gs, mosaic, and colour
were applied and could be easily adapted to the irregular lines of the
walls.

Byzantine architecture made little use of mouldings. The great extension
of flat and spacious decoration rendered unnecessary, or even
objectionable, any strong line composition. External cornices are in
coursed brick, the alternate courses being laid diagonally so as to form
the characteristic dentil. The richest form is that found in the
Pammakaristos, S. Theodosia, and S. Thekla, where the small dentil
cornice is supported on long tapering corbels, a design suggested by
military machicolations.

[Illustration: PLATE IV.
(1) S. SAVIOUR IN THE CHORA. BRACKET IN THE INNER NARTHEX.
(2) S. THEODORE. SCULPTURED MARBLE SLAB BUILT INTO THE MINARET OF THE
MOSQUE.
(3) S. MARY DIACONISSA. HEADS OF WINDOWS IN SOUTH ARM.
(4) S. MARY DIACONISSA. SCULPTURED SLAB ON THE WEST WALL.
_To face page 28._]

The stone ogee, cavetto, or cavetto and bead cornice is common, but
seems in every case to be Turkish work and is very common in Turkish
buildings. Internal cornices and string-courses are in marble, and are
all of the same type, a splay and fillet. The splayed face is decorated
with upright leaves or with a guilloche band, either carved (in the
Pantepoptes) or painted (in the Chora), the carving as in classic work,
serving only to emphasise the colour. The splay is sometimes slightly
hollowed, sometimes, as in the Chora, worked to an ogee.

_Doors._--Doors often have elaborately moulded architraves and cornice.
In S. John of the Studion (p. 61), the oldest example, the jamb-moulding
has a large half-round on the face, with small ogees and fillets, all on
a somewhat massive scale. The doors of S. Sophia are very similar. The
later mouldings are lighter but the half-round on the face remains a
prominent feature. It is now undercut and reduced in size, and resembles
the Gothic moulding known as the bowtell. This is combined with series
of fillets, small ogees, and cavettos into jamb-moulds of considerable
richness. The cornices are often simply splayed or are formed of a
series of ogees, fillets, and cavettos. The jamb-mouldings are cut
partly on a square and partly on a steep splayed line. In some, the
portion forming the ingo seems to have been regarded as a separated
piece though cut from the solid. If in the doors of the Pantokrator or
the Pantepoptes the line of the inner jamb be continued through the
rebate, it