Great Church
41 00 '31 "N 28 58' 48" E / 41.0085, 28.98 Hagia Sophia (the Greek / which means "Holy Wisdom", "Divine Wisdom", a name taken in Turkish as ) is an ancient basilica Christian of Constantinople the sixth century , became a mosque in the fifteenth century under the leadership of Sultan Mehmed II. It is built on the peninsula history of Istanbul. Since 1934 , it is no longer a place of worship but a museum. Its esplanade is a measure of the glory of Byzantium. Often called the Great Church, the Basilica is dedicated to Christ , "Wisdom of God", according to tradition theological Christian. The dedication of the sanctuary is celebrated on December 25.
Summary |
The first basilicas
The first basilica dedicated to the "Divine Wisdom" ( / Hagia Sophia) was wanted by the Emperor Constantine in 330 , after his conversion to Christianity. It was probably built on the ruins of an ancient temple of Apollo , on a hill overlooking the Sea of Marmara. It is the emperor Constantine II who dedicated the first building, the 30 October 360. It was then the largest church in the city, it was commonly called (Megla Ekklesia "Great Church"). It is assumed that it was a stone building to the roof of wood. In the early fifth century , the Emperor Arcadius ratified the deposition and exile of the Archbishop of Constantinople, John Chrysostom , following a standoff with the Patriarch Theophilus of Alexandria that John was responsible for judge. The building was then burned during a riot in 404.
It was rebuilt in 415 by Emperor Theodosius II. The building found a typical basilica plan under the direction of the architect Roufinos. The basilica was consecrated 8 October 415. A century later, she again undergoes the same disastrous fate, the 13 January 532 during the Nika sedition , which has engulfed the city of Constantinople for six days. Vestiges remain to the west wall of the present building since 1935. From these ruins, there are five steps to a staircase that accesses a portal, and three doors to the narthex. The building was 60 meters wide.
After the Nika riots in 532 , Emperor Justinian undertook to rebuild the edifice in which he asks himself the first stone.
Basilica of Justinian (current building)
On 23 February 532 , just days after the destruction of the second basilica, Emperor Justinian made the decision to rebuild, this time much bigger and majestic than the previous two, dedicated to Divine Wisdom.
Justinian chose the physicist as architects Isidore of Miletus and the mathematician Anthemius Tralles , who died after a year. Architects dessinrent building inspired Pantheon and early Christian art in the West. This style, which has also suffered in other places, influences Iranian (Sasanian) is today called "Byzantine". This Byzantine style was inspired, in turn, architects Arab, Venetian and Ottoman. The construction of the church is described by the Byzantine historian Procopius of Caesarea , in his book on the monuments ( De dificiis). The Emperor had sent materials throughout the Empire : the columns of the Hellenistic temple of Artemis at Ephesus , the porphyry from Egypt , the marble green Thessaly , black stones in the region of Bosporus , others yellow from Syria. More than ten thousand workers were employed for this construction.
The new church was immediately apparent as a major work of architecture, reflects the creative ideas of two architects. It is possible that they were inspired by the theories of Heron of Alexandria , in the embodiment of a dome as large, covering such a wide area entirely clear. The emperor was able to inaugurate the new basilica on December 27 537 , with the patriarch Eutychius with pomp and solemnity. The interiors, especially the mosaics , was not completed until the reign of Emperor Justin II ( 565 - 578 ).
Earthquakes in August 553 and 14 December 557 , caused cracks on the main dome and the half-dome of the apse. On 7 May 558 , another earthquake caused the total destruction of the central dome, which collapsed on the ambo , the altar and the ciborium , destroying them completely. The emperor ordered an immediate restoration, using Isidore the Younger, son of Isidore of Miletus. We used this material both as light as possible, and gave the building its current measures, heightened of 6.25 m, while the dome reached its height of 55.6 m . These major repairs, which both touched the ark that the western half of the dome, lasted six years. The church opened its doors on May 13 994.
In his book caerimoniis aula Byzantinae (Book of Ceremonies), emperor Constantine VII ( 913 - 919 ) gives full details of the ceremonies celebrated in Hagia Sophia, both by the emperor by the patriarch.
The Latin occupation
In the fall of Constantinople in 1204 , during the Fourth Crusade , the church was sacked by the Latins Christians. The Byzantine historian Nicetas Choniates described the capture of the city: the relics preserved in the church, as a fragment of the tomb of Jesus or the milk of the Virgin Mary, the shroud of Jesus, the bones of various saints were scattered to many Western churches. During the Latin occupation of Constantinople (1204-1261), the basilica became a Catholic cathedral. Baldwin I of Constantinople was crowned emperor on 16 May 1204 in Sainte-Sophie, looking more closely at the Byzantine rites in use. The Doge of Venice, Enrico Dandolo , who commanded the sack of the city in 1204 , is probably buried in the basilica. The plaque marks the supposed location of his tomb dates from the nineteenth century.
Upon the resumption of the city by the Byzantines in 1261 , they found the torn basil. It's probably at that time that were added flying buttresses on the west side. In 1317 , Emperor Andronicus II Palaeologus built four new buttresses to the east and north. After further unrest in the dome, caused by another earthquake in October 1344 , other parts of the building collapsed on 19 May 1346. The church could reopen its doors until 1354 , when repairs are completed by the architects Astras and Peralta.
The Mosque of the Ottoman
In 1453 , immediately after the capture of Constantinople , the church was converted into a mosque, keeping the same name, Ayasofya as a symbol of conquest. At that time, the building was very run down several of his gates no longer worked. This state of the basilica has been described by several Western visitors, as the gentleman cordovan Pero Tafur and the Florentine Cristoforo Buondelmonti . The Sultan Mehmed II ordered the immediate cleanup of the church and its conversion into a mosque. Unlike other mosaics and murals of churches in the city, the mosaic of Mary in the apse of Hagia Sophia was not, for reasons obscure, covered with whitewash by order of Mehmed II . For a hundred years it was covered with a veil and had the same treatment as other . The Sultan next Bayezid II , had built a new minaret , replacing the one built by his father.
In the sixteenth century, Sultan Sulayman the Magnificent (1520-1566) brought back two colossal chandeliers for his conquest of Hungary. They were placed on either side of the mihrab. But during the reign of Selim II (1566-1577), the building began to show signs of fatigue and had to be stabilized by the addition of massive buttresses outside. These major works were performed by the great Ottoman architect Sinan , who built the two minarets of the other major western end of the building, the lodge's original and the mausoleum of Sultan Selim II , to the southeast in 1577. The mausoleums of Murad III and Mehmed III were built beside him in the 1600s.
Other additions have been made more recently as the minbar (platform for sermons) decorated with marble, and the balcony for the muezzin. Sultan Murad III (1574-1595) placed on both sides of the nave the two major polls Hellenistic alabaster , transported from Pergamon. Sultan Mahmud I ordered the restoration of the building in 1739 and added a medrese (a Koranic school, now the museum's library) a soup kitchen (for distribution to the poor), a library and, in 1740, a fountain 'ritual ablutions (sadirvan), transforming the building into a klliye , that is to say, a vast complex society. At the same time a new gallery was built for the sultan and a new mihrab.
The best known restorations of Hagia Sophia was the one conducted between 1847 and 1849 by Sultan Abdlmecid , performed by over 800 workers led by two Italian-Swiss architects, brothers Gaspare and Giuseppe Fossati. The work focused on the consolidation of the dome and vaults, columns recovery and revision of interior and exterior. The mosaics in the gallery were cleaned. The old chandeliers were replaced by new suspensions more readily available. Gigantic circular panels were hung at the four central pillars, inscribed with names of Allah , the prophet Muhammad and the first four caliphs Abu Bakr , Omar , Uthman and Ali , as well as those of the two grandchildren of Mohammed: Hassan and Hussein by the calligrapher Kazasker zzed Effendi (1801-1877). In 1850, Fossati built a new sultan's gallery in the neo-Byzantine style , connected to the royal pavilion behind the mosque. Outside the building were erected a new building for the time keeper and a new medrese. Les minarets furent modifis de manire galiser leurs hauteurs respectives. The restoration is completed, the mosque was reopened in lavish ceremonies, 13 July 1849.
The Republic of Turkey
Upon his arrival in power, Mustafa Kemal Ataturk decided to continue the restoration of Hagia Sophia. The direction of the work is attributed to the Byzantine Institute of America in 1931 . In 1934 , Ataturk decommission the place of worship for the "offer humanity," he stalled large circular panels bearing the name of Allah, Muhammad and the caliphs: Hagia Sophia became a museum.
In 1951 , the government Menderes did replace the large panels with Arabic characters .
In 1993, a mission of UNESCO in Turkey have been several changes: the plaster is crumbling, pollution has soiled the marble facings, broken windows, decorative paintings damaged by moisture, the roof is made of lead obsolete. Efforts to restore the building are strengthened and continue to this day.
The long legacy of St. Sophia, successively basilica Christian, mosque and museum busy, poses a difficult challenge in terms of restoration. Legacy Christian iconographic mosaics are gradually unveiled Muslim but artwork must be destroyed to save the day. Conservators trying to offer the visitor the best of both religious and artistic expressions.
Architecture
Hagia Sophia is one of the greatest examples of Byzantine architecture. Its interior, its mosaics , columns and coverage of porphyry cupola are of immense artistic value. Justinian himself had overseen the completion of the basilica, the largest ever built at that time, which remained the largest church in the world until the completion of the cathedral of Seville.
Justinian's basilica is both the culmination of the architectural achievements of the late antiquity and the first masterpiece of Byzantine architecture. His influence was exerted profound and sustained in the architecture Eastern Orthodox , but equally those of the Catholic Church and the Muslim world.
The highest columns reaching 20 meters and a diameter of at least 1.50 m. They consist of various granites , marbles , porphyry , and one can calculate that the largest weigh at least 70 tons. Eight of them, of the Corinthian order , were transported from the temples of Baalbek.
The internal structure is complex. The nave is covered with a main central dome with a maximum diameter of 31.25 meters, about one fourth smaller than the dome of the Pantheon in Rome , and a maximum height of 55.60 m above the ground. All interior surfaces are coated with polychrome marbles, with laver red and green and golden mosaics that cover the structure of mortar and brick. The large central pillars are well camouflaged and they look considerably lighter.
Outside, they had recourse to the simple stucco walls, which revealed the design of vaults and domes. The yellow and red outer coating was added by the architect Fossati during its restoration of the basilica, in the nineteenth century.
Dome
The dome seems to rest on any solid support, but float weightless above the gallery arcades uninterrupted 40 windows that contribute greatly to flood light inside the basilica polychrome. The successive repairs in history has lost its base to the dome perfectly circular: it is now seen as somewhat elliptical and irregular, with a diameter ranging from 31.24 m to 30.86 m.
The dome sits on four pendants triangular concave solution already used by Roman architects in building a smaller scale, well known under the names "acquisition of square plan" or "redemption of the octagon, in the classic Byzantine structures and posterior. In the case of Saint Sophia, pendants postpone the forces exerted by the dome on four massive pillars at the four corners and buttressed by semi-domes in the east (apse) and west (entrance building).
It is not the same north and south sides, where the arches are only closed by high walls in a semicircle openwork many small windows. This bilateral arrangement is the direct cause of the disorders that the church has known throughout its history, to the point that it took in the Ottoman period, provide the building with enormous buttresses, clearly visible from the outside.
Ottoman architects, Sinan and his successors have shown to everyone that buttressed balanced either by the foothills and rugged enough apart ( Sleymaniye Mosque ) or by an octagonal supporting much better vertical forces ( Selimiye Mosque of Adrianople ), or by semi-domes on four sides ( Blue Mosque ), provides a solution to this problem as the mathematical determination. Apparently, the architect of St. Sophia was dedicated to sustaining a basilica in length divided by a single axis of symmetry, instead of the plan at two crossed axes adopted for the buildings from the Ottoman period.
Stone Jars
The two large jars of marble (or onyx ?) belong to the Hellenistic period. Those huge vases monoliths were brought from Pergamon during the reign of Sultan Murad III.
Narthex and portals
Dedicated to the Emperor, the Imperial Gate was the main gate entrance of the basilica, between the narthex and esoteric narthex. Its upper part is decorated with a Byzantine mosaic depicting Christ and the Emperor Leo VI the Wise.
A long ramp from the northern part of the outer narthex, leads to the upper gallery.
Gallery Superior
The upper gallery, traditionally reserved for the Empress and her court, has the shape of a horseshoe around the nave to the apse. The mosaics of the best preserved are located in the southern part of the gallery.
Loge of the Empress
Empress Lodge is located in the center of the upper gallery. From there the empress and the court ladies dominated the ceremonies. A green stone marks the location of the throne of the Empress.
Mosaics and other decorative elements
The original time of Justinian , the interior was composed of abstract patterns veneer marble on walls and on the curves of the arches, mosaics , including those remaining of the two archangels Gabriel and Michael , on the eardrums the platform (bema). But it was already in that time some figurative decorations, as evidenced by the eulogy of Paul Silentiary.
The spandrels of the gallery are covered with opus sectile , depicting flowers and birds in tesserae of marble white cut with precision against a background of black marble. During the later periods were added figurative mosaics, destroyed during the iconoclastic period (726-843).
Number of valuables or miraculous relics , icons came gradually enrich the fabulous treasure of the basilica. An amount of mosaics and other figurative decorations were added in the second half of the ninth century, including a famous image of Christ in the central dome, other saints orthodox , of prophets , of the Church Fathers and historical figures related to the Orthodox Church as Patriarch Ignatius of Constantinople , or scenes of the gospel in the galleries.
Mosaics
Over the centuries, the church was decorated with rich mosaics, depicting the Virgin Mary, Jesus, Saints, or emperors and empresses, or geometric patterns in a purely decorative style.
In 1204 , during the Fourth Crusade , the Crusaders sacked the Latin valuables in every major city of the Byzantine buildings, including the golden mosaics of Hagia Sophia. Many of these objects were sent to Venice by the Doge Enrico Dandolo , who had organized the invasion and looting of Constantinople.
Following the conversion of the building into a mosque in 1453 , many of the mosaics were covered with plaster, due to the prohibition in Islam to represent the figurative scenes. This process was not done at once, and there are reports from the seventeenth century in which passengers said they saw pictures in the old Christian basilica.
As in 1847 - 1849 , the building was restored by two Swiss brothers, Gaspare and Giuseppe Fossati, who obtained the Sultan Abdlmecid permission to raise all the tiles they would have to discover in the work. However, there were no plans to restore, and even the last Fossati hide painting some figures they were observed in detail: the case of faces of two mosaics seraphim discovered during construction about the pendants, in the center of the building. The two other figures of seraphim symmetrical pendants were not found by Fossati, who have completely recreated. In other cases, Fossati have tried to fill the paint damaged parts of mosaics at the point of sometimes completely redesigned.
The archives of Fossati are sometimes the only sources of mosaics have disappeared, probably destroyed by an earthquake in 1894. Among these was a large mosaic of Christ Pantocrator on the dome, a mosaic over a "door of the Poor" unidentified large image of a cross encrusted with gems and a large number of images ' angels , of saints , of patriarchs , and church fathers. Most images were missing on both ears. The Fossati added a minbar (pulpit), and the four large medallions on the walls of the nave bearing the names of Muhammad and the first caliphs of Islam.
Mosaics of the Imperial Gate
The Imperial Gate mosaics decorate the tympanum , which overcomes the door reserved for the emperor.
Based on their style, they may date from the late ninth century or the beginning of the tenth. The emperor depicted with a halo (or nimbus) could be Leo VI the Wise or his son Constantine VII Porphyrogenitus : he bows before Christ Pantocrator, seated on a throne inlaid with precious stones and giving his blessing, his left hand on an open book Mosaics of the southwest entrance The mosaics of the tympanum of the southwest entrance date from 944. They were rediscovered during the restorations Fossati in 1849. The Virgin is seated on a throne without a back decorated with precious stones. The Infant Jesus sits on his lap, giving His blessing and holding a scroll in his left hand. On her left is the emperor Constantine in ceremonial dress, with Mary a model of the city. Registration for its part said: "O KNCTANTINOC IN AIOIC MEAC BACIEYC" Constantine the great emperor among the saints. " On his right side stands emperor Justinian offering a model of Hagia Sophia, with the inscription: "O IOYCTINIANOC AOIIMOC BACIEYC" Justinian, the emperor worthy of being sung. " The medallions on both sides of the head of the Virgin, have the monograms "MP" and "Y," short for "MHTHP EOY", "Mother of God." The mosaic of the Theotokos (the Virgin and Child) is the first mosaic of the post- iconoclast. It was inaugurated on March 29 867 by Patriarch Photios and the emperors Michael III and Basil I. This mosaic is located very high in the half-dome of the apse. Mary is seated on a backless throne, holding the infant Jesus on her lap. His feet rest on a pedestal. Both the basement as the throne are adorned with precious stones. These mosaics are seen as a reconstruction of the mosaics of the sixth century that were destroyed during the iconoclastic period. Figures mosaics are arranged on the original golden background of the sixth century. The portraits of the archangels Gabriel and Michael (largely destroyed), the bema of the arch also date from the ninth century. Mosaic of Emperor Alexander is quite difficult to find, hidden in a dark corner of the ceiling of the second floor. It represents the Emperor Alexander III (AEANPOC), in his imperial mantle, holding a scroll in his right hand and an orb (or globus cruciger ) in the left. Fossati shows a drawing of the mosaic survived until 1849 , and we thought it had been destroyed in the earthquake of 1894. It was rediscovered in 1958 , under a simple coat of paint . This mosaic of the southern gallery date from the eleventh century. Christ Pantocrator, clad in a dark blue robe (as is the custom in Byzantine art), is sitting in the middle, on a golden background, giving his blessing with his right hand and holding the Bible in left. On either side of his face are arranged monograms IC and XC, for IHCOYC XPICTOC (Iesous Christos). It is flanked by Constantine IX Monomakh and his wife the Empress Zoe , both in ceremonial costumes. The emperor has a purse that reminds the gift he made to the church, while Zoe takes a book, a symbol of his own gift, bearing these words: KNCTANTINOC IN X (PICT) T () ICTOC BACIEYC "Constantine, pious Emperor God in Christ." The inscription on the side of the emperor said: KNCTANTINOC IN X (PICT) T () AYTOKPATP ICTOC BACIEYC PMAIN O MONOMAXOC "Constantine, pious Emperor God in Christ, King of the Romans, Monomakh. The inclusion of the Empress is as follows: H ZH EYCEBECTATH AYOYCTA "Zoe, the most pious Augustus." Neither the face nor the name of the emperor are the original ones. It is possible that the mosaic is first represented the first husband of Zoe, Romanus III Argyre or his adopted son Michael IV the Paphlagonian. The mosaic of Comnenus is located, too, on the eastern wall of the south side of the gallery. She was executed after 1122. The Virgin Mary (MP Y) is standing in the middle, in his usual dark blue dress in the Byzantine art. She holds in her lap the Christ child, giving his blessing with his right hand while holding a scroll in his left hand. On his right side, the emperor John II Comnenus (I (ANNHC) IN X (PICT) T (E) ICTOC BACIEYC OPYPOENHTOC, AYTOKPATP PMAI (N) O KOMNHNOC "John, pious Emperor God in Christ, Porphyrogenitus King of the Romans, Comnenus ") is represented in a suit embroidered with jewels. He is holding a purse, symbol of an imperial donation to the church. The Empress Irene (H EIPHNH EYCEBECTATH AYOYCTA "Irene, the most pious Augustus") stands to the left side of the Virgin, in ceremonial dress, with a document. Their eldest son, co-emperor Alexius Comnenus (AEIOC IN X (PICT) I (CTOC) BACIEYC PMAI (N) "Alexis, in Christ, pious emperor of the Romans") is represented on a pilaster aside. His features are sad reflection of his death that year of tuberculosis. We can compare this group with the mosaic of the Empress Zoe, who is older than a century and see the evolution: the expression of the portraits is now more realistic, ie, less idealized. The Empress has braided blond hair, rosy cheeks and gray eyes, to show his own Hungarian roots. The emperor is represented with dignity. The mosaic Deisis (Greek "supplication") probably dates from 1261. This is the third panel of the imperial box in the upper gallery. This mosaic is considered a masterpiece for the softness of features and facial expressions, and also as the beginning of the revival of Byzantine pictorial art. The style is that of Italian painters of the late thirteenth and fourteenth centuries, as Duccio. The Virgin Mary (MP ) and Jean-Baptiste (O AIOC I. POPOMOC O: St. John Prodromos), both three-fourths, imploring the intercession of Christ Pantocrator (IC XC) for the sins of mankind when the Last Judgement. The lower part of the mosaic is very deteriorated, probably because of the rain from the nearby window. The mosaics north of the eardrum, located very high, some are saints, among which recognizes St. John Chrysostom (IANNHC XPYCOCTOMOC O) and Patriarch Ignatius of Constantinople, the Younger (O INATIOC NEOC) standing, dressed in white robes embroidered cross and holding Bibles richly ornamented. The others have disappeared, probably during the earthquake of 1894. Mosaic tympanum North: St. John Chrysostom Mosaics north of the eardrum, according to the statement Fossati North tympanum mosaic: Patriarch Ignatius of Constantinople Small photo showing the features on the front ottomans that were later removed (1880) View from Sultanahmet Square View of the apse by Sinan Night view Christ, between the Emperor Constantine IX and Empress Zoe , circa 1020 The Virgin and Child between Emperor John II Comnenus and Empress Irene , circa 1118 The Emperor Constantine I , founder of the city, to 1000 (southwest entrance) Portrait of co-Emperor Alexius Comnenus, son of John II Comnenus and Irene , circa 1122 Christ Pantocrator and the Emperor Leo VI (886-912), late ninth century St. John Chrysostom , Archbishop of Constantinople, ninth century St. Jean Baptiste , twelfth century Saint John Chrysostom. Virgin and Child between Emperor John II Comnenus and Empress Irene Interior: nave, apse, gallery Dome Mosaic of the southwest entrance (inverted) Mosaic of the Imperial Gate (reverse) Mosaic of the apse: the Theotokos The DEISA: the Virgin and John the Baptist interceding with Christ (inverted) Mosaic of the Empress Zoe 
Mosaics in the apse
Mosaic of Emperor Alexander
Mosaic of the Empress Zoe
Mosaic of the Comnenus
Gallery of Deisis
Mosaics of northern tympanum
Images
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