When, even in its present defaced and despoiled condition, Santa Sophia is still one of the greatest, if not the greatest, triumphs of Church architecture, what must it not have been when “its domes and vaultings resplendent with gold mosaic interspersed with solemn figures” made it, what is in many respects the most magnificent temple of worship that the world has yet known. The Grand Opera House of Paris boasts of the beauty of its interior which is adorned with thirty-three varieties of marble and other ornamental stones. It is indeed beautiful, but it cannot compare with the matchless interior of the Church of Holy Wisdom which is embellished by the spoil of the most superb temples of antiquity and the treasures of the richest quarries of the civilized world. No other monarch has ever had at his disposition such rare and precious building materials as had Justinian for the construction of Santa Sophia and it is safe to say that no one will ever again have materials of such uniqueness and value. When one, therefore, considers all their richness and the admirable manner in which they have been utilized, we can easily understand how the legend soon arose which declares that while the Church of Holy Wisdom was building, the workmen were specially instructed by an angel from heaven. Nor need we go far for the origin of the story according to which Justinian set up a statue “representing Solomon as looking at the Great Church and gnashing his teeth with envy.” And one is not surprised at the rapturous expressions of Corippus, a poet-bishop of the sixth century, when he declares, “Praise of the temple of Solomon is now silenced and the Wonders of the World have to yield the preëminence. Two shrines founded by the wisdom of God have rivaled Heaven, one the Sacred Temple, the other the splendid fane of Santa Sophia, the vestibule of the Divine Presence.”[41] But the most striking feature of this magnificent structure is its dome. As viewed from below, it seems, as Madame de Staël says of the dome of St. Peter’s, “like an abyss suspended over one’s head,” or as the Byzantian historian, Nicetas Acominatus, declares “an image of the firmament created by the Almighty.” The eminent architectural authority, Fergusson, speaking of Justinian’s masterpiece, avers, “Internally, at least, the verdict seems inevitable that Santa Sophia is the most perfect and most beautiful church which has yet been erected by any Christian people. When its furniture was complete the verdict would have been still more strongly in its favor.”[42]