Hagia Sophia's Accomplishments

The crowning glory of Constantinople, the Hagia Sophia is said to have "changed the history of architecture” (Simons). Constructed in the 6th century under the orders of Emperor Justinian I, it remained the tallest building for over a thousand years. Atop the building sits a dome towering 56m above the ground, and spanning 31m across; the dome of the Hagia Sophia extends across a nave three times wider than any gothic cathedral. So impressive in its size and scale, the Hagia Sophia was Justinian’s dream; he wanted to build a structure bigger and better than any of its predecessors. He had a vision of expanding his empire far beyond Constantinople, and central to his grand ambition was the Hagia Sophia. More majestic than any mosaics or frescos
From start to finish, the entire building was completed in less than six years; to give perspective on that impressive timeline, St Paul's cathedral in London took over 35 years to complete. Following the fall of Rome, Constantinople became the centerpiece of Christianity, and as Emperor, Justinian was determined to prove his city’s greatness. He possessed all the qualities that are emblematic of Byzantine culture: he was a perfectionist, strong, and determined to be the best. His stark ambition can be seen in his quick efforts to rebuild infrastructure following earthquakes, the extensive fortifications along the city’s border, and especially in the construction of the Hagia Sophia. The technology that went into building the dome was unheard of prior to Justinian’s Constantinople – his determination to become the “New Rome” sparked architectural innovation and creativity capable of building something the world had never seen before. The use of the pendentives in the massive dome, for example, was a very deliberate expression of the city’s
As mentioned before, the lighting in the Hagia Sophia was a marvelous sight for anyone who entered. The 40 windows encircling the dome create a halo of light above the viewers head. The luminosity of the interior creates the illusion that the Hagia Sophia is weightless; from inside, it feels as though the building itself is floating. Visitors would have been captivated by the shimmering surfaces and entranced by the seemingly floating dome. One Russian traveler visited the dome and claimed, “we know not whether we were in Heaven or on earth. For on earth there is not such beauty” (Harris 87) As the viewer’s eye travels up the columns, passing intricate mosaics and bright gold, they come face to face with the depiction of Christ Pantocrator at the top of the dome. When underneath the dome, one must have felt as small as a mouse, for no one in the 6th century had experienced something so massive in size. Furthermore, the depiction of Christ supports the notion that underneath the dome was a safe, holy place. The rounded nature of the dome also allowed for the easy travel of sound. The amplification of sound contributes to this spiritual experience in which the viewer is seeing changing shapes and colors, and hearing the echo of hymns and chants. The auditory and aesthetic properties of Hagia Sophia’s dome was what made it a