First, what is a Seraphim?  The following is a great description in a awonderful posting on Angels from "A Readers Guide to Orthodox Icons":

"The name given, seraphim, is Hebrew and means “burning ones” (plural; the singular form is seraph). They are the closest to the throne of God, and as such are flame-like, “For our God is a consuming fire.” (Heb 12:29); “His throne was a flame of fire” (Dan 7:9); “the appearance of the Lord was like a blazing fire” (Ex 24:17). The seraphim, then, are usually painted in icons in red, signifying this flame. The six wings are arranged in a particular way: two pointing down (covering the feet), two up (covering the face), and two outstretched (in order to fly). They are also frequently found surrounding images of Christ in glory. In the 14th century fresco by Theophanes, the Seraph is shown holding a flabellum or hagion ripidion (lit. “sacred fan”) upon which are the words “holy, holy, holy” in Greek: the same thrice-holy hymn used in Isiah’s description of these angels.

As a side-note, these “sacred fans” are still ceremonially used in the Divine Liturgy today, to protect the body and blood of Christ and as a sign of honor (think of Cleopatra reclining whilst a flunky next to her waves a huge fan). Often these Liturgical fans have an image of a seraph on them, to remind us that God is indeed present in the chalice; the same God who is surrounded by the seraphim who fly about Him.

In 2009 Aya Sophia Museum authorities announced they had removed the star covering the face of the left Seraph in the pendentive of the Cathedral of Holy Wisdom, which is now a museum.  In 1348 part of the eastern arch of the church - along with a part of the dome - collapsed and damaged a large area on the floor of the church along with parts of the iconostasis and ambo.  It is possible the altar was damaged as well.  Although the city of Constantinople and its elite merchants and noble families were quite wealthy the Imperial Court of the time was not.  The restoration of the church was an expensive project and an massive engineering effort that lasted for seven years.  Funds had to be raised from foreign sources, including the Tsar of Russia.  Once can imagine the perilous condition of the church just after the collapse and during the long restoration.  Until the arch and dome had been stabilized and reconstructed any earthquake could have brought down the rest of the vaulting.

Image of the Seraphim from Hagia SophiaThe restoration was not perfect and the eastern vaults and dome show the scars of the repairs, which appear irregular and damaged the symmetry of them.  This is particularly noticeable - and disturbing - to modern visitors to the museum who don't know the circumstances of the repairs and the capabilities of the engineers of the time.  Hagia Sophia has many irregularities that date from the construction of the church.  Over the years various repairs and reconstructions added to these.  Even during the original building of the church changes and revisions were were made.  All of these added to the structural irregularities of the structure, some of which were repaired during the Fossati restoration, when several columns were moved.

The Seraph from Hagia SophiaClick on the image above for a huge image of the Seraph

A view of the vault before cleaning

Above:  Here's a view of the pendentive before it was cleaned and the star removed.  You can see large patches of Fossati plaster work to fill in lost areas of mosaic, especially on the left above the wing.

The Virgin Oranta in the Eastern Arch of Hagia Sophia

Above: Here you can see a mosaic setting bed in the on the north side of great eastern arch of Hagia Sophia with the remains of a standing Virgin and Child dating to 1354. Below her are the traces o a mosaic portrait of the Byzantine Emperor John V Palaeologus dating from 1354.  This mosaic was discovered in 1989, but has not been completely uncovered.  John reigned from 1341 to 1391.  In the top center of the arch was a representation of the Throne of God.  Fragments of figures - a Virgin and Child with Saints Peter and Paul, were found by Fossati in the western arch as well, but they seem to have been totally lost.

In March 1915 I found this text on the web along with the picture below:

In 1989, a huge scaffold was erected in the eastern arch of Hagia Sophia to repair loose plaster. The workers had noticed mosaic tesserae in the arch and Tauss was asked to examine them. Upon climbing to the top of the scaffold and examining the exposed mosaics, Tauss verified the identification of the mosaics, which depicted a Hetoimasia, the Virgin, St. John the Baptist, and John V Paleologus, who had funded the restoration of the building after a series of earthquakes in 1345. These mosaics had not been seen or documented since 1847, when Gaspare Fossati quickly sketched them before they were re-covered with plaster during the restoration campaign commissioned by Sultan Abdülmecid I. Tauss consulted with Cyril Mango, who was also in Istanbul at the time, and also with two conservators from the Austrian Academy of Science, Peter Berzobohaty and Claudia Podgorscheck, who were working on the Great Palace mosaics next door. They discussed technicalities and the possibility of funding and support for the conservation of the Paleologian mosaics in Hagia Sophia. Tauss suggested it was necessary to install an elevator to accommodate the work. It would work as a pulley lift and could take people and materials to the work area. The enormous estimated cost for the project was probably what kept it from ever happening. The mosaics in the east arch still haven’t been conserved and are barely visible to visitors because they are so high from the floor. There is no known publication about the 1989 re-discovery; Tauss said he would not publish his photographs of the mosaics without permission from the Directorate of the Hagia Sophia.



A Mosaic of an Emperor on the right side of the eastern arch of Hagia Sophia

Above: You can see the traces of a mosaic of St. John the Baptist, below him would have been a portrait of John's wife Helena Kantakouzene.

Fossati Drawing of John V Palaeologus Mosaic in Hagia Sophia

Above: Fossati drawing of the mosaic of John V on the north side of the great eastern arch.

Ghostly Shadow of a mosaic in Hagia Sophia of John V

Above:  Just behind the cable and above a patch of painted plaster is the ghostly image of the head of John V Palaeologus in Hagia Sophia, with a beard, crown and halo.

The mosaic of the Serphim was added in the final restoration of the damage of 1348, which took a long time to complete.  The face is around 4 ft tall and cannot easily be seen from the floor of the church.  It seems to me the seraphim in the right pendetive has been entirely lost and the star conceals nothing except for a painting underneath, which was probably put there by Fossati's workers.

Big Discovery in Hagia Sophia

Both Seraphims were intact in the 18th century and were visible, since none of the vault mosaics were covered until sometime sometime after that.  It is possible the right was damaged in a serious earthquake that occurred late in the 18th century (many former Byzantine Churches lost their decoration in that quake) or in the 1894 earthquake which brought down the vault mosaics in the North and South Galleries of Hagia Sophia (what a huge loss!)

Bob Atchison



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