Silentiarius, Descr. S. Sophiae
This poem was recited early in 563 soon after the second consecration
of the church on December 24, 562:  Now the wondrous curve (antux)
of the half-sphere, although resting on powerful foundations, collapsed1
and threw down the entire precinct of the sacred house. ...  Yet,
the broad-breasted fane did not sink to the foundations, ... but the curve
(keraiź) of the eastern arch slipped off and a portion of the dome was
mingled with the dust: part of it lay on the floor, and part–a wonder
to behold–hung in mid-air as if unsupported. ... [Paul goes on to describe
how Justinian was roused to action; how he visited the ruins of the church
and praised the skill of the architect Anthemius; how the church was rebuilt
and re-consecrated.]  To the east there open the triple spaces of
circles cut in half, and above, upon the upright collar of the walls,
springs up the fourth part of a sphere: even so, above his triple-crested
head and back does a peacock raise his many-eyed feathers. Men of the
craft in their technical language call these crowning parts conches. ...
 The middle one is girded by the priestly seats and steps ranged
in a circle: the lowest part of them is drawn close together round a center
on the ground, but as they rise, they widen out little by little until
they reach the stalls of silver,2 and so in ever-increasing circles they
wheel round the curved wall (keraiź) that stands above them. This conch
is followed by an arch resting on strong foundations, rectangular in plan
and curved at the top, not in the form of a sphere, but in that of a cylinder
cleft in twain.3 Two other columned conches, one on each side, extend
westward like bent arms stretched out to embrace within these mansions
the band of singers.4 These conches are lightened by columns speckled
with purple bloom, ranged in half circle, holding aloft on golden capitals
an overwhelming burden-columns which were once produced by the sheer (?)5
crags of Thebes on the Nile. Thus on either side are the bases of each
arcade upheld on twin columns, and along the traces of the threefold conch
skilled workmen did bend from below smaller arches cut in half,6 under
whose springing the columns have set their capitals, bound with bronze,
carved, overlaid with gold, driving away all fear. Upon the porphyry columns
stand others from Thessaly, splendid flowers of verdant stone. Here are
the fair galleries for the women, and they have the same form that may
be seen below, except that they are adorned not with two columns, but
with six Thessalian ones. One may wonder at the resolve of the man who
upon two columns has bravely set thrice two, and has not hesitated to
fix their bases over empty air. All the spaces between the Thessalian
columns he has fenced with stone closures upon which the women may lean
and rest their laborious elbows.
 Thus, as you direct your gaze towards the eastern arches, you behold
a never-ceasing wonder. And upon all of them, above this covering of many
curves, there rises, as it were, another arch borne on air,7 spreading
out its swelling fold, and it rises to the top, to that high rim upon
whose back is planted the base of the divine head-piece of the center
of the church.8 Thus the deep-bosomed conch springs up into the air: at
the summit it rises single, while underneath it rests on triple folds;
and through fivefold openings pierced in its back it provides sources
of light, sheathed in thin glass, through which, brilliantly gleaming,
enters rosy-ankled Dawn.
 And towards the west one may see the same forms as towards the dawn,
though there is a small difference. For there in the central space it
is not drawn in a curved arc as it is at the eastern end, where the priests,
learned in the art of sacrifice, preside on seats resplendent with an
untold wealth of silver; at the west is a great, richly-wrought portal,
not a single one, but divided into three at the boundary of the temple.
 By the doors there stretches out a lengthy porch receiving those
that enter beneath wide gates. It is as long as the wondrous church is
broad; this space is called narthex by the Greeks. Here through the night
there rises a melodious sound pleasing to the ears of Christ, giver of
life, when the psalms of God-fearing David are sung with alternate voice
by the sacred ministers. ...  Into the porch there open wide seven
holy gates inviting the people to enter; one of these is on the narrow
face of the narthex facing south, and another on the northern wing; the
rest on their groaning pivots are opened by the warden in the west wall
which marks the end of the church. Whither am I driven? What wind, as
upon the sea, has carried away my roaming speech? The center of the church,
the most renowned place, has been neglected. Return, my song, to behold
a wonder scarcely to be believed when seen or heard.
 Next to the eastern and western circlesthose circles cut in
to the twin Theban columns, are four sturdy piers (toichoi), bare in front,
but on their sides and powerful backs they are bound by supports from
opposite directions. The four of them rest on strong foundations, fixed
on solid stones. In their midst the workman has mixed and poured the dust
of fire-burnt stone,9 thus binding them together by the builder's art.
Above them are bent arches of measureless size like the many-colored rounded
bow of Iris: one turns towards the wing of Zephyr, another to Boreas,
another to Notus, another rises upright towards fiery Eurus. Each arch
joins its unshaken foot to that of the neighboring curve at either end,
and so they are fixed together on the edge, but as each rises in the air
in bending line, it slowly separates from its former fellow. Now, the
space between the arches is filled with a fair construction. For where
they bend away from one another according to the laws of art, and would
have shown empty air, there springs up a wall in the shape of a triangle,10
sufficiently curved so as to join the arms on either side by the common
yoke of a circular rim. On four sides these walls creep over and spread
out, until they are united and run up on the back of the circle like a
crown. The middle portion of the arches, as much as forms the curved rim,
the builder's art has compacted of baked bricks, while the ends of the
bows are made of construction stone.11 In the joints they have put sheets
of soft lead lest the stones, pressing as they do upon one another and
adding rude weight to weight, should have their backs broken; but with
the lead inserted, the stone foundation is gently compressed.  A
stone rim, rounded on all sides, has been fastened upon the backs [of
the arches], where the base of the hemisphere comes down; there, too,
are the winding curves of the last circle12 which the workmen have set
like a crown upon the backs of the arches. Under this projecting adornment
suspended stones have fashioned a narrow path like a fringe upon which
the lamplighter may fearlessly walk round and kindle the sacred lights.
 Rising above this into the immeasurable air is a helmet rounded
on all sides like a sphere and, radiant as the heavens, it bestrides the
roof of the church. At its very summit art has depicted a cross, protector
of the city. It is a wonder to see how [the dome], wide below, gradually
grows less at the top as it rises. It does not, however, form a sharp
pinnacle, but is like the firmament which rests on air. ...13  At
the very navel the sign of the cross is depicted within a circle by means
of minute mosaic so that the Saviour of the whole world may for ever protect
the church; while at the base of the half-sphere are fashioned forty arched
windows through which the rays of fair-haired Dawn are channelled.14...
 Now, towards the east and the west, you will see nothing beneath
the arches: all is air. But towards the murmuring south wind and the rainless
north there rises a mighty wall up to the chin of the rounded arch, and
it is illuminated by twice four windows.15 This wall rests below on stone
props, for, underneath it, six Haemonian columns,15a, like the fresh green
of the emerald, hold up a tireless sinewy juncture (it is there that the
women have their seats). These in turn are heaved upon massive heads by
four columns fixed immovable on the ground, glittering jewels of Thessalian
marble graced with locks of golden hair.16 They separate the middle mansion
of the glorious church from the lengthy aisle (aithousa) that lies alongside.
Never were such columns, high-crested, blooming like a grove with bright
flowers, cut from the land of Molossis.
 But in the midst of the aisle, too, Anthemius of many crafts assisted
by the wisdom of Isidorus (for both of them, serving the will of the industrious
Emperor, have built this prodigious church) have set up four more columns,
shorter in measure than their neighbours, but as bright with verdant bloom,
being as they are from the same quarry. Their goodly feet are not planted
in the ground all in a row: instead, they are set on the pavement in facing
pairs, and upon their heads, a vault (keraiź), wound on fourfold arches,
supports the underside of the women's abode. Close by, in the direction
of the north wind is a door that leads the people to the pure founts that
cleanse human life and drive away the grievous scars of sin.17
 Following these four graceful Thessalian columns, on either side,
namely towards dusk and dawn, pierced cylindrical vaults are poised on
the divinely built walls along the length of the aisle and serve for passage.
Towards the north wind they open into double doors, whereas towards the
south, over against the doors, are well-wrought spaces like chambers.18
And again towards the day and night stand two other columns from the Haemus
and two pillars (stźmones) with lofty crests from famous Proconnesus,
set close to the doors. Towards the east there is but one door, while
towards the abode of black night the people enter through a double portal.19
 On the south you will find a long aisle altogether similar to the
northern one, yet it has something in addition: for it contains a space
separated by a wall, reserved for the Ausonian emperor on solemn festivals.
Here my sceptered king, seated on his customary throne, lends his car
to [the reading of] the sacred books.20
 And whoever mounts up will find that the women's aisles on either
side are similar to those below; but the one that runs above the narthex,
to the west, is not like the other two.
 Now on the western side of this divine church you will see a court
encompassed by four aisles:21 one of these is joined to the narthex, while
the others are open wide, and various paths lead to them. At the prized
center of the wide court stands a spacious fountain, cleft from the Iasian
peaks;21a from it a burbling stream of water, forced by a brazen pipe,
leaps into the air–a stream that drives away all suffering, when the people,
in the month of the golden vestments,22 at God's mystic feast, draw by
night the unsullied waters in vessels. ...
 Upon the carved stone wall23 curious designs glitter everywhere.
These have been produced by the quarries of sea-girt Proconnesus. The
joining of the cut marbles resembles the art of painting for you may see
the veins of the square and octagonal stones meeting so as to form devices:
connected in this way, the stones imitate the glories of painting. And
outside the divine church you may see everywhere, along its flanks and
boundaries, many open courts. These have been fashioned with cunning skill
about the holy building that it may appear bathed all round by the bright
light of day.  Yet who, even in the thundering strains of Homer,
shall sing the marble meadows gathered upon the mighty walls and spreading
pavement of the lofty church? Mining [tools of] toothed steel have cut
these from the green flanks of Carystus24 and have cleft the speckled
Phrygian stone, sometimes rosy mixed with white, sometimes gleaming with
purple and silver flowers.25 There is a wealth of porphyry stone, too,
besprinkled with little bright stars that had laden the river-boat on
the broad Nile. You may see the bright green stone of Laconia and the
glittering marble with wavy veins found in the deep gullies of the Iasian
peaks, exhibiting slanting streaks of blood-red and livid white; the pale
yellow with swirling red from the Lydian headland; the glittering crocus-like
golden stone which the Libyan sun, warming it with its golden light, has
produced on the steep flanks of the Moorish hills; that of glittering
black upon which the Celtic crags, deep in ice, have poured here and there
an abundance of milk; the pale onyx with glint of precious metal; and
that which the land of Atrax26 yields, not from some upland glen, but
from the level plain: in parts vivid green not unlike emerald, in others
of a darker green, almost blue. It has spots resembling snow next to flashes
of black so that in one stone various beauties mingle.
 Before one comes to the glitter of cut mosaic, the mason, weaving
together with his hands thin slabs of marble, has figured upon the walls
connected arcs laden with fruit, baskets and leaves, and has represented
birds perched on boughs.27 The twining vine with shoots like golden ringlets
winds its curving path and weaves a spiral chain of clusters. It projects
gently forward so as to overshadow somewhat with its twisting wreaths
the stone that is next to it.28 Such ornament surrounds the beauteous
church. And above the high-crested columns, underneath the projecting
stone edge, is deployed a tapestry of wavy acanthus, a wandering contexture
of spiky points, all golden, full of grace.29 It encompasses marble shields-discs
of porphyry glittering with a beauty that charms the heart.
 The hills of Proconnesus have gladly offered their back to the life-giving
Queen30 to cover the entire floor, while the polish of Bosporus stone31
shimmers gently, black with an admixture of white.
 The roof is compacted of gilded tesserae from which a glittering
stream of golden rays pours abundantly and strikes men's eyes with irresistible
force. It is as if one were gazing at the midday sun in spring, when he
gilds each mountain top.
 Indeed, our emperor, who has gathered all manner of wealth from
the whole earth, from barbarians and Ausonians alike,32 did not deem a
stone adornment sufficient for this divine, immortal temple in which Rome
has placed all its proud hopes of joy. He has not spared, too, an abundant
enrichment of silver. The ridge of Pangaeus33 and the cape of Sunium34
have opened all their silver veins, and many a treasure-house of our lords
has yielded its stores.
 For as much of the great church by the eastern arch as was set apart
for the bloodless sacrifice is bounded not with ivory or cut stone or
bronze, but it is all fenced under a cover of silver. Not only upon the
walls which separate the priest from the choir of singers has he set plates
of naked silver, but the columns, too, six sets of twain in number, he
has completely covered with the silver metal, and they send forth their
rays far and wide. Upon them the tool wielded by a skilled hand has artfully
hollowed out discs more pointed than a circle,35 within which36 it has
engraved the figure of the immaculate God who, without seed, clothed himself
in human form. Elsewhere it has carved the host of winged angels bowing
down their necks, for they are unable to gaze upon the glory of God, though
hidden under a veil of human form–He is still God, even if He has put
on the flesh that removes sin. Elsewhere the sharp steel has fashioned
those former heralds of God37 by whose words, before God had taken on
flesh, the divine tidings of Christ's coming spread abroad. Nor has the
artist forgotten the images of those who abandoned the mean labors of
their life–the fishing basket and the net–and those evil cares in order
to follow the command of the heavenly King, fishing even for men and,
instead of casting for fish, spread out the nets of eternal life.38 And
elsewhere art has depicted the Mother of Christ, the vessel of eternal
life, whose holy womb did nourish its own Maker. And on the middle panels
of the sacred screen which form a barrier round the sanctified priests,
the carver's tool has incised one symbol that means many words, for it
combines the names of the Empress and Emperor: It is like a shield with
a boss in whose middle part has been carved the sign of the cross.39 And
the screen gives access to the priests through three doors. For on each
side the workman's hand has made a small door.40
 And above the all-pure table of gold41 rises into the ample air
an indescribable tower, reared on fourfold arches of silver. It is borne
aloft on silver columns on whose tops each of the four arches has planted
its silver feet. And above the arches springs up a figure like a cone,
yet it is not exactly a cone: for at the bottom its rim does not turn
round in a circle, but has an eight-sided base, and from a broad plan
it gradually creeps up to a sharp point, stretching out as it does so
eight sides of silver. At the juncture of each to the other stand long
backbones which seem to join their course with the triangular faces of
the eight-sided form and rise to a single crest where the artist has placed
the form of a cup. The lip of the cup bends over and assumes the shape
of leaves, and in the midst of it has been placed a shining silver orb,
and a cross surmounts it all. May it be propitious! Above the arches many
a curve of acanthus twists round the lower part of the cone, while at
the top, rising over the edge, it terminates in upright points resembling
the fragrant fruit of the fair-leaved peartree, glittering with light.42
Now where the sides of the base are fitted to each other are fixed silver
bowls, and in each bowl is set a candelabrum like a candle that burns
not, expressing beauty rather than giving light; for these are fashioned
all round of silver, brightly polished. Thus the candle flashes a silver
ray, not the light of fire. And on columns of gold is raised the all-gold
slab of the holy table, standing on gold foundations, and bright with
the glitter of precious stones.
 Whither am I carried? Whither tends my unbridled speech? Let my
bold voice be restrained with silent lip lest I lay bare what the eyes
are not permitted to see. But ye priests, as the sacred laws command you,
spread out with your hands the veil dipped in the purple dye of the Sidonian
shell and cover the top of the table. Unfold the cover along its four
sides and show to the countless crowd the gold and the bright designs
of skilful handiwork. One side is adorned with Christ's venerable form.
This has been fashioned not by artists' skilful hands plying the knife,
nor by the needle driven through cloth, but by the web, the produce of
the foreign worm,43 changing its colored threads of many shades. Upon
the divine legs is a garment reflecting a golden glow under the rays of
rosy fingered Dawn, and a chiton, dyed purple by the Tyrian seashell,
covers the right shoulder beneath its well-woven fabric; for at that point
the upper garment has slipped down while, pulled up across the side, it
envelops the left shoulder. The forearm and hand are thus laid bare. He
seems to be stretching out the fingers of the right hand, as if preaching
His immortal words, while in His left He holds the book of divine messagethe
book that tells what He, the Lord, accomplished with provident mind when
His foot trod the earth. The whole robe shines with gold: for on it gold
leaf has been wrapped round thread after the manner of a pipe or a reed,
and so it projects above the lovely cloth, firmly bound with silken thread
by sharp needles.44 On either side stand two of God's messengers: Paul,
replete with divine wisdom, and the mighty doorkeeper of the gates of
heaven who binds with both heavenly and earthly bonds.45 One holds the
book pregnant with holy ordinance, the other the form of the cross on
a golden staff. And both the cunning web has clothed in robes woven of
silver; while rising above their immortal heads a golden temple enfolds
them with three noble arches fixed on four columns of gold.46 And on the
hem of the veil shot with gold, art has figured the countless deeds of
the Emperors, guardians of the city: here you may see hospitals for the
sick, there sacred fanes.47 And elsewhere48 are displayed the miracles
of heavenly Christ, a work suffused with beauty. And upon other veils
you may see the monarchs joined together, here by the hand of Mary, the
Mother of God, there by that of Christ, and all is adorned with the sheen
of golden thread.  Thus is everything clothed in beauty; everything
fills the eye with wonder. But no words are sufficient to describe the
illumination in the evening: you might say that some nocturnal sun filled
the majestic temple with light. For the deep wisdom of our Emperors has
stretched from the projecting stone cornice, on whose back is planted
the foot of the temple's lofty dome, long twisted chains of beaten brass,
linked in alternating curves by many hooks. From many points on a long
course these fall together to the ground, but before they reach the floor,
their lofty path is checked and they form an even choir. And to each chain
he has attached silver discs, suspended circle-wise in the air round the
central confines of the church. Thus, descending from their lofty course,
they float in a circle above the heads of men. The cunning craftsman has
pierced the discs all over with his iron tool so that they may receive
shafts of fire-wrought glass49 and provide pendent sources of light for
men at night. Yet not from discs alone does the light shine at night,
for in the [same] circle you will see, next to the discs, the shape of
the lofty cross with many eyes upon it, and in its pierced back it holds
luminous vessels.50 Thus hangs the circling choir of bright lights. You
might say you were gazing on the effulgent stars of the heavenly Corona
close to Arcturus and the head of Draco.  Thus the evening light
revolves round the temple, brightly shining. And in a smaller, inner circle
you will find a second crown bearing lights along its rim, while in the
very center another noble disc rises shining in the air, so that darkness
is made to flee.
 By the aisles, too, next to the columns on either side, they have
placed in sequence single lamps, one apart from the other, and they go
through the whole length of the far-stretching church. Beneath each they
have placed a silver vessel resembling a balance pan, and in the center
of this rests a cup of burning oil. There is not, however, one equal level
for all the lamps, but you will see some high, some low, in lovely curves
of light as they glitter step-wise on their aerial path, suspended from
twisted chains. In this manner does the twin-pointed Hyas shine, fixed
in the parted forehead of Taurus. One may also see ships of silver bearing
a luminous freight; suspended, they sail through the bright air instead
of the sea, fearing neither the south wind nor late-setting Boôtes.51
And down on the floor you will see elegant beams running between two-horned
[supports] of iron, upon which extends a row of lights, servitors of the
temple, connected by straight rods of red color.52 Some of these are on
the floor, where the elegant columns have set their bases, while others
are above the capitals following the long path of the walls.53  Neither
has the base of the deep-bosomed dome been left without light, for along
the projecting stone of the curved cornice the priest54 has lit single
lamps attached to bronze stakes. Just as a king, cherishing his virgin
daughter, might place round her neck a lovely chain glowing like fire
with rubies set in gold, so has our Emperor fixed round the cornice a
revolving circle of lights that run along the whole base.
 There is also on the silver columns,55 above their capitals, a narrow
path of access for the lamplighters, a path full of light, glittering
with bright clusters; these one might compare to the mountain-reared pine
tree or to the cypress of tender foliage. Pointed at the summit, they
are ringed by circles that gradually widen down to the lowest curve that
surrounds the base of the trunk; and upon them have grown fiery flowers.
Instead of a root, bows of silver have been affixed beneath these trees
of flaming vegetation. And in the center of this beauteous grove, the
form of the divine cross, studded with bright nails, blazes with light
for mortal eyes.
 Countless other lights, hanging on twisted chains, does the church
of ever-changing aspect contain within itself; some illumine the aisles,
others the center or the east and west, others shed their bright flame
at the summit. Thus the bright night smiles like the day and appears herself
to be rosy-ankled. ...
1 In 558. See p. 78.
2 I.e., the silver seats of the bishop and clergy which occupied the topmost
tier of the synthronon.
3 The rectangular space of the bema directly in front of the apse.
4 The two eastern exedras.
5 Literally, the "well-greaved crags." The adj. euknêmis is regularly
applied by Homer to the Achaeans; it does not appear to be very suitable
for the crags of Thebes.
6 Literally "half-finished" (hźmiteleis). I do not understand the use
of this epithet here if Paul is speaking, as he seems to be, of the three
arches subtended by the two porphyry columns in each exedra.
7 The main eastern arch.
8 The dome.
9 Presumably crushed brick, which was a regular component of Byzantine
mortar. Cf. p. 111 and n. 280.
10 I.e., a pendentive.
11Paul is probably trying to say that the arches, which are of brick,
rest upon the stone piers.
12 Meaning not entirely clear. Paul may be thinking of the ribs of the
13 Verses 497505 are badly mutilated in the manuscript.
14 Paul goes on to say that the church was roofed in brick since no timbers
were big enough for the purposea purely poetic digression.
15 The form of the tympana was altered at a later period. Now each of
them has twelve windows.
15a Same as Thessalian.
16 The four verd antique columns on the ground floor.
17 This surely refers to the baptistery. Paul's indication is deserving
of notice, since the building generally regarded as the baptistery of
St. Sophia is situated to the south of the church.
18 This is not very clear. I think that Paul is referring to the arched
passages between the main piers and the pier-buttresses. The latter are
pierced by tunnel vaults which must indeed have been provided with doors.
Today the tunnel in the northeast pier-buttress is entirely blocked up;
that in the northwest pier-buttress forms an enclosed room without exit,
but that, too, represents a later alteration.
19 This is quite correct if one envisages the west bay of the aisle as
a rectangle without its curved prolongation towards the longitudinal axis
of the church.
20 This space was known as the mêtatorion (mutatorium),
21 The atrium. Paul treats the so-called exonarthex as forming one of
the four porticoes of the atrium.
21a I.e., made of Carian marble on which see p. 63, n. 43.
22 January, when the consuls in their golden ceremonial robes entered
on their year of office. The "mystic feast" is Epiphany.
23 It is not clear whether Paul is referring here to the walls of the
atrium or to the fountain that stood at its center.
24 See p. 32 and n. 38.
25 Also mentioned by St. Gregory of Nyssa, PG XLIV, 653D, 657B, this was
probably the same as Docimian or Synnada marble, which came in a variety
27 This applies to the =opus sectile= decoration in the spandrels of the
28 In fact, this decoration is very nearly flat.
29 Referring to the spandrels of the main colonnade on the ground floor.
30 Meaning, presumably, the church.
31 Bosporus marble is mentioned once again in the Description of the Ambo,
below, p. 93, where it appears to be the same as Proconnesian (white with
blue veins), but this cannot be so here. There was a black Bithynian marble,
the same that is now quarried at Adapazari.
32 I.e., his own Roman subjects.
33 In eastern Macedonia. This is a literary allusion and does not indicate
that the gold and silver mines of Pangaeus, famous in antiquity, were
exploited in Justinian's time.
34 In Attica. The mines were at Laurium.
35 I.e., oval. S. G. Xydis, "The Chancel Barrier, Solea, and Ambo of Hagia
Sophia," Art Bulletin, XXIX (1947), 8 f. proposes a textual emendation,
namely oxutorous [instead of oxuterous] kukloio … diskous, i.e. "sharply
chased circular discs." He does so on the grounds that oval or ellipsoid
frames were rarely used in Early Christian art.
36 Or "in the midst of which." I fully agree with Xydis that the discs,
whether oval or circular, must have been on the entablature, and not on
the columns of the chancel screen, and that the figure of Christ occupied
the central disc above the chancel door. Several examples of entablature's
decorated in this manner have recently come to light in Asia Minor. They
usually comprise figures of Christ, the Virgin Mary, and John the Baptist,
forming a central group, flanked symmetrically by angels, apostles and
37 The prophets.
38 The apostles.
39 I.e., the parapet slabs of the chancel screen were decorated with the
monogram of Justinian and Theodora. Note that the latter had died in 548.
It is not entirely clear whether this monogram was itself constructed
in the form of a cross or whether it accompanied an ordinary cross.
40 The chancel projected into the nave, so that it had three enclosed
sides with a door in each.
41 The altar-table.
42 This sentence is rather obscure.
43 Literally the "barbarian ant," i.e., the silkworm. It may be recalled
that the silkworm was introduced into the Byzantine world in 552, probably
from Sogdia. At the time when Paul the Silentiary was writing silk was
still for the most part imported from Persia.
44 This is an accurate description of the kind of broidered stuff that
was called sôlênoton. Cf. p. 156.
45 Cf. Matt. 18:18. 46 In other words, the figures of Christ, Peter and
Paul were enclosed within a triple arcade.
I.e., hospitals and churches that had been founded by Justinian. As has
often been pointed out, this description provides a remarkable analogy
to the Daniel and St. Peter Egyptian textiles, now in Berlin, on whose
borders are represented various churches and miracles of Christ. See J.
Strzygowski, Orient oder Rom (Leipzig, 1901), pp. 91 ff.
48 ProbabIy on the same altarcloth.
49 I.e., narrow glass beakers.
50 I.e., cross-shaped polukandêla.
The "eyes" are for the insertion of the little glass lamps. Objects of
this kind form part of the recently discovered and as yet unpublished
silver treasure from Kumluca in southern Turkey.
51 For a bronze lamp in the form of a ship, see Handbook of the Byzantine
Collection [at Dumbarton Oaks] (Washington, D.C., 1967). No. 107.
52 Paul is describing here some kind of floor lamp, but its exact nature
is not clear to me.
53 I.e., in the galleries.
54 Surely, priests would not have been employed to light the lamps along
the dome cornice.
55 Of the chancel screen. Copyright: Mango, Cyril. The Art of the Byzantine
Empire 312-1453. Englewood Cliffs, 1972. pp. 8091.