Art and diplomacy in Ottoman
Constantinople
History Today, August, 1996 by Philip Mansel
In The Muslim Discovery of Europe (Weidenfeld and Nicolson, 1982) Bernard
Lewis states that, for Ottomans, ‘the idea of an alliance with Christian
powers, even against other Christian powers, was strange and, to some,
abhorrent’. In reality, alliances with Christian powers were a natural
and inevitable aspect of Ottoman policy from its earliest days.
Ottoman soldiers first crossed into Europe, after 1350, as allies of either
the Byzantine emperor, John Cantacuzenos or the city of Genoa. Thereafter
the Ottoman empire rarely lacked Christian allies. Mehmed II, the conqueror
of Constantinople in 1453, was an ally and trading partner of Florence.
Far from alliances seeming ‘strange’ or ‘abhorrent’ to the Sultan, on
occasion he discussed policy with, and was entertained by, Florentines
in the cosmopolitan district of Pera, across the Golden Horn from Constantinople
itself. He had long been at war with Venice. However, after peace in 1479,
Ottoman-Venetian relations became sufficiently relaxed for the Sultan
to ask the Doge to find him a competent painter: hence Gentile Bellini’s
portrait of the Sultan, painted in Constantinople in 1480, today in the
National Gallery in London.
The relations of the Ottoman Sultan with other Muslim rulers such as the
Shah of Persia and the Mogul emperor were frequently hostile and, although
embassies were exchanged, never attained the level of permanent diplomatic
representation. The Shah was hated as a Shia ‘heretic’, and feared as
a rival for territory in the Caucasus and what is now Iraq. The Mogul
emperor, conscious of his descent from the great Timur, conqueror of the
Ottoman Sultan Bayezid II in 1402, challenged the Ottoman Sultan’s claim
to be sole Caliph and ‘asylum of the universe’.
Another barrier was the length of the journey -- six to nine months --
between Delhi and Constantinople. In contrast, the journey between Venice
and Constantinople took three to six weeks. By the mid-sixteenth century,
soon after their appearance in Western capitals, permanent embassies had
been established in Constantinople by the kings of France and Poland,
the Holy Roman Emperor and the states of Genoa and Venice.
The Ottoman Empire was not only a great military power, whose territory
stretched from Algeria to Armenia, and from the Danube to the Gulf: it
also ruled an area of immense economic and religious significance to Christian
powers. Constantinople became one of the diplomatic capitals of Europe
-- in the words of a later French diplomat, the Vicomte de Marcellus,
‘a centre of minuscule and complicated negotiations such as do not exist
in other political headquarters’. Constantinople embassies were considered
so important that they were a nursery of future foreign ministers (such
as Hoepken of Sweden, Vergennes of France, Thugut of Austria).
A Constantinople embassy, however, could be perilous. If the Sultan was
displeased by a foreign government’s declaration of war, or evidence that
it was surreptitiously helping an Ottoman enemy, its ambassador might
be humiliated, or imprisoned in the fortress of the Seven Towers by the
Sea of Marmara. Imprisonment was the fate of Imperial ambassadors in 1541,
1596 and 1716; of French in 1616, 1658, 1659, 1660 and 1798, Venetian
in 1649 and 1714 and Russian in 1768 and 1787. The ambassador could not
be certain that he would emerge alive -- although all did.
However most ambassadors remained unharmed in the capital, during !embassies
which could last very long indeed: Count Jacob Colyer stayed in Constantinople
as representative of the United Provinces from 1683 to 1725. A ‘perfect
master’ of Turkish and Greek, according to Prince Dimitri Cantemir, an
Ottoman official who subsequently deserted to Russia, Colyer entertained
Ottoman officials ‘freely’ at his house and, by plying them with wine,
learnt ‘all their secrets’.
With no European power, however, did the Ottoman Empire have closer relations
than with France. They shared the common bond of hostility to the House
of Austria. When the French king Francis I was captured by the Holy Roman
Emperor Charles V at the battle of Pavia in 1525, he sent a letter pleading
for help to Suleyman the Magnificent (1520-66).
The first permanent French ambassador, Jean de La Forest, arrived in Constantinople
in 1536. Thereafter the French ambassador had precedence over others;
his master, at first called ‘king of the province of France’ in Ottoman
documents, was soon addressed as Padishah, ‘great emperor’ like the Sultan.
At the height of Franco-Austrian hostility, in 1538 the French ambassador
arranged for French ships to refit in the port of Constantinople and in
1543-44 for the Ottoman fleet to winter in Toulon. He personally instructed
Ottoman artillery during the war against Persia in 1548-50, and organised
joint Franco-Ottoman naval operations against Spain in the Mediterranean
in 1551-55.
The ‘union of the lily and the crescent’, as one French noble called it,
became one of the fixed points in European politics -- although the king.
of France, conscious of his titles of ‘Most Christian King’ and ‘eldest
son of the church’, fearful of the criticism of Catholic Europe, evaded
the written alliance repeatedly requested by the Sublime Porte (the Ottoman
government). By the early seventeenth century, French ‘Levant trade’ (i.e.
trade with the Ottoman Empire), principally cloth exports, was believed
to comprise half all French maritime commerce. Far from being indifferent
to commerce, the noble ambassadors of the seventeenth and eighteenth centuries
were, if anything, more concerned than their successors. The Comte de
Saint-Priest, ambassador from 1768-84, and a future minister of Louis
XVI and Louis XVIII, wrote: ‘at no time does the matter of French commerce
allow the King’s ambassador to relax the constant vigilance which he must
pay to it’.
The Franco-Ottoman relationship offended both Muslim and Christian zealots.
Partly to defuse criticism, as early as the sixteenth century, the legend
arose in Constantinople that the two dynasties were related: the mother
of Mehmed II was alleged to be a daughter of a king of France. In 1724,
since France had recently media ted a peace treaty between the Ottoman
Empire and Russia, Franco-Ottoman relations were especially satisfactory.
The Grand Vizier Ibrahim Pasha suggested a triple Franco-Ottoman-Russia
alliance to the French ambassador, the Vicomte d’Andrezel and said:
... thee the Empire of France had for an infinite time been linked by
a close relationship with the Gate of Felicity [the Ottoman government]
which was linked to Eternity ... the affairs of France and our affairs
are common and if there is any difference between us it is only in religion.
One of our first Sultans married a princess of the royal blood of France.
He then gave ‘a thousand blessings’ to Louis XV, ‘wishing him a reign
as long and fortunate as that of Louis XIV’.
For their part, French ministers and diplomats pretended that the main
cause of their friendship with the Ottoman Empire was the desire to protect
and propagate Catholicism within its frontiers. The increase of French
commerce was the second. The principal motive, however, was, as d’Andrezel
was instructed in 1724, to ensure that ‘the power of the Turks always
remains an object of fear for the House of Austria’.
France was not the Ottoman Empire’s only Christian ally. Since before
1453 Poland had enjoyed closer diplomatic ties with the Empire than with
France or England. In 1533 the two monarchies signed a treaty of ‘perpetual
friendship and alliance’. On the death of King Sigismund I in 1548, Suleyman
said: ‘we were like two brothers with the old king and if it please God
the Merciful we will be like father and son with this king’.
In the seventeenth century, despite several wars, including King John
Sobieski’s intervention to raise the Ottoman siege of Vienna in 1683,
the Ottoman Empire became a model for Polish nobles. Ottoman costume became
part of Polish national dress. In the eighteenth century, the Polish saying
‘Poland will not be free again until the Sultan’s horses are watered in
the Vistula’ revealed an awareness that Ottoman power protected Poland
from Russia. In 1768 the principal reason for the Ottoman declaration
of war on Russia -- a crucial stage in the exposure of Ottoman weakness
to its neighbours -- was desire to end Russian interference in Poland.
The meetings of ambassadors and Grand Viziers, in the Porte or a private
kiosk, appeared to be a collision between two worlds: they wore different
costumes, spoke different languages and followed different religions.
In reality, through their respective interpreters they spoke a common
language of power, profit and monarchy. In 1560 the vizier Ali told the
Imperial ambassador Busbecq that the souls of princes were like mirrors
which reflected the advice of their councillors. In 1689, when the French
ambassador asked the Ottoman Empire not to recognise William III as king
of England, the Grand Vizier Fazil Mustafa Pasha replied that it was absurd
for Ottomans, who had so often deposed their own monarchs, to dispute
other nations’ rights to do so
Many ambassadors established close relations with Ottoman groups and individuals.
In theory, as the Sultan’s guests, ambassadors received a daily living
allowance from the Ottoman government, and places of honour at ceremonies
such as the circumcision of imperial princes. On arrival, or on signature
of a treaty, they were serenaded (usually to their dismay) by the Sultan’s
band. After 1580 embassies were located in Pera, and for its Christian
inhabitants fulfilled some of the patronage, cultural and ceremonial functions
of a Western court. Francois de Gontaut-Biron, French ambassador from
1605 to 1610, described the Aga of the Janissaries as ‘fort mon amy’ and
corresponded with him when he was on campaign. Some later French ambassadors
wore Ottoman dress, speculated in the grain trade or called their son
Constantine after the city where they lived.
By the eighteenth century, alarmed by the increase in Russian power and
Balkan instability, many powers saw the Ottoman Empire as a European necessity.
The Empress Maria Theresa opposed further Austrian expansion in Ottoman
territory. With a foresight which requires no comment today, she wrote
in 1777 to her trusted ambassador in France, the Comte de Mercy-Argenteau:
What can we gain from such conquests even to the gates of Constantinople?
Provinces unhealthy, depopulated or inhabited by treacherous and ill-intentioned
Greeks [orthodox Christians] -- they would not strengthen the Monarchy
but weaken it ... I will never prepare myself for the partition of the
Ottoman Empire and I hope that our descendants will never see it expelled
from Europe.
Such sentiments were widely shared in the chancelleries of Europe (although
not by her son Joseph II). With the resilience of the Ottoman army and
the loyalty of the Muslim population, they help explain the survival of
the Empire in the nineteenth century. In 1829 when Britain and France,
not for the last time, were about to send fleets to protect the Ottoman
Empire from the Russian army, the Duke of Wellington stated what most
European statesmen had come to believe: ‘The Ottoman Empire exists not
for the benefit of the Turks but for the benefit of Christian Europe’.
The Constantinople embassies not only embodied the conjunction of political,
commercial and strategic interests between the Ottoman Empire and other
European states. Through the drawings and pictures of the city commissioned
by ambassadors, often from artists living in their embassy, they also
provided opportunities for artistic commemoration of that conjunction.
Before 1600 ambassadors commissioned from Western artists, usually members
of their household, albums of drawings and sketches of the city’s political
hierarchy, ceremonies, daily life and monuments: the Sultan, or themselves,
in procession; Janissaries, wrestlers, archers, Greek priests, Muslim
dervishes; panoramas of the city. Nineteen such albums have been identified
by the Turkish historian, Metin and, in libraries in Vienna, Dresden,
Bremen, Oxford and elsewhere.
After his return from a successful negotiation in 1628, the Imperial ambassador
Hans Ludwig von Kuefstein commissioned the first great cycle of ‘embassy
pictures’, including a view of the recently completed Sultan Ahmed mosque,
from three Austrian craftsmen in his household. Court ceremonies were
critical tests of power and influence, and the favourite subject of ‘embassy
pictures’ was the ambassador’s reception in the imperial palace in Constantinople
-- although some pictures depict particular events such as the Madonna
hovering in clouds above the palace (an ex voto for Kuefstein’s safe return);
the imprisonment of the Venetian Bailo in the prison of the Seven Towers
in 1649; or the renewal of trade capitulations by the French ambassador
in 1673.
The pictures naturally stress the honours paid to the ambassador. The
ambassador is shown dining alone with the semi-royal ‘absolute deputy’
of the Sultan, the Grand Vizier, at his table in the Divan hall; or, accompanied
by a few senior officials and wearing Ottoman robes of honour, enjoying
the supreme honour, presentation to the Sultan in his throne room. The
pictures do not record such humiliations as the ambassador’s wait outside
the palace while the Grand Vizier and other viziers passed before him,
or his act of prostration, held down by Ottoman officials, three times
before the Sultan (sources differ as to whether the ambassador’s head
hit the ground). The Ottoman intention was, as the eighteenth-century
historian, Subhi, wrote, to impose on the astonished diplomat a sense
of ‘the superiority of the ceremonial, customs and etiquette of the Ottoman
court’.
In accordance with France’s role as the Ottoman Empire’s most constant
ally, French ambassadors most frequently commissioned pictures of the
city. More than is generally recognised, Constantinople was a magnet to
European artists. In the 1670s the Marquis de Nointel maintained a ‘picture
factory’ at the French embassy. One artist, Rhombaud Faidherbe, was posted
in the street to watch the Sultan and Grand Vizier, so that he could paint
them from memory.
The principal embassy artist was Jean-Baptiste Vanmour. Born in Valenciennes,
he arrived in Constantinople in the suite of the French ambassador, the
Marquis de Ferriol, at the age of twenty-eight in 1699 and remained there
until he died in 1737. Clearly in love with the city, he wrote of his
desire to ‘instruct myself in depth on all the particularities concerning
the manner and customs of the Turks’. He was permitted to accompany ambassadors
to their official reception in the Topkapi palace, and his large narrative
pictures of the Sultan and the Grand Vizier and their suites, signed and
dated 1711, of the reception of the French ambassador in 1724 and of the
Dutch in 1727, were much admired for their vivacity and naively. Contrasts
of face and costume are piquant. Placid Dutchmen walk past frowning Janissaries:
the French ambassador’s minuscule, but fully-wigged sons are addressed
by a turbaned Grand Vizier. Proximity to the Sultan was such an honour
that Vanmour’s pictures inspired similar representations, by less skilled
hands, of the reception of other (British, Polish, Swedish, Venetian)
ambassadors. Many of Vanmour’s pictures were commissioned by the Dutch
ambassador, Cornelius Calkoen, and, having remained together as a collection
by the terms of his will, now hang in the Rijks-museum, Amsterdam.
The number of embassy pictures was due not only to ambassadors’ desire
to commemorate their careers but also to Europeans’ curiosity about an
exotic multi-national city, which was, before 1700, the largest city in
Europe. In 1707 the Marquis de Ferriol commissioned Vanmour to paint a
hundred pictures of different officials and races of the city in their
respective costumes: the chief eunuch; a court messenger; the Oecumenical
Patriarch; a Turk cutting himself to show his love for his mistress; a
Jewish woman taking goods to Turkish harems; Albanians, Bulgarians, Greeks,
Wallachians, Persians and Arabs. In 1714, after his return to France,
Ferriol helped arrange the publication of a collection of a hundred prints
of these pictures entitled: Recueil de Cent Estampes representant differentes
nations du Levant tirees sur les tableaux peints d’apres nature en 1707
et 1708 par les Ordres de M de Ferriol ambassadeur du Roi a la Porte.
The artist’s name is omitted, so that the ambassador receives sole credit
for the publication.
So great was the appetite for knowledge about the Ottoman Empire that
the Recueil was quickly reprinted in French, and translated into German,
Italian, English and Spanish. It became the principal visual source for
such artists of turqueries as Watteau, Van Loo, Guardi. In official recognition
of his talents Vanmour was granted the unique, but, despite his protests,
unpaid post of Peintre ordinaire du Roi en Levant in 1725. After he died
on January 22nd, 1737, the household of the French ambassador and ‘the
whole French nation’ (the French merchants and scholars resident in the
city) attended his funeral in the church of Saint Benoit in Galata.
Two other French ambassadors, the Comte de Vergennes (1756-68) and the
Comte de Choiseul-Gouffier (1784-92), like Ferriol, both worked to strengthen
the Franco-Ottoman relationship, and commissioned pictures of the city.
Their artists were Antoine de Favray and Louis-Francois Cassas, who lived
and worked at the French embassy in 1762-71 and 1784-86 respectively.
Like many of their predecessors, Vergennes and his vrife (a Savoyarde
called Anne Viviers, previously married to a Pera merchant, who had lived
publicly with the ambassador and born him two sons before their marriage)
were painted in Ottoman costume just before their return to Europe. Choiseul-Gouffier,
a Maecenas who employed a team of artists and savants in the Palais de
France, also printed at his own expense Voyage Pittoresque de la Grece
(2 vols, 1782-1809) which included illustrations of Constantinople by
the artists Lespinasse, Cochin and Le Barbier l’aine.
The most impressive cycle of embassy pictures, however, owes its existence
not to the French, but to the establishment of a Swedish embassy to the
Porte. Sweden and the Ottoman Empire, alarmed by the rise of Russia, signed
a treaty in 1740. In the seventeenth century, in the throne room of the
Imperial palace of Topkapi, the Sultan had stared ahead, not deigning
to reply more than ‘peki’, (‘well’), to another new ambassador’s speech.
In 1744 the Sultan assured the new Swedish ambassador that ‘the King and
Kingdom of Sweden’ -- a phrase revealing his knowledge of the king’s limited
power--were held not in his heart like other Christian princes, ‘but much
more intimately’.
Two bachelor brothers, Gustaf and Ulrik Celsing, sons of an agent of Charles
XII in Constantinople in 1709-11, served in the Swedish embassy as secretaries,
residents and ambassadors between 1745 and 1773 and 1756 and 1780 respectively.
They both knew Ottoman Turkish and helped inspire a work which is the
foundation for subsequent scholarship on the Empire: Tableau General de
[Empire Ottoman (3 vols. 1787-1820)], by the First Dragoman at the Swedish
embassy, Ignatius Mouradgea d’Ohsson, an Armenian Catholic who was able
to research in Ottoman archives. The Celsings also sent back to Sweden,
by land and sea, 102 pictures of Constantinople.
Among them are representations of their reception by the Sultan, portraits
of different craftsmen and officers of the city, and a family tree where
Ottoman Sultans are represented literally growing out of the branches
of a tree. The most remarkable pictures, however, are the twenty-five
panoramas of the city, the Bosphorus and the kiosks and pavilions of Sa’adabad,
one of the Sultan’s palaces up the Golden Horn, elements in which were
inspired by Louis XIV’s pavilions at Marly. Since the pictures are unsigned,
the artist has yet to be identified.
The power of the Ottoman Sultan, the allure of his capital and ambassadors’
desire for commemoration, were not the only reasons why so many ambassadors
commissioned pictures. Other capitals such as Madrid, Vienna and Rome
were exotic and imposing. Between 1703 and 1741 -- at the same time as
Vanmour was working in Constantinople -- Carlevarijs, Joli, Richter and
Canaletto painted spectacular ceremonial pictures of ambassadors arriving
by gilded barge at the Doge’s Palace in Venice.
Only Constantinople, however, inspired so many ‘embassy pictures’ over
so long a period. Either consciously or unconsciously, they filled the
gap left by the lack of pictures (as opposed to calligraphy, illuminated
manuscripts or icons) commissioned by Constantinople Muslims or Christians.
By the seventeenth century Ottoman custom inhibited either the Sultans
or the viziers from commissioning or purchasing pictures. The frequency
with which the Christian Phanariots (Greek officials) who served the Porte
and the Oecumenical Patriarchate were deprived of their wealth or their
lives did not encourage them to form picture collections. In Constantinople
only ambassadors did so. Thus the clearest visual record of seventeenth-
and eighteenth-century Constantinople can be found not in the city itself
but the pictures hanging in ‘Turkish rooms’ in Swedish manor houses, Austrian
castles and French chateaux, belonging to ambassadors’ descendants.
The last great embassy artist came from Baden. Antoine-Ignace Melling,
who arrived in Constantinople in the mid 1780s in the suite of the Russian
ambassador, Count Bulgakov, subsequently worked for the British and Dutch
ambassadors. Thereafter, recommended by the Saxon minister, Baron Hubsch,
Melling was, in his own words, ‘attached for several years to Hadidje
Sultan [the favourite sister of the reforming Sultan Selim III] as artist
and architect’. Indeed he was so closely ‘attached’ that he was given
an apartment in her palace. He redesigned its interior and built neoclassical
kiosks on the Bosphorus for the princess and her brother the Sultan. Adding
the arrogance of a decorator to the condescension of a European, he wrote:
‘an elegant simplicity was substituted for a luxury of gilding and colours
which left no rest for the eye’. The French invasion of Egypt in 1798,
possibly exacerbated by a personal quarrel, obliged him to quit the princess’
service. He finally left Constantinople in 1802 -- with a Levantine wife
(Francoise-Louise Colombo), a child and drawings of the city originally
commissioned by the Sultan himself.
Melling’s drawing of the palace, the port, the Arsenal, kiosks on the
Bosphorus and aqueducts outside the city are masterpieces of observation.
They include not only such favourite subjects as the Sultan’s procession
to a mosque, or a Turkish wedding procession, but also what is probably
the sole accurate representation of the interior of an Imperial harem
(that of the summer palace on Seraglio Point). They were finally published,
with the support of the French government, as Voyage Pittoresque de Constantinople
et des rives du Bosphore in 1819.
Melling’s patronage by the Sultan and his sister was one sign of the growing
interest in Western painting in the Ottoman palace itself. After the massacre
of the Janissaries in 1826, the Empire finally began a process of radical
modernisation. Preoccupied by their growing opportunities for intervention
in Ottoman affairs, the embassies lost their role as centres of artistic
patronage. The Sultans themselves, as in the days of Mehmed the Conqueror,
became the principal patrons of Western artists in Constantinople. Having
won the favour of Sultan Abdul Hamid II by a picture of a cavalry regiment
crossing Galata bridge, an artist from the Veneto called Fausto Zonaro
worked as Painter of His Imperial Majesty the Sultan from 1896 until 1910.
The 300 or more canvasses which he painted of Constantinople and its inhabitants
(from the Sultan himself down to itinerant street musicians) make him,
in the history of Western art, at once the most prolific painter of views
of one city and the last great court artist.
FOR FURTHER READING:
Franz Babinger, Mehmed the Conqueror and His Time (Princeton University
Press 1978, rev. ed.); Bernard Levis, The Muslim Discovery of Europe (Weidenfeld
and Nicolson, 1982); Lady Mary Wortley Montagu, The Turkish Embassy Letters
edited by Malcolm Jack, (Virago, 1994); Lavender Cassels, The Struggle
for the Ottoman Empire 1717-1740 (John Murray, 1966); Karl A. Roider Jr,
Austria’s Eastern Question (Princeton, 1982).
Philip Mansel is author of The Court of France 1789-1830 (Cambridge University
Press, 1989) and Constantinople, City of the World’s Desire 1453-1924
(John Murray, 1995)
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