Elements in the History of Constantinople – Serie

The Church of St. Polyeuktos is one of the most magnificent, but also most peculiar architectural achievements in Byzantine Constantinople. The accidental rediscovery of the building during construction work in Istanbul in the 1960s is legendary and considered one of the most sensational finds in Byzantine archaeology. Built by the aristocrat Lady Anicia Juliana, the reconstruction of the structure and the interpretation of its strange forms continue to challenge scholars today. The building gave rise to a whole series of archaeo-historical narratives, in which the City's byzantine protagonists and major monuments were woven into a coherent plot. This Element on the archaeology of St. Polyeuktos takes a closer look at these narratives and subject them to critical examination. In the end, the study of St. Polyeuktos will tell us as much about Byzantine architectural history in the second half of the twentieth century as about early Byzantine architecture itself.

The Chora is one of the most celebrated churches built in Constantinople during the Byzantine era (330–1453). It is particularly famous for its glorious mosaics and frescoes, mostly dating to the fourteenth century, which are a particularly fine example of Late Byzantine art. After the Ottoman conquest of Constantinople in 1453 the church was repurposed as a mosque, known as the Kariye Camii. Between 1945 and 2020 it had another incarnation, as the Kariye Museum, but then in 2020, in line with changing Turkish governmental policies, it again became a mosque. This Element sets out the history of the building, presents its artwork, and considers how best to interpret its construction, significance, and meaning. Above all, it offers an insight into images and words that are currently inaccessible to the general public.

The Church of St. Polyeuktos is one of the most magnificent, but also most peculiar architectural achievements in Byzantine Constantinople. The accidental rediscovery of the building during construction work in Istanbul in the 1960s is legendary and considered one of the most sensational finds in Byzantine archaeology. Built by the aristocrat Lady Anicia Juliana, the reconstruction of the structure and the interpretation of its strange forms continue to challenge scholars today. The building gave rise to a whole series of archaeo-historical narratives, in which the City's byzantine protagonists and major monuments were woven into a coherent plot. This Element on the archaeology of St. Polyeuktos takes a closer look at these narratives and subject them to critical examination. In the end, the study of St. Polyeuktos will tell us as much about Byzantine architectural history in the second half of the twentieth century as about early Byzantine architecture itself.

The Great Palace of Constantinople was the heart of Byzantium for almost a thousand years, serving as both a political and architectural model for Christendom and the Islamic world. Despite its historical significance, reconstructing its layout remains challenging due to the scarce amount of archaeological evidence. This Element synthesises the historical and topographical evolution of the palace, examining its architectural typologies and the role of ritual and artistic objects in representing imperial power. It also addresses key historiographical issues, such as the identification and dating of the Peristyle of the Mosaics, as well as its role in imperial ceremonies. The research is based on textual sources, archaeology, and graphic documentation, culminating in a virtual reconstruction through 3D imaging. By integrating these methodologies, this Element aims to offer a comprehensive understanding of the Great Palace, its influence, and its role as a central stage for Byzantine ceremonial and ideological expression.

The Great Palace of Constantinople was the heart of Byzantium for almost a thousand years, serving as both a political and architectural model for Christendom and the Islamic world. Despite its historical significance, reconstructing its layout remains challenging due to the scarce amount of archaeological evidence. This Element synthesises the historical and topographical evolution of the palace, examining its architectural typologies and the role of ritual and artistic objects in representing imperial power. It also addresses key historiographical issues, such as the identification and dating of the Peristyle of the Mosaics, as well as its role in imperial ceremonies. The research is based on textual sources, archaeology, and graphic documentation, culminating in a virtual reconstruction through 3D imaging. By integrating these methodologies, this Element aims to offer a comprehensive understanding of the Great Palace, its influence, and its role as a central stage for Byzantine ceremonial and ideological expression.

This Element examines the political, architectural, and social transformations of the Ottoman Empire during the reign of Selim III (1789-1807), foregrounding the central role of imperial women in shaping reform. While Selim's military and administrative initiatives reconfigured Istanbul's urban fabric, his mother, sisters, and female relatives actively advanced these efforts through architectural patronage, diplomacy, and gift exchange. Drawing on archival sources, visual materials, and microhistorical analysis, the Element reconstructs the dynamic networks sustained by these women and their stewards. It challenges assumptions of female invisibility, demonstrating instead their strategic visibility, economic agency, and integral participation in imperial governance and cross-cultural exchange.

This Element examines the political, architectural, and social transformations of the Ottoman Empire during the reign of Selim III (1789-1807), foregrounding the central role of imperial women in shaping reform. While Selim's military and administrative initiatives reconfigured Istanbul's urban fabric, his mother, sisters, and female relatives actively advanced these efforts through architectural patronage, diplomacy, and gift exchange. Drawing on archival sources, visual materials, and microhistorical analysis, the Element reconstructs the dynamic networks sustained by these women and their stewards. It challenges assumptions of female invisibility, demonstrating instead their strategic visibility, economic agency, and integral participation in imperial governance and cross-cultural exchange.

This Element centers the architectural and material worlds created by Ottoman imperial women, foregrounding their decisive role in shaping Istanbul at the end of the eighteenth century. Focusing on Mihrişah Valide Sultan and the sultan's sisters and female relatives, it examines how their patronage transformed the imperial harem at Topkapı Palace and extended into a network of waterfront mansions, charitable complexes, and suburban estates. Drawing on poetic inscriptions, archival correspondence, and visual sources, the study reconstructs the collaborative processes linking these women to stewards, builders, and artisans. It argues that their domestic and architectural interventions constituted powerful expressions of authority, visibility, and political agency within the empire.

This Element centers the architectural and material worlds created by Ottoman imperial women, foregrounding their decisive role in shaping Istanbul at the end of the eighteenth century. Focusing on Mihrişah Valide Sultan and the sultan's sisters and female relatives, it examines how their patronage transformed the imperial harem at Topkapı Palace and extended into a network of waterfront mansions, charitable complexes, and suburban estates. Drawing on poetic inscriptions, archival correspondence, and visual sources, the study reconstructs the collaborative processes linking these women to stewards, builders, and artisans. It argues that their domestic and architectural interventions constituted powerful expressions of authority, visibility, and political agency within the empire.

The Chora is one of the most celebrated churches built in Constantinople during the Byzantine era (330–1453). It is particularly famous for its glorious mosaics and frescoes, mostly dating to the fourteenth century, which are a particularly fine example of Late Byzantine art. After the Ottoman conquest of Constantinople in 1453 the church was repurposed as a mosque, known as the Kariye Camii. Between 1945 and 2020 it had another incarnation, as the Kariye Museum, but then in 2020, in line with changing Turkish governmental policies, it again became a mosque. This Element sets out the history of the building, presents its artwork, and considers how best to interpret its construction, significance, and meaning. Above all, it offers an insight into images and words that are currently inaccessible to the general public.

The Hippodrome of Constantinople was constructed in the fourth century AD, by the Roman Emperor Constantine I, in his new capital. Throughout Byzantine history the Hippodrome served as a ceremonial, sportive and recreational center of the city; in the early period, it was used mainly as an arena for very popular, competitive, and occasionally violent chariot races, while the Middle Ages witnessed the imperial ceremonies coming to the fore gradually, although the races continued. The ceremonial and recreational role of the Hippodrome somehow continued during the Ottoman period. Being the oldest structure in the city, the Hippodrome has witnessed exciting chariot races, ceremonies glorifying victorious emperors as well as the charioteers, and the riots that shook the imperial authority. Today, looking to the remnants of the Hippodrome, one can imagine the glorious past of the site.