[552] In the translation I have been assisted by Sir W. M. Ramsay, Professor Bury, and Mr. E. M. Antoniadi. The meaning of τελευταῖοι κρότοι is not clear. Various interpretations have been suggested; to read βροτοί, mortals, instead of κρότοι, and to construe τελευταῖοι adverbially, 'finally, O mortals!'; to understand a reference to the judgment day, 'O applauses given at the final judgment'; to take the phrase as equivalent to, 'O celebrities at (or to) the very end of time'; to understand it as signifying the eulogies actually given to the deceased by the poet. Professor Tendès, of Athens, whom I thank for his courtesy in this connection, suggests that the meaning is similar to that of the phrase τὰ τελευταιά in the modern Greek form of eulogy, ἔκαμε πολλά, ἀλλὰ τὰ τελευταιά του.... 'He did many things, but his last performances!' (surpassed all his previous deeds). Here the meaning would therefore be, 'O grandest achievements that men praise!'
CHAPTER XXV
THE DATING AND THE CLASSIFICATION OF THE CHURCHES
The dating of the Constantinople churches is a problem of great difficulty, and, in the absence of documentary evidence, we must often be contented with very indefinite suggestions. Many churches are known to have been founded at dates which are evidently earlier than the existing buildings, and have apparently been rebuilt at some later date of which the record has been lost. Other churches are known to have been 'repaired,' and here the question of how far 'repair' means 'rebuilding' is sometimes insoluble. Repair may mean simply a fresh coat of paint.
The architectural characteristics afford a certain clue, and the following chronological scheme has been drawn up by their guidance:—
The pre-Justinian period is characterised by simple construction and detail of a late Roman type. Of this we have one example—the basilica of S. John of the Studion, founded about 463. The existing building appears to be original.
The Justinian period commences with the beginning of the sixth century. It is characterised by the development of the drumless dome on pendentives. The plan is complicated, and the buildings are large in comparison with those of later date. To this period belong SS. Sergius and Bacchus (527 A.D.), the baptistery of S. Sophia, and the 'Great Church' of S. Sophia itself. S. Andrew in Krisei and S. Saviour in the Chora probably date from this period. The carved detail of the former closely resembles that of SS. Sergius and Bacchus, and the plan of the latter connects it with S. Sophia, Salonica (sixth century).
The Justinian period roughly includes the seventh century, and is followed by a long decline, marked by the great iconoclastic controversy which lasted almost until the middle of the ninth century. To this period belongs S. Irene (740 A.D.). In plan it is a double-domed cross church. In the arrangement of the dome-arches and galleries it resembles S. Theodosia, whilst in the presence of a western gallery over the narthex and in the number of columns in the 'nave arcade' it is like S. Sophia.