| Dolmabahce Palace | |
 Until the 17 th century the area where Dolmabahçe Palace stands today was a small bay on the Bosphorus, claimed by some to be where the Argonauts anchored during their quest for the Golden Fleece, and where in 1453 Sultan Mehmed the Conqueror had his fleet hauled ashore and across teh hills to be refloated in the Golden Horn. This natural harbour provided anchorage for the Ottoman fleet and for traditional naval ceremonies. From the 17 th century the bay was gradually filled in and became one of the imperial parks on the Bosphourus known as Dolmabahçe, literally meaning �filled garden�. A series of imperial köşks (mansions) and kasırs (pavilions) were built here, eventually growing into a palace complex known as Beşiktaş Waterfront Palace. Beşiktaş Waterfront palace was demolished in 1843 by Sultan Abdülmecid (1839-1861) on the grounds that it was made of wood and incovenient, and construction of Dolmabahçe Palace commenced in its place.
The main palace was built by the leading Ottoman architects of the era, Karabet and Nikoğos Balyan, and consists of three parts: the Imperial Mabeyn (State Apartments), Muayede Salon (Ceremonial Hall) and the Imperial Harem, where the sultan and his family led their private lives. The Ceremonial Hall placed centrally between the other two sections is where the sultan received statesman and dignitaries on state occasions and religious festivals. The palace consists of two main storeys and a basement. The conspicuous western style of decoration tends to overshadow the decidedly Ottoman interpretation evident most of all in the interpretation evident most of all in the interior plan. This follows the traditional layout and relations between private rooms and central galleries of the Turkish house, implemented here on a large scale. The outer walls are made of stone, the interior walls are made of stone, the interior walls of brick, and the floors of wood. Modern technology in the form of electricity and a central heating system was introduced in 1910-12. The palace has a total floor area of 45.000 square metres, with 285 small rooms, 46 reception rooms and galleries, 6 hamams (Turkish baths) and 68 lavatories. The finely made parquet floors are laid with 4454 square metres of carpets, the earliest made at the palace carpet weaving mill and those of later date at the mill in Hereke. The Mabeyn where the sultan conducted affairs of state is the most important section in terms of function and splendour. The entrance hall known as the Medhal Salon, the Crystal Staircase, and the Süfera Salon where foreign ambassadors were entertained prior to audience with the sultan in the Red Room are all decorated and furnished in a style reflecting the historical magnificence of the empire. The Zülvecheyn Salon on the upper floor serves as an entrance hall leading to the apartments reserved for the sultan in the Mabeyn. These apartments include a magnificent hamam faced with Egyptian marble, a study and drawing rooms. The Ceremonial Hall situated between the Harem and the Mabeyn is the highest and most imposing section of Dolmabahçe Palace. With an area of over 2000 square metres, 56 columns, a dome 36 metres high at the apex, and a 4.5 ton English chandelier, this room stands out as the focal point of the palace. In cold weather this vast room was heated by hot air blown out at the bases of the columns from a heating system in the basement. On ceremonial occasions the gold throne would be carried here from Topkapı Palace, and seated here the sultan would exchange congratulations on religious festivals with hundreds of staktesmen and other official guests. On such traditional occasions foreign ambassadors and guests would sit in one of the upper galleries, another being reserved for the palace orchestra. The traditional Turkish palace was a complex of buildings with diverse functions rather than a single large building with an impressive façade. In this respect Dolmabahçe Palace is a departure from traditional concepts in imitation of western ideas. Inside, however, the Harem was as strictly isolated from the restof the palace as in earlier centuries, despite being under the same roof. The self-contained Harem occupies two thirds of the palace, corridors linking it to the Mabeyn and the Ceremonial Hall. Access to the Harem was by iron and wooden doors, through which only the sultan could pass freely. Here are a series of salons and galleries whose windows look out onto the Bosphorus, and leading off them the suites of rooms belonging to the sultan's wives, the high ranking female officials of the Harem, and the sons, brothers, daughters and sisters of the sultan. Other principal sections are the suite of the Valide Sultan (sultan�s mother), the so-called Blue and Pink salons, the bedrooms of sultans Abdülmecid, Abdülaziz and Mehmed V. Reşad, the section housing the lower ranking palace women known as the Cariyeler Dairesi, the rooms of the sultan�s wives (kadınefendi), and the study and bedroom used by Atatürk. All the main rooms are furnished with valuable carpets, ornaments, paintings, chandeliers and calligraphic panels. Restoration of Dolmabahçe Palace has now been completed and every section is open to the public. Two galleries are devoted to an exhibition of precious items of various kinds, and fine examples of Yıldız porcelain from the National Palaces collection are displayed at the İç Hazine (Privy Purse) building. Paintings from the National Palaces collection can be seen in the Art Gallery, where they are displayed in rotation in the form of long-term exhibitions. On the lower floor beneath this gallery is a corridor containing a permanent exhibition of photographs showing the bird designs which feature in the palace�s architecture and its furnishings and ornaments. Abdülmecid Efendi Library in the Mabeyn is the other principal exhibition area at Dolmabahçe. The Mefruşat Dairesi at the palace entrance now houses the Cultural and Information Centre, which is responsible for research projects and promotion activities carried out at all the historic buildings attached to the Department of National Palaces. The centre contains a library, mainly relating to the l9th century, which is available for researchers. There are cafes in the grounds near the Clock Tower, the courtyard of the Mefruşat Dairesi, the Aviary, and the Veliahd Dairesi. Items available in the souvenir shops here include books about the National Palaces, postcards, and reproductions of selected paintings from the art collection. The Ceremonial Hall and gardens are available for private receptions. Special exhibition areass have now been established, and numerous cultural and art events are held in the palace. |
| General Directorate of Monuments and Museums | |
The main exterior gate of the Topkapı Palace is the Imperial Gate (Bab-ı Hümayun) which opens up to the Ayasofya Square. This gate leads to a garden known as the First Court. This court has the Aya Irini Church which was once used as an ammunition depot and behind the Church there is the mint. In the past various pavillions allocated to different services of the palace were located in the First Court. In later years these have ben replaced with public buildings and schools. Some of these are still existing. At the end of the 19th century Archeology Museum and School of Fine Arts (now Oriental Works Museum) were built in the large garden which is to the northwest of the First Court. The oldest structure in this section is the Çinili Köşk built by Fatih, which is now used as the Museum of Turkish Tiles and Ceramics. On the walls of this outer garden facing Bab-ı ali (the Imperial Gate), there is Alay Köşkü (procession Pavillion) where the Sultans used to watch the marching ceremonies. A section of the outer garden was planned by the municipality at the beginning of the 20th century and opened to the public. Known today as the Gülhane Park, the enterence has one of the larger gates of the palace. Topkapı Palace was converted to a museum in 1924. Parts of the Palace such as the Harem, Baghdat Pavilion, Revan Pavilion, Sofa Pavilion, and the Audiance Chamber distinguish themselves with their architectural assets,while in other sections artifacts are displayed which reflect the palace life. The museum also has collections from various donations and a library. Telephone and Fax Numbers of Topkapı Palace Museum Tel : (0212) 522 44 22 / 512 04 80-5 lines |
It is located on the promontory of the historical peninsula in İstanbul which overlooks both the Marmara Sea and the Bosphorus. The walls enclosing the palace grounds, the main gate on the land side and the first buildings were constructed during the time of Fatih Sultan Mehmet (the Conqueror) (1451 - 81). The palace has taken its present layout with the addition of new structures in the later centuries. Topkapı Palace was the official residence of the Ottoman Sultans, starting with Fatih Sultan Mehmet until 1856, when Abdülmecid moved to the Dolmabahçe palace, functioned as the administrative center of the state. The Enderun section also gained importance as a school. 
After the First Court, there is the Second Court which contains the palace buildings. It is entered through a monumental gate called Bab'us-Selam or the Middle Gate. The buildings in this court form the outer section of the palace which is called Birun. On the right there are the instantly noticed palace kitchens with their domes and chimneys and the dormitories of those who worked there. The most important of the buildings on the left side of the court are the Kubbealtı and the Inner Treasury. Behind Kubbealtı rises the Justice Tower, which is one of the symbols of the Topkapı Palace. The Harem section, which comes all the way to the back of these buildings is entered from the Third Court. Third Court is entered through the gate called Bab'üs Sa'ade (Gate of the White Eunuiches). This section of the palace is called Enderun, and it is the section where the sultans live with their extended families. Hence it is specially protected. The barracks of the Akağalar, which guard Bab'üs Sa'ade are on both sides of the gate. Tere are two structures. The first which is immediately opposite the gate is the Throne Room or the Audience Hall. Here the sultans receive the ambassadors and high ranking state officials such as Grand Visier or the Visiers. Right behind the Throne Room there is the library built by Ahmet III (1703 - 30). On the right side of the Third Court, there is the barracks of the Enderun and the Privy Treasury which is also known as the Mehmet the Conqueror Pavilion. On the side facing the Fourth Court, there is the Larder Barracks of the Enderun, the Treasury Chamber and the Chamber of the Sacred Relics. The left side starts with the Harem. The harem which covers a large part of the Palace consists of about 60 spaces of varying sizes. The main structures which are located in front of the Harem, facing the Third Court are Akağalar Mosque, Sultan Ahmet Mosque, Barracks of the Sacred Relics Guards and Chambers of the Sacred Relics. Here, the sacred relics brought back by Sultan Yavuz Selim from Egypt in 1517 are kept. The Fourth Court is entered from a covered path going from both sides of the Treasury Room. Here the buildings are located in the first part of the court, which has two sections of different levels. On the left side of this section called Lala Garden or Lale Garden there is Mabeyn which is the beginning point of Harem's access to the garden, terrace for the ladies with removable glass enclosure, Circumcission Room, Sultan İbrahim Patio and another one of the symbols of Topkapı palace, the İftariye (or Kameriye) and Baghdat Pavilion. This pavillion was built by Murad IV in 1640 to commemorate the Baghdat Campaign. At the center of the first section of the Fourth Court, there is the Big Pool and Ravan Pavillion next to it. This pavillion was also built by Murad IV in 1629, to commemorate the Revan Campaign. The side facing the second section has Sofa Pavilion (Koca Mustafa Pasha Pavilion), Başbala Tower and Hekimbaşı (Chief Physician) Room. The Sofa Mosque and Esvap Chamber and the latest built Mecidye Pavilion are on the right hand side of the Fourth Court. Out of the pavillions built on the shore of the Marmara Sea, only Sepetciler Mansion has survived until the present. 
During 18th. Century when the Topkapı palace took its final shape, it was sheltering a population of more than 10.000 in its outer (Birun) and inner (Enderun) and Harem sections. It shows no archirectural unity as new parts were added in every period according to the needs. However, this enables us to follow the stages Ottoman Architecture went through from the 15th to the middle of the 19th century at the Topkapı Palace. The buildings of the 15th - 17th centuries are simpler and those of the 18th - 19th centuries, particularly in terms of exterior and interior ornamentation are more complex. | General Directorate of Monuments and Museums | |
The palace which was built on a hilla at the side of a mountain 5 km east of Doğubeyazıt District is the last large monumental structure of the Ottoman Empire in the "Lale Devri" period. It is one of the most distinguished and magnificent examples ofthe 18th century Ottoman architecture and is very valuable in terms of art history. According to the top of the door inscription at the Harem Section it was consstructed in 1784 or 1199 accordingto the Islamic calendar. As the ground building sits on is a valley slope, it is rocky and hard. Despite the fact that it is at the center of the Old Beyazıt city its three sides (north, west, south) are steep and sloped. There is a suitable flat area only to the east. The entrance of the palace is on that side. Its also its narrowest facade. As the palace was built inan age when the castles ceased to be special and fire arms were developed and were abundently available its defense towards the hills on the east is weak. Its main gate is the weakest point in that respect. The structure of the main gate is no different than those seen in the palaces built in İstanbul and elsewhere in Anatolia and has a neat stone workmanship and carving. Today we have very few examples of the historical Turkish palaces still surviving. One of these is the İshak Pasha Palace and complex. Ishak Pasha Palace is composed of following sections in terms of architectural style:
2- First and second courts 3- The men's quarter (selamlık) 4- The mosque building 5- The Soup Kitchen (Darüzziyafe) 6- Bath 7- Rooms of the Harem Section 8- Hall for ceremonies and entertaintment 9- Arch gates 10- Panteries and ammunition room 11- The mousoleum 12- The bakery 13- Dungeons 14- Some sections from interior design (doors, windows, cupboards, fireplaces, soft drink cupboard etc) The characteristic of the palace is in its mixture of Ottoman, Persian and Seljuk architectural styles. The palace was built in 1685 by II. İshakpaşa of the Çildıroğulları and Çolak Abdi Pasha and took its final form in 1784. The building occupies an area of approximately 115m x 50 m. The portal on the eastern facade of the palace, which is built with cut stones, reflects the characteritics of the Seljuk art with its reliefs and decorations. The interior and exterior architectural wealth of the Ishak Pasha palace could be described forever. Whether the palace is taken as a whole or should its rooms and buildings studied individually, sucsess, order and mastery is all that one can fine Ishak Pasha Palace stands at a desolate valley today and the fact that it was the subject of various legends and stories add to its magnificent athmosphere some colour and mystery. |
| KÜCÜKSU PAVILION | ||
During the reign of Mahmud I (1730- 1754) Divittar Mehmed Paşa built a two storey timber palace on the waterfront here which continued to be used by Selim III (1789-1807) and Mahmud II (1808-1839).
Küçüksu Pavilion was designed by Nikoğos Balyan and completed in 1857. The pavilion has a ground area of 15x27 metres and consists of a basement and two main storeys, the basement containing a larder, kitchen and servants, quarters. Both first and second floors have four corner rooms opening onto a central gallery, a plan which reflects that of the traditional Turkish house. The ornate seaward façade and double flight of steps sweeping exuberantly around the ornamental pool and fountain are decorated with diverse western motifs. This European exterior is echoed in the interior furnishing and, decoration executed by Sechan, stage designer at Vienna Opera House.
The pavilion was extensively restored in 1994 and the surrounding garden and parkland, nearby fountain and quay are now being transformed into a park where the public can enjoy picnics and excursions as in previous centuries. When this project is completed, the garden of Küçüksu Pavilion will be available for private receptions upon application. |
This attractive part of the Bosphorus on the Asian shore is mentioned by Byzantine historians, and in Ottoman times became one of the imperial parks known as Kandil Bahçesi (Lantern Garden). Sultan Murad IV (1623-1640) was particularly fond of Küçüksu and gave it the name Gümüş Selvi (Silver Cypress), and in several sources from the l7th century onwards the name Bağçe-i Göksu is used. 
| AYNALIKAVAK PAVILION | ||
After the Turkish conquest of İstanbul this attractive stretch of countryside stretching inland from the Golden Horn became an imperial park known as the Tersane Hasbahçe after the naval arsenal at neabry Kasımpaşa.
Aynalıkavak Pavilion is one of these buildings, thought to date originally from the reign of Sultan Ahmed III (1703-1730), although extensive alterations under Selim III (1789-1807) transformed its appearance radically.The principal rooms are a reception room known as the Divanhane and the smaller Music Room. Bands of exquisite calligraphic decoration around the windows of these two rooms consist of verses by two famous poets, Şeyh Galib and Enderûni Fâzıl, in praise of the pavilion and Selim III. These talik inscriptions were designed by the calligrapher Yesari.
Today as an appropriate tribute to Sultan Selim III, who is a major figure of Turkish classical music, the basement of Aynalıkavak Pavilion houses an exhibition of Turkish musical instruments donated by various individuals and institutions, together with photographs of antique instruments at Topkapı Palace Museum. In summer the pretty gardens and cafeteria attract many visitors, as do the Aynalıkavak Concerts of classical Turkish art music. Private receptions are held in the gardens here. |
Aynalıkavak Pavilion is the sole remaining building from a large Ottoman palace known as Aynalıkavak Palace or Tersane palace, dating back to the 17th century. This pretty building on the shore or the Golden Horn is a reminder that this now built-up area was for centuries a place parks, meadows and streams where the Ottoman sultans and before them the Byzantines came for country excursions.
| IHLAMUR PAVILIONS | ||
Ihlamur Pavilions were part of the ambitious building programme initiated by Sultan Abdülmecid (1839-1860), including Dolmabahçe Palace at Beşiktaş and Küçüksu Pavilion on the Bosphorus.
Lamartine would not have been disappointed by the two lodges which were built at Ihlamur shortly afterwards, however. Built by the architect Nikoğos Balyan between 1849 and 1855, they have been variously called the Nüzhetiye and Ihlamur Pavilions.
The plainer and slightly smaller Maiyet Köşk was used by the sultan�s entourage or family members who accompanied him.
The Ihlamur Pavilions were placed under the auspices of the National Palaces in 1966 as museum-palaces and are open to the public. There is a cafe in the Maiyet Köşk and part of the garden, and as at the other palaces and pavilions private receptions may be held here by arrangement. A newer building in the grounds which used to be accommodation for employees is now used to hold courses in painting, sculpture and drama mainly for children. |
Ihlamur Valley lying behind the district of Beşiktaş was a popular picnic place in the early l8th century, when the vineyards here belonged to Hacı Hüseyin Ağa, superintendent of the Naval Arsenal. Although this attractive spot became an imperial estate during the reign of Ahmed III (1703-1730), it continued to be known by this name until the mid l9th century. Abdülhamid I (1774-1789) and his son Selim III (1789-1807) frequently visited this park. 
| Chalet Pavillion | ||
 It is in the grounds of the Yıldız Palace in Istanbul. It is the building where the German Emperor Wilheim II stayed during his three visits. It was built in three sections 1878-1880, 1889, 1898) upon the request of Abdülhamit II. The two story pavillion contains of 60 rooms, 9 bathrooms, two Turkish baths. Architects suc as Sarkis Balyan, Nikolai Kalfa and R. d'Aranco took part in its design. |
| Serifler Residence | ||
The Harem is now destroyed only the men's quarters have survived. It has a beautiful fountain in its reception hall. It is also famous for its pencil decorations on the ceilings and cupboards, and its wall paintings. |
| Hazeranlar Residence | ||
 Situated in Amasya, it was built in 1865 by Hasan Talat Efendi and was presented to his sister Hazeran Hanım. This three story building is a typical Ottoman residence with its men's quarters, Harem and its courtyard. Its ceiling and cupboard decorations, fireplace and shelves are of striking beauty. It was converted into a museum in 1984.  |
| Safranbolu | ||
Safranbolu is a sub-provincial centre in the north-western Black Sea region,located at the cross-section of the 41°16' northern latitude and 32°41' eastern longitude. According to the present administrative system the neighbouring provinces are: Zonguldak, Kastamonu, Çankırı, Bolu; and the sub-provinces are: Karabük, Eflani, Ulus, Bartın, Araç, Eskipazar, Bulak, Tokatlı, Gayıza (İncekaya),Danaköy, Çiftlik, Kirpe (Düzce), Yazı, Konarı, Yürük, Akveren, Oğulveren, Davutobası, Çerçen, Hacılarobası, Bostanbükü, Karıt, Başköy, Kılavuzlar and Kapullu are some of the villages in the same region. Among these Bulak, Tokatlı, Gayıza, Danaköy, Yazı, Konarı, Yürük, Karıt, Bostanbükü and Kılavuzlar are of special significance to Safranbolu (Safranbolu Map). Yürük village has long been an important centre close to Safranbolu, with its large houses and the labour it supplies to Istanbul, primarily in bakery. HISTORY The environs of Safranbolu have been an area of settlement ever since the Paleolithic Age. There are three large tumulus around Eflani. Homeros refers to this area as Paphlagonia. After the Persian and Hellenistic periods it became an even more densely populated region during the Roman and Byzantine eras.The 24 tumuli in the Safranbolu-Eflani region various rock-tombs,reliefs and a Roman temple in the village of Sipahiler, south of Safranbolu, are among the tangible evidence of these periods. There is no trace of either the Roman or the Byzantine era within the city of Safranbolu; neither is there any refence to its name during these periods. The historian Leonard suggests that Safranbolu could be the old Germia, while according to Ainsworth, as the city was formerly named Zafaran Boli, it could well have been Flaviopolis which literally has the same meaning: city of saffron5. Osman Turan writes that the city was named Dadybra before it was taken over by the Turks. After the Turks came to Anatolia, the history of Safranbolu developed in relation to that of Kastamonu. This region was first occupied by the Turks at the the 12th century, during the reign of the Danışmentliler. Later it was recaptured by the Byzantines, but the Çobanoğulları settled here at the beginning of the 13th century. At the start, the Çobanoğulları were loyal to the Seljuks, then, Ilhanlılar. The chieftain of Çandaroğulları from the tribe of Kayı, established at Eflani towards the end of the 13th century, was also loyal first to the Seljuk to the İlhanlıs; was independent for a short period at the beginning of the 15th century, and stayed in power until 1461, then becoming loyal to the Ottoamans. The name of the city is believed to be Zalifre or Zalifra during that period. Eski Cami, Süleyman Paşa Madrasa and Eski Hamam (Old Baths) in Safranbolu are from the period of the Candaroğulları. All through these periods and later in the Ottoman era, Kastamonu has always been the regional centre. Starting from the Çandaroğulları period, for a long time under the Ottoman rule Safranbolu was referred to as Taraklı Borlu. The names Zağfiran Borlu and later Zağfiranbolu were used from the start of the 18th Century onwards Documentary research on the history of Safranbolu during the Ottoman period is very scarce. Some names may emerge when we look at its historical buildigs; Cinci Hoca, Köprülü Mehmet Paşa, İzzet Mehmet Paşa being among the prominent people who have left their mark on Safranbolu. Sources of Building Materials Stone The stone used in building construction is obtained from the limestone rocks in the area. This hard, blue stone is utilized also for the manufacture of good quality lime. Another local material, "küfünk", a porous, lightweight stone is used as infill in the wood-frame construction and also for building chimneys; being easily sawed into shape. Adobe Although every type of soil could be used in making adobe, those made out of the soil brought specifically from Köprücek were preferred. Tiles Roof tiles were hand-shaped in the villages of Çerçen, Bostanbükü and Çamlıca, and burnt in kilns. Wood . Looking at the houses in Safranbolu we can see that very good quality wood has been generously used. Even today, more than half of the surrounding area is covered with forests. We can definitely say that this ratio was much higher in the old days. Today, 38 percent of the trees within the Karabük Forestry Management Area are firs, 30 percent beeches, 20 percent pines and 9 percent oaks. Wood used in construction is mainly fir and pine; walnut and poplar have also been used sparingly. Orders for the required wood for buildings were made to mountain villages such as Gayıza, Tokatlıköy, Danaköy, Karaevli, Susundur, Arıcak and Başköy. They shaped the lumber which they had already felled with axes, and then fastening them to sides of mules brought it down mountain trails. Oxen pulled down the thicker trees. Wood was cut either with hand saws or at saw-mills. In the first half of the 20th century there were three saw-mills in Danaköy. Mortars Lime: Good quality lime is produced from the blue limestones in the area which are burned in the forest land near Gayıza. Mud mortar: It is produced from every type of soil in the same way as adobe clay is prepared. HISTORICAL BUILDINGS OF SIGNIFICANCE No records have yet been encountered regarding any buildings from the Byzantine times in Safranbolu. Probably, the Hagios Stephanos church (Ulucami) in Kıranköy was built by Theodora. The Eski Cami mosque may have been trıansformed from a Byzantine church. The remains of buildings belonging to the Turks start from the Candaroğulları period. These have undergone various repairs and transformations through time. Only the most significant buildings are listed below. Religious Buildings There are around 30 mosques. The oldest one is the Süleyman Paşa Camii (Eski Cami) mosque from the Candaroğulları period (14th century). The other most important ones are Köprülü Mehmet Paşa mosque (1662), İzzet Mehmet Paşa mosque (1779). Educational Buildings The Süleyman Paşa Madrasa (14th century) of which only the foundations exist today, is the only educational building worth noting. Social Buildings Cinci Hoca Hanı (Cinci Hodja Caravanserai 17th century), Eski Hamam (Old Baths 14th century), Yeni Hamam (New Baths, 17th century). In addition to these buildings, approximately 180 fountains and 15 bridges can be listed. Looking at these structures, we can assume that Safranbolu began to gain signifiance in the 14th century. It attracted the attention of some prominent statesmen starting from the 17th century through the 18th century; and since then, with the increase in its own economic power, continued to add many more buildings, mostly small mosques and fountains, to the existing stock. Folklore Safranbolu owns the richest heritage of folklore in the area. Its traditions, customs, folk-tales, folk-songs, music and folk-dances are each worth thorough research. We can trace the characteristic features of the Turkish society behind each and every one of these folkloric items. ECONOMY While studying the houses of Safranbolu, their spaciousness; their regular and steady construction; the wealth of their spatial organization; their large gardens with numerous fruit trees and ponds (either in open air or within pavilions); the fact that each family owned a summer and a winter house; plus the dignity, elegance and self-esteem of its people, all induce us to search for the causes of this prosperity. Agriculture As a result of the self sufficient economic system prevailing in the city, each family produces its own food. This consists of vegetables, fruit and food which is prepared and stored for seasonal consumption. Meat, oil and sugar is purchased from elsewhere. Most people of Safranbolu own fields in the vicinity of the city. Formerly, there were extensive rice fields on the land where the Iron and Steel Factory is now situated. Wheat, barley, rice and straw came from these fıelds cultivated by the sharecroppers. Saffron: As the city takes its name from this flower and as it is still grown in the area, it will be appropriate to dwell in more detail on saffron. A member of the iridaceae family, saffron is a bulbous plant, in many ways resembling colchicum, with its pinkish purple flowers. It blooms in the months of September and October. The tips of its female organ (the stigma) are picked at dawn. The plant flowers a year after being planted. After its flowers have been picked for two succeeding years, the plant is rooted out. Tips gathered from 100,000 flowers add up to only a weight of 1 kg. Utilization: Having dyeing and medicinal properties, saffron is used in pharmaceuticals, dyeing and also as a flavouring in cooking. It is capable of colouring water a hundred thousand times its weight. History: Homeros and Hippocrates refer to saffron. It has been cultivated in Iran and Kashmir for ages. The Mongolians introduced saffron to China, the Arabs to Şpain and the Crusaders to the rest of Europe. In Ancient Greece and Rome it was chewed for its essence and medicinal properties and was also used as a dye. Areas of Cultivation: Saffron is grown in Spain, France, Sicily, the outskir of the Appenines, Iran and Kashmir. In Turkey it is cultivated in Istanbul, Safranbolu, Adana and Bilecik. In three of the villages of Safranbolu (Ak Oğulveren and Davutobası) some of the families are still engaged in s production. Economy: Satisfactory records regarding the economic value of saffron beginning of this century have not yet been revealed. We know that at th of the 19th century the October harvest of saffron was exported to Syri Egypt from Safranbolu. In 1923, 3200 Ottoman liras worth of saffron was sold to Ankara and Istanbul. Today, because the saffron grown in Turkey does not suffice to meet the internal demand, it is supplemented by imports Animal Husbandry In general, each household in the city owns a cow which is mainly kept for its milk. Every morning the herd is collected by a cowherd. The Angora goat is the most extensively husbanded animal in the area. Yogurt and butter are produced from milk. The male animals are preferred for slaughter. In Safranbolu, it is not customary to consume mutton. In autumn, "kavurma" a braised preserved meat, is prepared from goat's meat, to be consumed during the months when no fresh meat is available. Animal husbandry is also important for the other by-products: wool, hair and hide. One other important area of production in the old times was bee-keeping exercised on the high plateaus. Honey was used as a substitute for sugar while honeywax was exported. Honeywax was also utilized locally as a subsidiary element by the shoe-makers. Leather Manufacturing The most significant area of production in Safranbolu was leather and leather goods. There is no records as to when leather production actually began in Safranbolu. It can be assumed however that the valley of the Tabakhane stream has been used for leather-tannig, being extremely suitable from many aspects: the topography both conceals the Unattractive sight of the tannery and prevents the unpleasent odours from reaching the mean settlement areas while the stream provides a natural recipient for contaminated water. The Ottomans were at a considerably advenced level in leater manufacturing until the end of the 18th century. Mordtmann notes that leather manufacturing had an economic value for Safranbolu in 1852 and 84 tanneries are listed in 1890. Considering that the population was around 7500 during the same period, leather tanning appears to be a very intensive area of manufacture. Being somewhat protected from external influences along wiht the delayed impact of industrialization on leather manufacturing this line of production continued to prosper in Safranbolu up to the middle of the 20th century. Although the guilds were abolished by law in 1910 it was quite some time before their influence within the traditions died out. Later the export of partly treated leather to Europe became profitable and many a rich merchant emerged from amongst those in this trade. According to the booklet published by the Safranbolu Chamber of Commerce and Industry, 415 workers were employed in a hundred tanneries. 430 people worked as shoe-makers, slipper-makers and in leather tailoring. Semi-manufactured leather of various kinds, graded from very fine to coarse leather worth 84.600 Ottoman liras were exported while 17.900 Ottoman liras worth of glazed and patent leather was imported from Europe. Hides of cows, bulls, goats and sheep worth 56.000 Ottoman liras were purchased from the area. There were 16 merchants dealing in leather goods in general and 5 merchants dealing specifically in footwear. During the same years the Safranbolu Tanners Company was about to complete a leather factory which unfortunately functioned for only a very short period. The change of fashion in footwear and the mass production of less costly rubber shoes for the viillagers decreased the importance of shoe making. The semi-manufactured leather products products could not compete with the products of the factories established in various places in Anatolia. Finally, the establishment of the nearby Iron and Steel Factory nearly brought an end leather manufacturing. The Tannery: It is situated within a valley along a stream, the Tabakhane which means tannery. It has its own mosque and coffee-house . The chemical content of the water springing from beneath the mosque is suitable for tanning. The hides left in natural or man-made pits alongside the valley mature within a certain period of time. Tanning is a time consuming and wearying job. Those working in this field were organised within the guild system. The best raw hides gathered from the area were transformed into leather of the finest quality after being treated. Traditional methods were employed in leather treatement. Today there are two workshops using the traditional methods which operate from time to time along with two others utilizing machinery. The leather treated in the tanneries was purchased by the shoemakers, saddlers and manufacturers of leather goods. Arasta (market place): The makers of lights shoes (yemeniciler) were gathered in the arasta in their self-owned shops. There were a total of 46 shops in the arasta. Three to five people worked in each of the tiny shops. Hung on strings, the light-shoes were exhibited in the shops. Several types of shoes for men, women and children were produced at the beginning of the century. These were mainly sold to shoe-merchants coming from the neighbourhood, who arrived in Safranbolu with lots of animals and bundles. On Saturday afternoons the shoe makers packed the shoes which they had produced during the week into baskets and sold them to the wholesalers, who usually dropped by once every two weeks. In spite of the hard work which sometimes kept them busy until dawn, the shoe makers never became rich, but managed to sustain a modest life. Payments to the tanner were due every November. Money was not used until then. During the War of Independence it was Safranbolu that supplied a great part of the army's need for footwear. This alone is sufficient evidence of the effectiveness of its shoe-making trade. In 1923, 15000 Ottoman liras worth of shoes were sold to the neighbouring towns and villages. In 1975 there werea few shops still operating in the arasta. Saddlers and Leather Workers: Horses and donkeys which were important means of transport were used in great numbers in and Safranbolu 46. For this reason saddle and harness making was a common field of production. The producers of saddles and harnesses were gathered in two separate streets in the çarşı, called "semerciler içi" and "saraçlar içi", names denoting the crafts excersised within. It is known that in 1923 there were 120 people engaged in saddle-making. There still are a few saddle-makers today . Farriers As each household owned at least one or two saddle-horses, there was a suffıcient number of farriers engaged in horse-shoeing. Ironmongery Ironmongers, which even today exist in the market area, were in a wellestablished branch of activity in the old days. Farming equipment, metal parts of harnesses, tools for wood and leather working, household utensils, tools and building elements such as axes, adzes, gimlets, hammers, nails, screws, hinges, locks, door handles, door knocks, iron hooks for window shutters latches and hooks etc...used in building construction were manufactured in the ironmongers' market. Coppersmiths Safranbolu was the copper market of the area. The shops which sell ready-made copperware today formerly produced all these themselves. TRADITIONS, CUSTOMS AND RELIGION The philosophy of life inspired by traditions, customs and religion is to be content with very little. People of Safranbolu are thrifty; they have no tendency for luxury. Simplicity is everywhere. They sit and work on the floor, sleep in laid on the floor and eat at low tables. There is not much furniture in the homes. Even ornamentation is mostly limited to the properties such as color and texture of the materials used, thus preserving their natural appearance. Consequently it is difficult to tell a rich man's house from a poor man's. In spite of simplicity, however, there is an evident abundance. Food is plentiful and ots of variety; rooms are many and large; even their houses are double! It a healthy, problem-free society all in all. Harem-Selamlık (Women's Quarters-Men's Quarters): Religion and traditions close the house to the outside world. For this reason the gardens and interiors of houses are separated from the streets by high walls; the windows are latticed . Women are not seen by men outside the household. Sometimes, even in the same house, men and women live in separate quarters. There are examples of such houses in Safranbolu, divided into men's and women�s quarters (selamlık, harem). Usually, it is only the very rich who can to have this spatial organization. The Hacı Memişler summer house is comprised of a harem and selamlık built side by side. Among the examples studied in this book, the Kaymakamlar house is unique in that it is provided with separate entrances for the harem and selamlık quarters, on different floors and openings onto different streets. In the Hacı Salih Paşa house also, there two separate entrances and staircases for the harem and selamlık quarters. In other houses although there is a single entrance, a room which is easily accessible from the staircase, without unnecessary intrusion into the family life, is used as a selamlık. The selamlık rooms are treated with special care. In the older examples these rooms have top windows and their ceilings are decorated in a more sophisticated manner. The Revolving Cupboard: As in the old days, it was not desirable that a woman be looked upon by a man from outside the household, even in her own home. Therefore special arrangements were made to secure her privacy. One of these was the revolving cupboard, designed so as to enable serving the men in the selamlık from the harem quarters, without being seen. The plates, tableware or cups used for serving food, coffee, syrups etc. were placed on the shelves of this revolving cupboard which was built in a cabinet between the harem and selamlık quarters, with doors opening to both sides. After turning the cupboard manually, anything on the shelves could be fetched from the other side. This design shows how the houses which do not have separate harem and selamlık or separate servants for each, conform to traditions. The Selamlık Pavilion: Some houses have a separate selamlık pavilion in their gardens with one or more rooms. In most of them, there is a pool in the main sitting area. Pools are also to be found in the selamlık rooms on the middle floor of some houses. There are such pools in both of the "şehir" houses of the Asmazlar. The parapet wall is about 50 to 60 cms from the floor. There are divans (sitting platforms) along the walls on all three sides. In the selamlık pavilion of Kurtlar summer house there is a raised platform with pillars along the window wall and a small fireplace for making coffee at one end of the pool-room. The pavilion has two separate rooms and a toilet-washroom. The windows are unglazed. The main floor with the pond is the ground floor. In the Rauf Beyler house at the Bağlar district there is a very impressive pavilion. Its strictly symmetrical plan has an almost unique architectural concept with its two rooms with an eyvan in between; its large pool surrounded by divans and the beautifully decorated ceiling of the pool room which has a span of 8 metres. The selamlık pavilions open onto the garden which is entered through a separate street door. When the garden pavilion consists of a single room with a pool it is simply called "the pool room". Usually these rooms -which contain a pool, a fountain, divans and occasionally a small fireplace for making coffee- have a polygonal plan In some houses in the Bağlar district which do not have spring water, the pool is replaced by a well, in which case the space is called the "well-room". With the divans on all sides, these rooms have the same refreshing function as the pool-rooms. Drinking water and fruits are chilled in the well. Ablution The Moslem religion demands that ablution should be performed five times a day, before each ritual prayer. There are washrooms and ablution closets within the house for this purpose. Each room, which is the basic living unit is provided with an area and facilities for the performance of total ablution; a well thought- out solution from the point of view of the intimacy of family life. Considering the close relation between the two, the toilet is generally combined with the wash-room. As a consequence of traditions, water used for washing dishes is never mixed with the sewage. It is either collected in a separate pool or runs freely through a wooden gutter into the garden. No specific space has been allocated for worship within the house. It is believed that the ritual prayers (namaz) can be performed anywhere that is clean enough.
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