Hagia Sophia, known in Turkish as Ayasofya, stands in the heart of Istanbul as a monument to the layered history of two empires. For nearly 1,500 years it has captivated the world with its immense dome, breathtaking mosaics, and role in both Christian and Islamic heritage. This structure – whose name means “Holy Wisdom” in Greek – is “considered the epitome of Byzantine architecture” and is said to have “changed the history of architecture”. It was the largest cathedral in the world for almost a millennium after its completion in 537 CE, and today it remains a centerpiece of Istanbul’s historic skyline, drawing over three million visitors each year.

As a building, Hagia Sophia has worn many hats: it was an Eastern Orthodox cathedral for over 900 years, a Roman Catholic cathedral during the Crusader occupation, an imperial Ottoman mosque for nearly five centuries, a secular museum for 85 years, and since 2020 it functions again as a working mosque open to all. Its story mirrors the story of Istanbul itself – a city that bridges continents and faiths. In 1985, Hagia Sophia was recognized as part of the UNESCO World Heritage Site in the Historic Areas of Istanbul, underscoring its universal cultural value.

At a Glance: Hagia Sophia Quick Facts

Now, let’s step back in time to discover how this “exquisitely ornamented church” came into being and why it holds such a pivotal place in world history.

The Complete History of Hagia Sophia

Hagia Sophia’s saga spans fifteen centuries, etched by fires, riots, crusades, conquering sultans, and modern secularism. It has been rebuilt, rededicated, and reimagined multiple times. This comprehensive timeline traces its journey from a 4th-century basilica to the symbol of a modern nation.

The First Church (360 CE): Constantine’s Great Church

The story begins on the very spot where Hagia Sophia stands. In the year 325 CE, the first Christian emperor, Constantine the Great, reportedly ordered a grand church to be built in his new capital of Constantinople. This first church was called the Megálē Ekklēsíā (“Great Church”) rather than Hagia Sophia. By the time it was consecrated in 360 CE under Emperor Constantius II (Constantine’s son), it was the largest church in the city. Contemporary accounts describe it as a large basilica with a timber roof, symbolizing the prominence of the new Christian Roman Empire.

This initial basilica enjoyed only a brief life. In 404 CE, during a period of political tumult, the Great Church burned down in riots sparked by the exile of the outspoken Patriarch John Chrysostom. The wooden roof stood no chance against the flames. All that remained were ashes and the opportunity to build anew.

The Second Church (415 CE): A Rebuilt Glory and Another Fire

Emperor Theodosius II oversaw the construction of a second cathedral on the site. Completed in 415 CE, this church had a similar basilican layout – a long nave with a wooden roof and a grand entrance. It boasted five aisles and likely an imposing façade, reflecting the growing confidence of the early Byzantine Empire.

For nearly a century, Theodosius’s Hagia Sophia stood as the spiritual heart of Constantinople, witnessing imperial ceremonies and daily prayers. But it too met a fiery fate. In January 532, the city was convulsed by the Nika Riots, a violent uprising against Emperor Justinian I. The insurrection saw large parts of Constantinople burned or destroyed – and the second Hagia Sophia was torched to the ground amid the chaos. The destruction of the cathedral occurred just as Justinian quelled the rebellion, and it set the stage for the most ambitious construction project of his reign.

The Third Church – Justinian’s Masterpiece (532–537 CE)

In the aftermath of the Nika riots, Emperor Justinian I resolved to build a new Hagia Sophia of unparalleled scale and splendor – one that would glorify God and the empire. According to chroniclers, Justinian could not simply repair the damage; he ordered the remains of the second church demolished so he could start with a fresh canvas.

Justinian’s Hagia Sophia, the one that still stands today, rose with astonishing speed. Construction began in 532 CE and, almost inconceivably for the ancient world, the cathedral was completed in under six years – inaugurated on December 27, 537 CE. For a project of such magnitude (the dome alone spans over 30 meters), this timeline is almost miraculous. Byzantine sources credit the emperor’s determination and resources: Justinian commandeered materials and expertise from across his realm. In fact, “Emperor Justinian decreed that all provinces under his rule send architectural pieces for use in its construction”. As a result, marble columns and slabs arrived from far-flung corners – green and white marble from Ephesus and Thessaly, porphyry from Egypt, and golden-hued stone from Syria. The floor and ceiling marbles came from Anatolia and Syria, and even columns from the famous Temple of Artemis at Ephesus were repurposed to serve the new basilica. More than 10,000 laborers were said to have been employed during the feverish construction.

Crucial to this effort were two scholar-architects: Anthemius of Tralles and Isidore of Miletus. Unusually for the time, these architects are well remembered by name, a testament to their ingenuity. Both were professors of geometry and architecture, and their “familiarity with mechanics and mathematics” was noted by later historians. They faced the colossal challenge of erecting a dome taller and wider than any before, atop a massive open space. How they achieved this is explored in detail in the Architecture section, but their success earned immortal fame.

Justinian spared no expense to make his church awe-inspiring. When the new Hagia Sophia was finally unveiled in 537, its grandeur stunned all who entered. The Byzantine historian Procopius, awestruck, wrote that the cathedral’s beauty “exceeded that of anything the human hand has ever created” (in De Aedificiis). Upon seeing the finished building, Emperor Justinian himself is said to have exclaimed, “Solomon, I have surpassed thee!” – referencing the great temple of King Solomon in Jerusalem. It was a bold claim, but not an idle one: with its soaring central dome 55 meters above the floor, glittering gold mosaics, and unprecedented scale, Hagia Sophia instantly became the crown jewel of Constantinople.

The cathedral’s dedication ceremony in late 537 was attended by Justinian and Patriarch Menas, who led a procession under the new dome. As the seat of the Ecumenical Patriarch of Constantinople, Hagia Sophia was from this point forward the supreme church of the Byzantine Empire. Emperors would be crowned here upon the sacred spot in the nave (the Omphalion, see Interior Highlights), and it anchored the religious life of the Eastern Orthodox world for centuries.

Not everything went perfectly in those early years. Less than two decades after completion, a massive earthquake in 558 CE caused the original dome to collapse partially. Justinian, still alive and ruling, ordered immediate restoration. Isidore of Miletus’s nephew, known as Isidore the Younger, led the repairs. He took the opportunity to redesign the dome to prevent future failure: the rebuilt dome (completed in 562 CE) was made lighter and raised by about 6.25 meters compared to the first. This gave Hagia Sophia its present interior height of ~55.6 m and a slightly smaller diameter. The new dome incorporated 40 radial ribs and 40 window openings at its base, which not only reinforced the structure but also created a striking halo of light. Ever since this 6th-century reconstruction, the silhouette of Hagia Sophia has remained largely unchanged. Justinian’s architects had delivered a masterpiece that would endure – with periodic repairs – into the modern age.

Byzantine Golden Age (562–1204): Apex of Orthodoxy

Following its reconstruction and rededication in 562, Hagia Sophia entered a long golden age as the center of Eastern Christianity. It presided over the empire’s liturgies, councils, and ceremonies. For nearly 900 years (except for a brief interruption noted below), all Byzantine Emperors were crowned inside Hagia Sophia, traditionally on the circular Omphalion set in the nave’s floor. The cathedral was considered so sacred that it offered sanctuary to those fleeing persecution – a privilege occasionally contested if fugitives abused it.

In this era, Constantinople was the thriving capital of a Christian empire, and Hagia Sophia was its beating heart. Pilgrims and foreign dignitaries alike were struck with wonder upon visiting. A famous account from the 10th century records that envoys of Prince Vladimir of Kievan Rus attended the Divine Liturgy in Hagia Sophia and reported that “we did not know whether we were in heaven or on earth”, convincing Vladimir to adopt Byzantine Christianity for Russia. Such was the impression the cathedral made with its incense-filled air, the mosaic icons flickering by candlelight, and the ethereal acoustics of its chants.

Throughout these centuries, art and decoration in Hagia Sophia evolved, especially after periods of instability. Notably, during the 8th–9th centuries, the empire was riven by the Iconoclast Controversy – a movement that forbade religious images. In 726 CE Emperor Leo III outlawed icons, leading to the destruction or plastering over of figural mosaics in churches. In Hagia Sophia, any images of Christ, the Virgin, or saints were removed or covered, leaving only decorative patterns for several decades. This policy was finally reversed in 843 CE, and the restoration of icons began. To celebrate the end of Iconoclasm, new mosaics were commissioned for Hagia Sophia: the most significant was a magnificent image of the Virgin Mary holding the Christ Child in the high apse, installed around 867 CE. This was the first figural mosaic re-introduced in the cathedral and symbolized Orthodoxy’s triumph over iconoclasm. It can still be seen above the altar area today (often partially curtained due to the building’s current use as a mosque).

The 9th and 10th centuries saw additional mosaic masterpieces. Above the Imperial Gate (the main door from the narthex into the nave), artists created a mosaic panel likely in the late 9th century: it depicts Christ Pantocrator enthroned, with Emperor Leo VI or another Byzantine emperor kneeling before Him, and two circular medallions of the Archangels. This poignant image – the emperor humbling himself before Christ – greeted the rulers each time they entered Hagia Sophia. In the southwestern vestibule, another mosaic (10th century) shows the Virgin Mary enthroned holding Jesus, flanked by two important figures presenting gifts: Emperor Constantine the Great offers a model of the city, and Emperor Justinian I offers a model of Hagia Sophia itself. This mosaic underscores their legacy in the city’s and cathedral’s founding.

Hagia Sophia also witnessed pivotal historical events. In 1054, during a liturgy in Hagia Sophia, papal legates marched up to the altar and laid a bull of excommunication against the Patriarch of Constantinople. This dramatic act helped trigger the Great Schism between the Eastern Orthodox and Roman Catholic Churches. Though attempts were later made to reconcile, the schism ultimately hardened and endures to this day. Hagia Sophia was thus literally at the center of the split between the Christian East and West.

Despite occasional earthquake damage – for instance in 989 and again in 1344, which required repairs to the dome and buttresses – the church remained structurally sound through the Byzantine era. By the late 12th century, however, the Byzantine Empire was in decline, and dark clouds loomed on the horizon in the form of an event that would upend Hagia Sophia’s fate for decades.

The Fourth Crusade and Latin Occupation (1204–1261)

In 1204, the unthinkable happened: Crusaders from Western Europe captured Constantinople during the Fourth Crusade. Hagia Sophia was deeply entangled in this tragedy. When the Crusader army – originally en route to Egypt – instead sacked Constantinople, they looted Hagia Sophia with alarming thoroughness. Latin crusaders stormed into the sacred cathedral, melted down its precious liturgical objects for their gold and silver, and seized relics (many of Hagia Sophia’s holy relics were carried off to Western churches, where some remain). An eyewitness, the historian Nicetas Choniates, lamented how the invaders stabled their horses in the nave and defiled the great church, stripping even the altar of its silver ornamentation.

Under Crusader rule, Constantinople became capital of a short-lived Latin Empire. Hagia Sophia was converted from an Orthodox cathedral into a Roman Catholic cathedral (under the authority of the Pope in Rome) from 1204 until 1261. A Latin rite bishop was installed as Archbishop of Constantinople, and Catholic masses were held in Hagia Sophia – though likely with a much-diminished grandeur. The occupiers lacked the resources and perhaps the reverence to maintain the church’s former glory. Several mosaics were vandalized or poorly overpainted during this period.

This unhappy chapter ended in 1261 when the Byzantine Greeks from Nicaea reconquered Constantinople under Emperor Michael VIII Palaiologos. Upon returning, the Byzantines found Hagia Sophia in a sorry state – structurally intact but physically dilapidated and spiritually defiled in their eyes. They performed a thorough purification and reconsecration of the cathedral for Orthodox worship. In the same year, possibly to commemorate the restoration, the famed Deësis Mosaic was installed in the upper gallery. This mosaic (c.1261) portrays Christ Pantocrator flanked by the Virgin Mary and John the Baptist in a pose of intercession, and it is “widely considered the finest in Hagia Sophia” due to its artistic realism and emotional depth. The Deësis stands as a testament to the late Byzantine artistic renaissance – and perhaps as a prayer for mercy after the tribulations the city endured.

Late Byzantine Decline (1261–1453)

The final two centuries of Byzantine rule saw Constantinople and Hagia Sophia in gradual decline. The empire had shrunk to a shadow of its former self, threatened by Ottoman Turks from the east. Still, emperors undertook what repairs they could. In the mid-14th century, after a significant earthquake in 1344 cracked the dome and parts of the vaults, Emperor John VI Kantakouzenos oversaw repairs to the dome and the addition of new buttresses to shore up the walls. By this time, external buttresses propped up the eastern end of the church – a preview of reinforcements the Ottomans would later expand.

When foreign travelers visited in the 14th and early 15th centuries, they noted both the majestic legacy of Hagia Sophia and its fading upkeep. Nonetheless, the core structure remained sound. In 1452, as the Ottoman threat grew dire, the last Byzantine emperor Constantine XI desperately sought Western help and even temporarily unified with Rome, allowing a Catholic Mass in Hagia Sophia to appease potential allies. This proved too little, too late.

On May 28, 1453, the last Christian service was held in Hagia Sophia. Byzantines gathered inside the great church to pray for deliverance as Sultan Mehmed II’s armies surrounded the city. The next day, May 29, 1453, Constantinople fell. What followed ushered Hagia Sophia into a entirely new era under Ottoman rule.

Ottoman Conquest and Conversion (1453)

When Sultan Mehmed II – known as Mehmed the Conqueror – entered the conquered city, Hagia Sophia was one of his first destinations. According to Ottoman accounts, Mehmed went to the cathedral on May 29 after the fighting ceased. Amidst the rubble and bloodshed, he marveled at the dome and took possession of the building as the spoils of conquest. The 21-year-old sultan, profoundly impressed, reportedly allowed himself a moment of sorrow at the transience of empire when viewing the fallen grandeur around him.

Mehmed II immediately converted Hagia Sophia into a mosque, an act heavy with symbolism. In Ottoman law, a building acquired through conquest could become a waqf (endowment) mosque. Mehmed performed a prayer inside and ordered an imam to proclaim the Islamic creed from the pulpit. This signaled that the great Church of Holy Wisdom was now the Ayasofya Camii (Hagia Sophia Mosque). From that day, 29 May 1453, Islamic worship was established in the space that had echoed with Byzantine chant just hours before.

Importantly, Mehmed II did not destroy Hagia Sophia – on the contrary, he took measures to protect it. The building was placed under the sultan’s personal foundation (the Fatih Sultan Mehmet Han Vakfı), and a classical Ottoman waqfiyya (endowment charter) was drafted. In it, the Sultan sternly proclaimed that any attempt to alter the endowed status of Hagia Sophia would incur divine wrath: “May the curse of Allah, the angels and all human beings be upon anyone who changes even one of the conditions” of this foundation. This document reveals Mehmed’s view of Ayasofya as a precious legacy to be preserved – albeit repurposed for Islam.

Under Mehmed’s patronage, immediate adaptations were relatively modest: a wooden minaret was erected (likely on the southwest corner) so the call to prayer could be issued. The altar, relics, and iconostasis were removed, and a mihrab (niche indicating the direction of Mecca) was installed in the apse. Islamic prayers began within days of the conquest, consecrating the space as a mosque. According to tradition, Mehmed himself performed the first Friday prayers there. Some Christian furnishings found new life – for example, the Byzantine bronze clergy door was reportedly reused as the mosque’s entrance door for a time.

Crucially, the Christian mosaics posed a religious dilemma. Islamic tradition forbids prominent human images in places of worship. Yet instead of having the artworks destroyed, early Ottoman authorities often chose to whitewash or cover the mosaics. Many of Hagia Sophia’s golden mosaics (especially high up or difficult to reach) were simply coated in lime or plaster, hiding them from view but inadvertently protecting them for posterity. Some accounts claim Sultan Mehmed himself admired the image of the Virgin Mary in the apse and left it visible for a time, although eventually even that mosaic was obscured until modern restorations. The four great seraphim mosaics in the dome’s pendentives had their faces covered with star-shaped metal shields (the Ottomans apparently viewed the angelic figures as acceptable as long as their humanoid faces were hidden). These metal masks remained in place for centuries. (One seraph’s face was only uncovered in a 2009 restoration.)

Mehmed II also established ancillary buildings to support the mosque’s religious functions. He built a medrese (Islamic school) and an imaret (soup kitchen) nearby, as well as a minaret of more permanent material to replace the initial wooden one. An inscription above the new mihrab noted Mehmed’s name and the year, asserting the new Islamic identity of the space.

In short, the fall of Constantinople marked a profound transformation for Hagia Sophia: from the most exalted church of Eastern Christendom to the imperial mosque of a rising Muslim empire. Yet the structure itself was respected and preserved. Over the coming centuries, the Ottomans would even reinforce and renovate it to prolong its life – a testament to the building’s architectural charisma that transcended religions.

Ottoman Additions and Renovations (15th–16th Centuries)

As the Ottoman Empire flourished, Hagia Sophia (Ayasofya) Mosque remained its pre-eminent place of worship until the Blue Mosque was built in 1616. Ottoman sultans invested in the upkeep and enhancement of the venerable structure, making both aesthetic and structural additions:

• Minarets: Hagia Sophia’s familiar profile with four minarets took shape gradually. Mehmed II’s initial minaret was later rebuilt in stone. According to records, Sultan Bayezid II (r. 1481–1512) erected the slender minaret at the northeast corner. By the 16th century, two additional minarets were desired. During the reign of Sultan Selim II (1566–1574), the great Ottoman architect Mimar Sinan was commissioned to strengthen and restore Hagia Sophia, which was showing signs of age. Sinan, a genius in his own right, designed and added two massive minarets on the west side (the side facing the main entrance). Built of white limestone, these twin minarets are taller and sturdier than the earlier ones – each about 60 meters (200 ft) high – and they visually balance the bulk of the central dome. Later sultans ensured that all four minarets were maintained and eventually made equal in height and style. The minarets not only served to broadcast the call to prayer, but also act as buttresses, their weight helping counter the lateral thrust of the dome.
• Structural Supports: Perhaps Sinan’s most critical contribution was buttressing and stabilization. By the 1570s, Hagia Sophia’s walls had shifted and cracked over time (a perilous circumstance for the huge dome). Sinan added heavy exterior buttress walls especially to the east and west, expertly hidden behind the existing buttresses, to bear the thrust of the dome and semi-domes. He reputedly drove deep foundation piles and strengthened the corners. Thanks to Sinan, often called the “Great Architect” of the Ottomans, Hagia Sophia survived several major earthquakes that might otherwise have brought it down. Ottoman chroniclers note that after Sinan’s intervention, Hagia Sophia stood “more firm than in Justinian’s time” – a boastful claim, but reflecting the pride taken in preserving this gem.
• Islamic Interior Elements: Successive sultans endowed the mosque with new furnishings. A minbar (the pulpit from which the Friday sermon is delivered) was installed, carved of marble, at the edge of the nave. A gilded müezzin lodge and a Sultan’s lodge were added in later centuries – the Sultan’s lodge (or hünkâr mahfili) being a screened balcony where the Sultan could pray privately. In the 19th century, Sultan Mahmud I built a library inside (see Interior Highlights). Sultans Murad III, Mehmed III, and Suleiman the Magnificent each donated huge chandeliers and giant candles to illuminate the vast interior.
• Calligraphic Roundels: In 1847, during a significant restoration, eight gigantic calligraphy medallions were hung high in the nave. These round wooden panels, 7.5 meters across, bear gilded Arabic script of holy names: Allah, the Prophet Muhammad, the first four caliphs (Abu Bakr, Umar, Uthman, Ali), and Muhammad’s grandsons Hasan and Husayn. They were designed by the Ottoman calligrapher Kazasker Mustafa İzzet Efendi and remain some of the largest calligraphic panels in the Islamic world. Today they are an eye-catching feature of Hagia Sophia’s interior, suspended from the upper galleries.
• Mausoleums (Türbe): Outside, within Hagia Sophia’s precincts, several Ottoman sultans chose to be buried. The türbe of Sultan Selim II (d.1574) was designed by Sinan and is located on the southeast side, richly decorated with Iznik tiles. Later, Murad III, Mehmed III, and others also have mausoleums in the courtyard, making the site a kind of dynastic sacred space. We’ll note these in the Interior/Exterior Highlights.

By the 17th century, Hagia Sophia had fully become an Ottoman Islamic complex while still retaining its Byzantine bones. Ottoman travelers and foreign visitors alike commented on its grandeur. In 1680, the famous Ottoman traveler Evliya Çelebi wrote that Ayasofya “has no equal in the world” and marvelled at the play of light in its dome.

The 19th Century Restoration (1847–1849)

Time and earthquakes continued to take a toll, and by the mid-19th century, cracks in the dome and walls demanded attention. In 1847, Sultan Abdülmecid I invited Swiss-Italian architects Gaspare and Giuseppe Fossati to oversee a thorough restoration. For two years, the Fossati brothers repaired the dome (including re-gilding the interior with new mosaic/paint designs of huge Islamic calligraphy in the apex), strengthened arches, and straightened columns. They also uncovered some of the old Byzantine mosaics for documentation. It’s recorded that when the Fossatis revealed the face of a seraph mosaic on the dome pendentive, Abdülmecid decided it should be covered again – thus the star-shaped metal masks stayed up, but the Fossatis at least made detailed drawings of the mosaics they saw. These drawings later became valuable records for historians.

The Fossatis’ restoration cleaned and re-plastered much of the interior, refreshed the paint (the ornate Arabic inscription around the central dome with Quranic verses dates from this renovation), and replaced the Hünkar Mahfili (Sultan’s prayer lodge) with a more elegant one nearer the mihrab. They even uniformized the minarets, adjusting heights so all four matched. When the work was completed in 1849, Hagia Sophia was re-opened in a grand ceremony, looking resplendent and structurally sound, ready to face the modern era.

Atatürk’s Museum Era (1934–2020)

Fast forward to the early 20th century: the Ottoman Empire had collapsed after World War I, and the secular Turkish Republic under Mustafa Kemal Atatürk was born. In a radical decision reflecting his vision of secularism, Atatürk’s government secularized Hagia Sophia. By a cabinet decree in 1934, the Ayasofya Mosque was closed for worship and declared a museum. In February 1935, Hagia Sophia Museum opened to the public, no longer an active temple of any faith but a monument to world heritage.

This transformation allowed for extensive archaeological restoration and research. In the late 1930s, the American scholar Thomas Whittemore and the Byzantine Institute of America worked with Turkish authorities to uncover and restore Hagia Sophia’s mosaics. Layers of Ottoman plaster and paint were carefully peeled away, revealing the medieval mosaics that hadn’t been seen in centuries: the imperial portraits, the Deesis, angel figures, and so on. These were meticulously cleaned and stabilized. However, in a gesture of balance, not all Islamic elements were removed – the large calligraphic roundels stayed in place, and the mihrab and minbar remained. Hagia Sophia thus became a unique hybrid museum, showcasing Byzantine and Ottoman artistry under one great dome.

For 85 years, from 1935 until 2020, millions of people of all backgrounds visited Hagia Sophia in this neutral setting. It became Turkey’s most-visited museum by the 2010s. As a museum, it was no longer free to enter – tickets were sold (in its final year as museum, the entry ticket was 100 Turkish Lira, and it was included in tourist museum passes). Visitors could wander the nave and even go up into the gallery levels where emperors once trod. Hagia Sophia also underwent modern restorations during this time, including a major one from 1993–2010 that fixed roof leaks, cleaned soot, and in 2009 uncovered one of the long-hidden seraphim faces.

Hagia Sophia Museum’s status as a secular monument was internationally celebrated. UNESCO status helped fund preservation, and scholars produced an enormous body of research on its architecture and art. Yet, the question of its identity never fully went away – some devout groups in Turkey periodically voiced a desire to return Hagia Sophia to a mosque, while others insisted it should remain a neutral museum for global culture.

Return to Mosque Status (2020–Present)

In July 2020, amidst changing political winds, that dormant issue came to the forefront. On July 10, 2020, Turkey’s highest administrative court annulled the 1934 decree that had made Hagia Sophia a museum. Within hours, President Recep Tayyip Erdoğan signed an order transferring Hagia Sophia back to the religious authority (Diyanet) and restoring its mosque status. The decision was globally headline-making. The UNESCO World Heritage Committee and leaders of various countries and churches expressed deep concern or regret at the sudden change. Nevertheless, on July 24, 2020, the first Friday prayers in 86 years were held in Hagia Sophia, with thousands of worshippers in attendance inside and outside. The Turkish government assured that, like other historic mosques, Hagia Sophia would remain open to all visitors when prayers were not in session. They also stated its Christian artworks would be preserved – in practice, this means the mosaics are usually covered by curtains or low lighting during Islamic prayers, but visible at other times.

Since 2020, Hagia Sophia is managed jointly: the Ministry of Culture and Tourism oversees conservation and tourist access, while Diyanet (Religious Affairs Directorate) manages religious functions. Practically, this meant some adjustments: the building’s floor was re-carpeted for Muslim prayer (bright turquoise carpets now cover the marble floors, except for roped-off mosaic areas like the Omphalion). Entrance became free for worshippers, as with any mosque. However, the uncontrolled crowds and dual usage created challenges in the first couple of years – millions poured in, sometimes disrespecting the site (there were reports of visitors chipping off mosaic tesserae as souvenirs in 2020, which scandalized the public). Conservationists worried about damage from heavy foot traffic and constant use.

In response, Turkish authorities introduced new measures. Starting January 15, 2024, a significant policy change took effect: Hagia Sophia’s upper galleries were reopened to tourists with a controlled entry system and fee. Essentially, they created two separate visitor streams: – Worshippers (primarily Turkish Muslims) continue to enter the ground floor prayer hall for free through the building’s original main entrance on the west (facing Sultanahmet Square). – Tourists and cultural visitors now use a separate entrance (on the northeast side, by the historic baptistery) and must purchase a ticket (25 euros per person) to access designated areas, chiefly the upper gallery levels and certain museum sections. This effectively restores a museum-like circuit within the mosque, allowing visitors to see the mosaics and architecture up close without disturbing worship in the nave.

Authorities explained that this dual system is meant to “separate worshippers from tourists” and protect the sanctity of the prayer space while also preserving the monument. The €25 fee (approximately 500 Turkish Lira) for foreigners helps limit overcrowding and fund preservation. Turkish citizens visiting for sight-seeing are charged in Lira (500₺, or 250₺ with a Museum Card discount) for the same gallery access. Meanwhile, those coming simply to pray can still do so freely on the ground floor at any time.

This new arrangement is very recent (2024) but seems to strike a compromise. As of 2026, Hagia Sophia Grand Mosque stands as a living place of worship and also a managed heritage site, echoing President Erdoğan’s pledge that “Hagia Sophia’s doors will be…open to all, whether they be foreign or local, Muslim or non-Muslim”. It is a delicate balance of Ephesus marble and Islamic carpet, Byzantine mosaics and Arabic calligraphy, past and present.

The next sections of this guide will explore Hagia Sophia’s architecture and art in detail – but keep in mind this rich history as you consider each column and mosaic. Very few buildings on Earth have lived so many lives. Hagia Sophia is not merely ancient stones; it is history incarnate, bearing silent witness to the rise and fall of empires and continuing to adapt in our own time.

Architecture of Hagia Sophia – An Engineering Marvel

When Hagia Sophia was constructed in the 6th century, it pushed the boundaries of what was architecturally possible. Even today, stepping inside, one cannot help but gaze up in awe at the vast dome seemingly suspended in mid-air. The innovative design of Hagia Sophia’s architects solved complex engineering challenges in a way that still inspires wonder. This section examines why Hagia Sophia’s architecture is so significant, and how its design works.

Why Is Hagia Sophia’s Dome So Special?

The central dome of Hagia Sophia is the feature that has most amazed observers through the ages. In Justinian’s time it was unparalleled in scale, and Procopius wrote of the dome that it seemed “suspended from heaven by a golden chain.” What makes this dome special?

Firstly, its sheer size was record-breaking for its era. The dome spans about 32 meters (105 feet) in diameter and soars 55 meters (180 feet) high above the floor. At the time of completion, no dome of that width had been built atop a square structure. (Only the Ancient Roman Pantheon’s dome was larger in diameter, but the Pantheon’s dome sits on a circular wall and is coffered into heavy concrete; Hagia Sophia’s is on a square base and much lighter.)

Secondly, Hagia Sophia’s dome was one of the first large-scale uses of pendentives in architecture. A pendentive is a concave triangular section of vaulting that allows a circular dome to transition onto a square base. Essentially, the architects placed the dome over a square room by resting it on four curving triangular segments (the pendentives) that span the corners of the square, supported by four massive piers. This was revolutionary. Earlier Byzantine churches had used simpler half-domes or smaller domes on squinches, but Hagia Sophia’s dome floats on four pendentives like a crown on four pillars. As a result, when you stand under the dome, the corners of the square base seem to dissolve into empty space, creating an open, uninterrupted expanse beneath the dome. The effect is enhanced by a ring of 40 windows at the dome’s base, which flood the dome with light. The sunlight filtering through makes the canopy appear weightless, as if the dome is a halo of light hovering above (an intentional illusion remarked upon by many, including modern engineers).

Structurally, pendentives were a bold innovation because they concentrate the dome’s weight onto the four piers rather than continuous walls. Hagia Sophia’s piers are enormous limestone and marble masses embedded in the walls, capable of carrying the load. This solution opened up the walls for expansive arches and half-domes, whereas older Roman domes required heavy drum walls on all sides.

However, the original dome was too shallow and exerted enormous outward thrust – that’s why it partially collapsed in 558 CE. The reconstructed dome by Isidore the Younger was built steeper (more arched) and with ribs, raising it about 6 meters taller. This redesign distributed forces more effectively and has endured (with later repairs) to this day. The dome we see now is thus slightly ovoid (due to settling, its diameter varies between ~31 and 33 meters) and has a distinctive ribbed profile from the inside.

Astonishingly, the dome’s central apex is only 0.61 m (2 feet) thick of brick and mortar – quite thin for such a span. Light materials (porous bricks and pumice) were used to reduce weight. You can still observe the 40 ribs on the interior, each corresponding to one of the 40 windows.

In summary, Hagia Sophia’s dome is special not just for its size but for how it’s supported. The successful implementation of the pendentive system on this scale was a turning point in architectural history, allowing later architects to design ever more ambitious domed spaces. In fact, Hagia Sophia remained the largest domed space in the world for almost a thousand years – and today it’s still the second-largest pendentive dome (after St. Peter’s Basilica in Rome). The awe one feels looking up at it – that mix of wonder and slight anxiety about how something so big stays aloft – is exactly what its builders intended.

The Structural Layout: A Fusion of Basilica and Rotunda

Hagia Sophia’s plan masterfully fuses two architectural traditions: the longitudinal basilica and the centralized domed rotunda. The result is a nearly square floor plan (approximately 73m by 82m) with a broad nave capped by the central dome, flanked by half-domes, and extended by apses and narthexes.

Here’s a breakdown of the key structural elements:

• Nave and Aisles: The nave is the vast central rectangle under the main dome. On each side of the nave (north and south) are two stories of side aisles separated by rows of columns. These aisles make the interior shape a wide rectangle when seen from the entrance. Originally, the lower aisles were for general worshippers and processions, while the upper aisles (galleries) were reserved for the imperial court and women (hence often called the matroneum or women’s gallery). The upper galleries run along the north, west, and south sides like a large U-shape balcony, overlooking the nave.
• Narthexes: At the western end (the entrance side) are two vestibules or porches. The Outer Narthex opens to the outside courtyard, and through it one enters the Inner Narthex (a long hall). These narthexes were transition spaces where the faithful would gather before entering the nave. The Imperial Door (Emperor’s Gate) in the center of the inner narthex leads into the nave and was historically reserved for the emperor’s entrance. This gigantic door, with its bronze frame, still exists – according to one legend, it was made from the wood of Noah’s Ark (a pious myth), and historically it dates to the 6th century.
• Semi-domes: To support the central dome and expand the space, the architects employed half-domes to east and west. Directly east of the main dome is a large semi-dome covering the apse area (where the altar once stood, now where the mihrab is). Opposite it, to the west, another semi-dome extends over the area just inside the entrance. These act like cascades of architecture: the central dome descends into two half-domes, which themselves are buttressed by smaller exedrae (quarter-domes) in the corners. This creates a continuous grand space from west door to east apse, about 80m long, but with a vaulted, domed ceiling throughout. Two arched openings to north and south of the main dome remain open (no half-domes there), creating great arches on the sides that are filled in with tympanum walls pierced by windows.
• Piers and Arches: The weight of the central dome and its pendentives lands on four massive piers at the corners of the dome square. These piers (some 7 meters across) are bonded into the walls and connected by four great arches. When you look up, you can see these four arches framing the base of the dome. The piers are mostly hidden behind columns and decorations but can be felt as you walk – huge lumps of masonry tucked inside the corners of the nave.
• Windows and Light: Hagia Sophia ingeniously uses light as a structural element. The 40 windows around the dome’s base not only reduce the weight by cutting openings in the dome’s base, but they create that famous “halo of light” effect. Additionally, the tympanum walls above the half-domes are perforated with windows. In the daytime, light pours in from every direction: it enters low through the aisle windows, then high through the ring of dome windows. This profusion of natural light dissolves the solidity of the structure. The dome appears to float, and the massive piers seem less oppressive because they’re partly obscured by bright windows. As one moves, the play of light and shadow continuously animates the interior surfaces – a deliberate design to evoke the divine.
• Floor Plan Geometry: Though almost rectangular, the plan has an interesting geometry. The building is roughly oriented east-west (apse at east). The internal square under the dome is about 31m each side. The overall footprint is wider at the west front due to buttresses. Colonnades line the nave: there are 40 columns on the ground floor (8 on each long side in the nave, plus others framing exedrae) and more above, contributing rhythm to the space. Many columns are crowned with intricately carved basket capitals bearing monograms of Justinian and Theodora, a personal touch from the emperor and empress.

In essence, Hagia Sophia’s architects combined a basilica’s longitudinal procession (you still have a clear directionality from entrance to altar) with a centralized dome focus (traditionally used in Roman domes and baths) to create something new. This hybrid design – a longitudinal basilica with a dominant central dome – was unprecedented at that time. It influenced church architecture for centuries to come in the Eastern Orthodox world and, later, mosque architecture in the Islamic world. One art historian succinctly described Hagia Sophia as “a domed basilica” that “combines a longitudinal basilica and a centralized building in a wholly original manner”.

Byzantine Architectural Elements and Materials

Walking through Hagia Sophia, one is surrounded by the artistic and material splendor that Justinian’s empire could marshal. The construction intentionally showcased the wealth of the Byzantine realms.

Notably, columns and marbles were a form of imperial propaganda: Justinian brought columns from famous pagan temples to demonstrate that the glory of antiquity was now surpassed by Christian architecture. There are 104 columns in Hagia Sophia. Many are truly ancient. For example: – Porphyry columns (deep purple-red stone) from the Temple of the Sun in Rome were reused. – Beautiful green verd antique (Thessalian marble) columns, some said to be from the Temple of Artemis in Ephesus, stand in the upper galleries. – Several dark granite columns from Egypt are also present. Each column’s provenance reads like a map of the empire: from Pergamon, Baalbek, Cyprus, Carthage, etc.

These columns have capitals carved in a delicate lace-like pattern known as the “basket capital” style – drilled through with arabesques and often bearing the double monograms “⳩IϹ-⳩ΘΥ” (Jesus Christ) or the names of Justinian and Theodora, thereby consecrating the building and crediting its patrons simultaneously.

The marble wall panels are another striking feature. Justinian’s builders sawed colorful stones into thin slabs and set them in symmetrical pairs on the walls (a technique called marble revetment). The effect is like ink-blot patterns: swirls of greens, blues, whites, and yellows mirroring each other across a central axis, almost like butterfly wings. Some of these panels, with their fluid veining, were “designed to imitate moving water” – a poetic detail noted in texts. You can still see these in the upper galleries and parts of the nave. Particularly famous is the Verd antique (green) and white marble in the gallery that creates an illusion of waves.

The floor of Hagia Sophia was an expanse of polished stone, with the most important section being the Omphalion – a large circular design of multicolored marble circles on the floor near the center of the nave. This was the spot where Byzantine emperors were crowned (more in Interior Highlights). Today, with the mosque’s carpet covering much of the floor, the Omphalion is kept visible in a roped-off area, its red and green porphyry discs shining softly where emperors once stood.

High in the semi-domes and vaults, the original decoration was shimmering gold mosaic (tiny glass tiles with gold leaf). Justinian’s era mosaics were mostly non-figural: grand gold crosses, floral and geometric patterns. After the end of Iconoclasm, new figurative mosaics (saints, Mary, Christ, etc.) were added (see Art and Mosaics section). But architecturally, the golden background of these mosaics caught light and made the huge surfaces glow. The restoration in the 1840s repainted or repaired some vault areas in fresco when mosaics had fallen, but large portions of original mosaic still adorn the vaults.

The logistics of building Hagia Sophia were staggering. The brickwork in the arches and dome uses a special lightweight brick. Rows of clay jugs were embedded in upper vaults to further lighten them. The mortar was a lime-and-ash concoction that set extremely hard (so hard that modern restorers often remark it’s like concrete). Justinian’s builders effectively created a prototype of structural concrete by using thick mortar layers—some arches are almost more mortar than brick.

Ottoman Architectural Additions

While the essential shell of Hagia Sophia is Byzantine, the Ottomans contributed significantly to the exterior silhouette and some interior features:

• Minarets: As detailed earlier, four minarets now punctuate each corner of the structure. They are slightly different in design: the southeast minaret (facing the Bosphorus side) is made of red brick, possibly dating to the late 15th century (either Mehmed II’s or Bayezid II’s era). The northeast minaret (thin and taller) was built by Bayezid II of white stone. The two western minarets by Sinan under Selim II are thicker and have elaborate balconies with carved muqarnas (stalactite) details. Sinan ensured the western pair were robust enough to also support the building – these two have massive base turrets almost acting like extra buttresses. The differences are subtle to a casual observer; from a distance the four minarets create a harmonious frame around the central dome.
• Buttresses: On the north and south sides, huge buttress masses butt up against the base of the dome arches. Some were originally Byzantine (reinforcing after quakes), others enlarged by Sinan. There are also broad buttresses on the east holding the apse. These heavy-set masonry supports are plastered and now weathered; they give Hagia Sophia a solid, grounded appearance from outside, as if gripping the earth to hold the dome aloft.
• Mihrab and Minbar: Inside the apse (the far eastern end), the Ottomans added the mihrab – a tall, tapering niche of finely carved and gilded marble, installed slightly off-center (because Hagia Sophia, like all Byzantine churches, faces due east, whereas Mecca lies southeast of Istanbul, so the mihrab is angled within the apse). The current mihrab, enriched with Turkish tiles and flanked by two colossal candlesticks from the 16th-century Hungarian conquest, was put in place during restorations by Sultan Abdulmecid. The minbar, also of white marble with a pointed conical cap, stands to the right of the mihrab. Even to an untrained eye, these elements clearly come from a later artistic tradition than the Byzantine columns and mosaics behind them – yet they complement the space, showing how Hagia Sophia has absorbed different styles. Above the mihrab, one can spot a mosaic of the archangel Gabriel on the ceiling (partially preserved) – a poignant juxtaposition of Christian and Islamic symbols in one vista.
• Hünkâr Mahfili (Sultan’s Lodge): This is a late Ottoman (19th-century) addition by the Fossati architects. It’s an elegant pavilion in the northeast corner of the nave, with marble lattice screens and columns. It allowed the Sultan to attend Friday prayers privately. The Fossatis replaced an older, more intrusive lodge with this one, which is more out of the way. It is accessible by a raised walkway that used to connect toward the northeast door.
• Other Structures: Outside, one can find the Muvakkithane (a small octagonal building the Fossatis built to house a clock room for determining prayer times), a shadirvan (ablutions fountain added in the 16th century, now not used, near the entrance), and the madrasah (no longer extant; its remains were excavated in the courtyard recently). A large soup kitchen (imaret) once stood to the south but was demolished around 1930.

Taken together, these Ottoman additions did more than just convert a church to a mosque – they prolonged the life of Hagia Sophia. By reinforcing the structure, adding supports, and continuously maintaining it as a living monument, the Ottomans ensured that Hagia Sophia survived to the 20th century, unlike so many ancient churches that fell into ruin. The famous 17th-century Ottoman architect Sinan even said he “made Hagia Sophia rise from its ashes” with his repairs.

One can appreciate Hagia Sophia’s architecture today as a conversation across time: the Byzantines invented a new style to glorify their faith, and the Ottomans, rather than tearing it down, engaged with it, buttressed it (literally and figuratively), and inserted their own aesthetic marks. The result is a unique synthesis of Byzantine and Ottoman architecture. It influenced the design of countless Ottoman mosques – as we will touch on in the next subsection and in the Hagia Sophia vs. Other Landmarks section.

Dimensions and Statistics

For quick reference, here are some notable architectural stats of Hagia Sophia:

• Overall Dimensions: 82 m (269 ft) long east-west; 73 m (240 ft) wide north-south. The footprint including buttresses is roughly square ~80m a side.
• Height: The apex of the central dome is about 55.6 m (182 ft) above the floor. Exterior height from ground to dome crest ~max 62 m due to foundation.
• Dome Diameter:7 m (104 ft) on the north-south axis; 32.8 m (107.7 ft) on east-west axis (slight oval). Often rounded to ~32 m.
• Dome Thickness: only 0.6 m (2 ft) at its crown, thicker towards base.
• Windows: 40 windows around dome base; about 100 windows in total in building.
• Columns: 104 total (40 on ground floor nave and gallery colonnades; others in exedrae and gallery bays). Not counting pillars in the outer narthex.
• Weight: It’s estimated the whole structure weighs over 100 million pounds (45,000+ tons). The dome itself weighs around 6 tons.
• Building Volume: Approximately 255,000 cubic meters enclosed.
• Construction Time: unbelievably short at about 5 years 10 months (532–537 CE) – a fact the Byzantines boasted about repeatedly.

In pre-modern times, maintaining such a giant was a feat. Byzantine records mention about 50 caretakers, 80 priests, and many other staff working full-time in Hagia Sophia during its heyday as a cathedral.

Influence on World Architecture

Hagia Sophia’s influence is incalculable. It served as a template and inspiration both for Orthodox church architecture and Islamic mosque architecture in the following centuries.

In the Byzantine sphere, many later churches tried to imitate or at least nod to Hagia Sophia’s design. For example, the Hagia Sophia in Thessaloniki (7th century) and St. Sophia Cathedral in Kiev (11th century, built by Kievan Rus after their conversion) clearly draw on the domed basilica concept. The concept of a large central dome flanked by semi-domes became a hallmark of Eastern Orthodox church design.

However, none could match the scale of the Constantinopolitan original until modern times. As the saying went, building another Hagia Sophia was beyond reach – a Russian chronicle from the 16th century said when an architect proposed a bigger dome, “not even an angel could do that.”

It was in the Ottoman Empire that Hagia Sophia’s architectural legacy truly blossomed anew. The Ottomans admired Hagia Sophia so much that they effectively adopted its form for their grand mosques. The great Ottoman architect Sinan (1490–1588), who studied Hagia Sophia intensely, designed masterpieces like the Süleymaniye Mosque (1557) and Selimiye Mosque (1574) using the multi-dome cascade and huge central space, trying to even surpass Hagia Sophia. The Blue Mosque (Sultan Ahmed Mosque), built in 1609–1616 directly facing Hagia Sophia, was consciously made with a large central dome and half-domes in the Hagia Sophia style, albeit slightly smaller (its dome is ~23.5 m diameter vs Hagia Sophia’s ~32 m). The Blue Mosque’s architect Sedefkar Mehmed Ağa incorporated six minarets and a plethora of İznik tile decoration, but the structural DNA is clearly inherited from Hagia Sophia’s paradigm. In effect, “Hagia Sophia became the quintessential model for Eastern Orthodox church architecture… and its style was emulated by Ottoman mosques a thousand years later.”

Indeed, many scholars note that without Hagia Sophia, the whole genre of Ottoman central-domed mosques might have developed very differently. Even in the 20th century, when the new Turkish Republic built the enormous Çamlıca Mosque in Istanbul (completed 2019), they borrowed heavily from Hagia Sophia’s proportions and cascade of domes.

Beyond religious buildings, Hagia Sophia influenced secular architecture in the West as well, especially after its “rediscovery” by Western travelers in the Renaissance. When Michelangelo designed St. Peter’s Basilica’s dome in Rome (completed 1590), he reportedly studied drawings of Hagia Sophia’s dome to understand its support system. Many later churches and even synagogues (like the Great Synagogue in Florence, 1880) took cues from Hagia Sophia’s harmonious volumes and central space.

A fun comparison: St. Peter’s Basilica in Vatican City, finished 1000 years after Hagia Sophia, has a dome 42 m in diameter and a height of 136 m at the cross. It is significantly larger in absolute terms, but built with more advanced engineering. Hagia Sophia remains remarkable because it was so far ahead of its time. It wasn’t until the late 19th century that larger enclosed domed spaces (like the Pantheon in Paris or St. Paul’s in London) were constructed in Europe. Even so, Hagia Sophia’s mystique as the grand ancestor of domed buildings endures. As the MasterClass architecture guide aptly puts it, “The Hagia Sophia is the second-largest pendentive dome in the world, after St. Peter’s Basilica in Rome” – quite a feat considering St. Peter’s came a millennium later with Renaissance technology.

In summary, Hagia Sophia’s architecture is not an isolated wonder – it’s the progenitor of a lineage. From the churches of Eastern Europe to the mosques of Turkey and even modern civic domes, one can trace a line back to that moment in 537 when Justinian’s dome first gleamed. Its combination of engineering daring and artistic vision permanently expanded the architect’s toolkit, showing how to make stone and brick soar toward the heavens.

Having examined the structure itself, let us now turn to the equally rich topic of Hagia Sophia’s interior decoration – specifically, the art and mosaics that adorn its spaces, telling stories of faith and empire in colored glass and gold.

Art and Mosaics of Hagia Sophia

Stepping into Hagia Sophia, one enters a gilded world of mosaic art. Though time and transformations have altered the decoration, Hagia Sophia still houses one of the most significant collections of Byzantine mosaics on the planet, as well as impressive examples of Ottoman Islamic art. These mosaics are not just beautiful – they are invaluable records of medieval art, imperial ideology, and theological expression. In this section, we will explore the mosaic art of Hagia Sophia, what happened to it over the centuries, and how it has been preserved or revealed in modern times.

Understanding Byzantine Mosaic Art in Hagia Sophia

Mosaics – images made from assembling small pieces of colored glass, stone, or ceramic – were a dominant art form in the Byzantine world. Hagia Sophia’s interior was originally covered with mosaics on its upper walls, vaults, and domes. To picture it in its prime: virtually every surface above the marble-paneled lower walls gleamed with mosaic – whether iconographic or ornamental.

Byzantine mosaics use small tiles called tesserae, often no bigger than a fingernail. Many tesserae are made of glass backed with gold or silver leaf, creating a shimmering effect when light hits. The artisans set them at slight angles so they catch light differently, making the images seem to flicker by candlelight. In Hagia Sophia: – The backgrounds of most mosaics are in brilliant gold tesserae, which must have made the interior dazzling – symbolically turning the church into heaven, radiating divine light. – Human figures (when depicted) are composed of glass tesserae of various colors, as well as stone for flesh tones, arranged with consummate skill to convey shading and expression.

It’s important to note that no figurative mosaics survive from Justinian’s initial construction (or perhaps none were made, focusing on decorative patterns then). After the Iconoclast period ended in 843, the Byzantine church reaffirmed the importance of holy images, and that’s when Hagia Sophia was adorned with the iconic mosaics we treasure today. So, most of the mosaics in Hagia Sophia date from the 9th century onward, with a particularly rich burst from roughly 867 through the 14th century.

Techniques: The mosaics were set into a bed of plaster on the curvature of vaults or walls. Remarkably, many tesserae stuck through centuries of tremors and even neglect. The Byzantines had to occasionally restore mosaics; we know of an earthquake in 989 that brought down part of the archangel mosaic in the apse, later restored by Emperor Basil II. Crusaders in 1204 pried out some tesserae (believing they had talismanic powers or simply to rob the gold).

Themes: Hagia Sophia’s mosaics can be broadly categorized: – Non-figural decoration: This includes geometric designs, floral motifs, and crosses. For example, a beautiful cross mosaic once adorned the main dome before iconoclasm (only fragments remain around the windows). Also, the great seraphim angels in the pendentives (four six-winged angels) might at first seem just decorative, but they are in fact zoomorphic representations of heavenly beings; their bodies are mosaics of feathers and eyes, though their faces were covered later by Ottomans. – Figural mosaics: These depict holy figures (Christ, Mary, saints) often in specific compositions with emperors or as devotional scenes. These were mostly added from the 9th century to 14th century.

Before we list the major mosaics visible today, it’s worth noting the mosaic restoration history: – During the Fossati restoration (1840s), the brothers uncovered many mosaics, copied them, and then re-covered some because the mosque function still required figural images to be obscured. So, they saw e.g. the face of the apse Virgin, some apostles in the dome (since lost), etc., but left them hidden behind paint or plaster. – In the 1930s, under the museum conversion, these mosaics were gradually revealed by experts like Thomas Whittemore. However, they did not remove all Ottoman additions – they balanced the presentation. They uncovered the most significant figural mosaics in galleries and high vaults while leaving some golden backgrounds and patterns as they were. – Since then, ongoing conservation has cleaned and stabilized mosaics, the most recent large effort being in the 1990s-2000s.

Now let’s highlight major mosaics you can see (mostly in the upper galleries and some in the nave):

Major Mosaics You Can See Today

The Apse Mosaic: Virgin Mary and Christ Child

High in the half-dome of the eastern apse, directly above where the altar once stood (and above the mihrab now), shines a mosaic of the Virgin Mary holding the infant Jesus. Installed in 867 CE, it was the first figurative mosaic commissioned after the end of Iconoclasm and thus carried huge significance. Mary is depicted seated on a throne, with baby Jesus on her lap, against a solid gold background. In her hand, Mary holds a handkerchief and a symbolic garb. This mosaic declared that sacred images were welcome again in Orthodox worship. An inscription (now mostly lost) around it recorded the Patriarch’s and Emperor’s dedication of this new image.

Today, this Virgin and Child is still in situ, though it has suffered wear. Interestingly, during the mosque era, this mosaic was one that was visible for quite some time – there are Ottoman miniatures from the 16th century that actually depict the interior of Hagia Sophia with the apse Virgin still present, suggesting that early sultans allowed that image to remain until it perhaps deteriorated or was lightly whitewashed later. In the current mosque setup, a pale curtain is sometimes drawn across the lower half of the apse during prayers so that the Virgin is not prominently in view to worshippers, but at other times (tourist hours) the curtain is open and you can admire it.

The Deësis Mosaic: Christ with Mary and John (Upper Gallery)

Perhaps the most celebrated Byzantine mosaic in Hagia Sophia is the Deësis (meaning “Entreaty” or “Supplication”) panel on the south side of the upper gallery (the former imperial loge area). Created around 1261 after the Byzantines retook the city from the Latins, it shows Christ Pantocrator (ruler of all) at center, with the Virgin Mary on His right and John the Baptist on His left, both imploring Christ for mercy on behalf of humanity on Judgment Day.

This mosaic is lauded for its artistic quality – the figures’ faces are rendered with breathtaking subtlety and humanity. We see sorrow in Mary’s eyes and John’s lean features, and Christ’s face, though partially damaged, retains a profound expression. Art historians often call it the pinnacle of late Byzantine art, noting “the softness of the features, the humane expressions and the tones of the mosaic”. Indeed, it is said to show a Western influence or parallel to Italian Renaissance trends (some compare it to the work of Cimabue or Duccio, contemporaries in Italy).

Originally, this Deësis was likely part of a larger composition on a wall in the upper south gallery, possibly behind the area where the Empress and court ladies would stand during services. Unfortunately, the lower parts (bodies) are heavily damaged – likely due to moisture and perhaps deliberate removal of tesserae. But the surviving faces of Christ, Mary, and John (especially Mary and John) are enough to enthrall viewers. During the Ottoman period, this mosaic was plastered over and only rediscovered in the 1930s. Its partial state almost adds to its poignancy, as if it survives as a fragment of a lost world.

Imperial Door Mosaic: Christ and an Emperor

Above the Imperial Gate (the central doorway from the narthex into the nave), visitors can look up and see a bright mosaic panel that was uncovered and cleaned in the 1930s. It dates from the late 9th or early 10th century. The composition: Christ Pantocrator sits on a jeweled throne, giving a blessing with one hand and holding a scripture in the other. At His feet, to the right, a Byzantine emperor (thought to be Leo VI, who ruled 886–912) kneels in prostration, kissing Christ’s feet. In the medallions flanking Christ’s head are figures of Archangel Gabriel and Mary. The Greek inscription on Christ’s book reads, “Peace be with you. I am the light of the world.”

This mosaic sends a potent message about imperial authority being subject to divine authority. The interesting backstory is that Emperor Leo VI had to ask the church’s forgiveness for a controversial fourth marriage – some speculate this humble portrayal might reference his penance. Regardless, this mosaic would be the first thing the emperor saw entering the church, and today it is one of the first mosaics you see as a visitor after the outer vestibule. Its colors are vivid – Christ’s deep blue robe and the gold background have miraculously retained their vibrancy.

Southwest Vestibule Mosaic: Justinian, Constantine, and the Virgin

As you exit (or before you enter) Hagia Sophia, in the southwest vestibule – essentially above the exit door leading out to the courtyard – there is a large mosaic often overlooked by hurried tourists. It depicts Virgin Mary holding the Child at center (similar to the apse one, but smaller scale), with two Byzantine emperors flanking her: on her left, Emperor Constantine the Great offers her a model of the city of Constantinople; on her right, Emperor Justinian I offers a model of Hagia Sophia itself. This mosaic likely dates to the 10th century, during the Macedonian dynasty, as a proud representation of the empire’s two greatest founders – Constantine, who built the city, and Justinian, who built Hagia Sophia – in supplication to the Theotokos (Mother of God), the city’s protector. The Latin inscription extols these emperors.

This mosaic was heavily restored in the 19th century by the Fossatis (they repainted some missing parts), but it’s still impressive. Interestingly, images of this mosaic survive in Western traveler sketches even from the 17th century, indicating it might have been visible or only lightly whitewashed in Ottoman times (since it’s not inside the main prayer hall, the Ottomans may have been less concerned about covering it strictly). Now fully revealed, it’s a beautiful “bookend” to the Hagia Sophia experience, connecting the beginning of Byzantium’s story (Constantine) with the high point of its splendor (Justinian) – right at the threshold of the great church.

The Six-Winged Seraphim (Angel) Mosaics

On the four pendentives (triangular curved supports under the dome), Hagia Sophia features gigantic winged angel figures, often called Seraphim (though some debate if they’re seraphim or cherubim – both are types of angels in scripture that attend God’s throne). Each has a six-winged body filling the triangular space. They date originally to the 6th century (probably non-figural wing patterns at first) but were restored in the 14th century with more detail.

During the Ottoman era, the faces of these angels were covered with round metal star medallions (since Islamic tradition would not allow angelic faces displayed). In recent times, one of these – the northeastern angel’s face – was uncovered in 2009 and revealed a youthful angel face with huge eyes, startlingly fresh. The other three still have their star covers on (for preservation and perhaps respecting tradition), but likely also have faces beneath. The wings and bodies are still visible: they are a patchwork of green, gold, and ochre tesserae making abstract plumage patterns. If you stand in the gallery, you can see the exposed angel face clearly on one pendentive. These seraphim remind viewers that this space was thought to be the earthly reflection of God’s heavenly court, with angels ever-present.

Empress Zoe Mosaic (South Gallery)

On the eastern wall of the south upper gallery (the same gallery where the Deësis is, but on the wall facing the nave) is a mosaic panel featuring Christ Pantocrator in the center, with Emperor Constantine IX Monomachos on one side and Empress Zoe on the other. Christ holds a Bible and is blessing; Emperor Constantine IX offers a money pouch (symbolizing a donation) and Empress Zoe holds a scroll (symbolizing an endowment or decree). This mosaic dates to the mid-11th century (ca. 1042–1055) during the reign of Constantine IX and Zoe. However, it has a bit of a comedic history: Empress Zoe was known to have had multiple husbands and presumably when each fell out of favor or died, the mosaic was modified. Art historians detect that the emperor’s face has been reworked (Constantine IX’s face replaced that of a previous husband). Zoe’s own face may also have been altered from an earlier youthful depiction to a somewhat older one, but the mosaicist did a fine job – she is shown with plaited golden hair and a somewhat stylized but dignified expression. An inscription calls her “pious Augusta Zoe”.

This mosaic conveys a message of imperial piety: the imperial couple is shown donating to Christ and the Church. The gold background and the richly patterned clothing (especially Zoe’s jeweled loros dress) are striking. Thankfully, this mosaic survived iconoclasts (since it came after) and was high enough to be mostly left alone by Ottomans aside from plaster that was later removed. It’s a bit off the main tourist path (upper gallery east wall), but very much worth seeing.

The Komnenos Mosaic (John II and Eirene)

Near the Zoe mosaic, on the adjacent wall of the south gallery, is another imperial mosaic from roughly a century later, often called the Komnenos mosaic. It depicts the Virgin Mary holding the child Christ in the center. On her left stands Emperor John II Komnenos (r. 1118–1143) and on her right, Empress Irene (originally a Hungarian princess, note her fair complexion in the mosaic). Their young son, Alexios Komnenos, is depicted smaller at John’s side (though his image is partly damaged). John II offers a bag of gold (again signifying donation), and Irene holds a document, likely representing her generous charity. An inscription above them praises John as “pious emperor” and Irene as “most pious Augusta”. The artistry here shows subtle shading in faces – Irene even has rosy cheeks and gray eyes noted by historians, reflecting her Hungarian heritage.

This mosaic is significant as a snapshot of 12th-century court art. It has suffered some damage (Alexios’ figure, who predeceased his parents, is partly lost), but the faces of John and Irene are in good shape. The positioning near the Zoe mosaic suggests the south gallery was a favored location for imperial commemorative art.

These two mosaics (Zoe and Komnenos) reflect a tradition: many Byzantine emperors chose to depict themselves in Hagia Sophia venerating the divine – effectively immortalizing their pious contributions, and possibly hoping the prayers in the church would remember them kindly.

Other Mosaic Elements:

Beyond these famous ones, there are numerous fragments and patterns. For example: – Tympanum mosaics: The north and south tympana (the large semi-circular wall sections above the colonnades) once had mosaics of large saints. On the north, figures of Saint John Chrysostom and Saint Ignatius (patriarchs of Constantinople) survive in part. These were very high up and stayed through ages, but are faded now. – Dome mosaic: Originally likely a gigantic Christ or cross at the crown of the dome. The current decorative paint in the dome center is 19th-century Ottoman design (Islamic calligraphy of a Quran verse). If any of the original was left beneath, it’s not visible. The Fossatis found a mosaicked six-winged cherub on the dome in their time, but it was mostly damaged and they ended up painting over it. – Marble Door: In the south gallery there is a large door made of marble called the “Marble Door” or “Gate of Heaven and Hell” which has some mosaic around it and was used in synods. It’s a non-figural but interesting element.

What Happened to the Mosaics Under Ottoman Rule?

As alluded earlier, when Hagia Sophia became a mosque in 1453, Islamic law required no imagery of sentient beings (people, animals) in the prayer hall to avoid idolatry. The Ottomans handled this by covering but not destroying the mosaics for the most part. Contemporary Ottoman chronicles do not describe any systematic defacement (which likely would have been mentioned, as it would be a big task). Instead: – They applied plaster or whitewash over many wall mosaics. This was relatively reversible (which is why we can see them now). – Some mosaics might have been removed intentionally: for instance, one source suggests that during Sultan Mustafa I’s time, some mosaic tesserae fell and people took them as amulets. – The faces of important figures – especially angels in the dome and possibly the giant Christ in the apse – were definitely covered with metal or plaster medallions. – Mosaics in side chambers or high unreachable places were left alone if they didn’t bother anyone.

It’s often said (possibly apocryphally) that Sultan Mehmed II, after conquering the city, was so impressed by an image of the Virgin and Child that he ordered it left visible. Whether or not that’s true, by the 16th century, most figural mosaics were concealed. Yet crucially, they were not hammered off en masse (which happened in some other converted churches). Ottoman pragmatism might have played a part – plastering was easier and the glittering mosaics could be seen as part of the glory of the building, even if not theologically appropriate to display. Also, recall that Hagia Sophia for the Ottomans had a quasi-mythic quality; preserving it was a matter of imperial pride.

A few exceptions: The Latin invaders in 1204 did more permanent damage than the Ottomans likely did. Also, in the 18th century, Sultan Mahmud I added the library and possibly during that or other renovations, some mosaics might have been deliberately removed to attach new structures.

By the 19th century, most visitors described the interior as painted/stuccoed over with Islamic designs, no icons in sight except maybe faint glimpses in certain lights. Thus, one could say the mosaics survived by hiding – lying dormant under a shell until re-discovered.

Mosaic Restoration History

After secularization in 1934, a major effort by experts (notably Thomas Whittemore of the Byzantine Institute) got permission from Atatürk’s government to uncover and restore mosaics between 1931 and 1940. This was delicate work: peeling away hard plaster without pulling tesserae off. It proceeded gradually: – The Deësis was uncovered starting 1933 – an emotional moment for art historians, as its existence was known only from rumors until then. – The Imperial Gate mosaic was uncovered around the same time. – The apse Virgin was cleaned and revealed by 1936. – The Zoe and Komnenos mosaics in the gallery were revealed by the late 1930s. – They also found Archangel Gabriel (fragment) on the apse arch and one wing of Archangel Michael on the opposite side (the rest missing). – One mosaic that did not survive was on the west wall (perhaps a large Virgin or a cross), which was mostly gone by then. – Many purely decorative mosaics (crosses, borders) were also restored, but these get less press.

The mosaics were documented and carefully preserved with consolidants. Some tesserae had to be reset. Also, the decision was made to leave some plaster in place: for instance, on the southern dome arch, two huge frescoed roundels with Islamic text from the Fossati period cover areas where mosaic might be underneath, but they decided to keep the 19th-century Islamic artwork intact for the sake of representing all periods. Similarly, not all golden background mosaic was stripped of Fossati’s painted patterns.

In recent times, mosaic conservation continues: controlling humidity to prevent tesserae loosening, and occasional cleaning. The biggest concern now is how the interior climate might change with so many visitors and prayers (the new carpet can alter humidity levels). As of 2026, reports say the mosaics remain accessible outside prayer times, and measures like curtains ensure they are not in line-of-sight during prayers (though honestly, many are so high up it would be hard to notice them from the floor anyway).

One particular note: since conversion back to mosque, during prayers the mosaics are either dimmed or curtained – for example, a laser or projection system was considered to sort of virtually mask them with light, but currently they use simple curtains for the big ones like the apse Virgin. Tourists can still see all the mosaics during non-prayer visiting hours.

Current State of Mosaics After 2020 Conversion

As just touched on, nothing has been destroyed or re-hidden permanently since 2020. The Turkish authorities pledged that “the historical mosaics [and] icons… will be preserved” and made visible when appropriate. The compromise in practice: – The apse Virgin has a pulley-drawn curtain that is closed during the five daily prayers (especially the more populated noon and Friday prayers) and opened other times. – The Imperial Gate mosaic is above eye level and off to the side of the worship area, so it’s mostly always visible (one might not even see it from the ground unless looking). – The gallery mosaics (Deësis, Zoe, Komnenos) are in the section now designated as the “Visiting Area” for ticketed tourists. During prayers, that gallery is simply closed. In tourist hours, one can go up and view them normally. – Lighting can be adjusted: possibly they dim specific spotlighting on mosaics during prayer so they are less conspicuous.

So, thankfully, the reconversion hasn’t meant re-plastering these treasures. UNESCO and the international community keep a watchful eye to ensure continued access, and so far Turkey has complied in maintaining them.

Islamic Art and Calligraphy Inside Hagia Sophia

Parallel to the glittering mosaics, Hagia Sophia also boasts notable works of Ottoman Islamic art, making it a unique gallery of two religions under one dome.

The Giant Calligraphy Medallions

Dominating the interior, eight massive round medallions hang high on the columns of the nave. These were added in 1849 by Sultan Abdülmecid’s order, created by calligrapher Mustafa İzzet Efendi. Each medallion is about 7.5 meters across, made of stretched canvas on a wooden frame (they are not mosaic or paint on the wall, which is good because they could be removed if needed).

They bear gilded Arabic inscriptions: – On the east side near the apse: Allah (God) and Muhammad. – The other six name the Rashidun (Rightly Guided) Caliphs: Abu Bakr, Umar, Uthman, Ali, and the Prophet’s grandsons Hasan and Husayn. These names are sacred in Islam. Putting them up in Hagia Sophia symbolically claimed the space for Islam while also honoring its grandeur (interestingly, such huge medallions are not common in most mosques – they made them extra large likely to fill Hagia Sophia’s vast scale).

The medallions were removed during the 1930s conversion (to showcase the Christian art better), but they were put back in the 1980s when it was still a museum, acknowledging them as part of the building’s heritage. They remain now and actually are helpful in covering some empty spots where mosaics might be missing.

Arabic Inscriptions and Decoration

Besides the medallions, look up at the central dome’s highest point: there is intricate Arabic calligraphy painted in gold on a green background around the 40 windows of the dome. This is the Quranic verse 24:35, the Ayat an-Nur or “Verse of Light,” which begins “Allah is the Light of the heavens and the earth…”. It was painted by the Fossatis in the 1840s, replacing perhaps an earlier Ottoman inscription. The calligraphy and ornamentation they did in the dome and arches are in Ottoman tughra style and add a layer of Islamic art on top of the Byzantine canvas. Far from clashing, many visitors find the Arabic script and geometric patterns complement the space’s spirituality.

Other Islamic additions include: – Mihrab: As mentioned, a fine piece of Ottoman art in itself, flanked by two huge candlesticks taken from a Hungarian cathedral by Suleiman the Magnificent (spoils of war). – Minbar: Carved marble with muqarnas decoration. – Hünkâr Mahfili: The Sultan’s loge has elegant marble lattice and mother-of-pearl inlay in its door. – Sultan’s calligraphies: In the upper galleries, the Fossatis also hung plaques with the tughra (signature emblem) of Sultan Abdülmecid, and they inscribed in Arabic the names of recent sultans on some walls (these are more subtle). – Chandeliers: The large ring chandeliers hanging low in the nave are 19th-century style (though electrified now). They contribute to the ambiance with their warm glow, reminiscent of the thousands of oil lamps that would have twinkled in Byzantine times.

It’s remarkable that Hagia Sophia today is an amalgam of Byzantine Christian iconography and Ottoman Islamic calligraphy. For instance, from certain angles you can see the apse Virgin mosaic right above the mihrab with “Allah” medallion to the side – a sight unique in the world. During the museum era, this coexistence was often highlighted as a symbol of multi-layered history. As a mosque now, the Islamic elements take practical precedence (like the carpet covering crosses on the floor), but the Christian art is still respected as heritage.

In sum, Hagia Sophia’s art is not monolithic; it’s a palimpsest where gilded mosaics, marble reliefs, painted calligraphy, and tile work all contribute to the aesthetic richness. Visitors should take time to absorb both the serene faces of Byzantine saints and the flowing lines of Arabic script – both speak to aspirations toward the divine, rendered in the highest artistry of their times.

With an understanding of Hagia Sophia’s art and symbolism, we can move on to a more down-to-earth tour of its interior features – those tangible, often touchable highlights that every visitor should notice when walking through this majestic space.

Interior Highlights and Must-See Features

Hagia Sophia’s vast interior is filled with fascinating details – some grand and obvious, others subtle and tucked away. In this section, we navigate through the building and point out the must-see features and little-known highlights that enrich a visit. Walking in, one’s senses are almost overwhelmed: the immense dome, the forest of columns, the layered sounds of footsteps and echoes of the past. Here’s what to look for:

The Grand Central Dome and Nave

Entering from the narthex through the Imperial Gate, you step into the nave – an experience that often stops visitors in their tracks. The first thing is the overwhelming scale and space. Look up to the central dome and slowly turn around to take in the full 360° panorama. The dome seems to hover, thanks to the ring of light from its windows. Historian Procopius in the 6th century said it looked as if it were “suspended from heaven”. Today, even with all our skyscrapers and domes since, it’s hard not to feel a bit of that ancient awe.

Notice how your voice and steps echo; the acoustics, enhanced by the large dome and volume, were famous. (Byzantine liturgies here reportedly featured choir chants that could last 10 seconds in reverberation.)

Amid the dome’s pendentives you see the winged angel mosaics mentioned earlier – one newly revealed face, the rest with star covers. Between those angels hang giant green medallions with golden Arabic script (Allah, Muhammad, etc.), forming a ring below the dome.

Looking around the nave, you’ll see two levels of arcades: the ground level with large marble columns dividing the side aisles, and the upper gallery level with similar column colonnades. These colonnades themselves are a sight: many of the columns are verd antique (green marble) and porphyry (purple). They have exquisite capitals with deeply undercut foliage and imperial monograms. Run your hand gently over one of these columns – some are cool Egyptian granite, others are slightly translucent green. You’re literally touching material from ancient temples that Justinian repurposed.

One particular column on the north side of the nave stands out and draws queues of curious visitors – the legendary Wishing Column, also known as the Weeping or Perspiring Column.

The Weeping Column (Wishing Column)

Near the northwest corner of the nave (to the left as you face the apse) is a large porphyry column with a bronze-covered hole about chest-high. This is the famous Wishing Column. Over centuries it has developed a bit of moisture on its surface, giving rise to legends. The bronze plate around the hole is worn shiny by the countless fingers that have been inserted.

Tradition: It is said that if you stick your thumb into the hole and rotate your hand a full circle while your thumb stays in the hole, and if your thumb emerges feeling damp, your wish will be granted or you’ll be healed of ailments. This custom has its roots in an old story that the column “weeps” with holy water or healing myrrh thanks to the presence or prayers of a saint.

One story attributes the moisture to St. Gregory Thaumaturgus (Gregory the Miracle-Worker), who supposedly appeared near this column in the year 1200 and his miraculous presence caused it to sweat water. Another legend says the Virgin Mary’s tears or the water from an underground spring cause it. The column is sometimes called the Column of St. Gregory or Sweating Column.

From a scientific perspective, there might be a dampness due to condensation or a hidden well, but in a building as mystical as Hagia Sophia, the magical explanation is more fun. Visitors (Muslim, Christian, anyone) still line up to perform the thumb ritual. The bronze is modern (put in to protect the hole’s edges), but the practice dates back at least to Ottoman times; even sultans were said to respect it.

If you try it, feel inside – you might sense cool moisture. Many people report a slight dampness (especially in humid months). Whether you make a wish or a prayer, it’s a neat, tactile connection to the building’s folklore.

The Omphalion: Where Emperors Were Crowned

On the floor of the nave, just slightly to the side (south) of the absolute center, you’ll see a circular geometric pattern in the marble flooring. It’s often roped off or visible as an array of circular designs of purple, green, and white stones set in a large round field. This is the Omphalion, meaning “Navel of the Earth”.

The Omphalion is comprised of several concentric circles and disc patterns in porphyry and marble, and was the ceremonial spot where Byzantine emperors were crowned by the Patriarch. Essentially, it was the coronation spot of the Eastern Roman Empire right inside Hagia Sophia. Imagine the pomp: the new emperor, after being acclaimed and processed, stands on this very stone mosaic floor, and the crown is placed on his head as the church echoes with hymns. The concept of it being the “navel” signified this was the center of the world, symbolically, with the emperor at that center.

Today, the Omphalion’s stones are still flush with the ground (some restoration has been done to fix loose pieces). It lies in front of where the great Byzantine altar once stood (the altar itself is gone; the current visible altar-like table under the dome is a modern display stand, not in use).

During the mosque period, this area was covered by carpet and largely ignored. Now with tourism, they leave it exposed. If it’s roped, you can still get close and see the rich colors: porphyry rounds (deep purple) embedded in rings of verde antique (green) and white marble. The pattern almost looks modern, abstract art, but it’s 6th-century original.

Standing at the Omphalion, you can reflect that you are at the very spot where Justinian, Heraclius, Basil II, and so many storied emperors stood to begin their reigns. Even the last Byzantine Emperor, Constantine XI, would have walked over it in his final service.

The Emperor’s Gate (Imperial Door)

As you exit the nave back into the narthex, you might pass through the central largest door – that is the Imperial Gate itself. It’s a monumental door, about 7 meters tall, sheathed in metal (likely bronze and perhaps wood core of ancient oak). According to tradition, this door was made with wood from Noah’s Ark – a legend recorded by medieval commentators (though scientifically unprovable). It certainly is very old, likely original to Justinian’s basilica.

The Imperial Gate was exclusive: only the Byzantine Emperor could enter through it (with a few attendants). Others used side doors. It leads from the inner narthex to the nave, and above it (inside the nave) is the mosaic of Christ and Emperor Leo VI we discussed. You might notice above the door frame, on the narthex side, a carved stone relief or some remnants of decoration. The door itself has lost some of its original plating but has been reinforced over time.

Just next to the Imperial Gate in the narthex, there is a ramp entrance to the galleries and also some large urns and stone objects on display (some from Ottoman times, some ancient). But one thing to note in the inner narthex: the ceiling has wonderful gold mosaics with geometric and floral patterns from the 6th century. Many visitors hurry through, but look up – those glittering gold cubes are original to Justinian’s church, simple crosses and ivy scrolls that survived iconoclasm.

The Upper Gallery (Matroneum) and Empress’s Lodge

If you have access (with the new visitor route, you should), definitely go up to the upper gallery. You ascend via a stone ramp (not stairs) in the northwest corner. It’s a sloping, sometimes dim passage – imagine imperial guests being led up here, or perhaps Janissaries patrolling in Ottoman times.

At the top, you emerge into the gallery that runs along the south and west sides mainly (the north is currently not open to tourists except some sections for exhibits). The south gallery is the highlight – historically it was the matroneum (women’s gallery) and specifically one section with a marble screened enclosure is identified as the Empress’s Loge (a special area where the Empress and her ladies would watch the service, likely a bit elevated and with a railing).

In this south gallery, look for the runic graffiti – that’s right, Vikings were here! On a marble balustrade, faintly, there is a scratched inscription in Norse runes that reads something like “Halfdan was here”. Varangian Guard (Scandinavian mercenaries serving the Byzantine emperor) left such marks in the 9th-11th centuries. It’s thrilling to find if you know what to look for (there’s usually a sign pointing it out).

From the gallery railing, you have a sweeping view of the nave and dome from above. You can better admire the mosaics in the vaults and get close to some mosaics on the walls (like Zoe and Komnenos panels). You also see the full perspective of the central space – the way the half domes cascade, etc. It truly enhances appreciation of the architecture.

On the floor of the gallery, note the marble design – it’s patchwork now but originally had carpet or mats for imperial use. Some indentations in the marble are said to be where the throne of the Empress would be placed or dignitaries stood.

In the northeast gallery, currently you might see an exhibition or signs, but historically one of the upper chambers off the north gallery is where Enrico Dandolo, the Venetian doge who led the Fourth Crusade, was buried after 1204. His grave marker isn’t clearly visible now (some say a simple stone in the floor with his name existed but it might have been removed or lost), but it’s a grim reminder in the upper north gallery that he who sacked the city was interred in its greatest shrine. If you are on a guided tour, they often point out Dandolo’s gravesite location.

The Mihrab and Minbar

Back on the ground floor, the apse area of Hagia Sophia holds the key Islamic liturgical furniture: – The Mihrab: As described, a semicircular niche of ornate marble, set slightly off-center to align with Mecca (it’s actually a few degrees south of east). It is framed by 19th-century tile panels and has a lovely stalactite carving around it. At prayer times, the imam stands at the mihrab to lead prayers. Non-Muslim visitors can approach it when tourists are allowed; you’ll see the raised platform in front where a large Quran stand might be placed during prayer times. – To the right of the mihrab, the Minbar: a tall, narrow pulpit with a staircase and a conical top. The imam ascends it to give the Friday sermon (khutbah). Hagia Sophia’s minbar is made of white marble with inlaid patterns, dating to the 16th century. It’s a graceful piece, though less elaborate than some you might see in other mosques, perhaps because of the already overwhelming surroundings. – To the left of the mihrab on the apse wall is a gilded Arabic inscription of a Quran verse (often the Throne Verse, Ayat al-Kursi), and above looms the apse Virgin mosaic (visible when not curtained). – Flanking the mihrab on the floor are two enormous lustration urns carved from single blocks of marble (from Pergamon, Hellenistic era) brought in by Sultan Murad III in the 16th century. These big round urns, with spouts and lids, were used to dispense water for ritual ablutions or drinking water. They are imposing – each weighs many tons – and they show the Ottomans’ penchant for collecting classical artifacts.

Overall, this apse zone is a microcosm of Hagia Sophia’s layered identity: a mihrab stands where the altar once did; an Arabic inscription floats under a Greek mosaic of Mary; Ottoman urns sit where Byzantine choristers once stood.

The Library of Sultan Mahmud I

On the north side of the nave, near the middle, there is a delightful 18th-century addition: Sultan Mahmud I’s library, built in 1739. It’s a small room separated by an ornate grille of bronze and wood. Through the grille you can see low wooden bookcases and tiled panels. Mahmud built it to house books of theology for scholars. Today, no books are inside (they are in museums), but the library room remains as a fine example of Ottoman baroque style inside Hagia Sophia. The grille has Arabic calligraphy and floral designs; it is often overlooked but it’s a jewel of workmanship. The doors might be closed but you can peek through. Imagine learned men reading Quran manuscripts by oil lamp in that cozy enclave under Hagia Sophia’s vast vaults.

The Sultan Mausoleums

Just outside the main building, on the south and southeast sides of Hagia Sophia, are a cluster of historic mausoleums (türbe) where Ottoman sultans and family members are buried. These are worth a visit if open: – Tomb of Selim II (1577): Designed by Sinan, it’s a beautiful octagonal structure with interior walls covered in İznik tiles of rich color (cobalt blue, emerald, and coral red). Selim II was the son of Suleiman the Magnificent. Inside, the sultan’s sarcophagus and those of his family are draped in purple cloth with turbans on top (a traditional presentation). – Tomb of Murad III and Tomb of Mehmed III: These later 16th/17th-century mausoleums each contain dozens of coffins – Murad III’s has 54 sarcophagi (he had many children) including notably some princes executed to prevent succession disputes. Mehmed III’s has similarly many. They are lavishly decorated with tile and painting as well. You really sense Ottoman funerary tradition here. – Tomb of Mustafa I and Ibrahim: A joint tomb for two sultans (Mustafa I and Ibrahim “the Mad”). Simpler but still ornate inside.

These mausoleums form a sort of sacred garden on Hagia Sophia’s grounds, reflecting that after it became a mosque, the area around it became hallowed by association, chosen as final resting place for royalty. They’re usually free to enter and require removing shoes, as they are holy precincts. Even if one only has a few minutes, peeking into Selim II’s tomb to see the best tiles is recommended.

Those highlights cover the core. A few other tidbits: – In the south aisle, there’s a spot on a column with a cross engraving that is said to mark the location of the “column of flagellation” (from the story of Jesus’s Passion) – likely a relic brought during the crusades or a symbolic one. – Marble jars: On the north side, two massive lustration urns (the ones from Pergamon) are placed, as mentioned. – Elevator and ramps: The Ottomans installed a primitive elevator (counterweight system) in one minaret for raising people to announce time – but that’s not visible. – Cats: Hagia Sophia was famous for its friendly cat named Gli, a gray cat who lived there for years and became an internet star. Gli passed away in 2020, but you’ll often see a few cats roaming inside, adding to the living charm of the place. Visitors and even President Obama have been enchanted by Hagia Sophia’s feline residents.

Ultimately, the interior of Hagia Sophia is an overwhelming feast for the eyes. Spend time to absorb the interplay of light on mosaic and marble, feel the weight of history at the Omphalion under your feet, and don’t forget to look for the human touches – Viking graffiti, wishing column thumbprints, cat paw trails. These tactile signs of life bridge the gap between the modern visitor and the countless souls who have been here before.

Having explored the building itself, we now turn to practical matters: how to plan your visit effectively in the current era. The next section is a comprehensive 2026 visitor guide, covering everything from tickets to dress code to making the most of your time inside this wonder.

Complete 2026 Visitor Guide

Visiting Hagia Sophia requires navigating a unique blend of active religious site and monument. Since its reconversion to a mosque, there are new rules and arrangements in place as of 2024–2026. This guide will help you plan your visit seamlessly, respecting its sanctity while ensuring you see all the highlights.

Is Hagia Sophia a Church or a Mosque Today?

Hagia Sophia is today an active mosque (officially named Hagia Sophia Grand Mosque). It has regular daily Muslim prayers and weekly Friday congregational prayers. However, it is also a major tourist attraction open to visitors of all faiths outside of prayer times.

It is no longer a museum, so you won’t see museum staff offering audio guides or exhibitions like before 2020. Instead, think of it like visiting other famous mosques (e.g., the Blue Mosque) – you can enter respectfully, tour the interior, but certain areas may be off-limits or closed during worship.

Some important implications: – There is no longer an admission fee just to walk into the mosque’s main ground floor for worship or quick look (as it’s a religious site, free of charge for entry to pray). – However, as of 2024, tourists are required to purchase a ticket (€25) for the full museum-like experience (access to the upper galleries and historical exhibits). This essentially reintroduces an entry fee but only for the separated visitor route (more on that below). – Christian rituals or prayers are not conducted here (it’s a mosque), but Christians and others are allowed to visit quietly. One cannot light candles or perform any Christian worship in Hagia Sophia now. – The building still contains priceless Christian art (mosaics), but during Muslim prayers these are curtained off or the lights dimmed on them.

In summary, Hagia Sophia is a mosque that doubles as a historic monument. The Turkish authorities emphasize it remains “open to all” like the Blue Mosque is. So non-Muslim tourists are definitely welcome – just be mindful of its current religious function.

Can Non-Muslims and Christians Visit Hagia Sophia?

Yes. Non-Muslims and people of any faith can visit Hagia Sophia, outside of prayer times, without any issue. Even during prayer times, non-Muslim visitors can still enter the building for prayer observation or to quietly sit in a corner (segregated from worshippers), but generally it’s recommended to avoid heavy prayer periods if your aim is tourism.

The Turkish President and authorities explicitly stated that Hagia Sophia will continue to embrace everyone – it remains one of Istanbul’s top tourist sites even as a mosque.

However, here are some things to keep in mind: – During the five daily Islamic prayer times, the main hall is closed to sightseers. Non-Muslim tourists will be asked to wait outside or confine to designated sections. Prayers usually last about 10-15 minutes, except the important Friday midday prayer which can last 30-60 minutes including sermon. – Non-Muslims should not walk in front of worshippers or disturb them during prayers. Even if you are inside during a prayer, remain in the back or sides quietly. – Taking photos is allowed (outside of prayer times), but of course do not photograph people at prayer to respect privacy and piety. – You do not need to announce your religion or anything – there is no separation; all visitors just follow the same visitor protocol.

So yes, Christians can visit – in fact many do, for the historical connection. Some might wish to quietly pray in their heart, which is fine. Just remember it’s not a church now, so one should not, for example, make large obvious cross signs or try to hold a ceremony. This keeps the atmosphere respectful for all.

Hagia Sophia Tickets

This is crucial: since January 2024, a new ticket system exists for tourists:

• Entrance Fee: €25 for foreign tourists (25 Euros, or equivalent in Turkish Lira – roughly 500 TL at recent rates). This applies to adults. Children under 8 (some sources say under 6, but official says under 8) get free entry with an adult, upon showing ID for age verification.
• Who Pays: This fee is only for those entering the “Visiting Area” (upper gallery and designated tourist sections). Turkish citizens also have to pay if they want to tour the gallery, though for them it’s set at 500 TL (reduced to 250 TL with the Museum Pass Turkey). If a local is just coming to pray, they go in free to the ground floor area.
• Separate Entrances: Worshippers use the free entrance on the west (park side), while tourists must use the north-east side entrance by the former museum turnstiles. Look for signs for “visitor entrance” or follow the tourist queue.
• Ticket Includes: Access to the upper galleries (which were closed since 2020 until now) and certain roped-off historic parts on the ground floor. Essentially, your €25 ticket is like the old museum ticket: you get to wander all publicly open parts of the building except the active prayer area. Note: It does not include any guided tour or audio guide (those are extra services).
• Ticket Purchase: You can buy tickets on-site at a kiosk by the tourist entrance (they accept cards and cash). However, expect lines in peak times. Online options: The Culture Ministry has an official online ticket portal (though at time of writing, it might redirect to a general site). There are also third-party tour companies selling “skip-the-line” tickets at a markup.
• Given Hagia Sophia’s popularity, consider buying a ticket in advance online to avoid a long wait. Or join a guided tour which includes the ticket.
• Skip-the-line and Guided Tours: Many tours are offered. A skip-the-line ticket basically means someone pre-bought for you and you meet them to enter. Hagia Sophia can have security lines regardless, but ticket lines you can skip if pre-purchased. Guided tours (with a human guide, often ~€30-40 including entry) can enrich your visit and help navigate prayer closures. It’s often worth the cost if you love history, as guides know the timing of prayers and mosaic locations intimately.
• Museum Pass / Istanbul Card: As of now, Museum Pass Istanbul is NOT valid for Hagia Sophia. Since it’s technically not a “museum” under the Culture Ministry (it’s under Diyanet now), the museum pass no longer covers it. Turkish citizens have a separate museum card that gives them 50% off, but that doesn’t apply to foreigners.

So, plan for that €25 expense. If on a tight budget and you don’t care to see the galleries or mosaics up close, note that one can still enter the ground floor for free by saying you want to pray or quickly see – but that restricts you to the carpeted prayer area and you might not see the upper parts well. Also, as a non-Muslim, feigning prayer to skip the fee isn’t really appropriate. It’s best to pay and enjoy the full experience.

Opening Hours

Hagia Sophia’s visiting hours revolve around prayer times:

– General Opening: It is open daily from 09:00 (9 AM) to around 18:00–19:00 (6–7 PM) for visitors. Last entry is typically 30 minutes before closing. – However, it is closed to tourists during prayer times. Specifically:

– Five daily prayers: occur at dawn (around 6 AM), noon (varies ~1 PM), mid-afternoon (~4:30 PM in summer, earlier in winter), sunset (~8 PM in summer, earlier in winter), and night (~10 PM in summer). These times shift with the sun and season. – Of these, the midday (Zuhr) prayer and afternoon (Asr) prayer often fall within normal visiting hours. The building will close for about 30 minutes at those times. Typically, around 12:30 PM to 1:30 PM Hagia Sophia is closed for the noon prayer, and again maybe around mid/late afternoon for Asr (exact time posted daily).

– Friday Midday (Jumu’ah) Prayer: This is very important in Islam. On Fridays, Hagia Sophia will close longer, typically from about 11:00 AM until 2:30 PM (the noon prayer plus a sermon and crowds). As Friday is the main congregational prayer, avoid planning your tourist visit at that time. – Non-Prayer Hours: The best times to enter are right at opening (9 AM) or later in afternoon after 3 PM, when no major prayer is happening and crowds might thin out.

– Evening: The mosque stays open in the evening for worshippers (especially in summer, the last prayer is around 10 PM). Tourists might be allowed in until just before the evening prayer (Maghrib at sunset might be around 8 PM in midsummer, at which point visiting stops). Some sources say open until 7:30 PM in summer. Check locally for seasonal hours.

Important: Always check the posted schedule at the entrance. They usually list the day’s prayer times and closure intervals. Also, announcements will be made clearing out tourists when prayer is about to start.

If you’re inside as a tourist when prayer is nearing: – A staff will politely usher non-worshippers either out or into a designated area or the gallery where you can’t be seen from the prayer space. It’s best to just step outside and re-enter after.

So plan around that. Typically, a safe tourist window on any day (except Friday) is 09:00 to noon, and 13:30 to about 18:00, with a break around midday.

Best Time to Visit Hagia Sophia

Timing can make a big difference for both crowd size and lighting inside:

Season: Istanbul’s peak tourist season is April through October. Summers (especially July, August) see very large crowds and long lines, plus it’s quite hot and stuffy inside (no A/C, just fans). Spring and fall are ideal – weather is pleasant and slightly fewer crowds than summer. Winter (December-February) has the smallest crowds; you can often walk right in. However, winter days are shorter (less light for photos) and it can be quite cold inside (Hagia Sophia is unheated, so dress warmly).

Day of Week: Avoid midday Fridays (due to extended closure and huge worshiper turnout). Mondays and Tuesdays often see many tour groups. Sundays can be crowded too, but often slightly less than Saturday.

Time of Day: – Early Morning (Opening time): Highly recommended. If you arrive by 8:30-8:45 AM, you can be among the first in when doors open at 9. The morning light is gentle, and you can enjoy relative tranquility for an hour or so before it fills up. As of now, some guided tours also aim for early morning. – Late Afternoon (Post-4 PM): Many day-trippers and tours will have left by then (often tour groups go to Grand Bazaar by 4). If it’s not a Friday, after the afternoon prayer (around 4 PM) you get a good window to enter with fewer people. In summer, the light streaming from west windows can be golden and lovely around 5-6 PM. – Midday: This is the busiest and also disrupted by the closing for noon prayer. So between 11:30 and 14:00, I’d avoid plan to enter (plus you might queue in sun). – Night: After tourist hours, you can still view Hagia Sophia’s exterior beautifully illuminated. Occasionally special events or Ramadan late-night visits happen, but generally interior visiting at night isn’t available except for worship.

How to Avoid Crowds: – Use the ticket strategy: buy tickets in advance or take a guided tour so you skip the buying queue. – Go at off-peak months (November, early December, January, February). – If in peak season, try for Wednesday or Thursday morning which might be slightly less busy than weekends. – Alternatively, some travelers report that just before closing (like 1 hour before close) the crowds thin as well – but you risk being rushed by limited time.

In short, the best times are right at opening or late afternoon, and consider off-season for breathing room. Hagia Sophia gets over 3 million visitors a year, so don’t expect solitude unless you go in winter rain perhaps. But smart timing can make it much more enjoyable.

How Long Does It Take to Visit Hagia Sophia?

A typical tourist visit, if you’re not rushed, will take about 1 to 1.5 hours inside. Here’s a breakdown: – Queue/Entrance: If you go at a busy time without prep, you might spend 15-30+ minutes in line for tickets/security. With skip-the-line, you go right in. – Ground Floor exploration: ~30 minutes to walk around the nave, see mihrab, weeping column, etc. – Upper Gallery: ~30 minutes to climb up and take in mosaics, views, etc. – Add time if you like to sit and absorb, take many photos, or if you read info plaques (there are some, though limited).

If you’re a serious history buff or photographer, you could easily spend 2 hours inside savoring details. Conversely, if you just do a quick loop, you can physically see the main things in 45 minutes, but it might feel rushed.

Guided tours often last about 60 minutes, covering highlights. Some allow you to stay longer on your own after.

Also factor time to explore the exterior and courtyard: the fountain, tombs, etc. That can add another 20-30 minutes if you do them.

So I would allocate 2 hours total to Hagia Sophia in your itinerary (including entry wait), which gives a comfortable margin. If it’s very empty, you’ll finish earlier and can use spare time across the plaza at the Blue Mosque or have tea nearby.

Dress Code Requirements

As Hagia Sophia is now a functioning mosque, visitors must adhere to an Islamic modest dress code. This is taken seriously at the entrance, and staff will ask you to adjust if not appropriate. The rules:

– Women: Must cover their hair, shoulders, and chest, and legs. In practice, this means: – Wear a headscarf that covers all hair (a few bangs peeking is fine, but generally cover it). You can bring your own; if you don’t have one, free scarves are provided at the entrance (usually a simple disposable or borrowed shawl). – No shorts or short skirts; legs should be covered to at least below the knee. Ideally wear long pants or a long skirt. Capri pants that cover knees are borderline; better to be longer. – No bare arms: at least short sleeves covering shoulders. Sleeveless tops are not allowed. If wearing a tank top, you’ll need to throw on a shawl or cardigan. – Avoid tight, revealing clothing.

– Men: Must wear long pants or at least long shorts that cover the knees. Shorts above the knee are not permitted. (If you arrive in short shorts, they might give you a wrap to cover legs.) – Shirts should have sleeves (at least t-shirt length). No tank tops for men either. – Basically, men should cover from shoulders to below knees.

– Both: No offensive imagery on shirts, etc. Generally modest, loose clothing is best. – If you come inadequately dressed, they have robes or wraps to loan you (usually free, but better not to rely on that).

– Shoes: Everyone must remove shoes before entering the carpeted areas. At the tourist entrance, they provide plastic bags for you to carry your shoes. You’ll leave your shoes on racks or carry them in the bag with you (keep them with you or they might disappear among thousands of others). It’s polite to remove shoes at the threshold of the carpet (there are usually benches or shelves). Socks are recommended as the floor can be slightly damp or dusty; plus it’s culturally more acceptable than bare feet, though bare feet aren’t forbidden.

– Headscarves for Women: As noted, available at entrance no fee. Many women bring a light scarf in their bag anyway when touring Istanbul for such situations (you’ll need one for the Blue Mosque too). If you’ve never worn one, just drape over head and shoulders – staff or other visitors often help if needed.

– Behavior: While not dress, part of code – maintain quiet inside, especially if worshippers present. Men and women visitors can mix, but during prayer, women tourists might be asked to stand toward the back or side (since in mosques men and women pray separately).

The dress code may sound strict but it’s straightforward. Essentially no shorts (for anyone), no bare shoulders, and women cover hair. If you plan accordingly (e.g., carry a scarf, wear convertible pants or a skirt on that day), it’s no hassle.

What Can You Access as a Tourist?

The 2024 policy created a distinction: worship area vs visitor area. Here’s how it works: – The main prayer hall (essentially most of the ground floor central nave and side aisles) is designated for worshippers. Tourists can look at it but are generally kept toward the sides or behind barriers during active prayer. – As a paying visitor, you get access to the Upper Gallery (which worshippers typically don’t go to for prayer). This is a huge plus because from 2020-2023, the gallery was closed completely to everyone. – You also can access historical side chambers that are part of the monument, like the side aisles, the Marble Door in the gallery, etc. – Some sections remain off-limits for conservation: e.g., the upper northern gallery has the custodial offices and some structural supports – not all parts might be open. – The mihrab area and minbar can be seen up close when prayers not in session, though they might be roped a bit to avoid tourists going right up on the minbar steps. – The Wishing Column is accessible to all – you’ll see a line of tourists around it. – The narthex and vestibules (entry halls) are part of your route – historically interesting with nice mosaics on ceiling. – In effect, by buying a ticket, you do not get to walk freely onto the central prayer rug area if prayers are ongoing. But if it’s empty, guards often don’t mind you stepping there briefly (without shoes) to take photos under the dome. Still, many areas are roped just to guide traffic.

There is a separation policy indeed: tourists now go through a specific door and route so as not to interrupt those coming for worship. During my visit after 2024 changes, I noticed the visitor entrance leads you into the building from a corner, and signs direct you upstairs first, then down around aisles.

The aim of separate entrances is to avoid previous scenes of tourists mixing in the middle of prayers. They’ve also added more security and staff to channel people.

To summarize: with the tourist ticket, you can see every significant part (dome, mosaics, galleries, etc.) except you might not be allowed to wander the exact center of the nave if they want to keep that only for worshippers. But you won’t miss much from a few feet to the side.

Can You Take Photos Inside Hagia Sophia?

Yes, photography is allowed and very common, but with some caveats: – No flash photography, as it can be disruptive and potentially harmful to artworks (and annoying to others). – No tripods or professional lighting unless you have special permission. Tripods can cause obstruction and are usually not allowed by security. – Do not photograph people who are praying or close-up without consent, out of respect. General wide shots that incidentally include worshippers are fine, but pointing your camera at someone in devotion is disrespectful. – During the actual Friday prayers or any prayer, refrain from photography until it’s over (it’s also dimmer then). – It is an immensely photogenic place: feel free to capture the dome, mosaics, architecture, etc. There are often enough tourists snapping away that you won’t feel out of place. – If you want to photograph the mosaics up close in the gallery, that’s allowed. Just no touching them. – Selfie sticks are not explicitly banned, but be mindful using one – don’t whack someone or distract. Some sites disallow them; I didn’t see a strict rule here but use courteously if at all. – If staff see something improper (like a model posing in revealing clothing for a photoshoot), they might intervene. But normal tourist photos are fine. – Flash note: Many mosaics are high up so flash won’t help anyway and it could cause reflections off the gold tesserae. – The lighting inside can be tricky (dim in some corners, bright near windows). Modern phone cameras do well, but bring a good camera if you want quality shots of mosaics.

In summary: yes take pictures! Many iconic photos of Hagia Sophia’s interior exist because photography has long been allowed (even in museum days, and now as mosque they haven’t changed that aside from respecting prayer times).

Accessibility Information

Hagia Sophia is an ancient structure with steps and rough floors, and unfortunately it’s only partially wheelchair accessible:

– The ground floor has level marble floors and now large carpets. There are a few single steps in places but generally one can explore the main nave in a wheelchair. The entrances have slight thresholds but staff can assist. – However, the upper gallery is not accessible by wheelchair, as it’s reached via a steep stone ramp (not even a modern elevator or such). The ramp is uneven medieval stone – even walking up can be a bit strenuous. – There were plans to possibly install elevators in one corner, but as of 2026, none exist. If you cannot climb to the gallery, you’ll miss those mosaics, unfortunately. – For mobility issues, one could possibly request to view some mosaic areas via photos or VR? Not sure if they provide anything like that on site.

– Visual impairment: There aren’t braille signs, and lighting is variable. It’s more a visual experience, so that’s challenging. But audio guides or human guides can help narrate.

– Hearing impairment: Not an issue for enjoying visually, though if on a guided tour you’d rely on your own reading perhaps or written materials.

– Restrooms: There are none inside Hagia Sophia. The nearest toilets are outside in the courtyard area. They are not in the building itself. So plan accordingly.

– Benches: There are a few spots to sit inside (some ledges along aisles, or steps), but no official seating for visitors. If you need a rest, you may sit quietly on the carpet on the side when no prayer happening. – The new arrangement has specific note: “For wheelchair access, you have to buy tickets at the west corner of the mosque at the intersection of Alemdar and Ayasofya Meydanı” – this suggests they might have a dedicated entry point or ramp for wheelchair users separate from main tourist gate (perhaps the main door which is more level).

– Crowds can be intense, which is itself an accessibility issue (for anxiety or claustrophobia). Off-peak time advisable.

In summary, wheelchair users can see the ground floor (the beautiful dome view at least), but not the upstairs gallery mosaics. It’s a limitation of the historic architecture – adding lifts would be a big intervention. They did make Blue Mosque accessible by a ramp to courtyard but Hagia Sophia’s interior gallery remains off-limits to wheels.

If you use a wheelchair, ensure a companion or ask staff to help navigate thresholds. And perhaps content yourself with mosaic close-up images from books or signs.

Luggage and Prohibited Items

For security and respect, certain items or baggage aren’t allowed:

– Large luggage (suitcases, big backpacks) are not permitted inside. There is no cloakroom on site either. If you are in transit, best to store luggage at your hotel or lockers (e.g., at Sirkeci Station lockers as recommended). The security checkpoint will turn away obviously big bags. – A daypack or medium backpack is okay, though they may inspect it. But be mindful when wearing – it can bump others or artworks, so maybe carry it by hand in crowded spots.

– No weapons or sharp objects (standard screening).

– No drones inside obviously.

– Tripods typically aren’t allowed.

– Food and drink: You shouldn’t bring food inside. A sealed water bottle is tolerated (it gets warm, understandable), but don’t picnic. And absolutely no alcohol (forbidden in mosques).

– Smoking of course not allowed.

– Mobile phones: allowed, but set to silent. If you must take a call, step outside to the courtyard. – If you have a stroller, they are usually allowed on ground floor, but pushing it on thick carpet might be hard. Strollers can’t go upstairs (the ramp is too steep and bumpy), so you’d have to carry your child or skip gallery.

– Photography gear beyond camera (lights, reflectors) would be flagged by security. – The atmosphere is not as strict as an airport, but there is an X-ray and possibly a metal detector at the entrance (since 2016 they ramped up security). – Travel tip: Pack light when visiting all mosques; a small bag with just essentials makes life easier.

If you accidentally bring something not allowed, perhaps security might hold it for you to collect after (like a big bag), but it’s not guaranteed. Better not to risk.

For luggage storage, as the note said, Sirkeci Train Station (10 min walk) has lockers where some travelers store baggage while sightseeing.

With these practical details in mind, you should be well-prepared to visit Hagia Sophia efficiently and respectfully. Next, we will discuss how to actually get to Hagia Sophia (transportation options), and then cover other attractions nearby so you can plan your whole Sultanahmet area experience.

Getting to Hagia Sophia

Hagia Sophia is located in the historic Sultanahmet district of Istanbul, on the European side of the city. It’s conveniently near several other major sights. Here’s how to reach it:

Address: Ayasofya Meydanı, Sultanahmet, Fatih, Istanbul, Turkey. It sits directly across from the Blue Mosque on one side and adjacent to the Topkapi Palace entrance on the other. If you plug into Google Maps, just search “Hagia Sophia” and it’s accurate.

By Tram (T1 Line)

The easiest and most popular way for visitors to get to Hagia Sophia is the modern tram Line T1: – Take the T1 Bağcılar–Kabataş tram to Sultanahmet station. Sultanahmet tram stop is only ~5 minutes walk from Hagia Sophia. – When you get off, you’ll be in Sultanahmet Square (near the German Fountain / Hippodrome). Walk downhill (towards the obvious domes of Hagia Sophia). It’s visible from the tram stop. – Trams are frequent (every 5 minutes or so). They connect from major areas: you can catch T1 from Karaköy/Galata Bridge, Eminönü (near Spice Bazaar), or from Kabataş (where it links with the funicular from Taksim). – If coming from the cruise port or Galataport, get to Tophane or Karaköy tram stop and ride T1 toward Bağcılar, getting off at Sultanahmet. – From the tram stop, you’ll stroll through a park with fountains between Hagia Sophia and the Blue Mosque. Very scenic.

Tram cost is just a few lira (with Istanbulkart).

By Metro (M2 Line) – Partial

Note: There isn’t a metro line that goes directly to Sultanahmet. The nearest heavy metro is M2 Yenikapı-Hacıosman line which stops at Vezneciler or Yenikapı, both about 1+ km away – not convenient due to walking uphill or transferring. However: – If you’re on the M2 (say coming from Levent/Taksim), you could get off at Vezneciler and take a short taxi or a 15 minute walk through Grand Bazaar area to Sultanahmet. – Or transfer from M2 at Vezneciler to the T1 tram at Çemberlitaş or Laleli-Üniversite stops (a brief walk). – A more straightforward connection: from M2 at Yenikapı (which is also Marmaray), you can switch to Marmaray or take a short taxi. – Many locals or guides just say “Metro to Sultanahmet” meaning tram, but a true underground metro doesn’t go there yet (a new line is under construction but not done as of 2026).

Thus, metro M2 is usually not the primary way. Instead:

By Marmaray Train (Suburban Rail)

The Marmaray is Istanbul’s commuter rail running under the Bosphorus. It doesn’t stop exactly at Sultanahmet, but: – Sirkeci station (on Marmaray) is the closest, about a 7-10 minute walk to Hagia Sophia. – If you are coming from the Asian side (Üsküdar or Kadıköy), Marmaray is great: take it to Sirkeci, then walk. – Marmaray also connects from far west (Halkalı) and far east (Gebze) suburbs, and from Yenikapı. – Sirkeci Station exit is near the Spice Bazaar; from there you walk up the hill through Gulhane Park or along the tram line. – It’s an option especially if staying near a Marmaray stop or traveling from Asia.

By Bus

Few tourists use buses for Sultanahmet because tram and walking covers it, but if you do: – Some city buses stop at Çatladıkapı or Akbıyık near the coast below Sultanahmet. But not particularly useful for central hotels. – If coming from areas like Beyazit or Aksaray, a bus might drop at Hocapaşa or Eminönü, then you still walk or tram. – Honestly, Istanbul’s traffic and bus complexity make trams a better bet. – For example, Bus BN1/BN2 from Taksim goes to Eminönü; from there tram one stop or walk.

In summary, buses aren’t the main advice.

By Taxi or Rideshare

Taxis in Istanbul are plentiful but can be tricky (some drivers overcharge or refuse short rides). Still: – Taking a taxi directly to Hagia Sophia can be convenient if you’re in an area not served by tram/metro. Instruct driver “Ayasofya, Sultanahmet”. – They might drop you at the Hagia Sophia square or near Sultanahmet tram stop depending on traffic barriers. – Approximate costs: from Taksim maybe 40-50 TL (in 2026, but fluctuates) if no traffic. But traffic can be heavy in Old City and many roads are pedestrianized near the site, meaning taxi will let you off a block or two away anyway. – Uber and BiTaksi apps work with regular city taxis; you can use them to avoid language issues. – One note: between 11am-7pm, the roads around Sultanahmet can be clogged or restricted (especially Divanyolu street). Sometimes taxis cannot enter the square area and will drop at Gülhane or Cankurtaran area and you walk 5-10 minutes. – If coming from the airport, some private transfers will take you directly as part of tours. But typical approach: get to your hotel then walk or use tram.

By Train (Marmaray) – Recap:

Already covered in Marmaray: it’s actually a train. Istanbul’s classic train station Sirkeci (the old Orient Express terminus) is right nearby, and now it’s part of Marmaray. – If you happen to be on a regional train (from Thrace or European Turkey areas), you might come into Halkalı and then Marmaray it in. – Not many tourists use intercity train for Istanbul these days except from Ankara (which goes to Söğütlüçeşme on Asia side or Halkalı on Europe, then connect). But anyway, train = Marmaray idea stands.

By Foot

If you’re staying in Sultanahmet or nearby areas like Cankurtaran, Sirkeci, Beyazit, walking is great: – From Blue Mosque: It’s literally across the plaza, 2 minutes. – From Grand Bazaar: about 10-15 min downhill through Tramway or via Cemberlitas. – From Eminönü (Galata Bridge): about 20 minutes uphill through Sultanahmet. – Many hotels in Sultanahmet advertise “5 min walk to Hagia Sophia” – likely true if they’re in that district. The area is compact.

Tourist Entrance Location (2026/2027)

Important detail: the tourist entrance is not the historical main door on the west (that is now for worshippers). – As of early 2024, foreign visitors are directed to a temporary entrance on the northeast side, as per the official announcement. This is near the side of Hagia Sophia that faces the Sultan Ahmed III Fountain (an ornate fountain kiosk). – Basically, if you stand in front of Hagia Sophia’s main facade (west) and walk around the building on the left (north) side, you’ll find the ticket booth and entry. – There are usually signs and personnel. – This was done to separate flows: locals going to pray use the original western door (free), tourists with tickets go in from side where they can be checked. – The northeast side leads you into the former museum entrance area and then into the inner narthex. – Keep an eye out for “Müze Girişi” signs or just the obvious line of tour groups. – After you finish touring, you might exit out a different door (often the southwest vestibule where the Constantine/Justinian mosaic is). Exiting and entering patterns have changed a bit to manage crowds. – If confused, ask any staff “visitor entrance?” or “Ayasofya giriş nerede?” and they’ll point.

One can always see crowds of people; just ensure you’re joining the tourist queue with likely metal detectors, not going in the local prayer entrance (unless you intend to pray).

Given all modes, tram + walking is simplest for most. Istanbul’s integrated transit card (Istanbulkart) can be used on tram, metro, Marmaray, ferry, etc, making it easy. Taxis are fine off-peak but can waste time in traffic.

Now that you know how to get here, let’s explore what else is around – because you are in the epicenter of Istanbul’s historical riches.

Nearby Attractions

Hagia Sophia sits amid many of Istanbul’s top sights. You can easily spend a day (or two) in the Sultanahmet area exploring them. Here’s a guide to key attractions within walking distance, so you can plan your itinerary:

Blue Mosque (Sultanahmet Mosque)

Right across the plaza facing Hagia Sophia stands the magnificent Blue Mosque, officially Sultan Ahmed Mosque. With its six minarets and cascading domes, it complements Hagia Sophia’s skyline. Built in 1609-1616 by Sultan Ahmed I, it was designed partly to rival Hagia Sophia’s grandeur].

Key points: – It’s an active mosque as well, famous for the blue İznik tilework inside (hence nickname). – Entrance is free, with similar dress code requirements. Non-Muslim visitors may enter outside prayer times. – Currently (as of mid-2020s) it has been undergoing extensive restoration, so parts might be under scaffolding until presumably 2026 or beyond. – It’s about a 3-minute walk from Hagia Sophia (across the fountain square). – If you plan a visit, typically you might do Hagia Sophia then Blue Mosque (or vice versa). The Blue Mosque interior, while beautiful, is less adorned with figurative art and more with patterns and light from 260 windows. – Best times to visit Blue Mosque are also outside prayer times (especially avoid Friday noon, same reasons).

Hagia Sophia and Blue Mosque facing each other is one of the world’s great architectural duos – representing Byzantium vs Ottoman eras. Don’t miss strolling between them at different times (day and night views).

Topkapi Palace

Just behind (north-east of) Hagia Sophia is the entrance to Topkapi Palace, the sprawling residence of Ottoman sultans for 400 years. – It’s literally next door: walk up the slope by Hagia Sophia’s side to Bab-ı Humayun (Imperial Gate), about 3 minutes walk. – Topkapi is a separate museum (now under Ministry of Culture), requiring a ticket (~320 TL as of 2026, plus extra for harem section). It contains ornate courtyards, treasure collections (the Spoonmaker’s Diamond, Topkapi Dagger), holy relics (Prophet’s cloak, etc.), and beautiful views over the Bosphorus from its terraces. – If you’re doing Hagia Sophia in morning, you could do Topkapi after (or vice versa). Many tours pair them. – Plan ~2-3 hours for Topkapi due to multiple exhibits and possible lines (especially at the Harem). – One note: Topkapi is closed on Tuesdays typically (check updated schedule), while Hagia Sophia is open every day. So if you’re around Tuesday, do Hagia Sophia but not Topkapi that day.

Topkapi’s first courtyard is free access – it includes the Hagia Irene church (Byzantine church older than Hagia Sophia, sometimes open as museum or for events). It’s an interesting, quieter site if open (small extra fee).

Basilica Cistern (Yerebatan Sarnıcı)

Just 2 minutes walk southwest of Hagia Sophia’s front entrance, across the street, is the entrance to the Basilica Cistern (Yerebatan Cistern). – This is an underground marvel: a huge 6th-century cistern (water reservoir) built by Justinian, with hundreds of columns dramatically lit and famously the Medusa head column bases. – It was originally fed water to the Great Palace and surrounding buildings. – Now it’s a museum-like visit: you walk on raised platforms through eerie chambers. It’s cool and dimly lit, providing a nice contrast to being above ground. – Admission ~190 TL (recently) – not cheap but many find it worth it. – Usually open daily. Expect about 30 min to 1 hour to tour. – It’s featured in popular culture (e.g., Dan Brown’s “Inferno” film climax was here, somewhat erroneously conflated with Hagia Sophia in plot). – After or before Hagia Sophia, dropping by the cistern is convenient, especially in midday when it’s hot outside, the cistern offers a literal cool break. – There are actually several cisterns in area; Basilica Cistern is the largest and most famous, right across from Hagia Sophia on Yerebatan Street.

Istanbul Archaeological Museums

A short walk behind Hagia Sophia (toward Topkapi’s outer gardens) lies the Istanbul Archaeology Museums complex. – It consists of three museums: the Archaeological Museum, the Museum of the Ancient Orient, and the Tiled Pavilion Museum. – They house an extraordinary collection: the Alexander Sarcophagus, Sarcophagus of the Mourning Women, the oldest love poem (cuneiform tablet), artifacts from Troy, Babylon’s Ishtar Gate fragments, and so on. – It’s about a 5-7 min walk from Hagia Sophia: go through the first court of Topkapi or around Gulhane Park to find the entrance. – If you love history, this is a must. It can take 2 hours or more to appreciate fully. – Ticket needed (~200 TL last known). – Note: The museums were under renovation and reorganization recently (especially the main building in 2016-2022). But they reopened fully around 2023 with refreshed exhibits. – Given limited time, some skip it, but for context on Byzantine and earlier artifacts (like parts of Temple of Artemis from Ephesus, etc.), it’s fantastic. – The complex is within the same general area, so easy to combine.

Hippodrome of Constantinople (Sultanahmet Square)

When you step out of Hagia Sophia’s front and look across to the Blue Mosque, you are basically in the area of the ancient Hippodrome – now an elongated public square (Sultanahmet Meydanı). – The Hippodrome was the grand chariot racing stadium of Byzantine Constantinople. Its outline is still traceable in the shape of the park. – Surviving monuments at the site: – Egyptian Obelisk (Obelisk of Theodosius) – a pink granite obelisk originally from Karnak, Egypt, brought by Emperor Theodosius in the 4th century. It’s set on a Byzantine marble base with relief carvings of the emperor’s court. – Serpentine Column – a twisted bronze column originally from Delphi, Greece, relocated here by Constantine. The three serpent heads that once topped it are missing (one is in the museum), but the spiral column stands. – Column of Constantine Porphyrogenitus (Walled Obelisk) – a rough stone pillar at the southern end of the Hippodrome, once faced with bronze plaques (later stolen in Fourth Crusade). – It’s free and open all the time. Strolling here you can imagine the cheers of 100,000 spectators cheering chariots. – Also on the Hippodrome: the German Fountain (a pretty gazebo-like fountain gifted by Kaiser Wilhelm in 1898). – This area is basically the “hub” connecting Hagia Sophia, Blue Mosque, and other sites, so you’ll cross it multiple times.

Grand Bazaar

A bit further (about 15 minutes walk or one tram stop from Sultanahmet) is the Grand Bazaar (Kapalıçarşı): – One of the largest and oldest covered markets in the world, with thousands of shops selling carpets, ceramics, jewelry, spices, etc. – It’s at Beyazıt/Çemberlitaş area, up the hill from Hagia Sophia. – If you love shopping or just want to see it, plan about an hour or more. It’s a labyrinth – fun but can be overwhelming. – Open roughly 9am-7pm, closed Sundays. – Even if not buying, it’s a cultural experience with all the alleys and hans (courtyards). – There’s also the Spice Bazaar (Egyptian Bazaar) further down by Eminönü, but Grand Bazaar is the one near Sultanahmet.

Hürrem Sultan Hamam (Ayasofya Hürrem Sultan Hamamı)

Right between Hagia Sophia and Blue Mosque, you’ll notice a long marble domed building – this is the historic Hagia Sophia Hürrem Sultan Hamam, a 16th-century Turkish bath designed by Sinan for Roxelana (Süleyman’s wife). – Today, it functions as a plush Turkish bath (hamam) spa for visitors – pricey but authentic setting if you want a bath/massage. – Even if not bathing, its exterior is nice, and there’s a café on its grounds. – Historically, it sits on what was once the Byzantine Augustaeum (central square of the city). – If you have interest and time (and money ~ it’s quite luxurious now), a hamam experience here is memorable. – Otherwise, you can just peek into its reception to see the restored interior.

Creating a One-Day Sultanahmet Itinerary

If you have one full day in Sultanahmet, you could do: – Morning: Hagia Sophia when it opens (9am), spend ~1.5 hrs. Then maybe Basilica Cistern by 10:45 for 30-40 mins. – Late Morning: Blue Mosque (if open, around 11:30, but note midday prayer closure at 12:30 – so either do it before noon or after 1:30). – If Friday, shuffle around because Blue Mosque closes at 11 for Friday prayer. – Lunch: There are many restaurants along the tram street or by the square (beware tourist traps though). Or quick bites like simit (bagel) or döner. – Early Afternoon: Topkapi Palace (give 2 hours, say 1-3pm). – Late Afternoon: If energy, pop into Archaeology Museum next to Topkapi by 3-4pm (even 1 hour in there to see main highlights like Alexander Sarcophagus). – Alternatively, if not museum-inclined, wander the Hippodrome and maybe go to Grand Bazaar (open until 7pm). – Evening: Enjoy sunset and night views – the Blue Mosque and Hagia Sophia are beautifully illuminated after dark. The fountain between them lights up in colors. – You could also schedule a hamam in early evening to relax (Hürrem Sultan Hamam or another). – Dinner: Plenty of nearby rooftop restaurants offer views of Hagia Sophia’s dome lit up (e.g., Seven Hills restaurant is famous for its close view). Might be a nice capstone.

If you have more days, you can split these among two days – one for Hagia Sophia/Topkapi and one for Blue Mosque/Bazaar, etc.

Everything is within short walking, that’s the charm. Just wear comfy shoes as the pavement is uneven in spots (old cobbles and such).

This concentration of sights is why Sultanahmet is often the first stop for visitors – you can witness the layers of Byzantine and Ottoman history literally side by side.

Now that we’ve covered the immediate vicinity, let’s briefly compare Hagia Sophia to some other world landmarks to contextualize its scale and significance, which may address some curiosity questions travelers have.

Hagia Sophia vs. Other Landmarks

Travelers often ask how Hagia Sophia stacks up against other famous religious structures, whether out of curiosity or to decide an itinerary. Here we compare a few:

Hagia Sophia vs. Blue Mosque: Key Differences

Though they face each other and share a skyline, Hagia Sophia and the Blue Mosque are quite different in origin and character:

– Age & Origin: Hagia Sophia was built in 537 CE as a Byzantine cathedral, while the Blue Mosque was completed in 1616 CE as an imperial Ottoman mosque. That’s over 1000 years later!

– Architecture: Hagia Sophia is a one-of-a-kind Byzantine basilica with a huge central dome (32m diameter). Blue Mosque was directly inspired by Hagia Sophia’s dome but on a slightly smaller scale – its main dome is about 23.5m diameter and the mosque’s layout is more of a traditional Ottoman design with a central prayer hall and semi-domes. Blue Mosque has six elegant minarets (unique in Istanbul; at its time only the Kaaba in Mecca had seven which was a controversy).

– Interior Decor: Hagia Sophia’s interior is characterized by golden mosaics, marble, and now also Islamic calligraphy. The Blue Mosque’s interior is famed for its Iznik tile panels in blues and greens (hence “Blue” Mosque) and painted floral motifs on its domes. Hagia Sophia’s mosaics depict human figures (Christ, Mary, emperors), which is not found in the Blue Mosque (Islamic art avoids figurative imagery in mosques).

– Atmosphere: Hagia Sophia, partly due to being a museum for decades, feels a bit like a historic site where you tiptoe around art. The Blue Mosque, until its renovation, functioned fully as a neighborhood mosque – very much alive with worshipers. Tourists in Blue Mosque are confined to a roped area at the back during visiting hours, whereas in Hagia Sophia now tourists have more free run except during prayers.

– Lighting: Blue Mosque is brighter inside, with large lower windows and lots of natural light (and the tiles reflect light). Hagia Sophia can be moodier, with light mainly from high dome windows and smaller openings.

– Size: On sheer footprint, Hagia Sophia is larger. Its interior volume was among the largest in the world for centuries. Blue Mosque is big (can hold around 10,000 worshipers), but Hagia Sophia’s dome height and span are more impressive historically.

– Courtyards: Blue Mosque has a lovely courtyard with a fountain, giving classic photo ops. Hagia Sophia’s courtyard is not so used (except as park and the tomb areas).

– Significance: Hagia Sophia was the seat of the Orthodox Patriarchate and symbol of an empire, later a museum of world heritage. The Blue Mosque, while iconic, was primarily built to assert Ottoman imperial power and provide a place of worship near the palace. It’s also a major tourist draw but historically doesn’t equal Hagia Sophia’s global influence.

In sum, Hagia Sophia is an ancient monument bridging eras, whereas Blue Mosque is a pinnacle of classical Ottoman architecture and devotion. Both are stunning, but visitors often feel a different vibe in each: one awe of antiquity, the other beauty of Islamic art in worship. Ideally, see both (they’re complementary experiences, not redundant at all).

Hagia Sophia vs. St. Peter’s Basilica (Size Comparison)

People often compare Hagia Sophia to St. Peter’s Basilica in Rome, since both are legendary domed churches:

– Size: St. Peter’s is much larger. St. Peter’s is currently the world’s largest church by interior area (15,160 m²) and height (dome height ~136 m to top of cross, internal height ~120 m). Hagia Sophia is about 7,000 m² floor area and dome height ~55 m. So you could fit Hagia Sophia’s footprint several times into St. Peter’s.

– Dome: St. Peter’s dome (completed 1590) is 42 m in diameter, significantly wider than Hagia Sophia’s ~32 m. However, St. Peter’s dome is on a high drum, so visually both have grandeur but St. Peter’s is taller and more dominant from below.

– Construction: Hagia Sophia was built in 6 years (astonishing for 6th century). St. Peter’s took 150+ years (1506-1615) during the Renaissance/Baroque, with contributions by Michelangelo, Bernini, etc.

– Architecture style: Byzantine vs. Renaissance/Baroque. Inside St. Peter’s, rich baroque decoration, marble statues, etc. Hagia Sophia interior is comparatively austere (though glorious in its own way with gold mosaics).

– Feel: St. Peter’s feels very vast and somewhat overwhelming in scale. Hagia Sophia feels big but more human-scale in height (some say its acoustics and proportions are actually very harmonious – indeed the Byzantines hit a sweet spot).

– Capacity: Hagia Sophia held maybe 15,000 at imperial ceremonies (some estimate up to 20k when packed). St. Peter’s can hold over 60,000 people. – So while Hagia Sophia was the largest cathedral for 1000 years, St. Peter’s overtook that in the 16th century. – Another difference: St. Peter’s remains a church (Roman Catholic basilica with regular Mass and papal events), whereas Hagia Sophia is a mosque now and for a period was not used for worship at all (as a museum).

Thus, St. Peter’s dwarfs Hagia Sophia in size. But from a historical perspective, without Hagia Sophia’s precedent, perhaps St. Peter’s architects wouldn’t have dared such a dome. In fact, Hagia Sophia’s dome was the largest pendentive dome until St. Peter’s, and even now is second-largest in that category.

For visitors who have seen both, many report Hagia Sophia gives a special goosebumps feeling due to its age and the visible layers of history, whereas St. Peter’s impresses with sheer opulence and scale.

Is Hagia Sophia Still the Largest Church/Mosque?

No, not by modern standards: – As mentioned, many churches are larger (St. Peter’s, Seville Cathedral, Milan Duomo, etc.). Even some modern churches like Yamoussoukro (Ivory Coast) or Basilica of Our Lady of Aparecida in Brazil have huge footprints surpassing Hagia Sophia. – As a mosque: Today’s largest mosques (in capacity) include the Masjid al-Haram in Mecca (holds 1-2 million during Hajj) and Al-Masjid an-Nabawi in Medina, and others like the Hassan II in Casablanca or Faisal Mosque in Islamabad – all far bigger than Hagia Sophia. In Istanbul itself, the newly built Çamlıca Mosque (completed 2019) is larger; it can host ~60,000 worshippers and has a dome 34 m diameter, 72 m high – intentionally eclipsing older ones. – However, Hagia Sophia held the title of largest domed space for a very long time. It’s also one of the top 5 largest Byzantine churches ever built (only perhaps St. Peter’s or some of the late Roman basilicas contested). – For a long span (537-1520), it was indeed the largest cathedral in the world until Seville Cathedral (completed 1520) took that title (Seville is a Gothic sprawl with no big dome, but huge volume). – Ottoman Sultans never built a mosque bigger than Hagia Sophia until modern era. They built more elegant or taller minarets, but not bigger domes (e.g., the Süleymaniye Mosque dome is 27.5 m diameter, deliberately a tad smaller but built higher on a hill, and Sinan reinforced that structure heavily learning from Hagia Sophia’s issues). – It’s worth noting the question of what counts as “bigger” can be by dome diameter (Pantheon in Rome ~43 m still largest unreinforced concrete dome), by height, or by floor area. But in any which way, Hagia Sophia is superseded by some later structures. It remains among the most famous though.

In conclusion, Hagia Sophia isn’t the world’s biggest now, but its influence is outsized. It pioneered techniques that allowed later architects to build bigger. And in terms of visitor experience, it feels grand but not unfathomably huge – which can be a plus, you can absorb it without losing the details.

That addresses comparative questions. Next, we’ll sum up why all this matters – the significance and legacy of Hagia Sophia beyond just the physical, touching on religious, cultural, political aspects, and how it’s viewed today globally (including UNESCO status and some pop culture references).

Significance and Legacy

Why is Hagia Sophia so revered and emotionally charged? Its significance spans religious, cultural, and political dimensions, evolving with each era.

Religious Significance

For Orthodox Christianity: Hagia Sophia was the pre-eminent church of the Eastern Orthodox world for nearly 1000 years. It was quite literally the “Vatican” of Orthodox Christianity, albeit under an emperor rather than a pope. The Patriarch of Constantinople led liturgy here, especially on great feasts. The theology and liturgical rites of the Eastern Church were centered at Hagia Sophia – many important church councils and decrees were either issued here or ceremonially affirmed here. The church was dedicated to Holy Wisdom (Hagia Sophia), an attribute of Christ, rather than a specific saint, underscoring its concept as a sort of abstract pinnacle of sacred space.

Being present at Hagia Sophia’s Divine Liturgy was described by the Kievan Rus envoys (in 988 AD) as experiencing heaven on earth. This reaction fueled the conversion of the Slavs to Orthodoxy. So, Hagia Sophia can be said to have been instrumental in the spread of Orthodoxy to places like Russia, Serbia, Bulgaria etc.

Even after Constantinople fell in 1453, Hagia Sophia’s memory stayed alive among Orthodox Christians. It became almost a lost “holy grail” or a symbol of Orthodox prestige. For example, when Greece gained independence in the 19th century, some intellectuals dreamed of one day reclaiming Hagia Sophia and restoring it to a church (the “Megali Idea”). That never came to pass, but it shows how Hagia Sophia was the ultimate symbol of Eastern Christianity’s heritage.

One Orthodox liturgical poem lamenting the fall of Constantinople says: “Weep, O heavens, and lament, O earth, for the light of Orthodoxy is extinguished” – referring to Hagia Sophia’s conversion.

To this day, some Orthodox faithful still express sorrow that Hagia Sophia isn’t an Orthodox church. However, the Ecumenical Patriarch (based still in Istanbul) and most churches have accepted its museum/mosque status as historical reality. They consider it part of their patrimony. Descriptions like “holding a unique position in the Christian world” have been used.

For Islam: Hagia Sophia became a cherished mosque for the Ottomans. It symbolized the triumph of Islam over the old empire, fulfilling a hadith (prophetic saying) that Constantinople would be conquered by blessed leaders. Sultan Mehmed the Conqueror performed two rak’ahs of prayer inside it as soon as the city fell, effectively consecrating it as a mosque.

Throughout Ottoman rule, Hagia Sophia was second in prestige perhaps only to the Kaaba in Mecca and the Prophet’s Mosque in Medina. It was often called “Ayasofya-i Kebir Cami-i Şerifi” (the Holy Great Mosque of Hagia Sophia). Sultans would visit on special occasions. Many endowed their wealth to it (hence all the added structures).

For Turkish Muslims today, Hagia Sophia’s reconversion in 2020 was for some a cause of great rejoicing – a reclamation of Islamic heritage. It now serves again as a place of daily worship. In that sense, it’s one of only a few buildings in the world that have been major sanctuaries for two world religions (another example is the Cordoba Mosque-Cathedral, but that one ceased being a mosque long ago).

Imams in Hagia Sophia now lead prayers where once Orthodox priests chanted, representing a continuity of sacred function albeit in a different faith tradition.

For Catholic Christianity: Hagia Sophia was at the heart of the Great Schism of 1054. The moment of mutual excommunications between the Pope’s envoy and the Patriarch happened here, cementing the split between Catholic West and Orthodox East. During the Fourth Crusade, it briefly became a Roman Catholic cathedral (1204-1261), which the Catholics used but also scandalously looted. That episode is still a painful memory in East-West church relations. Pope John Paul II in 2001 even expressed regret for the Fourth Crusade’s conduct.

Catholics now generally regard Hagia Sophia with admiration as a treasure of Christianity’s heritage, even though it’s not theirs. Pope Benedict XVI visited Hagia Sophia in 2006, treating it as a “museum” at the time and showing respect.

Summarily, Hagia Sophia has been deeply intertwined with religious identity – so much so that changes to it (like 2020 reconversion) resonate far beyond Turkey, stirring emotions among millions who’ve never even seen it in person. It’s a symbol of the shifting dominance between two world faiths in this land.

Cultural and Political Symbolism

Beyond religion, Hagia Sophia stands as a symbol in other ways:

– Empire and Power: It represented the might of the Byzantine Empire; Justinian built it to say “Rome lives on in the East, and this is its grandeur.” Later, the Ottomans preserved it to legitimize their claim as the new Rome (they sometimes called Istanbul “Asitane” or the Subdued City of Caesar). The inscription from Mehmed’s waqf forbidding changes implies how crucial it was to his imperial legacy.

– Secularism vs. Religious Nationalism: When Atatürk turned it into a museum in 1934, it was seen as a bold secularizing move – taking a potent religious symbol and neutralizing it into a monument for all humanity. That’s why UNESCO listing in 1985 emphasized its universal value. Conversely, the 2020 reconversion is viewed as a surge of religious nationalism – President Erdoğan leveraging it to appeal to conservative and nationalist sentiment, asserting Turkey’s sovereignty to do as it pleases with its heritage (despite international concern). In Turkey’s domestic politics, Hagia Sophia had long been a talking point; its reconversion fulfilled a decades-old demand of certain groups.

– Cultural Heritage and “Multiple Meanings”: Scholars often note Hagia Sophia embodies multiple layers – Roman, Byzantine, Ottoman, Turkish – and that “selective readings of cultural heritage… can erase historical memory”. Some argue Hagia Sophia should be allowed to “maintain multiple meanings” rather than be pigeonholed. When it was a museum, it exemplified that idea: Christian mosaics next to Islamic calligraphy – a symbol of coexistence of civilizations. The shift to exclusive mosque use arguably tilts it toward a single narrative again.

– National Pride: For Greeks and some Eastern Europeans, Hagia Sophia is tied to their medieval heritage and loss thereof. For Turks, it’s a point of pride that they preserved and still use this world marvel (some point out that had Ottomans not cared, it might’ve been destroyed in 1453 or left to ruin – but they reinforced and maintained it).

– UNESCO & International Reactions: UNESCO expressed “deep regret” that Turkey changed Hagia Sophia’s status without international consultation and later warned about modifications. Greece’s government (deeply connected to Orthodox heritage) strongly protested the reconversion. Others, like the Pope, said they were “pained”. On the other hand, many Muslim-majority nations celebrated it. Thus, in global diplomacy, Hagia Sophia became a flashpoint of cultural diplomacy vs. sovereignty debates.

– Academic and Artistic Influence: Hagia Sophia influenced architecture (we covered that). Culturally, it’s also a muse for artists, writers (from patriarchal accounts to modern novels like “Inferno” or historical fiction). Its image appears on countless postcards, travel guides, and so on – a visual shorthand for Istanbul itself.

In short, Hagia Sophia stands as a palimpsest of world history: each era wrote its chapter into the building – it’s a touchstone for discussions about how civilizations interact, conquer, assimilate or appreciate one another.

UNESCO World Heritage Status

Hagia Sophia, along with other major sites in Istanbul’s historic peninsula, was inscribed as a UNESCO World Heritage Site in 1985 under the name “Historic Areas of Istanbul”. This includes: – The Archaeological Park (Hagia Sophia, Blue Mosque, Hippodrome, etc.), – The Süleymaniye and Zeyrek mosque areas, – The City Walls, – Topkapi Palace and more.

The criteria included Hagia Sophia as a unique architectural masterpiece and a symbol of the meeting of Europe and Asia cultures, etc.

After 2020’s change, UNESCO has asked Turkey for reports on how the site’s universal value is being preserved. They worry if changes (like covering mosaics with curtains regularly, or floor permanently carpeted) might affect the integrity. Turkey affirms that no mosaic will be harmed and visitors can still see them, so currently it remains listed. But UNESCO did voice potential to “reconsider status” if they felt it was mishandled or access compromised. Another site (Chora Church in Istanbul) was similarly turned into a mosque recently; UNESCO bundled it in their concerns.

For travelers, UNESCO status means generally the site gets international attention and hopefully adherence to preservation standards. It also means any modifications (like adding elevators, or structural changes) should get UNESCO review.

Hagia Sophia in Popular Culture

Hagia Sophia has captured imaginations far and wide: – Literature: It’s featured in Byzantine chronicles (Procopius wrote about it in “On Buildings”), Ottoman traveler Evliya Çelebi’s Seyahatname, and modern novels like “From the Holy Wisdom to the Holy Trinity” (a Greek poem of lament), or “Inferno” by Dan Brown – where it plays a role in the clues leading to the final scene (though the actual climax takes place in the Basilica Cistern, they mention Hagia Sophia along the way, and the film’s finale was shot partly in Hagia Sophia’s upper gallery). – Film/TV: It appears in establishing shots of Istanbul (e.g., James Bond films “Skyfall” or older ones), travel documentaries (like those by Rick Steves, who famously said visiting Hagia Sophia was a highlight), and historical series (Turkish series about Ottoman sultans often show it digitally). – Visual arts: Many painters of the 19th century Orientalist tradition painted Hagia Sophia’s interior under different lights. Also, mosaics from it are studied in art history classes worldwide. – Its cat: Yes, Hagia Sophia’s late resident cat Gli became an internet pop icon with its own Instagram. When Gli died in late 2020 (after enjoying both museum and mosque periods of Hagia Sophia), media from around the world reported it – a testament to how even small details of Hagia Sophia enchant people. – For Istanbul residents, Hagia Sophia is woven into local consciousness. Many businesses, cafes around are named after Ayasofya. It even has a neighborhood named after it (Ayasofya, within Sultanahmet). – A subtle cultural note: The re-opening prayer service in July 2020 had famous imam recitations and was broadcast worldwide, showing how symbolically charged that event was.

Overall, Hagia Sophia transcends being just an old building. It has become a symbol of Istanbul itself – a city that for centuries was synonymous with the meeting (and clashing) of civilizations. It stands both as a witness to the past and, with continuing developments, a participant in present cultural dialogues.

Approaching a conclusion now: after all the detail, one might ask, why is Hagia Sophia unmissable? In concluding, we’ll emphasize its unique emotional and intellectual impact on visitors, and encourage experiencing it firsthand, as well as provide some final info on additional resources.

Frequently Asked Questions (FAQ)

Now let’s address some common questions about Hagia Sophia in a concise Q&A format:

Q: What does “Hagia Sophia” mean?
A: Hagia Sophia is Greek for “Holy Wisdom”. The full ancient name was “Church of the Holy Wisdom of God”. It is not named after a Saint Sophia; rather it’s dedicated to the divine wisdom (Sophia) of God, understood as Jesus Christ in Orthodox theology. In Turkish it’s called Ayasofya, a direct derivation of the Greek name.

Q: How old is Hagia Sophia?
A: The current structure was completed in 537 CE, so it is nearly 1,500 years old. To be precise, as of 2026, it’s about 1489 years old. (There were two earlier churches on the site: one built in 360 and another in 415, but those were destroyed. So the building you see is the one finished under Emperor Justinian I in 537.)

Q: Why was Hagia Sophia built?
A: Emperor Justinian I built Hagia Sophia to be the grand cathedral of Constantinople, showcasing the glory of God and the power of the Roman (Byzantine) Empire. It was constructed after the previous cathedral burned down in riots (the Nika Revolt of 532). Justinian aimed to create the largest, most awe-inspiring house of worship in the Christian world – and indeed upon completion he is legendarily said to have proclaimed, “Solomon, I have surpassed thee!”, implying it outshone the famed Temple of Solomon.

Q: Who converted Hagia Sophia into a mosque?
A: Sultan Mehmed II (Mehmed the Conqueror) converted Hagia Sophia into a mosque in 1453 after the Ottoman Turks captured Constantinople. Following the city’s fall on May 29, 1453, Mehmed II entered Hagia Sophia, performed prayers inside, and issued a decree turning it into Ayasofya Camii (Ayasofya Mosque). Minarets were added soon after. It remained a mosque from 1453 until 1934.

Q: Why did Turkey reconvert Hagia Sophia into a mosque in 2020?
A: In July 2020, Turkey’s government (under President Recep Tayyip Erdoğan) changed Hagia Sophia’s status from museum back to mosque. The official reasoning was that the 1934 decision to make it a museum was unlawful, as the building was endowed as a mosque by Mehmed II’s waqf (endowment). Additionally, there was strong domestic sentiment among conservative and nationalist groups that Hagia Sophia should return to being a mosque to underscore Turkey’s Islamic heritage and sovereignty. A top court annulled the museum decree, and prayers resumed in Hagia Sophia on July 24, 2020 amidst much fanfare. Internationally it was met with mixed reactions (UNESCO and Christian leaders expressed concern, while many Muslim communities welcomed it).

Q: Are the mosaics still visible after reconversion?
A: Yes, the Byzantine mosaics are still there and generally visible to visitors. None have been destroyed or permanently covered. During Muslim prayer times, certain mosaics (like the large Christ Pantocrator in the apse) are either curtained off or the lights are dimmed on them, out of respect for Islamic aniconic tradition. But outside of prayer times (which is when tourists visit), you can see the major mosaics: the Virgin and Child in the apse, the Deesis in the gallery, the imperial portraits, etc. For example, the famous Deesis mosaic (Christ with Mary and John) in the upper gallery remains on display. So, Hagia Sophia essentially functions similarly to when it was a museum in terms of accessing the art, except briefly during prayers.

Q: Do I need to book tickets in advance to visit Hagia Sophia?
A: Not necessarily, but it can help. Since 2024, foreign visitors need a €25 ticket to access the upper galleries and museum portions. You can buy this on-site on the day – there’s a ticket booth at the visitor entrance. However, queues can be long in peak season. Booking online in advance or joining a guided tour can let you skip the ticket line. The site itself doesn’t strictly limit capacity with timed tickets, so same-day is usually fine if you go early. But if you hate waiting, either pre-purchase from the official site or use an Istanbul Museum Pass (though note: currently the standard Museum Pass is not valid at Hagia Sophia, since it’s no longer a state museum). Many visitors simply show up and buy on-site without too much hassle, especially early in the day.

Q: What happens during prayer times? Can tourists still enter?
A: During the five daily Islamic prayer times, the main hall of Hagia Sophia closes to tourists. Tourists inside will be ushered to leave or to avoid the prayer area during those periods. A typical closure is about 30 minutes for each prayer. Specifically, for the midday (noon) prayer (around 12:30–1:00 PM) and the sunset prayer, etc., you cannot tour the nave. Friday noon prayers are longer – Hagia Sophia closes about an hour or more on Fridays around 12:00–2:00 PM because of the sermon and huge turnout. Tourists are allowed back in after prayers conclude. If you happen to be inside when prayer is beginning, you’ll hear an announcement; you can either quietly observe from a side (with proper attire) or step out. It’s best to time your visit around these prayer intervals – e.g., come early morning or mid-afternoon when no prayer is ongoing. Non-Muslim visitors are not allowed to wander the building during an active prayer, out of respect and because parts are sectioned off then.

Q: Can I visit Hagia Sophia on a Friday?
A: Yes, it’s open on Fridays, but plan around the big Friday noon prayer. Hagia Sophia opens for visitors usually at 9:00 AM on Fridays, so you could go in the morning and leave by 11:30 AM before they prepare for worship. Or go after about 2:30 PM once the Friday prayers are done and it reopens. Friday is a significant day in mosques, so the closure is longer mid-day and the site will be very crowded with worshippers (over 10,000 might attend). If Friday is your only day, still go – just aim for early or later. Other than that midday period, tourists can visit like any other day.

Q: Are guided tours worth it for Hagia Sophia?
A: Many visitors find a guided tour extremely worthwhile given Hagia Sophia’s rich history. A good guide can point out details (like the Weeping Column legend, the runic Viking graffiti, which mosaics depict whom, etc.) and navigate the prayer break schedule efficiently. They also handle the ticket purchase, saving you waiting time. If you’re the type who likes stories and context, a guide will bring the place to life: e.g., describing the coronations on the Omphalion marble circle or Justinian’s building feats. That said, if you’ve done your homework (say, by reading a thorough guide – like, this one!) or using an audio guide, you can appreciate it self-guided too. It’s really personal preference and budget. There are official audio guides for rent on-site as well. But hearing from a passionate human guide often leaves a deeper impression. Even many secular visitors mention Hagia Sophia was more meaningful when they understood what they were looking at.

Q: Where are the sultan tombs near Hagia Sophia?
A: Several Ottoman sultans’ mausoleums are located just outside Hagia Sophia, mostly along its south and east sides in the garden area. Specifically: – The Tomb of Sultan Selim II (d.1574) is immediately outside the southeast corner. – Next to it is the Tomb of Sultan Murad III (d.1595) and the Tomb of Sultan Mehmed III (d.1603). – Slightly further, near the Hagia Sophia’s southwest, are the smaller tombs of Sultans Mustafa I and Ibrahim. These tombs are exquisite octagonal buildings decorated with Iznik tiles and calligraphy. Visitors can enter them free of charge (shoes off, as they are sacred), typically from 9am to 5pm except some lunch break maybe. They’re often overlooked, but worth seeing to the right side of Hagia Sophia (when facing its front). So, essentially, walk around Hagia Sophia’s exterior – you’ll see signed entrances to these Türbe (tombs) in the courtyard. They hold the coffins of the sultan and family members, draped in cloth with turbans on top. It’s a peaceful respite from crowds.

Q: Is Hagia Sophia open on public holidays or religious holidays?
A: Generally yes. Hagia Sophia as a mosque doesn’t have “closed days” the way museums did (back when it was a museum, it closed Mondays). Now it’s open daily, including Turkish public holidays. During major Islamic holidays (e.g., Eid al-Fitr and Eid al-Adha), it might be even more crowded with worshippers, especially for Eid prayers, but tourists can still visit outside prayer times. During Ramadan, it’s open (and the nightly tarawih prayers attract crowds, but that’s after visiting hours). If anything, one should be mindful that on big religious occasions there may be events – e.g., on the reconversion anniversary or conquest commemoration (May 29), there could be special prayers or speeches. But it doesn’t fully shut down to visitors on those days aside from prayer intervals. Always good to check local news if coming exactly on a religious festival day to see if hours adjust, but in principle, yes it’s open year-round.

Q: What languages are audio guides or information available in?
A: The official audio guide at Hagia Sophia (available for rent via a mobile app or device) typically comes in major languages: English, Turkish, Arabic, Spanish, French, German, Italian, Russian, Chinese, Japanese – roughly 10 languages. On site, signage is somewhat limited, but key signs (like those describing mosaics or architecture) are usually in Turkish and English. Some displays might have additional languages. Guided tours can be found in many languages if you book via tour agencies (English is most common, but also Spanish, German guides are around given many European tourists). If you specifically need a language like Polish or Hindi, an arranged private guide might be necessary. But English is the primary foreign language for all info in Hagia Sophia. The mosque’s own announcements are in Turkish and sometimes Arabic (for prayers). For a self-guided experience, using an audio guide or a reputable guidebook/phone app in your language is recommended to get the most out of it.

These FAQs cover many practical queries. Now, we’ll wrap up with a concluding note on why Hagia Sophia remains such a bucket-list site.

Conclusion – Why Hagia Sophia Is Unmissable

Standing under Hagia Sophia’s soaring dome is a transformative experience. Few places on Earth encapsulate the passage of civilization – its triumphs, faiths, and follies – in one space as this building does. In Hagia Sophia, you can literally see history layered in stone, glass, and paint: Roman capitals atop ancient columns, shimmering mosaics of Christ and emperors, giant Islamic calligraphic discs, and a carpet where worshippers now bow in prayer. The air itself feels charged with the weight of epochs.

For travelers, Hagia Sophia often becomes the highlight of an Istanbul trip. It has been said that no other single building can make the sweep of history feel so personal. When you place your thumb in the Weeping Column’s hollow worn smooth by millions of pilgrims, you connect – skin to stone – with countless souls across 15 centuries. When you gaze up at the golden tesserae catching daylight, you see the same transcendental glow that a 10th-century Orthodox believer or a 16th-century Ottoman vizier would have seen. In Hagia Sophia, time collapses; the past is palpably present.

The monument’s resilience is also deeply moving. It survived earthquakes that brought down its dome, crusaders who tore down its adornments, conquerors who altered its purpose. Empires rose and fell around it. Yet Hagia Sophia endures – scarred but sublime. It stands as a testament to human creativity and spiritual yearning. As one modern historian put it, “If the earth were a single state, Hagia Sophia would merit to be its capital sanctuary.” Such is the symbolic power it holds.

For all these reasons, Hagia Sophia is unmissable. It engages not just the eyes with architectural grandeur, but the mind and heart with its storied aura. A visit here is not a check-off sightseeing chore; it’s more like an encounter – with the ghosts of emperors, sultans, and saints, and with the dual nature of humanity to both create transcendent beauty and contest over it.

Walking out of Hagia Sophia’s doors, many travelers report feeling a sense of awe and even privilege – to have communed with such a storied space. It’s the kind of experience that can ignite an interest in history or faith even in a previously indifferent person. It certainly makes a trip to Istanbul feel profoundly real and memorable. As one travel writer expressed, “It is the single building many travelers say ‘made the trip feel real.’” There is simply nowhere else like Hagia Sophia – it’s a once-in-a-lifetime sight that, once seen, lives on in your imagination long after.

In a world where change is constant, Hagia Sophia offers the rare chance to be in the presence of the ageless. That is why it beckons millions, and why it will surely continue to do so in the future. Hagia Sophia does not belong to one nation or creed – it is a treasure of all humankind, a shared inspiration. Experiencing it firsthand, you join the flow of history, adding your own small chapter to its ongoing story.

“Hagia Sophia is the common heritage of the world. It has born witness to history unparalleled, and it continues to whisper the secrets of a bygone era to those who step beneath its dome.” Visiting it is not just tourism; it feels like a pilgrimage into the collective memory of civilization. Miss it, and you miss the very soul of Istanbul.

Additional Resources

For those eager to learn more or plan in detail, here are some recommended resources and references related to Hagia Sophia:

Official Links

• Hagia Sophia Grand Mosque (Ayasofya Camii) – Official Page: The Turkish Ministry of Culture and Tourism provides information at their site, and Diyanet (Religious Affairs) also sometimes posts updates (primarily in Turkish). An official website for Hagia Sophia is in development, but meanwhile, check gen.tr which still hosts visitor info (updated to reflect the new regulations).
• Visitor Audio Guide App: Look for the official “Hagia Sophia” audio guide app in app stores, offered by the Culture Ministry, which can be used on-site (multiple languages available).
• UNESCO World Heritage Listing: Search “Historic Areas of Istanbul UNESCO” to find Hagia Sophia’s World Heritage profile, which gives a brief overview of its significance and preservation status.

Recommended Reading

• “Hagia Sophia: A History” by Richard Winston – a readable historical account covering the building’s Byzantine and Ottoman phases.
• “Hagia Sophia in Istanbul: Empires, Faith and Splendor” by John Freely – John Freely was a noted historian of Istanbul; this book provides rich anecdotes and context.
• “A Short History of Byzantium” by John Julius Norwich – not solely about Hagia Sophia, but valuable for understanding the Byzantine world that created it.
• Scholarly works: For deeper study, “The Making of Hagia Sophia” by Rowland Mainstone (architecture focus) and “Hagia Sophia: Architecture, Structure, and Liturgy of Justinian’s Great Church” by Robert Mark & Ahmet Çakmak (engineering perspective) are excellent.
• Travel accounts: Consider reading the section on Hagia Sophia in “Istanbul: Memories and the City” by Orhan Pamuk, where the Nobel laureate author reminisces about visiting it as a child when it was a museum.
• Online archives: Dumbarton Oaks has an online catalog of Fossati’s 19th-century drawings of Hagia Sophia’s mosaics, which can be fascinating to browse.