Venice in Peril

The UK-based Venice in Peril Fund is one of several international charities devoted to safeguarding the future of this unique city. Guy Elliott, Chairman of Venice in Peril, outlines some of its recent projects.

The Venice in Peril Fund was founded in 1971, succeeding an earlier fund instituted in 1966 in response to that year’s devastating floods. Today, more than 50 years later, Venice may be in even greater peril. Climate change is increasing the frequency of high tide occurrences, known as Acqua alta. These, as well as causing flooding, allow saline penetration of the brick which lies above the hard Istrian stone foundations. In certain atmospheric conditions, these saline deposits crystallise, causing the mortar and brick to fragment. Rising sea levels will only accentuate this problem. Other factors, such as more turbulent water traffic and deteriorating air quality, also contribute to the degradation. Taken together these threats pose an existential threat to the city.

Over this long period, Venice in Peril has focused chiefly on the conservation of monuments, especially in stone, for example the Porta della Carta (Doge’s Palace) or the Loggetta around the campanile. But the charity has also conserved works of art and smaller projects ranging from a globe by Vincenzo Coronelli to 18 Goldoni puppets. Over 75 projects have been carried out using its funding alongside the City, Museum and Church authorities. At the same time the charity has aimed to broaden public understanding of the city’s challenges. 

One of Venice in Peril’s most recently completed conservation projects is the monument to Antonio Canova in the Frari church. Within it lies his heart. The rest of his remains—except for his right hand, which is in the Accademia Galleries—are at Possagno, his birthplace. The remarkable pyramid-shaped monument, built according to Canova’s design for a monument to Titian that was never executed, was inaugurated on the 200th anniversary of the great sculptor‘s death. British donors were prominent among those who financed its construction in the 1820s and Venice in Peril’s present supporters carry on the same proud tradition. The conservation project took ten years to complete and its challenges reflect all the environmental assaults described above. In addition, the problems of earlier conservation efforts (which followed best practice at the time) needed to be reversed. Major projects such as this provide training opportunities for young conservators as well as highlighting the harmful effects of neglecting maintenance, which is everywhere accorded low priority.

These same problems of Venice’s foundations being eaten away or suffering other environmental damage have been the focus of the charity in many other projects. One example is at the imposing Gothic church of Madonna del Orto in Cannaregio. Another is at the Basilica of Torcello, where recently the iconostasis was conserved. An ongoing project is at the Archivo de Stato, where following our earlier restorations of its main monumental doorway and its Baroque well-head, further interventions are planned to the archangels guarding the corners of this former cloister, once attached to the Frari. 

The Italian authorities, despite many competing demands placed on them, are not altogether neglecting the challenges which Venice faces. The massive MOSE project, which consists of retractable floodgates built between the outermost islands of the lagoon, has been a welcome development—unfortunately not operational for the Acqua alta of 2019, the worst since 1966. The MOSE barriers were first raised in October 2020. On a smaller scale, a glass barrier has been put in place around San Marco, reflecting the basilica’s position as one of the lowest lying points in the city. Venice in Peril has likewise assisted San Nicolò dei Mendicoli with similar counter-measures, the latest after the 2019 flooding, in a series of interventions at the church made since the 1970s. 

Venice’s challenges are not confined to the environment. As is well known, giant cruise liners have been controversial. Their enormous scale, dwarfing the city’s greatest monuments, caused much offence. Since 2021 ships over 25,000 tonnes are no longer permitted to sail up the Giudecca Canal or moor in the basin of San Marco. They instead take a different route to the port of Marghera on the mainland. While this diminishes the visual impact, nothing changes the disgorgement of very large numbers of passengers who make a negligible contribution to the city’s economy since they tend not to stay overnight. In 2019, the last full year before the pandemic, the city had 5.5 m overnight stays and 13 m overall visitors. The pandemic emptied Venice, but since 2022 tourism has resumed, with all that that entails. 

The city’s overdependence on tourism has changed the housing rental sector. Many residents have quit the old city for the mainland, renting out their apartments, often in an unregulated manner. This undermines the formal hotel and pensione sector. It also accelerates depopulation. Venice’s present population, which has been consistently falling, is around 50,000 as against its peak of 175,000 in the early 1950s. This partly reflects the lack of employment prospects, especially for young people, except in the tourist sector. 

As well as diverting the giant cruise liners, a daily levy has been introduced for day trippers. This innovation, like several others, has been controversial. But the scale of challenges that Venice faces requires considerable imagination. In many areas, solutions have proved elusive. Often, unpleasant choices need to be made in order to safeguard one of mankind’s most sublime achievements. This will not be the last such case. 

Venice in Peril Fund offers a unique and worthwhile channel to those who love the city, enabling them to discover more about Venice while contributing to conservation that can encourage sustainability and assist economic renewal. The website www.veniceinperil.org gives details about past and present projects and enables donations to be made easily. Funds are always needed to keep pace with the seemingly inexhaustible list of endangered buildings, monuments, sculptures and works of art. The charity holds regular events for its supporters, and can be followed on Twitter and Instagram.

Venice in Peril thanks the publishers of the excellent Blue Guide for again giving us space to explain our purpose and why it matters to those who love the city.

Guy Elliott, Chairman, Venice in Peril Fund CIO

The Twenty-day Sultan

To be a sultan even for only twenty days is an achievement. Cem Sultan paid for it for the rest of his life. Here is his story.

Born the third son of Fatih Sultan Mehmet (the conqueror of Constantinople), Cem could style himself as ‘porphyrogenitus’, being born when his father was an emperor, unlike his two brothers Beyazıt and Mustafa (the latter of whom died soon after and is not part of the story). According to Ottoman tradition, princes were sent out to the provinces while still very young, to learn the ropes. Cem was made governor of Kastamonou at the tender age of five. He took up residence there with his mother, his tutor (his lala) and his court. Later he was promoted to Konya and it was there that he learned of the death of his father. Not yet fifty, Sultan Mehmet had probably died of exhaustion. Already a ruler at twelve, deposed at fourteen and reinstated at nineteen, he went on to conquer Constantinople two years later, embarking afterwards on non-stop wars of conquest in the Balkans and Anatolia. He literally had been burning the candle at both ends.

Mehmet left no arrangements for his succession, which may appear strange since he was well aware of the dangers of civil war. On his accession he had had his one baby brother drowned (or strangled—both methods acceptable as long as Muslim blood was not shed) ‘for the sake of public order’ and had the practice codified in law. The Turco-Mongol tradition leaves to God the choice of ruler from among the males of a specific bloodline. Anyone interfering would be subverting divine will, which equals heresy. But how does God manifest his choice? By granting favour (kut), i.e. the claimant who could maintain himself on the throne could claim divine support. The tradition did not recognise primogeniture of any other form of seniority.

After Mehmet’s death, it was Cem who won the first round. He got himself to Bursa, seized the treasury, minted coins in his own name and was Sultan for twenty days. This was as much time as Beyazıt needed to move from Amasya, where he was governor, gather his troops (the Jannissaries had declared for him) and beat Cem soundly at Yenişehir. Cem fled for his life with his immediate family, all the way to Egypt. While plotting further action, he made the pilgrimage to Mecca (the only Ottoman sultan to have done so) and proposed to Beyazıt that they split the empire. He would rule Anatolia while Beyazıt would control Rumelia, the European provinces. Beyazıt’s answer was unequivocal: absolute power could not be split. ‘Sultans do not have a family’ he said, setting the tone for future Ottoman autocracy.

One last attempt at seizing Konya ended in disaster and Cem had to flee again. This time he did not go to Egypt, where he had left his family, but to Rhodes, the piece of European soil within easiest reach. He was acquainted, moreover, with the local rulers, the Knights of St John, with whom he had been instrumental in negotiating a settlement after his father’s failed attempt to conquer the island. The Order of St John embodied a mixture of military, political, religious aspirations: assisting pilgrims to the Holy Land, checking the advance of the Turks, flying the flag of Catholic Christianity in the East. Cem calculated that the Grand Master of the Order, Pierre d’Aubusson, who lived in Rhodes, would be able to help him gather European support in his quest for justice, or at least a share of the Empire. At the same time, however, d’Aubusson was in touch with Beyazıt, who was geographically his near neighbour and with whom he had to find a modus vivendi. The result of the negotiations was that d’Aubusson would keep Cem well—and well out of the way—and in return the Sultan would maintain friendly relations with Rhodes and help with an annual contribution of 40,000 gold pieces towards Cem’s upkeep. It is difficult to put a modern figure on this sum of money, sometimes described as ducats or florins, but it was certainly a good deal, well in excess of Cem’s needs. There was enough left over to improve the fortifications of Rhodes and later to tempt the greed of a pope (see below).

The Disputation of St Catherine by Pinturicchio, in the Borgia Rooms in the Vatican (1492–5). The figure of St Catherine has long been rumoured to be a portrait of Pope Alexander VI’s daughter Lucrezia Borgia. The young man in the turban is thought to be Cem. Photo ©BlueGuides

Cem, on the other hand, had completely different ideas. He pictured himself at the head of a European coalition to stop the Turks—or at least one particular Turk, his brother. In this he intended to enlist the support of the King of Hungary, Matthias Corvinus. One has to bear in mind that the Hungarian kingdom had historically reached far beyond the Danube and that it had felt Ottoman pressure right from the beginning. Cem was counting on d’Aubusson to help him make contact with the King of France, gain his support and ensure a safe passage to Hungary.

And so to France! Cem left Rhodes (without his family, who remained in Egypt) with a suite of forty or so ‘companions’; a concubine Almeida, constituting a harem of one; a number of Turkish slaves purchased at the thriving slave market in Rhodes; and an unspecified following of spies and agents sent on the orders of Venice, of the Sultan and of anyone else interested in this up-and-coming ‘hot property’. As a prince of Ottoman blood, pretender to the throne, Cem had become just that.

The passage to the French Mediterranean coast was uneventful, but Cem and his retinue could not land in Toulon because of plague. The company opted instead for Nice, then in the Duchy of Savoy. Here they were accommodated in the castle, on a rocky outcrop between the harbour and what is now the Promenade des Anglais. Cem spent his time waiting for things to happen and whiling away his time with a pet monkey who could play chess and a parrot who could recite suras of the Koran.

Things began to move again in 1483. The party progressed through Piedmont, crossing the Montcenis pass in winter, and arrived in Chamonix to meet the Duke of Savoy, a lad of just fourteen. There was still no sign of the French king, nor of his envoys, nor of the passport to Hungary. This was due not so much to lack of cooperation from the king as to the fact that he had not apparently been informed. D’Aubusson was clearly intending to keep his side of the bargain with Sultan Beyazıt, to keep Cem ‘well out of the way’, to all intents and purposes a prisoner. This was the reason behind the detour into Piedmont, where the knights could count on secure accommodation in their various commanderies (fortified buildings).

From Chamonix the way was due northwest, to d’Aubusson country, la France profonde, skirting the Grand Chartreuse massif into the Auvergne and beyond into the Creuse around Limoges. Accommodation was always in some form of defended outpost (Rochechinard, Monteil-au-Vicomte, Poët-Laval etc), which can still be identified though most are in a sorry state today. Along the way, romantic attachments with various châtelaines have entered local lore. And Cem was not the only male in his party. There were his companions as well as an unspecified number of Turkish slaves. Talk of large-scale DNA testing, searching for potential kinship links, has come to nothing so far.

In 1484 at Bourganeuf, 40km east of Limoges, Cem and his company were offered accommodation in a château at the centre of the fortified village belonging to d’Aubusson himself and where his sister was living at the time. On the pretext that the rooms were unsuitable, but in reality fearing kidnap or the flight of the prisoner, it was decided to build new, secure accommodation while housing Cem and company nearby. More removals, more disruptions. The building process took two years. There can be no doubt that the tower known locally as the Tour Zizim (apparently from Cem’s childhood nickname, or perhaps because the local people could not pronounce his name properly) was effectively a prison: a seven-storey building accessed via a walkway from another tower of the castle. The first opening was 10m off the ground. The tower can be visited. Inside, the seven floors connected by a central spiral staircase included (from the bottom): a cellar, kitchen and stores; the companions’ accommodation; Cem’s own apartment on two storeys, with his harem above it (still a one-person harem); guards on the top floor and more guards on the roof. Rumours of a hamam are unconfirmed. Here Cem stayed for two years and three months. Not so Almeida, who killed herself.

Meanwhile, in the outside world, things had moved on. When the King of Hungary died the focus of a crusade moved to Rome, to Pope Innocent VIII. Negotiations produced the expected result. D’Aubusson got his cardinal’s hat and relinquished Cem and his appanage, who were taken into custody by the pope. In the spring of 1489, Cem and his suite were moved to Rome where he was lodged in the Vatican, occupying the floor above the pope’s apartment in the Apostolic Palace, overlooking the Cortile del Pappagallo. From Mantegna’s correspondence (he was working in the Palazzo del Belvedere) we get an unflattering description of a moody, alien character.

Beyazıt then made a new arrangement with the pope. Not only would the sultan continue to pay the very generous pension, in exchange for which Cem would be ‘kept well and well out of the way’, but as a sweetener he added a relic, the metal point of the spear that had wounded the Saviour on the Cross. Istanbul was awash with relics and the Turks soon realised their bargaining power with the Christian West. Alas, this particular relic proved ineffective in dealing with Innocent’s health problems and he died in 1492. Even so, the item figures prominently in his left hand in his tomb monument by Antonio Pollaiolo, which can be admired in St Peter’s.

There is no evidence that Cem was free to come and go as he pleased in Rome, but perhaps it was more appealing than a prison-tower in the middle of nowhere in France. Mantegna’s testimony, though, may suggest bouts of depression.

When Innocent died, Cem graduated to a tighter regime during the conclave. He was still ‘hot property’ and was confined to a tower for the duration of the conclave. Worse was to come. The new pope was a Borgia, Alexander VI. He was determined to use Cem for his schemes, which included a crusade. It never materialised, partly because of disagreements among the perspective participants, chief among them Venice, who was to have supplied the vessels but was very unwilling to upset relationships with the Porte at a time when the Serenissima was trading happily with the infidels in spite of the papal prohibition.

In the meantime the French king, Charles VIII, had decided to act upon his claim to the throne of Naples and in 1494 crossed the Alps to claim his due. Cem this time ended up with the pope himself in Castel Sant’Angelo, the one-time mausoleum of the emperor Hadrian later turned into a fortress. In spite of his determination to hang on to his precious hostage, Pope Alexander had to surrender him to the French king, who also had the same ill-defined ambition of a crusade. It was a difficult time for the Borgias as they were short of money and Beyazıt’s subsidy was quite handy.

Cem just made it to Naples and died in Castel Capuano, at that time the residence of the King of Naples, who was currently in exile. This was a blow for the French king and his ambitions. In the end his mad cavalcade from Paris to Naples came to nothing and he went back home—though not empty-handed. In his train were 43 tons of booty: carpets, tapestries, books, marbles, furniture, the bronze doors of Castel Nuovo and even a set of stained-glass windows. Not all of it made it to France, notably the doors, one of which was used as a shield in a naval battle and was hit by a cannon ball that is still embedded in it. They were sent back to Naples where they can still be admired.

By 1498 the French king was dead and buried. Things were not so simple for Cem, who had died in February 1495 but had still not been buried in the way that Beyazıt wanted, i.e. with the actual body, very publicly in the Empire, to make sure that every citizen knew that the claimant to the throne was truly dead. The problem was twofold. First it was necessary to ensure that the body was really Cem’s. To that effect his two last companions were tasked to guard it day and night. They had already embalmed it, burying the entrails in the garden of Castel Capuano, and then wrapped it in an emergency shroud, in this case one of their turbans.

The lead coffin now awaited transport to Istanbul but that was not so easy. The last thing the Italians wanted to see were Turkish vessels cruising off their shores. The occupation of Otranto by Mehmet Fatih in 1480–81 was still fresh in everyone’s memory. In the end the transport was organised by the King of Naples: overland to Lecce, across the Adriatic to Valona and then by land to Istanbul. Cem was buried in 1499 with full honours in Bursa alongside his brother Mustafa. The surviving companions were rewarded. There is no mention of what became of the parrot and the monkey.

At 35 Cem had spent seven years and two months in France and six years and two months in Italy, in something very close to captivity in unfamiliar surroundings, away from his family and without advancing his cause an inch. If depression and frustration can kill, this would be a textbook case. The curse extended to his progeny. When Sultan Suleiman conquered Rhodes in 1522, he sought out Cem’s son Murat (now a Christian by the name of Niccolò) and had him killed. According to some he may have killed Murat’s son as well, unless the young man had already decamped to Malta, where the Knights of St John had moved. The curse of the Ottoman blood was apparently unforgiving.

by Paola Pugsley. Her latest book, Blue Guide Mediterranean Turkey, was published in 2020.

Donatello. The Renaissance

The simplicity of the title of this marvellous exhibition (open until 31 July at Palazzo Strozzi and the Bargello in Florence) prepares us for the presence of a series of masterpieces by the greatest Western sculptor of all time. On show in two Florence venues, there are loans from all over the world, especially from the V&A in London. Some of the works have just been restored while others are in the process of restoration. The decision was taken to exhibit some of the statues much higher than usual, following documentation about their original pedestals, or quite simply by looking at their stance.

Equestrian statue by Donatello of the Venetian mercenary general Gattamelata (1453). Mounted on an exceptionally high base, outside the Basilica of Sant’Antonio in Padua, it was the first large-scale monumental bronze to be cast since ancient times. Donatello perhaps studied the 4th-century BC bronze horse’s head pictured below when creating this masterpiece.

The exhibition gives us a unique opportunity to see up close some bronzes Donatello carried out for the baptistery font in Siena and for the high altar of the Basilica of Sant’Antonio (the ‘Santo’) in Padua. For the hexagonal font in Siena, six gilded bronze panels were commissioned from different Tuscan masters: two from Ghiberti, two from Turino di Sano and his son, and two from Jacopo della Quercia. But in 1423 Jacopo asked Donatello to take on one of his scenes, the Banquet of Herod. This has just been restored in Florence and is exhibited here before being returned to Siena. In the dramatic scene with the Baptist’s severed head presented at the table, it is fascinating to see all Donatello’s innovative details and his use of extraordinary architectural perspective (derived from Brunelleschi). It at once overshadowed the panels by all the other sculptors.

Three works in bronze have been removed from their setting, especially for this exhibition, from Donatello’s famous high altar of the Santo in Padua. When in situ in the dark sanctuary they are very difficult to see. The Miracle of the Mule (one of the miracles performed by St Anthony, to whom the Santo basilica is dedicated) shows a mule owned by a non-believer showing the way to Christ by kneeling in front of the Host. This charming scene is in quite a different spirit to the life-size Crucifix(the technical difficulties overcome by Donatello in creating this work in bronze, unique for its size in the 15th century, are described in the catalogue). Not content to show just the drama of Christ on the Cross, he gives a delicate flick to the loin cloth, as if caught in a gust of wind. The third work on show from the Padua altar is a relief of Christ as the Man of Sorrows.

Marble reliefs by Donatello using his famous ‘schiacciato’ technique are displayed throughout the exhibition, culminating in the last room at the Bargello, which celebrates the ‘Dudley’ Madonna (so named because it was acquired by the V&A from the Dudley family in 1927, although we know it was once in Cosimo I’s study in Florence). This tiny work, thought to date from c. 1440, was only recognized as being by Donatello’s hand around 1992. It had an extraordinary influence on generations of artists, including Leonardo (represented by a drawing from the British Museum) and Michelangelo (his famous relief, recently restored, from the Casa Buonarroti in Florence). It is not always easy to see a direct influence in all twelve works displayed here, but the very fine painting by Artemisia Gentileschi demonstrates an affinity with the marble panel at late as the 17th century.

Much attention has been given to works in terracotta, a medium frequently used in Antiquity but which only came back into favour with sculptors in the first years of the 15th century. The curators have exhibited a number of Madonna reliefs in terracotta, some of them painted, which they believe to be by Donatello’s own hand and which show his early interest in terracotta. They write amusingly that they are fully expecting scholars to contest these new attributions. The majestic Madonna with a playful Christ Child from the Museo Bardini in Florence, and always recognized as by the master, stands out above the others for its remarkable beauty.

Donatello clearly enjoyed experimenting with media other than bronze and terracotta: he even used pietro macigno in three of his works, one of which, his genial Marzocco lion with an almost human face, guards the ‘entrance’ to the exhibition in the Bargello. The name Marzocco, apparently used since the Middle Ages to denote the protector of the city, has mysterious origins. It was originally intended to sit on a column.

There is a room of Donatello’s bronze ‘spiritelli’, or what we now usually call putti. These winged nude children are also familiar from Antique sarcophagi. The most beautiful of these are the small-scale dancing figures – perhaps the one dancing on a scallop shell (from the Bargello) is the most memorable for its joyful grace. Some of these small bronzes used to be taken for Antique works.

Almost all Donatello’s most famous contemporaries are represented, even if only with one work: Luca della Robbia, Masaccio, Filippo Lippi, Brunelleschi, Fra’ Angelico, Andrea del Castagno. But there are also works by the far less famous, including Nanni di Bartolo, who is here recognised as the author of the statue of a prophetin the Florence Duomo (which up to now has usually been attributed to Donatello). Bertoldo di Giovanni, one of Donatello’s most devoted pupils, is also re-evaluated: the lovely bronze bust of a young philosopher in the Bargello is now recognized as his work and not that of Donatello. A drawing from the Ashmolean of four soldiers (one of which is a direct copy from Donatello’s St George) is touching evidence that Raphael was in Florence at the age of 20 when he came to the city to study her works of art.

In the last room in Palazzo Strozzi is the astonishing sight of a huge horse’s head from Naples (much larger than life-size), until recently considered a Classical work but now attributed to Donatello and thought to have been made for an equestrian monument that was never carried out. It was owned by Lorenzo the Magnificent, who donated it to the court of Naples. The sculptor would have been proud to see it displayed beside a magnificent horse’s head of c. 340 BC, one of the least-known treasures in Florence’s archaeological museum but perhaps the most important ancient bronze in the city. Scholars believe it must have been seen in the Medici palace by both Verrocchio and Donatello before working on their equestrian statues in Venice and Padua.

Ancient bronze horse’s head of the 4th century BC, from the Museo Archeologico in Naples. It is thought that Donatello was familiar with this work and that he drew on it for his equestrian statue of Gattamelata in Padua pictured above.

The catalogue, although expensive, is full of interest. Once again, as in so many art historical contexts, it is interesting to note that Vasari is still taken as a fundamental source when describing works of art and their history.

This is an exhibition not to be missed.

By Alta Macadam. For descriptions of the places in Italy with works by Donatello see Blue Guide Florence, Blue Guide Venice & the Veneto, Blue Guide Central Italy. Alta Macadam is currently at work on a new edition of Blue Guide Venice.

After the frescoes: the rise and fall (and rise) of Ephesus

Visitors touring Ephesus might easily end their visit at the Terraced Houses, with their beautiful frescoes and opulent marble floors. The degree of preservation is stunning. Left to the elements frescoes do not survive undamaged to such a height but as there is no trace of immediate reconstruction as such, one is left to wonder how and why they were protected. Taphonomy (the way artefacts are accrued to the archaeological record) can shed light on the process.

The destructive event is dated to around AD 620, an act either of human aggression (the Sassanids) or a natural disaster (earthquake)—or indeed both. The damage was terminal: the houses were not repaired but nor was the site abandoned. A quick backfill followed and the location was terraced again, at an unspecified time, and occupied by a long narrow building, apparently used for storage. This is Late Antiquity, a time when archaeological evidence becomes quite scarce. Buildings, generally speaking, were flimsier constructions, while early excavators looking for solid Roman and Greek solid stonework tended to clear the surface of any later structure, skimp on recording and sometimes publish nothing. From this period on, archaeology is greatly assisted by historians—eminent among them Clive Foss—who have pondered over any available documentation from archives to travellers’ accounts, to graffiti, to piece together Ephesus’s trajectory from the fateful event in the early 7th century to about 1,000 years later, when the great metropolis truly died.

The next two centuries are in many respects a black hole, but one thing is clear: Ephesus regrouped and took a fateful decision. Defence came to the fore. Ephesus received a new set of walls that halved the size of the city, leaving out the whole of the Embolos and both agoras. All efforts were concentrated on the Harbour. The wall, 4m thick (squared stones filled with rubble), ran from the Harbour to the Theatre, along the Arcadian Way and up to the Stadium, and then back to the Harbour.

Map of ancient Ephesus, showing the new walls that cut the ancient city in half. The locations of the Temple of Artemis and Basilica of St John, to the north and northeast, are indicated.

About a mile to the northeast, the barren hill known to the Byzantines as Helibaton (‘The Steep One’), where Justinian had built the grand basilica dedicated to St John the Apostle in about the mid-6th century, another Ephesus had developed, cashing in on the pilgrimage trade. St John had apparently died here and his grave lay beneath the altar. In addition to this, there was the Cave of the Seven Sleepers, a holy site for pagans, Christians and Muslims alike. And there was always the passing trade of pilgrims on their way to the Holy Land.

Helibaton, according to the archaeology, was not settled at the time; it was used as a necropolis, the oldest grave being Mycenaean. So, how come its fortune changed? Procopius, the contemporary historian, states very clearly that there was no water. One has to conclude that the aqueduct that made settlement possible dates roughly to the time of the grandiose church, another mark of imperial favour. A wall was built to defend the settlement, using spolia from earlier structures both nearby (the Temple of Artemis) and far away (the Stadium). In these new circumstances, Ephesus fared better than contemporary Sardis (a fortress and some villages) and Pergamon (a small fort). That was certainly the impression of Bishop Willibald, who visited on his way to the Holy Land in 721. After the great havoc of the Arab incursions, the ravages of the plague and other afflictions such as civic unrest, our bishop found Ephesus the capital of a thema (a Byzantine military and administrative district), functioning although diminished. In addition to trade, Ephesus had always had a rich and productive hinterland, not having in its Greek past dissipated its energies in setting up colonies, as Miletus had done.

The next 350 years of Byzantine presence mark a steady decline. By about the 10th century the harbour had silted up, making it no longer suitable for the Byzantine fleet. The fleet moved about ten miles south, to Phygela, an unexcavated Genoese colony also known as Scalanova, now covered over by the modern settlement of Kuşadası. Trade suffered. Tellingly it is about now that the whole of Ephesus started to became known as Hagios Theologos (from which later on it became Ayasoluk for the Muslims and Altoluogo for the Latins).

The time of Lascarid rule was particularly auspicious. This was when the Latins ran Byzantium, in the first half of the 13th century, and the ruling Byzantine dynasty was based in Anatolia. Borders were well defended by the akrites, a sort of elite caste of freelance fighters, and the marauding Turks from the east were kept in check. The walls of Ayasoluk were remodelled, with the building of a separate fortress with pentagonal and rectangular towers, the ancestor of the tower we can admire today. The great basilica seems to have fared less well: according to Bishop John Tornikes, it was full of hedgehogs, bird droppings and fallen mosaics. The atrium was covered in buildings. Indeed, while Ephesus emptied, Ayasoluk was bursting at the seams and expanding beyond the walls. The original trickle of nomads from the east, after the fateful battle of Manzikert 1071, was now turning into a flood down the Meander valley. Recent political developments such as the setting up of the Sultanate of Konya had upset the pattern of trade. Communication with the east was severed.

The incorporation into the Emirate of Aydın (which moved its capital to Ayasoluk) brought some sort of stability. Trade resumed, with Venetian and Genoese merchants looking for raw materials (alum, grain, rice, wax and hemp) in exchange for manufactured products such as the ever-popular brightly coloured cloth. The original harbour, now unusable, was abandoned. The new harbour (Panormus) was at a location four miles due west of Ayasoluk. A map drawn by Choiseul-Gouffier, French ambassador to the Porte from 1784–91, shows the spot just north of the mouth of the Cayster. It is labelled ‘Lake full of reeds’ and was at that time by the sea, whereas the present coastline is two miles further west. Older accounts mention merchants’ houses, docks, churches, a lighthouse and a ‘deep’ harbour around the eastern end of the inlet. Investigations have been sporadic. Merchandise could move by road and down the river. The local emir pocketed the dues and indulged in some piracy to supply the slave market. Times were prosperous. The Isa Bey mosque went up, the first monumental building in the area since the time of Justinian. The court of the emir patronised the arts and sciences.

St John’s basilica was turned in part into a mosque (the frescoes were hidden under coloured marble slabs) and the rest of the building was used as a market for the produce of the fertile hinterland. Locally minted gold coinage imitated that of Florence. By now the fame of St John had acquired an extra twist: not only did the sacred tomb beneath the altar exude a miraculous manna on certain dates, but the saint, it turned out, was not really dead. He was merely asleep, and his snoring could be heard. Pilgrims continued to flock to the sacred site and paid the entrance fee imposed by the business-minded Turks.

This sort of mutually beneficial cohabitation required a lot of delicate footwork, not least because the emir’s authority was never beyond challenge by other members of his family. The intervention of the Ottoman Sultan Bayezıt I (known as Yıldırım, the ‘Thunderbolt’) was as unwelcome as it was inopportune. He plunged the emirate into chaos in 1390. When Tamerlane captured him at the battle of Ankara in 1402, the Anatolian emirs breathed a collective sigh of relief. But the respite was short-lived. The Ottomans returned in 1425, and this time they stayed. Serious decline set in. Trade gradually moved to Scalanova and Izmir. Istanbul was distant and indifferent. Nomadism took root in the hinterland, with serious ecological consequences: deforestation, the neglect of drainage ditches and therefore increased silting. 

Under the conservative Ottoman rule, Ephesus maintained its administrative role as the head of a kaza, an administrative division under a kadı (a judge); the mint still operated. Western travellers attracted by the Classical ruins had to go to Ayasoluk to find lodgings and to pay their respects to the kadı, a process that involved bringing a suitable gift (coffee and sugar were welcomed). Their accounts paint a dismal picture of the place: houses with earthen roofs, lodgings full of fleas, howling jackals; but the Isa Bey mosque was in good repair and was at times mistaken for St John’s basilica. Evliya Çelebi, who visited in the mid-17th century, was certainly not fooled. Finding little reason to rejoice in the present state of Ayasoluk, he berated the locals and their laziness for the sad state of affairs while at the same time conjuring up a mythical, glorious Islamic past when Ayasoluk had had 300 baths, 20,000 shops, and 3,800 mosques, both large and small. The reality was that the place was riddled with malaria, a fact greatly responsible for the misery witnessed by visitors.

By the 18th century the Turkish population had moved into the castle while the Greeks had decamped to the surrounding hills. By the 19th century the castle was in ruins but there was still a kadı; he lived in the village.

The planned railway put Ephesus back on the map as a communication hub, which had been its calling since antiquity. Its construction brought with it a young engineer, John Turtle Wood, who pinpointed the correct location of the Artemision and thereby started the rebirth of Ephesus.

By Paola Pugsley, author of Blue Guide Aegean Turkey: From Troy to Bodrum

A Spring Weekend in Southern Sicily

Travel restrictions are easing, the time has come to explore an interesting and little-visited part of Sicily, at its best in spring, with the meadows full of wild flowers; a place of great beauty, surprising places and people, and delicious food. A good base for your visit would be the village of Montallegro, conveniently situated halfway between Agrigento and Sciacca. Relais Briuccia is a lovely little hotel, very comfortable, with a top-class restaurant where chef Damiano Ferraro creates exquisite Sicilian haute-cuisine dishes. Damiano and Adriana will help you plan your itinerary.  Don’t forget your Blue Guide Sicily!

After visiting Agrigento, a ‘must’ with its stunning array of UNESCO-protected Greek temples and one of the most important monumental areas in the Mediterranean, don’t miss Sciacca, with a renowned fish market, and where local craftsmen still work coral, for example Conti (Piazza Matteotti 10).

In a lovely pinewood setting, by a long beach of white sand, Herakleia Minoa will fascinate those who enjoy archaeological sites. Its history is wreathed in misty legends involving Crete, King Minos and Queen Pasiphaë, a white bull, the Athenian artist Daedalus, the Minotaur, Theseus, and Ariadne. Imprisoned in the labyrinth by the infuriated Minos, Daedalus made wings of wax and feathers for himself and his son Icarus, so they could fly to freedom, but Icarus flew too close to the sun, his wings melted and he fell into the sea and drowned. Daedalus landed here, become court inventor to the local king Cocalus, and married his six daughters. The girls killed Minos in his bath when he came to capture the renegade, and they all lived happily ever after, except Ariadne who was abandoned by Theseus on the island of Naxos. Read about it in Vincent Cronin’s The Golden Honeycomb.

At the Pendola pastry shop (Cortile Baglio Grande 42) in Sambuca di Sicilia you will find the minni di virgini, delicate little pies filled with confectioner’s custard, candied pumpkin and chocolate chunks, invented by a nun, Suor Virginia, in 1725 to celebrate the wedding of the town’s lord and master, Marquis Pietro Beccadelli.

Minni di virgini (‘Virgin’s breasts’) pastries from Sambuca di Sicilia

Burgio is a small town with lovely carved stone portals, not only on churches and palaces, but even on the most humble dwellings. Here you will find ceramics workshops producing practical vases and storage jars quite different from those made in other areas of Sicily. The greeny-blue and yellow colours and the designs are muted, to please hard-working country folk. You can visit the 500-year-old bell foundry, and the Mummy Museum: mummification was once the privilege of Church fathers, aristocrats and the wealthy, and the local Capuchin monks were masters of the art.

The little farming community of Delia has an interesting, closely-knit centre, where people live close together in a friendly way, sharing joys, problems and celebrations as they come along. Ask someone to help you find a tiny pastry shop, Alaimo e Strazzeri (Viale Pietro Nenni 6, T: 00 39 329 9781853) for the traditional biscuits made only in this town. Called cuddrireddra, little crowns, they were made to delight medieval ladies forced to live alone in the draughty castle on the outskirts while their men were away fighting in the Crusades. 

Borgo Santa Rita is an old semi-abandoned farming village with only 12 inhabitants, set in a glorious hilly landscape and surrounded by vineyards, wheat-fields, and bounteous orchards of apricots, peaches and plums. Here you will find the bakery of award-winning Maurizio Spinello, for the best sourdough bread. Stock up on his pasta and locally-milled flour.

Cuddrireddra biscuits from Delia and sour-dough bread from Borgo Santa Rita

Nature lovers will appreciate the Torre Salsa Wildlife Reserve, close to Siculiana. A spectacular stretch of coast with white cliffs, dunes, deep blue sea, Mediterranean maquis vegetation, and beaches where the loggerhead turtle nests.

If your weekend on the island makes you feel you would like to live here forever, in many of the little towns in Sicily you can buy a house at the symbolic price of one euro. Of course there are certain conditions, for example some councils require you to deposit as insurance a sum of money which will be returned on completion of the renovations, for which you are granted a generous amount of time. Other councils want you to reside in your house, and become a citizen of their commune; after all the initiative was launched in order to counter the abandonment of these ancient centres, hundreds of years old, with tiny cobbled streets often inaccessible by car. Local people must be called in to do the repairs, and materials must be purchased in Sicily. Beautiful surroundings, good food, clean air and friendly people will surely compensate for the inconvenience and the enormous patience you will need. At the moment, one-euro houses are available in Delia, Racalmuto, Sambuca, Bivona, Mussomeli and Cammarata.

Words and photos by Ellen Grady, author of Blue Guide Sicily