it must have been. In our economic days there may be less splendour, but there can hardly be less life; and if Manchester prints now largely take the place of Broussa silk and Scutari velvet, they have just as much colour for the modern impressionist. They also contribute to the essential colour of Constantinople, which is neither Asiatic nor European, but a mingling of both. A last fragment of old Stamboul is walled in the heart of this maze, a square enclosure of deeper twilight which is called the _Bezesten_. Tradition has it that the shopkeepers of the _Bezesten_ originally served God as well as mammon, and were required to give a certain amount of time to their mosques. Be that as it may, they still dress in robe and turban, and they keep shorter hours than their brethren of the outer bazaar. They sit at the receipt of custom, not in shops but on continuous platforms, grave old men to whom it is apparently one whether you come or go, each before his own shelf and cupboard inlaid with mother-of-pearl; and they deal only in old things. I do not call them antiques, though such things may still be picked up—for their price—in the _Bezesten_ and out of it, and though the word is often on the lips of the old men. I will say for them, however, that on their lips it merely means something exceptional of its kind. They could recommend you an egg or a spring lamb no more highly than by calling it _antika_. At any rate, the _Bezesten_ is almost a little too good to be true. It might have been arranged by some Gérôme who studied the exact effect of dusty shafts of light striking down from high windows on the most picturesque confusion of old things—stuffs, arms, rugs, brasses, porcelain, jewelry, silver, odds and ends of bric-à-brac. In that romantic twilight an antique made in Germany becomes precious, and the most abominable modern rug takes on the tone of time.