Delphi Complete Works of Procopius

by Procopius of Caesarea

  [35] On either side of this are columns arranged on the pavement; these likewise do not stand in a straight line, but they retreat inward in the pattern of the semicircle (hêmikyklon) as if they were yielding to one another in a choral dance, and above them hangs a structure of crescent shape (mênoeides).

  [36] τοῦ δὲ δὴ ἑῴου κατ᾽ ἀντικρὺ τὰς εἰσόδους ἔχων ἐγήγερται τοῖχος, καὶ αὐτοῦ ἑκατέρωθεν οἵ τε κίονες καὶ τὰ αὐτῶν ὕπερθεν ὁμοιότατα τοῖς δεδηλωμένοις ἐν ἡμικύκλῳ ἑστήκασι.

  [36] And on the side opposite the east is reared a wall containing the entrances (eisodoi), and on either side of this there stand in a semicircle (hêmikyklon) not only the columns themselves but also the structure above them, all this being very similar to the columns and structure I have just described.

  [37] κατὰ δὲ τὰ τοῦ νεὼ μέσα λόφοι χειροποίητοι ἐπανεστήκασι τέσσαρες, οὓς καλοῦσι πεσσούς, δύο μὲν πρὸς βορρᾶν, δύο δὲ πρὸς ἄνεμον νότον, ἀντίοι τε καὶ ἴσοι ἀλλήλοις, κίονας ἐν μέσῳ ἑκάτεροι κατὰ τέσσαρας μάλιστα ἔχοντες.

  [37] And in the centre of the church stand four man-made eminences (lophoi), which they call piers (pessoi), two on the north side and two on the south, opposite and equal to each other, each pair having between them just four columns.

  [38] πεποίηνται δὲ οἱ λόφοι λίθοις εὐμεγέθεσι σύνθετοι, λογάδην μὲν συνειλεγμένοις, ἐς ἀλλήλους δὲ πρὸς τῶν λιθολόγων ἐπισταμένως ἐναρμοσθεῖσιν, ἐς ὕψος μέγα. εἰκάσαις ἂν αὐτοὺς εἶναι σκοπέλους ὀρῶν ἀποτόμους.

  [38] The piers (lophoi) are composed of huge stones joined together, carefully selected and skilfully fitted to one another by the masons, and rising to a great height. One might suppose that they were sheer mountain-peaks.

  [39] ἐπὶ τούτοις δὲ ἀψῖδες τέσσαρες ἐν τετραπλεύρῳ ἀνέχουσι· καὶ αὐτῶν τὰ μὲν ἄκρα ξύνδυο ξυνιόντα εἰς ἄλληλα ἐν τῇ ὑπερβολῇ ἠρήρεισται τῶν λόφων τούτων, τὰ δὲ δὴ ἄλλα ἐπηρμένα εἰς ἀπέραντον ὕψος ᾐώρηται.

  [39] From these spring four arches (apsides) which rise over the four sides of a square, and their ends come together in pairs and are made fast to each other on top of these piers (lophoi), while the other portions rise and soar to an infinite height.

  [40] τῶν δὲ ἀψῖδων αἱ μὲν δύο κατὰ κενοῦ τοῦ ἀέρος ἐπανεστήκασι πρὸς ἀνίσχοντά τε καὶ δύοντά που τὸν ἥλιον, αἱ δὲ λειπόμεναι οἰκοδομίαν τέ τινα καὶ κίονας ]μικροὺς κομιδῇ ἔνερθεν ἔχουσιν.

  [40] And while two of the arches rise over empty air, those namely on the east and the west sides, the other two have under them certain structural elements (oikodomia), including a number of rather small columns.

  [41] ὕπερθεν δὲ αὐτῶν κυκλοτερὴς οἰκοδομία ἐν στρογγύλῳ ἐπῆρται· ὅθεν ἀεὶ διαγελᾷ πρῶτον ἡ ἡμέρα.

  [41] Upon the crowns of the arches rests a circular structure (kykloterês oikodomia), cylindrical (strongylon) in shape; it is through this that the light of day always first smiles.

  [42] ὑπεραίρει γάρ, οἶμαι, τὴν γῆν ξύμπασαν, καὶ διαλείπει τὸ οἰκοδόμημα κατὰ βραχύ, ἐξεπίτηδες παρειμένον τοσοῦτον, ὅσον τοὺς χώρους, οὗ δὴ τὸ διῃρημένον τῆς οἰκοδομίας συμβαίνει εἶναι, φέγγους διαρκῶς ἀγωγοὺς εἶναι.

  [42] For it towers above the whole earth, as I believe, and the structure is interrupted at short intervals, openings having been left intentionally, in the spaces where the perforation of the stone-work takes place, to be channels for the admission of light in sufficient measure.

  [43] τῶν δὲ ἀψῖδων τῆς συμπλοκῆς ἐν τετραγώνῳ ἐξειργασμένης, ἐς τρίγωνα τέσσαρα μεταξὺ τὸ ἔργον ἀποτετέλεσται.

  [43] And since the arches where they are joined together are so constructed as to form a four-cornered plan, the stonework between the arches produces four triangles (trigôna).

  [44] καὶ ἡ μὲν τριγώνου ἑκάστη κρηπὶς πεπιεσμένη τῇ ἐς ἀλλήλας τῶν ἀψῖδων ἐνέρσει ὀξεῖαν ποιεῖται τὴν κάτω γωνίαν, συναναβαίνουσα δὲ τὸ λοιπὸν εὐρυνομένη τῇ μεταξὺ χώρᾳ ἐς τὸ κυκλοτερὲς τελευτᾷ, ταύτῃ ἀνέχει, γωνίας τε τὰς λειπομένας ἐνταῦθα ποιεῖται.

  [44] And while each supporting end (krêpis) of a triangle, having been contracted to a point by the coming together of each pair of arches, makes the lower point an acute angle, yet as the triangle rises and its width is extended by the intermediate surface,

  [45] τούτου δὲ τοῦ κυκλοτεροῦς παμμεγέθης ἐπανεστηκυῖά τις σφαιροειδὴς θόλος ποιεῖται αὐτὸ διαφερόντως εὐπρόσωπον.

  [45] it ends in the segment of a circle (kykloterês) which it supports, and forms the remaining angles at that level. And upon this circle rests the huge spherical dome (sphairoeidês tholos) which makes the structure exceptionally beautiful.

  [46] δοκεῖ δὲ οὐκ ἐπὶ στερρᾶς τῆς οἰκοδομίας ἑστάναι, ἀλλὰ τῇ σφαίρᾳ τῇ χρύσῃ ἀπὸ τοῦ οὐρανοῦ ἐξημμένη καλύπτειν τὸν χῶρον.

  [46] Yet it seems not to rest upon solid masonry, but to cover the space with its golden dome (sphaira) suspended from Heaven.

  [47] ταῦτα δὲ πάντα ἐς ἄλληλά τε παρὰ δόξαν ἐν μεταρσίῳ ἐναρμοσθέντα, ἐκ τε ἀλλήλων ᾐωρημένα καὶ μόνοις ἐναπερειδόμενα τοῖς ἄγχιστα οὖσι, μίαν μὲν ἁρμονίαν ἐκπρεπεστάτην τοῦ ἔργου ποιοῦνται, οὐ παρέχονται δὲ τοῖς θεωμένοις αὐτῶν τινι ἐμφιλοχωρεῖν ἐπὶ πολὺ τὴν ὄψιν, ἀλλὰ μεθέλκει τὸν ὀφθαλμὸν ἕκαστον, καὶ μεταβιβάζει ῥᾷστα ἑαυτό.

  [47] All these details, fitted together with incredible skill in mid-air and floating off from each other and resting only on the parts next to them, produce a single and most extraordinary harmony in the work, and yet do not permit the spectator to linger much over the study of any one of them, but each detail attracts the eye and draws it on irresistibly to itself.

  [48] ἀγχίστροφός τε ]ἡ τῆς θέας μεταβολὴ ἐς ἀεὶ γίγνεται, ἀπολέξασθαι τοῦ ἐσορῶντος οὐδαμῆ ἔχοντος ὅ τι ἄν ποτε ἀγασθείη μᾶλλον τῶν ἄλλων ἁπάντων.

  [48] So the vision constantly shifts suddenly, for the beholder is utterly unable to select which particular detail he should admire more than all the others.

  [49] ἀλλὰ καὶ ὡς ἀποσκοποῦντες πανταχόσε τὸν νοῦν, τάς τε ὀφρῦς ἐπὶ πᾶσι συννενευκότες, οὐχ οἷοί τέ εἰσι ξυνεῖναι τῆς τέχνης, ἀλλ᾽ ἀπαλλάσσονται ἀεὶ ἐνθένδε καταπεπληγμένοι τῇ ἐς τὴν ὄψιν ἀμηχανίᾳ. ταῦτα μὲν οὖν τῇδέ πη ἔχει.

  [49] But even so, t
hough they turn their attention to every side and look with contracted brows upon every detail, observers are still unable to understand the skilful craftsmanship, but they always depart from there overwhelmed by the bewildering sight. So much, then, for this.

  [50] Μηχαναῖς δὲ πολλαῖς βασιλεύς τε Ἰουστινιανὸς καὶ Ἀνθέμιος ὁ μηχανοποιὸς σὺν τῷ Ἰσιδώρῳ οὕτω δὴ μετεωριζομένην τὴν ἐκκλησίαν ἐν τῷ ἀσφαλεῖ διεπράξαντο εἶναι· ὥσπερ τὰς μὲν ἄλλας ἁπάσας ἐμοὶ εἰδέναι τε ἄπορον καὶ λόγῳ φράσαι ἀμήχανον, μία δέ μοι μόνον ἔν γε τῷ παρόντι γεγράψεται ᾗ δύναιτ᾽ ἄν τις σύμπασαν τοῦ ἔργου τεκμηριῶσαι τὴν δύναμιν.

  [50] It was by many skilful devices that the Emperor Justinian and the master-builder Anthemius and Isidorus secured the stability of the church, hanging, as it does, in mid-air. Some of these it is both hopeless for me to understand in their entirety, and impossible to explain in words; I shall record only one of them for the present, from which it should be possible to gain an impression of the strength of the whole work.

  [51] ἔχει γὰρ ὧδε· οἱ λόφοι, ὧνπερ ἐπεμνήσθην ἀρτίως, οὐ κατὰ ταὐτὰ ταῖς ἄλλαις οἰκοδομίαις πεποίηνται, ἀλλὰ τρόπῳ τοιῷδε. λίθων ἐπιβολῇ ἐν τετραγώνῳ διαπεπόνηται,

  [51] It is as follows: The piers (lophoi) which I have just mentioned are not constructed in the same way as other structures, but in the following manner. The courses of stone were laid down so as to form a four-cornered shape,

  [52] σκληρῶν μὲν φύσιν, ἐργασίαν δὲ λείων, ἐντομὴν δέ, εἰ μὲν τὰ προὔχοντα ποιεῖσθαι τῶν τοῦ λόφου πλευρῶν μέλλοιεν, ἐγγωνίων, εἰ δὲ τὴν μεταξὺ κεκλήρωνται χώραν, ἐν τετραπλεύρῳ γεγενημένων.

  [52] the stones being rough by nature but worked smooth; and they were cut to the angles when they were destined to form the projecting corners of the sides of the pier, but when they chanced to be assigned to a position between the angles, they were cut in rectangles (tetrapleuron).

  [53] συνήρμοσε δὲ αὐτοὺς οὐ τίτανος, ἥνπερ ἄσβεστον ὀνομάζουσιν, οὐκ ἄσφαλτος, ἡ Σεμιράμιδος ἐν Βαβυλῶνι φιλοτιμία, οὐκ ]ἄλλο τοιοῦτον οὐδέν, ἀλλὰ μόλιβδος ἐς τέλμα χυθείς, καὶ μεταξὺ πανταχόσε χωρήσας, τῶν τε λίθων τῇ ἁρμονίᾳ ἐντετηκὼς καὶ συνδέων ἀλλήλοις αὐτούς.

  [53] These were held together neither by lime (titanos), which they call “asbestus”, nor by asphalt, the material which was the pride of Semiramis in Babylon, nor by any other such thing, but by lead (molibdos) poured into the interstices (telma), which flowed about everywhere in the spaces between the stones and hardened in the joints (harmonia), binding them to each other.

  [54] τοῦτο μὲν οὖν ταύτῃ ἐξείργασται. ἐπὶ τὰ λειπόμενα δὲ τοῦ νεὼ ἴωμεν.

  Χρυσῷ μὲν ἀκιβδήλῳ καταλήλειπται ἡ ὀροφὴ πᾶσα, κεραννῦσα τὸν κόμπον τῷ κάλλει, νικᾷ μέντοι ἡ ἐκ τῶν λίθων αὐγή ἀνταστράπτουσα τῷ χρυσῷ.

  [54] Thus were these parts constructed; but let us proceed to the remaining portions of the church.

  The whole ceiling is overlaid with pure gold,b which adds glory to the beauty, yet the light reflected from the stones prevails, shining out in rivalry with the gold.

  [55] στοαί τέ εἰσιν ἑκατέρωθι δύο, οἰκοδομίᾳ μὲν τοῦ νεὼ οὐδεμίᾳ διειργόμεναι, ἀλλὰ καὶ μεῖζον αὐτοῦ ποιοῦσαι τοῦ εὔρους τὸ μέτρον, καὶ τῷ μήκει μέχρι ἐς τὸ πέρας συνεξικνούμεναι, τὸ δέ γε ὕψος καταδεέστεραι.

  [55] And there are two stoa-like colonnades (stoai), one on each side, not separated in any way from the structure of the church itself, but actually making the effect of its width greater, and reaching along its whole length, to the very end, while in height they are less than the interior of the building.

  [56] καὶ αὐταῖς δὲ ἥ τε ὀροφὴ θόλος καὶ ὁ χρυσὸς ἐγκαλλώπισμα. ταύταιν δὲ ταῖν στοαῖν ἁτέρα μὲν τοὺς ἄνδρας εὐχομένους διακεκλήρωται, γυναιξὶ δὲ ταὐτὸ ποιουμέναις ἡ ἄλλη ἀνεῖται.

  [56] And they too have vaulted ceilings (orophê tholos) and decorations of gold. One of these two colonnaded stoas has been assigned to men worshippers, while the other is reserved for women engaged in the same exercise.

  [57] παραλλὰξ δὲ οὐδὲν ἔχουσιν, οὐδὲ διαφέρουσι δήπου ἀλλήλαιν, ἀλλὰ καὶ τὸ ἴσον αὐταῖν τῷ ἱερῷ ἐς ]κάλλος διήκει καὶ ὡραΐζει τὸ ἐμφερές.

  [57] But they have nothing to distinguish them, nor do they differ from one another in any way, but their very equality serves to beautify the church, and their similarity to adorn it.

  [58] τίς δ᾽ ἂν τῶν ὑπερῴων τῆς γυναικονίτιδος ἑρμηνεὺς γένοιτο, ἢ τάς τε παμπληθεῖς διηγοῖτο στοὰς καὶ τὰς περιστύλους αὐλάς, αἷς ὁ νεὼς περιβέβληται;

  [58] But who could fittingly describe the galleries (hyperôa) of the women’s side (gynaikonitis), or enumerate the many colonnades and the colonnaded aisles (peristyloi aulai) by means of which the church is surrounded?

  [59] τίς δὲ τῶν τε κιόνων καὶ λίθων διαριθμήσαιτο τὴν εὐπρεπείαν, οἷς τὸ ἱερὸν κεκαλλώπισται; λειμῶνί τις ἂν ἐντετυχηκέναι δόξειεν ὡραίῳ τὸ ἄνθος.

  [59] Or who could recount the beauty of the columns (kiones) and the stones with which the church is adorned? One might imagine that he had come upon a meadow with its flowers in full bloom.

  [60] θαυμάσειε γὰρ ἂν εἰκότως τῶν μὲν τὸ ἁλουργόν, τῶν δὲ τὸ χλοάζον, καὶ οἷς τὸ φοινικοῦν ἐπανθεῖ καὶ ὧν τὸ λευκὸν ἀπαστράπτει, ἔτι μέντοι καὶ οὓς ταῖς ἐναντιωτάταις ποικίλλει χροιαῖς ὥσπερ τις ζωγράφος ἡ φύσις.

  [60] For he would surely marvel at the purple of some, the green tint of others, and at those on which the crimson glows and those from which the white flashes, and again at those which Nature, like some painter, varies with the most contrasting colours.

  [61] ὁπηνίκα δέ τις εὐξόμενος ἐς αὐτὸ ἴοι, ξυνίησι μὲν εὐθὺς ὡς οὐκ ἀνθρωπείᾳ δυνάμει ἢ τέχνη, ἀλλὰ θεοῦ ῥοπῇ τὸ ἔργον τοῦτο ἀποτετόρνευται. ὁ νοῦς δέ οἱ πρὸς τὸν θεὸν ἐπαιρόμενος ἀεροβατεῖ, οὐ μακράν που ἡγούμενος αὐτὸν εἶναι, ἀλλ᾽ ἐμφιλοχωρεῖν μάλιστα οἷς αὐτὸς εἵλετο.

  [61] And whenever anyone enters this church to pray, he understands at once that it is not by any human power or skill, but by the influence of God, that this work has been so finely turned. And so his mind is lifted up toward God and exalted, feeling that He cannot be far away, but must especially love to dwell in this place which He has chosen.

  [62] καὶ τοῦτο οὐ τὴν πρώτην μόνον ἰδόντι ξυμβαίνει, ἀλλ�
� διηνεκὲς ἑκάστῳ ταὐτὸ τοῦτο δοκεῖ, ὥσπερ ἐνταῦθα τῆς ὄψεως ἀεὶ ἀρχομένης.

  [62] And this does not happen only to one who sees the church for the first time, but the same experience comes to him on each successive occasion, as though the sight were new each time.

  [63] τούτου κόρον οὐδεὶς τοῦ θεάματος ἔλαβε πώποτε, ἀλλὰ παρόντες μὲν τῷ ἱερῷ ἄνθρωποι τοῖς ὁρωμένοις γεγήθασιν, ἀπιόντες δὲ τοῖς ὑπὲρ αὐτοῦ διαλόγοις ἀποσεμνύνονται.

  [63] Of this spectacle no one has ever had a surfeit, but when present in the church men rejoice in what they see, and when they leave it they take proud delight in conversing about it.

  [64] ἔτι μέντοι τῶν κειμηλίων τοῦ νεὼ τοῦδε τά τε χρυσώματα καὶ τὰ ἐν ἀργύρῳ καὶ λίθοις ἐντίμοις ξύμπαντα μὲν φράσαι ἀκριβολογουμένῳ ἀμήχανον ἅπερ Ἰουστινιανὸς βασιλεὺς τῇδε ἀνέθηκεν· ἑνὶ δὲ μόνῳ τεκμηριοῦσθαι τοῖς τάδε ἀναλεγομένοις ἐφίημι·

  [64] Furthermore, concerning the treasures of this church — the vessels of gold and silver and the works in precious stones, which the Emperor Justinian has dedicated here — it is impossible to give a precise account of them all. But I shall allow my readers to form a judgment by a single example.

  [65] ὁ γὰρ τοῦ ]ἱεροῦ τὰ μάλιστα χῶρος ἀβέβηλος καὶ μόνοις ἱερεῦσι βατός, ὅνπερ καλοῦσι θυσιαστήριον, λιτρῶν ἀργύρου μυριάδας ἐπιφέρεται τέτταρας.

  [65] That part of the shrine which is especially sacred, where only priests may enter, which they call the Inner Sanctuary (thysiastêrion), is embellished with forty thousand pounds’ weight of silver.