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
Next in succession is the “Guiumuch Hané,” or Silver Foundery,
from whence the prepared metal is brought to the Tarap Hané in the
outer court of the seraglio to be stamped. There is no copper coin
in circulation in Turkey; but silver is debased so as to become a
more worthless metal. The coins of this imitation formerly were the
asper, parasi, beslik, and onlik, they have become extinct except the
parasi, and another, formerly unknown, introduced the piaster and its
several denominations. The parasi is a minute coin, so very small and
light, that it can only be taken up by the tip of a wet finger. Every
shopkeeper has a board secured by a ledge and running to a point, on
which the paras are reckoned, and then spouted into a canvass bag.
At the present rate of exchange, this apparently silver coin is less
than one third of a farthing, and, as all money is reckoned by it, a
stranger is startled to see his baccul’s or huckster’s bills amount to
10,000 paras. Turkish coins contain no representation of the head of
the sovereign, but give his name and title, the place where they were
struck, the date and year of the sovereign’s reign; the inscription on
the present, coin is−-“Sultan Mahmoud ibn Sultan Abdul Hamed el Sultan
ibn el Sultan,” that is, Sultan Mahmoud, the son of Sultan Abdul Hamed
Khan, himself a sultan, and son of a sultan;” the reverse is−-“Sultan
alberim vehaka nul bahrim sarb fi Constantami,” that is, “Sultan,
conqueror of the world, sovereign of men, struck at Constantinople.”
All this is generally expressed by a convoluted cipher, called nizam.
Three cities in the empire are allowed to coin, beside the capital;
Adrianople, Smyrna, and Cairo.
Public-domain text, read in full here on John Shaqi.
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