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Ancient Anatolia
NATIONAL GALLERY OF ART
Alt Treasures of Turkey Washington, D.C.
LOS ANGELES COUNTY MUSEUM OF ART

Los Angeles, California
THE UNIVERSITY MUSEUM
Ph iladelph ia Pen nsyhan ia
.
Circulated by the THE MUSEUM OF FINE ARTS

Houston, Texas
S/nithsonian Institution WILLIAM ROCKHILL NELSON GALLERY OF ART
Kansas City, Missouri
1966-1968
SEATTLE ART MUSEUM
Seattle, Washington
M. H. DE YOUNG MEMORIAL MUSEUM

San Francisco, California
MILWAUKEE ART CENTER

Milwaukee, Wisconsin
MUSEUM OF FINE ARTS
Boston, Massachusetts
THE METROPOLITAN MUSEUM OF ART

Smithsonian Institution • Washington, D.C. • 1966 New York, Nezc York
SMITHSONIAN PUBLICATION 4663 ^<:2î:.:>^ DESIGNED BY CRIMILDA PONTES
PRODUCED BY THE MERIDEN GRAVURE COMPANY AND CONNECTICUT PRINTERS
cover illustration: 234. Shield. Ottoman, iGth-iyth c. frontispiece: 19. Silver statuette. 3rd mil. b.c.
Scientific progress and the advances in technology' in modern times have brought
closer the nations of the world, and humanity today feels the urge to understand
better its common destiny through a scrutiny of its ancient civilizations, which have
made possible the emergence of our modern world. Asia Minor has always been in
history a bridge between East and West, as modem Turkey is today, and Eastern and
Western cultural trends ha\e continuously throughout history clashed on her soil to
give birth to a unique succession of civilizations of worldwide significance. Many

lands can boast of preserving the remains of a glorious past, but in no other country
in the world can the archaeologist dig deeper in search of the earliest traces of civili-
zation.
I feel confident that this exhibition, Avhich contains works of art belonging to all
these cultures, from settlements dating back to the seventh millennium b.c. to the
Turkish Seljuk and Ottoman periods, will attract the interest of the American public
as it offers a summary of the history of world civilization, and that the knowledge
that it will bring will contribute to a better understanding between the Turkish and
American nations.
Cevdet Sunay
President of the Republic of Turkey
The Turkish nation, by bringing to the American people an incomparable array of
art objects that reflect the history and culture of many civilizations of Anatolia, con-
tribiues iniiquely to Turkish-American luiderstanding and friendship. It is my hope
and expectation that Americans in every city in which this outstanding exhibit is dis-
played Avill take this opportunity to deepen and strengthen their imderstanding of a
land and people Avith Avhom Americans have much in common. The ties of friendship
which exist bct^veen our t^vo allied coimtries Avill be made stronger
"O^ as a result.
Lyndon Baines Johnson

President of the United States of America
Patrons and Committees
HONORARY PATRONS
THE HONORABLE LVNDOX B. JOHNSON" Pr^j/rfc/jf oj the United States of America
HIS EXCELLENCY CENDET SLNAv President of the Republic of Turkey
HONORARY COMMITTEE
For the United States of America: For the Republic of Turkey:
THE HONORABLE DEAN RUSK HIS EXCELLENCY CIHAT BILGEHAN
Secretary of State Minister of State
THE HONORABLE GEORGE W. BALL HIS EXCELLENCY IHSAN SABRI 9AGLAYANGIL

Under Secretary of State Minister of Foreign Affairs
HISEXCELLENCY ORHAN DENGIZ
THE HONORABLE S.DILLON RIPLEY
Minister of National Education
Secretary of the Smithsonian Institution
HIS EXCELLENCY NIHAT KURÂT
THE HONORABLE R.\YMOND A. HARE Minister of Tourism and Information
Assistant Secretary of State for S'ear Eastern
HIS EXCELLENCY TURGUT MENEMENCIOGLU
and South Asian Affairs
Ambassador of Turkey
THE HONORABLE CHARLES FRANKEL to the United States of America
Assistant Secretary of State for Educational MR. ADNAN OTUKEN
and Cultural Affairs Under Secretary, Ministry of National Education
THE HONORABLE PARKER T. HART MR. HAMIT B.\TU

Ambassador of the United States of America Director General for Cultural Affairs,
to the Republic of Turkey Ministry of Foreign Affairs
ix
EXECUTIVE COMMITTEE
For the United States of America. For the Republic of Turkey:
DR. RICHARD ETTINGHAUSEN MR. MEHMET ONDER
Head Curator of Near Eastern Art, Director General of Antiquities and Museums
Freer Gallery of Art, Smithsonian Institution MR. SUREVVA GUNAY
MR. JOHN T. FORBES Director General for Foreign Relations,
Chief, Greek, Turkish, Iranian, and Ministry of National Education
Cypriot Programs, Bureau of Educational
MRS. ADILE AYDA
and Cultural Affairs, Department of State Deputy Director General for Cultural Affairs,
MR. OTIS O. MARTIN Ministry of Foreign Affairs
Treasurer, Smithsonian Institution
MR. HIKMET GURCAY
MISS MACHTELDMELLINKJ.
Deputy Director General for Foreign Relations,
Professor of Archaeology, Bryn Mawr College Ministry of National Education
MR. PAUL H. OEHSER MR. RACI TEMIZER

Chief, Editorial and Publications Division, Director, Museum of Archaeology, Ankara
Smithsonian Institution
MR. NECATI DOLUNAY
MR. OTTO SCHALER Director, Archaeological Museums, Istanbul
Cultural Affairs Officer,
MR. HAYRULLAH ORS
American Embassy, Ankara
Director, Topkapi Palace Museum, Istanbul
MR. FRANK TAYLOR
MR. CA.N KERAMETLI
Director, United States National Museum, Director, Museum of Turkish and
Islamic Arts, Istanbul
DR. THEODORE W. TAYLOR MRS. ENISE YENER
Assistant to the Secretary,
Director, Ethnographical Museum, Ankara
MR. KEMAL UGUR
MR. JOHN THACHER
Director, Konya Museum, Konya
Director, Dumbarton Oaks Research Library
MR. CAVIT TARAKgi
PAUL UNDERWOOD
DR.
Counselor, Turkish Embassy, Washington, D.C.
Dumbarton Oaks Research Library
MR. ALTEMUR KILig
MRS. DOROTHY T. VAN ARSDALE Information Counselor,
Chief, Traveling Exhibition Service, Turkish Embassy, Washington, D.C.
MR. WILLIAM WARNER
Director, Office of International Activities,
DR. RODNEY S. YOUNG
University Museum, University of Pennsylvania
Foreword
The exhibition Art Treasures of Turkey is the result of years of cooperative efforts
by government officials, museum curators, scholars, and experts in both Turkey and
the United States. Thanks to their work, the American public has a splendid oppor-
tunity to view a comprehensive and representative survey of the many cultures that
have flourished almost continuously in Anatolia since the neolithic age, and of the
treasures created and amassed in the former capital city, Istanbul. The exhibition
will engender deeper understanding of the rich heritage of the Turkish people and
bring us closer to our long-standing and valued friends.
Our first thanks go to the Government of the Republic of Turkey, whose steady
approval and assistance over a period of years have been vital to the success of the
exhibition. The Smithsonian Institution is honored that the President of Turkey,
His Excellency Cevdet Sunay, has graciously consented to act as Honorary Patron of
the exhibition. The support of His Excellency Cemal Giirsel, Former President of
Turkey, is also deeply appreciated. The Ambassador of Turkey, His Excellency
Turgut Menemencioglu, has enthusiastically furthered the project and led the nego-
tiations for the loan with a dedication that inspired all who worked with him. The
Embassy staff, in particular Mr. liter Tiirkmen, the former Counselor, Mr. Cavit
XI
ART TREASURES OF TURKEY Tamkî, Counselor, and Mr. Altemur Kili^, Information Counselor, eagerly devoted
themselves to the matter and gave many hours to myriad details involved in develop-
ing plans with the Smithsonian.

Froin the beginning, Their Excellencies Dr. Ibrahim Oktem and Mr. Cihat Bilge-
han, former Ministers of Education, and His Excellency Mr. Orhan Dengiz, the
present incumbent, steadily fostered plans for the exhibition. His Excellency Mr.
Ferid Saner, Chief Under Secretary of the Ministry of Education, and His Excellency
Mr. Hamit Batu, Director General for Cultural Affairs in the Ministry of Foreign
Affairs, and his deputy, Mme. Adile Ayda, at all times gave efficient help to promote
the exhibition.
On the American side, we are profoundly grateful to President Johnson for agree-
ing to be an Honorary Patron and encouraging official support for the exhibition.
We wish to acknowledge the help of the Department of State and specifically its
Bureau of Educational and Cultural Affairs, which has acted as an essential liaison
between the many participants in the project. Sincere thanks are due to the Honor-
able Raymond A. Hare, Assistant Secretary of State in Charge of Near Eastern and
South Asian Affairs, who as Ambassador to Turkey signed the loan agreement w'ith
Turkey on behalf of the Smithsonian. We are greatly indebted also to the present
American Ambassador in Ankara, the Honorable Parker T. Hart, who has also
furthered exhibition plans. We received the full cooperation of the Embassy staff,
particularly Mr. Leslie A. Squires, former Public Affairs Officer, and Mr. Robert A.
Lincoln, the present incumbent, and Mr. Otto Schaler, the helpful and efficient Cul-
tural Affairs Officer, and his two associates, Mr. B. Hoff Knight and Mr. Charles
Courtney.
Our gratitude to the museum directors, curators, and scholars involved in the
exhibition can scarcely be measured. Mr. Mehmet Onder, Director General of Antiq-
uities and Museums, and his deputy Mr. Hikmet Giirây provided tirelessly their
encouragement, support, and patient help throughout every stage of the show's evolu-
tion. The directors of fifteen Turkish museums generously permitted objects of the
highest quality to leave their collections for an extended period so that the show
could truly abundance of masterpieces to be seen in museums throughout
reflect the
their country. Four museums were especially generous, and so we would like to men-
xn
tion specifically Mr. Raci Temizer, Director of the Museum of Archaeology in foreword
Ankara, and Mr. Hayrullah Ors, Director of the Topkapi Palace Museum, and his
deputy Mr. Kemal Qig, Mr. Xecati Dolunay, Director of the Archaeological Museum,
and Mr. Can Kerametli, Director of the Museum of Turkish and Islamic Arts, all in
Istanbul. We are fully appreciative also of the loans of the smaller museums: the
Museums of Archaeology of Adana, Antakya, Antalya, Izmir, and Manisa; the Ankara
Ethnographical Museum; the Aya Sofya Museiun, Istanbul; the Museums of Bodrum
and Konya, and the Excavation Depots of Aphrodisias and Sardis. We acknowledge
the assistance of the Turkish Committee of the International Council of Museums,
which handled technical aspects of preparing the sho^v for the trip to the United
States. Finally, we \vish to thank the directors of the ten American museums on the
show's itinerary for their full cooperation.
The exhibition has been in the planning stage for several years. Dr. Wâlter Heil,
former Director of the M. H. de Young Memorial Museum in San Francisco, Avas one
of the first to champion the idea. He discussed the project with Dr. Richard Etting-
hausen. Head Curator of Near Eastern Art at the Freer Gallery of Art, who ever
since has brought to bear both his great scholarly knowledge of Islamic art and his
personal skill as a diplomat. Dr. Ettinghausen visited Turkey twice to negotiate ^vith
Government authorities, museums, and the academic profession to ha\ e a fully repre-
sentative collection sent to the United States and eventually received their enthusias-
tic response. Later on he selected the Islamic section, wrote the catalogue introduction
for this period, and has rendered in\ aluable assistance in every area contingent to the
organization of this exhibition. The entries for the Islamic section were based on
information supplied by the Turkish museums.
We are deeply grateful to the other American scholars who contributed so much
to the organization of the show. Miss Machteld J.
Mellink, Professor of Archaeology
at Bryn Mawr College, and Professor Rodney S. Young of the University Museum
at the University of Pennsylvania together selected the first section of the exhibition
and Avrote the descriptions for the first 130 items. Miss Mellink proxided a scholarly
introduction for the neolithic through the post-Hittite periods, and Dr. Young "wrote
a perceptive study of the periods from the early iron age to theRomans. They both
gave freely of their time, scholarship, and guidance to help negotiate the loan and
xiii
ART TREASURES OF TURKEY obtain the bcst possible selection. We wish to thank Professor Paul Underwood of
the Dumbarton Oaks Research Library for generously contributing the learned intro-
duction to the Byzantine section. The staff of the Library, under the directorship of
John S. Thacher, prepared the selection and made available the Library's scholarly
resources.
We acknowledge the contributions made by many other friends and colleagues:
Dr. Sevinc Diblan Carlson, for translations from Turkish; Professor Kenan Erim of
New York University, for information on the Aphrodisias excavations; Mr. Crawford
H. Greene^valt, Jr.. for lending his slide for the colorplate of no. 136; Professor
George Hanfmann of Harvard University, for information on some of the items from
Sardis; Mr. Mustafa Kapkin, for providing the photographs of nos. 130 and 145; Mr.
Selahattin Oztartan, who acted as official photographer of the show and took nearly
all the photographs; and Miss Priscilla Parsons, for her extensive research on the
Islamic objects.
We also had the helpful advice of Professors Ekrem Akurgal, Sedat Alp, Kemal
Balkan, Tahsin and Nimet Ozgiic, and S. K. Yetkin of the Uni\ersity of Ankara, and
Professor Oktay Aslanapa of the University of Istanbul as well as the kind support of
His Excellency Tevfik Bindal, at one time the ac ting Director-General of Antiquities
and Museums, and of Dr. Hamit Z. Kosay. Consultant in the Department of Antiq-
uities and Museums.
Finally, we wish to thank the members of the staff of the Smithsonian Institution
Avho have been closely involved with the organization and technical side of the exhi-
bition. The catalogue wrs edited by Mr. Thomas C. Witherspoon and designed by
Miss Crimilda Pontes, both of the Editorial and Publications Division. The complex-
ities of coordinating all the many intricate aspects of negotiations, transport, cata-
logue, and tour ^vere handled by the staff of the Tra\eling Exhibition Service, an
office of the United States National Museum, imder the direction of Mrs. Dorothy T.
Van Arsdale, with special assistance from Mrs. Nancy C. Padnos and Miss Barboura
Flues.
S. Dillon Ripley
Secretary
XIV
Introductions
The Art of Anatolia Until ca. 1200 B.C.
The prehistory and archaeology of ancient Turkey (Anatolia in archaeological usage,

Asia Minor to the classicists) are gradually becoming known to the ^vestern world
through publications and exhibits. As a result, the question may arise whether there is
such a thing as "Anatolian art." Did ancient Anatolia have an art Avith a continuity of
form, style, and subject matter? Can we recognize an Anatolian artistic idiom? The
\isitor to the present exhibition will ultimately ans\\er these questions for himself.
The selection of objects on display, it is hoped, is representative enough to allow him

to make an objecti\ e judgment. A fe^v comments may be offered here to supplement
the exhibition with references to the w-ealth of art which resides in Turkish museums
(and in unexcavated Anatolian sites) and with some information concerning the con-
text of the objects show^n here.
In the settino; of the ancient Near East, Anatolia cannot claim such artistic coher-
ence as Egvpt or e\en Mesopotamia. Egypt, with its contintiity in population, lan-
guage, religion, and political organization, is a unique example of the diuability of
a single, continuous artistic orientation. Geographical autonomy was the basis of this
strength. Mesopotamia, in spite of much more di\ ersity of people. languages, beliefs,
ART TREASURES OF TURKEY and an inherent lack of political imity, was held together ctilturally by a respect for
the principles developed by the early Stiinerians in the twin river valleys.
Anatolia had much less continuity in people and languages and less geographic
unity than Egypt, less also than Mesopotamia. The Anatolian plateau is a vast area of
rather uniform appearance and climate, but it is surrounded by moimtains of im-
mensely varying height and accessibility. Dense forests covered the mountain slopes
and offered a rich supply of building material, fuel, game, and a good hideoiu for
hunters and mountaineers. The roads to the Avest took travelers through Avhat to the
modern observer is a breathtaking variety of scenery to the plains and harbors that
form outlets to the Aegean and Mediterranean. All of the plateau and its smrounding
scenic diversity belong to the same small continent, however. Geographically, Anato-
lia is the peninsula reaching from the Aegean in the west to the region of Lake Van in
the east. The mainland connections to Iran and Transcaucasia are as natural in the
east as are the sea lanes from the promontories of Anatolia to the islands of the Aegean
in the w-est, but the core of the country is well insulated by its coasts, the plateau even
more so by the mountain barriers which flank it. The plateau is the natural center of
Anatolia and the leader in times of political greatness.
The greatest period of ancient Anatolian history was that of the Hittites in the
second millennitim b.c. They put their historical imprint on so much in the culture
of the land that become common practice to use the term Hittite art for much
it has
that strictly speaking is Anatolian art. There is some justification for this usage. The
Hittites started their rule in central Anatolia about the 17th century b.c. (the Old
Hittite Kingdom, ca. 1650-1450 b.c.) and continued to dominate the political scene,
in spite of occasional setbacks, to emerge as the rulers of a Near Eastern empire which
dealt with the kings of Egypt and Babylon on equal terms (Hittite Empire, ca. 1450-
1 180 B.C.). The most distinctive cultural trait of the Hittite rulers is their language,
which belongs to the Indo-European family. This language Avas not anciently called
Hittite, but Neshite. The term Hittite-Hatti anciently designated the predecessors of
the Indo-European Hittites. These original Hatti, a prominent old population group
of the Anatolian plateau, were linguistically non-Indo-European, but culturally so
predominant that their name remained attached to the land, the people, and its dy-
nasties into the first millennium b.c. Modern scholarship now calls these predecessors
proto-Hattians or Haitians, to restore to them the identity of which the Hittites have the art of axatolia until
robbed them terminologically. ^^- 1200 B.C.
The merging of Haitians and Xeshites into what we call Hittites is but one ex-
ample of the constant process of amalgamation on the Anatolian plateau. It is true
that no scholarly purpose is served by an indiscriminate use of the term Hittite, but
there is an underlying cultural continuity in the land of Hatti ^\•hich has little to do
with changes of dynasty or linguistic affiliations.
The notes that follow^ will suggest that we can discern a typical Anatolian imprint
on the art, architecture, religion, and cult practices of the ancient inhabitants of the
peninsula through the ages. This imprint is not always noticeable as stylistic unity,
but it comes out in the use and deliberate choice of certain media, in a conser\ atism
of religious symbolism, in a resistance to foreign influences. Anatolia is not a facile
imitator of Egypt and Mesopotamia, much less so than Syria or Palestine, and it is
more consistently loyal to its o^vn heritage.

We can see conservative trends, surprisingly, at the start of Anatolian prehistory
and in more detail, at this early stage, than elsewhere in the Near East. They can be
followed through prehistory into the historical, literate periods of the Hittite dynasty.
Neolithic is the conxentional term for the stage when people began to li\e in perma- The Neolithic and
nent villages and towns, ha\ ing mastered enough of the methods of food production Chalcolithic Periods
{ca. 6000-^000 B.C.)
(agriculture and animal husbandry) to give up relentless nomadism in favor of a more
comfortable, settled life in safe places near the fields that were cultivated, near a water
supply, and ^\•ith enough communications to keep in touch ^vith similar settled units.
Technologically this stage— the late stone age— still used tools made very competently
of flint and, in Anatolia, obsidian, although metallurgy had just begim to be ex-
plored. Metal takes an increasingly important place in the technology of the succeed-
ing phase, conventionally labeled Chalcolithic.
The relati\'e tempo of various developments, including that of art, varies from
place to place. In the last five years Anatolia has attracted a remarkable share of the
lively research devoted to the "food producing revoliuion." At âtalhiiyiik, a mound
about thirty miles to the southeast of Konya in the southern part of the Anatolian
plateau, a town of probably thirty-t^\o acres in size existed as early as 6000 B.C. One
ART TREASURES OF TURKEY small district of this Settled and developed community has been excavated since 1961.
The resulting information gives a picture of traditionalism even at this early stage,
and shows a variety of artistic expression so far unparalleled elsewhere in the Near
East.
Special rooms in the mudbrick houses at (âtalhiiyiik (perhaps shrines, but cer-
tainly meant for ceremonial usage) were decorated with wall paintings and painted
plaster wrU reliefs. The scenes remind one of palaeolithic cave paintings, but they are
more specific and varied in subject: hunting scenes, dances, with numerous human
figures in action. Antithetical pairs of leopards are surely more than decorative ele-
ments. The exhibit has a sample of a third category of ornament, the imitation of
brightly colored matting and kelims painted and incised on the walls of such rooms
(no. 3). Other imitations have more complicated designs, giving us an indirect
glimpse of the highly developed art of ornamental weaving.
The stone technology of the neolithic stage is shown in a flint dagger (no. 2) and
an obsidian mirror (no. 1), but each object is special in form, the pressure-flaked
dagger because of the bone handle made in the shape of entwined serpents, antici-
pating Egyptian predynastic art by some millennia; the obsidian mirror as an ex-
clusive Anatolian adaptation of a versatile medium to personal cosmetic use.
Figurines and small reliefs carved out of stone freely render a world of deities,
sacred animals, and votaries in simplified, often dignified forms, such as the seated
male figurine (worshipper or worshipped?) in marble (no. 4), a remote predecessor of
seated marble figurines from the Early Cycladic world. In this stage of art genre
scenes are not to be expected. The figurines have a magic or religious meaning. Num-
ber 5 is a double figurine from âtalhiiyiik. The joint rendering of the human figures
emphasizes that they belong together; again we do not kno^v whether as \otaries,
which seems probable, or as deities.
Less variety is found in the rendering of an omnipresent deity who ^vas also prom-
inent in the old stone age, the fertility goddess, a female figure of unchecked corporeal
splendors. Her figurines occur in stone and clay in the Neolithic and Chalcolithic
periods. Number 6 is an example in clay from âtalhiiyiik, in characteristically non-
chalant pose with legs folded under. Number 7 is more formally rendered, standing
frontally, and her body forms begin to appear as ornamental units, one of A\hich is the art of anatolia until
broken off (the triangular stomach fold). This figurine is from the Chalcolithic site of CA. i 200 B.C.
Hacilar at the south end of the lake of Burdur. A series of less stylized figures in clay
comes from the same site, all made for magic purposes and connected with the appre-
ciation and invocation of fertility.
Hacilar first attracted attention because of its unusually colorful painted pottery,
different from the monochrome wares predominant in most of prehistoric Anatolia,
different also from the brightly painted pottery of early Cilicia (Mersin, Tarsus). At
âtalhiiyiik pottery was not yet quite as common as it was to be later, wood and
leather serving many purposes adequately. Painted pottery is in common use at
Hacilar during the fifth millennium b.c, vessels of uncouth but vigorous shapes, oval
and rectangular forms being preferred (nos. 8-10). The decoration (red on buff) is
put on with an ambivalent effect as to what is background and what is design: re-
served panels with dots on number 9, dark or light spirals on number 8. On this pot-
tery we see the first use of the red-burnished slip that is going to dominate the appear-
ance of Anatolian pottery in the Bronze Age.
From Can Hasan in the Karaman region, along the road which connects the
Konya plateau with the coastal plain of Cilicia, comes the masklike terracotta model
of a human face (no. 11). Other terracotta figurines from this Chalcolithic site are
equally formalized, deliberately changed from the steatopygous ideals of an older pe-
riod. The mask may have been set up on a post or attached to a body of other mate-
rial, adumbrating the notion of cult statues.
The old tradition of stone fertility figures is also brought under formal control in
the marble figurine (no. 12) from Beycesultan, which begins to take on the outlines of
a stylized idol, although still made in the Chalcolithic period. Most of the excavated
material from this site in the upper Maeander valley, in inner Lydia, belongs to the
Bronze Age. The continuity of the small cult figurines and the progressive stylization
of the female forms into idols is shown in numbers 13 and 14, the first nearly abstract,
of a headless flat violin shape typical of Beycesultan.
In the Early Bronze Age, following the Chalcolithic period, each region had its
own version of schematic female idols. From Karatas in the Elmali plain come num-
ART TREASURES OF TURKEY beis 15 and 16, spade-shaped bodies with disklike heads. This variant occurs along the
Aegean coast (e.g. at Lebedos in Ionia) and is closest to the repertoire of the Early
Cycladic world. For an utterly different development in ( entral Anatolia, compare
the double-headed, later, Cappadocian idol (no. 43).
The Early Bronze Age We are better informed about the Early Bronze Age than about the developments
[ca. ^000-2000 B.L.) preceding it. In the third millenniinn b.c. urbanization was spreading in Anatolia,
based on an economy which increasingly relied on trade. Metallurgy flourished. Cen-
ters of craftsmen developed under the auspices of regional dynasties. Anatolia ^vas
still divided into small principalities which indulged in ri\alries and Avarfare if they
did not conclude formal alliances. Architecture was well developed, the cities now
made up of districts containing large houses and mansions as well as modest residen-
tial units. City walls were needed for protection. The dynastic treasure Avas stored and
safeguarded in a separately walled citadel. Examples of such cities have been exca-
vated at Alisar and Alaca in central Anatolia, Beycesultan in the southwest. Tarsus in
Cilicia, Karahiiyiik near Konya, and Kiiltepe near Kayseri. Other cities are hidden in
the large, unexcavated mounds which every traveler in Anatolia has noticed as arti-
ficial rises in the landscape.

The surface of such mounds usually has a scattering of broken pottery characteris-
tic of the Early Bronze Age. From the niunerous excavations we have come to know
the pitcher with beak spout as one of the typical shapes of this period, the so-called
Schnabelkanne. Nimibers i7a-b are miniatme specimens from Karatas near Elmali,
with white painted decoration on the typical red burnished slip. Number 18 comes
from the Afyon area and has incised ornament. Such handmade beaked jugs, plain or
decorated, occur in all of central and west Anatolia, and also become popular in the
Aegean area at this period.
The
two-handled goblet (no. 40) is from Troy. Schliemann, optimistically, wanted
to recognize it as the depas amphikypellon mentioned by Homer. The depas, as we
still nickname the shape in deference to Schliemann's misnomer, is a goblet which

makes its appearance to^vard the end of the third millenniinn. It ^vas a boldly shaped
drinking vessel in frequent use in the Troad and Calicia but also kno^vn and imitated
in central Anatolia and the Aegean world. The finest examples were made of precious
8
metal: gold, silver, and electrum. The pottery counterparts are bright red, gray, or the art of anatolia until
black polished, sometimes fluted, hand- or ^vheelmade, and someho^s' suggest an aristo- â. i 200 B.C.
cratic and bibulous table fashion. A popular, not to say primitive trend in contem-
porary handmade pottery is represented by number 41, a gray jar with a conical lid
decorated with a human face.
The mound of Troy, Hissarlik, is a citadel rather than a city. The treasures found
in the burnt second level by Schliemann show how much wealth had been accumu-
lated ^vithin the fortress. Even after the pliuidering of ca. 2200 B.C. an amazing array
of precious inaterial sur\ i\ ed. Most of the treasures which Schliemann excavated ^vere
stored in Berlin and lost during World War II. Some samples had fortunately been
left in the Istanbul Mtiseum. They show technical excellence and artistic delicacy in
the use of granulation, applique, fine wire filigree, and the imaginative combination
of decorative motifs (nos. 34-39). Jewelry of the same type is known from Poliochni
on the nearby island of Lemnos, but not from central Anatolia.

The treasures of central Anatolian rulers were largely of a different style and con-
text, although close similarities to Trov exist, especially in ^veapons and bronze ves-
sels. At Alaca Hiiyiik, a royal cemetery belonging to an Early Bronze Age dynasty "was
discovered by Turkish archaeologists in 1935 and excavated to the permanent glorifi-
cation of the Ankara Museum, Avhere the finds are no^v housed. A selection is sho^vn
here as numbers 21 to 32. These objects accompanied the members of the royal dy-
nastv into the hereafter as tomb shifts. The CTaves are shaft gra\es of distinctive size
and shape, unlike those of contemporary commoners. The inventory is not just of
practical but also of ritual significance.
The royal table^vare is represented by gold vessels, such as the stemmed goblet
(no. 21), the precisely made cup (no. 23), the fltued jar ^vith decorated base (no. 22).
Fluting is a favorite method of decorating metalware (cf. the beaked pitcher from
Mahmatlar near Amasya, number 20, from a plundered grave of the Alaca type).
Other secular belongings are jewelry: the necklace (no. 24) and brooch and pin (no.
25), some of this of sheet gold with punched design, but other pieces of solid cast gold;
technically similar are the bracelet (no. 26), the diadem (no. 27), and the pendant (no.
28). The latter takes us back to the category of religious symbols: the twin idols,
jointly cut out of sheet gold, are the Alaca stylization of the old emblem of the fertil-
ART TREASURES OF TURKEY ity goddess, here reduced in form and playfully ornamented with repousse knobs for
eyes and suspension holes for breasts. Yet this idol form must have retained some of
its magic power, as is also shown by the full-fledged electrum figurine (no. 29), which
adopts the crescent-shaped formula for head and torso but retains some of the old-
fashioned steatopygy in the mildly stylized hips and legs.
With the bronze or copper objects (nos. 30-32) we reach a different category of
symbolism, one that is new in the Early Bronze Age, so far as we know. The royal
graves at Alaca contained large statuettes of animals, cast out of solid copper and dec-
oratively inlaid or overlaid with precious metals (gold, silver, electrum). These statu-
ettes, of which number 30 is a good example from tomb C, and the openwork disks
(nos. 31-32) originally were the crowning parts of standards, as their bases indicate.
They may have been carried during rituals and processions, as they surely were at the
funeral ceremonies, the animals (deer, bulls) as sacred associates of deities or divine
themselves, the disks as abstract symbols and musical instruments (sistra). Deer and
bulls continue to be prominent sacred animals in the Hittite period, although their
artistic forms change. At Alaca we see an animal style achieved by simplification, with
exaggeration of a few salient features (horns, muzzle, demarcation of limbs). Some of
the animal standards from Alaca combine the animal or animals with an encircling
horned frame which resembles the openwork standards (nos. 31-32). As we are in a
preliterate period the exact meaning of this symbolism may escape us forever. The
openwork disks (semicircles, lozenges) have star and swastika patterns, suggesting as-
tral or solar significance. The small "satellites"set on the rim or suspended as jingling
devices on the frames could be part of such astral symbolism.

We are more clearly in the musical category with the sistrum (no. 33) from Horoz-
tepe, a site to the east of Amasya, where half of a shaft grave of Alaca-type was plun-
dered by local villagers and the other half rescued by archaeologists. This sistrum, as
we may call this instrument by analogy with Egyptian and Aegean rattles, has a han-
dle and is not a standard. Figurines of deer and felines, less disciplined in style than
the Alaca statuettes, walk on the rim. The Horoztepe grave also contained, apart from
weapons, a large bull statuette, sistra decorated with birds, goats, knobs, and horns,
a smaller standard with two bulls, and small animal figurines partially coated with
10
silver. Some of this material has found its way to the Metropolitan Museum of Art in THE ART OF ANATOLIA UNTIL
New York and other museums in this country. CA. 1200 B.C.
For the art of the Early Bronze Age, Alaca Hiiyiik clearly is our most informative
site. It did not yield any statuettes of deities in human shape, if we discount the idols.
The shrines of this period may have contained anthropomorphic cult images that are
as yet unknown to us. The silver statuette (no. 19) can hardly have taken the place of
honor in an important shrine. This figurine, whose exact provenance is uncertain, be-
longs to a stage where a ne^v attempt is made to show the nude female in the round
instead of in abbreviated idol form. The effect is clumsy, as it is in bronze figurines of

offering-bearers from Alaca and a mother and child group from Horoztepe. In num-
ber 19 the idol character is not completely abandoned. Technically she is related to
the Alaca phase in the use of gold overlay. The spontaneity of neolithic art is utterly
lost at this stage, and here for the first time an awareness of Mesopotamian or Syrian
art formsmay be suspected as a hampering influence.
The weapons in the caches of Troy II and in the royal tombs of Alaca, as well as
the disastrous conflagration levels which covered the treasures at both sites, are indi-
cations of the wars and upheavals which occurred in Anatolia toward the end of the
third millennium B.C. as a result of local rivalry, outside (partly Mesopotamian-
Akkadian?) attacks, infiltration of new tribes, and the rise of military chiefs of a new
brand, with more than local ambitions. The historical evidence for this stage may
some day be forthcoming from the site of Kiiltepe-Kanesh, an old central Anatolian
city (northeast of Kayseri) mentioned in records of theAkkadian dynasty (2370-2230
B.C.) in Mesopotamia. Excavation of the city mound has proved Kanesh a large town
with monumental buildings as early as the third millennium b.c. For the present all
of Anatolia's Early Bronze Age belongs to prehistory.
In the Middle Bronze Age, Kiiltepe is the mainstay of our historical and archaeologi- The Middle Bronze Age
cal information. At this time what had been the old city mound of Kanesh became the {ca. 2000-1600 B.C.)
citadel, and a large outer city grew around Four archaeological levels are distin-
it.
guished in the otiter city, the upper two of which contain written doctnnents. Levels
II and lb represent periods when Assyrian merchants had settled in Kanesh among
1
ART TREASURES OF TURKEY the native inhabitants to pursue their trade peacefully and legally (the "Colony pe-
riod"). Written contracts and documents abound in the archives of what conveniently
is referred to as the Karum (for the commercial establishment) of Kanesh. They give
the date of the Colony period as contemporary with the Old Assyrian rulers from
Erisum I, Sargon I and Puzur-Assur (Karum II, late 2oth-i9th century b.c.) to Samsi-
Adad I (1813-1781, Karum lb).
On the citadel the native rulers had their palaces and temples. Toward the end of
the Early Bronze Age number
43 were still current in the city, but the
idols such as
range of religious expression expanded rapidly under the stimulus of the commercial
contacts with the Near East. The Anatolian traders became literate in Old Assyrian,
the cylinder seal was adopted as a new device and manufactured locally as a vehicle
for native iconography, while the Assyrian residents adjusted to the external pattern
of living of their Anatolian neighbors. This pattern is visible in the architecture of
the Karum, in the furnishings of houses and graves, in the tools and pottery, most
abundantly in the latter category of which the Karum has yielded hundreds of excel-
lently preserved specimens.
Of the administrative side of the Colony period, the clay envelope and tablet (no.
45) give an example with the impressions of three different cylinder seals. In the up-
per register the Anatolian cult image of a bull is shown on a platform.
Domestic furnishings may be seen in number 60, a portable hearth from level lb,
which in combination with the bowl (no. 59) gives an impression of their practical
use. In pottery manufacture central Anatolia makes rapid strides. The old handmade
styles, of which number 42 represents a special, painted, "Cappadocian" category, go
out of use and are replaced by a very carefully finished wheelmade ware of an amazing
variety. Basically the potter still adheres to the old Anatolian preference for bright
red-slipped and burnished vessels, but he can reserve panels for paint (nos. 47, 48),
and he shows his best artistry in the modeling of the shapes. Colony period pottery is
a plastic art. The pitchers of the third millennium now acquire longer, sharper, an-
gular beaks, some with "beards" (no. 61), and the bodies are carinated. Some pitchers
have a sharply trimmed look (no. 57). The red polish is worked to a high, even gloss.
The variety in forms and sizes is endless, although the basic repertoire is consistent.
Pouring vessels resembling teapots have simple or elongated (no. 54) spouts. Number
12
65 is a fine example from the site of Alisar. Bowls and jars, small and large, with and the art of anatolia until
without pedestals (nos. 59, 55) are competently modeled and provided with a variety ^^- ^ 200 B.C.
of lugs and handles. Plastic decoration is common. Animal heads terminate handles
or spouts; impressed designs, e.g. the so-called "signe royal," appear on jars (no. 58).
Even the buff ware is of original forms and neatly polished (no. 62).
The most interesting category of Karum pottery is that of animal-shaped vessels,
whether rhyta (ritual libation vessels), drinking cups, or otherwise. Libation vessels
in animal shape with tubular spouts on the back of the animal and pouring holes in
the muzzle are common implements at Kiiltepe, perhaps in continuation of a much
earlier Mesopotamian tradition, perhaps independent. The style of the red-polished
and the painted antelope (no. 50) is strictly Anatolian, related to

lion (no. 49) zoo-
morphic ornament on contemporary pottery. They belong to level II, as do the arti-
ficially stylized drinking cups number 5 1 (boar or rabbit?) and number 52 (bull's head
with halter). Vessels in the shape of animal heads, in clay and metal, have a long ca-
reer in second millennium Syrian and Aegean art, but the Kiiltepe samples stand
early in the development. Shoe- and boot-shaped cups have a particular fascination
for the Anatolian (no. 53).
Perhaps the finest zoomorphic vase from Kiiltepe is the fragment (no. 63) from
Karum level lb. In a restrained stylization the head of a ram is nobly modeled as the
protoma of a large, now mostly missing, basin or trough. With such pieces the potter's
craft comes close to being a major art.
The zoomorphic vases probably are ritual or conventionalized ritual implements.

They continue into the Hittite period when lists of specific, animal-shaped bibru-
vessels are made with reference to individual deities.
Simple, popular religious votives were often made in lead or silver from stone
molds, of which number 64 is an example (Karum lb). The goddess on this mold has
acquired more body and costume than her predecessor (no. 19), but the rendering is
still rigid, as is that of the small god standing on an elongated donkey. The impor-
tance of the latter animal greatly increased in the Assyrian trade period, which relied
heavily on donkey caravans.
Other Anatolian sites that have Assyrian colonies at the time of Kanesh Karum lb
are Alisar (cf. no. 65) and Bogazkoy-Hattusa. The latter site, which was to become the
13
ART TREASURES OF TURKEY Hittite capital, produces vessels with regional characteristics, such as the angular lion
rhyton (no. 66) and the tower-shaped vase (no. 67), both of ritual character and found
in one of the early levels on the citadel. Other vessels are very similar to those from
Kiiltepe (no. 68).
The history of Bogazkoy is known to the extent that Hattusa was destroyed by the
Anatolian king Anitta of Kuisara. This Anitta is referred to in Colony period tablets
found at Kiiltepe (Karum lb), at Alisar, and at Bogazkoy itself, where in spite of his
hostile exploits Anitta was later remembered in the historical archives. The long text
of a tablet recording the victories of Anitta is written in an old form of Hittite. There
is no indication that Anitta himself belonged to an Indo-European speaking group
of Anatolians, although some of the names and Avords in the Kiiltepe tablets make it
clear that Hittite (Neshite) speakers had infiltrated the city of Kanesh as early as the
Colony period. In any case, the aggressive action of Anitta is the prelude to the estab-
lishment of the Old Hittite Dynasty. Anitta lived in the days of the Old Assyrian king
Samsi-Adad I (1813-1781 B.C.), an older contemporary of Hammurabi (1792-50 B.C.).
Itwas through the actions of Anatolian kings like Anitta that the Assyrian colonies
came to an end.
We ha\e the names and some of the history of other kings ruling Anatolian prin-
cipalities at this time, but their sites have not yet been located. In the southeast, in
the region of Antioch, the city-state of Alalakh was ruled by a dynasty closely affiliated
with that of North Syrian Aleppo. A portrait of one of the Alalakh kings (no. 44), per-
haps Yarimlim, belongs to this period. With this we are much closer to Syria and Mes-
opotamia than to the plateau. This sculpture is part of the long tradition of Mesopo-
tamian votive statues carved in hard black stone, with minor variations as a concession
to local traits of costume and coiffure. The head was found in the temple of the de-
stroyed level VII at Alalakh.
This destruction of Alalakh must ha\ e been due to the victorious campaign of one
of the first kings of the Old Hittite Dynasty, Hattusilis I, late in the 17th century B.C.,
whose annals have recently (1957) been found on the citadel at Bogazkoy. Hattusilis
recorded his campaigns in Akkadian and in Hittite (no longer in Old Assyrian, the
Colony period being definitely a thing of the past). He fought battles in the west and
in the southeast, where his record mentions the destruction of Alalakh. He also con-
14
quered Hurrian cities and sent rich booty back to his capital, Hattusa. His successor, THE ART OF ANATOLIA UNTIL
Mursilis I, continued the conquests with the capture of Aleppo and the famous raid CA. 1200 B.C.
on Babylon that brought the Old Babylonian Dynasty to an end (ca. 1595 B.C.).
With this event we have reached the fully historical period in w hich Anatolia has
become part of the Near East and interferes actively in the development of Mesopo-
tamia. The capture of Babylon, in archaeological terms, is the end of the Middle
Bronze Age.
The history of the rulers of the Old Hittite Kingdom and their successors is fairly The Late Bronze Age
well known from the archives at Bogazkoy, supplemented by those of Syria (Ugarit) {ca. 1600-1200 B.C.):
and Egypt (Amarna) as well as Babylon. The great king of the Amarna period wâs Hittite Old Kingdom
(ca. 16^0-14=^0 B.C.),
Suppiluliumas I (ca. 1380-40 e.g.), whose po^ver extended beyond the Euphrates and
Hittite Empire
into Syria. He had installed vassal princes in important cities like Carchemish, and (ca. 14^0-1180 B.C.)
was one of the most respected kings of his time. In the 13th century the equilibrium
in Syria was maintained and defined by a treaty with Egypt (Hattusilis III and
Ramses II, in the twenty-first year of the latter's reign). Towards 1200 B.C. both the
Hittites and the Egyptians were seriously threatened by invasions and insurrections
on the periphery of their empires (wars of the so-called Sea Peoples, cf. the Mycenaean
infiltration of Miletus attested by number 76).
We do not have such a detailed archaeological documentation for the periods of
Hittite greatness as Ave do for the prelude at Kiiltepe. This is due to the accidents of
preservation. Destruction levels and abandonment of burnt sites will often yield a
rich har\est for the archaeologist. At Bogazkoy destructions and interruptions did
occur, but the rebuilding programs were usually thorough and did not leave much of
the old material intact, especially on the citadel. What is best known is the final state
of the Hittite capital as it fell a victim to its enemies around 180 B.C. The architec-
1
tural development of Bogazkoy isbecoming known, however, and a chronology for

its buildings (temples, palaces, fortifications, gateways) is being worked out in annual
excavation campaigns. The monuments will have to be appreciated in situ, in con-

junction with the grandiose setting of the Hittite capital, where the best Hittite
sculptures are carved on the rocks of an open air sanctuary or on the colossal jambs of
strategic gateways.
15
ART TREASURES OF TURKEY The sampling of Hittite an in the exhibition will give an intimation of its con-
servatism and its splendor. In minor arts pottery still continues the repertoire of the
Colony days, with small modifications. The pitcher with curved spout (no. 70) is an
elegant version of an old motif, again brightly polished. Zoomorphic vases also are
still popular, witness the double-headed duck vase (no. 69) from Bogazkoy, sharply
trimmed and incised with great precision. Number 71 is a striking example of what
the animal-shaped libation vessels had developed into by the end of the Old King-
dom: large, vigorously modeled bull statuettes, in bright colors, with a clearly ren-
dered halter to show that they belong to a divine team (the bulls of the weather god?).
Two complete bull vessels, very similar in size and make to number 7 1 , were found on
the citadel at Bogazkoy in 1963; their startlingly wide-eyed appearance has the same
almost awesome effect as the broken piece from Tokat (no. 71).
For the rituals in the temples of the Hittite lands we have descriptions in texts as
well as occasional scraps of visual information. A cult vase from the Hittite mound at
Bitik, twenty-six miles north of Ankara, is sufficiently well preserved to show that the
entire vase was decorated with friezes in polychrome relief on a red-polished ground.
Registers show the various parts of religious ceremonies: weapon dances (?) below,
offering bearers in the middle, a temple and anthropomorphic figures (deities or
priests?) in the top register. The vase must have carried a veritable repertoire of cult
performances. Fragments of such vases are known from Alisar and Bogazkoy, some
with scenes of cult music perhaps surviving from the days of Alaca. A new vase w'hich
promises to be much more complete than the Bitik specimen has just been discovered
in a site to the northeast of Ankara.
The appearance of the gods of the Hittites is known from monumental art,
well
principally from the rock reliefs at Yazilikaya near Bogazkoy. The exhibit includes
one stele (no. 75) that comes from a site southeast of Gaziantep, not from the central
Hittite area. It shows a weather god of typical Hittite physiognomy and gives his
name— weather god of the city of the weather god (or Hattusa?)— in Hittite hiero-
glyphs. As a round-topped stele the monument is formally related to Syrian ^vorks
from Ugarit, but it clearly belongs to the art of the Hittite Empire.
More strictly Hittite, and somewhat earlier, is number 74, one of a series of small
bronze figurines representing Hittite weather gods. This specimen is li\elier and
16
more slender than the Hittite Empire versions and may still belong to the Old King- the art of anatolia until
dom. It also favorably compares with the formal, undifferentiated bronze Reshefs and CA. 1200 B.C.
Baals from Syria.

The rock crystal figurine from Tarsus (no. 73) is a worthy representative of a large
class of divine images in precious materials. The tablets tell us how much we have
lost in the category of anthropomorphic images of deities in silver, electrum, gold, set
on animal bases of gold-covered wood. The Tarsus figurine of a long-robed god was
probably part of such a group, in which the rock crystal would be brilliantly set off by
gold or silver paraphernalia.
The Hittite Empire was overrun by its old and new enemies early in the 12th century The Post-Hittite Period
B.C. Hattusa, the capital, was plundered and burnt down. A similar fate befell most of {Beginniyig of the Iron Age,
the rich centers of the empire, whether in the southeast (Tarsus, Carchemish) or in
pom ca. iiso H.L.)
Syria (Ugarit). The last urgent messages about the defense are recorded in the tablets
burnt and buried in the destruction levels.
Remnants of the Hittite glory managed to survive to the southeast of the plateau
and along its fringes rather than in the old capital, which was gradually appropriated
by new Indo-European intruders, the Phrygians.
The so-called neo-Hittite revival is particularly noticeable in cities like Carche-
mish and Malatya on the Euphrates. Carchemish wâs rebuilt under kings whose art
preserves much of the old tradition, though blended with Syrian, Hurrian, and, to-
ward the end, Assyrian and even Aramaic inspiration. The architectural use of lion
guardians on statue- and column-bases (no. 77), or on doorways (at Marash, no. 80), is
a feebler continuation of Bronze Age Hittite art. Hittite hieroglyphs, so profusely

carved on the Marash lion, survive in the neo-Hittite states, but the Hittite cuneiform
of the Bronze Age tablets is abandoned.
The inscribed relief from Malatya (no. 79) renders a traditionalized hunting
scene. The Hittites were great charioteers from the days of the Old Kingdom con-
quests on, but the Malatya scenes are no more than weak reproductions of an inter-
national theme. The goddess on number 78, probably the great city goddess of Car-
chemish, Kubaba, is at least clear and hieratic in rendering, but the interest in
modeled relief has departed from this art. Number 81 is a weird attempt to combine
17
ART TREASURES OF TURKEY relief and sculpture in the round. The details of costume and attributes and the
meaning of this group (votive or funeral?) are more interesting than its sculptural
characteristics.
Finally,number 82 is a typical representative of the syncretism of the neo-Hittite

period. The weather god with his axe and thunderbolt is represented on a round-
topped stele which looks part Syrian, part Hittite, part Hurrian. The stele comes from
an unknown site in northern Syria or southeast Anatolia, from Avhere it was forcibly
removed by the Babylonians to be put in the museum in Nebuchadnezar's palace as
a showpiece. The re\ erse has a long inscription in Hittite hieroglyphs.
Similar weather god steles have been found at Zincirli-Sam'al and Til Barsib.
They all show the three-pronged thunderbolt. In spite of his mutilated condition, the
god on the Hittite stele of Cagdm (no. 75) is a much sprightlier figure, and a compari-
son bet^veen numbers 75 and 82 shows how Hittite art lost its vigor after the fall of
the Empire.
There are a few exceptions to the monotony of the neo-Hittite period. Some sites
with large sculptures (Gollii Dag between Nigde and Nevsehir, Tell Tainat near An-
tioch) create a vigorous new style for the old subjects of lion guardians, but they are
exceptions. Fine work is still being done in arts and crafts, especially in the ne^vly
rising centers of Phrygia and Urartu. But they are the successors of the Hittites, not
the survivors.
Machteld Mellink
Bryn Mawr College
Bryn Mawr, Pennsylvania
BIBLIOGRAPHY
General
Akurgal, Ekrem, and Max Hirmer. The Art of the Hittites. New York, 1962; original
German edition Munich, 1961.
Akurgal, Ekrem. Die Kiinst Anatoliens von Homer bis Alexander. Berlin, 1961.
Bittel, Kurt. Grundziige der Vor- und Friihgeschichte Kleinasiens. Tubingen, 1945,
2nd ed. 1950.
Bossert, Helmuth Th. Altanatolien. Berlin, 1942.
Goetze, Albrecht. Kleinasien. Kulturgeschichte des alten Orients III, i; Munich, 2nd the art of anatolia until
ed. 1957. CA. 1200 B.C.
Gurney, O. R. The Hittites. Penguin Books, rev. ed. 1961.
Lloyd, Seton. Early Anatolia. Penguin Books, 1956.
Naumann, Rudolf. Architektur Kleinasiens. Tubingen, 1955.
Vieyra, Maurice. Hittite Art. London, 1955.
Walser, Gerold, ed. Neuere Hethiterforschiing. Historia, Einzelschriften, vol. 7,
Wiesbaden, 1964.
Translations of texts
Pritchard, James B., ed. Ancient Near Eastern Texts Relating to the Old Testament.
Princeton, 2nd ed. 1955.
Neolithic and Chalcolithic Sites
French, D. H. "Excavations at Can Hasan," Anatolian Studies, vol. 12 (1962), pp.

27-40: vol. 13 (1963), pp. 29-42; vol. 14 (1964), pp. 125-34; vol. 15 (1965), pp.
87-94-
Garstang, John. Prehistoric Mersin: Yilmiik Tepe in Southern Turkey. Oxford, 1953.
Goldman, Hetty. Excavations at Gozlii Kule, Tarsus, vols. 1-3, Princeton, 1950-63.
Mellaart, James. "Excavations at âtal Hiiyiik," Anatolian Studies, vol. 12 (1962), pp.
41-1 10; vol. 13 (1963), pp. 43-103; vol. 14 (1964), pp. 39-123.
Mellaart, James. "Excavations at Hacilar," Anatolian Studies, vol. 8 (1958), pp. 127-
56; vol. 9 (1959), pp. 51-66; vol. 10 (i960), pp. 83-104; vol. 1 1 (1961), pp. 39-76.
Mellaart, James. "A Neolithic City in Turkey," Scientific American. April 1964, pp.
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Early B ron ze A ge Sites

Arik, Remzi Oguz. Les Fouilles d'Alaca Hoyiik 1935- Ankara, 1937.
Blegen, Carl \V. Troy and the Trojans. Ancient Peoples and Places, New York, 1963.
Blegen, Carl W., et al. Troy. Excavations conducted by the University of Cincinnati.
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Kosay, Hamit Ziibeyr. Ausgrabungen von Alaca Hoyiik 1936. Ankara, 1944.
Kosay, Hamit Ziibeyr. Ees Fouilles d'Alaca Hiiyiik ip^y-ip^p. Ankara, 1951.
Lloyd, Seton, and James Mellaart. Beycesultan. 2 vols. London, 1962-65.
19
ART TREASURES OF TURKEY Mellink, Machteld J. "Excavations at Karatas-Semayiik in Lycia," American Journal
of Archaeology, \o\. 68 (1964), pp. 269-78; vol. 69 (1965), pp. 241-51.
Osten, H. H. Von der. The Alishar Hiiyiik. Seasons of ipô-ip^2. 3 vols. Oriental
Institute Publications, Chicago, 1937.
Ozgii^, Tahsin, and Mahmut Akok. Horoztepe. Ankara, 1958.
Middle and Late Bronze Age Sites, Hittite Studies
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Preliminary reports in Mitteilungen der Deutschen Orient-Gesellschaft zu Ber-
lin, vols. 89 (1957). 91 (1958), 93 (1962), 94 (1963)' 95 (1965)-
Bittel, Kurt, and Rudolf Naumann. Bogazkoy-Hattusa I, Stuttgart, 1952.
Bittel, Kurt. Die Ruinen von Bogazkoy. Berlin-Leipzig, 1937.
Fischer, Franz. Die Hethitische Keramik von Bogazkoy. Berlin, 1963.
Gelb, Ignace J. Hittite Hieroglyphic Monuments. Chicago, 1939.
Gurney, O. R. Anatolia ca. iyjo-1600 B.C. Cambridge Ancient History, 2nd ed.,
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Guterbock, Hans G. "Hittite Mythology," in Mythologies of the Ancient World, ed.
Samuel N. Kramer. New York, 1961, pp. 141-79.
Guterbock, Hans G. "Hittite Religion," in Forgotten Religions, ed. Virgilius Ferm.
New York, 1950, pp. 83-109.
Guterbock, Hans G. Siegel aus Bogazkoy. Vols. 1-2, in Archiv. fiir Orientforschung,
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Laroche, Emmanuel. Les Hieroglyphes Hittites. Paris, i960.
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Hartmut Schmokel. Stuttgart, 1961, pp. 31 1-446.
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20
Early Iron Age, Classical, and Roman Empire
The first powerful state to emerge in Anatolia after the fall of the Hittite Empire was
the Kingdom of Urartu. Its capital was at Van, where conspicuous rock-cut cunei-
form inscriptions give us an inkling of the history of the Urartian and the names
state
of its dynasty of kinoes, Arsjisti, Menuas, Sarduris, Rusas. Our knowledsê is augmented
by the annals and the palace reliefs of Assyria, for the two states were neighbors and
often in conflict from the gth century onward. Urartu controlled the sources of the
Tigris and Euphrates rivers and the foothills along the northern borders of Assyria;
its power was in consequence regarded as a constant threat by the Assyrian kings.
During periods of Assyrian weakness Urartian influence expanded, reaching North

Syria and the shores of the Mediterranean by the middle of the 8th century. Con-
versely, in times of Assyrian strength devastating raids ("preventive ^vars") into Urar-
tian territory were staged, and all the events of these were recorded in the Assyrian
annals as well as illustrated in the reliefs. Thus our sources for Urartian art are as
often the reliefs of Sargon II from Khorsabad as finds from the Urartian land itself.
Just as the Urartians adopted the cuneiform writing of their southern neighbors for
their inscriptions, so too they adopted Assyrian techniques and styles in their art, with
21
ART TREASURES OF TURKEY the result that in the reliefs it is sometimes difficult to determine whether objects de-
picted are truly Assyrian or provincial adaptations from other lands within the orbit of
Assyrian influence.
The earliest excavations in Urartu made at Van and at nearby Toprakkale in the
i88o's brought forth a wealth of material in stone, in ivory, and in bnmze. But these
excavations were done by amateurs and no adequate records were kept; the bulk of
the material, mostly undocumented, went to the British Museum, where it remained
unpublished Until recently. Interest in IJrartian art was reawakened by the chance
find in 1938, during the construction of a road from Erzincan to Erzerum, of a rich
tomb at Altintepe near Erzincan. Most of the contents of the tomb disappeared, but
among the objects recovered for the Ankara Museum was a great bronze cauldron
with its stand (no. 83) in almost perfect preservation. The bull's head attachments
are in a style known from similar attachments found in the earlier excavations and
from a trickle of objects from illicit diggings in the region of Lake Van, now widely
dispersed among museums and in private collections. The stand, its feet ending in
bull's legs and hoofs to match the heads on the cauldron, must have been made specifi-
cally to carry the vessel. Fragments of a similar stand (or of two) decorated with bull's
heads, now in the Metropolitan and the Berlin Museums, were found in Cyprus, at-
testing the wide distribution of Urartian bronzes presumably before the subjection
of North Syria by the Assyrians in 738 b.c, ^vhich cut off Urartu from access to the
Mediterranean.
These bull's head attachments from the Van region, cast and finished in finest de-
tail by chasing, demonstrate the skill of the Urartian smiths. The Urartian land was
rich in metals and justifiably famed in ancient times for the products of its metal-
lurgy. The large cauldron, probably made by casting, is in itself no mean achieve-
ment; and the stand, assembled from several separate pieces cunningly joined, again
bespeaks the technical skill of its makers. The bird-shaped plates (spread wings and
tail) that join the bull's heads to the shoulder of the cauldron are, howe\er, of a genre
widespread in the Near East and suggest that the whole ensemble, though a high
achievement of Urartian metallurgy, may have drawn its inspiration from elsewhere.
A pair of cauldrons \vith bull's head attachments, one from Gordion and the other
(reputedly found at Cumae in Italy) in the Copenhagen Museum, differs slightly in
22
style and in the detail of treatment of the attachments, and in the addition of carry- early iron age, classical,
ing rings above the necks of the btills. These belong to a different school, and both ^^D Roman empire
schools (or pro\ incial \ ariants) must derive from a common original source, probably
Assyrian.
Excavations recently started by the Ankara University at Altintepe, and still in
progress, have brought forth much more material including imposing remains of
montimental Urartian architecture. A set of gold buttons (no. 87) from a tomb again
illustrates the skill of the Urartians in metallurgy— in this case at the level of the
je^\•eler. The biutons ^\•ould seem to have been hammered repousse, then decorated
^vith wire filigree and fine granulation. \Vîre loops at the back served for attachment,
^vhether to clothing or to something else we do not know; in any case these "buttons"
ivould seem to have been rather decorative than functional in the literal sense, since
ancient costume was not normally fastened by buttons as we know them.
Ivory carvings from Altintepe (nos. 85-86) again reflect Assyrian influence. Not
only is the material a luxury import, but the techniques for car\ ing it must also have
been learned abroad. The plaque (no. 85) once covered entirely or in part Avith gold
foil, is thoroughly Assyrian in its subject: the winged demon with griffin head, carry-
ing a situla and facing a sacred tree (a similar facing demon on the opposite side of
the tree is missing), reflects like scenes on Assyrian reliefs. The art of wall painting
too was probably learned from Assyria. The t^\o fragments from Altintepe (nos.
84a-b) are part of the decoration of a columned hall of the first half of the 7th cen-
ttiry. The technique is not fresco painting, since the colors were applied to a fine mud
plaster rather than to a wet lime surface. The arrangement seems to have been in
some with figure scenes, others A\ith con\ entional geometric or floral patterns.
friezes,
Fragment a Avith its ^vinged genii ceremonially fertilizing a sacred tree again reflects
Assyrian models.
The excavations at Altintepe continue and little has been published as yet. The
present interest in Urartian art and cultine is shown, hoA\'e\er, by the acti\ ity at other
sites, notably at Karmir Blur near Erivan in Russia, a site mostly of the 7th century,
and more lately in the excavations of the Atatiirk University (Erzuriun) at Patnos. A
unique painted jar (no. 88), foimd only in 1964 and decorated with three molded
and modeled female heads, probably of the 7th or 6th century e.g. comes from this site.
23
ART TREASURES OF TURKEY During the later 8th century the Urartian kings often had as their allies in in-
trigues against the Assyrian power the Phrygians of central and western Anatolia.
Phrygia This people would seem to ha\e entered Asia Minor (perhaps from Thrace) at some
time after the fall of the Hittite Empire, spreading gradually over the western part of
the peninsula during the ensuing Dark Age and emerging as a powerful unified state
around the middle of the 8th century. In Central Anatolia the Phrygians settled at
many of the destroyed Hittite sites; their later sculpture, inscriptions, and pottery
have been found at Alaca Hiiyiik and at Bogazkoy. An early painted ^vare (no. 89)
attributed to them (called Early Phrygian by Akurgal and dated to the middle of the
8th century) has been found in some quantity at the Chicago Oriental Institute exca-
vations at Alisar in the Halys bend to the southeast of Bogazkoy. Characteristic of this
ware are stylized deer ^vith long horns painted in silhouette, with filling ornament of
circles, conventionalized trees, and mast-like rays.
The capital of Phrygia lay farther to the Avest at Gordion in the Sangarios Valley.
Here named alternately Gordios and Midas had their palace in a

a dynasty of kings
and here was a cemetery of royal tombs covered by huge earth

fortified citadel,
mounds. Gordion lay at a safe distance from the predatory Assyrian kings, who did
not venture so far afield into unknown territory beyond the Taurus Mountains. It
would seem, howe\ er, that Phrygian interests must have extended to the Cilician and
North Syrian regions, for we hear of revolts against King Sargon by vassal states of
Assyria instigated by King Midas, especially at Carchemish, and of clashes between

Mita of Mushki (King Midas) and Sargon II of Assyria. The Phrygian Kingdom,
then, was open to cultural influences from this anciently civilized area and in a posi-
tion to pass them along to the peoples settled on the Aegean coast to the west. The
influences on Phrygian art were mixed: from North Syria, from Assyria, from Urartu
in the east, and, more remotely, from Iran. Yet the Phrygians had inventiveness and
a style of their own which gave an indiv idual flavor to their art. We cannot tell how
this might have developed had it not been cut off by a devastating raid of the bar-
barian Kimmerians early in the 7th century that overthrew the Phrygian Kingdom
as a major power.
The University of Pennsylvania Museum exca\ations at Gordion over the past
fifteen years have brought to light much Phrygian material and have established a
24
reasonably secure chronology for the dexelopment of Phrygian art, a chronology early iron age, classical,
which must serve as a touchstone for the dating of similar artifacts found in less well ^^^ Roman empire
dated environments or procured through dealers from illicit diggings. The objects
found in the burned city at Gordion must date from around 685 b.c, the time of the
Kimmerian raid, and those from the rich royal tombs, Av^hich coidd not have been
built or furnished after the catastrophe, from somewhat earlier.
The richest tomb at Gordion, marked by a tumulus still 170 feet high and nearly
1000 feet in diameter, would seem to be that of the Phrygian king (presumably a
Gordios) who preceded the famous Midas on the throne. Since King Midas was still
on the throne, accordino^ to the tradition, at the time of the Kimmerian destruction,
and committed suicide in consequence of it, the tomb can hardly have been his. He
was already on the throne in 717 b.c. when his name first appears in the annals of the
Assyrian king, Sargon II: his predecessor's tomb in consequence must ha\e been made
and furnished before that date. In the tomb itself a bronze situla was foiuid, decorated
with a lion's head which is the embodiment of similar situlas represented in the reliefs
of the palace of Sargon at Khorsabad, and this confirms the approximate contempo-
raneity of our tomb to the reign of Sargon, 721-705 b.c. The tomb and its contents
are to be dated Avith probability to the years 725-720 b.c.
Though the lion's head of the Gordion situla is thoroughly Assyrian in style the
vessel itself may well be a local production or an importation of non-Assyrian origin.
The Khorsabad reliefs show the pillaging of Musasir, a dependency of Urartu, by

Sargon's Assyrian troops; all sorts of objects of bronze were carried off and some of
them used no doubt in the victory feast, so that the lion situla may well have been loot
from Urartu or even (conceivably) Phrygian tribute paid by Midas to Sargon after a
defeat on the borders of North S)Tia. A companion piece from the same tomb (no. 99),
a situla with a ram's instead of a lion's head, seems to reflect Iranian rather than
Assyrian influence: a similar ram situla of the late 8th or early 7th century from Luri-
stan is in the Tehran Museum, and other ram situlae (of baked clay) were included in
the Treasure of Ziwiye. If the animal's head (and particularly the ram's head) situla
form is of Iranian origin, and the lion's head of the other Gordion situla unmistakably
Assyrian in style, then we Avould seem to have a contamination of influences from dif-
ferent parts more likely to have been put together in a neutral area than at either of
25
ART TREASURES OF TURKEY the creative centers. That the situlae could have been made in Phrygia is, from a
technical point of view, quite possible. Bronze fibulae (nos. 101-02) from the same
tomb at Gordion are unmistakably of Phrygian origin; fibulae of this type, with
double pins covered by an ingenious sliding shield, have been found only at Gordion
and in contemporary tombs at Ankara. The technical skills required for the making
of such fibulae, put together from many separate parts, attest an ability in the Phryg-
ian smith quite equal to that of the Urartian metallurgists. The craftsmen who made
the fibulae made also the other vessels in the royal tomb, and they were technically
quite capable of making animal-headed situlae and cauldrons with bull's head and
siren attachments.
Of the other bronze vessels from the tomb (nos. 92-98, 100) certain forms are spe-
cifically Phrygian. Mesomphalic phialai (nos. 94-95), the central boss surrounded by
raised ridges, have been found numbers and in earlier en\ ironment in
in greater
Phrygia than elsewhere: the great tumulus at Gordion alone contained ninety-eight
of these. The cast bo^vls with a characteristic and individual pattern of overlapping
petals in relief are a specifically Phrygian product, imitated elsewhere later on. So also
are bowls with handles pendant from half bolsters (no. 98), their rims reinforced out-
side by added bronze bands doweled to the wall with small metal pins. The Phrygian
smiths had a fondness for ring handles for carrying Avhich appear not only on small
cauldrons like number 92 but also on larger ones with bull's head or siren attach-
ments. The bucket handle of another small cauldron (no. 97), its ends threaded
through loops on attachments decorated ^vith stylized bull's heads and secured in
place by winding them back spirally around its lower part, was made in the same way
as were the handles of the situlae. A large jug (no. 96) with trefoil mouth (one of ten
from the tomb) was assembled from several parts, some of cast, others of hammered
bronze. The treatment of the handle, made up of two sheets fitted together, the inner
flanged at the bottom and bent over to hold the outer in place, is a typical Phrygian
device. These jugs of bronze are paralleled by numerous pottery \ essels of the same
shape which Avere found in the burned layers of the city.
Of painted pottery vessels from the tombs, tiie earliest is a long-spouted jug (no.
103) found in a burial somewhat earlier perhaps than that under the great tumulus.
which contained no painted wares. The form with high looped handle and exagger-
26
atedly long spout is reminiscent of similar vessels from the nearly contemporary early iron age, classical,
cemetery B at Sialk in Iran, suggesting again a link between Phrygia and Iran: biu it '^^^ Roman empire
has been modified by shifting the handle to the right side instead of leaving it oppo-
site the spout: evidently it ^vas considered good table manners at Gordion to pour
directly in the mouth, holding the vessel conveniently by the right hand. The overall
decoration is of plain geometric patterns, mostly in bands in black paint on a polished
buff ground. A \essel (no. 105) from a child's tomb dated to about 700 B.C. is of the
same fabric but e\ idently later in date: here the simple geometric patterns in bands
have gi\ en way to panel decoration, the panels filled by large animals— bulls and goats
— dra-wn and filled by dotting. From the same tomb a zoomorphic— or
in outline
rather, ornithomorphic— \essel (no. 107) shaped like the body of a bird ^vith a long
tubular spout instead of a head, is decorated o\ erall with simple checkerboard deco-
ration. Like \essels in shape and decoration ^sere found in the burned layers of the
city; the tomb cannot ha\ e been made \ many years before the destruction. Since
ery
it Avas the gra\ e of a child an effort ^\as made to select toy-like gifts such as would ap-
peal to a small child, and among these was a pair of painted vessels (no. 106) in the
form of gander and goose, alike in everything but size. The goose pot demonstrates
the in\enti\ eness and the humor of its maker: patterns ^vere chosen to suggest not
only the small soft feathers of the breast but also the stiff quills of Avings and tail, and
(on the loAver part) to suggest -^vater and so place this ^vater bird in its natural en-
vironment.
Car\ ed ivory horse trappings imported from North Syria ha\ e been foimd in the
burned city at Gordion: also roughly blocked-out chunks of i\ory and chips from its
cutting to suggest that the Phrygians not only imported finished ivories but devel-
oped an ivory-carving industry of their own. The raw material Avas probably im-
ported from North Syria and the techniques for carving it learned there, but the
local craftsmen seem quickly to ha\ e developed a style of their own. Small plaques
(nos. goa-b) designed for inlay into furniture sho^v an armed ^varrior on horseback
and a griffin eating a fish. The animal figures ^vith hea\y chimky bodies on small
spindly legs and ^vith lozenge-shaped eyes are in contrast to North Syrian and Near
Eastern forms, yet the tail of the griffin, ending in a large bird head, recalls North
Syrian models. The Phrygian craftsmen evidently formed quickly a style ^vhich stood
27
ART TREASURES OF TURKEY between oriental models and later Greek developments: the mounted warrior brings
to mind many a similar later Greek figure. In contrast are the trappings of carved
bone (nos. gia-b) showing fierce birds, probably hawks, seizing their prey, large hares.
The figures are carved in exquisite detail. In spirit they bring to mind the bird and
animal figures of Scythia and nomadic art rather than the softer forms of the Near
Eastern ^\'orld.
The hawk appears often in Phrygian art at Gordion carved in wood and bone,
cast in silver, scratched in outline on wall faces. He was evidently the companion and
symbol of the great Asiatic Mother Goddess Kybele, and his presence (in many repre-
sentations) in the early deposits beneath the temple of Artemis at Ephesos on the
Aegean coast suggests that an earlier and Asiatic cult preceded and underlay the later
Greek cult of Artemis on the same site. The ivories of the Ephesian deposit dating
from the late 7th and early 6th centuries include a priestess too delicate to travel to
America, who carries in one hand a Phrygian bowl like number 98 and
crowned by is
a pole surmounted by a hawk. The hawks from the Ephesos deposit are of two sorts:
those \vith their feet extended downward, evidently standing birds, one of pottery
covered with blue glaze (no. 1), the other of electrum in the form of a brooch (no.
1 1
110); and those with their feet drawn up beneath them (no. 109) as though seen in
flight from below. The latter type can be traced back to Hasanlu in \\estern Iran in
the 9th century and even earlier to Susa in Elam, perhaps as early as 1500 B.C. The
two electrum hawk-brooches from Ephesos are probably of Lydian origin; Lydia was
the chief source of electrum and an early fabricator of fine jewelry (as well as of coin-
age) from this native product.
Lydia But Lydia, whose capital, Sardis, lay in the Hermos valley Avell inland from the
coast, was subject to influences from many directions. She not only absorbed and
transmitted to the coast many objects and ideas from the hinterland, she was also ex-
posed to influences from the Greek cities of the coastal strip. Recent excaxations at
Bayrakli (Old Smyrna) on the Gulf of Izmir, destroyed early in the 6th century by the
Lydian King Alyattes, have shown that Greek settlement of the Asia Minor coast goes
back to the 1 ith century. A typical Greek geometric jug of the severe style (no. 108),
dating from about 800 b.c, attests not only the Greek presence along the Asiatic coast
but also an isolated and provincial Greek culture in touch a\ ith the homeland but
28
little affected by the native peoples of the interior. Perhaps these peoples had little to early iron age, classical,
offer as early as the gth century, but in any case they seem to have been strong enough and roman empire
and well enough organized to confine Greek settlement to a narrow coastal strip out
of which the settlers were unable to break until the time of Alexander's conquests:
their surplus population, instead of expanding inland, Avent forth to found secondary
colonies along the north shore of the Aegean, around the Propontis, and on the coasts
of the Black Sea.
One role of Lydia was that of middleman between east and west. The Greek set-
tlements of the northern part of the coast, Aeolis, were early in close contact with the
Lydians in the Hermos valley. Aeolians had been the original settlers of Old Smyrna,
later pushed out by lonians. They developed an architectural style with a voliued
("Aeolic") capital basically different from the Ionic, and this Aeolic capital seems to
have been derived ultimately from Assyrian models. Fragments of wall painting from
Gordion dated around the end of the 6th century show this capital and suggest that its
transmission to the west may have been rather through the interior of Anatolia than
by sea around its margins. In the same way an exquisitely carved column base of lime-
stone (no. 1 12), found at Ankara, would seem to ha\e been derived from North Syrian
models. This too had its imitators on the Aegean coast ^vhere a similarly-carved piece
found Old Smyrna has been interpreted as the cushion of an Aeolic capital.
at
Lydian and East Greek styles of vase painting are contrasted in two vessels (nos.
113-14), a deinos from Sardis and an amphora from Pitane. The Lydian vase, with
its outlined and dotted animals, calls to mind the earlier Phrygian jug (no. 89). But in
Phrygia by the 6th century the art of \ase painting had declined to mere primitive
scribbling, Avhile that of making the characteristic polished black ware had reached
a peak. The shapes (no. 122), often influenced by metalwork, are elegant, the fabric
thin, and the lustrous black surface polish often quite the equal of the black glaze on
contemporary Greek vases.
The practice of ornamenting architecture with plaques of molded and gaily

painted terracotta Avas probably of Greek origin. Eaves tiles with their spouts and
gutters and simas to adorn the edges of roofs were probably adornments concomitant
to the de\ elopment of roofs of baked terracotta tiles, and Avail friezes of like tiles prob-
ably had their origin in a need to protect from the Aveather the exposed faces of
29
ART TREASURES OF TURKEY \vooden members in the framework of mud brick construction. The most elegant and
sophisticated tiles are Greek, found at Larisa in the lower Hermos valley. The use of
architectural terracottas was taken up and imitated by the native Anatolian peoples
and examples (nos. 1 19-21) have been found at Sardis, Gordion, Pazarli, and on other
sites. The Lydian fragment igb shows part of a Avinged horse, perhaps the Greek
1
Pegasus. The Phrygian tile with a procession of rather primitive appearing warriors,
from Pazarli in the interior of Asia Minor, Avas probably adapted by local artisans
from models seen at one of the Greek settlements along the south coast of the Black
Sea.
An ivory head from Sardis (no. 1 15) shows mixed influences. The face is Greek in
its modeling and in its archaic smile, but the scars in the cheeks are the marks of the
servant of an oriental goddess. The large rosette earrings, too, are perhaps more ori-
ental than Greek. The hair was added in a different material, probably gold or elec-
trum; we ha\e met this combination of ivory As'ith gold overlay in Urartu (no. 85).
Statues of gods in gold and ivory were regarded in Greece later on as the most splen-
did embodiments of divinity, and the Aegean world had already seen the combina-
tion at Knossos in Minoan times. But during the Dark Age which followed the fall
of Mycenae the importation of ivory as of other luxury materials to Greece was inter-
rupted; probably the techniques of carving it and of combining it with gold had to
be learned anew in the Near East after contact was rencAved in the 8th century.
Whether the missing tresses of the lady from Sardis were of gold or of electrum we
will never know. In any case we are told that King Croesus (560-546 B.C.) reformed
the I.ydian coinage, minting coins of gold and of silver instead of electrum. Whether
means were found in his time to separate out the tA\o elements, gold and silver, of the
nati\ e electrum, or a\ hether the Lydians gained access to a source of gold, unknown.is
But the later jewelry of Sardis (nos. 116-17) is of gold rather than electrum and per-
haps for that reason should be dated to the reign of Croesus or later. Again it illustrates
the skill of the Lydian jewelers.

Other specimens of gold work (no. 118) are certainly to be dated after Croesus'
reign. Small a jour plaques for applique show in relief lion-bodied sphinxes with
bearded human heads. These are Persian figures of Achaemenian times. Croesus in
30
547 B.C. rashly attacked Persia and ^vas defeated by Cyrus; his Lydian Empire, includ- early iron age, classical,
ing the Greek cities of the coast, was absorbed into the Persian Empire which en- -^^'^ ROMAN empire
dured until the times of Alexander the Great. Perhaps for the first time all of Asia
Minor was unified under a single power. Yet from an archaeological and artistic point Persia
of \ iew the policy of the Persian kings seems to have been one of extreme laissez-faire.
Gordion ^vas rebuilt as a strong point, a garrison toT\n, and a market center; but local
planners and architects and craftsmen were employed who continued the local styles
and traditions in preference to adopting Persian ones. A few specifically Persian ob-
jects have turned up at centers frequented by the Persian overlords. Sardis, where the
gold applique plaques were found, became the seat of a satrap. Gordion must have
been the seat of a lesser Persian official. Perhaps to him belonged a carnelian cylinder
seal (no. 123) with an Aramaic inscription and representations of Persian royal figures
standing on sphinxes of the same type as those sho^vn on the earlier Sardis plaques, at
either side of a bust of the god Ahuramazda. A second satrap in Asia Minor had his
seat at Dascylaion near the modern Bandirma on the Sea of Marmora. There in 1964
three gra\ e steles of Persian times were found, probably to be dated early in the 5th
century. On one of these (no. 128) in two relief panels at the top a funeral procession
and a banquet scene are represented. The upper panel shows the ekphora. The body
is being taken away in a co\ ered wagon dra^vn by mules, the mourners follows' on foot.
The funeral banquet may be compared to a similar Greek representation from Tha-
sos (no. 127). The Persian scene seems backward and archaic by comparison. The
Greeks were e\ idently the teachers of the Persians in major sculpture, and Greek
sculptors are thought to ha\ e worked on the great reliefs of the palace of Xerxes at
Persepolis.
Fine marble for sculpture was available in the islands of the Aegean, and an island Greece
school of sculpture de\"eloped early there. The Greek cities of the Asia Minor coast
created an Ionian sculpture allied to that of the islands: the forms are soft and
rounded, the modeling fleshy and imprecise. We ha\e no \ery early statues from
Ionia. Probably the art of sculpture came to the mainland from the islands at a fairly
developed stage. Some \ ery archaic seated statues from the processional way to the
temple of Apollo at Branchidae may well have been made by island sculptors. The
31
ART TREASURES OF TURKEY head of a youth (no. 125), long in the Istanbul Museum, came from Samos. For
many years it was alleged that it had been found in Rhodes; recently it has been dem-
onstrated that it fits on to a statue found at the Heraeum, and its Samian origin can
no longer be doubted. More enigmatic is a stele (no. 126) of the late 6th century found
inland at Hamidiyeh near Eskisehir. It has been alleged that this was brought up
from the coast to be reused as building material, and indeed it is apparently of island
marble. But Hamidiyeh lies between the two great Phrygian cult centers at Pessinus
and at Midas City, and the stele may well be a dedication brought from either one of
them. Unusual for Greek work of the time are the large bead-and-reel moldings which
frame the sides, the rayed polos worn by the goddess, like that shown in the banquet
scene on the Persian stele number 128, and the helpless way in which the wings are
placed to either side of the body without organic connection to it. This may Avell have
been the work of a native imitator of Greek styles. It was apparently reused as a grave
stele after new panels with reliefs were carved on the back of the original stone.
For the 5th century there is a notable lack of Ionic sculpture. The Discobolos
stele (no. 129), the grave monument of a young athlete, comes from Xisyros in the
Dodecanese Islands. This period was the heyday of sculpture in Greece and it may
well be that Ionian sculptors were attracted to the active and flourishing schools of
Athens and Argos. We hear of a contest for the making of an Amazon statue for
Ephesos; all of the sculptors named as participants were from mainland Greece and
Crete.
In the 4th century the cities of Asia Minor were prosperous, those of the home-
land exhausted and impoverished by war. Less work was to be found at home and the
Greek sculptors took commissions for works abroad. Knidos was celebrated for its
statue of Aphrodite by Praxiteles, which may have been made in Greece and shipped
to Knidos when finished. But Praxiteles, together with Scopas and other sculptors,
probably had to be present in person at Halicarnassos to work on the architectural
sculptures adorning the Mausoleum. The style of Scopas has been seen by some in a
statue of Demeter found at Knidos, now in the British Museum. But recently a much
finer bronze statue (no. 130) of the same type was brought up from the sea by fisher-
men off the Knidos peninsula, and it has been suggested that this was the original in-
tended for Knidos, made elsewhere and sent by ship but lost at sea on the way, so that
32
the marble statue was substituted for it. Another bronze statue of late Hellenistic early iron age, classical,
times, that of a Negro boy was fished from the Bodrum: this too must ^"^^'D roman empire
(no. 145), sea off
have been lost in transit. Efforts are being made to spot the shipwrecks from which
both of these came.
The statue of a cloaked athlete (no. 132) leaning against a pillar to rest after exer-
cise is 4th or early 3rd century in type, though details and technical indications sug-
gest that it may have been made as late as the 1st century. The original from which
it was copied may well have been of bronze. The statue was found at Tralles, and it is
likely that it was made there since Tralles in late Hellenistic times became the home
of an active local school of sculpture.
The portrait of Alexander the Great from Pergamon (no. 131) is one of the best
of numerous representations of the conqueror. Of this head many copies and adapta-
tions have come down to us; Alexander was a popular subject for the sculptor. Most
fit more or less well the written descriptions of his appearance in ancient literature;
and one, crowning a herm, is labeled with his name. For comparison, too, Ave have
the many coins which bear his likeness, so that the identification of this portrait may
be considered secure.
After the death of Alexander the Seleucid kings of Syria held rule o\er the
greater part of Asia Minor, biu lesser dynasties maintained more or less independent
local rule in Pontus, in Bithynia, and in Pergamon. During this time the island of
Rhodes builtup a large fleet to protect its vigorous maritime commerce. The pros-
perity of Rhodes in the 3rd century is reflected in a diadem of gold (no. 133) shoAving
a chariot and dancing satyrs and maenads in fine repousse. The mixed
influences and
heritages of the Hellenistic age are shown in a fine paintedamphora (no. 143) from
Kiiltepe, which is unique. The main scene shows a mounted hunter attacking a
panther. It reflects monumental painting or mosaics of the time. It has been called
"Galatian Avare," though it is probably too early to reflect any proper Galatian style.
The Galatians Avere brought over into Asia Minor by King Nicomedes of Bithynia in
278 B.C. to serve him as mercenaries. They seem promptly to have run wild, breaking
the peace and pillaging the rich cities of the coast. Around the middle of the century
they Avere given the inland district Avhich became knoAvn (from them) as Galatia, in
the hope that they might form a buffer state betAveen the poAverful Seleucid kings in
33
ART TREASURES OF TURKEY the east and the lesser principalities of Pontus and Bithynia. From Galatia (the re-
gion of Ankara, Gordion, and Pessinus) they made devastating raids for booty. They
were repulsed by Attalos I of Pergamon; the war was the occasion for numerous
sculptural memorials set up by the Pergamene kings. Only in 189 b.c. were the Gauls
decisively beaten by a Roman army under Manlius Volso; thenceforward they ceased
to be a menace. In the summer of 1964 a rich Galatian tomb was found near Bolu. It
cannot be dated precisely, though it must have been made between 278 and 189 b.c.
—probably in the latter part of the 3rd century. Its contents (nos. 132-42) included
two heavy torques (nos. 134-35) of gold such as the Gauls and Celtic peoples were
accustomed to wear and which are often shown in Greek sculptural representations
of Gauls. The bracelets (nos. 137-38) ending in animal's heads seem also to be typical
Galatian adornments, as a snaffle bit of bronze (no. 142) represents Galatian gear.
The finest piece, however, is a belt clasp of gold (no. 136), consisting of a medallion
decorated in repousse and fine chasing, which shows the head of a Gaul. This is a
unique portrait of a Gaul by a Gaul in this part of the world and serves as a check
against Greek representations. Only half of the belt clasp was recovered; there must
have been a second medallion. The two silver bowls (nos. 140-41) look like work in
a late and degenerated Achaemenian style.
Rome In 133 b.c. the last Pergamene king, Attalos III, died and in his ^vill bequeathed
his kingdom to Rome. Western Asia Minor became the Province of Asia. The whole
of Anatolia was eventually united again (for the second time) under a single rule, that
of Rome. During the early empire the cities of the Roman provinces flourished and
became rich and peaceful, especially in the 2nd century under Hadrian and the An-
tonine emperors— the period extolled by Gibbon in the opening chapters of the
Decline and Fall. The great emperor who introduced this stable and (in Asia Minor)
peaceful interlude was Trajan (98-117 a.d.) whose likeness in a wreathed bust of
bronze (no. 146), found in the Ankara district, is a masterpiece of portraiture.
gilt
While in other media— architecture and sculpture in particular— art under the
Roman Empire attained a sort of universal grandiose uniformity, skillful sculptors
were able to bring out the individual in portraiture. Realistic portraiture ^\•as a heri-
tage of the Romans from the time of the Republic, and a notable series of portrait
heads has been found of late years at American excavations in Turkey— those of the
34
136. Belt clasp medallion. Galatian, ca. 278-189 b.c. Shown three times actual size.
..
Fogg Museum and Cornell University at Sardis, and those of New York University early iron age, classical,
^"^^'^ roman empire
at Aphrodisias. From Sardis comes a fine head of a bearded man (no. 149) of the late
3rd century a.d., perhaps a philosopher. A much smaller head (no. 148), not a por-
trait, is a fragment from the lid of a large sarcophagus of Asiatic type, dated to around
the year 200 a.d. At Aphrodisias, Avhich was the center of an original school of sculp-
ture of Imperial times, two heads were found (among many other statues and fine
reliefs), both identified tentatively as priests of Aphrodite though they are separated
by more than two hundred years in date. The first (no. 147) belongs to the Flavian
period in the second half of the 1st century a.d.; he is identified by the priestly
cro^vn he wears. The

second (no. 150) again wears the priestly diadem, to Avhich busts
were once fastened by iron doAvels. He belongs in the time of the Emperor Constan-
tine in the earlier part of the 4th century a.d. A woman's head (no. 151), also from
Aphrodisias, is unidentified, but it too belongs in the 4th century.
Contemporary— and very different— is a relief (no. 152) from Finike in Lycia. It is
one of an interesting
series, all alike, from Lycia, and all dedicated to the twelve gods.
The figures shoAvn in rather primitive flat relief are always t^velve, six to each side of
a thirteenth central figure in a niche; these are not the twelve gods (among whom
should be included some ladies) but apparently hunters, each armed with a spear and
with an animal (hunting dog?) beneath. The twelve gods seem invariably to be men-
tioned in the inscriptions, together with the name of the dedicator. These reliefs are
in contrast to the grandiose uniformity of art under the Empire; they are individual
local work belonging to a local cult which lived on in the mountainous regions of
Lycia little affected by the outside ^vorld.
Rodney S. Young
University Museum
Philadelphia^ Pennsylvania
BIBLIOGRAPHY
Urartu
Akurgal, E. "Urartaische Kunst," in Anatolia, vol. 4 (1959), pp. 77-1 14.

Amandry, P. "Chaudrons a protomes de taureau en Orient et en Grece," in The
35
ART TREASURES OF TURKEY Aegean and the Near East (Studies Presented to Hetty Goldman). New York,
1956, pp. 239-261.
Barnett, R. D. "Excavations of the British Museum at Toprakkale near Van," Iraq,
vol. 12 (1950), pp. 1-43, and 16 (1954), pp. 3-22.
Hanfmann, G. M. A. "Four Urartian Bulls' Heads," Anatolian Studies, vol. 6 (1956),
pp. 205-13.
Lehmann-Haupt, C. F. Armenien einst und jetzt., vols. 1-3. Berlin, 1910-31.
Phrygia
Akurgal, E. Phrygische Kunst. Ankara, 1955.
Haspels, C. H. E. Phrygie III, La Cite de Midas, Ceramique et trouvailles diverses.
Paris, 1951.
Korte, G. and A. Gordion. Berlin, 1904.
Young, R. S. "Gordion on the Royal Road," Proceedings of the American Philosoph-
4 (August 1963), pp. 348-64.
ical Society, vol. 107, no.
Young, R. S. Gordion progress reports in American Journal of Archaeology, vol. 59

(1955)' PP- 1-18; 60 (1956), pp. 249-66; 61 (1957), pp. 319-31; 62 (1958), PP-
139-54; 63 (1959)' PP- 263-68 (by G. R. Edwards); 64 (i960), pp. 227-44; 66
(1962), pp. 152-68; 68 (1964), pp. 279-92.
Ephesos
Hogarth, D. G. Excavations at Ephesus. London, 1908.
Jacobsthal, P. "The Date of the Ephesian Foundation-Deposit," and
Robinson, E. S. G. "The Coins from the Ephesian Artemision Reconsidered," both
in Journal of Hellenic Studies, \o\. 71 (1951), pp. 85-95 and ^b^-^l-
Sardis
C, et al. Sardis I, II, V, VII, XIII, 1922-26.

Butler, H.
Hanfmann, G. M. A. Sardis progress reports in Bulletin of the American Schools of
Oriental Research, no. 154 (April 1959), pp. 5-35; 157 (February i960), pp.
8-43; 162 (April 1961), pp. 8-49; 166 (April 1962), pp. 1-57; 170 (April 1963),
pp. 1-65; 174 (April 1964), pp. 3-58; 177 (February 1965), pp. 2-37.
Bayrakli (Old Smyrna)

Akurgal, E. Erster vorldufiger Bericht iXber die Ausgrabungen in Alt-Smyrna. Ankara,
1950.
36
Cook, J.
M. "Old Sm\Tna 1948-1951," and early iron age, classical,
Nicholls, R. \'., "Old Smyrna, the Iron Age Fortifications," both in Anyiual of the and Roman empire
British School at Athens, vols. 53-54 (1958-59), pp. 1-34 and 35-137-
Ionia
Cook,J.
M. The Greeks in Ionia and the East. New York, 1963.
Roebuck, C. Ionian Trade and Colonization. Ne^v York, 1959.
Greek Sculptures in Istanbul
Mendel, G. Catalogue des sculptures: grecques, romaines, et hyzantines, aux Musees

imperiaux Ottomans, \o\s. 1-3. Constantinople, 1912-14.
Bronze Demeter
Bean, G. \r\ Illustrated London News (No%ember 7, 1953), pp. 747-49.
Galatian Grave
Firatli,N. "Two Galatian Tumuli in the \'îcinity of Bolu," in American Journal of

Archaeology, vol. 69 (1965), pp. 365-67.
Roman Period
Magie, David. Roman Rule in Asia Minor. \'ols. 1-3. Princeton, 1950.
37
The Byzantine Period
When Constaritine the Great in the early 4th century established a "second Rome"
as his capital on the Bosphorus, upon the site of what is now the old quarter of mod-
ern Istanbul, he did so in great part from strategic considerations. The economic and
political crisis was far more acute in the western territories of the Roman Empire
than in the eastern provinces. From the new capital it was hoped that at least the
Empire could remain under Roman rule and the menace

eastern territories of the
from the rejuvenated Persian Empire might be withstood, since the city's position
made it more feasible to hold the provinces in the Balkan and Anatolian peninsulas.
The strategy proved to be successful beyond reasonable expectations, and for the bet-
ter part of a millennium large parts of Asia Minor and the soiuheastern parts of the
Balkans, which together approximately correspond to the borders of present day
Turkey, remained the central core in the varying fortunes of the East Roman Em-
pire. In reality, Constantine founded a new empire that was Roman in name and, for
a time, in its political and social institutions, Christian rather than pagan in religion.
It was destined to become a blend of both Graeco-Roman and oriental culture and
outlook.
In the 5th century imperial rule in the West finally disintegrated. Thereafter the
38
destinies of East and West became increasingly separate and distinct, and, inevitably, the byzantine period
the arts of the Middle Ages in the two regions eventually assumed distinctive char-
acteristics, despite their similar Graeco-Roman traditions and general kinship of cul-
tural and religious heritage.
In the course of time the oriental, non-Hellenic cultures within the orbit of the
Eastern Empire, whose art was basically conceptual in the rendition of form, exerted
increasing influence upon the art of Byzantium. The degree of orientalization, how-
ever, was never uniform throughout the empire. Because most of the creative centers
of classical art lay within the borders of the Byzantine Empire, classical traditions
were seldom eliminated in the dominantly Greek centers. This heritage from the
past wâs to be more evident and more enduring in East Christian art than in that of
the West, largely because, unlike the West, a centralized, conservative authority of
Church and State remained in continuous existence and served as a stabilizing influ-
ence in the development of its art.
Throughout its history, especially in the pictorial arts, Byzantine artists harked
back to the Hellenistic past at periodic inter\als and in varying ways. Hellenism
manifested itself in representations from ancient mythology and formed an impor-
tant element in Byzantine imperial iconography. But within a strictly Christian con-
text the survival and revi\al of these elements, transformed though they were, are
evident in matters of form and style, in ornamental motifs, and in the continued use
of ancient personifications which sometimes retained a strong, clearly recognizable
Hellenistic character.
While the founding of Constantinople marked a turning point in Roman and
early Christian history, the event in itself was not a landmark in the history of art
either in the East or West. The 4th and 5th centuries were rather the culmination of
a formati\ e period in Early Christian art that was to a great extent shared between
East and West, and in Christian guise was a continuation of the development of late
antique styles. Byzantine art, that is, the art peculiar to the East Christian Empire,
can be said to begin about the time of Justinian I in the early 6th century. It is cus-
tomary to think of this art as falling into the following periods: 1. Early Byzantine,
the period from the early 6th through the 7th century; 2. the Period of Iconoclasm,
from the early 8th to the middle of the gth century, during which the representational
39
ART TREASURES OF TURKEY arts of a religious character were largely destroyed and forbidden in territories under
the control of the Byzantine state; 3. Middle Byzantine, from the second half of the
gth through the 12th century, roughly contemporaneous with the Macedonian, Du-
cas,and Comnenian dynasties; and 4. Late Byzantine, from the 13th century to the
Turkish conquest of Constantinople in 1453. In the latter period the empire was di-
vided for some sixty years between the Latin Empire of Constantinople and a num-
ber of small Byzantine states which strove to retain independence (1204-61). The
later re-establishment of the remnants of the Byzantine state was limited to territory
not already in Turkish or Slavic hands, consisting of little more than the areas around
Constantinople under the rule of the Palaeologan dynasty (1261-1453). Although the
territorial limits of the empire were greatly reduced during the later stages of the
Middle and especially during the Late Byzantine periods, the new Slavic kingdoms
established in some of its former territories and even in lands that were never within
its domain, such as Russia, adopted Byzantine art as their own as a result of their
conversion to the Orthodox faith. While the Empire decreased in power and as a
political entity, its official religion and art continued to flourish and even expand,
and in matters of religion and art Constantinople retained its position of leadership
and creativity to a remarkable degree, even through the 14th century.
The objects that have been assembled in this exhibition to illustrate the art of the
Early Christian and Byzantine eras in areas within the confines of modern Turkey
number and necessarily limited to pieces that could be trans-
are relatively fcAv in
ported without harm. They cannot possibly be representative of the Avide range of
media and the many stylistic facets or phases in the long history of Byzantine art. Ex-
cepting the two sculptures of the Early Christian period (nos. 153 and 154), when
sculpture in the round or in high relief was still a major art, the objects exhibited are
of categories which in Byzantine art must be regarded as minor arts. The major arts
of architecture, mural decoration in mosaic and fresco, panel painting (icons), manu-
script illumination, and ivory carving, which were impossible or not feasible to trans-
port, are lacking, and it is in them that the greatest accomplishments of Byzantine art
are to be found and its character and development most clearly to be seen.
The category of architectural sculpture is illustrated by the richly carved 6th-
40
century baluster (no. 157), a 12th-century marble slab on which a peacock is carved the byzantine period
in low relief (no. 161), both of which are dismembered elements from chancel screens
or railings, and two column capitals from respectively the 6th and 13th centuries
(nos. 158 and 162). From the craft of the gold- and silversmith, which in the 6th and
7th centuries achieved high distinction and sometimes exhibited the Hellenistic as-
pects of Byzantine art to an extraordinary degree, are the 6th-century silver dish (no.
155) with the personification of India in repousse work, the gold medallion (no. 156)
with scenes of Christ's infancy and miracles, also from perhaps the 6th century, and
the gold goblet attributed to the 9th century (no. 159). The icon representing St.
Eudokia is not typical of portable icons, which were usually panel paintings, but is of
a very rare type executed by means of inlays of polychrome stones and ivory in a mar-
ble slab and having a minimum of incised lines describing the features (no. 160).
One of the strong currents in the style of Constantinopolitan sculpture at the very
end of the 4th century is very well illustrated by the marble head of an emperor (no.
153), in all probability that of the Emperor Arcadius (395-408). It still displays some
of the salient characteristics of the style which coincided with the reign of Theodosius
I (379-95), that is, the soft, smooth, and delicate treatment of forms through which
it strove to attain the classical ideals of perfection. Under Arcadius, however, the
forms began to harden as we see in his portrait. In common with much of the Theo-
dosian work, the Emperor's head shows a smoothly oval face with rounded cheeks,
the hair evenlycombed downward but now forming a rounded "wreath" which
emerges beneath the diadem and frames the top of the forehead in a sharp, hard
curve; small round cavities indicate the pupils of the eyes, and the rather large ears
are set low and are completely uncovered.
In contrast the bust of an Evangelist (no. 154) in high relief illustrates quite an-
other aspect of Constantinopolitan sculpture at the turn of the 5th century. It recap-
tures something of the spirit of late Roman imperial portraiture in seeking out (and
almost caricaturing) the particular rather than attempting the idealizations of Hel-
lenic art. In its almost brutal, ponderous proportions, which were carried to extremes
in the period of the Tetrarchy, it serves to remind us that Constantinople was still
Roman.
The character of the art of the 6th and 7th centuries, both in the East and West,
41
ART TREASURES OF TURKEY was not as sharply defined as in the preceding period or that which followed in Byzan-
tium after the Iconoclastic Controversies. At extreme poles, and running concur-
rently, were two distinct styles and others which seem to blend the two, one clearly
Hellenistic in origin, the other abstract and having little to do with the classical past.
In the West, which ^vas not affected by Iconoclasm, these aspects of the artistic trends
are found, although with extreme rarity, even in the 8th century. In such works as
the 7th-century frescoes of Sta. Maria Antiqua in Rome, which were executed by a
Greek artist, or the paintings of Sta. Maria di Castelseprio in Lombardy, of the late
8th century, we find such definitely classicizing styles as can only be explained in
terms of a conscious return to those of earlier centuries. In the East, where there is
a greater scarcity of monuments of this period owing to destructions by the Icono-

clasts, the same or similar Hellenistic qualities are to be found in the floor mosaics of
the Great Palace in Istanbul and in the equally classicizing rinceau mosaics in the
vault of a room above the southwest ramp in St. Sophia, both of the 6th century. Of
Constantinopolitan origin and from the 7th century are a number of amazingly Hel-
lenizing silver plates, such as the Meleager plate in the Hermitage at Leningrad or
the David plates found in Cyprus and noAv in the Museum at Nicosia and the Metro-
politan Museum, New York. All of these works show that some artists of this time
were in full possession of Hellenistic techniques that enabled them to render faces,
bodies and draperies, and in some instances even landscape elements, by coloristic
means that convey the impression of three-dimensionality and a freedom of move-
ment in space.
At the opposite pole is the highly abstract style of the same period, which can best
be observed in some of the votive mosaics in the church of St. Demetrius in Salonika.
This style is marked by the purely conceptual rendering of form; the figures are rig-
idly symmetric, frontally posed, and completely immobile. It is a linear, two-dimen-
sional style and depends heavily upon linear patterns in drapery that have little to do
with the anatomy of the human figure. All sense of depth is lacking, even Avhen fig-
ures are placed in front of equally conceptual renditions of architectural settings.

More typical of Early Byzantine art, however, are some of the mosaics at Ravenna
of the 6th century, when that city was an Exarchate of the Byzantine State, or the
mosaics in the apse and triumphal arch of St. Catherine's Church at Mt. Sinai, also
42
of the 6th century. Though they fall in neither of the two extremes of style, implicit the byzaxtixe period
in stich works as these, and especially in the latter, are some of the stylistic tendencies
that later developed into the radically abstract style which ^vas the prime achieve-
ment of the early period of Byzantine art.
The only work in the exhibition w'hich can illustrate any of these qualities from
Early Byzantine art is the 6th-century silver dish (no. 155) with what is thought to be
the personification of India. It represents a blending of the two extreme tendencies
of the period, for whereas the figures and the animals to a degree still retain the im-
pressionism of Hellenistic style, they are not placed in a three-dimensional setting but
are distributed over a tAvo-dimensional field which has only the merest suggestion of
the gioimd on which each figure is placed.
In the early 6th century Byzantine architecture and its architectural sculpture
under^\ent a drastic revolution, in the course of which it parted company wîth much
of the Graeco-Roman past. The classical orders slowly gave way and trabeated archi-
tecture, Avith its long colonnades carrying still recognizable classical entablatures, was
replaced by the arcuated. The typical basilical, axial organization of interior space,
which was still pre\alent in the 5th century, all but disappeared, and a number of
vault forms with a central dome as the most prominent feature became the norm.
Reminiscences of the classical Ionic and Corinthian capitals continued to recur, but
new types, more adaptable to receive the square imposts of arches, w-ere devised.
Though it is not entirely typical of Byzantine capitals, the Oceanus capital (no. 158)
in general serves to illustrate the types developed in the course of the 6th century.
From the Corinthian capital came the acanthus leaves, a favorite motif with which to
decorate capitals and other architectural elements, but they ^vere spread out over the
surfaces as a decorative means of covering the central core, which was simply formed
to make a transition from a circle at the bottom to a square at the top. In this partic-
ular capital a face, or mask, peers out between the leaves, some of w'hich sprout from
the eyebro^v's while others ser\ e as mustaches and beards.
The second golden age of Byzantine art was that of the late gth and early 10th
centuries, following the Iconoclastic period (^vith which we will not be concerned
since artistic creation, with the exception of the decorative arts, was inhibited and of
which no objects are included in this exhibition). The monumental art of mural
43
ART TREASURES OF TURKEY decoration of the immediate post-Iconoclastic period can be seen in a number of mo-
saics that were uncovered in the great church and mosque of St. Sophia in Istanbul
by American expeditions. Tiiere is now little room for doubt that the enthroned
Virgin and the particularly splendid figure of an archangel in the apse are representa-
tive of mosaic art at its finest in the period of the Macedonian dynasty and to be dated
from the sixties of the 9th century. Other mosaics of the late 9th and early loth cen-
turies in St. Sophia are in the lunette of the inner narthex and in three panels depict-
ing Church Fathers in one of the tympana of the nave. Numerous exquisite i\ory
carvings of the period exist in many museums of Europe and America. In the field
of manuscript illumination the most famous examples are in the National Library
of Paris: in the Homilies of Gregory Nazianzus (Gr. 510) of about the year 880, and in
the Paris Psalter (Gr. 139) of the first half of the loth century. It is mainly on the basis
of these manuscripts that art historians have come to characterize the period as the
"Macedonian Renaissance," since the miniatures of the latter manuscript are aston-
ishingly replete with figures, personifications, landscapes, and motifs that recall with
considerable fidelity equivalent features in Hellenistic art. But again, as in the period
of the 6th and yth centuries, the art is not entirely unified. In this case classicism was
most evident in works executed under influences of the imperial court in ateliers of
Constantinople and wâs not widely diffused throughout the provinces of the empire.
In the art of the 1 ith and early 12th centuries, which is generally thought to be
most typically Byzantine, a fine balance was struck bet^veen the two pre\ ailing trends.
The depiction of the human form did not stray too far from lifelikeness, but freedom
of movement Avas restrained and the sense of space Avas nearly eliminated. By a di-
versity ofmeans the figures were now infused with an otherworldly life; distortions
and elongations, more varied postures, and the replacement of frontal poses by asym-
metry intensified their spiritual content. Among the notable works of this kind are
the mid-1 ith-century mosaics of Nea Moni on the island of Chios, those of Daphni
not far from Athens, which date from the very end of the century, and the frescoes of
Nerezi in Yugoslavia of the mid- 2th century.
In the late 12th century Byzantine art entered upon a new, clearly definable, and
unique phase that to some extent was to foreshadow the art of the Palaeologan dy-
nasty, the last great period of Byzantine art. It is marked by the extreme expressive-
44
ness of its agitated linearism and the dvnamic movement of its figures, which are, at the byzaxtixe period
the same time, devoid of three-dimensionality. The style can be found throughout
the Byzantine world, from Sicily to Cyprus and Yugoslav Macedonia (Monreale, near
Palermo; Lagoudera, Cyprus: Kurbino\ o, Yugoslavia).
Palaeologan art has also been termed a renaissance in that it again mo\ ed toward
the perennial influence of classicism or a new concern with the imitation of nature.
Figures were often depicted in motion, but now the style was less agitated and less
dependent upon the linear convolutions of drapery that marked works of the late
12th century. In fact, in its early stages, in the late 13th century and the earliest years
of the 14th, its figure style ^vas quite plastic. Greater attention was paid than in the
preceding period to achieving a more real relationship in scale between the figures
and their settings, Avhich attained ne^v importance. In an attempt to place figures in
space they were often partially obscured from view by lo'^v hillocks. For these reasons
Palaeologan art sacrificed the monumentality of the past. This was accompanied by
a wish to depict scenes in an anecdotal manner, emphasizing human reactions to situ-
ations in such a way as to appeal to the sentiments of the beholder. In general, it can
be said that the art of the Palaeologan period, as can be seen in such monuments as
the mosaics of the Church of theHoly Apostles in Salonica, those of the Kariye Djami
in Istanbul, or the frescoes in numerous churches in Yugoslavia, proceeded in its own
way along lines that were being followed in Italian art of the Proto-renaissance, but
within the frame^vork of Byzantine tradition.
Paul A. Uxderwood
Dumbarton Oaks
Washington, D.C.
BIBLIOGR.\PHY
Beckwith, J.
The Art of Constantinople. London, 1961.
Brehier, L. La Sculpture et les arts mineurs. Paris, 1934.
Byzantine Art, an European Art. 9th Exhibition of the Council of Europe. Athens,
1964.
Dalton, O. y>L Byzantine Art and Archeology. Oxiord, 1911.
Diehl, Ch. Manuel d'art byzantin. 2nd ed., Paris, 1925.
45
ART TREASURES OF TURKEY Ebersolt, J. Les Arts somptuaires de Byzance. Paris, 1921.
Goldschmidt, A., and K. Weitzmann. Die byzantinischen Elfenbeinskulpturen des
X-XIII Jahrhunderts. 2 vols., Berlin, 1930, 1934.
Grabar, A. La Peinture byzantine. Geneva, 1953.
Grabar, A. Sculptures byzantines de Constantinople. Paris, 1963.
Matzulewitsch, L. Byzantinische Antike. Berlin, 1929.
Peirce, H., and R. Tyler. L'Art byzantin. Paris, 1932.
Weitzmann, K. Die byzantinische Buchmalerei des IX und X Jahrhunderts. Berlin,
1934-
Weitzmann, K. Illustrations in Roll and Codex. A Study of the Origin and Method
of Text Illustration. Princeton, 1947.
46
The Islamic Period
In the 7th and 8th centuries a.d. the Arab armies under the flags of the ne^vly estab- The Seljuk Period
lished religion of Islam founded an empire that stretched from the shores of the At-
lantic Ocean to Central Asia and India. There was only one region in the Near East
that Tv'ithstood the onslaught of this unrelenting force: Asia Minor, or Anatolia, the
core of the Byzantine Empire \\i\.\\ its capital city of Constantinople beyond the Sea
of Marmara. This long-lasting situation was finally changed in the second half of the
11th century when the Middle East between Tmkestan and Syria was controlled by
the Tinkish-Muslim dynasty of the Seljuks hailing from Central Asia. In 1071 the
Seljuk SultanAlp Arslan gained a victory over the Byzantine Emperor at Manzikert,
north of Lake Van: the Muslim border fio;hters were then able to break into the
mountainous country of Anatolia and conquer most of it for Islam. After an unset-
tled period lasting through most of the 12th century, the variotis elements of the
population— Turkish tribes, soldiers, merchants, craftsmen, and divines— who had
come to the a more cohesive popu-
newly conquered region became integrated into
lation. Under hegemony of a side branch of the Seljuk family residing in their
the
capital city of Konya in Central Anatolia, an important state ^vas established from
^vhich not only a great many religious and a niunber of secular strtictines ha\e sur-
47
ART TREASURES OF TURKEY vived but also a sizable group of splendid objects. The characteristic examples of the
art of the 13th and early 14th centuries seen in the exhibition clearly demonstrate
that this was not a simple, fumbling production of pioneers but an art of high stand-
ards. Most of the objects on view were originally part of the equipment of religious
buildings, although the motifs themselves are, as is usual in the Islamic world, not
of a religious nature. When Anatolia came under the sway of the Mongols in the
middle of the 13th century, this art took on certain novel features, especially of Far
Eastern inspiration, that persisted for a long time.
Religious Art The artisans of the Seljuk period worked in wood, stone, ceramics, and metals, and
were also weavers of both textiles and carpets. Probably the outstanding decorative
features are arabesque compositions with beautifully modulated surfaces and, juxta-
posed to them, calligraphically rendered inscriptions. This is borne out by a folding
Koran stand (no. 163) made in 1279 for the mausoleum in Konya of the famous mys-
tic poet of medieval Islam, Jelal ad-Din Rumi. It is particularly revealing to see how
the artisan varied his abstract motifs in the upper and lower parts and in both center
and borders. Although arabesques were also used for a bronze lamp shade (no. 164)
made in Konya in 1280, it is surprising to see how the same motifs ultimately derived
from leaf forms have an entirely different character when compared to those of the
wood carving. Both pieces show that the writing had a decorative purpose besides
serving as a means of communication, that is, as a dedicatory inscription in the case
of the reading stand and as a Koranic message dealing with the symbolism of light in
the case of the lamp. These pieces have still another typically Anatolian feature in
common: animal motifs. Elsewhere in the Islamic world these motifs would have
been spurned in the case of an implement to be used in a sacred shrine but they ap-
pear here just as in other forms of Seljuk art in Anatolia. On the folding stand the
animal used is a heraldically conceived, double-headed eagle on a field of scrollwork
and lions, obviously a kind of coat of arms. The animal motif on the bronze lamp
takes on the shape of three small, pierced bull's heads by means of which this fixture,
originally housing a glass container with an oil lamp, was suspended from the ceiling.
48
While these pieces represent the highest level of the decorative arts, another THE ISLAMIC PERIOD
branch, rug weaving, somewhat closer to folk art, although specimens (nos. 165,
is
166) have come down us— three very large ones and eight fragments— that were
to
actually used in two of the main mosques of the country. They are historically in\al-
uable as some of the earliest oriental carpets and are executed in the knotted-pile
technique already practiced by Turkic tribes in Central Asia in the first centuries
A.D. and then brought to the Near East by the Seljuks in the 11th century. These
carpets show the usual organization into a large, central field surrounded by a mul-
tiple border. The designs in the fields are either geometric patterns, such as stars,
squares, octagons, and trellis designs, or floral motifs deri\ed from textiles, ^vhile the
borders present combinations of letters rendered in a much bolder and larger scale
than the designs in the field. Their rather formal patterns and somber colors give
these carpets an austere, monumental character. It is miraculous that these pieces
have come down to us after so many decades, if not centuries, of hard use and so pre-
sent themselves to us as the ancestors of a ^ ery extensive industry that lasted in Ana-
tolia practically to our own day.
The t^so purely secular Seljuk objects in the exhibition are of a very different nature. Secular Art
One is an implement for personal use— a metal mirror on a long handle (no. 168)
whose re\ erse shoAvs a Turkish prince on horseback as he sets out on a falcon hunt.
Curiously enough this scene has been merged with the motif of St. George, whose
dragon appears on one side in a diminutive form. In this instance the low relief dec-
oration is enhanced by fine hammered-in gold inlay, showing that this popular metal
technique, current all over the Near East from the 12th to the 15th century, was also
well understood in Anatolia. The other secular object— which should be attribiued
to the end of the 13th century or even possibly to the beginning of the next— is a
large figure of a lead bird with outstretched wings (no. 169). Apparently it once
served as a spout of a foimtain as lions, gazelles, dragons, and other animals did in
other places. As artists in the Islamic world were only rarely asked to make animal
sculptures, and then mostly rendered them in a static form, this generally rather
49
ART TREASURES OF TURKEY Stylized bird is all the more remarkable in its realistic aspect and the potential move-
ment infused into the heavy mass of metal.
The Mongol Period The Mongol period is represented by a set of carved wooden window shutters (no.
170) on which is found an elaborate interplay of various linear systems with vegetal
scrolls. This greater complexity of design points to a new
due to stage in which,
Mongol influence, a more realistically conceived floral repertory was used. Another
document of that period is a calligraphic Koran of the year 1326 (no. 171). Ingeni-
ously introducing a more spectacular script for the first, middle, and last lines, the
artist relieved the tedium of uniformly written pages. In addition, he used, as in
other Korans of the Seljuk and subsequent periods, t^\o specific marginal symbols to
indicate every fifth and tenth verse of the text, and he further enriched the manu-
script by setting off the chapter headings with special illuminations.
Art from Turkestan Turkish scholars have stressed the importance of Turkestan as the great reservoir of
Turkish tribes and civilization, hence the necessity of understanding the art of that
region. Fortunately the exhibition includes a number of most unusual drawings (no.
172)— rarely found outside the Palace Library of Istanbul— that were probably made
at a not yet localized center of Central Asia, most likely in the second half of the 15th
century. These predominantly gray or brown drawings, executed either in a stippled
manner or with wash tones, are influenced by Chinese paintings in their general
treatment, coloring, and even the occasional use of silk for long scrolls that ^vere later
cut up into individual pictures. The subject matter of these drawings is evil spirits
or human beings without any indication of locale. None of the images appeals to us
by its physical beauty; but even so one can hardly forget the weird, even eerie char-
acter of the demons' short bodies with their heavy flesh folds, broadly drawn feet,
staring eyes, and long, wild hair, or the slow, somber movements of the country folk
in their heavy, shapeless clothing. Some of the figures seem to be in a somnolent state;
others are engaged in various unusual activities which they perform with great in-
tensity, while still others pursue the everyday labors of a craftsman or herder. Many
scenes reflect an untamed world, apparently that of a nomadic civilization in which
demonic forces played a major role. A great number of these drawings have been at-
50
tributed at a later period to a still mysterious artist called Mehmet Siyah-Kalam. In the islamic period
spite of the persisting uncertainty about the origin of these studies and the variety
of techniques and subject matter used, this name is nowadays generally applied to the
group as a whole, even to the unsigned leaves.
The second and major period of Turkish-Islamic art is connected with the state ruled The Ottoman Empire
by the House of Osman, called Ottoman in the ^Vêst. At the end of the 13th century
the Ottomans had established a principality in the region to the east of the Sea of
Marmara ^\here the city of Bursa (or Brussa) soon became their handsome capital.
From here the sultans embarked on their conquest of the Balkans and of Anatolia.
They ^\'ere so successful in these undertakings that by 1400 their armies had subdued
southeast Europe as far north as Serbia and nearly the whole of Anatolia. Constan-
tinople, however, withstood various sieges: it ^^•as only in 1453 ^^^^ "^ê youthful Sul-
tan Mehmet II, later respectfully called the Conqueror (1451-81), was able to take
the city after a prolonged attack. By this action he not only brought the more than
thousand year old Byzantine Empire to an end, but he also acquired a new capital,
later often called Istanbul, and joined together the European and Asiatic halves of
his sultanate. Under subsequent sultans Turkish armies conquered Syria, Eg>pt. the
whole of North Africa as far as Morocco, and Iraq. They penetrated Europe as far as
\'ienna, which ^vas besieged in 1529 and then again in 1683, in both cases, however,
unsuccessfully. Although the Turkish armies and navies suffered re\erses at times
after their great successes in the first half of the 16th century, the sultans ^vere never-
theless able to retain most of their huge empire until the end of the 19th and the be-
ginning of the 20th century.
As in the Seljuk period, the objects produced under the Ottomans can be subdi\"ided Manuscripts
into religious and secular groups; but in this stage of historical de\"elopment the lat-
ter group is now vastly larger. The main documents of a sacred nature were again
the Koran manuscripts, ^\hich were in the first place the special achie\ ements of out-
standing calligraphers. However, from the middle of the 15th century on, the decora-
tive elements played an increasingly important role. They started with a decorative
device denoting the o^vner (no. 177), usually a sultan, whose name ^\as gi\en in a
51
ART TREASURES OF TURKEY liighly complex calligraphic fashion while eulogistic formulas were placed on an or-
namental field. After this followed a double frontispiece composition (no. 175) which,
in the more conservative examples, displayed on each page a complex star design
filled with arabesques. At the end of the 15th century another scheme came to the
fore which presented a medallion in the center and quarter medallions in the cor-
ners, the whole placed on a gold and lapis-lazuli blue background, enriched by floral
scrolls and all of it surroimded by an elaborate frame (no. 176). The beginning of
the text itself gave an opportunity for further decorative displays as the opening
verses were surrounded by carpetlike panels which in turn were framed by very elab-
orate borders in the usual color scheme of gold and blue (nos. 178, 180). Certain
manuscripts contained only limited Koranic sections rendered in elaborate and often
varying forms of calligraphy. A particularly striking example (no. 179) by the callig-
rapher Ahmed Karahisari of the middle of the 16th century is included in the exhi-
bition. The bindings that were made to protect these precious volumes consisted of
highly ornamented, partially gilded leather. In the 15th century the main decoration
might be still a carpetlike arabesque composition that developed from the center in
a symmetrical fashion (no. 178). However, from the end of that century and through-
out the following periods, the artists preferred using the same composition that was
employed for the illuminations within the book, that is, a central medallion with
four quarter medallions in the corners (no. 181). In spite of this nearly imiversally
employed scheme, the illuminator varied his motifs by bringing out the contrast be-
tween the arabesques of the medallions and the background, and between the gold
and leather-colored sections as well. With the progressive tendency to become more
and more ornate both medallions and field became elaborately filled with decorative
motifs consisting not only of the usual floral pattern but containing also a floating
ribbonlike device derived from the Chinese cloud band (no. 182).
A special Ottoman form of calligraphy applied to scrolls was the royal edicts or
jermans, which started with a large tiighra or emblematic rendition of the sultan's
name followed by the text in a special chancellory script. The two examples in the
exhibition show the boldly dra^vn but delicately ornamented tiighra (no. 186) of
Siileyman the Magnificent (1520-66) as well as the more highly ornamented though
less vigorous tughra (no. 187) of Ahmed I (1603-17)— the sultans ^vho built t^vo of
52
the most remarkable imperial mosques in Istanbul, the majestic Siileymaniye and the islamic period
the so-called Blue Mosque, with its six minarets, not far from Santa Sophia.
W^hile the t^vo types of calligraphy— the sacred and the secular— represent the official Paintings
and uni\ ersally appreciated art of the country, picture-making had a more marginal
existence. In the aniconic civilization of monotheistic Islam figural painting was offi-
cially not permitted, though often fostered by the court and the leading class of the
population. Miniature paintings in books and even individual pictures were success-
fully executed in Turkey from about 1500 until the end of the 18th century, when
European influence per\ erted an otherwise distinctive and original style. In the very
example of Ottoman painting in the exhibition, human and animal figures,
earliest
as well as ships, were only accidental additions made to enliven a world map (no. 188)
that reflected the universal interests of the Ottoman empire. It was made by the
Turkish navigator and cartographer Piri Re'is and originally presented to Sultan
Selim I in 1513. More important than the little figures, which also occurred on Euro-
pean maps, is the geographic information revealed in the drawing of the islands and
mainland of Central America in the Wêstern section, the only preser\ ed part of the
map. In a curious fashion the knowledge— or rather half-knowledge— gained by Chris-
topher Columbus during his first voyages was combined with preconceived imaginary
features. In any case the map shows how eager the Turkish officials of this time were
to acquire the most recent bits of information about land and sea, ^\ hich they com-
bined in what was then an up-to-date and scientific form.
More specifically classifiable as paintings are the representations of the various ac-
tivities of the sultans in war and peace. These are contained in miniatures that illus-
trate historical treatises of the 16th century, particularly a celebrated Hi'iner-name or
"Book of Accomplishments" (no. 193), two volumes of which have been preserved
that go as far as the history of Siileyman the Magnificent. All of them were realisti-
cally conceived and are particularly precise in their renditions of court protocol and
military actions, the garments worn by the sultan, his ministers, spiritual advisors,
and attendants, and the uniforms and weapons of his soldiers. Other manuscripts deal
more specifically with civil customs, particularly the Sur-name, or "Book of the Festi-
val" (no. 200), which portrays civic parades of the many guilds of Istanbul during
53
ART TREASURES OF TURKEY whicli tliey proudly displayed the different wares, emblems, and implements of their
workshops before the sultan and his court. The first book of this type dates from
about 1585 while another was done about 1720-25.
Another characteristic aspect of Ottoman painting, which did not occur to such
an extent anywhere else in the Islamic world, is the illustrated religious histories.
They start with biblical figures, especially those mentioned in the Koran, and then
proceed to the sacred stories of Islam, dealing particularly with the life and time of
the Prophet Muhammad. Certain of these accounts treat such subjects exclusively
while others present them as a kind of prologue to Ottoman imperial history. But
^\'hate\ er the subject, these paintings are definitely different from the contemporary
Persian miniatures, which portray more heroic or romantic subjects of a legendary
past recreated with grace and beauty. By contrast Turkish painting aimed at con-
temporary or near-contemporary society and presented its characterizations in an im-
ashamedly realistic manner— if necessary even with caricature-like features— especially
when depicting the middle and louver classes. As it did not bother with delicate nice-
ties and concentrated on the essential, its results often have a monumental aspect.
Even more unusual and astonishing than the multifigured historical and religious
subjects is the long series of portraits of various sultans and some of the court officials.
They started with a memorable portrait of Mehmet the Conqueror by Sinan Bey
(no. 173) which, though inspired in its rendition of the face by Venetian painting
and particularly by Gentile Bellini, is nevertheless quite Turkish in the sultan's pose
—seated ^vith crossed legs and sho^vn in the attitude of smelling a rose. The artist was
also highly successful in catching the pensive mood of the sultan while at the same
time showing his strong, powerful personality, an unusual feat for a ci\ ilization with
no tradition in portraiture. If the pose of holding a rose strikes us as imusual and
possibly effeminate, such a sentiment would not have been shared at the time. An-
other portrait, showing one of the most feared Turkish admirals, Hayrettin Barba-
rossa (no. 189), is posed in the same manner, as is a page attending Sultan Selim II
(1566-74), who is shown ^vatching an arro"\v reaching the target held up by one of his
retainers (no. 192). This is one of the few Ottoman state portraits that depicts an
action. It is also the first to lay equal stress on the features of the ruler as well as the
gorgeous robes worn by him and his retainers. This form of spectacular display in-
54
creased in succeeding reigns and stands in marked contrast to the deliberately austere the islamic period
portrait of Selim's father, Siileyman the Magnificent, by Nigari (no. 191), in which
the sultan is portrayed walking without any ostentation and in the gravest manner in
the company of two pages. However, here as in so many other court scenes painted in
Istanbul, the majestic presence of the imperial autocrat enforced silence and near-
immobility in his entourage. Only rarely was this principle broken as, for example,
in the portrait of Sultan Ahmed I (no. 196) in which his midgets are engaged in a
frolicsome mock fight within the imperial chamber, while the pages and black eu-
nuch stand as usual like statues.
The portraits of the 17th and 18th centuries are an extraordinary mirror of the
decline and progressive deterioration in the House of Osman. Some of the sultans
were too young to be effective rulers, while others showed the effects of an all too in-
dulgent life; finally the degeneration of personality is very obvious. It is astonishing
that the artist did not shrink from showing the obesity of a sultan or bringing out the
distrustful, crafty traits of a small, gnome-like ruler (no. 201). By portraying the weak
or base qualities of human nature and by contrasting them with an ostentatious dis-
play of ornate finery (one sultan went so far as to sport no less than five aigrettes on
a single turban), the Ottoman artists provide a parallel to the work of some of the
best Western portrait painters. In any case, there is nothing of this characterization
either in earlier or contemporary Persian or Mughal-Indian paintings of the heads

of state and their courts. E\ en miniatures that followed Persian modes of presenta-
tion are quite different from their models in their realistic rendition of garments and
in their tendency to regiment the attendants (no. 190).
Since it was the custom of the imperial palace to preserve the garments of the sultans, Clothing and Adornments
they now provide us an unusual opportunity to check the knowledge derived from the
portraits. For centuries they followed more or less one model, a long or short cloak-
like, wide-sleeved kaftan, in which only the patterns varied, that Avas worn by both
men and women o\ er another gown. The earliest garment in the exhibition, a kaftan
(no. 202) said to have been worn by the great Conqueror himself, is the first of many
to strike us by both its bold pattern and its rich use of gold thread. Two features in
its design are typically Ottoman: the double-cloud band, of Avhich four units con-
55
ART TREASURES OF TURKEY stitute the frame of the large, individual pattern, and the realistic floral motifs, par-
ticularly the tulip. Both forms of decoration occur again and again in these gorgeous
robes. The double cloud sometimes appears in connection with another emblematic
Ottoman symbol, a triangular arrangement of three balls (no. 207), but even when
the latter appears by itself it makes a powerful design (no. 203). Much more widely
used were the appealing floral patterns that occurred either in a static, formal ar-
rangement (no. 206) or in a more fluid design (no. 205). In all of them the tulip pre-
dominates, but it is often joined by other Turkish favorites, such as the carnation,
hyacinth, eglantine, daisy, and other flowers. The arabesque designs occur more
rarely, but they, too, form a pleasing pattern (no. 209). In later periods the arrange-
ments tended to become freer, though at the very end the floral patterns were used as
small, overall designs or in ribbon-like arrangements (nos. 212, 211).
Other features of the personal equipment of the sultan belong to the sumptuary
arts. In the aigrettes (no. 213) worn on the turban the feathers are held together by
exquisite goldsmith work. Belts (nos. 214, 215) worn over the lower garment might
consist of large or small gold discs or ivory cartouches, richly studded with jewels,
which were then applied to a velvet backing. Such finery required mirrors, and an
early example (no. 216) which belonged to Siileyman the Magnificent is exquisitely
carved in ivory with floral designs, cloud patterns, and a framing dedicatory inscrip-
tion. Later mirrors were made of more spectacular goldsmith work richly studded
with jewels (no. 217). Stones en cabochon set in individual gold moimtings were also
applied to other highly valued objects such as cups of Chinese porcelain, jugs and
ewers of semi-precious stones, and enameled containers like jewel cases and writing
boxes (nos. 219-222), all apparently destined for the use of the sultan. A more unu-
sual application of this technique is found on a sumptuous bookbinding (no. 184) in
which the usual medallion scheme is enhanced by jewels whose polished, colored sur-
faces form a marked contrast to the delicately cut-out arabesque designs in gold.
Weapons and Armor These objects of real splendor at the imperial palace stand in sharp contrast to the
weapons with which the great sultans of the 15th and 16th centuries made their
worldwide conquests. A long coat of mail reinforced by metal plates (no. 227) and
a wide helmet originally worn over the turban (no. 228) represent the sturdy earlier
56
style of the 15th century in which all decorative details, including the grandly con- the islamic period
ceived inscriptions and floral patterns, were inlaid in gold or silver. Toward the end
of the century, the form of the helmet became narrower and more elongated, thus
taking on a more elegant appearance, although these pieces still were strikingly utili-
tarian. They were now more richly decorated with religious inscriptions invoking
divine succor, with arabesques and eventually even the ever popular floral motifs and
Chinese cloud bands (nos. 229, 231, 232). Most of this decoration was inlaid in gold
and, in accordance with the general development, the specimens used for court cere-
monies (no. 233) were also encrusted with jewels. Special features of these pieces are
the nose guard, the visor, the neck pieces, ear flaps, and, in certain instances, the tube-
like socket for the plume which formed an added decoration. Most of these secondary
parts of the helmet were also richly decorated. The same splendor was also to be
found in the horse armor, which like the helmets could be gilded and decorated with
the typical arabesques (no. 251) or floral sprays (no. 252). Such arrangements of flow-
ers were also applied to shields (no. 234), which often had a wide wicker rim around
an inlaid steel center. The development from the primarily utilitarian to a stage in
^v'hich the functional vies with the decorative is also to be found among the offensive
weapons. The long, carved scimitar (no. 235) of Sultan Bayazid II (1484-1512), with
its gold decoration and dedicatory inscription, represents the first stage. With the
dagger (no. 237) of his son, Selim the Grim (1512-20), the second stage is reached, al-
though this weapon, like the others in the exhibition, still served a deadly purpose.
In each case the exquisite gold inlay and the rich decorations of the handle and scab-
bard make these weapons remarkable objects of art.
One of the most effective weapons in the Ottoman army was the bow and arrow,
also used in peacetime for archery contests that took place on specially reserved
grounds. These pieces of military equipment were therefore often lovingly decorated
with gold and colored designs consisting either of delicately drawn arabesques or
floral patterns. As the bow (nos. 241, 242) offered all too little space for display of
craftsmanship, the owner's special pride was better expressed on the quivers, which
were ornamented with painted floral designs (no. 243). In later examples (nos. 244,
245) they were inlaid with ivory or mother-of-pearl to form geometric or floral pat-
terns on the wooden or tortoiseshell base.
57
ART TREASURES OP^ TURKEY The rich armory collection of the Topkapi Palace Museum in Istanbul and its
Treasury contain many other forms of weapons of which only one more group should
be singled out— the maces. Here, too, the simple, direct form was often transformed
by spectacular decorations. The head of the mace either is a heavily weighted, elon-
gated ball or consists of a number of radiating flanges (no. 248). In the 16th century
these deadly weapons became marvels of intricate inlay-work or filigree application
sometimes studded with gems (no. 250). In one example (no. 247) the head is made of
agate; in another the whole weapon is of jade (no. 248). The decoration of the latter
is more restrained, consisting of a fluted handle and a fruitlike head with only the
ends of these two elements decorated with floral forms and small jewels. Even the
banners under which the Turkish armies made their conquests were decorated with
elaborate care. While the designs varied, they usually contained certain basic motifs
that ensured victory. Selim the Grim (no. 253) bears
For example, the blood-red flag of
the legendary double-bladed (or double-pointed) sword— originally a war booty of

Muhammad passed on by him to his son-in-law Ali became caliph)— the
(who later
profession of the Muslim faith and other religious inscriptions or invocations, and
finally figures of the sun, moon, and stars. This flag is among the first on which the
crescent is conspicuously displayed, although it did not become the official symbol of
the Turkish nation until the early 19th century.
Decorative Arts Among the decorative arts destined for the beautification of mosques, palaces, and
houses, one encounters all the main media: metalwork, woodworking, ceramics, and
carpet weaving. A silver lampshade (no. 254) of the 16th century still shows the open-
work design that had been used so effectively in the Seljuk example made in Konya
in 1280. Here, too, arabesque patterns and inscriptions are employed, although pre-
sented in a totally different fashion. The simple metal shade of the 13th century has
now evolved into an elaborate, many sided, and domed contraption for seven lights.
It was undoubtedly destined to illuminate, together with others of the same type, a
very much larger room with the same subdued, mysterious light provided by the
earlier piece. A pair of carved wooden doors (no. 255) of the 16th century from the
ritual dance chamber of the Sufi Order of the Whirling Dervishes in Konya has dec-
oration applied in lacelike fashion. Bold inscriptions contrast with these intricate
58
details to bring out the delicacy of the main design. One of the earliest examples of the islamic period
the equally popular marquetry using inlays of ivory is an architecturally conceived
octagonal Koran chest (no. 256) made for Sultan Bayazid II with simply shaped in-
serts mainly containing inscriptions. A later stage is exemplified by a combination

Koran chest and reading stand (no. 257) in which skillful spacing and grading of a
bold pattern covering all sides is juxtaposed to a more delicately rendered medallion
design in the center of the top. Besides the more commonly used bone and ivory,
chests (no. 258) and implements were also co\ ered ^\ith more sumptuous inlays such
as mother-of-pearl and tortoiseshell, but e\en Avith this more brittle material exqui-
site patterns and elaborate inscriptions could be executed.
In the field of ceramics Ottoman production in the second half of the 15th century Ceramics
started under the strong influence of Chinese blue and white porcelains of the Ming
period. This ^\as in no way accidental since the Ottoman sultans were êry much
interested in Chinese ^\ares. They became such avid collectors both of the blue and
white variety and of celadons that they amassed what was certainly the largest col-
lection outside the Far East. The remaining pieces, roughly eight thousand in number,
now form one of the great treasures of theTopkapi Museum (nos. 277-282). In the
beginning the potteryworkers not only used the typical Chinese color combination
but also closely imitated the patterns (no. 263). Soon one finds, instead of the peonies,
lotus, and grape designs, the characteristically Islamic arabesque, at times combined
with Arabic inscriptions and the Near Eastern version of the Chinese cloud band
(nos. 259, 260). These motifs occur both on objects destined for the mosques, such as
lamps (nos. 261, 262), and on plates and bowls made for the palaces. The same two-
fold use is also to be noted in the production of the 16th century. These ceramics
come from the same center, Iznik, that had made the earlier wares and continued to
provide the Ottoman Empire with enormous quantities of wall and vessels. This
tiles
later production had a much richer repertory, for on a brilliant white background it
used green, blue, and, in particular, a characteristic tomato-red clay pigment appear-
ing in relief.The most usual patterns were the realistic flowers that the Ottoman
Turks loved much (no. 264), often combined with a cypress tree. Much rarer are
so
arabesque designs (no. 267), ships, birds (no. 266), and animals, while the human
59
ART TREASURES OF TURKEY figure hardly ever occurs. Although the range of the floral and arabesque motifs was
the same for both vessels and tiles, the combination varies from piece to piece and
each presents a cheerfully composed arrangement. The technical quality remained
very high for most of the i6th century, but in the 17th the colors become muddy, the
design drier, and the white background loses its brilliance.
Rugs Carpet production within Anatolia and other Ottoman possessions was enormous and
lasted at a high level well into the 19th century. Characteristic for the early period
are very stylized animal designs (no. 268) in which the individual animals, sometimes
rendered in changing colors, are either placed in octagonal frames or arranged in
serial rows. These carpets started in the 13th and reached their apogee in the 14th
and 15th centuries. They were very popular in Europe; indeed, we deri\e most of our
knowledge from reproductions of these carpets in Italian paintings since very few of
them have been preserved. From about 1500 on, the attitude toward carpetmaking
became more orthodox and animals disappeared almost completely, though without
diminishing the richness of the repertory and the wide range of color. One group of
carpets (nos. 269-271), predominantly red, presents a succession of octagons of either
small or large size, although the two varieties are sometimes combined in the same
piece. Each unit is filled with a great many colorful details that give it a kaleidoscopic
appearance. This type of carpet aroused a great deal of interest in Europe Avhere
they often appeared in paintings, notably in those of Hans Holbein the Younger,
after whom they are commonly called. Another equally popular group now named
after Lorenzo Lotto has a field design of octagons and cross-shaped figures composed
of yellow, angular arabesques placed on a red background. Besides such standard
types, which were knotted again and again with only limited variations, there were
others, probably made in smaller workshops, that are remarkable for the originality
of their composition and for the freedom with which they combine old and new pat-
terns. Even in comparatively late Anatolian rugs there are often unexpected reminis-
cences of older patterns. Thus an 18th-century carpet copied a leopard pelt (no. 275),
since animal skins had preceded the earliest knotted pieces and it was therefore only
natural that their outline and design were faithfully imitated.
A large, special group within the Ottoman production is carpets made not with
60
the usual "Turkish knot" but with the Persian variety. These are now commonly the islamic period
thought to have been manufactured in Cairo after the conquest of Egypt by Selim I
in 1517. This group of the 16th and 17th centuries (no. 273) comprising both large
and small carpets, rectangular and square ones, as well as prayer rugs, is character-
ized by the use of medallions and quarter medallions, which, like the rest of the
field and the borders, are filled with floral patterns, such as palmette blooms, rosettes,
feathery lancet leaves, and some of the realistically rendered Turkish ffowers. All
these patterns are arranged in a formal manner and ^vere executed with great tech-
nical finesse by means of a lustrous silk wool, of which the A\'ine-red, pale-green, light-
blue, and ivory shades are the most important ones. These carpets so epitomize Turk-
ish official taste that they were at one time thought to represent the Turkish court
manufacture; they were also popular in Europe and have been copied even in far
away Spain.
There is no doubt that Ottoman art at its best is bold and monumental, strong in
color, and \ igorous in design. Yet it seems appropriate to conclude this short survey
with a reference to certain groups of objects which show that the Turkish artisans
even as late as the 18th century were also able to create very delicate objects. In one
of the Treasury Rooms of the Topkapi Palace Museum is a collection of special
spoons (nos. 223-226) made of ivory, mother-of-pearl, tortoiseshell, coral, and even
the beak of the hornbill bird. All of these are exquisitely shaped and most intricately
decorated with arrangements varying from one piece to the next but always display-
ing a delightfully imaginative spirit. These spoons, together Avith the sumptuous
kaftans, the brilliantly painted tiles and plates, and the intricately decorated pieces of
goldsmith work, help us therefore to reconstruct a more complete mental image of
a civilization that, though often misunderstood, must have been truly spectacular,
colorful, and provocatively pleasing to the senses.
Besides the various collections of Turkish and pre-Seljuk art found in themuseums
in the country, there are t^\'o other categories of antiquities that give the museums of
Istanbul a special standing. First are the art objects that came from the \arious prov-
inces of the Turkish Empire, particularly from S)Tia and excavations in the Mesopo-
tamian Valley. The second category comprises war booty the Turkish conquerors of
the 15th and 16th centuries brought to their capital city. Among these treasures are
61
ART TREASURES OF TURKEY Arabic and Persian manuscripts— familiar only to specialists— many of them adorned
with miniatures, and the vast collections of Chinese porcelain, now exhibited in the
former kitchens of the Palace and known to all visitors of the Topkapi Museum. The
nucleus of this collection was formed by Bayazid II before 1495; later sultans, espe-
cially Selim I and Siileyman the Magnificent, added to it with war booty from Iran
and Egypt. This collection of about eight thousand pieces comprises mostly blue and
white wares, starting with rare pieces of the Yiian period (before 1368) but mostly
containing pieces of the Ming period (1368-1644). A small selection of these is in-
cluded in the exhibition (nos. 277-282) as well as an unusually large T'ang mirror
said to have been found in Palestine (no. 276). In addition there are about 1300 cela-
dons and many white pieces. To some of these Chinese porcelains Turkish silver
mountings or covers have been added (no. 281), while about two hundred others have
been encrusted with gold and jewels, apparently after they reached Turkey. These
precious objects from so many times and places not only make Istanbul a great treasure
house but demonstrate as well that the beautiful city on the Bosporus was indeed an
imperial city at the crossroads of many civilizations.
Richard Ettinghausen
Freer Gallery of Art
Washington, B.C.
I
BIBLIOGRAPHY
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Gabain, Annemarie Das uigurische Konigreich von Chotscho. Sitzungsberichte
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Lituraturund Kunst. Jahrg. 1961, Nr. 5. Berlin, 1961.
Lewis, Bernard. Istanbul and the Civilization of the Ottoman Empire. Oklahoma,
1963-
van Luttervelt, R. De "Turkse" Schilderijen van J. B. Vanmour en zijn School. De
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Verzameling van Cornelis Calkoen, Ambassadeur bij de Hoge Porte, iji^-iyjf^. the islamic period
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III. Istanbul, 1958. With French resume.
Wittek, Paul. The Rise of the Ottoman Empire. Royal Asiatic Society Monographs,
vol. 23. London, 1938.
Art, General
Akurgal, Ekrem, and Cyril Mango and Richard Ettinghausen. The Treasures of
Turkey. Geneva, 1966.
Arseven, Celal Esad. Les Arts decoratifs turcs. Istanbul, n.d.
Arseven, Celal Esad. L'Art turc. Istanbul, 1939.
Aslanapa, Oktay. Turkish Arts: Seljuk and Ottoman Carpets, Tiles and Miniature
Paintings. Transl. Herman Kreider. Istanbul, 1961.
//Congresso Internazionale di Arte Turca. Napoli-Venezia, 1963.
Diez, Ernst. Tiirk Sanati. Transl. Oktay Aslanapa. Istanbul, 1955.
First International Congress of Turkish Art, Communications Presented to the Con-
gress. ArikiLTR, 1961.
Kiihnel, Ernst. Qinili Koskde Tiirk ve Islam Eserleri Koleksiyonu, Die Sammlung
tiirkischer und islamischer Kunst im Tschinili Koschk. Istanbul Arkeoloji Mii-
zelerinde Saheserler, Meister'^verke der Archaologischen Museen in Istanbul, vol.
3. Berlin-Leipzig, 1938.
Petrasch, Ernst. Die Tiirkenbeute. Eine Auswahl aus der tiirkischen Trophden-
sammlung des Markgrafen Ludivig Wilhelm von Baden. Karlsruhe, 1956.
Splendeur de I'art turc. Musee des Arts Decoratifs. Paris, 1953.
Tiirkische Kunst. Historische Teppiche und Keramik. Eine Ausstellung des Deut-
schen Kunstrates. Darmstadt, 1965.
The Art of Special Periods
Diez, Ernst, and Oktay Aslanapa and Mahmut Mesut Koman. Karaman Divri Sanati.
Istanbul Universitesi Edebiyat Fakiiltesi Yayinlari, no. 459, Sanat Tarihi Ensti-
tiisii, no. 7. Istanbul, 1950.
Rice, Tamara Talbot. The Seljuks in Asia Minor. New York, 1961.
Sarre, Friedrich. Seldschukische Kleinkunst. Erzeugnisse Islamischer Kunst, vol. 2.
Leipzig, 1909.
63
ART TREASURES OF TURKEY Carpets
Dimand, Maurice S. The Ballard Collection of Oriental Rugs in the City Art Mu-
seum of St. Louis. St. Louis, 1935.
Erdmann, Kurt. Oriental Carpets. An Essay on Their History. Trans. Charles Grant
Ellis. New York, 1962.
Erdmann, Kurt. Der tiirkische Teppich des 75. Jahrhunderts, 75. Asir Tilrk Halisi.
Trans. H. Taner. Istanbul Universitesi Edebiyat Fakiiltesi Yayinlari 715. Istan-
bul, n.d.
Lamm, Carl Johan. "The Marby Rug and Some Fragments of Carpets Found in
Egypt," Orientsdllskapets Arsbok, 1937, pp. 51-130.
McMullan, Joseph V. Islamic Carpets. Foreword by Ernst J.
Grube. New York, 1965.
Mostafa, Mohamed. Turkish Prayer Rugs. Cairo, 1953.
Schmutzler, Emil. Altorientalische Teppiche ans Siebenbiirgen. Leipzig, 1933.
Ceramics {Pottery and Tiles)

und Keramik in Anatolien. Istanbul, 1965.
Aslanapa, Oktay. Tiirkische Fliesen
Erdmann, Kurt. "Neue Arbeiten zur tiirkischen Keramik," Ars Orientalis, vol. 5
(1963)' PP- 191-219-

Otto-Dorn, Katharina. Tiirkische Keramik. Ankara, 1957.
Lane, Arthur. Later Islamic Pottery. Persia, Syria, Egypt, Turkey. London, 1957.
Lane, Arthur. "The Ottoman Pottery of Isnik," Ars Orientalis, vol. 2 (1957), pp-
247-81.
Oz, Tahsin. Turkish Ceramics. Turkey, n.d.
Yetkin, Serare. "Tiirk îni Sanatinda Bazi Onemli Ornekler ve Teknikler," Sanat
Tarihi Arastirmalari,\o\. 1. Istanbul Universitesi Edebiyat Fakiiltesi Sanat Ta-
rihi Enstitiisii, 1965, pp. 60-102. With English summary: "Some Turkish Im-
portant Patterns and Techniques of Turkish Tiles."
Metalwork {Vessels, Implements, and Weapons)

Rice, D. S. "Studies in Islamic Metal Work V" (containing "A Seljuq Lamp from
Konya"), Bulletin of the School of Oriental and African Studies, vol. 17 (1955),
pp. 206-31.
Stone, George Cameron. A Glossary of the Construction, Decoration, and Use of
Arms and Armor. Portland, Maine, 1934.
64
Painting the islamic period
And, Metin. Kirk giin, kirk gece. Istanbul, 1959.
Aslanapa, Oktay. "Tiirkische Miniaturmalerei am Hofe Mehmet des Eroberers in
Istanbul"; Max Loehr, "The Chinese Elements in the Istanbul Miniatures";
Richard Ettinghausen, "Some Paintings in Four Istanbul Albums." Ars Orien-
talis, vol. 1 (1954), pp. 77-103.
Coomaraswamy, Ananda K. The Treatise of al-Jazari. Leaves from a manuscript of
the Kitab fl ma'arifat al-hiyal al handasiya in the Museum of Fine Arts, Boston,
and elsewhere. Boston, 1924.
Edhem, Fehmi, and Ivan Stchoukine. Les Manuscrits orientaux illustres de la biblio-
theque de I'Universite de Stamboul. Memoires de I'lnstitut franâis d'archeolo-
gie de Stamboul, vol. 1. Paris, 1933.
Esin, Emel. Turkish Miniature Painting. Rutland, Vermont and Tokyo, i960.
Ettinghausen, Richard. Turkish Miniatures from the Thirteenth to the Eighteenth
Century. New York, 1965.
Gabriel, Albert. "Les Etapes d'une campagne dans les deux Irak d'apres un manuscrit
turc du XVL siecle," Syria, vol. 9 (1928), pp. 328-49.
Ipsiroglu, Mazhar S. "Das Buch der Feste," Du (Zurich), vol. 23 (December 1963), pp.
57,88-89.
Ipsiroglu, Mazhar S. "Das Buch der Wege und der Stationen," Du (Zurich), vol. 20
(December i960), pp. 51-58.
Ipsiroglu, M. S., and S. Eyiiboglu. "Ein Beitrag zur tiirkischen Malerei im 15. Jahr-
hundert. Sultan Mehmed II. und seine Zeit. Das Album des Eroberers. Ustat
Mehmed Siyah Kalem, genannt 'Die schwarze Feder'," Du (Zurich), vol. ig
(June 1959), pp. 8-36.
Ipsiroglu, M. S., and S. Eyiiboglu. Fatih Albumuna Bir Bakis sur U Album du Con-
querant. Istanbul, 1955.
Ipsiroglu,M. S., and S. Eyiiboglu. Turkey. Ancient Miniatures. Preface by Richard
Ettinghausen. New York, 1961.
Lamm, Carl Johan. "Miniatures from the Reign of Bayazid II in a Manuscript Be-
longing to Uppsala University Library," Orientalia Suecana, vol. 1 (1953), pp.
95-114-
Meredith-Owens, G. M. Turkish Miniatures (The British Museum). London, 1963.
65
ART TREASURES OF TURKEY Minorsky, V. The Chester Beatly Library: A Catalogue of the Turkish Manuscripts
and Miniatures. Introduction by J. V. Wilkinson. Dublin, 1958.
S.
Sakisian, A. "Turkish Miniatures," Burlington Magazine, vol. 87 (1945), pp. 224-32.

Stchoukine, Ivan. "Un Manuscrit du traite d'al-Jazari, sur les Automates du VIP
siecle de I'hegire," Gazette Des Beaux-Arts, ser. 6, vol. 1 1 (1934), pp. 134-40.
Togan, Z. V. "Topkapi Sarayindaki dort conk" (with English resume), Islam Tetki-
kleri Enstitiisii, vol. 1 (1953), pp. 73-87.
tJnver, Ahmet Siiheyl. "L'Album d'Ahmed P^" Annali dellTnstituto Universitario
Orientale di Napoli (Rome), nuova ser., vol. 13 (1963), pp. 127-62.
Unver, A. Siiheyl. Levni. Istanbul, 1957.
Unver, A. Siiheyl. Ressam Nigdri Hayati Eserleri. Ankara, 1946.
Yurdaydin, Hiiseyin. G. Matrakâ Nasuh. Ankara Universitesi Ilahiyat Fakultesi
Yaylnlari, no. 43. Ankara, 1963.
Textiles
Oz, Tahsin. Turkish Textiles and Velvets XIV-XVI Centuries. Ankara, 1950.
Oz, Tahsin. Tiirk Kumas ve Kadifeleri II. XVII—XIX. YUzyil ve Kumas Siislemesi.
Table of contents and list of reproductions in English, French, and German.
Istanbul, 1951.
Wace, A. and C. E. C. Tattersall. Brief Guide
J. B., to the Turkish Woven Fabrics.
Victoria and Albert Museum, London, 1931.
Woodwork
Eski Qekmeceler. / Ancient Desks. Topkapi Sarayi Miizesi YayinlarT, no. 4. Istanbul,
n.d.
Riefstahl, Rudolf M. "A Seljuq Koran Stand with Lacquer-Painted Decoration in
the Museum of Konya," The Art Bulletin, vol. 15, no. 4 (1933), pp. 361-73.
66
Catalogue
Painted wall *
Note to the Catalogue entries 5 . relief
Fragment of geometric wall decoration. Incised

The following system of notations and abbrevia-
patterns of white-filled lines and dots form red
tions has been adopted: C stands for circumfer-
and black lozenges.
ence, D for diameter, H for height, W for width, âtalhiiyiik. Neolithic, 6th mil. b.c.
and W^t Measurements are given in
for weight.
both the EngHsh and the metric system, height
Mud plaster. H 31I/8 in, W 29I/8 in; H 79 cm, W
preceding width. Unless b.c. is specified, all dates 74 cm
are understood to be a.d. The accession number Museum of Archaeology, Ankara. 26897
of the lending museum immediately follows the

credit. An asterisk indicates that the piece is illus-
4 . Seated male figurine *
trated.
Simplified male figurine seated on a low support.
Schematic indications of ears, eyes, nose, and
1. Obsidian mirror mouth. Gaze directed upward. Arms bent and
Hemispherical core roughed out by flaking. The restingon knees. Long straight back with spinal
curved surface is unpolished and the edge of the groove and separation of buttocks.
section is blunt. The flat surface is slightly convex
Qatalhiiyiik. Neolithic, 6th mil. b.c.
and polished so that it reflects and magnifies. The Marble. H 814 in, W ^y^ in; H 21 cm, W 9.5 cm
mirror stands upright on a small base flattened Museum of Archaeology, Ankara. 13290
for the purpose.
âtalhiiyiik. Neolithic, 6th mil. B.C.

5. Double figurine *
Obsidian. H i3/^ in, D
2^3 ^^'' 4.4 cm, H D 7.3 cm
Museum of Archaeology, Ankara. 13880
Schematic rendering of two women squatting to-
gether. Heads tilted sideways. Two pairs of small

breasts. Outer arms bent, shoulders and arms
2. Flint dagger with bone handle
carefully rounded. Low incised belt, amorphous
Finely flaked, pointed flint blade with serrated lower body.
edges.Smoothly ground lower surface. Handle
âtalhiiyiik. Neolithic, 6th mil. b.c.
of bone fastened to blade with adhesive and
(missing) thongs. openwork to
Bone carved in
Marble. H 67/3 in, W 3% in; H 17.4 cm, W 9.7
cm
resemble entwined spotted snakes. At one end,
schematic animal head. Polished and dotted sur-
face.
âtalhiiyiik. Neolithic, 6th mil. B.C. 6. Clay figurine *

Flint and bone. L flint blade 7% in, W 1% in; Seated figure of obese nude woman. Ears, eyes,
L flint blade 19.5 cm, 4.3 cm W and nose indicated in relief. Hair wrapped
Museum of Archaeology, Ankara. 22995 around back of head. Arms bent with hands rest-
69
.
ing on breasts. Legs steatopygous, folded to the 10. Rectangular painted hoivl
*
left.
Roughly rectangular bowl standing on flat oval
âtalhiiyiik. Neolithic, 6th mil. b.c. base. Knobs mark corners of carination. On
Clay. H 354 in, W 23/3 in; H 9.2 cm, W 6 cm creamy buff slip, designs painted in red: chev-
Museum of Archaeology, Ankara. 13297 rons, pendant semicircles. Handmade, burnished.
Hacilar. Chalcolithic, 5th mil. b.c.

Standing female figurine
7
Nude
Baked clay. H 31/2 in, W iiy^ in; H9 cm, W 28.8
steatopygous woman. Small head with in-
cm
cisions for large eyes and diadem. Nose, ears, and
chignon rendered in relief. Flattened torso. Arms
bulging in stylized curves. Triangular stomach //. Head of idol
fold now missing.
Schematized human head, flattened in back. Ears
Hacilar. Neolithic, 6th-5th mil. b.c. pierced, nose rendered in relief, eyes in relief and
Burnished clay. H 41/3 in, W 23/^ in; H 10.5 cm, outlined in paint. Radiating painted bands on
W 5.8 cm cheeks and bulging forehead. Above painted
Museum of Archaeology, Ankara. 19597 hair, projection. Neck finished at base
flaring
with dowel hole for attachment.
8. Oval jar
Can Hasan. Chalcolithic, 5th mil. B.C.
Painted jar on flattened oval base. Capacious Baked clay. H 67/3 in, W 27/g in; H 17.2 cm, W
body with narrow oval neck. Loop handles. Dec- cm
7.5
orated in red paint on cream in the form of spi- Museum of Archaeology, Ankara. 24687
rals and reserved bands. Handmade, burnished.
Hacilar. Chalcolithic, 5th mil. b.c. 12. Marble figurine

Baked clay. H 133/8 i"- ^ neck 4% in; H 34 cm, Female idol of obese type. Head missing. Upper
D neck 1 2 cm body and arms reduced to simple forms. Abdo-
Museum of Archaeology, Ankara. 19276 men triangular, lower body stylized into a large
rounded mass with separation for legs. Stump
p. Painted jar feet. Flattened back.
Low, wide jar on flattened round base. Exterior Beycesultan. Neolithic, 6th-5th mil. b.c.
covered with cream slip and decorated with red Marble. H 53/3 in, W 43/3 in; H 13.5 cm, W 1 1 cm
bands containing reserved dotted lozenges. Knobs Museum of Archaeology, Ankara. 1 1960
in place of handles. Handmade, burnished.
Marble *
Hacilar. Chalcolithic, 5th mil. b.c. 75. idol
Baked clay. H iiS/g i"- D neck ii7/g in; H 29 cm, Flat, fiddle-shaped idol. Head and neck reduced
D
neck 30 cm to prong. Shoulders articulated. Carefully ground
Museum of Archaeology, Ankara. 18831 and smoothed.
70
Beycesultan. 3rd mil. b.c. lyb. Small pitcher
Marble. H 53/g in, \V 2% in; H 13.5 cm, \V 6.9 cm Miniature pitcher with beak spout from same
burial as previous item. Handmade, red slipped,
and polished. Mat white painted chevrons on
77. Marble idol
body, handle, and interior of spout.
head and squat, violin-
Flat idol with disk-shaped
Semayiik-Karatas. Ca. 2400 b.c.
shaped body. Less carefully worked and thicker
than preceding idol.
Baked clay. H spout 3% in, D iS/g in; H spout
9.3 cm, D 4. cm1
Beycesultan. 3rd mil. b.c.

Museum of Archaeology, Antalya. KA 85 N
Marble. H 53^ in, \V 31/9 in; H 14.5 cm, \W 8.8 cm
Museum of Archaeolog)', Ankara. 19159 18. Red-polished pitcher
* Handmade globular pitcher with rising beak

75. Marble idol
spout. Ribbon handle, knobs on either side of
Flattened stylization of human forms: round spout, slight grooves on shoulder. Red-polished
head, long neck, spade-shaped body. Carefully slip on exterior and along rim, reserved buff
ground and profiled with abrasives. Burial gift. zigzag band around body, incised with chevron
Semayiik-Karatas. Ca. 2400 b.c. patterns between double lines.
Marble. H 47/g in, \K 2 14 in; H 12.3 cm, W 5.6 cm Afyon region. Late 3rd mil. b.c.
Museum of Archaeolog), Antalya. KA 13 N Baked clay. H 914 in, D 614 in; H 23.5 cm, D 16 cm
* Museum of Archaeolog} Ankara. 24376
,
16. Marble idol
Similar to previous item, with different propor- 79. Silver statuette*

tions. Thin, sharp shoulders, body edges rounded. Frontally standing flattened figurine of nude god-
Burial gift.
dess.Arms bent, hands on abdomen. Bracelets,
Semayiik-Karatas. Ca. 2400 B.C. pubic triangle incised. Gold foil overlay cover-
Marble. H 41^ in, \V 2 in; H 10.7 cm, W 5. 1 cm ing head shows grooved patterns for hair. Small
Museum of Archaeology, Antalya. KA 16 N gold breasts, gold strips decorating chest, gold
anklets.
lya. Small pitcher
Hansanoglan. 3rd mil. b.c.
Red-slipped, polished globular pitcher with tall
Silver with gold overlay. H 97/3 in, W' 2 in; H 25
beak spout.
paint.
Geometric designs in mat white
Handmade. Burial gift.
cm, W 5 cm
Museum of Archaeolog)', Ankara. 13922
Semayiik-Karatas. Ca. 2400 b.c.
Baked clay. H spout 5% in, D 2i/^ in; H spout 20. Gold pitcher*
13.5 cm, D 5.4 cm Ovoid body, cylindrical neck, strap handle. Spout
Museum of Archaeology, Antalya. KA 84 N trimmed in modern times. Relief decoration in
71
and triangular motifs
repousse: chevron, swastika, Alaca Hiiyiik, Royal Tombs. Ca. 2400-2300 B.C.
and on round base. Handle

in horizontal registers Gold. D of disks //g in; D of disks 2.2 cm 1
hammered out from rim and soldered to body at Museum of Archaeology, Ankara. 7139, 7146,
lower end. 7H7
Mahmatlar near Amasya. Ca. 2400—2300 b.c.
Gold. H 7!/^ in, D 4I/2 in; H 18 cm, D 1 1.5 cm 2^. Gold brooch*
Figure-8-shaped plaque, decorated with repousse
dots and dotted circles. A pin with a 6-lobed head
27. Gold goblet*
passes through holes in the center of each half.
Goblet on high stem with pedestal. Hollow base,
Alaca Hiiyiik, Royal Tombs. Ca. 2400-2300 B.C.
stem decorated with repousse fluting in zigzag
Gold. L of disks 5I/8 in, L of pin 43/^ in; L of disks
patterns. Simple cup with rounded rim. Stem
3 cm, L of pin 2 cm 1
made separately and soldered to cup. 1
Museum of Archaeology, Ankara. 1 1855

Gold. H 5I/2 in, D 3% in; H 13.9 cm, D 9.5 cm
26. Gold bracelet
Solid band with smooth interior, gadrooned on

22. Gold jar the outside with antithetical V-shaped notches.
Round jar with careful vertical fluting on body. Alaca Hiiyiik, Royal Tombs. Ca. 2400-2300 b.c
Plain shoulder and flat everted rim. On round Gold. D 234 in; D 7.1 cm
base, cross pattern in repousse. Museum of Archaeolog)', Ankara. 1 1859
Gold. H 314 in,D 4I/8 in; H 8.1 cm, D 10.3 cm 2^. Gold diadem
A thin ribbon of gold with simple tap>ered ends
Gold cup around which a thick piece of wire is wrapped

25.
and twisted. The ends of the wire are hammered
Sturdy gold cup with flattened rim and grooved,
out and split into four pendant ribbons.
sharply profiled handle from rim to body.
Alaca Hiiyiik, Royal Tombs. Ca. 2400-2300 b.c.
Gold. H y^ in, D 4% in; H 1 cm, D 12 cm
Gold. H 11/2 in, D 31/^ in; H
3.9 cm, D 8 cm
Gold necklace * 28. Gold twin *

24. idols
Fourteen disks decorated with repousse dots. Miniature joint idols cut from gold sheet. Stylized
Eight cylinders with quadruple notching. Seven body forms decorated with repousse dots and
groups of astragal beads. pierced holes.
72
Alaca Hiiyiik, Royal Tombs. Ca. 2400-2300 B.C. .\laca Hiiyiik, Royal Tombs. Ca. 2400-2300 b.c.
Gold. H 114 in, ^V^ 114 in; H 3.1 cm, "\V 3.1 cm Bronze. H 97/g in, \V loS/g ^^'' ^ 25 cm, W 26.5 cm
Museum of Archaeology, Ankara. 6044 Museum of Archaeolog), Ankara. 7129
29. Electrmn figurine 52. Silver standard
Upper part of body stylized in idol shape, lower Openwork disk on an H-shaped base. The divi-
part preserving heavy contours of earlier female sions are crossed in rectangular frames. Top loop
figurines. Flat except for projecting feet. has a loosely suspended satellite, again meant to
be used as a rattling device or sistrum.
Electrum. H 2% in, \V "/g in; 7 cm, H
2.1 cm W Alaca Hiiyiik, Royal Tombs. Ca. 2400-2300 b.c.
Museum ol Archaeology, Ankara. 1 1702 Silver. H 834 in, ^V 83/g in; H 22.3 cm, \V 21.1 cm
Museum of .\rchaeology, Ankara. 1
1743
30. Bull standard*
Bronze statuette of a bull on a four-pronged base. 55. Bronze sistrum *
Clear demarcations of body and limbs. The head On a sturdy round handle, a rectangular frame
is extended in tubular form, with a triangular pierced by rods from which movable thin plates
panel of electrum inlaid on the forehead. Strips are sus{>ended. These jingle when the instrument
of electrum are inlaid along the spine and upper is shaken. Along the sides and top, rows of ani-
part of each leg. Small details in relief mark ears, mal figurines in the round: goats, lions, deer.
fetlocks, and genitals. The figure is tilteddue to
Horoztepe. Ca. 2400-2300 b.c.
the slant of the base. The base is of the same
Bronze. H g^g if*. ^^ 6% in; H 25 cm, ^V 17 cm
piece as the figure and has a foot to be fitted into
a socket.
Alaca Hiiyiik, Royal Tombs. Ca. 2400-2300 b.c. Gold bracelet

*
5./.
Bronze with electrum inlay. H
1114 ^^> ^'^^ ^3 ^î;
H 28.5 cm, L 33 cm On a gold sheet piped with silver wire, applique
decoration of wire bent into looped double spi-
Museum of Archaeology, Ankara. 1 1850
rals. Groups of spirals alternate with rows of
* small gold ring^ in vertical columns.

57. Bronze Standard
Troy. Ca. 2300 B.C.
On an H-shaped base, a semicircular openwork
frame with lozenge divisions. Along the outer
Gold. L 6^ in, ^V'7/g in; L 16.7 cm, W 2.2 cm
Archaeological Museums, Istanbul. 645
rim of the frame, five oval attachments or satel-
lites with four holes each. Behind the three top-
most satellites, loops holding more elaborate 55. Gold pin*
pierced frames, undoubtedly meant to function Shaft of gold wire split and bent at the top to
as rattles or sistra. form a double spiral ornament.
73
Troy. Ca. 2300 b.c. Troy. Ca. 2300 b.c.
Gold. L 2% in; L 6 cm Gold. H 34 in, W 7/g and 1 in; H 1.7 cm, \V 2.1
Archaeological Museums, Istanbul. 684 and 2.4 cm

5<5. Gold pin*
Plain gold shaft surmounted by a vaselike orna- Two-handled goblet *
ô .
ment. Two
double spirals emerge from disks be-
Type nicknamed "depas amphikypellon" by
low and above a globular knob. Parallel grooves
Schliemann. W'heelmade goblet with bold sym-
encircle the top of the shaft, crowned by a disk.
metrical loop handles. Gray-polished ware.
Troy. Ca. 2300 b.c.
Troy. Ca. 2300 b.c.
Gold. L 2% in; L 6.6 cm
Baked clay. H g in, D 3 in; H 22.7 cm, D 7.4 cm
Archaeological Museums, Istanbul, igo
57. Gold phi*

Plain shaft with vaselike ornamental head. At ./ 1 . Two-handled jar with face lid
the end of the shaft, a small disklike plate sur- Gray handmade jar with vertical neck. Two
mounted by a hexagonal melon bead. Spirals curl knobs on body. The cover (not found with this
upward and outward from the side of the plate. jar but of the correct type) is brightly polished
A coil of wire on the bead, topped by a plain and modeled to resemble a human face with large
disk. ears, prominent nose, slitted eyes. On top, a
Troy. Ca. 2300 B.C. prong handle. Cover and vase make an anthro-
Gold. L 21^ in; L 5.5 cm pomorphic unit with indication of breasts and
arms.
Troy. Ca. 2200-2 100 b.c.
^8. Gold pin* Baked clay. Jar H loS/g in, D 834 in; H 26.4 cm,
Pin crowned by vaselike ornament and spirals, D 22.2 cm; Lid H 43/^ in, D 33/^ in; H 11.1 cm,
similar to previous item. D 8.6 cm
Archaeological Museums, Istanbid. 350 (lid) and
Troy. Ca. 2300 b.c.
310 (jar)
Gold. L 2 in; L 5 cm
Archaeological Museums, Istanbul
^2. Painted cup
*
39. Gold earrings One-handled cup with wide mouth and small
Basket-shaped earrings made of gold wire. On dimple base. Red-polished exterior and interior
sides, seven rows of four applique rosettes. On rim. Geometric patterns painted in black. So-
base, granulated borders and applique wire called Cappadocian or Ali§ar III painted ware.
loops. Handmade.
74
Kiiltepe. End of 3rd mil. b.c. worship in front of a seated god; the lower one, a
Baked clay. H 3 in, D rim 414 in; H 7.7 cm, D rim simpler introduction scene. On the front of the
10.7 cm envelope, cuneiform notations.
Museum of Archaeology , Ankaia. 15652 Kiiltepe. 2oth-i9th c. b.c.
*
Terracotta. H 51/8 in, \V 3!/^ in, Th 1% in; H 13
4^. Cappadocian idol cm, \\^ 7.9 cm, Th 4.3 cm
Limestone idol with two heads. Body a convex Museum of Archaeology, Ankara. 19394
disk with incised geometric patterns: triangle
at base, crossing bands, dotted circles. On long 46. Cylinder seal
necks, triangular heads with incised eyes and eye- Scene of worship. Four long-robed men approach
brows. On back, long hair marked in incision a god seated on a low throne. Behind the throne,
and relief. Form of idol typical to Kiiltepe area. a rampant animal.
Kulte{>e. End of 3rd mil. b.c. Kiiltepe. 2oth-i9th c. b.c.
Limestone. H 6% in, W 47/g in; H 17.5 cm, ^V Serpentine. H 3^ in, D 1/9 in; H 1.7 cm, D i.i cm
cm
12.2 Museum of Archaeology, Ankara. 19364
47 . Beaked storage pitcher *
44. Head of royal statue*
Large pitcher with slightly carinated body, hori-
Head of votive statue representing a king of Ala- zontal offset at neck, and sturdy beak spout.
lakh, perhaps Yarimlim. The king wears a wig Triple handles as in no. 48 (Ankara 13134). Be-
contained by a round diadem. Small natural lo^\' the spout, a reserved panel with neat geo-
curls protrude below the diadem. Short beard metric designs on a white slip. The pitcher is
and moustache rendered in low relief. The eyes red polished, except at bottom. This type of
are inlaid. North Syrian work under Mesopo- pitcher was used for storage of solid goods and
tamian influence. liquids.
Tell Atchana (Alalakh). Ca. 19th c. B.C. Kiiltepe. soth-ujth c. b.c.

Diorite. H 61/2 in; H 16.5 cm Baked clay. H 24/^3 in; D 16-^ in; H 63 cm, D
Museum of Archaeolog)', Antakya. 10022 cm
42.5
4y Envelope enclosing tablet
Tablet written in Old Assyrian cuneiform and 4S. Beaked pitcher
still enclosed in a clay envelope. Impressions of Pitcher with carinated body, grooves, and knobs
three cylinder seals encircle the envelope, over- on shoulder. A
drooping beak spout on a
Avide
lapping at one edge, and also cover the short short neck. Simple carrying handle from rim to
sides. The upper impression has a representa- shoulder, two triangular lifting handles on sides.
tion of the sacred bull; the middle one, a scene of Red slipped and polished except at bottom. Re-
75
served panel on shoulder below spout with pat- Kiiltepe. soth-igth c. b.c.
tern of strijês and wavy lines in black on a buff Terracotta. H 3 in, L 314 in; H 8.1 cm, L 8.2 cm
slip. Museum of Archaeolog)', Ankara. 18462
Kiiltepe. 20th-igth c. b.c.

*
52. Bull's head rhy ton
Baked clay. H 163/3 in, D 1014 in; H 41.5 cm, D
cm
26 Drinking cup in the form of a stylized bull's
Museum of Archaeology, Ankara. 13134 head with nose ring and halter. Sharp demarca-
tions for anatomical divisions, ribbed patterns
for halter and forelocks, triangular aperture at
4g. Lion rhytnn *
back. Brown slipped and burnished.
Red-polished lion-shaped libation vessel with tall
Kiiltepe. 2oth-i9th c. b.c.
spout on the back and pierced nostrils for pour-
ing. Stylized and simplified forms, roaring mouth, Terracotta. L 4^ in, W 43/, in; L 11.7 cm, W
curved claws. Molding for ruff under chin, inci- cm
12
sions on legs, thin tail curved up along spout.

Kiiltepe. 20th-i9th c. b.c. Boot-shaped vessel

55 .
TeiTacotta. H Si/g in, L gi/g in; H 20.5 cm, L

Small vase in the shape of a boot with turned-up
cm
23
toe. The leather sole is marked off by incised lines
and painted red. The seams in the upper part are
rendered in relief. Above the instep, painted lac-
ô. Antelope rhy ton ing in black and red on buff slip. Ornamental
Animal-shaped vessel with tubular spout on back patterns on remainder.
and pouring hole in muzzle. Stylized antelope, Kiiltepe. 2oth-i9thc. b.c.
decorated with stripes and wavy lines in black
Terracotta. H 214 in, L 3I/2 in; H 5.7 cm, L 8.8
on a buff slip, burnished. Exaggerated body
cm
forms, typical of earlier Colony period. Ritual
vessel. Tail missing.
Kiiltepe. 20th-i9th c. b.c. 5^ . Incised teapot-shaped vessel

Terracotta. H 854 in, L 814 in; H 22 cm, L 21 cm One-handled ovoid jug on small button base.
Museum of Archaeology, Ankara. 15015 Long tubular spout extended into horizontal
beak. Brown-red polished and giooved with
57. Rhy ton bands and chevron designs on upper body.
Small cup in the shape of a stylized animal (rab- Kiilte{>e. 2oth-i9th c. B.C.
bit?) head with blunt snout, pointed and

ears, Baked clay. H 53/8 in, W Ss/g in; H 13.7 cm, W
incised patterns. Thin legs with claws apj>ear on 21.3 cm
the underside. One of a pair. Museimi of Archaeology, Ankara. 15014
76
Large pedestaled * *
55- bozvl ^8. Large four-handled jar
On hollow pedestal, set off by two mold-
a tall, Capacious jar with rounded base, short neck, and
ings, a deep bowl with incurved shoulder and wide flaring rim. Two vertical loop handles and
profiled rim. Two pairs of handles rise from the two horizontal triangular handles on the shoul-
shoulder above the rim; they are alternately of der. BetAveen each pair of handles, large seal
vertical ribbon or pointed triangular type. Knobs impressions of the so-called "signe royal," a
between handles mark the carination. Red Hittite sun emblem, in medallions. Above the
slipped and highly burnished. handles, between grooves, a white-slipped zone
Kiiltepe. 2oth-igth
with simple painted triangle and checkerboard
c. b.c.
patterns. Similar decoration on the rim.
Baked clay. H 243/^ in, D rim 81/2 in; H 62 cm,
D rim 21.5 cm Kiiltepe. 19th c. b.c.
Museum of Archaeology', Ankara. 12505 Baked clay. H 22% in, D rim iGyg in; H 58
cm, D rim 43 cm
^6. Basket-handled jar Museum of Archaeolog)', Ankara. 19186
Partly buff, partly red-polished jar to be carried
by tall basket handle. Trough spout with built- yQ. Deep bozvl
in strainer on one side, two small knobs on Red-polished bowl-shaped vessel on ring base.
shoulder. Simple ring base. Rim inverted, shoulder marked by three flat
Kiiltepe. 20th-i9th b.c.

knobs. Loop handle rises above rim and merges
c.
into body contour at shoulder. \Vheelmade and
Baked clay. H 6 in, D shoulder 71/^ in; H 15.3
carefully finished.
cm, D shoulder 18 cm
Museum of Archaeology, Ankara. 18045 Kiiltepe. 19th c. b.c.
Baked clay. H 57/g in, D 9 in; H 15 cm, D 23 cm

57 . Red-polished pitcher Museum of Archaeology, Ankara. 19182
Large beaked pitcher with sharply carinated

body, upper part semiglobular, lower part con- 60. Portable hearth
cave in profile. Small convex disk base. Sharply On a rectangular base plate, a semicircular clay
trimmed, angular details on handle, handle at- parapet with three projections to support a ves-
tachment, beak spout, and decorative triangular sel above the embers.
knobs. Flattening at base of neck. High red to Kiiltepe. 19th c. b.c.
orange polish on exterior and along rim of Baked clay. H 81,4 in, L 13 in; H 21 cm, L 33 cm
spout. Museum of Archaeology, Ankara. 13205
Kiiltepe. 19th c. b.c.
Baked H
with spout 17 14
clay. in, D loV/g in; H 61. Pitcher with long beak
with spout 44 cm, D 27.5 cm Sturdy dark-red-polished pitcher on ring base.
Museum of Archaeology Ankara. , 1 1412 Rounded body with grooves and two knobs, tall
77
1
slender neck, firm handle, long rising beak spout Kiiltepe. 19th c. b.c.
with undercut projection along lower edge. Stone (serpentine). H 2I/2 in, W si/g in; H 6.3 cm,
Kiiltepe. igth c. b.c.

W 5.5 cm
Baked clay. H 2014 in, DgT/gin; H 5 1.5 cm, D 25 cm Museum of Archaeology, Ankara. 1908

6y Jar with long spout *
62. Jug with strainer spout Jar of "teapot" type on tall pedestal base. Narrow
opening with profiled edge, small handle oppo-
Buff-slipped jug on simple ring base. The neck
site spout.The tubular sjxjut ends in a horizon-
rises to a êrtically flaring trough spout fitted
tally extended beak. Highly polished red-brown
with a small strainer.
slip.
.A.lisar. igth c. b.c.
Baked clay. H 87/g in, D 5I/8 in; H 22.5 cm, D 13 cm
Baked clay. H i27/gin, D9I/2 in; H 32.6 cm, D 24 cm
Museum of Archaeolog) Ankara. 12394,
Ram's head vase *

65 .
66. Decorated lion rhyton
Fragment of large open at the back, in the
vessel,
Angularly modeled reclining lion with pierced
shape of a ram. The head is carefully modeled, tenons under the feet for attachment to base.
perhaps in a mold, with realistic emphasis on Tubular spout on the back, pouring hole in
anatomical structure and surface modulations. open muzzle. The head is red slipjêd and pol-
The nostrils are pierced. The eyesockets once ished, the remainder cream slipped and dec-
held inlays. Ears and horns are damaged, but orated with stripes, cross-hatched bands, and
the edge at the back of the head is finished and wavy lines. Libation vessel of a type known also
intact. The head is broken off at the neck and from Kiiltepe but in a different style.
may have belonged to a large basin. Red-polished
Bogazkoy. 20th-i9th c. b.c.
slip on buff clay.
Terracotta. H 51/0 in, L 814 in; H 14 cm, L 21 cm
Baked clay. H9 in, W 5% in; H 23 cm, W 15 cm
1373 6y. Model of decorated tower
*
Rectangular vessel in the shape of a tower with

6^. Stone mold chimneylike projection and animal decoration.
Mold used for the casting of small lead or silver The object is partly red slipped and polished,
reliefs.Iconography typical to Cappadocia in the partly painted with wavy black lines and stripes
later Colony period: goddess holding her breasts, on white-slipped panels. On the front of the
god wearing conical crown and striped robe, tower, two rams' heads (one pierced to form a
standing on quadruped (donkey). spout) and two bulls' heads. On the roof, frag-
78
merits of lions; on top, a perched eagle. Ritual almost of dagger-shape, and decorated with im-
vessel of unknown destination. pressed circles. The neck, handle, and strongly
Bogazkoy. 2oth-i9th c. b.c.

curved beak resemble those of more globular
H H 32 cm beaked pitchers. Highly polished red-brown slip.
Terracotta. 12^ in, \V 3 in; cm, 'W 7.6
Museum of Archaeology, Ankara. 12619 Sonusa, Amasya district. 16th c. B.C.
*
Baked clay. H 11% in, W 4% in; H 30 cm, W 12
6S. Beaked pitcher cm
Red-slipped and highly polished pitcher on pro- Archaeological Museums, Instanbul. 12890
Sharp carination between concave
filed disk base.
looser and semiglobular upper parts of the body.

77. Head of a bull-shaped ritual vessel *
Angular treatment of handle attachments and
interior of beak s}X)ut. Two triangular projec- Head broken hollow statue of
off a large size,
tions on upper body. bull with tubular spout on back. Sturdy, simpli-
fied body forms with details in paint, relief, and
Bogazkoy. 19th c. b.c.
incision added to a red-polished slip. The white-
Baked clay. H 151/8 in, D Ss/g in; H 38.4 cm, D painted eyes once held inlaid pupils. Nose ring
cm
21.2
and halter are in white-painted relief bands, the
Museum of Archaeology-, Ankara. 19392
pierced nostrils serve as pouring holes. Incisions
on nose, eyelids, forehead, between horns.
6g. Tzdo-headed duck figurine
In gray-polished clay, the figure of a duck is Tokat. 14th c. B.C.
modeled and incised with careful detail. Two Terracotta. H 614 in, L 814 in; H 16 cm, L 21 cm
legs folded under the body, wings patterned Museum of Archaeology, Ankara. 8405
with impressed triangles, lozenges, dots, and cir-

cles. Fine patterns on both heads. Slightly ab- 2. Fragment of relief-decorated jar *
stract treatment of the eyes. The general model-
Body fragment of large, red-polished jar dec-
ing is angular, reminiscent of carving (cf. the
orated with friezes of applied relief with incised
shape of the carrying ring on the middle of the
and polychrome detail, illustrating Hittite pro-
body). No pouring holes in the preserved parts
cessions and ritual. In the upper register, two
of the figurine.
seated figures below the shuttered windows of a
Bogazkoy. 14th c. B.C. brick building. The man offers the woman a
Terracotta. H 8 in, L 12 14 in; H 20.2 cm, L 31.1 cm drinking cup. At right, a long-robed figure. In the
Museum of Archaeology, Ankara. 19349 middle register, a procession of Hittite men carry-
ing curved staffs and vessels with offerings. In the
yo. Pitcher with cuii'ed beak spout * lower register, two men holding pointed imple-
Beaked libation pitcher of special shape. The ments. Handle attachments indicate that the jar
lower part of the body is pointed and flattened. had at least four vertical band handles.
79
Ritik (north of Ankara). i6th-i5th god *
c. b.c. y^. Stele with relief of
Baked clay. H iji/gin, W 1414 in; H 36 cm, 'W 37 cm Roimd-topped stele with the image of a striding
god in relief. He has a typical slanting profile
and wears a tall conical hat with four pairs of
7 5 . Rock crystal statuette * horns, an earring, and a short garment with tas-
sels and neck border. A dagger hangs at the god's
Figure of a standing god in plain long-sleeved
left side, and in his right hand he holds a spear.
robe. Protuberance on left side of body marks
His name appears in hieroglyphs above his left.
place of sword or dagger. Arms bent at the elbow,
hands touching close to body. Facial features âgdin. 14th- 13th c. B.C.
typically Hittite: heavy projxjrtions, aquiline Basalt. H 551/g in, VV^ 24^ in, D 11 in; H 1.40 m,
nose, large ears. A divine crown of precious ^V^ 62 cm, D 28 cm
metal was to be added to the cone-shaped projec- Museum of Archaeolog)', Adana. 1982
tion above the head. The figurine probably was
mounted on a base in the form of a sacred animal y6. Late Mycenaean krater
in silver or gold. Two-handled krater of buff wheelmade ware with
glossybrown painted decoration in late My-
Tarsus. i4th-i3th c. B.C.
cenaean panel style. Stylized nautili are set be-
Rock crystal. H ^V 1 in; H 6 cm, \V
23/3 in, 2.3 cm
tween ornamental linear borders in a frieze con-
Museum of Archaeology, Adana. 2823
tained by broad bands of paint. Ribbon handles
decorated with wavy lines.
y4 . Bronze statuette of a god *
Miletus. Ca. 1200 b.c.
Slender figure of youthful god in striding pose, Baked clay. H 133/g in, D body i^y^ in; H 34 cm,
raising a weapon (?) in his right hand. Angular D body 46 cm
shoulders, muscular legs. The god wears a tall, Archaeological Museums, Istanbul. 7826
conical crown with horns at the base. His ears
are large and pierced (now damaged). Long hair yy. Column base with flanking lions
hangs to his shoulders. The border of a jacket Simple drum-shaped column base carved in one
appears at the neck; a belt encircles a short kilt. piece with a pair of roaring guardian lions that
On the feet, pointed shoes with upturned toes. faced the entrance of a doorway. Conventional
Prongs for attachment under the shoes. The neo-Hittite work belonging to the architecture
figurine was once partly overlaid with gold foil of the city of Carchemish after the fall of the
as indicated by seams in the kilt and hat. At- Hittite Empire. The base supported a wooden
tributes were held in both hands. column.
Dovlek near Sarkisla. i6th-i4th c. b.c. Carchemish. 9th-8th c. b.c.
Bronze. H 41/2 in, \V iS/g in; H 1 1.4 cm, W 4.2 cm Basalt. H 1714 in, W 2\y<^ in; H 44 cm, 'W 55 cm
80
yS. Fragment of an orthostat relief Marash. gth-Sth c. B.C.
Upper part of an architectural relief slab (ortho-

Basalt. H 24 in,L 331^ in, \X ii3^ in; H 61 cm,
stat) from the neo-Hittite level at Carchemish.

L 84
cm, ^V 29 cm
The relief represents the goddess Kubaba, seated.
The fragment shows her head and shoulders. She
81. High *
wears a tall decorated hat (polos) with a horn in relief
and a veil which descends

front, long hair, a robe, Seated couple faces front, arms around each
from and behind the polos. In her right hand, a other's shoulders. The man wears a fringed robe
pomegranate. Remnants of Hittite hieroglyphic with a wide belt, the fringed end falling over his
inscriptions above. knees. He has curly hair and a beard; his stiff,
Carchemish. 8th c. b.c. thin mouth is characteristic of much late sculp-
Basalt. H 32^ 2\y^ in;

in, "\V 83 cm,H W 55 cm ture in the Syro-Hittite area. Costume and san-
Museum of Archaeolog) Ankara. 103

,
dals are clearly rendered, as is the man's attri-
bute: a bimch of grapes. The woman wears a

robe and shawl, the ends tucked into a wide belt.
7p. Orthostat with hunting scene
A fibula appears at the belt. The hair is con-
Orthostat belonging to the decorated architec- tained by a decorated diadem under a low hat,
ture of the period after the fall of the Hittite which leaves the and elaborate earrings free.
ears
Empire. Hunting scene in light chariot. ^Vhile The woman wears and sandals and holds
anklets
the charioteer holds the reins, the hunter draws a mirror in her left hand. The group may be of
his bow. The lion, an arrow in his back, appears funerary or religious meaning, but the lack of
A dog runs
in a contracted, rather Assyrian pose. inscription makes identification uncertain. The
under the horses. Hieroglyphic inscription along use of high relief for frontally seated figures is
upper border. exceptional.
Malatya (Aslantepe). gth c. b.c. Marash. 8th c. b.c.

Limestone. H 215/3 in, \X 4714 in; H 55 cm, L Basalt. H figures 33I/2 in, "\V 22 in, D 15% in; H
1.20 m figures 85 cm, ^V 56 cm, D 40 cm
Museum of Archaeology, Ankara. 12245 Museum of Archaeolog), Adana. 1775
80. Basalt gate-lion, Marash 82 . Stele showing weather god

Guardian statue to be built into one side of door- On a round-topped stele, a relief image of the
way. Roaring lion protoma faces spectator. In bearded, long-haired weather god facing right.
profile, the hind legs are shown in walking pose. He wears a short tunic, fringed at the border, a
Angular and conventionalized late Hittite style. knobbed and horned helmet, and pointed boots.
The lion is covered with inscriptions in Hittite A short sword sticks in his belt and an anklet en-
hieroglyphs. circles his right leg. Both hands are raised and
81
hold the characteristic attributes: an axe and a B: Fragment from an upper frieze with large
three-pronged thunderbolt. North Syrian work scale naturalistic designs in a lively Urartian
found in Babylon. style. It shows the head of a brown lion carrying
Babylon. Ca. 8th b.c.

a limp victim, a small red deer, in his mouth.
c.
Basalt. H
4914 in, \V 201,^ in; H 1.25 m, W 51 cm Brown, red, black, and white on buff plaster.
Archaeological Museums, Istanbul. 17816 Altintepe. 1st half of 7th c. b.c.
Painted mud plaster. A: H 16I/3 in, W 235/^ in;
85 . Large cauldron on ring stand * H 41 cm, \V 60 cm. B: H 634 in, \V 1 1 in; H 17

cm, \V 28 cm
Rounded cauldron with flattened offset rim. Four
Museum of .Archaeology, Ankara. 23956
cast bull's heads attached below the rim. The
heads have simply modeled curves for muzzle and
8y. Ivory relief plaque *
eyes,and incised detail on forelock and collar.
Each head is attached to the cauldron by means Openwork carving, part of a frieze of two demons
of a plaque with the contour of a bird (spread flanking a sacred tree. Originally covered with
wings and tail). Similar plaques, with engraved goldfoil, of which traces remain. A winged griffin-
feathers, are seen on the so-called Assur attach- headed demon is represented, wearing a long
ments of similar cauldrons found in Urartu, robe over a short tunic. The demon holds a
Phrygia, Etruria, and Greece. The stand is situla with winged handle attachment in his
formed of bent rods supjx)rted on three legs that right hand, and in his left, the symbolic cone
end in cast bull's hoofs. From an Urartian used in the sacred tree ritual. Bracelets on botJi
tomb. arms, armlet on upper right arm. Assyrianizing

work by an Urartian artist.
Altintepe. 8th c. b.c.
Bronze. H cauldron 17 in, D 271/2 in; H cauldron Altintepe. Late 8th c. b.c.
43 cm, D 70 cm Ivory. H 5 in, W 2% in; H 12.7 cm, W 6.6 cm

8^. Fragments of wall paintings

86. Openwork ivory carving
Fragments of wall decoration from an Urartian A deer with head turned back appears in front
columned hall near Erzincan. The designs were of a stylized tree growing out of a small moun-
arranged in superposed friezes, some floral, others tain. The tree has seven tiers of symmetrical
naturalistic.
branches ending in overlapping palmettes. The
deer, delicately carved with short antlers and
A: A conventional frieze with small figures of
rippled, dotted skin, walks in front of the tree.
robed winged genii ceremonially fertilizing the
sacred tree. The frieze set above an ornamental Altintepe. 8th c. b.c.
border of stylized pomegranates. Red, blue, Ivory. H 2 in, \V 1 1/0 in; H 5 cm, W 3.6 cm
white, and black on buff: plaster. Museum of Archaeology, Ankara. 23642
82
8"]. Gold buttons Baked clay. H 1034 in, D rim 12^3 in; H 27.2
Convex round buttons decorated with granulated cm, D rim 32.8 cm

rosettes, circles, triangles, and borders. Each but-
Museum of Archaeology, Izmir. 3135
ton has two loops for fastening in the hollow

back. From an Urartian tomb. go. Ivory furniture inlays *
Rectangular framed ivory plaques carved with
Altintepe. 8th c. b.c.
relief designs. In the side faces, sinkings to re-
Gold. D 34 in; D 1.8 cm
ceive tenons fastening the plaques in place.
A: Horseman with round shield and spear,
wearing a crested helmet, moving to left.
88. Jar with painted relief decoration * B: Winged griffon with tail ending in a bird's
Wide jar, buff slipped and burnished, with pro- head to left. He holds a large fish in his beak.
filed rim. Three female faces are modeled (with Phngian style of ivory carving with low, slen-
the aid of a mold) in the walls of the vessel. der legs on heavy, contoured animal bodies, and
Each face wide and full, with red-painted lips
is lozenge-shaped eyes. A compass used for circling
and black eyes and eyebrows. Ears and earrings the shield and the eye of the fish.
are painted in red and black. Wavy lines repre-

Gordion. Late 8th c. b.c.
sent long hair on either side of each face. Spaces
Ivor)' (burnt). A: H 134 in, ^V iT/g in; H 4.6 cm,
between the heads filled with painted leaves and
triangles. Rim and shoulder decorated with sim-
W 4.7 cm. B: H 134 in, W 2 in; H 4.5 cm, W
cm
4.9
ple motifs.
Museum of Archaeology, Ankara. 19450, 19451
Patnos. 7th(?) c. B.C.
Baked clay. H 714 in, D mouth 7% in; H 18.5 qi. Bone trappings*
cm, D mouth 20 cm .\ttachments to be affixed to harness (or furni-
ture) by crossing straps or pegs through holes in
a projecting boss at the back. A pair, faced in
8^ . Phrygian pa in ted kra ter opposite directions. A bird of prey seizes a hare.
The lower part missing. Large four-handled jar The figures are carved in sharp detail, with
with painted geometric designs on buff ground. meticulous patterning of feathers.
The shape of the vase with spool moldings on Gordion. 8th-7th c. b.c.
handles and ledged rim profile is characteristic of Bone. H ii/g in, W \y^ in; H 2.8 cm, \V 4.4 cm
Phrygian pottery. Stylized deer are painted in Museum of Archaeolog)', Ankara. 7172 BI 410
black in panels, with concentric circle filling or-
nament. Rhomboid and circle designs in various (.)2. Small cauldron with riyig handles
zones on neck and handles.
From a Phrygian tomb. Such cauldrons were
Alisar. 8th c. b.c. made in pairs, or at least offered in pairs in
83
tombs.They were usually made by casting. 95. Omphalos bmvl
Rounded body with flattened e\erted rim. Mova-
Cast.Simply profiled bowl with undecorated
ble ring handles inserted through vertical loops
wallsand thickened rim. In the center, raised
on plates fastened below the rim by three rivets.
omphalos surrounded by five sharp concentric
The vessel could be conveniently carried by a
ridges.
stick of wood thrust through the upturned ring
handles. Gordion. 8th c. B.C.
Gordion. 8th c. b.c.

Bronze. H i7/^ in, D 614 in; H 4.8 cm, D 15.8 cm
Bronze. H 47/3 in, D 63^ in; H 12.5 cm, D 17 cm
c}6. Large jug with trefoil mouth
95 . Spouted bronze bowl
The body of hammered bronze, the neck and
Cast. Shallow rounded bowl with incurved flat- mouth cast. Joined by a seam at the base of the
tened rim. At one side, a flaring trough-shaped neck. The bottom was closed by a disk plate
spout is attached to the rim as a separate piece; brazed to the body after neck and handle had
inside the sjxjut, the wall of thebowl was pierced been attached. The handle made of two inter-
by small holes to make a strainer outlet. Opposite locking plates riveted to rim and body with or-
the sjx)ut, a horizontal bar handle attached to the namental studs.
rim by dowels.
Gordion. 8th c. b.c
Gordion. 8th c. b.c. Bronze. H 14 in, D 135,^ in; H 35.5 cm, D 34.5 cm
Bronze. H 23/8 in, D 7% in; H 6 cm, D ig.8 cm Museum of Archaeolog)', Ankara. 18667
Omphalos bowl with relief * gy. Small cauldron with bull's head
P4 .
attachments
Cast. For pouring or drinking the bowl could be
held with thumb at the rim and a finger end in- Cauldron similar to number 92, but with bucket
serted into the hollow of the omphalos beneath. handle. The tapered handle ends are threaded
The omphalos surrounded inside by concentric through vertical loops on the attachments at op-
raised ridges. On the body, petals in high relief posite sides, then turned back and wound spi-
in a typical Phrygian floral pattern: each rounded rally around the handle. Below the loops, stylized
petal base at the bottom is multiplied to four bull's head ornaments. The handle plates riveted
pointed tips below the rim. in three places to the rim.
Gordion. 8th c. B.C. Gordion. 8th c. B.C.
Bronze. H 2% ^"' ^ Sy^ in; H 6 cm, D 22.2 cm Bronze. H 614 in, D 61/2 in; H 15.7 cm, D 16.5 cm
Archaeological Museum, Ankara. 18901 Museum of Archaeolog), Ankara. 18675
84
gS. Ring-handled boivl Gordion. 8th c. b.c.
Bronze. H 95/^ in, D bowl 35/^ in; H 24.5 cm, D

Shallow -wide bowl with plain rim flattened on
bowl 9.2 cm
top, thebottom rounded. At opposite sides, pro-
filed hold oval handles which swivel
bolsters
upward and downward. The rim reinforced out-
101. Bronze fibula
side by added bands of bronze doweled to the
wall and crossed by vertical half spools. Like Arched fibula of Phrygian type, rectangular in
cauldron number 92, this bowl could be carried section and elaborately molded at either end.
by a stick thrust through the handles. The spurred catch cast in one piece with the bow;
the spring and pin made separately and socketed
into the other end of the bow. The double pin
Bronze. H 31/0 in, D 934 in; H 9 cm, D 24.7 cm shielded by a sliding lock plate.
Bronze. H 2 1/2 in; H 6.4 cm

99. Ram's head situla* Museimi of Archaeology, Ankara. 18927
Deep cylindrical \essel ending at bottom in a

102. Fibula *
ram's head, portable by a bucket handle fastened
to stylized bird attachments at the rim. The Arched fibula, the bow round in section and
vessel in two pieces folded together at the rim. decorated at center and ends by elaborate bead
The exterior hammered repousse, with horizontal and reel moldings, the beads milled. The catch
ridgesand rosettes belo\s" the rim. Eyes inlaid in spmred, the center hole of the spring concealed
pasteand black stone. Inner lining plain and bv a stud. Double pin and sliding lock plate dec-
rounded at bottom. orated with studs, openwork, and engraved lines.

Bronze. H to rim Si/g in, D rim 47 '§ in; H to rim Bronze. H 2 1/2 in; H 6.3 cm
20.5 cm, D rim 12.5 cm Musetun of .Archaeolog) , Ankara. 18929
/ 05 . Pa i n ted jug with long spout
Flat-based, rounded jug with everted rim and
100. Ladle
spool-decorated ribbon handle. At right angles
Ladle with nearly hemispherical bo^vl having a to the handle, a trough spout of extravagant
tang rising abo\ e the rim at back. From the tang length. The spout is bridged over at its inner end
the long handle drawn out, recurved at the top
is where it joins the wall of the vessel, which is
for suspension and decorated with bolsters. The pierced by small holes to make a strainer. The
edges of the handle profiled by grooves, its upper open trough spout has a stepped cascadelike pro-
end cut to the outline of a swan's or goose's head. file. Finely painted geometric patterns cover
85
the exterior surface and the interior of the spout. 106. Goose-shaped vase *
Smooth pohsh applied after the painted decora- One of a pair, goose and gander. Globular body
tion had been finished.
on a pedestal base, with added tail and neck
Gordion. 8th b.c.
ending in a goose head. The bill is pierced for
c.
pouring. Buff ware with decoration in brown
Baked clay. H î/g in, L gT/g in; H 8 cm, L 25 cm
paint: wavy lines (representing water) under-
neath, and feather patterns on breast, wings, and
tail. Red paint on the bill; eyes outlined in dark
104. Painted krater paint.
Large jar on a flat base with slightly carinated Gordion. Ca. 700 b.c.
body and straight neck, the top op>ening partly Baked clay. H 141/2 in, D 81/2 in; H 37 cm, D 21.5
closed by overhang which leaves a small central cm

hole. Inner and outer rims have ledged profiles. Museum of Archaeology, Ankara. 18389
Vertical double handles decorated with spools.
Brown-painted geometric panels on shoulder, loy. Zoomorphic vase
neck, and top; the remainder light brown, bur-
Duck-shaped body on four stump-legs. A tubular
nished.
spout replaces the head. Loop handle from neck
to body, with profiled lower attachment. Buff clay
Gordion. Late 8th c. b.c.
Baked H D H D cm painted with checkerboard pattern.

clay. 153/^^ in;
13 in, 33 cm, 40
Museum of Archaeology, Ankara. 19500 Gordion. Ca. 700 B.C.
Baked clay. H L 75/^ in; H 26.5

101/2 in, cm, L
cm
19.2
/ 05 . Painted jug * Museum of Archaeology, Ankara. 18835
Buff-polished jug on ring base. Rounded body,
flaring neck, ribbon handle rising above the rim, 108. Greek geometric jug
with spool-like ornament at highest point.
Long-necked jug with mouth, vertical
trefoil
Painted designs in reddish brown on a buff
band handle, and ring Geometric decora-
base.
ground: bands, geometric zones, and panels.
tion of meander, herringbone, and zigzag. The
Body panels filled by bulls and goats in linear
fabric is brown-gray at the core, pinkish-buff at
(striped and dotted) technique. Fine brushwork
the surface. Glaze fired red to black.
of Phrygian style.
Girit-Siline, Merembaba. Geometric period, ca.
Gordion. Ca. 700 b.c. 800 B.C.
Baked clay. H 10 in, D rim 5% in; H 25.5 cm, D Baked clay. H ii5/g in, D 614 in; H 29.5 cm, D
rim 14.2 cm 15.8 cm
Museum of Archaeology, Ankara. 19170 Archaeological Museums, Istanbul. 2826
86
Brooch hawk * 112. Column
io(). in form of base
Wings spread and feet drawn up as if in flight. Tall convex column base decorated with orien-
Hollow; the front in repousse with chasing and talizing floral patterns in low double-contoured
granulation. The back flat, with staples for a relief. Large open lotus flowers alternate with
horizontal pin. buds. Each flower emerges from a calyx with
double upturned volutes, the stems linked to
Ephesus, from base under Artemis Temple. 7th
those of the buds. Additional "proto-Ionic" orna-
C. B.C.
ments make a rich and continuous curvilinear
Electrum. H 114 in, W 11/2 in, Wt .12 oz; H 3.1
frieze around the base. Along the top, a low torus
cm, \V 3.8 cm, Wt 3.35 gi-
molding.
Ankara, exact provenance unknown. Ca. 600
B.C.
no. Brooch in form of hawk * Pink limestone. H 21^ in, D 271/2 in; H 55 cm,
Spread wings and downward extended feet, as if

D 70 cm
standing. Hollow, pressed in two sections in
Museum of Archaeolog), Ankara. 26901
molds and then joined. A beaded necklace of

7/5 Lydian orientalizing deinos
granulation indicates captivity. The hawk was an .
attribute of the goddess Artemis-Cybele. Staples Slightly everted rim, disk base below squat
for pin at the back. globular body. Two friezes of animals, in proces-
sion (upper) and confronted (lower). In the up-
Ephesus, from base under Artemis Temple. 7th per frieze, deer drawn in outline and spotted;
C. B.C. on the lower, lions with bodies in red silhouette
Electrum. H ii/g in, W 1I/2 in, Wt .10 oz; H 2.7 and black manes and forelegs. Heads drawn in
cm, W cm, Wt 2.96 gr
3.9 outline with added interior details. Filling orna-
Archaeological Museums, Istanbul. 3092 ments in the field. Bichrome painting in red
and black.
Sardis. Ca. 600 b.c.
III. Standing hawk
Baked clay. H 91/0 in, D 1 1 in; H 24 cm, D 28 cm
Brick-red terracotta covered with blue-black
Archaeological Museum, Manisa. 5494 (Sardis P.
glaze with details in yellow, including a necklace
63.366)
to indicate captivity. A votive made to sit up on
feet and end of
East Greek painted amphora *
tail.
/ 14 .
Ephesus, outside base under Artemis Temple. Amphora with ring base, ovoid body, and flaring
7th C. B.C. neck; two horizontal handles on the shoulder.
Baked clay. 33^ in; H9.5 cm H Bands on neck, lower body, and base. The
Archaeological Museums, Istanbul. 2691 shoulder zones contain: on side A, a siren left;
87
on swan left; on both zones, floral and
side B, a Two sm;dl spherical beads probably served as
geometric ornament. Dark gray clay cov-
filling end pieces to each side of the flat disk pendant.
ered by a cream slip; decoration in black and
Sardis. Gth c. b.c.
j>urple paint.
Gold, ^\'t .31 oz; Wt 9.7 gr
(jândarli (Pitane). Gth c. b.c. Archaeological Museiaiis, Istanbul. 4G45
Baked clay. H 20% in, D body 14I/8 in, D base 6%
in; H 53 cm, D body 36 cm, D base 16.9 cm iiS. Gold plaques for applique *
Rectangular plaques with holes along the edges
for attachment to a background by sewing or
// 5 . Head of a 'oman zi
with tacks. Stepped crenellations at top. Within
The head was made to be fastened to a body of
a frame decorated with rosettes, opposed
another material. The hair, perhaps with a
sphinxes, a jour, beneath a winged solar disk.
crown, was also to be added, probably in gold. The sphinxes have winged lion with
bodies
The smile and shallowly worked eyes are charac-
bearded human heads crowned by round caps
teristic of the Archaic period. The pendant ear- which are flat on top. Details in repousse.
rings are large rosettes. Moon-shaped scars in the
Sardis. Gth c. b.c.
cheeks mark the woman as a slave of the goddess
Astarte.
Gold. H i3/^ in, VV^ 114 in; H 3.G cm, W 3.05 cm
Archaeological Museums, Istanbul. 4G52
Sardis. Gth c. b.c.
Ivory. H i5/^ in; H 4.2 cm iig. Architectural terracotta fragments:
painted relief
116. Pair of earrings Tiles of terracotta, molded in relief and painted,
Hoop-shaped globular swellings separated by were used in the Gth century as revetment for
double lines of fine granulation to give a bead- the decoration of architecture. Fragment (a)
and-reel effect. Fastenings project from the shows a bearded Lydian wearing earrings and
mouths of lion heads at either end, each lion clad in a purple chiton. Fragment (b) preserves
collared by a band of larger granulation. part of a winged horse (Pegasus?):
Sardis. Gth c. B.C. Sardis. A: ca. 575-550 b.c. B: somewhat later
Gold. L 2 in, W 2 14 in, Wt (together) 1.44 oz; L Terracotta. A: H 31/g in, W 2 in; H 8 cm, AV 5
5 cm, W
cm, Wt (together) 41.2 gr
5.8 cm. B: H 4 in, AV' 714 in; H 10 cm, W 18.5 cm
Archaeological Museums, Istanbul. 4543 Sardis, excavation depot. A: TG0.35 (2914) and
B: TG2.5 (4212)
iiy. Necklace
Twenty gold beads resembling |X)megranate flow- 120. Architectural revetment
ers decorated with granulation and nineteen thin Mold-made relief plaque used to decorate a
spirally ridged cylinders, restrung in alternation. Phrygian facade, with holes for fastening by nails.
88
On a thick white slip, reliefs of two warriors / 25 . Carnelian cylinder seal *
marching to the left are painted with coarse
Achaemenian seal with Aramaic inscription. In
black lines and filling color. The warriors wear
the center, above a medallion with a god's bust
short tunics, leggings, and crested helmets. Each and an altar, the winged Ahuramazda. At either
holds a round shield and a spear. Coarse mold-
side, Persian royal figures standing on crowned,
ings at top and base.
bearded sphinxes. Upper and lower borders have
Pazarli. 6th c. b.c. a bead and lotus design.
Terracotta. H 1714 in, W 1734 in; H 44 cm, W Gordion. 5th c. B.C.

cm
45 Carnelian. L 1 in, D 1/2 in; L 2.5 cm, D 1.1 cm
Museum of Archaeolog) Ankara. 19396 ,
Museum of Archaeolog)-, Ankara. 18361
727. Architectural terracotta: sima 72^. Pair of earrings *
Terracotta plaque with flange projecting at the Spirally twisted hoops of gold, hooked at one
back, to rest on the roof above the eaves. On the end to fasten to rings at the other, beneath bull's
upright face, relief decoration of two goats ram- heads. Below the heads, double collars decorated
pant at either side of an ornamental tree. The with pyramids of granulation and granulated
reliefs painted with free-hand geometric designs rosettes below. On each earring, three small
in black on the goats and solid red on the tree.

loops for pendants now lost. Inlay of blue enamel
A simple molding along the top. or lapis lazuli.
Sidon. Archaic, 6th-5th c. B.C.

Gordion. 6th-5th c. B.C.
H AV H W Gold. A: H 1I/2 in, \X 2 1/2 in, Wt 1.62 oz; H 4 cm,

Terracotta. 171/g in; 26.7 cm,
101/2 in,
W 6.2 cm, Wt 46.25 gr. B: H 2 in, W 2% in, Wt
43.5 cm
Museum of Archaeolog), Ankara. 18504
1.60 oz; H
5 cm, ^V 6 cm, Wt 45. 73 gr
722. B lack-pol ished pedesta led jug 725. Head of an Ionian youth *
Finely profiled body on hollow flaring base, low This head, of which the provenance was long
curved body, flaring neck merging into ribbon disputed, is now known to fit a statue found at
handle which swings back to widest part of body. the Heraeum in Samos. Characteristic of the Ar-
Smooth black polish also on the inside of the chaic phase of Greek sculpture are the tight-
flaring neck. Groove at base of neck. lipped smile, finely worked stylized hair, and
schematized ears.
Gordion. 6th c. B.C.
Baked clay. H 47/g in, D rim 4 in; H 12.5 cm, D Samos. Ca. 525 b.c.
rim 10 cm Marble. H
181/2 in; 47 cm H
Museum of Archaeology, Ankara. 12506 Archaeological Museums, Istanbul. 1645
89
126. Stele with reliefs on both sides * Thasos. Ca. 450-440 B.C.
The stele was once crowned with a palmette,

Marble. H 241/2 in, W 45
in, Th 6^3 in; H 62.5
now broken off. In a panel below, ornament

cm, W1.145 '^' Th 17.5 cm
of volutes and half palmettes. On side A, a god-
dess or mistress of animals at left, wearing an
Ionian chiton and crowned with a rayed polos. 12S. Grave Stele*
With her left hand she holds a small lion by its Tall, tapering stele, once crowned by a palmette.
front legs. Her sickle-shaped wings have no or- Moldings across the top and at bottom above the
ganic connection with her body. She is framed at socle. On the upper half, two panels framed by
the sides by large vertical bead-and-reel mold- simple raised bands. The upper panel shows in
ings. In the style of the late 6th century b.c. Side relief a funeral cortege, a covered cart drawn by
B, much worn, shows two panels below a top two mules and followed by two mourners on foot.
register imitatedfrom that of side A. In the In the lower panel, a banquet scene: the dead
largerupper panel, a horseman at right; in the man reclines on a draped couch furnished with
narrow lower one, a man driving a two-horse pillows; his wife, veiled and wearing a rayed
chariot at right. Side B appears to be later in crown, sits on the edge of the couch, her feet on a
style than side A, middle or second half of the low footstool. At either side servants offer food
5th century, perhaps carved at a later date on the and drink.
back of the original stele.
Aksal Koyii, near Bandirma. Early 5th c. b.c.
Hamidyeh, near Eskisehir. Late 6th-5th c. b.c. Marble. H 82:^4 in, W base 243/3 in, Th 77/3 in;
Marble. H 2834 in, W 153/8 in, Th 514 in; H 73 H 2.10 m, W base 62 cm, Th 20 cm
cm, W
39 cm, Th 13.5 cm Archaeological Museums, Istanbul. 5763
J2p. Grave stele: athlete
12'j. Grave relief: banqueting scene Tall, tapering stele. In relief, a nude athlete at
A wide rectangular panel, simply framed by flat right, his left foot advanced, weight on the right.
bands and moldings across the top. At the cen- With his left hand he holds the upper end of a
ter, a bearded man (the deceased) reclines on a
spear, leaning part of his weight on it. Head and
couch with mattress and pillows, holding out in legs in profile, torso in three-quarter view. The
his right hand a drinking bowl to be filled by a
figure hasbeen called a Discobolos because a cir-
cular raised area behind his advanced foot has
boy who draws wine from a large bowl on a
stand. At the head of the couch, a woman sits
been interpreted as a hurling disk.
in an armchair, her feet on a hassock. Under the Nisyros (Dodekanese). Mid-5th c. b.c.
chair, a bird; under the couch, a serving table Marble. H 72 in, W 245/3 in, Th 71/9 in; H 1.83
and a dog. The master's helmet, shield, and a m, W 62.5 cm, Th 19 cm
drinking cup hang on the wall. Archaeological Museums, Istanbul. 1 142
90
.
His left forearm is indicated beneath the cloak;

iô. Fragment of a bronze statue of the right arm, hanging straight down, is con-
Demeter * cealed. Swollen ears suggest that the youth was a

boxer. A late 4th-century type, this statue was
The lower part missing. A seated draped female
probably carved in the 1st century b.c.
figure is represented slightly more than life size,
head veiled. The figure, evidently a goddess, Tralles (Aydin). 4th-ist c. b.c.
has been identified as the mourning Demeter. It Marble. H 58 in; H 1.475 m

was recovered from the sea by sponge fishers off Archaeological Museums, Istanbul. 1191
the south coast of the Knidos Peninsula (Bozbu-
run). Similarities to the marble Demeter from 755. Diadem
Knidos at the British Museum in pose, treat- A band with rounded ends. The upper edge rises
ment of drapery, and veiling of the head have to a point midway along its length. A continuous
evoked the proposal that this bronze statue was row of raised circles along the edges frames the
intended for Knidos, the marble made to replace design. At the center of the band is a chariot
it when lost at sea. carrying two maenads drawn by four running
From the sea off Bozburun. 4th c. b.c. panthers. On either side of the chariot are seven
Bronze. H 32 in; H 81 cm figures of dancing satyrs and maenads. At each

Museum of Archaeology', Izmir. 3544 end of the band is a palmette design, pierced
with a hole.
75 1 Portrait head of A lexander the Great * Rhodes. Late Hellenistic
Alexander allowed only the sculptor Lysippos Gold. H 15/8 in, W 2 in, Wt .77 oz; H 4.1 cm, W
to make his portraits or likenesses. Later repre- 5.2 cm, Wt 22 gr
sentations of the conqueror must have been Archaeological Museums, Istanbul. 4065
modeled on, or adapted from, the Lysippan
works. This Hellenistic portrait from Pergamon 75.^. Torque
portrays the leftward turn of the head, melting Formed by twisting together two heavy wires of
gaze, and leonine aspect ascribed to Alexander gold, thicker at the center than at the ends. The
by ancient 'WTiters. ends are fused and carefully smoothed. The
Pergamon. 3rd c. b.c. torque was the characteristic neck ornament of
Marble. H 161/2 in; H 42 cm Celtic peoples and often appears worn by Gala-
Archaeological Museums, Istanbul. 1 138 tians portrayed in Pergamene sculpture.
From a tomb near Bolu (Bithynia). Galatian,
75 2 . Statue: ephebe resting * ca. 278-189 B.C.
Known familiarly as the "Boy from Tralles." Gold. D 47/3 in, Wt 3.50 oz; D 12.5 cm, Wt 99.88
After exercise he has wrapped himself in a heavy gr
woolen cloak and leans pensively against a pillar. Archaeological Museums, Istanbul. 6885
91
755- Torque From a tomb near Bolu (Bithynia). Galatian, ca.
Plain torque of heavy gold wire, slightly tapered, 278-189 B.C.

Gold. D 2% in, Wt. 1.05 oz; D 7 cm, Wt 29.96 gr
bent around into a circle not quite closed. Plain
ends.
From a tomb near Bolu (Bithynia). Galatian,

ca. 278-189 B.C. 759. Pair oj earrings
Gold. D 51/8 in, Wt 3.10 oz; D 13 cm, Wt 88.6 gr Heavy gold wire loojêd to a circle, the plain
square-cut ends slightly overlap|>ed.
1^6. Belt clasp medallion * From a tomb near Bolu (Bithynia). Galatian, ca.
278-189 B.C.
The central medallion in repousse finished by
Gold. D s/g and 14 in, Wt .10 oz (each); D .8 and
chasing. Around the edge, an ivy tendril with
.7 cm, Wtand 2.94 gr
2.86
leaves and berries, engraved. The central por-
Archaeological Museums, Istanbul. 6890, 6891
trait is evidently of a Galatian with thick un-
kempt hair, his beard and moustache rendered by
fine engraved lines. The other part of the belt 140. Fluted haivl
clasp, perhaps a similar medallion, was not re-
Shaped like a Greek Megarian bowl with widely
covered.
everted rim. Vertical fluting in alternately oblong
From a tomb near Bolu (Bithynia). Galatian, and triangular areas. At the base, a deeply en-
ca. 278-189 B.C. graved rosette of fourteen petals, in double out-
Gold. D 2% in, Wt 1.21 oz; D 7.1 cm, Wt 34.64 gr line. Plain inside.
From a tomb near Bolu (Bithynia). Galatian, ca.
278-189 B.C.
757. Bracelet
Silver. H 2I/8 in, D 4I/2 in; H 5.5 cm, D 1 1.5 cm
Heavy gold wire twisted to an oval, slightly in- Archaeological Museums, Istanbul. 6892
dented at center. A slight gap between the two
ends, which are adorned with animal (dog?)
heads. ijfi. Patera
From a tomb near Bolu (Bithynia). Galatian, Shallow open bowl with a flaring rim, small cen-
ca. 278-189 B.C. tral omphalos, and stylized j:>etal pattern in relief
Gold. D 2% in, Wt 1.08 oz; D 7 cm, Wt 30.96 gr on the walls.

From a tomb near Bolu (Bithynia). Galatian, ca.
278-189 B.C.
1^8. Bracelet Silver. H 1 in, D rim 614 in; H 2.5 cm, D rim 16 cm
Similar to number 137. Archaeological Museums, Istanbul. 6893
92
1^2. Snaffle bit head to the center of the long cylindrical neck.
The cheek pieces are straight rods square in sec- The crowned with a chaplet of
smiling satyr is
ivy leaves. The head was molded of pinkish clay

tion. The bar of the bit broken by a series of in-
terlocking rings. The bridle was attached di- and finished by freehand modeling. Covered
rectly to the snaffle-bar by free-swinging faceted with glaze fired black to red.
rings at either side. Balikesir. Early Roman Empire, 1st c.
From a tomb near Bolu (Bithynia). Galatian, ca. Baked 714

clay. H W
base 57/3
in, 7 in, D in; H
278-189 B.C. 19 cm, \V 18 cm, D base 15 cm
Bronze. L cheek pieces 6"/g in, "\V bit 75/^ in; L Archaeological Museums, Istanbul. 7125
cheek pieces 17.5 cm, ^V bit 19.5 cm
14 5 . Bronze statue of a Negro boy *
Painted amphora *
14 5 .
Recovered from the sea near Bodrum in 1963.
Amphora with ribbon handles from neck to The lower part missing. A standing, draped Ne-
shoulder. Red-slipped and burnished ring base gro boy with short curly hair is represented, evi-
and rim, the body covered with a white slip with dently offering some object once held in his ex-
ornamental designs painted in red and black. In tended left hand. Hollow-cast. A fragment of
the main panel, a mounted hunter attacks with an iron bar remaining inside the head may be
spear a sp>otted panther which is half emerging part of an armature.
from the frame. The bare-headed hunter wears
Bodrum, from the sea. Late Hellenistic, 2nd-ist
trousers, red shoes, and a long-sleeved, belted
C. B.C.
tunic. A cloak flares out behind. The horse has a
Bronze. H 181/2 in; H 47 cm
red saddle cloth, bridle, and reins. The animals
Bodrum Museum, Bodrum. 756
are partly shaded in diluted brown paint. The
design is probably imitative of early Hellenistic
wall painting or mosaic, as is the ornamental by- Wreathed portrait bust
146. of the
work: ivy and rosette friezes, imbrications, knot- *
Emperor Trajan
ted ribbons in back. Probably local work in imi-
tation of late East Greek (Fikellura) pottery, A round medallion framed by a wreath through
influenced by Attic white ground. which emerges a powerful portrait bust of Tra-
jan (98-117 A.D.), who ruled the Roman Empire
Kiiltepe. Late 4th or 3rd c. b.c.
during its greatest geographical extent. Shows
Baked clay. H i2i/^ in, D6ygin; H31 cm, D 17.5 cm
the Emperor in his later years, crowned with a
wreath.
144. Satyr's head vase* Ankara district. Early 2nd c.
The head, facing upward, forms the body of an Gilt bronze. D 24% in; D 63 cm
askoid vase. A handle runs from the back of the Museum of Archaeolog), Ankara. 10345
93
14 7 • Portrait head of a priest of A phrodite * 750. Portrait head of a priest
Broken at the neck from a statue. Portrays a man Life-size male head broken at the lower neck. The
of mature years, the head turned somewhat to break fits that of a draped statue found in the
the left, neck muscles partly twisted. On the head, Odeion at Aphrodisias. A middle-aged man is
a priestly crown with double rolled diadem sur- represented, wearing the double-rolled priestly
mounted at center by three busts in relief. Al- diadem (cf. surmounted by a bust
no. 147) once
though the heads are missing, the central bust or a group of busts separately made and fastened
may be identified as the Aphrodite of Aphrodi- in place by iron dowels, which remain.
sias by a crescent-shaped pendant between her
Aphrodisias. Constantinian p>eriod, ca. 307-337
breasts.
Marble. H 15 in; H 38 cm
Aphrodisias. Flavian period, ca. 69-96 Excavation depot, Aphrodisias. 62-447
Marble. H 19 in; H 48 cm
Excavation depot, Aphrodisias. 63-55 75/. Portrait head of a woman
Life-size head of a young woman, broken at the
neck. Hair parted in the middle and brushed
148. Veiled head of a girl
back in gentle waves, partly covering the ears.
Small head, broken from the body below the At the back, the hair is twisted into two strands
neck. Wavy hair parted in the middle, the back
or braids which are brought up and joined across
of the head covered by a veil which hangs down the crown at center. A rolled fillet or diadem,
at both sides of the face. Probably broken from a ends terminating in snakes' heads, separates the
figure decorating the lid of a sarcophagus. The braids from the parting at front.
head worked completely in the round.
Aphrodisias. 4th c.
Sardis. Ca. 200 Marble. H 1 is/g in; H 29 cm

Marble. H 6i/^ in; H 15.5 cm Excavation depot, Aphrodisias. 62-533
Archaeological Museum, Manisa. S 59.13
*
752. Lycian votive relief
i^p. Portrait head of a bearded man * One of a series of reliefs from Lycia dedicated to
the Twelve Gods of the Later Roman Empire.
Fragments of a cloaked statue found nearby
On a thin slab of limestone, low relief in two
probably belong to the body on which this head
registers. In the upper register, thirteen identical
was mounted. A powerful and realistic portrait
figures, the central one framed in a pedimented
of a bearded man of mature age and intellectual
niche. Each figure, dressed in a knee-length
cast, perhaps a philosopher.
tunic, faces frontward and holds upright a spear
Sardis. Late 3rd c. with his right hand. These figures have been in-
Marble. H 1 13/^ in; H 30 cm terpreted as hunters. In the lower register, a

Excavation depot, Sardis. S 61.18 (3398) framed central figure with arms raised. On each
94
side are six stylized animals (hunting dogs?), i^y. Silver dish*
one below each of the figures in the upper frieze. Decorated in repousse with niello. In the center,
In a plain band between the two registers, the
a goddess, perhaps the personification of India,
dedicatory inscription to the Twelve Gods. At
is enthroned on a cushioned chair supported on
bottom left appears the name of one Eros, pre-
elephant tusks. She wears a tunic engraved with
sumably the dedicator. stars that leavesone breast bare. On either side
Finike (^Vest of Antalya). 4th c. of the figure two monkeylike figures and
are
Limestone. H i6i/g in, \V 22 in; H 41 cm, \V 56 cm exotic birds. At bottom, a tiger and a leopard
Archaeological Museums, Istanbul. 5216 held on leashes by attendants. The attendants
*
and the goddess wear turbans with two project-
755 . Head of A rcadius ing straight horns. In the geometric border, four
Well preserved jxjrtrait head of the youthful miniatme portrait medallions.
Emperor Arcadius, intended for insertion into a
Lampsacus. Byzantine, 6th c.
separately carved body. Stylized hair, with a dia-
Silver. D 1734 in; D 45 cm
dem of a double band of pearls and cabochon
gems. The serene, spiritualized expression some-
what idealized; individualization in the sharply
1^6. Gold medallion
arched brows, large, widely set eyes, small mouth,
and rounded chin. Drill holes for pupils in eyes. Medallion of two sheets of pressed gold joined
together with a beaded, border added separately
Istanbul. Ca. 395-400
H H and two small suspension rings. On one side, a
Marble. 133/8 in; 34 cm
meander border and scenes relating to the birth
of Christ in three registers, each identified by an
ly^. Medallion with the bust of an inscription. On the other side, a border with
Evangelist small busts of Christ, the Virgin, and the Apostles

between stylized scroll motifs. Three registers de-
Carved in very high relief, the bust represents
pict seven miracles of Christ. One of two medal-
one of the Evangelists, bearded, wearing a long-
lions pressed from the same mold, found at Adana.
sleeved tunic, and holding the Book of Gospels.
It is not possible to identify which Evangelist it Adana. Byzantine, 6th c.
depicts, for at this period their individual traits Gold. D 314 in, ^Vt .8 oz; D 8.4 cm, \Vt 22.85 gr
were not differentiated. The carving of the Archaeological Museums, Istanbul. 82A
drapery, though somewhat roughly done, is char-
acteristic of the revived classical tradition in Con- 757. Baluster
stantinopolitan art in the late 4th century. A small, on its main
richly carved pier, decorated
Istanbul. Late 4th or early 5th c. face with birdsand pastoral vignettes set within
Marble. H
271/8 in; 69 cm H an elaborate rinceau. At the bottom, a head of
Archaeological Museums, Istanbul. 930 Oceanus similar to that on number 158. On one
95
side at top, a standing youthful figure with Tirana, Albania, gth c.
arms raised in prayer, with children's heads on Gold. H 614 in, D bowl 5I/2 in; H 16 cm, D bowl
the lateral faces. Sides grooved for slabs of stone 1 4 cm
which formed, with the piers, a screen or para- Archaeological Museums, Istanbul. 1531
pet (cf. closure slab no. 161). Found at DegiiTnen-
dere near Izmit. 160. Marble plaque with incrustation *
Degirmendere. Byzantine, 6th c. Haghia Eudokia, hands raised in prayer, is shown
Marble. H 461/2 in; H 1.18 m in imperial attire with crown and halo. Her
Archaeological Museums, Istanbul. 4477 name is inscribed on either side of her head. The
geometric border and the robe are inlaid with
polychrome stones, the face is of ivory.
i^S. Capital with the head of Oceanus *
Church of St. Mary Panachrantos,
Istanbul, 1 ith c.
Within an overall decoration of acanthus leaves is
the head of Oceanus, whose hair, eyebrows, mous-
Marble and colored stones, ivory. H 26% in, W
tache, and beard are intertwined with the foliage.
11 in; 67 cm, H28 cm W
Masks of Oceanus within an acanthus rinceau
were a popular motif from the 2nd century on, but
this type, with hair and beard confused with the 161. Closure slab
folate background, is characteristic of the Byzan- Carved in low, flat relief. On the front, a carefully
tine period. On the neck molding, a continuous patterned peacock facing to the right, with its
stylized laurel branch. On the abacus, tendrils and head turned back. Acanthus leaves as filling
running spirals. ornaments. On the back, geometric motifs. The

peacock was a common motif in Byzantine art
Byzantine, 6th c.
from the 6th century on. That this relief is con-
Marble. H 15 in, "\V top 2oy<^ in; H 38 cm, W top siderably later in date, probably of the 12th cen-
52.5 cm
tury, is evident in the extreme stylization of forms.
Istanbul-Tenikapi. 12th c. (?)
Marble. H 3034 in, W 46 7/g in; H 78 cm, 'W i.ig m

759. Gold goblet* Archaeological Museums, Istanbul. 3979
On a profiled conical base with a knob near the
bowl. The wide bowl is decorated in repousse
162. Marble capital
wdth figures of eagles, peacocks, pelicans, and a
Byzantine capital decorated on three sides with
winged dragon, each placed within linked medal-
the busts of St. Peter, St. Matthew, and St. John.
lions. Decorative moldings set off the relief band,
leaving the lip of the goblet plain. The secular Istanbul. 13th c.
nature of the decoration indicates that the vessel Marble. H i2i/^ in, W 87/g in; H 31 cm, "\V 22.5 cm
was probably a goblet rather than a chalice. Aya Sofya Museum, Istanbul. 529
96
i6^ . Folding Koran stand (rahle) * and arranged in staggered rows. Four borders: a
Carved walnut. Deeply carved arabesques on the narrow red band, a green band with yellow ab-
stract foliage motifs, a wide red border divided
legs and upper part of the stand. Inner surfaces
into rectangles which enclose squares, and an
of the leaves supjxjrting the Koran are decorated
with lacquered paintings of an eagle with dou- outer border of green with yellow motifs.
ble griffin heads surrounded by arabesques con- Central Anatolia. Seljuk, 13th c.
taining lions. The double-headed eagle was a Wool. H 126 in, W 102 in; H 3.20 m, W 2.40 m
coat of arms of Seljuk rulers. An inscription on Museum of Turkish and Islamic Arts, Istanbul.
the base states that the stand was given in 1279 685
(678 A.H.) to the Konya shrine of Jelal ad-Din
Rumi, the great mystic poet. 166. Rug fragment*
Seljuk. 1279 (678 A.H.) Found in the Eshrefoglu Mosque of Beyshehir.
Walnut. H 3714 in, ^V 1634 in; H 94.5 cm, W Ground of light blue squares separated by dark
42.5 cm blue linear motifs with projecting hooks. Within
Konya Museum, Konya. 332 the squares, dark blue, red, and white stars. The
fragments of border contain a white pseudo in-
16^. Lampshade* scriptionon a red ground. The fragment closely
Globular body of bronze, originally gilded, dec- resembles those found in the Ala ed-din Mosque,
orated with an openwork repousse pattern. Con- Konya.
tained an oil-burning glass lamp. Originally sus- Central Anatolia. Seljuk, ca. 1300
{>ended by chains that passed through bull's head \Vool. H ^V 67 in;
1001/2 in, H 2.55 m, 'W 1.70 m
attachments. The rim contains a pierced inscrip- Konya Museum, Konya. 862
from the "Sura of Light" (no.
tion in nesih script
Octagonal flanged foot. Signed at
24, verse 35).
16 J. Rug fragment
the base by the craftsman Ali ibn Muhammad
an-Xisibini of Konya in 1280-81 (679 a.h.)
Carpet with overall diaper arrangement, each unit
containing a double "T" motif in rectangles, exe-
Konya. Seljuk, 1280-81 (679 a.h.)
cuted in various colors on red ground.
Bronze. H 7" g in, D rim 7I/8 in; H 20 cm, D rim
18 cm Seljuk, 13th c. or later
Ethnographical Museum, Ankara. 7591 \Vool. H 8034 in, ^\' 59 in; H 2.05 m, "\\"
1.50 m
Konya Museum, Konya. 852
i6j. Rug
Found in the Ala ed-din Mosque, Konya. Dark 1 68. Mirror*
blue field with light blue 8-pointed stars contain- Circular steel mirror with delicate inlays of gold
ing red stars, connected by reciprocally arranged fillets hammered into tiny punch holes. The cen-
intermediate motifs resembling Kufic characters tral field depicts a rider holding a falcon in his
97
gloved left hand, reins in the right. A dog is tied lyi. Koran
to the saddle, another runs loose behind. A wild
Text written in nesih script; the first, middle,
duck flies overhead, a small snake with dragon and last line of each page in sulus script. Titles
head under the feet of the horse. On the rim, of suras are illuminated. The calligrapher was
running animals, griffins, sphinxes, and dragons Izz ed-din Savji. Contains 668 pages of 11 lines
with intertwined tails at the apex. Octagonal each. Leather binding with central medallion.
handle with engraved spiral decorations.
Mongol, 1326 (727 A.H.)
Seljuk, 13th c.
H 18 in, W iiS/g in; H 45.5 cm, 'W 29 cm
Steel with gold inlay. L iGi/g in; L 41 cm Konya Museum, Konya. 13
Topkapi Palace Museum, Istanbul. 2/1792
A Ibiim *
772. Leaves from the Fatih
16^. Lead eagle from a fountaiji *
These leaves come from one of three albums con-
An eagle with wings spread. Feathers are indi-
nected with the name of Mehmed Fatih, the con-
cated by linear incisions. Water issued from a
queror of Constantinople, although they were
hole in the mouth.
probably brought to Turkey in the booty col-
Seljuk, i3th-i4thc. lected by Selim I (1512-1520) on his Persian cam-
Lead. H 1 1 % in H 29 cm
;
paigns. The albums are composed of paintings
Museum of Turkish and Islamic Arts, Istanbul. cut from manuscripts and pieces of calligraphy
2439 pasted onto cardboard. The exact origin of the
paintings unknown, but they show a mixture
is
of Iranian, Chinese, and Central Asian features;

lyo. Carried wooden window shutters *
consequently they have been tentatively con-
A pair of carved shutters with a central post. In
nected with the City of Herat and are thought to
the upper panels, a pious inscription in nesih
date from the latter part of the 15th century.
script; in themiddle panels, a large central ro- The paintings selected for this exhibition belong
sette surrounded by scroll decorations and floral
to agroup connected with the name of Master
arabesques with an overlay of curved frames; in
Mehmet Siyah-Kalam, whose name appears on sev-
the lower panels, ogival frames against a floral
eral of the paintings, often upside down, .\lthough
background. All sections are bordered by a floral
the paintings were inscribed after their comple-
garland. From the Mausoleum of Sheikh Sadr ed-
tion, their stylistic unifomiity makes the attribu-
din Muhammed b. Ishaq of Konya, built in 1274
tion credible. It possible that Mehmet was an
is
A.D. (673 A.H.) in Konya.
Turkic origin living in Herat.
artist of
Seljuk, i3th-i4thc. The paintings fall into two main groups. One
Wood. H 67 in, W 4714 in; H 170 cm, W 120 cm shows black-, yellow-, and red-skinned demons
Museum of Turkish and Islamic Arts, Istanbul. wrestling with each other, playing music, danc-
196 AB ing, or performing acts requiring great strength,
98
such as sawing a tree, earning a horse, or sup- ly^. Koran
porting a palanquin carr)'ing fairies or lovely
Text in nesih script; the first and last lines of
ladies. Group two depicts stocky personages
each page in black sulus and the middle line in
wearing gannents of a heavy material and bell-
gold sulus script. The opening pages are com-
shaped hats or fur caps. Their activities, which
pletely illuminated. Contains 480 pages of 15
reflect a nomadic way of life, include tending
lines each. Brown leather binding with gold cen-
cattle and horses, driving tent pegs, and prepar-
tral medallion.
ing food.
Both groups are executed in similar style
Ottoman, 1452 (856 a.h.)
a
with a muted palette with grays, browns, and H 2% 1 in, W 91/2 in; H 32.5 cm, W 24 cm
reds predominating. The figures are usually
placed against the paper with little indication of

Koran *
landscape or setting. 775.
Turkic, late 15th c. Written in sulus script. Opening double page

H 1934 in, \V 131/8 in; H 50 cm, \V 33.5 cm illuminated in gilt and blue \\ithin a white
Topkapi Palace Museum, Istanbul. 2153 geometric framework. Oj:>ening text pages are il-
luminated in gold, blue, and white. Chapter

175. Portrait of Sultan Mehmet II headings in white sulus script; at the top of the
{the Conqueror) pages, pious decorative inscriptions in white Ku-

fic Margins of page 29 are filled with gold
script.
Portrait of the conqueror of Constantinople,
illimiinations. Marginal notes in red. Contains
Mehmet II (1451-81), executed by Sinan Bey, a
Turkish artist who had studied in Venice. The 535 P^ges of 19 lines each. Brown leather binding
with tooled and gilded central medallion and
position of head and shoulders is similar to that
corner decorations and Arabic inscription iden-
in a portrait of Mehmet II by the visiting Italian
tifying the manuscript as a Koran.
Gentile Bellini (1429-1507), now in the
artist.
National Galler\, London. The drawing of Ottoman, 15th c.
the lower part of the body and depiction of the H i^Yg in, W 11% in; H 39 cm, 20 cm W
ruler smelling a rose are Turkish additions. The Museum of Turkish and Islamic Arts, Istanbul.
interest of the artist was focused on the face of 434
the ruler, and this painting gives the impression
lyS. Koran *
of an intense and vigorous personality that is
lacking in Bellini's more polished portrait. Meh- \Vritten in by the scribe Sheikh
nesih script
met wears a brown robe with red bands at neck Hamdullah Amasya, chief calligrapher of Sul-
of
and sleeves and a blue, fur-lined kaftan. tan Bayazid II (1484-1512). Oj>ening double
Ottoman, late 15th c. page illuminated with blue, orange, and green
H 153/3 in, \V io5/(s in; H 39 an, \V 27 cm floral scrolls over blue and gold ground. The
Topkapi Palace Museum, Istanbul. 2153 arrangement of this design is very close to pat-
99
terns used for bookbindings. Opening text pages who developed the system of proportions used
have titles of suras in white script against a blue in Turkish calligraphy. The two 0{:)ening pages
ground decorated with floral scrolls. The text are completely illuminated. On the opening text
has interlinear decoration in gold and is sur- page, white chapter headings on a blue ground,
rounded by a blue and gilt border decorated with decorations between each line of text, floral
Contains 528 pages of 14 lines each.

floral motifs. arabesque decorations on a blue and gold ground
Red leather binding with raised central medal- surrounding the text. Contains 564 pages of 11
lion and corner decorations which are tooled and lines each. Brown leather binding with floral
gilded. Border of cartouches connected by ara- arabesque pattern against a gold ground, leaf
besques. An Arabic inscription identifies the and floral scroll on border. On the inside cover,
manuscript as a Koran. tooled and gilded medallions, corner decora-
Ottoman, 1484 (899 a.h.) tions.
H 13% in, W9 in; H 35 cm, W

23 cm Ottoman, 1491 (897 a.h.)
Museum of Turkish and Islamic Arts, Istanbul. H 614 in, W 414 in; H 16 cm, W 1 1 cm
402 Topkapi Palace Museum, Istanbul. 913
I']']. Manuscript of anthology belonging to

* lyg. Manuscript of the 6th sura of the Koran:
Mevlana Mosque, Konya
On the opening page, the name of Sultan Baya-
"The Cattle" {al An 'dm)*
zid II (1481-1512) in mirror writing (musenna) By the leading 16th-century calligrapher, Ahmed
in gold sulus script on a blue ground. On the Karahisari, who ornamental calli-
sp)ecializecl in
second page, wishes for the Sultan's continued graphic inscriptions as can be seen from the sulus
power and prosperity in white sulus script on a and Kufic inscriptions of the opening pages. The
gold giound. Illuminated chapter headings. Seals text alternates between black nesih script and
of Sultan Bayazid II on the first and last pages. gold sulus script, which is often of a monumen-
Contains 80 pages of 9 lines each. Red leather tal size. At the opening of the sura, the invoca-
binding with central medallion and corner de- tion of the name of Allah is wTitten in gold sulus
sign in gold. Inside cover blue leather with a with the upper parts of the letters woven into a
gold medallion design. pattern. Contains the seal of the Pious Founda-
tion (vakif) of Sultan Mahmud I (1730-54). Con-
Ottoman, late 15th or early 16th c.
H GT/g in, W 43/8 in; H 17.5 cm, Wi cm 1

tains 28 pages of 13 lines each. Light brown
leather binding with gilded central medallion
decorated with floral scrolls.
iy8. Koran of Sultan Bayazid II Ottoman, mid- 16th c.
{1484-1512) H 19^4 in, W

13% in; H
50 cm, \V 34 cm
Written in nesih script by the chief calligrapher Museum of Turkish and Islamic Arts, Istanbul.
of the Sultan, Sheikh HamduUah of Amasya, 1443
100
i8o. Koran of Sultan Silleyman I Ottoman, 1483 (888 a.h.)
(the Magnificent) (1^20-66) H 81/2 in, W 5!/^ in; H 21 cm, 'W 13 cm
^Vritten in nesih script by the calligrapher

Museum of Turkish and Islamic Arts, Istanbul.
Ahmed Karahisari, decorator of the domes of 2053
Aya Sofya and the Siileymania Mosques, Istan-
bul. On the opening text pages, chapter head- 182. Binding of manuscript "Divan-i
ings in white on gold surrounded by gilt cloud Sultan Silleyman Muhibbi"
bands, floral decorations on a blue ground. The Black leather binding with central medallion
first and last lines of each page are uTitten in and corner decoration of gilded, tooled leather;
gold sulus, a script for which Ahmed was re- gilded floral scrolls and cloud bands on the re-
nowned, against background. Floral
a floral mainder. Border of polygonal cartouches con-
panels flank the text. Each page is bordered by
nected by cloud bands and floral scrolls. Red
blue and gold illumination decorated with flo- leather inside cover with
arabesque decora-
ral scrolls. Contains 238 pages of 15 lines each. tions in the center and at corners. Manuscript
Light brown leather binding with a stamped cen- of poetry of Sultan Siileyman I (the Magnificent)
tral medallion. (1520-66) under his pen-name "Muhibbi." Writ-
Ottoman, 1546-47 (953 a.h.) ten in talik script with gilt interlinear decora-
H 11% in, W 7 in; H 29 cm, ^V 18 cm tion. Opening pages are illuminated with floral
Topkapi Palace Museum, Istanbul. 999 arabesques on blue and gold grounds. Contains
seal of the Pious Foundation (vakif) of Mahmud
181. Binding of manuscript of religious I (1730—54). Contains 503 pages.
*
poetry [Kitab Jam Jem Evhadi) Ottoman, 16th c.
Brown leather binding with central medallion
H 10 in, \V 614 in; H 25.5 cm, "\V 16 cm
and corner decorations tooled in gold, border of
gold-tooled oblong medallions. On the inside
1962
cover, a cut-out design of lattices and arabesques
applied over a blue, brown, and gold ground.
18^. Binding of manuscript "Nusret-name"
Persian text written in talik script by the callig-
[The Book *
rapher Sheikh Mehmet. On the first page, the of Victory)
seal of the Pious Foundation (vakif) of Mahmud Red silk binding embroidered in gold with de-
I (1730-54). The text preceded by two completely tails in colored silk thread. In the center, a
illuminated pages with floral arabesques in red, medallion with scalloped edge, filled with sym-
blue, white,and gold on blue and gilt grounds. metrical arabesque decorations; at the corners,
The gold script on a blue ground sur-
title is in quarter medallions with flowering plants; in the
rounded by floral arabesques on a gold ground. field, scrolls of flowers overlaid with cloud bands.
All pages framed with gold lines. Contains 306 The outer border contains cartouches with three
pages of 14 lines each. blossoms separated by gold embroidery. The
101
manuscript, written by the Turkish historian with gilt lines. Contains 555 pages of 13 lines
Ah, describes mihtary campaigns. The calhgra- each.
pher was Mustafa son of Abdujehl. Contains 257
Ottoman, 1644-45 (1054 a.h.)
pages of ig hnes and 41 miniatures.
H 26 in, W 181/2 in; H 66 cm, W 47 cm
Ottoman, 1584 (992 a.h.) Museum of Turkish and Islamic Arts, Istanbul.
H 15 in, W 81/2 in; H 38 cm, W 22.5 cm 535
Topkapi Palace Museum, Istanbul. 1365
186. Ferman of Sultan Silleyman I (the

18^ . Binding of poems of Sultan Murad III MagnificenI) (1^20-66) *
Binding sheathed in gold. In the center, a medal- \Vritten in divani script with black and gold ink.
lion set with diamonds, rubies, and emeralds; in This script was designed so that it could not be
the field, openwork gold arabesques over blue copied, as each calligrapher had his own special
silk. The inner border inscribed in sulus script; tricks. At top, the tughra (calligraphic emblem)
the outer border contains cartouches with floral of the Sultan, which served as both a coat of arms
arabesques in relief, set with rubies and emeralds. and an official signature. This tughra, with three
Manuscript of the mystic poetry of Sultan Murad vertical and two elliptical extensions from the
III (1574-95) written under the name "Muradi." letters in the Sultan's name, has the standard
form of such emblems. Spaces between the ele-
Ottoman, late 16th c.
H 14I/2 in, W 85/g in; H 37 cm, W 22 cm

ments are filled with floral decorations in blue,
red, and gold.
Ottoman, 1556-57 (963 a.h.)
H 9634 in, \V 161/2 in; H 2.46 m, AV .42 m
18 y. B iyiding of a Koran Museum of Turkish and Islamic Arts, Istanbul.
Red leather binding with raised central and cor- 2231
ner decorations tooled and gilded; border of
floral motifs and cartouches on a gilt ground.
i8y. Ferman of Sultan Ahmed I {i6o^-iy)
Inside cover decorated with gilded foliage and
inscribed with the "Throne Verse" Written in divani script with gold and black ink.
(Ayet ul-
Kursi) and sura verse 256, which is often used
At top, the tughra (calligraphic emblem) of the
2,
on Koranic bindings. Text written in nesih script Sultan, which served as both a coat of arms and
an official signature of the ruler. Spaces between
by the scribe Mehmet, son of Abdurrahman,
the letters illuminated in gold.
who was chief scribe of the Murad and Ahmed
Caravansaries. Text of opening pages is sur- Ottoman, 1604 (1013 a.h.)
rounded by decoration of floral scrolls on gilt H 633/4 in, W 1534 H 1.62 m, .40 m
in; W
and blue grounds. Titles of the suras written in Museum of Turkish and Islamic Arts, Istanbul.
white sulus script on gold ground. Pages framed 2239
102
1 88. Portion of an illuminated map latermaps. At the time of his first voyage Colum-
Re' is* bus identified Haiti with Cipango, whose major
of Piri
axis he supposed to run North and South; al-
This ornate and pictorially enriched map was
though its general outline on this map of 1513
prepared in 1513 by the well known Turkish
is that of Cipango, the details of the coastline
admiral and nautical author Piri Re'is, and as
were apparently sketched from information ac-
the rough outline on the right seems to indicate,
quired on the spot.
it originally formed the western portion of a
Since Columbus originally believed Cuba's
world map. It was presented to Selim I, Sultan
southern coast to run North-South and to be that
of Turkey, who it is believed was particularly in-
of the mainland, it is shown on the northwest
terested in the eastern portion in connection
corner jutting towards Haiti in the Re'is map. It
with his plans of world conquest and may have
seems most likely that a map drawn
by Columbus
detached that portion for his convenience.
in 1496 must have fallen into the Admiral's
The long inscription on the left indicates that
hands, for the Turks had no knowledge of the
Piri Re'is used several sources, including Ptole-
more advanced maps made by the Spaniards in
my's map and others drawn by Portuguese navi-
the early 1500's, and consequently Columbus re-
gators. In this inscription the Admiral states that
mained the great authority to them.
he had obtained information from a Spanish
There are several islands on the map marked
sailor captured by the Turks in 1501, who had
by parrots. Their conventionalized shapes pro-
accompanied Christopher Columbus on three
claim them to be fantastic, and they are most
voyages to the New World. He also remarks that
probably the islands believed to exist before Co-
he had used a map of the western region which
lumbus made his first voyage. The parrot islands
Columbus had drawn. Since Re'is's map shows
may thus originate from the map Columbus
unmistakable evidence of initial concepts held by
might have used to guide him on his first voyage.
Columbus, who is referred to as "Colon-bo, the
The islands which Columbus himself discovered
Genoese infidel," the information which Re'is
were entered upon this earliest map. In some
received must have come from one of Columbus'
cases he would superimpose his discoveries upon
early maps, which could very well have been in
the imaginary' islands, even though the location
the possession of the captured Spaniard.
was somewhat inaccurate; thus, the eleven Virgin
At the time when this early map was drawn,
Islands, rendered in Turkish by the Italian name
what Columbus later recognized as the mainland
"Undize Vergine," are drawn too far to the
he still believed to be a series of islands which
northeast where the imaginary island had been
he named the Isla de Paria, the Isla Ysabeta,
placed. Apparently to prevent confusion between
and the Isla Tramontana, and which appear
the islands originally on the map and those Co-
thus labeled on the Re'is map. The shape of
lumbus had actually discovered, the former were
Haiti as drawn by Piri Re'is is ver^' much like
then distinguished by parrots.
that of Cipango— the Japan of Marco Polo— as it
appears on the Behaim Globe of 1492 and other 1513 (919 -^-H-)
103
Drawing on Gazelle skin. H 24% in, W 337/3 ^^'' A: H 51/2 in, W 81/2 in; H 14 cm, W 21.5 cm. B:
H 62 cm, \V 86 cm H 434 in, W 634 in; H 12 cm, W 17 cm
Topkapi Palace Museum, Istanbul. Revan, Topkapi Palace Museum, Istanbul. 17/188
Miik 1633
igi. Portrait of Sultan Siileyman I
i8g. Portrait of Hayrettin Barbarossa [the Magnificent)
Portrait of the famed 16th-century Turkish Ad- This painting by Haydar Reis (Nigari), the chief
miral Hayrettin Pasha, known as Barbarossa, by painter of Sultan Siileyman (1520-66), shows the
one of Siileyman the Magnificent's court painters, ruler as an old man taking a stroll in a garden,
Haydar Reis (Nigari). The Admiral is shown indicated by foliage in the lower right comer. He
is accompanied by two attendants, one of whom
in profile, wearing a red, fur-lined kaftan with
tiger stripe design over a blue robe. He is smell- holds a sword. The Sultan wears a blue, fur-lined
ing a red carnation held in the hand; his left
kaftan over a gjeen robe. His face, shown in pro-
right hand grasps a golden sceptre. A Turkish file, appears gaunt. On his head, a large white
inscription on the facing page identifies the sub- turban wound around a red cap, decorated with
ject and the artist. an aigrette.
Ottoman, 16th c.
Ottoman, mid-i6th
Watercolor. H 11
c.
1/2 in, ^,W 19 in; H 29 cm, W 48 H 15% in, W 1 1I/2 in; H 40 cm, W 29 cm
cm
ip2. Portra it of Set im II *
Sultan Selim II (1566-74) is depicted by Haydar
I go. Two miniatures from a book Reis (Nigari) shooting arrows at a target board
A* Landscape showing two princes on horseback,
:
held by the court falconer. Behind the Sultan
preceded by two pages. Four bowmen lead the stands his page, holding an arrow in one hand
procession and two flank the horse of one of the and a carnation in the other. The Sultan is
princes. The landscape with its shallow stage of shown with a bow in his left hand, the right arm
lush vegetation and flowering plants in the fore- raised after releasing an arrow that he follows
ground and semicircular hill in the background with his He
wears a long-sleeved robe under
eyes.
shows Persian influence. However, the arrange- a kaftan, both decorated with elaborate floral
ment of the figures and their characterization are patterns. The target board is inscribed "Sultan
clearly Turkish. Selim shooting arrows." A couplet in Turkish ap-
B: Kneeling man, dressed in a red robe with pears near the head of the falconer.
blue cuff^s, a sword on his knees and a quiver at
Ottoman, mid-i6thc.
his left. He holds a falcon in his gloved left hand.
H 221/2 in, \V 181/2 in; H 57 cm, \V 47 cm
Ottoman, 16th c. Topkapi Palace Museum, Istanbul. 17/181
104
/pj- Manuscript "Hilner-name" gilt arabesques on a blue ground. Border of in-
{The Book of Accomplishments)

* tertwined arabesque leaves.
The Book of Accomplishments was a four-volume

Ottoman, 1583 (991 a.h.)
history of the Ottoman sultans, written in Per-

H 255/8 in, W 161/9 in; H 65 cm, W 42 cm
sian by three court historians and finished by Museum of Turkish and Islamic Arts, Istanbul.
Loqman b. Huseyn al Ashari. Two volumes have 1973
survived. The first deals with the history of the
795. Manuscript "Siyar an-nehi"
sultans through the reign of Selim I. The second,
which is in this exhibition, deals with the events (
The Life of the Prophet)
of the reign of Sultan Siileyman the Magnificent The history of the life of Muhammad, composed
(1520-66). volume contains 300 pages,
This by Mustafa Yusuf ar-Rumi, called ad-Darir
b.
each with 15 lines of talik script, and 65 minia- "the Blindman," in 1388 (790 a.h.). Contains 1086
tures that show the Sultan hunting, fighting, at pages of 13 lines each and 193 paintings illustrat-
festivals, and in private life. The paintings are by ing events in the life of Muhammad and record-
Osman, chief manuscript illuminator of Sultan ing the deeds of early Islamic heroes. This manu-
Siileyman, and his school. Red leather binding script seems to belong to an edition copied for
with gilt decorations. Murad III, one volume of which is dated 1594-95
(1003 A.H.). The illuminator was Seyyit Siileyman
Ottoman, 1569-78 (977-985 a.h.)
Kasim Pasha. Red leather binding with gilded
H 171/2 in, W 12 in; H 44.5 cm, W 30.5 cm and tooled central medallion and corner pieces.
Ottoman, ca. 1595
H 15 in, W 1014 in; H 38 cm, W 26 cm
/p^. Manuscript "Zubdet et Tendrih" Museum of Turkish and Islamic .Arts, Istanbul.
(The Cream *
of Histories) 1974
Historical treatise by Loqman b. Huseyn al
Ashari of Urmiya, the chief paneg)'rist of Sultan ic)6. Portraits of Sultan Mehmet III
Siileyman the Magnificent from 1569 to 1596. and Sultan Ahmed I
Traces history of the world from the creation Side A: Sultan Mehmet III (1595-1603) sits on
through the history of the prophets to the life a gold throne, with two armed guards standing
of Muhammad and his successors, the twelve behind him. He wears a turban with two ai-
Imams. Concludes with a history of the Ottoman grettes and holds a handkerchief in his right
sultans until the time of Murad III (1574-95)- hand. An inscription states: "This is Sultan Meh-
Contains 197 pages of 37 lines each, written in met, son of Murad Khan Ghazi who conquered
nesih script, and 40 pages of miniatures depicting Egri and decimated its battalion with his sword."
scenes from Biblical, Islamic, and Ottoman his- The capture of Egri in Hungary occurred in
tory. Green leather binding with gilt floral de- 1596 and was the only battle of the Austrian war
signs around a central medallion. At the corners, in which the Sultan participated directly.
105
Side B: Sultan Ahmed I (1603-17) on a pink
sits igS. Portrait of Sultan Mustafa II *
throne, legs folded beneath him. A Negro eunuch Sultan Mustafa (1695-1703) is portrayed seated
stands at his right side, two attendants at his left
with legs crossed under him, leaning on a cush-
holding a sword, a vessel, and a quiver of arrows. ion. He wears a blue, fur-lined kaftan. The com-
He is being entertained by five midgets in mock position, signed by the artist Levni, is notable for
combat. The Sultan wears a fur-lined brocade
the balance achieved between plain and dec-
kaftan and a turban with three aigrettes. The orated surfaces, between horizontal and vertical
wall behind him is covered with geometric and
lines, and for the slightly asymmetrical place-
floral patterns in tile.
ment of the Sultan.
Ottoman, early 17th c.
Ottoman, ca. 1700
A: H ii3/g in, W 614 in; H 29 cm, W 16 cm. B:
H 105/8 in, W 7I/8 in; H 27 cm, "\V 18 cm
H 9 in, W 614 in; H 23 cm, W 16 cm Topkapi Palace Museum, Istanbul. 17/193
O smart II I pp. Portrait of Sultan Ahmed III

797. Portraits of Sultan
State portrait of Sultan Ahmed (1703-30), en-
and Sultan MuradIV
throned and attended by a son who stands re-
Side A:* Osman II (1618-22), whose brief reign
spectfully at his side. The face of the Sultan is
began when he was 15, is shown on horseback,
forceful, but the attention of the artist seems to
wearing a brocaded, fur-lined kaftan. Renowned
be on his sumptuous attire and the colorful,
for his horsemanship, Osman also wrote poetry
elaborate patterns of the throne and the rug. The
under the pen name of Farsi. His chief energy'
style of floral decoration on the throne shows
was devoted to campaigns in Austria and Po-
the impact of European art on Turkish taste
land. His reign began and ended with a military
during this period. Executed by the Sultan's court
coup. The red-dyed hooves and tail of his mount
painter, Levni.
are allusions to his military valor, symbolizing
the blood of enemies slain in battle. Ottoman, early 18th c.
Side B: Murad IV (1630—40), wealing a white H 10^8 in, W 7I/8 in; H 27 cm, ^V 18 cm
robe and a turban with two aigrettes, sits on a Topkapi Palace Museum, Istanbul. 17/194
red rug, leaning against orange cushions. Murad
was a noted military leader. Concentrating his at- 200. Manuscript of the Sur-name of
tention on the eastern sections of the Ottoman Sultan Ahmed III
Empire, he secured territory against attacks from The Sur-name, or "The Book of the Festival,"
the Persians and the Crimean Tartars. was written to commemorate festivities of 1720
Ottoman, mid-i7th c. connected with the circumcision of the four
A: H los/g in, W 7 in; H 27 cm, W 18 cm. B: H sons of Sultan Ahmed (1703-30). The text of
7 1/8 in, W 3% in; H 18 cm, W 9.5 cm the poem ofVehbi contains 350 pages, written
Topkapi Palace Museum, Istanbul. 17/184 in talik script. The manuscript is illustrated
106
by 138 miniatures, one of which is signed by the 202. Kaftan of Sultan Mehmet II
painter Levni. assumed that the rest of the
It is
(the Conqueror) (14^1-81) *
miniatures were also by Levni or executed under
Red embroidered in gold thread with
velvet
his supervision. The miniatures illustrate vari-
gioups of tulips and pomegranates around 6-
ous phases of the festivities, often depicting the
petaled flowers. Each group framed by double
Sultan watching entertainers or receiving gifts
cloud bands. Details picked out with knotted
from various trade guilds and dignitaries.
gold threads. Lined with a rose-colored fabric
Ottoman, ca. 1720-25 and edged with yellow silk satin. Short sleeves.
H 1434 in, W9 in; H 37.5 cm, \V 23 cm
Topkapi Palace Museum, Istanbul. 3593 Ottoman, 15th c.
Red velvet
201. Portraits of Sultan Mahmud I Topkapi Palace Museum, Istanbul. 2/156
and Sultan Osman III

Side A:* Sultan Mahmud I (1730-54), wearing a
20^. Childhood kaftan of Sultan Selim I
fur-lined kaftan and a turban with three aigrettes, *
[the Grim) {1^1^-20)
sitson a gold throne. Blue background. Despite
his somewhat stolid appearance Sultan Mahmud Red background with a multiple design of three
was noted for restraint in his private life, in con- solid yellow circles. Lined with a yellow-cream
trast to the luxurious tastes of his predecessor fabric and edged with blue silk. Collarless, short
Ahmed III, which had aroused public enmity. sleeved, buttoned in front.
He also founded libraries and built public foun- Ottoman, 16th c.

tains and mosques. The attention of the artist Silk brocade
was focused on the penetrating gaze of the face, Topkapi Palace Museum, Istanbul. 4498
paying little attention to body proportions.
Side B: Sultan Osman III (1754-1757), wear-
ing a fur-lined kaftan and a turban with five 204. Kaftan of Sultari Selitn I (the Grim)
aigrettes golden holders, sits on a golden
in
{1^12-20)
throne, hands on his knees. Blue background.
Quilted kaftan of red moire silk with gold ogival
The well-modeled face and hands contrast with
foliage motifs containing blue, red, green, and
the rather shapeless body. The reign of this
white flowers. Blue moire around the decorations.
ruler was peaceful, and he is remembered as the
Lined with yellow-cream and edged with pis-
Sultan who completed the Nur-i Osmania
Mosque in Istanbul.
tachio green silk. Open in front, buttoned, collar-
less, short-sleeved, slits on the sides.
Ottoman, 18th c.
A: H io5/g in, W 63/^ in; H 27 cm, W 17 cm. B: Ottoman, 16th c.
H io3/g in, W 71/8 in; H 26.5 cm, W 18 an Silk. L 543/^ in; L 1.38 m
Topkapi Palace Museum, Istanbul. 17/196 Topkapi Palace Museum, Istanbul. 3432
107
1
205- Kaftan* 208. Kaftan of Sultan Osman III (^7^4-^7)

Red with blue oval medallion, tulip, and branch Branch, jiomegranate, and pine cone designs in
motifs, and scattered yellow, white, green, and gold thread on a red background. Overlay of
red flowers. Lined with squirrel fur. Inside of the blue and white flowers. Lined in dark red with
skirt edged with pistachio green satin. Collarless, pistachio gieen edging. Collarless, buttoned in
open in front, long-sleeved, pockets and slits on front, short-sleeved, pockets and slits on the sides.
the sides. Front buttons.
Ottoman, 18th c.
Ottoman, i6th c. L 54 in; L 1.37 m

Silk brocade. L 523/3 in; L 1.33 m Topkapi Palace Museum, Istanbul. 2/326
20C}. Kaftan of Fatma Sultan
Kaftan of the daughter of Mustafa III (1757-74)-
206. Short kaftan *
Arabesque design in silver thread on a dark blue
Kaftan of Ahmed I (1603-17). Red silk with ground. Sleeves closed with dark blue silk but-
gold medallions containing flowers in blue, green,
tons. "White lining.
and red and framed by golden leaves decorated
with pomegranates. Three circles in gold thread Ottoman, 18th c.
between the large designs. Lined with a creamy Silk brocade. L 13% in; L 35 cm
yellow fabric and edged with green silk. Collar- Topkapi Palace Museum, Istanbul. 3559
less, short-sleeved, buttoned in front, slits on the
sides. 210. Kaftan of Fatma Sultan
Ottoman, 17th c.
Woven with silk and gold thread. Brown em-
Silk. L 26 in; L 66 cm broidered branches overlaid with pink, blue,
Topkapi Palace Museum, Istanbul. 2/4650 and purple flowers and branches.
green, black,
Lined with white and edged with white silk.
Open in front, silk thread buttons, short-sleeved,
20^. Kaftan of Sultan Murad IV {162^-40) slits on the sides.

Design of three circles and double cloud bands in Ottoman, 18th c.
gold thread edged with blue moire over a red Silkand gold thread
background. Lined with white, edged with red Topkapi Palace Museum, Istanbul. 2/3108
silkon skirt and inside of the collar. Long-
sleeved, collarless, open in front, slits on the 211. Childhood kaftan of Saliha Sultan
sides.
silk flowers over a cream
Small black and yellow
Ottoman, 17th c. background. Gold violets on the front facing
Silk brocade. L 6014 in; L 1.53 cm and the edges. Spiral-shaped edgings crocheted
Topkapi Palace Museum, Istanbul. 2/451 with gold thread. Lined with white.
108
Ottoman, i8th c. 21^. Belt
Silk brocade
Composed of rectangular gold plaques connected
by groups of interlocking gold lozenges. All ele-
ments decorated with floral arabesques executed
in niello and inlaid with rubies and turquoises.
212. Childhood kaftan of Saliha Sultan
Selimiye fabric striped with yellow metallic
Ottoman, 17th c.
thread and floral designs between the stripes.
Gold with jewels. L 311/0 ^^' ^^ 2 in; L So cm, W
Crocheted decorations. Gold edging. 5 cm
Ottoman, 18th (?) c.
Selimiye fabric. L 27 1/9 in; L 70 cm 216. Mirror of Sultan Sixleyman I

(the Magnificent) *
Ebony handle with incised decoration. Ivory
2/5. Aigrette back with a raised central medallion containing
floral scrolls. Fluted edge with inscription giving
OvaI-shaf)ed turban ornament to hold feathers.
Decorated with stylized blossoms in relief en- the name of Sultan Siileyman (1520-66), the name
graved with floral motifs. Contains one peacock of the aaftsman Ghani, and the date 1543-44
(950 .\.H.).
feather, with holders for two more. Pointed
shaft and chains to attach ornament to turban. Ottoman, 1543-44 (950 a.h.)
(See Portrait of Sultan Ahmed III, no. 199). Ivory and ebony. L 1 %
in; L 30 cm
1

Ottoman, 17th c.
Gold. H 5% in,\V 2 1/2 in; H 14.5 cm, 'W 6.5 cm

Museum of Turkish and Islamic Arts, Istanbul. 2/7. Mirror*
Octagonal jade handle inlaid with gold and
438
set with rubies and emeralds. The back is dec-
orated with jade medallions inlaid with gold

214. Belt and set with rubies and emeralds. Scalloped edge.
Twenty alternating circular and hour-glass me- Ottoman, i6th-i7thc.
dallions on dark red velvet. The medallions are Jade with gold inlay and jewels. L 191/4 in; L 49
set with large topazes encircled by rubies and cm
turquoises. Rectangular gold clasps. Topkapi Palace Museum, Istanbul. 2/1795
Ottoman, 17th c.
Gold with jewels on velvet. L 4314 in, W zy^ in;
218. Mirror
L 110 cm, W 6 cm Steel mirror. Back and handle covered with tur-
Topkapi Palace Museum, Istanbul. 2/675 quoise and ruby inlays in gold mountings. On the
109
back, the inlays form a cypress tree flanked by neck with dragon's head spout. Gold foot with
two floral sprays. openwork decoration, rounded lid surmounted
Ottoman, 17th by a knob, gold handle.
c.
Steel with gold inlay and jewels. L 13 in; L 33 Ottoman, 17th c.

cm Jade with gold inlay and jewels. H 11 in; H 28
Topkapi Palace Museum, Istanbul. 2/1794 cm
219. Jug*
Vessel with globular body, straight neck, and 222. Pen box*
semicircular Carved from a black stone and
lid.
Lid and sides of gold covered with white enamel
inlaid with rubies set in gold floral frames and
and decorated with blue floral scrolls. Set with
connected by stems and leaves of gold. S-shaped
rubies and emeralds mounted in gold rings. Con-
handle in dragon form. A gold strainer in the
tains a pen box with lid engraved with floral
mouth, decorated with calligraphy and set with
motifs and three gold inkwells with jeweled
a turquoise. A single turquoise is centered inside
covers.
the lid.
Ottoman, i6th-i7thc.
Ottoman, 16th c.
Black stone with gold and jewels. H H Gold with enamel decoration and jewels. H 3I/8
cm
71/9 in; 19
in, L 1 1 in, W4 in; H 8 cm, L 28 cm, W 10 cm
220. Jug 22^. Spoon*

Body and handle carved from a single piece of Carved from a solid piece of ivory with gold in-
The rim and foot are sheathed with

rock crystal. and arabesques on the handle.
laid rosettes
gold. The lower part of the body ornamented
Ottoman, 17th (?) c.
with gold bands set with emeralds, alternating
Ivory with gold inlay. L 9% in; L 25 cm
with rows of rubies set into the crystal. The re-
mainder also decorated with gold and jewels.
Ottoman, i6th-i7thc.
22^. Spoon*
Rock crystal with gold and jewels. H 77/g in, H
20 cm Branch coral handle carved with leaf motifs.
Topkapi Palace Museum, Istanbul. 2/4 Mother-of-pearl bowl carved on the outside with
floral motifs.
22 7. Ezver Ottoman, late 17th c.

A flat, pear-shaped ewer of jade inlaid with gold Coral and mother-of-pearl. L 91/2 in; L 24 cm
and set with rubies and emeralds. Slightly flaring Topkapi Palace Museum, Istanbul. 2/2446
110
22 y. Spoon 22p. Helmet
Silver handle with turquoises; an emerald at one Conical helmet with a neck guard, visor, and
end, a ruby at the tip. Rock crystal bowl. nose guard that passes through the visor. Series
Ottoman, i8th (?) c. of medallions with names of the twelve Imams
Rock crystal and silver with jewels. L 914 in; L against scrolls within an arabesque band around
22.5 cm the lower edge. The crest of the nose guard is in-
Topkapi Palace Museum, Istanbul. 2/2509 scribed with a call to join in the Holy War of
Allah.
226. Spoon
Ottoman, 16th c.
Silver handle alternately set with rubies and tur- Gilded copper. L 1014 in, D 814 in; L 26 cm, D
quoises. At the tip of the handle a medallion 21 cm
with a row of turquoises framing f)earls. Tortoise- Topkapi Palace Museum, Istanbul. 1/1465
shell bowl.
Ottoman, 18th c. 2^0. Helmet

Silverand tortoiseshell with jewels. L gs/g in; L Conical helmet with ear guards, neck guard, vi-
24.5 cm
sor, and nose guard with openwork terminal
that passes through the visor. Plume holder be-
Coat of chain mail

side the nose guard. The visor is decorated with
22y.
cloud bands and a motif of three circles. Flowers
Reinforced by rectangular overlapping splints
and arabesques on the lower section of the rim.
and arm shields that are inlaid in gold with
Arabic inscriptions, floral motifs, and arabesques. Ottoman, 16th c.
Gilded copper. L i25/g in, D 9 in; L 32 cm, D 23
Ottoman, late 15th c.
cm
Steel mth gold. L 331/9 in; L 85 cm
Topkapi Palace Museum. 1462
228. Helmet 2^1. Helmet

Conical helmet designed to be worn over a tur- Conical helmet with visor and nose guard. Inlaid
ban. Silver inlaid inscriptions and floral motifs. with gold. Inscriptions in sulus script on the
Holder guard above sections cut out
for a nose louver area and on the visor with phrases from
for the eyes.Intended for use with a chain mail sura 7, verse 89, and sura 61, verse 13, asking
protective neck guard. Allah's assistance in obtaining victory.
Ottoman, late 15th c. Ottoman, 16th c.
Iron with silver inlay. L 12I/8 in, D 8^ in; L 31 Iron with gold inlay. L loy^ in, D Ss/g in; L 27
cm, D 22 cm cm, D 22 cm
Topkapi Palace Museum, Istanbul. 1/430 Topkapi Palace Museum, Istanbul. 1/527
111
2^2. Helmet * 235. Szvord of Sultan Bayazid H
Conical helmet with visor and neck guard. The {148^-1312)
middle section is slightly fluted and inlaid with Rhinoceros-horn hilt, silver cross guard with
gold in floral patterns. Insaiption in gold sulus floral decorations, bow-shaped iron blade with
script with opening verses of the "Victory Sura" gold inlay in arabesque pattern and gold inscrip-
(no. 48) encircles the lower edge. tion giving the names of Sultan Bayazid and the
Ottoman, 16th c. swordmaker Khair ed-din.
Iron with gold inlay. L ii3^ in, D 814 in; L 30 Ottoman, late i5th-early 16th c.
cm, D 2 1 cm Rhinoceros horn, silver, and iron with gold inlay.
L 39% in; L 1 m
Helmet* Topkapi Palace Museum, Istanbul. 1/92
255.
Conical helmet with ear guards, neck guard, vi-
2^6. Szvord of Sultan Selim I {the Grim)
sor, and metal nose guard that passes through
{1^12-20)
the visor. Inlaid with gold and set with rubies
and turquoises. Band of inscription around the Iron, with a delicately carved ivory hilt, silver
lower edge containing the opening verses of the cross guard, and a bow-shaped blade with an
"Victory Sura" (no. 48). The visor is inscribed Arabic inscription in gold inlay. The sheath is
with a phrase from sura 61, verse 13, prophesying covered with black leather, the mud guard made
victory with the help of Allah; the neck guard is
of gilded iron with two rubies on each side. Four
inscribed with a phrase from sura 7, verse 89; gilded sections on the sheath have three rubies.
and the shield of the nose guard is inlaid with Ottoman, early 16th c.
the Islamic Profession of Faith. and silver with gold and
Iron, ivory, jewels. L 35
Ottoman, 16th c. in; L 89 cm
Iron with gold inlay and jewels. H 11 in, D 85/^ Topkapi Palace Museum, Istanbul. 1/94
in; H 28 cm, D 22 cm
Topkapi Palace Museum, Istanbul. 2/1192 2^y. Dagger of Sultan Selim I (the Grim)
Solid rock crystal hilt with gold inlay in incised
234. Shield* floral arabesque pattern. Pommel inlaid with
Round wickerwork shield decorated with stylized turquoises and a ruby. Iron blade, perforated in
tulips and carnations on a red ground. Raised center and decorated with gold inlay. An inscrip-
Lined with
central boss of iron inlaid with silver. tion below the pommel dates the dagger to 1514
velvet. Six small brass studs. (920 A.H.), commemorating the campaign of
Ottoman, 16th- 17th c. Selim I (1512-20) against Shah Ismail of Persia,
Wicker and iron with silver inlay. D 25I/2 in; D whose defeat in the Plain of Chaldiran op>ened
65 cm the way for the Turkish conquest of Tabriz, the
Topkapi Palace Museum, Istanbul. 1/2571 Persian capital. The iron blade with its per-
112
forated center and gold inlay decoration seems Ottoman, 16th c.
to be of Persian manufacture, making it likely Ivory and gilded sih er. L 381 g in; L 97 cm
that, as part of Selim's booty, it was only given Topkapi Palace Museum, Istanbul. 1/2404
a new hilt in Turkey to produce this special
"souvenir." 2^1. Bozv of Sultan Bay azid II
Ottoman. 1514 (920 a.h.) Green, blue, \\hite, and gold floral decorations.
Iron and rock cnstal with gold and jewels. L 13 Inscribed with the Sultan's name and the date
in; L 33 cm 1464-65 (870 A.H.).
Topkapi Palace Museimi. Istanbul. 2/254

Ottoman, 1464-65 (870 a.h.)
\Vood
2^8. Dagger
Topkapi Palace Museum. Istanbul. 1/1039
Hilt and scabbard of rock crystal cut in a fish-
scale pattern of rubies and emeralds outlined in Sultan Bayazid II
27 2 . Boil' of
gold. Rows of rubies on each end of the hilt.
The inner side is decorated with gilt arabesques
Plain blade.
on a black background. The outside contains
Ottoman, 17th c. eight lines of poetry and an inscription with the
Rock crystal and gold with jewels. L 1334 in; L Sultan's name and epithet"The Saint" and the
date 1485 (890 A.H.)
Ottoman, 1485 (890 a.h.)
Dagger* \Vood
2^Q.
On the hilt, diamonds set in gold, terminating
in a single emerald. Diamonds set in gold on the
2^9. Qûiver*
top and bottom of the scabbard; in the center,
pink, red, and green enamel blossoms on a blue Gilt floral designs on a dark blue background.
background over gold. A gold chain with round Gilded top with an inscription listing three
emerald at the end is attached to the scabbard. names. Contains 27 arrows signed by the crafts-
men.
Ottoman, 17th c.
Gold with enamel and je^vels. L 1214 in; L 31 cm Ottoman, i6th-i7thc.
Topkapi Palace Museum, Istanbul. 2/152 L 263^ in; L 67 cm
A\e *
2^0.
Solid ivory handle. Crescent-shaped blade of 2^^. Quiver*
gilded siher decorated with openwork ara- Ebony inlaid with mother-of-pearl lozenges. Geo-
besques. Projecting flanges on the knob at the metric bands inlaid with ivor) separate the loz-
end of the blade socket. For ceremonial use. enges.
"3
I
Ottoman, iGth-iythc. mented fruit surmounted by leaves set with small

Ebony with ivory and mother-of-p)earl. L 26% rubies.
in; L68 cm Ottoman, 16th c.
Jade with rubies. L 2\y^ in; L 55 cm
24^. Qiiiver
Front and sides inlaid with mother-of-pearl floral
designs over tortoiseshell. The back inlaid with 24(). Mace
ivory in a zigzag design. The inside of the Iron mace with cylindrical handle and pear-
cover is sheathed with tortoiseshell. Contains 8 shaped head, inlaid with gold arabesques and set
arrows. with turquoises and rubies.
Ottoman, 17th c.
Ottoman, 16th c.
Tortoiseshell with mother-of-pearl and ivory. L Iron with gold and jewels. L 2634 in; L 68 cm
27 1/3 in; L
69 cm Topkapi Palace Museum, Istanbul. 2/714
246. Mace 2^0. Mace

Head composed of eight flanges, set at right Cylindrical handle with rubies at the tip, car-
angles to an octagonal handle. touches of arabesques in relief, five rings of
Ottoman, 16th c. rubies and turquoises. Pear-shaped head with

Gilded silver. L 311/0 in; L 80 cm arabesques set with rubies and turquoises. Lat-
Topkapi Palace Museum, Istanbul. 2383 ticework knob with turquoises and rubies.
Ottoman, 16th c.
24y. Mace Iron sheathed with gold, set with jewels. L 28%
Agate head with eight projecting flanges. Octag- in; 73 cmL
onal iron handle inlaid with gold. The end of Topkapi Palace Museum, Istanbul. 2/708
the handle is agate and has an attached tassel of
gold thread.
25 / . Horse's head fronta
Ottoman, 16th c.
Iron and agate with gold inlay. L 227/^ in; L 58
In three pieces, engraved with arabesques. On
cm the nose piece, a raised central groove terminat-

ing in a crescent with plume holder above.
Marked with the stamp of the Imperial Armory.
Mace *
248. Ottoman, 16th c.
Jade handle with carved spiral design ending in Gilded copper. L 24 in; L 61 cm
a rose-shaped tip. The head is carved as a seg- Topkapi Palace Museum, Istanbul. 1/1446
114
2^2. Horse's head frontal * 25^. Lantern
In three sections, engraved with floral sprays of Hexagonal lantern containing seven oil lamps.
tulips, and carnations. Holder for
eglantine, On each side, an openwork medallion filled with
plumes. Marked with the stamp of the Imperial arabesques. One side has a double-hinged open-
Armory. ing. An inscription band in sulus script contain-
Ottoman, i6th c. ing the "Sura of Light" encircles the top and
Gilded copper. L 24 cm bottom. Above the hexagon is a 12-sectioned

in; L 61
openwork dome and a metal finial.
Ottoman, 16th c.
2 55 . Banner * Silver. H 271/2 in; H 70 cm

Dark red silk banner with gold and green
167
brocade decoration of Sultan Selim I (the Grim)
(1512-20), whose victories established the Otto-
mans Egypt and much of the Near
as rulers of 255. Doors from a Chamber for the
East. on both ends are from the
Inscriptions Performance of Ritual Dances *
"Victory Sura" (No. 48) of the Koran. The cen-
In the upper and lower panels of each wing, an
ter shows the Dhu'l-Fakar, the legendary sword
Arabic inscription in nesih script invoking the
captured by Muhammad from an infidel in the
blessing of Allah as the creator of all things and
battle of Badr and passed on to Ali and to the
the opener of all gates, an allusion to the gates of
Abbasid caliphs. Originally a double-edged sword, Paradise. In the central oblong panel, a Kufic
its representation evolved into two blades as de-
inscription with praises of Allah encircled by
picted on this banner, where the blades have
arabesques on a ground of floral scrolls. All
Koranic inscriptions. Six large crescents in the
panels are framed by floral scrolls.
field. The four lower crescents, which have stars
in their centers, contain two Islamic professions

Ottoman, 16th c.
Walnut. H8234 in, W44% in; H 2.10 m, "\V 1.14 m
of faith: "There is no God but Allah and Muham-
mad is his prophet," once in normal script and Konya Museum, Konya. 331
once in mirror writing. The two crescents at the
top contain inscriptions around the name of 2^6. Koran chest of Sultan Bayazid II
Muhammad, one in normal script, the other in Hexagonal chest with a 12-sided, tent-shaped
mirror writing. Another inscription gives the ti- dome. The "Throne Verse" and verses from sura
tles and lineage of the Sultan.
9 are inscribed in rectangular panels on the
Ottoman, early 16th c. dome. Other panels contain the signature of the
Red silk with gold and green brocade. L 57I/8 craftsman Ahmed bin Hasan Kalibi fani, the
in; L 145 cm name of Sultan Bayazid (1484-1512), and the date
Topkapi Palace Museum, Istanbul. 1/824 1505 (911 A.H.). The chest was found in the tomb
115
of Bayazid's son and successor Sultan Selim I drawing of lotus flowers on underside; concen-
(1512-20). tric zones of decoration on inside reflect style of
Ottoman, 1505 (gii a.h.)

Islamic metalwork. On the central section, sym-
Walnut with H i8i/4 in, W ea. side of

ivory inlay.
metrical patterns of arabesques over floral scrolls
base 11 in; H 46 cm, \V ea. side of base 28 cm derived from lotus flowers. The intermediate
Museum of Turkish and Islamic Arts, Istanbul. 3

area imitates fluting on metalwork. The rim
decoration echoes that of the center. The dark-
Koran chest* ness of the blue color and three-dimensional ele-

257.
ments in motifs are marks of initial phases of
Walnut inlaid with ivory in geometric patterns.
the late 15th- and early 16th-century style.
The top is designed to serve as a Koran stand.
One large drawer at bottom, two small drawers Iznik. Ottoman, late 15th c.
at top. Found in the tomb of Ahmed I (1603-17). Pottery. D 17 in; D 43 cm

Ottoman, 16th c.
\Valnut with ivory inlay. H 1534 in, L 233/3 ^'^'
W 14 in; H 40 cm, L 59.5 cm, W 35.5 cm 260. Flat-rimmed faience dish *

Museum of Turkish and Islamic Arts, Istanbul. On the inside, central pattern of arabesques,
33 cloud bands, and peonies in reserve with blue

details on a blue background; rim pattern of
2^8. Chest * linked cloud bands and peonies in reserve on a
Wooden chest inlaid with mother-of-pearl and blue background. On the outside, peonies in re-
tortoiseshell. On the front, a sulus inscription serve on a blue background.

on ground framed by mother-of-
tortoiseshell Iznik. Ottoman, late 15th c.
pearl inlays embellished with coral; on the back, Pottery. D 173^ in; D 45 cm
a central tortoiseshell medallion on mother-of- Topkapi Palace Museum, Istanbul. 41/9
pearl. Tortoiseshell panels on the top with in-
scriptions in talik script that include the name 261. Blue and white faience mosque lamp
of the craftsman Hasan Bahri.
On the body, handles surrounded by blossoms
Ottoman, 17th c. and connected to scroll with floral motifs in blue
Wood with mother-of-pearl and tortoiseshell. H on a white gioimd. Faceted motif on the shoul-
15 in, L 26 in, W 141/8 in; H 38 cm, L 66 cm, der. Band of inscription in white Kufic script on
W 36 cm a blue ground around lower sections of neck and
Topkapi Palace Museum, Istanbul. 2/2821 base. On the upper area of the neck, alternating
blue and white interlocking palmettes. Four
2 59. Blue and white dish * bands, three guilloche and one braid, separate
Dish in early blue and white style. Influence the areas of decoration. Formerly in the Mau-
from Chinese porcelain in general shape and soleum of Sultan Bayazid II (d. 1512) in Istanbul.
116
Iznik. Ottoman, late 15th or early 16th c. and-rock pattern). In the center, slightly asym-
Potter). H Sy^ in, D 65/^ in; H 22 cm, W 17 cm metrical arrangement of red roses, deep blue hya-
Topkapi Palace Museum, Istanbul. 41/4 cinths, and green foliage.
Iznik. Ottoman, mid-i6th c.

262. Blue and white mosque lamp * Pottery. D 10% in; D cm
27.5
Globular body with three handles for chains. Topkapi Palace Museum, Istanbul. 41/581
Guilloche pattern at base of neck, medallions
for inscriptions on the base, and division of sur-
26^. Polychrome faience mosque lamp *
faceby lines reflect decoration of metalwork.
On the body, hemispherical projections with ara-
Round medallions at top inscribed "Ali"; lower
besques in intervals between three handles for
rectangular medallions inscribed "Allah, Muham-
chains. On the neck, a white sulus inscription
mad, and Ali" in reservê on a blue ground.
with the Islamic Profession of Faith: "There
Lighter blue used in decoration. The open qual-
is no God but Allah and Muhammad is his
ity of the arabesques, cloud bands, and lotus
prophet." Body decorated with floral and foliate
blossoms indicates a date early in the 16th cen-
forms in blue, black, turquoise, and red under-
tury.
glaze painting. Formerly in Sokollu Mehmet
Iznik. Ottoman, early 16th c. Pasha Mosque, Istanbul.
Pottery. H lo-yg in, D 71/^ in; H 27.5 cm, D 18.5
Iznik. Ottoman, mid-i6th c.
cm
Pottery. H 19 in, D 1 iS/g ^^'> ^ 4^ cm, D 29 cm
26^ . Flat-rimmed dish on a high foot

266. Polychrome faience fiat-rimmed dish *
On the inside, central pattern of lotus blossoms
linked to pomegranates, middle band of pome- The shape of the dish and the wave-and-rock
granates encircling lotus blossoms, rim of pom- pattern on the rim are based on Chinese exam-
egranates and lotus blossoms linked in a contin- ples, but the wavy rim of earlier pieces (cf no.
uous band. Serrated edge. Close to the style of 264) has been simplified to a circle. In the center,
Chinese blue and white porcelain of the Hsiian-te a peacock surrounded by blooming plants. Un-
period (cf. no. 282). derglaze painting in blue, black, green, and red.
Iznik. Ottoman, early 16th c.

Iznik. Ottoman, late 16th c.
Pottery. H 51/9 in, D 141/9 in; H 14 cm, D 37 cm Pottery. H 2 in, D 12% in; H 5 cm, D 32.5 cm
Topkapi Palace Museum, Istanbul. 331 Topkapi Palace Museum, Istanbul. 1427
2 64 . Polychrome fa ience fia t-rimmed dish 26y. Polychrome faience flat-rimmed dish
Chinese influence shown in the shape of the dish On rim, pattern of tight spirals separated by S-
and decoration of the rim (wavy edge with wave- shaped forms derived from Chinese ^^'ave-and-
117
rock motif. In the center, cartouche arabesque 2y(). Rug
leaves enclosing white-edged red scales and white Of the type known as the "large-patterned Hol-
featherlike forms with flowers on them. Back- bein carpet." In the blue field, a central red rec-
ground of white-edged scale patterns in green tangle with inscribed octagon; at each end, two
and blue. Underglaze painting in black, blue, octagons with braided borders. Braided stars
red, and green.
surround larger motifs. A wide border flanked
Iznik. Ottoman, late i6th c. by narrow ones.
Pottery. D 12 in; D 30.5 cm Bergama district. Ottoman, 16th c.
Topkapi Palace Museum, Istanbul. 1267 Wool. H 7754 in, W 59^8 in; H 2.10 m, \V^ 1.52 m
694
268. Rug fragment
Rows of highly stylized purple, dark blue, and
white birds on a red ground. Remnants of white 2yi. Rug
border with alternate blue and red motifs. A car- Of the type known as the "large-patterned Hol-
pet with very similar motifs appears in a painting bein carpet." The red field two squares
consists of
by Jaume Huguet (1455-56) now in the Museum surrounded and separated by a yellow border
of Catalonian Art, Barcelona. containing blue, purple, and red octagonal and
four-sectioned motifs. Within the squares, in-
Anatolia. Ottoman, 15th c.
scribed octagonal motifs with central stars and
Wood. H 84^ in, W42I/2 in; H 2.15 m, W 1.08 m surrounding motifs in yellow, blue, light violet,
and white. The octagons are framed by red stars
and light and dark blue hook designs. One nar-
Rug row and three wide borders, each containing
26 g.
designs in three colors. A similar rug appears in
Of the type known as the "large-patterned Hol-
a late 15th-century painting, but this example is
bein carpet." In the field, rectangles with inscribed
probably of the 17th century.
octagons, two small units alternating with one
large one. Each section is bordered by white Bergama region. Ottoman, 17th c.
bands containing octagonal and four-sectioned Wool. H 72 in, W 5814 in; H 1.83 m, W 1.48 m
motifs. Four borders, three narrow ones and a Museum of Turkish and Islamic Arts, Istanbid.
white one containing design derived from Kufic 704

script.
Bergama district. Ottoman, 16th c.

2'/2. Rug
Wool. H 1 15 in, W 67 in; H 2.92 m, W 1.70 m Of the type known as "Medallion Ushak." Red
Museum of Turkish and Islamic Arts, Istanbul. field with blue floral decoration containing an
468 elongated blue central medallion with sym-
118
metrically arranged arabesque leaves and floral Ushak region. Ottoman, late 17th c.
branches. Green medallions with seiTated outlines ^Vool. H 85I/2 in, W 633/8 in; H 2.17 m, W 1.61 m
and yellow and red arabesque decoration alternate Museum of Turkish and Islamic Arts, Istanbul.
with the outer contours of the central medallion. 712
These medallions are cut in half by the border of
the rug. Two narrow borders enclose a wide one 2yy. Rug
decorated with large blossoms. Red ground with a stylized white animal skin
Ushak region. Ottoman, ca. 1600 design with black spots, perhaps to suggest the
Wool. H 2617/3 in, W 1373/4 in; H 6.65 m, ^V 3.50 m skin of a leopard. At each end, three yellow and
blue two of the top ones enclosed in yel-
stars,
low octagons. Two narrow borders enclose a

67
wide yellow one containing linked pairs of red
and blue arabesque leaves.
2"] J. Prayer rug*
Anatolia. Ottoman, 18th c.
Prayer rug said to have belonged to Sultan Ah- ^Vool. H 743/ in, W ^^'' H 190 ni,
511/2 1.31 m W
med I (1603-17). Dark pistachio green ground Museum of Turkish and Islamic Arts, Istanbul.
with spandrels at the top to create niches dec-
324
orated with blue-green arabesques. A central
medallion with blue, yellow, creamy white, and 2^6. Cast bronze mirror
green flowers and lanceolate leaves on a red
Cast bronze mirror, light in color because of a
ground. Three narrow borders frame a wide
high percentage of tin. Central boss surrounded
border containing large blossoms and lanceolate
by two phoenixes and two lions with clouds of
leaves.
typical T'ang shape. A high ridge separates the
Cairo. Ottoman, early 17th c. center from a band with two phoenixes, two pea-
Wool. H 7454 in, W
55!/^ in; H 1.90 cm, \V 1.40 m cocks, a winged horse, a stag, and two lions sepa-
Topkapi Palace Museum, Istanbul. 2/6774 rated by plant motifs. On the outer band, flying
birds, clouds, and plants. This unusually large
mirror was found in Palestine and became known
274. Rug* as the "Shield of Hamzah," the uncle of Muham-
White field with octagonal medallions and 8- mad. A somewhat smaller mirror (47.2 cm. diame-
pointed medallions in staggered rows. The oc- ter) but with nearly the same design is in the
tagonal medallions have a brown ground with Shosoin Treasure House in Nara, Japan. Since
green arabesques; the 8-pointed ones are brick this mirror was in the Shosoin inventor)' list of 756,
red. Narrow and green borders frame
white, red, we can infer that it must have been fairly new
a wide border with brown ground containing when it entered the Emperor's Palace. By analogy
cloud bands, 8-pointed medallions, and floral this gives us the approximate date of the Istanbul
designs in red, white, and blue. mirror.
119
Chinese. T'ang dynasty, mid-8th century Porcelain. D 13% in; D 34 cm
Bronze. D 25 in; D 6314 cm Topkapi Palace Museum, Istanbul. 1379
280. Chinese blue and white porcelain vase
z']']. Chinese blue and white porcelain dish Octagonal vase of a double-gourd shape. Eight
panels on top section containing floral motifs;
Foliate rim with wave design along border. A
four medallions on bottom section containing
band of peonies, a row of lotus panels, wave
motifs, and a cloud-collar pattern with chrysan-
flowers and animals. Secondary panels at top,
themums encircle a central chrysanthemum blos-

center, and bottom with flames, flowers, and aus-
picious objects.
som.
Chinese. 14th c.
Chinese. 14th c.
Porcelain. D i8i/g in; D 46 cm Porcelain. H 235/g in; H 60 cm

281. Chinese blue and white porcelain vase *

2y8. Chinese blue and white porcelain bawl
Double-gourd shape with pattern of peony
Lotus blossom in center, surrounded by bands scrolls; 18th-century Turkish silver cover.
with wave and floral motifs. On the outside,
Chinese. 14th c.
bands of floral designs. Upright foliate rim.
Porcelain. H 28 in; H 71 cm
Chinese. 14th c.
Porcelain. D 15% in; D 40 cm
282. Chinese blue and white porcelain plate
On the inside center, two birds on a flowering
2yp. Chinese blue and white porcelain bowl branch, surrounded by branches with fruit and
Beveled rim. Inside, an aquatic garden with two flowers, including grapevine, roses, pomegranates,
ducks; a chrysanthemum scroll band below the litchi fruit, and lilies. Leaf scroll design on the
rim. Outside, a wide band with pine, prunus, rim. Serrated edge.
bamboo, and rocks above a scroll band and a
Chinese. Ming Dynasty. Hsiian-te reign (1426-35)
row of lotus panels. Porcelain. D 22 in; D cm
56
Chinese. 14th c. Topkapi Palace Museum, Istanbul. 1447
120
Illustrations
3- Painted wall relief. Neolithic, 6th mil. b.c.
4- Seated male figurine. Neolithic, 6th mil. b.c. Double figurine. Neolithic, 6th mil. b.c.
6. Clay figurine. Neolithic, 6th mil. b.c. Shown twice actual size.
10. Rectangular painted bowl. Chalcolithic, 5th mil. B.C.
ig. Marble idol. 3rd mil. B.C. Marble idols. Ca. 2400 b.c.
20. Gold pitcher. Ca. 2400-2300 B.C.
21. Gold goblet. Ca. 2400-2300 b.c. Slightly enlarged.
24- Gold necklace. Ca. 2.}0(>-23oo b.c. Slightly enlarged.
above 25. Gold brooch. Ca. 2400-2300 b.c. below 28. Gold twin idols. Ca. 2400-2300 b.c. Slightly enlarged.
30. Bull standard. Ca. 2400-2300 b.c.
31. Bronze standard. Ca. 2400-2300 B.C.
33. Bronze sistrum. Ca. 2400-2300 B.C.

34- Bracelet.
Gold jewelry, Ca. 2300 b.c. Slightly enlarged.
39. Earrings.
40. Two-handled goblet. Ca. 2300 b.c.
43- Cappadocian idol. End of 3rd mil. B.C.
44- Head of royal statue. Ca. 19th c. b.c.
47- Beaked storage pitcher. 20th-i9th c. b.c.
49- Lion rhyton. 20tli-i9t±i c. b.c.
55- Large pedestaled bowl. 20th-i9tli c. b.c.
2. Bull's head rhyton. 20th-i9th c. b.c.

I
58. Large four-handled jar. 19th c. b.c
Ram's head vase, igdi c. b.c

65. Jar with long spout, igtli c. b.c.
67. Model of decorated tower. 20th-
68. Beaked pitcher. 19th c. b.c.
I
ô. Pitc±ier with cuned beak spout. i6th c. B.C.
71. Head of a bull-shaped ritual vessel. 14th c. b.c.

72. Fragment of relief-decorated jar. i6th-i5Lh c. b.c.
above 73. Rock crystal statuette. i4th-i3th c. B.C. Slightly enlarged. below 74. Bronze statuette of a god. i6th-i4th c. b.c. Slightly enlarged.
75- Stele witli relief of god. iith-igth c. b.c.
8i. High relief. 8th c. b.c.
Large cauldron on ring stand. 8th c. b.c.
above 85. Ivory relief plaque. Late 8th c. b.c. below 88. Jar with painted relief decoration. 7th (?) c. b.c.
M
goa-b. Ivory furniture inlays. Late 8th c. b.c. 91. Bone trapping. 8th-7th c. b.c.
94. Omphalos bowl with relief. 8th c. b.c.

102. Bronze fibula. 8th c. b.c.
^^te
m^
99. Ram's head situla. 8th c. b.c.

105. Painted jug. Ca. 700 b.c.
io6. Goose-shaped vase. Ca. 700 b.c.
123- Carnelian cylinder seal with impression. 5th c. b.c. Slightly enlarged.
left above
109-110. Brooches. 7Lh c. b.c. Slightly enlarged.
left below
1 18. Gold plaques for applique. 6th b.c. Slightly enlarged.
124. Pair of earrings. Archaic, 6th-5th c. b.c. Slightly enlarged.

1 14- East Greek painted amphora. 6th c. b.c.
•^
125. Head ot an Ionian youth. Ca. 525 B.C.

126. Stele with reliefs on both sides. Late Sth-rith c. b.c.
128. Grave stele. Early 5th c. b.c.
130. Fragment of a bronze statue of Demeter. 4th c. B.C.
131. Portrait head of Alexander the Great. 3rd c. b.c.
132. Ephebe resting. 4th-ist c. b.c.
143- Painted amphora. Late 4th or 3rd c. b.c.
144- Satyr's head vase. Early Roman Empire, ist c.
145- Bronze statue of a Negro boy.
^'^^t
146. Wreathed portrait bust of the Emperor Trajan. Early 2nd c. B.C.
147- Portrait head oi a priest of Aphrodite. 69-96
149- Portrait head of a bearded man. Late 3rd c.
«
•ii f- 4 • • • - « • •
f !« I r i H i
'
"
!•;,
.'
•:.
'
X' \
V j ,| ^/ ^^
152. Lycian votive relief. 4th c.

153- Head of Arcadius. Ca. 395-400-
155- Silver dish. Byzantine, 6th c.
158. Capital witli the head of Oceanus. Byzantine, 6th c.
^^^«s?«^^-.^
<f
159. Gold goblet, gtli c.

i6o. Marble plaque with
incrustation, i ith c.
i63- Folding Koran stand. 1279
164. Lamp shade. Seljuk, 1280-1281
i68. Mirror. Seljuk, 13th c.
169. Lead eagle from a fountain. Seljuk, i3th-i4th c.
,».
\ <T '
rV\>^~.
*-t;.
,i2i»'u^j'
170. Carved wooden window shutters. Seljiik, i3th-i4th c.

172. Two leaves from the Fatih Album. Turkic, late 15th c.
175- Koran. Ottoman, 15th c.
176. Koran. Ottoman, 1484
177- Manuscript of anthology belonging to Mevlana Mosque, Konya. Ottoman, late 15th or early 16th c.
179- Manuscript of the 5th sura of the Koran. Ottoman, mid-i6th c.
i8i. Binding of manuscript of religious poetry. Ottoman, 1483
183. Binding of manuscript "Nusret-name." Ottoman, 1584
H
'-ii^XL-.a-^:
above 186. Ferman of Sultan Siileyman I (detail). Ottoman, 1556-1557 right 188. Portion of an illuminated map of Piri Re'is. 1513
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:->i^^>^^<îir>-
H^mnimi! jiwLiii'i ^.'^»,i
192. Portrait of Sultan Selim II. Ottoman, mid-i6th c.

194. From the manuscript "Zubdet et Tevarlh." Ottoman, 1583 Left: Lot fleeing Sodom and Gomorrah. Right: Abraham and Isaac.
left 193. Miniature from the manuscript "Huner-name." Ottoman, 1569-1578

197a- Portrait of Sultan Osman II. Ottoman, mid- 17th c.
igS. Portrait of Sultan Mustafa II. Ottoman, ca. 1700 201a. Portrait of Sultan Mahmud I. Ottoman, 18th c.
202. Kaftan of Sultan Mehmet II. Ottoman, 15th c. 205. Kaftan. Ottoman, 16th c.
203. Childhood kaftan of Sultan Selim I. Ottoman, 16th c.
2o6. Short kaftan. Ottoman, 17th c.
/f/f 216. Mirror of Sultan Suleyman I. Ottoman, 1543-1544
right 21"/. Mirror. Ottoman, iSth-iythc.

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219. Jug. Ottoman, 16th c.

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^q»q»<^jg»^<»<3» O(i^0'^<» ^<»-c:Ô<j^^ #^^'SX<S>
222. Pen box. Ottoman, iSth-iyth c.
223-224. Spoons. Ottoman, 17th c.

232-233- Helmets. Ottoman, 16th c
m^'
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239. Dagger. Ottoman, 17th c. 240. Axe. Ottoman, 16th c.

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243-244. Quivers. Ottoman, i6th-i7Lhc. 248. Mace. Ottoman, 16th c.

252. Horse head frontal. Ottoman, 16th c.
253- Banner. Ottoman, early i6th c.
255- Doors from a chamber of ritual dances. Ottoman, i6th c.
below 257. Koran chest. Ottoman, 16th c. above 258. Chest. Ottoman, 17th c.
259- Blue and white dish. Ottoman, late 15th c.
26o. Flat-rimmed faience dish. Ottoman, late 15th c.
early i6th
Blue and white mosque lamp. Ottoman,
c.
>62.
265. Polychrome faience mosque lamp. Ottoman, mid-i6th c.
266. Polychrome faience flat-rimmed dish. Ottoman, late i6th c.
273- Prayer rug. Ottoman, early i7Lh c.
274. Rug. Ottoman, late 17th c.
28i. Chinese blue and white porcelain vase. 14th c.
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mwm A

masya Horaznfie Trivan

LOS ANGELES COUNTY MUSEUM OF ART

Circulated by the THE MUSEUM OF FINE ARTS

M. H. DE YOUNG MEMORIAL MUSEUM

MILWAUKEE ART CENTER

THE METROPOLITAN MUSEUM OF ART

give birth to a unique succession of civilizations of worldwide significance. Many

Lyndon Baines Johnson

HIS EXCELLENCY CENDET SLNAv President of the Republic of Turkey

THE HONORABLE GEORGE W. BALL HIS EXCELLENCY IHSAN SABRI 9AGLAYANGIL

THE HONORABLE PARKER T. HART MR. HAMIT B.\TU

MR. PAUL H. OEHSER MR. RACI TEMIZER

ing plans with the Smithsonian.

The prehistory and archaeology of ancient Turkey (Anatolia in archaeological usage,

The selection of objects on display, it is hoped, is representative enough to allow him

more consistently loyal to its o^vn heritage.

which seems probable, or as deities.

ficial rises in the landscape.

Aegean area at this period.

still nickname the shape in deference to Schliemann's misnomer, is a goblet which

on the nearby island of Lemnos, but not from central Anatolia.

discovered by Turkish archaeologists in 1935 and excavated to the permanent glorifi-

devices on the frames could be part of such astral symbolism.

instead of in abbreviated idol form. The effect is clumsy, as it is in bronze figurines of

of Anatolia's Early Bronze Age belongs to prehistory.

and the painted antelope (no. 50) is strictly Anatolian, related to

The zoomorphic vases probably are ritual or conventionalized ritual implements.

tural development of Bogazkoy isbecoming known, however, and a chronology for

excavation campaigns. The monuments will have to be appreciated in situ, in con-

Baals from Syria.

a feebler continuation of Bronze Age Hittite art. Hittite hieroglyphs, so profusely

Finally,number 82 is a typical representative of the syncretism of the neo-Hittite

Neolithic and Chalcolithic Sites

French, D. H. "Excavations at Can Hasan," Anatolian Studies, vol. 12 (1962), pp.

Early B ron ze A ge Sites

Middle and Late Bronze Age Sites, Hittite Studies

During periods of Assyrian weakness Urartian influence expanded, reaching North

Here named alternately Gordios and Midas had their palace in a

and here was a cemetery of royal tombs covered by huge earth

Assyria instigated by King Midas, especially at Carchemish, and of clashes between

vessel itself may well be a local production or an importation of non-Assyrian origin.

The Khorsabad reliefs show the pillaging of Musasir, a dependency of Urartu, by

The practice of ornamenting architecture with plaques of molded and gaily

the skill of the Lydian jewelers.

probably had to be present in person at Halicarnassos to work on the architectural

cro^vn he wears. The

Akurgal, E. "Urartaische Kunst," in Anatolia, vol. 4 (1959), pp. 77-1 14.

Young, R. S. Gordion progress reports in American Journal of Archaeology, vol. 59

C, et al. Sardis I, II, V, VII, XIII, 1922-26.

Bayrakli (Old Smyrna)

Greek Sculptures in Istanbul

Mendel, G. Catalogue des sculptures: grecques, romaines, et hyzantines, aux Musees

Firatli,N. "Two Galatian Tumuli in the \'^icinity of Bolu," in American Journal of

Empire could remain under Roman rule and the menace

ence in the development of its art.

a greater scarcity of monuments of this period owing to destructions by the Icono-

ures are placed in front of equally conceptual renditions of architectural settings.

either in earlier or contemporary Persian or Mughal-Indian paintings of the heads