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54 58 59 The Deesis The panel representing Christ enthroned flanked by standing figures of the Virgin Mary and John the Baptist originally extended to the lowest marble cornice. The panel dates from the 1260s. (photo: Byzantine Institute) Detail, Deesis, head of Christ This image reveals a refined realistic manner of execution. The facial features are strongly delineated. There is a soft, almost sculptural modeling of all the features. The mosaicist was able to achieve a painterly quality through the use of detailed underpaint and miniature tesserae, especially in creating the skin tones. (photo: Byzantine Institute)
60 Conservator’s notebook entry When the Byzantine Institute conservators uncovered the St. Ignatios Theophoros panel, part of the mosaic inscription was missing, but surviving on the plaster setting bed were blue tracings of three Greek letters—gamma, nu, and omicron—on the upper left of the panel. The tracing indicated to the mosaicist the placement of the blue glass tesserae for the inscription. Colored pencil and ink on paper. (Byzantine Institute, W. Gregory, diary, 1939, notebook 10) hastily. Because of the high walls and ceiling of the narthex, these technical deficiencies are hardly visible from below. At the same time, the irregular mosaic surfaces do contribute to the sparkling radiance of the Justinianic mosaics. Byzantine mosaicists sketched their designs in fresco directly on the first layer of plaster and sometimes, though rarely, on the underlying brick. 43 The final layer, the setting 43 Underwood, Kariye Djami, 174-75; Mouriki, The Mosaics of Nea Moni, 94-106. 55
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 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 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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