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 the Sandjak sheriff, or sacred standard of the Prophet, to be taken from its repository in the imperial treasury. This sacred 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.
| T. Allom. | R. Sands. |