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
This carriage, peculiarly Turkish, we have already described among
the conveyances that thronged the social meetings at the Sweet Waters
of Asia. It is here presented as the principal and most conspicuous
object of our illustration. The ponderous body of the machine, placed
on wheels without springs; the heavy but gilded and gaudy carved-work
which covers it; the long-horned oxen which drag it; the singular
arches dangling with tassels, to which their tails are generally tied;
the dense mass of hair drawn down before, and carefully dyed, like the
ladies’ nails, with henna; and the amulets pending over their noses,
to guard them from the effects of an evil eye−-are here accurately
represented. Beside the draught-beasts walks the Greek arrhubagee,
leading the docile animals by the horns; and next the carriage is one
of the black eunuchs, with his drawn sabre, threatening with instant
death the passenger, whose profane eye shall dare to glance at his
sacred charge within. It was formerly the indispensable usage, that
every arrhuba should be closely covered with silken curtains, so that
the inmates were never seen, except when the wind, or the jolting on an
uneven road, moved the curtains aside, and revealed for a moment the
mysteries of the interior; but recent approximation to European usages
has removed this veil, and even open carriages on springs have been
seen in the Turkish capital, filled with the secluded females of the
harem.
Our illustration represents the Asmé Sultana driving from her palace at
Eyoub, through the Valley of the Sweet Waters. Crowds of females line
one side of the road; and, with the jealous sense of Turkish propriety,
the males, separated from them, line the other. A train of arrhubas
follow in the rear, with various ladies of the seraglio.
[Illustration: J. L. Leitch. H. Adlard.
THE TOMB OF ALI PASHA AND FATIMA, IN THE COURT OF SERAGLIO.
JOANNINA, ALBANIA.]
The wild mountains of Albania had long slumbered in obscurity, and,
though in the immediate vicinity of civilized Europe, and in sight of
the coast of Italy, had never been visited by the curious traveller,
till Ali Pasha, like some lurid meteor, blazed out in this obscure
district, and attracted the notice and admiration of the world by his
ability, his courage, his crimes, and his success.
Public-domain text, read in full here on John Shaqi.
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