faintly, the light of classic days, through all the changes of the city’s tastes and fortunes. The Church of S. Irene, notwithstanding the serious restorations it underwent in the sixth century and again in the eighth, retains so much of its early basilican type that it can claim a place among the churches of the older style. In spite of the two domes placed longitudinally upon its roof, it is basilican in the proportion of its length to its breadth, in the retention of lines of piers and columns to divide its nave and aisles, in its single apse, and the galleries on three sides. The apse has the interest of still preserving the tiers of marble seats for the clergy, as in the Cathedral of Torcello. Its conch is adorned with the mosaic of a large black cross on gold ground, and on the face of the triumphal arch may be read the invocation calling upon the Hope of all on the earth or upon the sea to enter His temple, and pour His Spirit upon His people. SS. Sergius and Bacchus, styled by the Turks little S. Sophia (Kutchuk Aya Sofia), on account of the resemblance it bears to the greater church of that name, is interesting from more than one point of view. It deserves attention as a thing of beauty. Imagine an octagonal building constructed of eight lofty piers united by arches. Cover that structure with a dome furrowed by sixteen flutings. Let the sides in the diagonals be curved and the sides in the axes be straight, to secure more room, to avoid monotony of contour, stiffness, angularity, and to introduce the variety, freedom, softness, which give wings to fancy. Within each archway, except the one at the east, where the semicircular apse recedes to make room for the altar and the seats of the clergy, place four columns in two tiers, now green mottled with black spots, now cream-coloured marked with red veins, now white marked with veins of dark blue. Crown the lower columns with capitals, whose lobed form has been compared to a melon partly cut open, but which might, more gracefully, be likened to a tulip bud breaking into flower. Bind these columns, after the old fashion, with a horizontal entablature, where acanthus, egg and dart, reeds and reel, dentils, strands of rope and the ornamental letters of an inscription, in honour of S. Sergius and of the founders of the church, Justinian and Theodora, combine to make a splendid frieze. Join the upper columns, according to the new taste, with arches supporting conchs, and resting on long, flattened capitals covered with marble lace. Revet all surfaces up to the cornice with variegated marbles, and above the cornice spread mosaics. Then put this octagonal fabric, with its undulated interior surface, thus carved and coloured and gemmed, into a square edifice, like a jewel into a casket; so that the apse may protrude beyond the square’s eastern side, and the aisle, between the octagon and the square, may be divided into two stories by galleries, and the round dome may soar aloft visible to all