The Istanbul Archaeological Museum's collection rivals any on earth. With everything from intricately carved sarcophagi, to an army of Greek and Roman sculptures, to gorgeous Iznik tiles, to ancient Babylonian friezes, to the world's oldest peace treaty, to an actual chunk of the chain that the Byzantines stretched across the Golden Horn, the varied collection sparks an interest in the rich history of this grand city. Underrated but impressive, the museum is worth consideration even by visitors who think they couldn't care less about archaeology. Divided into three parts (Museum of Archaeology, Tiled Kiosk, and Museum of the Ancient Orient), the complex has something for everyone.
ORIENTATION
Hours: Museum of Archaeology—Tue-Sun 8:30-17:00, closed Mon; Tiled Kiosk and Museum of the Ancient Orient—Tue-Sun 9:00-16:45, closed Mon. Last entry is at 16:00. Getting There: It's inside the outer wall of the Topkapi Palace complex, at Osman Hamdi Bey Yokuşu. The easiest way to get here is by tram; get off at the Gülhane stop. From the stop, walk two blocks away from the Golden Horn along the old palace wall. Go through the entryway with three arches into Gülhane Park, and bear right up the cobbled lane. The museum is near the top of this lane, on the left. You can also approach the museum from the First Courtyard of Topkapi Palace (see Topkapi Palace Tour): After entering the First Courtyard through the Imperial Gate, go diagonally to the left (with Hagia Irene church on your left-hand side), pass through the arched entryway, and follow the alley down the hill to the museum (on your right). As you face the big entrance gate for the museum complex, the ticket-seller is to the left. Buy your ticket, then go through the gate. As you enter, the Museum of the Ancient Orient is directly to your left; the Tiled Kiosk is ahead on the left; and the main Museum of Archaeology is ahead on the right (across the courtyard from the other two). Information: Exhibits throughout are labeled in English. Check the sign at the gate to see if any exhibits are closed for renovation. Tel. 0212/520-7740. Length of This Tour: Allow at least two hours to tour all three parts. If you're in a hurry, spend an hour at the Museum of Archaeology, sprint through the Tiled Kiosk, and skip the Ancient Orient. Cloakroom and WCs: Both are in the main building (Museum of Archaeology). Cafe: An outdoor cafe (with only a few food items) hides among trees and columns between the Museum of the Ancient Orient and the Tiled Kiosk. This is the only spot in the entire complex where smoking is permitted. Photography: Photography without a flash is generally allowed, but check posted signs for restrictions. Starring: A slew of sarcophagi (including the remarkable Alexander Sarcophagus), sumptuous İznik tiles, the ancient Kadesh Treaty, and several millennia of Turkey's past. Overview The museum has three separate sections: The main collection—the Museum of Archaeology—features the world-renowned Alexander Sarcophagus, a selective and engaging collection of ancient sculpture, and archaeological finds from the Trojans and the Byzantines, predominantly from the sixth century B.C. onwards. The 15th-century Tiled Kiosk is one of the oldest examples of Ottoman civic architecture, and contains an outstanding collection of centuries-old Turkish tiles. And the Museum of the Ancient Orient displays artifacts from early Mesopotamian and Anatolian cultures, mostly dating from before the sixth century B.C, and some going all the way back to 2700 B.C. There's a lot of ground to cover here. If your attention span is limited, just do the Museum of Archaeology. The Tiled Kiosk is worth at least a quick walk-through. The Museum of the Ancient Orient is skippable, but has a few significant pieces. If you're an armchair Indiana Jones, you'll enjoy the entire complex.
THE TOUR BEGINS
• We'll begin at the museums highlight: the Museum of Archaeology. After you enter the long courtyard, walk toward the end (passing the Museum of the Ancient Orient, then a little park with a cafe, then the Tiled Kiosk on your left). Near the end of the courtyard, on your right, is the...
MUSEUM OF ARCHAEOLOGY
This ornamental building has two entrances, framed by pediments supported by four tall columns—resembling the designs on some of the museum's sarcophagi. Inside you'll find those detailed sarcophagi, as well as piles of artifacts from the Greeks, Romans, Byzantines, Trojans, and more. • Use the left entrance, across from the Tiled Kiosk. (In the unlikely event that this gate is closed, go to the other entrance and backtrack inside the building.) As you enter, you'll find yourself in the antechamber. The bust near the staircase depicts the museum's founder, Osman Hamdi, and is surrounded by backlit information panels about his life and paintings. Famous in his own time as a painter, Hamdi is now regarded the father of Turkish museums. • The halls on either side of the antechamber display the museum's astonishing...
Sarcophagi Collection
Hamdi brought these sarcophagi here in the 1880s from the royal necropolis of Sidon (in present-day Lebanon, but part of the Ottoman Empire back then). The Sidon sarcophagi are among the most important classical works ever unearthed. They were discovered accidentally by a villager who was digging for water. When word of the discovery arrived in Istanbul, Hamdi made a beeline for Sidon, where he personally directed the excavations. The marble sarcophagi were found miraculously intact in two separate burial chambers, insulated against humidity and water leakage. • Now go through the door to your left to see the...
Alexander Sarcophagus
The museum's star exhibit is in the center of the hall, inside a large, red-framed glass case. Other than a few dents in the marble caused by careless movers, this fourth-century B.C. sarcophagus is in excellent condition. Although it's known as the Alexander Sarcophagus—for the mighty Macedonian king portrayed in battle and hunting scenes on the sides of the casket—it was actually carved for King Abdalonymos of Sidon.
While faded after two thousand years, some of the sarcophagus' colors remain, and the bas-reliefs that decorate the casket and its lid are impressive. Some figures are almost freestanding, giving the impression that their next step will take them right out of the scene and into the room with you. Look for a color model of the "Alexander on his horse" scene next to the sarcophagus, offering a better idea of how the relief looked in full sarcophi-color. The side of the casket facing you shows Alexander's army battling the Persians. This is the Battle of Issus in 333 B.C. Alexander's victory here opened the way for him to conquer the Middle East. The battle also changed the life of Abdalonymos, the sarcophagus' likely "owner": Distantly related to Sidon's royal family, he was appointed as the new king when the Macedonians marched into Sidon. It's easy to tell who's who: Persian troops wear long pants, several layers of loose shirts, and turbans. The Macedonians are either naked or half-naked, in short tunics. On the far left, Alexander the Great is on horseback, attacking a Persian soldier. Alexander wears the lion pelt of Hercules, from whom he claimed descent (on Sidon coins, he was portrayed as a young Hercules). His arm is raised as he prepares to hurl a (missing) spear. Now wander to the right, moving counterclockwise around the sarcophagus. The battle scene continues on the short side of the casket to the right, next to the backlit information panel. The relief on the lid, in the triangular pediment, is another battle scene— likely the battle of Gazze (312 B.C), in which King Abdalonymos was killed. The dominant red color is best preserved on this side. The next, long side of the sarcophagus depicts two separate hunting scenes. This relief, less crowded than the battle scene, is dominated by the lion hunt at its center. The lion's body is pierced at several points, and blood flows from his wounds. Still, he manages to bite and claw at the horse's shoulder. The rider of the horse is King Abdalonymos, dressed in a traditional Persian outfit. Pay attention to the different garb of the soldiers—here, they're all hunting together. This was a scene Alexander fought for: to create a united empire. The Macedonian on the horse behind the lion is Alexander's general, Hephaestion, who appointed Abdalonymos as king. Alexander is on horseback to the left of Abdalonymos. On the final short end is a panther hunt, but this time all the hunters are dressed in the same Persian style. There's more fighting in the pediment, but the figures here are not as intricate as the rest. Apparently the first sculptor ran out of time to complete his work, so another took up the hammer. • Immediately behind the Alexander Sarcophagus, at the end of the hall, is another perfectly preserved sarcophagus, the... Sarcophagus of the Mourning Women The museum building you are in was modeled after this mid-fourth-century B.C. sarcophagus, arguably the best example of its kind. Although Greek in style, Eastern influences are apparent in the mourning figures' wailing gestures and long robes (called chitons). The sarcophagus belonged to King Straton of Sidon. Professional mourners—women hired to cry and wail at funerals—were common when he died around 360 B.C., but the women portrayed on this sarcophagus were members of Straton's harem, genuinely affected by his death. Notice that their gestures are very natural, almost lifelike. Scholars believe the sculptor may have used models to create such realistic emotion. The designs along the lid's long sides represent the funerary procession. From right to left, find the young man leading the cortege, two horses to be sacrificed at the service, a Persian quadriga (chariot with four horses), and a funeral cart pulled by four horses, followed by the attendants. • Go back to antechamber and walk straight through, to the facing door. This is the second hall of Sidon sarcophagi. Thefirst sarcophagus is the... Satrap Sarcophagus Satraps were Persian governors, akin to viceroys ruling in the king's name. This sarcophagus dates back to the fifth century B.C. Its specific occupant is unknown, but the scenes on the sides of the casket trace the life of a powerful satrap. The borders are designed as palms and lotus flowers. Even though the carvings are intact, their once-bright colors faded long ago. On the long side (which you face as you enter the hall), the satrap and his men prepare his chariot for a ride. As you walk around the sarcophagus to the right, the short end shows the satrap reclining on a bench in his private chamber, accompanied by his wife (who's resting her back on the border). A servant pours wine, while a second servant stands by with a cloth in one hand and an unseen fan in the other. In the next scene, on the opposite long side, the satrap uses a spear to hunt a panther. The final short end shows the satrap's grooms with their spears, helping him out of a potentially embarrassing situation. • Right behind the Satrap Sarcophagus, you'll see the...
Lycian Sarcophagus
Dating from the late fifth century B.C, this sarcophagus is named for Lycia—a small area in Mediterranean Turkey—because its shape resembles the distinctive, monumental Lycian tombs there. But that's where the connection ends. The three-quarter poses of this sarcophagus' figures and their Thracian attire— popular in Athens at the time—instead link it to the Greek mainland, as do the layered portrayal of horses and hunters on the casket's long sides. This experimentation with 3-D perspective winds up as a clutter of horse heads and hooves—like equine Rockettes. The two long sides feature detailed, lifelike hunting scenes: a lion on one side, a wild boar on the other. The horses show their Arabic and European ancestry, with large foreheads, deep chests, and lean bellies—similar to the horses in friezes at the Parthenon in Athens. This breed was the most sought-after in ancient times. On one of the narrow ends (to the right), two centaurs fight over a deer. One is naked, while the other—wearing a panther skin—is about to spear his opponent in the eye. On the opposite end (to the left), the centaurs beat a man to death. This half-buried man is Kaineus, the mythological centaur-slayer. The centaur on his left is about to hit him with an amphora jug. The simple lid is decorated with seated sphinxes on one side, and griffons on the opposite side.
• Beyond the Lycian Sarcophagus are...
Egyptian (and Egyptian-Looking) Sarcophagi Just in front of the exit is an Egyptian sarcophagus carved from dark diorite (similar to granite). Dating from the sixth century B.C., this is the oldest sarcophagus found in the Sidon excavations. Hieroglyphs on the lid tell about the owner, an Egyptian commander named Penephtah. He was later moved from his tomb to make room for the local king, Tabnit of Sidon. The inscription at the foot is Tabnit's epitaph. To the right, two other light-colored, Egyptian-style sarcophagi lay side by side. For two hundred years, from the fifth century
B.C. on, Greek sculptors carved Egyptian-looking sarcophagi for their wealthy clients. Although the basic style was Egyptian, the Greeks felt free to play around with the design. The result: archaic Greek statues trapped in an Egyptian sarcophagus. The extensions at the shoulders were used to lift or carry the sarcophagus, and were usually chopped off once they reached their final destination. • Continue ahead through the exit. The museum store is on your right, followed by the cloakroom (on the left), and the museums second entrance (on the right). WCs are nearby (turn left into the large hall, then turn right and head to thefar end, past the replica facade of the Doric Temple of Athena). For the next part of our tour, continue straight ahead through the lobby. At the antechamber by the museums second entrance, just before you enter the next exhibition hall, you will see a statue of...
Bes
This colossal statue of Bes, a demi-god of ancient Egypt, is from the first century A.D. Often confused with Hercules, Bes was a popular figure in the Cypriot pantheon of gods at the time. Here we see Bes holding a lion by its legs. Scholars' best guess is that the statue served as a fountain. •Walk through the doorway ahead of you, into the exhibit of...
Greek and Roman Sculpture
Just past the doorway, you're greeted by the head of a...
Kouros
This kouros (a Greek statue of a boy), dating from 600 B.C., was brought from the Greek island of Sâmos. His face is round, with a blunt profile, almond eyes, and raised eyebrows. His lips are closed and straight, but grooves at the corners give the impression that he's smiling. Kouros statues represented the idealized Greek youth in south Aegean art. Similar heads and statues have been found in excavations on Sâmos, Rhodes, Cos, and other Greek islands. Two other kouros statues stand stiffly at either side of the bay. • Continue into the next hall, dedicated to...
Hellenistic Sculpture (330 B.c.-first century B.C.)
Entering this hall, you'll see to your immediate right a fine statue of a young woman from ancient Kyme, a beautiful example of the Hellenistic period. Rather than noble, idealized gods, the Hellenistic artists gave us real people with real emotions. Look to the opposite side of the hall. Just to the right of the exit door are the highlights of the exhibit: a pair of Alexander the Greats. Both were discovered in Pergamon, the world-famous acropolis in Aegean Turkey. Carved from fine white marble, the powerful statue of Alexander the Great dates from the second century B.C. It's likely he once held a bronze spear in his right hand, although his right arm and hand are missing. The hilt of the sword he held in his left hand remains. Unique for its time, the statue bears an inscription naming its sculptor: "Menas of Pergamon, son of Aias." To the right, in the corner, is the very natural-looking head of Alexander the Great, also dating from the second century B.C. Some believe it was carved to decorate the renowned "Altar of Zeus" in Pergamon (the altar is now in Berlin, Germany). This head is a copy of the fourth century B.C. original, by the renowned sculptor Lysippus. Alexander has a slightly tilted head, round eyes with heavy eyelids, and an open mouth that doesn't show his teeth. Gentle lines, deep furrows on the forehead, and the overall natural rendering of the face are characteristic of Hellenistic Pergamon sculpture. To the left of the doorway is a third-century B.C. statue of the satyr Marsyas. Marsyas isn't stretching—he's tied to a tree by his arms, his face contorted in an expression of terrible pain. According to myth, Marsyas—provoked by peasants—invented a flute in order to challenge Apollo to a musical contest. Marsyas lost the contest, and Apollo hanged him from a branch and skinned him alive. Marsyas was usually portrayed alone, but this statue was found in a group, next to Apollo...with a slave by his side, ominously sharpening his knife. To the left is a fine, if surprising, statue of a hermaphrodite, also found in Pergamon. This ancient Crying Game is a third-century B.C. copy of the original. • The next hall is dedicated to statues from two other ancient cities of Aegean Turkey... Magnesia and Tralles These statues were found in the late 19th century in Tralles and Magnesia. As you enter this larger hall, you'll see a statue of an athlete (some say he was a wrestler), which probably decorated the gymnasium at ancient Tralles in the first century A.D. The young man leans against a column, right after finishing his exercise. He has muscular legs, a relaxed posture, and a playful smile on his face. To the right of the staircase is a beautifully shaped caryatid—a support column carved as a woman. Dressed in a traditional gown, she looks well-suited for her architectural role. Through the doorway on the right, you enter a hall with bays on either side, separated by columns. At the center of this hall is the head of the poet Sappho, who was born 2,700 years ago on the island of Lesbos. Her romantic poems to other women, including Aphrodite, have given us the words "lesbian" and "Sapphic." The left bay is dedicated to Roman portraits. The statue and bust (second century A.D.) of emperor Marcus Aurelius at the far corner are particularly interesting and realistic. • The next hall displaysfindings from renowned...
Ancient Cities in Turkey
This hall is marked by the reclining River God (second century A.D., from Ephesus) at the center, just before the doorway into the last section. In the left bay are more statues from Miletus and Ephesus. The statue of Apollo playing the lyre at the far end (to the left of the door) stands out. In this second-century Roman copy of the Hellenistic original, Apollo is portrayed as more graceful than divine. His missing fingers were on the strings, and his right hand holds the plectrum (used to pluck the strings)—ready to play. Here and there, you still see the traces of reddish-brown and blue paint that once decorated the statue. The right bay is dedicated to the ancient city of Aphrodisias, which had its own school of fine arts and distinct artistic style. The room is named after Kenan Erim, the professor who spent a lifetime excavating at Aphrodisias (asked why he never married, Erim said he already was married—to Aphrodite). Erim was buried at the site, right next to the monumental entryway to the Temple of Aphrodite. • Past the River God, you enter the last exhibition hall, with statues from the...
Roman Imperial Period
Although of lesser importance, a few of the statues stand out with their intricate work—like Tyche, the city goddess, to your immediate left as you enter. Also check out the two cupids—betting on a rooster fight—in the glass case on the left wing at the center of the hall. ■ You've now seen the best of the Museum of Archaeology. If you're getting museumed out, head out the museum exit and skip down to the Tiled Kiosk. Or, if you can't get enough of ancient Turkey, consider detour-ing upstairs to see the rest of the collection, covering ancient Troy and Byzantine artifacts. While less compelling than the rest of the museum's collections, the upstairs exhibits will help flesh out your understanding of this part of the world. Afterwards, you'll end up right back down in the main lobby.
Optional Upstairs Detour:
Ancient Troy and Byzantine Artifacts If you choose to go upstairs, backtrack to the antechamber where you first entered (near the sarcophagi). Head up the stairs—enjoying the views over the Tiled Kiosk across the courtyard—and tour the museum's humble exhibit of artifacts from the ancient city of
Troy. At the end of this long hall, dip into the hall to the left, with the find- ings from a tumulus (ancient burial mound). Then backtrack to the end of the Troy exhibit, and take the stairs down toward the mezzanine level. Halfway down the stairs is an exhibit of Byzantine artifacts. Follow the zigzag tour route past a few interesting items, including the impressive chain the Byzantines pulled across the mouth of the Golden Horn to block enemy fleets; fine Byzantine church frescoes; and massive Byzantine water pipes carved out of marble and caked with lime deposits. You'll also have views down into the atrium, where you can see a replica of the facade from the Doric Temple of Athena at Assos (580 B.C), a fun replica of the Trojan Horse, and a children's museum (Turkish-language only). You'll wind up back where you started, in the gift-shop area, by the cloakroom and exits. • As you leave the Museum of Archaeology, the small, older building directly ahead of you—fronted by a gorgeous two-story colonnade, and to the right of the little park and cafe—is the...
TILED KIOSK
The word "kiosk" comes from the Turkish word köşk, mean-mansion" or "pavilion." This one contains some of the finest examples of Selçuk, Ottoman, and regional tiles ever assembled. As you tour the sumptuous collection, keep in mind that in Turkey, "tile" (çini; chee-nee) refers to a high-quartz material that can be used both to decorate architectural surfaces (with flat tiles) and to create functional vessels (such as bowls, vases, cups, and so on). While much of what you'll see inside might be called "ceramics" or "pottery" in English, Turks consider them all "tiles." Most visitors enjoy a simple stroll through the collection, treating it like eye candy, lingering only at their favorite pieces. For extra credit, you can follow the self-guided commentary below. The steps leading up to the entrance are in the center of the lower gallery, hiding behind the stone wall with the barred window. The Arabic inscription above the doorway explains that the building was constructed in A.D. 1472, during the reign of Mehmet the Conqueror—roughly 20 years after the Ottomans had taken Constantinople from the Byzantines. The Tiled Kiosk, which represents the earliest stages of Ottoman civic architecture, is the only one of its kind in Istanbul dating from this time period. As you step into the antechamber (its floor covered in glass, to protect the original pavement), head for the large map on the opposite wall, which shows the important, historical tile-manufacturing regions in Turkey and throughout the Middle East and Asia. • This entrance chamber is flanked by two small rooms. Enter the room on the left, which contains some of the oldest objects in the exhibition.
Selçuk Tiles
This room is dedicated to the early tiles of Selçuk (the Turkish empire before the Ottomans) and Middle Eastern origin. As you enter the room, the case in front of you displays Syrian and Iranian pieces; the one behind it has some fine designs of Selçuk pottery. At the end of the room, on the right wall, are decorative tile pieces with colored glaze from a 13th-century mosque. The turquoise-colored glaze is still in use, although there are only a few master potters left who know how to apply it correctly. Across the room in the opposite wall are star-shaped wall tiles with animal and floral designs. Dating from the 13th century, these are from the summer palace of the Selçuk sultans in Konya (central Turkey). • Exit back into the antechamber, and take the door to your left into the main hall. Approach the larger case in the center of the hall.
Main Hall
The objects that look like vases are actually ceramic lamps that were used in mosques. These oil-burning lamps were hung from the ceiling using the little handles. The 16th-century pieces from İznik were probably the best available in the market at the time. Notice the colorful c. 1430 prayer niche on the right side of the hall, brought from Konya in central Turkey. Its pieces are fired with colored glaze. Stand in the middle of the main hall with the entrance behind you. The annex room to your right displays curiously designed 18th-and 19th-century ceramics from Çanakkale (a city on the Dardannelles). • Now walk to the end of the room, across from the entrance. Find the two world-renowned glazed plates, displayed in the side walls, across from each other. Dating from A.D. 1500, these are two of the finest surviving pieces ofIznik tile—frequently showing up in reference books as textbook Turkish tiles. • Walk past the plates, and go through the doorway on your left, which opens into a highly decorated room. The walls contain color-glazed tiles and intricate gold designs. Part of this so-called "gold embroidery" was redone over the centuries. It may look a little tacky, but it was the height of style in its day. At the end of the room, on the left corner, is a beautiful hidden fountain. The room to your right displays Kutahya tiles. The town of Kutahya (south of the Sea of Marmara) began making tiles during the 18th century. Although Kutahya employed similar techniques to the master potters at Iznik, they weren't quite able to match the quality of their work. For the real deal, head into the next room, with outstanding blue-and-white Iznik vessels from the early 15th century. • When you're done in the Tiled Kiosk, exit back into the courtyard and turn right. Head back toward the entrance gate to the complex. Just inside the gate, on the right-hand side, are stairs leading up to the third and final part of the museum, the...
MUSEUM OF THE ANCIENT ORIENT
While hardly the last word on the ancient cultures of the Near and Middle East, this small collection is worth a look. Most of what you'll see here comes from Mesopotamia, an area between the Tigris and Euphrates Rivers (parts of present-day Iraq and Syria). On this tour, you'll meet Sumerians, Akkadians, Babylonians, and Assyrians (all of whom were sovereign in the Middle East), as well as the Hittites (who ruled today's Turkey)—peoples that paved the road to our civilization. • The entry area offers some maps and other posted information worth skimming for a background understanding of the "Ancient Orient." Since the collection is arranged in a one-way loop, you'll also end your tour here. As you head for the collection, notice the cuneiform script in the floor, which says that flash photography is prohibited. Walk through the first room of the museum—stopping for a moment to see the Babylonian sundial (on the left)—and head for the doorway on the right (next to the adorable little sphinx). Turn left into a corridor, and take a moment to enjoy the tile friezes lining the corridor's walls. Babylonian Friezes These tile friezes once decorated the gate of the ancient city of Babylon (in today's Iraq). The colorful designs of lions, bulls (which, thanks to stylized perspective, look more like unicorns), and dragons (up top, looking like snakes with lions' paws in front and eagles' feet in back) represented Babylon's mighty gods. • Beyond the friezes, at the end of the corridor, you'll emerge into a room with artifacts from...
The Bronze Age and the Assyrians
The marble head of Lamassu—a half-human, half-bull Assyrian creature—keeps guard at the doorway. Turn left and tour the collection clockwise. First you'll see early Bronze Age objects from the Sumerian and Akkadian civilizations. If you know your prehistory, you'll notice that Anatolia and Mesopotamia were technologically advanced—progressing through the metal ages (such as the Bronze Age) thousands of years ahead of continental Europe. So a Mesopotamian sword is dated 3000 B.C., while its European counterpart wouldn't be created until 1000 B.C. Continuing around the room, you reach a small showcase with weight and measurement units used in Mesopotamia (including the talent, the shekel, and the mina). Now keep going, into the collection of Assyrian objects. The two tall, freestanding statues of" kings (ninth century B.C.) were carved out of basalt; although the shorter statue is unfinished, the big one shows fine detail, with cuneiform script pressed into his uniform. • For more cuneiform, head back toward the corridor, then take the first left into the collection of... Cuneiform and Steles On the back wall is a group of five steles—small pillars used to commemorate major events. Tne cases on either side of the steles display cuneiform tablets. This wedge-shaped script is the world's first writing system, invented 5,000 years ago by the Sumerians (of southern Iraq) and developed into a syllabic alphabet by their descendants, the Assyrians. The case on the left traces the progress of cuneiform script. At the bottom left is one of the oldest tablets in the museum (2700 B.C.). The nail-shaped object nearby is actually an inscribed piece. To its right, the item shaped like a roll of paper towels contains the chronicles of the Babylonian king Nebuchadnezzar. The inscription describes the temples he built and dedicated to the gods, and the reconstruction of Babylon's city walls.
The case to the right of the steles holds interesting tablets, mich as the Ur-Nammu law, dating from 2050 B.C. Another tablet records the Assyrian kings' genealogy, while others list sacred marriage rites, poison remedies, and the court verdict for a man who put off an engagement. There are also a resume and job application, a book of proverbs, and love poems. Before you continue into the next room, notice the "cursed stele" on the wall to the left of the doorway. This eighth-century B.C. stele records the will of an Assyrian palace administrator, Bel-Harran. He tells about a city that he founded, and a temple he constructed and dedicated to the gods. He declares that his citizens will be protected and exempt from tax. And at the end, he tacks on a curse to scare away vandals: "I pray that the great gods of Assyria destroy the future of whomever might destroy my words and my name, and the gods shall have no mercy on them." Maybe that explains how this stele has survived intact for 2,700 years.
The Hittites
The Hittites once controlled a big chunk of Anatolia (Asian part of today's Turkey), reaching their peak in the 13th century B.C. The huge relief on the wall depicts a king praying to Tarhunza, the Hittite storm god. Although the king stands on a tall mountain, he still can't reach the height of the gigantic god. Tarhunza was also the god of plants—he carries grapes in one hand, and wheat in the other. His curly beard and hair, as well as the flares on his skirt, reflect Assyrian influence, while the helmet is Hittite-style. The horns on the helmet are a barometer of his divine importance: the more horns, the more important the god. • Go through the doorway on the right, and look to your right. A small case displays the exhibit's highlight... The Kadesh Treaty These few clay fragments are a record in cuneiform script of the world's oldest surviving peace treaty: the Kadesh Treaty. This document, created in 1283 B.C., ended the decades-long war between the Hittites and the Egyptians. The United Nations recognizes the importance of this early peace agreement: a large copy of the treaty is displayed at the UN headquarters in New York City. The text was initially engraved on silver tablets that have been lost to time. Three ancient copies exist. The version you see here was found in the archives of the Hittites' capital city of Hattusha (100 miles north of present-day Ankara). It's written in Akkadian cuneiform, which was the language of diplomacy at the time. Egyptian King Ramses II and Hittite King Hattusili III each had his own copy of the treaty—and each version claims victory for that copy's owner. But otherwise, the copies are similar, and include many elements that are still common in modern-day peace agreements—such as provisions for the return of prisoners and refugees, and a mutual-aid clause. The agreement ends with a curse: "To whomever acts against these words, may the thousand gods of the Land of Hatti and the thousand gods of Egypt destroy his home, his land, and his servants." These final words dictate that the treaty's conditions would be honored by the kings' successors forever. After the Kadesh Treaty, the Middle East enjoyed uninterrupted peace for seven years—which, back then, was a pretty impressive run. • Your tour is finished. You're just a short walk from Topkapi Palace: Leave through the main gate to the museum complex, turn left, and head up the hill into the palace's First Courtyard; once there, the entrance to the palace is on your left, and the gate to the Sultanahmet district (and the back ofHagia Sophia) is on your right. (s3)
The Istanbul Archaeological Museum's collection rivals any on earth. With everything from intricately carved sarcophagi, to an army of Greek and Roman sculptures, to gorgeous Iznik tiles, to ancient Babylonian friezes, to the world's oldest peace treaty, to an actual chunk of the chain that the Byzantines stretched across the Golden Horn, the varied collection sparks an interest in the rich history of this grand city. Underrated but impressive, the museum is worth consideration even by visitors who think they couldn't care less about archaeology. Divided into three parts (Museum of Archaeology, Tiled Kiosk, and Museum of the Ancient Orient), the complex has something for everyone.