Download: Mosaics of Hagia Sophia, Istanbul - Dumbarton Oaks

ground of the church fathers in the north tympanum. The use of dark purple
tesserae in the background with the various gradations of gold and silver tesserae
give further vibrance to the mosaic surface. Analysis of loose tesserae and tesserae
in the background of the apse mosaic of the Virgin enthroned with Christ child
revealed the use of different colors of golden tesserae often mixed with silver (Fig.
49). 52 In the gold background of the Deesis, silver is found interspersed also; here
the tones of gold range from deep yellow to a sun yellow, and in many cases include
what appears to be red gold and white gold (Fig. 58). 53 These variations are caused
by the various colors of glass under which the gold leaf is laid, by the gold used,
and sometimes by paint applied to the plaster under the tesserae.
In addition to silver, a variety of red and green tesserae was used in mosaic
backgrounds to enhance the gold and the colors of the figures in the panels. In the
Constantine IX and Zoe panel (Fig. 61; Pl. 3), for instance, the distribution of red
and green tesserae is noteworthy. Different colors were used to emphasize the three
different figures in the panel. Dark red tesserae were scattered in the golden background
around the figure of Constantine on the left side of the panel. Various
tones of red, including bright terracotta red, were used around the figure of Christ
at the center. Red and a few green tesserae were used in the background around the
figure of Zoe on the right side. Furthermore, Zoe’s crown and garments contain
many green tesserae, especially in the crown, adding to the vibrancy of her depiction.
In the Deesis panel (Fig. 58), the red paint on the surface of the setting bed
and beneath the golden tesserae accentuates the gold. The variation of golden
colors creates an array of tones according to the position from which one views the
mosaic.
Brennan described in his diary an area 65 x 50 centimeters along the lower
right border of the mosaic panel of St. Ignatios Theophoros in the north tympanum
(Pl. 4). 54 He pointed out that, instead of replacing the mosaics, the workmen
had simply painted the plaster. This restored section must have belonged to the
Byzantine period, since the conservators found a coat of Fossati plaster on top of it,
and restoration of the saint’s figure would not have been carried out during the
Ottoman period. The Byzantine restoration appeared in good condition and was
left by the conservators.
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52 Mango and Hawkins, “The Mosaics of St. Sophia at Istanbul,” 141.
53 Dumbarton Oaks, Photograph and Fieldwork Archives, R. Gregory, 1939, notebook 11.
54 J. M. Brennan, diary, 1940; cf. Dumbarton Oaks, Byzantine Photograph and Fieldwork
Archives, W. Gregory, diary, 1939, notebook 9.
Central nave, looking east
(photo: Byzantine Institute)
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