#Cypress Grove Cemetery

[frankfosterphotography]

tomb entrance,

Cypress Grove Cemetery, New Orleans, Louisiana.

[daughterofchaos]

Cincinnati - Spring Grove Cemetery & Arboretum "Burnet Mausoleum & Cypress Tree Knees On Ceder Lake" (Photographer: David Ohmer)

[roaminandtumbln]

📍cypress grove cemetery, new orleans, louisiana, u.s.a. 7 july 2022

[trungles]

Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.

Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.

Hayao Miyazaki’s 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The world’s foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Master’s desire to pass the torch undergirds much of the film’s narrative.

(Isle of the Dead. Arnold Böcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)

Arnold Böcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Böcklin frequented this cemetery—his workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.

(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)

The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazaki’s films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazaki’s weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

The Boy and the Heron follows a familiar narrative arc to many of Miyazaki’s other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsuki’s journey to find Mei in My Neighbor Totoro (1988) and Chihiro’s journey to rescue her parents Spirited Away (2001). To better understand Miyazaki’s fixation with this particular character journey, it can be instructive to watch Lev Atamanov’s 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersen’s 1844 children’s story (6)(7). Mahito’s journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.

Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwoman’s dining table, surrounded by kokeshi—little wooden dolls—in the shapes of the old women who run Mahito’s family’s rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, it’s a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

Kiriko’s job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazaki’s pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

As Mahito’s adventure continues, we find the landscapes changing away from Böcklin’s Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibli’s aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).

(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)

By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Böcklin’s later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Dead’s somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.

(Island of Life. Arnold Böcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)

In 2022, Russia’s State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Böcklin would paint this image in collaboration with his son Carlo Böcklin, himself an artist and an architect. Arnold Böcklin spent three years painting the same image three times over at the site of his infant daughter’s grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Böcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazaki’s reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.

The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshino’s 1937 book How Do You Live?, published three years after Carlo Böcklin’s death. In evoking Yoshino and Böcklin’s works, Hayao Miyazaki’s The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.

(Isle of the Dead. Arnold and Carlo Böcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)

INFORMAL ENDNOTES

1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.

2 - Okulicz-Kozaryn, Radosław. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.

3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.

4 - You can watch the movie here in its original Russian with English closed captions here.

5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.

6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.

7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.

8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.

[middleland]

Cedar Lake by Anna Nielsson

Via Flickr:

Cypress knees around Cedar Lake, Spring Grove Cemetery, Cincinnati.     

[pmamtraveller]

ISLE OF THE DEAD (1883) by ARNOLD BÖCKLIN

The painting depicts two figures, one oarsman, the other a woman in white rowing a small boat on an island. The shape at the head of the boat can be interpreted as a coffin. The island itself is covered by a cypress grove with many crypt doors carved into the rock

The strength of this image can be attributed to its thematic as well as stylistic complexity. The origin of the scene can be traced back to GREEK mythology. The oarsman can be seen as CHARON, the ferryman of HADES, who carries his passengers over the River STYX to the underworld.

In addition to the ENGLISH CEMETERY, several real-life models have been proposed for the island. These include ST. GEORGE ISLAND, MONTENEGRO. The rich colour and grandeur of the landscape are heavily inspired by GERMAN ROMANTIC landscape painting.

The painting gained immense popularity in the late 19th and early 20th centuries in GERMANY and found its way into the homes of many bourgeois families. With the painting’s focus on natural beauty and the dignity of the dead, it’s no surprise that it also expressed GERMAN NATIONALISM.

The painting’s most famous owner is ADOLF HITLER, who bought it in 1933 and hung it in his successor REICH CHANCELLERY, ALBERT SPEER. Despite its political connotations, the painting’s mysterious appeal has endured, and it remains popular in post-war Germany.

[copelandcrews12]

A Self-Help Guide To Finding Your Sydney Accommodation

It's a land of winding lanes and ancient country inns. Just remember, these are living creatures and may be easily damaged. Hidden among dense woods are pretty villages like Peaslake, Friday Street, Abinger and Holmbury St Mary. Our next stop but another 2 hours to Richmond, Virginia. Here you can click on the Haunts of Richmond which will guide you on a tour, or the Cemetery of Hollywood where two presidents are buried as well as tons of confederate soldiers. Also go visit Maggie L. Walker National Historic Site and also Richmond Battlefield Site where you get a proper taste of history.

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[theweeowlart]

'The Isle of the Dead' by Sergei Rachmaninov (1873-1943)

Concertgebouw Orchestra, Vladimir Ashkenazy

No yellow label tonight, this is a Decca recording.

Tonight's music recommendation is this very haunting short piece inspired by a black and white reproduction of Arnold Böcklin's painting Isle of the Dead, which Rachmaninov saw in Paris in 1907. You can really hear the rowing of the boat in the music.

Here's a little about the painting, borrowed the description below from Wikipedia:

'Isle of the Dead' is the best-known painting of Swiss symbolist artist Arnold Böcklin. It depicts a desolate and rocky islet seen across an expanse of dark water. A small rowing boat is just arriving at a water gate and seawall on shore. An oarsman maneuvers the boat from the stern. In the bow, facing the gate, is a standing figure clad entirely in white. Just ahead of the figure is a white, festooned object commonly interpreted as a coffin. The tiny islet is dominated by a dense grove of tall, dark cypress trees—associated by long-standing tradition with cemeteries and mourning—which is closely hemmed in by precipitous cliffs. Furthering the funerary theme are what appear to be sepulchral portals and windows on the rock faces.

Böcklin himself provided no public explanation as to the meaning of the painting,

[cypressgroveroleplay]

Nestled on the banks of the Atchafalaya River in southeast Louisiana, Cypress Grove is less of a town than it is a loose collection of inhabitants who've occupied its land for generations. Their history lies buried deep beneath the bayou, strangled by the roots of skeletal bald cypresses that have lived and breathed and held their secrets for centuries. Weathered clapboard buildings constitute the town's main street, but they're little more than a strip of hot asphalt forked off of Route 90. When the local folk speak about the real Cypress Grove, they're referring to the shotgun houses with their doors misaligned to confuse wandering spirits, and the river delta that plays host to a variety of opportunities not available through official town commerce. They speak of the local cemetery haunted by moonshine-drinking teenagers; of the cicadas that sing at dusk from the tops of mossy oak trees; of the swamp water that tastes like cherry wine when the moon is full and is rumored to let you live forever with just a few brave gulps. Cypress Grove is many things. Some say it's smack in the middle of everywhere—66 miles southeast of Lafayette, 62 miles south of Baton Rouge, and 88 miles west of New Orleans—even if there are more angel oaks around these parts than there are human beings. Others claim it to be a labyrinth; unrelenting in its hold on every resident who's tried to leave, only to end up back in town limits sometime in the decades that followed. Of course, what most people don't realize is that, more than anything, Cypress Grove is a beacon home to beacons—playing host to the very witches who greedily soak up the magic inlaid deep within its roots, and the beastly creatures who derive from that magic.

— A 21+ SUPERNATURAL RP

[macherietiffany]

Sister Date with Melissa 💕 Beignets at Café Du Monde (powdered sugar everywhere!), a long walk through Spanish moss-covered oaks at City Park, the Francingues family plot in Cypress Grove Cemetery (one of the few places in the world where you can find our name), and a little time at the shore of Lake Pontchartrain. It’s been 12 years since we’ve seen each other in person, as this beauty lives in Germany. Words can’t describe how good it felt to just be sisters, together. @lizzstonem, thank you for a beautiful day. 🥰 https://www.instagram.com/p/CpeeN-gseFW5B-viSoathnHmaKw3trnF4phkt80/?igshid=NGJjMDIxMWI=

[frankfosterphotography]

fence,

Cypress Grove Cemetery, New Orleans, Louisiana.

[religiontour]

Situated at a bend of the Bosphorus

I have said that this little village was situated at a bend of the Bosphorus. We therefore agreed to walk over a mountain which rose directly behind it, and send the boat round, to meet us at another point, as there were some curiosities to see on the summit, as well as a fine view. We first passed the ruins of a building, known as the Genoese Castle, which must, in former times, have been of enormous extent and magnitude. Getting higher up, wre had a fine prospect of the opposite, or European, shores of the Bosphorus; and, at last, on a ridge of ground, we got our first view of the Black Sea, with its long, heavy swell coming towards the entrance of the strait in mighty curves, and dashing over the Symplegades -which still thrust their rugged heads from the foam as they are said to have done when. Jason passed with the Argonauts.

Still keeping along the ridge of the mountain, we came at length to some rich table land, upon which a shepherd, in a wild costume, was looking after his flock. He had an immense dog with him, and my companion told me that the animals of this breed were as fierce as wild beasts, when their master did not keep them close to his side. On this occasion the brute began to show his teeth, and seemed perfectly ready to spring at us, so we took a lower path, instead of crossing the pasture, for I was by no means anxious for an encounter. Once I was bitten through the eyebrow by a hound, and I have seen several people die of hydrophobia ; the result has been, that I believe a tiger would frighten me less than a threatening dog. We were repaid for our detour by a walk through a lovely thicket, the winding path being bordered all the way by ferns, dwarf oaks, wild vines, and the arbutus. The foliage was charming and most refreshing, for it was a long time since I had seen any, beyond the dusty cypress in the cemeteries, and the fruit-trees in the Smyrna gardens. I felt how expressive was the sentence of Eothen, when the author speaks, after his arid desert journey, of “diving into the cold verdure of groves, and quenching his hot eyes in shade, as though in deep rushing waters.”

A baksheesh to an idle dervish

On the top of the mountain we came to a small cluster of buildings, attached to which was an enclosure, commonly known as the Giant’s Grave; but said, by the Turks, to be the burial-place of Joshua. A baksheesh to an idle dervish, who kept a poor coffeehouse here, procured a peep into the holy spot; but only a peep, for, as we would not take off our shoes, we were not allowed to proceed further than the door-step. The “ grave ” looked like an oblong flower-bed, between twenty and thirty feet long; so that, if it had been expressly made to accommodate any individual, it is remarkable that, with his great weight, he left no more authenticated memorials of his existence or departure. At one end was a railing, on -which a quantity of rags and shreds of cloth were hung. These were offerings, such as one may see in the chapel of Jesus Flagelle, near Winiille, and had been sent by sick people. The superstition, however, connected with them is, that if they are portions of the dress worn by the diseased person, in proportion as they become purified by the sun and air, so will the invalid recover guided tour ephesus.

As we came away a number of veiled women rushed out of the house adjoining, and began to abuse us in the most violent and excited manner, and the dervish also came in for his full share, for having shown the sacred spot to such Giaour dogs as ourselves. Their rage was increased at perceiving that we had our shoes on, since they imagined that WTC had been walking generally over the holy ground. I never heard such “Billingsgate” as the pale beauties indulged in. The dervish took his few piastres, and retired, with a sly wink, to his hovel; but we were greeted with a shower of clods and stones as we left the spot. This was the first, and I must say the only, time that I was ever practically insulted by the faithful during my stay in Turkey? 3Iy companion told me that he was once set upon by a number, at Broussa. He was taking a sketch, and nothing would convince them but that he was an enchanter, working out some deep necromantic scheme, to their serious detriment.

[roaminandtumbln]

📍cypress grove cemetery, new orleans, louisiana, u.s.a. 7 july 2022

[travelbg]

Situated at a bend of the Bosphorus

I have said that this little village was situated at a bend of the Bosphorus. We therefore agreed to walk over a mountain which rose directly behind it, and send the boat round, to meet us at another point, as there were some curiosities to see on the summit, as well as a fine view. We first passed the ruins of a building, known as the Genoese Castle, which must, in former times, have been of enormous extent and magnitude. Getting higher up, wre had a fine prospect of the opposite, or European, shores of the Bosphorus; and, at last, on a ridge of ground, we got our first view of the Black Sea, with its long, heavy swell coming towards the entrance of the strait in mighty curves, and dashing over the Symplegades -which still thrust their rugged heads from the foam as they are said to have done when. Jason passed with the Argonauts.

Still keeping along the ridge of the mountain, we came at length to some rich table land, upon which a shepherd, in a wild costume, was looking after his flock. He had an immense dog with him, and my companion told me that the animals of this breed were as fierce as wild beasts, when their master did not keep them close to his side. On this occasion the brute began to show his teeth, and seemed perfectly ready to spring at us, so we took a lower path, instead of crossing the pasture, for I was by no means anxious for an encounter. Once I was bitten through the eyebrow by a hound, and I have seen several people die of hydrophobia ; the result has been, that I believe a tiger would frighten me less than a threatening dog. We were repaid for our detour by a walk through a lovely thicket, the winding path being bordered all the way by ferns, dwarf oaks, wild vines, and the arbutus. The foliage was charming and most refreshing, for it was a long time since I had seen any, beyond the dusty cypress in the cemeteries, and the fruit-trees in the Smyrna gardens. I felt how expressive was the sentence of Eothen, when the author speaks, after his arid desert journey, of “diving into the cold verdure of groves, and quenching his hot eyes in shade, as though in deep rushing waters.”

A baksheesh to an idle dervish

On the top of the mountain we came to a small cluster of buildings, attached to which was an enclosure, commonly known as the Giant’s Grave; but said, by the Turks, to be the burial-place of Joshua. A baksheesh to an idle dervish, who kept a poor coffeehouse here, procured a peep into the holy spot; but only a peep, for, as we would not take off our shoes, we were not allowed to proceed further than the door-step. The “ grave ” looked like an oblong flower-bed, between twenty and thirty feet long; so that, if it had been expressly made to accommodate any individual, it is remarkable that, with his great weight, he left no more authenticated memorials of his existence or departure. At one end was a railing, on -which a quantity of rags and shreds of cloth were hung. These were offerings, such as one may see in the chapel of Jesus Flagelle, near Winiille, and had been sent by sick people. The superstition, however, connected with them is, that if they are portions of the dress worn by the diseased person, in proportion as they become purified by the sun and air, so will the invalid recover guided tour ephesus.

As we came away a number of veiled women rushed out of the house adjoining, and began to abuse us in the most violent and excited manner, and the dervish also came in for his full share, for having shown the sacred spot to such Giaour dogs as ourselves. Their rage was increased at perceiving that we had our shoes on, since they imagined that WTC had been walking generally over the holy ground. I never heard such “Billingsgate” as the pale beauties indulged in. The dervish took his few piastres, and retired, with a sly wink, to his hovel; but we were greeted with a shower of clods and stones as we left the spot. This was the first, and I must say the only, time that I was ever practically insulted by the faithful during my stay in Turkey? 3Iy companion told me that he was once set upon by a number, at Broussa. He was taking a sketch, and nothing would convince them but that he was an enchanter, working out some deep necromantic scheme, to their serious detriment.

[bookingrooms]

Situated at a bend of the Bosphorus

I have said that this little village was situated at a bend of the Bosphorus. We therefore agreed to walk over a mountain which rose directly behind it, and send the boat round, to meet us at another point, as there were some curiosities to see on the summit, as well as a fine view. We first passed the ruins of a building, known as the Genoese Castle, which must, in former times, have been of enormous extent and magnitude. Getting higher up, wre had a fine prospect of the opposite, or European, shores of the Bosphorus; and, at last, on a ridge of ground, we got our first view of the Black Sea, with its long, heavy swell coming towards the entrance of the strait in mighty curves, and dashing over the Symplegades -which still thrust their rugged heads from the foam as they are said to have done when. Jason passed with the Argonauts.

Still keeping along the ridge of the mountain, we came at length to some rich table land, upon which a shepherd, in a wild costume, was looking after his flock. He had an immense dog with him, and my companion told me that the animals of this breed were as fierce as wild beasts, when their master did not keep them close to his side. On this occasion the brute began to show his teeth, and seemed perfectly ready to spring at us, so we took a lower path, instead of crossing the pasture, for I was by no means anxious for an encounter. Once I was bitten through the eyebrow by a hound, and I have seen several people die of hydrophobia ; the result has been, that I believe a tiger would frighten me less than a threatening dog. We were repaid for our detour by a walk through a lovely thicket, the winding path being bordered all the way by ferns, dwarf oaks, wild vines, and the arbutus. The foliage was charming and most refreshing, for it was a long time since I had seen any, beyond the dusty cypress in the cemeteries, and the fruit-trees in the Smyrna gardens. I felt how expressive was the sentence of Eothen, when the author speaks, after his arid desert journey, of “diving into the cold verdure of groves, and quenching his hot eyes in shade, as though in deep rushing waters.”

A baksheesh to an idle dervish

On the top of the mountain we came to a small cluster of buildings, attached to which was an enclosure, commonly known as the Giant’s Grave; but said, by the Turks, to be the burial-place of Joshua. A baksheesh to an idle dervish, who kept a poor coffeehouse here, procured a peep into the holy spot; but only a peep, for, as we would not take off our shoes, we were not allowed to proceed further than the door-step. The “ grave ” looked like an oblong flower-bed, between twenty and thirty feet long; so that, if it had been expressly made to accommodate any individual, it is remarkable that, with his great weight, he left no more authenticated memorials of his existence or departure. At one end was a railing, on -which a quantity of rags and shreds of cloth were hung. These were offerings, such as one may see in the chapel of Jesus Flagelle, near Winiille, and had been sent by sick people. The superstition, however, connected with them is, that if they are portions of the dress worn by the diseased person, in proportion as they become purified by the sun and air, so will the invalid recover guided tour ephesus.

As we came away a number of veiled women rushed out of the house adjoining, and began to abuse us in the most violent and excited manner, and the dervish also came in for his full share, for having shown the sacred spot to such Giaour dogs as ourselves. Their rage was increased at perceiving that we had our shoes on, since they imagined that WTC had been walking generally over the holy ground. I never heard such “Billingsgate” as the pale beauties indulged in. The dervish took his few piastres, and retired, with a sly wink, to his hovel; but we were greeted with a shower of clods and stones as we left the spot. This was the first, and I must say the only, time that I was ever practically insulted by the faithful during my stay in Turkey? 3Iy companion told me that he was once set upon by a number, at Broussa. He was taking a sketch, and nothing would convince them but that he was an enchanter, working out some deep necromantic scheme, to their serious detriment.

[travelsn]

Situated at a bend of the Bosphorus

I have said that this little village was situated at a bend of the Bosphorus. We therefore agreed to walk over a mountain which rose directly behind it, and send the boat round, to meet us at another point, as there were some curiosities to see on the summit, as well as a fine view. We first passed the ruins of a building, known as the Genoese Castle, which must, in former times, have been of enormous extent and magnitude. Getting higher up, wre had a fine prospect of the opposite, or European, shores of the Bosphorus; and, at last, on a ridge of ground, we got our first view of the Black Sea, with its long, heavy swell coming towards the entrance of the strait in mighty curves, and dashing over the Symplegades -which still thrust their rugged heads from the foam as they are said to have done when. Jason passed with the Argonauts.

Still keeping along the ridge of the mountain, we came at length to some rich table land, upon which a shepherd, in a wild costume, was looking after his flock. He had an immense dog with him, and my companion told me that the animals of this breed were as fierce as wild beasts, when their master did not keep them close to his side. On this occasion the brute began to show his teeth, and seemed perfectly ready to spring at us, so we took a lower path, instead of crossing the pasture, for I was by no means anxious for an encounter. Once I was bitten through the eyebrow by a hound, and I have seen several people die of hydrophobia ; the result has been, that I believe a tiger would frighten me less than a threatening dog. We were repaid for our detour by a walk through a lovely thicket, the winding path being bordered all the way by ferns, dwarf oaks, wild vines, and the arbutus. The foliage was charming and most refreshing, for it was a long time since I had seen any, beyond the dusty cypress in the cemeteries, and the fruit-trees in the Smyrna gardens. I felt how expressive was the sentence of Eothen, when the author speaks, after his arid desert journey, of “diving into the cold verdure of groves, and quenching his hot eyes in shade, as though in deep rushing waters.”

A baksheesh to an idle dervish

On the top of the mountain we came to a small cluster of buildings, attached to which was an enclosure, commonly known as the Giant’s Grave; but said, by the Turks, to be the burial-place of Joshua. A baksheesh to an idle dervish, who kept a poor coffeehouse here, procured a peep into the holy spot; but only a peep, for, as we would not take off our shoes, we were not allowed to proceed further than the door-step. The “ grave ” looked like an oblong flower-bed, between twenty and thirty feet long; so that, if it had been expressly made to accommodate any individual, it is remarkable that, with his great weight, he left no more authenticated memorials of his existence or departure. At one end was a railing, on -which a quantity of rags and shreds of cloth were hung. These were offerings, such as one may see in the chapel of Jesus Flagelle, near Winiille, and had been sent by sick people. The superstition, however, connected with them is, that if they are portions of the dress worn by the diseased person, in proportion as they become purified by the sun and air, so will the invalid recover guided tour ephesus.

As we came away a number of veiled women rushed out of the house adjoining, and began to abuse us in the most violent and excited manner, and the dervish also came in for his full share, for having shown the sacred spot to such Giaour dogs as ourselves. Their rage was increased at perceiving that we had our shoes on, since they imagined that WTC had been walking generally over the holy ground. I never heard such “Billingsgate” as the pale beauties indulged in. The dervish took his few piastres, and retired, with a sly wink, to his hovel; but we were greeted with a shower of clods and stones as we left the spot. This was the first, and I must say the only, time that I was ever practically insulted by the faithful during my stay in Turkey? 3Iy companion told me that he was once set upon by a number, at Broussa. He was taking a sketch, and nothing would convince them but that he was an enchanter, working out some deep necromantic scheme, to their serious detriment.