The cycle begins in the domical vault of the first bay and concludes in the
south bay of the inner narthex. The story is taken up directly from the previ-
ous narrative. As in the inner narthex, the narratives are sometimes contorted
to fit the domical vaults. Normally two different episodes appear in each vault.
Several areas of mosaic are missing, but almost all scenes can be identified.

39. Christ Among the Doctors. The mosaics in the domical vault of the first
bay are largely destroyed. On the north side are the steps of the syn-
thronon, the seat for the priests in the Temple. The lower portion of Christ’s
gold robe is preserved to one side.

40. John the Baptist Bearing Witness of Christ. Although the well-preserved
composition of the second domical vault is circular, it consists of two dif-
ferent scenes. On the north side, John the Baptist gestures toward Christ
and testifies to his divinity, saying “This was He of whom I spake, He that
cometh after me is preferred before me: for He was before me.” In a
detail, a heron attacks a snake-perhaps symbolizing the overcoming of
sin through baptism.

41.

42. The Temptation of Christ. The southern half of the second vault shows
four episodes of Christ being confronted by the Devil.

In the first, over a box of stones, the Devil challenges Christ to prove his divinity by changing the stones into bread.

In the second, Christ is offered the kingdoms of the world if he will worship the Devil; the kingdoms are represented in a small fortified enclosure.

In the third, the Devil takes Christ to the mountaintop to show him the kingdoms.

In the fourth, Christ stands on the pinnacle of the Temple, where the Devil asks him to prove his divinity by casting himself down unharmed.

43. The Miracle at Cana. Although the central portion of the mosaic in the
third vault is missing, significant portions are preserved. On the north
side are episodes from the wedding at Cana, although the main scene of
banqueting has been lost. Table legs are visible in the northwest corner,
above a detail of a white bullock being slayed for the feast. In the north-
east corner is the miracle of the transformation of water into wine.
Workers fill large pithoi’with water. The mosaic jugs are made of terra-
cotta tesserae-pieces of ceramic vessels. Christ, accompanied by the
Virgin, Peter, and John, gestures toward the pithoi as the host offers him
a tumbler, apparently unaware of the miracle that has just occurred.

44. The Multiplication of the Loaves. On the south half of the same vault are
episodes of the miraculous feeding of the five thousand. In the eastern
corner, Christ blesses the five loaves and, breaking them, gives them to
two disciples to distribute to the multitude. After the meal, the remaining
fragments fill twelve baskets, which appear in the southwest corner. Set
on the main axis of the building, The Miracle at Cana and The Multiplication
of the Loaves are given special prominence. The wine and bread refer to
the sacrament of the Eucharist.

45. Christ Healing a Leper. The mosaics of the next two vaults are almost
entirely lost. In the fourth bay, however, one can discern the lower portions of Christ confronting a spotty-legged leper.

46.

47. Christ Healing the Paralytic at the Pool of Bethesda. The large domical
vault at the southwest corner of the’ building originally contained eight scenes of Christ’s healing miracles, of which significant portions of three
remain. In two related episodes in the northeast corner, the paralytic sits
stiffly in bed; miraculously cured, he carries the bed frame on his back.

48. In the southwest corner of the same vault is Christ Healing the Paralytic
at Capemaum. Christ addresses the paralytic, who is richly outfitted in bed
and accompanied by four bearers.

49. In the northwestern pendentive of the same vault is Christ and the
Samaritan Woman at the Well. Other scenes in this vault are preserved
only in fragments.

50. Similarly, only small fragments remain of the mosaics in the large dom-
ical vault in the seventh bay, at the entrance to .the parekklesion. At the
south side the scene may be identified as Christ Calling Zacchaeus, from
the fragmentary tree with figure and inscription. As Christ passed through
Jericho, the publican Zacchaeus climbed a tree in order to see him.

51. In the southwest pendentive is Christ Healing a Blind and Dumb Man.
Christ, standing with St. Peter, gestures toward the afflicted man, who
points toward his eyes.

52. In the parallel scene in the northwest pendentive, is Christ Healing Two
Blind Men. Accompanied by two apostles, Christ gestures toward two seat·
ed sightless men.

53. In the opposite pendentives, the healing miracles involve women. The
northeast pendentive contains the scene of Christ Healing Peter’s Mother-
in-Law. She is seated in bed, while Peter stands to her side, and Christ
grasps her by the wrist.

54. Christ Healing the Woman with the Issue of Blood appears in the southeast
pendentive. In the unusual composition, the afflicted woman lies pros-
trate on the ground, touching the hem of Christ’s garment, as he turns to
address her.

55. On the eastern side of the southernmost arch is Christ Healing the Man
with the Withered Hand. The man holds his deformed arm toward Christ,
who gestures toward him.

56. On the western side of the same arch is Christ Healing a Leper. The latter
wears a loincloth and is recognizable by his spots. The figure of Christ is
missing except for his feet.

57. Another scene of healing appeared on the southern lunette. Christ was
represented to one side of the small window and is partially preserved, as is
part of the inscription. The opposite side, showing the unknown afflicted,
has been lost.

58. The large, well-preserved lunette on the west wall of the bay shows
Christ Healing a Multitude in a particularly fine composition. Christ,
accompanied by apostles, addresses a group that includes three seated
men: a blind cripple with a hand crutch, a blind man, and another with a
distended tumor. Behind.them, a woman presents her child with deformed
legs; another woman and child appear behind her. In the group of stand-
ing figures to the right are a crippled man, a blind woman, and a woman
leaning on a stick.