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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 preëminence 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 fifteen columns of Phrygian marble, and the subterraneous vaults were of a similar construction. The square before the sigma was decorated with a fountain, and the margin of the basin was lined and encompassed with