Edición del volumen: Luz Neira Jiménez Maquetación: altura x estudio de diseño www.alturax.com Proyecto 2015/00226/001 Vicerrectorado de Política Cientíica (Convocatoria competitiva del Programa Propio) Universidad Carlos III de Madrid Estudios sobre mosaicos antiguos y medievales. Actas del XIII Congreso AIEMA Madrid, 14-18 de septiembre de 2015 Luz Neira, Universidad Carlos III de Madrid (dirección y coordinación) Estudios sobre mosaicos antiguos y medievales. (Hispania Antigua, Serie Arqueológica, 6) Copyright 2016 © «L’ERMA» di BRETSCHNEIDER Via Cassiodoro, 19 - 00193 ROMA http://www.lerma.it Tutti diritti riservati. É vietatala riproduzione di testi e illustrazioni senza il permesso scritto dell’Editore Atti del XIII Congreso Internacional de la AIEMA. “Estudios sobre mosaicos antiguos y medievales” Luz Neira Jiménez (Ed.). - Roma: «L’ERMA» di BRETSCHNEIDER, 2016. - 478 p. : ill. ; 29 cm. In collana Hispania Antigua, collana diretta da Julián González, Universidad de Sevilla – Departamento de Filología Griega y Latina. ISBN: 978-88-913-1239-6 (digital) Imagen de portada: Mosaico de Castulo (Jaén). Detalle de Selene y Endimión. Foto, cortesía de José Manuel Pedrosa. Estudios sobre mosaicos antiguos y medievales Luz Neira Jiménez Editora «L’ERMA» di BRETSCHNEIDER ChurCh Complex and floor paving unearthed during 2014 season exCavations in KadiKalesi/ anaia, Kusadasi Emine Tok1 Kadikalesi/Anaia is located in Kuşadası town of Aydın in Western Anatolia. It is founded on a prehistoric mound overlooking Samos Strait (Fig.1). The site has mentioned an important diocose since the early Byzantine era. The vicinity of mound was fortiied with a well-protected castle in Middle Ages, under rules of Komnenoi (11th-12th century) and reinforced Lascarid Dynasty (13th Century). The settlement was an important centre as a harbour castle in 13th century. Anaia was an episcopate with a monumental monastery complex and a trade centre where ceramics and glass ware production took place2. First scientiic excavations were initiated by Prof. Dr. Zeynep Mercangöz from Ege University since 20013. Fig. 1. Overwiew of the excavation area. Fig. 2. Plan of monumental episcopate basilica (Drawing: M.Buğra Kanmaz). Monumental Episcopate Basilica The Monumental bishopric church on the left side of the city gate clearly showed us, this religious building is a huge complex with various construction phases (Fig.2). Construction Phace (Late 5th –Early 6th Century) Excavation indings revealed that there was a Hellenistic Basilica with a crypt on east which was dating back to 5th -6th century. The irst basilica extended on east-west direction and had a central nave and aisles on both sides. It contained alternatively placed series of colonnades and piers that linked with arcade. Middle nave was wider than the lateral ones. The roof of this early Byzantine structure should have been of wooden. On east, the bema was divided from naos by means of a monumental templon. Excavations indicate that the original synthronon stairs were different than today. The original loor pavement of basilica has not reached until today either. However, indings of the mosaic fragments among debris showed us the Basilica was covered with mosaics (Fig.3). The mosaic’s core was 7 cm thick. Tesserae size are varies: between 0.9 and 1.2cm. and made of limestone, marble and brick. Their colours are light blue, dark blue, red, black and white. 1 Assoc.Prof.Dr. Emine TOK, Ege University, Literatur Faculty, History of Art Department, Izmir, Turkey. dreminetok@gmail.com. 2 Mercangöz 2010, p.279-292. 3 Thanks to Prof. Dr. Zeynep Mercangöz for allowing me to work Kadıkalesi mosaics. — 399 — Church complex and loor paving unearthed during 2014 season excavations in Kadikalesi/ Anaia, Kusadasi Fig. 3. The original floor pavement of basilica; mosaic fragments. Fig. 4. Traces of apse pavement. The formation of tesserae on these mosaic fragments are striking. In such a way that the white ground of mosaics are aligned in ish scale form, just as in Great Palace of Constantinople (6th Century)4 and Haleplibahçe Mosaics in Urfa (6th Century)5, maintaining the style and workmanship in these notable centres. Acording to such architectural data, the basilica dates back to early Byzantine era, and comprises mosaics in Syrian style with special workmanship. Even though the motives on fragments are not undeinite, the sections which form the pattern have implied the techniques opus tessellatum. Reconstructions and Additions (Middle Byzantine Phases) Findings of excavations demonstrate this monumental church became even more glorious thanks to additions from 11th to 13th century. Probably due to the major earthquakes which was happened in the Middle Byzantine period, extensive renovations took place on naos and narthexes were added on the West. When the naos became unusable, restorations all around the church must have transformed the building into an episcopate church. According to excavations, they were added arcasoliums in the southern nave of basilica and transformed it a parecclesion in order to interment of Laskarid episcopates and ecclesiastics. At this stage, a new small church was added on south. The extensive studies revealed that the interior of this monumental Middle Byzantine complex was twice smeared with gilded murals including rich decorative adornments. New arrangements were carried out for loor coverings as well. The traces show that the loors of monumental basilica and the south chapel were paved with opus-sectile panels. According to excavations, only some part of synthronon pavements and marble plaques of bema preserved in the east of Basilica and some part of nave. Four steps of synthronon, which is located in front of apse, have reached today. There is a cathedra space just on axis. The remnants remind existence of another step on the upper part of synthronon. The line all along upper step and the elevation on south strengthens this opinion. Synthronon steps were originally paved with marble. however most of these coverings are lost and only few fragments remain in situ. Marbles in extant zones do not have integrity in terms of colour, size and forms. There are ordinary stones among square or rectangular cut plaques. Dark stone pavements attract attention, apart from white, gray and pink marbles. The beds of ripped pavements can be observed on mortar. Traces of pavement show that in front of the apse was paved with alternating large rectangular plates and panels made of square cut stones, all placed with opus sectile technique (Fig.4). The panels were enclosed 4 Jobst, Erdal, Gurtner 1997;Jobst,Wetters 1992. 5 Karabulut,Önal, Dervişoğlu 2011, p.102-103. — 400 — EminE Tok with marble frames. Smaller fragments have symmetrical formation, even though there is no unity in thickness of square cut stones. This fact can be clearly seen via the gaps on mortar beds. The pattern is chessboard-patern6. This pattern resembles St. Nicolas of Myra Church in Demre (11th century amendment) and Koimesis Church, Nicaea (11th century)7, Mausoleum of Orhangazi, Bursa (11th century)8. Remnants on bema, synthronon and in front of apse show that the marble pavements of building, just like murals, underwent a restoration, at least twice, during Middle Byzantine Era. In the latest stage of usage, there were certain arrangements at synthronon, and the apse was completed with mortar due to lack of material. Different layers on mortar beds before the apse, as well as the fragments of marble pavement plates beneath marble coverings of bema, are important clues to enlighten the restoration stages in the church. The latest period of great basilica witnessed construction of another step in front of the synthronon. This step, however, was later broken in front of cathedra space, and scattered. On the ground, it is possible to follow the traces of marble pavements of the step, which was opened through breaking. Filler removal efforts inside and outside the church unearthed smaller opus sectile fragments used in late-period wall debris, as well as marble loor plate fragments, mostly revealed as scattered in ill dirt and many specially cut marble pieces. Nevertheless, all position of these pieces in the church isn’t determined yet. Floor of exterior narthex, which was added to monumental church afterwards, was paved with brick, whereas the ground of interior narthex was paved with large marble plaues. Only a part of the nave loor pavement has been preserved (Fig.5, 6). Pavement consist of rectangular marble panel which framed by geometric opus sectile patterns. Design is chessboard-pattern, the squares containing an inscribed poised square alternately outlined and in counterchanged colours, creating effect of grids9. The small cut square and triangle pieces must have been wide kerbs surrounding large marble plates in naos. The thickness of mortar bed is circa 14 cm. The obtained pieces are mostly pink, red, black, white, green and yellow. Opus sectile kerbs, made of squares and triangles surrounding the large marble plates, are a common feature of Middle and Late Byzantine churches. Similar designs are present in Pantokrator Monastery (12th century.)10, Bursa Mausoleum of Orhan Gazi pavements (9th-11th century)11, St. Nicolas of Myra Church in Demre (11th century)12. Fig. 5. Overwiew of the nave loor pavement, west to east. Fig. 6. Fragments of the nave loor pavement. Lám. 12 6 Décor 1985, PL.114a. 7 Schmit 1927, taf. 10, ig.4; Eyice, p.378, ig. 17; Demiriz 2002, p.97, 99. 8 Demiriz 2002, p.19; Okçu 2009, p.45, ig.24. 9 Decor 1985, PL.120f. 10 Demiriz 2002, p.49-50-55; Megaw 1963, Fig.a, ig.3. 11 Demiriz 2002, 22; Eyice 1963, ig.14,15. 12 Doğan,Çorağan,Bulgurlu,Alas,Fındık,Apaydın 2014, p.58. — 401 — Church complex and loor paving unearthed during 2014 season excavations in Kadikalesi/ Anaia, Kusadasi Materials and Colours Square, triangle, pentagon, hexagon and circular marble fragments of varying size were classiied according to their colours and sizes, and they were recorded through photos and drawings. White, gray, pink, yellow, and green marbles should have been brought from quarries around, as the loor coverings in apse-bema and the columns carrying the templon are mostly made of pink Iasos marble. Gray marbles must have been transported from Ephesus-Belevi and Afyon quarries. Meanwhile, the few white spotted black marbles come from Bergama. There are many specially cut frame pieces that surrounded panels. The smallest frames should have been kerbs for thin marble plates used in the wall. Triangle fragments are classiied in three main groups: equilateral, isosceles and right triangle. Square formed coverings were collected under 11 groups depending on their size. Opus sectile fragments have following cut-forms: circular in 6 different size, hexagon in 4 different sizes, and octagon in 2 different sizes. There are many of these fragments. Besides, the abundance of well polished marble plates is striking. Some of them might be from early Byzantine time and reused in middle age. South church (13th Century) Colourful marble plates and traces on bema and synthronon of small church bear signiicance since they point out the opus sectile pavement. Just like the great basilica, this church also had a cathedra, whereupon we can assume that the complex maintained its function as episcopate centre. As both buildings were out of use, the interior and exterior of small church hosted Byzantine catacombs in late Middle Age. Here, four layers of graves were detected; since the nethermost graves were formed by removing the loor of chapel, they caused to degradation of original looring. The only pavement of small church, which has reached the present day, consists of rectangular cut pink Iasos marble and circular cut green marble in front of the apse. North church The chapel which is located in the north of the Episcopal Church, has been completely excavated during the excavation season 2014 (Fig.7). Excavations suggests that the chapel was built on the ruins of a Church from the early period. Probably the early stages of this monumental church had been completely destroyed, while the area surrounded by castle. Indeed, the remains of previous apse wall which extend the castle can still be seen. Fig. 8. Plan of north church and loor pavement (Drawing: A.Elalmış). Fig. 7. North Church. — 402 — EminE Tok Fig. 9. Opus sectile patterns on the west side of bema. Fig. 10. Northern part of the nave pavement. Both construction techniques and excavation indings indicate that the chapel has two main periods: First one is Construction Phase (11 th century) and the second is reconstruction one (13 th. Century) We considered that The Chapel might have constructed during the major renovations of the monumental church. Actually, the chapel pavement is similar in style with the monumental church loor. The chapel consists of a single nave and an apse. There is bema in front of the apse which is higher than the nave. Bema is devided from the nave by a wall which is built 13th. Century. This wall rises over the opus sectile pavement. It is thought to have been built during the repairs in the thirteenth century. Originally the chapel was paved with opus sectile mosaics. However, the pavement is partly preserved in the western side of Bema and northern section of nave (Fig. 8). Pavement consist of square or rectangular marble panels which framed by plain bands of different widths and/or geometric opus sectile patterns. Traces suggest that there might be a circular panel in the center of the nave. But it is not reached clearly until today. We think, some pieces of marble reused. There are four different Opus sectile patterns on the west side of bema. The green marble plaque framed by orthogonal pattern of intersecting circles and concave squares13. Grey marble on the right surrounded by Row of tangent poised squares (forming hourglasses here) with both halvets of each hourglass divided into four equal triangles, colours courterchanged14 . It is understood that the same pattern is applied on the south side. As for the east side which is partly damaged, grey marble framed by row of tangent regular hexagons forming hourglasses15. Although the motif is missing on the west side, we can understand it. The frame designed for outlined orthogonal pattern of irregular octagons adjacent and intersecting on the longer sides (Forming squares and oblong hexagons)16 (Fig.9). Only the northern part of the nave pavement has survived (Fig.10). Central part of the loor should be surrounded with lat bands of different sizes. There are geometric opus sectile curbs between the lat bands. We can see two different motives: The irsth one is outlined orthogonal pattern of irregular octagons adjacent and intersecting on the longer sides (Forming squares and oblong hexagons)17; the second is tangent poised squares containing enclosed parallel squares18. It is believed that Brick plates along the north wall were added during the restoration in the thirteenth century. Bema wall should be built at this time. Remains show that originally nave decorated with frescoes. 13 Décor 1985, PL.238b. 14 Décor 1985, PL16a. 15 Décor 2002, p.36; Décor 1985, PL.29f. 16 Décor 1985, PL.169c. 17 Décor 1985, PL.169c. 18 Décor 1985, PL 120d. — 403 — Church complex and loor paving unearthed during 2014 season excavations in Kadikalesi/ Anaia, Kusadasi Comparisons This kind of medieval opus sectile loor is composed of large centralized patterns, including large plain slabs of marble surrounded by geometric borders, lat bands and opus sectile patterns of small scale. We can show the diffusion of these kind of pavements very popular in Byzantine world after the 9th. Century. Especially Asia Minor, Greece and Balkans. The closest parallel in this decorated bands show Demre St. Nicolaos Church pavemet (1011th Century)19, Middle Byzantine additions of Xanthos Basilica pavements (11th Century)20, Bursa Mauseloum of Orhan Gazi pavement (11th Century)21, Nikea/İznik Hagia Sophia Church Pavement (11th Century)22, Constantinopolis/İstanbul Pantokrator Monastery South Church pavement (irst half of the 12th century)23, Constantinopolis/ İstanbul Yakacık Church pavement (9-13th Century)24 and Constantinopolis/İstanbul Pammakaristos Monastery South Church pavement (1315)25. 19 Doğan, Çorağan, Bulgurlu, Alas, Fındık, Apaydın 2014,.55, 58; Demiriz 2002, p.26-30; Demiriz 1966, p. 13-34. 20 Raynauld 2009, p.121, ig.139; p.123, ig.141-142; p.131, ig.151. 21 Demiriz 2002, p.15-25; Eyice 1963, p.379, ig.3; Okçu 2009, p.41-48. 22 Demiriz 2002, p.84; 89; Eyice 1963, ig.2,3,4,5,6,7; 23 Demiriz 2002, p.45-56; Megaw 1961, p. 333-371 24 Demiriz, 2002, p.73-80. 25 Demiriz 2002, p.42-43. — 404 — EminE Tok BIBLIOGRAPHY Décor 1985: Balmelle, Catherine, Blanchard-Lemée, Michèle, Christophe, Jeannine, Darmon, Jean-Pierre, Guimier-Sorbets, Anne.-Marie, Lavagne, Henri, Prudhomme, Richard, Stern, Henri (1985): Le Décor Géométrique de la Mosaïque Romaine, Tome I, Répertoire Graphique et Descriptif des Compositions Linéaires et Isotropes, Paris,. 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