Greece.
335. Catholicon Dochiariu.
There can be little doubt but that, if a systematic search were made among the churches of Greece, many would be brought to light which would be most useful in completing our knowledge of the Neo-Byzantine style.[[236]] At Mount Athos there exists from twenty to thirty monasteries, each with its Catholicon or principal church and other chapels. Many of these are of ancient date, ranging between the 10th and 16th centuries, and although some of them may have been restored, in some cases rebuilt in later times, they have not yet been examined or illustrated by any competent architect. Brockhaus in his work[[237]] gives the plan of three churches, one of which, the Catholicon (dated 1043) of the Dochiariu Monastery (Woodcut No. [335]), is further illustrated by a bird’s-eye view taken from a photograph. The domes and drums over the narthex and two eastern chapels would seem to be later additions, made either in consequence of the proximity of the buildings of the monastery which obscured the light obtainable from windows, or to show better the wall frescoes, which in the case of the narthex, where no windows ever existed, must have been quite dark at first. The oldest church (963 A.D.) apparently is that of the Protaton at Caryas, which consists of a short nave, a transept, and a long choir, and is wanting in that one feature which is supposed to be characteristic of a Byzantine church, viz., a dome; the whole building is covered like a basilica with a flat wooden roof, beneath which are clerestory windows. Photogravures or woodcuts are given of the churches of Chilandari (1197 A.D.), Xeropotamu (1028-34 A.D.), the Laura (963 A.D., but rebuilt under Turkish rule), and woodcuts from photographs in an interesting description of the Monasteries by Mr. A. Riley,[[238]] give a good general idea of the work to be found in Athos, from which it would seem that the chief interest centres in the sumptuous carvings of the icon and stalls,[[239]] and in the frescoes with which most of the interiors of the churches are painted.
336. Plan of Panagia Lycodemo. Scale 100 ft. to 1 in.
337. Church of Panagia Lycodemo. (From A. Lenoir.) Enlarged scale.
For Greece proper we are dependent almost wholly on Couchaud[[240]] and Blouet.[[241]] So far as the illustrations go they suggest that there are no churches of such dimensions as would ensure dignity, nor are any so beautiful in outline or detail as to make us regret much that we do not know more about them. Still they are sufficiently original to be worthy of study, and when properly known may help to join together some of the scattered links of the chain which once connected the architecture of the West and East, but which is at present so difficult to follow out.
In Athens there are several churches of considerable interest, and not without architectural pretension. They are all small, however. The largest is that known as Panagia Lycodemo, or the church of St. Nicodemus, and is only 62 ft. long by 45 ft. wide over all. It seems also to be the oldest, since its dome is partially pierced with windows inside, though outside there is a distinctly marked drum (Woodcut No. [337]). Notwithstanding the smallness of its dimensions, considerable effect is obtained internally by the judicious arrangement of the parts and the harmony of proportion which reigns throughout. The exterior is also pleasing, though the loss of the cornice gives an unfinished look to the whole, and there is a want of sufficient connection between the dome and the walls of the building to make them part of one composition.
338. Cathedral at Athens. (From Gailhabaud.)
A more beautiful and more interesting example is the church known as the Catholicon or Cathedral at Athens (Woodcut No. [338]). It is a cathedral, however, only in a Greek sense, certainly not as understood in the Latin Church, for its dimensions are only 40 ft. by 25 over all externally. It is almost impossible to judge of its age from its details, since they are partly borrowed from older classical buildings, or imitations of classical forms, so fashioned as to harmonize with parts which are old. But the tallness of its dome, the form of its windows, and the internal arrangements, all point to a very modern date for its erection—as probably the 13th century as the 11th or 12th.
The church of the Virgin at Mistra in the Peloponnesus was built in the 13th century on a hillside overlooking the plain of Sparta, and partly with materials taken from the remains of the ancient city; but though it belongs possibly to the same age as the Catholicon at Athens, it differs considerably from it in style, and bears much more resemblance to the churches of Apulia and Sicily than either of those described above.
339. Plan of Church at Mistra. Scale 100 ft. to 1 in.
340. Church at Mistra. (From Couchaud, ‘Églises Byzantines en Grèce.’) Enlarged scale.
Where arcades are used externally in these Greek churches, they are generally supported by pillars of somewhat classical look (often old classic columns and capitals were used up), crowned by capitals of the square foliaged form, employed to support arches in the early styles all over Europe; and the windows, when divided, take merely the form of diminutive arcades. The Byzantines never attained to tracery; all their early windows are single round-headed openings. These were afterwards grouped together in threes and fives; and, as in the Gothic style, when they could be put under one discharging arch, the piers were attenuated till they became almost mullions, but always supporting constructive arches, without any tendency to run into interlacing forms like the Gothic. The universal employment of mural painting in Byzantine churches, and the consequent exclusion of painted glass, rendered the use of the large windows which the Gothic architects employed quite inadmissible; and in such a climate very much smaller openings sufficed to admit all the light that was required. Tracery would thus, in fact, have been an absurdity, and the windows were often filled in with transparent marble slabs pierced with holes, which were either glazed or occasionally even left open. The Byzantine architects sought to ornament their windows externally by the employment of tiles or colours disposed in various patterns, and often produced a very pleasing effect, as may be seen from the woodcut (No. [337]) illustrating the apse of the Panagia Lycodemo at Athens, in the Hebdomon Palace (Woodcut No. [342]), and other specimens already quoted.
341. Apse from Mistra. (From Couchaud.)
Occasionally we find in these churches projecting porches or balconies, and machicolations, which give great relief to the general flatness of the walls. These features are all marked with that elegance peculiar to the East, and more especially to a people claiming descent from the ancient Greeks, and possibly having some of their blood in their veins. Sometimes, too, even a subordinate apse is supported on a bracket-like balcony, so as to form a very pleasing object, as in the accompanying specimen from Mistra.
On the whole the Neo-Byzantine style may be said to be characterised by considerable elegance, with occasional combinations of a superior order; but after the time of Justinian the country was too deficient in unity or science to attempt anything great or good, and too poor to aspire to grandeur, so that it has no claim to rank among the great styles of the earth.[[242]] The old Byzantine style was elevated to a first-class position through the buildings of Justinian; but from his time the history of the art is a history of decline, like that of the Eastern Empire itself and of Greece, down to the final extinction both of the Empire and the style, under the successive conquests by the Venetians and the Turks. The only special claim which the Neo-Byzantine style makes upon our sympathies or attention is that of being the direct descendant of Greek and Roman art. As such, it forms a connecting link between the past and present which must not be overlooked, while in itself it has sufficient merit to reward the student who shall apply himself to its elucidation.