In the tenth century the character of the bronze horseman grew even more complex. As the horseman became a preeminent imperial landmark, it made some Orthodox observers uncomfortable. A comparison of perspectives from different strata of Constantinopolitan society reveals tensions over the horseman. While both Constantine of Rhodes and the Narrative on the Construction of Hagia Sophia praise Constantinople, they create very different emotional and narrative frameworks for evaluating Justinian’s column and the emperor’s legacy. While for Constantine of Rhodes (and like-minded individuals at court) Justinian’s monument is the greatest wonder of Constantinople, for the pious author of the Narrative it signifies imperial hubris. Likewise, Constantine of Rhodes is at ease with elevating Justinian’s stupendous accomplishments, while the Narrative is cautious about his legacy. During this period the mosaic of the south-west vestibule of Hagia Sophia also attempted to institutionalize and normalize the discourse of Justinian’s greatness not only in the imperial sphere, but also in Orthodoxy.