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Istanbul Bosphorus 
A stay in İstanbul is not complete without a traditional and unforgettable boat excursion up the Bosphorus, that winding strait that separates Europe and Asia. Its shores offer a delightful mixture of past and present, grand splendor and simple beauty. Modern hotels stand next to yalı (shore-front wooden villas), marble palaces abut rustic stone fortresses, and elegant compounds neighbor small fishing villages. The best way to see the Bosphorus is to board one of the passenger boats that regularly zigzag along the shores. You embark at Eminönü and stop alternately on the Asian and European sides of the strait. The round-trip excursion, very reasonably priced, takes about six hours. If you wish a private voyage, there are agencies that specialize in organizing day or night mini-cruises.
During the journey you pass the magnificent Dolmabahçe Palace; farther along rise the green parks and imperial pavilions of the Yıldız Palace. On the coastal edge of the parks stands the Çırağan Palace, refurbished in 1874 by Sultan Abdülaziz, and now restored as a grand hotel. For 300 meters along the Bosphorus shore its ornate marble facades reflect the swiftly moving water. At Ortaköy, the next stop, artists gather every Sunday to exhibit their works in a streetside gallery. The variety of people creates a lively scene. Sample a tasty morsel from one of the street vendors. In Ortaköy, there is a church, a mosque and a synagogue that have existed side by side for hundreds of years - a tribute to Turkish tolerance at the grass roots level. Overshadowing İstanbul's traditional architecture is one of the world's largest suspension bridges, the Bosphorus Bridge, linking Europe and Asia.
The beautiful Beylerbeyi Palace lies just past the bridge on the Asian side. Behind the palace rises Çamlıca Hill, the highest point in İstanbul. You can also drive here to admire a magnificent panorama of İstanbul as well as the beautiful landscaped gardens. On the opposite shore, the wooden Ottoman villas of Arnavutköy create a contrast with the luxurious modern apartments of neighboring Bebek. A few kilometers farther along stand the fortresses of Rumeli Hisarı and Anadolu Hisarı facing each other across the straits like sentries guarding the city. The Göksu Palace, sometimes known as Kücüksü Palace graces the Asian shore next to the Anadolu Hisarı. The second link between the two continents, is the Fatih Sultan Mehmet Bridge straddles the waterway just past these two fortresses.
From Duatepe Hill, on the European side, you can admire the magnificent panorama of the bridge and the Bosphorus. Below Duatepe, the beautiful Emirgan Park bursts with color when its tulips bloom in the spring. On the Asian shore is Kanlıca, a fishing village that is now a favored suburb for wealthy İstanbulites. Crowds gather in the restaurants and cafes along its shores to sample its famous yogurt. Shortly after Kanlıca and Çubuklu is the Beykoz Korusu (İbrahim Paşa Woods), a popular retreat. In the cafes and restaurants there you can enjoy the delightful scenery and clear, fresh air. Back on the European side, at Tarabya Bay, yachts seem to dance at their moorings. The coastal road bustles with taverns and fish restaurants from Tarabya to the charming suburbs of Sarıyer and Büyükdere. Sarıyer has one of the largest fish markets in İstanbul and is also famous for its delicious varieties of milk puddings and börek (pastries). On past Sarıyer, the narrow strait widens and opens into the Black Sea.
Hagia Sophia (Ayasofya) Museum :
Aya Sophia was built, for nearly a thousand years ago, is the largest enclosed space in the world, and still seen as one of the world’s most important architectural monuments. It is one of Turkey’s most popular attractions, drawn by the sheer spectacle of its size, architecture, mosaics and art.
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 Sophia which still stands. Columns, heads, marble and coloured stones were imported to Istanbul 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 Sofia and immediately turned it into a mosque. It was repaired several times, and Islamic ornamentation added, for example an extract of the Koran by calligrapher Izzet 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.
Istanbul - Archaeology 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.
Istanbul - Topkapı Palace Museum
It is located on the promontory of the historical peninsula in İstanbul which overlooks both the Marmara Sea and the Bosphorus. 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.
Telephone and Fax Numbers of Topkapı Palace Museum
Tel : (0212) 522 44 22 / 512 04 80-5 lines
Fax : (0212) 528 59 91
İstanbul - 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 MEVLEVİ 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.
Istanbul - Small St. Sofia
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.
Istanbul St. Irene
St. Irene, which is located on the 1st courtyard of Topkapı Palace, was constructed by the Emperor Lustiniaus in the 6th century. It consists of atrium, narthex, naos with three nephs and apse. It is a typical Byzantine structure with its material and architecture.
There have not been many changes in the building, as the church was not turned to a mosque after conquest of İstanbul in 1453. It was used as a booty and weapon warehouse for a long time. Son-in-law Ahmed Fethi Pasha, one of Field Marshal of Tophane, exhibited his works here in 1846. St. Irene was renamed as Müze-i Hümayun (Empire Museum) in 1869. The works exhibited here were moved to Çinili Köşk (Pavilion with painted tiles) in 1875, as the exhibition areas were insufficient. St. Irene was used as a Military Museum since 1908. The building, which was empty for a while, was restored and made a unit of Directorate of St. Sofia Museum.
Istanbul - Turkish and Islamic Arts Museum
Turkish and Islamic Works Museum is the first Turkish museum covering the Turkish and Islamic art works wholly. The establishment works that have been started at the end of the 19th century have been completed in 1913 and the museum has been opened for visit in the soup kitchen building located in Süleymaniye Mosque complex, which is one of the most important works of Mimar Sinan, with the name of "Evkaf - ı İslamiyet Müzesi" (Islamic Foundations Museum). After the announcement of the republic, it has taken the name "Turkish and Islamic Works Museum".
The museum has been moved to İbrahim Pasha Palace from the soup kitchen building in 1983. Ibrahim Pasha Palace, which is one of the most important samples of the 16th century Ottoman civil architecture samples is on the stages of the historical hippodrome, the history of which goes back to the Roman Period. This building, the precise construction reason and date are not known, has been presented to İbrahim Pasha by Kanuni Sultan Süleyman in 1520, who would be his grand vizier for 13 years.
İbrahim Pasha Palace, which is claimed to be bigger and more magnificent than Topkapı Palace by the history has been the stage of many weddings, feasts and celebrations as well as rebellions and turmoil and called with the name of İbrahim Pasha after the death of this person in 1536. It has been used by other grand viziers, and had functions such as barracks, embassy palace, register office, Janissary band house, sewing workshop and prison.
The palace located around four big internal courtyards has been made of stone in contrast with many Ottoman civil buildings, most of which are wooden, therefore it could reach today and has been repaired between the years 1966 - 1983 and has been born again as the new building of Turkish and Islamic Works Museum. The section, which is used as a museum today, is the big ceremony hall of the palace and the 2nd courtyard surrounding it, which have been the subject of all Ottoman miniatures of the palace and the gravures and tables of Western artists.
Turkish and Islamic Works Museum has been awarded with the Special Jury Award of Museum of the Year Competition of the European Council in 1984 and with the prize given by European Council - Unesco for its studies for making the children love the culture inheritance.
Turkish and Islamic Works Museum, that is among the important museums of the world in its class has works from almost all periods and all types of Islamic art with its collection exceeding forty thousand works.
Carpet Section
The carpet section forming the richest collection of carpet art in the world had a separate importance and caused the museum's being famous as a "Carpet Museum" for long years. The museum has the richest carpet collection of not only Turkey, but also the world. Besides rare Seljuk carpets, prayer rugs and animal figured carpets belonging to the 15th centuries and the carpets produced in Anatolia between the 15th - 17th centuries and called as "Holbein Carpet" in the West inspired by the geometrically figures or kufi writing are the most valuable parts of this section.
Turkish and Islamic Works Museum carpet collection that became richer with Iranian and Caucasian carpets and famous Uşak and palace carpet samples is a reference, which the ones carrying out a serious research on the carpet art in the world must apply to.
Hand Writings and Calligraphy Section
Koran - ı Kerims constituting a big part of the writing collection of Turkish and Islamic Works Museum from the 7th century to the 20th century come from a large geographical region where Islam has spread over.
It is one of the rare collections, where Emevi, Abbasi, Egypt and Syria Tulunoğulları, Fatımi, Eyyubi, Memluk, Moğol, Türkmen, Seljuk, Timuri, Safavi, Kaçar and Anatolian Principalities and Ottoman calligraphy creations can be observed all together.
Among the hand writings, except Korans, there are books (some of them with pictures) written about various subjects and these draw attention both in terms of their writing styles and their coatings.
Imperial edicts, warrants bearing the signatures of Ottoman sultans, the sultan's signatures each of which is a work of art, Turkish and Iranian miniature writings make Turkish and Islamic Works Museum one of the most important museums of the world.
Section of Wooden Works
The most important parts of this collection are the samples of Anatolian Wood art of the 9th - 10th century. Besides the unique parts that remained from the Anatolian Seljuks and principalities, mother - of - pearl, ivory, tortoiseshell ornamented wooden works of the Ottoman Period, unique samples of inlaying art, Koran part cases, bookrests, drawers are the interesting parts of this rich collection.
Stone Art Section
Stone works belonging to Emevi, Abbasi, Memluk, Seljuk, Ottoman periods, some of which have motifs and some of which have figures, but all of which have writings have been gathered in Turkish and Islamic Works Museum. Unique and elite samples of stone art of Seljuk Period, grave stones on which hunting scenes, fairy creatures such as sphinx, griphon, dragon, early - period stone works with kufi writings, inscriptions written in different methods that are projections of Ottoman calligraphy art are important both in quality and in quantity.
Section of Ceramic and Glass
In this collection consisting mostly of the ceramic works found in the excavations made between 1908 - 14, the ones from Samarra, Rakka, Tel Halep, Keşan are in the first ranks.
It is possible to see the stages of Early - Islamic Period ceramic art in the collection of Turkish and Islamic Works Museum. The mosaic, mihrab and wall encaustic tile samples belonging to the Anatolian Principalities and Seljuk Periods and the plaster ornaments of Konya Kılıçaslan Palace constitute another important part of the collection. Ottoman encaustic tile and ceramic art samples end with near - period Kütahya and Çanakkale ceramics.
The glass collection starts with the 9th century Islamic glass art samples and includes the 15th century Memluk candles, Ottoman period glass art samples.
Metal Art Section
Turkish and Islamic Works Museum Metal Art Collection starting with the unique samples belonging to the Great Seljuk Empire period and mortar, censer, long - spouted ewer, mirror and dirhems constitute an important collection with the door knockers of Cizre Ulu Mosque and the 14th century candelabrums ornamented with constellation and planet symbols, which have an important place in Islamic metal art.
Among the Ottoman metal art samples starting from the 16th century and reaching the 19th century, there are silver, brass, tombac (ornamented with valuable stones) crests, candles, rose water cans, censers, washtub / ewer sets.
Ethnography Section
Ethnographic parts collected for long years have found the possibility of being exhibited with the transfer of Turkish and Islamic Works Museum to İbrahim Pasha Palace.
The youngest part of the museum is exhibited in this collection, consisting of carpet - kilim looms collected from various regions of Anatolia, wool painting techniques, public weaaving and ornamenting art samples, clothes in their regional enhancements, house goods, hand arts, hand art instruments, nomad tents exhibited in places special to them.
Istanbul - The Great Palace Mosaic Museum
In ancient times, the palatial hill from the Sea of Marmara to the Hippodrome. The palatial district extended from Hagia Sophia and the Hippodrome to the cost line, where the sea wall acted as a mighty boundary of great military value. Its basic layout, first determined by Emperor Constantine, soon housed a collection of state buildings with courtvards, throne rooms and auidience rooms, churces and chappels gardens and fountains, libraries, assembly buildings, thermal baths and stadiums. Throughout the centuries palaces decayed due to fires, earthquakes, and other reasons. Finally, whatever remained was covered by earth.
British scientists from the University of St. Andrews in Edinburg made extensive excavations at the Arasta Bazaar in Sultan Ahmet square (1935-38) and (1951-54). This partly opened up one of the south-western buildings, so called “Great Palace”. The Great Palace had got a big courtyart with perisyle (1872 m²). It was decorated with mosaics. It was at this point that the Austrian Academy of Sciences undertook to rescue, (Supervised by Prof. Dr. Werner Jobst) study and preserve the famous palace mosaic and to carry out additional archaeological examinations (1983-1997) within the scape of a cooperation project with the Directorate General of Monuments and Museums in Turkey.
When the peristylle of The Great Palace was redone under Justinian I. (527-565), The Great Palace mosaic was the largest and the most beautiful landscape in antiqity (the 6th century A.D). No where in the world of late antiquity can we find a building with a tessellated pavement of similar size and perfection of workmanship. It was probably made by an imperial workshop that surely has employed the best craftmen gathered from all corners of the Empire, guided by a master artist. It is this circumstance which makes it difficult to compare the piece with creations, and thus to date it by means of typological and stilistic methods.Composing the tessalated pavement, with its many coloured lime, terracotta and glass cubes of 5 mm. One square metre of floor space consumed about 40.000 cubes, which makes for 80.000.000 tesserae for entire area. The mosaic was brought to light only in fragments and sections, which together make-up about one seventieth of the original expance, but these suffice to convice us that it is one of the most magnificent compositions known to us from antique mosaic art.
In The Great Palace Mosaic the main field of the composition was 6 metres in width. On either side of its edge it is accompained by an exquisitely arranged border of folliage each 1.50 metres wide, sufficient to cover the entire hall 9 metres deep with a tesselleted pavement. The frame is dominated by a highly naturalistic acantus scroll. Acantus are filled with masked heads, exotic fruit and animals.The frame which symbolize a garden of eden. After frame when looking at the scenes we find a movement from left to right in the notheastern hall. The pictures describe open-air scenes, the life of herdsmen the labour of peasants and the prowess of huntsmen. Scenes of children playing with Wilde beast and grazing animals alternate with mythological motifs animal fables and fabulous creatures from exotic countries, animals, hunting, games, bucolic scenes nature and myths are the leading themes in the succession of pictures. On surviving parts of the mosaic we still count 90 different themes populated by some 150 human and animal figures.
Adres: Büyük Saray Mozaikleri Müzesi
Torun Sok. Arasta Çarşısı Sultanahmet - İSTANBUL
Tel: 0212 518 12 05
Fax: 0212 512 54 74
KARIYE (CARIA) MUSEUM
Kariye is located at Edirnekapı section of İstanbul. The dictionary meaning of Kariye (Chora) is "outside of the city", or "rural" in old Greek. The existence of a chapel outside the city walls is mentioned in some very old sorces. The first Khora Church was built on the site of this chapel by Justinianus. The building which managed to survive until the times of the Commenos with various additions and repairs, gained importance when the Imperial Palace Blakhernia near the city walls was expanded. At the end of the 11th century Maria Dukaina, the mother-in-law of Emperor Alexi I had it rebuild. The church has a kiborion shaped space whose dome is carried by four arches. During the Latin occupation of 1204 - 1261, both the monastery and the church became extremely ran down. During the reign of Andronikos (1282 - 1326), one of the prominent names of the day, the writer, poet and the minister of treasury Theodore Methocite had the monastery and the church repaired towards 1313, and had an annex to the north of the building, an outer narthex to the west and a chapel (Parekklesion) to the south repaired as well. These new additions were decorated with frescoes and mosaics. Parekklesion, which is a long single naved chapel going along the southern façade, is built above a basement floor. It is partially covered with a dome and the remaining sections are covered by vaults. It has a single abscissa. The outer narthex which runs along the full western facade forms the present façade. The northern wing is only an insignificant corridor. The central dome has a high drum. It is a Turkish period restoration and is made of wood. Outer façades are given plasticity and movement with round arches, half braces, niches and rows of stone and brick. The eastern façade is finished with abscissa extending to the exterior. The middle abscissa is supported with a half arched brace.
The building was used as a church after the conquest of İstanbul but was converted into a mosque in 1511 by the Visier Grand Hadım Ali Pasha, who later added a school and a alm kitchen next to it. After the conversion, the mosaics and frescoes were covered, sometimes by wooden blinds and sometimes by whitewashing over them. All the mozaics and frescoes were uncovered with the work carried out by the American Institute of Byzantine Research in between 1948 - 1958.
Chora mosaics and frescoes are the most beautiful examples of the last period of Byzantine art (the 14th century). They show a striking similarity. The monotonous background of the former period cannot be seen here. The concept of depth, recognition of the placticity and movement of the figures and the elongation in the figures are the characteristic of this style. Scenes from life of Jesus are given on the outer narthex while the inner narthex has scenes from the life of Madonna.On the portal of the door joining the outer to the inner narthex, there is Christ the "Pantocrator". On the left the scenes depict the birth of Jesus, population cencus being carried out under the supervision of Governor Cyrinus, the angel telling Joseph to leave taking Mary with him, the multiplication of loaves of bread, water turning to wine and on the right side scenes such as messanger kings informing about the birth of Christ, healing of the stroke victims and the massacre of children.
The most beautiful mosaic on the inside is Deisis. There is Jesus in the centre with Mary on the left, below Mary, Isaac Commenus and a nun on the right of Jesus. This woman is the daughter of the Mikhael Palaiologos VIII. She was married to the Mongolian Prince Abaka Khan and following her husband's death returned to İstanbul and became a member of a religious order. In this section, under the dome there is Jesus and his ancestors are shown in the segments. On the portal of the church proper, there is Christ in the middle and on the left Theodoros Metochites who has restored the church and adorned it with the mosaics presenting a model of the church.
The life story of Mary, which is not included in the Bible, is taken from subjects based on the Apostles. At the inner narthex the scenes about Mary can be followed depicting her birth, her first steps, Gabriel telling her that she shall have a child, Mary buying wool for the tebernacle and others. Mosaic above the inner portal of the entrance to the main church depicts the death of the Virgin, Madonna bearing the child Jesus and a Saint. Parekklesion is totally decorated with frescoes. The Anastasia (rebirth) scene seen on the abscissa is a masterpiece. The last judgement above it is shown here in full. It is known that the niche on the right and left sides of the Parekklesion are graves. On the dome of the Parekklesion there is Mary and the child Jesus and 12 in the segments.
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 :
Ataturk's former residence in Şisli, 2 km from north of Taksim Square, now serves as the Ataturk Museum and displays his personal effects.
Closed Mondays and Tuesdays.
Naval Museum :
The grand imperial caiques used by the sultans to cross the Bosphorus 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 Istanbul 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 Hanim Museum :
Up the Bosphorus 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 Beyoglu fire in 1922. His collection was put together in memory of Sadberk Hanim, 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.
Topkapi Palace
One of the most astounding and popular places to visit in Istanbul is Topkapi Palace, the symbolic and political centre of the Ottoman Empire in between the 15th and 19th centuries. It stands on the tip of land where the Golden Horn, the Sea of Marmara and the Bosphorus come together, and is a maze of buildings centered around a series of courtyards, typical of Islamic tradition. Such is the complexity of each building, it will take many hours in order to be explored properly.
It was built in between 1466 and 1478, a couple of years before the death of Fatih. Unlike any European Palace, its architecture is predominantly Middle Eastern in character. The initial construction was Cinili Mansion, a Glass Palace finished in 1472, and the imposing main gate facing Sultanahmet, Bab-I Humayun, and the Palace ramparts, were completed in 1478.
There were originally 750 residents of the Palace, during Fatih’s period, which became drastically more congested reaching 5000 during normal days and 10,000 during festivals. Extensions had to be built, and the harem was completed in 1595 during the third Sultan Murad’s era, after which the harem residents were moved in from the palace at Beyazit, with a total of 474 concubines. Special tours of the Harem are available. The Harem, literally meaning “forbidden” in Arabic, was the suite of apartments in the palace belonging to the wives, concubines and children of the head of the household.
Around the Harem there were, Circumcision Room, the apartments of the Chief Black Eunuch, and apartments of the sultan – in total over 400 rooms. Other highlights in the Palace are the Spoonmaker’s Diamond (the fourth largest diamond in the world), the Topkapi Dagger, (a gift from Mahmut I), a vast collection of paintings and miniatures, and the Pavilion of the Holy Mantle (including a footprint, a tooth and a hair of the Prophet Mohammed).
Opening hours: Daily 09.00 – 17.00, winter closed Tuesday.
Dolmabahce Palace
Until the 17th century the area where Dolmabahçe Palace stands today was a small bay on the Bosphorus, claimed by some to be where the Argonauts anchored during their quest for the Golden Fleece, and where in 1453 Sultan Mehmed the Conqueror had his fleet hauled ashore and across the hills to be refloated in the Golden Horn.
This natural harbour provided anchorage for the Ottoman fleet and for traditional naval ceremonies. From the 17th century the bay was gradually filled in and became one of the imperial parks on the Bosphourus known as Dolmabahçe, literally meaning “filled garden”.
A series of imperial köşks (mansions) and kasırs (pavilions) were built here, eventually growing into a palace complex known as Beşiktaş Waterfront Palace.
Beşiktaş Waterfront Palace was demolished in 1843 by Sultan Abdülmecid (1839-1861) on the grounds that it was made of wood and inconvenient, and construction of Dolmabahçe Palace commenced in its place.
Construction of the new palace and its periphery walls was completed in 1856. Dolmabahçe Palace had a total area of over 110.000 square metres and consisted of sixteen separate sections apart from the palace proper. These included stables, a flour mill, pharmacy, kitchens, aviary, glass manufactory and foundry. Sultan Abdülhamid II (1876-1909) added a clock tower and the Veliahd Dairesi (apartments for the heir apparent), and the Hareket Köşks in the gardens behind.
The main palace was built by the leading Ottoman architects of the era, Karabet and Nikoğos Balyan, and consists of three parts: the Imperial Mabeyn (State Apartments), Muayede Salon (Ceremonial Hall) and the Imperial Harem, where the sultan and his family led their private lives. The Ceremonial Hall placed centrally between the other two sections is where the sultan received statesman and dignitaries on state occasions and religious festivals.
The palace consists of two main storeys and a basement. The conspicuous western style of decoration tends to overshadow the decidedly Ottoman interpretation evident most of all in the interpretation evident most of all in the interior plan. This follows the traditional layout and relations between private rooms and central galleries of the Turkish house, implemented here on a large scale. The outer walls are made of stone, the interior walls are made of stone, the interior walls of brick, and the floors of wood. Modern technology in the form of electricity and a central heating system was introduced in 1910-12. The palace has a total floor area of 45.000 square metres, with 285 small rooms, 46 reception rooms and galleries, 6 hamams (Turkish baths) and 68 lavatories. The finely made parquet floors are laid with 4454 square metres of carpets, the earliest made at the palace carpet weaving mill and those of later date at the mill in Hereke.
The Mabeyn where the sultan conducted affairs of state is the most important section in terms of function and splendour. The entrance hall known as the Medhal Salon, the Crystal Staircase, and the Süfera Salon where foreign ambassadors were entertained prior to audience with the sultan in the Red Room are all decorated and furnished in a style reflecting the historical magnificence of the empire. The Zülvecheyn Salon on the upper floor serves as an entrance hall leading to the apartments reserved for the sultan in the Mabeyn. These apartments include a magnificent hamam faced with Egyptian marble, a study and drawing rooms.
The Ceremonial Hall situated between the Harem and the Mabeyn is the highest and most imposing section of Dolmabahçe Palace. With an area of over 2000 square metres, 56 columns, a dome 36 metres high at the apex, and a 4.5 ton English chandelier, this room stands out as the focal point of the palace. In cold weather this vast room was heated by hot air blown out at the bases of the columns from a heating system in the basement. On ceremonial occasions the gold throne would be carried here from Topkapı Palace, and seated here the sultan would exchange congratulations on religious festivals with hundreds of statesmen and other official guests. On such traditional occasions foreign ambassadors and guests would sit in one of the upper galleries, another being reserved for the palace orchestra.
The self-contained Harem occupies two thirds of the palace, corridors linking it to the Mabeyn and the Ceremonial Hall. Access to the Harem was by iron and wooden doors, through which only the sultan could pass freely. Here are a series of salons and galleries whose windows look out onto the Bosphorus, and leading off them the suites of rooms belonging to the sultan's wives, the high ranking female officials of the Harem, and the sons, brothers, daughters and sisters of the sultan. Other principal sections are the suite of the Valide Sultan (sultan’s mother), the so-called Blue and Pink salons, the bedrooms of sultans Abdülmecid, Abdülaziz and Mehmed V. Reşad, the section housing the lower ranking palace women known as the Cariyeler Dairesi, the rooms of the sultan’s wives (kadınefendi), and the study and bedroom used by Atatürk. All the main rooms are furnished with valuable carpets, ornaments, paintings, chandeliers and calligraphic panels.
Restoration of Dolmabahçe Palace has now been completed and every section is open to the public. Two galleries are devoted to an exhibition of precious items of various kinds, and fine examples of Yıldız porcelain from the National Palaces collection are displayed at the İç Hazine (Privy Purse) building.
Paintings from the National Palaces collection can be seen in the Art Gallery, where they are displayed in rotation in the form of long-term exhibitions. On the lower floor beneath this gallery is a corridor containing a permanent exhibition of photographs showing the bird designs which feature in the palace’s architecture and its furnishings and ornaments. Abdülmecid Efendi Library in the Mabeyn is the other principal exhibition area at Dolmabahçe.
The Mefruşat Dairesi at the palace entrance now houses the Cultural and Information Center, which is responsible for research projects and promotion activities carried out at all the historic buildings attached to the Department of National Palaces. The center contains a library, mainly relating to the 19th century, which is available for researchers.
There are cafes in the grounds near the Clock Tower, the courtyard of the Mefruşat Dairesi, the Aviary, and the Veliahd Dairesi. Items available in the souvenir shops here include books about the National Palaces, postcards, and reproductions of selected paintings from the art collection. The Ceremonial Hall and gardens are available for private receptions. Special exhibition areas have now been established, and numerous cultural and art events are held in the palace.
Ciragan Palace
The most picturesque spots along the Bosphorus and Golden Horn were reserved for the palaces and mansions for the Sultans, and other important dignitaries, most of which have now gone. The huge palace was constructed by architect Serkis Balyan in 1871, as appointed by Sultan Abdul Aziz, from the ruins of the old palace.
The interior construction was rebuilt, at a cost of four million gold coins, beginning with covering the ceiling with wood and the walls with marble. The rooms were decorated with rare carpets, furniture, gold and silver. The sides of the building were decorated with coloured marble, and monumental gates connected it to Yildiz Palace, via a bridge, which is how the harem women went between the two, in total privacy.
It briefly housed the Turkish Parliament from 1908, but was destroyed by a fire two years later, and was only rebuilt in 1991. Now, it is Istanbul’s premier luxury hotel, and has retained something of its former glory.
Beylerbeyi Palace
Beylerbeyi, in which the Asian Tower of Bosphorus Bridge was constructed, is a beautiful district allotted for palaces since the Byzantium era. Sultan Abdulaziz built the Palace, to replace the older, wooden palace, between 1861 and 1865. Eastern and Turkish motifs are used with Western design elements, on the sides and for internal decoration, and the atmosphere is something resembling that of Dolmabahce Palace.
The building comprises of three floors, and contains 26 rooms and six halls, which includes the harem and men's greeting rooms. The interior is decorated with Bohemian chandeliers, valuable tiles and ceramic vases. Silver-edged furniture and luxurious carpets add something to the beauty, and even till today the authentic furniture, carpets, curtains and other property have been well preserved.
A big pool, terraces and stables, face at the back of cliff. A road and tunnel, used until 1970, passed under the palace garden and were used by the most distinguished foreign dignitaries when visiting the palace.
Open daily except Monday and Thursday.
Yildiz Palace
This vast park consists of mansions, gardens and lakes, the whole area surrounded by high walls, and all set in a superb hillside location. Popular at weekends and holidays with locals, it offers one of the few green areas within the city centre, and is a great place for walking, relaxing and eating. There is a steep walk up the hill from Ciragan Caddesi up to the first pavilion, but rewards are cooling breezes and sweeping views of the Bosphorus.
It was in the centre of the Ottoman Empire for 30 years, during the reign of Abdulhamid II, and the second largest palace in Istanbul. The main structure of Yildiz Palace, was built in the old Ottoman style and the pavilions which are dotted around the park were transformed into a power base. The most important remaining building is Sale Koske, where receptions were held, and is the largest and most ornate and reveals the luxury in which the sultans lived and entertained. The first section was modelled on a Swiss Chalet, the second two completed in the late 19th century.
Some of the mansions are undergoing restoration, but Sale is open for visitors, and two have terraces serving food and drinks. Further along the path is a State museum, the Belediye Sehir Muzesi, and Yildiz Sarayi Theatre.
Park: Open daily 09.00 – 17.30
Sale Kosku: Open daily 09.30 – 17.00, except Monday and Thursday.
Museum: Open daily 09.00 – 16.30, except Monday.
Kucuksu Palace Pavilion
This attractive part of the Bosphorus on the Asian shore is mentioned by Byzantine historians, and in Ottoman times became one of the imperial parks known as Kandil Bahçesi (Lantern Garden). Sultan Murad IV (1623-1640) was particularly fond of Küçüksu and gave it the name Gümüş Selvi (Silver Cypress), and in several sources from the l7th century onwards the name Bağçe-i Göksu is used.
During the reign of Mahmud I (1730- 1754) Divittar Mehmed Paşa built a two storey timber palace on the waterfront here which continued to be used by Selim III (1789-1807) and Mahmud II (1808-1839).
During the reign of Mahmud’s son Abdülmecid (1839-1861) the western influence on Turkish architecture reached a peak, and the sultan had the earlier building demolished and the present stone pavilion or royal lodge constructed in the new style used for Dolmabahçe and Ihlamur.
Küçüksu Pavilion was designed by Nikoğos Balyan and completed in 1857. The pavilion has a ground area of 15x27 meters and consists of a basement and two main storeys, the basement containing a larder, kitchen and servants, quarters. Both first and second floors have four corner rooms opening onto a central gallery, a plan which reflects that of the traditional Turkish house.
The pavilion was designed for short stays when the sultan took country excursions or went hunting in the woodland here. Unlike other imperial buildings Küçüksu was not surrounded by high walls but by castiron railings with gates on all four sides. During the reign of Abdülmecid’s younger brother Abdülaziz (1861-1876) more elaborate decoration was added to the façade. All the outbuildings which once belonged to the pavilion have since been demolished.
The ornate seaward façade and double flight of steps sweeping exuberantly around the ornamental pool and fountain are decorated with diverse western motifs. This European exterior is echoed in the interior furnishing and, decoration executed by Sechan, stage designer at Vienna Opera House.
The ceilings are richly decorated with carton-pierre moulding and painted designs. There are so many fireplaces made of Italian marble of various colours in diverse styles, that Küçüksu is like a museum of l9th century fireplace design. The elegant parquet floors have different patterns in each of the rooms, which are furnished with European style furniture, carpets and paintings. After the establishment of the Turkish Republic, Küçüksu Pavilion was used as a state guest house for some years, but today is open to the public as a museum-palace.
The pavilion was extensively restored in 1994 and the surrounding garden and parkland, nearby fountain and quay are now being transformed into a park where the public can enjoy picnics and excursions as in previous centuries. When this project is completed, the garden of Küçüksu Pavilion will be available for private receptions upon application.
AYNALIKAVAK PAVILION
Aynalıkavak Pavilion is the sole remaining building from a large Ottoman palace known as Aynalıkavak Palace or Tersane palace, dating back to the 17th century. This pretty building on the shore or the Golden Horn is a reminder that this now built-up area was for centuries a place parks, meadows and streams where the Ottoman sultans and before them the Byzantines came for country excursions.
After the Turkish conquest of İstanbul this attractive stretch of countryside stretching inland from the Golden Horn became an imperial park known as the Tersane Hasbahçe after the naval arsenal at neabry Kasımpaşa.
The earliest known building here dates from the reign of Sultan Ahmed I (1603-1617), and his successors added new country lodges over the centuries, until the entire complex became so large that is was referred to as Tersane or Aynalıkavak Palace.
Aynalıkavak Pavilion is one of these buildings, thought to date originally from the reign of Sultan Ahmed III (1703-1730), although extensive alterations under Selim III (1789-1807) transformed its appearance radically.The principal rooms are a reception room known as the Divanhane and the smaller Music Room. Bands of exquisite calligraphic decoration around the windows of these two rooms consist of verses by two famous poets, Şeyh Galib and Enderûni Fâzıl, in praise of the pavilion and Selim III. These talik inscriptions were designed by the calligrapher Yesari.
In terms of its architecture and decoration Aynalıkavak Pavilion is a rare and outstanding example of classical Ottoman architecture. This small building is only one storey, with a basement under the section facing the sea. The pavilion is of additional interest because of its strong associations with Sultan Selim III, a respected composer. The traditional fitted seats or sedir along the walls and settees resembling sedir, braziers, lamps and other contemporary furnishings reflect a way of life which has disappeared entirely today.
Today as an appropriate tribute to Sultan Selim III, who is a major figure of Turkish classical music, the basement of Aynalıkavak Pavilion houses an exhibition of Turkish musical instruments donated by various individuals and institutions, together with photographs of antique instruments at Topkapı Palace Museum. In summer the pretty gardens and cafeteria attract many visitors, as do the Aynalıkavak Concerts of classical Turkish art music. Private receptions are held in the gardens here.
Çinili Köşk (Tiled Pavilion) :
The oldest secular building Istanbul, this was constructed as a mansion in 1472. It was a type of grandstand from which the Sultan would sit and watch wrestling or polo, and its interior is beautifully decorated with Selcuk art. It now houses the Museum of Turkish Ceramics, containing fine example of 16th century tiles from Iznik, as well as other renowned examples of art and pottery from Selcuk and Ottoman times.
Closed Mondays.
Ihlamur Köşkü :
The 19th-century Ihlamur Pavilion is named after the linden trees growing in its gardens. Although now in the heart of metropolitan Istanbul, when it was originally constructed, the pavilion lay in the rolling countryside that surrounded the city.
The Merasim Pavilion:
This was used for official ceremonies while the Maiyet Pavilion sheltered the sultan's entourage and, on occasions, his harem on their excursions out of the palace confines.
Closed on Mondays and Thursdays.
Maslak Pavilion :
Maslak Pavilions, situated on a shady green hill, were conceived by Sultan Abdulaziz as hunting lodges. These are particularly noteworthy as superb examples of the late 19th century Ottoman decorative style.
Closed Mondays and Thursdays.
Florya Atatürk Sea Pavilion :
The Florya Ataturk Sea Pavilion served as a summer residence for Turkish presidents, beginning with Ataturk. Built in 1935 in a T-shaped design on land jutting out over the Sea of Marmara, it serves as a showcase for some of the finest examples of early-20th century furnishings.
Closed Mondays and Thursdays.
 Eyup Sultan Mosque:
It is the first mosque constructed in Istanbul after conquer. It is constructed in 1458 by Fatih Sultan Mehmet, together with mausoleum. Today’s mosque is the mosque constructed under supervision of Hüseyin Efendi with demolishing the former mosque until to its base in 1800.
Eyüp Sultan Mausoleum:
Halit Bin Zeyd (Hz. Eyup) the standard bearer of the Prophet Mohammed, and accepted the Islam first while he came to Mecca, is lying in the mausoleum, constructed in 1458. Eyüp, during the seventh Arabic siege of the Istanbul, had participated to the war in the army leaded by one of the Emevi rulers Ebu Süfyan and martyred. Eyup’s cemetery outside the ramparts is found by the teacher of Fatih, Akşemsettin after the conquer of Istanbul. Fatih, had constructed a mausoleum on this cemetery and a mosque near to it.
 Fatih Mosque:
The Imperial Fatih Mosque, constructed in between 1462 and 1470, bears the name of the Ottoman conqueror of Istanbul, Fatih Sultan Mehmet, and is the site of his mausoleum. Standing atop another of Istanbul's hills, its vast size and great complex of religious buildings - medreses, hospices, baths, a hospital, a caravanserai and a library make it well worth a visit.
Süleymaniye Mosque and Kulliye:
The cascading domes and four slender minarets of the Imperial Suleymaniye Mosque dominate the skyline on the Golden Horn's west bank. Considered the most beautiful of all imperial mosques in Istanbul, it was built in between 1550 and 1557 by Sinan, the renowned architect of the Ottoman Empire's golden age. Erected on the crest of a hill, the building is conspicuous for its great size, emphasized by the four minarets that rise from each comer of the courtyard. Inside the mihrab (prayer niche showing the direction to Mecca) and the mimber (pulpit) are made of finely carved white marble and exquisite stained-glass windows, coloring the incoming streams of light. It was in the gardens of this complex that Suleyman and his wife, Hurrem Sultan (Roxelane), had their mausolea built, and near here also Sinan built his own tomb. The mosque complex also includes four medreses, or theological schools, a school of medicine, a caravanserai, a Turkish bath, and a kitchen and hospice for the poor.
 Beyazıt Mosque:
It is at the square of Beyazit, which is mentioned with its name. This great mosque and ıts kulliye, (theology school, school, imaret, caravansary and hamam), is constructed by son of Fatih, II. Bayezit in 1501 - 1506. It has two minarets which are 87 meters away from each other. Plan of the Bayazıt Mosque is similar to Hagia Sophia. But it is separated from it with especially a perfect architectural application which includes a different characteristic having worship order of a culture.
Mimar Sinan Mausoleum:
It is at the courtyard of Süleymaniye mosque. Head Architect Sinan (dec. 1588) is constructed this attractive, beautiful and simple outstanding mausoleum for himself. Structure, is reflecting the simplicity and elegancy, which complies with the geniusness of the master.
Sultan Selim Mosque:
It is around Edirnekapı, at Sultan Selim region. It is completed in 1522 during Kanuni Sultan Süleyman period. In the writing at main entrance, it is recorded that its construction is ordered by I. Selim, and according to some sources it is said that it is constructed by his son in the memory of his father.
Haseki Mosque:
Architect of this piece of art which is constructed in 1538 in the memory of Kanuni Sultan Süleyman's wife, Hürrem Sultan, is Sinan. There is an elegant kulliye composed of theology school, darüşşifa, imaret and public fountain, around it. It is widened in 1612 during I. Ahmet period.
Yeni Mosque:
It is in Eminönü. When mosque construction, which is started in 1597 by III. Mehmet's mother, Safiye Sultan, had reached to window level, ruler and his mother had died. Uncompleted construction is completed with the desire of IV. Mehmet’s mother, Turhan Sultan in 1663.
Sahzade Mosque:
It is in Saraçhane across the Minicipality Palace. Kanuni, ordered Mimar Sinan to construct a mosque in memory of his son Mehmet who died in 1543, and construction strated in 1544, completed in 1548. Mosque, which is at the city center, is in the middle of a complex composed of theology schools, mausoleums, tabhane and imaret.
Nuruosmaniye Mosque:
It is in Nuruosmaniye entrance of closed bazaar. Construction this mosque is commenced by I. Mahmut in 1748, and completed in 1755 during III. Osman due to his death.
Rüstempasa Mosque:
It is constructed to Mimar Sinan in 1561 by one of the viziers of Kanuni, Rüstem Paşa. As the place at Eminönü is both hollow and a commercial center, Sinan, had opened inns and shops under mosque.
 Sokullu Mehmet Pasha Mosque:
It is in Kadırga. It is constructed to Mimar Sinan in 1671 by III. Selim's daughter, Esmehan Sultan, in memory of her husband, Vizier Mehmet Paşa. Inside of the mosque is adorned with the most beautiful tiles of the period till to the feet of the dome. Balcony cone is also tiled.
Yeni Valide Mosque:
It is in Üsküdar. It is constructed as a kulliye by III. Ahmet's mother, Gülnuz Sultan on 1710. It has two minarets and double niches.
Bezm-i Alem Valide Sultan (Dolmabahce) Mosque:
As it is understood from the inscription of Poet Ziver on the courtyard's door, Valide Sultan had started the construction of the mosque, and her son Abdülmecit had completed it in 1853.
In 1848, its siege ramparts are removed and a naval museum is established within the mosque.
Imrahor Ilyas Bey Mosque (Studios Monastery):
It is constructed between Samatya and Yedikule on 463. The building, which is one of the former buildings of Istanbul, is devoted to baptist Yohannes. The 13th century floor mosaics can be seen on the floor of the building.After the conquest of İstanbul, the structure was converted int o a mosque by İlyas Bey in 1486. Afterwards the building had been exposed to various damages as a result of various earthquakes and fires, and in 1908 its roof collapsed and rendered any kind of restoration impossible;therefore the mosque still bares its destructed view.
Former İmaret Mosque (Pantepoptes Monastery Church):
It is on the slope, which descents from Fatih to Halic, and belongs to the beginning of II. century. It is constructed by I. Alexios's mother, Anna Dalaena. It is the most beautiful sample of period.
Neve Shalom Synagogue:
Name of the synagogue, which is at Galata, on Büyük Hendek Street, means "Peace Oasis". 25th March, 1951 opened this synagogue is still the most modern and magnificent synagogue of Istanbul, and witnessed a lot of religious ceremony, such as wedding, bar, mitzva (maturity ceremony) and funeral, or Head Rabbinate Appointment (Hahambaşılık İs'ad) ceremonies.
 Italian Synagogue:
It is in Galata, at Poet Ziya Paşa Slope. This synagogue, which is especially Italian and Austrian nationality holding Hebrews, who live in Ottoman Empire, begin to serve in 1886.
Askenazi Synagogue:
This synagogue is among the other synagogues of Jewish people belonging to Aşkenaz community living in İstanbul and the only one that has still been in service.
Loacted at Yüksek Kaldırım Street at Galata, the synagogue was constructed by Aşkenaz people of Austrian origin. With its facade in European style and the decoration of its Ehal and Teva( prayer desk) in wooden pagoda style with Polish influence,the synagogue displays a different view when compared to traditional Sefarad and Romaniot synagogues.
Zulfaris Synagogue:
Located at Galata quarter and have been present from the 17th century, the current building of the synagogue belongs to 19th century.
The synagogue, in which religious ceremonies were carried out before the construction of Neve Şalam Synagogue, have been not in service recently. However within the frame of the 1992 celebrations organization, the synagogue is determined to be converted into "500 Years Tranquil Life Musuem" without any effect on the religious appearance of the structure.
Ahrida Synagogue:
Located at Balat, the synagogue was built by those who had migrated to Macedonia from Ahri borough in 15th century. Having a similar shape to a ship's bow, Teva( prayer desk) of the synagogue to some resembles to Noah's Ship while others compare it to Ottoman galleys that carried Sefarad immigrants to the Ottoman piers from Spain. Being in service over 500 years, the synagogue has been exposed to some fires and repaired . Moreover, embracing the most ancient appearance among the others included within frame of 500th annual celebratons programme, it was restored in Lale(Tulip) Period baroque style.
Yanbol Synagogue:
Located at Balat and built and named by the people migrating from Yanbolu borough in Macedonia, the synagogue is the second ancient Jewsih structure of the region. The paintings on the ceiling of the synagogue are though to be depicting Yanbolu Borough.
Haydarpaşa Hemdat Israel Synagogue:
Located at a close distance to Haydarpaşa Train Station,and derived its name from its story of foundation, the synagogue was put into service in Sept.3, 1989. That is the name "Hemdat Israel" which means "the mercy of the sons of Israel" was inspired from the arabic words "Hamid" and "Hemdat" written on the synagogue as the sign of gratitude for Abdülhamit II. who had surpassed the chaos let by those who were against the construction of the synagogue.
Etz Ahayim Synagogue (Ortakoy):
Becoming an appropriate residential for the Jewsih people who settled there after the great bedesten( bazaar) fire in 1618, Ortaköy where Jewish people already had lived from the ancient times, formed a model of harmony with three celestial religion performed in the mosque, synagogue and church located at a triangular area. Signifying the meaning of "Life Tree", Ortaköy Etz Ahayim Synagogue dated back to 17th century,which is derived from the documents of maintanance. The building was totally destructed in the fire in 1941 and today only the Ehal (case in which the manuscript parchments of the copy of the Pentateuch were kept) at the side of the garden of the building facing the sea have remained.
City Walls :
 The location of old Istanbul is marked in a triangular shape by the 6½ km-long city wall, called Theodosius II city walls, which started construction in 413. An earthquake in 447 almost destroyed them, so were rebuilt in a hasty two months. The mammoth effort was thanks to 16,000 citizens who were forced to work to get it completed in time to prevent Attila’s forces who were fast advancing. They completed construction of the original walls, 5m thick and 12m high, plus and outer wall of 2m by 8.5m, and a moat. Since 1990, some areas have been rebuilt, and some unrestored areas collapsed during the 1999 earthquake. It is possible to walk along the entire length, which would take a full day, with highlights including Yedikule, Edirnekapi and Mihrimah Camii.
At the southern point of the walls is Yedikule and the Golden Gate, the most impressive within the walls. The area is an old, attractive quarter with many churches, since this is the centre of Rum Orthodoxy, the last remaining descendants of the Byzantine Greeks. The Gate is flanked by two marble towers, a monumental entrance through which important state visitors and triumphant emperors would pass through. The gold-plated doors were removed after the collapse of the empire and the entrance bricked up, although the three arches are still visible.
The other five towers were added by Mehmet the Conqueror, and together with the 12m wall it forms the enclave which can be seen today. Two of the towers were prisons, and the one in the second tower was also an execution chamber. The wooden gallows and the well into which the heads would roll, are still visible today, as are some instruments of torture. While the entire enclave was used as a treasury, warehouse and ambassadorial jail, now it is a museum, still with the Golden Gate towers and in the summer months, concerts performed here.
RUMELIHISAR MUSEUM - YEDIKULE HISAR MUSEUM-ANADOLUHISAR MUSEUM
The establishment purpose of Directorate of Hisarlar Museum in 1968 was to maintain and introduce Rumelihisar museum which was mainly repaired during 1952-1958 and Yedikulehisarı museum which was mainly repaired during 1962-1968 as monument-museum, and also to repair Anadoluhisarı in the same way and take it into service.
Anadoluhisari
The castle covering seven acre area and giving its name to the location was built by Sultan Beyazid I (Yıldırım) as the front military station of Ottoman in 1395. The building was added "Hisarpençe", storehouse and some residental buildings by Mehmed II. In 1928 some repair works were done by kandilli Municipality. Some repairs were done by Ministry of Culture in 1991-1993. Today Anadolu Hisarı is within borders of Beykoz Municipality. There are no movable cultural assets in the castle. It has not been opened for visits.
Rumelihisari
Located within borders of Sarıyer district and gave its name to the location, covering 30.000 m² areas. There is a monument-art built in the narrowest part and flowing (600m) section of the Istanbul Bosphoreus just opposite Anadoluhisarı. Although it is known that the region was called "Hermaion" in ancient ages, historian Dukas does not mention this and indicates the location of the castle hill side of mountain known as Fonea down "Sostenion (İstinye). The names of Rumelihisar are: Kulle-i Cedide in Fatih Charities; Yenice Hisar in Neşri period history; Boğazkesen Castle in Kemalpaşazade, Aşıkpşazade and Nişancı histories. Although Dukas confused about the names and used as Kefalokoptis, no one else except him used this name.
According to two inscriptions in Büyük Zağanos Tower and Küçük Zağanos Pasha Tower, the castle was built in about four month period which is a considerably short period. In the art book called "Şerh-i Tecriiyd-i Ataik" in süleymaniye Library, it is said that the building had been completed in (139) days.
The timbers used in building were from İzmit and Black sea Ereğli; the stones were from various plces of Anatolia and spolis are from destroyed Byzantine buildings located around.
In some histories it has been stated that 1000 masters, 2000 workers and many transporters were employed in building but Architect E.H. Ayverdi states that approximately 300 masters, 700-800 workers and 200 transporters, boats, vehicles etc were employed.
Mortary volume of the building covering 60.000 m² areas is about 57.700 m². Mountain Gate, Dizdar Gate, Hisarpençe Gate and Sel Gate are four main gates and it also has a secondary gate called Mezarlık Gate.
It has Saruca Pasha, Halil Pasha and Zağanos Pasha, three old and junior Zağanas Pasha, one small and four towers in total; 13 castles in various sizes.
It has two water ducts, one is blocked, three fountains two of which are lost. Only one destroyed minarette from the mosque remained until the present time.
The building was considerably damaged from 1509 earthquake but repaired promptly. It is known that it was also repaired during Selim 3 (1789-1807). But essential repair was made by architect Mrs Cahide Tamer, Mrs. Selma Emler and Mrs. Mualla Arhegger-Eyüboğlu upon directive of President Mr. Celal Bayar in 1953.
Open exhibition is made in the museum, but there is no exhibition hall and store house. Artilleries, shot and the chains which were claimed to be used in blocking of Haliç (Golden Horn) are exhibited in the garden.
Rumelihisarı Museum
Open between 09.00-16.30 everyday except Wednesdays.
Yahya Kemal cad. No: 42 80830 Rumelihisarı-Istanbul
Tel: 0-212-2635305
Fax: 0-212-2650410
Yedikule hisarı
Yedikule hisarı or shortly Yedikule, being one of important architectural arts of Istanbul is on the south of city land water and under authority of Directorate of Hisarlar Museum in the same town.
The land part of Hisar was built during reign of Theodosios II (408-450) as the most important entrance of the city walls and also an additional construction was made behind Porta Aurea having an important place in Byzantine history. 4 years after conquer of Istanbul, an inner castle was built by Sultan Mehmet II in 1457-1458. Thus Byzantine and Ottoman Period buildings combined.
The walls of Yedikulehisar are in shape of stars.
There is one door on city side. No building was made adjacent to walls.
There one disdar (castle guard), dizdar assistant, 6 officer and 50 soldiers. There was a disdar's house and 12 guards' houses. Even the traces of shelters and store houses not reaching today can be seen at present. Only a minaret of the mescid remained until 1905 located in the centre of the courtyard and fountain in the front can be seen. The mescid had a quarter which was pictured in a picture of the 17th century, and the time of destruction of the quarter is not known either.
There are stone artillery shot, marble column head, column part and baked soil cubic, in total 17 pieces are now exhibited in open exhibition.
Yedikulehisarı Museum
Open between 9.00-16.30 everyday except Wednesdays.
Kule Meydanı No:4 Yedikule-ISTANBUL
Tel: 0-212-5858933
Bedestens
Shopping in Istanbul is often a big part of any visit, and the city’s famous historical bazaars offer a wonderful insight into city life. Whether shopping for carpets, spices, vegetables or clothes, the process of making your purchase is likely to be enhanced by the atmosphere of wandering through the crowded stalls - and of course haggling. As usual when bargaining with persuasive shop owners, have an idea of a good price before you start.
 Kapalı Carsi (Covered Bazaar) :
It is the oldest and biggest closed bazaar in the world, also known as the Grand Bazaar, has around 4000 shops and over 60 alleyway, covering a huge labyrinth in the city centre. The original two structures, covered with a series of domes and remains of the 15th century walls, became a shopping area by covering the surrounding streets and adding to it over the following centuries. In Ottoman times this was the centre of trading, and a vital area of town. The Sandal Bedesten was added during Suleyman’s reign, to cope with the rising trade in fabrics, during the 16th century.
Traditionally the more valuable goods were in the old central area, called Ic Bedesten, because it was more secure. As quite typical of the area, most streets are laid out and devoted to a particular trade, for example gold on Kuyumcular Caddesi, leather on Bodrum Han, and shoes on Kavaflar Sokak. But the trade has also spilled out onto the surrounding streets, and it is very common to see Russian traders buying up huge sacks of leather jackets or shoes outside the main entrance. Even the streets leading to the Golden Horn are lined with outdoor stalls, which have traditionally been controlled by strict trading laws to reduce competition between traders.
Apart from the usual shops selling clothes, textiles, jewellry and carpets, there are small workshops, where craftsmen cast and beat silver or brass, in a skilled trade handed down through the generations. If all that shopping, bargaining and fending off persuasive salesmen is a little too tiring, there are also traditional cafes dotted inside the bazaar in which to relax, eat and sip tea. There are also money-changing booths inside and out. It is slightly less crowded during weekdays, as most locals shop at weekends.
Mısır Çarşısı (Egyptian Bazaar) :
Also known as the Spice Market, this is Istanbul’s second bazaar, constructed in the same complex as Yeni Camii (or New Mosque). There are six gates, which make it an attractive exterior. The L-shaped market, together with the mosque, were built for the mother of Mehmet IV, a powerful woman who ruled the harem and, some would say, much of the empire.
Although no longer the prime spice trading area of the city, there is still the aroma of ginger, cardamom, pepper and saffron from the piles of spices sold from many stalls. These days it is also popular for great varieties of lokum (turkish delight), small souvenirs, flavoured teas and local delicacies – including the dubious sounding “Turkish Viagra”. Locals come here to shop for bed linen and towels, as well as for fruit and vegetables, coffee, clothes, pots and pans in the surrounding cramped backstreets. Outside the market on the Galata Bridge end, is this is the best place to choose olives from huge barrels, and many varieties of beyaz penir (white cheese).
Bakırcılar (Copper Smiths) :
Bazaar Lesser known and smaller, but nonetheless just as interesting is this market in Beyazit, under the north and east walls of Istanbul University. Copper is beaten and produced into many shapes, sizes and forms, and shops sell cauldrons, saucepans, buckets, candlesticks and the like.
Bit Pazarları (Flea Markets) :
Away from the classical, historical markets which have always attracted by the tourists, there are many flea and street markets around the city, usually consisting of streets of junk shops. As usual, getting a real quality bargain is often down to luck, but it is still an interesting way to shop.
Cukurcuma Sokak is the central point of streets of shops selling old wooden furniture, antiques, and books, near the Galatasaray Hamam off Istiklal Caddesi. Uskudar’s Bit Pazari is on Buyuk Hama Sokak, and in Kadikoy, Ozelli Sokak sells mainly furniture. Horhor market, behind Aksaray mosque, is famous for antiques, selling rare Ottoman furniture. The Entel, or Intellectual Market in Ortakoy sells arts, craft and antiques, music cassettes and books, and is open every Sunday and usually very crowded. Besiktas Pazar is open every Sunday, a warren of streets near Sair Nedim Caddesi, sells bargain clothes. Terkoz Cikmaz, next to the Pasabahce glass store off Istiklal Caddesi, has bargain designer clothes, factory seconds or overruns from France, England and Germany at rock-bottom prices. Sahaflar Carsisi is near a flea market, and specialises in second hand books.
Kız Kulesi :
 Considered to be a symbol of Istanbul, this tiny tower was established on a small island at the entrance of the Bosphorus. In the past, it was used as a watchtower and a lighthouse, until its present purpose of a tourist attraction. Western sources describe this as Leander’s Tower, who was drowned while swimming, to reach his lover Hera. Another story suggests that it was a tower where an emperor’s daughter put her in there for security, having dreamt that she would be bitten by a snake.
 Galata Tower :
The tower was built by the Genoese in 1348, during their occupation of the area, primarily to prevent attacks. Originally known as the Tower of Christ, it stood above the fortification surrounding the Genoese city-state. There is a spiral rock staircase which ascends to the top viewing platform, which today offers visitors spectacular 360 degree panorama of the entire city. The tower was restored in 1967, and an elevator was installed to offer a less tiring alternative to the steep climb. There is also a restaurant on the top floor.
Beyazıt Tower :
Within the grounds of the central building of Istanbul’s University, (formerly the palace of Mehmet the Conqueror) this wooden tower was built for fire watchers, and remains a landmark throughout the city. Mahmud II demolished it in order to construct a better one, and according to the inscription, he ordered a rock-filled tower in 1828 to be built by the Ministry of Defense. The monument is 50m high, and from the upper landing, accessible via wooden staircase, offers a superb overview of the city.
Hippodrome :
The ancient Hippodrome, scene of chariot races and the centre of Byzantine civic life, stands in the area that is now in front of the Blue Mosque, and now part of Sultanahmet. Of the ornaments which once decorated it, only three remain: The Obelisk of Theodosius, the bronze Serpentine Column, and the Column of Constantine. Remains of the curved end of the Hippodrome wall can be seen on the southwest side of the three.
Today, the square forms the centre of Istanbul’s historical, cultural and tourist life, and the surrounding wooden houses – especially the 18th century ones on Sogukcesme Sokak – were recently restored giving them a new lease of life as small hotels.
Theodosius Obelisk :
Theodosius Obelisk, is originally an Egyptian piece of art erected in 1547 BC and originally 60m tall, but only the upper third of it survived the shipment from Egypt, brought to Istanbul by Emperor Theodosius in 390. Made from pink granite, its pictures and hieroglyphs depict the victories of Thutmos III, and reliefs of members of his family can be seen on the base.
Gotlar Column :
This ancient monument remains unchanged since the Roman Period, and lies at the entrance of Gulhane Park, the external garden of Topkapi Palace. Erected in the third or fourth century, it composes of a 15m high marble monolith on a high platform. The column head is adorned with an eagle, typical of Corinthian method. It is also known as Gots Column, due to the inscriptions which mention the victory against the Gots.
Çemberlitaş (Constantine Obelisk) :
Also known as Cemberlistas obelisk, this burnt column of masonry was erected by Constantine the Great in 330 AD, in celebration of the dedication of the capital city of the Roman Empire. It was placed in the middle of an oval square on the city’s second hill, in the area now known as Cemberlitas, and was burnt during the great fire of 1779 which destroyed much of the area.
Yılanlı Obelisk (Burmalı Obelisk) :
Also known as Burmanli Obelisk, it was imported from the Apollo Temple in Delphi, to Istanbul during the fourth century and is one of the oldest monuments in the city. The original one was constructed in 409 BC, and made from melting and moulding the guns of the Persian Army, after their defeat to the United Greeks.
Beyazıt Square :
When constructed in 393 AD during the reign of Emperor Theodosius, it was the biggest square in the city. Originally named as Form Tauri, die to the bronze bull heads in the victory cases in the middle, today only a few marble blocks and columns remain, on which the statue of the Emperor rises. At the north end was the first palace constructed by Fatih, and is now Istanbul University. The monumental gate at the university’s entrance, and the fire tower, date back to the 19th century.
The square which decorates the 15th century Beyazit Mosque (the oldest surviving imperial mosque in the city) lies adjacent to the crowded Kapali Carsi (Covered Market).
HAGIOS IONNES PRODROMOS BASILICA
The building located in Yedikule is one of the oldest buildings of Byzantine in Istanbul. It was built in the 5th century. Monastery and church were known as Studios due to their founder. Monastery was an important religious centre during Byzantine period.
During Latin invasion church-monastery was destroyed considerably, and in the 13th century required repairs were made and building was surrounded by thick walls. The travellers arriving in Istanbul in 13th and 14th centuries mention fascinating decorations and splendid view of the church.
After Istanbul was conquered, the building was converted into mosque by İlyas Bey in 1486. The building suffered considerable earthquake damages from earthquakes and fires occured in various periods and the roof of the building was demolished in 1908, and as it was not repaired the building has come to the present time with its today's appearance.
Specific columns, heads and some of architectural components of basilica and rich floor decorations have been preserved. Haigha Sophia Museum can be visited upon permission of directorate.
Mualla Aqueduct :
One of the many built by Mimar Sinan, this is one of four in the Alibey river valley.
Uzun Aqueduct :
Constructed by Mimar Sinan during Kanuni Sultan Suleyman period, this is approximately 1500m in north west of Kemerburgaz.
Güzelce Aqueduct :
These piece of art, also known as Cebeci Koy Aqueduct, was contructed by Mimar Sinan during Kanuni Sultan Suleyman’s period, and lies 1500m in east of the village of Cebeci, south of Kemerburgaz.
Bahçeköy Aqueduct :
Also known as the Sultan Mahmut Aqueduct, it lies 1km from Bahcekoy through Buyukdere, and was completed in 1731 during the reign of Mahmut I.
WATERWORKS IN PRE-OTTOMAN ISTANBUL
The earliest known waterworks ın Istanbul date from Roman times. The Romans attached great importance to the water supply of their cities, and established an extensive water system in Istanbul (the ancient Byzantium which was later called Constantinople after Constantine the Great). Like the civilisations before them they built conduits for supplying water to the tall monumental fountains known as nymphaeum decorated with columns and statuary, to public baths, houses and palaces. In his ten-volume De Architectura describing the buildings and construction techniques of Roman period architecture, Vitruvius discusses water structures (aqueducts, wells, cisterns and water levels) in Book VIII, and hydraulic machines (water clocks, water organs, water wheels, water screws and the pump designed by Ctesibius) in Volumes IX and X. Here we find descriptions of Roman period water distribution tanks, water channels, and intermediate reservoirs.
During the Roman period, water channelled from distant springs to the city was collected in reservoirs and distribution tanks built on hilltop sites, and from there piped in different directions to cisterns, houses and public fountains. In their book on the Byzantine water structures of Istanbul, Die Byzantinischen Wasserbehalter von Konstantinopel (1893), Strzgowski and Forchheimer tell us that water from dams in the Belgrad Forest was carried by pipes to the district of Eğrikapı at the northern edge of the city, crossing the valleys formed by the two streams which flowed into the Golden Horn via aqueducts. From here three mains lines carried the water to tanks in the districts of Atpazarı, Yenibahçe and Ayasofya for distribution to the rest of the city.
Roman Period Waterworks
Aqueducts
In order to maintain a fixed water level, covered water channels were carried over valleys by aqueducts, which are arched structures in the form of bridges. Roman period aqueducts dating from the fourth century and which are still standing -at least in part-today in Istanbul are the Valens (Bozdoğan) built in 368, the Ma'zulkemer, Karakemer, and Turunçluk aqueducts.
Water levels
Nothing precise is known about the form and interior mechanism of Roman period water levels which were part of the water distribution system. In the Ottoman period these were tower-like structures known as su terazisi serving to adjust water pressure and also measure water for distribution purposes. In Book VIII of his De Architectura Vitruvius discusses the water structures of Rome in the fifth section entitled 'Levelling and Levelling Methods' and describes methods of conducting water 'to dwellings and cities'. Vitruvius explains, 'First comes the method of taking the level. Levellings is done either with dioptrae, or with water levels, or with the chorobates,' going on the say that the chorobates is the most accurate method. "the chorobates is a straightedge about twenty feet long. At the extremities it has legs, made exactly alike and jointed on perpendicularly to the extremities of the straightedge, and also crosspieces fastened by tenons, connecting the straightedge and the legs. These crosspieces have vertical lines drawn upon them, and there are plumblines hanging form the straightedge over each of the lines." However he gives no description of the water levels.
Distribution chambers
These were structures which measured and distributed incoming water. In Book VIII of De Architectura, Vitruvius writes that inside the city the water poured into a reservoir with a connecting distribution chamber with three contiguous tanks. Water from the reservoir was conveyed into each tank via three seperate pipes. Water from the central tank was piped to all the pools and fountains in the city, water from one of the side tanks to the public baths, and from the other side tank to private houses. In his doctoral dissertation entitled. "The Architecture of Water Structures in Byzantine period Istanbul" (1989), which is the most detailed source of information about Roman period distribution chambers, Özkan Ertuğrul tells us that during the Byzantine period (the Eastern Roman Empire, successor to the Roman Empire), water was distributed to the city from five distribution chambers known as Nymphaeum Maximum, Tezgahçılar Kubbesi, Balıklı, Sultanahmet and Valens.
Water channels
Open or covered conduits carried water between the reservoirs and cisterns, and from there to public fountains and houses. They also served as overflow spills for the cisterns. It has been possible to identify twenty-three of these conduits today. Conduits were made variously of masonry, lead or baked clay, but Vitruvius comments that baked clay pipes are to be preferred. He also explains that the channel bed should have a gradient of at least one quarter inch for each hundred feet.
Reservoirs, Wells and Cisterns
Vitruvius explains that in the absence of springs whose water may be transferable by aqueducts, it is necessary either to dig wells or to collect surface water in cisterns. He describes cisterns having two or three sections in which the water was cleaned by means of pouring from one section to another. These cisterns thus served a second function as precipitation tanks, which during Ottoman times were separate structures in which the water rested. An example of an ancient well of the type described by Vitruvius is Dolab Ocağı in the First Courtyard at Topkapı Palace which is entered via the Second Courtyard. The construction techniques of this large well in which all water for the palace was stored for distribution is characteristic of the Roman period. In Ottoman times a cistern was added to this well. Of the seven pre-Ottoman wells discovered in İstanbul five date from the pre-Byzantine period (Dolap Ocağı in the First Courtyard at Topkapı Palace, and four others located respectively next to the cistern in the Second Courtyard at Topkapı Palace, next to the Fil Gate in the Fifth Courtyard at Topkapı Palace, in the centre of the semicircular courtyard of Haghia Maria Hodigitria Baptistry in the Manganlar area, and in the courtyard of the Ottoman Mint), and two from the Byzantine period (beneath the arcade in front of the first gate leading to the kitchens in the Second Courtyard at Topkapı Palace, and in front of arcade of Topkapı Palace Kitchens).
Another Roman water structure related to wells is the cistern, the oldest surviving examples of which date from the Byzantine era, which succeeded the Roman.
In Part VI of Book VIII of his De Architectura, which is entitled 'Aqueducts, Wells and Cisterns', Vitruvius says of cisterns: 'If the ground is hard or if the veins lie too deep, the water supply must be obtained from roofs or higher ground, and collected in cisterns of "signinum work".' From his description of the materials used to make signium, it is clear that this formed an insulating layer for the interior surface of the cistern.
It is also evident that the purpose of this insulation was to improve the taste end translucency of the water, as we see from his account: 'If such constructions are in two compartments or in three so as to ensure clearing by changing from one to another, they will make the water much more wholesome and sweeter to use. For it will become more limpid, and keep its taste without any smell, if the mud has somewhere to settle; otherwise it will be necessary to clear it by adding salt.'
These explanations demonstrate that Roman period cisterns were used like precipitation tanks, in which the water was rested.
Fountains
Althougth little remains of the water structures which were of such importance in daily life for the Romans and Byzantines, we gather from documentary sources that in the Roman period in particular nymphaeums were a prominent architectural feature of the city, situated in colonnaded roads, forums and other positions where they would make maximum visual impact. One of these was Nymphaeum Maximum in Tarsus Square (the location of the main building of Istanbul University today), to which water was carried by the aqueduct generally believed to have been built in 368 by the Emperor Valens (364-378). The origins of the nymphaeum can be traced back to ancient Greece. These monumental fountains whose water was supplied by conduits generally provided a decorative feature in public squares, but in Roman and Byzantine times they were also apparently features of private gardens belonging to wealthy citizens. This latter type is described as being adorned with columns and statues, and while generaly being made of marble, might also occasionally be made of bronze or porphyry. Few can have survived into Ottoman times, and those that did were probably either renovated in line with contemporary taste and style, so losing their original character, or in time replaced by new fountains.
Studies conducted so far into the waterworks of this period (Andréossy 1818, Strzygowski and Forchheimer 1893, Nirven 1946, Eyice 1989, Ertuğrul 1989, Çeçen 1979, 1984, 1988, 1991, 1992, 1996) reveal that Istanbul's first know water supply lines belonged to four systems. The earliest was built in the time of Emperor Hadrian (117-138) and brought water from a source west of the city to the area around Sultanahmet Square. This supply line was extended during the reign of Theodosius II (408-50). The second large supply line in Istanbul was built during the reign of the Emperor Constantine (324-337) and carried water from the Istranca Mountains west of the city. The longest of all water supply lines constructed by the Romans (Çeçen 1996:22) was 242 km in length, starting from a point 6 km west of Vize west of Istanbul, and entering the city just south of Edirnekapı. Istanbul's third major water supply line was constructed in the time of Emperor Valens in 373 and passed over the aqueduct named after him in Şehzadebaşı which is largely intact today. The Valens water line, which was renovated and enlarged during the reigns of Justinian (527-65) and Constantine V (720-740), supplied the Achilleus Baths and Yerebatan (Basilica) Cistern (Çeçen 1996).
The fourth line carried water from the Belgrad Forest to the northwest part of Istanbul and is thought to have been built by Theodosius I (379-395).
When the Roman Empire, whose roots go back the founding of Rome in the 18th century BC, was split into East and West in 395 AD.Eastern Rome (dubbed the Byzantine Empire by historians in the nineteenth century) gradually developed its own distinctive styles of architecture and art. Byzantium had been rebuilt as the eastern capital of Rome in 330 AD, and now became capital of this new political entity. From the sixth century onwards new architectural forms began to depart from ancient Roman tradition, but the need for water and water structures remained.
As the city's population grew so did the need for water. When wells, cisterns and water sources outside the city became inadequate, the existing water supply lines and distribution networks inside the city were expanded and new sources harnessed.
This was achieved by means of relatively minor additions to the original Roman water system. Constantine V Copronymus (741-775), Romanus III Argyrus (1028-1034), and Manuel I Comnenus (1143-1180) merely repaired the existing water system , which remained adequate until the tenth century. From that time onwards sieges and earthquakes left Istanbul's water supply system and distribution network virtually defunct, and the Byzantines began to rely primarily on cisterns as a cheaper and more reliable means of securing water. Instead of carrying out expensive repairs to the Roman water system, they built new cisterns to augment those built during the Roman period, so that the city would not have to rely on water sources at a distance from the city.
In summary, particularly from the ninth century onwards small mains lines added to the old water supply lines and cisterns became the primary source of Byzantine Istanbul's water.
Both open and covered cisterns of sometimes enormous size were located at various points around the city both within and outside the walls, serving as water collection and distribution centres. The underground cisterns not only provided water, but served as smooth raised platforms on which buildings were constructed. This was convenient in a hilly city like Istanbul.
In her account of the houses of pre-fifth century Istanbul, Tamara Talbot Rice writes that the large houses of wealthy citizens resembled those at Ostia, Rome's seaport, and had a well or cistern in their courtyards which supplied the household with water.
Deterioration of the old Roman water system as a result of damage resulting from both sieges and natural causes, as already mentioned, prompted the Byzantines to make extensive use of cisterns. In particular from the ninth century onwards, small conduits were added to the earlier water system to distribute water from reservoirs and cisterns.
When the Emperor Justinian had large cisterns constructed in the city in the sixth century, he also repaired the Hadrian Waterway which provided water to the city's nymphaeums and the Great Palace.
Another type of water structure in Istanbul dating from Roman and Byzantine times was the ayazma or sacred spring. These were structures built over springs of mineral water regarded as sacred, and not used for domestic needs. Hence they were not connected up to the city's water system.
Regulations concerning water laid down in the Codes of Theodosius and Justinian make it clear that Istanbul's water supply came from outside the city. In the Prokhiron, a revised version of the Code of Justinian dating from 870-878, strict regulations concerning use of the waterways and special provisions relating to their cleaning and maintenance demonstrate the importance attached to the city's water system.
Earlier damage and deterioration in the Roman period water system was compounted still further by the Latin occupation in 1204, after which the water system became virtually unusable. When Istanbul passed into the hands of the Ottomans in 1453, major repairs and additions were made to the system.
OTTOMAN PERIOD WATERWORKS AND WATER ADMINISTRATION SYSTEM
In the wake of his conquest of Istanbul, Sultan Mehmed II commanded that urgent repairs be made to the existing water system. In addition four new water supply lines were constructed: the Fatih Waterway, the Turunçlu Waterway, the Şadırvan Waterway, and the Mahmutpaşa Waterway. The Kırkçeşme system dating from the late Roman period was renovated at the same time.
The problem of supplying sufficient water to a growing urban population was one with which Istanbul had contended throughout its history. The Ottomans, too, enlarged Istanbul's water system at various times over the centuries, but above all it was the waterworks carried out by Sultan Süleyman the Magnificent which dealt with the water problem most effectively.
During the reign of Mehmed II a water department was established, illustrating the importance which the Ottomans attached to the water supply, as other civilisations had done before them.
During the reign of Mehmet II's son Sultan Bayezid II (1481-1512) Bayezid Waterway was built,and during the reign of his son Selim I (1512-1520) diverse waterworks were constructed. Yet water supply continued to fall short of demand. To find a more far-reaching solution to the shortage, Süleyman the Magnificent called in Chief Imperial Architect Mimar Sinan. It seems probable that Mimar Sinan worked on this project in cooperation with the Director of Water Hasan Ağa. He studied the existing waterways dating from the Roman-Byzantine period and those built since the Turkish conquest, and investigated new sources of water. In 1554 he commenced major reconstruction and enlargement of the Kırkçeşme system, making use of surviving aqueducts and dams following the former Roman supply line and using the ancient Valens aqueduct. Completed in 1560, this was the most comprehensive water supply project undertaken by the Ottomans in İstanbul. There is a diagram of this system in the Ahmed III Library at Topkapı Palace, ref H. 1815, which is thought to date from before 1620. It shows the Kovuk (also known as the Kırık) Aqueduct, the Uzun Aqueduct, the head basin and Cebeciköy Aqueduct, giving their measurements and diverse other information about the system.
Most of the water transmission lines built in Ottoman times are still in use today.
• Halkalı Water System (formerly the Cev'mi-i Şerife) consisting of 16 independent transmission lines running into the city from the northwest. Part of this system probably dates from the Roman era.
• Kırkçeşme Water System (1554-1564)
• Taksim Water System (1731-1839)
• Other water supply lines, and the Hamidiye and Kayışdağı water systems
These supply lines carried water into Istanbul from springs and dams via aqueducts and conduits first to water towers known as maslak, and from there to water balances or su terazisi. From there it was finally piped to public fountains and to individual buildings. The various water structures which made up the Ottoman water system were as follows:
Dams
Dams known as bend were built across ravines to collect spring and rainwater in reservoirs behind them. To each side of the dam walls were sluices over which the water flowed into basins and distribution chambers. Three types of dam wall were built in the Ottoman period: straight walls, as at Karanlık Bend, Büyük Bend and Kirazlı Bend; angled walls, as at Topuzlu Bend, Ayvat Bend, and Valide Bend; and curved walls, as at Yeni Bend.
Aqueducts
Aqueducts (sukemeri) in the form of arched bridges had been used since Roman times to carry water across valleys and streams dividing two areas of high ground so that it did not lose height. During the reign of Süleyman the Magnificent the defunct Roman water system which carried water from the Belgrad Forest to Istanbul was rebuilt with additions and extensions by Mimar Sinan, and became known as the Kırkçeşme water system. He built 33 aqueducts to carry water to the Kırkçeşme distribution network, which was one of the most important in Ottoman Istanbul. Some of these aqueducts were monumental in scale, such as the Kovuk Kemer, Paşa Kemeri, Uzunkemer, Mağlova Kemeri and Güzelce Kemer.
Basins
These mainly circular basins (havuz) ranging in diameter from 2 to 30 metres and 2 to 20 metres in depth served as intermediary collection points for the water. Some had two section, and some two levels.
Water Tanks
These maslaks, as they were called, were placed at points where the main supply line branched. They consisted of a tank with a discharge measuring system consisting of numerous spouts for adjusting and determining the quantity of water which flowed in each direction. The presence of a discharge measuring tank has led some sources to confuse these with maksems. They were always located outside the city.
Distribution Chambers
Known as maksem were domed or vaulted buildings containing large water tanks with spillways and distribution chambers divided into compartments and fed by nozzles called lüle. Some of these maksem were above ground, such as those in Taksim, Eyüp, and Harbiye, while others were below the ground, like the Hacı Osman Bayırı maksem.
Water Balances
Known as su terazisi, these tower-like structures maintained water pressure when conveying water to neighbourhoods at a high-level. Varying from 3 to 10 m in height, they had a cistern at the summit from which the water flowed into distribution pipes.
Precipitation Tanks
Known as tersip or çökertme tanks, these were a series of connected tanks where the water rested so that any gravel or sand was precipitated before being piped to the maksem and distributed to the various city mains.
The water measuring system was crucial for controlling the amount of water supplied to each fountain. The amounts were specified for each fountain, whose water sources could vary. As well as state supplied water known as miri or hassa, there were water sources in the form of pious endowments or vakıf for the public benefit, and private water sources known as mülk allocated to individuals by the sultan (in deeds known as temlikname). The water was measured by means of dividing the water among numerous spouts set 96mm beneath the surface of the water in a long rectangular sluice. The spouts were in a number of different standard diameters and hence discharge rates, enabling the amount of water passing through them over a specific time to be measured precisely. The most common standard was the lüle, others being the kamış, masura, çuvaldız and hilal. The inside diameter of the lüle pipe was defined as that through which a lead sphere weighing 30 dirhem (approximately 96.5 g) would pass, ie 73.58 mm. The term lüle was also used in a general sense to refer to such water measuring spouts.
The Ottoman water administration system dated back to the reign of Mehmed II, who as already said, established a department of water under a director of waterworks. The department was in charge of a vast organisation which included waterway maintenance men (suyolcu), surveyors, watchmen who guarded the waterways and dams, carpenters, men who made and applied a waterproof plaster (lökün) to water pipes and tanks, and saka who distributed water in skins. The primary duty of the water director was to supervise the water supply for the palace, but in addition he ensured a regular supply of water to mosques, hamams (public baths), and public fountains, and the maintenance and protection of the water system as a whole. He also cooperated with the chief imperial architect over new water supply projects. The waterway maintenance men repaired the pipelines, water tanks and other mains waterworks, and received a monthly fee from hamams, houses with their own private fountains, and other regular users of water. They had their own guild, and were housed in barracks at various locations around the city. Out of ordinary working hours there were always waterway maintenance men on duty who could be called out in emergencies. The lökün plaster with which the joins of water pipes were coated to prevent leakage was made by mixing lime with olive oil.
Saka is a word derived from Arabic, used in Turkish to mean water carrier. In particular the sakas provided a vital service in times when the mains supply proved inadequate, by carrying large skins of drinking water to houses and establishments in need of water. In addition to public sakas, there were palace sakas whose barracks were situated next to Sakalar Çeşmesi (Fountain of Sakas) facing Şekerci Gate at Haghia Sophia and janissary sakas who served the Janissary Corps.
The public sakas consisted of two groups, those who had horses to carry their water skins, and those who went on foot and carried the skins on their backs. The skins were made out of leather known as saka meşki, and called kırba. Foot saka carried kırba containing 45-50 litres of water, and some distributed water in bowls made of rock crystal. Beside the front door of each house stood small stone tanks known as saka deliği, into which the sakas could empty the water they had brought without entering the house. Pipes from these tanks carried the water to jars standing in the courtyard or inside the house. Water was then scooped out as required using tankard-like water cups known as maşrapa. Some houses were equipped with tiny tanks in the form of pots set into the walls from which water flowed to taps in the living rooms and lavatories. These were filled in the same way by pipes from the tank at the entrance door.
Sakas were only permitted to take water from particular fountains, and no more than the allotted number were permitted to fill their skins at any one fountain. Only when a saka retired or died could another take his place. Philanthropists who endowed fountains sometimes specified in the endowment deed or in the inscription that they did not allow sakas to use the water at all. Fountains where sakas collected water were known as saka fountain. As well as sakas, some dervishes distributed water free as a charitable exercise, either carrying the water themselves or using a horse, and who were not part of the official water distribution organisation.
FOUNTAINS OF İSTANBUL
Endowing money for the construction of a fountain and a water supply line to it was an act of piety which played an important role in Ottoman life. Hardly a sultan, sultan's mother, sultan's daughter, grand vezir, or other august personage did not endow a fountain in expression of their economic, social and political standing, and fountains became an important part of the architectural tradition. Fountains were decorative features of both outdoor public spaces like squares, and intimate indoor spaces in private dwellings, and they reflected the architectural taste and styles of their time.
Surviving documents show that in the sixteenth century in particular the Ottoman government favoured supplying public fountains rather than private homes with mains water. This made the local fountain an indispensable focal point of every neighbourhood. In these introverted neighbourhoods, with their wooden houses with jettied upper storeys, deadend streets, and lanes reflecting their organic evolution, the fountain shaped their unique character. The human scale organic streets wound and turned their way to the mosque square, which was always characterised by a fountain as well as a coffee house and spreading plane tree casting welcome shade. In İstanbul, as in every Turkish city in the past, the local fountain was a hub of social intercourse.
İstanbul was never at any time a city with abundant water sources close at hand, but from the sixteenth century onwards, as the water system was improved and extended, the government began to permit water to be piped into private mansions in the city and along the Bosphorus. The luxury of piped mains water was a privilege requiring a royal patent, and ordinary people were still largely dependent on neighbourhood public fountains for their water, augmented by that obtained from wells and cisterns.
There were two classes of fountain, those for the use of the general public and those allocated to the use of the sakas. Although it was forbidden for the sakas, particularly those who used horses, to fill their water skins at the public fountains, this ban was not always complied with. Documents record frequent quarrels between the horse and foot sakas over access to the same fountain. It was to ensure that local people were not obstructed by sakas from obtaining water free from public fountains that a ban on sakas was incorporated into the inscriptions of some of them at the wish of the founder.
Public fountains were of two types with respect to their source of water supply. The first were supplied from sources harnessed or privately owned by individuals (vakıf waters, and mülk waters), and the second were supplied from the mains system (hassa or miri waters).
Although fountains varied with respect to the material they were made of, their form, and style of decoration over the centuries, they basically consisted of the same four elements:
• A tank in which water was stored, and which was a prominent architectural feature in early fountains. In some cases the roof of these tanks was designed to serve a dual purpose as prayer terrace or namazgah, examples being Esma Sultan Fountain in Kadırga and Abdülmecit Han Fountain in Yeşilköy.
• A stone slab known as the musluk taşı or ayna taşı, in which the tap was fitted, and which was set inside an arched niche with decoration in the style of the day. The taps were of two types, those which ran continually known as salma, and those which could be turned off and on known as burma.
• An inscription carved on the ayna taşı giving the name of the person who had endowed it, and sometimes the source of the water and the date of construction.
• Beneath the tab was a basin known as a kurna, and to either side small raised areas where people collecting water could sit or rest their vessels while they waited.
The design of these elements varied with the architectural fashions of the times, the approach to city planning, and the personal tastes of the founder. Fountains in the form of columns (Ahmet Ağa Fountain built in Çengelköy in 1854) were an unusual type limited to a specific period, for example. Others were designed like the façade of a building and had a monumental effect on the urban texture (Bezmi'lem Valide Sultan Fountains in Yıldız). With the beginning of western influences on Ottoman architecture, it became common to build fountains in squares of commercial, social or ceremonial importance, often next to monumental mosques and their complexes, and situated at points where striking vistas of the city were to be obtained. These often freestanding fountains in the form of miniature pavilions had façades reflecting western architectural fashions, and clearly setting out to rival their western equivalents and to impress the viewer with the modernity and hence power of Ottoman architecture (the two Ahmet III fountains outside the Imperial Gate at Topkapı Palace and in Üsküdar respectively, Mahmud II Fountain in Tophane, and Bezmi'lem Valide Sultan Fountain in Maçka). Others were an integral part of building complexes, or formed an eye-catching feature in the façade of a building.
In line with changes in materials, form and style over the centuries, changes in the above mentioned elements of the fountains were as follows. In the fifteenth, sixteenth and seventeenth centuries the ayna taşı which carried the tap was usually plain and set in a classical arched niche. The inscription was located above the tap, and below was the basin flanked by raised platforms. Fountains of these centuries also had water storage tanks. In the eighteenth century, when fountains built of hewn stone made way for marble, this type of façade altered, as the ayna taşı began to acquire a lavish repertoire of carved decoration, including roses, vases of flowers, and plates of fruit set in decorative arches. The formerly deep alcove niches became much shallower, and baroque style shell motifs appeared for the first time. Other changes also took place in fountain architecture in the eighteenth century. The fountain became taller, and the section bearing the inscription became a separate part of the façade, which was sometimes shaded by baroque style eaves.
The first examples of the combined sebil (kiosk for the distribution of drinking water to passers-by in cups) and fountain in a single structure appeared in the seventeenth century (Hatice Turhan Valide Sultan Fountain and Sebil, 1663), and became more common in the eighteenth century. Similarly the monumental meydan fountains-independent structures designed like pavilions-became fashionable, such as Ahmed III Fountain in front of the Imperial Gate at Topkapı Palace.
In the nineteenth century, with a more reliable supply of mains water, fountains no longer needed storage tanks, and this sparked off new designs. Among these were fountains with neo-classical façades.
In the very early period most fountains had had permanently running spouts, but when the Kırkçeşme system was being built during the reign of Süleyman the Magnificent taps which could be turned on and off as required were introduced, so preventing both the wastage of water and permanently muddy streets.
Fountains were diverse, both as regards their structures and their functions, and twentieth century writers on the subject have classified them in numerous different ways. Often the name of a fountain tells its own story, as in the case of the Ayrılık Çeşmesi (Fountain of Departure) which was situated at the point where those accompanying the imperial procession to Mecca, the army setting out on campaign and caravans heading eastwards, and pilgrims to Mecca bade farewell to their loved ones when departing from Istanbul. Similarly, Sel'mi Çeşme was a fountain at another point where travellers arriving in the city were welcomed (selam meaning greeting), and also departed. Bostancı Fountain was named after the bostancıbaşı, the head of the security organisation which checked arrivals and departures from the city. Others referred to characteristics of the fountain itself, such as those known as Çatal Çeşme (fork fountain), which were usually situated at corners and had two or three faces, each with its own tap facing in a different direction. In this study they have been classified undere the following headings according to their positions and purpose.
Wall Fountains
These are fountains built into the walls of buildings, gardens or courtyards. Their storage tanks, where these exist, are located behind the wall. They are also referred to as single-face or façade fountains.These were built in various styles between the fifteenth and early twentieth centuries.
Corner Fountains
Fountains on street corners mainly had a single face in earlier centuries, but in later times examples with two or three faces were constructed. Since the corner edges were liable to get knocked and damaged by laden carts and other vehicles, these were often bevelled up to a certain height, a feature known as çalköşe.
Meydan (Freestanding) Fountains
Located in squares and parade fields, this type of fountain is a freestanding building in the form of a miniature köşk or pavilion. They were an innovation of the eighteenth century and among the earliest examples of western influence on Ottoman architecture. In general they had four sides. Elaborate examples like the monumental Ahmet III Fountain outside the main entrance of Topkapı Palace built in 1728 had sebils at the corners where passers-by could drink water from cups filled by attendants, as well as taps for filling large water containers. Some of the meydan fountains had taps in a single face (such as Mahmud II Fountain in Boyacıköy dated 1837) or two faces (such as Hekimoğlu Ali Paşa Meydan Fountain in Kabataş dated 1732, and Saliha Sultan Fountain in Azapkapı dated 1732).
Fountains Designed as Part of Sebils
Sebils were kiosks where water, sweetend fruit drinks known as şerbet and fruit juice was distributed to passersby. The earliest example in Istanbul is Efdalzade Sebil dated 1496 (Kumbaracılar 1938; Ünsal 1986; Urfalıoğlu 1989).
Just as meydan fountains sometimes incorporated sebils, so sebils sometimes incorporated fountains, and the two types converged if the building was freestanding. The earliest surviving example of this type is the Hatice Turhan Valide Sultan Sebil and Fountain dating from 1663. This type was particularly popular in the eighteenth century, leading some researchers to regard it as a distinguishing characteristic of this period.
Although the existence of an earlier example in the seventeenth century- Hatice Turhan Valide Sultan Sebil and Fountain-demonstrates that as a type it did originate prior to the eighteenth century, the fact that this is the only surviving example makes it difficult to determine how widespread such fountains were in the seventeenth century.
Sebils incorporating fountains, which first appear in the seventeenth century, were usually designed with fountains to one side (Hatice Turhan Valide Sultan Sebil 1663, Sadeddin Efendi Sebil 1741, and Damat İbrahim Paşa Sebil 1719) or on both sides (Hamidiye Sebil 1777 and Koca Ragıp Paşa Sebil 1762), fountain and sebil forming a unified architectural composition. In most instances they were located at the main entrance gate to mosque complexes (Hasan Paşa Sebil 1745, Ahmediye Sebil 1721), or at prominent street corners (Beşir Ağa Sebil 1745) providing visual emphasis and architectural focal points in the form of a selfcontained monumental feature. With the emergence of the monumental meydan fountain in the eighteenth century, the sebil was used as an element which lent a further enrichening element to the design (Ahmed III Fountain at Topkapı Palace, 1728, and Saliha Sultan Fountain 1732).
Namazg'h Fountains
A namazg'h was an open-air prayer terrace constructed for the use both of travellers on caravan routes, and at excursion places on the outskirts of cities. Fountains next to these provided the water which worshippers needed to perform their ritual ablutions before praying and water for them and their animals to drink. There are very few surviving examples of namazg'h fountains, in which the prayer terrace was constructed on top of the fountain's storage tank (Esma Sultan Namazg'h Fountain in Kadırga, Bezmi'lem Valide Sultan Namazg'h and Abdülmecid Han Fountain in Yeşilköy, Sadrazam Mehmed Paşa Fountain at Topçular between Edirnekapı and Rami, and Uzun Çeşme in Kasımpaşa). Our knowledge of these fountains and their architecture is limited in scope. However, from maps of Istanbul's water systems and engravings we see that fountains at halting points had broad eaves to protect those using them from rain, snow and sun, and architecturally resembled urban fountains with troughs beneath the taps. In some cases the namazg'h platform was situated on top of the fountain itself (Anadoluhisarı Fountain, seventeenth century, Esma Sultan Fountain in Kadırga 1779), or the mihrap stone (indicating the direction of Mecca) was incorporated into the fountain structure (Vezir Mehmed Paşa Fountain opposite Sulukule Gate outside the city walls 1589).
Those namazg'h fountains which once existed in Istanbul and its outlying suburbs which we have been able to identify, including the few still standing, are as follows: Üçler Mevkisi Namazg'h Fountain west of Atmeydanı (1516), Çeşmebaşı Namazg'h Fountain in Bayrampaşa, Vezir Mehmed Paşa Namazg'h Fountain (1589) opposite Sulukule Gate outside the city walls at the edge of the Edirnekapı-Topkapı road, Sadrazam Mehmed Paşa Namazg'h Fountain (1617) at Topçular between Edirnekapı and Rami, Kasımpaşa Uzun Çeşme (date uncertain), Okmeydanı Namazg'h Fountain (date uncertain), the fountain beside Bezmi'lem Valide Sultan Namazg'h in Maçka (1839), Abdülmecid Han Fountain at Bezmi'lem Valide Sultan Namazg'h in Yeşilköy (1842), Çatal Çeşme in Suadiye (1550), Toplarönü Namazg'h Fountain in Anadoluhisarı (seventeenth century), Mehmed Bey Namazg'h Fountain at Sultaniye Meadow in Beykoz (1765), Ahmet Ağa (Ayrılık) Fountain in Haydarpaşa (1741), Sel'mi Çeşme Fountain in Kadıköy (1800), Sultan Mahmud II Han Namazg'h Fountain in Bostancı (1831), and Adile Sultan Fountain in Dudullu (originally built in 1730 and renovated in 1891).
Although most of the fountains built at former menzil points (halting points for caravans) in the Asian districts of Istanbul were still standing in their original locations until recent years, their namazg'h terraces have been demolished in the course of new building. The fountains which remain are often hardly noticeable, squeezed between new buildings, as in the case of Mahmud II Han Fountain in Bostancı, Ahmet Ağa (Ayrılık) Fountain in Haydarpaşa, and Sel'mi Çeşme Fountain in Kadıköy.
Indoor Fountains
Indoor fountains in palaces and mansions served multiple functions. As well as being sources of water for washing and ritual ablutions the sound of running water was a pleasant feature lending a mood of tranquility, and in addition served to prevent eavesdroppers from overhearing confidential conversations, and provided a decorative feature in the room. Indoor fountains were supplied either from the public water system, or by privately owned water lines (mülk suları). They featured in buildings from the fifteenth century onwards.
Column Fountains
This type of fountain in the form of single columns became fashionable from the eighteenth century onwards, and examples are to be seen in diverse settings ranging from mosque courtyards to quayside squares. The earliest example is Hacı Beşir Ağa Fountain (1737), in the courtyard of Kocamustafapaşa Mosque, although the majority date from the nineteenth century. The columns sometimes had finials in the form of stylised cabbages (Çengelköy Lahana Fountain). They reflect the fact that the large water storage tanks of earlier times were no longer needed thanks to new and more reliable mains water lines which could supply the fountain tap directly. Inspiration for the column design was almost certainly of Western derivation, and probably set out to provide Istanbul with an equivalent of the monumental statues which adorned European cities. Conceptually they took over the role of the meydan fountains as striking focal points of urban squares. Examples are the Mahmud II Fountain in Tarabya (1831) and Kavacık Fountain (1837).
Selsebils
The selsebil was an ornamental cascade fountain located in gardens of grand homes. The marble basins of graduated size were set into an upright slab of stone known as the zank taşı. The water poured either into a final large basin or garden pool.
These structures were not intended to supply water needs, but as a decorative architectural feature enhancing the space where they were located. Those in interior spaces, like room fountains, were intended partly to create a pleasant splashing sound of water in the room and at the same time make it possible to hold private conversations without being overheard while also serving an air conditioning function by cooling the air. Those located in the openair of pavilions and waterfront houses had similar functions, and in addition provided water for birds.
Sultanahmet Fountain (III. Ahmet Fountain) :
Also known as Ahmet III Fountain, it lies in front of Bab-I Humayun, the gate of Topkapi Palace. Considered an artistic masterpiece, it is intricately decorated with wooden eaves, masonry and bronze calligraphy. It is altogether different to the period’s more classical, modest style, and became a unique example of an elegant, rich beauty.
Üsküdar III. Ahmet Fountain :
Situated in the main square by the pier in Uskudar, it was constructed in 1728. This four sided fountain has a wooden ceiling, and is considered an architectural masterpiece because of its calligraphy, masonry and poetic art.
German Fountain :
Contructed in Germany to mark German Emperor Wilhelm II’s second visit to Istanbul, it was imported and officially opened on January 1 1901, lying in Sultanahmet Square. The fountain’s three domes are decorated with gold mosaics.
Tophane Fountain :
Located in Tophane Maydani, Mahmut I’s senior architect, Mehmet Aga was appoint to construct this in 1732.
Beykoz Ishak Ağa Fountain :
Situated in the Beykoz area of Istanbul, this is one of the most beautiful fountain monuments in Turkey.
Ayazma Fountain :
In the Ayazma Camii courtyard in Uskudar, this fountain was commissioned by Mustafa III during the 18th century, and holds architectural characteristics typical of the period.
Azapkapı Saliha Sultan Fountain :
Constructed under the orders of Sultan Mahmut I, this was built in the memory of his mother, Saliha Sultan in 1732.
Göksu Fountain :
The building of this was commissioned by the wife of Sultan Mustafa III, and the mother of Selim III, Mihrisah Sultan.
Esma Sultan Fountain :
The daughter of Ahmet III, Esma Sultan, ordered the building of this in 1799, and is built on a square design.
Mausoleums of Istanbul:
Hagia Sophia Mausoleums, III. Murat Mausoleum, III. Mehmet Mausoleum, Mimar Sinan Mausoleum, Barbaros Hayrettin Paşa Mausoleum, Sultan II. Mahmut Mausoleum should be visited.
Source : http://www.kultur.gov.tr
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