Topkapi Palace

The Topkapi Palace (Topkapi Sarayı in Turkish ) was the official and primary Istanbul residence of the Ottoman Sultans from 1465 to 1853. The palace was a setting for state occasion and royal entertainment, and is a major tourist attraction. The name translated from Turkish literally means the "Cannongate Palace", named after a nearby gate. Initial construction started in 1459, ordered by Sultan Mehmed II.The palace is a complex of a conglomeration of four main courtyards and many smaller buildings. At the height of its existence up to 4,000 people resided in the palace.

After the end of the Ottoman Empire in 1921, Topkapi Palace was transformed into a museum of the imperial era by government decree on April 3, 1924. The Topkapi Palace Museum is under the administration of the Ministy Of Culture and Tourism. The palace complex has over hundreds of rooms and chambers, only the most important ones are accessible to the public today. The complex is guarded by officials of the ministry as well as armed soldiers of the military of Turkey.

The Topkapi Palace is full of examples of Ottoman style architecture and also owns large collections of porcelain, robes, weapons, shields, armors, Ottoman miniatures, Islamic calligraphic manuscripts and mural decorations, as well as a display of accumulated Ottoman treasures and jewelry.

History

The site

The Topkapi Palace complex is located on the Seraglio Point (Sarayburnu), a promontory overlooking the Golden Horn and the Sea of Marmara, with the Bosphorus in plain sight from many points of the palace. The site is hilly and one of the highest points close to the sea. During Greek and Byzantine time, the old acropolis of the ancient Greek city of Byzantium stood here. Some of remains are still visible scattered in what is called the Second Courtyard. There is an underground Byzantine cistern located in the Second Courtyard that was used even throughout the Ottoman times. Remains of a small church on the acropolis were also excavated in modern times. The nearby Church of Hagia Eirene, even though located in today's First Courtyard, is not ascribed to being a part of the old Byzantine acropolis.

Initial construction

After the Ottoman conquest and Fall of Constantinople in 1453, Sultan Mehmed II found the old imperial Byzantine Great Palace of Constantinople largely in ruins. The Ottoman court inititally set itself up in the Eski Sarayı, today's site of Istanbul University. The Sultan searched for a better location and chose the old Byzantine acropolis, ordering the construction of a new palace in 1459. It was originally called the New Palace, to distinguish it from the previous residence. It received its name "Topkapi" in the 19th century, after a (now destroyed) Topkapi shore pavilion.

Layout

Sultan Mehmed II also established the basic layout of the palace. This basic layout governed the pattern of future renovations and extensions. He summoned experienced craftsmen, especially former inhabitants from Constantinople who had fled to Edirne and Bursa after the fall of the city. He used the most expensive and rare materials of that time, trying to restore the city its former glory. The palace was completed in 1465.

Contrary to other royal residences which had a strict master plan, such as Schönbrunn Palace or the extensive Palace of Versailles, the appearance of the Topkapi Palace developed itself over the course of centuries, with various sultans adding and changing various structures and elements. The resulting appearance of asymmetry is the result of this growth and change over time.

Surrounding the palace is the Sea of Marmara, on the southern and western side the palace borders the large former imperial park, today Gülhane Park.

Topkapi Palace gradually lost its importance at the end of the 17th century, as the Sultans preferred to spend more time in their new palaces along the Bosporus. In 1853, Sultan Abdülmecid I decided to move his residence to the newly built Dolmabahçe Palace, the first western European-style palace in the city

Imperial Gate

The main gate is called the Imperial Gate (Bâb-ı Hümâyûn or Porta Augusta), also known as Gate of the Sultan (Saltanat Kapısı). This massive gate, originally dating from 1478, is now dressed in 19th-century marble. Built out of a mass of masonry, this massive gate accentuates its defensive character. Its central arch leads to a high-domed passage. Gilded Ottoman calligraphy adorns the structure at top, with verses from the Holy Koran and tughras of the sultans. Identified tughras are of Sultan Mehmed II and Abdülaziz I, who renovated the gate. On each side of the hall are rooms for the guard. The gate was open from morning prayer until last evening prayer. Apart from viziers and foreign dignitaries, no one was allowed passage through the gate.

According to old documents, there was a wooden apartment above the whole area of this gate until the second half of the 19th century. It was used first as a pavilion by Mehmed, later as a depository for the properties of those who died inside the palace without heirs and eventually as the receiving department of the treasury. It was also used as a vantage point for the ladies of the harem on special occasions.

The Imperial Gate is the main entrance into the First Courtyard.

First Courtyard

The First Courtyard (I. Avlu or Alay Meydanı) spans over the entire Seraglio Point and is surrounded by high walls.In 1509 a massive earthquake ruined these walls from the seaside to the garden gate. They required an extensive renovation. This First Courtyard is an outer precinct or park. The steep slopes had already been terraced under Byzantine rule.

This court was also known as the Court of the Janissaries or the Parade Court.

The First Courtyard also contains the old Imperial Mint (Darphane-i Âmire, constructed in 1727), the church of Hagia Eirene, the Istanbul Archaeology Museum (constructed during the 19th century) and various fountains, pavilions (for example, the Çinili Pavilion, or Tiled Pavilion) and gardens (including the Gülhane Park, the old imperial rose garden).

The Çinili Pavilion is set within the outer walls and dates from 1473. It was built by Mehmed II as a pleasure mansion.

The exterior glazed bricks show a Central Asian influence, especially from the Bibi-Khanym Mosque in Samarkand. Its square, axial plan represents the four corners of the world and symbolizes, in architectural terms, the universal authority and sovereignty of the Sultan. As there is no Byzantine influence, the building is ascribed to an unknown Persian architect. The stone-framed brick and the polygonal pillars of the façade are typical of Persia. A grilled gate leads to the basement. Two flights of stairs above this gate lead to a roofed colonnaded terrace. This portico has been rebuilt in the 18th century. The great door in the middle, surrounded by a tiled green arch, leads to the vestibule and then to the court covered with a lofty dome. The three royal apartments are situated behind, with the middle apartment in apsidal form.

They look out over the park to the Bosphorus. The network of ribbed vaulting suggest Gothic revival architecture, but they actually add weight to the structure instead of sustaining it. The blue-and-white tiles on the wall are arranged in hexagons and triangles in the Bursa manner. Some show delicate patterns of flowers, leaves, clouds or other abstract forms. The white plasterwork is in the Persian manner. On both wings of the domed court are eyvans, vaulted recesses open on one side. It has many examples of İznik tiles and Seljuk pottery. It now houses the Museum of Islamic Art.

The Fountain of the Executioner is where the executioner washed his hands and sword after a decapitation. It is located on the right side in front of the Gate of Salutation.

Gate of Salutation

Second Courtyard

The Second Courtyard (II. Avlu), or Divan Square (Divan Meydanı) was a park, full of peacocks and gazelles, used as a gathering place for courtiers. Only the Sultan was allowed to ride on the black pebble walks.

This courtyard is surrounded by the palace hospital, bakery, Janissary quarters, stables, the imperial Harem and Divan to the north and the kitchens to the south. Numerous artifacts from the Roman and Byzantine periods have been found on the palace site during recent excavations. These include sarcophagi, baptismal fonts, parapet slabs and pillars and capitals. They are on display in the Second Courtyard in front of the imperial kitchens.

Located underneath the Second Courtyard is a cistern that dates to Byzantine times. It is normally closed to the public.

Imperial carriages

Directly behind the Gate of Salutation on the northeast side the imperial carriages are exhibited in the former outer stables and harness rooms. It is a relatively low building, altered in 1735 when a new ceiling was installed. Its roof is one of the few undomed roofs to retain its 15th century shape. Many carriages were destroyed in a fire in the previous stables in the late 19th century. The carriages on display are some of the sultan's carriages, the state carriage, the carriage of the Valide Sultan (Queen Mother), and minor court carriages. Some of the carriages were foreign made products that were imported for the court. Located next to the carriages in the northern direction lie the extensive palace kitchens.

Palace kitchens

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

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

The Topkapi Palace kitchens consist of ten domed buildings: Imperial kitchen, Enderûn (palace school), Harem (women’s quarters), Birûn (out service section of the palace), kitchens, beverages kitchen, confectionery kitchen, creamery, storerooms and rooms for the cooks. They were the largest kitchens in the Ottoman empire. The meals for the Sultan, the residents of the Harem, Enderûn and Birûn (the inner and outer services of the palace) were prepared here. Food was prepared for about 4,000 people. The kitchen staff consisted of more than 800 people, rising to 1,000 on religious holidays. As many as 6,000 meals a day could be prepared.

Apart from exhibiting the kitchen utensils, today the buildings contain the world's third largest collections of Chinese blue-and-white and celadon porcelain, valued by the Sultans because it was supposed to change colour if the food or drink it contained was poisoned. Its 10,700 pieces of Chinese, Japanese and Turkish porcelain are rare and precious.The Chinese porcelain collection ranges from the late Song Dynasty (13th c.) and the Yuan Dynasty (1280-1368), through the Ming Dynasty (1368-1644) to the Qing Dynasty (1644-1912). This museum also contains one of the world's largest collections of 14th-century Longquan celadon. The Japanese collection is mainly Imari porcelain, dating from the 17th to the 19th century.

Imperial Council

The Imperial Council (Divan-i Hümâyûn) building is where the Divan, the Imperial Council, consisting of the Grand Vizier (Paşa Kapısı), viziers, and other leading officials of the Ottoman state, held meetings. It is also called Kubbealtı, which means "under the dome", in reference to the dome in the council main hall. It is situated in the northwestern corner of the courtyard next to the Gate of Felicity. It was constructed by the architect-in-chief Alseddin, by the order of Sultan Süleyman the Magnificent, in the 15th century. This place lost its importance after the 18th century, when the Grand Viziers had started to run the affairs of state independently. Thus the important state issues were transferred to the Sublime Porte (Bâb-ı Âli) of the Grand Viziers.

The council hall has multiple entrances from inside the Topkapi Palace and from the courtyard. The porch consists of multiple marble and porphyr pillars, with an ornate green and white-coloured wooden ceiling decorated with gold. The floor is decked in marble. The entrances into the hall from outside are in the rococo style, with gilded grills to allow natural light in. While the pillars are earlier Ottoman style, the wall paintings and decorations are from the later rococo period. Inside, the Imperial Council building consists of three adjoining main rooms. Two of the three domed chambers of this building open into the porch and the courtyard: The Divanhane, with a wooden portico built at the corner of the Divan Court (Divan Meydanı), in the 15th century was used later on as the mosque of the council, to be eventually removed in 1916.

1) The first chamber where the Imperial Council held its deliberations is the Kubbealtı.

2) The second chamber was occupied by the secretarial staff of the Imperial Divan.

3) In the adjacent third chamber called Deferhane, records were kept by the head clerks. The last room served as an archive in which documents were kept.

The Kubbealti, which suffered damage during the Great Harem Fire of 1665, was restored by the order of Sultan Mehmed IV. On its façade are verse inscriptions which mention the restoration work carried out in 1792 and 1819, namely under Sultan Selim III and Mahmud II. The rococo decorations on the façade and inside the Imperial Council date from this period.

In the Imperial Council meetings the political, administrative and religious affairs of the state and important matters of the citizens were discussed. The Imperial Council normally met four times a week. The meetings of the Imperial Council and its ceremonies were organized according to an elaborate and strict protocol. The council members, the Grand Vizier, the viziers, the Chief Military Judges of Anatolia and Rumelia met here to discuss the affairs of state and submitted their resolutions to the Sultan. They also held court hearings. Sometimes the Grand Müfti (Sheikh al-İslam) also took part in important meetings. The other officials of the Council were the Nişanci (officers whose duty it was to inscribe the Sultan’s imperial monogram on imperial letters) and the Minister of Finance (Defterdar), the Minister of Foreign Affairs (Reis-ül-Küttab), the officials charged with the duty of writing official memoranda (Tezkereciler), and the clerks recording the resolutions.

Apart from that, it was here that the Grand Vizier received ambassadors, as well as wedding ceremonies of the Sultan’s daughters were held here.

The fountain in the middle of the room enabled secret conversations to be held when running. From the window with the golden grill the Sultan or the Valide Sultan was able to follow deliberations of the council without being noticed. The window could be reached by the adjacent Tower of Justice (Adalet Kulesi).

Tower of Justice

The Tower of Justice (Adalet Kulesi) is located in-between the Imperial Council and the Harem. The tower is multiple storeys high and the tallest structure of the palace, clearly visible from the Bosphorus. Sultan Mahmud II rebuilt the lantern of the tower in 1825, while retaining the Ottoman base (attributed to Mehmed II). The tall windows with engaged columns and the Renaissance pediments evoke the Palladian style.

Armory Exhibition Hall

The present Armory Exhibition Hall (Silah Seksiyonu Sergi Salonu) was formerly the inner treasury of the Ottoman Empire. It is a hall built of stone and brick with eight domes, each 5 x 11.40 m. It was transformed into a museum in 1928, displaying a rich collection of about 400 weapons (dating between the 7th and the 19th c.) from several countries, including swords of many Sultans. The collection shows the sword of Sultan Mehmed II. It also includes samurai armor, which were a present from Japan to the Sultan. During excavations in 1937 in front of this building, remains of a religious Byzantine building dating from the fifth century were found. Since it could not be identified with any of the churches known to have been built on the palace site, it is now known as "the Basilica of the Topkapi Palace".

Gate of Felicity

The Gate of Felicity (Bâb-üs Saade or Bab-üs Saadet) was originally constructed in the 15th century.

This monumental gate is the entrance into the Inner Court (Enderûn), also known as the Third Courtyard, comprising of the strictly private and residential areas of the palace. It represents the presence of the Sultan in the palace. No one could pass this gate without the authority of the Sultan. Even the Grand Vizier was only granted authorisation on specified days and under specified conditions.

It was redecorated in the rococo style in 1774 under Sultan Mustafa III and during the reign of Mahmud II.

The Sultan used this gate and the Divan Meydanı square only on special ceremonies. The Sultan sat before the gate on his Bayram throne on religious, festive days and accession when the subjects and officials perform their homage standing. The funerals of the Sultan were also conducted in front of the gate.

On either side of this passage under control of the Chief Eunuch of the Sultan’s Harem (called the Bâbüssaâde Ağası) and the staff under him were the quarters of the eunuchs as well as the small and large rooms of the palace school.

The small, indented stone on the ground in front of the gate marks the place where the banner of the Prophet Muhammad was unfurled. The Grand Vizier or the commander going to war was entrusted with this banner in a solemn ceremony.

Third Courtyard

Beyond the Gate of Felicity is the Third Courtyard (III. Avlu), also called the Inner Palace (Enderûn Avlusu), which is the heart of the palace, where the Sultan spent his days outside the harem.It is a lush garden surrounded by the Hall of the Privy Chamber (Has Oda) occupied by the palace officials, the treasury (which contains some of the most important treasures of the Ottoman age, including the Sacred Trusts), the Harem and some pavilions, with the library of Ahmed III in the center.

The Third Courtyard is surrounded by the quarters of the Ağas (pages), boys in the service of the sultan. They were taught the Arts, such as music, painting and calligraphy. The best could become Has Odali Ağa (Keepers of the Holy Relics of the Prophet and personal servants of the Sultan), or even become officers or high-ranking officials.

Audience Chamber

The Audience Chamber (Arz Odası) is located right behind the Gate of Felicity. It is an old building, dating from the 15th century, renovated in 1723 by Sultan Ahmed III and rebuilt in its present form after it was destroyed by fire in 1856. This square building is surrounded by a colonnade of 22 columns, supporting the large roof. The Sultan, sitting on his gilded throne, covered with embroidery and encrusted with gems and pearls, received here the Grand Vizier and the Council members, who presented their resolutions for ratification, high-ranking officials and foreign ambassadors. There is a small fountain at the entrance, used to prevent others from overhearing secret conversations in this room. Behind the Audience Chamber on the eastern side is the Dormitory of the Expeditionary Force.

Dormitory of the Expeditionary Force

The Dormitory of the Expeditionary Force (Seferli Koğuşu) houses the Imperial Wardrobe Collection (Padişhah Elbiseleri Koleksiyonu) with a valuable costume collection of about 2,500 garments, the majority precious kaftans of the Sultans. It also houses a collection of 360 ceramic objects.

The dormitory was constructed under Sultan Murad IV in 1635. The building was restored by Sultan Ahmed III in the early 18th century. The dormitory is vaulted and is supported by 14 columns. Adjacent to the dormitory, located northeast is the Conqueror's Pavilion.

The Conqueror’s Pavilion, also called the Conqueror's Kiosk (Fatih Köşkü) and the arcade of the pavilion in front is one of the pavilions built under Sultan Mehmed II and one of the oldest buildings inside the palace. It was built circa in 1460, when the palace was first constructed, and was also used to store works of art and treasure. It houses the Imperial Treasury (Hazine-i Âmire).

The pavilion originally consisted of three rooms, a terrace overlooking the Sea of Marmara, a basement and adjoining hamam, or Turkish bath. It consists of two floors raised on a terrace above the garden, built at the top of promontory on a cliff with a magnificent view from its porch on the Sea of Marmara and the Bosporus. The lower floor consisted of service rooms, while the upper floor was a suite of four apartments and a large loggia with double arches. The first two rooms are covered with a dome of considerable height. All the rooms open onto the Third Courtyard through a monumental arcade. The colonnaded portico on the side of the garden is connected to each of the four halls by a door of imposing height. The capitals of the imposing capitals are shrunken Ionic in form and date probably from the 18th century. The pavilion was used as the treasury for the revenues from Egypt under Sultan Selim I. Before this period, under Mehmed II and Bayezid II, these apartments must have been the most agreeable rooms in the palace. During excavations in the basement, a small Byzantine baptistery built along a trefoil plan was found.

Works of art, jewelry, heirlooms of sentimental value and money belonging to the Ottoman dynasty are kept here. Since the palace became a museum, the same rooms have been used to exhibit these treasures. Most of the objects in the Imperial Treasury consisted of gifts, spoils of war, or pieces produced by palace craftsmen. The Chief Treasurer (Hazinedarbaşı) was responsible for the Imperial Treasury. Upon their accession to the throne, it was customary for the sultans to pay a ceremonial visit to the Treasury.

The objects exhibited in the Imperial Treasury today are a representative selection of its contents, which mainly consist of jeweled objects made of gold and other precious materials. Among the many treasuries that are on exhibition in four adjoining rooms, the first room houses one the armours of Sultan Mustafa III, consisting of an iron coat of mail decorated with gold and encrusted with jewels, his gilded sword and shield and gilded stirrups. The next display shows several Holy Koran covers belonging to the sultans, decorated with pearls. The ebony throne of Murad IV is inlaid with nacre and ivory. The golden Indian music box, with a gilded elephant on top, dates from the 17th century. In other cabinets are looking glasses decorated with rare gems, precious stones, emeralds and cut diamonds.

The second room houses the Topkapi Dagger. The golden hilt is ornamented with three large emeralds, topped by a golden watch with an emerald lid. The golden sheath is covered with diamonds and enamel. In 1747, the Sultan Mahmud I had this dagger made for Nadir Shah of Persia, but the Shah was assassinated before the emissary had left the Ottoman Empire's boundaries and so the Sultan retained it. This dagger was the subject of the film Topkapi. In the middle of the second room stands the walnut throne of Ahmed I, inlaid with nacre and tortoise shell, built by Sedefhar Mehmet Ağa. Below the baldachin hangs a golden pendant with a large emerald. The next displays show the ostentatious aigrettes of the sultans and their horses, studded with diamonds, emeralds and rubies. A jade bowl, shaped like a vessel, was a present of the Czar Nicholas II of Russia.

The most eye-catching jewel in the third room is the Spoonmaker's Diamond, set in silver and surrounded in two ranks with 49 cut diamonds. Legend has it, that this diamond was bought by a vizier in a bazaar, the owner thinking it was a worthless piece of crystal. Amongst the exhibits are two large golden candleholders, weighing each 48 kg and mounted with 6666 cut diamonds, a present of Sultan Abdülmecid I to the Kaaba in the holy city of Mecca. They were brought back to Istanbul shortly before the fall of the Ottoman Empire and the loss of control over Mecca. The golden ceremonial Bayram throne, mounted with tourmalines, was made in 1585 by order of the vizier Ibrahim Pasha and presented to Sultan Murad III. This throne would be set up in front of the Gate of Felicity on special audiences.

The throne of Sultan Mahmud I is the centerpiece of the fourth room. This golden throne in Indian style, decorated with pearls and emeralds, was a gift of the Persian ruler Nader Shah in the 18th century. Another rather curious exhibit shows the forearm and the hand of St. John the Baptist, set in a golden covering. Several displays show an assembly of flintlock guns, swords, spoons, all decorated with gold and jewels. Of special interest is the golden shrine that used to contain the cloak of the prophet Mohammed.

Miniature and Portrait Gallery

Adjacent to the north of the Imperial Treasury lie the pages dormitory, which have been turned into the Miniature and Portrait Gallery (Müzesi Müdüriyeti). On the lower floor is a collection of important calligraphies and miniatures. In the displays one can see old and very precious korans (12th-17th c.), hand-painted and hand-written in Kufic and also a bible from the 4th century, written in Arabic. A priceless item of this collection is the first world map by the Turkish admiral Piri Reis (1513). The map shows part of the western coasts of Europe and North Africa with reasonable accuracy, and the coast of Brazil is also easily recognizable. The upper part of the gallery contains 37 portraits of different sultans, most of which are copies since the original paintings are too delicate to be shown public. The portrait of Mehmed II was painted by the Venetian painter Gentile Bellini. Other precious Ottoman miniature paintings that are either kept in this gallery or the palace library are the Hünername, Sahansahname, the Sarayı Albums, Siyer-ı Nebi, Surname-ı Hümayun, Surname-ı Vehbi, and the Süleymanname amongst many others.

Enderûn Library (Library of Ahmed III)

The Neo-classical Enderûn Library (Enderûn Kütüphanesi), also known as Library of Sultan Ahmed III (III. Ahmed Kütüphanesi), is situated directly behind the Audience Chamber (Arz Odası) in the centre of the Third Court. It was built on the foundations of the earlier Havuzlu kiosk by the royal architect Mimar Beşir Ağa in 1719 on orders of Sultan Ahmed III for the use of the officials of the royal household. The colonnade of this earlier kiosk now probably stands in front of the present Treasury. The library is a beautiful example of Ottoman architecture of the 18th century. The exterior of the building is faced with marble. The library has the form of a Greek cross with a domed central hall and three rectangular bays. The fourth arm of the cross consists of the porch that can be approached by a flight of stairs on either side. Beneath the central arch of the portico is an elaborate drinking fountain with niches on each side. The building is set on a low basement to protect the precious books of the library against moisture. The walls above the windows are decorated with 16th - 17th century İznik tiles of variegated design. The central dome and the vaults of the rectangular bays have been painted. The decoration inside the dome and vaults are typical of the so-called Tulip Era, which lasted from 1703-1730. The books were stored in cupboards in the walls. The niche opposite the entrance was the private reading corner of the sultan.

The library contained books on theology, Islamic law and similar works of scholarship in Ottoman Turkish, Arabic and Persian. In those days the library contained more than 3,500 manuscripts. Some are fine examples of inlay work with nacre and ivory. Today these books are kept in the Mosque of the Ağas (Ağalar Camii), which is located next to the library in the western direction. One of the important items is the so-called Topkapi manuscript, a copy of the Holy Koran from the time of the third Caliph Uthman Ibn Affan.

Mosque of the Agas

The Mosque of the Ağas (Ağalar Camii) is the largest mosque in the palace. It is also one of the oldest constructions, dating from the 15th century during the reign of Sultan Mehmed II. The Sultan, the ağas and pages would come here to pray. The mosque is aligned in a diagonal line in the courtyard, in order to make the minbar face towards Mecca. In 1928 the books of the Enderûn Library amongst other works were moved here as the Palace Library (Sarayı Kütüphanesi), housing a collection of about 13,500 Turkish, Arabic, Persian and Greek books and manuscripts, collected by the Ottomans. Located next to the mosque to the northeast is the Imperial Portraits Collection.

Imperial Portraits Collection

The Imperial Portraits Collection (Padişah Portreleri Sergi Salonu) is located in the Hasoda Koğuşu, which were part of the Sultan's chambers. The painted portraits depict all the Ottoman sultans and some rare photographs of the later ones. Since the sultans rarely showed themselves in public, the earlier portraits of them are actually only an idealisation, they do not depict the reality. The domed chamber is supported by pillars, some of which must be of Byzantine origin since a cross is clearly visible engraved on one of them. Located next to the collection in the north is the Chamber of the Sacred Relics.

Chamber of Sacred Relics

The Chamber of the Sacred Relics (Kutsal Emanetler Dairesi) includes the Pavilion of the Holy Mantle (previously called the "Privy Chamber"), and was constructed by Sinan under the reign of Sultan Murad III. It used to house offices of the Sultan. It holds the cloak of the prophet Muhammad, his sword, one tooth, a hair of his beard, his battle sabres, an autographed letter and other relics which are known as the Sacred Trusts. Several other sacred objects are on display, such as the swords of the first four Caliphs, the staff of Moses, the turban of Joseph and a carpet of the daughter of Mohammed. Even the Sultan and his family were permitted entrance only once a year, on the 15th day of Ramadan, during the time when the palace was a residence. Now any visitor can see these items and many Muslims come on pilgrimage for this purpose. The Arcade of the Chamber of the Holy Mantle was added in the reign of Murad III, but was altered when the Circumcision Room was added. This arcade may have been built on the site of the Temple of Poseidon, that was transformed before the 10th century into the Church of St. Menas.

Harem

The Harem was home to the Sultan's mother, the Valide Sultan; the concubines and wives of the Sultan; and the rest of his family, including children; and their servants[10]. There are approximately 300 rooms of which only about twenty are open to the public. The Harem housed as many as 500 people, which sometimes amounted up to 300 women, their children, and the eunuchs. The harem wing was only added at the end of the 16th century. Many of the rooms and features in the Harem were designed by Sinan. The harem was decorated again under the sultans Mahmud I and Osman III in an Italian-inspired Ottoman Baroque style. These decorations contrast with those of the Ottoman classical age.

One enters the harem through the Gate of Carts (Arabalar Kapısı), located at the end of the Second Court, leading into the Antechamber of the Black Eunuchs.

Hall with Fountain

The Hall with Fountain (Şadirvanli Sofa) was renovated after the Harem fire of 1666. This second great fire took place on 24 July 1665. This space was an entrance hall into the Harem, which was guarded by the Harem eunuchs. The Büyük Biniş, and the Şal Kapısı, which connected the Harem, the Privy Garden, the Mosque of the Harem Eunuchs and the Tower of Justice from where the Sultan watched the deliberations of the imperial council, led to this place. The walls are riveted with 17th century Kütahya tiles. The horse block in front of the mosque served the Sultan to mount his horse and the sitting benches were for the guards. The fountain that gives the space its name is now in the pool of the Privy Chamber of Sultan Murad III.

On the left side is the small mosque of the black eunuchs. The tiles in watery green, dirty white and middle blue all date from the 17th century (reign of Sultan Mehmed IV). Their design is of a high artistic level but the execution is of minor quality compared to previous tiles.

Courtyard of the Eunuchs

Another door leads to the Courtyard of the (Black) Eunuchs, with on the left side their apartments. At the end of the court is the apartment of the black chief eunuch (Kızlar Ağası), the fourth high-ranking official in the official protocol. In-between lies the school for the imperial princes with precious tiles from the 17th and 18th centuries and gilded wainscoting. At the end of the court is the main gate to the harem (Cümle Kapısi). The narrow corridor on the left side leads to the apartments of the odalisques (white slaves given as a gift to the sultan).

Eunuchs at the Ottoman court were preferably taken from Africa, especially Sudan. Since lighter skin was considered more aesthetic than dark skin, the sultans felt the chances of an affair developing between their, mostly Eastern European, concubines and their dark-skinned eunuch caretakers extremely low.

Passage of Concubines

The Passage of Concubines (Cariye Koridoru) leads into the Courtyard of the Sultan's Chief Consorts and Concubines. On the counters along the passage, the eunuchs placed the dishes they brought from the kitchens in the palace.

Courtyard of the Sultan's Consorts and the Concubines

The Courtyard of the Sultan's Consorts and the Concubines (Kadın Efendiler Taşlığı / Cariye Taşlığı) was constructed at the same time as the courtyard of the eunuchs in the middle of the 16th century. It underwent restoration after the 1665 fire and is the smallest courtyard of the Harem. The porticoed courtyard is surrounded by baths, a laundry fountain, a laundry, dormitories and the apartments of the Sultan's chief consort. The three independent tiled apartments with fireplaces overlooking the Golden Horn were the quarters where the consorts of the Sultan lived. These constructions covered the site of the courtyard in the late 16th century. At the entrance to the quarters of the Queen Mother, wall frescoes from the late 18th century depicting landscapes, reflect the western influence. The staircase, called the "Forty Steps" (Kirkmerdiven), leads to the Hospital of the Harem (Harem Hastanesi), the dormitories of the concubines at the basement of the Harem and Harem Gardens.

Apartments of the Queen Mother

The Apartments of the Queen Mother (Valide Sultan Dairesi) consists of forty rooms of the Valide Sultan (mother of the ruling sultan), which were also rebuilt in 1667 after the second fire. Some rooms, such as the small music room, have been added to this section in the 18th century. Only two of these rooms are open to the public : the dining room with, in the upper gallery, the reception room and her bedroom with, behind a lattice work, a niche for prayer. These are all enriched with blue-and-white or yellow-and-green tiles with flowery motifs and İznik porcelain. The panel representing Mecca or Medina, signed by Osman İznikli Mehmetoğlu, represents a new style in İznik tiles. The paintwork in the dining room was executed by foreigners during the reign of Sultan Abdülhamid I.

Baths of the Sultan and the Queen Mother

The next rooms are the Baths of the Sultan and the Queen Mother (Hünkâr ve Vâlide Hamamları). This double bath dates from the late 16th century and consists of multiple rooms. It was redecorated in the rococo style in the middle of the 18th century. Both baths present the same design, consisting of a caldarium, a tepidarium and a frigidarium. Each room either has a dome, or the ceilings are at some point glassed in a honeycomb structure to let the natural sunlight in. The floor is clad in white and grey marble. The marble tub with an ornamental fountain in the caldarium and the gilded iron grill are characteristic features. The golden lattice work was to protect the bathing Sultan or his mother from murder attempts. The Sultan's bath was decorated by Sinan with high-quality İznik polychrome tiles. But much of the tile decoration of the harem, from structures damaged by the fire of 1574, was recycled by Sultan Ahmed I for decoration is his new Sultan Ahmed Mosque in Istanbul. The walls are now either clad in marble or white-washed.

Imperial Hall

The Imperial Hall (Hünkâr Sofası), also known as the Imperial Sofa, Throne Room Within or Hall of Diversions, is a domed hall in the Harem, believed to have been built in the late 16th century. It has the largest dome in the palace. The hall served as the official reception hall of the Sultan as well as for the entertainment of the Harem. Here the Sultan received his confidants, guests, his mother, his first wife (Hasseki), consorts, and his children. Entertainments, paying of homage during religious festivals, and wedding ceremonies took place here in the presence of the members of the dynasty.

After the Great Harem Fire of 1666, the hall was renovated in the rococo style during the reign of Sultan Osman III. The tile belt surrounding the walls bearing calligraphic inscriptions were riveted with 18th century blue and white Delftware and mirrors of Venetian glass. But the domed arch and pendantives still bear classical paintings dating from the original construction.

In the hall stands the Sultan's throne. The gallery was occupied by the consorts of the Sultan, headed by the Queen Mother. The gilded chairs are a present of Emperor Wilhelm II of Germany, while the clocks are a gift of Queen Victoria of the United Kingdom. A pantry, where musical instruments are exhibited and certain other apartments, opens to the Imperial Hall which gives access into the Sultan's private apartments.

A secret door behind a mirror allowed the Sultan a safe passage. One door admits to the Queen Mother’s apartments, another to the Sultan's hammam. The opposite doors lead to the small dining chamber (rebuilt by Ahmed III) and the great bedchamber, while the other admits to a series of ante-chambers, including the room with the fountain (Çeşmeli Sofa), which were all retiled and redecorated in the 17th century.

Apartment of Sultan Murat III

This great bedchamber of Murat III is the oldest and finest surviving room in the harem, having retained its original interior. It was a design of the master architect Sinan and dates from the 16th century. Its dome is only slightly smaller than that of the Throne Room. Its hall has one of the finest doors of the palace and leads past the wing of the crown princes (Kafes). The room is decorated with blue-and-white and coral-red İznik tiles. The rich floral designs are framed in thick orange borders of the 1570s. A band of inscriptional tiles runs around the room above the shelf and door level. The large arabesque patterns of the dome have been regilded and repainted in black and red. The large fireplacwith gilded hood (ocak) stands opposite a two-tiered fountain (çeşme), skilfully decorated in coloured marble. The flow of water had to prevent any eavesdropping, while providing a relaxed atmosphere to the room. The two gilded baldachin beds date from the 18th century.

Twin Kiosk / Apartments of the Crown Prince

The Twin Kiosk / Apartments of the Crown Prince (Çifte Kasırlar / Veliahd Dairesi) consists of two privy chambers built in the 17th century, at different times. The two rooms date from the reign of Sultan Murat III, but are more probably from the reign of Ahmed I. These chambers represent all the details of the classical style used in other parts of the palace. The pavilion has been completely redecorated and most of the Baroque woodwork has been removed. The decorative tiles, reflecting the high quality craftsmanship of the İznik tile industry of the 17th century, were removed in accordance with the original concept and replaced with modern copies. The paintwork of the wooden dome is still original and is an example of the rich designs of the late 16th/early 17th centuries. The fireplace in the second room has a tall, gilded hood and has been restored to its original appearance. The window shutters next to the fire place are decorated with nacre intarsia. The windows in coloured glass look out across the high terrace and the garden of the pool below. The spigots in these windows are surrounded with red, black and gold designs.

The crown prince (Şehzadeler) lived here in seclusion, therefore the apartments were also called kafes (cage). The crown prince and other princes were trained in the discipline of the Ottoman Harem until they reached adulthood. Afterwards, they were send as governors to Anatolian provinces, where they were further trained in the administration of state affairs. From the beginning of the 17th century onward, the princes lived in the Harem, which started to have a voice in the Topkapi Palace administration. The Twin Kiosk was used as the privy chamber of the crown prince from the 18th century onward.

On the other side of the great bedchamber are two smaller rooms : first the Library of Ahmed I, richly decorated with İznik glazed tiles. The cabinet doors, the window shutters, a small table and a koran lectern are decorated with nacre and ivory. Next to it lies the small but spectacular dining room of Ahmed III with wall painted with panels of floral designs and bowls of fruit and with an intricate tiles fireplace (ocak).

Next to the carriage entrance to the harem lies the barracks of the royal guard of the Halberdiers of the Long Tresses. It was their duty to carry, with eyes blinkered, logs and heavy loads to the private quarters. These barracks were rebuilt after the fire of 1574 by Sultan Murat III. The main barrack hall is still close to the original state. It is a long, lofty hall surrounded by wooden galleries. The lofty hall located next to the dormitory served as the armoury where the halberds could be stored.

Golden Road

The Golden Road (Altınyol) is a narrow passage that form the axis of the Harem, dating from the 15th century. It extends between the Courtyard of the Harem Eunuch (Harem Ağaları Taşlığı) and the Privy Chamber (Has Oda). The Sultan used this passage to pass to the Harem, the Privy Chamber and the Sofa-i Hümâyûn, the Imperial terrace. The Courtyard of the Queen Mother (Valide Sultan Taşlığı’), the Courtyard of the Chief Consort of the Sultan (Baş Haseki), the apartments of the Princes (Şehzadegân Daireleri), and the apartments of the Sultan (Hünkâr Dairesi) open to this passage. It is believed that the attribute "golden" is due to the Sultan's throwing golden coins to be picked up by the concubines at festive days. The walls are painted in plain white colour.

Fourth Courtyard

The Fourth Courtyard (IV. Avlu), also known as the Imperial Sofa (Sofa-i Hümayun) was more of a private sanctuary of the Sultan and his family, and consists of a number of pavilions, kiosks (köşk), gardens and terraces.

Circumcision Room

In 1648 Sultan Ibrahim I added the Circumcision Room (Sünnet Odası), a kiosk dedicated to the circumcision of young princes, which is a primary rite of passage in Islam. Its interior and exterior are decorated with a mixed collection of recycled tiles such as the blue tiles with flower motifs at the exterior. These once embellished ceremonial buildings of Sultan Süleyman the Magnificent, such as the building of the Council Hall and the Inner Treasury (both in the Second Courtyard) and the Throne Room (in the Third Courtyard). They were moved here out of nostalgia and reverence for the golden age of his reign. These tiles then served as prototypes for the decoration of the Revan and Baghdad kiosks. The room itself is well-proportioned and spacious with windows, each with a small fountain. The windows above contain some stained-glass panels. On the right side of the entrance stands a fireplace with a gilded hood. Ibrahim also built the arcaded roof around the Chamber of the Holy Mantle and the upper terrace between this room and the Baghdad kiosk.

The royal architect Hasan Ağa under Sultan Murat IV constructed during 1635-1636 the two Revan Kiosk (Revan Köşkü) and in 1638-1639 the Baghdad Kiosk (Bağdat Köşkü) to celebrate the Ottoman victories at Erevan and Baghdad. Both have projecting eaves, a central dome and interior with recessed cupboards and woodwork with inlaid nacre tesserae. Both are based on the classical four-iwan plan with sofas filling the rectangular bays.

Revan Kiosk

The Revan Kiosk (Revan Köşkü) served as a religious retreat of forty days. It is a rather small pavilion with a central dome, three apses for sofas. The fourth wall contains the door and a fireplace. The wall facing the colonnade is set with marble, the other walls with mediocre İznik blue-and-white tiles, patterned after those of a century earlier.

Baghdad Kiosk

The Baghdad Kiosk (Bağdad Köşkü) is situated on the right side of the terrace with fountain. It closely resembles the Revan Kiosk. The three doors to the porch are located between the sofas. The façade is covered with marble, strips of porphyry and verd antique. The marble paneling of the portico is executed in Cairene Mamluk style. The interior is an example of an ideal Ottoman room. The recessed shelves and cupboards are decorated with early 16th century green, yellow and blue tiles. The blue-and-white tiles on the walls are copies of the tiles of the Circumcision Room, right across the terrace.

The inlaid doors are among the finest in the palace. On the right side of the entrance is a beautiful fireplace with gilded hood. In the middle of the room is a silver mangal (charcoal stove), a present of King Louis XIV of France. This pavilion was used for some time as a library. Both kiosks have become typical of Islamic and Ottoman palace architecture.

İftar Pavilion

The gilded İftar Pavilion, also known as İftar Kiosk or İftar bower (İftariye Köşkü or İftariye Kameriyesi) offers a view on the city and the harbour and is a magnet for tourists. Its ridged cradle vault was a first in Ottoman architecture with charming echoes of China and India. The sultans used to come here after sunset during the ramadan.

Imperial Sofa Kiosk

The rectilinear Imperial Sofa Kiosk (Sofa-i Hümâyûn Köşkü) or Imperial Sofa Pavillon, also known as Kiosk of Kara Mustafa Pasha, was a belvedere built in the second half of the 16th century. It was to be used by the successive sadrazams (grand vizier or chancellor). It was restored in 1704 by Sultan Ahmed III and rebuilt in 1752 by Mahmud I in Rococo style. It is the only wooden building in the palace. It consists of two large rooms with the backside supported by columns. This open building with large windows was originally used as a restroom and later, during the Age of Tulips (1718-1730) as a lodge for guests. It is situated next to the Tulip Garden.

Tower of the Head Physician

The square Tower of the Head Physician (Hekimbaşı Kulesi or Baş Lala Kulesi) dates from the 15th century, probably from the reign of Mehmed II, and is the oldest building in the Fourth Courtyard. These square towers were at that time quite common in Europe. It has few windows and its walls are almost two metres thick. The physician had his private chamber at the top, while below was a store for drugs and medicaments.

Grand Kiosk

The Grand Kiosk, also known as the Grand Pavilion or Kiosk of Abdülmecid I (Mecidiye Köşkü), built in 1840, was the last significant addition to the palace. It was built by Sultan Abdülmecid I as a seaside palace because of its splendid location, giving a panoramic view on the Sea of Marmara and the Bosphorus. The architect Sarkis Balyan constructed it in an eclectic Europeanized style, mixed with traditional Ottoman style. It was used occasionally to accommodate foreign guests.

Dressing Room

The small, white Dressing Room (Esvab Odası) building, next to the Grand Kiosk, now holds a collection of the kaftans of the sultan.

Imperial Sofa Mosque

The Imperial Sofa Mosque (Sofa-i Hümâyûn Camii) is a small, white mosque located next to the Esvab. It dates to the 16th century and was built for the nearby dormitory of the pages.

Konyali Restaurant

Located next to the Grand Kiosk is the Konyalı Restaurant, a popular and high-end restaurant. The restaurant has been visited by guests such as Queen Elizabeth II of the United Kingdom, First Lady Jackie Kennedy, President Richard Nixon, and boxer Mohammed Ali, amongst many. Visitors can also order coffee and dishes at the outside veranda, which has a panoramic view of the Bosphorus and the Asian side. Most tourists come here to take pictures of the sea and the city.