<\/p>\n
GEOGRAPHICAL<\/p>\n
\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Byzantium, renamed Constantinople after Constantine the Great, its imperial founder
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Also called New Rome, was the capital of the Roman empire in 330
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0It stood at the junction o Bosporus and the Sea of Marmora, where Europe and Asia are divided by only a narrow strip o water
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0It was also at the intersection of two great highways of commerce
\no\u00a0\u00a0\u00a0The water highway between the Black Sea and the Mediterranean
\no\u00a0\u00a0\u00a0The trade route between Asia and Europe
\nGEOLOGICAL
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Constantinople had no good building stone and local materials such as clay or bricks and rubble or concrete were imported
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Other materials more monumental in character had therefore been imported
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Marble was brought from the quarries in the islands and along the shores of Constantinople
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Byzantine architecture was further considerably influenced by a multitude of monolithic columns of such sizes as were obtainable from the different quarries
\nCLIMATIC
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Flat roofs for summer resort were combined with dome
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Small windows often high up in otherwise unbroken walls formed chief feature of this style
\nRELIGIOUS
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Christianity for a time was the chief religion of Constantinople
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0New churches for this new religion came under the influence of their environment and so the Early Christian type of church was merged in the domical Byzantine type which had originated further in the east
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Disputes and differences soon sprung up in the church and became so rife that\u00a0\u00a0the Council of Nicea was only the first of the series called to suppress heresies
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The political division between East and West was followed by\u00a0\u00a0a division of Churches due to the \u201cFilioque\u201d controversy which rose in AD 589 and eventually culminated in the \u201cGreat Schism\u201d in AD 1014
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The Western Church held that the Spirit proceeded from the Father and Son, while the Eastern Church maintained that the Spirit proceeded from the Father only
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The Eastern and Western churches had been further divided by the \u201cIconoclastic Movement\u201d which resulted from the decree of the Eastern Emperor Leo III who, fearing that paganism would be fostered by the use of sculpture, proscribed all representations of human or animal forms
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Many Greek artists thereupon left Constantinople or Italy
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Movement resulted in the admission of painted figures in the decoration of the churches, but all sculptured statues were still excluded
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Byzantine architecture devoid of statues, has always been and still remains the official style of the Greek or Orthodox Church of Eastern Europe which has conserved unchanged its doctrines and ritual, and therefore the architecture also became stereotype
\nARCHITECTURAL CHARACTER
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Byzantine architecture is characterized by the novel development of the dome to cover either polygonal or square plans for churches, tombs and monasteries
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The domed, \u201ccentralized \u201c plan belongs to the Byzantine in contrast\u00a0\u00a0to the basilican type of plan of the Early Christians
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The system of construction in \u201c hand laid concrete\u201d introduced by the Romans was adopted by the Byzantines
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The Byzantines took great pains in the manufacture of bricks which were employed alike military, ecclesiastical and domestic architecture
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The ordinary bricks were like the Romans, about 38 mm ( 1 \u00bd\u201d ) in depth, and were laid on thick bed of mortar
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Composed 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
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Were 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
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Rough brick exteriors were used on decorative arches and stone blocks\u00a0\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The dome which had been the traditional feature in the east became the prevailing motif of Byzantine Architecture
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The fusion of the domical construction with the classical columnar style
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Domes 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
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Usually constructed of bricks or of some light porous stones such as pumice or even of pottery
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Windows were formed in the lower portion of the dome, a feature which was further developed in the Western Renaissance
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The grouping of small domes or semi domes round large central dome was one of the characteristic feature o f Byzantine Architecture
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Vaults and domes were visible externally, undisguised by any timber roof, thus in the Byzantine architecture the exterior closely resembles\/corresponds with the exterior
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The Byzantine capital ( dosseret block ) was shaped to form a simple transition from the square abacus to the circular shaft
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Monolithic shafts which were lengthy had to be supported by bronze annulets to protect from splitting and prevent lead \u201cseating\u201d\u00a0\u00a0from being forced out by the superincumbent weight
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The interiors were beautified by pavements in \u201copus sectile\u201d and\u201d opus alexandrinum \u201c
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Domes and apses are decorated by colored mosaics which were rendered opaque by \u201coxide of tin \u201c
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Mouldings are replaced by \u201cdecorative bands\u201d form in the mosaics
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0In the late examples fresco paintings were often used instead of mosaic. Pictures were arranged in a special order
\na. The Bust of Christ \u2013 occupied the domeb. Four Evangelist \u2013 set in the pendentivesc. Virgin and the Child \u2013 located in the apsed. Saints and incident in the life of Jesus \u2013 all around walls\u00a0\u00a0\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The character of Byzantine Architecture shows development in its three main periods
\n1. 330-850 \u2013 including the reign of Justinian2. 850-1200 \u2013 including the Macedonian and Comnenian Dynasty3. 1200 to present
\nEXAMPLES<\/p>\n
CHURCHES
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Byzantine churches are distinguished by the \u201ccentralized\u201d type of plan, having a dome over the nave which is sometimes supported by semi domes
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0There is usually the narthex or entrance porch at the west and the east end is cut off from the nave by an \u201ciconostas\u201d or screen of pictures
\n1. S. SOPHIA, CONSTANTINOPLE\u00a0\u00a0\u00a0\u00a0( HAGIA SOPHIA \u2013 DIVINE WISDOM )
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Was built for Justinian by Architects Anthemius of Tralles and Isodorus of Miletus
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The most important church in Constantinople
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0East 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The great hemi cycles are flanked by \u201cexedrae\u201d with semi domes and at the extreme east is the apse
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0North and south of the nave are two storeyed aisles over 15.20 m wide, the upper storey being the \u201cgynaeceum\u201d or women\u2019s gallery
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The main building is approximately square which, excluding the eastern apse and narthex measures 76.20m x 67.00 m
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The two principal semi domes, east and west, abut the great supporting arches and thus act as buttress to central dome
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Gigantic 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The dome is constructed of bricks about 686mm (27 in ) square in the lower part and 610 mm ( 24 in ) square at the crown
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Walls 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\u00a0\u00a0\u00a0\u00a0\u00a0\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0It is the supreme monument of Byzantine architecture and provided the model for many great mosque which were built after the Turkish capture
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The building is now a museum
\n2. S. VITALE, RAVENNA
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Was commissioned during the Episcopate of\u00a0\u00a0Ecclesius at the time when Ravenna was under Ostro-Gothic domination
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Was founded by Justinian to commemorate his recovery of Ravenna and was designed on the model of the \u201c Minerva Medica\u201d of Rome
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0An inner octagon of 16.60 m is enclosed by outer octagon o 35.00 m
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0It resembles \u201cAix La Chapelle\u201d in appearance which probably derive from it
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Similar in plan with SS. Bachus and Sergius in plan, but consist of an octagon enclosed in a square
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\n3. S. MARK, VENICE
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Reflects the art of Byzantium which was so largely influenced the architecture of Venice, situated midway between East and West
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The glittering, resplendent west fa\u00e7ade of the narthex faces the great Piazza of San Marco which like the Forum of the ancient Rome was the center of city life
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0This 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Between 1063 and 1085 the plan was completely transformed to resemble that of the Church o the Apostles, Constantinople
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Transepts were added
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The sanctuary was extended
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The narthex was continued round the aisles
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The interior altered from the basilican to the Byzantine plan of the Greek cross surmounted by domes
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The plan has central dome, 12.80 m (42.00 ft ) in diameter over each arm of the cross
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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:
\na)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Story of creation
\nb)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The fall of Man
\nc)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The Redemption
\nd)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The miracles of Christ
\ne)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The legends of the saints
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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:
\na)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Bronze horses from the triumphal arch of Nero
\nb)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Columns of porphyry, alabaster and verde antico from Constantinople and Alexandria
\nc)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Coloured marble facing from\u00a0\u00a0Eastern cities\u00a0\u00a0\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0In the thirteenth century a crown of gold was given to the building by the unique timber domes and finally in the fifteenth century, the fa\u00e7ade was further embellished by Gothic canopied niches, ogee arches and crocketed pinnacles
\n4. THE CHURCH OF THE APOSTLE, CONSTANTINOPLE
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Founded by Constantine the Great
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Was rebuilt by Justinian and destroyed in 1463 to make way or the mosque of Sultan Mohammed II
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Has five domes that are said to be prototype of S. Mark, Venice and S. Front, Perigeux
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a05. THE LITTLE METROPOLE CATHEDRAL, ATHENS
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The smallest cathedral in the world
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0It measures only 11.60 m x 7.60 m ( 38 ft x 25 ft )
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The dome is supported on a high octagonal drum is only 2.70 m ( 9 ft ) in diameter
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Its fa\u00e7ade is largely made up of miscellaneous marbles from old Greek buildings
\n6. S. FRONT, PERIGEUX\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Almost identical in plan of S. Mark, Venice
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0An interesting product of Byzantine influence carried west along trade routes by Venetian merchants
\n7. S. THEODORE, CONSTANTINOPLE
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Now known as the Kilisse mosque is a perfect specimen of a typical small Byzantine church
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Has double narthex crowned with domes leading into the nave 9.00 m square
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Has central dome formed with flutings and set on a drum 4.00 m in diameter
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The plan is what commonly known as \u201ccross in square\u201d and is the characteristic of the later development of the style
\nTERMINOLOGIES
\n1. Pendentive \u2013 the term applied to the triangular curved overhanging surface by means of which a circular dome is supported over a square or polygonal compartment2. Drum \u2013 the upright part below the dome or cupola, in which window might be placed to light the central area of the building3. Transept \u2013 the part of the cruciform church, projecting at right angles to the main building4. Iconastasis \u2013 a decorative screen inside the Byzantine church5. Opus alexandrinum \u2013 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 ground6. Opus sectile \u2013 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
\nTYPES OF BYZANTINE DOMES
\n1. Simple dome \u2013 dome and pendentive are on the same sphere2. Compound dome \u2013 (has two varieties )\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a02.1 Dome is not part of the same sphere as pendentives but rises independently above them\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a02.2 Dome is raised on a high ground pierced by windows3. Melon shaped dome \u2013 is characterized by the use of flutting treatment on its outer surface\u00a0\u00a0\u00a0COMPARATIVE ANALYSIS
\nA. Plans\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The domical method of construction governs the plan of Byzantine churches , which are all distinguished by central space covered with a dome on pendentives
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Short arms on each side form a Greek cross, and filling in of the angles brings the plan nearly to a square
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The opposite the entrance was the apse or the altar in the sanctuary, which was screened off by the characteristic \u201cIconostasis\u201d with its three doors , and there was also lateral ritual chapels
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The essential difference in plan between a Byzantine and Early Christian churches may be summed up as follows
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Byzantine churches , unlike Early Christian churches with their campanili had no bell towers
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\n–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Early 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
\nB. Walls
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Walls 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0External walls were comparatively plain and depended largely for effect on the brilliant oriental sunshine which clothed them with garment of glowing colors
\nC. Openings
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Arcades of semi circular arches were employed in churches to support galleries
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Doors are usually spanned by semicircular arches, but flat, segmental and horse shoe arches were also used
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Windows similarly spanned, are small and grouped together while sometimes they are arranged in tiers within the semicircular arch beneath the dome.
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Windows are small, as to make the interior restful and cool , in contrast to the external glare of the Eastern sun
\nD. Roofs
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The method of roofing was by domes of brick, stone or concrete , often with no further covering
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The 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
\nE. Columns
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Columns were used constructively but were always subordinate features and generally introduced to support galleries as massive piers and walls supported the superstructure
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0In the first instance, columns were taken from ancient buildings, but these were not so numerous in the East and therefore\u00a0\u00a0the supply was sooner exhausted and that provided opportunity to design monolithic shafts
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0For capitals, the Roman Ionic, Corinthian and Composite types were sometimes used
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The \u201cdosseret block\u201d 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
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Bird and basket capital was also a popular type
\nF. Mouldings
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Mouldings were little used because the marble and mosaic wall lining ran continuously over the surface wall and arches
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Internally, decorative panels o marble and mosaic were sometimes framed in billet mouldings
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Flat stone bandings lush with the wall surface were used instead of string courses and cornices
\nG. Ornament
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Scheme of ornamentation was elaborate
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Internal walls were lined with costly marbles with veining carefully arranged to form patterns
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Vaults and upper walls were sheathed with glass mosaic pictures o symbolic figures, group of saints, the peacock as the emblem o immortal life, endless knot as the emblem of eternity, and the sacred monogram of Christ \u2013 all forming a striking contrast to the less permanent fresco paintings of Romanesque churches
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Byzantine pavements of many coloured marbles and mosaics were carried out in great variety such as opus sectile and opus alexandrinum
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0The great characteristic of Byzantine ornament as compared with classical is that the pattern is incised instead of raised and was cut into the surface without breaking the general outline
\n\u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Figure sculpture was not allowed by the Greek church, as it was held to savour of idolatry, and so this was an additional reason for the Byzantine type of decoration which expressed itself in flat coloured pictures and not in raised sculptured figures.<\/p>\n","protected":false},"excerpt":{"rendered":"
BYZANTINE ARCHITECTURE (330 \u2013 1453 & LATER) GEOGRAPHICAL \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Byzantium, renamed Constantinople after Constantine the Great, its imperial founder \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Also called New Rome, was the capital of the Roman empire in 330 \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0It stood at the junction o Bosporus and the Sea of Marmora, where Europe and Asia are divided by only a narrow strip …<\/p>\n