[371] Shown in Salzenberg’s plate. [372] Η. Κωνσταντινουπολις, vol. i. p. 500 [373] Curtis, _Broken Bits of Byz._, part ii. [374] _Le Bosphore et Constantinople_, 1873. [375] See below, p. 287. [376] See Salz., plate xxiii. Fig. 2 is one of the tympana, the centre one has figures: fig. 3 transverse arches; fig. 5 soffite of a window. [377] Salzenberg’s plate xxiv. gives details of the lower aisles. [378] Fig. 2 is the barrel vault near the window; fig. 3 arches and vault adjoining; fig. 6 the intrados of the arches opening to the nave; fig. 7 a pattern of the west gynaeceum. [379] Plate xxvi., fig. 6. [380] See fig. 3 for this cornice, the band beneath, and the edges of the great arches. [381] Fig. 7 gives the borders of the windows in semidomes. [382] Salz., plate xxvii. [383] Salz. xxxii., fig. 4. [384] Salz., plate xxviii. [385] Salz., plate xxix. [386] Reading ΚΥΡΙΕ. [387] Salz., plate xxx. [388] The figure of Jeremiah at S. Clemente, Rome, bears the same inscription. [389] Salz., plate xxv., fig. 3. [390] Salz., plate xxii. [391] Salz., plate xxxi. [392] Salz., plate xxxi. [393] Salz., plate xxxi., fig. 7. [394] _Ibid._ fig 8. [395] _Arts Industriels._ [396] _Hist. of Painting_, vol. i., p. 234. [397] _Recherches._ [398] Bury, vol. ii. 432. [399] R. Walsh, _Essays on Ancient Coins, &c._, 1828, gives the Greek. [400] _American Journ. Archæol._, iv. 143. [401] Theoph. Cont. ed. Bonn, p. 99. [402] A composition of this kind at Parenzo appears to go up to the sixth or seventh century. [403] See Diehl in _Byz. Zeits._, 1893. [404] _Il Tesoro._ [405] Pératé, _Archéol. Chrétienne_, with figure, p. 265. [406] Relievi storico artistici sulla architettura Bizantina. [407] See note above the index. [408] _Il Duomo di Parenzo_, p. 26. [409] Middleton, _Anc. Rome_, i. 31. [410] See Labarte, _Arts Indust._, vol. iii., p. 331. [411] Boni, _Il Duomo di Parenzo_, pp. 4, 5. [412] _Stones of Venice_, I., xxiii., 13. [413] Ἑλλην. Φιλ. Συλλ. παραρ., vol. xvi., 1885, p. 13. [414] In our illustration the same capital is distinguished by a letter, the two sides by 1 and 2, the monograms reading in the direction of the reference to their position. Those of “N. Aisle” for instance read from left side of page. [415] Two varieties of monograms on capitals at S. Mark’s have been the subject of much study which Cattaneo sums up in Boïto’s text of the great monograph on S. Mark’s, but they have never been deciphered. One (see Photos, vol. ii., p. 127) is a perfect example of Justinian; three which show in capitals of the upper stage south side are perfect examples of Basileos--if corresponding monograms probably on the hidden sides of these capitals are examined, they too may be found to contain the Justinian monogram. For monograms at S. Sergius see _Byz. Zeit._ for 1894. [416] In _L’Art de Bâtir_ and _Revue Archéologique_, 1876. [417] _Die Wasserbehälter von Konstantinopel_, p. 245.