A similar argument applies to other forms which occur with equal frequency. A square panel of ornament which alternates with the crosses, certain diapers, the bands up the edges of the aisle vaults, and the small circles each containing the six-armed cross or monogram at the centre of these compartments, would all seem to be parts of the original work, and these simple elements we believe formed the first scheme of decoration. Texier figures a mosaic from Salonica made up of crosses. The splendid simplicity of such a scheme seems entirely in harmony with S. Sophia, for even figures would disturb the beauty of the expanse which at each movement glitters like a web of golden mail swayed by a breeze. _Later Mosaics._--For the mosaics displaying figures we refer back to Salzenberg’s description. Much further information might have been gathered if he had given copies of the inscriptions which exist, in however incomplete a state. His section (Plate x.) shows that a long inscription surrounded the arch of the apse, but in his text he only gives the last few letters ϹΕΙΕ ΠΑΛΙΝ; this possibly belonged to the words ἀνεστήσειε πάλιν, “Set up again,” and the whole may have contained the name of the emperor under whom this restoration was effected. (See below, p. 287.) On the great lunette of the wall of the south side also, where the tiers of saints and prophets seem a part of a scheme representing the Church triumphant, or a _Benedicite_, two monograms occur (see Salzenberg’s Plate ix.); only the first, which reads ΚΥΡΙΕ, is figured in the text; it is evidently a part of the well-known invocation, ‘Lord, help,’ which requires the name of an emperor or artist to complete it. An inscription between these monograms is partly given in the text; and supposing it to be correctly rendered the whole probably read “Lord, help” (_name_ who painted this wall) “of the Immortal Wisdom” (with the figures) “of the saints”. The entire later scheme of the mosaics must have corresponded closely to that in the New Church in the palace built by Basil, which is described by Porphyrogenitus. Here, at the centre of the dome, was the human form of Christ embracing the whole world in His regard; below were ranges of angels. In the apse was the figure of the Virgin with arms uplifted in prayer, “a choir of apostles, martyrs, prophets and patriarchs filled the other spaces of the whole church.” This in turn resembles very closely the iconography at S. Luke’s. [Illustration: FIG. 71.--Restoration of Throne at Crown of Pentecost Dome.]