Today I wanted to share a description of the altar, ciborium and chancel screen of the great Eastern Roman church of Hagia Sophia in Constantinople. This particular description was written in the year 563 by Paul the Silentiary, a Byzantine courtier in the service of the Emperor Justinian. Paul's poem -- which was possibly commissioned directly by Justinian himself -- describes Hagia Sophia as it would have been at that time.
As the text can be rather dense, I have provided some contextual and explanatory comments [in bold] within the Paul's text in order to help our readers better unpack what he is describing. Additionally, I have sourced out some digital reconstructions that may further help readers to better understand what Paul is attempting to describe to us.
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[Paul the Silentiary begins by describing the chancel screen. He tells us that it was entirely covered in silver and that this silver covering was itself decorated by sculptural reliefs of Christ, the Mother of God, the Apostles,the Old Testament prophets, and angels. These were framed within oval shapes on the screen.]
"Upon them.. a skilled hand has artfully hollowed out discs... within which it has engraved the figure of the immaculate God who, without seed, clothed himself in human form. [i.e Jesus Christ] Elsewhere it has carved the host of winged angels bowing down their necks, for they are unable to gaze upon the glory of God, though hidden under a veil of human form, He is still God, even if He has put on the flesh that removes sin. Elsewhere the sharp steel has fashioned those former heralds of God by whose words, before God had taken on flesh, the divine tidings of Christ's coming spread abroad. [i.e. the prophets of the Old Testament]. Nor has the artist forgotten the images of those who abandoned the mean labors of their life, the fishing basket and the net, and those evil cares in order to follow the command of the heavenly King, fishing even for men and, instead of casting for fish, spread out the nets of eternal life. [i.e. the Apostles] And elsewhere art has depicted the Mother of Christ, the vessel of eternal life, whose holy womb did nourish its own Maker.
"And on the middle panels of the sacred screen which form a barrier round the sanctified priests, the carver's tool has incised one symbol that means many words, for it combines the names of the Empress and Emperor: It is like a shield with a boss in whose middle part has been carved the sign of the cross. [What is referred to here are the imperial monograms of Justinian and Theodora]
[Paul describes the balustrade surrounding the altar as having three doors by which it could be entered. (One can see in this a precursor to the three doors that still appear on the later form of screen we know as the iconostasis.)]
"And the screen gives access to the priests through three doors. For on each side the workman's hand has made a small door.
[Paul describes the altar as being covered in gold and precious stones. Paul further describes the altar as having been covered by a great silver ciborium that had a roof in the shape of an octagonal pyramid that was topped by an orb and cross. This ciborium was ornamented by vegetal designs such as acanthus, no doubt in typical Roman fashion, as well as what we would today refer to as portapalme.]
"And above the all-pure table of gold [i.e. the altar] rises into the ample air an indescribable tower [i.e. the ciborium] reared on fourfold arches of silver. It is borne aloft on silver columns on whose tops each of the four arches has planted its silver feet. And above the arches springs up a figure like a cone, yet it is not exactly a cone: for at the bottom its rim does not turn round in a circle, but has an eight-sided base [i.e. an octagonal shape], and from a broad plan it gradually creeps up to a sharp point [i.e a pyramid like shape], stretching out as it does so eight sides of silver. At the juncture of each to the other stand long backbones which seem to join their course with the triangular faces of the eight-sided form and rise to a single crest where the artist has placed the form of a cup. The lip of the cup bends over and assumes the shape of leaves, and in the midst of it has been placed a shining silver orb, and a cross surmounts it all. Above the arches many a curve of acanthus twists round the lower part of the cone, while at the top, rising over the edge, it terminates in upright points resembling the fragrant fruit of the fair-leaved pear tree, glittering with light.
"Now where the sides of the base are fitted to each other are fixed silver bowls, and in each bowl is set a candelabrum like a candle that burns not, expressing beauty rather than giving light; for these are fashioned all round of silver, brightly polished. [i.e. Portaplame] Thus the candle flashes a silver ray, not the light of fire.
"And on columns of gold is raised the all-gold slab of the holy table [i.e. the altar], standing on gold foundations, and bright with the glitter of precious stones.
[Paul describes the Tyrian/Roman purple silk altar-cloth/antimension that covered the altar. On this was found an image of Christ Pantocrator (i.e. Christ is shown with one hand held up in blessing, the other holding the book of the Gospels) and beside Christ were St. Peter (holding a ferula) and St. Paul (holding a book). These three figures were framed by an architectural design that consisted of three niches/arcades held aloft by four columns. These designs are described as being made in metallic gold and silver thread. Other designs are also described.]
"Whither am I carried? Whither tends my unbridled speech? Let my bold voice be restrained with silent lip lest I lay bare what the eyes are not permitted to see. But ye priests, as the sacred laws command you, spread out with your hands the veil dipped in the purple dye of the Sidonian shell and cover the top of the table [i.e. the altar cloth/antimension]. Unfold the cover along its four sides and show to the countless crowd the gold and the bright designs of skilful handiwork. One side is adorned with Christ's venerable form. This has been fashioned not by artists' skilful hands plying the knife, nor by the needle driven through cloth, but by the web, the produce of the foreign worm, [i.e. the silkworm] changing its colored threads of many shades. Upon the divine legs is a garment reflecting a golden glow under the rays of rosy fingered Dawn, and a chiton, dyed purple by the Tyrian seashell, covers the right shoulder beneath its well-woven fabric; for at that point the upper garment has slipped down while, pulled up across the side, it envelops the left shoulder. The forearm and hand are thus laid bare. He seems to be stretching out the fingers of the right hand, as if preaching His immortal words, while in His left He holds the book of divine message—the book that tells what He, the Lord, accomplished with provident mind when His foot trod the earth. The whole robe shines with gold: for on it gold leaf has been wrapped round thread after the manner of a pipe or a reed, and so it projects above the lovely cloth, firmly bound with silken thread by sharp needles. On either side stand two of God's messengers: Paul, replete with divine wisdom, and the mighty doorkeeper of the gates of heaven [i.e. St. Peter] who binds with both heavenly and earthly bonds. One holds the book pregnant with holy ordinance, the other the form of the cross on a golden staff. And both the cunning web has clothed in robes woven of silver; while rising above their immortal heads a golden temple enfolds them with three noble arches fixed on four columns of gold.
"And on the hem of the veil shot with gold, art has figured the countless deeds of the Emperors, guardians of the city: here you may see hospitals for the sick, there sacred fanes. And elsewhere are displayed the miracles of heavenly Christ, a work suffused with beauty. And upon other veils you may see the monarchs joined together, here by the hand of Mary, the Mother of God, there by that of Christ, and all is adorned with the sheen of golden thread. Thus is everything clothed in beauty; everything fills the eye with wonder."
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