South of this building, beyond the large mosque of the quarter, which is without architectural interest, are situated the two Greek churches of Aivasil and Aiana, the first almost on the fringe of the bazars. Aivasil (No. 14) has been rebuilt, or rather the site of the old church has been covered by a modern and tasteless erection. But a long stone, part of a frieze, containing an inscription of Justinian, which belonged to the earlier edifice, is still preserved as an historical relic in the body of the church. Aiana (No. 13), its close neighbour, is, on the other hand, quite intact, and remains a most interesting example of the beginnings of Christian architecture. A small and unpretentious building of stone, not too evenly put together, with the arches over the little windows constructed of brick, it would almost escape notice were it not for a large bas-relief in marble which is inserted into the wall over the door on the south. Although the stone is cracked and the sculpture has suffered mutilation, one can recognise that there is represented a colossal seated figure, with a smaller figure, holding a shield, at her feet. The interior is built of brick, and consists of a nave and two aisles, the principal apse being flanked by two side apses. [3] But there is no dome; and the scanty light which falls on the withered frescos comes from nine little windows in the walls. Each aisle has two arches, the more easterly pair resting on piers, and the more westerly on marble pillars with Ionic capitals. One remarks the narrowness of the apse, in which is placed a primitive altar, resembling those in the oldest Armenian churches. It consists of a horizontal slab resting on a circular stone, and on the side of the slab is a Greek inscription. Several of the frescos remain with which the walls were once covered, the building being still used as a church. Besides Biblical subjects, one observes several portraits upon the wall on the west. The greater portion of the space is filled with the pictures of saints and monks; but on the north side there is represented a colossal figure, of which the head has unfortunately been effaced. The figure is attired in a purple robe, with bands of gold embroidered in black, the same costume as that in which the Emperor Alexius III. is depicted in the Bull at Sumelas. He holds a circular ornament or emblem in his left hand. An inscription, partially effaced, is seen on the wall below the figure. [4] Such is this relic of the early city, with its spoils of still earlier temples, bridging the periods of the old worship and the new.