Byzantine columns are quite varied, mostly developing from the classical Corinthian, but tending to have an even surface level, with the ornamentation undercut with drills.
 The block of stone was left rough as it came from the quarry, and the sculptor evolved new designs to his own fancy, so that one rarely meets with many repetitions of the same design.
One of the most remarkable designs features leaves carved as if blown by the wind; the finest example being at the 8th-century Hagia Sophia (Thessaloniki).
Those in the Cathedral of Saint Mark, Venice (1071) specially attracted John Ruskin's fancy.
Others appear in Sant'Apollinare in Classe, Ravenna (549).

The column in San Vitale, Ravenna (547) shows above it the dosseret required to carry the arch, the springing of which was much wider than the abacus of the column.
On eastern columns the eagle, the lion and the lamb are occasionally carved, but treated conventionally.

There are two types of columns used at Hagia Sophia: Composite and Ionic.
The Composite column that emerged during the Late Byzantine Empire, mainly in Rome, combines the Corinthian with the Ionic.
Composite columns line the principal space of the nave.
Ionic columns are used behind them in the side spaces, in a mirror position relative to the Corinthian or Composite orders (as was their fate well into the 19th century, when buildings were designed for the first time with a monumental Ionic order).
At Hagia Sophia, though, these are not the standard imperial statements.
The columns are filled with foliage in all sorts of variations.
In some, the small, lush leaves appear to be caught up in the spinning of the scrolls – clearly, a different, nonclassical sensibility has taken over the design.

The columns at Basilica of San Vitale show wavy and delicate floral patterns similar to decorations found on belt buckles and dagger blades.
Their inverted pyramidal form has the look of a basket.
Byzantine columns are quite varied, mostly developing from the classical Corinthian, but tending to have an even surface level, with the ornamentation undercut with drills.  The block of stone was left rough as it came from the quarry, and the sculptor evolved new designs to his own fancy, so that one rarely meets with many repetitions of the same design. One of the most remarkable designs features leaves carved as if blown by the wind; the finest example being at the 8th-century Hagia Sophia (Thessaloniki). Those in the Cathedral of Saint Mark, Venice (1071) specially attracted John Ruskin's fancy. Others appear in Sant'Apollinare in Classe, Ravenna (549).
The column in San Vitale, Ravenna (547) shows above it the dosseret required to carry the arch, the springing of which was much wider than the abacus of the column. On eastern columns the eagle, the lion and the lamb are occasionally carved, but treated conventionally.
There are two types of columns used at Hagia Sophia: Composite and Ionic. The Composite column that emerged during the Late Byzantine Empire, mainly in Rome, combines the Corinthian with the Ionic. Composite columns line the principal space of the nave. Ionic columns are used behind them in the side spaces, in a mirror position relative to the Corinthian or Composite orders (as was their fate well into the 19th century, when buildings were designed for the first time with a monumental Ionic order). At Hagia Sophia, though, these are not the standard imperial statements. The columns are filled with foliage in all sorts of variations. In some, the small, lush leaves appear to be caught up in the spinning of the scrolls – clearly, a different, nonclassical sensibility has taken over the design.
The columns at Basilica of San Vitale show wavy and delicate floral patterns similar to decorations found on belt buckles and dagger blades. Their inverted pyramidal form has the look of a basket.
Byzantine architecture