Byzantine Churches in Constantinople Part 17

_The Parecclesion._--The parecclesion forms a complete church of the 'four column' type with a narthex and gynecaeum on the west. On the north side the two columns supporting the dome arches have been removed, and their place is taken by a large pointed Turkish arch which spans the chapel from east to west as is done in the north church of the Panachrantos (p. 129). The southern columns are of green marble with bases of a darker marble and finely carved capitals both bedded in lead.

One of these columns, that to the east, has been partly built into the mihrab wall. The arms of the cross and the western angle compartments are covered with cross-groined vaults, while the eastern angle compartments have dome vaults. The bema and the two lateral chapels have cross-groined vaults. As usual the apse is semicircular within and shows to the exterior seven sides, the three centre sides being filled with a triple window with carved oblong shafts and cubical capitals.

[Ill.u.s.tration: S. MARY PAMMAKARISTOS PROBABLE ORIGINAL PLAN FIG. 47.]

Internally the church is divided by string-courses at the abacus level of the columns and at the springing level of the vaults into three stories. The lowest story is now pierced by Turkish windows but was originally plain; the middle story is pierced by single-light windows in each of the angle compartments, and in the cross arm by a three-light window of two quarter arches and a central high semicircular arch, similar to those in the narthex of the Chora. The highest story has a single large window in the cross arm.

To the east the bema arch springs from the abacus level and all three apses have low vaults, a somewhat unusual arrangement. This allows of an east window in the tympanum of the dome arch above the bema.

The dome is in twelve bays, each pierced by a window and separated by flat projecting ribs. It retains its mosaics, representing Christ in the centre surrounded by twelve prophets. Each prophet holds in his hand a scroll inscribed with a characteristic quotation from his writings. The drawing, for which I am indebted to the skill and kindness of Mr. Arthur E. Henderson, gives an excellent idea of the scheme of the mosaics.

Speaking of these mosaics, Diehl remarks that we have here, as in the Chora, indications of the Revival of Art in the fourteenth century. The Christ in the centre of the dome is no longer represented as the stern and hard Pantokrator, but shows a countenance of infinite benignity and sweetness. The twelve prophets grouped around Him in the flutings of the dome reveal, in the variety of their expressions, in their different att.i.tudes, in the harmonious colours and elegant draping of their robes, an artist who seeks to escape from traditional types and create a living work of his own.[247]

The narthex is in three bays covered by cross-groined vaults without transverse arches. The lower window is a Turkish insertion, and above it, rising from the vaulting string-course at the level of the abacus course in the church, is a triple window of the type already described.

[Ill.u.s.tration: FIG. 48. (For other details see Fig. 68.)]

Above the narthex and approached by a narrow stair in the thickness of the west wall is the small gynecaeum. It is in three bays, separated by strong transverse arches resting on pilasters, each bay having a deep recess to east and west. The centre bay is covered by a cross-groined vault, and overlooks the church by a small window pierced in the west cross arm. Each of the side bays is covered by a drum dome of sixteen concave bays pierced with eight windows and externally octagonal. The plaster has fallen away from these bays, allowing us to see that they are built in regular courses of brick with thick mortar joints and without any special strengthening at the lines of juncture or ribs between the compartments. Such domes, therefore, are not strictly ribbed domes but rather domes in compartments. The 'ribs' no doubt do, by their extra thickness, add to the strength of the vault, but here, as in most Byzantine domes, their purpose is primarily ornamental.

[Ill.u.s.tration: PLATE XLI.

(1) S. MARY PAMMAKARISTOS. INTERIOR VIEW OF THE DOME OF THE PARECCLESION.

(2) S. MARY PAMMAKARISTOS. MOSAIC IN THE DOME OF THE PARECCLESION.

_To face page 154._]

The exterior of the chapel, like the facade of S. Theodore (p. 247), presents a carefully considered scheme of decoration, characteristic of the later Byzantine school both here and in the later schools outside Constantinople. The southern wall is divided externally as it is also internally, into three stories, and forms two main compartments corresponding to the narthex and to the cross arm. They are marked by high arches of two orders, which enclose two triple windows in the upper story of the narthex and of the cross arm. The clue to the composition is given by the middle story, which contains the two large triple windows of the narthex and of the cross arm, and the two single lights of the angle compartment, one on each side of the cross arm triple light. These windows are enclosed in brick arches of two orders and linked together by semicircular arched niches, of which those flanking the narthex window are slightly larger than the rest, thus giving a continuous arcade of a very pleasant rhythmic quality.

In the lower story the piers of the arches round the triple windows are alone carried down through the inscribed string-course which separates the stories and forms the window-sill. The system of niches is repeated, flat niches being subst.i.tuted for the angle compartment windows above.

The highest story contains the large single windows which light the cross arm and the gynecaeum, the former flanked by two semicircular niches, the latter by two brick roundels with radiating joints. Between them, above the west angle compartment window, is a flat niche with a Turkish arch. It is possible that there was originally a break here extending to the cornice, and that this was filled up during Turkish repairs. The cornice has two ranges of brick dentils and is arched over the two large windows. The domes on the building have flat angle pilasters supporting an arched cornice.

The masonry is in stripes of brick and stone courses, with radiating joints to the arched niches and a zigzag pattern in the spandrils of the first-story arches. At this level are four carved stone corbels with notches on the upper side, evidently to take a wooden beam. These must have supported the roof of an external wood cloister. The inscribed string-course already mentioned between the ground and first stories bears a long epitaph in honour of Michael Glabas Tarchaniotes.[248]

(Fig. 49.)

The three apses at the east end are of equal height. The side ones are much worn but were apparently plain. The centre apse is in three stories with alternately flat and circular niches in each side. It is crowned by a machicolated cornice similar to that on the east end of S. Theodosia.

The general composition, as will be seen from the description, arises very directly from the internal arrangements of the chapel and is extremely satisfactory. The ranges of arches, varying in a manner at first irregular, but presently seen to be perfectly symmetrical, give a rhythmic swing to the design. The walls are now heavily plastered and the effect of the horizontal bands of brick and stone is lost; but even in its present state the building is a very delightful example of Byzantine external architecture.

Evidently the foundress of the chapel wished the monument she reared to her husband's memory to be as beautiful both within and without as the taste and skill of the times could make it.

[Ill.u.s.tration: PLATE XLII.

S. MARY PAMMAKARISTOS. SOUTH SIDE OF THE PARECCLESION.

_To face page 156._]

What information we have in regard to the chapel is little, but clear and definite, resting as it does on the authority of the two epitaphs which the poet Philes composed to be inscribed on the interior and exterior walls of the building. One of the epitaphs, if ever placed in position, has been destroyed or lies concealed under Turkish plaster. Of the other only fragments remain, forming part of the scheme of decoration which adorns the south wall of the chapel. But fortunately the complete text of both epitaphs is preserved in the extant writings of their author, and affords all the information they were meant to record. The chapel was dedicated to Christ as the Logos[249] and was built after the death of the protostrator by his wife Maria, or Martha in religion, for a mausoleum in which to place his tomb.[250] As the protostrator died about 1315, the chapel was erected soon after that date. An interesting incident occurred in this chapel soon after the Turkish conquest. One day when the Sultan was riding through his newly acquired capital he came to the Pammakaristos, and upon being informed that it was the church a.s.signed to the Patriarch Gennadius, alighted to honour the prelate with a visit. The meeting took place in this parecclesion, and the conversation, of which a summary account was afterwards sent to the Sultan, dwelt on the dogmas of the Christian Faith.[251]

[Ill.u.s.tration: FIG. 49.]

The text of the epitaph, portions of which appear on the exterior face of the south wall of the parecclesion of the church of the Pammakaristos (_Carmina Philae_, ccxxiii.

ed. Miller, vol. i. pp. 117-18) reads as follows:--

[Greek: Aner, to phos, to pneuma, to prosphthegma mou, kai touto soi to doron ek tes syzygou; sy men gar hos agrypnos en machais leon hypnois, hypelthon anti lochmes ton taphon; ego de soi teteucha petraian stegen, 5 me palin heuron ho stratos se synchee, kan deuro ton choun ektinaxas ekrybes, e tou pachous rheusantos herpages ano, pan hoplon apheis ekkremes to pattalo; tas gar epi ges ebdelyxo pastadas 10 en eutelei triboni phygon bion kai pros noetous antetaxo satrapas, sterrhan metendys ek theou panteuchian.

hos ostreon goun organo soi ton taphon, e kochlon e kalyka kentrodous batou; 15 margare mou, porphyra, ges alles rhodon, ei kai trygethen ekpieze tois lithois hos kai stalagmous proxenein moi dakryon, autos de kai zon kai Theon zonta blepon hos nous katharos ton pathon ton ex hyles 20 ton son palin thalamon eutrepize moi; he syzygos prin tauta soi Martha graphei, protostrator kalliste kai tethammenon].[252]

O my husband, my light, my breath, whom I now greet.

This gift to thee also is from thy wife.

For thou indeed who wast like a sleepless lion in battles Sleepest, having to endure the grave, instead (of occupying) thy lair.

But I have erected for thee a dwelling of stone, Lest the army finding thee again, should trouble thee, Although here thou art hidden, having cast off thy (body of) clay, Or, the gross flesh having dropped off, thou hast been transported above, Leaving every weapon hung up on its peg.

For thou didst abhor the mansions in the world,[253]

Having fled from life in the cheap cloak (of a monk), And didst confront invisible potentates, Having received instead (of thine own armour) a strong panoply from G.o.d.

Therefore I will construct for thee this tomb as a pearl oyster sh.e.l.l, Or sh.e.l.l of the purple dye, or bud on a th.o.r.n.y brier.

O my pearl, my purple, rose of another clime, Even though being plucked thou art pressed by the stones So as to cause me sheddings of tears.

Yet thou thyself, both living and beholding the living G.o.d, As a mind pure from material pa.s.sions, Prepare for me again thy home.

Martha,[254] thy wife formerly, writes these things to thee, O protostrator, fairest also of the dead!

The following epitaph in honour of the protostrator Glabas[254] was to be placed in the parecclesion of the church of the Pammakaristos (_Carmina Philae_, ccxix., ed. Miller, vol. i. pp. 115-16):--

[Greek: Epigramma eis ton naon hon okodomesen he tou protostratoros symbios apothanonti to andri autes.

he men dia sou pasa ton onton physis ou dynatai ch.o.r.ein se ten proten physin; plerois gar auten alla kai pleion meneis, Theou Loge zon kai draki to pan pheron, kan sarx alethes heuretheis perigraphe, 5 psychais de pistais mystikos enidrye monen seauto pegnyon athanaton; oukoun dechou ton oikon hon teteucha soi deiknynta saphos tes psyches mou ten schesin; ton syzygon de pheu teleutesanta moi 10 kai tes choikes apanastanta steges, oikison eis aphtharton autos pastada, kantautha teron ten soron tou leipsanou, me tis enechthe syntribe tois osteois. 15 protostrator kai tauta sen depou charin he syzygos prin, alla nyn Martha graphei.]

The whole nature of existing things which thou hast made Cannot contain Thee, the primordial nature, For Thou fillest it, and yet remainest more than it; O Logos of G.o.d, living and holding all in the hollow of Thy hand, Although as true flesh Thou art circ.u.mscribed, And dwellest, mystically, in faithful souls, Establis.h.i.+ng for Thyself an immortal habitation, Yet accept the house which I have built for Thee, Which shows clearly the disposition of my soul.

My husband who, alas! has died to me And gone forth from his house of clay, Do Thou Thyself settle in an incorruptible mansion, Guarding also here the shrine of his remains, Lest any injury should befall his bones.

O protostrator, these things, too, for thy sake I trow, Writes she who erewhile was thy wife, but now is Martha.[256]

[Ill.u.s.tration: FIG. 50.]

_To face page 160._

[Ill.u.s.tration: FIG. 51.]

[Ill.u.s.tration: FIG. 52.]

[Ill.u.s.tration: FIG. 53.]

[215] See the masterly articles of Mr. Siderides in the _Proceedings of the Greek Syllogos of C.P._; supplement to vols. xx.-xxii. pp.

19-32; vol. xxix. pp. 265-73. I beg to acknowledge my great indebtedness to their learned author.

[216] 'This is the thoughtful deed of John Comnenus and of his consort Anna of the family Ducas. Grant to them, O Pure One, rich grace and appoint them dwellers in the house of G.o.d.'

[217] Vol. ii, p. 183.

[218] _Carmina Philae_, vol. i. ode 237, lines 21-23. Codex Paris, p.

241.

[219] M. Crusius, _Turcograecia_, p. 189.

[220] It should read, [Greek: Branaina]. See Siderides, in the _Proceedings of the Greek Syllogos of C.P._ vol. xxix. p. 267.