Goddess, Heroine, Beast: Anna Hyatt Huntington's New York Sculpture, 1902-1936 Multiple Occupancy Common Love, Aesthetics of Becoming Social Forces Visualized: Photography and Scientific Charity, 1900-1920 Edward Koren: The Capricious Line Pictures for Books: Photographs by Thomas Roma Modernism and Iraq The New Acropolis Museum Treasures Rediscovered: Chinese Stone Sculpture from the Sackler Collections at Columbia University Revolutions: A Century of Makonde Masquerade in Mozambique Robert Moses and the Modern City: The Transformation of New York Architecture in Print: Design and Debate in the Soviet Union 1919–1935, Selections from the Collection of Stephen Garmey Guide to Phlamoudhi "Please, teach me..." Rainer Ganahl and the Politics of Learning Restoring Byzantium: The Kariye Camii in Istanbul & the Byzantine Institute Restoration The Troubled Search: The Work of Max Abramovitz Moscow: City, Spectacle, Capital of Photography Reflection: Seven Years in Print—The LeRoy Neiman Center for Print Studies Jean Fautrier, 1898–1964 Paris as Gameboard: Man Ray's Atgets Arte Povera: Selections from the Sonnabend Collection Architect of Dreams: The Theatrical Vision of Joseph Urban Percival Goodman: Architect, Planner, Teacher, Painter Experiments in the Everyday: Allan Kaprow and Robert Watts—Events, Objects, Documents Brushed Voices: Calligraphy in Contemporary China Mastering McKim's Plan: Columbia's First Century on Morningside Heights Robert Motherwell on Paper Apostles in England: Sir James Thornhill and the Legacy of Raphael's Tapestry Cartoons The Old World Builds the New: The Guastavino Company and the Technology of the Catalan Vault, 1885–1962 The Post-Pre-Raphaelite Print: Etching, Illustration, Reproductive Engraving, & Photography in England in and around the 1860s Unfaded Pageant: Edwin Austin Abbey's Shakespearean Subjects Robert Smithson Unearthed: Drawings, Collages, Writings Victorian Pleasures: American Board and Table Games of the Nineteenth Century from the Liman Collection Impossible Picturesqueness Sexual Difference: Both Sides of the Camera
Restoring Byzantium: The Kariye Camii in Istanbul and the Byzantine Institute Restoration

Restoring Byzantium
The Kariye Camii in Istanbul & the Byzantine Institute Restoration

Holger A. Klein and Robert G. Ousterhout, ed.
Wallach Art Gallery, 2004
12 X 9", 150 pp., 129 illus., 24 in color
ISBN 1-884919-15-4, Paper, $35

With the exception of Hagia Sophia, no Byzantine monument in the modern city of Istanbul can rival the former church of the monastery of the chora (Kariye Camii) in either the lavishness and splendor of its interior decoration, the upkeep of its grounds and garden, or, for that matter, the number of tourists from all over the world.

Theodore Metochites, minister and subsequently prime minister of the Byzantine Empire, during a short period of cultural revival, undertook the rebuilding and renovation of the Kariye Camii. The greatest intellectual of his age, and thus knowledgeable and involved, he was wealthy and powerful and therefore in a position to assume the patronage of this church. Metochites early fourteenth–century rebuilding included the reconstruction of the naos dome; the pastophoria; the addition of a two-storied annex to the north, an inner and outer narthex to the west; and the parekklesion to the south.

The monastery was dedicated to the Virgin, as Theodore Metochites indicated in a long poem he wrote to the Virgin: "To thee I have dedicated this noble monastery, which is called by thy precious name of Chora." Located at the edge of Constantinople near the Land Wall of Emperor Theodosius, the Kariye Camii gained in importance due to its proximity to the main imperial residence at the Blachernae Palace (mostly ruined).

In addition to its architectural significance, the Kariye Camii also preserves one of the finest and most extensive cycles of Later Byzantine mosaic and fresco decoration recounting the lives of the Virgin Mary and Christ.

This catalogue brings together scholars who have studied aspects of the Kariye Camii's art, architecture, and history. Their essays and the extensive section of plates are meant as an introduction to the monument, allowing the reader to explore further its Byzantine and later story as well as the multifaceted story of its scholarly rediscovery and restoration in the nineteenth and twentieth century.