Constantinople and the Scenery of the Seven Churches of Asia Minor: Series One and Series Two in one VolumeWalsh, R. (Robert)
History
Constantinople and the Scenery of the Seven Churches of Asia Minor: Series One and Series Two in one Volume
Walsh, R. (Robert)
Istanbul (Turkey) -- History; Istanbul (Turkey) -- Pictorial works
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.
Public-domain text, read in full here on John Shaqi.
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