From Ernest Hawkins: "Istanbul 1948: Chora" [MS.BZ.004-02-01-03-211]
[...]
29 Sept.
Moving pictures in colour taken at Chora
All staff present except [?].
Owing to minor break downs in the lighting system the electrician was called in and remained throughout the day.
These were the first colour films to be taken this year.
First Coloured Film.
1. Bay №3
Dr Whittemore + Nicholas on small scaffolding. Dr Whittemore discussing the area of rendering which fell with Nichloas who is completing framing at exposed edge of mosaic at SE of vault. Alan working on head of Christ below. 10 feet
2. Closer as 1. showing extent of fall of plaster. 20 feet
3. Bay № 3. Pierre reassuring light on panel over main door. Fred working. 16 feet
4. Bay № 2. Dr Whittemore + myself at North side of vault. 12 feet
5. As 4. at South side of vault. Examining iron nails in brickwork of arch. 12 feet
6. Bay №2. Crown of vault and SE corner showing Baptism of Christ. 10 feet
7. East Soffit of arch between bays 2+3. Figure of saint. 10 feet
8. Bay №3. East pnael. Close-up of Head of Christ + Inscription. 10 feet
SECOND FILM IN COLOUR
9. Bay № 2. East panel with electrcian changing fuse in box. Evan working. 20 feet
10. Bay № 2. Close up of centre East panel. Nativity. 6 feet
11. As 10. Close up of bathing of child. 9 feet
12. As 10. Close up of Shepherds and Joseph. 7 feet
13. Bay № 2. West panel. myself working. 8 feet
14. Soffit of Arch between bays 1 + 2. West side, figure of Saint. 7 feet
15. As 14. East Side. 12 feet
16. Bay № 1. West panel Tony working. 10 feet
17. Bay № 1. South panel Nicholas working. 15 feet
THIRD COLOUR FILM
18. Bay № 1. East panel. 10 feet
19. As 18. Close up of right side of panel. 9 feet
20. As 18. Close up of centre. 7 feet
21. As 18. Close up of left Mary + Joseph. 12 feet
22. Bay № 1. SE corner of vault. 7 feet
23. Bay № 1. Soffit over East panel showing cramps + nails and head in centre of soffit. 10 feet
24. Bay № 1. Soffit over West panel North side two heads. 13 feet
25. Bay № 1. As 24 South side. Two heads. 17 feet
26. Bay № 3. NW corner of vault + exposed brickwork of arch between bays 2+3. 15 feet
[...]
More Exhibit Items
Topous refers to Whittemore's interest in making a "cinema film" in Abyssinia (ancient name of Ethiopia)
White mentions Seth Gano, Secretary of the Byzantine Institute, filming moving images of mosaics at Hagia Sophia. Based on the description of the subjects and the date of the entry, it appears that this film is not part of ICFA's collections and has likely not been preserved.
Gregory records the beginning of experimental efforts to create color films of the "Zoe Panel" in Hagia Sophia.
Gregory makes note of the first test filming in color. The "Zoe Panel" was chosen as the subject.
Gregory records the work carried out in Hagia Sophia in a diagram, which also shows the filming carried out at the "Zoe Panel."
Gregory records the ongoing filming of the "Zoe Panel" and the Deisis in Hagia Sophia.
Gregory mentions an entire week of filming in Hagia Sophia focused on the working techniques used in the apse and soffit arch.
Gregory mentions that filming was carried out in the narthex of Hagia Sophia.
Gregory mentions working on movie photography without naming the subject.
Gregory mentions working on movie photography on the "Vestibule Panel" in Hagia Sophia.
Gregory notes that films were made on all three days documenting the working techniques used in the apse of Hagia Sophia.
In his diagram of work carried out in Hagia Sophia, Gregory records filming in the apse.
In his diagram of work carried out in Hagia Sophia, Gregory records filming in the apse.
In his diagram of work carried out in Hagia Sophia, Gregory records filming in the apse.
Gregory records the closing days of the 1936 fieldwork season at Hagia Sophia. On November 19th and 20th, filming occurred in the South Gallery, the Narthex, and the Vestibule.
Gregory records every single shot taken while filming in the South Gallery of Hagia Sophia in 1936.
Gregory notes that movies were filmed in the apse of Hagia Sophia.
Gregory records that movies were filmed in the apse of Hagia Sophia.
Gregory records in detail the filming that took place in Hagia Sophia of the fieldworkers and Thomas Whittemore at work, documenting the techniques employed on the angel in the soffit arch.
Gregory records that movies were filmed in the apse of Hagia Sophia.
Gregory records that the angel in the soffit arch of Hagia Sophia was filmed in color.
Gregory records that the Virgin Mary and the Child in the apse of Hagia Sophia were filmed.
Gregory records that the following subjects were filmed in color: the recesses with St. John Chrysostom and St. Ignatios Theophoros in the northern tympanum wall and the method of reproduction in the apse of Hagia Sophia.
William Gregory records that the recess with St. Ignatios Theophoros on the northern tympanum wall of Hagia Sophia was filmed. His brother Richard Gregory mentions in his notebook entry for the same day that work was also carried out and films made of the recess with St. John Chrysostom and the apse.
Gregory records that color films were made of the recesses with St. John Chrysostom and St. Ignatios Theophoros on the northern tympanum wall and of the apse of Hagia Sophia.
The author records color films being made of work carried out on the recesses with St. John Chrysostom and St. Ignatios Theophoros on the northern tympanum wall in Hagia Sophia. Based on the handwriting, the author of this notebook is likely Ernest Hawkins.
The author records color films being made of work carried out on the recesses with St. John Chrysostom and St. Ignatios Theophoros on the northern tympanum wall in Hagia Sophia. Based on the handwriting, the author of this notebook is likely Ernest Hawkins.
Hawkins documents color films being made of the recesses with St. John Chrysostom, St. Ignatios Theophoros, and St. Ignatios the Younger on the northern tympanum wall in Hagia Sophia.
The author records color films being made of Thomas Whittemore and the recesses with St. John Chrysostom and St. Ignatios Theophoros on the northern tympanum wall in Hagia Sophia. Based on the handwriting, the author of this notebook is likely Ernest Hawkins.
Hawkins documents color films being made of work carried out at the recess with St. Ignatios Theophoros on the northern tympanum wall in Hagia Sophia.
Hawkins documents color films being made of work carried out at the recesses with St. John Chrysostom and St. Ignatios Theophoros on the northern tympanum wall in Hagia Sophia.
The author records the fall of a wooden window frame that interrupted photography. Films were made the next day of the mosaics on the northern tympanum wall in Hagia Sophia. Based on the handwriting, the author of this notebook is likely Ernest Hawkins.
Hawkins documents a Mr. Ball filming in the Hagia Sophia. From the description of the subjects, it appears that this footage is not included in ICFA's collections and has probably been lost.
Hawkins documents black and white movies being filmed at Kariye Camii. The entry is a detailed account of every shot of the film, of which only shot No. 3 of the scaffold and No. 10 of the exterior have survived as part of ICFA's Kariye Camii film.
Hawkins documents black and white movies filmed in Kariye Camii. Based on the description, it appears that these films are not included in ICFA's collections and have probably not survived. However, this detailed account of every shot gives a good sense of the content of the lost footage.
Hawkins documents four color films shot at Kariye Camii. A comparison of this detailed account of every shot with the surviving Kariye Camii film confirms that this entry is a complete record of its creation.
Hawkins documents a color film showing the recess with St. Ignatios (unclear which figure, Theophoros or the Younger) on the northern tympanum wall in Hagia Sophia.
Hawkins lists all dates when still photographs or moving images were taken in both Kariye Camii and Hagia Sophia during the year 1948.
Hawkins documents color films showing almost all of the mosaics in Hagia Sophia. He also mentions two additional films shot in Kariye Camii that have not survived. Following the 1949 fieldwork season, there is no evidence of any additional filming undertaken by the Byzantine Institute at either site. Thomas Whittemore died the following year.