This chapter discusses early Christian and Byzantine religious architecture. It begins by explaining how early Christian churches were based on Roman basilica designs after Christianity gained legitimacy under Constantine. Large early Christian churches in Rome accommodated growing congregations. The Byzantine Empire incorporated domes and centralized plans in churches. When Christianity spread to Russia around 1000 CE, Byzantine architectural concepts were adapted into a distinctive Russian style.

1. Buildings across Time, 4th Edition
Chapter Six: Early Christian and Byzantine Architecture
Introduction
This chapter is devoted solely to religious buildings erected for Christian
worship. After gaining legitimate status during the reign of the Roman
emperor Constantine (313 C.E.), the Christian church created buildings for
congregational use, basing designs on Roman building types, specifically, the
basilica (Roman courts building).
The need to accommodate both the clergy and the rapidly growing numbers
of worshippers in the same space was reflected in the large, early Christian
churches constructed in Rome.

2. Buildings across Time, 4th Edition
Chapter Six: Early Christian and Byzantine Architecture
Introduction
The Emperor Constantine also divided the Roman Empire into eastern and
western halves. The capital of the western half was Rome, while the capital of
the eastern half was the former Greek city of Byzantium (in latter-day
Turkey), which Constantine re-named Constantinople (in the fifteenth
century, it was again re-named: Istanbul).
In the Eastern Roman Empire, Byzantine churches tended to incorporate
domes and reflect centralized floor plans. When Christianity made its way
into Russia (about 1000 C.E.), architectural concepts from Byzantium were
transformed into a distinctive Russian style.

3. Early Christian Basilicas
S. Apollinare Nuovo, Ravenna, Italy
S. Apollinare Nuovo in
Ravenna, 490 C.E. This
early basilica has changed
relatively little since its
construction, preserving
the very plain brick
exterior that was common
in many Early Christian
churches. Note the arcade,
a series of columns
supporting arches, on the
façade.

4. Early Christian Basilicas
S. Apollinare Nuovo, Ravenna, Italy
Interior of S. Apollinare
Nuovo in Ravenna. Grained
marble columns define the
aisles and nave. The nave
walls are finished with
mosaics and above them, light
enters through clerestory
windows, high windows that
admit light, but preserve
privacy.
In many Early Christian
churches, the rich finishes on
the interior contrasted with
relatively plain exteriors.

5. Early Christian Basilicas
Floor Plans
Plans of Old St. Peter’s in Rome,
S. Apollinare in Classe at
Ravenna, and S. Apollinare
Nuovo in Ravenna. The
fundamental elements of basilican
church plans are evident here: a
longitudinal axis leads from the
entrance (through an atrium or
narthex) through the nave to the
terminating apse, where the alter
is located. Extending across the
nave (in front of the apse) is the
transept, a space perpendicular
to the nave. The nave is
illuminated by high (clerestory)
windows. Aisles on either side of
the nave provide additional
processional space. Note that the
two S. Apollinare churches lack a
transept.
Old St. Peter’s, Rome
(318-322 C.E.)
S. Apollinare in
Classe, Ravenna
(532-549 C.E.)
S. Apollinare
Nuovo, Ravenna
(490 C.E.)
NarthexNave
Apse
Transept
Aisle
Aisle

6. Early Christian Basilicas
Latin-cross
Old St. Peter’s in Rome, is an
example of a Latin-cross floor
plan, in which the transept and
apse appear as three short arms,
and the nave and aisles appear as
one longer arm. Latin-cross plans
tended to emphasize religious
procession, rather than the Mass,
as opposed to the Greek-cross
church plan.
Old St. Peter’s, Rome
(318-322 C.E.)
NarthexNave
Apse
Transept
Aisle
Aisle

7. Martyria, Tombs and Baptistries
Old St. Peter’s, Rome
Before the current St. Peter’s
Basilica there was another church in
roughly the same location with the
same name, now often referred to as
the Old St. Peter’s Basilica.
The Old St. Peter’s Basilica was
truly a wonder. Commissioned by
Emperor Constantine in the early
4th century, it served the church for
nearly 1200 years. Its altar was built
atop what was believed to be the
tomb of St. Peter, and its footprint
overlapped with the old Circus of
Nero – the site of St. Peter’s
martyrdom.

8. Martyria, Tombs and Baptistries
Old St. Peter’s, Rome
This diagram shows the approximate locations of the Circus of Nero, Old St. Peter’s
Basilica, and the current St. Peter’s Basilica - The Circus of Nero is on the bottom,
Old St. Peter’s Basilica is bolded and off to the right, and the current St. Peter’s
Basilica is shown with dotted lines and is off to the left.

9. Martyria, Tombs and Baptistries
Old St. Peter’s, Rome
The small cross next to the obelisk in the center of the Circus of Nero is believed to have been
the location of St. Peter’s martyrdom. That obelisk – believed to have been present in the
Circus of Nero when St. Peter was martyred and perhaps one of the last things he saw – is the
same one that now stands in the center of St. Peter’s square; it was moved to its current
location in 1586 during the construction of the new St. Peter’s Basilica.

10. Martyria, Tombs and Baptistries
Old St. Peter’s, Rome

11. Martyria, Tombs and Baptistries
Old St. Peter’s, Rome
So what happened to it? Why isn’t it still
standing?
Soon after the papacy was moved back to Rome
after the Avignon papacy, people realized that the
Old St. Peter’s was in serious disrepair and
possibly on the verge of collapse. According to
one contemporary architect, the basilica had a
wall that was already leaning six feet off to the
side, and from this he concluded: “I have no
doubt that eventually some… slight movement
will make it collapse…”
Various popes attempted repairs and entertained
plans for a significant preservation project. But
Pope Julius II (pope 1503-1513) eventually
decided to simply tear it all down and build a
new basilica in its place. For many, the idea was
shocking, given the building’s age and
importance in the history of the Church.

12. Martyria, Tombs and Baptistries
Old St. Peter’s, Rome
Perspective section of Old St.
Peter’s in Rome 318-322 C.E.
This building began as a
martyrium, (a memorial to
commemorate a saint, in this case,
the Apostle Peter). The structure
is built over the grave of the St.
Peter, which is located in western
or apse end. In time, the liturgy
was celebrated here, and a railing
was erected around Peter’s grave,
and the building was converted
into a basilican church. Notice
how the lower aisle roofs permit
direct light to enter the nave
through high clerestory windows.
Aisle Aisle Aisle AisleNave
https://www.youtube.com/watch?v=a5AqQtlm4MY&feature=youtu.be

13. Martyria, Tombs and Baptistries
Bethlehem
Plan of the Church of the Nativity in Bethlehem, 333 C.E. This innovative
building combines the form of a rectangular double-aisle basilica with an
atrium forecourt and an octagonal rotunda over the site believed to be of
Jesus’s birth. The design thus accommodates the functions of worship while
providing circulation space required by pilgrims visiting the holy site.

14. Martyria, Tombs and Baptistries
Orthodox Baptistery
Exterior view of the
Baptistery of the Orthodox,
Ravenna, ca. 458, showing
the brickwork embellished
primarily by pilaster strips
and shallow arches near the
eaves. These decorative
elements are known as
Lombard bands because
they were developed by the
highly renowned Lombard
masons.
Pilaster: a decorative,
rectangular column,
projecting from a wall

15. Martyria, Tombs and Baptistries
Orthodox Baptistery
Ceiling mosaic at the
Baptistery of the
Orthodox, Ravenna.
Directly over the
baptismal font in the
center of the building
is an image of Christ’s
baptism in the river
Jordan by John the
Baptist. The dove of
the Holy Spirit hovers
overhead, while an old
man, the
personification of the
Jordan, stands in the
water on the right side.
Around this central
image are figures of
the twelve apostles.

16. ©2014 McGraw-Hill Higher Education. All rights reserved.
Martyria, Tombs and Baptistries
S. Costanza
Built as a mausoleum
for the daughter of
Emperor Constantine, S.
Costanza was a central-
plan building converted
into a church. It
resembles a basilica, but
the structure is circular
rather than elongated.
Aisle
Nave Narthex

17. Byzantine Basilicas – Reign of Justinian
S. Apollinare in Classe, Ravenna
Work tied by patronage or
tradition to Constantinople
(the capital of the Eastern
Roman Empire) is termed
Byzantine. One
characteristic of Byzantine
architecture is a clear
preference for domes on
both basilican and
centrally-planned
churches.
The division between Early
Christian and Byzantine
eras is generally made at
the reign of the emperor
Justinian (527-565 C.E.)

18. Byzantine Basilicas – Reign of Justinian
S. Apollinare in Classe, Ravenna
Interior of S. Apollinare
in Classe, Ravenna (532-
549 C.E.) Windows
glazed in thin sheets of
alabaster reduced the
intense Italian sun and
provided soft light
suitable for appreciating
mosaic work and
marbled columns. Note
the absence of seating;
congregations stood or
knelt during services at
this period

19. Byzantine Basilicas – Reign of Justinian
Byzantine Church Architecture
Hagia Sophia,
Constantinople
(532-537)
S. Vitale,
Ravenna
(538-548)
S. Apollinare in Classe
Ravenna
(532-549)
S. Irene
Constantinople
(532-564)
Plans of the Hagia
Sophia in
Constantinople, S.
Vitale in Ravenna,
S. Apollinare in
Classe in Ravenna,
and S. Irene in
Constantinople.
The Emperor
Justinian was
responsible for the
construction of
these Byzantine
churches.

20. Byzantine Basilicas
Hagia Sophia, Constantinople
Interior of the
Hagia Sophia,
showing the
massive arches
that support the
great dome. The
dome is built of
brick, which
accounts for its
relative thinness,
and pendentives
are used to
transform the
square bay
defined by the
piers into a circle,
from which the
dome springs.
Galleries over the
aisles help brace
the structure as
they do at S.
Irene.

21. Byzantine Basilicas
Hagia Sophia, Constantinople
A pendentive is a constructive device
permitting the placing of a circular dome over
a square space. The pendentives, which are
triangular fragments of a sphere, taper to
points at the bottom and spread at the top to
establish the continuous circular or elliptical
base needed for the dome. Pendentives
receive the weight of the dome, concentrating
it at the four corners where it can be received
by the piers beneath.

22. Byzantine Basilicas
Hagia Sophia, Constantinople
Exterior of the
Hagia Sophia,
showing the
buttresses
around the base
of the dome
added after
earthquake
damage. The
four minarets
were added
when the church
was converted
into a mosque.
https://www.360cities.net/image/hagia-sophia-istanbul

23. Byzantine Basilicas
Hagia Sophia, Constantinople
This view of the
central space
shows the
multiple levels of
windows that
illuminate the
interior. Windows
set between the
dome’s ribs create
the illusion that
the dome floats
unsupported.
Hagia Sophia’s
architects
intended to create
a building that
would rival the
pantheon.
https://www.youtube.com/wat
ch?v=5DTh1c-
f1uc&list=PLURhjsQh-
7QBaHgZ4VCspLHyL2U
iV-ebg

24. Centrally Planned Byzantine Churches
Central Plan
A Central-plan building
is any structure designed
with a
primary central space
surrounded by
symmetrical areas on each
side. Examples are S.
Vitale in Ravenna and SS.
Sergius and Bacchus in
Constantinople.
S. Vitale,
Ravenna
(538-548)
SS. Sergius and
Bacchus,
Constantinople
(527-536)

25. Centrally Planned Byzantine Churches
Central Plan
A Central-plan church
places emphasis on the
Mass, while a Latin-
cross plan puts
emphasis on the
processional.
S. Vitale,
Ravenna
(538-548)
SS. Sergius and
Bacchus,
Constantinople
(527-536)

26. Centrally Planned Byzantine Churches
Central Plan
S. Vitale in Ravenna (538-548) is
based, in plan, on an octagon.
Using local Ostrogoth technology,
its dome is constructed of hollow
clay pots to create strength while
minimizing weight. The interior is
clad in book-matched marbles and
mosaic work.

27. Centrally Planned Byzantine Churches
Greek Cross Plan
A Greek-cross plan is a
type of central plan, in
which a church floor
plan takes the form of
a Greek cross, with a
square central mass and
four arms of equal length.
S. Marco, Venice
(1063-1089)

28. Centrally Planned Byzantine Churches
Greek Cross Plan
A Greek-cross plan is a
type of central plan, in
which a church floor
plan takes the form of
a Greek cross, with a
square central mass and
four arms of equal length.
An example of this is S.
Marco in Venice, which is
modeled after Justinian’s
Church of the Holy
Apostles in
Constantinople, which was
demolished in 1469.
S. Marco, Venice
(1063-1089)

29. Centrally Planned Byzantine Churches
Greek Cross Plan
Section through S. Marco
in Venice, showing the
original dome profile and
the taller shells erected in
the fifteenth century to
dramatize the exterior
effect. Note the turrets
atop the domes, which
resemble the
characteristic onion
domes of Russian
churches.

30. Centrally Planned Byzantine Churches
Quincunx Plan
Theotokos,
Plan of monastery
churches at Hosios
Loukas, in Phocis,
Greece. ca. 980 to 1025.
There are two churches
shown here, the smaller
Theotokos (above) and the
larger Katholikon
(below). The Theotokos
church is a quincunx
plan, otherwise known as
cross-in-square, which has
nine square bays, with the
central one domed, and
smaller domes over the
corner bays.

31. Centrally Planned Byzantine Churches
Quincunx Plan
Quincunx Plan: architectural
church layout, consisting of nine
square bays, with the central one
domed, and smaller domes over
the corner bays.
https://www.youtube.com/watch?v=F
sHCgtiiHRw

32. Centrally Planned Byzantine Churches
Quincunx Plan
Photo of the monastery
churches at Hosios
Loukas, in Phocis,
Greece.

33. Byzantine Russia
Lazarus Church
Elevation and plan of the
Church of the Raising of
Lazarus. The three sections
are an entrance porch, nave,
and sanctuary. Byzantine
church walls in Russia were
often built of logs; until the
twentieth century, wood was
the dominant building
material in Russia. Many of
the features of later
Byzantine architecture are
reflected in Russian church
designs, for that country’s
architecture is inextricably
identified with the legacy of
Byzantium.
SANCTUARY NAVE PORCH

34. Byzantine Russia
Peredki Church
Church of the Nativity of the
Virgin, originally at Peredki
and now at Novgorod, 1593.
This building is clearly more
elaborate than the Lazarus
church, having a Greek-cross
plan and a shatyor roof over
the crossing to increase the
sense of verticality.
Cantilevered galleries provide
an indication of snow depth in
winter. They were used for
community purposes as well
as assembly before services.

35. Byzantine Russia
Shatyor Roof
Diagram showing the
construction of a shatyor
roof with logs of
diminishing length.
Long wooden boards
serve as a weatherproof
exterior finish, their
terminations tilted
outwards to cast water
away from the building.

36. Byzantine Russia
Kizhi Church
Church of the
Transfiguration at Kizhi.
While the external effect
is spectacular, the
interior is not particularly
exceptional, as it does
not share in the exterior
volume.

37. Byzantine Russia
Kizhi Church
Church of the
Transfiguration at Kizhi.
While the external effect
is spectacular, the
interior is not particularly
exceptional, as it does
not share in the exterior
volume.

38. Byzantine Russia
Kizhi Church
Detail of the Church of
the Transfiguration at
Kizhi, showing the
elaborate shingle work
and framing of bochki,
curved gable roofs.
Note the stepped shape
of shingle ends, cut not
only for decorative
effect but also to
promote water run-off
and minimize capillary
attraction.

39. Byzantine Russia
St. Basil the Blessed, 1555-1560
Church of St. Basil the
Blessed in Moscow.
Barma and Posnik, the
architects of this
church, utilized forms
from wooden churches
to create an
extraordinary design in
masonry. Different
dome designs top each
circumferential chapel,
while the central
sanctuary is covered by
a shatyor-inspired
tower. The exterior riot
of forms and colors is
more memorable than
the interior.

40. Byzantine Russia
St. Basil the Blessed, 1555-1560
Plan of St. Basil the Blessed,
Moscow, 1555-60. This is a
votive church (a church built as a
sign of thanksgiving for salvation)
built to commemorate victories
over the invading Tatars (Mongol
and Turkish tribes).
The church’s plan shows how
eight chapels of varying shape
and external expression are
grouped around a central
sanctuary. Covered stairs lead into
the building, which was never
intended to accommodate a
regular congregation.

41. Byzantine Russia
St. Basil the Blessed, 1555-1560
Section through the
Church of St. Basil the
Blessed in Moscow,
showing how the
compartmentalized plan
results in extremely
vertical individual
volumes rather than a
single large space.