Everybody knows that Constantinople seen from the sea, is the grandest and most beautiful town in the world; it is also a well known fact that as soon as one puts one’s foot on shore, the picture changes entirely. But I must confess that after Smyrna, and the towns of Crete, I did not find it so wretchedly mean and dirty as I had expected, although the houses of Pera (the European quarter) are insignificant, and the wooden palaces of Stamboul not at all imposing. I never had much time to look at them, for the people that move through the streets, and that seem a series of strange, interesting, and beautiful pictures attracted all my attention. I advise all painters who are at a loss for subjects to go to Constantinople; one stroll along the great street of Pera, or through the bazaars of Stamboul, will supply him with subjects for years, so picturesque and beautiful is the life that moves around him. The first figure you see is the Kaïktchi or boatman, who in his kaik, the most elegantly shaped, and most neatly ornamental boat in the world, takes you ashore. With his bronzed face, his athletic chest and shoulders, in his thin silk shirt, that leaves his muscular arms and chest uncovered, his whole dress consisting besides this shirt of a red fez, and a pair of white pantaloons, he presents a most striking appearance; but you have hardly time to look at this new and interesting figure, when another one attracts your attention, it is the Hammal, or porter of Constantinople, who carries your luggage, which consists perhaps of two large trunks, a hat box, a dressing bag, wrappers, umbrellas, etc., all at once on his back. This human beast of burden is dressed in a light brown flannel suit, trimmed with black braid. He is often an elderly man, with a mild venerable face, and bent almost double under the weight on his back, looks the personification of the words “In the sweat of thy brow thou shalt eat thy bread.” But there are gayer pictures in the streets of Pera. You step aside to let a carriage pass, that is all gilt and glass, and that comes rattling up the streets. A child would mistake the coachman for a prince, so splendid does he look in his gold embroidered coat. The pavement, even in Pera, is not good enough to allow a carriage to drive quickly, so you have full leisure to look at its inmates. The crimson curtains are half let down, and through them a magic light falls on the picture within. Generally the carriage is occupied by three or four Turkish ladies. They are always young, and all look beautiful; old ladies it seems have no carriages to ride in. The mothers of Beys and Pashas stop at home, dressed in old calico gowns which they exchange for some rich attire on extraordinary occasions only. These young Turkish beauties wear gossamer veils so thin and transparent, as to hide no beauty of form or colour, while they just soften any little defect of either. Under this thin veil, face and neck show off to great advantage, and the jewellery they wear, and the gay colours of their satin cloaks, seen in the soft crimson light of the carriage, produce a very charming effect, unsurpassed even by our beauties, when they drive crowned with flowers, to the Princess of Wales’ Drawing-room. I think it is in these carriages that Turkish ladies look best, even better than in the Harem, where however, when they are well dressed, gracefully reclining on the divan, they often look very beautiful. Only those who are above the middle size, and they are few, look well standing. None walk gracefully, not even those that have exchanged the sock and clumsy slippers, usually worn, for French chaussure. This however is considered no fault in a Turkish lady, who would be almost ashamed to walk well, as it would prove that she had often used such vulgar exertion. Having a whole host of female slaves at her command, a Turkish lady moves about but little when in the Harem, which she never leaves except in a carriage. The women of the middle and lower classes however walk as badly as the ladies, which appears to be occasioned in a great measure by their mode of sitting. They shuffle along with their toes turned in, wearing large yellow boots, over which they often have slippers of the same colour. You seldom see a really pretty face among them. I believe beauty has a market value in Constantinople, and the women know that very well, and wont marry a poor man if their face can buy them a rich one. We must however not judge them too harshly on that account. Marriage from love is out of the question in a country where it would be scandal for a man to say that a lady is beautiful. He must never have seen her face, nor have exchanged a word with her before she is his wife.