Posted June 19, 2014 Posted by Adam in Uncategorized
Manastir Mescidi/Mustafa Çavuş Mescidi
Monastery of Constantine Lips/Fenari Isa Camii/Church of the Panachrantos
Posted June 19, 2014 Posted by Adam in Uncategorized
Posted June 19, 2014 Posted by Adam in Uncategorized
The real stars are of course the Kariye and the Fethiye museums. Kariye, in particular, is astonishing. However, the Byzantine history of the area keeps on sticking less spectacular bits of stonework above the ground. There is a certain charm in having someone take you into their home or workplace and show you a thousand-year-old piece of a past civilisation.
Boğdan Sarayı
Church of St John the Baptist in Trullo/Ahmet Paşa Mescidi
Kariye Camii/Church of St Saviour in Chora
Fethiye Camii/Church of the Virgin Pammakaristos/Church of the Theotokos Pammakaristos
Kefeli Mescidi/Monastery of the Prodomos in Petra/Monastery of Manuel (St Nicholas)
Odalar Camii/Monastery of the Blessed Virgin Mary
Kasım Ağa Mescidi
Yavuz Sultan Selim Camii / Monastery of Christos Pantepoptes
Posted June 19, 2014 Posted by Adam in Uncategorized
The centre of Sultanahmet. (48.00771,28.974767).
This man did not have any alcoholic beverages.
The ruins of the Martyrium of St Euphemia provide convenient seats and hiding places for eccentrics and cats. It must have been a massive, solid structure once. It was built in the early fifth century to provide an appropriately respectable resting place for the body of St Euphemia, a virgin, as seems to have been a prerequisite for a female to become a martyr. There are apparently some frescoes in the ugly little shed leaning against the law courts. I have never been able to get in to see them.
The shed allegedly containing the frescoes is in the middle distance on the right.
Reliefs in the Archaeological Museum.
Restoration is a growth industry in the backblocks of Sultan Ahmet
The photo above shows the situation in July 2019.
The leisurely pace of work is exemplified by this inhabitant
An idea of what used to be in this area can be gained from a look at Nicholas Artamonoff’s photographs from around the late 1930s, on the Dumbarton Oaks site.
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