We mount the slope and reach the platform on the southern side, with the church between us and the blue waters of the bay. A custodian has been found in some hovel among the orchards, but no meaner object breaks the grassy surface of the terrace from which the building rises, the even masonry exposed from base to dome. Against the plain grey spaces of the walls which lie behind it, the rich façade of the southern entrance at once attracts the eye (Fig. 4). It consists of a porch or lateral structure, which once gave access to a door in the main wall of the church. Two graceful marble pillars with Corinthian capitals supported the façade; but the Turks have closed this entrance and walled up the columns, which are only visible from the inside. The new work does not rise much higher than the tops of the capitals, and the openings of the three arches which spring from the pillars have been filled with window glass. Of these, the central arch is slightly pointed, and those on either side are round. A pleasing feature of the design is the bold rounded arch which spans the porch from one wall to the other, and envelops the three lesser vaultings and their marble columns within a broad band of unsculptured stone. On the outer side, a narrow beading of grapes and vine-leaves accentuates the studied absence of all ornament upon the masonry of the span; and the keystone is enriched by the figure of the single-headed eagle of the Comneni, with open talons and wings outspread. The space of wall which is framed in this stately manner, and which is supported by the pillars of the façade, forms a panel or panels which are admirably adapted to receive that style of decorative treatment in which Byzantine art excelled. About in the centre, the space is broken by a quatrefoil window, above which, and on either side, plaques of varied mosaic have been inserted into the wall. Below the window, and from end to end, runs a frieze in low relief, surmounted by an inscription in Greek, "Have mercy upon me, save me from my sins, O succour me, Lord, God, Holy! Holy!" In the frieze may be discerned among the shapes of plants and trees, rendered with the highest skill and with much grace, human figures which indeed have suffered mutilation, but which, like corresponding works of the Romanesque style, appear deformed in size. Adam lies asleep among the foliage of the garden; a serpent, coiled round a leafless trunk, confronts the standing figure of Eve. Of the mosaics two at least of the plaques have been removed or have perished; you see the vacant oblong spaces on either side of the quatrefoil. The largest panels contain geometrical patterns; but the most beautiful and best preserved, if perhaps the smallest, is composed of two doves and two sprays of pomegranate in white on a black ground.