Constantinople, painted by Warwick Goble, described by Alexander Van MillingenVan Millingen, Alexander
Philosophy
Constantinople, painted by Warwick Goble, described by Alexander Van Millingen
Van Millingen, Alexander
Istanbul (Turkey) -- Description and travel; Istanbul (Turkey) -- History
When precisely work upon the new capital commenced cannot be determined,
but the year 328 A.D., as already intimated, may be regarded as the most
probable date. The circuit of the fortifications which should guard the
city was marked out by Constantine himself with solemn ceremonial, and
comprised the territory that stretched for nearly two miles to the west
of the old town. The north-western extremity of the enclosed area
reached the Golden Horn somewhere in the neighbourhood of the
Stamboul end of the Inner Bridge, while the south-western extremity
abutted on the Sea of Marmora, at a point between the districts to which
the Byzantine names Vlanga and Psamatia still cling. The most precise
indication of the line followed by the landward wall of Constantine is
found in the Turkish name Isa Kapoussi (the Gate of Jesus), attached to
a locality above the quarter of Psamatia. The name refers to an ancient
gateway which stood in the Constantinian fortifications, and survived
their disappearance until the year 1508, when it was overthrown by an
earthquake. It is mentioned in late Byzantine days as “The Ancient
Gate,” and on account of its imposing appearance as “The very Ancient
Beautiful Gate” (Antiquissima Pulchra Porta). It was the original Golden
Gate or Triumphal Entrance of the city, and, like Temple Bar in London,
reminded the passing crowds both of what the city had been, and of what
it had become.
[Illustration: A STEP STREET IN GALATA]
The name of the adjoining church, now known as Isa Kapoussi Mesdjidi,
probably suggested the Turkish appellation of this interesting and
important landmark. The addition made by Constantine to the size of
Byzantium was certainly considerable, and the astonishment of his
courtiers at the scale of his plans had some ground in reason. But the
response of the Emperor brings us into closer touch with the emotion
which animated the occasion. “I must go on,” said the founder of New
Rome, “until He stops who goes before me.” It was a reply in harmony
with the declaration made at another time, that he founded the city at
the Divine command, _jubente deo_. The principal agent in a transaction
of great moment often feels himself to be the instrument of a higher
will than his own, and is haunted by the thought that he builds more
wisely than he knows.
Public-domain text, read in full here on John Shaqi.
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