enclosure, and saw at once that this church was of far greater pretensions than any I had yet seen. The entrance was by a doorway of squared beams, with two arches, each cut out of one piece, and each ornamented with five rolls of wood underneath. Entering this, we were in a sort of lobby or hall. The walls of this were covered with frescoes representing the feats of the founder of the church, who was either the father or grandfather of the present chief. Here that redoubted warrior is represented spearing an elephant; again he is kneeling and taking aim at a lion, whose claws are of truly-formidable dimensions. Here there are two or three battle-scenes, in which he is defeating his enemies with immense slaughter. To judge by his portraits, the founder of the church was a fair, round-faced man, with short hair and a slight moustache. I passed from this vestibule into the church itself. Its construction differs entirely from the others I have seen, inasmuch as instead of the sacred chamber being placed beyond two others, it was in the centre of the building, and was surrounded by a passage, the walls of which were covered with frescoes representing events in Old and New Testament writing, and in the lives of the saints. Here we have St. George nobly spearing the dragon, while the King of Egypt’s daughter and her maidens stand by with clasped hands and admiring eyes. Here we have St. Peter suffering martyrdom by being crucified head downwards; with a vast number of other martyrdoms. The biblical events all strictly follow the scriptural description; the only remarkable difference being that at the Last Supper thirteen apostles are represented as being present. In all these, as in the first frescoes, the faces of the actors are represented as white; while in the Temptation the tempter has his traditional sable hue. These frescoes are all in the early Byzantine style, and were they but really ancient, would be extremely curious and valuable; but as the church is not, at most, more than sixty or seventy years old, it is evident that they are the work of some Egyptian or Greek artist brought down for the purpose. I was not allowed to see what was in the central chamber. Leaving the church, I crossed the town, sixty or seventy yards, to where, at its other extremity, stands the ruined palace. It is surrounded by a wall, which encloses a considerable extent of ground. The principal portion of the palace far more resembles a church than do any of the actual churches of the country. It consists of a hall fifty feet long by twenty-five feet wide, with a small round room at the end opposite to the door. The entrance is underneath a porch; and along this, at about eight feet from the ground, there are built into it a line of bullocks’ horns, with their points projecting outwards. The hall was thirty feet high to the springing of the roof, and must have been really a fine hall, country and place being taken into consideration. The greater