In following this description we see that it begins on the raised floor of the ambo which was rounded on two sides, the others being open to the steps at the east and west. The breast wall on each side was largely covered with applied silver wrought into patterns; and the rest, together with the parapet slabs to the steps, were inlaid in ivory, probably carved like the contemporary bishop’s throne at Ravenna. The body of the ambo inlaid thus with ivory and silver was upheld on eight columns, the underside of the floor stone being hollowed into a flat dome like the fluted soffite of the still older ambo at S. Apollinare at Ravenna. On either side, around the ambo, was a semicircle of large columns of rosy-veined Synnada marble on white bases with bronze annulets and gilt capitals; between the columns breast-high slabs of Hierapolis marble inclosed a space. The circle of columns stood on a raised step, and above they were bound together by a carved beam, the pattern being gilt with the interspaces painted in ultramarine. On this to east and west stood silver crosses; their upper limbs “bent like shepherds’ crooks” doubtless formed the ΧΡ monogram. Silver candelabra, cones of diminishing circles, stood round about on the top of the beam. From the eastern steps a passage way ran back to the step of the iconostasis, inclosed on both sides by marble slabs grooved into posts, bearing a top rail. This closure of Verde antique slabs was inlaid in white and red patterns and gold mosaic. In this description two separate parts appear, the ambo proper reached by the narrow inclosed way and ascended by steps; and the space entered by two doors screened off about it by the circle of large columns and closure slabs, “where the priests continue their sacred song.” So in Constantine Porphyrogenitus’ _Book of the Ceremonies_[85] we read of the “psaltae” placed in the ambo singing, “Christ is risen.”