I s t a n b u l - T o p k
a p i P a l a c e
Sultan Mehmet the
Conqueror, with the conquest of then Constantinople, simultaneously closed and
opened two ages. Now the capital of the Ottomans was to be Istanbul ,
and the Sultan was to build his palace here for the administration of the
Empire.
The first palace of the
sultans was built in the district of Beyazit (Old Palace). In 1465, however,
Mehmet the Conqueror ordered the construction of a new palace on today’s
Palace Point, then an olive grove. From that year until 1478 the first
buildings were therefore constructed, and the administration of the Ottoman
Empire began from the Topkapi Palace.
The new palace was surrounded by fortifications giving
security to the whole area. Starting with the Conqueror’s small place, each succeeding
sultan added additional pavilions and palaces, spreading finally to a total area of
700.000 meters square.
According to the
traveler Evliya Çelebi, in the year 1640 the population of the place reached
40.000, as if it were a city or small state itself. The palace, which was used
for four centuries, was named the “Cannon Gate” palace by the people out
of respect for the cannons which gave protection to the gates and the grounds
within. The palace walls extend a total of five kilometers, with multiple
towers, surrounding the land as well as sea side of the palace. In addition to
many small gates, six major gates, three on the sea and three on the land,
give access to the grounds.
The main gate, called
the “Empire Gate”, dates back to the period of the Conqueror. it is also
called the First Gate today. The second gate, called the “Peace Gate”,
marked the point from which the sultanate actually began. Today, this gate is
the formal entrance to the Topkapi Museum. The gate has owers on either side.
It is known that some of the Ottoman ministers of the court were imprisoned
here before sentencing. Through this gate we enter a 22 acre open court yard
where holiday celebrations were observed, and where the sultan, but only the
sultan himself, was always mounted on horseback.
At the far end of this court stands the third gate, the
Gate of Felicity, in which the sultan’s throne was placed on occasions of the
enthronement of a new sultan, on religious holidays, and days of public audience when
complaints and grievances were heard. From the Gate of Felicity we enter the third open
court. In this, and the fourth court further on, are located the pavilions and kiosks in
which the sultans attended to daily business tasks, retiring to the Harem in the evening.
For four centuries the
affairs of the Empire were directed from here, until the move of the court to
the Dolmabahce Palace in 1856. Let us now try to summarize in a brief visit
the history of this great palace, whose every corner emits an air of endless,
unrecordable history in itself.
Tour of Topkapi
Palace
When today we park our
car, taxi or bus, was located the First Gate, along side the museum of St. Sophia
Service.
In early times this court contained several buildings belonging to the service
of the palace. The gate in front of which we now stand, stands like a medieval
castle before us. The double towered gate’s cast iron doors were made in
1525 by Gayb bin Mehmet. The rooms beneath the towers housed the gatekeepers,
as well as occasional imprisoned ministers. The point today marks the formal
entrance to the palace as a museum. From this gate we enter the Second Court,
measuring 160 by 130 meters on a side. On the left of the court stands the
Harem, the apartments of the councils of state and state receptions, military
offices and the Inner Treasury. On the right side stand the palace kitchens,
built by the Conqueror, and re-constructed by the Great Architect Sinan,
having twenty distinctive chimneys, and staffed by a kitchen brigade of 1,200.
Today, the kitchens house the priceless Chinese and Japanese porcelain
collections of the museum.
Under the Dome
This is the room in
which the Council of Ministers met. Constructed during the Reign of Sultan Süleyman
the Magnificent, the Divan met under the chairmanship of the Grand Vizier
(Secretary of State), from the time of Mehmet the Conqueror.
The screened window at
the back of the chamber leads directly into the Harem, allowing the Sultan to
discreetly follow the proceedings of the Divan. Foreigners were accepted here
by the Grand Viziers, feasted, and the taken from here to the Sultan’s
presence dressed in great robes and furs. The right section housed the
Secretariat, where all the records of Divan decisions were written and kept.
The tower which rises from behind the Divan has its base dated from the time
of the conqueror, with its upper portions restored by Mahmut II. Under the
Ottoman period the tower was called the Justice Pavilion. In the original
construction of the palace it appears there were six such towers forming an
inner fortress.
Chinese and Japanese
Porcelains
12.000 pieces comprise
the total of the Topkapi porcelain collection, of which approximately a third
are on display here in he kitchens. The display is organized by Chinese
dynasty, the first section showing 10th to 13th century green colored
“Seledon” pieces, said to have been popular for eating by the sultans as
they react chemically to poisons, forewarning the eater. Opposite to these are
the 14th Century Yuan Dynasty blue and white porcelains and, in the central
display cases are 14th to 17th century Ming Dynasty porcelains.
In the second section,
again, Ming period blue and white porcelains are displayed. As the Ming
dynasty was much loved by the Sultan Süleyman the Magnificent, large
quantities were accumulated during the period of his sultanate. In the third
and fourth sections are shown 17th-20th century multi-colored Ching Dynasty
porcelains. In the last section Japanese porcelains, with their unique designs
and styles, attract our attention. Beyond this, we enter the last section of
the kitchen in which are shown kitchen implements representative of those used
in these palace kitchens.
After viewing the small
glass collection opposite the line of kitchens, we are now ready to see the
palace proper, and bring ourselves to the Gate of Felicity, the Third Gate.
The Third Court
This court was known to
be the ceremonial court of the sultan. In particular, the enthronement
ceremonies, and the quarterly distribution of payroll to the Jannisseries,
were highly impressive. At such times, the sultan’s golden throne was placed
under the arch of the Gate of Felicity. In departing for battle, the sultan
would present the standard of the empire to the official battle flag bearer in
a ceremony at this gate. The flag otherwise stand next to the gate. As this
gate was guarded by white eunuchs, it is also known as the “White Eunuch’s
Gate” On its right are the quarters of the gate keepers, and on the left the
quarters of the white eunuchs. The gate is decorated inside and out with
writings. just inside the gate stands the Throne Room of the Sultan.
Wardrobe Hall of the
Sultans
The garments shown in
this hall are displayed in a chronological order, starting with Mehmet the
Conqueror and ending with Resat V. The fabrics, all of such Turkish materials
as silk, velvets, and canvas, are very beautiful and eye catching. The full
garment collection has been maintained through two Ottoman traditions. First,
each sultan always presented one costume to the Treasury during his reign.
Second, as the clothing of any Sultan was traditionally holy, on the death of
the Sultan his total wardrobe was carefully wrapped and kept in the palace. As
a result, almost the total of all garments worn by each Sultan is maintained
in the palace today, only a sample of which is represented here.
In the inner rooms of
this hall are shown, in addition, clothing of the wardrobe hall. Moving to the
right, down a few marble steps we reach a columned doorway entering the rooms
which were originally the pavilions of Mehmet the Conqueror, and today house
in four rooms one of the greatest treasuries anywhere in the world.
The Treasury
The palace originally
contained several treasury areas. For example, in one room was kept the
so-called “Ambassadors Treasure” consisting of the rich objects which were
used by Ottoman representatives abroad, and kept here when not in use. In
addition, the relics of the Prophet Mohammed, the Inner Treasury, and the
Equestrian Treasury were each separately housed. It is believed that the
original treasures of the Sultans were kept in the Seven Towers Gate section
of the City Walls. The collection we see now consist of gifts of ambassadors,
enthronement gifts, and purchases of the Sultans themselves. The largest
treasure from the spoils of war was added by Sultan Yavuz Selim, whose seal
closed the treasury doors until recent times in recognition of his
accomplishment.
The artifacts of the
treasure were deposited in closets and chests until the time of Abdülmecit.
According to Palace laws, each Sultan was to visit the Treasury after his
enthronement. When Abdülmecit made the customary visit the ordered that some
of the items be placed on exhibit during the Crimean War. Following in his
steps, Abdülaziz and Abdülhamit II. also exhibited some items. From time to
time foreign ambassadors were also shown the collection which we now see. The
sultan himself was alone allowed to enter the treasury, or in his absence, a
group of forty men together. The collection was filled and emptied many times
over because of the constant flow in and out of gifts to and from the courts
of the world. Each year a gift was sent to the grave of the prophet Mohammed,
some of which are now returned and seen today.
Treasury Salon I
Entering on the right we see a case containing the amour
or Sultan Mustafa III. The suit is of iron mail, encrusted in gold an precious stones. It
offered full protection from head to toe, and included sword and shield and foot gear for
his mount. In the second case are shown Koran covers decorated with pearls, for the
personal use of the Sultans. Of particular interest is the cover in black velvet,
decorated in pearls and carrying in the center a diamond “God Bless” and finished with
three pearl tassels.
In the third case is
the ebony throne of sultan Murad the IV., inlaid with ivory and mother - of -
pearl, and covered in a fabric throw typical of 17th century Turkish handwork.
At the side, in the
fourth case are shown 16th and 17th century Turkish and Iranian pots, vases,
and water jugs. Opposite, in the fifth case, and belonging to the Egyptian
Governor Mehmet Ali Pasha, are gold candelabras, and an 18th century gold
water pipe belonging to the Governor of Van, Mustafa Pasha and several candle
snips. In the sixth case, solid jade vases and ports, form a background for
the diamond studded walking stick of Abdülhamit II., a gift of Kaiser
Wilhelm. In the seventh case, belonging to the mother of Sultan Mahmut II. is
a golden candelabra. A washing set and sherbet set, also in gold, belonging to
Abdülhamit II. are representative of a high quality of gold work. Next to the
door, in the eighth case is an ornate Indian music box. From here we turn to
the central cases in the room, where are exhibited a large number of heavily
decorated military items, in addition to many personal items belonging to
members of the Sultan’s household.
Treasury Salon II
As we enter the room,
on the right, in the first case are emerald praying beads, and arrow quivers
of 16th century manufacture by Turkish artisans, covered in gold, measuring 35
by 67 centimeters. The quiver immediately in front of us is decorated in
flower motifs done in diamonds and emeralds. In the second case at its top is
a hanging pendant belonging to Sultan Abdülhamid I. of emerald, framed in
gold. It is undoubtedly one of the most striking pieces in the room,
containing three large emeralds shaped in a triangle, leaf patterns surround
framed in gold, and 48 strings of pearls forming the tassel. Along with 97
other treasures, this tassel was originally a gift of the sultan to the tomb
of the Prophet Mohammed in Mecca, and was returned to Istanbul when Mecca no
longer lay within the borders of the Empire, through the efforts of Fahrettin
Pasha, guardian of the treasury.
In the same case is a
six-sided pendant of emerald belonging to Sultan Ahmet I. The body sits on a
six pearl foot, with each of its six sides framed in gold. The cover is domed
in a gold lattice, encrusted with diamonds and sapphires. The old plaque at
the base indicates that it was commissioned by Sultan Ahmet I. in the year
1617 at a price of 6000 gold pieces. In the lower corner of this case, on a
turban, is a 17th century plume-decorated with two five centimeter emeralds in
length, formed on a heavy gold pin. Its top is decorated with two five
centimeter emeralds and a garnet stone, framed by diamond-encrusted gold
leaves, and loops of pearl chains. An additional pendant in this same case was
commissioned by Sultan Ahmed I.
In the third case, at
the top, is an emerald pendant belonging to Sultan Mustafa, and an emerald
dagger belonging to Mehmet IV. This dagger is a fine example of 17th century
craftsmanship, being 31 centimeters in length, its handle of solid emerald,
worked in gold an other precious gems. It was a present to the Sultan Mehmet
IV. at the dedication of the Yeni Mosque.
In the fourth case of
this room is a very eye - catching emerald pendant, 55 centimeters in length,
with a four centimeter long emerald at its top. Beneath this a gold plaque
decorated in diamonds, on either side of which are inscriptions to Sultan Abdülmecid
I. At its base are round and hexagonal emeralds surrounded with pearls. The
tassel at the base is of seventeen strings of pearls. In the same case are
found bases for Turkish coffee cups and turban tassels and plumes. In the
fifth case are feather - like plumes and quivers, the emerald quiver at the
bottom being particularly lovely.
From here we move to
the sixth case to view the famous Topkapi Dagger.
Topkapi Dagger
Due to the film, “TOPKAPI”,
this dagger has become world famous, a gift to the Persian King Nadir Shah,
However, with the killing of the Shah in an uprising, the dagger was returned
to the treasury in Istanbul. It is 35 centimeters long, and features three
very large emeralds in its handle. Under an eight-sided emerald cover at its
top, is found a small watch. around this cover, along both sides of the handle
are rows of diamonds. The back side of the handle is done in mother - of -
pearl and enamel we move to the central case of the room which contains a fine
example of 17th Century woodwork, the throne of Sultan Ahmet I. The throne was
made by the palace mother - of - pearl inlay expert Mehmet Aga, done in
walnut, mother - of - pearl and tortoise shell. Overall it is encrusted in
precious stones.
Across, in the seventh window, are very valuable
hand-carved works of jade. In the eighth case is the golden cradle in which newborn
prospective sultans were first presented to the proud reigning father Sultans. It measures
103 by 54 centimeters, its surfaces decorated in flower motifs enriched by diamonds and
emeralds. The pendent over - hanging the cradle completes the princely effect.
Treasury Salon III
In this salon are more
diamond and gold works. In the case on the right of the entrance are Koran
covers decorated in precious stones. in the second case is a dessert set
belonging to the Sultan Abdülhamit, as well as a gold incense burner, and an
enameled sherbet set.
At the top of the third
case is a pendant carrying the seal of the sultan Mahmut II., itself of
diamonds, on a blue and pink enamel background. The chain is of gold, and the
tassel 45 strings of 38 centimeters of pearls. In the same case is a grouping
of several very large, very famous cut diamonds. The broaches, rings ad other
jewelry items here are equally lovely. In the fourth case, of particular note
are the gold tray and gold incense burner.
In the fifth case,
perhaps this room's most beautiful object, is located.
The
Spoonmaker’s Diamond
The 86 karat stone is
set in silver and surrounded by 49 smaller, perfect diamonds. It takes its
name from the spoon-like shape of the cut. According to a tale, the French
officer Pigot bought the diamond in India and brought it to France, where,
after many changes of hands, it came into the hands of Napoleon’s mother.
She, in turn sold it to save her son from exile. In this sale it came into the
hands of Tepedelenli Mehmet Ali Pasha, from which it was then transferred to
the Ottoman Treasury. It is said the surrounding diamonds were and addition of
the Sultan Mahmut II.
In the two center
cases, are a matching set of 48 kilograms solid gold candelabra, each
decorated in 6,666 diamonds, commissioned by Sultan Abdülmecid. In the
central large case are exhibited many medallions and decoration, gifts of
heads of state of Romania, Yugoslavia, Sweden, France, and Siam, among others.
On the opposite wall,
in the sixth case, is the magnificent Holiday Throne of the Ottoman Sultans.
The throne is of gold, decorated in precious stones, and its use was such a
tradition in the empire that it was moved from Topkapi to the Dolmabahce
Palace for use in holiday audiences with the sultan. The throne measures 108
by 178 centimeters, weighs 350 kilograms, being a present to the Sultan Murat
III., by the Egyptian Governor Ibrahim Pasha in the year 1585. On the left
side of the door are exhibited writing cases. From here we exit to reach the
fourth section of the Treasury.
Treasury Salon IV
The central object of
this room is the Turkish and Indian masterpiece in its center, the throne of
Mahmut I. A gift of the Persian King Nadir Shah, on a green and red
background, its designs are of emeralds and pearls. Previously thought to be
the throne of Shah Ismail, research has shown it to have been in fact a gift
of the Persian king to the Ottomans. On the right in a case, are pots and
ivory mirrors. Across, in a large number of cases, are swords, rifles, prayer
beads, spoons, all extravagantly decorated. Of particular note is the box in
which the mantle of the Prophet Mohammed was once kept.
As we leave this
magnificent treasury, we pass along the from of the museum’s administrative
offices to the Portrait and Miniature Exhibit Hal. The ground floor of this
hall contains examples or art works from the Islamic world from the 13th to
the 19th to the 20th century.
The Pavilion of the
Holy Mantle
This section of the
palace is filled with the relics of the Prophet Mohammed brought here by Yavuz
Sultan Selim I, upon the conquest of Egypt in 1517. The complex consist of a
group of domed rooms. The walls of the double domed entry room are decorated
with 16th century Iznik tiles. In addition to the tiles, the wood work of the
doors and the display windows, and the central wishing pool give the area a
special charm. This section’s central case exhibits the Prophet’s bamboo
bow, and swords of the first four Caliphs and other religious leaders.
Directly opposite is
the Door of Forgiveness brought to Istanbul by Murad III, during the
reconstruction of the Kaaba in the courtyard of the Great Mosque in Mecca.
Quotations from the Prophet, framed in gold attract the attention of the
visitor. From here we enter to the left room. The dome of the room is in
electric style, and the walls are decorated in 16th century tiles and further
quotations of the Prophet. In the central case is what is reputed to be the
oldest existing Koran, written on deer skin, and several cases in which have
been kept the mantle of the prophet. In addition, several locks from the
entrance to the Kaaba are displayed. The golden cover displayed was once the
cover of the Hacer-ül Esved stone, the black stone which “fell from
heaven” within the Kaaba. Hanging from the ceiling are rain gutters
belonging as well to the Kaaba.
As we leave this room, on the right we enter the first
room. It is domed, tiled, and decorated with quotations from the Koran. In the central
display case the personal holy effects of the Prophet Mohammed are exhibited. These
effects include a letter in a gold case, soil from his grave, and several hairs from his
beard, his footprint and some of his extracted teeth.
Turning to the left, we
come upon the most holy section of the museum, the Pavilion of the Holy
Mantle. The room is closed in behind wire screening. In its original use, this
was the office of the sultans, used for daily affairs, and was converted to
its present use with the move of the residence to the Dolmabahçe Palace.
Directly in from of the
visitor is a Sterling Silver chest which has been the reposit of the holy
effects for centuries, the chest itself a work of the father of the great
Turkish traveler of ancient times, Evliya Çelebi. Beneath this, are two
chests, one within the other, containing the mantle itself, made in the tile
of Abdülaziz. Along side this are two swords belonging to the Prophet
decorated in precious stones. Also in the room is the holy Standard of
Mohammed, taken into battle on each occasion when the Ottoman armies took out
on campaigns. After so much use, it is now kept, thread-bare, in a chest.
From here, passing
through a door, we reach an open terrace surrounding a reflecting pool,
alongside which stand the Revan Pavilion and the Baghdad Pavilion, both of
which carry a distinctly Eastern Islamic architectural influence reflecting
their having been built to celebrate the conquests of Persia (Revan) and Iraq
(Baghdad).
Revan Pavilion
Built in 1635 by the
architect Koca Kasim, it is a small replica of the Baghdad Pavilion. On an
octagonal layout, it is a single room, whose walls to the window edge are
marble, and above are tile work. There is a double line of windows decorated
in mother -of -pearl and tortoise shell. The central brazier was a gift of the
French King Louis XV, to Mahmut I, made by Duplesisa, a famous worker in
bronze of the time. This room was also known as the Turban Room, as it was
here that the sultan’s turbans were kept.
On our way to the
Baghdad Pavilion, the heavily tiled outer wall of the Circumcision Room is
seen, and next the lovely gilt - bronze baldachin of Sultan Ibrahim dating
from 1640. It was here that the sultan broke his daily fasting at sunset
during the Month of Fasting (Ramazan). Like the sultan himself, let us break
our tour here, and enjoy the same lovely overlook of the city which this
position affords us. From here, we ill then proceed to the Baghdad Pavilion.
Baghdad Pavilion
Built in 639 by the
architect Koca Kasim, this pavilion is also eight sided, and Surrounded by
marble columns supporting a broad overhanging roof line, in a circular
portico. Like the Revan, the lower walls are of marble and the upper walls of
tiles. The mother - of pearl and tortoise shell inlay work in the doors,
window frames, and closets in the interior are excellent examples of Turkish
workmanship. The wall spaces throughout are totally covered in tile. From the
heavily decorated dome hangs a golf - leafed sphere. Seating divans line the
wall insets covered in velvet fabrics. The solid bronze fireplace blends with
the massive tile bird figures on either side.
After visiting the
Baghdad Pavilion, perhaps stopping for another look over the old city, we
descend either of the staircases at the sides of the Revan Pavilion to the
Fourth Court of the palace. On the left entering the court we pass the
pavilion called the Sofa Pavilion, and further on the Mecidiye Pavilion. For
an additional spectacular overlook of the city, the Bosphorus and the Marmara
Sea, walk to the far side the Pavilion to its sea - side terrace. We now
return to the third court, crossing opposite the Treasury to the Calligraphy
Room, along side the Pavilion of the Holy Mantle. Here are displayed excellent
examples of Islamic and Turkish writings over a long time period. Directly
opposite its entrance stands the marble Library of Ahmet III (1718).
Harem
The Harem has a highly complex plan, consisting of
buildings constructed over a long period of time, this adding to the apparent complexity
of the several hundred rooms layout. Lived in throughout the Ottoman Age, and presenting
the best of each of the periods of the Age, the harem is the ideal location for a full
taste of the Ottoman Empire’s life.
Construction began
under Süleyman the Magnificent, continuing through the time of Mahmut II.
Extending over 6720 square meters, it consists of three to five story
buildings, totaling 259 rooms, 46 toilets, 12 storage rooms for non-food
items. 8 baths, 8 entry halls, a hospital, 2 dormitories, 4 kitchens, six food
store rooms, and one swimming pool. In addition, a School for Princes was
annexed, and in the basement were located the harem prisons.
Today we enter the
harem through a small door which in the past served as the Carriage Gate
entrance to the harem, and is located behind the chamber of the Divan. This
was the entrance of the eunuchs and the Sultan’s wives when using carriages.
From the Carriage Gate we enter a small rectangular - shaped room. The second
room we next enter, walls sheathed in tiles, was the palace guard room, this
was the Eunuchs Guard room, and is decorated in Kütahya tiles. To the left of
this room, we enter the mosque of the black eunuchs, walls again sheathed in
tile work, and the pulpit finished in mother - of - pearly inlay.
Following the stone pathway outside the mosque, we reach
the barracks of the Black Eunuchs.
Barracks of the
Black Eunuchs
These quarters consist
of rows of small rooms along a long corridor. At the end of the corridor
stands a large fire place covered in Kütahya ceramic tiles. On the right
wall, of particular interest are the large drum used to drum in religious
holidays, and a stocks - like device for securing a victim’s feet for
beating. The drum was used to waken the harem for the pre-dawn meal during the
month of fasting (Ramazan), and eunuchs were the usual victims of the stocks.
The barracks is on three levels, with the older eunuchs housed in the lower
rooms, and the youngest in the larger rooms on the third level.
Leaving the Barracks we
pass the highly decorated Quarters of the Chief Eunuch and the School of the
Princes. We enter a stone court yard whose walls are decorated in tiles from
several different periods. The door at the far end of this courtyard is called
the Main Gate (Cumle Kapisi).
Entering the Main Gate,
we reach a covered courtyard. This court also served as a guard room for the
eunuchs, having three entrance doors, with symmetrically placed gold leaf
mirrors also three in number. From here we move on a path which will bring us
to the Court of the Wives. On the left we notice marble tables on which food
for the harem was placed. Approaching the court itself, on the left is a bath
and fountain of the wives, and directly opposite these we enter the wives’ quarters.
Wives’ Quarters
Through a wooden door
we reach the entrance hall. On the right, on a raised podium is a wooden chest
and a closed. The Kütahya tiled walls have seen repair over the years.
Through a very narrow corridor, we move past a toilet on the right, and on the
left a stair case leading to the upper floors. We now enter the main room of
the quarter. On the right wall are a closet, fireplace, and fountain. Opposite
are stained glass windows.
The fire place is a total restoration. The room is
decorated in tiled walls, silk fabric upholstered divans, and a copper brazier in its
center. The small room at the left was used as a closet/storage room. On the upper floor
are ten rooms belonging to these quarters. The ceiling of this main room is domed and
worked in engravings. Retracing our steps back to the corridor, we reach the Apartments of
the Queen mother through a small door on the left of the court.
Apartments of the
Queen Mother
The tiled room with a fire place which we now enter was
used by the Chief Maid of the Queen Mother. The built-in closets of mother of - pearly
inlay, tiled walls and brick flooring are well coordinated. On the right, through double
doors, we reach the Queen Mother’s Quarters themselves. Floors and closets are again
brick and mother - of -pearl respectively, the fire place of tile, but the room’s
special beauty derives from its marble fountain.
The upper walls, to the
dome itself are covered in frosted glass, providing ample light to the room.
18th century paintings of natural scenes decorate the other walls. The dome
itself is decorated in vines and grapes. From the window can be seen the
gold-leaf, sectioned roof of the Queen Mother’s private balcony. Opposite
this room is the Queen Mother’s Dining Room. The room is partially raised,
and decorated in false columns. Lighting enters through iron - gated windows.
Decorated with divans, the right wall is of porphyry, and the left wall of
tiles. The ceiling is sectioned, and covered in gold - leaf. Tile work in this
room was covered - over during the late years of the harem, but was revealed
as we see it today during restoration in recent years. Chinese vases stand in
the windows, with an elegant silver tray at the center. From here, we enter
the bedroom of the Queen Mother.The place for the actual bed is at the left,
raised, and covered with a columned canopy in gold leaf.
A curtain was drawn across this canopy when the room was
in use. The walls are covered in tile panels, and the ceiling in square ceramic tiles,
each with its own pattern. On the right is a dual chamber, one for ritual prayers, and the
other for personal prayers to Allah. The ceiling of the inner chamber is gold leafed and
sectioned, with pink porphyry walls and many windows. The second room has tiled walls and
an engraved ceiling. This section is separated from the bedroom area itself with an
ornamental iron gate.
From here a corridor leads us to the Baths of the Sultan.
The corridor walls and floor are of marble. Closed doors are mother - of - pearl, and the
doors of painted wood. On the right we enter the bath chambers.
The Baths of the
Sultan
This is by far the most
beautiful bath in the harem, totally done in white marble. It consists of
three rooms. The first was the Resting and Massage Room. The walls must have
been engraved at one time. The whire - covered divans give a feeling of peace.
In the dressing Room, a gold - leaf wood chest, and gold framed crystal mirror
are the central objects which catch our eye. The third section contains the
bath itself. The ironed section on the left was directly for the use of the
sultan himself and was barred to protect the sultan from possible attack while
bathing. Leaving the baths we reach the harem’s most visually attractive
room, the Hall of the Emperor.
The Hall of the
Emperor
Here is the room in
which the sultan and the women of the harem organized evenings of
entertainment and celebrated religious holidays. This domed salon is thought
to have been originally the work of the architect Sinan in the 16th Century.
In the 18th century it underwent major changes under Osman III. The room has
26 windows and a dome in rococo style. All wood sections of windows and
closets are heavily decorated.
The columned section of
the room bet characterizes the room’s original decor and flavor. The throne
of the sultan is set in a blue tile field with a white background. On either
side of the throne are chines porcelain vases. Above the velvet - covered
divans in a musicians balcony. The symmetrically placed clocks in the room
were a present from England’s Queen Victoria. The empire - style chair in
the corner was a gift to Sultan Abdülmecit by Kaiser Wilhelm, and is not an
original item of the room. The mirrored closet door in the left corner of the
room is actually a secret door, allowing the sultan to reach other parts of
the harem from this central room. Marble columned, fountained, and heavily
decorated with crystal chandeliers and mirrors, who can tell how many beauties
danced here for the pleasure of the sultan in his evenings of entertainment?
Leaving the rococo
style poetry of this room, we continue on our right the Fountain Hall. The
marble fountain itself and the beautiful walls sheathed in tiles catch our
eye, as we pass on through a domed hallway, heavily tiled, but mis - shapened
by the addition of a fireplace to an adjoining room in later times. From here
we enter the Salon of Murat III. The double porphyry columns were placed by
the architect Sinan to check the settling of the building. Through the tiled
doorway we enter Murat III’s room.
Salon of Murat III
Another of the
harem’s most elegant rooms is that we are now in. This 16th century creation
of Sinan is decorated richly in blue tiles with red highlights. The tiles used
in room were never duplicated again for use anywhere else. Classical motifs
decorate the magnificent dome. On the right are two symmetrical raised
chambers, interiors engraved, and exteriors of gold leaf. The central copper
fireplace is three tiered, sunken marble fountain, whose splashing dominates
the mood of the room. The running waters form a link with history for they
were always left running to camouflage the conversations in the room. Divans,
braziers and mother - of - pearl doors all add to the further beauty of the
room.
At the far end of the
room, passing a toilet room on the right, we move on to the Library of Ahmet
I.
Library of Sultan
Ahmet I
This beautifully tiled room was built by the builder of
the "Blue Mosque". The mother - of -pearl inlay work in the room adds to its
charm. From this room we enter the smallest, but perhaps also the most beautiful of the
rooms of the harem, the so-called Fruit Room.
Fruit Room
This beautiful room was
built by Ahmet III, and is decorated in pen engravings depicting panels of
plated fruits and flower arrangements. On the left is a mirror, with niched
walls. On the right stands a marble fireplace, with crystal candleholders
placed in the windows. A large tray directly on the floor finishes the room.
Foreign tourists in particular find this room a delight, and leave here only
with difficulty. Leaving this area in the same direction from which we came,
through the domed hallway, on the left we move up a few steps to the
Apartments of the Crown Prince.
Apartments of the
Crown Prince
Consisting of two pavilions, the dome of the first is
heavily decorated in gold - leaf engravings on canvas. For many years this dome was
covered over with a false ceiling, and only in the restoration was its magnificence
uncovered. The tiles on the walls of this room are equally magnificent. The top of the
fireplace is engraved with the same motifs as are found in tile work. The stained glass
windows, with their small water faucets on either side catch our eye as we move into the
second room. To the left is a fireplace and the right is a brazier. The ceiling is
decorated with motifs of vegetation and geometric designs. The stained glass windows and
mother of - pearl work cannot be adequately described in words and must be seen to be
appreciated. The two levels of the floor were discovered during the last restoration.
From these rooms, where many of the Crown Princes waited
with hopes and fears, can be seen outside on the left, the Courtyard of the Favorites and
the lower level Pool of the Concubines. The surrounding building belonged to the
concubines. The rooms of the bearers of male heirs of the sultan are on the right, and
directly opposite is a mosque door, decorate in mother - of - pearl. The pathway on the
left, which used to lead to the Pavilion of the Holy Mantle, is now closed with three 16th
Century tile panels. Turning to the right, wee now reach the Golden Road, one of the most
famous parts of the harem.
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