Postscript
Silences and Traces of the Past
On the explanatory panel in the mausoleum complex of Hatice Tur-
han in Eminönü, Mehmed IV is referred to as “the Hunter,” not “the
Ghazi.” Entering Hatice Turhan’s mausoleum one notices fi rst how
many cenotaphs fi ll the main room. Unlike the mausoleum of Sulei-
man I, with few cenotaphs in the center of the sanctuary, this tomb is
chockablock with caskets of princes and sultans. Second, one realizes
that the fi rst large cenotaph is that of the mausoleum’s patron and
main guest, the valide sultan. One has to fully enter the main door
before noticing Mehmed IV’s turban-topped cenotaph a little behind
that of his mother. In death, as in early life, he could not escape her
shadow. Despite his years of independent action, he lies next to her
in the earth beneath the tomb, the signifi cance of his reign overshad-
owed by subsequent historical events and silenced by two centuries
of history writers.
While in Istanbul completing the writing of this book, I cameface to face with a building-size banner advertising an exhibit at the
Pera Museum in Istanbul. On the banner, taken from an original
1 657–58 oil painting commissioned by Swedish Ambassador Claes
Rålamb, a mounted Mehmed IV is accompanied by two hunters on
foot bearing bows and quivers of arrows. The sultan sits on a white
horse with gold stirrups, saddle, and harness bedecked in precious
jewels. Mehmed IV wears a white turban with two ghazi aigrettes, a
gold garment beneath a gold and gray-blue silver-brocaded sleeveless