É la primera parte (puerta?) de la Iglesia es muy alta é de obra rica, é delante desta puerta está un grand corral y luego al cuerpo de la Iglesia, é el qual cuerpo es una quadra redonda sin esquinas muy alta, é es cerrada al derredor de tres grandes naves, que son cubiertas da un cielo ellas y la quadra. É ha en ella siete altares, é el cielo desta quadra é naves é las paredés es de obra de musayca muy ricamente labrada, é en ello muchas historias, é la quadra está armada sobre veinte é quatro marmoles de jaspe verde, é las dichas naves son sobradadas, é los sobrados dellas salen al cuerpo de la Iglesia, é alli avia otros veinte é quatro marmoles de jaspe verde, é il cielo de la quadra é las paredes e de obra musayca, é los andamios de las naves salen sobre el cuerpo de la Iglesia, é alli do avia de aver verjas avia marmoles pequenos de jaspe.[79] With the kind help of Professor Cossio of Madrid, the Spanish text may be roughly translated as follows:-- And the first part (door?) of the church is very lofty and richly worked. And before this door is a large court beside the body of the church; and the said body is a round hall without corners (or angles), very lofty, and enclosed round about by three large naves, which are covered, they and the hall, by one roof. And it (the church) has in it seven altars; and the roof of the hall and naves and the walls are of mosaic work very richly wrought, in which are (depicted) many histories. And the (roof of the) hall is placed on twenty-four marble columns of green jasper (verd antique). And the said naves have galleries, and the galleries open on the body of the church, and these have other twenty-four marble columns of green jasper; and the roof of the hall and the walls are of mosaic work. And the elevated walks of the naves open over the body of the church,[80] and where a balustrade should be found there are small marble columns of jasper. Outside the church, adds the ambassador, was a beautiful chapel dedicated to S. Mary, remarkable for its mosaics. [Illustration: PLATE X. S. JOHN OF THE STUDION. CISTERN. _To face page 51._] [Illustration: FIG. 12.] [Illustration: FIG. 13.] [Illustration: FIGS. 14. AND 15.] [Illustration: FIGS. 16 AND 17.] [Illustration: FIG. 18.] [Illustration: FIG. 19.] [35] The Latin thesis of Eugenius Marin, _De Studio coenobio Constantinopolitano_, Paris, 1897, is a most useful work. [36] Gyllius, _De top._ C.P. p. 313. [37] _Itinéraires russes en Orient_, p. 306, _traduits pour la Société de l'Orient Latin par Mdme. B. de Khitrovo_. [38] _Ibid._ p. 231. For all questions concerning the walls of the city I refer, once for all, to my work, _Byzantine Constantinople: the Walls and adjoining Historical Sites_, published in 1889 by John Murray, London. [39] _Paschal Chronicle_, p. 726. [40] Constantine Porphyrogenitus, _De ceremoniis_, pp. 462-3.