107Chapter 8The Development of ByzantineArchitecture on Cyprusby Charles Anthony StewartI n Cyprus there are over 200 Early Christianand Byzantine buildings either still standingor known through archaeology. This numberis increased if we include those mentioned in his-torical sources but which do not survive. With thisrather large data set, coupled with the island’s well-defined boundaries, the architectural historian hasa unique case study in typological development.Pioneers of Byzantine archaeology were puzzledby the surviving monuments. George Jeffery’sseminal monograph concluded that Byzantinearchitecture on Cyprus “betrayed a clumsy unsci-entific idea of construction.” 1 Characterizationslike this persist today, leading to Cyprus’ omissionin general publications on Byzantine architecture.This chapter discusses how in recent years momen-tum is moving in another direction. Cyprus, as asmall Byzantine province, was clearly influencedby the trends of the surrounding continents; andyet, the island also had rich resources and a deepbuilding tradition which fostered local innovation.BEYOND BINARY MODELSIn 1903 the British colonial government hiredGeorge Jeffery to manage and maintain the antiq-uities of the island. He held this position until 1936.As Dr. Despo Pilides uncovered in her researchon Jeffery’s diaries, he was alarmed how Byzantinemonuments were being torn down in order to con-struct newer, more “modern” churches. Perhapsthat is why he set out to write the first surveyof Byzantine monuments of the island. 2 In 1916he presented a lengthy paper at the Society ofAntiquaries in London entitled “The ByzantineChurches of Cyprus.” Unfortunately his surveyexposed his lack of knowledge in Byzantine his-tory, offering incorrect dates accompanied byimperialist opinions. For example, he describedthe Byzantine frescos of Cyprus as “rude decora-tion in crude primary colours…such primitiveattempts at pictorial art” rendered by “half-savagepeasantry.” 3 In time Jeffery’s harsh assessment ofCypriot frescos would be abandoned. We nowcelebrate them as masterpieces.4 And yet Jeffery’sdisregard for its Byzantine architecture, whichheld such precious paintings, lingers on in schol-arship. As the island’s first Byzantine architecturalhistorian, Jeffery set the tone for the succeedinggeneration. There is no doubt his opinions wereformed by a colonial mentality.Cyril Mango lamented that Byzantine archi-tectural historians have held on to paradigmslong after archaeology has shown those modelsto be obsolete. 5 One model that has dominatedByzantine research on Cyprus is the “binary model.”
108 CYPRUS AND THE BALANCE OF EMPIRESNaturally historians cannot ignore the linear prog-ress of time as our perception of diachronical eventsunfolds. Inherent in this term is the idea of pairings,such as “past and present,” which logically leads toother dichotomies such as “cause and effect,” “riseand fall,” “formation and reformation,” “golden age”and “dark age,” etc. Temporal pairings are oftencorrelated with spatial binaries, such as “center andperiphery,” “urban and rural,” “eastern and west-ern,” “capital and tributary,” etc. Constructs such asthese are useful in organizing and presenting ourdata.6 However, we should keep in mind that theseare merely rhetorical tools. Binary labels, in otherwords, are historians’ constructs and not necessar-ily historical facts.Binary terms are often laden with derogatory,erroneous judgments like George Jeffery’s. Heseemed to be comparing Cyprus’ early Byzantinearchitecture with its later Gothic buildings. Thistemporal dichotomy was conjoined with the spatialbinary of “eastern /western.” In Jeffery’s day, architec-tural historians linked Latin scholastic architecturewith the rise of modern “science”— therefore, incontrast, Byzantine architecture was “unscientific”by comparison.7 If cosmopolitan Gothic architec-ture was located in the urban settings of Nicosiaand Famagusta, then, by comparison, monasticByzantine architecture was rural and constructedby “half-savage peasants.”Fortunately A.H.S. Megaw did not share thesame opinions as his predecessor. When we exam-ine his entire corpus, we detect Megaw’s historicalperspective, cautious of his own subjective values.But because the quantity of Cyprus’ Byzantinearchaeology was immense, Megaw continued touse the binary model to help organize the material.In his influential 1974 Dumbarton Oaks Paper arti-cle, Megaw posed the question: Was architectureon Cyprus Metropolitan or Provincial? Of course,he was playing on the word metropolitan, whichmeans both “urban” and, in a Greek Orthodox con-text, a bishop (or archbishop) below the rank of apatriarch. On the one hand, if Cyprus was “metro-politan” it could mean two things: first, either it wassubject to the patriarch of Constantinople, or sec-ondly, that it was a large urban center. Historically,in both cases, it was neither. On the other hand, ifCyprus was “provincial,” it would mean that itsarchitecture was subjected to, and depended on,the imperial capital of Constantinople. Such a lim-ited question necessarily corralled the reader tothe narrow conclusion that Cypriot architecturewas “provincial.”Megaw avoided elucidating what provincialsignified: Did the builders have some training inConstantinople, or were the locals merely imita-tors of the imperial master-builders? How weretypologies imported? And more conspicuously,why are there no clear Constantinopolitan archi-tectural types on the island? The reader was notgiven a chance to consider whether Cypriots coulddevelop their own particular, insular architecture.Likewise, he did not allow us to ponder the influ-ence of the great schools of architecture of othermetropolises of the region, such as Alexandria,Jerusalem, and Damascus. Instead, emphasis wasplaced on the cohesion of the Byzantine Empireand the importance of its capital.Megaw’s binary model reflected the politicalsituation of his day. Fourteen years earlier Megawwas part of the British colonial government inCyprus. At that time the most notable twentieth-century monuments on the island were designedby British architects and paid for by the colonialgovernment with subsidies sent from London. Incontrast, local building traditions were of timberand mud-brick with no significant native architectsby imperial standards. Besides this, both Megawand Jeffery originally came to Cyprus as colonialarchitects, and so their raison d’etre depended onthe idea that imperial structures were superior tonative ones. Moreover they witnessed the turbu-lent years of the twentieth century when Cypriotsstruggled for independence, often using violenceagainst symbols of British colonialism, such as theburning of the imperial headquarters at Nicosiain 1931.8The British Empire modernized the urbaninfrastructure and harbors, and introducedelectricity and railways on the island. Economicbenefits of being a member of the Empire funding, military protection, and moderniza-tion greatly outweighed what the island couldprovide by itself alone, especially after decades ofOttoman decline.9 Naturally it was viewed that thecharitable powers residing in London ushered the
8. THE DEVELOPMENT OF BYZANTINE ARCHITECTURE ON CYPRUS 109island into the modern world, mitigating insular-ity by connecting Cypriots to a global empire. Tocolonial historians it was reasonable to think thatConstantinople played a similar role during theMiddle Ages. This attitude was also reflected bythe colonized Cypriots, who were not clamor-ing for autonomy, but enosis (unification) withGreece in order form a type of twentieth-centuryByzantine Empire.10 In other words, they acceptedthe British argument that Cyprus needed to bepart of an empire, but they wanted a Hellenic oneinstead. The hectic years between 1960 and 1974affirmed the British imperial view, when the youngrepublic struggled internally, leading to the calam-itous Turkish invasion. It must be stressed I amnot saying that colonial scholars conflated the“Byzantine Empire” with the “British Empire.” I amsaying that the binary opposition between impe-rial/provincial adopted in the twentieth centurynaturally reflected the current reality and influ-enced how medieval archaeology and history wasinterpreted by both British and Cypriot scholars.As a result of these historical realities, thebinary opposition between Constantinople (theimperial and global metropolis) and Cyprus(the provincial island) has been a rut that archi-tectural historians have had difficulty escaping.For instance, Annabel Wharton closely followedMegaw’s thesis, while insisting on the term“regional” as opposed to “provincial” architectureto avoid derogatory labels. But it is clear that heraccount makes Cypriot visual culture dependenton Constantinople, leaving the reader to ask theobvious question: if Cypriot architectural tradi-tions were derived from imperial models, why didthey have different masonry construction, scale,and typology? To Wharton, “regionalism” seemedto explain these differences.11 Basic ideas and typeswere imported from the capital, but most aspectswere lost in translation, due to the lack of skilledlabor, materials, or understanding. As a result,regional was effectively synonymous with provin-cial, that is, crude, poor, naïve, or unscientific. AsSlobodan Ćurčić stated:…regional style has at times been viewedas “provincial,” created under particularinsular circumstances that separatedCyprus from the presumed fountainheadof creative thinking the Byzantinecapital medieval Cyprus had developedcertain distinctive traits, but that theseearned it an inappropriate derogatory la-bel, “provincial”… a judgmental meaningof inferiority. 12In response to this bias, Ćurčić offered an alterna-tive model in his public lecture Middle ByzantineArchitecture on Cyprus: Provincial or Regional?13His title is clearly referencing Megaw’s earlierpublication and accepts the notion that Cypriotmonuments were not “metropolitan.”Ćurčić’s model also advocated the termregional instead of provincial. He agreed thatregional did not carry the same negative stereo-types, but went further and asserted that imperialarchitecture was actually shaped by innovations inthe regions beyond the capital. 14 This marked animportant paradigm shift in Byzantine architec-tural historiography regarding Cyprus. Howeverin this context regional was still used within abinary model, which led to the negative valuejudgments in the first place. For example, it wasproposed that “The label ‘provincial’ has stuck tothese monuments with such tenacity that at timesthey appear to have been physically neglected…[Was] Cyprus…such a ‘backwater’ place, beyondthe reach of Constantinopolitan architecturalinfluence…?” 15 In his answer, Ćurčić claimedthat the Cypriot churches were not “provincial,”though he admitted that they demonstrate quali-ties less technically or aesthetically sophisticatedthan those of the capital. Implied in his question isthe assumption that without “Constantinopolitanarchitectural influence” Cyprus would be a “back-water.” And even with influence from the capital,Cypriot achievements in architecture would stillbe derivative.Ćurčić’s resolution retained the focus onConstantinople, while explaining the idiosyncrasiesof Cyprus as vague “regional” developments whatever that might mean. 16 In actuality, he andWharton were asking the same limited questionas Megaw, which led to the same assessment. Thefact that all these scholars, including Jeffery, wouldspend considerable energy researching and pub-
110 CYPRUS AND THE BALANCE OF EMPIRESFig. 8.1 Ground plans: (a) Saints Sergius and Bacchus, built in 527, and (b) Hagia Sophia, 536; both in Constantinople.Grey areas are hypothetical. Not to scale.Fig. 8.2 Ground plans: (a.) Nea Ekklesia, Jerusalem, 543 and (b.) St. Catherine’s basilica, Sinai, after Manaphes 1990.Grey areas are hypothetical. Not to scale.
8. THE DEVELOPMENT OF BYZANTINE ARCHITECTURE ON CYPRUS 111lishing Cypriot architecture underscores that theyrecognized Cyprus’ historic value to understandinggeneral developments of Byzantine architecture.Simply put, their intentions were noble, but the oldbinary model rooted in twentieth-century impe-rialism was still an inadequate framework whenapplied to the island’s monuments.Not all architectural historians have usedthe binary model. The publications of AndreasDikigoropoulos and Athansasios Papageorghiourepresented a change in how Cypriot monumentswere assessed. Perhaps, as native Cypriots, theywere open to the possibility that their ancestorscould develop their own architectural methods ofdesign and construction sometimes influenced by,and sometimes isolated from, developments in theregion and Constantinople. They, in a literal sense,provided the first post-colonial approaches to thediscipline, fundamentally changing how we viewthe island’s material culture after 1960. This was notdeliberate. Instead, it seems that their methods wereshaped by field archaeology rather than architec-tural history. In other words, they had no historicalmodels to populate with data. They simply uncov-ered material. And what they discovered could notbe accounted for by what was previously written.Below I provide a brief historical sketch of Cyprus’Byzantine architectural history based on their (andother’s) archaeological work.17EARLY BYZANTINE ARCHITECTURE(6TH–MID-7TH CENTURY)The reign of Justinian the Great marks the begin-ning of the Early Byzantine Period. His buildingprogram was a watershed moment in architecturalhistory, characterized by precise brick construc-tion, innovative centralized plans, lofty vaults, andsoaring domes. Saints Sergius and Bacchus andHagia Sophia represent Constantinopolitan archi-tecture at the height of its creative power (fig. 8.1).18And yet these developments were not reflected inCypriot architecture at the time, and centrally-planned churches do not appear on the island foranother five centuries. This should not surprise us,since none of the other eastern provinces of theByzantine Empire exhibit Constantinople’s inno-vative buildings. For example the Nea Ekklesia(Jerusalem) and St. Catherine’s (Sinai) were bothcommissioned by Justinian (fig. 8.2).19 These weretraditional basilicas conforming to typical formsof the area; besides the date and funding, they havenothing in common with the Justinianic architec-ture of Constantinople. Perhaps we can attributethis to “provincialism;” that is, that ByzantinePalestinians and Egyptians lacked skilled labor,materials, or understanding of the sophisticatedimperial architecture. Of course, this is absurd,since the scale of these buildings and their lavishdecor testify that expense or craftsmanship wasnot an issue. Simply put, it seems that the east-ern provinces were not impressed with Justinian’srevolutionary architecture.20 We can assume thatthe clergy in Cyprus also held the same attitude inthe sixth century, when the cathedrals of Salamis-Constantia, Paphos, and Soloi were rebuilt alongtraditional lines (figs. 8.3–8.4).By the time of Justinian, the Cypriot Churchwas already four centuries old. Its autocephalousstatus was confirmed in 431, several years beforethe bishops of Jerusalem and Constantinople wererecognized as patriarchs (451).21 As an exarchy, theChurch of Cyprus had the freedom to appointits own bishops and developed its own prac-tices this included how it would express itselfin the monumental arts. The Metropolitan Chalice(illustrated on the cover of this book) celebratesthis exceptional status. Four tyches (personifica-tions) are shown, labeled Rome, Constantinople,Alexandria, and Cyprus. The elevation of Cyprusto the level of these great metropolises can eitherbe seen as an extraordinary example of artisticlicense or, more likely, an expression of culturalfreedom and sense of identity.22According to the sixth-century chroniclerHierokles, the fifteen largest cities in Cyprus eachhad a governing bishop. 23 Supervising them wasthe archbishop of Salamis-Constantia. Amongthese bishoprics, archaeologists have uncoverednine cathedrals. Between the fourth and sixth cen-turies, these cathedrals changed very little in theiroverall design: rectangular in layout, three easternapses, three to five aisles separated by colonnades,and narthexes proceeded by atria. They were con-structed with local limestone ashlars joined withlime mortar and covered with a wooden roof.
112 CYPRUS AND THE BALANCE OF EMPIRESFig. 8.3 Phase 1 ground plans (by the mid-5th century); cathedrals of (a.) Salamis-Constantia, (b.) Paphos,and (c.) Soloi. To scale.Fig. 8.4 Phase 2 ground plans (by the mid-6th century); cathedrals of (a.) Salamis-Constantia, (b.) Paphos,and (c.) Soloi. To scale.
8. THE DEVELOPMENT OF BYZANTINE ARCHITECTURE ON CYPRUS 113Internal decoration consisted of imported mate-rials, such as tesserae for mosaics and marblefurnishings and columns. In the sixth century,the cathedrals at Salamis-Constantia, Paphos,and Soloi had their internal colonnades rebuilt toaccommodate a larger congregation, coincidingwith the installation of synthronons.24 These slightchanges reflected the contemporary ecclesiasticalstructures in the west, such as Constantinople andthe Aegean, as well as the east, such as Palestineand Syria but not entirely. 25In this Early Byzantine period, two character-istics developed that we find only on Cyprus. First,at the Cathedrals of Salamis-Constantia, Kourion,and Soloi, as well as the Campanopetra (Salamis-Constantia), there are two corridors on each sidereserved for facilitating traffic to areas east beyondthe apse.26 As a result, the basilica’s clerestory roseup over a complex of subsidiary buildings andcourtyards to the east and west. Second, these basil-icas have side-aisle apses flanking the central naveapse. This design originated in Palestine, as exem-plified by the Gethsemane basilica of the Agony(Jerusalem) and Elusa Cathedral. 27 In Palestinethese side apses were built within the eastern walland do not extend beyond the wall. We see thisfeature first employed in Cyprus at the cathedralof Salamis-Constantia in the late fourth century;later it is implemented at Kalavasos-Kopetra (AreaII).28 By the fifth century, just about every Cypriotchurch was designed with these flanking apses jut-ting beyond the eastern wall. This signified thatthe internal sacred space would be recognizedfrom the exterior. In Cyprus, the tri-partite layoutof the bema was emphasized by passagewaysbetween the apses; this was first developed at theCathedral of Salamis-Constantia, and is evidentlater at Soloi and the churches of Aphendrika. 29These passages helped facilitate the transmissionof the Eucharistic bread from the altar to the con-gregants in the side aisles. In other words, it seemsthat the side aisles served each sex; men occupiedone aisle and women occupied the other.30Basilica-building on Cyprus reached its zenithin the first half of the seventh century. Archaeologyhas provided us with a general picture of this devel-opment. Excavations at rural sites have uncoveredseveral sixth- and early seventh-century villagechurches, which are scaled-down versions of thelarger fifth-century urban cathedrals.31 There wasa general trend away from large centralized cathe-drals, towards a plurality of smaller communitychurches, just a few yards away from each other.This pattern coincided with the gradual increase ofcoins and ceramic finds discovered in archaeologi-cal contexts.32 We can interpret this in two possibleways: first, Christianity was initially established inthe cities and gradually expanded into the once-pagan countryside; second, the development ofsuburbs is indicative of widespread prosperityin Cyprus, which led to population growth andsettlement of virgin land. Of course, both inter-pretations are not exclusive of each other.Regarding secular architecture, we have someof the most innovative Byzantine forms arising onCyprus also in the first half of the seventh century.Waterworks at Salamis-Constantia, including theGrand Baths, aqueduct (running from Chytroi),and reservoir (known as the “Loutron”) were com-pletely renovated under the Emperor Heraclius,with the help of the island’s powerful archbishops.Here we see the first systematic use of pointedarches and flying buttresses, fortunately dated byexcavation evidence and inscriptions. 33 SeveralByzantine houses have been excavated at Amathousand Salamis-Constantia, but these have not beenpublished, except for the urban villa, known as the“Huilerie,” where apparently a wealthy clergymanhad lived.34 Its stucco decoration was innovative, inthe sense that it was mass-produced in molds andachieved a high level of sophistication mimickingmarble reliefs. Other notable monuments built atthis time include the city walls at Amathous, whichwere built in reaction to Monophysite raids fromEgypt. 35SEVENTH-CENTURY TRANSITIONThe era of expansive basilica-building on Cyprusends by the eighth century. Archaeological evi-dence indicates that most churches were damagedaround the year 650. This ushered in a 300-yearperiod commonly called the “CondominiumPeriod,” which I would rather designate as “ThePeriod of Neutrality.” The island became ademilitarized zone between the Arab Caliphate