Amazon Audible Gift Memberships
Selected illustrations from:
Title : Tableau général de l'Empire othoman. Tome 3 / , divisé en deux parties dont l'une comprend la législation [religieuse] mahométane, l'autre, l'histoire de l'empire othoman... par M. de M*** [Mouradgea] d'Ohsson... Tome premier [-second]. [Avec la collaboration de Jacques Mallet Du Pan.] - Tome troisième, publié par... M. C. d'Ohsson,... Première partie [législation civile]. - Deuxième partie [état de l'Empire othoman]
Author : Ohsson, Ignace Mouradja d' (1740-1807). Auteur du texte
Publisher : (Paris)
Publication date : 1787-1820
Contributor : Ohsson, Constantin (1779-1851 ; baron d'). Éditeur scientifique
Set notice : http://catalogue.bnf.fr/ark:/12148/cb310331213
Type : text
Type : monographie imprimée
Language : french
Format : 3 vol. (XII-327, ..., ... p.) : pl. et front. gravés ; gr. in-fol.
Format : Nombre total de vues : 586
Rights : Public domain
Identifier : ark:/12148/bpt6k326238d
Source : Bibliothèque nationale de France, département Philosophie, histoire, sciences de l'homme, J-44
Provenance : Bibliothèque nationale de France
Source: Tableau général de l’Empire othoman. Tome 7 (non-folio edition) par M. de Mouradgea d’Ohsson
pp.34-38
SECTION PREMIÈRE.
Compagnie du corps (Khass-Odassi).
Elle se compose de trente-neuf officiers, appelés Khass-Odalis, et le Sultan lui-même en est censé le quarantième, nombre que l’on croit heureux. Voici le titre et l’office des principaux Khass Odalis, suivant l’ordre de leur rang :
1° Le Silihdar-Agha ou Porte-glaive, chef des quatre premières compagnies ou chambrées, ainsi que des Zuluflu-Baltadjis, peut être considéré comme le Grand-Maître de la maison du Sultan. Il le suit, portant le sabre impérial suspendu derrière son épaule gauche; mais dans les grandes solennités, il le tient appuyé sur son épaule droite. (Pl. 159.) Les armes et les armures à l’usage particulier du Sultan sont confiées à sa garde.
2° Le Tchocadar-Agha, ou Maître de la garde-robe. Dans les grandes fêtes, il suit le Sultan à la Mosquée, et jette au peuple des poignées de me nues pièces d’argent neuves.
3° Le Rékiabdar-Agha ou Officier de l’étrier, tient l’étrier lorsque le Sultan monte à cheval.
Ces trois premiers Officiers peuvent porter le turban; mais les autres Khass-Odalis ont la tête couverte d’un bonnet (takké) brodé d’or. Le Silihdar-Agha seul a le droit de porter la pelisse. Tous les autres sont en veste longue, serrée au corps par une ceinture de cachemire, costume appelé orta-couschak.
4° Le Dulbend-Agha est chargé du soin des turbans du Prince. Il le suit à cheval, dans les pompes solennelles, tenant un turban impérial qu’il incline de temps en temps vers le peuple, et que la multitude salue avec respect. A sa gauche, marche un autre Khass-Odali, portant à la main un second turban qu’il incline de même.
5° L’Anahtar-Agha ou Garde-clef. C’est l’économe de la chambrée et l’Intendant de la table du Souverain.
6° Le Peschkir-Agha ou Gardien des essuie mains, est le substitut de l’économe.
7° Le Binisch-Peschkir-Agha est l’aide du précédent.
8° l’Ibrikdar-Agha ou Officier de l’aiguière, répand l’eau sur les mains du Sultan.
9 et 10° Keussé-Baschis, deux Officiers chargés de la police dans la chambrée.
11° Le Muézzin-Baschi ou Grand-Chantre de la chapelle du sérail. Il officie dans la Mosquée où le Souverain se rend le vendredi, et entonne le camét, chant qui précède la prière publique.
12° Le Sirr-Kiatib ou Secrétaire privé du Sultan. Il fait partie de son cortége, portant tout ce qu’il faut pour écrire dans une grande bourse brodée en or, et suspendue à son côté. Nul autre que lui n’a le droit de mettre une écritoire d’or à sa ceinture. Il fait lecture au Prince, à son re tour au sérail, des placets qui lui ont été présentés sur le chemin de la Mosquée, et prend soin de sa bibliothèque privée. (Pl. 160.)
13° Le Basch-Tchocadar ou Premier Valet de chambre a sous lui quarante valets (tchocadars) qui appartiennent aux trois autres chambrées. Ils suivent le Sultan, richement vêtus et la ceinture garnie d’un coutelas, d’un poignard, et d’un fouet avec de longues chaînes, le tout en argent; mais ceux du chef sont d’or. Ce dernier marche à la droite du Sultan, tenant la main posée sur la croupe de son cheval, et portant dans la poche de sa robe, sur sa proitrine, les sandales de son maître enfermées dans un fourreau de satin. Son second (l’Ikindji-Tchocadar) marche à la gauche du Sultan. (Pl. 161.)
14° Le Sarikdji-Baschi monte les turbans de l’empereur, en les garnissant d’une mousseline blanche, qui constitue la coiffure nommée sarik. Ils sont déposés dans une chambre particulière, sarik-oda, et placés sur des tabourets couverts de lames d’or et d’argent.
15° Le Cahvédji-Baschi, ou Cafetier en chef, n’a d’autre office que de préparer le café destiné à l’usage du Sultan.
16° Le Tufenkdji-Baschi, ou Porte-Arquebuse, présente le fusil au Sultan, à la chasse ou au tir. Il reçoit des chasseurs du palais le gibier qu’ils ont tué.
17° Le Berber-Baschi, ou Premier Barbier, rase la tête du Sultan; et lorsqu’il a rasé, pour la première fois, celle d’un prince, fils du Sou verain régnant, l’usage veut qu’il se rende en cé rémonie chez le Grand-Vézir, pour lui en faire part. Il reçoit à cette occasion, du premier ministre, une pelisse de zibeline, une bourse contenant cinq cents ducats, et un cheval richement enharnaché.
Ces dix-sept Officiers sont les seuls de cette première chambrée qui aient des titres particuliers. Les sept derniers d’entre eux, ainsi que les cinq plus anciens parmi les vingt-deux autres, servent le Sultan dans l’appartement dit Mabéin, attenant au Harém, et sont appelés Mabéindjis.
Les Officiers de la première chambrée sont chargés de garder la chapelle Hircai-Schérifé-Odassi, voisine de leur logement, laquelle renferme la robe, l’étendard et d’autres reliques de Mahomet; deux d’entre eux y veillent à tour de rôle pendant vingt-quatre heures. Les cinq premiers en rang peuvent seuls se dispenser de ce service.
pp.34-38
SECTION ONE.
Company of the body (Khāṣṣ-Odassi).
It consists of thirty-nine officers, called Khāṣṣ-Odalis, and the Sultan himself is supposed to be the fortieth, a number which is believed to be fortunate. Here is the title and office of the principal Khāṣṣ-Odalis, following the order of their rank:
1° The Silahtar Ağa or Sword-bearer, chief of the first four companies or chambers, as well as of the Zülüflü Baltacıs, can be considered as the Grand-Master of the Sultan’s household. He follows him, carrying the imperial sabre suspended behind his left shoulder; but on great solemnities he keeps it leaning on his right shoulder. (Pl. 159.) Arms and armour for the private use of the Sultan are entrusted to his custody.
2° The Çuhadar Ağa, or Master of the wardrobe. On great festivals, he follows the Sultan to the Mosque, and throws handfuls of new silver coins to the people.
3° The Rikab-Ağa or Officer of the stirrup, holds the stirrup when the Sultan mounts his horse.
These first three Officers may wear the turban; but the other Khass-Odalis have their heads covered with a cap (takke) embroidered with gold. The Silahtar Ağa alone has the right to wear the fur coat. All the others are in a long jacket, tied around the body with a cashmere belt, a costume called orta-kuşak.
4° The Dulbend Ağa is charged with the care of the Prince’s turbans. He follows him on horseback, in solemn pomp, holding an imperial turban which he bows from time to time towards the people, and which the multitude salutes with respect. To his left walks another Khāṣṣ-Odali, carrying in his hand a second turban which he bows in the same way.
5° The Anahtar-Ağa or key-keeper. He is the Bursar of the chamber and the Steward of the Sovereign’s table.
6° The Peşger-Ağa or Keeper of the towels, is the substitute for the bursar.
7° The Birinci-Peşger-Ağa is the assistant of the preceding.
8° The İbrikdar-Ağa or Officer of the ewer, pours water on the hands of the Sultan.
9 and 10° Köse-Başları, [Persian kūse = Mustache, beardless (male)] two officers in charge of policing the chamber.
11° The Müezzin-Başı or Grand-Cantor of the chapel of the seraglio. He officiates in the Mosque where the Sovereign goes on Fridays, and sings the kamet, a song that precedes the public prayer.
12° The Sirr Kitab or Private Secretary to the Sultan. He is part of his cortege, carrying all that is necessary to write in a large bag embroidered in gold, and suspended at his side. No one other than him has the right to put a golden inkstand on his belt. He reads to the Prince, on his return to the seraglio, the petitions presented to him on the way to the Mosque, and takes care of his private library. (Pl. 160.)
13° The Baş-Çuhadar or First Valet of the chamber has under him forty valets (çuhadarlar) who belong to the three other chambers. They follow the Sultan, richly dressed and the belt adorned with a cutlass, a dagger, and a whip with long chains, all of silver; but those of the chief are of gold. The latter walks to the right of the Sultan, holding his hand on the rump of his horse, and carrying in the pocket of his robe, on his chest, his master’s sandals enclosed in a satin sheath. His second (the İkinci-Çuhadar) marches to the left of the Sultan. (Pl. 161.)
14° The Sarikci-Başı assembles the turbans of the emperor, by wrapping them with a white muslin, which constitutes the style called sarik. They are deposited in a particular chamber, sarik-oda, and placed on stools covered with gold and silver laminae.
15° The Kahveci-Başı, or Chief Cafetier, has no other office than to prepare the coffee intended for the use of the Sultan.
16° The Tüfenkçi-Başı, or Arquebus-Bearer, presents the musket to the Sultan, when hunting or shooting. He receives from the palace hunters the game they have killed.
17° The Berber-Başı, or First Barber, shaves the head of the Sultan; and when he has shaved, for the first time, that of a prince, son of the reigning Sovereign, it is customary for him to go in ceremony to the Grand-Vézir, to inform him of it. He receives on this occasion, from the prime minister, a pelisse of sable, a purse containing five hundred ducats, and a richly harnessed horse.
These seventeen Officers are the only ones of this first chamber {Khāṣṣ or Has Oda} who have particular titles. The last seven of them, as well as the five oldest among the other twenty-two, serve the Sultan in the apartment called Mâbeyn, adjoining the Harem, and are called Mâbeynci.
The Officers of the first chamber are responsible for guarding the Hırka-i Saadet Dairesi, close to their accommodation, which contains the robe, the standard and other relics of the Prophet; two of them watch over it in turn for twenty-four hours. Only the first five in rank can dispense with this service.
Extracts from: Enlightening Europe on Islam and the Ottomans: Mouradgea d’Ohsson and His Masterpiece by Carter Vaughn Findley, 2019.
p.65
in his “Discours préliminaire” of March 1787: Mouradgea described his illustrations as a “collection of pictures executed in the country, by Greek and European painters.” He added a list of 76 pictures identified by title or subject
CHAPTER II ILLUSTRATING THE STATE
p.331
172: Presentation au Sultan du Grand Amiral et des Chefs de l'Escadre dans un Kéoschk du Sérail.
(3, 333, dir de Clugny, drw de l'Espinasse, eng Gossard)21
The engraving illustrates the audience of the Grand Admiral (Kapudan Paşa) and other high naval commanders with the sultan at the time of their departure to cruise the Aegean islands and again at their return to the capital (3, 434). The site is the Yalı Köşk, located on the Golden Horn near Palace Point. The grand admiral has arrived in his ceremonial vessel. The sultan waits on his throne as the commanders are robed in honor and escorted to prostrate themselves before him, while the squadron fires an artillery salute. The skyline is marked, from left to right, by the Tower of Justice (Adelet Kasrı) over the divan hall of the palace and the domes and minarets of Ayn Irini, Aya Sofya, and Sultan Ahmed.
This plate depicts another Köşk at Topkapı palace that no longer exists. Built in 1591, this was known as the Yalı Köşkü or Sinan Paşa Köşkü. Documenting the architecture of the structure and one of its most spectacular functions, the work appears to be another tacit collaboration between Konstantin and de L'Espinasse.
173: Grand Vézir en demi Gala.
174: Caïm-Mécam. (drw Le Barbier l'ainé, eng B. L. Henriquez)
175: Réis-Efendi.
176: Khodjakian, Chef de Départment.
(3, 336, an engraver's name has been rubbed out just below the center of the image in pl. 176, where the letters “Sculp[sit]” can be faintly made out but what preceded cannot)
These plates leave the palace and move to the Grand Vezir’s headquarters, the Sublime Porte (Bab-ı Âli). Starting at the top, plate 173 depicts the Grand Vezir; plate 174, his deputy, the Kaymakam. Plate 175 depicts one of the Grand Vezir's three most important subordinates, the Reis Efendi (short for Reis ül-Küttab, chief of the scribes). By this time, the Reis Efendi was becoming the de facto foreign minister. D'Ohsson commonly referred to him as such, even though it was not yet his official title. Plate 176 illustrates one of the scribal bureau chiefs, who held the rank of hacegân (from a Persian plural khwâjagân, singular khwâja). D'Ohsson later explained that the fifty-two hacegân were among the offices subject to annual reappointment (3, 351). On ceremonial occasions the Reis Efendi and the other hacegân of the highest class wore red satin robes, and the rest wore violet satin; “see Plate 176.”
These plates appear to follow the originals from Istanbul with little modification in Paris.
p.335
179: Pascha à trois queues de cheval.
180: Pascha en habit de Guerre.
181: Schatir, Garde du Corps d'un Pascha.
182: Page.
(3, 384; plates 179, 180, 182: drw Le Barbier l'Ainé, eng B. L. Henriquez)
In d'Ohsson's period, provincial governors-general were paşas of the highest rank, symbolized by their standards with three horsetails. They had to have immense households and private armies in order to assume their offices, which were among the annual appointments.
D'Ohsson does not include an explanation of each plate at the point where the collective reference to them appears in the text. Plates 179 and 180 show the pşa in different outfits. The şatır (plate 181) was one of the paşa's four to six honor guards, specially outfitted (3, 384). The page (plate 182) has to be a household retainer. Probably following the original drawings from Istanbul with relatively little redrawing by Le Barbier, these four images set the stage for the two-page panorama that immediately follows, which is also included in the collective reference to plates 179 to 183 in the text.
p.339
184: Agha des Janissaries en habit de cérémonie.
185: Agha des Janissaries.
186: Coul-Kéhaya, Officier Supérieur des Janissaires.
187: Agha-Tchocadar, Valet de pied de l'Agha.
(3, 394)
D'Ohsson’s accompanied his account of the Ottoman military forces of land and sea with no fewer than forty-eight single-figure plates. Unusually, not all the images are referenced or explained in the text. The first thirty-two follow page 394 and essentially all pertain to the land forces. The series begins with the Janissaries, starting with the commander (ağa) of the Janissaries, shown in plate 184 and 185 in two different outfits, the term habit de cérémonie implying something like “dress uniform.”29 The Kul Kethüdası (plate 86) was the intendant or steward of the Janissaries. Third most important of the Janissary officers after the ağa, he was responsible for enforcing the regulations and for management and discipline (3, 393). The Ağa Çokadarı (plate 187) is not mentioned specifically in the text, but the sub-caption explains him as the ağa's footman.
Other than the fact that Le Babier's name appears as draftsman on plate 188 and engravers’ names appear on a number of these images, information lacks about the production of plates 134 to 231. This implies that the source pictures from Istanbul were sent directly to the engravers with little or no reworking in Paris.
188: Muhzur-Agha, Officier Supérieur des Janissaires.
(drw Le Barbier l'Ainé, eng B. L. Henriquez)
189: Basch-Tchavousch. (eng Madle Hulot)30
190: Beuluk-Tchorbadji, Chef d'Orta des Beuluks (eng Madle Hulot)
191: Oda-Baschi, Lieutenant d'Orta. (eng Madle Hulot.)
(3, 394)
Among the high-ranking subordinates of the Janissary ağa, the Muhzur Ağa and the Baş Çavuş were equal in rank (3, 395) and each commanded a Janissary orta (one of the types Janissary units). The Baş Çavuş was the provost-marshal of the Janissaries, with about three hundred çavuşes under his command. The Muhzur Ağa was stationed at the Grand Vezir’s headquarters to guard it; he was also the inspector of the prison located there, and he represented the Janissaries to the government.
The janissary forces were of four categories, known by the terms cemaat, bölük, seymen or sekban, and acemi oğlan, and the internal subdivisions within each category could be described synonymously in terms of either the “cohort” of men (orta) or the “barracks” (oda), in which they were housed.31 The chief of an orta bore the title of Çorbacı, literally “soup-maker.” Consequently, plate 190 depicts the commanding officer of a Bölük ...
--------------
30 Bénézit, Dictionnaire, 7, 261, “Hulot Caroline,” active around 1800, engraver. Mongland, La France, 1, col. 1142, and others have read Mlle. Hulot's name as “Hulet,” a name that does not appear in Bénézit. Under magnification, all three of her plates show the name consistently as Hulot, a surname attested for other artists probably of the same family.
31 MdO, TGEO, 3, 392, translating oda into French as chambrée (“a roomful” of people sharing a “barrack room”), and translating orta as cohorte, a reference to ancient Roman terminology.
p.346 CHAPTER II
204: Harbadji.
205: Schadi.
206: Salma-Tchocadar, Commandant d'une patrouille.
207: Janissaire de garde.
(3, 394; eng Thiébaut)
The Sixty Harbecis were another special janissary contingent, also assigned to executions. On campaign, forty of them guarded the tent of the Grand Vezir, and twenty guarded that of the Janissary Ağa. They took their name from the long halberd (harbe) that they carried; their tiger skin mantles made them a favorite of artists. The term Şadı (plate 205) referred to a contingent of sixty janissaries who transported wood to the palace kitchens and the married princesses' households. Although plates 206 and 207 appear to lack explicit reference in the text, the caption of the former adds that he is the commander of a patrol. The latter begins a series (plates 207-210) showing Janissaries in different guises or duties.
Thiébaut appears to have engraved all four plates: his name appears faintly in the space between plates 206 and 207 just below their bottom edge.
208: Janissaire en habit d'ordonnance.
209: Janissaire armé.
210: Janissaire armé.
211: Pompier.
Plates 207—210 all depict Janissary soldiers. Plate 208 shows a Janissary attired in their distinctive uniform wearing the famous ceremonial headdress (keçe) made of felt that fell in a double layer down his back. Plates 209 and 210 show front and side views of Janissaries armed for battle. Plate 211 illustrates what were known in Turkish as the Tulumbacıs, the fire brigade of three hundred men. “Their service is only too necessary in a city where fires are so frequent” (3, 396). They formed another of the specialized Janissary contingents, and the other military services also had their fire companies; “see plate 211.”
212: Serdenguetchdi-Baïrakdar, Officier de Volontaires.
213: Tchantadji, Porte sac de l'Agha.
214: Cavas.
215: Soïtari, Bateleur. (eng J. M. Veran)
(3, 394)
Plate 212: illustrates a type of special force, which d'Ohsson explains only much later in the text (3, 417). Literally, the term serden geçti would mean “one who has renounced his head.” Most of these were volunteers from the Janissaries, and they were the lost souls (enfants perdus) who undertook the most dangerous missions. They formed companies (bayrak, “banner”) of 120 men. The commander of such a bayrak would be known as the Bayrakdar or “standard-bearer.” The Çantacı (plate 213) does not appear to be mentioned in the text. He appears to have been an assistant to the Janissary ağa, although exactly what he carried in his multicolored patchwork sack is not clear. The Kavas (plate 214) also does not appear to be explained in the text, but the term was associated with soldiers serving as guards, messengers, or doorkeepers. The Soytarı (plate 215), a mountebank or buffoon, may be out of place here. The term is not in the index to volume three. Neither this nor other sources on military history acknowledge it. However, some dwarves attached to the inside service in the third court of Topcapı palace entertained the court as buffoons, and that may be what is depicted here.35
216: Soïtari, Bateleur.
217: Officier d'artillerie.
218: Canonier.
219: Chef de Mille des nouveaux Fusiliers, corps supprimé.
(3, 410)
Although the captions of plates 215 and 216 are identical, the images are different, and neither image of a buffoon (soytarı) has a nearby explanation in the text. Both images probably have more in common with plates 163 and 164 above, pertaining to the mutes and musicians who served in the third court of the palace.
In the Ottoman land forces, the artillery was organizationally separate from the other forces. Plate 217 illustrates an artillery officer, and plate 218 illustrates one of the artillerymen (topçu) who served under him. Plate 219 is the first of a set of three that illustrate the new corps of riflemen (tüfenkçi) that Selim III created as part of his New Order (Nizam-ı Cedid, 3, 413). The Chef de Mille ...
---------
35 MdO, TGEO, 3, 299; Pakalin, OTD, 3, 258, “soytari.” See also Boppe, Peintres,18—19, by J.-B. Van Mour, oil painting of Ahmed III (1703—1730) and his court watching an entertainment, with two dwarves standing by, seemingly costumed as entertainers.
