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
semblance of it is faintly displayed. The traveller, in exploring his
way through the ruins, is attracted by the light of a dim and dingy
lamp, which he finds is placed before a dirty, tawdry picture of the
panaya, stuck on the naked wall behind it. The poor Greek, his guide,
as he passes it, first kisses it with affectionate respect, then kneels
and bows his head to the ground, and offers up a short prayer to this
his favourite picture. He then “goes on his way rejoicing,” but never
presumes to pass without this tribute of devotion to the Virgin, though
he probably knows nothing of the Evangelist to whom the church was
consecrated. Other parts of the building are applied to the meanest
uses; a portion of it is converted into a manufacture of coarse earthen
ware, and filled with heaps of mud, and rude and barbarous pottery.
As an appropriate object in our illustration, the stork is seen
crowning the summit of a tower with its slender form and elongated
limbs. This bird has been in all ages a never-failing inhabitant of
Oriental towns, noted and celebrated for its qualities, which have
conferred upon it its name; it is called in Hebrew _chesadao_, which
implies “mercy or piety,” and alludes to the known tenderness and
attachment of the bird to its parents, whom it is reported never to
desert in advanced age, but feeds and protects even at the hazard
of its own safety: its emigrating qualities are noticed by the most
ancient writers: Jeremiah says, “Yea, the stork in the heavens knoweth
her appointed time;”[7] and nothing can be more striking than their
appearance at the approaching period. They collect together in large
detachments, and are seen wheeling about at an immense height in
the air, above some lofty eminence, before their forward progress
commences, like scouts sent out to reconnoitre the way; their white
bodies, long-projected red legs, and curved necks turning to every
point of the compass as if examining the road, give them a singular
picturesque appearance, while the light, reflected from their bright
colours, causes them to be distinctly seen at a great distance in the
air.
Public-domain text, read in full here on John Shaqi.
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