Turkey

Why does the Zeytinburnu Mosaic Museum^[1]Zeytinburnu Mozaik Müzesi beg to be grounded in Christian ideas? The museum displays almost 100 cross-like motifs, features an apse-like structure, and refrains from depicting secular images to underscore the religious nature of this archaeological find.

Despite the educational and local promotion that these mosaics have nothing to do with Christianity, the cross symbols can not be ignored. Yet, they are! The museum writings do not reference the 99 cross-like symbols, which consist of various decorative motifs and include the Greek letter X, a symbol traditionally used to represent Christ. The multiple designs I have seen in churches across Asia Minor show the common use of the cross in the flooring of many early churches. Ignoring this observation seems quite underhanded.

In the pdf about the site, the authors note that the mosaics “do not represent scenes of daily or religious issues but mostly geometric patterns.”^[2]Discovery Process of the Zeytinburnu Mosaics Outside the City Walls found at: https://dergipark.org.tr/en/pub/mbud/article/1351442 This statement is largely true: there are no scenes of daily life; instead, there are mostly geometric patterns. Note that it says “mostly.” So what are the other patterns? I would have to say “religious issues” – despite the insertion of this phrase.

My Survey of Cross-motifs

I have visited this place a few times and still cannot explain why the Christian influence is so hidden. I took out a piece of paper and walked to both areas with the mosaics, counting the number of cross-like images I observed. My number was close to 100 when I had finished. Now, how can this not be mentioned in the above-ground write-ups? The flooring raised the observer’s suspicion as well as the eastern direction of an apse-like former wall on the eastern side of the mosaics. Would this not make some religious difference to those who formed these designs?

Some have said that the museum is important for illustrating daily life, art, and habitation patterns of late antiquity outside Constantinople’s ancient walls. Now, the museum and the write-ups allude to these ideas in other mosaics, but not to the flooring beneath the glass. There are no scenes from daily life, such as in governmental buildings or artwork influenced by Roman art. The multiple patterns emphasize the cross. This, in my opinion, is the greatest hidden cross from the ancient city of Constantinople.

Why the site begs to be grounded in Christian ideas

1. The 99 mosaics of crosses and Christos X symbols.
2. The eastern direction of the arch of the former wall on the eastern side of the ruins.
3. The grave near the site is similar to those found at Christian pilgrimage or other religious sites. Its marble sarcophagus highlights the grave’s significance.
4. If this place is not a religious site, could it not have been created by a very religious person who incorporated religious themes into the flooring?

Cross Motif at Zeytinburnu

The above illustrates the multiple types of cross motifs found in the flooring at the Zeytinburnu Mosaic Museum. Near the apse area, which is a curve within the eastern room, one will notice at least four major crosses within circles. The cross findings in these two rooms are numerous.

The simple “X” or cross within a circle is a symbol found at multiple other church sites, and its repetition recalls the Byzantine pre-icon period, when the cross was the sole focus.

Let’s explore some of these ideas.

The Cross Motif in Byzantine Art

In this setting, you can see multiple cross motifs. The four “X’s” center a knotted cross, and the eight arrows flowing out from it form another cross. Then those arrows flow into another cross. These are found in similar patterns in the Hagia Sophia, seen below.

A ceiling at the Hagia Sophia that functions like a floor mosaic. The patterns are cross-shaped, with the Greek letter “X” for Christ repeated. The four pedal images continually provide a pattern for reflecting on the cross. For we know that the cross is the source of salvation and the only way to have sins forgiven (1 Corinthians 1:18)

Apse-like structure

The video below explores this very interesting location.

Byzantine Grave

I find it quite interesting when one visits the museum. Most of the write-up consists of general knowledge about mosaics and their formation. Yet, very little is explored about what is below our feet. The graves found near the mosaics are on the northern side of the building, as was common at the time.

In the video, they found a purple textile, which suggests that the grave belonged to someone of importance. Could this location be part of a religious complex that an important person wanted to be buried near?

Geometric Religious Structure?

Some argue that, because there are no mosaics of saints or biblical scenes, this cannot be considered a Christian site but rather a site of that period. Yet, mosaics of saints and scenes are a later pattern, dating to the 7^th century and later. This is a 4^th and 5^th century time where one singular focus was found in the churches – the cross. The majority of the geometric shapes form crosses that intersect and overlap.

Chalice for Worship

Of great interest are the chalice-like mosaics that are displayed in at least two spots. These images, framed by hearts, could depict at least a chalice, but possibly a poten or diskos for the bread. In Byzantine worship, the chalice for wine and the diskos for bread centered the worship of Christ’s death on the cross. The image could be combining them or giving a 3-d view of the chalice.

The other mosaic again shows a similar shape that could be a combination of both elements for the remembrance of Christ’s death.

By comparing this image with a similar vase on the apse border of the Hagia Sophia, we see its connection to worship. A kantharos, a wine vessel often depicted in Greek and Roman art, was used as the image for wine or the communion table in Christian worship. The border of hearts again gives the impression of Christ’s sacrificial death for our sins.

The vessel image in the apse of Hagia Sophia and in this mosaic flooring served as both a decoration and a religious symbol. Byzantine artists used vessels like the kantharos to suggest divine abundance, eternal life, and the Eucharist. Placed near the sanctuary, the image recalls the cup of the Lord’s Supper and Christ’s sacrificial blood. The heart-like shapes around the vessel highlight themes of love, offering, and sacrifice. This design turns a classical motif into a Christian symbol, pointing worshippers to the heavenly banquet and the meaning of Christ’s death in the Eucharist.

Admitting without Admission

Hints in the write-up give us what they know but do not want to say. Look below where they mention “Byzantine mosaics are generally integrated into architectural spaces such as church walls, domes, and apses. Mosaics are designed to harmonize with the architectural elements and enhance the spiritual atmosphere of the space.” Then, admitting the style in many Byzantine churches.

¹⁸ For the word of the cross is folly to those who are perishing, but to us who are being saved it is the power of God. ¹⁹ For it is written,

“I will destroy the wisdom of the wise,
    and the discernment of the discerning I will thwart.”

²⁰ Where is the one who is wise? Where is the scribe? Where is the debater of this age? Has not God made foolish the wisdom of the world? ²¹ For since, in the wisdom of God, the world did not know God through wisdom, it pleased God through the folly of what we preach to save those who believe. ²² For Jews demand signs and Greeks seek wisdom, ²³ but we preach Christ crucified, a stumbling block to Jews and folly to Gentiles. 1 Corinthians 1:18-22, ESV