Dance at the Pnyx - 1842
PaintingbyPierre Bonirote (France 1811-1891), oil on canvas, inscribed "Athens 1842", 126 x 173 cm.
Χορός στην Πνύκα - 1842
Πίνακας του Pierre Bonirote (Γαλλία 1811-1891), ελαιογραφία σε καμβά με την ένδειξη "Αθήνα 1842", 126 x 173 εκ.
Temple of Theseus in Athens (Tempio di Teseo in Atene) - before 1842
Engraving from a drawing by Andrea Gasparini, Rome 1842, 39 x 52.5 cm.
Ναός του Θησέα στην Αθήνα - προ του 1842
Χαρακτικό από σχέδιο του Andrea Gasparini, Ρώμη 1842, 39 x 52,5 εκ.
In front of the temple of Zeus Olympian (Avanzi del tempio di Giove Olimpico) - before 1842
From a drawing by A. Gasparini, Rome 1843, 39 x 52.5 cm.
Μπροστά στον ναό του Ολυμπίου Διός - προ του 1842
Οξυγραφία από σχέδιο του A. Gasparini, Ρώμη 1843, 39 x 52,5 εκ.
Pfeiffer, Ida: A visit to the Holy Land, Egypt and Italy. Translated from the German by H. W. Dulcken.
Dervishes in Constantinople, 07/04/1842
I had only stood a few moments, when the Sultan appeared on horseback, surrounded by his train. He alone rode into the courtyard; the others all dismounted at the gate, and entered on foot. The horse on which the Sultan rode was of rare beauty, and, as they told me, of the true Arabian breed; the saddle-cloth was richly embroidered with gold, and the stirrups, of the same precious metal, were in the form of shoes, covered with the finest chased work.
The Sultan is a slender slim-looking youth of nineteen years of age, and looks pale, languid, and blase. His features are agreeable, and his eyes fine. If he had not abandoned himself at so early an age to all the pleasures of the senses, he would, no doubt, have grown up a stalwart man. He wore a long cape of dark-blue cloth; and a high fez-cap, with a heron's plume and a diamond clasp, decked his head. The greeting of the people, and the Sultan's mode of acknowledging it, is exactly as at Vienna, except that here the people at intervals raise a low cry of welcome.
As soon as the Sultan had entered the temple, all flocked in. The men and the Franks (the latter without distinction of sex) sit or stand in the body of the temple. The Turkish women sit in galleries, behind such close wire gratings that they are completely hidden. The temple, or more properly the hall, is of inconsiderable size, and the spectators are only separated from the priests by a low railing.
At two o'clock the dervishes appeared, clad in long petticoats with innumerable folds, which reached to their heels. Their heads were covered with high pointed hats of white felt. They spread out carpets and skins of beasts, and began their ceremonies with a great bowing and kissing of the ground. At length the music struck up; but I do not remember ever to have heard a performance so utterly horrible. The instruments were a child's drum, a shepherd's pipe, and a miserable fiddle. Several voices set up a squeaking and whining accompaniment, with an utter disregard of time and tune.
Twelve dervishes now began their dance,--if indeed a turning round in a circle, while their full dresses spread round them like a large wheel, can be called by such a name. They display much address in avoiding each other, and never come in contact, though their stage is very small. I did not notice any "convulsions," of which I had read in many descriptions.
The ceremony ended at three o'clock. The Sultan once more mounted his horse, and departed with his train and the eunuchs. In the course of the day I saw him again, as he was returning from visiting the medical faculty. It is not difficult to get a sight of the Sultan; he generally appears in public on Tuesdays, and always on Fridays, the holiday of the Turks.
Porters in Constantinople, 23/04/1842
During my residence in Constantinople I had the good fortune to be present at some very entertaining festivities. The most magnificent of these took place on the 23d of April, the anniversary of Mahomet's death.
At this feast a great concourse of people was assembled, and every window was crowded with muffled female heads. We had been advised not to be present at this ceremony, as it was stated to be of a purely religious nature, and it was feared we should be exposed to annoyance from the fanaticism of the Mussulmen. I am glad to say, however, that the curiosity of my party was stronger than their apprehensions. We pushed through every where, and I had again occasion to feel assured that grievous wrong is frequently done the good Turks. Not only was there no appearance of a disposition to annoy us, but we even obtained very good places without much trouble.
On their Easter days the Greeks have a feast in the great Campo. On all the three holidays, the hamaks (water-carriers and porters), after the service is over, march in large numbers to the Campo with songs and music, with noise and shouting, waving their handkerchiefs in the air. Arrived at their destination, they divide into different groups, and proceed to amuse themselves much after the manner of other nations. A number of tents are erected, where a great deal of cooking and baking is carried on. Large companies are sitting on the ground or on the tombstones, eating and drinking in quiet enjoyment. We see a number of swings laden with men and children; on this side we hear the squeaking of a bagpipe, on that the sound of a pipe and drum, uttering such dismal music that the hearer instinctively puts a finger into each ear. To this music a real bear's dance is going on. Six or eight fellows stand in a half circle round the musician, and two leaders of these light-toed clodhoppers continually wave their handkerchiefs in the air as they stamp slowly and heavily round in a circle. The women are allowed to appear at this feast, but may neither take part in the swinging nor in the dancing. They therefore keep up a brave skirmishing with the sweetmeats, coffee, and delicacies of all kinds. The more wealthy portion of the community employ these days in riding to Baluklid, to gaze and wonder at the miracle of the half-baked and yet living fishes.
Wilson, John: The lands of the Bible visited and described. Edinburgh, William Whyte, 1847, 2 volumes.
Women dancing in the open air in Radojevacz, between Serbia and Romania, 13/08/1843
In the afternoon of the 13th of August, we arrived at Radojevacz, where commence the territories of Servia, the smallest state of Turkey in Europe, but the most advanced in enlightenment and civilization. Passing along, we observed, near one of the villages on the Wallachian side, a group of about a hundred young women engaged in dancing in the open air, and a similar company of young men practicing some athletic exercises. This was on the day appointed by God for holy rest and holy engagements, for devotion and spiritual enjoyment, and not for amusement. They were finding their “own pleasure” in their own devisings and pursuits, but it does not follow that they were really ministering to their own happiness.
Modern Greeks (Greci moderni) - before 1843
Engraving from a drawing by G. Casa, 28 x 43 cm.
Σύγχρονοι Ελληνες - προ του 1843
Χαρακτικό?? από σχέδιο του G. Casa, 28 x 43 εκ.
Columns of the temple of Jupiter Olympian (Colonnes du temple Jupiter Olympien) - 1843-1844
Στύλοι του ναού του Ολυμπίου Διός - 1843-1844
View of Corinth (Vue de Corinthe) - 1845
Colored lithograph from a drawing by Louis de Sinéty, 26 x 39 cm.
Αποψη της Κορίνθου - 1845
Χρωματισμένη λιθογραφία από σχέδιο του Louis de Sinéty, 26 x 39 εκ.
Greek dance. Ruins of Messina (Danse grecque. Ruines de Messine) - 1845
Watercolor by Louis de Sinéty, 26 x 38.5 cm.
Ελληνικός χορός. Ερείπια της Μεσσήνης - προ του 1845
Ακουαρέλα του Louis de Sinéty, 26 x 38,5 εκ.