Christian, Orthodox & Islam angels

3 hierarchies and 9 orders of angels, each with different characteristics at the National Gallery London, Orthodox icon of 9 orders of angels

。制訂了從天使到熾天使的天使三級九等即「天階等級 Angelic Choirs.」

在中世紀早期一位自稱為丟尼修的中東學者發表了《天階序論》 。

I. 上三級 First Sphere──神聖的階級(Old Testamentsources) : 熾天使 Seraphim, 智天使 Cherubim, 座天使 Ophanim（Thrones, Gr.thronoi in New Testament sources ）

1. Seraphim (singular "Seraph"), mentioned in Isaiah 6:1-7, serve as the caretakers of God's throne and continuously shout praises: "Holy, holy, holy is the Lord of hosts. All the earth is filled with His

Glory." The name Seraphim means "the burning ones." . In the Christian angelic hierarchy, seraphim represent the highest rank of angels. The Seraphim have six wings; two covering their faces, two

covering their bodies ("feet"), and two with which they fly. Two of which are named Seraphiel (one of eight judge angels and a prince of the Merkabah )and Metatron (an angel in Judaism), according to

some books. Seraphiel is said to have the head of an eagle. It is said that such a bright light emanates from them that nothing, not even other angelic beings, can look upon them. It is also said that

there are four of them surrounding God's throne, where they burn eternally from love and zeal for God.
 2. Cherubim have four faces: one of each a man, an ox, a lion, and an eagle. The ox-face is considered the "true face", as later on in Ezekiel the ox's face is called a cherub's face (Chapter 10). They

have four conjoined wings covered with eyes, and they have ox's feet . Cherubim are considered the elect beings for the purpose of protection. Cherubim guard the way to the tree of life in the

Garden of Eden (Genesis 3:24)[7]and the throne of God (Ezekiel 28:14-16). Modern English usage has blurred the distinction between Cherubim and Putti. Putto (pl. Putti) refers to the winged

human baby/toddler-like beings traditionally used in figurative art. The Cherubim are mentioned in Genesis 3:24; Exodus 25:17-22; 2 Chronicles 3:7-14; Ezekiel 10:12–14, 28:14-16; 1 Kings

6:23–28; and Revelation 4:6-8.

3. The Thrones (Gr.thronos) or Elders, also known as the Erelim or Ophanim, are a class of celestial beings mentioned by Paul of Tarsus in Colossians 1:16 (New Testament). They are living symbols

of God's justice and authority, and have as one of their symbols the throne. These high celestial beings appear to be mentioned again in Revelation 11:16. The Ophanim (Heb. ofanim: Wheels, also

known as Thrones, from the vision of Daniel 7:9) are unusual looking even compared to the other celestial beings; They appear as a beryl-coloured wheel-within-a-wheel, their rims covered with

hundreds of eyes They are closely connected with the Cherubim: "When they moved, the others moved; when they stopped, the others stopped; and when they rose from the earth, the wheels

rose along with them; for the spirit of the living creatures [Cherubim] was in the wheels.

II. 中三級 Second Sphere (New Testament sources)──子的階級 : 主天使 Dominions（Gr. Kyriotetes）
（亦有譯為權天使, 力天使 Virtues ( Gr. Dynamal ), 能天使 Powers（Gr. Exusiai）

III. 下三級 Third Sphere──聖靈的階級 : 權天使 Principalities（Gr. Archai）, 大天使（天使長 Archangeloi ）, 天使 Angels ( Angeloi )

此外，還有另外一些民間傳說的分級，如紅衣天使、光天使、聲天使、實習天使等。
 Gabriel

Archangels Michael ( only one of chief prince, messenger)and Gabriel ( also consider as Archangel )wearing the loros of the Imperial guards.

Islam :
Islam is clear on the nature of angels in that they are messengers of God. They have no free will, and can do only what God orders them to do. Angels mentioned in the Quran and Hadith include Gabriel (the

angel of revelation), Michael (Brings food), Israfel (The horn Blower; signals of the end), Izraail/Azrael ( the angel of death.),Raqib (Writes good doings),Aatid (Writes bad doings), Maalik (Guardian of Hell),

Ridwan(Guardian of Heaven),Munkar and Nakir (Interrogater afterlife).

 Azrael (Archangel of Death) , also the angel of death in Islamic folklore. It is an English form of the Arabic name Azra'il (‫ )عزرائ يل‬or Azra'eil (‫)عزراي ل‬.The Qur'an Malak al-Maut (which translates directly

as angel of death).
 Azrael, the Angel of Death.

 Israfel or Israfil (Arabic:‫إسرافيل‬‎) ("The Burning One"), is the angel of the trumpet in Islam, though unnamed in the Qur'an. Along withMikhail, Djibril and Izra'il, he is one of the four Islamic archangels.

Israfel from The Wonders of Creation and the Oddities of Existence, by al-Qazwînî (1270)
 Maalik (‫ )مال ك‬In Islamic belief, denotes an angel who guards the Hellfire, assisted by 19 zabaniya or guardians.

 Ridwan(Arabic:‫رضوان‬‎) according to Islamic Tradition, is the angel in charge of maintaining Jannah or Paradise.

 Munkar and Nakir, (Arabic:‫نكير و م ن كر‬‎) in Islamic eschatology, are angels who test the faith of the dead in their graves. According to Islam, after death, a person's soul passes through a stage called

barzakh, where it exists in the grave (even if the person's body was destroyed, the soul will still rest in the earth near their place of death). The questioning will begin when the funeral is over and the last

person of the funeral congregation has stepped 70 steps away from the grave. Nakir and Munkar prop the deceased soul upright in the grave and ask three questions: "Who is your Lord? Who is your

Prophet? What is your religion?". A righteous believer will respond correctly, saying that their Lord is Allah, that Muhammad is their prophet and that their religion is Islam. If the deceased answers correctly,

the time spent awaiting the resurrection is pleasant. Those who do not answer as described above are chastised until the day of judgment. Muslims believe that a person will correctly answer the questions

not by remembering the answers before death (compare with the Egyptian Book of the Dead) but by their iman and deeds such as salah and shahadah(the Islamic profession of faith). Munkar is sometimes

transliterated as Monkir.

The following is a Quranic verse that mentions the meeting of an angel with Mary, mother of Jesus: Surah Aal ‘Imran Chapter 3 verse 45 Behold ! The angels said: O Mary! God giveth thee glad tidings of a

Word from Him: his name is the Christ Eisa the son of Mariam, held in honour in this world and the Hereafter and of (the company of) those Nearest to God.

Masnavi (. "Rhyming Couplets of Profound Spiritual Meaning.") as "the roots of the roots of the roots of the (Islamic) Religion." with poetic form

I died as inanimate matter and arose a plant, I died as a plant and rose again an animal. I died as an animal and arose a man. Why then should I fear to become less by dying? I shall die once again as a

man . To rise an angel perfect from head to foot . Again when I suffer dissolution as an angel, I shall become what passes the conception of man ! Let me then become non-existent, for non-existence, Sings

to me in organ tones, {'To him shall we return.'}

 Icon of Gabriel, Byzantium, ca. 1387– Gabriel making the Annunciation to theVirgin Mary. By El Greco, 1575 (Madrid).

 The Arabic name for Gabriel is ‫ج بري ل‬, ‫ج برائ يل‬, Muslims believe Gabriel to have been the angel who revealed the Qur'an to the prophet Muhammad. Angels can take on different forms. Prophet

Muhammad, the last Prophet of Islam, speaking of the magnitude of Angel Gabriel has said that his wings spanned from the Eastern to the Western horizon. At the same time, it is well known in Islamic

tradition that angels used to take on human form. So did (God) convey the inspiration to his servant (Gabriel) and then he (Gabriel) Conveyed (that to Muhammad). From ‘Abdullaah ibn Mas‘ood, who said:

the Messenger of God saw Gabriel in his true form. He had six hundred wings, each of which covered the horizon. There fell from his wings jewels, pearls and rubies, only God knows about them." As in

Christianity, Gabriel is said to be the angel that informed Mary (Arabic Maryam‫ )مري م‬of how she would conceive Jesus (Isa):

Muslims believe Gabriel to have accompanied Muhammad in his ascension to the heavens, where Muhammad also is said to have met previous messengers of God, and was informed about the Islamic

prayer (Bukhari1:8:345). Muslims also believe that Gabriel descends to Earth on the night of Laylat al-Qadr ("The Night of Power"), a night in the last ten days of the holy month of Ramadan in theIslamic

calendar which is believed to be the night in which the Quran was first revealed.
 6 angel mosaics within the Hagia Sophia Museum ( also called the Church of Holy Wisdom) in Istanbul :
- On 23 February 532, only a few days after the destruction of the second basilica, Emperor Justinian I took the decision to build a third and entirely different basilica, larger and more majestic than its

predecessors. Justinian chose the physicist Isidore of Miletus and the mathematician Anthemius of Tralles as architects; Anthemius, however, died within the first year. The construction is described by

the Byzantine historian Procopius' On Buildings (Peri ktismatōn, Latin: De aedificiis). The emperor had material brought from all over the empire, such as Hellenistic columns from the Temple of Artemis

at Ephesus. Large stones were brought from far-away quarries: porphyry from Egypt, green marble from Thessaly, black stone from the Bosporus region, and yellow stone from Syria. More than ten

thousand people were employed during this construction. This new church was immediately recognized as a major work of architecture, demonstrating the creative insights of the architects. They may

have used the theories of Heron of Alexandria to be able to construct a huge dome over such a large open space. The emperor, together with the patriarch Eutychius, inaugurated the new basilica on 27

December 537 with much pomp. The mosaics inside the church were, however, only completed under the reign of Emperor Justin II (565–578).

- Sultan Mehmed II ordered the immediate cleanup of the church and its conversion to a mosque. The next sultan Bayezid II built a new minaret, replacing the one built

by his father. The most famous restoration of the Hagia Sophia was ordered by Sultan Abdülmecid and completed by eight hundred workers between 1847 and 1849,

under the supervision of the Swiss-Italian architect brothers Gaspare and Giuseppe Fossati. The brothers consolidated the dome and vaults, straightened the columns,

and revised the decoration of the exterior and the interior of the building. The mosaics in the upper gallery were cleaned. The old chandeliers were replaced by new

pendant ones. New gigantic circular-framed disks or medallions were hung on columns. They were inscribed with the names of Allah, theProphet Muhammad, the first

four caliphs Abu Bakr, Umar, Uthman and Ali, and the two grandchildren of Mohammed: Hassan and Hussain,‎by‎the‎calligrapher‎Kazasker‎İzzed‎Effendi‎(1801–1877).

In 1850 the architect Fossati built a new sultan's gallery in a Neo-Byzantine style connected to the royal pavilion behind the mosque. Outside the Hagia Sophia, a

timekeeper's building and a new madrasah were built. The minarets were altered so that they were of equal height. When the restoration was finished, the mosque was re-opened with ceremonial pomp

on 13 July 1849.

- 聖索非亞大教堂是一個圓頂教堂，在面向西北，東南軸。從西北進入通過內外前廳，教會由一個長方形殿兩側的過道和畫廊的兩側和近日點的保護區，東南預測。每個

前廳設有 9 個交叉拱頂位;最初的 narthexes 之前，大型的中庭圍以柱廊，其中部分仍屹立於 19 世紀 70 年代。內在的前廳是身高比，約兩倍寬，外前廳，具有二級鏈接

到殿畫廊。它是由一排點燃的 clerestory 窗口西北。通道兩端的連接到內部前廳給予進入畫廊。西南地區的通道還擔任了皇帝的正門，它的入口處是一對裝飾著青銅門的

精心 9 世紀字母組合。其內部有一個 10 世紀的大門鑲嵌在其盧內特描繪帝王君士坦丁和查士丁尼提供模型和聖索非亞大教堂，以君士坦丁堡坐床處女和基督。雖然主

要是缺乏外前廳的裝飾，牆壁內前廳排滿了多彩的大理石板和深接壤連續楣及其金庫的馬賽克裝飾著幾何圖案和十字架上的黃金背景。

九門帶領內前廳到中殿。高個子在中心入口處被稱為帝國門，是由馬賽克描繪加冕皇帝叩頭公元前 Pantocrator，畫像兩側的聖母和天使長加百列。該殿是兩倍，只要

它是不寬的畫廊和它的側翼措施 73.5 米長 69.5 米，包括畫廊。它有 4 個壁龕在角落，這是雕刻成的過道和畫廊。一個宏偉的圓頂，提出了從地面 56 米，矗立在殿。它

的 40 窗口，位於肋骨之間支持在該基地，給人的印象浮動。在其頂峰，原本裝飾著馬賽克基督 Pantocrator，是書法獎章引用輕新詩（24:35），題寫穆斯塔法 Izzet 埃芬迪

 在福薩蒂恢復。權重的圓頂是進行 pendentives 和四個巨大的橋墩，這是由商場相連的通道分離和畫廊。走道明顯高過畫廊，那裡的 intercolumnal 寬度一直保持較小的維持

比例。向西北和東南，單拱撐大的半圓頂收到橫向負載和分發到三個小的半圓頂，皇冠殿利基及 - 東南 - 聖殿後殿。

淨跨的長度提供了組合中央圓頂和半圓頂是前所未有的，當時的聖索非亞大教堂的建設。向東北和西南，相比之下，重型雙拱和扶壁碼頭豎立了反推力的圓頂。貧富

懸殊的類型和強度的結構提供支持，以支持這兩個系統在時間所造成的橢圓變形的圓頂基地，其直徑有 32.2 米的縱向軸 32.7 米沿橫軸。其他因素，如原來的建築和匆匆

的不平衡，通過修復跳馬世紀成倍的變形的影響，也可見於碼頭和大拱門。飛拱被添加到西北外觀早在 9 位或 10 世紀，由建設為輔的冰原到南部和東南部的洛尼克斯二

13 世紀初，修正了奧斯曼。這些增加等等，都改變了外觀的教堂和質量輕內的殿和畫廊。

該殿是鋪大理石板，其中地毯的祈禱後透露，1934 年被拆除。它的斑岩和貝爾德安蒂科列，其中收集了異教廟宇的安納托利亞西部，是很好的精心雕刻的首都而承受

的會標查士丁尼一，飛簷裝飾分隔走道，畫廊和 clerestory 水平支撐結構，並提供側向支撐。有沒有人物形象的馬賽克裝飾剩餘的原始的教會，這一直持續到 2 條賈斯提

尼亞斯（565-578）完成後的結構。在馬賽克後成立的破壞性時代（726-842），有些人失去了對地震，水災，以及最近，遊客。最古老的鑲嵌在教堂被發現在該後殿半圓

頂和描繪聖母和兒童。兩個天使被描繪為半拱形穹頂，一個在右邊，大多完好，是天使加布里埃爾。以上，以左，右，馬賽克當地聖徒列隊以下 clerestory 窗戶裝飾和壁

畫描繪天使的 pendentives。阿大量的馬賽克仍然涵蓋了圓頂，其屋頂是新近裝修，以防止水損害其保護期間。一些最有名的馬賽克，包括 Deisis 面板和皇室肖像，被發現

在西南畫廊，這是用於宗教會議和儀式。

增加了許多奧斯曼風格的殿堂，其中許多是在福薩蒂( Fossati ) 改造期間重塑。奧斯曼帝國早期的工程是將兩個 16 世紀的瓦板，以正確的 mihrab，它描繪的神聖卡亞

巴(Holy Kaaba )和其他先知的陵墓。1607 年具特色的藍色瓷磚的古蘭經銘文被包覆於聖殿拱點以下水平的窗口。大理石的演講台上也被認為是這一時期。有 4 個大理石平

台毗連的碼頭，這些和叫拜的平台（喚禮員 mahfili）由穆拉德三世( Murad III )在 16 世紀後期建成。穆拉德第四世（1612 至 1640 年）於毗鄰東部的位置增加了大理石長老

的講壇（kürsü），。於 1847~1849 年間 Abdülmecid 二世時期， 福薩蒂兄弟重修 mihrab 並配合蘇丹的提議以穆斯林風格裝修蘇丹的講經堂（吼聲 köskü）到北部的教堂，以

供從外景仰的通道。 委託的著名書法家 Kazasker Izzet Efendim 於 8 個巨大的土耳其磁盤上銘刻上神，先知，四個哈里發和兩個兒子阿里的名字，替代了掛在牆頭舊板。 這

些作品一直保留在重建後的殿堂，而其他書法小組被送往 Sultanahmet 清真寺和土耳其和伊斯蘭藝術博物館。福薩蒂裝修工程亦包括鐵藝吊燈及聖堂玻璃窗戶。

在聖索非亞大教堂於四角所建造的四座伊斯蘭尖塔( minarets)，是在不同的時期增建。 在南角的磚尖塔原因是穆罕默德二世所獻，而位於北側的第二座石頭尖塔是於

Mimar Sinan 重修時期所建。剩下的兩個尖塔是於穆拉德三世時期所建造。

- A colloquium convened at Princeton University in 1989 has led the way towards a computer-based structural modeling of the church directed by Prof. A. Çakmak. This work has provided the basis for a

new restoration project underway since 1995 that focuses on structural monitoring to gauge long-term stability of the structure along with historical restoration. The Hagia Sophia was included in the

annual list of 100 most endangered monuments published by the World Monuments Fund in 1996 and in 1998, to secure funds for continued work. Considered a significant influence on the conception

of classical Ottoman architecture, the Hagia Sophia is open to visitors as a public museum. In 2007 the US Chris Spirou started the "Free Hagia Sophia Council" of restoring to its original function.

It’s was built by the Byzantine emperor Justinian between A.D. 532 and 537, was originally a basilica before it was converted into a mosque when Ottoman Turks conquered the city in 1453. During
the conversion process, the Ottomans covered the mosaics with plaster instead of removing them. The uncovered mosaic is located in the pendentive, an arched triangular section supporting the

building’s huge dome. The mosaic, which measures 1.5 meters by 1 meter, was last seen by Swiss architect Gaspare Fossati, who headed restoration efforts at the museum between 1847 and 1849,

and Ottoman Sultan Abdülmecid. The six-winged figure is though to depict the seraphim, an angel described in the biblical book of Isaiah.
Stone remains of the basilica ordered by Theodosius II, showing the Lamb of God

蘇丹穆罕默德二世於公元 1453 年 6 月攻下君士坦丁堡，下令移走了教堂內的祭壇、基督教聖像及遺物，用漆塗掉了馬賽克鑲嵌畫，代之以星月、可蘭經讀經台、

往麥加朝拜的朝拜龕、增建回教尖塔。聖索非亞大教堂在保持外觀及建築結構的情況下，變成了一座清真寺，並沒有遭到徹底的毀滅，蘇丹們也在此祭拜達五百年之

久。聖索菲亞大教堂從教堂 (Basilica, Hagia Sophia) 變成清真寺 (Camii ,Ayasofya Mosque) .再變成現在基督教和回教圖騰和平共存的現狀，聖索菲亞大教堂稱的上是獨

 一無二的傳奇。錫南是回教世界最偉大的建築師，在他整理聖索菲亞大教堂之前，教堂之前曾經經歷了十三世紀初第四次東征十字軍的破壞，不過錫南讓它再次重新

展現風采。他以拜占庭式的廣場布局及圓頂十字架的結構，讓大教堂在舊有架構中，增添新的鄂圖曼風格。聖索菲亞大教堂大廳內部環繞著四十個窗洞，光線射入時

的幻影，使大廳顯得金碧輝煌。貝爾加馬巨壺，是裝聖水用的。相傳查士丁尼大帝頭痛，至聖索菲亞大教堂教堂淨心，只要倚一長柱後，頭痛竟可不藥而癒，此柱現

在已成許願柱，許願柱也是一根有凹洞的冒汗柱，凹洞是被摸出來的。傳說如果大姆指能在洞內轉 360 度，許願會成真，柱子會冒汗，其實是因為與地下水池有相通

的緣故。

1. The emperor with a nimbus or halo could possibly represent emperor Leo VI the Wise or his son Constantine VII Porphyrogenitus bowing down before Christ Pantocrator, seated on a jeweled throne,

giving His blessing and holding in His left hand an open book. The text on the book reads as follows: "Peace be with you. I am the light of the world". (John 20:19; 20:26; 8:12) On each side of Christ's

shoulders is a circular medallion : on His left the Archangel Gabriel , holding a staff, on His right His Mother Mary. These mosaics express the timeless power bestowed by Christ on the Byzantine

emperors.

2. The Virgin sits on a throne without a back, her feet resting on a pedestal, embellished with precious stones. The Child Christ sits on her lap, giving His blessing and holding a scroll in His left hand. On

her left side stands emperor Constantine in ceremonial attire, presenting a model of the city to Mary. The inscription next to him says: "Great emperor Constantine of the Saints". On her right side stands

emperor Justinian I, offering a model of the Hagia Sophia. The medallions on both sides of the Virgin's head carry the monograms MP and ΘY, an abbreviation of "Mētēr" and "Theou", meaning "Mother

of God".

Imperial gate mosaics Virgin and Child flanked by Justinian I and Constantine I
3. Virgin and Child: this was the first of the post-iconoclastic mosaics. It was inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I. This mosaic is situated in a high

location on the half dome of the apse. Mary is sitting on a throne without a back, holding the Child Jesus on her lap. Her feet rest on a pedestal. Both the pedestal and the throne are adorned with

precious stones. These mosaics are believed to be a reconstruction of the mosaics of the sixth century that were previously destroyed during the iconoclastic era. The mosaics are set against the

original golden background of the 6th century. The portraits of the archangels Gabriel and Michael (largely destroyed) in the bema of the arch also date from the 9th century.

4. The Empress Zoe mosaics on the eastern wall of the southern gallery date from the 11th century. Christ Pantocrator, clad in the dark blue robe (as always the custom in Byzantine art), is seated in the

middle against a golden background, giving His blessing with the right hand and holding the Bible in His left hand. On either side of His head are the monograms IC and XC, meaning Iēsous Khristos.

He is flanked by Constantine IX Monomachus and Empress Zoe, both in ceremonial costumes. He is offering a purse, as symbol of the donation he made to the church, while she is holding a scroll,

symbol of the donations she made. The inscription over the head of the emperor says: "Constantine, pious emperor in Christ the God, king of the Romans, Monomachus". The inscription over the head

of the empress reads as follows: "Zoë, the very pious Augusta". The previous heads have been scraped off and replaced by the three present ones. Perhaps the earlier mosaic showed her first husband

Romanus III Argyrus or her adopted son Michael IV. Another theory is that these mosaics were made for an earlier emperor and empress, with their heads changed into the present ones.
Apse mosaic of the Theotokos(Virgin Mother and Child)
Empress Zoe mosaics
5. The Comnenus mosaics, equally located on the eastern wall of the southern gallery, date from 1122. The Virgin Mary is standing in the middle, depicted, as usual in Byzantine art, in a dark blue gown.

She holds the Child Christ on her lap. He gives His blessing with His right hand while holding a scroll in His left hand. On her right side stands emperor John II Comnenus, represented in a garb

embellished with precious stones. He holds a purse, symbol of an imperial donation to the church. Empress Irene stands on the left side of the Virgin, wearing ceremonial garments and offering a

document. Their eldest son Alexius Comnenus is represented on an adjacent pilaster. His mournful features reflect his death from tuberculosis in the same year. In this panel one can already see a

difference with the Empress Zoe mosaics that is one century older. There is a more realistic expression in the portraits instead of an idealized representation. The empress is shown with plaited blond

hair, rosy cheeks and grey eyes, revealing her Hungarian descent. The emperor is depicted in a dignified manner.

6. The Deësis('Δέησις' in Greek, meaning Entreaty) mosaic probably dates from 1261. It was commissioned to mark the end of 57 years of Roman Catholic use and the return to the Orthodox faith. It is

the third panel situated in the imperial enclosure of the upper galleries. It is widely considered the finest in Hagia Sophia, because of the softness of the features, the humane expressions and the tones

of the mosaic. The style is close to that of the Italian painters of the late 13th or early 14th century, such as Duccio. In this panel the Virgin Mary and John the Baptist (Ioannes Prodromos), both shown

in three-quarters profile, are imploring the intercession of Christ Pantocrator for humanity on Judgment Day. The bottom part of this mosaic is badly deteriorated, probably due to rain since the mosaic is

next to the windows. This mosaic is considered as the beginning of the Renaissance in Byzantine pictorial art.

Comnenus mosaic The Deësis mosaic with Christ as ruler

7. The northern tympanon mosaics feature various saints. They have been able to survive due to the very high and unreachable location. They depict SaintsJohn Chrysostom and Ignatius the Younger

standing, clothed in white robes with crosses, and holding richly jewelled Holy Bibles. The names of each saint is given around the statues in Greek, in order to enable an identification for the visitor. The

other mosaics in the other tympani have not survived probably due to the frequent earthquakes as opposed to any deliberate destruction by the Ottoman conquerors.

Mosaic in the northern tympanon depicting Saint John Chrysostom