Istanbul Guide

115

THE CHORA’S PATRON

Chora consists of five main architectural units: the nave, the two-storied structure (annexe) added to the north, the inner and outer narthexes, and the chapel for tombs (parecclesion) to the south. Virtually all of the interior decoration – the fa mous mosaics and the less renowned but equally striking frescoes – dates from c 1320 and was fund ed by court treasurer Theodore Metochites. One of the museum’s most wonderful mosaics, found above the door to the nave in the inner narthex, depicts Theodore offering the church to Christ (item 48). Metochites also established a very large and rich library inside the monastery; unfortunately, no traces of this or the other monastery buildings have survived. The structure and environs of the church weren’t the only thing to change over the years: after centuries of use as a church, the building became a mosque during the reign of Beyazıt II (1481–1512), and the 14th-century belfry was replaced by a mina ret. The church was converted into a museum in 1945. Mosaics Most of the interior is covered with mosaics depict ing the lives of Christ and the Virgin Mary. Look out for the Khalke Jesus (item 33), under the right dome in the inner narthex, which shows Christ and Mary with two donors – Prince Isaac Comnenos and Melane, daughter of Byzantine emperor Michael VIII Palaiologos. Sadly, only scant remains exist. On the dome itself is a stunning depiction of Jesus and his ancestors ( The Genealogy of Christ ; item 27). On the narthex’ left dome is a serenely beautiful mosaic of Mary and the Baby Jesus surrounded by her ancestors (item 34). In the naos (nave) are three mosaics: of Christ (item 50c), of Mary and the Baby Jesus (item 50b) and of the Assumption of the Virgin (item 50a). Turn around to see the latter, as it’s above the main door you just entered. The ‘infant’ being held by Je sus is actually Mary’s soul. Frescoes To the right of the nave is the parecclesion, a side chapel built to hold the tombs of the church’s found er and his relatives, close friends and associates. This is decorated with frescoes that deal with the themes of death and resurrection, depicting scenes taken from the Old Testament. The striking paint ing in the apse known as the Anastasis (item 51) shows a powerful Christ raising Adam and Eve out of their sarcophagi, with saints and kings in attend ance. The gates of hell are shown under Christ’s feet. Less majestic but no less beautiful are the frescoes

Theodore Metochites was born in Constan tinople in 1270, the son of a senior official in the court of Michael VIII Palaiologos. In 1290 he was accepted into the court of Andronikos II and was appointed log othetes, official respon sible for the treasury, making him the highest Byzantine official after the emperor. In 1316 Metochites was ap pointed by the emperor as ktetor (donor) for the restoration of the Chora Monastery. When the restoration of the mon astery was completed in 1321, he was granted the title of grand logothetes. Metochites lost his position in 1328 when Emperor Andronikos II was dethroned, and he was banished from Constantinople. He was allowed to return in 1330 and chose to become a priest in the monastery that he had so gener ously endowed. He died in 1332 and is buried in a grave niche. The building originally had a belltower, con structed in the south west corner and later replaced by the pre sent minaret. Most of İstanbul’s Byzantine belfries disappeared with Ottoman restric tions on the use of bells and the conver sion of churches into mosques.

Western Districts KARIYE MUSEUM (CHORA CHURCH)