Herodotus came to admire

The picturesque cemetery, shaded by oaks, on the hill above the Genoese Castle, overlooking the entrance to the Black Sea, a view that Darius I. and Herodotus came to admire, is also named “The Field of Witnesses,” because there, it is supposed, Saracen soldiers who fell in an attack upon the castle were buried. Such cemeteries are holy ground, and sepulture in them is regarded as a great honour. The attendance of the Sultan at the midday public prayers on Fridays is the official act of the Caliph of the Mohammedan world. He ascends the throne after girding his sword at the grave of the first standard-bearer of the Prophet, in the Mosque of Eyoub.

The mantle of the Prophet, his green standard, his staff, sword, bow, are enshrined in the Seraglio as the sovereign’s regalia, and are annually visited by the Sultan as a great State function. Around that standard all true Moslems must rally when Islam is in peril. No great act of Government may be performed until the chief doctor of the Sacred Law, the Sheik – ul – Islam, has been consulted, and sanctions the act, as in accordance with the supreme authority of faith and righteousness. Sultan Abdul Azis and his nephew, Sultan Murad, were deposed only after such sanction had been obtained.

Brought up as Moslems

Upon this theocratic conception of the State, the exclusion of the Christian subjects of the Empire from the army is based. For, how can aliens in religion be enlisted under the banner of the Faith? Hence the institution of the janissaries in the early history of the Ottoman Power, whereby children of Christian parentage were taken from their homes and brought up as Moslems, to furnish recruits for the army. It was an ingenious device to maintain the religious character of the military force of the Empire, and yet to prevent the burden of filling the ranks from resting exclusively upon the faithful. The abolition of the child-tax, however fortunate to others, proved a great injury to Turkey.

It not only deprived the Sultans of their finest troops, but has been one of the principal causes of the great decrease in the Moslem population of the country; as that class of the community alone has since been called to sustain the losses involved in military service. The mortality among the soldiers of the Turkish army from disease and war is so great that the Moslem population is rapidly dying out, and well-informed medical experts are heard to say, “ The Eastern Question will be solved by the disappearance of the Turks in the natural course of things.”

Artistic elements borrowed from Nineveh

AMONG THE CHURCHES

BUT however interesting the old churches of the city are as historical landmarks, however useful as a clue to guide us through the labyrinth of the life of New Rome, their supreme value after all consists in the fact that they are monuments, one of them the finest monument, of what is styled Byzantine Art — the art’ which blended artistic elements derived from Greece and Rome with artistic elements borrowed from Nineveh, Persia, Syria, and unfolded a new type of beauty. It was the flower developed by that fusion of Western and Oriental aesthetic ideals and tastes resulting from the long intercourse maintained between Europe and Asia, sometimes at the point of the sword, and sometimes by the peaceful ministries of commerce.

Nowhere could that Art find a more congenial atmosphere in which to flourish than in the city which binds the West and the East together. Like all else in the world, Byzantine Art was not a sudden creation, independent of all antecedents, unheralded by previous analogous forms. The dome was reflected in the waters of the Tigris and of the Tiber before it was mirrored in the Bosporus.

Columns were bound together by arches instead of by a horizontal entablature, in the Palace of Diocletian at Spalato, before they were so united in the Sacred Palace beside the Hippodrome of Constantinople. Walls glistening with variegated marbles, marble floors glowing with colours that vied with meadows in flower, mosaics radiant with the hues of the rainbow, had adorned homes and made palaces beautiful before the witchery of such coloration cast a spell over the courtiers of Justinian, or suffused the light in S. Sophia.

Even the pendentive that fills the triangular space between two contiguous arches at right angles to each other, so characteristic of Byzantine architecture, is claimed to be an earlier device in domical construction. Be it so. In one sense, there is nothing new under the sun. The new grows out of the old, the present is the product of the past And yet, while a new order of things must spring from an old order, it is not the bare repetition of what has been; while it must employ materials shaped originally for the use of other days, it is not the mechanical combination of those materials.

Beautiful Gate

On the 29th or 80th of May 1458, Sultan Mehemet the Conqueror alighted from his horse at the gate of S. Sophia. It was most probably at the “ Beautiful Gate,” at the southern end of the noble inner narthex of the church, the entrance through which the Emperors of Constantinople usually proceeded to the cathedral. According to one account, the Sultan stooped down at the threshold, took some earth, and scattered it on his head in token of humiliation before God.

Entering, he saw a Moslem breaking the marble pavement. He struck at the vandal with a scimiter for daring to injure a building that belonged of right to the sovereign. Then, in what to the Eastern world was the Holy of Holies of Christendom, an imaum ascended the pulpit and cried aloud, “ There is no God but God, and Mahomet is His prophet” And so it has been ever since.

The Church of S. Saviour Pantepoptes, the All- Seeing (Eski Imaret Djamissi), the Church of S. Saviour Pantocrator, the All-Powerful (Zeirek Kiliss£ Djamissi), and the interior of S. Saviour-in- the-Chora (Kahriyeh Djamissi), recall the period of the Comneni and the Angeli (1081-1204).

In their erection ladies of considerable importance in the history of Constantinople had a part. The first was built by Anna Dalassena, the mother of Alexius I. Comnenus; the last was restored by his mother-in-law, Mary Ducaena, a Bulgarian princess famous for her beauty; the second was an erection of the Empress of John I. Comnenus, the daughter of Geysa I., King of Hungary.

These churches represent the age when Constantinople was stirred by the march of the earlier Crusades through the territory of the Empire, when Peter the Hermit and Godfrey de Bouillon encamped their followers within sight of the city walls, to be dazzled by the splendours of the Palace of Blachemae, and cajoled by the diplomacy of Alexius I. Comnenus. They also recall the time when Henrico Dandolo, the Doge of Venice, brought his fleet and the troops of the Fourth Crusade to the Golden Horn, and founded the short-lived Latin Empire of Constantinople.

It was on the terraced ground beside the Church of Pantepoptes that the Emperor Alexius Murtzuplus pitched his vermilion tents and drew up his reserve forces. There he stood to see the walls on the shore below attacked by the Venetian ships and carried by Frankish knights. From that position he fled at the approach of a body of the enemy’s horsemen, and under his un-stricken vermilion tent Count Baldwin of Flanders and Hainaut, soon to succeed him as Latin Emperor of Constantinople, spent the night of that memorable day.