The Church of St. Sophia
The earliest church was constructed during the reign of the emperor Constantine in basilical form, with a wooden roof. It was then the cathedral church of the city, and entitled Megala Ekklesia. From the fifth century onwards it became known as the church of Divine Wisdom-Haghia Sophia.
The original church was brunt during an upsiring on 20 June, 404, was rebuilt during the reign of Theodosıus II, and re-opened on 10 October, 415. The second church was destroyed by fire during the Nika upsiring in 532, and was completely restored with the support of the empress Theodora, wife of Justinianus after that upsiring had been supressed. The emperor comissioned the architects Anthemios of Tralles and Isador of Miletus to rebuild it and according to the account of the Byzantine historian Prokopius, the emperor ordered a building of great stature and magnificence, using his imperial authority to ensure that nothing was lacking in the building of it. Eight columns of red porphyry were brought from the Diana temple at Ephesus. Other marbles were obtained from classical sites and from some of the finest marble quarries of the Byzantine world. A thousand masons and ten thousand apprentices worked on the building, the aim beign to finish it as soon as possible. The work began in 532 A.D., was completed in five years, 11 months and 10 days, and the church was consecrated on 27 December 537 by the emperor Justinianus. The grand piers over the underground cisterns on the site were, to some extent, a measure against earthquake damage, but did not prevent this monumental structure from suffering some damage during earthquakes in 553, 557 and 559. It was restored in 562 by the architect Isidoros, nephew of the earlier architect of the same name, who raised the previously depressed dome by some 6.25m. Further support for the major piers was provided by buttresses.
In the 9 century, during the reigns of the emperors Theophilos and Mikheal III, the bronze doors were installed. In 869 and 889, the church was damaged by earthquake, and was reopened after extensive repair on 13 May, 994. Mosaics were added during the reign of the emperor Basilius II.
During the Latin invasion of 1204, St. Sophia was raided and stripped of its finest ornaments, including the doors, which were throught to be gold. The building was greatly damaged during this invasion. Four major buttresses were added to the building in 1317, but it underwent considerable damge later in the earthquake of 1346, to be restored once again in 1354 by the architect G.Prella.
Mehmet the Conqueror had the church restored once again after the conquest of Istanbul, and converted it, into a mosque. Among the many restorations and additions to this, the largest church of the Byzantine era, one of the most extensive was the addition of buttress walls on the north and south facades in 1317 by Adronikos II. The four minarets, one on each corner of the building were added at various time during the Ottoman period, the southeastern minaret dating from the reign of Mehmet II, the northeastern minaret to Bayezit II and the two minarest on the western facade to the period of Selim II. The last restoration, carried out during the Ottoman perood coincides with the reign of Abdülmecid. The church was converted into a museum during the Republican period, by order of Mustafa Kemal Atatürk, and re-opened on 1 February, 1935.
The building covers an area of 100×70m., and the plan consists of a wide central nave flanked by two smaller naves, an apsis, an inner and outer narthex and a central dome up to 55.6m in height. Owing to restorations carried out at various periods, this dome is no longer entirely circular but has, gradually become elliptical. The forty lobes of the dome, seperated by brick ribs, are pierced by oculi. In the centre of the dome are inscribed verses from the Koranic text-the Sure-i Nur,. executed by the Ottoman calligrapher Kazasker Mustafa Izzet Efendi.
The interior of the church is extremely important for art historians, being finely decorated with a number of important mosaics and artefacts from various periods. According to accounts of the late classical period, it was decorated with fine mosaics of gold, silver, glass, stone, marble, limestone, granite and terra cotta tesserae. Some of the more important mosaics are as follows:
Entering the main portal to the inner narthex, one sees, over the portal, the figure of the Madonna holding the Christ child, flanked by Constantine the Great on her right, presenting a model of the city of Constantinople to her, and on her left, the emperor Justinianus presenting a model of the church. This dates from the last quarter of the 10 century and the reign of the emperor Basil II. The cross-vaulted portico to the inner narthex is decorated with gold mosaics of the Justinian period. These are the original non-figural mosaics of St. Sophia, which, beign nonfigural, escaped damage during the iconoclastic period.
The emperor’s gate, on the south western facade of the church is surmounted by a mosaic showing Christ enthroned on a semicircular encrusted throne, holding a book. The medallion to the right of this contains a bust portrait of the Madonna, and to the left, a bust of Gabriel. The figure prostrating himself before Christ is throught to be the emperor Leo, and the mosaic is throught to date to the 10 century A.D.
The semi-dome of the apse contains a mosaic of the Madonna enthroned, holding the Christ child, dating to the 9 century. This is throught to be the earliest figural mosaic of the posticonoclastic period in the church. To the right of the drum stands the white-robed figure of Gabriel, and to the left, the now considerably damaged figure of the archangel Micheal.
Portraits of the saints once decorated the semi-circular arched niches below the northern tympanum, three of which have survived. On the western wall, contained in the niches, are portraits of the patriarchs of the eastern church, the Istanbul patriarchs, Saint Ignatius and Ionnes Krysostomos in the first and central niche, and the figure of Saint Ignatius Theophoros, patriarch of Antakya in the fifth niche. These figures are robed in mantles bearing cruciform motifs on the collar and skirt, and hold the bible in their hands. The names of the figures are written beside them in Greek. These mosaics date from the end of the 9 century to the beginning of the 10 century. The four pendentives of the dome are decorated with the figures of cherubim or seraphim. Those on the eastern side of the church are original, while the western figures were restored in fresco in 1847 by Fossati.
Access to the galleries of the church is obtained via a stone-paved ramp. The gallery decorated with green columns directly opposite the apsis was used by the empress and her retinue during ceremonies. Entering the southern gallery from here one passes through a pseudo-wooden marble door, called the gate of heaven and hell. The right-hand side, decorated with floral motifs, representing heaven, the left-hand side, undecorated, representing hell. Passing through this door one enters the chamber set aside for the meetings of the consuls, decorated with the Deisis mosaic, one of the most famous mosaics in the world, which portrays Christ flanked by the Virgin and John the Baptist. This extremely expressive mosaic dates to the 12 century.
In the gallery to the south east of the church is to be found the Comnenos mosaic, in which the Madonna and child enthroned is flanked on the left by the emperor Ionnes Comnenos II holding a pouch of money and on the right by the empress Eirene, a Hungarian princess. The figure of the Madonna is surmounted by a monogram describing her as the mother of God, while the names of the other figures are inscibed next to them in Greek. In one corner one also sees the mosaic portraying the sons of the emperor Ionnes (John) Comnenos II, and his co-ruler Alexius Comnenos. The latter is shown in a frontal pose, in elaborate gown and crown, and holds a sceptre in his raised right hand. On the northern wall of the emperor’s hall, in the southern gallery is to be found the Zoe mosaic. The empress stands to the right of Christ entroned, with her third husband, the emperor Constantine Monomachos IX on his left. The mosaic dates to the 11 century A.D.
The mosaic of the emperor Alexander is to be seen on the south western end of the central hall on the northern gallery. Alexander, the third son of Basil I, who ruled for 13 months in 912, is shown standing, in a frontal pose, elaborately dressed in ceremonial robes and crown. In his left hand he holds an orb, and in his right hand a pouch. His name and titles are inscribed in two medallions on either side of his head. Dating to the X century A.D., this mosaic is in considerably good condition. After seeing these extremely important mosaics, we have completed our tour of the St. Sophia church, but for the grounds, where one may see the monumental fountain built by the Ottoman sultan Mahmut I.
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