THE OF IN THE 18th CENTURY AND THE SHADIRVAN OF SAINT SOPHIA

SEZER TANSUĞ Assistant of the Museum of St. Sophia

Various studies have been made until tecture, and especially of the style of de­ now about the fountains (çcime, iodtr- coration. van, and scbil) vi'hich occupy a special The architecture of fountains and se­ place in the history of the architecture bils, from the 18th century onwards, tends of Istanbul. But as a general rule those to assume the quality of monuments. studies do not present a critical survey of They arc no longer architectural acces­ the plastic and decorative style. The aim sories. It may be said that the water supp­ in classifying the structure of the foun­ ly becomes of secondary importance. They tains and sebils in a group consists in begin to perform the part of a plastic syn­ compiling a work which may serve as a thesis of surface and volume, adorning source of documents and material. It is an area, a corner, or the surface of a wall. true that, especially in the restoration of It is to be rejoiced that to-day those mo­ those buildings, studies have been made numents are being restored and brought on a wider scope, but those studies are to life and light. more remarkable for the plans, and sec­ It is evident that the production of tional and frontal elevations which they those monuments in the I8th century is contain than for a strict interpretation related to a trend towards European in­ and explanation from the point of view fluence. We may connect this new trend of the history of art It is possible to con­ with the dawn of a naturalistic interest sider those studies as a presentation rather in art and thought, of a feeling for na­ than as an exhaustive examination. How­ ture. It may also be cxpresed as the ever articles and notes published in ma­ awakening of a new taste for volume in gazines and books relative to Turkish art the feeling for plastic, without losing can by no means be deemed unimportant. much of its character in regard to sur­ It is to be hoped that in the future will, face. be developed new and valuable studies Before expressing our thoughts on bringing forth light on those buildings. the Shadirvan of Saint Sophia I think it would be useful to attempt a general sur­ • vey of the characteristics of the important Some of the fountains built in Istan­ fountains built in Istanbul in the first half bul in the 18th century possess an inde­ of the I8th century, and to research their pendent architectural character which common particularities in style. makes them worthy to be treated sepa­ rately. They may be considered of first One of the most important of those value to follow the development of archi­ buildings is the of Tophane, in THE rOUNTyMNS OF İSTANBUL AND THE SHADIRVAN OF SAINT SOPHIA 103 the square adjoining the of Kıhç The decorations designed in a geo­ Ali Paşa, the last work of the architect metrical frame reveal the soul of the Sinan. Among the independent fountains Turkish art of surface. No plain surface this is a masterpiece of the massive cubic is left in the arrangement of the surface, model. With the order of the geometrical but it is interesting to note that the ar­ and floral decorations repeated on its four rangement gives an impression of repose. façadcs, it is a perfect expression of a The arrangement of the ornamentation striking surface plastic. The decorative is saved from schaos solely by a definite arrangement on the façades is balanced in aim at geometry. That aim has been at­ a geometrical frame. Its strongest plastic tained by adding strict logic to sensibility feature are the projecting stalactites re­ in the arrangement of the various conven­ peated in the four corners, completing the tional motives. The co-ordination of the shell-work decorations there. The narrow features of the surface plays a distinct part corner faces between the large façades in the realisation of this taste in ornamen­ reach as far as the stalactites, which ate- tation. The distinct adjustment in the ba­ nuates the rigid geometrical massivencss lance of the horizontal and vertical of that cubic structure. frames is stressed by the symmetry bet­ In the Fountain of Tophane the cor­ ween the projecting stalactites in the cor­ ners and he stalactites in the recesses of ner stalactites are bound togedier by a the niches. broad band with ornaments in bas reUef. Beneath that band a projecting molding The real meaning of the geometrical seems to separate two stories,. between union of surface and volume, which we which the corner stalactites become a observe in the Fountain of Tophane, may symbolic supporting union. Our purpose be described shortly as aiming to soften in explaining this two stories system is and enliven a gross mass and produce to observe that the surface arrangement of hence a true plastic masterwork. The ar­ the Fountain of Tophane, essentially a tistic discernment shown in the decora­ heavy, massive building, gives it a light tion of a mass is manifested by sculptur­ and elegant aspect. The Fountain of Top­ ing the mass and enriching it with depth hane is essentially a heavy geometrical and form. It also indicates the contem­ form on a large scale, a massive cube poraneous need and taste trending to es­ crowned with a wide-caved roof and a sential geometrical elements in plastic. . If we study this adjustment of sur­ The geometrical frame arrangement face and mass it will reveal the essential in the Fountain of Topkapi is a perfect characteristics of the monumental foun­ adjustment of weight and support bet­ tains of Sultan Ahmed and Azabkapu at ween two stories. The vertical frames be­ Istanbul, and of the fountains of Üskü­ low are the support elements of the de­ dar. In monuments such as the Fountains corative surface, the horizontal bands of Sultan Ahmed and Azabkapu the pre­ above are the elements of weight. There sence of sebils with gratings seems to al­ is no doubt that the strongest element of leviate them by their voids, but it is evi­ support appears in the small, vertical dent that they represent a plastic surface corner faces reaching up to the stalactites. alleviated and developed by the arrange­ It should be noticed that the impres­ ment of the ornamentation. In the cubic sion of depth in the façadc is more ap­ fountain of Sultan Ahmed, with four fa­ parent, and quite transparent, in the low­ çades, the sebils projecting from the four corners reflect not so much the architec­ er panels arranged vertically. There, the tural characteristic of space buildings as a central niche surmounted by a pointed trend towards corner features alleviating arch, and the lateral niches adorned with a heavy mass. Here that feature is not a symmetrical stalactites, with their deep symbol of support, it is a rythmic union recess, give a distinct effect of chiaroscuro. 104 SEZER TANSUÛ

between rounded surfaces and flat do not perform the function of covering façadc surfaces. Those mutual adjustments a house. This characteristic may be des• give the building an aspect of a heavy cribed as a sense of decoration aiming at mass together with lightness and fragiU- architecture. As a general rule all those forms of This means that in those buildings fountains, including ornaments placed at we see a characteristic tension, a stress random on the surface of walls, and those and strain resulting from the adjustment which fill voids in corners and spaces, is of mass and surface. It is perhaps this often treated in the form of a vault struc- tension which raises a dynamic feeling in ture,which is a perfect architectural ele• the contemplation of the static arrange• ment, or in the fashion in which that ele• ment of repeated ornamental frame sur• ment is used. This distinct connection faces. with real functional architecture emphasi• In the fountain in the square of zes the trend to imitation. Azabkapu we may see a similar adjust• When it is necessary to treat foun• ment between the sebil projecting in the tain architecture as a distinct group it middle and the ornamental lateral faces. might not be wrong to suggest that this This symmetrical arrangement does not grouping forms a pseudo-architecture con• differ greatly from a building with four nected with many ornamental surface va• façadcs. It even attains the impression lues, and symbolic architectural elements produced by such a building. This arran• and characteristics, or a sort of ornamental gement is completed by the massive re• architecture. servoir behind, which appears as the con• tinuation of the ornamental façade. When In studying the connection of surface the Fountain of Azabkapu was erected it and volume with a feeling for architec• had to be adjusted to the shape of the ture it is possible to remember other ele• square at that time. But it was skilfully ments and patterns. The pseudo-arch and arranged so as to retain the aspect of â the pseudo-column become essential plas• monument. tic elements. Some fountains are in the form of a column. We may believe that We can also sec the adjustment of even the marble ornaments designed for volume and surface in the Fountain of jet fountains or for a similar purpose re• Üsküdar. We get the same impression sult from the connection between plastic from the projecting console ornamenta• volume forms and a sense of architecture. tions surmounting the corners of the I am convinced that this problem which heavy cubic structure. In the small faces arises from a survey of the structure of in the corners high faucets with small fountains may be chosen as a starting basins give a special value of surface to point for a general study of surface plastic this system of breaking the mass, while in Turkish art. the symmetrical niches repeated in two opposite façades, with their corner con• Another reason for this brief expla• soles, are reminiscent of the Fountain of nation will appear below in the study of Topkapu. the Shadirvan of St. Sophia, in which we shall reach conclusions related to the con• In this brief explanation we face the clusions we arrived at here. In the Sha• problem of difference and connection bet• dirvan of St. Sophia we shall no longer ween the form of a cubic fountain and see cubic plastic imitating architecture, real architecture. It should be noticed that nor shall we see a functional architectu• it reveals a surprising influence of the ral adjustment, i.e. an adjustment of sense of architecture. The sense of archi• weight and support, but quite the contra• tecture appears again in the height added ry, we shall see cubic plastic subordinated to those cubic buildings by cupolas which to a sense of ornamentation adapted to THE FOUNTAINS OF İSTANBUL AND THE SHADIRVAN OF SAINT SOPHIA 105 the interior and exterior characteristics of a determined period in history their va­ architecture, and trending to an organic rious styles enriched the original group union. with a free and picturesque aspect. The It is remarkable that not only in the characteristics of the buildings which form Shadirvan of St. Sophia, but as a ge­ the architectural group of St. Sophia reve­ neral rule in of the al an artistic tolerance which liberates the late period, functional elements trend to group from a stereotyped aspect. It may ornamental elegance. When considering be compared to the great tolerance which the chief trends ot that period it is im­ adapted the Turkish spirit to a Byzantine possible to refrain from proposing that in church by appropriating it with the ad­ a serious study of that period in archi­ dition of minoi elements. tecture this problem should be chosen as This explanation proves that the in­ a starting point. dependent character of the monumental shadirvan in the courtyard of St. Sophia • is limited. The shadirvan as a perfectly in­ The shadirvan in the court of St. So­ dependent monument could not very well phia is remarkable for having a more or have been erected in another place in less independent character, like the foun­ the city. It could not be. unrelated to a tains we mentioned above. In applying mosque but, because of the independence the model of the monumental fountains in style, its presence in the courtyard of of Tophane, Sultan Ahmed, Azabkapu, St. Sophia gives it the character of an and Üsküdar to a monumental shadirvan independent monument. no place could be more suitable than the When we explained that the shadir­ courtyard of St. Sophia. At a time when van was related to the architectural back­ fragments from the Atrium of St. Sophia ground of a colonnade, and that its re­ still existed the slender colonnade fra­ lation to the columns supporting the roof ming the basin of the shadirvan in the vi­ above the sebil and faucets was not by cinity of -the Byzantine colonnade gave chance, we gave a proof of the limitations the courtyard a varied yet harmoniouns of its architectural independence. The dif­ aspect. No remnants from the Atrium are ference in style of the primary school si­ to be seen to-day. But the wooden colon­ tuated immediately west of the shadirvan nade in front of the sebil and ablution forms a background which stresses the in­ faucets, made at the same time as the sha­ dependence. A two-storied building of dirvan, form a harmonious background. massive aspect built in the technique of The ancient background had been repla­ an early period, with alternate courses of ced beforehand. bricks and stones, and with a single dome, The shadirvan with colonnade in a forms a background which emphasizes courtyard with colonnade was an element the independent aspect of the shadirvan appreciated of old by Turkish architects, with its wide arches and slender columns. and many examples are seen in mosque In the south, the dock-room, the Direc­ yards. In the colonnade in the courtyard tor's Office, and other buildings, are also of St. Sophia the stereotyped arrange­ remarkable for the varied style in sur­ ment has been modified. The architec­ face and mass, and help to emphasize the tural group which imposed a strict uni­ original character of the shadirvan. formity in style, material, and technique, and even in color, could not be found in We have thus attempted to explain the various buildings and elements in the the relation of the shadirvan of St. So­ interior and surroundings of St. Sophia. phia to the surrounding buildings. Here we are not in presence of an archi­ The architectural and ornamental tectural group build and achieved in one character of the shadirvan of St. Sophia time. In the annexes built at intervals in is an extremely typical example of the 106 SEZER TANSUĞ change in style. We can say that it gives nan, in the courtyard of the Selimiye Mos­ on a more advanced scale than some im­ que at Edirne, built a simple shadirvan portant architectural monuments a per­ with an uncovered basin, of polygonal fect idea of the change from the classic form, nearly circular, and a jet in the style to the ror/>co style. For example the middle. Shadirvans with a colonnade sup­ mosque of Nuri Osmaniye, which was porting a circular or polygonal roof, when built at about the same time as the sha- placed in the middle of a courtyard, as­ dirvan, is from one point of view a pre­ sure an easy rythmic relation to the order tentious monument which gives an exag­ of and colonnades in the courtyard. gerated idea of the rococo style, whereas Among various types of shadirvans in the in the shadirvan we can see a moderate courtyards of some have dimen - surface example of the rococo style, ap­ sions out of proportion with those of the proaching nearly the classic sityle. In the mosque, some are of so large dimensions Nuri Osmaniye the rococo style might be that they narrow the courtyard, and some formally interpreted as an attempt to en­ appear too small in a large courtyard. liven and alleviate the massy by exagge­ ratedly rounded surfaces and, in various To what architectural origin can be places, by protuberances and deep reces­ traced the shadirvans of various types ses. The mass has been ornamented in an which we see in the courtyards? There attempt to produce an effect of chiaros­ in no doubt that they are primarily rela­ curo. Still we cannot affirm that the buil­ ted to the principle of filling a void. Need ding does not give a perfect impression of and function are inseparable from that rococo. principle. In some large Seljuk bans the mesjid in the courtyard was used to enrich In the shadirvan the rococo effect has an empty space. An empty and uncove­ been attained by the balance of the wide red area with definite boundaries is enri­ interspaces of the pointed arches with the ched by varied elements such as monu­ flat surfaces surmounting them. The deep- ments and basins. eaved roof resting upon slender columns seems to float in space without a support. In the shadirvans with a colonnade supporting a dome we can see an open In principle â shadirvan cinsists in a building connected with ancient religious basin surrounded by faucets, and gene­ architectural forms. This is an indirect rally surmounted by gratings and a colon­ adjustment. It may suffice to remark that nade supporting a dome. In some sha- in reality the model of shadirvan with dirvans. those two fundamental elements deep-eaved roof and a dome is the result are united, the columns spring from the of conditions imposed by need and adap­ border of the basin which they encircle, ted to the principal trends in architecture. and they are surmounted by a dome. The Shadirvans serve to perform ablutions im­ whole aspect is reminiscent of a mauso­ posed by an important religious rule. They leum. The interspaces of the columns are assume the character of a monument erec­ closed by metal gratings. The shadirvans ted in honor of the sanctity of water. in the courtyard of the Mosques of Sul­ Consicering that the Shadirvan of St. tan Ahmed and Yeni Cami are in this Sophia differs from early models we have form. There exist various types of shadir­ made it plain that it is remarkable as re­ vans. The shadirvan in the courtyard of presenting a new period in style. It is a the Siileymaniye Mosque is a four-corner­ product of the spontaneuos and natural ed cubic marble building. Although it is development of Turkish style in Istanbul. covered by a flat roof it retains the cha­ When compared with earlier models the racter of a covered basin, but it is not re­ characteristics of the development appear lated to the classic order of the colonnade clearly in the Shadirvan of St. Sophia. in the courtyard. It is remarkable that Si- The aspect of a mass resting heavily on THE FOUNTAINS OF İSTANBUL AND THE SHADIRVAN OF SAINT SOPHIA 107 the ground is superseded by the evident band of the gratings is formed by the gilt elegance, elasticity, and tension of an or­ frames of the inscriptions surmounted by ganism which seems to spring on high. pediments with crescents. Similar cres­ cents are seen above the pseudo-columns The deep-eavcd roof surmounted by at the junctions of the panels of the gra­ a dome, and supported by columns with ting. A metad drum forms an interior stalactite capitals retains the weight of a dome above the basin. The drum is cove­ mass even when spread out in a flat sur­ red with a network of wire which helps to face. That the weight is divided according keep the water in the basin pure. to a well-known principle, and easily sup­ ported by very slender columns reveals a The dome covering of the shadirvan matchless skill in balance. The columns has interiorly the same dimensions as the supporting the roof arc perfectly vertical basin. The dome rests upon a Wooden while the arched marule structure above drum, and is covered with timbers. The the sapitals rises with a slight inclination, decp-eaved wooden roof rests upon the which makes us think that this building columns supporting tRe octagonal marble presents a new solution to the problem of building. The interior of the dome is pa­ static. We may suggest that in order to inted light blue, and the central medallion understand this solution a stricdy techni­ with gilt star motives is brightened by the cal study is necessary. Turkish architects gilt grooves between the timbers of the have always known how to assure the dome. The whole surface of the roof of most perfect relations beween the upper the shadirvan is decorated and colored parts of a building and systems of support. with ornamental friezes according to a de­ The earliest architectural models with do­ finite principle. The upper part of the oc­ mes have been developed with the greatest tagonal marble structure is decorated in­ safety and stability in technique. We may side and outside with various inscribed be sure that from the point of view of the friezes. system of constructive support the Shadir­ An attractive feature in the ornamen­ van of St. Sophia, which at first sight tation of the shadirvan is the variety of seems simply to support a wooden roof, the similar motives and ornaments in the presents no important difference in prin­ interior and exterior of the building. A ciple with the most complicated systems variety in similar ornamentation cannot of support and balance in large domed be accidental. From the point of view buildings. In the solution of this construc­ of the architectural aspect and concep­ tive problem a technical concern and an tion it is conform to the relation bet­ advanced and developed esthetic concern ween the interior and the exterior. play an equal part. When considering the We must stress that this relation differs problem from this angle we realize that from a sense of a closed house, and that a the matchless elegance of the Shadirvaa closed house cannot be mentioned when of St. Sophia has the same meaning as speaking of a shadirvan. But this particu­ the technical balance between the deep- larity docs not imply departing from an eavcd and domed roof and the slender sup­ architectural character. It is evident that ports. Technical studies will reveal that in the shadirvan the structure of roof and esthetic elegance is reflected in this buil­ colonnade is a system of support and ba­ ding in which the sense of ornamentation lance. Still this system on the whole has has been developed and refined unlimi- not lost the character of an ornamental tcdly. plastic system. In this particular form the relation between the interior and exterior There is a definite void between the may be liken ed to the natural relation in colonnade and the basin of the shadirvan. an organism, such as the back and the The polygonal form of the basin is repea­ palm of a hand, the face and the back of ted in the metal gratings above. The upper a leaf. 108 SEZER TANSUG

A leaden tracery frieze encircles the ment of scrolls united with nodules, al• base of the dome rising above the drum, though they cannot be broken off the and it is repeated around the edge of the mass, do not appear as an element which octagonal roof. The surface of the roof is created the surface. We may say that in encircled outside with three bands of a that period the ornamentation accepted decorative frieze, continued inside by large the surface merely as a background, thus blue spaces divided into square coffers, tending to deny it. In the late ornamenta• and separated at the corners, so as to from tions the adventure of agitadcd ornamen• so many rectangles, by triangular surfaces tal motives and orders tending to break decorated in gilt bas relief. The triangles off from the surface expresses in short an are broken at the base in a form reminis• aim at the impossible, an inclination to cent of a lozenge motif. Those large sur• deny the surface. faces, with square coffers and corner tri• In the ornamentation of the Shadir- angles, are foUöwed by a triple decorative van of St. Sophia the surface has not yet frieze running round the interior of the witnessed that agitation. Here perhaps the eaves. Those two groups of triple friezes ornamentation does not belong to the sur• are symmetrically arranged in relation to face, but although it is a naturalistic pat• the central frieze in each group and to the tern obliged to be applied on if, it is in a large blue space between the groups. The balanced agreement with it, When asked material used in the decoration of the frie• according to what principle the decorative zes is a plaster mixture applied on wood pattern has been convertionalized it might and ornamented with conventional scrolls even be possible to answer that it is a in bas relief. That relief accentuated with concession to the essential character of the gold gilding has been given the character surface, and to its retaining and vivifying of a geometrical frieze, but has a clear na• quality. turalistic effect imitating the rococo style. The background of the relief friezes Especially in the middle friezes the scrolls mentioned above is decorated with per• develop and interlace, alternately narro• fectly natural flowers and leaves finely wing and extending. The presence of no• painted in their original colors. The na• dules at the point of junction of the scrolls turalistic impression given by the surface gives a peculiar aspect to that style of de• of the roof of the shadirvan is entirely due coration. The symmetrical border friezes to that painted decoration. The entabla• consist in a single row of scrolls curving ture uniting the roof to the marble struc• inwards and outwords. In this ornamenta• ture is ornamented with bunches of flo• tion conventional floral motives joined to• wers and leaves on a pink background. gether reveal a sense of unity. Although In the entablature, wich forms a wide frie• this is a static decoration it gives an im• ze, gilt scrolls play a minor part because pression of movement. Resilient branches, they are not vividly brilliant. In the nar• stretching and developing into scrolls and row friezes the gilt reliefs form the main coils close together, produce a sprightly decoration, while the painted flowers give rhythm of narrowing and widening. the minor impression. It is seen that here Here arises a new problem from the are two degrees of ornamentation order. point of view of the development of or• Immediately below the painted frieze namental surface plastic. This problem ap• formed by the entablature begins the sur• pears in the evident conflict of the orna• face of the arched marble structure. At mentation of the rococo period with sur• the top is a narrow relief band, followed face. In the classic period the ornaments by an inscribed frieze in several frames. placed on the surface belonged to the sur• Among the most remarkable elements in face proper, and could be described as an the marble surface are the projecting ro• clement of the order which created the settes decorating the keystones of the surface. In the rococo period the develop• large pointed arches. THE FOUNTAINS OF ISTANBUL AND THE SHADIRVAN OF SAINT SOPHIA 109

The principle of variation in similar its connection with the order in the en• decorative forms in the interior and exte• tablature. In the surface of the roof com• rior of the structure, as described above, prized between the upper interior border has a definite signification which appears of the marble structure and the lower even in the rosettes in the interior surface circle of the dome are symmetrical friezes of the keystones. Outside is a motive re• and frames exactly as in the entablature. sembling a conventional rose. Inside it is But the decorative motives and order in the form of a protuberance consisting of which are in the same spirit as those in the petals closed together. As an equivalent to entablature are skilfully modified. The the inscribed frieze outside, we see inside somewhat free naturalistic order in the an inscribed frieze in a different style. An scrolls of the relief friezes is presented to ornamental frieze runs around the frieze us in a renovated composition. The pat• above and below, giving it the same terns in the entablature are not essentially height as the outside frieze. The upper changed, but only modified. The same marble relief frieze ouside has no equiva• can be said of the painted flower decora - lent inside, unless we find an equiva• tions and the order of the reliefs in the lent in the two identical circular friezes in gilded triangles in the corners. The first, the point of junction of the interior roof like the rosettes, present flowers in full ornaments with the circle of the dome. bloom, while the reUef flowers are folded One of those friezes appears in the roof and closed. In the large rectangular sur - as a last transition band, and the other is faces between the triple friezes in the in• repeated in the lower part of the interior terior and exterior the pale blue color is of the dome, as if indicating a new be• superseded by a purple color, and the net• ginning. The pattern used in those two work of square coffers superseded by a similar friezes resembles closely the relief floral coffer pattern. That pattern is iden• pattern in the marble band outside, which tical to the closed conventional scroll pat• makes us think that this similarity cannot terns in the metal gratings of the sebil in be merely accidental. the courtyard of St. Sophia. The rounded surfaces decorated with painting in the Those interesting differences make us entablature between the roof and the ask if the inscribed friezes arc somewhat marble structure are superseded here by connested together not only by the calli• new transition forms. The transition to graphic form, but also in measure and per• the circle of the dome is obtained here haps even in meaning. The outside ins• by encircling the roof with new triangles cription is from the Qasidai Burda, which again decorated with painting. In this was composed in the time of the Prophet. way the octagonal structure is united to The interior inscription is a by the the circle, and the decorative grouping is Poet Emin, beginning with the distich, completed by the similar circular double Mihr-u sipihri majd-it shan. frieze mentioned above. That grouping Sultân Mahmüdi zaman can also be described as the completion of Her qavl-u fi'li hemân nâmi gibi constructive pieces. mahmüddir. The modification in similarity in the This showz that such a supposition would interior and exterior is not a haphazard be an cxageration. change, it has been effected according to a principle. We must repeat this in order The interior and exterior inscriptions, to draw attention to this very important with the gleam of their gold gilding on characteristic of the structure. We may a blue ground, are a very strong ornamen• say that here it is not a simple sense of tal feature in the building. form that plays a part, but a sub-conscious When we look at the intorior deco• comprehension o fthc unity of the decora• ration of the roof we realize immediately tive members of one monument. The aim 110 SEZER TANSUĞ

İS İn short to assure unity in an organic In the shadirvan basin, elements such form. as the pseudo-columns, the decorations of Aanother element which induces us to the circles, the uncovered dome with me­ enter into a chort explanation of the de­ tal drum, seem to us a new example of corative details is the basin of the shadir­ ornamental surface plastic imitating ar­ van. The metal network composition is chitecture, which we attempted to explain formed by repeating a conventional acan­ at first. The basin has been given the as­ thus scroll. Above is a gilt inscription, a- pect of ornamental architecture. The basin nother poem by the poet Emin, beginning seems to attempt adjusting to architecture, with the distich, while the constructive cover structure tends to a feeling for ornamentation. We Shehinshaht zaman. Sultân Mahmüdt see those two trends combined in the jalil - sh - shân whole structure in an interesting fashion. Revân mtzâbi \il\inden 'uyüni re'fet-u ihsân. The shadirvan basin, with its 16 BIBLIOGRAPHY slightly convex faces, gives the impression of a covered plastic form adjusted in the Ibrahim Hilmi Tanışık - Istanbul Çeşmeleri I. middle of the octagonal cover structure. IL îst. 1943. The connection which first appears bet­ İzzet Kumbaracılar - Istanbul Sebilleri. 1st. ween two principal elements such as the 1938 basin and the cover structure, may be ex­ A. Arthur Beyleryan, - Istanbul Şadırvanları pressed as above. The marble faces of the (Ed. Fak. Sanat Tarihi Bölümü Lisans te­ zi) 1953 basin arc decorated with a composition representing small columns with capitals Necdet Göze - Istanbulda Osmanlı Devrinde Tezyini Şebekeler (Lisans tezi) 1953 in the form of a vase, bound together by floral motives springing from the vases, Müzeyyen Akkoyun - XVI. y.y. İstanbul Çeş­ meleri (Lisans tezi) 1954 and developing like the decoration of an arch. The pattern is repeated on each face. Perihan Uğur - XVIII. y.y. ilk yansı İstanbul Çeşmeleri Lisans tezi) 1955 The faces, and the pilasters between, are bound together by a fairly wide relief Enver Tokay - İstanbul Şadırvanları (l.T.Ü. YeterUk travayı) 1st. 1951 frieze at the top of the marble struture. That frieze also is decorated with a floral Naci Yüngül - Tophane Çeşmesi. 1st. 1958 pattern. Süheyl Ünver - Azapkapı Çeşmesi. 1st. 1954 There is a close unity from the deco­ Aziz'Oğan - Les Fontaines d'Istanbul. T.T.O.K. rative point of view between the marble Belleteni No. 68 ayrı basım. 1st. 1947. part of the polygonal basin and the panel­ İstanbul Ansiklopedisi C. III s. 1484-1486 (Aya- led gratings rising above in the same sofya Şadırvanı maddesi) form. Sezer Tansuğ - Ayasofya Şadırvanı. Ayasofya yıllığı No. 3 1st. 1961.