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Diagram of the mosaics in the south tympanum The church fathers were depicted on the lower register, the prophets in the middle register, and angels and apostles in the top register. These mosaics were created during the restoration of Hagia Sophia under Basil I, sometime after the earthquake of 869; they only partially survive. These reconstructions were made on the basis of the surviving images and Fossati drawings. (after Mango, Mosaics, diagrams III-IV) 26
27 North tympanum, lunette, John Chrysostom This mosaic, in the fourth lunette from the east, shows Chrysostom as a bishop, with short hair and a short beard. He wears a white sticharion, white phelonion, and an omophorion decorated with crosses. The panel dates to the late 9th century. (photo: Byzantine Institute) In some architectural spaces, for instance in the central nave—where most of the mosaic decoration was lost—and in the narthex, the Fossatis added midnineteenth-century vignette patterns to the original Justinianic ornaments to create a more contemporary decoration (Figs. 19, 20). The Fossatis’ yellow background with ornamental patterns resembles those of the nineteenth-century interiors of European palaces. It is noteworthy that the Fossatis employed extensive ornamental patterns in the narthex and the naos, the areas used by the sultan for court ceremonies. These patterns created a grand and contemporary appearance in the major interior spaces. After the Byzantine Institute completed its work on the mosaics, the remaining Fossati painted patterns continued to deteriorate and were 29
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 22 and 23: 19 22 Central nave after the Fossat
Page 24 and 25: 21 24 Fossati patterns in the apse
Page 26 and 27: 23 24 Lunette and barrel vault over
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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