Next we cross a deserted garden, and pass through neglected courts till we reach the library, a single room, built by Mustafa III., with a beautiful bronze door, in which are many unknown MSS. treasures. Next is the Khazna, the treasury, which is opened only by the second in authority of the imperial eunuchs, while a crowd of black-coated and fezzed officials stand on each side. It were idle to enumerate the treasures. The visitor rarely has time properly to examine them. But one cannot fail to note the Persian throne of gold, set with hundreds of precious stones, and the beautiful Turkish divan which belonged to Ahmed I. On the staircase leading to the gallery which contains this last treasure are medallion portraits of the Sultans, interesting enough but perhaps of the same historic value as, though of far superior artistic excellence to, the portraits of the Scots Kings at Holyrood. Of similar interest and closer authenticity are the fine state costumes of the Sultans from Mohammed II. to Mahmûd the Reformer. The robes are exquisite examples of the richest eastern work in brocade and silk, and the weapons are of the finest design. Cases on the walls contain splendid collections of jewels, and some magnificent armour, notably that worn by Murad IV. at the capture of Belgrade in 1638. There are three buildings within this part of the grounds which no one may approach. The one contains the relics of the prophet. We see the entrance with its massive door and elaborate tiles. We know that inside are the mantle, the sacred standard, the beard and a tooth of the prophet, and an impression in limestone of his foot. Beyond this again is the old harem, now unused. And not far off is the Kafess, the luxurious retreat of dethroned sultans, which has often been mentioned in these pages--the scene perhaps of the worst and vilest crimes of the Ottomans. It is with kindlier associations that we approach the beautiful kiosk of Bagdad, whose walls, with their beautiful tiles, doors of the finest inlaid work, and carpets of the richest design, place us in an ideal Eastern scene. It is a copy, they say, of a kiosk Murad IV. saw at Bagdad. Pity that it is now only a show. Here or in the Mejidiyeh kiosk looking on the Marmora and up the Golden Horn, comes the refection, and we fancy ourselves again, but for the officials in their to us most inappropriate costume,[65] in the Arabian Nights.