KARIYE CAMII

Church of Holy Savior in Chora

Conservation of a World Heritage Site Istanbul Prof. Dr. Zeynep Ahunbay Istanbul Technical University Susanne Boss, 9910636

KARIYE CAMII

Church of Holy Savior in Chora

The Kariye Camii is the former Byzantine church of the Holy Savior in Chora in Istanbuls Edirnekapi neighbourhood inside the old city walls of the historic peninsula. It is the only remain of the Chora Monastery situated around the church and was converted into the Kariye Camii in the 15th century. Todays structure mainly dates back to the Palaeologian era between 1315 and 1321, when it was also furbished with the today restored frescoes and mosaics. It was seriously damaged and rebuilt several times likely due to earthquakes and the sloping topography.

Early history First traces of occupation of the area on the northern slope of the 6th hill of Constantinople are dating back to circa 300 AD, when Christians used the site for the burial of St. Babylas1. According to Symeon Metaphrastes, in the legend of Synaxarion, the saint, who was martyred in 298, was buried at a place in the North-west outside of the city, were there is a monastery called Chora. At this time it was situated outside of the city limits of the Constantinian walls. The rural environment may have also inspired the name Chora, which can be translated as countryside. Nothing of this periods survives, leaving the exact origin of the building uncertain. Other theories assign the foundation to a historically not proved uncle of empress Theodora, Theodore, who built a monastery with several churches at the western periphery of the city with help of Emperor Justinian around the year 5362. Historical records also mention the existence of a Michael monastery in the beginning of the 6th century as well as a foundation by Crispus, the son-in-law
1 2 R. G. Ousterhout, p.12 W. Mller - Wiener, p.159

siteplan of the historic peninsula Istanbul A Kariye Mzesi (Chora church)

of Emperor Phokas (602 - 610)3. However, in the 5th century the site was enclosed in the Theodosian walls.

Building Phases With remains of a 6th century substructure, the archaeological building history starts and can be divided into six different phases (after R.G. Ousterhout): Phase I: 6th century Phase II: 9th century Phase III: 11th century Phase IV: 12th century Phase V: 14th century Phase VI: after 1350
3 W. Mller - Wiener, p.160

Kariye Camii (Chora church) in 1904, Gertrude Bell

Phase I The church is situated on an artificial terrace on the sloping site, with remains of a 6th century arcade spanning under the eastern part of the church. The two surviving brick arches are visible from the exterior, each one having a nearly 4.5 metre wide opening and resting on composite brick and limestone piers. Besides this arcade, two less massive other walls, one in closer distance to the east, another parallel one with different wide openings in the west below the building were excavated. Due to the little remains, it is not possible to give a restitution of how the building has looked liked in this period or for what is was exactly used: R.G. Ousterhout imagines a possible burial crypt, since a similar substructure of this time in Hebdomon (modern Barkirky) was used for this purpose4. However, two vaulted tombs were excavated which were inserted before the next phases. With attribution of this phase to the 6th century, it could also be related to Emperor Justinian (527 - 565) himself, as Nicephorus Gregoras, an inhabitant of the Chora Monastery in the 14th century, claims, adding another theory to the uncertain original foundation - even though scholars consider it to be more likely that he only restored an earlier building.5 Furthermore it is not mentioned in Procopius record of Justinians building program. During the 8th century, the monastery is used as an exile and burying place, including Patriarch Germanus in 740. During the period of Iconoclasm the Chora church was not damaged seriously, even though the monks temporary left the monastery6.
4 5 6 R. G. Ousterhout, p.13 A. v. Millingen, p.288; R. G. Ousterhout, p.13 W. Mller - Wiener, p.160

phases (R. G. Ousterhout) building A prothesis B diaconicon C tombs under naos D oratory E arcosolia of Metochites F south passageway G storageroom H staircase to former belfry mosaics 1 Christ Pantocrator 2 Maria Blacherniotissa 3 Virgin Mary 4 Christ Pantocrator with his ancestors 5 Theodore Metochites 6 Koimesis 7 Jesus Christ 8 Mary Theodokos 9 Deesis frescoes 10 hymnographers 11 Virgin Mary 12 Last Judgement 13 Christ resurrection 14 fathers of the eastern church N

14 13 B 12 PARECCLESION 11 10 G 6 5 3 ESONARTHEX 9 4 H VI 10 m A APSE BEMA C NORTHERN ANNEX 7 8 D F E

NAOS

1 EXONARTHEX 2

phase superstructure substructure

II

III

IV

Phase II Similar to phase I, traces of the second phase are only present in the substructure in the eastern part of the building. Apparently after the phase I arcade had suffered considerable damage, it was repaired and solidified by blocking the arches with masonry. In both arches, a small entrance like opening was left on a higher level, indicating that the ground level had risen. R.G. Ousterhout states that this strengthening of the substructure was made for a new building on top of it. One tomb under the present church can also be dated to this period. Excavations showed that an entrance to a long vaulted chamber under the naos was left from the west wall of phase I. The tomb was in an undisturbed condition by the time of its excavation, containing no body but fragments of relics. It was originally entered from the top through a still present stone trapdoor, which was not opened yet, leaving the further direction unknown. Above another part of this tomb and about 1,45 metre below the present naos, a second smaller tomb was inserted later in the next phase of construction activity and connected to the older one by a small air hole. Both were built in a technique of thin bricks and wide mortar beds only found in this part of the building. Again it is not possible to suggest a form for the superstructure in this period. Historical records mention Michael Syncellus, an important iconodule, was named the new abbot of the Chora monastery in 843 after the end of the Iconoclasm, when it served as a base for Syrian monks. According to this source, he restored and enlarged the monastery during his brief rule by adding three further chapels besides the old

main church for S. Anthimos, containing the relicts of S. Babylas, another for S. Ignatios and one for the 40 martyrs with the relicts of Patriarch Germanus and S. Theophano7. The extend of the building activity for the main church is not known, but D. Oates, head of the excavations in the year 1958, connects the constructions of phase II with the period of Michael Syncellus8.

tions some were removed and after reinstalled. The walls are constructed in the recessed brick technique, a feature of the middle Byzantine periods of the 11th and 12th century, characterized by a alternate courses of bricks recessed and encased in wide mortar beds, so they appear wider than the layer of bricks. The walls had outside pilasters like it is visible in the North-eastern wall- and foundation remains, and which was a famous feature in middle Byzantine architecture. The outline of the eastern end of the phase III building can be determined by the remains of the foundation between the Phase I and II walls as a tripartite sanctuary. The church seems to have been considerable smaller than the present one, with the apse and pastophoria clearly covering only a bit more than todays naos area. The western wall can be interpreted as a triple entrance, partly blocked already in the next construction phase. The side doors north and south of the main entrance must have been in the same distance from it, the present northern entrance was added later breaking to this phase III wall. It is likely that in this period already a narthex had existed in front of the western naos wall, but no evidence were found for this yet. Other features of the church are a large opening in the southwall, probably leading into another narthex of this phase lost today. The existence of this outer narthex also indicates a small piece of wall of this period in todays storage room, with the appearance of an inner wall surface and a small part of a cornice. D. Oates mentions the theory that all three sites around the naos were surrounded by side aisles, accessible through large openings in the north and south wall and the triple entrance in the west, the pilasters were used as jambs for the arches supporting the outer aisles11 but no evidence was found to prove this yet. Other un11 D. Oates, p.266 ff.

Phase III In this phase, first remains of the superstructure can be traced inside the building, dating to the Comnenon period. Nicephorus Gregoras mentions in his 14th century historic record, that time having destroyed (the early church) to its very foundations, the mother-in-law (Maria Ducaena) of the emperor Alexius Comnenus erected another church, from its foundations, in the form in which it is now seen, but inasmuch as time was again threatening to destroy it, (Theodore Metochites in the 14th century), with a lavish hand, beautifully restored everything except the innermost naos.9 The source implies a time between 1077, when Maria Ducaena became the mother-in-law of the Alexius I. and 1081, when Patriarch Cosmas was buried in the Chora monastery and by this time, scholars believe, work must have been finished10. The new built Chora church had probably a cross-in-square plan with a central dome supported on four columns. Today only small portions of phase III remains in the lower walls of the naos and in the foundation of the apse and pastophoria. These are covered behind the marble revetments of later periods, but in the course of the excava7 8 9 10 W. Mller - Wiener p.160 D. Oates, p.266 R. G. Ousterhout, p.15 R. G. Ousterhout, p.15; W. Mller - Wiener p.160

provable theories suppose the four columns in todays exonarthex were the four columns supporting the central dome before12.

Phase IV The architecture of the Chora church was again modified only around 40 years after Maria Ducaena constructed the phase III building. Not only earthquakes may have altered the structure, also the topographic area of the steep slope, naturally shifting downhills, challenged it, leading to cracks also visible in todays building. It was probably under the sebastokrator Isaac Comnenus, the third son of Alexius I and the grandson of Maria Ducaena, in the time between 1118 and 1122 when especially the naos changed. The cross-in-square plan was transformed into a cruciform plan with a considerably larger dome supported by pendentives and corner piers. The south - western pier blocked one of the phase III entrances to the naos. Providing space for the later added deesis mosaic, in which Isaac Comnenus on the left and the nun Melanie on the right are kneeing beside Christ and the Virgin Mary, indicating the importance of these persons for the history of the church. Scholars therefore consider Isaac Comnenus as a predecessor of Theodore Metochites in the 14th century, under whom the mosaic was added13 and refer the building activity in the 12th century to him. The new architecture of the naos created a larger and monumental space in the centre of the building, becoming quite popular in this time around Constantinople14. There might have been also structural reasons, since the support12 13 14 H. Belting in R. G. Ousterhout p.19 R. G. Ousterhout, p.21; W. Mller - Wiener, p.160 R. G. Ousterhout, p.22

longitude section looking south (R. G. Ousterhout)

ing system with the massive four engaged corner piers appear to provide more stability. The eastern end was as well rebuilt again, with a wider apse, still standing today, and the pastophoria accessible from the bema, which were overbuilt again in the 14th century and only present as traces in the floor. Probably the nartex in the west remained and a chapel to the south was added, accessible from the naos through the large openings kept since phase III15. Wall remains in the storage room are supporting the theory of this southern chapel. Furthermore traces of an Iconostatis and stylobat where
15 R. G. Ousterhout, p.21; W. Mller - Wiener, p.160

found during excavations in the apse from the 14th century, but it is likely that the 12th century church had also one. Isaac Comnenus first choose the Chora church as his burial place, but around 1150/52 the prepared grave was removed to the Panagia Kosmosoteira monastery at Pherrai in Thrace to where he also requests the moveable items belonging to it. In the same course he decided that a portrait of his own in the Chora church should not be removed, indicating that also in phase IV the interiour was decorated. This portrait is lost today, only the picture of Isaac Comnenos in the deesis mosaic is still present.

was rebuilt as well as the pastophoria, with the diaconicon separated from the naos and only accessible from the parecclesion. Therefore the passageway between the phase IV bema and the new diaconicon was blocked, and the room gained the character of an independent chapel. Also the large opening in the phase III and IV south walls of the naos was transformed into a small passageway to the parecclesion with a oratory to the east and a storage room to the west as well as an inaccessible galery above that. In this phase or earlier the northern entrance to the naos was added into the phase III wall in the western part of the nave.
phase V restitution with belfry and unleveled roofs of the eso- and exonarthex, Columbia University mosaic of Theodore Metochites presenting the church to Christ in the esonarthex

During the Latin occupation (1204 - 1261) the Chora monastery seems to have lost some of its relicts and the building altered much in this period and the following years, leading even to the collapse of the dome16. At the end of the 13th century, patriarch John XI Bekkos (1275 - 1281) and patriarch Athanasius I (1289 - 93; 1303 1309) lived temporary in the monastery, probably due to its near to the palace of Blachernae, where the Byzantine emperors took residence since the late 11th century. The monastery also kept the famous icon of Virgin Mary Hodegitria, which was believed to safe the city of invasions and therefore kept close to the walls.

took responsibility for the monastery. He was a respected statesman and trusted implicitly of the emperor, also described as very educated and very wealthy: According to Nicephorus Gregoras, a historian and student of Metochites, his master was the second richest man after the emperor by the year 1315. Probably emperor Andronicus II himself suggested to Metochites to undertake a restoration of the Chora monastery17, and works started, according to scholars, earliest in 1302 but more likely between 1315 and 1316 and was finished by 132118. The building activity was not only limited to the restoration of the older church, but also included the construction of new parts: a huge domed parecclesion to the south including four arcosolia, an annex with two stories to the north, the flying buttress to the east, a twin - domed esonarthex, and an open exonarthex with arcades and a bellfry to the west of the naos. The main dome
17 18 R. G. Ousterhout, p.34 R. G. Ousterhout, p.35; W. Mller - Wiener p.161

The interiour was also renewed on Metochites account, who dedicated the decoration program to worship Christ as much as Virgin Mary19, furbishing the walls, arches and domes with scenes of the lives of the two saints in form of mosaics and frescoes. In the exonarthex, two mosaics above the main entrances are evidence for the concept: On the upper east wall, Christ Pantocrator is inscribed with I Chora Ton Zonton, meaning Land of the Living and on the opposite wall, Mary Blacherniotissa inscribed with Chora Tou Akoretou, which can be translated with Country of the Neverending. The use of the word Chora in the concept of the decoration program could have also inspired the name of the Chora monastery, when it refers to the inscriptions20. The other mosaics of the exonarthex are dedicated to the life of Christ and his miracles. The two domes of the esonarthex are also divided to Mary in the north and Christ in the south, with their genealogy in the vaults inside. The walls and arches show scenes of Marys life, except the already noted deesis mosaic on the
19 20 W. Mller - Wiener, p.161 Stphane Yerasimos, p.139

Phase V Most parts of todays superstructure, occupying an area of 27.5 to 27 metres, dates to the period when Theodore Metochites (1270 - 1332), the great logothete under emperor Andronicus II,
16 W. Mller - Wiener, p.161

body portraits of the six fathers of the eastern church, originally flanked by Christ and the Virgin Mary to their sites. In the vault in front of the apse, the fresco shows the Last Judgement, and in the dome of the parecclesion, Mary with Christ and 12 angels are pictured. the supporting four pendentives are decorated with the four most important composers of Mary - hymns.
B C A

All together the decoration program included originally 43 figures, from which are 34 still visible today. They are shown in a lively and colourful way, marking the style of the Byzantine renaissance and naturalism.

probably refers to the narthex, was decorated with mosaics and marble revetments as well as the church proper, referring to the naos23. He also describes a low passageway leading to lower chamber with portraits painted in gold, probably meaning the parecclesion. The fountain to the west of the building was constructed by Mustafa Aa in 1668, following a school and soup kitchen in 1746 by Kzlaraas Beir Aa in the north of Kariye Camii. In the entrance hall of the soup kitchen the tomb of Ebu Said El Hudri, a companion of the prophet, was placed24, the only thing which had survived of the building until today. Probably after earthquake damage, the building is restored in 1766. This could also be the date of the replacement of the dome with todays still remaining wooden construction25. Over time, the original identity of the building was not com23 24 25 Gerlach, Tage-buch in R. G. Ousterhout, p.6 Celik Glersoy, p.7 W. Mller - Wiener, p.161

Phase VI Before the Constantinople was invaded in 1453, small additions and changes were made to Metochites church: The west arcade of the exonarthex was closed off by tomb arcosolia, columns and arches were added in the southwest bay to support the belfry21. Shortly after the fall of Constantinople, the Chora church was one of the first which was captured, and historical sources also mentions the destruction of the icon of Virgin Hodegitria, cut into pieces by the Turks22. Between 1495 and 1511, the church was converted into a mosque by Atk Ali Paa, the Grand Vizier of Sultan Bayezid II., adding a mihrab in the apse and a minaret instead the belfry. Parts of the interiour were obscured or destroyed, but most mosaics were apparently uncovered for most of the time: Stephan Gerlach, chaplain for the Viennese ambassador, visited the already converted Chora Church in 1578, noting that a porticus, which
21 22 R. G. Ousterhout, p.37 R. G. Ousterhout, p.4

siteplan (W. Mller - Wiener) A museum; B Trbe; C retaining walls; D fountain

Restoration by the American Byzantine Institute in 1958, mosaic of Christ Pantocrator in Exonarthex

south - east wall and the portrait of Theodore Metochites offering the Chora Church to Christ over the entrance to the naos. The mosaics in the nave, above the marble revetments did not survive, only the Death of Mary (Koimesis) above the entrance and the pictures of Christ and the Mother of God on the side are still present. The parecclesion was decorated with frescoes in a pictorial program about death, judgement, resurrection and life after death. The apse shows therefore, how Christ raises Adam and Eve from their graves, destroying the gate of the hell at his feet with the devil under it and the locks and keys strewn around. Down on the wall are full

pletely forgotten, but in 1860 it was officially rediscovered by the Greek architect Pelopidas D. Kuppas, who informed the British Consulate causing a wave of attention26. 1875 1876 a restoration under Abdul Aziz took place, leveling the roof and, by this time, also cleaning and uncovering revealed parts of the mosaics. The building suffered during the earthquake of 1894, leading to a collapse of the Turkish minaret. For the visit of the German Kaiser Wilhelm II. the Kariye Camii was again restored, this time under the surveillance of Abdul Hamid. Another intense restoration took place between 1903 - 1906 by the Russian archaeological institute and 1929 by the Evkaf Administration, during which parts of the Turkish additions were removed and the mosaic of the Koimesis in the naos rediscovered. 1945 it was declared a national monument, and two years later again under restoration by the Byzantine Institute of America and Dumbarton Oaks, lasting until 1958, after it reopened as the Kariye Mzesi. In the 1980s it came, together with its neighbourhood, under the influence of the Turkish Touring and Automobile Club and its director, elik Glersoy. Some Ottoman wood houses around the museum were restored, creating together a new tourism hotspot. Even though a number of restorations took place in the last century, the Chora church is still suffering of deteriorations: In 2004, Holger A. Klein of the Columbia University noted that the Kariye Camii itself and its interiour decoration are once again in urgent need of repair and conservation27. In the same year it was placed on the World Monuments Funds watch list of the hundred most endangered sites due to changes in the level of humidity and rising ground water level causing damages to the plaster surfaces
26 27 R. G. Ousterhout, p.7 Holger A. Klein, p.2

as well as destructive efflorescence on frescoes. With the increasing popularity of site for tourists, additional measurements for the protection of the interiour and exteriour have to be taken: Walls with marble revetments and especially the mosaics need to be distanced from the visitors by suitable barriers like it is already done in the main part of the parecclesion. The number of visitors at one time also needs to be limited, since the building is too small to host large groups at once. For future presentation and understanding of the whole building it will be also necessary to open the northern annex or at least providing a view into it, since today it is closed by a wooden door, concealing the examination and restoration work carried out behind. Studies by the Istanbul Technical University, concerning the structural condition of the building, revealed the high weakness of the northern part, used before as Metochites library28. According to the study, the reason is the different settlement behavior of the south side of the annex, lasting on older foundations and the north side, on as relatively shallow considered 14th century foundations.

Sources
(1) The Architecture of the Kariye Camii in Istanbul by Robert G. Ousterhout, Dumbarton Oaks Trustees for Harvard University Washington D.C., 1987 Bildlexikon zur Topographie Istanbuls, Byzantion - Konstantinupolis - Istanbul bis zum Beginn des 17. Jahrhunderts by Wolfgang Mller-Wiener, Verlag Ernst Wasmuth Tbingen, 1977 Konstantinopel, Istanbuls historisches Erbe by Stphane Yerasimos, ditions Place des Victoires Paris, 2000 Kariye (Chora) by elik Glersoy, Istan bul Kitapligi, 1986 Byzantine Churches in Constantinople, their History and Architecture by Alexan der van Millingen, Macmillan and Co., Limited London, 1974 A Summery Report on the Excavations of the Byzantine Institute in the Kariye Camii 1957 and 1958 by D. Oates, DOP 14, 1960 Restoring Byzantium, Curators fore word for the exhibition by Holger A. Klein, Columbia University, 2004 Preliminary Structural Assessment of Kariye Monument - Northern Annex by C. Demir, D. Acar, S.O. Terzi, M. Ispir, B. Demirtas, A. Ilki, N. Kumbasar, Ministry of Culture and Tourism, Istanbul Technical University, Istanbul, Turkey, 2007

(2)

(3)

(4) (5)

(6)

(7)

(8)

28

Preliminary Structural Assessment of Kariye Monument - Northern Annex, p.3