The mosque of the Shahzadeh, built like that of Suleiman, by the Moslem architect Sinan, was erected by the Sultan and Roxelana, between 1543 and 1547, to commemorate their eldest son, whose türbeh stands beside it, decorated with the most exquisite Persian tiles. The mosque is on the great central street that runs through Stambûl. Four semi-domes culminate in a great central dome, and four great octagonal pillars support it. It is one of the most beautiful of the Ottoman mosques. It may be added that the mosque which the sorrowing parents built to their youngest son Djanghir (see above p. 170), at Galata, above Top-haneh, was burnt in 1764, and as it now stands is the result of "restoration" by the present Sultan. It is the most prominent object on the shore as one draws near to landing at the Galata bridge. On the fifth hill, and perhaps the most prominent object in the view from the hill of Pera, above the _petit champ des morts_, is the mosque of Selim I. The style is simple, one vast dome resting on a drum lighted by many windows, and supported by flying buttresses. The Tulip Mosque, Laleli Djami, stands in a prominent position in a crowded street, the Koska Sokaki. It is an example of the more modern style. It was built by Mustapha III. in 1760-63, and shows the Turkish expression of the Strawberry-Hill interest in antiquity. It contains columns from the palace of Boucoleon and the forum of Theodosius. Beside it is the türbeh of Mustafa III. and of Selim III. Perhaps the most pleasant part of a visit here is to stand on the terrace and look over the houses on to the Sea of Marmora and the distant snow-covered hills. The last mosque I shall mention is that which the traveller probably first visits. It attracts him as soon as he has crossed the Galata bridge, and most likely turns him aside from his way to S. Sophia. It is the mosque of Yeni Valideh Sultan, the wife of Ahmed I. Begun by her orders in 1615, it was completed by the mother of Mohammed IV. in 1665. [Illustration: MURAL TILES FROM THE MOSQUE OF VALIDEH] This, of all others, aroused the admiration of Lady Mary Wortley Montagu. "The most prodigious, and I think, the most imposing, structure I ever saw," she called it; perhaps because she regarded it as a tribute to her sex. Unhappily, as in most of the other mosques, paint and whitewash have done their disfiguring work; but the beauty of its tiles, most of them blue and white, is perhaps superior to any other collection in the city. The exquisite carving of the doorways, too, enriched with mother-of-pearl, attracts one as one passes through. In no other mosque can the excellence of the minute Turkish work be better studied. The delicacy of the lattice work at the fountain, too, is admirable.