he arches east and west is a medallion of Our Lord,
and three by three under the arch on either side the eleven Apostles
and S. Paul, who takes the place of Judas instead of Matthias. In the
key of the arches north and south is a medallion of the symbol of
Christ, and three by three under the arch on either side six saints,
the men to the right SS. Damian, Fabian, Sebastian, Chrysanthus,
Chrysologus, and Cassianus; the women to the left SS. Cecilia,
Eugenia, Eufemia, Felicitas, Perpetua, and Daria. Here the SS. Fabian,
Sebastian, and Damian, Dr. Ricci tells us, are altogether
restorations. For the rest, these mosaics have suffered much, both
from restoration, properly so called, and from painting.

The pavement is old and beautiful, as I think are the walls, but the
frescoes, once by Luca Longhi, are most unworthy and out of place. The
recess which now contains the altar might seem not to have made a part
of the original chapel or oratory; it appears it was only in the
eighteenth century that the two were thrown into one. At that time the
mosaics of the Blessed Virgin and of S. Apollinaris and S. Vitalis
were brought here from the old cathedral.

Just outside this wonderful little chapel in the _Arcivescovado_ there
is an apartment devoted to Roman and other remains found from time to
time in Ravenna: a torso of a statue, a work of Roman antiquity,
should be noted, as should certain fragments of a frieze, also an
antique Roman work. Here, too, is preserved the splendid cope of S.
Giovanni Angeloptes who was archbishop from 477 to 494[1] when he
died.

[Footnote 1: Cf. A. Testi Rasponi, _op. cit. supra_.]

In another apartment of the _Arcivescovado_ is preserved a relic of
another great archbishop of Ravenna: the ivory throne of S.
Maximianus. This is a magnificent work of the early part of the sixth
century, and is one of the most splendid works known to us of its
kind. It was made for the cathedral of Ravenna, but in or about the
year 1001 it was carried off by the Venetians and given by doge Pietro
Orseolo II. to the emperor Otto III., who left it to the church of
Ravenna on his death. It is entirely formed of ivory leaves, most of
them carved sumptuously in relief. In front we see the monogram of
_Maximianus Episcopus_ and under it are carvings of S. John Baptist
between the Four Evangelists; all these between elaborately carved
decorative panels. About the throne to right and left is the story of
Joseph in ten