There is another large detached _sebil_ in Galata, near the bridge of Azap Kapou. It was built soon after the fountain of Ahmed III by the mother of Sultan Mahmoud I. Crowded between the surrounding houses, it enjoys no such advantages of perspective as its more famous rivals of St. Sophia and Top Haneh. The greater part of the edifice, indeed, is no more than a blank stone reservoir. But the side facing the main street is treated with a masterly sense of its position. Projecting out from the centre is the circular _sebil_ window, filled with a rich bronze grille, while set a little back on either side, and slightly inclined toward either perspective of the street, are two tall _cheshmehs_. The niche of each and the whole face of the structure is incrusted with intricate floral reliefs more delicate even than those of Top Haneh, though not executed in so white a stone. There are also pots and vases of flowers and sheaves of wheat, and above the tap of each niche is a pointed openwork boss of bronze. Here, too, the richness of the ornament combines with the composition and height of the façade and the sweep of the eaves to reach something not far from a grand air. No other _sebil_ of the left bank is executed in so refined a style as this. But many other fountains, in all parts of the city, have a happy knack of filling a space or turning a corner or screening a dark interior with twisted metal work. The difficulty is to choose instances. I might mention the _sebil_ of Baïram Pasha at Avret Bazaar; of Mehmed Emin Effendi, half fountain and half tomb, which lends its elegance to the neighbourhood of Dolma Ba’hcheh Palace; of Abd ül Hamid I at Fîndîklî; of Laleli Jami, the Tulip Mosque, which Moustafa III built at Ak Seraï. For the Western architect they are full of unexpected suggestions, if he have the eye to see, while to the mere irresponsible impressionist they make up a great part in the strangeness and charm of the Turkish capital. XIII A TURKISH VILLAGE