The stylistic transformation of its plans to the imperialistic architectural narration is a testimony to the phenomenon which by far surpassed questioning architecture per se and is a mirror to social and political contexts of the state. With it, the episode during which the church was debated, it bears conclusive witness to the drama behind the international political life of Yugoslavia. Synthetic redraft and invocation of Haghia Sophia With the invocation of Justinian's Haghia Sophia the size of the church was even larger than that called for in the initial competition. As they developed their project, Nestoroviċ and Deroko reflected the growing enthusiasm of one part of the population that wanted Belgrade to have one of the largest Orthodox churches in the world. The size, height and weight of the dome were meant to surpass the grandeur of Haghia Sophia. From the initially planned 60 x 60 m, the church had now grown to a square of 80 x 90 m and could hold 10.000 instead of 6.000 worshippers. The diameter of the dome had much enlarged and was to compete with some of the great domed cathedrals of late antiquity, renaissance, baroque and the historicism epoch. As thus the only reference for the synthetic redraft of the Nestorović/Deroko design came from the Haghia Sophia, which possessed a dome that initially had a diameter of 33 m. As it had been the cathedral of the capital city of the Byzantine Empire, its design was naturally imposed on the Belgrade Cathedral, as it was more appropriate for its urban context, than were the minor monastic churches of rural areas. With it, the idea to orient to national tradition was abandoned. This decision was highly criticised by public opinion, but not by the professional public, which didn't find many arguments for the proposal of building such a great church on the basis of the national tradition. The homogeneity of the interior space had come into consideration, which had been so successfully accomplished in the universally acclaimed Haghia Sophia. With the evolution of the model, Nestorović synthesized this with the proposal of Deroko into a final model, which resembled the dimensions of the Haghia Sophia and paraphrased several of its architectural achievements, but had created an interior space of its very own. It had a strictly centrally planned design with four apses which create a very dense, spacious and yet intimate interior. As