DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.32867#0119
CHURCHES
87
tion of this country was chiefly of Aramean stock. The expression of native art,
suppressed during the dominance of Greek and of Roman influence, and supplanted
by the teachings of classic artists, seems to have asserted itself as soon as the decline
of classic art began, and that at a time when the national or racial feeling was begin-
ning to make itself felt in other directions as well. This assertion of Aramean nation-
ality, furthered unquestionably by the sudden ascent to power of the Church, seems
to have prevented a decline in the architecture of Northern Syria, corresponding to
that which was inaugurated by Christianity in other parts of the Roman world. The
ancient classic architecture of Greece and Rome, infused with new life and molded
into new forms by a people newly inspired with national sentiment, was rejuvenated
in the Christian architecture of the mountains east of Antioch. But whatever may
have been the origin of these new elements, we shall not fail to notice them in all the
architecture of Northern Central Syria, from the beginning of the fourth century
onward until the beginning of the seventh.
For lack of dated monuments of the first half of the fourth century we are obliged
to study the beginning of the new period, which is still the period of transition, by
comparison and analysis. We find throughout the length and breadth of this northern
district a class of monuments which retains many characteristics of the old classic
style, combined with a few elements which are difterent from the old, but which are
devoid of those strongly marked features and symbols that are the invariable accom-
paniments of the architecture which is known, by dated inscriptions, to be later. A
number of the buildings of this class, although undoubtedly churches, are entirely
without the sign of the cross or other emblems of Christianity. In others these sym-
bols are so modestly employed that we cannot but feel that the artists were as yet
unaccustomed to their use in ornamental details. This feeling becomes conviction
when we consider the constant and multiplied occurrence of these symbols in the
ornament of the developed Christian period, during which, as we shall see, they be-
come the predominating motive of decoration.
The distinguishing characteristics of the first buildings to be discussed are, besides
the presence of classical elements in their ornament, massiveness of construction, the
use of rectangular window openings and the absence of moldings about the windows,
and a tendency to flatness in the moldings that are employed elsewhere.
I
CHURCHES
THE churches of Northern Syria may be divided into two general groups,
according to the disposition of their plans. All the churches of the region are
oriented. The largest and most important class is of the simplest basilical plan:
87
tion of this country was chiefly of Aramean stock. The expression of native art,
suppressed during the dominance of Greek and of Roman influence, and supplanted
by the teachings of classic artists, seems to have asserted itself as soon as the decline
of classic art began, and that at a time when the national or racial feeling was begin-
ning to make itself felt in other directions as well. This assertion of Aramean nation-
ality, furthered unquestionably by the sudden ascent to power of the Church, seems
to have prevented a decline in the architecture of Northern Syria, corresponding to
that which was inaugurated by Christianity in other parts of the Roman world. The
ancient classic architecture of Greece and Rome, infused with new life and molded
into new forms by a people newly inspired with national sentiment, was rejuvenated
in the Christian architecture of the mountains east of Antioch. But whatever may
have been the origin of these new elements, we shall not fail to notice them in all the
architecture of Northern Central Syria, from the beginning of the fourth century
onward until the beginning of the seventh.
For lack of dated monuments of the first half of the fourth century we are obliged
to study the beginning of the new period, which is still the period of transition, by
comparison and analysis. We find throughout the length and breadth of this northern
district a class of monuments which retains many characteristics of the old classic
style, combined with a few elements which are difterent from the old, but which are
devoid of those strongly marked features and symbols that are the invariable accom-
paniments of the architecture which is known, by dated inscriptions, to be later. A
number of the buildings of this class, although undoubtedly churches, are entirely
without the sign of the cross or other emblems of Christianity. In others these sym-
bols are so modestly employed that we cannot but feel that the artists were as yet
unaccustomed to their use in ornamental details. This feeling becomes conviction
when we consider the constant and multiplied occurrence of these symbols in the
ornament of the developed Christian period, during which, as we shall see, they be-
come the predominating motive of decoration.
The distinguishing characteristics of the first buildings to be discussed are, besides
the presence of classical elements in their ornament, massiveness of construction, the
use of rectangular window openings and the absence of moldings about the windows,
and a tendency to flatness in the moldings that are employed elsewhere.
I
CHURCHES
THE churches of Northern Syria may be divided into two general groups,
according to the disposition of their plans. All the churches of the region are
oriented. The largest and most important class is of the simplest basilical plan: