CHAPTER I
PAGE
The Making of Constantinople under Constantinethe Great[1]
CHAPTER II
The Making of Constantinople, under the EmperorsConstantius, Julian, Valens, Theodosius the Great,and Arcadius[24]
CHAPTER III
The Making of Constantinople under Theodosius II[52]
CHAPTER IV
Along the Walls[80]
CHAPTER V
Along the Walls beside the Golden Horn[101]
CHAPTER VI
Along the Landward Walls[118]
CHAPTER VII
Among the Churches of the City[132]
CHAPTER VIII
Among the Churches[147]
CHAPTER IX
Among the Churches[170]
CHAPTER X
Impressions of the City To-day[195]
CHAPTER XI
Religious Colouring[223]
CHAPTER XII
Turkish Women[242]
CHAPTER XIII
Epilogue[262]
INDEX[277]

LIST OF ILLUSTRATIONS

1. A Turkish Lady in Out-Door Dress[Frontispiece]
FACING PAGE
2. The Quay in Galata[2]
3. Galata from the Aqueduct of Valens[6]
4. Stamboul Beggar[10]
5. Gypsy Basket-Maker[12]
6. A Step Street in Galata[16]
7. A Flower-Market, Scutari[18]
8. The Galata Bridge[22]
9. A Cemetery by the Bosporus[24]
10. “A Kafedji”[28]
11. Golden Horn from the British Hospital, Galata[30]
12. Street Scene, Clay Works[34]
13. Street Scene, Stamboul[36]
14. A Village Store at Kavak[40]
15. Galata Tower from the Bridge[42]
16. Refugee Huts on the Marmora[48]
17. Turkish Delight Factory[50]
18. Flower-Sellers[52]
19. Carpet-Menders[56]
20. Fruit-Market, Stamboul[60]
21. Carpet Warehouse[64]
22. Shoemaker, Stamboul[66]
23. Street Scene, Roumeli Hissar[70]
24. Grand Bazaar, Stamboul[72]
25. A Blacksmith’s Shop[76]
26. Seraglio Point from “The Stones”[82]
27. The Seraglio Lighthouse and Scutari[84]
28. Crimean Memorial, British Cemetery, Haidar Pasha[88]
29. Interior of the Mosque of Sultan Ahmed I.[94]
30. Prinkipo (Princes Islands)[98]
31. Golden Horn, early Morning[104]
32. The Bridge from Galata[106]
33. Golden Horn[108]
34. Suleimaniyeh at Sunrise[110]
35. Cemetery at Eyoub[112]
36. Galata and Stamboul from Eyoub[114]
37. Golden Horn after Sunset[116]
38. The Walls; the Tower of Isaac Angelus[120]
39. Constantinople and Golden Horn from the Cemetery at Eyoub[130]
40. View from an old Cemetery[134]
41. Market in the Court of the Mosque of Sultan Ahmed I.[138]
42. Court of the Suleimaniyeh[142]
43. Interior of S. Sophia[158]
44. Interior of S. Sophia, the Sultan’s Gallery[180]
45. Fountain in S. Sophia[184]
46. A Wet Day on the Galata Bridge[196]
47. In the Grand Bazaar[198]
48. A Fortune-Teller[200]
49. Street Scene, Top-Khaneh[202]
50. A Step Street[206]
51. Simit-Seller[208]
52. Market at Scutari[212]
53. Entrance to a Turkish Khan[214]
54. Turkish Well, Stamboul[216]
55. A Fountain by the Bosporus[218]
56. Open Air Café, Stamboul[222]
57. Roumeli Hissar[224]
58. A Howling Dervish[228]
59. A Whirling Dervish[230]
60. Tomb in Scutari[238]
61. The Sweet Waters of Europe[254]
62. The Yashmak[256]
63. The Sweet Waters of Asia[260]

CONSTANTINOPLE

CHAPTER I

the making of constantinople under constantine the great

328-337 a.d.

The foundation of Constantinople was an event of the utmost political significance. That personal feelings actuated Constantine the Great in the decision to establish a seat of government far from the walls of Rome is doubtless true. The insults to which he was exposed, on the occasion of his visit to the ancient capital of the Empire, in 326, on account of the execution of his wife and of his son, could not fail to annoy him, and make him willing to shake the dust of the rude city from off his feet. To have a placard put on his palace gates comparing him with Nero was not flattering. Certainly the Roman populace did not make respectful subjects. Diocletian also, before Constantine, had found Roman citizens insolent, and fled from the slings and arrows of their sarcasm without waiting to meet the Senate, or to be invested with the consular dignity. But after all, personal feelings go only a short way towards the explanation of an event so serious in the history of the Roman State as the establishment of another seat of imperial authority. The volume and force of a mighty river might as well be explained by the drops of a shower which fall into its current. Constantine was too great a statesman to be swayed by mere personal impulse. The foundation of Constantinople was the outward and visible sign of profound changes in the ideas and policy created and long embodied by the city enthroned beside the Tiber. It was the expression of the spirit of a new epoch; as much so as the foundation of Alexandria signified a change in the political conceptions of the Hellenic world, or the building of St. Petersburg marked the new aspirations heaving in the heart of Russia, or the erection, in more recent times, of Washington or Ottawa proclaimed the birth of new commonwealths, and the application of new principles. Old ideas and ancient institutions cannot be altered in one day, or at the caprice of one man. They are not the flimsy things which can be created or destroyed by the wave of a magician’s wand. Constantine only placed the copestone on an edifice which other hands, before his reign, had gradually raised from the foundations to the point demanding completion. He finished what others had begun. The creation of the new capital was the result of causes, long in action; not a whim or matter of taste.