gius and Bacchus, Constantinople; and, of the eighteen caps
in the nave, six are exactly similar to those of the lower arcade of S.
Vitale, several are like others at Grado, two are like a damaged one at
Pomposa, and others are much like some at Otranto and Rome. At Venice,
too, capitals of the same types occur in considerable number. The
super-abaci are of Greek marble, with a circular plaque bearing the
monogram of Euphrasius. On the north the soffits of the arches retain
the original stucco ornaments, all different; on the south they have
disappeared.

The mosaics in the apse closely resemble those of the Arian baptistery
at Ravenna in style. The figure of S. Maurus might almost have been
worked from the cartoon of one of the Apostles there. In the centre of
the semi-dome is a figure of the Virgin with the Infant Saviour, clothed
in white and gold. Above, a hand holding a crown emerges from clouds. On
each side are an angel and three large figures; on the left are
Archbishop Claudius, Euphrasius the bishop, with a small figure of his
son, and S. Maurus, holding a jewelled urn; Euphrasius holds his church.
The three figures on the other side are unnamed; one bears a book, and
the other two crowns. The ground is gold, and below, at the springing of
the dome, is the long dedicatory inscription in gold letters on a blue
ground. On the wall below are mosaics between the windows. An angel
occupies the central pier, and on the piers on either side is a saint,
probably SS. Maurus and John the Baptist. On the wide wall spaces beyond
the windows are the Annunciation on the north, and the Salutation on the
south. The soffit of the triumphal arch has medallions of female saints
within wreaths, and at the summit an Agnus Dei. The lower part of the
wall is separated from the mosaics by an ornamental plaster moulding,
and is decorated with a remarkably fine series of panels in _opus
sectile_, eight designs in couples answering to each other on either
side, with a single design above the bishop's seat in the centre, on
which the monogram of Euphrasius again occurs. The colours and materials
used are green and red porphyry, two blues, a green vitreous paste, a
dull-red marble, and a bluish-green marble which has perished a good
deal and is now preserved under glass plates cut to fit the shapes,
occasional spots of a beautiful orange colour, like a marble used in
inlays at S. Vitale, a very dark blue, almost black, a pale
yellow-green