There were twelve columns in the basilica, with the pilasters supporting the rhythm of the main colonnades attached to the western and eastern walls (built of fine ashlar), and eleven columns in the atrium, including the central one (probably, for the cantharus). The intersections of the colonnades comprised by piers with the attached to them pilasters (also built of ashlars). All of the columns were comprised from lathe-made drums with the holes for the dowels. Their diameters are fluctuating from 0.38 to 0.55 m, their height -- from 0.115 to 2.25 m, but the average size is ca. 0.40 m. The two easternmost bays of the columns were incorporated into the chancel screen structure.
Except for the bema area, only the plinths of the columns in the basilical hall were in situ, with no bases. The bases of three columns which are part of the bema have been preserved, as well as the base below the central column and several columns in the atrium. The columns of the atrium have been leaning at the stylobates. The bases are actually ornamented drums, decorated by several horizontal moldings: usually two slightly projecting, with the section of a plain drum between them, so that the Pseudo-Attic effect is achieved. The wide moldings are added with the thin simple lines. All these elements are carved at the lathe.The upper diameter of the bases is 0.50-0.53 m. The base in the center of the atrium is 0.50 m in diameter and 0.35 m high.
None of the capitals remained inside the church, but those arranged in the forum must be originated from the church. They are all Pseudo-Doric, though every other item is of different size. Woolley and Lawrence mentioned a fragment of a marble capital lying on the surface.
Some pilaster caps were found in the basilica by the early researchers. Baly even noted that there were "some marble pilaster capitals... which recall Ravenna work" (not refound, can't be verified). Pilaster caps and bases (when they are present) of the doorways into the atrium and into the naos have the plain pyramidal form. Most of the caps are decorated, though some are left with the smooth surface. The decoration includes the traditional dog-tooth pattern in the lower part, which can be added with bead-and-reels motif (executed in a quasi, or blocked-out manner), so-called "Union-Jack" pattern (lattice of relief intersecting crosses) and plain bands. According to Woolley and Lawrence the pilaster cap was decorated with the human face in the center and two leaves on the corners (not available any more). In the Room H the arches spring out of the wall. They are set on splayed caps with dog-tooth pattern in the lower part.
Twp marble Corinthian caps were rediscovered in the archive of Colt. They were recently published by Fischer and Tepper: "Description of the capitals Material: Marble; Sources: unknown; Dimensions (according to pictures; See Figure 4).: hight: 20 cm; base width: 25 cm; upper width: 30 cm. All four capitals have a similar design emerging from that of the Corinthian style with its main elements, namely calathus, acanthus leaves, volutes, and abacus (see Fischer Figure 4. The North Church and the adjusted two insulae (I–II), Shivta (according to the British Mandate archive, Rockefeller Museum and Hirschfeld 2003). One of the main criteria of typological and chronological classification of the Corinthian capitals is the design of the acanthus leaves still following Vitruvius’ principles (De architectura 4, 1; see Fischer 1998, 64; for late antique development: Peschlow 2004, 90–98). The capitals presented here have a square-shaped calathus, with both sides of the front face covered by one row of only two acanthus leaves (contrary to the common type of three acanthus leaves), with some of the tips touching each other and forming a rather elegant and less dense sequence of geometrical patterns. From below, these start with a wavy line and then a rectangular window bordered by swollen leaf buds; the third tip of the leaves touch each other as well as the fourth tip together with which they form a rhomboid window. The acanthus leaves are schematically laid over the surface of the calathus. The leaves have rounded tips and very few botanical details, which are in contrast with the sharp pointed acanthus leaves of capitals from the 2nd and 3rd centuries CE (Fischer 1990, 48–51, Type V). The joining tips form strongly emphasized ringed voids following prototypes from 2nd century CE Athens (Walker 1979, 103–29), adopted and massively developed in 5th century CE decoration of Constantinople (Zollt 1994, Nr. 410, Figure 14). This type of acanthus leaves has been identified and dated by Kautzsch (1936, 53–64) to the 5th century CE, reinforced by Grabar’s study of Constantinopolitan art (e.g., 1963, 41, Pl. XIII, 3), which has been supported during the last decades by well dated buildings in Constantinople itself (Peschlow 2004, 93–94) and in other main centres, such as Alexandria (Pralong 2000). The upper part of the Shivta capitals is crossed by atrophied volutes with shallow ridges and a curvilinear treatment growing from a shallow stem between the leaves and below a projection of four parallel tori which replaces the fleuron on the abacus. In this arrangement the helices have completely disappeared emphasizing even more the free space of the central calathus. The renunciation of the helices is a trend from the late 3rd or 4th century CE onwards starting with the replacement of the regular helices by leaf-like helices and then their complete removal (Fischer 1990, 53–55, Type VII). The way to the Late Antique open spaced calathus surface was opened giving space to medallions and various symbols and decorations, as requested by the new era. The profile of the abacus is emphasized by a central horizontal shallow carving resembling the cavetto of the traditional capitals yet in a rather shallow form" (Fischer, Tepper 2021: 5-6).
lintels, jambs, thresholds
Some door jambs were found in situ, but most of the lintels and doorways were reconstructed in 1958-60. Due to the scarce documentation, this reconstruction can't be verified. There are five main door lintels and more one found in the debris in the church, that are decorated in more or less similar manner, though all the compositions are various and asymmetrical. 1. The lintel of the southern entrance to the atrium by the common opinion was reconstructed in its central section by the Colt expedition. The central part is decorated with the engraved crux quandrata in the medallion, probably, with the orientation to the original image, which was deteriorated and replaced. The lateral arms are decorated with the six-petaled rosettes. At the left side it is inscribed into the medallion decorated with the twisted rope pattern. At the right side it is inscribed into the eight-pointed star formed by two intersecting squares. 2. The lintel of the northern entrance into the atrium is decorated with three rough-hewn medallions with an ivy branches between them (partially in a blocked out condition). The lateral medallions are decorated with the traditional six-petaled rosettes and the central one is decorated with the crux quandrata gemmata, or Maltese cross with the bosses in the arms. 3. The lintel of the southern entrance into the basilica is decorated with the plain linear crux quandrata in the central part. It is inscribed into the linear medallion and star formed by two intersecting squares. The lateral arms of the lintel are adorned with the engraved "whirling wheel-spokes" with the dots in the centers. At the left side the whell is bigger, by the right side -- it's smaller and inscribed into the six-pointed star with the concave sides. 4. The lintel of the central entrance into the basilica nave is almost completely deteriorated. Only the central motif of a cross is discernible. The vertical arm is presented by the Greel letter Rho. 5. The lintel of the northern entrance into the basilica is decorated with the crux quandrata inscribed into the beaded border medallion. The cross itself is also adorned in the same beaded manner. Between the arms there are Greek letters A and Ω in the lower part and chess-board pattern and rosette in the upper part. The medallion is flanked by two palm branches, or soft acanthus leaves. 6. One more lintel was found in the debris in the church (area of of the southern chapel). It is decorated in a blocked-out manner with three "wheel-spokes".
In the isolated room behind the southern apse the window slots were noticed, though the purpose of these windows are nor clear, considering the function of the room. Room H had four windows in the western wall. The baptismal chapel was lit by three windows in the southern wall.
According to the presumed reconstruction of the chancel screen stylobate (T-shaped) in the main basilica there were twelve posts square in section. Probably, there were even more for the full perimeter of the bema. Some of them were attached to the easternmost columns from both sides. The chancel screen stylobate between columns 9 and 11 was preserved entirely, it carried two chancel screens held by three posts. But no remains of the posts are available. The chancel screen of the southern chapel is also not preserved, except of the bema with four sockets for the posts. The chancel screen posts of the baptistery chapel are preserved better than others, probably, because they were carved from limestone, not from marble. Two lateral posts are monumental in their size and abutting to the walls. The front sides are decorated with vertical grooves. The two others posts adorned the entrance into the apse. They are smaller in their size and the quality of limestone is better (the colour is lighter). Their front sides were adorned in the same manner with vertical grooves, as can be epitomized by the remins of the lower parts.
According to the presumed reconstruction of the chancel screen stylobate in the main basilica there were at least nine panels hold by posts. In the northern aisle the bema was bordered by two marble panels, remains of which were recovered during the excavations. In one of the slots, 0.07-0.09 m wide, fragments of the marble panels were found, 0.02-0.03 m wide. Polished at the front side and uneven at the rear. Probably, all the cancelli were carved from marble, as only scanty remains are found. In the baptistery chapel the posts have preserved lateral slots for the fixing of panels (not preserved).
The central apse is decorated with the delicately carved crux immissa. The wall upon the small arched canalis of the wine-press is decorated with the delicate composition: at the symbolically presented Golgotha fleur-de-lis is growing, topped by the Maltese cross. There are two unidentified slabs found in the church debris. One of them is decorated with the grooves at the lateral side that form a dog-tooth pattern at the front side. The surface of the front side is decorated with the medallion which is scarcely discernible. The second slab is probably a voussoir (?) decorated with the relief palm branch.
The limestone pavement of the atrium floor is sloping towards the central cistern.
The walls of the basilica were covered with plaster, which is the mortar base prepared for the marble slabs. In many parts, including the altar space, the lateral walls, the attached pilasters lead core are preserved with tiny pieces of marble for holding the slabs, which were 2-3 cm thick. Some of them are still in situ. One slab reaches the length of 0.80 m. The steps of the bema were covered with marble tiles also and probably some part of the floors.