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during the search for the figural panels (Figs. 34, 35). 31 When uncovering the mosaics, the conservators consulted the photographs in order to identify details of figures, as in the case of the south side of the bema, 32 where the Fossatis’ drawings helped the conservators identify the orb in the hand of the archangel there during a cleaning of the panel (Figs. 36, 37). The conservators also found mistakes in the Fossati notes, as in the case of their erroneous placement of the panel of the emperor Alexander. 33 After a lengthy search for the panel throughout the entire south gallery, it was finally discovered in the north gallery (Fig. 38). Once the search for the mosaics had been completed, the work began to test their surfaces for plaster deterioration and cracks (Fig. 39); then the brickwork under the plaster would be repaired—restored or removed and replaced—and in some cases loose tesserae reset (Fig. 40). In the case of the mosaics of the church fathers in the recesses of the tympana (Figs. 25-28), the conservators had to fix the cracks in the mortar joint along the edges of the recess in order to strengthen the plaster under the mosaics’ setting bed. 34 In many areas, the Fossatis’ rusting iron cramps were replaced with new Delta copper cramps from the United States, the latter proving to be more satisfactory for the job. Their particular shape created a better bond between the plaster and brick masonry (Figs. 41, 42). 35 The new cramps were also used to preserve mosaic areas that were in danger of falling off; in some cases they were installed across the entire face of a panel. The process required several steps. First, if the plaster under the mosaics was weak, the mosaic cubes would be removed and the setting bed cut away down to the brick to allow workers to drill a hole. The hole would then be washed with vinyl, and a metal cramp fitted to a depth of 12 centimeters. A plaster and borax solution would be injected, so that the prongs of the cramp pressed on the setting bed. 36 The de- 31 Comments on the photographs of the Fossatis’ drawings, watercolors, and paintings can be found in conservators’ diaries: Dumbarton Oaks, Byzantine Photograph and Fieldwork Archives, A. T. White, diary, 1935, notebook 32, and W. Gregory, diary, 1939, notebooks, 4, 11, 13. 32 W. Gregory, diary, 1937. 33 Ibid. 34 J. M. Brennan, diary, 1940. 35 Dumbarton Oaks, Byzantine Photograph and Fieldwork Archives, R. Gregory, diary, 1934, notebook 22. The conservators charted the locations of the new cramps and the old Fossati cramps in the major panels. 36 The Byzantine Institute formula for mixing plaster: water (1 measure), plaster (2.5 measures), borax (0.30 measures). Dumbarton Oaks, Byzantine Photograph and Fieldwork Archives, W. J. Gregory, observation book, 1934, II, notebook 29. 38
34 35 Plan of Hagia Sophia at ground level, showing the location of imperial portraits (after R. Mainstone, Hagia Sophia [New York, 1988], 171) Plan of Hagia Sophia at gallery level, showing the location of imperial portraits (after R. Mainstone, Hagia Sophia, 172) 39
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 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 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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