It is located on the promontory of the historical peninsula in Istanbul which overlooks both the Marmara Sea and the Istanbul strait. The walls enclosing the palace grounds, the main gate on the land side and the first buildings were constructed during the time of Fatih Sultan Mehmet (the Conqueror) (1451 – 81). The palace has taken its present layout with the addition of new structures in the later centuries. Topkap Palace was the official residence of the Ottoman Sultans, starting with Fatih Sultan Mehmet until 1856, when Abdulmecid moved to the Dolmabahce palace, functioned as the administrative centre of the state. The Enderun section also gained importance as a school.

The main exterior gate of the Topkap Palace is the Imperial Gate (Bab- Humayun) 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 cinili Kosk built by Fatih, which is now used as the Museum of Turkish Tiles and Ceramics. On the walls of this outer garden facing Bab- ali (the Imperial Gate), there is Alay Kosku (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 Gulhane 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 Kubbealt and the Inner Treasury. Behind Kubbealt rises the Justice Tower, which is one of the symbols of the Topkap 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’us 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 Akagalar, which guard Bab’us 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 Akagalar 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 Ibrahim Patio and another one of the symbols of Topkap palace, the Iftariye (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), Basbala Tower and Hekimbas (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 Topkap 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 Topkap 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.

Topkap 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 Topkap Palace Museum

Tel : (0212) 522 44 22 / 512 04 80-5 lines

Fax : (0212) 528 59 91

Visions of Topkap Palace 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 m). 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: Buyuk Saray Mozaikleri Muzesi

Torun Sok. Arasta carss Sultanahmet – ISTANBUL

Tel: 0212 518 12 05

Fax: 0212 512 54 74

RELIGIOUS MONUMENTS

Small St.Sofia Mosque – Ss. Sergius and Bacchus Church

Small St. Sofia Mosque is located between Cankurtaran and Kadrga quarters in Eminonu 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 Istanbul 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 Istanbul, the building, which was used as a church for nearly 1000 years, was changed to a mosque by Huseyin 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 (Muller – Weiner 1977). And after the Latin invasion, the inner ornament needed to be restored (Paolesi 1961).

In 1054, Huseyin 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 Istanbul, which is located on an important seismic zone. Thus, it is certain that Small St. Irene Mosque lived more earthquakes (N. camlbel 1991). It was stated that in Huseyin Agha’s foundations (the Kapu Agha), the plasters fell and the windows at north and south were broken in the earthquake of 1968 and most part of the building was damaged in the earthquake of 1763; and the restoration works of the building were given to Ahmet Agha (S. Eyice, 1978).

In 1870 – 1871, a railway was established in the region between the building and the northern sea ramparts in a manner to pass 5 km away from the building. The railway, which is at an altitude of 1 m. from the ground level, served as single line for nearly 50 years. According to the sources, as the stones of the southern walls fell at each pass of the train, a wall in the Ottoman style was laid in 1877 (Mathews 1971). At the beginning of the 20th century, the railway was made double lined by increasing 3 m from the ground level.

The building, which was used as a sheltering place during Balkan War by the people who escaped from the war, was restored twice in 1937 and 1955, in the Republic Period (S. Eyice, 1978). The front of the building, which was known to be plastered and whitewashed, was restored after 1955 and brick and stone lays were made to be visible at all fronts except the drum of cupola.

There are some cracks at north – east and south – east sides, especially at exedras of the building, which is today used as a mosque. These continuous cracks begin from the cupola, pass the gallery vaults and go up to the outer walls of the building. The necessary activities should be carried out in order to find the occurring reason of these cracks and to repair them.

St. Irene, which is located on the 1st courtyard of Topkap 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 Istanbul 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 Muze-i Humayun (Empire Museum) in 1869. The works exhibited here were moved to cinili Kosk (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

RUMELIHISAR MUSEUM-YEDIKULEHISAR 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 Yedikulehisar museum which was mainly repaired during 1962-1968 as monument-museum, and also to repair Anadoluhisar in the same way and take it into service.

Anadoluhisar

The castle covering seven acre area and giving its name to the location was built by Sultan Beyazid I (Yldrm) as the front military station of Ottoman in 1395. The building was added “Hisarpence”, 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 Hisar is within borders of Beykoz Municipality. There are no movable cultural assets in the castle. It has not been opened for visits.

Rumelihisar

Located within borders of Saryer district and gave its name to the location, covering 30.000 m areas. There is a monument-art built in the narrowest part and flowing (600m) section of the Istanbul Bosphoreus just opposite Anadoluhisar. 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 (Istinye). The names of Rumelihisar are: Kulle-i Cedide in Fatih Charities; Yenice Hisar in Nesri period history; Bogazkesen Castle in Kemalpasazade, Askpsazade and Nisanc histories. Although Dukas confused about the names and used as Kefalokoptis, no one else except him used this name.

According to two inscriptions in Buyuk Zaganos Tower and Kucuk Zaganos Pasha Tower, the castle was built in about four month period which is a considerably short period. In the art book called “serh-i Tecriiyd-i Ataik” in suleymaniye Library, it is said that the building had been completed in (139) days.
The timbers used in building were from Izmit and Black sea Eregli; 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 m areas is about 57.700 m. Mountain Gate, Dizdar Gate, Hisarpence Gate and Sel Gate are four main gates and it also has a secondary gate called Mezarlk Gate.

It has Saruca Pasha, Halil Pasha and Zaganos Pasha, three old and junior Zaganas 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-Eyuboglu 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 Halic (Golden Horn) are exhibited in the garden.

Rumelihisar Museum

Open between 09.00-16.30 everyday except Wednesdays.

Yahya Kemal cad. No: 42 80830 Rumelihisar-Istanbul

Tel: 0-212-2635305

Fax: 0-212-2650410

Yedikule hisar

Yedikule hisar 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.

Yedikulehisar Museum

Open between 9.00-16.30 everyday except Wednesdays.

Kule Meydan No:4 Yedikule-ISTANBUL

Tel: 0-212-5858933

MUSEUM OF CLASSICAL OTTOMAN (DIVAN) LITERATURE (GALATA MEVLEVI LODGE)

The Galata Mevlevi Lodge (mevlevihane) or as it is also known the Kulekap 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 Yuksekkaldrm is the oldest Mevlevi Lodge of Istanbul. It was built in 1491, on the hunting grounds of Iskender Pasha who was a governor – general during the times of Sultan Bayezid. Its first master was Mehmet Mehmed Sema-i celebi. 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 Abdullmecid. 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 (seyh), 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 Abdulmecid 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 seyh Galib, Ismail Ankaravi, Esrar and Fasih Dedes and the poetess Leyla Hanm who were trained and educated at the Mevlevi Lodge are kept in chronological order. The quarters of the master (seyh) 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
seyh Galib Mausoleum; It was built by Halet Said Efendi at the beginning of the 19th century. It has a square plan. Mehmed Ruhi, Huseyin, Isa Selim, sarih-, Ismail Ankaravi who first annotated the Mesnevi and seyh 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, seyh Kudretullah, Ataullah Efendi, Halet Said Efendi and Emine Esma Hanm 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 (seyh) 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 Humbarac Ahmed Pasha, Ibrahim Muteeferrika who set up the first printing press in Turkey, the composer Vardakosta Seyyid Ahmet Aga, Nayi Osman Dede, and the family members of Tepedelenli Ali Pasha are also here. The tomb stones are significant for their inscriptions and decorations.

The Galata Mevlevi Lodge (mevlevihane) or as it is also known the Kulekap 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 Yuksekkaldrm is the oldest Mevlevi Lodge of Istanbul. It was built in 1491, on the hunting grounds of Iskender Pasha who was a governor – general during the times of Sultan Bayezid. Its first master was Mehmet Mehmed Sema-i celebi. 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 Abdullmecid. 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 (seyh), 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 enterence door of this wood structured section there is the restoration statement of Sultan Abdulmecid dated 1853. The building has an octagonal plan and is 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 seyh Galib, Ismail Ankaravi, Esrar and Fasih Dedes and the poetess Leyla Hanm who were trained and educated at the Mevlevi Lodge are kept in chronological order. The quarters of the master (seyh) 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
seyh Galib Mausoleum; It was built by Halet Said Efendi at the beginning of the 19th century. It has a square plan. Mehmed Ruhi, Huseyin, Isa Selim, sarih-, Ismail Ankaravi who first annotated the Mesnevi and seyh 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, seyh Kudretullah, Ataullah Efendi, Halet Said Efendi and Emine Esma Hanm 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 (seyh) 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 Humbarac Ahmed Pasha, Ibrahim Muteeferrika who set up the first printing press in Turkey, the composer Vardakosta Seyyid Ahmet Aga, Nayi Osman Dede, and the family members of Tepedelenli Ali Pasha are also here. The tomb stones are significant for their inscriptions and decorations.

IMRAHOR MONUMENT

ST. STUDIOS MONASTERY

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 Ilyas 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. Aya Sofya Museum can be visited upon permission of directorate

It is in Fatih – carsamba quarter of Istanbul. 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.

KARIYE (CARIA) MUSEUM

Kariye is located at Edirnekap section of Istanbul. 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 facade, 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 facade. 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 facades are given plasticity and movement with round arches, half braces, niches and rows of stone and brick. The eastern facade 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 Istanbul but was converted into a mosque in 1511 by the Visier Grand Hadm 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 Istanbul 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.