notched fillets and carved frames of white marble surrounding the marble wall panels were gilt1 as the ,anonymous says1 and coloured1 thus reflecting as it were from the wall surfaces the brighter hues of the mosaic vaults4 #d4 ,,monograms ,,and ,,inscriptions4 ,the poet ,paulus speaks of the iconostasis as bearing the names of the emperor and empress1 combined in a monogram--8one letter that means many words40 ,such ciphers or monograms had been in use for some centuries1 and at the end of the fifth century they were used as signatures in discs left in the capitals4 ,they appear at ,ravenna in the time of ,theodoric2 and1 in ,constantinople1 ,s4 ,sophia1 ,s4 ,sergius1 and ,s4 ,irene display similar ciphers of ,justinian4 ,at ,s4 ,sophia almost every capital is charged with two monograms which are carved on the bosses on opposite sides of the capitals4 ,the background is entirely hollowed away1 and the monograms show sharp and clear in the nest-like cup which is held by the serrated edges of the acanthus leafage4 ,there are four or five main varieties of which ,salzenberg somewhat inaccurately figures two without offering any explanation4 ,the first type appears on two or three of the coins of ,justinian1 of which we have figured an example at large on the title-page1 and in these instances they have been deciphered by ,sabatier as the monogram of that emperor4 ,a ceramic inscription given in the ,revue ,archologique for #ahgf1 repeats the same form4 ,we had made out that the second variety was probably the word ,basileos1 when1 at ,constantinople1 we were referred to the paper by ,canon ,curtis and ,m4 ,aristarches4#dac ,in this article the monograms are classified according to their main types and the whole series is figured4 ,although the figures are small1 this is a thoroughly good piece of work1 in the result obtaining many pairs reading ,justinian1 ,basileos1 other pairs with ,theodora ,augusta1 and one with a date4 ,illustration3 ,,fig4 #ge4--,monograms on ,capitals of ,nave4 ,the capitals of the sixteen great columns of the nave1 the capitals of the lower side aisles--with the exception of those on the eight square columns1--and the thirty-six columns on the floor above1 which screen the side gynaecea from the nave1 bear monograms4 ,we were fortunately able to examine and draw all of them1 but give in ,fig4 #ge only those on the back and front of the sixteen great columns of the nave4 ,they occur in the order in which they are placed on the illustration from the first column on the left 7north7 side on entering at the west1 to the corresponding one on the south side4#dad ,many of those monograms1 especially those of the galleries1 bear evidence of having been restored4 ,we may recollect that the capitals were said to have been restored by ,romanus 7p4 #abc74 ,it is possible that ,fossati tampered with them2 the ,italian ,,ms4 of #afaa in the ,british ,museum states that 8the ,turks have destroyed some figures which were anciently carved 7intagliarsi7 on the capitals40 ,there are fifty-six examples on the capitals which ,curtis and ,aristarches give as being monograms of ,justinian2 in all these the letter forms the main lines1 to which additions are made1 so that the letters can be traced out4 ,some of these have crosses in addition4 ,the next monogram is that read 4 ,it occurs in all on fifty-five columns1 the examples of it in our illustration are ,b4#a1 ,e4#b1 ,h4#a1 ,p4#a1 ,c4#b1 ,p4#a1 ,g4#b1 ,j4#b1 ,l4#b1 ,n4#b1 ,q4#b1 the remnant of ,k4#a1 shows that this was similar4 ,this monogram is found also on the capitals of ,s4 ,sergius and ,bacchus1 and on three beautiful ,basket ,capitals at ,s4 ,mark's4#dae ,several of the fifty-six1 classed together as ,justinian1 furnish varieties from the clearest typical form4 ,in some a letter appears which may be read either as or 1 also an and a sign of contraction3 see ,m4#a and ,o4#a2 possibly this is a combination of ,justinian and ,basileos or only a variant spelling3 this form occurs in the church of ,s4 ,sergius as well as at ,s4 ,sophia4 ,on twelve capitals is carved the monogram 4 ,this is either designed on the cross form as ,b4#b ,f4#a1 another in the side aisles1 and three in the gynaeceum above1 or else as in ,e4#b it approximates to ,basileos4 ,two of this latter type also occur in ,s4 ,sergius1 which shows how early ,justinian associated his wife with him in his architectural labours4 ,finally from ,s4 ,sophia1 and from there only1 we have twelve examples of 4 ,typical ones are shown in ,g4#a1 and ,a4#a-;,a4#b2 possibly some of these1 as ,a4#a1 may have been read ,augustus1 if any care was taken in their distribution4 ,the letters on the last capital ,q4#a have been read by ,curtis and ,aristarches as 4 ,they take to be a capital form of the obsolete letter which is used for #f or #f1jjj1 is as usual #dj1 and is #b4 ,hence they get #fjdb for the year of the world4 ,the lower is then explained as the year of an ,indiction1 reading it as 1 or #ab4 ,one ,indiction period of fifteen years would have ended in #ebb ,a4,d41 and the twelfth year from that would be #ecd ,a4,d4 equalling #fjdb ,a4,m4 ,therefore this gives a date1 two years after the church was begun1 when they suggest that this capital was put in its place4 ,this ingenious explanation requires too much adjustment for it to be conclusive1 and the form is at least unusual4 ,this monogram looks very white1 as if it had been made up in plaster2 if we were assured as to how much is ancient we might perhaps1 if it proved different from the others1 find here the inserted monogram of a later emperor who made repairs4 ,salzenberg gives some monogram signatures from the closures under the great west window1 which are carefully carved and entirely different from rough masons' marks1 although some of the forms occur amongst those4 ,we were unable to examine them1 and taking ,salzenberg's representation1 we can only suggest that they may be the signatures of master-workers2 one appears to be ,phocas4 ,m4 ,choisy#daf has investigated the masons' marks of ,s4 ,sophia2 besides the ordinary signs1 he makes out a system of numbering in the pavement slabs of the galleries4 ,strzygowski#dag pursues the subject of ,byzantine marks in general1 much further4 ,he points out the same signs on the columns of ,s4 ,vitale1 of ,pomposa1 and of ,parenzo1 and in the cistern ,bin-,bir-direk at ,constantinople4 ,from this we gather that not only 8the columns of ,ravenna1 but also the similar architectural features of ,constantinople1 ,salonica1 ,parenzo1 in fact along the whole coast of the ,mediterranean0 were taken from the quarries of ,proconnesus1 and in the lettering on the different members we can recognise the working signs of the quarrymen or masons belonging to the guild1 which sprang into existence there at the founding of ,new ,rome1 and which even as early as the end of the fourth century was exporting to the islands of the gean4 ,a few other inscriptions on the marble may be briefly noticed4 ,on the inner border of the marble parapet of the north gallery is scratched1 8,place of the most noble ,patrician ,lady ,theodora10 ending with an abbreviation that may mean ,s4 ,sophia1#dah and again on a panel of the parapet of the north gallery at the west end is seen1 8,timothy1 keeper of the vessels40 ,coteler in his ,monumenta ,ecclesiae ,graecae finds mention of one ,timothy1 who was skeuophylax of the ,great ,church at the time of the ,monothelite heresies about #fbb4dai ,on a column in the southern gynaeceum occurs the word ,teodorus1 but the fact that it is spelt with the ,latin ,t and ,d proves it to have been written during the ,western supremacy1 #abjd-abfa4 ,in the south gallery is a slab forming a part of the paving2 8marks in the face of which seem to suggest that a railing inclosed the space within which a sarcophagus used to stand1 supported by pillars40 ,this is inscribed with the name of the blind ,doge who led the ,venetians against ,constantinople in #abjd1 and died the following year1 8,,henricus ,,dandolo40 ,,note ,the following additional inscription from the mosaics is given in ,clarke's ,travels 7#ahab74 ,it was taken1 he says1 in one place1 8from the ceiling of the dome10 but in another place he seems to associate it with the eastward semidomes3-- 44444 444444 ,,index ,a ,abdul ,mesjid1 restoration by1 #adh ,acacius1 ,s41 church of1 #abi ,acanthus1 #df1 #aff1 #afg1 #bed1 #beg1 #bfa1 #bfc ,acropolis1 #a1 #b1 #g1 #aj1 #aa1 #ab1 #ag ,additions to church1 #aed1 #aee ,adoration of ,cross1 #ih ,agathias 7#fth c471 #cj1 #cc1 #aei1 #bjd1 #bab1 #bad ,agatho the ,deacon1 #ahb ,agora of ,milion1 #agi1 #aha ,aisles1 #bg1 #dc1 #dd1 #aea2 lamps in1 #ea2 marble1 #aga1 #bdc2 mosaics1 #bdg2 vaulting1 #afj1 #bbj1 #bba ,aix1 #aaf1 #aib ,akoimetoi lamps1 #aah ,alexandria1 #f1 #bdi2 capital of ,s4 ,mark's at1 #bee ,alexius1 ,s41 #aha ,comnenus 7#ajha71 #ajj1 #aje1 #aha ,altar1 #af1 #bi1 #dh1 #fh1 #fi1 #ajj2 cross placed on1 #ib2 cloth1 #ga4 ,see also ,holy ,table ,ambo1 #ah1 #bi1 #ec1 #eg1 #id1 #ih1 #abd1 #acj1 #aci1 #adj2 candelabra round1 #aaa1 #aah2 singers in1 #gi1 #ajd2 coronations in1 #fa1 #fc ,amiens1 ,knight of2 see ,robert de ,clari ,amurath ,,iii41 #abg ,anastasia1 ,s41 church of1 #ba ,anastasius1 #aaf1 #aag1 #aai ,ancyra1 church at1 #bjc ,andreossy1 #bcb ,andronicus1 ,s41 #abi ,palaeologus1 #abd1 #aeb ,anemodulion1 #agh ,anna ,comnena 7#abth c471 #ahc1 #ahf ,anna1 ,empress1 #abd ,annulets round shafts1 #bei1 #bgc ,anonymous ,author 7#abth c4 871 #bd1 #bf1 #bh1 #cj1 #cf1 #dc1 #bjd1 #bdh1 #bgj ,anthemius1 #bd1 #bf1 #bh1 #cj1 #cf1 #dc1 #bjd1 #bdh1 #bgj ,anthony of ,novgorod2 see ,novgorod ,antioch1 #f1 #ag1 #dd1 #aha1 #bjc ,antux1 #cg1 #da1 #dc1 #de1 #dg1 #di1 #eg ,apollinaris1 ,s41 #beh1 #bhc ,apostles1 church of1 #ad1 #ae1 #ah1 #gd1 #he1 #bje ,apse1 #ai1 #bb1 #bd1 #bi1 #cb1 #cg1 #fg1 #fi1 #acb1 #aej1 #baf ,apsides1 #be1 #bh1 #cj1 #da1 #dc1 #acc1 #ahj1 #ahb ,apsoid1 #bb1 #be1 #bji1 #baj ,arcadius 7#cie71 #af1 #ahj2 baths of1 #aa2 cistern1 #beg ,arch1 #baj1 #bac2 western restored1 #abc2 forms1 #bbj ,architraves1 marble1 #ach2 bronze1 #bfd ,arculf 7#gth c471 #ib1 #ie1 #ih ,ark of ,noah1 #aji1 #ach1 #adg ,arrises of vaults1 #bdd ,arsenius1 #hf1 #aji1 #abd ,asbestos1 #bg1 #acb1 #acf1 #bca ,athos1 ,mt41 #ih1 #aae1 #aah1 #aai1 #ahi1 #bbg ,atrax1 marble1 #de1 #bcf ,atrium1 #ah1 #dd1 #abb1 #adh1 #aeb1 #ahb1 #ahe1 #aia1 #bae2 capitals of1 #aff ,attaliotas 7#aath c471 #fg ,augusteum1 #d1 #i1 #aj1 #ab1 #bj1 #ada1 #adf1 #agc1 #agh1 #ahj1 #ahd1 #ahf2 steps of1 #fe1 #ie ,aule1 #dd1 #de1 #ahh ,b ,baalbec1 #bja ,baldwin1 ,i41 #abd2 ,,ii41 #ajj ,banduri1 #g1 #aj1 #age1 #aij ,baptism of ,christ1 #dd1 #ajf1 #ahc2 of ,emperors1 #aaj1 #ahc ,baptistery1 #ah1 #ai1 #bj1 #ha1 #ajf1 #acb1 #aeb1 #aee1 #ahc1 #bji1 #bag ,barley in concrete1 #acb ,base of dome1 #baj1 #bad ,bases1 #afe1 #beh1 #bfj ,basil1 ,s41 #aca1 #adc1 #bgf2 ,i4 ,emperor 7#hfg71 #aaa1 #abc1 #age1 #ahb1 #bgi2 church built by1 #fh1 #gj1 #ij1 #adc1 #ahi ,basil ,,ii4 7#igf71 #hi2 see under ,menologium ,beams with lamps1 #ej1 #aaa ,beautiful ,gate1 #fg1 #ie1 #ahb ,belfry1 #abb1 #aid1 #bae ,bells1 #ajf1 #aej1 #aid ,bema1 #ah1 #cg1 #fb1 #fc1 #fe1 #fg1 #gh1 #id2 view of1 #fi2 restored1 #abd2 walls of1 #aga1 #bdb2 see also ,thusiasterion ,benjamin of ,tudela1 #hc1 #aac1 #agh ,bertrandon de la ,brocquire1 #ib1 #aaj1 #abe1 #aic ,bethlehem1 church of1 #hc1 #ahb1 #bdj2 built by ,justinian1 #ag ,bin ,bir ,direk1 cistern1 #bdh ,bishop's throne1 #fh1 #gi ,blachernae palace1 #aa1 #abc ,blessing the water1 #aaj1 #aib ,bondelmontius1 #abe1 #age1 #agg1 #agi1 #ahf1 #aic ,bosporus1 stone of1 #df1 #ef1 #gi1 #bcg ,bosra1 #ij1 #bjd ,boucoleon palace1 #ii ,bricks1 #aee1 #afa1 #aii1 #bbd1 #bbf1 #bcd2 size of1 #aee2 inscriptions on1 #acf1 #aef1 #bjg ,bronze1 #agb1 #ahj1 #ahi1 #bfd1 #bgb2 hooks1 #hf1 #aji1 #bfd1 #bgc2 panels1 #afh1 #agj1 #bfe2 rings1 #ef1 #fj1 #afd1 #bei2 horses at ,venice1 #aic ,bruin ,code 7#agjj71 #aif ,bury1 #g1 #ab1 #bjj ,buttress1 #aej1 #aeg1 #baj1 #baf1 #bai1 #bbf ,buzantios1 #g1 #ahc1 #bfd ,byeljayev1 #h1 #agg ,c ,camerarum rotator1 #bjf1 #bjg ,candelabra1 #fj1 #gd1 #hj1 #ajc1 #aai ,candles on ciborium1 #dh1 #gb ,cantacuzenus 7#acda71 #fb1 #fe1 #abd ,canterbury1 #ai ,cantharus1 #hd1 #ahi ,capitals1 #cg1 #dc1 #df1 #ee1 #acg1 #afd1 #ahh1 #bah2 distribution of1 #bee2 types1 #bej1 #bed ,carpets1 #ha1 #ij1 #ajb1 #ahc ,carystus1 marble of1 #de1 #bcg ,cassiodorus1 #bjf ,catechumena1 #fe1 #ij1 #id1 #ace ,cedrenus 7#aath c471 #ac1 #ad1 #af1 #ii1 #aeg1 #ahj1 #baj ,cells of clergy1 #adj1 #ahf1 #bag ,celtic marble1 #de1 #bcg ,cements1 #bca1 #bhi ,ceremonies1 book of 7#ajth c471 #g1 #bj1 #fj1 #ib1 #ie1 #abc1 #agc1 #aha1 #ahf1 #bai ,chainage1 #bbh ,chains 7lamp71 #af1 #di1 #ej1 #ea1 #aaa2 ,s4 ,peter's1 #fh1 #ahc ,chalk ,gate1 #ie1 #agd ,chalices1 #if1 #ajd1 #ajh1 #aaj1 #aaa1 #adj1 #bdb1 #bfg ,chalkis1 #beg ,chambers at ,east-,end1 #aec1 #baf ,chapels1 #fh1 #aje1 #aed1 #aee1 #ahd ,cherubic ,hymn1 #fc1 #ib ,cherubim in mosaic1 #bgh1 #bhg ,choir2 see ,solea ,choisy1 #abh1 #aii1 #bjj1 #bjg1 #baj1 #bad1 #bbb1 #bbd1 #bbf ,chosroes1 #cb1 #ij1 #ig ,chrysopolis1 #e ,chrysostom 7#dth c471 #af1 #ah1 #dd1 #he1 #aji1 #aaf1 #add ,chrysotriclinium1 #agd ,ciborium1 #bi1 #dg1 #fh1 #gb1 #afg ,cipollino1 #bfc2 rosy1 #bda1 #bdb ,cisterns of ,constantinople1 #hc1 #bbd1 #bbf1 #bdh1 #beg2 of ,s4 ,sophia1 #ai1 #ajf1 #aee1 #aif ,clamps1 #bdg ,clavijo1 #fa1 #hc1 #abe1 #age1 #agg1 #agi1 #ahd1 #ahf1 #ahh ,clemente ,s41 church at ,rome1 #bji1 #bed1 #beg ,clergy1 #ia1 #adj ,cloister on south side1 #bai ,codinus 7#aeth c471 #ad1 #ba1 #fc1 #fe1 #gi1 #abh1 #ahj1 #ahc ,columns1 #ee1 #ef1 #fj1 #fi1 #aji1 #acg1 #ach1 #afc1 #afe1 #bcd1 #bcf2 of ,s4 ,basil1 #ajb1 #aca2 of ,s4 ,gregory1 #ajb1 #aca2 of ,hippodrome1 #agb ,colymbethra1 #ahi ,conchs1 #bb1 #cg1 #aej1 #afh1 #ahj ,constantine1 #d1 #f1 #aj1 #ad1 #ae1 #ii1 #aja1 #ajc1 #aje1 #abi1 #agi1 #ahj1 #aic1 #aih1 #bjc2 cross of1 #ie1 #if2 ,forum of1 #c1 #e1 #f1 #i1 #ab1 #ad1 #agi1 #ahb1 #aic2 ,,vii4 ,porphyrogenitus 7#iab71 #agh2 ,,viii4 7#ajbe71 #hi2 ,,xi4 7#ajei71 in mosaic1 #bhg ,constantius 7#ccg71 #ae ,coptic linen1 #hh ,cornices1 #aej1 #afc1 #bfj1 #bfa2 of dome1 #da1 #aej1 #aei1 #afc1 #aff ,corona of lights1 #ej1 #ea1 #aaa1 #aae1 #aai ,corippus1 #ade ,corporations1 #aa1 #bjh ,corsi1 #bcf1 #bch1 #bci ,covel1 #aah1 #aba1 #abh1 #aia1 #bcb1 #bhh1 #bij ,cross1 the true1 #ad1 #ib1 #ic1 #id1 #if1 #ih1 #aje1 #aji2 adoration of1 #ib2 exaltation of1 #id1 #ih2 of light1 #aaf1 #aag2 votive1 #hb ,crowns1 #fc1 #fd1 #gb1 #gc1 #ajc1 #adj ,crusaders1 #f1 #afa1 #gj1 #hg1 #ajj1 #abd1 #adc ,crust1 #bda ,crux ,mensuralis1 #ajb1 #aci ,curtains1 #cc1 #dh1 #di1 #ie1 #ajc ,curtis1 #hc1 #he1 #ahf ,curve of inflection1 #bbc ,d ,damascening1 #fg ,dara1 #bje ,deacons1 #fc1 #fd1 #fe1 #ia ,deaconesses1 #ah1 #ia ,delphi1 serpents from1 #d1 #agg ,demetrius1 ,s41 church of ,salonica1 #gb1 #aba1 #ahi1 #bjb1 #bjc1 #bad1 #bae1 #beg ,deputatus1 #fd1 #ia ,dethier1 #bgc ,de ,vog1 #ij1 #ahj ,diakonikon1 #ajb ,didaskalion1 #id1 #ahh ,didron1 #ih ,diehl1 #bhe ,diocletian1 edict of1 #bjf ,dion ,cassius1 #aj ,dion ,chrysostom1 #aha ,dionysius1 #ac ,discs 7lamp71 #ej1 #aaa1 #aac ,division of labour1 #bjg ,dokimion1 #bch ,dome1 #bja1 #bbj1 #bbf2 of ,s4 ,sophia1 #bf1 #bi1 #ce1 #db1 #abc1 #adb1 #aej1 #aeg1 #aei1 #afi1 #bji1 #baj1 #bai2 mosaics in1 #bgd1 #bgh1 #bhf ,domninus1 porticoes of1 #ahb ,doors of church1 #dj1 #eg1 #eh1 #ach1 #adc1 #adg1 #afh1 #aic1 #baf1 #bfg2 ,holy1 #gi1 #id1 #if ,doorkeepers1 #ia ,door veils1 #hh ,drill1 use of1 in carving1 #bfc ,du ,cange1 #g1 #cd1 #dd1 #ec1 #ahj1 #ahf1 #aij2 editions of1 #ff1 #fg2 plan by1 #gh ,ducas 7#aeth c471 #abf ,e ,earthquakes1 #ba1 #bb1 #abb1 #bab1 #bbh1 #bfe ,eastern chapels1 #gh ,egypt1 #d1 #agg1 #bjj1 #bbf1 #bbh ,elektron1 #gj1 #ach1 #bgb ,embolos of ,milion1 #ahj1 #ahb ,enamel1 #fh1 #gj1 #bgb ,encaenia1 #ae1 #ba1 #cd1 #cf1 #ada ,endute1 #ga1 #adj ,ephesus1 #cb1 #acj1 #aia1 #bjb2 building centre1 #ih2 ,john of 7#fth c471 #ih ,equestrian statues1 #adi1 #aic ,escomboli1 #abe ,etoimasia1 #bhf ,euchologium1 #fb1 #ib1 #aid ,eudoxia1 #af2 statue of1 #ab1 #ac1 #agi ,eudoxius1 #ae ,eugenius1 gate of1 #aj ,eusebius 7#dth c471 #ad1 #gd1 #aij ,eutychius1 #bi1 #acb1 #ada ,exedras1 of ,s4 ,sophia1 #bb1 #be1 #cf1 #aea1 #afd1 #afh1 #bai1 #bcd1 #bei2 at ,s4 ,sergius1 #bje ,exonarthex1 #abb1 #adh1 #aej1 #afb1 #ahe1 #ahh1 #aic1 #bae ,exterior of ,s4 ,sophia1 #bae1 #bai2 cased with marble1 #aig ,evagrius 7#fth c471 #bi1 #cb1 #cc ,ezra1 #bjd1 #bbh ,f ,fabri1 ,felix1 #hc1 #bdf ,fall of city1 #abe1 #abf1 #adg1 #age1 #agi ,fanio1 portico of1 #ab ,figure scheme in mosaics1 #bhj1 #bhc ,fillet1 notched1 #agj1 #bfj1 #bib ,flabella1 #ia1 #ajd1 #bhe ,fonts1 #ai1 #bj1 #ha ,fortunatus1 #ha ,forum of ,constantine1 #c1 #e1 #f1 #i1 #ab1 #ac1 #ad1 #agi1 #ahb1 #aic2 ,tauri1 #agh ,fossati1 #hd1 #abj1 #adh1 #agi1 #ahe1 #bhg ,foundations1 #acb ,fountains1 #agg1 #ahe1 #ahh ,g ,galata1 #e1 #aa ,galla ,placidia1 #gd1 #bhb ,galleries to ,s4 ,sophia1 #bab1 #bag ,gammidae1 #ga1 #hh1 #bfg ,ganosis1 #bdf ,garconostasion1 #ahh ,garofalo1 #bcf ,germanus 7#hth c471 patriarch1 #he1 #ajj ,giallo antico1 #agb1 #bci ,gilding1 #bgb ,glass1 #df1 #afi1 #bij2 enamels1 #bgb2 mosaic1 #agb1 #bgc ,glycas 7#abth c471 #ba1 #gi1 #abc1 #abi1 #ade ,goar 7#agth c471 #fi1 #ib1 #abb1 #aib1 #aid ,gold1 #cc1 #df1 #dh1 #di1 #fj1 #gj1 #aii1 #bic ,golden ,gate1 #ace2 ,horn1 #a1 #e1 #f1 #aj1 #aa1 #ij ,gregory1 ,s41 of ,armenia1 #bgf2 ,s41 of ,nazianzene1 #bji2 ,s41 of ,nyssa1 #bjf1 #bjg2 ,thaumaturgus1 #hc1 #ajb1 #ajf1 #aca1 #bgf1 #bhg ,grelot1 #ff1 #gh1 #hd1 #abj1 #abg1 #ahe1 #ahh1 #aij1 #aic1 #bae1 #bhe1 #bia ,gruter1 #hd1 #aij ,gyllius1 #ab1 #ff1 #abg1 #adf1 #age1 #agg1 #agi1 #ahe1 #aic1 #bdh ,gynaeceum1 #bg1 #dd1 #fe1 #hg1 #ia1 #aca1 #adj1 #adg1 #afa1 #afd1 #bdb2 accesses to1 #aeb1 #aed1 #aeg2 domes1 #bbb2 doors1 #baj2 pavement1 #agb1 #bae2 windows1 #afh1 #aga ,gypsoplastes1 #bjf ,gypsum1 use of1 #bbf ,h ,habakkuk in mosaic1 #bgg ,haifa sand1 #bda ,hangings1 #hf ,helena1 #ad1 #ig1 #ii ,hemicycle1 #ai1 #bb1 #fg1 #bje1 #bai ,hemisphere1 #cj1 #cb1 #da1 #abc ,heraclius 7#faj71 #ia1 #ig ,hierapolis marble1 #ee1 #eg1 #fj1 #bch ,hippodrome1 #b1 #c1 #d1 #aj1 #ab1 #ac1 #ag1 #aba1 #agd1 #age1 #ahf1 #aic ,holy table1 #bi1 #dh1 #fc1 #fh1 #gj1 #if1 #ach2 see also ,altar2 well1 #gh1 #ia1 #ie1 #aje1 #acj1 #aci2 wood1 #id1 #ig1 #aje ,hormisdas1 palace of1 #agd1 #beg ,horologium1 #bj1 #ie1 #acb1 #ada1 #ahb ,hypurgi of narthex1 #ia ,i ,iassian marble1 #dd1 #de1 #bch ,iconoclasts1 #bhj ,iconostasis1 #df1 #ea1 #fj1 #fh1 #gd1 #abf1 #agb2 lamps on1 #aaa1 #aah ,icons1 #ga1 #he1 #aje1 #abi ,idatius 7#eth c471 #ae ,jerash1 #bja ,jeremiah in mosaic1 #bgg ,jerusalem1 #ad1 #hd1 #ig1 #ajd1 #bef ,ignatius1 #hh1 #ajh1 #acc1 #adj1 #agg1 #bhg ,images1 ,restoration of1 #he1 #abb ,indiction1 #ba1 #bfi ,inscriptions1 #ij1 #aij1 #bje1 #bfd ,instructor parietum1 #bjf ,instruments of ,passion1 #if1 #ig1 #aji ,john ,studius1 ,s41 church of1 #abj1 #bah1 #beg ,jonah in mosaic1 #bgg ,joshua1 trumpets of1 #aje1 #aci ,irene1 ,s41 #ab1 #abi1 #bfd2 ,empress1 #bhg ,iron ties1 #afa1 #afb1 #bcj ,isaiah in mosaic1 #bgf ,isauria1 church in1 #bja1 #bjb ,isaurian workmen1 #bi1 #bjg ,isidorus1 the elder1 #bd1 #bf1 #bh2 the younger1 #cj1 #dc1 #bjd1 #bjf ,justinian ,i4 7#ebg71 #ad1 #bj1 #bd1 #bi1 #cd1 #fa1 #gj1 #hh1 #ij1 #ajd1 #aai1 #aed1 #afg1 #aij1 #aih2 figure of in mosaic1 #bhg2 equestrian statue1 #ahj ,justinian ,,ii4 7#fhe71 #agd ,justin ,,ii4 7#efe71 #fa1 #ig1 #adb1 #agd ,ivory inlaid1 #ee1 #fj ,k ,kamara1 #ii1 #acf1 #ahj ,kathisma1 #age1 #agg1 #aic ,klerikos of ,s4 ,sophia1 #ia ,kouppas1 #bbh ,kraus1 #ag ,krumbacher1 #bb1 #cj1 #cb ,kuklios1 ,kuklis1 #fh1 #ij1 #ach ,l ,labarte1 #g1 #i1 #aj1 #ab1 #fh1 #abh1 #agc1 #agg1 #ahj1 #bag ,lamplighter1 #gd1 #bfa ,lamps1 #aaa1 #add1 #bej ,laotomos1 #ee1 #acc1 #bjf ,laotoros1 #de1 #ei1 #bjf ,lateran1 lighting at1 #aac ,lattaquieh1 milion at1 #ahj ,lattices1 window1 #aed1 #afh1 #aig1 #bfa1 #bij ,lazarus1 the painter1 #ajg ,lead1 #bg1 #da1 #aej1 #bei ,leo1 ,pope1 #gb1 #aae ,leo ,,iii4 7#gag71 ,emperor ,edict of1 #bhj ,leo ,,vi4 7#hhf71 ,emperor1 #gc1 #ajc ,leo the ,deacon 7#ajth c471 #abc ,lighting1 #di1 #eb1 #aaj ,lithologos1 #be1 #bjf ,lithoxooi1 #acc1 #bjf ,loggia of ,baptistery1 #bag1 #beb1 #beh ,louter1 #acb1 #ach1 #ahb1 #ahi1 #aib ,lukium cement1 #bcb ,luke1 ,s41 monastery of1 #ii1 #ade1 #bhd1 #bhe ,lybian marble1 #de1 #bci ,lydian marble1 #de1 #bci ,lydus1 ,john 7#fth c471 #c1 #f1 #db1 #bjh ,m ,macron1 #aha1 #ahb ,magistros1 #abi1 #bjf ,mahomet ,,ii41 #abf1 #abg1 #aeb ,maistor1 #acf1 #bjf1 #bjh ,manaura1 palace of1 #id ,mandeville1 #hd1 #adf ,manual ,byzantine1 #ahb1 #bhd ,manuel 7#aadc71 #aha ,marbles1 #de1 #agj1 #bce2 export of1 #bdj2 application of1 #bda1 #bfj ,marcellinus ,comes 7#fth c471 #ba ,marina1 ,house of1 #aa1 #ad1 #agd1 #age ,mark1 ,s41 church of1 at ,alexandria1 #bef2 at ,venice1 #hb1 #ajh1 #aji1 #aic1 #aig1 #bef2 monograms1 #bid ,marmora1 #hd ,mass1 #fb1 #ib1 #ajf ,mechanikos1 #bi1 #acb1 #acc1 #acf1 #bjf ,mechanopoios1 #bd1 #bh1 #bjf ,megale ,eisodos1 #fb1 #fc ,mekkah ,sand1 #bdj ,menas1 patriarch1 #ba ,menologium1 #fa1 #fh1 #ih1 #ajh1 #aai1 #ahc2 date1 #ga ,mese1 #e1 #f1 #ab1 #ac1 #ahj1 #ahb1 #ahf ,mesomphalos1 #gi ,metatorion1 #gg1 #gh1 #if1 #aca1 #ada1 #ahb ,methodius1 #bhg ,michael ,,iii4 7#hdb71 #aaa1 #abb1 #abc1 #bfi ,miletus1 #bd1 #bjd ,milion1 #f1 #aj1 #aa1 #gj1 #ii1 #ahj1 #aha1 #ahb ,minarets1 #abg1 #aea1 #aeb1 #bae ,molossus1 marble of1 #dc1 #ei1 #bch ,monograms at ,s4 ,sophia1 #dg1 #fj1 #afd1 #afi1 #agj1 #agd1 #bea1 #bfh1 #bgb1 #bie2 at ,ravenna1 #bib2 at ,venice1 #bid ,mordtmann1 #e1 #f1 #h1 #i1 #ab1 #age ,mortar1 #aef1 #bca1 #bce ,mosaics1 #db1 #df1 #fi1 #aii1 #bjf1 #bhb2 figures1 #bgc1 #bhg2 first scheme1 #bgi2 at ,s4 ,luke's1 #ii2 at ,s4 ,mark's1 #hb2 at ,ravenna1 #ga1 #hf ,mouldings1 #bdb1 #bfj ,murad ,,iii41 #aeb ,murano1 #hd1 #he ,mygdonian marble1 #ef1 #bci ,n ,naos1 #cb1 #fg1 #gi1 #acb ,narthex1 #dj1 #dd1 #ajf1 #adj1 #aej1 #ahb1 #baf1 #bbe2 vaults1 #acg1 #bbb1 #bbf2 frieze1 #bda2 mosaics1 #bgd1 #bhg2 propylaeum1 #ib1 #ie1 #afb1 #ahh ,nectarius1 #af1 #abi ,neorion ,port1 #ef ,new church of ,brazil1 #ij1 #bhd ,new ,rome1 #d1 #cf1 #df ,nicaea1 #aha1 #bhe ,nicetas 7#acth c471 #gj1 #aej1 #agg1 #aha ,nicephorus ,callistus 7#adth c471 #ad ,nicephorus ,gregoras 7#adth c471 #hf1 #abd1 #aeb ,nicholas1 #ajb1 #aaj1 #ahc2 of ,myra1 #bgf2 ,thingeyrensis1 #ii ,niketes1 #bgb ,nola1 church at1 #aac1 #aai1 #aij1 #bfg1 #bia ,notitia1 #b1 #e1 #aa1 #ab1 #ac1 #ad1 #ae1 #agd1 #bjh ,novgorod1 ,anthony of1 #hc1 #ib1 #ajj1 #ahc2 ,stephen of1 #hd1 #aac1 #ahe2 ,chronicle 7#acth c471 #fh1 #ge ,nuremberg ,chronicle 7#aeth c471 #age ,o ,octagon ,church1 #bjc2 ,baptistery1 #ahf1 #bbj ,officers of church1 #ia ,oikodomoi1 #acc1 #bjj ,oil in cements1 #acf1 #bcb1 #bcc ,omphalos omphalion1 #hi1 #if ,onyx1 #bci1 #bda ,opus sectile1 #de1 #afb1 #aga1 #bbj1 #bbe1 #bdb1 #bdf ,orientation1 #ag ,organic architecture1 #bdg ,original form of church1 #bji ,oriental alabaster1 #agj1 #aga1 #bci1 #bdb ,ostiarii1 #ia ,p ,pachymeres 7#acth c471 #ga1 #he ,palace1 #g1 #ac1 #acb1 #agc1 #agd1 #age2 of ,blachernae1 #aa1 #abc2 of ,hormisdas1 #agd1 #age2 of ,marina1 #aa1 #ad1 #agd2 of ,patriarch1 #ac1 #ad1 #ajg1 #agi1 #ahf2 of ,placidia1 #agd1 #age ,pala d',oro1 #ga1 #aji ,palaeologus1 #fa2 ,andronicus ,,ii4 7#acbh71 #abd1 #aeb2 ,john ,i4 7#acef71 #abd1 #bgh1 #bhg2 ,john ,,ii4 7#adbe71 #ga1 #aij2 ,michael 7#abfa71 #aj1 #ga1 #abd1 #aij ,palladius 7#dth c471 #af1 #ah1 #add ,palmyra1 #f1 #aha1 #bja ,panels1 marble1 #fh1 #aga1 #bda ,pantocrator1 mosaic1 #bhg ,parenzo1 #bji1 #bai1 #bdf1 #bef1 #beg ,paschal ,chronicle 7#gth c471 #c1 #ac1 #ae1 #agd ,paspates1 #g1 #i1 #aj1 #ab1 #ac1 #gi1 #ha1 #hd1 #ij1 #ajj1 #agc1 #agf1 #agi1 #ahf ,passion1 instruments of1 #if1 #ii1 #ajj ,patriarch1 #d1 #fb1 #ia1 #ie1 #if1 #ajd1 #ajg1 #abe1 #acg1 #add1 #aha ,patriarchs' tombs1 #he ,paul1 ,s41 figure of1 #di1 #aji1 #aah1 #abc1 #bge ,paul the ,deacon 7#hth c471 #da ,paulus ,maurocenus1 #ajh ,paulus ,silentiarius 7#fth c471 #bj1 #cc1 #fg1 #gj1 #gi1 #abh1 #aei1 #afj1 #bjd1 #bjf ,paulinus 7#eth c471 #aac1 #aai1 #aij1 #bfg ,pausanias1 #b ,pavement of nave1 #gi1 #hj1 #acg1 #ach1 #adb1 #agb2 of atrium1 #ada1 #aia2 cloisters1 #abe2 gynaeceum1 #ha2 ,basil's church1 #fh2 ,augusteum1 #ahf ,pavonazzetto1 #agj ,pendentives1 #bf1 #da1 #bja1 #bji ,peperino1 #aee ,peter1 ,s41 figure of1 #di1 #aah1 #abc1 #bge2 chains of1 #fh1 #ajb1 #ahc2 chapel of1 #fh1 #gh1 #ajb1 #acj1 #ahc1 #ahd2 church of1 at ,rome1 #gb1 #gd1 #aaf1 #ahi1 #aib ,pharos1 #aaf1 #aag ,phengites1 #bfb ,phiale1 #dd1 #ada1 #ahi1 #aij1 #aia ,philoxenus1 cisterns of1 #bdh ,phrygian marble1 #de1 #ef1 #ei1 #bcg ,piers1 #bb1 #be1 #bh1 #bi1 #da1 #gi1 #acc1 #aeg1 #aei2 of stone1 #aee1 #bcd2 of west front1 #aic ,plane of least labour1 #bfa ,polishing marble1 #bdf ,pointed arches1 #bbj ,polycandela1 #aaa1 #aab1 #aad1 #aae1 #adj ,porches1 #fi1 #gj1 #ia1 #abc1 #aea1 #ahc1 #aij1 #bae1 #bhh2 south1 #ahe2 doors of1 #bfh1 #bgj ,porphyry1 #cg1 #acd1 #bcf ,porticoes of ,domninus1 #ahb2 of mese1 #f2 of milion1 #ahb2 of ,severus1 #f ,porto-,venere marble1 #aga1 #bci ,pozzolana1 #bia ,praepositus1 #id1 #ie ,priests1 #dg1 #fg1 #ia1 #ajg1 #adj1 #add ,proaulion1 #acg1 #agi ,procession to the church1 #ie ,proconnesus1 marble of1 #d1 #dd1 #df1 #gi1 #hj1 #ha1 #aef1 #afc1 #afd1 #aff1 #agb1 #bji1 #bcg1 #bdb1 #bdc1 #bef ,procopius1 7#fth c471 #ba1 #bb1 #fh1 #aei1 #agd1 #ahj1 #ahi1 #aig1 #bjf1 #bad ,pronaos1 #fg1 #aha1 #ahd ,prothesis1 #fc1 #fd1 #ge1 #gg ,protomaistor1 #ade1 #bjg ,protooikodomos1 #acf1 #bjf ,protopapas1 #ia1 #ic ,protospatharios1 #ia ,protopsaltae1 #fc1 #gi1 #ib ,psellus 7#aath c471 #ade ,pulcheria1 #ab1 #af ,purgos of ciborium1 #dg2 of ambo1 #ed ,q ,quadriporticus1 #bae ,r ,ramazan illuminations1 #aba ,ravenna1 #ag1 #ga1 #hj1 #hh1 #ahc1 #bji1 #bdf ,readers1 #afj ,receptions on way from ,palace1 #ie ,refendarius1 #fd1 #ia ,relics1 #af1 #ig1 #ajj1 #ajf1 #acg1 #aci ,resin fixes marble to walls1 #agb ,restoration of image worship1 #abb2 of ,s4 ,sophia1 #bb1 #bi1 #abc1 #baj1 #bab ,rhodes1 bricks from1 #acf1 #adb1 #aef ,riant1 #ai1 #ajj1 #ajh ,ribs of dome1 #aei1 #bge ,robert de ,clari 7#acth c471 #fa1 #gj1 #gb1 #aac1 #aae ,rohault de ,fleury1 #ag1 #fa1 #fg1 #gd1 #aac1 #aaf ,roman system of building1 #aii ,romanus ,argyrus1 7#ajbh71 #abc1 #bie ,rome1 #b1 #ag1 #abc1 #bjj1 #bji ,rosso antico1 #aga1 #bdb ,round ,n4,e4 building1 #gh1 #aed1 #bag ,royal ,door1 #fg1 #aej1 #aea1 #aha1 #bjd2 slabs over1 #bdb ,russian ,pilgrim1 #fe1 #adc1 #ade ,s ,sacellarius1 #ia ,sacristy1 #gh1 #aed1 #ahd2 see ,skeuophylakium ,salonica1 see under ,demetrius1 also ,sophia ,salzenberg1 #ai1 #bj1 #cd1 #db1 #fg1 #gh1 #adi-agb1 #bjc1 #baj1 #bac1 #baf1 #bai1 #bgc ,sanctuary1 #bh1 #fh1 #gh1 #aja1 #ajb1 #aje1 #ajg1 #aji2 smaller1 #gg1 #aja2 right of in ,s4 ,sophia1 #ahi ,scaffolding1 #abc1 #adb1 #bbf ,schlumberger1 #ia ,screen to solea1 #gi2 in ,south ,gallery1 #ij1 #bfb ,sculptor ,marmorum1 #bjf ,scylitzes 7#aath c471 #abc ,secondary order of columns1 #bac1 #bad1 #bai1 #bcj ,selim ,,ii41 #abg ,semidomes1 #bb1 #bd1 #dj1 #aej1 #bji1 #bai1 #bbf ,senate1 #f1 #aa1 #ab1 #agi ,sepulchre ,holy1 slab of1 at ,s4 ,sophia1 #aja1 #aje2 ,church of1 at ,jerusalem1 #da1 #gd1 #hc1 #hd ,seraglio1 #aj1 #ahj1 #ahd2 ,point1 #a1 #b1 #e1 #f ,sergius ,s41 church of1 at ,bosra1 #bjd2 ,church of1 at ,constantinople1 #hc1 #aff1 #agd1 #bjd1 #bje1 #bah1 #bef1 #beg1 #bie1 #bif ,serpentine1 #aga1 #agb ,services in ,s4 ,sophia1 #ib1 #abf ,severus1 #a1 #c1 #f2 porticoes of1 #e1 #f ,shop production1 #bjh1 #bef ,silver1 #bh1 #cc1 #cg1 #dj1 #df1 #dg1 #ed1 #ef1 #fj1 #gj1 #gd1 #ge2 in pavement1 #fh2 in mosaic1 #bgc2 in monograms1 #bfh ,simeon of ,thessalonica1 #fg1 #aib ,sinai1 ,mt41 #hc1 #aai ,singers1 #fj1 #ia1 #adj ,skeuophylax1 #ia1 #ie1 #big ,skeuophylakium1 #gh1 #ia1 #abg1 #acj1 #aci1 #aed1 #ahc ,skirtings1 #bda1 #bfj ,socrates 7#eth c471 #ac1 #ad1 #ae1 #ag1 #ah1 #aaf ,solea1 #fc1 #fd1 #fg1 #if1 #aci1 #adj1 #adb ,solomon1 #ga1 #ajj1 #aaj1 #abf1 #ada1 #add1 #aij ,sophia ,s41 church of1 at ,salonica1 #bjb1 #bjc1 #bad1 #beg ,sozomenus 7#eth c471 #af ,spandrils of arcades1 #de1 #afc1 #aff1 #agj1 #bdb1 #bfj1 #bic ,spartan marble1 #fe1 #bci ,sphendone1 #age ,spina1 #age1 #agg ,stairways1 #id1 #abc1 #afb1 #baj1 #baf ,stalls1 #cg1 #dj1 #ff1 #acg1 #agb ,strategion1 #c1 #d ,stucco1 #bia ,subdeacons1 #ia1 #ajd ,suidas 7#ajth c471 #gj1 #adf ,sundial1 #agh1 #ahb ,sunergasia1 #bjh ,synnadan marble1 #fj1 #hb1 #aga1 #bch1 #bdc ,syria1 influence of1 #bja1 #bjd ,t ,technitai1 #bd1 #bjf ,tektonikos1 #acc1 #bjf ,temples at ,byzantium1 #a-d ,tesserae1 #de1 #bgd1 #bhh ,texier1 #aj1 #adi1 #aic1 #bjc1 #bhc ,theodora1 wife of ,justinian1 #gj1 #hf1 #hh1 #bid2 wife of ,theophilus1 #abb1 #bfi ,theodoric1 #hf1 #hh1 #beg ,theodosius ,i4 7#cgi71 #af1 #abi1 #agg1 #ahj2 ,code of1 #bjf ,theodosius ,,ii4 7#djh71 #f1 #af ,theophanes 7#ith c471 #ad1 #bj1 #bi1 #gb1 #ajj1 #bjg1 #bji2 ,continuator 7#ajth c471 #ga1 #hg1 #ij ,theophilus1 ,emperor 7#hbi71 #age1 #bfi2 writer1 #bgb1 #bij ,thessaly1 marble of1 #cb1 #cg1 #dj1 #dd1 #eh1 #ei1 #acj1 #afd1 #bcf ,thomaites1 #fe1 #aha1 #ahf ,throne1 #fb1 #aje2 of bishop1 #fh2 in mosaic1 #bgg1 #bgi ,thusiasterion1 #ah1 #bh1 #fg1 #acj1 #acb1 #acf ,tiberius 7#egh71 #agd ,titanos1 #bg1 #bcb ,tombs in ,s4 ,sophia1 #ajb ,tralles1 #bd1 #bjd ,transparent slabs1 #bfb ,trees of light1 #ea1 #eg1 #aah1 #aai ,tribunal with porphyry steps1 #aa ,triconcha1 #age ,turks capture city1 #abf1 #abg1 #adg ,turrets at west end1 #afc ,u ,ultramarine1 #fj1 #bia ,undercutting in carving1 #bed ,unger1 #h1 #gh ,urns1 marble1 #hd ,v ,varangi1 #fd ,vaults1 #fi1 #aej1 #afj1 #afa1 #aii1 #bjj1 #bjg1 #bai2 mosaic on1 #bgd ,vela1 #fe1 #hf1 #hg ,venice1 #ga1 #gb1 #ii1 #age1 #aic ,verde antique1 #fg1 #ha1 #hb1 #afd1 #afe1 #aff1 #afg1 #agj1 #agb1 #bdb1 #bfj1 #bfa ,veronica1 #bhf ,villehardouin1 #ajg ,virgin1 figure of1 #hc1 #aji1 #abc1 #bge1 #bgh1 #bhd ,vitale1 ,s41 at ,ravenna1 #hh1 #bbg ,von ,hammer1 #ade1 #aeb ,w ,walls of church1 #aee1 #aeg2 marble casings1 #bhe ,wax1 encaustic1 #bdf ,well1 ,holy1 #gh1 #ia1 #ie1 #aje1 #acj1 #aci ,west front1 #aib ,windows1 #db1 #dc1 #aeh1 #afh1 #bji1 #bfa ,wood1 ,holy1 #id1 #ie1 #ig1 #aje ,wood tie beams1 #afa1 #afb1 #afh1 #bbg1 #bbh1 #bcj ,z ,zeno1 building laws of1 #f ,zenobia1 city of1 #bjf ,zeuxippus1 baths of1 #c1 #d1 #aa1 #agi ,zonaras 7#aath c471 #bi1 #afj1 #agi1 #bji ,zosimus 7#eth c471 #d1 #e ,,the ,,end4 ,,footnotes #a 1 ed4 ,c4 ,wescher1 #ahgd1 p4 #e4 #b ,notitia ,dignitatum1 eds4 ,pancirolus1 ,venice1 #afjb1 and ,seeck ,berlin1 #ahgf4 ,the date given by ,seeck for the ,notitia is #daa-dac ,a4,d4 #c 2 1 #ahhe4 #d ,ed4 ,bonn1 i41 p4 #did4 #e ,lydus speaks of a fire spreading from the 8,forum of ,zeuxippus0 to that of ,constantine 7p4 #bfe74 ,the baths of ,zeuxippus are placed at the north end of the ,hippodrome by ,labarte and ,mordtmann4 #f ,christodorus1 a fifth-century poet4--,f4 ,baumgarten1 #ahia4 #g ,hist4 ed4 ,bonn1 p4 #ig4 #h ,rawlinson's ,herodotus1 #ahge1 vol4 iv41 p4 #dfg4 #i ,mordtmann1 ,esquisse topo4 de ,constantinople1 p4 #dh and map4 #aj ,the ,museum of ,classic4 ,antiq4 #aheg1 p4 #cje4 ,the ,capitol was beyond ,forum ,cons4 ,lydus speaks of 8the porticoes that pass through the city and lead to the ,forum of ,constantine1 and the broad space is screened symmetrically with great and beautiful columns4 ,some of these porticoes are said to have been built by men from ,naples and ,puteoli who came to ,byzantium to please ,constantine40 7,ed4 ,bonn1 p4 #bff47 #aa ,imperium ,orientale1 ,paris1 #agaa4 #ab ,bury1 ,a ,history of the later ,roman ,empire 7#cie ,a4,d4 to #hjj ,a4,d471 vol4 i41 p4 #eg4 ,mr4 ,bury1 in an excellent review of ,paspates' book in ,the ,scottish ,review1 ,ap4 #ahid1 gives up the position assigned to the ,augusteum by that author4 #ac ,d4 ,byljajev1 ,byzantina1 ,st4 ,petersburg1 #ahia1 reviewed in ,byzantinische ,zeitschrift1 #ahib1 p4 #cdd4 #ad ,,mss41 plans1 and descriptions1 in the ,library of ,r4 ,inst4 ,brit4 ,architects4 #ae ,paspates1 ,the ,great ,palace1 p4 #bj4 ,mr4 ,metcalfe's translation is intended throughout4 #af ,lib4 lxxiv41 ch4 #aj4 #ag ,mordtmann1 ,esquisse1 pp4 #d and #e4 #ah ,esquisse ,top4 p4 #c4 #ai ,zosimus 7p4 #aci7 and ,lydus 7p4 #bfe7 say that the ,emperor ,julian built a ,senate4 ,so also according to ,sozomen 7ii4 #c7 and the ,paschal ,chron4 did ,constantine4 #bj ,hist4 eccles4 lib4 vi41 ch4 xviii4 #ba ,ecc4 ,hist4 lib4 i41 xvii4 #bb ,du ,cange1 ,descriptio ,s4 ,sophiae1 ed4 ,bonn1 p4 #fb4 #bc ,eusebius1 ,de ,vita ,cons4 lib4 iv41 cap4 lviii-lix4 #bd ,de ,vita ,cons4 lib4 iii41 cap4 xlviii4-xlix4 #be ,eccl4 ,hist4 ii41 xvi4 #bf ,du ,cange1 p4 #fc4 ,he quotes the fifth-century author ,idatius4 #bg ,ed4 ,bonn1 i41 p4 #ebc1 and i41 p4 #ecj4 #bh ,socrates1 ,hist4 ,eccl4 vi41 #ah4 #bi ,du ,cange1 #c4 #cj ,pasch4 ,chron4 ed4 ,bonn1 i41 p4 #egb4 #ca ,eccl4 ,hist4 ix41 #a4 #cb ,see ,tozer's note1 ,finlay1 vol4 i41 #de4 #cc ,justinian's church was opened at ,christmas4 #cd ,art4 8,orientirung0 in ,real ,encyklopdie der ,christlichen ,alterthmer1 #ahhf1 based on ,mothes' schedule in ,die ,basilikenformen1 #ahfe4 ,we hope to show on another occasion that the present church at ,bethlehem which points to the east was entirely rebuilt by ,justinian4 ,there is no proof that ,s4 ,george ,salonica is older than fifth cent4 #ce ,homilies xxvi4 and lx4 #cf ,de ,sepulcris ,imperatorum1 ,migne ,s4 ,g41 vol4 #aeg1 p4 #gbf4 #cg ,migne1 p4 #fgd4 #ch ,bingham1 ,antiquities of the ,christian ,church1 vol4 iii41 p4 #abj4 #ci ,revue ,archologique1 vol4 iv41 p4 #fei1 and ,kugler1 ,geschichte der ,baukunst1 vol4 i41 p4 #cgb4 #dj ,for similar early circular baptisteries see ,martigny1 ,dict4 ,christ4 ,antiq4 #da ,see ,salz41 plate xx41 figs4 #d1 #e4 #db ,ibid4 p4 #ai4 #dc ,chron4 ,pasch4 ed4 ,bonn1 p4 #fbb4 #dd ,zonaras also gives the true date2 according to the ,byzantine era the year of the world #fjdj4 ,in ,cedrenus it appears as #fjjh1 a copyist's error in writing for 4 #de ,ed4 ,bonn1 p4 #cch4 #df ,migne1 ,s4,l4 vol4 li41 p4 #idc4 #dg ,ed4 ,bonn1 p4 #cgh4 #dh ,theo4 p4 #cei4 #di ,geschichte der ,byzantinischen ,litteratur1 #ahic1 p4 #db4 ,ramsay says it could not have been completed until #efj4 ,see ,historical ,geography of ,asia ,minor1 p4 #bje4 #ej --really one who picks out and lays stones4 #ea 1 8a binding together10 used for either an arch or a semidome4 #eb 1 8a thong0 or a belt4 #ec ,the author seems here to mistake the piers for the temporary support of the arch while it was being built4 #ed ,theophanes1 ,chronographia1 ed4 ,bonn1 vol4 i41 p4 #cei4 #ee ,chron4 ,pasch4 ed4 ,bonn1 and ,zonaras4 #ef ,chron4 ed4 ,bonn1 p4 #cfi4 #eg ,krumbacher1 p4 #di4 #eh ,agathias1 lib4 v4 ed4 ,bonn1 p4 #bif4 #ei 4 #fj ,krumbacher1 p4 #ec4 #fa ,hist4 ,eccles4 iv41 chap4 #ca4 #fb ,the dimensions appear so inaccurate that we do not attempt to explain them4 #fc ,salz4 ,alt4 ,baud4 #fd 4 #fe 1 the circular rim of a shield4 ,used here for the bema-arch4 #ff ,column does not stand directly over column4 #fg 1 the of ,agathias and ,evagrius4 ,this word is used by ,eusebius for the dome of the ,holy ,sepulchre4 #fh leaves no doubt that a mosaic cross on the interior is intended1 and not1 as ,salzenberg suggests1 a cross on the outside4 ,the full expression for representations in mosaic was 3 as in ,joannes ,lydus 7 #eej71 ,de ,magistratibus ii4 #bj1 in his description of the palace built by the ,praetorian ,prefect4 #fi ,near ,antioch4 #gj ,a town of ,lycia4 #ga 1 a bud1 sprout or flower2 hence brightness and bloom generally4 #gb is elsewhere a door4 ,but 8twin doors0 has no meaning here4 ,see plan4 #gc ,january2 the consuls then entered on their year of office1 and wore chitons of gold thread4 ,see ,du ,cange1 ,s4 ,sophia1 #bb4 #gd ,this custom at ,antioch is mentioned as early as the time of ,s4 ,john ,chrysostom in a sermon on the ,baptism of ,christ4 #ge --pebbles4 ,the usual word for mosaic tesserae4 #gf ,in ,macedonia4 ,the mines are mentioned by ,herodotus4 #gg ,the promontory on the south of ,attica4 ,the mines were at ,laurium4 #gh 1 the choir4 #gi 1 a back1 and hence1 any wide1 flat surface4 #hj 1 the ant2 here the silkworm4 #ha 4 ,used in ,homer of the butt end of a spear2 hence long narrow glass lamps4 ,see our ,fig4 #ag4 #hb 1 a small row-boat4 #hc ,see ,du ,cange1 ,s4 ,sophia1 #gj4 #hd ,called 1 the 8back0 of the ambo4 #he ,ed4 ,bonn1 p4 #gd4 ,see also our page #gi4 #hf ,see ,nicetas also on our p4 #ge4 #hg ,la ,messe41 ,art4 8,ambon10 vol4 iii41 p4 #i4 #hh ,hopf1 ,chroniques ,grco-,romanes1 p4 #if4 #hi ,see our p4 #ge4 #ij ,cantacuzenus1 ,hist4 lib4 i41 chap4 #da1 ed4 ,bonn1 p4 #aif4 #ia ,a shortened form of 4 #ib 1 when the ,bread and ,wine are brought from the table of the prothesis and placed upon the ,holy ,table1 while the ,cherubic ,hymn is sung in honour of 8the ,king of all1 invisibly attended by the spears of the ,angelic ,hosts40 ,see ,dr4 ,freshfield's article in the ,archaeologia1 vol4 xliv41 p4 #chf2 he translates a parallel account from ,codinus4 #ic ,a ,russian pilgrim describing the coronation of ,manuel in the fourteenth century says1 8,the imperial procession advanced so slowly that it took three hours to walk from the royal door to the thrones40 ,soc4 de l',orient ,latin1 sries gog4 vol4 v41 p4 #adc4 #id ,de ,officiis ,palatii1 chap4 xvii41 ed4 ,bonn1 p4 #hg4 #ie ,in ,nicephori ,bryennii 444 ,pauli ,silentiarii comment4 #if ,hist4 ,byz4 duplici commentario illustrata4 #ig ,introduction to the ,history of the ,eastern ,church4 #ih ,du ,cange1 ,s4 ,sophia1 #di4 #ii ,ed4 ,bonn1 p4 #bei4 #ajj ,cons4 ,porphyr4 in ,labarte1 ,pal4 ,imprial1 p4 #ib4 #aja ,see our p4 #ge4 #ajb ,see ,anon4 p4 #ach below4 #ajc ,the ,euchologium1 ed4 #afdg1 p4 #dii1 speaks of taking the garments of those about to become conventuals and placing them on or in the 8little sea0 7thalassidion7 of the ,holy ,table4 ,here ,goarus interprets it as 8the hollow recess of the ,holy ,table10 which seems to have been beneath the table1 and used for washing the vessels1 like the piscina in the later ,latin church4 #ajd 8 or united with glass and fine stones2 such is the material of which the ,holy ,table of ,s4 ,sophia is made40 ,glossary of ,suidas quoted by ,labarte in ,recherches sur la ,peinture en ,email1 p4 #hi4 #aje ,porphyrogenitus describes the table in the chapel built by ,basil the ,macedonian as 8a mixture of all precious materials placed in order and bound together by fire into a many-coloured mass of surpassing beauty1 which is the wonder of all nations40 ,we also read of 8,holy ,tables of silver1 having gold and precious stones and pearls poured over them1 forming a compact union together40 #ajf ,hopf1 ,chroniques ,grco-,romanes4 #ajg ,nic4 ,chron4 ,hist41 ed4 ,bonn1 p4 #geh4 #ajh ,vera ,historia ,unionis1 ,hague1 #affj4 #aji ,a ,,ms4 ,greek service-book made for ,basil ,,ii4 7#igf-ajbe7 now in the ,vatican ,library4 ,a folio was printed from it at ,urbino in #agbg4 #aaj ,migne1 ,s4 ,l4 vol4 #ajf1 p4 #faj4 #aaa ,migne1 ,s4 ,l4 vol4 #ajf1 p4 #fjc4 #aab ,pachymeres1 de ,mich4 ,pal4 ed4 ,bonn1 vol4 ii41 p4 #che4 #aac ,du ,cange1 ,s4 ,sophia1 #eg4 #aad ,texier1 ,arch4 ,byz41 p4 #acd4 #aae ,de ,fleury1 ,la ,messe1 vol4 ii4 and plate cii4 #aaf ,du ,cange1 #eh4 #aag ,bingham1 ,antiq4 ,christ4 ,church1 vol4 iii41 p4 #abc1 note4 #aah ,ed4 ,bonn1 vol4 i41 p4 #dcc4 #aai ,migne1 ,s4 ,g4 ,tom4 #adg1 p4 #dad4 #abj ,ed4 ,bonn41 pp4 #dej and #fig4 #aba ,figured in ,ongania's ,il ,tesoro di ,san ,marco4 #abb ,bayet1 ,l',art ,byzantin4 #abc ,de ,fleury1 ,la ,messe4 #abd ,hopf1 ,chroniques ,grco-,romanes4 #abe ,compare our p4 #abf4 #abf ,archaeologia1 vol4 xxxiv4 #abg ,paulinus1 describing the church at ,nola1 writes3 8,cum duabus dextra laevaque conchulis intra spatiosum sui ambitum apsis sinuata laxetur1 una earum immolanti hostias jubilationis antistiti patet1 altera post sacerdotem capaci sinu receptat orantes40 ,migne1 ,s4,l41 vol4 #fa1 p4 #ccg4 #abh ,suicerus1 ,thesaurus ,ecclesiasticus verb4 ,diaconicum4 #abi ,see p4 #if4 #acj ,cer4 pp4 #fcf and #efe4 #aca ,du ,cange1 #gf4 #acb ,cer4 p4 #bg4 ,a ,holy ,well is frequently found in the ,prothesis4 #acc ,quellen fr ,byzantischer ,kunstgeschichte4 #acd ,cer4 pp4 #ag and #afg4 #ace ,cer4 pp4 #aeg and #afj4 #acf ,see account of ,coronation in previous chapter and of ,adoration of ,cross below4 #acg ,on ,mount ,athos2 8the ,kanonarches1 or master of the choir1 prompts the cantors1 who sing without books40 ,a4 ,riley's ,mount ,athos4 #ach ,the ,great ,palace1 p4 #if4 #aci ,compare ,s4 ,germanus2 ,la ,messe1 iii41 p4 #ia4 #adj ,theoph4 ,contin41 ed4 ,bonn1 p4 #ccc4 #ada ,mr4 ,conway in ,art ,journal1 #ahia4 #adb ,great ,palace1 pp4 #abj1 #abi4 #adc ,vol4 iii41 p4 #cba4 #add ,fossati3 also ,paspates' ,byzantinae ,meletai1 p4 #cdc4 #ade ,relation d'un ,voyage de ,constantinople1 p4 #afj4 ,this idea he may have obtained from ,rosweyd's note to ,paulinus 7#aefi71 saying fountains in front of churches were succeeded by lustral vases placed at the vestibule of the temple4 8,the rim of such a one seems to be figured in ,gruter1 p4 #ajdf1 with an inscription which was selected from the ,anthology1 as is shown by ,rigaltius4 ,this line was also written on the sepulchre of ,st4 ,diomede40 #adf ,paciaurdi #ageh1 ,de sacris ,balneis1 tab4 vi4 #adg ,ed4 ,bonn1 vol4 i41 p4 #bfb4 #adh ,e4 ,muntz1 ,tapisserie4 #adi ,ed4 ,bonn1 p4 #djb and p4 #hid4 #aej ,cer4 ,i41 p4 #eia4 #aea ,soc4 ,orient4 ,latin1 sries ,gographique1 vol4 v4 #ahhi1 p4 #adc4 #aeb ,see ,e4 ,muntz1 ,tapisserie1 and ,m4 ,f4 ,michel1 ,recherches sur 444 des toffes de ,soie4 #aec ,jahrbuch des ,vereins von alterthumsfreunden in ,rheinlande1 #ahib1 p4 #bbd4 #aed ,across the ,jordan4 #aee ,see ,paspates and ,salz4 #aef ,ed4 ,bonn1 vol4 i41 p4 #ahb4 #aeg ,vol4 i41 p4 #hja4 #aeh ,sigillographie de' l',empire ,byzantin4 ,the seal of the church itself represents ,justinian and the ,virgin or ,theodora supporting the building4 ,cp4 ,lenormant1 ,revue ,numismatique1 #ahfd1 p4 #bfh1 pl4 xii4 #aei ,explicatio ,officiorum sanctae ac magnae ,ecclesiae1 ,auctore incerto a ,bernardo ,medonio edita1 #afee4 ,a ,tupikon or ,ritual ,book of ,s4 ,sophia has been recently found at ,patmos3 ,byz4 ,zeit41 #ahic4 #afj ,cantacuzenus1 ,bonn1 ii41 p4 #ae4 #afa ,cedrenus1 vol ii41 p4 #fji4 #afb ,pal4 ,pil4 ,text4 ,soc4 #afc ,in the ,ceremonies1 book ii41 we read that the three crosses kept in the palace were anointed by the protopapas with balsam1 before being shown4 ,ed4 ,bonn1 p4 #edi4 #afd ,ed4 ,bonn1 p4 #abe4 #afe 1 a 8place for instruction10 used both of upper and lower aisles4 #aff ,the college with a provost 7didaskalos7 and twelve fellows was between ,s4 ,sophia and the ,chalkoprateia 7see ,bury1 ii41 p4 #dcc71 and therefore according to ,mordtmann north of ,s4 ,sophia4 ,descending steps are only found in the north porch1 and this is conclusive against ,labarte and ,paspates1 who saw in the ,didaskalion a mere passage attached to the south side of the church4 ,paschalia are the tables of ,easter4 #afg ,at this time more than one 8life-giving cross0 was kept at the palace and occasionally taken to ,s4 ,sophia4 ,cerem4 #edi4 #afh ,ed4 ,bonn1 p4 #ad4 #afi ,drapeyron1 ,l',empereur ,heraclius1 #bgi4 #agj ,fortunatus celebrated its acceptance by a hymn4 #aga ,j4 of ,ephesus1 ed4 ,r4 ,p4 ,smith1 #adj4 #agb ,figured in ,molinier's ,l',emaillerie1 ,paris1 #ahia4 #agc ,figured in ,schlumberger's ,nicephorus ,phocas4 #agd ,see ,ongania1 ,il ,tesoro1 ,fig4 #cc and p4 #ajb4 #age ,riant1 ,ex4 ,sac4 ,c4,p41 vol4 ii41 p4 #bac4 #agf ,paspates1 ,byzantinae ,meletae1 p4 #bhe4 #agg ,des ,dpouilles ,religieuses enleves ,constantinople au xiii sicle par les ,latins1 #ahge1 and the fuller work1 ,exuviae ,sacrae ,constantinopolitanae1 #ahgg4 #agh ,soc4 ,orient ,latin4 ,sries ,gog41 vol4 v4 #agi ,alluded to on a single page of ,,ms4 in the ,british ,museum 7,cott4 ,claud4 iv47 #ahj ,in the reign of ,constantine ,porphyrogenitus1 see ,ceremonies1 vol4 ii41 ch4 xv4 #aha ,the ,french translation has ,diakonikon3 ,riant1 in ,exuv4 ,sacrae1 ,c4,p4 says 8smaller sanctuary30 the ,anon4 says skeuophylakium4 #ahb ,this must be the same as ,robert de ,clari's 8buhotiaous0 fastened to the ring of the great door of ,s4 ,sophia4 #ahc ,i4e41 the iconoclasts1 of whom a number of stories are told by the ,russian pilgrims4 #ahd ,see this story in ,golden ,legend1 8,exaltation of the ,cross40 #ahe ,lazarus was a martyr in the cause of image-worship4 ,see ,bayet1 ,l'art ,byzantin4 #ahf ,cedrenus1 ii41 p4 #fji4 ,irene gave a cross 8distinguished for its pearls03 ,theo4 ,cont41 p4 #gjc4 #ahg ,ongania1 ,il ,tesoro di ,san ,marco1 pp4 #eg1 #ei4 ,rohault de ,fleury1 ,la ,messe4 #ahh ,exuviae ,sacrae ,constantinopolitanae4 #ahi ,see our p4 #di4 #aij ,theoph4 ,contin41 ed4 ,bonn1 p4 #baa4 #aia ,ibid41 ,life of ,basil1 ch4 #gi4 #aib ,la ,messe1 vol4 vi41 p4 #gh4 #aic ,see fig4 in ,byz4 ,zeitschrift1 #ahic1 p4 #adb4 #aid ,in the figure #ah the attachment for the chain is shown at ,a1 the chain of monograms is taken from ,rossi1 ,b shows the provision for the chains in the last example 7,fig4 #ag71 where there is a slight mistake1 the alternate piercings in the rim being crosses as here shown4 #aie ,adapted from a photographic view in ,a4 ,riley's ,mountain of the ,monks4 #aif ,du ,cange4 #aig ,lib4 iii4 ,this was at ,milan4 #aih ,for this and other lamps see especially ,la ,messe and ,il ,tesoro4 #aii ,a4 ,riley1 ,mountain of the ,monks4 #bjj ,p4 #aed4 #bja ,constantinopolis und aer ,bosporus1 vol4 i41 pp4 #cf-dd4 #bjb ,the images were restored in ,s4 ,sophia on the #aith of ,february4 ,pagi4 ,critica in ,universos ,annales ,baronii1 vol4 iii41 p4 #ehg4 #bjc ,goar's ,euchologium1 #afdg1 p4 #efj4 #bjd ,cons4 ,porph4 ,life of ,basil1 ch4 #gi4 #bje ,leo ,diaconus1 ed4 ,bonn1 p4 #agf4 #bjf ,du ,cange1 ,s4 ,sophia1 #ce4 #bjg ,paspates1 ,byzantinae ,meletae4 #bjh ,pachymeres1 ed4 ,bonn1 i41 p4 #agb4 #bji ,hist4 ,byzan41 ed4 ,bonn1 p4 #bgc4 #baj ,ed4 ,bonn1 lib4 iv41 p4 #bi4 #baa ,nicephorus ,gregoras1 p4 #gdi4 #bab ,cantacuz41 ed4 ,bonn1 p4 #cj4 #bac ,compare ,tozer's ,turkey1 i4 #ig4 ,he says ,constantinople is still constantly called 8the ,city0 all over the ,levant4 #bad ,gyllius reports a similar story4 #bae ,wright's ,early ,travels in ,palestine4 #baf 8,constantine1 the last emperor of the ,greeks40 #bag ,brit4 ,mus4 ,,mss4 ,add4 #f1dag4 #bah ,salzenberg1 ,altchristliche ,baudenkmale4 #bai ,relation d'un ,voyage de ,constantinople1 #afhj4 #bbj ,,ms4 ,harl41 #c1djh4 #bba ,from ,originum ,rerumque ,constantinopolitarium1 variis auctoribus1 manipulus1 ,f4 ,franciscus ,combefis1 ,paris1 #affd4 ,the same anonymous description is also given by ,banduri1 ,imperium ,orientale1 ed4 #agaa1 vol4 i4 #bbb ,evidently meant for lower aisles4 #bbc ,if this interpretation can be accepted for 4 #bbd ,bricks stamped with long inscriptions of this kind were frequently used3 one from ,sirmium is mentioned in ,byzantinische ,zeitschrift for #ahid1 p4 #bbb3 8,o ,lord ,christ1 help this city1 keep off the ,avars and guard ,romania and him who writes this1 ,amen40 #bbe ,this may mean the thickness of the marble wall lining in some places gilt--if it has a meaning4 #bbf 1 a network1 studded with jewels1 suspended from processional crosses1 and from the sides of crowns1 see ,fig4 #ae4 #bbg ,reading for 4 #bbh 1 8like bunches of grapes40 #bbi 1 ,graecised form of the ,latin fines4 #bcj ,quoted in ,ibn ,batuta1 ,orient4 ,trans4 ,socy4 #bca ,du ,cange1 notes on ,bondelmontius4 #bcb ,glycas1 ,annalium1 ,pars ,v41 ed4 ,bonn1 p4 #dih4 #bcc ,du ,cange1 op4 cit4 #bcd ,hopf1 ,chroniques ,grco-,romanes1 ,berlin1 #ahgc1 p4 #fg4 #bce ,altchristliche ,baudenkmale von ,constantinopel1 published by the ,prussian ,government1 ,berlin #ahed1 with metrical version of the ,silentiary's poem by ,dr4 ,krtum4 #bcf ,salzenberg here suggests that these formerly supported equestrian statues4 ,see his plates ix4-xii4 and compare our fig4 #bi4 #bcg ,salz4 xx41 figs4 #i and #aj4 #bch ,all dimensions in this chapter are in ,prussian feet1 #ajj of which #ajc ,english4 #bci ,see ,salz41 plate vi4 #bdj ,salz41 plate vii4 #bda ,salz41 plates vii41 viii41 and illustration of stairs in text4 #bdb ,salz41 plate vi4 #bdc ,ibid41 plate xx4 #bdd ,only a short time was allowed to ,salzenberg for its examination4 ,he was convinced it was not a baptistery1 but gives no reasons4 #bde ,salz41 plate xviii41 figs4 #i1 #ac4 #bdf ,salz41 plate vi4 #bdg ,salz41 plate vii4 #bdh ,salz41 plate vi4 #bdi ,salz41 plates vi41 x4 #bej ,it is probable1 writes ,salzenberg1 that originally the buttress masses reached only up to the roof of the gynaeceum1 level with the springing of the great arches2 as ,cedrenus describes how ,justinian1 at the restoration after the fall of the dome1 made outside the building1 in the neighbourhood of the main piers1 above the roof of the gynaeceum four staircases1 8cochleas0 which reached up to the dome 8to strengthen the vaulting40 ,theophanes also speaks of new piers which ,justinian erected to strengthen the dome4 ,the circumstances mentioned by ,procopius seem to indicate that the abutments of the great arches were not sufficient4 ,see our chap4 x41 #a1 for another interpretation4 #bea ,these ,salzenberg thought later additions1 8for the stone projections are not bonded to the piers1 and the ,silentiary says columns stood in these positions40 ,we do not so interpret the lines of the poem1 and1 although ,choisy here follows ,salzenberg1 it is impossible to see1 if there were additions subsequent to the completion of the building1 how it is that the perfectly symmetrical disposition of the marble panelling shows no disturbance1 and the beautiful carved cornice which mitres round these projections has had no additions made to it 7our ,fig4 #dg74 ,the straight joints1 which ,choisy in another place specially notes as a method of ,byzantine building1 were here most wisely applied2 for on one side the great pier was of stone1 and on the other the buttress pier is of brick4 #beb ,salzenberg conjectures from ,agathias that these arches were a later addition made when the dome was restored by ,justinian4 ,but without them1 as he remarks1 there would not have been originally a square base for the circle of the dome4 ,see explanation of original form1 p4 #baj4 #bec ,salzenberg assumes from ,paulus that 8the dome was surmounted by a cross03 the cross was of mosaic inside4 #bed ,see ,salz41 plate x4 ,the right-hand side is a section through one of the domical vaults1 and the left through the barrel-vault which connects two domical vaults4 ,the plans1 plates vi4 and vii41 and the section plate xi41 show how close some of the columns stand to the piers1 to which they are joined by small barrel-vaults1 intersecting the domical vaulting4 #bee ,a mistake for vertical circles2 the large number of cisterns where the vaults are uncovered make this certain4 ,see our p4 #bba4 #bef ,salz41 plate xxiv4 #beg ,salz41 plate xxiii4 #beh ,see figure in ,salzenberg's text4 #bei ,salz41 plate xi4 #bfj ,preparation for the gold4 #bfa ,salzenberg's plate xv41 fig4 #f4 ,the inclination of the sides of that shown is much exaggerated1 if in any case it exists4 #bfb ,salz41 plate xvi41 fig4 #a1 #e4 #bfc ,plate xvi41 figs4 #e1 #f4 #bfd ,salz41 plate xvii41 figs4 #ab and #ac4 ,fig4 #ad gives the base1 fig4 #b a complete column4 #bfe ,salz41 plate xv41 figs4 #g1 #h4 #bff ,see ,salz41 plate xv41 figs4 #a1 #d1 #e for lower cornice2 plate xvi41 #b and #c for upper1 figs4 #c1 #d for dome cornice1 fig4 #i aisle cornice4 ,this last1 says ,salzenberg1 8is mended in many places with gypsum1 and comes from an earlier building40 ,we do not know what earlier building could have furnished a quarter of the quantity used in ,s4 ,sophia4 ,is it possible that the whole of it is of gypsum8 7,see our chapter xii47 ,the marble skirtings are shown on plates xv4 and xvi4 #bfg ,in a note ,salzenberg draws attention to ,paulus speaking of eight windows in this wall1 and conjectures that instead of the five upper windows there was one large opening here4 #bfh ,salz41 plate xx41 fig4 #d4 ,fig4 #f is a capital that was found on one of the four parapet posts1 and removed at the 8restoration02 fig4 #g was not found in ,s4 ,sophia2 fig4 #h was an isolated capital in north aisle2 figs4 #i-aa show upper mouldings to the piers of the propylaeum4 #bfi ,salz41 plate xx41 fig4 #ab shows the underside of the beam in the middle of the west gynaeceum2 fig4 #ae is the side1 and fig4 #af the underside of one in the south gynaeceum2 figs4 #ac and #ad1 one in the north gynaeceum4 #bgj ,salz41 plate xiv4 #bga ,plate xvii41 figs4 #a-g4 #bgb ,see ,salz41 plate xvii4 ,fig4 #c is the upper capital1 fig4 #d the lower1 figs4 #e and #f the base1 and fig4 #g the under side of the architrave4 ,figs4 #h1 #i1 #aj are details of large west window4 #bgc ,salz41 plate xviii4 #bgd ,plate xviii41 figs4 #aj-ad4 #bge ,see plates vi4 and xi4 #bgf ,salz41 plate iii41 fig4 #g4 #bgg ,salz41 plate xix4 #bgh ,see ,salz41 plate ix4 #bgi ,salz41 plate xvi41 fig4 #d4 #bhj ,salz41 plate xvi4 #bha ,salz41 plates xxi41 xxii4 ,plate xxii41 fig4 #a shows the upper frieze and the panels beneath4 #bhb ,salz41 plate xxi41 fig4 #ah1 and our fig4 #i4 #bhc ,bury1 vol4 ii41 #bjb4 #bhd ,j4 of ,ephesus wrote circa #eij1 ,r4 ,payne ,smith's translation4 #bhe ,see also ,rambaud1 ,revue des ,deux ,mondes1 ,aug4 #ahga4 #bhf ,see plan and view in ,strzygowski und ,forchheimer1 ,die ,wasserbehlter von ,konstantinopel4 #bhg ,imperium ,orientale1 p4 #ffd4 #bhh ,see ,ancien ,plan de ,constantinople imprim entre #aeff et #aegd1 avec ,notes explicatives par ,caedicius1 #ahij4 #bhi ,ed4 #aefb1 p4 #ia4 #bij ,hakluyt ,society1 #ahei1 p4 #cd4 #bia ,migne1 ,s4,g4 vol4 #acc1 p4 #fie4 #bib ,texier figured in the ,revue ,archologique1 #ahde1 a small fountain found near the hippodrome to which it probably formerly belonged4 #bic ,nicetas1 ed4 ,bonn1 p4 #heg4 #bid ,an organ is shown on the sculptured base of the obelisk of ,theodosius4 #bie ,,ms4 ,mus4 ,brit41 ,sloane #bgdb1 xvi4 c4 #bif ,procopius4 #big ,hakluyt ,soc41 p4 #cf4 #bih ,nuremberg ,chronicle4 #bii ,constantinopolis ,christiana1 lib4 i41 ch4 xxiv4 #cjj ,la ,syrie ,centrale1 p4 #ge4 #cja ,ed4 ,bonn1 p4 #cjg et seq4 #cjb ,nicetas1 p4 #gcc4 #cjc ,quoted by ,buzantios4 #cjd ,ceremonies1 appendix ad lib4 i41 p4 #ejb4 #cje ,ed4 ,bonn1 v41 p4 #bff4 #cjf ,hakluyt ,soc4 series4 #cjg ,anna ,comnena also speaks of the houses of the ,great ,church4 #cjh ,see ,curtis1 ,broken ,bits of ,byzantium1 part #b4 #cji ,paspates1 p4 #dj4 #caj ,see ,curtis1 ,broken ,bits of ,byz41 part #b4 #caa ,it may be mentioned that an ,italian cantharus1 or font1 of the twelfth century1 in the possession of ,mr4 ,brindley1 has the ,latinised form of the same word in an inscription around its rim which reads ,artificum summus cui nullus in orbe secundus ,hunc luterem clarum sollerer sculpsit aquae4444 #cab ,quoted by ,paspates1 ,byzan4 ,mel4 ,note on p4 #cdj4 #cac ,lanciani1 ,pagan and ,christ4 ,rome4 #cad ,labarte1 ,pal4 ,imp4 #cae ,pachymeres de ,michael ,palaeol41 ed4 ,migne1 p4 #gjc4 ,see also ,du ,cange1 ,s4 ,sophia1 #bb4 #caf ,inscriptiones ,antiquae totius orbis ,romani4 #cag ,grelot is vague in regard to it4 ,banduri understood him to mean that the inscription was on the inner water vessels4 ,the ,greek patriarch ,constantios accepts it as having belonged to the ,phiale4 ,buzantios wildly says baptistery4 #cah ,an inscrip4 in ,baptistery ,florence1 reads-- ,,en ,,giro ,,torte ,,sol ,,ciclos ,,et ,,rotor ,,igne4 #cai ,see p4 #hd and ,kraus for other similar inscriptions4 #cbj ,the first1 he says1 8stands by the entrance to an old ,bagno10 it was #d #c in diameter4 8,the second stands in the midst of the cistern in the square court of the supposed ,st4 ,john's ,church40 ,this was #b #f in diameter4 #cba ,migne1 ,pat4 ,cur4 ,com4 ,series ,graeca1 vol4 i4 #cbb ,euchologium1 ed4 #afdg1 p4 #dfc4 #cbc ,ed4 #afdg1 p4 #efj4 #cbd ,relation ,nouvelle d'un ,voyage de ,constantinople4 #cbe ,in ,fig4 #bi we have followed his drawings disregarding his estimate of height4 #cbf ,curtis1 ,broken ,bits of ,byz41 ,part ,,ii4 #cbg 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #cbh ,see ,p4 ,d4 ,kouppas1 ,the ,building of ,byzantine ,churches4 4 4 4 4 vol4 #bj-bb1 p4 #ch4 #cbi ,for gold tesserae of second cent4 see ,bull4 ,soc4 des ,ant41 #ahic1 p4 #gf4 #ccj ,eastern ,palestine ,memoirs1 #ahhi1 p4 #agb4 #cca ,see ,fig4 #cj4 #ccb ,from the ,hellenic ,society's supplement to their journal4 #ccc ,see also ,byzantinische ,zeitschrift1 #ahid4 #ccd ,the inscription states that the work was done while ,paul was archbishop4 ,and-- ,the vital numerals were defaced1 but there seemed no doubt that the last fragment was a part of ,s 7#fjjj7 and as the writer states that there was only room for one more letter1 ,s or #fjjd 7#die7 is the only year that will fit the fourth indiction4 8,the architect ,bubroff is about to show that the church was built in the fifth century40 #cce ,a book on mechanics 7 7 has been ascribed to ,anthemius4 #ccf ,procopius in ,pal4 ,pilg4 ,text41 p4 #dh4 #ccg ,lib4 xiii41 tit4 iv4 #cch ,edit4 by ,waddington1 p4 #ah4 #cci ,giacomo ,boni1 ,il ,duomo di ,parenzo1 in ,archivio ,storico dell',arte1 #ahid1 p4 #e4 #cdj ,migne1 ,s4,g41 vol4 xxxvii41 p4 #ajij4 #cda ,there is no doubt about these arches being truly pointed4 ,they were drawn so by ,dr4 ,covel about #afge1 they appear so in the careful engraving in ,miss ,pardoe's ,bosphorus1 and these are fully confirmed by ,strzygowski and ,forchheimer1 ,die ,wasserbehlter von ,konstantinopel1 pp4 #ab and #ga4 ,the use of the pointed arch in the east is probably an unbroken tradition from early days in ,egypt4 #cdb ,die ,wasserbehlter1 p4 #acj1 c4 #cdc #agii1 p4 #bcf4 #cdd ,journal of ,roy4 ,inst4 ,brit4 ,archts41 ,jan4 #ahic4 #cde ,see also p4 #bdg1 #ahib1 for the conditions of stability of dome of ,s4 ,sophia4 #cdf 4 4 4 4 vol4 xx41 #ahib4 #cdg ,p4 #dhe4 #cdh ,die ,byzantinischen ,wasserbehlter1 p4 #bb4 #cdi ,in another place ,covel gives the following4 ,lukium--unslaked lime1 burnt brick 7both in a fine powder71 cotton wool very fine pulled and strewed on1 linseed oil4 ,cistern plaister--,lime1 burnt brick1 cotton or flax1 water use almost dry1 smooth it and saturate with oil4 #cej ,blasii ,caryophili opusculum de antiquis marmoribus1 #agdc4 #cea ,trattato delle pietre antiche1 #ahcc4 #ceb ,ancient ,art4 #cec ,chronologie von ,egypten1 p4 #cfe4 #ced ,revue des deux ,mondes1 #ahda4 #cee ,in ,,ms4 notes lent by ,mr4 ,brindley4 #cef ,histor4 ,geography of ,asia ,minor1 p4 #dcc4 #ceg ,see ,boni1 who corrects ,corsi1 in ,la ,basilica di ,san ,marco4 #ceh 4 4 4 4 #ahhe1 p4 #aj4 #cei ,mittheilungen1 etc41 ,arch4 ,inst4 ,athens1 #ahhi1 xiv4 #bhf4 #cfj ,mr4 ,brindley has shown us a photograph of a half worked ,byzantine column with a flat necking1 still attached in a horizontal position to the rock on its underside while the upper part is rounded4 #cfa 4 1 p4 #ejj4 #cfb ,survey of ,western ,palestine1 vol4 iii41 p4 #ceg4 #cfc ,walsh1 ,a ,residence at ,constantinople1 8,errata0 to p4 #hj4 #cfd 4 4 4 41 vol xvi41 #ahhe1 p4 #cd4 #cfe ,see ,bayet1 ,l',art ,byzantin4 #cff ,a4,m4 #eejh of ,byzantine chronology coincides with ,a4,d4 #a up to ,september #ast4 ,indictions were cycles of fifteen years commencing in #cab ,a4,d4 ,both the years of the world and the ,indictions began on ,september #ast4 #cfg 4 4 4 41 vol4 xvi41 p4 #cj4 #cfh ,essai sur la ,chronologie ,byzantine4 #cfi ,finlay1 vol4 i41 p4 #afe4 #cgj ,mordtmann1 p4 #cf4 #cga ,shown in ,salzenberg's plate4 #cgb 4 1 vol4 i4 p4 #ejj #cgc ,curtis1 ,broken ,bits of ,byz41 part ii4 #cgd ,le ,bosphore et ,constantinople1 #ahgc4 #cge ,see below1 p4 #bhg4 #cgf ,see ,salz41 plate xxiii4 ,fig4 #b is one of the tympana1 the centre one has figures3 fig4 #c transverse arches2 fig4 #e soffite of a window4 #cgg ,salzenberg's plate xxiv4 gives details of the lower aisles4 #cgh ,fig4 #b is the barrel vault near the window2 fig4 #c arches and vault adjoining2 fig4 #f the intrados of the arches opening to the nave2 fig4 #g a pattern of the west gynaeceum4 #cgi ,plate xxvi41 fig4 #f4 #chj ,see fig4 #c for this cornice1 the band beneath1 and the edges of the great arches4 #cha ,fig4 #g gives the borders of the windows in semidomes4 #chb ,salz41 plate xxvii4 #chc ,salz4 xxxii41 fig4 #d4 #chd ,salz41 plate xxviii4 #che ,salz41 plate xxix4 #chf ,reading 4 #chg ,salz41 plate xxx4 #chh ,the figure of ,jeremiah at ,s4 ,clemente1 ,rome1 bears the same inscription4 #chi ,salz41 plate xxv41 fig4 #c4 #cij ,salz41 plate xxii4 #cia ,salz41 plate xxxi4 #cib ,salz41 plate xxxi4 #cic ,salz41 plate xxxi41 fig4 #g4 #cid ,ibid4 fig #h4 #cie ,arts ,industriels4 #cif ,hist4 of ,painting1 vol4 i41 p4 #bcd4 #cig ,recherches4 #cih ,bury1 vol4 ii4 #dcb4 #cii ,r4 ,walsh1 ,essays on ,ancient ,coins1 c41 #ahbh1 gives the ,greek4 #djj ,american ,journ4 ,archol41 iv4 #adc4 #dja ,theoph4 ,cont4 ed4 ,bonn1 p4 #ii4 #djb ,a composition of this kind at ,parenzo appears to go up to the sixth or seventh century4 #djc ,see ,diehl in ,byz4 ,zeits41 #ahic4 #djd ,il ,tesoro4 #dje ,prat1 ,archol4 ,chrtienne1 with figure1 p4 #bfe4 #djf ,relievi storico artistici sulla architettura ,bizantina4 #djg ,see note above the index4 #djh ,il ,duomo di ,parenzo1 p4 #bf4 #dji ,middleton1 ,anc4 ,rome1 i4 #ca4 #daj ,see ,labarte1 ,arts ,indust41 vol4 iii41 p4 #cca4 #daa ,boni1 ,il ,duomo di ,parenzo1 pp4 #d1 #e4 #dab ,stones of ,venice1 ,i41 xxiii41 #ac4 #dac 4 4 4 41 vol4 xvi41 #ahhe1 p4 #ac4 #dad ,in our illustration the same capital is distinguished by a letter1 the two sides by #a and #b1 the monograms reading in the direction of the reference to their position4 ,those of 8,n4 ,aisle0 for instance read from left side of page4 #dae ,two varieties of monograms on capitals at ,s4 ,mark's have been the subject of much study which ,cattaneo sums up in ,boto's text of the great monograph on ,s4 ,mark's1 but they have never been deciphered4 ,one 7see ,photos1 vol4 ii41 p4 #abg7 is a perfect example of ,justinian2 three which show in capitals of the upper stage south side are perfect examples of ,basileos--if corresponding monograms probably on the hidden sides of these capitals are examined1 they too may be found to contain the ,justinian monogram4 ,for monograms at ,s4 ,sergius see ,byz4 ,zeit4 for #ahid4 #daf ,in ,l',art de ,btir and ,revue ,archologique1 #ahgf4 #dag ,die ,wasserbehlter von ,konstantinopel1 p4 #bde4 #dah ,curtis1 ,broken ,bits of ,byzantium1 pt4 ii4 #dai 4 4 4 41 vol4 xvi4 p4 #bi4 ,,transcriber',s ,,note ,this e,book makes the following corrections to the printed text3 ,pg #h ,quellen der ,byzantinischen ,kunstgeschicht ,quellen der ,byzantinischen ,kunstgeschichte ,pg #i placed the prophyry column placed the porphyry column ,pg #bb 7footnote7 ,geschichte der ,byzantinischer ,litteratur ,geschichte der ,byzantinischen ,litteratur ,pg #bd that he furnished him that ,he furnished him ,pg #cb and the saints among them and the saints--among them ,pg #ce the restoration of ,s4 ,sophia the restoration of ,s4 ,sophia4 ,pg #ef rings fixed circlewise round each base rings fixed circle-wise round each base ,pg #id reaches the royal doors and stands there40 reaches the royal doors and stands there4 ,pg #aji by ,henrich ,ulmen by ,heinrich ,ulmen ,pg #aah above the beam of the iconastasis above the beam of the iconostasis ,pg #abj running the whole longth running the whole length ,pg #abb from time to time from time to time4 ,pg #abd patriarch ,arsenius during the reign of ,michael ,palaeologos patriarch ,arsenius during the reign of ,michael ,palaeologus ,pg #abd the wife of ,andronicus ,palaeologos the wife of ,andronicus ,palaeologus ,pg #acb is generally call the ,baptistery is generally called the ,baptistery ,pg #ace in order4 and how the wealth in order1 and how the wealth ,pg #acf said to the craftsman4 #8,i will said to the craftsman1 #8,i will ,pg #aej floor to the vertex1 floor to the vertex4 ,pg #aea immense semircircular window immense semicircular window ,pg #aeb pyramids by ,nicephorus ,gregoras pyramids by ,nicephorus ,gregoras4 ,pg #afj was used by the lamplighter was used by the lamp-lighter ,pg #afj and ,zonoras twenty-five and ,zonaras twenty-five ,pg #agi most of which were re-built by ,justinian most of which were rebuilt by ,justinian ,pg #ahf 7footnote7 ,see ,curtis ,broken ,bits of ,byzantium ,see ,curtis1 ,broken ,bits of ,byzantium ,pg #aia 7footnote7 ,this was #b #f in4 diameter ,this was #b #f in diameter ,pg #aib ,symeon of ,thessalonica tells us ,simeon of ,thessalonica tells us ,pg #bjd and ,st4 ,sergius at ,bozra and ,st4 ,sergius at ,bosra ,pg #bab ,figs1 #d1 #cf1 #ch ,figs4 #d1 #cf1 #ch ,pg #bag above the transome above the transom ,pg #bbc ,viollet-de-,duc thinks that ,viollet-le-,duc thinks that ,pg #bcb filaments of cotton40 ,this was reduced filaments of cotton4 ,this was reduced ,pg #bcc ,it is made of unslaked lime 4440 8,it is made of unslaked lime 4440 ,pg #bfh the horizonal arm of the cross the horizontal arm of the cross ,pg #bid ceramic inscription given in the ,revue ,archoogique ceramic inscription given in the ,revue ,archologique ,make punctuation consistent in section headings4 ,replace ,roman numerals with ,arabic numerals for section headings in ,chapter ,,vii4 ,paspates' book1 1 is cited variously as ,byzantinae ,meletai1 ,byzantinae ,melatae1 and ,byzantinae ,meletae4 ,these citations are left unchanged4 ,this e,book makes the following adjustments to the ,byzantine inscriptions3 ,use 7capital omega7 where the printed text used a large 4 ,use 7capital upsilon7 where the printed text used a ,v-shaped character4