Luis Barragan states, “Architecture is an art when one consciously or unconsciously creates aesthetic emotion in the atmosphere and when this environment produces well-being. ” This statement is more vividly conveyed through a cross-cultural analysis of two of the most well-known architectural structures of their era, Old Saint Peter’s Basilica, located in Rome, Italy, ca. 319, and Hagia Sophia, located in Constantinople, Turkey (Istanbul), 532-537. The architectural style of Old St. Peter’s and Hagia Sophia is characterized by Rome’s rich building traditions, philosophy of design, and form and function.
For centuries, Old Saint Peter’s Basilica and Hagia Sophia have remained a genuine expression of Christianity and have both captured the essence of their cultures’ faith and reverence. The history of Early Christian and Byzantine architecture began in two of the most prominent cities in Europe; Rome and Byzantium. Early Christian architecture was centered in Rome, while Byzantine architecture was centered in Byzantium, also known as Constantinople. From these two cities, Early Christian architecture became disseminated throughout Europe and led to Christianity becoming the single most important phenomenon during this era.
In A. D. 313, Emperor Constantine provided the Edict of Milan, lifting the ban on Christianity which led to it becoming an official religion, fueling its rapid expansion (Kleiner 242). In response to the demands of Christianity, architecture proved essential in constructing a place of worship. Both Early Christian and Byzantine architecture are a continuation of the Roman Empire. Buildings and building practices carried over from the Roman period to that of Early Christian and Byzantine architecture. The only new addition during this time was the construction of the Christian church.
From Early Christian architecture, Old Saint Peter’s Basilica adopts the style of the Roman basilica plan, departing from the plans of the traditional Greco-Roman temple. As a patron of Christianity, Constantine desired for Old St. Peter’s to be solely reflective of Christianity, thus distinguishing the basilica from that of polytheistic temples (Kleiner 242). The church is famously named after Jesus’ chief disciple, Peter. It is believed that Old St. Peter’s was built over the tomb of Saint Peter. “And I say also unto thee, that thou art Peter, and upon this rock I will build my church; and the gates of hell shall not prevail against it. Matthew 16:18)” (Kleiner 243).
From this passage, Constantine literally builds his church, Old St. Peter’s. In Roman architecture, the basilica was a central element of the Roman forum with its primary function being to hold legal and civil proceedings. However, Constantine saw the Roman basilica as a building that was synonymous with Rome’s rich building traditions. Thus, he adopted its blueprint, but remodeled it into a Christian style that would ultimately serve as the prototype for the Christian church (Kleiner 243).
From Early Byzantine architecture, originally built by Constantine, Justinian’s Hagia Sophia transforms the styles of Early Christian architecture by marrying the two, showing the range of Rome’s basilican style. His plan introduces a new style of architecture by combining two important elements: the insertion of a centralizing element into a longitudinally planned basilica and the centrally planned church building (Kleiner 262). It is through this unification that Hagia Sophia ideally unites the church and the heavens. Old St.
Peter’s philosophy of design was influenced by various rituals that proved to be key to the remodeling of the church. These rituals were centered on the act of worship and include: a path for processional entry and exit of the clergy, an alter area where the clergy could celebrate mass, and a separate space for the segregation of the clergy from the congregation (Taylor). However, in contrast to Old St. Peters, in Byzantium the philosophy of design shifts from the concept of worship to symbolism of faith. Justinian envisions the church as, “the house of God,” thereby increasing its grandeur and mysticism.
Although in both churches, the focus of worship would remain the sacrifice of the Eucharist. The understanding of form and function in Old St. Peter’s and Hagia Sophia to some extent are different. Most structures during the Early Christian era placed more emphasis on function rather than form, mainly employing a rather simplistic form. There is a common idiom in art that states, “form follows function. ” This idiom expresses the design principles of Early Christian architecture, where function would often dominate the design process often resulting in minimally complex designs and stark unadorned exteriors.
For example, Old St. Peter’s follows this same principle. The exterior of Old St. Peter’s remains very austere and bare, notably significant of its separation from paganism. Although, in sharp contrast to its interior being wrapped in dazzling mosaics and painting (Kleiner 243). Nonetheless, in Byzantium architecture both form and function possess their own value. Under Justinian, form is the integration of both classical elements and spiritualism with new ideas, while function still remains equally relative.
In Hagia Sophia, viewers can see both classical form and spiritualism at the peak of the basilica and primarily classical at its base. At Hagia Sophia, Justinian employed two architects to design and construct the massive church; Anthemius and Isidorus. In its entirety, the church measures 270 ft. long x 240 ft. wide. Its key attributes consist of a central floor plan, an apse, surrounding aisles, the implementation of pendentives to support its dome, and its most striking attribute, lighting (Kleiner 263). In contrast to Hagia Sophia, Old. St.
Peters, key attributes are a longitudinal plan, an apse, transept, nave and narthex, two aisles flanking each side, clerestory windows and an atrium (Kleiner 242). At Old St. Peter’s Basilica, the apse, a semi-circular recess covered with a hemispherical roof, functioned as an altar. The nave was the central area of the church designed to provide segregation between the clergy and the congregation whom sat in the aisles. The transept extends north and south meeting at the cross section between the apse and the nave. This area is thought to have housed the relics of Saint Peter.
Notably, an aerial view Old St. Peter’s reveals how the positioning of the transept creates a cross-like shape, symbolic of Christ’s crucifixion. The narthex is positioned between the entrance of the church and the atrium. It functions as a vestibule or a space to house those that are not allowed to be in the church during service. The clerestory windows allowed light to illuminate the nave, complementing the light of the candelabras. Lastly, Old St. Peter’s atrium quite possibly could have functioned as a baptism (Taylor).
At Hagia Sophia, the central floor plan was adopted to allowed for more people to fill the church. It was crowned with a great dome dominating its interior. The apse functioned in its traditional sense, as an altar. The aisles flanking the nave were used as additional space for those gathering. The greatest contribution to Byzantine architecture and introduced at Hagia Sophia, was the pendentive. A pendentive is a concave, triangular section of a hemisphere, four of which the transition from a square to the circular base of a covering dome (Kleiner 565).
By utilizing pendentives, Anthemius and Isidorus were able to create intricate structural systems infused with magnificent lighting. The base of the dome is surrounded with clerestory windows giving the illusion that it is supported by a halo, and oftentimes depicting the heavenly realms. The light beamed endlessly as it danced and dazzled over the ornate mosaics covering the wall. The transition from architecture to art is well defined by Old St. Peter’s and Hagia Sophia. Through architecture, both churches genuinely induce a sense of well-being expressed through their creation of aesthetic emotion.
Their ability to produce such emotion is birthed from Rome’s rich building traditions, proving the interdependence of Roman architecture and the Christian church. The philosophy of design embraced by each church further dictates that the values and beliefs of a culture weigh heavily on architectural style. In Old St. Peter’s, philosophy of design was centered around the act worship. In Hagia Sophia, philosophy of design shifts from worship to symbolism. Although the two philosophies differ, the faith of both bodies ultimately lead to architecture becoming its response. Yet, form and function prove vital to its construction.
At Old St. Peter’s Basilica, form takes a backseat to function. Nevertheless, function prevails as Old St. Peter’s is recognized as Constantine’s greatest church. At Hagia Sophia, both form and function are equally valued. The combination of classical elements and spiritualism transformed Early Christian architectural style by introducing the element of mysticism and holiness. Through Roman building traditions, philosophy of design, and form and function, Old St. Peter’s and Hagia Sophia introduced a new style of architecture, forming new ideologies in terms of space, design, and functionality.