Constantinople and the Scenery of the Seven Churches of Asia Minor: Series One and Series Two in one VolumeWalsh, R. (Robert)
History
Constantinople and the Scenery of the Seven Churches of Asia Minor: Series One and Series Two in one Volume
Walsh, R. (Robert)
Istanbul (Turkey) -- History; Istanbul (Turkey) -- Pictorial works
His first care was to mark out the boundaries. He advanced on foot with
a lance in his hand, heading a solemn procession, ordering its line
of march to be carefully noted down as the new limits. The circuit
he took so far exceeded expectation, that his attendants ventured to
remonstrate with him on the immensity of the circumference. He replied,
he would go on till that Being who had ordered his enterprise, and
whom he saw walking before him, should think proper to stop. In this
perambulation he proceeded round six of the hills on which the modern
city is built. Having marked out the area, his next care was to fill
it with edifices. On one side of him rose the forests of Mount Hæmus,
whose arms ramify to the Euxine and the mouth of the Bosphorus, covered
with wood; these gave him an inexhaustible supply of timber, which the
current of the strait floated in a few hours into his harbour, and
which centuries of use have hardly yet thinned, or at all exhausted. On
the other, at no great distance, was Perconessus, an island of marble
rising out of the sea, affording that material ready to be conveyed by
water also into his harbour, and in such abundance, that it affords at
this day, to the present masters of the city, an inexhaustible store,
and lends its name to the sea on whose shores it so abounds.
The great materials being thus at hand, artists were wanted to work
them up. So much, however, had the arts declined, that none could be
found to execute the emperor’s designs, and it was necessary to found
schools every where, to instruct scholars for the purpose; and, as
the pupils became improved and competent, they were despatched in
haste to the new city. But though architects might be thus created
for the ordinary civil purposes, it was impossible to renovate the
genius of sculpture, or form anew a Phidias or a Praxiteles. Orders
therefore were sent to collect whatever specimens could be found of
the great artists of antiquity; and, like Napoleon in modern times,
he stripped all other cities of their treasures, to adorn his own
capital. Historians record the details of particular works of art
deposited in this great and gorgeous city, as it rose under the plastic
hand of its founder, scarcely a trace of which is to be seen at the
present day, and the few that remain will be described more minutely
hereafter. Suffice it to say, that the baths of Zeuxippus were adorned
with various sculptured marble, and sixty bronze statues of the finest
workmanship; that the Hippodrome, or race-course, four hundred paces
long, was filled with pillars and obelisks; a public college, a circus,
two theatres, eight public and one hundred and fifty private baths,
five granaries, eight aqueducts and reservoirs for water, four halls
for the meeting of the senate and courts of justice, fourteen temples,
fourteen palaces, and four thousand three hundred and eighty-eight
domes, resembling palaces, in which resided the nobility of the city,
Public-domain text, read in full here on John Shaqi.
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