tiles in Constantinople are to be seen at the _Chinili Kyöshk_ of the imperial museum—the Tile Pavilion—and the tomb of Mahmoud Pasha. It is a notorious fact, however, that the sultans who fought against the Persians brought back craftsmen of all kinds from that country and settled them in different parts of the empire. Selim I, for instance, when he captured Tabriz, imported the best tile makers of that city, as well as from Ardebil and Kashan—whence one of the words for tiles, _kyashi_—and settled them in Isnik. This is the city which under an older name had already produced the historian Dion Cassius and the Nicene Creed. Other factories are known to have existed in Kastambol, Konia, Nicomedia, and Constantinople itself. One is supposed to have been in Eyoub, though no trace of it remains to-day unless in the potteries of Chömlekjiler. Another, I have been told, flourished at Balat. I know not whether it may have been the same which Sultan Ahmed III transferred in 1724 from Nicæa to the ruined Byzantine palace of Tekfour Seraï. A colony of glass-blowers there are the last remnant to-day of the tile makers of two hundred years ago. [Illustration: Tile panel in Rüstem Pasha] The art itself declined and gradually died out as the sultans stopped making conquests and building mosques. For the imperial mosques are monuments of victory, built and endowed out of the spoils of war. After the martial period of the empire came to an end with Süleïman I only one mosque of importance, that of Ahmed I, was built by a reigning sultan in his own name. But the tiles of the imperial factories, after many fires and much thieving, still make up what is most brilliant and most durable in the colour of Stamboul. The best tiles are Nicene of the sixteenth century, that extraordinary _cinque-cento_, when so many of the best things of the world were produced. They are distinguished by the transparent white glaze of their background, on which are drawn tulips, carnations, wild hyacinths, and a certain long bent serrated leaf common to the Rhodian plate. The chief colours are a dark and a turquoise blue and a tomato red, green and yellow occurring more rarely. And they are never quite smooth, the red in particular usually being in slight relief. This gives them a variety which is absent from many modern tiles.