X 005 Byzantine Architecture

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Byzantine Architecture

Main article: Byzantine Architecture

The Byzantine Empire gradually emerged as a distinct artistic and cultural entity from the

Roman Empire after AD 330, when the Roman Emperor Constantine moved the capital of

the Roman Empire east from Rome to Byzantium (later renamed Constantinople and now

called Istanbul). The empire endured for more than a millennium, dramatically influencing

Medieval and Renaissance era architecture in Europe and, following the capture of

Constantinople by the Ottoman Turks in 1453, leading directly to the architecture of the

Ottoman Empire.

Early Byzantine Architecture was built as a continuation of Roman architecture. Stylistic

drift, technological advancement, and political and territorial changes meant that a distinct

style gradually emerged which imbued certain influences from the Near East and used the

Greek cross plan in church architecture. Buildings increased in geometric complexity, brickand plaster were used in addition to stone in the decoration of important public structures,

classical orders were used more freely, mosaics replaced carved decoration, complex domes

rested upon massive piers, and windows filtered light through thin sheets of alabaster to

softly illuminate interiors.

Byzantine architecture is the architecture of the Byzantine or Later Roman Empire. This

terminology is used by modern historians to designate the medieval Roman Empire as it

evolved as a distinct artistic and cultural entity centered on the new capital of

Constantinople rather than the city of Rome and environs. The empire endured for more

than a millennium, dramatically influencing Medieval architecture throughout Europe and

the Near East, and becoming the primary progenitor of the Renaissance and Ottoman

architectural traditions that followed its collapse.



Overview of extant monu

Early Byzantine architecture

drift, technological advance

style gradually resulted in the

Buildings increased in geom

stone in the decoration of i

freely, mosaics replaced carv

windows filtered light throug

the surviving structures are

through contemporaneous d

Early architecture

The basilica of Sant'Apollinare N

Prime examples of early Byz

Ravenna and Istanbul, as w

breakthroughs in the history

invented a complex system

church to a circular dome (or

In Ravenna, we have the lon

centralized structure of the

never seen by him. Justinian'

Sophia and Hagia Irene, bu

Bacchus (locally referred to

for both in that it combin

centralized building.

ents

was built as a continuation of Roman ar

ent, and political and territorial changes m

Greek cross plan in church architecture.[1]

etric complexity, brick and plaster were u

mportant public structures, classical order

ed decoration, complex domes rested upon

h thin sheets of alabaster to softly illuminat

sacred in nature, with secular buildings

scriptions.

uovo

ntine architecture date from Justinian I's r

ell as in Sofia (the Church of St Sophia).

of Western architecture occurred when Ju

providing for a smooth transition from a

domes) by means of squinches or pendentiv

gitudinal basilica of Sant'Apollinare Nuovo,

hurch of San Vitale, commissioned by Em

s monuments in Istanbul include the domed

there is also an earlier, smaller church

s "Little Hagia Sophia"), which might have

d the elements of a longitudinal basilic

2

hitecture. Stylistic

eant that a distinct

sed in addition to

s were used more

massive piers, and

interiors. Most of

ostly known only

eign and survive in

One of the great

stinian's architects

quare plan of the

es.

and the octagonal,

eror Justinian but

churches of Hagia

of Sts Sergius and

served as a model

with those of a



The 6th-century church of Ha

architecture

Secular structures include th

walls of Constantinople (wit

classical columns). A frieze inpalace.

Hagios Demetrios in Thessal

in present-day Georgia, and t

the 7th century and provid

provinces following the age o

Remarkable engineering feat

of Karamagara Bridge.

The period of the Macedoni

art, has not left a lasting lega

the Theotokos of the Pharo

model for most cross-in-squ

southern Italy (9th century), t

Moni of Chios (a pet project

1050).

The 11th-century monastery ofthe rule of the Macedonian dyn

gia Irene in Istanbul is a superb sample of

e ruins of the Great Palace of Constantino

192 towers) and Basilica Cistern (with hu

the Ostrogothic palace in Ravenna depicts

niki, St Catherine Monastery on Mount Sin

hree Armenian churches of Echmiadzin all

a glimpse on architectural development

f Justinian.

include the 430 m long Sangarius Bridge a

n dynasty, traditionally considered the epi

cy in architecture. It is presumed that Basil

and the Nea Ekklesia (both no longer exi

re sanctuaries of the period, including the

he monastery church of Hosios Lukas in Gre

f Constantine IX), and the Daphni Monaste

Hosios Lukas in Greece is representative of thesty.

3

the early Byzantine

ple, the innovative

ndreds of recycled

an early Byzantine

ai, Jvari Monastery

ate primarily from

s in the Byzantine

d the pointed arch

tome of Byzantine

I's votive church of

istent) served as a

Cattolica di Stilo in

ece (ca. 1000), Nea

ry near Athens (ca.

Byzantine art during



4

The cross-in-square type also became predominant in the Slavic countries which were

Christianized by Greek missionaries during the Macedonian period. The Hagia Sophia church

in Ochrid (present-day Macedonia) and the eponymous cathedral in Kiev (present-day

Ukraine) testify to a vogue for multiple subsidiary domes set on drums, which would gain in

height and narrowness with the progress of time.

Comnenian and Paleologan periods

In Istanbul and Asia Minor the architecture of the Komnenian period is almost non-existent,

with the notable exceptions of the Elmali Kilise and other rock sanctuaries of Cappadocia,

and of the Churches of the Pantokrator and of the Theotokos Kyriotissa in Istanbul. Much

architecture survives on the outskirts of the Byzantine world, where the national forms of

architecture came into being: in the Transcaucasian countries, in Russia, Bulgaria, Serbia,

and other Slavic lands; and also in Sicily (Cappella Palatina) and Veneto (St Mark's Basilica,

Torcello Cathedral).

The Paleologan period is well represented in a dozen former churches in Istanbul, notably St

Saviour at Chora and St Mary Pammakaristos. Unlike their Slavic counterparts, the

Paleologan architects never accented the vertical thrust of structures. As a result, there is

little grandeur in the late medieval architecture of Byzantium (barring the Hagia Sophia of

Trapezunt).

The church of Holy Apostles in Thessaloniki is often cited as an archetypal structure of the

late period, when the exterior walls were intricately decorated with complex brickwork

patterns or with glazed ceramics. Other churches from the years immediately predating the

fall of Constantinople survive on Mount Athos and in Mistra (e.g. Brontocheion monastery).

Structural evolution

As early as the building of Constantine's churches in Palestine there were two chief types of

plan in use: the basilican, or axial, type, represented by the basilica at the Holy Sepulchre,

and the circular, or central, type, represented by the great octagonal church once at

Antioch. Those of the latter type we must suppose were nearly always vaulted, for a central

dome would seem to furnish their very raison d'etre. The central space was sometimes

surrounded by a very thick wall, in which deep recesses, to the interior, were formed, as at

the noble church of St George, Salonica (5th century), or by a vaulted aisle, as at StaCostanza, Rome (4th century); or annexes were thrown out from the central space in such a

way as to form a cross, in which these additions helped to counterpoise the central vault, as

at the Mausoleum of Galla Placidia, Ravenna (5th century). The most famous church of this

type was that of the Holy Apostles, Constantinople. Vaults appear to have been early

applied to the basilican type of plan; for instance, at Hagia Irene, Constantinople (6th

century), the long body of the church is covered by two domes.



Interior of the Hagia Sophia u

architecture.

At St Sergius, Constantinopl

space under the dome was

Finally, at Hagia Sophia (6th

remarkable piece of plannin

increased to 200 ft (60 m) in lthese are again extended by

on either side of a straight e

long, the larger part of which

domical surfaces. Above the

cover the hemicycles, and be

On the two sides, to the nor

two storeys which bring the e

der renovation, showing many features of th

, and San Vitale, Ravenna, churches of th

enlarged by having apsidal additions mad

century) a combination was made which is

g ever contrived. A central space of 100 f

length by adding two hemicycles to it to thepushing out three minor apses eastward, a

tension, to the west. This unbroken area, a

is over 100 ft (30 m) wide, is entirely cove

onchs of the small apses rise the two great

tween these bursts out the vast dome over

th and south of the dome, it is supported

xterior form to a general square.

5

grandest Byzantine

central type, the

e to the octagon.

perhaps the most

t (30 m) square is

east and the west; d two others, one

bout 260 ft (80 m)

red by a system of

semi-domes which

the central square.

y vaulted aisles in



The apse of the church with cr

have been lost.

At the Holy Apostles (6th cendome was the highest. After

competed in scale with these

approximate to one type.

considerably larger square, o

were carried up higher in the

way a sort of nave and tra

octagonal, or at least there

nave and transepts were narr

If we draw a square and dividthe others, and then divide

typical setting out of a plan o

the three divisions, and opp

across the front. Still in front

fountain in the middle under

Directly under the center

proclaimed, and beneath th

Across the eastern side of t

where the altar was situated

the iconostasis. The altar warising seats around the curve

point formed the synthronon

bema were sacristies, the dia

the solea, a raised walkway e

The continuous influence fr

external brick walls of church

into form are set up so as

imitated from Cufic writing.

brick and stone work gener

and, as similar decoration is

also was derived from the E

lead or with tiling of the Ro

interior surfaces were adorn

edifice, and below with inc

beautiful varieties, and disp

series of large panels. The

produced by the division for

of skins of beasts.

oss at Hagia Irene. Nearly all the decorative su

tury) five domes were applied to a cruciforthe 6th century there were no churches buil

great works of Justinian, and the plans mor

he central area covered by the dome

f which the four divisions, to the east, wes

vaulting and roof system than the four corn

septs. Sometimes the central space was

ere eight piers supporting the dome inste

ower in proportion.

e each side into three so that the middle pathe area into nine from these points, we a

f this time. Now add three apses on the east

osite to the west put a narrow entrance p

put a square court. The court is the atriu

a canopy resting on pillars. The entrance p

f the dome is the ambo, from which th

ambo at floor level was the place for th

he central square was a screen which divi

, from the body of the church; this screen,

protected by a canopy or ciborium restingof the apse with the patriarch's throne at

. The two smaller compartments and apses

conicon and prothesis. The ambo and bema

nclosed by a railing or low wall.

m the East is strangely shown in the fas

es built about the 12th century, in which bri

to make bands of ornamentation which it

his fashion was associated with the disposi

lly into many varieties of pattern, zig-zags

ound in many Persian buildings, it is probab

ast. The domes and vaults to the exterior

an variety. The window and door frames w

ed all over by mosaics or frescoes in the

rustations of marble slabs, which were

sed so that, although in one surface, the

better marbles were opened out so that

ed a symmetrical pattern resembling som

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rfaces in the church

m plan; the central t which in any way

e or less tended to

as included in a

, north and south,

ers, forming in this

quare, sometimes

d of four, and the

ts are greater than pproximate to the

side opening from

orch running right

and usually has a

rch is the narthex .

e Scriptures were

e choir of singers.

ded off the bema,

bearing images, is

on pillars. Rows of the middle eastern

at the sides of the

were connected by

ion of decorating

icks roughly carved

is quite clear are

ion of the exterior

, key-patterns &c.;

le that this custom

ere covered with

ere of marble. The

igher parts of the

requently of very

coloring formed a

the two surfaces

ewhat the marking



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X 005 Byzantine Architecture