(Greek Μέγα Παλάτιον ) remained main residence Byzantine emperors for eight hundred years, from 330 to 1081. It was founded by Constantine the Great between the Hippodrome and Hagia Sophia, rebuilt by Justinian and expanded by Theophilus. The emperor's children born in the Porphyry Hall of the palace were called porphyritic.
Justinian began construction of the palace complex shortly after the Nika uprising, during which a significant part of the buildings of the old imperial chambers of Constantine was damaged in a fire. The central part of the sacred chambers was a large square - Augusteon, stretching from the Church of St. Sophia to the palace. The square was surrounded on four sides by buildings - the Church of St. Sofia in the north, the Baths of Zeuxippus and the Hippodrome in the southwest, the Senate and Magnavra Palace in the east, and the imperial residence in the south.
After the fire, the Augusteon was expanded and decorated with white porticoes supported by two rows of columns, the ground being lined with marble. In the square not far from the Golden Column, from which the roads of the empire diverged, a bronze column was erected, topped with an equestrian statue of Justinian. Procopius writes that the emperor was represented with his face turned to the east, with an orb in his left palm and outstretched right hand, “to command the barbarians.” The emperor was dressed in armor, in which Achilles was usually depicted.
A portico with six white marble columns and decorated with statues was built in front of the Senate building. In the Baths of Zeuxippus, where Constantine collected a collection of ancient statues, Justinian ordered the restoration of multi-colored marble ornaments that had been damaged in the fire. The imperial residence was rebuilt with a pomp that, according to Procopius, cannot be expressed in words. On the southwest side, under the porticoes, there were iron doors which led to the vestibule called Halka. Entering the doors, visitors walked through a semicircular courtyard into a large hall with a dome, which Justinian rebuilt a second time in 558. The floor was made of colored marble bordering a large circular slab of porphyry. The wall panels were also made of colored marble. Along the top were large mosaic paintings depicting Justinian and Theodora in festive clothes, surrounded by senators, scenes of the Vandal and Italian wars, and the triumph of Belisarius presenting the defeated kings to the emperor.
A double-leaf bronze door led from the Halki rotunda to guard rooms called porticoes scholars, protectors and candidates. These were vast halls that served as quarters for the palace guards, and in addition they included state rooms, one of which contained a large silver cross under the dome. Finally, through a wide alley bordered by columns and cutting through the quarter of the guards, one entered the palace itself, where first of all one entered the great Consistorion. It was a throne room, into which doors led from three sides. Ivory draped with silk curtains. The walls were decorated precious metals, the floor is carpeted. At the back of the hall, on a three-step elevation between two statues of Victoria with outstretched wings, there was a throne covered with gold and precious stones. Above the throne was a golden dome supported by four columns. Behind the throne, three bronze doors opened onto staircases that led to the inner chambers.
The reception at the Consistorion was held on the days big holidays, during the appointment of senior dignitaries and the meeting of foreign ambassadors. Next to the Consistorium was the large Triclinium or Triclinium of Nineteen Lodges. It was a large, luxuriously decorated hall in which feasts were held in honor of foreign ambassadors or high dignitaries, and some ceremonies were also held in the Triclinium, such as the coronation of the empress and farewell to the late emperor. Nearby was the Church of the Savior, which served as a palace church during the time of Justinian. The entire described complex was one-story and was called Chalkei, all the buildings of which faced the Augusteon. Behind Chalkea's apartments stood the great palace of Daphne. The Chalkei complex was connected to the palace by many alleys, courtyards and galleries.
The entrance to the palace was opposite the south-eastern gate of the hippodrome. The palace was two stories high and had two wings that surrounded a large courtyard, part of which was occupied by the emperor's personal arena. The first floor of the buildings was occupied by court services. On the second floor were the emperor's personal chambers, including the most luxurious halls of the chambers. These were three halls - the “triclinium Augusteos”, the “octagonal living room” and the “coyton of Daphne”. The halls were complemented by a wide terrace with a view of the sea. The terrace was part of the Daphne gallery, which contained a statue of the nymph that Constantine brought from Rome. On the other side there was a gallery connecting the church of St. Stephen, Daphne with the emperor’s box at the Kathismoi hippodrome, which was a palace, where behind the box there were rooms for receptions and rest. In this part of the Chambers, as in Chalkei, there were only reception and service premises. For housing, two palaces located between Daphne and the sea were used - “Chrysotriclinium” and “Trikon”. No description of their decoration has been preserved.
The complex of sacred chambers was complemented by the secluded "triclinium of Magnavar", restored by Justinian with great splendor. Galleries were added to the palace, connecting it with St. Sophia. Thus, the emperor could move from the hippodrome to the church without leaving his home. To top it all off, Justinian included his an old house, in which he lived before his accession.
By the 11th century, the palace complex included many buildings from different eras, scattered over an area of 20 thousand square meters. ft. Emperors of the dynasty
Grand Palace Byzantine emperors
The large palace of the Byzantine emperors, located south of the Church of Hagia Sophia, consisted of many separate ensembles (probably modeled on the palace at Spalato). The original core of the complex was the Daphne Palace, built by Emperor Constantine the Great back in the 4th century. near the Hippodrome and Augusteion Square. Then it expanded and strengthened through the efforts of other emperors - Justinian, Theophilus and Basil the Macedonian. The buildings of the Great Imperial Palace and the adjoining Magnavra Palace and the seaside Bukoleon Palace occupied a huge area - 40 hectares. Labarthe wrote about the Great Palace of the Byzantine emperors:
“The Kremlin alone can give us some idea about it. It consisted of seven peristyles (or vestibules), eight courtyards, four churches, nine chapels, nine chapels (or baptisteries), four guardhouses, three large galleries, five reception and audience halls, three dining rooms, ten separate private chambers for members the imperial house, seven minor galleries, three alleys connecting various parts of the palace, a library, an arsenal, open terraces, an arena, two baths, eight separate palaces surrounded by gardens, and a harbour.”
Many medieval writers could not be amazed at the size and luxury of the huge palace: it alone, with the walls surrounding it, occupied the entire space between the sea and the Hippodrome. The large palace of the Byzantine emperors, instead of monumental buildings, had many small ones and was divided into three main parts - Halka, Daphne and the Sacred Palace itself. Hulk, which was already discussed a little earlier, consisted of a number of rooms; They entered it from the side of Augusteion Square through iron doors that led to the vestibule. These canopies tiled made of gilded bronze, consisted of a semicircular courtyard with a spherical vault rising above it. Directly opposite it was a square building with a dome, entirely decorated with mosaic compositions on the themes of the military campaigns of Emperor Justinian. The dome depicted the emperor and his wife Theodora, surrounded by a synclite and celebrating their triumph over the defeated Vandals and Goths. The walls and floor of the Halki were covered with marble slabs.
The Halq housed the Lichna Tribunal, a reception hall, a large ceremonial hall, several church buildings (the Chapel of the Savior and the Chapel of the Holy Apostles) and three guardhouses. The grand consistory was convened in the main hall, into which three ivory doors led. At the back of the hall, on a raised platform, one of the imperial thrones was erected.
Part of the Grand Palace, called Daphne, began with a large covered gallery, in front of which there was a portico with arcades leading to an octagonal hall. This part of the palace contained many church buildings and halls for official meetings. The gallery, which ran along the upper floors, led to the small palace, which occupied a place of honor at the Hippodrome. There were many chambers in this building, and the emperor dressed himself there in his ceremonial robes to attend the games. Dignitaries arriving at the palace left their stretchers and horses in an arena specially built in the outbuildings.
Located between Halka and Daphne Triclinium- a dining room for nineteen boxes, in which official feasts took place. The hall was divided into two parts: one for the emperor, the other for the guests; both were illuminated from above. The second part accommodated up to three hundred guests, who on major holidays feasted lying down, as was customary in ancient world. Judging by the story of Liutprand (the ambassador extraordinary of the Italian king at the Byzantine court), who was present at such a feast in 943, food was served to the guests exclusively on gold dishes. Fruit, for example, was served in large golden vases so heavy that servants moved them on carts covered in purple. They were lifted using a block placed in the ceiling, with three ropes wound around it, covered with gold leather. The ends of the ropes were equipped with gold rings, which were attached to the handles of the vases. Several servants standing below had to operate this apparatus, which was intended specifically for serving the table.
Holy Palace contained the imperial palace itself. At the entrance to it was the Sigma atrium, so named for its shape, which resembled this Greek letter. Here the courtiers and high dignitaries awaited the emperor's appearance. Behind Sigma was a peristyle surrounded by fifteen marble columns. In its center stood a dome supported by four columns of green marble; they towered above the throne on which the emperor sat during the festivities. In the center of the peristyle there was a pool with silver edges, and in the middle of it was a golden shell-shaped vase full of rare fruits, which were treated to guests.
WITH outside The sacred palace was built of brick interspersed with strips of light marble, and all connecting rooms, lintels of windows and doors, columns and capitals were of whitish marble. The entrance to the Sacred Palace was through the Copper Gate. The residence of the Byzantine emperors, which was located on the sea side, included the Pearl Hall, the Oval Hall, the Eagle Hall and many others.
On the other side, the Sacred Palace was connected with the Magnavra Palace by terraces and galleries; on the shore stood the Bucoleon Palace, connected to the sea through piers and a pool to which it descended marble staircase. A monastery was built at the very top of the opposite mountain Kayik-dag; there was a lighthouse right there, where the observation “telegraph station” established by Emperor Theophilus (according to other sources - Leo the Philosopher) was located, which, using a special system of lights, reported news throughout the empire - from the capital to the borders. As soon as the enemy appeared, fires were lit at the nearest posts located on the highest points of the mountains. All other posts repeated this signal, transmitting the message to a station located in the garden of the Grand Palace.
A special military detachment was located in the lighthouse building, which had great importance for the safety of the empire. However, this did not stop Emperor Michael III, nicknamed the Drunkard and a passionate lover of the Circus, from destroying all the signals. Because there was a case when, during the competition, one of the signals gave news of a spotted enemy - this spoiled the pleasure of the emperor and the mood of the people.
The throne room of the imperial palace was Chrysotriclinium(Golden Chamber), the construction of which is usually attributed by scientists to the reign of Emperor Justin II, who took as a model the Church of the Holy Great Martyrs Sergius and Bacchus, which will be discussed further. In the VII-XII centuries. in the Chrysotriclinium, most of the court rites began, ended, or were completely performed. Here, the Byzantine emperors received officials every day and, more often than in other throne rooms, ambassadors and noble foreigners. In the Golden Chamber they were promoted to ranks and positions, feasts and dinners were given there, and the emperors’ trips to temples and other things began and ended here. throne rooms.
The Chrysotriclinium was directly adjacent to the living quarters of the Byzantine kings and their families, and therefore was the most convenient hall for daily receptions of dignitaries and for performing ordinary ritual actions. The king had only to leave his chambers, and he already found himself in the Golden Chamber, while the other throne rooms were located quite far from the royal chambers, separated by several passages and other buildings.
The Golden Chamber was an octagon covered with a dome, each face of which was connected by a wide arch to the adjacent vaulted room. The arch opposite the entrance was closed by two silver doors, on which Jesus Christ and the Mother of God were depicted. During ceremonial receptions, when people were just entering the Golden Chamber, these doors remained closed. Then they dissolved, and the emperor appeared in the depths, dressed in a purple cloak decorated with precious stones. The assembled people instantly fell on their faces in awe.
The eastern arch of the Golden Chamber was larger than the others and ended in a niche; in it, on a dais, there was a magnificent royal throne, on which the emperors of Byzantium sat during especially ceremonial receptions. There were also several simpler and less luxurious portable chairs on which the kings sat during ordinary daily or other simple receptions. However, even these simple techniques were given one or another degree of importance - depending on how the emperor was dressed and which of the side chairs he sat on.
The shrine of the Golden Chamber was the icon of the Savior, in front of which the kings prayed daily when leaving their chambers in the Throne Room and before leaving it after receptions, expressing their humility and reverence for the King of Kings.
Several doors on the eastern side of Chrysotriclinium led to the adjacent courtyard, which was open area. These doors, like all the doors in the Throne Room in general, were trimmed with silver and therefore were called Silver. When the kings passed through them, both halves of them held two cuvicularia.
In the center of the ceiling of the Golden Chamber hung a large chandelier, similar to a chandelier. Like other halls of the Sacred Palace, Chrysotriclinium was illuminated by oil burning in the chandeliers. For example, during the reception of Saracen ambassadors, silver chandeliers were hung in the chambers, and the central one was decorated with precious carved stones. The oil for lighting was in charge of the chief watchman and housekeeper of the Sacred Palace, under whose command (in addition to the assistant in charge of the royal ceremonial wardrobe) were several more removable dietarii.
In open courtyards (iliacs) around imperial residence There were areas with fountains in the middle. These fountains poured quite a significant stream of water into large magnificent bowls (phials). The areas with fountains were very large and could accommodate a lot of guests during special holidays (royal receptions or horse races at the Hippodrome).
Adjoining the Chrysotriclinium on the south side were the chambers of the king and queen, luxuriously decorated with magnificent mosaic images and paintings.
The other large throne chamber of the Holy Palace is Magnavra hall, which itself was like a whole palace. In this hall, emperors gave audiences to ambassadors. In the back, on a raised platform that occupied the entire width of the building, there was a golden throne, in front of which on the steps lay two lions carved from gold. Behind the throne stood a golden tree, on whose branches multi-colored birds, skillfully made of gold and enamel, “sat” and “revealed” the hall with their joyful chirping. Above the low walls were galleries intended for the ladies of the court. The already mentioned Liutprand wrote that during the reception of foreigners, all the treasures of the imperial treasury were laid out - from jewelry to formal clothes embroidered with gold. To the sound of the organ and the singing of the choir, the emperor appeared in golden robes and hung with jewels. To further amaze the foreign guests the moment they entered the hall, the birds on the golden tree “flapping” their wings, and the lions “rose” and “roared” dully. When the ambassador lay prostrated in front of the throne (according to etiquette) and paying honors to the ruler of Byzantium, the emperor, together with the throne, ascended to the top, and then descended in a different robe...
Through richly decorated gates, along marble terraces that led to the sea among magnificent gardens, one could go down to the imperial harbor. Surrounded on all sides by mighty dams, this harbor was intended exclusively for palace service. Here the imperial yachts and fast galleys stood ready; from here the emperor made his boat trips; This is where he landed if he wanted to avoid a noisy official reception. From here, in the event of a popular uprising, it was best to flee...
Over time, the Holy Palace was first abandoned and then completely abandoned by Emperor Emmanuel I Komnenos, who in 1150 chose Blachernae as his residence. And the Sacred Palace gradually deteriorated and collapsed, and its remains were used for the construction of other structures. In the 1420s on the site where the palace of the Byzantine emperors stood, there was almost nothing left except for a few ruins. So the Turks who conquered Constantinople most likely did not even find traces of him...
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KENURGY - a palace building with a hall of the same name, part of the Great Palace complex in Constantinople. Erected after 867 under Emperor Basil I the Macedonian (866-886), it was located north of Chrysotriclinium. The central hall was a square in plan, covered with a vaulted ceiling of weak windage; the western and eastern walls were cut through by huge arched windows with magnificent stained glass windows. There were two adjacent halls on the southern and northern sides. They were separated from Kenugria by two arches, having one common column, and had vaulted ceilings in the form of semi-cylinders, articulated in parallel. The drawing of the construction of such cylindrical vaults (according to R. Osterhout) can be used as a visual illustration of the process of constructing the vaults of the South and North halls. In the foreground is the articulation of two arches resting on a common column. The very articulation of the barrel vaults lay on seven arches supported by eight columns. Thus, the hall was dissected by columns along the axis into two equal naves, two of which (the first and last) were carved from a serpentine and carried one wing of three arches: two external and one of the internal longitudinal ones, located under the articulation of the vaults. The second hall, in its design, was a mirror image of the first. Both halls had gable roofs, and the central one, most likely, had a low domed pumpkin type, i.e. dissected into vertical lobes. The roof was covered with lead. Of the sixteen columns, eight were carved from serpentine, and eight were carved from onyx. The columns were covered with reliefs and belonged to the columna caelata order. Fourteen columns depicted animals among grape vines, and two of the onyxes had a relief in the form of grooves corresponding to the direction of the layers and emphasizing the structure of the stone. All columns belonged to spolia, i.e. were taken from earlier secular buildings, the last two dating back to the 4th century. In the adjacent halls, the vaults and arches were covered with mosaics, on which the strategists presented the emperor with models of conquered cities and fortresses, and also reflected the daily concerns of the basileus for the benefit of the empire. The mosaic of the ceiling depicted a green cross, around which the imperial family wearing crowns was located. The sons of the emperor held scrolls with the Commandments in their hands, and the daughters held books with the Divine Laws. All the characters seemed to be reaching for the cross with their free hands. Along the perimeter there was a mosaic inscription of gratitude from children to parents and from parents to children. Higher window openings, also along the perimeter, stretched a wide mosaic strip floral ornament on a golden background, cutting off the mosaic part from the walls, decorated with polished marble slabs. On the floor there was a composite mosaic made of colored stone and smalt. In the middle of the hall, in a circle of coils, there was an amazing image of a peacock - a symbol of the eternity of the universe. Green rays emanated from the central circle to the corners of the hall, crossing on their way a second large green circle inscribed in the square of the hall. In each corner there was one image of an eagle. The rays, upon reaching them, formed elegant medallions.[s](Add)
KHALKA - the main entrance hall of the Grand Palace.
Behind the outer gate http://www.byzantion.ru/theatron/topic.php?forum=12&topic=66&start=1#1221050790, which connected the territory of the palace complex with the Augusteon, the doors of which were covered with wide metal strips, began a semicircular courtyard, fenced with a massive , but most likely with an openwork bronze lattice.
The courtyard turned into the Halka itself - a rotunda under spherical dome, covered with copper or bronze, hence the name, gilded tiles.
Construction of the Halki complex began in 324 under Emperor Constantine I (306 – 337).
In the middle of the central hall, under the dome, lay a porphyry slab (rota) - the emperor’s seat during ceremonies. In 941, on this slab, Emperor Roman I (920 - 944) burned all the debt receipts of the Constantinople people.
Compositionally, the pattern of the floor, consisting of multi-colored marbles, corresponded to the shape of the company, i.e. was concentric.
The walls were also lined with marble, and in the upper part they were covered with mosaics, turning into a grandiose painting under the dome.
Chalki's mosaics reproduced the victories of Byzantine arms over the kingdoms of the Vandals and Ostrogoths, as well as the triumph of Belisarius, handing over trophies and prisoners to Emperor Justinian and Theodora, whose images, surrounded by jubilant entourage, formed the focal point of the composition.
Halka suffered more than once during the riots of the Constantinople mob, including in 498 against Emperor Anastasius I (491 - 518) and in 532 against Emperor Justinian I (527 - 565).
The latter, in 538, restored the building to even greater splendor.
Probably, the appearance of the miraculous gateway image of Christ in the Chalq, destroyed by the iconoclast emperor Leo V (813 - 820), but later restored by the icon painter monk Lazarus in the middle of the 9th century, dates back to the same period.
During the reign of Emperor Vasily I (866 - 886), Khalka was again restored and began to serve as a meeting place for the imperial court.
In June 913, a battle took place in Halq between the rebels led by the commander Constantine Duca and the palace guard.
In 959, the triclinium was used to bid farewell to the late Emperor Constantine VII (911–959).
The internal small bronze gate led through the scholarium portico http://site/topic.php?forum=12&topic=49&start=3
, to the territory of the Grand Palace.
Above the gates of Halki there was originally a gate chapel of Christ the Savior, built under Emperor Roman I (920 - 944).
In 971, under Emperor John I Tzimisces (969 – 976), the chapel was rebuilt into a temple adjacent to the gate. During the construction of this temple, materials from the Ikonomion, the largest bathhouse of the Great Palace, built by Emperor Constantine the Great, were specially dismantled for this purpose. Christian relics taken by John Tzimiskes from his campaigns to the East were kept in the Cathedral of Christ the Savior on Khalka; in 976 this temple became his tomb.
In addition, Halka was the name of one of the prisons of the Grand Palace, located nearby.
The Crusaders, who occupied Constantinople in 1204 - 1261, caused irreparable damage to the palace: the marble cladding and bronze roof were removed, and the floor mosaics were broken. The Halqa, like the entire Great Palace, was abandoned after the liberation of Constantinople from the Latins and by 1453 had turned into ruins.
Currently, work is being completed to create an archaeological museum under open air after excavations of the propylae and the Halki gate itself (see http://www.byzantion.ru/theatron/topic.php?forum=12&topic=49&start=2).
Mosaics were used to decorate the palace, marble coverings and silks, as well as a variety of luxury items for interiors. In addition, work on ivory, gold and silver was carried out in the palace workshops, and manuscripts were copied and decorated. The remaining rooms of the palace were occupied by treasuries, armories, gardens, ball courts and private chambers of the imperial family. Personal chambers had access directly to the sea - various kinds of stairs, colonnades, covered passages and terraces.
The main entrance to the Great Palace in Constantinople passed through the so-called. The Copper House, which had monumental bronze doors and wonderful ceiling inlays in bronze and mosaics. The walls were lined with white marble with blue veins, with greenish marble and red sandstone inserted in places. Right at the entrance stood two bronze figures of horses - they were believed to have magical properties and protect the imperial gates from the noise and disturbance that real horses could cause. In the center of the floor in the Copper House there was the so-called. The copper navel, that is, the porphyry circle on which the emperor solemnly committed debt receipts to fire during the days of amnesties.
Behind the impressive entrance to the palace were several large palaces, which were constantly rebuilt, expanded and decorated. It is known that there were palaces of Bucoleon, Schole and Daphne. In Daphne's palace there was an imperial box overlooking the hippodrome. The large halls of the palaces resembled a basilica in plan. The palaces had a strong church atmosphere, and many holy relics were kept in them. The banner of Constantine was kept in the Hall of Councils (Consistory). The Chrysotriclinium Hall, whose doors were made of pure silver, served as a storage place for the imperial regalia. In the center of this room there was a table, also cast from pure silver. The most famous hall was in the palace of Magnaura, where there was a huge throne made for Emperor Theophilus in the 9th century. In this hall the emperor performed his most magnificent and theatrical court rituals. At first he appeared before the visitors sitting on a throne in a luxurious outfit, but when, after the first amazement, the guests raised their heads, they saw that the throne had risen into the air, and the emperor was sitting on it in a different robe. On the sides of the throne, golden mechanical lions came to life, roaring and shaking their tails. In the center of the hall stood a golden tree with mechanical birds on its branches. Birds could flap their wings and sing. In addition, there was still music in the hall, since there were two organs in it - one silver, the other gold.
I took the liberty to illustrate this article
Don't judge too harshly - it's just my imagination.
I wanted to recreate a collective image of a Byzantine palace.
“Oh, how majestic and beautiful is the city of Constantinople! How many temples and palaces there are, erected with marvelous art! It’s tiring just listing all the various local riches, gold, silver, sacred relics.” This is how the chaplain Fulcher of Tabernacles, who was walking with the crusaders from Northern France, sang of Constantinople.
The city was founded by Greek colonists back in the 7th century BC, but then the Roman emperor Septimius Severus, after a three-year siege, took Byzantium (in 196 BC) and destroyed the city, however, it was soon rebuilt on his order. In 330, Emperor Constantine decided to move the capital of the Roman Empire here, which he called New Rome. However, this name did not stick, and the city began to be called Constantinople.
Constantinople was truly beautiful. Like Rome, it is spread over seven hills: its wide streets with open galleries, large areas with columns and statues, magnificent temples and palaces delighted everyone who visited it.
And among them is the Sacred Palace of the Byzantine emperors, which was also called the Big or Great.
Reconstruction of one of the palaces of Constantinople. Follow the link for a reconstruction of the Grand Palace.
The sacred palace of the Byzantine emperors was usually called the collection of all palace buildings located to the south of the Church of Hagia Sophia and to the east of the Hippodrome. However, the court charter of Emperor Constantine Porphyrogenitus indicates only those buildings that were adjacent to or led to the Golden Chamber (Chrysotriclion) and were part of the complex of royal dwellings - as opposed to other buildings palace ensemble(for example, the palaces of Magnavra or Daphne).
Presumably the ruins of the Sacred Palace could be seen at the beginning of the 20th century. Then, on the northern side of the city, where the Wall of Heraclius began, a Byzantine building of the 11th century rose.
True, at the beginning of the 20th century these ruins were already known under the name Tekfur-Saray - the Palace of the Palaiologos.
The sacred palace was first abandoned and then completely abandoned by Emperor Emmanuel Komnenos, who in 1150 chose Blachernae as his residence, a significant part of which was Tekfur-Sarai.
Palace of Blachernae. Istanbul.
Over time, the sacred palace fell into disrepair, became dilapidated and collapsed, and its remains were used for the construction of other structures. So the Turks who conquered Constantinople most likely did not even find traces of him.
The Great Palace of the Byzantine Emperors was a three-story building, but it was so much higher than the outer and interior walls city, that its first two floors were equal in height to these walls, and the third was much higher.
Many medieval writers could not be amazed at the size and luxury of the huge palace: it alone with the surrounding walls occupied the entire space between the sea and the Hippodrome. The complex of palace buildings included gardens, chapels, courtyards, galleries, barracks, and housing for the imperial retinue and servants.
The large palace of the Byzantine emperors, instead of monumental buildings, had many small ones and was divided into three main parts: Halka, Daphne and the Sacred Palace itself. The Halka consisted of a number of rooms, and the entrance to it was through iron doors. This part of the palace housed the Lichna Tribunal, a reception hall, a large state hall, a large consistory, several church buildings and three guardhouses.
Between Halka and Daphne there was a dining room with 19 boxes, where official feasts took place. The hall was divided into two parts, which were illuminated from above: one for the emperor, the other for the guests. The second part accommodated up to three hundred guests, who on major holidays feasted lying down, as was customary in the ancient world. Food was served to guests exclusively on golden dishes, and fruits were in such heavy golden vases that the servants could not carry them, but simply moved them on carts.
The Sacred Palace itself, from the outside, was built of brick interspersed with strips of light marble, and all the connecting rooms of the palace, the lintels of windows and doors, columns and capitals were made of whitish marble.
The entrance to the Sacred Palace was through the Copper Gate. The residence of the Byzantine emperors itself, which contained many apartments and halls and was connected by several buildings to the Hippodrome, was located on the sea side. It included the Pearl Hall, the Oval Hall, the Eagle Hall and many others.
On the other side, the residence of the monarchs communicated with the palace of Magnavra through terraces and galleries; on the seashore stood the Bucoleon Palace, which was connected to the sea by an artificial structure through piers and a pool, to which a marble staircase descended. On the opposite hill there was a lighthouse, where there was an observation “telegraph” post established by Theophilus (according to other sources - Leo the Philosopher), which, using a special system of lights, reported news throughout the empire - from the capital to the borders.
The throne room of the imperial palace was the Golden Chamber, in which in the 7th-12th centuries most of the court rituals were fully performed, began or ended. Here, the Byzantine emperors received officials every day and, more often than in other throne rooms, ambassadors and noble foreigners. In the Golden Chamber they were promoted to ranks and positions, feasts and dinners were given there, and the emperors’ exits to temples and other throne rooms began and ended here.
The Golden Chamber was directly adjacent to the living quarters of the Byzantine kings and their families, which is why it was the most convenient hall for daily receptions of dignitaries and for performing ordinary ritual actions. The king had only to leave his chambers, and he already found himself in the throne room, while other throne rooms were located quite far from the royal chambers, separated by several passages and other buildings.
Scientists usually date the construction of the Golden Chamber to the reign of Emperor Justin II Kuropolatus, who took the Church of Saints Sergius and Bacchus as a model for the throne room. This temple was considered one of the most elegant structures erected by the great king-builder Justinian I.
Temple of Sergius and Bacchus. Constantinople (Istanbul).
The Golden Chamber was an octagonal hall topped with a dome with 16 windows. On the eight sides of the chamber there were eight apses connected to each other. The apse opposite the entrance was closed by two silver doors, on which Jesus Christ and the Mother of God were depicted.
During ceremonial receptions, when people were just entering the Golden Chamber, the doors of this apse remained closed.
Then they dissolved, and the emperor appeared in the depths of the apse, dressed in a purple cloak decorated with precious stones. The assembled people instantly fell on their faces in awe.
The eastern arch of the Golden Chamber was wider than the others and ended in a niche in which, on a raised platform from the floor, there was a magnificent royal throne, on which the emperors of Byzantium sat during especially ceremonial receptions. There were also several simpler and less luxurious portable chairs on which the kings sat during ordinary daily and other simple receptions. However, even these simple techniques were given one or another degree of importance - depending on how the emperor was dressed and which of the side chairs he sat on.
In the eastern niche of the Golden Chamber, in addition to the throne and the royal chairs, there was an icon of the Savior, in front of which the kings prayed daily when leaving their chambers in the Throne Room and before leaving it for their chambers after receptions, expressing their humility and reverence for the King of Kings.
On the eastern side of Chrysotriclion there were several doors that led to the adjacent courtyard, which was an open area. These doors, like all the doors in the Throne Room in general, were trimmed with silver and therefore were called Silver. When the kings passed through them, both halves of them held two cuvicularia.
In the center of the ceiling of the Golden Chamber hung a large chandelier, similar to a chandelier. Like other halls of the Sacred Palace, Chrysotriclion was illuminated by oil burning in the chandeliers. For example, during the reception of Saracen ambassadors, silver chandeliers were hung in the chambers, and the central one was decorated with precious carved stones. The oil for lighting was in charge of the chief watchman and housekeeper of the Sacred Palace, under whose command (in addition to the assistant in charge of the royal ceremonial wardrobe) were several more removable dietarii.
In the open courtyards (iliaks) around the imperial residence there were areas with fountains in the middle. These fountains were called phials; they poured quite a significant stream of water into large, magnificent bowls.
The areas with fountains were very large in size, and during special holidays - royal receptions or horse races at the Hippodrome - they could accommodate a lot of guests.
On the southern side, the chambers of the king and queen adjoined the Chrysotriclion. Silver doors led to the emperor's kyton, and the chambers themselves were artistically and luxuriously decorated with magnificent mosaics and paintings.
The other large throne room of the Sacred Palace is the Magnaur Hall, which is designed in the same way as the other throne rooms. On the eastern side of Magnavra's hall there was also a niche, the floor of which was raised several steps higher than the floor of the entire hall.
The Byzantine emperors surrounded themselves with fabulous luxury. In the main hall of the Magnavra Palace, during the reception of foreigners, all the treasures of their treasury were laid out - jewelry and formal clothes embroidered with gold.
In the depths of the hall there was the emperor’s golden throne, in front of which on the steps lay two lions carved from gold. Behind the throne stood a golden tree, on whose branches sat colorful birds, skillfully made of gold and enamel.
To the sound of the organ and the singing of the choir, the emperor appeared in golden robes and hung with jewels. To further amaze the foreign guests, the moment they entered the hall, the birds on the golden tree flapped their wings, and the lions stood up and roared dully. While the ambassador lay prostrate (according to etiquette) in front of the throne, paying honors to the ruler of Byzantium, the emperor, together with the throne, ascended to the top, and then descended in a different robe.
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