Page:The Greek and Eastern churches.djvu/207

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BYZANTINE ART
181

an original style, nor was it true to any central idea. It was mainly a combination of the Roman arch with the Greek column and architrave. But the combination was really superfluous, for structurally the arch dispensed with the architrave. Accordingly the columns and architraves were relegated to the surface of the walls for decorative purposes. They were mere survivals, and Byzantine architecture dispensed with them altogether as superfluities, being content to have plainer exteriors, while the whole attention of the decorator was devoted to the elaborate adornment of the interior with gold, mosaic, and mural painting.

The Romans invented the dome and left the most magnificent specimen of that daring structure in the Pantheon; but they did not develop this original idea, seeing that they could only apply it to round buildings. Since they required length in their basilica they made use of the arch for its roof, simply prolonging this in the form of a barrel. Now the primary characteristic of Byzantine architecture is its development of the method of roofing with domes. The most perfect specimen of this work is the great church of St. Sophia at Constantinople, which it was the pride of Justinian to have built. Two earlier churches had been burnt—Constantine's church in a.d. 404, at the time of Chrysostom, and its successor in a.d. 532. Strictly speaking, Justinian's St. Sophia—still standing and now used as a mosque—is not typical Byzantine architecture. It is quite unique. Nothing of the kind had preceded it; it was never successfully imitated. Its famous architect, Anthemius, has the proud distinction of having produced a work without peer or parallel in all the ages of building. "St. Sophia," says M. Bayet, "has the double advantage of marking the advent of a new style and reaching at the same time such proportions as have never been surpassed in the East."[1] The most essential trait of this invention and its crowning

  1. L'Art Byzantine, p. 41. Cf. L. M. Phillips, "Santa Sophia" in Contemporary Review, No. 493, pp. 55-76.