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ARCHITECTURE & ART What is Islamic Art and Architecture?

IN ISLAMIC GEOGRAPHY

The Birth of Islam

Early Islamic
Art & Architecture
https://www.khanacademy.org/humanities/art-islam/chronological-periods-islamic

What is Islamic Architecture?

• Who?
• When?
The Dome of the Rock, the Taj Mahal, a Mina’i ware bowl, a silk carpet, a Qur‘an
—all of these are examples of Islamic art. But what is Islamic art? • Where?
• What?

Mina’i bowl (enameled, sırlı) Carpet with Triple-Arch Design Folio from a Qur'an Manuscript
Kashan, Iran, c. 1175-1220 ca. 1575–90, Ottoman late 13th–early 14th century, Spain

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Mescid-i Nebevî & Peygamber Mescidi İmam Hüseyin Camii, Irak, Kerbela, 680’ler Djingareyber Mosque, 1327, Timbuktu, Mali
Medine, Suudi Arabistan, 623+
Bayan Beleg Camii, Endonezya

El-Ezher Camii, Kahire, Mısır, 970

Cheraman Jumah Masjid, Hindistan, 630’lar Xi'an Grand Mosque / Xi'an, Shensi, China, 740s Al-Azhar Mosque Lady Beleg Mosque, Indonesia

Kauman Ulu Camii - Kauman Great Mosque In different geographies and periods of the world,
Yogyakarta, Endonezya, 1773
the architecture & art works created by Islamic
Sultan Ahmet Camii, İstanbul, 17. yüzyıl
states & societies and the way of behavior,
principles and attitudes that direct this production
are different!!
Taç Mahal, Agra, Hindistan, 1634

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Islamic art is not a monolithic style or movement; it spans 1300 years of history and has incredible geographic
diversity
—Islamic empires and dynasties controlled territory from Spain to western China at various points in history.
Islam spread through military conquests.

It is not possible to categorize a cultural formation spanning several continents and about 14 centuries. Under the
general definition of “Islamic Art and Architecture”;

How did the definition of “Islamic Art

and Architecture” come about?

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Islamic Art and Architecture? > An orientalist definition
• This definition emerged in 19th century Europe.
• When this definition was introduced, there was an
"orientalist view" in Europe:
– A view as "Europe representing civilization, and Others".
– This orientalist view characterized all Eastern muslim societies
in an easy classification as "Islam".
– In the Middle Ages, Europe recognized Islamic art through the
Arabs.
– Therefore, all Islamic art has been identified with early Arabic
architecture repertoire.
• In the 20th century, this definition has been criticized a lot
and has lost its validity in today's conditions.
Is it possible to talk about the existence of
the common themes in the art and
architecture produced in the different
Islamic geography?
4/6/2021
How do we examine İslamic art and architecture?
• The right approach is to examine art and architecture
separately and independently in all Islamic countries.
Things to consider:
– Islamic Religion
– Geography and Climate
– Regional differences in Islamic geography (historical
and cultural background)
– Social structure and management style in Islamic
countries and so on.
Common Themes
of Islamic Art & Architecture
• When using the phrase, ‘Islamic art’, one should
know that it is a useful, but artificial, concept.
• But there are some themes and types of objects
that link the arts of the Islamic world together.
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Common Themes of Islamic Architecture and Art

• Islam imposes restrictions on art: the ban on depiction, ‘aniconism’
• Non-figurative representations: Because God is the sole and unrivaled
creator, human and animal forms are rarely depicted in decorative art.
• Abstract descriptions: Calligraphy, Illumination (tezhip), Marbling (ebru),
Miniature, etc. are developed.
• Extensive use of arabesque decoration style.
• Calligraphy: Arabic is given special importance as the language that
externalizes the word of Allah:
– The art of calligraphy is important.
– Writing verses and hadiths with fine writing.
• Islamic architecture focuses on the interior rather than the exterior.
– Decorative use of calligraphy in interior spaces.
• The concept of Allah's infinite power is evoked by designs with repeating
themes.
• The use of impressive forms such as large domes, high minarets, and
large courtyards is intended to emphasize power.
• Likewise, certain building types appear throughout the Islamic world:
mosques with their minarets, mausoleums, gardens, and madrasas—
religious schools—are all common. However, their forms vary greatly.
Calligraphy: A type of visual art developed using writing systems and writing elements, mostly used for
decorative purposes.

Arabesque: Use of geometric shapes and repetitive art

Arabesque: Use of decorative Arabic calligraphy

• In Turkish, definitions such as "Arapyolu, arapkâri, girift bezeme, girişik bezeme’’ are also
used.
• The decoration style characterized by curvilinear motifs intertwined with plants and the
continuous movement of the line: geometric or floral (vegetative) stylization.
• The continuous movement of the line towards infinity is observed on the surface.
• Continuation of the old decoration tradition: Used in Ancient Greek, Hellenic, Roman,
Coptic, Byzantine, Sassanid, Central Asian arts; It contained animal figures (especially birds)
in a rather natural arrangement.
• Arabesque style was adapted with highly stylized by Muslim artisans around 1000 AD; no
bird, animal, or human figure was included for religious reasons.
• Arabesque has become an important part of the decorative tradition of Islamic
cultures.

• In the Middle Ages, Europeans recognized Islamic art through Arabs.

• Therefore, Islamic art and architecture have been identified with the Arab architecture and
art repertoire.

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geometric pattern

geometric or vegetative stylization.

Decorative Arts > Islamic Calligraphy

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Arabesque: Use of geometric shapes and repetitive art

Use of decorative Arabic calligraphy

ELEMENTS OF SPACE MAKING

STALACTITE & MUQARNAS

THE EMERGENCE OF ISLAM, 7th century

HISTORICAL BACKGROUND
1. State of the World

• The Western Roman Empire was destroyed by the Migration of Tribes in

Europe and the developments after it (AD 476).

• The Byzantine in the north and Sassanid Empires in the east of the
Arabian Peninsula were two great powers that controlled the Middle East
before Islam.

• When Prophet Muhammad was born, most of the middle eastern peoples
abandoned their local polytheistic religious system; Judaism, Christianity,
and Mazdaism (the state religion of the Persian Empire) had adopted.

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THE EMERGENCE OF ISLAM, 7th century

Before the rise of Islam, 600s, Arabian Peninsula, Byzantine and Sassanid
THE EMERGENCE OF ISLAM, 7th century
Empires HISTORICAL BACKGROUND
2. Condition of the Arabian Peninsula
• It served as a bridge on the trade route between the Arabian Peninsula, the Far
East, Africa, and the Mediterranean countries.
• Politically, it was divided among tribal alliances with chiefs called sheiks at the
head.
• Tribes were divided into two main groups in terms of social and economic lifestyle
"settled and nomadic".
• Arabs who lived in the city were called hadari & civilized (medeni), and those
living in the desert were called bedouin (bedevi).
• Bedouins lived as nomads and dealt with animal husbandry. Civilized, on the other
hand, lived on agriculture and trade.
• Agriculture was done in oases. The most important agricultural product was palm.
• The most common religion was polytheistic paganism; each tribe had its own
guardian god and goddess.
• The Kaaba in Mecca was home to hundreds of statues of the protector gods of the
tribes and was an annual pilgrimage center.
• During this period, Mecca was the most important center of the Arabian Peninsula
in terms of trade as well as religion.
• The Quraysh tribe dominated Mecca since the 5th century.

THE EMERGENCE OF ISLAM, 7th century THE EMERGENCE OF ISLAM, 7th century
3. Prophet Muhammad, 570 Mecca – 632 Medina 4. Introduction to Islam
Islamic prophet, the religious, political, and military leader.
Member of the Quraysh Tribe in Mecca

570 birth of Muhammed

576 Death of mother

578 Death of grandfather

595 Marriage to Khadija

610 First Revelation,
Mount Hira, Gabriel
614 Open call to Islam
615 Forced migration to
Abyssinia
619 The death of his wife,
Hatice.
620 Night Journey, Miraç
622 Migration to Madinah
624-628 Battle of Badr,
Uhud, Trench.
630 The capture of Mecca
632 Farewell Sermon and
death.

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About chronological periods in the Islamic world

• l. Phase:
EARLY ISLAM Prophet Muhammed Period, 622-632 (Golden Age > Asr-ı Saadet)
EARLY MIDDLE The Caliphates, 632-661
AGE Early Islamic Period, 622-661
• ll. Phase:
The period under the Umayyad and Abbasid caliphs is also referred to as the classical period
of Islamic architecture and art. – Period of Prophet Muhammad, 622-632
Umayyads, 661--750 (The first Islamic dynasty, self-privileged, traditional Arab Muslim – Period of Four Caliphs & the Rashidun Caliphate, 632-661
elites, 10% of the population under their rule are Muslim)
CLASSIC AGE OF
ISLAM MEDIEVAL • lll. Phase:
Abbasids, 750--1258 (Multicultural, prioritizing Islam, golden age of Islam)
The Caliphate was established after the death of Prophet Muhammad, and
Spread from the Chinese border to the Atlantic. during its heyday ruled the Arabian Peninsula, the Levant, the Caucasus,
eastern North Africa, the Iranian Plateau, and parts of Central Asia.
• lV. Phase:
After 861, the Abbasids fell from power and in 1258 they collapsed. – 632-634, Abu Bakr
From the 9th century (850-1500), there was a fragmentation in the Islamic world and many
– 634-644, Omer
individual and also from different ethnic groups Muslim dynasties emerged: – 644-656, Osman
ISLAM Samanids (819-999), Fatimids (909-1171), Ayyubids (1169-1260), Karahans (840-1212), – 656-661, Ali
MEDIEVAL Ghaznevids (977-1186), Seljuks, Ilkhanids, Timurids (c. 1370-1507), Mamluk Sultanate – 661, Hasan
(1250-1517), Nasrids (1232-1492), Ottoman Principality etc.

Capitals:
– Medina (632-656)
• V. Phase: – Kufa (656--661)
Complete change of Islamic political structures, new representations of political domination
ISLAM LATE in the Islamic World.
This period is the era of the last great Islamic Empires:
Ottoman Empire, 1299-1924
Safavid Empire, Iran, 1501-1736
Mughal Empire, India, 1526-1858

The spread of Islam in the time of the Prophet Muhammad and the 4 caliphs
ARCHITECTURE AND ART IN THE EARLY ISLAMIC PERIOD

Early Islamic Period, 622-661

• No artistic vocabulary of its own.

• First worship-masjid- structures emerge:
– Quba Mosque; Al-Masjid an-Nabawi

• The Mosque: Origins > The Prophet's Mosque

– Importance of Kaaba as an axis mundi
– "first prototype" of the mosque
– providing the conceptual pattern for later mosques
– The first mosque of Islam emerged with the prayer performed in the house of Prophet
Muhammad.

• Caliph Omar's garrison towns and mosques

– Basra, Kûfe and Fustât.
– The scheme of the Kufe Mosque has set an example for the multi-columned or
hypostyle mosque typology.
– When the 4th Caliph Ali made Kufe the capital, the Arabic script took the name Kufi.

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Mosque and Masjid Concepts

A NEW BUILDING TYPE: MOSQUE
• The greatest innovation of Islam in the field of architecture is 'mosque' as
a new building type.
• The mosque, masjid in Arabic, is the Muslim gathering place for prayer.
• The mosque in its many forms is the quintessential Islamic building.
• "Masjid", which means "place of prostration" in Arabic, has
been a definition used for places of worship in the early
Islamic faith.
• The “mihrab” element is a prerequisite for the masjid to fulfill
its function, and the qibla must be specified with a certain
sign, even if it is simple.
• There is a distinction between “mosque” and
“masjid”only in Turkey:
– Masjid is a small mosque or place of prayer where Friday
prayers are not performed.
• In all other Islamic countries, the word 'masjid' is used as the
equivalent of the mosque in Turkey.

In languages other than Arabic, the word mosque entered as the

pronunciation of the word masjid in different languages.

What makes the place a mosque?

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• Though most of the five daily prayers prescribed in Common features

Islam can take place anywhere, all men are • The architecture of a mosque is shaped most
required to gather together at the mosque for the strongly by the regional traditions of the time and
Friday noon prayer. place where it was built. As a result, style, layout,
and decoration can vary greatly. Nevertheless,
• The main mosque of a city, used for the Friday because of the common function of the mosque as
communal prayer, is called a jami masjid, literally a place of congregational prayer, certain
meaning “Friday mosque,” but it is also sometimes architectural features appear in mosques all over
called a congregational mosque in English. the world.

Mosque Architecture Common Themes The Concept of Mosque

• Mosque architecture can be defined by the following design elements inherited from the first
mosque built by the Prophet Muhammad in Medina, and features adapted from churches
and synagogues.
Multi-functioned Space
• Importance of Kaaba as an axis mundi

• Elements demanded by Islamic rituals (technical requirements):

• In the early years of Islam, mosques were religious,
–
–
Direction> qibla> mihrab (niche)
A large praying hall> Harim, Sahn
political, economic and cultural centers and at the
–
–
Invitation to prayer> minaret
Friday sermon> pulpit
same time the focal point of the city.
– Ablution> fountain

• Creating a dramatic, spiritual interior

• Abstract ornament (ornament) • (Mosques are also used throughout the week for
prayer, study, or simply as a place for rest and
• Friday prayer > Great Mosque (Ulu Cami)
reflection.)

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Diagram reconstruction of the Prophet's House, Medina, Saudi Arabia

The House of the Prophet, Medina

• The home of the Prophet Muhammad is considered the
first mosque.
• His house, in Medina in modern-day Saudi Arabia, was
a typical 7th-century Arabian style house, with a large
courtyard surrounded by long rooms supported by
columns.
• This style of mosque came to be known as a hypostyle
mosque, meaning “many columns.”
• Most mosques built in Arab lands utilized this style for
centuries.

The House of the Prophet, Medina

• Importance of Kaaba as an axis mundi

• Functionality of Mosque of the Prophet: House,
gathering place for community, shelter for those
in need, place of prayer etc.
• Characteristics of Mosque of the Prophet:
Hypostyle construction, minbar, no mihrab or
minaret

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Importance of Kaaba as an axis mundi

Kaaba in Mecca (Mescid-i Haram)

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Axis mundi olarak Kabe’nin önemi

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A very new consept of the space

Bu mekânla ilgili oldukça yeni bir düşünce.

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Garrison Towns and Mosques

• Basra (635), Kufa (636), and Fustât (641)
– They were founded during the time of Caliph Omar.
Garrison Towns and Mosques • With the conquests of Islam, military bases, barracks, or garrisons were
(Ordugâh (Askeri) Şehirleri ve Camileri) established at the strategic points of the country's borders, and the mosque
architecture passed to these regions.

• The first mosques established in the places where the armies went were
Basra (635), Kûfa (636) and “the garrison mosques.”
Fustât (641) • These mosques were built functionally more like a military fortress.

• The minarets, being triumphal monuments, generally developed in square

form and angular in terms of adapting to the structure.

Kufa Masjid, Iraq, 639

• Kufa Mosque in Iraq constitutes the beginning of a new type of plan.
• In the Kufic plan type, the aisles defined by columns extend perpendicularly
or parallel to the mosque's qibla wall.
• This plan type was also applied in the Basra Mosque.
Kufic plan type
Amr bin As Mosque, 641, Fustat (Cairo), Egypt
• Fustat was founded as a garrison city.
• The Amr Bin As Mosque, where the first mihrab and the first minaret
are seen, is of the Kufic plan type and the naves extend perpendicular
to the mihrab wall.
• The building is a camp mosque and it is seen in the plan that it tries to
adapt to the topography.
• This situation is an indication that the building was not built only for
worship.
• The mosque, which meets many needs in its region, also serves
military purposes.

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Amr bin As Mosque, 641, Fustat (Cairo), Egypt

Interaction Sources of Early Islamic Architecture
Assimilation of earlier traditions

Islamic architectural styles were influenced by two different ancient traditions:

• Western tradition: In particular, the regions of the newly conquered

Byzantine Empire (Southwestern Anatolia, Syria, Egypt, and the
Maghreb) supplied architects, masons, mosaicists, and other craftsmen to
the new Islamic rulers.

• These artisans were trained in Byzantine architecture and decorative arts

and continued building and decorating in Byzantine style, which had
developed out of Hellenistic and ancient Roman architecture.

Interaction Sources of Early Islamic Architecture

Eastern tradition:

• Although Mesopotamia and Persia were influenced by the The Umayyads

Hellenistic and Roman architectural tradition, they formed an
independent and original architectural tradition derived from (661-750)
Sassanid architecture and its predecessors.

• The transition period between Late Antiquity (post-classical) and Syria and Palestine:
Islamic architecture has been demonstrated by archaeological
findings in Northern Syria and Palestine (Bilad al-Sham). The Umayyad Caliphate
The First Islamic Dynasty
• In this region, late antique or Christian architectural traditions
merged with the pre-Islamic Arab heritage of the conquerors.

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The Umayyads
(661-750)
The Umayyad Dynasty (661-750)
• The first Islamic dynasty to arise after the 4 Caliphs.
• Umayyad dynasties reigned as 'caliphs'.
• The Islamic Empire expanded from the Atlantic to India.
• Capital Damascus
• The first major monuments of Islamic art and architecture were
built:
– Dome of the Rock, Jerusalem, 691, Caliph Abdulmalik
– Masjid al-Aqsa, Jerusalem, 702 Caliph Abdulmalik, 780 regeneration.
– Great Mosque of Damascus, Syria
• Desert Palaces, Syria & Palestine
• They were overthrown by the Abbasids.

Stone carvings on the lower parts of the

pentagonal towers on both sides of the large

Umayyad Period Architecture entrance door of the Mşatta Palace, Pergamon

Museum, Berlin.

• The most commonly used materials are stone, wood and brick.
– Most of the buildings in Syria are stone and stone covered.
– The superior stonework of the Umayyad Period shows itself in sharp corners,
tight joints and ornaments created by carving large stone blocks that leave a
monumental effect. See: Mşatta Palace
• Umayyad art showed itself especially in North Africa, Tunisia, Damascus
and Jerusalem; influenced by both western and eastern cultures.
• The architecture of the Umayyad period differs from previous periods
especially with its decoration techniques, although no new technique has
been developed, it is very rich in terms of variety and scale.
• The most important decoration techniques are mosaic, wall painting,
sculpture and stone carving.

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Dome of the Rock

Umayyad Period Mosques Umayyad, 688-691
A NEW DESIRE OF MONUMENTALITY
• Umayyads got influenced by ancient cultures they
captured.
• In addition to functionality, “monumentality, appeal
to the eye and prestige concerns” became important
in mosque architecture.
• Reflection of a state of social superiority, such as the
Caliphate being in the Umayyads.

Dome of the Rock

• 688-691, Jerusalem
• Patron: Umayyad Caliph Abdulmalik Bin Marwan
• It is the oldest architectural monument of Islam that has largely preserved its original form.
• It was built on a rock that was considered sacred by Muslims and Jews.

Plan type and decoration:

• Octagonal central plan and double-walled wooden dome in the middle (20 cm diameter)
• Rich decoration inside and out.
– The interior surface and dome of the building are designed with Quran suras and various motifs; Its outer
walls are decorated with colored glazed tiles with geometric patterns.
– It features entangled vines and mosaics depicting flowers, jewels, crowns and Qur'anic inscriptions.

Sources of interaction:
• Octagonal form similar to the Holy Sepulcher (AD 335) and the Church of the Nativity.
• Central plan inspired by Byzantium.
• Influence by Coptic, Byzantine, Sassanid arts.

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• The Dome of the Rock is a building of extraordinary

beauty, solidity, elegance, and singularity of
shape… Both outside and inside, the decoration is
so magnificent and the workmanship so surpassing
as to defy description. The greater part is covered
with gold so that the eyes of one who gazes on its
beauties are dazzled by its brilliance, now glowing
like a mass of light, now flashing like lightning.
—Ibn Battuta (14th century travel writer)

Church of the Nativity, 4th century / 6th century, Bethlehem, Palestine

Church of the Holy Sepulcher, Jerusalem, 335 AD

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The Dome of the Rock (Qubbat al-Sakhra), Umayyad, stone masonry, wooden roof, decorated with glazed
ceramic tile, mosaics, and gilt aluminum and bronze dome, 691-2, with multiple renovations, patron the
Caliph Abd al-Malik, Jerusalem

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Allahumma salli ala rasulika wa'abdika 'Isa bin Maryam

«In the name of the One God (Allah) Pray for your Prophet and Servant Jesus,
Son of Mary.»

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Al-Aqsa Mosque, Temple Mount, Jerusalem

705 ci+
• It is one of the three masjids believed to be the first qibla of Muslims and
considered the most sacred.
• Masjid-i Aqsa is located next to the Dome of the Rock.
• During the time of Prophet Omar, after the conquest of Jerusalem in 638 (on
the place of the Masjid-i Aqsa (Solomon's Temple)), a mosque was built.
• (r. 705-715) Second construction of the Masjid-i Aqsa during the Umayyad
Caliph I Valid.
• (747-48) earthquake damage
• (r. 754-775) Restoration during the Abbasid Caliph Mansûr
• (775) again partially destroyed by an earthquake
• (813-833) Renovation in the time of Caliph Me’mun
• (1034) again destroyed by an earthquake
• (r.1021-1036) Significant renewal in the period of Fatimid Caliph Zahir.
• A large part of the building today is from the Zahir period.

Al-Aqsa Mosque, Temple Mount, Jerusalem

Basilical plan

Al-Aqsa Mosque, Temple Mount, Jerusalem, 705 ci+

Bazilikal plan

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Al-Aqsa Mosque, Temple Mount, Jerusalem, 705 ci+
Great Damascus Mosque
(Umayyad Mosque in Damascus)
Damascus, Syria, 706-715
Patron: Caliph Al-Walid I
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Grand Damascus Mosque
• Damascus, Syria, 706-715.
• Patron: Caliph Al-Walid I
• It was built on the ruins of a Roman temple (Temple of Jupiter) and the basilical
planned Church of St. John the Baptist.
• Basilical plan type with transverse and flat roof and multi-support
Decoration Features:
• Mosaic, mural painting, sculpture and stone carving
• There are mosaics depicting crowns, fantastic plants, realistic trees, and even
empty cities.
• Representation of the garden of eden.
• The Dome of the Rock and the Great Mosque of Damascus in Jerusalem used the
Syrian cut stone construction technique and popularized the use of the dome.
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• During the Umayyad Period,

spaces were created in mosques
by taking the transept of churches
as an example.
• The mihrab was included in
mosques for the first time in the
Umayyad Period.
• In addition, the pulpit was first
used in this period.

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View of the Courtyard of the Great Mosque of Damascus

Alloy Coin, Standing caliph type, reign of ‘Abd al-Malik (pre-697

CE), minted in Homs (Syria) © The Trustees of the British
Museum

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Built by al-Walid II, Qusayr ‘Amra (in Jordan) is composed of an audience hall and bath
Civil Architecture: complex with rich wall paintings.

Desert Palaces & Castles The exterior of the bathhouse, Qusayr ‘Amra
• The most important non-religious structures in the Umayyad Period
– In Syria and Palestine.
– Some of these structures were built from scratch, while some were formed by
transforming Roman or Byzantine castles.
• One of the main artistic and architectural achievement.
• Described as imperial or aristocratic residences that took the form of hunting
lodges, rural residences, and urban palaces.
• Expressed the authority and status of the Umayyad rulers.
• Used a distinctively secular architectural language.
• Included audience halls, baths, and mosques, as well as extensive grounds.
• Richly decorated with figural mosaics, paintings, and sculpture, which helped to
create a luxurious environment for feasting, hunting, and the recitation of poetry
and other courtly pursuits.

• These famous residences include Qusayr ‘Amra, Khirbat al-Mafjar, Mshatta, and
others.
• With the end of the Umayyad Period, most of these buildings were abandoned and
remained as monuments showing the splendor of the period.

Qasr al-Hayr al-Sharqi, Syrian Desert, 728-29 CE

Qasr al-Hayr al-Sharqi, Syrian Desert, 728-29 CE

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Qasr al-Hayr al-Sharqi, Syrian Desert, 728-29 CE

Qasr Kharana, Jordan, early 8th century

Statue of a standing caliph originally displayed above the

main entrance to Khirbet al-Mafjar (Judith McKenzie/Manar
al-Athar). Qasr Mshatta, an unfinished residence in Jordan
Mshatta façade detail, c. 743-44, the Museum for Islamic Art in Berlin
Khirbat al-Mafjar, located outside Jericho
in the West Bank, has rich floor mosaics,
including deer and a lion under a tree, as
well as an extensive program of
figurative sculpture.

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• These residences are particularly important, as they confirm that

ABBASIDS
since the inception of Islamic art figurative representation has
been an important aspect of Islamic Art.
(750 -1258 & 1517)
• However, figurative art is almost always used in the secular
Iraq, Iran, and Egypt
realm, while religious art is aniconic (without the representation of
human figures).

Abbasi Halifeliği (750-1258 &1517)

Abbasids, 758-1258 • The Muslim Arab dynasty that ruled the Islamic State after the Umayyads and held the
caliphate for more than five centuries.
• Capital: Baghdad
• 762-65 Caliph Al-Mansur founded the city of Baghdad.
• In the 9th century, they sometimes ruled from the palace in Samarra, Iraq.

• Abbasid Golden Age (775--861)

• The Abbasid State reached its greatest extent during the period of Harun Reşid (786-809),
the grandson of Mansur.
• Harun Reşid's sons Emin (809-813), Memun (813-833) and Mutasim (833-842) continued
their father's policies.

• They recognized all Muslims equally and removed the privileges of Arabs.
• They gathered an army of slaves and mercenaries dedicated to the new dynasty.
• They centralized power, administration and government, undermining the military forces of
individual tribes.
• Imperial model, ceremonies, art and architecture imitating Byzantine and Sassani models

• After 861, as a result of a series of revolts declared by the provincial governors, they lost
control of most of their empire and were destroyed by the Mongols in 1258.

• The dynasty continued until the Ottoman conquest of Egypt in 1517.

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Abbasid Caliphate (750-1517)

• Took authority over the Muslim empire from the Umayyads in 750 CE
• In 762 the caliph Al-Mansur founded the city of Baghdad
• Abbasid Golden Age (775–861)
• Established cultural and commercial capitals at Baghdad and Samarra.

• The Abbasid empire weakened with the establishment and growing power
of semi-autonomous dynasties throughout the region, until Baghdad was
finally overthrown in 1258.
• This dissolution signified not only the end of a dynasty, but marked the last
time that the Arab-Muslim empire would be united as one entity.
• The dynasty continued until the Ottoman conquest of Egypt in 1517

BAĞDAT ŞEHRİ

“Madinat as-Salam”
“Barış Şehri”

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What does a circular city mean?

• Cosmology
• The central image of the Caliph
• Central excellence

• The new, orderly capital of the Empire with all the

appropriate symbolism of an axially divided round
city.

Round city of Baghdad

Expressed the authority and status of the Umayyad rulers

Baghdad was the focal point of literary, mathematics, and science Large
libraries, schools, and universities, and the central palace

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Great Mosque of al-Mutawakkil, Samarra, 847-861

Samarra Ulu Cami, 850

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Great Mosque of al-Mutawakkil, Samarra

Mesopotamian Ziggurats or Sassanid firetowers

35
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The Chapel of Thanksgiving building in Thanks-giving Square in downtown

Dallas, Texas, 2014, Philip Johnson

Umayyads of Andalucia

36
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The Great Mosque of Cordoba

• Mid-8th century the last of the Umayyads escaped
to Spain and re-founded the dynasty there.
• From 785 to 987.
• Built over an earlier Visigothic church.
• Continuouslu explanded over years.
• Rows of double-tiered arches.
• Horse-shoe arches with alternating colors.
• The culture of Islamic Spain reached its apex in
Moorish art and architecture.
• Splendid ornamentation and arabesques

Mosque of the Prophet

Medina, c. 620-707 Great Mosque of Damascus, 706-15

Al-Aqsa, Jerusalem, 705 Great Mosque of Cordoba, 786

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al- Mansur 987 al-Hakam II 961-76 al-Rahman II 833-52 al-Rahman I 786

38
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Double tiered Horse Shoe Arches

Hypostyle hall, Great Mosque at Cordoba, Spain, begun 786 and enlarged during the 9th and 10th
centuries

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Multifoil Arch
Arco polilobulado

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The Nasrids of Granada

The Alhambra

Alhambra is an ancient Arab fortress located in the hills close to Granada.

The Alhambra Palace

• Granada, Spain
• Climax of Islamic art, architecture and decoration
• Non-religious architecture
• Composed around gardens, courtyards, and royal
kiosks
• Garden of paradise

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Alhambra’nınyazlık ikameti olarak inşa edilen General life

ile Sevilla şehrinde bulunan Alcazar Sarayı ve bahçesi

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Elçiler Salonu Elçiler Salonu

Burası, tahtın bulunduğu ve resmi resepsiyonların yapıldığı sarayın en görkemli salonu.

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Elçiler Salonu Krallar Salonu

Krallar Salonu

Generalife
Jannat al-arifa
The Garden as a Reflection of
Paradise

https://www.khanacademy.org/humanities/art-islam/chronological-periods-islamic/islamic-art-medieval/a/the-alhambra

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Alhambra’nınyazlık ikameti olarak inşa edilen General life

ile Sevilla şehrinde bulunan Alcazar Sarayı ve bahçesi Court of the Long Pond, Generalife

Paradise Garden Carpet

second half 18th century, Iran,
MET

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48

Central Asia and
Asia Minor
Turkish-Islamic Cultures:
SELJUKS
Anatolian Seljuk Sultanate
History, Architecture and Art
• What can be said about the position of the Turks in
the Islamic geography in the Middle Ages, between
the 9th and 13th centuries?
10.04.21
COURSE CONTENT
Architecture & Art in Islamic Geography:
A. The First Turkish-Islamic States in the 9th and 14th Centuries
1. Great Seljuk State, 1038-1157
2. The First Anatolian Turkish-Islamic Principalities in the 11th and 14th
Centuries
3. Anatolian Seljuk State (1075-1308)
4. Architectural Terms, Building Elements and Types Related to Period
Architecture
5. Anatolian Early Turkish-Islamic Architecture:
a. Important Building Examples
6. Anatolian Seljuk Architecture:
a. Important Building Examples
The Position and Location of Turks in Medieval Islamic Geography (ca. 9th to 13th centuries)
The birth and rise of Islam in the Arabian Peninsula in the 7th century:
• Umayyads - Capital Damascus, Arab nationalism (Mawali policy: non-Arab Muslims second class)
• Abbasids - Capital Baghdad, Samarra, Ummah policy (Abandonment of Mawali policy)
• The emergence of Tevaif-i Mülük States from the 9th century.
• Until the 9th century, the Islamic world was ruled by Arab dynasties.
• Caliphs were Arabs, the administration was Iranian, and Turks (mamluk, Turkish slaves) were used for military
service.
• From the 9th century onwards, the center of gravity of the Islamic world shifted from Arab lands to Iran and
Anatolia.
How was the relationship between Muslim Arabs, Iranians, and nomadic Turks on the Islamic border?
• After the 8th century, Turks' relations with the Islamic world increased and the conversion to Islam started.
– Talas War (751, between the Arabs and the Chinese, while the Karluk Turks supported the Arabs)
•
•
Turks learned Islam through Iranian culture.
Turks who accepted Islam assume important roles in the state organization of the Baghdad caliphs and the
Samanids.
• They served the Abbasids as mercenaries, "mamluk" slave Turks.
• A new Turkish-Islamic military aristocracy emerged in the medieval Islamic world.
• From the 9th century onwards, the first Turkish-Islamic states were established in North Africa and Central Asia:
– Tulunoğulları, Eyyübiler, Mamluks, etc.
– Ghaznavids, Karakhanids (840-1212), Great Seljuks etc.
• The states established by the Turks become important protectors and carriers of the religion and culture of
Islam.
• A mix of Muslim Arab, Iranian and nomadic Turkish culture emerged.
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 10.04.21

From the 9th century onwards, the first Turkish-Islamic states were established in North Africa and the
Middle East:
TURKIC STATES RULING EGYPT

A. First Turkish-Islamic States (9th to 14th century)

Middle Asia
– Karakhanids (840-1212)
– Ghaznavids (963-1187)
– Great Seljuk State, (1038-1157)
– Anatolian Seljuk State (1075-1308) HARZEMŞAHLAR
– Kharzemshah State (1097-1231)

North Africa, Egypt

– Tulunids (868-905)
– İhşidiler (Akşitler) (935-969) MEMLÜKLER
– Ayyubids (1171-1252)
– Mamluks (1250-1517)
EYYÜBİLER

Great Seljuk State, 1038-1157

• The Levant, Middle East, Iran, Iraq, Anatolia
• Turkish-Iranian Islamic Civilization

GREAT SELJUKS EMP RE

(1038-1157)

http://www.selcuklumirasi.com/

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 10.04.21

BÜYÜK SELÇUKLULAR
(1038-1157)
• A Turkish-Iranian Sunni Islamic State established in the High Middle Ages
• Area of Activity: From Western Anatolia and Levant to Hindu Kush in the east; They
controlled a wide area from Central Asia in the south to the Persian Gulf.
• Nomads originating from the Central Asian steppes.
• A tribe belonging to the Kınık clan of the Oghuz Turks.
• The crowded Oghuz tribes, spreading from Central Asia to the west, established the
Yenikend-centered Oghuz Yabgu State in the region between the Aral Lake and the
Caspian Sea in the 8th century.
• Having come into conflict with Oğuz Yabgu, Selçuk Bey migrated to Khorasan and
Harezm to the south with his tribe.
• Selçuk Bey, who gave his name to the state, accepted Islam in the 960s and declared
his independence.

• Founder: Selçuk Bey's grandchildren Tuğrul and Çağrı Bey.

• They were established in Khorasan (Iran) after the 1040 Dandanakan War:
– The Seljuk Army, under the command of Çağrı Bey, fought with the Ghaznavids in Dandanakan
in 1040 and won a great victory.

"Sultan of the East and the West" (Eastern Persians, Western Rome):

• They defended the Abbasid Caliph against the Shiite Buwayis and gained the title of
Guardian of the Caliph.
• In 1055, the Abbasid caliph in Baghdad gave Tuğrul Bey the title of "Sultan of the East
and the West".

• In the 10th and 11th centuries, they first dominated Iran, Iraq, Azerbaijan and finally
Anatolia.
• The brightest period under Sultan Melikşah (born 1055, 1072-1092).
• Nizamülmülk, vizier of Iranian origin (Alparsan and Melikşah Period)
• The Seljuks united the fractured political landscape of the eastern Islamic world
and played a key role in the first and second crusades.

Battle of Dandanaqan fought between Ghaznavids and Seljuks in 1040. • With the Battle of Katvan in 1141 with Karahitay, the process of collapse begins.

Who are the Oghuz Turks?

Where did Anatolian Turks emigrate and their origins? BÜYÜK SELÇUKLULAR (1038-1157)

ENTRANCE AND SPREADING TO ANATOLIA

• They follow a westward expansion policy;

– From their homelands near the Aral Sea, the Seljuks advanced first
into Khorasan and then into mainland Persia, before eventually
capturing Baghdad and conquering eastern Anatolia.
• They organized expeditions before coming to Anatolia.
• With the Battle of Manzikert in 1071, the gates of Anatolia are
opened to the Turks.
– Seljuk Sultan Alp Arslan and Byzantine Emperor Diogenes
• Turkmen tribes spread to Anatolia.
– Border principalities (uç beylikleri), booty (ganiment), Gaza (holy
war)
• They advance towards Anatolia and encounter the Byzantine and
Armenian kingdoms and the other Christian cultures.

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 10.04.21

Great Seljuk State, 1038-1157

Capitals: Nishapur (1037--1043), Rey (1043--1051), Isfahan (1051--1118),
Hamedan, Western capital (1118--1194), Merv, Eastern capital (1118--1153)

Text glorifying sultan over image

Nomadic Turks were famous for their warriors. It depicts the enthronement of Seljuq Sultan Tughril surrounded by his officers. Directly beneath his feet is written
‘The victorious, just Sultan’ and in the panel above is his title, interrupted atypically by the sultan’s personal
name placed directly over his head.”

Great Seljuk State military figure Figurine of Sultan Tughril, Iran late 13th century
(Nasser D. Khalili Collection)
Bowl with Enthroned Figure and Horsemen, Iran, late 12th- early 13th cen.;
Stucco Figures, Iran, 12th-early 13th century, Metropolitan Museum Gypsum Panel with Enthroned Ruler (Sultan Tughril) and Courtiers, Iran (possibly the vicinity of Rayy) 2nd half 12th
century, Philadelphia Museum

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TURKISH ISLAMIC CULTURE

IN ANATOLIA (D YAR-I RÛM)
TURKISHIZATION OF ANATOLIA
Two great waves of Turkmen immigration to Anatolia
in 11th and 13th century.

• Great Seljuk State (1038-1157)

– Entry to Anatolia with the Battle of Manzikert in 1071.

• First Turkic Principalities Period (11th Century)

• Anatolian Seljuk Period (1075-1308)
• Second Turkic Principalities Period (13th century)

• Ottoman Principality >>>> Ottoman Empire

1071 Battle of Manzikert between Seljuk Khan Alp Arslan and Byzantine Emperor Diogenes
The war that changed the fate of Turks and Byzantines forever.
The war that determined the future of Anatolia.

Battle of Manzikert, 1071 CE,

Military Museum in Harbiye, Istanbul, Turkey

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 10.04.21

Diyar-ı Rûm
ANADOLU
• https://www.youtube.com/watch?v=A8_mZ7CKpw8
Anatolian Turkic Principalities
& Anatolian Seljuk State (Rum
Sultanate) (1075-1308)

ANATOLIAN TURKISH PRINCIPALITIES

A general name was given to Turkish principalities established in
various regions of Anatolia since the 12th century.

Rum is a people or a person who lived within the borders of the Eastern Roman Empire and had the rights of Roman
citizens.

The first Turkish principalities >>> Beyliks founded after the Battle of Manzikert (1071)

Following the 1071 Seljuq victory over the Byzantine Empire at the Battle of Manzikert and the subsequent conquest of Anatolia, First Turkic Principalities Period (11th Century)
Oghuz clans began settling in present-day Turkey.

The First Anatolian Beyliks (Turkish: Anadolu Beylikleri) were small principalities in Anatolia governed by Beys (like Lord), founded at
the end of the 11th century.

The word "Beylik" denotes a territory under the jurisdiction of a Bey, equivalent in other European societies to a "Lord".

In the list below, only the beyliks that were founded immediately after the Battle of Manzikert in 1071, mostly situated towards the
Eastern Anatolia, and who were vassals (or sometimes at war) to the centralized power of Seljuq Sultanate of Rûm based in Konya
are listed. (1171-1252)

(1071-1174) (1081-1202)

(1081-1093)

(1101-1312)

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 10.04.21

Anadolu Selçuklu Devleti

(ci. 1075-1308)
• Founder: Kutalmışoğlu Süleyman Shah, one of the Seljuk commanders
• Capital:
– Iznik (last quarter of the 11th century), Konya (12th century), Sivas (early 14th century?)
• Captured Byzantine lands and took control of trade routes.
• Established political unity in Anatolia.
• the golden age of the Anatolian Seljuks in the first half of the 13th century,
• Its heyday under Sultan Alaeddin Keykubad I (d.1190, 1220-1237)

• Important Anatolian Seljuk cities:

– Antalya, Alanya, Konya, Aksaray, Karaman
• They were influenced by Iranian, Byzantine, and Armenian cultures and art.
• They developed their own architectural style.

• Babai Uprising, 1240

• With the Battle of Kösedağ in 1258, they became vassal to the Mongols.
• They ended in 1308 under the devastating pressure of the Mongol / Ilkhanid
occupation.

How can we explain the relationships between the

structure and art of Anatolian society between the 12th
and 14th centuries?

• The new guardians and patrons of art:

– Turkish lords and sultans
• Central Asian-Iranian-Islamic tradition
• Interaction with the Christian cultural environment
(Byzantine, Armenian, Georgian etc.)

7

How can we define the general
characteristics of the main art techniques
used in Early Anatolian-Turkish Art?
10.04.21
Major Building Types of the Early
Turkish-Islamic Period in Anatolia
• Mosque
• Masjid
• Dervish lodges (tekke ve zaviyeler)
• Mausoleum, tombs (türbe, kümbet)
• Madrasah (medrese)
• Hospital (daruşiffa)
• Caravanserai (kervansaray)
• Bath
• Palace
• Bridge
How can we define the general characteristics of the main art techniques used in
Early Anatolian-Turkish Art?
Architecture
• Regional materials and building techniques in residential (konut mimarlığı) architecture
• In monumental architecture, except palaces, masonry construction with stone wall
• Roof cover: flat wooden roof, stone vault, mostly brick domes, and vaults
Architectural elements:
• Courtyard (avlu), iwan (eyvan), portal (taç kapı)
Decoration techniques and arts:
• Stone carving
• Glazed brick and tile
• Plaster and painted decoration, plaster decor techniques
• Ceramic, underglaze (sıraltı) technique, glazed pottery
• Wood carving
• Caligraphy (sülüs, talik etc special script styles)
• Carpet weaving, Gördes knot
• Miniature
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 10.04.21

The stone decoration vocabulary can be divided into five general types:

• Geometric motifs and layouts

Main Architectural
•
•
Herbal motifs and patterns
Figural depictions
Elements of the Period
• Calligraphy
• Muqarnas.

Elements of an introverted building design:
Courtyard (avlu), iwan (eyvan), portal (taç kapı)
What are iwan (eyvan) and portal (taç kapı) being an
important element of medieval Turkish Islamic
architecture?
COURTYARD (AVLU)
In the plan schemes of mosques, madrasas,
caravanserais (ribat), residences and palaces,
COURTYARD (AVLU) is the center of the spatial
organization.

9
 10.04.21

Architectural Elements of the Period:

IWAN (EYVAN)
IWAN (EYVAN) is one of the most important
elements of Islamic architecture.

• Located in the middle of the buildings and opening to the inner courtyard, an architectural
unit covered on three sides and mostly covered with vaults; It was preferred especially in
Iran and Central Asia, and it was frequently used in the plans of houses along with buildings
such as mosques, madrasas, bimararistan.
• Commonly seen in Anatolian monumental and anonymous architecture, the iwan emerged in
the early ages of Mesopotamian architecture and passed to Islamic architecture from there.
• The iwan is frequently encountered in Iranian, Seljuk and Ottoman architecture.

Architectural Elements of the

Period: PORTAL (TAÇ KAPI)

• Large and magnificent monumental door with rich ornaments (the most
decorated part of the façade) located on the entrance facades of
monumental buildings (mosques, madrasahs, hospitals, etc.), protruding
from the facade in the form of a large niche.
• It is frequently used in medieval Turkish-Islamic architecture.

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 10.04.21

Erzurum: Double Minaret Madrasah

Kayseri Sultan Hanı

Architectural Elements of the Period:

Architectural Elements of the Transition elements from square or polygonal base to circular shaped roofing
Period: Muqarnas (Stalactite /sarkıt) element Turkish Triangle

• Muqarnas (also called

stalactite) means "dripping".
• A transition and filling
element that gives a three-
dimensional appearance,
coming side by side and
overlapping, gradually
overflowing.
• An Islamic art element that TRANSITION ELEMENTS TO THE DOME
Turkish Triangle (Türk Üçgeni): It is a transition element that carries the ground
fills the half-domes with a plan to the polygonal roofing plane with triangular surfaces placed at different angles.
Squinch (Tromp): A vault piece overlapped in a corner of a building. Arch bent
honeycomb-shaped image. transition element 113
Pendentive

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 10.04.21

The Turkish triangle consists of inverted and straight triangles placed side by side.

Konya Karatay Medresesi

Squinch (Tromp): A vault piece overlapped in a corner of a building. Arch bent transition element

12
 10.04.21

Pendentive

Kayseri Huand Hatun Camisi (1238) Kayseri Hacı Kılıç Camisi (1249)
Kırşehir Caca Bey Medresesi (1272/73) Kayseri Sivas yolunda yer alan Sultan Hanı’nda (1236)
aydınlık kubbesine geçiş pandantiflerle sağlanmıştır

Tokat Garipler Cami (1080-1090) Saltuklular Dönemi’nde yapılan Erzurum Ulu Cami’de (1179)

13
 10.04.21

Building Types of the Period:

MOSQUES

First Period Mosques

• The first formation of mosques in Anatolian Turkish
Architecture was during the First Principalities:
ISFAHAN MASJIDI JUMA
– Danişmentliler (1071-1174): Sivas, Kayseri, Malatya
– Artuklular (1101-1312): Hasankeyf, Mardin, Diyarbakır,
Harput. The emergence of a new form in Iran in the
– Saltuklular (1081-1202): Erzurum
11th century:
– Mengücüklüler (1171-1252): Erzincan, Kemah,
Şebinkarahisar, Divriği Mosque type with four iwans

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 10.04.21

ISFAHAN MASJIDI JUMA

(JUMA MOSQUE / Masjed-e Jame)
• Isfahan, Iran 10th Century+ > continuous construction activities, reconstructions and additions
• Period: Abbasid, Seljuq, Timurid, Safavid, Qajar
• The four-iwan mosque
• Domed in front of the mihrab, the court with iwans plan type:
• 11th century, Great Seljuk period, The Great Seljuk vizier Nizamülmülk

İsfahan Mescid-i Cuması

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 10.04.21

Development sequences of Masjed-e Jame over time

Development sequences of Masjed-e Jame over time

In the11th century Iran, hypostyle mosques started to be converted into four-iwan mosques. Iwan, Ctesiphon, Iraq, c. 560
the Arabic or Kufa-type (photo: Edwin Newman Album AL4-B, page 3, San
hypostyle mosque plan the four-iwan mosque type Diego Air and Space Museum Archive

11th century shows the emergence of

new form: the four-iwan mosque.

The iwan developed in pre-Islamic Iran where it was

used in monumental and imperial architecture.

Great mosque at Isfahan (Masjid-i Juma):

• The original plan of the congregational mosque founded in Abbasid tradition possibly in the 10th century
(left) has been transformed progressively during the 10th and 11th centuries.
• Later, the plan (right) is transformed by new forms from regional tradition:
• A large domed chamber in front of the mihrab was introduced in the columnar prayer hall.
• In addition, four iwans were added at four sides of the courtyard.
(Source of illustration: H. Stierlin, Islamic Art and Architecture: From Isfahan to the Taj Mahal, p:201, Plan of the Great Mosque of Isfahan, Iran, showing
Thames&Hudson, 2002) iwans opening onto the sahn (court)

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 10.04.21

Isfahan Masjidi Juma earliest twin minaret mosque known

Rectangular like plan, domed in front

of the mihrab, the court with four
iwans

Dome of Tac-al-Mulk

Four center arch (Kaş Kemer)

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 10.04.21

Great Mosque of Diyarbakır Great Mosque of Diyarbakır

• 7th century +, 11th century, Kaleici, Diyarbakır
• The oldest known mosque in Anatolia
• Built by Muslim Arabs in the 7th century.
– An old church (Mar Toma Church?) was said to be turned into a mosque.
• It is similar to the Damascus Grand Mosque in terms of plan and layout.
• Muslim capture of Diyarbakır in 639 and passes to the Seljuks in 1085.
• It undergoes extensive renovation by the Seljuks in the 11th and 12th
centuries.
– 1090 comprehensive repairs: According to flowery Kufic inscription in situ
(dated 1091-92), Seljuk sultan Malikshah directed the local governor to rebuild
the mosque in the year 1091.
• The lightning-down minaret, rebuilt in 1839
• Basins for Ablutions (Şadırvan) added in1849

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 10.04.21

What structure does this look like as the plan type?

19
 10.04.21

WC Shafi’ite school of Islamic law.

Mesudiye Medresesi constructed last decade of the

12th century and first decade of the 13th century

single-aisled portico

Rectangular Courtyard
(63 x 30 m)
Transept (çapraz sahın) >> horizontally widening naves

Basins for Ablutions, 1849

Harim > Sahn > Nave Harim > Sahın > Nef

long and narrow prayer hall Mihrap

Transept (Çapraz Sahın)

horizontally widening naves Yıldırım düşen minare, 1839 Great Mosque of Diyarbakır Great Mosque of Damascus

• Several features of the Diyarbakır mosque bear an unmistakable

resemblance to the Umayyad Mosque of Damascus, constructed
in 715.
• The proportions of the courtyard and prayer hall, the eastern
entrance, and the plan of the prayer hall with its central nave and
lateral arms, are all conspicuous aspects of the Damascus
mosque.

• The status of the Damascus mosque as one of the earliest

mosques of Islam made it culturally significant throughout the
Islamic world, spurring a number of imitations.

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 10.04.21

single-aisled portico

In addition to local basalt blocks, parts of Byzantine

buildings were reused to construct the mosque.
Antique columns and capitals, friezes with vine scroll
ornament, and fragments of Greek inscriptions show
the use of spolia on the courtyard facades.
Spolia (devşirme) material

single-aisled portico

21
 10.04.21

Sundial made by the famous scholar El Cezeri

12th Century Mosques

Monumental portal

22
 10.04.21

List of mosques built in the 12th century

Great Mosque of Sivas

• End of the 11th century, no inscription, period of the Danishmand Principality
(1085–1178)
• Repaired by Sultan I. Izzeddin Keykavus in 1212; Its minaret was built in 1213.
• During its restoration in 1955 construction and repair inscriptions found.
• Hypostyle plan, cut-stone walls

Sonradan eklenen avlu?

(54.70x33.70 m) nave / sahn / harim

13th-century addition minaret reflecting period feature

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 10.04.21

Niksar Grand Mosque

Tokat, Danishmand Principality, 1145?
An Anatolian interpretation of the classical Arab mosque
with five naves parallel to the mihrab wall, no courtyard.
Rubble stone walls, cross vault cover
1679 repair
Hypostyle plan with a dome above maksure

main outer Wall (beden duvarı)

conical hat (külah)

The rectangular main nave (harim) is covered with
cross vaults.

buttress
masonry pier (payanda)

buttress
masonry pier (payanda)

Silvan – Meyyafarikin – Great Mosque

The Artuqids, 11th yy
Siirt Ulu Camii, 13.yy?
Caminin ilk inşa tarihi bilinmiyor.
Yapıldıktan sonra harap olan yapı 1129 (Irak Selçuklu
Hükümdarı) ve 1260 (atabeylerden Mücâhid İshak)
onarılır.

Bitlis Ulu Camii, 1153

Kitabesine göre Bani: Selçuklu sultanı Tuğrul Bey'e
bağlı Mervanilerden Ebul Muzaffer Muhammed

Ruled Eastern Anatolia, Northern Syria and

Northern Iraq

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 10.04.21

Mardin Ulu Camii, 12.yy. Sonu

Artuklu Dönemi

Mardin Ulu Camii, 12.yy. sonu Malabadi Bridge (on the Batman-Silvan road), Diyarbakır, The Artuqids (1102-1409), 1147
width: 7x150 m, height: 19 m, stone bridge with the widest arch

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 10.04.21

Evliya Çelebi Seyahatnamesi'nde köprü hakkında şöyle Van Ulu Camii, 12. yy
yazmıştır:
"Malabadi Köprüsü'nün altına Ayasofya'nın kubbesi girer."

Van Gölü çevresinde hakimiyet kuran Ahlatşahlar'dan I. Sökmen

(1100-1112) veya II. Sökmen (1128-1185) zamanında yapılmış
olduğu kabul edilmektedir.

Erzurum Ulu Cami

Bani: Saltuklu Emiri Nasreddin Aslan Mehmet, 1179
Konya Alaeddin Mosque
• 1155+
• Seljuk Capital > Konya (1076)
• Earliest architectural structure of Konya

Source: Texier, Charles. 1865. The Principal Ruins of Asia Minor. London: Day.

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 10.04.21

Konya city plan, an excerpt from the book Gönül Tankut, Seljuk City
Konya Alaeddin Mosque
Construction Date: It was started by Seljuk Sultan I. Rûkneddin Mesud (1116-1156) and completed in
the period of II.Kılıç Arslan (1156-1192).
Patron (Bani): Seljuk Sultans I. Mesud, II. Kılıç Arslan, I. Izzeddin Keykavus and I. Alaeddin Keykubad.
Builder Atabeg Ayaz.
Location: It was built in the city center of Konya in the area called Alâeddin Hill.

1950’li yıllar itibariyle Alaeddin Tepesi ve yakın çevresinin durumu. Konya Alaeddin Mosque, 1156+
• It is thought to have been built in 3 different
periods.
• 3 different spatial arrangements
• The rectangular plan, generally not uniform,
with a courtyard, and extends transversely
• There are two tombs (kümbet) in the courtyard
of the mosque; Ten-sided kümbet II. Kılıçarslan
(R 1166-1192); octagonal tomb (kümbet) I.
Izzettin Keykavus (R 1219-1220)
• Domed space in front of the mihrab

Could be the first part built

tombs (kümbet)
courtyard

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Spolia capitals

The columns supporting the arches in the mosque and their capitals are also spolia

28

13th Century Mosques in
Anatolia
• Why is Great Mosque and Hospital of Divriği
a building complex that best expresses the
tendencies of 13th century Anatolian Turkish
architecture?
• What are the main features of this great monument?
10.04.21
Great Mosque and Hospital of Divriği
1228-1229, Sivas
Great Mosque and Hospital of Divriği, 1228-1229, Sivas
• Period of Mengucek Principality
• Patron (Bani): Mengucek emir Ahmet Shah and his wife Turan Melek
• The oldest complex in Anatolia.
• Master Builder Ahlatlı Hürremşah and many masters of Ahlat and Tbilisi (Tiflis)
• One of the masterpieces of Anatolian Turkish-Islamic architecture
• A mosque with 2 domes and an adjacent hospital
• A very rich decoration on the entry portals (taç kapı), vault covers, mihrab, and column heads.
• Symbolism and cosmology
• Tens of thousands of motifs in the ornaments never repeat themselves again
• Reinterpretation of Sassanid art, Ghaznavid Art, animal style of the steppes, Persian-
Seljuk period plaster decoration, and Near East woodwork using stone material and an
admirable technique with plastic effects not seen in almost any artwork of the Near East.
• "Divriği miracle", "Elhamra of Anatolia"
• UNESCO World Heritage Site, 1985
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Great Mosque and Hospital of Divriği, 1228-1229, Sivas

• A unique and distinctive example in terms of plan type and ornamental features
The complex is built of light yellow cut stone throughout.
• The most beautiful example of the type with five naves and two domes on the
middle axis, with a lantern (cupola) in the middle.
• Darüşşifa, a two-storey building with a courtyard and 4 iwan built adjacent to the
mosque, in the form of a covered madrasa with a central oculus.

originaly "bey mahfili" gate

the eight-sided conical roof above the mihrab dome

Iwan
25 bays

lantern vault
Mihrap

central oculus

A plain architectural look from the outside. Mosque

The 12 sided dome in front of the mihrab
Lantern dome Mihrap önü onikigen kubbe
Fenerli kubbe

Mosque Darüşşifa Hospital Lantern dome

Fenerli kubbe

Mihrap

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Mosque Hospital

31
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25 bays

The highly sophisticated technique of vault construction

Divriği Great Mousque,Plan

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 10.04.21

There are 4 separate portals in the structure. A plain architectural look from the outside but inside:
PORTALS
• North Portal > Baroque Portal (Heaven Door)
• West Portal > Textil Portal The 12 sided dome in front of the mihrab
• Darüşşifa Portal > Gothic Portal (Crown Door) Lantern dome Mihrap önü onikigen kubbe
• East Portal > Seljuk Portal (Shah Mahfili Door) Fenerli kubbe
Each portal is a dazzling architectural and engineering wonder with its unique
decorations.
PORTALS
1. North Portal > Baroque Portal
Darüşşifa Hospital (Heaven Door)
4
2. West Portal > Textil Portal
3. Darüşşifa Portal > Gothic
Portal (Crown Door)
4. East Portal > Seljuk Portal
(Shah Mahfili Door)

1 Each portal is a dazzling

architectural and engineering
wonder with its unique
decorations.

2 3

• East Portal > Seljuk Portal (Shah Mahfili Door)

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 10.04.21

• North Portal > Baroque Portal (Heaven Door)

Yapının tüm taç kapılarındaki üç boyutlu, asimetrik, bitkisel ve geometrik figürler özgün bir betimleme
anlayışıyla heykele yakın yüksek kabartma tekniğinde coşkun bir biçimde işlenmiştir.

34
 10.04.21

Cami Taç Kapısından Detay

Divriği Ulu Camii ve Darüşşifası, 1228-1229, Sivas

• Darüşşifa Portal > Gothic Portal (Crown Door)

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Divriği Ulu Camii ve Darüşşifası, 1228-1229, Sivas

Similarities with a Gothic or Romanesque portal diagram
• Darüşşifa Portal > Gothic Portal (Crown Door)
Darüşşifa Taç Kapısı

• West Portal > Textil Portal

• West Portal > Textil Portal

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Cami Batı Taçkapısında Kartal

ve Güvercin

Divriği Hospital
Pool, open vault, columns in front of south ıwan and mezzanine floor
(The stairs lead to the Mezzanine Floor and the Divanhane.)

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Alaeddin Mosque - Niğde, 1223

Period: Sultan I. Alaeddin Keykubad
Patron: Niğde Sancak Chief Ziynettin Beşare, 1223
Builders (According to the inscription): "Mahmud's sons, Siddiq and Gazi masters“
Made entirely of cut stone
Located in the Niğde Castle

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Old Grand (Battalgazi) Mosque of Malatya

• Patron: Anatolian Seljuk Sultan I. Alaeddin Keykubad, 1224
• According to his epigraph, the architects: Yakup bin Abu Bakr al-Malati and Mansur bin Yakup
• It is the first and only example of the Great Seljuk mosques with four iwan plan types of İran in
Anatolia.

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 10.04.21

• It is the first and only example of the Great Seljuk

mosques with four iwan plan types of İran in
Anatolia.

• As a result of repairs and interventions that started

shortly after its construction, changes occurred in the
plan and architecture of the mosque.

• In the years (1247) and (1273-74), substantial

interventions were made to the building and a new
section was added to its north.

• Parts made of brick show the first mosque, while stone

ones indicate later additions.

• The inner courtyard with its garden and pool in the

middle, adjacent to the dome in front of the mihrab, forms
the basis of the plan. inner
courtyard
• Geometric stars and crosses made of turquoise and
aubergine tile mosaics, the inscription remaining on the
arch and the columns covered with tile mosaics in zigzag
form are the striking decorations of the mosque.

• The inner surface of the dome has an enormous tile

decoration with a brick coating. Dome skirts are
decorated with knitted bricks in the form of the geometric
art of triangles.

The inner courtyard with its garden and pool in the middle, adjacent to the dome in
front of the mihrab, forms the basis of the plan.

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wheel of fortune

Wooden Pillar Mosques : It is a very old tradition of construction in Anatolia.

Wooden Pillar Mosques

Konya Sahip Ata Camii (1258) Afyon Ulu Camii (1272)

284
Sivrihisar Ulu Camii (XIII yüzyıl) Ankara Arslanhane Camii

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EŞREFOĞLU MOSQUE

• Beysehir, 1296-1299
• Patron: Eşrefoğlu Süleyman Bey
• It is the largest wooden pillar mosque in
Anatolia.
• Multiple wooden columns (46),
completely wooden ceiling decorated
with handwork, tiled mihrab, completely
wooden minbar made by Kündekari • 5.50 m. high stalactite headed pillars formed seven naves
perpendicular to the mihrab wall.
technique. • The four pillars in the center are left open as in the plan schemes
• On the UNESCO World Heritage of the grand mosque.
Tentative List

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Huand Hatun Külliyesi, Kayseri

• 13th century, Bani: wife of I. Alaeddin Keykubad and II. Gıyâseddin
Keyhusrev's mother Mahperi Huand Hatun
• A social complex consisting of a mosque, a madrasa, a bathhouse and a
mausoleum (and an imaret whose existence is learned from Evliya Çelebi).
• The construction of the mosque, which is the central structure of the
complex, was completed in June 1238 according to the inscriptions.

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Cami Taç Kapı

46
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Mihrap

47

Building Types of the Period
Institutions of Learning:
The Madrasa
Higher education and science institutions
in the classical Islamic world
SUFFE
Nizamülmük institutionalized it.
10.04.21
Madrasahs
• Higher education and science institutions in the classical
Islamic world.
• They were completely independent of the mosque.
• Sultan, royal family members, and wealthy high-level
administrators had them built.
• Education was free and students stayed boarding.
• Worked with the charitable endowment system (vakıf).
• Raising statesmen and teaching Sunni Islam.
• Its foundation goes back to Assab-i Suffe.
• Nizâmülmülk (1018-1092), the vizier, statesman, and political
scientist of the Great Seljuk State, institutionalized them.
SUFFE: The place next to the Masjid an-Nabawi for the poor Companions and gradually
became an educational institution.
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MADRASAH PLAN TYPES

I- OPEN COURTYARD MADRASAH

1- Rectangular Plan
a- Single Storey (Diyarbakır Zinciriye 1198)
b- Double Storey (Tokat Gök Madrasa 1275)
2- L Plan (Urfa Ulu Camii Madrasa)
3- U Form (Kayseri Hacı Kılıç Mosque Madrasa)

II- CLOSED COURTYARD

1- The Type where the Dome Fits on the Wall (Tokat Yağıbasan 1152)
2- The Type where the Dome is Seated on Free Supports (Erzurum Yakudiye 1310)

III- ACCORDING TO THE NUMBER OF EYVAN

1- Single Iwans 2- Two Iwans 3- Three Iwans 4- Four Iwans

Yağıbasan Madrasas, 12th century

Close courtyard type
• These are two madrasas built by Nizamettin Yağıbasan from the
Danişment Principality in Tokat and Niksar.
• Both madrasas are plain, unadorned examples of the madrasa type
with closed courtyards:
• Plan scheme consisting of iwan and cells around the closed courtyard,
covered by the trumpeted dome.
• The closed-planned, domed madrasa plan type developed in Anatolia
in this period.
• The first Anatolian Seljuk madrasas used these closed forms.

49

Yağıbasan Madrasahs
Yağıbasan Madrasa, c. 1158, Niksar, Tokat Yağıbasan Madrasa, c. 1152, Tokat
• Closed courtyard madrasah plan type and covered with •
an 11-meter diameter dome
• There are two iwans to the east and north of the •
madrasah, some of which lean against the walls of the
Niksar Castle, and small spaces with barrel vaults to •
the west.
• Medical education was given
Tokat Yağıbasan Madrasa, 1152
Closed Courtyard type where the dome sits
on the wall
10.04.21
Tokat Yağıbasan Medresesi, 1152
Kapalı Avlulu, Kubbenin duvara oturduğu tip
It is one of the first examples of Anatolian madrasas
with closed courtyards (also known as Çukur Medrese.)
The dome, which covers the courtyard with a diameter
of 14 meters, is open in the middle (10 meters).
There are small and large vaulted rooms on the sides,
a masjid opposite the entrance iwan, and the main iwan
that functions as a classroom.
50
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Konya Karatay Madrasa

• 1251, in the center of Konya, on the northern skirt of the mound called Alaeddin Hill
• Patron: Celaleddin Karatay bin Abdullah, one of the Anatolian Seljuk viziers.
• Closed courtyard plan type
• Cut stone and rubble stone were used.It is famous for its tiles.
• Konya Museum Tile Works Section

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 10.04.21

Konya Karatay Madrasa

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 10.04.21

Ince Minaret Madrasa (Sahip Ata Darülhadisi)

• On the western skirt of Konya Alaeddin Hill
• Bani: Seljuk Vizier Sahib Ata Fahreddin Ali, 1264?
• Architect: (His name is written on two medallions on the crown door) Kölük bin Abdullah
• One of the three madrasas in Konya whose courtyard is covered with a dome
• The minaret decorated with glazed bricks on the facade of the mosque adjacent to the madrasa
• One of the most magnificent portals (taç kapı) built during the Anatolian Seljuk period

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KIR EH R CACABEY MEDRESES

• During the Seljuk Sultan Gıyaseddin Keyhüsrev, 1277
• Bani: Nureddin Cibril b. Cacabey
• It is one of the most advanced architectural design
examples of the Middle Ages in terms of complex function,
two-story plan design among closed madrasas.

342

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 10.04.21

Diyarbakır Zinciriye Madrasa

• 1198, Period of Artukid Emir Kutbeddîn
Sökmen
• Diyarbakır, Sur District (south-west of
Grand Mosque)
II- CLOSED COURTYARD TYPE • It has a rectangular plan close to a
square, an open courtyard, two iwans,
MADRASAS and a single floor

Diyarbakır Zinciriye Medresesi, 1198

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Sırçalı Madrasa
• 1242, Konya
• Sultan II. Gıyaseddin Keyhüsrev period
• Bani: According to the inscription on the portal, it was built by
the Seljuk Emir Bedreddin Muslih to teach fiqh.
• Architect: Muhammed b. Mohammed et-Tusi
• Two-story, open courtyard (plan type) with iwan and porticos
• Cut stone and rubble stone were used.
• Significant with stone decorations on the portal as well as its
blue tiles.
• Persian impact

• Sırça means glass or made of glass

Famous for its blue tiles

Persian impact Sırçalı Medrese
Organized around an open courtyard

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Sivas
S VAS BURÛC YE MADRASA

Gök Medrese (Dört Eyvanlı)

Çifte Minareli Medrese (İki katlı Dört Eyvanlı)

Buruciye, Dört Eyvanlı Avlulu

S VAS BURÛC YE MEDRESES S VAS BURÛC YE MEDRESES

1271, III. G. Keyhüsrev Period

Built to teach positive sciences

It was built by Muzaffer Burucerdi, a wealthy statesman originally from Iran, to

teach positive sciences.

57
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Measured drawing (rölöve) - 3d laser scanner data superimposed

59
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Kayseri: Madrasas with open courtyards.

Hunad Hatun (1237-38)

382

Sahabiye Medresesi (1267-1268)

Kayseri: Açık avlulu medreseler.
Tokat

Gök Medrese ( ki Katlı Açık Avlulu)

383 384

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Building Types of the Period

HOSPITALS (DARÜ’Ş-ŞİFA)

They are education and treatment institutions, which

are known by various names where theoretical and
practical information are given together.

Tokat Gök Medrese, 1274

(Açık Avlulu, Dikdörtgen Planlı, Çift Katlı)

GEVHER NES BE HOSP TAL AND MEDICAL MADRASA GEVHER NES BE HOSP TAL AND MEDICAL MADRASA
(Kayseri Double Madrasa) (Kayseri Double Madrasa)
• 1205-1206, Kayseri • The building consists of two parts Hospital and Medical Madrasa.
• Patron: It was built by Anatolian Seljuk Sultan I. Gıyâseddin Keyhusrev in the name of his sister Gevher Nesibe • In the construction of the buildings, a smooth cut stone coating was used on rubble stone filling.
Sultan.
• It is one of the oldest hospitals and first medical faculties of the Islamic period in Anatolia. • Two structures connected to each other by a corridor and in the type of closed courtyard with four iwans.
• The building consists of two parts Şifahane and Medical Madrasa. • Both have a courtyard with a pool, pointed arched and vaulted porches, and vaulted rooms of various sizes.
• Both buildings have a courtyard with porticos and iwan. • All of the doors are small and open to porticoes.
• It is known that in the 13th century, education in this medical institution was continued theoretically in Madrasa and • There is no stove and chimney in the rooms. No kitchen-type room was found; This situation suggests that the
practically in Hospital. meals were brought from an outside soup kitchen.

corridor

Darüşşifa (hastane)

Tıp medresesi

pointed barrel vault covered iwan

sivri beşik tonozlu

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pointed barrel vault covered iwan

Building Types of the Period

CARAVANSERAI

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• What is a caravanserai?
• What kind of buildings were the Seljuk
Caravanserais?
• What are the most important
examples?

Caravanserai: Monumental structures built on busy trade routes for caravans to accommodate
and meet all their needs.

• Accommodation and trade buildings in Anatolia in the Middle Ages

• It is known by names such as "Han", "Ribat", "Caravanserai" in Anatolia.

• At the end of the 12th century, the Seljuks gained central authority in Anatolia
• Anatolia: It becomes the transit point of transit trade between the Mediterranean world and
the east.
• The importance of international trade, especially after the Crusades
• Control of Syrian ports by the Crusaders

• In the 13th century, cities such as Konya, Sivas, and Kayseri in Anatolia became major trade
centers.
• The seizure of Antalya and Alanya in the Mediterranean and Sinop on the Black Sea coast
by the Seljuks enables land trade to establish ties with the two seas.

• Renovation of Roman roads >>> Renewal of Anatolian trade routes

• Securing trade routes
• Building many caravanserais on the route

• The inns built as a foundation by the Selcuk Sultans and their Emirs called >> Sultanhan
399

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The most important Caravanserai examples:

• Large-sized inns built by the sultans are called Sultanhan.
At the end of the 12th century, Seljuks provided the central authority • Sultanhan (1232-36) on the Konya - Aksaray road.
in Anatolia. • Sultanhan (built in 1229+) on the Kayseri-Sivas road.
• Ağzı Kara Han, located on the Niğde Aksaray road.
The largest and most magnificent Seljuk caravanserais were built • Hekimhan on the Sivas-Malatya road.
during the sultans following: • Kırkgöz Han and Susuz Han with different plans on the Burdur-Antalya road.
• Alara Han in the vicinity of Alanya (probably an interesting and different example as
an inn structure that also functions as a lodge).
• II. Kılıçarslan (1155-1192)
• I. Gıyaseddin Keyhüsrev (1192-1196) Typical plan: cells arranged around a courtyard
• Inns are generally effective and simple structures with their masses and large
• I. İzzeddin Keykavus (1211-1220) dimensions.
• However, in many, the portals of the courtyards and closed sections, the masjids in
the middle of the courtyards are decorated with rich stone decoration.
• I. Alâeddin Keykubad (1220-1237)

Renovation of Roman roads >>> Renewal of Anatolian trade routes • In the 13th century, cities such as Konya, Sivas, and Kayseri in Anatolia became major trade centers.
Securing trade routes • The seizure of Antalya and Alanya in the Mediterranean and Sinop on the Black Sea coast by the Seljuks
Building many caravanserais on the route enables land trade to establish ties with the two seas.

• 13. yüzyılda Anadolu‘da Konya, Sivas, Kayseri gibi şehirler büyük ticaret merkezleri haline gelir.
• Karadeniz kıyısında Sinop ve Akdeniz'de Antalya ve Alanya’nın Selçuklar eline geçmesi bu kara
ticaretinin iki denizle bağlarını kurmasını sağlar.

65

Sultan Hanları
Kırkgöz Han (Antalya-Isparta)
Avlulu üç eyvanlı, revaklı bir
düzene sahiptir.
Tek revaklı kapalı bölüm buraya
bağlanır.
Sultan Han (Konya-Aksaray
Yolu) 1229: İki bölümden
oluşmaktadır. "hol" adı verilen
kapalı bölüm ile "avlu" bir
aradadır.
Selçuk Sultanları ve Emirleri tarafından vakıf olarak
yapılan hanlar >> Sultanhan
10.04.21
Trade Routes: Ticaret Yolları:
North-South (Russia-Mediterranean) Kuzey-Güney (Rusya-Akdeniz)
Silk Road (Iran-Sivas-Ankara-Konstantinapolis) İpek Yolu (İran-Sivas-Ankara-Konstantinapolis)
Karatay Han (Kayseri-Malatya)
Aksaray Sultan Han
• Konya-Aksaray road (42 km away from Aksaray in Sultanhanı Town)
• Patron (Bani): Anatolian Seljuk Sultan Alaeddin Keykubad I, 1229
• Builder: Şamlı Muhammed b. Havlân
• The biggest Seljuk caravanserai in Anatolia (Approximately 4800 m²)
• One of the examples of the classical Seljuk caravanserai scheme
İncir Han (1238-39)
Alara Han (Antalya-Alanya)
(1232): Diğerlerinde farklı bir plan
şeması vardır. Ortada bölmeli
mekanlar çevresinde, ahır olarak
kullanılan kapalı mekanlar
yerleştiriliştir.
412
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• Covering an area of 4700 m2, Sultan Han looks like a castle built on a flat land. • The decorated portal, the muqarnas kavsara rising above the door opening
• The walls built with cut stone material are supported by towers and surrounded by a row of loopholes • A pavilion masjid in the middle (square plan rising on Baldeken feet)
at the top. • The open and closed section
• However, none of the dungeons have survived to the present day. • Turkish bath, toilet, service places (kitchen, cellar, etc.)
• Stone walls and pointed vaulted ceiling.
• The walls built with cut stone material are supported by corner towers.
Portal (taç kapısı9
Its very high and thick walls are supported by
buttresses of different characteristics.

Hamam, tuvalet, servis mekanları (mutfak, kiler vb)

service places pavilion masjid

Closed courtyard
Open courtyard

Aydınlık feneri
Lantern dome

Sivri tonozla örtülü orta sahın

pointed vaulted ceiling.

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"köşk mescidi"

Figured Ornaments in Caravanserais Built

by Sultan Alaeddin Keykubad I

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Tuzhisar Sultan Hanı - Kayseri

• In the town of Tuzhisar on the 46th kilometer of the Kayseri-Sivas road
• Bani: Anatolian Seljuk Sultan Alaeddin Keykubad I, 1230-36
• Building Master: Amel-i Yadigar

Tuzhisar Sultan Hanı – Kayseri

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KARATAY HANI
• Bünyan district on the Kayseri-old Malatya road.
• According to the inscriptions, the entrance part was completed by Alaeddin I Keykubad, and
the courtyard part was completed in the period of Gıyâseddin II Keyhusrev (1240-41).
• According to its endowment, the founder of the inn is Celâleddin Karatay.

The building has a plan consisting of a closed section (shelter) and an open courtyard (service).

71
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• The arch of the entrance iwan facing the courtyard is surrounded by a dragon head motif.

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• Cepheden dışa taşkın ve yüksek tutulan avlu taçkapısı, geometrik ve bitki motifli bordürlerin yanı sıra • One of the two gargoyles in the entrance facade is a winged lion and the other is a crouching human
özellikle insan ve hayvan tasvirleriyle dikkat çekmektedir. depiction between two bull reliefs.
• Dekoratif olmalarının ötesinde bitki kıvrımları arasına gizlenen bu figürler, Orta Asya şaman
geleneklerine kadar uzanan bereket getirici ve kötülüklerden koruyucu sembolik anlamlar taşımaktadır.
• Kapının mukarnaslı kavsarasını kuşatan bitki motifli bordürün bir ucunda karşılıklı olarak iki aslan ve iki
çıplak kadın kabartması, diğer ucunda üst üste boğa ve insan başları bulunmaktadır.
• Köşe sütunçelerinin iki yüzüne kuş ve aslan kabartmaları, nişin iç yüzündeki iki panoya da rûmî
kıvrımları arasında ikişer siren kabartması işlenmiştir.
• Giriş cephesindeki iki çörtenden biri kanatlı aslan, diğeri ise iki boğa kabartması arasında çömelmiş bir
insan tasviri şeklindedir.

• Reflection of Central Asian shaman traditions, cosmological figures

Bulunduğu Yer: Alanya ilçesine bağlı Çakallar Köyü
sınırları içerisinde yer alan eser, Alanya-Antalya
karayolunun 30. km’sindeki Okurcalar Beldesinin yaklaşık
9 km kuzeyinde Alara Çayının 50 m kadar doğusundadır.
İnşa Tarihi: 627/1229-30 veya 629/1231-32118
Yaptıran: I. Alaeddin Keykubad
Bulunduğu Yer: Kahramanmaraş’ın Afşin
İlçesi’nin 6 km kadar kuzeybatısında, dağlık
bir arazidedir.
İnşa Tarihi: 630/1232-33151
Yaptıran: Nusreteddin Hasan152

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Building Types of the Period

Monumental Burial Places
KÜMBETS & TOMBS

Monumental Burial Places:

Tombs and Kumbets
• The Eastern Islamic world developed two types of mausoleum structures
which started before the Turkish domination but turned into a large-scale
monumental tradition especially during the Karahanlı and Great Seljuk
period: Early Islamic tombs:
1. Square planned and domed type > Tomb • The first is the Kubbetü's-Suleybiye in Sâmerrâ
2. Polygonal or cylindrical plan and tower type> Kümbet and the other is the Sâmânoğulları Mausoleum in
Bukhara.
• Tombs and kümbets developed in two types as a spatial location during the
Anatolian Seljuk period:

1. Group I: Located in connection with the madrasa, social complex, and other
buildings.

2. Group II: Independent ones.

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KUBBETÜ’S-SULEYBİYE ‫قبّة الصليبيّة‬

• 868, Sâmerrâ (on a hill south of Kasrü'l-âşık, west of the Tigris River)

?
• Abbasid Caliph Mustansır had it built for his mother.
• It is the first mausoleum built in Islamic architecture.
• Great resemblance to Dome of the Rocks
• Archaeological remains were reconstructed.

Samani Tomb Sultan Sencer Tomb

• Bukhara, Uzbekistan, 958
• The Sâmânîs (819-1005) ‫السامانيّون‬, an Islamic
dynasty ruled in Transoxiana and Khorasan.
• One of the iconic examples of early Islamic
architecture, and the oldest tomb structure in
Central Asian architecture.
• Turkmenistan, Merv, 1153 ci.
• It is one of the most important examples of Great Seljuk architecture.
• The tomb, measuring 27 x 27 meters, has a square plan covered with a dome.
• With a dome diameter of 17 meters, it has the widest dome built in that period in Iran
and Central Asia.

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Sultan Sencer Türbesi
Gevher Nesibe Kümbeti
• 1205-1206, Kayseri
• It is located in the Gevher Nesibe Hospital
and Medical Madrasa.
• Built by the Anatolian Seljuk Sultan
Gıyâseddin Keyhusrev in the name of his
sister Gevher Nesibe Sultan.
• 8-sided, inner dome covered with a
pyramid cone outside.
10.04.21
Sultan II. Kılıçarslan (h.1166-1192) Kümbeti
• 1192, from early examples
• It is located in the courtyard of the Konya
Alaeddin Mosque.
• A ten-sided and two-story building on a high
base.
• The inner dome is covered with a pyramid
cone from the outside.
Izzettin Keykavus Kümbeti (H. 1219-1220)
• Octagonal Kümbet (unfinished)
Mama Hatun Kümbeti
• Early 13th century, Tercan, Erzincan
• Mama Hatun, daughter of Izzeddin II
Saltuk, who was the head of the Saltuklu
Principality (1191)
• The kümbet with a sliced body mass and a
cone hood has a unique planning scheme
and architectural features together with
the circular wall surrounding it.
• According to the inscription on the kümbet,
the master-builder is Ahlatlı Ebü'n-Nemâ
b. Mufaddal.
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Döner Kümbet (Şah Cihan Hatun Kümbeti)

• Kayseri, 13. yüzyıl
• 6,40x6,40 m. ölçülerinde, köşelerindeki pahlarla onikigene dönüştürülmüş
kare planlı yüksek bir oturtmalığa sahiptir.

Mama Hatun Kümbeti

Building Types of the Period

Civil Architecture
Pavilions and Palace Structures

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What do we know about the Seljuk palaces?

Selçuklu sarayları hakkında bilgimizin niteliği nedir?

Konya Alâeddin Kiosk, 12th century?

Pavilions and Palaces • Remains of the Seljuk palace with only the lower part remaining on the castle walls in Konya.
• Probably the palace's panoramic kiosk (cihannüma köşkü)

• Except for archaeological remains, there are no examples that have

survived.
• Compared to monumental structures such as caravanserais and madrasas,
they are much smaller and modest structures.
• Konya Alâeddin Kiosk, 12th century?
– Remains of the Seljuk palace with only the lower part remaining on the castle
walls in Konya.
• Keykubadiye Palace, 1224-1226 ?, Kayseri
– It consists of three mansions.
• Kubad-abad Palace, 1236, Lake Beyşehir, Konya
– It consists of structures located around courtyards and a hunting park.
– Very rich tile decoration
• Alara Pavilion, 1231-32?, Alara Hill between Alanya and Antalya
– The ruins of a fortified mansion (also ruins of a bath) from the Seljuk period
are inside the Alara Castle on the Alanya-Antalya-Konya road.

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Nasuh’un Beyân-ı menâzil’deki Konya minyatürü

ve Alaeddin Köşkü

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10.04.21

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 10.04.21

Alara Kasrı ve Kalesi, 1231-32 ?, Alanya-Antalya arasında Alara Tepesi

ALARA HAN,

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 10.04.21

SEDRE AV KÖŞKÜ, Antalya 13. yy

Selçuklu Sultanı Alaattin Keykubat döneminde, üst rütbeli komutanların 'av köşkü' olarak kullandığı kasır.

Alanya-Gazipaşa güzergâhında ve Demirtaş beldesindedir. Kuzey-doğu güney-batı yönünde uzanan

dikdörtgen bir oturum alanı üzerine inşa edilmiş iki katlı kârgîr bir yapıdır; doğu, batı ve güney yönlerinden
moloz taş örgülü bir ihata duvarı ile çevrili olan yapı, hâlihazırda, bakımsız ve harap bir durumdadır.

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KUBÂD-ÂBÂD PALACE COMPLEX

KUBÂD-ÂBÂD PALACE COMPLEX

• Kubad-abad Palace, Konya, Beyşehir

• Seljuk palace located on the edge of Lake Beyşehir.
• It was built by Sultan Alaeddin Keykubat (1220-1237).
• Designed by Vizier Sadeddin Kopek
• It was completely covered with earth and was discovered through
archaeological excavations started in 1949.
• The kulliye consists of pavilions and service buildings surrounded
by a city wall and placed in interconnected courtyards in free order.
• Very rich tile decoration and figured tiles.
The kulliye consists of pavilions and service buildings surrounded by a city
wall and placed in interconnected courtyards in free order.

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10.04.21

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 10.04.21

• It is the largest building of the Kubâd-Âbâd

Complex.
• It sits on a rocky area that has been partially
Seki Seki trimmed and leveled.
Harem Seki • The Great Palace, placed on a rectangular base,
measures 50x35 meters.
• Three main sections: Forecourt, Reception Hall
Seki
Kabul and Harem
salonu

Ön Avlu
(16x23.5)

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 10.04.21

Elinde nar
tutan insan
figüru

Hayat ağacı ve geometrik unsur ile bezemeli

çini plaka

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Anatolian Seljuk Decoration Repertoire:

In addition to geometric shapes, octagons, kufic

borders and floral motifs, human and animal figures
were also used.

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10.04.21

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 10.04.21

In 1308, the Anatolian Seljuks lost their influence as a

result of the Ilkhanid pressure. In the 14th century, the
period of principalities starts again in Anatolia and more
than twenty principalities emerge. The strengthening of the
Ottoman Principality over time allows the formation of the
Anatolian unity again.

548

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 10.04.21

How did the architecture develop in the lands of the

14th century Western Anatolian Principalities?

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EARLY OTTOMAN

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COURSE CONTENT

Architecture and Art in Islamic Geography:

• Ottoman Architecture and Art
• Early Ottoman Architecture
– Historical background, concepts related to the period
– Important concepts, architectural terms, building
elements, and types etc regarding period
architecture and urban production logic
– Early Ottoman cities:
» Iznik, Bursa, Edirne
– Urban development logic as an Islamic-Turkish city
– Examination of some important buildings.

Where did Anatolian Turks emigrate and what are their origins?
The Sultanate of Rûm and surrounding states, c. 1200.

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THE SECOND ANATOLIAN PRINCIPALITIES

The declining Sultanate of Rûm, vassal of the Mongols, and the emerging Turkic beyliks, c. 1300 • By the end of the 14th century, most of Anatolia was controlled by various Anatolian beyliks due to the collapse of the
Seljuk dynasty in Rum.
• The Ottomans were originally only one of the small Turkmen principalities (beyliks) that sprang up in Anatolia about
1300, after the collapse of Seljuq rule.

A rough map depicting Anatolia in the year 1300, when the Ottoman state (red) first came into existence.

How can we examine Ottoman architecture spanning about 624 years?

-
• End of Anatolian Seljukians and the emergence of various independent Turkic principalities
(Beyliks).

• Frontiers Principalities (Uç beyliği) at Western Anatolia fighting against Byzantine.

• The Ottomans were originally only one of the small Turkmen principalities (beyliks) that
sprang up in Anatolia about 1300, after the collapse of Seljuq rule.

• Osman Bey founded Osmanlı Beyliği in 1299.

– Osman's name was the Turkish form of the Arabic name ʿUthmān (‫عثمان‬.(

• Development of Ottomans under Osman Bey and Orhan Bey (14th century) and conquering
Byzantine territories in northwest Anatolia beginning in the thirteenth century.

• In 1453 conquest of the famous Byzantine capital of Constantinople by Mehmet II (r. 1444-
1446 and 1451-1481) and then becoming an Islam Empire.

• During its long reign, the Ottoman Empire, which was constantly enriched and strengthened
over time, eventually encompassed Anatolia and the Balkans, as well as Arab territories from
the Fertile Crescent west to Algeria, and succeeded in being one of the greatest and longest-
lasting Islamic Empires of the world.

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Ottoman Architecture
(between the 14th and 20th centuries)
• Early Ottoman Architecture, 1300-1450s
– Iznik, Bursa, Edirne
• Transition to Empire, 1450-1500s,
– Istanbul, Edirne
• Classical Period 1500-1700s,
– Istanbul: The World Empire, Mimar Sinan, the search for images,
symbolism, monumental buildings
• Early Modern Ottoman Architecture, 18th century
– First contacts and interactions with Europe, Tulip Age, Baroque /
Rococo trends, public opening
From a small principality to a world empire.
• Late Ottoman Architecture (19th century),
• The Ottoman Empire existed for 623 years. During the first 400 years, it expanded and reached its
largest limits, and in the last 200 years, it has experienced soil loss. Nevertheless, even when the – Centralization, modernization, search for modern identity, modern
Ottoman Empire collapsed, it spread over a wide area in Europe, Asia, and Africa. building types, eclectic-neo-classical and refreshing approaches.

• Thus, while Ottoman art, especially architecture, is best known through the monuments in Turkey and
there is, in fact, evidence of Ottoman art extending from Algiers to Cairo in North Africa to Damascus
in the Levant and in the Balkans from Budapest to Belgrade and Sarajevo to Kosova and Sofia.

Early Ottoman Architecture

1300-1450s

Iznik, Bursa, Edirne

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THE PERIOD OF OSMAN BEY (1281?-1324) Orhan Bey conquered Bursa in 1326, Izmit in 1327 and Iznik in 1331.
Edirne from a small tribe to the principality In 1335, the capital was moved to Bursa and great reconstruction works started in the city.

The spread of the Ottomans to the Balkans

• Sultan Murad I Hüdavendigâr, took Edirne in 136l, then Filibe and Sofia, and then Thessaloniki.
• Edirne has been the capital of the Ottoman Empire for 88 years (1365-1453) until the conquest of
Istanbul.

• Frontiers Principality (Uç beyliği)

– Frontiers warriors, military raid (Akın), the raider-commander.
• The ghazwa ( ,‫ غزو‬,ġazw, holy war) ideology,
• The ghazi ethos ( ‫ غازي‬,ġāzī, warrior)
• The heterodox religious-cultural environment of the era:
– Akhism (Turkish-Islamic Guild)
– The Ahi Organization (and their own interpretation of the futuwwa.)
– The dervish groups, traveling dervishes, (the warriors on the frontiers –
the Ghazi ethos)
– Sufi (Dervish) Convents or Lodge (Zaviye, hankah, tekke, or imaret)
(Arabic zāwiyahs, Persian khānqāhs)
• Turcoman (Türkmen)
• Rum: “Roman” or Rūmī (‫( رومى‬

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Early Ottoman Architecture Major Building Types in the Early

Ottoman Period
• Nomadic Turkish traditions
• Social Complexes (Külliye, but they are known as "Imaret").
• Near East Islamic tradition
• Multi-functioned Inverted T Plan Religious buildings (zaviyeli-cami)
• Byzantine - Orthodox Christian tradition • Mosques
– Local construction techniques and materials • Masjids
• Dervish lodges (zaviye, tekke)
• Continuity of Seljuk architecture • Madrasah
– The same building types (mosque, imaret-lodge, madrasa, bathhouse, • Hospitals (Darüşşifa)
• Imaret (soup kitchen)
caravanserai, tomb, palace, etc.)
• Tomb
• Influence of local sheiks and dervishes (Heterodox Islam) • Covered bazaar (Bedesten)
• Khans (city inns, han)
– Multi-functioned Inverted T Plan Religious buildings (zaviyeli- • Caravanserai
cami) • Bath
• Fountain
• Influenced by the architecture of the Western Anatolian
principalities
• Hybrid designs and construction techniques

• Vakıf: A charity institution that plays an important role in the social and
cultural life of Islamic countries.
– The eternal allocation of a property for the public good.
Some Concepts Regarding the
• Vakfiye ( ‫الوقفيّة‬, Deed): The contract arranged in the presence of a kadı,
Period stating the terms of the Vakıf.

• Vakıf owners: Especially Ottoman rulers, members of the Ottoman royal

family, prominent Ottoman officials, statesmen, tradesmen, and any
wealthy Ottomans.

• During the Ottoman period, many services related to social, cultural, and
religious life were carried out thanks to the endowments (vakıf).

• Numerous public tasks, such as all urbanization, reconstruction, and

construction works, were carried out by vakıfs.

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How To Establish An
Endowment?

charitable component (hayrat)
• building of a mosque complex
(külliye)
• salaries of workers in the
mosque complex
• food in imaret (soup kitchen)
• medicine in hospital
revenue-generating component
• taxes from farms, gardens,
land, entire agricultural
districts
• rent from shops, houses,
baths, hans
• a sum of money
• land grant from the sultan (mülkname)
• endowment deed ( ‫الوقفيّة‬, Vakfiye): conditions of the
endowment
• registering the deed with the judge (kadı)
• building the structure serving the endowment
• self-supporting; additions to endowment if profit
accumulates; renovations if necessary
• eternal

Reasons for establishing

endowments
• A building group formed by several buildings with different
functions.
• the promise of paradise (religious concerns)
• earning a good deed • Starting from early Islam, there were many functions integrated
with the mosque.
• providing help and social services
• The kulliye program emerged with the construction of
• economic development of neighborhoods and cities separate buildings for different functions once combined in the
mosque.
• tax-free investment
• protecting family property • A social service and charity institution with the principle of free
service to the public.
• status symbol
• Meeting many needs in accordance with the place they were built.

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What buildings did the complex (külliye) include?

EARLY-OTTOMAN RELIGIOUS
ARCHITECTURE
• The management style of the Külliye was called “Vakıf – endowment”;
their regulation was called “Vakfiye – deed of trust”, and their
administrator was called “Mütevelli – trustees”. • Multi-functioned Reverse T-type Mosques
• Single-Cell Mosques / Masjids
• Mosques were generally located in the center of the complex.
• Multi-Cell (Multi-domed) Great Mosques (Ulucami)
• Mosques With Centralized Domes
• Other structures gathered around the mosque were the charitable's
tomb, mosque graveyard, soup kitchen (dining hall, kitchen, cellar, bakery),
tabhane (khan), madrasah, library, primary school, hospital, fountain, bath
etc.

• Külliye was the main determinant of the development of Ottoman cities;

New settlements were created around these complexes.

The Most Common Monumental Religious Building Type in

Early Ottoman Architecture:
Multi-functioned T-type Buildings
• The multi-functioned T-type buildings of the early Ottoman period constitute a
characteristic building type within the recognized Ottoman architectural repertoire.
• So far these buildings have been called by various names such as reverse-T-type
mosques, private mosques, zaviyeli-mosques, mosques with side spaces,
winged mosques, cross-pivoted mosques, iwan mosques, multifunctional
mosques, Bursa type, and futuwwa mosques.
• They were built extensively in the 14th and 15th centuries until they ceased to be
built in the second half of the 16th century.
Multi-functioned T Type Buildings Plan Schema:
• Inverted T plan
• It consists of three main parts: a domed central dispersion place (tevhidhane) in the form of
a courtyard; an elevated place of worship and side rooms.
• The central middle hall, called the courtyard, was the focal point usually covered with a high
dome and a pool on the ground.
• The prayer area was raised from the central hall and covered with a smaller dome, referring
to the single-celled mosque type.
• Mostly there was an entrance portico.

• These buildings are not ordinary mosques. • The kitchen, cellar, toilets etc were built as secondary structures around the building.

• Served as a hospice for traveling dervishes as well as a local religious and juridical • There are also examples built without a mihrab, pulpit, and minaret.
center.

• The connection between ahis and dervish groups and Ottoman rulers.

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The Most Common Monumental Religious Building Type in Early

Ottoman Architecture:
Multi-functioned Reverse T Type Buildings Plan Schema:

• Söğüt / Bilecik (1299)

• İznik (1331)
• Bursa (Capital: 1335 – 1365)
• Edirne (Capital: 1365 – 1453)

THE PERIOD OF OSMAN BEY (1281-1324)

Edirne from a small tribe to the principality

DOME

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The Dome Over Square Plan

Bilecik Orhan Bey Mosque

• Early 14th century

• Foundational period
• Modest architecture
• Single domed plan

• One of the first examples

of single domed in
religious Ottoman
architecture.
• Its plan maintains the
The basic architectural unit in Ottoman architecture is called the “cell (hücre)”. typology of the Byzantine
(Dome and masjid = Dome and square) gains an integrated symbolism. chapels.

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Minarets are mostly absent in early Ottoman mosques.

Its original minaret was built on a rock 30 m distant from the masjid.

Sheikh Edebali Tomb - Bilecik

Şeyh Edebali (1206-1326) was a Sufi and Ahi sheikh who lived in the founding years of the Ottoman Empire
and was also Osman Gazi's father-in-law and mentor.

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İZNİK / NİKEA

İznik

Iznik Castle Miniature

Nakkaş Matrakçı Nasuh

İZNİK / NİKEA
• Founded by Macedonian Commander Antigones, 316 BC. İZNİK became an important tile and ceramic center between the 15th and 17th centuries.
• Also the capital of the ancient Kingdom of Bithynia (377 BC-64 BC).
• An important city in the Hellenistic, Roman, Byzantine, and (Seljuk)
Ottoman periods

EARLY OTTOMAN PERIOD

• Conquered by Orhan Gazi (r.1324 - 1362) in 1331.
• Became a center of art, trade, and culture during the early Ottoman period.
• Many important Ottoman Sufis and poets came along.
• Became an important tile and ceramic center between the 15th and 17th
centuries.
• Great building campaign during the Early Ottoman period (especially during
the grand vizier Çandarlılar period);
– Many multi-functioned reverse T- type plan religious buildings, külliyes,
mosques, madrasahs, baths, masjids, etc. were built.
• It contains the oldest examples of Ottoman architecture known in history.

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Surrounded by mountains, the city of Iznik was established in the valley at the edge of Lake Askanius, one of
Asia's largest lakes.
İZNİK IN THE EARLY OTTOMAN PERIOD The richness of the soil, the beauty of nature and being a sheltered region in case of war

• In the development of Ottoman art, İznik is an important city

as a center with the oldest buildings:

The Period of Orhan Gazi (1324 - 1362)

– İznik Hacı Özbek Mosque (1333)
– İznik Green Mosque (1345)
– Süleyman Pasha Madrasa (1335-59 ??)

The Period of Sultan Murat I (1362 - 1389)

– Nilufer Hatun Social complex (1388)

A typical Roman city surrounded

by high walls, divided by two
perpendicular road axes called
Cardo and Decumanus

Şekil 3: İznik’in yapı krokisi

(Kılıçkaya, 1981: 6-7)

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Lefke Kapısı’nın XIX. yüzyılın ilk yarısında yapılan gravürü (Ch. Texier, Description de l’Asia Minor, Paris
1839, lv. VIII)

Yenişehir kapısının XIX. yüzyılın ilk yarısında yapılan gravürü (Ch. Texier, Description de l’Asia
Minor, Paris 1839, lv. VII)

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İZNİK AYASOFYA MOSQUE Single dome application on a square space

Orhan Bey turns the main church in Byzantine Iznik, the Hagia Sophia Church, into a mosque. also an entrance portico

Iznik Haci Ozbek Mosque

• 1333-34
• Patronage: Hacı Zeynel, son of Mehmet
• Has an inscription.
• One of the earliest Ottoman mosques. Dome (8 m) Mihrap
• One cell, single domed, 8 m
• 3-cell portico
• No minaret.
• Byzantine, Seljuk influence

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• Tiled roof
• Alternating masonary (almaşık) technique: It was built with mixed stone materials, • Alternating masonary (Almaşık) technique:
including brick beams. It was built with mixed stone materials, including brick beams.
• It maintains the local Byzantine masonry technique.
• Dog's-tooth course Eaves (Kirpi saçak)

The square plan covered with a dome

and prismatic triangles.

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YEŞİL (GREEN) MOSQUE, IZNIK

YEŞİLCAMİ SOCIAL COMPLEX (İMARET, KÜLLİYE) • 1378-92

• Builder: Hacı, son of Moses
• The Social complex built in the last quarter of the 14. century in • Bani: Çandarlı Kara Halil
Hayreddin Pasha (1364-1387)
Iznik. • First Ottoman vizier outside of
the Sultan family
• It was consist of a mosque, soup kitchen, school, and bath. • Single domed plan
• The minaret between the portico
and the main praying hall
• Only the mosque has survived to the present day. • Marble mihrap
• Minaret integrates with the
mosque for the first time.
• 2 step higher main praying hall
• An addition of an entrance hall
to the domed main praying hall.

The glazed brick and tile covered minaret of the building, which was built with smooth cut
stone material, is remarkable and gave the structure its name.
The minaret is integrated with the mosque for the first time in Anatolian architecture.

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Suleyman Pasha Madrasa, 1332.

• It was built in the name of Şehzade (Crown Prince) Süleyman, who is known as the
"Conqueror of Rumelia", the eldest son of Orhan Gazi.
Müderris odası Derslik
• Second-quarter of the 14th century
• One of the earliest Ottoman madrasah
• Maintains its original plan
• U-plan with an open courtyard
• Seljuk, Byzantine influence

Revakli U Avlu

Üzeri kubbeli
Talebe odaları

The façade walls of the building were laid with rubble stone and bricks, and spolia (devşirme)
material was used in some parts.

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The portico walls are made of one row of stones and three
rows of bricks with alternating (almaşık) masonry Madrasahs in The Early Ottoman
technique, and the columns are granite and marble.
• The number of madrasas built in the early Ottoman period:
– Orhangazi Period 10 pieces
– Murad I Period 30 pieces
– Bayezid I Period 60 pieces

• The madrasahs, built in limited numbers in the early period, are plain structures.

• In the early period, madrasahs were built for a well-known teacher called mudarris.

• The limited construction of madrasahs in the 14th century shows that the Sunni ulema is
not yet very powerful.

• Compared to the madrasa, the sultan's social complex (imaret) with a multi-functioned
inverse T-type building is much more magnificent.

• Sultan Murat I (r. 1362-1389) built an unusual structure that combines the madrasa and
multi-functioned inverse T-type building.

• Sultan Yildirim Beyazid (r.1389-1403), Celebi Mehmet I (r. 1413-1421) and Murat II (r.1421-
1451) had madrasahs built as well as multi-functioned inverse T-type buildings.

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Nilüfer Hatun Social Complex (İmaret)

• 1388 (with inscription)

• Bani: It was built by Murad I Hüdavendigar in the name of his mother Nilüfer
Hatun.
• One of the first and most original examples of multi-functioned inverse T-type
buildings.
• There is no minaret, the mihrab is positioned perpendicular to the entrance

• Inverse T-type plan

• Alternating masonary technique

– Alternating wall can be defined as “a wall formed by consecutively laid courses of different
materials such as brick and stone from bottom to the top”

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BURSA / PRUSSA

The First Capital of the Empire

(Capital: 1335 – 1365)

Orhan Gazi conquered Bursa in 1326, Izmit in 1327 and Iznik in 1331.
In 1335, the capital was moved to Bursa and great reconstruction works started in the city.

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BURSA / PRUSSIA
• An important city in the Kingdom of Bithynia, Hellenic, Roman, and Byzantine periods
• Medieval castle urban identity

• It was conquered by Orhan Bey in 1326.

• Ottoman capital between 1335-1365: Political, cultural, and artistic center.
• Important urban development works were carried out.
• The best-preserved examples of early Ottoman architecture:
- 5 Sultan Complexes ( Imaret, Külliye)
- Multi-functioned T-type buildings.
- Mosques, Friday mosque (Ulucami)
- Zaviye / İmaret (dervish Convent)
- Masjids
- Hospitals
- Tombs
- Fountains
- Madrasas
- Khans (Large inner city inns)
- Covered Turkish bazaar (bedesten)
The arrival of Orhan Gâzî with his army in front of the city walls to besiege Bursa in 1322.
Müberra Öz, Bursa City Museum.

• Urbanization developed out of the city walls.

• Urbanization and formation of new neighborhoods out of the city walls provided with social complexes
(İmaret, Külliye) built by the ruling sultans.
• The social complexes (İmaret, Külliye) formed with different functioned buildings.
• These neighborhoods were named after the person who built the social complexes (İmaret, Külliye).

Orhan Gazi in Bey Palace
Orhan Gâzî’yi Beg-sarayı’ndaki taht odasında,
çektiği bir oku Kalo-Ioannes’e hediye ederken
gösteren minyatür. Seyyid Lokman, Ḥüner-nāme, I,
TSMK, Hazîne, nr.: 1523, vr. 72a.
• The castle area was used as the first administrative center of the Ottomans and also new Ottoman buildings
such as masjids, mosques, baths, fountains were built in it.
• The main church of the Saint Elias Monastery in the castle was converted to the Fetih (Conquest) Mosque
(destroyed in the 1855 earthquake); the monks' rooms were converted into madrasahs.
• The palace of the Byzantine landlord in the castle was used as an Ottoman palace with additions and
arrangements.
• Known as the “Bey Palace”, the first palace buildings of the Ottoman Empire were destroyed in the
earthquake of 1855 and nothing remained.

• The founder Osman Gazi was buried inside the monastery's circular chapel building called Silver Tomb
(Gümüşlü Kümbet).

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BURSA / PRUSSIA
THE DEVELOPMENT OF THE CITY IN THE EARLY OTTOMAN PERIOD
When the Ottoman Bursa was established, five sultan complexes consisting of public buildings such as mosques,
BURSA CASTLE (HİSAR)
madrasahs, bathhouses, soup kitchens, and tombs were built in the most important focal points on the hills overlooking the
Bursa plain.
These complexes are respectively; Orhan Gazi Social Complex (1340), Hüdavendigar Social Complex (1359-1389),
Yıldırım Social Complex (1389-1402), Yeşil Social Complex (1419), and Muradiye Social Complex (1426).

The Traditional Urban Settlements of Bursa

Hüdavendigar İmareti (I. Murad)

1359-1389 Muradiye İmareti, 1426

Yıldırım İmareti, 1389-1402

Orhangazi İmareti, 1340

CASTLE

Yeşil İmaret, 1419

Çelebi Mehmet

The palace of the Byzantine landlord in the castle was used as an Ottoman Palace with additions and arrangements.
Known as the “Bey Palace”, the first palace buildings of the Ottoman Empire were destroyed in the earthquake of
1855 and nothing remained.

ULUDAĞ

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BURSA / PRUSSA
Bursa Castle has 6 gates and 14 bastions. THE DEVELOPMENT OF THE CITY IN THE EARLY OTTOMAN PERIOD
These complexes, each of which is a center with social, cultural, religious, and educational functions, also determined
the boundaries of the city. Houses were built around the complexes and over time they turned into neighborhoods
surrounding them.

ORHAN SOCIAL COMPLEX (İMARET), 1340 c.

The first building complex outside the city walls in Bursa was built by Orhan Gazi (h.1326-1362) in 1340.
This complex, which consists of a multi-functioned T-type mosque, a bathhouse, and an inner-city inn (khan), in
THE URBAN APPROACH OF ORHAN BEY (1281-1362) IN BURSA
the place known as "Lower Castle" on the eastern skirts of the Castle, provided the eastern development of the city.
The area where Orhan Gazi Complex is located determines the main commercial center of the city.
ORHAN SOCIAL COMPLEX (İMARET), 1340 c.
The first Ottoman Social Complex built by Orhan Gazi (h.1326-1362) in Bursa.
(Just Outside the Castle in the place called "Lower Fortress")

Castle
• Orhan Gazi built a Social Complex (İmaret) that bears his name just
outside the Castle in order to ensure the development of the city in the
east direction.
– (It is stated in the historical records that the social complex structures were
surrounded by high walls and named as "lower fortress" when they were first
built.)
• Orhan Social Complex (İmaret), consisted of a reverse T-type plan
mosque, madrasah, soup kitchen, Emir Han, Turkish bath, and school.
– (Madrasah, soup kitchen, lodge and school have not survived from the
complex.)

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Zone of the Khans' – Orhan Gazi Social Complex (İmaret) and and its surroundings
traditional commercial center of the city

ORHAN SOCIAL COMPLEX (İMARET), 1340 c.

Orhan Mosque, 1339?

• One of the first multi-functioned inverse T-

type mosques in Bursa
• Minaret added later
• Too many repairs and restorations.
• The use of alternating masonary (almaşık Central
duvar), Dog's-tooth course Eaves (Kirpi Court
saçak), bifora windows
• Impact of local forms and traditions
• Local Byzantine architectural influence
Medresenin
yerine
belediye binası
yapılmış
Aynalı vault – Turkish vault made by cutting a
monastery vault's upper part in a horizontal plane.

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The mosque built with stone and brick (Alternating masonary, almaşık duvar); The use of Dog's-tooth course
Eaves (Kirpi saçak), rosettes on window fronts, and colored bricks in different ways gives them a lively and
rich look.

A bifora is a type of window divided vertically in two openings by a small column or a pilaster; the openings
are topped by arches, round or pointed.

• Recessed-brick, brick filled

mortar joints

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• The use of alternating masonary (almaşık duvar), Dog's-tooth course Eaves (Kirpi saçak), fake arches

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Anatolian Ottoman Cities Bursa Zone of the KHans'

• The city center is defined by the Friday mosque (Ulucami) + trade center
[arasta (shops), grand bazaar (bedesten), market, inn (khan, han), bath KHANS – BAZAAR
(hamam)].

TRADE STRUCTURES
• Caravanserai, inner city inn (khan, han), covered bazaar (bedesten), arasta
(shops)
• Typological continuity with the Seljuk
• Arasta: A bazaar formed by shops selling the same type of goods, lined
either side by side or in a single row of a street covered with a roof or a
vault.
• Bedesten: A type of building made of stone, located in the center of the
commercial zone where the most valuable goods (like gold, armors, silk
etc) are kept and sold.
• Masonry, wood
• Yıldırım Beyazıd (end of the 14th century) had the first covered bazaar
(bedesten) built in Bursa.
• Bursa, Edirne (1417), Tire, Serres Bedestens (1493, Greece)
• Bursa was one of the most important trade centers of the
Ottoman Empire.
• Bursa inner city inns (khans, hans) were built in the 14th
and 15th centuries.
– Established for trade purposes, these hans are generally two-
storied.
– Rooms are on the upper floor.
– The lower floors are storage.
– The rooms open to the porticoes around the courtyard.
– There is also a barn in developed inns (as in Koza Han).
– Most of them are made of cut stone and bricks.
– Some have pavilion masjids in the middle of the courtyard.

Bursa Zone of the Hans'

Bursa Büyük Çarşı ve Bedesteni’nin vaziyet planı (E. H. Ayverdi’den)

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Emir Han Koza Han

• Bursa, second half of the 14th century
• It is a part of the Orhan Gazi Complex,1339-40. • Bursa, 1491
• It is the first example of the building type known as city • Bani: II. Bayezid
hans in the history of Ottoman architecture. • For commercial purposes
• Sükka (bazaar) weighbridge • Open courtyard
• First bedesten • Two floors
• Masjid and pool in the
middle
• Seljuk influence

Hanlar daha çok kent içi konaklama yapıları olmakla

birlikte giderek bu işlevlerinden uzaklaşıp ticaret ve
depolama yapılarına dönüşmüşlerdir.

GEYVE HAN Yıldırım Bayezid Bedesteni – Bursa

Bursa, 15th century
• Built by Yıldırım Bayezid at the end of the 14th century and is the first covered bazaar in the
Hacı İvaz Paşa had built Ottomans.
it as an endowment for • Bedesten is a type of commercial building that emerged in the early Ottoman period.
Yeşilcami Complex • It was built in large numbers in the 15th and 16th centuries.

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Edirne Bedesteni, 1417-18, Çelebi Mehmed period

Murad I (Hüdavendigar) Social Complex

• Sultan Murad I (1359-1389) Complex built between 1363-1366 on a hill overlooking the Hüdavendigar Social Complex determined the westward development of the city.
Bursa plain in the west of the city determined the westward development of the city.
• It is a religious-social center that serves the development of the city.

Hüdavendigar
İmareti

KALE İÇİ

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Murad Hüdavendigar Social Complex, 1363-1366, 1367-85

• Patronage: Sultan Murat I Hüdavendigar (1359-1389) (Murad I was an ahi sheikh)

• Sultan Murad I Complex was built between 1363-1366 on a hill overlooking the Bursa plain in the west of the city.
• The complex consists of multi-functioned mosque, madrasa, imaret (soup kitchen, 1367-85), bath (hammam, 1365-66),
fountain, and Hüdavendigar's tomb (1389) structures.

Social Complex Layout

• The main building was built in close relationship with
other buildings.
• Not aligned with each other
• Have an organic layout (in terms of their engagement to
topography and the relation of the buildings with each
other.)
• No symmetrical organization.
• No ‘formally consistent’ overall design.
(1363-1366)

Bursa Hüdavendigar Mosque

• Bursa, Çekirge, 1363- 1366
• Patronage: Murat I Hüdavendigar (1359-1389) (Murad I was an ahi sheikh)
• Multi-functioned T-type Building
• Praying area / Dervish Lodge on the ground floor
• Madrasah on the second floor
• Unusual plan type
• The prayer area (iwan) is covered with a vault rather than a dome
• Continuation of Seljuk tradition
Adriatic, Balkan, Italian influence
• Adriatic, Balkan, Italian influence
• Some marble columns and column heads used from Byzantine structures
(spolia material)

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Six masonry feet connected to each other by arches in the portico in front of the mosque carry five domes.

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Some marble columns and column heads used from

Byzantine structures (spolia material)

Yıldırım Social Complex, 1400s

The complex that Sultan Yıldırım Bayezid (1389-1402) had built on a hill
known as Yıldırım Hill at a very distant place from the city center in 1400s
constituted an important point for the development of the city in the east
direction.

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Yıldırım Social Complex, Bursa, 1395 ci.

Yıldırım Social Complex (Imaret) • The complex consists of multi-functioned reverse T type mosque, madrasa, imaret (soup kitchen), bath
(hammam), fountain, hospital (darüşşifa) and Yıldırım's tomb (1389) structures.
• Bursa, around 1395
• Patronage: Sultan Yıldırım Bayezid I (1389- 1402)
– Yıldırım Bayezid (1389- 1402) received the title of “Sultan-ı 1 Turkish Bath
Rum” from the (so-called) Abbasid caliph in Cairo. 2 Tomb
3 Medrese
• It is the 3rd largest social complex built after the conquest of 5 Yıldırım Mosque
7 Soup Kitchen
Bursa.
• It is one of the important indicators of the transition from
“Principality” to “State”.
• Yıldırım Social Complex brought a new style and a new
understanding of construction to Ottoman architecture.
Section
• Emergence of Ottoman ideals rather than continuation of Seljuk
architecture.

Yıldırım Mosque,1395 ci, Bursa Yıldırım İmareti, Bursa, 1395 civarı

Günümüzdeki kullanım planı.
• Multi-functioned T-type Building
• All units are square each having
different spatial characteristics.
• More developed in terms of structure
and workmanship.
• Facade covered with cut stone
• Mamluk influence, Mamluk
stonemasons were brought from Syria.
Mirror vaulted celing
Main court
(Aynalı tonoz tavan)
Dome dia: 12 m
Height: 22 m

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One of the most important indicators of the transition from "Principality" to "State":
The search for a new monumentality

Cut stone covered entrance portico (The last congregation place) The search for a new monumentality
• The piers in the last congregation place with five cells and the Bursa arches connecting them are More developed in terms of structure and workmanship.
covered with cut stone resembling gray marble.

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The main prayer section with 11.50 meters diameter dome, minbar, and mihrab niche. The main prayer section with 11.50 meters diameter dome, minbar, and mihrab niche.
The giant Bursa arch

Side iwan The raised main prayer section with 11.50 meters diameter dome, minbar, and mihrab niche.

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Son cemaat yerindeki pencere ve niş

Yıldırım Madrasah, 1395 c.

• Approximately 30 meters northwest of the mosque

• The entrance to the madrasa is through a deep iwan and
a wide door.
• There are a hearth and wall niches in the rooms (cell)
lined up on three sides of the open courtyard.
• The domed classroom iwan, raised from the ground,
opposite the portal, protrudes from the rear facade.
• Open courtyard with a portico and a fountain in the
middle
• Built with stone and brick (alamaşık duvar / alternating
masonary )

• Seljuk influence
• The building, which has been repaired many times,
today serves as a hospital.

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Yıldırım Medresesi, 1395 c.

Main classroom in the form of a domed iwan in the center

There is a marble fountain in the courtyard of the 20-room madrasa.

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Yildirim Bayezid Tomb, 1406

The alternating masonary with brick and stone • The tomb belonging to Bayezid I, who died in Akşehir after being defeated and captured by
Timur in the Battle of Ankara (1402), is the smallest structure of the complex.
• Located about 30 meters north of the mosque, the building consists of a cubic body
covered with a single dome and a three-unit portico covered with domes at the
entrance facade.
• Its walls are lined with alternating rows of cut stone and two rows of bricks.
• One of the first tombs with porticoes

Hospital (Darüşşifa)

• Bani: Yıldırım Beyazıt 1390-1394 ci.

• The first hospital building of the early Ottoman
• Built on a sloping land 300 m southeast of the mosque
• It consists of spaces placed around an open courtyard with a pool in the
middle.

• Today it is used as an eye hospital.

Inside the tomb, a dome is placed on the

octagon formed by the pointed arched vaults at
the corners, and bricks are used on the ground.

Cist (Sanduka Mezar)

From the vakfiye (deed) of the complex, it is learned that three doctors, sherbet (şerbetçi), pharmacists, a baker and a
cook work in the hospital, their salaries are paid by the vakıf, and money is allocated for other expenses.

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YEŞİL SOCIAL COMPLEX, 1419/20-1424

Yesil Imaret, ordered by Mehmed I (1413-1421) in 1419 and gave its name to
the surrounding neighborhood, was built on a hill overlooking the city of Bursa.

YEŞİL SOCIAL COMPLEX, 1414/19-1424 Yeşil Mosque, 1414-19

The complex houses the most important architectural and artistic works of early • Multi-functioned Reverse T-type Mosque
Ottoman Bursa. • The most advanced example of Multi-functioned Reverse T-type
buildings
• Very rich decoration program, Persian style
• Patronage (Bani) Çelebi Sultan Mehmed
• Building Master Hacı İvaz Pasha
• The first monumental building complex built after the
interregnum period (Fetret Devri 1402-1413)
• Consist of
• Multi-functioned Reverse T-type Mosque (1)
• Tomb (2)
• Madrasa (3)
• Imaret (the earliest dated soup kitchen) (4)
• Turkish bath (5)
• The most advanced example of multi-functioned
reverse T-type buildings
• Very rich decoration program, Persian style
• Timurid influence, especially the monumental tomb
• After the Interregnum Period, Timurid models began
to be taken as an example.

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The Sultan's Lodge (Hünkar mahfili ) is a special place reserved for the sultan to attend the ritual unseen (or partially due
to a curtain).
It is mostly high and strengthens the political authority and image of the sultan as well as privacy and security.

There is an octagonal roof lantern on the central dome.

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Arts such as stone and wood carving, ceramics, glazing tile, plaster decoration, and calligraphy developed
with the construction of monumental buildings.
Bursa Green Mosque is an impressive example of this synthesis.

Magnificent tile decoration

The tiles prepared by the masters of Tabriz in the stonework from one of the windows)
colored under-glaze technique.

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Stucco Decoration
Magnificent tile decoration of the Mihrap The cells and hearths made of plaster in the side rooms are decorated
with geometrical and embossed rumi patterns.

There are four windows on the north facade of the mosque made of marble, two small mihraps and four
The Portal (Taç Kapı) at the entrance of the building stone carving. niches with balustrades at the top.

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an almost square
Yeşil Madrasa, 1424 plan, covered
with a lead
a large iwan, used
• It is located in the west of the mosque. covered dome on
as a classroom
• Building master: Hacı İvaz Pasha, son of Ahi an octagonal
Bayezid drum
The number of madrasas built in the early Ottoman period: • 36x38,5 m. in size
• Plan scheme with three iwans
• Orhangazi Period 10 pieces • It has a total of thirteen rooms, two iwans on the
fourteen cells with mirror
sides, a classroom iwan right across the portal, vaulted (aynalı tonoz) ceilings
• Murad I Period 30 pieces toilets, and a courtyard with a portico and a two small side iwans,
fountain in the middle.
• Bayezid I Period 60 pieces • Rubble stone and brick masonry (only cut
limestone in the classroom) marble pool
• The main classroom, which can be reached by
stairs, is covered with a 10 m diameter dome. the wide open courtyard
• All of the columns carrying the courtyard porches
are spolia (devşirme) and the rooms are mirror
vaulted (aynalı tonoz)

• The closest plan type to the Seljuk madrasa plan

type with iwan

• Today it is used as the Museum of Turkish-Islamic

Arts.

the wide open courtyard with a portico around and a fountain in the middle.

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Current Plan of Yeşil Complex

Bursa Yeşil Complex (1419 / 20-1424), The Soup Kitchen Plan

The soup kitchens (İmaret, aşevi) from the early Ottoman period to the present day;
Bursa Yeşil İmaret (1419 / 20-1424), Bursa Muradiye (1424-1426), Tokat Hatuniye (1485), Afyon-
Sincanlı, Sinan Pasha (1524-1525).
the main scheme in these soup kitchens (imaret):
the spaces that make up the kitchen area in a rectangular plan and arranged side by side on a straight
line.

Yeşil Complex, 1419/20-24

Yeşil Tomb, 1414-19
• Sultan Çelebi Mehmet's Tomb
• built on the hill opposite the Yeşil Mosque
• Builder Hacı İvaz Pasha
• Nakkaş's: Ali bin İlyas Ali, Mehmed el Mecnun and Ali bin Hacı Ahmed Tabrizi.
• Timurid monumental shrine tradition influence
• It had an extraordinarily high and pointed (onion) dome when it was first built.
• Octagonal plan with a cript
• Famous for its turquoise tile decoration
• Facade covered with turquoise glazed brick Facade covered with turquoise glazed brick

cript

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The walls are covered with hexagonal turquoise tiles surrounded by two borders up to 3 meters high.
Rectangular windows are surrounded by borders with tile motifs, and verses and hadiths are written on a dark dark blue
background on window pediments in the form of a pointed arch.
the sarcophagi of the relatives of the Sultan
The mihrab and Çelebi Mehmed's sarcophagus inside the Green Tomb have very magnificent tile
workmanship.
The real tombs are located in a crypt in the basement of the tomb, covered with a barrel vault and
divided into five sections by walls.

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Osman Hamdi Bey, The Tortoise Trainer

[Kaplumbağa Terbiyecisi],
1906, oil on canvas, 222x122 cm,
Pera Museum, Istanbul

MURADİYE SOCİAL COMPLEX, 1426

Built by Sultan Murad II (1421-1451) in 1426, it provided the formation of the Muradiye district
named after Sultan.
Thus, the city grew with the neighborhoods formed around the complexes built.
It is the last complex built by the Ottoman sultans in Bursa.

Muradiye
İmareti

CASTLE
HİSAR

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madrasa

MURADİYE SOCİAL COMPLEX

• Patronage (Bani): Sultan Murad II, 1425-26

• The last social complex built by the Ottoman
sultans in Bursa.
• It consists of the multi-functioned reversed T- bath
plan mosque, Turkish bath, madrasa, imaret
(soup kitchen), hospital, fountain, and 12
tombs built in the following years.
• UNESCO 2014

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Muradiye Madrasa, Bursa

• The madrasah located in the west of the mosque is a typical

early period structure with its sixteen cells, an octagonal fountain
with a portico courtyard, and a summer classroom iwan.
• It was built entirely with rubble stone and brick beams
(alternating masonary, almaşık).
• The entrance iwan is a dome with a Turkish triangle and a
muqarnas squinch.
• The portico of the madrasa is higher than the rooms.
• Each room has a heart, a window, and three niches on the walls,
two windows, and six niches in the corner rooms.
• The other parts of the portico, which sits on two spolia columns
with Corinthian capitals at the entrance, are carried by brick
piers.
• The side arms of the porch that surrounds the courtyard on three
sides are covered with a dome, and the entrance side and all the
madrasah cells are covered with a mirrored vault (aynalı tonoz).
• The dome of the classroom iwan, raised with ten steps and does
not have a portico in front, sits on an octagonal drum, and the
corners are stalactite.

Seljuk influence
Many repairs and restorations.

BURSA GRAND MOSQUE (ULUCAMİ) BURSA GRAND MOSQUE

(ULUCAMİ)
• Patronage (Bani): Yıldırım Beyazid, 1396-1400 • Large prayer hall with rows of piers
• in honor of Niğbolu Victory. • 5000 square meters in size
• Friday mosque, in the city center • 20 compartments are defined by domes
• Ulucami, multi-cell (multi-pier, multi-domed) type • Massive walls and multiple domes
• 20 domes (10 mt diameter)
• Portal (Taç kapı)
• No forecourt
• Thick body walls built with smooth cut stones
• Roof lantern with pool underneath
• The famous walnut pulpit

• Many repairs and restorations

• There are two thick minarets built with brick

• Neither of the minarets sits on the main wall, but
starts from the ground.

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• There are two thick minarets built with brick

• Neither of the minarets sits on the main wall, but starts from the ground.
• The minaret in the west corner was built by Bayezid I.
• The minaret in the west corner was built by Bayezid I.
• Its octagon-shaped base is entirely made of marble and its body is made of brick.
• Its octagon-shaped base is entirely made of marble and its body is made of brick.
•
• Large prayer hall with rows of piers
• 20 domes (10 mt diameter)
• Roof lantern with pool underneath

Portal (Taç kapı)

• 20 domes (10 mt diameter)

• The domes, which sit on octagonal drums, are arranged in five rows perpendicular to the mihrab wall.
• Neither of the minarets sits on the main wall, but starts from the ground.
• Roof lantern with pool underneath

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Roof lantern

• Roof lantern with pool underneath

The calligraphic decoration inside is from the 19th century

It was accepted as the 5th most important

place in the Islamic world after Kaaba,
Masjid-e Nabawi, Masjid-e Aqsa and Masjid-i
Umayyad.

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In order to alleviate the massive effect of the thick body walls built with smooth cut stones, deaf
pointed arches were made on the facades

Continuation of Seljuk wood carving

Consisting of 6,666 pieces, the carved and relief motifs on the side wings of the pulpit are thought to
symbolize the solar system and the universe.

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The cover of Kaaba brought from mecca by Sultan

Consisting of 6,666 pieces, the carved and relief motifs on the side wings of the pulpit are
thought to symbolize the solar system and the universe. Selim in 1517 c

An engraving showing the Ulucami region in Bursa in the mid-19th century

(Ch. Texier, L’Asia Mineure, Paris 1862, lv. 16)

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EDİRNE
(HADRIANOPOLIS)

Second Capital of the Empire

(1365 - 1453)

The spread of the Ottomans to the Balkans

• Sultan Murad I, also known as "Murad Hüdavendigâr", took Edirne in 136l, then Filibe and Sofia, and EDIRNE / HADRIANOPOLIS
then Thessaloniki. Greek, Persian, Hellenic, Roman, Byzantine past
• Edirne has been the capital of the Ottoman Empire for 88 years (1365-1453) until the conquest of
Istanbul.
• The border city established on the plain where Tunca, Arda and Meriç
rivers meet.

• Ottoman capital (1365 - 1453)

– The control and power center of the Ottomans in Rumelia
– Trade Center
– Strengthening of the Sultan's central authority, moving away from heterodox
elements

Important early Ottoman Buildings

– Old Mosque
– Üç Şerefeli Mosque
– Edirne Palace
• Murad I had the first Edirne Palace built (in Selimiye's place).
• II. Murad initiates the construction of the New Edirne Palace in a place called Sarayiçi
in 1450.
• One of the important centers of tile and ceramic art
• Handicraft style in Edirne is called "Edirnekâri" (Edirne work).

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Traces of the Roman city plan

• Ottoman capital (1365 – 1453)

• Era of Interregnum (1402-1413) (Fetret devri)
• After a period of turmoil, established authority
• Symbol of Ottoman domination in the area
• The ultimate power of the Sultan KÖPRÜLER

• Eski Camii / Old Mosque

• Üç Şerefeli Camii
• Edirne Sarayı / Edirne Palace

The Long Bridge built by Sultan Murad on the Ergene River, new settlements and social complex
on both sides.

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The main gate of Edirne Castle, Macedonian Tower

Old Mosque / Edirne Ulu Mosque Old Mosque / Edirne Ulu Mosque • Large prayer hall with 4 piers
• Edirne, 1403-1414 • 2500 square meters in size
• Patronage (Bani): Süleyman and Çelebi Mehmet, sons of Sultan Yıldırım Beyazıd (1360-1403) • Friday mosque, in the city center
• 9 compartments are defined by
• Era of Interregnum (1402-1413) (Fetret devri) • Ulucami, multi-cell (multi-pier, multi-domed) type
• Hacı Bayram Veli’s famous Pulpit (Hacı Bayram Veli, (1352-1429) Turkish mystic) domes
• Construction master Haci Alaeddin from Konya
• Massive walls and multiple domes
• Front Portal (Taç Kapı) with muqarnas
• 9 domes (13.5 mt diameter)
decoration
• Roof lantern
• No forecourt
• Thick body walls covered with smooth cut
stones
• Original single-balcony minaret in the east
corner.
• The independent minaret with double
balconies in the west corner later.

• Many repairs and restorations

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The bicolor stone-covered portico of the last congregation was added later.
Portico with 5 pointed arched and covered with aynalı vault • Thick body walls covered with smooth cut stones
• Original single-balcony minaret in the east corner.
• The independent minaret with double balconies in the west corner is an addition

portico of the last congregation with 5 pointed arched and covered with aynalı vault

62
4/7/2021

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Edirne Bedesteni, 1417-18 ??

It was built by Çelebi Mehmet as an endowment for the Grand Mosque.
Thus, the religious center and the commercial center were combined in the city.
14-domed Bedesten containing 108 cells shops and 35 cells room

64

• After a period of turmoil, established authority
• Symbol of Ottoman domination in the area
• The ultimate power of the Sultan
• Represents a change in Ottoman architecture
• Prototype of future sultanic mosques of Istanbul
4/7/2021
• Patronage (Bani): II. Murad, (1437-1447)?
• Building Master Muslihiddin
10 m
• It is considered a turning point in Ottoman architecture
27 m
•
because of the central domed space experience.
Central dome-type; Sitting on a hexagonal hoop, the
•
dome is carried by two hexagonal piers.
The diameter of the high and wide central dome is
approximately 27 meters.
• It is the first type of courtyard with a portico and the first
example in which the pool was moved to the open
courtyard.
• For the first time, a mosque with 4 minarets was built;
Four minarets are also different.
• It has three balconied minarets climbed up with three
• The courtyard with a fountain, the
separate stairs.
courtyard portal, and the main portal
• The minarets on the corners of the courtyard have an
are on the mihrab axis; It has an
organic connection with the building for the first time.
axial plan.
• The prototype for the future central plan domed sultan
• A square plan formed by joining two
mosque typology of Istanbul
rectangles.
• Some of the original decoration details are preserved.
65
 4/7/2021

Üç Şerefeli Mosque initiated two innovations that would become a tradition in Manisa Ulu Cami Planı, 1367 Selçuk İsa Bey Cami Planı, 1375
(Saruhanoğulları hükümdarı İshak Bey) (Aydınoğulları hükümdarı İsa Bey)
sultanic (selatin) mosques:
• The raised central dome dominated the other ones.
• A marble-paved courtyard with a fountain surrounded by domed porticos.
• Four multi-balconies minarets (Timurid influence)

27 m

Variants of the Damascus Umayyad Mosque in the Western Anatolian Principalities were built by
Mamluk architects brought from Syria.
Şam Emevi Camii ilham?

There are 4 minarets, one with three balconies, which gives the mosque its name, one with two
balconies, and two with one balcony.

66
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At the same time, the high portico in the direction of the entrance acts as a reinforcement to
meet the tensile of the dome.

There are two side domes to the right and left of the main dome of Üç Şerefeli Mosque.
An inside view of one of these domes.

67
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İkisi serbest, ikisi güney diğer ikisi de kuzey duvarına sabitlenmiş altı büyük ayağın
taşıdığı merkezi kubbeye; yanlardan eklenen ikişer küçük kubbe sayesinde iç mekan
genişletilmiştir.

A giant hexagonal pier

68
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Timurlu bezeme sanatının yerel bir çeşitlemesi

A local variation of Timurid ornamental art

69
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Edirne New Palace

(Edirne Saray-ı Cedid)

The second palace in Edirne, whose construction

started in the middle of the 15th century.

The palace was located within a very large hunting area and forest of 3 million square meters.

a very large
hunting area and
forest

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EDİRNE NEW PALACE

(Saray-i Cedîd-i Âmire)
• The former residence and administrative center of Ottoman sultans in Edirne.
• Established by the river (Tunca River), Edirne, (1450+, 17th century)
• Composed around several courtyards defined by magnificent entrance portals.
• Consisting of pavilions, apartments, and service buildings spread over a vast expanse (3 million square meters
area).
• Horizontal layout with also several distinguishing vertical elements
• Surrounded by high walls (approx. 3 m. high)

• Started in the period of Murat II, c. 1450.

• Take its original shape in the period of Mehmet II, c.1475.
• Important additions were made during the reign of Mehmet IV (d.1642- 1648-1693) in the second half of the
17th century.

• During the natural disasters (1745 fire, 1751 earthquake, floods, etc.), and the Ottoman-Russian War of 1877-
78 (Palace buildings used as armory were blown up with an explosion) were badly damaged.

• Information is obtained from old photographs, engravings, and various sources about the palace buildings, only
a few of which have survived until today.

Restitution plan

Felicity Gate

Palace Kitchens
FIRST COURT

During the natural disasters (1745 fire, 1751 earthquake, floods, etc.), and the Ottoman-Russian War of Imperial Gate
1877-78 (Palace buildings used as armory were blown up with an explosion) were badly damaged.

71
 4/7/2021

• Edirne palace consisted of mostly two-story blocks and independent pavilions around the courtyards.
• It had a more rustic, modest, and bright architecture compared to the palace in Istanbul.
• According to what we learned from sources and publications;
• It is understood that Edirne Palace consists of 117 Rooms, 21 Divanhane, 18 Baths, 8 Masjids, 17 Doors, 13 Dormitories, 4
Cellars, 5 Kitchens, 17 Pavilions and 6 Bridges.

Bird's-eye watercolor painting of Edirne Palace by Dr. Rıfat Osman (1923)

(7

Very few buildings have survived from (4)

the palace: (5) (6)

(1) Felicity Gate (Babüssade), (3)

(2) Palace Kitchens (Matbah-ı Amire),
(3) Panoramic Pavilion (Cihannüma (1) 2
Kasrı), (4) Sand Pavilion Bathhouse
(Kum Kasrı Hamamı), (5) Fatih Bridge,
(6) Audience Chamber (Kasr-ı Adalet),
(7) Hunting Pavilion (Nightingale
Mansion), (8 ) Kanuni Bridge,
(9) Şehabeddin Pasha Bridge,
(10) Water Maxemi, (11) Namazgâhlı
Çeşme, etc.

While some of these structures that

survived to the present day are in
ruins, some of them survive with
repairs.

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 4/7/2021

Felicity Gate (Bab’üs-saade)

Felicity Gate (Bab’üs-saade)

The main entrance of The Panoramic Pavilion (Cihannüma Kasrı), where smooth cut and rough-cut
stone and brick are used as construction material, has a muqarnas Kavsara.

View of The Panoramic Pavilion (Cihannüma Kasrı) before the collapse (second half of the 19th century)
Audience Chamber (Arz Odası) and in the background Panoramic Pavilion (Cihannüma Kasrı) before the
(EYSK archive)
collapse in the 1870s (From D. Ermakov)

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 4/7/2021

The Panoramic Pavilion (Cihannüma Kasrı), on present state

The Panoramic Pavilion (Cihannüma Kasrı), on present state

Imperial Kitchen (Matbah-ı Amire) after the restorastion

Imperial Kitchen (Matbah-ı Amire) before the restorastion

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Imperial Kitchen (Matbah-ı Amire) after the

restorastion Imperial Kitchen (Matbah-ı Amire) after the restorastion

Edirne Sarayı, Matbah-ı Amire (Saray Mutfağı)’nin restorasyon sonrası görünümü (EYSK arşivi)

Sand Pavilion before the demolition

Sand Pavilion Bathhouse (Kum Kasrı Hamamı)

Rus fotoğrafçı Dimitri Ermakov’un (1877-78 Osmanlı Rus Savaşı’na topograf) çektiği fotoğraf, 1870ci.

75
 4/7/2021

Sand Pavilion Bathhouse (Kum Kasrı Hamamı)

Sand Pavilion Bathhouse (Kum Kasrı Hamamı)

Cold, warm, and hot parts, furnace (külhan) and water tank

Fatih Bridge, belonging to the period of Mehmed II, is on the northern branch of the Tunca River and Audience Chamber (Kasr-ı Adalet) and Fatih Bridge (1452)
connects the Imperial Garden (Hasbahçe) of the Palace and the Kum Square. Audience Chamber, located in the Imperial Garden (Hasbahçe) of the Palace,close to the southern
Three arched bridge built with cut stones, 1452 entrance of the Fatih Bridge, which connects the Imperial Garden (Hasbahçe) and Kum Square, has
survived to the present day in a great extent.

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 4/7/2021

Audience Chamber (Kasr-ı Adalet)

Kanuni Bridge on Tunca River, 1553- 1554?

Kanuni Bridge on Tunca River

77
 4/7/2021

Hunting Lodge (Bülbül Köşkü)

Sultan Mehmed IV Period,1671

1451 ?

"Fountain with Place of prayer" (Namazgâhlı Çeşme) is located opposite the Allay Kiosk, near Sırık
Square, the second half of the 16th century?

Water Maksem is located in the north of Cihannûma

Pavilion, it may be the 15th century.

The three sides of the square-planned base (east, west and north) are in the form of a fountain and the south side is in
the form of a mihrab.

78
4/7/2021

79
 5.04.21

Ottoman Architecture
between the 14th and 20th centuries
• Early Ottoman Architecture, 1300-1450s
– Iznik, Bursa, Edirne

• Transition to Empire, 1450-1500s,

– Istanbul, Edirne

• Classical Period 1500-1700s,

– Istanbul: The World Empire, Mimar Sinan, the search for images, symbolism,
monumental buildings
• Early Modern Ottoman Architecture, 18th century
– First contacts and interactions with Europe, Tulip Age, Baroque / Rococo
trends, public opening
• Late Ottoman Architecture (19th century),
– Centralization, modernization, search for modern identity, modern building
types, eclectic-neo-classical and refreshing approaches.

7 8

9 Portrait of Mehmed II, 1480, 10

(Gentile Bellini, oil on canvas, 69.9x52.1 cm, National Gallery, London)

1
 5.04.21

II. Murad Period (Before Mehmed II - the Conqueror)

Ottoman Sultans of the Period

Transition to Empire (1450-1500s)

• Mehmed II (Fatih / Conqueror) (1451-1481)

• Bayezid II (1481- 1512)
• Selim I (Yavuz Sultan) (1512- 1520)

Classical Period
• Süleyman I (Suleyman the Magnificent) (1520 -1566)
• Selim II (1566- 1574)
• Murad III (1574- 1595)

11 12

Period of Mehmed II - the Conqueror)

13 14

2
 5.04.21

• Mehmed II (Fatih / the Conqueror) (1451-1481)

• Edirne as the capital
• Siege of Constantinople
• Conquest of Constantinople, May 29th, 1453
• Setting out to make a world empire
• Reconstruction of the new capital
• Ottomanization of Constantinople

17
16

• Previous sieges of Constantinople

• Besieged at least 28 times by different people
• Abu Ayyub al-Ansari, the companion of Muhammad, had died during the first
Siege of Constantinople (674–678).
• Strengthening the Ottoman navy
• Control of the Bosporus
• Anadolu Hisarı / Castle by Bayezid I (1394-95?)
• Rumeli Hisarı / Castle by Mehmed II (1451-1452)

18 19

3
 5.04.21

22 23

24 25

4
 5.04.21

Anadolu Castle
Anadolu Castle

26 28

Transforming Anadolu Castle into a gunpowder class building Allom’un XIX. yüzyılın ilk yarısında Anadoluhisarı’nı gösteren bir gravürü
(Constantinople and the Scenery of the Seven Churches of Asia Minor, London 1940, I, 76)

30 31
Anadolu Castle

5
 5.04.21

Rumeli Castle
Towers with a wall thickness of 5.5 to 7 m

33 35

Rumeli Castle
Rumeli Castle

37
36

6
 5.04.21

Rumeli Castle

38
39

40 41

7
 5.04.21

The Siege of Constantinople Ottomans moved several ships, using wooden structures and manpower. The ships landed into
The use of big gunpowder weapon technology the Golden Horn where the Theodosian walls were the weakest.

The Golden Horn Bay was closed by chains. There Ottomans made a sliding rail uphill and the downhill in order to get
behind the chain blockade. The small fortress on the other side of the bay, Pera [now Beyoğlu/Istanbul] was already
42 43
caught.

47
45 Gentile Bellini, Portrait of Mehmed II, 1480, oil on canvas,
69.9x52.1 cm, National Gallery, London

8
 5.04.21

Halil İnalcık states that the new Ottoman sultan type, which combines the
Turkish-Mongolian, Iran-Islamic, Islamic caliphate and Roman ruling traditions,
was born in the person of the Conqueror.

• World empire idea, the idea of worldwide domination,

centralization, multicultural and multi-religious empire

• The Ottoman leader Mehmed II captured Constantinople in

1453 and then set out to make a world empire.

• After the conquest of Constantinople, Mehmed claimed the title

of caesar of the Roman Empire (Qayser-i Rûm)

48 49

Conquest of Morea (1458–1460)

Integrated the Ottoman lands Conquest of Trebizond (1460–1461)

• What effect did the conquest of Istanbul have on Ottoman Art?

• What is the place of Istanbul in Ottoman art?

56
52

9
 5.04.21

World empire idea, idea of worldwide domination, centralization

Code of laws of the Conqueror (Fatih Kanunnâmesi)

• The Ottoman state organization gained its main structure in this period.
World empire idea, idea of world-wide domination, centralization

• Many arrangements, from the bureaucracy to the palace organization and the Fatih's versatile personality
establishment, from the finance to the military organization, were made during this
period. • Conversion of Hagia Sophia to a Mosque
• Fatih Külliye / Complex
• The reign of the Conqueror is the beginning of classicalization in many fields from
• Old Palace at Bayezid
historiography to literature, from architecture to madrasah education, from bureaucracy
to palace administration. • New (Topkapı) Palace at Byzantine acropol
• Bedesten (Grand Bazaar)
• The foundations of the conqueror's idea of worldwide domination consisted of a wide • Construction of Yedikule Castle
spectrum:
• Renovation and settlement of the city "To cheer up / şenlendirmek"
• The Turkish-Mongolian ruling tradition, the Islamic understanding of caliphate, and
the Roman empire idea. • Intense building program
61
58

Constantinople before the conquest

Focal points that will not change for a few centuries were
created in Istanbul with the reconstruction and urbanisation
works during the Fatih period:

1. Old and New Palace Areas as Administration Center

2. Main Trade Centre in the Grand Bazaar Area
3. Education and Culture Center in Fatih
4. Sacred Center in Eyup Sultan (Saint cult attached to the burial
place)
5. The Military Barracks Area Near the Old Palace in Aksaray
6. City's Protection, Warehouses (Safe Field for Critical Raw
Material) in Yedikule
7. Maritime Industry Area, Shipyard in the Golden Horn
8. World Trade Port Area in Eminönü
9. Military Traing Area in Okmeydanı
The first known map of Istanbul is the "Constantinople" plan drawn by Christoforo Buondelmonte in
1422.
64 65

10
 5.04.21

1500’ler 4 9

3
8
5
1 2
1

1. Old and New Palace Areas as Administration Center

2. Main Trade Centre in the Grand Bazaar Area
3. Education and Culture Center in Fatih
4. Sacred Center in Eyup Sultan (Saint cult attached to the burial place)
6 5. The Military Barracks Area Near the Old Palace in Aksaray
6. City's Protection, Warehouses (Safe Field for Critical Raw Material) in Yedikule
7. Maritime Industry Area, Shipyard in the Golden Horn
8. World Trade Port Area in Eminönü
9. Military Traing Area in Okmeydanı
66
67

Istanbul was divided into 12 regions HAGIA SOPHIA

It was the largest church in Istanbul during the Byzantine period, and after the conquest, the
church became the city's chief mosque and gradually formed a social complex around it.

68 71

11
 5.04.21

HAGIA SOPHIA

• Red Apple
• First prayer after the conquest
• Addition of a timber minaret
• Mihrab & Minbar
• Islamic Calligraphy
• Preservation of mosaic depictions
• The importance of Hagia Sophia both in terms of the use of
domes and its plan

72
73

The first Ecumenical Patriarch of the Ottoman Empire (leader of the Greek Orthodox
Patriarchate) Gennadios II and Sultan Mehmed the Conqueror

Sultan Mehmed the Conqueror, handing Gennadios, whom he appointed to

the Orthodox Patriarch after the conquest of Istanbul, the charter
77
regarding the rights of the Orthodox. 75

12
 5.04.21

78 79

83 84

13
 5.04.21

85 86

87 88

14
 5.04.21

89
90

91 92

15
 5.04.21

94 95

96 97

16
 5.04.21

98 99

100 101

17
 5.04.21

102 103

104 107

18
 5.04.21

108 109

110 112

19
 5.04.21

113 114

115 116

20
 5.04.21

1481-YEAR CONVERSION STORY OF

THE HAGIA SOPHIA

• https://www.youtube.com/watch?v=MzGLBsW8fcQ&t=6s

118
117

YEDİKULE (Seven Towers) CASTLE

YED KULE (7 Towers) CASTLE
•
•
Treasury and security point
Inspired from European (Italian) military architecture
• Early gunpowder fortification architecture
• Manifesting power and authority of the new rulership

119 120

21
 5.04.21

One of the first examples of star-shaped fortresses that emerged

in the early Renaissance 121 122

124 126

22
 5.04.21

127 128

129 130

23
 5.04.21

Tophâne–i Âmire
The first cannon casting factory of the Ottoman Empire

131 132

ISTANBUL'S SETTLEMENT POLICY

Before it was conquered the population was around 40,000.
During the Fatih period, the population of the city reached 100,000 in 1477, 400,000 in 1530, and 800,000
in 1680 with the settlement of immigrants brought from different places.

1453 itibariyle Pera

Genoese city state

View of Galata Walls and Galata Tower from the

northwest. Photo: James Robertson, 1854.

133 134

24
 5.04.21

Genoese
The most important seafaring city-state in the Middle
Ages.they were doing sea trade.

GRAND BAZAAR
(ÇÂR Û-Yı KEBÎR)

• Bani Fatih Sultan Mehmet

• Closed and safe place for trade and shopping
• Cevahir Bedesten / Inner Bedesten (first), 1460, with 15 domes
• Sandal Bedesten (second), 1478-1479 ?, 20 domes
• Expansion in later centuries
• Develops over the years

137
135

GRAND BAZAAR (KAPALI ÇARŞI) • The Grand Bazaar was not established as a single mass and at the same time:
A trade center in Istanbul between the Beyazıd and Nuruosmaniye Mosques, around two covered bazaars • It was formed as a result of the increase of inns and shop rows (arasta) around the two covered bazaars
(Bedesten). (bedesten) and the covering of the streets between them with vaults over time.
• Protecting and securing certain entrances with gates also led to the formation of a large covered bazaar as a
single mass.

139 140

25
 5.04.21

The covered bazaar built by the Conqueror to stimulate trade and also to generate income for his
Vakıfs.

141
142

143
144

26
 5.04.21

XVI. yüzyıl içinde İstanbul’un Büyük Çarşı ve

bedestenlerini gösteren minyatür.
(Matrakçı Nasuh’un, Kanûnî Sultan Süleyman’ın
1533-1536 yılları arasında çıktığı ilk İran seferine
dair minyatürlü eserinden İstanbul tasviri.)
*
(Matrakçı Nasuh, Beyân-ı Menâzil-i Sefer-i Irâkeyn)

145 146

Kapalıçarşı Esnafı / Sébah & Joaillier Fotoğrafı, 1884-1900’ler

147 148

27
 5.04.21

149 150

From Beyazıd Tower to historical peninsula, grand bazaar and everywhere. 1966

151 152

28
 5.04.21

7 Hills of Istanbul (Geographical)

The definition of Istanbul 7 Hills describes the 7 dominant hills within the city walls,
which are clearly seen in old Istanbul:

What is the development way of monumental religious architecture in the

second half of the 15th century?

15. yüzyılın ikinci yarısında anıtsal dini mimarinin gelişme yolu nedir?

154 155

The New Capital Of The Ottoman Empire:

CONSTANTINOPOLIS

Hills of Istanbul:

1. Sarayburnu (Topkapi Palace)

2. Çemberlitaş (Nuruosmaniye Mosque)
3. Beyazid (Suleymaniye Mosque)
4. Fatih (Fatih Mosque)
5. Yavuz Selim (Sultan Selim Mosque)
6. Edirnekapı (Mihrimah Sultan Mosque)
7. Kocamustafapaşa (Çapa - Haseki) (Old St Andrew's Monastery)

156 158

29
 5.04.21

Combined religious, educational,

social, and commercial functions.

• Built on the Church of Holy Apostles and the tomb of Constantine A new imperial image:
Combination of Roman-Byzantine, contemporary Italian
• 1463-1470, Architect Atik Sinan Renaissance building traditions, and ideal renaissance plans
• A monumental complex expressing the power of the sultan, 120.000 m2
area Osmanlı İstanbul’una ait ilk hastahane
– Selatin Mosque in the center, the tomb in the back courtyard olan darüşşifa (bugün mevcut değil)

– 16 madrasahs (With 8 preparatory schools / tedimme) , 1 darrüttalim, primary

school, library
– Soup Kitchen (İmarethane) & Hospice (Darüşşifa)
– Guest House (Tabhane), caravanserai, Turkish bath
– Saraclar bazaar
• A new urban approach, social-purposed social-religious building
complex
• The monumentality, axiality, rational geometric and symmetrical planning
principles (Italian influence?)
• Dome diameter of the mosque: 26 m
• It was destroyed (due to the instability in its structure) in the earthquake of161 1000 loaves of bread were distributed.
162
1766 and rebuilt. Two-course meal for 1200 people

Ospedale Maggiore / Yoksullar Hastanesi

Milan, Lombardy, Italy, 1456

Mimar: Filarete (1400-1460)

ideal renaissance plans

1000 loaves of bread were distributed.
Two-course meal for 1200 people

163 165

30
 5.04.21

166 167

The complex became the hallmark of the imperial patronage in the Ottoman capital.

17.yy'da Köprülü
vezir ailesinin
yaptırdığı Su Yolu
Haritasında Fatih
Camii

168
Melchior Lorics, Fatih Külliyesi, c. 16th century 170

31
 5.04.21

Fatih Mosque restitution

(For the first construction)

• A new imperial image:

• Roman-Byzantine, contemporary
Italian Renaissance building traditions
(ideal renaissance plans)
• Timurid Turkmen decoration
techniques

• Hemispherical domes, slender pencil-

shaped minarets, and enclosed courts with
domed porticoes.
• Identification with Hagia Sophia

• Maksure (Hünkar mahfili) sultan's new

171
status. 172

• Dominates the city's skyline

• Hemispherical domes, slender pencil-shaped
minarets, and enclosed courts with domed
porticoes.

174
173

32
 5.04.21

175
176

179 180

33
 5.04.21

185
183 The Soup Gate (Çorba Kapısı)

• The biggest complex built in a short time after the conquest • Mosques built by Fatih's grand viziers Murat Pasha,
is Fatih Complex.
Mahmut Pasha and Rum Mehmet Pasha in the
• Wealthy Ottoman statemen were encouraged to build 15th century are also pioneering works in the
complexes and mosques in order to create new development of the city.
neighborhoods and provide urban revival by the Sultan
Mehmet II.

• The most important complexes built during the reign of

• Mahmut Pasha Mosque, built in 1463, was the
Sultan Mehmet II and Bayezid II (his son ascended to the largest Friday mosque in the Grand Bazaar area
throne in 1481): until the Beyazıd Mosque was built.
– Mahmut Pasha, Murat Pasha, Gedik Ahmet Pasha, Mustafa
Pasha, Çandarlı İbrahim Pasha and Hadım Ali Pasha complexes.
186 187

34
 5.04.21

MAHMUD PASA COMPLEX

The kulliye, built between 1463 and 1474, consisted of a mosque, bathhouse, madrasa, imaret, primary
school, inn and tomb.

191 192

MURADPAŞA CAMİİ
MAHMUTPAŞA CAMİİ

193 194

35
 5.04.21

Transition to Empire Period (1450-1500s)

Inverted T Plan Mosques

SULTAN BEYAZID II PERIOD

SOCIAL COMPLEXES

• Beyazıd II Külliyesi, Istanbul, 1501-1506

• Beyazıd II Külliyesi, Edirne, 1487-1488

203 204

Beyazıd II Külliyesi, Istanbul, 1501-1506

205 206

36
 5.04.21

II. Beyazıt Külliyesi, Edirne, 1487-1488

207 208

İstanbul Tahtakale Hamamı, 1453-81

BATHS Liman ve ticaret bölgesinde

(HAMAMLAR)

209 210

37
 5.04.21

(Eski Saray & Saray-i Atik)

• Bani: Fatih Sultan Mehmet, 1455

• The first palace built in the city center of Istanbul
• Location: Forum Tauri (Present-day Beyazid Square)
• Surrounded by a high wall
• Known as Old Palace (Saray-ı Atik) after the construction of a new
palace at the tip of the peninsula.
• Used as the sultan's harem until Sultan Suleiman the Magnificent
• Residence of the dynastic family woman; women's palace
215
213

216 217

38
 5.04.21

1500’ler

219
218

220 221

39
 5.04.21

Sarây-ı Atîk-i Âmire ve Süleymaniye Külliyesi’nin tasvir edildiği

Cornelius Loos tarafından çizilen 1710 tarihli gravür

funeral rites of Beyazid II

222 223

Today, the Istanbul University Campus is located where the Old Palace was.

225 226

40
 5.04.21

Today, the Istanbul University Campus is located where the Old Palace was.

Absolute Center Of The Capital

231
227

• What kind of a building complex was the Ottoman Palace in

terms of scale, building type, plan scheme, layout, mass
formation, scale, decorative features, and so on?

232 233

41
 5.04.21

(Topkapı Sarayı / Saray-ı Hümayun / Saray-ı Cedide-i Amire)

• Built between 1460-1478 by Fatih Sultan Mehmet

• 700,000 square meters
• Residence of the Ottoman Sultan and the administrative, educational and artistic center of the
empire.
• Amazing location at the tip of the peninsula (on the Eastern Roman acropolis in Sarayburnu)
• Surrounded by the Byzantine sea walls and the land walls of the Conqueror (Sur-i Sultani)
• Citadel: City within the city with multiple functions and thousands of population
• Spatial expression of the Conqueror's Code of Law:
– Birun (outer), Enderun (inner) and Harem
• Enderun School: Education of palace pages boys (iç oğlanlar)
• Dedicated to government affairs and the education of palace pages boys (iç oğlanlar)
• Several land gates and sea gates
• 4 successive courtyards from public to private
• 3 main ceremonial gates

• Following the same architectural configuration for centuries 234 235

700,000 square meters

Topkapı Palace consists of four sections in terms of 3

organization:
2
• Services and protection area (bîrun), first court
• Administrative center (dîvân-ı hümâyun), 2th
court
• Education and sultan's privy area (enderun), 3rd
court off-limits area
1
• Private living area (harem)

Topkapi Palace is composed around 4 main courtyards

defined by three monumental gates:

The first gate is the Bâb-ı Hümâyun, the second is

Bâbüsselâm, the third is Bâbüssaâde.
238 239

42
 5.04.21

4th court
Topkapı Palace consists of four sections in terms of
organization: harem 3rd court

• Services and protection area (bîrun), first court

• Administrative center (dîvân-ı hümâyun), 2th court
• Education and sultan's privy area (enderun), 3rd
court kitchens
• Private living area (harem) 2th court

Topkapi Palace is composed around 4 main

courtyards defined by three monumental gates:
First court
• The first gate is the Bâb-ı Hümâyun
• The second is Bâbüsselâm
• The third is Bâbüssaâde
240 241

Topkapı Palace, late 15th century reconstruction plan

• Topkapı Palace, which was not built at once with

all its additional buildings, was expanded with
various additions made in each period until the
middle of the 19th century.

• The Palace is an extremely important building

complex in terms of architectural history, containing
examples in the style of various periods from the
15th century to the beginning of the 19th century.

242 243

43

Topkapı Palace, late 16th century reconstruction plan
Topkapı Palace, 18th century reconstruction plan
5.04.21
Topkapı Palace, mid 18th century reconstruction plan
244 245
Topkapı Palace, which was the administration, education, and art center of the empire and also the residence of the sultans for
approximately 400 years from Fatih Sultan Mehmet until the 31st Ottoman Sultan Abdülmecid, was abandoned with the construction of the
Dolmabahçe Palace in the second half of the 19th century.
The palace, which remained empty after the dynasty settled in Dolmabahçe, witnessed the first museum activities of the Ottoman Empire.
After the establishment of the Republic of Turkey Topkapi converted into a museum in 1924, it has the distinction of being the first museum
of the Republic.
249
246 Covering an area of approximately 300,000 square meters today, Topkapı Palace is one of the largest palace-museums in the world with its
buildings, architecture, collections, and approximately 300,000 archive documents.
44
 5.04.21

250
251

1 S T COURT
(ALAY MEYDANI)

• Birun (External) services

• Semi-public zone
• Imperial Gate (Bab-ı Hümayun)
• Hagia Eirene Church as the armory
• The Imperial Mint
• Deavi Kiosk (petition)
• Enderun Hospital
• Imperial artists and architects' workplaces
• Depots
• Wood warehouse, and wicker makers' house
• Bread Bakers
252 253

45
 5.04.21

255
254

Kağıt Emini Kulesi ya da

Deavı Kasrı
Hünername,

Antoine Ignace Melling, Bab-ı Hümayun, The Fountain of Ahmed III

257
256 and the Procession (Bayram Alayı)

46
 5.04.21

Friday greeting procession (Jumma Mubarak Quotes)

259
258 First Court of the Topkapı Palace (Fossati, c. 1840)

Bab-ı Hümayun, Gravür, M. D’Ohsson (1740-1807) Bab-ı Hümayun

261
260

47
 5.04.21

263
262
St Irene - Armory

The Imperial Mint of the Ottoman Empire

264
265

48
 5.04.21

2 N D COURT
(DİVAN SQUARE)

• Dedicated for state affairs & ceremonials

• Private area with controlled access through Middle Gate (Bab-üs Selam)
• The Council Hall (Divan-ı Hümayun, Kubbealtı)
• Tower of Justice (Adalet Kulesi)
• Imperial Kitchens & Stables (Has Ahır)
• External Treasury
• The Gate of Felicity (Bab-üs Saade)
• The Ward of the “Zülüflü” Guards (The Tressed Halberdiers)
• The entrance to the Harem

266 267
Bab-üs Selam – Middle Gate

268 269

49
 5.04.21

270 271

XVI. yüzyıla ait bir yazma eserde Bâbüsselâm ve III.

Murad’ın saraya gelişini tasvir eden bir minyatür
(Şehinşâhnâme, İÜ Ktp., FY, nr. 1404, vr. 8a)

273
Antoine Ignace Melling, Second Court of the Topkapı Palace 274

Bab-üs Selam / Middle Gate

50
 5.04.21

Tower of Justice

The Council Hall

(Divan-ı Hümayun, Kubbealtı)

275 276
Tower of Justice

277
278

51
 5.04.21

The Council Hall

(Divan-ı Hümayun, Kubbealtı)

279 The Council Hall 280

(Divan-ı Hümayun, Kubbealtı)

The Council Hall

(Divan-ı Hümayun, Kubbealtı)

Cage:
Image of the ruler invisible but aware of everything

External Treasury

282
281

52
 5.04.21

Imperial Kitchens

The Council Hall

(Divan-ı Hümayun, Kubbealtı)

Nakkaş Osman, Topkapı Sarayı –

Kubbealtı, Hünername, 1584

283 284

Imperial Kitchens

285 286

53
 5.04.21

287 288

290
289

54
 5.04.21

2ND COURT (DİVAN SQUARE)

291 292

Konstantin Kapıdağlı, Cülus Ceremony of Selim III, 1789 Bab-üs Saade / Gate of Felicity

293 294

55
 5.04.21

3 R D COURT
(ENDERUN AVLUSU)

• Enderun (inner) part of the palace

• Most secluded and private section where the sultan lives
• Enderun school where palace pages were educated
• Sultan’s Audience Hall (Arz Odası)
• The Privy Chamber (Has Oda)
• Enderun Library & Mosque
• Imperial Treasury

Ceremonial Continuity: Cülus Ceremony of Caliph Abdülmecid,

1922, Albert Kahn les Archives de la Planete 295 296

298
297

56
 5.04.21

Sultan’s Audience Hall (Arz Odası)

Seferli Koğuşu Ağalar Camii

Enderun school Enderun Mosque
III. Ahmed kütüphanesi
Enderun Library

3rd Court
(Enderun Avlusu)
Fatih Köşkü Hazine Odası The Privy Room
Imperial Treasury (Has Oda)

Kilerli Koğuşu Hazine Koğuşu Holy reliqes

299 300

1. Gate of Felicity (Bab-us Saade)

2. Throne Room or Audience Chamber (Arz Odası)
3. Library of Sultan Ahmed III
4. Agalar Mosque
5. Dormitory of the Royal Pages (Hasodali Kogusu)
6. Pavillon of the Holy Mantle (Hirka-i Saadet Dairesi)
7. Treasurers’ Quarters (Hazine Kogusu)
8. Cellar Quarters (Kilerli Kogusu)
9. Inner Treasury or Fatih Pavillon (Hazine or Fatih Kosku)
10. Dormitory of the Campaign Pages (Seferli Kogusu) 302
301

57
 5.04.21

ENDERUN OKULU

• The Devshirme system

• The sultan’s household slaves (kapıkulu)

• The palace educational institution established for the training of

administrative and military staff in the Ottomans.

• The education in Enderun was established on seven levels:

Big and Small Rooms, Doğancı Ward, Traveling Ward, Cellar
Room, Treasure Room and Private Room.

• The pages boys, who could not complete the education here,
would leave the intermediate classes in the same way and join
various military units.
303 304

Audience Hall
Arz Odası

305
307

58
 5.04.21

İran elçisi Tokmak Han’ın Dîvân-ı Hümâyun’a gelip Arz Odası’nda huzura
Audience Hall kabulü ve şahın gönderdiği hediyeleri takdimi (Şehinşâhnâme)

308
309

310 311

59
 5.04.21

Inner Treasury or Fatih Pavillon (Hazine or Fatih Kosku) left and Dormitory of the Campaign Pages
Dormitory of the Campaign Pages (Seferli (Seferli Kogusu)
Kogusu)

313 314

Inner Treasury or Fatih Pavillon (Hazine or Fatih

Kosku)

Inner Treasury or Fatih Pavillon (Hazine or Fatih

Kosku)
315 316

60
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Inner Treasury or Fatih Pavillon (Hazine or Fatih Kosku)

317 318

Imperial Library
(Library of Sultan Ahmed III)

Inner Treasury or Fatih Pavillon

319 320

61
 5.04.21

Imperial Library Imperial Library

Library of Sultan Ahmed III Library of Sultan Ahmed III

321 322

1. Gate of Felicity (Bab-us Saade)

2. Throne Room or Audience Chamber (Arz Odası)
3. Library of Sultan Ahmed III
4. Agalar Mosque
5. Dormitory of the Royal Pages (Hasodali Kogusu)
6. Pavillon of the Holy Mantle (Hirka-i Saadet Dairesi)
7. Treasurers’ Quarters (Hazine Kogusu)
8. Cellar Quarters (Kilerli Kogusu)
9. Inner Treasury or Fatih Pavillon (Hazine or Fatih Kosku)
10. Dormitory of the Campaign Pages (Seferli Kogusu) Continuity/Change: Entrance of Hırka-i Saadet
324
323 (1922, Albert Kahn les Archives de la Planete)

62
 5.04.21

Pavillon of the Holy Mantle (Hirka-i Saadet Dairesi)

Pavillon of the Holy Mantle (Hirka-i Saadet Dairesi)

325 326

• The residential area (sultan's house) where the sultan and his family (wives, daughters, mother called Valide Sultan, princes,
and family of princes) lived together with a large staff of servants.

• In the palace organization, the definition of every job, responsibility, almost every action, starting with the sultan, was
determined in a very detailed way.

• In hierarchical order, strict rules, and strict discipline, it was a private area that was completely isolated from the outside, where
entrance and exit were strictly regulated.

• Harem was also a school where concubines (servant slaves) are trained.

• The harem complex began to grow from the 16th century:

– During the reign of Suleiman the Magnificent (1520-66), the harem was permanently moved from the Old Palace to Topkapi.
– The Harem, whose first buildings were built during the reign of Fatih Sultan Mehmed, expanded with the increase of the harem staff during the
periods of Suleiman the Magnificent (1520-66) and Murad III (1574-95).
– Later, each sultan who ascended the throne had a private chamber (Has Oda) built for him, and it reached its present size.

• The harem consists of a series of buildings and structures, connected through hallways and courtyards.

• Every service team and hierarchical group residing in the harem had its own living space clustered around a courtyard.

• These apartments (Daire) in the hierarchic order were respectively by the Karağalar Dairesi (Black Eunuchs Apartments),
Concubines, and Kadin Efendi Apartments, the Valide Sultan's Apartment, The Prince's Apartments, and The Private Chambers
of the Sultans.

• The Harem is an extremely important building complex in terms of architectural history, containing examples in the style of
various periods from the 16th century to the early 19th century.

• The Harem expanded with additions made during each sultan's period, today has approximately 300 rooms, 9 baths, 2
mosques, 1 hospital, 1 laundry, and many wards.
328 330

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Kanunî Sultan Süleyman (1520 – 1566) III. Murad (1574 – 1595) III. Osman (1754-1757)

334 335

III. Murad Has Odası Valide Taşlığı

Gözdeler Taşlığı Hünkar Sofası Cariyeler Taşlığı

III. Osman Köşkü (1754-1757)

336 337

64
 5.04.21

340 341

The Gate of Carriages

Kubbealtı’nın arkasındaki “Araba Kapısı” Enderun’a açılan “Kuşhane Kapısı” Karağalar Dairesi
(Black Eunuchs Apartments)

345 347

65
 5.04.21

The Courtyard of the Eunuchs Harem Cariyeler Taşlığı Courtyard of the Concubines

Harem Cariyeler Koridoru

348 349

Courtyard of the Concubines İkballer Taşlığı Hünkar Dairesi

Valide Taşlığı
III. Murad Has Odası

350 353

66
 5.04.21

Valide Taşlığı (The queen's mother court) Valide Taşlığı'ndaki duvarları süsleyen çiniler.
Harem’i oluşturan yapıların saray hiyerarşisine uygun olarak toplandığı merkez avlusudur. Taşlık, 15. yüzyılda harem yapılaşması başladığında inşa
edilmiş, Harem yapılarının çeşitli dönemlerde inşa ve yenilenmesiyle boyut değiştirmiş ve manzaraya kapanarak avlu haline getirilmiştir. Taşlık,
çevresini sınırlayan dairelerde yaşayan Osmanlı hanedan fertlerinin karşı karşıya gelebildikleri tek yer olması bakımından da önemlidir.

354 355

Kanunî Sultan Süleyman (1520 – 1566)

III. Murad (1574 – 1595) III. Osman (1754-1757)

(The Queen's Mother Apartment)

Oğulları padişah olarak tahta çıkan kadınlar “Valide Sultan” ünvanını alırlar ve Valide Alayı
denilen büyük bir törenle Bayezid’deki Eski Saray’dan Topkapı Sarayı’na gelirlerdi.
Harem'in en üst düzey yöneticisi olan Valide Sultanların yetkileri, özellikle 17. yüzyılda
İmparatorluğun başına çocuk yaşta geçen padişahlar döneminde son derece artmış ve
“kadınlar saltanatı” denilen bir dönem yaşanmıştı.
Valide Sultanlar oğullarının tahttan inmesi veya ölümü halinde tüm kadrolarıyla Bayezid’deki
Eski Saray’a döner ve saltanatları biterdi.

356 357

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Valide Sultan Dairesi (The Queen's Mother Apartment) Valide Sultan Dairesi (The Queen's Mother Apartment)
Valide Sultan Dairesi genel olarak Valide Sultanların günlük yaşam yeri olan yüksek kubbeli bir sofa, küçük bir Sofanın duvarlarının alt kısımları çinilerle, üst kısımları ise 18. yüzyıldan sonra batı etkisiyle çizilen manzara
kapıyla girilen ve şirvan denilen sembolik tahtlı bir mekan ile bu mekanın önündeki dua odasından meydana gelir. resimleriyle süslenmiş.

358 359

Valide Sultan Dairesi’nin, Cariyeler Taşlığı cephesinde Kethüda Kadın Odası

Valide Sultan Dairesi (The Queen's Mother Apartment) Dört duvarı çinilerle bezeli olan bu küçük oda da Cariyeler ve Kadınefendiler Taşlığı’na bağlanıyor.

(The Queen's Mother Apartment)

360 361

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The Courtyard of the Favourites

Gözdeler Taşlığı

The Courtyard of the Favourites

Gözdeler Taşlığı

363 364

The Courtyard of the Favourites

Harem'in selamlık bölümünün merkezini Hünkâr Sofası oluşturur.

1585’ten sonra Mimarbaşı Davud Ağa’nın yaptığı sofa, padişahların
tören ve kabul salonudur. Hanedanın toplandığı eğlenceler, düğün,
doğum törenleri burada yapılır, padişahlar Harem halkının cülus ve
bayram tebriklerini burada kabul ederlerdi.

365 369

69
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Hünkâr Sofası: Harem daireleri ile Mabeyn arasında bulunan büyük salon. Harem’in en geniş mekânı olan bu sofayla birlikte Hünkâr Dairesi Sultan's Private Chamber
başlıyor.

Sultan's Private Chamber

371 372

Sultan's Private Chamber

Sultan Murat III Has (Private) Room (Pavilion with Pool)

• The first Sultan's Chamber in the Harem for the sultan

Hünkâr Sofası'nı örten büyük kubbe
• The first and most important building of the 1578-90
period
• It was built by Mimar Sinan in 1578.
• Private office of the sultan and official reception hall

373 376

70
 5.04.21

Sultan Murat III Kiosk

377 380

3. Murat Has Odası Sultan Murat III Has (Private) Room

Sultan Murat III Has (Private) Room

III. Murat Has Odası girişi

384 385

71
 5.04.21

Sultan Murat III Has (Private) Room

Sultan Murat III Has (Private) Room

386 387

Sıcaklık bölümü
Sultan Ahmet I Has (Private)
Room, 1608

I. Ahmed Has Odası , 1608

• 1608’de III. Murad Has Odası

cephesine, yüksek kemerli ayaklar
üzerinde yükselen kesme taştan
yapılmış kubbeli bir Has Oda'dır.
• Dönemin baş mimarı Sedefkâr
Mehmed Ağa’ya atfedilir.
• Girişi düz yeşil çini kaplı derin bir
kemerle vurgulanmıştır. Pencere
ve dolap kapakları sedef-bağa
kakmalıdır.
Topkapı Palace - Harem / Sultan's Bath

• There are 9 baths in the harem and toilets

(gusulhâneler) in the apartments.
• Sultan's Bath respectively consists of three parts:
cold, warm, and hot.

388 390

72
 5.04.21

Çifte Kasırlar / Veliahd Dairesi View of stain glass and walls in the Twin Kiosk in the Topkapı Palace in Istanbul
17. yüzyılda ayrı tarihlerde yapılmış biri kubbeli, diğeri ahşap tavanlı, klasik
ocaklı iki odadan oluşur. Girişteki odanın Sultan IV. Murad, içtekinin ise Sultan
IV. Mehmed tarafından yaptırıldığı düşünülür. 18. yüzyıldan itibaren veliahd
şehzade dairesi olarak kullanılmıştır.

Twin Pavilions / Crown Prince

Outside view of the Twin Kiosk

391 392
Twin Pavilions / Crown Prince

Yemiş Odası / III. Ahmed Has Odası, 1705 Sultan Ahmet III Has (Private) Room, 1705
Topkapı Sarayı III. Osman Köşkü, 1754- 1755 –
Sultan III. Ahmed’in (1703-1730) Harem’deki bu küçük odası, Hünkâr Sofası ile I. Ahmed Has Odası
arasındaki alanda yer alır.
Kiosk of Osman III in Topkapı Palace

393 395

73
 5.04.21

• Pleasure gardens, terraces, and hanging gardens

Topkapı Sarayı III. Osman Köşkü – • Private kiosks of the rulers and shore pavilions
Kiosk of Osman III in Topkapı Palace • Baghdad kiosk
• Revan Kiosk
• Çinili Kioks
• Mecidiye Kiosk
• Demolished waterfront kiosks (İncili Kiosk, Yalı Kiosk, İshakiye
Kiosk etc.)

398
396

399 400

74
 5.04.21

Sofa Camii
Esvap Odası
Kule
401 402

Baghdad Kiosk, 17th century

403 404

75
 5.04.21

Revan Kiosk, 17th century

405 406

Marble Sofa

407 408

76
 5.04.21

409 410
Jean-Léon Gérôme, The Harem on the Terrace, 1896

Sofa Kiosk, 18th century

411 412

77
 5.04.21

Mecidiye Kiosk, 19th century

413 414

Tiled Pavilion (Çinili Köşk), 15th century

Tiled Pavilion (Çinili Köşk), 15th century

ÇİNİLİ KÖŞK
Fâtih Sultan Mehmed zamanı
(1472-73)

415 416

78
 5.04.21

417 418

419 420

79
 5.04.21

421 422

Museumification: The Ottoman Imperial Museum

423 424

80
 5.04.21

• İncili Köşk
• Yalı Köşkü
• Sinan Paşa Köşkü
• Şevkiye Köşkü
• İshakiye Kasrı
• Alay Köşkü
• Abdülaziz Köşkü
• (Sepetçiler Kasrı) – Existing Structure

425 426

Yalı Kiosk, 16th century İncili Kiosk, late 16th century

427 428

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Sepetçiler Kiosk, 17th century

THANK YOU FOR YOUR ATTENTION !!!

429 430

82
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Ottoman Architecture
between the 14th and 20th centuries
• Early Ottoman Architecture, 1300-1450s
– Iznik, Bursa, Edirne

• Transition to Empire, 1450-1500s,

– Istanbul, Edirne

CLASSICAL OTTOMAN ARCHITECTURE: • Classical Period 1500-1700s,

– Istanbul: The World Empire, Mimar Sinan, the search for images,
16TH CENTURY symbolism, monumental buildings
MİMAR SİNAN AND AFTER • Early Modern Ottoman Architecture, 18th century
– First contacts and interactions with Europe, Tulip Age, Baroque /
Rococo trends, public opening

• Late Ottoman Architecture (19th century),

– Centralization, modernization, search for modern identity, modern
building types, eclectic-neo-classical and refreshing approaches.
3

CLASSIC
CLASSICAL

• Etymology: French or Latin; French classique, from • Etymology: Latin classicus

Latin classicus of the highest class of Roman citizens,
of the first rank, from classis • Date: 1599

• Date: circa 1604 • 1 : standard, classic

WHAT IS CLASSIC? • 1 a : serving as a standard of excellence : of recognized
value <classic literary works> b : traditional,
enduring <classic designs> c : characterized by simple
tailored lines in fashion year after year <a classic
suit>
2 : of or relating to the ancient Greeks and Romans or
their culture : classical
3 a : historically memorable <a classic battle> b :
noted because of special literary or historical
associations <Paris is the classic refuge of
expatriates>
4 a : authentic, authoritative b : typical <a classic
example of chicanery> <a classic error>
5 capitalized : of or relating to the period of highest
development of Mesoamerican and especially Mayan
culture about a.d. 300–900
2 a : of or relating to the ancient Greek and Roman world
and especially to its literature, art, architecture, or ideals
<classical civilization> b : versed in the classics <a classical
scholar>
3 a : of or relating to music of the late 18th and early 19th
centuries characterized by an emphasis on balance, clarity,
and moderation b : of, relating to, or being music in the
educated European tradition that includes such forms as
art song, chamber music, opera, and symphony as
distinguished from folk or popular music or jazz
4 a : authoritative, traditional b (1) : of or relating to a form
or system considered of first significance in earlier times
<classical Mendelian genetics> (2) : not involving relativity,
wave mechanics, or quantum theory <classical physics> c :
conforming to a pattern of usage sanctioned by a body of
literature rather than by everyday speech
5 : concerned with or giving instruction in the humanities,
the fine arts, and the broad aspects of science <a classical
curriculum>

1
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What Is Classıc?
• 'Classicus' means 'highest' or 'best' and 'highest class Roman citizens' in Latin. OTTOMAN SULTANS OF THE PERIOD
• Classic: "An extraordinary example of a particular style"; "something of lasting value or timeless
quality"; "something that exemplifies the first or highest class of quality".

• It belongs to or relates to a civilization or a period of the highest development of its culture.

• The period (or its artists, writers, thinkers, and works) when the most superior, mature and timeless
(not losing value over time) cultural and artistic works of a civilization (or state, people) were Transition to Empire (1450-1500s)
created.
• Mehmed II (Fatih / Conqueror) (1451-1481)
• It refers to all kinds of art, architecture, and styles produced in the classical Ancient Greek and • Bayezid II (1481- 1512)
Roman cultures (between 800 BC and 400 AD).
• It is about the culture, language, and art of Ancient Greek and Roman times. • Selim I (Yavuz Sultan) (1512- 1520)
• Classicism / Classicism
• Refers to historical traditions, styles, or aesthetic attitudes based on or inspired by the ancient Greek
and Roman era.

Classical Period
• Süleyman I (Suleyman the Magnificent) (1520 -1566)
• Selim II (1566- 1574)
• Murad III (1574- 1595)
0

SULTAN I. SÜLEYMAN (Kanuni / The Magnificent) (1495 -1566)

• Nicknamed "The Magnificent" in Europe

• He ruled for 46 years between 1520-1566.
• Universal caliphate claim.
• Longest reign and having longest campaigns to numerous countries.
• Expanded the territories of the Empire (14 million km2)
• Conducted 13 major military campaigns (10 years):
• (1521 Belgrade, 1522 Rhodes, 1526 Mohaç, 1535 Baghdad, 1537 Aden, Preveza 1538)
• Besieged Vienna in 1529.

SULTAN I. SÜLEYMAN •

•
Died during the Siege of Zigetvar in 1566

The adjective "lawful" appeared much later in the 18th century.

(1495 -1566)
• The real lawmaker was Mehmet the Conqueror.
• The Kanuni period was accepted as the "Golden Age" just after a century his death.

• The doomsday (kıyamet) expectation of the year 1000 (1591/1592) on the Muslim calendar.
• He was highlighted as the Mahdi of the century by the Sunni ulama
(Because He was born in the 10th century of the Muslim calendar and the 10th Ottoman
The Law Giver / The Magnificent
•
sultan ).

• Received a very good education.

• Crown prince as the governor of first Kaffa and Manisa.
• Known Arabic, Persian, Chagatai, and Serbian.
• Poet, calligrapher, and jeweler (expert on precious stones).
– Wrote poems (gazel) with the pseudonym Muhibbi, he has a divan.
• Fond of music and books.
• He married his concubine Hürrem Sultan.

12

2
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Suleiman I painting by the Italian painter Titian around 1539.

13 17

Suleiman the Magnificent

King John Sigismund of Hungary with Suleiman in 1556

Kanuni Sultan Süleyman ve Macaristan Kralı II. John Sigismund Zapolya, 1556: Süleyman, II.
19 John Sigismund Zapolya'dan Macaristan tahtına geri dönmesini ister. Osmanlı minyatürü, 16. 20
yüzyıl. (Fotoğraf APIC / Getty Images)

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FAMOUS CROWN Sultan's Signature, TUĞRA

EACH ROW REPRESENTS A DIFFERENT
EMPIRE

Four separate rows represent east, west, north, and south:

• The Khan of Asia, the Roman Caesar, the Sultan of

Egypt.

• Crown refers to the ruler of the world.

21 24

Sultan Suleyman:

“Always victorious sultan, king of shahs, crowned lord of the

universe, the shadow of God on earth, sovereign of Mediterranean
and Black Sea, the ruler of Rum, Anatolia, Greece, Karaman,
Dulkadir, Diyarbekir, Damascus' of Aleppo, Cairo, Jerusalem,
.
Mecca and Medina, Yemen, Jeddah etc.”

31 32

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Ottoman Empire

• Centralized empire, single centered, single-dynasty, all power was in a single center.
• The Devshirme system
• Kapıkulları (the sultan’s household slaves (kapıkulu)(Janissary standing army)

• Sunni Islam
• Religious authority was represented by the sultan regarded as the shadow of God on earth.
• Unrivaled and holy sultan figüre
• A personality cult developed around the sultan
• Seen as divinely appointed.

• Glorification of the Ottoman Dynasty and Empire through art

• Architecture and Historiography gains great importance, "Şehnamecilik"
• Development of a distinctively Ottoman style of architecture.
• Şehname: Manuscript books with miniature illustrations

34 38

Matrakçı Nasuh, Menazilname, (Description of the places where the army passed and stayed)

Ârifî Fethullah Çelebi’nin Süleymannâme adlı eserinin ilk iki

sayfası (TSMK, Hazine, nr. 1517)

• manuscript books with miniature illustrations

Şükrî-i Bitlisî’nin Selimnâme’sinden minyatürlü bir sayfa

39 41
(TSMK, Hazine, nr. 1597)

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Organization Of Art And Architectural

Activities In The Empire

• Establishment of architectural, artistic, and craft institutions bonded to

the palace > artistic and architectural patronage of the palace.
• At the end of the 16th century, the Ottoman
• (Service Offices at the Birun part of the Palace)
Empire was the most advanced example of the
Ehl-i Hiref Organization / Imperial Guild of Crafts
Middle East empires with its state and
• (It was an institution that includes master craftsmen in every craft and
government traditions, financial policies, land art branch from jeweler to the miniature artist, from weapon maker to
fabric designer existed in the Ottoman period.)

order, and military organization. • Nakkaşhane (Handwritten book and miniature production place),
Miniaturist (Nakkaş)

Hassa Mimarları Ocağı / Imperial Guild of Architects

• All guilds serving in the city area were connected.

• Management center for all architectural and construction works of the
empire.
• Sinan (15-12) worked as the chief architect and directed the workshops
44 46

Imperial Guild of Architects carrying the model of the Suleymaniye Mosque

• The capital city of Istanbul (formerly

Constantinople) became a major center for all
matters of cultural significance, from
manuscript illumination to architecture.

• The Ottoman Sultan and his palace was the

biggest and most important art patron.

47 51

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Known that approximately 250 tradesmen groups participated in the tradesman

procession of the circumcision wedding festival.
1582 Şenliği, Nakkaş Osman ve Atölyesi,
52 Surname-i Hümayun, Topkapı Sarayı Müzesi H.1344 53
Imperial Guild of Architects carrying the model of the Suleymaniye mosque1582- 88

Known that approximately 250 tradesmen groups participated in the tradesman

procession of the circumcision wedding festival.
Mimar Sinan

54

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ARCHITECT SINAN
1489-1588

• Architect, carpenter, hydraulic engineer, bridge builder, military engineer.

• He was the chief architect during the periods of Suleiman the Magnificent, Selim II,
and Murad III.
• Head of Imperial Guild of Architects

• A Christian convert from Kayseri Ağırnas village

• Recruited as a devşirme in the period of Selim I (1512-1520).
• He was trained to be a janissary; He studied carpentry while he was in Acemioğlan
Quarry in Istanbul (approx. 1512-1521).

• He participated in military campaigns with Selim I and Süleyman I:

• (As Acemioğlan) Iran (1514), Egypt (1516-18); (As Janissary) Rhodes (1522), Belgrade
(1521); (while equestrian) Mohaç (1526); German expedition (1532), Baghdad (1534-37);
(While Haseki) Corfu and Pulya (1537), Karaboğdan (1538).

• He became the chief architect (Hassa Architect) in 1539 and served for 49 years.

77
• According to his biography, he designed about 477 buildings throughout the Ottoman
Empire

80 81

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(AUTO) BIOGRAPHIES OF
SINAN

• Tezkiretü'l Bünân (Buildings Memory Book)

• Tezkiretü'l Ebniye (Buildings Memory Book)
• 1580s ??

• Written by Poet-Nakkaş Mustafa Sâi

82

‘Fakir Sinan, saray mimarlarının başı’

el-fâkir Sinan ser-mi’maran-ı hassa
(the humble and lowlySinan)

bende-i miskin kemine derdmend

(the poor, meek, pitiful servant)

el-fakirü’l-
hakir Sinân
(the humble
and lowly
Sinan)

ser-mi’mârân-i hassa müstemend

(the humble chief of royal architects)

Mimar Sinan on the Süleymaniye’s

construction site, Târîh-i Sultân
84
Süleyman, 1579.

9
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86 88

T he 4 M aster Wor ks O f T he Sul tan

Sül eym an Er a Befor e Ar chı tect Sı nan

• Sultan Selim Mosque, 1521-1528

• Sultaniye (Hafsa Sultan Complex) in Manisa, 1522? • There is a parallel between the centralization
• Çoban Mustafa Pasha Complex in Gebze, 1524 of the empire and the orientation to the
• Fatih Pasha Mosque in Diyarbakir, 1523 central space.

90

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Sultan Selim Mosque, 1521-1528

• It was built by Kanuni for his father Yavuz Sultan Selim.

• An interpretation of Edirne Beyazid II Mosque
• Chief Architect Alaüddin, nicknamed Acem Alisi
• The last example of the reverse T type selatin mosque in Istanbul.

91 93

What was the meaning of architectural production in the

THE WORKS OF SİNAN classical Ottoman Era and how were the architects and their
productions perceived?

• Mimar Koca Sinan (c. 1489-1588), the Great Architect Sinan, was appointed
chief royal architect to the Ottoman court by Sultan Suleyman I in 1539.

• During his fifty-year career, according to his biography, he designed and

constructed hundreds of buildings including mosques, palaces, harems,
chapels, tombs, schools, almshouses, madrassahs, caravanserais, granaries, • Before the classical period, the names of architects and
fountains, aqueducts, and hospitals. artists were found in building inscriptions.
• 8 crypts, 38 Turkish baths, 36 palaces, 20 caravansaries, 8 bridges, 5 aqueducts, 3 hospitals,
17 hospices, 17 türbe mausoleums, 26 Quran reading houses, 55 madrasas, 51 prayer rooms,
81 mosques. • After the classical period, only the name of the patron was
• Because all architectural activities in the Classical Ottoman Era were included in the building inscriptions. The names of the
carried out from the center of Hassa Mimarları Ocağı in Istanbul, all of these architects were never mentioned.
buildings may have been attributed to Sinan. But it is impossible to design
ve construct such a big amount of buildings. So all these buildings were
probably done under the supervision of chief architect Sinan.

• The distinctive architectural idiom of produced in Istanbul left its imprint

over the terrains of a vast empire extending from the Danube to the Tigris.

96

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Transformation In The Concept Of

Social Complex (Külliye)
Geographical distribution of
Sinan Mosques
Sinan's social-religious complexes, which focus around mosques
Construction activities all
over the empire without tabhane (hospice), can be divided into three:

• City complexes with or without accommodation for passengers

• Menzil complexes designed as stopovers on roads

• (Especially on the main road connecting the Balkan lands of the Empire
to Hejaz)

• (Menzil kulliyes -located on pilgrimage, communication, trade and

military routes)

97

Transformation In The Concept Of

Social Complex (Külliye) The ancient Roman road between
Istanbul and Nis was repaired and
menzil complexes within a day's
distance and bridges were built.

• On the haji route extending from the Balkans to the holy lands to
Mecca, many menzil complexes were built.

• All three sultans gave great importance to the renovation project of

the Kaaba since the Ottoman sultans became the protector of the
holy lands.

104

12

Kanuni Sultan Suleyman Bridge, Buyukcekmece, 1566-1567
• The only structure that Sinan signed
• The last work that brought Sinan and Kanuni together
• The bridge, 636 meters long and 7.17 meters wide, consists of 4 separate
sections and 28 arches with a thickness of 58-62 centimeters.
106
Public Images of Distinguished Patrons
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4/8/2021
107
PUBLIC IMAGES OF
DISTINGUISHED PATRONS
• The newly formed Ottoman elites were eagerly establishing vakıfs
(endowment) and building mosque complexes all over the empire.
• In the architectural formation of these mosques, there were some
unwritten rules of customs (adap, decorum) that had to be followed.
• Sinan's rich variety of mosque designs sprang from a process of
negotiation between the architect and his patrons.
• Sinan created a layered system of mosque types, reflecting social status
and territorial rank, shaped by ideas of identity, memory, and decorum.
• Sinan's works, with their highly standardized pattern of forms, used in
ingeniously varied combinations.
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Distinguished Architecture Patrons of the Classic Ottoman Era Distinguished Architecture Patrons of the Classic Ottoman Era

114 115

117 118

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119 120

IS THERE A MODULAR SYSTEM IN SINAN MOSQUES? IS THERE A MODULAR SYSTEM IN SINAN MOSQUES?

• In architecture, the modular system describes a structure formed at

equal intervals on the x-x and y-y axes perpendicular to each other.

• Modulation is a definition that refers more to contemporary

architecture.

• But geometric and arithmetic layouts, which are also determinant in

the dimensioning and shaping of traditional buildings, were used.

• We have a limited number of documents and drawings describing

the structures of classic era Ottoman architecture. Those limited
documents are in the Ottoman Archives and Topkapı Palace
Museum Archive.
(The only existing drawing attributed to Sinan is an estimation
modular plans drawn on grid paper ?
project prepared for the Kırkçeşme water distribution system of
the second half of the 16th century.)

• Based on these documents, Necipoğlu suggests that the structures

were built during this period using “modular plans drawn on grid
paper”. 123 124

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SPATIAL LOCATION OF SİNAN MOSQUES

IN ISTANBUL

SINAN'S NEW MOSQUE

• At the top of the topography (Süleymaniye..)
AESTHETICS AND ISTANBUL
• In the inner and outskirts of the city (Üsküdar Atik Valide…)

• Panoramic location selection on the coasts (Üsküdar Şemsi Paşa,

Mihrimah Sultan..)

127 129

130 131

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A classification based on the number of feet of the infrastructure system carrying the
How do mosque building types develop in the main dome?

sixteenth century?
SQUARE, HEXAGONAL, AND SQUARE LEGGED BALDACHIN VARIATIONS

The most important feature of Classic Ottoman architecture:

• The development of a total (monolith) interior with light-filled

centralized domes.

• Sixteenth-century architects developed all the possibilities of the

domed structure, with almost all of its variations, often in an
effective exterior architectural plastic.

• Whether four-legged, six-legged, or eight-legged schemes are

used in mosques, the functional four-cornered plan of the
infrastructure is indispensable.

136 137

Square Baldachin Hexagonal Baldachin

138 139

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Octagonal Baldachin

140 141

These two mosques were built on the same dates.

FIRST BUILDINGS FOR THE

SULTAN SÜLEYMAN FAMILY

(The years between 1538-1550)

• Haseki Complex, (1538-40, 1550-1551)

• Mihrimah Sultan Complex, Üsküdar, (1543-44-1548)

• Şehzade Complex, Beyazıd, (1543-1548)

• Edirnekapı Mihrimah Sultan Complex, (1563-1570)

• Süleymaniye Complex, 1548-1559

142

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HASEKİ HÜRREM K ÜLLİYE

• Built for the wife of Süleyman I, Hürrem Sultan in 1551

• Istanbul, Haseki (Fatih district), near Slave Market
(Avratpazarı)
• First royal project designed by Mimar Sinan after being
the chief architect.
• Mosque is from the previous period
• Medrese
• School (Sıbyan Mektebi)
• Soup Kitchen (İmaret)
• Hospital
• Fountain

147

Haseki Kulliye, divided into two by Haseki Street, consists of structures placed on different axes.

148

19
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150 151

152 154

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Şehzade Complex 1543-1548

ŞEHZADE CO MPLEX
1543-1548

• The first imperial complex by Architect Sinan was

commissioned by Süleyman I for his son Şehzade
Mehmed, who died at 1543 at the age of 22
• Built between 1543-48
• Sinan describes this mosque as his apprenticeship
work.
• It consists of a mosque, school, tomb, medrese, tabhane
(hospice, guesthouse), caravanserai and an imaret
(soup kitchen)
• The mosque with a central dome on 4 piers and
supported by 4 half domes is the most frequently used
model of the Ottoman architecture.

158

159 160

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A new façade aesthetic: Lightened side facades with domed exterior porticos.
• Kubbe çapı: 18.50 m Opening the wall surface to outside, new dynamic wall surfaces.

162 163

Aesthetic use of weight towers in corners

165 166

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Interior decorated with wall painting and calligraphy ornament and also very luminous and bright :
Embroidered minaret, Opening of the introverted Islamic structure to the outside
reference to the Seljuk period

167 168

Early Ottoman and Seljuk

architectural influences
segmented dome

169 170

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171

SÜLEYMANİYE COMPLEX
• Built for Süleyman the Magnificent, 1551-1557, Istanbul
• The biggest complex ever built, 60 acres area.
• A new larger-scale interpretation of the Fatih Complex.
• Sinan describes this mosque as his journeyman (kalfalık) work.
• Monumentalization of the divinely blessed universal caliph-sultan image
• Various madrasahs, the highest level educational institution of the period.
• Library - Hospital - Tabhane (hospice)
• The power of the Sultan-State image • Primary School - Cemetery - Tombs
• Imaret - Arasta - Turkish Bath
• Dome: 53 m high and 27.5 m diameter (Smaller than Hagia Sophia -dome
• The glory of the empire carved in stone height 55.60 m; diameter 30-31.87 m)
• Reinterpretation of the Hagia Sophia plan
• 4 minarets with many balconies
• Geometric, axial planning, refined proportions
• Pyramidal staging of domes and semi-domes of various sizes
• Internal and external porticoes displaying many colorful ancient columns
• "Use of spolia ancient porphyry (somaki) columns"

24
 4/8/2021

A social institution that serves God, knowledge, public health, the poor, and trade.

SULEYMANIYE COMPLEX, 1551-1557

176 177

178 179

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SULEYMANIYE COMPLEX
1551-1557

SULEYMANIYE VAKFIYE (ENDOWMENT DEED):

• The organization that mobilized the whole state mechanism.

• 2000, sometimes 3000 people per day worked on the
construction site.

• The staff of the complex was approximately 770 people.

• Along with religious and educational services, food was given to
2500 people per day.

• According to its Vakfiye, 221 villages, 30 cultivated fields, 2

neighborhoods, 7 mills, 2 fishponds, 2 wharves, 1 pasture, 2
farms, and annual products of 2 villages and 2 islands were
allocated to the Süleymaniye Complex.
183

• The most important innovation in the architecture of

Hagia Sophia was the unusually large size for a church,
the size and height of the dome dominating the central
space.

• Ayasofya'nın mimarisindeki en önemli yenilik,

ölçülerinin bir kilise için alışılmamış büyüklükte oluşu,
orta mekâna hâkim olan kubbenin büyüklüğü ve
yüksekliğiydi. Reinterpretation of the Hagia Sophia plan
Dome: 53 m high and 27.5 m diameter (Smaller than Hagia Sophia -dome
185 height 55.60 m; diameter 30-31.87 m) 186

26
 4/8/2021

187 188

II. Beyazıt Külliyesi, 1501-1505/6

II. Beyazıt Külliyesi, 1501-1505/6
After the Fatih Mosque the second reinterpretation of the Hagia Sophia plan
in Istanbul
Dome:
16.8 dia.
44 hi.

189 190

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 4/8/2021

191 194

4 minarets with many balconies

Geometric, axial planning, refined proportions
Pyramidal staging of domes and semi-domes of various sizes

199 200

28
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203 206

207 209

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Suleymaniye side facades have gained a light appearance with porticos and 210 211
windows.

212 213

30
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214 215

Internal and external porticoes displaying many colorful ancient columns

"Use of spolia ancient porphyry (somaki) columns"

216 218

31
 4/8/2021

219 220

222

32
 4/8/2021

224

influence on the cityscape of Istanbul, 1590

Sarây-ı Atîk-i Âmire ve Süleymaniye Külliyesi’nin tasvir edildiği Cornelius Loos
tarafından çizilen 1710 tarihli gravür

Süleymaniye Mosque magnificently completes the silhouette of Istanbul.

226 227

33
 4/8/2021

Süleymaniye Mosque magnificently completes the silhouette of Istanbul.

228 231

233 234

34
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SÜLEYMAN’S TOMB
DO ME O F THE ROCK

235

238

35
 4/8/2021

239 240

Suleymaniye Complex, Damascus

(1554-1559; 1567;1576)

Contemporaneous with the Suleymaniye Complex in Istanbul. 242 243

36
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Among the complexes, the mosque and its annexes were built between 962-966 (1554-1559)
by Sultan Süleyman, during the reign of Selim II, a madrasa and a cross were added
244 between 1566 and 1567, and the hankah was completed after 1576. 245

246 247

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(1554-1559) by Sultan Süleyman

On the pilgrimage route from Istanbul to Mecca, on the bank of the River Barada as the last stop before
248 249
the desert.

250 251

38
 4/8/2021

ÜÇ SEREFELI M. FAT I H M . B AY E Z I D I I ’ S M . ŞEHZADE M.

252

ÜSKÜDAR MİHRİMAH SULTAN

MİHRİMAH SULTAN COMPLEX
COMPLEX

Two mosques in the name of Süleyman I’s favorite

daughter, Mihrimah Sultan

• Külliye in Üsküdar (1548)

• Külliye in Edirnekapı (1562-1565)

257

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Mihrimah Sultan Külliyesi, Üsküdar, 1548

258

260 261

40
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Square baldachin scheme

Cruciform piers

262 263

264 265

41
 4/8/2021

266

268 269

42
 4/8/2021

ED İRNEKAPI M İHRİMAH S U LTAN

CO MPLEX

272

274 275

43
 4/8/2021

276 277

278 279

44
 4/8/2021

280

283

45
 4/8/2021

284 285

RÜSTEM PASHA MOSQUE

• Grand vizier and husband of Mihrimah Sultan

• Believed to be the richest man of the 16th century
• In the center of the market, Tahtakale
• Mosque raised from ground (Fevkani)
• Shops underneath
• Fabulous Çini Tiles

286

46
 4/8/2021

290

291 292

47
 4/8/2021

293 294

295 296

48
 4/8/2021

297 298

299 300

49
 4/8/2021

301 302

Sultan Selim II (1566-1574)

Grand Vizier (Groom) Sokullu
Mehmet Pasha

303 305

50
 4/8/2021

306 307

Crown of Edirne City

Selimiye Külliyesi
1568-1574, Edirne

Le Corbusier compares the Selimiye Mosque to a city crown.

Crown of Edirne City

309 310

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 4/8/2021

A new mass dynamism and flexibility:

It leaves the pyramid-shaped arrangements of domes and semi-domes.
SELİMİYE COMPLEX
EDİRNE, 1568-1574

• At one end of the imperial road from Istanbul to Edirne.

• Bani: Sultan Selim II (1566-1574)
• Its foundation was laid just before the conquest of Cyprus
(1571).
• Completed after the death of Selim II
• Built over the Old Palace of Edirne
• Sinan describes this mosque as his “masterpiece”.
• Dome: 43,25 m. height; 31,25 m. diameter
• Finally Ottoman architects overpassed the dome of Hagia
Sophia (height: 55.60 m.; diameter: 30-31,87m.)
• 8-legged central plan, pompous (müzeyyen) style decoration
• Muezzin chamber with pool underneath
• Had a very important place in Ottoman architecture in terms
of calligraphy, ceramics, and marble.

311

190 x 130 meters

(or more than the length of two football fields)

Mihrap cumbası
şahnişin

313 315

52
 4/8/2021

316 319

Selimiye Mosque is located on a raised floor with a few steps in the middle of a regular rectangular
courtyard.

Four equal-height minarets with three balconies accessed by three separate stairs Ek yapılar almaşık duvar,
cami kesme taş

320 321

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Cami ve ön avlu 60x44 m dikdörtgen alanlar

Kubbe: 43,25 m yükseklik; 31,25 m çap

323 324

Piramidal silüet terk edilir

325 326

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 4/8/2021

The dome sits on eight piers in an octagon, rather than the usual four larger piers, giving the central space
a feeling of openness and weightlessness that is enhanced by the light that filters in from hundreds of small The ethereal dome seems weightless as it floats above the prayer hall. All of the
windows. architectural features are subordinated to this grand dome. The dome rests on eight
muqarnas-corbelled squinches that are in turn supported by eight large piers.

32
327 8

Caminin harim bölümü dıştan doğu, batı

ve güney yönünde farklı büyüklüklerde,
sivri kemerli açıklıklı galerilerle
çevrelenmiştir.

329 330

55
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Selimiye Camii’nin hünkâr mahfili

331 332

333 334

56
 4/8/2021

335 336

337 338

57
 4/8/2021

339 340

work worthy of admiration by the world by Evliya

341 342

58
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343

Lüleburgaz Sokullu Mehmet Paşa Lüleburgaz Sokullu Mehmet Paşa

Menzil Külliyesi, 1546-1569 Menzil Külliyesi, 1546-1569

352 353

59
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Lüleburgaz Sokullu Mehmet Paşa Menzil Külliyesi, 1546-1569

354 355

356 357

60
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359 361

KILIÇ ALİ PASHA COMPLEX

• Istanbul, Tophane, consists of a mosque, medrese,

türbe and hamam
• Commissioned by Kılıç Ali Pasha, the Commander
of the Fleet, to Mimar Sinan in 1581
• Yali mosque, on filled land

374

61
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375 376

377 378

62
 4/8/2021

379 380

381 382

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PİYALE PASHA COMPLEX

• It was commissioned by Piyale Pasha, the

Commander of the Fleet to Mimar Sinan in 1571
• It was composed of a mosque, a medrese, a tekke, a
tube, a cemetery, a primary school, sebil, row of
shops and a hamam building
• Grand mosque (ulucami) plan
• Multiple domes
• Reminiscence of early Ottoman architecture

385

387 388

64
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389 390

391 392

65
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393 394

Square Baldachin

395

66
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Hexagonal Baldachin Octagonal Baldachin

WATER WO RKS

• Water problem of Istanbul since antiquity

• Renovation of Roman aqueducts
• Making of new water works providing fresh water to the city
• Sinan constructed three water supply systems, each with a total length of
about 50 km and fed from two distinct sources:
• Taşlımüsellim to Edirne, still in partial operation
• Süleymaniye to Istanbul now obsolete
• Kırkçeşme to Istanbul still in operation
• Kırkçeşme Aqueduct was the biggest water complex of its time.
Consisting of 33 huge aqueducts, this structure was designed for the
water need of Istanbul. Built between 1554 and 1560 to bring water
from Belgrad Forest, this structure is a total engineering masterpiece.

407

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Mahmudiye (Kalfaköy) yakınındaki Ma'zul kemer ise (IV. yy.) o devirdeki Halkalı sularına aittir'.
408 409

Mağlova Aqueduct was built by Mimar Sinan between 1554-1563 to bring the 2 thousand-year-old
Kırkçeşme Waterway System to Istanbul with the order of Suleiman the Magnificent.
36 m height, 258 meter length. UNESCO World Cultural Heritage List.

WATERWAYS AND AQUADUCTS

BUILT BY MIMAR SINAN:

• Bend Kemeri (in Kağıthane),

• Uzun Kemer (in Kemerburgaz),
• Maglava Kemeri (in Kemerburgaz),
• Gözlüce Kemeri (in Cebeciköy),
• Aquaduct near Müderris Village (in Kemerburgaz)

410

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Ar e T h e r e S i m i l a r i t i e s B e t w e e n T h e
C l a s s i c O t t o m a n An d T h e R e n a i s s a n c e
Worlds?

• There are simultaneity and similarity in the interest in the central

domed spaces.

• However, approaches to architectural culture in the Ottoman

world were not written, and very few drawings have survived to
the present day.

• In contrast, in Renaissance Europe, architects considered

themselves as designers and artists were putting down their
thoughts on paper and expressing them with drawings.

412

Contemporary Mosque Architecture

How should the mosque architecture be designed today?

415 416

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 4/8/2021

417 418

http://www.mimarsinaneserleri.com/eserler.html

419 420

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Middle Ages
(about 476 to 1450)
• The historical period between the collapse of Western Rome and the end of
Antiquity at the end of the 5th century and the rebirth of the Renaissance or
classical culture in the 15th century.

High Middle Ages:

Rebirth Of Cities
&
Medieval Italian Cities

2 3

Europe-centered periodization
SOCIO-ECONOMIC PERIODS OF THE MEDIEVAL
The Fall of Western Romans 476
Classical Antiquity Middle Ages Renaissance Ø Early Middle Ages (between 476 - 1000 years):
High Late
Ø Europe was in political turmoil and economic decline.
Ancient Rome Early Medieval Ø Long-distance trade was interrupted.
Medieval Medieval
Ø Establishment of the Carolingian and Holy Roman Empires
Ancient Greek 1400-1520 ci Ø The feudal economy and mansions economy developed in Europe.
Ø The emergence of monasticism
Ø High Middle Ages (between 1000 and 1300):
Ø During this period, widespread and rapid economic development was
500 0 300 500 1000 1300 1500 observed.
MÖ MS Ø Crusades took place against Muslims.
Ø Migration and colonization activities became widespread within
Europe.
The Birth of Christianity
Ø The activities of establishing commercial bases outside and inside
Gothic (1150-1450) Ø The development of romanesque and gothic styles.
Romanesque (1000-1200) Ø Re-emergence of cities
Carolingian (780-900) Ø Late Middle Ages (between 1300 and 1450):
The Birth of Islam (610) Ø There was an economic crisis.
Byzantine (395-1453) Ø The population decreased due to epidemics.
Ø Famine, plague, 100 years' war (1137-1453)
Early Christian (313-476) 5 Ø The birth of the renaissance 6

1
 1.05.21

Interrelated Themes During An “Age of Great Progress”

• Demographic: Rise of cities and general population increase.

• Socio-economic: Rise of the middle class, burghers and capitals.
• Commercial: Intra-European land trade and European maritime
powers.
• Legal: Development of rights charters and challenge to feudal
system.
• Labor & production: Rise of guilds and craft specialization.

• The time during which Europe “took off” -- switching places with
Asia & Middle East in terms of social dynamism.

• Very early beginnings of western modernity

What Happened in the High Middle Ages?

• Cities redeveloped.
• City life emerged. City air makes you free….
• The wealthy merchant class living in the cities
emerged.
• City walls widened ...

2
 1.05.21

Medieval Cities in Terms of Their Establishments

1. The continuation of the old Roman cities:
Many rescued or revitalized old roman towns
– London, Paris, Cologne, Rouen, Bath, Dover, Cambridge, Canterbury, Leicester, Winchester,
Nijmegen, Aachen, Augsbury, Bonn, Koblenz, Mainz, Regensburg, Aix-en-Provence, Arles,
Strasbourg, Autun, Limoges, Chartres, Avignon, Tours, Cambrai, Lorraine, Carcassonne,
Digon, Metz, Reims, Poitiers, Marseille, Amiens, Toulouse, Rennes, Nimes, Geneva,
Lausanne, Zurich, Basel, Innsbruck,
– Genoa, Florence ... almost everything in Italy> except Venice (founded by Christians in 420 AD).
– Usually found on major river routes.
– Old French Burgeis (walled city), bourgeois (city dweller)
2. Some were established spontaneously and gradually developed around the overlord
castles, mansions, or monasteries.
3. Those developing in the seaport, waterfront, busy road, intersection, trade, fair and
market areas.
4. Regular cities, usually established in a planned manner after the 13th century:
Bastides e.g. Montpazier

• Cities were usually small (<50,000).

• Usually walled & organized around the main square (where the
market was held once a week), where the cathedral & town hall
were generally located.
• They were important economic centers. Its main professions were
crafts & trade.
• They were also important religious & cultural centers: there were
churches, monasteries, schools & universities…
• Cities were organized in neighborhoods called “boroughs”. Each
one was inhabited by people belonging to the same craft. There
were special quarters for minorities (Jews, Muslims).
• Medieval cities were usually walled. When the city grew too much,
they often built a new wall further away.

3
 1.05.21

Fairs proliferated and gained regional importance In Flanders and parts of Germany. BRUGE
The most important trading city of Medieval Flanders in the 13th and 15th cen.
The most important cloth export center
During the ‘Golden Age’ from the 13th
to 15th century, Bruge was arguably the
wealthiest city in the Low countries,
thriving on a sea trade in goods and
spices and wool and especially cloth.

Low Countries > Benelux Countries

https://portofzeebrugge.be/en/port/history/1895
Commercial: Intra-European land trade and European maritime powers.

4
 1.05.21

The Rise and Decline of the Market of Bruges

Bruges was a very important trade junction. • During the ‘Golden Age’ from the 12th to 15th century, Bruges was arguably
the wealthiest city in the Low countries, thriving on a sea trade in goods
and spices and wool and especially cloth.
• Bruges owed its 13th to 16th century wealth to the Zwin, an inlet that
connected it directly to the North Sea.
• Silting of the channel that allowed traders to reach the outlying ports of
Bruges eventually led to its decline and the rise of Antwerp.

Map of the 13th century Flanders coast with arrows showing the
Zwin area and the contemporary location of Zeebrugge harbor.
Zeebrugge harbor
The Zwin: marine tidal inlet
The golden inlet (Altın körfez)

Damme, the outer port of Bruges

Bruge extends outside of city walls and doubled (1280):

• First city walls 1127
• A new and larger fortification with 8 city gates, some preserved to this day, 1280.

The city of Brugges in 1562, portrayed by Marcus Gheeraerts (The Great).

5
 1.05.21

The city is given the right to self-government in 1127:

• The merchants of Bruges, one of the major distribution points,

gained the right to own their houses and land as freeholders in
1127 from the counts of Flanders. This led to the formation of
guilds and citizen councils similar to those in the Italian republics.
• By the end of the thirteenth century, Bruges had rebuilt its walls as
a gigantic oval enclosing the two earlier rings.
• The city also improved its canal system and constructed several
significant civic monuments, including the Belfry, the Cloth Hall,
and the Waterhalle.

THE BELFRY
It was a symbol of freedom, wealth and The development of the Belfry
urban power.
• The town treasury
• The town archives
• The town watchtower

• The Belfry, renovated in 1280, stood nearly as tall as Venice's Campanile.

• It was incorporated into the Cloth Hall Building, built for the guilds and also used for municipal
meetings.
• Its courtyard structure resembled the fonduk type in Cairo -but without the traders' apartments above-
and became the model for European stock exchanges built during the next four centuries.

6
 1.05.21

The Cloth Hall: The model for European stock exchanges (Borsa) buildings built during the next four The Saint Saviour’s Cathedral, the Church of Our Lady, and St. Donatian's Cathedral (former) were
centuries. built in the 12th - 14th century.

St. Salvator's

The Cloth Hall

The Saint Saviour’s Cathedral, the Church of Our Lady, and St. Donatian's Cathedral
(destroyed) were built in the 12th - 14th century.

St Donatian Cathedral
The Church of Our Lady

The Saint Saviour’s Cathedral

7
 1.05.21

First port warehouse building

During the 1280, the merchant regime of Bruges financed an innovative commercial structure, the Waterhalle, an immense covered hall, fifteen bays
long, that straddled the canal. In 1294, the Waterhalle, 95m long and
Traders unloaded their goods directly from the barges to the merchandisers' stalls in a protected environment without the need for extra hauling. The
about 30m high, was built as the central
designers articulated the pitch of the roof at each end with stepped gables.
point of the port of Bruges, right in the
heart of the city.

Schematic of the Waterhalle

It allowed vessels to cruise from the sea ports outside

Brugge, right into the heart of the city, where their cargo
could be unloaded undercover.

Brugge - Waterhalle 1280-94, demolished in 1787

When the boats no longer could reach the hall, it was

demolished in 1787 and replaced with a neoclassicist
building.
A monumental neo-classical housing complex during
the 18th and 19th century and, last of all, the current
three-part neogothic complex (from 1878) with its
impressive Provincial Court at the center.

Many of the colorful ‘Guild Houses’ frame the sides of the square.

8
 1.05.21

By the canal, houses of merchants enriched by trade Avila, Spain (north east of Madrid), +1088
A typical small-scale medieval town with walls
Jewel of the city: Gothic Cathedral, 1107

Scotland Edinburgh
a medieval city developed at the foot of the castle

Edinburgh, 17th century

9
 1.05.21

a medieval city developed at the foot of the castle

Carcassonne
• It is a famous medieval castle town built on a hill in the south of France.
• It was first built by the Romans in 100 BC, but has changed hands several times throughout history.
• It is an excellent example of medieval architecture and history, as much of the city has been restored and
preserved.

The four towns of Prague

and two castles in the
second half of the 14th
century.
The Jewish Town as
mapped in the first half of
the 19th century is
highlighted in the area of
the Old Town.

10
 1.05.21

Carcassonne
• Southern France, Rome 100 BC, Visigoth 453 AD, 725 Saracen, 759
Francs

• In 1240, King of France IX. Louis took the city from the Cathars.
• The city walls were extensively repaired and surrounded by a second
wall between 1248 and 1290> Outer walls
• Louis IX extended French power in the south, rebuilding Carcassonne
as a fortified bastion (fortress town).

Newly Planned Town: Bastide:

• King Louis IX established the new part of town across the river.

11
 1.05.21

• An irregular planning model that surrounds the market square, the castle and the church.

• Surrounded by double rows of walls

• The inner wall is 1245 m long with 29 towers
• The outer wall is 1320 m long with 18 towers
• Barbicans and drawbridges

Overlord's residence, Citadel, Castle

Overlord's residence, Citadel, Castle

• It was built in 1150 on the ruins of a Gallo-Roman building.
• Originally, it consisted of two main buildings and the 30-
meter-high Watchtower.
• Later, the French expanded and surrounded the castle and
turned it into a fortress within the castle.

12
 1.05.21

Louis IX extended French power in the south, rebuilding Carcassonne as a fortified bastion
(fortress town). Bastides

• They were new cities with grid-planned and

walled, built in the 13th and 14th centuries,
especially in medieval France (Southeast:
Languedoc; southwest: Gascony, Aquitaine),
England and Wales.

• The French and British attempted to colonize the

wilderness and take control of Gascony by
building new towns.

Bastides
• Each followed a simple grid layout of streets approximately 7 m wide.
• They divided the blocks into rectangular plots called "gothic lot" usually 5m x 10m in
size which the local villagers draw lots.
• Each settler was responsible for building a house within a year and attending the
costs of making the town's streets, walls, and bazaars.
• The dimensions of the "Gothic lot" were related to standard lumber lengths, and two
window panes per facade were allowed.
• A city charter dictated the choice and provision of location, the recruitment of settlers,
and the establishment of their legal privileges.
• Space was left empty for a market near the city center and a church nearby.

"gothic lot" usually 5m x 10m in size

13
 1.05.21

MÖ 100- MS1300 yılları

arasında inşa edilen
Carcassonne planı.

The grid-planned Bastide city founded along the Aude River in 1248.

About 700 bastides were built between 1222 and 1372 in southeastern France.
Plan of the four Bastide towns
Southern France, 1220-1375.

It tends to provide a square

marketplace with arcade in the
İngilizler
city center.

14
 1.05.21

Montpazier Montpazier, 1284

Founded by the British in 1284

Bastides concept – “gothic lot”

Montpazier, ortaçağ meydanı

15
 1.05.21

• New towns and expanding commercial cities

increased the accessibility and freedom of
movement of people, reducing the daunting Medieval Italian Cities
presence of feudal control.
• This brought a greater sense of social order and
a new perspective to the world.
• The city life liberates ....

93

95 96

16

How Did the Italian City-States
Emerge?
98
Italian Communes
• In the 12th and 13th centuries, the communes began to
establish various alliances and challenge the
sovereignty of the Holy Roman Empire.
• They had support from the Papal states in their
struggles against Imperial hegemony.
• With the Constance Peace (25 June 1183), they
gained political autonomy, local self-government, and
the right to the judiciary.
• In this context, they constituted the first examples of
'modern', regional, competitive, mercantilist economies
formed with the privilege of the freedom to elect their
own councils and regulate their legislation.
1.05.21
Italian Communes
• Beginning from the early 11th century, Northern Italy witnessed the
rise of communes.
• They were semi-autonomous city-states dependent on Holy
Roman Empire.
• Communes were founded in the cities of the bishopric when small
feudal noble knights of rural origin, who came to the city together
with the itinerant merchants (Borghesia-bourgeoisie), rebelled
against the bishops and took over the authority.
• There was a power struggle between the wealthy, noble, and
influential families living in the communes; there was a constant
conflict, quarrel, and blood feud in the city.
• Communes in the constant conflict were not safe places, the
streets were dangerous, there was no public space.
• Noble and influential families built tall towers in their residences for
defense, security, and prestige.
Italian Communes
• In the 13th and 14th centuries communes established new alliance
systems between themselves with beginning Guelph-Ghibellin
Wars.
• At the turmoil of these wars, internal conflicts were triggered
between these newly emerging cities.
• These later brought about the establishment of signoria
governments following the rank of podesta and capitano (captain).
• The highest ruling class, which were named "Signori" had
autocratic traits and came to power in 14th and 15th centuries
almost every cities of Northern and Central Italy.
• Papal states had executed a great campaign against these local
signori in their papal territories.
17
 1.05.21

Monteriggioni is a commune in the province of Siena in the Italian region of Tuscany. Monteriggioni ············> The Medieval Walled Commune City

A walled medieval commune city built on a natural hill in 1214-19.

103 104
Aerial view of Monteriggioni

SAN GIMIGNANO
Tuscany Region, linked to Siena

Italian Communes An Exemplary Italian Medieval Commune

• High towers dominated the city before Italian

cities were granted a freedom charter with the
peace of Constance.
Grossa Kulesi, 1300 ci., 54 m

Ø San Gimignano is a well-preserved medieval town surrounded by walls.

Ø It is called the 'Manhattan of the Middle Ages’
Ø 14 of the towers dated to the 12th and 13th centuries have survived.

108

18
 1.05.21

SAN GİMİGNANO
Örnek Bir İtalyan Ortaçağ Komünü

109 110

High towers (noble towers), massive structures, masonry architecture

Noble families dominate the city, the tower is a show of power, prestige and wealth
Noble families were in competition, constantly fighting with each other, in a race: the race to build a higher
tower.

112 113

19
 1.05.21

The Towers of Bologna

Noble families were in competition, constantly fighting with each other, in a race: the race to build a higher
tower

115 116

Almost every city has a patron saint.

Patron saint of Bologna

117 118

20
 1.05.21

119 121

Two Important Economic Hub in Europe After the Constance Peace

Flanders and parts of Germany fairs proliferated and gained regional importance.

122 123

21
 1.05.21

124 125

PUBL C
(KAMU)

126 127

22
 1.05.21

1200-1400: Architectural Consequence:

SIENA: Independent Republic

• Cities Built town Halls ··········> Palazzo Pubblico

• Cities built a new type of public space called a piazza.
• Cities competed to build urban cathedrals··········> Duomo
• Cities competed for market shares, while developing
specialized productions.
• The wealthy built private city palaces··········> Palazzo

128 129

130 132

23
 1.05.21

134 135

SIENA: Piazza del Campo / Palazzo Publico Siena – İtalya, Palazzo Pubblico / Belediye Binası

136 137

24
 1.05.21

138 139

The Allegory of Good and Bad Government (freosco) 1338-1339 by Ambrogio Lorenzetti -
Palazzo Pubblico / Town Hall in Siena, Italy

140 141

25
 1.05.21

This is one of the most ambitious and the largest landscape and cityscape that existed in medieval.
The Allegory of Good Government it's subject to secular, it's not a biblical scene.

143 144

What did cities look like in the late Middle Ages?

Paradise exists in an urban context.

This is the effects of good government in the city and in the country.

This is likely some allegory about the peace and prosperity that comes from good government.
A kind of utopia and a paradise exists in an urban context.
145 146

26
 1.05.21

This looks like the landscape around Siena.

There's a real sense of the observation of the natural world which is so unusual and new for
this time.

147 148

The Allegory of Bad Government

150 155

27
 1.05.21

156 157

158 159

28
 1.05.21

SİENA: Piazza del Campo/Palazzo Publico

160 162

163 164

29
 1.05.21

165 166

167 168

30
 1.05.21

169 170

171 172

31
 1.05.21

Siena Cathedral
1229-1337

173 174

Guelfi: Pope supporters (Florence)

Ghibellini: Holy Roman Empire (Siena)

In 1260, the Battle of

Monteaperti between Siena
and Florence took place.

The Sienans defeated the

Florentine army, began the
construction of the Siena
Cathedral to thank and
honor the Virgin Mary.

175 176
Daniel Waley, The Italian City-Republics, p.213

32
 1.05.21

Siena Cathedral
1229-1337

• Started in 1229 and the

dome was completed in
1264.
• In the 1317s the choir
was extended over the
baptistery, and only 20
years later the people of
Siena planned another
massive expansion.

179 181

• The exterior and interior are constructed of white

and greenish-black marble in alternating stripes,
with the addition of red marble on the façade.

182 183

33
 1.05.21

185 186

A second massive addition of the main body of the cathedral was planned in 1339.
It would have more than doubled the size of the structure by means of an entirely new nave and two
aisles ranged perpendicular to the existing nave and centered on the high altar.
Construction was halted by the Black Death in 1348 and was never resumed.

The outer walls that remain of this extension.

187 188

34
 1.05.21

BLACK DEATH

Plague doctor and his

typical costume during the
17th-century epidemic.

189 190

191 192

35
 1.05.21

• The Black Death was the deadliest epidemic ever • SILK ROAD
recorded in human history: • TRADE
• It resulted in the deaths of up to 75-200 million • THE CRUSADES
people in Eurasia, North Africa and Europe. • Fleas in the mice
• It peaked in Europe from 1348 to 1352.
• Disease caused by the bacteria Yersinia pestis.
• Black Death is the second largest plague epidemic
recorded after the Justinian Plague (542-546).

193 195

• SILK ROAD
• TRADE
196 197
• Fleas in the mice

36
 1.05.21

A miniature from a 14th century Belgian manuscript showing people who buried the
dead in the Black Death epidemic in Tournai, Belgium (1348)
204 205

Ölüm Dansı: Ring Around the Rosie

Kara Ölüm'den esinlenen ölümün evrenselliğine dair bir alegori, geç ortaçağın
sonlarında yaygın bir resim motifi

208 209

37

Fransa'nın eski Saint-André-de-Lavaudieu Manastırı'ndaki fresk, 14. yüzyıl
210
Decameron, 1349-53
Giovanni Boccaccio
A group of seven young women and
three young men, trying to escape the
plague epidemic that shook Europe
with mass deaths in the summer of
1348, set out to leave the city and seek
refuge in the countryside of Florence.
212
1.05.21
211
Consequences of the Black Death
• Europe's population was hit hard, and that had an economic impact.
Families were torn apart and villages were abandoned.
• The business collapsed and fiefs went bankrupt with tax losses, serfdom
came to an end.
• The workforce was destroyed.
• In the face of labor shortages, the price of labor skyrocketed and the cost of
goods soared.
• Yet food prices have not risen, perhaps because the population has shrunk
too much.
• Faith in God grew stronger, but there was growing suspicion about the
established church.
• Labor shortages changed the balance of power between lords and serfs.
• Authority and tradition were no longer accepted without question.
• It also led to positive changes in the field of medicine. After the Black
Death, more emphasis was placed on "anatomical research".
• It had an impact on the revival of Greco-Roman styles in architecture. 213
38
 1.05.21

Credit and debit business confused because of the

black plague.

Cosimo developed a new accounting system and laid

the banking foundations of the Medici Dynasty.

216 217

FLORENCE SILHOUETTE Present day Florence

Architectural structures that define the urban silhouette:
Vecchio Palace, Belfry, Florence Cathedral

218 219

39
 1.05.21

220 221

Florence Plan
- Crosshatch
area, original
Roman city;
- Inner black line,
13th century
walls;
- Outside line,
14th century
walls and
fortifications

222 224

40
 1.05.21

225 226

Vaftizhane: 1060-1150
Çan Kulesi, 1334-1360
Mimar Giotto
227 Brunelleschi’nin Kubbesi: 1420-1436 228

41
 1.05.21

229 231

Florence Cathedral
(Duomo / Santa Maria Della Fiore)
1296 -1436
Ø Arnolfo di Cambio (1240-1310), the architect of the cathedral
built in the Gothic style.
Ø The plan of the building shows a Latin cross/basilica form.
Ø The Bell Tower in gothic style standing apart from the entrance
facade is a design of Giotto di Bondone (1266-1337),
1334-1360.
Ø In the Proto Romanesque style, the Baptistery is dated between
1060 and 1150.
Ø By the beginning of the 15th century, the building was finished
according to Arnolfo’s plan, since the architect passed away, the
intersection of the cross arms is approximately 42 m. diameter
area could not be covered.
Ø Brunelleschi, who won the competition for this work, built the
dome between 1420 and 36, with a design that would lead to the
later Renaissance domes. 232 233

42
 1.05.21

1220-1270 1296-1436
Length 145 m Length 153 m
Width 70 m Width 90 m Amiens Cathedral, 1220-1270
Height 42.30 m Height 114.5 m
Spire height 112.70 m Floor area 8300 sqm
Floor area 7700 sqm

234 235

236 237

43
 1.05.21

238 239

240 241

44
 1.05.21

242 243

244 245

45
 1.05.21

246 247

248 249

46
 1.05.21

• The dome is an arch rotated around its own axis.

• How will the dome be built without using wooden formwork?

• While making the dome, a wooden mold is made and then the dome is knitted.
• When the Florence Cathedral was being built, there was a shortage of timber for
formwork.
• How will the dome be built without collapsing?

• How will the tensile and compression forces be dealt with?

• It was not desired to support the dome with flying buttresses.
• The dome presses outward.

250 251

• How do you create very large closed

spaces?

• WHAT WAS BRUNELLESCHI'S SOLUTION?

253

47
 25.05.21

Early Renaissance and

Spring 2021 Florence
Bahar Kaya
bahar.kaya@altinbas.edu.tr

134 135

WHAT IS RENAISSANCE?
According to the 19th century French historian Jules
Michelet, three points stand out in the concept of
WHAT IS RENAISSANCE? renaissance:

Ø Describing a particular historical period between

the Middle Ages and the New Age.
Ø Rediscovery of ancient philosophy and culture.
Ø The replacement of God-centered thought with
anthropocentric thinking.
136 137

1
 25.05.21

TIMELINE WHAT IS RENAISSANCE?

Renaissance as a historical period:
Ø It is the period in which changes and innovations in art, literature, philosophy, architecture and
science emerged, which lasted from about the late 14th century to the early 17th century,
started in Florence, Italy, and gradually spread to Europe.

Gothic /
Early Carolingian Baroque / Neoclassical /
Romanesque Renaissance Modern
Christian Early Medieval Rococo Romanticism
High Medieval

• Renaissance in the discipline of art and architectural

500 1000 1400 1600 1700 1900 history:
Ø It means the rebirth of Ancient Greek and Roman culture,
namely the Classical period.
Early Renaissance High Renaissance
1527 Mannerism

1400 1500 1527 1600

138 140

RENAISSANCE: Rebirth

Ø Derived from the French word 'renaissance', renaissance means

'rebirth'.

WHAT IS RENAISSANCE? Ø For the first time, the famous Italian artist Vasari (1511-71) used
the term 'Rinascita (rebirth in Italian)' to describe what has
been a series of developments in the history of Italian art
since the 13th century in his book called "The Lives of the
Rebirth Greatest Artists (1550)".

Ø In general, it can be described as the birth of many things:

Ø The birth of man, individual, modern art and modern
culture, etc.
141 142

2
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Modern culture started with the WHAT IS MODERN?

renaissance.

143 144

WHAT IS MODERN?

• Modern culture started with the renaissance. ITALY

TOSCANA REGION
• Is it a new way of thinking, seeing, perceiving and interpreting the
world?
• According to a general
PRE-MODERN MODERN acceptance, the birthplace of
Toskana the Renaissance is
Florence, the most important
city of the Tuscany Region.

• This is not an empire; it is the

center of a trading world.

145 146

3
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Why are City-States important?

What is a City-State?
• The city-state is an independent political structure governed by cities of • With the Constance Peace (25 June 1183), they gained political
different scales. autonomy, local self-government, and judicial right.

Italian City-States
• When the Renaissance began about 1400, there was no single Italian
nation but, rather, a series of small independent city-states (duchies,
republics, and kingdoms) along with the Italian peninsula.
• These cities were ruled by elected leaders, ruling families, feudal lords,
or military commanders.
• These city-states were in constant competition with each other, which
periodically led to armed conflict.
• All of these city-states were manufacture and banking centers and also
trading overseas.
• The most powerful and wealthiest Italian city-states around the 14th
century:
– Florence, Milan, Venice, Siena, Bologna, Genoa, etc.
• In this context, they constituted the first examples of 'modern', regional,
competitive, mercantilist economies formed with the privilege of the
freedom to elect their own councils and regulate their legislation.
• They were all a small industrial power in their own right and were
enriched by trade.
• The wealth of the Italian city-state played an important role in the
Renaissance.
• This wealth enabled prominent families to support artists, scientists, and
philosophers who rely on new ideas and artistic movements.

147 148

What are the preconditions for the

Renaissance?
Humanism
• Philosophical thought and intellectual movement, which considers classical
• The emergence of the Italian city-states culture as the highest doctrine and tries to revive it and attaches great
• Economic enrichment: Trade, industry, and banking constituted the economy of importance to human beings and their creations.
that period.
• The impact of the Crusades • It started in Renaissance Italy in the 14th century and later spread to Europe.
• Scientific discoveries such as printing press, compass, telescope, etc.
• The emergence of Humanism, an ancient philosophical thought based on – There was an intense interest in classical texts.
humans. – Translation of classical (ancient) texts into Latin came to the fore.
• An intense translation act.
• Humanism and investment in art, and culture gaining importance as a way to have – Emphasis on humans and their potentials.
prestige among the wealthy. – The physical world and man gained importance as beings worth studying.
• Scholars fleed from Byzantium with their books and also – Secularization: Interest shifted from God to man.
• Discovering Islamic and classical texts and translating all of them into Latin.
• The reemergence of New Platonism. • What is Classical Period / Antiquity?
• Discovery of perspective – Ancient Greek and Roman culture, art, and period
• Deaths as a result of the plague epidemic in 1348

149 150

4

EARLY HUMANISTS
Francesco Petrarca (1304-1374)
Ø Italian humanist and poet.
Ø One of the starters of European Humanism
Ø He aimed to establish a continuity between
classical culture and Christianity.
Ø He studied the works of the Roman scholars,
Virgil and Cicero.
Ø Thought classical culture as the highest
doctrine.
Ø The first person to use the term "Dark Ages"
for the Middle Ages, making a distinction
between the period in which he lived and the
Middle Ages.
151
153
25.05.21
EARLY HUMANISTS
Dante Alighieri, 1265-1321
Ø Italian humanist and poet
Ø The Divine Comedy, 1308-1321
Ø He wrote it in the Florentine
dialect, vernacular.
Michelino's fresco:
In the city of Florence, Dante stands at the foot of the 7-story
Purgatory Mountain at the entrance to Hell, the sphere of heaven
152
above, Divine Comedy in hand.
NEO-PLATONISM
• A philosophical thought that emerged in late antiquity.
NEOPLATONISM became very important in the renaissance.
• Beauty is a reflection of God.
• Man and nature are a divine reflection of God's beauty and are worth
studying.
• The universe and man are a reflection of a divine order, and arranged
according to mathematical principles.
• The language of nature is mathematics, organized by numbers and
geometry.
• Harmony, pure geometry, and ideal proportion are seen as a way to achieve
the divine.
154
5
 25.05.21

PLATONIC SOLIDS (Uniform Solid Objects / Regular Polyhedrons)

• Solid objects with equal sides and smooth surfaces

• Plato thought these objects were telling about nature and the divine.
• The circle was the purest geometric form and represented the divine.
• The square represented earthly space.

• Ideal Central Plan

• Microcosm (MAN) / macrocosm (UNIVERSE)
• Platonic solids

Source

The realm of ideals or

Heavenly Spaces
• Platonik biçimler
Natural or
Düzgün 6 yüzlü Düzgün 4 yüzlü Düzgün 12 yüzlü Düzgün 20 yüzlü Düzgün 8 yüzlü Humanist Spaces

Plato's (427--347 BC ) imagination of the

universe
156 157

"God as the architect of the world" GEOCENTERIC UNIVERSE MODEL

A medieval image of God who created the world with geometry and mathematics.
CHRISTIAN COSMOLOGY

• According to the geometry, a fixed point is required for circular motion to occur.
• According to Christian cosmology, the universe / cosmos is the circle and the central fixed
point is the Earth.

In Ptolemy's (MS 85-165) geocentric model of the universe:

The Earth, a pure sphere, was motionless in the center of the

universe. The Moon, Mercury, Venus, Mars, Jupiter, Saturn, and the
Sun were planets orbiting the Earth in circular orbits. Beyond these
was a sphere with fixed stars. Beyond that was heaven or God.
Creator of the Universe, Pantocrator, God 158
the Son The standard picture of reality in Christian and all
160
Gospel of Saint Louis later theology.

6
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DANTE'S According to Kepler, God had a geometric universe plan.

PARADISE
GEOCENTERED Model of the Universe developed by Johannes Kepler on Platonic forms
The Mystery of the Universe (Mysterium Cosmographicum), 1596
The first mover sphere
UNIVERSE
Fixed sphere of stars

Divine comedy is based on Planets

the geocenteric universe
model.
Dante navigates through
the realms.

The Kepler model of the universe is

based on intertwined platonic forms.

162 163

• Geometry and the Vitruvian Man

A diagram of how neo-Platonism transformed Plato's conception of the universe.
Vitruvian Man: Leonardo, 1500s Cesariano, 1521s
Light emitting

World of ideals

Natural world

THE WORLD OF PLATO (427-347 BC) WORLD OF PLOTINOS (205-70 AD)

= Platonism = Neo-Platonism

= Beauty is an illusion and is unreliable >>>>> = Beauty is a reflection of Divine.

= Only thoughts and ideas are real.
= Rational understanding is above emotional
understanding.
= Beauty can be achieved through contemplation.
= God created universe and man with rational
order. • The universe is the macrocosmic reflection of divine order.
• The body is a microcosmic reflection of divine order and therefore must be blessed.
165 166
Microcosm: Philosophical term that regards human beings as a reflection of the entire universe.

7
 25.05.21

NeoPlatonism NeoPlatonism
• Macrocosm: Universe • Maths
• Microcosm: Man • Geometry
• Ratio / Proportion
• The pursuit of beauty
Microcosmos to Microcosmos
• From world to universal: from the universe to people: • The circle is the purest and divine form and
• Making analogical projections from big to small represents the divine.
becomes widespread. • The square represents the material world.

167 168

Sandra Boticelli (1445 - 1510), 1485 c., The Birth of Venus

NEOPLATONISM became very important in the Renaissance.

The aim of Neoplatonism is represented in the image: Venus Pose, Venus Putica, Humble / Moral Venus
To reach beyond the limited space of the material world and to capture the light of God. 169 170

8
 25.05.21

PATRONAGE PATRONAGE
PATRON OF THE ARTS PATRON OF THE ARTS

Patronage: Supporting art and sponsoring artistic productions by wealthy

individuals, families or clergy. The patronage of art was seen as a civil duty with political
• A new civilian class enriched by trade emerged: implications.
• Rich and powerful families like Medici, Pitti, Rucelai, Strozzi (of
Florance), and Visconti and Sforza (of Milan). As one renaissance art patron puts it:
• During the Renaissance, investing in art among the wealthy classes
gained importance and became a prestige.
"… .. I supported the art because
• The capital accumulation that arose through trade was transferred to
artistic creations by the newly emerging wealthy class. " Because they serve the glory of God, the honor of the city
and the memory of myself. "
172 174

MEDICIS
• The Medici Family: They ruled the city of Florence during the Renaissance.

• The new commercial bourgeoisie: 15th and 16th-century Florentine bankers.

• (They made a tremendous fortune out of wool trading and banking.)

• Social, political, and artistic influence.

• Art and architecture patronage.
• The Medici dynasty issued three Popes.
• They also became Dukes of Florence in the 16th century.

• The Medicis, the most important art patrons, supported art, science, and artists
and made a tremendous contribution to the development of the Italian
Renaissance.
• An important part of the art and architecture produced in Florence at the beginning
of the Renaissance was financed by the Medicis.
175 176

9
 25.05.21

Founder of Medici Bank:

MEDICI FAMILY Giovanni di Bicci de 'Medici
PALAZZO MEDİCİ, FLORENCE
First Renaissance city palace

177 179

MEDICI FAMILY

Giovanni di Bicci de’Medici Cosimo di Giovanni de'Medici Lorenzo the Magnificent Giuliano de' Medici
ci. 1360 -142 1389 – 1464 1449-1492 1453 - 1478
Medici Bankasının kurucusu Hanedanlığın kurucusu Büyük hümanist, sanat Lorenzo’nun kardeşi
hamisi, şair

181 182

10
 25.05.21

183 MED C BANK 184

Cosimo de 'Medici (1389-1464) founded the Platonic Academy, 1492, Florence.

Florence Neoplatonic Academy (Villa Medicea di Careggi), Florence.
IDEAL RENAISSANCE PRINCES:

Lorenzo De Medici / Lorenzo the Magnificent

1449-1492

a new sense of sovereignty and citizenship

185 186

11
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PERSPECTIVE

A new presentation technique that creates a three-dimensional

perception on a two-dimensional plane.

• Subjective gaze: The emergence of the subject

• Realistic representation, perception of the world outside the
symbolic value system.
• The emergence of new forms of expression in visual arts and
architecture.

187 189

Filippo Brunelleschi (1377-1446) discovered perspective in 1420.

Leon Battista Alberti theorized it in 1455.

PERSPECTIVE
• The perspective was discovered in 1420 by one of the
early Renaissance architects, Filippo Brunelleschi
(1377-1446).

• Leon Battista Alberti analyzed and explained the

perspective in his book "On Painting", dated to 1455.
– He studied and systematized the mathematical establishment
of the perspective developed by Brunelleschi.

190 191

12
 25.05.21

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!
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Brunelleschi's perspective experiment

192 193

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(+?=M!+<!1!N!M90.<%9+<1=!%,?O1/.!

194 195

13
 25.05.21

DISCOVERY OF THE PERSPECTIVE AND

DISCOVERY OF THE PERSPECTIVE A NEW FORM OF VISUAL EXPRESSION
Elements of single point perspective: 71%%1/9+!9%!+<.!+O!#".!D1?=*!P.<19%%1</.!1?#9%#%!#+!,%.!#".!$.?%$./#93.)!
- vanishing point (in the same plane as the
horizon)
-horizon line
-Depth lines (orthogonals) converge at the
escape point.

Leonardo Da Vinci both applies the rules of

perspective and focuses our attention on
Christ in the center. Our eyes and attention
concentrate on the sacred.

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198 199

14
 25.05.21

VISUAL ARTS FACTORS MAKING A DIFFERENCE IN

VISUAL ARTS

WHAT IS ART? • Interest in the classical period

• The beginning of the distinction between arts and
• Discovery of perspective
crafts.
• There is a break and secularization in all branches • Mathematics and geometry
of art. • In pictorial compositions:
– Proportion, ratio, symmetry, perspective, balance,
color, light, nature, and reality come into play.

200 201

In pictorial compositions:
Let's compare the two pictures: In pictorial compositions:
Proportion, ratio, symmetry, perspective, balance, color, light, nature, and reality come into play.
Proportion, ratio, symmetry, perspective, balance,
color, light, nature, and reality come into play.

The perspective of hieracy, established according to the symbolic hierarchy of the Middle Ages, leaves its Rucellai Madonna, c. 1285,
202 Goldfinch Madonna, 1506, 203
place to real representations. Duccio di Buoninsegna (?1278-1318) Raffaello (1483- 1520)

15
 25.05.21

INDIVIDUALITY UOMO UNIVERSALE

PORTRAIT PICTURE (Universal Man)
• Portrait painting began in Italy in the 1400s.
• It's a concept built during the Renaissance.
– A person who deals with every field of life, art, and science;
• In addition to the human-based ideals of humanism,
knowledgeable in every subject, and skilled in everything.
the wealth experienced in Italian cities also
• Excessive emphasis on human potentials
supported portraiture.

• Building a new human model:

• An emphasis on the emergence of individuality. – The Renaissance man is a talented and omnipotent man who
pushes his limits, and this is quite a new situation.
204 206

UOMO UNIVERSALE Classical and Worldly Values

(Universal Man)
• An embodiment of the Renaissance Man:
• "The Book of the Courtier", written by
Baldassare Castiglione in 1528, was
Leon Battista Alberti (1404 - 1472) telling about "How to be a universal
man?"
• "If a person wants, he can do anything!"
– (He is a humanist, writer, artist, art theorist, architect, poet,
priest, scientist, linguist, philosopher, mathematician, • It became the handbook of humanist
cryptographer, and a good horse rider and sportsman!) gentlemen.

• The emergence of modern manners.

207 Baldassare Castiglione 1478 –1529 208

16
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Classical and Worldly Values Leonardo Da Vinci

Renaissance Woman • 1452-1519
• Anchiano, Florence, Italy
• Upper-class, educated in classics,
charming • Renaissance man = Polymate (versatile)
• Expected to inspire art but not create it.
• His interests include invention, painting, sculpture,
• Isabella d'Este:
• Patron of the artists, uses power in architecture, science, music, mathematics,
Mantua. engineering, literature, anatomy, geology,
astronomy, botany, writing, history, and cartography.

209 210

211 213
Salvator Mundi

17
 25.05.21

600 drawings on a wide variety of subjects remain from Leonardo Da Vinci.

214 215

ANATOMIC DRAWINGS, 1509 VITRUVIUS MAN

Mirror image texts with his left hand

216 217
https://www.youtube.com/watch?v=9SYkI5RImSM&feature=emb_title

18
 25.05.21

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What is the Source of

Renaissance Architecture?

218 219

In the Renaissance, a huge interest begins in classical architecture and ancient ruins.
Vitruvius
• Ten Books on Architecture: De Architectura, 30-20 BC.
• Author: Roman Architect & Engineer Marcus Vitruvius
Pollio, (1st century BC)
• Written for Caesar Augustus.

• Vitruvius's book was a medieval manuscript without

pictures.

• A copy of the manuscript of the book was "rediscovered"

by a Vatican archivist in 1414 in a monastery in
Switzerland.

• It was first translated into Latin and published in 1486.

• Later, it was translated into Italian and other modern
languages and printed with illustrations.
• It had a tremendous impact on Renaissance thinkers Vitruvius, De Architectura,
and architects. Front cover of the 1552 Lyon edition
220 221

19
 25.05.21

Vitruvius, De Architectura, Vitruvius, De Architectura 225 226

Front cover of the 1552 Lyon edition Front cover of the 1567 Latin edition

227 228

20
 25.05.21

• Vitruvius's book was a medieval

manuscript without pictures.

• It was first translated into Latin and

published in 1486.
• Later, it was translated into Italian and
other modern languages and printed with
illustrations.

229 230

UTILITAS - FIRMITAS - VENUSTAS

USABILITY - DURABILITY - BEAUTY

• It means "Usability - Durability – Beauty " in Latin.

• In the first part of De Architectura (Ten Books on

Architecture), Vitruvius mentioned that architecture
should be made by considering the principles of
"Usability - Durability – Beauty" and determined
these concepts as the basic principles of
architecture.
• RATIO
• SYMMETRY
• RHYTHM
• DECORUM

231 232

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 25.05.21

In Classical culture, man is considered a fundamental aesthetic value.

Vitruvius suggested the human body as the basic measure.

Vitruvian Man or "Proportions of the human body according to Vitruvius" (c. 1490)
Leonardo da Vinci (1452-1519)

How was the human body

perceived in the Renaissance?

233 234

Renaissance / Rinascimento
REBIRTH THE EMERGENCE OF ARCHITECTURAL
THOUGHT AND THEORY

• In Classical culture, man is considered a fundamental • Vitruvius's book was rediscovered in 1414, translated
aesthetic value.
• Renaissance art also focuses on the idealized human into Latin, printed, and quickly circulated with the
form. emergence of the printing press.
• The body is put forward.
• The universe is a macrocosmic reflection of the divine • Alberti writes the first theoretical architectural text in
order and the human is a microcosmic reflection.
• The center of the universe is MAN
1452.
• Humanism – Alberti makes a reference to Vitruvius's book and writes "Ten
• Geometry / Mathematics Books on Building Art."
• Ratio / proportion
• Composition
• Harmony / order
• Architecture is not only a practical profession but also
Vitruvian Man or "Proportions of the human
Anthropomorphism generally refers to the attribution of human characteristics
becomes a theoretical and thinkable practice.
body according to Vitruvius" (c. 1490) to non-human beings. 235 236
Leonardo da Vinci (1452-1519)

22
 25.05.21

De Re Aedificatoria, by Leon Battista Alberti (1404-1472), was the first modern treatise on the theory and
practice of architecture.

Leon Battista Alberti, De re Aedificatoria Leon Battista Alberti, L'Architettura237 Leon Battista Alberti, 'Ten Books on Building Art', 1726 first edition in English 238
Paris, 1512 Floransa: Lorenzo Torrentino, 1550

Architectural historians study Italian Renaissance Architecture in three periods:

Italian Renaissance 1) The Early Renaissance Period (c. 1420–1500), when the idea of the Renaissance arose, spread, and was
Periodization generally accepted. Also known as QUATTROCENTO.
The most important center is Florence.
Its main representatives are:
• Scholars usually study the Italian Renaissance in three stages.
Filippo Brunelleschi (1377-1446); Michelozzo di Bartolomeo Michelozzi (1396-1472);
Leon Battista Alberti (1404-1472); Donatello (1386-1466)

• Art historians start the Early Renaissance from the 1300s,
including developments in 14th-century painting and sculpture;
On the other hand, when it comes to architecture, it is seen that
the economic conditions in the 14th century did not allow to
produce structures that can be considered as a part of the
Renaissance.
240
2) The High Renaissance Period (c. 1500-1527), when artistic superiority passed from Florence to Rome. Also
known as CINQUECENTO.
Its main representatives are:
Donato Bramante (1444-1514) / Antonio da Sangallo the Younger (1484-1546) / Leonardo da Vinci
(1452-1459) / Michelangelo (1475-1564); Raphael (1483-1520)
3) The Mannerist Period with Baroque trends (c. 1527–1600).
Its main representatives are:
Michelangelo (1475-1564) (most important and influential Mannerist artist.)
Giulio Romano (1499-1546); Baldassarre Peruzzi (1481-1536); Jacopo Barozzi da Vignola (1481-1536)
Andrea Palladio (1508-1580) 241

23
 25.05.21

EARLY RENAISSANCE The most important center:

QUATTROCENTO
(approx. 1420 -1500)
Florence
The most important center Florence
Its main representatives are:
Filippo Brunelleschi (1377-1446)
Michelozzo di Bartolomeo Michelozzi (1396-1472)
Leon Battista Alberti (1404-1472)
Donatello (1386-1466)
242 243

FLORENCE SILHOUETTE Present day Florence

Architectural structures that define the urban silhouette:
Vecchio Palace, Belfry, Florence Cathedral

244 245

24
 25.05.21

246 247

Florence Plan
- Crosshatch
area, original
Roman city;
- Inner black line,
13th century
walls;
- Outside line,
14th century
walls and
fortifications

248 249

25
 25.05.21

251 252

253 254

26
 25.05.21

BRONZE DOORS OF THE

FLORENCE BAPTISTERY

B1$#9%#.?*&!R[V[GRR\[!
J".!B.==!J+(.?Q!RLLSGRLV[Q!X?/"9#./#!]9+##+! 256 257
B?,<.==.%/"9C%!^+0.&!RSN[GRSLV!

• In 1401 the Cloth Guild of Florence decided to

commission a second set of doors for the Baptistry
of Florence.

• The Baptistry is historically the most important

building in Florence and in an effort to find the best
sculptor the Cloth Guild held a competition.

258 259

27
 25.05.21

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262 273

San Giovanni Baptistery

1060-1150

274 275

28
 25.05.21

279 280

There are three doorways in the Baptistry: the first set of doors had been made by Andrea Pisano in the
14th century and the Cloth Guild wanted to create a second set of doors.
1403-1424 These were enormous bronze doors and this was a huge civic undertaking and extremely expensive.

Andrea Pisano,
The Life of John the Baptist, 1330-1336
Southern Gates,
San Giovanni Baptistery, Florence.
Gilded bronze, each panel 19 1 / 3X17 ''.

ci 1452

1330-1336

281 282

29
 25.05.21

7 people participate in the competition and two people qualify for the final:
Competition Panels
Sacrifice of Isaac, 1401-1402
Ghiberti Brunelleschi

284 285

San Giovanni Baptistery, 1060-1150, Florence

Bargello Palace, 1256-1323
Romanesque

Lorenzo Ghiberti (c.1378--1455) in 1403,

He won the competition for the northern bronze
doors of the San Giovanni Baptistery.

286 287

30
 25.05.21

Lorenzo Ghiberti, Gothic quatrefoil presentation.

‘Müjde’, 1403-1424
Kuzey Portal,
San Giovanni
Vaftizhanesi'nin
Bronz Kapıları,
Floransa

1330-1336 1403-1424
289 291

In 1401 the Cloth Guild of Florence decided to commission a

second set of doors for the Baptistry of Florence.

292 293

31
 25.05.21

Lorenzo Ghiberti, Ghiberti: Gates of Paradise 'bas-relief” “Stiacciato”

'Gates of Heaven'
East Portal, ci 1452 • Perspective
Bronze Gates of the • Roman architecture
San Giovanni • Roman costumes
Baptistery, Florence • Masculine, volumetric bodies
• Depiction of space and landscape

294 296

297 299

32
 25.05.21

300 1403-1424 1452 ci 301

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302 303

33
 25.05.21

FİLİPPO BRUNELLESCHİ FİLİPPO BRUNELLESCHİ

1377-1446, Florence 1377-1446, Florence

• Architect, goldsmith, and sculptor • In 1404, he went to Rome for a few years with his close
• Bronze casting master friend, the sculptor Donatello, to study and learn about
• Silk Guild member the ruins of Ancient Rome.
• Brought up in the guild system.
• He completed the dome of Florence Cathedral, which
• He is a practical man but interested in
was an unfinished gothic period structure, with a new
humanism. method (1418-1437).
• He is one of the first practicing
pioneers of Renaissance architecture. • Brunelleschi, who knew the Gothic building system well,
• He invented the linear perspective. approached classical architecture without breaking
away from the gothic.
Masaccio, Brancacci Chapel, 1423-26
305 306

TARİHİ FLORANSA HARİTASI 1835

FİLİPPO BRUNELLESCHİ
1377-1446, Floransa
San Lorenzo Öksüzler Yurdu
Major works:
• Dome of the Florence Cathedral, 1420-36
• Orphans Dormitory (Ospedale Degli Innocenti), Duomo

1419-24 Santa Croce/Pazzi Şapeli

• Basilica of San Lorenzo, 1421
• Pazzi Chapel, Basilica of Santo Croce, ci 1420-60 Santa Spirito

• Santo Spirito Church, 1428-81

Filippo Brunelleschi (1377-1446)‘nin tüm eserleri Floransa’dadır.

307 308

34
 25.05.21

Santa Croce / Pazzi Chapel

• P+01<!B,9=M9<K!>/1=.!P.G1/"9.3.M&!
• B?,<.==.%/"9b%!^+0.!

https://www.youtube.com/watch?v=TQ8F_yPwqzA&ab_channel=SmarthistorySmarthistory
Santa Spirito
B?,<.==.%/"9Q!^+0.!+O!#".!c1#".M?1=!+O!U=+?.</.)!
San Lorenzo

309 311

Baptistery: 1060-1150 Florence Cathedral (Duomo / Santa Maria Della Fiore)

Cathedral: Arnolfo di Cambio, 1296 1296 -1436
Bell Tower: Giotto, 1334-1360
Dome: Brunelleschi, 1420-1436

• The cathedral was planned as a 3-nave basilica in gothic style.

• The eight-segmented dome was built by Brunelleschi between 1420-36.
• The daring design of the dome, which includes new inventions, was highlighted
and very effective as an expression of confidence in human potential.
312 314

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Florence Cathedral
(Duomo / Santa Maria Della Fiore)
1296 -1436
Ø Arnolfo di Cambio (1240-1310), the architect of the cathedral
built in the Gothic style.
Ø The plan of the building shows a Latin cross/basilica form.
Ø The Bell Tower in gothic style standing apart from the entrance
facade is a design of Giotto di Bondone (1266-1337),
1334-1360.
Ø In the Proto Romanesque style, the Baptistery is dated between
1060 and 1150.
Ø By the beginning of the 15th century, the building was finished
according to Arnolfo’s plan, since the architect passed away, the
intersection of the cross arms is approximately 42 m. diameter
area could not be covered.
Ø Brunelleschi, who won the competition for this work, built the
dome between 1420 and 36, with a design that would lead to the
later Renaissance domes. 315 316

1220-1270 1296-1436
Length 145 m Length 153 m
Width 70 m Width 90 m
Height 42.30 m Height 114.5 m
Spire height 112.70 m Floor area 8300 sqm
Floor area 7700 sqm

317 318

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Amiens Cathedral, 1220-1270

319 320

321 322
https://www.youtube.com/watch?v=_IOPlGPQPuM&list=LL&index=278&ab_channel=NationalGeographic

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323 324

325 326

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327 328

329 330

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331 332

333 334

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335 336

337 338
https://www.youtube.com/watch?v=_IOPlGPQPuM&list=LL&index=278&ab_channel=NationalGeographic

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• The dome is an arch rotated around its own axis.

• How will the dome be built without using wooden formwork?

• While making the dome, a wooden mold is made and then the dome is knitted.
• When the Florence Cathedral was being built, there was a shortage of timber for
formwork.
• How will the dome be built without collapsing?

• How will the tensile and compression forces be dealt with?

• It was not desired to support the dome with flying buttresses.
• The dome presses outward.

339 340

In the dome of the Florence Cathedral, the main plan was to build a dome as big
as the area covered by the Pantheon.
Main problem: How will a dome of this height be built without scaffolding?

The tensile problem in the Pantheon was tackled by thickening the walls.
Roman concrete was used in the pantheon on walls about 6 meters thick. 341 342

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• How do you create very large closed

spaces?

• WHAT WAS BRUNELLESCHI'S SOLUTION?

344 346

How do you create very large closed spaces?

BRUNELLESCHI'S SOLUTION:
Alberti expresses this as a project full
• Engineering genius
• He designed a dome very light. of invention:
• He designed a double skin dome. This solution is a test of human
• He created a system that fixed as each piece was added,
and in this way, the structure rose by moving itself. potential ....
• He wrapped the dome with chains, like the metal bracelets in
old wooden barrels, and balanced it against pressure.
• He formed an inner scaffold with support.
• He built a special crane to transport materials upstairs.

347 348

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349 351

352 353

44
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354 355

356 357

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358 360

Rather than the Dome Pantheon

It resembled the dome of the Pisa Cathedral.

• This desire to stretch human limits and to match the

building achievements of the ancients was boldly
exemplified in the dome Filippo Brunelleschi
completed over the crossing of the cathedral in
Florence,Santa Maria della Fiore, 1420–1436.

362 363

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The dome of the cathedral of Florence rises over the city as a bold gesture Floransa Katedrali
of civic ambition.
It was the largest such dome attempted since antiquity.

364 366

Foundling Hospital (Ospedale Degli nnocenti)

Florence, Italy, 1419–1424
Brunelleschi (1377–1446)

Brunelleschi and
Rationally Ordered Space

367 368

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- It stands out with a different façade

arrangement from the Gothic architectural
Foundling Hospital repertoire:

(Ospedale Degli İnnocenti) - Designs the circular arched columned

façade at the entrance and the arcaded
courtyard at the back.

• 1419-24, Florence - The height of the columns and the spaces

between the columns form a square.
• Orphanage
• Emphasis on ratio.
• Ideal geometry
• Use of round Roman arches and ancient forms

369 370

He used semicircular arches, thin columns with Corinthian capitals, cornices and triangular pediments above the
windows.
It is the first use of arches on thin columns

8m

Ø Brunelleschi used the ideal of pure circles, squares, and cubes to determine the
proportions of the arcade across the front of this orphans’ asylum.
371 373

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• He used gray colored stone in some of the architectural elements and contrasted the white
color of the walls.
• This theme was later named pietra serena, for the Italian serena.
Swaddled child reliefs made of terra cotta were placed between the arches.
Sculptor Andrea Della Robbia did the sculptures with a new technique.
Terracotta sculpture

374 375

• He used gray colored stone in some of the architectural elements and contrasted the white color of the walls.
• This theme was later named pietra serena, for the Italian serena.

376 377

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378 379

SAN LORENZO BASILICA

1419th, changed in 1440, Florence
Filippo Brunelleschi

380 381

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SAN LORENZO BASILICA SAN LORENZO BASILICA

Basilica plan & section

1419th, changed in 1440, Florence Longitudinal & Latin Cross

• Filippo Brunelleschi Geometry & math

Square modules, 1: 2, 1: 4 ratio
Classic details:
• Basilica plan & section
• Longitudinal & Latin Cross

• Geometry & math

• Square modules, 1: 2, 1: 4 ratio
• Classic details:
– Corinthian columns
– Round arches
– Flat roof
– Faux coffering (cassette ceiling decoration)

382 384

385 386

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Old Sacristy
San Lorenzo, Florence,
begun c. 1421, Brunelleschi.

• The epitome of Renaissance architecture.

• A mausoleum for the founder of the Medici dynasty:
• Giovanni di Bicci de' Medici.
387 390

That's a room that is traditionally used in a

church for the priest to vest, that is to put on
the garments for a religious ritual, but in this
case, it was intended to be a mausoleum
for the founder of the Medici dynasty,
Giovanni di Bicci de' Medici, who is buried
here, along with his wife.

Old Sacristy,
San Lorenzo, 1445
Geometry & math
Circle and Square module
Classic details

a sense of solemnity, of calmness

the extraordinary sense of geometry, order, and
rationalism.
391 392

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The circle is a reference to

the spirituality of the
geometry of heaven.
if you think about a circle it
has no beginning and no
end like God.

393 394

Classic details:

The epitome of Renaissance architecture.

396 397

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Pazzi Chapel, 1420-60, Santa Croce, Florence Basilica of Santa Croce

ci 1295-1345, Florence
Architect Arnolfo di Cambio, Gothic

398 399

401 402

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Pazzi Chapel, 1420-60

403 404

Pazzi Chapel, 1420-60, Santa Croce, Florence

Filippo Brunelleschi

405 406

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407 413

414 415

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416 418

Basilica Santo
Spirito
1428-81, Florence
Filippo Brunelleschi

420 423

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Basilica Santo Spirito, 1428-81

The church is a basilica in its plan, with a dome over

the crossing, but Brunelleschi, in his typical interest in
The mathematics determine the space
geometry, used the square that forms the crossing as
Square modules
the basic unit of measurement throughout the church.
424 425

There's also a relationship between those widths and the elevation of the church.

427 428

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Axonometric ceiling section

A sense of circles and semicircle and squares and

rectangles that all relate to one another.

429 430

LEON BATTISTA ALBERTI

1404-1472, Genoa, Italy
UOMO UNIVERSALE / RENAISSANCE MAN / UNIVERSAL MAN
Perspective / space / mathematics / humanism / literature / philosophy

• This church is one of the great expressions of early

Renaissance architecture.
• It's sometimes seen as a summation of the
vocabulary that Brunelleschi created over his
lifetime, which was revolutionary.

431 "Beauty is the harmony of all parts." 432

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THE EMERGENCE OF ARCHITECTURAL

LEON BATTİSTA ALBERTİ
• 1404-1472, Genoa, Italy
• Humanist, writer, artist, architect, poet, priest,
linguist, philosopher, sportsman.
• Illegitimate son of a Florentine aristocrat
• He grew up in Genoa and received a humanist
education in high school.
• He studied canon law at the University of
Bologna.
• He worked as a secretary in the papal courts,
traveled a lot.
• He was very impressed by Vitruvius.
THOUGHT:
• Alberti was the first person to write about architecture.
• His writings on architecture, painting, and sculpture are the first theoretical texts of
Renaissance thought.
• He analyzed the perspective discovered by Brunelleschi; mathematically examined
its establishment, and expressed it in writing.
• He also made architectural designs to determine Renaissance architecture.
• With his interests in painting to agriculture, Alberti is a true Renaissance Man.
Written Works of Alberti
• Della Famiglia (On the Family), 1433
• Della Pittura (On Painting), 1435, dedicated to Brunelleschi.
• De Statua / On Sculpture
• De Aspectibus / Optics
• De Re Aedificatoria (On Building Art), 1452, first edition 1485
• Agriculture, cryptography, bishop's duties, games, ethics and moral books,
philosophical dialogues.

433 434

“Her işte usta”

436 437

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He analyzed the perspective discovered by Brunelleschi; mathematically examined its

establishment, and expressed it in writing.

Leon Battista Alberti, On Building Art, 1452.

Alberti suggested the circle as the most ideal and
divine geometric form in his book. 438 439

“Beauty is the harmony of all parts.”

440 441

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Italian conductor and composer,

'Angels and Divine Music', Milan, 1508
Franchinus Gaffurius (1451-1522)

442 443

444 445

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ARCHITECTURAL WORKS OF LEON BATTISTA ALBERTI San Francisco Church (Malatestiano Temple)
Leon Battista Alberti, starting 1447, Rimini

• Its construction began in 1447, but could not be completed.

• A church façade was likened to a Roman triumphal arch façade.
• Alberti designed and managed the implementation process by mail remotely.
446 447

San Francisco Church (Malatestiano Temple)

Leon Battista Alberti, starting 1447, Rimini

• He put an outer envelope-like shell on a Gothic structure.

448 449

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450 451

The facade of the church is likened to the

Roman triumphal arch facade.

452 453

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Façade of Santa Maria Novella, Florence, 1470.

• Dominican Abbey, started in 1246, Florence
• Alberti redesigned the façade in 1448-70.

454 455

456 458

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• He was a classicist and wanted his architecture to conform to what he believed to be the ideals of
classical beauty which were based on perfect geometry and rational order and proportion.

• Copying of the rules of architecture handed down from ancient Rome via the ancient Roman
architect Vitruvius.

How did Alberti design the

renaissance facade?

459 460

Alberti took inspiration from Tuscan Romanesque buildings.

• He took this Gothic church and on it put a classical

façade that also recalls the Romanesque tradition
of Italy.

• Specifically the Baptistery of Florence and also the

church of San Miniato al Monte which is just outside
the center of the city of Florence.

461 465

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What Alberti does with this lower story is that he frames it.
On each end, he gives us a column accompanied by a pier.
The column has a Corinthian capital
and in the center, he gives us a doorway modeled on the Pantheon.

466 468

In the center, he gives us a doorway modeled on the Pantheon.

The column has a Corinthian capital

469 470

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In the center, he gives us a doorway modeled on the Pantheon.

471 473

474 475

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476 477

478 479

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480 481

482 483

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484 485

486 489

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Sant'Andrea Church
1470-93, Mantua, Lombardy

• Leon Battista Alberti

• Patronage Lodovico Gonzaga

• Relic: the blood of Jesus falling on the
cross

• Made of brick (2 million bricks)

• Based on his experience in Rimini,

Alberti applied a confident synthesis
of the temple and triumphal arch
forms in this building.

• The entablature lost behind the

Corinthian pilasters effectively
intertwined with the triumphal arch
and temple façade.

490 492

493 494

72

Ludovico Gonzaga
Camera degli Sposi, 1465-74,
fresco, Ducal Palace, Mantua,
by Andrea Mantegna
495
The entrance facade is arranged like a triumphal arch.
497
25.05.21
• In this structure, Alberti fused the
basilical scheme with the central
plan that the Renaissance
insisted on implementing.
• The arms of the cross are
covered with high barrel vaults.
• Side aisles do not go around the
whole building
• There are chapels opening to the
main nave, arranged alternately
in the volumes where the side
naves should be located.
496
498
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499 500

Coffers (cassette ceiling decoration)

501 502

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Basilica of Maxentius and Constantine, AD 308-312

Roman Forum

PALAZZO
A NEW URBAN CIVIL BUILDING

503 504

How was residential

architecture in medieval
Florence?

505 506

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FLORENCE
Palazzo Davanzati
C. 12th century

• Typical medieval urban house Common typology in congested (dense) urban

• 'Palazzo' space in the Middle Ages

507 510

Here you see an open center like fried egg yolk and an uneven periphery or crust.

511 512

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Altana / loggia: semi-covered terrace

How are the architectural elements

articulated in this building?

• Horizontal strip
• Windows like holes drilled in the
surface

• This triple arrangement on the

façade is meeting the ground,
meeting the sky and doing
something in the middle.
Plan Diyagramı: Kare Donut Cephe Diyagramı: taban / orta / üst
513 514

What did the architects do to change the urban

medieval fabric in the Renaissance?

516 517

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• The first Renaissance palazzo.

• It became a model for other palaces.
• After Palazzo Medici, it became fashionable to design a city palace.

Palazzo Medici-Ricardi
1445+
Michelozzo Di Bartolommeo (1396-1472)

518 519

Ø Michelozzo used rustication in this building.

Ø Rusticization is the rough use of the material on purpose.
Ø Materialization: aesthetic / poetic use of material
Ø Efforts to achieve a more courageous and solid urban texture

Cut stone facade

Bifora window

Rustic
Joint

520 521

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Palazzo Medici-Ricardi, 1445+

Rustic ground floor

Kemerlerin içindeki pencereleri 1517’de

Michelanjelo tasarladı. 522 523

Palazzo Medici-Ricardi, 1445+

Michelozzo Di Bartolommeo (1396-1472)

Piano Nobile
'Noble Floor'

Ground floor
Medici Bank

• Spaces around the central courtyard

spaces around the arched courtyard
• Square courtyard: Classical architectural elements
• Round arches / Classical columns / Garland
decorated frieze Ø Gravitas / Nobility-Solidity

Ø The finish is emphasized

with a strong cornice.
Ø Horizontal moldings divide
the building into three.
Ø Texture lightens from the
floor to the upper floors.

524 526

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Sgraffito

Sgraffito:
Kazıma
527 tekniği 528

Palazzo Rucellai, Florence, 1446-51 ci.

Alberti

530 531

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Alberti is looking back to Vitruvius's ancient work, seeing this standardized vocabulary, and
employing it in a self-conscious way, that is announcing its historicism.

Palazzo Rucellai, Floransa, 1446-51 ci., Alberti

532 533

PROBLEM:

• How do you take advantage of ancient culture to

transform a high urban and civic building?

• The temple façade and triumphal arches do not

offer solutions.

534 535

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536 537

Palazzo Rucellai, Floransa,

1446-51 ci., Alberti

Kolezyum, Roma

538 539

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540 541

542 543

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Alberti combined several

buildings that were there
before.

544 545

Korniş
Korint pilaster

Yatay Silme
İyonik pilaster
Piano Nobile
Asil Kat

Yatay Silme
Dorik pilaster
Ground Floor
(workplace, service etc.)
Rustik Yüzey

547 548

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550 551

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Rome
Spring 2021

Bahar Kaya
bahar.kaya@altinbas.edu.tr

TIMELINE
PRE-MODERN MODERN……..

Gothic /
Early Carolingian Baroque / Neoclassical /
Christian Early Medieval
Romanesque Renaissance Rococo Romanticism
Modern
High Medieval

500 1000 1400 1600 1700 1900

Early Renaissance High Renaissance

1527 Mannerism

1400 1500 1527 1600

1
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RENAISSANCE: Rebirth

•Art and Architecture

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RENAISSANCE: Rebirth

Early Renaissance pioneers had made

significant advances:

1. Rediscovery of classical past

2. Linear/Atmospheric perspective
3. Use of light and shade to create
volume and mass
4. Anatomy
5. Use of maths, geometry, measure,
and proportion
Naturalism/naturalistic: Looks like real life 6. Imagining new urban forms
Canonical (orderly) architecture based on the proportions of the human body
9 10

CINQUECENTO
HIGH RENAISSANCE
1500-1527
RENAISSANCE: Rebirth
• Beginning : 1500s
• Finish : 1527 ··········> The Sack of Rome
The High Renaissance: • Artistic supremacy of Rome
Synthesis and consolidation of the
discoveries of the 15th century. PATRONAGE ··········> CHURCH

What is left to discover? Major Renaissance Art Patron Popes:

1. Movement • Pope Nicholas V, 1447-1455, founded the Vatican library.
2. Emotion/psychology • Pope IV. Sixtus IV, 1471-1484, built the Sistine Chapel.
3. Oil painting technique • Pope II. Julius, 1503-1513, the Warrior Pope.
4. To unite the human and the divine • Pope Leo X, 1513-1521, (son of Lorenzo the Magnificent).
5. Monumentality in architecture • Pope VII. Clement (Giuliano de Medici), 1523-1534.
6. Attempts to bring order to nature 11

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Crisis of the Papacy

Ø In 1305 the Papacy moved from Rome to France and lived in Avignon, in southern France,
from 1305 to 1376.

Ø Between 1378-1417, the Papacy experienced the "Western Division".

Papal Palace in Avignon, gothic style

15

RENAISSANCE PAPACY
The period from the end of the Papal Division (1378-1417) to the Council of Trent (1534-1563).
PAPACY:
ART AND ARCHITECTURE
• Since 1309, the papacy was divided and the popes were in Avignon,
France, so Rome remained underdeveloped both in infrastructure,
architecture, and art.

• “Rome had no industry other than pilgrimage; it had no function other

than being the capital of the papacy. "

• The patronage of art and architecture became an important papal

policy in order to increase the prestige of both Rome and the papal
authority as a whole in the Christian world.

• At the same time, the patronage of art and architecture gained

importance as the personal preference of the humanist popes, who
were influenced by the humanist values created by the renaissance..

16 19

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IMPROVEMENT OF ROME DURING POPE JULIUS II PERIOD

High Renaissance (c.1500-1527)
CINQUECENTO

Pope Julius II (1503-1513)

• Warrior Pope
ROME: • Autocratic Pope: Pontifex Maximus / Emperor
UNDER THE POPE JULIUS II PERIOD
(1503-1513) • Humanist
• Great Renaissance Patron
CINQUECENTO
• Pope Julius II's greatest aim was to restore
Rome to its former glory as of the center of
Christianity.
• Lavish and costly projects

• Bramante's monumental style

21 Raphael, Portrait of Pope Julius II, 1511-1512. Oil on wood,

National Gallery, London Web Gallery of Art

23 24

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Ø Rome, a very busy and magnificent city in antiquity, was a city in need of development, neglected, SEVEN HILLS OF ROME IN THE SERVIAN WALLS
and with a population decline in Renaissance.
Ø Pope Julius II's greatest aim was to restore Rome to its former glory.

Servian Duvarları, MÖ Erken 4. yy

Aurelian Duvarları MS 275

29 30

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High Renaissance (c.1500-1527) CINQUECENTO

CINQUECENTO ROME:
UNDER THE POPE JULIUS II PERIOD (1503-1513)
• A strong humanism prevailed in the papal court with Pope Julius II (Giuliano
Della Rovere, 1503-1513).
• The period of the 1500s was marked by humanist popes such as Julius II
and his successor Leo X. Assignment of Bramante, Michelangelo, and
Raphael to build St Peter by Pope Julius II
• The Florentine character of the Early Renaissance gained a Roman
character in the 1500s. Émile Jean-Horace Vernet, 1827

• Rome became the most powerful center of art and culture of the period.
• The most important artists who left their mark on High Renaissance art and
architecture in Rome are Donato Bramante and Raphael from Urbino, and
Michelangelo from Florence.
• Raphael and Michelangelo also produced works during the Mannerism
period.

CENTRALIZED CHURCH PLANS

There was an obsessive

interest in centralized
planning in the Renaissance.

What resources did they look for the central plans:

Sources:
Antiquity, Nature, Geometry

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EXAMPLES OF CENTRALLY PLANNED BUILDINGS • Geometry and the Vitruvian Man

FROM THE ANCIENT PERIOD Vitruvian Man: Leonardo, 1500s Cesariano, 1521s

Hercules Temple, MÖ 120 ci, Roma

Santa Costanza, MS 4.yy, Roma Panteon, Roma, MS126

Santa Stefano Rotondo, MS 5.yy, Roma • The universe is a macrocosmic reflection of divine order.
• The body is a microcosmic reflection of divine order and therefore must be blessed.
Ad fontes, means “to the sources” in Latin. Vesta Temple
Microcosm: Philosophical term that regards human beings as a reflection of the entire universe.
It deals with a re-examination of classical sources in Renaissance Humanism. Tivoli, MÖ 1. Yy Roma, MS 2. Yy

Leonardo's central plan sketches:

The similarity of the diagram designed
by Bramante for the New St. Peter's
Church with Leonardo's sketches is also
noteworthy.

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Until TEMPIETTO, centrally

planned churches would be
built only outside of big city
centers.

Santa Maria delle Carceri

Santa Maria delle CARCERİ
Prato, Tuscany, İtalya, 1480 ci.
Prato, Tuscany, 1480 ci.
Giuliano da Sangallo (c. 1445-1516)
• Among the earliest examples of a Greek
cross plan for a complete church in
Renaissance architecture.

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Santa Maria delle Carceri, Prato, 1480 ci.

Giuliano da Sangallo (c. 1445-1516)

Santa Maria delle Carceri, Prato, 1480 ci. Santa Maria delle Carceri, Prato, 1480 ci.
Giuliano da Sangallo (c. 1445-1516) Giuliano da Sangallo (c. 1445-1516)

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BRAMANTE DONATO BRAMANTE

Ø Experimental Architect, Perspective Painter, Garden and Urban Designer
Ø Urbino 1444 - Rome 1514
Ø High renaissance artist
Ø Geometry, mathematics, antiquity, humanism

Ø Born in a farmer's family.

Ø Apprentice of Andrea Mantegna and Piero Della Francesca.
Ø Started his career in Milan in 1482.
Ø Worked for the Duke of Milan "Sforza" for many years; there he received a
humanist education and met famous artists of the period such as
Leonardo.

Ø He moved to Rome in the 1500s, studied ancient monuments, and made

sketches.
Ø Under the patronage of Pope Julius II, he gave his most important works
The Cavalry, 1481, fresco, Donato Bramante and created the monumental scale of the High Renaissance.
Ø San Pietro Tempietto, Rome, 1502
Man with a Broadsword, c. 1481
Ø New St. Peter's Basilica, Rome, 1506+
Fresco transferred to canvas, 285 x 127 cm 59
Ø Vatican Belvedere Courtyard, 1506
Pinacoteca di Brera, Milan, Donato Bramante.

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DONATO BRAMANTE
FULL LIST OF WORKS
DONATO BRAMANTE 1444-1514
(1444-1514) Perspektif Ressamı, Deneysel Mimar, Bahçe ve kent Tasarımcısı

Bramante’s Importance in the History of Architecture

Ø Like Brunelleschi, he played a decisive role in the evolution of
Renaissance and Italian architecture.
Ø He especially focused on the central plan that Renaissance
wanted to implement.
Ø Tempietto (1502), the first architectural work in Rome, was very
influential in the architectural environment as the initiator of the
High Renaissance and brought Bramante a great reputation.
Ø He created and introduced the High Renaissance style,
characterized by a simple and majestic monumentality.
Ø The Vatican Belvedere Courtyard open space design is a
pioneering work.
Ø His original designs greatly influenced future designers.

MAIN WORKS OF BRAMANTE

Perspective deception with scientifically controllable purpose

Donato Bramante. Interior view toward choir, 1485

Fresco, height of arch 10,6 m
Santa Maria presso San Satiro, Milan

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Santa Maria Delle Grazie Church

“Holy Virgin Mary”
• Milan, Dominican Monastery Church, (1463+, vol. 1490-1497)
• In 1463, the Duke of Milan, Francesco Sforza I (1401-66) began to
build a Dominican monastery and church.

• The monastery was completed in 1469, but the church remained >
Architect Guiniforte Solari
• After 1490, Duke Ludovico Sforza (1452-1508) rebuilt the apse and the
cloister of the unfinished church as a family cemetery.
– Cloister and apse, 1490-1497

BRAMANTE:
• Between 1492-1497, Bramante is thought to have worked in the Francesco Sforza I (1401-66) Ludovico Sforza (1452-1508)
church crossing, choir place and apse, and transept apse.
Ø Condottiero (Mercenary) Ø Duke of Milan
Ø Duke of Milan Ø Humanist Renaissance Prince
• Patron of Arts: Renaissance prince Duke Ludovico Sforza (1452-1508) Ø Founder of the Sforza Dynasty Ø Great art patron
Ø He created the most powerful final phase of the Milan
• Leonardo da Vinci's “The Last Supper” painting is located in the Renaissance.
refectory of the monastery. Ø He patronized important artists such as Leonardo
• 1980 UNESCO World Heritage Site and gathered them in his palace.
Ø He ordered Leonardo's “The Last Supper”.

Church of Santa Maria Delle Grazie, "Holy Virgin Mary” Church of Santa Maria Delle Grazie, "Holy Virgin Mary”
Milan, Dominican Monastery Church, (1463+, c.1490-1497) Ø Milan, Dominican Monastery Church, (1463+, c.1490-1497)
Ø 1492-1497, Bramante is thought to have worked in
crossing, choir and apses, and transept's apses.

13
 25.05.21

Bombing of S M della Grazie in 1943

REFECTORY

Clooney Da Vinci Set LEONARDO DA VİNCİ

84 Leonardo da Vinci, The Last Supper, 1495-98, S M della Grazie, Milan

14
 25.05.21

The rising status of the artist in the

High Renaissance

15
 25.05.21

NEW NATURALISM Central perspective Clarity, balance, symmetry

Ideal geometry Square, circle
Leonardo da Vinci, The Last Supper, 1495-98, S M della Grazie, Milan

In this picture, the upper plane is emptied and represents the divine space.
The lower part is the material world and vital events.
The head of Christ is in the center and all the lines of escape converge in him. 93
A typical renaissance setting

16
 25.05.21

CENTRALIZED PLANS

94

Geometry and the Vitruvian Man

Santa Maria Della Pace Vitruvian Man: Leonardo, 1500s Cesariano, 1521s

• The universe is a macrocosmic reflection of divine order.

• The body is a microcosmic reflection of divine order and therefore must be
blessed.
COURT / CLO STER Microcosm: Philosophical term that regards human beings as a reflection of the entire universe.

17
 25.05.21

How do you turn a corner

with a courtyard?

How do you turn a corner

with a courtyard?

Ø Centralized plan
Ø Ratio /
proportion
Ø Geometry
Ø Maths
Ø The square and
the circle: The
union of the
divine and the
material

Santa Maria della

Pace
Cloister, Roma 1500+
Bramante

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 25.05.21

How do you turn a corner with a

Santa Maria della Pace courtyard?
Cloister, Roma 1500+
Bramante

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 25.05.21

Tempietto (Small Temple)

St. Peter was crucified upside down.
1500-1502, Rome
Donato Bramante (1444--1514)
Who is Saint Peter?
First Apostle of Jesus
First Pope

Vicar and successor of

Christ
In the Gospel of Matthew,
Jesus says:

“You will establish my church

on earth. I will give you the
key to the heavens.”

Michelangelo Caravaggio, The Crucifixion of Saint Peter,

1600, (Church of Santa Maria del Popolo)

• It is located on the second-highest hill in Rome called Janiculum Hill.

• A marker: The Tempietto marks the site of the crucifixion of St. Peter.
• Synthesis of Early Christian and Ancient culture
• A similarity to the early Christian structures called Martyria, built in
the place where the early Christian martyrs killed.

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 25.05.21

Tempietto (Small Temple), 1500-1502

• In the courtyard (cloister) of the Church of San Pietro in Montorio,
• In the courtyard (cloister) of the Church of San Pietro in Montorio, Janiculum Hill, Janiculum Hill, Rome.
Rome.
• Architect Donato Bramante (1444--1514)
• Patronage: Spanish royal couple Ferdinand of Aragon and Queen Isabella of
Castile
• It is considered the starter building of the High Renaissance.

MARTYRIA The name given to small churches or tombs built in memory of a saint or martyr in early
Christian architecture

Tempietto (Small Temple)

1500-1502, Rome
Donato Bramante (1444--1514)

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 25.05.21

• The symbolic meaning is attributed to the circle.

• It's a way of imagining the perfection of heaven.
• The circle represents the divine realm.
• Confidence; faith in producing the perfect paradise in the world ...
• Synthesis of humanism and Christian values Here the focal point of the circle is where St. Peter was crucified.

Architectural elements from the ancient architecture repertoire

Lantern
Dome

Drum

Architrave / frieze: metope, triglyph

Circular doric columns

Stylobate
Stereobat

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 25.05.21

Vesta Temple, Tivoli

In the original plan, Tempietto was

planned to be surrounded by a
circular arcade.

Ideal geometry
Circle / central plan
Monumentality

NEW ST. PETER’S BASILICA

NEW ST. PETER’S 1506-1655
Vatican City, Rome
ROME
Ø The most important and ambitious architectural project of
the High Renaissance period.
Ø One of the most sacred pilgrimage sites of Christianity; one
of the first early Christian churches built on St. Peter's
tomb.
Ø Although it is not the cathedral church of the Roman
Diocese (the Cathedral of Saint John Lateran in Rome), it
has a unique position in the Christian world and is the
largest church.
Ø St. Peter's influenced the whole Christian world with its
architectural style and monumental scale and modeled
many times.

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 25.05.21

NEW ST. PETER’S BASILICA

1506-1655
Vatican City, Rome
Ø Pope Julius II decided on the old St. Peter's destruction and rebuilding in
1506.
Ø A competition for the new St. Peter's:
Ø The centralized plan design reflecting Bramante's renaissance ideals was chosen.
Ø The first monumental design of the High Renaissance: The leap of scale in Italian
architecture.
Ø Many architects took part in the 150 years of construction and design
process stretching from the high renaissance to the baroque period in the
years between 1506-1655:
Ø 1506, Bramante designed the first centralized plan with renaissance ideals.
Ø 1546-64, Michelangelo made changes based on Bramante's centralized plan,
designed and built the dome (western façade left unbuilt): Mannerist touches.
Ø 1607-12, Carlo Maderno extended the plan towards the entrance and designed the
early baroque entrance facade.
Ø 1655, Bernini designed a monumental front piazza characterized by high baroque.

126

24
 25.05.21

Old St. Peter's Basilica, Early Christian, 346 AD, Rome

Old St. Peter's Basilica, Early Christian, 346 AD, Rome

25
 25.05.21

Projects prepared by
Bramante for Pope
Julius II in Vatican:

• Belvedere
Courtyard (300 X
70 m)

• New St. Peter's

Church

26
 25.05.21

139 140

THE ICON OF THE CITY A

DOME:

• The dome is raised on a

cylindrical drum.
• A dome that can be seen from
all over the city.
• A multi-layered facade design.

• Sizes above the usual:

• Bramante brought the
structural scale of the
renaissance to monumentality.

27
 25.05.21

• Greek cross including both circle and

square
• Both central and axial
• Maths
• Geometry
• Central plan
• Perfect ratio
• Symmetry
• Greek cross, four arms
equal

28
 25.05.21

The Rebuilding of St. Peter’s

Michelangelo was brought in to design

the unfinished dome.

In the next century, several architects

were brought in to redesign the building
to conform to the traditional basilica
format.

Chronological New Saint Peter's Church Design BELVEDERE COURTYARD

Open Space Arrangement

Gian Lorenzo Bernini

29
 25.05.21

Projects prepared by
Bramante for Pope
Julius II in Vatican:

• Belvedere
Courtyard (300 X
70 m)

• New St. Peter's

Church

Belvedere Courtyard Belvedere Courtyard

Vatican City, 1505+, Bramante Vatican City, 1505+, Bramante
Bramante's Design

• Pope Julius II commissioned Bramante to link the Vatican

Ø 1484-87, Pope Innocent VIII built a summer palace named
"Villa Belvedere" on the high hill overlooking the old St
Peter's Basilica.
Ø Villa Belvedere was the first rural villa built in Rome since
ancient times.
Ø 1503, Pope Julius II moved his growing Roman sculpture
collection to a closed courtyard inside Villa Belvedere.
Ø Discovered in 1506 "Laocoön and his Sons" were bought
and brought here by the Pope.
Ø After a short while, the famous "Apollo Belvedere" and
"Belvedere Torso" joined the collection.
Palace with the Villa Belvedere 300 meters away.
• Bramante wanted to create a space that could compete with the
monumental imperial villas of antiquity.
• It represents a first with both its scale, its holistic architectural
design, and its use of monumental stairs in open space.
• He organized the slope on the longitudinal axis as a series of
terraces connected by symmetrical stairs.
• All visual scenography culminated in the semicircular exedra at
the end of the courtyard at Villa Belvedere.
• Belvedere's courtyard is considered to be the first model of all
Italian Renaissance gardens with terraces and contains the
most characteristic elements in Renaissance garden design:
– The monumental viewpoint, vista, perspective, garden setting,
mythological sculptures, fountains, terraces, ninfeos, grottos,
harmony, stairs, and the use of a central axis of symmetry that unites
all elements of the garden.

30
 25.05.21

Belvedere Courtyard, Vatican City, 1505+, Bramante

Eksedra: Büyük dairesel niş

Belvedere Avlusu’nda Bramante dağınık iki

ucu geniş eksedralar ile birbirine bağlıyor.

Sculpture
Courtyard

Belvedere Avlusu, Bramante’nin tasarımı

172

31
 25.05.21

Where did Bramante get inspired when While designing the Belvedere
designing the Belvedere Courtyard? Courtyard, Bramante looks at examples
of Ancient Rome:
What sources did he look at?
1. Gardens and villas described
in the book of Young Pliny
2. Fortuna Temple

174 175

Fortuna Primigenia Temple, BC 120 ci., Palestrina

.

Fortuna Primigenia Temple,

BC 120 ci., Palestrina

32
 25.05.21

Palestrina, model of the Fortuna Primigenia Temple in the Trieste Archaeological Museum

Ø Fortuna Primigenia Tapınağı, Roma'nın kutsal alanı, tiyatrosu ve alışveriş merkeziydi.

Ø Muhteşem bir yamaçtaki teraslı düzeni, Roma betonundan yapılmış ve opus incertum
ile kaplanmış rampaları, beşik ve annular (halka) tonozları, kavisli hemicycleları ve
doruktaki Fortuna Tapınağı ile MÖ 2. ve 1. yüzyılların yenilikçi beton mimarisinin
önemli bir örneğidir.
Ø Rönesans döneminde bahçe tasarımında önemli bir ilham kaynağı oldu.
Ø Meşhur Barberini Ailesi en üstteki hemicycle'i 17. yüzyılda bir saraya dönüştürdüğü için
tapınak günümüze ulaşamamıştır.

The ancient building taken as an example in the Belvedere Courtyard: The ancient building taken as an example in the Belvedere Courtyard:
Fortuna Primigenia Temple, Palestrina, 120 BC. Fortuna Primigenia Temple, Palestrina, 120 BC.

33
 25.05.21

Fortuna Primigenia Temple,

Palestrina, 120th BC.

PLAN

KESİT

Ø 1503-1514, Bramante died before the belvedere courtyard was completed.

Ø 1562-65, Pirro Ligorio completed the exedra during the period of Pope Pius (1562-65.):
Ø He increased the height by one floor to create the largest open exedra built since antiquity and
finished the structure with a hemicycle loggia, like the Fortuna Shrine.

34
 25.05.21

Belvedere Sculpture Courtyard

&
Bramante Staircase

Bramante Staircase

Belvedere Sculpture Courtyard

Bramante Staircase

35
 25.05.21

Italian architect, engineer Giuseppe Momo (1875--1940), Momo Staircase, Momo Staircase
1932, Vatican Museums The famous spiral staircase in the Vatican Museums.
Patronage: Pope XI. Pius

Belvedere Sculpture Courtyard

36
 25.05.21

Laocoön and Sons, 100 AD.

• Unearthed in the Titus Palace in 1506; bought

by Pope Julius II and placed in the Belvedere
Sculpture Courtyard.
• Sculpture was very influential in Renaissance
sculpture art. Belvedere Apollon, 120-140 AD

RAFFAELLO SANZIO DA URBINO

The Belvedere Torso
‘RAPHAEL’, 1483–1520

Raphael, Self-Portrait, in the "School of Athens" fresco (detail),

1509-1511

37
 25.05.21

Raphael
Urbino 1483 – Rome 1520
Ø One of the most important Italian High Renaissance artists, painters, and
architects.
Ø His career, first described by Giorgio Vasari, is divided into 3 eras and
styles:
Ø Early years in Umbria (apprentice of Pietro Perugino); Florence period (1504-1508),
when he absorbed the artistic traditions of Florence; Roman period (1508-20),
where he worked for 2 popes and their close friends.
Ø Too much artistic production despite his short life.
Ø In 1508, He was commissioned to paint Pope Julius II's private library
(Segnatura Room) in the Vatican Palace, and his Roman career began.
Ø He worked with Bramante in the construction of the New St. Peter's; he took
over the work at his death.
Ø He made his most important works in the Roman period (1508-1520) in the
Vatican.
Ø He also made architectural designs.
Ø Raphael studied Vitruvius's book, drew the reliefs (rölöve) of historical
artifacts in Rome > Humanism, classical knowledge, Neoplatonism.

217

Pyramidal construction

218 Leonardo da Vinci, Virgin of the Rocks, 1495-1508.

219
Oil on wood, National Gallery, London

38
 25.05.21

220 221

• There are 4 separate halls in the Papal Apartments of the

Vatican Palace where Raphael's frescoes are displayed.
• Together with Michelangelo's frescoes in the Sistine
Chapel, they are the largest fresco area in Rome from the
High Renaissance Period.

• There are 4 separate halls in the Papal Apartments of the Vatican Palace
where Raphael's frescoes are displayed.
• Together with Michelangelo's frescoes in the Sistine Chapel, they are the
largest fresco area in Rome from the High Renaissance Period.

39
 25.05.21

Raphael, The Four Branches of Human Knowledge, fresco, 1509-1511

Stanza della Segnatura, Papal Apartments, Vatican

> Raphael's early works in the Vatican that marking the beginning of the High Renaissance.
> The equal participation of theology and philosophy in the humanities points to a new secular
situation.

Stanza della Segnatura, Papal apartments

This room was actually a library that was part of the papal apartments where the Pope lived.

Raphael painted here on the four walls the four branches of human knowledge:
• Philosophy, having to do with things of this world. The philosophy at this time also meant what we These four areas of human knowledge were also symbolized by
now call the sciences.
• On the opposite wall theology, having to do with issues relating to God and the divine. And on the
allegorical figures on the ceiling.
two other walls, poetry and justice.
• These four areas of human knowledge were also symbolized by allegorical figures on the ceiling.

40
 25.05.21

These four areas of human knowledge were also symbolized by

allegorical figures on the ceiling.
These four areas of human
knowledge were also symbolized
by allegorical figures on the
ceiling.

Raphael, The School of Athens, Stanza della Segnature. 1509-11

• High Renaissance Masterpiece

• The architectural structure depicted in Raphael's fresco looks like
the New St. Peter's Church under construction.

Raphael's St. Peter's Plan (proposal), 1517 c

238
• Latin Cross and Central Plan

41
 25.05.21

New St. Peter's Church under construction In the center, Plato and Aristotle surrounded by other great thinkers and philosophers, and mathematicians from
antiquity. And also ancient thinkers and Renaissance artists are depicted together.

Apollo, god of poetry and music Athena, goddess of war and wisdom

• The architectural structure depicted in Raphael's fresco looks like the

New St. Peter's Church under construction. Perspective technique

42
 25.05.21

In the center, Plato and Aristotle surrounded by other great thinkers and
philosophers, and mathematicians from antiquity with Renaissance artists are
depicted together.

Leonardo da Vinci is depicted as Plato.

245

246 247

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 25.05.21

Ø Rafaello was buried in the Pantheon, as he wanted in his will, with

a magnificent funeral.
Ø Lorenzetto made the statue of Madonna in the mausoleum.
Ø The poem of his poet friend Pietro Bembo was written on the
gravestone:
“While he was alive, nature was afraid to be left behind his
depictions,
248
After he died, nature was afraid that to die with him.”

MICHELANGELO
Florence 1475-1564) MİCHELANGELO
Il Divino "the divine one" (1475-1564)
Ø One of the most important Italian High Renaissance and Mannerist
artists; sculptor, painter, architect, and poet.
Ø He is regarded as one of the greatest artists in world cultural
history.
Ø The first western artist whose biography was published while he
was alive; his contemporaries called him Il Divino "the divine".
Ø An ability to create special awe and majesty in his works 'Terribilità'
Ø Exciting and highly personal artistic style

Ø He worked in Florence, Bologna, and Rome.

Ø In 1488, at the age of 13, he became the apprentice of the painter
Domenico Ghirlandaio, one of the masters of the early
Renaissance, and the sculptor Bertoldo di Giovanni at the age of
15.
Ø In 1490-92, he entered the patronage of Lorenzo de 'Medici,
attended the Platonic Academy of the Medicis, met the most
important humanists of the period, and also classical antiquity
which would have a great influence on their work.
Ø He made detailed studies on human anatomy.

Michelangelo, 1535, Jacopino del Conte (1510-1598)

44
 25.05.21

Michelangelo Buonarroti (1475-1564)

Sculptor, Painter, Architect, Poet

Ancora imparò “I’m still learning”

Apprentice:
Ghirlandaio, SM Novella, Fresco, 1485-90

They had differing views on the superiority of painting versus sculpture

45
 25.05.21

For Michelangelo, the whole body, with its rippling sinews and muscles, could be
expressive of an inner state of being

46
 25.05.21

262
Michelangelo, Pieta, 1498-50, h:174, 194x194 m

263 264

47
 25.05.21

Christ’s body appears convincingly lifeless, as it drapes heavily across her lap.
We feel the pull of gravity in the way his arm falls limply from his shoulder, or the way his left
foot dangles
265 266

The artist's freedom to create, “artistic license”

• When the statue was completed, Michelangelo was criticized for “taking
liberties” with the story.
• He portrayed Mary as a young woman, when in fact, she would have
been much older at the time of Christ’s death.
• The artist defended himself by appealing to “artistic license”
• He explained that he portrayed Mary as youthful and beautiful, because it
more truthfully expressed her inner purity and perfection.
• In this way, Michelangelo defended the artist’s right to depart from
accepted “rules” (and, in this case, official church doctrine), in order to
express a deeper artistic truth
267 268

48
 25.05.21

269 270

271 272

49
 25.05.21

Michelangelo, Pieta, 1498-50, h:174, 194x194 m

The Pieta was Michelangelo’s first successful commissioned work, and he was
evidently proud of it.

273

Announcement of individuality: Signature

New appreciation for creativity and
artistic “genius”
The creative genius artist emerges:

“I saw an angel stuck in marble and carved it until

I liberated him.”

• Michelangelo says he sculpted with his mind.

The new position of the artist:

There is a famous story that Michelangelo overhead some men discussing his work in Saint • The artist's ascending position from the
Peters (where it was on display), and mistakenly attributing it to another artist. anonymous master working with the hands of
the Middle Ages to the creator who also uses
his mental faculties.

50
 25.05.21

Michelangelo, David, 1501-1504, Accademia, Florence

When democracy was restored in Florence, Michelangelo was called home to create a statue
of David for the cathedral.

The block of marble he was given had been started by a previous artist, and the
dimensions presented considerable challenges.

280

51
 25.05.21

Michelangelo, David, 1501-1504, Accademia, Florence, 517 cm

Michelangelo, David, 1501-1504, Accademia, Florence, 517 cm

281 282

283

52
 25.05.21

ALTIN ORAN / GOLDEN RATIO

Polykleitos, Doryphoros, MÖ 450 ci Michelangelo, Davud, 1501-4

• The statue made by Polykleitos in 450 BC.
• Literal meaning "spear bearer".
• Polykleitos made this sculpture to show the ideal beauty based on mathematical
proportions. 285 286
• That's why the original name of the statue is "canon *".

Contrapposto:
The posture in the statue in
which the bodyweight is
imposed on one leg and the
other leg is released by
slightly bent at the knee. It
gives the figure three
dimensions and spatiality.

Donatello's David is the first free-standing nude sculpture made after the
classical period.

287 288

53
 25.05.21

• Ortaçağda vücut
utanç kaynağı olarak
görülüyordu.
• Çıplak figürler, kilise
süslemelerinde
nadiren temsil
edilirdi.

289 290

Donatello, David, c. 1440-1460. Bronze, 158 cm high Michelangelo, David, 1501-1504. Marble, 517 cm
291 high 293

54
 25.05.21

294 295

DAVID
• Ideal Beauty
Michelangelo also took liberties with the proportions of the body • Contrapposto stance
• Anatomy
• Interest in the human
body
• Humanism
• Blessing of body and
man
• Balance, harmony
• Classical proportions
are almost in divine
297 298
Michelangelo, David, 1501-1504. Marble, 517 cm high harmony.

55
 25.05.21

299 300

Reconstruction of the independent monumental statue with 40 sculptures

dated 1505.

301 302

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 25.05.21

Famous CARRARA marble from quarries on Italy's west coast

Michelangelo used it a lot.

303 304

The most impressive figure from the tomb is Michelangelo’s statue of

Moses, who measures 254 cm tall while sitting down

305 306

57
 25.05.21

Michelangelo, Moses from the Tomb of Julius II, 1515, Carrara marble, 254 x 210 cm

His long flowing beard ripples

with energy, while his muscular
arms and legs communicate
super-human strength.

A massive and imposing figure, Moses twists his body in a coiling motion
(the figura serpentinata) that suggests he is about to rise in an explosive burst
of anger at his fellow Israelites, who were worshipping the Golden Calf while he
307 went up the mountain to receive the tablets of the 10 Commandments (which 308
are tucked underneath his arm)

And so we see Michelangelo using his “artistic license” again to imagine a figüre that is
completely human, but “super-human” in his massive scale, and larger than life personality
309 310

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 25.05.21

THE SISTINE CHAPEL CEILING

Michelangelo, 1508-1512

311

What is the Sistine Chapel?

Sistine Chapel, Michelangelo, 1508-1512
• Sistine Chapel, papal chapel in the Vatican Palace that was erected in 1473–81 by
the architect Giovanni dei Dolci for Pope Sixtus IV (hence its name).
• The Sistine Chapel is a rectangular brick building with six arched windows on each
of the two main (or side) walls and a barrel-vaulted ceiling.
• The chapel’s exterior is drab and unadorned, but its interior walls and ceiling are
decorated with frescoes by many Florentine Renaissance masters.

59
 25.05.21

What is the Sistine Chapel?

• The Sistine Chapel is where the Pope will lead mass, but most famously this is the
room that the college of cardinals uses to decide the next Pope.
• The frescoes on the sidewalls of the chapel were painted by many Florentine
Renaissance masters from 1481 to 1483 during the Pope Sixtus.
• Ceiling had been frescoed earlier with a star-spangled sky.

317
Sistine Chapel, 1480

The most important artworks in the chapel are the frescoes by Michelangelo on the ceiling
and on the west wall behind the altar.

The Pope’s uncle, Pop Sixtus IV, had begun commissioning artists to decorate the Sistine
Chapel, but the ceiling remained unfinished, and so he offered this job to Michelangelo

Michelangelo initially turned the offer down, claiming he was a sculptor not a painter, but the
Pope prevailed and convinced him to take on the job.

Sistine Chapel, reconstruction, c. 1485 318

60
 25.05.21

Over 300 life size figures, 9 rectangular panels, 18 meters high, 40 x 13 m,

approx. 520 square meters area
• The Sistine Chapel ceiling
painted by Michelangelo
between 1508 and 1512, is a
cornerstone work of High
Renaissance art.
• Commissioned by Pope
Julius II in 1508.
• It took 4 years and 5 months
(1512 days) to paint the
ceiling.
• Although he had some
assistants mixing paint etc,
Michelangelo was such a
perfectionist he did most of The ceiling depicts the epic story of the Creation and Fall of humankind, from
the work himself. the Book of Genesis
• The dimensions of the Over 300 figures act out the grand drama of the human race.
chapel are the same as the
Solomon's Temple.
• Ceiling dimensions; approx.
40x13 m, 520 square
meters, height 18 m
Michelangelo, Sistine Chapel, ceiling frescoes, 1508-12, Vatican City, Rome

Sistine Chapel Subject Diagram

9 scenes from the Old Testament Book of Genesis (Creation):
• The first three depict the creation of the universe; the next three tell the creation of man
and his exile from Heaven, and the last three tell the story of the Great Flood and Noah.

It begins with the separation of light and dark, and ends with the Drunkenness
of Noah

61
 25.05.21

328

329 330

62
 25.05.21

331 332

And so we see in this fresco, a perfect expression of Humanism: man is

beautiful and good – a reflection of God’s perfect beauty.

Heykeltıra ın, tıpkı Tanrı'nın ya amı yarattı ı gibi, ta blo a hayat verdi ini savunuyordu.
Bu görü e göre, Tanrı "ilk" sanatçıydı ve onun en büyük aheseri insanlıktı! 333 334

63
 25.05.21

Michelangelo’s Creation of Adam also seems to express the artist’s unique

ideas about artistic creation:
He argued that the sculptor gave life to the block of stone in much the same
way that God created life
In this view, God was the “first” artist — and his greatest masterpiece was
mankind!

335 336
The Creation of Adam, portraying the creation of mankind by God.

Michelangelo’s figures twist and turn in poses that express agitation and intense inner emotions and
exemplify Michelangelo’s restless energy and pent-up emotion.

337 344

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 25.05.21

The ignudi exemplify Michelangelo’s restless energy and pent-up emotion

The nudity in Michelangelo’s fresco for the Sistine ceiling was unprecedented in Christian art

It was in many ways a culminating expression of Renaissance Humanism; but it was a

moment of supreme confidence that would be short lived As we will see in the next Unit, a censorship camp was launched, and an artists was
actually hired by the church to paint “trousers” on some of Michelangelo’s figures

345 346

A New Civil Architecture

Defining The Urban Space

ROMAN CITY PALACES

PALAZZO

65

° –
Palazzo Rucellai (1446-51), Florence
Leon Battista Alberti (1404-1472)
The first renaissance palaces built in Rome were
influenced by palaces built in Florence.
25.05.21
General Features of Renaissance City Palaces
• In Italian geography during the Renaissance, large-scale noble houses built in
cities are called "palazzo" and those built in the countryside called "villa".
• Unlike villas, palazzos can form a large city block in congested cities such as
Florence and Rome.
• Renaissance city palaces usually have three floors and an inner courtyard with
porticoes:
– Each floor of the palace mass is separated by elaborate horizontal moldings.
– A wider and protruding cornice accentuates the finish of the structure.
–
A different combination of the atrium houses in ancient Rome was created with the plan type
that generally developed in four directions around a courtyard.
The ground floor is the service floor: There are service places such as offices, barn, and
kitchen, etc.
– The first floor is the most important floor reserved for the owners of the palace and is called
"piano nobile": It consists of large rooms with high ceilings decorated with paintings.
– Servants' bedrooms can be found on the last floor.
• Renaissance palaces are massive, 'tectonic' buildings. Especially the front facades
facing the piazza decorated magnificently with classical style. The ground floor is
mostly made of thick stone blocks.
• City palaces reached magnificent monumental dimensions in terms of scale and
decoration in the high renaissance period of Rome and became an important
element defining the urban area.
Palazzo della Cancelleria, 1489--1513
> Rome's oldest Renaissance palace
> Patronage Cardinal Raffaele Riario
> Papal Palace
> Its architect (since its archive is on fire) is
uncertain.
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Palazzo Della Cancelleria (1486–95)

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A masterpiece of the High Renaissance

Palazzo Farnese (1514-89)

Urban parcel of 57 x 73 meters

Palazzo Farnese (1514-89) While the front façade of the building communicates with the city, the back
façade opens to the view and there is a loggia here.

Ø Cardinal Alessandro Farnase, Pope III. Paul, 1534

Ø The most important architects of the time, such as
the young Antonio da Sangallo, Michelangelo,
Vignola, and Giacomo Della Porta, were involved in
design and execution.
Ø The construction period took approximately 75
years.
Ø It is one of the most monumental Renaissance
palaces in Rome.
Ø The structure is rectangular and the inner
courtyard is entered through a barrel-vaulted
passage.
Ø (This columned entrance is often found in
Renaissance palaces.)
Ø The atrium (courtyard) is used as a space
constituent element in Renaissance palaces.
Ø Its 57x29-meter monumental main façade opens to
Piazza Farnese.

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While the front façade of the building communicates with the city, the back façade opens to the
view and there is a loggia here.

A mid-18th-century engraving of Palazzo Farnese by Giuseppe Vasi.

Ø A masterpiece of the High Renaissance, the Palazzo

Farnese has a perfectly symmetrical main façade,
rows of discrete windows with individual pediments,
and a heavy cornice providing a definitive cap to the
composition.

Columned, vaulted monumental

entrance passage

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Its 57 meter wide and 29 meter high monumental main façade opens to Piazza
Farnese.
The boundaries of the building are emphasized with different stone texture.

Ceiling paintings of the Farnese Gallery, area: 20X6 m Lateran Palace, 1589
Annibale Carracci Pope Sixtus V
Architect Domenico Fontana
One of the early Baroque masterpieces

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RENAISSANCE
URBAN AREA

Anonymous, Ideal City, Urbino Panel,

1480s, 60 x 200 cm

MEDIEVAL What did cities look like in the late Middle Ages?
URBAN AREA
SAN GIMIGNANO
Tuscany Region

The Allegory of Good and Bad Government (freosco) 1338-1339 by Ambrogio Lorenzetti -
Palazzo Pubblico / Town Hall in Siena, Italy

394

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How is the medieval city defined?

Is there a perspective view here? In the 1400s, the city began to be represented in pictures.
A new architectural vision, classically arranged spaces, especially the masculine
Roman arches, enter the architectural perspective.

Piero della Francesca, proof of the True cross, Fresco, 1466, 356×747 cm
The painter is more about showing the activity here, the representation of
something, rather than showing the realistic urban space.

A new architectural vision:

A new architectural vision that includes classically arranged spaces,
especially masculine Roman arches, enters the pictures with the discovery
of perspective. PICTURES DEPICTING THE IDEAL CENTRALIZED PLAN
APPEAR

“Feast of Herod”, Donatello, 1425-1429, The Ideal City, Fra Carnevale, Commissioned in the 1480s for the Palace of
bronze relief gilded. Federico da Montefeltro, Duke of Urbino
The Execution of Saint James, (1455-56, destroyed in 1944),
Andrea Mantegna (1431-1506) • Vista and perspective

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• The ancient Romans planned their cities as military garrisons.

• The streets in the cities with a square or circle form were
arranged in a grid.
• Rational techniques were used in planning.

PICTURES DEPICTING THE IDEAL CENTRALIZED PLAN APPEAR

• Grid planned urban landscape
• Ideal church with a centralized and circular plan at the center
• Perspective

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What should the ideal city be?

• The pursuit of excellence P AZZA > CITY SQUARE
• A rational solution proposal in the Renaissance period The Depth Perception Of The Linear Perspective
• Rationalism is applied to the image of the city
• A return to the antiquity
• Geometric purity
• Mathematical order

CENTRALIZED PLANS

WHICH IDEAS INSPIRED THE IDEAL CITY

PLANS?

Central plan organization and circular form idea

Antiquity, Nature, Geometry

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• Stuffing the city with classical buildings.

• Geometry and the Vitruvian Man
Vitruvian Man: Leonardo, 1500s Cesariano, 1521s

• The universe is a macrocosmic reflection of divine order.

Leon Battista Alberti, On Building Art, 1452
• The body is a microcosmic reflection of divine order and therefore must be blessed.
Alberti suggested the circle as the most ideal and
Microcosm: Philosophical term that regards human beings as a reflection of the entire universe.
divine geometric form in his book.

• Sforzinda is a visionary ideal city named after Francesco Sforza, the Duke of
Milan (condottieri / mercenary).
• It was designed by Renaissance architect known as Filarete (c. 1400-1469)
• Sforzinda (Filarete's ideal city) is the first of the ideal urban utopias that
exploded in the Renaissance period.
• Filarete (1400-1469), The Study on Architecture (Trattato d'architettura), 1465

• The ideal city ideal urban utopias

• Ideal political structure

Plan of Sforzinda

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THE EMERGENCE OF UTOPIAS

• Thomas More (1478-1535), Utopia, 1516
• Tommaso Campanella (1568-1639), The City of the Sun, 1602
• Francis Bacon (1561-1626), New Atlantis (Nova Atlantis), 1627

“The imaginary country where individuals and the state live in perfect
harmony.”

UTOPIA > Nonexistent Beautiful Place

• It is originally derived from the Greek words OU meaning
“nonexistent”, EU meaning “perfect” and TOPOS meaning “place/land/
country”.

• (UTOPIA derives from eutopia 'good place' and outopia 'no place'.)

• Attainable and worldly urban and social utopias

• The paradise imagined in this world

PLATO, Timaeus (dialogue) and the State

• Attempts begin to explain the formation of the universe (cosmos)
outside of religious teachings.
• Timaios, in which Plato talks about the creation of the universe and
the lost continent Atlantis, becomes very popular.
PALMA NOVA (near Venice) Centralized and radial planning.

Ideal city plans could not be realized in the renaissance.

The only realised ideal city plan in the Renaissance:
PALMA NOVA (near Venice), the ideal city of architect Scamozzi PALMA NOVA, City center.

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Another idea for the ideal city plan. Francesco develops the Vitruvian Man idea and uses anthropomorphic /
biomorphic metaphors.
The piazza is in the stomach, the castle is at the head, arms and feet are the walls of the castle and the heart is
in the church.
Francesco di Giorgio Martini (1439--1501), The Treaty of Architecture (1490 c.)

City Plan Church Plan

Humanist Utopia

SABBIONETA (MANTUA), THE IDEAL GRID PLAN CITY

• Vespasiano I Gonzaga (1531-1591) was an Italian nobleman,

diplomat, writer, military engineer, and condottiere.
• He is remembered as a patron of the arts and the founder of
Sabbioneta, a town in Lombardy designed according to the
Renaissance principles of the "ideal city".

Perspective Window
Alberti portrays the picture as a window: a tool that shows the world we live in.

How were medieval cities

Perspective Window:
and gothic architecture
The picture is imagined as a window.
Grid Panel
perceived in the
Renaissance?

Alberti's Window
Leon Battista Alberti, 1435

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How were medieval cities and gothic architecture perceived in the

Renaissance?

Comic stage: Tragic stage

Irregular, medieval noble towers, no common Vista, round arches, obelisks, classical
language, pointed arches, shapeless town architectural language, geometric, triumphal
square arch, a geometric street, perspective

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ARCH 242
History of Architecture II Mannerism
Lecture 9

Spring 2021

TIMELINE
PRE-MODERN MODERN……..

Early Carolingian Gothic / Baroque / Neoclassical /

Christian Early Medieval Romanesque Renaissance Rococo Romanticism Modern
High Medieval

500 1000 1400 1600 1700 1900

Early Renaissance High Renaissance

1527 Mannerism

1400 1500 1527 1600

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Naturalism/naturalistic: Looks like real life

Canonical (orderly) architecture based on the proportions of the human body

RENAISSANCE: Rebirth

•Art and Architecture

6

RENAISSANCE: Rebirth

Early Renaissance pioneers had made RENAISSANCE: Rebirth

significant advances:

1. Rediscovery of classical past

High Renaissance
2. Linear/Atmospheric perspective
3. Use of light and shade to create
1. Movement
volume and mass
2. Emotion/psychology
4. Anatomy
3. Oil painting technique
5. Use of maths, geometry, measure,
4. To unite the human and the divine
and proportion
5. Monumentality in architecture
6. Imagining new urban forms
6. Attempts to bring order to nature
10 11

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RENAISSANCE: Rebirth
So what else is left to
High Renaissance Artists made new
discover?
discoveries with the synthesis and
consolidation of 15th century
discoveries and produced important
art works that would compete with
their ancient ancestors.

12 13

By the end of high renaissance, young artists WHAT IS MANNERISM?

experienced a crisis: Approx. 1527-1600

• It seemed that everything that could be

achieved was already achieved.
• No more difficulties, technical or
otherwise, remained to be solved.
• Everything reached to perfection.
• The young artists needed new goal, and
they sought new approaches.
• At this point MANNERISM started to
emerge.
14
• Mannerism, the Italian Manierismo (derived
from the Italian maniera meaning “attitude”
or “style”), the artistic style that dominated
Italy from the end of the High Renaissance
in the 1530s to the beginning of the Baroque
style in the 1590s.
17

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ORIGIN AND SPREADING OF MANNERISM MANNERISM

Approx. 1527-1600
Approx. 1527-1600

• It originated in Florence and Rome; from

there it spread to northern Italy and most of
central and northern Europe. SOCIO-CULTURAL &
• The term was first used in a pejorative HISTORICAL
manner in the 17th century. BACKGROUND

18 19

MANNERISM SACK OF ROME

historical background 1527

• Many scholars explain the Mannerism

phenomenon in the light of important social
events.
• Besides the Reformation and the Counter-
Reformation, another event in 1527
confused the minds: the Sack of Rome by
the troops of Charles V.
Sack of Rome, 6 Mayıs 1527
Martin van Heemskerck (1555)
20 22

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Pope Clement VII

Son of Giuliano de 'Medici'
Papal Period (1523-1534)
Humanist, great patron of arts
Commissions to Michelangelo in Florence and
Rome
> Laurentian Library, 1525-1571
> New Sacristy, 1519—1534
> Last Judgment, Sistine Chapel,1534-1541

His papal era dominated by major events:

The financial crisis of the Papacy
Protestant riots, Martin Luther
The Conflict between the Holy Roman Empire
and France
The sack of Rome, 1527
Clement VII, Sebastiano del Piombo. c.1531
Henry VIII's separation from the church, 1534

24 25

26 27

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• The Villa Farnesina was built by Agostino Chigi (banker to the Pope), and later purchased
"Tanrı bize papalığı verdiğine göre, bırakın tadını çıkaralım."
by Cardinal Alessandro Farnese, grandson of Pope Paul II
Leo X

• The Rome of Leo X was a city of luxury.

• Cardinals, Popes, and papal officials built sumptuous villas and enjoyed a
lifestyle of decadent luxury.

28 29

In other words, the upper clergy lived in a glamorous lifestyle.

30 31

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32 34

35 37

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The Papacy's quest for financing to implement costly architectural

projects such as St. Peter's Church accelerated the sale of indulgence
papers.

Indulgence: İn medieval Europe, a paper sold by the papacy for the remission of the
severe penances (sins) and also granting going to heaven after death. 40

41 42

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Martin Luther (1483-1546)

and his “95 Theses”

• Luther returned to Germany and drafted his “95 Theses” outlining the abuses of
the church.
• He conflicted with the Catholic church because of the "95 Thesis" nailed on the
door of the Wittenberg Church in 1517.
• Luther and the Protestants began to expose the problems in the Catholic
Church.
• The Sacrament of Penance (forgiveness of sins by the church), the sale of
indulgence papers, and the worship of saints were opposed 44 45

In 1522, Luther translated the Bible into German for the first time.

Martin Luther (1483-1546)

46 Lucas Cranach the Elder and his workshop 47

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48 49

SACK OF ROME, 1527

By Holy Roman Empire under Charles V

King of France Francois I

The fight for dominance over the cities and states of the Italian peninsula:
• 1525-1529, The conflict between the Cognac Union (France, Milan, Venice,
Florence, and the Papal Alliance) and the Holy Roman Emperor Charles V.
• Charles V's armies savagely attacked and sacked Rome for a month and put
an end to the High Renaissance.
• The population of Rome decreased from 55 thousand to 10 thousand, and the
artists' community left the city.
• The papacy fell out of power and was pulled aside for a while.
In this engraving of the sack, the siege of Castel Sant’Angelo is portrayed. The pope and two
other prelates look upon the action from a balcony.
Dirck Volckertsz. Coornhert, after Martin van Heemskerck, Lansknechte in Front of Castel’Angelo in 1527,
copper engraving in (The Victories of Emperor Charles V), 1555/6, published by Hieronymus Cock, 15.6 × 23.2
cm (Rijksmuseum)
51

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MANNERISM
Approx. 1527-1600
SOCIO-CULTURAL AND HISTORICAL
BACKGROUND
Depression > Loss of the Center

• Reform Movement > Long religious wars.

• The sack of Rome by forces under the banner of Charles V in
1527.
• Scientific advances, challenging the geocentric traditional
worldview.
• Copernican Revolution: Heliocentric worldview.
• The heliocentric worldview undermines the church's authority.
• Discovery of the new world: Undermining Rome's claim to be
the center of the world.
• The loss of Renaissance optimism
• The world is out of joint!
52

The Emergence of Individuality in Art

WHAT IS MANNERISM?
• Nomenclature: Mannerism was derived from the Italian word
“maniera / style” first used by Vasari (1550) and flourished
especially in Rome and Florence.
• Moving away from the classical idealism of High Renaissance
art, which is bound to rules and schemes, characterized by
balance, proportion, symmetry, etc.
– It is a classical style but differs from the classical by deliberately
distorting or changing the original meanings of the classical
elements, proportions, and measures.
• The pursuit of novelty is the most distinguishing feature of
mannerism.
• The use of classical motifs in deliberate contrast to their
original meanings.
• Individuality, “the subjective attitude of the artist” became
the leading feature of the Mannerist style in almost every field.
54
In the Renaissance, our thoughts about objects and their creators
changed:
• In 1550, a book about artists was published for the first time.
• The Florentine painter, writer, historian, and architect George Vasari
(1511-1574) published the book:
– “The Life of the Greatest Painters, Sculptors and Architects”
• For Vasari, the sixteenth century was the time of 'maniera moderna
(modern style) - the modern style that became bella maniera (beautiful
style) in the hands of experienced and skilled artists who were able to
create works of unique beauty and vitality.
• Mannerism is defined by Giorgio Vasari as “deliberate deviation
from the classical norm”. 57

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Giorgio Vasari (1511–1574), Le vite de' piu eccellenti pittori scultori e architettori (Floransa, 1568)
58 59

By the end of high renaissance, young artists THE SEARCH FOR NEW LANGUAGES IN ART:
experienced a crisis: THE OTHER REALITY
• it seemed that everything that could be • Undermining art forms based on rationality, balance, and proportion.
achieved was already achieved. • The manifestation of uncontrollable emotions.
• No more difficulties, technical or otherwise, • The emergence of individuality in art, subjective perspective.
remained to be solved. • Breaking classical composition rules.
• Everything reached to perfection. • Surprise effects, asymmetrical and dynamic compositions.
• The young artists needed new goal, and • Distortion of the single-center perspective.
they sought new approaches.
• Undermining of iconography (a particular tradition and a system of
• At this point MANNERISM started to descriptions and symbols classified within that tradition).
emerge.
• Discourse metaphors: Architecture as a language.

61 62

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How was mannerism According to Arnold Hauser, modern art begins with Mannerism.

perceived?
• Until almost the 1960s, mannerism was a debased style.
• Although it was used to describe the artistic changes
especially in Italy between 1520-1600; the works
produced in his period were described as “anti-classical,
The term “Mannerist” was
bad, unsuccessful copies” of the renaissance art. redefined in 1967 by John
Shearman following the
• Today, Mannerism is accepted as an original style exhibition of Mannerist
paintings organized by Fritz
supported by various social movements since the second Grossmann at Manchester
City Art Gallery in 1965.
quarter of the 16th century.

63 64

Confirmation of complexity and

contradiction in art and architecture.

William Empson, Seven Types of Ambiguity, 1930 Mannerist architecture has also been used to describe a trend in the
Robert Venturi, Complexity and Contradiction in
1960s and 1970s that involved breaking the norms of modernist
Architecture, 1966 architecture while at the same time recognizing their existence.

Defining Mannerism in this context, architect and author Robert Venturi

wrote:

“Mannerism for the architecture of our time that acknowledges

conventional order rather than original expression but breaks the
conventional order to accommodate complexity and contradiction and
thereby engages ambiguity unambiguously.”

66 67

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MANNERISM
Notable artists and architects:
• Michelangelo (1475-1564), the most important and influential mannerist
artist.
• Giulio Romano (1499-1546)
• Baldassarre Peruzzi (1481-1536)
• Andrea Palladio (1508-1580)
• Giacomo Barozzi da Vignola (1507-1573)
• Parmigianino, 1503-1540
• Agnolo Bronzino, 1503-1572

Author artists:
• Benvenuto Cellini (1500-1571), (goldsmith, sculptor, painter, soldier,
musician), Autobiography, 1558-1563.
• Giorgio Vasari, “The Life of the Greatest Painter, Sculptor and
Architects” (1550, updated 1568), considered the first art historian.
• Andrea Palladio (1508-1580), Four Books on Architecture, (ed. 1570)

68 69

Parmigianino takes us to another world where the

laws of proportion, naturalism, and mathematics do
not apply.

Madonna with the Long Neck :

- Intentional unbalanced composition

- Mysterious column in the background, a reference to
antiquity
- Unproportional body, long body, neck, small head
Raffaello Sanzio (1483 - 1520) Parmigianino (1503-1540) - The disproportion between the upper part of the body
Madonna of the Meadow, 1505–06, oil on panel, Madonna with the long neck, 1530–33, 73 x7060 cm and the lower part. 71
885 x 1130 cm (Kunsthistorisches Museum, Vienna) (Uffizi, Florence) - Ambiguity

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referencing other works of art:

Referencing other works of art:

Dangling arm of pieta

Michelangelo, Pieta, c. 1498-1500

72 74

Features of the Style

• Asymmetrical and unstable compositions

Elongated proportions, highly stylized
poses, and lack of clear perspective
• Lack of a clear focus
• Unusual representations of traditional themes,
stratification of meaning
• Unusual light effects and use of color
• Uncertain, ambiguous areas
• Use of expressive body movements
• Figura serpentinata
• Twisted and elongated figures
• Distorting and stylizing the body in a plane
• Reference to other works of art
• But there is an important difference here; a conscious
action, a kind of artistic game.

Rosso Fiorentino, The Dead Christ with Angels, c. 1524–27, oil on panel, 76 77
133.4 x 104.1 cm (Museum of Fine Arts, Boston

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Central perspective Clarity, balance, symmetry

Ideal geometry Square, circle

The last Supper, 1495-98

Leonardo da Vinci

The last Supper, 1592-94

Jacobo Tintoretto (1518-1594)
In this picture, the upper plane is emptied and represents the divine space.
The lower part is the material world and vital events.
79 The head of Christ is in the center and all the lines of escape converge in him. 81
A typical renaissance setting

Diagonal placement / Asymmetry / Loss of the center / Combination of the sacred

84 85
with the everyday / Ambiguity / Use of striking light

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Breaking the biblical narrative

A very subjective interpretation.

İki farklı dünya üst üste gelmiş.

Kutsal figürler bir tarafta diğer tarafta
gündelik figürler.
Tepede siyah melekler.

86 92

MANNERISM
Other reality: new forms of expression

Kütüphaneci, 1566 Vertumnus (Kutsal Roma İmparatoru Rudolph II)

95
Giuseppe Arcimboldo (1526-93) (Roma Tanrısı), 1590 Giuseppe Arcimboldo, “Bahar,” 1573 (Maniyerizm örneği)

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In Prague, under the patronage of Holy

Roman Emperor Rudolph II, Dutch
engraver Hendrik Goltzius produced
numerous engravings such as Apollo.

Workshop of Rosso Fiorentino, The Royal Elephant, 97 Hendrik Goltzius, Apollo, 1588, gravür, 26,4 x 34,9
98 cm
Gallery of Francis I, Château de Fontainebleau, 1528–1540, fresco (Metropolitan Sanat Müzesi)

MANNERISM:
LANGUAGE

Architecture as a language ··········> Syntax

Federico Zuccaro, Palazzo Zuccari's window, Rome, 1592 101 102

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PALAZZO MASSIMO, Rome, 1532 ci.

Baldassarre Peruzzi (1481-1536)

ALPHABET: Architectural elements like column, pediment, frieze, capital, cornice, arch, etc.
SYNTAX: The arrangement of words and phrases to create well-formed sentences in a
language.
GRAMMAR: Classic Orders
105 106
Verbal (Rhetorical) Metaphors

NOLLI MAP, ROME, 1748 (FIGURE / GROUND)

107 109

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PALAZZO MASSIMO, Roma, 1532 ci.

Baldassarre Peruzzi (1481-1536)

110 111

112 113

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MICHELANGELO
Florence 1475-1564)
Il Divino "the divine one"

The Michelangelo was

one of the great role
models of mannerism.

114
Michelangelo, 1535, Jacopino del Conte (1510-1598)

BASILICA OF SAN LORENZO

FLORANSA ca. 1419-1459, Florence, Brunelleschi

Michelangelo designed two structures inside the Basilica of San Lorenzo:

• Laurentian Library, 1525-1571
116 • New Sacristy, 1519--1534 117

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BASILICA OF SAN LORENZO

ca. 1419-1459, Florence, Brunelleschi

118 121

Michelangelo designed two structures inside the Basilica of San Lorenzo: YENİ MEDİCİ ŞAPELİ, 1519+
• Laurentian Library, 1525-1571 Michelangelo (1475–1564)
• New Sacristy, 1519--1534
Inside the Medici's Basilica of San Lorenzo (1459 c.)
Old Sacristy New Sacristy Patronage: Cardinal Giulio de 'Medici and his cousin
Pope Leo X.
A mausoleum for members of the Medici family

It balances Brunelleschi's 'Old Medici Chapel' located in

the left transept symmetrically with shape and size (a
cubic area covered with a dome, gray pietra serena and
Staircase
white painted walls) in the right transept.

Laurentian Library
Michelangelo's first architectural experiment; He also
designed the mausoleums and sculptures dedicated to
the Medici members buried in the chapel.

In 1534, Michelangelo was summoned to Rome and left

Cloister Florence.
It was intended to be four Medici tombs; The grave of
Lorenzo the Magnificent and his brother Giuliano was
never started.

Michelangelo is also a poet and tries to reflect this in

his works.
Here he created a space with a story.
He treated the space as a kind of sculpture.
123 125
Basilica of San Lorenzo Plan

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New Sacristy, 1519-1534 The Medici's Basilica of San Lorenzo (1459 c.): Michelangelo's first architectural experiment; He also designed the mausoleums and
Michelangelo (1475–1564)) C- Old Sacristy sculptures dedicated to the Medici members buried in the chapel.
A- New Sacristy
B- Laurentian Library
D- Princes' Chapel

D He treated the space as a kind of sculpture.

126 129

The mausoleum of Giuliano de 'Medici, 1526-1531

The sculptures had an artistic impact on future generations.

Michelangelo is also a poet and tries to reflect this in his works.
Here he created a space with a story.

132 133

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The mausoleum of Lorenzo de 'Medici, 1524-1534

ideal beauty
Two side sculptures symbolize dusk and dawn.

134 135

It balances Brunelleschi's 'Old Medici Chapel' located in the left transept symmetrically with
shape and size (a cubic area covered with a dome, gray pietra serena and white painted
walls) in the right transept.

A masterpiece of mannerism:
the perfect synthesis of architecture, sculpture and the use of natural light

137 138

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Laurentian Library (vestibule and reading room), Breaking The Classical Orders And Creating A Subjective Archıtectural
begun 1524, opened 1571, San Lorenzo, Florence. Language • For the first time in architectural
culture, a staircase covers the entire
space and is positioned in a sculptural
• Patronage: Medici pope form, like a stand-alone piece of art.
Clement VII
Library Plan • It was built upstairs in the • Classical architecture has certain
cloister of the Medici's rules:
Basilica of San Lorenzo.
staircase • Emphasis on the • In this structure, Michelangelo
Kütüphane Kesit intellectual and religious
deliberately destroyed the classical
orders and reinterpreted them with his
identity of the Medicis subjective point of view.
• More than 11,000 Repetition
manuscripts and 4,500
Overlapping of a long narrow space and a high space.
early printed books.
Vestibule • It contains manuscripts a stand-alone piece of art
and books belonging to
Kütüphane Görünüş the private library of the
Medici.
• It is famous for its
architecture designed by
Michelangelo.
• One of the most famous
examples of Mannerism contrast
139 140

• Michelangelo deliberately destroyed the classical orders and reinterpreted

them with his subjective point of view.

For the first time in architectural culture, a staircase covers the entire space and is positioned
in a sculptural form, like a stand-alone piece of art.

141 142

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Michelangelo's mannerist sculptures

Emphasis on the intellectual and religious identity of the Medicis

More than 11,000 manuscripts and 4,500 early printed books.

Michelangelo, Bandini Pietà, 1550’ler Rondanini Pietà, 1552-1564

143 144
H: 226 cm. Sforza Kalesi, Milano.

Ganymedes1548-50
Benvenuto Cellini (1500-1571)
Bronz, h: 60 cm
Museo Nazionale del Bargello, Floransa

150
Giovanni da Bologna (Giambologna,1524-1608) 151
Mercury, 1567, Bronze, h: 180 cm.

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Figura serpentinata is the name of a curved or three-dimensional figure.

Figura serpentinata is a typical feature of the late Renaissance and Mannerism.

Abduction of Sabine Women, 1581-83,

152 153
Marble, 410 cm. Giambologna (1524-1608)

One of the most influential artworks for mannerist artists was the Hellenistic sculpture of
Laocoön and his sons, whose twisting, contorted bodies appealed to a variety of artists of this
time

Left: Alonso Berruguete, Abraham and Isaac, 1526–1532, polychromed wood, (89 x 46 x 32 cm) (Museo
Nacional de Escultura); right: Athanadoros, Hagesandros, and Polydoros of Rhodes, Laocoön and His Sons,
155 156
early first century C.E., marble, 7’10 1/2″ high (Vatican Museums El Greco, 1610–1614, Oil painting, 142 cm × 193 cm, National Gallery of Art, Washington, D.C.

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159 160

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One of the pioneers of

mannerism

Michelangelo,The Last Judgment, 1537-1541 168

Sistine Chapel, Altar painting

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173

Capitoline Hill (Campidoglio)

Rome, Italy, 1536, Michelangelo

179

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Capitol Hill, between the Roman Forum and Campus Martius, is the highest hill
of the famous seven hills of Rome.

187

situation before the design

Capitoline Hill (Campidoglio),

1517

• Creating a monumental public square

& urban space for a big city.

• Addition of a symmetrical building to

the two existing medieval buildings
(Senate Building and Conservator's
Palace) and classical façade design of
all buildings
• Twin side trapezoidal piazza
• Oval flooring highlighting the
equestrian statue in the center
• Axiality and symmetry

• Public use of the ladder:

• Cordonata (Monumental
staircase)
188 189

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Senators Palace:
Bell tower, exterior,
staircase, classical facade
design
Palazzo Nuovo (now
Capitoline Museum)
designed the same structure
Atlı (Bronz) Marcus
Aurelius heykeli
Conservators Palace
Classic facade design with
a huge arrangement of
Corinthian pilasters over
two floors

The Campidoglio Square is accessed from the Aracoeli Square by the enormous
stairs designed by Michelangelo and known as the cordonata.

190 191

Intended to give new civic importance to the heart of ancient and medieval Rome,
Public use of the ladder: Michelangelo’s Campidoglio incorporated new facades in front of existing buildings to
Cordonata (Monumental staircase) enclose a trapezoidal space reinforcing a processional axis.

Conservators Palace
Classic facade design with a huge arrangement
of Corinthian pilasters over two floors

192 193

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The irregular complex was transformed into a symmetrical composition with a Palace of the Senators
trapezoidal piazza and three classical palace facades. Bell tower, exterior staircase, classical facade design

194 195

196 197

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198 199

PORTA PIA, 1561+

Mannerist Facades:
A New Architectural Language On The Facade

• 1561+, Rome
• Michelangelo
• A new entrance to the city in
the Roman Aurelian Walls
• Patronage: Pope IV. Pius

• Discourse metaphors
• Architecture as a language
• Game in the architectural
language
• Exaggeration
• Multitude / two doors nested

200 201

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ARCH OF SEPTIMIUS SEVERUS & PORTA PIA

202 203

PORTA PIA, 1561+

Mannerist Facades:
A New Architectural Language On The Facade

After opening a new straight street between the Piazza del Quirinale and this part
of the walls, Pope Pius IV had Michelangelo built the Porta Pia gate.

1748 tarihli harita

1 > Porta Pia
2 > Villa Patrizi Bahçeleri
3 > Villa Costaguti Torlonia.
Papa IV. Pius Piazza Quirinale ile Porta Pia Kapısı arasında uzun ve düz yeni bir yol açtırdı.

Piazza Quirinale Porta Pia

204 205

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Palazzo Spada, 1540

Richly decorated Mannerist Palazzo Facade

Patronage: Cardinal Girolamo Capodiferro.

Stucco master Giulio Mazzoni and his team made the rich mannerist stucco decorations on
206 the interior and exterior. 208
Porta Pia's outer gate was built in 1868 during the papacy of Pius IX.

LATE RENAISSANCE GARDENS / VILLAS

Mannerism Finds Its Real Expression In Garden Design
LATE RENAISSANCE GARDENS /
VILLAS THEMES IN GARDEN ARCHITECTURE:
• Architecture as Frame
• Ground Plane
• Mannerism • Displaced Center / Nature vs. Culture
• Landscape design • Water
• Suburban Villas and gardens for relaxation • Rustication
• Axis-axel / Denial of Axis
/ contemplation / pleasure • Paradise Garden / microcosm (lost)
• Larger designs in detail • Paradise Garden (regained)
• Grotto
• Terraces, fountains, sculptures, and
• Juxtaposition
landscaping elements • Variations on a theme

211 212

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EARLY RENAISSANCE GARDENS

Grotto: Natural or artificial cave.

Especially in the mannerist period, the use of grotto in garden design was very
common.

213 224

EARLY RENAISSANCE GARDENS Villa d'Este & Tivoli Gardens

16th century

• Rome 30 km SE, Tivoli (Contains the

ruins of Villa Adriana from Ancient Rome.)

• Patronage: Tivoli Governor Cardinal

Ippolito II d'Este (1509--1572)

• Architects Pirro Ligorio and Giovanni

Alberto Galvani

• One of the most famous Maniyerist

landscape design examples.

• Appealing to the senses, terraced

gardens, water, pools, grotto, axial vista.

• Astronomical references (winter solstice)

• Mythological iconography
• UNESCO World Heritage
225 228

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Gardens of Villa d'Este, 16. century

One of the most famous Maniyerist landscape design examples.
Park of Villa d'Este with fountain Rometta and view into countyard around town Tivoli, Italy

230 231
(Étienne Dupérac, bird's eye view 1560-1575).

(18) Fountain of the organ Villa d'este Tivoli (18) Fountain of the organ Villa d'este Tivoli

232 233

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(18) Fountain of the organ Villa d'este Tivoli The level gardens and fish ponds (20) at Villa d'Este gardens Tivoli

Appealing to the senses, terraced gardens, water, pools, grotto, axial vista.

234 235

Fountain of the organ (18)

• Astronomical references (winter

solstice)
• Mythological iconography

The fountain of Neptune (21)

Fish ponds (20)

236 237

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Villa Lante Gardens

• Italian Mannerist landscape example, 1566
(23) Fountain of Diana Efesia
• Bagnaia, Viterbo - Tuscany, Italy
- Villa d'Este - Tivoli
• Architect Jacopo Barozzi Da Vignola
• Mannerist (surprise) Garden
• Mythological iconography

Pirro Ligorio, the artist and classical

scholar who planned the themes and
symbolism of the Villa and gardens

238 240

Terracing, vista, geometry, axiality, center, framing, microcosm, hierarchy, water,

grotto

241 243

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244 245

246 247

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248 249

GIULIO ROMANO (1499-1546)

Painter, architect
One of Raphaello's students
He worked in Rome and
Mantua.
One of the most important
maniyerists

Palazzo Dell Te

250 253

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PALAZZO DEL TE (1525-35), MANTUA

Giulio Romano (1499-1546)
• Patronage: Duke Federico II. Gonzaga (Ruler of Mantua from 1328-1707)
• Honest Leisure Palace and Stud Farm (Horse)
• One of the most famous examples of Mannerist architecture
• Inspired by ancient Roman villas
• Famous for fresco paintings by Giulio Romano

The complex is composed of a large square palace built around a central courtyard.

254 256

Giulio Romano. Courtyard of the Palazzo del Te, Mantua. ca. 1527–34

261 265

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Breaking the Renaissance logic with arbitrary arrangement outside the classical order in the
facade.

Giulio Romano, drawing of the east facade on courtyard;

266 267

Along with an extraordinary architectural work, Palazzo Te is also well-known for the
Mannerist-style fresco paintings which decorate its rooms.

Hall of the Horses / Sala dei Cavalli

268 269

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Room of the Giants

1. While each room in the villa is decorated in an
impressive and individual scheme, the so-called Room
of the Giants is the most impressive.
2. Romano tried something that had not been done before
and united the walls and ceiling in a single composition
that disguised the architectural shape of the room.
Initially, the floor of the room was also included in the
decorative program.
3. The illusion of the frescoes was meant to make the
viewer feel like they were in the middle of the action.
4. The decoration is based on an episode of Ovid's
Metamorphoses in which giants assault Mount Olympus
and try to dethrone the gods.
5. Jupiter leads a revolt and the mountain crumbles on the
giants.

6. The halls of God's dwellings on Mount Olympus can be

seen at the top of the room.
7. A coffered dome similar to the Pantheon in Rome covers
the very center of the ceiling.
8. The Olympians gather together above the clouds as
Jupiter hurls thunderbolts at the giants.
9. Here an Atlas-like figure holds up the mountain.
10. This column appears to be actually falling on the viewer
as they walk into the room.
11. Giants are swept away by the river that rages against
the assaulters.
12. The floor is an 18th-century addition. Initially, it was
designed to resemble a river bottom and so fit into the
overall decorative program.

270

While each room in the villa is decorated in an impressive and individual scheme, the so-
called Room of the Giants is the most impressive.

Chamber of the Giants /

Sala dei Giganti
1530/52 The war between gods and
Titans

Deformation of Renaissance
rules with a very original manner
in frescoes.

Trompe l'œil,

The floor is an 18th-century addition. Initially, it

was designed to resemble a river bottom and Chamber of the Giants / Sala dei
272 273
so fit into the overall decorative program. Giganti 1530/52

46
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Trompe l'œil (visual illusion in art)

274 275
Chamber of the Giants, general view

Secret Garden Apartment; view of the north facade in the inner courtyard

The complex also includes a small building with an inner garden, known as Appartamento del
Fall of the Giants from Mount Olympus Giardino Segreto (House of the Secret Garden), which the Marquis used as a private retreat.
(from the Sala dei Giganti. ca. 1530–32. Palazzo del Te, Mantua) 276 277

47

Pirro Ligorio (c. 1512 -1583)
Italian mannerist architect, painter, antique
expert and garden designer.
He worked as the Papal Architect of the
Vatican under Pope Paul IV (1555-1559)
and Pius IV (1559-1565).
He was the Antiques specialist of the
Duchy of Ferrara.
He had a deep passion for the ancient
Roman period.
Gardens at Tivoli Villa d'Este for Cardinal
Ippolito II d'Este
Bomarzo Garden
Self-portrait
278
282
6/18/2021
Bomarzo Garden
(Monsters Park, Sacred Grove)
• Italy, Lazio, Bomarzo
• Architect Pirro Ligorio (c.1512-1583)
• Mannerist monumental complex.
• Patronage: Pier Francesco Orsini (Vicino),1523-1584.
• 16th century condottiero (mercenary)
• Art patron
• The garden was established in the 16th century.
• The area at the foot of a forested valley below Orsini Castle was filled
with small buildings set among grotesque sculptures and natural
vegetation.
• A hidden symbolism
• To surprise, not to please
279
283
48
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284 285

God of the Underground: Orcus

286 287

49
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288 289

290 291

50
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292 293

294 295

51
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296 297

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 11.06.21

RENAISSANCE

VENICE
Spring 2021 PALLADIO

REPUBLIC OF VENICE, 1494

Venice, an outlier, Veneto (Terraferma)
The Veneto Region today

VENETO: At the beginning of the sixteenth century, Venice's

mainland possessions, called the terraferma, stretched westward
from Udine nearly all the way to Milan and included Padua,
Vicenza, Verona, Brescia, and Bergamo.
Venice: 118 islands, 150 canals, 400
bridges

1
 11.06.21

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Things were different in Venice. The city was

politically more stable than other Italian centers,
and it was also naturally protected from invasion
by its favorable setting in a lagoon on the Adriatic
Sea.

Political Influence of the Venetian Republic

Dark red: Establishment
Red: lands at the beginning of the 15th century
VENEDİK
Pink: Locations temporarily seized
Yellow: Main trade routes and territorial waters dominated
Magenta: Colonies

2
 11.06.21

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 11.06.21

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wooden piles

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4
 11.06.21

Venice Painting
Venice developed its own unique art and
architecture styles.

Geography led to a unique painting technique

and architecture.

The Venetians essentially gave up fresco in the late

15th century.
Because Venice is a series of islands and it was really
Oil paint in Venice a bad atmosphere for fresco.
https://www.youtube.com/watch?v=lG6NWLxDbNo

5
 11.06.21

Giovanni Bellini, 1500-04, oil on panel, “Pietà Donà dalle Rose”, 1505 ci, oil
Madonna and Child between Saint John the Baptist and Saint, Accademia - Venice Giovanni Bellini (1430-1516), Academy Gallery, Venice

Michelangelo, Pieta, c. 1498-1500

Florence Venice
Pieta, 1495, Tempera on Wood Panel Pieta, 1505 ci, Oil painting
Sandro Botticelli (1444-1510) Giovanni Bellini (1430-1516)
Museo Poldi Pezzoli, Milan

6
 11.06.21

Oil Painting / Base painting

St. Jerome in the Study, 1475

Antonello da Messina

7
 11.06.21

Giovanni Bellini, The Ecstasy of St. Francis (or St. Francis in the Desert), 1480, oil on panel.

Fatih Sultan Mehmet, 1480 St Mark’s Basilica, Remodeled in 1063-1094

Gentile Bellini quincunx plan (five domes) (representation like orthographic projection)

• Venetian-Ottoman peace at
the end of a long war between
1463-1478.
• In 1479, upon the invitation of
Mehmet the Conqueror,
Venice sent one of its most
famous painters, Gentile
Bellini, to Constantinople to
paint the portrait of the Sultan.
• The painter stayed in Istanbul
for about 18 months.

Gentile Bellini, Procession in St. Mark's Square, 1496

Tempera on canvas, (347 cm × 770 cm), Gallerie dell'Accademia, Venice

8
 11.06.21

St Mark’s Basilica, Remodeled in 1063-1094

Piazza di San Marco, Canaletto, 1723

VENICE PAINTING
Gentile Bellini

Gentile Bellini, Giovanni Bellini

San Marco Preaching in Alexandria, 1504-07 Doge Giovanni Mocenigo, c. 1478 Fatih Sultan Mehmet, 1480
Tempera on panel, Museo Correr, Venice Oil Painting, National Gallery, London

9
 11.06.21

Palazzo Ducale, 1340+

Venetian Palazzo (s)

MEDIEVAL / RENAISSANCE

View of St Mark's campanile (left) and Palazzo Ducale (right) from the lagoon, Venice

The Palazzo Ducale sits in a prominent location. It is adjacent to the Basilica of St. Palazzo Ducale, 1340+
Mark (Venice’s cathedral church), on St. Mark’s Square. The Ducale also overlooks A new palace for the doge
the lagoon, which was a major point of entry into the city. Its prominent location made
it (and continues to make it) an important symbol of Venetian architecture. It offered
visitors one of their first impressions of the city.

The most influential building in Venetian architecture

Delightfully open and ornamental

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 11.06.21

Crossroads of Byzantium, Islam, and A structure that defies gravity:

Gothic Europe Antigravity

Third-level Palazzo Ducale

Lower loggia pointed arches,

Second-level balcony second-level balcony quatrefoils atop
columns (tripartite arc)
and third-level Byzantine patterned
stone.

Lower loggia

Lower loggia, second-level balcony, and third-level,

Palazzo Ducale, 1340+, Venice

Grand Canal, Venice

• Rialto Bridge, 1588-1591
– Architect Antonio da Ponte
– 1181, the first floating bridge
– 1255, wooden bridge
• Until 1800 the Rialto Bridge was the
only bridge.
• East coast Rialto Market

Venetian Palazzo (s)

• More than 170 palaces are located
on the banks of the Grand Canal.
• They are dated between the 13th
-18th centuries.

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Ca' d’Oro—“House of Gold”,Venice, 1422-40

Santiago Calatrava, Ponte Della Costituzione, 2008

(1823-1893)

Ca' d’Oro —“House of Gold”,Venice, 1422-40

Patronage: Famous Contarini Family

It is a distinctly Venetian building in its incorporation of Byzantine, Islamic, and Gothic

elements.

12
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Ca' d'Oro façade diagram a precise harmony to the division of space Gothic quatrefoils atop columns on second story balcony,

Patterned colored stones, in the tradition of Byzantine architecture

Uniquely Venetian Style

Ca' d'Oro, 1422-1440, Venice Palazzo Medici, 1445-60, Florence

View from middle balcony, Ca' d'Oro, 1422-1440, Venice Michelozzo

13
 11.06.21

Scuola Grande di San Marco

Venice, Pietro Lombardo, 1485+

San Zaccaria, Venice, 15th-century

Italian architect Mauro Codussi (1440–1504)

JACOBO SANSAV NO, 1486–1570

• Florentine sculptor and architect
• His most important works take place around Piazza
San Marco in Venice.
• Its buildings have a very important place in
Venetian renaissance architecture:
• He is the person who carried the High Renaissance
to Venice.
• The chief architect of the city from 1529 until his
death.

His important works:

• Zecca (Mint)
• Loggetta (below the Bell Tower), 1538-46
• The Marciana (San Marco) Library, 1537-1588

View of the church and adjoining monastery by Gabriele Bella (1790), in Pinacoteca Querini Stampalia

14
 11.06.21

The Marciana (San Marco) Library,1537-88

Jacobo Sansavino 1486–1570

• Piazza San marco

• Loggetta, 1538-46
((below the Bell Tower)

• The Marciana Library

Zecca (Mint)

• Palazzo Ducale

San Marco Library, 1537-88

• The most important renaissance structure in Venice
• Mannerist features

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 11.06.21

San Marco Library

• It is among the oldest libraries in Italy.

• It has one of the largest collections of
classical texts in the world.

• It contains around one million printed

books, as well as 13,000 manuscripts,
2883 incunabula (books or brochures
printed before 1501 in Europe) and
24,055 works printed between 1500
and 1600.
• Before Venice, Paris and Rome, it was
the largest incunabula printing town.
12.5% of the recorded prints were
printed here.
Ø On the facade of the building, the effort to harmonize with the facade of the gothic Library Catalog compiled by the depository A. Maria Zanetti,
Palazzo Ducale opposite draws attention. published in 1740

16
 11.06.21

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• The wealth of this city, which is the center of maritime trade, is also reflected in the facades of
the buildings.
• High reliefs, fruit wreaths, eros figures create an extremely magnificent image.
• Rich ornamentation and strong shadow-light effects are included in Mannerist architectural
understanding as the local characteristics of Venice.
• Andrea Palladio comments in the foreword of Quattro Libri that the Marciana Library is "the
richest and most ornate building built since antiquity".

17
 11.06.21

ANDREA PALLADIO 1508–1580

Four Books on Architecture, English translation Italian Architect Portrait, Andrea Palladio
(El Greco, 1570)

ANDREA PALLADIO 1508–1580

• Real name: Andrea di Petro Della Gondola

• He grew up in the stone and wall guild.
• Patronage: Humanist poet and scholar, Count Gian Giorgio Trissino
• Trissino nicknamed him Palladio (after the Greek goddess of
knowledge Pallas Athena).
• Thanks to Trissino, he received a humanist education and studied
Rome.
• He knows classic, maths, and geometry very well.
• He is known as "a stonemason learning Latin".

18
 11.06.21

ANDREA PALLADIO 1508–1580 Andrea Palladio:

• The combination of Mannerist inventions and High Renaissance Classic.
• Discreet (sağduyulu), creative, innovative
• He applied a system of perfect and harmonious proportions to architecture similar to
music.
• He designed all kinds of buildings but especially known for villas for the working
farms.
• The first renaissance architect who systematized residential architecture on a
planned basis.
• He designed many villas for working farms in rural areas.
• Approximately more than 30 villas, 6 churches, 15 palazzos in the area of Veneto.
The Most Imitated Architect in History
• He is widely considered to be one of the most influential individuals in the history
of architecture.
• Since the time he lived, he is the most imitated architect in history.
• It became internationally popular in the 18th century, leading to a style known as
Palladianism.
• Unlike his contemporaries, he was not interested in other arts but only in
architecture: The first truly professional architect.
• His books have also been very influential.

Books:
Some works: • "Roman Antiquities", 1550
• Villa Barbaro (1549), • "4 Books on Architecture", 1570
• Villa Rotonda (1550 ci.) • He prepared detailed reliefs for the new translation of the book of Daniele Barbaro
and Vitruvius, 1556.
• Villa Foscari (La Malcontenta, 1560)
• Villa Emo (1599)
• Vicenza Olympic Theater (1579--1580)

The Veneto area in particular served as a country retreat for Venice's patrician He designed many villas for working farms in the Veneto region.
families, who erected idyllic villas in the classical tradition designed by Andrea
Palladio.

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ANDREA PALLADIO 1508–1580 The Villas of Palladio

WHAT IS THE VILLA?
• Large detached country house
for working farms

He devised a variety of plans, simple in layout, proportionally • A clear relationship between

composed, and yet functionally practical. indoor and outdoor space.
• Most villas are based on a
square grid module.
• Most of these villas incorporate
a temple front.
• Practical use of the arcades to
connect the stables and storage
sheds with the main house.
• Very good articulated facade
design

https://pufflesandhoneyadventures.wordpress.com/2018/08/02/andrea-palladio-villas/

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Palladio developed his villa designs on

one type:

• Main venues
• Service venues
• Intermediate spaces

Architectural historian Wittkower:

TARTAN GRID

Research for a new type of building design FIVE PALLADIO VILLA PLANS

• What are the most proper expression and forms for a rural house (villa)?

• How do sophisticated geometric shapes come together?

• Combining Renaissance classicism with functionality.

• A composite model for functioning farm buildings:

– Superposition of temple and farmhouse.

– Geometry
– Proportion
– Symmetry, monumentality
– Complex, harmonic geometric combinations
– Articulation

21
 11.06.21

Villa Emo
• Fanzolo, Veneto, 1558 ci,
• Patronage: Leonardo Emo (remained in the family until 2004.)
• UNESCO World Heritage
• Andrea Palladio

22
 11.06.21

Villa Rotonda (formerly Villa Capra), outside the city of Vicenza, Italy
V LLA CAPRA
“LA ROTONDA” •
•
a suburban retreat for Paolo Almerico, a retired wealty papal court official
Andrea Palladio (with changes made by Vicenzo Scamozzi.)
Palladio's best-known and most imitated villa
• 1567-1580 Andrea Palladio
• 1580 Vincenzo Scamozzi replaced the rotunda and dome ·····> Pantheon was taken as a model.

1567-1580, Andrea Palladio's 1580 Vincenzo Scamozzi replaced the

original rotunda and dome design rotunda and dome.
Pantheon was taken as a model by Scomazzi.

This central rotunda connected to four identical columnar porticos on each of the four sides.

140

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 11.06.21

A house built for Renaissance people

in the center of the universe
When we look at Villa Rotonda, there is something metaphorical:
• It is assumed that a person stands at the center and observes his
surroundings from four sides.

perfect geometry

The use of a dome in a private residence was a

novel departure on the part of Palladio, for up to
this time, such a form, symbolizing the heavens
and divinity, had been reserved for churches.

• The central dome represented heaven until

that day and was used for the first time in a
residence.
• View from all sides from the center.
• Representation of Cartesian coordinates.
• Approach from four sides.
• Home dominates nature.

Opening In Four Ways

In its symmetry and the proud way it is lifted up on the hill

surveying the landscape below, the Villa Capra summarizes the
confident spirit of the Renaissance and its ideal of a rational,
intelligible order superimposed on nature.

24
 11.06.21

OPENING IN FOUR WAYS

All Palladio villas have very rich interior decoration.

VİLLA ROTONDA, 1567+
Andrea Palladio (1508–1580) &!(44+&H+A-+&RC)9),<+S&7JDTU&

25
 11.06.21

Palladio Window
Venetian Window (aka Serlian Window)

Windows developed by Palladio

Serliana veya Palladian Motif Diyagramı Current Usage

Palladio Window sample usage

Villa Foscari “La Malcontenta”
&
1558-1560

26
 11.06.21

Villa Foscari “La Malcontenta”,1558-1560 Grid plan, harmony with the environment, temple facade
• Near Venice, the Mira Commune
• Patronage: Aristocrat Nicolo and Luigi Foscari
Brothers (family of famous Dodge Francesco Foscari)
• It overlooks the Brenta Canal.
• Used for formal receptions
• 3.5 m plinth (subbasement)

A new facade design using thermal Windows.

Thermal windows

27
 11.06.21

Bath of Diocletian, AD 302, Rome

(The Thermal Bath is now the Church of Santa Maria degli Angeli e dei Martiri) &

All Palladio villas have very rich interior decoration.

Rich interior decoration, ceiling and wall decoration

28
 11.06.21

Basilica Palladiana, Vicenza

Palladio Basilica
Piazza dei Signori, Vicenza from Andrea Palladio's early work, 1546+ • Palazzo Della Ragione, a Town Hall built in the
15th century
• There were shops on the ground floor.
• In 1546, the southwest corner of the building
collapsed and a design competition for
renovation was opened.

Palladio:

• Preserving the original Gothic building, Palladio

added a new outer shell of marble classical
forms, a loggia, and a portico to the design.
• Changed its name to the basilica, in reference to
the ancient Roman civic structure.
• Completed thirty years after his death In 1614.

Palladio window

Loggia with Gothic vaults

29
 11.06.21

Basilica Palladiana, Vicenza

Teatro Olimpico The Rise of the Performing Arts in Renaissance Italy

1580--1585, Vicenza (designed for Olimpia Academy)
Entry to the world's oldest indoor theater
• Palladio started but completed by
Vincenzo Scamozzi upon his death.

• It became the model for all theaters

and opera houses built after that.

• The theater is inspired by Roman

amphitheaters and features a
trompe-l'œil decor designed by
Vincenzo Scamozzi to give the
illusion of long streets
disappearing into the horizon.

• The seating area is semicircular

that draws attention to the center
of the stage and the view behind
The 1000-seat theater was opened in 1585 with the
famous play of Sophocles, King Oedipus. the stage.

30
 11.06.21

Palladio carried the performance from the outdoors to the indoors

Teatro Olimpico Palladio carried the performance from the outdoors to the indoors
The theater is inspired by Roman
amphitheaters and features a trompe-l'œil
decor designed by Vincenzo Scamozzi to
give the illusion of long streets
disappearing into the horizon.

The seating area is semicircular that draws

attention to the center of the stage and the
view behind the stage.

Proscenium (Front Stage):

There are slits creating an urban
perspective in front of the stage.

31
 11.06.21

San Giorgio Maggiore Church, 1566-1610

Andrea Palladio

Benedictine Church

San Giorgio Maggiore Island

32
 11.06.21

San Giorgio Maggiore at Twilight, Claude Monet, 1908-1912

This bright white facade represents
Palladio's solution to the problem of
adapting a classical temple façade
to the Christian church plan with a
high nave and low side aisles.

Mannerist features:
• Classical facade
• Two-layered
arrangement
• Double pediment Overlapping pediments
• Giant columns
• Double columns

Interior:
• Long nave
Basilica plan with a very long nave • White stucco and grey
stone
• Corinthian order in
entire interior

33
 11.06.21

Tintoretto's Last Supper hangs to the left of the altar.

Tintoretto, The Last Supper, 1592-94. Oil on canvas, 3.7 x 5.7 m

Basilica of Il Redentore, 1580

Andrea Palladio

Some Turkish influences

in the exterior particularly
the two campaniles which
resemble minarets.

An adaptation of triumphal arch

34
 11.06.21

Le Zitelle Church, near San Marco, 1579-1586

35
 11.06.21

ITALIAN BAROQUE
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 11.06.21

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13
 11.06.21

COUNTER-REFORMATION
COUNCIL OF TRENT NEW RELIGIOUS ORDERS

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Peter Paul Rubens (Flemish, 1577-1640)

c. 1620-22, Oil on canvas, (223.5 x 138.4 cm)

14
 11.06.21

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15
 11.06.21

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TERESA OF AVILA (1515-1582)

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TERESA OF AVILA, Rubens Saint Teresa d'Avila, Bernini.

16
 11.06.21

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17
 11.06.21

;0$D&,$.#1'##.$0"&0$^<'#&0$F#4#/+0_$1(*3.$F#$.#'+C#.$/'(9$,&1'#.$+9&<#,A$

!"'(*<"$&'0:$F#3+#C#',$D(*3.$F#$^#P1+0#.$0($&.('#$&4.$3(C#$N(._$

Annibale Carracci, Pieta, ci. 1600

Height 156 cm Length 149 cm, Oil, National Museum of Capodimonte

The Council instituted rules of decorum regarding religious imagery.

18
 11.06.21

Inquisitor General of Spain

19
 11.06.21

Decisions on Art at the Council of Trent j#1+,+(4,$(4$M'1"+0#10*'#$&0$0"#$L(*41+3$(/$!'#40$

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20
 11.06.21

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John Rupert Martin (1916-2000)

Professor of Art and Archaeology at Princeton University

Baroque, 1977,
by John Rupert Martin

22
 11.06.21

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Caravaggio, The Crucifixion of Saint Peter, 1600

Annibale Carracci, Domine Quo Vadis, 1602 Cerasi Chapel, Santa Maria del Popolo

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Cerasi Chapel, Santa Maria del Popolo, Rome

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How to recognize Baroque art

https://www.youtube.com/watch?v=EFHPAbHaoqk&t=423s&ab_channel=SmarthistorySmarthistory

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• c+1"#3&4<#3($c#'+,+$L&'&C&<<+(:$I5[?5n5657K$

48
 11.06.21

The Church of Il Gesù

1568-84, Rome
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https://www.youtube.com/watch?v=P6DDD7RlRdE
Approaching the divine, Il Gesù, Rome

;3$N#,Ç$,0&4.,$+4$0"#$"#&'0$(/$.(D40(D4$8(9#:$(4$(4#$(/$0"#$1+02E,$
F*,+#,0$&4.$4(+,+#,0$+40#',#10+(4,A$;0$+,$&$9##0+4<$-3&1#$/('$&33$
13&,,#,$&4.$<#4#'&0+(4,$(/$0"#$1+02E,$-(-*3&0+(4A$

4 Piazza del Campidoglio

3 Il Gesu H+&]]&$.#3$L&9-+.(<3+($
4 Piazza del Campidoglio

49
 11.06.21

Il Gesù
1568-84, Rome$
%*+3.+4<\$m[$9$P$?[9$$
V+.0"$(/$0"#$4&C#\$s[$9$

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 11.06.21

N3('2$(/$H&'&.+,#$F2$N&*33+$

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• g#D$1"*'1"#,$D#'#$F*+30:$&4.$4##.#.$.#1('&0+(4,$
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C+,+(4,$,##9$-&3-&F32$'#&3A$

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c&+4$g&C#$>40'&41#$N&0#$

Il Gesu

N+(C&44+$%&00+,0&$N&*33+$I+3$%&1+11+(K:$!'+*9-"$(/$0"#$g&9#$(/$r#,*,:$56?[Y?Z:$
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0"#$1#+3+4<:$9&'F3#$,0&0*#,:$&4.$-&+40+4<,A$

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 11.06.21

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%#'4+4+E,$L('4&'($1"&-#3$+4$J&40&$c&'+&$.#33&$i+00('+&A$

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 11.06.21

J0$;<4&0+*,$h(2(3&$L"&-#3$IZK$
56Z[YZZ:$c&'F3#:$F'(4]#$
;3$N#,Ç:$8(9#$

Saint Ignatius crushing Heresy.

Mimar: N+&1(9($%&'(]]+$.&$i+<4(3&$ Barok cephe: N+&1(9($.#33&$H('0&:$5[?6$

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 11.06.21

L"*'1"$(/$J0$;<4&0+*,$h(2(3&:$L&9-*,$c&'0+*,:$8(9#:$56s6Y56[7$

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 11.06.21

J&40&$J*,&44&$$
L&'3($c&.#'4(:$567m$

POPE SIXTUS V (1521-1590)

Papal Period 1585-1590

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5?0"$1#40*'2$1(-2$(/$J&40&$J*,&44&$+4$hC+C:$bU'&+4#A$ Sixtus V ci.,1589

57
 11.06.21

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%2$G'&41#,1($i+33&9#4&$I5[66Y56s6K$

In the 1500s, only one aqueduct was working in Rome and everyone had to go around
the Trevi Fountain to get water. The Pope repaired the aqueducts, built a new one, and
presented them to the public with the image of the pope serving.

Ancient Rome had 11 Aqueducts

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 11.06.21

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G(40&4&$.#33EM1)*&$G#3+1#:$,0&0*#$(/$c(,#,$ The Fountain of Moses and the Church of Santa Maria Della Vittoria with
Baroque façade

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Papa Sixtus V Planı

Plan of Pope Sixtus V (1585-90) (1585-90)
Planning of Rome as the center of 85 – 1590)
Christendom

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60
 11.06.21

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61
 11.06.21

The Quirinal Palace (Papal summer residence, 1583)

62
 11.06.21

Piazza di Popolo: Main entrance to the city

Three ceremonial axes

leading from Piazza di Popolo
to important Catholic
monuments.

63
 11.06.21

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ki kilise arasında Via del Corso ba lar.

Piazza del Popolo, Rome

• Pope Alexander VII (1655-67).
• Monumental entrance and redesign of the piazza
• Architect Carlo Rainaldi (1611-91),
• (Gian Lorenzo Bernini revised the plans, Carlo Fontana completed
it.)

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 11.06.21

The chronological design phases of Piazza del Popolo

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65
 11.06.21

TRIDENT
Rome, Piazza del Popolo: Pioneering practice that became a model for modern urban design

Three ceremonial axes leading

from Piazza di Popolo to important
Catholic monuments.

66
 11.06.21

A NEW URBAN CONTACT WITH WATER A NEW URBAN CONTACT WITH WATER
In the Baroque period, a new form of urban relationship with the river In the Baroque period, a new form of urban relationship with the river and
and water comes to the fore in the city. water comes to the fore in the city.

A NEW URBAN CONTACT WITH WATER

In the Baroque period, a new form of urban relationship with the river
and water comes to the fore in the city.

67
 11.06.21

Restored view of the Porta di Ripetta, Rome, 1705 (demolished), by Specchi

Fountains of Rome
ROME is the city with the most fountains in the world:

• (Over 2000 fountains, close to 50 monumental and

hundreds of smaller scales.)
BAROQUE FOUNTAINS • These fountains are found in different scales and urban
locations:
– monumental fountains
– decorative fountains
– wall fountains
– Roman's 'talking sculpture' fountains

• Creating new public services and public space

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 11.06.21

Fountains of Rome Fountain in Piazza Santa Maria in

Trastevere
Monumental fountains •
•
Rome, (1499-1659)
In front of the Church of Santa Maria
• In ancient Rome, there was a tradition of making monumental, • Became a model for other fountains
commemorative fountains at the last point where aqueducts connect to the • (8th century Rome's oldest fountain)
city, and this tradition was revived in the Renaissance. • Architect Donato Bramante
• (Later additions by Bernini and Fontana)
• They were built at the last point (terminus) where the restored aqueducts of
Rome connect to the city.
• Providing water to the public
• Flamboyant designs to glorify the (Bani) Popes who built them.
• Examples:
– Fontana dell'Acqua Felice in the Quirinal District
– Architect Domenico Fontana (1585–86)
– Fontana dell'Acqua Paola (Gianicolo, Via Garibaldi) (1610–1612)

– Fontana di Trevi, (Trevi Fountain) (1732–1762)

Decorative Fountains
– Roman's 'talking sculpture' fountains

• Space-constituent element in piazzas and squares

• Public domain element
• Providing drinking water to the population around the squares.

Fontana dell'Acqua Paola, 1612, Janiculum Hill

Patronage Pope Paul V
The end of the Aqua Paul Aqueduct

69
 11.06.21

•
TREV FOUNTAIN
1732-62, Architect Nicola Salvi
• At the intersection of three roads !'#C+$G(*40&+4$-&-&3$1(&0$(/$&'9,$
• The largest and most famous Baroque fountain
• 26m high and 49m wide
• Mythological, allegorical figures, triumphal arch

Oceanus

TREV FOUNTAIN

70
 11.06.21

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MF*4.&41#$ Q#&30"$

Triton: A sea god with a human body from the waist up and a fish shape from the waist down, and feet like
horse legs.

The Trevi Fountain has appeared in numerous books and films, notably OPEN PUBLIC SPACE
Federico Fellini's film La Dolce Vita (1960).
Piazza di Spagna (Spanish Steps)

• 1723–1725, late baroque

• Architect: Francesco de Sanctis
• The monumental stairway of 135
steps
• Shaped and angled steps
• In the upper elevation:
• Trinita Dei Monti Church
• In the lower base:
• the Piazza di Spagna and the
Early Baroque fountain called
"Fountain of the longboat", 1627–
29, by Bernini

LA DOLCE V TA, 1960 / FELL N

71
 11.06.21

Framing irregular topography with shaped and angled steps. G(40&4&$j#33&$%&'1&11+&$BG(*40&+4$(/$0"#$3(4<F(&0B:$56s?nsZ:$F2$%#'4+4+$

M0$0"#$H+&]]&$.+$J-&<4&$$
>&'32$%&'()*#$/(*40&+4$

In the Baroque period, it was decided to build a fountain in almost every

piazza.

Spanish Steps, 1723–1725

1723–1725, late baroque
The monumental stairway of 135 steps

Fontana Della Barcaccia "Fountain of the

longboat", 1623, Bernini

72
 11.06.21

NEW ST. PETER’S BASILICA NEW ST. PETER’S BASILICA

1506-1655
Vatican City, Rome
• Pope Julius II decided on the old St. Peter's destruction and
rebuilding in 1506.
• Many architects took part in almost 150 years of
construction and design process stretching from the high
renaissance to the baroque period in the years between
1506-1655:
– 1506, Bramante designed the first centralized plan with
renaissance ideals.
– 1546-64, Michelangelo made changes based on Bramante's
centralized plan, designed and built the dome (western façade
left unbuilt): Mannerist touches.
– 1607-12, Carlo Maderno extended the plan towards the entrance
and designed the early baroque entrance facade.
– 1655, Bernini designed a monumental front piazza characterized
by high baroque.
1506-1655
Vatican City, Rome
The importance and influence of the church
• The most important and ambitious architectural project of
the High Renaissance period.
• Both, one of the most sacred pilgrimage sites of
Christianity, and also among the first early Christian
churches built on St. Peter's tomb.
• Although it is not the cathedral church of the Roman
Diocese (the Cathedral of Saint John Lateran in Rome), it
has a unique position in Christendom and is the largest
church.
• St. Peter's influenced the whole Christian world with its
architectural style and monumental scale and modeled
many times.

The Rebuilding of St. Peter’s

New St. Peter's Church Design Chronologically

Gian Lorenzo Bernini,1655

Michelangelo was brought in to design the unfinished dome.

In the next century, several architects were brought in to redesign the

building to conform to the traditional basilica format.

73
 11.06.21

c+1"#3&4<#3(E,$.(9#$D&,$(432$1(9-3#0#.$0($0"#$F&,#$D"#4$"#$.+#.A$
;0$D&,$3&0#'$/+4+,"#.$F2$N+&1(9($.#33&$H('0&$+4$5[Z7$

model large enough to be entered

74
 11.06.21

Circumference of the dome drum 191 m

Height of the dome drum 20 m and 73 m high from the ground
The height of the large dome from the ground (including the lantern) 136 m and 42 m in
diameter.
The dome has 16 rib arches.
The ends of the rib arches meet with a roof lantern from above.
The roof lantern is surrounded by 16 pairs of small pillars.
A !"#$"#+<"0$(/$0"#$3&'<#$.(9#$/'(9$0"#$<'(*4.$I+413*.+4<$0"#$3&40#'4K$5m6$9$&4.$Xs$9$+4$.+&9#0#'A$

0"#$"#+<"0$(/$0"#$4&C#$$XX$9$

Under the dome lantern;

S.PETRI GLORIAE SIXTVS.PP.V.A.M.D. XC.PONTIF.V.
“To the glory of St. Peter; Sixtus V, pope, in the year
1590 and the fifth year of his pontificate.”

!"#$+4,1'+-0+(4$+,$D'+00#4$+4$h&0+4$+4$<+&40$3#00#',$Is$9K$+4,+.#$0"#$.(9#\$
$
:E*F3*1F:GE3*F:*3E1FG*H7IC*1F:G7J*7FK=L=C72M*FCCDF3=7JJF7J@:=2=*K72M*
CD7EF3*GFAI=*C7FDMGEJ*
*
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<+C#$2(*$0"#$U#2,$(/$0"#$U+4<.(9$(/$0"#$"#&C#4,Av$

75
 11.06.21

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With the enlargement of the church, Michelangelo's dome became imperceptible.

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 11.06.21

Piazza St. Pietro

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78
 11.06.21

%#'4+4+$.#,1'+F#.$0"#$1(3(44&.#$&,$F#+4<$3+U#$0"#$
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He designed a grand colonnade that enclosed the piazza space, which

included an Egyptian obelisk topped by a crucifix – symbolic of the
church’s triumph over “paganism”

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79
11.06.21

80
11.06.21

81
 11.06.21

Scala Regia

Monumental Perspective Staircase

82
11.06.21

83
 11.06.21

Continuation of the last class

Spring 2021

ITALIAN BAROQUE

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1
 11.06.21

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 11.06.21

BORROM N & BERN N

Two Great Rivals and Contemporaries

Gian Lorenzo (Giovanni) Bernini

(1598-1680)
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 11.06.21

Bernini, Baldacchino, 1623-4

30 m high indoor canopy

Bernini, Baldacchino, 1623-4

30 m high indoor canopy

Bernini, Baldacchino, 1623-4

30 m high indoor canopy, gilded bronze

The Baldacchino is set right below Michael Angelo's dome.

6
 11.06.21

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 11.06.21

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Bernini, Baldacchino, 1623-4

He used twisted Solomonic columns.
These columns give the space dynamic
energy.
Creates energy rather than scale.

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8
 11.06.21

!"#$B"&+'$(/$E&+40$S#0#'$

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The chair appears to float on clouds, while two angels float above carrying the Papal crown.

The chair appears to float on clouds, while two angels float above carrying the Papal crown.
The goal was to create a kind of “virtual reality” miracle that seems to be
taking place right before our very eyes

9
 11.06.21

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Façade of Sant'Andrea al Quirinale, bearing

the crest of Cardinal Camillo Francesco Maria
Pamphili.

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 11.06.21

The main façade of the church faces onto the Via del Quirinale, as does Borromini's San Carlo alle
Quattro Fontane further down the road. Unlike San Carlo, Sant’Andrea is set back from the
street and the space outside the church is enclosed by low curved quadrant walls.

Bernini almost carves the façade and places the space inside.

The main façade to the street has an aedicular pedimented frame

at the center of which a semicircular porch with two Ionic columns
marks the main entrance. Above the porch entablature is the
heraldic coat of arms of the Pamphili patron.

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 11.06.21

An oval cylinder encases the dome, and large volutes transfer the lateral thrust.

Main altar including dome, side chapels, and lantern

Inside, the main entrance is located on the short axis of the church and directly faces the high
altar. The oval form of the main congregational space of the church is defined by the wall,
pilasters and entablature, which frame the side chapels, and the golden dome above. Large
paired columns supporting a curved pediment differentiate the recessed space of the high
altar from the congregational space.

Saint Andrew ascending to the sky on a cloud

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 11.06.21

The Lantern at Sant’Andrea al Quirinale

13
 11.06.21

P AZZA NAVONA

URBAN OPEN SPACES

IN BAROQUE ROME

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11.06.21
Piazza NAVONA
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View of Piazza Navona by Hendrik Frans van Lint, c. 1730
15
 11.06.21

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16
 11.06.21

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 11.06.21

Santa Maria della Pace, Rome, 1656+

Pietro da Cortona (1596–1669)

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18
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 11.06.21

E0$B&'3($&33#$I*&00'($F(40&4#$N56[jL6@:$8(9&O$ The church is located at the intersection of four roads called the "Quattro Fontane", which refers to the four
!"#$9(,0$+9-('0&40$-+(4##'+4<$T&'()*#$#\&9-3#$ corner fountains set on the oblique at the intersection of two roads.

For the Trinitarian Order

the commission-free of charge

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 11.06.21

The concave-convex facade of San Carlo undulates in a non-classic way.

21
 11.06.21

Prominence of forms with pure light

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 11.06.21

The Church of Santa Costanza is an Early Christian rotunda decorated with mosaics, 4th century.

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 11.06.21

Matematik, geometri, rasyonel

Gallile’den ve Kepler'den çok etkilendi.

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 11.06.21

The wooden model of the San Carlino (1999), 1/1, Lugano Swiss architect Mario Botta
An exhibition and installation work

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 11.06.21

The particularity of this masterpiece (33 meters high and 90 tons weight) is the construction with
35000 wood boards of cm 4.5 in thickness with cm 1 space between the boards.

The wooden model of the San Carlino (1999) The wooden model of the San Carlino (1999)
Lugano, Swiss architect Mario Botta. Lugano, Swiss architect Mario Botta.

26
 11.06.21

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11.06.21

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Sant'ivo alla Sapienza, Borromini, 1640s.

Lantern on the dome

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 11.06.21

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%&'()*#$F('1#.$S#',-#10+P#$]&33#'2:$S&3&VV($E-&.&:$56[Z$

• Forced perspective is a technique that employs

optical illusion to make an object appear farther
away, closer, larger, or smaller than it actually is. It
manipulates human visual perception through the
use of scaled objects and the correlation between
them and the vantage point of the spectator or
camera. It has uses in photography, filmmaking,
and architecture.

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Oratory (Small Temple) of Saint Philip Neri, Rome,1637-1650, Francesco Borromini.

The facade provides a summary of Borromini's characteristics of innovations style, both

austere and technically rigorous. The main body is divided into five parts by pilasters
following a concave curve.

33
 11.06.21

Oratory (Small Temple) of Saint Philip Neri, Rome,1637-1650, Francesco Borromini.

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piano nobile plan,

main oval chamber

Coat of arms, Barberini Bees

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By Pietro da Cortona (1627)

Palazzo Barberini, 1627-33 Palazzo Barberini, 1627-33

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Palazzo Barberini, 1627-33 The Baroque period is a time of grandiose parties, celebrations and entertainment.

The Festivities in Honor of Queen Christina of Sweden in the Courtyard of Palazzo Barberini, 1656.

The famous sprial staircase by Borromini.

36
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The Allegory of Divine Providence (1633-39), ceiling Fresco, Pietro da Cortona (1596-1669)
Gran Salone, Palazzo Barberini, Rome, a masterpiece of baroque trompe l'oeil art
TROMPE L'ŒIL, illusionist painting that deceives the eye.

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RENAISSANCE & BAROQUE

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CENTRALIZATION OF POWER
FRANCE Absolutism
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“View of Vaux le Vicomte Castle around 1661 - engraving by Pérelle (17th century) 142 144

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151 Bedroom of Nicolas Fouquet, (b.1615 - 1680) 153

Palace of Versailles
Chateau de Versailles

154 156
Bedroom prepared for the king

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Conversion of the Chateaux

of Versailles (1623+) to the
Palace of Versailles

164 165

26
 11.06.21

Chatue de Versailles, 1623-24+

1631-34, after a while the hunting lodge was replaced by a stone and brick castle.
It all started with the construction of a hunting lodge by King Louis XIII in 1623-1624.

The hunting lodge and château of Louis XIII

167 168

Inheriting the modestly sized Castle of Versailles, Louis XIV began extensive
construction work in 1661 and continued to expand and transform Europe's largest
castle for 50 years, which became the Palace of Versailles.

16/4$#L%24&#)*#mU92'46)'_
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1661, Louis XIV

169 170

27
 11.06.21

The first phase of the expansion (c. 1661–1678) was designed and
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X%&#L282-&#)*#Q&/42688&4#-6/-2#+``^, as painted by Pierre Patel (Versailles Museum)

The King also commissioned landscape designer André Le Nôtre to create the most magnificent
gardens in Europe, adorned with fountains, sculptures, basins, canals, geometric flower beds, and tree
173 174and a
gardens. He also added two Italian-style grottos and an enormous Orangerie to house fruit trees,
zoo with a central gazebo for exotic animals.

28
 11.06.21

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The young architect Jules Hardouin-Mansart (1646–
1708) was commissioned to expand the palace.

After a new program of architectural work, in 1682

Louis XIV moved his entire government and palace
to Versailles.

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PALACE OF VERSAILLES The Formation Of The Paris Champs-élysées
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BUILDINGS &
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Royal Opera of Versailles

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