From Ernest Hawkins: "Istanbul 1948: Chora" [MS.BZ.004-02-01-03-211]
[...]
16 July: Two more cramps have been fitted in the outer margin of the border framing the panel over main door in outer narthex on 14th + 15th of July. Details of all cramping will given a later in one place.
Photography: The last 30 feet of the first film taken this season on 9 July was used at Aya Sofya on that date to take
i) North wall below dome to show scaffolds hanging in position. this was taken from S.W. (15 feet)
ii) Steel scaffold below N. wall from Main Door. (15 feet).
Three more films (black+white) were taken today. These are 2nd, 3rd + 4th of the season.
Second Film. Outer Narthex.
1. Parecclesion from West end showing length of building with the two columns + [?] in foreground. 14 feet.
2. South end of outer narthex. Panel on South wall + vault above. 5 feet
3. East panel in 4th Bay. (News of the star being taken to Herod). 9 feet
4. East panel in 5th Bay. (Frgment of Heron story) 6 feet
5. Angel on West face of capital on column on West side of arch at South end of outer narthex. 6 feet
6. Mother of God panel on North side of main door from outer to inner Narthex. 6 feet
Parecclesion.
7. 1st fresco panel from West on South wall of parecclesion. 7 feet
8. Mosaic + Fresco in recess in South Wall of parecclesion. 14 feet
9. Fresco over small door on North wall. 6 feet
10. Dome showing crown of dome down to cracks on West Side. 7 feet
11. Frescoes on South wall of Eastern bay, from West side. 10 feet
12. Same as 11 from East side. 8 feet
Third Film.
1. Dome of chapel at NEast of Parecclesion showing scaffolding. 7 feet
Interior of Church.
2. Mother of God on South side. 6 feet
3. Christ on North side. 7 feet
4. Opus Sectile freize under cornice which runs around the interior of church. 10 feet
5. Marble Door (WITH lamp light). 6 feet
6. Marble Door (WITHOUT lamp light). 14 feet
Inner Narthex.
7. Dome at North end from West. 10 feet
8. Same as 7 (retake). 10 feet
9. Dome at North from East. 10 feet
10. Double cross on soffit of arch between 1st + 2nd Bays (from North). 10 feet
11. 2nd Bay from East. 10 feet
Fourth Film. Inner Narthex.
1. 2nd Bay from West and vault above. 7 feet
2. Soffit of arch between 2nd+3rd Bays. 6 feet
3. Theodore Metochite the Logothete in panel on West Wall of 3rd Bay above main door + vault above. 5 feet
4. Third Bay from East. 8 feet
5. Soffit of Arch between 3rd + 4th Bays with pendentives on North side of dome in 4th bay. 7 feet
6. Close up. crack + plant growing in North side of dome in 4th bay. 5 feet
7. Dome in 4th bay from West. 10 feet
8. Panel below + dome in 4th bay seen from East. 15 feet
9. Soffit of arch over door at South end of Inner Narthex. 7 feet
10. Mother of God + Christ on East wall of 4th bay. 10 feet
11. Same as Second Film shot № 1. Parecclesion from West end. 18 feet.
20 July.
A summary of the shots made in the four moving picture films has been made and dispatched to Paris.
Dr Whittemore left by Air France plane for Paris this morning.
The diagramme drawing shown in 16 July indicates approximately the extent of serious cracks in the mosaic [...]
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.