is given to the only one of the many cisterns with which the city
was excavated, now remaining in use for the purpose for which it
was erected. Some are filled up, and converted into gardens; one
called Bin bir Derek, which we have before noticed, and given in our
illustrations, is a silk factory; but the “Subterranean Palace” still
remains a cistern filled with water.
When the Turks took possession of the city, this magnificent work of
Grecian art escaped their notice, and remained unexplored and unknown
till the time of Gillius, who was in Constantinople in 1550. He appears
to be the first who discovered and described this curious subterranean
edifice; and so ignorant were the Turks then of its existence, that the
houses in the streets above drew water from it, and knew not whence it
came. From that time the memory of it was again lost; and travellers,
taking Gillius for their guide in exploring the city, searched for this
curiosity in vain; and some pronounced that it had no existence, or was
confounded with some other. In this state it remained for two centuries
more, till Andreossi, the French ambassador, discovered and described
it. Again the mysterious edifice was lost, and Janissaries attending
travellers as guides could give them no clue to discover it,−-this
singular and magnificent excavation appearing and disappearing to human
sight, like some enchanted palace in Oriental fiction. Finally, it
was searched for by a Frank resident of Pera, and, after two years’
diligent inquiry, was at length discovered by him, under the foundation
of a private house, in a remote and obscure street. Part of a wall had
fallen in, and discovered to the astonished proprietor innumerable
marble columns, of various orders of architecture, rising out of a
vast lake of water, and supporting a lofty arched roof, on which his
house stood. From that time, easy access has been afforded to it; every
stranger visits it; and there is no probability that the Turks, now so
much more enlightened and inquisitive, will again suffer the memory of
this noble work of Grecian art to perish among them.
As we have already mentioned this cistern with others, we refer to our
former notice. We will merely add, that the actual extent and beauty,
though sufficiently great to excite our admiration, are extravagantly
exaggerated by the credulous Turks, who now begin to regard it with awe
and astonishment. Some places at a considerable distance have fallen
into other subterranean cavities, and they are asserted to be parts
of this cistern not yet explored. The number of columns is nearly the
same as that of the Bin bir Derek, and both excavations are supposed
to be of the same extent. But the proprietor of the house, through
which is the only known access, tells of fearful perils encountered
by intrepid navigators, who attempted to explore this inland sea; of
lost adventurers, who never returned to tell them; and, in the still
unchanged spirit of a Turk, relates as true all the figments of an
Oriental imagination.
[Illustration: T. Allom. S. Fisher.
KIZ-KOULASI.−-LEANDER’S, OR THE MAIDEN’S TOWER.
ON THE BOSPHORUS.]
Immediately opposite Scutari, and where the rushing current of the
Bosphorus meets that of the Golden Horn, is seen a tower rising out of
the midst of the turbulent estuary, and forming a striking and singular
object, emerging with its white walls from the dark-blue waters. It is
a small, square, castellated structure, standing on an insulated rock,
and surmounted by a lantern and spire. It is now used as a beacon for
ships entering the strait, and boats passing the estuary. It sometimes
happens that sudden gusts, like typhoons, come on, attended with a
dense fog, so dark as at once to obscure both sides of the Bosphorus.
The passage is generally crowded with caïques, which are thus left in
the midst of peril without any guide to extricate them. In this blind
commotion, the _pazar caïque_, or “great ferry boat,” is an object of
great dread, running down and sinking the slight and fragile barks
driven against it. The tower is a kind of refuge to which they betake
themselves. It was originally built by the emperor Manuel, and formed
part of the chain of obstructions thrown across the entrance to the
Bosphorus and harbour, in the decline of the lower empire. The other
parts have been carried away by the torrents of the strait, and this
alone remains on the firmer rock on which it was erected.
From the traditionary story of Hero and Leander, this tower takes its
name: the Franks confer upon it the name of the unfortunate lover who
lost his life in attempting to cross the current to his mistress; but
the Turks assign it to the lady, and model the tale after their own
fashion. One of their sultans, whose name is not agreed upon, was
warned by his astrologer, that his daughter would perish by the bite
of a venomous serpent; so, to obviate the danger, she was sent to this
insulated tower. The rugged rock, scantily covered with sea-weed,
afforded no harbour for venomous reptiles, and her father never
contemplated the possibility of one reaching her place of seclusion.
Her lover, however, separated from personal intercourse, opened a
communication by the language of flowers, and had a basketful conveyed
to her. She pressed to her bosom his fragrant emblems, which conveyed
to her the sentiments of his heart, when a treacherous asp concealed
among the leaves stung her to death, and thus the immutable decree of
Allah was accomplished by the very means taken to defeat it; and the
Turks, in memory of it, call the castle Kiz Koulasi, or “the Maiden’s
Tower.”
[Illustration: T. Allom. F. Lightfoot.
MOSQUE OF SHAHZADEH DJAMESI.
CONSTANTINOPLE.]
This mosque was erected on the following occasion. The fame of Soliman
the Magnificent was stained by the murder of two of his sons, Mustapha
and Selim, by his own orders. When in an interval of peace, he directed
his attention to beautify the city, and erected the splendid edifice
which bears his name: he also ordered one to be built in 1544, to
the memory of his murdered son Mustapha, and as a mausoleum for his
remains. Thence it was named Shahzadeh Djamesi, “the mosque of the
king’s son.”
The area of this mosque, like that of many others, is open to the
public, and a mart, where fruit and various articles are sold. Our
illustration represents a scene among the groups of persons, of
frequent occurrence−-a Turkish functionary flogging a Greek fruiterer
for false weights, while the rest look on and enjoy the chastisement he
is receiving.
FOOTNOTES:
[1] The word _Islam_ is mentioned in the Koran as, “the true faith.”
It signifies, literally, “resignation.” A professor of it is called
_Moslem_, and, in the plural number, _Moslemûna_, which is corrupted,
by us, into “Mussulman.”
[2] He was lame of one leg, and hence called _Demur lenk_, which we
have corrupted into Tamerlane.
[3] The origin of this word is a subject of controversy. Some suppose
it derived from the Greek εις την πολιν, eis tēn polin, which they
used when going to the capitol. It is, with more probability, a simple
corruption of the former name. The barbarians who pronounce _Nicomedia,
Ismid_, would be likely, in their imperfect imitation of sounds, to
call Constantinople, Stambool.
[4] The fondness of the Turks for flowers was remarked by Busbequius,
in his embassy to Soliman the Magnificent, a century before−-_Turcæ
flores valde excolunt._ Busb. p. 47. He notices the _tulip_ as a flower
new to him, and peculiar to the Turks.
[5] It is, however, more generally supposed that Olympus in Thessaly
and Macedon is that designated by Homer.
[6] Exod. xxiv. 4. Joshua iv. 3.
[7] As it may be agreeable to some of our readers to know how to make
this ancient food, the following is the mode pursued by the Turks:−-A
quart of boiled milk is poured upon barm of beer, and allowed to
ferment. Of this fermentation two spoonsful are poured into another
quart of milk. When this process is repeated, the flavour of barm is
altogether lost. The yaourt thus made becomes the substance which
forms the future food without more barm. A tea-spoonful is bruised in
a vessel, and a quart of tepid fresh milk is poured upon it, and set
aside in an earthen vessel: in two hours it will be a rich, thick,
subacid fluid, covered with a coat of cream.
[8] It is supposed the Hummums in Covent Garden, whose etymology has
puzzled so many, were so called from the warm-baths they contain, first
introduced from Turkey.
[9] To this the Greek girls form an exception. Refined by education,
strongly attached to their families, and abhorrent to slavery, their
natural vivacity is overcome by their state, and they appear sad and
dejected amid the levity that surrounds them.
[10] This practice is resorted to on other occasions. When any article
is dropped into the water too minute to be discovered by the eye above,
or dragged for, a small quantity of oil is thrown upon the surface, and
rings and other trinkets have thus been recovered in a depth of ten or
twelve feet of water.
[11] “Les Grecs appellent Saint Jean Ayos Seologos an lieu d’Agios
Theologus, le Saint Theologien, parce qu’ils prononcent le theta comme
un sigma.”--TOURNEFORT.
[12] Horologia in publico haberent nondum adduci potuerunt.--BUSBEQ.
[13] Caravan Seraï, the “Merchants’ Palace.”
[14] Rev ii. 15.
[15] Acts vi. 5.
[16] 1 Tim. vi. 20.
CONSTANTINOPLE
AND THE SCENERY OF
THE SEVEN CHURCHES OF ASIA MINOR
ILLUSTRATED.
IN A SERIES OF DRAWINGS FROM NATURE
BY THOMAS ALLOM.
WITH
AN HISTORICAL ACCOUNT OF CONSTANTINOPLE, AND DESCRIPTIONS OF THE PLATES,
BY THE REV. ROBERT WALSH, LL.D.
CHAPLAIN TO THE BRITISH EMBASSY AT THE OTTOMAN PORTE.
SECOND SERIES.
FISHER, SON, & CO.
NEWGATE ST., LONDON; & QUAI DE L’ECOLE, PARIS.
[Illustration: T. Allom. S. Bradshaw.
OBELISK OF THEODOSIUS, IN THE ATMEIDAN.
Constantinople.]
This splendid ornament of the ancient Hippodrome was brought from the
Thebaïd in Egypt, and is one of those spoils which Constantine and his
successors tore from their pedestals, to enrich and adorn New Rome with
the pillage of ancient art. It was erected by the emperor Theodosius
in thirty days, by means of machinery invented for the purpose, and
of which some notice has been already taken in our description of
the Atmeidan. The Obelisk consists of a single quadrangular block of
Egyptian granite, sixty feet high, beautifully polished, and covered
with hieroglyphics, still in perfect preservation. Of all the remains
of antiquity, those of Egypt seem to be most perfect, though probably
the most ancient. The hardness and durability of the material, the
sharp and deep sculpture, and the mildness of the climate where they
were erected, confer upon them an almost undecaying permanency; and
while others of a more recent date, in the capital, appear defaced and
nearly destroyed by the ravages of time and barbarism, the Obelisk of
Theodosius is as beautiful and perfect, as when first finished by the
hands of the workmen in the remotest ages.
The base on which it stands is in strong contrast with the pillar:
originally of rude sculpture, and corroded by time, its figures and
letters are scarcely to be deciphered. It contains four compartments
on the four faces, in high relief. On the first are represented the
emperor, his wife, and sons, sitting in state on thrones. In the
second, he is receiving the homage of captive nations. In the third,
he is alone, surveying the games of the Hippodrome. In the fourth he
is holding a wreath between his sons. Portions of a Greek and Latin
inscription appear on the base, alluding to the prostrate condition
of the
pillar, the artist employed, and the time occupied in its re-erection;
but the greater part is now effaced, and covered by the soil. We give
them in their original perfect form:−-
ΚΙΟΝΑ . ΤΕΤΡΑΠΛΕΥΡΟΝ . ΑΕΙ . ΧΘΟΝΙ . ΚΕΙΜΕΝΟΝ . ΑΚΘΟϹ .
ΜΟΥΝΟϹ . ΑΝΑϹΤΗϹΑΙ . ΤΗΕΥΔΟϹΙΟϹ . ΒΑϹΙΛΕΥϹ .
ΤΟΛΜΗϹΑϹ . ΠΡΟΚΛΟϹ . ΕΠΕΚΕΚΛΕΤΟ . ΚΑΙ . ΤΟϹΟϹ . ΕϹΤΗ .
ΚΙΩΝ . ΗΕΛΙΟΙϹ . ΕΝ . ΤΡΙΑΚΟΝΤΑ . ΔΥΟ .
DIFFICILIS . QUONDAM . DOMINIS . PARERE . SUPERBIS .
JUSSUS . ET . EXTINCTIS . PALMAM . PORTARE . TYRANNIS .
OMNIA . THEODOSIO . CEDUNT . SOBOLIQ; PERENNI .
TERDENIS . SIC . VICTUS . EGO. DOMITUSQ; DIEBUS .
JUDICE . SUB . PROCLO . SUPERAS . ELATUS . AD . AURAS .
[Illustration: T. Allom. J. Sands.
THE SULTAN’S NEW PALACE ON THE BOSPHORUS.]
Among the symptoms of growing European habits and usages, which
are daily seen creeping over the metropolis of the Osmanli and its
vicinity, one of the most remarkable perhaps is the change which is
daily introduced into their public edifices, and the substitution of
a chaste and classic, for a fantastic Oriental style of architecture.
When the rude ignorant Turks first rushed among the monuments of
European art, what they did not utterly destroy, they perverted. Ionic
shafts were pierced for cannons, Corinthian capitals were rounded into
balls; and wherever they were applied to their original purpose, they
were invariably inverted; and to this day are seen everywhere Turkish
houses built with remains of Grecian temples, sculptured architraves
laid for door-steps, and pillars standing on their smaller ends with
the base uppermost, as the preferable position. “I have grieved,” said
Gillius, “not so much at the broken and prostrate monuments of ancient
art, as at the barbarous, perverted uses to which they were applied.”
The most distinguished of the kiosks of former sultans was that of
Beshiktash, on the Bosphorus, forming one of the first objects which
presents itself to a stranger ascending the strait in a caïque.
The style is very remarkable, and truly Oriental. In the centre is
an edifice with projecting roofs, and surrounded by a cluster of
similar ones, intended, it is said, to represent the original warlike
habitations of the Turcomans−-the tent or pavilion of the khan, in the
centre, and those of his officers pitched round it as in encampment:
but the present sultan, in his zeal to abolish the old and establish
a new order of things, is everywhere changing the architecture, as
well as the dress, of his subjects, and his new erections bear the
stamp of this improvement, and form strong contrasts with those of his
predecessors. His factories and founderies resemble those of Manchester
and Sheffield, and his palaces are revivals of ancient Grecian art.
On the Asiatic shore of the Bosphorus, nearly opposite to Beshiktash,
and the old palace, he has erected a new one, displaying a taste
very different from the former, and a design equal in beauty and
arrangement to any of those erected by European sovereigns. It consists
of a centre with two extensive wings. The long façade presents, not
foundation-walls of rude masonry supporting a barbarous superstructure
of wood, with windows darkened by dense blinds, like all the imperial
palaces on the opposite coast; but a Doric colonnade of marble is
approached by spacious flights of steps of the same material; these
elevate stately fronts of sculptured stone, pierced by regular open
windows, ornamented with mouldings and architraves, and surmounted
by cornices and balustrades. The centre is a superb entrance of six
Corinthian pillars, crowned by a noble pediment, enclosing a sculptured
tympanum. This central portion is the residence of the sultan; the left
wing contains the harem of his establishment, and the right the various
offices of his household. The edifice stands on a quay of hewn granite,
and forms the most noble and novel object of all the buildings that
line the shores of the Bosphorus.
The palace was commenced at the termination of the Greek revolution,
and the acknowledgment of their independence, when the sultan,
conquering the feelings of anger and vengeance, again received
them into his favour. It was observed at the time, that he showed
not only an extraordinary placability of disposition towards his
revolted subjects, altogether extraordinary in one of his character,
but conferred on them such favours, that his enemies circulated a
report that he was about to abjure the faith of Mahomet, and adopt,
among other European innovations, the religion of the Gospel. It was
remarked, that he had built his new palace near Istauros, the ancient
“city of the cross.” It had been so called because Constantine, when
he embraced Christianity, had erected here a large golden cross, to
commemorate the event of his conversion; and the sanguine Greeks did
not fail to seize on it as a proof of the same intention of the sultan,
that he chose the city of the cross as the site of his new palace, as
if to record his conversion. That nothing might be wanting, a report
at the time was circulated in the Fanal, that a large aërial cross,
like that seen by Constantine, had just appeared over the dome of Santa
Sophia--a certain indication that it was about to be purified from its
desecration, and again consecrated to the service of Christ, for which
it was originally built.
[Illustration: T. Allom. T. Higham.
A STREET IN SMYRNA.
ASIA MINOR.]
This second church of the Apocalypse is, with the exception of
Philadelphia, the only one that retains any thing of its former
consequence. Its palaces, theatres, pagan temples, and Christian
churches have passed away, but its riches, its commerce, its
population, and its extent have been probably increased; and modern
Smyrna is a more wealthy and prosperous town than either its pagan or
Christian predecessor.
It was from the earliest ages celebrated as one of the most
distinguished and frequented sea-ports of Asia Minor. It is approached
by a noble and spacious bay, penetrating deeply into the country,
expanding its capacious bosom to the Egean, and inviting the commerce
of the world. Its waters are daily ruffled by the _Inbat_, a
trade-wind, which blows with unerring regularity, morning and evening,
bearing ships in and out, so that they enter and depart with the most
perfect certainty and security; and it is a locality where the riches
of the East and West most conveniently meet together. Such permanent
characters, impressed by the hand of nature, are of every age; and
Smyrna has at all times been a great commercial emporium, as well of
the ancient as the modern world.
The founder of Smyrna is disputed; some confer the reputation of it
on Tantalus, others on the Amazons; but after various vicissitudes
of earthquake, conflagration, war, and pestilence, it was splendidly
re-edified by Alexander the Great, and became the chief of the
twelve cities of the Ionian confederacy, and distinguished for its
magnificence as well as its power. It contained temples of Jupiter,
Cybele, Apollo, and Diana, the latter more beautified, though less
extensive, than that at Ephesus. Games were periodically celebrated,
like those of Elis and Olympia; and the reputation of being a learned
people, was among the laudable ambitions of the citizens of Smyrna.
They laid claim to Homer as a native, and pointed out the cavern, on
the banks of their river Meles, where his immortal Iliad was composed,
and from hence the poet is called _Melesigenes_, and his works _Meletææ
chartæ_. The people erected statues to him, taught rhetoric in a temple
dedicated to him, and impressed his head and name upon their coins; and
of all the seven towns[1]
Which claim the poet dead,
Through which the living poet begged his bread,
the assumptions of Smyrna seem to be the best founded; but whatever
doubt may rest on Homer’s place of nativity, it is certain that Bion,
Mimnermus, and other distinguished writers, were natives of Smyrna, and
ennobled the city of their birth.
Thus distinguished as an honoured and enlightened city of the pagans,
its citizens were among the foremost that embraced the doctrines of
Christianity when proposed to them. The apostle established here one
of the seven churches; and while he denounced that “the candlestick of
Ephesus should be removed,” he exhorted the Christians of Smyrna “to be
faithful unto death, and he would give them the crown of life.” Ephesus
is no more, but Smyrna still flourishes. It was assaulted by the
Saracens, and nearly extinguished as a Christian city; it was restored
by the emperor Alexius, and greatly enlarged when it was captured by
the Turks. In the beginning of the last century it contained 28,000
persons, of whom 11,000 were Christians of the Greek, Armenian, and
Latin churches, which have their respective temples, monasteries, and
bishops. The present population is estimated at 100,000. It contains a
number of Protestants sufficient to form a congregation for religious
worship; and it is the only one of the towns of the Apocalypse in which
is established a church of the Reformation.
The city describes a semicircle, at the lower termination of its noble
bay; its site is low and alluvial, and embosomed in a range of hills.
The Franks carry on an immense trade, by exchanging the produce of the
West for that of the East. Caravans daily arrive from Persia, bringing
raw silks and drugs, and ships from Europe with cochineal, indigo,
&c.; but the most remarkable commodity in which the English trade, is
fruit. Charles II., it seems, was so fond of figs, that he directed his
ambassador, Sir T. Finch, to conclude a commercial treaty, by which two
ship-loads should be allowed for the king’s table; and under the shadow
of this, all England has since been supplied with them. The drying and
packing of these form an animated and entertaining scene in Smyrna at
the season.
The Frank quarter, which Europeans occupy, forms a spacious terrace,
or marino, along the sea-shore, ventilated by the fresh and wholesome
breath of the never-failing Inbat. The edifices in which the merchants
reside, are divided into stores and offices below, and above into
corridors and galleries which communicate with various apartments
and saloons opening on the sea, the breezes from which circulate
through them with a constant current. The Turkish quarter is perfectly
Oriental, consisting of narrow streets, with balconies projecting
one over the other till they nearly meet at top, excluding light and
air. One is given in our illustration, its dark and distant prospect
terminated by the hill of the Acropolis, and its narrow passage nearly
obstructed by a single file of loaded camels, bringing to the Frank
quarters the produce of Persia and India, to be exchanged for that of
Europe and America.
[Illustration: T. Allom. J. Redaway.
MOSQUE OF BUYUK DJAMI, SCUTARI.
ASIA MINOR.]
This epithet “Buyuk,” or great, was conferred upon it, to distinguish
it from the lesser mosques which adorn Scutari. It is known by the
smallness of its dome, and by the balcony or gallery which runs round
the outside. It stands on the edge of the water, near the scala, or
landing-place for passing caïques. Beside it is the usual fountain,
covered with the common aquatic birds, which the considerate charity of
the Turks renders so tame, that they mix undisturbed with the bustle of
the passengers. On the right is seen the distant summits of the cypress
which fill the great cemetery.
[Illustration: T. Allom. L. Challis.
FOUNTAIN NEAR THE BABU HUMMAYOUN,
OR GREAT GATE OF THE SERAGLIO.]
After climbing through various narrow, winding, steep, dark, and
dirty streets, which form the great interior of the avenues leading
through the city, the stranger emerges near the summit of one of the
seven hills; and here the town assumes somewhat of a new and spacious
character. He enters an irregular but open and extensive area, which
was the “Forum Augusti” under the Greek empire, and which the Turks
have not yet entirely choked up with narrow lanes. Here he walks
through wider, more level, and better-paved streets, and sees, almost
clustered together, the mosque of Santa Sophia, a noble kisla, or
barrack, the opening of the Atmeidan, a beautiful fountain, and the
Babu Hummayoun, or great entrance into the seraglio.
The fountain, somewhat similar to that already described, was erected
by Achmet III. in the beginning of the last century. It is crowned
with domes, and ornamented with the usual arabesque sculpture, but it
is particularly distinguished by bearing sundry poetical inscriptions
composed by the imperial builder of it.