Byzantine Architecture

[Papastratosels26]

Byzantine architectureis thearchitectureof theByzantine Empire, or Eastern Roman Empire.

The Byzantine era is usually dated from 330 CE, whenConstantine the Greatmoved the Roman capital toByzantium, which becameConstantinople, until thefall of the Byzantine Empirein 1453. However, there was initially no hard line between the Byzantine and Roman empires, and early Byzantine architecture is stylistically and structurally indistinguishable fromRoman architecture. This terminology was introduced by modern historians to designate the medievalRoman Empireas it evolved as a distinct artistic and cultural entity centered on the new capital of Constantinople (modern-dayIstanbul) rather than the city ofRomeand its environs.

Its architecture dramatically influenced the latermedieval architecturethroughout Europe and the Near East, and became the primary progenitor of theRenaissanceandOttomanarchitectural traditions that followed its collapse.

[Papastratosels26]

Early Byzantine architecture drew upon earlier elements of Roman architecture. Stylistic drift, technological advancement, and political and territorial changes meant that a distinct style gradually resulted in the Greek cross plan in church architecture.[1]

Buildings increased in geometric complexity, brick and plaster were used in addition to stone in the decoration of important public structures, classical orders were used more freely, mosaics replaced carved decoration, complex domes rested upon massive piers, and windows filtered light through thin sheets of alabaster to softly illuminate interiors. Most of the surviving structures are sacred in nature, with secular buildings mostly known only through contemporaneous descriptions
Prime examples of early Byzantine architecture date from the EmperorJustinian I's reign and survive inRavennaand Istanbul, as well as inSofia(theChurch of St Sophia).One of the great breakthroughs in the history of Western architecture occurred when Justinian's architects invented a complex system providing for a smooth transition from a square plan of the church to a circular dome (or domes) by means of pendentives.

In Ravenna, the longitudinal basilica of Sant'Apollinare Nuovo, and the octagonal, centralized structure of the church of San Vitale, commissioned by Emperor Justinian but never seen by him, was built. Justinian's monuments in Istanbul include the domed churches of Hagia Sophia and Hagia Irene, but there is also an earlier, smaller church of Saints Sergius and Bacchus (locally referred to as "Little Hagia Sophia"), which might have served as a model for both in that it combined the elements of a longitudinal basilica with those of a centralized building.

[Papastratosels26]

Secular structures include the ruins of the Great Palace of Constantinople, the innovative walls of Constantinople (with 192 towers) and Basilica Cistern (with hundreds of recycled classical columns). A frieze in the Ostrogothic palace in Ravenna depicts an early Byzantine palace.

Hagios Demetrios in Thessaloniki, Saint Catherine's Monastery on Mount Sinai, Jvari Monastery in present-day Georgia, and three Armenian churches of Echmiadzin all date primarily from the 7th century and provide a glimpse on architectural developments in the Byzantine provinces following the age of Justinian.

Remarkable engineering feats include the 430 m long Sangarius Bridge and the pointed arch of Karamagara Bridge.

The period of the Macedonian dynasty, traditionally considered the epitome of Byzantine art, has not left a lasting legacy in architecture. It is presumed that Basil I's votive church of the Theotokos of the Pharos and the Nea Ekklesia (both no longer existent) served as a model for most cross-in-square sanctuaries of the period, including the Cattolica di Stilo in southern Italy (9th century), the monastery church of Hosios Lukas in Greece (c. 1000), Nea Moni of Chios (a pet project of Constantine IX), and the Daphni Monastery near Athens (c. 1050The cross-in-square type also became predominant in the Slavic countries which were progressively Christianized by missionaries during the Macedonian period. The Hagia Sophia church in Ochrid (present-day Macedonia), and the eponymous cathedral in Kiev (present-day Ukraine) testify to a vogue for multiple subsidiary domes set on drums, which would gain in height and narrowness with the progress of time.

[Papastratosels26]

As early as the building of Constantine's churches in Palestine there were two chief types of plan in use: the basilican, or axial, type, represented by the basilica at the Holy Sepulchre, and the circular, or central, type, represented by the great octagonal church once at Antioch.

Those of the latter type we must suppose were nearly always vaulted, for a central dome would seem to furnish their very raison d'etre. The central space was sometimes surrounded by a very thick wall, in which deep recesses, to the interior, were formed, as at Church of St. George, Sofia, build by the Romans in the 4th century as a cylindrical domed structure built on a square base, and the noble Church of Saint George, Thessaloniki (5th century), or by a vaulted aisle, as at Santa Costanza, Rome (4th century); or annexes were thrown out from the central space in such a way as to form a cross, in which these additions helped to counterpoise the central vault, as at the Mausoleum of Galla Placidia, Ravenna (5th century). The most famous church of this type was that of the Holy Apostles, Constantinople. Vaults appear to have been early applied to the basilican type of plan; for instance, at Hagia Irene, Constantinople (6th century), the long body of the church is covered by two domes.

At the Holy Apostles (6th century) five domes were applied to a cruciform plan; the central dome was the highest. After the 6th century there were no churches built which in any way competed in scale with these great works of Justinian, and the plans more or less tended to approximate to one type. The central area covered by the dome was included in a considerably larger square, of which the four divisions, to the east, west, north and south, were carried up higher in the vaulting and roof system than the four corners, forming in this way a sort of nave and transepts. Sometimes the central space was square, sometimes octagonal, or at least there were eight piers supporting the dome instead of four, and the nave and transepts were narrower in proportion.

If we draw a square and divide each side into three so that the middle parts are greater than the others, and then divide the area into nine from these points, we approximate to the typical setting out of a plan of this time. Now add three apses on the east side opening from the three divisions, and opposite to the west put a narrow entrance porch running right across the front. Still in front put a square court. The court is the atrium and usually has a fountain in the middle under a canopy resting on pillars. The entrance porch is the narthex. Directly under the center of the dome is the ambo, from which the Scriptures were proclaimed, and beneath the ambo at floor level was the place for the choir of singers. Across the eastern side of the central square was a screen which divided off the bema, where the altar was situated, from the body of the church; this screen, bearing images, is the iconostasis. The altar was protected by a canopy or ciborium resting on pillars. Rows of rising seats around the curve of the apse with the patriarch's throne at the middle eastern point formed the synthronon. The two smaller compartments and apses at the sides of the bema were sacristies, the diaconicon and prothesis. The ambo and bema were connected by the solea, a raised walkway enclosed by a railing or low wall.

The continuous influence from the East is strangely shown in the fashion of decorating external brick walls of churches built about the 12th century, in which bricks roughly carved into form are set up so as to make bands of ornamentation which it is quite clear are imitated from Cufic writing. This fashion was associated with the disposition of the exterior brick and stone work generally into many varieties of pattern, zig-zags, key-patterns etc.; and, as similar decoration is found in many Persian buildings, it is probable that this custom also was derived from the East. The domes and vaults to the exterior were covered with lead or with tiling of the Roman variety. The window and door frames were of marble. The interior surfaces were adorned all over by mosaics or frescoes in the higher parts of the edifice, and below with incrustations of marble slabs, which were frequently of very beautiful varieties, and disposed so that, although in one surface, the coloring formed a series of large panels. The better marbles were opened out so that the two surfaces produced by the division formed a symmetrical pattern resembling somewhat the marking of skins of beasts.

[Papastratosels26]

Churches :

[Papastratosels26]

Secular buildings :

[PAGANE]

The Church of St. John the Baptist is a cruciform church located in Nessebar, Bulgaria. It was built in the 11th century

[The Great Uniter]

It's basically Romanesque but Eastern European.

[PAGANE]

Hagia Sophia Church, Nesebar also known as the Old Bishopric The Basilica was built immediately after the Council of Chalcedon in 451, when the Diocese of Thrace passed under the jurisdiction of the Patriarch of Constantinople. The building was destroyed by the Avars in the 6th century and restored at the beginning of the 7th century. It acquired its present appearance after reconstruction in the beginning of the IX century.

[Aspirin]

It's basically Romanesque but Eastern European.

Early Byzantine architecture influenced the Romanesque one, this is the reason to see similarities.