The display of the various religious artwork effectively served to reinforce the fact that such faith was the governing power in the land, which the church itself reflected merely in its principle usage as a house of worship. The Hagia Sophia served a similar purpose, as it was built during one of the periods of devastation inflicted upon the Hagia Irene and was also viewed as a symbol of not only Christianity's reign, but also that of Emperor Justinian who commissioned the work.
One of the most important professions which could be learned at the trade guilds which was that of master builder, which included several lengthy stages of work which could eventually take youths into the chief senior architects of the day. There is a substantial amount of evidence that can be seen regarding the Byzantine influence in the position of the master builder, who was called a mechanikos. It is assumed that this meant something like architect as distinct from the group of mechanopois who were engineers. This distinction is interesting, since for the first time there is a clear separation between design and engineering. The division should not be overstated, however, since at the Hagia Sophia the mechanikos was present on site and involved with construction management. In fact, for this church there were two master builders, Anthemius of Tralles and Isidore of Miletus, both "distinguished mathematical physicists" with extensive civil engineering experience (Freely and Cakmak 94). While they had the scientific knowledge to design and direct construction, they were not the overarching managers. The church had control over the building, including its design concept and construction methods. The church appointed a manager in an oversight role according to later Byzantine laws. This was a government official without connections to architecture who had the master builder under his command (Ousterhout 43 -- 8). The manager was a liaison between the workers and the client and vice versa. As a result, the master builders were freed from administrative work as never before, although with the division of power between architect and engineer they also did not wield as much authority.
6. Construction (Please elaborate to 1350 words)
The vast majority of Byzantine buildings, particularly those which served any sort of political and theological purpose, were culturally determined not only by the new religion which dominated this particular region, but were also influenced by numerous Roman and Eastern facets. Following Constantine I's ascension to power and the numerous visions he had regarding symbolism which is today widely accepted as denoting Christianity, the religion of Byzantium officially become Christianity. As a result, most of its greatest projects were churches like the Hagia Sophia (532 -- 537 AD), as well as other widely regarded structures including the Basilica of Sant' Apollinare Nuovo and the Hagia Irene. Hagia Sophia, however, is perhaps the greatest example of early Christian architecture and set the tone for all later cathedral construction. It includes decorative architectural influences from Persia, although it is firmly based in the tradition of Roman domed temples such as the Pantheon. This Persian influence points towards the cultural fact of skilled Byzantine diplomacy and its economic centrality in the world of trade at the time. In fact, later the wealth of the empire would be used to fund the Crusades, which spawned new types of castles. Thus, culture was influential in multiple ways for architecture, as can be readily evidenced from the future it played in the construction and the maintenance of the Hagia Irene, which was highly influential in the spread of Christianity, particularly since it was one of the first churches built in Constantinople. Built under the auspices of Constantine I himself, this church was the location for numerous religious ceremonies, all of which helped to propagate the fledgling Christian faith. Despite the fact that the Hagia Irene has endured a lengthy history of reconstruction, it should be noted that virtually every attempt to rebuild this edifice (except for towards the mid and end of the second millennia when it was transformed into a museum) included a large degree of Christian culture.
Christian culture also played a large part in the formation of the Basilica of Sant' Apollinare Nuovo, which has housed a number of different, and at times conflicting, denominations during its particular tenure of existence. These differences, which included eastern and western beliefs, as well as Arian and...
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