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Hagia Sophia, Constantinople(532-7)with later partial reconstructions and additions(pp.301B-305), was Justinian's principal commiion.The dedication to Hagia Sophia(Divine Wisdom)was really a dedication to Christ, and the church was also known simply as Megale Ecclesia(Great Church).It stood on the site of two earlier churches at one end of the ancient acropolis, alongside the principal square of the city-the Augusteion-and only a short distance from the imperial palace.The first church, founded by Constantius, was dedicated in 360 and burnt in 404.It was rebuilt under Theodosius Ⅱ rededicated in 415, and burnt in the Nika riot of January 532.Both these churches, were, almost certainly, basilicas with double aisles and galleries like the Martyrium Basilica in Jerusalem and S.Demetrius in Salonika, though larger than either.The second church, at least, was preceded by an atrium that was entered through a monumental propylaeum.As Constantinople increased in importance and its bishop became the patriarch of a large part of the Eastern Church, Hagia Sophia became not only the cathedral but also the patriarchal church.君士坦丁堡的圣索菲亚达大教堂，在建成之后有过局部重建和添加，是查士丁尼时期最重要的建筑。对于圣索菲亚大教堂的奉献真正意义上是对于基督的奉献，Justinian’s church was designed by Anthemius of Tralles and Isidorous of Miletus-men with a deep knowledge of the mechanical science of the day who are referred to, not as architects, but as mechanicoi or mechanopoioi.That science was, however, more akin to the geometry of today than to the science of the modern engineer, and it is the masterly geometric ordering of the space and the vaults that cover it that is most apparent from a detailed study of the design.Statically, the design was not completely succeful, because the dome partly collapsed barely 30 years after completion and had to be rebuilt to a modified design.But that collapse was at least partly attributable to the great speed of erection, far exceeding that of any comparable later structure, and to an unusual sequence of earthquakes in the intervening years.It is also neceary to bear in mind that the design went far beyond previously proven practice.The main body of the church is enclosed within a rectangle almost 70m(230ft)wide and 75m(245ft)long, with a projecting apse at the east end and double narthexes preceded by an atrium at the west end.In the centre of this is square whose sides measure exactly 100 Byzantine feet(31.2m).Over it sits the dome, carried on pendentives which bridge between great semicircular arches carried on piers standing just outside the square.Other piers face these piers acro the aisles to help resist the outward thrusts of the dome to north and south.To the east and west the arrangement is different, and was even more novel than the use of pendentives to convert the central square to a circle.Here, butting against the transverse arches that carry the dome, are two semidomes equal in diameter to the dome itself and carried partly by future piers set against the outer east and west walls.These piers finally take the thrusts to east and west, but at a lower level where they are potentially le damaging.Below the semidomes are great hemicycles that double the east-west extent of the nave.Between the main piers and the secondary piers just referred to, these hemicycles open into smaller semicircular exedrae similar to those in earlier tetraconch churches.Single aisles run from end to end at each side(p.305), narrowed somewhat by the main maes of the piers and narrowed further by pairs of inward projections from the piers that have been shown to be additions to the original design made at a late stage of construction when the horizontal forces generated above had begun to push the piers aside in an alarming way.Because of the presence of the great hemicycles and the exedrae at the east and west, their inner boundaries are very different in their different bays.They communicate at the west with the inner narthex.Above them and above the inner narthex are similarly shaped galleries.Partly to carry the aisle and gallery vaults, arched colonnades run between the piers around the nave, and further columns stand within the aisles and galleries.All have monolithic shafts, encircled at top and bottom by bronze collars where, in claical columns, there would have been integral projecting neckings.The shafts within the aisles and galleries are of white Proconnesian marble: those around the nave are of green Thealian marble or red porphyry, the latter only in the exedrae at ground level.They carry superb capitals of several different designs, all of which incorporate integral impost blocks.These capitals, as well as the carved cornices and similar features, were clearly cut for the purpose.So were most of the shafts, despite significant variations in size and the legends of provenance from earlier temples But the porphyry shafts vary more in size than the others and do seem to have been reused.The arrangements are similar at the two levels, except that the colonnades that run around the nave at gallery level-both the straight central colonnades and the curved ones around the exedrae-are not only lower than those below, as might be expected, but have more columns and closer column spacings.Above the second cornice, which runs unbroken around the entire church, are the springings of the main semidomes, smaller semidomes over the exedrae, and the arches that carry the dome.The semidomes were all originally quarter spheres, though the western main one now has a flattened crown and rises more steeply up to it.All originally had five window openings, some of which are now blocked.Below the main arches at north and south are window-filled walls known as tympana.These have been reconstructed, the window area originally having been greater-with a large single window in the upper part.Forty windows originally lit the dome.four of which are now blocked.The main structure was partly built of large well-fitted blocks of limestone and a local granite, and partly of brick, of the usual Roman flat tile-like proportions.Ashlar was used for the lower parts of the piers, but it gave way to brick at the higher levels and for all vaults even at ground level.A notable characteristic of the brickwork is that the mortar joints were almost as thick as the bricks.This must have contributed greatly to the early large deformations and the subsequent partial collapse of the dome.The plan is most notable for the way in which the longitudinal emphasis of a basilica is combined with the centralising emphasis of the dome.Detailed study of the setting out shows how the two were brought together.Not everything in the design was as deliberate, however.The unpremeditated addition of stiffening projections from the piers has already been referred to.There is evidence of improvisation in the vaulting of the aisles and galleries, particularly of the irregular spaces next to the nave.Most revealingly, it appears highly likely that the lack of correspondence between the colonnades at ground and gallery levels around the nave was also not originally intended.Entering the church today(now a museum alter more than nine centuries as the principal church of the Byzantine empire, and almost five centuries as a mosque)there is much that must be discounted and much that has gone that must be borne in mind(p302).Multi-coloured marble facings remain largely undisturbed on most of the surfaces of the piers visible from the nave and much of the original gold mosaic on the aisle and narthex vaults.At the higher levels, however, one is most confronted with badly discoloured nineteenth-century painted plaster.Much of the natural light that would have originally flooded the interior has been blocked by the filling-in of windows and the construction of bulky buttrees against the outer walls.All the original fittings for lighting Hagia Sophia after dark disappeared long ago, as did all the original furnishings clad in gold and silver and studded with precious stones.Within the nave, the overall impreion is of a single surface which envelops walls, colonnades and vaults-a surface that is divided into horizontal bands by the colonnades and cornices, sometimes disappears from sight, and is far from impenetrable, but barely hints at the great ma of the piers that actually sustain the dome(p.304}.Within the aisles there is an even more lively complexity resulting from the varied bay shapes, the juxtapositions of columns of varying types, colours and heights, the changing glimpses of the nave as one moves about, and the contrasts in light.What is most difficult to envisage is the focus that would previously have been provided by the canopied altar rising behind a chancel screen projecting well forward between the eastern exedrae, the great ambo set further forward under the dome and connected to the chancel by a screened paageway, and the colour, movement, singing and incense of the sacred liturgynoting that most of the doors do not, and never did, line up with one another.Finally, it is worth nothing that there were no pastophoria within the church.Previous attempts to identify areas adjacent to the apse as the prosthesis and diaconicon-or sacristy and vestry-have been shown to be mistaken.Though such provisions were made at the time inside some churches, they were not called for here.Priests robed before they led a ma entry of the congregation into the church from the atrium and narthexes.The elements for consecration in the service were prepared in a separate structure, the skeuophylakion, which is situated a little to the north, and which is the principal survival from the church of Theodosius I1.
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