MAKTUL MUSTAFA PASHA MOSQUE

Eyüp - İstanbul - Turkey

GPS : 41°02'05.8"N 28°56'00.7"E / 41.034944, 28.933528



PHOTOGRAPHS ALBUM

Maktul Mustafa Paşa Mosque is located outside Edirnekapı on the left corner where Fethi Çelebi Avenue and Otakcıbaşı Street meet. Mustafa Paşa, the builder of the mosque, was exiled to Mytilene in his third time as a prime minister and was killed in 1765. He was buried there.

Mustafa Paşa mosque was restored in 1996 by the Istanbul Metropolitan Municipality. The square-planned temple was made of one row of hewn stone and two rows of bricks.

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MİHRİMAH SULTAN EDİRNEKAPI COMPLEX

Edirnekapı - Fatih - Istanbul - Turkey

GPS : 41°01'45.6"N 28°56'08.4"E / 41.029333, 28.935667



PHOTOGRAPHS ALBUM

The Mihrimah Sultan mosque is located on Fevzi Paşa Street at Edirnekapı neighborhood in Fatih.. The mosque was built between 1562-1565 by the architect Sinan by the order of Mihrimah Sultan, daughter of Süleyman the Magnificent. Its construction was continued from 1562 to1565 and it had a a large amount of damage during an earthquake in 1719. The complex is composed of a large mosque, madrasah (theological school attached to a mosque), Ottoman elementary-primary school (Sıbyan Mektebi), tomb, bath and bazaar.

The complex is located on Fevzi Paşa Street at the entrance to Edirnekapı by the city walls. It is built by Sultan Süleyman, the Magnificent for his daughter Mihrimah and designed by Architect Sinan. Altough the exact date is unknown, it is thought that construction of the complex was completed in the 1560's. It was composed of a mosque, medresse, double hamam, shrine, market and primary school, many of which no longer remain today.

Built near the walls of the old city entrance and standing on one of the highest hills of Istanbul, this mosque in Edirnekapı is the second mosque in Istanbul built for Mihrimah Sultan. Commissioned by her father, Süleyman the Magnificent (1520-1566), it was designed and built by Architect Sinan and completed between 1562-1565.

The Mihrimah Sultan Mosque is an Ottoman mosque located in the Edirnekapı neighborhood near the Byzantine land walls of Istanbul, Turkey. Located on the peak of the Sixth Hill near the highest point of the city, the mosque is a prominent landmark in Istanbul.

The Mihrimah Sultan Mosque was designed by Mimar Sinan "Sinan the Architect" for the favorite daughter of Süleyman the Magnificent, Princess Mihrimah. Its building took place from 1562 to 1565. The complex has been severely damaged by earthquakes several times (including 1719, 1766, 1814 and 1894), and although efforts were made to restore the mosque, its attendant buildings received less attention. The dome was further damaged during 1999 İzmit earthquake, and required restoration, along with the upper half of the minaret.

The mosque was built on a terrace overlooking the main street. A large courtyard (avlu) whose interior portico is divided into individual cells forming a madrasah surrounds the mosque. In the center of the courtyard is a large ablution fountain (şadırvan). Entry to the mosque is through an imposing porch of seven domed bays with marble and granite columns. The mosque itself is a cube topped by a half-sphere, with symmetrical multi-windowed tympana on each of the four sides. The dome is supported by four towers, one in each corner; its base is pierced by windows. The single minaret is tall and slender; during the 1894 earthquake it crashed through the roof of the mosque.

The interior is a cube under a dome 20 m in diameter and 37 m high. On the north and south sides, triple arcades supported by granite columns open onto side aisles with galleries above, each with three domed bays. A vast amount of surface area is covered by windows, making the mosque one of the brightest lit of any of Sinan's works. Some of the windows contain stained glass. The interior stencil decorations are all modern. However, the mimbar in carved white marble is from the original construction.

The diameter of the dome of the mosque is 20 meters, and the height is 37 meters. It has an area of approximately 1000 square meters in the middle of the mosque. It has a rectangular-shaped marble pulpit (minber), and the stained glass of the windows strengthen the aesthetic appeal of the mosque. It has only one minaret with a single sherefe (minaret balcony), and that falls outside of the profile of the Sultan Mosques which were built by the architect Sinan.

It differs from other mosques of the period in that it has a single minaret. Another distinction is the large number of windows: 101 in all. The marble pulpit is one of the finest of the period. The shutters of the window and door are made of wood inlaid with ivory and mother-of-pearl.

Just behind the portico, the dominating single dome of the mosque rises thirty-five meters above the ground. Spanning 20 meters, the dome is carried over an almost skeletal system composed of four "elephant feet" (massive piers) and the arches between them. These polygonal piers, mostly projected on the façade for creation of a more spacious interior, rise to the level of the drum and increase the total mass available to support the load of the dome.

An innovative design, this addition of these structural piers allows for a shift from purely load-bearing to thinner, heavily fenestrated walls. Thus, all four tympana feature three rows of windows with seven arched windows at the bottom, five arched and two circular windows in the middle, and three arched and two circular windows at the top. The dome itself also features twenty-four windows, greatly increasing the quantity of natural light within the interior; the total number of windows in the prayer hall is close to two hundred.

Along the east-west axis, the mosque has side bays, each of which are topped by three domes. Measuring six meters in diameter, these domes sit on columns with carved stalactite capitals. The height of these side bays is almost half that of the central space, and they include three rows of windows, the same number found in the large tympana of the main dome. The mosque has a slim minaret with a single balcony constructed of stone that corresponds to the western bay of the portico.

The luminous interior of the mosque features a marble mihrab with muqarnas carvings; the minbar, also of marble, stands to the west of the mihrab niche. Chasings, restored in the last renovations, and stained-glass windows add to the interior ornamentation.

The single domed mosque, which is the only monumental and grandiose structure in the complex, has been severely damaged by a series of earthquakes in 1719, 1814, and 1894. According to records, these quakes caused a crack in the dome; the minaret and the portico collapsed. Judging by its architectural style, the portico was probably rebuilt in the 19th century. In 1719, the upper part of the minaret collapsed during an earthquake and was rebuilt. After discovering the extnet of the destruction of the domes in this earthquake, it is doubtful that central dome with many windows was rebuilt in a way of consistent with its original character.

The mosque was partially damaged in several earthquakes, including in 1648, 1690, 1714 (when its domes were destroyed), and in 1894, after which it was temporarily closed. The Mihrimah Sultan mosque was most recently restored in 1956 and 1957. The dome of the mosque, which was further damaged recently during 1999 Marmara earthquake, and restorated. The minaret is rebuilted from halfway up.

As built, the Mihrimah Sultan Mosque had a külliye (complex) which included (besides madrasah) a double hamman, tomb and a low row of shops under the terrace upon which the mosque was built, whose rents were intended to financially support the mosque complex. The complex does not include the grave of Mihrimah Sultan herself (which is located at the Süleymaniye Mosque, but a ruined türbe which is also a work of Sinan) behind the mosque houses the graves of her son-in-law, Grand Vizier Semiz Ali Pasha, as well as many other members of her family.

The Mihrimah Sultan Mosque is part of a complex, situated on a platform above its site, which includes a madrasa, a mausoleum, baths, and stores. The site is accessed via stairs leading to the courtyard through the portico. Its courtyard measures about fifty-seven by twenty-one and a half meters, and is surrounded on three sides by a portico that is one bay deep. Each bay has its own dome, for a total of thirty-six.

A medresse is located in two corners of the inner courtyard. Interestingly though, there is no schoolroom section. It is not known whether there were no schools originally or if they were removed during renovation of repairs. Apart from this, the medresse has survived intact. A building with covered by three domes in the complex is called the Ottoman elementary-primary school (Sıbyan Mektebi). The building just next to it is the tomb of Güzel Ahmet Paşa. The primary school and tomb of Güzel Ahmed Paşa are found in the right hand corner of the mosque's kıblah, a structure indicating the direction of Mecca.

A double hamam is found in the same area, but is separate from the complex. The twin bath house of the complex has lost most of its original features except its plan and its exterior walls. There are twin baths (çifte hamam) that were active until the first quarter of the 1900s.

In the courtyard of the complex there is a marble fountain. A marble fountain, whose roof is carried over sixteen double columns, is placed in the center of the courtyard.

The inner courtyard consists of 19 rooms and 2 eyvans, a vaulted room with one side open to a courtyard. The south end of the courtyard is framed by the portico of the mosque. Surmounted by seven domes, each 6 meters in diameter, the portico of the mosque contains larger bays than the enclosure portico. These 7 domes are carried by 8 columns on the north, and rest on octagonal drums.

Eleven student cells are found behind the eastern portico and nine are located behind the western portico; however, because of the site constraints, no student accommodation was built behind the northern portico. In this configuration, the madrasa functions as an enclosure, and classroom activities are shifted to the mosque.

In the complex there was a madrasah and bazaar that do not exist today. Some of the 63 shops in the bazaar are located near the northern wall of the courtyard.

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CHORA MUSEUM / PARECCLESION COLLECTIONS

Edirnekapı, Fatih - Istanbul - Turkey

GPS : 41°01'51.7"N 28°56'20.5"E / 41.031026, 28.939025



PHOTOGRAPHS ALBUM

PARECCLESION
The apse determining the eastern ends of churches are the most important places of religious buildings in terms of liturgy and church symbolism. The rectangular parecclesion of Chora has been a structure the longitudinal effect of which is dominant visually as well, thanks to the rhythmic sequence of its dome, domical vault and the semi-dome of the apse from west to the east reinforced by the sequence of martyrs on the lower walls.

Except those in the tomb arcosolia, all frescoes of the chapel were got made immediately after the completion of the mosaics in the nave and in the narthexes by Theodore Metochites in 1320 and 1321.

On the other hand, the frescoes and portraits decorating the walls of tomb arcosolia were made when their owners had been buried in these tombs.

Bishop figures on the apse wall
The bishop figures are of human size and they are ordered according to their importance. The names of those saints in bishop dresses are inscribed next to their heads and they are holding closed books in their hands. Two bishop-saints who are the founders of the Byzantine liturgy are in the middle. Saint Basil is in the middle-right and on the right side of him are Saint John Chrysostom, Saint Athanasios and probably Saint Nicholas, whose name disappeared, respectively. On the left side of Saint Basil is Saint Gregory the Theologian, and Saint Cyril of Alexandria next to him.

The scene of Anastasis
It is painted on the semi-dome of the apse, which is the most important and the most remarkable place of the building. The Greek word “anastasis” means “resurrection”.

In the Byzantine art, during the ‘Anastasis’, Jesus Christ goes to the underworld (Hades) after his death, he liberates the prophets of the Old Testament who lived before him and who were held captive by the Devil, he ends the kingdom of Devil here, and pulls the people to the heaven after resurrecting them. This event is not mentioned in the gospels.

In the parecclesion of the Chora, this scene is depicted in such a manner that it covers the whole semi-dome of the apse. Jesus Christ is standing at the center of the triangular composition, inside a mandorla radiating white light and bearing yellow stars.    Inside the dark section under the feet of Jesus Christ, broken door wings and chain and lock pieces are seen. Additionally, a dark-skinned figure whose hands and feet are chained is lying. There is a sarcophagus in both sides of the dark section. Jesus Christ is pulling Adam from the sarcophagus on the right side of him and Eva from the sarcophagus on the left side of him out of their tombs by holding their hands. There is a group including the prophets of the Old Testament, namely John, David and Solomon, behind Adam, and Abel and seven persons in clergy tunics behind Eva.  Here, Adam and Eva are representing the whole humanity. The inscription on the upper part of this scene reads “Anastasis”.

Michael
The scene of anastasis on the semi-dome of the apse in the parecclesion unites with the scene of last judgment covering the upper walls of the domical vault. Exactly at the center of the wide bema arch forming the border of these two scenes is a portrait of Archangel Michael inside a medallion. This medallion, 1.21 m in diameter, is the largest portrait medallion in the parecclesion. The sphere in Michael’s left hand is inscribed with the initial letters of the words Christos Dikaios Krites, that is Christ the Equitable Judge, XΔK. He is holding a staff in his right hand. The portrait here is connected with the scene of last judgment, since one of the duties of Archangel Michael is to convey the judged souls to the heaven.

Scenes of raising
On the northern side of the bema arch is the scene where Jesus Christ raises the dead son of a widow from Nain. Together with his apostles, Jesus went to Nain and as he approached the city, he saw a dead person who was carried. The coffin belonged to the son of a widow from Nain and the woman was crying for her son. Jesus said, do not cry, before touching the coffin and saying “young man, I say to you, get up”. The young man sat up and began to talk. (Luke 7:11-15.)

In this scene, there are apostles behind Jesus Christ, who is standing and extending his arm towards the son of the widow. On the other hand, the son of the widow is in sitting position inside the coffin carried by four men. The inscription on the upper part of this composition reads, “Jesus is raising the son of the widow”.

On the southern side of the bema arch is the scene where Jesus is raising the daughter of Jairus. Jesus Christ held the wrist of the girl who was lying dead in her bed in the house of Jairus, and revived her. Thanks to this miracle, the girl sat up in her bed. The people around are watching this miracle in astonishment. (Mark 5:22-24, 35-43.)

There are six apostles behind Jesus and three women behind the bed. The old man standing at the center is Jairus.

The Last Judgment
The judgment scene on the domical vault in the east side of the parecclesion is forming the center of the Last Judgment composition that is covering the whole upper walls and the vault covering. There are literary sources stating that all human beings will be judged on the day of Last Judgment for their actions during their lives, and that they will either have an eternal and happy life in the heaven or writhe in the hell, according to the outcome of this judgment. The main literary source of scenes related to the day of Last Judgment is the Book of Revelation. Here, the rolling up of the skies, the throne set up for judgment and the judging of the souls before it, the delivery of the the dead by the seas and the lands, the lake of fire and the second life without death are described.

Scene of Deesis
Instead of reaching their gods directly, Byzantines preferred to reach them via holy persons supposedly closer to gods and able to reach them more easily. Those sacred persons who were considered as intermediaries between the god and human beings could be monks and bishops as well as saints who died for their religious beliefs especially in the first centuries of Christianity (martyrs), prophets of the Old Testament, archangels, angels and Mary (Theotokos), Mother of God. Above all, Virgin Mary, Mother of God, is thought to be the closest person to God. Virgin Mary appears in chapels, movable icons, illuminated manuscripts and special works, for she is seen as the mediator whose prayers are accepted.

The parecclesion of Chora was dedicated to Virgin Mary, the superior mediator. For the Byzantines, the second important mediator following Virgin Mary was John the Baptist, who had announced the coming of Jesus, who had baptized him and who had been his friend at the same time. Those two holy persons who had a great influence on Jesus as a mother and as a friend respectively are brought together by the Byzantine art in the scene known as the “Deesis”, and on the Day of Judgment, they pray to Jesus on behalf of all mortals.

At the center of the Last Judgment composition, Jesus is sitting on the throne of judgment, and Virgin Mary and John the Baptist are on either sides of Jesus, they are slightly turned towards him, and they are in praying position. Virgin Mary and John the Baptist are interceding on behalf of humanity. In the Last Judgment scene, the two figures behind Mary and John in emperor clothes are the archangels Michael and Gabriel. They are also participating in the scene of Deesis and interceding with Christ on behalf of humanity.

The word “Deesis” has been used since the 19th century. The scenes of Deesis that show the holiest persons interceding on behalf of people with God on the Day of Judgment are very important.

Scene of Last Judgment
The composition of the Last Judgment fresco covering the whole domical vault in the east section is circular. The impressive scene of “rolling up of the heaven” at the center of the circle, i.e. in the middle of the vault, is surrounded by the “choirs of the elect” (the choir of prophets, the choir of apostles, the choir of martyrs, the choir of holy women, the choir of saints, the choir of bishops). The scroll of the rolled up heaven in the middle of the vault is 86 cm in diameter and it is carried by an angel. It is very impressive thanks to the eye catching white color and the gold gilding.

The scroll of the heaven indicates that the heaven will be rolled up at the end of the time. The angel is rolling up and carrying the heaven over his head with two hands, and gold gilt stars, the moon and the sun are seen on the heaven that is being rolled up.

In the scene of judgment, Jesus is sitting on the throne at the center, Mary and John are standing on the right and left sides of him respectively, apostles are sitting in on both sides, and a group of angels is seen just behind Jesus. Around these two scenes, there are four clouds containing the choirs of the elect. Below the throne of Jesus, the inscription on the left side reads, “Come, you blessed of My Father, inherit the kingdom prepared for you from the foundation of the world”, and the one on the right side reads, “Depart from Me, you cursed, into the everlasting fire prepared for the devil and his angels”.

In the scene just below the Jesus the throne is prepared. Here, there is a closed Bible on a simple throne, and there are Cherubim on both sides. Before the throne are Adam and Eve in kneeling position. The scale just below the throne is weighing the souls. There is a small figure under the scale and two angels who are holding books.

On the other side of the scale, a lake of fire beginning at Christ’s feet is reflecting the hell seen on the pendentive. Small figures (devil) are bringing some souls into the hell.

On the southwest pendendive of the vault, lands are depicted above, and seas are depicted below. The angels at the sides have turned their trumpets towards the ground and the sea. In the land, the dead are coming out of their graves, and in the sea, fishes are expelling human organs from their mouths. This scene is largely deformed.

It is claimed that the fresco of “angel and a soul” on the northwest pendentive is the soul of Metochites presented by the Archangel Michael. An angel, whose wings are open, is standing behind a small and naked figure (soul), and he has placed one of his hands upon the head of the soul.

On the two east pendentives is the fresco of “Lazarus the beggar and the rich man”. After his death, the soul of Lazarus the beggar is placed on the lap of Abraham by an Angel. There is an old man (Prophet Abraham) sitting among depictions of trees, the soul of poor Lazarus is depicted as a little child sitting on his lap, and many souls are standing in the background.

On the southeast pendentive, a naked figure is sitting in flames, and in the lower part, pieces of gold are spilling out of two bags with open mouths. Here, the story of Lazarus the beggar and the rich man who ill-treated him during his life in this world is depicted. Whereas the rich man is writhing in pain in the hell after his death, Lazarus is seen on the lap of Prophet Abraham in a garden full of flowers. In those two scenes on the southeast and northeast pendentives of the domical vault, the good are awarded and the evil punished.

The scene on the left side of the south wall of the eastern section is divided into four parts. Each of them depicts one kind of torture in the hell with a different color. “The gnashing of teeth” is depicted at the upper left, “the outer darkness” at the upper right, “the worm that sleepeth not” at the lower left, and “the unquenchable fire” at the lower right.

Virgin Eleousa
In the depiction on the south column of the bema arch, the full-length Virgin Mary is standing on a rectangular platform, holding the child Christ in her arms, and kindly pressing her cheek to his one. Here, the emotional relationship between mothers and their sons is depicted. The monograms of Virgin Mary and Jesus Christ are next to their heads.

Only very small fragments of the fresco above the entrance on the west wall and on the west arch have survived.

The entry of the elect into paradise
At the center of the composition on the north wall of the eastern section is a gate guarded by a cherub who is holding a sword. On the right side, Saint Peter, who is holding a key, is moving towards the gate with the group of elect behind him. On the right side of the gate, the “good thief”, who is holding a cross inside the paradise decorated with trees and plants, invites them into the interior. And Virgin Mary can be seen on the left side between two angels.

Transport of the Ark of the Covenant
In the scene on the right side of the south wall of the eastern section, the transport of the Ark of the Covenant is depicted. Four priests are carrying the Ark of the Covenant, a triangular prism decorated with yellow, purple and marble-like strips, on their shoulders. The inscription at the upper left reads, “and, when Solomon built the house of the Lord, he summoned the elders of Israel in Zion.

He said that the ark of the Lord’s covenant could be brought from Zion, the city of David. And the priests took the ark of the Lord’s covenant and the tent of meeting (tabernacle)”. This ark made of shittim-wood, the interior and exterior of which was plated with gold, contains the two stone tablets on which the Ten Commandments were inscribed by Moses upon the orders of God.

THE DOME AND PENDENTIVES OF THE WESTERN SECTION OF THE PARECCLESION

Virgin Mary
The Virgin Mary portrait inside the rainbow-bordered medallion at the center of the dome, which covers the western section of the parecclesion and is 4.70 cm in diameter, is dominating the whole room.

According to the Byzantines, Virgin Mary was both the most important mediator between the humans and God, and a kind mother. Inside the rainbow-bordered medallion at the center of the large dome, which covers the whole western section and represents the heaven, are Virgin Mary and child Jesus in his arms depicted. The dome is divided into 12 segments by 12 windows providing light to the Virgin Mary figure. Those segments contain the full-length frescoes of 12 angels.

The angels, which are standing and depicted similar to one another, are holding long staffs in their right hands. Four angels (Gabriel, Michael, Uriel and Raphael) are holding a crystal ball bearing the cross and “X” signs, whereas the other angels hold their clothes with their left hands. The angels wear an imperial shawl. Each angel figure bears an inscription that reads, “Angel of the Lord”.

On the other hand, at the end of a staff held by one of the angels, the word “Hagios” (saint) is inscribed three times. The wide strips dividing the dome into segments and located between the angel figures are richly decorated with plant motifs.

The Four Hymnographers
Four hymn writers (hymnographers) are depicted on the four pendentives of the dome covering the western section. The hymns of these poets are sung especially during death rituals.

On the northeast pendentive, Saint John of Damascus, who wrote hymns for funerals, is depicted. The Arab Christian monk-priest who lived between 676 and 749 died in the monastery in Jerusalem founded by him. Here, the hymnographer saint who is depicted sitting on the armchair next to a table and writing on a scroll of paper on an elevated writing desk upon the table. Although it is not possible to read the full text, it is understood that this part contains a verse of one of his hymns: “What joy of life abideth, without the smart of woe?” The saint is barefoot and he wears a tunic, a coat and a turban. There are architectural units in the background. The inscription above his head reads, “Hagios Ioannes Damaskenos”.

On the southeast pendentive, Saint Cosmas, hymn writer, poet and bishop, is seen. Cosmas is sitting on a bench, the table of which is low, and there is a low stool under his feet. There are a penholder, an inkpot and a penknife on the table. The portrait of the saint is well-preserved. There is an open book in one of his arms, and a pen in his other hand. Architectural units are seen in the background and the inscription above his head reads, “Hagios Cosmas, poet”.

On the southwest pendentive,Joseph, 9th-century hymn writer, is depicted holding the scroll containing the Akathist Hymn, one of the most important Byzantine hymns dedicated to Virgin Mary. There are a pen, a penholder and an inkpot on the table. Again, there is a book on the elevated writing desk upon the table, and there are architectural structures in the background. The inscription above the head of Joseph reads, “Hagios Joseph, poet”, and the one on the paper scroll in his hand reads, “The forgiver of the world, o the spotless Virgin”.

On the northwest pendentive,Saint Theophanes, 9th-century poet and hymn writer who was a monk at the Chora monastery and buried here, is depicted. In the period of iconoclasm in the 9th century, he had an inscription carved on his face, and therefore he received the name of Graptus, meaning written upon.

Here, the saint is sitting at the table on a chair with a deep back and his feet are on a platform. There are writing instruments on his table, and the saint is writing in a book in his lap. The inscription above his head reads, “Hagios Theophanes”, and the one on the open book reads, “after violating the holy commandments of God, we returned to the earth again”. This verse is taken from a hymn of Theophanes sung during funerals. The furnishings seen in these scenes reflect the characteristic 14th-century medieval features.

In the Parecclesion, Old Testament stories are depicted in the frescoes on the walls between the dome and above the cornice level.

Jacob’s ladder and Jacob wrestling with an angel
On the right side of the tympanum on the north wall in the western section, Jacob’s ladder and Jacob’s wrestling with an angel are depicted. Here, while traveling to Haran, Jacob puts a stone under his head to sleep, and he dreams a ladder between the earth and the heaven, on which the angels are descending and ascending.

The inscription below left, above the head of Jacob, reads, “Taking one of the stones there, he put it under his head and lay down to sleep”, the one on the right side, between the scenes of the ladder and the wrestling, reads, “and he dreamed there...”, and the one above right reads, “he saw a ladder resting on the earth, with its top reaching to heaven, and the angels of God were ascending and descending on it. There above it stood the Lord”. Virgin Mary and Child Christ in her arms are seen at the upper right corner.

Under the ladder, Jacob is depicted wrestling with an angel. This event occurred during his return from Haran. Although Jacob’s seeing a ladder in his dream and wrestling with an angel are two different events, they are depicted together in the Byzantine painting.

Moses and the burning bush
On the right side of the north wall of the western section is the scene of Moses and the burning bush. While God was speaking to Moses from within a bush, the bush was on fire, but was not consumed by the flames. An old man with a beard (Moses) is standing on the left side, and a bush is burning in flames opposite to him. There are the portraits of Virgin Mary and Child Christ inside a medallion in the bush. An angel appearing on the upper part of the bush is calling to Moses. There are hills and the Mount Sinai in the background. Below, Moses is sitting on the ground and taking off his sandals.

The inscription at the upper left corner reads, “and he came to Horeb, the mountain of God, and there the angel of the Lord appeared to him in flames of fire from within a bush”, and the ones at the lower left corner read, “take off your sandals, for the place where you are standing is holy ground” and “Prophet Moses”.

Moses hiding his face
On the north side of the arch between the eastern and western sections is the scene of Moses’ hiding his face. A standing bearded old man (Moses) holding a staff is on the left side, and his face is turned away in order to avoid the light of the burning bush opposite to him. There are the portraits of Virgin Mary and Child Christ inside the medallion in the middle of the bush. Just before the medallion, an outstretched angel is speaking to Moses. The inscription on the upper part of the scene reads, “Moses hid his face, because he was afraid to look at God”.

Transport of the sacred furnishings
On the south side of the arch between the eastern and western sections is the scene of the transport of sacred furnishings. Here, the transport of the sacred pot (stamnos) and the seven-branched candelabrum (menorah) taken from the sacred tent of meeting (tabernacle) of Jews is depicted. One of the two priests is carrying the seven-branched candelabrum with his two raised hands, and the other is carrying a pot resembling an amphora on his shoulders. A paper scroll is seen inside the pot. Assumedly, the candelabrum’s “carrying the light” is the forerunner of Virgin Mary, and the sacred “manna” inside the sacred pot is the forerunner of Jesus Christ. Manna is the food provided by God to the Jews when they were in exile in the desert.

Gathering of Solomon and the assembly of Israel
On the left side of the south wall of the western section, the gathering of Solomon and the assembly of Israel is depicted. Solomon is leading the whole tribe for the ceremonies related to the placing of the sacred furnishings in the sanctuary of the new temple. On the right side, Solomon in imperial clothes is leading the crowd before him with a censer in his hand. The inscription on the scene reads, “and the king and Israelites gathered before the Ark of the Covenant”.

Placing of the Ark of the Covenant in the sanctuary of the temple
On the right side of the south wall of the western section, the placing of the Ark of the Covenant in the sanctuary of the temple is depicted. The covenant is placed in the most holy place of the temple. The two priests on the right side are placing the ark on the covered altar table in the sanctuary.

Two cherubim are standing behind the altar table. Israelite elders are depicted before the structure at upper left, and the heaven is depicted with nested circles in the uppermost part. From here, a beam of light is shining towards the altar and Israelites. The inscription at the upper left reads, “and the priests then brought the ark of the Lord’s covenant to its place in the inner sanctuary of the temple, the Most Holy Place, and put it beneath the wings of the cherubim”.

Prophecy of Isaiah and Archangel Michael Destroying the Assyrian Army Before Jerusalem
On the south side of the western arch, the Prophecy of Isaiah and Archangel Michael’s destroying the Assyrian army before Jerusalem is depicted. Isaiah predicted that the Assyrian army that besieged Jerusalem would fail and the angel of God destroyed the Assyrian army before Jerusalem with his sword. An old man on the left side (Prophet Isaiah) is holding an open paper scroll in his left hand and pointing forward with his right hand.

The wings and clothes of Michael, who is pointed to, are flying, he is preparing to use the sword raised by his right hand, and holding the scabbard of the sword in his left hand. Assyrian soldiers are lying on the ground. A city surrounded by walls is seen in the background. There is a portrait of Virgin Mary on the spectacular gate of the city. Some words on the paper scroll held by Isaiah can be read. The complete version of this inscription should read, “This is what the Lord, the God of Israel, says: Because you have prayed to me concerning Sennacherib king of Assyria, he will not be able to enter into this city”.

Aaron and his sons before the Altar
On the north side of the western arch, the story of Aaron and his sons before the Altar is depicted. Here, the first priests of the tent-temple established by Moses, namely Aaron and his sons are giving their offerings. Both Aaron, who is depicted as the old person in the front, and each of his two sons, who are depicted as young persons behind him, is holding a box containing the offerings. On the right side is a covered altar table inside a marble niche. Sections of buildings are depicted in the background, and the pointed beams originating from the nested circles depicting the heaven extend toward Aaron and his sons. Only two words of the inscription on the upper part of the scene can be read: “Altar” and “burnt offering”.

Virgin Mary is the central figure in the iconography of the western section of the parecclesion. The stories from the Old Testament have been interpreted as an expression, a forerunner of the arrival of Virgin Mary and thus the arrival of Jesus Christ. Those stories are on some Marian feast days. The Akathist Hymn, which has an important place among the hymns, is about death. The content of this hymn is compared with the Old Testament stories in the parecclesion.

Martyrs
On the walls of the parecclesion below cornices are full-length figures of martyrs (saints killed for following Christianity - military saints). Martyrs, military saints are holy persons recognized by Byzantines as mediators to reach God. Especially in the last periods of the Byzantine Empire, the portraits of the military saints were painted on the lower walls of churches and chapels.

From the south to the west, until the northeast, the wall sections below the cornices are decorated with depictions of martyrs. First, on the southeastern wall are Saint George of Cappadocia and Saint Demetrius of Thessaloniki. In the medallions on the two sides of the arcosolium arch between these saints are the portraits of Saint Florus and Saint Laurus. The full-length depictions of saints are in hierarchical order: Saint Theodore of Tyre, Saint Theodore Stratelates, Saint Mercurius and Saint Procopius are depicted in armored clothes.

There is an unidentified saint next to Saint Sabbas Stratelates. Saint David of Thessalonika is sitting in a bird’s nest on top of a tree. Saint Eustathius Placidus is in military uniform. Saints Samonas and Gruias of Edessa are in martyr clothes. Saint Artemius or Saint Nicetas, whose full name cannot be read, is in military uniform. The portraits of Saint Bacchus and Saint Sergius are in medallions. On the other hand, the depiction of a saint in military uniform, a portrait of a saint inside a medallion, and the depiction of a saint on a column are unfinished.

Saints in military uniform have short tunics under their armors, and some of them carry lances and shields. Some of them are depicted with raised swords, in a raid. The saint depictions on the entrance arches of the two tomb arcosolia and diaconicon in the western section are portraits inside medallions. Saints that are not in military uniform are in martyr clothes.

TOMB NICHES (ARCOSOLIA) IN THE PARECCLESION

Frescoes inside the niche wall and arch of the southeast arcosolium (A)
The sarcophagi of the four tomb arcosolia in the parecclesion have not survived. On the niche wall of the southeast arcosolium, there are frontal paintings of four figures standing side by side above the sarcophagus level. The two men with court and religious clothes in the middle and the two women on either sides with both court and religious clothes represent the same two persons and they are the portraits of the husband and wife buried here. However, the identities of the owners of this tomb could not be determined.

On the upper part of this niche arch, just above the portraits, inside a cornered mandorla, a half-length Jesus whose hands are open is shining. A seraph is seen on the left side, whereas the depiction on the right side is not visible due to the deterioration here. On either side of the inner wall of the arch is a half-length angel figure praying with upraised hands.

Frescoes inside the niche wall and arch of the southwest arcosolium (B)
On the niche wall, above the sarcophagus level, only the shoulders of Virgin Mary and the hand of Child Christ raised in benediction is seen, because most of the tiles of the mosaic depiction have fallen down. On the right side, Michael Tornikes, who is resting in this tomb, is depicted standing and wearing court clothes. The lower part of the figure is destroyed and only the part over the shoulders is visible. The inscription on the upper section reads, “same person, monk Makarios”.

On the right side is the figure of Tornikes’ wife, turned towards Virgin Mary and praying with upraised hands. The inscription on the upper section reads, “same person, nun Eugenia”. The feet of this figure as well are destroyed. Both figures are frescoes. The upper part of the arcosolium arch is decorated with a mosaic cross motif inside nested circles. On the left side of the inner wall of the arch is the mosaic portrait of Tornikes wearing monk clothes, and on the right side is the mosaic portrait of his wife. Since the lower parts of both mosaics are destroyed, only the parts above the waists are seen.

On the monumental marble frame of the tomb, there are archangels on both sides of Jesus, and a long inscription (epitaphios) above this composition. This tomb belongs to Michael Tornikes, the close friend of Metochites who was the “Great Constable” at the court of Andronikos II. The original decoration was made of mosaic, but it was complemented with frescoes after having been destroyed in the Byzantine period. The Virgin Mary figure at the center of the niche and the figures inside arches are made of mosaic and the two figures on the sides of niches are frescoes.

The large arcosolium in the northwest wall of the chapel (C), assumedly belonging to Theodore Metochites
In order to highlight the importance of the tomb, an arched marble frame was formed. There is a relief of Jesus at the center of the arch, and reliefs of angels with faces looking toward Jesus on either sides of the arch. The monograms of the figures on the marble indicate that they are the archangels Michael and Gabriel. The faces of the figures are quite destroyed. On the marble frames of the tomb niches in the parecclesion, the background is painted blue and the reliefs are painted yellow. There is no inscription on this marble frame stating the owner of the tomb.

The arcosolium in the northeast wall (D)
The tomb in the northeast wall has no frame. Since there are neither frescoes or mosaic decorations inside the arch, nor an inscription, the owners of this tomb are not known.

LOCATION SATELLITE MAP



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CHORA MUSEUM / MOSAIC COLLECTIONS

Edirnekapı, Fatih - Istanbul - Turkey

GPS : 41°01'51.7"N 28°56'20.5"E / 41.031026, 28.939025



PHOTOGRAPHS ALBUM

MOSAIC SCENES IN THE NAOS

Dormition of the Virgin (koimesis)
In the scene of Dormition of the Virgin (koimesis) above the western entrance of the Naos, the Virgin lies on a sarcophagus covered with clothes and is surrounded by a crowd consisting of apostles, prominent church members and women from Jerusalem. Christ is in a mandorla, his hands are covered as an expression of respect, and he holds an infant representing the soul of the Virgin.

The Christ in the mandorla (area of light) is surrounded by angels, and outside of the mandorla, on top of it, the six-winged angel Seraph is pulling the mandorla upwards with open wings and thus providing movement to the scene. In the background, next to the architectural structure are probably two angels who are waiting to take the soul of the Virgin on the lap of Christ and bring it to the Heaven.

Near the head of the Virgin, Peter is swinging the incense burner he is holding, and Paul, who is close the feet of the Virgin, is bending towards her and he is looking sadly. The inscription above the scene reads, “Death of Mother of God”.

Virgin Hodegetria (She who shows the Way)
This scene, which is in a marble frame on the southern templon panel of the bema, is called the Virgin Hodegetria (She who shows the Way) and it depicts Virgin Mary holding the Child Christ. Virgin Mary is standing on a terrace, her head is slightly tilted to Child Christ on her arms, and she is looking thoughtful.

Above the scene is a marble panel decorated with acanthus, at the center of it is a damaged relief of Christ Pantocrator, and at the upper corners are two reliefs of winged angels with damaged faces. The icon identical with this scene was attributed to Saint Luke, it was supposed to be the patron of Constantinople, it was assumed to be painted by looking at Virgin Mary herself, and it was carried along the city walls during war times to protect the city.

Jesus Christ
On the northern templon panel is a frontal depiction of Jesus Christ who is standing and holding an open Bible in his left hand. The text on the Bible reads, “Come to me, all you who are weary and burdened, and I will give you rest”(Matthew 11:28). Most of the tiles of this mosaic panel have been lost. The reliefs of angel figures and rosettes on the surfaces of marble brackets placed at the two lower corners of the panel have seriously deteriorated.

MOSAIC SCENES AT THE ENTRANCE

Christ Pantocrator
The first mosaic confronting visitors at the entrance is located in the lunette over the door of the inner narthex. In this depiction, the left hand of Christ is holding the Holy Scripture, and his right hand is giving a sign of blessing. This scene is depicting the supremacy and divinity of Christ, who appears as the “Lord of the Universe”. The inscription on either side of Christ’s head read “Jesus Christ, Dwelling-Place of the Living” and “Chora”.

This inscription unites a feature of Christ stated in the Bible and the name of the church. The artist, who worked on this scene with a fine style, even detailed the red color on the face of Christ, located the right ear higher, and thus added human values to the depiction. Whereas chosen persons are depicted only with a halo around their heads, there is always a cross in the halos of Jesus Christ.

Virgin Mary And Angels Praying
On the arch above the main entrance, Virgin Mary is depicted as the Virgin Blachernitissa. The Virgin at the center is praying with her hands raised (orans). The first example of this gesture of the Virgin belongs to an icon seen in the Palace of Blachernae.

Inside the medallion on the breast of the Virgin Mary, Child Christ is depicted. That symbolizes that the bosom of the Virgin Mary is larger than the universe. There are two angel depictions masterfully placed on the edges of the vault. The inscription around the Virgin Mary in the mosaic depiction reads, “Mother of God, Dwelling-Place of the Uncontainable” and “Chora”.

Dedication Mosaic Of The Founder
Above the external side of the entrance door of the main room is a scene where Theodore Metochites, who had completed the construction of the church and decorated its interior with mosaics and frescoes, is presenting the model of the church to the Enthroned Christ who is sitting. The inscription behind Theodore Metochites, the supervisor of the Public Treasury who has an interesting outlook with his robes of office kabbadion and skiadion and turban-shaped headwear, reads, “Theodore Metochites, founder, treasury officer”. On the other hand, the inscriptions on both sides of Christ read, “Jesus Christ, land of the living”.

Mosaic Depiction Of Saint Peter The Apostle
On the panel located to the left side of the doorway to the naos, Saint Peter, one of the first disciples of Christ, is depicted while holding a scroll in his left hand and the keys of the heaven in its other hand. His name is inscribed on both sides of his head.

Mosaic Depiction Of Saint Paul The Apostle
On the panel located to the right side of the doorway to the naos, the standing Saint Paul the Apostle from Tarsus is depicted in frontal view. He is holding the Holy Scripture in his left hand and giving the sign of blessing with the other one. His name is inscribed on both sides of his head. He came to Rome during the reign of Emperor Nero and beheaded because of his testimony for Jesus Christ.

Christ Chalkites And Virgin Mary Panel
The mosaic in the east lunette wall at the southern wing of the inner narthex depicts Chora’s scene of Deesis. Here, Virgin Mary, Mother of God, is depicted while standing on the right side of Jesus Christ and sadly praying for the redemption of people’s sins. This scene owes its name to its resembling the scene on the “Chalke Gate”, the bronze gate that was the main entrance to the Great Palace. Princess Isaac Komnenos next to the skirt of the Virgin Mary and Princes Maria Palaiologina wearing nun’s robes on the right side are depicted while praying on bended knees.

Probably, this mosaic panel should belong to persons who served the church and funded its renovation in the 12th and 14th centuries. Maria, the daughter of Emperor Michael VIII Palaiologos, was sent to Karakorum in 1265 as a spouse for the Mongol ruler Hulagu Khan, but Hulagu Khan died before her arrival in Karakorum, and she was married to his son, Abaqa Khan. Because of this marriage, she is called Maria of the Mongols. After becoming a nun, she took the monastic name Melania.

Since Princess Maria became a bride of the Mongols and Isaac Komnenos had his burial place prepared in Kosmosoteria, Thrace, neither of them could be buried in the Chora.

INNER NARTHEX MOSAICS

Ancestors Of Christ
On the dome over the southern section of the inner narthex is a depiction of Christ Pantocrator inside a medallion. Between the ribs of the dome are two rows of figures belonging to the ancestors of Christ. The upper row consists of the depictions of 24 ancestors starting with Adam and including Seth, Noah, Cainan, Mahalalel, Jared, Lamech, Shem, Eber, Serug, Nahor, Terah, Abraham, Isaac, Jacob, Peleg, Reu, Methuselah, Enoch, Enos and Abel. The lower row consists of the figures of Jacob’s 12 sons, Judah’s 2 sons, and Pharez’s 1 son.

Ancestors Of Virgin Mary
On the surface of the dome over the northern section of the inner narthex is a depiction of Virgin Mary and Child Christ inside a medallion. The monograms on both sides of Virgin Mary’s head mean “Mother of God”. The medallion at the central part is surrounded by 16 sections. These sections contain two rows of depictions of sixteen kings of Judah who are the descendants of King David, ancestor of the Virgin Mary. The 16 king-prophets in the upper row are David, Solomon, Rehoboam, Abijah, Asa, Jehoshaphat, Jehoram, Uzziah, Jotham, Ahaz, Hezekiah, Manasseh, Amon, Josiah, Jeconiah and Shealtiel.

The lower raw contain the figures of Hananiah, Azariah, Mishael, Daniel, Joshua, Moses, Aaron, Hur, Samuel, Job and Melchizedek.

Mosaics Depicting The Life Of Virgin Mary
Rejection of Joachim’s Offerings:In the northwest pendentive of the northern dome, Zechariah, who is sitting on a four-columned throne, is rejecting the offerings of Joachim, who has no children, by raising his two hands. This family, which wants to have a child, is continuously praying, and they have pledged themselves to give their child, if they are given one, to the temple to be raised as a religious person.

Withdrawal of Joachim to the Mountains Because of Childlessness:In the northeast pendentive of the northern dome is the scene of Joachim’s withdrawal to the mountains. The rejection of his offerings to the temple has broken the heart of Joachim, and he prayed forty days and forty nights in the mountains. Gabriel the Archangel appeared to him and declared that his prayers were answered. Although they were old, God was to give them a daughter.

Here, Joachim is depicted as a thoughtful and sad person in the bushes. There are two shepherd figures above right. The inscription on the upper part of the scene reads, “Joachim is praying with the shepherds on the mountain”.

The Annunciation of Mary’s Birth to Anne (Annunciation Scene):In the first arch on the eastern wall of the northern section, an angel (Gabriel) is announcing to Anne that she will bear a child. Anne is looking at the angel before here while praying with two open hands in front of a spectacular house, and the servant sitting in the niche of the house behind Anne is looking at Anne, and witnessing the event. On the right side is a pool in front of trees depicted. The inscription on the upper section of the scene reads, “Saint Anne is praying in the garden”.

Meeting of Joachim and Anne:Below the arch in the northern section, Anne and Joachim’s embracing each other and happiness upon Anne’s informing Joachim about the annunciation of her going to bear a child is depicted. The inscription on the upper section of the depiction reads, “Becoming pregnant to Theotokos (Mother of God)”.

Birth of the Virgin Mary:In the scene located east of the second arch in the northern section, Anna, who has given birth, is on a bed and she is surrounded by many servants. While preparations for the first bath of Mary are made, the newborn Mary is depicted in the arms of a woman. A little servant below left is preparing the cradle of Mary, another is cooling Anna using a fan, and persons close to her are putting their gifts on the table. Joachim is watching these happenings at the door. The inscription on the upper section of the depiction reads, “Birth of Theotokos (Mother of God)”.

OUTER NARTHEX MOSAICS

Mosaics Depicting The Life Of Jesus Christ
Joseph’s Dream and Journey to Bethlehem:Three different scenes are depicted in the lunette on the north wall of the outer narthex. On the left side of the scene, Virgin Mary is together with Elizabeth. Mary says, “you are the dear subject of God, and the baby in your womb has been blessed” (John the Baptist was going to be born). On the lower left corner of the scene, Joseph has thoughtfully fallen asleep after recognizing that Virgin Mary was pregnant.

An angel approaching Joseph says that he should not leave her, that Virgin Mary was made pregnant by the Holy Spirit, that she was going to give birth to a son who would save people from their sins, and that he was going give him the name Jesus. Here, the monograms above the head of Virgin Mary mean “Mother of God”.

In the depiction on the right side, Joseph is seen in the back in a mountainous area, Virgin Mary is seen on top of a mule in the middle, and the son of Joseph is in the front. The background includes the depiction of the city. The inscription on the upper part of the scene reads “and Joseph went up from the town of Nazareth in Galilee to Judea, to Bethlehem the town of David”, and the one on the lower part reads, “And the angel of the Lord appeared to him in his dream, and said, Joseph, you the son of David, do not be afraid of accepting Mary as a spouse, for the one who has been born by her is the Holy Spirit”.

Enrollment for Taxation before the Governor:In the depiction on the east lunette of the northern section, the census conducted upon the order of Emperor Augustus for collecting taxes in all Roman provinces. Since everyone had to register in the city where he/she was born, Joseph, a descendant of David, and his family went to Bethlehem for the census. Quirinius, the governor of Syria and Palestine is sitting on the throne, and there is a military guard next to him. In front of the governor, a Roman soldier who is in charge during the query and holding a sword, and a scribe who is recording, are enrolling the pregnant Virgin Mary.

When the father of the child was asked, Virgin Mary remained silent, but Joseph behind her answered immediately and accepted him as a son by declaring himself his father. Behind him, his three sons are seen. The inscription reads, “... because he belonged to the house and line of David... he went there to register with Mary, who was pledged to be married to him and was expecting a child”. The monogram above the head of Virgin Mary means “Mother of God”.

Birth of Christ:On the eastern arch in the central section is the scene of the birth of Christ. During their return from Bethlehem, where they had been for the census, since there was no room for them in the inn and since Mary was suffering childbirth pains, she was obliged to give birth to her baby in a cave. In the scene, Virgin Mary is resting on a blanket in lying position, and the child Christ wrapped in clothes is warmed by a donkey and a bull that breathe upon him, under light beam coming from the sky. There is a group of angels behind Virgin Mary on the right side, and a messenger angel, who is addressing shepherds, on the left side.

In the scene on the lower part of the mosaic panel about preparations for the bath of the child Jesus, a woman is preparing the first bath water of Jesus, while another woman is holding Jesus in her arms. Joseph, who is sitting next to them, seems to be astonished. The inscriptions read, “Birth of Christ” and “Do not be afraid, I bring you good news of great joy that will be for all the people”.

Three Astrologers from the East before King Herod:There is a two-part depiction on the first eastern lunette of the south wing of the outer narthex. On the left side, the three Magi (Balthasar, Caspar, Melchior) on horseback who follow the star of Bethlehem come to Jerusalem and say, “Where is the child who has been born king of the Jews? For we observed his star at its rising, and have come to pay him homage”. These words are heard by King Herod and he asks chief priests and scribes for information about this issue. When he learns that the newborn is in Bethlehem, he calls the three Magi, says that he would pay him homage and asks them to find the prophet.

The three Magi find the newborn Jesus, and become the first ones who pay him homage. Since they recognize the bad intention of King Herod, they return to their homes without informing him about the location of Jesus. King Herod realizes that he had been outwitted, and he gives orders to his soldiers to kill all the boys in Bethlehem who are two years old and under. In the scene, King Herod, who is sitting on a throne before an architectural structure, is holding a staff in one of his hands and extending his other hand towards the Magi.

There is a guard behind the king, and three Magi standing before him. The astrologer on the left side with a long beard is holding a chest, which contains a gift to be presented to Jesus Christ.  The chest contains moral symbols that are going to be presented to a god for the first time, namely myrrh, incense and gold. The inscription on the scene reads, “Magi from the east came and asked, where is the one who has been born king of the Jews”.

Return of Three Astrologer Kings to their Countries:In the scene between the two arches in the east leading from the outer narthex to the parecclesion the return of the astrologer kings to their country after presenting their gifts is depicted. This scene is only partially preserved, showing a rider on a rearing horse.

Inquiry of Herod:The depiction on the second east lunette of the southern wing of the outer narthex is partially destroyed. Here, only the depictions of King Herod and the guard behind him are seen. King Herod, who was informed by the three Magi about the birth of the new king, learns from his chief priests and scribes that this event was to occur in Bethlehem. Behind him, a guard is waiting. The inscription on the scene reads, “When he had called together all the people's chief priests and teachers of the law, he asked them where the Christ was to be born”.

Flight into Egypt:The mosaics in the inner part of the outer narthex extending towards the parecclesion have not completely survived. On the lunette on the south wall of this section, Joseph, who saw in his dream that Herod was going to harm Christ, takes the holy family to Egypt. The inscription here reads, “Flight into Egypt”.

Ordering of the Massacre:In the scene on the south lunette in the southern wing of the outer narthex, since the Magi from the east returned to their country after finding the baby Christ and presenting him their gifts, King Herod orders the killing of all the boys in Bethlehem and its vicinity who were two years old and under. On the left side is King Herod who is sitting on a throne, two guards behind him, and three soldiers before him, and on the right side, children are killed by the soldiers.

One of the mothers is not able to look at her child who was disemboweled, and another one is trying to hide her child. The inscription on the mosaic scene reads, “When Herod realized that he had been outwitted by the Magi, he was furious, and he gave orders to kill all the boys in Bethlehem and its vicinity who were two years old and under”.

Mothers Mourning:In the mosaic depiction, which has not completely survived, on the west arch of the second section of the southern wing of the outer narthex, mothers whose children were killed mourn together their dead children. The inscription reads, “A voice is heard in Ramah, weeping and great mourning”.

Flight of Elizabeth and John from the Massacre:In the scene on the west arch of the first section of the southern wing of the outer narthex, Saint Elizabeth takes shelter in a cave in a mountain together with her son John the Baptist, and a soldier on the left side is pursuing them with a drawn sword. Elizabeth and her son miraculously escaped the massacre, thanks to a rock closing the entrance to the cave. The inscription on the mosaic scene reads, “Flight of Elizabeth”.

Return of the Holy Family from Egypt to Nazareth:In the scene on the arches above the windows on the western walls of the outer narthex, the Holy Family, which had went to Egypt fleeing from the massacre of King Herod, returns to Nazareth. On the left side, an angel approaching the sleeping John says that King Herod had died, his son Archelaus had replaced him, and they could return. In the other scene, John is carrying Child Christ on his shoulders in the front, Virgin Mary is behind them, and the son of John pulling a loaded donkey is behind her.

The city of Nazareth is seen on the far right of the scene. The inscription reads, “Having been warned by God in a dream, he withdrew to the district of Galilee, and he went and lived in a town called Nazareth”. The monogram above the head of Virgin Mary reads “Mother of God”, and the one above the head of Christ reads “Jesus Christ”.

Christ taken to Jerusalem for the Passover:In the scene on the last arch on the western wall of the outer narthex, the holy family is every year traditionally going to Jerusalem for the Feast of the Passover in order to fulfill their religious duties. In this scene, Jesus was twelve years old and when the family recognized during their return from Jerusalem that he was missing, John and Virgin Mary returns to Jerusalem and look for him for three days.

They find him in the temple courts, sitting among the teachers, listening to them and asking them questions. Everyone who heard him was amazed at his understanding and his answers. In the scene, Virgin Mary is at the back, the two sons of John and Christ in front of her, and John in the forefront. The city of Jerusalem is depicted on the right side of John.

This scene is interesting as the last scene in the Chora where the young Christ is without a beard. The inscription on the scene reads, “And every year his parents went to Jerusalem for the Feast of the Passover”.

Inside the medallions on the arch, some saints such as Anempodistus, Elpidephoros, Aphthonios, Akindynos and Pegasios are depicted. Since these mosaic panels were made by different artists, some of them are not of great artistic value. The monogram seen above the head of Virgin Mary means “Mother of God” and the one above Christ’s head means “Jesus Christ”.

Mosaics Depicting the Youth of Christ:Most of the mosaics on the east vault of the northern wing of the outer narthex have not survived. As understood from the existing remains, scenes depicting Jesus’ childhood and youth should have been here. In the surviving depiction, the young Jesus is at the temple, among the doctors.

John the Baptist- Christ and Devil:On the middle section of the first vault in the north is a decorative medallion. The scenes are surrounding the medallion. The baptism of Jesus is depicted on the northern part of the vault. At the shore of the Jordan River, John the Baptist is introducing Jesus standing before him to the crowd behind himself. Here, there are two apostles next to Jesus. John the Baptist, who was born shortly before Jesus, is calling people to turn back to God and to be baptized in the Jordan River so that their sins would be forgiven.

When asked, “are you the Messiah”, John replied, “I am not the Messiah, but I have been charged before him (Jesus). I baptize you with water. But one more powerful than I will come, the thongs of whose sandals I am not worthy to untie. He will baptize you with the Holy Spirit and with fire”. Jesus accepts the invitation and comes to the Jordan River. Despite the insistence of John who wanted to be baptized by Jesus, Jesus himself becomes baptized. At this moment, the Holy Spirit comes down from the heaven in the form of a dove and settles on the head of Jesus.

At this moment, a voice from the heaven is heard: “This is the beloved son of God...” With this event, Jesus was for the first time introduced to the people as a Messiah. The killing of the snake by the bird in the river symbolizes humans’ purification from sin. The inscription on the scene reads, “This is the one I told you would come! He is greater than I am, because he was alive before I was born”, and the monograms read, “Saint John, harbinger” and “Jesus Christ”.

After his baptism, devil tries to tempt Jesus. After fasting forty days and forty nights, Jesus confronts the efforts of devil aimed at tempting him. In this scene, devil is depicted as a black and ugly creature with wings. Inscriptions on the figures narrate the events.

In the first scene, devil extends a stone towards Jesus who feels hungry, and says, “If you are the Son of God, tell this stone to become bread”. Jesus answers: “Man does not live on bread alone, but by every word of God.” The inscription above reads, “If you are the Son of God, tell this stone to become bread”, and the one below reads, “Man does not live on bread alone, but by every word of God”.

In the second scene here, devil wants Jesus to worship him, and he leads him to the roof of the temple and orders him to throw himself. Jesus refuses devil again, by saying that the angels to be sent by God would safely bring him down. Here, the lower inscription reads, “then devil lead him to the holy city”, the one below reads, “If you are the Son of God, throw yourself down from here” and the one above reads, “Get away, Satan”.

In the third scene, devil takes Jesus to the highest hill to show him all the kingdoms of the world, and says, “if you worship me, it will all be yours”. Jesus again refuses devil, answers, “Get away, Satan! The Lord, your God, shall you worship and him alone shall you serve” and passes this examination of devil as well successfully. The inscriptions here read, “All these things I will give you if you fall down and do an act of worship to me” and “You shall not put the Lord, your God, to the test”. In those scenes, monograms of “Jesus Christ” are seen next to the aureola of Jesus.

Mosaics Depicting The Miracles Of Christ
Miracles at the Wedding in Cana:The mosaic depiction in the middle of the vault above the main entrance has not completely survived. Only a part of the banquet at the wedding is visible. In the other preserved mosaics, the first miracles of Jesus are depicted. The sacrifice of a bull and the filling of water into the jars are seen in those in the north, and the empty and filled baskets of bread are seen in those in the south.

Augmentation of Wine:In this scene about the transformation of water into wine, the first miracle of Jesus before people, Jesus, his mother Virgin Mary and the apostles go to a wedding at Cana in Galilee. Mary hears that the host run out of wine, and say Jesus that they have no more wine. Jesus requests the servants at the wedding to fill the six water jars in the house with water, and then to pour his glass of wine into the jars filled with water. Then, he requests them to draw some of the water that had been transformed into wine and to take it to the governor who was present at the wedding.

When the governor drinks the glass full of wine, he says the bride and groom that this was the best wine at the wedding, and asks why they did save this wine, instead of offering it. He requests the servants to distribute everyone at the wedding this wine. After this miraculous event, everyone at the wedding believes in Jesus Christ. In the scene, one of the servants is pouring water into one of the jars, a servant on the right side is approaching with an amphora he is carrying on his shoulder, the governor is holding the wine glass, and there are Virgin Mary and two of the apostles next to Jesus.

Augmentation of Breads:In this scene on the southeast part of the vault where empty baskets of bread are seen, Jesus requests two persons to give the breads they brought to him. As he knows that other people have no food, he breaks these breads, gives them to those next to him, and requests everyone to do the same.

Augmentation of Breads: In the scene on the southeast pendentive of the vault, the filling of the twelve baskets of bread and the feeding of five thousand people is depicted.

Miracles of Jesus Christ, leper (Outer narthex):On the first vault where the whole scene is destroyed, Jesus is depicted walking on the water, and the foot of a leper is seen in the east part of the vault.

Paralytic at Capernaum (Outer narthex):Most of the mosaics on the first vault in the south have not survived. In this section, there is a decorative medallion in the middle, and south of it, Jesus’ healing a paralytic lying on a mat at Capernaum is depicted. When Jesus returned to Capernaum for the Sabbath, people heard that he was staying at Saint Peter the Apostle’s house, and they rushed into this place.

However, a paralytic who was unable to walk alone was brought by four persons on a mat carried by four men. In the scene, the four men are seen next to the head of the paralytic, and Saint Peter and others next to Jesus. The inscriptions on the scene reads, “Jesus in the pool of sheep is raising the paralytic with his words”, and, “Your sins are forgiven”. Next to this scene is a mosaic depiction that has not survived as a whole and the inscription on it reads, “Jesus heals the dropsical man”.

In the scene on the northeast pendentive of the same vault, Jesus sees the faith of a paralytic who is praying, and says that his sins were forgiven. However, as he feels that some priests were thinking that sins could only be forgiven by God, Jesus requests the paralytic to get up and to go to his own taking his mat. When the paralytic stood up and took his mat, everyone was amazed and gave praise to God.

Samaritan Woman (Outer narthex):On the northwest corner of the vault, Jesus and a Samaritan woman are seen at a well. (While Jesus was sitting next to a well alone, since the apostles had gone to buy food, a Samaritan woman came to the well to draw water.) When Jesus asked for a drink, the woman said him, “You are a Jew and I am a Samaritan woman. How can you ask me for a drink?” Jesus answered, “If you knew the gift of God and who it is that asks you for a drink, you would have asked him and he would have given you living water”.

“Sir”, the woman said, “you have nothing to draw with and the well is deep. Where can you get this living water? Are you greater than our father Jacob, who gave us the well and drank from it himself, as did also his sons and his flocks and herds?”  Jesus answered, “Everyone who drinks this water will be thirsty again, but whoever drinks the water I give him will never thirst. Indeed, the water I give him will become in him a spring of water welling up to eternal life”. When the woman said, “I know that Messiah is coming. When he comes, he will explain everything to us”, Jesus declared that he was the Messiah. The inscription on this scene reads, “Jesus Talks with a Samaritan Woman”.

Christ Healing a Blind and Dumb (Inner narthex):On the southeast pendentive of the dome, Saint Peter the Apostle is standing next to Jesus. Jesus is depicted healing the blind and dumb standing before him. The inscription here reads, “Christ healing a blind and dumb man”.

Christ Healing Two Blind Men (Inner narthex):On the northwest pendentive of the dome, Saint Peter the Apostle is standing next to Jesus. In the scene, Jesus is healing two blind men sitting under trees. The inscription reads, “Christ healing two blind men”.

Healing Peter’s Mother-in-Law (Inner narthex):In the scene on the northeast pendentive of the dome, Jesus is healing Peter the Apostle’s mother-in-law, who is lying on a bed. Peter the Apostle is seen before Jesus, and the other apostles behind him. The inscription here reads, “Christ healing Peter’s mother-in-law”.

Woman with the Issue of Blood (Inner narthex):In the scene on the southeast pendentive of the dome, the woman who is bleeding for many years is healed when she touches Christ’s cloak. They are in an open field, and architectural structures and a group of believers are seen around them. The inscription reads, “Christ healing the woman with the issue of blood”.

Healing the Young Man with a Withered Arm (Inner narthex): In the depiction on the east side of the arch, a patient with a withered arm extends his arm toward Jesus and asks for healing. When Jesus enters into the synagogue, he saw a men whose right hand was withered, and he addressed the crowd in the synagogue. When Jesus asked the congregation whether it was permitted to do good or bad, to save or destroy life on the Sabbath, they all remained silent. Then, Jesus asked the man with a withered right hand to extend his arm, and healed him. The inscription on the scene reads, “Christ healing the patient with a withered arm”.

Healing a Leper (Inner narthex):The mosaic depiction on the west side of the arch is partially destroyed. Here, a leper is asking Jesus for healing. When the patient asked Jesus to heal him, Jesus healed the patient with leprosy by touching him. The leper stands in front of an architectural structure, he wears only a laincloth and a part of his body is uncovered, and the spots indicate that he is a leper. The upper parts of the body of Jesus and the bodies of the apostles behind him have not survived. The inscription on the scene reads, “Christ healing the leper”.

Christ Calling Zacchaeus:Zacchaeus, who had been earning money by taking bribes, climbed a sycamore-fig tree to see Jesus better. Jesus, who noticed Zacchaeus despite the crowd called him and forgave his sins. On the other hand, Zacchaeus gave half of his possessions to the poor, and served the religion.

Christ Healing the Handicapped (Inner narthex):In the scene on the west lunette of the southern section of the inner narthex, Jesus is depicted on the left side with three apostles next to him, and there are a group of men, women and children, some of which are sitting, before Jesus. Here, Jesus is healing a large group. One of the inscriptions reads, “Christ healing a multitude”, whereas the rest of the inscription beginning with the expression “Christ healing...” cannot be read.

TOMB NICHES (ARCOSOLIUM) IN THE OUTER NARTHEX
The second niche on the western wall, northern axis, is a tomb niche (A).Above the sarcophagus lid level is a fresco painting of persons buried here. There is a figure on the left side sitting on an armchair, and two figures standing in front of it. Probably, this tomb niche should belong to a noble family from the court buried here. The upper part of the fresco has been destroyed.

The first niche on the western wall, southern axis, is a tomb niche (B).Above the sarcophagus lid level are the partially preserved fresco paintings of persons buried here. The scene contains three figures depicted standing side by side. The figures are wearing long court costumes (kaftan) and the costumes of those on the right and left side are decorated with Palaiologan monograms. The one in the middle is thought to be a child. The upper part of the fresco has been destroyed.

The second niche on the western wall, southern axis, is a tomb niche (C).Above the sarcophagus lid level are the partially preserved fresco paintings of persons buried here. The lower part of the fresco has been preserved whereas the upper part of it has been destroyed. The scene contains three figures wearing court costumes depicted standing side by side. The dress of the figure in the middle is decorated with Palaiologan monograms. This tomb belongs to Irene Raoulaina Palaiologina, a member of the dynasty.

On the side walls of the tomb niche are full-length figures of a woman and a man in religious costumes on the right and left sides respectively. On the arch of the niche, in the middle, inside a mandorla, is a depiction of Blachernitissa. The medallion on the left side of this depiction contains the bust of Saint Cosmas of Maiuma, a writer of hymns (hymnographer), the medallion on the right side contains the bust of Saint John of Damascus, and the papers in their hands contain words about death.

DEPICTIONS ON THE LUNETTES AND WINDOW ARCHES OF THE OUTER NARTHEX

The lunettes and window arches of the outer narthex contain depictions of saints inside round medallions. Additionally, there are depictions of full-length saints on the four main arches, and on the eastern section of the northern arch, the young saint Andronicus is depicted standing, wearing ceremonial clothes and holding a cross. This saint had been tortured during the reign of the Roman Empire Diocletian (284-305 AD), and he was canonized. The inscription here reads, “Andronicus of Cilicia”.

On the western part of the arch, Saint Tarachus, a middle-aged soldier who had come from Cilicia, is depicted standing, wearing ceremonial clothes and holding a cross. This saint as well had been tortured during the reign of the Roman Emperor Diocletian (284-305 AD), and he was canonized. The inscription here reads, “Tarachus of Cilicia”.

The figure on the east side of the second arch east of the entrance probably belongs to George of Cappadocia, and the one on the west side of it to an unidentified saint. Saint George was born in the late 3rd century, he was tortured during the reign of the Roman Emperor Diocletian (284-305 AD) when his Christianity was discovered, and he was executed.

The figure on the east side of the first arch south of the entrance probably belongs to Demetrius of Thessaloniki, and the one on the west side of it to an unidentified saint. The Roman Emperor Maximian (235-238) sentenced Demetrius, whom he saw among Christians when he came to Thessaloniki, to death. Thus, the saints on the arches are depicted looking at the faces of each other.

The saint figures on the east and west sides of the second arch south of the entrance could not be identified.

Hodegetriais depicted in the first northern panel among the panels on the east wall of the outer narthex, Anne with child Mary in her arms in the second panel, and Joachim is depicted in the first panel on the west wall. Probably John the Baptist is depicted in the first panel on the east wall in the south, and there is no figure in the second panel.

LOCATION SATELLITE MAP



WEB SITE : Kariye Museum Administration / Chora Museum Administration

MORE INFO & CONTACT
Phone : +90 212 631 9241
Fax : +90 212 512 5474
E-Mail : ayasofyamuzesi@kultur.gov.tr

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

CHORA MUSEUM / HISTORY

Edirnekapı, Fatih - Istanbul - Turkey

GPS : 41°01'51.7"N 28°56'20.5"E / 41.031026, 28.939025



PHOTOGRAPHS ALBUM

The building that is located in the Edirnekapı neighborhood of İstanbul and called the "Chora Museum" (Kariye Müzesi) is a church building that constitutes the center of the Chora Monastery, which was a great building complex in the Eastern Roman Empire period, and it was dedicated to Jesus Christ. Since it stood outside of the city walls built by Constantine, the building was called "Chora", which means "in the country" or "outside of the city" in Greek.

Although the exact construction date of the building is unknown, according to the description of Symeon the Metaphrast, an author and saint who lived in the late 10th century, the region where the Chora monastery was located began to gain importance as a holy cemetery (necropolis) when the relics of Saint Babylas, who had been martyred in the early periods of Christianity, in 298, together with his 84 disciples, in Nicomedia (İznik), were buried here in the early 4th century.

The Chora monastery was rebuilt in the 6th century, in 536, by the Emperor Justinian (527-565) on the cemetery that was considered holy, on a chapel that had been ruined. On the other hand, according to the unproven claim on the page 229 of the calendar of Byzantine feasts written by Manuel Gedeon, the construction of the monastery had been initiated by Theodoros, the uncle of Justinian’s wife Theodora, in the 6th century, but it had been devastated by an earthquake that occurred on October 6, 557, and the emperor had built a larger monastery on the site of the former one.

Afterwards, the monastery was used as a burial area for prominent persons. When the Patriarch Germanus who died in 740 was buried here, the monastery appeared for the first time in written sources, and its degree of holiness increased, when Theophanes, Metropolitan of Nicaea, who died in the 9th century, also was buried here.

The building was destructed in the Iconoclastic period (711-843) and it was reconstructed in different periods. According to archaeological studies carried out between 1947 and 1958, there were five different construction periods here, and those periods witnessed in the 11th, 12th and 14th centuries should have been the periods of large-scale constructions or restorations.

The only surviving element originating from the earliest period of the building that lasted until the 9th century is the substructure on the east side. This substructure, which originates from the 5th or 6th centuries as indicated by its masonry, had not been built as a crypt, but it was used later as a burial place, as indicated by the tombs uncovered. At the end of the Iconoclastic period, after the Council of Nicaea in 843, Michael of Synkellos, who was appointed the high priest of the monastery, rebuilt the monastery completely by organizing a large construction campaign.

The remains of this structure built in the 9th century can only be seen today at the eastern end of the church. The tomb covered by a barrel vault beneath the naos covering dates from this period.

During the Comneni period (1081-1185), since the Great Palace was abandoned and the religious ceremonies were held in the Chora Monastery Church that was close to the new imperial residence at the Palace of Blachernae, the church gained in importance. In the last quarter of the 11th century, Maria Doukaina, the mother-in-law of Emperor Alexios I Komnenos (1081-1118), built a new church upon the ruins of the Chora Monastery. The remains of this building can be seen at the lover parts of the naos walls, under the marble coverings. Since almost no part of its superstructure has survived, the exact form of the building is unknown.

Isaac Komnenos, the younger son of Alexios I, rebuilt a large part of the monastery in 1120. The former three apses were replaced by a single and large apse, the relatively small dome supported by four columns was enlarged and supported by four corner pillars, the arches were narrowed, and thus, a more monumental interior space was created.

There is almost no information about the Chora Monastery during the Latin occupation between 1204 and 1261, but considering the large-scale construction of Metochites, the monastery seems to have been devastated during the Latin occupation. It is known that the huge earthquake of 1296 devastated the monastery. Patriarch Athanasius I, who resided in the Chora Monastery in the early 14th century, mentions the very bad condition of the monastery.

During the reign of Andronikos II (1282-1328), although the empire experienced economic difficulties in general, there was also a community of wealthy aristocrats, which supported artistic and scientific activities. In this period, Theodore Metochites almost reconstructed the Chora Monastery and established a very large and rich library inside the monastery. For the Byzantine aristocracy, building or repairing a religious institution was considered as a source of prestige in this world, and as a very important investment for the afterlife, before God.

Theodore Metochites was the son of an aristocratic family, born in 1270 in Constantinople. His father served as Michael VIII Palaiologos’ ambassador at the Papacy. After the dethronement of Michael VIII in 1283, the Metochites family was exiled. During their period of exile, Theodore Metochites studied the Hellenistic trivium and quadrivium, and he was additionally trained in ancient philosophy and theology.

In 1290, he was accepted to the court of Emperor Andronicus II, and he became a senator and the Logothetes, the Byzantine official responsible for the treasury, who was the highest official after the Emperor. He even established relationship with the imperial family by making her daughter marry Ioannes Palaiologos, the nephew of the Emperor.

In 1316, he was appointed by the Emperor as "ktetor" (donor) for the restoration of the Chora Monastery that was under the protection and directorship of the court. When the restoration of the monastery was completed in 1321, he was granted the title of Grand Logothete; i.e., the most important title granted by the court.

This was stated via the gilded inscription on a green surface on the dyed capitals of the two marble frames of the large window in the southern typhanon of the naos. The inscription on one side of the left capital reads "ktetor", the inscription on the other side of this capital reads "Theodore", the inscription on one side of the other capital reads “logothetes”, and the inscription on the other side of this capital reads “Metochites”.

Metochites was proud of the monastery he had built and of the large library he had established inside this monastery in particular. Although there is no definite archaeological evidence about the building of this library, both the poems of Metochites and the letters he sent to the priests of the monastery from exile indicate that there had been such a library inside the monastery. The library of the Chora Monastery is referred as one of the most important libraries of the Constantinople of the Palaiologan period.

The renovations undertaken by Metochites were comprehensive. The main dome of the church, the two-storied structure (annex) added to the north, the inner and outer narthexes and the chapel (parecclesion) added to the south, and additionally the marble covering plates and mosaics of the naos, the mosaic decorations of the narthexes and the frescoes of the additional chapel were built by Metochites.

Metochites, who was a senior bureaucrat, wanted his reputation to survive after his death. His choice of rebuilding the Chora Monastery and furnishing its library indicates that as a good Christian, he was worrying about the afterlife as well. The rich library was both to transfer his reputation in this world to the next generations and to make him appreciated by God thanks to his great good work.

Metochites was a good Christian, but not a sectarian. He carefully avoided conflicts with the church. He did not prefer to discuss religious issues, and confined himself to being faithful.

When Emperor Andronikos II was dethroned in 1328, Theodore Metochites was forced into exile in Didymoteicho, Thrace, by the new emperor, lived two years in exile, and he described his painful experiences and exile years in his poems that had very complicated literary plots. When he was allowed to return to Constantinople with the help of his son-in-law in 1330, he went to the Chora Monastery and became a priest using his rights as the ktetor of the monastery. He died in 1332 in the Chora Monastery and buried in the grave niche in the parecclesion south to the church.

Metochites was not only successful in the areas of literature and politics, but also in developing architectural solutions for the Chora Monastery Church, in decorating the monastery with brilliant and harmonious mosaics and frescoes, and in organizing religious depictions in a chronological order and iconographically. In this respect, he might be considered as the pioneers of a new art movement in the Byzantine Empire, which was the contemporary of the Renaissance movement initiated by Giotto (1266-1337) in Italy.

Another feature distinguishing the Chora Church from the other churches of this period is the depiction of the scenes from the life of Virgin Mary in chronological order by using the Apocryphal Gospels, although these scenes are not included in the four Canonical Gospels. Metochites added a mystical meaning to the name of the church, ordered the mosaic on the entrance gate that is depicted as “Chora (uterus, in the Latin language), the container of the uncountable, the place where Jesus Christ fit into the uterus, where he incarnated”, dedicated the church to Virgin Mary, and explained this in one of his poems as well.

In 1453, when Sultan Mehmed II the Conqueror (1451-1481) conquered İstanbul, the church suffered no damage. After serving as a church for any years, it was converted into a mosque during the reign of Sultan Bayezid II, by the Grand Vizier Hadım (Eunuch) Ali Pasha (Atik Ali Pasha), and a madrasah (school) was added next to it. In the Turkish period, the monasteries except this church were ruined and disappeared in the course of time.

Besides the reconstruction of the demolished dome and the repair of some damages caused by earthquakes, the windows of the outer narthex were covered largely and a mihrab was added to the naos. The sarcophagi in the tomb arcosolia were removed. According to the descriptions of travelers who visited this building, while it was serving as a mosque, the mosaics of the building were covered with removable wooden shutters. In the first half of the 18th century, a school and a soup kitchen were added to the building by Kızlarağası (Chief of the Girls) Hacı Beşir Pasha (d. 1746). However, these annexes have not survived.

The Chora Mosque was converted into a mosque upon the decision of the Council of Ministers dated 29/08/1945. This monumental museum, which is called the Chora (Kariye) Museum today, is a quite attractive Eastern Roman building with both its architecture and its mosaics and frescoes.

LOCATION SATELLITE MAP



WEB SITE : Kariye Museum Administration / Chora Museum Administration

MORE INFO & CONTACT
Phone : +90 212 631 9241
Fax : +90 212 512 5474
E-Mail : ayasofyamuzesi@kultur.gov.tr

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

CHORA MUSEUM / ARCHITECTURE

Edirnekapı, Fatih - Istanbul - Turkey

GPS : 41°01'51.7"N 28°56'20.5"E / 41.031026, 28.939025



PHOTOGRAPHS ALBUM

The Chora consists of five main architectural units, namely the naos, the two-storied structure (annex) added to the north, the inner and the outer narthexes and the chapel for tombs (parecclesion) to the south.

The main structure of the existing church is a building on an athropied Greek cross plan covered by a dome. The dome is a ciborium-shaped high frame supported by four columns. 16 long windows provide lots of daylight to the interior. On each side of the bema, the eastern extension of the naos, were domed chambers called pastophoria. The chamber to the north (prothesis) directly opens to the bema, whereas the chamber to the south (diaconicon) had opened to the bema, but after the renovations in the 14th century, it was covered with marble and opened to the parecclesion.

South to the naos is a passageway linking the naos to the parecclesion. The additional building (annex) adjacent to the north side of the naos is two-storied, and most probably, the lower story was housing the treasury (Skeuophylakion) and the upper story the library of Metochites. The units south and north to the inner narthex located west of the naos are covered with domes, whereas other units are covered with vaults. The section in the southwest of the outer narthex, where the bell tower was located earlier, houses the minaret today.

The main room of the church (naos) has a size of 10.5 m x 15 m. The apse is supported with an outer semi-circular flying buttress constructed in the Palaiologan period. The main room’s floor and walls are covered with marble. Inside the apse is the mihrab made in the Ottoman period. Stained glass pieces discovered during archaeological excavations at the apse section resemble those in the Monastery Church of Christ Pantocrator, and this is quite important because it indicates that the art of stained glass had been developed earlier in the Byzantine Empire than it had been done in Europe. The walls of the naos are decorated with valuable marble plates up to the cornice level, the narthexes are entirely decorated with mosaics, and the Parecclesion is decorated with frescoes.

The parecclesion adjacent to the south side of the naos was entirely built in the 14th century. This structure, which was built by Metochites as his own tomb chapel, included the tombs of Metochites, the founder of the monastery, and some people close to him. This elongated rectangular and single-nave structure has a size of 15.96 m x 4.96 m. The parecclesion is separated from the outer narthex by two columns that have capitals decorated with winged angels, crosses and acanthus leaves, and constitutes a whole independent from the narthex in terms of both architecture and function.

As indicated by the four arcosolia for tombs in the parecclesion, this section was built upon a basement, which was used as a crypt and cistern as well, as a tomb chapel. The depictions in the 29 m long parecclesion were made as frescoes. The bema and apse section to the east is covered with a domical vault. There are four arcosolia for tombs in the parecclesion, two on the northern wall and the other two on the northern wall. An arched passage close to the bema arch of the northern wall leads to the chamber of diaconicon.

On the east side of this rectangular structure, which has a size of 4.33 m x 3.21 m, is a small, semicircular protruding apse. The central part of the parecclesion is covered with a dome. This dome is 4.7 m in diameter and 11.18 m in inner height. The dome structure with 12 ribs (dodecagonal) is supported by a relatively high trimmer and has 12 windows. The space, which had been formed because of the construction of the parecclesion in the 14th century, between the parecclesion and the naos, was utilized by adding two chambers on either sides of the hole connecting the naos and the parecclesion.

There are no frescoes or mosaics in these two chambers, which could have been utilized as storage rooms for liturgical articles or as small chapels (oratorium). Those chambers are thought to have been used to store materials such as candles, candelabras, incenses, icons and containers used during religious and memorial services carried out in the chapel.

There are totally eight tomb arcosolia in Chora; four in the parecclesion, one in the north wall of the inner narthex, and three in the west wall of the outer narthex. Those tombs belong to aristocratic families. Additionally, beneath the apse decoration of the parecclesion is another tomb dating from a later period.

Round arches, niches, stone walls with brick dog tooth eaves, and half-piers covering the facade of the building have provided a vivid outlook to the structure.

Important Renovations
After the appointment of Metochites in 1316 by the emperor as the "ktetor" (donor) to restore the Chora Monastery under the protection and direction of the palace, the restoration of the monastery was completed in 1321. The main dome of the church, the two-story additional building (Annex) adjacent to the north side, the inner and outer narthexes and the additional chapel to the south (parecclesion), furthermore the marble plates and mosaics of the naos, the mosaic decoration of narthexes and the frescoes of the additional chapel had almost their present-day appearances.

After these renovations undertaken in the 14th century, the chamber in the south (diaconicon), that had been opening into the bema, was closed with marble and began to open into the Parecclesion. After the earthquake of 1766, the main dome of the church that had collapsed was renovated by the architect İsmail Halife. During this renovation, the original 14th-century dome was replaced by a wooden dome covered with plaster.

In the reign of Sultan Abdülaziz, between 1875 and 1876, the mosaics were cleaned and uncovered by the Greek architect P. Kuppas and some changes were applied to the facade of the building. The fillings made by pouring stone chips between domes in order to cover the narthex with lead had adverse effects on the appearance of the building and increased the weight of the structure. In 1898, Sultan Abdülhamid II had the building, which had been damaged and the minaret of which had been destroyed by the earthquake of 1894, restored.

During the partial restoration undertaken in 1929, the Koimesis mosaic in the naos was cleaned and uncovered. During this restoration, some of the additions in the interior made during the Turkish period were removed and the minbar, which has reached the present day, was sent to the Zeyrek Mosque (Church of Christ Pantocrator). After 1948, the building was attached to the Administration of Museums.

Between 1947 and 1958, a comprehensive cleaning and restoration program was implemented under the leadership of Thomas Whittemore by the "Byzantine Institute of America" and the "Dumbarton Oaks Research Institute". The frescoes and mosaics displaying the characteristic features of the 14th century were uncovered and the building obtained its current appearance.

Marble Decorations
The word “marble”, which is known as “Marmaron” in Greek, was named after the Marmara Island (Prokonnessos) that was famous for its rich marble deposits. These white marbles with gray grains were extensively used for the decoration of the Chora. In addition to the marbles from the Marmara Island, porphyritic, ancient green, onyx, red, yellow and pink grained marbles brought from different places such as the North Africa, the island of Euboea (Eğriboz) and the Afyon province produced a rich outlook.

Marble blocks of the same sets were cut and mounted side by side in order to form patterns, rich symmetrical figures and motifs resembling wood grains. Although the marble works in Chora are as rich and striking as those in the Hagia Sophia are, they do not attract the attention of visitors that much, because of the rich mosaics and fascinating fresco pictures. Especially the naos and the wall coverings in the narthexes of Chora contain marble. Marble patterns in opus sectile were used in coverings and additionally in the friezes under the cornices on the naos walls.

Attentive observers are able to see the fine marble works in the frames of the tomb niches, in the marble intarsia cornices, in the yellow and dark colored reliefs on the capitals of the columns, and on the first door on the north side of the entrance to the naos.

The marble door in the north axis of the naos has lost its embossments like the door of heaven and hell in the southern gallery of the Hagia Sophia. It is an imitation of the bronze and wood doors of the 6th century, and one of the few surviving examples of its kind. The embossed yellow painted figures of pigeons, which drink water from bowls, on the upper frieze of the lintel on the main entrance door of the naos are of high-quality workmanship. On the frames on the two tombs in the parecclesion, the background is blue and the embossed sections are yellow.

The walls of the parecclesion are decorated with imitation marble frescoes. The omphalion in the south axis of the naos floor schematically resembles the omphalion in the Hagia Sophia. This section was supposedly used during ceremonies.

Mosaics And Frescos
Mosaics and frescoes were widely used decoration techniques of the Byzantine religious painting. In Chora as well, we are able to see those two decoration techniques together. The outer and inner narthexes are decorated with magnificent sequential scenes that could be considered among masterworks of mosaics, narrating mainly the life and miracles of Jesus Christ, and the life of Virgin Mary, respectively. On the other hand, in the parecclesion, religious stories from the Old Testament and scenes such as the judgment day, resurrection and last judgment are depicted in frescoes.

The mosaic art found by Egyptians was at first used as a flooring decoration. In the Hellenistic period, this art was developed by the introduction of glass mosaics. That kind of mosaic was called "psifidoton" in the Byzantine period. In the Early Christian period, the mosaics were created by laying small triangular, quadratic, cubic etc. pieces called "tesserae" and made of stones, glasses and seashells of various colors and almost flesh-colored tile pieces covered with gold and silver leafs on a wet, quick-drying plaster together.

This art, which was widely implemented in the 6th century for wall decoration, entered a period of stagnation in the 10th century, because of its complexity and since it was costlier than frescoes. However, in the 14th century, in the late Byzantine period, it revived, as seen in the Chora. That phenomenon is also an indicator of the extent of the socio-economic development of the Byzantine Empire after the Latin occupation (1261).

A very good example of the substitution of the art of fresco painting the mosaics in the Byzantine painting art since the later technique was expensive and difficult to implement, can be seen in the parecclesion of the Chora. In the period of Metochites, after the completion of the mosaic decorations in the naos and narthexes of the Chora, the decoration of the parecclesion was initiated, but here, mosaics were used nowhere with the exception of tomb niches, and all decorations were frescoes. Obviously, during the last phases of the renovation, the economic situation should have been worsened.

The fresco technique consists of painting in pigment dissolved in water by squeezing on wet plaster via a brush with stiff and long bristles. Thus, the pigments are absorbed by the wet plaster and the colors stay bright for a very long time. Thanks to both the painting technique implemented and the high-quality materials chosen for the parecclesion section of Chora, the brightness of the colors of the paintings have been preserved until today. The cliffs, trees, clothes stretched between buildings, and architectural elements aiming at providing depth to the paintings were implemented very successfully, and they have added three-dimensionality to the paintings.

After the conversion of the church into a mosque, all inscriptions, Christian symbols, all frescoes, and mosaic decorations were covered by a thin layer of dye and lime without destroying them. Thus, they have been able to survive without suffering any damage until today.

LOCATION SATELLITE MAP



WEB SITE : Kariye Museum Administration / Chora Museum Administration

MORE INFO & CONTACT
Phone : +90 212 631 9241
Fax : +90 212 512 5474
E-Mail : ayasofyamuzesi@kultur.gov.tr

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