while in the 6th century, six apses were added on each of its long sides. Conversion into a church When the hexagonal hall was converted into a church, several modifications were made. The bēma was placed to the right of the original entrance, in the southeastwards-looking apse, and another entrance was opened up in the opposite apse. The original gate remained in use, but was narrowed at some later point. Two further gates were opened in the two northern circular rooms, to which two mausolea were eventually attached. The excavations uncovered the remains of the synthronon (seats for the clergy, a cathedra), the altar foundation, the chancel barrier, and a solea (an elevated podium). No evidence of an ambo survives, but its presence is possible, in line with other early Byzantine churches of the city. Most of these sculptural remains display typical 6th-century features, such as marble sculptures inlaid with glass, but the epistyle dates from the restoration of the church in 797. Frescoes A series of frescoes, dating to the late 13th century, survive on the southwestern wall of the church, and can be seen behind a protective glass. Fourteen of them form a cycle narrating the life and martyrdom of Saint Euphemia, while another fresco depicts the martyrdom of the Forty Martyrs of Sebaste, a theme unique among the churches of the capital. See also History of Roman and Byzantine domes References Sources External links 3D reconstruction of the palace at the Byzantium 1200 project Palace of Antiochos Church of Hagia Euphemia Buildings and structures completed in the 5th century Antiochos Constantinople