THE YILDIZ PALACE
This is a complex of pavilions and gardens scattered over a large area of hills and valleys
overlooking the Bosphorus and surrounded by high walls. This second largest palace in Istanbul is now separated into various sections, each serving a different purpose. The 500,000 sq. m grove had always been reserved for the court, and the first mansion built here in the early 19th century was quickly followed by others. When Sultan Abdulhamid II, who was an overly suspicious person, decided that this palace offered better security, the complex soon developed into its present form.
During his thirty-three year reign, the sultan used this well-protected palace resembling a city within a city as his official quarters and harem. The different courtyards containing pavilions, pools, greenhouses, aviaries, workshops and servants' quarters were separated from each other by passageways and gates. There are two small and charming mosques situated outside the two main entrances.
The buildings that were allocated to the higher military academy have been vacated now. The facilities to the north are still used for military purposes, but the other sections have been assigned to the use of the Yildiz Technical University, the municipality, the Department of National Palaces, and the Institute for Research in the History of Islamic Arts and Cultures.
The large part of the palace gardens, some old pavilions and the famous porcelain workshops are open to the public in what is now called the Yildiz Park. The park is connected to the Ciragan Palace on the seashore with a bridge. The best-known building in the complex, the Sale (chalet) Pavilion, is reached through the park. The pavilion is an important museum with its well-kept gardens, its exterior architecture resembling Alpine hunting lodges, its rich decorations, valuable furniture, carpets, and large ceramic stoves.
The main entrance of the Yildiz Palace is up the hill from Besikta§. The Muayede Pavilion to the left of the entrance is now being renovated as a new museum. Also on the left side are the single-storied Qt Pavilion, where the guests of the sultan were accommodated, and the entrance to the harem. On the opposite side stood the offices of the military officers in charge, the Yaveran chambers. The greenhouse and the theater in the harem section are attractive examples of their kind.
The staff dining room to the right of the entrance was later used to exhibit weapons collections. Today exhibitions and concerts take place here.
The Yildiz Palace Museum and the Municipal Museum of Istanbul are also in this complex. The Palace museum was founded in 1994 and it occupies the former carpentry workshops. Carved and painted wooden artifacts, thrones, porcelain produced in the palace workshops, and other objects from the palace are exhibited here, while in the Municipal Museum next to it glass and porcelain wares, silverware, paintings depicting Istanbul and a rare 16th century oil lamp are on display.
16 Ağustos 2007 Perşembe
RUSTEM PASA MOSQUE
RUSTEM PASA MOSQUE
This is the mosque with a central dome and a single minaret that arises amidst the rows of shops and storehouses near the Spice Bazaar. It creates a beautiful sight in the busiest commercial center in the city, together with the Stileymaniye Mosque on the slope behind. The architect Sinan built the mosque in 1561 for the Grand Vizier Riistem Pasa. Spiraling staircases go up to the structure that is set above a row of shops. The interesting courtyard is actually a small terrace covered by five small domes.
The central dome rises atop four wall pillars and four columns, two on each side. Over the corners of the square space are four semidomes supporting the main dome. There are galleries behind the columns on the sides. The facade and the small, but attractive interior are decorated with the finest examples of Iznik tiles. The geometrical and leaf and flower motifs on the tiles give the interior a colorful flower garden appearance. The embossed coral-red color was used only for a short time in the 16th century.
This is the mosque with a central dome and a single minaret that arises amidst the rows of shops and storehouses near the Spice Bazaar. It creates a beautiful sight in the busiest commercial center in the city, together with the Stileymaniye Mosque on the slope behind. The architect Sinan built the mosque in 1561 for the Grand Vizier Riistem Pasa. Spiraling staircases go up to the structure that is set above a row of shops. The interesting courtyard is actually a small terrace covered by five small domes.
The central dome rises atop four wall pillars and four columns, two on each side. Over the corners of the square space are four semidomes supporting the main dome. There are galleries behind the columns on the sides. The facade and the small, but attractive interior are decorated with the finest examples of Iznik tiles. The geometrical and leaf and flower motifs on the tiles give the interior a colorful flower garden appearance. The embossed coral-red color was used only for a short time in the 16th century.
VALIDE MOSQUE
VALIDE MOSQUE
Also called the Yeni (New) Mosque, this is the last imperial mosque to be built in the classical style. The construction of the mosque began in 1589 by Safiye Sultan, the mother of Mehmet III, but was discontinued upon her death in 1603. It was later resumed in 1661 by Turhan Sultan, and the mosque was completed in 1664. The architect Davud Aga was a student of Sinan.
Also called the Yeni (New) Mosque, this is the last imperial mosque to be built in the classical style. The construction of the mosque began in 1589 by Safiye Sultan, the mother of Mehmet III, but was discontinued upon her death in 1603. It was later resumed in 1661 by Turhan Sultan, and the mosque was completed in 1664. The architect Davud Aga was a student of Sinan.
THE SPICE BAZAAR
THE SPICE BAZAAR
The Spice Bazaar, the second largest covered market in the city, was part of the mosque complex. Other surviving parts of the complex are the tombs and the magnificent fountain. On the mosque side of the L-shaped Spice Bazaar, there is a popular flower market and cafes, and fish, vegetable and grocery stores occupy the other side. Once all of the shops inside the bazaar used to sell spices, but over the time some have turned into dried fruit, grocery and gift shops or jewelers. It is one of the attractive sites in Istanbul with its vivacious and distinctive atmosphere.
The Spice Bazaar, the second largest covered market in the city, was part of the mosque complex. Other surviving parts of the complex are the tombs and the magnificent fountain. On the mosque side of the L-shaped Spice Bazaar, there is a popular flower market and cafes, and fish, vegetable and grocery stores occupy the other side. Once all of the shops inside the bazaar used to sell spices, but over the time some have turned into dried fruit, grocery and gift shops or jewelers. It is one of the attractive sites in Istanbul with its vivacious and distinctive atmosphere.
THE GOLDEN HORN
THE GOLDEN HORN
As a natural and extremely secure harbor, the Golden Horn has played an important role in the development of Istanbul. The inlet separates the European shore into two. It is approximately 8 km long, and the widest part is the entrance from the Bosphorus. Two streams drain into this inlet at its far end.
There are no tides or currents here. The name Golden Horn is both a symbol of fertility because of the fertile lands on its shores, the abundance of fish in its waters, and the fresh water of the streams and a reference to its shape.
In the Byzantine era, a chain at the entrance prevented the entry of foreign fleets into the Golden Horn. Bridges have connected the two shores from time to time; some of them built for military purposes. At present a fifth bridge is being planned for metro trains to cross. From the piers, crowded at all times, there are regular boat tours to the Asian shore, the Bosphorus and the Princes' Islands. The Harem section of
the Topkapi Palace gives a bird's eye view of the Golden Horn. The Sepetciler Kasri on the shore was a part of the Palace complex, and it is now allocated to the use of international journalists.
Nearby is the last stop of trains from Europe, the Sirkeci Railway Station built in 1890. The old Galata Bridge was recently moved to another site down the Golden Horn, and the new bridge is the largest example of its kind.
The central section of the bridge is opened on some days to allow the passage of larger ships. The bridge is a lively and interesting site, due both to the unending stream of pedestrian and car traffic and the view it offers.
The pollution in the Golden Horn after the 1950's has been taken under control thanks to the efforts undertaken since 1980. In recent years, over four thousand buildings on the shores of the Golden Horn have been demolished, the businesses moved to new centers outside the city, the shores turned into parks and gardens, and wastewater treatment plants involving vast canal systems and collectors constructed.
Of the sea walls along the bank, only some portions beyond the second Ataturk Bridge and those near the old Galata Bridge have survived.In Balat there is a small Bulgarian church made of cast iron, and further along in Fener the church and complex of the Greek Orthodox Patriarchate. On the opposite shore, the large building in Kasimpa§a is a naval construction dating to the 19th century. An old building with 8 domes, originally a foundry producing anchors for ships, was converted into a museum exhibiting model ships, machinery and other nautical equipment by the Koc family. The Aynahkavak Kasn in this district is the only surviving pavilion of the palaces on the Golden Horn and is open to visitors as a museum.
As a natural and extremely secure harbor, the Golden Horn has played an important role in the development of Istanbul. The inlet separates the European shore into two. It is approximately 8 km long, and the widest part is the entrance from the Bosphorus. Two streams drain into this inlet at its far end.
There are no tides or currents here. The name Golden Horn is both a symbol of fertility because of the fertile lands on its shores, the abundance of fish in its waters, and the fresh water of the streams and a reference to its shape.
In the Byzantine era, a chain at the entrance prevented the entry of foreign fleets into the Golden Horn. Bridges have connected the two shores from time to time; some of them built for military purposes. At present a fifth bridge is being planned for metro trains to cross. From the piers, crowded at all times, there are regular boat tours to the Asian shore, the Bosphorus and the Princes' Islands. The Harem section of
the Topkapi Palace gives a bird's eye view of the Golden Horn. The Sepetciler Kasri on the shore was a part of the Palace complex, and it is now allocated to the use of international journalists.
Nearby is the last stop of trains from Europe, the Sirkeci Railway Station built in 1890. The old Galata Bridge was recently moved to another site down the Golden Horn, and the new bridge is the largest example of its kind.
The central section of the bridge is opened on some days to allow the passage of larger ships. The bridge is a lively and interesting site, due both to the unending stream of pedestrian and car traffic and the view it offers.
The pollution in the Golden Horn after the 1950's has been taken under control thanks to the efforts undertaken since 1980. In recent years, over four thousand buildings on the shores of the Golden Horn have been demolished, the businesses moved to new centers outside the city, the shores turned into parks and gardens, and wastewater treatment plants involving vast canal systems and collectors constructed.
Of the sea walls along the bank, only some portions beyond the second Ataturk Bridge and those near the old Galata Bridge have survived.In Balat there is a small Bulgarian church made of cast iron, and further along in Fener the church and complex of the Greek Orthodox Patriarchate. On the opposite shore, the large building in Kasimpa§a is a naval construction dating to the 19th century. An old building with 8 domes, originally a foundry producing anchors for ships, was converted into a museum exhibiting model ships, machinery and other nautical equipment by the Koc family. The Aynahkavak Kasn in this district is the only surviving pavilion of the palaces on the Golden Horn and is open to visitors as a museum.
EYUP SULTAN MOSQUE
EYUP SULTAN MOSQUE
The Mosque and Mausoleum of Eyiip Sultan, located outside the corner where the land walls meet the walls along the Golden Horn, is considered a sacred site for Moslems. Eyiip-el-Ensari was a standard-bearer of Mohammed and he died-here during an Arabic siege of the city in the 7th century. His grave was discovered at the conquest and later the mausoleum and the first mosque in Istanbul were built on this site. The original mosque was destroyed in an earthquake and the present one was constructed in its place in 1800. On Fridays, holy days for Islam, throngs of the faithful visit the mausoleum. The old trees, flocks of pigeons, the praying believers and the visiting crowds create a mystical and colorful atmosphere around the mosque and the mausoleum. The walls of the mausoleum in the courtyard are covered with tiles from different periods.
Historical sources indicate that in Byzantine times this district was also a holy site where people came to visit the grave of a saint and to pray for rain during times of drought.
The sultans succeeding Mehmet the Conqueror completed their coronation and sword-bearing ceremonies with a visit to the Eyup Sultan Mausoleum.
The vicinity of the mosque and the neighboring hills are occupied by cemeteries. The famous Pierre Loti Cafe is also in this district. The well-known poet and author Loti was enraptured by Istanbul and he came here often to watch the beauties of the Golden Horn of those days. The view from this small cafe and the terrace, particularly during full moon, leaves long-lasting impressions on the visitors.
The Mosque and Mausoleum of Eyiip Sultan, located outside the corner where the land walls meet the walls along the Golden Horn, is considered a sacred site for Moslems. Eyiip-el-Ensari was a standard-bearer of Mohammed and he died-here during an Arabic siege of the city in the 7th century. His grave was discovered at the conquest and later the mausoleum and the first mosque in Istanbul were built on this site. The original mosque was destroyed in an earthquake and the present one was constructed in its place in 1800. On Fridays, holy days for Islam, throngs of the faithful visit the mausoleum. The old trees, flocks of pigeons, the praying believers and the visiting crowds create a mystical and colorful atmosphere around the mosque and the mausoleum. The walls of the mausoleum in the courtyard are covered with tiles from different periods.
Historical sources indicate that in Byzantine times this district was also a holy site where people came to visit the grave of a saint and to pray for rain during times of drought.
The sultans succeeding Mehmet the Conqueror completed their coronation and sword-bearing ceremonies with a visit to the Eyup Sultan Mausoleum.
The vicinity of the mosque and the neighboring hills are occupied by cemeteries. The famous Pierre Loti Cafe is also in this district. The well-known poet and author Loti was enraptured by Istanbul and he came here often to watch the beauties of the Golden Horn of those days. The view from this small cafe and the terrace, particularly during full moon, leaves long-lasting impressions on the visitors.
THE SEVEN TOWERS
THE SEVEN TOWERS
The most impressive gate in the walls was the "Golden Gate1' near the Sea of Marmara. This imperial ceremonial gate was placed like an arch of triumph between two marble towers. Victorious armies, the emperor and his entourage entered the city through this gate. During the Ottoman time five towers were added, and the seven towers were converted into an inner fortress. Over the ages it was used as a treasury, a storehouse and later as a prison for ambassadors. Today this interesting castle and the "Golden Gate" towers serve as a museum where concerts and other cultural activities take place in summer time.
The most impressive gate in the walls was the "Golden Gate1' near the Sea of Marmara. This imperial ceremonial gate was placed like an arch of triumph between two marble towers. Victorious armies, the emperor and his entourage entered the city through this gate. During the Ottoman time five towers were added, and the seven towers were converted into an inner fortress. Over the ages it was used as a treasury, a storehouse and later as a prison for ambassadors. Today this interesting castle and the "Golden Gate" towers serve as a museum where concerts and other cultural activities take place in summer time.
THE CITY WALLS
THE CITY WALLS
The triangular promontory on which old Istanbul is located is surrounded by city walls. The 22 km long walls date back to the 5th century, the Roman era. The original city of Byzantium expanded toward the west and new city walls were erected four times, each time enlarging the city further.
The peninsula was easily defensible. The terrain to the west is quite flat in the direction of the Balkans, but the gigantic walls ensured protection on the landside.
The shores of the Golden Horn and the Marmara were also defended by a single, but sturdy wall.
Nothing has survived from the walls built around the acropolis of Byzantium, the second wall built by Septimius Severus in the 3rd century or the third wall built in 320 by Constantine the Great.
The land walls start from the seashore and, after crossing hills and valleys, join the sea wall on the banks of the Golden Horn.
Inscriptions from different eras indicate the restorations in the walls. The land walls are 6,492 m long. Behind the moat and the first row of walls and battlements rise the higher main wall with 96 towers.
Most of the original gates have survived to our day. As a result 'of the restoration and renovation work that began in the 1980's and is still continuing, the vicinity of the walls has been improved and the some areas turned into public parks.
The triangular promontory on which old Istanbul is located is surrounded by city walls. The 22 km long walls date back to the 5th century, the Roman era. The original city of Byzantium expanded toward the west and new city walls were erected four times, each time enlarging the city further.
The peninsula was easily defensible. The terrain to the west is quite flat in the direction of the Balkans, but the gigantic walls ensured protection on the landside.
The shores of the Golden Horn and the Marmara were also defended by a single, but sturdy wall.
Nothing has survived from the walls built around the acropolis of Byzantium, the second wall built by Septimius Severus in the 3rd century or the third wall built in 320 by Constantine the Great.
The land walls start from the seashore and, after crossing hills and valleys, join the sea wall on the banks of the Golden Horn.
Inscriptions from different eras indicate the restorations in the walls. The land walls are 6,492 m long. Behind the moat and the first row of walls and battlements rise the higher main wall with 96 towers.
Most of the original gates have survived to our day. As a result 'of the restoration and renovation work that began in the 1980's and is still continuing, the vicinity of the walls has been improved and the some areas turned into public parks.
TEKFUR PALECE
TEKFUR PALECE
Roman and early Byzantine palaces used to be situated near the Hippodrome. The Blachernae Palace complex, in use from the 7th-8th centuries until the conquest, was spread over a wide area adjoining the city walls and extending down to the Golden Horn. The only surviving pavilion of the complex is the Tekfur Palace which was built adjacent to the city walls.
The three-storied building, the roof of which is missing, was constructed in the 12th century. There is a small courtyard before the colorful facade decorated with red bricks and marble.
The windows are topped by decorative arches. The ground floor opens to the courtyard with four large arches. The building was used as a tile workshop for a short period in the 18th century.
Roman and early Byzantine palaces used to be situated near the Hippodrome. The Blachernae Palace complex, in use from the 7th-8th centuries until the conquest, was spread over a wide area adjoining the city walls and extending down to the Golden Horn. The only surviving pavilion of the complex is the Tekfur Palace which was built adjacent to the city walls.
The three-storied building, the roof of which is missing, was constructed in the 12th century. There is a small courtyard before the colorful facade decorated with red bricks and marble.
The windows are topped by decorative arches. The ground floor opens to the courtyard with four large arches. The building was used as a tile workshop for a short period in the 18th century.
KARIYE MUSEUM
KARIYE MUSEUM
The word "chora" means "outside the city, the countryside". Probably, a small church built here before the erection of the 5th century Roman city walls gave its name to the later churches built on the same site. The present-day edifice is dated to the llth-14th centuries. Besides its attractive exterior, the mosaics and frescoes inside are considered masterpieces of the Byzantine "renaissance". These decorations and the additions made in the 14th century were ordered by Theodore Metochites. Mosaic panels in the two narthexes at the entrance depict the lives of the Virgin and Christ in the chronological order described in the Bible. Religious subjects were depicted in the form of frescoes in the side chapel. Prominent church and court personalities also figure in these frescoes.
The mosaics and frescoes, that were partially whitewashed when the church was converted into a mosque in the early 16th century, were revealed and restored by the Byzantine Institute of America in the 1950's.
The Chora monastery and its church gained in importance in time when they became neighbors with the imperial palaces. These rich and meticulous decorations were made by master artists under the difficult conditions of the 14th century.
The famous scholar and statesman Theodore Metochites built the side chapel, the exonarthex and had the church decorated in the 1320's. The mosaic panels were created by a group of artists. The mosaics on the upper sections of the inner narthex have not survived to our day. It was characteristic of Byzantine art to add monograms and inscriptions next to the figures.
The museum is located in a charming district with old wooden houses, hotels and cafes.
The word "chora" means "outside the city, the countryside". Probably, a small church built here before the erection of the 5th century Roman city walls gave its name to the later churches built on the same site. The present-day edifice is dated to the llth-14th centuries. Besides its attractive exterior, the mosaics and frescoes inside are considered masterpieces of the Byzantine "renaissance". These decorations and the additions made in the 14th century were ordered by Theodore Metochites. Mosaic panels in the two narthexes at the entrance depict the lives of the Virgin and Christ in the chronological order described in the Bible. Religious subjects were depicted in the form of frescoes in the side chapel. Prominent church and court personalities also figure in these frescoes.
The mosaics and frescoes, that were partially whitewashed when the church was converted into a mosque in the early 16th century, were revealed and restored by the Byzantine Institute of America in the 1950's.
The Chora monastery and its church gained in importance in time when they became neighbors with the imperial palaces. These rich and meticulous decorations were made by master artists under the difficult conditions of the 14th century.
The famous scholar and statesman Theodore Metochites built the side chapel, the exonarthex and had the church decorated in the 1320's. The mosaic panels were created by a group of artists. The mosaics on the upper sections of the inner narthex have not survived to our day. It was characteristic of Byzantine art to add monograms and inscriptions next to the figures.
The museum is located in a charming district with old wooden houses, hotels and cafes.
HANDMADE TURKISH CARPETS
HANDMADE TURKISH CARPETS
The art of making hand-knotted carpets is an old Turkish handicraft. The two richest antique carpet museums in the world are located in Istanbul.
Today, carpets still knotted in the old traditional ways are produced in every region of Turkey. Carpets made of pure wool, wool and cotton blend, or pure silk from different regions form very rich and varied collections.
The reputation of Turkish carpets is based on their workmanship, deep-rooted traditions, quality raw materials, special techniques, patience and the months of labor that go into each piece.
In many villages there are domestic looms producing carpets typical of that region. Besides these, in several centers the manufacture of handmade carpets is a large industry supported by the state.
Hereke, a town near Istanbul, is the most famous center for pure silk carpets. Carpets made in Hereke, Kayseri and Konya are sought after in world markets.
The art of making hand-knotted carpets is an old Turkish handicraft. The two richest antique carpet museums in the world are located in Istanbul.
Today, carpets still knotted in the old traditional ways are produced in every region of Turkey. Carpets made of pure wool, wool and cotton blend, or pure silk from different regions form very rich and varied collections.
The reputation of Turkish carpets is based on their workmanship, deep-rooted traditions, quality raw materials, special techniques, patience and the months of labor that go into each piece.
In many villages there are domestic looms producing carpets typical of that region. Besides these, in several centers the manufacture of handmade carpets is a large industry supported by the state.
Hereke, a town near Istanbul, is the most famous center for pure silk carpets. Carpets made in Hereke, Kayseri and Konya are sought after in world markets.
THE COVERED (GRAND) BAZAAR
THE COVERED (GRAND) BAZAAR
The oldest and largest covered bazaar in the world is situated in the heart of the city. One cannot appreciate this market without visiting it. It resembles a giant labyrinth with approximately sixty lanes and more than three thousand shops.
The bazaar consisted originally of two 15th century buildings with thick walls that were covered with a series of domes. In later centuries the streets around these buildings developed and were covered and new additions were made, turning it into a trading center. In the past each lane was reserved for a different profession and the handicrafts produced here were rigorously controlled.
Business ethics and traditions were strictly adhered to.
All types of jewelry, fabrics, weaponry and antiques were sold by merchants whose expertise in the trade went back for generations. At the end of the last century the bazaar suffered an earthquake and several fires.
Although it was repaired according to its original plan, it lost its former characteristics and deteriorated.
In the old days the tradesmen commanded so much respect and trust that people asked them to safeguard and to invest their money. Today the shops in many lanes have changed character. Trades such as quilt makers, slipper makers and fez makers only remain as street names now.
The so-called main street of the bazaar is lined with jewelry shops, and a side lane opening to this street is allocated to goldsmiths. Prices vary and bargaining is customary in these rather small shops.
Although the bazaar retains its former charm and allure, since the 1970's the modern and large enterprises near the main entrance offer better shopping opportunities for the tourist groups visiting Istanbul.
The covered bazaar is crowded and bustling the whole day. Shop owners insistently invite the visitors to their shops. In the large and comfortable shops at the entrance one can find examples of all the hand-made articles produced in Turkey.
The handmade carpets and jewelry sold here are the finest examples of traditional Turkish art. Every item on sale carries its tag of authen-ticity and it can be shipped to anywhere in the world.
Along with the carpets and jewelry, these shops offer a wide collection of high-quality Turkish silverware, copper and bronze souvenirs and decorative objects, ceramics, and onyx and leather goods.
The Spice Bazaar is another covered market place on a smaller scale. A small 15th century covered bazaar in Galata is still in use.
The oldest and largest covered bazaar in the world is situated in the heart of the city. One cannot appreciate this market without visiting it. It resembles a giant labyrinth with approximately sixty lanes and more than three thousand shops.
The bazaar consisted originally of two 15th century buildings with thick walls that were covered with a series of domes. In later centuries the streets around these buildings developed and were covered and new additions were made, turning it into a trading center. In the past each lane was reserved for a different profession and the handicrafts produced here were rigorously controlled.
Business ethics and traditions were strictly adhered to.
All types of jewelry, fabrics, weaponry and antiques were sold by merchants whose expertise in the trade went back for generations. At the end of the last century the bazaar suffered an earthquake and several fires.
Although it was repaired according to its original plan, it lost its former characteristics and deteriorated.
In the old days the tradesmen commanded so much respect and trust that people asked them to safeguard and to invest their money. Today the shops in many lanes have changed character. Trades such as quilt makers, slipper makers and fez makers only remain as street names now.
The so-called main street of the bazaar is lined with jewelry shops, and a side lane opening to this street is allocated to goldsmiths. Prices vary and bargaining is customary in these rather small shops.
Although the bazaar retains its former charm and allure, since the 1970's the modern and large enterprises near the main entrance offer better shopping opportunities for the tourist groups visiting Istanbul.
The covered bazaar is crowded and bustling the whole day. Shop owners insistently invite the visitors to their shops. In the large and comfortable shops at the entrance one can find examples of all the hand-made articles produced in Turkey.
The handmade carpets and jewelry sold here are the finest examples of traditional Turkish art. Every item on sale carries its tag of authen-ticity and it can be shipped to anywhere in the world.
Along with the carpets and jewelry, these shops offer a wide collection of high-quality Turkish silverware, copper and bronze souvenirs and decorative objects, ceramics, and onyx and leather goods.
The Spice Bazaar is another covered market place on a smaller scale. A small 15th century covered bazaar in Galata is still in use.
SULEYMANIYE (SÜLEYMANİYE) MOSQUE
SULEYMANIYE (SÜLEYMANİYE) MOSQUE
Numerous earthquakes that have shaken Istanbul over the centuries have not caused a single crack in the building. The baroque decorations of the inside of the dome were made in the 19th century. The handmade carpet with a mihrap design covering the floor was placed here in the 1950's. The most attractive features of the interior are the extremely colorful, 16th century original stained glass windows with Turkish motifs in the wall of the mihrap. A very simple balcony for the chanters is situated next to the minber, and the mihrap niche made of marble is decorated with tiles. The sultan's loge is to the left of the mihrab. Verses from the Koran are inscribed on the walls in some of the supreme examples of the Turkish art of calligraphy. Over the entrance and on the sides, there are galleries reserved for women. The brass grill partition to the right of the entrance is a masterpiece of 18th century Turkish metalwork. In the rear courtyard there are the tombs of Siileyman and his beloved wife Roxelane, as well as graves of other prominent people. A small and extremely modest grave is located at one corner of the complex. This is the tomb of the great architect Sinan, who lived to be ninety-nine years old and was for 50 years the extremely esteemed and respected chief architect of the empire. Sinan was a diligent and productive architect who left over four hundred works behind him. He is the most important figure in classical Turkish architecture, of which he was the originator. His apprentices created masterpieces not only in the empire, but also in other Islamic countries.
The largest and most imposing mosque in Istanbul, the city of domes and minarets, is the Suleymaniye. The aesthetic supremacy of its interior and exterior and its perfect proportions have been captivating the visitors for centuries. The Suleymaniye Mosque is an architectural masterpiece. . The 16th century was the golden age of the Ottoman Empire. Suleyman the Magnificent, the longest reigning among the thirty-six Ottoman sultans, ruled for 47 years in this century. The great sultan entrusted the construction of the mosque to bear his name to Sinan, the /. Suleymaniye, southern facade with stained glass windows, and the Friday congregation. grand master of architecture. Sinan completed the mosque and the large complex surrounding it between 1550-1557. The mosque was one of many demonstrations of the genius of Sinan, the father of classical Turkish architecture. The complex surrounding the mosque was composed of schools, a library, baths, public kitchens, caravanserai, a hospital and shops. The beauty of the exterior of the mosque is best appreciated from a distance. This imperial edifice can be seen in all its magnificence from the Galata Tower or the Galata side of the Golden Horn. A huge dome covers the main chamber of the mosque, which has four minarets. The main entrance to the mosque is from an inner courtyard that is surrounded by porticoes and has an ablution fountain in the center. The spaciousness, unity and exquisite decorations add to the imposing view of the interior. The 53 m high central dome with a diameter of 26.50 m rests on four pillars called elephant-feet. All the architectural elements of the interior are in perfect harmony with one another. The static balance of the structure is faultless too.
Numerous earthquakes that have shaken Istanbul over the centuries have not caused a single crack in the building. The baroque decorations of the inside of the dome were made in the 19th century. The handmade carpet with a mihrap design covering the floor was placed here in the 1950's. The most attractive features of the interior are the extremely colorful, 16th century original stained glass windows with Turkish motifs in the wall of the mihrap. A very simple balcony for the chanters is situated next to the minber, and the mihrap niche made of marble is decorated with tiles. The sultan's loge is to the left of the mihrab. Verses from the Koran are inscribed on the walls in some of the supreme examples of the Turkish art of calligraphy. Over the entrance and on the sides, there are galleries reserved for women. The brass grill partition to the right of the entrance is a masterpiece of 18th century Turkish metalwork. In the rear courtyard there are the tombs of Siileyman and his beloved wife Roxelane, as well as graves of other prominent people. A small and extremely modest grave is located at one corner of the complex. This is the tomb of the great architect Sinan, who lived to be ninety-nine years old and was for 50 years the extremely esteemed and respected chief architect of the empire. Sinan was a diligent and productive architect who left over four hundred works behind him. He is the most important figure in classical Turkish architecture, of which he was the originator. His apprentices created masterpieces not only in the empire, but also in other Islamic countries.
The largest and most imposing mosque in Istanbul, the city of domes and minarets, is the Suleymaniye. The aesthetic supremacy of its interior and exterior and its perfect proportions have been captivating the visitors for centuries. The Suleymaniye Mosque is an architectural masterpiece. . The 16th century was the golden age of the Ottoman Empire. Suleyman the Magnificent, the longest reigning among the thirty-six Ottoman sultans, ruled for 47 years in this century. The great sultan entrusted the construction of the mosque to bear his name to Sinan, the /. Suleymaniye, southern facade with stained glass windows, and the Friday congregation. grand master of architecture. Sinan completed the mosque and the large complex surrounding it between 1550-1557. The mosque was one of many demonstrations of the genius of Sinan, the father of classical Turkish architecture. The complex surrounding the mosque was composed of schools, a library, baths, public kitchens, caravanserai, a hospital and shops. The beauty of the exterior of the mosque is best appreciated from a distance. This imperial edifice can be seen in all its magnificence from the Galata Tower or the Galata side of the Golden Horn. A huge dome covers the main chamber of the mosque, which has four minarets. The main entrance to the mosque is from an inner courtyard that is surrounded by porticoes and has an ablution fountain in the center. The spaciousness, unity and exquisite decorations add to the imposing view of the interior. The 53 m high central dome with a diameter of 26.50 m rests on four pillars called elephant-feet. All the architectural elements of the interior are in perfect harmony with one another. The static balance of the structure is faultless too.
BEYAZIT SQUARE
BEYAZIT SQUARE
This was built in 393 during the reign of Theodosius I as the largest square in the city. There was a gigantic triumphal arch in the center decorated by bronze bull heads, hence the name "Forum Tauri" (Square of Bulls).
A few marble blocks and column fragments have been found from the triumphal arch, which was crowned with the statue of the emperor, but nothing remains from the monumental fountain in the northern part of the square. Water to this, the largest fountain in the city, was supplied by means of the Aqueduct of Valens. To the north, the campus of the University of Istanbul now occupies the ground on which Mehmet the Conqueror built his first palace. The monumental gate of the university and the fire lookout tower in the garden are from the 19th century. The present-day name of the square derives from the Beyazit Mosque, which was built in the 15th century. The mosque, neighboring the always crowded and lively Covered Bazaar, used to have a complex of surrounding buildings, but only the medrese, the baths and some of the shops remain today.
This was built in 393 during the reign of Theodosius I as the largest square in the city. There was a gigantic triumphal arch in the center decorated by bronze bull heads, hence the name "Forum Tauri" (Square of Bulls).
A few marble blocks and column fragments have been found from the triumphal arch, which was crowned with the statue of the emperor, but nothing remains from the monumental fountain in the northern part of the square. Water to this, the largest fountain in the city, was supplied by means of the Aqueduct of Valens. To the north, the campus of the University of Istanbul now occupies the ground on which Mehmet the Conqueror built his first palace. The monumental gate of the university and the fire lookout tower in the garden are from the 19th century. The present-day name of the square derives from the Beyazit Mosque, which was built in the 15th century. The mosque, neighboring the always crowded and lively Covered Bazaar, used to have a complex of surrounding buildings, but only the medrese, the baths and some of the shops remain today.
THE COLUMN OF CONSTANTINE (ÇEMBERLİTAŞ)
THE COLUMN OF CONSTANTINE (ÇEMBERLİTAŞ)
The column was erected to honor Constantine in 330 AD, when Istanbul was dedicated as the capital of the Roman Empire. It stood in the center of a large oval-shaped square on top of the second hill of Istanbul. This square, surrounded by colonnades, was called the Forum of Constantine. Cemberlitas is also known as the Burnt Column. It was originally higher than it is today and was topped by a statue of Constantine dressed as the sun god. The porphyry blocks of the column were cracked by time and by fire, and have been reinforced with iron hoops.
The marble capital dates to the 12th century, and the stone masonry in the lower section to the 18th century. It is believed that a small chamber under the column housed sacred relics of early Christianity. The course of the avenue that passes by the column has not changed since the time of Constantine.
The column was erected to honor Constantine in 330 AD, when Istanbul was dedicated as the capital of the Roman Empire. It stood in the center of a large oval-shaped square on top of the second hill of Istanbul. This square, surrounded by colonnades, was called the Forum of Constantine. Cemberlitas is also known as the Burnt Column. It was originally higher than it is today and was topped by a statue of Constantine dressed as the sun god. The porphyry blocks of the column were cracked by time and by fire, and have been reinforced with iron hoops.
The marble capital dates to the 12th century, and the stone masonry in the lower section to the 18th century. It is believed that a small chamber under the column housed sacred relics of early Christianity. The course of the avenue that passes by the column has not changed since the time of Constantine.
THE GOTHS COLUMN
THE GOTHS COLUMN
The column is located in the outer garden of the Topkapi Palace, at the entrance to the Gulhane Park from Sarayburnu. It is the oldest monument in the city that has survived intact from the Roman period. The 15m high monolithic marble column on an elevated base was erected in either the 3rd or the 4th centuries. The Corinthian capital is decorated with a coat of arms depicting eagles. The name derives from the inscription on the column that mentions a victory against the Goths. It is almost hidden by the tall trees surrounding it.
The column is located in the outer garden of the Topkapi Palace, at the entrance to the Gulhane Park from Sarayburnu. It is the oldest monument in the city that has survived intact from the Roman period. The 15m high monolithic marble column on an elevated base was erected in either the 3rd or the 4th centuries. The Corinthian capital is decorated with a coat of arms depicting eagles. The name derives from the inscription on the column that mentions a victory against the Goths. It is almost hidden by the tall trees surrounding it.
SADBERK HAHIM MUSEUM
SADBERK HAHIM MUSEUM
One of the interesting mansions in Sariyer, a three-storied building, was chosen as the locale of a beautiful museum founded by the Koc family. Rare objects collected over the years, costumes and artifacts reflecting the lifestyles of past centuries, valuable fabrics, and gold, silver and porcelain wares are displayed in the museum. After the Koc family acquired the archeological collection of Huseyin Kocabas, the building next door was bought and added to the museum to provide space for the exhibition of this rich collection. This modern and impressive exhibition is in chronological order and it contains pieces from the Neolithic age and Hatti, Hittite, Urartu, Greek, Roman, Byzantine and Seljuk periods.
One of the interesting mansions in Sariyer, a three-storied building, was chosen as the locale of a beautiful museum founded by the Koc family. Rare objects collected over the years, costumes and artifacts reflecting the lifestyles of past centuries, valuable fabrics, and gold, silver and porcelain wares are displayed in the museum. After the Koc family acquired the archeological collection of Huseyin Kocabas, the building next door was bought and added to the museum to provide space for the exhibition of this rich collection. This modern and impressive exhibition is in chronological order and it contains pieces from the Neolithic age and Hatti, Hittite, Urartu, Greek, Roman, Byzantine and Seljuk periods.
TOPKAPI PALACE
TOPKAPI PALACE
Topkapi is the largest and oldest palace in the world to survive to our day. In 1924 it was turned into a museum at Atatiirk's request. Situated on the acropolis, the site of the first settlement in Istanbul, it commands an impressive view of the Golden Horn, the Bosphorus and the Sea of Marmara. The palace is a complex surrounded by 5 km of walls and occupies an area of 700,000 sq. m at the tip of the historical peninsula.
Following the conquest of the city in 1453, the young Sultan Mehmet moved the capital of the empire to Istanbul, His first palace was located in the middle of the town. The second palace, which he built in the 1470's, was initially called the New Palace, but in recent times it came to be known as the Topkapi Palace. Topkapi is a classical example of Turkish palace architecture. It consists of tree- shaded courtyards, each serving a different purpose and opening onto one another with monumental gates. The courtyards are surrounded by functional buildings. From the time of its construction, the palace developed constantly with alterations and additions made by each sultan.
When the sultans moved to the ostentatious Dolmabahce Palace in 1853, Topkapi lost its importance as the official royal residence and was left to deteriorate. It finally regained its former unpretentious beauty after fifty years of continuous restoration in the Republican era. Most of the objects exhibited in the palace today are unique masterpieces.
When it was used as a palace, it served more functions than one usually associates with royal residences. Although it was the residence of the Sultan, the sole ruler of the empire, it was at the same time the center of the administrative affairs, the place where the council of ministers met, and the treasury, mint, and state archives were located there. The highest educational institution of the empire, the university of the sultan and the state was also here. Therefore it was the heart, the brain, the very center of the Ottoman Empire. Much later, the harem (private quarters) of the sultans was moved here too.
Of the sixteen empires founded by the Turks, the Ottoman Empire was the longest lasting and the largest. It lasted for 622 years ruling over the Asian, European and African lands surrounding the Mediterranean and the Black Sea.
Peoples of different races and religions were united under its rule. The only other empire in history that governed such vast lands for such a long period was the Roman Empire.
Thirty-six sultans reigned during this period, and starting from early 16th century, they also became the religious leaders of the Islamic world as caliphs.
Capable civil servants, after completing their education in the school in the private courtyard of the sultan, served faithfully and successfully in the administration and organization of the empire. Most of the viziers and grand viziers were graduates of this school. Life started at dawn in the palace and it was subject to strict rules and ceremonies. Everybody had to abide by the centuries-old customs and traditions, and these were observed rigorously even when the empire fell into a period of decline. The etiquette of this palace always influenced the rules of protocol in the Western world.
The seaside mansions and pavilions of Topkapi Palace were demolished at the end of the last century.
The different tiles, woodwork and architectural styles displayed in Topkapi Palace reflects the development of Turkish art and the harmonious existence of differing styles over the centuries.
VISITING THE PALACE THE FIRST COURTYARD
The first courtyard is entered through the so-called Imperial Gate. The monumental fountain seen outside the gate is a beautiful example of 18th century Turkish art. In this courtyard there are the palace bakery, the mint, the quarters of the palace guards, and the firewood depots. The vegetable gardens used to occupy the terraces below. The first building in the palace complex, the Tiled Pavilion, and the Archeological Museum are in this courtyard, too. To the left of the entrance is the Hagia Eirene Museum, a 6th century Byzantine church.
THE SECOND COURTYARD
The main entrance to the Palace Museum is the second gate, known as the Gate of Salutation. The second courtyard was the administrative center of the state and the government. Only the sultans could enter this yard on horseback. Citizens with official business were allowed here, as well as the representatives of the Janissary corps on special paydays.
br> The reception of foreign emissaries and state ceremonies took place in this courtyard. It is known that absolute silence prevailed in such ceremonies, sometimes attended by up to ten thousand people. When the sultan was present in the event, the imperial throne was placed in front of the gate at the other end of the courtyard, and as a demonstration of respect; that present would stand with their hands clasped in front. The only tower in the palace is located here too. It was called "the Tower of Justice" because it was the venue of the state court of justice. The entire city and the port could be kept under observation from this tower, the only entrance of which was from the harem section.
THE HAREM
The harem was the private zone of the palace, where the mother and siblings of the sultan, the other members of the family, and the concubines and eunuchs who served this large family lived. Until the mid-16th century the harem was housed in the Old Palace in another part of the town. The harem of Topkapi Palace consists of long narrow hallways and about 400 rooms scattered around small courtyards. It was altered and enlarged over the years.
The harem was strictly closed to outsiders, and it became the subject of many stories over the centuries. The concubines serving the sultan and his family were chosen from among the most beautiful and healthy girls of different races or they were presented to the court as gifts.
These girls came to the harem at a very early age and were brought up under strict discipline. After they became thoroughly acquainted with the customs of the palace, they were separated into different groups. Those who could attract the attention of the sultan had the chance of becoming his wife.
There was no such title in the empire as "empress". The sultan's mother was the sole ruler in the harem. Amid the entire splendor and wealth, rivalry, hatred and intrigues to get closer to the sultan were part of the daily life.
When a new sultan ascended to the throne, the harem of the former sultan was moved to another palace. The ladies of the harem and the chief eunuchs emerged as a political power influencing state administration if the reigning sultan was weak and ineffective. Still, life in the harem with all its intrigues, good and bad parts was superior to the life style of women of that period elsewhere.
Only a section of the harem is open to the public. It is up to the imagination of the visitor to recreate the colorful and lively old days in these dim hallways and empty rooms.
The tour of the harem starts with the 40-room section allocated to the mother of the sultan. The next sections are the large Turkish bath and the spacious, domed hall reserved for the sultans.
There are fireplaces and fountains in all available places. The large hall with a pool filled by interesting fountains is decorated with exquisite 16th century tiles. It dates to the reign of Murat III. From the end of this hall, one enters the small library and the "fruit room" which is embellished with paintings of fruits and flowers.
The two 16th century rooms seen at the end of the harem tour have beautiful stained glass windows complementing the rich wall decorations. These rooms were allocated to the crown prince.
THE WEAPON COLLECTION AND THE COUNCIL HALL
The large structure next to the "council of state" building with broad eaves was the state treasury. This eight-domed building today houses rich collection of old weapons in a modern exhibition.
Besides the armor and weapons used by the sultans, those used by the members of the palace and the army is displayed here along with weapons conquered from other countries.
The Tower of Justice rises beside the "council of state" section. The council was composed of the viziers and secretaries, and the grand vizier chaired the meetings.
The sultans did not participate in the meetings, but could listen to the deliberations from a high window in one of the walls. This window opened to the harem section and a curtain masked it. The feasts given in honor of visiting foreign missions took place in this hall.
THE KITCHENS AND THE PORCELAIN COLLECTION
On the right side of the second courtyard are the palace kitchens with twenty chimneys. Of the 12,000 pieces of Chinese and Japanese porcelain in the palace collection, about 2,500 are on display in this section.
When these b uildings were used as kitchens, over one thousand cooks and their assistants prepared and served meals for the various sections of the palace.
Selected pieces of the largest such collection in the world are displayed in a chronological order. Sections of the kitchens have been kept as they were when in use, while another part is allocated to porcelain and glassware produced in Istanbul. Another section houses the collection of silverware and European porcelain. The unique Chinese celadons are in the room to the right. The exhibition of blue and white, mono- and polychrome porcelain objects ends with the Japanese porcelain collection. In the special kitchen where sweets used to be made, everyday kitchen utensils, coffee sets and gold-plated . copper wares are displayed.
THE THIRD COURTYARD
The third courtyard was the private domain of the sultan and it was entered —only by special permission- through the Gate of Felicity, guarded by the White Eunuchs. The imperial university, the throne room, the treasury of the sultan and the quarters housing the sacred relics were located in this section. The sultans received foreign ambassadors and high government officials in the throne room, which is directly opposite the entrance. For security reasons those serving in the throne room were selected from among deaf and mute persons.
The military officers who served the sultan in various capacities were at the same time the managers of the imperial school.
The library of Ahmet III in the center of the courtyard is an 18th century building that is a typical example of the harmonious blend of the baroque and Turkish architectural styles.
THE COSTUMES
Unique collections of the sultans' wardrobes are displayed in the section to the right of the courtyard. There are altogether 2,500 of these handmade costumes that were made of fabric woven on the palace looms and preserved carefully in special chests since the 15th century. Besides these garments embroidered with silk, gold and silver thread, there are also silk carpets and prayer rugs, masterpieces of Turkish art, used by the sultans.
THE TREASURY
The treasury section of the Topkapi Palace Museum is the richest collection of its kind in the world. All the pieces exhibited in the four rooms are authentic originals.
Masterpieces of the Turkish art of jewelry from different centuries and exquisite creations from the Far East, India and Europe entrance visitors. In each room there is an imperial throne from a different era. Ceremonial costumes, weapons, water pipes, Turkish coffee cups and other wares, all of them embellished with gold and precious stones are the most important items in the first room.
The second hall is known as the Emerald Room. It contains dazzling display of aigrettes and pendants decorated with emeralds and other jewels. Uncut emeralds, some weighing several kilograms each, and the famous Topkapi Dagger (the symbol of the museum) embellished with three large emeralds are also on display here.
The third room contains enameled objects, medals and decorations of state presented to the sultans by foreign monarchs, the twin solid gold candelabras each weighing 48 kilograms, and the most famous throne in the palace, the golden throne, which the sultans used during coronations and religious holidays. The 86-carat Spoon Maker's (or Pigot) Diamond, one of the most famous diamonds in the world, is also to be found here. The balcony connecting the third and the fourth rooms offers a breathtaking view of the entrance to the Bosphorus and the Asian coast. In the fourth room, a magnificent throne of Indian-Persian origin is on display. There are also many other objects encrusted with precious stones of different sizes to captivate visitors.
THE CLOCK COLLECTION
The richest collection of clocks in the world is exhibited in the room next to the Sacred Relics Section. To the right of the entrance there are clocks made by Turkish masters. These priceless wall and table clocks and watches are from the 16th-19th centuries. Clocks of a huge variety of makes were presented to the palace as gifts.
The largest clock in the room is one of English origin. It is 3.5 m high and 1 m wide, and contains an organ. Some pieces of special interest are the watches with the portraits of Abdulmecid and Abdulaziz, and a birdcage hanging from the dome, the underside of which is an enameled clock.
THE SACRED RELICS
The sacred relics of Islam were brought to the palace after the conquest of Egypt in the 16th century and have been preserved here since that time. This hall was used as the throne room before it was allocated to the sacred relics. The walls of the domed rooms are covered with tiles. Important pieces of the collection are the swords and bow of Mohammed and his mantle (cloak), which is kept in a priceless box. The seal of the Prophet, hairs from his beard, his footprint and a letter are other exhibits in the showcases in these rooms. Also on display are one of the first manuscripts of The Koran, the keys of the Ka'aba in Mecca, and the swords of prominent religious personalities.
PORTRAITS OF THE SULTANS
This gallery is located in the building with a colonnade, which stands between the Sacred Relics Section and the Treasury and also houses the museum offices. In the large hall, temporary exhibitions are organized from time to time.
The Palace Museum has a rich collection of manuscripts, books, miniatures and writing tools. Some of these rare items are displayed in this section. Oil portraits of the sultans adorn the walls of the balcony-shaped galleries of the hall.
THE FOURTH COURTYARD
A passageway leads from the third to the fourth courtyard where there are a number of pavilions set amidst gardens. The only wooden pavilion in the complex, the Revan and exquisitely decorated Baghdad Pavillions from the 17th century, and the last addition to the palace, the Mecidiye K6§ku, are some of the buildings here. On the ground floor of the last building there is a restaurant for visitors. The terrace in front of Baghdad Pavillion is the best place to Interior of Baghdad Pavilion (17th cent.). get an overall view of the Golden Horn, the Galata district, and the wonderful skyline of old Istanbul with its domes and minarets. The gardens of the palace sloping toward the sea have now been turned into a public park.
Topkapi is the largest and oldest palace in the world to survive to our day. In 1924 it was turned into a museum at Atatiirk's request. Situated on the acropolis, the site of the first settlement in Istanbul, it commands an impressive view of the Golden Horn, the Bosphorus and the Sea of Marmara. The palace is a complex surrounded by 5 km of walls and occupies an area of 700,000 sq. m at the tip of the historical peninsula.
Following the conquest of the city in 1453, the young Sultan Mehmet moved the capital of the empire to Istanbul, His first palace was located in the middle of the town. The second palace, which he built in the 1470's, was initially called the New Palace, but in recent times it came to be known as the Topkapi Palace. Topkapi is a classical example of Turkish palace architecture. It consists of tree- shaded courtyards, each serving a different purpose and opening onto one another with monumental gates. The courtyards are surrounded by functional buildings. From the time of its construction, the palace developed constantly with alterations and additions made by each sultan.
When the sultans moved to the ostentatious Dolmabahce Palace in 1853, Topkapi lost its importance as the official royal residence and was left to deteriorate. It finally regained its former unpretentious beauty after fifty years of continuous restoration in the Republican era. Most of the objects exhibited in the palace today are unique masterpieces.
When it was used as a palace, it served more functions than one usually associates with royal residences. Although it was the residence of the Sultan, the sole ruler of the empire, it was at the same time the center of the administrative affairs, the place where the council of ministers met, and the treasury, mint, and state archives were located there. The highest educational institution of the empire, the university of the sultan and the state was also here. Therefore it was the heart, the brain, the very center of the Ottoman Empire. Much later, the harem (private quarters) of the sultans was moved here too.
Of the sixteen empires founded by the Turks, the Ottoman Empire was the longest lasting and the largest. It lasted for 622 years ruling over the Asian, European and African lands surrounding the Mediterranean and the Black Sea.
Peoples of different races and religions were united under its rule. The only other empire in history that governed such vast lands for such a long period was the Roman Empire.
Thirty-six sultans reigned during this period, and starting from early 16th century, they also became the religious leaders of the Islamic world as caliphs.
Capable civil servants, after completing their education in the school in the private courtyard of the sultan, served faithfully and successfully in the administration and organization of the empire. Most of the viziers and grand viziers were graduates of this school. Life started at dawn in the palace and it was subject to strict rules and ceremonies. Everybody had to abide by the centuries-old customs and traditions, and these were observed rigorously even when the empire fell into a period of decline. The etiquette of this palace always influenced the rules of protocol in the Western world.
The seaside mansions and pavilions of Topkapi Palace were demolished at the end of the last century.
The different tiles, woodwork and architectural styles displayed in Topkapi Palace reflects the development of Turkish art and the harmonious existence of differing styles over the centuries.
VISITING THE PALACE THE FIRST COURTYARD
The first courtyard is entered through the so-called Imperial Gate. The monumental fountain seen outside the gate is a beautiful example of 18th century Turkish art. In this courtyard there are the palace bakery, the mint, the quarters of the palace guards, and the firewood depots. The vegetable gardens used to occupy the terraces below. The first building in the palace complex, the Tiled Pavilion, and the Archeological Museum are in this courtyard, too. To the left of the entrance is the Hagia Eirene Museum, a 6th century Byzantine church.
THE SECOND COURTYARD
The main entrance to the Palace Museum is the second gate, known as the Gate of Salutation. The second courtyard was the administrative center of the state and the government. Only the sultans could enter this yard on horseback. Citizens with official business were allowed here, as well as the representatives of the Janissary corps on special paydays.
br> The reception of foreign emissaries and state ceremonies took place in this courtyard. It is known that absolute silence prevailed in such ceremonies, sometimes attended by up to ten thousand people. When the sultan was present in the event, the imperial throne was placed in front of the gate at the other end of the courtyard, and as a demonstration of respect; that present would stand with their hands clasped in front. The only tower in the palace is located here too. It was called "the Tower of Justice" because it was the venue of the state court of justice. The entire city and the port could be kept under observation from this tower, the only entrance of which was from the harem section.
THE HAREM
The harem was the private zone of the palace, where the mother and siblings of the sultan, the other members of the family, and the concubines and eunuchs who served this large family lived. Until the mid-16th century the harem was housed in the Old Palace in another part of the town. The harem of Topkapi Palace consists of long narrow hallways and about 400 rooms scattered around small courtyards. It was altered and enlarged over the years.
The harem was strictly closed to outsiders, and it became the subject of many stories over the centuries. The concubines serving the sultan and his family were chosen from among the most beautiful and healthy girls of different races or they were presented to the court as gifts.
These girls came to the harem at a very early age and were brought up under strict discipline. After they became thoroughly acquainted with the customs of the palace, they were separated into different groups. Those who could attract the attention of the sultan had the chance of becoming his wife.
There was no such title in the empire as "empress". The sultan's mother was the sole ruler in the harem. Amid the entire splendor and wealth, rivalry, hatred and intrigues to get closer to the sultan were part of the daily life.
When a new sultan ascended to the throne, the harem of the former sultan was moved to another palace. The ladies of the harem and the chief eunuchs emerged as a political power influencing state administration if the reigning sultan was weak and ineffective. Still, life in the harem with all its intrigues, good and bad parts was superior to the life style of women of that period elsewhere.
Only a section of the harem is open to the public. It is up to the imagination of the visitor to recreate the colorful and lively old days in these dim hallways and empty rooms.
The tour of the harem starts with the 40-room section allocated to the mother of the sultan. The next sections are the large Turkish bath and the spacious, domed hall reserved for the sultans.
There are fireplaces and fountains in all available places. The large hall with a pool filled by interesting fountains is decorated with exquisite 16th century tiles. It dates to the reign of Murat III. From the end of this hall, one enters the small library and the "fruit room" which is embellished with paintings of fruits and flowers.
The two 16th century rooms seen at the end of the harem tour have beautiful stained glass windows complementing the rich wall decorations. These rooms were allocated to the crown prince.
THE WEAPON COLLECTION AND THE COUNCIL HALL
The large structure next to the "council of state" building with broad eaves was the state treasury. This eight-domed building today houses rich collection of old weapons in a modern exhibition.
Besides the armor and weapons used by the sultans, those used by the members of the palace and the army is displayed here along with weapons conquered from other countries.
The Tower of Justice rises beside the "council of state" section. The council was composed of the viziers and secretaries, and the grand vizier chaired the meetings.
The sultans did not participate in the meetings, but could listen to the deliberations from a high window in one of the walls. This window opened to the harem section and a curtain masked it. The feasts given in honor of visiting foreign missions took place in this hall.
THE KITCHENS AND THE PORCELAIN COLLECTION
On the right side of the second courtyard are the palace kitchens with twenty chimneys. Of the 12,000 pieces of Chinese and Japanese porcelain in the palace collection, about 2,500 are on display in this section.
When these b uildings were used as kitchens, over one thousand cooks and their assistants prepared and served meals for the various sections of the palace.
Selected pieces of the largest such collection in the world are displayed in a chronological order. Sections of the kitchens have been kept as they were when in use, while another part is allocated to porcelain and glassware produced in Istanbul. Another section houses the collection of silverware and European porcelain. The unique Chinese celadons are in the room to the right. The exhibition of blue and white, mono- and polychrome porcelain objects ends with the Japanese porcelain collection. In the special kitchen where sweets used to be made, everyday kitchen utensils, coffee sets and gold-plated . copper wares are displayed.
THE THIRD COURTYARD
The third courtyard was the private domain of the sultan and it was entered —only by special permission- through the Gate of Felicity, guarded by the White Eunuchs. The imperial university, the throne room, the treasury of the sultan and the quarters housing the sacred relics were located in this section. The sultans received foreign ambassadors and high government officials in the throne room, which is directly opposite the entrance. For security reasons those serving in the throne room were selected from among deaf and mute persons.
The military officers who served the sultan in various capacities were at the same time the managers of the imperial school.
The library of Ahmet III in the center of the courtyard is an 18th century building that is a typical example of the harmonious blend of the baroque and Turkish architectural styles.
THE COSTUMES
Unique collections of the sultans' wardrobes are displayed in the section to the right of the courtyard. There are altogether 2,500 of these handmade costumes that were made of fabric woven on the palace looms and preserved carefully in special chests since the 15th century. Besides these garments embroidered with silk, gold and silver thread, there are also silk carpets and prayer rugs, masterpieces of Turkish art, used by the sultans.
THE TREASURY
The treasury section of the Topkapi Palace Museum is the richest collection of its kind in the world. All the pieces exhibited in the four rooms are authentic originals.
Masterpieces of the Turkish art of jewelry from different centuries and exquisite creations from the Far East, India and Europe entrance visitors. In each room there is an imperial throne from a different era. Ceremonial costumes, weapons, water pipes, Turkish coffee cups and other wares, all of them embellished with gold and precious stones are the most important items in the first room.
The second hall is known as the Emerald Room. It contains dazzling display of aigrettes and pendants decorated with emeralds and other jewels. Uncut emeralds, some weighing several kilograms each, and the famous Topkapi Dagger (the symbol of the museum) embellished with three large emeralds are also on display here.
The third room contains enameled objects, medals and decorations of state presented to the sultans by foreign monarchs, the twin solid gold candelabras each weighing 48 kilograms, and the most famous throne in the palace, the golden throne, which the sultans used during coronations and religious holidays. The 86-carat Spoon Maker's (or Pigot) Diamond, one of the most famous diamonds in the world, is also to be found here. The balcony connecting the third and the fourth rooms offers a breathtaking view of the entrance to the Bosphorus and the Asian coast. In the fourth room, a magnificent throne of Indian-Persian origin is on display. There are also many other objects encrusted with precious stones of different sizes to captivate visitors.
THE CLOCK COLLECTION
The richest collection of clocks in the world is exhibited in the room next to the Sacred Relics Section. To the right of the entrance there are clocks made by Turkish masters. These priceless wall and table clocks and watches are from the 16th-19th centuries. Clocks of a huge variety of makes were presented to the palace as gifts.
The largest clock in the room is one of English origin. It is 3.5 m high and 1 m wide, and contains an organ. Some pieces of special interest are the watches with the portraits of Abdulmecid and Abdulaziz, and a birdcage hanging from the dome, the underside of which is an enameled clock.
THE SACRED RELICS
The sacred relics of Islam were brought to the palace after the conquest of Egypt in the 16th century and have been preserved here since that time. This hall was used as the throne room before it was allocated to the sacred relics. The walls of the domed rooms are covered with tiles. Important pieces of the collection are the swords and bow of Mohammed and his mantle (cloak), which is kept in a priceless box. The seal of the Prophet, hairs from his beard, his footprint and a letter are other exhibits in the showcases in these rooms. Also on display are one of the first manuscripts of The Koran, the keys of the Ka'aba in Mecca, and the swords of prominent religious personalities.
PORTRAITS OF THE SULTANS
This gallery is located in the building with a colonnade, which stands between the Sacred Relics Section and the Treasury and also houses the museum offices. In the large hall, temporary exhibitions are organized from time to time.
The Palace Museum has a rich collection of manuscripts, books, miniatures and writing tools. Some of these rare items are displayed in this section. Oil portraits of the sultans adorn the walls of the balcony-shaped galleries of the hall.
THE FOURTH COURTYARD
A passageway leads from the third to the fourth courtyard where there are a number of pavilions set amidst gardens. The only wooden pavilion in the complex, the Revan and exquisitely decorated Baghdad Pavillions from the 17th century, and the last addition to the palace, the Mecidiye K6§ku, are some of the buildings here. On the ground floor of the last building there is a restaurant for visitors. The terrace in front of Baghdad Pavillion is the best place to Interior of Baghdad Pavilion (17th cent.). get an overall view of the Golden Horn, the Galata district, and the wonderful skyline of old Istanbul with its domes and minarets. The gardens of the palace sloping toward the sea have now been turned into a public park.
THE TILED PAVILION (ÇİNİLİ KÖŞK)
THE TILED PAVILION (ÇİNİLİ KÖŞK)
This is the striking two-storied, building opposite the Archeological Museum. It is actually the first pavilion of the Topkapi Palace and was built by Mehmet the Conqueror. This summer pavilion dating back to 1472 is an example of early Ottoman architecture influenced by the Seljuks, with a facade in which colorful movement is achieved by columns, a balcony with an antechamber, and cut tile decorations. There is a long inscription on the wall beside the door.
The domed entrance section is flanked with vaulted rooms. Here 13th-19th century Seljuk and Ottoman ceramics and tiles are exhibited in chronological order. 16th century tiles from Iznik constitute one of the most important collections of the museum.
This is the striking two-storied, building opposite the Archeological Museum. It is actually the first pavilion of the Topkapi Palace and was built by Mehmet the Conqueror. This summer pavilion dating back to 1472 is an example of early Ottoman architecture influenced by the Seljuks, with a facade in which colorful movement is achieved by columns, a balcony with an antechamber, and cut tile decorations. There is a long inscription on the wall beside the door.
The domed entrance section is flanked with vaulted rooms. Here 13th-19th century Seljuk and Ottoman ceramics and tiles are exhibited in chronological order. 16th century tiles from Iznik constitute one of the most important collections of the museum.
THE MILITARY MUSEUM
THE MILITARY MUSEUM
This is one of the leading museums of its kind in the world. The military museum and culture center was reopened at its present building in 1993 with a very successful and contemporary exhibition concept. The former military academy, where Mustafa Kemal Ataturk was also a student, was renovated and various additions were made. Today in 22 rooms about nine thousand pieces are exhibited, out of a total collection of fifty thousand objects. The east wing of the museum is used for temporary exhibitions, meetings and similar activities. On the ground floor, the display of bows and arrows in the first room is followed by sections containing the weapons and other regalia of the cavalry, daggers and lancets, and sections devoted to Selim I, Mehmet the Conqueror, the conquest of Istanbul, weaponry from the early Islamic, Iranian, Caucasian, European . and Turkish periods. This floor also houses a unique collection of helmets and armor, as well as the sections allocated to firearms and tents. On the upper floor there are rooms where objects from World War I, the Battle of Gallipoli, and the War of Independence, and uniforms from more recent times are displayed. There is also an Ataturk room. The Janissary Band gives concerts in the museum.
This is one of the leading museums of its kind in the world. The military museum and culture center was reopened at its present building in 1993 with a very successful and contemporary exhibition concept. The former military academy, where Mustafa Kemal Ataturk was also a student, was renovated and various additions were made. Today in 22 rooms about nine thousand pieces are exhibited, out of a total collection of fifty thousand objects. The east wing of the museum is used for temporary exhibitions, meetings and similar activities. On the ground floor, the display of bows and arrows in the first room is followed by sections containing the weapons and other regalia of the cavalry, daggers and lancets, and sections devoted to Selim I, Mehmet the Conqueror, the conquest of Istanbul, weaponry from the early Islamic, Iranian, Caucasian, European . and Turkish periods. This floor also houses a unique collection of helmets and armor, as well as the sections allocated to firearms and tents. On the upper floor there are rooms where objects from World War I, the Battle of Gallipoli, and the War of Independence, and uniforms from more recent times are displayed. There is also an Ataturk room. The Janissary Band gives concerts in the museum.
THE MUSEUM OF THE ANCIENT ORIENT
THE MUSEUM OF THE ANCIENT ORIENT
This is the first building to the left at the entrance of the Archeological Museum. Originally a school building, it was converted into a museum in 1917, and then modernized between 1963-1973. The artifacts brought here from Egypt and the Middle Eastern countries that were under Ottoman rule prior to World War I, and relics from ancient Anatolian civilizations comprise a unique and beautiful collection.
Two basalt neo-Hittite lions are placed at the entrance. The Mesopotamian, Egyptian and Anatolian sections are on the second floor. Some of the pieces on display are artifacts from the old and new Sumerian, Assyrian and Babylonian civilizations, the graves of the pharaohs and Arabic tomb stone, as well as Hatti-Hittite and Urartu relics. The museum has a very rich and rare collection of cuneiform inscriptions consisting of 70 thousand tablets.
This is the first building to the left at the entrance of the Archeological Museum. Originally a school building, it was converted into a museum in 1917, and then modernized between 1963-1973. The artifacts brought here from Egypt and the Middle Eastern countries that were under Ottoman rule prior to World War I, and relics from ancient Anatolian civilizations comprise a unique and beautiful collection.
Two basalt neo-Hittite lions are placed at the entrance. The Mesopotamian, Egyptian and Anatolian sections are on the second floor. Some of the pieces on display are artifacts from the old and new Sumerian, Assyrian and Babylonian civilizations, the graves of the pharaohs and Arabic tomb stone, as well as Hatti-Hittite and Urartu relics. The museum has a very rich and rare collection of cuneiform inscriptions consisting of 70 thousand tablets.
THE ARCHEOLOGICAL MUSEUM
THE ARCHEOLOGICAL MUSEUM
The museum was founded by painter and archeologist Osman Hamdi on June 13, 1891. It was called at that time the Imperial Museum. Two side wings were added in 1902 and 1908, and on its centenary in 1991 the museum was enlarged with a new section and reorganized. The architect of the monumental building was the famous Valaury.
Eacing the entrance is the huge and formidable statue of god Bes. To the left are the halls where matchless antique statues are exhibited, starting from the archaic period and continuing down to the Roman era, in a visitor-friendly arrangement. The first room contains ancient tomb stones and reliefs, followed by the Kenan Erim Hall where one finds relics from the time of the Persian dominance in Anatolia and from Aphrodisiacs. In the room called ''the three marble cities of Anatolia" there are findings from Ephesus, Millets and Aphrodisias, Hellenistic statues, sculpture from Marsias by the River Meander, and finally statues of Hellenistic-influenced Roman and Roman styles.
To the left of the entrance, after the gift and book shops, there is the room dedicated to Osman Hamdi, and then come the halls containing the works of art he personally discovered in the royal necropolis of Sayda (Sidon). The first three sarcophagi belong to the family of Saydan King Tabnit. An exceptionally beautiful Lycian sarcophagus and the Satrap sarcophagus are also in this room.
The next section contains the Sarcophagus of the Mourning Women and the very famous Sarcophagus of Alexander the Great, which in fact did not belong to him. The four sides of this sarcophagus are decorated with reliefs depicting scenes of the war between the Macedonians and the Persians, and hunting scenes.
On the side wall of the new annex the Temple of Athena in Assos has been reproduced in its original dimensions.
The first hall houses the section on "The Local Cultures of Istanbul". Here, exquisite artifacts from various ages that were found in the vicinity of the city are exhibited in a modern setting. There is also the room containing works of art from the Byzantine era. Another section is called "Istanbul Through the Ages".
On the upper floors, there is the exhibition "Anatolia Through the Ages and Troy", and a chronologically arranged display of works from Palestine, Syria and Cyprus under the title of "Civilizations of Anatolia and Neighboring Countries".
The museum was founded by painter and archeologist Osman Hamdi on June 13, 1891. It was called at that time the Imperial Museum. Two side wings were added in 1902 and 1908, and on its centenary in 1991 the museum was enlarged with a new section and reorganized. The architect of the monumental building was the famous Valaury.
Eacing the entrance is the huge and formidable statue of god Bes. To the left are the halls where matchless antique statues are exhibited, starting from the archaic period and continuing down to the Roman era, in a visitor-friendly arrangement. The first room contains ancient tomb stones and reliefs, followed by the Kenan Erim Hall where one finds relics from the time of the Persian dominance in Anatolia and from Aphrodisiacs. In the room called ''the three marble cities of Anatolia" there are findings from Ephesus, Millets and Aphrodisias, Hellenistic statues, sculpture from Marsias by the River Meander, and finally statues of Hellenistic-influenced Roman and Roman styles.
To the left of the entrance, after the gift and book shops, there is the room dedicated to Osman Hamdi, and then come the halls containing the works of art he personally discovered in the royal necropolis of Sayda (Sidon). The first three sarcophagi belong to the family of Saydan King Tabnit. An exceptionally beautiful Lycian sarcophagus and the Satrap sarcophagus are also in this room.
The next section contains the Sarcophagus of the Mourning Women and the very famous Sarcophagus of Alexander the Great, which in fact did not belong to him. The four sides of this sarcophagus are decorated with reliefs depicting scenes of the war between the Macedonians and the Persians, and hunting scenes.
On the side wall of the new annex the Temple of Athena in Assos has been reproduced in its original dimensions.
The first hall houses the section on "The Local Cultures of Istanbul". Here, exquisite artifacts from various ages that were found in the vicinity of the city are exhibited in a modern setting. There is also the room containing works of art from the Byzantine era. Another section is called "Istanbul Through the Ages".
On the upper floors, there is the exhibition "Anatolia Through the Ages and Troy", and a chronologically arranged display of works from Palestine, Syria and Cyprus under the title of "Civilizations of Anatolia and Neighboring Countries".
FINDS OF THE GREAT PALACE
FINDS OF THE GREAT PALACE
The Great Palace complex of Roman and early Byzantine era spread from Hagia Sophia and Hippodrome down to the sea front, over a large area.
Scattered remains of the Palace complex have been known for same time, but recently a large building was found at the east end of Hagia Sophia by the Archeological Museums Directorate of Istanbul.
The Great Palace complex of Roman and early Byzantine era spread from Hagia Sophia and Hippodrome down to the sea front, over a large area.
Scattered remains of the Palace complex have been known for same time, but recently a large building was found at the east end of Hagia Sophia by the Archeological Museums Directorate of Istanbul.
HAGIA SOPHIA MUSEM
HAGIA SOPHIA MUSEM
Hagia Sophia, which is considered as one of the eight wonders of the world, also occupies a prominent place in the history of art and architecture. It is one of the rare works of this size and age that has survived to our day. The church (called Ayasofya in Turkish) is erroneously known as Saint Sophia in the west. The basilica was not dedicated to a saint named Sophia, but to Divine Wisdom.
This was the site of a pagan temple, and the three separate basilicas built here in different times were all called by the same name. Although no churches were built during the reign of Constantine the Great, some sources maintain that the first Hagia Sophia basilica was built by him. Actually, the first small basilica with a wooden roof was constructed in the second half of the 4th century by Constantinius, the son of Constantine the Great.
This church burnt during the riots in 404, and a second and larger basilica that replaced it was inaugurated in 415. During the bloody uprising of 532 that broke out at a chariot race in the Hippodrome, ten thousands of the inhabitants of the city were killed and numerous building destroyed.
The Hagia Sophia church was among the structures burnt during this so-called "Nika" revolt which was directed against Emperor Justinian.
When Justinian finally suppressed the revolt, he decided to build a house of worship "the like of which has not been seen since Adam, nor will it be seen in the future." Construction started in 532 over the remains of the previous basilica and it was completed in five years. In the year 537, elaborate ceremonies were organized for the dedication of this largest church of Christendom. The emperor spared no expense for his church and placed the state treasury at the disposal of the architects, Antheius of Tralles and mathematician Isidorus of Miletus. The design of the dome followed in the tradition of Roman architecture, and the plan of the basilica was even older. Round buildings had been successfully covered with domes before. But in Hagia Sophia, Justinian was attempting for the first time in the history of architecture to build a gigantic central dome over a rectangular plan.
Priests kept intoning prayers throughout the construction. Marbles and columns taken from the remains of earlier eras from almost all parts of the empire were used for building material. Later many esoteric stories were invented to explain the origin of these materials, particularly the columns, which were gathered from such far ranging sources.
During the reign of Justinian, Hagia Sophia was a manifestation of refinement and pomp, but in later eras it turned into a legend and a symbol.
Because of its dimensions which could not be surpassed for the next thousand years and the financial and technical difficulties involved in its construction, people believed that such a building could not have been achieved without the assistance of supernatural powers. Although Hagia Sophia is a 6th century Byzantine work, it is an "experiment" in the Roman architectural tradition that has neither a predecessor nor a duplicate. The contrast between the interior and the exterior and the large dome are legacies of Rome. The outer appearance is not elegant; it was built as a shell, without much care for proportions. On the other hand, the interior is as splendid and captivating as a palace. As a whole, it is an "imperial" structure.
During the dedication ceremony, the emperor could not suppress his excitement. He entered the church in a chariot, thanked God, and shouted that he had outdone King Solomon.
The basilica developed into a large religious center with tall buildings surrounding it. The scene was now set for the clashes between the Byzantine emperors and the Eastern Church that would last for centuries.
Despite its uniqueness and magnificence, the structure has some vital faults. The most important problem was the enormous size of the dome and the pressure it exerted on the side walls. The architectural elements necessary for transmitting the weight of such a dome to the foundations were not fully developed at that time.
In time the side walls kept leaning outwards and the original low dome collapsed in 558. The second dome to be constructed was much higher and reduced in diameter, but almost half of this dome also collapsed twice, in the 10th and 14th centuries. Vast sums were spent in all ages for the upkeep of Hagia Sophia. The immediate restorations undertaken after the Turkish conquest in 1453 to convert it into a mosque saved this beautiful building. Among the major restorations at later times were the buttresses built by Turkish architect Sinan in the 16th century, the restoration by the Fossafi brothers in mid-19th century, and the repairs including the fortification of the dome with iron bands after 1930. Existing modern portable metal scaffolding will make future restoration work easier.
After serving two different religions with the same god, 916 years as a church and 477 years as a mosque, Hagia Sophia was converted into a museum on Ataturk's orders. Between 1930 and 1935 the whitewash on the walls was cleaned to reveal mosaics, which are among the most important examples of Byzantine art.
A TOUR OF THE MUSEUM
The entrance to the museum from the courtyard is the original west gate, which has now been put to use again after centuries. Next to the entrance is the remains of the earlier (the second) basilica. Those who were not baptized could only enter to the outer nartexs, from which five doors give entrance to the inner narthex (porch), and from here nine more doors lead into the nave.
The tall door in the middle was the Imperial Entrance. The mosaic panel above the door dates to end-9th century. In the center of the panel Christ the Pantocrator (Almighty) sits on a throne and an emperor pleads him for divine mercy. One of the two roundels on both sides depicts Virgin Mary and the other Archangel Gabriel. The non-figurative mosaics on the ceiling of the inner narthex and the side naves are from the time of Justinian.
An overwhelmingly magnificent nave welcomes the visitor. The dome makes itself felt from the very first step. It gives the impression of being suspended in the air and covers the entire space. The walls and the ceilings are covered with marble and mosaics, creating a colorful appearance. The three different tones of color observed in the mosaic decorations of the dome indicate three different restorations. It is still one of the largest domes in the world with its height and diameter. Due to later restorations, the 55.60 meter high dome is not perfectly round. Its diameter measures 31.87 m from north to south and 30.87 m from east to west. Four winged angels with their faces covered decorate the four pendentives which support the dome. The wide rectangular central space, measuring 74.67 x 69.80 m, is divided from the dark side naves by columns. There are altogether 107 columns on the ground floor and the galleries. The marble column capitals of Hagia Sophia are the most characteristic and distinctive examples of the 6th century classical Byzantine decorative art in the building. The deep carvings on the marble, in typical medieval style, produce impressive effects of light and shadow. In the center there are imperial monograms.
The antique porphyry columns in the corners, the central columns of green Salonika marble, and the richly decorated white marble capitals on all columns take the visitor back to ancient times.
To appreciate Hagia Sophia fully, one should try to look at it not just as an empty museum, but as the magnificent and mystical church or mosque it once was. While it was the mother church of a great empire, the section in front of the apse, the altar, the ambo (pulpit) and the ceremonial objects were all plated in gold and silver and decorated with ivory and jewels. Even some of the doors were covered with such precious metals. The Latin invaders of the 4th Crusade tore all of these down and carried them to Europe, together with some architectural fragments.
A mosaic panel depicting the Christ-Child and the Virgin decorates the conch of the apse. Another angels figure on the opposite wall has not survived intact.
The huge leather medallions, 7.5 in in diameter, hanging from the walls at gallery level and the inscriptions on the dome remind us of its days as a mosque.
These are the works of master calligraphers of the mid-19th century. The medallions contain the word "Allah" and the names of Prophet Mohammed, the first four caliphs, and Hasan and Huseyin, the grandchildren of the prophet. The mihrab in the apse, the stained glass windows over the mihrab and minber, the raised platform for the chanters are Turkish additions.
On the floor of the nave, there is a square area paved with colored marble pieces. Emperors used to be crowned here and it dates probably to the 12th century.
Two round urns made of high quality marble are placed on each side of the entrance to the central nave. These antique urns were brought from Pergamum in the 16th century.
In the northern corner of the church is the "sweating column". A bronze belt encircles the lower section and there is a hole big enough to insert a finger. There are many legends and stories about the column. A ramp inside the first northern buttress gives access to the upper galleries. The magnificent central nave looks completely different when seen trom the galleries surrounding the three sides.
In the galleries there were sections reserved for the ladies of the imperial family and the meetings of the church council. In the northern wing there is a mosaic panel, and there are three panels, each with groups of three figures, in the southern wing.
In the southern gallery the light from a window nearby illuminates a masterpiece of Byzantine mosaic art. The panel, called "Deesis", represents the last judgment and is a composition of three figures: Jesus is seen in the center, flanked by the Virgin Mary and John the Baptist. The unusual arrangement of the mosaics in the background highlights the beauty of the figures, and the facial expressions are extremely realistic.
At the far end of the southern gallery a panel from the 12th century depicts the Virgin Mary and Christ-Child, the Emperor Comnenus II, and the Empress Eirene, while the panel on the side wall portrays the ailing Prince Alexius. The racial features of the Empress, who was of Hungarian origin, i.e. her light complexion and hair, can be clearly distinguished.
In a second panel here, Christ is seated on the throne and beside him stand the Empress Zoe and her third husband Constantine Monomachos. The mosaic originally depicted the first husband of Zoe, but the face and the inscription above were redone to suit Constantine. In this panel, the offerings of the members of the royal family, a pouch and a scroll symbolize their donations to the church.
The large panel seen while leaving the inner narthex is from the 10th century. The figures with distorted perspectives represent the Virgin and the Christ-Child in the center, with Constantine the Great offering a model of the city on the right, and Justinian offering a model of Hagia Sophia on the left. The huge bronze doors at the exit that are partially embedded in the floor are from the 2nd century BC and were probably brought here from a pagan temple in Tarsus.
In the garden of the museum there are Turkish buildings from various periods, such as the tombs of sultans, a school, the clock-winding house and the ablution fountain. The minarets on the eastern side were added in the 15th century and those on the west side in the 16th century.
Hagia Sophia, which is considered as one of the eight wonders of the world, also occupies a prominent place in the history of art and architecture. It is one of the rare works of this size and age that has survived to our day. The church (called Ayasofya in Turkish) is erroneously known as Saint Sophia in the west. The basilica was not dedicated to a saint named Sophia, but to Divine Wisdom.
This was the site of a pagan temple, and the three separate basilicas built here in different times were all called by the same name. Although no churches were built during the reign of Constantine the Great, some sources maintain that the first Hagia Sophia basilica was built by him. Actually, the first small basilica with a wooden roof was constructed in the second half of the 4th century by Constantinius, the son of Constantine the Great.
This church burnt during the riots in 404, and a second and larger basilica that replaced it was inaugurated in 415. During the bloody uprising of 532 that broke out at a chariot race in the Hippodrome, ten thousands of the inhabitants of the city were killed and numerous building destroyed.
The Hagia Sophia church was among the structures burnt during this so-called "Nika" revolt which was directed against Emperor Justinian.
When Justinian finally suppressed the revolt, he decided to build a house of worship "the like of which has not been seen since Adam, nor will it be seen in the future." Construction started in 532 over the remains of the previous basilica and it was completed in five years. In the year 537, elaborate ceremonies were organized for the dedication of this largest church of Christendom. The emperor spared no expense for his church and placed the state treasury at the disposal of the architects, Antheius of Tralles and mathematician Isidorus of Miletus. The design of the dome followed in the tradition of Roman architecture, and the plan of the basilica was even older. Round buildings had been successfully covered with domes before. But in Hagia Sophia, Justinian was attempting for the first time in the history of architecture to build a gigantic central dome over a rectangular plan.
Priests kept intoning prayers throughout the construction. Marbles and columns taken from the remains of earlier eras from almost all parts of the empire were used for building material. Later many esoteric stories were invented to explain the origin of these materials, particularly the columns, which were gathered from such far ranging sources.
During the reign of Justinian, Hagia Sophia was a manifestation of refinement and pomp, but in later eras it turned into a legend and a symbol.
Because of its dimensions which could not be surpassed for the next thousand years and the financial and technical difficulties involved in its construction, people believed that such a building could not have been achieved without the assistance of supernatural powers. Although Hagia Sophia is a 6th century Byzantine work, it is an "experiment" in the Roman architectural tradition that has neither a predecessor nor a duplicate. The contrast between the interior and the exterior and the large dome are legacies of Rome. The outer appearance is not elegant; it was built as a shell, without much care for proportions. On the other hand, the interior is as splendid and captivating as a palace. As a whole, it is an "imperial" structure.
During the dedication ceremony, the emperor could not suppress his excitement. He entered the church in a chariot, thanked God, and shouted that he had outdone King Solomon.
The basilica developed into a large religious center with tall buildings surrounding it. The scene was now set for the clashes between the Byzantine emperors and the Eastern Church that would last for centuries.
Despite its uniqueness and magnificence, the structure has some vital faults. The most important problem was the enormous size of the dome and the pressure it exerted on the side walls. The architectural elements necessary for transmitting the weight of such a dome to the foundations were not fully developed at that time.
In time the side walls kept leaning outwards and the original low dome collapsed in 558. The second dome to be constructed was much higher and reduced in diameter, but almost half of this dome also collapsed twice, in the 10th and 14th centuries. Vast sums were spent in all ages for the upkeep of Hagia Sophia. The immediate restorations undertaken after the Turkish conquest in 1453 to convert it into a mosque saved this beautiful building. Among the major restorations at later times were the buttresses built by Turkish architect Sinan in the 16th century, the restoration by the Fossafi brothers in mid-19th century, and the repairs including the fortification of the dome with iron bands after 1930. Existing modern portable metal scaffolding will make future restoration work easier.
After serving two different religions with the same god, 916 years as a church and 477 years as a mosque, Hagia Sophia was converted into a museum on Ataturk's orders. Between 1930 and 1935 the whitewash on the walls was cleaned to reveal mosaics, which are among the most important examples of Byzantine art.
A TOUR OF THE MUSEUM
The entrance to the museum from the courtyard is the original west gate, which has now been put to use again after centuries. Next to the entrance is the remains of the earlier (the second) basilica. Those who were not baptized could only enter to the outer nartexs, from which five doors give entrance to the inner narthex (porch), and from here nine more doors lead into the nave.
The tall door in the middle was the Imperial Entrance. The mosaic panel above the door dates to end-9th century. In the center of the panel Christ the Pantocrator (Almighty) sits on a throne and an emperor pleads him for divine mercy. One of the two roundels on both sides depicts Virgin Mary and the other Archangel Gabriel. The non-figurative mosaics on the ceiling of the inner narthex and the side naves are from the time of Justinian.
An overwhelmingly magnificent nave welcomes the visitor. The dome makes itself felt from the very first step. It gives the impression of being suspended in the air and covers the entire space. The walls and the ceilings are covered with marble and mosaics, creating a colorful appearance. The three different tones of color observed in the mosaic decorations of the dome indicate three different restorations. It is still one of the largest domes in the world with its height and diameter. Due to later restorations, the 55.60 meter high dome is not perfectly round. Its diameter measures 31.87 m from north to south and 30.87 m from east to west. Four winged angels with their faces covered decorate the four pendentives which support the dome. The wide rectangular central space, measuring 74.67 x 69.80 m, is divided from the dark side naves by columns. There are altogether 107 columns on the ground floor and the galleries. The marble column capitals of Hagia Sophia are the most characteristic and distinctive examples of the 6th century classical Byzantine decorative art in the building. The deep carvings on the marble, in typical medieval style, produce impressive effects of light and shadow. In the center there are imperial monograms.
The antique porphyry columns in the corners, the central columns of green Salonika marble, and the richly decorated white marble capitals on all columns take the visitor back to ancient times.
To appreciate Hagia Sophia fully, one should try to look at it not just as an empty museum, but as the magnificent and mystical church or mosque it once was. While it was the mother church of a great empire, the section in front of the apse, the altar, the ambo (pulpit) and the ceremonial objects were all plated in gold and silver and decorated with ivory and jewels. Even some of the doors were covered with such precious metals. The Latin invaders of the 4th Crusade tore all of these down and carried them to Europe, together with some architectural fragments.
A mosaic panel depicting the Christ-Child and the Virgin decorates the conch of the apse. Another angels figure on the opposite wall has not survived intact.
The huge leather medallions, 7.5 in in diameter, hanging from the walls at gallery level and the inscriptions on the dome remind us of its days as a mosque.
These are the works of master calligraphers of the mid-19th century. The medallions contain the word "Allah" and the names of Prophet Mohammed, the first four caliphs, and Hasan and Huseyin, the grandchildren of the prophet. The mihrab in the apse, the stained glass windows over the mihrab and minber, the raised platform for the chanters are Turkish additions.
On the floor of the nave, there is a square area paved with colored marble pieces. Emperors used to be crowned here and it dates probably to the 12th century.
Two round urns made of high quality marble are placed on each side of the entrance to the central nave. These antique urns were brought from Pergamum in the 16th century.
In the northern corner of the church is the "sweating column". A bronze belt encircles the lower section and there is a hole big enough to insert a finger. There are many legends and stories about the column. A ramp inside the first northern buttress gives access to the upper galleries. The magnificent central nave looks completely different when seen trom the galleries surrounding the three sides.
In the galleries there were sections reserved for the ladies of the imperial family and the meetings of the church council. In the northern wing there is a mosaic panel, and there are three panels, each with groups of three figures, in the southern wing.
In the southern gallery the light from a window nearby illuminates a masterpiece of Byzantine mosaic art. The panel, called "Deesis", represents the last judgment and is a composition of three figures: Jesus is seen in the center, flanked by the Virgin Mary and John the Baptist. The unusual arrangement of the mosaics in the background highlights the beauty of the figures, and the facial expressions are extremely realistic.
At the far end of the southern gallery a panel from the 12th century depicts the Virgin Mary and Christ-Child, the Emperor Comnenus II, and the Empress Eirene, while the panel on the side wall portrays the ailing Prince Alexius. The racial features of the Empress, who was of Hungarian origin, i.e. her light complexion and hair, can be clearly distinguished.
In a second panel here, Christ is seated on the throne and beside him stand the Empress Zoe and her third husband Constantine Monomachos. The mosaic originally depicted the first husband of Zoe, but the face and the inscription above were redone to suit Constantine. In this panel, the offerings of the members of the royal family, a pouch and a scroll symbolize their donations to the church.
The large panel seen while leaving the inner narthex is from the 10th century. The figures with distorted perspectives represent the Virgin and the Christ-Child in the center, with Constantine the Great offering a model of the city on the right, and Justinian offering a model of Hagia Sophia on the left. The huge bronze doors at the exit that are partially embedded in the floor are from the 2nd century BC and were probably brought here from a pagan temple in Tarsus.
In the garden of the museum there are Turkish buildings from various periods, such as the tombs of sultans, a school, the clock-winding house and the ablution fountain. The minarets on the eastern side were added in the 15th century and those on the west side in the 16th century.
THE MOSAIC MUSEUM
THE MOSAIC MUSEUM
The market of the Sultan Ahrnet Mosque was built over the remains of the former "Great Palace" which is dated to the 4th -6th centuries. The mosaic pavements of the palace were discovered in their original places at the lower end of the market. The mosaics, which were unearthed in the 1930's, used to decorate the floor of a large hall. The hunting and everyday scenes and the decorative designs exhibit high quality workmanship. Some of the most attractive scenes are the Medusa head, pictures from a lion hunt, and busts enclosed in acanthus leaves. These extremely realistic scenes were done in the style of the Antakya (Antioch) School in the Roman Age. Mosaics found in other districts of the city were carefully encased and moved here to be displayed.
The market of the Sultan Ahrnet Mosque was built over the remains of the former "Great Palace" which is dated to the 4th -6th centuries. The mosaic pavements of the palace were discovered in their original places at the lower end of the market. The mosaics, which were unearthed in the 1930's, used to decorate the floor of a large hall. The hunting and everyday scenes and the decorative designs exhibit high quality workmanship. Some of the most attractive scenes are the Medusa head, pictures from a lion hunt, and busts enclosed in acanthus leaves. These extremely realistic scenes were done in the style of the Antakya (Antioch) School in the Roman Age. Mosaics found in other districts of the city were carefully encased and moved here to be displayed.
VAKIFLAR CARPET AND KILIM MUSEUM
VAKIFLAR CARPET AND KILIM MUSEUM
The Department of Foundations (Vakiflar) of Turkey has a very rich carpet and kilim collection, and selected samples of this collection are exhibited.
In Sultan Ahmet Mosque carpets are displayed in the sections next to the Sultan's loge, and kilims in the vaulted galleries below the mosque.
The best examples of carpets from 14th -20th centuries are shown on the ramp leading to the loge and the rooms belonging to the sultans. All the carpets are restored in perfect condition, and are displayed in a modern concept.
The Department of Foundations (Vakiflar) of Turkey has a very rich carpet and kilim collection, and selected samples of this collection are exhibited.
In Sultan Ahmet Mosque carpets are displayed in the sections next to the Sultan's loge, and kilims in the vaulted galleries below the mosque.
The best examples of carpets from 14th -20th centuries are shown on the ramp leading to the loge and the rooms belonging to the sultans. All the carpets are restored in perfect condition, and are displayed in a modern concept.
SULTAN AHMET MOSQUE (THE BLUE MOSQUE)
SULTAN AHMET MOSQUE (THE BLUE MOSQUE)
One of the most famous monuments of Turkish and Islamic art, the mosque is visited by all who come to Istanbul and gains their admiration.
This imperial mosque is an example of classical Turkish architecture, and it is the only mosque that was originally built with six minarets.
It is surrounded by other important edifices of Istanbul, built at earlier ages. Istanbul is viewed best from the sea and the mosque is part of this magnificent scenery.
Although it is popularly known as the Blue Mosque, its real name is Sultan Ahmet Mosque. Befitting his original profession, its architect Mehmet Aga decorated the interior fastidiously like a jeweler. Built between 1609-1616, the mosque used to be part of a large complex, including a covered bazaar, Turkish baths, public kitchens, a hospital, schools, a caravanserai, and the mausoleum of Sultan Ahmet. Some of these social and cultural buildings have not survived to our day.
The architect was a student of Sinan, the greatest architect of classical Turkish architecture. He applied a plan used previously by his master, but on a larger scale.
The main entrance to Sultan Ahmet Mosque is on the Hippodrome side. There is an outer courtyard, and the inner courtyard and the edifice itself are elevated.
From the gate opening to the inner courtyard one can view the domes, rising above one another in perfect harmony, over the symbolic ablution fountain in the middle and the surrounding porticoes.
There are three entrances to the mosque interior. The wealthy and colorful vista inside created by the paintings, tiles and stained glass complements the exterior view. The interior has a centralized plan; the main and side domes rise on four large columns that support broad and pointed arches. The walls of the galleries surrounding the three sides of the interior chamber are decorated by over 20,000 exquisite Iznik tiles. The areas above the tiles and the inside of the domes are decorated with paintwork.
The blue of the paintwork, which gives the mosque its name, was not the color of the decorations originally; they were painted blue during later restorations. During the last renovation, completed in 1990, the darker blue color of the interior decorations painted as its original light colors.
The floor is covered by carpets, as in all mosques. Next to the mihrab (niche aligned towards Mecca) opposite the main entrance, there is a marble minber (pulpit) with exquisite marble work. On the other side is the sultan's loge (box) in the form of a balcony. The 260 windows flood with light the interior space, which is covered by a dome 23.5 m in diameter and 43 m high.
The small market building, repaired and reconstructed in recent years, is situated to the east of the mosque, and the single-domed mausoleum of Sultan Ahmet and the medrese (religious school) building are to the north, on the Hagia Sophia side.
In summer months light and sound shows are organized in the park here. Sultan Ahmet Mosque occupies a focal point in city tours, together with the numerous monumental buildings and museums in the vicinity.
The minarets of the mosque are classical examples of Turkish architecture. The balconies are reached by spiral stairs. It is from these balconies that five times a day the believers are called to prayer - in our day using loudspeakers.
The domes and the minarets are covered by lead, and at the top of the minarets there are standards made of gold-plated copper. Master craftsmen repair these coverings very skillfully when needed.
Islam requires all Muslims to pray five times a day. When the believers hear the call to prayer from the minarets, they perform their ablutions (washing) and then pray. The noon prayer on Fridays and the prayers on other important holidays are performed in the mosques collectively, but other prayers can be performed anywhere.
In the communal prayers performed in the mosque, the imam takes the lead and he chants verses from the Koran. The areas of prayer for men and women are separate. In the central area only men are allowed to pray, while women take their places either behind them or in the galleries.
It is a characteristic of classical Turkish mosques that even in the most crowded day, the majority of the congregation can easily see the mihrab.
One of the most famous monuments of Turkish and Islamic art, the mosque is visited by all who come to Istanbul and gains their admiration.
This imperial mosque is an example of classical Turkish architecture, and it is the only mosque that was originally built with six minarets.
It is surrounded by other important edifices of Istanbul, built at earlier ages. Istanbul is viewed best from the sea and the mosque is part of this magnificent scenery.
Although it is popularly known as the Blue Mosque, its real name is Sultan Ahmet Mosque. Befitting his original profession, its architect Mehmet Aga decorated the interior fastidiously like a jeweler. Built between 1609-1616, the mosque used to be part of a large complex, including a covered bazaar, Turkish baths, public kitchens, a hospital, schools, a caravanserai, and the mausoleum of Sultan Ahmet. Some of these social and cultural buildings have not survived to our day.
The architect was a student of Sinan, the greatest architect of classical Turkish architecture. He applied a plan used previously by his master, but on a larger scale.
The main entrance to Sultan Ahmet Mosque is on the Hippodrome side. There is an outer courtyard, and the inner courtyard and the edifice itself are elevated.
From the gate opening to the inner courtyard one can view the domes, rising above one another in perfect harmony, over the symbolic ablution fountain in the middle and the surrounding porticoes.
There are three entrances to the mosque interior. The wealthy and colorful vista inside created by the paintings, tiles and stained glass complements the exterior view. The interior has a centralized plan; the main and side domes rise on four large columns that support broad and pointed arches. The walls of the galleries surrounding the three sides of the interior chamber are decorated by over 20,000 exquisite Iznik tiles. The areas above the tiles and the inside of the domes are decorated with paintwork.
The blue of the paintwork, which gives the mosque its name, was not the color of the decorations originally; they were painted blue during later restorations. During the last renovation, completed in 1990, the darker blue color of the interior decorations painted as its original light colors.
The floor is covered by carpets, as in all mosques. Next to the mihrab (niche aligned towards Mecca) opposite the main entrance, there is a marble minber (pulpit) with exquisite marble work. On the other side is the sultan's loge (box) in the form of a balcony. The 260 windows flood with light the interior space, which is covered by a dome 23.5 m in diameter and 43 m high.
The small market building, repaired and reconstructed in recent years, is situated to the east of the mosque, and the single-domed mausoleum of Sultan Ahmet and the medrese (religious school) building are to the north, on the Hagia Sophia side.
In summer months light and sound shows are organized in the park here. Sultan Ahmet Mosque occupies a focal point in city tours, together with the numerous monumental buildings and museums in the vicinity.
The minarets of the mosque are classical examples of Turkish architecture. The balconies are reached by spiral stairs. It is from these balconies that five times a day the believers are called to prayer - in our day using loudspeakers.
The domes and the minarets are covered by lead, and at the top of the minarets there are standards made of gold-plated copper. Master craftsmen repair these coverings very skillfully when needed.
Islam requires all Muslims to pray five times a day. When the believers hear the call to prayer from the minarets, they perform their ablutions (washing) and then pray. The noon prayer on Fridays and the prayers on other important holidays are performed in the mosques collectively, but other prayers can be performed anywhere.
In the communal prayers performed in the mosque, the imam takes the lead and he chants verses from the Koran. The areas of prayer for men and women are separate. In the central area only men are allowed to pray, while women take their places either behind them or in the galleries.
It is a characteristic of classical Turkish mosques that even in the most crowded day, the majority of the congregation can easily see the mihrab.
THE BASILICA CISTERN
THE BASILICA CISTERN
The largest and most magnificent covered cistern in the city is entered through a small building to the west of the Hagia Sophia Square. The ceiling of this forest of columns is made of brick and is cross-vaulted. The name of the cistern comes from a basilica that was once located nearby.
It was built during the reign of Justinian I (527-565) to supply water to the palaces in the vicinity. Its 336 columns are arranged in 12 rows of 28 each. The cistern measures 140 by 70 meters. The columns are topped with capitals, some of them plain, but most in Corinthian style. The water level in the cistern changed from season to season. The water was distributed through the pipes at different levels in the eastern wall.
The ground was cleared during the major restoration in 1987, and when over one meter of mud was removed, the original brick pavement and two marble Medusa heads at the base of two of the columns were revealed. The walkway that was constructed at that time enables visitors to walk around the cistern.
The largest and most magnificent covered cistern in the city is entered through a small building to the west of the Hagia Sophia Square. The ceiling of this forest of columns is made of brick and is cross-vaulted. The name of the cistern comes from a basilica that was once located nearby.
It was built during the reign of Justinian I (527-565) to supply water to the palaces in the vicinity. Its 336 columns are arranged in 12 rows of 28 each. The cistern measures 140 by 70 meters. The columns are topped with capitals, some of them plain, but most in Corinthian style. The water level in the cistern changed from season to season. The water was distributed through the pipes at different levels in the eastern wall.
The ground was cleared during the major restoration in 1987, and when over one meter of mud was removed, the original brick pavement and two marble Medusa heads at the base of two of the columns were revealed. The walkway that was constructed at that time enables visitors to walk around the cistern.
THE CISTERN OE THOUSAND AND ONE COLUMNS
THE CISTERN OE THOUSAND AND ONE COLUMNS
The cistern is located to the west of the Hippodrome. It was recently cleaned and connected with a gallery to the side street. Now the cistern, measuring 64 by 56 meters, is an easily accessible, interesting and beautiful site to visit. Binbirdirek was built in the 4th century during the reign of Constantine the Great, and historical sources attribute it to Philoxenus. Of the 224 original columns, 212 are still standing. The thick walls of the cistern, the brick vaults, the columns in two tiers bound together by stone ties, and the plain column capitals create an impressive atmosphere. During the renovation work small booths for vendors, a cafe, and exhibition areas were constructed, and the hollow section in the middle of the cistern was cleaned of mud to show the original height of the columns.
The cistern is located to the west of the Hippodrome. It was recently cleaned and connected with a gallery to the side street. Now the cistern, measuring 64 by 56 meters, is an easily accessible, interesting and beautiful site to visit. Binbirdirek was built in the 4th century during the reign of Constantine the Great, and historical sources attribute it to Philoxenus. Of the 224 original columns, 212 are still standing. The thick walls of the cistern, the brick vaults, the columns in two tiers bound together by stone ties, and the plain column capitals create an impressive atmosphere. During the renovation work small booths for vendors, a cafe, and exhibition areas were constructed, and the hollow section in the middle of the cistern was cleaned of mud to show the original height of the columns.
THE MUSEUM OF TURKISH AND ISLAMIC ARTS
THE MUSEUM OF TURKISH AND ISLAMIC ARTS
The Palace of Ibrahim Pasa (16th century), situated on the west side of Sultan Ahmet Square, now functions as the Museum of Turkish and Islamic Art. It is the only extant private palace, except for the imperial palaces. The building, elevated on arches, surrounds three sides of a central courtyard. A staircase leads from the terrace to the first section of the museum. Rare works of art created in various Islamic lands are on display in the hallways and the rooms. The stone, baked clay and metal objects, ceramic wares and handwritten books are some of the most valuable examples of their period. The carpets exhibited in the section fitted with glass panes near the large chambers are magnificent examples of 13th-20th century handmade Turkish carpets. This matchless collection is the richest of its kind in the world. 13th century Seljuk carpets and other examples from subsequent centuries are exhibited with much care. The floor below the carpet section is the ethnographic collection where one can get a glimpse of everyday Turkish life and objects in daily household use in the past.
The Palace of Ibrahim Pasa (16th century), situated on the west side of Sultan Ahmet Square, now functions as the Museum of Turkish and Islamic Art. It is the only extant private palace, except for the imperial palaces. The building, elevated on arches, surrounds three sides of a central courtyard. A staircase leads from the terrace to the first section of the museum. Rare works of art created in various Islamic lands are on display in the hallways and the rooms. The stone, baked clay and metal objects, ceramic wares and handwritten books are some of the most valuable examples of their period. The carpets exhibited in the section fitted with glass panes near the large chambers are magnificent examples of 13th-20th century handmade Turkish carpets. This matchless collection is the richest of its kind in the world. 13th century Seljuk carpets and other examples from subsequent centuries are exhibited with much care. The floor below the carpet section is the ethnographic collection where one can get a glimpse of everyday Turkish life and objects in daily household use in the past.
THE GERMAN FOUNTAIN
THE GERMAN FOUNTAIN
The octagonal, domed fountain at the entrance to the Hippodrome was a present from the German Emperor Wilhelm II to Sultan Abdulhamid II and the city of Istanbul. It was built in Germany and installed in Istanbul in 1898. Built in a neo-Byzantine style, the fountain is decorated with gold mosaics inside. It is a beautiful fountain, but does not blend well with the ancient monuments in the vicinity.
The octagonal, domed fountain at the entrance to the Hippodrome was a present from the German Emperor Wilhelm II to Sultan Abdulhamid II and the city of Istanbul. It was built in Germany and installed in Istanbul in 1898. Built in a neo-Byzantine style, the fountain is decorated with gold mosaics inside. It is a beautiful fountain, but does not blend well with the ancient monuments in the vicinity.
THE SERPENT COLUMN
THE SERPENT COLUMN
This is one of the oldest monuments in Istanbul. The heads of the three intertwined serpents used to form the legs of a gold cauldron. The thirty-one Greek cities, which defeated the Persians in 5th century, BC melted the bronze items they had captured to create this unique monument.
The 8-meter high column originally stood before the Temple of Apollo in Delphi. It was brought to Istanbul in 324 by Constantine and erected in the middle of the Hippodrome. The heads of the serpents, intact until 1700, disappeared at that time. One of the missing heads was later found and it is now on display at the Archeological Museum.
This is one of the oldest monuments in Istanbul. The heads of the three intertwined serpents used to form the legs of a gold cauldron. The thirty-one Greek cities, which defeated the Persians in 5th century, BC melted the bronze items they had captured to create this unique monument.
The 8-meter high column originally stood before the Temple of Apollo in Delphi. It was brought to Istanbul in 324 by Constantine and erected in the middle of the Hippodrome. The heads of the serpents, intact until 1700, disappeared at that time. One of the missing heads was later found and it is now on display at the Archeological Museum.
THE WALLED OBELISK
THE WALLED OBELISK
Built of roughly cut stones, this imitation obelisk stands at the southern side of the Hippodrome. Its exact date of construction is unknown. It is named after the Emperor Constantine Porphyroenitus who had it repaired in the 10th century. Its bronze plates decorated with golden lettering were plundered by the Fourth Crusaders.
Built of roughly cut stones, this imitation obelisk stands at the southern side of the Hippodrome. Its exact date of construction is unknown. It is named after the Emperor Constantine Porphyroenitus who had it repaired in the 10th century. Its bronze plates decorated with golden lettering were plundered by the Fourth Crusaders.
THE EGYPTIAN OBELISK (THE OBELISK OF THEODOSIUS I)
THE EGYPTIAN OBELISK (THE OBELISK OF THEODOSIUS I)
Around 1490 BC the Egyptian Pharaoh Thutmose III erected two obelisks before the Karnak temple in Luxor to commemorate the victories of his forces in Mesopotamia. The obelisks were made of rare pink granite.
In the 4th century AD, an unknown Roman emperor who wanted to accomplish something impressive that would create excitement among his people had the colossal obelisk brought to Istanbul.
For years it was left lying in a corner of the Hippodrome. In 390, during the reign of Theodosius I, it was erected with great difficulty by Proclus, a city administrator. It is the oldest monument in the city and has always been considered magical. The obelisk rests on four bronze blocks on a Roman base decorated with reliefs. These depict the emperor, his children and other prominent personalities watching the races from the imperial box, as well as the spectators, musicians, dancers and chariot races. The obelisk measures 25.60 m including the base.
Around 1490 BC the Egyptian Pharaoh Thutmose III erected two obelisks before the Karnak temple in Luxor to commemorate the victories of his forces in Mesopotamia. The obelisks were made of rare pink granite.
In the 4th century AD, an unknown Roman emperor who wanted to accomplish something impressive that would create excitement among his people had the colossal obelisk brought to Istanbul.
For years it was left lying in a corner of the Hippodrome. In 390, during the reign of Theodosius I, it was erected with great difficulty by Proclus, a city administrator. It is the oldest monument in the city and has always been considered magical. The obelisk rests on four bronze blocks on a Roman base decorated with reliefs. These depict the emperor, his children and other prominent personalities watching the races from the imperial box, as well as the spectators, musicians, dancers and chariot races. The obelisk measures 25.60 m including the base.
SULTAN AHMET SQUARE
SULTAN AHMET SQUARE
The first of the seven hills on the promontory has been the most important and dynamic part of the city in all ages. When the city was first founded, the acropolis was a typical Mediterranean trading center surrounded by city walls. This trading center was enlarged and rebuilt during Roman times. The most prominent buildings and monuments of the Roman era were built in the vicinity of the Hippodrome. Very few relics of these works have endured to the present day.
The imperial palace, known as the "Great Palace", used to spread over an area extending from the Hippodrome down to the seashore. Only the mosaic floor panel of a large hall remains from this palace today. The Augusteion, the most important square of the city, used to be here, and between the square and the main avenue there was the Millairium victory arch. The road used to extend as far as Rome and the stone marking the first kilometer was located here. The baths, temples, religious, cultural, administrative and social centers were all in this district. The area maintained its importance in the Byzantine and Turkish eras. Therefore some of the most important monuments of Istanbul such as the Hagia Sophia, Sultan Ahmet Mosque, the Museum of Turkish and Islamic Art and the Basilica Cistern are all located around the Hippodrome.
The main streets in the city (those leading down to the harbor and those extending toward the city walls in the west) started at the Hippodrome and followed the slopes of the hills. The streets were lined with business establishments and mansions. The side streets were narrow and some were stepped. Some of the main streets had two-galleried sidewalks. There were spacious squares along the route and the side roads forking from these squares led to the city gates. The main avenue was called the Mese, and Via Egnetia, the road to Rome, started at the Golden Gate (Altmkapi).
Hippodrome means square for horses. The Hippodrome was built by the Roman Emperor Septimius Severus towards the end of the 2nc* century and it was extended to an immense size by Constantine the Great. Some historians claim that it could seat thirty thousand spectators, while others put the figure at sixty thousand. The main attraction was the two or four-horse chariot races. In Roman and Byzantine times, the Hippodrome served as the city's main meeting, entertainment and sports center until the 10tn century. Like many of the other monuments in the city, it lost its importance with the Latin invasion in 1204. Besides the chariot races and gladiator fights with wild animals, there were performances by musicians, dancers and acrobats. There were many public holidays during Roman times to allow opportunities for all these activities.
The Hippodrome was shaped like a gigantic "U" and the imperial box, built like a balcony with four bronze horses on its roof, was situated on the eastern side. The sand-covered surface of the Hippodrome was divided into two by a low wall around which the chariots raced. On this wall stood monuments brought here from different corners of the empire and the statues of famous riders and their horses. Successful chariot drivers were very wealthy and could have anything they wanted. Originally there were 4 teams of drivers whose supporters' clubs formed large quarrelling factions and competed for position and prestige in the city. From time to time politics intermingled with the races, and the clashes between competing forces turned into bloody massacres.
The original ground level of the Hippodrome was 4 or 5 meters lower than the present surface. Three monuments have remained to our day: the Egyptian Obelisk, the Serpent Column and the Walled Obelisk. In the Turkish era, too, festivals, ^ceremonies and performances used to be organized here. The Palace of Ibrahim Pasa opposite Sultan Ahmet Mosque is the sole example of the imposing private residences of the 16th century. This elegant building now houses the Museum of Turkish and Islamic Art.
Only the round southern end of the vast Hippodrome has survived. This is a brick structure decorated with tall vaults. In later ages, all of the stone blocks and columns of the Hippodrome were used for building material. The ruins in the park to the right of the entrance to the Hippodrome belong to 4th" and 5th century private palaces, and a little further along there are the remains of the Byzantine Hagia Euphemia church.
The first of the seven hills on the promontory has been the most important and dynamic part of the city in all ages. When the city was first founded, the acropolis was a typical Mediterranean trading center surrounded by city walls. This trading center was enlarged and rebuilt during Roman times. The most prominent buildings and monuments of the Roman era were built in the vicinity of the Hippodrome. Very few relics of these works have endured to the present day.
The imperial palace, known as the "Great Palace", used to spread over an area extending from the Hippodrome down to the seashore. Only the mosaic floor panel of a large hall remains from this palace today. The Augusteion, the most important square of the city, used to be here, and between the square and the main avenue there was the Millairium victory arch. The road used to extend as far as Rome and the stone marking the first kilometer was located here. The baths, temples, religious, cultural, administrative and social centers were all in this district. The area maintained its importance in the Byzantine and Turkish eras. Therefore some of the most important monuments of Istanbul such as the Hagia Sophia, Sultan Ahmet Mosque, the Museum of Turkish and Islamic Art and the Basilica Cistern are all located around the Hippodrome.
The main streets in the city (those leading down to the harbor and those extending toward the city walls in the west) started at the Hippodrome and followed the slopes of the hills. The streets were lined with business establishments and mansions. The side streets were narrow and some were stepped. Some of the main streets had two-galleried sidewalks. There were spacious squares along the route and the side roads forking from these squares led to the city gates. The main avenue was called the Mese, and Via Egnetia, the road to Rome, started at the Golden Gate (Altmkapi).
Hippodrome means square for horses. The Hippodrome was built by the Roman Emperor Septimius Severus towards the end of the 2nc* century and it was extended to an immense size by Constantine the Great. Some historians claim that it could seat thirty thousand spectators, while others put the figure at sixty thousand. The main attraction was the two or four-horse chariot races. In Roman and Byzantine times, the Hippodrome served as the city's main meeting, entertainment and sports center until the 10tn century. Like many of the other monuments in the city, it lost its importance with the Latin invasion in 1204. Besides the chariot races and gladiator fights with wild animals, there were performances by musicians, dancers and acrobats. There were many public holidays during Roman times to allow opportunities for all these activities.
The Hippodrome was shaped like a gigantic "U" and the imperial box, built like a balcony with four bronze horses on its roof, was situated on the eastern side. The sand-covered surface of the Hippodrome was divided into two by a low wall around which the chariots raced. On this wall stood monuments brought here from different corners of the empire and the statues of famous riders and their horses. Successful chariot drivers were very wealthy and could have anything they wanted. Originally there were 4 teams of drivers whose supporters' clubs formed large quarrelling factions and competed for position and prestige in the city. From time to time politics intermingled with the races, and the clashes between competing forces turned into bloody massacres.
The original ground level of the Hippodrome was 4 or 5 meters lower than the present surface. Three monuments have remained to our day: the Egyptian Obelisk, the Serpent Column and the Walled Obelisk. In the Turkish era, too, festivals, ^ceremonies and performances used to be organized here. The Palace of Ibrahim Pasa opposite Sultan Ahmet Mosque is the sole example of the imposing private residences of the 16th century. This elegant building now houses the Museum of Turkish and Islamic Art.
Only the round southern end of the vast Hippodrome has survived. This is a brick structure decorated with tall vaults. In later ages, all of the stone blocks and columns of the Hippodrome were used for building material. The ruins in the park to the right of the entrance to the Hippodrome belong to 4th" and 5th century private palaces, and a little further along there are the remains of the Byzantine Hagia Euphemia church.
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