From the Holy Mountain: A Journey in the Shadow of Byzantium. William Dalrymple
see even the gossiping tour groups falling silent as they enter the dome chamber; if anyone talks they do so in a hushed whisper. The sacred breaks in on the mundane; and one immediately understands what a Byzantine monk must have felt when he touched a relic or gazed at a sacred icon: for a moment the gates of perception open and one catches a momentary glimpse of the Divine. Here, as nowhere else, one is transported back to the mental world of the Byzantium of John Moschos.
Yet the miraculous preservation of this one building – judged by the Byzantines themselves as their most perfect creation – can easily blind one to the amount that has been lost. Geography apart, John Moschos would not recognise much in this city if he came back today. Of the five hundred churches and monasteries which once decorated the land rising up from the Golden Horn, the remains of less than thirty survive, most of them rebuilt and converted into mosques.
This morning I visited the site of St Polyeuctes, once the greatest church in the whole Christian Empire; Justinian was said to have built Haghia Sophia in an attempt to match it. It would have been a familiar monument to John Moschos; indeed it was probably in a monastery attached to some great church like this that he lodged when he came to the city to finish The Spiritual Meadow.
The church fell into disrepair, and after the Turkish conquest of 1453 it collapsed and was forgotten. In 1960 it was accidentally rediscovered. Briefly it became famous again, and art historians and archaeologists triumphantly announced that many of the innovations of Justinian’s reign were pre-empted by the work at St Polyeuctes.
Thirty years later the various archaeological reports are gathering dust, and St Polyeuctes seems to be returning to the earth. The ruins are an open latrine, and stink too badly to be examined at any length; only the most desperate Turkish tramps linger in its portals. Meanwhile the famous capitals – supposedly the first of the characteristic Byzantine basketwork impost-capitals that were to reach their fullest glory in Ravenna – are scattered around a nearby playground, where they provide seats for courting Turks. This means that anyone who wishes to study this crucial phase of early Byzantine sculpture is forced to spend an afternoon peering like a pervert beneath the legs of entwined couples.
Secular Byzantine architecture has fared even worse. The great Theodosian land walls, in their day the most sophisticated defensive military architecture the world had ever seen, are still there; there is also the great fourth-century aqueduct of Valens and a pair of superb arcaded cisterns dating from the time of Justinian. Yet not one single house from Byzantine Constantinople still stands. Even the two largest Imperial palace complexes, the Great Palace and the Palace of Blachernae, have disappeared but for a few arches, a line of windows, some buried foundations and a few splendid floor mosaics.
I spent much of the afternoon in the Mosaic Museum, admiring what has survived. All the work there dates from the late sixth century – just after the reign of Justinian – and is from the Great Palace, which once occupied the slope behind the Blue Mosque. These then are the very floors that the Emperor Heraclius must have paced as he heard of the Persian capture of Jerusalem or the fall of Alexandria.
The initial impression is of the unexpectedly persistent Hellenism. The style of most of the mosaics is pastoral and bucolic, and their warm naturalism seems at first to have more in common with the delicate frescoes of Pompeii than with the stiff, hieratic inhabitants of later Byzantine icons or the unsmiling Pantocrators which overwhelm the domes of so many medieval Byzantine churches. It is only after you have been in the museum for some time and look a little closer at the pastoral idylls that you begin to worry about the mental state of the mosaic-makers, or perhaps that of their patrons.
At first sight a horse appears to be giving suck to a lion: the perfect symbol of peace, like the Biblical wolf lying down with the lamb. Only when you look closely do you see that what is actually happening is that the lion is ripping the stomach out of the horse and biting off its testicles. Another lion rears up and attacks an elephant, but misjudges his leap and impales himself on a tusk. A wolf tears off the neck of a deer. Two gladiators in leather hauberks and plus-fours await the charge of a pink tiger (the tiger is already badly wounded in the neck, and blood is pouring out of its mouth). Elsewhere a winged gryphon swoops down and rips the back of an antelope; another gobbles up a lizard.
One can only speculate what induced the head mosaicist to make his creations so psychopathically violent: after all, with assassinations and palace coups as frequent as they were, it can hardly have been very calming for the Emperor to have to walk over these scenes of gruesome blood-letting day after day. On the other hand they are certainly a blessed antidote to the gloomy piety of most Byzantine literature: those endless saints’ Lives with their heroic ascetics resisting the lascivious enticements of demonic temptresses. Indeed, after enduring one of the Patriarch’s two hour sermons on chastity, the Emperor may actually have been relieved to return to these lively scenes of carnage and mayhem.
On the way back I passed through the Gulhane Gardens surrounding the Topkapi Palace. As I passed I was surprised to see that the basilica of Haghia Eirene appeared to be open. This was unexpected because, for some reason best known to the Turkish authorities, this magnificent building, one of the very greatest Byzantine churches surviving in the city, is normally kept resolutely locked. This time, however, the door was open and a couple of sophisticated-looking Turkish women were sitting chatting in the porch.
I thought I would take the opportunity to have a look at the church, but as I wandered past the women one of them called out: ‘I’m sorry, you can’t go in there. It’s closed.’
‘It looks open.’
‘I’m afraid you need a special pass to go in. For security reasons.’
‘What do you mean?’
‘There are VIPs inside.’
‘Politicians?’
‘No. Models.’
‘Models?’
‘Today they are having a beauty contest.’
‘In a church?’
‘Why not? All Turkey’s top models are there. They are currently changing into Rifat Ozbek bikinis.’
Haghia Eirene is the worst possible place to have a beauty contest: it is dark, gloomy and badly lit. But the Greeks desperately want this church back, and the Turks will go to any length, however absurd, to annoy their hereditary enemies. No doubt, however, the Greeks play similar games with the abandoned mosques of Salonica. They would probably do the same to those in Athens, too, had they not bulldozed the lot in the 1920s, in a sadly characteristic outbreak of virulent nationalism.
ISTANBUL, 28 JULY
By ferry to the island known to the Turks as Buyuk Ada, and to the Greeks as Prinkipo. Hazy, all-enveloping heat. Boys bathing by the Bosphorus. The scent of sea-salt, hot wood, rotting fish. We pull away from the Golden Horn, pass around the wooded ridge of the Topkapi Saray, and head out across the narrow stretch of water that separates Europe from Asia.
The other passengers: beside me, a sad-eyed conscript, perhaps eighteen years old, in ill-fitting fatigues. Small moustache. Cropped hair. Gazes vacantly over the sea. Perhaps he is on his way to do his military service on the Kurdish front.
Opposite, a girl in a lilac headscarf and long Islamic raincoat. She is earnestly studying an English-language pharmacology textbook: ‘Chapter Two – Drug Permeation’.
On the bench at the back, an old labourer with toothbrush moustache and no teeth. Unbuttoned flies. Cigarette hangs from the side of his mouth.
Shady-looking character in tight T-shirt. Stubble chin. He clacks worry beads from the palm to the back of his hand, and darts furtive looks around him. Fare dodger?
Shaven-headed sailor in war-movie sailor’s suit. Thickset and swarthy. His cap is on his knee. Drags deeply on a cigarette, then loses interest and throws it overboard.
Moving from bench to bench: a blind violinist, led by his son who bangs a small wooden hand-drum. Both wear flat caps.