Early Christian and Byzantine Architecture

1969 ◽  
Vol 73 (2) ◽  
pp. 255
Author(s):  
Philippe Verdier ◽  
Richard Krautheimer
Author(s):  
Robin Cormack

The landscape of Khartoum was changed when in 1906 a British Arts and Craft architect was commissioned to build the Anglican Cathedral of All Souls — partly as a memorial to General Gordon. The design was exhibited in 1909, and described as ‘A very curious piece of architecture, the style of which we presume is suggested by local associations’. The finished church, it is argued, was the masterpiece of the architect Robert Weir Schultz, an evocative blend of his earlier studies of Byzantine architecture in Greece, and medieval buildings in England and Cairo, and an impressive response to local conditions and materials in Sudan. The building has survived to today, but as the Museum of Sudanese History. Its fine furniture has been moved out, but can be tracked down. The original ensemble can be re-assessed as an evocation of an early Christian environment in a developing country.


1967 ◽  
Vol 49 (3) ◽  
pp. 261
Author(s):  
Spiro K. Kostof ◽  
Richard Krautheimer

2010 ◽  
Vol 8 (3) ◽  
pp. 277-291
Author(s):  
Predrag Milosevic

There are many models in the entire history of architecture which have travelled across the world, from one to another part of the big world. For various reasons, very frequently not at all scientific or professional, in our part of the world, be it Serbian or Yugoslav, or south Slav, some like to remain silent, when it comes to the transition of a Byzantine model, which by nature is rooted in the Orthodox Christian faith at the south east of Europe and the outmost west of Asia, to their areas, pervaded to a great extent by the Roman Catholic Christian belief, or Islam. There are numerous evidences of the transition of a model, one of many which found their new home on the west-European soil after the fall of Byzantium, mostly after the Crusades, when looters, but also scientists and artists in Italy, came by new wealth, and new knowledge, in the capital of the fallen Empire, observing its magnificent edifices, and taking its parts to their boats and shipping them to Venice and other cities in Italy and placing them on their buildings and squares, as they have done with the columns of the Augusteion of Constantinople, the square dedicated to Justinian's mother Augusta, which now decorate the square near the famous Venetian church of Saint Marco. Some other, also numerous accounts, explain how the Ottoman Turkish architecture in almost the same way, adopted its mosque construction model at the same place, in the same manner, retaining the actual structures but changing the religious insignia, or by copying this Byzantine model in building the new mosques.


2020 ◽  
pp. 351-356
Author(s):  
Юлия Николаевна Бузыкина

Книга Николаса Н. Патрикиоса («Сакральная архитектура Византии: искусство, литургия и символизм в раннехристианских церквях») представляет собой обобщающую работу о византийской архитектуре от эпохи Константина до падения Константинополя. Важность её заключается не только в том, что автор проработал огромный массив материала — 370 памятников, разделив их на семь типов (с. 48) и проследив эволюцию каждого из них и в целом и в деталях, но и в том, что автор учитывает взаимосвязь между архитектурной типологией и наполнением здания, демонстрируя, как особенности литургии в разные исторические периоды соотносятся с архитектурной эволюцией, а также с образным наполнением церковного пространства. Эта отличительная черта работы сообщает ей необходимую полноту. Для Патрикиоса архитектура, литургия и священное изобразительное искусство представляет собой единое целое. Чтобы учесть все компоненты целого, автор делит повествование на следующие главы: церковь и государство; сакральная архитектура; великолепные церкви; духовное искусство; литургия и Евхаристия; символизм в архитектуре и искусстве. The book by Nicholas N. Patrikios ("Sacred Architecture of Byzantium: Art, Liturgy and Symbolism in Early Christian Churches") is a generalizing work on Byzantine architecture from the era of Constantine to the fall of Constantinople. Its importance lies not only in the fact that the author has worked through a huge array of material - 370 monuments, dividing them into seven types (p. 48) and tracing the evolution of each of them in general and in detail, but also in the fact that the author takes into account the relationship between the architectural typology and the content of the building, demonstrating how the features of the liturgy in different historical periods correlate with the architectural evolution, as well as with the figurative content of the church space. This distinctive the feature of the work gives it the necessary completeness. For Patrikios architecture, liturgy and sacred art of constitutes a single whole. To take into account all the components of the whole, the author divides the narrative into the following chapters: church and state; sacred architecture; magnificent churches; spiritual art; liturgy and Eucharist; symbolism in architecture and art.


Ars Adriatica ◽  
2013 ◽  
pp. 7
Author(s):  
Ana Mišković

The sacristy is an ancillary but also a necessary liturgical space in every religious complex. Judging from late-antique and early-medieval written records, a chamber adjacent to the façade or the east end (frequently one of the pastophoria) of the main congregational church had the function of a sacristy. In the regions practising the Western rite, the sacristy was located next to the church façade. It housed liturgical vessels, ecclesiastical objects, liturgical vestments for the clergy and books. The sacristy was the place where priests were robed for the eucharistic celebration and from which they emerged in the solemn procession marking the beginning of the service. In the West, the sacristy was not the place where the gifts of the congregation were accepted; instead, they brought them to the church’s chancel screen. on the other hand, in the east, the additional function of the sacristy was that of the place where gifts were presented (prothesis). Therefore, the congregation had access to it so that they could deposit their offerings which the clergy then carried to the altar. In any case, in the West and east alike, there was no separate room set aside exclusively for the offerings of the congregation. In fact, it cannot be said that the prothesis and diaconicon – the chambers flanking the presbytery – had the function of a sacristy at this point because they appeared in Byzantine architecture only in the early middle ages. Constantinopolitan sources confirm that a liturgical reform took place between the first three decades of the eighth century, that is, the office of Patriarch Germanus i, and the mid-tenth century reign of emperor Constantine Porphyrogenitus: the previously unified liturgical function of the sacristy split into two. Therefore, the application of the terms prothesis and diaconicon to the chambers (pastophoria) flanking the main apse in early Christian architecture should be discarded.  Focusing on the example of the chamber situated next to the façade of the early Christian Cathedral in the episcopal complex at Zadar, it can be noted that its architecture and function were that of a sacristy, especially if one compares it to liturgical documents from Rome (Ordines romani). This chamber and its location are interpreted on the basis of the historical records of local chroniclers who mention a custom of offerings – the so-called Varina – during the office of Bishop Felix, and all of this, taken together, suggests that in the earliest Christian times the Church of Zadar practised a romanstyle Westernrite.


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