Download: Mosaics of Hagia Sophia, Istanbul - Dumbarton Oaks
Download: Mosaics of Hagia Sophia, Istanbul - Dumbarton Oaks
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62<br />
Inner narthex bay, lunette<br />
with cross<br />
Latin crosses are vertically<br />
displayed in each lunette<br />
<strong>of</strong> the eastern wall <strong>of</strong> the<br />
narthex. Christogram and<br />
Latin cross designs<br />
dominate the interior <strong>of</strong><br />
the narthex. (photo:<br />
Byzantine Institute)<br />
an angle <strong>of</strong> 15 percent and in the narthex at 30 percent. The<br />
difference between the inclination in the south vestibule and<br />
the narthex can be explained by the fact that the narthex is<br />
much darker than the vestibule. A higher inclination <strong>of</strong><br />
tesserae may have been used to increase luminosity.<br />
Whittemore pointed out that this is the reason for the higher<br />
inclination <strong>of</strong> the tesserae in the lunettes <strong>of</strong> two bays in the<br />
narthex compared to those in the other lunettes. 45 The first <strong>of</strong><br />
these bays that one encounters upon entering from the south<br />
vestibule has no windows.<br />
The conservators noted that the outlines <strong>of</strong> the figures<br />
and haloes were executed in tesserae installed at an angle to<br />
give a sharper contour to the images as well as to reflect light. 46<br />
This technique was used in the Deesis panel, where the haloes<br />
<strong>of</strong> Christ, the Virgin Mary, and John the Baptist were similarly<br />
45 Whittemore, First Preliminary Report, 12, and plan on p. 29. He<br />
identifies the bays as A and B.<br />
46 G. Holt, “A Casting Method for Reproducing <strong>Mosaics</strong>,” Technical<br />
Studies 7. 4 (1939), 181, fig. 1; see also “Extracts from the Diaries <strong>of</strong><br />
George Holt,” unpublished (provided by Charlotte Holt Menasveta).<br />
57