Charles Diehl, Byzantine Art

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Charles Diehl, Byzantine Art

From: N.H.Baynes - H.St.L.B. Moss (ed.),Byzantium, An Introduction to East Roman

Civilization, Oxford Univ. Press, Oxford !"#. P$%&is'ed %y ermission.

H* +HU+H of St. So'ia in +onstantino&e is t'e masteriee of Byantine art, and it

is at t'e same time one of t'ose mon$ments /'ere some of t'e most 'arateristi

feat$res of t'at art aear most &ear&y. '$s if one /o$&d $nderstand t'e nat$re of t'e

+'ristian art of t'e *ast and in /'at its ori0ina&ity onsisted, one m$st 0o first of a&& tot'is essentia& %$i&din0-to t'is 12reat +'$r'1 as it /as a&&ed t'ro$0'o$t t'e *ast d$rin0

t'e Midd&e 30es.

4'en, in 567, t'e *meror 8$stinian deided to re%$i&d t'e '$r' /'i' +onstantine

'ad former&y ereted and dediated to t'e Ho&y 4isdom-for t'is is t'e meanin0 of St.

So'ia-'e /as determined t'at t'e ne/ sant$ary s'o$&d s$rass a&& ot'ers in s&endo$r.9n t'e /ords of a Byantine 'roni&er, it /as 1a '$r', t'e &ie of /'i' 'as never %een

seen sine 3dam, nor ever /i&& %e1. ; ir$&ar /as iss$ed to a&& t'e rovinia& 0overnors,

instr$tin0 t'em to send to +onstantino&e t'e ri'est soi&s in anient mon$ments and

t'e most %ea$tif$& mar%&es from t'e most famo$s n 7A eem%er

56A it /as so&emn&y onserated %y t'e *meror.

?t 'as %een tr$&y said t'at t'e 2reat +'$r' is 1one of t'e mi0'tiest reations in a&&

ar'itet$re1, a statement t'e tr$t' of /'i' is &ear&y s'o/n %y a &ose st$dy of t'is

famo$s mon$ment. 'e imression 0iven %y t'e exterior is, it is tr$e, %y no meansstriin0@ a sixt'-ent$ry Byantine %$i&din0, /it' its %are /a&&s of %ri, a&/ays resents

a some/'at oor and monotono$s aset from /it'o$t. B$t %efore enterin0 t'e %asi&ia,

/'en one 'as rossed t'e sae former&y o$ied %y t'e 0reat atri$m, s$rro$nded %yortioes, and t'e nart'ex /'i' oens into t'e '$r' %y nine doors, t'e effet rod$ed

%y t'e interior is in tr$t' inomara%&e. ; vast retan0&e, AA metres %y A.AC in area,

forms a %road nave f&aned %y ais&es /it' 0a&&eries a%ove t'em /'i' ass over t'e

nart'ex and extend a&& ro$nd t'e '$r'. 3t a 'ei0't of 55 metres from t'e 0ro$nd t'isentra& nave is ro/ned %y an enormo$s dome, 6 metres aross, /'i' rests $on fo$r

0reat ar'es s$orted %y fo$r massive iers. 4'ereas t'e ar'es >n t'e nort' and so$t'
http://www.oup.co.uk/http://www.oup.co.uk/


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sides of t'e nave are fi&&ed %y so&id /a&&s iered /it' /indo/s and arried on t/o tiers

of i&&ars, t'ose t'e east and /est are %$ttressed %y t/o semi-domes, ea' of /'i' in its

t$rn is s$orted %y t/o 0reat semiir$&ar ni'es and in t'is /ay stren0t' and %a&aneare 0iven to t'is astonis'in0 entra& dome. 3n ase roDets from t'e midd&e of t'e

'emiy&e /'i' is overed %y t'e eastern semi-dome@ exedrae, em%e&&is'ed /it'

o&$mns, to0et'er /it' t'e arades on t'e ri0't and &eft serve to onnet t'e nave /it' t'eais&es. B$t /'at most imresses t'e %e'o&der is t'e dome - 'enefort' a 'arateristi

feat$re of Byantine ar'itet$re- /'i' 'as tr$&y %een desri%ed %y a sixt'-ent$y /riter

as 1a /or at one marve&&o$s and terrifyin01, seemin0, so &i0't and airy it /as, 1rat'er to'an0 %y a 0o&den 'ain from 'eaven t'an to %e s$orted >n so&id masonry1.

'ere /as do$%t&ess not'in0 ne/ in s$' a &an. St. So'ia is re&ated to t'e tye of

%$i&din0, fami&iar in 3sia Ein>r sine t'e fift' ent$ry, no/n as t'e domed %asi&ia.B$t, in virt$e of its 0reat sie, 'armony of &ine, %o&dness >f onetion, and onstr$tive

si&&, it aears none t'e &ess as a tr$e reation -1a marve& of sta%i&ity, darin0, fear&ess

&o0i, and siene1, as +'oisy $ts it. 4'en on t'e day of its ina$0$ration 8$stinian sa/

t'e f$&fi&ment of 'is dream, one an /e&& ima0ine t'at in a transort of ent'$siasm 'e didindeed ex&aim: 12&ory %e to 2od /'o 'at' deemed me /ort'y to om&ete so 0reat a

/or. 9 'ave o$tdone t'ee, So&omon G1

'e deoration /'i' overs t'e interior of St. So'ia is of e t'is /onderf$& deoration, /'i' fort$nate&y sti&&

exists, m$st %e added t'e &ost s&endo$rs of t'e $&it or am%o -t'e d$&& 0&eam of its


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si&ver min0&in0 /it' t'e 0&itter of reio$s stones and t'e radiane of rare mar%&es- of t'e

ionostasis in 'ased si&ver t'at en&osed t'e sant$ary, of t'e a&tar in so&id 0o&d, s'inin0

/it' rare De/e&s and ename&s@ and of t'e si&ver anoy or i%ori$m over t'e a&tar,enri'ed /it' si& and 0o&d em%roideries %et/een its o&$mns. 3dd to t'at t'e %ea$ty of

t'e &i0'tin0 /'i' at ni0't made t'e '$r' s'ine /it' a fiery s&endo$r and ro&aimed

to sai&ors from afar t'e 0&ory of 8$stinian and t'e end of t'eir voya0e. +ontemoraries,one an /e&& $nderstand, o$&d not s$ffiient&y admire t'is St. So'ia, 1t'e marve&&o$s

$ni


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aeared t'e *astern %arre&-va$&ted %asi&ia (of /'i' t'e ori0in, it seems, s'o$&d %e

so$0't in Mesootamia)@ /'i&e in addition to t'e &ain reti&inear %asi&ian form aeared

t'e '$r' of ir$&ar, ota0ona&, or r$iform &an. 9n arti$&ar, t'e ne/ ar'itet$rea


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3s instanes of t'e reations of t'is 0reat artisti movement, /e may mention t'e

admira%&e %asi&ias sti&& standin0 in t'e dead ities of entra& Syria, name&y t'ose of

o$/ei'a, M'a%%a, o$rmanin, Ka&% Lo$J, and t'e monastery of St. Simeon Sty&itesat a&at Seman, D$st&y a&&ed 1t'e ar'aeo&o0ia& 0em of +entra& Syria1@ t'e o&dest of t'e

3rmenian '$r'es, t'e ori0ina&ity and inf&$ene of /'i' m$st not, 'o/ever, %e

exa00erated@ t'ose of 3sia Minor, arti$&ar&y t'at at Meriam&i in +i&iia, t'e ear&iestno/n exam&e of a domed %asi&ia, /'i' seems to 'ave &ayed an essentia& art in t'e

transformation of *astern e&ements in aordane /it' t'e sirit of 2reee@ at Sa&onia,

t'e fine %asi&ia of t'e ir0in (*si-D$ma), t'e domed %asi&ia of St. So'ia, and t'at ofSt. emetri$s, /'i' /it' its five naves, &ofty o&$mns, and its /a&&s %ri&&iant&y deorated

/it' s&endid mosais and mar%&e fain0 /as, %efore its destr$ti>n %y fire in !A, one

of t'e /onders of *ast +'ristian art@ eseia&&y a&so at Sa&onia t'e mosais of St. 2eor0e

and t'ose of t'e 'ae& of Hosios avid@ and at avenna, t'e Byantine ity /'ereOrienta& inf&$enes /ere aramo$nt, t'e mosais of t'e Batistery of t'e Ort'odox, and,

er'as t'e most ex


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t'e /or of 3nt'emi$s, or in t'e a


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/'ere t'e $rio$s reresentation of t'e ransfi0$ration aears as a &ast effort -at one

om&iated and s$%t&e- of t'e sym%o&ism of former days. B$t t'e most striin0 of a&& t'e

omositions in t'e t'ree '$r'es is $ndo$%ted&y t'at in t'e 'oir of San ita&e. o$ndt'e a&tar are 0ro$ed eisodes forete&&in0 and 0&orifyin0 t'e sarifie of t'e ivine Lam%,

and t'e /'o&e desi0n is insired and $nified %y t'is s$%&ime idea. eminisenes of

rimitive +'ristian art are sti&& %&ended /it' t'e fee&in0 for rea&ism and t'e sense of &ifeand nat$re 'arateristi of t'e ne/ sty&e. 'e mosais of t'e ase, a &itt&e &ater in date

(a%o$t 5"A), s'o/ t'is sty&e in its erfetion. 9n t'e on' is t'e imosin0 fi0$re of

+'rist, seated >n t'e 0&o%e of t'e /or&d, aomanied %y saints and ar'an0e&s. B$t mostremara%&e of a&& are t'e t/o famo$s senes in /'i' 8$stinian and 'eodora aear in

a&& t'e 0&ory of t'eir imeria& om, ortraits f$&& of &ife and exression, astonis'in0

visions risin0 from a dead ast. 'ese ma0nifient deorations, amon0st t'e most

reio$s reations of Byantine art /'i' /e sti&& ossess, ena%&e $s to form an idea oft'e nat$re of rofane art at Byanti$m, /'ere it 'e&d an imortant &ae %eside re&i0io$s

art. Unfort$nate&y a&& too fe/ exam&es of it 'ave s$rvived. 4e see, too, 'o/ o/erf$& an

effet o$&d %e o%tained %y em&oyin0 mosai, and /'y t'is met'od of deoration

ersisted in ordinary $se for ent$ries in *astern '$r'es, /'et'er t'e aim /as so&emn0rande$r or 'istoria& rea&ism.

'e same tendenies, t'e same interests, an %e traed in a&& t'e artisti remains of t'e

sixt' ent$ry. 3mon0st existin0 fift'-and sixt'-ent$ry i&&$strated man$srits are some

t'at are sti&& t'ro$0'o$t insired %y t'e He&&enisti sirit. 9n t'e 2enesis MS. in ienna,/'i' dates from t'e fift' ent$ry, sared eisodes are treated as senes from everyday

&ife@ t'e 'araters are &aed a0ainst a &andsae or an ar'itet$ra& %a0ro$nd, and

many a&&e0oria& fi0$res are introd$ed, s$' as nym's of t'e srin0s, 0ods of t'e

mo$ntains, and ersonifiations of ities and virt$es. 4e find a simi&ar treatment in t'esevent'-ent$ry 8os'$a o&& in t'e atian, /'i' rerod$es mode&s of $ndo$%ted&y

ear&ier date, and in t'e ienna MS. of t'e Nat$ra& History of iosorides, i&&$minated in

t'e sixt' ent$ry for a riness of t'e imeria& fami&y, in /'i' t'ere aear, amon0a&&e0oria& and myt'o&o0ia& fi0$res, ortraits of t'e a$t'or 'imse&f-a ommon feat$re of

t'e i&&$stration of anient man$srits. 'ere is, 'o/ever, a&ready a deve&oment in t'e

i&&$strations of t'e +'ristian oo0ra'y of +osmas ?ndio&e$stes, /'i' are a reationof sixt'-ent$ry 3&exandrian art, a&t'o$0' t'e ear&iest extant oy, no/ in t'e atian,

dates from t'e sevent' ent$ry. Ne/ t'emes, ne/ tyes, of a more serio$s and so&emn

nat$re, 'arateristi of t'e 'istoria& and mon$menta& sty&e, are min0&ed /it'

it$res


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a&so re&i0io$s senes@ 'ere more and more t'e s$&e freedom of He&&enisti art is

re&aed %y t'e so&emn rea&ism of t'e mon$menta& sty&e, /'i&e t'e 0ro/in0 taste for

o&y'romy is revea&ed in a ri'er and /ider ran0e of o&o$rs. 'e art of t'e s$&tors'o/s simi&ar tendenies. ?t is reresented 'ief&y %y arved ivories, for mon$menta&

s$&t$re tends to disaear and is red$ed to a $re&y ornamenta& deoration. 'e

He&&enisti sty&e ersists in s$' /ors as t'e Bar%erini ivory in t'e Lo$vre or t'e dity'of t'e ar'an0e& Mi'ae& in t'e Britis' M$se$m. B$t for t'e most art Orienta& inf&$ene

redominates. 3 nota%&e exam&e is t'e e&e%rated t'rone of Bis'o Maximian reserved

at avenna, a masteriee of te'nia& si&& and de&iate raftsmans'i. Here events int'e &ife of 8ose', senes from t'e &ife of +'rist, and so&emn fi0$res of t'e *van0e&ists are

&aed in a ri'&y deorated settin0. 9n t'e 0o&d-and-si&ver-/or from 3ntio'-as for

exam&e in t'e si&ver dis'es from erynia (yrenia) in +yr$s and in t'e famo$s 3ntio'

'a&ie, $ndo$%ted&y of t'e fift' or sixt' ent$ry-/e find t'e same note of rea&ism, t'esame


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*ast, /'i&e its reative o/er /o$&d %e revea&ed t'ro$0' &ose o%servation of nat$re and

of &ife in its sear' for exressive and it$res&y 3ost&es (t/e&ft' ent$ry). ?tis met /it' in 2reee and 3sia Minor, in B$&0aria, and Ser%ia, in o$mania, as /e&& as in

$ssia. 4'i&e t'e &an in its a&iation varies onsidera%&y, ertain ommon tendenies

aear every/'ere of /'i' it is imortant to $nder&ine t'e 'arateristi feat$res: ()anexterna& em'asis >n t'e main &ines of t'e onstr$tion %y means of fo$r &ofty va$&ts,

endin0 in $rved or trian0$&ar faades@ and (7)t'e raisin0 to a 0reat 'ei0't of t'e entra&

dome %y &ain0 it on a &ofty o&y0ona& dr$m. '$s t'e some/'at 'eavy $%ia& mass of

t'e o&der %$i&din0s is re&aed %y a more e&e0ant and 'armonio$s 0ro$in0 of a series ofdiminis'in0 va$&ts /'i' om%ine to form a ind of yramid, $&minatin0 in t'e entra&

dome /'i' om&etes t'e 0raef$& o$t&ine of t'e /'o&e. 'ere /as a &ie attemt to 0ive

more sae and air to t'e interior of t'e %$i&din0 %y s$%stit$tin0 s&ender o&$mns for t'emassive iers t'at former&y s$orted t'e dome, /'i&e t'e monotony of strai0't &ines /as

re&ieved %y 'emiy&es at t'e ends of t'e nart'ex or %y a triasida& termination of t'e

sant$ary. '$s t'ese Byantine '$r'es 0ained somet'in0 of t'e 0rae and vi0o$r of2ot'i at'edra&s. 3nd, 0reatest 'an0e of a&&, 'armin0 and si&f$& om%inations of

o&o$r aeared >n t'e externa& faades in &ae of t'e severe and deressin0 %areness of

t'e 0reat %&an /a&&s of former times. 'is /as effeted %y a&ternations of red %ri /it'

/'ite r$%%&e, to form 0eometria& atterns, s$' as 'e


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Pa&ermo, and a%ove a&& if one enters a '$r' on Mt. 3t'os, one is at first si0't

%e/i&dered %y t'e /ea&t' of 2ose& senes and fi0$res of saints /it' /'i' t'e /a&&s and

va$&ts are overed. 'e arran0ement of t'e desi0ns is, 'o/ever, %y no means fort$ito$s@it /as a rofo$nd idea /'i' insired and ordered t'e disosition of t'e /'o&e. 'e

s$essf$& resentation to t'e eyes of t'e fait'f$& of t'e dotrines of t'e +'$r' t'ro$0'

t'is ne/ system of deoration /as ass$red&y one of t'e finest reations of t'e art ofByanti$m d$rin0 t'e nint' and tent' ent$ries. 'e main o%Det of sixt'-ent$ry '$r'

deoration 'ad %een, as /e 'ave seen, to reord $on t'e /a&&s of t'e '$r'es senes

from t'e 2ose& story@ no/, 'o/ever, it is do0ma and &it$r0y t'at are to %e exressed int'e deoration. One 'istory 'ad taen t'e &ae of sym%o&s, no/ in its t$rn 'istory 0ives

/ay %efore t'eo&o0y.

*a' y&e of senes o$ied in fat a seia& &ae in t'e '$r' in onformity /it' arofo$nd t'eo&o0ia& onetion. 3t t'e ro/n of t'e dome t'e Heaven&y +'$r' /as

reresented %y t'e 0&orio$s and a/e-insirin0 ima0e of t'e +'rist Pantorator s$rro$nded

%y an0e&s and ro'ets and dominatin0 t'e assem%&y of t'e fait'f$&. 9n t'e ase t'e

+'$r' on *art' aears in its &oftiest manifestation, t'at of t'e ir0in, rayin0 for'$manity, or ent'roned %et/een t/o ar'an0e&s@ and %eneat' 'er, over t'e a&tar, are ot'er

senes, s$' as t'e +omm$nion of t'e 3ost&es or t'e ivine Lit$r0y, /'i' a&&ed tomind t'e mystery of t'e *$'arist. 9n t'e rest of t'e %$i&din0 devoted to t'e +'$r' on

*art' t'e saints and martyrs, 'eroes and /itnesses of t'e +'ristian fait', are ran0ed in

'ierar'ia& order@ /'i&e a%ove t'em /ere senes from t'e 2ose&s reresentin0 t'et/e&ve 0reat feasts of t'e +'$r', t'ro$0' /'i' t'e essentia&s of +'ristian do0ma are

exressed. 'ese are t'e 3nn$niation, Nativity, Presentation in t'e em&e, Batism,

aisin0 of Laar$s, ransfi0$ration, *ntry into 8er$sa&em, +r$ifixion, esent into He&&,

3sension, Penteost, and eat' of t'e ir0in. > attemt /as made to arran0e t'esesenes in 'rono&o0ia& order, %$t rominene /as 0iven to t'ose of t'e deeest do0mati

si0nifiane, so as to dra/ to t'em more fori%&y t'e attention of t'e fait'f$&: t'$s at St.

L$e t'e Stiriotes and at a'ni seia& &aes are set aart for t'e +r$ifixion and t'ees$rretion. 30ain, on t'e /estern /a&& of t'e '$r', over t'e entrane, /as t'e vast

omosition reresentin0 t'e Last 8$d0ement. Minor eisodes, s$' as t'e 4as'in0 of

t'e isi&es Feet, and t'e o$%tin0 of 'omas, om&ete a 0reat deorative s'eme in/'i', in t'e /ords of a t'eo&o0ian, 1a&& t'e mysteries of t'e ?narnation of +'rist1 /ere

om%ined. Last&y, senes from t'e &ife of t'e ir0in /ere 0enera&&y reresented in t'e

nart'ex.

3t t'e same time iono0ra'y /as enri'ed %y t'e reation of ne/ s$%Dets and of ne/

tyes, more individ$a&, more exressive, insired %y a 0reater rea&ism and sinerity.

Under t'e inf&$ene of t'e 3ory'a& 2ose&s senes from t'e &ife of t'e ir0in too aninreasin0&y rominent art in '$r' deoration. +ertain ne/ s$%Dets no/ mae t'eir

aearane, s$' as t'e esent into He&&, t'e ormition of t'e ir0in, and t'e

+omm$nion of t'e 3ost&es, /'i' are &ain&y inventions of artists of 0eni$s. Here, too,t'ere is reative o/er /'i' does 'ono$r to t'e Byantine art of t'e tent' and e&event'

ent$ries, and it is no sma&& roof of its a'ievement t'at t'ese mode&s dominated for

ent$ries t'e deoration of '$r'es t'ro$0'o$t t'e /'o&e of t'e +'ristian *ast.


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'e 1Ne/ +'$r'1 'as &on0 vanis'ed. Not'in0 remains of its mosais in /'i' t'e

reise form$&a of t'e ne/ system of deoration seems for t'e first time to 'ave rea'ed

its f$&& exression, %$t a&ready some of t'e &ater mosais of St. So'ia 'ave %eendis&osed, /'i&e o$tside t'e aita& *astern +'ristendom an sti&& s'o/ severa& exam&es

of t'ese om%inations of t'eo&o0ia& senes /'i' are of very rea& imortane and of a

&ivin0 interest. '$s datin0 from t'e %e0innin0 of t'e e&event' ent$ry t'ere is t'e '$r'of St. L$es monastery in P'ois, its mosais and t'e mar%&e veneerin0 of its /a&&s

a&most intat and not marred %y any restoration@ and from t'e end of t'e same ent$ry t'e

mosais of t'e '$r' of t'e monastery of a'ni, near 3t'ens, 'ave D$st&y %een a&&ed1a masteriee of Byantine art1. Bet/een t'e %e0innin0 and t'e end of t'e e&event'

ent$ry t'e s$essive sta0es in t'e deve&oment and ro0ress of t'e ne/ art are

i&&$strated in a series of ot'er %$i&din0s, s$' as St. So'ia of iev (mid-e&event'

ent$ry), /It' its mosais and its $rio$s fresoes reresentin0 Byantine o$rt &ife anderformanes in t'e 'iodrome@ Nea Moni in t'e is&and of +'ios, $nfort$nate&y

serio$s&y dama0ed@ St. So'ia of Sa&onia, /'i' 'as a reresentation of t'e 3sension

in t'e dome@ t'e '$r' of t'e ormition of t'e ir0in at Niaea, om&ete&y destroyed in

t'e 2reo-$ris' /ar of !77@ t'e at'edra& of ore&&o, famo$s for its 0reat Last8$d0ement@ and in St. Mars at enie, /'i' a&so dates from t'e end of t'e e&event'

ent$ry, t'e deorations of t'e t'ree domes of t'e nave and t'e y&e of t'e 0reat feasts oft'e +'$r' on t'e $rve of t'e 0reat ar'es.

?t is remara%&e 'o/ m$' a&& t'ese /ors sti&& o/e to anient tradition. Some,arti$&ar&y t'ose of a'ni, are a&most &assi in t'eir fee&in0 for &ine, sensitive dra/in0,

and de&iate mode&&in0. 'e %ea$ty of t'e tyes, t'e e&e0ant draery, and 'armonio$s

0ro$in0 of some of t'ese omositions s'o/ to /'at an extent t'e inf&$ene of antif t'e +'$r', ro0ressive&y freed itse&f from t'e traditions of He&&enism and in

t'e end o$sted imeria& art imosin0 its o/n more ri0id and a$stere ro0ramme. 'e


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tendenies of t'is re&i0io$s art are seen in t'e ne/&y disovered fresoes of t'e ro

'$r'es of +aadoia and in t'ose /'i' deorate t'e 'ae&s of 'ermits in so$t'ern

?ta&y. 'ey aear even more &ear&y in i&&$minated man$srits. ?t /as t'e e&esiastiand monasti inf&$enes t'at fina&&y revai&ed, fixin0 t'e tyes, stiffenin0 t'e oses of t'e

fi0$res, and e&iminatin0 everyt'in0 t'at seemed too m$' t'e o$tome of individ$a&

fantasy, or too s$set of anient a0anism. Nevert'e&ess, for a &on0 time t'e t/ooosin0 s'oo&s reated $on ea' ot'er@ t'ey 'ad many f i&&$strated man$srits. 'e

eo' of t'e Maedonian and +omnenian *merors (from t'e end of t'e nint' to t'e end

of t'e t/e&ft' ent$ry) /as $n


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asendany of re&i0io$s inf&$enes. 'e s$mt$o$s Meno&o0i$m in t'e atian Li%rary,

i&&$minated for Basi& 99, is some/'at monotono$s and s'o/s an o%vio$s anxiety to

onform to t'e traditiona& 1anon1, not/it'standin0 t'e aarent variety of s$%Det andt'e si&& of t'e ei0't artists /'o i&&$strated it. 3nd t'e tri$m' of t'e monasti sirit is

sti&& more evident in t/e&ft'-ent$ry man$srits, s$' as t'at ontainin0 t'e Homi&ies of

8ames t'e Mon. 3rt %eame more and more s$%Det to t'e r$&e &aid do/n %y t'e +o$ni&of Niaea in A#A@ 1it is for ainters to exe$te, for t'e Fat'ers to order and to resri%e1.

9n t'e end t'e +'$r' s$eeded in main0 'er dotrina& and &it$r0ia& tendenies revai&.

B$t it is none t'e &ess a fat t'at t'e miniat$re aintin0 of t'e Seond 2o&den 30e, asoneived %y t'e artists of t'e imeria& s'oo&, /it' t'eir &ove of inident, &andsae, and

t'e it$res


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From t'e tent' to t'e t/e&ft' ent$ries Byantine +onstantino&e aeared to t'e /'o&e

ivi&ied /or&d to %e a ity of marve&s: in t'e /ords of i&&e'ardo$in, 1t'e ity soverei0na%ove a&& ot'ers1. 9n t'e o&d fo0s of Sandinavia and %eside iy $ssian rivers, in

enetian o$ntin0-'o$ses or 4estern ast&es, in +'ristian Frane and ?ta&y as /e&& as in

t'e M$ss$&man *ast, a&& t'ro$0' t'e Midd&e 30es fo& dreamed of Byanti$m, t'einomara%&e ity, radiant in a %&ae of 0o&d. 3s ear&y as t'e sixt' ent$ry t'e ran0e of its

inf&$ene /as a&ready astonis'in0, and its art 'ad exerised a otent inf&$ene in Nort'

3fria, in ?ta&y, and even in Sain. From t'e tent' to t'e t/e&ft' ent$ries t'is inf&$ene%eame yet 0reater@ Byantine art /as at t'at time 1t'e art /'i' set t'e standard for

*$roe1, and its s$remay an %e omared on&y /it' t'at of Fren' art in t'e t'irteent'

ent$ry. For any 'oie /or, if it /ere diffi$&t of exe$tion or of rare f t'e '$r'es >f Neredita, near Nov0orod, Psov and

Staraya Lado0a, and eseia&&y t'ose &ate&y disovered in St. emetri$s at &adimir,reeat t'e reations of t'e masters of t'e Byantine aita&. 'e same may %e said of t'e

e&event'-ent$ry mosais at iev in t'e '$r'es of St. So'ia and St. Mi'ae& of t'e

2o&den Heads. 'e %rone doors reserved in t'e '$r'es of 3ma&fi, Sa&erno, at MonteSant3n0e&o, and San Va>&>. 4it'o$t t'e 4a&&s are Byantine /ors, as is &ie/ise t'e

%ea$tif$& freso over t'e entrane to Sant 3n0e&o in Formis. 'e art /'i' arose in t'e

e&ent' ent$ry at t'e 0reat 3%%ey of Monte +assino and t'at /'i' in t'e t/e&ft' and

t'irteent' ent$ries deorated /it' mosais t'e '$r'es of ome are rofo$nd&y mared%y Orienta& inf&$ene. By t'eir sty&e, arran0ement, and iono0ra'y t'e mosais of St.

Mars at enie and of t'e at'edra& at ore&&o &ear&y revea& t'eir Byantine ori0in.

Simi&ar&y t'ose of t'e Pa&atine +'ae&, t'e Martorana at Pa&ermo, and t'e at'edra& of+efa&$, to0et'er /it' t'e vast deoration of t'e at'edra& at Monrea&e, demonstrate t'e

inf&$ene of Byanti$m >n t'e Norman +o$rt of Sii&y in t'e t/e&ft' ent$ry. Hisano-

Mooris' art /as $nn into t'e t/e&ft' ent$ry.+ertain&y one m$st not exa00erate eit'er t'e ran0e or t'e d$ration of t'e effet of t'e *ast

>n t'e arts of t'e 4est. 'e artists /'o sat at t'e feet of Byantine masters /ere not

entire&y for0etf$& of t'eir nationa& traditions, and Byantine mode&s tended rat'er, as 'as%een said, 1to a/aen in t'em a onsio$sness of t'eir o/n


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3t a%o$t t'e same time Byanti$m exerised a simi&ar inf&$ene in 3sia. 'e '$r'es of

3rmenia and 2eor0ia, t'o$0' 'i0'&y ori0ina&, are &ined %y many feat$res to t'eByantine tradition, and t'ere is do$%t&ess some exa00eration in attri%$tin0 to 3rmenia,

as 'as &ate&y %een done, a aramo$nt inf&$ene in t'e formation of Byantine art. *astern

*$roe ertain&y reeived m$' from 3rmenia, %$t in t'is ex'an0e of inf&$enesByanti$m 0ave at &east as m$' as s'e reeived. 3ra%ian art a&so rofited 0reat&y %y 'er

tea'in0. 'o$0' Byanti$m $ndo$%ted&y &earnt m$' from t'e art of 3ra%ia, in ret$rn

s'e made t'e inf&$ene of 'er ivi&iation fe&t t'ere, as s'e did in t'e t/e&ft' ent$ry inLatin Syria.

From t'e end of t'e t/e&ft' ent$ry one an o%serve a deve&oment in Byantine art t'at

/as to 'ave imortant onse


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One m$st admit t'at t'is art /as inf&$ened to some extent %y t'e ?ta&ian masters of

Siena, F&orene, and enie@ from t'em it &earned some &essons. 3nd in t'e same /ay itmay %e admitted t'at, as 'as %een said, t'e fo$rteent'-ent$ry Byantine ainters so$0't

at times to revive t'eir imoveris'ed art %y imitatin0 t'e narrative sty&e of t'eir o/n

sixt'-ent$ry mode&s. Nevert'e&ess imitation of ?ta&y /as a&/ays a$tio$s and restrained,and it annot %e do$%ted t'at t'is art remained essentia&&y Byantine a&ie in

arran0ement, in sty&e, and in iono0ra'y. ?ts inontesta%&e ori0ina&ity and reative o/er

are evidened %y t'e a&tered 'arater of its iono0ra'y, /'i' 'as %eome ri'er andmore om&ex, revivin0 anient motifs and at t'e same time inventin0 ne/ s$%Dets@ it is

manifested in its inomara%&e o&o$r sense, /'i' at times s$00ests modern

imressionist art. 'ese ne/ n t'e traditions

of t'e reedin0 eriod, and t'o$0' /e find in t'em 0reat variety and an evendistin0$is' different s'oo&s of ar'itet$re, s$' as t'e 2ree and Ser%ian s'oo&s, t'ere

are fe/ rea&&y ori0ina& reations. Bea$tif$& '$r'es /ere sti&& %ein0 %$i&t, s$' as t'e

Fetiye' Dami at +onstantino&e, t'e '$r' of t'e Ho&y 3ost&es at Sa&onia, t'ePeri%&etos at Mistra, or t'e '$r' of O$r Lady of +onso&ation at 3rta, and many ot'ers@

%$t t'o$0' t'eir ar'itets made in0enio$s $se of traditiona& forms, t'ey se&dom added

anyt'in0 ne/ or individ$a&.

F$rt'er, in t'e imoveris'ed state of t'e *mire, t'e arts of &$x$ry %e0an to de&ine. 'e

rod$tion of /ors in ost&y materia& -0o&d and si&ver- or of t'ose /'i' needed atient

or diffi$&t te'nia& rofiieny, s$' as ivories and ename&s, seems to 'ave %een a&mosta%andoned. Freso aintin0, >n t'e ot'er 'and, /'i' more and more too t'e &ae of

t'e too ost&y mosai, /as of extreme imortane in t'e art of t'is eriod. 'e f&exi%i&ity

and t'e /ider ossi%i&ities of t'is medi$m resonded %etter to t'e ne/ tendenies of anart t'at aimed at refinement of exe$tion and de&iay of o&o$rin0 in its renderin0 of

movement, exression, and t'e it$res


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t'e %ea$tif$& mosais sti&& to %e seen t'ere. ?t is t'e masteriee of t'e s'oo& t'at

f&o$ris'ed in t'e aita& at t'at time. ?n t'e series of senes taen from t'e &ife of t'e

ir0in and from t'e &ife of +'rist /'i' deorate t'e /a&&s of t'e '$r' /e find amaster&y o/er of omosition, as, for instane, in t'e istri%$tion of t'e P$r&e, or t'e

ain0 of t'e +ens$s %efore K$irini$s@ &ose o%servation, and often a sin0$&ar&y rea&isti

renderin0 of &ife, as in fi0$res of t'e sene /'ere t'e +'rist is 'ea&in0 t'e si@ a taste fort'e it$resn t'e o$tside /a&&s, arried >n t'eremote tradition of t'e /onders of Byanti$m $nti& t'e end of t'e sixteent' ent$ry. 9n

$ssia t'e '$r'es in and aro$nd Nov0orod /ere deorated to/ards t'e end of t'e

fo$rteent' ent$ry /it' remara%&e fresoes, attri%$ted to an artist no/n as 'eo'anes

t'e 2ree. Here, too, t'e Byantine ori0in of t'ese aintin0s is $n


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One a0ain it /as in t'e aita& of t'e *mire t'at t'is &ast 0reat movement in Byantine

art seems to 'ave ori0inated. 3t t'at time t'ere /as a %ri&&iant s'oo& of art in+onstantino&e@ many of its /ors 'ave s$rvived to testify to its exe&&ene. From it,

do$%t&ess, /ere derived t'e t/o 0reat $rrents into /'i' t'e movement diver0ed, /'i'

'ave %een a&&ed t'e Maedonian and t'e +retan s'oo&s. *a' of t'em 'ad its o/ndistintive 'arater. 'e former, oen to %ot' *astern and ?ta&ian inf&$ene, o/es to t'e

*ast its rea&isti and dramati sty&e and t'e arran0ement of t'e omosition in &on0

$n%roen friees, /'i&e from ?ta&y ame t'e tender fee&in0 s'o/n in ertain 0est$res andt'e emotion exressed %y ertain attit$des, s$' as t'ose of t'e ir0in Mot'er aressin0

t'e Ho&y +'i&d or faintin0 at t'e foot of t'e +ross, or in t'e detai&s of t'e 0rievo$s story

of t'e Passion. Wet %eneat' t'is disreet %orro/in0 t'e Byantine fo$ndation is a&/ays

aarent. 9n t'e ori0in of its master artists as /e&& as %y t'e nat$re of its t'emes t'isMaedonian s'oo& desends from Byanti$m. ?t is mared %y a %road and sirited

te'ni


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t'e Lavra (57) and of ionysio$ (5"5). 'e t/o s'oo&s /ere reresented %y t/o

0reat riva& aInters, name&y Man$e& Panse&In$s of Sa&onia, and 'eo'anes of +rete. =>

t'e former, a some/'at mysterio$s artist /'o 'as in t$rn %een a&&ed t'e 2iotto and t'ea'ae& of Byantine aintin0, t'e mons of Mt. 3t'os are ready to attri%$te every

o$tstandin0 iee of /or reserved in t'eir monasteries. 'e Painters EXn$a& says t'at

1'e to/ered a%ove a&& ainters, anient or modern, as is a%$ndant&y roved %y 'isfresoes and ane& it$res1. He /as t'e &ast and most i&&$strio$s reresentative of t'e

Maedonian s'oo&. 4it' no &ess distintion 'eo'anes of +rete, /it' 'is sons and

$i&s, reresented t'e +retan s'oo&, as may %e seen in t'e aintin0s %earin0 'issi0nat$re /'i' s$rvive in t'e monasteries of Mt. 3t'os and t'e Meteora. 'e admiration

of ontemoraries /as divided %et/een t'ese t/o 0reat artists. 3nd it is a remara%&e

testimony to t'e versati&ity of t'is art t'at a&on0side of t'ese &ear&y distint s'oo&s one

an a&so reo0nie o/erf$& ersona&ities, ea' 'avin0 'is individ$a& sty&e and manner.

'ere are ot'er /ors from t'is &ast eriod of Byantine art /'i' sti&& s$rvive. First,

t'ere are t'e i&&$minated man$srits. ?t is tr$e t'at t'ese miniat$re aintin0s se&dom 'ave

t'e o$tstandin0 n t'em. Severa& /ors, 'o/ever, s$' as t'e man$srit of 8o'n +anta$en$s int'e Bi%&iot'e


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3t t'is time one more, as in t'e sixt' and as in t'e e&event' and t/e&ft' ent$ries, t'e

inf&$ene of Byantine art sread far and /ide. 4e 'ave seen 'o/ 0reat it /ast'ro$0'o$t t'e +'ristian *ast, and 'o/ $ssian ion aintin0 in t'e fo$rteent' and

fifteent' ent$ries fo&&o/ed t'e tea'in0 of Byanti$m. 9n t'e 4est, eseia&&y in ?ta&y in

t'e t/e&ft' and fo$rteent' ent$ries, it /as no &ess si0nifiant@ and it 'as at&y %een saidt'at 1t'e t/o /or&ds, so /ide&y searated in &an0$a0e, re&i0ion, $stoms and ideas, seem

to %e in omm$nion /it' ea' ot'er t'ro$0' t'eir art1. 4e 'ave mentioned some of t'e

resem%&anes -0est$res and oses, for instane- t'at seem to 'ave %een oied from?ta&ian mode&s. B$t Yyanti$m in fat 0ave more to ?ta&y t'an s'e reeived from 'er. 3

st$dy t> t'e mosais >f t'e Batistery at F&orene and t'e fresoes of t'e Batistery of

Parma, %ot' of t'e t'irteent' ent$ry, or of t'e remara%&e aintin0s &ate&y fo$nd in t'e

'$r' of St. Mary in esovio revea&s t'e $nmistaa%&e imrint of Byantine art.$io, in 'is famo$s reredos of t'e Maesta, and 2iotto, in 'is fresoes of t'e 3rena

+'ae&, 'ave dra/n free&y from t'e treas$ry of Byantine iono0ra'y, and in site of a&&

t'at is individ$a& in t'eir /or it is evident t'at t'ey o/e m$' to t'e &essons and

traditions of Byanti$m. ?t is indeed 'ard&y a aradox to maintain, as 'as %een done, t'at2iotto /as sim&y a Byantine of 0eni$s.

'$s in t'e +'ristian *ast arose %et/een t'e t'irteent' and t'e midd&e of t'e sixteent'

ent$ry a 0reat artisti movement /'i' dis&ayed its rea& ori0ina&ity in many remara%&e

reations. ?t /as t'e fina& effort of t'is Byantine art /'i' after t'e midd&e of t'esixteent' ent$ry /as 0rad$a&&y to %eome fixed in /'at 'as %een a&&ed a 1'ierati1

immo%i&ity, in a &ife&ess reetition, from /'i' t'ere /as no esae. 'e te'nia&

'and%oo no/n as 'e Painters EXn$X& &ear&y s'o/s t'e imortane of t'e &ae t'at

/ors'o form$&ae /ere 'enefort' to tae in t'e reation of /ors of art. S$' man$a&s,di0nified %y t'e famo$s names of Panse&in$s and 'eo'anes of +rete, existed from t'e

sixteent' ent$ry. B$t %efore it rea'ed t'is deadene Byantine art 'ad 'ad a 0&orio$s

existene for many ent$ries. ?t /as %y no means, as 'as often %een said of it, a sta0nantart, inaa%&e of se&f rene/a&, not'in0 more t'an t'e imitation d$rin0 a t'o$sand years of

t'e /ors of t'ose artists of 0eni$s /'o in t'e fift' and sixt' ent$ries 'ad 0iven it a ne/

form. ?t /as a &ivin0 art and, &ie every &ivin0 or0anism, it 'ad no/n deve&oment andtransformation. 3t first in 8$stinians ent$ry, t'en $nder t'e Maedonian and +omnenian

*merors, and a0ain in t'e time of t'e Pa&aeo&o0i, it ne/ s$essive eriods of

inomara%&e %ri&&iane, ea' /it' its o/n 'arateristi differenes. Not on&y so, %$t

t'ro$0'o$t every 'ase of its 'istory it exerised a rofo$nd inf&$ene $on t'e /or&d/it'o$t. S$' /as Byantine art, and for t'is reason it m$st a&/ays remain one of t'e

most remara%&e asets of Byantine ivi&iation and one of its &astin0 0&ories.

NOT!

.'is /or 'as %een $nder t'e diretion >f Professor 4'ittemore: 'e 'as om&ete&y

&eared t'e nart'ex and over t'e so$t'ern door 'e 'as dis&osed a fine mosai /'i'
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aears to date from t'e tent' ent$ry. 9n t'e interior of t'e '$r' in t'e tri%$ne over t'e

ri0't ais&e 'e 'as $novered some $rio$s mosais of t'e e&event' and t/e&ft' ent$ries

reresentin0 ortraits of emerors.

7.'e 4a&er r$st of t'e University of St. 3ndre/s 'as arried o$t exavations on t'e

site of t'e Pa&ae. 'ese exavations /ere initiated %y Professor Baxter in !65.
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Charles Diehl, Byzantine Art

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