Hagia Sophia (Ἁγία Σοφία), also known as "the Great Church" (Μεγάλη Ἐκκλησία), was the cathedral of Constantinople, erected in the center of the Constantinian city on the First Hill, very close to the Great Palace and the Hippodrome. Adjoined to the somewhat earlier church of Hagia Eirene, with which it shared the same enclosure, and together with the Hospice of Samson, they formed a large complex administered by the same clergy. The present building, erected by Emperor Justinian I in the sixth century, is the third church of Hagia Sophia at the site. The first Hagia Sophia, built in the second half of the 4th century and known simply as the Great Church, and the second 5th-century building were destroyed by fires in the course of riots in Constantinople. After being a museum for several decades, it began officially functioning as a mosque, known as Hagia Sophia Grand Mosque (Ayasofya-i Kebir Cami-i Şerifi), in 2020.
The plans of the first two churches were not recorded, but it is reasonable to assume that they were timber-roof, three-aisled or five-aisled basilicas. The first Hagia Sophia was consecrated in 360 in the reign of Constantine's son Constantius II. It burned together with the neighboring Senate during the 404 riot and was perhaps first repaired by Emperor Arcadius and then built anew or thoroughly reconstructed by Theodosius II (the inauguration of the church in 415). The only part that survived the fire was a circular building adjacent to the church; this may have been the same as the surviving skeuophylakion near the northeast corner of Hagia Sophia. The bread and wine for the liturgy in Hagia Sophia were prepared in the skeuophilakion, and gold and silver chalices, patens, gospel books and liturgical vessels were also stored there. In addition, written sources also enumerate a considerable number of precious relics that were kept in this building. The liturgical vessels and the relics were probably stored in rectangular round-headed niches that articulate the interior of the building on two levels (the upper niches accessible from a corbelled gallery to which an external staircase led). Other remains of the pre-Justinianic church were found in front of the narthex: The colonnade with a mosaic floor excavated before World War II belonged to the monumental gabled propyleum that preceded the atrium of the Theodosian cathedral.
The damage to the Theodosian cathedral during the Nika Riot in 532 was the great opportunity for Justinian to build a church that surpassed all ecclesiastical structures not only in the city, but also in the whole Roman and post-Roman world. Anthemios of Tralles and Isidore of Miletus were employed as master builders, and it is clear that they approached the design of the church from a theoretical perspective, disregarding the constraints of empirical building practice. The construction progressed rapidly and the new church, a colossal domed basilica with an apse projecting to the east and with a total length of around 135 m, was inaugurated on December 27, 537. The daring construction of the first dome and the fact that the church was erected with haste led to the collapse of the dome after the earthquakes of 557. Unfortunately, Procopius does not describe the the original dome in detail. On the other hand, it is clear from Agathias´ account of the rebuilding of the church that the original dome was larger and lower than the second dome, which was constructed by Isidore the Younger, nephew of the original engineer. The church was re-consecrated in 562. The dome of Hagia Sophia is slightly smaller than the dome of the Pantheon in Rome; it has a diameter of 31.87 m and a height from the floor level of 55.60 m.
Hagia Sophia displays a radically innovative design, combining elements that had already emerged in Early Byzantine religious architecture (in the church of Sts Sergios and Bakchos, and maybe even in the church of St. Polyeuktos) but in an original way and on a vastly larger scale. The weight of the dome passes through the pendentives to four massive piers. The dome seems to float upon four great arches, of which the western and eastern ones are extended by half domes carried on smaller semidomed exedras. The central domed core of the church is flanked by aisles on the south and north sides and by two narthexes on the west side. Galleries above the aisles and the inner narthex were originally accessible by four spiral ramps adjoining the four corners of the church – now only that on the northwest corner is in use for this purpose.
The palace of the Patriarchs was also reconstructed after the Nika Riot. It was situated at the southwest corner of Hagia Sophia and comprised a long, possibly two-storied, vaulted hall flanked by smaller rooms. Only the north wall (with three large round-headed, now blocked, openings) and part of east wall, as well as springings of vaults remain of the large hall. These remains of the main reception space of the palace can be seen above the Ottoman ablution fountains. There are other rooms probably once belonging to the Patriarchate. These are well-preserved and are situated above the southwest vestibule of the church and on the top of the southwest access ramp. They are usually dated to the reign of Justin II and are decorated with figurative mosaics executed probably in the 9th century. Although directly accessible from the gallery of Hagia Sophia, they are not open to tourists.
The octagonal domed building (now one of the sultans´ mausolea), situated to the left when leaving Hagia Sophia through the southwest vestibul, may also have been originally part of the patriarchal palace. Its architecture and masonry point to the 6th century, which is usually identified as a baptistery. Although it served this function probably as early as the 9th- or 10th century, it may have been originally built as a small reception hall of the patriarchs or a chapel because Paul the Silentiary (later 6th century) in his description of Hagia Sophia mentions a baptistery that was apparently north of the church, which is also confirmed by other post-sixth-century sources. The Patriarchate was enlarged in the 7th century when the Thomaites Hall was added by one of the patriarchs of this name (Thomas I, 607-610, or Thomas II, 667-669).
Despite several additions and modifications made during its almost 1500-years-long history Justinian´s Hagia Sophia retains much of its original appearance. The outer buttresses are to be dated in the middle and late Byzantine periods: The flying buttresses on the west façade and those in the middle of both long sides as well as the south-west buttress belong to the former group while more massive buttresses on the east side of the church to the latter group (built by Andronikos II Palaeologos).
The silhouette of the church in 537 also differed from the present state as the dome was originally lower and its curvature was similar to that of the four pendentives marking the transition between the four big piers and the drum of the dome. The present dome rises about 6 m higher than the original one. Moreover, the interior of the church was brighter than it is today. Besides blocking some windows by adding the outer buttresses, the principal alteration of fenestration occurred after the first dome collapsed and was rebuilt: on the walls beneath the south and north big arches supporting the dome, were in 537 larger windows than the present ones (these are even smaller than after the rebuilding during Justinian´s reign due to later, probably Ottoman, interventions).15 In addition, the south-west and northwest porches do not seem to be part of the original design – the former was created when the rooms opening off the south gallery and belonging to the Patriarchate were built (which also included modification of the top of the south-west access ramp tower).
The most important loss is the disappearance of the Justinianic atrium that preceded the church on the west. The atrium extended westwards from the outer narthex for about 42 m and its three sides opened into the courtyard through pairs of columns alternating with piers. In the center of the atrium was an elaborate marble fountain. The atrium disappeared in the Ottoman period and the last columns and piers were demolished in 1870s. In addition Hagia Sophia was in the 6th century surrounded by courtyards on all sides;18 only the patriarchate, the Great Baptistery (on the north flank) and the earlier skeuophylakion adjoined the cathedral. The facades of Hagia Sophia were neither plastered nor presented their brick masonry, but they were faced with white Proconensian marble slabs.
Page under construction
Mosaic of Archangel Gabriel
Fragmentary Inscription from Apse
From Mango & Hawkins
Apse Inscription (now largely lost)
Ἃς οἱ πλάνοι καθεῖλον ἐνθάδ᾿ εἰκόνας ἄνακτες ἐστήλωσαν εὐσεβεῖς παλίν
“The images, which the imposters had cast down, here pious emperors have again set up”
Fragmentary Mosaics of Archangel Michael
Sketch of eastern arch mosaics
Fragmentary Mosaic of St. John the Baptist and the Virgin Mary
Sketch of John V Palaiologos
Fossati (1847–1849)
Mosaic of a Seraph
Watercolor of Christ Pantokrator
Fossati (1847–1849)
Northern and Southern Tympana
St. Ignatius of Antioch in the Northern Tympanum
St. Ignatius the Younger in Northern Tympanum
Monogram from southern tympanum
Monogram ΚΥΡΕ (Κύριε “Lord”)
St. John Chrysostom in the Northern Tympanum
Mosaics of the northern tympanum
Mosaics of the southern tympanum
Fossati (1847–1849)
Mosaics of the southern tympanum
From Salzenberg (1854)
Reconstruction of Northern and Southern Tympana from Mango
Northern and Southern Aisles
Inner Narthex
Mosaic of Emperor and Christ above the Imperial Door
Bronze relief above Imperial Door of Hagia Sophia
Inscription based on John 10:9 (with elements of 10:7) Εἶπεν ὁ κ(ύριο)ς | ἐγώ εἰμι | ἡ θύρα τῶν | προβάτων· | δι᾿ ἐμοῦ || ἐάν τις | εἰσέλθῃ | εἰσελεύσετ(αι) | κ(αὶ) ἐξελεύσετ(αι) | κ(αὶ) νομὴν | εὑρήσει.
“I am the gate [of the sheep]; whoever enters through me will be saved. They will come in and go out, and find pasture.”
Gallery
Deesis Mosaic
Zoe and Constantine IX Monomachos with Christ Pantokrator
John II Komnenos and Eirene of Hungary with their son Alexios with the Virgin and the Christ Child
Mosaics of Emperor Alexander (912-913)
Southwest Vestibule
Constantine and Justinian with the Theotokos and Christ Child
Pascal Sébah (c.1875)
Inscription of Beautiful Door
[Θεοφίλου καὶ] — Μιχαὴλ νικητῶν
Κύριε, βοήθει — Θεοφίλῳ δεσπότῃ
Θεοτόκε, βοήθει — Θεοδώρᾳ αὐγούστῃ
Χριστὲ, βοήθει — Μιχαὴλ δεσπότῃ
ἔτους ἀπὸ κτίσεως — κόσμου ,ςτμθ’ ινδ. δ
[Of Theophilos and] Michael the victorious
Lord, help — Theophilos Emperor
Mother of God, help — Theodora Augusta
5. Christ, help — Michael Emperor
Year from the creation — of the world 6349. Ind. 4 [841]
Rooms above Southwest Vestibule and Ramp
Mosaics in room over the ramp
Mosaic of the Deesis (Virgin and Christ)
Room over Southwest Vestibule
Southwest Room over Vestibule
East lunette of south bay
Mosaics of Patriarch Nikephoros and Simon Zealot
Mosaics of St. Stephan and St. Constantine
Vault of south bay
Mosaics in soffit of south window
Mosaics of the southwest buttress
Southwest Ramp
Northwest Ramp
Fresco and mosaic fragments in southwest Ramp
Monograms
The monograms of Justinian (IOYCTINIANOY) at Hagia Sophia are box monograms, based on the letter N, with the letter I contained in its upright. Both the letters T and a square C (Sigma) are to the right, with the letter A inserted within the left side of the N (in more than one variation), and the OY diphthong crowning the monogram. The majority of the monograms of Theodora (ΘEOΔѠPAC) are of the cruciform type, with the letters Θ (Theta), E, Ѡ (Omega), and A being attached to the cross. The O is incorporated in the Θ (Theta), while in some cases the Δ is formed by added a bar beneath the A. The box monograms of ΒΑCΙΛΕѠΣ (basileos or emperor) based on the letters B and E with the letter Ѡ (Omega) above.
Baptismal font
Baptistry/Mausoleum (Türbe) of Mustafa I and Ibrahim I
Theodosian Hagia Sophia
Skevophylakion (Treasury)
Rooms above Southwest Vestibule and Ramp
Mihrab and Minbar from reign of Murad III (1574-1594)
Two bronze candlesticks, originally from Buda, placed here during reign of Suleiman the Magnificent
Iznik tiles with the Kaa'ba and Medina
South of apse (16th century)
Calligraphy of the dome by Kazasker Mustafa İzzet Efendi
Sura an-Nur (“Verse of Light”) Quran 24:35
Allah is the Light of the heavens and the earth. His light is like a niche in which there is a lamp, the lamp is in a crystal, the crystal is like a shining star, lit from [the oil of] a blessed olive tree, [located] neither to the east nor the west…
Calligraphic disks by Kazasker Mustafa İzzet Efendi
North side, east to west: Muhammed, Omar, Ali, Hassan
South side, east to west: Allah, Abu Bakr, Uthman, Hussein
Sultan’s Lodge (Hünkâr Mahfili)
Library of Mahmud I
Sıbyan Mektebi (Primary School) and Muvakkithane (“Clock-Room”)
Ottoman sundial
Mausoleum (Türbe) of Selim II (right) and Mausoleum (Türbe) of Murad III (left) with Sultanahmet Mosque in the background
Shadirvan (ablution fountain) of Mahmud I
İmaret Kapısı (Soup Kitchen Gate)
Aerial photo by Kadir Kır
Ambo (pulpit) of Hagia Sophia
From the 10th century Menologion of Basil II (Vat.gr.1613)
Leo VI exhibits liturgical objects in Hagia Sophia to Arab ambassadors from Tarsus and Melitene
From 12th century Madrid Skylitzes (Biblioteca Nacional de España)
Depiction of Constantinople with Hagia Sophia and the city walls
From 13th-14th century manuscript (Vat.gr.1851)
From map of Constantinople by Cristoforo Buondelmonti (1422)
Depictions of Hagia Sophia from the Nuremberg Chronicle (1493)
From map of Constantinople by Matrakçı Nasuh (c. 1537)
Depictions of Hagia Sophia from the Freshfield Album (1574)
Panel from panorama of Constantinople by Melchior Lorck (1559)
From Leiden University
Ottoman depiciton of Hagia Sophia (17th century)
From Guillaume-Joseph Grelot (1680)
Drawings by Cornelius Loos (1711)
Cornelius Loos (1711)
Drawing by Robert Walsh (1836)
Drawing by W.H. Bartlett (1838)
From Jean Brindesi (1845)
From Victor Godard-Faultrier (1857)
Gaspard Fossati (1852)
Gaspard Fossati (1852)
Philippe Chaperon (1893)
James Robertson (1857) / NGA
Francis Bedford (1862)
Basile Kargopoulo (c.1875)
Abdullah Frères (c. 1880s)
Abdullah Frères (c. 1880s)
Guillaume Berggren (1880s)
Sébah & Joaillier (c.1890)
Sébah & Joaillier (c.1890)
Sébah & Joaillier (c.1890)
Sébah & Joaillier (c.1890)
Solita Solano (1922)
Madrasa, which functioned as an orphanage before its destruction in 1936
Encümen Archive (1936)
Postcard after 1933
From the Nicholas V. Artamonoff Collection
Charles W. Cushman (1965)
Indiana University Archives
Study of light (1948)
Image Collections & Fieldwork Archives, Dumbarton Oaks
William Betsch (1970)
Robert Van Nice (1960-1985)
Salzenberg (1854)
Antoniadi (1907)
View of the Augustaion and Hagia Sophia
Seals from Hagia Sophia at Dumbarton Oak
Seal of Ignatios, Patriarch of Constantinople (847-58, 867-77)
Seal of Photios, Patriarch of Constantinople (858-67, 877-86)
John VIII Xiphilinos, Patriarch of Constantinople (1064-75)
Priests and Ekklesiekdikoi (14th century)
Click to see map of Byzantine Churches of Constantinople
Source
Byzantine Architecture by Cyril Mango
Brickstamps of Constantinople by Jonathan Bardill
Bildlexikon zur Topographie Istanbuls: Byzantion, Konstantinupolis, Istanbul by Müller-Wiener
Byzantine Churches in Constantinople: Their History and Architecture by Alexander Van Millingen
La géographie ecclésiastique de l'Empire byzantin by R. Janin
Les Eglises de Constantinople by Ebersolt and Thiers
Converted Byzantine Churches in Istanbul: Their Transformation Into Mosques and Masjids by S. Kirimtayif
Oxford Dictionary of Byzantium edited by Alexander Kazhdan
The Oxford Handbook of Byzantine Studies edited by Cormack, Haldon, & Jeffreys
The Cambridge Companion to the Age of Justinian edited by Michael Maas
Hagia Sophia (Great Online Encyclopaedia of Constantinople)
Resources
Hagia Sophia Album (Byzantine Legacy Flicker)
Mosaic Portraits of Hagia Sophia Album (Byzantine Legacy Flicker)
Byzantine Churches of Constantinople (Byzantine Legacy Google Map)