the following. St John of the Studium (Emir-Achor Jamissi) is a basilica of the middle of the 5th century, and the oldest ecclesiastical fabric in the city; it is now, unfortunately, almost a complete ruin. SS. Sergius and Bacchus (Kutchuk Aya Sofia) and St Sophia are erections of Justinian the Great. The former is an example of a dome placed on an octagonal structure, and in its general plan is similar to the contemporary church of S. Vitale at Ravenna. St Sophia (i.e. Άγία Σοφία, Holy Wisdom) is the glory of Byzantine art, and one of the most beautiful buildings in the world. St Mary Diaconissa (Kalender Jamissi) is a fine specimen of the work of the closing years of the 6th century. St Irené, founded by Constantine, and repaired by Justinian, is in its present form mainly a restoration by Leo the Isaurian, in the middle of the 8th century. St Mary Panachrantos (Fenari Isa Mesjidi) belongs to the reign of Leo the Wise (886-912). The Myrelaion (Bodrum Jami) dates from the 10th century. The Pantepoptes (Eski Imaret Jamissi), the Pantocrator (Zeirek Kilissè Jamissi), and the body of the church of the Chora (Kahriyeh Jamissi) represent the age of the Comneni. The Pammacaristos (Fetiyeh Jamissi), St Andrew in Krisei (Khoja Mustapha Jamissi), the narthexes and side chapel of the Chora were, at least in their present form, erected in the times of the Palaeologi. It is difficult to assign precise dates to SS. Peter and Mark (Khoda Mustapha Jamissi at Aivan Scrai), St Theodosia (Gul Jamissi), St Theodore Tyrone (Kilissé Jamissi). The beautiful façade of the last is later than the other portions of the church, which have been assigned to the 9th or 10th century.

For the thorough study of the church of St Sophia, the reader must consult the works of Fossati, Salzenburg, Lethaby and Swainson, and Antoniadi. The present edifice was built by Justinian the Great, under the direction of Anthemius of Tralles and his nephew Isidorus of Miletus. It was founded in 532 and dedicated on Christmas Day 538. It replaced two earlier churches of that name, the first of which was built by Constantius and burnt down in 404, on the occasion of the exile of Chrysostom, while the second was erected by Theodosius II. in 415, and destroyed by fire in the Nika riot of 532. Naturally the church has undergone repair from time to time. The original dome fell in 558, as the result of an earthquake, and among the improvements introduced in the course of restoration, the dome was raised 25 ft. higher than before. Repairs are recorded under Basil I., Basil II., Andronicus III. and Cantacuzene. Since the Turkish conquest a minaret has been erected at each of the four exterior angles of the building, and the interior has been adapted to the requirements of Moslem worship, mainly by the destruction or concealment of most of the mosaics which adorned the walls. In 1847-1848, during the reign of Abd-ul-Mejid, the building was put into a state of thorough repair by the Italian architect Fossati. Happily the sultan allowed the mosaic figures, then exposed to view, to be covered with matting before being plastered over. They may reappear in the changes which the future will bring.

The exterior appearance of the church is certainly disappointing, but within it is, beyond all question, one of the most beautiful creations of human art. On a large scale, and in magnificent style, it combines the attractive features of a basilica, with all the glory of an edifice crowned by a dome. We have here a stately hall, 235 ft. N. and S., by 250 ft. E. and W., divided by two piers and eight columns on either hand into nave and aisles, with an apse at the eastern end and galleries on the three other sides. Over the central portion of the nave, a square area at the angles of which stand the four piers, and at a height of 179 ft. above the floor, spreads a dome, 107 ft. in diameter, and 46 ft. deep, its base pierced by forty arched windows. From the cornice of the dome stretches eastwards and westwards a semi-dome, which in its turn rests upon three small semi-domes. The nave is thus covered completely by a domical canopy, which, in its ascent, swells larger and larger, mounts higher and higher, as though a miniature heaven rose overhead. For lightness, for grace, for proportion, the effect is unrivalled. The walls of the building are reveted with marbles of various hues and patterns, arranged to form beautiful designs, and traces of the mosaics which joined the marbles in the rich and soft coloration of the whole interior surface of the building appear at many points. There are forty columns on the ground floor and sixty in the galleries, often crowned with beautiful capitals, in which the monograms of the emperor Justinian and the empress Theodora are inscribed. The eight porphyry columns, placed in pairs in the four bays at the corners of the nave, belonged originally to the temple of the sun at Baalbek. They were subsequently carried to Rome by Aurelian, and at length presented to Justinian by a lady named Marcia, to be erected in this church “for the salvation of her soul.” The columns of verde antique on either side of the nave are commonly said to have come from the temple of Diana at Ephesus, but recent authorities regard them as specially cut for use in the church. The inner narthex of the church formed a magnificent vestibule 205 ft. long by 26 ft. wide, reveted with marble slabs and glowing with mosaics.

The citizens of Constantinople found their principal recreation in the chariot-races held in the Hippodrome, now the At Meidan, to the west of the mosque of Sultan Ahmed. So much did the race-course (begun by Severus but completed by Constantine) enter into the life of the people that it has been styled “the axis of the Byzantine world.” It was not only the scene of amusement, but on account of its ample accommodation it was also the arena of much of the political life of the city. The factions, which usually contended there in sport, often gathered there in party strife. There emperors were acclaimed or insulted; there military triumphs were celebrated; there criminals were executed, and there martyrs were burned at the stake. Three monuments remain to mark the line of the Spina, around which the chariots whirled; an Egyptian obelisk of Thothmes III., on a pedestal covered with bas-reliefs representing Theodosius I., the empress Galla, and his sons Arcadius and Honorius, presiding at scenes in the Hippodrome; the triple serpent column, which stood originally at Delphi, to commemorate the victory of Plataea 479 B.C.; a lofty pile of masonry, built in the form of an obelisk, and once covered with plates of gilded bronze. Under the Turkish buildings along the western side of the arena, some arches against which seats for the spectators were built are still visible.

The city was supplied with water mainly from two sources; from the streams immediately to the west, and from the springs and rain impounded in reservoirs in the forest of Belgrade, to the north-west, very much on the system followed by the Turks. The water was conveyed by aqueducts, concealed below the surface, except when crossing a valley. Within the city the water was stored in covered cisterns, or in large open reservoirs. The aqueduct of Justinian, the Crooked aqueduct, in the open country, and the aqueduct of Valens that spans the valley between the 4th and 3rd hills of the city, still carry on their beneficent work, and afford evidence of the attention given to the water-supply of the capital during the Byzantine period. The cistern of Arcadius, to the rear of the mosque of Sultan Selim (having, it has been estimated, a capacity of 6,571,720 cubic ft. of water), the cistern of Aspar, a short distance to the east of the Gate of Adrianople, and the cistern of Mokius, on the 7th hill, are specimens of the open reservoirs within the city walls. The cistern of Bin Bir Derek (cistern of Illus) with its 224 columns, each built up with three shafts, and the cistern Yen Batan Serai