Monumentalna romanička bazilika sv. Krševana u Zadru trobrodne je podjele od čega je začelje južnoga broda bilo namijenjeno kultu akvilejskoga mučenika sv. Krševana. Tome u prilog govori arhitektonska forma začelja: dvoetažnost i promišljena osvijetljenost samog prostora. Tako je pod razinom svetišta koje je sezalo do drugoga para stupova oblikovana omanja kripta s podužim i užim pristupnim hodnikom do prostorije u kojoj se sve do početka 20. st. nalazila konfesija s ranokršćanskim sarkofagom. Sarkofag je bio vidljiv preko otvora probijenog posred pregradnog zida konfesije te je za pretpostaviti da je imao određenu vezu s kultom akvilejskog mučenika, zadarskog sveca zaštitnika. Povrh konfesije, u dijelu svetišta južnog bočnog broda, nalazio se svečev oltar. Apostolski vizitator Valier svjedoči da se tijelo sveca nalazilo u sklopu oltara, a to potvrđuje i Priuli koji navodi drvenu škrinju, mramorni sarkofag u kojem je smješteno tijelo te kamen-relikviju ex-contactu na kojem je svetac pogubljen. U crkvi se tijekom ranog novog vijeka nalazila i škrinja s narativnim prizorima iz svečeva života. Cijeli je ambijent, odnosno kapela podignuta po južnom boku glavne apside posvećena sv. Krševanu bila osvjetljena jednim manjim prozorom u apsidi i dvama jednostavnim monoforama na južnom brodu čime se i arhitektonski naglašava važnost prostora. The monumental Romanesque basilica of St. Chrysogonus (Krševan) in Zadar is divided into three naves, of which the rear of the southern nave was assigned to the cult of the Aquileian martyr St. Krševan. This is supported by the architectural form of the rear: the two-story structure and the well-planned lighting of the space itself. Thus, under the level of the sanctuary, which reached to the second pair of columns, a smaller crypt was formed with a long and narrow access corridor to the room where, until the beginning of the 20th century, there was a confessional with an early Christian sarcophagus. The sarcophagus was visible through the opening cut in the middle of the dividing wall of the confessional, and it can be assumed that it had a certain connection with the cult of the martyr of Aquileia, the patron saint of Zadar. Above the confessional, in the part of the sanctuary of the southern side nave, there was the saint's altar. The apostolic visitor Valier testifies that the saint's body was in the altar, and this is confirmed by Priuli, who mentions the wooden chest, the marble sarcophagus in which the body was placed, and the ex-contactu relic stone on which the saint was executed. During the early modern century, the church housed a chest with narrative scenes from the lives of saints. The entire environment, that is, the chapel built on the south side of the main apse, is dedicated to St. Krševan was lit by one smaller window in the apse and two simple monophores on the south nave, which architecturally emphasizes the importance of the space.