The following instances may be given of the agreement of the mosaics at S. Sophia with the instructions of the Painter’s Manual. For example, it directs that over the door of entrance from the narthex Christ be represented throned, holding the Gospel open at the words, “I am the Door: by me, if any man enter in, he shall be saved.” At each side the Virgin and the Prodromos are to be represented. The figure to Christ’s left at S. Sophia, called Michael by Salzenberg, Grelot tells us was the Prodromos and he probably followed the traditional ascription, although the type seems to agree better with an archangel. Again, “Inside the Sanctuary at the centre of the vaults draw the Virgin seated on a throne holding Christ as a little child.”[402] This exactly describes the apsoid mosaic at S. Sophia. The cupola of the gynaeceum, representing the descent of the Holy Spirit, is also in close agreement with the directions given in the Manual:--“The Holy Spirit is seen in the form of a dove, twelve tongues of fire go out from it and rest on the apostles.” This subject is treated at S. Luke’s in a manner almost identical to that at S. Sophia, and it is also found in a dome at S. Mark’s. Diehl in his examination of the mosaics at S. Luke’s has pointed out that the central circle of the Pentecost cupola at S. Sophia as shown by Salzenberg in Plate xxxi. is quite insufficient to have contained the figure of Christ as shown in the restoration given on Plate xxvi., and that consequently the Holy Spirit as a Dove really occupied this position as at S. Luke’s. In Fig. 71 we give an amended restoration of this centre; it will be seen from Salzenberg’s text that he had no evidence for a figure. The two angels above the sanctuary are described by Salzenberg as bearing lances or banner poles; these were doubtless surmounted by Flabella bearing the words ΑΓΙΟϹ ΑΓΙΟϹ ΑΓΙΟϹ as at S. Luke’s and Nicaea.[403] There is a very similar angel holding a flabellum of this kind in the tenth century Menologium; and the words Holy, Holy, Holy, are directed to be put on flabella in the manual. Again the Manual says, “At the summit of these vaults (opening from the dome) draw the holy Veil to the east and opposite to it the holy Cup.” Now in Grelot’s view of the interior, made when many of the mosaics were still visible, he shows a large square mosaic at the crown of the bema vault directly over the altar, which he says was “the picture of Christ’s face upon a napkin called Veronica.”