Memoirs of European Travel
The first view of Constantinople we had from the train. It is an ancient city, with big drains running across the walls, narrow and crooked lanes full of dirt, and wooden houses, etc., but in them there is a certain beauty owing to their novelty. At the station we had great trouble over our books. Mademoiselle Calvé and Jules Bois tried much, in French, to reason with the octroi officers, which gradually led to a quarrel between the parties. The head of the officers was a Turk, and his dinner was ready; so the quarrel ended without further complications. They returned all the books with the exception of two which they held back. They promised to send them to the hotel immediately, which they never did. We went round the town and bazar of Stamboul or Constantinople. Beyond the Pont or creek is the Pera or foreigners' quarters, hotels, etc., whence we got into a carriage, saw the town, and then took some rest. In the evening we went to visit Woods Pasha, and the next day started on an excursion along the Bosphorus in a boat. It was extremely cold and there was a strong wind. So I and Miss MacLeod got down at the first station. It was decided that we would cross over to Scutari and see Pére Hyacinthe. Not knowing the language we engaged a boat by signs merely, crossed over, and hired a carriage. On the way we saw the seat of a Sufi Fakir. These Fakirs cure people's diseases, which they do in the following manner. First they read a portion of their scriptures, moving their body backward and forward; then they begin to dance and gradually get a sort of inspiration, after which they heal the disease by treading on the patient's body.
We had a long talk with Père Hyacinthe about the American Colleges, after which we went to an Arab shop where we met a Turkish student. Then we returned from Scutari. — We had found out a boat, but it failed to reach its exact destination. However, we took a tram from the place where we were landed and returned to our quarters at the hotel at Stamboul. The Museum at Stamboul is situated where the ancient harem of the Greek Emperors once stood. We saw some remarkable sarcophagi and other things, and had a charming view of the city from above Topkhana. I enjoyed taking fried chick peas here after such a long time, and had spiced rice and some other dishes, prepared in the Turkish fashion. After visiting the cemetery of Scutari we went to see the ancient walls. Within the walls was the prison — a dreadful place. Next we met Woods Pasha and started for the Bosphorus. We had our dinner with the French chargé d'affaires and met a Greek Pasha and an Albanian gentleman. The Police have prohibited Père Hyacinthe's lectures; so I too cannot lecture. We saw Mr. Devanmall and Chobeji — a Gujarâti Brahmin. There are a good many Indians here — Hindustanis, Mussalmans, etc. We had a talk on Turkish Philosophy and heard of Noor Bey, whose gradfather was a Frenchman. They say he is as handsome as a Kashmari. The women here have got no purdah system and are very free. Prostitution is chiefly a Mohammedan practice. We heard of Kurd Pasha and the massacre of Armenians. The Armenians have really no country of their own, and those countries which they inhabit have generally a preponderating Mohammedan population. A particular tract called Armenia is unknown. The present Sultan is constructing a Hamidian cavalry out of the Kurds who will be trained in the manner of the Cossacks and they will be exempted from conscription.
The Sultan called the Armenian and Greek Patriarchs and proposed to them conscription as an alternative for payment of taxes. They might thus serve to protect their motherland. They replied that if they went as soldiers to fight and died by the side of the Mohammedans, there would be some confusion about the interment of Christian soldiers. The Sultan's rejoinder to this was that it might be remedied by providing for both Mohammedan and Christian priests in each regiment, who would conduct the funeral service together when in the exigencies of battle the dead bodies of Christian and Mohammedan soldiers would have to be buried in a heap all together, and there could possibly be no harm if the souls of men of one religion heard in addition the funeral services meant for those of the other religion. But the Christians did not agree — so they continue to pay taxes. The surest reason of their not acquiescing in the proposal was their fear lest by living with the Mohammedans they might turn Mohammedan wholesale. The present Sultan of Stamboul is a very hard-working man and he personally supervises everything, including even the arrangement of amusements, such as theatrical performances etc., in the palace. His predecessor, Murad, was really a most unfit man, but the present Sultan is very intelligent. The amount of improvement he has made in the condition of the State in which he found it at his accession is simply wonderful. The Parliamentary system will not be successful in this country.
At 10 in the morning we left Constantinople, passing a night and a day on the sea, which was perfectly placid. By degrees we reached the Golden Horn and the Sea of Marmora. In one of the islands of the Marmora we saw a monastery of the Greek religion. Formerly there was ample opportunity for religious education here, for it was situated between Asia on one side and Europe on the other. While out in the morning on a visit of the Mediterranean Archipelago we came across Professor Liper, whose acquaintance I had already made in the Pachiappa College at Madras. In one of the islands we came upon the ruins of a temple, which had probably been dedicated to Neptune, judging from its position on the sea-shore. In the evening we reached Athens, and after passing a whole night under quarantine we obtained permission for landing in the morning. Port Peiraeus is a small town, but very beautiful, having a European air about it in all respects, except that one meets now and then with one or two Greeks dressed in gowns. From there we drove five miles to have a look at the ancient walls of Athens which used to connect the city with the port. Then we went through the town; the Acropolis, the hotels, houses, and streets, and all were very neat and clean. The palace is a small one. The same day, again, we climbed the hillock and had a view of the Acropolis, the temple of the Wingless Victory, and the Parthenon, etc. The temple is made of white marble. Some standing remains of columns also we saw. The next day we again went to see these with Mademoiselle Melcarvi, who explained to us various historical facts relating thereto. On the second day we visited the temple of Olympian Zeus, Theatre Dionysius etc., as far as the sea-shore. The third day we set out for Eleusis, which was the chief religious seat of the Greeks. Here it was that the famous Eleusinian Mysteries used to be played. The ancient theatre of this place has been built anew by a rich Greek. The Olympian games too have been revived in the present times. They are held at a place near Sparta, the Americans carrying off the palm in them in many respects. But the Greeks won in the race from that place to this theatre of Athens. This year they gave undisputed proof of this trait of theirs in a competition with the Turks also. At 10 a.m. on the fourth day we got on board the Russian steamer, Czar, bound for Egypt. After reaching the dock we came to learn that the steamer was to start at 4 a.m. — perhaps we were too early or there would be some extra delay in loading the cargo. So, having no other alternative, we went round and made a cursory acquaintance with the sculpture of Ageladas and his three pupils, Phidias, Myron, and Polycletus, who had flourished between 576 B.C. and 486 B.C. Even here we began to feel the great heat. In a Russian ship the first class is over the screw, and the rest is only deck — full of passengers, and cattle, and sheep. Besides, no ice was available in this steamer.
From a visit to the Louvre Museum in Paris I came to understand the three stages of Greek art. First, there was the Mycenoean art, then Greek art proper. The Achaean kingdom had spread its sway over the neighbouring islands and also mastered all the arts that flourished there, being imported from Asia. Thus did art first make its appearance in Greece. From the prehistoric times up to 776 B.C. was the age of the Mycenoean art. This art principally engaged itself in merely copying Asiatic art. Then from 776 B.C. to 146 B.C. was the age of Hellenic or true Greek art. After the destruction of the Achaean Empire by the Dorian race, the Greeks living on the continent and in the Archipelago founded many colonies in Asia. This led to a close conflict between them and Babylon and Egypt, which first gave rise to Greek art. This art in course of time gave up its Asiatic tinge and applied itself to an exact imitation of nature. The difference between Greek art and the art of other countries consists in this, that the former faithfully delineates the living phenomena of natural life.
From 776 B.C. to 475 B.C. is the age of Archaic Greek art. The figures are yet stiff — not lifelike. The lips are slightly parted, as if always in smiles. In this respect they resemble the works of Egyptian artists. All the statues stand erect on their legs — quite stiff. The hair and beard etc. and all carved in regular lines and the clothes in the statues are all wrapped close round the body, in a jumble — not like flowing dress.
Next to Archaic Greek art comes the age of Classic Greek art — from 475 B.C. to 323 B.C., that is to say, from the hegemony of Athens up to the death of Alexander the Great. Peloponnesus and Attica were the states where the art of this period flourished most. Athens was the chief city of Attica. A learned French art critic has written, "(Classic) Greek art at its highest development freed itself completely from the fetters of all established canons and became independent. It then recognised the art regulations of no country, nor guided itself according to them. The more we study the fifth century B.C., so brilliant in its art development — during which period all the perfect specimens of sculpture were turned out — the more is the idea brought home to our mind that Greek art owed its life and vigour to its cutting loose from the pale of stereotyped rules". This Classic Greek art had two schools — first, the Attic, and second, the Peloponnesian. In the Attic school, again, there were two different types — the first was the outcome of the genius of the gifted sculptor, Phidias, which a French scholar has described in the following terms: "A marvel of perfection in beauty and a glorious specimen of pure and sublime ideas, which will never lose their hold upon the human mind". The masters in the second type of the Attic school were Scopas and Praxiteles. The work of this school was to completely divorce art from religion and keep it restricted to the delineation of merely human life.
The chief exponents of the second or Peloponnesian school of Classic Greek art were Polycletus and Lysippus. One of these was born in the fifth century B.C., and the other in the fourth century B.C. They chiefly aimed at laying down the rule that the proportion of the human body must be faithfully reproduced in art.
From 323 B.C. to 146 B.C., that is, from the death of Alexander to the conquest of Attica by the Romans, is the period of decadence in Greek art. One notices in the Greek art of this period an undue attention to gorgeous embellishments, and an attempt to make the statues unusually large in bulk. Then at the time of the Roman occupation of Greece, Greek art contented itself merely by copying the works of previous artists of that country; and the only novelty there was, consisted in reproducing exactly the face of some particular individual.
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