Alt-Christliche Baudenkmale Von Constantinopel Vom V. Bis XII. Jahrhundert. Auf Befehl Seiner Majestät Des Königs Aufgenommen Und Historisch Erläutert Von W. Salzenberg. Im Anhange Des Silentiarius Paulus Beschreibung Der Heiligen Sophia Und Des Ambon, Metrisch Übersetzt Und Mit Anmerkungen Versehen Von Dr C.W. Kortüm. Herausgegeben Von Dem Königl. Ministerium Für Handel, Gewerbe Und Öffentliche Arbeiten.
[T.p.] - Vorwort - Inhalt Des Textes - Einleitung - [Fly title, 'Altchristliche Bauwerke Zu Constantinopel Vom V. Bis XII. Jahrhundert'] - [Text] - Anhang. Des Silentiarius Paulus Beschreibung ...; [colophon] - Verzeichniss Der Abbildungen - [one plate] - [Add. engr. t.pl.] - [Plates].
Responsibility Note
Most plates are signed as drawn by W. Salzenberg and engraved by Ernst Rauch, Paul Ritter, Nicoley (or Nikoley), Rudolph, E. Jättnig, Walther, Ernst and Carl Rauch, Carl Rauch; one, as taken from Texier and engraved by E. Jättnig. Several are signed as drawn by W. Salzenberg and lithographically printed by W. Loeillot; one, as drawn by W. Salzenberg, lithographed by Klaus and printed by Winckelmann & Söhne.
Almost all carry the publishers' imprint of Ernst & Korn.
References
S. Buske, Wilhelm Salzenberg, Architekt des Historismus in Münster und Berlin [exhibition catalogue] (1992). A study of the reception of the art of the eastern Roman Empire is R.S. Nelson, 'Living on the Byzantine borders of western art', in Gesta, 35:1 (1996), p.3-11.
Studies of the churches of Constantinople include W.E. Kleinbauer, Early Christian and Byzantine architecture: annotated bibliography and historiography (1992); A. Kazhdan et al., The Oxford dictionary of Byzantium (3 v., 1991); R. J. Mainstone, Hagia Sophia (1988); C. Mango, Sources and documents: the art of the Byzantine Empire 312-1453 (1972, repr. 1986); E.B. Smith, The dome: a study in the history of ideas (1950).
Summary Note
Salzenberg's book exemplifies a growing 19th-century appreciation of Romanesque and 'Byzantine' architecture; which (with the exception of St Mark's cathedral in Venice) had prompted few earlier studies.
The churches which he describes illustrate the development of a Christian architecture away from the secular long-naved basilica or of the classical temple (never intended for congregational use), to a Greek-cross plan with central dome, allowing greater accessibility to the altar-table. Most of the text is devoted to the cathedral of the Holy Wisdom, built at Constantinople for Justinian I by Anthemius of Tralles and Isidore of Miletus, who dared to set a large dome over a square with the support of pendentives, achieving, with eastern and western half-domes, an uninterrupted span of over 200 feet. This building provided a model or inspiration to architects of the Middle East and Europe seeking to experiment with central, domed structures.
Paul the Silentiary is quoted at length, describing the interior of the church as a 'meadow' of coloured marbles, but also admiring its structure - 'Over all rises ... the vast helmet that curving like the brilliant skies embraces the church ... it springs not to a sharp point but is like the firmament resting on air though fixed on the strong backs of arches ... Through the spaces of the great church come rays of light ... filling the mind with joy ...'.
The plates show plans, sections, architectural details, decorations, mosaics and wall-icons of churches built between the 5th and 12th centuries: [unnumbered pl.] a cross; 1. various capitals; 2-4. church of S. John of Studium; 5. church of S. Sergius of Hormisdas; 6-32 (and unnumbered pl.) cathedral of S. Sophia (Holy Wisdom); 33. church of S. Irene (Holy Peace); 34-35. church of the Theotokos (of Lips); 36. church of the Pantocrator; 37, 38. 'Saalbau des Hebdomon'; 39. churches of Asia Minor (Cassaba, Ancyra, Myra). Several plates are chromolithographs.
Binding Note
19th-century quarter red cloth, grey papered boards; within red cloth-covered portfolio, upper cover lettered 'Salzenberg - Alt-Christliche Baudenkmale Von Constantinopel', spine lettered 'R.A.'