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Kariye
Camii | Description of Exterior
Professor Ousterhout
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The
exterior of the Kariye Camii is characterized by an undulating
roofline, pumpkin
domes, belfry,
and an open arcade
on the west facade. Symmetry was not a major concern.
Complexity was more important than monumental unity. Individual
elements of the building are expressed visually on the
exterior.
The west facade has also been radically changed over time,
the arches were blocked, and within a few decades of Metochites'
construction three were transformed into arcosolia for
tombs.
The south facade displays a quickened rhythm expressed
by the placement of the pilasters, including those illogically
"supporting" windows, creating a visually complex surface
patterning. Contrast this complexity to the exterior of
the
The complexity of the exterior is reitered in the interior.
Joins in the marble
revetments sheathing the interior walls of the naos
do not correspond to the structural divisions introducing
alternative surface rhythms. Interior decoration is composed
of bits and pieces connected by a decorative veneer; for
example, the mosaic scene of Joseph Taking the Virgin
to His House in which it is unclear whether he is coming
or going. Much of this surface complexity reflects the
intricate writing style of the founder, Theodore Metochites.
Note Metochites' criticism of his rival Nikephoros Choumnos:
his writing suffers from "excessive clarity." Myrelaion.
The flying buttress at the east end is borrowed from western
medieval architecture but used ineffectively here.

Amiens,
Cathedral of Notre-Dame, flying buttresses along
the nave
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Istanbul,
Kariye Camii, Exterior detail of buttress
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Istanbul, Kariye Camii, West facade, Elevation
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Istanbul,
Kariye Camii, South facade, Elevation

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Istanbul, Myrelaion (Budrum Cami), Exterior from the southeast
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