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63 Conservator’s notebook entry Illustration of the inclination of the tesserae in the Deesis panel. Black ink and pencil on paper. (Byzantine Institute, W. Gregory, diary, 1935, notebook 15) rendered (Fig. 63). 47 The crosses in the lunettes of the narthex are outlined with two rows of dark red and green tesserae set on a plane above the surface of the mosaic cubes in the background. The distinct color and setting of the tesserae make the crosses stand out from a distance. The combination of gold and silver tesserae was used in Hagia Sophia from the eighth to the tenth century and later as well. 48 The only place where silver is not found is in the sixth-century gold backgrounds of the Justinianic mosaics. 49 47 Dumbarton Oaks, Byzantine Photograph and Fieldwork Archives, A. T. White, diary, 1935, notebook 30. 48 Usually, thin leaves of gold or silver were set next to the plaster, that is, on the bottom of the tesserae. Occasionally, the metallic leaf can be found on the mosaic surface, that is, on top of the tesserae, especially in the case of golden backgrounds where the mosaicists wanted to create variegated surfaces. 49 Mango and Hawkins, “The Mosaics of St. Sophia at Istanbul,” 141. In some churches of 58
64 Inner narthex, view through the royal doors to the naos An emperor, variously identified as Basil I or Leo VI, kneeling before Christ enthroned appears above the royal doors, an entrance reserved for the emperor and the patriarch. (photo: Byzantine Institute)
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Mosaics of Hagia Sophia, Istanbul:
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© 1998 Dumbarton Oaks Trustees for
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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 54 and 55: 54 58 59 The Deesis The panel repre
Page 56 and 57: 61 bed, had a more detailed paintin
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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