To architecture in the highest sense, viz. elegant construction in stone, the Turks have no pretension. The mosques are always copies of Santa Sophia with trifling variations, and have no claim to originality. The bazaars are large buildings, but hardly architectural. The imarets, or hospitals, are next in size (there are about fifty of them in Constantinople, in which D'Ohson says 30,000 people daily are fed), but neither have they anything artistic about them. The aqueducts, finally, are either reparations or imitations of old Roman work. These are all the buildings of a permanent character. The dwelling-houses have the air of temporary habitations. They are constructed mainly of wood, and are divided into very few chambers. Turks eat and drink, live and sleep in one room. The sofa is their seat and their bed, and when that is full they lay quilts, which are kept in every room in cupboards, on the floor, and sleep about in them half dressed. As ornaments to the walls they hang up their arms. They live in this way even in the highest ranks. The men have no desire for privacy, and the women's apartments are altogether separated off. The space covered by each house is what we should consider immense. It has usually only one storey--never more than two. The ground floor, used for stables, storage, and offices, stands open on columns. A staircase, often outside, leads up to an open balcony, out of which the effendi's apartments open. These seldom consist of more than three--one for audience and for living in; another for business, the secretary, &c.; and the third for upper servants, the preparation of coffee, pipes, &c. The harem, as I said, is parted off by a high wall with a separate court, garden, and, often, exit to the street; but all one sees of a house outside is generally a high wall and a capacious door into a court with a hoodwink shade over it, and the gentlemen's apartments hanging over one end of the premises. Sometimes there is a kiosk leading out of the gallery to a rather higher level when there is a view to be got by it, but externally there is nothing pretending to architectural effect in the private house of a Turk. The really ornamental buildings in which anything that may be called Turkish architecture is displayed, are the fountains and the grand kiosks or summer residences. The fountains are commonly square reservoirs, the four sides enriched with marble, carved, panelled, and gilt, with all the resources of genuine Turkish taste. The forms are generally flowers and fruits and texts from the Koran, with perhaps an inscription in memory of the founder, such as 'Drink of my limpid waters and pray for the soul of Achmet.' The tank is covered with a dome and gilt cullices with great eaves which cast a broad shade over anyone who comes for water or repose.