Of the Buildings of Justinian

by Procopius

CHURCH OF S^T. SOPHIA.
HALF SECTION THROUGH GREAT DOME AND TRANSEPT
Vincent Brooks Day & Son

CHURCH OF S^T. SOPHIA.
HALF PLAN ON LEVEL OF GROUND FLOOR. HALF PLAN ON LEVEL OF GALLERIES

The Emperor Justinian and the architects Anthemius and Isidorus used many devices to construct so lofty a church with security. One alone of these I will at this present time explain, by which a man may form some opinion of the strength of the whole work; as for the others, I am not able to discover them all, and find it impossible to explain them in words. It is as follows:—The piers[4] of which I just now spoke are not constructed in the same manner as the rest of the building, but in this fashion: they consist of quadrangular courses of stones, rough by nature, but made smooth by art; of these stones, those which make the projecting angles of the pier are cut angularly, while those which go in the middle parts of the sides are cut square. They are fastened together not with what is called unslaked lime, not with bitumen, the boast of Semiramis at Babylon, nor anything of the kind, but with lead, which is poured between the interstices, and which, pervading the whole structure, has sunk into the joints of the stones, and binds them together; this is how they are built. Let us now proceed to describe the remaining parts of the church. The entire ceiling is covered with pure gold, which adds glory to its beauty, though the rays of light reflected upon the gold from the marble surpass it in beauty; there are two porticos on each side, which do not in any way dwarf the size of the church, but add to its width. In length they reach quite to the ends, but in height they fall short of it; these also have a domed ceiling and are adorned with gold. Of these two porticos, the one is set apart for male, and the other for female worshippers; there is no variety in them, nor do they differ in any respect from one another, but their very equality and similarity add to the beauty of the church. Who could describe the galleries[5] of the portion set apart for women, or the numerous porticos and cloistered courts with which the church is surrounded? who could tell of the beauty of the columns and marbles with which the church is adorned? one would think that one had come upon a meadow full of flowers in bloom: who would not admire the purple tints of some and the green of others, the glowing red and glittering white, and those, too, which nature, like a painter, has marked with the strongest contrasts of colour? Whoever enters there to worship perceives at once that it is not by any human strength or skill, but by the favour of God that this work has been perfected; his mind rises sublime to commune with God, feeling that He cannot be far off, but must especially love to dwell in the place which He has chosen; and this takes place not only when a man sees it for the first time, but it always makes the same impression upon him, as though he had never beheld it before. No one ever became weary of this spectacle, but those who are in the Church delight in what they see, and, when they leave it, magnify it in their talk about it; moreover, it is impossible accurately to describe the treasure of gold and silver plate and gems, which the Emperor Justinian has presented to it; but by the description of one of them, I leave the rest to be inferred. That part of the church which is especially sacred, and where the priests alone are allowed to enter, which is called the Sanctuary, contains forty thousand pounds’ weight of silver!

The above is an account, written in the most abridged and cursory manner, describing in the fewest possible words the most admirable structure of the church at Constantinople which is called the Great Church, built by the Emperor Justinian, who did not merely supply the funds for it, but assisted it by the labour and powers of his mind, as I will now explain. Of the two arches which I lately mentioned (the architects call them ‘lori’[6]), that one which stands towards the east had been built up on each side, but had not altogether been completed in the middle, where it was still imperfect; now the piers upon which the building rested, unable to support the weight which was put upon them, somehow all at once split open, and seemed as though before long they would fall to pieces. Upon this Anthemius and Isidorus, terrified at what had taken place, referred the matter to the Emperor, losing all confidence in their own skill. He at once, I know not by what impulse, but probably inspired by heaven, for he is not an architect, ordered them to carry round this arch; for it, said he, resting upon itself, will no longer need the piers below. Now if this story were unsupported by witnesses, I am well assured that it would seem to be written in order to flatter, and to be quite incredible; but as there are many witnesses now alive of what then took place, I shall not hesitate to finish it. The workmen performed his bidding, the arch was safely suspended, and proved by experiment the truth of his conception. So much then for this part of the building; now with regard to the other arches, those looking to the south and to the north, the following incidents took place. When the arches called ‘lori’ were raised aloft during the building of the church, everything below them laboured under their weight, and the columns which are placed there shed little scales, as though they had been planed. Alarmed at this, the architects again referred the matter to the Emperor, who devised the following plan. He ordered the upper part of the work that was giving way, where it touched the arches, to be taken down for the present, and to be replaced long afterwards when the damp had thoroughly left the fabric. This was done, and the building has stood safely afterwards, so that the structure as it were bears witness to the Emperor.

II. In front of the Senate House there is an open place which the people of Constantinople call the Augustæum: in it there are not less than seven courses of stone in a quadrangular form, arranged like steps, each one so much less in extent than that which is below, that each one of the stones projects sufficiently for the men who frequent that place to sit upon them as upon steps. From the topmost course a column rises to a great height—not a monolith, but composed of stones of a considerable periphery, which are cut square, and are fitted into one another by the skill of the masons. The finest brass, cast into panels and garlands, surrounds these stones on every side, binding them firmly together, while it covers them with ornament, and in all parts, especially at the capital and the base, imitates the form of the column. This brass is in colour paler than unalloyed gold; and its value is not much short of its own weight in silver. On the summit of the column there stands an enormous horse, with his face turned towards the east—a noble sight. He appears to be walking, and proceeding swiftly forwards; he raises his left fore-foot as though to tread upon the earth before him, while the other rests upon the stone beneath it, as though it would make the next step, while he places his hind feet together, so that they may be ready when he bids them move. Upon this horse sits a colossal brass figure of the Emperor, habited as Achilles, for so his costume is called; he wears hunting-shoes, and his ankles are not covered by his greaves. He wears a corslet like an ancient hero, his head is covered by a helmet which seems to nod, and a plume glitters upon it. A poet would say that it was that ‘star of the dog-days’ mentioned in Homer.[7] He looks towards the east, directing his course, I imagine, against the Persians; in his left hand he holds a globe, by which the sculptor signifies that all lands and seas are subject to him. He holds no sword or spear, or any other weapon, but a cross stands upon the globe, through which he has obtained his empire and victory in war; he stretches forward his right hand towards the east, and spreading out his fingers seems to bid the barbarians in that quarter to remain at home and come no further. This is the appearance of the statue.

The Church of Irene,[8] which was next to the great church, and was burnt down together with it, was rebuilt on a large scale by the Emperor Justinian—a church scarcely second to any in Byzantium except that of Sophia. There was between these two churches a hospice for the relief of destitute persons and those in the last extremity of disease, suffering in body as well as in fortune, which was built in former times by a God-fearing man named Sampson. This also did not remain unscathed by the insurgents, but perished in the fire, together with the two neighbouring churches. The Emperor Justinian rebuilt it in a more magnificent fashion, and with a much greater number of rooms, and he has also endowed it with a great annual revenue, in order that the sufferings of more unfortunate men may be relieved in it for the future. Insatiate as he was in his love for God, he built two other hospices opposite to this, in what are called the houses of Isidorus and Arcadius, being assisted in these pious works by the Empress Theodora. As for all the other churches which this Emperor raised in honour of Christ, they are so many in number and so great in size that it is impossible to describe them in detail, for no power of words nor one’s whole life would suffice to collect and to recite the list of their several names: let this much suffice.

III. We must begin with the churches of the Virgin Mary, for it is understood that this is the wish of the Emperor himself, and the true method of description distinctly points out that from God we ought to proceed to the Mother of God. The Emperor Justinian built in all parts of the Roman empire many churches dedicated to the Virgin, so magnificent and large, and constructed with such a lavish expenditure of money, that a person beholding any one of them singly would imagine it to have been his only work, and that he had spent the whole period of his reign in adorning it alone. For the present, as I said before, I shall describe the churches in Byzantium. One of the churches of the Virgin[9] was built by him outside the walls, in a place named Blachernæ (for he must be credited with the pious foundations of Justin, his uncle, since he administered his kingdom at his own discretion). This church is near the sea-shore, of great sanctity and magnificence; it is long, yet its width is well proportioned to its length, and above and below it is supported and rests on nothing less than sections of Parian marble which stand in the form of columns. These columns are arranged in a straight line in all parts of the church except in the middle, where they are set back. Those who enter this church especially admire its lofty and at the same time secure construction, and its splendid yet not meretricious beauty.