İnformation About Edirne

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Edirne is located at the south of Tekirdağ, the province between Turkey and Greece. The city had been the second capital of Ottoman Empire for years and in the 18th century had become one of the seven biggest cities of Europe. 

As it was the capital city of the Ottoman Empire 100 years ago, there are numerous historical and architectural important structures in the province. Edirne is a living city - museum with its mosques, religious complexes, bridges, old bazaar places, caravanserais and palaces.




History

The province was founded by Odris tribe originated from Trak race in B.C 5th century as a city and was called with different names during history by different nations. The name Edirne was given by the Ottoman Monarch Murat I. Edirne had entered under the dominance of Alexander the Great and Roman civilization in history. The province was conquered by Murat I in 1361. Because of its strategic location, Edirne had been the second capital of the Ottoman Empire for 92 years until the conquest of Istanbul in 1453.


How to Get

Edirne is connected to Istanbul and consequently to Anatolia by both D - 100 road and TEM highway and also the road of D - 100 connecting the city to Çanakkale province and therefore Aegean Region. 

The city is connected to Bulgaria and then to Europe by Kapıkule Border Gate; not only by highway, but also by railway. The city is connected to Greece by Pazarkule and İpsala Border Gates by highway and from Uzunköprü border gate by railway. Edirne has a systematic transportation to Anatolia over the provinces of Istanbul and Çanakkale. 

Geography

The city is under the dominance of terrestrial climate. The summer seasons pass hot and dry while the spring season is precipitant. The hottest months are June, July and August while the coldest months are December and January. The average temperature at the summer season is 23,4 0C.

Where to Visit

Places to Visit

Edirne Palace After the first palace constructed by Sultan Murad I, the construction of the Edirne Palace had started during the reign of Sultan Murad Iat the west of Tunca over a wide area in 1450. After the death of Sultan Murad II in 1451, his son Fatih Sultan Mehmed completed the construction of the palace. Among the ruins are, Cihannüma Kasrı (Worldwide Mansion), Kum Kasrı Hamamı (Sand Mansion Bath), Babusseade, Matbahi Amire and Adalet Kasrı (Justice Mansion). 

Selimiye Mosque Selim II constructed the mosque in between 1569 - 1575. The mosque is an unmatched creation with its stone masonry, tiles and chisel artisanship. 

Some of the other various mosques located in Edirne province are, Üç Şerefeli Cami (Three - Balcony Minaret Mosque), Eski Cami (Old Mosque), Muradiye Mosque, Külliye of Beyezid II and Beylerbeyi Mosque.

Mosques and Churches

The creation of Architect Sinan's mastery period, Selimiye Mosque is the most important work of Edirne and is one of the most beautiful samples of Ottoman Architecture. 

The other major mosques and churches of the city could be counted as Üç Şerefeli Cami (Three Minaret Balcony Mosque), Muradiye Mosque, 2nd Bayezid Mosque and Külliye, Eski Cami (Old Mosque), Yıldırım Bayezid Mosque, Fatih Cami (Enez Hagia Sophia), Külliye of Sokullu (Külliye of Kasım Paşa), Sweti George Church and Yahudi Havrası (Jewish synagogue). 

Bridges

One of the major structure types of Edirne is the bridges. No other capital or city had attained the beauty of the bridges constructed inside and outside Edirne, which were constructed in the period of Sinan. 

The oldest bridge constructed in the city was from the period of Byzantine Emperor Michael Palaiologos (1261-1282). As the bridge was later reconstructed by Gazi Mihal Bey, it was called with his name (1420). In 1640, Kemankeş Kara Mustafa Paşa had added the sharp arched History Mansion to this twenty seven sectioned bridge. The Şahabettin Paşa (Saraçhane) Bridge that was constructed in 1451 has twelve arches and eleven pillars. 

The major bridges of Edirne Province are the Fatih Bridge constructed in 1452 during the period of Fatih Sultan Mehmet; Bayezid Bridge constructed by Architect Hayrettin in1488; the Saray (Kanuni) Bridge, which was among the creations of Architect Sinan in 1560; the Ekmekçizade Ahmed Paşa Bridge constructed by Sedefkar Mehmed Ağa between the years 1608-1615; the Meriç Bridge (New Bridge)constructed at the junction of Meriç and Arda rivers in between 1842 - 1847.

Caravanserais

The Rüstem Paşa Caravanserai, which has a line of shops among the street and is one of the most interesting examples of classical Ottoman architecture was constructed by Architect Sinan in the name of the famous grand vizier of Kanuni Sultan Süleyman, Rüstem Paşa. 

The Ekmekçioğlu Ahmed Paşa Caravanserai was constructed by Defterdar (head of the financial department) Ekmekçioğlu Ahmet Paşa by the order of Sultan 1st Ahmed in 1609.

Houses of Edirne

The houses were constructed by the wooden framework darned by stone walls and plasters. These houses displayed a wonderful symmetry with the roof, which is connected to the higher fringes by dual curved elements, and the central entrance that was located deep in the main entrance cubicle. 

There was sections called "hayat" (life), among the houses located in the Balkan Peninsula. This section was found either in the smallest or in the imposing house. This section was the space where all the chamber doors are opening to and was directed towards the garden of the house and was on the columns of 1,5 - 2 meters. At the end of this section, another separate part one step higher was covered with wooden divans. 

There was a marble fountain located at an appropriate part of the gardens, which were accessed by large doors from harem and selamlıklar (Greeting halls for men and women). In some houses, there were small ponds at the central regions of the gardens covered by pergolas on which vines grow. There was a small door between the Harem ve selamlık (Greeting halls for men and women), which was accessed through the courtyard.

Bazaars

In order to cover the requirements of an increasing economy and commerce density of the city located on the transition ways and obtain income for the mosques and charitable establishments in the development period, numerous inns, bedestens and bazaars were constructed. 

Between the years of 1417 - 1418, a bedesten was constructed by Architect Alaeddin by the order of Çelebi Sultan Mehmed I as a charitable establishment for the Old Mosque. 

The Ali Paşa Bazaar which was constructed by Architect Sinan in 1569 by the order of Hersekli Semiz Ali Paşa was composed of a hundred and thirty shops.

The bazaar was three hundred meters long and with six doors. The arasta (the part of the bazaar for some artisans) which was 73 arched, 255 meters long and containing 124 shops was constructed by Davut Ağa by the order of Murad III (1574 - 1595) as a charitable establishment for Selimiye Mosque. 

The Enez Ancient City Although Enez ( Ainos ) was a major port during historical times, the city is now 3.5 km inland from the coastal line. The Enez Castle that was restored many times during history is worth seeing. Also there is a church whose history extends to B.C 6th century, some tombs carved from stones and a beach with clear waters. 

Dolmens (Menhir, Stone Tombs) There are 'Dolmens' (Menhir, stone tombs) at the Lalapaşa district which are dated to the ends of B.C 2000 and the beginning of B.C 1000. During the excavations carried on, some remnants and tools were found inside these tombs (Tear drop bottle, metal jewelry) and these findings are exhibited at the Edirne Archeology and Ethnography Museum.

Beaches

Edirne has border with the Aegean Sea (Saros Gulf) at the south part of the province and the shores and the beaches have rich tourism potential.

National and Natural Parks

Edirne - Gala Lake Nature Reserve

Location: The lake is 10km away from district of Enez, which is in the far southwest corner of Thrace, and near the villages of Karpuzlu and Koyun. 

Transportation: The lake can be reached via the Eceabat-Kesan-Enez highway. 

Highlights: The nature reserve covers an area of 2369 hectares, and houses 111 species of birds, many of which are extremely rare and under threat of extinction. The area was specifically set up to protect the wildlife, increase the awareness of conservation and also enable scientific research to take place. The ecosystem of the lake, its salinity, plankton and temperature changes, are also of great scientific interest.

Ornithology Areas

Meriç Delta
City: Edirne 

Provinces: Enez, İpsala 

Surface Area: 700 ha 

Altitude: Sea level 

Protection: Yes 

Main Characteristics: Sweet water lakes, coastal lagoons 

Bird Species: Important breeding area for little bittern - küçük balaban (50 pairs), night heron - gece balıkçılı (200 pairs), squacco heron - alaca balıkçıl (300 pairs), purple heron - erguvani balıkçıl (100 pairs), glossy ibiş - çeltikçi (100 pairs), spoonbill - kaşıkçı (40 pairs), collared pratincole - bataklık kırlangıcı (200 pairs), little tern - küçük sumru (200 pairs) and whiskered tern - bıyıklı sumru (500 pairs). A huge number of water birds winter here (max. 48.440) including pygmy cormorant - küçük karabatak (max. 1450), dalmatian pelican - tepeli pelikan (max. 291), mute swan - kuğu (max. 2030), whooper swan - ötücü kuğu (max. 214) and red-crested pochard - elmabaş patka (max. 15.528).

What to Buy

While walking in the city, you will see the white cheese blocks heaped at the sides of the shops, which is a local property. Hardaliye, which is a mixture of mustard and hot almond with the grape juice is another delicious food and beverage variety of the city. Fragrant soaps, earthen pottery and wickerwork baskets are among the souvenir varieties of Edirne. The handiworks of the local ladies is extremely beautiful.

Don't Leave Without

- Visiting the Edirne Museum, Turkish Islam Works Museum and Health Museum, 

- Visiting Alipaşa Shopping Mall, Selimiye Mosque and Külliye of Bayezid II, 

- Having meal among the shores of Meriç and tasting the famous fried liver meal of Edirne, 

- Buying badem ezmesi ( almond paste), deva-i misk candy, mis soap (fragrant soap) and white cheese, 

- Enjoying the week of Kırkpınar Wrestling and Cultural Activities organized each year in the last week of June,

CULTUREL DETAILS OF EDIRNE

CULTUREL DETAILS OF EDIRNE

Selimiye Mosque

Sultan Selim II is known as a ruler “addicted to drink and weak in respect to knowledge and value.” This sultan that didn’t participa in any campaign during his reign of 8 years and was named “Yellow” and “Drunk”. But it is known that Cyprus İsland (1570) and Tunis (1574) was conquered in this rule.; and that this Sultan who was writing poems under the name of “Selimi” had possessed a Council of State. Selim II who gave up drinking by a sudden decision in 1574, ordered a “külliye” (i.e a collection of buildings of an institution, usually composed of  schools, a mosque, lunatic asylum, hospital, kitchen etc.) to be built by Mimar Sinan for the pilgrimage convoys to stay in the Karapınar district of Konya, and he appointed Mimar Sinan to build the Edirne Selimiye Mosque. The documents published, shows that he dealt closely with “the choosing of the building  place, the  preparing of the materials needed for the  building,  the transportation of these from the regions far away from the working area and the appointment of the labourers Mimar Sinan went to Edirne to determine the place of the mosque that was to be built, on the order of Selim II  and flat ground which is the highest place of Edirne and which was named as Sarıbayır or Kavak Meydanı was chosen as the building area. The documents show that the sultanwas closely interested with the construction, the choice, production and transportation of the material and that he warned the “Kadı” of Iznik when the building was late.

Selimiye külliye consists of a mosque, a school and another school where the traditions of Islam are taught; all these gathered in a rectengular courtyard. The rs in the shape of thin, long niches are framed with moulds and each have a decorated matting. The main niche is covered by a decorated matting. The columns of the corners of the main niche are in the shape of an hour-glass. Corner columns are rather thick and distinguished in proportion to their alikes in the same age. The mattings of the altars on the side faces of the main niche are in the shape of a quarter of a globe.

The diameter of the main dome that covers the sanctuary of the mosque is 32m. 22cm. and the dome is placed on eight volumed props. The parts of the facings are embellished until the beginings of the arches with vertical moulds to prevent their clumsy look. The sections of the facings have twelve cornered perfect shapes. The inner parts of the arches below, on both sides of the altar are filled with layers of wall. Behind the eight arches above, there are walls that is given action with two rows of windows. There are squinches with one row of windows on the corners. Each of the two squinches on the northern side are propped by an independent facing on the corner. The eight facings continue on the upper cover in the shape of weight towers. Weight towers prop the dome frame by arch props. Two pairs of facings on west and east sides are propped by volumed props. These props that have stairs for climbing to the upper floors of the galleries on their sides, take the form of arch prop in the outer above part. There is the pew for the muezzin under which a fountain placed in the middle of the square covered by the dome. Decorated matting is for transition to the semi-circular profile of the squinches and the semi-circle of the dome that covers the inner part of the altar. The pew of the Sultan is placed between the arches for transition to the dome circle. The altar is simple. The main altar has a triangular frontale. Two thick columns on both sides of it draws attention. Three faces of the inner part of the altar are covered with tiles. There are columns in the shape of hour-glass on the corners of the altar’s main niche which is in the shape of a polygon. Main nich is covered with a decorated matting. The drawing works inside the sacred part are renewed in the restoration in the last years.

The construction was built by Sultan of the Sultans, “Selim Shah” (Selim II.) according to the inscription in Arabic on the western entrance of the courtyard. It is indicated on the inscription that the construction of the building has begun in the year 976/1568/69 and completed in 982/1574-75, according to the calculation by the Arabic numerical alphabet. Selim II. learned that the construction of the mosque is completed, but his life couldn’t be enough to perform the divine service in this mosque which he gave a special importance to it. Evliya Çelebi writes that Sultan Selim has got on the way to Edirne to perform the first divine service of Friday’s in Selimiye Mosque but his illness got worse on the road and he died in Çorlu. According to Selim II died 16 Receb 982/ (lst November 1574) and the first divine service of Friday’s was performed in Selimiye, in 12 Şaban 982 ( 27 November 1574).

The architechıral and ornamentation characteristics of Seliıniye Mosque

The minarets were used to be placed on the northern end of the western and eastern walls of the mosque’ssanctuary  since  the age of  “Selçuks”. It is observed that Sinan didn’t change this tradition. Minarets are placed on the corners of the courtyard or the sanctuary, in the case of the mosques having more than one minaret. It is observed that the minarets which Sinan built are thinner ahd higher. The minarets of Selimiye are 71 m in height. The only example of the minaret which is higher than the minaret of Selimiye Mosque, in Islamic world today, is the Kutub Minar in Delhi. The height of this minaret that was built by Kutbeddin Aybek in the first quarter of XIII.C. is 72m. 50cm. But the body of Kutub Minar that gets thinner towards the top and reaches 14m in its base. But the base diamaters of the minarets of Selimiye Mosque are only 3m 80cm. Each minaret on the north-west and north-east corners of the courtyard of the Selimiye Mosque has three stairs. The construction of three seperate stairs in a minaret tried formarly in Edirne, in Three Galleried Mosque. IThe second and third galleries of Selimiye are climbed with three stairways and the third gallery directly with the third stairways. Although the two minarets on southeast and southwest corners resembles the other two minarets, in these minarets it is climbed to all three galleries by stairs. The grooved moulds on the bodies of the minarets emphasize the vertical line of the bodies.

Although Sinan covered the main niche with a decorated matting in the main gates of the buildings he constructed, he also tried other matting types. It is observed that the main gate differed from the traditional form ın six or seven examples, which are the Kara Ahmet Pasha Mosque, the Edirnekapı Mihriman Sultan Mosque, and the Eminönü Rüstem Pasha Mosque. Also it is seen that in most of the mosques that Sinan built outside Istanbul the main niches of the main gate is covered by decorated matting. The main gates of Selçuk age that had rather projected side arms became superficial in the Ottoman Age. The application of the last congregation place that became very widespread in the Ottoman Age has caused this. It was the same reason that lead Sinan to the search of different maingates. The transitions of the dome that covers the unit in which the maingate placed, cause incongruities difficult to solve, in the application of main gate that has a deep main niche and prominent side arms. The projections of the side arm of the main gate of the sanctuary that is covered by decorated matting is nearly completely removed and the connection of the main gate to the covering is given a concordant shape.

In the works which give information about the life and the buildings of Sinan, in “Tezkiret-ül Bünyan”, the events are reflected from Sinan. Sinan gives information about the dome of Selimiye Mosque and indicates that the dome of Selimiye is 4m 5cm. higher and 3m. larger than the one of Ayasofya (Hagia Sofia). This work is generally considered to be written when Sinan was still living. According to the last measurements, the diameter of the dome of Ayasofya is 30m 22cm. on its narrower place. In respect to height, the dome of Selimiye is lower than the dome of Ayasofya. The height of the dome of Ayasofya is SSm. 60cm. and the height of the dome of Selimiye is 42m. 25cm.

The weight of the dome of Selimiye thought to be 2000 tons.

Thick facings placed on the corners of the eight cornered base, holds the semi-spherical dome of Selimiye Mosque. All of these eight facings are more or less connected to the wall of the sanctuary. For example, the two facings that comes to the corners of the recess in which the altar placed are burried in the wall. The two facings on the northern part of the sanctuary are connected to the northern wall of the sacred part. Two pairs of facings on both east and west sides are connected to the props that climbs up to the level of the dome after climbing up freely to the pews on the sides. Therefore, the facings that holds the weight of the heavy dome are propped by the walls of the sanctuary and by the props and therefore the safe standing of the dome is ensured.

The tiles of Selimiye were made in Iznik. Tile omamentation is seen in altar wall of the mosque, on the pew of the Sultan, and on the frontals of the windows. The altar wall and the parts between the windows are embellished by pointed arched tilepanels, pointed leaves,  and medallions ornamented with a decoration pertaining to the Ottomans (Rumi) on red base.

The tile ornamentetion stated  above were embellished with medallions whose middle parts were ornamented with religious themed rumi. On the tile band above there are cartridges which are filled with religious themed inscriptions. On the panel behind the high estrade besides the altar, a flowered tree motive is seen on dark blue base. The base is ornamented with tulip, hyacinth and cloves. Different kinds of tree and flower compositions draws attention on the cornerings of the arches that hold the pews on eastern and northern arms of the sanctuary.

The part in which tile ornamentation is used most densely is the pew of the Sultan which is in the southeast corner of the sanctuary. Coral red relief ornamentation that is applied under colorless, transparent glaze which is seen often in the tile of this age is seen here. Floral examples are dominant in chinaware ornamentation on the walls of the pew and on the cornerings of the archs of the pew. The window that opens to inside the niche of the altar is also embellished by tile. The pointed arched frontale of the altar is filled with crown themed white writings on dark blue ground. The door of the small place near the altar is framed by tile. The comer columns and capitals of the door is made up of tile. There is a tile frontale above the opened part of the door. The arch of the tile frontale above the door consists of three foils. The columns in the shapes of thin cylinders are made of marble imitation tiles. Four tile panels on the eastern wall of the altar draws attention. One of the panels which has an apple tree painted with its fruits on it is the only example of its kind which is seen in this age. This panel which is partially damaged was repaired in a bad way, by completing the missing parts with painting. It is known that some parts of the tiles of the pew of the Sultan were dismantled from their places and taken to the Moscow Museum during the war between Ottomans and Russians in 1877-1878.

It is indicated in three main sources that give information about the life and the works of Sinan, that the head-architect had built 107 mosques. Five of these mosques couldn’t be determined and the 13 of them couldn’t reach our day. The architect of the sixteen of the remaining 89 mosques is not Sinan. It is known that Sinan had only done the repair of these mosques. The fifteen of the mosques had completely lost the characteristics of the ages in which they have been built. This means, only the 58 of the 107 mosques stand together with their characteristics and are worth examining. It is observed that besides the mosques like Süleymaniye, Selimiye and Şehzade there are also small district mosques among the mosques that Sinan built. And this shows us that his care was not only to build monumental structures but to construct buildings according to tamount of money given to his disposal. The number of buildings that the sources have attributed to Sinan is over 360. It is observed that the greater part of these buildings were placed in and around Istanbul and a part of them were spread all over the Empire from Hicaz to Kırım and from Van to Mostar. According to the conditions of that day it is impossible for the head-architecture to direct constructions of all these buildings. It is known that between the years of 1560 and 1562 the constructions of “Lala Mustafa Pasha” Mosque in Erzurum, “Rüstem Pasha”, “Odabaşı” and “Ferruh Kethüda” mosques in Istanbul, and “Semiz Ali Pasha Arasta” and “Kervansaray” in Edirne and “Semiz Ali Pasha” Mosque and “Medrese” were being built. It is impossible for an individual to direct all these constructions. For these reasons it is estimated that the buildings except the ones in and around Istanbul were built by other architectures according to the plans that Sinan drew. For example there are records indicating that the construction of Muradiye Külliyesi in Manisa was carried out by an architecture named Mahmut Ağa and than by another architecture named Mehmet Ağa after the death of Mahmut Ağa. But it is not realistic to say that all the buildings outside Istanbul were built by the students trained by Sinan. As we have tried to indicate above, it could be determined by a lot of documents that the construction of Selimiye was realised by Sinan and that the head-architect had dealt with various details, from the selection of the material to the transportation.

The buildings that Sinan built can be examined in two groups: Mosques with “Sakıf” (flat wooden covered) and “Domed Mosques”. Domed mosques can be divided into two groups as the “Unique Domed Mosques” and the “Central Domed Mosques”. Unique domed buildings are usually the small buildings due to the limited diameter that a dome can reach. The mosques that gave possibility to the head-architect to show his mastery were the ones with central dome. For example it is observed that the central place that is covered with a dome settled on four props, was extended by the places added to eastern and western sides of the central place in Mihriman Sultan Mosque. The central place that is covered by a dome is held by four props, and was extended towards north and south by two semi-domes and towards west and east by little domed places in Istanbul Süleymaniye Mosque. Architect Sinan  continued with the application of six propped dome with the Kadırga Sokullu Mosque and the Üsküdar Atik Valide Mosque, a system which he had first applied in the Beşiktaş Sinan Pasha and the  Edirne Three Galleried Mosques. There are famous mosques as the Rüstem Pasha Mosque and the Mesih Pasha Mosque among the eight propped mosques of Sinan. Edirne Selimiye Mosque which is considered as the most famous architectural monument of  Ottoman architecture is an eight propped, unique domed construction.

If the mosques that Sinan built in different planning schemes are listed in chronological order it is observed that it is impossible to mention about a development in planning schemes. Sinan is not only an architec trying to create “master” works. He is also a realistic architecture who gives shape to his constructioiıs according to the land and financial possibilities in his hand and who handles the project given to him with great importance no matter how small or big is the project. Because of this, there are buildings with very simple constructions, sanctuaries with wooden ceilings and wooden props, last  congregation  place  with  wooden  ceilings  besides the architectural masterpieces as Edirne Selimiye Mosque. This shows that the master head-architecture is not only a genius but also has a modest personality.

CULTURAL DETAILS OF EDIRNE
Gaieties in Edirne
In the fifteenth century, Edirne was the generally the festival city of the Ottoman Empire. All festivals celebrated by Murat II and his son Mehmet the Conqueror were made in Edirne. Yet, since the XVIth century all the festivals were celebrated in Istanbul other than the great festival inaugurated by Mehmet IV at Edirne in 1675.

Even if it was in a small scale, the first festival at Edirne was commemorated in the year 1442, in order to celebrate the capture and execution of “Düzmece Mustafa” by Murat II. Feasts and entertainments were organized in this festival. Another festival was organized in 1439. Murat II commemorated the circumcision party of the princes Mehmet and Alâaddin Ali after his victories in battle and subsequent capture of the Semendire Tower. Many important persons from the East and West were called to this festival. Various scientists and poets participated in these festivals where shows and entertainments were organized. In the same festival, the Sultan inaugurated the engagement ceremony of one of the sons and one of the daughters of the brother-in-laws of Isfendiyaroğlu İsmail Bey. The same Sultan, organized another festival as a celebration of a religious holiday in 1444. In this festival which lasted for three days and three nights, such sporting events as horsemanship and archery were held.
The longest festival commemorated by Murat II, was heldin 1450, on the occasion of the wedding of prince Mehmet (Known later as Mehmet the Conqueror) with Sitti Hatun. As far as we know, it was the last festival organized by Murat II. This event, known as the longest wedding ceremony in the history of the Ottoman Empire lasted for three months. When “Çandarlı Halil Paşa” mentioned one of the daughters of “Dülkadiroğlu Süleyman Bey”, the beautiful daughter of this Bey of Elbistan, Sitti Hatun was immediately selected. Besides the feasts and entertainments in this festival, literary meetings were made, poems were read, folklore shows were organized and “Those learned ones and the poor who came, became enlightened and rich”.

The first full festival was in the year 1457, due to the circumcisions of the sons of Mehmet the Conqueror, Bayezit and Mustafa. Tents were set up on the island where the rivers Meriç, the Tunca and the Arda met. In this festival, the Sultan displayed more concern for scientists tharı was evershown previously.

After this festival, Mehmet the conqueror organized two more small festivals in Edirne. One of these was the circumcision celebration of Cem Sultan and prince Abdullah in 1472 and the other was the circumcision celebration of princes, Ahmet, Korkut, Mahmut, Alem, Selim (Yavuz Sultan Selim) and Oğuz Han in 1480. The atter lasted for two months. After these festivals, no festival belonging to the Sultans can be seen until the Festival of Mehmet IV in 1675.After this festival of Mehmet IV (the Hunter) in the last quarter of the seventeenth century, Edirne lost its status as the city of festivals, and was replaced by Istanbul.

Mehmet IV had wished to circumcise the older prince Mustafa (later Mustafa II) since 1669, but somehow he never managed to arrange it. This opportunity arose in the summer of 1675. The Sultan had prince Mustafa who was twelve years old at the time and prince Ahmet (later Ahmet III) circumcised together. Since he planned to organize a great festival, he arranged the marriage of his sister Hatice Sultan to his second Vizier, Mustafa, of whom he was very fond, in a second festival following the circumcision celebration which had lasted for fifteen days. This second celebration lasted for eighteen days. The Circumcision celebration started in May 14, Sunday and ended in May 19, Monday. Whereas the wedding celebration started in June 9 and ended in June 27. The British Ambassador, Sir John wrote about this festival in a letter he wrote to his friend: “According to the palace records, a public celebration of this scope has not been made in Edirne for the past sixty years. I will participate in this celebration and witness the grandeur of the empire. I believe that I will see a large army, a great number of well trained horses, valuable items and inspiring works of ornamental  jewelry.” A large number of foreign diplomats representing their countries were also at the festival. In June 6, 1675, the French Ambassador, Nointel wrote as follows in a letter to his friend Pomponne: “These were the scenes of vast celebrations which excited the whole empire. 6000 young boys from the province, and 2000 young boys from the court of his majesty were circumcised. Dancers, clowns, acrobats and technical persons from one end of Turkey to the other end were called. Since enough food to feed Pantaqruel was served, the Greeks from the environs of Edirne were invited. As a remainder for old nomadic and warrior customs, the celebrations were watched from tents. This can be called a city founded on camps, or even tents.”

The preparations for the celebration had started six months previously. The most expert fire eaters from lstanbul, wrestlers from various parts of Turkey and Iran, rope walkers, mimics, shadow players and puppet masters where brought. Even, bringing an opera group from Venice was considered, but it was given up, because action was taken late. An extra building to the Regimental Pavilion facing the festivities field called the Sırık Square in front of the New Palace was built. Architect Mehmet Efendi was assigned for this. Hüseyin Aga from Merzifon was brought as the head chef for the banquets to be given. 150 palace cooks and 3000 country cooks were joining him. In addition, 100 interior guards, 50 from the old place, and 50 from the Palace Guards were assigned to distribute coffee, incense and sherbet. 37,000 chicken, 5000 goose, 6000 ducks were brought in for the celebration. In addition, 4000 wooden trays, 2000 copper dishes, 30 big pots, 3000 serving plates, 7000 plates, 1500 jars, 1600 glass plates, 3000 porcelain plates were provided. The important actors of the time were called, in addition to the “Egyptian Actors” of 150 persons, the “Cevahir Actor’s Company” of 200 persons, the “Ahmet Actor’s Company” of 300 persons and the “Edirne Jewish Actor’s Company” numbering more than 100 were prepared to give presentations every day.

The wide square selected for the area of the celebration was in front of the New Palace, called Sirik Square and previously known as the Cirit Square. We can read the following in (Tehlis’-ül Beyân) Summary Declaration: “In the twentieth year following the year of the afore mentioned victory, on one side of the square in the main Palace in Edirne, twenty two ship masts were raised and on each one a thousand candles were lighted with great art from dusk to every midnight, by the Sultan’s decree”.

The Ottoman festivities would commence in the morning and last until midnight. The shows would start after the second call to prayer and after dusk, the entertainment would continue along with the fleet until midnight. In the mornings, very formal ceremonies would be made, presents would be distributed and feast would be carried out in succession by the Sultan.

The order followed in the wedding or circumcision celebrations is the same. The parades, shows and ceremonies are formally not different form one another. But their, content may vary. The parades at the Edirne Festival in the year of 1675 are of  magnificent multitude. The festoon whicli is called as “Nahıl” (This is the symbol of the financial, sexual and political power of the master of the wedding ceremony) at the parades, artificial gardens, monuments made of candy and the shows of the professional guilds have left the foreign visitors astonished. The people who built the festoon and who were at the top of the ornamental arty-crafty were called “The Makers of the festoon for his Highness”. According to Evliya Çelebi, these were 55 persons in the l7th Century and their shops were located next to the Koska Bakery, in the “Aksaray” district and in the “Tahtakale” quarters of Istanbul. At the inner side of the “Wooden Port” (presumably, at the city wall) there was a Main Shop which faced the “Whirling House” of the Head festooner.

In this festival there were four sorts of moving festoons. These were the giant ones, the small ones, the silver ones, and the candy ones. The giant and small ones were for the circumcision ceremonies of the crown princes and for the wedding of Hatice Sultan. The silver ones and the sugar ones were prepared by the occasion of the wedding ceremony. For the circumcision festival, 2 giant and 40 small festoons and for the marriage, 2 giant and 40 small, 2 silver and 6 candy festoons were manufactured. The giant ones were built around the mast of a large vessel. These were at a length of 25 meters and their platforms were of a diameter of 4.5 or 5.5 meters. A local source relates that they were of a height of 12 and 15 zira’b (1 zira = 758 mm). The roofs and the balconies of the houses were destroyed in order to transport these through the streets and the loss of property was paid by the state to the owners. During the festivities of 1675 some houses were completely teared down to let these pass through. Covel relates that he personally watched this destruction activity. A great number of galley slaves from the shipyards were assigned for the transportation of these festoons. “There were ten holders laid parallel under the festoon (...) The galley slaves were led and put to rest by a guide who led them with a sailor’s whistle and showed them the way”. This narrative of Covel is also verified by Evliya Çelebi. According to him every festoon was carried by 200 chained galley slaves and the wardens lead them by whistling and calling: “pull right, pull left”.

Among the shows in this festival there were music, various shows of skill (acrobats, heavy weight lifters, illusionists, snake charmers, dancing animals, shadow shows, and puppet theaters), sportive games and contests (archery, horsemanship, athletics, cirit-Turkish Lance Polo-) wrestling, lampoon shows and night entertainment, (fireworks, sight shows with candles). In addition, dances (religious and erotic dances, war, skill and mimic dances), comics (noisy clowns, addicts, clowns in baggy pants) used to attract a lot of audience. But the most colorful of these shows were the theater performances. The comedies as displayed by many companies found a lot of spectators. The Company “Baba Nazlı” was famous with its plays “Sailors Play” “Arnavut Kasım” and the company “Akide  Kolu”  played  the  “Bahçe/The Garden”,  the  “Bahçevan/The  Gardener”, “Gürcü/The Georgean”, “Zümrüt Kol” theater was famous by its plays “The Sesam-Cookie Seller”, “The Man with the Nest” and “The Silver Mining Man” and Cevahir Company by its play “The Gypsy”. The Company Samurkaş was known by a play about a Gypsy who had to ride a donkey sitting reversely as a matter of punishment. The History of Raşit relates on the play of the “Scribe”. We find most of these plays such as “The Garden” and “The Scribe” also in the traditional “Orta Oyunu” Theater as well as in “Karagöz” Shadow Shows.

Like at every celebration, also the festival of Edirne was organized for the benefit of large crowds of people, rather then for a wealthy minority such as it was custom at the European Royal celebrations. We can easily say that these celebrations have been a part of the daily life of the people. Concerning festivities organized on various occasions and the celebrations of the professional guilds, such as weddings or inaugurations we know of the existence of an atmosphere of tolerance which stunned the foreign spectators. For this reason, the Turkish celebrations are, along with their ceremonies, banquets, hospitality, presents, awards, hunting and sporting events and with their lampoons, fireworks, shows, dramas and comedies and many other sights, a mirror the Turkish cultural history as well as of the Turkish social life.



CULTUREL DETAILS OF EDIRNE
Notes of Edirne Voyage in 1675

Dr. John Covel was the Embassy Reverend of the British Ambassador Sir Daniel Harvey who entered Turkey by the harbour of Izmir in 1670 and later travelled north via the antique towns in the Aegean coast before reaching Edirne to see the great celebration. Dr. John Covel’s  manuscript which totals 413 foils contains 102 foils (from 183/a to 236/a) which relates the route from Istanbul to Edirne, Edirne itself and the Festival of Edirne. The following passage is taken from this manuscript.

Entering Edirne

“May 2 nd, 1675 - It is remarkable of the Turks to measure the distances in hours instead of in miles (old mile = 7,5 km). However, I can estimate that we have been travelling at a speed of  3 miles per hour. We had traveled in 7 hours and 30 minutes from Küçük Çekmece, so that we have made 23 miles up to this very point.”
“Following the Sunday mass and the prayers, we took about one hundred horsemen to accompany us. His Excellency, Sir Daniel travelled about 4 miles on a platform with a cloth - covered roof which resembled the double horsed chariots in our country and was used only for transporting important persons in Turkey. This item is called Tahtırevan. (It comes from the Persian words of Taht and Revan). They must have taken over this custom from Iran. 4 Mullahs were walking next to this platform and there were also two torch carriers. The wood they were burning at night was fixed to iron sticks and resembled our sign posts... They used a certain tem called “sherah” to burn these. It was obviously a very oily item so that it burned for a long time with an extremely bright light. They were carrying a bag filled with chipped wood to bum them. (...) After it became dark, the men lit their torches by using their lighters. Then, they moved up and down, to pray to the Sultan. (...) The torch carriers were always walking in front of the convoy.  (183/al)

(...) May l0 th - We have arrived in Edirne. It is a very beautiful town with its villas, water pools, gardens and buildings. The town can be seen from a distance of 4 or 5 miles. It really has a beautiful silhouette. The mosques, the minarets and the Selimiye Mosque in particular, display quite a magnificent view. The valley of Edirne is a perfect landscape with its small hills and its yielding valleys. The quality of the soil is perfect, but seems quite neglected. You can see a few villages beyond the valley. As I can see, this part of Thrace is not densely populated. There are very good agricultural land around the villages. Only one third of this land has been used. We have hardly met any farms, vineyards and farm animals while passing through these remote areas. We only saw some beautiful plants and trees on our road. However, I would now like to relate the reception made on our behalf while we entered Edime.

“While we were 6 miles from the city, we were met by the French and the Dutch who lived in Pera. We were also accompanied by a “Solak” (Royal Guard), we saw that the horses to bring His Excellency and his company to the city were already prepared, with well fed and well bred horses and had been highly decorated. I have also dismounted and aimed for a horse which took to my sight with its saddle and stirıups with shining brass as well as with a golden and silver embroidered fantastic cloth under the saddle. The horse mounted by His Excellency was covered with pearls and other jewelry everywhere. In front of every horse stood a groom. While we entered the city on our horses, we were met by the “Kapıcılar Kethüdası” (Master of the Keepers of the Port) and “Çavuşbaşı” (Head of Imperial Guardsmen), who were followed by ten imperial guardsmen with their ceremonial garments. There were also janissaries present in  the convoy. [193/b-194/a]

The Grand Vizier “Köprülü Fazıl Ahmet Paşa”

(...) His Excellency has been allowed to the court of the Grand Vizier. The ceremony was the same with the Kaymakam (Minister of Interior) and Bostancıbaşı (Head of the Palace Guards). We passed through the whole city with a ceremonial convoy before reaching the palace. Two Imperial Guardsmen who accompanied us since we left Istanbul and the Janissaries of the palace have accompanied us to a greater courtyard where there was a wide couch. (This couch was in the form of a square... and one and a half foot higher then the ground level). It was covered with precious carpets (kilims). On the side of the wall there were big pillows just as on beds and it’s skirts were made of gold embroidered cloth. In Istanbul we had taken our shoes off before entering the hall. But here we have taken them off at the entrance, being afraid to soil the precious carpets of the Grand Vizier. Covel has drawn a picture of the palace of the Grand Vizier and of its courtyard and has shown the place of the portals and the couches, as much as he was able to. The explanation of this picture reads as follows:

The place shown as (A) at the right below is the main entrance. (B) is the place from where the Grand Vizier entered and took his place on the couch. The place shown at the left corner above as circle, is the location of the couch. On the side of the couch (c), the Master of the Keepers of the Port and the Head of the Imperial Guardsmen are standing. Spread (c) and (o) on many parts of the courtyard, there are the Imperial Guardsmen and the Janissaries. Covel notes that he has witnessed this order everywhere he was allowed to the courts. Covel notices further:

“His Excellency took his place on a lower seat next to the couch. We were standing behind him. Then, we were surrounded by Imperial Guardsmen. The Grand Vizier came in after we waited for half an hour and set down on the couch by placing one of his feet under his body. For a while we waited in silence. Then the seat of His Excellency was moved next to the couch, which I marked by (L). While the Grand Vizier took his seat tall the enturage shouted: “Long live the Sultan” [196/b]. His Excellency first mentioned the friendly attitude of the English. He told that persons from many nationalities were fighting on the side of the Vendetta in the battle for Kandiye (Crete) but there was not one single Englishman present in this war. His Excellency offered his thanks to the Grand Vizier for allowing us to his court in such a short time. The Grand Vizier was pleased and so he smiled. His Excellency congratulated him on the occasion of his wedding expected to take place in a short time and wished him every happiness. I cannot tell whether it is due to local custom or to the Turkish rules of the Court, but the Grand Vizier talted very briefly. He was a very lovely person, as wewere previously informed To me, he seemed to suit his post as a statesman. His well shaped white face became charming when he smiled. He was short and I later noticed that he limped a little (...) He had a small and round face, a small and sharp chin and a small and black beard. His eyes and his mouth were small, his lips were without wrinkles. He was radiating confidence with his round forehead. He had high eyebrows and short hair and was said to be 44 years old. He seemed to be younger to me, almost 40. He was wearing his ceremonial turban. But I knew that he had several ones because I had seen him on other occasions (...) We remained there for more than half an hour. His Excellency was not more than a quarter of an hour in the presence of the Grand Vizier. After this brief conversation the Grand Vizier and, His Excellency rose as well, and the Grand Vizier turned after bowing vaguely to His Excellency and left. So we left as well.” [198/a]

In the Palace of the Sultan

July 27 - In spite of the epidemic in Karaağaç, His Excellency has finally been allowed to the Grand Court of the Sultan. For a long time, His Excellency had been insistingly asking for such permission. Certainly we had waited much longer than required for this purpose. This incident took place in the following manner: Two days before we were allowed to the court, two Imperial Guardsmen came in the morning and they took us to the wooden bridge I had previously mentioned. There we were accommodated in tents. We spent two days in these tents before we were allowed to the court. 50 Imperial Guardsmen were standing around us. We naturally paid for them. In the reception day, we mounted our horses and crossed the bridge to arrive at the palace door, spending quite a time. After some waiting at the gate,  Çavuşbaşı (Head of the Imperial Guardsmen), Kapıcılar Kethüdası (Master of the Keepers of the Gate) and Pişkeşçibaşı (Keeper of the Imperial Presents) arrived and showed us the way in. From the gate we were directly taken to the “Divan” - The Hall of Ceremonies. As shown in (A), we crossed a stone courtyard in square form. Pişkeşçibaşı does the same duty as themaster of Ceremonies irı our Royal Court. Pişkeş means present and Pişkeşçibaşı is the Keeper of the Imperial Presents. This man had a long button in his hand like a rod, resembling the stick of a Cambridge ceremonial master and he was showing His Excellency the way by means of this instrument. The places we have crossed were filled with janissaries and soldiers standing in lines. His Excellency  bowed in salute to the Yeniçeri Ağası (Commander in Chief of the Janissaries), to the Divan Çavuşu (the Court Guardsmaster), to the Sipahibaşı- (Commander in Chief of the Imperial Horsemen) and to other officers.

The Grand Court was the same one as we saw in Istanbul (...), a couch covered with a silk cloth embroidered with gold and silver and with precious carpets. There was a foot- stool in front of the couch and this was covered by a very beautiful embroidered fabric. A little behind the couch was standing Nişancıbaşı - who was in duty as the Keeper of the Jeweller of the Sultan. Behind him was a small door. Next to the couch was standing the Grand Vizier. Behind him there was a caged window, as it was also in Istanbul and we all knew that the Sultan was sitting behind this window (...) The “Kazasker” (the Commander in Chief of the Army) was again present while the “Defterdar” (the Keeper of the Imperial Books) stood a little by the side. In the place shown (B) behind the “Defterdar”, there were the men of law (Scribers of the Divan), waiting. These spoke when they were asked and took notes when necessary.

The roof was supported by two wooden pillars. His Excellency fırst bowed to the Grand Vizier in salute and then to the others and took his seat on the uncovered bench that was placed a little to the lower side of the Keeper of the Imperial Jewelry. Maoro Cordato, the translator of the Grand Vizier and the translator of His Excellency came and waited in standing. We had to turn our backs to them and wait in standing as well. Some of us have turned and tried to view the Grand Vizier by the corner of their eye and were tongue lashed. In fact we experienced quite a pressure. And as if was not enough, some of us were sent out. At this moment 320 bags full of money were brought in and were put in front of the Grand Vizier in 32 groups. In every bag there were 500 pounds. Two suitcases were used to carry these. Let me mention here that every month the soldiers and janisarries were paid their salaries in the Grand Court under the witness of the Grand Vizier and the others who were present. But this time this money was distributed in our presence just to demon-strate the might of the Empire. However, sometimes the payment of the salaries can be delayed, as we heard. After the money was placed at the floor, the Keeper of the Imperial Books reported on the financial state of affairs to the Grand Vizier. The he kissed the money and placed it on his forehead to send them to the Sultan by means of the Keeper of the Imperial Presents. The money was brought back again by the same person. The Keeper of the Imperial Books has again kissed them and placed them on his forehead. Then the persons waiting in the courtyard were summoned by the strong voice of the Keeper of the Presents. All officers came in an orderly manner and took the amounts reserved for and to be later distributed by them, kissing and placing the money on their foreheads as well (...) The Cebeci’s (Cuirassiers) and other officers first knelt and kissed the hand of the Grand Vizier and went back without turning, threeor four paces and left, by walking sideways and taking utmost care for not turning their backs to the Grand Court. [231/b]

“After the end of the ceremony, cups, water cans and towels were brought in. The Grand Vizier, the High Officials and his Excellency washed their hands. A servant was waiting behind each one of them. Then little round tables of the same form and size were carried in.

One of these was covered with cloth while others were covered with leather. Then, sliced bread was distributed to the tables. Small wooden spoons were placed. At the beginning olives, parsley and dill was served in small plates. Later some pickles, salted fish, salt and pepper were added. The three tables reserved for the Grand Vizier, the Keeper of the Books, and Keeper of the Presents were served in the same manner. A place was reserved for His Excellency at the table of the Grand Vizier. Mr. North (Treasurer), Mr. Hyet (Commercial Attache) and Dr. Pickering (A medical from Izmir) were invited to the table of the Grand Vizier. Mr. Cook, the secretary of His Excellency and myself were asked to the table of the Keeper of the Books. Some other merchants and gentlemen were entertained in another room, some of them at the table of the “Reis Efendi” and at the table of the Head of the Imperial Guards. Four tables next to us were served in an equal manner. 20 plates of meat were brought in and were served in a very orderly manner, so that when one finished his meal he was served again without a waste of time. This was done so perfectly by the servants that all the tables finished their meals simultaneously. So, we understand that dinner is the most important meal for the Turks (...) We had big towels on our lap instead of napkins, just like the ones in our barber shops; these were used to clean our hands. Additionally on our right side there was a finer and smaller towel, which was meant to clean our mouth and beard. I do not remember all of the details at this banquet, but I can relate those I do well recall: First chicken on skewer with mushrooms but no sauce was served, we had to use our hands and our teeth because no forks or knives were served. The Keeper of the Imperial Books was eating the meat by picking it with his thumb and forefinger. Then we ate the fried pigeons in the same manner with our hands and our teeth. Then “kebap” was served. This is a meat which is first grilled and then fried. Then some “dolma” made of rice and meat wrapped in wineleaves. We ate a soup of rice and wheat. Then chicken with rice was brought, followed by a very tasty meal which I had no tnowledge about. After this, rice covered with pine nuts and served with grape compost was followed by a pastry cooked in a furnace. This was filled with meat and served on a giant plate. There were again followed a very nice milky sweet dish, and another dish sweetened with honey. Our thirst we quenchedwith sherbets and lemonade served in huge carafes (...) [230b-231/b] :

Sultan Mehmet IV

“The sultan looked like a humble person; his clothes were quite simple. He had a simple turban on his head and he was wearing a pink caftan. There was a small scar on his sunburned face. The vest he wore was also of simple pattern. But he carried two magnificent brooches of jewelry (...) As I have mentioned before, I saw him many times.

Now I would like to describe him. He was a well built and good featured man; he had a light coloured face with big shining bright eyes, a long nose, a bright and round forehead, high eyebrows. His black beard was spare and not very long. The beard of the Grand Vizier was coarser and more intense but he also had it cut short I because it was not considered proper to have a longer beard than the Sultan. The hands of the Sultan were big. They were rough Turkish hands. The upper part of his face resembled to Mehmet I, as I saw in the History Book of Knowles. His posture was magnificent, he could have been frightening if the need had occurred. He was said to be of rather thin and ailing form three or four years ago; now he seems to be well fed and healthy.” [201/a]




The Bridges

“There are three big rivers flowing in Edirne: These are the rivers of Meriç, Tunca and Arda. Their beds are sandy and wide but they are shallow. These rivers have strong currents and cause floods after heavy rainfall. They flow into the Aegean Sea. Many bridges were built on these rivers. One of them is “Yeni Köprü” (The New Bridge). This stone bridge on the Tunca river has stone pillars which have quite high arches. Its length is 250 paces by my measure. The wooden bridge on the Meriç River, I have measured as 310 paces. According to the narrative there was also  a stone bridge here, but it was destroyed by the floods. Its remains can still be seen. The pillars of the bridge had to be built very deep because of the sandy bottom, otherwise a flood catastrophe would wash them away. There is another bridge on the Arda River and this one measures 440 paces. Both bridges have very heavy wooden pillars. The people of Edirne say that these can only last for two years. The most durable ones are said to have lasted for seven years. “Demirdeş Bridge” which is located a little outside Edirne connects to the road that leads to the villas and the farms. Then there is the Michail Bridge. According to the saying, this bridge was built by Michail of Vallachia. He was sent away from here because he opposed the Turks. The length of this beautiful bridge is nearly 970 paces. It is wide enough to let a carriage pass through. The river Tunca flows with high speed under this bridge (...) The small stone built bridge on the Tunca river is called the “Bayezid Bridge”. This Bridge is also called “the Lonely Eye” because one of its six arches is smaller then the others. Next to this nice bridge are the water mills with twin turbins (..) There are two wooden bridges that are connected to the peninsula in the middle of Tunca River. One of them is named “Saraçhane Bridge”. But the most beautiful of those bridges is “Saray Köprüsü”  (Palace Bridge),  a very strongly built bridge that is neighboring one of the pavilions of the palace. This bridge is at least as important as the New Bridge I have mentioned at the beginning of my report. But I had not any opportunity to collect more knowledge on this bridge. Except those I have mentioned there is a small private wooden bridge on one of the arms of Tunca River. [225/a-225/b]

The Selimiye Mosque

September 18 - I went to visit the Sultan Selim Mosque. As we had previously agreed with my guide, I ascended one of its minarets. From this point I have viewed the city, all its rivers and its environments. The mosque is a perfect work of art. There are 253steps up to the highest balcony of the minaret and every step is more or less 10 inches in height. This measures nearly 211 feet or 70 yards and one foot (63,30 m) If we add to this the height of the minaret which is to its summit as 14 yards (12,60 m), then we can measure that the minarets are between 84 and 90 yards (75,60-81 m) high. Each one of the minarets has three balconies. Every one of the balconies be reached by a separate staircase because being conical they do not cross one another. The diameter of the balcony is 10 feet (3 m.) or 100 inches. (2,56 m.) The balcony is surrounded by a balustrade, and is easy to walk, since there is a walking space of 3 yards (2,70 m.) (...) Yet only one person can walk on the balcony of the minaret. The minarets are decorated by hanging lampoons between them. These are placed on strings in rows of five or six. These lampoons were all blown out because the Month of Ramadan had just ended the day before. During the festival they were lit again. The walls of the minarets are so thick that a wide door can be opened and closed. Every step has been designed in a way which enables one to ascend and descend easily. They are flat but one nearly faihnts by fatigue after ascending such a height. There is a great fountain in the courtyard of the mosque. The mosque itself resembles a monastery which is surrounded by four walls. It is covered by a roof made from thin. Mullahs are also educated here, as I am told. [227/b- 228/a]. There are two grand bazaars meaning shopping centers in Edirne. One of them is very big it measures 395 paces with my walking tempo. The population of Edime counts about 200.000 persons. There are estimated 1000 Greek families to live here, also there are many Jews and Armenians (...)



Turkish History of Psychiatry Museum / Edirne
While the mental patients were subjected to inhumanly severe tortures and even killed because devil entered into their spirits in the western countries during the Middle age, our mental patients were treated with MUSIC at the DARÜŞŞİFA (mental hospital) section of the institution in Edirne made to be constructed by architect Hayrettin by Sultan Bayezit II in 1488. EVLİYA ÇELEBİ, who visited this DARÜŞŞİFA in 1640, told in his book of travels in length about how they treated mental patients here with music. Treatment with music was not indeed the invention of Ottoman Turkish mental doctors. However, the Ottoman Turkish mental doctors, who reached a higher level than their contemporaries in the branch of mental medical practices through their scientific studies, were quite advanced in the treatment of patients with music. Also according to EVLİYA ÇELEBİ, "the head doctor of Darüşşifa who had sufficient knowledge and experience on the positive effect of music on human spirit initially made his patients listen to various airs of music, observed whether their heart rates increased or decreased, determined the suitable melody that they benefited from, gathered similar complaints and diseases and made the music group of Darüşşifa perform concerts on certain days of the week". EVLİYA ÇELEBİ stated in his book of travels that İSFEHAN air was good for opening the mind and strengthening memory and recollection, REHAVİ air for calming hyperactive and excited patients and KUÇİ air for uneasy, pessimistic, quiet and low-spirited patients. TREATMENT WITH MUSIC, applied by Ottoman Turkish mental doctors scientifically and satisfactorily, is presented as an innovation in present modern psychiatry and studies are made on it.
In order to reveal this historical fact, Dr. Faruk BAYÜLKEM, CHAIRMAN OF THE ASSOCIATION FOR THE READAPTATION OF MENTAL PATIENTS and former head doctor of Bakırköy Mental and Nervous Diseases Training and Research Hospital, and his colleagues from the board of management of the association decided to receive a permission from Trakya University presidency for establishing the TURKISH HISTORY OF PSYCHIATRY MUSEUM in the Darüşşifa section of Sultan Bayezit II institution in Edirne, the president willingly accepted this proposal and stated that they would provide any support for cooperation.
Members of the board of management of the association for the readaptation of mental patients started studies, Dr. Faruk BAYÜLKEM, the chairman of the association, who proposed the issue was furnished with full authority for following up and finalization, and thanks to his endless energy and magnanimous efforts, the project was achieved through their own funds without receiving any financial support from any organization, agency or person.
Turkish History of Psychiatry Museum was animated with manikins of HEAD DOCTOR, his assistants, patients, HANENDEs (singers), SAZENDEs (instrumentalists) and nurses with decors and costumes of the period, light and sound assemblies were completed and it was officially opened on 31 August 2000 with a great ceremony and transferred to the service of Presidency of Trakya University.
It has been further meaningful to open such a museum that will promote our medical history and Turkish culture in Edirne, our frontier city, at a time when the 700th establishment anniversary of the Ottoman State is celebrated.
I am much obliged as the Chairman of the association to present my thanks and gratitude to Mr. M.İstemihan TALAY, our Minister of Culture, who kindly accepted our invitation for the establishment festival of our Edirne and honored our museum, bestowed honor upon the members of the board of management of the association who achieved the project and exerted their efforts by presenting plates to them and promised their support for our similar future studies, to the chief of Data Processing Department of the Ministry, to Prof. Dr. Osman İNCİ, President of Trakya University, members of board of management of the Association for the Readaptation of Mental Patients and to everybody who contributed to this service.

Dr. Faruk BAYÜLKEM
Psychiatrist and Neurologist
FOUNDER AND CHAIRMAN OF
ASSOCIATION FOR THE READAPTATION OF
MENTAL PATIENTS

Reference addresses and phone numbers for the museum:
- Dr. Faruk Bayülkem, 0212 247 6941 Nişantaşı Şakayık sokak Sülün Ap. 41/3 Istanbul
- Dr. Ersin ALKAN 0212 571 8000
- Dr. Cengiz ATAÇ 0216 411 6747
- Dr. Mustafa ATANUR 0532 417 3146
- Şengül AVCILAR
- Psychologist Mahpeyker Koçgündüz 0212 534 7702
- Dr. Ercüment EPER 0216 333 2036
- Psychologist Figen UMUR 0212 227 5149
Advisors
- Asst. Prof. Tülin ÇORUHLU, history of art and museum administration specialist 0532 334 7174
- Lütfi Özin, architect, MS and archeologist 0212 245 5600
- Ümit Uygur, Financial Advisor 0212 572 5823
Comments of university lecturers on the Turkish History of Psychiatry Museum
I believe that the establishment of such a museum that will demonstrate the services of us, the Turks, who bear the honor of establishing the oldest psychiatry hospital of the world, to the history of psychiatry will be beneficial in all senses, particularly in promoting us to the whole world.

Prof. Dr. Arslan TERZİOĞLU
Head of Main Science Branch of Medical History and
Deontology of Istanbul University Faculty of Medicine

I am confident that Turkish History of Psychiatry Museum will be very beneficial in demonstrating how our doctors treated mental patients with music 500 years ago.

Prof. Dr. Ertaç İlkay
Head of Main Science Branch of Psychiatry of
Cerrahpaşa Faculty of Medicine

Turkish History of Psychiatry Museum, aiming to present to our people and the contemporary world the scientific methods applied by the Turkish doctors in the treatment of mental and nervous patients in the light of historical documents, will fill a substantial gap in its area.

Prof. Dr. Özcan KÖKNEL
Former Head of Main Science Branch of Psychiatry
Clinic of Cerrahpaşa Faculty of Medicine

Parts of the Museum
1- Entrance to the museum
2- Entrance door of the museum
3- Signboard of the association
4- Bevvap (doorkeeper controlling entry and exit)
5- Two depressive (uneasy, low-spirited, quiet) patients
6- One who brought his ill wife for examination is waiting for the doctor to arrive and the ill wife is lying down. Signboard showing the photograph and biography of Dr. Faruk Bayülkem, chairman of the association, who achieved the establishment of the museum
7- Sitting and waiting area for visitors and the ones waiting for the head doctor
8- Head doctor examining the heart beats of the patient
9- Nurse feeding the in-patient
10- Singers and instrumentalists and a patient listening to them
11- Patients receiving rehabilitation
12- Doctor and his assistant examining a patient in epilepsy attack.
13- Doctor examining a child and mother waiting for him
14- Pharmacy
15- Head pharmacist
16- Laboratory
ASSOCIATION FOR THE READAPTATION OF MENTAL PATIENTS
Association for the Readaptation of Mental Patients was established in 1961 in order to preserve the mental health of the society, heal mental patients and provide their professional readaptation and was taken under the status of Associations Working for the Benefit of the Public through decision no. 6-6789 of 21.07.1966 of the Board of Ministers.
Association for the Readaptation of Mental Patients, serving the public since its foundation, prepared the Turkish History of Psychiatry Section of Trakya University Health Museum with its own means and donated it to the presidency of the university.