| W. H. Leitch. | G. Presbury. |
MAUSOLEUM OF SULTAN MAHOMED AND HIS FAMILY, BRUSA.
ASIA MINOR.
A tomb attached to an Imperial mosque is called a Turbé. It is usual for every Sultan to erect one for himself, in which the mortal remains of himself and his family are deposited, and it forms a detached portion of the Djami which he has built. Whenever any cause prevents him from performing this sad but pious duty before his death, the tomb of one of his ancestors is assigned for the purpose. This permission for intrusion into the precincts of another’s resting-place, is subject to the assent of the reigning Sultan that succeeds him, who from any cause may exclude his body, and send it to be interred in a strange sepulchre. The Valadé Sultana, or Queen-mother, has also a right to erect a Turbé for herself, and for such members of the Imperial family, male or female, as she chooses to admit. These are the only inmates of the Seraglio who are legally allowed to enter these sacred precincts; but when a Sultan wishes to pay particular respect to the memory of a departed Vizir, he suffers him to be buried in a corner below the grating: but this distinguished honour, and strong mark of personal affection, has been conferred on few, and the ashes of the Imperial descendants of the Prophet are seldom polluted by such profane mixture. No kadinos, or odalique, whatever attachment the Sultan may feel for her during life, is allowed to approach him when life becomes extinct. There is, however, a separate public cemetery in the centre of the city, reserved exclusively for the deceased female population of the Seraglio.
The body of the person permitted to be here interred, is simply buried in a grave dug for the purpose, and covered with earth in the usual manner of Turkish sepulture. This grave, generally surrounded with masonry, is the sarcophagus where the body is left to decay. It is approached by a passage protected by an iron grating; through which, on occasions of more than usual importance, the body may be approached, and its state examined; but no human being save the existing Sultan is allowed to enter, and profane by a glance of his eye the mouldering remains of one who had sat on the throne of the Osmanli. Over the grave thus formed is raised a Catafalque of wood, called a Sanndoucha. This is covered with plain stuffs and shawls, of different qualities and manufacture. Through this is embroidered in gold, various passages of the Koran. Frequently a deputation is sent to Mecca for a strip of the veil of the Keabé, or to Medina for a portion of that which covers the tomb of the Prophet. This forms a decoration to that part of the covering which is over the head of the deceased. There is also laid beside the head of a Sultan, or prince of the blood, a turban of muslin, to distinguish them from others. At each end of the Sanndoucha are enormous wax tapers, and suspended from the roof are circular lamps. The first are seldom used, but the last are kept constantly burning. The apartment is lighted from without by casements of gilded lattice-work, through which even a Giaour is allowed to view the interior.
The greatest simplicity is observed in the interior of these Turbés. There are no gilded ornaments, no display of pomp or splendour which distinguished the tenant of the tomb while alive. The walls within are generally covered with square slabs of porcelain marked with poetical inscriptions. These are said to be the composition of a blind Arabian poet, named Boordé, who, like Homer, wandered about reciting his rhapsodies, and who has obtained as much celebrity in the East, as his Greek predecessor in the West. The Achilles of his poem is Mahomet.
Each Turbé has six guardians, called Turbedar, and twelve aged men called Djuzê Khenana, or “reciters of the sacred page.” Their duty is to repeat the whole Koran every morning, for the repose of the souls of the departed. Each undertakes a certain number of pages, or Djuzy, till the whole is gone through. Among the acts of piety which a Sultan sometimes imposed upon himself, was transcribing the Koran with his own hands. These pious MSS. are always deposited in the Turbé of the transcriber. They are all marked with the name of the person, and form a singular and interesting series of Imperial autographs. When a stranger is admitted to see the interior of a Turbé, the Turbedar never fails to show their manuscripts, to which they attach a solemn interest, particularly to that of Mahomet II., who, in the midst of excited passions, turbulent events, and ferocious cruelties, calmly sat down to write out the precepts of his religion; and it appears did so with a tranquil mind and steady hand, as his autograph at this day testifies. Besides these Imperial Korans, a number of copies are kept, which the Turbedars present to every person who enters, that he may join with the reciters in their pious labours.
These Imperial sepulchres are much frequented by the Turks for various reasons. Some resort thither from affection to their ancient masters, particularly officers of the Seraglio. Others are drawn by feelings of general devotion to the sacred dead, whom they consider as Kalifs, or lineal descendants of the Prophet, and as such invested with an hereditary sanctity. But the tombs most frequented are those of Bajazet II., Mahomet II. and Selim I. Every day these visits are paid by some, but it is during the season of the fast of the Ramazan, and the seven holy nights, that they are crowded. The officers of the Seraglio, either from inclination or command, perform this duty of respect to the deceased Sultan for forty successive days after his death. The example is set by the reigning Sultan, who thinks this a task of indispensable obligation to his predecessor, whom perhaps he had ordered to be strangled or poisoned; and, as if to atone for his offence, gives liberally to the guardian, and distributes alms in every direction. Alms is the indispensable duty of every Moslem; the Koran says that “prayer conducts halfway to heaven−fasting brings to the gate−but alms alone procure entrance.” When no such occasion calls for this bounty, it is demanded by other causes. If any unfortunate event has occurred to himself−if any public calamity assails or threatens the state−or if any important enterprise is to be undertaken, destiny is propitiated in this manner.
In the city of Constantinople there are eighteen Imperial Turbés, where the monarchs repose who died after this city had been made the capital of the Turkish Empire; and in Brusa there are six, in which are deposited the remains of those who sat on the throne in this Asiatic city, before the empire was transferred to Europe: Gummusch Kubbe, where the bodies of Osman I. and Orchan are deposited; Dic Kirke, where the corpses of Murad I., Bajazet I., and Murad II. are laid; and Yeshil Jami in which moulder the remains of Mehmet, or Mahomet I. This last is that given in our illustration, which presents the general features in all Turbés. The head of the Sanndoucha, principal Catafalque, is covered with cashmere shawls, &c., part of the veil said to be taken from the covering of the Prophet’s tomb at Medina; the rest, is green with gilded mouldings. At each end are the enormous unlighted tapers which stand at the head and feet of the deceased, and above the circle of suspended lamps by which the mausoleum is always illuminated. The sides are covered with porcelain tiles. Around, on the matted floor, are the “Reciters” going through their daily task, and at one end is the case where their copies of the Koran are deposited. Behind are the smaller tombs of the various members of his family admitted into the sacred enclosure.
There is something in every form of Turkish sepulture, strikingly adapted to the end proposed, and displaying a strong contrast with our own. Death, without being divested of its solemnity, is disarmed of everything that could disgust and repel. The dark and pensive cypress groves, with their evergreen foliage and aromatic resinous exudation−the friend seen watering the flowers, or feeding the singing birds, which are supposed to gratify the dear object that lies below−exhibit spectacles far more interesting and affecting than the foul and mouldering heaps, and disgusting dilapidations of our dismal church-yards; while the Imperial Turbés, where every thing is simply neat and soberly decorated, are very different indeed from the dark and noisome cells of our regal monuments.