 The
interior
was
originally decorated, then much of it destroyed during Iconoclasm, then
redecorated and then covered by the Muslim Turks. Lowden,
pp. 65-70. |
 The
Imperial
Door from the Narthex. The mosaic in the lunette is a mid-9th-century
Christ
with Leo VI prostrate at His feet. In the medallions on either side
of Christ's head are the Angel Gabriel (l.) and Mary Hodegetria (r.). |
The great dome with the south exedra wall and supporting half-domes. |
The great dome from the interior. |
The north gallery toward the narthex. |
 
The supporting apse to the left, and a glimpse down the south gallery. |
  North
nave wall. |
  North
wall, supporting apse and pendentives. |
 
South wall and south apsidal arcade. |
 
Apse window, left and narthex door, right. |
 The
conch of the apse, in which the sanctuary
was located contains the 9th-century mosaic of the Hodegetria
Madonna, detailed below. Surrounding decorations are Turkish Muslim. |
Hodegetria Madonna (ded. 867) in the bema apse. The huge form and throne render the vision grand, while the Virgin's expression, and that of the Christ Child render it tender. Lowden, p. 177. |
 
9th-century Archangel Gabriel from apse arch mosaic of the Virgin Hodegetria. The paired St. Michael is in mere fragments. |
10th-century mosaic of St. John Chrysostomos, Patriarch of Constantinople, in the north tympanum. The full, fleshy form is typical of the post-iconoclastic approach to the human figure. cf Lowden, p.186. |
  To
the left, marble revetment; at right, scaffolding
used for repair of the dome. |
 South
Gallery, 1042 - 1055. Christ with Zoe and Constantine
IX, her third husband. As head of the Church, Christ accepts the
offerings of gold from Constantine and a bull of privileges from Zoe. Lowden
p. 250. |
  The
Deesis in the south gallery of Hagia Sophia is from the thirteenth
century. The Christ is a carefully modelled figure of great naturalism
(for Byzantine art). |
The Deesis is an intercessory theme: Mary, Mother of Jesus, and St. John the Baptist flank Christ with heads bowed in supplication. This serves as a reminder of the saints' role in the divine economy. |
  |
 The
deep drilling in these capitals is indicative
of the highly textured effect that the architects and decorators of Hagia
Sophia were seeking. In the capital's medallion is the monogram of
Justinian. |