Hello! I am Oğulcan Özdil. In this free project I’ve put together for you, I’ll be sharing my insights on Topkapı Palace—one of my favourite places to explore and show visitors around during my career as a professional tour guide. I hope that by the end of the tour, you’ll get to know me just as well as you’ll have come to know Topkapı Palace. I have designed this tour as a complete experience, so you can listen to whichever section you prefer and use it to suit your itinerary. When creating the audio guide, I organised my plan into a comprehensive route that I believe is the most effective. Accordingly, our visit will begin at the first gate and proceed in order through the first courtyard, the second courtyard, the Harem, the third courtyard and the final courtyard. It is difficult for me to estimate how long your visit will take. I believe this will vary depending on the number of visitors at the palace. Everyone needs a starting point. Thank you for giving me the opportunity to share this excitement of a new beginning with you once again.

Topkapı Palace was the residence of the Ottoman sultans. It was commissioned by Mehmed II, the conqueror of Istanbul, in 1460, and with various additions, Ottoman sultans and the palace household resided here until the mid-19th century. Due to the state protocols and ceremonies of the 19th century, the palace became insufficient, and from the 1830s onward Sultan Mahmud II’s son, Sultan Abdülmecid Han, also did not reside here much. In the early 1850s, the Turkish sultans moved to Dolmabahçe Palace on the Bosphorus. Since 1924, it has been open to visitors as a museum.

Today, Topkapı Palace is a complex of structures consisting of four main courtyards and departments such as the famous Harem. The layout of the palace is composed of apartments allocated to state affairs between various courtyards and gardens, buildings and pavilions serving as the ruler’s residence, and structures reserved for the palace staff. The buildings are scattered across a wide area. Although these structures will be individually explained in this audio guide, it should not be forgotten that Topkapı Palace is a whole. Throughout the palace’s history, each courtyard and, of course, the structures themselves were used for different purposes than they are today. Istanbul, conquered by Mehmed II in 1453, and Topkapı Palace became the administrative center of the Ottoman Empire in the years following the conquest.

The location of Topkapı Palace, which was considered and accepted as the center of Istanbul in almost every period, is certainly not coincidental. Furthermore, it was accepted as the center of Ottoman Istanbul for 400 years. Let us begin our visit by passing through the first gate before us.

Topkapı Palace is surrounded on the land side by walls called the “Imperial Walls,” and on the sea side by Roman walls. This vast area is approximately 700 thousand square meters. About 80,000 square meters of this area is covered by buildings. The remaining significant portion was reserved for imperial gardens. They were designed with flowers and gardens, symbols of Ottoman taste and refinement. One enters the first courtyard of Topkapı through the gate called “Bâb-ı Hümâyûn / Imperial Gate.”

Right above the gate, verses 45–48 of Surah Al-Hijr from the Holy Qur’an are written in stylized script. Here it says: “Indeed, those who fear Allah will be among gardens and springs. They will be told, ‘Enter it in peace and security.’ We will remove whatever resentment is in their hearts; they will be brothers, facing each other upon couches. No fatigue will touch them therein, nor from it will they be removed.” These words, chosen with great meaning, not only tell us what we are about to see inside, but also offer a glimpse into the divine connection established with the palace and the mindset of its rulers.

Imperial Gate was a gate constantly guarded, and today security checks are still carried out here before entering the museum’s first courtyard. As soon as you pass through the gate, even before seeing the courtyard, you will have the opportunity to glimpse both the security ahead and some of Istanbul’s magnificence immediately to your right.

In the past, those who had business in the palace and visitors would meet here before entering the first courtyard, speak with relatives working inside, or conduct their affairs with the relevant departments of the palace.

The first large building that catches the eye in the First Courtyard is Hagia Irene Church, a Roman structure. For centuries it was used as the palace armory, and in the 19th century it was turned into a museum. Until 1940 it was used as a military museum, and today this structure, also used as a concert hall, is known by the name Hagia Eirene, meaning “Divine Peace” or “Holy Peace.” While the original structure was small, when Rome made the city its capital in the East, Constantine the Great enlarged and beautified it. After eighteen years of civil war, the church was almost rebuilt in the 4th century AD in honor of the peaceful era the founder of the city brought to the Roman world, and was dedicated to “peace,” thus receiving the name “Eirene.” Although this structure survived until the 6th century AD, it was heavily damaged during the Nika Revolt of 532. The restoration of the church was included in Justinian’s broad reconstruction plan over the areas burned by the rebels (the same emperor who commissioned Hagia Sophia). Soon after, the structure faced another fire, its courtyard was rebuilt, and after various repairs and changes throughout history, it has survived to the present day.

The Imperial Mint (Darphâne-i Âmire) is a group of buildings possessing important cultural heritage value with architectural and industrial characteristics surviving from the Ottoman State to the present day. Located in the First Courtyard (Procession Square) of the palace, this section is situated immediately to your left beside Hagia Irene. During the Ottoman period, it initially functioned as an area where palace organizations produced goods for the palace’s needs, and from the 18th century onward it became the center of coin production. The Topkapı Palace Mint buildings have survived through fires, earthquakes, and administrative changes over time. After production activities moved to a new building in 1967, these historic structures were used by various institutions for different purposes.

Unfortunately, not all the structures in this courtyard, which we also call the Parade Square, have survived to the present day. After purchasing your tickets in this courtyard before reaching the second gate, you will see the second gate known as the Gate of Salutation. One of the lost structures, called the Petition Pavilion (Deavi Köşkü), where the public submitted petitions, once stood here. In the Petition Pavilion, the relevant personnel worked under the supervision of one of the council viziers called Imperial Council. As you can understand, the first courtyard had many living and functional features, just like the other parts of the palace. Now, if you wish, let us look at the second gate and continue our way into the second courtyard.

Advancing from the right side of the first courtyard, after passing the palace’s former ovens, wood depots, and inner arsenal that you may not notice, you will see the “Gate of Salutation,” with towers rising on both the right and left like helmet crests. This magnificent structure is one of the most symbolic structures of the palace.

Bâbü’s Selam (the gate where the ticket booths are located) opens into the section where the state was governed. Only the sultan could pass through here on horseback. Probably, the first gate that built was quite plain compared to the gate you see today. In old engravings printed for the palace, we also see this gate depicted with two towers. However, it reached its present magnificent form in the 16th century during the reign of Sultan Süleyman (the Magnificent). Like the other structures of the palace, these gates were also functional. They were not built merely to be opened and closed. Right next to the Gate of Salutation were the chambers of the chief gatekeeper and the gatekeepers’ barracks. If you have taken your photographs, let us proceed into the second courtyard. Ticket control will be carried out as you pass through the gate.

As you are just passing through the second gate, a columned courtyard and details furnished with taste, probably added during renovations in the time of Mustafa III, dazzle the eye. Rather than the decorative elements, however, I would like to draw your attention to the calligraphic inscription written on the side of the gate facing the second courtyard. This magnificent script, taken from Surah Sad of the Holy Qur’an, is very meaningful. It says: “Gardens of permanent residence whose gates will be opened for them.” In terms of meaning, the palace is once again brought into a sacred unity.

When you turn back, you will see tall cypress trees, the old palace kitchens to your right, and to your left the Imperial Council beneath the Justice Tower, which is our first destination. If the weather is rainy, you may also reach there by following the arcades on the left side of the courtyard. Meanwhile, let me tell you about the history of the courtyard.

For centuries, this place, instead of being called the second courtyard, was known as Council (or Divan in Farsi) Square, naturally taking its name from the imperial council where the empire was governed. Technically, “divan” means seating places furnished with cushions or mattresses, without partitions or armrests like chairs. In short, the courtyard was surrounded on four sides by arcaded walls and once contained prayer platforms where open-air prayers could be performed, water wells, and even cisterns dating back earlier. Today there are three structures you can visit.

These are:
1- The Imperial Council (Sultan’s Council)
2- The Outer Treasury Building (today weapons and armors are exhibited)
3- The Imperial Kitchen Structures

We followed the courtyard from the left and stepped into the Council Chamber located directly beneath the Justice Tower, the tallest structure of the palace. At first glance, you see the couches arranged in the council chamber we are currently in, which I mentioned earlier. Here, the high-ranking statesmen of the Ottoman period held their councils. It was possible to listen to the Imperial Council meetings from outside. Its acoustic structure was suitable for this. Especially the meetings held on Fridays had the atmosphere of a court of appeal. Those from all corners of the empire those in need of justice and had complaints would apply here. Moreover, those who have accepted Islam were rewarded here with a certain amount of money. As you can understand, this structure witnessed many events. While all this was happening, from behind the window on the wall, the empire’s number one soldier, the Ottoman Sultan, listened to what was going on. We know that they did not directly intervene in these meetings. It is an interesting detail that symbolically they followed these meetings from above, from an unreachable or unseen position. As you can see, the structure was planned in two sections. The side where we first entered was where the main council was located. One passed into the Inner Treasury from the right side, and the structure continued by expanding to the right. In fact, in this plan, the building consisted of three domes. This structure, where the world was governed, was commissioned by Süleyman the Magnificent in the 16th century. Later, as a result of the Palace Fire of 1665, it suffered severe damage and was almost rebuilt by Sultan Mehmed IV. It underwent various repairs in later periods and has survived to the present day. With its large windows, tile craftsmanship, and dome details, it is one of the most important sections of the palace.

It was the most prominent location for a rather significant ceremony that took place every three months. Every three months, the paid soldiers known as the Janissaries would take their places in this courtyard with great excitement, their eyes fixed on this building. This was because their wages were prepared here, and payments were made to the soldiers in the courtyard. Furthermore, soup and food were served to the soldiers in the courtyard. In fact, this soup was served before the pay was distributed. Tradition dictated that if the soup was accepted, all would be well, but if it was refused, it was seen as a sign of rebellion. If you do not recommend this audio guide, which I am offering you free of charge, to anyone, I’ll tell you straight away that I won’t be accepting the soup.

The building, first constructed during the reign of Mehmed II, does not have an inscription today. However, the architectural alteration at the entrance is striking. One of the windows was converted into an entrance door. It may be thought that this restoration aimed to establish a functional connection between the building and the courtyard. There are many artifacts inside. Even during the past decade in which I have guided here, many changes have taken place. For this reason, rather than describing them one by one, I would recommend that you take a look at the five works listed here.

For us Turks, bows can be traced very deeply into written history. Mete’s (Mao-tun or Modu Chanyu) whistling arrow alone was used in the 200s BC. By that date, Turks must already have been familiar with bows and archery. Furthermore, they used their masterful archery even while riding horseback and shooting backwards, and were depicted in this way. In Ottoman bows, the wooden part forming the skeleton of the bow was made from maple. First, the maple trunk was cut close to the root, and when the new shoots growing from the root reached the thickness of two wrists, pieces one bow-length long were taken from about half a cubit above the ground. This bow, dated to the second half of the 15th century, should definitely be seen in the collection.

Stefan the Great ruled what is today northeastern Romania. During the reign of Mehmed II, the Ottomans brought this region under their control and thus made it tributary. However, since Stefan was unwilling to pay the heavy tribute worth 2,000 gold coins, the Ottomans had to send Hadım Süleyman Pasha there, and subsequently these forces were defeated by Stefan. In fact, because of this event, the Pope gave him the title “Athlete (Wrestler) of Christ.” Immediately afterward, the Ottoman army under Mehmed II defeated Stefan. It seems that the black death seen in the Ottoman army came to Stefan’s rescue. There are multiple opinions regarding how the sword came to the palace. Considering that Mehmed had to retreat because of the plague, it was probably during the reign of Bayezid II (son of Mehmed the Conqueror) that the successful Ottomans not only imposed a tribute of 4,000 gold coins on Stefan, but probably also took from him this sword, the symbol of his power. In the Ottoman tradition, there was no coronation ceremony; instead, swords were girded. On both sides of the sword, with complementary inscriptions, it says: “Ioan Stefan, Voivode and ruler of the land of Moldavia.” The 125 cm-high sword has a wooden hilt wrapped in silver wire, with a round pommel surrounded by Latin inscriptions. On the outer section, on a surface engraved with crosses, there is a Slavic inscription in Gothic script. On the cross-decorated surfaces there are various insignia patterns. The ends of the guard arms are shaped like acorns. At the base, fuller grooves descend from four to three, from three to two, and from two to one. Four crosses are stamped on both sides.

Dating back to the 15th century, this sword is a truly rare masterpiece in which steel, silver, and mother-of-pearl appear to form a single, seamless whole. Measuring 96 centimeters in length, the sword bears the inscription: “If you start a war, don’t be the one to die, and don’t suffer its torments—death comes only by the will of fate.” It’s a very meaningful inscription that I’ve taken to heart. My enemies aren’t powerful enough to fight me, but should I ever face hardship on my path, I know that “death comes only by fate.”

This 16th-century helmet is decorated with iron and gold workmanship and adorned with rubies. In addition, turquoise (the “Turkish Stone”), traces of which are also seen in ancient Egypt and which was used in old Turkish military equipment, was added. The belief that this stone brings luck and fortune is widespread. Not content with this, the phrase “I trust in God” was written upon it, and another inscription says “Healing and safety to its owner.” Every time I see this helmet, these details always drive me into deep thought for a few minutes. Make a helmet to protect the head. Let it have gold, silver, and rubies. Let it be talismanic, add elegant stones so that it brings luck. Trust in the Creator and receive blessings as well. It is almost like a life insurance policy made against fate in the 16th century.

You are probably expecting me to describe his most elegant surviving sword, the only one displayed with a white hilt and shining long golden inscription bands. I certainly recommend that you look at it as well, but Mehmed the Conqueror had a philosophical nature. In my tours, I try to explain this philosophical and intellectual side of him. Therefore, in this section I wanted to draw attention to another of his swords. This sword, dated to the second half of the 15th century, without a hilt, probably not appreciated by anyone else in this section and a little worn, is my favorite piece in the collection. On the sword it says: “Victory, in the eyes of the noble, intercedes for the guilty. Forgiveness corrupts the base as much as it reforms the virtuous.” It says that noble-spirited people who achieve victory, with the pride and greatness granted by their triumph, forgive those who committed crimes against them or their enemies, and that this forgiveness corrupts the defeated while reforming the virtuous. Probably no one expected to receive such a lesson from a sword. I hope that when I win, I too can be virtuous enough to forgive.

Leaving the outer treasury behind us, we head to the palace kitchens, located just across the courtyard, with their chimneys visible behind the cypress trees. The palace kitchens are one of the most unique sections of the empire, where you can discover aspects you have never seen before. From a functional perspective, it is a task that requires a rather large-scale organisation. The palace’s population averaged 5,000 people. During ceremonies, this number was far, far higher. The palace also had visitors. Topkapı Palace is a living, breathing structure. Consequently, food had to be procured, stored, recorded, and issued, and, moreover, transported. Furthermore, the resources generated had to be processed efficiently by skilled personnel. Moreover, this successful management was sustained not just for a single day, but for centuries.

When viewed from the courtyard, you will see three different entrances to the building. I recommend entering via the one closest to the third gate, bearing in mind that you will proceed to the Harem after the kitchen. If that is not your plan, you can enter via the entrance closest to the second gate, continue your tour, and exit through the gate closest to the third courtyard, then proceed through the other courtyard.

Each of these structures, the likes of which you’ll rarely find elsewhere in the world, once served a different purpose. If you enter via the entrance closest to the second door, you’ll come across the ‘Pantry’; the middle entrance leads directly to the main structure known as the ‘Royal Kitchen’; and if you enter through the door at the very end of the courtyard, you’ll find yourself in the ‘Helvahane’ section. As you pass through these doors, you will likely have noticed the building materials, as well as the additional structures that act as walls between the courtyard and the main building. As well as being functional, they also serve as a barrier between the rest of the palace and the courtyard in the event of a fire.

The five artifacts I recommend you see in these sections are as follows:

This piece, numbered 15/1275, originates from China and is dated to the 15th century. Lustrous three-coloured lead glazes, shimmering celadons and dazzling porcelains reflect the taste and power of the Chinese imperial court. In many cultures, glazed ceramics served as symbols of prestige; as the necessary materials, technical knowledge and production skills were often difficult to obtain, it was rarely possible for the common people to acquire such items. In the 16th and 17th centuries, European monarchs added Chinese porcelain to their collections. They can appear in various colours. It is thought that they were preferred due to the belief that they could reveal whether there was poison in the food served at court. This is how the story has always been told. I have always believed it was more about their collectible value and their functional, durable nature. After all, plates of this sort were not items you would see everywhere, all the time. The inscription ‘Has’—meaning ‘reserved for the Sultan’—on the back is likely for this reason. Similarly, the owner’s name is inscribed on the back of many plates. But the story of the poison detection will probably attract more interest. Be sure to take a look at the other examples as well.

You must definitely see the section containing various 19th-century spoons. The variety of dining and dessert spoons will dazzle your eyes. We may not yet have seen a diamond or solid gold candlestick, but as I said, we are walking through the cultural world of an empire. Those who often impatiently, messily, and quickly eat and say “eat like a Turk” definitely need to see this. Just like plates, spoons were also personal items. Many travelers, as if foreseeing these days, left notes for history. From these sources we know that spoons were personal and that people often carried them with them. Every food was consumed with a different spoon, and judging by the examples before us, we can also say that their decorative qualities were important. For us Turks, food is already an art in itself. It is certainly no coincidence that such care was devoted even to spoons.

When you enter the old Confectionery (Helvahane) section of the kitchen, you will encounter fascinating details. I definitely recommend seeing some of them. The first is the 19th-century medicine bottle numbered 34/922. Right in the corner is the “Medicine Mortar” displayed under number 25/3486, and in the same place, under number 12/70, a medicine mold used to transform medicinal mixtures into tablets bearing verses of healing. In the Ottoman palace kitchen, the Confectionery unit did not merely produce helva (desserts), jams, compotes, and sherbets. This section also functioned as a place of healing, and according to 17th–18th century records, the department ledger contained 186 medicine recipes. When we delve deeper, we reach details that as a historian do not surprise me. We discover that the medicines produced here benefited from Greek and Roman medicine, as well as various Islamic formulas, and also included the Ottoman physicians’ own recipes. This place had actually gone beyond being merely a kitchen and possessed the qualities of an advanced medical institution.

This document, which you would probably not make much sense of at first glance, is one of the most fascinating collections on display in the kitchen today. Many will ask why this list is shown instead of the palace’s actual menu. Dated to the 16th century, this list details the sums of money given to kitchen and confectionery staff on two religious holidays. The very reason I’m focusing on this rather than a meal list is precisely this. Even if money were to be shared in the palace kitchen, it would have been recorded. Consider that Murad III, who reigned for 21 years, passed away just one day before this document was drawn up; two years earlier, the war with Austria—known as the ‘Long Turkish War’—had begun and was still ongoing. This war was waged despite the fact that it would prove economically devastating, and yet, amidst all this, the money given to the kitchen was recorded.

More than just a drink, coffee is a cultural symbol of Turkish society. It is perhaps the most indispensable part of social and everyday life. Indeed, coffee was not only consumed in coffeehouses, homes and palaces, but mobile coffee vendors also served the city. For this reason, as we bring our kitchen tour to a close, I highly recommend you visit the section entitled ‘Coffee at the Palace’. This section will remind you once again of the story of Turkish coffee. Here, you will discover everything from the tools used to make coffee to the cups and many other details related to coffee.

If you fancy a coffee, you can take a break at the museum café right next to this section, and use the toilets in the direction of the 2nd Gate without having to go out into the courtyard. When you return, I will take you on a tour of either the Harem or the Third Courtyard, depending on which you prefer.

After using your Harem tickets at the turnstiles, you will see two gates, one on your left and one on your right. If you proceed from the left, before entering the main Harem, you will pass through the sections built beside the Harem, including the Halberdiers with Tresses, and eventually reach the main Harem Gate inside. Depending on the crowd, this route may add another 15–20 minutes to your visit. Considering the length and overall coherence of this free audio guide I have prepared, I will not include those sections. If you wish to see them, you may complete your visit and continue from where you left off once you reach the starting point of the next section. Those who wish to proceed directly may enter through the gate on the right and continue with the next section.

The Harem was both the home of the Ottoman Sultans who lived in Topkapı Palace and an educational institution. We begin our visit by entering through the Carriage Gate. Because the palace women living in the Harem arrived by carriage up to this point and were received here, the gate through which we entered was called the Carriage Gate. This gate witnessed the departure of many families and the arrival of new ones in their place. For when Ottoman Sultans died, their families were transferred from here to the Old Palace. In their place came the families of the new Sultan who ascended the throne. In such situations, during the Queen Mother Procession, the new Sultan’s mother would be welcomed by the Sultan in the first courtyard of the palace, and the Sultan himself would accompany them up to this carriage gate. Likewise, palace physicians or teachers who came to give lessons also used this gate.

When we enter, the section greeting us at the very first step is known as the Cupboard Dome (Dolaplı Kubbe). The cupboards here held shopping materials for the Harem, various foundation records, and functioned as a kind of archive. Every year, bags full of money and gifts sent to the holy places for pilgrimage were also kept here together with their records.

The place you encounter afterward, covered with 17th-century tiles, was called the Fountain Hall (Şadırvanlı Sofa / Taşlık). Although the fountain is no longer here today, it is still known by this name. Across the tile details are written the mighty names of Allah, the names of the Prophet Muhammad, and the names of the Companions. The horizontal inscription band describes Mehmed IV as the protector of Islam and Muslims and contains a prayer that his reign may last forever. Another inscription explains that a large part of the Harem was commissioned by him.

We continue forward without entering anywhere. On our left are the Quarters of the Black Eunuchs. These officials were known as the Harem Eunuchs. While their foremost duty was security, they also had their own organization and division of responsibilities among themselves and were classified into four ranks. This corridor, extending as far as the Main (Cümle) Gate of the Harem, was not reserved solely for the Harem eunuchs. Here were also areas allocated to the palace dwarfs and those who accompanied the Ottoman ruler with their companionship, as well as the Princes’ School, the chambers of the Chief Black Eunuch (Darüssaade Ağası), and the guard station.

The row of doors you see ahead will lead us to the Guard Station. The harem eunuchs used to stand guard here. Access to the royal quarters was also provided from here. The men stationed here were not there solely for security purposes. As the harem’s meals were prepared right here in this section, in the area known as the Concubines’ Corridor, they would beat the drum to announce to the people that the food had arrived. This drum was also beaten during Ramadan to wake people for the pre-dawn meal. Meals were placed on the marble platforms to your left today; likewise, the trays, left clean after the meal, were placed here and collected again from this spot. Following this corridor leads to the Courtyard of the Concubines and Imperial Consort. When you see the courtyard stretching out to your left, you will have reached almost the innermost parts of the Harem. In this arcaded courtyard and the cluster of buildings surrounding it, you would find the Imperial Consort residences, concubine quarters, the hamam, the laundry room and even the storerooms. After visiting the bathhouse—one of the palace’s oldest known bath structures—and exiting, you can proceed to the Queen Mother’s quarters through the door on your left, behind the column.

After passing the Queen Mother’s and Sultan’s Baths, you reach the Imperial Hall. This space, used as the ceremonial hall of the Ottoman rulers within the Harem, was a place where holiday receptions and conversations were held. The structure, probably gained from the courtyard, was covered with a large dome. Built in the late 16th century, the structure was renovated according to the decorative styles of the 18th century. In this very spacious and well-lit hall, all details can easily be distinguished. The names of God are written in orderly calligraphy inside the dome. The text written on the blue tiles on the wall contains verses from Surah Al-Baqarah of the Qur’an. It is quite difficult to produce Harem fantasies from a hall filled with such religious motifs. You will see that a special section was created by covering the throne placed directly in front of you. The decorations in the section separated to the left of this throne area are very tastefully crafted. It is said that from the upper part of this section, the women of the Harem watched ceremonies such as holiday celebrations. Another interesting feature of the building is its relationship with water and the structures beneath it. It is believed that the channels underneath were heated through the circulation of hot water brought from the bath. In addition, it has three magnificent fountains. After taking your photographs, we will pass through the corridor on the right side of the hall into the Chamber of Murad III located on the left.

When looking at the Harem plan, it is striking that the Valide Sultan Apartment is located at the very center of the layout. This section was reserved for the mother of the Ottoman Sultan. This apartment was built in 1667 after the fire of 1665 and was designed to be highly functional and spacious. The areas here provided opportunities for receiving guests and worship, while also including halls, a kitchen, a bath, and storage rooms allocated specifically to this section. In terms of layout, the structure shares the same characteristics as the classical imperial chamber of the 16th century. The Kütahya tiles on its walls and the landscape paintings added in the 19th century, the fireplace used in winter, and the mother-of-pearl inlay details are among its most striking decorative features. The Sultan’s mother held important roles in both the daily life and ceremonies of the palace. This apartment confirms her status. After your visit to the bath, I also recommend passing through the corridor lined with tiles and seeing the Imperial Bath reserved for the Sultan. At the end of the corridor, we will continue with the Imperial Hall that appears before us.

After passing the Queen Mother’s and Sultan’s Baths, you reach the Imperial Hall. This space, used as the ceremonial hall of the Ottoman rulers within the Harem, was a place where holiday receptions and conversations were held. The structure, probably gained from the courtyard, was covered with a large dome. Built in the late 16th century, the structure was renovated according to the decorative styles of the 18th century. In this very spacious and well-lit hall, all details can easily be distinguished. The names of God are written in orderly calligraphy inside the dome. The text written on the blue tiles on the wall contains verses from Surah Al-Baqarah of the Qur’an. It is quite difficult to produce Harem fantasies from a hall filled with such religious motifs. You will see that a special section was created by covering the throne placed directly in front of you. The decorations in the section separated to the left of this throne area are very tastefully crafted. It is said that from the upper part of this section, the women of the Harem watched ceremonies such as holiday celebrations. Another interesting feature of the building is its relationship with water and the structures beneath it. It is believed that the channels underneath were heated through the circulation of hot water brought from the bath. In addition, it has three magnificent fountains. After taking your photographs, we will pass through the corridor on the right side of the hall into the Chamber of Murad III located on the left.

Built in 1579, the apartment of Murad III is the earliest known Imperial Chamber of the palace. Compared to the Imperial Apartments built after him, it is quite spacious. It is connected to the Imperial Hall we just left behind. Probably the first thing that will catch your attention as soon as you enter through the door is the fountain; when you look more carefully, the harmonious unity of the 16th-century İznik tiles will take you on a small journey into the architectural features of the period. Once again, religious motifs appear before us through the calligraphic inscription series. The dome details become more pronounced with the sunlight entering through the windows, leaving an almost hypnotic impression. The sound of water flowing from the fountain creates a very relaxing atmosphere in this square-planned room.

From here we will first look at the apartment of Ahmed I, then the room of Ahmed III (the Fruit Room), and afterward return.

This chamber was commissioned by Sultan Ahmed I in 1608. You will remember him from the Sultan Ahmed Mosque he built opposite Hagia Sophia. Compared to the mosque, this room was built with a somewhat more modest dome. İznik tiles once again appear here. Although the building was added beside the apartment of his grandfather Murad III, symmetry was considered in the architecture. The three windows on our right and directly opposite us emphasize this harmony. The cupboards and especially the fountain are details that beautify the chamber. This time, the tiles beneath the dome feature the last four surahs of the Holy Qur’an.

Also known as the Fruit Room because of the fruit depictions on its walls, this structure was a place where the sultans occasionally dined. The preference for wood instead of tiles in the wall decorations indicates an important architectural change. The delicately depicted flowers carry Western influences. The mirrors placed in this small room add a sense of depth. With its chosen colors and motifs in the ceiling transitions, it is one of the most interesting rooms of the palace.

Passing again through the Chamber of Murad III, we return to the corridor. On our left, after passing the Twin Pavilions known as the Pavilion of Sultan Osman (the Domed Pavilion) and the Pavilion of Mehmed IV, we reach the Courtyard of the Favorites, which you can descend to by stairs. Inside this structure rising on columns to our right, each Favorite had her own room. The concubines in the palace, like the other palace residents, also had ranks. Newly brought concubines passed through a period called apprenticeship, then became concubines and students, then masters, and eventually reached an upper class called the Gediklis. The highest rank among the palace women was known by the title Kadın. The women of the Gedikli class who attended to the personal affairs of the Ottoman Sultan held different titles. These were generally named according to the services they performed. However, among these young women, those who attracted the Sultan’s attention were called Favorites (Gözde). When a concubine rose to the rank of Kadın, she was dressed in fur, given her own apartment, and concubines were assigned to serve her as well.

Now, turning left from this courtyard, you will encounter the Galata Tower. I recommend capturing your photographs. Afterwards, passing these apartments, we will reach the Golden Road.

We now turn our direction toward the next courtyard by following this road once used by Ottoman Sultans to pass into the Holy Relics section located in the third courtyard. On the way, after passing the modest kitchen that once served only the Ottoman Sultans on our left, you will shortly reach the Valide Courtyard on your right. Afterwards, you will once again arrive at the guard station and from there reach the next courtyard on your left. See you there.

If you are coming from the Harem, this magnificent gate immediately ahead on your right, or directly at the end of the 2nd courtyard, is known as the “Gate of Felicity.” This symbolic gate, directly representing the Ottoman Sultan, once witnessed one of the most important moments of the ceremonies held when a new Sultan ascended the throne: the “Enthronement Ceremonies.” Therefore, this gate opens to felicity. Although the gate is among the oldest known structures of the palace, it underwent restorations over time, with additions and even alterations made. The inscription just above the gate indicates a restoration carried out in 1774. Inside the medallion at the center of the gate is the tughra (signature) of Mahmud II, which you can see in many places throughout the palace.

If you passed through the gate and reached the courtyard, or if you are standing between this structure and the gate within the courtyard, it means you are looking at the Audience Chamber, which cuts across the courtyard like a curtain. We continue our tour from here.

Since these parts of the palace were considered the direct residence of the Ottoman Sultan, they symbolized sovereignty itself. Naturally, such privacy was not something to be displayed to everyone. Moreover, we will soon discuss how important the duties were of the people living on this side of the courtyard and palace. For this reason, the building was logically constructed in a way that concealed the rest of the courtyard. In this room, Ottoman Sultans received ambassadors, viziers, and the highest-ranking grand viziers called the Grand Vizier. This title was given because this highest official presented the decisions and subjects discussed in council meetings to the Sultan. Although originally built during the reign of Mehmed II, the structure lost much of its original appearance and architectural characteristics over time. It was damaged during an earthquake in the 16th century and rebuilt during the reign of Suleiman I (the Magnificent). Though it survived until the late periods of the palace, it suffered a fire in the 19th century and was rebuilt again. Therefore, the decorative details of the building appear largely modern today. After seeing the throne at the entrance and taking a brief look inside, we will pass into the courtyard through the door opening on the other side of the room. The structure rising immediately behind the stairs is the Library of Ahmed III. We will pass to the right of the stairs and this building and look toward the courtyard.

The word “Enderun,” meaning the interior/inner section of the palace, comes from Persian. When we stand in front of the library, facing the 4th courtyard, we find ourselves positioned between the library fountain behind us and the library itself, centered within the courtyard. At this point, you will notice that the courtyard is organized similarly to the 2nd courtyard. The rows of dormitories not only define the boundaries of the courtyard but also provide functionality to the space.

We can list the institutions and buildings in the courtyard as follows: the Enderun School and Chambers, the Meşkhane (Music School), a residence dating from the reign of Mehmed II, a depot where the Sultan’s private weapons, equipment, and valuable belongings were stored, the dormitories of those serving in this section of the palace, the chamber where the Sacred Relics were preserved, the Ağalar Mosque, the White Eunuchs’ and Enderun (Birdhouse) Kitchen, and structures later abandoned and known as the Bath of Selim II. I do not want to list these places like a conventional guide and disconnect you from the beauties of the Topkapı Palace Museum. My aim is to create a functional product. The more I focus on the Inner Palace, the further I would draw you away from this magnificent museum. Therefore, I think it is more practical to include the sections and the works I believe should most definitely be seen. Our first destination is the Library.

Alongside all its other qualities, the Inner Courtyard was also a vital educational institution for the Empire. Boys recruited through the devshirme system at ages 9–11 would receive education and be promoted to another dormitory. These boys gained favor through the services they provided and were assigned to duties closer to the Sultan. Unlike today’s school systems, this structure included salaries, periods of service, and examinations. Those who failed to pass these stages were incorporated into salaried military systems. The library in which we stand was commissioned by Ahmed III in 1718. He was interested in reading and writing. Naturally, an addition one might expect from such a person would be a library. It enabled the residents of the Inner Courtyard to access books from his personal treasury. It is possible to recognize the building as a library even without seeing books. The windows allowing daylight to flood efficiently inside show us how enlightening knowledge and learning can be. Alongside its tiles and built-in cupboards, I am sure you will encounter interesting works in this section as well.

After leaving the library, before descending the stairs, look to your left. This structure positioned diagonally toward the courtyard is the Mosque of Aghas. It was exactly from the point where you stand that the call to prayer announcing the morning prayer was recited. If you are staying near the Historical Peninsula, the sound you hear every morning once awakened the people of the Enderun for worship, and those who completed their preparations would come here to pray. Commissioned by Mehmed II (the Conqueror), the mosque is the oldest and largest mosque within the palace. Ottoman rulers and princes also occasionally performed their prayers here. The building was constructed on a rectangular plan. Although it dates to the 15th century, the tile additions made in the 17th century show that, like the rest of the palace, it went through stages of adaptation and restoration over time. We proceed to the Sacred Relics from the left side of the stairs.

Earlier, while visiting the library, I mentioned Ahmed III’s interest in reading and writing. Even before entering the room, the inscriptions above the door belong to him. This building was a private chamber belonging to the Ottoman Sultans within the Inner Palace. This chamber had its own class and people. The highest-ranking servants of the Inner Palace were called the “Privy Chamber attendants” (Has Odalılar). Their numbers are known to have changed over different periods. Before the reign of Selim I (Yavuz Sultan Selim), this number reached 40 people. These attendants themselves also had internal ranks. First built during the reign of Mehmed II, this structure survived to the present day after restorations during the reign of Ahmed III. With the arrival of the Sacred Relics here during the reign of Selim I, it became the home of the priceless artifacts we are about to see. The first room we enter contains the Fountain Hall (central hall), the Audience Chamber, and the Throne Room, the most important room of this section. I recommend observing not only the exhibited artifacts but also the architecture carefully. Now we can move on to the 5 works you must see in this section. Afterward, we will continue our route through the Calligraphy section in this same courtyard.

Exhibited under inventory number 21/65, this artifact is the kind that immediately makes you ask, “Could it really be real?” It is one of the most frequently asked questions I encounter during my palace tours. For those who do not remember, we are speaking of the same staff mentioned in holy scriptures, the one Moses used to part the sea. This event, mentioned three times in the Qur’an, is described in different dimensions and styles. The staff before us measures 122 cm. Besides parting the sea, you may also remember it for transforming into a snake and bringing forth water from stone with a strike. To align with the narrative chronology, it has been approximately dated to the 13th century BCE. Perhaps we will never know whether it is real or not, but I hope this piece captures your interest.

This seal made of red agate stone is thought to be a copy of the original. Exhibited under number 21/167, the artifact is dated to the 7th century. Prophet Muhammad was not only the messenger of religion but also of peace. When he wished to send letters inviting various rulers to Islam, a ring inscribed with “Muhammad, the Messenger of God” was made. This ring was later used successively by Abu Bakr, Umar, and Osman. It was eventually lost after falling into a well in Medina. A copy bearing the same inscription was later produced. The seal you see today behind glass is believed to be that seal. It was found in Baghdad and sent here in the 19th century.

Right behind the place where you saw the seal, you will find this footprint exhibited under number 21/195, which I personally consider one of the most fascinating relics. Ottoman Sultans always showed interest in any object belonging to Prophet Muhammad or reminding people of his memory. They aimed to bring such relics to Istanbul and preserve them here. One of the best-known stories tells of Ahmed I bringing one from Egypt, taking a copy after a dream, and sending the original back. There are six such footprints in total. The reason I especially chose this one is the belief that it was left during the Mi‘raj (the Prophet’s ascension to heaven and audience with God). In this context, the relic—brought from Tripoli, presented to Abdülmecid, and later placed in a golden case by Abdülhamid II—becomes especially intriguing.

Surely Islam is a religion of peace. The first word written in its holy book is “Read.” Despite this, I would like to draw your attention to the various swords displayed in this section of the museum. Throughout history, justice has rarely been granted to anyone. Unfortunately, we live in a world where justice must be fought for. For this reason, Prophet Muhammad and the Islamic Caliphs also had to use swords. These swords were preserved and brought to Istanbul during the reign of Murad III. Among the approximately 20 swords, I especially recommend seeing the swords of Prophet Muhammad exhibited under numbers 21/129 and 21/130.

Making harmful decisions is quite easy. With a single word, you can start wars and cause lives to be lost far too early. The difficult thing is reaching those who have harmed you—or may harm you—and showing them the warmth of truth. For this reason, among the relics I admire most in this section are the invitation letters to Islam sent by Prophet Muhammad, which I also hope you will see. Exhibited under numbers 21/174, 21/397, 21/674, and 21/169, these letters contain sincerity and much more.

After leaving the Sacred Relics section, let us visit together this exhibition immediately to your left on the side facing the 4th courtyard. Earlier, we spoke about the people of the Inner Palace. This dormitory was established during the reign of Mehmed II and expanded by Selim I. The official responsible for this section oversaw the protection of the treasury and valuable objects, as well as the class serving under him. In addition, various craftsmen were under his supervision. Records show that the department consisted of 3 people in the 15th century and 125 people in the 17th century. Although the numbers later decreased by half, they reached 150 again by the beginning of the 19th century. Likewise, this building—repaired and renewed by Sultan Abdülmecid in the 19th century—was where members of this class resided. This section of the Topkapı Palace Museum displays extremely important examples of the art of calligraphy. You will have the chance to discover not only the finest works of famous calligraphers but also examples written by the Ottoman Sultans themselves.

Everyone needs a beginning. I too set out as an inexperienced tourist guide. Looking back, I now understand more clearly what I needed to accomplish. We begin our tour with the inscription displayed under number 121 on our right at the entrance, written by Mustafa İzzet Efendi. On July 22, 1814, when he was only 13 years old, young Mustafa caught the attention of Mahmud II. During a Friday ceremony, perhaps he experienced the turning point that changed his life. This path would take him from his entire past into becoming one of the important artists of the future. The lines of prayer before you represent an important stage in calligraphy education. If potential artists of the future could not pass this stage, they were expected to quit precisely at this point, especially so as not to leave their teacher’s efforts unrewarded. With his art, Mustafa İzzet passed through this stage and reached the dome of Hagia Sophia.

Sami Efendi was one of the most important names in the Ottoman tradition of beautiful writing in the 19th century. Understanding calligraphy also requires knowledge of the rules of this discipline. Therefore, before moving on to the many successful examples displayed in the Palace, it is meaningful to begin with the certification Sami Efendi received from Mehmed Bahir Efendi, exhibited under number 321.124. In the Ottoman world, talented children were given lessons to learn beautiful writing. At first, exercises were done to improve hand skills, and those attending the lessons were shown the foundations of measured writing, even if not yet in perfect order. When these students, who devoted years to this craft, earned the right to receive authorization, their teacher would grant them an icazet (certificate). Even if you were as talented as Sami Efendi, this was how things worked.

This panel marked with number 391 was created using a technique that emerged and became widely used in Ottoman art during the 18th and 19th centuries. The most distinctive feature of this technique is the use of gold in the writing. The use of a broad pen classifies this style with a term distinguished as meaning “large” or “grand.” The aim was to allow the writing to be easily read from a distance. The inscription before us reveals its meaning when brought into the light: “Allah is the best protector, and He is the most merciful of the merciful.”

Calligraphy is the art of elegance, taste, and refinement. To discover one of the most graceful examples of the collection, you must see the Stork exhibited under number 314/40. The owner of this work, İsmail Zühdi Efendi, and his brother left highly characteristic and unique works to the 19th century and the entire history of calligraphy by drawing inspiration from masters who enabled them to reach their own styles. By writing “In the name of Allah, the Most Compassionate, the Most Merciful” in the shape of a stork, he created a calligraphic work far ahead of its time. The greatest misfortune of this beautiful piece is that the person who made the golden decorations incorrectly wrote the date beneath the stork. Instead of the Hijri year 1213 (1798), the date was written as 1013, corresponding to 1604 CE.

Perhaps I saved the most unexpected work for last. The Topkapı Palace collections also contain countless unique Qur’ans and manuscripts. I truly struggled while choosing the final piece for this section. Therefore, I recommend seeing all the Qur’ans. The work I especially want to draw your attention to is the 14th-century Ilkhanid Qur’an section exhibited under number 249. The Ilkhanids were part of the Mongol Empire, extending from Central Asia into Iran. After their ruler Ghazan Khan accepted Islam, manuscript production and Qur’anic sections became artistic works. In the end, “beautiful writing leaves a trace.” What makes this work fascinating is the magnificence and uniqueness of sections such as the page openings and headings. An incredible amount of labor was invested in it. At the same time, the gold decorations reflect impressions from the Seljuk and Mamluk periods. The diversity of motifs and colors contained in this work is highly remarkable.

We continue our tour with the Treasury section. This corner on your left after leaving the calligraphy exhibition—or, if you have not entered it yet, at the far right of the 3rd courtyard—is as dazzling as the other sections of the palace. Built by Mehmed II on the slope overlooking the most beautiful view of Istanbul in the 15th century, this structure is one of the foundational elements of the palace and displays Turkish architectural characteristics. In fact, it was originally constructed with three sections and a spacious breathing area, but after the nearby bath lost its function, another Inner Palace room was added here in the 18th century. The building rises upon a cloverleaf-shaped baptistery dating back to the Roman period. When the palace was transformed into a museum after the establishment of the Republic of Türkiye, care was taken to display the artifacts in meaningful places. Of course, in this section you will see countless bright and captivating treasures. But I want you to know that not all treasures consist only of gold and silver. I am sure you will find the real treasures in the mirrors inside. Let us begin.

We begin with the most famous and most wondered-about piece of the Treasury section. You will find the diamond displayed alone under inventory number 2/7610. This showcase, the most crowded around it, is dedicated to the mesmerizing 86-carat Spoonmaker’s Diamond. Surrounded by 49 small diamonds, the piece resembles jeweled ornaments attached to plumes. According to the most famous story, a round stone was found in a garbage heap and purchased by a peddler in exchange for three spoons. Later, a jeweler bought the stone and showed it to another jeweler. When it was discovered to be a diamond, the second jeweler also claimed rights over it. The chief jeweler heard about the matter and purchased the stone from them by paying each a pouch of money. Later, the Grand Vizier heard about it and bought it from the chief jeweler. Finally, the Sultan heard of the matter and ordered the stone brought to the palace. The stone was cut into a spoon-like shape, and thus it received the name “Spoonmaker’s Diamond.”

Next comes the Topkapı Dagger, displayed under number 2/160 and inseparable from the identity of the palace itself. At first glance, you may see nothing but its emeralds. This 35-centimeter-long piece dates to the 18th century. When you look more closely, you realize that steel has been transformed into a treasure jewel through precious decorations of gold and diamonds. Moreover, details such as the concealed clock hidden in the hilt remind us once again that this dagger was not the kind used in everyday life. The dagger was commissioned by Ottoman Sultan Mahmud I as a gift for Nadir Shah. The only reason you can see such a magnificent work this closely today behind glass is because Nadir Shah died before the dagger could be delivered.

Now let us turn our eyes to another collection item numbered 2/2107. Being a poet and writing poetry is a beautiful virtue. Murad III was an Ottoman Sultan who had his own pen name, his own divan, and wrote spiritually deep poetry with a mystical dimension. He possessed an extensive poetry collection. He mostly focused on the concept of the world, transience, this life, and the afterlife. In his poems, he expressed how rulers living among thrones, silk fabrics, glory, and fame would ultimately share the same fate as any mortal and how everything worldly is temporary. It should not be forgotten that many rulers claimed themselves immortal, or even gods, during their lifetimes. This rare binding, dating to the 16th century, was produced using gold, emeralds, rubies, and diamonds. Perhaps such extensive use of precious stones may seem ironic to you and disconnected from what I have said. As for me, from somewhere far away, I would say: “If these stones were truly that valuable, they would have used them to protect the papers containing the poems.”

The Golden Throne, numbered 2/2825, first appears in depictions from the reign of Mustafa III in the 18th century. Therefore, it dates to the mid-18th century. Earlier, while speaking about the 3rd gate, I mentioned that the throne was brought out here during various ceremonies. Aside from such events, we can say that thrones were not widely used in palace life. Walnut wood was preferred for its construction. Covered with gold plates weighing 250 grams each, 954 chrysolith jewels were set onto these golden plates. The choice of this stone is quite interesting. Last used during the enthronement ceremony of Mehmed VI on July 4, 1918, this throne is one of the artifacts that attracts the most attention during my tours.

Toward the end of your Treasury visit, you will see two golden candlesticks displayed under numbers 2/7639 and 7640. Each of these 150-centimeter candlesticks consists of 48 grams of gold and is adorned with diamonds. Floral patterns are engraved on their neck sections, while inscriptions appear in their central sections. The large inscription that appears like a single piece of writing, beside which a golden flower relief emerges, is the tughra (signature) of Sultan Abdülmecid. On the opposite side is an inscription dating to the 19th century. From this inscription, we understand that the Sultan presented these candlesticks to the tomb of Prophet Muhammad.

We continue our tour in the 3rd courtyard at the Dormitory of Campaigners, where the costumes are displayed. This building is located right beside the Inner Courtyard library building and treasury structures I mentioned earlier. You can find this section in the left corner toward the 2nd courtyard. In the 18th century, Sultan Ahmed III added it to the nearby structures dating from the reign of Mehmed II. Today, it houses many collection pieces together with Sultan costumes and various accessories. Previously, the members of this section were responsible for washing the clothes of the Inner Palace residents. Later, they also became involved in arts, music, and even wrestling. Like every chamber, it also had educational functions and was one of the institutions providing advanced education within the Inner Palace. The palace’s mute attendants and dwarfs were also trained here. Let us take a look inside.

In the Ottoman world, silk craftsmanship, weaving, and the preference for luxurious clothing were important indicators not only of power and status but also of the tastes of the era. Designed with broad body measurements, kaftans were created in a “T” form to provide comfortable use. The patterns of these garments generally consisted of rectangular and triangular pieces. Preferred clothing styles among Ottoman Sultans varied according to personal characteristics. Mehmed II (the Conqueror) often preferred simple dress. The garments you see around you reflect the tastes of different periods through their weaving, decoration, and fabric cuts. Of course, they were produced to be functional as well as visual. Since winters required fur linings, they were prepared accordingly. The clothes worn by dynasty members, administrators, and wealthy individuals were tailored differently from others in terms of fabric and quality. Such garments were produced with high-quality workmanship and decorated with precious stones. Just as there was an official for everything in the palace, there were also palace officials dealing solely with this work. In the Ottoman Empire, the colors and patterns of garments carried distinguishing qualities within society. While official regulations determined what the public could wear, palace clothing was more flexible. I recommend examining these garments and their craftsmanship carefully, because you will find much more than mere fabric.

Topkapı Palace contains more than 80 talismanic shirts. Most of these shirts belonged to Ottoman Sultans. Dating to various periods, they were worn beneath clothing before going to war, during important events, ceremonies, and even while hunting. The Chief Physician would prepare a duty letter, and astrologers interpreting the positions and movements of stars would determine dates and times. Since the shirts were made personally for individuals, they took shape according to personal preferences and intended functions. After all these decisions were made, masters of calligraphy were assigned to prepare the inscriptions, references related to the date and owner were included, and appropriate prayers were added. Their decorations and designs were also completed to enhance their appearance. Believed to bring healing, recovery, and luck, these shirts are undoubtedly among the most fascinating examples in the section you are visiting. You can find them in the room directly opposite the entrance.

We go upstairs to find the prince costumes. By the 15th and 16th centuries, we see the rapid spread of embroidery arts and their increasing use in clothing. This development, noticeable in other garments as well, becomes especially evident in prince costumes through the decoration of collars and sleeves with golden borders using traditional embroidery techniques. Among the finest examples are the ceremonial garments belonging to Prince Mehmed, the son of Suleiman I (the Magnificent), dating to the 16th century. Exhibited under number 13/738, these garments are decorated with threads produced from precious metals and have gone beyond the quality of being ordinary daily clothing. The garments displayed in this section, which have already caught your attention with their dimensions, will surprise you again with their sizes. This is because specially tailored clothes for babies and children are also presented to visitors. As you can understand from their shapes, the garments made for babies and children followed the same models. Moreover, from the care shown in their production, we can say that these garments are among the most original and tasteful examples.

Among the most interesting collections displayed upstairs are the garments belonging to palace women. Palace women wore şalvar trousers over undergarments, curved shirts made of lightly textured fabrics, inner garments, and outer garments. The forms and fabric colors of these clothes carried meanings and varied seasonally. Summer clothes were produced from thin fabrics. In the 18th century, high-class women living in the palace began wearing furs. They used valuable jewelry and wore belts adorned with precious stones as accessories. During these centuries, traces of Westernization also began appearing in the clothing of palace women. Ottoman palace women’s clothing is grouped both according to periods and according to categories such as inner clothing, outer clothing, accessories, headwear, and footwear. Just as with men, there were also differences between ordinary women and palace ladies.

Before saying farewell to the palace costume exhibition, I also wanted to draw your attention to the accessories on display. Just as we today use complementary elements with our clothing, palace residents also used various accessories. These objects resembled one another while also possessing distinguishing features. For example, we can mention rings used by Ottoman women. Men also used rings, and these became important accessories decorated with precious stones. As for accessories unique to women, we can give the example of hair ornaments called enselik, attached to braided hair. You will also see earrings, combs, and headpieces. Such details will bring you a few steps closer to the lives of palace residents.

We continue our tour using the stairs located at the end of the 3rd courtyard, on the side where we visited the Sacred Relics and Calligraphy sections. Immediately after the stairs, we will reach the pavilions in the courtyard on our left. This courtyard was once nothing more than the palace garden. Over time, with the addition of pavilions and structural units, it transformed into a courtyard. Behind it rises the highest hill of the Historical Peninsula; before it meet the palace gardens, the Bosphorus, and the waters of the Golden Horn. When you climb the stairs and pass between the pavilions, you may encounter some of the most characteristic views of Istanbul. Directly ahead stands the Galata Tower, while the Golden Horn flowing before it divides Istanbul’s European side almost in two like a horn. Looking from here, it is impossible not to remember how small we humans are. Istanbul is greater than everything. At the end of every tour, I gaze into the horizon here for at least a few minutes to remind myself of this. In a world where everyone thinks themselves a giant, I believe we need reminders like these. After taking your photographs among these thoughts and returning, we will get to know the buildings in the courtyard and I will share the details I especially want you to see.

In this part of the pavilion garden, the structure standing alone in the corner was commissioned by Murad IV as a commemorative monument after the reconquest of Baghdad. Construction began while Murad IV was still preparing for the campaign, and the structure shares the same plan as the Revan Pavilion, which we will see shortly. Resting on a high stone foundation, the building is surrounded by a wide eave supported by 22 columns. This feature protects the surroundings from the sun and significantly increases comfort of use. The main building remains inside, sheltered from weather conditions. Architecturally, its most striking features are the marble workmanship and the tiles used. In addition, the colored glass decorations and mother-of-pearl details in the wooden sections are dazzling. The bronze coverings surrounding the fireplace are animated with Turkish motifs. Although the building was largely completed when Murad IV returned from the campaign, he passed away at a young age before seeing these decorative embellishments inside.

When you leave the Baghdad Pavilion, you will probably see a balcony-like section extending beneath a cast-metal roof in the place where you took your photographs. Commissioned by Sultan Ibrahim in the 17th century, this structure was built for the Ottoman Sultans to break their fast during Ramadan and to receive congratulations during religious festivals. Also used as a moonlight pavilion at night, this is the smallest structure in the palace. Therefore, rather than calling it a pavilion, it may be more appropriate to describe it as a cameriye or arbor.

As you leave the Baghdad Pavilion behind you, this structure, situated on the corner right next to the Iftariye pergola, is believed to have been originally built during the reign of Suleiman I (the Magnificent). The building as it stands today, however, acquired its present appearance during the reign of Sultan Ibrahim. The room was given this name because he would perform the sunnah prayer here before joining the congregation. The tiles we see at the entrance once again remind us that the palace is practically a tile museum. Inside, we again see tile details used on the walls, window frames and within the niches. Another interesting feature of this room is the fountains placed beside the windows. As in many other spaces, the water motif appears here too. If we consider this to be a utility room, as was the case with the Murad III room we saw in the Harem, this detail is actually understandable. However, if we associate this room with the circumcision ceremonies we are familiar with, it could be argued—according to some views—that it was constructed to prevent the princes’ voices from being heard from outside. I do not believe the water flowing from the fountain would have been powerful enough to drown out such a cry. This suggests that it is more likely to have been used for a soothing or cooling purpose. We cannot cover all the aspects of water and its functions in Topkapı Palace within the scope of this audio guide.

After leaving the previous room, with the Sacred Relics chamber on our right and the octagonal Revan Pavilion rising immediately on our left, we encounter this structure beside the pool. Built by Murad IV in the 17th century after his victory at Revan, this room was formerly also known as the Turban Room. The cellar beneath the building is thought to have been used as a cold storage area, and it is believed deceased Sultans may have been temporarily kept there. Considering that the fountain we saw in the courtyard was used for washing deceased Sultans, this possibility seems quite plausible. Upon entering, we notice that the decorative ceilings are covered with an ornamental dome. With its colored windows, wooden elements, and tiles, the building was constructed with exceptionally special details.

When descending by the stairs into the tulip garden after leaving the Revan Pavilion, the building we encounter is known as the Mustafa Pasha Pavilion or the Sofa Pavilion. Thought to have been built in the 17th century, the structure probably dates to the reign of Mehmed IV. The building was constructed atop a gate with two towers. We know that Mehmed IV hosted the Russian ambassador here in 1682. With its two halls and striking wooden decorations and ornaments, it is also the only surviving wooden pavilion of the palace today. The structure witnessed many memories in palace life. In the past, it was a place where meetings were held, gold was distributed on various occasions, and even sports competitions held in the garden below were watched from here. Once you complete your visit in this pavilion, you may descend into that garden using the stairs. Then we will turn right and visit the Mecidiye Pavilion at the far end of the courtyard. Take your photographs before its breathtaking Istanbul view, and I will be waiting for you at the final section, the Mecidiye Pavilion.

By the 19th century, Topkapı Palace—whose foundation stones had been laid in the 15th century by Mehmed II, the Conqueror of Istanbul—would gain one final building. This building is the Mecidiye Pavilion, possessing perhaps the most beautiful view in all Istanbul. Commissioned by Sultan Abdülmecid in 1858, the structure differs architecturally somewhat from its neighboring palace residents. Built parallel to the Bosphorus in a rectangular form, it was designed in the French architectural style. When you step inside through the entrance used for visits, you are greeted by a magnificent corridor. After this space, you realize that the building is planned around two large halls. Besides these areas, the pavilion also contains rooms and even a toilet. The decorative elements, furniture, crystal chandeliers, and mirrors used inside will remind you of Western impressions. Today, the terrace outside the pavilion where thousands of tourists take photographs every day was actually the building’s balcony. Therefore, both the interior and exterior of the building reflect harmonious tastes. The fact that the architectural style of Dolmabahçe Palace adopted this manner owes much to the influence of the Mecidiye Pavilion. When the palace moved to Dolmabahçe, interest in this place faded, and aside from occasional ceremonies and receptions, it was no longer used.

Everyone needs a beginning. Without that beginning, it would not have been very likely for our paths to cross. You can access the free audio guides I prepared for this project through my website, which you have already reached. You may also share your thoughts through the contact form on the same website. If you think this content is beneficial, please be sure to share it with people you know. I am Oğulcan ÖZDİL. Thank you for giving me the opportunity to share this excitement of beginnings with you once again. Until we meet again.