Sancta Sophia seems really to have been in a dangerous condition when, in 1847, the Sultan Abdul Mesjid began a much-needed work of reparation which was carried on under the guidance of the Italian architect Fossati, who appears to have taken great pains, and notwithstanding some alterations and “restorations” in the worst sense he deserves our gratitude for probably saving the building. In the preface to his lithograph views published in London in 1852 he says, “The portions of the building that looked most threatening were reconstructed, and the lead roofs were repaired. The dome was relieved of four heavy buttress arches, whose function was taken by a double ceincture of iron around its base. Thirteen columns of the gynaeceum, which were inclining under the thrust of the great arches that support the dome, were put straight again.” The marble work of the interior was cleaned, and the gold mosaic vaults were cleared of the crust of limewash which concealed them. All representations of figures were however covered again. The sultan’s tribune was built, Fossati says, “in the Byzantine style.” The walls outside, after being repaired, were covered with a coating of plaster on which red stripes were painted.
Since this time various remains of the Great Court, which existed as late as 1873, have entirely disappeared, and the broad bare space, in front of the exonarthex, has little now to recall the atrium with its fountain and quadriporticus.
All study of the church in its condition at that time must be based on the exhaustive plates and text of Salzenberg.[235] M. Texier had in 1834 made some drawings at Constantinople, which are now preserved in the library of the Royal Institute of Architects; and several coincidences seem to point to Salzenberg’s having had the use of Texier’s ground plan. In any case Texier was the first to make correct plans including the upper floor, also the atrium, baptistery, and the circular building at the north-east. As Salzenberg made full use of the unique opportunity afforded by the scaffolding, when the building was given over to the workmen, we have thought it wise to give a condensed paraphrase of his account where it is descriptive of the structure, even at the risk of some repetition. Our remarks in other places where they may overlap are the result of our own observation, from different points of view. The rest of this chapter is an abridgment of Salzenberg’s text and descriptive of his plates, and we add nothing unless in notes or square brackets.
Design.—The exterior walls of the atrium, with several entrances, were built of brick, but the inner sides had marble columns between square brick piers, two columns to one pier. These carried semicircular arches. The atrium walks, as remains showed, were barrel-vaulted, and the vaults were formerly covered with mosaic. The parts for which there was evidence remaining are shown in darker hatching in Salzenberg’s plate vi. The outer wall on the north side, with several arched openings; and traces of the western boundary still existed.
The long vestibule in front of the narthex has groined vaulting, and large windows in its west wall; there are some Turkish additions to this part. A door from each lateral cloister, and two others from the open atrium, led into it. On either side of the two doors from the court are strong projecting piers, connected above by a wide arch, forming a porch-like shelter over the doors. These four piers rise above the roof of the vestibule.[236]
Double tiers of buttress arches spring from each of these piers to the west wall of the church. A close examination of the wall and piers led to the conviction that they are not contemporary with the church, but were built later, though partly of old material.[237] The upper cornices for instance differ. [Modifications here can be explained by removal of Bell Tower, see p. [194].] The piers were probably erected by Byzantine builders, to strengthen the western vault.
Five doors lead to the narthex, the windows of which are above the roof of the outer vestibule. The walls are covered with marble, and the vaulting with mosaic; while the walls and ceiling of the exonarthex, are quite plain. Two other doors enter the narthex at its north and south ends, and nine lead from it into the church; the large central entrance being the Royal Door.
The walls of the church form approximately a square, the length of which in the interior, exclusive of the apse, is 241 feet, and the breadth 224.[238]
The dome measures 100 feet across from the edge of the cornice, but above the cornice the vaulted space is 104 feet across; it is 179 feet from the floor to the vertex. The dome rises above the square area on four huge arches, with a large semidome to the east and another to the west, each of which embraces three smaller spans. The lateral openings which thus pierce the east and western semidomes are covered by conchs, but the middle opening in each case has a cylindrical vault, that to the east being prolonged into the eastern apse.
At the corners of the central square of the nave rise four large piers, which are joined by arches to four buttress piers in the northern and southern walls behind them. The arched openings connect the three parts into which the aisles are divided by the piers. On either side of each of the central openings from the eastern and western hemicycles rise other piers, which are pierced by narrow arched passages, running from north to south. The piers, eight altogether, carry the whole vaulting of the nave, as well as a part of that of the side aisles. Between the middle division of each aisle and the nave are four large columns with five arches on the ground floor, and on the first floor six smaller columns with seven arches. Above again is a wall with windows, filling up the great arches on the north and south sides under the dome. Each exedra has, on the ground floor, two large columns with three arches, and, on the floor above, six small columns with seven arches.