Architect Three Byzantine Building Projects

Architect

Three Byzantine Building Projects

Hagia Irene (ca. fourth century AD)

The Hagia Irene was originally constructed as a church during Byzantine times, and is widely believed to have been built during the fourth century A.D. The religious denomination of the church was eastern orthodox, and it stands in the perimeter of the courtyard of Topkapi Palace in modern day Istanbul, Turkey. Of particular importance regarding the history of this religious building is the fact that it is believed to be the first church which was erected in Constantinople, which would have a large deal of significance in regards to the early dissemination of Christianity which would become embraced during this epoch. Constantine I commissioned the construction of this temple during his tenure as Roman Emperor; the edifice was originally used to host religious ceremonies as well as the First Council of Constantinople. Throughout the centuries since its primary construction, Hagia Irene has been modified and rebuilt numerous times, the first of which was commissioned by Emperor Justinian I in 548 following the destruction of the church due to fire incurred in the Nike revolution of 532. Prior to the construction of the Hagia Sophia in 532 A.D., Hagia Irene was used as the church of the Ecumenical Patriarchate of Constantinople.

Design

The dimensions which the Hagia Irene was constructed according to are 11 meters by 32 meters, which is in and of itself not necessarily a particularly distinguishing feature. In terms of influence from previous architectural constructs, the Hagia Irene was erected similar to the form of most Roman basilicas. Accordingly, the edifice is equipped with a nave and a pair of ailse, which are separated from each other by both pillars and columns. Further construction features of the Hagia Irene which are largely considered to be descendants of the Roman basilicas include its primary space, in addition to its atrium, narthex and galleries. The completion of the construction included a 15 by 35 meter dome and the addition of several windows, which number close to 20.

Construction

This church was originally erected on the site of a pre-Christian temple, which may be a symbol for the assertion of Christianity during the religion's early attempts to gain popularity. It is important to understand that the Hagia Irene is one of the few structures from the Byzantine era which still functions in modern times, and that has endured a largely varying construction history in its lengthy existence. An earthquake contributed to copious amounts of damage to the structure in the eighth century; the present form of the church can largely be attributed to the repairs made by Emperor Constantine V. Many of these changes can be considered cosmetic in nature, as the Roman emperor saw fit to decorate the interior of the building with art including frescoes and mosaics. Importantly enough, the Hagia Irene has been able to keep the original atrium which was built during its initial construction, which may still be seen today and is one of the few Byzantine religious facilities which has retained this particular feature.

Other modifications to the original structure of the Hagia Irene include its overall enlargement, which occurred primarily in the 11th and 12th centuries. During different epochs, the church was utilized for a variety of purposes. It was sequestered within the Topkapi palace walls following Mehmet's 1453 conquest of Constantinople, and would eventually be employed as an armory by the Janissaries, who also utilized the structure as a place to store their spoils of war. When Sultan Ahmet III was in power in this part of the world, approximately between the years of 1703 and 1730 A.D., Hagia Irene (which is sometimes referred to as Hagia Eirene) was initially converted into a weapons museum. This would be a familiar motif for the future existence of this construct as it would be modified into the first museum dedicated to the country of Turkey in 1846, largely due to the efforts of Field Marshal Ahmed Fethi Pasa.

Significance

Today, the Hagia Irene still serves as a museum, although the exceptional quality of the acoustics offered within the structure has rendered it as a concert hall for performances of classical music. Its lasting significance, however, can be found primarily in the construction of the Hagia Sophia, which was built near the site of the former church largely due to damage suffered by the Hagia Irene in the fifth and sixth centuries. This damage spurred Emperor Justinian to build the Hagia Sophia nearby.

1.2. Basilica of Sant' Apollinare Nuovo (ca. sixth century AD)

Background

This particular domicile was erected as a church. However, the specific faith of the worshippers which this building housed, and their conflicting viewpoints can be widely evidenced throughout the history and the elements of construction which previously and currently exist within its walls. The primary function of the Basilica of Sant' Apollinare Nuovo as conceived by the man responsible for its construction, King Theodoric, in the early part of the 6th century was to serve as his palace chapel. Partially due to the fact that Theodoric was Ostrogoth, the church was Arian in denomination and was dedicated to Christ the redeemer in 504 CE. Throughout the various stages of the church's existence, its patron would frequently change to reflect not only western but also eastern religious tendencies. In 561 A.D>, this structure was dedicated to Saint Martin by Byzantine ruler Justinian I, who made efforts to largely repress the Arian influence of the prior religious occupants.

Design

The general design of this particular edifice was decidedly simple in its scope. The interior of the church is approximately 138 by 69 feet and includes 24 columns of marble which are from Constantinople. Speculation exists as to the closure of the original faced of the building, which may have been a four-sided portico, which was eventually replaced in the 16th century by a basic marble portico. Some of the influence of the building of the Basilica of Sant' Apollinaire Nuovo can be traced back to other structures which were constructed in Italy's Ravenna, Emilia-Romagna (which is where the Basilica was made), as can be evidenced by its cylindrical bell tower. A good deal of the analysis reserved for this particular structure, however, revolves around the series of graphic artistic portrayals found within its apse and atrium. These mosaics, which are exclusively religious in focus, have been modified, changed, or destroyed since the church's inception to reflect the varying denominations which it has housed.

Construction

The Basilica of Sant' Apollinare Nuova was constructed primarily of simple bricks. The facade of this edifice has a tympanum which is supported by a pair of pilaster strips. A mullioned window was placed nearby with a couple (two) of lights highlighted by two smaller windows. Many of the capitals of the Basilica of Sant' Apollinare Nuovo contain Greek monograms, which are primarily markers of the workshops in which they were constructed. Restorations in the 16th century can account for the a difference in height (approximately four feet) from that of the original floor. Arms and hands of characters which more than likely represented Goths who were praying during the tenure of Theodoric's court can be found on the aforementioned 24 columns which support this structure. However, the rest of the bodies of these figures were destroyed during Byzantine times to reflect the alteration in religious denomination endemic to the Basilica of Sant' Apollinare Nuovo.

In similar fashion, several of the mosaics housed within this structure were renovated or changed during the 19th century courtesy of the handiwork of Felice Kibel. Beginning on the left lateral wall, there are found 13 mosaics of Jesus' parables, while on the right wall there are 13 mosaics which depict Christ's Passion and resurrection. The latter of these is a direct allusion to Theodoric The Great, as these illustrations were selected due to the fact that they of passages which were typically read aloud during the King's reign during Lent. Following another row os mosaics which depicted a series of evangelists which is also attributed to King Theodoric, there is a row of enlarged mosaics reflecting the Byzantine artistry of the Catholic Church. Other artistic depictions include martyrs, magi, and Emperor Justinian.

Significance

The primary significance of this structure can be found in its artwork, which reflects the variety of religious denominations which have dominated the usage of the Basilica of Sant's Apollinare Nuovo. Such denominations have included Arian worship to more typical Byzantine religious faiths such as Catholicism. The following quotation emphasizes this aspect of this structure's significance. "Both the exterior and interior of the basilica graphically illustrate the fusion between the western and eastern styles characteristic of the late 5th to early 6th century. This is one of the most important buildings from the period of crucial cultural significance in European religious art (GET SOURCE)"