review presentation week 9

Architects:Architects:Anthemius of Tralles Anthemius of Tralles

and and Isidorus of Miletus the ElderIsidorus of Miletus the Elder

Construction: 532-537Construction: 532-537Commissioned by the Commissioned by the

Emperor JustinianEmperor Justinian

Constantinople (Istanbul): Hagia (St.) Sophia Constantinople (Istanbul): Hagia (St.) Sophia

Constantinople (Istanbul): Hagia (St.) Sophia Constantinople (Istanbul): Hagia (St.) Sophia

Basilica style church (west)Basilica style church (west)vs. vs.

Domed, central planed churchDomed, central planed church(east)(east)

Constantinople (Istanbul): Hagia (St.) Sophia Constantinople (Istanbul): Hagia (St.) Sophia

--An early, wood-roofed --An early, wood-roofed basilica, named for Hagia basilica, named for Hagia Sophia (Holy Wisdom) Sophia (Holy Wisdom) was built on the site in was built on the site in 360 AD. It was altered or 360 AD. It was altered or replaced in the early fifth replaced in the early fifth century.century.--This church was --This church was destroyed in 532 during destroyed in 532 during the Nike Revolt.the Nike Revolt.

Constantinople (Istanbul): Hagia (St.) Sophia Constantinople (Istanbul): Hagia (St.) Sophia

Aftermath of the Nike Revolt:Aftermath of the Nike Revolt:--Justinian made building a--Justinian made building a new Hagia Sophia his top new Hagia Sophia his top priority. priority. --He wanted a church which --He wanted a church which would reflect the power, would reflect the power, grandeur, and faith of thegrandeur, and faith of the imperial office.imperial office.--Built in only five years --Built in only five years (532-37), utilizing a work(532-37), utilizing a work force of 10,000 (100 masterforce of 10,000 (100 master masons, each with a 100masons, each with a 100 man crew).man crew).

Constantinople (Istanbul): Hagia (St.) Sophia Constantinople (Istanbul): Hagia (St.) Sophia

When completed in 537:When completed in 537:--182 feet high, with a dome--182 feet high, with a dome 102 feet in diameter, 102 feet in diameter, supported by 40 ribs.supported by 40 ribs.--40 doorways, and external--40 doorways, and external staircase towers providingstaircase towers providing access to the upper access to the upper galleries.galleries.--The world’s tallest --The world’s tallest enclosed space.enclosed space.

The dome appeared to beThe dome appeared to be““suspended from Heavensuspended from Heavenby a golden chain.”by a golden chain.”——ProcopiusProcopius

Constantinople (Istanbul): Hagia (St.) Sophia Constantinople (Istanbul): Hagia (St.) Sophia

First dome: collapsed First dome: collapsed after an earthquake in 558.after an earthquake in 558.

A new, and smaller, domeA new, and smaller, domethen built by Isidore of then built by Isidore of Miletus the Younger.Miletus the Younger.

Original stonework on capitals and spandrels Original stonework on capitals and spandrels

Constantinople (Istanbul): Hagia (St.) Sophia Constantinople (Istanbul): Hagia (St.) Sophia

Constantinople (Istanbul): Hagia (Aya) SophiaConstantinople (Istanbul): Hagia (Aya) SophiaChanges and modifications—conversion to a mosque Changes and modifications—conversion to a mosque

Conversion to a mosque:Conversion to a mosque:--Constantinople --Constantinople conquered by the conquered by the Ottoman Sultan Ottoman Sultan Mehmet II in 1453.Mehmet II in 1453.

Mehmet IIMehmet II(Mehmet the(Mehmet theConqueror) Conqueror)

ICONS: ICONS: From Greek (eikon = image). From Greek (eikon = image). Often small paintings depictingOften small paintings depictingChrist, the Virgin Mary, and/or Christ, the Virgin Mary, and/or saints. Painted on hard, woodsaints. Painted on hard, woodpanels; the medium is usuallypanels; the medium is usuallytempera (pigment/colors mixed tempera (pigment/colors mixed with egg yolk as a binding with egg yolk as a binding agent), although early panels agent), although early panels often were painted with often were painted with encaustic (pigments in melted encaustic (pigments in melted beeswax). A gold leaf beeswax). A gold leaf background provides a background provides a heavenly aura, signifying the heavenly aura, signifying the sacred nature of the sacred nature of the characters. Many icons were characters. Many icons were painted in monasteries.painted in monasteries.

ICONS: ICONS: Not only are they formulaic in Not only are they formulaic in form, they tend to adhere to form, they tend to adhere to specific categories.specific categories.

THEOTOKOS: “God Bearer”/THEOTOKOS: “God Bearer”/Mother of God (Virgin and Mother of God (Virgin and Child)Child)

PANTOCRATOR,PANTOCRATOR,CHRIST PANTOCRATOR:CHRIST PANTOCRATOR:““All protector;” he who rules over All protector;” he who rules over everythingeverything

ICONS: ICONS: Most were intended as a Most were intended as a personal devotion, and personal devotion, and considered an important considered an important medium of worship. medium of worship. Begin as early as the 4Begin as early as the 4thth Century AD, and become Century AD, and become increasingly popular during the increasingly popular during the 66thth Century. Many worshippers Century. Many worshippers believed the icons had believed the icons had miraculous powers.miraculous powers.

Original icon fromOriginal icon fromMONASTERY of ST. MONASTERY of ST. CATHERINE, MT. SINAI, CATHERINE, MT. SINAI, EGYPTEGYPT

ICONOCLASM:ICONOCLASM:Destruction of religiousDestruction of religiousimagesimages

EMPEROR LEO IIIEMPEROR LEO III

ICONOCLASMICONOCLASMSecond Commandment:Second Commandment:““Thou shalt not make Thou shalt not make unto thee a graven unto thee a graven image, nor any manner image, nor any manner of likeness, of any thing of likeness, of any thing that is in heaven above” that is in heaven above”

ICONOCLASMICONOCLASMSome theologians held thatSome theologians held thatbecause in Christ two because in Christ two natures, human and divine, natures, human and divine, are united, icons involving are united, icons involving Christ should be rejected—Christ should be rejected—they were simply material they were simply material images which separated his images which separated his divine from his human divine from his human nature, and were thus nature, and were thus tantamount to a form of tantamount to a form of heresy. heresy.

ICONOCLASMICONOCLASM

EMPEROR LEO III:EMPEROR LEO III:reigned 717-741 AD. Inreigned 717-741 AD. In726 he prohibited the 726 he prohibited the use of icons (religioususe of icons (religiousimages) and began aimages) and began asystematic destruction ofsystematic destruction ofholy images, in part holy images, in part because he had becomebecause he had becomeconvinced that the convinced that the increasing threat of increasing threat of Islam had been sent byIslam had been sent byGod as a punishment God as a punishment for the Christians’ for the Christians’ idolatrous use of icons.idolatrous use of icons.

ICONODULES: Defenders of iconsICONODULES: Defenders of iconsICONOPHILES: Lovers of iconsICONOPHILES: Lovers of icons

Defense of icons:Defense of icons:--Tradition and antiquity of their--Tradition and antiquity of their useuse--The nature of Christ’s --The nature of Christ’s incarnation caused the Old incarnation caused the Old Testament commandment to be Testament commandment to be revokedrevoked

ICONOCLASMICONOCLASM

Iconoclastic programsIconoclastic programssuspended by the Empresssuspended by the EmpressIrene in 780 AD, and in 787 theIrene in 780 AD, and in 787 theSeventh Ecumenical Synod in Seventh Ecumenical Synod in Nicaea affirmed the veneration Nicaea affirmed the veneration of icons as positive. of icons as positive.

Iconoclastic programs wouldIconoclastic programs wouldbe revived, however, in thebe revived, however, in theearly ninth century, and early ninth century, and only finally cease in 843.only finally cease in 843.