Medieval The Byzantine-Ottoman wars
The Fall of Constantinople, 1453
| Battle | The Fall of Constantinople |
|---|---|
| Date | 29 May 1453, after a siege begun on 6 April |
| War | The Byzantine-Ottoman wars |
| Location | The Theodosian Walls and the city of Constantinople, now Istanbul |
| Belligerents | The Byzantine Empire, with Genoese and Venetian contingents, vs the Ottoman Empire |
| Commanders | Constantine XI Palaiologos † and Giovanni Giustiniani Longo, wounded and carried from the wall (defenders) vs Sultan Mehmed II (Ottomans) |
| Strength | About 7,000 defenders, of whom some 2,000 were foreign, mostly Italian, with 26 warships; Ottoman estimates run from 60,000 to 80,000 fighting men in most modern accounts, and as high as 120,000 in others, with a fleet of well over a hundred ships |
| Outcome | The city stormed after fifty-three days: the end of the Roman Empire, 1,480 years after Augustus |
| Defenders' losses | Around 4,000 of the defenders killed; the rest of the population enslaved or dispersed |
| Ottoman losses | Not known; the Ottomans did not publish their losses |
The Account
In the spring of 1453 Mehmed the Second, the Ottoman Sultan, brought an army against Constantinople, the capital of the Roman Empire and very nearly all that was left of it.
The walls had never failed. That is the thing to hold onto, because everyone inside the city was holding onto it. The Theodosian Walls had stood for a thousand years and turned away Avars, Arabs, Bulgars, Rus and Turks in their turn. Armies came, sat down in front of them, ran out of food or patience or time, and went home. The city had been taken once, by Christians in 1204, and even that was through the harbour rather than the land wall. To the men standing on the ramparts that spring, the wall was not a fortification. It was a fact about the world.
What arrived in April was different, and they knew it within a week. Mehmed was twenty-one and had brought guns. Not the little bombards of the last century: a foundry’s worth of them, including one that took sixty oxen to move and threw a six-hundred-pound stone. Guns like that did not knock a wall down in an afternoon. They knocked it down over seven weeks, and every night the defenders went out into the rubble and rebuilt what had been broken that day with earth and barrels and timber, and every morning it was shot away again.
There were about seven thousand of them to hold twelve miles of circuit. Roughly two thousand were foreigners, Genoese and Venetian, and the best of them was Giovanni Giustiniani Longo, who had come with seven hundred men of his own and been given command of the land walls because he was the only person present who had done this before. Against them, somewhere between sixty and eighty thousand fighting men, and a fleet.
The Emperor, Constantine, was the eleventh of his name. He was offered terms more than once and could have walked out of the city alive and titled. He did not go.
The last assault came at half past one in the morning on the twenty-ninth of May. It went in waves, by design: the irregulars first, to be used up, then the Anatolian troops, and only then the Janissaries. Two things then happened within minutes of each other, and which of them mattered more is still argued. Giustiniani was hit, badly, and was carried down off the wall and out to a ship, and the Genoese saw their commander leaving and the line began to come apart. And at the Kerkoporta, a small postern in the Blachernae section, a gate was found unbarred, and a party of Ottoman soldiers went through it and got onto the fortifications from behind.
After that the wall was just masonry. Constantine put off his imperial insignia so that nobody could find him afterwards and went into the fighting at the Gate of Saint Romanos, and no one ever identified his body. Around four thousand of the defenders were killed. The city was given over for three days.
And that was the Roman Empire. Not the medieval remnant, not a successor state: the institution itself, counting its emperors back to Augustus, ended that morning in the street fighting around a gate. Fourteen hundred and eighty years. A man dying in the rubble that dawn was the last Roman soldier, and he did not know it, and neither did the one behind him.
They asked me to carry them. Not all of them; they seldom ask. But that morning, in a city where the bells had stopped and the last service in the Great Church had been said the night before by Greeks and Latins together who had spent the whole siege refusing to pray with each other, a great many of them asked.
I took the Roman and I took the Ottoman. They fell in the same streets and they weighed the same.
Behind the Song
The Song
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Why Constantinople
Every record needs one song where the walls come down, and this catalog is about the people underneath rather than the empire on top. Constantinople is where those two things meet, because the fall of Constantinople is usually told as the end of an era and almost never as the end of about four thousand individual afternoons.
The song is deliberately the shortest fully-scored track on the record. There is one verse, one pre-chorus, one chorus and a bridge, and then it stops. A siege song built to the usual shape would have a middle section where the tide turns. This one has nowhere to turn to. The city held for fifty-three days and then did not, and the song ends where the fighting ends.
The song, against the history
Verse 1 is the last morning and it is accurate in its details. “In the last pale dawn” is right: the final assault began around half past one in the morning of 29 May and the city fell over the following hours, so the fall happens in darkness turning to light. “Smoke from the night” is the bombardment, which had been running since April. “Soldiers at the walls with their hands on splintered shields” is a garrison of roughly seven thousand holding twelve miles of wall against sixty thousand or more, which is the arithmetic that made the outcome a matter of time rather than doubt.
“Priests moving softly through the halls” is a real and specific thing. On the evening of 28 May the last liturgy was celebrated in Hagia Sophia, and Greeks and Latins attended it together after a whole siege of refusing to worship with one another. The song does not spell that out. The line is standing on it.
The chorus is the structural choice that gives the track its title. It is not sung by her. It is the dying speaking to her, and “carry me home” is a request, which is rare in this catalog: most of her subjects do not ask for anything. A city whose people had believed for a thousand years that those walls would hold is the right place for people to start asking.
The bridge carries the history’s turn. “Walls give way to fire as the night turns red” is the breach, and there were effectively two on the same morning: the Kerkoporta postern in the Blachernae wall was found unbarred and a party got through it onto the fortifications from behind, and at the same time the Janissaries came over the stockade near the Gate of Saint Romanos. “Faith breaks in the silence where the last hopes bled” sits with the other collapse of that hour, when Giustiniani was badly wounded and carried off the wall and the Genoese line went with him.
“And the heart of empire shatters” is not rhetoric. Constantine XI died in the fighting, reportedly after stripping off his imperial insignia so his body could not be identified, and it never was. The Roman Empire had counted its emperors from Augustus. It ended that morning.
The last three lines are the record’s thesis stated at its plainest. “Taking Ottoman and Roman with the same cold grace” is the position she holds everywhere in this catalog: the winners and the losers arrive in the same condition, and she has no view about the walls.
Lyrics
[Verse 1] Constantinople, fourteen fifty three, in the last pale dawn, Smoke from the night drifting low as the shadows yawn, Soldiers at the walls with their hands on splintered shields, Priests moving softly through the halls where the echoes yield, Dust falling slowly from the towers with each faint roar, Banners hanging still in the wind that will rise no more, And I watch the ancient city waiting at death’s door,
[Pre-Chorus] Night falls on the flame, Stone remembers pain, And the city breathes its last beneath the strain,
[Chorus] Carry me home, through the firelit night, Carry me home, where the last walls rise, Carry me home, to the dying light, Carry me home, as the ages cry,
[Bridge] Walls give way to fire as the night turns red, Cries rise through the smoke for the countless dead, Faith breaks in the silence where the last hopes bled, And the heart of empire shatters as the dawn is shed, Lady Death moves silent through the shattered gate, Taking Ottoman and Roman with the same cold grace, Names fade in the fire as she claims each face, And the blood of empires mingles in her dark embrace,
Part of Medieval The Medieval Chronicles All battles, in order