There were but three poor priests. The principal one led us to the upper part of the church, which had lately been repaired and walled off from the open nave; and enclosed the apsis and transepts, which had been restored in some measure, and fitted for the performance of divine service. The half domes of the apsis and two transepts, which were of well-built masonry, were still entire, and the original frescos remain upon them. Those in the transepts are stiff figures of saints; and in the one over the altar is the great figure of the Redeemer, such as is usually met with in the mosaics of the Italian basilicas. These apsides are above fifty feet from the ground, which gives them a dignity of appearance, and leaves greater cause to regret the destruction of the nave, which, with its clerestory, must have been still higher. There appear to have been fifteen columns on each side of the centre aisle, and two at the end opposite the altar, which in this instance I believe is at the west end. The roof over the part of the east end, which has been fitted up as a church, is supported by four square modern piers of plastered brick or rubble work. On the side walls, above the altar, there are some circular compartments containing paintings of the saints; and near these are two tablets with inscriptions in black on a white ground. That on the left appeared to be in Abyssinian: the one on the other side was either Coptic or uncial Greek; but it was too dark, and the tablet was too high, to enable me to make it out There is also a long Greek inscription in red letters on one of the modern square piers, which looks as if it was of considerable antiquity; and the whole interior of the building bears traces of having been repaired and altered, more than once, in ancient times. The richly ornamented recesses of the three apsides have been smeared over with plaster, on which some tremendously grim saints have been portrayed, whose present threadbare appearance shows that they have disfigured the walls for several centuries. Some comparatively modern capitals, of bad design, have been placed upon two or three of the granite columns of the nave; and others, which were broken, have been patched with brick, plastered and painted to look like granite. The principal entrance was formerly at the west end; where there is a small vestibule, immediately within the door of which, on the left hand, is a small chapel, perhaps the baptistery, about twenty-five feet long, and still in tolerable preservation. It is a splendid specimen of the richest Roman architecture of the latter empire, and is truly an imperial little room. The arched ceiling is of stone; and there are three beautifully ornamented niches on each side. The upper end is semicircular, and has been entirely covered with a profusion of sculpture in panels, cornices, and every kind of architectural enrichment When it was entire, and covered with gilding, painting, or mosaic, it must have been most gorgeous. The altar on such a chapel as this was probably of gold, set full of gems; or if it was the baptistery, as I suppose, it most likely contained a bath, of the most precious jasper, or of some of the more rare kinds of marble, for the immersion of the converted heathen, whose entrance into the church was not permitted until they had been purified with the waters of baptism in a building without the door of the house of God; an appropriate custom, which was not broken in upon for ages; and even then the infant was only brought just inside the door, where the font was placed on the left hand of the entrance; a judicious practice, which is completely set at nought in England, where the squalling imp often distracts the attention of the congregation; and is finally sprinkled, instead of being immersed, the whole ceremony having been so much altered and pared down from its original symbolic form, that were a Christian of the early ages to return upon the earth, he would be unable to recognise its meaning.