When the emperor went to the ruins of the church he praised the skilful craft of Anthemius; “he it was who laid the first foundations of the church, one skilled to draw a circle or set out a plan.[64] And he gave to the walls strength to resist the pushing arches, which were like active demons. This time it was not merely the crown of the arch that gave way [see above, p. [28]], for the very piers were shaken to their foundations.”
The poet now describes the building: “Whoever raises his eyes to the beauteous firmament of the roof, scarce dares to gaze on its rounded expanse sprinkled with the stars of heaven, but turns to the fresh green marble below, seeming as it were to see flower-bordered streams of Thessaly, and budding corn, and woods thick with trees; leaping flocks too and twining olive-trees, and the vine with green tendrils, or the deep blue peace of summer sea, broken by the plashing oars of spray-girt ship. Whoever puts foot within the sacred fane, would live there for ever, and his eyes well with tears of joy. Thus by Divine counsel, while angels watched, was the temple built again.
“At last the holy morn had come, and the great door of the new-built temple groaned on its opening hinges, inviting emperor and people to enter; and when the inner part was seen sorrow fled from the hearts of all, as the sun lit the glories of the temple. ’Twas for the emperor to lead the way for his people, and on the morrow to celebrate the birth of Christ. And when the first gleam of light rosy-armed driving away the dark shadows, leapt from arch to arch, then all the princes and people with one voice hymned their songs of prayer and praise; and as they came to the sacred courts, it seemed to them as if the mighty arches were set in heaven.
Apse and Exedras.—“Towards the East unfold triple spaces of semicircular form; and above, on an upright band of wall, soars aloft the fourth part of a sphere. Even so, high over its back and triple crest, shimmer the tail feathers of a peacock, with their countless eyes. These crowning parts men learned in the builder’s art call conchs; and certain it is they call them so from a shell of the sea, or ’tis a craftsman’s name.
Apse.—“The middle apse holds the stalls (thokoi) and steps (bathra) ranged circle-wise. Some on the level of the ground are massed close together round the centre; and as they rise higher, with the spaces between them, they widen out little by little, until they come to the stalls of silver. Thus with increasing circles they ever wheel round a fixed circle in the pavement.
Bema.—“Now the apse is separated [from the nave] by a space between vertical walls built on strong foundations, with an arch[65] above, not a portion of a sphere, but in the form of a cylinder cleft in twain.
Exedras.—“And westwards again are two conchs on columns, one on either side; projecting as if stretching out bent arms to embrace the people singing in the church. They are borne by columns of porphyry, bright of bloom ranged in semicircular line, and with capitals (karenoi) of gold, carrying the weight of the arches (kukloi) above. These columns were once brought from the cliffs of Thebes, which stand, like greaved warriors, by the banks of Nile. Thus, on two columns, on either side, rise the lower parts of either exedra (apsis). And for the support of each, the skilled workman has bent from below three small semicircular arches (apsides); and, beneath their springing, the tops (kareata) of the columns are bound with well-wrought bronze, overlaid with gold, which drives away all fear. Now above the porphyry columns stand others from Thessaly, splendid flowers of fresh green. Here are the fair upper galleries for the women. These too have arches, as may be seen from below, though they show six Thessalian columns and not two. And one wonders at the power of him, who bravely set six columns over two, and has not trembled to fix their bases over empty air.[66]
Fig. 5.—Ground Plan.
