MAHOMET THE CONQUEROR.
From a painting formerly in the Sultan’s palace at Top Capou at Constantinople, and attributed to Gentile Bellini. I am unaware by whom the photograph was taken or where the original picture now is.
MAHOMET II.
From a medallion in the British Museum, which, according to Sir A. H. Layard, was probably executed by Gentile Bellini from the portrait painted in 1480 by Bellini himself. The portrait is in the possession of Lady Layard, and an engraving of it is given in Sir A. H. Layard’s edition of Kugler’s ‘Italian Schools of Painting’ (vol. i. p. 304).
Though the two portraits are surrounded with very similar and beautiful arabesque arches and evidently are of the same person, that of Sir Henry Layard differs from the one reproduced on the opposite page in showing a more receding chin and a thinner beard than even the medallion. The name of Gentile Bellini appears on both paintings.
Mahomet’s wars were essentially those of conquest. He required no pretext for making war. It was sufficient that he wished to extend his own territory. His warlike nation during the first years after the conquest of the city was always ready to aid in the execution of his designs against other states. His energy and ambition allowed him little time for rest and as the years went by wore out the strength and even the patience of his followers. He kept his army—which included almost every available man of the Turkish race under his sway—occupied almost continually for nearly twelve years after 1453, until at length, worn out with long marches, weakened by constant labour, and having sacrificed their goods, their horses, and their health for their master, his soldiers, including the very Janissaries themselves, became discontented and clamoured for rest. Critobulus, who makes this statement, records that an expedition into Illyria was reluctantly postponed because Mahomet was compelled to recognise at last that rest was absolutely necessary for troops who had not known it for years.
He improves Turkish fleet.