DOLMABAHCE PALACE..continued
VISITORS
ROOMS
Now,
let us walk forward. We shall enter two rooms one within
the other. One side overlooks the back gardens. The other
side overlooks the entrance gate and the garden through
which we passed on approaching the palace. This is the
translators' and ambassadorial visitors' room. On the
right hand of the first room rises a big crystal mirror.
There is a Sevres vase on the gilt table in the centre
of Aiwazowsky. The picture of a storm, on the right, is
a capable work and today one of the treasures of the palace,
in the centre of the room hangs a Baccarat chandelier.
Here, also, are three more Aiwazowsky paintings. The wallpaper
gives the appearance of tulle.
We leave these rooms now, and continue to the right. This
part of the hall is above the garden entry to the palace
through which we have earlier passed. On the front of
the palace are windows. To the right and the left of them
are placed huge mirrors. Looking into them, one sees doors
and mirrors reflected in infinite series. The art of Schonbrunn
in Vienna has been applied here. It has a remarkable effect.
To the side of the hall, a silver cupboard attracts our
attention. It is a clock, thermometer, and a barometer
all in one. It is a gift from that same governor of the
Hedjaz who was the donor of the great elephant tusks.
RECEPTION ROOM
Upon
continuing to the right, we again enter two rooms, one
beyond, the other. They are on the seaward side of the
palace. This was the Sultan's reception room for foreign
ambassadors. It was the custom for these ambassadors to
pass between ceremonial spear-holders stationed in the
great entry way. The ambassadors would leave their retinue
at the outer hall, and enter the first room to wait. A
little later, they were taken before the presence of the
Sultan.
In the first salon we see a dark blue Sevres vase on a
marble gilt table under an impressive chandelier hanging
in the middle of the room. The two pictures on the right
wail are related to the Turkish-Greek Wars of 1897. The
first painting bears the signature of the German painter
Rocholl, while the painting towards the window is the
work of the famous Zonaro. The fallen and defeated Greek
enemies are depicted before the Turkish troops who are
advancing to victory. In this war, before the intervention
of the great powers, the Turkish Army approached quite
close to Athens.
The picture, under glass, on the right wall is a mosaic
depicting Rome's famous Forum. Passing through a flowered
door, and entering the eleven windowed and three-sided
second room, we may see the splendor on a felicitous use
of red and shining gold. Two fireplaces on either side
of the door, a red and white Bohemian crystal column resting
on bases before them, a crystal mirror rising to the ceiling,
and vases before the mirror all grace this room. To the
left is a round enameled table with a portrait of Napoleon
Bonaparte in the centre. Around this portrait are grouped
female, portraits, all in enamel, depicting women related
to the life of the Emperor of the French. A quite marvelous
chandelier hangs in this room. Comfortable gilt chairs
here are covered in red damask from the Turkish factory
of Hereke. They are in the Louis XV style. Curtains of
the same colour and gilt cornices with much carving enclose
the room. The whole floor is covered with an exceptionally
beautiful Persian carpet. On the table in the middle of
the room are two handsome pink candlesticks. On the seaward
wall, is a cupboard clock made of bronze and belonging
to the Louis XV period. Empire period vases may be seen
in the corners of the room.
As
stated above, this magnificent room was used by the Sultana
to receive foreign ambassadors. Among those ambassadors
who have received audiences here we might include the
names of the Americans Braun and James William; the French
Thouvenal, the Comte de Lallemand, the Marquis de Lavalette,
Marquis de Noailles, Maurice Bompard; the Austrians Baron
Bruck, Keller. Prokesch-Osten, Zichy, and Pallavicini:
the British Sir Strafford Canning, Sir Henry L. Bulwer,
Henry Austen Layard, and Sir G. Lawter.
Four Sultans of the Ottoman Empire, in their own times,
received such ambassords in this room: the refined Abdulmecit,
imposing and hot-headed Abdulaziz, suspicious Abdulhamit,
and old and helpless Mehmet Reshad.
The last Sultan who held receptions here was Mehmet VI,
while the independence movements were gaining strength
and prestige in Anatolia, the aged monarch sat in conversation
here, his old head bent forward, giving no indication
of what thoughts passed through his mind and arousing
little curiosity on the part of the ambassadors who sat
stiffly before him. We now leave this room with its many
memories and enter the wide middle salon once more. We
climb the stairs and come to an ample landing from where
we may continue on to the inner parts of the palace.
Upon this landing we again see Baccarat crystal fixtures
resting upon bases. To the rear are sofa groups, and at
the front of the area are three clocks side by side. The
clocks to the right and to the left have their minute
and hour hands fashioned in the form of a star and a crescent
and are jeweled. The outer cases of these big clocks are
of silver. Both of the clocks are products of the Istanbul
naval arsenal. The clock in the middle of the group is
in a simple latern form. AM of its mechanism may be seen
and it has a unique wheel, it is the work of Eflaki Dede.
and his name is inscribed upon the piece. The clock is
dated 1810. Interestingly enough, the clock has worked
accurately for 162 years.
We walk, now, around this columned landing of the stairs.
Before going through the glass-folding screen opposite
us, we may walk into the section to left overlooking the
garden. Here are two fine Indian works, big silver jardinières.
Two pictures on. the wall here are signed by Fugnet, and
depict nomads and horses in fields.
THE
HALL -ZULVECHEYN-
As we walk through the glass-folding screen spoken of
above, we are attracted by the parquet work of the floor.
Here are buffets of Damascus, with tops of porphyry, and
bearing Chinese vases with silver bases. Beautiful English
clock may be seen on the wall, in the middle of the hall
that we enter we again find a lovely chandelier, four
Baccarat candlesticks resting on feet arid with thirty
lamps, two symmetrically, placed silver braziers, a large
carpet, and at the opposite end a fireplace of marvelous
red Bohemian crystal.
The name of the salon Jin the language of the palace,
is Zulvecheyn. The reason for this name is the salon's
location. 'Zulvecheyn' means Two-Face. The salon is situated
between the inner and the outer gardens, and extends from
one side of the palace to the other, overlooking both
the garden and the Bosphorus. This was the place of prayer
of the palace. Memorial services for the dead, religious
and wedding ceremonies, religious lessons given during
Ramazan (the Month of Fasting), and collective prayers
were all heId here.
THE
SULTAN'S BATH
As we continue on our way through Dolmabahce Palace, we
pass through a corridor and find ourselves all at once at
the Hunkar Hamami, the Sultan's Bath. The first chamber
we enter is the disrobing room. On the left wall may be
seen a famous painting by Zonaro. 'Women Going Aboard A
Boat', Just a little further on, one comes upon a most interesting
night lamp depicting the sphere of the world. On the right,
is a charming painting by the artist Halil. It probably
represents the Goksu River. Notice, here the light green
silk carpet on the floor, really a matchless piece. Looking
with the inner bath, we are able to see the walls covered
in light green or a very light earthy-coloured alabaster.
The ceiling of the bathing room has bronze encased windows.
Because of the windowed-ceiling, it is very light here.
If the visitor will just place his hand into the basin on
his left, he will be able to see its shape through the translucent
alabaster.
PORTRAITS
We now leave this marvelous imperial bath, and passing through
a corridor, come to a long hall serving as a passageway.
The right wall is covered with portraits. The rulers of
another day look out at us. Here are Sultan Mahmut II, Emperor
Franz Josef, Sultan Abdulaziz, British Prince Albert, Queen
Victoria, Sultan Murat V, Serbian King Alexandre, Sultan
Abdulhamit. and Prince Ferdinand.
We leave this area from the left, and continue on our inspection
of the palace. Now we find ourselves in the corridor of
the Harem of the Sultans. The right wall here is covered
with paintings. The left wall has windows looking upon the
back garden. To the left, a painting of nomads is signed
G. Washington. A turn in the corridor displays & painting
by Zonaro depicting the Venice of 1895. Here also is a valuable
Aiwazowsky showing the dark atmosphere of a scene just before
the rain. Some of these paintings were brought to Istanbul
by Sultan Abdulaziz upon his return from Europe. Others
were acquired by the palace when Aiwazowsky came to Istanbul.
HAREM
A corridor entered by passing through a doorway, is also
filled with paintings. On the right is a Zonaro showing
the German Kaiser Wilhelm II and his Empress on the palace
landings stages on the occasion of their visit to Istanbul.
On the left is an anonymous picture depicting the Yildiz
Palace, and its gardens, that was home to Sultan Abdulhamit,
A painting bearing the signature of Zekai depicts the yalis,
or seaside villas, of the Bosphorus. Before us now is a
mirror. On the right of the somewhat gloomy salon that we
enter now, there is a painting of Dumarsu portraying the
surrender of the Austrian army to Napoleon. Notice, here,
the beautiful work in wood of the two buffets to either
side. A magnificent painting, to the left, is by the Belgian
artist Rysselberghe, and is a poetic interpretation of the
Galata Bridge (sanning the Golden Horn) of those by gone
days. To the right of the door, is yet another Zonaro depicting
Kaiser Wilhelm I visiting Yildiz Palace.
The corridor that we enter now was especially designed for
the ladies of imperial Harem so that they might, in total
seclusion, watch the functions which took place in the great
central, Muayede Salonu (Ceremonial Hall) far below them.
The caged windows on the left were made for this purpose.
The blue-glass windows on the right, overlook gardens and
the Bosphorus. Here too there are many paintings- Most of
them relate to the Ottoman wars, and are the works of Turkish
artists. These depicting Fatih Sultan Mehmet, the conqueror
of Istanbul, are the works of Zonaro.
We leave this area and enter an anteroom. On the left is
a buffet from Damascus. The paintings here depict the theme
of nature, of field, of animals. The painting opposite us
depicts a white horse belonging to Abdulmecit who, while
not enjoying the title of Sultan, was still the last Ottoman
Caliph.
The corridor by which we leave this section, leads us forward,
up a number of steps and to a landing. Notice the excellent
blue and pink colours of the painting by Aiwazowsky on the
left. The picture is called 'Refugees from the Storm'. In
yet another painting of this artist, a scene of branches
heavy with snow, birds flying Iike snow flakes, and running
childen transports us from Dolmabahce Palace to the Russia
of the long ago Czars. The work is worthy of any museum.
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