The Suleymaniye Mosque was a true masterpiece at the time of its construction in the mid-1500s. Today, it continues to captivate its audiences with its complexity of its conception and the intellectual analysis of its meaning. According to two European travelers, Freynes Moryson and John Sanderson, soon after its completion, the mosque was in fact as magnificent as the Seven Wonders of the World (Nelipogulu 221). The mosque is definitely symbolic in the city of Istanbul, located on top of the highest hill, as it represents the central power and strength of the Turkish Empire (see Image 1) (Yayinlari 30). Looking closer at the Suleymaniye, we see many aspects of the religion through its sensual and visual experience. We also find great complexity, from the contradictory aspects that Sinan applied to the mosque, through a more in-depth intellectual analysis. The general structure of the Suleymaniye Mosque mirrors that of many Islamic mosques, but Sinan's work shows that it can remain a unique piece of architecture. The mosque is designed around a central axis. The length extends from north to south while the width extends from east to west. This is appropriate for the purpose of the building, where Muslims must face the cardinal direction of Mecca during prayer (Freely 124). Sinan further emphasizes the north and south direction by placing two short pillars at the north end and two taller ones at the south end (see Image 2) (Nelipoglu 212). Looking at the plan of Suleymaniye, we see a definite presence of geometry (see Image 3). The mosque is composed of spherical and rectangular shapes, as well as series of arches along the facades. The main and central dome is further enlarged by the surrounding half-domes. This draws attention to the center (Goodwin 35). The dome becomes the spiritual home, representing the “undiscriminating unity” of God (Freely 128). Sinan focused on a harmonious connection of the dome with the rest of the mosque to further emphasize its spiritual representation (Cansever 65). Sinan also fought for the Islamic belief of uninterrupted space between man and God. In his floor plan (see Image 3), he strives to construct the interior space with as few obstacles as possible. Any existing obstruction has been placed so that its transition occurs gradually.