the historian who has transmitted to us the record of Justinian’s work, and its chief interest to us now is that it forms the model on which the church of St Mark at Venice was based, when it was restored, added to, and almost rebuilt about 1063.
The church of St Sophia was not only the finest of its kind at the time of its erection, but no building approaching it has ever been built since in the Byzantine style, nor does much seem to have been done for two or three centuries afterwards. At the same time the erection of new churches must have been going on, because there are certain changes in design, the results probably of many trials. The difficulty of obtaining sufficient light in domes of small diameter led to the windows being placed in vertical drums, of which the earliest example is that of the western dome of St Irene at Constantinople, rebuilt A.D. 718–740. This simplified the construction and externally added to the effect of the church. The greatest change, however, which took place, arose in consequence of the comparatively small dimensions given to the central dome, which rendered it necessary to provide more space in another way, by increasing the area on each side, so that the plan developed into what is known as the Greek cross, in which the four arms are almost equal in dimensions to the central dome, and were covered with barrel vaults which amply resisted its thrust. In front of the church a narthex and sometimes an exonarthex was added, which was of greater width than the church itself, as in the churches (both in Constantinople) of the Theotokos and of Chora (A.D. 1080). The latter, better known as the “mosaic mosque,” on account of its splendid decoration in that material, is of special interest, because in the five arches of its façade we find the same design as that which originally constituted the front of the lower part of St Mark’s at Venice, before it was encrusted with the marble casing and the plethora of marble columns and capitals brought over from Constantinople.
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| Fig. 29.—Cross section of the interior of St Sophia. |
Sometimes an additional church was built adjoining the first church and dedicated to the immaculate Virgin, as in the church of St Mary Panachrantos, Constantinople, the church of St Luke of Stiris, Phocis, and the church in the island of Paros. In the last-named church the apse still retains its marble seats, rising one above the other, with the bishop’s throne in the centre. In addition to the churches already mentioned in Constantinople, there are still some which have been appropriated by the Turks and utilized as mosques. At Mount Athos there are a large number of Greek churches, ranging from the 10th to the 16th centuries, which are attached to the monasteries. At Athens one of the most beautiful examples is preserved in the Catholicon or cathedral, the materials of which were taken from older classical buildings. This cathedral measures only 40 ft. by 25 ft., and is now overpowered by the new cathedral erected close by.
The external design of the Byzantine churches, as a rule, is extremely simple, but it owes its quality to the fact that its features are those which arise out of the natural construction of the church. The domes, the semi-domes over the apses, and the barrel vaults over other parts of the church, appear externally as well as internally, and as they are all covered with lead or with tiles, laid direct on the vaults, they give character to the design and an extremely picturesque effect. The same principle is observed in the doorways and windows, to which importance is given by accentuating their constructive features. The arches, always in brick, are of two orders or rings of arches set one behind the other, and the voussoirs, alternately in brick and stone, have the most pleasing effect. The same simple treatment is given to the walls by the horizontal courses of bricks or tiles, alternating with the stone courses. In the apse of the church of the Apostles at Salonica, variety is given by the interlacing of brick patterns. This elaboration of the surface decoration is carried still further in the palace of Hebdomon at Blachernae, in Constantinople, built by Constantine Porphyrogenitus (913–949), where the spandrils of the arches are inlaid with a mosaic of bricks in various colours arranged in various patterns.
There would seem to have been a revival in the 11th century, possibly a reflex of that which was taking place in Europe, and it is to this period we owe the churches of St Luke in Phocis, the church at Daphne, and the churches of St Nicodemus and St Theodore in Athens. The finest example of brick patterns is that which is found in the church of St Luke of Stiris, attached to the monastery in the province of Phocis, north of the Gulf of Corinth, of which an admirable monograph was published in 1901 by the committee of the British School at Athens, illustrated by measured drawings of the plans, elevations, sections and mosaics by Messrs Schultz and Barnsley, with a detailed description. The church of St Luke of Stiris is one of those already referred to, where a second church dedicated to the Holy Virgin has been added, but in this case, according to Messrs Schultz and Barnsley, on the site of a more ancient church of which the narthex alone was retained. The plan of the great church differs from the ordinary Greek cross in that the arms of the cross are of much less width than the central domed square, and arches being thrown across the angles carry eight pendentives instead of four. On the east side the Diaconicon and Prothesis are included in the width of the domed portion instead of forming the eastern termination of the aisles. The churches at Daphne in Attica and of St Nicodemus at Athens have a similar plan.
The decoration of the smaller church of St Luke of Stiris is of the most elaborate character, bright patterns of infinite variety alternating with the brick courses, and as blocks of marble, removed from the site of the old city near, were available, they have been utilized in various parts of the structure and richly carved. The church at Mistra in the Peloponnesus, 13th century, built in the side of a hill, is one of the most picturesque examples, and is almost the only example in which a tower is to be found.
Armenia.—One other phase of the Byzantine style has still to be mentioned, the development of church architecture in Armenia, which follows very much on the same lines as that of the Greek church, with a central dome on the crossing, a narthex at the west end and a triapsal east end. In two churches at Echmiadzin and Kutais there are transeptal apses in addition to those at the east end. One of the differences to be noted is that the domes and roofs are generally in stone externally, and this has led to another change; the domes, though hemispherical inside, have conical roofs over them. There is also a greater admixture of styles, the Persian, Byzantine and Romanesque phases entering into the design; the last was probably derived from the churches of central Syria, as the Armenians were the only race who seem to have penetrated there, and the finest example, at Kalat Seman, was at one time in their possession. The church at Dighur near Ani, of the 7th century, also probably owes its classical details to the work in central Syria. The most important example of the Armenian style is found in the cathedral at Ani, the capital of Armenia, dating from A.D. 1010. In this church pointed arches and coupled piers are found, with all the characteristics of a complete pointed-arch style, which, as Fergusson remarks, “might be found in Italy or Sicily in the 12th or 14th century.” Externally the walls are decorated with lofty blind arcades similar to those in the cathedral at Pisa and other churches in the same town, which are probably fifty years later. The elaborate fret carving of the window dressings and hood moulds are probably borrowed from the tile decoration found in Persia.
Russia.—The architecture of Russia is only a somewhat degraded version of the style of the Byzantine empire. The earliest buildings of importance are the cathedrals of Kiev and Novgorod, 1019–1054. The original church of Kiev consisted of nave, with triple aisles each side, the piers in which are of enormous size, a transept and square bays of the choir beyond, each with deep apsidal chapels. Externally the chief features are the bulbous domes adopted from the Tatars, which sometimes assume great dimensions. Internally, the chief feature is the Iconostasis, which corresponds to the English rood screen, except that in Russia it forms a complete separation between the church and the sanctuary with its altar.
One of the most remarkable churches is that of St Basil at Moscow (1534–1584), which in plan looks like a central hall, surrounded by eight other halls of smaller dimensions, all separated one from the
