The fourteen essays in this collection demonstrate a wide variety of approaches to the study of Byzantine architecture and its decoration, a reflection of both newer trends and traditional scholarship in the field. The variety is also a reflection of Professor Curcic's wide interests, which he shares with his students. These include the analysis of recent archaeological discoveries; recovery of lost monuments through archival research and onsite examination of material remains; reconsidering traditional typological approaches often ignored in current scholarship; fresh interpretations of architectural features and designs; contextualization of monuments within the landscape; tracing historiographic trends; and mining neglected written sources for motives of patronage. The papers also range broadly in terms of chronology and geography, from the Early Christian through the post-Byzantine period and from Italy to Armenia. Three papers examine Early Christian monuments, and of these two expand the inquiry into their architectural afterlives. Others discuss later monuments in Byzantine territory and monuments in territories related to Byzantium such as Serbia, Armenia, and Norman Italy. No Orthodox church being complete without interior decoration, two papers discuss issues connected to frescoes in late medieval Balkan churches. Finally, one study investigates the continued influence of Byzantine palace architecture long after the fall of Constantinople.

In the first major study to examine Byzantine architecture from the perspective of its builders, Robert Ousterhout identifies the problems Byzantine masons commonly encountered in the process of design and construction. From a careful analysis of the written evidence, the archaeological record, and--most importantly--surviving buildings, he concludes that Byzantine architecture was far more innovative than has previously been acknowledged. Following preliminary observations on Byzantine church architecture, Ousterhout examines the textual sources concerning the respective roles of patrons, bureaucrats, and masons in the building process. Narrowing his focus to the masons, or master builders, he clarifies both their theoretical and their very practical concerns in architectural design, suggesting that they relied on geometry and memory, rather than blueprints, to guide their work. Ousterhout explains how masons selected, manufactured, and utilized building materials, ranging from bricks and mortar to roofing tiles. He examines how they built structural elements from the foundation systems to the vaulting. Finally, he situates the richly decorated interiors, sheathed in marble revetments, mosaics, and frescoes, within the purview of the master builder. The study focuses on churches built in the area of Constantinople between the ninth and fifteenth centuries, but it also refers back to earlier works such as Hagia Sophia, and it tracks Byzantine masons as far afield as Russia and Jerusalem. With more than two hundred illustrations--many published for the first time--this is a must read for anyone interested in Byzantine art and architecture.

The fourteen essays in this collection demonstrate a wide variety of approaches to the study of Byzantine architecture and its decoration, a reflection of both newer trends and traditional scholarship in the field. The variety is also a reflection of Professor Curcic's wide interests, which he shares with his students. These include the analysis of recent archaeological discoveries; recovery of lost monuments through archival research and onsite examination of material remains; reconsidering traditional typological approaches often ignored in current scholarship; fresh interpretations of architectural features and designs; contextualization of monuments within the landscape; tracing historiographic trends; and mining neglected written sources for motives of patronage. The papers also range broadly in terms of chronology and geography, from the Early Christian through the post-Byzantine period and from Italy to Armenia. Three papers examine Early Christian monuments, and of these two expand the inquiry into their architectural afterlives. Others discuss later monuments in Byzantine territory and monuments in territories related to Byzantium such as Serbia, Armenia, and Norman Italy. No Orthodox church being complete without interior decoration, two papers discuss issues connected to frescoes in late medieval Balkan churches. Finally, one study investigates the continued influence of Byzantine palace architecture long after the fall of Constantinople.