TOPKAPI PALACE MUSEUM / CLOCKS COLLECTION

Sultanahmet - Istanbul - Turkey

GPS : 41°00'45.1"N 28°59'01.1"E / 41.012516, 28.983635

Second Courtyard



PHOTOGRAPHS ALBUM

Next to the Chamber of Sacred Relics, there is the exhibition of Clock Section (Silahtar Treasury) Clock Collection. The permanent exhibition in the palace’s Inkwell Chamber with 380 mechanical clock collection on display at Second Courtyard..

Among the collection are Turkish clocks made by Turkish clock masters along with clocks collected from Germany, Russia and France during the Ottoman Empire’s 400-year span. Among them are magnificent clocks made by Breguet, the genius clockmaker for Ottoman sultans. One hundred clocks in the collection have been repaired by modern-day clock masters, who will also work to restore and maintain the remaining clocks in the collection. The collection is divided into three parts: Ottoman clocks, European clocks and pocket watches.

Watches and clocks used by Turkish Sultans in one part of the palace or another from the 16th through the 19th-century, including pocket watches, wall and table clocks, are at present exhibited in the Silahtar Treasury. Some of these watches were purchased privately by the Sultans, while others were royal gifts to Turkey’s monarchs, or were acquired through other channels.

The Clocks are shown in what was originally the Old Silahtar Treasury. There are some 350 clocks in the collection, acquired by the palace as diplomatic gifts or by purchase. Nearly 200 clocks are on display, and include those of Turkish, German, Austrian, English, French, Swiss and Russian origin.

Turkish Clocks

The earliest Turkish clocks are dated to the 17th century and are fine examples of the craftsmanship of the period. Although we know that clocks were made in and around the Ottoman capital during the 15th and 16th centuries, these four clocks, the work of craftsmen named Bulugat, Sahin, Abdurrahman and Mustafa Aksarayi are the earliest surviving examples we have in the collection. The silver, horizontal movement table clock of Mustafa Aksarayi and Şahin Usta's clock cases are among the finest artefacts of the period.

The late 17th century Şeyh Dede pocket watch elliptical fob (sash) watch calender is one of the finest of its type, 18th century Turkish clocks were influenced by English time-pieces in form, as we see in the work of the master craftsmen Zihni, Edirneli Ibrahim and Osman. The collection also possesses the only signed Zemberekcioglu clock from that century.

Ahmet Eflaki Dede was sent to Paris by the court in the 19th century to learn new skills in clockmaking. We have only one of his clocks in the collection, but there are a number of time-pieces made by his student followers Mehmed Şükrü, Hüseyin Hakki and Süleyman Leziz, who were among the leading craftsmen of their time.

Skeleton clocks are in the majority among the Turkish 19th century time- pieces, while Ismet Usta, who worked at the court of Sultan Abdulhamid I, produced pedestal clocks of the English type. The jointly-made walnut consol (bracket) clock dating to the reign of Sultan Abdulhamid II is a fine example of the woodwork and inlay of the period.

German Watches and Clocks

The oldest German time-piece in the collection is a pendant watch dating to the 16th century. The collection also boasts a Renaissance wall clock, roughly contemporary, which was made in one of the southern European cities. The musical organ chime bracket clock in the imperial hall is an 18th century time-piece made mid-century by Kintzing at Neuwied. Two other time-pieces of German origin are a wall clock and regulator and a pocket watch presented to sultan Sultan Abdulhamid II by the Emperor Wilhelm II. The latest piece in the collection is a Black Forest wall clock.

Austrian clocks

The collection contains a number of clocks dating from the 18th century onwards, although it is known that the Emperor Rudolph II sent an automatic movement time-piece to the palace during the reign of Sultan Murad III. The earliest existing piece, however, dates from about 1720, a table clock with gold encrusted case made by Joseph Dershinger. 19th century pieces include a miniature table clock encased in encrusted silver, made in Vienna, and a carriage clock inscribed Andreas Hochenadel, also from Vienna. Two other interesting pieces are a musical table clock and a laterna chime Kurz waIl clock, also from Austria.

English Clocks and Watches

English time-pieces constitute the largest part of the collection. The earliest dates from the 17th century, although we know that English clocks reached the court during the 16th century, the first being sent by Queen Elizabeth I in 1583. The earliest piece to survive is a tulip-shaped fob watch signed Bird. Pendulum clocks signed J.Forrest and W. Jourdain also date from the 17th century.

During the 18th century, some English clock-makers produced musical watches and clocks with tortoise shell cases and Ottoman Turkish (Arabic) numerals, among them are Markwich- Markham, Perigal, Borrell, Storey and Recordon. The collection contains pocket and fob (sash) watches, carriage, table and long case clocks bearing their signature.

One of the most notable is a colossal long case organ musical and chiming clock in an inlayed case (inlayed with mother-of- pearl). Two Markwich-Markham Borrel musical pedestal clocks (a pair) are among the most striking pieces in the collection, their cases inlayed with silver and encrusted with precious stones. Among the 19th century clocks in the collection are some made by the sons of those master craftsmen.

French Watches and Clocks

French time-pieces were imported to the Ottoman court from the time of Süleyman I onwards, although the earliest piece in the collection dates from the 17th century and is a fob watch signed De Baufre, made in Paris and dated 1675. Pocket and fob watches by Jullian Le Roy, dated to the 18th century with enamel inlay and encrusted cases are particularly interesting. Neuchatel organ musical and chiming pedestal clocks made for the Ottoman court after the 18th century are also of interest.

A whole case is devoted to the display of Breguet pocket watches, made in Geneva, the cases of which are encrusted and enamelled and bear painted views of the Bosphorus. The collection also boasts one of the seven pendule sympathique clocks made by Breguet for the palaces of Europe. This particular clock was presented to Sultan Mahmud II by Napoleon, and is encased in an encrusted case bearing scenes of the Bosphorus and the Golden Horn. Also in the collection is a group of neo-gothic table clocks.

Russian clocks
The most notable of the Russian clocks in the collection is the griffon shaped table clock signed Faberge, a present from the Czar Nicholas II to Sultan Abdülhamid II in 1901.

Swiss Clocks and Watches
These date from the 19th century onwards, when Swiss time-pieces began to supercede English clocks and watches. The collection baoasts pocket watches made for the palace, at Chaux de -Fonds by the Courvoisier Freres and Courvoisier et- Cie. Among them are two bearing the portraits of Sultan Abdülaziz I and Sultan Abdülmecid on the cases.

There are also a number of enamelled watches from Geneva and a pair of musical cage clocks made by Pierre I. Droz and son (H.L.Droz) at La Chaux de Fonds. Two curious time-pieces in the form of a pistol and spectacles made by the Rochat brothers at Geneva are also to be found in the collection.

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 / KITCHEN COLLECTIONS

Sultanahmet, Fatih - Istanbul - Turkey

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

Second Courtyard



PHOTOGRAPHS ALBUM

GLASSWARE COLLECTION

Glass And Porcelain Collection Of Istanbul

Throug a small entrance near the fireplace in the "Helvahane" we enter the room called "Reçelhane" in which mainly jams and marmalades were prepared. The red-coloured thick round stone seen in the middle of this room was used for this purpose. Today this part of the old kitchen features attractive porcelain and glass collections, all items of which were manufactured in Istanbul (18th - 19th centuries). The objects displayed are from the following Istanbul factories.

Istanbul Glassware

Artifacts from the Palace collection include pieces of mainly local (Istanbul) porcelain of the Ottoman period, and 19th century glassware. They are exhibited in what was once the Confectioners' Kitchen and Mosque, which was combined into one large hall between 1940-45. The glass and porcelain collection consists of nearly two thousand pieces acquired through various means, the porcelain mainly from Yildiz Palace.

It is known that glass was produced in the Ottoman capital from an early period, whereas we can identify the sites of glass workshops in Istanbul dating from the 16th century onwards. The earliest such workshops were located Ayvansaray and Balat on the Golden Horn, as well as in the Tekfur Sarayi vicinity. During the late Ottoman period, glass workshops were opened on the Asic shore of the Bosphorus in Beykoz Pasabahce, Cubuklu and Incirli.

Istanbul ware consequently tends to be referred as "Beykoz" ware. Glassware from imperial factories at Beykoz was awarded a medal at the London Exhibition of 18 and ware from the imperial factor) Incirli was displayed at the Paris Exhibition of 1855. According to museum records, a large quantity Beykoz ware, namely the filigree ware known as Çeşm-i Bülbül was purchased by the museum in 1884.

The great majority of the ware in the collection dates from the 19th century, and there are four main types; Çeşm-i Bülbül, a form of fine glass mosaic filigree ware similar to Venetian Latticino; opalines; colored ware; and clear glass and crystal. Rosewater sprinklers; including some in the form of birds and pistols are of particular interest. Tall, narrow tulip specimen vases dominate the collection. Other objects of note include bowls and ewers, decanters and iceboxes.

An unusual group of Meerschaum biscuit ware, some of which are glazed yellowish-brown and gilded, and a few pieces glazed black and inlaid with silver are also notable. Known as Tophane ware, these artifacts, mainly coffee-cups, trays, writing sets, pipes, hookah bowls, coffee jars and sugar bowls were the products of workshops located on Lüleci Hendek Street in Tophane, Istanbul. The finest examples date from the 19th century. At the peak of production there were nearly 60 operating workshops in Tophane, the last of which closed down in 1928. Most ware of this kind are signed and some are dated.

The Tophane Factory

This factory was named after the area in which it was situated at Tophane, a district in Istanbul. It produced ochre pieces such as ink boxes, cigarette holders, coffee cups and others. These are in black, brown and ochre colours, and in addition are decorated with bronze-covered gold or gold foil. The work of the Tophane factory is influenced by traditional Turkish arts and crafts.

The Yıldız Factory

Towards the end of the 19th century the factory in Beykoz ceased its proudction. As a result, Sultan Abdülhamit II had a new porcelain factory established in the garden of Yıldız Palace. The Topkapı Palace collection has very beautiful pieces from this factory : vases and plates with flower and landscape motifs, and coffee and tea services featuring portraits of the Sultans can be seen amongst others. Some of the items have monograms of Sultan Abdülhamit II's "tuğra", and others have the Turkish crescent and star; dates are often included. Both the Beykoz and Yıldız products were designed predominantly for court use.

European Glassware

A relatively small display of European glassware is shown in the silverware gallery. Being fragile, comparatively little of this ware has survived. Among the more important pieces are two 'latticino' lamps, which must have been among the many artifacts ordered from the glass workshops of Venice from the 16th century onwards.

Similar ware dating from the 16th-18th centuries to be found in the collection includes dessert jars, perfume vials, decanters and glasses, which were among the artifacts presented to the court over the centuries. A certain amount of 'miscellaneous' ware is also on exhibit, floral decorated vases, mirror handles and paperweights in particular.

A particularly important group of glassware for the collection is the Bohemian glassware, made in Czechoslovakia, which appeared on the Istanbul market after 1700 and was widely purchased thereafter. Its popularity was due to the fine, durable quality of the glass and the decorative workmanship of renowned -artists, and lasted throughout the 18th century, although with the arrival of Meissen porcelain on the world market after 1710, Bohemian glassware declined in quality.

Bohemian crystal of the 18th century is well represented in both palace and private collections in Turkey. Among the colored crystal ware of the period are decanters, dessert jars and glasses. Bowls and ewers of green crystal that were made especially for the Palace are particularly notable. Water samovars and glasses presented as gifts to Sultan Abdulhamit II (in the late, 19th century) the products of the Moser factory in Carlsbad, Austria are also of interest.

They bear the monogram of the sultan decorated in enamel. Also among the Sultan Abdulhamit gifts were fine gilded and enamelled vases presented by the Lobmeyr family, glassmakers to the Viennese court, which attest to the importance of Bohemian glassware even at that late period. A set of green Russian glasses, also of interest, was presented by Czar Alexander III ( 1881-94) and bears his seal. Examples of European, French, English and Irish crystals are also to be found in the collection.

COPPER AND BRASS WORKS COLLECTION

Copper works, an important part of Topkapı Palaces kitchenware, are exhibited in the Confectionery House (Helvahane) in the palaces kitchens, where sweets such as halva, candies, the gumlike candy called macun, baklava, as well as many other confections, and soap, were produced for the use of the palace residents.

All of the pots used to cook food in the palace kitchens are made entirely of copper. These pots are quite big, since they were used to serve all those resident in the palace; this would amount to food for at least five thousand people per day, and even more on special occasions.

Tombac ware is an important group within the palaces kitchenware. Tombac, obtained by applying a gold and mercury alloy to copper so as to produce a golden hue, was first used in Ottoman culture in the 16th century, but did not achieve widespread use until the 17th century.

Several examples of tombac ware dating from the 18th and 19th centuries can be found in the palace collection, among which are basin and pitcher sets, rosewater vessels (gülabdan), censers, containers for cups and for sherbet, water jugs, milk pitchers, small service trays, covered bowls, soup bowls, coffee kettles, ladles, and containers for carrying cooked food. Additionally, the collection contains stone kitchen bowls, marble and bronze mortars, small plates made of colored stone, service trays, candy bowls, and sherbet glasses.

SILVER WARES COLLECTION

Collection Of European Silverware
This collection is housed opposite the palace kitchens, and since the beginning of 1984 has been displayed on two floors. On the ground floor there is a small section for the collection of silverware which displays a small part of the 3,000 pieces in the collection. They are fine and attractive pieces, showing the skill and craftsmanship of the palace silversmiths, there are also gifts which were given to the Sultans by their own subjects within the Ottoman Empire, as well as  gifts from other countries (mainly in Europe).

An important part of the collection is the gifts presented to Sultan Abdülhamit II for the 25th anniversary celebration of his accession to the throne. These are models of various prominent buildings. On the first floor an interesting European porcelain collection dating from the 18th and 19th centuries can be seen. This consists of selected smaples of Limoges, Vincennes, Sevres, Augarten, Meissen and Petersburg porcelain. The porcelain displayed here forms a small part of the overall collection of about 5,000 pieces. Almost all pieces are gifts given to the sultans from various European countries.

The palace collection, which is composed of nearly 3,500 pieces, includes artifacts brought to Topkapı from Yıldız Palace during the Republic as well as the silverware kept in Topkapı during Ottoman times. After being displayed in various parts of the Palace, the collection was moved to the present site in the dormitories of the cooks, confectioners and table stewards attached to the Palace kitchens below the European Porcelain rooms, which were all restored prior to opening on April 4th, 1984.

The collection contains no pieces earlier than the 16th century, as some silver artifacts were melted down at a time when the imperial coffers lacked funds. Most of the remaining pieces were made by the court silversmith and are all marked "900 ayar sah" (90% pure sterling silver) and with the monogram of the relevant sultan. The artifacts are decorated with inlay, repousse, niello and latticework and gilded over the interior and decorative motifs.

The earliest artifact in the collection is a silver coffee salver bearing the monogram of Sultan Süleyman I (1520- 1566), and a small bowl, both engraved with hatai and rumi motifs of Far Eastern origin. The two artifacts belong to a key period in the minor arts of the Ottomans, and it was from the first half of the 16th century onwards that we find the typical characteristics of Ottoman metalwork emerging. Silver bowls and ewers bearing the classical Ottoman decorative motifs reflect the taste of successive periods in form also.

One ewer bearing the monogram of Sultan Ahmet III (1703-1730) is noticeably unadorned with motifs, while an Sultan Abdülmecit (1839-61) bowl and ewer set bears the carnation motif typical of the period, and a monogrammed set of the Sultan Mahmut II period ( 1808-1839) is distinguished by the imperial arms worked in high relief. Ewer and bowl sets were often accompanied by a soap dish.

The significance of the coffee ceremony in Ottoman society is plain from the number of silver, gilded and porcelain coffee sets found in the Ottoman palaces. The coffee samovar rested on a small silver brazier filled with hot ashes, and generally constituted a set, both artifacts bearing identical motifs. Coffee cup holders were among the implements of the coffee ritual, and silverware of this kind were worked in niello and filigree, inlaid and encrusted with precious stones.

Porcelain cups were placed in their holders, which were brought before guests on a tray complete with the coffee ewer and brazier and covered sugar bowls. Incense holders and rosewater sprinklers were also a part of the paraphernalia of the ceremony. Other artifacts include tiny silver pipe braziers in which charcoal was burnt to light the long-stemmed hookahs, or water pipes, also part of the coffee ritual. These braziers were lidded and highly decorative. The pipe itself rested on a silver plate, a rimmed object in latticework.

One of the finest sets of ceremonial paraphernalia as described is currently displayed in Topkapı, alongside other ceremonial and everyday palace silverware. One of the more interesting types of vessels are silver asure jugs, (others in porcelain and crystal are also to be found). These were pear-shaped vessels with lidded beak-like spouts and lugs, decorated with high relief (repousse) and chased motifs, which were used to pour sweet broth known as asure, which was cooked in great quantities in the Palace on the 15th day of the month of Muharrem.

The jugs in the collection reflect rococo influence. Other artifacts include large round dining trays, silver tureens with large floral finials on the lid, and sweetmeat and tea sets, all of which were used as regular tableware as well as during court ceremonies, and silver mirrors, candlesticks, and writing caskets.

Gifts presented to Sultan Abdülhamit II (1876-1909) to celebrate his 25th year as Sultan make up a group in themselves, among which the large encrusted vases and models are particularly interesting. Other diplomatic gifts presented to the throne include European and Russian silverware, dinner and tea sets and candlesticks in particular.

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.

NATIONAL PALACE COLLECTIONS MUSEUM / CARPET

Dolmabahçe, Beşiktaş - İstanbul - Turkey

GPS : 41°02'28.5"N 29°00'14.5"E / 41.041249, 29.004029



PHOTOGRAPHS ALBUM

Hereke carpets reflecting mostly the style characteristics of the period constitute an important part of the National Palaces Collection. But as the constructions of the palaces, pavilions and the summer palaces date long ago from 1891 when the Hereke Factory begun the production of the carpets, considering the trade based on the political relations of the period and in the light of the objects found in the depots of the National Palaces and as to the evaluation during the formation period of the depots, it appears that the first carpet examples in the decoration of the palaces, pavilions and the summer palaces are made of English, Uşak and Gördes carpets.

Before the beginning of the carpet production by the factory, the fact that many carpets were bought from various places and countries for the palaces, can be followed from the archives documents as regards the dates and the types. Among them European carpets named as "Frenk" (mostly French carpets), English carpets, Gördes carpets and Uşak carpets stand for the mostly bought types.

Apart them, in the collection, you can find among local carpets Sivas, Demirci, Kayseri, Avanos, Kırşehir, Kula carpet and prayer rugs. Besides, Feshane Factory in Defterdar ensured carpets to the palaces. In the collection among the carpets with an eastern origin, Iran, Hamedan, Khorasan, Siraz, Tabriz, Keşan, Samarkand carpets are also found.

Especially, the examples of Samarkand carpets with a rare color and size are found today in Yıldız Chalet, Dolmabahçe Palace and Beylerbeyi Palace. Tebriz carpets, Şiraz prayer rugs, Keşan carpet and prayer rugs among these kind of carpets, continue to exist as the eastern representative of the "Last Ottoman Palaces and Pavilions" that gather the eastern and Western civilizations.

Among the carpets of European origin of the collection, for instance French Aubusson, Savonnerie carpets and English, Brussels, Greece (1 example) carpets are found. The collection that was formed through buying, the production of Hereke Factory and presents, was transported by the carriage of the objects between the palaces and the pavilions and finally gained its actual appearance.

Selections From The Collection

Hereke Carpet
Among the most popular art works in the National Palaces Collection, the scheme of the Hereke carpet unique by its measure and conception  is made by Emil Meinz, the palace painter, in 1898 and it is situated in Yıldız Şale number 1 Ceremony Hall. The conception of the carpet is made together by the pictures of the roof and of the wall decorating the ceremony hall. In the center of the carpet, together with the ellipse locket and in total three lockets are conceived by taking into account the projections of the hall’s chandeliers.

Another feature of the art work is that both in Yıldız Şale Ceremony Hall and in some of the rooms and halls of Dolmabahçe Palace, it is weaved as to cover all over the ground. The middle section of the carpet is made of one part, the side bordure and the emerging tower are made as supplement. The supplement parts are situated skillfully with a qualified handwork and the wholeness of the pattern is ensured.

The Hereke Palace carpets, the stylized production of the Hereke Factory, are designed in unique pattern and color. Cream-colored ground, corner stuffs with red ground, large curls in rumi style found on lockets and on the corners are seen as the classical elements in Hereke palace carpets.

As long as the lockets, emblems and the filling of the corners are concerned, rumi style is used. On four sides of the oval locket emblems are situated. Among the large curls in rumi style on the locket we can see scattered flower motifs in naturalist style. The large bordure ın the middle is made of hatayi and Chinese cloud motifs on a cream ground.

Hatay is continue alternately with cream and blue ground,  the distance and the sides is made of a large rumi style ornated with Chinese clouds. The fine bordures situated on both sides of the large bordure are separated into sections. The large bordure in the middle of the outside bordure is made of emblem and rose motifs.

Woolen Hereke Carpet
With approximately 124 m2 it bears the characteristic to be the biggest carpet in Dolmabahçe Palace. This carpet with locket and in relief motifs is weaved completely in European style. The carpet with the oval locket, oyster motifs, with its S an C curlings, with its design reflecting a painting by the use of different tones of the same color, is the best application where the Western patterns are reflected.

In some sections by the cutting high of naps, the motifs are given as in relief. In Dolmabahçe Palace, the first examples of European style carpets in relief are English and French carpets. Later, with the orders of Abdülhamid II in Hereke carpets in relief that look like them, velvet carpets as named in the documents are weaved.

LOCATION SATELLITE MAP



WEB SITE : National Palaces Administration

MORE INFO & CONTACT
E-Mail : millisaraylar@tbmm.gov.tr
Phone : +90 212 236 9000
Fax : +90 212 2593292

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

HAGIA SOPHIA MUSEUM / MOSAICS

Sultanahmet, Fatih - İstanbul - Turkey

GPS : 41°00'28.0"N 28°58'44.6"E / 41.007789, 28.979059



PHOTOGRAPHS ALBUM

The church was richly decorated with mosaics throughout the centuries. They either depicted the Virgin Mother, Jesus, Saints, or emperors and empresses. Other parts were decorated in a purely decorative style with geometric patterns. During the Sack of Constantinople in 1204, the Latin Crusaders vandalized the valuable items in every important Byzantine structure of the city, including the golden mosaics of the Hagia Sophia. Much of these valuable items were shipped to Venice, whose Doge, Enrico Dandolo, had organized the invasion and sack of Constantinople.

Following the building's conversion into a mosque in 1453, many of its mosaics were destroyed or covered with plaster, due to Islam's ban on representational imagery. This process was not completed at once, and reports exist from the 17th century in which travellers note that they could still see Christian images in the former church. In 1847-49, the building was restored by two Swiss brothers, Gaspare and Giuseppe Fossati, and Sultan Abdülmecid allowed them to also document any mosaics they might discover during this process.

This work did not include repairing the mosaics and after recording the details about an image, the Fossatis painted it over again. This work included covering the previously uncovered faces of two seraphim mosaics located in the centre of the building. The building currently features a total of four of these images and two of them are restorations in paint created by the Fossatis to replace two images of which they could find no surviving remains. In other cases, the Fossatis recreated damaged decorative mosaic patterns in paint, sometimes redesigning them in the process.

The Fossati records are the primary sources about a number of mosaic images now believed to have been completely or partially destroyed in an earthquake in 1894. These include a great mosaic of Christ Pantocrator in the dome, a mosaic over a now unidentified Door of the Poor, a large image of a jewel-encrusted cross and a large number of images of angels, saints, patriarchs, and church fathers. Most of the missing images were located in the building's two tympana. The Fossatis also added a pulpit (minbar) and the four large medallions on the walls of the nave bearing the names of Muhammad and Islam's first caliphs.

VI. Leon Mosaic
The Pantakrator mosaic embellished with a Jesus figure, placed on the Emperor Door presents Jesus hallowing with his right hand and holding an open bible with his left hand. Written on the bible are the Greek words ‘May Peace Be with You.I Am the Divine Light’. The right medallion holds the figure of Gabriel while the left medallion holds one of Virgin Mary. Below the feet of Christ, in a prayer position is Emperor Leon VI. ( 816- 912) of Eastern Rome. The mosaic dates back to the 10th century.

Sunu Mosaic
Located in the inner narthex, on the Southern vestibule door is one of Hagia Sophia’s most prominent figured mosaics. This mosaic was discovered during the repair process that Fossati held in 1849. The base of the symmetrical mosaic panel is composed of gold leafs, and features Virgin Mary on a backless throne with the words METER and THEOU, an abbreviation stating ‘God Bearer’, engraved on both sides. On Mary’s lap is baby jesus. On her left is the creator of the city, Emperor Konstantinos I. holding a maquette representative of İstanbul.

On the side of Emperor Konstantinos written vertically in bold blue letters in Greek are the words ‘Among the Saints is Great Emperor Konstantinos’. To the right of Mary is Emperor Justinianos presenting them with a maquette of Hagia Sophia. Next to this figure, are the words ‘Famous Emperor Justinianos’ written vertically in bold blue letters.The maquettes presented to Virgin Mary by Emperor Konstantinos and Emperor Justianianos portrays the role of ‘protector’ Virgin Mary holds towards the church and the city. The mosaic panel dates back to the 10th century.

Apse Mosaic
In the centre of the quarter dome is the figure of Virgin Mary (Theotokos) seated on a throne with jewelled cushions, holding baby Jesus. This mosaic is significant as it is the first figured mosaic created following the iconoclasm period of Hagia Sophia.

Mosaic of the Virgin and Child (in the apse)Virgin and Child: this was the first of the post-iconoclastic mosaics. It was inaugurated on 29 March 867 by Patriarch Photios and the emperors Michael III and Basil I. This mosaic is situated in a high location on the half dome of the apse. Mary is sitting on a throne without a back, holding the Child Jesus on her lap. Her feet rest on a pedestal. Both the pedestal and the throne are adorned with precious stones.

These mosaics are believed to be a reconstruction of the mosaics of the sixth century that were previously destroyed during the iconoclastic era. The mosaics are set against the original golden background of the 6th century. The portraits of the archangels Gabriel and Michael (largely destroyed) in the bema of the arch also date from the 9th century.

Two Angels on the Apses
On the right of the apses arch is a Gabriel mosaic, and on the left is a Mikhael mosaic. Only the wing and the edge of Mikhael’s feet are visible in present day. The mosaics date back to the second half of the 9th century.

Dome Angel Figures
The pendentives feature four unidentical angel figures. It is believed that these one headed six winged angels (seraphim) protect the Lord’s Throne in Heaven. The angels featured in the East are composed of mosaics whereas the two in the West have been damaged during the Eastern Roman period and have been renewed as fresco. The faces of the angel figures featured on the pendentives were covered up with star shaped metallic lids during the Ottoman period. During the mosaic renovations in 2009, the lids covering the angel figures’ faces were opened and revealed.

Patriarch Mosaics on the Tympanum
Covering the structure’s Western tympanum are mosaic made Patriarch figures inside niches. To this day, only three of the figures remain in good condition. Istanbul’s Patriarchs Young İgnatios is in the first niche, Saint İoannes Khrysostomos on the fourth and Antioch’s Patriarch Saint İgnatios Theophoros on the sixth. The mosaic pieces seen on the seventh niche are believed to belong to Athanasios. Although the exact dates for the mosaics are unknown, they are presumed to date back to 9-10 century.

Mosaic in the northern tympanon depicting Saint John ChrysostomThe northern tympanon mosaics feature various saints. They have been able to survive due to the very high and unreachable location. They depict Saints John Chrysostom and Ignatius the Younger standing, clothed in white robes with crosses, and holding richly jewelled Holy Bibles. The names of each saint is given around the statues in Greek, in order to enable an identification for the visitor.

Deisis Composition
On the western wall of Northern gallery, there is the mosaic board where the Deisis stage, considered as the start of renaissance in East Rome painting, is located. In the portrayol, Ioannes Prodromos (John the Baptist) on the right and Virgin Mary on the left and in the middle Pantocrator Jesus Christ are located. In the mosaic, Virgin Mary and John the Baptist's prayers to Jesus Christ for the mercy of people during the doomsday are portrayed. Both 3 figures carry the characteristics of Hellenistic Era portrayol art.

Deisis board takes attention by the way the mosaic technic and the portrayol have been done. It is a very successful piece in terms of dynamism and color choices. This mosaic is one of the best examples, which main principles of Ancient era painting in East Rome art, are reflected. There are several debates regarding the exact dating of Deisis Mosaic but the valid date that is currently accepted is the 12th Century.

Komnenos Mosaic
Emperor II. Ioannes Komnenos, his wife Hugarian origin Eirene and their son II. Aleksios are placed in the mosaic. In the middle of the composition you can see Virgin Mary standing with Jesus Christ in her arms. Writing around the emperor's head says "Emperor of Romans Porphyrogennetos Komnenos" (born in porphyry saloon) and this writing is an indication of loyalty that he was born during his father's reign. The writing around the empress's head says "Religious Augusta Eirene".

Empress Eirene was the daughter of Hungarian King Laszlo and she was portrayed as typical Middle European with braided ginger hair, colored eyes, white skinned and ruddy cheeks. On the side of the board you can see Prince II. Aleksios who was partnered to the crown by his father in 1222 and died at a young age from illness. In the mosaic you can see the prince's essential lineaments shrunk and pale face because of the illness. This mosaic board symbolizes the donations made by the emperor's family for the restorations of Hagia Sophia. Mosaic board dates back to 12th century.

There is a more realistic expression in the portraits instead of an idealized representation. The empress is shown with plaited blond hair, rosy cheeks and grey eyes, revealing her Hungarian descent. The emperor is depicted in a dignified manner.

Zoe Mosaic
Emperor IX. Konstantinos Monomakhos (1042-1055) and Empress Zoe are placed in the mosaic board. The writing on top of Emperor's head says "Romans' Religious Emperor, Servant of God's Jesus Konstantinos Monomakhos". The writing on top of Empress's head says "Devoutly Religious Agusta Zoe". On both sides of Pantocrator Jesus, king of the world, there are the initials of Jesus Christ IC and XC monograms. This mosaic board symbolizes the donations made by the emperor's family for the restorations of Hagia Sophia. Mosaic board dates back to 11th century.

He is offering a purse, as symbol of the donation he made to the church, while she is holding a scroll, symbol of the donations she made. The inscription over the head of the emperor says : "Constantine Monomachos, the pious ruler of Romans and the servant of God's Jesus". The inscription over the head of the empress reads as follows : "Very pious Augusta Zoe". The previous heads have been scraped off and replaced by the three present ones. Perhaps the earlier mosaic showed her first husband Romanos III Argyros or her adopted son Michael IV. Another theory is that these mosaics were made for an earlier emperor and empress, with their heads changed into the present ones.

Emperor Alexander Mosaic
The Emperor Alexander mosaic is not easy to find for the first-time visitor, located in the upper parts close to the ceiling. It depicts Emperor Alexander in full regalia, holding a skull in his left hand. Emperor Alexander Mosaic (912-913) is in the southwest of the north gallery. This mosaic is made on a blind corner on the contrary of the other mosaics in panel structure which expose a full view. As a weak character of East-Roman history who is figured in groveling position on the Emperor Door, Alexander was just the brother of Leon VI who shared his reign with his brother. It is one of the most intact Hagia Sophia mosaics which has reached today in terms of its location. This mosaic has been dated to the 10th century.

Mosaics in the Priest Rooms
In this called as the priest room, Deisis Compositionnda, Christ, and the Virgin Mary mosaics on the pediment of the door opening to the gallery have been reached today completely intact, while John the Baptist (Ioannes) mosaic is spoiled. Besides, the decoration patterns in this section consisting of wide branch convolutions dated to the 6th century and the apostles mosaics within other figurative mosaics, namely Petrus, Andreas, Lukas, Simon Zeoletes as well as the mosaics supposed to be portraying Zechariah, Helena the mother of Constantine I within the other figurative mosaics did not able to reach today in complete. This section is closed to visiting, since it is used for storing icons and Church Articles.

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CHORA MUSEUM / PARECCLESION COLLECTIONS

Edirnekapı, Fatih - Istanbul - Turkey

GPS : 41°01'51.7"N 28°56'20.5"E / 41.031026, 28.939025



PHOTOGRAPHS ALBUM

PARECCLESION
The apse determining the eastern ends of churches are the most important places of religious buildings in terms of liturgy and church symbolism. The rectangular parecclesion of Chora has been a structure the longitudinal effect of which is dominant visually as well, thanks to the rhythmic sequence of its dome, domical vault and the semi-dome of the apse from west to the east reinforced by the sequence of martyrs on the lower walls.

Except those in the tomb arcosolia, all frescoes of the chapel were got made immediately after the completion of the mosaics in the nave and in the narthexes by Theodore Metochites in 1320 and 1321.

On the other hand, the frescoes and portraits decorating the walls of tomb arcosolia were made when their owners had been buried in these tombs.

Bishop figures on the apse wall
The bishop figures are of human size and they are ordered according to their importance. The names of those saints in bishop dresses are inscribed next to their heads and they are holding closed books in their hands. Two bishop-saints who are the founders of the Byzantine liturgy are in the middle. Saint Basil is in the middle-right and on the right side of him are Saint John Chrysostom, Saint Athanasios and probably Saint Nicholas, whose name disappeared, respectively. On the left side of Saint Basil is Saint Gregory the Theologian, and Saint Cyril of Alexandria next to him.

The scene of Anastasis
It is painted on the semi-dome of the apse, which is the most important and the most remarkable place of the building. The Greek word “anastasis” means “resurrection”.

In the Byzantine art, during the ‘Anastasis’, Jesus Christ goes to the underworld (Hades) after his death, he liberates the prophets of the Old Testament who lived before him and who were held captive by the Devil, he ends the kingdom of Devil here, and pulls the people to the heaven after resurrecting them. This event is not mentioned in the gospels.

In the parecclesion of the Chora, this scene is depicted in such a manner that it covers the whole semi-dome of the apse. Jesus Christ is standing at the center of the triangular composition, inside a mandorla radiating white light and bearing yellow stars.    Inside the dark section under the feet of Jesus Christ, broken door wings and chain and lock pieces are seen. Additionally, a dark-skinned figure whose hands and feet are chained is lying. There is a sarcophagus in both sides of the dark section. Jesus Christ is pulling Adam from the sarcophagus on the right side of him and Eva from the sarcophagus on the left side of him out of their tombs by holding their hands. There is a group including the prophets of the Old Testament, namely John, David and Solomon, behind Adam, and Abel and seven persons in clergy tunics behind Eva.  Here, Adam and Eva are representing the whole humanity. The inscription on the upper part of this scene reads “Anastasis”.

Michael
The scene of anastasis on the semi-dome of the apse in the parecclesion unites with the scene of last judgment covering the upper walls of the domical vault. Exactly at the center of the wide bema arch forming the border of these two scenes is a portrait of Archangel Michael inside a medallion. This medallion, 1.21 m in diameter, is the largest portrait medallion in the parecclesion. The sphere in Michael’s left hand is inscribed with the initial letters of the words Christos Dikaios Krites, that is Christ the Equitable Judge, XΔK. He is holding a staff in his right hand. The portrait here is connected with the scene of last judgment, since one of the duties of Archangel Michael is to convey the judged souls to the heaven.

Scenes of raising
On the northern side of the bema arch is the scene where Jesus Christ raises the dead son of a widow from Nain. Together with his apostles, Jesus went to Nain and as he approached the city, he saw a dead person who was carried. The coffin belonged to the son of a widow from Nain and the woman was crying for her son. Jesus said, do not cry, before touching the coffin and saying “young man, I say to you, get up”. The young man sat up and began to talk. (Luke 7:11-15.)

In this scene, there are apostles behind Jesus Christ, who is standing and extending his arm towards the son of the widow. On the other hand, the son of the widow is in sitting position inside the coffin carried by four men. The inscription on the upper part of this composition reads, “Jesus is raising the son of the widow”.

On the southern side of the bema arch is the scene where Jesus is raising the daughter of Jairus. Jesus Christ held the wrist of the girl who was lying dead in her bed in the house of Jairus, and revived her. Thanks to this miracle, the girl sat up in her bed. The people around are watching this miracle in astonishment. (Mark 5:22-24, 35-43.)

There are six apostles behind Jesus and three women behind the bed. The old man standing at the center is Jairus.

The Last Judgment
The judgment scene on the domical vault in the east side of the parecclesion is forming the center of the Last Judgment composition that is covering the whole upper walls and the vault covering. There are literary sources stating that all human beings will be judged on the day of Last Judgment for their actions during their lives, and that they will either have an eternal and happy life in the heaven or writhe in the hell, according to the outcome of this judgment. The main literary source of scenes related to the day of Last Judgment is the Book of Revelation. Here, the rolling up of the skies, the throne set up for judgment and the judging of the souls before it, the delivery of the the dead by the seas and the lands, the lake of fire and the second life without death are described.

Scene of Deesis
Instead of reaching their gods directly, Byzantines preferred to reach them via holy persons supposedly closer to gods and able to reach them more easily. Those sacred persons who were considered as intermediaries between the god and human beings could be monks and bishops as well as saints who died for their religious beliefs especially in the first centuries of Christianity (martyrs), prophets of the Old Testament, archangels, angels and Mary (Theotokos), Mother of God. Above all, Virgin Mary, Mother of God, is thought to be the closest person to God. Virgin Mary appears in chapels, movable icons, illuminated manuscripts and special works, for she is seen as the mediator whose prayers are accepted.

The parecclesion of Chora was dedicated to Virgin Mary, the superior mediator. For the Byzantines, the second important mediator following Virgin Mary was John the Baptist, who had announced the coming of Jesus, who had baptized him and who had been his friend at the same time. Those two holy persons who had a great influence on Jesus as a mother and as a friend respectively are brought together by the Byzantine art in the scene known as the “Deesis”, and on the Day of Judgment, they pray to Jesus on behalf of all mortals.

At the center of the Last Judgment composition, Jesus is sitting on the throne of judgment, and Virgin Mary and John the Baptist are on either sides of Jesus, they are slightly turned towards him, and they are in praying position. Virgin Mary and John the Baptist are interceding on behalf of humanity. In the Last Judgment scene, the two figures behind Mary and John in emperor clothes are the archangels Michael and Gabriel. They are also participating in the scene of Deesis and interceding with Christ on behalf of humanity.

The word “Deesis” has been used since the 19th century. The scenes of Deesis that show the holiest persons interceding on behalf of people with God on the Day of Judgment are very important.

Scene of Last Judgment
The composition of the Last Judgment fresco covering the whole domical vault in the east section is circular. The impressive scene of “rolling up of the heaven” at the center of the circle, i.e. in the middle of the vault, is surrounded by the “choirs of the elect” (the choir of prophets, the choir of apostles, the choir of martyrs, the choir of holy women, the choir of saints, the choir of bishops). The scroll of the rolled up heaven in the middle of the vault is 86 cm in diameter and it is carried by an angel. It is very impressive thanks to the eye catching white color and the gold gilding.

The scroll of the heaven indicates that the heaven will be rolled up at the end of the time. The angel is rolling up and carrying the heaven over his head with two hands, and gold gilt stars, the moon and the sun are seen on the heaven that is being rolled up.

In the scene of judgment, Jesus is sitting on the throne at the center, Mary and John are standing on the right and left sides of him respectively, apostles are sitting in on both sides, and a group of angels is seen just behind Jesus. Around these two scenes, there are four clouds containing the choirs of the elect. Below the throne of Jesus, the inscription on the left side reads, “Come, you blessed of My Father, inherit the kingdom prepared for you from the foundation of the world”, and the one on the right side reads, “Depart from Me, you cursed, into the everlasting fire prepared for the devil and his angels”.

In the scene just below the Jesus the throne is prepared. Here, there is a closed Bible on a simple throne, and there are Cherubim on both sides. Before the throne are Adam and Eve in kneeling position. The scale just below the throne is weighing the souls. There is a small figure under the scale and two angels who are holding books.

On the other side of the scale, a lake of fire beginning at Christ’s feet is reflecting the hell seen on the pendentive. Small figures (devil) are bringing some souls into the hell.

On the southwest pendendive of the vault, lands are depicted above, and seas are depicted below. The angels at the sides have turned their trumpets towards the ground and the sea. In the land, the dead are coming out of their graves, and in the sea, fishes are expelling human organs from their mouths. This scene is largely deformed.

It is claimed that the fresco of “angel and a soul” on the northwest pendentive is the soul of Metochites presented by the Archangel Michael. An angel, whose wings are open, is standing behind a small and naked figure (soul), and he has placed one of his hands upon the head of the soul.

On the two east pendentives is the fresco of “Lazarus the beggar and the rich man”. After his death, the soul of Lazarus the beggar is placed on the lap of Abraham by an Angel. There is an old man (Prophet Abraham) sitting among depictions of trees, the soul of poor Lazarus is depicted as a little child sitting on his lap, and many souls are standing in the background.

On the southeast pendentive, a naked figure is sitting in flames, and in the lower part, pieces of gold are spilling out of two bags with open mouths. Here, the story of Lazarus the beggar and the rich man who ill-treated him during his life in this world is depicted. Whereas the rich man is writhing in pain in the hell after his death, Lazarus is seen on the lap of Prophet Abraham in a garden full of flowers. In those two scenes on the southeast and northeast pendentives of the domical vault, the good are awarded and the evil punished.

The scene on the left side of the south wall of the eastern section is divided into four parts. Each of them depicts one kind of torture in the hell with a different color. “The gnashing of teeth” is depicted at the upper left, “the outer darkness” at the upper right, “the worm that sleepeth not” at the lower left, and “the unquenchable fire” at the lower right.

Virgin Eleousa
In the depiction on the south column of the bema arch, the full-length Virgin Mary is standing on a rectangular platform, holding the child Christ in her arms, and kindly pressing her cheek to his one. Here, the emotional relationship between mothers and their sons is depicted. The monograms of Virgin Mary and Jesus Christ are next to their heads.

Only very small fragments of the fresco above the entrance on the west wall and on the west arch have survived.

The entry of the elect into paradise
At the center of the composition on the north wall of the eastern section is a gate guarded by a cherub who is holding a sword. On the right side, Saint Peter, who is holding a key, is moving towards the gate with the group of elect behind him. On the right side of the gate, the “good thief”, who is holding a cross inside the paradise decorated with trees and plants, invites them into the interior. And Virgin Mary can be seen on the left side between two angels.

Transport of the Ark of the Covenant
In the scene on the right side of the south wall of the eastern section, the transport of the Ark of the Covenant is depicted. Four priests are carrying the Ark of the Covenant, a triangular prism decorated with yellow, purple and marble-like strips, on their shoulders. The inscription at the upper left reads, “and, when Solomon built the house of the Lord, he summoned the elders of Israel in Zion.

He said that the ark of the Lord’s covenant could be brought from Zion, the city of David. And the priests took the ark of the Lord’s covenant and the tent of meeting (tabernacle)”. This ark made of shittim-wood, the interior and exterior of which was plated with gold, contains the two stone tablets on which the Ten Commandments were inscribed by Moses upon the orders of God.

THE DOME AND PENDENTIVES OF THE WESTERN SECTION OF THE PARECCLESION

Virgin Mary
The Virgin Mary portrait inside the rainbow-bordered medallion at the center of the dome, which covers the western section of the parecclesion and is 4.70 cm in diameter, is dominating the whole room.

According to the Byzantines, Virgin Mary was both the most important mediator between the humans and God, and a kind mother. Inside the rainbow-bordered medallion at the center of the large dome, which covers the whole western section and represents the heaven, are Virgin Mary and child Jesus in his arms depicted. The dome is divided into 12 segments by 12 windows providing light to the Virgin Mary figure. Those segments contain the full-length frescoes of 12 angels.

The angels, which are standing and depicted similar to one another, are holding long staffs in their right hands. Four angels (Gabriel, Michael, Uriel and Raphael) are holding a crystal ball bearing the cross and “X” signs, whereas the other angels hold their clothes with their left hands. The angels wear an imperial shawl. Each angel figure bears an inscription that reads, “Angel of the Lord”.

On the other hand, at the end of a staff held by one of the angels, the word “Hagios” (saint) is inscribed three times. The wide strips dividing the dome into segments and located between the angel figures are richly decorated with plant motifs.

The Four Hymnographers
Four hymn writers (hymnographers) are depicted on the four pendentives of the dome covering the western section. The hymns of these poets are sung especially during death rituals.

On the northeast pendentive, Saint John of Damascus, who wrote hymns for funerals, is depicted. The Arab Christian monk-priest who lived between 676 and 749 died in the monastery in Jerusalem founded by him. Here, the hymnographer saint who is depicted sitting on the armchair next to a table and writing on a scroll of paper on an elevated writing desk upon the table. Although it is not possible to read the full text, it is understood that this part contains a verse of one of his hymns: “What joy of life abideth, without the smart of woe?” The saint is barefoot and he wears a tunic, a coat and a turban. There are architectural units in the background. The inscription above his head reads, “Hagios Ioannes Damaskenos”.

On the southeast pendentive, Saint Cosmas, hymn writer, poet and bishop, is seen. Cosmas is sitting on a bench, the table of which is low, and there is a low stool under his feet. There are a penholder, an inkpot and a penknife on the table. The portrait of the saint is well-preserved. There is an open book in one of his arms, and a pen in his other hand. Architectural units are seen in the background and the inscription above his head reads, “Hagios Cosmas, poet”.

On the southwest pendentive,Joseph, 9th-century hymn writer, is depicted holding the scroll containing the Akathist Hymn, one of the most important Byzantine hymns dedicated to Virgin Mary. There are a pen, a penholder and an inkpot on the table. Again, there is a book on the elevated writing desk upon the table, and there are architectural structures in the background. The inscription above the head of Joseph reads, “Hagios Joseph, poet”, and the one on the paper scroll in his hand reads, “The forgiver of the world, o the spotless Virgin”.

On the northwest pendentive,Saint Theophanes, 9th-century poet and hymn writer who was a monk at the Chora monastery and buried here, is depicted. In the period of iconoclasm in the 9th century, he had an inscription carved on his face, and therefore he received the name of Graptus, meaning written upon.

Here, the saint is sitting at the table on a chair with a deep back and his feet are on a platform. There are writing instruments on his table, and the saint is writing in a book in his lap. The inscription above his head reads, “Hagios Theophanes”, and the one on the open book reads, “after violating the holy commandments of God, we returned to the earth again”. This verse is taken from a hymn of Theophanes sung during funerals. The furnishings seen in these scenes reflect the characteristic 14th-century medieval features.

In the Parecclesion, Old Testament stories are depicted in the frescoes on the walls between the dome and above the cornice level.

Jacob’s ladder and Jacob wrestling with an angel
On the right side of the tympanum on the north wall in the western section, Jacob’s ladder and Jacob’s wrestling with an angel are depicted. Here, while traveling to Haran, Jacob puts a stone under his head to sleep, and he dreams a ladder between the earth and the heaven, on which the angels are descending and ascending.

The inscription below left, above the head of Jacob, reads, “Taking one of the stones there, he put it under his head and lay down to sleep”, the one on the right side, between the scenes of the ladder and the wrestling, reads, “and he dreamed there...”, and the one above right reads, “he saw a ladder resting on the earth, with its top reaching to heaven, and the angels of God were ascending and descending on it. There above it stood the Lord”. Virgin Mary and Child Christ in her arms are seen at the upper right corner.

Under the ladder, Jacob is depicted wrestling with an angel. This event occurred during his return from Haran. Although Jacob’s seeing a ladder in his dream and wrestling with an angel are two different events, they are depicted together in the Byzantine painting.

Moses and the burning bush
On the right side of the north wall of the western section is the scene of Moses and the burning bush. While God was speaking to Moses from within a bush, the bush was on fire, but was not consumed by the flames. An old man with a beard (Moses) is standing on the left side, and a bush is burning in flames opposite to him. There are the portraits of Virgin Mary and Child Christ inside a medallion in the bush. An angel appearing on the upper part of the bush is calling to Moses. There are hills and the Mount Sinai in the background. Below, Moses is sitting on the ground and taking off his sandals.

The inscription at the upper left corner reads, “and he came to Horeb, the mountain of God, and there the angel of the Lord appeared to him in flames of fire from within a bush”, and the ones at the lower left corner read, “take off your sandals, for the place where you are standing is holy ground” and “Prophet Moses”.

Moses hiding his face
On the north side of the arch between the eastern and western sections is the scene of Moses’ hiding his face. A standing bearded old man (Moses) holding a staff is on the left side, and his face is turned away in order to avoid the light of the burning bush opposite to him. There are the portraits of Virgin Mary and Child Christ inside the medallion in the middle of the bush. Just before the medallion, an outstretched angel is speaking to Moses. The inscription on the upper part of the scene reads, “Moses hid his face, because he was afraid to look at God”.

Transport of the sacred furnishings
On the south side of the arch between the eastern and western sections is the scene of the transport of sacred furnishings. Here, the transport of the sacred pot (stamnos) and the seven-branched candelabrum (menorah) taken from the sacred tent of meeting (tabernacle) of Jews is depicted. One of the two priests is carrying the seven-branched candelabrum with his two raised hands, and the other is carrying a pot resembling an amphora on his shoulders. A paper scroll is seen inside the pot. Assumedly, the candelabrum’s “carrying the light” is the forerunner of Virgin Mary, and the sacred “manna” inside the sacred pot is the forerunner of Jesus Christ. Manna is the food provided by God to the Jews when they were in exile in the desert.

Gathering of Solomon and the assembly of Israel
On the left side of the south wall of the western section, the gathering of Solomon and the assembly of Israel is depicted. Solomon is leading the whole tribe for the ceremonies related to the placing of the sacred furnishings in the sanctuary of the new temple. On the right side, Solomon in imperial clothes is leading the crowd before him with a censer in his hand. The inscription on the scene reads, “and the king and Israelites gathered before the Ark of the Covenant”.

Placing of the Ark of the Covenant in the sanctuary of the temple
On the right side of the south wall of the western section, the placing of the Ark of the Covenant in the sanctuary of the temple is depicted. The covenant is placed in the most holy place of the temple. The two priests on the right side are placing the ark on the covered altar table in the sanctuary.

Two cherubim are standing behind the altar table. Israelite elders are depicted before the structure at upper left, and the heaven is depicted with nested circles in the uppermost part. From here, a beam of light is shining towards the altar and Israelites. The inscription at the upper left reads, “and the priests then brought the ark of the Lord’s covenant to its place in the inner sanctuary of the temple, the Most Holy Place, and put it beneath the wings of the cherubim”.

Prophecy of Isaiah and Archangel Michael Destroying the Assyrian Army Before Jerusalem
On the south side of the western arch, the Prophecy of Isaiah and Archangel Michael’s destroying the Assyrian army before Jerusalem is depicted. Isaiah predicted that the Assyrian army that besieged Jerusalem would fail and the angel of God destroyed the Assyrian army before Jerusalem with his sword. An old man on the left side (Prophet Isaiah) is holding an open paper scroll in his left hand and pointing forward with his right hand.

The wings and clothes of Michael, who is pointed to, are flying, he is preparing to use the sword raised by his right hand, and holding the scabbard of the sword in his left hand. Assyrian soldiers are lying on the ground. A city surrounded by walls is seen in the background. There is a portrait of Virgin Mary on the spectacular gate of the city. Some words on the paper scroll held by Isaiah can be read. The complete version of this inscription should read, “This is what the Lord, the God of Israel, says: Because you have prayed to me concerning Sennacherib king of Assyria, he will not be able to enter into this city”.

Aaron and his sons before the Altar
On the north side of the western arch, the story of Aaron and his sons before the Altar is depicted. Here, the first priests of the tent-temple established by Moses, namely Aaron and his sons are giving their offerings. Both Aaron, who is depicted as the old person in the front, and each of his two sons, who are depicted as young persons behind him, is holding a box containing the offerings. On the right side is a covered altar table inside a marble niche. Sections of buildings are depicted in the background, and the pointed beams originating from the nested circles depicting the heaven extend toward Aaron and his sons. Only two words of the inscription on the upper part of the scene can be read: “Altar” and “burnt offering”.

Virgin Mary is the central figure in the iconography of the western section of the parecclesion. The stories from the Old Testament have been interpreted as an expression, a forerunner of the arrival of Virgin Mary and thus the arrival of Jesus Christ. Those stories are on some Marian feast days. The Akathist Hymn, which has an important place among the hymns, is about death. The content of this hymn is compared with the Old Testament stories in the parecclesion.

Martyrs
On the walls of the parecclesion below cornices are full-length figures of martyrs (saints killed for following Christianity - military saints). Martyrs, military saints are holy persons recognized by Byzantines as mediators to reach God. Especially in the last periods of the Byzantine Empire, the portraits of the military saints were painted on the lower walls of churches and chapels.

From the south to the west, until the northeast, the wall sections below the cornices are decorated with depictions of martyrs. First, on the southeastern wall are Saint George of Cappadocia and Saint Demetrius of Thessaloniki. In the medallions on the two sides of the arcosolium arch between these saints are the portraits of Saint Florus and Saint Laurus. The full-length depictions of saints are in hierarchical order: Saint Theodore of Tyre, Saint Theodore Stratelates, Saint Mercurius and Saint Procopius are depicted in armored clothes.

There is an unidentified saint next to Saint Sabbas Stratelates. Saint David of Thessalonika is sitting in a bird’s nest on top of a tree. Saint Eustathius Placidus is in military uniform. Saints Samonas and Gruias of Edessa are in martyr clothes. Saint Artemius or Saint Nicetas, whose full name cannot be read, is in military uniform. The portraits of Saint Bacchus and Saint Sergius are in medallions. On the other hand, the depiction of a saint in military uniform, a portrait of a saint inside a medallion, and the depiction of a saint on a column are unfinished.

Saints in military uniform have short tunics under their armors, and some of them carry lances and shields. Some of them are depicted with raised swords, in a raid. The saint depictions on the entrance arches of the two tomb arcosolia and diaconicon in the western section are portraits inside medallions. Saints that are not in military uniform are in martyr clothes.

TOMB NICHES (ARCOSOLIA) IN THE PARECCLESION

Frescoes inside the niche wall and arch of the southeast arcosolium (A)
The sarcophagi of the four tomb arcosolia in the parecclesion have not survived. On the niche wall of the southeast arcosolium, there are frontal paintings of four figures standing side by side above the sarcophagus level. The two men with court and religious clothes in the middle and the two women on either sides with both court and religious clothes represent the same two persons and they are the portraits of the husband and wife buried here. However, the identities of the owners of this tomb could not be determined.

On the upper part of this niche arch, just above the portraits, inside a cornered mandorla, a half-length Jesus whose hands are open is shining. A seraph is seen on the left side, whereas the depiction on the right side is not visible due to the deterioration here. On either side of the inner wall of the arch is a half-length angel figure praying with upraised hands.

Frescoes inside the niche wall and arch of the southwest arcosolium (B)
On the niche wall, above the sarcophagus level, only the shoulders of Virgin Mary and the hand of Child Christ raised in benediction is seen, because most of the tiles of the mosaic depiction have fallen down. On the right side, Michael Tornikes, who is resting in this tomb, is depicted standing and wearing court clothes. The lower part of the figure is destroyed and only the part over the shoulders is visible. The inscription on the upper section reads, “same person, monk Makarios”.

On the right side is the figure of Tornikes’ wife, turned towards Virgin Mary and praying with upraised hands. The inscription on the upper section reads, “same person, nun Eugenia”. The feet of this figure as well are destroyed. Both figures are frescoes. The upper part of the arcosolium arch is decorated with a mosaic cross motif inside nested circles. On the left side of the inner wall of the arch is the mosaic portrait of Tornikes wearing monk clothes, and on the right side is the mosaic portrait of his wife. Since the lower parts of both mosaics are destroyed, only the parts above the waists are seen.

On the monumental marble frame of the tomb, there are archangels on both sides of Jesus, and a long inscription (epitaphios) above this composition. This tomb belongs to Michael Tornikes, the close friend of Metochites who was the “Great Constable” at the court of Andronikos II. The original decoration was made of mosaic, but it was complemented with frescoes after having been destroyed in the Byzantine period. The Virgin Mary figure at the center of the niche and the figures inside arches are made of mosaic and the two figures on the sides of niches are frescoes.

The large arcosolium in the northwest wall of the chapel (C), assumedly belonging to Theodore Metochites
In order to highlight the importance of the tomb, an arched marble frame was formed. There is a relief of Jesus at the center of the arch, and reliefs of angels with faces looking toward Jesus on either sides of the arch. The monograms of the figures on the marble indicate that they are the archangels Michael and Gabriel. The faces of the figures are quite destroyed. On the marble frames of the tomb niches in the parecclesion, the background is painted blue and the reliefs are painted yellow. There is no inscription on this marble frame stating the owner of the tomb.

The arcosolium in the northeast wall (D)
The tomb in the northeast wall has no frame. Since there are neither frescoes or mosaic decorations inside the arch, nor an inscription, the owners of this tomb are not known.

LOCATION SATELLITE MAP



WEB SITE : Kariye Museum Administration / Chora Museum Administration

MORE INFO & CONTACT
Phone : +90 212 631 9241
Fax : +90 212 512 5474
E-Mail : ayasofyamuzesi@kultur.gov.tr

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

ISTANBUL NAVAL MUSEUM / NAVAL COLLECTIONS

Beşiktaş - Istanbul - Turkey

GPS : 41°02'30.2"N 29°00'19.3"E / 41.041727, 29.005365



PHOTOGRAPHS ALBUM - 1

PHOTOGRAPHS ALBUM - 2

OIL PAINTINGS
* The Rescuers at Black Sea Bosphorus, 19th Century”, Artist: I. Konstantinovich Aivasovsky, 1874, Sizes: 115 x 140 cm.
* Sultan Abdülaziz Toulon Visit, 19th Century, Artist: E. de Berard, 1867, Sizes: 130 x 198 cm.
* Prevesa Naval Battle, Artist: Ohannes Umed Behzad, 1866, Sizes: 125 x 200 cm.
* Turkish Navy on Sham Battle, Artist: Tahsin Bey, Sizes: 88 x 129 cm.
* The Coastline, From Tophane to Galata, Artist: Mıgırdiç Melkon, 1884, Sizes: 60 x 93 cm.
* Fatih the Conqueror's March from Edirne to Istanbul, Artist: Hasan Rıza (Martyr), Sizes: 53 x 183 cm.
* The Sinking of Armored Battleship Goliath, Artist: İsmail Hakkı, Sizes: 90 x 145 cm.
* German Emperor II Wilhelm's Omer Mosque Visit, Jerusalem, Artist: Emine Naciye Tevfik, Sizes: 140 x 220 cm.
* The Ottoman Fleet During Süleyman the Magnificent's Hungarian Campaign, Painter : Mihriban Sözer, 1923, Medium : Miniature, Dimensions : 24x34cm

WATER COLOR PAINTING
* Heybeliada Naval Academy, 19th Century, Artist: Hüsnü Tengüz, 1885, Sizes: 50 x 79 cm.
* The Golden Horn from Eyüp Cemetry, Artist: Fausto Zonaro, Sizes: 17.5 x 26.5 cm.
* The Golden Horn Shipyard, the Time of Galleons 18th Century, Artist: Hüsnü Tengüz, Sizes: 51 x 76 cm.
* Sailboat, Artist: İsmail Hakkı, Sizes: 28 x 78 cm.
* In front of the Hasan Bastion in Çanakkale, Artist: Hayri Çizel, Sizes: 19.5 x 39 cm.

CHARCOAL DRAWINGS
* Turkish Galleon, Artist: Hüsnü Tengüz, Sizes: 22 x 28 cm.
* The front of Dolmabahçe Palace, Artist: Ali Rıza (Hoca), Sizes:18 x 32 cm.
* The Conquest of Istanbul, Artist: Hasan Rıza (Martyr), Sizes: 63 x 48 cm.
* Paddle Steamer Ikdam, Artist: Ali Sabri, Sizes: 27 cm x 38 cm.

ENGRAVINGS
* Bebek Shore, late 19th Century, Artist: Jean (Giovanni) Brindesi, Sizes: 29.5 x 39.5 cm.
* Caiques on Tophane Coast, Artist: Unknown, Sizes: 36 x 28 cm.
* An Infantry Caique at Bosphorus late 19th Century, Artist: Jean (Giovanni) Brindesi, Sizes: 22.5 x 33 cm.
* Ottoman Fleet, Early 20th Century, (Battle Ships Yadigâr-ı Millet, Barbaros Hayrettin, Muavenet-i Milliye, Mesudiye, Turgut Reis, Gayret-i Vataniye, Numune-i Hamiyet and Asar-ı Tevfik) Artist: Unknown, Sizes: 54 x 73 cm.

OTTOMAN PERIOD UNIFORMS
* Captain Pasha Uniform, 14th-19th Century : The uniform used from 14th century to 1867 is sable furred green caftan. On a white shirt an undercaftan is worn, a girdle is tied; yellow flat shoes and quilted turban with gimp are worn.
* Levent Uniform, 14th-18th Century : The uniform used until 1772 consists of short blue shalwar, white shirt, red waist, yellow girdle, red flat shoes and turban on red helmet.
* Kalyoncu (Sailor in Galleon) Uniform, 17th-19th Century : This uniform used between 17th century and 1872 consists of ornamented short shalwar, short waist, white shirt, scarf for the waist, red flat shoe and a fez wrapped with turban.
* Naked Man of Pasha Uniform, 18th-19th Century, Employed during the time of Küçük Hüseyin Pasha (1792-1803), they wear fez on their head, ornamented red waist, short blue shalwar and red flat shoes.
* Officer Soldier Uniform, 19th Century, These uniforms had been worn from 1876 to 1909. The uniform is comprised of fez, two-line buttoned slim fit jacket, black trousers, sword belt and black shoe.

REPUBLICAN PERIOD UNIFORMS
* Officer Uniform for Winter : The uniform consists of black thick fabric jacket and trousers. On the sleeves of the jacket are yellow gimp ensigns of the ranks. The jacket has 8 yellow metal buttons that have engraved anchor with rope in a crescent.
* Naval Academy Student Uniform for Winter : Naval Academy Student Uniform has still been used since 1956.
* Naval Petty Officer Preparatory Academy Student Uniform For Winter : Naval Petty Officer Preparatory Academy Student Uniform had been used from 1956 to 2003.
* Seaman Apprentice Uniform for Winter : Seaman Apprentice Uniform for Winter Uniform has still been used since 1956.

FLAGS
* Flag Embroidered with the "Fetih" Chapter from the Koran : Made in Baghdad in 1789 for Sultan Selim III, the flag was flown on the main and mizzen masts of flagships when the Ottoman fleet was on campaign in foreign waters. Woven of silk and gilt thread, the flag bears the "Fetih" Chapter from the Koran. Dimesions : 1400x500 cm
* The Flag of Barbaros Hayrettin Pasha : Used by Barbaros Hayrettin when he was Commander-in-Chief (1534-1546) of the Ottoman Navy, the naturally patterned green fabric of the silk flag is embellished and appliquéd in white silk. The decorations consists of the "Fetih" Chapter from the Koran, the names of the four Caliphs of Islam, the Christian symbol of the Trinity, the divine hand of God, and the Jewish Star of David. Dimensions : 287 x 200 cm
* Ottoman Flag from the Battle of Lepanto : Flown by Müezzinzade Ali Pasha at the Battle of Lepanto in 1571, this red silk flag was presented to the Republic of Turkey as a gesture of good will by Pope Paul VI. Verses and Chapters from the Koran on the flag are appliquéd in green silk.

NAVIGATIONAL INSTRUMENTS
* Inclinometer : From the corvette Fethi Bülend. Made of Brass in 1892 by the Ottoman Navy, with the name Fethi Bülend inscribed in Ottoman script on the brass calibration plate. Measures the list of a ship. Dimensions: 50 x 32 cm.
* Compass : Made in 1900 at the Imperial Naval Arsenal by Mülazim İhsan Efendi. The rosette is of paper and the compass is encased in a wooden box. Optical device indicating direction. Dimensions :33 x 33 x 22.5 cm
* The chronometer : From the Corvette Peyki Şeref - belongs to the end of 19th century. Its dial plate is mother of pearl and in its inside and on the case writes “Peyki Şeref”. Its wooden case is decorated with latticework metal. With its minimized margin of error, the compass is highly sensitive. Dimensions: 18 x 18 x 20 cm.
* The Log with Propeller : This piece was made in Imperial Dockyard in 1901. It measures speed and distance. Height: 40 cm. Round: 13.5 cm. Height: 18.5 cm.
* Torpedo Director : This piece is used in taking aim at by adjusting the torpedoes to target, route and speed of the ship. Diameter: 21 cm. Length: 50 cm.
* Compass : The compass the brand of which is "Mathieu Orlich Constantinople" was made in Imperial Dockyard. The compass indicating the direction is an optical navigational instrument. Store Diameter: 16.5 cm. Length: 39 cm.
* Astrolabe : This object is an astronomic device used to determine the altitude of the sun and the other celestial bodies and the distance among them. The instrument was made according to the coordinate of Damascus for Eyyübi Sultanı El-Muazzam Şerif El-Dünya Velidin Isa Ebu Bekir. The astrolabe made by Baalbekli Abdurrahman Ibn Sinan El-Nacar was made of brass and silver.
* Sextant : This instrument is used to measure the angle of elevation of a celestial object above the horizon to find the direction on the sea. This sextant belongs to Armored Barbaros Hayrettin serving between 1910 and 1915.
* Octant : This instrument is used to find direction by measuring altitude of celestial bodies from the horizon. The instrument made in 19th century in Istanbul belongs to Steamer Voyana serving between 1858 and 1910.

ESCUTCHEONS
* Stern Escutcheon of Armored Frigate Orhaniye : High relieved and engraved, on the escutcheon consisting of ensign, sword and shield writes Orhaniye.
Sizes: 220 x 265 cm., Armored Frigate Orhaniye, Type: Armored Frigate, Builder: R Napier and Son, Glasgow, Tonnage: 6400 tons, Dimensions: 91.4 x 16.9 x 7.9 m., Hull: Iron Sheet, Order: 1862, Machinery: Steam, one screw, Launched: 26th June 1965, Commissioned: 1866, Decommissioned: 1909
* Escutcheon of Yacht Ertuğrul : Monolithic engraved, this piece carrying ensign, spear, axe, pistol, cannon, sword and powder horn bears the seal of Sultan Resat (1909–1918).
Sizes: 27 x 45 cm, Yacht Ertuğrul, Type: Yacht, Builder: Armstrong, Mitchell and Co, Newcastle-upon-Tyne, Tonnage: 900 tons, Dimensions: 79.2 x 8.3 x 3.5 m, Hull: Steell, Machinery: Steam, 2 screws, Launched: 1903, Commissioned: 1904, Decommissioned: 1937
* Escutcheon of Galleon Fethiye : Relieved and engraved, this piece consisting of ensign, bugle, axe, spear, rifle, quiver, powder horn and sword bears the seal of Sultan Abdülmecit (1839-1861) on its center. The Escutcheon of Galleon Fethiye was made in Imperial Dockyard in 1861.
Sizes: 80 x 184 cm, Galleon Fethiye, Type: Screwed Galleon, Builder: Imperial Dockyard / Istanbul, Tonnage: 3526 tons, Dimensions: 69.4x17.2x8.2 m, Hull: Wooden, Order: 1853, Machinery: Steam, 1 Screw, Launched: 30th November 1856, Commissioned: 1858, Decommissioned: 1903
* The Escutcheon Belonging to Sultan Mehmet Resat V Reign (1909-1918) : High relieved and engraved, the escutcheon consists of two pieces and is made in a naturalist style. On the part centering the bird and flower figures placed symmetrically is mother-of-pearl escutcheon. The object belongs to the reign of Sultan Mehmet Resat V. Sizes: 127 x 80 cm.

MONOGRAMS
* Monogram Belonging to the Reign of Sultan Abdülaziz (1861-1876) : On the cambered and claret red center of the two-pieced wooden plate is Monogram of Sultan Aziz. The surrounding of the monogram is ornamented with bordure in the shape of rope, adjacent to which there are high-relieved twists and stylized leaves. Sizes: 40 x 77 cm.
* Monogram Belonging to the Reign of Sultan Abdülhamit (1876-1909) : This piece has relieved gold leaves on elliptical and cambered ground. The surrounding is decorated with relieved bordure in the shape of rope that takes the shape of bow tie on the top. It carries El-Gazi monogram of Sultan Abdulhamit. Sizes: 92 x 83 cm.
* Monogram Belonging to the Reign of Sultan Abdülmecit (1839-1861) : Wooden relieved and engraved, the monogram decorated with flower was used in cruisers. Sizes: 85 x 60 cm.

MANUSCRIPTS
* Topmast Quran : It is the Quran given as a gift by Sultan Abdulaziz in 1875 to the Armored Frigate Mesudiye in order to be hung on the mast. It is written on a kind of much valued yellowish glazed paper with calligraphy and inlaid with gold. Sizes: 463 x 10 cm.
* Kitab-ı Bahriye (Naval Book) : It is the contemporary copy of the manuscript written by Admiral Piri Reis in 16th century and was presented to Suleyman the Magnificent. In the portolan with red leather cover written in Nesih style (a style of Arabic script) with the vowel points added on dressed paper, there are many illustrations and charts. Dimensions: 31.5 x 21 x 3.5 cm., 434 Pages
* Divan of Necati Bey (Collected Poems) : It is Turkish manuscript written in Nesih style (a style of Arabic script) by Necati Bey in the 15th century. On its pages there are blue scales and on its cover gilded flower motif is printed. Sizes: 16 x 11.5 cm.
* Manuscript on Astronomy by Takuyyiddin Mehmet Efendi : It was written with Indian ink in 1719 and illustrated with natural colors. The front and back covers of the manuscript bound in cloth are marbled printed. Dimensions: 20 x 14.5 x 2 cm., 150 Pages
* Gastallan Histori Tahtureks Turkish Costume : Seventeenth-century book with 125 miniature illustrations. Bound in red leather, with comb-marbled cover plates. Dimensions: 23 x 15 x 2 cm, 125 pages.

CHARTS and PORTOLANS
* Chart of the Mediterranean : Chart of the Mediterranean drawn in 1461 on parchment by Mürsiyeli İbrahim of Tripoli. Designed for navigational purposes, the chart covers the entire Mediterranean, the Aegean, and the Black Sea, as well as the coast of Western Europe and the British Isles. It covers approximately the region between 54 degrees north latitude, 12 degrees west and 42 degrees east longitudes; scale 1:6,200,000. Dimensions: 53 x 89 cm.
* Map of the Turkish Empire : Engraved color map made in 1626 showing the Ottoman Empire and the Persian Kingdom. On the upper margin are plans of Famagusta, Damascus, İstanbul, Jerusalem, and Alexandria, and on the sides are depictions of Greek, Egypt, Arab, and Persian costumes. Dimensions: 40 x 54 cm.
* Chart of the Persian Gulf to Baghdad : Printed in color by the Naval Academy in 1865. Drawn by the schoolmaster Ali Bey of the War Academy, the chart includes the monogram of Sultan Abdülaziz (1861-1876) and is made to an Ottoman scale. Dimensions: 55 x 134 cm.

FIGUREHEADS
* Figurehead (Blackbird - Albatross) : Figurehead carved in the form of an albatross with head raised and wings open, from the frigate Şeref Resan. Made in 1830 at the Imperial Naval Arsenal. Height : 240 cm, Width : 163 cm
* Figurehead (Horse) : Figurehead carved in the form of a horse reared on its hind legs, from the ferry Eser-i Cedid. Made at the Imperial Naval Arsenal in 1841. Height : 78 cm, Width : 32 cm
* Figurehead (Tiger) Figurehead carved in the shape of a charging tiger with its tongue hanging out of its mouth, from the steam ship Mukaddeme-i Şeref. Made in 1876 at the Imperial Naval Arsenal. Height : 265 cm, Width : 48 cm
* Figurehead (Hawk-Falcon : Falcon Figurehead : Figurehead carved in the form of a falcon with partly outstretched wings as if diving, from the corvette Feyzi Mabut. Made on Euboea in 1829. Height : 85 cm, Width : 87 cm

WAPONS

EDGED WEAPONS
* Yataghan, 19th Century : This yataghan was made by Osman Halil in 1811. The blade of the yataghan is graved with flower motifs, the hilt is handmade inlaid of coral and the sheath is ornamented with arabesque motive relieves. Blade Length: 54 cm, Hilt Length: 16 cm.
* Laz Yataghan, 19th Century : This yataghan has serpentine blade. The double lugged hilt made of horn and the guard of the hilt is soft leather. The sheath is puffed up, and made of dark brown leather. Blade Length:  63 cm, Grip Length: 16 cm.
* Yataghan : This yataghan was made in 1785. The yataghan’s iron blade surface covered with golden ornamentations in Tula work. One sided and having double iron lugs, the Yataghan has blood groove but was not equipped with a guard of hilt. The bottom of the hilt is handmade coral. The left of the blade bears golden “Maaşallah” writing in Tula style and stylized monogram. On this face in 4 parts writes an 8 line-old Turkish text. On the right side, “ Sahibi Osman Ameli Salih sene 1300”(this yataghan belongs to Ameli Osman, year 1300) is written. The wooden sheath is covered with leather and iron, the tip is dragon shaped. Blade Length: 59.5 cm.
* Turkish Sword : The serpentine, single bladed Turkish Sword is made of steel. The hilt material was made of horn, and iron guard of sword hilt ornamented with gold mounted is cross-shaped. The wooden sheath is covered with leather and iron. Blade Length: 78 cm.
* Axe : The lower part of the wooden stick and the part to which sharper iron piece mounted are coated with brass. The brass coat on wooden stick is grooved, but the brass on the sharp part is flat. The iron, part is in crescent form and quite sharp. The counter part is in knob form in order to balance the weight. Height: 77.5 cm.
* Axe, Late 18th - Early 19th Centuries : This axe was used by naval fusiliers and firemen. The blade is steel and half moon shaped. There are brass rings on the wooden stick. Height: 79 cm.

CANNONS
* Muzzle Loaded Smooth-bored Iron Cannon, 16th Century, This is the percussive cannon used by Yavuz Sultan Selim during the Egypt expedition (1512-1520). On the muzzle “Sultan Selim Şah the son of the Beyazıt Han” writes. Barrel Length: 740 cm, Barrel Diameter: 25 cm, Weight: 23 tons
* Muzzle Loaded Smooth-bored Battleship Cannon 17th Century. This cannon was seized by Kara Mustafa Pasha at Vienna siege in 1678. The cannon is in dragon shape with its four wings and the tail at the bottom part. Barrel Length: 240 cm, Barrel Diameter: 40 mm.
* Breech Loaded Steel Grooved Cannon : This cannon is a 20th century German made (Fried Krupp). This cannon belongs to Cruiser Yavuz. Barrel Length: 677 cm, Barrel Diameter: 15 cm.
* Breech Loaded Iron Grooved Cannon, 19th Century : This breech-loaded cannon was placed on a two-wheeled gun carriage, and it does not have breechblock. Barrel Length: 315 cm
* Muzzle Loaded Smooth-bored Iron Cannon : On the cannon in silver inlaid writes “Sahibi Elhac Ali Mir Mehsal Canik Mutasarrıfı Tarafı Nuzulu (Trabzon) Fi Sene 1181”(Belonging to Elhac Ali Mir Mehsal Canik Mutasarrıfı Tarafı Nuzulu (Trabzon) year 1767), "Maaşallah".

RIFLES
* Şişhane Ranged Flintlock Rifle, This rifle belongs to 18th century.
* Sultan Abdülaziz’s (1861–1876) Grooved-Relieved Rifle, This rifle is “Man F.D. By the Providence Tool Co Prov R.I. USA” brand and Sultan Abdulmahit’s monogram was stamped on the rifle. The rifle is decorated with golden animal figures. Barrel Length: 84 cm, Barrel Diameter: 11.5 mm.
* Rifle : This rifle belongs to British Submarine E-15’s officer, which was agrounded at Kepez Feneri than sank at Canakkale on 18-19 April 1915 during the First World War. Barrel Length: 124 cm.
* Rifle, Mauser : This rifle was produced in Istanbul Rifle Factory in 1912-1913. On cocking handle "year 1913, Rifle Factory, İstanbul 2277" is written in Old Turkish and the rifle also bears the monogram of Sultan Resat. On sundry parts of the mechanism writes “2 277, 1 4657, 57" in old Turkish, and on the plates in front of tumbler writes “2 277”. On the sight writes old Turkish numbers. Total Length: 105 cm, Barrel Diameter: 7.5 mm.

PISTOLS
* Flintlock Pistol, 19th Century : This flintlock pistol is inlaid with mythological animal symbols and flowers. On the mechanism writes “Vergnes Marselle” and smooth bored barrel is adorned with golden leaf sultanate seal and imperial crown. Barrel Length: 32 cm, Barrel Diameter: 8 mm.
* Flintlock Pistol, 19th Century : The handle of the pistol belonging to Commodore Vehbi Ziya Dumer is in the shape of knob and adorned with leaves relieved and engraved. The wooden handle of the pistol is ornamented with latticework plates. Mechanism and the flintlock part are adorned with carved leaflets. The second layer of the barrel is decorated with relieved in arabesque style. The end of the barrel is surrounded with fine silver work bracelets. Barrel Length: 35.5 cm, Barrel Diameter: 15 mm.
* Mustafa Kemal Atatürk's Smith & Wesson Pistol : This pistol was gifted to Minister of Navy Artilleryman İhsan (Eryavuz) by Mustafa Kemal Atatürk before the Great Attack (1924-1927). The pistol was manufactured in Springfield/USA in 20th century. Barrel Length: 11.5 cm, Barrel Diameter: 7.5 mm.
* Cartridge Pistol : Having rifled barrel the pistol, of which handle is cylindrical, has a circle on the bottom. Handle base and trigger hilt are made of brass. On the right side of the mechanism is the stamp writing “Product of Imperial Dockyard” in old Turkish. Barrel Length: 33.5 cm, Barrel Diameter: 15 mm.

TORPEDOS
* Whitehead Torpedo, 14 Pus : Made in factory Whitehead. Russians launched these torpedoes to the Ottoman Fleet in 1876 at Batum Harbor. Length: 573 cm.
* Screw-Driven Torpedo : This torpedo was made in Torpedo Factory. Length: 429 cm.
* Torpedo : It was made by Kesmekayalı Sukru Efendi Kaptan as an example of the torpedoes he had been trained on in Whitehead Torpedo Factory. It is one of the double screw driven torpedoes with 14 pus and 48 kilograms. Length: 457 cm and 460 cm

BOMBS
* Glass Type Hand Grenades : These bombs were used in Crete Battles and made in 17th Century.
* Soil Based Hand Grenades : 16th Century made.
* Aircraft Bomb : These Aircraft bombs made in Imperial Dockyard were used between 1915 and 1918.
* Aircraft Bomb : Used in Canakkale Battles in 1915.

MINES
* 1914 German Made Mine : These mines that can be laid with surface ships are electric Hertz ignitioned and ironed. The mines can be laid from 8 m. to 110 m. deepness.
* 1926 Pendulum Type Mine : These Russian originated mines can be laid with surface ships are pendulum ignition and ironed. The mines can be laid from 10 m. to 120 m. deepness. Charge capacity is 250 kg. tnt.
* 1916 Pendulum Type Russian Mine : These Russian originated mines can be laid with surface ships are pendulum ignitioned and ironed. The mines can be laid from 6m to 120 m. deepness. Charge capacity is 100 kg. tnt.

DEFENCE UTILITIES
Egypt Memluk Sultan Kayitbay’s Matronly Armour, 16th Century : This armor was seized in 1516 by Yavuz Sultan Selim, on his Egypt expedition. The armor built in gold-plated copper technique consists of helmet, jacket, armlet, knee piece and shield. The plates between chains are ornamented with cintemanis (Cintemani is a unique violet-like motif believed to bring luck and prosperity.), cloves, cypress and Cufic (a special type of Arabic calligraphy) writing.

STAMPS
* Stamp of “Türkiye Cumhuriyeti Bahriyye Vekaleti Kocaili Mevki’i Müstahkemi İkinci Grub Kumandanlığı : The stamp was made in relief and on the surface in a special calligraphy style named as “Sulüs” and “Rik’a” writes “Türkiye Cumhuriyeti Bahriyye Vekaleti Kocaili Mevki’i Müstahkemi İkinci Grub Kumandanlığı”. The handgrip is stable. Width x Length: 76x22 mm. Height: 74 mm. Weight: 44 gr.
* Stamp of “Bahriyye Gedikli Mektebi  /   /  9 Numrosı : The stamp was relieved and the surface level in “Rik’a” style writes “Bahriyye Gedikli Mektebi   /   / 9 Numrosı”. The handgrip is stable. Width x Length: 34x21mm. Height: 71 mm. Weight: 30,9 gr.
* Stamp of “Muhasebat Dairesi Vürüdı  /   / Numrosı Dosya : The stamp was relieved and on the surface writes “Muhasebat Dairesi Vürüdı  /  / Numrosı Dosya” in a special calligraphy style Rik’a. The handgrip is stable. Width x Length: 83 x 36 mm. Height: 93 mm. Weight: 98,4 gr.
* Stamp of "Agenzia Decl’i Piroscafi Ottomani Dell’amm To : The stamp was carved and on the center an anchor, a crescent and writing “Cavalla” was placed. On the surrounding of the center writes “Agenzia Decl’i Piroscafi Ottomani Dell’amm To”. Width x Length: 38 x 33 mm. Height: 6 mm. Weight: 50,9 gr.

SEALS
* Seal of "Türkiye Cumhuriyeti Müdafaai Milliye Vekaleti, Deniz Harp Mektebi Çekirdeği Memurluğu : On the center made by carving writes “Müdafaai Milliye Vekaleti” in Old Turkish; on the bordure ornamented with anchor writes “Türkiye Cumhuriyeti, Deniz Harp Mektebi Çekirdeği Memurluğu”. The handgrip latticework molded is moving. It was used after 1923. Diameter: 33 mm. Height: 31 mm.
* Seal of "Tersanei Amire Ancanibi Evrakı Gurema : The seal was made by carving and on the surface ornamented with cloves and roses writes “Tersanei Amire Ancanibi Evrakı Gurema, 270, Vefa”. The brass handgrip is stable. Diameter: 25 – 27 cm. Height: 33 mm.
* Seal of "Hızır Reis Sefinei Hümayunu : “Sefinei Hümayun” was written on the center of the seal by carving in Old Turkish and on the surrounding ornamented with anchor writes “Hızır Reis, Senei Maliye 1331”. The handgrip latticework molded brass is moving. Diameter: 22 mm. Height: 27 mm.
* Seal of "Suda Vapuru Hümayunu : On the seal writes “Suda Vapuru Hümayunu, 1312” in Old Turkish. The handgrip is molded and moving. Diameter: 21mm, Height: 26mm.

ENSIGNS
* Ensign of Barbaros Hayrettin Pasha : The ensign was used during the period in which Hızır Hayrettin Pasha was Kaptan-ı Derya (Admiral-in-Chief). The fabric of the ensign is figured on its own and green silk. The writings and the figures were applied with white silk fabric. On the ensign, Fetih Suresi (A verse of Quran on Conquest), names of Mohammed’s four caliphs, Zülfikar (Hz. Ali’s sword – and the trinity at the same time), claw (in hand shape) and hectogram were applied. Sizes: 287 x 200 cm.
* Ensign of Lephanto Battle : The ensign used by Muezzinzade Ali Pasha in Lephanto Battle in 1571 was handed back to Turkey as a sign of courtesy in 1964 by Papa VI. Paul. Verses and suras made of woven yellow silk were applied on red silk.
* Ensign Inlaid with Fetih (Conquest) Sura : The ensign was made in Baghdad with the order of Sultan Selim III in 1789. The ensign was flagged on mainmast and mizzenmast of the commander ship during the cruises of Empire to foreign countries. The ensign on which writes Fetih (Conquest) Sura was woven with silk and golden tinsel. Sizes: 1400 x 500 cm.

AMPHORAS
* Byzantine Amphora : The amphora was made up of terra cotta. The 2-handled amphora has a large body and deep bottom. The amphora bears fine grooves on its belly and foot. Rim Diameter: 10.5 cm. Rim Thickness: 2 cm. Belly Sphere: 158 cm. Height: 106 cm.
* Byzantine Amphora : Made up of terra cotta, 2-handled amphora has a spherical body, grooved shoulders and flatfoot. Shoulders are elliptical and button shaped handled. Shoulders bear fine grooves. Rim Diameter: 8.5 cm. Rim Thickness: 1.4 cm. Belly Sphere: 149 cm. Height: 60 cm.
* Rhodes Amphora : Narrow and thin rimmed amphora has long, narrow neck, double spurred handles tied attached from neck to shoulder, low shoulders, conical body becoming narrow towards foot part, deep bottom and button shaped handles. Rim Diameter: 3.5 cm. Rim Thickness: 0.5 cm. Belly Sphere: 48 cm. Height: 46 cm.
* Roman Amphora 3rd - 6th Century AC : Narrow rimmed, short narrow necked, small handled attached from shoulder to under the rim and narrow shouldered; the amphora’s belly is widened from shoulder towards the foot. The amphora is quite thin and the rim is thin too. Rim Diameter: 11 cm. Belly Sphere: 67 cm. Height: 58,5 cm.

LIGHTS
* Side Light : The Side Light made up of copper has a kind of shield on the frame of the glass. “Made in Imperial Dockyard” is written on the Side Light. Diameter: 29.5 cm. Height: 48 cm.
* Copper Masthead Light, 20th Century : Made up of copper, on the light writes “J.H. Peters & Bey Hamburg.
* Big Type Light : The glass color is green and it was used in 19th century ships.
* Port Side Light : This port sidelight belongs to French Saphir Submarine that was trying to pass the Bosphorus at 15th of January 1915.The submarine had to surface because of the deep flow of the sea, and Turkish Ships around the area sank the submarine.
* Masthead Light : These lights that can be seen at least 5 miles range is placed on fore mast and gleam as white. This one belongs to Cruiser Yavuz that served between 1911 and 1950. This is a 1911 German made light.
* Big Type Lights : Those are big type lights that were made up of glass and brass.
* Harbor Light : The light was made up of copper; “J.H. Peters & Bey Hamburg 9 - 5609” is written on it.
* Copper Port Light : This one is 20th century made red port light.
* Masthead Light : On a brass card on British-made light writes “Thomas Crieve Manufacturers Northshields”. The colorless light has no handgrip.
* Masthead Light : This piece is a British made ship light.

LITHOGRAPHIC BLOCKS
* Lithographic Block, 19th Century : On this lithographic block, there are Rumi months (a solar calendar used in Turkey until 1925) and a clock which shows Ruz-i Hızır Day (a day in May, especially the day when the navy sets sail). Dimensions: 54 x 38 x 6.5 cm.
* Lithographic Block, Skiathos Port - Greece : On this lithographic block, “Skiathos Island Coasts” is written. Dimensions: 37 x 26.5 x 9 cm.
* Lithographic Block, 19th Century : On this lithographic block, there are seal samples and double anchor which is the symbol of Maritime Affairs Department. Dimensions: 54 x 38 x 6 cm.
* Lithographic Block : There is the signature of Sultan Mehmet Resat on the block. It is the lithographic block of the daily printed receipt of supplies belonging to the Imperial Dockyard. Dimensions: 47 x 37 x 8.5 cm.

TOMBSTONES - INSCRIPTIONS
* Stone Inscription of Yalıköşkü Boathouse Door : It belongs to the era of Sultan Selim III. (1210). On the arched part, there is an inscription consisting of 20 couplets and above it there is an inscription on the front with monogram. At the upper portion the monogram of Selimi Salis and a galley motif can be seen.
* Inscription of Rolling Mill Barracks : It was made by Sultan Abdülhamit II and written by Poet Sururi in 1886. Sizes: 234 x 60 cm.
* Cesme Inscription : It was made by Spahi Agha (Chief Cavalry Soldier) and written by Poet Kadri in 1741. Sizes: 88 x 32.5 cm.
* Tombstone : It belongs to Bekri Mustafa (1819). The heading part of the marble tombstone is in the form of turban.
* Tombstone : It belongs to Selim Kalfa, the son of Mahmut (1792).
* Tombstone : It belongs to Janissary Mehmet.
* Tombstone : It belongs to Janissary Esseyid Mustafa.

MEDALS - ORDERS
* Commemorative Medal of Aegean 2nd Army Sham Battle : It is the medal inscribed for the commemoration of the sham battle of Aegean Army in 1937. The diameter of the brazen medal is 35 mm. On its one face there is valonia oak in relief and in-between the branches there is the motif of star and crescent; on the other face in the border “COMMEMORATION OF THE SHAM BATTLE OF AEGEAN 2nd ARMY” is written and in-between there is the signature of K. ATATURK and the date 13.10.1937.
* 10th Anniversary Commemorative Medal of Turkish Republic : It was inscribed for 10th Anniversary Commemoration of Turkish Republic. The diameter of the brazen medal is 30 mm. On its one face there is a portrait of Ataturk; on the other face “TURKISH REPUBLIC 1923 – 1933” is written.
* 4th Rank Osmani Order (Pertaining to Sultan Abdulaziz) : It is covered with silver, glazing and gold. It is in the shape of a heptagonal star. It is tied to a ribbon with red borders. Diameter: 62 mm.
* Mecidi Order : It belongs to the Minister of the Navy Moralı Ibrahim Pasha in Sultan Abdulaziz era. It is covered with silver, glazing and gold. It is in the shape of a heptagonal star stowed with rays shortening from the points towards the edges. In-between the tips there are star and crescents. It is instituted in 1852. Diameter: 100 mm.
* 4th Rank Osmani Order : It was presented by Sultan Abdülaziz (1861 – 1876) to Torajiro Yamada. There are inscriptions in Ottoman language on the red glaze in the middle of the order. Under the inscriptions there is a crescent motif. On the back side of the decoration there are figures of drum and flag with the year 699. Diameter: 65 mm.
* Osmani Order : 4th rank Osmani Order was instituted by Sultan Abdulaziz in 1861. It is in the shape of a heptagonal star covered with green glaze. In the center there is a space in relief covered with red glaze and in the crescent there is an inscription inlaid with gold written in Ottoman language.   On the back side of the decoration there are figures of drum and flag with the year 699 in relief. It is tied to a green ribbon with red borders and at the fixing point there is star and crescent. Diameter: 64 mm.
* Mecidi Order : 5th rank Mecidi Order was instituted by Sultan Abdulmecit. It is in the shape of a heptagonal star with beams of light. In its center with red glazing, there is an inscription inlaid with gold “Patriotism, Effort, Loyalty, year 1268” in the border. There is the seal of Abdulmecit at the middle space in relief. On the backside there is an inscription “Imperial Mint” and “D.A” initials in relief in the figure of star and crescent. It is tied to a red ribbon with green borders and at the fixing point there is star and crescent. Diameter: 54 mm.
* Yugoslavia State Decoration Given to President Fahri S. Koruturk : There are 10 stones between the figures of beams of light. It is surrounded with golden border in 10 mm width. The surrounding of the cobalt-blue glazed center is decorated with 35 red stones and in the center there is an emblem. At the middle there is a pentagram with 5 red stones. On its backside there is pin. On the other decoration with ribbon state emblem can be seen. The diameter of the cobalt-blue glazed center is 27 mm. It has a purple silk ribbon. Diameter (with pin): 85 mm. Diameter (with ribbon): 65 mm.

STANDING RIGGINGS
* Brace : It was used at mainsheets during the sailing period. It was made in Imperial Dockyard.
* Slip (Rope), 19th Century : This object belongs to the Galleon Mahmudiye. The slip was used to be tied to the body of the chain on the anchorage of the vessels.
* Fiverail : The fiverail belongs to the sailing period and was made in Imperial Dockyard.

CLOCKS
* The Clock of Kasımpaşa Naval Hospital Tower : The clock was made in 1859 and it was the engine of the clock of Kasımpaşa Naval Hospital. Total Height: 264 cm. Height of Engine Part: 135 cm. Foot Height: 129 cm. Width: 134 cm. Length: 95 cm.
* Clock, S.F. Brand : This clock was used in Galleon Mahmudiye. Sizes: 59 x 43 cm.
* Historical Silver Floor Clock : The clock was used in ships and made in 19th century. The clock has three foot and on each foot there is a lion figurine. Diameter: 42 cm. Stand: 50 cm.
* Wall-Clock : The Clock was brought from France by Minister of Naval Academy Sait Pasha.

ADMIRAL-IN-CHIEF (KAPTAN-I DERYA) FOUNTAINS
Fountain, 18th Century : The fountain was made with the order of Cezayirli Gazi Hasan Pasha. The fountain was made of white – gray curved marble, the pediment of the fountain was ornamented with a rose on Bursa arch and the upper middle part carries an elaborated decoration of hanging tulips. On the lower part there is a huge acanthus leave and the fountain part has curled ornamentations. High-relieved part and surrounding counter were painted with common gilt. Height: 300 cm. Width: 240 cm. Length: 22 cm.

DIPLOMAS - FIRMANS
* Training Certificate : It belongs to Erzurumlu Yusuf Efendi. This certificate was given as a result of the exam made in 1305 Zilkade according to the Arabian Year (July 1888). Sizes: 27.5 x 18.7 cm.
* Certificate of Qualification : It belongs to Dogancilar Rusdiyesi Farabi Yusuf Ziya Efendi. This certificate was given by Ministry of Public Instruction in 27 February 1305 a solar calendar in use till 1925 (11 March 1890). At the top of the certificate there is the signature of Sultan Abdulhamit II. Sizes: 31.5 x 24 cm.
* Diploma of Yugoslavia State Decoration Given to President Fahri S. Koruturk : It is printed on a special paper and has a case covered with red book cloth. It is the diploma of Yugoslavia State Order given to Fahri S. Koruturk in 1976. Sizes: 34 x 49 cm.
* Envelope of the Diploma of 4th Rank Mecidi Order (Pertaining to Sultan Abdulmecit) : There are two emblems on the envelope. In the upper emblem “Order Pertaining to Sultan Abdulmecit” and in the lower emblem “Imperial Order Office” is written. In-between the two emblems, “Diploma of 4th Rank Mecidi Order Presented to Yamada Efendi” is written with Rik’a (a cursive style of writing). Sizes: 22 x 16.5 cm.

ART GALLERY
An area of 465 square meters in the Naval History Archives Building was renovated and opened as an art gallery in 1993 by the Commander-in-Chief of the Navy, Vural Bayazıt. With the aim of serving contemporary artists, competitions with the theme "Sea" are held annually in spring and awarded entries are retained for the collection of the museum.

LOCATION SATELLITE MAP



WEB SITE : İstanbul Naval Museum Command

MORE INFO & CONTACT
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Fax : +90 212 236 6893
E-Mail : muze.istanbul.iletisim@dzkk.tsk.tr

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