The articulation of the wall displays the coloristic effects of light and shade. There were strong contrasts in the west façade between the dark recesses and the pastel tones of the piers, the latter broken by the alternating bands of brick and stone and by the consistent use of twostepped responds and engaged columns. All this was topped by the subtle contrasts and undulating rhythm of the dogtooth cornices. The wall was never left as a plain surface. To be sure, the love of decoration led to some illogical solutions. For example, on the south facade, the system of half columns and responds does not fit with the structural system of the building or with the interior articulation, and we find half columns illogically supporting windows.
Special functional requirements may have also played a role in the unusual design. For example, in addition to an annexed funeral chapel for privileged burials, many aristocratic churches were provided with a private room for the founder on the gallery level, usually positioned above the narthex. While other considerations did not allow a narthex gallery at the Chora, the twostory annex on the north side of the building included a room on the upper level that may have served as the library of Theodore Metochites. It includes a window overlooking the naos, from which the founder could “hear the sweet singing of the monks” as he devoted himself to his scholarship. In a like manner, the south bay of the inner narthex – out of scale and asymmetrically positioned – seems to have had a special function in the monastery. Dominated by the huge Deesis mosaic on its east wall, the space may have functioned as a sort of founder’s chapel, honoring the memories of the previous imperial benefactors, two of whom are represented in the dedicatory mosaic.
If we take into consideration such special functional requirements as these, as well as a decorative aesthetic oriented toward lavish surface ornamentation and principles of planning that broke the building into individually articulated components, we arrive at an approach toward architecture that not only allowed but perhaps encouraged irregularities. The guiding principles of Palaiologan architecture must be recognized as quite different from the rational, structural principles of the Middle Byzantine period. The treatment of architectural forms in evidence at the Kariye has much in common with the contemporary, socalled mannerist phase in the twodimensional arts.
Like the mosaics and frescoes, the architecture of the Kariye is similarly artfully distorted, chaotic, asymmetrical, and decorative. If we isolate a single figure, for example, Joseph, from Joseph Taking the Virgin to His House, compositional attitudes similar to those seen in the architecture are evident. Students of life drawing would cringe at this figure – we are not sure if he is coming or going. Yet, if each specific feature is analyzed independently, it is more than satisfactory in itself. The artist is composing on a small scale, of individual bits and pieces, without attempting to relate the pieces to the whole.References * Van Millingen, Alexander (1912). Byzantine Churches of Constantinople. London: MacMillan & Co. * Ousterhout, Robert (2002). The Art of the Kariye Camii. London-Istanbul: Scala. ISBN 975-6899-76-x.