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19 22 Central nave after the Fossati restoration, looking toward the east, late 19th century The Fossatis used both sixth- and nineteenth-century designs as the basis for their decoration. Thus, the apse and semidomes are decorated with imitations of Justinianic patterns, while the spandrels are adorned with medallions that include neo-Gothic rosettes, a typical nineteenth-century pattern. (photo: Sebah and Joaillier)
20 Eastern apse The mosaics of the arch, spandrels, and apse conch were covered with Fossati decorations. Those in the apse conch consist of bands of leafy rosettes springing from its apex, an example of imitation Justinianic design. (photo: P. Iskender, Byzantine Institute, 1935)
Page 1 and 2: Mosaics of Hagia Sophia, Istanbul:
Page 3 and 4: © 1998 Dumbarton Oaks Trustees for
Page 5 and 6: Acknowledgments The catalogue and e
Page 7 and 8: Thomas Whittemore (photo: Maurice S
Page 9 and 10: mately, the Fossatis’ studies wou
Page 11: 7 5 6 (above) General view of Hagia
Page 14 and 15: 9 10 (right) Inner narthex, looking
Page 16 and 17: 13 Detail, the dome Each rib of the
Page 18 and 19: Aya Sofia reveal a radical change i
Page 20 and 21: 16 20 Detail, south vestibule, lune
Page 24 and 25: 21 24 Fossati patterns in the apse
Page 26 and 27: 23 24 Lunette and barrel vault over
Page 28 and 29: Diagram of the mosaics in the south
Page 30 and 31: 30 28 North tympanum, lunette, St.
Page 32 and 33: 30 sion Hagia Sophia was closed for
Page 34 and 35: on the conservation of the mosaics,
Page 36 and 37: Besides data on conservation, the d
Page 38 and 39: during the search for the figural p
Page 40 and 41: 36 Apse conch and bema vault The ce
Page 42 and 43: 39 South gallery, testing of the mo
Page 44 and 45: tached tesserae were reset by gluin
Page 46 and 47: 48 Gridding the apse mosaic During
Page 48 and 49: 50 48 Central nave, looking east To
Page 50 and 51: 50 52 53 South gallery, Emperor Joh
Page 52 and 53: 52 55 56 South gallery, the Deesis
Page 54 and 55: 54 58 59 The Deesis The panel repre
Page 56 and 57: 61 bed, had a more detailed paintin
Page 58 and 59: 63 Conservator’s notebook entry I
Page 60 and 61: In the central lunette in the inner
Page 64 and 65: 67 Central nave in the morning, loo
Page 66 and 67: The first step in making copies was
Page 68 and 69: apse and three letters from the ins
Page 71: Plate 2 Tracing of a Latin cross Gr
Page 75:
Plate 4 Reproduction of St. Ignatio
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