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Beautiful seascapes stretch along three sides,
and sunlight bathes my walls from every direction.
When daybreak wanders about me in saffron robes,
its eyes are dazzled, and it is unwilling to travel west.
Paulos Silentiarios [Sixth Century]
[Ercan 2002, 7]
In terms of panoramic photography, Istanbul has a number of advantages over many other cities. Bisected by the sea, it not only has two towers -Beyazıt and Galata- that dominate the city, but also numerous other elevations. Hills that rise vertically from the sea, valleys between them, and the broad body of water between the city’s two banks have provided many painters and photographers with inspiration. Whether in sketches, drawings, engravings, watercolors, or oil paintings -in every conceivable medium-virtually every person of talent has felt it incumbent upon him or herself to represent this city.
The panorama drawn by Melchior Lorichs in 1559, looking at the old city from over the fortifications of Galata, is considered the starting point of the many such depictions that followed. As the new techniques of photography rapidly developed during the first half of the nineteenth century, images were produced that now constitute reflections upon the present of the Istanbul of the past. James Robertson, Ernest Edouard de Caranza, Abdullah Brothers, Vasillaki Kargopoulo, Pascal Sébah, Boghos Tarkulyan, Guillaume Berggren, the Gulmez Brothers and many others are among the foremost photographers of Istanbul. The panorama published here was photographed by the firm Sébah&Joaillier from the Tower of Galata, and is comprised of ten images, the first measuring 355 mm, from the second image to the ninth measuring 335 mm, and the tenth 355 mm, altogether a panorama with the dimensions of 3390 × 305 mm. It spans an angle of 360 degrees.
Hanna [Joannis, Jean] Sébah, a Syrian Catholic, and his Catholic Armenian wife Lisa had four sons of whom the last, the future photographer Pascal Sébah, was born in 1823. In 1857, he opened his first studio at 10, Tomtom Street in Istanbul, under the name “El Shark Société Photographique.” The director of the studio was a Frenchman by the name of A. Laroche. He later relocated to temporary quarters at 232, Grand Rue de Péra, to be followed by no. 439 on the same avenue in 1860. In 1873, the firm opened a branch in Cairo. In 1883, Pascal Sébah suffered a stroke and was thereafter no longer able to work; he died after a long illness on 25 June 1886. The studio was taken over by his brother Cosmi Sébah. Business was not good, however, and in 1887, Cosmi joined forces with Polycarpe Joaillier, changing the firm’s name to Sébah & Joaillier.
During the year 1888, Polycarpe Joaillier embarked on the production of a wide-ranging series of landscapes and historical buildings of Istanbul. The photographs he took of Kaiser Wilhelm II and Empress Augusta Victoria during their visit to Istanbul in 1889 earned him the appointment “Photographes de la Cour Royale de Prusse.” Cosmi Sébah died in 1896, and was replaced by Pascal’s son Jean Sébah. He and Joaillier purchased the studio of the Abdullah Brothers in 1900. Soon thereafter, Polycarpe Joaillier died on 13 February 1904 during a visit to France. The studio purchased from the Abdullah Brothers was sold the following year. Gustave Joaillier, Polycarpe’s son, had inherited his father’s share in the enterprise but he quit and moved to Paris. Jean Sébah founded a new partnership with Agop İskender, a family friend, and the firm was renamed Foto Sabah. Jean Sébah died on 6 June 1947. Bedros İskender took over and managed the firm through the early 1950s, after which he finally shut it down and moved to Paris. Thus, having started with Pascal Sébah and continued with Sébah & Joaillier, the adventure ended with Foto Sabah after nearly a century of existence [Özendes 1993, 173-245; Öztuncay 2003, I, 259-281. The translator of this text, Dr. İrvin Cemil Schick, recalls having his picture taken at Foto Sabah in the early 1960s. In light of this testimony, it is necessary to reconsider the date at which the firm closed its doors. It is possible either that the firm continued to operate under the name “Sabah” or that a new firm by the same name was subsequently founded by someone else].
In Polycarpe Joaillier’s panorama, the three-storey structure at the far left and seen from the front faces what is today Küçük Hendek Street. The street perpendicular to it, flanked on either side by stone structures with bay windows, is Serdar-ı Ekrem Street [Ergin 1934, Map 15]. At their intersection is a building in ruins, of which only part of the minaret is visible: the Müeyyetzade [Yazıcı] Chapel Mosque [Mescid], built in the second half of the sixteenth century [Ayvansarâyî 2001, 467; Öz 1965, 21]. Restored in 1970, it is now back in use. Further up the frame, to the right, is a side view of the Crimean Church. Designed by the British architect G. E. Street, it was built to commemorate the Crimean War. Construction started on 4 September 1858 and lasted just over ten years, the church finally opening its doors on 22 October 1868. Its parishioners were Anglicans living in Istanbul, a community that dwindled to the point that the church was finally closed in the early 1970s. However, it was restored and reopened in 1991 [Üsdiken 1999, 365]. On the empty lot to the front left of the Crimean Church, construction began in 1892-93 on the apartment building known as Doğan; as a result, this view of the church was soon occluded [Salman 1994, III, 79-80].
The building at the top left of the panorama behind a wooded garden is the Imperial School of Galatasaray, of which only the tile roof and a long side view can be seen. The building was destroyed in a fire on 22 February 1907. Barely visible, to the right of the trees, is the lead-covered dome of the Yakub Agha public bath [hammam] built during 1538-1548 [Kuran 1986, 401]. Moving further toward the right is a dense area of high buildings situated around Taksim, including the Zappion Girls’ High School and other newly raised buildings. The Zappion was built with funds contributed by the philanthropist Konstandinos Zappas and designed by the architect Ioannis Ioannidis; construction began in 1882 and the school was inaugurated on 9 July 1885. Work on the nearby Esayan Armenian School only began in 1893, so the building is not present in the image. The dome and belfry of the Church of the Holy Trinity [Hagia Triada] can be discerned amidst the dense structures; construction on it began on 13 April 1867 and the church opened its gates to parishioners on 14 September 1880 [Karaca 2004, II, 273-277]. Another group of buildings in this area corresponds to multi-storey apartments that line what is today Sıraselviler Avenue. In front of these buildings, roughly in line with Serdar-ı Ekrem Street, is the Mosque of Fenarizade Muhyiddin Mehmed Efendi in Çukurcuma; built by the architect Sinan in 1542-1547, its minaret has a single balcony and a lead-covered spire [Kuran 1986, 289; Öz 1965, 19]. Further to the right are two buildings that rise above the rest. The one in front is the German Hospital, construction on which began in 1856 [Yıldırım 1994a, I, 211-212]. The one in the rear is the German Embassy which was inaugurated on 1 December 1887 [Gaerte 1988, 45; Saner 1994, I, 209-210]. To the immediate left of the German Hospital is the single-balcony minaret of the Sirkecibaşı Chapel Mosque, commissioned during the eighteenth century by Sirkecibaşı Mustafa Ağa and Hadice Hatun [Ayvansarâyî 2001, 435-436; Öz 1965, 70]. Between these buildings, one can dimly see the cypresses of the Cemetery of Ayas Pasha, established on land donated by a vizier by that name who served under Sultan Süleyman I known as the Lawgiver [Kanuni, r. 1520-1566]; it once stretched from Taksim all the way down to Dolmabahçe. After being deaccessioned by the Directorate of Endowments [Vakıflar İdaresi] in 1933 and transferred to the Municipality of Istanbul, the cemetery quickly disappeared [Anonim 1994a, I, 466]. The single-balcony minaret with the lead-covered spire below the German Hospital and to its right, on the hillside, belongs to the Firuz Agha Chapel Mosque, commissioned by and named after the treasurer of Sultan Bayezid II [r. 1481-1512] [Ayvansarâyî 2001, 470; Öz 1965, 24]. Lower down and to the right is another single-balcony minaret with a lead-covered spire; it belongs to the Ekmekçibaşı Chapel Mosque commissioned by Ali Agha, which was torn down a short time after the photograph was taken [Ayvansarâyî 2001, 467; Öz 1965, 21].
The large, four-storey building on the hill descending toward Tophane is the Italian Hospital, commissioned by King Vittorio Emanuelle and designed by the architects Giorgio Domenico and Ercole Stampa; it was inaugurated on 12 May 1876 [Genim 2006, I, 32]. The tall single-balcony minaret to its immediate right rises from the Mosque of Defterdar Ebülfazl Mehmed Efendi, built by the architect Sinan [Ayvansarâyî 2001, 463-465; Kuran 1986, 276; Öz 1965, 19]. On top of the hill behind it is the Prince [Şehzade] Cihangir Mosque. First built in 1559-1560 by Sinan, it was repaired and renovated multiple times; according to an architectural inscription on the mosque dated 1307 AH [1889-18990 CE], it was completely rebuilt on the orders of Sultan Abdülhamid II [r. 1876-1909]. Although the photograph shows it to have a single minaret, a second one was subsequently built at an unknown date. The small minaret with a stone pommel at the tip of its spire belongs to the Akarca [İlyas Çelebi] Chapel Mosque, first built in the sixteenth century as a dervish retreat [zaviye] [Ayvansarâyî 2001, 475; Öz 1965, 3].
Down below, near the shore, is a mosque endowed with a single high dome and two tall, thin minarets with two balconies each. It is the Nusretiye Mosque [the name means “by the aid of God”] built by Sultan Mahmud II [r. 1808-1839]. Its front courtyard was destroyed in favor of the new tramline joining Azapkapı and Ortaköy, inaugurated on 31 July 1871. To the right of the mosque is the two-storey Tophane pavilion [kasır], completed in 1853. Built by the British architect William James Smith, it is still in existence, albeit half hidden by dense vegetation [Can 1994b, VII, 277]. Immediately behind the mosque, on the seashore, is the Gun Carriage Factory [Top Arabaları Fabrikası] built by the British engineer Frederick Taylor in the 1840s.
Rows of gun carriages can be seen on Tophane Square; behind them is the Topkapı Flag Tower, with its tall flagpole. To the left are a group of cypresses that mark the enclosed graveyard [hazire] on the grounds of the Karabaş dervish lodge [tekke]. The single-balcony minaret with a lead-covered spire to its immediate left belongs to the chapel mosque of the Karabaş dervish lodge, commissioned during the first quarter of the sixteenth century by Karabaş Mustafa b. Korkut, a white eunuch [Bâbüssâde ağası] at the Imperial Court [Ayvansarâyî 2001, 461; Öz 1965, 36]. The graveyard and the Karabaş public bath were expropriated in 1958 and destroyed [Ünsal, 1969, 46]. Behind the Karabaş dervish lodge, on the hillside, is the building of the Imperial Cannon Foundry [Tophâne-i Âmire], an institution going back to the reign of Sultan Mehmed II known as the Conqueror [Fatih, r. 1451-1481]. In front of it is the building of the General Staff of the Cannon Foundry [Tophane Müşirliği], built after the great fire of 1864; only its top floor is visible here. The Industry Barracks [Sanayi Kışlası] stretch behind the General Staff building, and the thin, single-balcony minaret with a lead-covered spire that rises from it belongs to the chapel mosque of the Cannon Foundry Corps [Tophane Ocağı Mescidi]. It was built during the reign of Sultan Süleyman I and destroyed in 1958 [Ayvansarâyî 2001, 477; Öz 1965, 66].
Across from the Foundry is the Kılıç Ali Pasha complex [külliye], completed by the architect Sinan in 1580. Comprising a mosque, a public bath, a religious school [medrese], the Sultan’s apartments [hünkâr dairesi], an ablution fountain, a water dispensary [sebil], a mausoleum [türbe], and an enclosed graveyard, the complex was originally built on reclaimed land obtained by infilling the sea [Ayvansarâyî 2001, 458-460; Öz 1965, 39-40; Kuran 1986, 283]. In this photograph, it is noteworthy that the spire of the minaret is tipped with a stone pommel; this would soon change, however, and the minaret would once again be topped with a lead-covered spire, as it did when first erected. Among the dense buildings to the right of the complex is a small minaret, also tipped with a stone pommel; it belongs to the chapel mosque of Sultan Bayezid II, one of the oldest mosques within the Galata city walls [Ayvansarâyî 2001, 430; Öz 1965, 60-61]. The Bayezid Chapel Mosque is today on Necati Bey Avenue and faces the Kapı İçi public bath, also known as the Tophane Kapısı public bath, a structure erected during the reign of Sultan Mehmed II; it is not clearly visible in the photograph [Haskan 1995, 205-206]. Roughly aligned with the bow of the third [from left] ship anchored offshore, in a densely built area, is the belfry of the Greek Orthodox church dedicated to the Virgin Mary known as Panagia Kaphatiane. First built in 1475 by Greeks from the Crimean city of Caffa [today Feodosia], the church was entirely rebuilt in 1840 [Karaca 2008, 329-335]. The single-balcony minaret with a lead-covered spire in the left front belongs to the Hoca Ali Hendek Chapel Mosque [Ayvansarâyî 2001, 450; Öz 1965, 30]. Towards the right is the renovated facade of the Armenian Church of Saint Gregory the Illuminator [Surp Krikor Lusavorich]. Destroyed in 1958 to make way for a new avenue, it was subsequently rebuilt in a different style by the architect Bedros Zabyan on Kemeraltı Avenue [Hançer 2004, II, 509-512].
At the bottom of the frame is a building with what looks like a two-storey bastion or observation tower on its roof; the structure is, in fact, an old bell tower and the building on which it stands is the Church and Monastery of Saint Benoit, built in 1427 [Eroğlu 1994, VI, 413]. The light-colored building to its immediate left with the terrace at the far end is the Saint Benoit French High School, which was expanded after 1839 [Erdoğan 1994, VI, 412-413]. The building to the right of the Church of Saint Benoit, with a semi-circular structure on its roof, is the Armenian Catholic Church of Saint Savior [Surp P’rgich], which was inaugurated on 13 January 1834 [Hançer 2004, 518-520]. Moving rightward and toward the shore, a single-balcony thin and tall minaret with a lead-covered spire and the rather high dome next to it belong to the Mosque of Kemankeş Mustafa Pasha, built in the mid-seventeenth century [Ayvansarâyî 2001, 429-430; Öz 1965, 38-39]. The shorter minaret behind the dome indicates the location of the Yeraltı Mosque, also known as the Kurşunlu Mahzen Mosque, originally a church and converted to a mosque between 1735 and 1756 [Ayvansarâyî 2001, 433-435; Öz 1965, 42]. The minaret is noteworthy for the stone pommel at the tip of its spire as well as its covered balcony. The large edifice to the immediate right of the mosque, identifiable by its courtyard and by the flag flying over its roof, is the Quarantine Building. In front of it and to the right, within a densely built area, is a large lead-covered dome; it belongs to the dual Bektaş Efendi and Karaköy Baths and covered their private cells [halvet]. The building was torn down in the early part of the twentieth century and was replaced by Karaköy Palas, an office building designed by the Levantine architect Giulio Mongeri that now houses the Karaköy branches of the Yapı ve Kredi and Halk banks [Haskan 1995, 62-64; Aykut 1994, V, 487].
Construction began on the Galata pier in 1892, and was completed in 1899. The large machinery visible on the shore to the left of the Mosque of Kemankeş Mustafa Pasha indicates some preparatory work being performed there. The ships anchored offshore, as well as the smaller vessels to the right of the Quarantine Building, indicate that the port was not yet active and that boats could not yet be moored to the shore [Bilge 1949, 6 vd]. Further to the right is the third incarnation of the Galata Bridge, which was opened in 1877. Measuring 480 meters in length and 14 meters in width, this bridge would remain in use until 1912 [Evren 1994, 106-129]. As the landing decks had been overlooked during the construction of the bridge, wood reclaimed from the previous bridge was used to build the decks once the new bridge had been completed; however, passengers were still forced to content themselves with wooden shacks for waiting rooms. The rectangular structures with slanted roofs that look like train cars on the bridge are those wooden shacks-cum-waiting rooms. Below the midpoint of the bridge are two circular arches designed to allow sea traffic in both directions. Ships belonging to the public İdare-i Mahsusa serving Kadıköy and the Anatolian coast beyond it, as well as the Princes’ Islands, Yalova, and Yeşilköy, were docked at the Kadıköy end of the bridge [Tutel 1997b, 30 and 76]; while those belonging to the privately owned Şirket-i Hayriye serving the Bosphorus, Harem, and Salacak were docked at the Eminönü end [Tutel 1997a]. A boat belonging to the Haliç Vapurları Şirketi, whose vessels were in operation since 1858, can be seen docked on the Golden Horn side of the bridge. The number of landing decks on this side would subsequently rise to two [Koraltürk 2005, 138]. At the Eminönü end of the bridge are two seaside bathhouses [deniz hamamı] topped with lanterns [Evren 2000, 52-57].
The building with a lead-covered hipped roof and a thin single-balcony minaret close to the foreground is the New Mosque [Yeni Cami] of Galata, commissioned by Gülnûş Emetullah Sultan, the consort of Sultan Mustafa II, and completed in 1109 AH [1697-1698 CE] [Ayvansarâyî 2001, 427; Öz 1965, 26]. The Church of Saint Francis, belonging to the Franciscan Order, burned down in 1696. After a while, residents of Galata lodged a complaint with the Sublime Porte, stating that the church and abutting monastery had not been rebuilt by the monks, but rather converted into a tavern where wine was being sold. Thereupon the government confiscated the land and construction began on the mosque in January 1697 [Argıt 2014, 175-181]. This structure gradually succumbed to disrepair, however, and was torn down to make space for what is today the Hardware Market [Hırdavatçılar Çarşısı]. Below the mosque and to its left is a building with a domed lantern on the roof; it is the British Naval Hospital, which would later be torn down and replaced in 1904 with the building that now stands there. It was handed over to the Turkish Red Crescent in 1924 and served as the Hospital for Rabies for a time, and then as the Beyoğlu Municipal Hospital. Since 1983, it has housed the Beyoğlu State Hospital [Yıldırım 1994b, IV, 173]. The vaults atop the inn [kervansaray] commissioned by Rüstem Pasha and built by the architect Sinan in 1544-1550 can barely be discerned towards the right of the New Mosque’s minaret, near the Golden Horn [Kuran 1986, 370; Schneider and Nomidis 1944, 36; Müller-Wiener 2001, 352-353]. Further to the right is a structure topped by nine lead-covered domes, the Covered Bazaar [Bedesten] of Galata. Although some sources claim it was built during the reign of Sultan Mehmed II, in fact the earliest mention of this building is in a record pertaining to the Pious Endowment of Hagia Sophia [Ayasofya Vakfı] dated 993 AH [1585 CE] [Müller-Wiener 2001, 352; Eyice 1994a, III, 355-356]. Careful scrutiny of the area reveals the presence of three minarets near the shore. Just left of the Covered Bazaar of Galata, in front of a group of moored vessels, is the elevated [fevkanî] Eski Yağ Kapanı Mosque, its minaret sporting a covered balcony. It was commissioned by Makbul [later Maktul] İbrahim Pasha during the first quarter of the sixteenth century [Ayvansarâyî 2001, 433; Öz 1965, 22-23]. Further right is chapel mosque of the Sailmakers’ Building [Yelkenci Hanı], identifiable by the stone pommel atop its minaret. It was commissioned by Kemankeş Mustafa Pasha [Ayvansarâyî 2001, 432; Öz 1965, 70]. Continuing in the same direction, the next minaret belongs to the Nişancı Chapel Mosque, commissioned towards the end of the fifteenth century by Nişancı Mehmed Pasha [Ayvansarâyî 2001, 432; Öz 1965, 50]. The fact that all three were built outside of the walled old city, between the Oil Market [Yağ Kapanı] Gate and the Furriers’ [Kürkçü] Gate and relatively near to each other, suggests that they were intended for the use not so much of local residents as of the sailors and boatmen who commonly frequented the neighbourhood [Schneider and Nomidis 1944, Appendix: map; Arseven 1989, Appendix: map.].
Without any doubt, the most important and identifiable building in the general area is the Arab Mosque [Arap Camii] whose square minaret and balcony and high lead-covered spire are immediately visible. In the panorama, the building itself is hidden by a dense group of trees. It is built upon what is likely to have been the site of a Byzantine church dedicated to Saint Irene [Hagia Irini]. The Church of Saint Paul was built in its stead in the first half of the thirteenth century, during the period of Latin rule, and was in turn replaced by a Dominican monastery around 1325. Known as Mesa Dominico at the time, it was converted into a mosque around 1475-1478. The mosque was subsequently allocated to the Muslims who had been expelled from Spain, and thus came to be known as “the Arab Mosque” [Müller-Wiener 2001, 79-80; Ayvansarâyî 2001, 424-427; Öz 1965, 5].
Towards the right, a large number of boats can be seen near the shore. One of them, a fairly large three-masted vessel, is leaning towards the mainland, probably in order to undergo repairs. Moving further right, the Flour Market [Unkapanı] Bridge rests atop a series of floats between Azapkapı and Unkapanı, though its center appears to have partly caved in. The first bridge across the Golden Horn, known as Hayratiye, was opened on 3 September 1836; after significant renovations, in was renamed Mahmudiye. That first bridge required frequent maintenance and was therefore replaced by another, built by the British firm Wells and Taylor. This is the bridge captured in the panorama; it was inaugurated in September 1872 and remained in use until 1912. Measuring 504 meters in length and 18 meters in width, it had a two-part gate 30 meters wide at the center. On either side of the gate were openings 12 meters wide and 5 meters high, designed to allow the passage of hoys. It is likely that some of the floats became corroded and started to take water, resulting in the depression near the middle. This appears to have severely hindered boat traffic on the Golden Horn [Kâhya and Tanyeli, 1994, 326-327].
At the left of the near end of the bridge is a mosque with a tall, single-balcony minaret topped with a lead-covered spire. It is the Sokollu Mehmed Pasha Mosque of Azapkapı, built by Sinan in 985 AH [1577-78] [Kuran 1986, 296; Ayvansarâyî 2001, 431-432; Öz 1965, 7-8]. To its left, among dense buildings, is a chapel mosque with a small lead-covered spire; located in the area known as Çeşme Meydanı within the fortifications of Galata, it was commissioned by Shaykh al-Islam Zenbilli Ali Efendi during the first quarter of the sixteenth century and is known as the Alaca Chapel Mosque [Ayvansarâyî 2001, 428; Öz 1965, 3]. Moving rightward, aligned with the stern of a battleship anchored offshore and still within the fortifications of Galata is the Chapel Mosque of Yolcuzade Ömer Efendi, its stumpy minaret topped with a lead-covered spire. According to records compiled in 1965, this building was no longer in existence at the time [Ayvansarâyî 2001, 428; Öz 1965, 71]. A third chapel mosque located within the fortifications of Galata is that of Okçu Musa whose minaret, with its single balcony and lead-covered high spire, is closer to the foreground. Although said to date back to the reign of Sultan Mehmed II, in fact it was built by a master archer known as Musa of Salonika in the seventeenth century [Ayvansarâyî 2001, 428; Öz 1965, 50; Yücel 1999, 374-375]. Finally, further to the right, is the Chapel Mosque known as Emekyemez which was commissioned by Hüsameddin Efendi toward the end of the sixteenth century. Its minaret topped with a stone pommel can be seen to the left of the Ministry of the Navy [Bahriye Nezareti] [Ayvansarâyî 2001, 428; Öz 1965, 22].
On the shore, to the left of the densely wooded area, is the Ministry of the Navy, only a small part of which is visible. This building stands at the site of the former Office of the Chief Admiral [Kaptan Paşa Divanhânesi], and heralds a new age in Ottoman history. The Ministry of the Navy was established as a result of reforms implemented in the Ottoman Navy; construction on its building began in 1865 and lasted until 1869 [Batur 1994a, I, 549-551]. It was used as the Headquarters of the North Sea Area Command [Kuzey Deniz Saha Komutanlığı] until recently, and is currently undergoing renovations.
The wooded area starting from the Ministry building and stretching rightward is, as the cypresses indicate, a Muslim graveyard; it was known at the time as the “Small Cemetery” [Küçük Mezarlık] [Moltke 1836-37; Necib Bey 1924, Map II]. Some of it was destroyed to make room for roads, and some to erect buildings, so that nothing is left of it today except for an occasional tree. The rather broad street heading rightward toward the graveyard is known today as Büyük Hendek Avenue; at a later date, it would lead from the Galata Tower to Şişhane Square. At the right of Büyük Hendek Avenue, among dense buildings, is the small minaret of the Şehsuvar Chapel Mosque, with its lead-covered spire. It was built by Şehsuvar Mehmed Bey, a seaman from the period of Sultan Mehmed II, toward the end of the fifteenth century and would be completely renovated in 1954 [Ayvansarâyî 2001, 429; Öz 1965, 62]. Further to the right are the high stone buildings that face today’s Şair Ziya Pasha Avenue. At the very top, the brick chimney of the subway completes the panorama.
The background of this part of the panorama depicts the settlement of Kasımpaşa. To the left, by the shores of the Golden Horn, are the Taşkızak shipyards stretching toward Hasköy. Some ships belonging to the Ottoman Navy are anchored offshore, while others are moored, stern first, to the shipyards. The row of cypresses immediately behind the shipyards indicate the Zindanarkası Cemetery, and the row further to the right, the Kulaksız Cemetery [Kal’a 1998, 181-182; Belge 2004]. The thin minaret in Kasımpaşa visible behind the Ministry of the Navy belongs to the Mosque of Ali Pasha of Çorlu, a grand vizier under Sultan Ahmed III [r. 1703-1730]. It is also known as the Mosque of the Barracks [Kışla Camii]. Right above it, identifiable by its two-storey tower, is the Central Hospital of the Navy [Bahriye Merkez Hastanesi], built in 1838 at a site previously occupied by the urban mansion [konak] of Hasan Pasha of Algeria [Yıldırım 1994c, I, 548-549]. This entire area, up the hill toward the Kulaksız Cemetery, is densely built. Few if any trees can be seen, and this situation continues to the present day, except for the fact that the wooden houses have now been replaced by reinforced concrete apartment buildings. In the valley behind the dense growth of cypresses of the Small Cemetery is the Great Mosque [Cami-i Kebir] of Kasımpaşa, with a dome and roofed minarets supported by thin columns on either side. First built as a chapel mosque in 940 AH [1533-34 CE] by Güzelce Kasım Pasha, a vizier under Sultan Süleyman I [Kuran 1986, 277; Süreyyâ 1996, 875], the building was subsequently converted to a mosque but burned down in 1861. It was rebuilt in 1865 on the orders of Sultan Abdülaziz [r. 1861-1876], and this is the structure that exists today. The minarets seen in the present photograph were later rebuilt; after the most recent renovations, however, their original form was restored [Eyice 1963, 68]. Many chapel mosques are extant in the Kasımpaşa district.
In the background of the center-left section of the panorama is the coast of the Anatolian part of the city. Stretching from Çengelköy to Fener Bahçesi, the most significant settlement here is that of Üsküdar. Starting with the village of Kuzguncuk at the left end, the image gradually becomes less hazy to reveal the Mihrimah Sultan complex in Üsküdar, with its two minarets and the multi-domed soup-kitchen [imaret] to its immediate left. The complex was built by the architect Sinan and comprises, in addition to the mosque and soup-kitchen, a school, a time-keeper’s lodge [muvakkithane], and a number of mausolea [Kuran 1986, 288; Ayvansarâyî 2001, 592-594; Öz 1965, 47]. Moving further right, the next mosque with two minarets was commissioned by Sultan Ahmed III in honor of his mother, Gülnûş Emetullah Valide Sultan. It was built in 1708-1710 and is known as the New Mosque of the Queen Mother [Yeni Valide Camii] [Ayvansarâyî 2001, 594-595; Öz 1965, 15]. The single minaret to its immediate right belongs to the Mosque of Rum [the Greek] Mehmed Pasha and was completed in 876 AH [1471-1472 CE] [Ayvansarâyî 2001, 605-606; Öz 1965, 56]. In front of both mosques, on the waterfront, is the Mosque of Şemsi Ahmed Pasha completed in 988 AH [1580-1581], also the work of Sinan [Kuran 1986, 303; Ayvansarâyî 2001, 602-605; Öz 1965, 62]. Above Üsküdar are the hills of Küçük Çamlıca and Büyük Çamlıca, and behind them, the wooded Selamsız Cemetery. The area to the right of Üsküdar was once better known as Salacak, though the name is not much in use nowadays. Midway up the hill is the Ayazma Mosque, built by the architect Mehmed Tahir Agha during the reign of Sultan Mustafa III [r. 1757-1774] [Ayvansarâyî 2001, 595-596; Öz 1965, 6-7]. The minaret of the single-domed structure is lined up with the building itself, making it difficult to separate the two in the photograph. Another building in this general area is the Maiden’s Tower [Kız Kulesi], also known by the misnomer Tower of Leander. The subject of many legends, the building has undergone many changes over time. It was generally used for military purposes, and also sometimes for quarantining. It is a symbol of the city of Istanbul, and finds its way into most views of the city due to its location [Gülersoy 1994, V, 10-12; Elgin 2000; Baykara 2004].
Üsküdar continues toward the neighborhood of Harem where hills rise steeply from the coastline and no settlement can be seen on the waterfront. Much later, during the 1950s, the sea would be filled in so as to build the Port of Haydarpaşa. The Selimiye Mosque with its two minarets can be seen in the sparsely populated area right of Üsküdar; it was commissioned by Sultan Selim III and built during the years 1801-1805 [Ayvansarâyî 2001, 596-601; Öz 1965, 58]. To its immediate right are the Selimiye Barracks [Batur 1994b, VI, 515-516]. This area was previously known as Kavak and was home to a large palatial complex variously called the Kavak or Üsküdar Palace [Artan and Neumann 1994, 494-495]. Some parts of it were torn down during the reign of Sultan Ahmed III and others thereafter, until it was eventually turned over to the military and the Selimiye Barracks were built on the site. Further to the right, fading into the haze, are the settlements of Haydarpaşa and Kadıköy, Moda Point jutting forward into the sea followed by Fenerbahçe Point, and the coast of Anatolia. The outline in the background correspond to the Princes’ Islands and behind them the hills of Yalova. An interesting aspect of the panorama is that it shows the belief that Istanbul was once entirely covered with vegetation to be a myth. On the contrary, the hills of Küçük Çamlıca and Büyük Çamlıca as well as the elevations behind them can be seen to have been quite bare at the time.
No doubt the most impressive part of a panorama photographed from the Galata Tower is bound to be the Historical Penninsula or Walled City, i.e. the part within the old city walls [Suriçi]. Starting with Seraglio Point [Sarayburnu] at the left and stretching out to the hills of Eyüp, this area has been the focus of many an artist’s and photographer’s interest. The long, single-storey building furthest to the left is the Old Provisions Storehouse [Eski Erzak Ambarı] [Eldem and Akozan 1982, pl. 6; Anonymous 2006, maps G7 and G8], followed by another single-storey building somewhat set back from the shore. Yet another large, single-storey, probably wooden building with a hipped roof follows, after which comes the Basket-makers’ Pavilion [Sepetçiler Kasrı]. Only the windows of the top two storeys of the pavilion can be seen, and it looks quite different that it does today, with its tiled hipped roof. Careful examination reveals that one of the arches of its ground floor is also visible [Eldem and Akozan 1982, pl. 11 and 12; Kuban 1994a, VI, 527-528]. Continuing toward the right, there is a rather long gap followed by the New Waterfront Pavilion [Yeni Yalı Köşkü]; the three arched windows of its top floor as well as the arched portico on its rather high ground floor can be discerned [Eldem and Akozan 1982, pl. 9 and 10; Tanman 1994, VII, 416-417]. Towards the rear are two-storey shipment warehouses used by the military, as well as buildings belonging to the once-renowned Gülhane Hospital. For a fairly long time, the buildings in this area were used to house the Military Medical School and Hospital. Among them, the tall and thin, single-balcony minaret topped with a lead-covered spire belongs to a structure variously known as the Medical School [Tıbbiye], Mecidiye, Sahra-yı Cedid, and Sarayiçi Mosque. It was commissioned by Sultan Abdülmecid [r. 1839-1861] [Öz 1962, 124]. The wooded area above corresponds to what is today the Gülhane Park, and above it are seen the grounds of the Topkapı Palace. From the Baghdad Pavilion to the former church of Hagia Irini, the palace can clearly be seen, albeit occluded here and there by tall trees. By contrast, most of these buildings are completely invisible in photographs taken nowadays, due to the uncontrolled growth of trees. Part of the Tiled Pavilion [Çinili Köşk], built in 1472, can be seen below and to the left of Hagia Irini [Eldem and Akozan 1982, pl. 7 and 8; Kuban 1994b, VII, 280-291].
The most majestic building that stands out in this area is the Mosque of Hagia Sophia [Saint Sophia, Ayasofya Camii]. Construction on the original building began on or around 23 January 532 and lasted just under six years, the basilica being consecrated on 27 December 537. After the conquest of Constantinople by Sultan Mehmed II the Conqueror on 29 May 1453, the building was converted into a mosque at which time a minaret was added to it. A second, brick minaret was added under Sultan Bayezid II, and two more under Sultan Selim II [r. 1566-1574] [Eyice 1994b, I, 446-452; Ayvansarâyî 2001, 41-46; Öz 1962, 26-30]. The large building of which the top two floors can be seen behind Hagia Sophia is the University [Dârü’l-fünûn] built by Gaspare T. Fossati in 1854; it was destroyed by fire after nearly a century on 3 December 1933 [Batur 1994c, II, 190].
A number of fortified towers are visible just below Hagia Sophia, stretching leftward toward the coastline: they demark the Imperial Wall [Sur-ı Sultânî]. The second building that stands out above the skyline is the Mosque of Sultan Ahmed, with its six minarets. It was commissioned by Sultan Ahmed I [r. 1603-1617] and built between 1609 and late 1617 [Ayvansarâyî 2001, 58-61; Öz 1962, 125-129]. The long structure in front of it, stretching towards the left, is the complex of government buildings comprising the Sublime Porte [Bâb-ı Âlî], inaugurated on 26 March 1844 [Tanyeli 1994, I, 520-523]. Between this complex and the waterfront are the densely settled neighborhoods of Hocapaşa and Sirkeci. Numerous boats are moored, stern first, on the coastline stretching from Eminönü to Sirkeci. Some larger vessels, however, are anchored offshore, bows outward, sterns as close to the coast as possible. There was, at the time of this panorama, no dock here suitable for mooring large ships; construction began on a 370 meters-long pier [Bilge 1949, 9-10] in 1894 and was completed in 1900.
The thin, long structure to the right of the moored boats is the train station of Sirkeci. Construction on the station building that actually stands today only began on 11 February 1888 and the station was opened on 3 May 1890; thus, this building does not appear in the panorama. Large structures abound between Sirkeci and Eminönü, most of which were associated with customs or with the storage of goods arriving into the city. The Hidayet Mosque, commissioned by Sultan Abdülhamid II, built by Alexandre Vallaury, and completed in 1887 stands out among these dense buildings by its large mass and its tall, single-balcony minaret topped by a lead-covered spire [Öz 1962, 71; Saner 1998, 100-102]. The absence of the Sirkeci train station coupled with the presence of the Hidayet Mosque makes it possible to narrow down fairly precisely the time when the panorama was made, and to conclude that Polycarpe Joaillier must have taken the photographs in early 1888.
Continuing toward the right, the New Mosque [Yeni Cami] complex is located at the point where the Galata Bridge reaches the Walled City. The correct name for this complex is actually the New Mosque of the Queen Mother [Yeni Valide Camii] but it is commonly known as the New Mosque. It has two minarets with three balconies each, as well as a courtyard surrounded by majestic domes. The architect Davud Agha was originally commissioned to build it by Safiye Sultan, the consort of Sultan Murad III [r. 1574-1595] and mother of Sultan Mehmed III [r. 1595-1603]. Construction was interrupted for some fifty years, then resumed by Hadice Turhan Sultan, the mother of Sultan Mehmed IV [r. 1648-1687]. Comprising, in addition to the mosque, a water dispensary, a mausoleum, the imperial apartment [Kasr-ı Hümâyûn] overlooking Eminönü Square, and the so-called Egyptian Bazaar [Mısır Çarşısı], the complex was thus built over a long period lasting from 1597 to 1663 [Ayvansarâyî 2001, 61-63; Öz 1962, 153-155; Thys-Şenocak 2009, 228-280]. The lead-covered hipped roof to the immediate left of the mosque belongs to the imperial apartment, while the large building to the right of the small park immediately right of the mosque is the Egyptian Bazaar, built by the architect Mustafa Agha to provide revenue for the mosque [Baytop 1994, V, 449-450].
Above the skyline directly behind the New Mosque is the Nuruosmaniye Mosque, with its large dome and its two double-balcony minarets. Begun in 1748, during the reign of Sultan Mahmud I [r. 1730-1754], construction was only completed in 1755 after his death, under his brother Sultan Osman III [r. 1754-1757]. The complex includes a religious school, a library, a soup-kitchen, a water dispensary, a mausoleum, a fountain, and a variety of shops and commercial buildings; it is known to be the last major complex built in Istanbul [Ayvansarâyî 2001, 63-64; Öz 1962, 111-112]. To its immediate left, with its single-balcony minaret, is the Atik Ali Pasha Mosque. Built in 1496, it is also known as the Mosque of the Mother-of-Pearl Inlayers [Sedefçiler Camii] [Ayvansarâyî 2001, 207-208; Öz 1962, 24-25]. Rising above the skyline, the column to the left of the mosque, possibly here covered by scaffolding, is the Column of Constantine, known in Turkish as Çemberlitaş [“hooped stone”] because of the metal brackets that surround it. It was originally erected in the new city of Constantinople, capital of the Roman Empire, in the middle of the public square built in the name of Emperor Constantine I -the Forum of Constantine. Made of purple porphyry, it was topped by a statue of Helios [Apollo]. The column was encased in iron brackets after parts of it were damaged in the year 418; it still adorns the city some 1700 years later [Eyice 1994c, II, 482-483]. Moving right from the Nuruosmaniye Mosque, midway up the hill from the Egyptian Bazaar, a two-storey building stands out among the dense structures surrounding it by its light color and long facade. It is the Furriers’ Building [Kürkçü Hanı], the only commercial building from the era of Sultan Mehmed II that is extant today. It was commissioned by the vizier Mahmud Pasha and built by the architect Atik Sinan [a cognomen that may be interpreted either as “Sinan the Elder” or as “Sinan the Manumitted Slave”]. It measures 128×68 meters and occupies a plot of roughly 8,700 square meters [Cantay 1994a, V, 171-172]. To its immediate right is the Great Queen Mother’s Building [Büyük Valide Hanı], a commercial building commissioned by Mahpeyker [Kösem] Valide Sultan [Sakaoğlu 2008, 224-242], consort of Sultan Ahmed I and an important figure in the Ottoman dynasty. Intended to provide revenue for the Çinili Complex in Üsküdar, it was built during the years 1623-1640. It is identifiable by its high supporting walls, measures 98×168 meters, has three courtyards, and occupies 16,500 square meters [Cantay 1994b, VII, 362-363]. Below these buildings, on the waterfront between the Galata Bridge and Unkapanı, is the old Fruit Sellers’ Market [Yemiş Çarşısı] which was destroyed in 1985 and thereafter.
This area developed outside the Walled City proper, and has been Istanbul’s most vibrant commercial district from the earliest days. Particularly during times when transportation was largely done by boat, until the first bridge over the Golden Horn was opened in 1836, the area was home to numerous piers, warehouses for foodstuffs, and wholesale fish and vegetable markets, and an important commercial base from which provisions were distributed over the water to Istanbul’s villages. Careful scrutiny reveals, among the dense buildings, a thin and rather tall single-balcony minaret with a lead-covered spire: it belongs to the Ahi Chelebi Mosque, also known as Kanlı Fırın, and was once restored by the architect Sinan [Ayvansarâyî 2001, 324; Öz 1962, 80-81].
Behind the Fruit Sellers’ Market stands the Mosque of Rüstem Pasha, with its single-balcony minaret topped by a lead-covered spire. It was built around 1561 by Sinan and is located within a marketplace; it is an elevated mosque that rests on top of a series of shops intended to provide it with income [Ayvansarâyî 2001, 169; Öz 1962, 116-117]. To its immediate right is a rather large commercial building with a courtyard, known as Çukur Han or Papazoğlu Hanı [Cantay 1994c, II, 538-539; Pervititch, 153]. The dome amidst the densely built area right of the Rüstem Pasha Mosque belongs to the Tahtakale public bath, thought to have been built under Sultan Mehmed II [Haskan 1995, 277-278]. A number of buildings rise above the skyline in this general area. The first, with its single-balcony minaret with lead-covered spire, is the Mosque of Sultan Bayezid II built during the years 1501-1506 [Ayvansarâyî 2001, 52-53; Öz 1962, 33-34]. In front of it, another single-balcony minaret with a lead-covered spire indicates the location of the Mosque of Âli Pasha, first built during the reign of Sultan Mehmed II and completely rebuilt in 1869. It is also known as the Agha or Yakub Agha Chapel Mosque [Ayvansarâyî 2001, 79; Öz 1962, 18]. To the immediate right of the Mosque of Âli Pasha is a large, light-colored building with a hipped roof; it is the mansion of Âli Pasha also known as the Mercan Palace, built in 1865 by the brothers Hagop and Serkis Balyan. The mansion burned down during the great Mercan fire of 23 July 1911 and remained in ruins for many years, until it was torn down in the early 1950s [Eyice 1994d, I, 198-199; Tuğlacı 1981, 206; Genim 2006, I, 14-15].
A very important group of buildings in this area stand at the site of the former Old Palace [Eski Saray]. Following the abolition of the Janissary Corps in 1826, the area was used to house the Ministry of War [Seraskerlik or Harbiye Nezareti]. All the buildings were torn down and rebuilt by the French architect Beorgeouis during the years 1864-1866. After the Ministry was moved to Ankara in 1923, the Darü’l-Fünûn moved into these buildings, taking the name “Istanbul University” following the reforms of 1933 [Artan 1994, III, 204-205; Can 1994c, III, 550-551]. The Fire-watch Tower of Beyazıt, situated in the garden of the Ministry of War, is one of Istanbul’s recognizable symbols. A wooden tower was initially erected at this location in 1749; it was torn down, however, when the Firefighters’ Corps [Tulumbacı Ocağı] were abolished in 1826 along with the Janissary Corps. In 1828, Sultan Mahmud II ordered that a new tower be built, and the project was realized by the architect Senekerim Balyan, resulting in the 85 meter tower that can be seen in the panorama and stands to this day [Batur 1994c, II, 190].
Traveling towards the right, the most majestic view is doubtless that of the Süleymaniye Complex, which occupies a large area. Rising in the midst of dense buildings, the mosque itself has four minarets, of which two have two balconies and two have three. It was commissioned by Sultan Süleyman I and built by Sinan. Construction began in 1550 and lasted nearly seven years. The complex, the largest of its kind in Istanbul, includes four religious schools, a medical school, a hospital [bimarhane], a refectory [darü’z-ziyafe], a poorhouse [tabhane], a school for hadith studies [darü’l-hadis], the mausolea of Sultan Süleyman and his consort Hürrem Sultan, and a public bath [Kuran 1986, 300; Ayvansarâyî 2001, 56-57; Öz 1962, 131-135]. The high-domed structure to the right of the Süleymaniye Complex is the Mosque of Prince [Şehzade] Mehmed, built by Sinan and completed in 1548 [Kuran 1986, 302; Ayvansarâyî 2001, 54-56; Öz 1962, 137-141]. That its minarets are not present in the panorama may be due to the fact that the image was retouched, or that the building was undergoing repairs at the time. The elevated sections of both the neighborhood of Süleymaniye and that of Vefa, towards the Aqueduct of Valens [known in Turkish as Bozdoğan Kemeri], were home to large mansions. The Aqueduct is visible towards the right as a long, oblique line. Built under the Roman Emperor Valens [r. 364-378], it carried water to the city for many centuries and was incorporated into the network built by Sultan Mehmed II [Fatih Suyolları] after the Conquest. It is 28-29 meters high on the average and 63.5 meters tall at its highest point, as well as 971 meters long [Müller-Wiener 2001, 273-277].
On the waterfront below, especially concentrated before the settlement of Küçükpazar, are many sailing ships moored stern first. This neighborhood was generally populated by immigrants from the Black Sea region as well as by unmarried sailors. Moving rightward toward Unkapanı, somewhat inland, are the smokestacks of flour factories. Above the one on the right is a light-colored, domed structure: originally built as the Church of the Pantocrator Monastery, it was used as a Muslim religious school for a short time after the Conquest and then converted into a mosque, the Mosque of Zeyrek Church [Eyice 1994e, VII, 555-557; Ayvansarâyî 2001, 172; Öz 1962, 158]. To the right of this mosque, above the skyline, is the Fatih complex, named after Sultan Mehmed the Conqueror [Fatih]. It can be identified by its two double-balcony minarets topped with stone pommels. Construction on the original structure began in 1467 and was completed in 1470. However, the mosque was severely damaged by an earthquake in 1766 and completely rebuilt in 1769-1771 by the architect Mehmet Tahir Agha on the orders on Sultan Mustafa III. [Ayvansarâyî 2001, 48-52; Öz 1962, 56-59] Further to the right, in the neighborhood known as Çarşamba, is a large, four-storey, light-colored building that stands out among the mostly wooden modest houses that surround it. It is the school named Darü’ş-Şafaka: its construction began on 14 August 1868, and the school was inaugurated on 28 June 1873 [Sakaoğlu 1994, III, 1]. The large building to its right, with its single-balcony minarets topped with lead-covered spires, is the Mosque of Sultan Selim I. Generally thought to have been built by the architect Acem Ali in 1522, it is the last complex to be built upstream of the Golden Horn [Ayvansarâyî 2001, 48-52; Öz 1962, 129-131]. The neighborhood below the mosque is known as Aya Kapı and contains, close to the shore, the Gül Mosque, with its single minaret and small dome. Originally the Church of Hagia Euphemia [Saint Euphemia], it came to be known as Hagia Theodosia [Saint Theodosia] toward the end of the thirteenth century, and was converted into a mosque during the reign of Sultan Selim II. [Eyice 1994f, III, 434-435; Ayvansarâyî 2001, 250; Öz 1962, 62] Dimly visible above the skyline above it is the Mosque of Mihrimah Sultan in Edirnekapı, built by Sinan in 1562-1565. Like the Mosque of Şehzade Mehmed, this mosque too appears to be missing its minaret in the panorama [Kuran 1986, 288; Ayvansarâyî 2001, 65; Öz 1962, 49-50].
Going back to the Bridge of Unkapanı, the large group of buildings on the shore to the right of the bridge is the cigarette factory of Cibali. The tobacco monopoly was first awarded in 1872 to the Yorghos Zarifis and Christakis Zoghrafos. The Administration of the Public Debt [Düyûn-ı Umumiye] took it over in 1880, and the factory was built under its management, opening its doors in 1884 [Hulkiender, 2003, 71-80; Anonymous 1994c, II, 429].
Two final buildings in the panorama are worthy of note. Far upstream on the Golden Horn is the Mosque of Zal Mahmud Pasha, built in 1551 by Sinan [Kuran 1986, 305; Ayvansarâyî 2001, 338-339; Öz 1962, 157]. Even further up, the dome shining in the sun belongs to the Mosque of Eyüp Sultan. Except for its two minarets, this structure was completely rebuilt in 1798, during the reign of Sultan Selim III [r. 1789-1807] [Ayvansarâyî 2001, 339-342; Öz 1962, 53-55].
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M. Sinan Genim, “Saraylar, Kasırlar, Konaklar ve Evler,” Geçmişten Günümüze Beyoğlu, I, İstanbul 2004, 125-150.
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M. Sinan Genim, Konstantiniyye’den İstanbul’a XIX. Yüzyıl Ortalarından XX. Yüzyıla Boğaziçi’nin Rumeli Yakası Fotoğrafları, İstanbul, 2006.
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Çelik Gülersoy, “Kız Kulesi,” DB İstanbul Ansiklopedisi, V, İstanbul, 1994, 10-12.
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Elmon Hançer, “Galata ve Pera’daki Ermeni Kiliseleri,” Geçmişten Günümüze Beyoğlu, II, İstanbul, 2004, 507-538.
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Mehmet Nermi Haskan, İstanbul Hamamları, İstanbul, 1995.
Hulkiender 2003
Murat Hulkiender, Bir Galata Bankerinin Portresi George Zarifi 1806-1884, İstanbul, 2003.
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Yegân Kâhya and Gülsün Tanyeli, “Unkapanı Köprüleri,” DB İstanbul Ansiklopedisi, VII, İstanbul, 1994, 326-327.
Kal’a 1998
Ahmet Kal’a, İstanbul Şehir Rehberi, İstanbul, 1998.
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Zafer Karaca, “Rum Ortodoks Kiliseleri,” Geçmişten Günümüze Beyoğlu, II, İstanbul, 2004, 449-504.
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Zafer Karaca, İstanbul’da Tanzimat Öncesi Rum Ortodoks Kiliseleri, İstanbul, 2008.
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Murat Koraltürk, Haliç’te Ulaşım ve Haliç Vapurları Şirketi [1909, 1941], İstanbul, 2005.
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Doğan Kuban, “Sepetçiler Kasrı,” DB İstanbul Ansiklopedisi, VI, İstanbul, 1994, 527-528.
Kuban 1994b
Doğan Kuban, “Topkapı Sarayı,” DB İstanbul Ansiklopedisi, VII, İstanbul, 1994, 280-291.
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Freiherrn von Moltke, Karte von Constantinopel den Vorstaedten dem Umgegend und dem Bosphorus, Berlin, 1836-37.
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Wolfgang Müller-Wiener, İstanbul’un Tarihsel Topoğrafyası, trans. Ülker Sayın, İstanbul, 2001.
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Necib Bey, Guide de Constantinople, İstanbul, 1924.
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Tahsin Öz, İstanbul Camileri I, Ankara, 1962.
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Tahsin Öz, İstanbul Camileri II, Ankara, 1965.
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Engin Özendes, Sébah & Joaillier’den Foto Sabah’a, İstanbul, 1999.
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Bahattin Öztuncay, Dersaadet’in Fotoğrafçıları, İstanbul, 2003.
Pervititch
Jacques Pervititch, Sigorta Haritalarında İstanbul, İstanbul, tarihsiz.
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Necdet Sakaoğlu, “Darüşşafaka,” DB İstanbul Ansiklopedisi, III, İstanbul, 1994, 1.
Sakaoğlu 2008
Necdet Sakaoğlu, Bu Mülkün Kadın Sultanları, İstanbul, 2008.
Salman 1994
Yıldız Salman, “Doğan Apartmanı,” DB İstanbul Ansiklopedisi, III, İstanbul, 1994, 279-280.
Saner 1994
Turgut Saner, “Alman Elçiliği Binası,” DB İstanbul Ansiklopedisi, I, İstanbul, 1994, 209-210.
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Turgut Saner, 19. Yüzyıl İstanbul Mimarlığında “Oryantalizm,” İstanbul, 1998.
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A. M. Schneider and M. Is. Nomidis, Galata Topographisch-Archaologischer Plan, İstanbul, 1944.
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Mehmed Süreyyâ, Sicill-i Osmânî, ed. Nuri Akbayar, İstanbul, 1996.
Tanman 1994
M. Baha Tanman, “Yalı Köşkü,” DB İstanbul Ansiklopedisi, VII, İstanbul, 1994, 416-417.
Tanyeli 1994
Uğur Tanyeli, “Bâbıâli-Mimari,” DB İstanbul Ansiklopedisi, I, İstanbul, 1994, 520-523.
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Lucienne Thys-Şenocak, Hatice Turhan Sultan, İstanbul, 2009.
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Aksel Tibet, “Fransa Elçiliği Binası,” DB İstanbul Ansiklopedisi, III, İstanbul, 1994, 331-332.
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Pars Tuğlacı, Osmanlı Mimarlığında Batılılaşma Dönemi ve Balyan Ailesi, İstanbul, 1981.
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Eser Tutel, Şirket-i Hayriye, İstanbul, 1997.
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Eser Tutel, Seyr-i Sefain Öncesi ve Sonrası, İstanbul, 1997.
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Behçet Ünsal, “İstanbul’un İmarı ve Eski Eser Kaybı,” Türk San’atı Tarihi Araştırma ve İncelemeleri II, İstanbul, 1969, 6-61.
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Behzat Üsdiken, Pera’dan Beyoğlu’na 1840-1955, İstanbul, 1999.
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Nuran Yıldırım, “Alman Hastanesi,” DB İstanbul Ansiklopedisi, I, İstanbul, 1994,211-212.
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Nuran Yıldırım, “İngiliz Hastanesi,” DB İstanbul Ansiklopedisi, IV, İstanbul, 1994,173.
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Nuran Yıldırım, “Bahriye Merkez Hastanesi,” DB İstanbul Ansiklopedisi, I, İstanbul, 1994, 548-549.
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Ünsal Yücel, Türk Okçuluğu, Ankara, 1999.