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ciary Ahmed Ağa first became a customs official after completing
his education. He then became an armourer in 1705,
and later became a sipahiler ağası and Başbakı kulu, respectively.
He became an armourer-in-chief again in 1715, but
was dismissed at the same year. In May 1716, He was given
the Pahsa Rank and was assigned as the Grand Seigneur to
Erzurum, but in September 21st of the same year he was discharged
from the rank, and was sent to the Arşuva Castle.
Then he became a Sergeant Major in 1717, a Mint Fiduciary,
and a Navy Yard, respectively. Later, he became the building
Fiduciary fort he archs of Ahmed the 1st. Died in 1730,
Ahmed Ağa’s tomb is in the burial place which is located between
the mosque and the classroom. Gundoğumu Avenue
side of the burial place has a marble column and gridiron. It
has 6 windows. The following epigraph was written on the
angled column shaped headstone of his sarcophagus:
El-Fatiha. ‘’Diriğa Hacı Ahmed sahibu’l hayrat Eminzade / Ki
terk-i alem-i fani idub azm itdi ukbaya / Rıza-yı Hakk’a mal u
canın bezi eyledi merhum / Ki bilmişdi cihan baki değil a’la
vu ednaya / Neşimensaz-ı Firdevs-berin olub Hudevanda /
Resul-i Ekrem olsun Cennet-i ala’da hem-saye / Bu mısra’la
didi tarih-i fevtin geldi bir da’i / Eminzade cihandan göçtu ta
Firdevs-i a’laya.
The same epigraph was written on the outer side of the
footstone as well, so it could be read also from the avenue.
Just like some of the gravestones in the burial place, the
gravestones on his sarphagus, which is in front of the third
window, are also ornated with uniquely precious sypress and
ramble rose reliefs.
The Premises In The College And
Their Architectural Characteristics:
The Ahmediye Mosque
Located on the corner where Gundoğumu Avenue and
Esvapçı Street conjoins,the square shaped and single domed
Ahmediye Mosque was made of hard dirt Stone, a rough
building material which is the mixture of Stone and brick. In
addition, its left minaret was made entirely of hewn Stone.
Before it was built, a small wooden mosque called the Kefçe
Dede Mosque used to be located where it currently is.
Mir’at-ı Istanbul gives the following accounts about the Ahmediye
Mosque and its builder. 3
However, the narthex in front of the mosque, as well as the
wooden mortmain above it, collapsed over the time. The
old arched gate to this place can still be seen on that side
of the mosque. The arched gate on the right corner of the
mosque is used to enter the praying area. Above this gate
is a 20-verse epigraph written in Arabic in 1721, and above
that was another epigraph which was kept in a locket, but is
now lost. It was written by Kavsarazâde Selim Efendi.
The aforementioned epigraph which was written in 1722
states that the old Kefçe Dede mosque was destroyed, and
that Hacı Ahmed Ağa rebuilt the mosque with a pulpit. Another
epigraph which gives the accounts about the restoration
of the mosque, and was written in 1860, was discovered
by I. Hakkı Konyalı, but apparently it hasn’t survived up
to day. It can be seen from the pictures of the mosque that it
went through some changes due to repairs and restorations,
and the narthex is no more either. Also, the wooden narthex
has been removed during the repairs which took place after
1965. The top of the entrence has now been closed with a
small shed, and is to the left of the narthex wall. The existance
of the alter in the middle, as well as the door and the window
on the top left which are placed on that side of the mosque
makes one think about the possibility that there might be a
passage to and from the mess for women. It can be understood
when we examine the remains of walls which have survived
to the present day that the mosque had a door which
was used to enter from the iner yard, as well as a surrounding
wall which conjoins with the burial place.
In the interior area, the dome is mounted on the walls via
sliced trompes. There is a window with pointed archs on each
edge of the dome which is supported by octagonal hoops.
Also, on the walls, there are rectangularly opened Windows
with hewn Stone jambs which are arranged in 2 rows, 8 windows
being at the top row, and 7 at the subjacent row. The
relieving arches were built in an alternate arrangement, of the
mixture of Stones and bricks. It is claimed that the mess for
women, which is mounted on the wooden poles in the interior
area, was built much later. In the present day, the alter
is in the shape of a simple nich. There is nothing left from the
18 th century style pane with green background which used to
ornate the alter by depicting Kaba, and which was recorded
by I. Hakkı Konyalı. The marble pulpit, on the other hand, reflects
the decoration concept observed during the Tulip Era
with the vegetal decoration on its open-worked mirror holders,
as well as its barriers. Underneath the pediment which elevates
the starecase to the pulpit, there are 2 chambers with
pointed archs which are surrounded by rectangular frames
and around each of which are flower patterns designed with
a naturalist style.
The third chamber near the beginning of the stairs is not hollow,
but a cypress tree motive with a carded body is carved
on its marble surface. The handrail on the staircase, which is
surrounded by a line of profiles, is ornated by sliding and lining
up hollowed hexagons and stars in an apropriate manner, and
the triangular pediment is ornated with a pierced rose-shaped
motive right in the middle. Above the entrence at the beginning
of the staircase that leads up to the pulpit is an inscription
with its gable, inside which is ornamented with the Rumi and
Stylised palmet motives. A Hadith is written on both the dome
which is carried on the 4 columns with diamond-shaped caps
in the interior area, and the pulpit cone which is covered with
a conic cover on the outer area. Relief motives of large bodied
and narrow necked vases with tulips and symetrical roses similar
to wheatears coming out of them are carved on the panes
which are rectangularly framed with erasements on the bottom
left and right corners of the pulpit’s chalet part. 4
Mounted on a single domed and 8 faced hoop which has a
window on each face, both the walls and the dome of the
temple are ornamented with embroidery. Its 3-cornered, embroidered
marble preacher’s stage is so beautiful, and the pulpit
is a masterpiece with the carvings and embroideries on it.
A hadith is written on the edge of its cone, and a tile with a
Kaaba depiction has been placed on the alter.
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