The Travels of Sir John Mandeville begins with the author’s arrival in Constantinople. Mandeville traces his route, from his home country of England, westward across borders, waters, and hills to reach the many holy sites he seeks. In the prologue, the author identifies himself, his nationality, and his mission. As a Christian, English knight, Mandeville has both the means to travel and the ethos required to talk about it. Mandeville is making a pilgrimage to Jerusalem, and thus, his travel narrative is framed within the Christian mind. 

The geographical information Mandeville supplies is limited to place names, kingdoms, and river sizes–negating the text’s status as a pure travel account. Mandeville asserts that his writings are intended to enumerate each stop a Western man will encounter on his way to the Holy Land. In recounting his visit to Constantinople, Mandeville does not write about specific people he meets. Instead, he connects the place to prominent, Christian historical figures, both political and biblical. Thus, Constantinople’s ethnography is secondary to the city’s relics, monuments, and buildings.

The first landmark Mandeville details is the Church of Saint Sophia. Mandeville’s description accentuates the sculpture of Justinian I that precedes the church. His emphasis on Justinian signifies that the sculpture’s physical position–in front of an ornate church–mirrors Mandeville’s own focus on preserving Christian tradition amidst an evolving global landscape. 

Mandeville utilizes Christian iconography as a metaphor for geopolitical disputes. This coincides with Mandeville’s commentary on the Justinian statue–describing its gilded exterior and the Emperor’s authority atop his horse. Mandeville notes that there should be an apple in the hand of Justinian, and that its absence represents the territories lost under his rule. 

Nonetheless, Mandeville predicates Constantinople’s importance on its Christian relics. He tells his audience about the Holy Sponge given to Jesus by the Jews during his crucifixion, as well as the Cross of Christ. Mandeville acknowledges discrepancies about the Cross’ whereabouts, before confirming that he saw it in Constantinople and providing extensive details about its materials and inscriptions. Mandeville emphasizes that these relics were all brought to Constantinople and come from various origins. This fact detracts from the city’s relevance to Christianity, presenting Constantinople as a place with holy objects rather than an inherently holy place.

The fall of the Byzantium informs Mandeville’s reception of Greek culture in Constantinople. Mandeville delineates the customs of Greek Christians and how they differ from his own–one of which being the presence of facial hair. Though Mandeville does not explicitly condemn their practices, he notes that this sect of Christians is not unified with the Catholic Church, thus detracting from its legitimacy to Western Christians. Mandeville repeatedly alludes to previous periods of Greek history, from the Macedonians to Aristotle, suggesting he is surprised by the Greeks he comes into contact with.

Mandeville’s chronicle of Constantinople is both rich in Christian history and lacking in critical details about the location itself. The author’s extensive wisdom of Christian relics in Constantinople speaks to both his own education and the literacy of his audience. Additionally, the vagueness of the physical and spatial information Mandeville provides suggests that his reader has a conceptual grasp of his route. Although his geographical descriptions are bleak, Mandeville staunchly aligns his location with this vocation as a Christian pilgrim, placing his religious beliefs ahead of worldly pleasures.