[337] Lib. xiii., tit. iv.
[338] Edit. by Waddington, p. 18.
[339] Giacomo Boni, Il Duomo di Parenzo, in Archivio Storico dell’Arte, 1894, p. 5.
[340] Migne, S.G., vol. xxxvii., p. 1090.
[341] There is no doubt about these arches being truly pointed. They were drawn so by Dr. Covel about 1675, they appear so in the careful engraving in Miss Pardoe’s Bosphorus, and these are fully confirmed by Strzygowski and Forchheimer, Die Wasserbehälter von Konstantinopel, pp. 12 and 71. The use of the pointed arch in the east is probably an unbroken tradition from early days in Egypt.
[342] Die Wasserbehälter, p. 130, &c.
[343] 1799, p. 236.
[344] Journal of Roy. Inst. Brit. Archts., Jan. 1893.
[345] See also p. 247, 1892, for the conditions of stability of dome of S. Sophia.
[346] Ἑλλην. Φιλολ. Συλλ. παραρ. vol. xx., 1892.
[347] P. 485.
[348] Die Byzantinischen Wasserbehälter, p. 22.
[349] In another place Covel gives the following. Lukium—unslaked lime, burnt brick (both in a fine powder), cotton wool very fine pulled and strewed on, linseed oil. Cistern plaister—Lime, burnt brick, cotton or flax, water [use] almost dry, smooth it and saturate with oil.
[350] Blasii Caryophili opusculum de antiquis marmoribus, 1743.
[351] Trattato delle pietre antiche, 1833.
[352] Ancient Art.
[353] Chronologie von Egypten, p. 365.
[354] Revue des deux Mondes, 1841.
[355] In MS. notes lent by Mr. Brindley.
[356] Histor. Geography of Asia Minor, p. 433.
[357] See Boni, who corrects Corsi, in La Basilica di San Marco.
[358] Ἑλλην. Φιλ. Συλλ. παραρ. 1885, p. 10.
[359] Mittheilungen, etc., Arch. Inst. Athens, 1889, xiv. 286.
[360] Mr. Brindley has shown us a photograph of a half worked Byzantine column with a flat necking, still attached in a horizontal position to the rock on its underside while the upper part is rounded.
[361] Η. Κωνσταντινουπολις, p. 500.
[362] Survey of Western Palestine, vol. iii., p. 357.
[363] Walsh, A Residence at Constantinople, “Errata” to p. 80.
[364] Ἑλλην. Φιλ. Συλλ. παραρ., vol xvi., 1885, p. 34.
[365] See Bayet, L’Art Byzantin.
[366] A.M. 5508 of Byzantine chronology coincides with A.D. 1 up to September 1st. Indictions were cycles of fifteen years commencing in 312 A.D. Both the years of the world and the Indictions began on September 1st.
[367] Ἑλλην. Φιλολ. Συλλ. παραρ., vol. xvi., p. 30.
[368] Essai sur la Chronologie Byzantine.
[369] Finlay, vol. i., p. 165.
[370] Mordtmann, p. 36.
[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.
[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.
[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.
[418] Curtis, Broken Bits of Byzantium, pt. ii.
[419] Ἑλλ. Φιλ. Συλλ. παραρ., vol. xvi. p. 29.