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
The events connected with Roumeli Hissar, or the Castle of Europe,
are of surpassing interest. When the fierce Mahomet determined to
extinguish the feeble Roman empire, and transfer the Moslem capital to
a Christian soil, he found two dilapidated towers, one in Asia, and the
other in Europe, which had been suffered to fall into utter decay. He
re-edified that on the Asiatic shore, and, having been allowed to do
this without opposition, crossed over and rebuilt the European castle
also, so as completely to command the navigation of the straits, by
occupying two forts on the most prominent points of the nearest parts
of it. When the emperor remonstrated against this violation of his
territory, he was tauntingly but fiercely answered, that “since the
Greeks were not able to protect their own possessions, he would do it
for them;” and he threatened to slay alive the next person who came
to remonstrate. To establish his usurped right, he prohibited the
navigation of the strait by foreigners. The Venetians refused to comply
with this arbitrary mandate, and attempted to pass; but their vessel
was struck by a ball from one of those enormous cannon which Mahomet
had caused to be cast for the destruction of the Greek empire: the crew
were beheaded, and their bodies hung out of the castle, to deter others
from similar attempts. The castle was thence called _Chocsecen_, “the
amputator of heads;” and such is the immutability of Turkish ferocity,
that, with reason, it retains the name at this day.
Roumeli Hissar consists of five round towers, connected by massive
embattled walls, ascending the slope of the hill. It is now useless as
a fortress, but is applied to other more characteristic and equally
important Turkish purposes. In the wall which fronts the Bosphorus,
there is a low doorway concealed behind a large platanus: this is the
postern of death. The fortress had for many years been converted into
a prison, and may well bear the inscription which Dante read on the
infernal portals,
“Lasciate ogni speranza, voi ch’entrate.”
No prisoner is ever known to repass the gate of death; hence the Turks
call their dismal fortress, the “towers of oblivion,” adopting the
appellation given to them under the despotism of the Greek empire, when
the castles were named “Lethé,” and for a similar reason.
Public-domain text, read in full here on John Shaqi.
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