The tower of Galata dates back, in foundation at least, to the fifth century; and when the Genoese made their settlement in the suburb it became their chief fortress. It was rebuilt and increased in the fourteenth and fifteenth centuries. The roof has been often burnt, and the present arrangement of four circular chambers, diminishing as they ascend, is that of Abdul Mejid. Seen from the street below the Petit Champ des Morts, it is picturesque and imposing. From it is the splendid view over the whole city and far into Asia and the range of Olympus.
Between these towers, so plain and practical, and the luxurious palaces of the Sultans, the public offices form a convenient link. Some are modern of the modern, comfortable, and even comparatively clean, like the great building of the Ottoman Debt, on the finest site in Stambûl, with magnificent views of the city and the harbour. Some, like the Sublime Porte, have a certain leisurely dignity, as of the eighteenth century in Italy, but tawdry and decaying. Some, like the Ef-kaf—the ministry of religious foundations, close to S. Sophia—are mere collections of rooms, half ruined, the abode of countless officials and petitioners, of squalor and dirt.
TOWER OF GALATA FROM BRIDGE
How long will it be before the group of buildings now called the Old Seraglio follow in the same way? Already the outer court, with the tree of the Janissaries, and the Church of S. Irene, bear a desolate unkempt appearance, such as one soon learns to associate with everything that belongs to Turkish officialdom. There are few spots in Europe that have a longer or more tragic history. This once was the Akropolis of Byzantium. When first the Turks took the city the Sultan lived in the Eski Seraï, the "old palace," which was on the site now occupied by the Seraskierat. But in 1468 Mohammed began to build here a summer palace, which after much enlargement became under Suleiman I. the chief palace of the Sultans, and was occupied by them till in 1839 Abdul Mejid finally removed to Dolma bagtché.
The outer court can be freely visited; though during the last year entrance has been several times refused to me at the most convenient approach, the Bâb-i-Humayûn, a tiresome restriction which is no more than an inconvenience, as one may walk freely through the lower gate. In niches on each side of the Bâb-i-Humayûn were often placed the heads of viziers whom the Sultans had sacrificed to their own jealousy or to the demands of the Janissaries. Above is a small square room where Mahmûd waited all day on the fateful 16th of June 1826, for news of the fight raging in the streets against the Janissaries. Above the gate is an inscription placed by Mohammed the Conqueror: "God shall make eternal the glory of its builder. God shall strengthen his work. God shall support his foundations." In the bare space between the outer and inner gates there is nothing to notice except the fateful tree, and the splendid sarcophagi outside S. Irene, which are said to have come from the Church of the Holy Apostles. Thence we go through an avenue up to the Middle Gate, Orta Kapou.
Coming the other way, through the lower gate, Teheshmeh Kapou, we leave the Museum Chinili Kiosk to the left. To the right of the Bâb-i-Humayûn is the Gül Kkâneh Kiosk, where Abdul Mejid issued his great hatti sherif in the presence of representatives of all the religions of the empire (see above, p. [219]).
Beyond the Orta Kapou no one may pass except by special irardé from the Sultan. This can only be obtained through the Embassy. Of recent years it is rarely refused; but it is usual to make a party, for the expense is large. Some five pounds or so must be given in presents. The visitors are treated as the Sultan's guests, are placed under charge of an imperial aide-de-camp, are refreshed with coffee and roseleaf jam in one of the kiosks, and taken on, usually, to the modern palaces of Dolma bagtché and Beylerbey. The Orta Kapou is strictly guarded. Here one must walk, for only a Sultan may enter on horseback. On the right was the room in which the Christian envoys waited till the Sultan pleased to send out clothes in which alone they might appear before him. As they came forth the Janissaries, ranged in military order, "darted like arrows" at the food placed before them in their kettles, a quaint custom intended to impress the foreigner with the feeling that he was in the power of a still savage people. At the left was the room where Viziers were beheaded.