WeRead Powered by ReaderPub
Constantinople and the Scenery of the Seven Churches of Asia Minor / Series One and Series Two in one Volume cover

Constantinople and the Scenery of the Seven Churches of Asia Minor / Series One and Series Two in one Volume

Chapter 120: GOVERNOR’S HOUSE, PHILADELPHIA. ASIA MINOR.
Open in WeRead

Explore more books like this:

About This Book

The work pairs detailed engraved views with descriptive text to present the landscapes, monuments, and everyday life of Constantinople and sites across Asia Minor. Plates depict cityscapes, mosques, bazaars, cemeteries, ruins, and coastal scenes, while accompanying commentary explains local customs, architecture, and routes along the Bosphorus and interior passes. A map highlights key localities and an appended historical sketch traces the city's development and rulers, so the collection combines visual documentation with travel observations and concise historical and topographical notes to capture a society in transition between traditional local customs and Europeanizing reforms.

GOVERNOR’S HOUSE, PHILADELPHIA.
ASIA MINOR.

Philadelphia is one of the churches of the Apocalypse, which retains some traces of its former prosperity. The seraï, or palace of the muzzelim, as the governors of the towns in Asia Minor are named, is a spacious and sumptuous edifice, and the interior is decorated with those displays of Turkish magnificence that befits the magistrate who presides over a large and populous town. When a Frank traveller passes through an Oriental city, it is not sufficient in general to show his firman by his janissary, but the muzzelim expects to be personally waited on, and, after he has treated his guest with the usual refreshments of coffee and a chiboque, he inquires his business. It is impossible to make a Turk comprehend the usual objects of European travelling in the East, no more than to communicate to him the feeling of a sixth sense. He cannot conceive why a man should break in upon the sleepy repose of a dozing life, and fatigue himself by climbing mountains and exploring caverns, which can yield him no profit. The only motive of which he can have any distinct comprehension is that which leads a man to explore ruins; for every Turk is impressed with a notion that the ancients abounded in wealth, and that in the edifices they left behind them, a man could find an urn of gold under every stone, if he knew how to search for it, and this knowledge he believes the superior intelligence of every Frank imparts to him. The janissary, therefore, who attends a traveller, though perfectly indifferent in other places, is always on the alert among ruins. He watches him eagerly when he is trying to read an inscription, certain that it points out a concealed treasure which the traveller will immediately discover.

Our illustration represents a scene of this kind. The ingenious artist has depicted himself sitting on the divan of Chem Bey, the muzzelim of Philadelphia, to whom he is exhibiting his sketches. In these latter times even Turks have made some advances in knowledge, and the present muzzelim took an interest in such things, which former travellers could not excite in one of the old school.