It used to be a church for 916 years, then a mosque for 481 years, and since 1935 has been a museum. Thought to have been constructed by Emperor Konstantinos I (324 – 337) it was burned down during a revolt. Rebuilt by Emperor Theodosium II, it was opened for worship in 415 and once again was burned to the ground, during the Nika revolts of 532.
Emperor Iustanianus (527 – 565) wanted to construct something even bigger than the original two and appointed architects Isidoros from Miletos, and Anthemios from Tralles to build the Aya Sofya which still stands. Columns, heads, marble and coloured stones were imported to İstanbul from ancient cities in Anatolia for the purpose.
The construction began on 23 December 532, and was completed exactly five years later. The main, central section measured 100m x 70m, covered with a 55m high dome which was a mammoth 30m in diameter – appearing to be a great feat of design. The mosaics are of great importance, and the oldest ones are dominated by geometric and plant motifs decorated with gold.
The worst desecration of the church was in 1204, ransacked by Catholic soldiers during the Fourth Crusade. In 1453, after a failure of the Byzantine Church to fend off the Turks, Mehmet the Conqueror captured the city, rode into Aya Sofya and immediately turned it into a mosque. It was repaired several times, and İslamic ornamentation added, for example an extract of the Koran by calligrapher İzzet Efendi inscribed on the dome. The other reminders of its previous status as a mosque include huge wooden plaques bearing the names of Allah, the Prophet Mohammed and the first four caliphs.
The marble and mosaics remain the most interesting aspects today. The columns supporting the gallery are made from antique marble, and in the western gallery is the green marble which marks the position of the throne of the Empress. The impressive figurative mosaics include Virgin and Child flanked by two emperors, dating back to the late 10th century, and one depicting Christ, the Virgin, and St John the Baptists. Even though there is partial damage, the haunting images on their faces remain as strong as ever.
Hagia Sophia Museum – Mahmut I Library
It is located between two wall supports at the southern part of Ayasophia. It is an interesting product of Turkish construction and decorative arts. It was built by Sultan Mahmud I in 1739. The library consists of a reading room, the room where the books were kept under protection (hazine-i kütüb) and a corridor between these two sections. Reading room is separated from the main space of Ayasophia with a glass partition born by six colons with diamond shaped capitals and covered with a bronze mesh. The double doors of the entrance are also covered with a bronze mesh decorated with flowers and scrolling branches and have two handles engraved with “Ya Fettah”. The walls of the reading room are decorated with tiles and calligraphic friezes. On the wall opposite to the door, there is the porphyry monogram of Sultan Mahmud I, bordered with green tiles.
The corridor joining the reading room and the book storage is decorated with tile panels with flower, rose, carnation, tulip and cypress motives. These panels are unique in terms of color and form
The room of the books consists of two spaces separated by 4 columns and a platform. The first section is covered with a dome and the second with a vault. The dome rests on an octagonal ring. There is a wooden book cupboard at the centre of this space. On the inside of the door which is the entrance to this section from the corridor there is the monogram of Sultan Mahmud I and a 15 disyichs poems about the construction ending with the date h. 1152. (1739).
İznik, Kütahya and Tekfur palace tiles of 16 -17 -18th centuries were used in combination in the library. The 16th century İznik tiles in the book room and the flowered spring branches composition on the tiles of the corridor which are from the same century are among the best examples of the Turkish tile art.
Archeology Museum
Neighbouring Cultures Of Istanbul (Thrakia-Bithynia) and Byzantium
The Directorate of Istanbul Archaeology Museums that is dependent on the General Directorate of Monuments and Museums of the Ministry of Culture of the Republic of Turkey is on the Osman Hamdi Bey Ascent that opens to the Topkapı Palace Museum from the right of the Gülhane Park Entry which is in the Sultanahmet district.
Istanbul Archaeology Museums consist of three museums. Those are Archaeology Museum, Old Eastern Works Museum and Enameled Kiosk Museum.
Istanbul Archaeology Museums, which were established as Müze-i Humayun (Empire Museum) by the famous artist and museum director Osman Hamdi Bey at the end of the 19th century, were opened to public on June 13, 1891. Besides its importance as the “first Turkish museum”, it has an importance and specialty of being one of the museum buildings that are constructed as a Museum in the World. Today, it still protects its outstanding place in the World’s biggest museums with its works more than a million belonging to various cultures.
In the museum collections, there are rich and very important works of art belonging to various civilizations from the regions from Balkans to Africa, from Anatolia and Mesopotamia to Arab Peninsula and Afghanistan that were in the borders of the Ottoman Empire.
ARCHAEOLOGY MUSEUM
The Archaeology Museum consists of two separate buildings.
I) MAIN BUILDING (OLD BUILDING)
Its construction was started in 1881 by Osman Hamdi Bey and with the additions in 1902 and 1908 it gained its latest form. Its architect is Alexander Vallaury. The outer face of the building was made by inspiring from the İskender Tomb and Crying Women tombs. It is a beautiful example of neoclassical buildings in Istanbul.
On the upper floor of the two storey building there are small stone works, pots and pans, small terracotta statues, the Treasure Department and approximately 800.000 Ottoman coins, seals, decorations, medals and Non-Muslim and Muslim Coin Cabinets, in which coin moulds were kept, and a Library with approximately 70.000 books.
On the bottom floor saloons of the building, famous tombs are displayed such as İskender Tomb, Crying Women Tomb, Satrap Tomb, Lykia Tomb, Tabnit Tomb that are in the Sayda king graveyard.
On the bottom floor, besides the display of tombs, there is Old Age Statuary display in which statues and reliefs from important antic cities and regions are displayed. In this display, the development of the art of statuary from the Archaic Period to the Byzantium Period is displayed in chronological order with outstanding examples.
II) ADDITIONAL BUILDING (NEW BUILDING)
The additional building attached to the southeast of the main building is of 6 storeys. There are depots in the two storeys under the ground floor.
The four storeys of the building are arranged as exhibition saloons. There is an inscription “Istanbul for Ages” on the first floor of the building, “Anatolia and Troia for Ages” on the second floor and “Surrounding Cultures of Anatolia: Cyprus, Syria-Palestine” on the top floor. There is Infant Museum and architectural works display on the first floor of the additional building. The Thrakia-Bithynia and Byzantium display saloon, which was opened in August 1998, can be visited on the floor with the name of “Surrounding Cultures of Istanbul”.
The museum has received the European Council Museum Award in 1991, which is its 100. Establishment Anniversary, with the new arrangement made in the lower floor saloons and the Additional Building display.
OLD EASTERN WORKS MUSEUM
The building, which was built by Osman Hamdi Bey in 1883 as Sanayi-i Nefise (Fine Arts School), was organized as a museum with the works made between 1917-1919 and 1932-1935. The building, which was closed for visits in 1963, was reopened again in 1974 with a new display by changing the inner parts.
On the upper floor of the two-storey building, Anatolian, Mesopotamian, Egyptian and Arabic works of art are displayed. Statue of Naramsin, the king of Akad, the Kadeş Agreement and Zincirli statue are the unique works of art in the museum.
Moreover, in this museum there is a “Tablet Archive” in which 75.000 documents with cuneiform writings are kept.
ENAMELED KIOSK MUSEUM
The kiosk that has been made by Fatih Sultan Mehmet in 1472 is one of the oldest examples of Ottoman civil architecture in Istanbul. It has been used as Müze-i Hümayun (Empire Museum) in between 1875-1891. It was opened to public in 1953 with the name of Fatih Museum where Turkish and Islamic works of art were displayed and it was transferred to Istanbul Archaeology Museums due to its site.
The entrance façade of the kiosk is single-flat and the back façade is of two-storeyed. There is a marble porch of 14 columns in the entrance. The entrance exedra is decorated with mosaic enamels. Various chinaware and ceramics from the Seljuk and Ottoman period are displayed in the Kiosk that consists of 6 rooms and a middle saloon. There are approximately 2000 works of art in the museum and its depots.
Topkapı Palace Museum
It is located on the promontory of the historical peninsula in İstanbul which overlooks both the Marmara Sea and the İstanbul strait. The walls enclosing the palace grounds, the main gate on the land side and the first buildings were constructed during the time of Fatih Sultan Mehmet (the Conqueror) (1451 – 81). The palace has taken its present layout with the addition of new structures in the later centuries. Topkapı Palace was the official residence of the Ottoman Sultans, starting with Fatih Sultan Mehmet until 1856, when Abdülmecid moved to the Dolmabahçe palace, functioned as the administrative centre of the state. The Enderun section also gained importance as a school.
The main exterior gate of the Topkapı Palace is the Imperial Gate (Bab-ı Hümayun) which opens up to the Ayasofya Square. This gate leads to a garden known as the First Court. This court has the Aya Irini Church which was once used as an ammunition depot and behind the Church there is the mint. In the past various pavillions allocated to different services of the palace were located in the First Court. In later years these have been replaced with public buildings and schools. Some of these still exist. At the end of the 19th century Archaeology Museum and School of Fine Arts (now Oriental Works Museum) were built in the large garden which is to the northwest of the First Court. The oldest structure in this section is the Çinili Köşk built by Fatih, which is now used as the Museum of Turkish Tiles and Ceramics. On the walls of this outer garden facing Bab-ı ali (the Imperial Gate), there is Alay Köşkü (procession Pavillion) where the Sultans used to watch the marching ceremonies. A section of the outer garden was planned by the municipality at the beginning of the 20th century and opened to the public. Known today as the Gülhane Park, the enterance has one of the largerst gates of the palace. After the First Court, there is the Second Court which contains the palace buildings. It is entered through a monumental gate called Bab’us-Selam or the Middle Gate. The buildings in this court form the outer section of the palace which is called Birun. On the right there are the instantly noticed palace kitchens with their domes and chimneys and the dormitories of those who worked there. The most important of the buildings on the left side of the court are the Kubbealtı and the Inner Treasury. Behind Kubbealtı rises the Justice Tower, which is one of the symbols of the Topkapı Palace. The Harem section, which comes all the way to the back of these buildings, is entered from the Third Court. Third Court is entered through the gate called Bab’üs Sa’ade (Gate of the White Eunuiches). This section of the palace is called Enderun, and it is the section where the sultans live with their extended families. Hence it is specially protected. The barracks of the Akağalar, which guard Bab’üs Sa’ade are on both sides of the gate. There are two structures. The first which is immediately opposite the gate is the Throne Room or the Audience Hall. Here the sultans receive the ambassadors and high ranking state officials such as Grand Visier or the Visiers. Right behind the Throne Room there is the library built by Ahmet III (1703 – 30). On the right side of the Third Court, there is the barracks of the Enderun and the Privy Treasury which is also known as the Mehmet the Conqueror Pavilion. On the side facing the Fourth Court, there is the Larder Barracks of the Enderun, the Treasury Chamber and the Chamber of the Sacred Relics. The left side starts with the Harem. The harem which covers a large part of the Palace consists of about 60 spaces of varying sizes. The main structures which are located in front of the Harem, facing the Third Court are Akağalar Mosque, Sultan Ahmet Mosque, Barracks of the Sacred Relics Guards and Chambers of the Sacred Relics. Here, the sacred relics brought back by Sultan Yavuz Selim from Egypt in 1517 are kept. The Fourth Court is entered from a covered path going from both sides of the Treasury Room. Here the buildings are located in the first part of the court, which has two sections of different levels. On the left side of this section called Lala Garden or Lale Garden there is Mabeyn which is the beginning point of Harem’s access to the garden, terrace for the ladies with removable glass enclosure, Circumcission Room, Sultan İbrahim Patio and another one of the symbols of Topkapı palace, the İftariye (or Kameriye) and Baghdat Pavilion. This pavillion was built by Murad IV in 1640 to commemorate the Baghdat Campaign. At the centre of the first section of the Fourth Court, there is the Big Pool and Ravan Pavillion next to it. This pavillion was also built by Murad IV in 1629, to commemorate the Revan Campaign. The side facing the second section has Sofa Pavilion (Koca Mustafa Pasha Pavilion), Başbala Tower and Hekimbaşı (Chief Physician) Room. The Sofa Mosque and Esvap Chamber and the latest built Mecidye Pavilion are on the right hand side of the Fourth Court. Out of the pavillions built on the shore of the Marmara Sea, only Sepetciler Mansion has survived until the present.
During the 18th century when the Topkapı palace took its final shape, it was sheltering a population of more than 10.000 in its outer (Birun) and inner (Enderun) and Harem sections. It shows no archirectural unity as new parts were added in every period according to the needs. However, this enables us to follow the stages Ottoman Architecture went through from the 15th to the middle of the 19th century at the Topkapı Palace. The buildings of the 15th – 17th centuries are simpler and those of the 18th – 19th centuries, particularly in terms of exterior and interior ornamentation are more complex.
Topkapı Palace was converted to a museum in 1924. Parts of the Palace such as the Harem, Baghdat Pavilion, Revan Pavilion, Sofa Pavilion, and the Audiance Chamber distinguish themselves with their architectural assets,while in other sections artefacts are displayed which reflect the palace life. The museum also has collections from various donations and a library.
Fethiye Museum (Pammakaristos)
It is in Fatih – Çarşamba quarter of İstanbul. It is Pammakaristos monastery church constructed in Byzantine Period. A grave chapel has been added with the end of the Latin invasion in the 13th century.
After the conquest, it remained under the control of Christians and used as a women’s monastery, in 1455 patriarchate has been moved to this building and the building has been used as patriarchate until 1586.
This church has been converted into a mosque by Murat III (1574 – 1595) and the mosque has been named as Fethiye.
The northern church is still being used as a mosque. The walls of the additional church are ornamented with the beautiful mosaics of the 14th century. After being repaired between the years 1938 – 1940, it has been converted into a unit of Ayasofya Museum.
Museum of Classical Ottoman (Divan) Literature (Galata Mevlevi Lodge)
The Galata Mevlevi Lodge (mevlevihane) or as it is also known the Kulekapı Mevlevi Lodge which is now serving as a museum, is one of the institutions which reflect the culture of the era in the best possible way. The Mevlevi Lodges which for centuries combined scholarship with music had a great influence on the Turkish culture. A great number of those people who came together in a Mevlevi Lodge environment were educated in various areas of fine arts and their names were remembered for a long time as far as science and scholarship was concerned. The Mevlevi Lodge which is located at the top of the steep street going down to Yüksekkaldırım is the oldest Mevlevi Lodge of İstanbul. It was built in 1491, on the hunting grounds of İskender Pasha who was a governor – general during the times of Sultan Bayezid. Its first master was Mehmet Mehmed Sema-i Çelebi. The building was struck by fire during the reign of Sultan Mustafa III. (1766) but was replaced by the existing Mevlevi Lodge by the same Sultan. In later years, the building underwent repairs during the reigns of Sultans Selim III, Mahmud II and Abdüllmecid. The institution which carried out its activities until 1925 was once more restored between the years 1967 – 1972. The Mevlevi Lodge which was built as a complex contained rooms and spaces for pray chanting, dervish cells, the quarters of the master (şeyh), special prayer (namaz) area for the Sultan, the section for the female members, library, fountain for the public, clock room, kitchen, mausoleums and an enclosed graveyard.
Semahane(Ritual Prayer Hall)
On the entarence door of this wood structured section there is the restoration statement of Sultan Abdülmecid dated 1853. The building has an octagonal plan and a good sample of the baroque style of the 18th century. In this section Turkish musical instruments and works related to the Mevlevi culture are exhibited. In the upper section which is divided with wooden grills, the poems (divan) of the Classical Ottoman poets and manuscripts belonging to Şeyh Galib, İsmail Ankaravi, Esrar and Fasih Dedes and the poetess Leyla Hanım who were trained and educated at the Mevlevi Lodge are kept in chronological order. The quarters of the master (şeyh) and the special praying area for the Sultan are upstairs.
Dervish Cells
It is constructed with stone and consists of rooms in a row.
Mausoleums
Şeyh Galib Mausoleum; It was built by Halet Said Efendi at the beginning of the 19th century. It has a square plan. Mehmed Ruhi, Hüseyin, İsa Selim, Şarih-, İsmail Ankaravi who first annotated the Mesnevi and Şeyh Galib Efendi are buried here.
Halet Said Efendi Mausoleum; it was built at the same time as the other mausoleum. Has a square plan. Inside, Şeyh Kudretullah, Ataullah Efendi, Halet Said Efendi and Emine Esma Hanım who is the wife of Ubeydullah Efendi are burried.
Fountain and the Clock Room
They are located to the right of the entrance. The masonary structure was built in the early 19th century.
Library
It was built by Halet Said Efendi. It is on the top floor of the special prayer place and contains 3455 volumes.
Treasury (Graveyard)
Those who functioned as masters (şeyh) at the Mevlevi Lodge, their spouses, the “kudum” and “ney” playing musicians and poets who had “divans” (volume of collected poems) are burried here. The graves of Humbaracı Ahmed Pasha, İbrahim Müteeferrika who set up the first printing press in Turkey, the composer Vardakosta Seyyid Ahmet Ağa, Nayi Osman Dede, and the family members of Tepedelenli Ali Pasha are also here. The tomb stones are significant for their inscriptions and decorations.
Small St.Sofia Mosque – Ss. Sergius and Bacchus Church
Small St. Sofia Mosque is located between Cankurtaran and Kadırga quarters in Eminönü District, 20 km away from the southern seaside of Mediterranean ramparts. Although it is stated in some sources that there was a pavilion of Big Palace, which is known as Hormidas Palace, and a basically planned church established for Apostle Petrous and Pavlos near Small St. Sofia Mosque, there is no proof which determines their exact locations.
Small St. Sofia Mosque or St. Sergius and Bacchus church with its former name, which is the useable oldest structure of İstanbul today, was constructed between the years 527-536. According to the legends stated in the sources about the construction of the building (Millingen 1912), at the 1st Anastasyus Period, 1st Justiniaunus and his uncle 1st Justinos were condemned to death due to an allegation that they had a rebellion against the Emperor Anastasyus. One night before the execution, the Emperor Anastasyus sees the saints St. Sergius and Bacchus in his dream and the saints testifies in favour of 1st Justiniaunus and 1st Justinos. The emperor, who is affected by this dream, forgives them. When 1st Justiniaunus becomes emperor, he establishes St. Sergius and Bacchus church as a vow church in order to show his gratitude to these saints.
After the conquer of İstanbul, the building, which was used as a church for nearly 1000 years, was changed to a mosque by Hüseyin Agha, the Kapu Agha, in 1504 during the 2nd Bayezid period.
Architectural Description
The building is one of typical samples of central planned, first period Byzantine churches in the capital Constantinople. Narthex lies at the west and semi-hexagonal shaped apsis lies at the east side of the irregular, rectangular planned church. The octagonal planned centre area, which was placed in the irregular rectangle, was enlarged with semi-circle shaped niches called exedra. The location integrity has been ensured between the centre area and apsis by placing polygonal shaped pillars to the corners of this centre area and two each column among these pillars. In terms of plan, the building has the similar characteristics with Ravenna – St. Vitale, Aachen – Aix Le Chapella and Basra – Bacchus churches; but it is completely different in third dimension.
On the centre area, there is 16 sectioned dome carried by eight big pillars on its corners. Eight of these sections are plain and eight of them are concave. Arch shaped windows have been opened on the plain sections. The upper surface of the corridors providing passage from the centre area to rectangular form takes shape of a gallery at the upper floor. At the gallery floor, the upper surface of the exedras is furnished with semi – domes carried by three arches.
It is being supposed that the inner walls were ornamented with mosaics during construction, as seen in the buildings of the same period. But today there is no proof verifying this supposition; the inner surface of the building is fully plastered. The only ornament in the building belonging to Byzantine Period is an architrave formed with bunch of grapes and leaves having a slender workmanship at the gallery floor level, around the centre area. It is being asserted that the building was constructed on the area of a tempest made on behalf of Bakus, the God of wine, in idolatry period and the name Bacchus came accordingly.
Building Material
The building material used for St. Sergius and Bacchus church is stone, brick and plaster. Except the restored parts, the walls on northern, western and eastern fronts are made by reinforcement of bricks with stones arranged in wide intervals. The bricks of 70 x 35 x 5 cm are adhered together with plaster of 4 – 5 cm. On the southern front which is a 19th century structure there are irregular laid stones and bricks. Various lime types have been used for stone lines made for reinforcement of bricks. In the building, for the pillars, shelled limestone adhered with 4 cm plaster was used on the ground floor and brick was used on the gallery floor. Bricks were used as material for the vaults of the corridors and the gallery floor and for the central dome, and the bricks are laid in a manner to form radial pointing united at the centre of the vault.
The columns between the pillars are made of red and green serpatine, the head of columns and the architrave at the gallery floor level are made of Mediterranean marble. After the building was changed to a mosque, the pulpit muezzin gallery added to the building are also made of marble.
The Changes in the Building
According to the sources, the first damage and thus the first restoration in the building had been done after the Iconoclasm movements in the 9th century (Müller – Weiner 1977). And after the Latin invasion, the inner ornament needed to be restored (Paolesi 1961).
In 1054, Hüseyin Agha, the Kapu Agha, changed the building to a mosque and during this changing works all inner ornaments of the building were changed and some parts specific to a mosque were added to the building. These parts were a pulpit to south – east, a muezzin gallery to north – west in the inner side and a congregation area in front of the western wall in the outer side. Many windows at various dimensions were opened with ottoman architectural characteristics; and some of the existing windows were closed.
An independent minaret was established to the south – west corner of the building. The characteristic of the first minaret is not being known. It is being stated in the sources that a new minaret with Baroque style was made in the 18th century (S. Eyice 1978). The body of the Baroque style minaret was placed on an octagonal pulpit; the body climbs on the Baroque profile arches and joined to a minaret balcony with a bracelet part. The banister of the minaret balcony having baroque style ornaments was made of plain plates. The minaret having a lead coated classical spire was destroyed up to its pulpit in 1936 due to unknown reasons. The minaret, which remained ruined for a few years, was rebuilt in 1955.
Since 1600, 89 earthquakes with intensity bigger than 6, were observed in İstanbul, which is located on an important seismic zone. Thus, it is certain that Small St. Irene Mosque lived more earthquakes (N. Çamlıbel 1991). It was stated that in Hüseyin Agha’s foundations (the Kapu Agha), the plasters fell and the windows at north and south were broken in the earthquake of 1968 and most part of the building was damaged in the earthquake of 1763; and the restoration works of the building were given to Ahmet Agha (S. Eyice, 1978).
In 1870 – 1871, a railway was established in the region between the building and the northern sea ramparts in a manner to pass 5 km away from the building. The railway, which is at an altitude of 1 m. from the ground level, served as single line for nearly 50 years. According to the sources, as the stones of the southern walls fell at each pass of the train, a wall in the Ottoman style was laid in 1877 (Mathews 1971). At the beginning of the 20th century, the railway was made double lined by increasing 3 m from the ground level.
The building, which was used as a sheltering place during Balkan War by the people who escaped from the war, was restored twice in 1937 and 1955, in the Republic Period (S. Eyice, 1978). The front of the building, which was known to be plastered and whitewashed, was restored after 1955 and brick and stone lays were made to be visible at all fronts except the drum of cupola.
There are some cracks at north – east and south – east sides, especially at exedras of the building, which is today used as a mosque. These continuous cracks begin from the cupola, pass the gallery vaults and go up to the outer walls of the building. The necessary activities should be carried out in order to find the occurring reason of these cracks and to repair them.
St. Irene (Aya İrini) : This ranks as the first church built in İstanbul . It was commissioned by Constantine in the 4th century, and Justinian later had it restored. The building reputedly stands on the site of a pre-Christian temple.
Turkish and Islamic Arts Museum: Built in 1524 by İbrahim Paşa, the Grand Vizier to Süleyman the Magnificent, this was originally a palace and the grandest private residences in the Ottoman Empire – and one of the few which have survived. Some of it, however, was destroyed and rebuilt in stone to the original designs in 1843.
Now home to the museum, this is considered one of the finest collections of Islamic art in the world, with a superb display of ceramics, metalwork, miniatures, calligraphy and textiles, as well as some of the oldest carpets in the world. Equally as impressive is the grace of the building, with the central courtyard giving something of an insight into the atmosphere of the residence.
Opposite is the Great Hall, which houses a collection of Turkish carpets, with exquisite antique carpets and kilims and one of the finest collections in the world, the oldest exhibit dating back to 13th century.
The Great Palace Mosaic Museum :The Mosaic Museum preserves its situation exceptionally fine 5th and 6th century mosaic pavements from the Grand Palace of the Byzantine emperors. Because of the way they are exhibited, it is easy to understand their size and scale especially because many of them can be viewed from a catwalk above.
Kariye (Caria) Museum : This is actually Kariye Mosque, once the 11th century church of St Saviour in Chora, is considered to be the most important Byzantine monument in İstanbul , after Aya Sofia. Whilst unremarkable in its architecture, the interior walls are decorated with superb 14th century mosaics. Illustrating scenes from the life of Christ and the Virgin Mary, these brilliantly colored paintings embody the vigour of Byzantine art. The restored wooden houses in the surrounding area are a good place for relaxation and refreshment.
The church was probably built in the early 12th century, of which only the nave and central apse remain. Theodore Metochites rebuilt it between 1316 and 1321, the same years from which the mosaics and frescoes date, which depict the life of Christ in picture-book fashion. There is a series of mosaics in the form of devotional panels in the narthexes, the theme of which is reflected in the frescoes in the nave and funerary chapel.
Museum of Turkish Carpets : Across the street from the Ibrahim Pasa residence is the Museum of Turkish Carpets which contains exquisite antique carpets and kilims gathered from all over Turkey. Open days to visit: Everyday except Monday
Yerebatan Sarnıcı (Cistern) : Nearby Aya Sofia is the 6th century Byzantine underground Basilica cistern, with 335 massive Corinthian columns supporting the immense chamber’s fine brick vaulting. This is one of several buried into the city’s foundations, and the first to have been excavated and renovated. Thought to have been built in the 4th century by the emperor Constantine, then enlarged two centuries later, it was supplied with water from Belgrade Forest, amd supplied it to the Great Palace and Topkapi Palace.
It fell into disuse and was then restored in 1987 with the mud and water removed, and narrow raised pathways providing easy access for visitors. It is the largest covered cistern in the city, measuring 140 by 70 metres.
Aviation Museum : The Aviation Museum in Yesilkoy traces the development of flight in Turkey.
Closed Tuesdays.
Military Museum : Highlight of this museum is definitely the Mehter Takimi, the Ottoman military band, which performs every afternoon between 15.00 – 16.00. It also has a good collection of Ottoman military memorabilia, like the cotton and silk tents used by the sultans at war, and armour and weaponry like heavily decorated jambiyah daggers.
The band, which originated in 1289, became an institution which came to symbolise the power and independence of the Ottoman empire, and these musicians, who were janissaries, always accompanied the Sultans into battle. But quite apart from their benefit on the battlefield, they came to create new musical styles in Europe, and even influencing Mozart and Beethoven.
Opening hours: 09.00 – 17.00, closed Mondays and Tuesdays.
Maritime Museum : The collection is divided into two buildlings: The one facing the water has seagoing vessels, and the one opposite the road has exhibits relating to maritime history of the Ottoman Empire and Turkish Republic. Highlights include items from Ataturk’s yacht, the huge wooden figureheads of tigers and swans, and the imperial caiques of the sultans, the largest dating back to 1648, which needed 144 oarsmen to power it.
Opening hours: 09.00 – 12.30 & 13.30 – 17.00, closed Wednesdays and Thursdays.
Atatürk Museum : Atatürk’s former residence in Şisli, 2 km from north of Taksim Square, now serves as the Atatürk Museum and displays his personal effects.
Closed Mondays and Tuesdays.
Naval Museum : The grand imperial caiques used by the sultans to cross the İstanbul strait are among the many many other interesting exhibits of Ottoman naval history that can be seen at the Naval Museum located in the Besiktas district. Open days to visit: Everyday except Saturday and Sunday.
Museum of Fine Arts This collection is in the east wing of Dolmabahce Palace, once the apartments of the heir to the throne. Although closed for some time following damage after the 1999 earthquake, it is best known for its late 19th century and early 20th century work, which gives an insight into the life of the late Ottoman Turks. Osman Hamdi is one of the best artists exhibited.
Opening hours: 12.30 – 16.30, closed Mondays and Tuesdays.
City Museum : Located inside the gardens of Yıldız Palace, this museum preserves and documents the history of İstanbul since the Ottoman conquest, including ornaments and paintings from the 18th and 19th centuries reflect the way of life. Also within the gardens are the Yildiz Palace Theatre, and the Yıldız Sarayı Theatre (Museum of Historical Stage Costumes), with richly decorated scenery, stage and costumes. Also exhibited are portraits of some of the stars who appeared here, including Sarah Bernhardt.
Opening hours: 09.00 – 16.30, Closed Mondays.
Rahmi Koç Industry Museum : The museum is set in an Ottoman-period building, an 18th century factory which produced anchors and their chains. It was recently converted, although has retained many of its original features, and restored by Rahmi Koc, who is one of Turkey’s most powerful industrialists. It was essentially done so he could house his private collection of models, machines and vehicles which he had collected from all over Europe, and exhibits include original penny-farthing bicycles, a ship’s bridge, and an engine from the Kalender steam ferry. The museum is trying to raise the Australian navy’s first submarine sink of gallipoli in World War I.
Opening hours: 10.00 – 17.00, closed Mondays.
Sadberk Hanım Museum : Up the İstanbul strait and shortly before Buyukdere, the collection of an Armenian civil servant fills two charming 19th century wooden villas. The larger of the two villas belonged to the Armenian, who became a politician and died in the great Beyoğlu fire in 1922. His collection was put together in memory of Sadberk Hanım, wife of millionaire businessman Vehbi Koc.
A private museum which originally displayed only Turkish decorative arts, was recently expanded to include a new collection of archeological exhibits. This is the oldest section, and includes sixth-millenium BC mother goddesses. In the ethnography section, there are maternity and circumcision beds, clothing and jewellery.
Opening hours: 10.00 – 18.00, closed Wednesdays.
Suleymaniye Mosque
At one’s first glance there are two things that are particularly remarkable in the ancient monuments of the Ottomans: the choice of the site and the perfect unity of the whole. Whether or not it is in a ra~sed place, the site always has a view of vast open spaces and however far one may look, one may see the sky. The structure as a whole is broad and imposing. All details of the monument, howev- er charged with multiple ornaments it may be, simultaneously con- tribute to a general effect that is always simple and always unique.
İf, fmong all the masterpieces which are imbued with the genius of Master Sinan Master and of his pupils, there is one that fills more perfectly than the others these fundamental conditions of Ottoman architecture, it is undoubtedly the Süleymaniye. Situated at the top of a hill dominating the Kantarcılar district between the Ministry of Wlar and the Office of the Sheikhulislam, the Süleymaniye soars majestically towards the sky with nothing to hinder its ascent. From the vast platform of its enclosure, one captures at a single glance Europe and Asia, the two seas that bathe Istanbul, and the smiling Princes Isles. Further still, in the vaporous transparency of the horizon, the giant Bithynian Olympus takes shape against a pure sky, standing like an ever present witness to the memory of the cradle of ancient Ottoman power. Confronted by such a tableau, the spirit can conceive only noble ideas. Founded in year 964 of the Hegira (1556 of the Christian era) by Sultan Süleyman the Lawgiver, for whom history has also decreed the names of “the Great” and “the Magnificent’; the Süleymaniye is preceded by an interior court or square flanked by four minarets. By this number, according to tradition, the founder wanted to indicate that he was the fourth Ottoman sovereign since the aonquest of Constantinople. In the same way, the total number of the bal conies of its minarets indicates that he was the tenth sultan since Osman Ghazi, the glorious root of his line.
The two minarets located at the two sides of the facade have two balconies each, and the two other two, which are at the other end of the square on each side öf the porch, have three balconies each. The total number, for the four minarets, yields ten balconies, all with corbelling in stalactites. Three beautiful doors whose open- ings are formed of flattened curues are each surmounted by an ogee arch and give access through the frontage and the two other sides of the courtyard. A cloister of twenty four arcades runs around and is supported by an equal number of columns. The pair closest to the door in the facade are of porphyry; of the remainder, twelve columns of pink granite alternate with ten of white marble. All are of the crystallized order. Their capitals are of white marble, and the edges of their stalactites heavily gilded.
Domes, which number twenty four, surmount the gallery of tbe cloister. Their cupolas are paînted with ornaments and flowers on a ground, and the largest, located midway along the porch, in front of the entrance to the nave, is decorated with pendentives in white marble stalactites, with gilding on the edges of crystalliza- tions. The door of the nave is a niche decorated with stalactites, also fashioned from gilded white marble in a design of great puri- ty and aspect of true monumentality. The proportions are large. Two other smaller niches are located along each side at half the distance between the entrance to the nave and the courtyard wall. The windows of the porch have quadrangular bays surmounted by ogee arches lavishly decorated with glazed tiles that have a royal blue ground on which beautiful Arabic letters are inter.- laced, tracing out in pure white sacred verses from the Quran.
A very simple fountain, in the form of a parallelogram with four vertical faces and covered by a zinc roof, occupies the center of the square. Its decoration, sober and gracious, consists of a metal grill painted in emerald green and an openwork lattice of geometrical rosettes, above which runs a frieze of white marble carued with broad leaves whose hearts are slightly tinted aqua- marine. ~ The court is entirely paved with enormous flagstones of white marble, except for the passage which gives access, through the porch, inside the mosque. There, in front of.the main door, is placed a round monolithic flagstone of the richest porphyry with a diameter of approximately two meters. If we should believe a popular legend associated with this flagstone, it marks a tragic event and played a bloody role during the construction of the Süleymaniye courtyard. Sultan Süleyman had himself chosen and indicated a sample of the most precious porphyry with which to enrich, the place before the mihrab inside mosque which indi cates the direction of Mecca towards which the faithful perform ~
their prostrations. He spelled out the particulars of size and finish to a skilful workman who knew the destination of the stone. This craftsman, who was a Christian, thought he would do a pious deed by carving on the flagstone a cross, perhaps hoping that merely by the sight of this emblem, all the Muslims would convert spontaneously. He had undoubtedly not re~l’ected, or perhaps he was unaware, that the Islamic religion absolutely proscribes plâces reserved for the worship of any image. The flagstone of porphyry became, by virtue of the fact that a cross had even been carved on it, unsuitable with the ornamentation of mosque.
Sultan Süleyman, indignant at seeing all his care thus rendered useless, was provoked, they say, into a violent rage. He condemned the workman to death, and ordered that it be carried out then and there, in front of his eyes. T’hey thus brought into the courtyard a throne, on which the sovereign sat down to preside over the execu- tion. The sculptor was decapitated in his presence and to preserue at the same time the memory of this disobedience and its terrible punishment, they carued deeply into the block of the marble where the seat of the sultan had sat and where the head of the victim had fallen, two signs which vaguely represent the outline of a t.hrone and that of a head; they are still to be seen there today. As for the porphyry, flagstone, so that it would not be completely wasted, they turned it over so that the cross was on the bottom and then installed it in front of the principal entrance to the nave with the result that, unbeknownst to themselves, all who pass over it are treading on the cross. It is thus fulfills a function quite contrary to the proselytical intentions of the executed sculptor. Nothing prevents us from believ- ing in this legend, which bears all the attributes characteristic of the truth, for it is known that leniency did not number among the favorite virtues of Sultan Süleyman the Lawgiver. Moreover, at that time, tolerance and mercy were practiced no better in the ~est than th.ey were in the East. Francis I, the restorer of arts and the patron of literature, also had the philosopher and scholar Etienne Dolet publicly burned alive; Charles V formally took part in the “acts of faith” of the Spanish Inquisition.
The Islamic religion, at least, has never had an institution sim- ilar to the Holy Office. Be that as it may, afterpassing over the leg- endary porphyry flagstone, we enter the nave, where we first of all are overcome by our admiration of the lofty and vast cupola of the dome, painted in a wash of clear tones of blue, white, and gold. These three colors form the basis of the entire decorative harmony of the building: its paintings, sculptures, precious marbles, tiles, etc, both inside and out. Everywhere, the white and blue domi- nate-the white especially. A few pink granite and porphyry columns or insets, a few lines the color of blood, freshen the light without interrupting this harmony; the gildings of the stalactites are everywhere applied with a solemnity that does not disturb the tranquility. The colossal vault is supported by four gigantic upright piers. Around the sides are columns that support the lat- eral galleries and the first landing, which contains the loges for the ladies and extends in a square around the nave. Three circu- lar galleries gird the central rotunda. During the nights of Ramazan and on other holy days, splendid illuminations engulf the balustrades which circumscribe them, and highlight all the elegant details of the stars, flowers, foliage, and scrollwork in flame. The first of these gallerie~..is reached by two staircases that are located conveniently close tö the entrance. The two uppergal- leries, the highest of which is at the same level as the great central cupola, is reached by wooden ladders placed on the roof outside the dome. In this last gallery, there is a curious acoustical effect: sounds made anywhere in the interior are concentrated here and even softly-spoken words uttered in the nave or the aisles may be distinctly heard here.
Another curiosity worthy of remark, and which could be pro- posed as an example to architects, is the following one: tunnels dug in the ground and faced with solid masonry, lead from the interior of the mosque to external tanks that are used for the dis- tribution of water to all the dependencies of the Süleymaniye. The famous architect of this mosque, Master Sinan, combined this sup- ply so as to take advantage of it in order to maintain inside the nave a mild and uniform temperature. By means of wooden trap doors that are located all over the central part of the floor of the nave, the air contained in these underground tunnels is fed into the mosque, where, as a result, the temperature is always warm in winter and cool in summer. All the inscriptions that decorate the Süleymaniye were executed by the famous calligrapher Hasan Ç’elebi, who is buried beside his master in Sütlüce by the Sweet T~aters of Europe. Among the outstanding calligraphic ornamen- tation one should particularly mention the large rosettes of glazed tiles adorned with white letters on a royal blue ground and framed by borders of foliage executed in turquoise blue which decorate the two sides of the mihrab. Like thepulpitplaced to its left, the mihrab is made of white marble, cazved in stalactites that are gilded with gold. ?’he marble plates composing the pulpit number only four.~ the gate and base are formed of single slabs and measure eight meters, one in its length and the other in its height. 2′hese are also the measurements of the niche in which the mihrab is set. The imperial loge, situated at the right, is also of white. It is supported by porphyry columns with capitals in the crystallized order that are fashioned of gilded white marble. There are two richly-deco- rated fountains that are intended for ablutions. The door of this loge is, like all the woodwork of the building, engulfed in carved geometric rosettes. A kürsü (pulpit) abutting the pillar closer to the imperial loge is also worthy of mentioning for the remarkable excecution of work of this last kind, in which walnut has been finely cut with open-work and carved with boldness and delica- cy. At the other end of the nave, on the pillar on the opposite side, the balcony of the muezzin is set. Simpler, but almost as beauti- ful as the imperial loge, it is also of the crystallized order. Behind the muezzin’s balcony along the low sides, is located~the library, separated from the nave by a superb screen of brass worked in rococo ornamentation. It was repaired during the reign of Sultan Mahmud I by his grand vizier, Mustafa Pasha. More recently, this screen was renovated by Ahmed Vefik Efendi. .
Leaving the nave, one passes in front of external galleries with superimposed orders: the lower is in the crystallized order and has ogival arcades in which broad and high arches alternate with low and narrow ones, The upper order is planar with a row of reg- ular arcades that are narrow and high. On the side of the mosque which looJzs towards Mecca there are cemeteries planted with rose bushes in the center of which have been erected several splendid tombs among which is that of the mosque’s benefactor. Among all these illustrious dead, the architect of Süleymaniye does not appear; instead, Master Sinan built for himself a modest and charming mausoleum, located not far from there, at the intersec- tion of two streets, between the enclosure outside of the mosque and the Office of the Sheikhulislam, which in his day was the headquarters of the Janissaries.
It is known that this great artist was a member of that terrify- ing militia which, after having raised the military might of Turkey to its brightest apogee, then turned and because of its continued mutinies and the bloody tyranny that it exercised over the sover eigns themselves and all their subjects, its abolition became essen- tial for the advancement of the empire. During the entire course of his long and glorious life Master Sinan never ceased to receive the pay and pension due to the haseki ~privy household~ corps of Janissaries. The violent suppression of this turbulent and undisci- plined body, ordered by Sultan Mahmud II, continued until the very tomb leaving no trace nor any emblem that might remind posterity of its odious memory: even the stone turbans that distin- guished the burial places of these eternally proscribed militiamen were broken. In one honorable exception the tomb of Master Sinan was respected, and thus, thanks to the very special indul- gence of the sovereign, one may see still see standing over the slab of white marble, the grandmaster Ottoman architecture, the typi- cal turban of the haseki corps. The principal dependencies of the Süleymaniye are: a special college for the study of the oral tradi- tions of the Prophet; four higher schools (medreses); a prepara- tory college for the sciences; a school of medicine; a primary school; a kitchen and hospice for students; a great public bath; and a very famous asylum for lunatics.
The historian Peçevi (v 1, p 424) says that, according to what was appeared in the accounts of the director of construction, the expenditure for this building amounted to 896,.383 florins, which was worth 53, 782,900 aspers then, of which SO were equivalent’ to a gurush. The gurush in the time of Sultan Süleyman is esti- mated by Mr Belin, in the Mecidiye currency to be worth SO pias- tres and 27 paras.
Sultanahmet Mosque
This mosque was built by Sultan Ahmet I during 1609-1616 in the square carrying his name in İstanbul. The architect is Sedefhar Mehmet Ağa. It is the only mosque in Turkey with six minarets. The mosque is 64 x 72 m in dimensions. The central dome is 43 m in height and is 33.4 m in diameter. 260 windows surround the mosque. Due to its beautiful blue, green and white tilings it has been named the “Blue Mosque” by Europeans. The inscriptions were made by Seyyid Kasım Gubari.
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