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English
Gerard Dockery says:
Baba Vida Fortress by Eric
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Gerard Dockery says: A prosperous broker and a Christian citizen of the town of Aleppo commissioned the painted panels of the walls of the entrance room in his house at the beginning of the 17th century. The paintings within the Aleppo room thus make up the oldest collection from a Syrian dwelling house from the Ottoman period. The Christian patron engaged craftsmen from the best workshops of the time in his desire for the entrance room, into which his guests would first arrive, to be painted in a variety of themes. These themes were based on contemporary Islamic book illustration, consisting of floral and geometric compositions, rendered in the best traditional Ottoman style. Christian themes from the Old and New Testaments, and the depiction of Mary with Child, sit alongside courtly scenes like those portrayed in Persian book illustration. The selection of encircling Psalms, Arabic proverbs and Persian principles further add to the impression of a peaceful community of different religious beliefs living together. The central panels are found in the back part of the main niche, to the left and right of a wall cupboard. Courtly themes are repeated on the left-side panel, including a ruler sitting on a throne, a hunt and a hunting party with a prince holding a falcon. In contrast, Christian themes are portrayed on the right-side panel, and include the Last Supper, Salome’s dance in front of King Herod and the sacrifice of Isaac. Other panels around the room have individual depictions from either courtly or Christian subject matters, such as the love story of Leila and Majnun of Nizami (1141–1202) from the Haft Paykar, or the Virgin Mary and Child or Saint George. Real and imaginary animals are depicted alongside. It is the variety of the themes of these paintings that make these earliest surviving wall panels such a comprehensive collection, a variety that could perhaps only have arisen in the Syrian trading town Aleppo. The name Halab Shah ibn Isa, one of the craftsmen, appears on the cornice. Discover Islamic Art (Museum with no frontiers)
Aleppo Room, Islamic Art Museum, Museum für Islamische Kunst, Pergamonmuseum, Pergamon Museum, Museum Island, Berlin by arjunalistened
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Gerard Dockery says: Some notable structures were still created during this period. The huge round tower near the visitor entrance today, standing at the corner of the Southern and Northern Enclosures, was built by Ibrahim Pasha (the later Grand Vizier under Suleiman the Magnificent) in 1525 and is known as the Burj al-Muqattam ("Tower of the Muqattam Hills") Wikipedia
Cairo Citadel Walls Southern Enclosure Tower M Burj al-Muqattam 16th cent Ottoman south (1) by Bruce Allardice
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Gerard Dockery says: Çinili Köşk (Tiled Kiosk) is one of the oldest surviving Ottoman buildings in Istanbul. It was commissioned by Ottoman Sultan Mehmed II in 1472/877 AH, construction beginning in the month of Rabiʽ al-Thani. Also known under the name of Sırça Saray (Tile Palace), the kiosk got its name from the tile decorations that once covered almost all surfaces of its interior and exterior walls. Only a small fraction of the kiosk’s original tile decoration remains today. Çinili Köşk was designed as a royal pleasure pavilion and is located in the outer gardens of the Topkapı Palace. The kiosk was frequently used in the fifteenth and sixteenth/ninth and tenth centuries AH by the Ottoman sultans to watch imperial games and spectacles that were held in the large square the kiosk faced, as well as for hosting numerous feasts and celebrations. During this period, the beauty of the kiosk and its tiles, and the splendour of the events hosted in it were frequently praised in Ottoman court poetry. Çinili Köşk is a two-story building with a flat roof. The upper floor consists of a domed central hall that opens onto two iwans along the north-south axis, and a portico and a domed alcove on the east-west axis. The plan of the lower floor is similar, but lacks the iwans and the portico. Today, the portico is enclosed by fourteen marble columns. However, it is known that up until the eighteenth/twelfth century AH, the portico consisted of a wooden colonnade. Sometime in the late sixteenth/tenth century AH, Çinili Köşk lost its original function, and thus its centrality to imperial life. From then onwards, it attained numerous different roles, such as a prison for political rivals and a military warehouse, and fell into serious disrepair. However in 1875/1292 AH, it was decided that the growing imperial collection of antiquities would be housed and displayed in the kiosk. Çinili Köşk thus became the official location of the Ottoman Imperial Museum (Müze-i Hümayun‎), regaining its significance as an imperial building, and went through a series of restorations and alterations. Although its collection and its title as a museum has changed on numerous occasions since then, Çinili Köşk continues to be used as a museum today as part of the Istanbul Archaeology Museums. Named the Çinili Köşk Museum, it currently houses a collection of tiles and ceramics, with the remaining tiles of the kiosk having become a part of the collection. During its early history, in addition to fulfilling a practical function as a pleasure pavilion, Çinili Köşk also acted as a physical declaration of Mehmed II’s imperial claims and ambitions. One of the earliest written descriptions of the kiosk comes from the accounts of Mehmed’s court historian Tursun Bey. Tursun Bey wrote that the kiosk was built in the Persian style (“tavr-ı ekâsire”). The building was also described to be in the Persian style (“alla Persiana”) by the Venetian writer Giovanni Maria Angiolello, who served in Mehmed II’s court. The Persian style mentioned has widely been understood to mean the Timurid style, as the building’s cruciform layout, its building materials, and its tile decoration are typical of Timurid architecture. Although at the time of Çinili Köşk’s construction the Timurids had lost their dominance over Iran, the Turkoman dynasties ruling this area, as well as the Anatolian Principality of Karaman, cultivated the Timurid cultural heritage. In addition to describing its architecture as Persian, Angiolello also stated that the kiosk was decorated in the Karamanid style. Therefore, Çinili Köşk’s architecture and decoration reflected a shared culture of the Timurids, the Turkomans, and the Karamanids. This was a culture that the Ottomans engaged with and appreciated. However, Çinili Köşk seems to be the only Ottoman building built in the Timurid plan, and its construction was not merely as a result of an Ottoman appreciation of this culture. The kiosk was built in a period of both cultural relations and military conflicts with these dynasties, and was intended as an explicit message of dominance over the lands where the culture flourished. It was built right after the Ottoman victory over the Karamanids, and during the war with the Akkoyunlu, the most powerful of the Turkoman dynasties in this period. It commemorated one victory, and declared that more were to come, reflecting Mehmed II’s ambitions to rule all of Anatolia and Iran. Çinili Köşk was not the only kiosk built by Mehmed II in the palace gardens to express the territorial dominance and ambitions of the Ottoman Empire. According to Tursun Bey, next to Çinili Köşk existed another kiosk built under Mehmed II in the Ottoman style (ṭavr-ı osmânî). Moreover, in addition to noting the Ottoman style kiosk, Angiolello wrote that a third kiosk, one in the Greek style (alla Greca) was built in the same period near the two. Together these three kiosks, of which only Çinili Köşk survives, represented the different lands and cultures the Ottoman Empire encompassed and aspired to encompass. The building’s rebirth as the Imperial Museum in the late nineteenth/thirteenth century AH was in ways a revival of this symbolic imperial function. The kiosk as a museum no longer represented Ottoman dominance over Karamanid lands and Iran through its “Persian” architecture, nor announced more conquests to come. Yet it declared through the objects displayed in it, which were brought from the four corners of the Empire, the continuation of Ottoman control over its remaining territories in a period of rapid decline and loss of territory. In 1908/1326 AH, the Ottoman Imperial Museum was expanded with the construction of a new, purpose-built building. With this, Çinili Köşk was emptied of all classical objects, and became the Islamic Arts Division of the Imperial Museum, housing a collection much smaller than the classical collection displayed in the new, main building of the museum. Therefore, in this period, which coincided with the final decades of the Ottoman Empire, Çinili Köşk began once again to lose its centrality. After the fall of the Ottoman Empire, and the founding of the Turkish Republic, the Islamic collection was removed from Çinili Köşk, which remained mostly empty until 1981, when the kiosk was incorporated into the Istanbul Archaeology Museums. Archnet
Istanbul: Tiled Kiosk Museum by zug55
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Gerard Dockery says:
polychrome plate, Iznik 1570s by phginlon
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Gerard Dockery says:
Harem, Topkapi Palace, Istanbul by rwchicago
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Gerard Dockery says:
Gul Baba Tomb by ikb
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Gerard Dockery says:
Topkapi Palace, Istanbul (Turkey) by Andrea Guagni 7,8 Million
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Gerard Dockery says: Khan al-Wazir is a caravanserai located in the old city of Aleppo between the Citadel and the Great Mosque. The Ottoman governor of Aleppo, Qara Muhammad Paşa, commissioned the building between 1678 and 1682/1083 AH. This khan is one of the largest ones in Aleppo. It follows a traditional plan consisting of a large central courtyard surrounded by a two story block of buildings. The perimeter of the caravanserai is not fully rectangular but rather angled on the north and east sides to accommodate the direction of the city's streets, and the courtyard's perimeter reflects this irregularity. Merchant's storage areas and stores occupied the first story of the cells surrounding the courtyard, and sleeping quarters for travelers occupied the second. The entrance to the khan is on its west side through a large and handsome gatehouse decorated with black and white ablaq masonry surmounted by an ornate window. Portions of the north side of the caravanserai were demolished during the French Mandate to make way for the large arterial street running along its north side. Archnet
401 Khan Al-Wazir, Aleppo- Entrance View from Courtyard by FHJ786
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Gerard Dockery says: This major takiyya complex located on the banks of the Barada River was built on the ruins of Qasr al-Ablaq by the Ottoman Sultan Süleyman I or Sulayman al-Qanuni (1520-1566) between 1554 and 1560. The complex is composed of a large mosque on the southwest side of a courtyard, flanked by a single line of arcaded cells, and a soup kitchen across the courtyard to the northwest, flanked by hospice buildings. A separate madrasa was added to the southeast of the takiyya complex by Selim II (1566-1574) and is linked to the takiyya complex with a souk. Both the takiyya and the madrasa courtyards are landscaped with trees around a central pool. The entire complex is aligned northeast-southwest, pointing towards qibla. The mosque is formed by a wide portico and a sixteen meter square prayer hall that is covered with a large Ottoman dome. The portico is composed of three domed cells wrapped with a sloping lead roof carried on twelve columns. Its marble and granite columns carry diamond-cut and muqarnas capitals. The portal niche, centered on the portico façade, is topped with an elaborate muqarnas crown and framed with a band of geometric motifs. Inside, the dome displays a ring of apertures along the elongated base and is covered with lead on the outside. Four arches that extend from the thick walls support the dome. The transition zone from dome to wall is formed by using circular stone triangulations without any muqarnas. The mihrab is located below a series if muqarnas formations and is defined by marble mosaics, while the minbar is made of white marble. There are plaster windows with colored pieces of glass on each of the four walls that open up towards the gardens. The exterior walls of the mosque are built of alternating rows of black and white stones. Colored marble facings were also used on the portico façade. Two tall cylindrical minarets rise atop the east and north corners of the mosque's portico wall. They are made of white stone and crowned with conical roofs. Both minarets have a balconies supported by stone muqarnas for the muezzin to sound the prayer call. At either side of the mosque are rows of six arcaded cells, equipped with fireplaces and covered with domes taller than the domes of the mosque portico. Located across the courtyard, the soup-kitchen also consists of a line of six equal-size cells, enlarged into a room at the center with two vaulted bays projection northeast. It faces the courtyard with a portico of twelve small domed bays. Placed lengthwise at either side of the soup kitchen are identical hospice buildings, composed of fourteen domed cells arranged in two rows. The hospice and the soup kitchen share a private courtyard behind the soup kitchen that is accessed with two gates from the main takiyya courtyard. The unifying ornament in the complex is a decorative program composed of green and blue geometric plates over doors and windows. The entire complex was restored in the 1960s by the Directorate General of Antiquities. Archnet
Takiyya al-Sulaymaniyya 5 by Alexander Repnikov
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Gerard Dockery says:
WLA_vanda_Ottoman_marquetry_and_tile-top_table_2 by muhammad umar
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Gerard Dockery says:
Miğfer yağlıboya / Ottoman helmet,oil on canvas 100x185 cm by Metin ASAĞ / Painter & Artist
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Gerard Dockery says:
Helmet (Museum of Islamic Art) (Explore 30/11/2011) by Sarfraz Abbasi
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Istanbul - Topkapi Palace - Weapons on display by AnnMaree1
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Museum of Turkish and İslamic Arts by gelisite
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Gerard Dockery says:
Ballard Ottoman Prayer Carpet by Steven Zucker, Smarthistory co-founder
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Gerard Dockery says:
_C142138.jpg by Daniel Demeter
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20210902-Z7N_0136 by ilvic
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Gerard Dockery says:
Ottoman Tent by Philip Russo
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Turkish Bombard by Gordon Dedman
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Gerard Dockery says: Uzunköprü (lit. transl. Long Bridge), formerly Cisr-i Ergene, is a 15th-century Ottoman stone bridge over the River Ergene in Edirne Province, northwestern Turkey. The bridge gave its name to the nearby town of Uzunköprü. It is claimed to be the world's longest stone bridge. It was built to facilitate crossing the Ergene for troops during river floods, and to replace a wooden bridge; previous structures had rapidly deteriorated or had been destroyed. Construction of the bridge was started in 1426 or 1427, and ended in 1443 or 1444. The newly-completed bridge had a length of 1,392 metres (4,567 ft), spanning 174 arches. The stones include several figures and motifs, which were replaced over time. The bridge was repaired following earthquakes and floods, which decreased its length, and the number of its arches. In 1971, it was widened to 6.80 metres (22.3 ft) and was covered over with steel and concrete. Heavy vehicles were banned from using the bridge in 2013, as an alternative concrete bridge was being built. The bridge was closed to traffic in September 2021 for another restoration project after cracks had started to appear in the stones a few years earlier. One aim of the restoration is to excavate some of the buried arches. The swampy nature of the area meant it unsuitable for settlement until the Ottoman period; the earliest settlers lived in the surrounding hilly regions. Occasional floods at Ergene made the crossings of Ottoman military expeditions into Rumelia difficult. The ground where the bridge is located has a structure consisting of clay and sandstone. Several wooden bridges on the same location had already preceded the current structure. The wooden bridges were destructed quickly by either enemies or high tides. Sultan Murad II ordered a new stone bridge to be made long and strong so that it was still crossable during high tides. Additionally, the stone bridge provided a safe crossing of the marshy location on the Gallipoli–Edirne route. Construction of the arches over the fast-flowing the river proved to be a technical challenge The land where Uzunköprü Bridge was to be built had first to be cleared up from spinose structures and other vegetation, which had provided cover for thieves and thugs. Ottoman scholars differ about the year construction of the bridge began—according to Hoca Sadeddin Efendi, it was started in 1426/7, but Karaçelebizade Abdülaziz Efendi [tr][a] wrote that construction on the bridge was begun in 1427/8 by the sultan's head architect Muslihiddin and craftsman Mehmed, and that it was completed in 1443/4. Stones were sourced from quarries in the nearby villages of Yağmurca, Eskiköy and Hasırcıarnavut. The bridge was built using pre-cut blocks of limestone. Khorasan mortar, which slowly hardens on contact with the air, was used to bind the blocks together. At places where the abutments could not be built on a solid rock foundation, wooden piles were used. It is not known if cofferdams were used, but it is likely they were not, as most of the work on the bridge would have taken place during dry periods, when the river level was lower. Once the foundation was ready, the stones making up the arches were laid using wooden molds in the shapes of the arches. At wet periods or at places where the river was running, the formwork was placed in special slots, which was a difficult process. This is seen as the reason as to why construction took sixteen years. The bridge was named Cisr-i Ergene ("Ergene Bridge"). A mosque, imaret and madrasa was also built. The village, of Yaylar arose at the western end, while the town of Uzunköprü (lit. transl. Long Bridge) was founded at the eastern end— the town taking its name from the bridge. The magnificent opening ceremony for the bridge was attended by the sultan, who was returning to Istanbul after his victory at the Battle of Varna. Wikipedia
Abstract and panoramic view Uzunkopru with neutral density filter long exposure, Edirne, Turkey by ozlem acaroglu (www.f9project.com)Neutral Density Filters
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Gerard Dockery says: Koza Hanı is a caravanserai located at the center of the old city of Bursa, in the market section between the Ulu Cami and Orhaniye Cami. Ottoman sultan Bayezid II commissioned the construction of the caravanserai in 1490-1491/896 AH to provide income for the sultan's mosque in Istanbul. The building is a large rectangle surrounding a central courtyard. The entrance is on the north side of the building and ıakes the form of a large portal. The courtyard is bounded by a two-story arcade that gives onto numerous small, rectangular cells on both floors. At the center of the courtyard, a small octagonal mosque raised above ground level on pillars provides a place of worship clear of the path of pack-animals. A second, irregularly shaped courtyard surrounded by double arcades serving as the stables adjoins the main courtyard on the east side. Archnet
Koza Han (Silk Market), Bursa, Turkey by CamelKW
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Gerard Dockery says: The Mosque of Suleyman Pasha al-Khadim, the first erected in Egypt under Ottoman rule, was built in 1528 by the governor for the use of the Janissaries quartered in the northern enclosure. The mosque is essentially Ottoman in plan and profile. The prayer hall adopts the Ottoman T-form variant and is covered by a shallow central dome in the Ottoman manner, flanked by 3 semidomes. This is fronted by a courtyard surrounded by domed arcades. The minaret is similarly Ottoman in form with a cylindrical, faceted shaft topped by a conical finial, and located to the right of the entrance façade. It is raised to a proportionately great height over the small mosque. The interior reflects the outward Ottoman form with the dome resting on spherical pendentives, and is ornamented with marble revetment, inscriptions, painting, and elaborate stucco. Other features of the complex include a shrine of the Fatimid period, rebuilt with its entrance incorporated into the arcades of the court. It was originally erected by Abu Mansur Qasta, governor of Alexandria around 1140, to house his tomb, and dedicated to Sidi Sariya, a companion of the Prophet, hence the common name of the mosque. A second court fronting two halls comprising a kuttab was constructed to the north of the mosque. The domes of the kuttab were covered with blue tiles. The complex was completed by a sabil, no longer extant, and a perimeter wall which encompasses other, subsidiary courts and gardens. Archnet
Mosque of Suleiman Pasha 1 by David O'Malley
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Gerard Dockery says: ''The Damascus Gate is one of the main Gates of the Old City of Jerusalem. It is located in the wall on the city's northwest side and connects to a highway leading out to Nablus, which in the Hebrew Bible was called Shechem or Sichem, and from there, in times past, to the capital of Syria, Damascus; as such, its modern English name is the Damascus Gate, and its modern Hebrew name is Sha'ar Shkhem (שער שכם), meaning Shechem Gate, or in modern terms Nablus Gate. Of its historic Arabic names, Bāb al-Naṣr (باب النصر) means "gate of victory", and the current one, Bāb al-ʿĀmūd (باب العامود), means "gate of the column". The latter, in use continuously since at least as early as the 10th century, preserves the memory of a Roman column towering over the square behind the gate and dating to the 2nd century AD. In its current form, the gate was built in 1537 under the rule of Suleiman the Magnificent. Beneath the current gate, the remains of an earlier gate can be seen, dating back to the time of the Roman Emperor Hadrian, who visited the region in 129/130 CE. Directly below the 16th-century gate there is an older gate, dated by most archaeologists to the second century CE. In the square behind this gate stood a Roman victory column topped by a statue of Emperor Hadrian, as depicted on the 6th-century Madaba Map. This historical detail is preserved in the current gate's Arabic name, Bab el-Amud, meaning "gate of the column". On the lintel of the 2nd-century gate, which has been made visible by archaeologists beneath today's Ottoman gate, is inscribed the city's Roman name after 130 CE, Aelia Capitolina. Until the latest excavations (1979-1984), some researchers believed that Hadrian's gate was preceded by one erected by Agrippa I (r. 41–44 CE) as part of the so-called Third Wall. However, recent research seems to prove that the gate does not predate the Roman reconstruction of the city as Aelia Capitolina, during the first half of the second century. Hadrian's Roman gate was built as a free-standing triumphal gate, and only sometime towards the end of the 3rd or the very beginning of the 4th century were there protective walls built around Jerusalem, connecting to the existing gate. The Roman gate remained in use during the Early Muslim and Crusader period, but several storerooms were added by the Crusaders outside the gate, so that access to the city became possible only by passing through those rooms. Several phases of construction work on the gate took place during the early 12th century (first Crusader Kingdom of Jerusalem, 1099–1187), the early Ayyubid period (1187-1192), and the 13th-century second phase of Crusader rule over Jerusalem. The Crusader barbican consisted mainly in an outer gatehouse opening to the east, and connected to the central portal of the Roman gate by an L-shaped courtyard enclosed by massive walls. The barbican was destroyed twice, in 1219/20 by al-Mu'azzam 'Isa when he tore down all fortifications in Palestine, and in 1239 by an-Nasir Da'ud The Damascus Gate is the only Jerusalem gate to have preserved its Arabic name, Bab al-Amud ('Gate of the Column'), since at least the 10th century. The Crusaders called it St. Stephen's Gate (in Latin, Porta Sancti Stephani), highlighting its proximity to the site of martyrdom of Saint Stephen, marked since the time of Empress Eudocia by a church and monastery. A 1523 account of a visit to Jerusalem by a Jewish traveller from Leghorn uses the name Bâb el 'Amud and notes its proximity to the Cave of Zedekiah.'' Wikipedia
IMG_5920 by OZinOH
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Gerard Dockery says: ''Bozcaada Castle, locally known as Bozcaada Kalesi, lies in the village of the same name, on the island of Bozcaada in the province of Çanakkale in Turkey. Before 1970 the majority of the inhabitants of the island were ethnic Greeks. They called the island Tenedos. The Ottomans gained possession of the island in the 15th century. They called the island Bozcaada. The island of Tenedos was already mentioned in the "Iliad", an ancient Greek epic poem dating back to the 8th century BC. The island was important throughout classical antiquity despite its small size due to its strategic location at the entrance of the Dardanelles Strait. There was already a fortification on the island before the 14th century, of undocumented construction and date. It may have been built during Roman times but certainly was used by the Byzantines. In 1377, the Venetians got permission from the Byzantine Emperor Andronikos IV Palaiologos to occupy the island. This led to the War of Chioggia between Venice and Genoa, which only ended in 1381 with the Treaty of Turin. This treaty stipulated that the castle would be torn down and that Venice would evacuate the island; all its inhabitants were resettled, mainly on Crete. The castle remained a ruin and the island empty for many years, until around 1455 when it came into the possession of the Ottomans, during the rule of Mehmed the Conqueror. Realizing its strategic worth, the Ottomans had the ruined castle completely rebuilt. In 1656, during the Cretan War between the Ottomans and the Venetians, the latter managed to capture Bozcaada Castle. They were expelled a year later, after which the Ottomans repaired and enlarged the badly damaged castle. The castle was restored several times during the 18th century and it was fortified again in 1815, during the reign of Sultan Mahmud II. Shortly later the castle was accompanied by a new fort; Bozcaada New Castle, built on the ridge overlooking the village and castle. In the first part of the 20th century the castle was abandoned and fell to ruin. It was consolidated in the 1960s. Bozcaada Castle has a polygonal inner castle and an outer castle, which was added after its reconquest in 1657. Inside there are remains of arsenals, a cistern and a mosque. At present Bozcaada Castle can be visited for a fee.'' 'Castles.Nl'
Bozcaada castle with Fenerbahce flags on it by M. M. Can GUREL
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