In the male-dominated world of the Byzantine Empire, Anicia Juliana was a woman who managed to conquer the fields of architecture, using her massive wealth, noble lineage and strategic patronage.
Because of her artistic obsession with Christian architecture, she managed to leave an indelible mark on the skyline of the Byzantine capital, Constantinople.
Born around 463 AD into the wealthy and prestigious Anicia family, Juliana was a descendant of Western Roman emperors and the great-granddaughter of Theodosius II. During her life, she witnessed historic moments in Byzantine history, but it was her ambitious church-building projects—particularly the Church of St Polyeuctus—that made her famous and offered her the chance to join the pantheon of Byzantine women who shaped the empire’s life and fate with their decisions.
Anicia Juliana accomplished a lot in her life, however, her major achievement was the plan for the construction of the Church of St Polyeuctus, a marvel of early Byzantine architecture.
The magnificent early Christian church was constructed between 524 and 527 near her palace in Constantinople. This architectural marvel was a bold political statement on her behalf, as she aspired to make it a temple that would live throughout the centuries.
By modelling the church on the biblical Temple of Solomon and inscribing its walls with epigrams comparing herself to emperors like Constantine I, Juliana made a clear statement: She was no ordinary woman. She did her best to assert her family’s imperial pedigree at a time when the throne was held by Justin I—a former peasant soldier. The grandeur of this church, adorned with gold-plated ceilings and Persian-inspired motifs, directly challenged the legitimacy of the upstart Justinian dynasty, generating a political intrigue that would shake the Byzantine royal courts through architecture.
Gregory of Tours recounts how Juliana reacted to Emperor Justinian’s demands for her gold. She managed to make it disappear by transforming it into decorative plates for St Polyeuctus’ interior. This was an act of defiance against the ruler of the Byzantines, showing publicly her determination to protect her family’s prestige over what they perceived as someone who was unworthy of the title of the Emperor.
The design of the church that Juliana built reflected theological ambitions too: Its Chalcedonian orthodoxy countered the Monophysite leanings of Emperor Anastasius I, whom Juliana had opposed, reflecting the ongoing theological struggles the early Christian Church was going through because of the large number of heresies. With its two-storeyed colonnades, intricate marble carvings of peacocks and vines and possible dome—a revolutionary architectural feature later seen in Hagia Sophia—St Polyeuctus became a church that showcased the latest trends and achievements of artists in the Eastern Byzantine Empire.
Though the once magnificent church of St Polyeuctus fell into disrepair by the 11th century, its influence has managed to transcend time. Excavations in the 1960s in Istanbul (Constantinople) revealed foundations confirming its vast scale. The church was 52 metres long with a 26-metre atrium. Additionally, sculptures were found that are now in the Istanbul Archaeological Museum. Scholars debate whether its dome inspired Justinian’s Hagia Sophia, but the rivalry between Juliana and the emperor is a historical fact that no one denies. Justinian’s reported boast, “Solomon, I have surpassed thee!” after completing Hagia Sophia, reminds historians of Juliana’s own claims about St Polyeuctus.
