That these accounts accurately relate the stories of the guardians of S. Sophia is sufficiently proved by La Brocquière, who was told in 1433 that S. Sophia possessed “one of the robes of our Lord, the end of the lance that pierced His side, the sponge that was offered to Him, and the reed that was put in His hand. I can only say that behind the choir I was shown the gridiron on which S. Lawrence was roasted [the iron bed], and a large basin-like stone on which they say Abraham gave the angels food when they were going to destroy Sodom and Gomorrah.” § 2. LIGHTING. The description by the Silentiary[189] of the lamps and candelabra which illuminated the Great Church forms one of the most fascinating parts of the whole poem. Although the multitude of lamps which once lit up the interior have long disappeared, the main features of the lighting may be brought back to our imaginations by comparing the description with illustrative examples. First then in the central space under the great dome, chains fell from the height of the upper cornice, where they were probably attached to strong bronze arms which projected far out like the present metal stakes which project in the exedras on the first-floor cornice. These chains all terminated at some height above the floor in supporting the great sweep of a metal circle to which were suspended flat circular discs of silver, each of which was pierced with holes into which were dropped glass oil vases with rims which prevented them falling through. With these discs were associated crosses of metal which also carried lamps. These, cross and disc together, or alternately, hanging round in a great circle made a “circling chorus of bright lights” within which was a large corona of other lamps and above it a large central disc. Then along the sides of the church were rows of lamps in the forms of silver bowls, and ships; other rows of lights were attached to beams supported above the floor by metal standards, and to projecting metal arms, or suspended rods. Upon the beam of the iconostasis was a row of candelabra, each with a series of horizontal circles diminishing upwards about the stem, like a fir-tree, issuing from a silver bowl. Above the centre of the iconostasis was a great standard light-bearing cross. Round about the ambo similar light trees were placed.