This magnificent palace occupies the apex of the triangle on which the city is built, including nearly the whole of ancient Byzantium. It was appropriated, under the Greek empire, as a college for the numerous priests of Santa Sophia, which is close beside it; but when Mahomet converted that edifice into a mosque, the convent was fixed on as the site of his own palace, and exceeds in beauty any other spot he could have chosen, even in his recent conquest. He added new buildings, and extended its area: his successors made further additions, and it now includes a space four miles in circumference; washed on one side by the sea of Marmora, and on the other by the Propontis, while the rapid current of the Bosphorus sweeps round its walls with a pure and limpid stream. It is filled with a gorgeous display of palaces, baths, mosques, kiosks, gardens, and cypress groves, laid out by the Greeks, and preserved by their Turkish successors. Here is also an armoury, containing the various weapons used by the crusaders in their attack on Constantinople; and the library of the Greek emperors, which was supposed formerly to contain all the classical literature of the ancient world, and many of the lost works of the classic writers,−-but it has been explored by Franks, and whatever remains of classical literature were once there, have now disappeared. The principal entrance of the Seraglio is on the summit of the hill. There is the large and lofty gate called Babu Hummayoun, which literally signifies, “the high door,” and from thence the diplomatic phrase adopted by the Franks, who call the Turkish government “the Sublime Porte,” because all political business is supposed to be here transacted. It was erected by Mahomet II. On each side are deep niches in the thickness of the wall, and here the heads of inferior delinquents are exposed. Within is a large area of an irregular shape, containing the Taraphanay, or mint, built on the site of the Greek church dedicated to St. Irené. In the centre is a low marble pillar, destined for the exposure of the heads of pashas, and offenders of rank in the Turkish empire. Here they are displayed upon a large dish for the inspection of the curious; while a Bostangee stands by with a rod, with which he points to each head, and enumerates the offences of the sufferers. On the wall beside is usually a paper called a _yafta_, containing the titles of the criminal and other particulars, all strongly reminding us of the permanency of Oriental usages. In the first court, though it is thronged with the officers of the palace, a strict silence prevails, and the breach of it is attended with corporal chastisement. Passing through this, you enter the second gate. Here sits the chief executioner with his assistants, and on the walls are suspended various implements of punishment. Foreign ambassadors, proceeding to an audience, were formerly delayed in this spot for a considerable time, as if to exhibit the superiority