Architectural Features
The church of S. John the Baptist of the Studion is a basilica, and is of special interest because the only surviving example of that type in Constantinople, built while the basilica was the dominant form of ecclesiastical architecture in the Christian world. It has suffered severely since the Turkish conquest, especially from the fire which, in 1782, devastated the quarter in which it stands, and from the fall of its roof, a few winters ago, under an unusual weight of snow. Still, what of it remains and the descriptions of its earlier state given by Gyllius, Gerlach, and other visitors, enable us to form a fair idea of its original appearance. The recent explorations conducted by the Russian Institute at Constantinople have also added much to our knowledge of the building.
It is the oldest church fabric in the city, and within its precincts we stand amid the surroundings of early Christian congregations. For, partly in original forms, partly in imitations, we still find here a basilica's characteristic features: the atrium, or quadrangular court before the church; on three of its sides surrounded by cloisters; in its centre, the marble phialé or fountain, for the purification of the gathering worshippers; the narthex, a pillared porch along the western façade, where catechumens and penitents, unworthy to enter the sanctuary itself, stood afar off; the interior area divided into nave and aisles by lines of columns; the semicircular apse at the eastern extremity of the nave for altar and clergy; and galleries on the other sides of the building to provide ample accommodation for large assemblies of faithful people.
Note
Gyllius (De Top. Constant. l. iv. c. 9) describes the church as follows: 'Quod (monasterium) nunc non extat; aedes extat, translata in religionem Mametanam; in cujus vestibulo sunt quatuor columnae cum trabeatione egregie elaborata; in interiore parte aedium utrinque columnae sunt septem virides, nigris maculis velut fragmentis alterius generis lapidum insertis distinctae, quarum perimeter est sex pedum et sex digitorum. Denique earum ratio capitulorum, epistyliorum opere Corinthio elaborata, eadem est quae columnarum vestibuli. Supra illas sex existunt totidem columnae in parte aedis superiore. In area aedis Studianae est cisterna, cujus lateritias cameras sustinent viginti tres columnae excelsae Corinthiae.'
Gerlach (Tagebuch, p. 217; cf. pp. 359, 406) describes it under the style of the church of S. Theodore, for he confounds the monastery of Studius with that of the Peribleptos at Soulou Monastir: 'Das ist eine sehr hohe und weite Kirche (wie die unsern); hat zwei Reyhen Marmel-steiner Säulen mit Corinthischen Knäufen (capitellis), auff einer jeden Seiten sieben; auff deren jeden wieder ein andere Säule stehet. Der Boden ist mit lauter buntem von Vögeln und anderen Thieren gezierten Marmel auff das schönste gepflästert.' (This is a very lofty and broad church (like our churches). It has two rows of marble columns with Corinthian capitals, on either side seven; over each of which stands again another column. The floor is paved in the most beautiful fashion entirely with variegated marble, adorned with figures of birds and other animals.)
Choiseul Gouffier (Voyage pittoresque en Grèce, ii. p. 477), French ambassador to the Sublime Porte (1779-92), speaks of the church in the following terms: 'Dans l'intérieur sont de chaque côté sept colonnes de vert antique, surmontées d'une frise de marbre blanc parfaitement sculptée, qui contient un ordre plus petit et très bien proportionné avec le premier. Je ne sais de quel marbre sont ces secondes colonnes, parce que les Turcs qui défigurent tout ont imaginé de les couvrir de chaux.'
Ph. Bruun (Constantinople, ses sanctuaires et ses reliques au commencement du XV^e siècle, Odessa, 1883) identifies with the Studion one of the churches dedicated to S. John, which Ruy Gonzalez de Clavijo visited in Constantinople when on his way to the Court of Tamerlane. But that church was 'a round church without corners,' 'una quadra redonda sin esquinas,' and had forty-eight columns of verd antique, 'veinte é quatro marmoles de jaspe verde, ... é otros veinte é quatro marmoles de jaspe verde.' What church the Spanish ambassador had in view, if his description is correct, it is impossible to say. No other writer describes such a church in Constantinople. See the [Note] at the end of this chapter for the full text of the ambassador's description.
The northern wall of the atrium is original, as the crosses in brick formed in its brickwork show. The trees which shade the court, the Turkish tombstones beneath them, and the fountain in the centre, combine to form a very beautiful approach to the church, and reproduce the general features and atmosphere of its earlier days.
The narthex is divided into three bays, separated by heavy arches. It is covered by a modern wooden roof, but shows no signs of ever having been vaulted. The centre bay contains in its external wall a beautiful colonnade of four marble columns, disposed, to use a classical term, 'in antis.' They stand on comparatively poor bases, but their Corinthian capitals are exceptionally fine, showing the richest Byzantine form of that type of capital. The little birds under the angles of the abaci should not be overlooked.