A comprehensive survey, from the age of Constantine to the fall of Constantinople, of the nexus between buildings, worship and art.

In this book, a distinguished team of authors explores the way space, place, architecture, and ritual interact to construct sacred experience in the historical cultures of the eastern Mediterranean. Essays address fundamental issues and features that enable buildings to perform as spiritually transformative spaces in ancient Greek, Roman, Jewish, early Christian, and Byzantine civilizations. Collectively they demonstrate the multiple ways in which works of architecture and their settings were active agents in the ritual process. Architecture did not merely host events; rather, it magnified and elevated them, interacting with rituals facilitating the construction of ceremony. This book examines comparatively the ways in which ideas and situations generated by the interaction of place, built environment, ritual action, and memory contributed to the cultural formulation of the sacred experience in different religious faiths.

The churches of the Byzantine era were built to represent heaven on earth. Architecture, art and liturgy were intertwined in them to a degree that has never been replicated elsewhere, and the symbolism of this relationship had deep and profound meanings. Sacred buildings and their spiritual art underpinned the Eastern liturgical rites, which in turn influenced architectural design and the decoration which accompanied it. Nicholas N Patricios here offers a comprehensive survey, from the age of Constantine to the fall of Constantinople, of the nexus between buildings, worship and art. His identification of seven distinct Byzantine church types, based on a close analysis of 370 church building plans, will have considerable appeal to Byzantinists, lay and scholarly. Beyond categorizing and describing the churches themselves, which are richly illustrated with photographs, plans and diagrams, the author interprets the sacred liturgy that took place within these holy buildings, tracing the development of the worship in conjunction with architectural advances made up to the 15th century. Focusing on buildings located in twenty-two different locations, this sumptuous book is an essential guide to individual features such as the synthronon, templon and ambo and also to the wider significance of Byzantine art and architecture.

Byzantine churches are special. They are special as their architecture, art, and liturgy are integrated and imbued with symbolism, and they do so in so many different ways. The best have impressive architectural exteriors and striking iconographic interiors. This book is a photographic record o specially selected churches of four Byzantine capitals which an interested reader can likewise visit. The capitals of the Byzantine Empire were Constantinople (today Istanbul) on the Bosporus the major capital city; Thessaloniki located in northern Greece the co-capital; Mystras in the central Peloponnese a medieval capital; and Mount Athos on a peninsula in northeast Greece still today the spiritual capital of Eastern Orthodox monasticism. The aim of this book is to illustrate visually in color, with mostly one-page readable written descriptions, the architecture and iconography of the important churches, sixty-nine in all, of the four capitals of the Byzantine Empire. Of these churches the author has visited all except five. Each church is depicted with a floor plan and color photographs, a total of 391 in color out of the 476 illustrations in the book. These churches of the Empire's heartland are most significant as they acted as models or prototypes for those built elsewhere in the Byzantine world. It is remarkable that the Byzantine-style church has continued to be built even after the Byzantine Empire ceased to exist in Greek and Eastern Orthodox communities throughout the world to the present day.

Thinking about church architecture has come to an impasse. Reformers and traditionalists are talking past each other. Statements from both sides are often strident and dogmatic. In Theology in Stone, Richard Kieckhefer seeks to help both sides move beyond the standoff toward a fruitful conversation about houses of worship. Drawing on a wide range of historical examples with an eye to their contemporary relevance, he offers new ideas about the meanings and uses of church architecture.

Aural architecture identifies those features of a building that can be perceived by the act of listening in them. Emerging from the challenge to reconstruct sonic and spatial experiences of the deep past, this book invites readers into the complex world of the Byzantine liturgy, experienced in its chanted form in interiors covered with monumental mosaics and frescoes. The multidisciplinary collection of ten essays explores the intersection of Byzantine liturgy, music, acoustics, and architecture in the Late Antique churches of Constantinople, Jerusalem and Rome, and reflects on the role digital technology can play in re-creating aspects of the sensually rich performance of the divine word.

Sacred Shock attempts to lay bare the inner workings of Byzantine art by looking closely at the marginal or subsidiary areas in works of art.