HOSIOS LOUKAS Although the new emperors did not wait
long to redecorate the churches of their predecessors, they undertook
little new church construction in the decades following the renuncia-
tion of iconoclasm in 843. But in the 10th century and through the
12th, a number of monastic churches arose that are the flowers of
Middle Byzantine architecture. They feature a brilliant series of vari-
ations on the domed central plan. From the exterior, the typical Mid-
dle Byzantine church building is a domed cube, with the dome rising
above the square on a kind of cylinder or drum.The churches are
small, vertical, high shouldered, and, unlike earlier Byzantine build-
ings, have exterior wall surfaces decorated with vivid patterns, proba-
bly reflecting Islamic architecture.
The Katholikon (FIGS. 12-20and 12-21,bottom) at Hosios
Loukas (Saint Luke) in Greece, near ancient Delphi, dates to the
early 11th century. One of two churches at the site—the other is the
Church of the Theotokos (FIG. 12-21,top) built during the second
half of the 10th century—the Katholikon exemplifies church design
during this second golden age of Byzantine art and architecture.
Light stones framed by dark red bricks—the so-called cloisonné
technique, a term borrowed from enamel work (FIG. 16-3)—make
up the walls. The interplay of arcuated windows, projecting apses,
and varying roof lines further enhances this surface dynamism. The
plans of both Hosios Loukas churches (FIG. 12-21) show the form of
a domed cross in square with four equal-length, vaulted cross arms
(the Greek cross). The dome of the smaller Church of the Theoto-
kos rests on pendentives. In the case of the larger and later Katho-
likon, the architect placed the dome (FIG. 12-22) over an octagon
inscribed within a square. Forming the octagon are squinches (FIG.
12-5,right), which play the same role as pendentives in making the
transition from a square base to a round dome but create a different
visual effect on the interior. This arrangement departs from the
older designs, such as Santa Costanza’s circular plan (FIG. 11-12),
San Vitale’s octagonal plan (FIG. 12-7), and Hagia Sophia’s dome on
pendentives rising from a square (FIG. 12-3). The Katholikon’s com-
plex core lies within two rectangles. The outer one forms the exterior
walls. Thus, in plan from the center out, a circle-octagon-square-
oblong series exhibits an intricate interrelationship that is at once
complex and unified.
The interior elevation of the Katholikon reflects its involved
plan. Like earlier Byzantine buildings, the church creates a mystery
out of space, surface, light, and dark. High and narrow, it forces the
viewer’s gaze to rise and revolve. The eye is drawn upward toward
the dome (FIG. 12-22), but much can distract it in the interplay of
flat walls and concave recesses; wide and narrow openings; groin and
barrel vaults; single, double, and triple windows; and illuminated
and dark spaces. Middle Byzantine architects seem to have aimed for
the creation of complex interior spaces with dramatically shifting
perspectives.Middle Byzantine Art 32912-22Interior of the Katholikon (looking into the dome), Hosios Loukas, Greece, first quarter of 11th century.
The dome of the Katholikon rests on an octagon formed by squinches, which play the same role as pendentives in making the transition from a
square base to a round dome but create a different visual effect.
12-22ASaint
Sophia, Kiev,
begun 1037.