vate use of the ecclesiastical ministers.
The memory of past calamities inspired Justinian with a wise resolution,
that no wood, except for the doors, should be admitted into the new
edifice; and the choice of the materials was applied to the strength,
the lightness, or the splendor of the respective parts. The solid piles
which contained the cupola were composed of huge blocks of freestone,
hewn into squares and triangles, fortified by circles of iron, and
firmly cemented by the infusion of lead and quicklime: but the weight of
the cupola was diminished by the levity of its substance, which consists
either of pumice-stone that floats in the water, or of bricks from the
Isle of Rhodes, five times less ponderous than the ordinary sort. The
whole frame of the edifice was constructed of brick; but those base
materials were concealed by a crust of marble; and the inside of St.
Sophia, the cupola, the two larger, and the six smaller, semi-domes, the
walls, the hundred columns, and the pavement, delight even the eyes of
Barbarians, with a rich and variegated picture. A poet, who beheld the
primitive lustre of St. Sophia, enumerates the colors, the shades,
and the spots of ten or twelve marbles, jaspers, and porphyries, which
nature had profusely diversified, and which were blended and contrasted
as it were by a skilful painter. The triumph of Christ was adorned with
the last spoils of Paganism, but the greater part of these costly stones
was extracted from the quarries of Asia Minor, the isles and continent
of Greece, Egypt, Africa, and Gaul. Eight columns of porphyry, which
Aurelian had placed in the temple of the sun, were offered by the piety
of a Roman matron; eight others of green marble were presented by the
ambitious zeal of the magistrates of Ephesus: both are admirable by
their size and beauty, but every order of architecture disclaims their
fantastic capital. A variety of ornaments and figures was curiously
expressed in mosaic; and the images of Christ, of the Virgin, of saints,
and of angels, which have been defaced by Turkish fanaticism, were
dangerously exposed to the superstition of the Greeks. According to the
sanctity of each object, the precious metals were distributed in thin
leaves or in solid masses. The balustrade of the choir, the capitals
of the pillars, the ornaments of the doors and galleries, were of
gilt bronze; the spectator was dazzled by the glittering aspect of the
cupola; the sanctuary contained