A Preliminary Report on Some Unpublished Mosaics in Hagia Sophia: Season of 1950 of the

Byzantine Institute
Author(s): Paul A. Underwood
Source: American Journal of Archaeology, Vol. 55, No. 4 (Oct., 1951), pp. 367-370
Published by: Archaeological Institute of America
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American Journal
of Archaeology
Vol. 55, No. 4 (October, 1951)
A PRELIMINARY REPORT ON SOME UNPUBLISHED MOSAICS IN HAGIA
SOPHIA: SEASON OF 1950 OF THE BYZANTINE INSTITUTE
BY
PAUL A. UNDERWOOD
Field
Director,
The
Byzantine Institute,
Inc.
PLATE 17
Despite
the severe losses suffered
during
the
spring
and summer of
1950,
first with the death of its Presi-
dent,
Robert P.
Blake,
Professor of
Byzantine History
at Harvard
University,
and a little later of Professor
Thomas
Whittemore,
its
founder, Director,
and mov-
ing spirit
for so
many years,
the
Byzantine
Institute
was nevertheless able to
carry
forward its work in
Istanbul. From late
July
to
early
November work
was conducted in three former churches now estab-
lished as museums under the
charge
of the
Ministry
of Public Instruction of the Turkish
Republic.
In this
campaign
the same
facilities, encouragement,
and
courtesies that had been afforded Professor Whitte-
more were
graciously
extended
by
the Turkish
govern-
ment to the author of this
report.
While
continuing
the rehabilitation of the extensive
mosaic
cycles
at the Kahrieh
Djami (formerly
the
monastic church of St. Saviour in the
Chora)
which
was
begun
in
1948,
new work was undertaken at the
Church of the Theotokos Pammakaristos
(Fetiyeh
Djami).
The
subject
of this
report
concerns the third
project
of the season: the
investigation, preservation,
and
cleaning
of some mosaic
fragments
in a
large
vaulted
chamber which
lies,
as a second
story, immediately
above the entrance vestibule of the
great
church of
Hagia Sophia (pl. 17).
The
room,
whose floor is
ap-
proximately
at
gallery level,
can be entered at
present
only through
the
great doorway
at the southern end
of the axis of the West
Gallery.
Above the
door,
inside the
room,
the semi-circular
tympanum
contains
fragments
of two of its
original
three
figures
in mosaic. Elsewhere in the
room,
at
scattered
points
in the
vaults,
are
fragments
of four-
teen other
figures, many
of them the merest bits and
pieces,
and all
adhering
to the
masonry
in a most
pre-
carious manner. These mosaics have never been
covered with
plaster
or obscured
by
white-wash.
They
seem, however,
to have been mentioned
only
twice in
published
works. The first is an allusion
by Salzenberg
to the mosaics above the
door,
without
any
identifica-
tion of the
figures,
and a statement
by
the same author
that the vaults were ornamented with mosaic
figures,
one of which he illustrated in a
drawing, again without
identification.' The second is contained in a document
published
in 1902
by
G. P.
Beglery
Is
in which a
visitor to the
galleries
in 1847 claims to have seen a
Deesis and full
length figures
of the Twelve
Apostles.
Today,
of the
fragments
of sixteen
figures
it is
possible
to
identify twelve, mostly by
means of
deciphering
inscriptions
in the
plaster setting-bed.
The forms of the vaults and the
irregular shape
of
the room are
presented
in the
preliminary
measured
drawing reproduced
in the
accompanying plate (pl.
17).2
Since the main
purpose
of the
drawing
is to
present
the mosaics in their true forms and dimensions
and show their
positions
in the
room, the
longitudinal
sections are drawn as
though
the rounded vaults were
flat vertical
planes
that continue the vertical
planes
of the walls.3
Longitudinally
the room is divided into
three
bays separated
from one another
by
arches. The
first
bay,
which contains no
surviving mosaics, was
originally
a
simple
barrel-vault. Its eastern half seems
subsequently
to have been rendered somewhat
irregu-
lar
by
later
repairs.
The second and third
bays,
while
giving
the effect of
barrel-vaults,
are
slightly
domed
along
the
ridge,
their bricks are laid in the manner of
groin-vaults
with the
groins
flattened
out,
and the walls
below them
penetrate vertically beyond
the
spring
lines to form a lunette in each side of each
bay,
thus
providing
a total of four lunette
penetrations.
These
two southern
bays
form a unit and
together
stand in
contrast to the first. It will be seen that in their
iconographic program
the two southern
bays
were
treated as a continuum and must have formed a unit
within the
program
of the whole.
Adhering
to the
masonry
are five
patches
of
plaster,
each
containing
smaller areas of mosaic tesserae. The
first,
in the
tympanum
at the northern end
("A"
in
plan
and
sections),
contains two
figures.
The second
(at "B") presents
bits of four
figures:
the
tip
of a head
which once came at the center of the arch
separating
the first two
bays,
the shoulders of two busts in the
lunette of the second
bay,
and the foot and lower
gar-
ments of a
figure
in a second zone above the traces
of an ornamental band. The third
patch (at "C")
is
367
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368 AMERICAN
JOURNAL
OF ARCHAEOLOGY
[AJA
55
confined to the lunette in the East wall of the third
or southern
bay
and contains
fragments
of three
busts,
two of them
relatively
well
preserved.
The fourth
patch (at "D")
is in the western lunette of the same
bay, opposite "C",
and has
very
small
fragments
from the heads of the three busts that once filled the
lunette. The fifth
patch
is overhead between these
last two.
Although
the
drawing
shows it in two
parts,
it is in
reality
one area of
plaster
which retains
parts
of four
figures
in
mosaic,
two in each of the two
upper
zones which met at the summit of the vault in an
ornamental band that must have run the
length
of
the two southern
bays,
if not of the whole room.
In the first area of
plaster
and mosaic
("A"),
as in
all others
throughout
the
room,
the actual mosaic
tesserae survive
only
in the
figures;
almost without
exception
the
gold
cubes of the
background
have dis-
appeared.
It is evident that at some time the mosaics
of this room were looted of all
gold cubes, perhaps
because of a need for them in
repairs
to the
gold
grounds
of the vaults elsewhere in the
building.
As in
Kilisse
Djami
in
Istanbul,
the cubes of the
background
seem to have been
scraped
off the
setting-bed
with
some
care,
for
apparently
the
attempt
was made to
spare
the
figures.
The
figures
themselves
have,
of
course,
suffered mutilation and deterioration around
the
edges
where little
by
little the cubes have
dropped
away.
The fact that so much remains of the
setting-bed,
that
is,
the
layer
of
plaster
into which the tesserae
were
inserted,
has made it
possible
to reconstruct some
lost details and to
decipher many
of the
inscriptions.
This is because of the fact that the
setting-bed,
as
usual,
was
painted,
before the cubes were
inserted,
as
though
the work were to be a fresco
painting.
All
inscriptions
were
painted
in black to serve as
guidance
to the mosaicist. Where the cubes have fallen out or
been removed the
underpainting supplies
much infor-
mation.
The lunette above the
door,
which is in
process
of
consolidation and not
yet
cleaned of its scum of dirt
and
oily
carbon
deposits
from
smoke,
now consists of
two
figures.
The central
figure
of
Christ,
of monu-
mental
proportions (note,
for
example,
the massive-
ness of the wrist and hand raised in
blessing),
is
shown seated
upon
a throne. To His
right
stands the
Mother of
God,
arms extended in
supplication,
while
the
figure
that once stood to His left is
completely
gone, only
a bit of the nimbus
having
survived in the
setting-bed.
The natural
assumption
would be that
the
composition
was a Deesis of which
only
the
Prodromos is
missing.
The correctness of this
assump-
tion would
depend
somewhat
upon
the date of the
mosaic,
and it is
impossible
to advance serious con-
siderations for its
dating,
on
stylistic grounds,
until
the
necessary repairs
and
cleaning
have been com-
pleted.
In so far as it is
possible
at
present
to
judge
the
style
it is not
incompatible
with that of the late
ninth
century,
a
dating suggested by
the content of
other
parts
of the
iconographic program
of which this
mosaic could well have been a
part.
If this is
true,
it cannot be taken for
granted
that the lunette con-
tained a true Deesis.
From a
study
of the
setting-bed
on either side of
the
figure
of Christ it is clear that the throne was of
the
type
with a
lyre-back
similar to the one in the
lunette above the
imperial
doors of the narthex of
Hagia Sophia,*
a mosaic which
seems,
if we omit the
kneeling Emperor,
to have been of a
type
antecedent
to the Deesis in that it
represents
the Mother of God
and an
archangel
on either side of Christ in the
medallions.
The second
patch
of
plaster (at
"B" in the
drawing)
retains
only
small areas in mosaic tesserae of two of
the
original
three busts in the lunette and of the
lower extremities of what was once a full
length figure
in an
upper zone,
while
only
the
very top
of the head
and
part
of the
nimbus,
a crossed
staff,
and the
incomplete inscription
1T
T
...,
are
preserved
in the
setting-bed,
devoid of all
cubes,
to the left of the
lunette. The first of a series of busts in the two south-
ernmost
bays was, therefore,
TT-CT[PO
C].
He car-
ried a crossed staff over his left shoulder and was
placed
at the base of the arch between the first and second
bays.
The bust next to
him,
enframed with his two
companions
within a border that once curved
up
over
the lunette and
merged
with the horizontal band
separating
the two
zones,
now has inscribed in the
setting-bed
to the left
only
the last three letters of
6
,-ytos.
But the
figure
can be identified because it
too carried a crossed staff. This must have been a
portrait
of the
Apostle Andrew,
elder brother of Peter
and traditional founder of the See of
Constantinople,
because
Byzantine iconography
conferred the crossed
staff
only
to Peter and Andrew
among
the twelve
and,
as will be made
evident,
all twelve
Apostles
were once
ranged,
six on either
side,
in the lower zones
of the room. The third
figure just
to the
right
of
Andrew and once the central one of three in the
lunette,
cannot be identified
by
name but must
surely
represent
another of the
Apostles. Only
the left
shoulder and the
tip
of the beard are
preserved.
Above the horizontal band of ornament that con-
nected the
tops
of the lunettes is an area of mosaic
tesserae within a
larger
area of
setting-bed.
In mosaic
a foot and the hem of a
garment
are
easily recognized.
Only by
the closest observation of the
setting-bed
and in
strong light
does one become aware of the fact
that this
figure
carried an
open, inscribed,
scroll. The
left-hand
part
of the scroll
remains,
in the
setting-bed,
and this not to its full
length.
But the
piece
of scroll
thus
preserved
contains
forty-two
characters which
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1951]
THE BYZANTINE INSTITUTE 369
make
possible
the identification of the text of the
entire scroll as Ezekiel
I, parts
of verses 4 and 5:
"And I
looked, and, behold,
a whirl-wind came out of
the north . . . and a
brightness
was about it . . . the
likeness of four
living
creatures." This is all that can
be said at
present
about this
figure-whether
or not
it identifies it as the
prophet
Ezekiel.
The third
patch
of
plaster
and mosaic is confined
to the lunette on the eastern side of the third
bay
(at "C"). Assuming
that a series of six
Apostles
oc-
curred in the lower zone of this wall the first would
have been Peter and the second Andrew. The third
and fourth would have been Andrew's
companions
in
the first lunette and the fifth would have been in the
spandrel
between the two lunettes. The
sixth,
and
last,
should therefore be the massive bust that
occupies
first
position
on the left in this second lunette. The
inscription
in the
setting-bed
on either side of this
bust
proves
this
arrangement
to be correct.
Along
the
curvature to the left of the
figure
one is able to
decipher,
first an
alpha
within an
omicron,
which is
the
monogram
for 6
li5yos,
and beneath this the name
Cl MO)N.
The vertical column to the
right
of the bust
reads:
OZHAO)TH
C. The
figure, therefore, repre-
sents the
Apostle
Simon Zelotes.
Next to Simon is a
figure
of which little remains-
On the left it is inscribed OA
IOC,
and on the
right,
F
CPMANOC,
without doubt the famous
patriarch
Germanos of
Constantinople
of the first half
of the
eighth century (715-729).
Next to him is an-
other
bishop (both
Germanos and he wear the omo-
phorion
with crosses at the
shoulders)
whose inscribed
name is
missing
but whose
portrait
is otherwise rela-
tively
well
preserved.
He will be identified later.
The remnants of mosaic in the lunette
directly
opposite (at "D")
are even more
fragmentary
than
the
others, yet,
all three busts can be identified. The
figure
to the
right
is the
pendant
to Simon Zelotes
across the
way,
and thus
might
be
expected
to be the
last of the series of six
Apostles
in the western wall.
Although only
the
top
of the head is
preserved,
a
bit of the inscribed
setting-bed
shows
that,
as in the
case of
Simon,
the
6
oiytos
is rendered
by
a
monogram
to the left in order to
present
the name on that side
and the
surname, by way
of further
identification,
on the
right.
The first two letters of the name are
iota and
alpha,
and should therefore refer to one or
the other of the two
James'-either
to'
ILKow3os
6
ro00
ZEg3daLov
or to
'IaKf3os 6
roi
'AX~alov.
The first two letters of the name of the central
figure
are
again preserved
in the
setting-bed. Since,
as will be
seen,
his
companion
on the left
was,
like Germanos
across the
way,
a
patriarch
of
Constantinople,
the
fact that the name of this central
figure begins
tau
alpha
leads one to the conviction that here too was
represented
a celebrated
patriarch
of
Constantinople,
namely,
Tarasius
(784-806).
From the name of the third
figure,
at the
left,
there
remain four
complete
letters and the
top
of the fifth.
There is no doubt that he is
Methodius,
the mid-ninth
century patriarch
of
Constantinople (843-847).
Among
the four
patriarchs
shown
confronting
one
another in the two lunettes there is a discernible
chronology
and theme.
Priority among
the four is
held
by
the first
patriarch
in the eastern lunette:
Germanos
(first
half of the
eighth century).
His
pendant
in the western lunette is Tarasius
(end
of the
eighth, early
ninth
century).
Next should come the
bishop
in the eastern wall whose name is
missing,
and
finally
Methodius
(mid
ninth
century)
in the west.
If we
supply
the name
"Nicephorus"
for the un-
identified
bishop
we would
again
have another
patri-
arch of
Constantinople.5
He would also fit chrono-
logically
into the series for he succeeded Tarasius in
806 and was
patriarch
well before Methodius. The
theme, as well as the
chronology,
become evident
when certain historical events are recalled.
Germanos was the
patriarch
who was forced out of
office because he
opposed
the iconoclastic
policies
of
the
Emperor
Leo III and was later anathematized
by
the iconoclastic Council of 754. It was he who
witnessed the
banning
of
images
at the
beginning
of
the first
phase
of Iconoclasm
despite
his
opposition.
Tarasius, opposite him,
saw the end of the first
phase
and
temporarily
restored the
images, having presided
over the Seventh Oecumenical Council in 786-7 for
that
purpose.
In
identifying
the third of the
patriarchs
as
Nicephorus
we have
something
of a
repetition
of
the
experiences
of
Germanos, for,
as
patriarch during
the
reign
of Leo
V,
the
Armenian,
he
opposed
the
renewal of iconoclastic
policies and,
like
Germanos,
was
deposed.
Thus
Nicephorus was,
so to
speak,
the
second Germanos and saw the
beginning
of the second
phase
of Iconoclasm.
Finally, Methodius, pendant
to
Nicephorus
and
companion
of
Tarasius, presided
at
the final and
triumphant
restoration of
images during
the
reign
of the
Empress
Theodora. Methodius was
patriarch
at the
meeting
of the
Synod
of 843 which is
believed to have confirmed the acts of the second
council of Nicaea of 787 with
regard
to
icons.6
It was
the same
Synod
of
843, while Methodius was
patriarch,
that instituted the Feast of
Orthodoxy,
first cele-
brated on the 11th of March of that
year.
On that
occasion a
procession, originating
at the Church of the
Virgin Mary
at
Blachernae,
went to the Great Church
of
Hagia Sophia where,
after careful
exposition
of the
theological
basis for the veneration of sacred
images,
the
triumph
over the
heresy
of Iconoclasm was cele-
brated. In the
Synodicon
of the Feast of
Orthodoxy7
the
following
four
patriarchs
are
singled out,
as a
group,
and
especially
acclaimed as true
priests
of
God,
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370 AMERICAN
JOURNAL
OF ARCHAEOLOGY
defenders and teachers of
Orthodoxy: Germanos,
Tarasius, Nicephorus,
and
Methodius,
in that order.
To them all
present
bow down.
They
were thus bound
together
as an
epitome
of the
fight against Iconoclasm,
and a
recognition
of their
unity
in that
fight
is
made,
even to this
day,
not
only
in their
being jointly
ac-
claimed in the service of the
Feast,
but in these mosaics
in
Hagia Sophia
as
well,
where
they
are honored in a
remarkable
way by being ranged
with the
Apostles
of Christ as the true didaskaloi of
Orthodoxy.
The fifth area of mosaic and
setting-bed hangs
most
precariously
overhead. It contains
fragments
of four
full
length figures
which
originally
stood in the two
upper
zones. The orant
figure
in the eastern
upper
zone is
preserved
in
part
to most of its full
length.
The saint is
young
and
beardless,
and at a
glance
might
be
thought
to be
female, but,
as can most
easily
be seen even in moderate
light
from the floor or
in a
photograph,
the
inscription
identifies the
figure
as
Saint
Stephen (CT
C4ANO0
C).
We have here,
therefore,
the first Christian
martyr.
The
very
charac-
teristics of dress and feature shown in the mosaic can be
paralleled
in other
representations
of the
Protomartyr.
The head to the
right,
all that remains of the first
figure
at the South end of the
room,
is
clearly
that of
an
imperial personage.
The lower fillet of his crown,
studded with
representations
of
pearls,
is still
pre-
served in mosaic and from the crown are
suspended
the
imperial prependulia. Enough
of the costume sur-
vives on the
right
shoulder to show that the
figure
was clad in a
gold-embroidered
loros.
Exactly
as
in all other
figures
this one is inscribed at the left
OA FlO C. The name of the
saint,
on the
right,
is
not
complete,
but the letters CON CTAN are
easily
deciphered
in the
setting-bed. Judging
from the
align-
ment of this
fragment
of the
inscription
with that
accompanying
Saint
Stephen,
there would have been
space
above the 0) for
only
one letter. If we
supply
a
K as the
missing
first letter the name should without
doubt be
completed
as
[K]ION
CTAN
[TINO
0C].
Beside the first Christian
martyr
there
stood,
there-
fore,
the first Christian
Emperor.
Of the
figure
that once stood
opposed
to Constantine
("D"
on the
drawing), only
the left hand remains. It
was an orant
figure
with
long
sleeves and
tightly fitting
cuffs.8
Opposite
Saint
Stephen
was a
bishop;
two
arms of the cross on the
omophorion
of the
right
shoulder remain.
With some effort of the
imagination
it is
possible
to
gain
an
impression
of the once
splendid
decoration of
a
good part
of this room. Below the busts there was
doubtless a
plaster cornice,
and below
that,
all the
way
to the
floor,
there were
certainly
'marble revet-
ments. Some of the metal attachments are still visible
in the
walls,
and
Salzenberg speaks
as
though
the
marbles were still in
position
a
century
ago.9
The
floor was
paved
in
patterns
formed of marble slabs.
Their
imprint
is still visible. In the lower zones of the
vaults of the two southernmost
bays
there were
origi-
nally
twelve
Apostles
and four Patriarchs
(sixteen
busts in this
part
of the
room).
From the
spacing
of
the
fragmentary
survivors of the
upper
zones and
observation of their relation to the busts in the lunettes
beneath,
it is certain that
originally twenty
full
length
figures occupied
the two
upper
zones. This
gives us,
for the two
bays,
a total of
thirty-six figures
and
busts. When the three
figures
above the door at the
northern end and an unknown number of
figures
in
the barrel vault
immediately
in front of them are
added,
it is evident that the room exhibited a
truly
impressive array
of mosaic
figures-aside
from the
mosaics in the
great
naos of the
Church,
the
largest
and most
compact group
of which we have
any
evi-
dence in
Hagia Sophia.
x
W.
Salzenberg,
Alt-christliche Baudenkmale von Con-
stantinopel (Berlin 1854) 18, 32,
and
pl. 31, fig.
7.
'
G. P.
Beglery,
in
IzvgstiyaRusskagoArchaeologi'eskago
Instituta v
Konstantinopolg (Sofia) VIII,
1-2
(1902),
117-
118. Certain statements and inferences make it uncertain
that this document
really
refers to the mosaics here under
discussion.
2
The forms of the vaults are in
reality quite
different
from those
suggested
in
any previously published plan
of
Hagia Sophia. Compare,
for
example,
the
plan
of Salzen-
berg, op.
cit.
(supra
n.
1), pl. 7;
E. M.
Antoniades,
"EK4paats
ri~
'A-yla
s lolas
(Athens)
I
(1907), pl.
IH'
and
II
(1908) 293, fig. 367;
E. H.
Swift, Hagia Sophia
(New
York
1940) pl. 2,
all of which
falsely
indicate the
presence
of three
groin
or cross-vaults.
3
The true
heights
of the vaults above the floor can be
approximated by lowering
the section lines of the summit
of the vault so as to rest on the
top
of the two
tympana
at
either end.
4
T.
Whittemore,
The Mosaics
of
St.
Sophia
at
Istanbul,
Preliminary Report
of the First Year's
Work,
1931-1932
(Oxford 1933) pl.
12.-
r
There are
many representations
of
Nicephorus
in
art,
some from the ninth
century.
The
type
is
perfectly
compatible
with our identification of his
portrait.
6
The records of this
Synod
are lost.
SAs found in the Triodion of the Greek Orthodox
Church,
ed. M. I. Saliberos
(Athens,
n.
d.) 146,
2.
8
One is
tempted
to
speculate
that a suitable
pendant
to Constantine would be his sainted mother Helena.
SOp.
cit.
(supra
n.
1)
18.
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