The Church of Sancta Sophia, Constantinople: A Study of Byzantine BuildingLethaby, W. R. (William Richard)
Religion
The Church of Sancta Sophia, Constantinople: A Study of Byzantine Building
Lethaby, W. R. (William Richard)
Ayasofya Müzesi
_West Front._--On the east side of the atrium court, against the
west wall of the exonarthex, rise four great piers from which spring
flying arches to the west wall of the church. Salzenberg thought that
the upper arches were Turkish, and that the piers were originally
intended to support equestrian statues, which he therefore shows in
his drawings. Other writers, amongst whom is Fossati, say that the
bronze horses now on the gallery outside the west front of S. Mark’s
at Venice, taken from Constantinople in 1204, came from this position;
but there is not the least authority for this statement, and the horses
at Venice are not half the size of those that would be required to
justify the suggestion. Bondelmontius in 1422 describing the columns
of the city, speaks first of that of Justinian, “secondly of that of
the Cross, where are seen four upright porphyry columns; and on them
were placed four bronze horses which the Venetians took to S. Mark’s at
Venice, but the columns remain.” Brocquière, writing ten years later,
says that “westward [in the city] is a very high square column with
characters traced on it, and bearing on the summit an equestrian statue
of Constantine in bronze. He holds a sceptre in his left hand, with his
right extended towards Turkey in Asia and the road to Jerusalem as if
to denote that the whole of that country was under his government. Near
this column are three [_sic_] others placed in a line, and of single
pieces which bore the three gilt horses now in Venice.” Brocquière
has here certainly confused the column of Justinian, and that of
Constantine, but we may safely accept Bondelmontius. The porphyry
column of Constantine, situated in the Forum Constantine, at this time
bore a cross with the inscription “Holy, Holy, Holy.” Many modern
writers place the four horses in the hippodrome, as Nicetas speaks
of “the arched starting-places for the racers, above which are fixed
powerful horses of gilt bronze, curving their necks and facing one
another as if eager for the course” (Ed. Bonn, p. 150).
Public-domain text, read in full here on John Shaqi.
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