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
THE fortifications which defended the side of the city along the Golden
Horn consisted of a single line of wall placed, for the most part, close
to the water’s edge and flanked, it is said, by one hundred and ten
square towers. Like the bulwarks along the Sea of Marmora, they attained
their full length gradually, according as the northern extremity of the
landward walls, which they were to join, was carried farther to the
west, when Byzantium expanded into the City of Constantine, when the
City of Constantine grew into the City of Theodosius II., and, finally,
when, in 627, the outlying level portion of the suburb of Blachernæ was
brought within the bounds of the capital. The points along the shore of
the Golden Horn thus reached were successively the Stamboul head of the
Inner Bridge, the eastern border of the quarter of Aivan Serai, and the
present point of junction with the landward walls on the west of that
quarter. But the actual wall is, substantially, the work of the ninth
century, when the Emperor Theophilus reconstructed the fortifications
along both shores of the city, as the inscription, “Tower of Theophilus,
Emperor in Christ,” found until recently upon almost every tower of the
line, proclaimed to the world. In the course of the improvements made in
the quarters along the Golden Horn, extensive portions of the
fortifications have disappeared, leaving scant remains to interest the
visitor. It should be added that the safety of this side of the city was
further secured by a chain stretched across the entrance of the harbour,
from a tower near Yali Kiosk Kapoussi, the Gate of Eugenius, to a tower
known as the Tower of Galata, somewhere near Kiretch Kapoussi on the
opposite shore.
Public-domain text, read in full here on John Shaqi.
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