This drawing by George H. Forsyth, labeled as "drawing no. 601.1," presents a detailed plan of the Monastery of St. Catherine at Mount Sinai. It situates visible sixth-century structures, rendered in black, within the layout of the present-day monastic complex. The plan, part of the Ilene H. Forsyth collection and preserved in a scan by the University of Michigan, reflects Forsyth’s meticulous architectural and archaeological study of the site.
The map highlights key elements of the monastic complex, numbering and identifying features with a corresponding legend. Significant components include the Basilica (7), the Burning Bush Chapel (8), and other notable areas like the Cistern (14), Mosque [converted sixth-century structure] (3) and Minaret [=a tall, slender tower typically found as part of a mosque’s architecture] (5). The sixth-century elements, such as rainwater channels (13) and arches (12), are carefully differentiated from later additions and modifications.
The schematic illustrates the integration of older structures with newer layers of the complex, emphasizing its continuous use and adaptation over centuries. Forsyth’s work effectively documents the architectural evolution of the monastery, preserving the layout of its historical and functional elements. His precise labeling and clarity make this an invaluable resource for understanding the historical stratigraphy and spatial organization of one of the most significant Byzantine sites. (Image source: Ilene H. Forsyth and Elizabeth Sears, fig. 3, p. 120)
This detailed drawing by George H. Forsyth depicts a scaled image of the second capital from the west in the north aisle of the basilica at the Monastery of St. Catherine, Mount Sinai. Part of the Ilene H. Forsyth collection and preserved in a scan by the University of Michigan, the drawing showcases Forsyth's precise documentation of architectural details.
The capital is ornately decorated, featuring a central cross with flanking Alpha (Α) and Omega (Ω) symbols, signifying Christ’s eternal nature as described in Christian theology. Surrounding these are intricate motifs of grapevines and leaves, reflecting Byzantine artistic conventions where vegetal and symbolic imagery are often intertwined. The detailed inscriptions "PLASTER" at the top of the capital indicate areas where plaster was applied, possibly as part of restoration or conservation efforts.
Forsyth’s meticulous attention to proportions and measurements is evident, as the image includes a grid and numerical markings for accurate scaling. The ornate carvings, along with the technical precision of the drawing, provide valuable insight into the craftsmanship and symbolic intent of the basilica's original builders and decorators. This representation highlights Forsyth's scholarly rigor in capturing and preserving the architectural heritage of this significant Byzantine monument. (Image source: Ilene H. Forsyth and Elizabeth Sears, fig. 14, p. 136)
This page from George H. Forsyth’s Sinai field notes, part of the Ilene H. Forsyth collection, represents detailed observations and sketches from his archaeological research at the Monastery of St. Catherine. Dated November 1, 1963, and subsequent days, the document exemplifies Forsyth’s rigorous approach to documenting and analyzing architectural and material elements of the site.
In his analysis of the Burnt Bush Chapel, Forsyth records his investigation of the chapel's flooring, noting prior restoration efforts and the replacement of original materials decades earlier. He comments on the absence of foundational evidence in certain areas and considers the broader implications for understanding the chapel's construction history and subsequent interventions. His reflections reveal careful consideration of the challenges posed by incomplete or altered architectural remains.
The notes also describe material tests and sampling undertaken during the study. Forsyth methodically labels sections of his findings with designations such as "A," "B," "C," and "D," referring to architectural components such as beams, flooring, and truss joints. These observations are accompanied by technical sketches that illustrate the position and nature of these materials within the site, providing a visual complement to the written documentation. The diagrams are precise, depicting structural details such as truss joinery and cross-sections that enhance understanding of the construction techniques employed.
Throughout the document, Forsyth’s handwritten annotations and marginal corrections highlight his iterative process of observation and analysis. His additional notes refine his conclusions and demonstrate his commitment to accuracy and clarity in his fieldwork. The combination of descriptive text and technical illustration underscores Forsyth’s methodological precision and scholarly rigor.
As discussed in Ilene H. Forsyth and Elizabeth Sears’s article (2016, fig. 12, p. 133), these field notes represent a significant contribution to the study of the architectural and material history of the Monastery of St. Catherine. They reflect Forsyth’s dedication to documenting the complexities of the site and offer valuable insights into the monastery's historical and structural evolution.
The image depicts the west façade of the Church of the Transfiguration within the Saint Catherine Monastery compound at Mount Sinai. The structure includes a three-story campanile, or bell tower, adjacent to the main church building, with a portal at the bottom leading to the interior. As noted by Forsyth and Weitzmann, this site represents a remarkable example of Byzantine monastic architecture. The monastery, established during the reign of Emperor Justinian I in the 6th century, was designed to serve both as a place of worship and as a fortress, safeguarding its sacred treasures and monastic community.
Forsyth and Weitzmann emphasize the monastery's strategic location. Situated in the rugged terrain of the Sinai Peninsula, it symbolizes the union of spiritual seclusion and defensive necessity, with towering granite mountains providing natural isolation and protection. The stone construction of the church and its campanile reflects the durability and simplicity characteristic of early Byzantine architectural techniques. The bell tower, added in the 19th century, maintains harmony with the monastery's original design and highlights its enduring spiritual and functional vitality.
The façade visible in this image, with its small, arched windows and cross-adorned gable, embodies a balance between utilitarian fortification and sacred aesthetic values. This view not only illustrates the architectural significance of the monastery but also underscores its long-standing role as a spiritual sanctuary. The reference to Plate XXV in Forsyth and Weitzmann's book situates this specific perspective within their comprehensive photographic documentation, further underscoring its architectural and historical importance.
This image captures the interior nave of the church as viewed from the narthex: Six-century nave arcades, walls, carvings on ceiling beams and portal (Forsyth and Weitzmann: Plate XLIII). The ornate wooden doors frame the entrance, leading the viewer into a richly decorated space. The nave features a stunning marble floor with intricate geometric patterns, flanked by rows of wooden seating. The ceiling displays a coffered design, adding depth and elegance to the interior.
At the far end, the iconostasis—adorned with icons, crosses, and chandeliers—dominates the scene, emphasizing the sacred focal point of the church. The combination of Byzantine craftsmanship and liturgical design elements reflects the spiritual and artistic significance of this historic space, likely located within the Monastery of Saint Catherine at Mount Sinai.
This image depicts supplies and equipment for the Mount Sinai expedition being hoisted up the fortification walls of Saint Catherine Monastery using a pulley system. Historically, this hoist served as the sole means of entrance to the monastery, emphasizing the site's seclusion and security. Several individuals are seen coordinating the process, with a truck parked below, laden with additional materials. The scene captures a moment of logistical effort, blending modern tools with the ancient architectural backdrop of the monastery’s walls. This illustrates both the challenges of accessing this remote site and the ingenuity employed to overcome them.
This [sequential] image provides a sweeping view of the dramatic landscape surrounding the Monastery of Saint Catherine at Mount Sinai. Nestled at the base of a steep valley, the monastery appears as a small, fortified structure, dwarfed by the towering granite mountains. The barren, rugged terrain underscores the site's isolation and the challenges faced by its monastic community.
The monastery’s remote location and enduring architectural presence underscore its historical and spiritual significance. This perspective vividly illustrates the interplay between human resilience and the harsh, majestic environment of the Sinai Peninsula. A broader context for this view can be found in Forsyth and Weitzmann’s work, where it introduces the series of Plates.
George Forsyth and an unidentified woman are pictured on a mountainside during the Mount Sinai expedition. Forsyth is seated on a rocky ledge, dressed in expedition attire, while the woman stands beside a towering cypress tree, leaning casually against its trunk. The rugged granite rocks in the background emphasize the harsh and dramatic environment of the Sinai Peninsula, underscoring the challenging terrain navigated during their research. This photograph documents a moment from their expedition.
A man is seen standing on scaffolding inside Saint Catherine Monastery, photographing a section of the ceiling adorned with intricate religious frescoes. The scaffold allows him to closely capture the details of the artwork, which features depictions of saints and biblical scenes. The surrounding architectural elements, including arched windows and a richly decorated canopy, frame the scene, highlighting the monastery's historical and artistic significance. This image documents the meticulous effort involved in preserving and studying the intricate artistry of this ancient site.
This is a detailed longitudinal section drawing of the basilica at the Monastery of St. Catherine, Mount Sinai. Created by George H. Forsyth, the drawing represents a precise architectural cross-section of the church, showcasing its structural and spatial design.
The section illustrates the basilica’s interior, with prominent architectural elements such as the arcade of arches supported by columns. Above the arches, a clerestory with rectangular windows allows light to penetrate the upper part of the nave, emphasizing the verticality of the space. The drawing highlights the layering of architectural features, including the curved apse at the far left and the stepped entrance at the far right. The thickness of the walls is indicated in solid black, providing clarity on the structural composition.
Additional details include the capitals of the columns, varying in design, and the overall symmetry of the basilica’s layout. The note at the bottom specifies the orientation ("West" to "East"), which helps contextualize the spatial arrangement relative to the basilica’s liturgical function. This drawing, identified as "drawing no. 637," is a significant part of the Ilene H. Forsyth collection, which documents George H. Forsyth's scholarly and artistic study of this historic site. (Ilene H. Forsyth with Elizabeth Sears, “George H. Forsyth and the Sacred Fortress at Sinai,” Architecture, Dumbarton Oaks Papers, vol. 70, 2016, 124).
Supplies and equipment for the Mt. Sinai expedition are hoisted up the fortification walls of St. Catherine Monastery. Originally this hoist was the only means of entrance.