“For as much of the great church by the eastern arch as was set apart for the bloodless sacrifices, no ivory, no stone, nor bronze distinguishes, but it is all fenced with the silver metal. Not only upon the walls, which separate the holy priests from the crowd of singers,[78] has he placed mere plates of silver, but he has covered all the columns themselves with the silver metal, even six sets of twain; and the rays of light glitter far and wide. Upon them the tool has formed dazzling circles, beautifully wrought in skilled symmetry by the craftsman’s hand, in the centre of which is carved the symbol of the Immaculate God, who took upon Himself the form of man. In parts stand up an army of winged angels in pairs, with bent necks and downcast mien (for they could not gaze upon the glory of the Godhead, though hidden in the form of man to clear man’s flesh from sin). And elsewhere the tool has fashioned the heralds of the way of God, even those by whose words were noised abroad, before He took flesh upon Him, the divine tidings of the Anointed One. Nor had the craftsman forgotten the forms of those others, whose childhood was with the fishing-basket and the net; but who left the mean labours of life and unholy cares to bear witness at the bidding of a heavenly king, fishing even for men, and forsaking the skill of casting nets to weave the beauteous seine of eternal life. In other parts art has limned (_kategraphe_) the Mother of Christ, the vessel of eternal Light, whose womb brought Him forth in holy travail. “But on the middle panels of the sacred screen, which forms the barrier for the priests, the carver’s art has cut one letter that means many words, for it combines the name of our king and queen. And he has also wrought a form like a shield with a boss, showing the cross in the middle parts. And through the triple doors the screen opens to the priests. For on each side the skilful hand of the workman has made small doors.