Whatever might be consumed for the present wants, or reserved for the future use, of the state, the first and most sacred demand was for the pomp and pleasure of the emperor, and his discretion only could define the measure of his private expense. The princes of Constantinople were far removed from the simplicity of nature; yet, with the revolving seasons, they were led by taste or fashion to withdraw to a purer air, from the smoke and tumult of the capital. They enjoyed, or affected to enjoy, the rustic festival of the vintage: their leisure was amused by the exercise of the chase and the calmer occupation of fishing, and in the summer heats, they were shaded from the sun, and refreshed by the cooling breezes from the sea. The coasts and islands of Asia and Europe were covered with their magnificent villas; but, instead of the modest art which secretly strives to hide itself and to decorate the scenery of nature, the marble structure of their gardens served only to expose the riches of the lord, and the labors of the architect. The successive casualties of inheritance and forfeiture had rendered the sovereign proprietor of many stately houses in the city and suburbs, of which twelve were appropriated to the ministers of state; but the great palace, the centre of the Imperial residence, was fixed during eleven centuries to the same position, between the hippodrome, the cathedral of St. Sophia, and the gardens, which descended by many a terrace to the shores of the Propontis. The primitive edifice of the first Constantine was a copy, or rival, of ancient Rome; the gradual improvements of his successors aspired to emulate the wonders of the old world, and in the tenth century, the Byzantine palace excited the admiration, at least of the Latins, by an unquestionable preÎminence of strength, size, and magnificence. But the toil and treasure of so many ages had produced a vast and irregular pile: each separate building was marked with the character of the times and of the founder; and the want of space might excuse the reigning monarch, who demolished, perhaps with secret satisfaction, the works of his predecessors. The economy of the emperor Theophilus allowed a more free and ample scope for his domestic luxury and splendor. A favorite ambassador, who had astonished the Abbassides themselves by his pride and liberality, presented on his return the model of a palace, which the caliph of Bagdad had recently constructed on the banks of the Tigris. The model was instantly copied and surpassed: the new buildings of Theophilus were accompanied with gardens, and with five churches, one of which was conspicuous for size and beauty: it was crowned with three domes, the roof of gilt brass reposed on columns of Italian marble, and the walls were incrusted with marbles of various colors. In the face of the church, a semicircular portico, of the figure and name of the Greek _sigma_, was supported by