DOI Page / Citation link:
https://doi.org/10.11588/diglit.63447#0108
92
THE HISTORICAL PAST OF ITALY.
The base of the principal dome is pierced by forty
small apertures, so small and so low as not to interfere
with the apparent construction, but affording a mellow,
harmonious light throughout the whole edifice. All the
pillars are of porphyry, verd antique, and marbles of the
most precious kinds ; the capitals are among the most
admirable specimens of the Byzantine style. The govern-
ing line of a classical Corinthian capital is a hollow curve,
to which acanthus leaves or other projecting ornaments
are affixed. In Saint Sophia we find the curves reversed,
and the ornaments are simply incised. In the lower tier
of arches the incision on the marble is allowed to tell its
own story, and does so with exquisite effect. In the upper
tier, further removed from the eye, the interstices are filled
in with black marble so as to ensure the desired effect.1
All the flat surfaces throughout the church are covered
with a rich mosaic of marble slabs of the most varied
patterns and colours. The domes, roofs, and carved
surfaces are covered with mosaic on a gold ground,
relieved by grand devotional figures, and adorned with
every variety of architectural device.
The whole effect is solemnly impressive and beautiful.
Gorgeous colour and variety, subdued by the dim light,
are its principal characteristics. An exquisite tabernacle
of solid gold, worked into minutest fret-work, and studded
with jewels, stood on a silver altar of massive metal, the
whole encircled by an elegant balustrade of small columns,
composed of jasper, porphyry, and verd antique ; other
columns were of gilded bronze, with pure gold capitals :
the columns are still extant. This wondrous balustrade
was enriched by the most precious marbles and jasper;
deep rose, purple streaked with yellow, orange, red, or
soft primrose; it was one of the chief wonders of the
church.
Gold vases, incrusted with glittering jewels, stood on
appropriate pedestals, about and near the altar.
Enormous vases of other precious materials were to be
seen, all miracles of the sculptor and goldsmith’s art ;
1 History of Architecture. Fergusson. Santa Sophia, Vol. ii., p. 314.
THE HISTORICAL PAST OF ITALY.
The base of the principal dome is pierced by forty
small apertures, so small and so low as not to interfere
with the apparent construction, but affording a mellow,
harmonious light throughout the whole edifice. All the
pillars are of porphyry, verd antique, and marbles of the
most precious kinds ; the capitals are among the most
admirable specimens of the Byzantine style. The govern-
ing line of a classical Corinthian capital is a hollow curve,
to which acanthus leaves or other projecting ornaments
are affixed. In Saint Sophia we find the curves reversed,
and the ornaments are simply incised. In the lower tier
of arches the incision on the marble is allowed to tell its
own story, and does so with exquisite effect. In the upper
tier, further removed from the eye, the interstices are filled
in with black marble so as to ensure the desired effect.1
All the flat surfaces throughout the church are covered
with a rich mosaic of marble slabs of the most varied
patterns and colours. The domes, roofs, and carved
surfaces are covered with mosaic on a gold ground,
relieved by grand devotional figures, and adorned with
every variety of architectural device.
The whole effect is solemnly impressive and beautiful.
Gorgeous colour and variety, subdued by the dim light,
are its principal characteristics. An exquisite tabernacle
of solid gold, worked into minutest fret-work, and studded
with jewels, stood on a silver altar of massive metal, the
whole encircled by an elegant balustrade of small columns,
composed of jasper, porphyry, and verd antique ; other
columns were of gilded bronze, with pure gold capitals :
the columns are still extant. This wondrous balustrade
was enriched by the most precious marbles and jasper;
deep rose, purple streaked with yellow, orange, red, or
soft primrose; it was one of the chief wonders of the
church.
Gold vases, incrusted with glittering jewels, stood on
appropriate pedestals, about and near the altar.
Enormous vases of other precious materials were to be
seen, all miracles of the sculptor and goldsmith’s art ;
1 History of Architecture. Fergusson. Santa Sophia, Vol. ii., p. 314.