TOPKAPI PALACE MUSEUM / KITCHENS

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'42.2"N 28°59'04.0"E / 41.011722, 28.984432

Second Courtyard



PHOTOGRAPHS ALBUM

Palace Kitchen can be entered through the three doors on the second yard’s porticos. First door is Kiler-i Amire Kapısı. The one in the middle is Has Mutfak Kapısı. The last and most near one of the doors to Bab-üs-Saade is Helvahane Kapısı. Mutfaklar is a street like other service units; introvert and independent. There; instead of yard; there is a long service path with fringes on both sides. The kitchens included dormitories, baths and a mosque for the employees, most of which have disappeared over time.

The Palace Kitchens also referred to as the Main Kitchen (Mâtbah-ı Âmire) serving the Sultan, the people of the Enderûn and the Harem open onto the Second Courtyard through the doors of the Main Pantry (Kiler-i Âmire), the Privy Kitchen (Has Mutfak) and the kitchen section where desserts and candies were made, the Helvahâne which are situated in the rear of the cloisters.

The elongated Palace Kitchens (Saray Mutfakları) are a prominent feature of the palace. Some of the kitchens were first built in the 15th century at the time when the palace was constructed. They were modeled on the kitchens of the Sultan's palace at Edirne. They were enlarged during the reign of Sultan Süleyman the Magnificent but burned down in 1574. The kitchens were remodeled and brought up to date according to the needs of the day by the court architect Mimar Sinan.

The kitchens consisting of ten sections were built in the 15th century and developed and enlarged during the 16th century under the reign of Sultan Süleyman the Magnificent. They were restored after the fire of 1574 by Chief Architect Mimar Sinan. The low-domed structures located to the south of the kitchens date from the 15th century. The walls are built of stone and the covering system is made of brick.

Rebuilt to the old plan by Sinan, they form two rows of twenty wide chimneys (added by Sinan), rising like stacks from a ship from domes on octagonal drums. The kitchens are arranged on an internal street stretching between the Second Courtyard and the Sea of Marmara. The entrance to this section is through the three doors in the portico of the Second Courtyard: the Imperial commissariat (lower kitchen) door, imperial kitchen door and the confectionery kitchen door.

The palace kitchens consist of ten domed buildings: Imperial kitchen, Enderun (palace school), Harem (women’s quarters), Birun (outer service section of the palace), kitchens, beverages kitchen, confectionery kitchen, creamery, storerooms and rooms for the cooks. They were the largest kitchens in the Ottoman Empire. The meals for the Sultan, the residents of the Harem, Enderun and Birun (the inner and outer services of the palace) were prepared here.

Located in the Divan Courtyard of the palace on the sea aspect of the site. These were built by Mimar Sinan to replace the earlier kitchens. Viewed from the sea side the kitchens 172 meters in length, form a distinctive line of the palace silhouette. Comprising of 10 sections each roofed by 10 domes, the chimneys over the domes give them a distinct and beautiful line. Providing meals for thousands of people daily, the kitchens' cooks cooked separately for the Sultan, his mother, and the ladies of the Harem as well as for other officials of the palace.

These kitchens having ten rooms, was cooking meal for Birun and Enderûn. Mutfak personnel, used to prepare rich fast meals for Ulufe and Festivals. Mutfaklar beginning from the south; was reserved for the palace dwellers and workers,in turn. The first one was the Sultan’s kitchen and was cooking various kinds of foods for one person. Serçini, the chef, was preparing food for the Sultan with other twelve skilled cook. Serçini was responsible for the porcelain dinner sets which are used for the Sultan and delegates reception.

For the kitchens of the palace, from the different places of the empire; qualified material, alive animals, fruits and vegetables and spices used to be provided. Matbah-ı Amire Emini who is responsible for the kitchens, was having a high rank which is close to viziership. Kitchens used to hold a good amount of employees. And Helvacıbaşı was leading the service together with a crowded stuff of people when preparing the deserts. All the dismissals and appointments of all these stuff whom works under directive of Kilercibaşı in Enderun, was managed by him.

These places’ present day use is like that; upon entering the Kiler-i Amire Kapısı, Vekilharç Dairesi which is at the right hand side; being restored; serves as Museum Workshops. Photography Workshop and Textiles Conservation Workshop is also situated in this building. After restorations, Kiler and Yağhane binası functions as Museum Palace Archive. Aşçılar Mescidi with its two floors, beside the oil house structure, is still conserved, but not allowed for visits.

Placed on three sides of an elongated inner courtyard are the Sherbet and Jam Room (Şerbethane / reçelhane), the Dessert and Candy Room (Helvahane), the kitchens proper, the prayer facility for the kitchen chefs and cooks, the oil house, the pantry which is used today as palace archives, and located across from those is the ward for the chefs and cooks. The Palace Kitchens were also serving food to the high state officials, members of the Imperial Council in session and various other groups forming part of the Palace hierarchy.

The 18th century built Mosque of the Cooks is endowed with a wooden loge. The wooden porches of the kitchens’ service roads and the wooden ward structures have been removed in the framework of the 1920 renovations.

The elongated palace kitchens (Saray Mutfakları) are a prominent feature of the palace. Some of the kitchens were first built in the 15th century at the time when the palace was constructed. They were modeled on the kitchens of Edirne Palace. They were enlarged during the reign of Sultan Süleyman the Magnificent but burned down in 1574. The kitchens were remodeled and brought up to date according to the needs of the day by the court architect Mimar Sinan.

Rebuilt to the old plan by Sinan, they form two rows of 20 wide chimneys (added by Sinan), rising like stacks from a ship from domes on octagonal drums. The kitchens are arranged on an internal street stretching between the Second Courtyard and the Sea of Marmara. The entrance to this section is through the three doors in the portico of the Second Courtyard: the Imperial commissariat (lower kitchen) door, imperial kitchen door and the confectionery kitchen door.

The palace kitchens consist of 10 domed buildings: Imperial kitchen, (palace school), Harem (women’s quarters), Birûn (outer service section of the palace), kitchens, beverages kitchen, confectionery kitchen, creamery, storerooms and rooms for the cooks. They were the largest kitchens in the Ottoman Empire.

The meals for the Sultan, the residents of the Harem, Enderûn and Birûn (the inner and outer services of the palace) were prepared here. Food was prepared for about 4,000 people. The kitchen staff consisted of more than 800 people, rising to 1,000 on religious holidays. As many as 6,000 meals a day could be prepared. Even the serving of food to the sultan was strictly regulated by protocol.

HELVAHANE

PHOTOGRAPHS ALBUM

The "Helvahane" (kitchen for the preparation of desserts), which is a small building neighbouring the court kitchen, has 4 domes and dates from the reign of Sultan Süleyman I, being built by the famous architect Sinan. Its present apperance is the result of its restoration in 1945. In the first room, entering from outside, are displayed the old bronze and copper kitchen utensils of the helvahane, in which various desserts were prepared.

Here can be seen cauldrons and pots in gigantic sizes, as well as marvellous gold and silver-plated jugs, mugs and other items. The dorms of the helvacı, cook and tablakar’s, is being used as exhibition hall of the museum. The building which is built by the dorm of cooks, used to be exhibiting crystals, European porcelains and silvers. Apart from exhibiting kitchen utensils, today the buildings contain a silver gifts and utensils collection, as well as large collections of Chinese blue-and-white, white, and celadon porcelain.

The Dessert and Candy Room (Helvahane), dating from the time of Süleyman the Magnificent, has four sections. There is a foundation inscription dated 1767 to the right of the entrance, and a fountain. This fountain and the Kelime-i Tevhid (The Word of Unity: Islamic declaration of faith in the oneness of God) inscription on the door are believed to date from the repairs carried out ulterior to 1574.

One accedes from the Dessert and Candy Room (Helvahane) into the Sherbet & Jam Room (Şerbethane / reçelhane) situated on the short edge of the courtyard. There is an inscription on this gate regarding a repair work conducted at the structure, mentioning Hadji Mehmet Agha's name and the date of 1699.  The doors in kündekâri style, i.e. made of wood carvings with geometrically designed motifs and the concatenated Iznik tiles belong to the same period.

The dorms of the helvacı, cook and tablakar’s, is being used as exhibition hall of the museum. The building which is built by the dorm of cooks, used to be exhibiting crystals, European porcelains and silvers. In the opposite site, the kitchens are transformed into separate exhibition saloons and exhibiting Chinese and Japanese porcelains.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

TOPKAPI PALACE MUSEUM / WEAPONS COLLECTION

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'45.5"N 28°59'01.4"E / 41.012653, 28.983724

Second Courtyard

EXTERIOR TREASURY BUILDING



PHOTOGRAPHS ALBUM

The present Armory Exhibition Hall in the Topkapı Palace in Istanbul was formerly the Inner Treasury of the Ottoman Empire. It is a hall built of stone and brick with eight domes, each 5 x 11.40 m. It was transformed into a museum in 1928, displaying a rich collection of about 400 weapons (dating between the 7th and the 19th c.) from several countries, including swords of many sultans.

The Exterior Treasury building, which is currently used as Weapon Section, was initially constructed under Sultan Mehmet II (the Conqueror) (1451-81), and later demolished along with the former Council Hall and replaced by a new building erected between 1526 and 1528 during the time of Sultan Süleyman the Magnificent. The structure is covered with eight domes resting on three big buttresses pillars.

The Outer Treasury building has been used as official state treasury up until mid-19th century. The taxes levied from the country and from the provinces, resources originating from military campaigns, the furs and caftans to be bestowed upon ambassadors (hil’at), silk and gold brocade robes, sable-lynx furs and the old registers of the Council Hall were safe-kept in this building.

The trimonthly salaries (ulûfe) of the janissaries and cavalry soldiers (Sipahi) and the military campaign and navy expenditures, and the salaries of civil servants of the central administration were borne by this treasury. The Outer Treasury, which was under the responsibility of the Treasurer (Defterdar) was sealed off and closed by affixing the seal of the Sultan that was conserved by the Grand Vizier. Presently, the building is used as Weapons Section where the different kinds of weapons of different periods are exhibited.

The treasury building with eight domes, situated near the Kubbealtı, is built in the era of Sultan Süleyman the Magnificent. The taxes which are the incomes of the state were kept there. Maliye Defterhanesi, was the place where the Ottoman Sultans’ gifts called “hilat” which is a precious "kaftan" for the girls or women who is a member of Sultan’s harem and the delegates.

The structure which is known to be having a large fringe on exterior in 16th and 17th century was used by the treasury officials and keepers when putting the money into bags on the days of "ulufe". Interior treasury department with its two floors was very well-secured. Treasury which is under responsibility of the district treasurer would be opened when needed and would be stamped by the Sultan’s stamp which is kept by grand vizier.

This treasury was used to finance the administration of the state. The kaftans given as presents to the viziers, ambassadors and residents of the palace by the financial department and the sultan and other valuable objects were also stored here. The janissaries were paid their quarterly wages (called uluefe) from this treasury, which was closed by the imperial seal entrusted to the grand vizier.

Also located outside the treasury building is a target stone (Nişan Taşı), which is over 2 meters tall. This stone was erected in commemoration of a record rifle shot by Sultan Selim III in 1790. It was brought to the palace from Levend in the 1930s. During excavations in 1937 in front of this building, remains of a religious Byzantine building dating from the fifth century were found. Since it could not be identified with any of the churches known to have been built on the palace site, it is now known as "the Basilica of the Topkapı Palace" or simply Palace Basilica.

The building in which the arms and armour are exhibited was originally one of the palace treasuries (Divan-ı Hümayün Hazinesi / Hazine-ı Amire). Since there was another "inner" treasury in the Third Courtyard, this one was also called outer treasury (dış hazine). Although it contains no dated inscriptions, its construction technique and plan suggest that it was built at the end of the 15th century during the reign of Sultan Süleyman I. It subsequently underwent numerous alterations and renovations.

WEAPONS EXHIBITION HALL

In 1846, at the initiative of Fethi Ahmed Pasha, the Commander of the Cannon Foundry (Tophane), the Church of Hagia Eirene was reorganized so as to form Turkeys first museum, the Collection of Ancient Weapons and the Collection of Antiquities (Mecma-ı Esliha-ı Atika ve Mecma-ı Asar-ı Atika). The museums weaponry was kept here until Topkapı Palace began to be used as a museum in the early 20th century. These weapons would later form the basis of the Military Museums collections, which are among the richest such collections in the world.

The present Armory Exhibition Hall in the Topkapı Palace in Istanbul was formerly the Inner Treasury of the Ottoman Empire. The building with windows and situated next to the Divan is one of the oldest structures of the Topkapı Palace. It is long wing, covered with eight domes of equal size.  It is a hall built of stone and brick with eight domes, each 5 x 11.40 m. Domes are supported by three massive pillars.

Throughout the centuries the treasury of the vast empire was stored here. The treasury was made up of the Sultan's personal possessions, as well as gifts given by European, African and Far Eastern countries. In 1928, four years after the Topkapı Palace was converted into a museum, its collection of arms and armour was put on exhibition in this building.

WEAPONS COLLECTION

PHOTOGRAPHS ALBUM

Covering 1,300 years and consisting of 52,000 weapons of Arab, Umayyad, Abbasid, Mamluk, Persian, Turkish, Crimean Tartar, Indian, European, and Japanese origin, the Topkapı Palace Museums weaponry collection is also among the world's premier weapons collections. The collection is made up in part of weapons transferred from the cebehane and those used by the palace guards; however, the collections most noteworthy section consists of those weapons ordered by the sultan personally or specially made as gifts for him, which weapons are a part of the palaces private collection.

This collection includes weaponry owned by such Sultans as Mehmed II, Bayezid II, Sultans Selim the Grim, Suleiman the Magnificent, Sultans Selim II, Sultans Mehmed II, and Sultans Ahmed I, as well as the weapons of such high-level dignitaries as grand viziers, pashas, and palace chamberlains; all of these weapons are eye-catching with their fine craftsmanship and decorations. An additional factor that contributed to the diversification of the collections highly artistic weaponry was the tradition of bringing to the palace the weapons of important figures that were obtained through plunder.

The needs of the Ottoman Army, involved as it was in constant warfare and conquests, were many varied. Arms and armor were provided by the weapon-makers of the empire, and kept carefully maintained in large armories in the major urban centers. The weaponry used by the Ottoman army was manufactured in various workshops and stored in armories called cebehane, where their maintenance and repairs would also be done. The first Ottoman cebehane was established in Edirne. Following the conquest of Constantinople, Sultan Mehmed II converted the Church of Hagia Eirene in Topkapı Palaces First Courtyard into a cebehane, for which purpose this building would continue to be used until the late 19th century.

The most valuable weapons acquired as trophies, many of them encrusted with precious stones or made of precious metals, and those once belonging to persons of importance were kept in the palace, alongside arms acquired by requisition or presented to the courts as gifts, and others belonging to the viziers and palace guards. They were stored in the palace treasuries under the supervision of the imperial treasurer or Hazinedar and the chief sword-bearer or Silahtar Ağa.

Arms bearing a sacred significance in the Islamic world, especially those belonging to important religious figures, were preserved with particular care, hence the excellent state of much of the collection which is based on the weapons kept in the palace, the contents of the armory having later being transferred to the Military Museum.

A significant part of the palace collection was shown for the first time in the privy treasury in the second court of the palace in 1929. The original display was removed in 1966, to be replaced by a new display of arms three years later. Among the most notable example of weaponry in the collection are those o Arab, Mameluke, Iranian and Turkish origin, which are here classified according to the type of arms and their major characteristics.

Today, approximately 400 differents arms of various countries are displayed here. They date from the 7th century to the 19th century. Turkish, Arabic and Persian swords, daggers, helmets, sceptres, chain armour, shields, bows, pistols, rifles and arrows are displayed. An Indian shield (16th century) inlaid with mother-of-pearl, and Japanese chain armour with sword, which were given as gifts to Sultan Abdülmecit II in 1891 are very interesting.

Ottoman Sultan's swords displayed along the wall in glass cases are a favourite attractions. Also to be seen in another display are Europeam swords. Ottoman weapons form the bulk of the collection, but it also includes examples of Umayyad and Abbasid swords as well as Mamluk and Persian armour, helmets, swords and axes. A lesser number of European and Asian arms make up the remainder of the collection.

The Arms Collection, which consists primarily of weapons that remained in the palace at the time of its conversion, is one of the richest assemblages of Islamic arms in the world, with examples spanning a period of 1300 years from the 7th to the 20th century. The palace's collection of arms and armour consists of objects manufactured by the Ottomans themselves, or gathered from foreign conquests, or given as presents.

The collection also contains number of Turkish jereed sticks used in (a kind of mounted darts) , horse arms (head pieces), medieval ceremoni swords, the swords and guns of Daghestan from the Crimea, Japanes swords and helmets and Europe, swords, guns and pistols.

Turkish Arms

The quantity variety of weapons in this group fen the most important part of the collection, including arms dating from the 15th to the 20th century not only of historical, but also of considerable technical, artistic and intrinsic value. The arms of the Ottoman sultans are particularly important for the collection. The typical Turkish sword emerged after some experimentation in the first half of the 15th century as a curved blade or sabre type, the earliest example of which is the sword of Mehmed the Conqueror.

This weapon, which is significant for the collection, is entirely original. The single, slightly curved edge is countered by a broad ridge to the blade which has a channel running down the centre to the tip. When compared with the sword of Selim I we see that the curve in the blade of the latter is slightly more marked, which brings us closer to the noticeable curve of 16th century swords.

It was in the 16th century that the Turkish sword developed to its ultimate if maturity of form, in particular during the reigns of Selim the Grim and Suleyman the Magnificent. We can date the emergence of the short slightly curved double edged sharp-pointed yataghan to the second half of the 16th century.

Turkish chain mail was similar to that of the Mamelukes and was extremely flexible arid light while helmets evolved over the centuries, from the narrow conical type of the 14th and 15th centuries almost all of which had vizors and nap pieces, to a more round-bellied shape towards the end of the 15th century with less pronounced and smaller finial. What we might call the classica1 form was sustained throughout the 16th century and by the end of the century the characteristics of the 17th century type had already been set, with no trace of finial and a brow piece in place of a vizor.

The earliest Turkish guns in the collection date from the beginning of the 17th century. These are the simple matchlock guns which were superceded by the flintlock gun. The latter, also represented in the collection remained little changed until the end of the 19th century but for a narrower but introduced during the 19th century along with a mauser type handle, undoubtedly influenced by European guns. The typical Turkish pistol whether single-or double barrelled, had a ball at the base of the handle.

Maces and halberds, like Iranian and Mameluke Iran arms of that kind in form, were however also to be found in brass and silver. Hatchets too were similar to those of the Mamelukes and Iran, but many had iron shafts. The lances of Turkish spears are generally cane, or hardwood such as ebony.

The history of the bow can be traced far back in Turkish history. Like the sword, arrows were considered sacred and oaths were sworn over them. Renowned as the finest in the world, four distinct materials went into the making of Turkish bows, wood, bone (horn), gut and gum The bows themselves were classified according to their function into three major groups, for hunting, range archer: and war or puta, menzil and tirkes types respectively.

Arrows, which were made o beech, cane or pine are of numerous type again falling into the major groups, such as the range or menzil arrow, a whistling halberdier's or cavus arrow, war or harp arrow and target or hedef arrow. Apart from the common iron or copper shields, there are also a number of Turkish shields made of willow branches twisted round into a spiral. There was no particular form favored by Turkish standards, which were mainly of copper brass, silver or gold.

Arab Swords

This group include the oldest weapons in the collection, also those most venerated in Islam. Dating from the time of the prophet to the 13t century swords belonging to certain Ummayid and Abbasid caliphs, are a similar in type, namely double edge broadswords of which only the blades at generally original, the hilts and cross pieces being later replacements in Mameluke and Turkish styles.

These unique pieces, the like of which are to t found in no other collection throughout the world, are of great importance for Islamic cultural history. They were brought to Istanbul along with a number of relics acquired by Selim I in 1517 on h conquest of Egypt.

Egyptian Mameluke Arms

The are a great number of Mameluke weapons in the collection, many of which a inscribed, and some of particular importance belonging to the Mameluke sultans. We know from the various examples of material and technique used in making of these weapons, which date from the 14th to the 16th centuries, and from the forms themselves that Mameluke weaponry was highly sophisticated in comparison with other contemporary arms.

There were basically two types of Mameluke swords, both represented in the collection, broadswords and sabres (straight and curved blades) , which were used simultaneously from the 14th through the 16th century, although the tendancy one sees among Turkish and Iranian swords of the same period towards the adoption of a single-edged curved blade in place of the earlier double edged broadsword is also discernable among Mameluke arms. The two finest swords of the period are those of the Mameluke Sultans Kayitbay and Kansuh-el-Guri.

Mameluke chain mail is either profiled wrought chain mail or fine, flat link mail, with steel guards under the arms, and breast and back plates, similar to Turkish chain mail of the 15-16th centuries. The flat link mail, being lighter and finer, is notably more serviceable than heavy European chain mails. The Mameluke conical iron helmets are characterized by ear and nape pieces.

The hatchets are single or double bladed with typical crescent-shaped head and round or angled iron shafts. Lances too, unlike Turkish and Iranian lances are iron, as are the Mameluke maces and halberds, all extremely effective weapons. Like Arab arms, these Mameluke weapons w brought to Istanbul after the capture Egypt.

Iranian Arms

Acquired as trophies or gifts, these are highly decorated may be classed among the finest exam of Iranian metalwork. The earliest swords in the collection, pre-dating the 15th century, indicate that like Mameluke Turkish swords these were gener double edged broadswords, tending later (after the 15th century) to be superceded by swords of the single edged sabre type the curved blade narrowing in the century to a sharper point in the scimitar or semsir type. Iranian helmets in collection are typically semi-spherical extended pointed finials and two aigrette mountings towards the front.

Chain mail with steel breast and back plates or characteristic form of armor, although there is also a type consisting of four plates or 'car ayine'. Hatchets are widespread broad-edged type rescent-shaped axe heads, mainly shafted, while the lances are wooden or reed shafted. Bows are composite Vi broad curve and a marked recoil to the arms, and standards, remeniscent of tulips or palmettes in form, are decorated open-work engraving and mounted iron shafts.

LOCATION SATELLITE MAP



WEB SITE : Topkapı Palace Museum Directorate

MORE INFO & CONTACT
E-Mail : topkapisarayimuzesi@kultur.gov.tr
Phone : +90 212 512 0480
Fax : +90 212 526 9840

These scripts and photographs are registered under © Copyright 2017, respected writers and photographers from the internet. All Rights Reserved.

TOPKAPI PALACE MUSEUM / IMPERIAL COUNCIL (DIVAN-I HUMAYUN)

Sultanahmet, Fatih - Istanbul - Turkey

GPS : 41°00'44.1"N 28°59'00.6"E / 41.012244, 28.983486

Second Courtyard



PHOTOGRAPHS ALBUM

The first Council Hall was a wooden structure built under Fatih Sultan Mehmet II (the Conqueror) (1451-1481). The present arcaded structure is the product of the re-construction work conducted in 1527-29 under Sultan Süleyman the Magnificent by Chief Architect Alâeddin and the various successive renovations performed thereafter. The interior walls were marble coated during the 16th century. Certain ornaments and the stalactite column heads and arches of its porch and the symbol of power marble crowned empty archway dates from the 16th century period of the building.

The structure received its present-day appearance through the ornaments added-on during the renovation performed in 1792 under the reign of Sultan Selim III. The archways were closed with gilded grids and doors with rococo reliefs were added-on. One of the two inscriptions in verse on the façade of the building, which underwent a further renovation in 1819 during the reign of Sultan Mahmut II, belongs to Sultan Selim III and the other to Sultan Mahmut II. The arch wall of the Clerk’s Office of the Imperial Council (Divan-i Hümâyûn) bears the monograms of Sultan Mustafa III.

In the early times of the Kanuni Sultan Süleyman (1520-1566) era, built by Mimarbaşı Alaüddin (Acem Ali). The building at the left corner of the yard, in front of the Palace of Justice, is formed of three side-by-side places. At the side of the yard, the first structure having a dome is Divan-ı Hümayun.

The other place connected to this room via a large aperture is Divan-ı Hümayun Kalemi. the room with a dome, opening to this room with a small door is Defterhane. This building is damaged in the 1665 Harem fire and has been renewed by Sultan Mehmet IV. At the face of the structure, the written inscriptions referring to the repairments in the eras of Sultan III. Selim (1789-1807) and Sultan II. Mahmut (1808-1839) can be seen.

The Imperial Council (Dîvan-i Hümâyûn), also called Kubbealtı, consisted of three departments, namely, the Council Chamber as such where state affairs were being discussed, the clerk offices where the decisions taken by the Council were put in writing, and the registry (Defterhane)  where the documents and  decision records were archived. The Imperial Council would convene four days a week.

The council hall has multiple entrances both from inside the palace and from the courtyard. The porch consists of multiple marble and porphyry pillars, with an ornate green and white-coloured wooden ceiling decorated with gold. The floor is covered in marble. The entrances into the hall from outside are in the rococo style, with gilded grills to admit natural light. While the pillars are earlier Ottoman style, the wall paintings and decorations are from the later rococo period.

Inside, the Imperial Council building consists of three adjoining main rooms. Two of the three domed chambers of this building open into the porch and the courtyard. The Divanhane, built with a wooden portico at the corner of the Divan Court (Divan Meydani) in the 15th century, was later used as the mosque of the council but was removed in 1916.

There are three domed chambers : The first chamber where the Imperial Council held its deliberations is the Kubbealtı. The second chamber was occupied by the secretarial staff of the Imperial Divan. In the adjacent third chamber called Defterhāne, records were kept by the head clerks. The last room also served as a document archive.

On its façade are verse inscriptions, which mention the restoration work carried out in 1792 and 1819, namely under Sultan Selim III and Mahmud II. The rococo decorations on the façade and inside the Imperial Council date from this period. The main chamber Kubbealtı is, however, decorated with Ottoman Kütahya tiles. Three long sofas along the sides were the seats for the officials, with a small hearth in the middle. The small gilded ball that hangs from the ceiling represents the earth. It is placed in front of the sultan's window and symbolises him dispensing justice to the world, as well as keeping the powers of his viziers in check.

PERFORMANCE OF DIVAN-I HUMAYUN

Divan-ı Hümayun where the Ottoman Empire is governed, meet in council four times a week (on Saturdays, Sundays, Mondays, Tuesdays). Grand vizier and Kubbealtı Vezirleri which is formed of six or nine persons; constituting the associate members of the Divan; Anadolu and Rumeli Kazaskerleri; sitting on the lounge in front of Kubbealtı, discuss the affairs of the state or result the cases upon listening. Highest rank officers after viziers were the Kazasker’s who are handling the matters of military cases, inheritance cases, legal and religious matters.

After Divan councils, coming before the Sultan, interviewed subjects of the day would be summarized. Divan-ı Hümayun Kalemleri would handle all the administrative affairs of the state similar to present day’s council of ministers. By transfer of government affairs to the Sadrazam Sarayı (Bab-ı Ali) in the late 18th century, Divan forms itself into a function of distributing mevacip to the Kapıkulu Soldiers and accepting the delegates.

In the Imperial Council meetings the political, administrative and religious affairs of the state and important concerns of the citizens were discussed. The Imperial Council normally met four times a week (Saturday, Sunday, Monday and Tuesday) after prayer at dawn. The meetings of the Imperial Council were run according to an elaborate and strict protocol.

Council members such as the Grand Vizier, viziers, chief military officials of the Muslim Judiciary (Kazaskers) of Rumelia and Anatolia, the Minister of Finance or heads of the Treasury (defterdar), the Minister of Foreign Affairs (Reis-ül-Küttab) and sometimes the Grand Müfti (Sheikh ül-İslam) met here to discuss and decide the affairs of state. Other officials who were allowed were the Nişancilar secretaries of the Imperial Council and keepers of the royal monogram (tuğra) and the officials charged with the duty of writing official memoranda (Tezkereciler), and the clerks recording the resolutions.

From the window with the golden grill the Sultan or the Valide Sultan was able to follow deliberations of the council without being noticed. The window could be reached from the imperial quarters in the adjacent Tower of Justice (Adalet Kulesi). When the sultan rapped on the grill or drew the red curtain the Council session was terminated, and the viziers were summoned one by one to the Audience Hall (Arz Odası) to present their reports to the sultan.

All the statesmen, apart from the Grand Vizier, performed their dawn prayers in the Hagia Sophia and entered the Imperial Gate according to their rank, passing through the Gate of Salutation and into the divan chamber, where they would wait for the arrival of the Grand Vizier. The Grand Vizier performed his prayers at home, and was accompanied to the palace by his own attendants. On his arrival there, he was given a ceremonial welcome, and before proceeding to the imperial divan, he would approach the Gate of Felicity and salute it as if paying his respects to the gate of the sultan's house.

He entered the chamber and took his seat directly under the sultan's window and council commenced. Affairs of the state were generally discussed until noon, the members of the Council dined in the chambers after which petitions were heard here. All the members of Ottoman society, men and women of all creeds were granted a hearing. An important ceremony was held to mark the first Imperial Council of each new Grand Vizier, and also to mark his presentation with the Imperial Seal (Mühr-ü Hümayûn).

The most important ceremony took place every three months during the handing out of salaries (ulûfe) to the Janissaries. The reception of foreign dignitaries was normally arranged for the same day, creating an occasion to reflect the wealth and might of the state. Ambassadors were then received by the Grand Vizier in the Council chambers, where a banquet was held in their honour.

From the window with the golden grill, the Sultan or the Valide Sultan was able to follow deliberations of the council without being noticed. The window could be reached from the imperial quarters in the adjacent Tower of Justice (Adalet Kulesi). When the sultan rapped on the grill or drew the red curtain, the Council session was terminated, and the viziers were summoned one by one to the Audience Hall (Arz Odası) to present their reports to the sultan.

THE PRINCIBAL MEMBERS OF THE COUNCIL

The principal members of the Council had become fixed by the time of Sultan Mehmed II at least. The viziers, responsible for political and military affairs, and also liable to be sent on campaign, either under the Sultan or the Grand Vizier, or as commanders themselves. Their number was originally three, but this was raised to four in the mid-16th century, five in 1566, and seven in 1570/1. Their number reached as many as eleven in 1642, but by this time the title of vizier was also held by senior provincial governors (beylerbeys), who did not attend the council. The viziers with the right to attend the Council were designated "viziers of the dome" (kubbe vezirleri) from the dome surmounting the council chamber in the divanhane.

The military judges (kadi'askers), responsible for legal matters. Probably founded under Sultan Murad I, there was only one holder of the post until the late reign of Sultan Mehmed II, when a second was instituted, leading to a division of responsibility between them: one was responsible for Rumeli (the European provinces) and one for Anatolia (the Asian provinces). For brief periods, the existence of a third kadi'asker is attested as well.

The treasurers (defterdars), originally a single office-holder, increased to two (likewise one for Rumelia and one for Anatolia) by 1526, and four from 1578 (Rumelia, Anatolia, Istanbul and the "Danube", i.e. the northern coasts of the Black Sea). Further defterdars served in the provinces. With the decline of state finances from the late 16th century on, their importance increased greatly.

The chancellor (nişancı), possibly one of the most ancient offices, was originally the person who drew the Sultan's seal on documents to make them official. He became the head of an ever-expanding the government secretariat, overseeing the production of official documents.

The members of the Imperial Council represented the pinnacles of their respective specialized careers: the viziers the military-political; the kadi'askers the legal; the defterdars the financial service; and the nişancı the palace scribal service. This was all the more the case after the 16th century, when these careers became—as a general rule—mutually exclusive.

While the latter groups were from the outset recruited mostly from the Muslim Turkish population (although the kadi'askers tended to come from a very limited circle of legal families), the viziers were, after 1453, mostly drawn from Christian converts. These were partly voluntary (including, until the early 16th century, members of Byzantine and other Balkan aristocratic families) but over time the products of the devshirme system, which inducted humble-born youths into the Palace School, came to predominate.

An appointment to the ranks of the Imperial Council was an avenue to great power, influence and enormous wealth, which was matched by equally ostentatious expenditure for, as Colin Imber writes, "the sign of a man's status in Ottoman society was the size of his household and the size of his retinue when he appeared in public", meaning that the members of the Council often kept hundreds, if not thousands, of slaves.

The members of the Council, namely the Grand Vizier, the Kubbealtı Viziers, the Supreme Military Judges of Anatolia and Rumelia (the European part of the Ottoman Empire) would deliberate on state affairs, take decisions   and pronounce judgments on judiciary cases to be submitted to the Sultan as the highest authority. The Sheikh ul-lslam, the chief religious official in the Ottoman Empire, (Şeyhülislam) would, when invited, participate in some important meetings.

Over time, the Council's membership was extended to include additional officials. The beylerbeyi of the Rumeli Eyalet, who was the only provincial governor entitled to a seat in the Council, but only when a matter fell within his jurisdiction. After the post's creation in 1535, the Kapudan Pasha, the commander-in-chief of the Ottoman navy, was also admitted as a member. The Agha of the Janissaries was admitted to the Council if he held the rank of vizier.

In addition, a number of officials attended Council meetings but did not have seats in the chamber and did not take part in the discussions, such as the head of the scribes (reis-ül-küttab), the çavuş başı, the kapıcılar kethüdası, various financial secretaries and palace officials, interpreters (tercüman, whence "dragoman") and police chiefs, each in turn with his own retinue of clerks and assistants.

COUNCIL BUREAUCRACY

An ever-expanding scribal service, under the supervision of the Reis ül-küttab, assisted the members of the Council, preparing the material for its sessions, keeping records of its decisions and creating the necessary documents. As their duties included drafting the state correspondence with other powers, initially they were probably drawn from various milieus, since until the early 16th century the Sultans corresponded with foreign rulers in their own language. After ca. 1520 documents were only drawn up in Turkish, Arabic or Persian, and the service seems to have consisted solely of Muslims.

The main branches of this secretarial service were : The main chancery (divan kalemi or beylik/beylikçi kalemi) under the beylikçi, the senior subordinate of the reis-ül-küttab. This was the office responsible for drafting and publishing all imperial decrees (firman) or ordinances on all issues except for financial ones, and for keeping an archive of the originals of all laws and regulations (kanun) as well as treaties or other documents concerning relations with other states.

The tahvil kalemi, also nişan or kese kalemi, which issued the documents of appointment for the posts of vizier, beylerbeyi, sancakbeyi and provincial kadı, and kept the relevant records. In addition, it dealt with the grant and transfer of timars and ziamets. The ruus kalemi, which was responsible for the appointments of all other civil, military or religious officials beyond those dealt with by the tahvil kalemi. The offices of the master of ceremonies (teşrifatçı) and official court chronicler (vakanüvis) who kept records on ceremonies and history.

A later addition, the amedi or amedci, the chief of staff to the reis-ül-küttab, headed a department responsible for the conduct of foreign affairs, as well as for the liaison between the various government departments and the palace.

Council members such as the Grand Vizier, viziers, chief military officials of the Muslim Judiciary (Kazaskers) of Rumelia and Anatolia, the Minister of Finance or heads of the Treasury (defterdar), the Minister of Foreign Affairs (Reis-ül-Küttab) and sometimes the Grand Müfti (Sheikh ül-İslam) met here to discuss and decide the affairs of state. Other officials who were allowed were the Nişancilar secretaries of the Imperial Council and keepers of the royal monogram (tuğra) and the officials charged with the duty of writing official memoranda (Tezkereciler), and the clerks recording the resolutions.

Other officers of the Council were, the officer in charge of affixing the monogram of the Sultan on decrees and other official documents: nişancı; the treasurer: defterdar; the Head of the Clerks and Foreign Minister: Reis-ül Küttab; the writers of official communications/messages, permits, licenses and certificates: tezkereciler and the clerks: kâtipler.  At these meetings, the state's political, administrative, financial, and customary affairs and important public cases were discussed.

The Council Hall was also the venue where Grand Viziers would receive foreign ambassadors and where the wedding ceremonies of Sultan's daughters would take place.

IMPERIAL COUNCIL HALL / KUBBEALTI

Kubbealtı, is the main meeting place of Divan-ı Hümayun. On its adjoining wall to Palace of Justice, Sultans would watch the Divan-ı Hümayun works behind the gold glossed bars of the window which is called Kafes-i Müşebbek. The Ottoman Empire was run from here. These three chambers, between the Harem and the rest of Topkapi Palace, are where Ottoman sultans met with their imperial councils to conduct affairs of state. It is also called Kubbealti (Kubbealtı), which means “under the dome”, and is located in the northwestern corner of the courtyard next to the Gate of Felicity.

The Imperial Council (Divan-ı Hümayun) building is the chamber in which the ministers of state, council ministers (Divan Heyeti), the Imperial Council, consisting of the Grand Vizier (Paşa Kapısı), viziers, and other leading officials of the Ottoman state, held meetings. It is also called Kubbealtı, which means "under the dome", in reference to the dome in the council main hall. It is situated in the northwestern corner of the courtyard next to the Gate of Felicity.

The meetings here were surprisingly regulated, convened four times a week after the dawn prayers. A special golden window high on the wall of the main council chamber allowed the Sultan to observe the Imperial Council discussions. Accessible through the Tower of Justice, it was both symbolic of the role of justice in affairs of state and practical because it was easily accessible from where the Sultan and his family lived in the Harem.

For the Ottoman equivalent of a parliament or senate forum, the rooms are surprisingly small. These are very much about providing a venue; functional considerations were minimal. Long sofas line the walls for sitting, but the only other furniture is a small hearth in the middle of the room. Hanging from the center of the dome is a golden ball that signified the earth.

Two of the chambers are lavishly decorated, with distinctive Ottoman domes. Kütahya tiles line the walls and add the sense of occasion that the rooms deserve for their role in maintaining the mighty Ottoman empire. This isn’t the original council chambers building. It was replaced during the reign of Sultan Süleyman the Magnificent in the mid 16th century.

The first Council chambers in the palace were built during the reign of Sultan Mehmed II, and the present building dates from the period of Sultan Süleyman the Magnificent by the chief architect Alseddin. It has since undergone several changes, was much damaged and restored after the Harem fire of 1665, and according to the entrance inscription it was also restored during the periods of Sultan Selim III and Sultan Mahmud II.

From the 18th century onwards, the place began to lose its original importance, as state administration was gradually transferred to the Sublime Porte (Bab-ı Ali) of the Grand Viziers. The last meeting of the Council in the palace chambers was held on Wednesday, August 30, 1876, when the cabinet (Vükela Heyeti) met to discuss the state of Sultan Murat V, who had been indisposed for some time.

The council hall has multiple entrances both from inside the palace and from the courtyard. The porch consists of multiple marble and porphyry pillars, with an ornate green and white-coloured wooden ceiling decorated with gold. The floor is covered in marble. The entrances into the hall from outside are in the rococo style, with gilded grills to admit natural light.

While the pillars are earlier Ottoman style, the wall paintings and decorations are from the later rococo period. Inside, the Imperial Council building consists of three adjoining main rooms. Two of the three domed chambers of this building open into the porch and the courtyard. The Divanhane, built with a wooden portico at the corner of the Divan Court (Divan Meydanı) in the 15th century, was later used as the mosque of the council but was removed in 1916.

There are 3 domed chambers : The first chamber where the Imperial Council held its deliberations is the Kubbealtı. The second chamber was occupied by the secretarial staff of the Imperial Divan. In the adjacent third chamber called Defterhane, records were kept by the head clerks. The last room also served as an archive in which documents were kept.

On its façade are verse inscriptions which mention the restoration work carried out in 1792 and 1819, namely under Sultan Selim III and Sultan Mahmud II. The rococo decorations on the façade and inside the Imperial Council date from this period. The main chamber Kubbealtı is however in decorated with Ottoman Kütahya tiles. Three long sofas along the sides were the seats for the officials, with a small hearth in the middle. The small gilded ball that hangs from the ceiling represent the earth. It is placed in front of the sultan's window and symbolises him dispensing justice to the world, as well as keeping the powers of his viziers in check.

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