Question: Does each bay have a brick dome around it?
About the article "Grand Bazaar, Istanbul", section "Architecture".

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A dome can be thought of as an arch which has been rotated around its central vertical axis.
Thus domes, like arches, have a great deal of structural strength when properly built and can span large open spaces without interior supports.
Corbel domes achieve their shape by extending each horizontal layer of stones inward slightly farther than the previous, lower, one until they meet at the top.
These are sometimes called "false" domes.
"True", or "real", domes are formed with increasingly inward-angled layers of voussoirs which have ultimately turned 90 degrees from the base of the dome to the top.
The optimal shape for a masonry dome of equal thickness is a catenary curve, similar to the curve of a parabola.
This shape provides for perfect compression, without any of the tension or bending forces against which masonry is weak.
Hemispherical domes, by contrast, generate significant horizontal thrusts at their haunches.
When the base of the dome does not match the plan of the supporting walls beneath it (for example, a circular dome on a square bay), techniques are employed to transition between the two.
The simplest technique is to use diagonal lintels across the corners of the walls to create an octagonal base.
Another is to use arches called squinches to span the corners, which can support more weight.
The invention of pendentives superseded the squinch technique.
Pendentives are triangular sections of a sphere used to transition from the flat surfaces of supporting walls to the round base of a dome.
Domes can be divided into two kinds: "simple" and "compound", depending on the use of pendentives.
In the case of the "simple dome", the pendentives are part of the same sphere as the dome itself; however, such domes are rare.
In the case of the more common "compound dome", the pendentives are part of the surface of a larger sphere below that of the dome itself and form a circular base for either the dome or a drum section.
Drums, also called tholobates or tambours, are cylindrical or polygonal walls supporting a dome which may contain windows.
Because domes are concave from below, they can reflect sound and create echoes.
The half-domes over the apses of Byzantine churches, for example, helped to project the chants of the clergy.
Although this can compliment music, it may make speech less intelligible, leading Francesco Giorgi in 1535 to recommend vaulted ceilings for the choir areas of a church, but a flat ceiling for where preaching would occur, filled with as many coffers as possible.
Cavities in the form of jars built into the inner surface of a dome may serve to compensate for this interference by diffusing sound in all directions, eliminating echoes while creating a "divine effect in the atmosphere of worship."
This technique was written about by Vitruvius in his "Ten Books on Architecture", which describes bronze and earthenware resonators.
The material, shape, contents, and placement of these cavity resonators determine the effect they have: reinforcing certain frequencies or absorbing them.
Domes have been constructed from a wide variety of building materials over the centuries: from mud to stone, wood, brick, concrete, metal, glass and plastic.
Brick domes were the favored choice for large-space monumental coverings until the industrial age, due to their convenience and dependability. 
The Big Apple building is two-story, wooden building with a metal gabled roof.
At its Park Street site, it was on a raised brick basement.
Built for a congregation that was largely Polish and Russian immigrants, it is an example of Eastern Jewish architecture.
The entrance to the building is in a projecting central bay.
The door is flanked by wooden pilasters and sidelights under a large arch with stained glass windows.
On each side of the arch is a pair of tall narrow, stained glass windows with horseshoe arches.
The sides of buildings have five windows with horseshoe arches.
Some of have been modified.
The sides have pedimented gables with a rondelle.
The interior has central recessed dome.
When it was the Big Apple Club, the dome had neon lights shaped like the crescent moon and shooting stars.
There is a balcony on the front side of the building.
This was the spectator's gallery during operation as the night club. 
Grand Meadow Public School.
This is currently the largest monolithic dome school in Minnesota.
It houses the K-12 grades from Grand Meadow in five separate domes.
The domes are lettered A, B, C, D and E. Dome A is the secondary dome, which has the junior and senior high.
Dome B is the administrative dome with the elementary and high school offices and media center.
Dome C is the elementary dome with grades Pre-K through 6th grade.
Dome D, the athletics dome, has the gymnasium, wrestling room and weight room.
The arts dome is Dome E with the band room and art room and also the cafetorium.
On the outside there are two purple stripes going around each dome. 
Persian architecture likely inherited an architectural tradition of dome-building dating back to the earliest Mesopotamian domes.
Due to the scarcity of wood in many areas of the Iranian plateau, domes were an important part of vernacular architecture throughout Persian history.
The remains of a large domed circular hall measuring 17 meters in diameter in the Parthian capital city of Nyssa has been dated to perhaps the first century AD.
It "shows the existence of a monumental domical tradition in Central Asia which had hitherto been unknown and which seems to have preceded Roman Imperial monuments or at least to have grown independently from them."
The Sun Temple at Hatra appears to indicate a transition from columned halls with trabeated roofing to vaulted and domed construction in the first century AD, at least in Mesopotamia.
The domed sanctuary hall of the temple was preceded by a barrel vaulted iwan, a combination that would be used by the subsequent Sasanian Empire.
An account of a Parthian domed palace hall from around 100 AD in the city of Babylon can be found in the "Life of Apollonius of Tyana" by Philostratus.
The hall was used by the king for passing judgments and was decorated with a mosaic of blue stone to resemble the sky, with images of gods in gold.
A bulbous Parthian dome can be seen in the relief sculpture of the Arch of Septimius Severus in Rome, its shape apparently due to the use of a light tent-like framework.
The Persian invention of the squinch, a series of concentric arches forming a half-cone over the corner of a room, enabled the transition from the walls of a square chamber to an octagonal base for a dome.
Previous transitions to a dome from a square chamber existed but were makeshift in quality and only attempted on a small scale, not being reliable enough for large constructions.
The squinch enabled domes to be widely used and they move to the forefront of Persian architecture as a result.
The ruins of the Palace of Ardashir and Ghal'eh Dokhtar in Fars Province, Iran, built by Ardashir I (224–240) of the Sasanian Empire, have the earliest known examples.
The three domes of the Palace of Ardashir are 45 feet in diameter and vertically elliptical, each with a central opening or oculus to admit light.
The large brick dome of the Sarvestan Palace, also in Fars but later in date, shows more elaborate decoration and four windows between the corner squinches.
The building may have been a Fire temple.
Instead of using a central oculus in each dome, as at the Palace of Ardashir and as shown in the bas relief found at Kuyunjik, lighting was provided by a number of hollow terracotta cylinders set into the domes at regular intervals.
Multiple written accounts from Arabic, Byzantine, and Western medieval sources describe a palace domed structure over the throne of Chosroes decorated in blue and gold.
The dome was covered with depictions of the sun, moon, stars, planets, the zodiac, astrapai, and kings, including Chosroes himself.
According to Ado and others, the dome could produce rain, and could be rotated with a sound like thunder by means of ropes pulled by horses in a basement.
Caravansaries used the domed bay from the Sasanian period to the Qajar dynasty.
"Chahar-taqi", or "four vaults", were smaller Zoroastrian fire temple structures with four supports arranged in a square, connected by four arches, and covered by a central ovoid dome.
The Niasar Zoroastrian temple in Kashan and the "chahar-taqi" in Darreh Shahr are examples.
Such temples, square domed buildings with entrances at the axes, inspired the forms of early mosques after the Islamic conquest of the empire in the 7th century.
These domes are the most numerous surviving type from the Sasanian period, with some having been converted into mosques.
The later isolated dome chambers called the "kiosk mosque" type may have developed from this.
Although the Sasanians did not create monumental tombs, the domed chahar-taqi may have served as memorials.
A Soghdian painting fragment from the early eighth century found at Panjakent appears to depict a funerary dome (possibly a tent) and this, along with a few ossuaries of an architectural nature, indicates a possible tradition in central Asia of a funerary association with the domed form.
The area of north-eastern Iran was, along with Egypt, one of two areas notable for early developments in Islamic domed mausoleums, which appear in the tenth century.
The earliest known Islamic domes in Persia, such as the Great Mosque of Qom (878) and the tomb of Muhammed b. Musa (976), seem to have continued the rounded Sasanian form.
Domed mausoleums contributed greatly to the development and spread of the dome in Persia early in the Islamic period.
By the 10th century, domed tombs had been built for Abbasid caliphs and Shiite martyrs.
Pilgrimage to these sites may have helped to spread the form.
The earliest surviving example, the Qubbat-al Sulaibiya, was an octagonal structure with a central dome on a drum built around 892 in Samarra.
The Samanid Mausoleum in Transoxiana dates to no later than 943 and is the first to have squinches create a regular octagon as a base for the dome, which then became the standard practice.
The Arab-Ata Mausoleum, also in Transoxiana, may be dated to 977–78 and uses muqarnas between the squinches for a more unified transition to the dome.
Cylindrical or polygonal plan tower tombs with conical roofs over domes also exist beginning in the 11th century.
The earliest example is the Gonbad-e Qabus tower tomb, 57 meters high and spanning 9.7 meters, which was built in 1007.
The Seljuqs introduced the domed enclosure in front of the mosque's mihrab, which would become popular in Persian congregational mosques.
The domed enclosure of the Jameh Mosque of Isfahan, built in 1086-7 by Nizam al-Mulk, was the largest masonry dome in the Islamic world at that time, had eight ribs, and introduced a new form of corner squinch with two quarter domes supporting a short barrel vault.
In 1088 Tāj-al-Molk, a rival of Nizam al-Mulk, built another dome at the opposite end of the same mosque with interlacing ribs forming five-pointed stars and pentagons.
This is considered the landmark Seljuk dome, and may have inspired subsequent patterning and the domes of the Il-Khanate period.
The use of tile and of plain or painted plaster to decorate dome interiors, rather than brick, increased under the Seljuks.
The earliest known masonry double shell domes are those of a pair of brick tower tombs from the 11th century in Kharraqan, Iran.
The domes may have been modeled on earlier wooden double shell domes, such as that of the Dome of the Rock.
It is also possible, because the upper portions of both of the outer shells are missing, that some portion of the outer domes may have been wooden.
These brick mausoleum domes were built without the use of centering, a technique developed in Persia.
The Tomb of Ahmed Sanjar had the largest Seljuk dome.
It had a double shell, intersecting ribs over plain squinches, and the exterior was elaborately decorated at the zone of transition with arches and stucco work.
The tomb of Sultan Sanjar, who reigned from 1117 to 1157, was damaged in the sack of Merv in 1221 by Tolui Khan.
The two major domes of the Il-Khanate period were the no-longer-existing mausoleum of Ghazan in Tabriz and the Mausoleum of Öljaitü in Soltaniyeh, the latter being built to rival the former.
Öljaitü was the first Persian sovereign to declare himself of the Shia sect of Islam and built the mausoleum, with the largest dome in Persia, to house the bodies of Ali and Hussein as a pilgrimage site.
This did not occur and it became his own mausoleum instead.
The dome measures 50 meters high and almost 25 meters in diameter and has the best surviving tile and stucco work from this period.
The thin, double-shelled dome was reinforced by arches between the layers.
The tall proportions of the Jameh Mosque of Varamin resulted primarily from the increased height of the zone of transition, with the addition of a sixteen-sided section above the main zone of muqarnas squinches.
The Il-Khanate legacy also laid the groundwork for a separate architectural style, Timurid Islamic architecture, which later became an inspiration to Mughal architects.
During the 14th and 15th century, Timur and his successors adorned Samarkand and other Central-Asian cities with spectacular and stately edifices.
The Sanctuary of Ahmed Yasawi, situated in southern Kazakhstan was never finished, but has the largest existing brick dome in Central Asia, measuring 18.2 m in diameter.
The dome exterior is covered with hexagonal green glazed tiles with gold patterns.
At the Timurid capital of Samarkand, nobles and rulers in the 14th and 15th centuries began building tombs with double-shelled domes containing cylindrical masonry drums between the shells.
In the Gur-e Amir, built by Timur around 1404, a timber framework on the inner dome supports the outer, bulbous dome.
Radial tie-bars at the base of the bulbous dome provide additional structural support.
Timber reinforcement rings and rings of stone linked by iron cramps were also used to compensate for the structural problems introduced by using such drums.
A miniature painted at Samarkand shows that bulbous cupolas were used to cover small wooden pavilions in Persia by the beginning of the fifteenth century.
They gradually gained in popularity.
The renaissance in Persian mosque and dome building came during the Safavid dynasty, when Shah Abbas, in 1598 initiated the reconstruction of Isfahan, with the Naqsh-e Jahan Square as the centerpiece of his new capital.
Architecturally, they borrowed heavily from Il-Khanate designs, but artistically, they elevated the designs to a new level.
The distinct feature of Persian domes, which separates them from those domes constructed in the Christian world or the Ottoman and Mughal empires, was the colorful tiles, with which they covered the "exterior" of their domes, as they would on the interior.
These domes soon numbered dozens in Isfahan, and the distinct, blue-colored shape would dominate the skyline of the city.
Reflecting the light of the sun, these domes appeared like glittering turquoise gem and could be seen from miles away by travelers following the Silk road through Persia.
This very distinct style of architecture was inherited to them from the Seljuq dynasty, who for centuries had used it in their mosque building throughout Central-Asia, but it was perfected during the Safavids when they invented the "haft-rangi", or seven-colour style of tile burning, a process that enabled them to apply more colours to each tile, creating richer patterns, sweeter to the eye.
The colours that the Persians favoured were golden, white and turquoise patterns on a dark-blue background.
The extensive inscription bands of calligraphy and arabesque on most of the major buildings where carefully planned and executed by Ali Reza Abbasi, who was appointed head of the royal library and Master calligrapher at the Shah's court in 1598, while Shaykh Bahai oversaw the construction projects.
Reaching at total height of 53 meters, and with a diameter of 25 m at the base of the dome, the dome of Masjed-e Shah (Shah Mosque) would become the largest in the city when it was finished in 1629.
It was built as a double-shelled dome, with 14 m spanning between the two layers, and resting on a sixteen-sided dome-chamber. 
Rotunda of Galerius.
Location and description of the Rotunda.
The Rotunda of Galerius is 125m northeast of the Arch of Galerius at 40°37'59.77"N, 22°57'9.77"E. It is also known (by its consecration and use) as the Greek Orthodox Church of "Agios Georgios", and is informally called the Church of the Rotunda (or simply "The Rotunda").
The cylindrical structure was built in 306 AD on the orders of the tetrarch Galerius, who was thought to have intended it to be his mausoleum.
It was more likely intended as a temple; it is not known to what god it would have been dedicated.
The Rotunda has a diameter of 24.5 m. Its walls are more than 6 m thick, which is why it has withstood Thessaloniki's earthquakes.
The walls are interrupted by eight rectangular bays, with the south bay forming the entrance.
A flat brick dome, 30 m high at the peak, crowns the cylindrical structure.
In its original design, the dome of the Rotunda had an "oculus", as does the Pantheon in Rome.