The history of humanity has witnessed many great structures. When we look back at our past, it is not easy to say which is superior to the other. Since the dawn of time, people have built great cities, monuments and temples.

‘Today, as someone privileged to serve as a guide in this magnificent building — I dare once again to tell the story of Hagia Sophia.’

Hello! I am Oğulcan ÖZDİL. The free audio guide you are about to listen to has been prepared by me for Hagia Sophia, one of the most extraordinary structures ever built by human hands.

Having toured beneath Hagia Sophia’s dome on numerous occasions, I felt it appropriate to present this guide in sections. This way, you can take your photographs at the end of each section and have the opportunity to examine the details of your choice at your leisure. In the first section, I’ll begin with the history of the Hagia Sophia and recount the building’s journey up to the present day. We’ll then discuss the building’s architecture and its various sections. After that, I’ll highlight key features, touch upon the Hagia Sophia’s mosaics, and conclude the audio guide.

Let’s get started!

Hagia Sophia is a building that has been constructed a total of three times on the city’s first hill. The building we are visiting today is the third and final version of these three structures. When it was first built, the church was named ‘Megale Ekklesia’, meaning the Great Church. We know that from the 5th century onwards, this name changed to Sophia. The building took its name from Theia Sophia, the second element of the Christian Trinity, meaning Divine Wisdom. However, we also know that the Byzantines continued to refer to this building as the “Great Church” for a long time. After 1453, the building’s name changed slightly to Hagia Sophia, and it has retained this name to this day.

Socrates, a church historian who lived between 380 and 440, reports that the first structure of Hagia Sophia was commissioned by Emperor Constantius, who reigned from 337 to 361. The opening of this first structure took place on 15 February 360. It was most likely built in the form of a basilica with a wooden roof. There is a widespread belief linking the history of this building to Constantine the Great; however, the truth is that the first church must have been completed and opened during the reign of his son, Constantios.

Unfortunately, this first building did not last very long. During the uprising that began following the exile of John Chrysostom, Patriarch of Constantinople, due to his conflict with Emperor Arcadius, the church was burned down on 20 June 404.

The restoration of the church was completed during the reign of Theodosius II, and it was reopened for worship on 10 October 415. According to historical sources, this church was built in the form of a five-aisled basilica. However, this second church did not survive for very long either.

During the fire that broke out during the uprising known in history as the Nika Revolt, which was directed against Emperor Justinian, Theodosius’s Hagia Sophia was completely destroyed on the night of 13 January 532. However, Justinian immediately launched a reconstruction effort following the suppression of the revolt. Procopius, considered the most reliable historical source of the period, reports that construction began on 23 February.

Justinian gathered building materials from every corner of his vast empire. Eight large red porphyry columns from Heliopolis in Egypt; columns from the Temple of Artemis at Ephesus in Western Anatolia, from Kyzikos, and from Baalbek in Syria; and marble of various colours and types from different locations were brought in. It is estimated that around 10,000 workers were employed on the construction site. Justinian personally inspected the site and encouraged the workers. And Hagia Sophia was completed in the remarkably short time of five years and ten months, being opened by Emperor Justinian on 27 December 537 during a magnificent ceremony attended by Patriarch Menas.

The building has suffered damage on numerous occasions throughout its history. Following the earthquake of 557, the eastern section of the dome collapsed on 7 May 558. It was rebuilt by the young Isidoros, the nephew of one of the building’s original architects; the dome was raised by approximately 6.25 metres and reopened for worship on 24 December 562.

During the Iconoclastic period (726–842), all figurative decorations in Hagia Sophia were removed. The fire of 859 caused serious damage; the earthquake of 869, however, inflicted the greatest damage on the building. During the reign of Emperor Basil II, the great central dome collapsed once more, likely in an earthquake in the late 10th century. Following a six-year restoration process, the building was restored to its former state by the Armenian architect Trdat and reopened on 13 May 994.

During the Fourth Crusade in 1204, the Latins who occupied Constantinople caused significant damage to Hagia Sophia. A more extensive restoration was carried out in 1317 during the reign of Andronikos II, and the outer walls were reinforced with buttresses. However, on 19 May 1346, the eastern main arch and part of the dome collapsed for no apparent reason. The Eastern Roman Empire, which had become economically very weak, was only able to repair this damage in 1354 by collecting donations from the public.

Following the conquest of Istanbul, the Hagia Sophia was converted into a mosque in accordance with the custom of the time. According to Tursun Bey, when Fatih Sultan Mehmed climbed up to the dome and saw the dilapidated state of the building and its surroundings, he recited his famous Persian couplet. Fatih prevented the Hagia Sophia from being demolished; after performing the first prayer there, he donated the mosque as the first endowment of his foundation and had a madrasa built next to it. The first minaret was constructed of wood atop the southern of the two buttress towers situated beside the half-dome on the western façade.

During the reign of Selim II, Mimar Sinan had the houses surrounding Hagia Sophia—which were damaging the structure—removed; he also built buttresses to prevent the building from collapsing. The mausoleum built for this sultan by Mimar Sinan was the first sultan’s mausoleum constructed in the area. During the reign of Murad III, two minarets, a minbar, a pulpit and a sultan’s gallery were added to the northern façade; two large marble cubes dating from antiquity were brought from Bergama and placed inside the building.

In 1739, Mahmud I had a magnificent library built in the southern aisle of the structure. In 1740, an extremely elegant fountain, a primary school and a soup kitchen were added to the outer courtyard. Thus, Hagia Sophia was transformed into a true complex of religious buildings.

Between 1847 and 1849, an extensive restoration was carried out under the supervision of the Swiss architects, the Fossati brothers. During this process, all the mosaics on the walls were uncovered; drawings were made by both Gaspare Fossati and the German Wilhelm Salzenberg, who was based in Istanbul. During the same restoration, large circular calligraphic panels, approximately 7.5 metres in diameter and written by Kazasker Mustafa İzzet Efendi, were also prepared and installed in the building.

The conversion of Hagia Sophia from a mosque into a museum was implemented by a Council of Ministers decision in 1934. Following lengthy legal proceedings and debates, the Council of State announced its historic ruling on 2 July 2020 and annulled the 1934 Cabinet decision. Subsequently, by a Presidential Decree dated 10 July 2020, Hagia Sophia was transferred to the Presidency of Religious Affairs and, 86 years after its conversion into a museum, was reopened for worship on 24 July 2020 with Friday prayers under the name of the Grand Mosque of Hagia Sophia.

From the moment you step inside the Hagia Sophia, it has an effect that is sure to stir a sense of excitement within you. This effect is undoubtedly due to the vastness of the interior space and the immense dome, which appears almost to be suspended in the air. The most common type of structure in early Christian religious architecture is the basilica plan. However, there is another type, known as the central-plan structure, which has its roots in Roman architecture. We typically see this plan applied to funerary structures and bathhouses. Hagia Sophia, as an example where these two contrasting spatial concepts are combined, was constructed according to a plan known as a domed basilica. Although it possesses a basilical structure in terms of its plan, its roof is a dome. Excluding the entrance corridors (narthex) and the apse, the building measures 73.5 metres in length and 69.5 metres in width internally. The apse projects outwards by approximately 6 metres. With these immense dimensions, the building was designed to be the largest structure in the Eastern Roman world.

When examining the individual sections of the building, the first thing that catches the eye is the courtyard, of which almost no trace remains today. On the western façade, there was a courtyard surrounded by colonnaded porticoes; at its centre stood a fountain known as a phiale. From this courtyard, one enters the nine-bay outer narthex, which is covered by cross vaults. From the outer narthex, which appears quite plain today, one passes through five doors into the inner narthex. The inner narthex, which is higher and more richly decorated than the outer narthex, comprises nine sections divided by arches running parallel to the axis. These narthexes, which served as the entrance corridor to the church, played a significant role in connecting the courtyard outside with the sanctuary inside.

The door at the southern end of the inner narthex is known as the Horologion Door. The bronze double doors here, adorned with crosses, were installed by Theophilos in the 9th century. Doors leading to the main worship area can be found in every section of the narthex. The three central doors are known as the Imperial Doors and were reserved exclusively for the emperor. Emperors typically entered through the central door with the highest arch; upon entering, they would hand over all the ornaments that distinguished them from other people to a clergyman waiting at the door. This gesture signified an acknowledgement of the supremacy of God and the Church. The vaults of the inner narthex are covered with mosaics featuring geometric patterns on a gold background.

The main sanctuary of Hagia Sophia consists of two side aisles separated by four large piers and columns placed between them. The rectangular main sanctuary is covered by an elliptical dome 55 metres high. It appears that the original dome was more domed; the dome that has survived to the present day from a later period is flatter. As this dome arrangement created structural problems, efforts to find a solution never ceased. To support the dome, it was set upon four large arches; two large half-domes were placed along the east–west axis to cover the upper part of the long central nave. The load was attempted to be transferred to the outer walls and from there to the ground; however, as this proved insufficient, new buttresses were added repeatedly to the western and eastern façades of Hagia Sophia.

Two architects — Anthemios of Tralleis (modern-day Aydın) and Isidoros of Miletus (modern-day Milet–Balat) — chose to cover the central space of this colossal structure with a large, shallow dome, approximately 31–33 metres in diameter, resting on pendentives and presenting a unified appearance like a billowing sail. This was, in the truest sense, an act of great courage. Structurally, the building struggled to bear this load and was only kept standing in both periods — both the Roman and the Ottoman — with the aid of large buttresses added from the outside.

Anthemios was not the first person to build a dome; but he was the first architect to raise it to such a height and to dare to incorporate windows. These windows lent the dome an incredible sense of lightness. For those coming to worship, the dome symbolised the celestial vault shimmering with light above. This concept was so well understood by artists and clergy that Hagia Sophia became the prototype for all Roman churches from the time of Justinian, that is, from the 6th century onwards, and its influence spread throughout the world.

On the right-hand side of the main sanctuary, another area covered and adorned with circular stones catches the eye. This area is known as the omphalos; it is believed to have been used for the coronation ceremonies of emperors who ascended the throne in later periods. During the coronation, the emperor would stand in the centre of the omphalos, with 12 attendants positioned around him. This theological-political ritual alludes to Jesus Christ and his 12 apostles; it also signifies that political legitimacy derives from divine sources. Various theories have been put forward regarding this area. Some suggest that it actually symbolises the cosmos, with the small circles around it representing the 12 signs of the zodiac.

This library, commissioned by the Ottoman Sultan Mahmud I to be built within the palace, opened on 21 April 1740. It is worth noting that, in the Turkish library tradition, the ground floor is usually left empty to prevent damp; yet here, the structure was built to appear as a separate entity, wedged between two buttresses. The reading room, cast in the Baroque style and separated by bronze balustrades of exceptional craftsmanship, is supported by a row of five arched columns.

The upper gallery, covered by cradle vaults, is accessed via ramps extending from the north and south. The central balcony section of the upper gallery, which served as a prayer hall reserved for women, was set aside for the empress. This section is separated from the main hall by green breccia columns, and the floor paving also differs from the rest of the space. The balustrades on the upper floor were entirely adorned with cross motifs.

The rooms situated to the west and south were referred to as ‘priests’ rooms’ during the Ottoman period. However, this is most likely a later designation. It is thought that these rooms were the patriarchal and metropolitan chambers, referred to as ‘sekreton’ in the sources. The gallery above the south aisle, accessed via a marble door, is a section believed to have been a private area where members of the Patriarchate held their meetings. We shall return to this section in the later parts of this account, where we will discuss its mosaics.

It is situated in the south-western corner of the Hagia Sophia and was originally separated from the main building by a small courtyard; today, it is connected to the Hagia Sophia by later additions. Built before Justinian’s Hagia Sophia, this structure was first converted into an oil storehouse and then into a mausoleum by the Ottomans. Today, the mausoleums of Sultan Mustafa I (1617–1623) and Sultan Ibrahim (1640–1648) are situated here. The Baptistery was a place where holy water flowed into a pool, and the people regarded this water as sacred. The Patriarch would descend from Hagia Sophia to the narthex and conduct baptismal ceremonies here.

Although the mausoleums adjoining the Hagia Sophia Mosque are largely independent structures, they were incorporated into the mosque over time or came into being through the adaptation of its architectural elements. This integration began with Selim II, son of Suleiman the Magnificent; it subsequently expanded under sultans such as Murad III, his son Sultan Mehmed III, Mustafa I and Ibrahim. With the burial of the princes, the site also became a centre for other members of the Ottoman dynasty, such as the sultan’s daughters (princesses) and the valide sultans. The three large mausoleums adjacent to Hagia Sophia are considered among the finest examples of Ottoman-Turkish architecture in terms of structure, ceramic decoration and other details. During the Ottoman period, Hagia Sophia was transformed into a complex comprising these mausoleums and the structural units I shall describe shortly.

It was built between 1742 and 1743 during the major restoration programme initiated by Sultan Mahmud I. Soup was distributed every day, and on Thursdays, rice and zerde were served. This institution, where ‘sweet-tongued’ cooks served the poor, continued its operations until the closure of the foundation (waqf) charity kitchens. It was used as a carpet museum for a time and has since been closed to visitors. The door located in the corner of this building’s courtyard is a true masterpiece.

NOTE:
“Zerde is a traditional Turkish dessert made with rice, sweetened with sugar, and flavored with saffron and rosewater.”

Immediately following the conquest, the priests’ quarters adjoining the Hagia Sophia were converted into a madrasa to meet urgent needs. According to the endowment deeds of Mehmed the Conqueror, the original Hagia Sophia Madrasa was built next to the mosque as part of his own endowment. Although the building is thought to date from 1466, it was not the first or last step Fatih took towards education in Istanbul’s future. However, as other educational institutions came to the fore over time, this place lost its significance and even remained closed for periods. The madrasa was first completely demolished in 1873, coinciding with the reign of Abdulaziz; this action was criticised by the social circles of the time, and it was subsequently rebuilt using reinforced concrete. Following the 1924 law that abolished the function of madrasas, this building served for a time as an orphanage run by the municipality before being demolished once again. Most recently, work began in 2017 on its reconstruction in accordance with the original design, and the rebuilding process was completed in 2022.

Commissioned by Mahmud I in 1740–41. Supported by eight marble columns and surrounded by a portico featuring eight pointed arches with muqarnas capitals, this fountain contains bronze spouts in each section of the marble basin. Although built during a period when Ottoman art was turning towards the Baroque under Western influence, it remains faithful to the classical Turkish style in its porticoes, arches and the lines that cover the entire structure.

This small, elegant structure in the south-western courtyard of Hagia Sophia is built of stone and brick in regular courses. The ground floor features a double-arched section opening outwards, whilst the upper floor is accessed via a stone staircase. The upper floor receives ample light through three windows on three of its four sides; it is covered by a drum-shaped dome with windows.

This structure, where clocks were kept to determine prayer times, was built during the reign of Sultan Abdülmecid, immediately following the restoration carried out by the Fossati brothers between 1846 and 1849. It is also worth noting that during the Byzantine period, a mechanical clock (horologion) was situated in the south-west corner of the building, releasing a figure every hour.

The most striking feature of the building’s additions is undoubtedly the mihrab. The reason for this is that, within the apse—which possesses an extremely symmetrical architectural design—the mihrab is positioned at an angle to the axis. As there was no alternative to the requirement that worship be performed facing the qibla, this asymmetrical arrangement arose as a result of the necessity to adapt the building when it was converted into a mosque. We know that Fatih had a mihrab and a wooden minbar installed in Hagia Sophia. The wall of the mihrab once housed prayer rugs and victory banners belonging to the Prophet Muhammad. It has undergone alterations through subsequent renovations and has been enriched with interesting details added to its surroundings. The calligraphy is particularly striking. The decorative lettering chosen for Hagia Sophia is in perfect harmony with the building as a whole. Furthermore, during the reign of Sultan Suleiman the Magnificent, candlesticks taken from Buda Cathedral during the campaign in Hungary were placed beside the mihrab.

One of the most valuable and fascinating artefacts from the Turkish period at the Hagia Sophia is its pulpit. Although some older sources provide conflicting information regarding the ownership of this work due to the similarity in names between Murad III and Murad IV, an examination of the decorative details—specifically the columns used beneath the sultan’s gallery, the muezzin’s galleries, and the marble balustrades added during the same period—leads to the conclusion that this structure was added during the reign of Murad III. The pulpit is, in its own right, one of the most significant treasures housed within Hagia Sophia. Although added at a later date, it has been positioned flawlessly and blends beautifully into the building’s interior decoration without detracting from the overall appearance.

During the Ottoman period, the Hagia Sophia served as a place of worship frequently visited by the sultans and the court. Ceremonies attended in person by the Ottoman sultans were held, particularly on religious nights and important occasions. Ensuring security during such a busy schedule of events and worship, and providing boxes symbolically reserved for the sultans, was a necessity. The elegant structure rising at the north-east corner of the building today was added during the renovations carried out between 1847 and 1879 by order of Sultan Abdülmecid. Although this addition appears at first glance to resemble the Eastern style, it was not designed as a standalone structure. It was constructed in connection with the Imperial Pavilion, built adjacent to the Hagia Sophia by the Topkapı Palace. The building contained Imperial Boxes that were not originally built within it and can be dated to various periods. Furthermore, there were mahfils (boxes) used for different functions both in the main hall and in the entrance corridors.

Located in the immediate right and left corners as you enter the main sanctuary, these cubes—which can be seen on the ground floor when looking westwards towards the Imperial Gates from the upper gallery level—are among the most intriguing additions to Hagia Sophia. They were produced through a highly labour-intensive process, involving the hollowing out of solid marble blocks sourced from the Marmara Islands. According to many sources, these cubes were brought from Bergama during the reign of Murad III and bear Hellenistic influences. In the 16th century, when they were brought here, marble bands were fitted to their tops and they were completed with bronze lids. They were used as a fountain within the mosque.

Different lighting elements have been used from time to time in an ancient structure such as the Hagia Sophia. The chandeliers that adorn the Hagia Sophia today were installed following the 1847 restoration. All of these chandeliers, which serve to illuminate the space, are stylistically harmonious and have been positioned to cover a considerable area. The largest and most magnificent of these hangs from the main dome. Made from hollow metal forms, the lower rows of these lamps are gilded. These chandeliers reflect an elegant blend of 19th-century Ottoman and Byzantine lamp styles; they present the Roman fan (palm) motif alongside the traditional Turkish curving branch (rumi) motif side by side within the same border. Prior to these chandeliers, there was a single-piece spherical chandelier hung during the reign of Ahmed III (1717). This octagonal chandelier, which can also be seen in Fossati’s pre-restoration drawings, was in magnificent harmony with the building’s colossal dimensions thanks to its simple design; it stood approximately 3 metres above the floor, was composed of slender iron rods, and held 600 lamps. Why this highly aesthetic historic chandelier was removed following the restoration remains one of the questions still awaiting an answer.

This inscription, found on the marble balustrade in the south gallery on the upper floor, is thought to be written in the runic alphabet characteristic of Scandinavia—specifically the Young Futhark alphabet of the Viking Age. Most of the inscription is illegible; it consists solely of a line of text from which only the name ‘Halftan…’ at the very beginning can be made out. Dated to the 9th century, this inscription still retains its mystery to this day. Some argue that it was written by a member of a mercenary unit affiliated with the empire; whilst less common, there are also those who claim the inscription was written in Old Turkic. According to those who say the inscription belongs to a Viking soldier, it reads: “Halvdan… was here (lived here).” Those who suggest it is in Old Turkic, however, claim it reads: “Çu (a male name), hear your friend, forgive, (he is) a sinner (i.e. guilty), this man. O Aege (O God!), grant peace (tranquillity) to the heart, protect!” Numerous inscriptions in various languages have been identified in Hagia Sophia; these have been the subject of academic studies, books and articles. In preparing this section, I did not wish to overlook this topic, nor did I wish to emphasise that I found it difficult to understand why this inscription has attracted so much attention. And I wished to remind you of this: Hagia Sophia is not merely a single inscription.

Another significant and striking feature of the Hagia Sophia is the rich collection of calligraphic examples it houses. The dome inscriptions, along with the eight large circular panels at the points where the inner dome arches meet, were first written on a small scale by Kazasker Mustafa İzzet Efendi during the restoration of Hagia Sophia, and were subsequently enlarged using the grid method by his students, Şefik Bey and Ali Efendi. The inscriptions, dating from the mid-19th century, were gilded with gold leaf. The panels, which were produced in sections at the shipyard (shipbuilding workshop) and assembled inside, are approximately 7.5 metres in diameter and were made of lime wood before being hung in their places. In order: “Allah, the Possessor of Majesty and Grandeur”, “Muhammad, peace be upon him”, “Siddik Abu Bakr, may Allah be pleased with him”, “Omar, who distinguished the believers from the unbelievers, may the Almighty Allah be pleased with him”, “Osman, may Allah be pleased with him”, ‘Ali, may Allah be pleased with him’, ‘Hasan, may Allah be pleased with him’, ‘Hussein, may Allah be pleased with him’.

On the dome, verse 35 of the Chapter of Light (Surah an-Nur) from the Holy Qur’an is inscribed. It states:

“Allah is the Light of the heavens and the earth. The parable of His light is like a niche within which is a lamp. That lamp is within a crystal-clear glass; that glass is like a star shining brightly, lit from a blessed tree—an olive tree—which is neither of the east nor of the west. Its oil would almost give light even if no fire touched it. Light upon light. Allah guides to His light whom He wills. It is inscribed: ‘Allah sets forth parables for mankind. Allah is All-Knowing.’

Eight small panels have been placed on the semi-circular wall facing the mihrab; these are scaled-down versions of the large mosque panels and are also the work of Kazasker Mustafa İzzet Efendi.

The verse from Surah al-Baqarah, verse 255, beginning with “Allah, there is no god but He,” is inscribed on the ceramic band running along the mihrab wall.

On the right and left walls of the mihrab side, there are seven further calligraphic panels of varying sizes. Those on the right are of great historical significance: four of the panels are imperial calligraphic works gifted to Hagia Sophia. The two upper panels bear the signature of Sultan Mahmud II, whilst the lower left one bears that of Sultan Ahmed III. The lower right panel, which is unsigned, is known to belong to Sultan Mustafa II. We are also aware that Hagia Sophia once possessed beautiful calligraphic works which, unfortunately, cannot be seen inside the building today, having been removed, relocated elsewhere or lost.

The mosaics of Hagia Sophia represent one of the high points of Byzantine art. Featuring scenes from various periods, the Hagia Sophia mosaics possess a mystical atmosphere. During the Iconoclastic period, all figurative images in the Hagia Sophia were destroyed; following the end of this period, the mosaics that came to define the building’s distinctive character were added to the structure over successive periods. Many of these mosaics were gradually covered up during the Ottoman period, starting from the 16th century, and by the mid-18th century, they had been completely concealed. In the mid-19th century, during the Fossati restoration, they were uncovered, documented, and subsequently covered again with interventions intended to aid their preservation. The establishment of the Republic of Turkey served as a significant catalyst for the preservation of Hagia Sophia, the research into its history and, of course, the rebirth of its mosaics. In 1932, at the request of Mustafa Kemal Atatürk, the founder of the Republic of Türkiye, a conservation programme was launched primarily for the mosaics, and these works continued until the 1970s. During this period, not only were appropriate restoration works carried out, but archaeological excavations were also conducted, which have brought us closer to understanding many aspects of the building as we know it today. As part of this audio guide project, I felt it would be more appropriate to focus solely on the mosaics you will encounter during your visit. Unfortunately, however, we have lost many mosaics, and there are still some that have yet to be unearthed.

Located on the upper floor of the Hagia Sophia, the mosaic of Emperor Alexander is situated in the north gallery, behind the arch. Indeed, this unusual position made it all the more difficult to locate, but at the same time it protected the mosaic from damage. Dated to the early 10th century, the mosaic depicts the young Alexander, whom Emperor Leo VI had appointed as his co-ruler, as a young man with a ruddy complexion and short brown hair. The Emperor is depicted in full-face view against a gold background. Upon closer inspection, he is seen wearing a conical, helmet-shaped imperial crown adorned with gold and pearls. Although the emperor appeared to be the sole ruler of the throne at the age of 40 following his brother’s death in 912, he was unable to retain this title for long. According to some sources, he died in an accident; according to others, the sport-loving emperor collapsed and died following a strenuous game of polo.

The mosaic of Mary and the Christ Child, the first mosaic created for Hagia Sophia following the iconoclastic movement, adorns the quarter-dome immediately above the windows when viewed from the building’s apse. Dated to the year 867 AD, the mosaic depicts Mary as the Mother of God, holding the infant Jesus on a throne. Set against a gold background, Mary is shown wearing a simple, dark blue ceremonial robe, whilst Jesus appears clad in a golden robe. Prior to this mosaic, a large cross had stood in its place, a result of iconoclasm. With the unveiling of the mosaic of the Virgin Mary and the Child Jesus by Patriarch Photios during the Easter celebrations of 29 March 867, another era was left behind. Ultimately, ‘these images, once removed by the iconoclasts, were restored to their places by devout emperors.’

Within the arch of the building’s sanctuary, on the walls flanking the mosaics of the Virgin Mary and the Infant Jesus, there are depictions of two angels. These represent the archangels Gabriel and Michael. Dating from the 9th century, the mosaics depict Gabriel on the right, largely intact, portrayed in an extraordinary manner in the robes of a high court official, with green, blue and white wings, holding a long staff in his right hand and a globe in his left. On the left, only fragments of Michael have survived to the present day. Upon closer inspection, the outline of a wing, a foot and a garment can be discerned.

The pandentives, which facilitate the transition to the vast dome of Hagia Sophia, feature four angelic figures. The divine beings depicted here are the Seraphim Angels, little known in Eastern Roman art and believed to guard God’s throne in Heaven. The examples of these angels, whose wings cover their entire bodies, located on the eastern side of the building have survived to the present day largely intact, whilst those on the western side were damaged in an earthquake in the 14th century and have since been repainted as frescoes. Among the angels whose faces are covered by a metal plate, the face of the angel on the north-eastern side was uncovered after being cleaned in 2009 and can still be seen today.

Viewed from the upper gallery, the Empress’s box in the west wing of the building—or, when viewed from the south gallery, which offers the clearest view, directly opposite—the mosaics on the building’s northern tympanum are clearly visible. In fact, various mosaics had been carefully incorporated into these walls beneath both the northern and southern arches of the main sanctuary. Within the scope of this audio guide project, I shall discuss only three of those found on the northern wall. Although these depictions may appear similar when viewed from a distance, they depict different individuals, as indicated by their facial expressions and the inscriptions on them. Dating from the 9th century AD, the mosaics depict Saint Ignatius the Younger, who served as Patriarch of Constantinople between 847–858 and 867–872; Saint John Chrysostom, Patriarch of Constantinople from 398–404; and Saint Ignatius Theophoros, Patriarch of Antioch.

Dating from the 12th century, the mosaic features depictions of Emperor John II Komnenos, his wife Empress Irene, the Virgin Mary holding the infant Jesus, and Prince Alexios, who was made co-emperor by his father. In the main panel, the figures are depicted as they were, rather than in idealised forms. In this respect, the mosaic is one of the finest examples reflecting Byzantine portraiture in a realistic manner. In the scene depicted on the panel, Mary holds the infant Jesus in her arms at the centre, with Emperor John II to her right and Empress Irene to her left.

At the very end of the south gallery, immediately beside the Komnenos Mosaic, Emperor Constantine IX, Empress Zoe and, seated on a decorated throne between them, Jesus are depicted. Dating from the 11th century, this mosaic is not only a fine example of Byzantine portraiture but also an important work in that it provides insight into the court attire of the period. Zoe, who ascended the throne upon the death of her father in 1028, is depicted in the mosaic alongside her third husband, with whom she made a significant donation to the church; they are portrayed with symbols representing this donation and her pious title.

One of the most fascinating mosaics in the south gallery, dating from the 13th century, depicts the standing figures of the Virgin Mary and John the Baptist alongside Christ seated on a throne—one of the most famous compositions in Byzantine art. In fact, the mosaic originally extended down to the lowest marble cornice. The half-figures of Jesus in the centre and John the Baptist on the right, along with the head and right shoulder of the Virgin Mary on the left, have survived to the present day. Furthermore, a portion of the jewelled leg of Jesus’ throne is also partially visible. In the scene depicted on the panel, Mary to Jesus’s right and John the Baptist to his left are imploring Jesus for mercy for the salvation of humanity.

The mosaic, carved into a semicircle above the door in the south entrance corridor, depicts the Virgin Mary and the infant Jesus seated on a throne in the centre, with Emperor Justinian on the left and Constantine on the right. Justinian is depicted offering the Hagia Sophia, which he commissioned, to the Virgin Mary and Jesus, whilst Constantine is offering Constantinople, the city he founded. Dated to the second half of the 10th century, the mosaic features a green background beneath the figures, depicted in four horizontal layers that grow darker towards the rear. The background is densely covered in bright gold leaf, which shimmers with every play of light and creates a divine radiance around the figures.

The mosaic, which can be seen when entering from the courtyard via the inner entrance corridor on the ground floor of the building, dates from the late 9th or early 10th century. The depiction, which has been the subject of much debate and numerous theories, is situated directly above the Emperor’s Gate in the inner entrance corridor. The primary reason for such a wide range of opinions is that no title or inscription pertaining to the Emperor depicted in the mosaic has been incorporated into the panel. This is an unusual and uncommon occurrence. Moreover, this Emperor appears in the centre of the mosaic, with his hands outstretched, bowing and prostrating himself before Jesus. Various sources suggest that this Emperor is either the first Basil, whilst others claim it is Emperor Leo VI; the reason put forward is that he was punished by the Church Father of the time. These debates do not end there; regarding the figure of the angel depicted to Jesus’s right, some claim it is the archangel Michael, whilst others maintain that this angel actually represents Gabriel. Setting all this aside, the mosaic seems to convey a message through the text on Jesus’s left hand—which is on our right—as if referencing the ongoing debates of today. The text reads: ‘Peace be with you; I am the light of the world.’ To Jesus’s left, Mary is depicted in a graceful manner.

The world has been home to many significant and impressive structures. For me, this building is unquestionably number one; for others, it will always feature on this list.

I do not know how many more times I will serve as a guide in this sacred building; but I do know that Hagia Sophia is no ordinary building. It houses a heritage that must be described with due respect and, at times, left to the listener’s imagination. I cannot convey in this brief guide the emotions I have experienced over the years whilst describing and exploring Hagia Sophia. I have tried to convey a summary of what I have learnt along the way. The sections I omitted because I felt they would go on too long if I tried to explain them properly really gave me a hard time. I have always believed that not everything about Hagia Sophia can be told. I believe that a good guide or historian can only develop by building on the existing body of knowledge.

This audio guide has come to an end; but in truth, everything is just beginning. You can access the other audio guides I have prepared via my website. If you find them useful, please do share them with your friends and family. You can always contact me with any questions, suggestions, or requests for a personal tour. I am Oğulcan ÖZDİL. Until next time!