The Hagia Sophia Holy Grand Mosque is an important work of architecture in art history. Moreover, many architects have tried to match or exceed its greatness. In the context of political history, it is a structure that many people have tried to capture and bestow with a political message. The Islamic elements of the structure have existed ever since it was turned into a mosque by Fatih Sultan Mehmed. The most striking of these elements are the roundels written by Kazasker Mustafa İzzet Efendi, a calligrapher and musician. Before the signs of Mustafa İzzet Efendi were hung in the building as part of the restoration of the Hagia Sophia, the structure was adornedwith works of calligraphy by Teknecizâde İbrahim Efendi. Many of the works of calligraphy in the Hagia Sophia, which was converted into a museum in 1934, were removed from their original places and sent to surrounding museums. The roundels of Mustafa İzzet Efendi were also subjected to the same treatment, but it was not possible to remove them. As a result, they were left on the ground until they were hung by volunteers 15 years after they were unloaded. This paper shows that Teknecizâde’s paintings had a strong influence on the engravings of the period. This paper discusses the stories and artistic style of Izzet Efendi’s roundels. After the Hagia Sophia Mosque was turned into a museum, the situation of the roundels that had been taken down from their original places was revealed. Information about the people who attempted to hang the roundels in their original places and their testimonies were compiled and evaluated.