Upon these arches is raised what has been called an elliptical dome. But in no part has it the character of a true ellipse, nor does it spring from its supporting arches in the simple regular manner of a dome, but in the complex manner of a vault built upon arches of unequal curvature.
It should therefore rather be called a domical vault. Where it shows above the roof it has the appearance of a modified and very low cone covering an irregular elliptical drum.
The eastern bay of the nave is square on plan, bounded by semicircular arches, all extended so as to form short barrel vaults. The western arch is joined to the eastern arch of the western bay, thus forming a short barrel vault common to both bays. The vault to the east runs to the semi-dome of the apse; whilst the vaults to north and south, like the corresponding vaults in the western bay, extend to the outer walls and cover the eastern portions of the aisles and galleries. Above the supporting arches regular pendentives are formed, and above these there is a drum carrying a dome. The apse to the east of the nave is semicircular within and covered by a semi-dome.
Between that semi-dome and the eastern barrel vault of the nave a break is interposed, giving the bema arch two orders or faces, with their external and internal angles rounded off, and the whole surface of the semi-dome and of the bema arch is covered with mosaic. At one time the mosaic extended also over the surface of the barrel vault. The decoration in the semi-dome consists of a large cross in black outline upon a gold ground; below the cross there are three steps set upon a double band of green that runs round the base of the semi-dome. A geometrical border bounds the semi-dome, and then comes the following inscription, an extract from Psalm lxv. verses 5, 6 (the lxiv. in the Septuagint version), on the inner face of the arch:
[Greek: (DEUT EI)SOMETHA EN TOIS AGATHOIS TOU OIKOU SOU, HAGIOS O NAOS SOU THAUMASTOS EN DIKAIOSYNe EPAKOUSON HeMoN O TH[EO]S O S[oT]eR HeMoN He ELPIS PANToN ToN PERAToN TeS GeS KAI ToN EN THALa.s.se MAK(RA)[N]].
(Come we will go?) in the good things of thy house. Holy is thy temple. Thou art wonderful in righteousness. Hear us, O G.o.d our Saviour; the hope of all the ends of the earth and of them who are afar off upon the sea.
The letters enclosed within curved brackets and the accents[141] above them are paint only; the letters within square brackets are not in the inscription, but are supplied where evident contractions render that course necessary. The remaining letters are in unrestored mosaic.
Probably [Greek:(Deut ei) sometha] is a mistake of the restorer for the word [Greek: plesthesometha] in the original text. "We shall be filled with the goodness (or the good things) of thy house."
Three other geometrical patterns in mosaic succeed, after which follows a broad wreath of foliage on the outer face of the bema arch and the words:
[Greek:(HO O)IKODOMoN EIS T(ON OIKON SOU KAI) ANABASIN AUTOU, KAI TeN EPANGELIAN (TOU HAGIOU PNEUMATOS EU HeMAS eLPEISAMEN EIS TO O)NOMA A(UTOU)].
The mosaic above the crown of the semi-dome has been injured and restored imperfectly in plaster, paint, and gilt. Hence the large black patch in it which includes the upper arm of the cross.
The letters enclosed within curved brackets are in paint and are manifestly the work of a restorer who has spoiled the grammatical construction of the words and obscured the meaning of the inscription.
The remaining letters are in unrestored mosaic.
I venture to suggest that the original text was a quotation from Amos ix. 6, with possibly some variations:
[Greek: ho oikodomon eis ton ouranon anabasin autou kai ten epangelian autou epi tes ges themelion].
"He who builds his ascent up to the heaven and his command on the foundations of the earth."
The words, [Greek: elpeisamen eis to onoma autou], "we have hoped in his name," may be original (Psalm x.x.xii. 21; Isaiah xxvi. 8).
With these inscriptions may be compared the beautiful collect used at the consecration of a church:
[Greek: Akolouthia eis enkainia naou.
Nai Despota Kyrie ho Theos ho Soter hemon, he elpis panton ton peraton tes ges, epakouson hemon ton hamartolon deomenon sou kai katapempson to panagion sou Pneuma to proskyneton kai pantodynamenon kai hagiason ton oikon touton].
"Yea, Lord G.o.d Almighty our Saviour, the hope of all the ends of the earth, hear us sinners when we call upon thee, and send thy Holy Spirit, the worshipful and all powerful, and sanctify this house."
Below the windows of the apse are ranges of seats for the clergy, forming a sloping gallery, and consisting of eleven risers and eleven treads, so that, according to the method of seating adopted, there are five or six or eleven rows of seats. There is no vestige of a special episcopal seat in the centre, but the stonework has been disturbed; for some of the seats are built with portions of the moulded base of the marble revetment of the building. Underneath the seats runs a narrow semicircular pa.s.sage originally well lighted through openings[142] in the riser of one range of seats, and having a doorway at each end.
[Ill.u.s.tration: PLATE XX.
(1) S. IRENE. MOSAIC ON SOFFIT OF AN ARCH BETWEEN THE NARTHEX AND THE ATRIUM.
(2) S. IRENE. PORTION OF THE MOSAIC INSCRIPTION ON THE OUTER ARCH OF THE APSE.
_To face page 96._]
On either side of the nave, towards the eastern end of each aisle, there is an approximately square compartment covered with a domical vault, and having an opening communicating with the nave immediately to the west of the bema. To the east of these compartments stands what was the original eastern wall of the church, and in it, in the north aisle, a large doorway retaining its architrave and cornice, is still found.
Of the corresponding doorway in the south aisle only the threshold is left. These doorways must have communicated with the outer world to the east of the church, like the doorways which occupy a similar position in the Studion (p. 53). The northern compartment had an opening, which is still surmounted by architrave and cornice, also in its north wall.
There are, moreover, four other openings or recesses in the northern wall of the church, and two in the southern.
The main portions of the aisles are divided from the nave by light screens of columns, the eastern and western portions being connected by pa.s.sages driven through the dome piers. In the eastern nave bay there are four columns, giving five aisle bays on each side. The columns are very slender, without any base moulding, and stand upon square pedestals, now framed round with Turkish woodwork. On opening one of these frames the pedestal was found to be a mutilated and imperfectly squared block of stone. Such blocks may have served as the core of a marble lining, or may be damaged material re-used.
The capitals are of the "Pseudo-Ionic" type, with roughly cut Ionic volutes. The sinking on their lower bed is too large for the necks of the columns. Towards the aisles they bear the monograms of Justinian and Theodora, identical with the monograms of these sovereigns in S. Sophia, while on the side towards the nave they have a cross in low relief.
Usually monograms are placed in the more conspicuous position.
Above the capitals the vaulting that covers the aisles and supports the galleries is of an uncommon type. Towards the nave the arches are narrow and raised upon very high stilts; from each capital a semicircular arch is thrown across to the outer wall, where is a range of windows, each of which has an extrados at a slightly higher level than the extrados of the corresponding nave arch; and thus a long narrow s.p.a.ce is left between the four arches of each vault compartment that could be filled, wholly or in part, without the use of centering. The result is a narrow, irregularly curved vault, shaped to the backs of each of its surrounding arches, and having, in the main, the character of a spherical fragment.
The western portion of each aisle is divided from the nave by an irregular arcade supported by a pier and one column, and, consequently, there are three aisle bays to the western nave bay, and not four as shown by Salzenburg.
The whole interior surfaces of the walls, up to the level of the springing of the gallery vaulting, and the nave walls, up to the gallery level, were once faced with marble. This is proved by the presence in the walls of many marble plugs and some iron holdfasts, as well as by remains of the moulded base of the facing.
At the eastern extremity of the aisles there are chambers formed by walls built, as the vertical straight joints and difference of materials employed indicate, at various periods. The chamber at the end of the northern aisle has an archway, now built up, in its eastern wall, and seems to have served as a vestibule. It is in these chambers that Salzenberg supposes the staircases leading to the galleries stood, but it is evident from the character of the walls and vaulting that no such staircases could ever have existed there.
The galleries extend over the narthex and over the whole length of the aisles. Access to them is now obtained by a wooden staircase and landing of Turkish construction, but how they were reached in Byzantine times is not evident. Possibly the fragments of wall on the exterior face of the south wall of the narthex and the traces of vaulting beside them may be the remains of a staircase. Or a staircase may have stood to the west of the narthex over the vaulting of the atrium, where projecting spurs of walls appear.
The vaulting of the gallery over the narthex was originally similar to that of the narthex itself, but only the cross-groined vaults at the corners are Byzantine; the three central compartments are Turkish. Five windows in the western wall looked into the atrium, and as many openings in the eastern wall into the nave and side galleries. Below the former range is a string-course corresponding to that which runs round the interior of the building at gallery level.
The gallery over each aisle consists of two open portions under the dome arches, divided from each other by the dome piers, which are pierced to connect the different parts of the gallery with each other, and with the gallery over the narthex. In the side walls there is a range of windows at gallery level; five on each side of the eastern nave bay, three in the south wall of the western nave bay, but none, at present, in its northern wall. Above these windows are two ranges of windows in each lunette under the dome arches, a system of five and three in the eastern bay, and of four and two in the western bay. All these windows, now square-headed, had originally semicircular heads. The lunette filling the western dome arch had doubtless a similar window arrangement, though at present it has only one window.
[Ill.u.s.tration: PLATE XXI.
(1) S. IRENE. INTERIOR, LOOKING NORTH-WEST.
(2) S. IRENE. DOOR AT THE EAST END OF THE NORTH AISLE.
_To face page 98._]
The eastern ends of the side galleries have been formed into separate chambers since the Turkish occupation. Of the additions beyond the original east wall of the church, that to the north was connected with the gallery by a tall wide arch, while that to the south was divided off from the gallery with only a small door as a means of communication. The southern addition was divided into two chambers as on the ground floor.
The walls above gallery level and the large vaulting surfaces of the building are now covered with plaster, but a close examination proves that if any mosaic or marble revetment ever existed above gallery level, none of it, excepting the mosaic in the apse, remains.
Looking next at the exterior of the building, it is to be observed that the ground on the north, south, and east has been raised as much as fifteen feet. In many places the walls have undergone Turkish repair.
The apse shows three sides. The drum of the dome is pierced by twenty semicircular-headed windows (of which only five are now open), and as their arches and the dome spring at about the same level the heads of the windows impinge upon the dome"s surface. Two low shoulders cover the eastern pendentives. The plan of the drum is peculiar. From the shoulders, just mentioned, to the windows, it is a square with rounded corners, one side of the square being joined with and buried in the drum of the western dome vault; but upon reaching the base of the windows it becomes an accurate circle in plan, and at the springing of the window arches is set back, leaving a portion of the piers to appear as b.u.t.tresses. The upper portion of the drum is carried well up above the springing of the dome, leaving a large ma.s.s of material properly disposed so as to take the thrusts produced.
The careful examination of the building by Mr. George has proved that the fabric is not the work of one age, but consists of parts constructed at different periods. For the full evidence on the subject we must await the forthcoming monograph on the church. Here, only the main results of Mr. George"s survey can be presented.
Up to the level of the springing of the aisle vaults, the walls of the main body of the building, excepting the narthex and the additions at the east end of the church, are built of large well-squared stones laid in regular courses, and are h.o.m.ogeneous throughout.
Above that level the walls are built in alternate bands of brick and stone, five courses of brick to five courses of stone being the normal arrangement. The stones in this portion of the walls are smaller and much more roughly squared than those below the springing of the aisle vaults. This brick and stone walling is, so far as could be ascertained, h.o.m.ogeneous right up to the domical vault and the dome. As usual the arches and vaults are in brick. A point to be noted is that the recesses or openings in the lower part of the north and south walls of the church do not centre with the windows and vaulting above them; sometimes, indeed, the head of an opening comes immediately below a vaulting arch or rib. Again, at the north-eastern external angle of the apse the wall up to the level of the springing of the aisle vaulting is in stone, but above that level in brick, and the two portions differ in the angle which they subtend. Evidently there has been rebuilding from a level coinciding with the springing of the aisle vaulting. Projecting above the ground at the same place is a square ma.s.s of stonework that was left unbuilt upon when that rebuilding took place. The narthex is built of brick, with bands of large stone at wide intervals, and is separated by distinct joints from the upper and lower walls of the body of the church. Furthermore, while the two eastern bays on each side of the western portion of the nave continue and belong to the unusual system of vaulting followed in the aisles, the bay on each side immediately adjoining the narthex belongs to the vaulting system found in the narthex, and has, towards the nave, an arch precisely similar to the arches between the nave and the narthex. The division between the two systems is well marked, both in the nave and in the aisles, and points clearly to the fact that the narthex and the body of the church are of different dates.
[Ill.u.s.tration: PLATE XXII.
(1) S. IRENE. VAULTING OVER THE SOUTH AISLE.
(2) S. IRENE. A COMPARTMENT OF SOUTH AISLE VAULTING (2) (LOOKING DIRECTLY UPWARD).
_To face page 100._]
Thus the architectural survey of the building shows that the princ.i.p.al parts of the fabric represent work done upon it on three great occasions, a conclusion in striking accord with the information already derived from history. For we have seen (p. 89) that after the destruction of the original Constantinian church by fire in the Nika Riot, Justinian the Great erected a new sanctuary upon the old foundations; that later in his reign another fire occurred which necessitated the reconstruction of the narthex of that sanctuary; and that some two centuries later, towards the close of the reign of Leo the Isaurian, the church was shaken by one of the most violent earthquakes known in Constantinople, and subsequently restored probably by that emperor or by his son and successor Constantine Cop.r.o.nymus. Accordingly, leaving minor changes out of account, it is safe to suggest that the walls of the body of the church, up to the springing of the aisle vaults, belong to the new church built by Justinian after the Nika Riot in 532; while the narthex, the aisle vaults immediately adjoining it, and the upper portion of the western end of the south wall, represent the repairs made probably by the same emperor after the injuries to the fabric caused by the fire of 564. The earthquake of 740 must therefore have shaken down or rendered unstable all the upper part of the building, but left standing the narthex, the gallery above it, and the lower part of the walls of the church. Consequently, the upper part of the building, the apse, the dome-arches, the dome-vault, and the dome with its drum, belong to the reconstruction of the church after that earthquake.
The b.u.t.tresses to the apse where it joins the main eastern wall are later additions, and still later, but before Turkish times, are the short walls at the north and south-eastern corners forming the small eastern chambers.
Of the building erected by Constantine the Great the only possible vestige is the square projection at the north-eastern angle of the apse, but that is an opinion upon which much stress should not be laid.
In harmony with these conclusions is the evidence afforded by the mosaics found in the church. Those of the narthex are of the same character as the mosaics in S. Sophia, Constantinople, and may well have been executed under Justinian. On the other hand, the mosaics in the apse are characteristic of the iconoclastic period, the chief decoration there being a simple cross. For, as Finlay[143] has remarked, Leo the Isaurian "placed the cross on the reverse of many of his gold, silver, and copper coins, and over the gates of his palace, as a symbol for universal adoration." A similar iconoclastic decoration and a portion of the same verses from Psalm lxv. formed the original decoration of the apse in S. Sophia, Salonica.