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Mosaics of Hagia Sophia, Istanbul: The Fossati Restoration by Natalia B. Teteriatnikov

By Natalia B. Teteriatnikov

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Extra info for Mosaics of Hagia Sophia, Istanbul: The Fossati Restoration and the Work of the Byzantine Institute

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Black ink and pencil on paper. (Byzantine Institute, W. Gregory, diary, 1935, notebook 15) rendered (Fig. 47 The crosses in the lunettes of the narthex are outlined with two rows of dark red and green tesserae set on a plane above the surface of the mosaic cubes in the background. The distinct color and setting of the tesserae make the crosses stand out from a distance. 49 47 Dumbarton Oaks, Byzantine Photograph and Fieldwork Archives, A. T. White, diary, 1935, notebook 30. 48 Usually, thin leaves of gold or silver were set next to the plaster, that is, on the bottom of the tesserae.

28 27 Dumbarton Oaks, Byzantine Photograph and Fieldwork Archives, W. Gregory, diary, 1936, notebook 51. 28 The journal Studies in Conservation appeared in the 1950s. Its first article on mosaic conservation was by Ernest Hawkins, “The Conservation of the Mosaics at the Kariye Camii,” Studies in Conservation 5 (1960), 102-7. 35 Besides data on conservation, the diaries of the Whittemore staff also included observations on mosaic technique and dating and descriptions of the images (Fig. 29 The restoration was photographed systematically.

Hawkins, “The Apse Mosaics of Hagia Sophia at Istanbul: Report on Work Carried Out in 1964,” Dumbarton Oaks Papers 19 (1965), 132-41; E. J. W. Hawkins, “Further Observations on the Narthex Mosaics in Hagia Sophia at Istanbul,” Dumbarton Oaks Papers 22 (1968), 153-55 and 165-66; E. Kitzinger, “Mosaic Technique,” Encyclopedia of World Art (New York, 1972), X: cols. 325-27 and cols. 354-55 for a brief bibliography; C. Mango and E. J. W. Hawkins, “The Mosaics of St. Sophia at Istanbul: The Church Fathers in the North Tympanum,” Dumbarton Oaks Papers 26 (1972), 17; A.

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