Later the patterns became more heraldic and larger in scale, figuring for the most part great displayed eagles, and griffons, or lions affronted. A piece of a textile of this kind in the museum at Düsseldorf, of which there is a full-size copy at South Kensington, bears golden lions about two feet six inches long, and the names of Constantine VIII. and Basil on a pallid purple ground. Frauberger[153] compares this with another signed example of the same age and similar design preserved at Siegburg, and a third at Autun, “all of which were intended for church hangings.” The same writer says that after Justinian’s introduction of silk weaving in 552 and the loss of Bosra with its purple-dye vats to Chosroes, an imperial textile industry was established by the Golden Horn, which existed until the fourteenth century. Here these hangings were probably produced. _Carpets._--Portions of the floor of S. Sophia were almost certainly strewn with carpets. Porphyrogenitus relates of the New Church of Basil that “woollen carpets (_nakopetai_) called prayer carpets, of wonderful size and beauty, and resembling the bright plumage of peacocks, were laid one over another, completely covering the mosaic pavement of valuable stones.” The carpets and prayer-rugs of the mosques thus had their direct parallels, if not their prototypes, in the Byzantine churches. _Synods._--The patriarchal registers, dating from the fourteenth century, speak of synods sitting “in the right-hand catechumena”; this probably refers to the south gallery, where the vault has displayed in mosaic the descent of the Holy Ghost on the Apostles. Across this gallery there is at present a screen, which possibly, as Paspates suggests, shut off the part used by the Synods. (See dotted line on Fig. 6.) The screen is made up of two marble slabs, each sculptured into the form of panelled double doors, with architraves and carved panels. Above the opening left between these is a coloured marble slab. At the top is a carved wood beam, which, being exactly like the permanent vault ties, is evidently of Justinian’s age; but the whole is certainly not an original assemblage of the parts. Each slab, which imitates a pair of wood doors, has a representation of a bronze ring handle and a lock-plate on one half, and a hasp on the other, all exactly copied in sculptured marble. We believe that these imitation doors are earlier than the church; the idea was common in late classic times. De Vogüé and Dr. Merrill[154] found several tomb doors, similarly panelled, studded with imitation nails, and having elaborate knockers, all carved in stone. An example in marble now in the museum at Leeds closely resembles the S. Sophia slabs. _Clergy and Ritual._--In the time of Justinian the total number of clergy was 525, but at the time of Heraclius this had been increased to 600.[155] They were thus divided:--