02 Natalia Teteriatnikov.Vp

Fig. 2. Hagia Sophia, view loolcing east (photo: Courtesy ofDumbarton 0a1cs)

Fig. 1. Hagia Sophia, view looking east (photo: Courtesy ofDumbarton 0a1cs)

10 Fig. 3. Hagia Sophia. apse conch and bema vault (photo: Courtesy ofDumbarton 0a1cs) Fig. 5.Hagia Sophia, apse conch, view from aoutheast (photo, Courtuy ofDumbarUm Oaks)

time,both the head ofthe Virginandof the ChristChildlook frontally at the beholder while their eyes tum north. In his homily, Patriarch Photios explains why the Virgin turns her eyes sideways: Fig. 4. Hagja Sophia, apse conch. Virgin Mary and Christ Child (photo: CourtuyofDumbarton Oaks) A virgin mother, with a virgin's and a mother's gaze, dividingin indivisibleform her temperamentbe­ homily provides a likely terminus antequemfor the creation tween both capacities, yet belittling neither by its in­ ofthepowerfulimages.s The imageoftheVirginandChildis completeness. With such exactitude has the art of accompaniedby an inscription that is partially preserved at painting, which is a reflection of inspiration from. the north and south ends ofthe triumphal arch: "The images above, set up a lifelike imitation. For, as it were, she whichthe impostorshadformerly cast down here, pious em­ fondly turns her eyes on her begotten Child in theaf­ perors have again set Up."6 Since the inscriptionwas crafted fectionofher heart,yet assumesthe expressionof a de­ at the sametime as the figureofthe Virgin in the apse, both tached and imperturbablemood at the passionless and text and imagecouldbe viewedas a political statementabout wondrous nature ofher offspring, and composes her the victory ofthe Iconodulesover the Iconoclasts. gaze accordingly." In Hagia Sophia, the challenge for the mosaicists was Whenthe vieweris standing in the nave near the south­ to create an image of the Virgin that could be observed from. as far away as the western doors but also throughout the eastexedra,he noticesthatbothfigures, theVirginand Christ, turn inhis direction. Themosaicists createdanillusion'that the broad nave. The icon was well observed from. the ambo, wherethe officiatingpriestread the Gospelduringthe liturgy corve ofthe apse transmits her figure from north to sooth. It seems that the designers ofthe image intentionally distorted andwhere the patriarchstoodduring someliturgicalceremo­ nies and for other occasions. Photios, for example, could the composition in orderto create a customized view toward have easily addressed and gestured toward the Virgin when MOIaic ofSt. Sophio, DOP 39 (1985) 111-115. V. also G. Gaiavaris, The he deliveredhis famoushomily from the church's ambo. Rep1'e8e1ltatkma ofthe V'1I'giJI amiChild 011 a '''l1wkOl'' 011 Seals ofthe That the figure of the Virgin is not aligned with the CoNltanthwpolita1l PatrltJrchs, Adodov XAE 412 (196011961) 153-181. centralaxis of the apsepresentsan unusualaspectofthis pro­ cr. idem, Obaervati01J8 011 the Date ofthe Apse Moaaic ofthe Church of Hagia Sophia irl CorJataIJtbIop1e., in: .Aetas de XIP COrlgtia mtenlatitmal gram.. Visually, the center of the apse is marked by a central d'etudea byzantines III, Belgrade 1964, 107-110. Galavaris' opinion was window. which is flanked by two other openings. It would acceptod by V. Laurent, Le Corpus des acema de l'Empire byzantiIJ VII, not have been difficultfor a mosaicistto line up the figure of Paris 1963, Ne 45. Itis difIicu1t to acceptthis hypothesis for two reasons. the Virgin on the same axis as the central window. But the First, Photios is very vague about the exact posture of the Virgin in his homily. second, 1he mosaicists would have difficulty in including a figure she Virgin's is notably off center. Moreover. is not standing imageof the Virgin in the overall designofthe apseconchbeceuee symmetricallyplaced on her throne. While the upper part of the apse conch is so small.Themosaicists cvenmadethe ED1hroncd Virgin the Virgin's body is turned to the north, the lowerpart, espe­ widerin orderto make hermore vistblein the nave. Theuseofthc standing cially her left foot placed on the comer ofthe footstool, is image of the Virgin on seals of Patriarch Photios, as above-mentioned turned to the south. This odd posture is further accentuated scholan have suggested, may imply that there was anotherimage of the Virgin, eithcl' in Hagia Sophia or in the Patriarcha1e. bythe factthat the cushionsare shiftedto thenorth sideofthe 5Mostscholarsaunbute thisprogram to the pa1ri.an::h Photioswho throne, leaving the south end somewhatempty. The unusual heldthe patriardIaloffice :from 858 to 867 and 877 to 886. V., for example, rendering ofthe throne and footstoolreinforce thesoutheast Cormack, IrlteTpreting the MOIaJcs ofSt. Sophlaatlstanbul, 135-138. orientation of the image. Even the lower part ofthe Christ 'Mango, MJJterla&, 82-83, 94-95. Child, especiallyhis legs, is turned to the south. At the same 1 Idem,TheHomilies ofPhotiua,29O. 11 ~ . I (.. .I L.-r-: :: 1I to II II ,I ,I :I ---'-'------......

"'...... -, -, " " "", ",, ~

it

2 3 4 5 o 7 & 9 I I I I I I I I

Fig. 6. Hagia Sophia, apse conch, diagram showing changes ofthe original windows (after Mango, Hawkins, The Apse Mosaics ofSt. Sophia at Istanbul, Pl. B)

the southeast area, the location ofthe emperor's throne and the also the area ofthe gallery where the patriarch was occasion­ place where members ofthe imperial court stood during ser­ ally located during church services.t'' Fromhis vantage point, vices.s In addition, there was an imperial metatorion in the the Virgin and Christ Child appeared to be turning in his di­ southeast bay ofthe south gallery.sThe intentionally distorted rection. Thus, the customized view ofthe image ofthe Virgin orientation and the odd composition of the Virgin in Hagia played an important role during the liturgy when the patri­ Sophia can be explained by the location of the emperor's arch and the emperor were participating and were able to throne in the southeast bay close to the southeast exedra. communicate directly with the holy images. The orientation ofthe Virgin's figure towardthe south­ east section ofthe nave also responded to the position ofthe 8 The metatorion is the place in Hagia Sophia which was reserved patriarch in the south gallery during church services. The for the emperor, used when he was present in the church. On the imperial archbishop Anthony ofNovgorod, who visited Constantino­ metatorion, v. J. B. Papadopoulos,Lemutatorium des eglises byzantines, in: ple ca. 1200, left an important account ofthe location ofthe Memorial Louis Petit: melanges d'histoire et d'archeologie byzantines, Bucharest 1948 (Archives de l'Orient chretien, 1) 366-368; T. F. Mathews, patriarch in the south gallery. 10 Because the liturgy ofHagia The Early Churches in Constantinople: Artchitecture and Liturgy, Uni­ Sophia did not change substantially between the time ofthe versityPark, Pennsylvania 1971,132-133; J. F. Baldovin, The Urban Cha­ mosaic's installation and the composition ofAnthony's ac­ racter ofChristian Worship: Origins, Development and Meaning ofStatio­ count, this source provides important information about nal Liturgy, Rome 1987 (OCA 228) 177-178; G. Majeska, The Emperor in where various constituencies were situated within the His Church: Imperial Ritual in the Church 0/ St. Sophia, in: Byzantine Court Culture from 829 to 1204, ed. H. Maguire, Washington 1997, 1-11. church. According to Anthony, the patriarch blessed the psaltai (the singers) from the gallery ofHagia Sophia at mat­ 9 Ibid. ins (the morning office that preceded the Eucharistic liturgy) 10 Anthony ofNovgorod, Kniga Palomnik. Skasania mest sviatykb vo Tsargrade, ed. Ch. M. Loparev, in: Pravoslavniipalestinskii sbomik51, and at the liturgy during weekdays and the great feasts.u He St. Petersburg 1899, 17. also blessed the congregation. According to church custom, 11 Anthony ofNovgorod, Kniga Palomnik, 17. the whole congregation ofthe church, including the psaltai, 12 N. Teteriatnikov, The Patriarchal Quarters in the South Gallery bowed down in response in the direction ofthe patriarch, i.e., 0/Hagia Sophia: Where was the Patriarch's Throne?, in: Twenty-Second toward the south. The patriarch stood behind the marble bal- Annual Byzantine Studies Coriference. Abstracts 0/ Papers, Chapel Hill 12 ustrade, probably at the center ofthe south gallery. This was 1996,26. In most Byzantinechurches, however, the image ofthe Virgin in the apse appears to be more hierarchical and is ori­ ented toward the central nave as in the case ofthe apse mo­ saic in thecathedral at PO~.13 In the case ofHagia Sophia, the distorted view ofthe Virgin can be explained bythe pri­ mary locations oftheemperor and patriarch inthe church.

The Tympana Like thenew imagery in the apse,the creation ofa deco­ rative program for the north and south tympana requiredthe creation ofmore wall surface and sufficient lighting. Richard Mainstone showed thatstructural alterations were madeto the tympana mostly after the earthquake of 869 (Figs. 1-2, 8),1' The inscription, which originallyformedpart ofthe tympana decoration, alludes to structural interventions: Fossati re­ cordeda fragment ofthe original inscription that formedpart ofthe decoration ofboth tympana. It is known from S. G. Mercati: Most beautifUl epigram on the very big archesofthe Holy Great Church ofGod; fhotis St. Sophia. Fig. 7.HagiaSophia, apseconch. W'mdows afterrestoration 1. 0 eternal Son of eternal Father, unto this Thy (photo: CourtesyofDumbarton Oaks) house - the beautiful eye ofthe universe - time has brought misfortune. Its cure will provide spiri­ the planned program included a register ofChurch Fathers tual salvation. (Figs.lo-U). 2. To Thee who rulest everything by the power of Following the structural changes to the church, images Thy nod, I have offered my zeal to save this house. of major theological and political significance were intro­ This is Thy gift: grant me steadfastness. duced: the VirginMary and Christ Child in the apse, Church In the northpart ofthe church, under the dome, are Fathers and Prophets in the north and southtympana. Theim­ writtenthesehexameters. age ofthe Mother of God holding the Christ Child empha­ 3. Time has threatened to destroy this inimitable sized the incarnation ofChrist, as fulfillment ofthe Old Tes­ work; it has been hindered by our solicitude. Do tament. The representation ofthe Prophets appeared as a vi­ Thou open [unto me] Thy house, 0 most-high sual testimony of the Old Testament. The presence of the Lord, which time toucheth not. ChurchFathersalso hadpolitical overtonesbecauseofthein­ clusion ofthe recent Constantinopolitan patriarchs, Metho­ Otherversesbelowthose. dios and Ignatice, who had been exiled during Iconoclasm. 4. Thou sittest as on a throne on the vault [wrought] Thus the choice ofimages in the program ofthe nave was an by Thy hands; yet this is Thy house. It had been immediate reaction to the destruction ofimages, especially suffering from age, so I proferred to it a mighty those oftheVirginMary and saints, as well as to thepersecu­ hand. Do Thou repay me.rs tion oficonodule clerics. Mainstone suggested that the tympana alterations were Scholars have suggested that the tympaoa program probably made for the structural consolidation of the tym­ was created a decade later thanthe apse mosaic, i.e., in the pana and the gallery arches and vaults. The reconstruction last years ofthe reign ofBasil I (867-886) or the early years probably resulted in the narrowing ofthe tympana windows, ofthe reign ofLeo VI (886-912) (Figs. 1-2, 10-12),11 The providingenoughwall spacebetweenthewindows to display shapeofthesemicirculartympanawithtwo rows ofwindows images and reducing the amount of light that entered the and a row ofblind niches dictated the layout ofthe mosaic building through the lateral walls. Mainstooe suggested the program. Unfortunately, only a few figures aod some frag­ central window onthe upperregister was a triple window di­ ments ofthe mosaics in the first and second registers have vided by two mullions as reconstructed by Salzenberg, and survived. These were cleaned by the conservators from the similar to the one that was constructed at the time ofJustin­ Byzantine Institute in the 1930s aod 1940s. The eotire pr0­ ian.. But the model ofHagia Sophia in the hands ofthe em­ gram was reconstructed by Cyril Mango on the basis ofthe peror Justinian in the tenth-century mosaic panel in the south vestibule shows theview ofthesouth tympanum with three 13 The ciglrth-e:entury image ofthc Virgin andChrist Child in the apse ofHagiaSophiaat Thessalonike is a. good example. Corma.ek, The separate elongated windows (Fig. 9).16 The model also has ApseMosaics ofS. Sophia at Thessaloflild.in: idem. The /JyzluI/i'le Eye. V. two white lines betweenthe windows, whichprobablydepict 111-135, pla. 19-22. Another example is an apse mosaic in the Basilica. white marble mullions. These are filled with masonry in be­ Eufrasianaat Pam!. V. C. Ibm,Die Programme der christlichm.4paismtl­ tween the windows. Although the model is conventional, it Jerej 4.-8. JahrllJmdert. Stuttgart 1992, pLXV.fig. 2. 1-4 MainsI:one, Haglll SophitJ, 98-99, figs. 117, 120; Mango­ shows the specific shape ofthe windows ofthe south facade -Ha.wkins, The Mosaics ofSt. SophitJ at Istanbul, 4-6. after reconstruction ofthe tympana. These windows are simi­ I' Mango-Hawkins,op.cit.,39-40. lar to the ones we now see. 16Mango, TheMosaicsofSt. Sophlaatlfltanbul, figs. 2-3. Forcolor The recessed niches at the base ofthe tympana were illustration, v. N. Teteriatnikov, Mosaics ofHagia Sophia, Istanbul: The Fossati Reswralion and the Work ofthe JJyzantine InstiMe, Washington not a part ofthe Justinianic building. Their introduction was 1998, cover andfig. 16. notpartofthe consolidationproject, butwas madeto visually 17Mango,Materials, 48-66, 97-99; Mango-Hawkins, TheMosaiC8 balance the windows. The niches were introduced because ofSt. Sophia atlstanbul, 38-39, withbibliography. 13 o 10 c:::r:::I::::I=:c:::r::=:=:=:=:::::::::J1 m ------01 OJ

(SEI (SWI

Fig. 8. Hagia Sophia, south tympanum (reconstruction after Mainstone, Hagia Sophia, Fig. 120)

uncovered images and the drawings andwatercolors made by side walls ofthe nave, the images in Hagia Sophiawere given the Fossatis in 1848.18 Fossati recorded a fragment of the a specific orientation according to the requirements of the original inscription that formed part ofthe decoration ofboth viewers. The overall characteristic ofimages in the program tympana. This inscription which is cited above is known is that they are depicted frontally on the north and south tym­ from S. G. Mercati.is pana facing directly toward the nave. Mango reasonably suggested that the epigram refers to The tympana images represented a coherent program the emperor Basil I, who restored the damaged tympana, in which traditional elements ofByzantine church decoration arches and vaults after the earthquake of 869. He suggested were combined with new elements. The upper register, as that the creation ofthe tympana mosaics was probably made Mango has proposed, most likely represented angels.s! Un­ immediately after the reconstruction of the tympana.w The fortunately, none ofthem has survived. The second register date ofthe death ofPatriarch Ignatios (ca. 877), who was in­ below the angels or apostles represented prophets; some cluded in the program, provides a terminus ante quem for the fragments ofthe figures remain in situ. There were originally completion ofthe program. eight prophets placed between the windows on each tympa­ The program consisted of bishops (lower register), num. Five prophets in the north tympanum are known from prophets (middle register), and archangels (?) (upper regis­ the Fossati drawings. Only one was recorded by the Fossatis ter). The figures were placed in the narrow portions of the in the south tympanum. According to Mango's reconstruc­ wall in the top two registers between the windows. Scholars tion, four prophets were depicted in the corners. The four have generally assumed that the two rows of windows and prophets are larger than the other figures in the tympana. lower row ofblind niches ofthe tympana allowed sufficient Two were oriented toward the east where the apse was lo­ space for three registers. The repertory of this program is cated; two turned toward the west in the direction of the known from Middle Byzantine church decoration, which church entrance. Jeremiah and Isaiah at the eastern ends of typically displays images ofprophets and archangels in the the tympana hold inscribed scrolls whose texts have been drum ofthe dome; the bishops were depicted on the apse wall identified.22 Another pair of prophets stood at the western or, in some cases, on the eastern wall or triumphal arch. In ends of both tympana. Ezekiel, in the north tympanum, is Hagia Sophia, the program is divided into two parts and dis­ played on the flat surface ofthe walls ofthe north and south 18 Mango, Materials, 48-66; Mango-Hawkins, The Mosaics ofSt. tympana. Because the tympana had two rows of windows Sophia at Istanbul, 1-41, and figs. 1-63. 19 Mango-Hawkins, op. cit., 39-40. with recessed niches below, the images were placed on the 20 Ibid., 39-41. wall in the narrow space between the windows in the top two 21 Ibid., 6. 14 registers and in the niches as a third register. Placed on the 22 Mango, Materials, 58-60. the T;ypikon ofthe Great Church, the texts held by Jeremiah and Isaiah wereused in the vespers ofDecember 24; hymns dedicated to the Virgin, who delivers Christ's "spirituaIjus­ tice," were chanted by the psaltai.2S On this feast day, the Typikon of the Great Church also mentioned Daniel, who mighthavebeenrepresentedinthe southtympanum ofHagia Sophia as the fourth prophet.ae Thus. there was a set offour major prophets represented inthe church. There is a reason that the prophets are not included in the liturgy on December the 25th, the day ofthe Nativity of Christ. Before Iconoclasm prophetic texts were read during the liturgy.a? During Iconoclasm there was a reform that re­ sulted in moving the reading ofthe prophets' texts from the liturgy to vespers. OnlytheGospels were read during thelit­ urgy. This tradition continued in the liturgical performance after Iconoclasm. Thus we believe that the above-mentioned textsplayeda majorliturgical role for thefeastofthe Nativity in the nave ofHagia Sophia on the vespers ofthe 24th ofDe­ cember. The choice ofthe location ofthe prophets relates to the feast oftheNativity ofChrist, and also to the anniversary of the inauguration day of Hagia Sophia (December 27~), when these textswereread during vespers. The latter was the day on which the inauguration ofthe church was commemo­ rated, and it was also the important feast ofHagia Sophia. The oversized figures oftheprophets were easily visible to the faithful. The visual orientation ofthe figures towardthe apse held further significance in the imperial processions Fig. 9. South vestibule, Emperor Justinian with a model ofHagia during which these images represented the realization ofthe Sophia (photo: CourtesyofDumbarton Oaks) prophecies. identified by an inscription. The fourth prophet is missing. The lowest register of the tympana program depicts Their unusually large size and their placement high in the bishops. whose representation was meant to emphasize the middle register, where they could be better seen from the power ofthe Church and the patriarch. Scholars have identi­ nave. indicate their significance inthe program. fied the bishop's images in the nave of Hagia Sophia and The eastern pair of prophets, Jeremiah and Isaiah, have emphaaized their political impcrtaace.se The tradition seems to be of primary importance because they hold in­ ofdepicting bishops goes back: to Early Christianchurchdee­ scribed scrolls and are closest to the apse. The prophet Jere­ oration, inwhichbishops wereprimarilyplaced nearthe apse miah holds a scroll inhis left hand andblesses with his right. or on a triumphal arch. In the post-iconoclastic period, bish­ His hand is oriented toward the east. As Mango has pointed ops took on particular importance in church decoration pri­ out, thetext on the scroll ofJeremiahis from Baruch: "This is marily in the lowerpartofthe apse wall below the conch.as In ourGod, and there shallbe no other accounted ofincompari­ Hagia Sophia, however, the bishops were placedhigh on ~e son of him" (Baruch, 3:35, 3, 6)." The right hand of the tympana, flanking liturgical action in the central nave. This prophet points up to the vaults ofHeaven and the text on his wasthe placewhere the Gospel wasread from the ambo and scroll praises God. There is a visual connection between the where the patriarch would stand during particular liturgical text and the figure's bodylanguage. ceremonies. Although small in scale, the figures ofthebish­ The only surviving prophetrecordedbythe Fossatis in ops are visible from the nave pavement and from the the south tympanum is Isaiah, who is depicted at the east end church's galleries. Originally. lamps would have been lit in ofthe tympanum close to the apse. He holds the scroll in his front ofeach figure; the tiny walkway with a barrier in front left hand while his right hand points toward theVirgin. His ofthemosaic panels would have been used for this purpose. scroll reads: "Therefore, the Lord himself shall give you a Since the bishops were each placed in a semicircular niche, sign. Behold a Virgin shall conceive, and bear a son, andhis they were given a prominent position in theprogram ofthe name shallbecalledEmmanuel" (Isa. 7:14). This textis read tympana. in Hagia Sophia during the eve ofthe feast ofthe Nativity.24 The text is a prophecy about the Virgin and the coming of 13Mangoalsopointed out1hat accmdiDgto ThePainter',Manual of Christ to the world DUmysius O/FOU11Ul, the text ofBaruch is frequently usedfor the scroll of With their specific messages. the prophets provide a Jeremiah (Mango,op. clt., 60). link between the image in the apse and the program ofthe 14J. Matcos, Le typi.ton de III Grande Egl;.re I, Rome 1962 (OCA tympana. The text on Isaiah's scroll is a prophecyofthe com­ 165) ISO-lSI. 25lbld. ing ofChristinto the world Isaiah's right handpoints toward 16 Ibid. the east in the direction ofthe Virgin and Christ Child inthe 27 A Pentkovskii, K.onsto.ntino]JQI'sfd i Ervsalimski oogoshahe1mi apse. Thetext on the scroll ofJeremiahis aboutthe glorifica­ W'tav, Zhurnal MORkovskoi PlII:r'iaIkhii 4 (2001)71-72. tion ofGod. The prophet's right hand is raised up in the di­ 28 Mango, The MosaiC8 of St. Sophia in btanbul, 1--41;. DeI" Nersessian, Le decor des 8glUes aJI !Je siic1e,37; Walter,Art amiRitJlai, rection ofthe dome. The appearance ofIsaiah and Jeremiah 164-174. is not a coincidence. Their placement near the apse reflected 19 O. Demus, ByzanIineM08aic Decoration, New Yolk 1976, 26; the liturgical use oftheirtexts in Hagia Sophia. According to Walter,Art andRitual, 164-174. 15 10 12 15 14 15m

Fig. 10. Hagia Sophia, north tympanum (reconstruction after Mango, The Mosaics ofSt. Sophia at Istanbul, diagram IV)

=::!=:J====C======Ci======i==--======C==:::iC======iC= --7 10 11 12 IS 11 15m Fig. 11. Hagia Sophia, south tympanum (reconstruction after Mango, The Mosaics ofSt. Sophia at Istanbul, diagram ill)

One notices specific peculiarities in the representations bishops' right hands in the east direction. The position ofthe ofthe bishops. In the north tympanum all the bishops are de­ bishops' hands in the north tympanum stands in contrast to picted frontally, holding gospel books in their left hands that ofthe bishops in the south tympanum (Fig. 11). Unfortu­ while their right hands form a gesture ofblessing toward the nately, most of these figures have not survived. They are Gospels or toward the apse. Their right hands are uniformly known, however, from the Fossati drawings as reconstructed oriented toward the east (Figs. 10, 12). The gospel book in the by C. Mango. In the south tympanum, the first two bishops bishops' left hand inclines in the direction ofthe apse. This po- from the east, Sts, Basil the Great and Gregory the Theolo­ 16 sitioning ofthe gospel book also reinforces the orientation of gian, bless each other with their right hands. The third and fourth bishops are missing. The fifth and sixth bishops from the east, Sts. Dionysios the Areopagite and Nicholas, hold their righthands in a gesture ofblessing toward thewest. The last bishop, St. Gregory the Great of Armenia, gestures in blessing withhisrighthandtowardthe east. Whydo the bish­ ops in the south tympanum have a different orientation and different hand gestures from their counterparts in the north? Theanswerto this question canbe found inthe context ofthe location ofthe patriarch and the liturgical processions ofthe patriarchand the clergy through the naveofHagia Sophia to­ wardthe sanctuary. I believe that occasional presence of the patriarch in the south gallery hadan important effect on the creation of the special program ofChurch Fathers in the south tympa­ num. This program related to the cathedral rite of Hagia Sophia in which the patriarch took an important part. As al­ ready mentioned, the patriarch attended services in Hagia Sophiaat matins and at the liturgy on weekdays and the great feasts. On these days he blessedthepsaltai andthe congrega­ tion from the south gallery. The display ofthe Church Fa­ thers suggests the place where the patriarch stoodinthe gal­ lery,juatbelow the foutih Church Father, Gregory the Great, who is represented in the central lunette ofthe south tympa­ num; he is blessinginthe direction ofthe apse. The patriarch stood beneath his image in the gallery and behind the low marble balustrade. According to custom, the congregation of the church boweddown in the direction ofthe patriarch. The programofthe south tympanum. was made in response to this important ritual. Four horizontal bands of green marble on the marble Fig. 12. Hagia Sophia, north tympanum, St. John Chrysostom floor pavement are also relevant to the peculiar depiction of (photo: CouTtesyofDumbarlon Oaks) the Church Fathers' hand gestures (Fig. 13). These bands were calledthe FourRivers ofParadise inlatersources. Inhis imperial metatorion in its southeast bay. Its central bay was study, G. Majeska identified them as stopping points during reserved for the patriarchate, and it is there the Patriarch was liturgicalprocessions into the church.30 Unfortunately, no lit­ locatedduring churchservices.aa Thus, the participants inthe erary source describes their function in Hagia Sophia. How­ imperial and ecclesiastical processions wouldglance first to­ ever, Symeon, archbiahop of Theasalonike (141611417­ ward the south wall ofthe central nave. The program seems -1429) explained the function ofsimilar bands inHagia So­ created to reflect the imperial and ecclesiastical ceremonies phia, Thessalonik:e. According to Symeon, after entering the ofthe Great Church. church with the clergy, the bishop stopped at the third river for a prayer, and then proceeded to the sanctuary. It is likely Audience that the cathedral rite in Hagia Sophia in Thessalonike fol­ lowed the rite ofthe Great ChurchofConstantinople. Ifso, a The new program was created for the congregation of similar practice can be assumed for Hagia Sophia. In this IIagia Sophia, which included the clergy, emperor, and lay case, the different positioning ofthe bishops' hands may re­ people. Since the emperor was a major benefactor ofHagia late to the processionofthe FirstEntrance, during which, ac­ Sophia, his participation in liturgical ceremonies and other cording to the custom ofHagia Sophia, the patriarch, the em­ rites of Hagia Sophia was important. The epigram cited peror, and the clergy proceededthrough the nave only when above indicates that the emperorwho gavemoney for the res­ the emperorattendedthe Churchseevice.n When the proces­ toration ofHagia Sophiaand creation ofthis program(proba­ sion entered the church, its participants saw first from the bly Basil 1) addresses his verses to God whose image was westthe twobishops, who wereblessingeachother. Thispair represented in the dome. The epigram implies that the em­ ofbishops corresponded to the secondgreen marble band on peror already communicatedthrough his verses with the im­ the pavement (Second River). The fourth and fillh biahops age there. Inverse number 4, the emperor asks God to repay bless eachother. Theirplacementcorresponds to the location him for his benefaction. The prophet Jeremiah is depicted in ofthe third marble hand on the pavement (the Third River), the northeast comer ofthe north tympanum, where the verse almost at the centerofthe nave where the patriarch and the is located. He points upward with his right hand toward the emperorstoppedto pray. It is difficultto knowaboutthe east­ dome under which the emperor's verses were located. The ern pair ofbishops (only one survived when the Fossatis re­ emperor's epigram also communicates to the audience the corded them). As a whole, the gestures ofthe bishops were arranged in such a way that they can be observed from the 30G. P. Mtgesb, Notes on the A.rcheology ofSt. Sophiaat Con­ north to south direction. Additionally, the south side was im­ stantinople: the Green MarbleBands on the Floor, DOP 22 (1978) 299­ -308,fig.p.307. portant because the southeast area ofchurch, as mentioned 31Idem. TheEmperor in his C1Jurch, 1-11. above, held the imperial throne and imperial metatorion, as aaTeteriatnikov, ThePatriarchal Quartm in the South Galleryof well as the seats ofthe senators. The southgallery alsohadan HagiaSophia,26. 17 Although everyone in the church observed the images, their vivid expression addressed the needs ofparticipants in the liturgical processions, the patriarch and clergy ofHagia Sophia, the emperor and imperial court, who were the pri­ mary participants ofthese ceremonies and rituals.

Conclusion

An examination of the apse and tympana programs shows that probably both were planned together to reflect the functional needs of the congregation that worshipped in Hagia Sophia. The program is tightly bound with the image ofthe Virgin holding the Christ Child in the apse, the first im­ age established in the church after Iconoclasm, thereby mani­ festing the ideological and political bond of Church and State. The body language ofthe tympana figures, including the prophets and bishops, allowed the viewer to recognize the messages prophesied in the Old Testament and the bishops who implemented these messages. By pointing toward their gospel books the bishops emphasized their role of teaching the Gospel. At the same time, pointing in the direction ofthe apse, they emphasized the significance of the image of the Virgin with Christ Child as advocated by the Church Fathers. This visual statement was of particular significance during the period following Iconoclasm, whenby reestablishing im­ ages, the Church Fathers appeared as their guardians. Pecu­ liar gestures of Church Fathers' hands in the south tympa­ It • • • num indicated their visual importance for the stopping points

___ Green Line Preserved of liturgical processions in the central nave. The program ------__ Line of Strip Preserved in Pavement •.•••. • • Conjectural Continuation of Strip was probably planned by the Patriarch Photios, as has been suggested. Itaddresses a complex ofthe political, theological Fig. 13. Hagia Sophia (plan after Majeska, and functional aspects of the church in which the Patriarch Notes on the Archeology ofSt. Sophia at Constantinople) Photios was concerned and which he propagated in his homi­ lies,35 Addressing contemporary issues after Iconoclasm, the emperor's deeds and thus illustrates his devotion to and com­ decoration ofHagia Sophia appears as a unique program be­ munication with God. Viewers understood the body lan­ cause it was specially designed for multi-faceted functions of guage of the prophet. For example, the Patriarch Photios, the unique cathedral ofthe Byzantine Empire. Since the Em­ who described the Constantinopolitan church ofthe Virgin of peror (benefactor) and the Patriarch (designer of the pro­ the Pharos, talks about the prophet that was depicted there: gram?) and the clergy were the most important viewers, the "though silent, cries out his sayings ofyore."33 images in the program were designed to be a part oftheir cer­ Photios' homily dedicated to the Virgin, which was de­ emonies, ritual, and devotion. livered from the ambo ofHagia Sophia, presents additional 33 Mango, The Art, 186. important evidence for his communication with an image of 34 Idem, The Homily ofPhotius, 287-288. the Virgin. It was addressed to the congregation of the 35 As scholars have suggested the program was probably orchestrated church. The patriarch vividly illustrates his communication by the Patriarch Photios. The above examination seems to provide further evidence in support ofthis scenario. The homily ofPhotios (ibid., 286-287) with the holy image. Photios, a sophisticated viewer, conveys speaks about the image ofthe Virgin which was just unveiled in the apse. to the audience visual details ofthe image as, for example, Photios praises "the godly zeal ofthe Emperors (and before the tribunal of the Virgin's eyes. He also gives his description and interpre­ Truth, time gone by has none more pious for its adornment), through whom the tation of her image. Although dedicated to the Virgin, the wise teachings oftheology blossom...)". Also in another passage he talks about the impious ones, implying the Iconoclasts: "Indeed, the three greatest things homily includes a lengthy passage on the Church Fathers. He that have happened under the witnessing sun (except what directly speaks ofthem as ifthey are a planned part ofthe program appertains to the divine working ofthe Logos) shine out in this festival: the that everyone knows about: "The white-clad choir ofyester­ invincible power of piety which towers above the vault of heaven, the senseless insolence ofimpiety which is dragged down to ultimate ruin and day (the Church Fathers), which will soon be present, is part the depths ofhell, yea, and the monument offolly and ineffaceable disgrace ofthe fruit being borne, and will suffice as evident testimony of those who have ended their life in impiety." In fact, the theme of the to everybody."34 Here and in later passages Photios speaks pious is juxtaposedwiththat ofthe impious in the inscription above the apse conch: "Theimages which the impostors [i.e., the Iconoclasts] had formerly about the Church Fathers clad in white garments, as they in cast down here, pious emperors have again set up." The author ofsuch an fact appeared in the niches ofthe tympana ofHagia Sophia. inscription could have been Photios himself.

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