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Hagia Sophia

Hagia SophiaAyasofya (Turkish)

Ἁγία Σοφία (Greek)Sancta Sophia (Latin)

A view of Hagia Sophia, Istanbul

Location within Turkey Istanbul

Coordinates 41.008548°N 28.979938°E [1]Coordinates: 41.008548°N 28.979938°E [1]

Location Istanbul (historically Constantinople) Turkey

Designer Isidore of MiletusAnthemius of Tralles

Type • Eastern Orthodox Cathedral (537–1204)• Roman Catholic Cathedral (1204–1261)• Eastern Orthodox Cathedral (1261–1453)• Imperial Mosque (1453–1931)• Museum (1935–present)

Material Ashlar, brick

Length 82 m (269 ft)

Width 73 m (240 ft)

Height 55 m (180 ft)

Beginning date 532

Completion date 537

Hagia Sophia (from the Greek: Ἁγία Σοφία, "Holy Wisdom"; Latin: Sancta Sophia or Sancta Sapientia; Turkish: Ayasofya) is a former Greek Orthodox patriarchal basilica (church), later an imperial mosque, and now a museum in Istanbul, Turkey. From the date of its construction in 537 until 1453, it served as an Eastern Orthodox cathedral and seat of the Patriarchate of Constantinople,[2] except between 1204 and 1261, when it was converted to a Roman

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Catholic cathedral under the Latin Empire. The building was a mosque from 29 May 1453 until 1931. It was thensecularized and opened as a museum on 1 February 1935.[3]

The Church was dedicated to the Wisdom of God, the Logos, the second person of the Holy Trinity,[4] its patronalfeast taking place on 25 December, the commemoration of the Birth of the incarnation of the Logos in Christ.Although sometimes referred to as Sancta Sophia (as though it were named after Saint Sophia), sophia being thephonetic spelling in Latin of the Greek word for wisdom, its full name in Greek is Ναός τῆς Ἁγίας τοῦ ΘεοῦΣοφίας, "Shrine of the Holy Wisdom of God". Famous in particular for its massive dome, it is considered theepitome of Byzantine architecture and is said to have "changed the history of architecture." It remained the world'slargest cathedral for nearly a thousand years thereafter, until Seville Cathedral was completed in 1520. The currentbuilding was originally constructed as a church between 532 and 537 on the orders of the Byzantine EmperorJustinian and was the third Church of the Holy Wisdom to occupy the site, the previous two having both beendestroyed by rioters. It was designed by the Greek scientists Isidore of Miletus, a physicist, and Anthemius ofTralles, a mathematician.The church contained a large collection of holy relics and featured, among other things, a 15-metre (49 ft) silvericonostasis. The focal point of the Eastern Orthodox Church for nearly one thousand years, the building witnessedthe excommunication of Patriarch Michael I Cerularius on the part of Pope Leo IX in 1054, an act which iscommonly considered the start of the Great Schism.In 1453, Constantinople was conquered by the Ottoman Turks under Sultan Mehmed II, who ordered this mainchurch of the Orthodox Christianity converted into a mosque. By this point, the Church had fallen into a state ofdisrepair. Nevertheless, the Christian cathedral made a strong impression on the new Ottoman rulers and theydecided to convert it into a mosque.[5][6] The bells, altar, iconostasis, and sacrificial vessels and other relics wereremoved and the mosaics depicting Jesus, his Mother Mary, Christian saints and angels were also removed orplastered over. Islamic features – such as the mihrab, minbar, and four minarets – were added. It remained a mosqueuntil 1931 when it was closed to the public for four years. It was re-opened in 1935 as a museum by the Republic ofTurkey.From its initial conversion until the construction of the nearby larger Sultan Ahmed Mosque (Blue Mosque ofIstanbul) in 1616, it was the principal mosque of Istanbul. The Hagia Sophia served as inspiration for many otherOttoman mosques, such as the Blue Mosque, the Şehzade Mosque, the Süleymaniye Mosque, the Rüstem PashaMosque and the Kılıç Ali Paşa Mosque.

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History

First church

Interior view of the Hagia Sophia,showing Islamic elements on the top of

the main dome.

The first church on the site was known as the Μεγάλη Ἐκκλησία (MegálēEkklēsíā, "Great Church"), or in Latin "Magna Ecclesia",[7] because of itslarger dimensions in comparison to the contemporary churches in the City.Inaugurated on 15 February 360 (during the reign of Constantius II) by theArian bishop Eudoxius of Antioch,[8] it was built next to the area where theimperial palace was being developed. The nearby Hagia Eirene ("HolyPeace") church was completed earlier and served as cathedral until the GreatChurch was completed. Both churches acted together as the principalchurches of the Byzantine Empire.

Writing in 440, Socrates of Constantinople claimed that the church was builtby Constantius II, who was working on it in 346. A tradition which is notolder than the 7th – 8th century, reports that the edifice was built byConstantine the Great. Zonaras reconciles the two opinions, writing thatConstantius had repaired the edifice consecrated by Eusebius of Nicomedia,after it had collapsed. Since Eusebius was bishop of Constantinople from 339to 341, and Constantine died in 337, it seems possible that the first churchwas erected by the latter. The edifice was built as a traditional Latincolonnaded basilica with galleries and a wooden roof. It was preceded by anatrium. It was claimed to be one of the world's most outstanding monumentsat the time.

The Patriarch of Constantinople John Chrysostom came into a conflict withEmpress Aelia Eudoxia, wife of the emperor Arcadius, and was sent intoexile on 20 June 404. During the subsequent riots, this first church waslargely burned down. Nothing remains of the first church today.

Second church

Stone remains of the basilica ordered byTheodosius II, showing the Lamb of God

A second church was ordered by Theodosius II, who inaugurated it on10 October 415. The basilica with a wooden roof was built by architectRufinus. A fire started during the tumult of the Nika Revolt and burnedthe second Hagia Sophia to the ground on 13–14 January 532.

Several marble blocks from the second church survive to the present;among them are reliefs depicting 12 lambs representing the 12apostles. Originally part of a monumental front entrance, they nowreside in an excavation pit adjacent to the museum's entrance after theywere discovered in 1935 beneath the western courtyard by A. M.Schneider. Further digging was forsaken for fear of impinging on theintegrity of the building..

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Marble blocks from the second church

Third church (current structure)

On 23 February 532, only a few weeks after the destruction of thesecond basilica, Emperor Justinian I elected to build a third andentirely different basilica, larger and more majestic than itspredecessors.

Construction of church depicted in codexManasses Chronicle (14th century)

Justinian chose physicist Isidore of Miletus and mathematicianAnthemius of Tralles as architects; Anthemius, however, died withinthe first year of the endeavor. The construction is described in theByzantine historian Procopius' On Buildings (Peri ktismatōn, Latin: Deaedificiis). The emperor had material brought from all over the empire– such as Hellenistic columns from the Temple of Artemis at Ephesus,large stones from quarries in porphyry from Egypt, green marble fromThessaly, black stone from the Bosporus region, and yellow stone fromSyria. More than ten thousand people were employed. This new church

was contemporaneously recognized as a major work of architecture. The theories of Heron of Alexandria may havebeen utilized to address the challenges presented by building such an expansive dome over so large a space.[citation

needed] The emperor, together with the Patriarch Menas, inaugurated the new basilica on 27 December 537 – 5 yearsand 10 months after construction start - with much pomp.[9][10][11] The mosaics inside the church were, however,only completed under the reign of Emperor Justin II (565–578).

Hagia Sophia was the seat of the Orthodox patriarch of Constantinople and a principal setting for Byzantine imperialceremonies, such as coronations. Like other churches throughout Christendom, the basilica offered sanctuary frompersecution to outlaws.Earthquakes in August 553 and on 14 December 557 caused cracks in the main dome and eastern half-dome. Themain dome collapsed completely during a subsequent earthquake on 7 May 558, destroying the ambon, altar, andciborium. The crash was due mainly to the too high bearing load and to the enormous shearing load of the dome,which was too flat.[9] These caused the deformation of the piers which sustained the dome. The emperor ordered animmediate restoration. He entrusted it to Isidorus the Younger, nephew of Isidore of Miletus, who used lightermaterials and elevated the dome by "30 feet" (about 6.25 metres (20.5 ft)) – giving the building its current interiorheight of 55.6 metres (182 ft). Moreover, Isidorus changed the dome type, erecting a ribbed dome with pendentives,whose diameter lay between 32.7 and 33.5 m. Under Justinian's orders, eight Corinthian columns were disassembledfrom Baalbek, Lebanon, and shipped to Constantinople around 560. This reconstruction, giving the church its present6th-century form, was completed in 562. The Byzantine poet Paul the Silentiary composed a long epic poem (stillextant), known as Ekphrasis, for the rededication of the basilica presided over by Patriarch Eutychius on 23December 562.In 726, the emperor Leo the Isaurian issued a series of edicts against the veneration of images, ordering the army to destroy all icons – ushering in the period of Byzantine iconoclasm. At that time, all religious pictures and statues were removed from the Hagia Sophia. After a brief reprieve under Empress Irene (797–802), the iconoclasts made a comeback. Emperor Theophilus (829–842) was strongly influenced by Islamic art, which forbids the representation of living beings.[12] He had a two-winged bronze door with his monograms installed at the southern entrance of the

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church.The basilica suffered damage, first in a great fire in 859, and again in an earthquake on 8 January 869, that made ahalf-dome collapse. Emperor Basil I ordered the church repaired.After the great earthquake of 25 October 989, which collapsed the Western dome arch, the Byzantine emperor BasilII asked for the Armenian architect Trdat (Armenian: Տրդատ ճարտարապետ; Latin: Tiridates), creator of thegreat churches of Ani and Argina, to direct the repairs.[13] He erected again and reinforced the fallen dome arch, andrebuilt the west side of the dome with 15 dome ribs.[14] The extent of the damage required six years of repair andreconstruction; the church was re-opened on 13 May 994. At the end of the reconstruction, the church's decorationswere renovated, including the additions of paintings of four immense cherubs, a new depiction of Christ on thedome, and on the apse a new depiction of the Virgin Mary holding Jesus between the apostles Peter and Paul.[15] Onthe great side arches were painted the prophets and the teachers of the church.In his book De caerimoniis aulae Byzantinae ("Book of Ceremonies"), Emperor Constantine VII (913–919) wrote adetailed account of the ceremonies held in the Hagia Sophia by the emperor and the patriarch.

19th-century marker of the tomb of EnricoDandolo, the Doge of Venice who commandedthe Sack of Constantinople in 1204, inside the

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Upon the capture of Constantinople during the Fourth Crusade, thechurch was ransacked and desecrated by the Latin Christians. TheByzantine historian Niketas Choniates described the capture ofConstantinople; many reputed relics from the church – such as a stonefrom the tomb of Jesus, the Virgin Mary's milk, the shroud of Jesus,and bones of several saints – were sent to churches in the West and canbe seen there now in various museums. During the Latin occupation ofConstantinople (1204–1261) the church became a Roman Catholiccathedral. Baldwin I of Constantinople was crowned emperor on 16May 1204 in Hagia Sophia, at a ceremony which closely followedByzantine practices. Enrico Dandolo, the Doge of Venice whocommanded the sack and invasion of the city by the Latin Crusaders in1204, is buried inside the church. The tomb inscription carrying hisname, which has become a part of the floor decoration, was spat upon by many of the angry Byzantines whorecaptured Constantinople in 1261. However, restoration led by the brothers Gaspare and Giuseppe Fossati duringthe period 1847–1849 cast doubt upon the authenticity of the doge's grave; it is more likely a symbolic memorialrather than burial site.

After the recapture in 1261 by the Byzantines, the church was in a dilapidated state. In 1317, emperor Andronicus IIordered four new buttresses (Πυραμὶδας, Greek:"Piramídas") to be built in the eastern and northern parts of thechurch, financing them with the inheritance of his deceased wife, Irene.[16] New cracks developed in the dome afterthe earthquake of October 1344, and several parts of the building collapsed on 19 May 1346; consequently, thechurch was closed until 1354, when repairs were undertaken by architects Astras and Peralta.

Mosque (1453–1935)Constantinople was taken by the Ottomans on May 29, 1453. In accordance with the custom at the time Sultan Mehmet II limited his troops three days of unbridled pillage once the city fell, after which he would claim its contents himself.[17] Hagia Sophia was not exempted from the pillage, becoming its focal point as the invaders believed it to contain the greatest treasures of the city.[18] Shortly after the city's defenses collapsed, pillagers made their way to the Hagia Sophia and battered down its doors.[19] Throughout the siege worshipers participated in the Holy Liturgy and Prayer of the Hours at the Hagia Sophia, and the church formed a refuge for many of those who were unable to contribute to the city's defense, such as women, children and elderly.[20][21] Trapped in the church, congregants and refugees became spoils to be divided amongst the Ottoman invaders. The building was desecrated

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and looted, and occupants enslaved, violated or slaughtered; while elderly and infirm were killed, women and girlswere raped and the remainder chained and sold into slavery. Priests continued to perform Christian rites untilstopped by the invaders. When the Sultan and his cohort entered the church he insisted it should be at oncetransformed into a mosque. One of the Ulama then climbed the pulpit and recited the Shahada.[22]

Fountain (Şadırvan) for ritual ablutions

The mihrab located in the apse where the altarused to stand, pointing towards Mecca

As described by several Western visitors (such as the Córdobannobleman Pero Tafur and the Florentine Cristoforo Buondelmonti),[23]

the church was in a dilapidated state, with several of its doors fallenfrom their hinges; Mehmed II ordered a renovation as well as theconversion. Mehmet attended the first Friday prayer in the mosque on1 June 1453.[24] Aya Sofya became the first imperial mosque ofIstanbul.[25] To the corresponding Waqf were endowed most of theexisting houses in the city and the area of the future Topkapı Palace.From 1478, 2,360 shops, 1,300 houses, 4 caravanserais, 30 boza shops,and 23 shops of sheep heads and trotters gave their income to thefoundation.[26] Through the imperial charters of 1520 (AH 926) and1547 (AH 954) shops and parts of the Grand Bazaar and other marketswere added to the foundation.Before 1481 a small minaret was erected on the southwest corner ofthe building, above the stair tower. Later, the subsequent sultan,Bayezid II (1481–1512), built another minaret at the northeast corner.One of these collapsed after the earthquake of 1509, and around themiddle of the 16th century they were both replaced by two diagonallyopposite minarets built at the east and west corners of the edifice.

In the 16th century the sultan Suleiman the Magnificent (1520–1566)brought back two colossal candlesticks from his conquest of Hungary.They were placed on either side of the mihrab. During the reign ofSelim II (1566–1574), the building started showing signs of fatigueand was extensively strengthened with the addition of structuralsupports to its exterior by the great Ottoman architect Mimar Sinan,who is also considered one of the world's first earthquake engineers. Inaddition to strengthening the historic Byzantine structure, Sinan built the two additional large minarets at the westernend of the building, the original sultan's lodge, and the Türbe (mausoleum) of Selim II to the southeast of thebuilding in 1576-7 / AH 984. In order to do that, one year before parts of the Patriarchate at the south corner of thebuilding were pulled down. Moreover, the golden crescent was mounted on the top of the dome, while a respect zone35 arşin (about 24 m) wide was imposed around the building, pulling down all the houses which in the meantimehad nested around it. Later his türbe hosted also 43 tombs of Ottoman princes. In 1594 / AH 1004 Mimar (courtarchitect) Davud Ağa built the türbe of Murad III (1574–1595), where the Sultan and his Valide, Safiye Sultan werelater buried. The octagonal mausoleum of their son Mehmed III (1595–1603) and his Valide was built next to it in1608 / 1017 H by royal architect Dalgiç Mehmet Aĝa.[27] His son Mustafa I (1617–1618; 1622–1623) converted thebaptistery into his türbe.

Murad III had also two large alabaster Hellenistic urns transported from Pergamon and placed on two sides of thenave.In 1717, under Sultan Ahmed III (1703–1730), the crumbling plaster of the interior was renovated, contributing indirectly to the preservation of many mosaics, which otherwise would have been destroyed by mosque workers. In fact, it was usual for them to sell mosaics stones – believed to be talismans – to the visitors. Sultan Mahmud I ordered the restoration of the building in 1739 and added a medrese (a Koranic school, now the library of the

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museum), an Imaret (soup kitchen for distribution to the poor) and a library, and in 1740 a Şadirvan (fountain forritual ablutions), thus transforming it into a külliye, i.e. a social complex. At the same time a new sultan's lodge and anew mihrab were built inside.

Medallions and pendant chandeliers

Circa 1900 photograph, from its time as amosque.

The most famous restoration of the Aya Sofya was ordered by SultanAbdülmecid and completed by eight hundred workers between 1847and 1849, under the supervision of the Swiss-Italian architect brothersGaspare and Giuseppe Fossati. The brothers consolidated the dome andvaults, straightened the columns, and revised the decoration of theexterior and the interior of the building. The mosaics in the uppergallery were cleaned. The old chandeliers were replaced by newpendant ones. New gigantic circular-framed disks or medallions werehung on columns. They were inscribed with the names of Allah, theProphet Muhammad, the first four caliphs Abu Bakr, Umar, Uthmanand Ali, and the two grandchildren of Mohammed: Hassan andHussain, by the calligrapher Kazasker Mustafa İzzed Effendi(1801–1877). In 1850 the architect Fossati built a new sultan's galleryin a Neo-Byzantine style connected to the royal pavilion behind themosque. Outside the Aya Sofya, a timekeeper's building and a newmadrasah were built. The minarets were altered so that they were ofequal height. When the restoration was finished, the mosque wasre-opened with ceremonial pomp on 13 July 1849.

Museum (1935–present)

Interior panorama of the Hagia Sophia

In 1935, the first Turkish President and founder of the Republic ofTurkey, Mustafa Kemal Atatürk, transformed the building into amuseum. The carpets were removed and the marble floor decorationssuch as the Omphalion appeared for the first time in centuries, whilethe white plaster covering many of the mosaics was removed.Nevertheless, the condition of the structure deteriorated, and the WorldMonuments Fund placed Hagia Sophia on 1996 World MonumentsWatch, and again in 1998. The building's copper roof had cracked,causing water to leak down over the fragile frescoes and mosaics.Moisture entered from below as well. Rising ground water had raisedthe level of humidity within the monument, creating an unstableenvironment for stone and paint. With the help of financial services company American Express, WMF secured a

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series of grants from 1997 to 2002 for the restoration of the dome. The first stage of work involved the structuralstabilization and repair of the cracked roof, which was undertaken with the participation of the Turkish Ministry ofCulture. The second phase, the preservation of the dome's interior, afforded the opportunity to employ and trainyoung Turkish conservators in the care of mosaics. By 2006, the WMF project was complete, though other areas ofHagia Sophia continue to require conservation.Although use of the complex as a place of worship (mosque or church) should be strictly prohibited, in 2006 theTurkish government allowed the allocation of a small room in the museum complex to be used as a prayer room forChristian and Muslim museum staff,[28] and since 2013 from the minarets of the museum the muezzin sings the callto prayer twice per day, in the afternoon. The museum's hours are 9.30 am to 4.30 pm, Tuesday through Sunday;entry fee is 25 TL, or free with the use of a Museum Card.Turkish fine arts photographer Ahmet Ertuğ's close-up pictures of the restored mosaics can be viewed in the uppernorthern gallery of the Hagia Sophia in a permanent exhibition.[29]

Architecture

A section of the original architecture of HagiaSophia

Groundplan of the Hagia Sophia

Hagia Sophia is one of the greatest surviving examples of Byzantinearchitecture. Its interior is decorated with mosaics and marble pillarsand coverings of great artistic value. The temple itself was so richlyand artistically decorated that Justinian proclaimed, "Solomon, I haveoutdone thee!" (Νενίκηκά σε Σολομών). Justinian himself hadoverseen the completion of the greatest cathedral ever built up to thattime, and it was to remain the largest cathedral for 1,000 years up untilthe completion of the cathedral in Seville in Spain.

Justinian's basilica was at once the culminating architecturalachievement of late antiquity and the first masterpiece of Byzantinearchitecture. Its influence, both architecturally and liturgically, waswidespread and enduring in the Eastern Orthodox, Roman Catholic,and Muslim worlds alike.

The vast interior has a complex structure. The nave is covered by acentral dome which at its maximum is 55.6 m (182 ft 5 in) from floorlevel and rests on an arcade of 40 arched windows. Repairs to itsstructure have left the dome somewhat elliptical, with the diametervarying between 31.24 m (102 ft 6 in) and 30.86 m (101 ft 3 in).

At the western entrance side and eastern liturgical side, there are arched openings extended by half domes ofidentical diameter to the central dome, carried on smaller semi-domed exedras; a hierarchy of dome-headed elementsbuilt up to create a vast oblong interior crowned by the central dome, with a clear span of 76.2 m (250 ft).

Interior surfaces are sheathed with polychrome marbles, green and white with purple porphyry, and gold mosaics.The exterior, clad in stucco, was tinted yellow and red during restorations in the 19th century at the direction of theFossati architects.

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One of the mighty stone columns with metalclasps

Dome

The dome of Hagia Sophia has spurred particular interest for many arthistorians, architects and engineers because of the innovative way theoriginal architects envisioned it. The cupola is carried on four sphericaltriangular pendentives, an element which was first fully realized in thisbuilding. The pendentives implement the transition from the circularbase of the dome to the rectangular base below,[30] restraining thelateral forces of the dome and allow its weight to flow downwards.They were reinforced with buttresses during Byzantine and later duringOttoman times, under the guidance of the architect Sinan. The weightof the dome remained a problem for most of the building's existence.The original cupola collapsed entirely after the quake of 558; in 563 anew dome was built by Isidore the younger, a nephew of Isidore ofMiletus. Unlike the original, this included 40 ribs and was slightlytaller, in order to lower the lateral forces on the church walls. Largersection of the second dome collapsed as well, in two episodes, so thattoday only two sections of the present dome, in the north and southside, still date from the 562 reconstruction. Of the whole dome's 40 ribs, the surviving north section contains 8 ribs,while the south section includes 6 ribs.

The face of the Hexapterygon(six-winged angel) on the north east

pendentive (upper left), discovered butcovered again by Gaspare Fossati during

its restoration, is visible again.

Although this design stabilizes the dome and the surrounding walls andarches, the actual construction of the walls of Hagia Sophia weakened theoverall structure. The bricklayers used more mortar than brick, weakening thewalls. The structure would have been more stable if the builders at least letthe mortar cure before they began the next layer; however, they did not dothis. When the dome was erected, its weight caused the walls to lean outwardbecause of the wet mortar underneath. When Isidore the Younger rebuilt thefallen cupola, he had to first build up the interior of the walls to make themvertical again. Additionally, the architect raised the height of the rebuilt domeby approximately six metres so that the lateral forces would not be as strongand its weight would flow more easily down into the walls. Moreover, heshaped the new cupola like a scalloped shell or the inside of an umbrella, withribs that extend from the top down to the base. These ribs allow the weight of the dome to flow between thewindows, down the pendentives, and ultimately to the foundation.

Hagia Sophia is famous for the light that reflects everywhere in the interior of the nave, giving the dome theappearance of hovering above this. This effect was achieved by inserting forty windows around the base of theoriginal structure. Moreover, the insertion of the windows in the dome structure lowers its weight.The unique character of the design of Hagia Sophia shows how this structure is one of the most advanced andambitious monuments of late antiquity.

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MinaretsOne of the minarets (at southwest) was built from red brick while the other three were built from white limestoneand sand stone; of which the slender one at northeast was erected by Sultan Bayezid II while the two larger minaretsat west were erected by Sultan Selim II and designed by the famous Ottoman architect Mimar Sinan.

Lustration urns

Lustration urn from Pergamon

Two huge marble lustration (ritual purification) urns were broughtfrom Pergamon during the reign of Sultan Murad III. Stemming fromthe Hellenistic period, they are carved from single blocks of marble.

Narthex and portals

Imperial Gate

The Imperial Gate was the main entrance between the exo- andesonarthex. It was reserved only for the emperor. The Byzantinemosaic above the portal depicts Christ and an unnamed Emperor.A long ramp from the northern part of the outer narthex leads up to theupper gallery.

Upper Gallery

The upper gallery is laid out in a horseshoe shape that encloses thenave until the apse. Several mosaics are preserved in the upper gallery,an area traditionally reserved for the empress and her court. Thebest-preserved mosaics are located in the southern part of the gallery.The upper gallery contains runic graffiti presumed to be from theVarangian Guard.

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The Loge of the Empress

Loge of the Empress

Interior of the Hagia Sophia by JohnSinger Sargent, 1891

The Loge of the Empress is located in the centre of the upper enclosure, orgallery, of the Hagia Sophia. From there the empress and the court-ladieswould watch the proceedings down below. A round, green stone marks thespot where the throne of the empress stood.

Marble Door

Marble Door

The Marble Door inside the Hagia Sophia is located in the southernupper enclosure, or gallery. It was used by the participants in synods,they entered and left the meeting chamber through this door.

Wishing column

At the northwest of the building there is a column with a hole in themiddle covered by bronze plates. This column goes by different names;the perspiring column, the wishing column, the sweating column or thecrying column. The column is said to be damp when touched and havesupernatural powers.[31]

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DecorationsOriginally, under Justinian's reign, the interior decorations consisted of abstract designs on marble slabs on the wallsand floors, as well as mosaics on the curving vaults. Of these mosaics, one can still see the two archangels Gabrieland Michael in the spandrels of the bema. There were already a few figurative decorations, as attested by the eulogyof Paul the Silentiary. The spandrels of the gallery are revetted in opus sectile, showing patterns and figures offlowers and birds in precisely cut pieces of white marble set against a background of black marble. In later stagesfigurative mosaics were added, which were destroyed during the iconoclastic controversy (726–843). Presentmosaics are from the post-iconoclastic period. The number of treasures, relics and miracle-working, painted icons ofthe Hagia Sophia grew progressively richer into an amazing collection. Apart from the mosaics, a large number offigurative decorations were added during the second half of the 9th century: an image of Christ in the central dome;Orthodox saints, prophets and Church Fathers in the tympana below; historical figures connected with this church,such as Patriarch Ignatius; some scenes from the gospel in the galleries. Basil II let paint on each of the fourpendentives a giant six-winged Cherub.[15] The Ottomans covered their face with a golden halo, but in 2009 one ofthem was restored to the original state.[32]

MosaicsThe church was richly decorated with mosaics throughout the centuries. They either depicted the Virgin Mother,Jesus, saints, or emperors and empresses. Other parts were decorated in a purely decorative style with geometricpatterns.During the Sack of Constantinople in 1204, the Latin Crusaders vandalized valuable items in every importantByzantine structure of the city, including the golden mosaics of the Hagia Sophia. Many of these items were shippedto Venice, whose Doge, Enrico Dandolo, had organized the invasion and sack of Constantinople.Following the building's conversion into a mosque in 1453, many of its mosaics were covered with plaster, due toIslam's ban on representational imagery. This process was not completed at once, and reports exist from the 17thcentury in which travellers note that they could still see Christian images in the former church. In 1847–49, thebuilding was restored by two Swiss Italian brothers, Gaspare and Giuseppe Fossati, and Sultan Abdülmecid allowedthem to also document any mosaics they might discover during this process. This work did not include repairing themosaics and after recording the details about an image, the Fossatis painted it over again. The Fossatis restored themosaics of the two hexapteryga (singular Greek: εξαπτέρυγον, pr. hexapterygon, six-winged angel); it is uncertainwhether they are seraphim or cherubim) located on the two east pendentives, covering their faces again before theend of the restoration.[33] The other two placed on the west pendentives are copies in paint created by the Fossatis,since they could find no surviving remains of them. As in this case, the architects reproduced in paint damageddecorative mosaic patterns, sometimes redesigning them in the process. The Fossati records are the primary sourcesabout a number of mosaic images now believed to have been completely or partially destroyed in an earthquake in1894. These include a mosaic over a now-unidentified Door of the Poor, a large image of a jewel-encrusted cross,and a large number of images of angels, saints, patriarchs, and church fathers. Most of the missing images werelocated in the building's two tympana. The Fossatis also added a pulpit (minbar) and the four large medallionshanging in the nave bearing the names of Muhammad and Islam's first caliphs.

Imperial Gate mosaicImperial Gate mosaics: located in the tympanum above the gate, used only by the emperors when entering the church. Based on style analysis, it has been dated to the late 9th or early 10th century. The emperor with a nimbus or halo could possibly represent emperor Leo VI the Wise or his son Constantine VII Porphyrogenitus bowing down before Christ Pantocrator, seated on a jeweled throne, giving His blessing and holding in His left hand an open book. The text on the book reads as follows: "Peace be with you. I am the light of the world". (John 20:19; 20:26; 8:12) On each side of Christ's shoulders is a circular medallion: on His left the Archangel Gabriel, holding a staff, on His right

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His Mother Mary.

Southwestern entrance mosaicSouthwestern entrance mosaics, situated in the tympanum of the southwestern entrance, date from 944. They wererediscovered during the restorations of 1849 by Fossati. The Virgin sits on a throne without a back, her feet restingon a pedestal, embellished with precious stones. The Child Christ sits on her lap, giving His blessing and holding ascroll in His left hand. On her left side stands emperor Constantine in ceremonial attire, presenting a model of thecity to Mary. The inscription next to him says: "Great emperor Constantine of the Saints". On her right side standsemperor Justinian I, offering a model of the Hagia Sophia. The medallions on both sides of the Virgin's head carrythe monograms MP and ΘY, an abbreviation of "Mētēr" and "Theou", meaning "Mother of God".

Apse mosaicsVirgin and Child: this was the first of the post-iconoclastic mosaics. It was inaugurated on 29 March 867 byPatriarch Photius and the emperors Michael III and Basil I. This mosaic is situated in a high location on the halfdome of the apse. Mary is sitting on a throne without a back, holding the Child Jesus on her lap. Her feet rest on apedestal. Both the pedestal and the throne are adorned with precious stones. These mosaics were believed to be areconstruction of the mosaics of the 6th century that were previously destroyed during the iconoclastic era by theByzantines of that time, as represented in the inaugural sermon by the patriarch Photios. However, no record offigural decoration of Hagia Sophia exists before this time. The mosaics are set against the original goldenbackground of the 6th century. The portraits of the archangels Gabriel and Michael (largely destroyed) in the bemaof the arch also date from the 9th century.

Emperor Alexander mosaicThe Emperor Alexander mosaic is not easy to find for the first-time visitor, located in the second floor in a darkcorner of the ceiling. It depicts Emperor Alexander in full regalia, holding a scroll in his right hand and a globuscruciger in his left. A drawing by Fossati showed that the mosaic survived until 1849, and that Thomas Whittemore,founder of the Byzantine Institute of America who was granted permission to preserve the mosaics, assumed that ithad been destroyed in the earthquake of 1894. Eight years after his death, the mosaic was discovered in 1958 largelythrough the researches of Robert Van Nice. Unlike most of the other mosaics in Hagia Sophia, which had beencovered over by ordinary plaster, the Alexander mosaic was simply painted over and reflected the surroundingmosaic patterns and thus was well hidden. It was duly cleaned by the Byzantine Institute's successor to Whittemore,Paul A. Underwood.[34]

Empress Zoe mosaicsThe Empress Zoe mosaics on the eastern wall of the southern gallery date from the 11th century. Christ Pantocrator,clad in the dark blue robe (as is the custom in Byzantine art), is seated in the middle against a golden background,giving His blessing with the right hand and holding the Bible in His left hand. On either side of His head are themonograms IC and XC, meaning Iēsous Khristos. He is flanked by Constantine IX Monomachus and Empress Zoe,both in ceremonial costumes. He is offering a purse, as symbol of the donation he made to the church, while she isholding a scroll, symbol of the donations she made. The inscription over the head of the emperor says: "Constantine,pious emperor in Christ the God, king of the Romans, Monomachus". The inscription over the head of the empressreads as follows: "Zoë, the very pious Augusta". The previous heads have been scraped off and replaced by the threepresent ones. Perhaps the earlier mosaic showed her first husband Romanus III Argyrus or her second husbandMichael IV. Another theory is that these mosaics were made for an earlier emperor and empress, with their headschanged into the present ones.

Hagia Sophia 14

Comnenus mosaicsThe Comnenus mosaics, equally located on the eastern wall of the southern gallery, date from 1122. The VirginMary is standing in the middle, depicted, as usual in Byzantine art, in a dark blue gown. She holds the Child Christon her lap. He gives His blessing with His right hand while holding a scroll in His left hand. On her right side standsemperor John II Comnenus, represented in a garb embellished with precious stones. He holds a purse, symbol of animperial donation to the church. Empress Irene stands on the left side of the Virgin, wearing ceremonial garmentsand offering a document. Their eldest son Alexius Comnenus is represented on an adjacent pilaster. He is shown as abeardless youth, probably representing his appearance at his coronation aged seventeen. In this panel one can alreadysee a difference with the Empress Zoe mosaics that is one century older. There is a more realistic expression in theportraits instead of an idealized representation. The empress is shown with plaited blond hair, rosy cheeks and greyeyes, revealing her Hungarian descent. The emperor is depicted in a dignified manner.

Deësis mosaic

The Deësis mosaic at Hagia Sophia

The Deësis mosaic (Δέησις, "Entreaty") probably dates from 1261. Itwas commissioned to mark the end of 57 years of Roman Catholic useand the return to the Orthodox faith. It is the third panel situated in theimperial enclosure of the upper galleries. It is widely considered thefinest in Hagia Sophia, because of the softness of the features, thehumane expressions and the tones of the mosaic. The style is close to that of the Italian painters of the late 13th orearly 14th century, such as Duccio. In this panel the Virgin Mary and John the Baptist (Ioannes Prodromos), bothshown in three-quarters profile, are imploring the intercession of Christ Pantocrator for humanity on Judgment Day.The bottom part of this mosaic is badly deteriorated. This mosaic is considered as the beginning of the Renaissancein Byzantine pictorial art.

Northern tympanon mosaicsThe northern tympanon mosaics feature various saints. They have been able to survive due to the very high andunreachable location. They depict Saints John Chrysostom and Ignatius the Younger standing, clothed in white robeswith crosses, and holding richly jewelled Holy Bibles. The names of each saint is given around the statues in Greek,in order to enable an identification for the visitor. The other mosaics in the other tympani have not survived probablydue to the frequent earthquakes as opposed to any deliberate destruction by the Ottoman conquerors.

20th-century restorationA large number of mosaics were uncovered in the 1930s by a team from the Byzantine Institute of America led byThomas Whittemore. The team chose to let a number of simple cross images remain covered by plaster, butuncovered all major mosaics found.Because of its long history as both a church and a mosque, a particular challenge arises in the restoration process.Christian iconographic mosaics can be uncovered, but often at the expense of important and historic Islamic art.Restorers have attempted to maintain a balance between both Christian and Islamic cultures. In particular, muchcontroversy rests upon whether the Islamic calligraphy on the dome of the cathedral should be removed, in order topermit the underlying Pantocrator mosaic of Christ as Master of the World, to be exhibited (assuming the mosaic stillexists).[citation needed]

Hagia Sophia 15

Mosaics withgeometric

pattern decoratethe upper

imperial gallery

Imperial gate mosaics Virgin and Child flanked byJustinian I and Constantine I

Apse mosaicof the

Theotokos(Virgin

Mother andChild)

Empress Zoemosaics

Comnenus mosaic The Deësis mosaic withChrist as ruler

Detail ofDeësis mosaic

Mosaic in the northern tympanondepicting Saint John Chrysostom

The interior of the domeundergoing restoration

References[1] http:/ / tools. wmflabs. org/ geohack/ geohack. php?pagename=Hagia_Sophia& params=41. 008548_N_28. 979938_E_[2][2] Müller-Wiener (1977), p. 112.[3] Magdalino, Paul, et al. "Istanbul: Buildings, Hagia Sophia" in Grove Art Online. Oxford Art Online. http:/ / www. oxfordartonline. com.

accessed 28 February 2010.[4][4] Janin (1953), p. 471.[5] (http:/ / www. livescience. com/ 27574-hagia-sophia. html)." LiveScience.[6] " Hagia Sophia (http:/ / archnet. org/ library/ sites/ one-site. jsp?site_id=2966)." ArchNet.[7][7] Müller-Wiener (1977), p. 84.[8][8] Janin (1953), p. 472.[9][9] Müller-Wiener (1977), p. 86.[10][10] "The Chronicle of John Malalas," Bk 18.86 Translated by E. Jefffreys, M. Jeffreys, and R. Scott. Australian Association of Byzantine

Studies, 1986 vol 4.[11][11] "The Chronicle of Theophones Confessor: Byzantine and Near Eastern History AD 284-813." Translated with commentary by Cyril Mango

and Roger Scott. AM 6030 pg 316, with this note: Theophanes' precise date should be accepted.[12][12] Brubaker (2011), p. 115[13] Maranci, Christina. " The Architect Trdat: Building Practices and Cross-Cultural Exchange in Byzantium and Armenia (http:/ / www. jstor.

org/ stable/ 3592516?origin=JSTOR-pdf)." Journal of the Society of Architectural Historians, Vol. 62, No. 3, September 2003, pp. 294–305.

Hagia Sophia 16

[14][14] Müller-Wiener (1977), p. 87.[15][15] Mamboury (1953) p. 287[16][16] Müller-Wiener (1977), p. 91.[17] Nicol, Donald M. The End of the Byzantine Empire. London: Edward Arnold Publishers, 1979, p. 88.[18] Nicol. The End of the Byzantine Empire, p. 90.[19] Runciman. The Fall of Constantinople, p. 147.[20] Runciman. The Fall of Constantinople, pp. 133–134.[21] Nicol, Donald M. The Last Centuries of Byzantium 1261–1453. Cambridge: Cambridge University Press, 1972, p. 389.[22] Runciman. The Fall of Constantinople, p. 149.[23] G. Gerola, "Le vedute di Costantinopoli di Cristoforo Buondemonti," SBN 3 (1931): 247–79.[24][24] Mamboury (1953), p. 288.[25][25] Necipoĝlu (2005), pg. 13[26] Boyar & Fleet (2010), p. 145[27][27] Müller-Wiener (1977), p. 93.[28] İbadete açık Ayasofya (http:/ / arsiv. sabah. com. tr/ 2006/ 07/ 04/ gnd102. html)[29] Index of Ahmet Ertuğ's exhibitions. (http:/ / www. ahmetertug. com/ index-exhibitions-1. html)[30] Kleiner and Mamiya. Gardner's Art Through the Ages, p. 331.[31] http:/ / www. ayasofyamuzesi. gov. tr/ en/ icmekan. aspx?no=72[32][32] Ronchey (2010), p. 157[33][33] Hoffman (1999), p. 207[34] Lord Kinross. "Hagia Sophia: A History of Constantinople." Newsweek, 1972, pp. 132–133.

Bibliography• Mamboury, Ernest (1953). The Tourists' Istanbul. Istanbul: Çituri Biraderler Basımevi.• Janin, Raymond (1953). La Géographie Ecclésiastique de l'Empire Byzantin. 1. Part: Le Siège de Constantinople

et le Patriarcat Oecuménique. 3rd Vol. : Les Églises et les Monastères. Paris: Institut Français d'EtudesByzantines.

• Müller-Wiener, Wolfgang (1977). Bildlexikon zur Topographie Istanbuls: Byzantion, Konstantinupolis, Istanbulbis zum Beginn d. 17 Jh (in German). Tübingen: Wasmuth. ISBN 978-3-8030-1022-3.

• Turner, J. (1996). Grove Dictionary of Art. Oxford: Oxford University Press. ISBN 0-19-517068-7.• Mainstone, Rowland J. (1997). Hagia Sophia: Architecture, Structure, and Liturgy of Justinian's Great Church

(reprint edition). W W Norton & Co Inc. ISBN 0-500-27945-4..• Hoffman, Volker (1999). Die Hagia Sophia in Istanbul (in German). Bern: Lang. ISBN 3-906762-81-5.• Hagia Sophia Church (http:/ / www. islamicarchitecture. org/ architecture/ monuments/ hagia. sophia. html)

Wikipedia:Link rot, also known as Church of Holy Wisdom.• Necipoĝlu, Gulru (2005). The Age of Sinan: Architectural Culture in the Ottoman Empire. London: Reaktion

Books. ISBN 978-1-86189-244-7.• Ronchey, Silvia; Braccini, Tommaso (2010). Il romanzo di Costantinopoli. Guida letteraria alla Roma d'Oriente

(in Italian). Torino: Einaudi. ISBN 978-88-06-18921-1.• Boyran, Ebru; Fleet, Kate (2010). A social History of Ottoman Istanbul. Cambridge: Cambridge University Press.

ISBN 978-0-521-19955-1.• Brubaker, Leslie; Haldon, John (2011). Byzantium in the Iconoclast era (ca 680–850). Cambridge: Cambridge

University Press. ISBN 978-0-521-43093-7.

Hagia Sophia 17

Further reading• Alchermes, Joseph D. (2005). "Art and Architecture in the Age of Justinian". In Maas, Michael. The Cambridge

Companion to the Age of Justinian. Cambridge: Cambridge U.P. pp. 343–375. ISBN 978-0-521-52071-3.• Balfour, John Patrick Douglas (1972). Hagia Sophia. W.W. Norton & Company. ISBN 978-0-88225-014-4.• Cimok, Fatih (2004). Hagia Sophia. Milet Publishing Ltd. ISBN 978-975-7199-61-8.• Doumato, Lamia (1980). The Byzantine church of Hagia Sophia: Selected references. Vance Bibliographies.

ASIN B0006E2O2M.• Goriansky, Lev Vladimir (1933). Haghia Sophia: analysis of the architecture, art and spirit behind the shrine in

Constantinople dedicated to Hagia Sophia. American School of Philosophy. ASIN B0008C47EA.• Harris, Jonathan, Constantinople: Capital of Byzantium. Hambledon/Continuum (2007). ISBN

978-1-84725-179-4• Howland Swift, Emerson (1937). The bronze doors of the gate of the horologium at Hagia Sophia. University of

Chicago. ASIN B000889GIG.• Kahler, Heinz (1967). Haghia Sophia. Praeger. ASIN B0008C47EA.• Kinross, Lord (1972). "Hagia Sophia, Wonders of Man". Newsweek. ASIN B000K5QN9W.• Kleinbauer, W. Eugene; Anthony White (2007). Hagia Sophia. London: Scala Publishers.

ISBN 978-1-85759-308-2.• Kleinbauer, W. Eugene (2000). Saint Sophia at Constantinople: Singulariter in Mundo (Monograph (Frederic

Lindley Morgan Chair of Architectural Design), No. 5.). William L. Bauhan. ISBN 978-0-87233-123-5.• Krautheimer, Richard (1984). Early Christian and Byzantine Architecture. New Haven, CT: Yale University

Press. ISBN 978-0-300-05294-7.• Mainstone, R. J. (1997). Hagia Sophia: Architecture, Structure, and Liturgy of Justinian's Great Church. London:

Thames & Hudson. ISBN 978-0-500-27945-8.• Mainstone, Rowland J. (1988). Hagia Sophia. Architecture, structure and liturgy of Justinian's great church.

London: Thames & Hudson. ISBN 0-500-34098-6.• Mango, Cyril; Ahmed Ertuğ (1997). Hagia Sophia. A vision for empires. Istanbul.• Nelson, Robert S. (2004). Hagia Sophia, 1850–1950: Holy Wisdom Modern Monument. Chicago: University Of

Chicago Press. ISBN 978-0-226-57171-3.• Özkul, T. A. (2007). Structural characteristics of Hagia Sophia: I-A finite element formulation for static analysis.

Elsevier.• Swainson, Harold (2005). The Church of Sancta Sophia Constantinople: A Study of Byzantine Building. Boston,

MA: Adamant Media Corporation. ISBN 978-1-4021-8345-4.• Scharf, Joachim:Der Kaiser in Proskynese. Bemerkungen zur Deutung des Kaisermosaiks im Narthex der

Hagia Sophia von Konstantinopel. In: Festschrift Percy Ernst Schramm zu seinem siebzigsten Geburtstag vonSchülern und Freunden zugeeignet, Wiesbaden 1964, S. 27–35

• Yucel, Erdem (2005). Hagia Sophia. Scala Publishers. ISBN 978-1-85759-250-4.• Hagia Sophia from the Age of Justinian to the Present. Princeton Architectural. 1992. ISBN 978-1-878271-11-2.• Weitzmann, Kurt, ed., Age of spirituality: late antique and early Christian art, third to seventh century (http:/ /

libmma. contentdm. oclc. org/ cdm/ compoundobject/ collection/ p15324coll10/ id/ 41994), no. 592, 1979,Metropolitan Museum of Art, New York, ISBN 9780870991790

Hagia Sophia 18

Articles• Bordewich, Fergus M., "A Monumental Struggle to Preserve Hagia Sophia" (http:/ / www. smithsonianmag. com/

travel/ Fading-Glory. html), Smithsonian magazine, December 2008

Mosaics• MacDonald, William Lloyd (1951). The uncovering of Byzantine mosaics in Hagia Sophia. Archaeological

Institute of America. ASIN B0007GZTKS.• Mango, Cyril (1972). The mosaics of St. Sophia at Istanbul: The church fathers in the north Tympanum.

Dumbarton Oaks Center for Byzantine Studies. ASIN B0007CAVA0.• Mango, Cyril (1968). The Apse mosaics of St. Sophia at Istanbul: Report on work carried out in 1964. Johnson

Reprints. ASIN B0007G5RBY.• Mango, Cyril; Heinz Kahler (1967). Hagia Sophia: With a Chapter on the Mosaics. Praeger. ASIN B0000CO5IL.• Teteriatnikov, Natalia B. (1998). Mosaics of Hagia Sophia, Istanbul: The Fossati Restoration and the Work of the

Byzantine Institute. Dumbarton Oaks Research Library and Collection. ISBN 978-0-88402-264-0.• Yücel, Erdem (1988). The mosaics of Hagia Sophia. Efe Turizm. ASIN B0007CBGYA.

External links• Beneath the Hagia Sophia - Some photos from cisterns and passages (http:/ / beneaththehagiasophia. com/ )• Vaults of Heaven: Turkish photographer [[Ahmet Ertuğ (http:/ / www. wmf. org/ sites/ default/ files/ wmf_article/

pg_32-37_ertug_layout. pdf)] on capturing the glory of Byzantium], Icon Magazine, Spring 2006, pp. 32–37.• Hagia Sophia Paintings | Ottoman era (http:/ / www. karalahana. com/ fotograflar/ thumbnails. php?album=36)• Turkish Ministry of Culture and Tourism | Hagia Sophia Virtual Tour (http:/ / www. kultur. gov. tr/ tr/ ayasofya/

ayasofya. htm)• Byzantium 1200 | Hagia Sophia (http:/ / www. byzantium1200. com/ hagia. html) computer reconstruction.• Contemporary description (http:/ / gbgm-umc. org/ umw/ bible/ procopius. stm) by Procopius, Buildings (De

Aedificiis), published in 561.• Ecumenical Patriarchate | Hagia Sophia (http:/ / www. rel. gr/ photo/ thumbnails. php?album=5) – Photographs.• 3D panoramic tour of the Hagia Sophia (http:/ / www. 3dmekanlar. com/ sites. html#ISTANBUL_Ayasofya)• Hagia Sophia (http:/ / kordics. zenfolio. com/ f1027706324) – Photographs of the architecture, mosaics, and stone

decoration of Hagia Sophia.• Deesis Mosaic of Christ (http:/ / www. pallasweb. com/ deesis/ ) from the South Gallery of Hagia Sophia.

Article Sources and Contributors 19

Article Sources and ContributorsHagia Sophia  Source: http://en.wikipedia.org/w/index.php?oldid=574454810  Contributors: .snoopy., 2607:FA48:6E61:3100:B97F:47F7:1A99:17B, 35535qwe, 43hellokitty21, 5th earth,A3camero, Acarvin, Acroterion, Adam Bishop, Adam Carr, Adam Cuerden, Adriano.93, Aelfan1, Aetil, Aggelophoros, Ahmadi, Ahmet Gürsakal, Ahp378, Ahunt, Airsoftpro0, Alansohn, Alarob,Alchemist Jack, Alcmaeonid, Alessandro57, Alex756, Alexander den store, Alexander lau, Alfie66, Alibaba, Allstarecho, Alpalfour, Alphathon, Alsandro, Alvis, Amandajm, Amartinez1,Amateur55, Amerhadiazmi, Amitchell125, Ample123321, Ancheta Wis, Anders94, Andrei nacu, Andrepalis, Andres, Angr, Angrysockhop, Anna Lincoln, Anonymous Dissident, Anonymouseditor, Antandrus, Antidiskriminator, Anurup, Apha, Applebees1995, Aranel, Arch dude, Arco de Rayne, Argos'Dad, ArildV, Arnold Reisman, Artaxiad, Ashley kennedy3, Asterion, Ataturk63,Athenean, Atraveler, Atreklin, Auraking2, Auswiger, Avjoska, Avoided, Avram Fawcett, Awakened crowe, Aynali, Babakgh, Bad germ, Baiji, Baristarim, Barticus88, Bartlees, Bdiscoe,Bencherlite, Bender235, Berig, Bertilvidet, Bgwhite, Bhadani, BigBen212, Bigfun, Blahedo, BlaiseMuhaddib, Blanchardb, Blkshrt, Bob Burkhardt, Bobo192, Boing! said Zebedee, Bollweevil,Bookworm15, Boulaur, BrainyBroad, BrettAllen, Brian0918, BrianKnez, Britfish, Brougham96, Bubaloo, Byzres, C Talleyrand, C+C, C.Logan, CARPEDIEM, CMEHalverson, CMG,Calledman, Caltas, CambridgeBayWeather, CameramanD, Cami rene, Can't sleep, clown will eat me, Candleabracadabra, CapitalR, Cassivs, Catgut, CatherineMunro, CeeGee, Christian75, Citci,Cmglee, Cody7777777, Conscious, CountZ, Cplakidas, CrimsQn, CristianChirita, Cryptonym, Culture editor, Cybjorg, Cyverius, D6, DARTH SIDIOUS 2, DBaba, DBigXray, DVD R W,DadaNeem, DanniellaWB, Danskim, DarkFalls, David Pierce, DavidWBrooks, Davidcannon, Davidiad, Dbachmann, Deflective, Dekimasu, Delirium, Denizz, Deror avi, Diannaa, Digibrown,Dimadick, Dinkytown, Discospinster, Dmvward, DocWatson42, Dogface, Domichael, Donnyhoca, DopefishJustin, Dosseman, Download, Dr.K., Draeco, DragonTiger23, Dscharf, Dsmdgold,Dynzmoar, Dysprosia, E4024, Econrad, Editor Yazar, Effomatus, Egil, El C, Elekhh, EliasAlucard, Eliasbizannes, Elizabeth8338, Elizium23, Emote, Enaidowain, Enfantsduparadis, Epbr123,Erianna, Eric-Wester, Erol.fazlioglu, Erpbridge, Escape Orbit, Espoo, Eupator, Euthymios, Fabrib, Fak119, Falcanary, Falcon8765, Fama Clamosa, Favonian, Fdedio, Feudonym,Fieldday-sunday, Firstorm, Flavius Belisarius, Foucoult, Fram, Francvs, Funnyhat, Future Perfect at Sunrise, G.dallorto, GCarty, Gabbe, Gaius Cornelius, Gdr, Gentgeen, Ghepeu, Ghirlandajo,Gilgamesh, Gilliam, Gloriamarie, GnuCivodul, Go Phightins!, Godfrey Daniel, GoingBatty, Goswamir14, Greatergreen, Greek20, GregorB, Gregorof, Gryffindor, Gssq, Gtadoc, Gun Powder Ma,Gunebakan, Gurch, Guy Peters, Guycalledryan, Gwernol, Gwhodgson, Hadal, Hahc21, Hall Monitor, Hamiltondaniel, Hbdragon88, Hectorian, Hellmitre, Hephaestos, Herostratus, Hmains,Hotlorp, Hu12, Huaiwei, Hubertl-AT, HueSatLum, Hugo999, Hut 8.5, IGeMiNix, Iain99, Iblardi, Ieatscones, Illyria05, Imehling, Impaciente, Impetuss, Indefinitevirtue, IndulgentReader,InfernoXV, Invertzoo, Ircesc, Iridescent, Issyl0, Ixfd64, J.delanoy, JASpencer, JWB, JamesMLane, Janggeom, Jaxl, Jazz19, Jblim407, Jbribeiro1, Jfurr1981, Jimidriver, Jllm06, Jmillernet,Jmlk17, JoJan, Jodpurr, John254, Johnbod, Joopercoopers, Josep Llauradó, Jossi, Jpbowen, Jpgordon, Justice for All, Jvano, K pax6, Kablammo, Kahraman, Kaihoku, Kansas Bear, KarmaHeretic, KazekageTR, Kbdank71, Keilana, KeithB, Kent Wang, Keygur, Khepidjemwa'atnefru, Khoikhoi, Kilhan, Kimon, Kipala, Kralizec!, Kristyn 97, Kucbel, Kukini, Kuralyov, Kuru, KyZan,LA2, Lacrimosus, Lady Lotus, Lambiam, Lamprotes, Lardayn, Lcgerke, Leandrod, Leandros, Lectiodifficilior, Levork, Lfdder, Libya82, Lilac Soul, Lipsio, LittleOldMe old, Lizarazo999,LoveMonkey, LtPowers, Lugalbanda, Luna 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Image Sources, Licenses and ContributorsFile:Hagia Sophia Mars 2013.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hagia_Sophia_Mars_2013.jpg  License: Creative Commons Attribution-Sharealike 3.0  Contributors:User:ArildVfile:Location map Istanbul.png  Source: http://en.wikipedia.org/w/index.php?title=File:Location_map_Istanbul.png  License: unknown  Contributors: Dr. BlofeldImage:HagiaSophia DomeVerticalPano (pixinn.net).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:HagiaSophia_DomeVerticalPano_(pixinn.net).jpg  License: Creative CommonsAttribution-Sharealike 3.0  Contributors: User:XtoFImage:Istanbul.Hagia Sophia009.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Istanbul.Hagia_Sophia009.jpg  License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Georges Jansoone JoJanImage:Hagia Sophia Theodosius 2007 010.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Hagia_Sophia_Theodosius_2007_010.JPG  License: Public Domain  Contributors:GryffindorImage:38-manasses-chronicle.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:38-manasses-chronicle.jpg  License: Public Domain  Contributors: Original: Constantine ManassesImage:Henricus Dandolo grób RB1.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Henricus_Dandolo_grób_RB1.jpg  License: GNU Free Documentation License  Contributors:User:Radomil, User:RadomilImage:Fountain Hagia Sophia 2007 002.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Fountain_Hagia_Sophia_2007_002.jpg  License: Public Domain  Contributors: GryffindorImage:Haga Sofia RB5.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Haga_Sofia_RB5.jpg  License: GNU Free Documentation License  Contributors: User:RadomilFile:AYA Sophia2012.33.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:AYA_Sophia2012.33.jpg  License: Public Domain  Contributors: سبأFile:Sébah and Joaillier - Interior of Ayasofya Mosque.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Sébah_and_Joaillier_-_Interior_of_Ayasofya_Mosque.jpg  License:unknown  Contributors: Adam CuerdenFile:Hagia Sophia Interior Panorama.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hagia_Sophia_Interior_Panorama.jpg  License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:RreinartImage:Hagia-Sophia-Laengsschnitt.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hagia-Sophia-Laengsschnitt.jpg  License: Public Domain  Contributors: G.dallorto, RNackas,Saperaud, Sidonius, Wknight94, 1 anonymous editsImage:Hagia-Sophia-Grundriss.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hagia-Sophia-Grundriss.jpg  License: Public Domain  Contributors: Dorieo, G.dallorto, Gryffindor,Perhelion, SaperaudImage:Istanbul.Hagia Sophia041.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Istanbul.Hagia_Sophia041.jpg  License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors: Georges Jansoone JoJanFile:HagiaSophia Dome (pixinn.net).jpg  Source: http://en.wikipedia.org/w/index.php?title=File:HagiaSophia_Dome_(pixinn.net).jpg  License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:XtoFImage:Marble jar Hagia Sophia 2007 001.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Marble_jar_Hagia_Sophia_2007_001.jpg  License: Public Domain  Contributors:GryffindorImage:Imperial Gate Hagia Sophia 2007a.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Imperial_Gate_Hagia_Sophia_2007a.jpg  License: Public Domain  Contributors:Gryffindor

Image Sources, Licenses and Contributors 20

Image:Empress loge Hagia Sophia 2007 002.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Empress_loge_Hagia_Sophia_2007_002.jpg  License: Public Domain  Contributors:GryffindorFile:Interior of the Hagia Sophia.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Interior_of_the_Hagia_Sophia.jpg  License: Public Domain  Contributors: Bukk, Hiart, JMCC1,Jbribeiro1, Shakko, SonPraises, Wmpearl, 1 anonymous editsImage:Marble door Hagia Sophia 2007 003.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Marble_door_Hagia_Sophia_2007_003.jpg  License: Public Domain  Contributors:GryffindorFile:Sophia Fresco.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Sophia_Fresco.jpg  License: Creative Commons Attribution-Sharealike 3.0  Contributors: User:RreinartImage:Upper gallery Hagia Sophia 2007 007.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Upper_gallery_Hagia_Sophia_2007_007.jpg  License: Public Domain  Contributors:GryffindorImage:Hagia Sophia Imperial Gate mosaic 2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hagia_Sophia_Imperial_Gate_mosaic_2.jpg  License: unknown  Contributors:Hagia_Sophia_Imperial_Gate_mosaic.jpg: Photograph: Myrabella derivative work: MyrabellaImage:Hagia Sophia Southwestern entrance mosaics 2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hagia_Sophia_Southwestern_entrance_mosaics_2.jpg  License: unknown Contributors: File:Hagia_Sophia_Southwestern_entrance_mosaics.jpg: Photograph: Myrabella derivative work: MyrabellaImage:Apse mosaic Hagia Sophia Virgin and Child.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Apse_mosaic_Hagia_Sophia_Virgin_and_Child.jpg  License: unknown Contributors: Photograph: MyrabellaImage:Empress Zoe mosaic Hagia Sophia.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Empress_Zoe_mosaic_Hagia_Sophia.jpg  License: unknown  Contributors: Photographer:MyrabellaImage:Comnenus mosaics Hagia Sophia.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Comnenus_mosaics_Hagia_Sophia.jpg  License: unknown  Contributors: Photographer:MyrabellaImage:Deesis mosaic Hagia Sophia.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Deesis_mosaic_Hagia_Sophia.jpg  License: unknown  Contributors: Photograph: MyrabellaImage:Jesus-Christ-from-Hagia-Sophia.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Jesus-Christ-from-Hagia-Sophia.jpg  License: Creative Commons Attribution-Sharealike 3.0 Contributors: User:EdalImage:Johnchrysostom.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Johnchrysostom.jpg  License: Public Domain  Contributors: Ch.Andrew, Eugenio Hansen, OFS, G.dallorto,Gryffindor, Man vyi, Neuceu, OrthoArchitectDU, Saperaud, Shakko, Valentinian, 3 anonymous editsImage:Hagia Sophia Interior Dome.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hagia_Sophia_Interior_Dome.jpg  License: GNU Free Documentation License  Contributors:Matthew Badger bad_germ. Original uploader was Bad germ at en.wikipedia

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