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In 1960, a construction crew in Istanbul Turkey unearthed the remains of the lost church of St. Polyeuktos. The treasures found were unimaginable, from the dramatic carvings and semiprecious stones, to the vast use of marble ornamented in the columns, walls, and even pavement. Figural compositions of Christ and the holy apostles as well as beautifully carved peacocks, pomegranates, palm trees and other oriental décor spoke to the extensive funds and thought put into this church for the martyr St. Polyeuktos. Commissioned by Princess Anicia Juliana ca 524-527 AD, this ornate building changed the architecture standard of sixth century Byzantium. This noble woman was of royal lineage of the Theodosian dynasty and well known family stock, but through a series of unfortunate events, never was crowned Empress. Being of imperial blood growing old in the reign of peasantry brought forth by Justin I, and later his arrogant nephew Justinian I. Many scholars confirm that St. Polyeuktos was built to legitimize the Princess’s royal lineage, and to outdo her rival Justinian. I suggest that the themes and décor used for the church, supported by the informative poem etched into the church walls were a deliberate choice her family’s royalty and legitimacy as well as her immortality in Princess Anicia Juliana’s final resting place.

The church of St. Polyeuktos was built to replace a previous church of the same dedication built by Anicia Juliana’s great grandmother, Empress Eudocia. Anacia Juliana’s connections with her great grandmother are apparent throughout the Princess’s many dedications of churches to their shared Orthodox-Christian religion, educational texts and other philanthropist acts.1 This church was to be her final resting place and the pinnacle of her building agenda. This huge structure is almost a perfect square, measuring 51.45 by 51.90 meters.2 Excluding the narthex and apse protruding off the church was about 170 square foot. Sadly, nothing above the substructure exists, giving no standing walls to base a concrete building plan on. The foundation walls found were so thick between the nave and the aisle, scholars suggest it had a dome, thus inspiring Justinian's church and response to Polyeuktos, Hagia Sophia. 3	The site of the church is near the Sehzade Mosque; south west of the intersection of Sehzadebasi Caddesi and Ataturk Bulvari; located opposite to the new Municipal building.4 The accepted construction dates are between 524-527 AD. The epigram carved on the interior states it was finished in three years, and with the famous tale of the interaction between Emperor Justinian I and Princess Anicia Juliana, the dates mentioned are far more believable than the “less trustworthy source”; The Patria states it was built by Romans in four and half years. Her church was oblong, or an unconventional basilica in shape from east to west. 5 According to Martin Harrison, one the sites excavators, the church consisted of two large rectangular structures. The southern building had many chambers of brick with tiled floors and concrete foundations, and the northern a simple stone faced concrete. According to Thomas Mathews the forecourt had several marble slabs present, as well as the lowest step to the grand stair case still intact. To the north and south of the stair case Harrison notes doorways that led to the substructure of the narthex, and the axial passage to the crypt.6 This passage was blocked off during the construction with a series of bricks, making the only access to the crypt from outside the churches walls. 7 This church was planned to every detail, and expense was not spared to make a lasting impression to the people of Constantinople as well as those who followed. Alongside the central aisle a good portion of the decoration is represented on the supportive columns. These columns braced a gilded roof, made of the Princess's entire wealth in coinage. 8 Among the rubble, many fragments of marbles, cornice, pavements, and a vast collection of decorative glass, marble, semiprecious stones and more were buried in the cross section of the new over pass. Two types of cornice were found on the excavation site; “niche-head and a rectangular block”9 The first cornice found was in five separate pieces and made of Proconnesian marble. Carved into this marble is a design of cornucopias and leaves.10 The cornucopias are symbols of abundance11, and one could stretch this to Anicia Juliana herself. The abundance of wealth and nobility shine through her family tree, therefor the cornucopia is an appropriate decoration to choose. Below this is a series of unknown monograms with circles and leaf ornament. Below this are two bed moldings; the upper bearing acanthus leaves, and the lower with a continuous rinceau. The second cornice is only represented in one piece and is similar to the other, but instead of the cornucopias, it has a series of palmettes with rosettes in between them. The rest of the design is in poor condition, but under the inscription there is a grape vine. 12 These oriental motifs and design repeat themselves throughout the church, and they all represent the Princess and her family in one way or another.

One of the most important discoveries of the site is the niche-head pieces. These massive pieces of marble tell the story of royal family to be forever remembered. With each concave segment, a large frontal peacock is carved in the center, tail fanned out proud. The epigram, to be discussed later, runs along the semicircle of the carving. Surrounding the peacocks, the spandrels are filled with grape vines and leaves. 13 The inscription's letters are raised 11cm high, and surrounded by realistic grape vines. The detail involved in every individual leaf is remarkable. Each leaf has visible veins, some edges of the leaves are frayed and torn, and the artist even took the time to layer the design, pulling some leaves forward, and carving others in the background, giving the sense of depth. 14 Harrison notes that this workmanship is all done by the artist’s eye, and with no use of a constant measure indicated by the marks made by the chisel, minute irregularities, and slight bends in the lattice work. This area was originally painted in vibrant colors. The primary colors used were blues, greens, and some purples. These colors are difficult to find, make and show Anicia Juliana’s power in the decorative aspect of the structure. The background to vines and letters was a bright blue. The peacocks, adorned with carved necklaces, were painted in blues, greens and gold. Due to the empty cavities in the eyes of the remaining bird head pieces, green glass was used for the pupils. They also held chains to suspend something. Connor suggests due to their location, a lamp is a believable use for the chains in their beaks.15 The peacock was a bird chosen for its historical status and meaning to the Princess.