_Antiquities_
Needless to say, the antiquities of Constantinople would take for
their description not one but many books. Archæologists will read as
well as see for themselves. Let me merely call attention to some of
the prominent archæological remains which no one will wish to miss.
They are the living memorials of the great past.
And first the Hippodrome. So much has already been said of it that
here I shall only give the barest description of what we see to-day.
And first be it noted that the space now open is probably no more than
two-fifths of the original Hippodrome. The mosque of Sultan Ahmed
encroached on the east; other buildings on the west. The area of the
ancient Hippodrome has been estimated at 25,280 square yards. The
present space is not more than 216 yards in length and 44 across.
Secondly, it must not be forgotten that the present level is about 10
feet above the original pavement. Some indication of this is given by
the fact that the bases of the columns, excavated by British officers
during the Crimean war, are still considerably below the ground
outside the railings.
[Illustration: S. SOPHIA FROM THE HIPPODROME. OBELISK IN THE
FOREGROUND]
Gyllius gives a long account of the Hippodrome as it was in his day, a
century or so after the Turkish Conquest. The Egyptian obelisk, the
Colossus, and the serpent column stood then as they stand now; but
there then remained also seventeen white pillars at the north-east,
the iron rings still fixed to the tops from which awnings were hung.
Columns, pillars, benches, remained here and there; but desolation and
ruin had already fallen upon the scene. "The Hippodrome," he wrote,
"is desolate, stripped of all its ornaments; and they have lately
begun to build upon it. At the sight of it I was filled with grief."
The Crusaders in 1204 destroyed a vast number of precious works of
ancient art which adorned the site: the destruction was completed by
the Turks. The famous bronze horses of Lysippus, which stood as
ornaments of the imperial seat, were taken to Venice after the Latin
Conquest, and stand to-day outside S. Mark's.
We see now only a great open space, thick in dust, from which rise
three striking monuments. At the north-east, whence we enter from S.
Sophia, is the Egyptian obelisk. This was brought from Heliopolis by
Theodosius, and was erected in the position which it has ever since
retained. He placed it upon a pedestal of marble and granite, upon
which are elaborate reliefs of the fourth century, representing scenes
in the Hippodrome. On the north are the bringing the obelisk to the
Hippodrome and the placing it in position, and above it a
representation of the imperial family watching the games, Theodosius
in the midst, with Honorius and Arcadius and attendants, with the
Labarum, the ensign of the Eastern Empire, above. On the west is a
Greek inscription recording the difficulty of the erection; a
corresponding Latin one is on the east. It may be worth while to give
the verse translation of the old translator of Gyllius:
"To raise this four square pillar to its height,
And fix it steady on its solid base,
Great Theodosius tried, but tried in vain.
In two and thirty days, by Proclus' skill
The toilsome work, with great applause, was done."
Above the Greek inscription on the west side are other representations
of the spectators at the games, including the Empress. The south side
gives a chariot race round the low wall (spina), which divided the
Hippodrome in the midst and on which the monuments stood. Above is
another representation of the imperial family in their Kathisma. On
the east, above the Latin inscription, are shown two rows of
spectators, the Emperor in the upper, with a wreath for the winner of
the race. The sculptures are worth the closest attention, as they are
among the finest remains of the fourth century that we possess. The
minuteness of the detail, in the representation of the persons with
their official garb, is of the greatest historical interest.
A few paces further on is the famous Serpent column (see above, p.
11). Nothing in Constantinople, perhaps in the world, has such a
history. The three heads have long disappeared: one is in the Museum.
When they were taken away is doubtful. Tradition makes Mohammed cut
off one on the day of the conquest; but Gyllius certainly speaks as if
they were still intact in his day. "Made of brass, not fluted," he
says of the pillar, "but wreathed around with the foldings of three
serpents like those we see in great ropes. The heads of these serpents
are placed in a triangular form and rise very high upon the shaft of
the pillar." The column removed from Delphi by Constantine bore, at
its first making, the golden tripod which the Greeks consecrated to
Apollo after the victory over Xerxes at Plataea. The names of the
cities inscribed on the coils may still be traced in fragments. Canon
Curtis, in "Broken Bits of Byzantium," part ii., gives tracings of
five of them.
[Illustration: BAS-RELIEF FROM BASE OF THE OBELISK IN THE HIPPODROME,
SHOWING THE IMPERIAL BOX DURING THE PERFORMANCE OF A BALLET]
Further on, and nearest to the Museum of the Janissaries, is the
Colossus, which is more than half as high again as the obelisk. It
rests upon a base with three steps. It was once covered with brazen
plates riveted with iron pins. In the time of Gyllius it was already
"despoiled of its outward beauteous appearance, and discovers only the
workmanship of its inside, as having felt the effects of the avarice
and rapine of the barbarians." All the columns were, during the days
of the Empire, regarded as great treasures. The obelisk was restored
by Constantine Porphyrogenitus.
These are the most important of the monuments. But four others need
mention. The Column of Constantine, of porphyry bound together by
bronze rings, stands in a prominent position at the summit of the
second hill, a short distance from the Hippodrome. It was
Constantine's own special memorial of his foundation of the city, and
it was yearly the scene of a solemn service of thanksgiving conducted
by the patriarch in the presence of the emperor. It was in the main
street of Byzantium, and every public ceremonial was in some way
connected with it. Damaged in the eleventh century, it was restored by
Manuel Comnenus (1143-1180), whose inscription marks the marble which
he placed at the top of the column. It has constantly suffered from
fire, and well deserves its common name of the burnt column.
While the column of Constantine is one of the prominent monuments in
the city, there are three others much more rarely seen. The column of
Theodosius is, happily safe in the Seraglio garden. Its inscription
FORTUNAE
REDUCI OB
DEVICTOS GOTHOS
may refer to victories of Theodosius in 381, but more probably carries
us back as far as the time of Claudius Gothicus and the battle of
Nissa, 269. It is fifty feet high, and is said to have supported a
golden statue of Theodosius. According to legend a pillar-saint lived
on it for twenty years. Certainly it was used for a grimmer purpose,
for the Latins in 1204 dashed from its summit the usurper Alexius
Mourtozouphlos.
The column of Marcian, not far from the Etmeidan, where the
Janissaries were destroyed, is hard to find; it is in a garden
belonging to a Turkish private house. It is of granite with a marble
capital. The column of Arcadius, of which only the base remains, is at
Avret Bazar on the seventh hill.
Next to the columns the most interesting antiquities are the aqueducts
and cisterns. The aqueduct of Valens, built in 366 of stone from the
walls of Chalcedon, is a conspicuous object in the view from the hill
of Pera. It has been constantly repaired and restored, and it still
carries water. It now extends from near the east of the mosque of
Mohammed II. very nearly to the Seraskerat. The way from the mosque
back to the bridge passes under it, and gives a good view of its
construction and its picturesque, overgrown, half-ruined state. This
and the other aqueducts (one of which may be seen near Edirnè
Kapoussi) brought water from the distant hills, which was stored in
vast cisterns, many of which still remain. Three at least are worth a
visit. The most beautiful are the work of Philoxenus; and chief is
that which the Turks call Yeri Batan Serai--the underground
cistern--but more generally known is that fancifully called Bin Bir
Derek, cistern of 1001 columns. I may repeat what I have said of them
elsewhere.[66]
"The latter is now empty, and the sixteen rows of fourteen columns
each can be closely examined. It has been considered as exhibiting
'the highest development of the art of cistern building,' and thus 'in
its particular sphere' resembling S. Sophia; 'like it the boldness of
the construction was never again equalled by the Byzantines.'[67] The
capitals are not as a rule highly ornamented, but some have monograms
which are repeated in S. Sophia. Impressive though this great building
is, it is not nearly so striking as the awful gloom of the Yeri Batan
Serai (the Underground Palace)--the Basilike. There seems little doubt
that this is the cistern alluded to by Procopius,[68] as made by
Justinian under the Portico of the Basilica. 'It is still in perfect
preservation, with the entire roof intact; its three hundred and
thirty-six columns, twelve feet apart, arranged in twenty-eight
symmetric rows, stand each in place, crowned by a finely wrought
capital; it still serves its original purpose, supplying water from
the aqueduct of Valens in as copious measure as of old.'[69] The
capitals here are elaborately carved, in endless variety, and in the
very finest style of the age. Darkness, immensity, and the colossal
size of the columns seen in the flickering torchlight, make this one
of the most impressive memorials of the sixth century. It is below
ground what S. Sophia is above."
They both belong, as Forchheimer and Strygowski have incontestably
shown, to the age of Justinian. The capitals of the columns of the Bin
Bir Derek are much plainer than those of the Yeri Batan Serai.
Strygowski thinks that there the new impost capital was first used.
"It is of the widest significance for the history of Byzantine art
that here throughout the new 'impost capital' is employed in its
plainest constructive form. It seems not improbable that the daring
builder of the cistern was the first to make use of this form of
capital, which completely broke with classical tradition, and is in
such perfect accord with the exigencies of arch-architecture." But the
analysis of the varieties of capital made by Lethaby and Swainson
shows that the impost capital had probably been in use some years
before the building of the Bin Bir Derek.
The descent through a trap door and some worn steps from the
stableyard of a Turkish house into the Yeri Batan Serai, lighted by a
torch extemporised of sacking steeped in naptha, and wrapped round a
pole, is an exciting experience. As you look out into the darkness you
do not wonder that weird stories have grown up around its recesses, or
that Gyllius who discovered it has a strange experience to record.[70]
"Through the Carelesness and Contempt of everything that is curious in
the Inhabitants, it was never discover'd, but by me, who was a
Stranger among them, after a long and diligent Search after it. The
whole Ground was built upon, which made it less suspected there was a
Cistern there. The People had not the least Suspicion of it, although
they daily drew their Water out of the Wells which were sunk into it.
I went by Chance into a House, where there was a Descent into it, and
went aboard a little Skiff. The Master of the House, after having
lighted some Torches, rowing me here and there a-cross, through the
Pillars, which lay very deep in Water, I made a Discovery of it. He
was very intent upon catching his Fish, with which the Cistern
abounds, and spear'd some of them by the Light of the Torches. There
is also a small Light which descends from the Mouth of the Well, and
reflects upon the Water, where the Fish usually come for Air. This
Cistern is three hundred and thirty six Foot long, a hundred and
eighty two Foot broad, and two hundred and twenty four Roman Paces in
Compass. The Roof, and Arches, and Sides, are all Brickwork, and
cover'd with Terrass, which is not the least impair'd by Time. The
Roof is supported with three hundred and thirty six Marble Pillars.
The Space of Intercolumniation is twelve Foot. Each Pillar is above
forty Foot nine Inches high. They stand lengthways in twelve Ranges,
broadways in twenty-eight. The Capitals of them are partly finish'd
after the Corinthian Model, and part of them not finish'd. Over the
Abacus of every Pillar is placed a large Stone, which seems to be
another Abacus, and supports four Arches. There are abundance of Wells
which fall into the Cistern. I have seen, when it was filling in the
Winter-time, a large Stream of Water falling from a great Pipe with a
mighty Noise, till the Pillars, up to the Middle of the Capitals, have
been cover'd with Water. This Cistern stands Westward of the Church of
St. Sophia, at the Distance of eighty Roman Paces from it."
One other cistern at least is worth a visit. It is that which is
approached from the outside of the Church of the Studium at its east
end. It was originally the cistern of the monastery. It is now dry and
filled with hay. It has a splendid vaulted roof and twenty-five
columns with beautifully carved Corinthian capitals.
As one wanders through the streets many remains of Byzantine building,
even in the parts that have been almost entirely rebuilt by the Turks,
are to be seen. There is one especially notable in the long street
that leads to Top Kapoussi (the gate of S. Romanus). The great
Imperial Palace about which antiquaries have waged so fierce a fight,
has left not one stone upon another; so I will not rashly utter my own
opinion of the evidence as to its site. Remains of only two of the
Byzantine palaces are now to be found. The first is the surely falling
wall which arrests attention as the traveller by the sea of Marmora
follows the course of the sea walls before rounding the point. It is
close to the Church of S. Sergius and S. Bacchus, and the
identification of it with the house of Hormisdas purchased by
Justinian, and afterwards enlarged by him, may be regarded as certain.
It is the "palace of the King, which was formerly called by the name
of Hormisdas," of which Procopius says that it was once Justinian's
private house, "and when he became Emperor he made it look worthy of a
palace by the magnificence of its buildings, and joined it to the
other imperial apartments."[71]
It was here that Justinian was living when he had determined to fly,
crossing the sea to Chalcedon, and that Theodora made her heroic and
historic speech (see p. 33). Now but a single wall remains. Some
capitals are strewn in the sea near it. A water gate, with an
inscription evidently referring to the Nika sedition, was still
standing a few years ago. Canon Curtis told me of its interest in
1896: I searched for it, but it had absolutely disappeared. The
solitary wall will probably soon follow it.
[Illustration: THE PALACE OF THE PORPHYROGENITUS]
The other palace is one about which the most extraordinary mistakes
have been made. It is that which the Greeks call the house of
Belisarius and the Turks Tekfûr Serai. It is an oblong building of
three stories, facing north and south, and placed between the two
walls which descend from the Xylokerkon Gate (Kerko-Porta), at which
the Theodosian walls end, towards the Golden Horn. Gyllius believed
this to be the famous palace of the Hebdomon, and nearly all the
antiquaries have followed him. Professor Bury, among historians, had
shown the impossibility of this identification; but it has remained
for Professor van Millingen conclusively to show it to be the palace
of the Porphyrogenitus. It was here that Andronicus III. resided in
1326 when Andronicus II. was at Blachernae. It was here that John
Cantacuzene was in 1347 when he negotiated with the Empress.
Architectural authorities differ as to its date. Some have placed it
as early as Theodosius II., but it much more probably belongs to the
tenth century and to the work of Constantine Porphyrogenitus. It is
clearly later than the sixth century work of the palace of Hormisdas,
being much more elaborate both in design and in decoration. The
evidence for the identification is thus given by Professor van
Millingen.[72]
"The evidence for the proper Byzantine name of Tekfûr Serai, occurs in
the passage in which Critobolus describes the positions occupied by
the various divisions of the Turkish army during the siege of 1453.
According to that authority, the Turkish left wing extended from the
Xylo-Porta (beside the Golden Horn) to the Palace of the
Porphyrogenitus, which was situated upon a slope, and thence to the
Gate of Charisius (Edirnè Kapoussi). The site thus assigned to the
Palace of the Porphyrogenitus corresponds exactly to that of Tekfûr
Serai, which stands on the steep ascent leading from Egri Kapou to the
Gate of Adrianople."
Of the other palaces practically no remains exist. A few stones of
Blachernae may be built into houses or walls on its site. Two lions
from the Boukoleon, of which Anna Comnena speaks, stand in the
gardens of the old Seraglio not far from Chinili Kiosk.[73] I know
nothing else which belongs to any house of the Christian Emperors.
All these treasures of antiquity are still exposed to the sky; but
those preserved in the Museum make it one of the finest in the world.
The Turks have awoke to the fact that the lands most fruitful in
archæological remains are now in their hands, and Hamdy Bey, the
director of the imperial museum, has with indefatigable industry and
admirable judgment made a magnificent collection of antiquities in the
two buildings under his charge.
In the _annexe_, which is first visited on the upper floor, there are
several collections--a magnificent series of old Oriental carpets said
to have belonged to Ahmed I., two chairs, of Selim I. and Ahmed I.,
some exquisite Turkish and Persian pottery of various dates, and some
extremely fine glass. In the other room (right, first floor) are cases
containing Assyrian and Babylonian cones and Hittite inscriptions,
including the famous record of Sennacherib's expedition against
Hezekiah. There is also a less interesting collection of Egyptian
antiquities, and, of course, several mummies. The ground floor
contains the splendid collection of sarcophagi, superior to any in the
world. They form an uninterrupted series from the Ionic art to that of
the Byzantines. The most ancient are the three sarcophagi of
terra-cotta from Clazomene, near Smyrna, which with the two at the
Louvre are the only complete monuments of the archaic period. Greek
art of the fifth and fourth centuries B.C. is represented by the
famous sarcophagi found at Sidon, known as the Satrap, the Mourners,
Alexander's and the Lycian. To the same centuries and the third
belong a considerable number of sarcophagi. The Greco-Roman style is
represented by two sarcophagi which represent the story of Hippolytus.
Of the many Byzantine sarcophagi--to which ought certainly to be added
those now outside S. Irene--the most beautiful, besides those called
after Constantine and S. Helena his mother, is the No. 100 with the
monogram of Christ.
The most splendid part of the collection is that which was unearthed
in Phœnicia and chiefly near Sidon by Hamdy Bey from 1887 onwards.
The Satrap--representing an oriental potentate in life and in
death--is of Parian marble, and was originally painted, and is in the
Ionian style. Close by it was found the beautiful Mourners, an
exquisite series of weeping women, which belongs to Attic art. The
glorious "sarcophagus of Alexander," which represents the Macedonian
fighting with the Persians, and hunting, is alone worth a visit to
Constantinople to see. It is the work of a contemporary of Lysippus,
fourth century B.C., and is one of the very finest examples we possess
of ancient art. There is another sarcophagus which evidently copies
the frieze of the Parthenon.
Then there is the Egyptian-like tomb of Tabnith, King of Sidon. But it
would be absurd to try and describe, or still more to criticise, these
splendid examples of ancient art in a little book like mine. The
excellent catalogues sold at the museum are well worth buying. Here
and in Chinili Kiosk, the oldest piece of Turkish house-building in
Constantinople, which contains the rest of the collection, are
treasures of every period of art. Among the inscriptions are the
famous _stele_ from the temple of Jerusalem, and the Siloam
inscription. There are exquisite examples of ancient glass and pottery
and bronzes, among them the head of one of the serpents from the
column. Among the statues are the great Hadrian from Crete, and the
head and torso of Apollo, and the Nero, both from Tralles. There are
two curious pieces of mosaic, but otherwise very little that is of
late Byzantine work.
The museum, with its treasures scattered about the rooms and in the
gardens, as yet hardly half known and studied as they deserve, may not
unfitly serve to represent the endless interests of the great city,
its associations with every phase of the historic life of East and
West. But the fascination of the imperial city which lies "betwixt two
seas" lies in something besides her history. And the poets have known
it.
"Dans un baiser, l'onde au rivage
Dit ses douleurs;
Pour consoler la fleur sauvage,
L'aube a des pleurs;
Le vent du soir conte sa plainte
Au vieux cyprès,
La tourterelle au térébinthe
Ses longs regrets.
"Aux flots dormants, quand tout repose,
Hors la douleur,
La lune parle, et dit la cause
De sa pâleur.
Ton dôme blanc, Sainte-Sophie,
Parle au ciel bleu,
Et, tout rêveur, le ciel confie
Son rêve à Dieu.
"Arbre ou tombeau, colombe ou rose,
Onde ou rocher,
Tout, ici-bas, a quelque chose
Pour s'épancher ...
Moi, je suis seule, et rien au monde
Ne me répond,
Rien que ta voix morne et profonde,
Sombre Hellespont!"
[Illustration: SARCOPHAGUS FROM THE ROYAL MAUSOLEUM AT SIDON
_The Carving is copied from the Frieze of the Parthenon_]
FOOTNOTES:
[66] _Church of the Sixth Century_, pp. 298-301.
[67] Forchheimer and Strygowski (quoted by Lethaby and Swainson, p.
248).
[68] _De Ædif._, i. 11.
[69] Grosvenor, _Constantinople_, vol. i., p. 399.
[70] Ball's _Translations_, 1729, pp. 147-8.
[71] _De Aedif._, i. 4.
[72] _Walls of Constantinople_, pp. 109, 110.
[73] I must here admit that in the _Church of the Sixth Century_ I
wrongly suggested that these lions came from outside S. Sophia.
Further study convinced me of my error.
INDEX
A
AGATHIAS, 36, 37, 38, 46.
AKOIMETAI, the, 26, 233.
AMBASSADORS, 193-197, 283.
ANEMAS, 101, 287, 288.
ANNA COMNENA, 85, 90, 94-96, 97, 265, 287.
ANTHEMIUS, the wall-builder, 18, 22, 23, 277, 278.
ANTHEMIUS of Tralles, 36, 38, 39, 242, 248, 256.
AQUEDUCTS, 15, 67, 326.
ATMEIDAN, the, 180, 181, 211, 320-325.
B
BALUKLI, 40, 77, 127, 283, 284.
BAPTISTERIES of S. Sophia, 261.
BELISARIUS, 7, 32, 33, 41, 45.
BLACHERNAE Palace and Quarter, 7, 8, 55, 69, 71, 94, 97, 99, 109,
122, 142, 288, 331.
BUCOLEON Palace, 331.
BURY, Professor, 31, 52, 57, 61, 62, 63, 64, 73, 200.
BYZANTIUM, 3, 4, 325.
C
CHURCH of S. Anastasia, 16.
---- The Chora, 262-264, 286.
---- S. George (Armenian), 268.
---- The Holy Apostles, 231, 285, 292.
---- S. Irene, 7, 8, 12, 28, 33, 35, 38, 57, 111, 234-236, 241,
311, 312.
---- S. John of the Studium, 28, 38, 39, 120, 189, 233-249, 276,
280.
---- S. Mary at Balukli, 40, 265.
---- S. Mary Mouchliotissa, 155, 268, 274.
---- S. Mary Pammakaristos, 155, 264, 265.
---- S. Peter and S. Mark, 265, 268, 273.
---- S. Saviour Pantokrator, 130, 264, 266, 267.
---- S. Sergius and S. Bacchus, 38, 239-241, 276.
---- S. Sophia, 1, 7, 8, 32, 33, 34, 35, 36, 37, 38, 40, 45, 47,
57, 67, 76, 84, 87, 93, 111, 112, 114, 116, 118, 119, 120, 130,
148, 149, 150, 151, 152, 185, 189, 190, 230, 235, 241-262, 270,
291, 327.
---- S. Thekla, 38, 236, 264, 273.
---- S. Theodore Tyrone, 38, 239.
---- S. Theodosia, 62, 264, 265, 266.
CISTERNS, 326-329.
COLOSSUS, the, 320, 325.
COLUMN of Arcadius, 326.
---- of Claudius Gothicus, 6, 325, 326.
---- of the Colossus, 320, 325.
---- of Constantine, 325.
---- of Marcian, 326.
---- of the Serpent, 6, 8, 11, 153, 320, 324.
---- of Theodosius, 323, 324.
COUNCILS of the Church, 12, 17, 22, 25, 45, 46, 51, 63, 64, 87,
123, 129, 259.
CURTIS, Rev. C. G., 39, 324.
D
DANDOLO, Henry, 108, 109, 110, 119, 259.
DOLMA BAGTCHÉ, 144, 220, 313, 317, 318.
DUCAS (historian), 141, 151.
E
EMPERORS (_only the more important
are here given, as the
rest will be found mentioned
in their chronological order_).
---- Alexius I. Comnenus, 92, 93, 94, 95, 96, 97, 236, 265, 287, 288.
---- Alexius II. Comnenus, 100, 101, 277.
---- Alexius III. Angelus, 103, 104, 108, 110, 119.
---- Alexius IV. Angelus, 108, 109, 110, 111, 112, 113.
---- Alexius V. Mourtozouphlos, 112, 113, 114, 119.
---- Arcadius, 19, 22.
---- Anastasius I., 26, 27.
---- Andronicus I. Comnenus, 101, 277.
---- Andronicus II. Palæologus, 122, 123.
---- Basil I., the Macedonian, 72, 277, 280, 283.
---- Basil II. Bulgaroktonos, 80, 81, 279, 280.
---- Baldwin I., 118, 119.
---- Baldwin II., 120, 122.
---- Constantine I., 6, 7, 8, 11, 12, 13, 14, 15.
---- Constantine IV., 51, 52.
---- Constantine V. Copronymus, 57, 62, 65, 280.
---- Constantine VII. Porphyrogenitus, 73, 74, 75, 79, 325.
---- Constantine IX., 80, 279.
---- Constantine XI., 91.
---- Constantine XII., Palæologus, 52, 129, 130, 137-153, 287.
---- Heraclius, 49, 50, 51, 66, 67, 107, 280, 286, 288.
---- Isaac I. Comnenus, 86, 87, 88, 89, 90, 103, 233.
---- Isaac II. Angelus, 101, 102, 103, 104, 108, 110, 111, 113, 287.
---- John I. Tzimisces, 77, 78, 79, 80, 81, 280.
---- John II. Comnenus, 89, 90, 266.
---- John V. Cantacuzene, 125, 126, 132.
---- John VI. Palæologus, 126, 127, 128, 251, 276.
---- John VII. Palæologus, 128, 129.
---- Jovian, 14.
---- Julian, 13, 14, 16.
---- Justin I., 27, 28.
---- Justin II., 47, 48, 66.
---- Justinian I., 11, 29, 30, 32, 33, 34, 35, 36, 37, 38, 39, 40,
41, 42, 43, 44, 45, 46, 47, 48, 107, 114, 231, 233, 240, 241,
275, 284, 289, 327, 330.
---- Justinian II., 52, 55, 275.
---- Leo I., 280.
---- Leo III., the Isaurian, 52, 55, 56, 57, 59, 61, 265.
---- Leo V., the Armenian, 68, 69, 280, 286, 288.
---- Leo VI., the Wise, 73, 272.
---- Manuel I. Comnenus, 98, 99, 100, 286, 325.
---- Manuel II. Palæologus, 127, 128.
---- Marcian, 25, 280.
---- Maurice, 30, 48, 49, 131.
---- Michael I. Rhangabe, 68.
---- Michael II., 69.
---- Michael III., 69, 70.
---- Michael IV., 82.
---- Michael VII. Palæologus, 121, 122, 123, 266, 273, 280.
---- Nicephorus I., 68.
---- Nicephorus II. Phocas, 74, 75, 76, 90, 280.
---- Phocas, 48, 49, 280.
---- Stauricius, 68.
---- Theodosius I., 15, 16, 17, 18, 19, 50.
---- Theodosius II., 18, 21, 22, 23, 24.
---- Theophilus, 68, 280.
---- Theodore I. Lascaris, 119.
---- Valens, 14, 15, 68, 327.
---- Zeno, 25.
EMPRESS Eudocia, 19, 20.
---- Irene, 63, 64.
---- Theodora, 81, 83, 84, 85, 155.
---- Theodora (wife of Justinian), 29, 33, 34, 240, 241, 259, 285,
330.
---- Zoe, 81, 82, 83, 84.
"EOTHEN," 225, 226.
ETMEIDAN, the, 180, 211, 326.
EVAGRIUS, 251, 252.
F
FOUNTAINS, 306-308.
G
GALATA, 3, 109, 138, 143, 144, 154, 186, 222, 225, 268, 269, 274.
---- Bridge of, 225, 317.
GATES, Adrianople, 7.
---- Aivan Serai, 236, 273.
---- Aya Kapou, 62, 265, 274.
---- Bâb-i-Humayûn, 201, 307, 312, 313.
---- Balat Kapoussi, 273.
---- S. Barbara, 275.
---- Charisius (Edirnè), 92, 102, 138, 149, 286, 326.
---- Golden Gate (Porta Aurea), 1, 39, 50, 51, 78, 79, 114, 125,
266, 272, 278.
---- Hodegetria, 126.
---- Kerko-Porta, 150, 286.
---- Kiliomené, 236, 265.
---- Kontoscalion (Koum Kapoussi), 73, 122, 239, 276.
---- Narli Kapoussi, 99, 276.
---- Orta Kapou, 186, 312, 313.
---- Pegé (Selivria), 120, 127, 283.
---- Phanar, 113, 273.
---- Psamatia, 7.
---- Rhegium (Yeni Mevlevi Haneh), 284.
---- S. Romanus (Top Kapoussi), 110, 127, 135, 138, 142, 145, 147,
150, 151, 285, 329-330.
---- Xylo-porta, 109, 273, 288.
---- Yali Kiosk (Gate of Eugenius), 274.
GAUTIER, Theóphile, 156, 215, 336.
GENNADIOS (patriarch), 155, 156.
GIBBON, 3, 4, 5, 12, 17, 52, 64, 73, 145, 148, 149, 285.
GIUSTINIANI, 80, 98, 122, 124.
GOTHS, the, 23, 289.
GOZZOLI, Benozzo, 129.
GREGORIOS (patriarch), 206, 209.
H
HEBDOMON, 280, 331.
HILLS, the seven, 6, 7.
HIPPODROME (or Circus), its history, 6, 8, 23, 24, 30, 31, 33, 34,
42, 47, 48, 75, 91, 99, 102, 117, 153.
---- its present condition, 320-324.
HUNS, the, 43, 289.
I
ICONOCLASM, 57-64.
INSCRIPTIONS, 24, 99, 273, 279, 280, 284, 288, 324, 325.
J
JANISSARIES, the, 131, 135, 149, 158-164, 171, 180, 181, 186, 196,
199-205, 209, 302, 311, 312.
K
KUPRILI, Viziers, the, 186-188.
L
LETHABY and SWAINSON, _Sancta Sophia_, 243, 255, 256, 259, 261, 327.
LIUDPRAND, 75, 76, 77, 78.
M
MARBLE TOWER, 6, 277.
MICHAEL CERULARIUS, patriarch, 85, 86, 87, 90.
MOSAICS (_see_ S. Sophia, S. Irene, the Chora, etc.).
MOSQUES (_see_ also under churches).
---- Ahmediyeh, 7, 189, 291, 298, 301, 302, 303, 309, 320.
---- Bayezidiyeh, 7, 302, 303.
---- Gül (Rose), 39, 266.
---- Laleli (Tulip), 303, 304.
---- of Mohammed II., 7, 189, 226, 231, 292, 295, 298.
---- Shahzadeh, 303, 304.
---- Suleimaniyeh, 7, 153, 170, 180, 196, 197, 291, 295, 296, 298,
303.
---- Yeni Valideh, 105, 274, 303, 304, 305, 309.
MUSEUM, 332-336.
N
NIKA insurrection, 31, 32, 276.
O
OBELISK of Theodosius, 323, 324.
OMAN, Mr C. W., 143.
P
PALACE of Justinian (House of Hormisdas), 41, 276, 330.
PALACE of the Porphyrogenitus ("House of Belisarius") Tekfûr
Serai, 7, 18, 41, 149, 286, 330-332.
PALACES, the Turkish, 310-319.
PAUL the Silentiary, 255, 256.
PAUSANIAS, 3.
PERA, 3, 8, 54, 203, 222, 225, 268, 269.
PHOTIUS, patriarch, 86, 87.
PHRANTZES, 129, 141, 145, 149, 285, 287.
PROCOPIUS, 29, 40, 41, 43, 46, 167, 239, 240, 242-251, 276, 284,
327, 330.
PSELLUS, 78, 81, 82, 85, 86, 87, 89.
R
RIANT, Count, 115, 116.
ROXELANA, 168, 169, 170, 176, 297, 303.
RYCAUT, Sir Paul, 184-186.
S
S. ATHANASIUS, 12.
S. BASIL, 16.
S. GREGORY the Great, 49, 241.
S. GREGORY of Nazianzus, 16, 17, 36, 46.
S. GREGORY of Nyssa, 15, 16.
S. JOHN CHRYSOSTOM, 19, 20, 21, 22, 23, 119.
S. THEODOSIA, 62.
SANDYS, _Travels_, 159-162.
SARACENS, the, 51, 56, 76, 111, 115.
SELAMLIK, the, 107, 318, 319.
SERAGLIO, the old (_see_ palaces).
SERAGLIO Point, 6, 272, 275.
SIEGES, 51, 56, 71, 92, 100, 108-118, 126, 127, 128, 135.
STRATFORD DE REDCLIFFE, Lord, 203, 205, 211-213, 216-220.
SULTANS, Abdul Hamed I., 198, 199.
---- Abdul Hamed II., 221, 318, 319.
---- Abdul Aziz, 220, 221, 306, 317.
---- Abdul-Mejid, 217-220, 251, 310, 312, 317.
---- Ahmed I., 178, 179, 307, 308, 316, 320.
---- Ahmed II., 188.
---- Ahmed III., 188, 197.
---- Bayezid I., 127, 134, 137.
---- Bayezid II., 164, 302.
---- Ibrahim, 183, 184.
---- Mahmûd I., 197, 305.
---- Mahmûd II., 199-218, 295, 302, 305, 306, 316.
---- Mohammed I., 135.
---- Mohammed II., 129, 131, 134, 136-138, 141-157, 163, 164, 167,
231, 273, 283, 285, 289, 291, 292, 295, 310, 316.
---- Murad I., 127, 129, 133.
---- Murad II., 135, 136, 260.
---- Murad III., 175, 176, 177, 260, 265.
---- Murad IV., 180, 181, 314, 316.
---- Murad V., 221.
---- Mustafa I., 179, 261.
---- Mustafa II., 188-197, 305.
---- Orchan, 131-133.
---- Osman I., 131.
---- Osman II., 179.
---- Selim I., 164, 165, 303, 304.
---- Selim II., 171, 172, 175, 260.
---- Selim III., 199, 201, 304, 314.
---- Suleiman I., 165-171, 178, 197, 265, 303. (_See_ also
Suleimaniyeh.)
---- Suleiman II., 187.
T
TOP-HANEH, 109, 144, 185, 304, 317, 318.
TÜRBEH at Eyûb, 289.
---- of Mahmûd the Reformer, 305, 306.
---- of Mohammed the Conqueror, 295.
---- of Roxelana, 170, 297.
---- of Selim II., 307.
---- of Suleiman, 296, 297.
TURKS, first appearance in history, 130.
V
VARANGIANS, 90, 91.
W
WALLS of Constantine, 7, 8.
---- Heraclius, 50, 109, 286, 288.
---- Leo the Armenian, 68, 69, 288.
---- Manuel Comnenus, 99, 109, 286.
---- Theodosius II., 18, 109, 135, 272, 277, 286.
WORTLEY-MONTAGUE, Lady Mary, 190, 193-197, 305.
Y
YILDIZ-Kiosk, 221, 318.
Z
ZACHARIAH of Mitylene, 34.
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