The Church of Prophet Elijah is a 14th-century church in Thessaloniki, and a UNESCO World Heritage Site.
The church is located in the upper quarter of the old city, and dates to the Palaiologan period, but its original dedication is unknown. In Ottoman times, it was known as the Saraylı Mosque (Palace Mosque or Court Mosque), and through a misinterpretation of this name came about its modern dedication to the Prophet Elijah. It has been traditionally identified as the katholikon of the Nea Moni monastery, built ca. 1360–1370 on the site of a former palace destroyed in 1342 by the Zealot uprising. Modern research, however, has cast doubt on this, since the Nea Moni continued to operate well into the Ottoman period, while the church of Prophet Elijah was converted into a mosque by Badrah Mustafa Pasha immediately after the city's capture in 1430. On the basis of its internal decoration, it has been suggested that the church was the katholikon of the important Akapniou Monastery.
Its architectural style, a variant of cross-in-square church known as the 'Athonite type', is unique in the city, and was always reserved for katholika of monasteries. The careful masonry, of alternating courses of bricks and white ashlar, is also unusual for Thessaloniki and its region; it is copied from Constantinopolitan architecture. Several of its architectural features have also been interpreted as set to create an ambient atmosphere directly connected with the type of worship, through the way natural light is distributed. Fragments of the church's original decoration survive in the form of wall paintings, fine examples of late Palaiologan art, which influenced later paintings in Serbia.References:
The St Sophia's Cathedral was built between 1045-1050 inside the Novgorod Kremlin (fortress). It is one of the earliest stone structures of northern Russia. Its height is 38 m. Originally it was taller, for during the past nine centuries the lower part of the building became concealed by the two-metre thick cultural layer. The cathedral was built by Prince Vladimir, the son of Yaroslav the Wise, and until the 1130s this principal church of the city also served as the sepulchre of Novgorodian princes. For the Novgorodians, St Sophia became synonymous with their town, the symbol of civic power and independence.
The five-domed church looks simpler but no less impressive than its prototype, the thirteen-domed St Sophia of Kiev. The cathedral exterior is striking in its majesty and epic splendour evoking the memories of Novgorod's glorious past and invincible might. In the 11th century it looked more imposing than now. Its facade represented a gigantic mosaic of huge, coarsely trimmed irregular slabs of flagstone and shell rock. In some places (particularly on the apses), the wall was covered with mortar, smoothly polished, drawn up to imitate courses of brick or of whitestone slabs, and slightly coloured. As a result, the facade was not white, as it is today, but multicoloured. The play of stone, decorative painting and the building materials of various texture enhanced the impression of austere simplicity and introduced a picturesque effect.
The two-storied galleries extend along the building's southern, western and northern sides, with a stair-tower constructed at the north-eastern corner. The cathedral has three entrances - the southern, western and northern, of which the western was the main one intended for ceremonial processions. A gate standing at the entrance is known as the Sigtuna Gate (mid-12th century); according to legend, it was brought from the Swedish town of Sigtuna in 1187. The second name of the gate derives from the town of Magdeburg, where it was made. The two leaves are decorated with biblical and evangelical scenes in cast bronze relief. In the lower left corner there are portraits of the craftsmen who created this superb specimen of medieval Western European bronze-work. An inscription in Latin gives their names, Riquin and Weissmut. The small central figure - judging from an inscription in Slavonic - is a representation of the Russian master craftsman Avraam, who assembled the gate.
There is yet another bronze gate in the cathedral, called the Korsun Gate. Made in the 11th century in Chersonesos, Byzantium, it leads from the southern gallery into the Nativity Side-Chapel. Legend has it that the gate was handed over to Novgorod as a gift of Prince Yaroslav the Wise (c. 978 - 1054).
The interior of the cathedral is as majestic as its exterior. It is divided by huge piers into five aisles, three of which end in altar apses. In the south-western corner, inside the tower, there is a wide spiral in relatively small, modest buildings of the 12th - 16th centuries.