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Showing posts with label ottoman. Show all posts
Showing posts with label ottoman. Show all posts

Tuesday, 25 August 2015

An Albanian Affair









You might wonder why I am writing about Bashibazouks in Albania as reported in a newspaper published in Cape Town in 1911. The answer is easy. During my researches into the life of my great-grandfather the late Senator Franz Ginsberg (1862-1936) who migrated from Prussia to the Cape Colony in 1880, I needed to leaf through the pages of South African newspapers that are stored in London’s British Library. So it was that I happened by chance to spot a small item about the struggle between the Ottoman Turks and the Albanian independence fighters in a 1911 edition of the Cape Times Weekly.

The Bashibazouks[i] (the Turkish word başıbozuk, literally means ‘damaged head’) were Turkish irregular soldiers, who often lived off loot. Some of them were not Turkish. They included Circassians, Kurds, Arabs, and also Albanians. Incidentally, the word ‘bashibazouk’ appears often (as a term of abuse used by Captain Haddock) in the English language versions of the adventures of Tintin by the Belgian cartoonist George Hergé (1907-1983).

‘Tusi’ is a spelling of the town of Tuzi (‘Tuz’ in Albanian), which is now in the Republic of Montenegro and is close to the border of modern Albania. The news item that I found in the Cape Times Weekly refers to an incident during the events, which led eventually to the First Balkan War (1912-1913). In the last days of March 1911, the (Roman Catholic) mountain people residing in northern Albania were called to arms by one of their leaders Ded Gjo Luli (1840–1915), and revolted against the Turks[ii]. During this uprising, the flag of Albania bearing Skanderbeg’s two-headed eagle was raised on the summit of Mount Dečić (Deçiq). This is said to be the first time that the flag had been flown on Albanian soil since the death of George Castrioti Skanderbeg. This revolt was considered premature by various committees of Albanians which were planning a larger scale, coordinated effort against the Turks. It was considered to have damaged the plans of the other groups. Edith Durham wrote[iii] that in March 1911:
“I left Egypt for Constantinople in March, and found on arriving that the revolt had broken out prematurely amongst the Maltsors of Maltsia e madhe only, and they were carrying all before them – had chased away the scanty Turkish garrison and taken Tuzi. This sudden commencement before due preparation was a fatal error, engineered possibly by folk who meant the revolt to fail.”

Maltsors in Tuzi (from Durham's book)


The ‘folk’ who might have ‘engineered’ this could well have been the Montenegrins, whose King Nikola might well have supplied the rebels with weapons[iv]. That Tuzi was not held for too long by the Albanian rebels is evident in the small article that I found in the South African newspaper.

Although Tuzi had been recaptured by the Turks, it was not free of trouble. In about July, after a rising in Djakova during which the Turkish Kaimmakan (an Ottoman official, a sort of ‘sub-Governor’) was killed, Albanian rebels:
“… made a successful raid, and cut off the water-supply of Tuzi.[v]”
Soon after this, according to Durham, the Turkish Government offered the rebels terms, which included that an Albanian-speaking Kaimmakan be appointed at Tuzi, and that he should be a Christian. Mihilaki Effendi was appointed[vi].

Tuzi figures in Durham’s book again, but after the events described above. She wrote that eleven political prisoners who had been involved in the Bomb Affair in 1907 had burrowed their way to freedom under the walls of the prison at Podgoritza, and:
“…taken refuge with Mihilaki Effendi, the Kaimmakam, who brought them at once by steamer to Scutari.[vii]”
The ‘Bomb Affair’ was an attempt by pro-Serb radicals to assassinate the Montenegrin Prince Nikola in his capital Cetinje[viii].

Tuzi, which was on territory granted to Montenegro by the Treaty of Berlin (1878), was retaken by the Montenegrins from the Turks in October 1911. Their soldiers captured the nearby Fort of Shipchanik, and occupied the town. Edith Durham wrote[ix] soon after this:
“The woe of the conquered land had already begun. The newly appointed Montenegrin Governor of Tuzi - Gjurashkovich – proceeded to “rub it in” by hanging a portrait of King Nikola in the hospital, and joyfully informing the Turkish staff that the Montenegrins had occupied Plava and Gusinje, and, of 2000 Moslems who had endeavoured to take Berani, (they) had slaughtered all but 250.”

Montenegrins near the Fort at Shipchanik after taking it from the Turks
(from Durham's book)


Edith Durham visited this hospital again in 1912. According to one of her biographers Marcus Tanner:
“In a filthy hospital in Tuzi, a recently captured village on the Ottoman side of the border, Durham was horrified to discover why the bandaged faces of eight captives were curiously flat. Removing the bandages she found that their noses had been cut off.[x]”
She tended to these unfortunates and many other similarly mutilated victims as part of the humanitarian work for which she is so well known in the Balkans.

So much for Tuzi, a place which I had not heard of until I chanced upon it in an old South African newspaper. The little article was written during a revolt of the Albanians, which had been encouraged not only by the Montenegrins but also by an Italian of Albanian ancestry, an Arbëresh man from the region of Cosenza in the South of Italy. Terenzio Tocci (1880-1945), who was eventually executed by Enver Hoxha, travelled to the Balkans in April 1911 to participate in the Albanian uprising. According to Robert Elsie:
“On 26 April 1911, he gathered the chieftains of Mirdita near Orosh and proclaimed the independence of Albania, hoisting the Albanian flag for the first time since the death of Scanderbeg, and formed a provisional government, which had the support of much of northern Albania.[xi]”
Tocci returned to Italy before becoming involved with the administration of first Zog’s, then later Mussolini’s, Albania. His collaboration with the Italian Fascists led to his death in Albania in the hands of the young Communist regime led by Enver Hoxha. When I visited the Arbëresh town of Piana degli Albanesi in Sicily in 2014, I was told that even when being led to be shot Tocci maintained his dignity, and was most concerned that his polished shoes would not be soiled[xii].

My ‘discovery’ of an item of long out-of-date news whilst researching a quite different topic, namely the biography of a Jewish immigrant in South Africa, led to the exploration of an aspect of Balkan history that is new to me. It is serendipitous revelations such as this that adds much enjoyment to researching historical topics and almost anything else.


Adam Yamey has written two books about Albania:

CLICK HERE for more information.


[i] See: https://en.wikipedia.org/wiki/Bashi-bazouk, accessed 25th August 2015.
[ii] See: The History of Albania by S Pollo and A Puto, publ. by Routledge & Kegan Paul, London: 1981
[iii] See DURHAM: The Struggle for Scutari, by ME Durham, publ. by Edward Arnold, London: 1914
[iv] See: The Albanians, by M Vickers, publ. by IB Tauris, London: 1997
[v] See: DURHAM
[vi] See: DURHAM
[vii] See: DURHAM
[viii] See: Montenegro: A Modern History, by K Morrison, publ. by IB Tauris, London: 2009
[ix] See: DURHAM
[x] See: Albania’s Mountain Queen, by M Tanner, publ. by IB Tauris, London: 2014
[xi] See: Historical Dictionary of Albania (2nd. Ed.), by R Elsie, publ. by The Scarecrow Press, Plymouth (UK): 2010
[xii] See: From Albania to Sicily, by A Yamey, publ. by Adam Yamey, London: 2014


Saturday, 28 June 2014

PAINTING ALBANIANS IN SICILY


Most tourists visit the small town of Palazzo Adriano to see its perfectly preserved old piazza with its unusual fountain, where the delightful movie Cinema Paradiso was filmed in 1988. We visited it for another unrelated reason. The picture below, a copy of a photograph in one of the town's museums, shows a scene from the film. The fountain is on the right side






Detail of the fountain as it is today


Palazzo Adriano is one of the 5 places in Sicily that were settled in the 15th century by Albanians fleeing from the Ottoman invaders of their homes in the Balkans. The first Albanians to arrive there were soldiers and their families, who left the Balkans before the death of their great leader Skanderbeg in 1468. More of them arrived later, bringing with them the traditions and practices of the Eastern Orthodox (Byzantine) Church. The plaque shown below, which is on the side of the town's largest Byzantine rite church, reminds us that the Albanians who came to Palazzo helped defend western Christianity from the ravages of the Ottomans.




The largest of the 5 places settled by the Albanians in Sicily is Piana degli Albanesi, someway north of Palazzo. In Piana, more than 95% of the inhabitants speak Arberesh, which is a dialect of Albanian. In Palazzo, no one speaks it anymore, but many people worship according to the Byzantine rite. We learnt this when we asked some old men who were spending time in the town's small 'Circolo Skanderbeg'. This place was filled with items relating to the town's Albanian connection. Even the lace curtain over its window was embroidered with the two-headed eagle of Albania:




The town boasts a museum of Albanian culture, the MUSEO DELLA CULTURA ARBERËSHE. It is housed in part of the castle, which overlooks the town. This grandly named institution displays only a few exhibits. Amongst these, there are a few traditional costumes that, we were told, were copied from paintings of the Arberesh made by the French artist Jean-Pierre-Louis-Laurent Houël (1735-1813). 



Portrait of Houel by François André Vincent 
(Source: http://mbarouen.fr/en/oeuvres/portrait-of-the-painter-jean-pierre-houel-1735-1813)



Best known for his painting of the siege of the Bastille, he visited Sicily between 1776 and 1779. During his travels there, he painted and drew many pictures of what he saw. Many of these were bought by Russian royalty, and are now to be found in the Hermitage Gallery in St Petersburg (Leningrad).  The museum in Palazzo has copies of two of these pictures, both depicting Arberesh women in traditional dress. They are illustrated below:








The marks with the crown in the lower right corners of these copies shows that they are also part of the Hermitage collection. The lower of the two pictures shown above shows what Palazzo Adriano looked like when Houël visited it. The picture below shows a part of the piazza as it is today:




We visited Palazzo Adriano hoping to find evidence of its Albanian past, and did. Even if you have no interest in the Arberesh or Albania, this well-preserved little town in the heart of western Sicily deserves a visit.



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WRITING
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ADAM YAMEY,

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Sunday, 9 March 2014

ALBANIANS IN VENICE



Statue of Skanderbeg near Bayswater in London

(http://londonpostcodewalks.wordpress.com/2014/01/09/w2-the-bear-necessities/)



Between 1385 - when the Turks beat the Albanians at the Battle of Savra near modern day Lushnjë - and 1912, Albania was part of the Ottoman Empire. The Albanians did not take their defeat sitting down. They offered much resistance, the best example being that offered in the 15th century by the Albanian hero  Gjergj Kastrioti Skënderbeu (1405-1468), better known to English speakers as ‘Skanderbeg’. Despite the brave attempts of the Albanians to rid themselves of the Turks, Ottoman rule was established firmly. Many Albanians fled the country and started new lives abroad, often in places that are now part of modern Italy.
This excerpt from a work in progress by Adam Yamey reveals his up until now brief experience of the Albanian community that fled from the Ottomans invading their country to Italy. The illustrations are all harvested from the Internet with one excep[tion, and their sources are given, as well as gratitude to those who posted them.




Skanderbeg's stronghold at Kruja in Albania (1984)

(Author's photograph)


Excerpt from a work in progress by Adam Yamey:

“The small Bar Redentore was just across the Academia Bridge that straddles the Grand Canal. I am not sure why my parents favoured this amongst all of the many bars in the city, but they did. They drank good quality espresso coffees whilst we children enjoyed munching tasty tosti. These are toasted sandwiches often containing prosciutto crudo and slices of cheese. The Italians make these better than almost anyone else. The sandwiches are not squashed in a heavy grill but instead are gently suspended between the heating elements of a toaster. The result is a much lighter tasting sandwich than those prepared in the heavier grill that compresses them as it cooks. We never sat down in Italian bars, be it in Venice or elsewhere. Even if the bar man offered to seat us, my mother refused. She knew that there was a hefty surcharge for sitting down in a bar or café.

More than 35 years after my last visit to Venice with my parents, we visited the city with our then 10 year old daughter, who had seen pictures of the place in a magazine and was longing to visit it. Prior to arranging the visit, she was learning how to swim. We told her that once she had learnt, we would take her to Venice. This inducement worked, and we re-visited the holiday place of my childhood. During the visit I was surprised to discover that many of the shops and other businesses that we had visited in the ‘60s and ‘70s were still operating in 2005. These included a small shop selling decorative paper items made in Florence as well as the Bar Redentore, where we also stopped for a drink.

We used to reach the Redentore by walking across the Campo San Stefano, where we sometimes sat down during the afternoon, and then passing along a narrow alley, which contained a building that has long intrigued me. It was the Scuola degli Albanese. This building whose façade, which is almost impossible to photograph properly on account of the narrowness of the alley, is covered with carved stone bas-reliefs. 



The facade of the Scuola degli Albanese in Venice

(http://it.wikipedia.org/wiki/Scuola_di_Santa_Maria_degli_Albanesi)




By the time that I had reached my early teens, I had developed a great interest in the then very mysterious country of Albania. Anything connected with that place, which was then almost inaccessible to anyone from the world around it, was of great fascination to me. We used to stop and look at this building, wondering what it had to do about Albania, but I never found out … until recently.


Detail of facade of Scuola degli Albanese in Venice 
- a Turk contemplating the Fortress of Shkodër in Albania

(http://www.flickr.com/photos/hen-magonza/8032636460/)


In February 2014, I was attending a reception at the Albanian Embassy in London when I met the great scholar of Albanian matters, Bejtullah Destani. This highly approachable friendly man began talking to me. As we chatted, I suddenly remembered the Scuola degli Albanese and asked him about it. If anyone knew anything about it, it had to be him. And, I was right, but I was not prepared for his reaction. He looked surprised that I knew of its existence. He said that he believed that of the 40 or so people assembled at the reception, many of them Albanian and the others having a great interest in Albania, I was probably the only person there who had ever heard of, or even noticed, this building.

Destani told me that when the Turks invaded Albania in the 15th century, many Albanians fled the country. Some went to southern Italy and others to Venice. He explained that the Scuola degli Albanese was the headquarters of the Albanian confraternity in Venice. The Albanian community in Venice was extremely prosperous, and well able to hire the fashionable painter Vittorio Carpaccio to paint a series of canvases to decorate the main hall of the Scuola between 1504 and 1508. These paintings, which still exist, are no longer in the building, which has long since ceased to serve its original function; they are scattered amongst museums all over Italy. This contrasts with the set of Carpaccio’s paintings that are still in situ in the Scuola degli Schiavoni not far from St Mark’s Square. We used to visit those beautiful pictures lining the walls of a dimly lit room almost every time we visited Venice.



One of the pictures by Carpaccio that used to hang in the Scuola degli Albanese: now
in a museum in Bergamo.

(http://mescarnetsvenitiens.blogspot.co.uk/2010/04/scuola-di-santa-maria-e-san-gallo-degli.html)


Mr Destani also told me that when the Scuola degli Albanesi ceased to function as a confraternity, the entire records of the Albanian community in Venice, spanning several centuries, were transferred to the Archives of the City of Venice, where they are awaiting scholarly examination.


Santa Maria del Giglio in Venice

(http://en.wikipedia.org/wiki/Santa_Maria_Zobenigo)


Close to the Scuola degli Albanese, but nearer to St Marks Square, there was a church that interested me because of my interest in the Balkans. It was Santa Maria del Giglio (known by the Venetians as 'Santa Maria Zobenigo'). At the base of its florid neo-classical façade there were a number of maps carved in bas-relief. At least two of these were of places on the Dalmatian coast, namely Split and Zadar (or 'Zara', in Italian). There was another one depicting ‘Candia’, now known as Heraklion on Crete. These maps interested me. The rest of the façade interested my parents.


Map of Zara (Zadar) on facade of S. Maria del Giglio in Venice

(http://commons.wikimedia.org/wiki/File:Santa-Maria-del-Giglio_Facade_Maps_Zara.jpg)



_____________________________________________

See also:





Adam Yamey visited Albania in 1984. His memories of this 

extraordinary journey are published in his book/ e-book

"ALBANIA ON MY MIND"



This is available from Amazon, Barnes&Noble, and Bookdepository, and also www.lulu.com