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Byzantine Architecture (330 - 1453 & LATER)
Byzantine Architecture (330 - 1453 & LATER)
Byzantine Architecture (330 - 1453 & LATER)
GEOGRAPHICAL
Byzantium , renamed Constantinople after Constantine the Great, its imperial founder
Also called New Rome , was the capital of the Roman empire in 330
It stood at the junction o Bosporus and the Sea of Marmora, where Europe and Asia are divided
by only a narrow strip o water
It was also at the intersection of two great highways of commerce
o The water highway between Black Sea and Mediterranean
o The trade route between Asia and Europe
GEOLOGICAL
Constantinople had no good building stone and local materials such as clay or bricks and rubble
or concrete were imported
Other materials more monumental in character had therefore be imported
- Marble was brought from the quarries in the islands and along the shores of Constantinople
Byzantine architecture was further considerably influenced by multitude of monolithic columns of
such sizes as were obtainable from the different quarries
CLIMATIC
The Romans adopted their methods of building to suit the need of the new Eastern capital and to
those of life which had already created traditional forms o art
- Flat roofs for summer resort were combined with dome
- Small windows often high up in otherwise unbroken walls formed chief feature of this style
RELIGIOUS
Byzantine architecture is characterized by the novel development of the dome to cover either
polygonal or square plans for churches, tombs and monasteries
The practice of using a domical system of roof construction is in contrast to the Early Christian
timber trusses and the Romanesque system of stone vaults
The domed, “centralized “ plan belongs to the Byzantine in contrast to the basilican type of plan
of the Early Christians
The system of construction in “ hand laid concrete” introduced by the Romans was adopted by
the Byzantines
The Byzantines took great pains in the manufacture of bricks which were employed alike military,
ecclesiastical and domestic architecture
- The ordinary bricks were like the Romans, about 38 mm ( 1 ½” ) in depth, and were laid on
thick bed of mortar
- Composed of lime and sand with crushed pottery, tiles or bricks and much of it remains as
hard as that in the best buildings in Rome
- Were not always laid horizontally, but sometimes in the form of meander fret, sometimes in
the chevron or herring bone pattern and in many other similar designs
- Rough brick exteriors were used on decorative arches and stone blocks
The dome which had been the traditional feature in the east became the prevailing motif of
Byzantine Architecture
- The fusion of the domical construction with the classical columnar style
- Domes on various types were placed over square compartments by means of pendentives
whereas in Roman architecture domes were only used over circular or polygonal structures
- Usually constructed of bricks or of some light porous stones such as pumice or even of
pottery
Windows were formed in the lower portion of the dome, a feature which was further developed in
the Western Renaissance
The grouping of small domes or semi domes round large central dome was one of the
characteristic feature o f Byzantine Architecture
Vaults and domes were visible externally, undisguised by any timber roof, thus in the Byzantine
architecture the exterior closely resembles/corresponds with the exterior
The Byzantine capital ( dosseret block ) was shaped to form a simple transition from the square
abacus to the circular shaft
Monolithic shafts which were lengthy had to be supported by bronze annulets to protect from
splitting and prevent lead “seating” from being forced out by the superincumbent weight
The interiors were beautified by pavements in “opus sectile” and” opus alexandrinum “
Domes and apses are decorated by colored mosaics which were rendered opaque by “oxide of
tin “
Mouldings are replaced by “decorative bands” form in the mosaics
In the late examples fresco paintings were often used instead of mosaic. Pictures were arranged
in a special order
a. The Bust of Christ – occupied the dome
b. Four Evangelist – set in the pendentives
c. Virgin and the Child – located in the apse
d. Saints and incident in the life of Jesus – all around walls
The character of Byzantine Architecture shows development in its three main periods
1. 330-850 – including the reign of Justinian
2. 850-1200 – including the Macedonian and Comnenian Dynasty
3. 1200 to present
EXAMPLES
CHURCHES
Byzantine churches are distinguished by the “centralized” type of plan, having a dome over the
nave which is sometimes supported by semi domes
There is usually the narthex or entrance porch at the west and the east end is cut off from the
nave by an “iconostas” or screen of pictures
1. S. SOPHIA, CONSTANTINOPLE
( HAGIA SOPHIA – DIVINE WISDOM )
Was built for Justinian by Architects Anthemius of Tralles and Isodorus of Miletus
The most important church in Constantinople
The noble atrium forming the approach of the church led through the great triple portal to the
outer narthex, beyond is the main imposing main narthex, 61.00 m x 9.00 m, which is in two
storeys, the lower of which is used by catachumens and penitents, while the upper forms part of
the church gallery
The plan consist of a central space 32.60 m2 with four (4) massive stone piers, 7.60 m x 18.3 m,
supporting four (4) semi circular arches upon which rest the dome, 32.6 m in diameter and 54.80
m above the ground
East and west of this central area are hemicycle, crowned with semi domes, the space thus
enclosed forming a great oval 68.60 m x 32.60 m
The great hemi cycles are flanked by “exedrae” with semi domes and at the extreme east is the
apse
North and south of the nave are two storeyed aisles over 15.20 m wide, the upper storey being
the “gynaeceum” or women’s gallery
The main building is approximately square which, excluding the eastern apse and narthex
measures 76.20m x 67.00 m
The two principal semi domes, east and west, abut the great supporting arches and thus act as
buttress to central dome
The monumental interior gives an impression of one vast dome space, with the great hemi cycles
and exedrae is one of extreme intricacy, in spite of the simplicity o the general scheme
Gigantic pendentives to the central dome overhang about 7.60 m and are themselves over 18.30
m high, above which the dome rises only 15.20 m
The dome is constructed of bricks about 686mm (27 in ) square in the lower part and 610 mm (
24 in ) square at the crown
Walls and piers are sheeted with marbles of : Phrygian white, Laconian Green, Libyan Blue,
Celtic black besides Thessalian and Bosporus marbles all fixed with metal clips
It is the supreme monument of Byzantine architecture and provided the model for many great
mosque which were built after the Turkish capture
The building is now a museum
2. S. VITALE, RAVENNA
Was commissioned during the Episcopate of Ecclesius at the time when Ravenna was under
Ostro-Gothic domination
Was founded by Justinian to commemorate his recovery of Ravenna and was designed on the
model of the “ Minerva Medica” of Rome
An inner octagon of 16.60 m is enclosed by outer octagon o 35.00 m
It resembles “Aix La Chapelle” in appearance which probably derive from it
Similar in plan with SS. Bachus and Sergius in plan, but consist of an octagon enclosed in a
square
The dome is constructed of earthen pots fitted into each other, those in the upper part being laid
horizontally , thus producing a lightness of structure which did not require arches and
buttresses
3. S. MARK, VENICE
Reflects the art of Byzantium which was so largely influenced the architecture of Venice, situated
midway between East and West
The glittering, resplendent west façade of the narthex faces the great Piazza of San Marco which
like the Forum of the ancient Rome was the center of city life
This famous edifice stand on the site of the basilican church which was founded in 830 to receive
the body of S. Mark and partially burnt down in 976
Between 1063 and 1085 the plan was completely transformed to resemble that of the Church o
the Apostles, Constantinople
- Transepts were added
- The sanctuary was extended
- The narthex was continued round the aisles
- The interior altered from the basilican to the Byzantine plan of the Greek cross surmounted
by domes
- The plan has central dome, 12.80 m (42.00 ft ) in diameter over each arm of the cross
The interior is gorgeous in coloured marbles and brilliant glass mosaic which extending in one
continuous surface over the vault and dome depict the following themes:
a) Story of creation
b) The fall of Man
c) The Redemption
d) The miracles of Christ
e) The legends of the saints
The exterior dating mostly from the twelfth century with its five portals has remarkable coloured
mosaic panels in the and spandrels o the great semi circular arches
The exterior has a character peculiar of its own, for it is a marvelous blending into one
homogenous whole of a variety of features from many foreign lands:
a) Bronze horses from the triumphal arch of Nero
b) Columns of porphyry, alabaster and verde antico from Constantinople and Alexandria
c) Coloured marble facing from Eastern cities
In the thirteenth century a crown of gold was given to the building by the unique timber domes
and finally in the fifteenth century, the façade was further embellished by Gothic canopied niches,
ogee arches and crocketed pinnacles
6. S. FRONT, PERIGEUX
Almost identical in plan of S. Mark, Venice
An interesting product of Byzantine influence carried west along trade routes by Venetian
merchants
7. S. THEODORE, CONSTANTINOPLE
Now known as the Kilisse mosque is a perfect specimen of a typical small Byzantine church
Has double narthex crowned with domes leading into the nave 9.00 m square
Has central dome formed with flutings and set on a drum 4.00 m in diameter
The plan is what commonly known as “cross in square” and is the characteristic of the later
development of the style
TERMINOLOGIES
1. Pendentive – the term applied to the triangular curved overhanging surface by means of which a
circular dome is supported over a square or polygonal compartment
2. Drum – the upright part below the dome or cupola, in which window might be placed to light the central
area of the building
3. Transept – the part of the cruciform church, projecting at right angles to the main building
4. Iconastasis – a decorative screen inside the Byzantine church
5. Opus alexandrinum – a mosaic of relatively small pieces of marble or stone cut to shape and arranged
in geometric patterns, usually a mosaic pavement consisting of geometrical figures in black and red
tesserae on white ground
6. Opus sectile – a kind of pavement form of slabs or tiles of glass or other material, the pieces having a
uniform size and being either plain colored or mottled and veined
COMPARATIVE ANALYSIS
A. Plans
The domical method of construction governs the plan of Byzantine churches , which are all
distinguished by central space covered with a dome on pendentives
Short arms on each side form a Greek cross, and filling in of the angles brings the plan nearly to
a square
The opposite the entrance was the apse or the altar in the sanctuary, which was screened off by
the characteristic “Iconostasis” with its three doors , and there was also lateral ritual chapels
The essential difference in plan between a Byzantine and Early Christian churches may be
summed up as follows
- Byzantine churches , unlike Early Christian churches with their campanili had no bell towers
- The Byzantine church, because of the grouping of subsidiary domes round a central dome,
gives a vertical impression; for the eye is gradually drawn upwards towards the central
culminating dome
- Early Christian church because of the vista of columns, entablatures, and simple timber roof
gives a horizontal impression; for the eye is led along these horizontal lines to the apsidal
sanctuary which is the important feature
B. Walls
Walls were usually constructed of brick and internally encrusted with rich colored marbles and
shining glass mosaic, which swept from wall to arch and arch to vault almost to the exclusion of
moldings and sculptured ornament
External walls were comparatively plain and depended largely for effect on the brilliant oriental
sunshine which clothed them with garment of glowing colors
C. Openings
D. Roofs
The method of roofing was by domes of brick, stone or concrete , often with no further covering
The Byzantines practiced the system of placing the dome over a square or octagon by means of
pendentives which had only been employed tentatively by the Romans as in Minerva Medica,
Rome
E. Columns
Columns were used constructively but were always subordinate features and generally
introduced to support galleries as massive piers and walls supported the superstructure
In the first instance, columns were taken from ancient buildings, but these were not so numerous
in the East and therefore the supply was sooner exhausted and that provided opportunity to
design monolithic shafts
For capitals, the Roman Ionic, Corinthian and Composite types were sometimes used
The “dosseret block” was designed to carry a rising arch, a new invention which performed the
function of enlarging the surface of the capital to support the wide voussoirs of the arch or a thick
wall
Bird and basket capital was also a popular type
F. Mouldings
Mouldings were little used because the marble and mosaic wall lining ran continuously over the
surface wall and arches
Internally, decorative panels o marble and mosaic were sometimes framed in billet mouldings
Flat stone bandings lush with the wall surface were used instead of string courses and cornices
G. Ornament