The Catholic World Volume I Part 96

With very few exceptions, the Greek churches of the earlier period (including the older church of St. Sophia, whether as originally built by Constantine and restored by his son, or as rebuilt by Theodosius) were of that oblong form which the Greeks called "dromic" and which is known in the west as the type of the basilica. The present St. Sophia, on the contrary, may be regarded as practically the type of the cruciform structure. This cruciform appearance, however, is, as has been already explained, confined to the internal arrangement, the exterior presenting the appearance of a square, or if the porch be regarded as part of the church, of an oblong rectangle.

To begin with the narthex or porch:--That of St. Sophia is double, consisting of an outer (exonarthcx) as well as an inner (esonarthex) porch. Most Byzantine churches have but a single narthex--often a lean-to against the western wall; and in some few churches the narthex is altogether wanting. But in St. Sophia it is a substantive part of the edifice; and, the roof of the inner compartment being arched, it forms the substructure of the western gynaeconitis, or women's choir, which is also carried upon a series of unrivalled arches supported by pillars, most of which are historical, around the northern and southern sides of the nave. The outer porch is comparatively plain, and communicates with the inner one by five marble doorways (of which one is now walled up), the doors being of bronze, wrought in floriated crosses, still distinguishable, although much mutilated by the Turkish occupants. The inner porch is much more rich, the floor of watered marble, and the walls lined with marbles of various colors and with richly carved alabaster. It opens on {652} the church by nine gates of highly-wrought bronze; over the central portal is a well-preserved group in mosaic, bearing the inscription: [Greek text]--and representing our Lord, with the Virgin and St. John the Baptist on either hand, in the act of giving with uplifted right hand his benediction to an emperor (no doubt Justinian) prostrate at his feet.

This group is represented in one of M. Salzenberg's plates; and it is specially interesting for the commentary, explanatory of the att.i.tude of our Lord, given in the poem of Paul the Silentiary, according to whom the position of our Lord's fingers represents, in the language of signs then received, the initial and final letters of the sacred name, [Greek text]:

[Greek text]

The outstretched forefinger meant I; the bent second finger, C or [sigma]; the third finger applied to the thumb, X; and the little finger, [sigma]. It may also be noted that Justinian in this curious group is represented with the nimbus. During the progress of the restoration of the building in 1847, this mosaic was uncovered, and exactly copied; but like all the other mosaics which contain representations of the human form, it has been covered with canvas, and again carefully coated with plaster. It was on the _phiale_ or fountain of the outer court of this narthex that the famous palindromic inscription was placed:

[Greek text]

"Wash thy sins, not thy countenance only."

The interior of St. Sophia, exclusive of the women's choir, consisted of three great divisions--the nave, which was the place of the laity; the _soleas_, or choir, which was a.s.signed to the a.s.sisting clergy of the various grades; and the _bema_, or sanctuary, the semi-circular apse at the eastern end in which the sacred mysteries were celebrated, shut off from the soleas by the _inconastasis_ or screen, and flanked by two smaller, but similar, semicircular recesses; the _diaconicon_, corresponding with the modern vestry; and the _prothesis_, in which the bread and wine were prepared for the eucharistic offering, whence they were carried, in the procession called the "Great Entrance," to the high altar within the bema.

The position of these several parts is still generally traceable in the modern mosque, although, the divisions having been all swept away, there is some controversy as to details.

The nave, of course, occupies the western end, and is entered directly from the porch. It was separated from the soleas, or choir, at the _ambo_--the pulpit, or more properly gallery, which was used not only for preaching, but also for the reading or chanting of the lessons and the gospel, for ecclesiastical announcements or proclamations, and in St. Sophia for the coronation of the emperor. The ambo of St. Sophia was a very ma.s.sive and stately structure of rich and costly material and of most elaborate workmanship; it was crowned by a canopy or baldachin, surmounted by a solid golden cross a hundred pounds in weight. All trace of the ambo has long disappeared from the mosque; but from the number of clergy, priests, deacons, subdeacons, lectors, and singers (numbering, even on the reduced scale prescribed by Justinian, 385) which the soleas was designed to accommodate, as well as from other indications, it is believed that the ambo, which was at the extreme end of the soleas, must have stood under the dome, a little to the east of the centre. The seat of the emperor was on the left side of the soleas, immediately below the seats of the priests, close to the ambo, and opposite to the throne of the patriarch. The seats a.s.signed in the present patriarchal church to the princes of Wallachia and Moldavia correspond in position to those formerly occupied by the throne of the emperor and are directly opposite that of the patriarch. Beside its sacred uses, the ambo of St. Sophia was {653} the scene of many a striking incident in Byzantine history. The reader of Gibbon will recall the graphic picture of Heracleonas compelled by the turbulent mult.i.tude to appear in the ambo of St.

Sophia with his infant nephew in his arms for the purpose of receiving their homage to the child as emperor; [Footnote 143] or his still more vivid description of the five sons of Cop.r.o.nimus, of whom the eldest, Nicephorus, had been made blind, and the other four had their tongues cut out, escaping from their dungeon and taking sanctuary in St.

Sophia. There are few more touching stories in all the b.l.o.o.d.y annals of Byzantium than that which presents the blind Nicephorus employing that faculty of speech which had been spared in him alone, by appealing from the ambo on behalf of his mute brothers to the pity and protection of the people! [Footnote 144]

[Footnote 143: "Decline and Fall," vol. iv.. p. 403. ]

[Footnote 144: _Ibid_., vol. iv., p. 413. ]

But it was upon the bema of St. Sophia, as we have already seen, that the wealth and pious munificence of Justinian were most lavishly expended. It was shut off from the soleas by the inconastasis, which in Byzantine art is a screen resembling, in all except its position, the rood-screen of western architecture, and derived its name from the sacred pictures ([Greek text]) represented upon it. In that of St.

Sophia the material was silver, the lower part being highly wrought with arabesque devices, and the upper composed of twelve pillars, twined two and two, and separated by panels on which were depicted in oval medallions the figures of our Lord, his Virgin Mother, and the prophets and apostles. It had three doors; the central one (called [Greek text], "sacred door") leading directly to the altar, that on the right to the diaconicon, and that on the left to the prothesis.

The figures on either side of the central door, following what appears to have been the universal rule, were those of our Lord and the Virgin, and above the door stood a ma.s.sive cross of gold. The altar, with its canopy or tabernacle, has been already described. The _synthronus_, or bench with stalls, for the officiating bishop and clergy, are at the back of the altar along the circular wall of the bema. The seats were of silver gilt. The pillars which separated them were of pure gold. All this costly and gorgeous structure has of course disappeared from the modern mosque. The eye now ranges without interruption from the entrance of the royal doors to the very extremity of the bema;--the only objects to arrest observation being the sultan's gallery (maksure), which stands at the left or north side of the bema; the mimber, or pulpit for the Friday prayer, which is placed at the right or southern end of the ancient inconastasis; the mahfil, or ordinary preaching pulpit, in the centre of the mosque; and the mihrab, or sacred niche, which is at the south-east side of the bema.

It was more difficult, in converting the church into a mosque, to get rid of the numerous sacred pictures in gold and mosaic which adorned the walls and arches. Accordingly, instead of attempting to remove or destroy them, the Moslem invaders of the church were content with covering all these Christian representations with a coat of plaster; and thus in the late reparation of the mosque, the architect, having removed the plaster, was enabled to have copies made of all the groups which still remained uninjured. Of the princ.i.p.al of them M. Salzenberg has given fac-similes. On the great western arch was represented the Virgin Mary, with Sts. Peter and Paul. On the side walls of the nave, above the women's choir upon either side, were figures, in part now defaced, of prophets, martyrs, and other saints. M. Salzenberg has reproduced in his volume Sts. Anthemius, Basil, Gregory, Dionysius the Areopagite, Nicolas of Myra, Gregory the Armenian apostle, and the prophets Jeremiah, Isaiah, and Habakkuk. On the great eastern arch was a group consisting of the Virgin Mary, St. John the Baptist, and {654} the Emperor John Palaeologus, the last Christian restorer of the building; but these figures--and still more the group which decorated the arch of the bema, our Lord, the Virgin, and the Archangel Michael--are now much defaced. Much to the credit of the late sultan, however, he not only declined to permit the removal of these relics of ancient Christian art, but gave orders that every means should be taken to preserve them; at the same time directing that they should be carefully concealed from Moslem eyes, as before, by a covering of plaster, the outer surface of which is decorated in harmony with those portions of the ancient mosaic, which, not containing any object inconsistent with the Moslem worship, have been restored to their original condition. Accordingly, the winged seraphim at the angles of the b.u.t.tresses which support the dome have been preserved, and, to a Christian visitor, appear in strange contrast with the gigantic Arabic inscriptions in gold and colors which arrest the eye upon either side of the nave and within the dome, commemorating the four companions of the Prophet, Abu-bekr, Omar, Osman, and Ali.

But there is one characteristic of St. Sophia which neither time nor the revolutions which time has brought have been able to efface or even substantially to modify--the strikingly graceful and elegant, although far from cla.s.sically correct, grouping of the pillars which support the lesser semidomes and the women's choir. It would be impossible, without the aid of a plan, to convey any idea of the arrangement of this matchless a.s.semblage of columns, which, as we have already observed, are even less precious for the intrinsic richness and beauty of their material than for the interesting a.s.sociations which their presence in a Christian temple involves. Most of these may still be identified. The eight red porphyry pillars standing, two and two, under the semi-domes at either end of the nave, are the celebrated columns from the Temple of the Sun, already recorded as the gift of Marcia, offered by her "for the salvation of her soul." The eight pillars of green serpentine which support the women's choir, at either side of the nave, are from the Temple of Diana at Ephesus; and among the remaining pillars on the ground floor, twenty-four in number, arranged in groups of four, are still pointed out representatives of almost every form of the olden worship of the Roman empire--spoils of the pagan temples of Athens, Delos, Troas, Cyzicus, and other sanctuaries of the heathen G.o.ds.

Less grand, but hardly less graceful, are the groups of pillars, sixty-seven in number, in the women's choir above the aisles and the inner porch. The occasional absence of uniformity which they present, differing from each other in material, in color, in style, and even in height, although it may offend the rules of art, is by no means ungrateful to the eye. In the total number of the pillars of St.

Sophia, which is the broken number one hundred and seven, there is supposed to be a mystic allusion to the seven pillars of the House of Wisdom. [Footnote 145]

[Footnote 145: Proverbs ix. 1.]

Such was St. Sophia in the days of its early glory--a fitting theatre for the stately ceremonial which const.i.tuted the peculiar characteristic of the Byzantine court and Church. On all the great festivals of the year--Christmas, Epiphany, Palm Sunday, Easter, Pentecost, and the Ascension; at the ceremony of the emperor's coronation; at imperial marriages; and on occasions, more rare in the inglorious annals of the Lower Empire, of imperial triumphs,--the emperor, attended by the full array of his family I and court, went in state to St. Sophia and a.s.sisted at the celebration of the divine mysteries. The emperor himself, with his distinctive purple buskins and close tiara; the Caesar, {655} and, in later times, the Sebastocrator, in green buskins and open tiara; the Despots, the Panhypersebastos, and the Protosebastos; the long and carefully graduated line of functionaries, civil and military--the Curopalata, the Logothete and Great Logothete, the Domestic and Great Domestic, the Prostostrator, the Stratospedarch, the Protospatharius, the Great AEteriarch, and the Acolyth, with the several trains of attendants in appropriate costume which belonged to each department,--combined to form an array for which it would be difficult to find a parallel in the history of ceremonial; and when to these are added the purely ecclesiastical functionaries, for whose number even the munificent provision of s.p.a.ce allotted by Justinian's architect was found at times insufficient, some idea may be formed of the grandeur of the service, which, for so many ages, lent to that lofty dome and these stately colonnades a life and a significance now utterly lost in the worship which has usurped its place. As a purely ecclesiastical ceremony, probably some of the great functions at St. Peter's in Rome surpa.s.s in splendor such a ceremonial as the "Great Entrance" at St.

Sophia on one of the emperor's days. But the latter had the additional element of grandeur derived from the presence of a court unrivalled for the elaborate stateliness and splendor of its ceremonial code.

We have said that the church of Justinian is, in all substantial particulars, the St. Sophia of the present day. In an architectural view the later history of the building is hardly worth recording. The eastern half of the dome, in consequence of some settling of the foundation of the b.u.t.tresses, having shown indications of a tendency to give way, it became necessary in the reign of Basil the Macedonian, toward the end of the ninth century, to support it by four exterior b.u.t.tresses, which still form a conspicuous object from the Seraglio Place. The Emperor Michael, in 896, erected the tower still standing at the western entrance, to receive a set of bells which were presented by the doge of Venice, but which the Turks have melted down into cannon. About half a century later, a further work for the purpose of strengthening the dome was undertaken by the Emperor Roma.n.u.s; and in the year 987 a complete reparation and re-strengthening of the dome, within and without, was executed under Basil the Bulgaricide, in which work the cost of the scaffolding alone amounted to ten hundred weight of gold.

No further reparations are recorded for upward of two centuries. But, to the shame of the founders of the Latin empire of Constantinople, the church of St. Sophia suffered so much in their hands, that, after the recovery of the city by the Greeks, more than one of the later Greek emperors is found engaged in repairing the injuries of the building. Andronicus the Elder, Cantacuzenus, and John IV.

Palaeologus, each had a share in the work; and, by a curious though fortuitous coincidence, Palaeologus, the last of the Christian emperors who are recorded as restorers of St. Sophia, appears to be the only one admitted to the same honor which was accorded to its first founder Justinian--that of having his portrait introduced into the mosaic decorations of the building. John Palaeologus, as we saw, is represented in the group which adorned the eastern arch supporting the great dome. The figures, however, are now much defaced.

How much of the injury which, from whatever cause, the mosaic and other decorations of St. Sophia have suffered, is due to the fanaticism of the Turkish conquerors of Constantinople it is impossible to say with certainty. Probably, however, it was far less considerable than might at first be supposed. Owing to the peculiar discipline of the Greek Church, which, while it freely admits painted images, endures no sculptured Christian representations except that of the cross itself, there was little in the marble or bronze of St.

Sophia to provoke Moslem {656} fanaticism. The crosses throughout the building, and especially in the women's choir, have been modified, rather than completely destroyed; the mutilator being generally satisfied with merely chiselling off _the head of the cross_ (the cruciform character being thus destroyed), sparing the other three arms of the Christian emblem. For the rest, as we have already said, the change consisted in simply denuding the church of all its Christian furniture and appliances, whether movable objects or permanent structures, and in covering up from view all the purely Christian decorations of the walls, roof, and domes. The mosaic work, where it has perished, seems to have fallen, less from intentional outrage or direct and voluntary defacement, than from the long-continued neglect under which the building had suffered for generations, down to the restoration by the late sultan.

The alterations of the exterior under Moslem rule are far more striking, as well as more considerable. Much of the undoubtedly heavy and inelegant appearance of the exterior of St. Sophia is owing to the absence of several groups of statues and other artistic objects which were designed to relieve the ma.s.sive and ungraceful proportions of the b.u.t.tresses and supports of the building as seen from without. Of these groups the most important was that of the celebrated horses now at St.

Mark's in Venice. On the other hand, the addition of the four minarets has, in a different way, contributed to produce the same effect of heaviness and incongruity of proportion. Of these minarets, the first, that at the south-east angle, was built by Mahomet II. The second, at the north-east, was erected by Selim, to whose care the mosque was indebted for many important works, intended as well for its actual restoration as for its prospective maintenance and preservation. The north-western and south-western minarets are both the work of Amurath III. These structures, although exceedingly light and elegant in themselves, are altogether out of keeping with the ma.s.sive structure to which they were intended as an appendage, and the pretentious style of their decoration only heightens by the contrast the bald and unarchitectural appearance of the exterior of the church. It is not too much to say that the effect of these peculiarly Mohammedan additions to the structure is externally to destroy its Christian character.

But whatever may be said of the works of former sultans, it is impossible not to regard the late Sultan Abdul Medjid as a benefactor to Christian art, even in the works which he undertook directly in the interest of his own worship. From the time of Amurath III. the building had been entirely neglected. Dangerous cracks had appeared in the dome, as well as in several of the semi-domes. The lead covering of all was in a ruinous condition; and the apertures not only admitted the rain and snow, but permitted free entrance to flocks of pigeons and even more destructive birds. The arches of the gynaeconitis were in many places split and in a tottering condition The pillars, especially on the upper floor, were displaced and thrown out of the perpendicular; and the whole structure, in all its parts and in all its appointments, presented painful evidence of gross and long-continued neglect. M. Louis Haghe has represented, in two contrasted lithographed sketches, the interior of the mosque such as it was and such as it now is since the restoration. The contrast in appearance, even on paper, is very striking; although this can only be realized by those who have had the actual opportunity of comparing the new with the old. But the substantial repairs are far more important, as tending to the security of a pile so venerable and the object of so many precious a.s.sociations. The great dome, while it is relieved from the four heavy and unsightly b.u.t.tresses, is made more permanently secure by a double girder of wrought iron around the base. The lead of the dome and the roof has been {657} renewed throughout. The tottering pillars of the women's choir have been replaced in the perpendicular, and the arches which they sustain are now sh.o.r.ed up and strengthened.

The mosaic work throughout the building has been thoroughly cleaned and restored, the defective portions being replaced by a skilful imitation of the original. All the fittings and furniture of the mosque--the sultan's gallery, the pulpits, the mihrab, and other appurtenances of its worship--have been renewed in a style of great splendor. The work of reparation extended over two years, and owed much of its success, as well as of the spirit in which it was executed, to the enlightened liberality of Redschid Pacha. An effort is said to have been made by the fanatical party in Constantinople to induce the sultan to order the complete demolition of the mosaic pictures on the walls, as being utterly prohibited by the Koran. But he firmly refused to accede to the demand; and it was with his express permission that the king of Prussia commissioned M. Salzenberg to avail himself of the occasion of their being uncovered, in order to secure for the students of the Christian art of Byzantium the advantage of accurate copies of every detail of its most ancient as well as most characteristic monument.

From The Lamp.

ALL-HALLOW EVE; OR, THE TEST OF FUTURITY.

BY ROBERT CURTIS.

CHAPTER VII.

Here it was that the real fun was going on! From the centre of the veiling hung a strong piece of cord, with cross sticks, about eighteen inches long, at the end. On each end of one of these sticks was stuck a short piece of lighted candle, while on the ends of the other were stuck small apples of a peculiarly good kind. The cross was then set turning, when some plucky hero snapped at the apples as they went round, but as often caught the lighted candle in his mouth, when a hearty laugh from the circle of spectators proclaimed his discomfiture. On the other hand, if fortunate enough to secure one of the apples, a clapping of hands, and shouts of "Well done!" proclaimed his victory.

A little to one side of this "merry-go-round" was a huge tub of spring-water, fresh from the pump, and as clear as crystal. It was intended that the performers at this portion of the fun should, stripped to the waist, dive for pence or whatever silver the by-standers chose to throw in. Up to this it had not come into play, for until their "betthers came down from the parlor" no silver was thrown in; and the youngsters were "loth to wet theirsel's for nothin'." Now, however, a _tenpenny-bit_ from Tom Murdock soon glittered on the bottom of the tub, a full foot and a half under water. Forthwith two or three young fellows "peeled off," to prove their abilities as divers. The first, a black-haired fellow, with a head as round as a cannon-ball, after struggling and bubbling until the people began to think he was smothering, came up without the prize. He was handed a kitchen towel to rub himself with; while one of the other young gladiators adjusted the tenpenny-bit in the middle of the tub, drew {658} in a long breath, and down he went like a duck. He was not nearly so long down as the other had been; he neither struggled nor bubbled, and came up with the money between his teeth.

"It wasn't your first time, Jamesy, anyhow," said one.

"How did you get a hoult of it, Jamesy avic?" said another.

But he kept drying his head, and never minding them.

Another tenpenny was then thrown in by old Ned Cavana; it withstood repeated efforts, but was at last fairly brought up. Jamesy seemed to be the most expert, for having lifted this second tenpenny, his abilities were finally tested with a _fippenny-bit_, which after one or two failures he brought up triumphantly in his teeth; all the other divers having declined to try their powers upon it.

By this time the kitchen floor was very wet, and it was thought, particularly by the contributors to the tub, that there had been enough of that sort of fun. The girls, who were standing in whatever dry spots of the flags they could find, thought so too; they, did not wish to wet their shoes before the dance, and there was another move back to the parlor.

Here the scene was completely changed, as if indeed by magic, as n.o.body had been missed for the performance. The long table was no where to be seen, while the chairs and forms were ranged along the walls, and old Murrin the piper greeted their entrance with an enlivening jig.

Partners were of course selected at once, and as young Lennon _happened_ to be coming in from the kitchen with Winny Cavana at the moment, they were soon with arms akimbo footing it to admiration opposite each other. Not far from them another couple were exhibiting in like manner. They were Tom Murdock and Kate Mulvey; while several other pairs were "footing it" through the room. To judge from the self-satisfied smile upon Kate Mulvey's handsome lips, she was not a little proud or well pleased at having taken Tom Murdock from the belle of the party; for she had too much self-esteem to think that it was the belle of the party had been taken from Tom Murdock.

I need not pursue the several sets which were danced, nor particularize the pairs who were partners on the occasion. Of course Tom Murdock took the first opportunity possible to claim the hand of Winifred Cavana for a dance. Indeed, he was ill-pleased that in his own house he had permitted any chance circ.u.mstance to prevent his having opened the dance with her, and apologized for it--"but it happened in a manner over which he had no control." He had picked up that expression at a race-course.

With all his bitterness he had the good sense not to make a scene by endeavoring to frustrate that which he had not the tact to obviate by pre-arrangement. Winny had made no reply to his apology, and he continued, "I did not ask Kate Mulvey to dance until I saw you led out by young Lennon."

"That is a bad compliment to Kate," she observed.

"I can't help that," said he gruffly; "some people take time d-mn-bly by the forelock."

"That cannot apply to either him or me in this case; there were two pairs dancing before he asked me."

Now although this was certainly not said by way of reproach to Tom for not himself being sooner, it was unanswerable, and he did not try to answer it. He was not however in such good humor as to forward himself much in Winny's good opinion, and Emon-a-knock, who watched him closely, was content that he should be her sole beau for the rest of the evening.

Refreshments were now brought in; cold punch for the boys and "nagus"

for the girls; for old Murdock could afford to make a splash, and this he thought "was his time to do it. If any one was hungry, there was plenty {659} of cold mate and bread on the kitchen dresser." But after the calcannon and tea, n.o.body seemed to hear him.

After the liquor on the first tray was disposed of, and the gla.s.ses collected for a replenish, a solo jig was universally called for. The two best dancers in the province were present--Tom Murdock and Edward Lennon, so there could be no failure.