The plan of the edifice nearly approaches an equilateral rectangle, over the centre of which rises the great dome, supported on four mighty arches resting upon massive pilasters: these form, as it were, the skeleton of the entire building. From the arches on the right and left of the entrance there rise, before and beyond the great dome, two semi-domes, the three covering the entire nave, these semi-domes have six exedræ, of which the four on the sides are also covered with semi-domes, making four small circular temples enclosed in the large one. Between the two exedræ at the east end of the building is the apse, which projects beyond the external wall, and is likewise covered with a domed roof. Thus seven semi-domes encircle the main one, two just beyond it and five more beyond these, all of them without any apparent support, and presenting an extraordinary impression of lightness, as though they actually were, as a Greek poet once said, suspended by seven cords from the roof of the sky. All these domes are lighted by large windows arched and symmetrical. Between the four great pilasters, which form a square in the centre of the basilica, there rise to the right and left of the entrance eight wonderful columns of green marble, from which spring graceful arches richly carved with foliage, forming charming porticos on either side of the nave, and supporting at a great height two vast galleries, where are to be seen two other lines of columns and sculptured arches. A third gallery, communicating with the first two, runs above the narthex, and opens out on the nave by means of three enormous arches supported on double columns. Other smaller galleries, resting upon porphyry columns, intersect the four small temples at the extremities of the nave, and from them rise other columns supporting tribunes.
Such is the basilica. The mosque is, so to speak, spread over its surface and hung upon its walls. The _mihrab_--that is, the niche which indicates the direction in which Mecca lies--is hollowed out of one of the pilasters of the apse; to the right of it, high up on the wall, hangs one of the four prayer-carpets of the Prophet. In the angle of the apse nearest to the mihrab, reached by a steep little flight of stairs whose marble balustrade is carved with the most marvellous delicacy of workmanship, is the pulpit, surmounted by a queer conical roof and hung on either side with victorious banners of Muhammad II. Here the _rhatib_ ascends to read the Koran,[H] and carries in his hand a drawn simeter, to signify that St. Sophia is a mosque acquired by the force of arms. Opposite the pulpit is the Sultan’s tribune enclosed within a gilded grating. Other pulpits or species of balconies, having railings of open-work carving, and supported on small marble columns and arabesqued arches, protrude here and there along the walls or toward the centre of the nave. On either side of the entrance stand two huge alabaster jars, found among the ruins of Pergamum and brought to Constantinople by Murad III. Enormous green disks, bearing inscriptions from the Koran[I] in letters of gold, are hung below the pendentives, beneath which great mural slabs of porphyry bear the names of Allah, Mohammed, and the first four khalifs. In the pendentives may still be seen the gigantic wings of the four mosaic seraphim, whose faces are now concealed beneath golden roses. From the roofs of the domes hang innumerable silken cords, measuring almost the entire height of the building, from which are suspended ostrich eggs, lamps of wrought bronze, and crystal globes. Here and there stand cassia-wood reading-desks, inlaid with copper and mother-of-pearl, on which lie manuscript copies of the Koran. On the pavement are spread great numbers of rugs and mats. The walls are bare, whitish, yellowish, gray, still adorned in some places with discolored mosaics. The general aspect is inexpressibly mournful.
