496 Route 10. MONASTERY OF SINAI. From Suez
and are covered by a sloping roof. A coloured Marble Pavement in
the nave now replaces one of admirable mosaic which was de¬
stroyed by Arabian treasure-seekers. Adjoining the third column
on the left side of the nave is a marble Pulpit adorned with pleas¬
ing miniatures, which was presented to the church in 1787. Near
the fourth column on the right is the Episcopal Throne, dating from
the last century, and interesting on account of a representation of
the monastery at that period, painted by an Armenian artist, and
held by figures of Moses and St. Catharine. The inscription re¬
peats the date 527 which is erroneously stated by the monks as
that of the foundation of the monastery by Justinian (p. 492).
Between each pair of columns are rudely-carved choir-stalls. From
the ceiling are suspended three candelabra, and ahundred lamps of
every shape and size, some of which are adorned with ostriches' eggs,
and so low, that they may be reached with the hand. The raised
Tribuna projects into the nave far beyond the choir. A wooden
Screen ('septum'), coloured blue, yellow, and red, and overladen
with carving, with a broad gate flanked with gilded columns and
rich ornamentation, separates the choir from the nave and aisles.
The large crucifix, reaching to the ceiling, bears the figure of the
Saviour, painted in bright colours. The candelabra, placed in
front of the screen and covered with red velvet, stand on very an¬
cient bronze lions of curious workmanship, perhaps executed be¬
fore the Christian era. — The beautiful rounded *Apse is adorned
with Mosaics of great value, executed by European artists as
early as the 7th or 8th cent. The most important of these, which,
like the others, is well preserved, is the * Transfiguration of
Christ, in memory of which the church was originally consecrat¬
ed. In the centre of the mosaic the youthful and somewhat com¬
monplace figure of the Saviour soars towards heaven. Elijah,
the prophet of Mt. Sinai, is pointing to the Messiah; St. John
kneels at the feet of his master; Moses points to the latter as
the fulflller of his law, and St. Peter lies on the ground, while
St. James is kneeling. Each figure is accompanied by the name
of the person it represents. A kind of frame is formed to this
picture by a series of busts of prophets, apostles, and saints in
mosaic, admirably executed: —
1. John the deacon; 2. Luke; 3. Simon; 4. James; 5. Mark; 6. Bar¬
tholomew; 7. Andrew; 8. Paul; 9. Philip; 10. Thomas; 11. Matthew;
12. Thaddeus; 13. Matthias; 14. '0 ayioc ^yoo'u.svdc, the 'Holy Superior'
of the monasterv; 15. Daniel; 16. Jeremiah; 17. Malachi; 18. Haggai; 19.
Habakkuk; 20."Joel; 21. Amos; 22. David; 23. Hosea; 24. Micah; 25.
Obadiah; 26. Nahum; 2?. Zephaniah; 28. Zachariah; 29. Isaiah; 30.
Above the apse, on the right, Moses kneels before the burning
bush ; on the left, he stands before Mt. Sinai, with the tables of the
law in his hand. Between these scenes and the arch of the apse
hover two angels adjoining two medallion figures (perhaps Moses
and St. Catharine), which the monks point out as portraits of