To all this a background of trees, the warm depth of pines, the pleasant green of oaks and beeches, the bright shining green of fig-tree, and everywhere larger or smaller groups of slim cypresses, close-serried beneath whose shade rest faithful sons of Islam—and
surely none of them might wish for a more lovely and decorous burial-ground than here, looking out upon the narrow strait their fathers won so dearly.
There are open spaces too, where groups of people, gay patches of bright colours, disport themselves: a game of football is no unusual sight here. Even a factory chimney stands out here and there, not emphatically belching out defiant volumes of black smoke to insist on the power of the main-d’œuvre, but in a gentler manner, as if rather apologizing for this outrage upon nature and trying its best to adapt itself to its surroundings by the kindly aid of quaint-looking craft, blackavised, but free from any suggestion of machine-made regularity; these craft carry the coal necessary to enterprise, just to oblige, they seem to say.
The Channel widens, then narrows again, and here stand two ancient fortresses, one on either hand. Ancient, compared to Western notions, though too recent to be mentioned by chroniclers of Old Byzant, for they are of Turkish origin, and date back but a few odd centuries. On the Asiatic side stands Anatoli Hissar, or the Castle of Asia. Wooden houses of all ages cluster about it, the wood of some painted in bright colours, pink or ochre, or others left to be coloured by time and climate, ranging from warm purple greys to the strongest burnt Sienna. Within the precincts of this castle, entered by narrow gates, are other small houses, still smaller shops and cafés. To southward broad green streams join the Bosphorus, the sweet waters of Asia, along the banks of which are pleasant open spaces, a mass of colour on Friday afternoons; for here the Moslem ladies take their leisurely walks abroad on that day, and spend many pleasant hours chatting under the shady trees, though what they find to talk about except their children, Allah alone knows. The bridge leading over the northern arm of these waters in an attractive spot: here the Artist put up his easel to sketch the continuous stream of passers-by—grave merchants, portly of person on small donkeys, small horses laden with baskets, pedestrians many and of all manner of races, mostly Eastern, now and again a squad of cavalry on active little Arabs, or a body of infantry with the fine decisive tramp of a conquering race. At the foot of the rather high-arched wooden bridge a number of caiques, white-painted with crimson cushions, their oarsmen dozing in the sun, while heavier boats laden with fruit and vegetables go out to market at Stamboul. Across the bridge quaint wooden houses with the usual latticed windows, and, connecting them across the narrow street, vine-covered trellis-work beneath the shade of which some business is transacted, buying and selling conducted with all the leisure and decorum of men for whom a year more or less means little. Behind and crowning all, the frowning though dismantled fortress. Here the Artist had an experience that struck him enormously. His morning sketch was of the scene described above, his afternoon work was from inside a boat-builder’s yard, looking over the sweet waters to some Turkish houses, glorious in colour with quaint wood carving, each with its tiny well-kept garden by the sea.
The second day while at work on the morning sketch, the genial boat-builder approached and confided the key of his establishment to the Artist, at the same time intimating that the yard would otherwise have been found closed and thus the afternoon’s sketch delayed. Would this have happened on Clyde or Tyne?
Over against Anatoli Hissar stands Roumeli Hissar, the Castle of Europe, a yet more imposing mass of ruins. Its plan is said to be the cypher of Mohammed. The whole fortress is said to have been built in two months by the forced labour of Greeks, to each of whom was delegated a measured area. The towers that command the upper part are of the construction peculiar to the Turkish architecture of that period, a tower of smaller dimension superimposed on the lower one is what it looks like, and we shall see it again at Yedi Koulé. This castle encircling a picturesque village is peculiarly beautiful in the spring, for then the flaming colour of the Judas tree, swamping with its vivid tone the delicate pink of almond sprays, lights up the deeper ochres and purples of the surrounding masonry, and makes the dark cypresses that stand all about strike even a yet deeper note than when the glamour of high summer bathes all things in a golden haze and draws light even from these sombre trees. And they are so beautiful, though perhaps a bit wistful also—their slender shape, the warm grey and purple of their stems and branches and the cool depth of their foliage.