The base on which it stands is in strong contrast with the pillar: originally of rude sculpture, and corroded by time, its figures and letters are scarcely to be deciphered. It contains four compartments on the four faces, in high relief. On the first are represented the emperor, his wife, and sons, sitting in state on thrones. In the second, he is receiving the homage of captive nations. In the third, he is alone, surveying the games of the Hippodrome. In the fourth he is holding a wreath between his sons. Portions of a Greek and Latin inscription appear on the base, alluding to the prostrate condition of the pillar, the artist employed, and the time occupied in its re-erection; but the greater part is now effaced, and covered by the soil. We give them in their original perfect form:−- ΚΙΟΝΑ . ΤΕΤΡΑΠΛΕΥΡΟΝ . ΑΕΙ . ΧΘΟΝΙ . ΚΕΙΜΕΝΟΝ . ΑΚΘΟϹ . ΜΟΥΝΟϹ . ΑΝΑϹΤΗϹΑΙ . ΤΗΕΥΔΟϹΙΟϹ . ΒΑϹΙΛΕΥϹ . ΤΟΛΜΗϹΑϹ . ΠΡΟΚΛΟϹ . ΕΠΕΚΕΚΛΕΤΟ . ΚΑΙ . ΤΟϹΟϹ . ΕϹΤΗ . ΚΙΩΝ . ΗΕΛΙΟΙϹ . ΕΝ . ΤΡΙΑΚΟΝΤΑ . ΔΥΟ . DIFFICILIS . QUONDAM . DOMINIS . PARERE . SUPERBIS . JUSSUS . ET . EXTINCTIS . PALMAM . PORTARE . TYRANNIS . OMNIA . THEODOSIO . CEDUNT . SOBOLIQ; PERENNI . TERDENIS . SIC . VICTUS . EGO. DOMITUSQ; DIEBUS . JUDICE . SUB . PROCLO . SUPERAS . ELATUS . AD . AURAS . [Illustration: T. Allom. J. Sands. THE SULTAN’S NEW PALACE ON THE BOSPHORUS.] Among the symptoms of growing European habits and usages, which are daily seen creeping over the metropolis of the Osmanli and its vicinity, one of the most remarkable perhaps is the change which is daily introduced into their public edifices, and the substitution of a chaste and classic, for a fantastic Oriental style of architecture. When the rude ignorant Turks first rushed among the monuments of European art, what they did not utterly destroy, they perverted. Ionic shafts were pierced for cannons, Corinthian capitals were rounded into balls; and wherever they were applied to their original purpose, they were invariably inverted; and to this day are seen everywhere Turkish houses built with remains of Grecian temples, sculptured architraves laid for door-steps, and pillars standing on their smaller ends with the base uppermost, as the preferable position. “I have grieved,” said Gillius, “not so much at the broken and prostrate monuments of ancient art, as at the barbarous, perverted uses to which they were applied.”