Byzantine Art. Charles Bayet
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Baptistry of Neon, 458.
Marble. Ravenna, Italy.
The Good Shepherd and the Starry Sky, fifth century. Mosaic.
Galla Placidia Mausoleum, Ravenna, Italy.
The Good Shepherd (detail), fifth century. Mosaic.
Galla Placidia Mausoleum, Ravenna, Italy.
The Tetrarchs: Diocletian, Maximian, Constantius Chlorus, and Galerius, fourth century.
Porphyry. South façade of St. Mark’s Basilica, Venice.
One can quietly observe the attempts leading up to the development of the cupola atop pendentives. In Seleucia and Ctesiphon, the cupola can be found used over a square design. The trail of this innovative spirit is found in the monuments that can still be appreciated, such as the church of St. Demetrios in Thessaloniki. The basic layout is of a basilica with an atrium, narthex, and partial double walls, but inside, there are two levels, and the upper encircles the church, reaching even over the narthex. The capitals, the heads of columns, already take on distinctive shapes. They are generally still connected with antique forms, though altered. They are made of two parts, and it is not the main section that receives the most acute pressure from the arches; it weighs on the headboards, which form a sort of upper capital. It is a small jump from this innovation to the superposition of two genuine capitals. Additionally, in two places, one is struck by even more creative forms: classical examples were abandoned completely for bell-shaped capitals, sculpted in the contemporary style, that is to say as a sort of cubic mass around which ornamentation winds its way, which simulates an additional sculpture.
In Constantinople itself, from Constantine to Justinian, the construction of thirty-eight new churches or monasteries has been noted, according to a Byzantine chronicler. Hardly any details are available on their architectonic characteristics; it seems, however, that after a fire, the Hagia Sophia was reconstructed “with cylindrical vaults”. There, as in Asia, the architects, who were called upon incessantly to produce new works, had to compete zealously. It fell to them to discover ingenious and original combinations. While in the West the misfortunes of the empire distracted people from artistic matters, in the East, a generally more positive situation favored their development. Rather than reproduce the same models over and over, with less intelligence and less care, Greek architects were constantly modifying and perfecting them.
From this time on, the mosaic was more and more the preferred decorative style. In St. George of Thessaloniki, the cupola covering the church was decorated entirely in mosaics. Today, only a portion of it remains; there are large compartments where saints are located standing upright, in an orant posture, amid a rich architectural framework. The craftsmanship of these mosaics is extremely beautiful, and, despite the mutilations they have suffered and their faded colours, they give off a very grand effect. The slightest ornamental details bear witness to a fine and delicate taste; arabesques and palmette bands are elegantly designed.
The mosaics of the fifth century, which decorate the churches of Ravenna in Italy, must also be attributed to Byzantine art. Before this city became the residence of the Byzantine governor of Italy under Justinian, it was already artistically linked to the East. The mosaics of the Orthodox Baptistery and the Galla Placidia Mausoleum are distinguished by the rich craftsmanship and the pleasing harmony of the decor.
Great Palace Mosaic, late fifth to early sixth century. Mosaic.
Great Palace Mosaic Museum, Istanbul.
At the Baptistery, the Baptism of Christ is portrayed on a large medallion, forming the center of the cupola. In curious contrast, the Jordan River is present in this scene in the guise of a fluvial god, which is striking evidence of the persistent influence of ancient art. Along the outer edge of the medallion winds a circular band with full length images of the twelve apostles. Although they all give the same general impression, the artist avoided too high a level of monotony by slightly varying positions and giving individual characteristics to each face. Farther down still, a second band is decorated in architectonic patterns. Finally, near to the ground, among the golden arabesques, the faces of eight saints stand out. In the Galla Placidia Mausoleum, the decor remains intact. Above the door, immediately within the entrance, a mosaic representing the Good Shepherd recalls classical works with its free style. Seated amid his flock, the Shepherd caresses a ewe with his right hand, while in his left he holds a cross with a long descending arm; the face, surrounded by blond curls, radiates a calm and uniform beauty.
Throughout the rest of the chapel are other figures in ancient dress. The ornamentation is elegant in design and rich in colour; amid the arabesques, which couple green with gold, two stags drink from a spring. This motif is one found in the illuminations of manuscripts up through the final days of Byzantine art.
During this time a taste for metalwork was already spreading, which would subsequently continue to develop. It was a response to a love of luxury which, as previously seen, is one of the characteristics of Constantinian art. Constantine introduced the diadem and adorned his clothes with pearls and precious stones – the pomposity of his wealth seemed to him to be an exterior symbol of his power; the attitude of the emperor contributed to the penetration of these ideas into the artistic realm. It was considered better to honour religion and to increase the beauty of Christian monuments than to attempt to decorate them with the rarest of materials. To the churches of Rome, Constantine donated five foot tall reproductions, in gold and silver, of the Savior, the apostles, and angels. His generosity was no less in the East. After describing the Church of the Holy Sepulchre, Eusebius adds, “One wouldn’t know how to say how many adornments and gifts of gold, silver, and precious stones with which Constantine enriched it. These works were crafted with art.” In Constantinople, he also mentions golden bas-reliefs. In the palace and in many public squares in the city towered golden crosses, decorated with fine stones.
Nothing of these works done in precious materials remains today. One could guess the style of the figures and ornamentation that adorned them based on a lead font, intended for holy water, whose Greek inscription is indicative of its origin. Diverse characters are displayed: next to the Good Shepherd, a gladiator is depicted at the moment just after seizing the crown laid on a cippus. Next to these subjects are found bands of pampres, palms, and peacocks drinking from a bowl; the four rivers of terrestrial paradise spill from a butte surmounted by a cross, with stags present, drinking. In one corner, a Nereid sits astride a seahorse. This peculiar mélange of paganism and Christianity was very common in the fourth century.
Theodosian Walls, 412–413.
Istanbul.
Plan of the Hagia Sophia, sectional view, 537.
Hagia Sophia, Istanbul.
Hagia Sophia, southern view, 537.
Hagia Sophia, Istanbul.
B. Art under Justinian and His Successors (527–726)
1. Architecture
At the debut of the sixth century, Justinian had already been partially directing affairs during the reign of his uncle Justin (518–527); he was then himself the sole emperor for nearly forty years (527–565). He encouraged artistic development throughout his empire. Justinian was a great builder. His historiographer Procopius dedicated an entire work to the structures, built by order of the emperor.
The most famous of all is the Hagia Sophia in Constantinople, which, it can be said, was the epitome of Byzantine art, for both its decoration and its architecture. No church in the history of Christian art holds more significance: even Notre Dame-de-Paris had its equals in the neighboring provinces. The Hagia Sophia has the double advantage of marking the advent of a new style and of achieving, in one fell swoop,