CONSTANTINOPLE. 
II 
lighted bougies, by the sides of the walks. The trelliswork is 
of wood, painted white, and covered by jessamine; aud this, as 
it does not conceal the artificial frame by which it is supported, 
produces a wretched effect On the outside of the trelliswork 
appear small parterres, edged with box, containing very com¬ 
mon flowers, and adorned with fountains. On the right hand, 
after entering the garden, appears the magnificent kiosk, w hich 
constitutes the sultan’s summer residence; and further on is 
the orangery before mentioned, occupying the whole extent 
of the wall on that side. Exactly opposite to the garden 
gates, is the door of the charem , or palace of the w f omen be¬ 
longing to the grand signior; a building not unlike one of 
the small colleges in Cambridge, and inclosing the same sort 
of cloistered court. One side of this building extends across 
the upper extremity of the garden, so that the windows look 
into it. Below these windows are two small greenhouses, 
filled with very common plants, and a number of Canary- 
birds. Before the charem windows, on the right hand, is a 
ponderous, gloomy, wooden door ; and this, creaking on its 
massive hinges, opens to the quadrangle, or interior court of 
the charem itself. .... We will keep this door shut for a short 
time, in order to describe the seraglio garden more minutely; 
and afterward open it, to gratify the readers curiosity. 
Still facing the charem on the left hand, is a paved ascent, 
leading, through a handsome gilded iron gate, from the lower 
to the upper garden. Here is a kiosk, which I shall presently 
describe. lieturning from the charem to the door by which 
we first entered, a lofty wall on the right hand supports a ter¬ 
race-with a few small parterres : these, at a considerable height 
above the lower garden, constitute what is now called the up« 
per garden of the seraglio; and, till within these few years, 
it was the only one. 
Having thus completed the tour of this small and insigni¬ 
ficant spot of ground, let us now enter the kiosk, which I first 
mentioned as the sultan’s summer residence. It is situated on 
the sea shore, and commands one of the finest views the eye 
ever beheld, of Scutary and the Asiatic coast, the mouth of the 
canal, and a moving picture of ships, gondolas, dolphins, birds, 
with all the floating pageantry of this vast metropolis, such as 
no other capital in the world can pretend to exhibit. The 
kiosk itself, fashioned after the airy fantastic style of eastern 
architecture, presents a spacious chamber, covered by a dome, 
from which, toward the sea, advances a raised platform stir- 
