Church of Sta. Irene and after Justinian the last rem nants of the antique classic language of forms passed away completely. Thus, Sta. Irene at Constantinople (pt. 16, figs. i, 2) has already a thor oughly longitudinal system, since two cupolas separated by an arch form the nave, which terminates eastward in a half-dome, while broad trans verse arches form a system of buttresses for the cupola and also compose the side-aisles, in which, as in Sta. Sophia, cross-vaulted galleries borne on small piers are included. The structure is ascribed to the ninth cen tnry. Among the churches built in this manner is one at Cassaba, in Asia Minor, the nave of which has only a single cupola, while three wide barrel-vaults strongly accentuate the longitudinal direction. The Church of St. Clement in Ancyra (Angora) has also one dome. In both these the side-aisles are not entirely included within the buttresses of the cupolas, but extend beyond these for a considerable width, are vaulted, and bear a gallery above. Both agree with Sta. Sophia in having no wooden roof above the vault to pfotect it from the weather, which is not there subject to great vicissitudes.
Royal magnificent palaces of the Byzantine emperors, the mansions of the rich, and almost all the public buildings have, together with the dwellings of the middle and lower classes, disappeared both in Constantinople and in the provinces of the empire. In Constantinople still exist the interesting remnants of the Hebdoinon, a palace erected by the emperor Theophilus (S29–S.4.2) and adorned externally with colored bands of alternate brick and marble. The pendentives above the great arches are filled with various patterns; portions covered with green glaze increase the play of colors. Historians give prolix accounts of the mag nificent buildings of the imperial palace proper, also of a summer residence called Bryos, which was constructed in Saracenie fashion, and of various mechanical devices executed partly to delight the people and partly to impress foreign ambassadors with exalted ideas of the power and import ance of the emperor.
11'orks of flourished anew under the sway of Basil the Macedonian, as well as under his grandson, Constantine Porphyrogen itus, who was himself an artist and also an author and a patron of literature. In Constantinople alone Basil either built, restored, added entrance-porches or roofs to, or decorated externally or internally, more than one hundred churches. The historians particularly mention SS. Gabriel and Elias, which had five cupolas.
Agia Theotokos, "Church of the Mother of God " (fl. fig. 6), con structed about boo A. D. and restored iu the twelfth century, is in its arrangement a notable example of the customary ecclesiastical architecture of the tenth to the twelfth century. A small cupola is borne on four
piers; four broad barrel-vaults form a cross, and the angles are filled in with smaller domes, which spring from a somewhat lower level than the principal dome. There is also a dome above the entrance, and an outer entrance-porch with five domes stands in front of this. At the east end there are a principal apse and two side-apses.
St. Bardias at Salonica (937) and the still later Church of the Apostles at the same place are similar; in these all the cupolas are visible exte riorly. The small Church of St. Elias at Salonica was built in rot2. Greece especially contains many small churches, sonic of which have one dome, others a great number of domes. We give examples on . Plate 16 (figs. 5-8, to–r.3) from which the character of this church-archi tecture may be clearly comprehended.
Evzoniine An` in I "mice: St. Afarle's.—The most splendid manifesta tion of Byzantine architecture meets us outside Greece in the Republic of Venice, which may really be called a Byzantine colony, since the per petual commerce by sea with the Orient, and especially with Byzantium, naturalized Byzantine culture in the lagoon-city. St. Mark's, commenced in 976 and after almost a hundred years of labor finished in ro72, is one of the most important monuments of the Byzantine style. A Greek cross bears five cupolas separated by broad barrel-vaults. The principal piers, against which these vaults abut, are pierced with openings. Three sides of the western arm of the cross are surrounded by a portico, while the eastern arm is closed with an apse (fig. 3). The interior additions of following centuries have obscured its original character, and made it, as it now appears (fig. 4), one of the most richly-colored and fantastic of works. Its great glory within, says Fergusson, is the truly Byzantine profusion of gold mosaics which cover every part of the walls above the height of the capitals of the columns, and are spread over every part of the vaults and domes. Without, its great beauty consists in the number of marble columns which surround and fill all the front and lateral porches.
Church of Si. Front.—The Venetians sent colonies into Southern France, and thus at the end of the eleventh century the Church of St. Front (pl. t6,fig. 9) was built at Perigueux. Its arrangement and dimen sions are nearly a copy of those of St. Mark's, but only the naked skeleton, without the play of colors, the fine variety of the details, or the rich adorn ment of mosaics and sculptures which characterize the latter. Numerous churches in the adjoining district follow the same model, although in detail they approach the style of the country.