the house of St. Veronica, from which that woman stepped forth and gave Jesus a handkerchief to wipe his brow,—the handkerchief, with the Lord’s features imprinted on it, which we have all seen exhibited at St. Peter’s in Rome; and I looked for the house of the Wandering Jew, or at least for the spot where he stood when he received that awful mandate of fleshly immortality. In this street are recognized the several “stations” that Christ made in bearing the cross; we were shown the places where he fell, a stone having the impress of his hand, a pillar broken by his fall, and also the stone upon which Mary sat when he passed by. Nothing is wanting that the narrative requires. We saw also in this street the house of Dives, and the stone on which Lazarus sat while the dogs ministered unto him. It seemed to me that I must be in a dream, in thus beholding the houses and places of resort of the characters in a parable; and I carried my dilemma to a Catholic friend. But a learned father assured him that there was no doubt that this is the house of Dives, for Christ often took his parables from real life. After that I went again to look at the stone, in a corner of a building amid a heap of refuse, upon which the beggar sat, and to admire the pretty stone tracery of the windows in the house of Dives.
At the end of the street, in a new Latin nunnery, are the remains of the house of Pilate, which are supposed to be authentic. The present establishment is called the convent of St. Anne, and the community is very fortunate, at this late day, in obtaining such a historic site for itself. We had the privilege of seeing here some of the original rock that formed part of the foundations of Pilate’s house; and there are three stones built into the altar that were taken from the pavement of Gabbatha, upon which Christ walked. These are recent discoveries; it appears probable that the real pavement of Gabbatha has been found, since Pilate’s house is so satisfactorily identified. Spanning the street in front of this convent is the Ecce Homo arch, upon which Pilate showed Christ to the populace. The ground of the new building was until recently in possession of the Moslems, who would not sell it for a less price than seventy thousand francs; the arch they would not sell at all; and there now dwells, in a small chamber on top of it, a Moslem saint and hermit. The world of pilgrims flows under his feet; he looks from his window upon a daily procession of Christians, who traverse the Via Dolorosa, having first signified their submission to the Moslem yoke in the Holy City by passing under this arch of humiliation. The hermit, however, has the grace not to show himself, and few know that he sits there, in the holy occupation of letting his hair and his nails grow.
From the house of the Roman procurator we went to the citadel of Sultan Suleiman. This stands close by the Jaffa Gate, and is the most picturesque object in all the circuit of the walls, and, although the citadel is of modern origin, its most characteristic portion lays claim to great antiquity. The massive structure which impresses all strangers who enter by the Jaffa Gate is called the Tower of Hippicus, and also the Tower of David. It is identified as the tower which Herod built and Josephus describes, and there is as little doubt that its foundations are the same that David laid and Solomon strengthened. There are no such stones in any other part of the walls as these enormous bevelled blocks; they surpass those in the Harem wall, at what is called the Jews’ Wailing Place. The tower stands upon the northwest corner of the old wall of Zion, and being the point most open to attack it was most strongly built.
It seems also to have been connected with the palace on Zion which David built, for it is the tradition that it was from this tower that the king first saw Bathsheba, the wife of Uriah, when “it came to pass in an eventide that David arose from off his bed, and walked upon the roof of the king’s house: and from the roof he saw a woman washing herself; and the woman was very beautiful to look upon.” On the other side of the city gate we now look down upon the Pool of Bathsheba, in which there is no water, and we are informed that it was by that pool that the lovely woman, who was destined to be the mother of Solomon, sat when the king took his evening walk. Others say that she sat by the Pool of Gibon. It does not matter. The subject was a very fruitful one for the artists of the Renaissance, who delighted in a glowing reproduction of the biblical stories, and found in such incidents as this and the confusion of Susanna themes in which the morality of the age could express itself without any conflict with the religion of the age. It is a comment not so much upon the character of David as upon the morality of the time in which he lived, that although he repented, and no doubt sincerely, of his sin when reproved for it, his repentance did not take the direction of self-denial; he did not send away Bathsheba.
This square old tower is interiorly so much in ruins that it is not easy to climb to its parapet, and yet it still has a guardhouse attached to it, and is kept like a fortification; a few rusty old cannon, under the charge of the soldiers, would injure only those who attempted to fire them; the entire premises have a tumble-down, Turkish aspect. The view from the top is the best in the city of the city itself; we saw also from it the hills of Moab and a bit of the Dead Sea.
Close by is the Armenian quarter, covering a large part of what was once the hill of Zion. I wish it were the Christian quarter, for it is the only part of the town that makes any pretension to cleanliness, and it has more than any other the aspect of an abode of peace and charity. This is owing to its being under the government of one corporation, for the Armenian convent covers nearly the entire space of this extensive quarter. The convent is a singular, irregular mass of houses, courts, and streets, the latter apparently running over and under and through the houses; you come unexpectedly upon stairways, you traverse roofs, you enter rooms and houses on the roofs of other houses, and it is difficult to say at any time whether you are on the earth or in the air. The convent, at this season, is filled with pilgrims, over three thousand of whom, I was told, were lodged here. We came upon families of them in the little rooms in the courts and corridors, or upon the roofs, pursuing their domestic avocations as if they were at home, cooking, mending, sleeping, a boorish but simple-minded lot of peasants.
The church is a large and very interesting specimen of religious architecture and splendid, barbaric decoration. In the vestibule hang the “bells.” These are long planks of a sonorous wood, which give forth a ringing sound when struck with a club. As they are of different sizes, you get some variation of tone, and they can be heard far enough to call the inmates of the convent to worship. The interior walls are lined with ancient blue tiles to a considerable height, and above them are rude and inartistic sacred pictures. There is in the church much curious inlaid work of mother-of-pearl and olive-wood, especially about the doors of the chapels, and one side shines with the pearl as if it were encrusted with silver. Ostrich eggs are strung about in profusion, with hooks attached for hanging lamps.
The first day of our visit to this church, in one of the doorways of what seemed to be a side chapel, and which was thickly encrusted with mother-of-pearl, stood the venerable bishop, in a light rose-colored robe and a pointed hood, with a cross in his hand, preaching to the pilgrims, who knelt on the pavement before him, talking in a familiar manner, and, our guide said, with great plainness of speech. The Armenian clergy are celebrated for the splendor of their vestments, and I could not but think that this rose-colored bishop, in his shining framework, must seem like a being of another sphere to the boors before him. He almost imposed upon us.
These pilgrims appeared to be of the poorest agricultural class of laborers, and their costume is uncouth beyond description. In a side chapel, where we saw tiles on the walls that excited our envy,—the quaintest figures and illustrations of sacred subjects,—the clerks were taking the names of pilgrims just arrived, who kneeled before them and paid a Napoleon each for their lodging in the convent, as long as they should choose to stay. In this chapel were the shoes of the pilgrims who had gone into the church, a motley collection of foot-gear, covering half the floor: leather and straw, square shoes as broad as long, round shoes, pointed shoes, old shoes, patched shoes, shoes with the toes gone, a pathetic gathering that told of poverty and weary travel—and big feet. These shoes were things to muse on, for each pair, made maybe in a different century, seemed to have a character of its own, as it stood there awaiting the owner. People often, make reflections upon a pair of shoes; literature is full of them. Poets have celebrated many a pretty shoe,—a queen’s slipper, it may be, or the hobnail brogan of a peasant, or, oftener, the tiny shoes of a child; but it is seldom that one has an opportunity for such comprehensive moralizing as was here given. If we ever
