THE MOSQUE OF SULTAN ACHMET.T. Allom.E. Goodall.
The monarch who erected this mosque, ascended the throne in the year 1603, and at the age of fifteen. He was immediately afterwards seized with the small-pox, and, in order that the janissaries might not avail themselves of his illness, he caused his own brother to be strangled, having first put out his eyes. His object was to deprive the turbulent soldiers of every pretext for dethroning him, as they were disposed to do, when there existed no another of the line of Mohammed to succeed him. His next act was to build a mosque, as fratricide is no impediment to Turkish piety; and it is remarkable, that in this mosque, two centuries afterwards, was the utter extirpation of these janissaries effected.
He was determined that it should exceed in beauty that of Santa Sophia, or the great Solimanie, so he ordered that it should be distinguished by six minarets. When this design was communicated to the Mufti, he represented to the Sultan the impiety of such an act, as the mosque of the Prophet at Mecca had but four, and no sacred edifice since built had presumed to exceed that number. Achmet assured the Mufti that he must be mistaken, and immediately summoned a Hadgee, who had just made the pilgrimage to Mecca, into his presence, who affirmed that he had himself seen and reckoned the six minarets; and, to satisfy entirely the Mufti’s scruples, a caravan of pilgrims were directed to proceed to the tomb and temple of the Prophet, and make their report. Meantime the Sultan despatched a Tatar, who was to travel night and day, with orders to the Sheik Islam, that two new minarets should be immediately added to the temple; and when the slow caravan arrived, they found the number to be what the Sultan had stated−and reported accordingly. Achmet now pushed on his building with indefatigable activity, and in order to expedite it, he worked at it himself with his own hands, devoting one hour every Friday after prayers to the employment, and then paid his fellow-workmen, every man his wages, in order by his personal example to stimulate their exertions.
The site he selected was the most admirable and commanding which the city afforded. It forms one side of the Atmeidan, and is separated only by an open screen from this extensive area, one of the few open spaces within the walls of Constantinople. From this it is seen to great advantage on one side; while on the other, towering over the gardens of the Seraglio, and surmounting the lofty hill on which it stands, it is the most conspicuous object presented to a stranger approaching from the Sea of Marmora, and gives the first and most favourable view of those imperial edifices. The materials selected were of the most costly kind, in so much, that it is affirmed that every stone in the edifice cost three aspers. It stands in an open space, which forms round it an extensive ambulatory, from the latter of which the edifice arises, and is seen to more advantage than any other in the city.
The first objects that strike the spectator are the six beautiful minarets, with their elegant and slender forms ascending to an immense height, and seeming as it were to pierce the clouds with their sharp-pointed cones. Round each run three capitals or galleries for the Muezzim, highly ornamented in fretted arabesque. Above these appears the majestic edifice swelling into domes and cupolas, and covered with light tracery and fancy fretwork, forming a strong contrast to the comparatively heavy, dark, and dismal dome of Santa Sophia, which rises at no great distance beside. This juxtaposition strikes a stranger. He sees with surprise that the genius of a dull and ignorant Turk should produce an edifice so superior in beauty and elegance to this chef-d’œuvre of Grecian art. Architects of that nation had been employed in erecting the imperial mosque of Mohammed II. and Selim II., but this of Achmet is exclusively Turkish or Arabic architecture.
The summit of the edifice is distinguished by thirty cupolas, from whence ascends the great dome, flanked by four semi-domes. The mosque is entered by massive brazen gates, embossed in high relief, and the interior presents a view of the dome supported by four gigantic columns, fluted and filleted, round which are inscribed, in bands, sentences from the Koran. The walls are richly painted in fresco with more variety than regularity, and gilded tablets on them every where display Arabic inscriptions. The light is admitted by windows of stained glass, thickly studded in small compartments, which look exceedingly rich, casting a soothing and a religious, but yet ample light; for this mosque is distinguished above all others in this respect, that by the construction and arrangement of the casements, the interior is fully illuminated, which forms a strong contrast to the dim and doubtful twilight admitted into most other religious edifices of the East.
Between the pillars is a large circle of wire-suspended lamps, which does not add to the general effect; globes of glass, ostrich eggs, and other frivolous and mean ornaments, frequently deform the interior of those noble buildings, and mark the genius of a Turk−at once puerile and magnificent. There is, in other respects, a noble simplicity, a naked grandeur, well befitting a worship from which all idolatrous representations are excluded. The interior of a mosque resembles the nave and transept of St. Paul’s, with the exception of its statues−grand and noble by its vastness and vacuity.
The occasion chosen by the artist, in the illustration, exhibits a display of the most important circumstance that has occurred since the Osmanli established themselves in Europe. It was the moment when it was to be decided, whether they should remain the rude and obstinate barbarians that first crossed the Hellespont, or be illumined by the lights and amalgamated with the nations of Europe, and when the reforming Sultan, struggling for life and empire, was compelled to have recourse to the last expedient left him. The janissaries having the whole population of the city entangled in their connexion, and enlisting all its prejudices on their side, were accumulating such a vast force, as would soon bear down all opposition: but Mahmoud, at once, determined on that course which could alone counteract their influence. He ordered theSandjak sheriff, or sacred standard of the Prophet, to be taken from its repository in the imperial treasury. Thissacred object was only seen on the most solemn and important occasions, and was now, for the first time for half a century, exhibited, and brought with great pomp to the mosque of Achmet. When this was rumoured abroad, there was no man who professed the true faith, that dared to resist the call: thousands and tens of thousands were seen rushing from all quarters to this temple; and when it was filled by the multitude, the standard was displayed from the lofty pulpit of the Imaum. On the steps stood the Sultan, exhorting the people, by the faith they owed the Prophet, now to rally round the sacred ensign. A deep murmur of assent, the strongest display of Turkish feeling and determination, filled the lofty dome. They all fell prostrate in confirmation of their resolve, and from that moment the cause of the janissaries became desperate.