In my description of the interior of the mosque[352], I shall, in a great measure, follow the account of M. de Vogüé[353], with several additions and omissions. It is divided into three concentric spaces, by two arcades, the inner circular, the outer octagonal in plan. The first, which supports the drum of the dome, is formed by four large quadrangular piers and twelve columns; the second by eight piers and sixteen columns; these two outer galleries have flat ceilings of painted wood; the shafts of the columns are made of valuable marbles, the majority of verd antique. I think they may have been taken from Constantine's church of the Resurrection, when it was lying in ruins, after its destruction by Chosroes; for many of them have been broken, and are united again by iron hoops; others shew chips and bruises apparently produced by a fall; besides, they do not correspond one with another, either in diameter or in height. The history of the other Christian edifices in Jerusalem supplies us with not a few instances of a similar spoliation; while we have no record in the Mohammedan chronicles, that valuable foreign marbles were brought by them to the city; as was done by Constantine according to Eusebius. The bases of the columns in the inner range are Attic, those in the second are different, and of a debased style; very frequently the shaft rests on a cubical plinth of white marble without any base moulding. Their capitals are Byzantine, that is, resemble more or less closely an order which is a coarse copy of the Corinthian[354]. The arches of the inner arcade spring directly from the capitals of the columns; but the arrangement in the outer one is very peculiar. On the capitals is placed a large block, resembling a truncated pyramid (base square), supporting a horizontal entablature, from which springs a series of slightly pointed arches: their form and ornamentation are thoroughly Saracenic, as is the mosaic work over the arches[355]. The quasi-capitals of the piers are formed by an arcade in low relief, enclosing a series of palm trees, rudely executed. The drum is inlaid with mosaic of various leaf patterns. The upper part of the dome is profusely adorned with gilded arabesques on different coloured grounds. The shape of the building, its ornamentation in carved wood, mosaic, pictures and gilding; in a word, its whole appearance bears a Turco-Arabian character of various periods, more especially from that of Saladin to that of Solyman.