The Gate of the Spring, also known as the Pege Gate, Balıklı Kapı, and Silivrikapı, forms one of the southern gates of the Theodosian Walls of Constantinople. Located between the Second Military Gate and the Third Military Gate, it originally occupied a position of both practical and symbolic significance. It lies in the modern suburb of Balıklı, between the heptagonal towers 35 and 36, which were extensively rebuilt in later Byzantine times: its southern tower bears an inscription dated to 1439 commemorating repairs carried out under John VIII Palaiologos. The gate arch was replaced in the Ottoman period. In addition, in 1998, a subterranean basement with the 4th/5th century reliefs and tombs was discovered underneath the gate.

While integrated into the formidable defensive system of the city, the gate's primary role was not military. Instead, it served as the principal access point to the Monastery and Church of the Life-Giving Spring (Zoodochos Pege), a renowned sanctuary just beyond the walls. For this reason, the gate functioned as a threshold not merely between city and countryside, but between the secular and the sacred.

According to tradition, the sanctuary of the Life-Giving Spring's origins date back to the 5th century, when the future emperor Leo I encountered a blind man near a spring outside the city. Guided by a divine vision of the Virgin Mary, he led the man to the waters, which miraculously restored his sight. Once enthroned, Leo built a church and monastic complex on the site, dedicating it to the Theotokos as the Life-Giving Spring.

The monastery and church quickly grew into one of Constantinople's most important pilgrimage destinations. Over the centuries, emperors visited the shrine to give thanks for victories, to pray for healing, or to associate their reigns with the Virgin's protection. Justinian I was among the benefactors, rebuilding and enlarging the sanctuary in the 6th century. Later dynasties continued to maintain and embellish it, ensuring that the reputation of its miraculous waters endured throughout the Byzantine period. The faithful believed the spring possessed extraordinary healing properties, curing illnesses of body and spirit alike, and accounts of the sick and lame regaining health circulated widely. For this reason, the Gate of the Spring was not merely a defensive portal but a threshold into a world of miracle and devotion.

Legends surrounding the spring only heightened its fame. Among the most enduring traditions was the tale of fish that leapt from its sacred waters—at times interpreted as signs of divine favour, at other times as omens of great events to come. Pilgrims and chroniclers also spoke of visions of the Virgin appearing at the shrine, reinforcing its reputation as a place where the heavenly touched the earthly.

The very name of the gate and its surrounding neighbourhood, Balıklı — meaning "with fish" in Turkish — preserves this tradition into the Ottoman era. One popular story tells of a monk who, while frying fish on the day Constantinople fell, witnessed them spring back into the waters of the spring, half-cooked yet alive. Their descendants, marked by different colours on each side, were said to be seen for centuries afterward. Even long after the conquest of 1453, tales of these half-cooked fish endured as a potent symbol: just as they had returned to life, so too would Constantinople itself one day rise again.

Architecturally, the gate follows the standard Theodosian model of a double-entrance system. An inner arch pierces the main defensive wall, while a secondary gate opens through the lower outer wall. Between them lies a small courtyard, or peribolos, which allowed the regulation of traffic and could be sealed off in times of danger. This dual structure embodies the balance between accessibility and protection characteristic of the Theodosian defences.

The passage itself is vaulted in brick, framed by alternating bands of stone and brick masonry that give the gate its rhythmic visual texture, a hallmark of Byzantine construction. The flanking towers project outward on either side, modest in scale compared to the city's major gates, yet providing the necessary vantage points for surveillance and defence. The outer gate is smaller and plainer, intended for civilian and pilgrim traffic rather than for the processions or triumphs that marked the city's more monumental entrances. Decorative features appear to have been minimal. While an inscription slab may once have crowned the inner arch, as at other gates, the surviving evidence suggests a sober, functional aesthetic in keeping with its purpose.

When set against the other gates of the Theodosian circuit, the Gate of the Spring reveals both conformity and distinction. The Golden Gate, the city's ceremonial entrance, was a marble-clad triumphal arch designed to awe with its scale and ornament. The Gate of St. Romanos, by contrast, was a utilitarian passage along a major road, later immortalized as the point of Ottoman entry in 1453. The Gate of the Spring, though structurally closer to the latter, diverged in its identity. It was less a commercial or military outlet than a spiritual conduit. Pilgrims, supplicants, and even emperors passed through its modest arches on their way to the holy spring whose waters promised healing and renewal. Its architecture, unpretentious yet solid, embodied this intermediate role: neither triumphal nor mundane, but sanctified by association.

The Gate of the Spring also played a decisive role in one of the most dramatic turning points of Byzantine history. On 25 July 1261, the forces of the Empire of Nicaea, led by General Alexios Strategopoulos, entered Constantinople through this gate. The Latin defenders were caught off guard, and the surprise assault allowed the Byzantines to retake the city after nearly six decades of Latin rule.

This event restored the Byzantine Empire under the Palaiologan dynasty and marked the beginning of a new, though fragile, chapter in the city's history. The Gate of the Spring, usually associated with pilgrimage and devotion, thus became the entry point for a moment of both military triumph and symbolic renewal, linking it forever with the dramatic recovery of Constantinople for the Byzantines.

The final siege of the city in 1453 added another layer of meaning. While the main Ottoman assault fell upon the Gate of St. Romanos, fighting spread along the southern walls near the Gate of the Spring. Local memory held that several Ottoman soldiers were slain here in the final days of the battle. Today, on the right side of the gate looking from the outside of the fortifications, stands the grave of Elekli Dede. He participated in the conquest of Constantinople together with Sultan Mehmed and was honoured with a title of Ni'me'l Ceyş, i.e. the Distinguished Soldier of the Conquest. He died in the vicinity of the Gate of the Spring with so many arrows sticking out of his shield that it looked like a sieve. This is why later people donated sieves to his tomb.

Just to the left of the gate lies another memorial — the resting place of Seyyid Mehmet Haydar Dede. His tomb carries with it a legend that has echoed through centuries. The story takes us back to Sultan Murad IV's Baghdad campaign in 1638. As the army marched far from home, the people of Istanbul waited in restless suspense. Whispers filled the air: "Had Baghdad fallen? Would the soldiers return in triumph — or in silence?"

In that atmosphere of uncertainty, Mehmed Haydar Efendi suddenly appeared atop the city walls. No one knows for sure how he learned the news — perhaps from a swift messenger, perhaps from a vision in a dream — but with a voice full of conviction he cried out: "Baghdad has been conquered! Baghdad has been conquered!" Step by step, he climbed higher, shouting so more and more people could hear his proclamation of victory. Then, fate intervened. His foot slipped, and he fell to his death. Ever since, he has been remembered as the Martyr of Joy — the man who died bringing glad tidings to his city. Yet the tale carries a puzzle. While history records the Baghdad campaign in 1638, the date etched on his gravestone is 1625. Some historians even doubt whether the grave belongs to him at all. Was the story reshaped by memory, or is there more to the legend than we will ever know?

Under Ottoman rule, the gate never lost its sacred associations, though its meaning and setting were reshaped. During the siege of 1422, Sultan Murad II is said to have used the Church of the Life-Giving Spring as his headquarters. After the final conquest of 1453, the church disappeared, but the spring continued to be revered, sustaining the faith of those who believed in its miraculous waters. In time, devotion to the site gave rise to the Balıklı Monastery of the Virgin. The gate, too, came to be called Balıklı Kapı — the Gate with Fish — a name that preserved the legends and marvels long tied to the sacred spring.

Architecturally, the Ottomans made few radical alterations to the gate itself, though like much of the Theodosian wall circuit, it suffered from neglect, repair, and piecemeal rebuilding. What changed most was its function: no longer a Byzantine pilgrimage route, it became instead a modest local passage, its significance maintained primarily through the enduring reputation of the spring rather than through imperial ceremony.

In this layered history, the Gate of the Spring embodies the shifting priorities of Constantinople and later Istanbul. From a Byzantine gateway to healing, to an Ottoman threshold to a living tradition, its architecture illustrates both continuity and adaptation. Modest in form yet rich in meaning, it remains a testament to the way built structures could serve both the practical needs of defence and the spiritual geography of the city.

Inscriptions of the Spring Gate

The Gate of the Spring (Silivrikapı), nestled between Towers 35 and 36, is one of the most epigraphically rich points along the Theodosian Land Walls. Here, layers of stone speak across the centuries - Byzantine and Ottoman inscriptions intertwine - revealing a story of faith, restoration, and remembrance.

On the eastern face of Tower 35, a long Greek inscription records a late Byzantine act of devotion and repair. It reads: "This God-protected gate of the Life-giving Spring was restored with the cooperation and at the expense of Manuel Bryennius Leontari, in the reign of the most pious sovereigns John and Maria Palaiologoi, in the month of May, in the year 6946 (1438)."

This inscription, carved just fifteen years before the fall of Constantinople, commemorates the restoration of the gate by Manuel Bryennios Leontari, a member of a prominent Byzantine family. The "Life-giving Spring" mentioned here refers to the Monastery of the Zoodochos Pege, located just outside the gate — one of the most venerated Marian shrines of Byzantium, famed for its healing waters and further discussed below. The reference to John VIII Palaiologos (r. 1425–1448) and Empress Maria of Trebizond anchors the work in the final decades of the Byzantine Empire, when maintenance of the city's ageing fortifications was both a pious duty and a desperate necessity.

Just a few steps away, the neighbouring Tower 36 preserves an older imperial inscription: "Tower of Basil and Constantine, Emperors in Christ." This refers to the co-emperors Basil II (r. 976–1025) and Constantine VIII (r. 1025–1028), whose reigns marked the height of Byzantine military and administrative power. Their inscription attests to a large-scale program of wall repairs, likely following the earthquake of 989 — one of several instances when the Theodosian fortifications were restored by imperial command. Basil II, known as the Bulgar-slayer, understood that the strength of the empire began at its walls, and his mark here is one of enduring authority.

In contrast to the imperial dedications, two small epitaphs carved into Tower 35 bring an intimate human tone. One reads: "Nonnous of blessed memory, who died on indiction of 24th of September, 1st day of his senate consulship." Another inscription, fragmentary but touching, simply states: "Servant of God, Ioannes, (died) on the 5th of December." These inscriptions suggest that, at least in later centuries, portions of the walls or nearby chapels served as burial places for clergy or local dignitaries — a common practice in the shrinking neighbourhoods of late Byzantine Constantinople.

Very close to these ancient stones, on the north side of Tower 35, a very different inscription appears — an Ottoman Turkish text from 1630/31, etched next to a carved mace. It reads: "Whoever lays eye on the mace of the former baltacı (axe-man) of the palace, Pehlivan İdris from Zara, and recites Al-Fatiha, may you die faithfully." This brief verse transforms the wall into a memorial, fusing Ottoman devotion with the city's Byzantine heritage. It belongs to a time when the ancient walls remained living structures — garrisoned, repaired, and adapted across empires.

Monastery and Church of Zoodochos Pege/Church of St. Mary of the Spring

According to the Byzantine historians Procopius and Cedrenus, the church was first built by Emperor Justinian around 559–560 CE, during the final years of his reign. It stood near a sacred fountain fed by a holy spring, just outside the Theodosian Land Walls, close to today's Gate of the Spring. Legend recounts that while hunting in the area, Justinian came across a small chapel surrounded by a crowd of women. Curious about its significance, he learned that it marked the site of the "spring of miracles." Moved by this revelation, he ordered the construction of a magnificent new church using the leftover materials from the building of Hagia Sophia.

Another, later tradition attributes the founding of the sanctuary to Emperor Leo I the Thracian, who reigned from 457 to 474. As the story goes, before his rise to power, Leo encountered a blind man near the city walls who asked him for water. A mysterious female voice instructed Leo to wet the man's eyes with water from a nearby spring. When he obeyed, the blind man miraculously regained his sight. The same voice foretold that Leo would one day wear the imperial crown and commanded him to dedicate the site to her worship. After ascending the throne, Leo is said to have built the church in gratitude. Historians believe this legend may have been a later creation of the monastery's monks, though it suggests that a smaller shrine may have existed on the site before Justinian's grand reconstruction.

Over the centuries, the church suffered repeated damage and restorations. Major repairs took place after earthquakes in 790 under Empress Irene, and again after the great quake of 869 under Emperor Basil I. In 924, Tsar Simeon I of Bulgaria burned the complex during his campaigns, but Emperor Romanos I Lekapenos (r. 920–944) promptly restored it. Interestingly, only three years later, Simeon's son, Peter, married Romanos's niece Maria, sealing peace between their realms.

Because of its position outside the city walls, the monastery often served as a place of exile. In 1078, Georgios Monomachos was banished there, and in 1084, Emperor Alexios I Komnenos confined the philosopher John Italus to the same monastery for his controversial neoplatonic ideas.

During the Latin occupation of Constantinople in 1204, the church was seized by Latin clergy, an event that, according to Byzantine chroniclers, marked the end of the famous "habitual miracle" associated with the site. In 1328, Emperor Andronikos III Palaiologos used the monastery as his base to launch an attack on Constantinople, and two years later, while gravely ill in Didymoteicho, he is said to have recovered miraculously after drinking water from its spring.

In Byzantine times, the sanctuary held immense imperial importance. On Ascension Day, the Emperor would travel by boat to the nearby harbour of the Golden Gate, then proceed on horseback to the monastery, greeted by the cheering factions who offered him garlands and a cross. After donning his ceremonial robes and welcoming the Patriarch, the two would enter the church together to attend the divine service — an event concluded by a grand imperial banquet.

Tradition also held that every future Empress arriving in Constantinople for her wedding would be formally received by her betrothed in the Monastery of the Spring. The church's dedication feast was celebrated on July 9, alongside other important commemorations such as the Ascension, the Marriage at Cana (January 8), and the Miracle of Leo I (August 16). The fame of the "Life-Giving Spring" spread widely throughout the Greek world, inspiring the construction of many churches and monasteries bearing the same name — most of them founded after the fall of the Byzantine Empire.

By the early 15th century, the site had become a landmark even in wartime: during the Ottoman siege of 1422, Sultan Murad II camped there. Whether the Byzantines managed to restore the church before the city's fall in 1453 remains uncertain. Russian pilgrims who visited the area in the later fifteenth century mention only the spring, suggesting that the church itself may have already fallen into ruin. The 16th-century French scholar Pierre Gilles recorded that by 1547 the church no longer existed, though the sacred spring continued to draw the sick and hopeful, who came seeking healing waters.

Nearly two centuries later, in 1727, Nikodemos, the Metropolitan of Dercos and Neochorion, built a small chapel over the holy spring. During its construction, an ancient icon of the Virgin was discovered among the old foundations and soon became an object of deep veneration. For a time, the Armenians attempted to claim the spring, but several Ottoman firmans secured its ownership for the Greek Orthodox community. The site was guarded by Turkish custodians who collected fees from pilgrims — funds that were reportedly used for the upkeep of the nearby prisons. Eventually, the complex passed into the hands of the Ecumenical Patriarchate.

In 1821, during the Greek War of Independence, the Janissaries destroyed the chapel and, in an act of desecration, poisoned the holy spring. A firman issued in 1833 finally allowed Patriarch Constantius I to rebuild the church, which was consecrated two years later, in 1835.

Tragedy struck again in the 20th century. During the Istanbul Pogrom of September 6, 1955, the church was targeted by a violent, state-orchestrated mob. The sarcophagi of the Ecumenical Patriarchs, buried outside the church, were desecrated and their remains scattered. The entire church and monastery complex was set ablaze and reduced to ruins. Restoration efforts in the following years, however, brought the sanctuary back to its former dignity.

Today, the Church of the Life-Giving Spring remains one of the most cherished Orthodox sanctuaries in Istanbul. It is administered by a titular bishop and continues to draw pilgrims — especially on the Friday after Easter and on September 14, when great celebrations, both religious and festive, take place. The church also serves for funerals of those interred in the surrounding cemeteries.

The icon of the Theotokos Zoodochos Pigi (Virgin of the Life-Giving Spring) depicts the Virgin Mary seated above a marble basin, holding and blessing the Christ Child, flanked by angels. From the basin flows a stream of healing water, symbolizing divine grace. Around her stand the Emperor and his guards, while the Patriarch and his bishops appear to the side in reverent prayer. In the background, the city walls and the figures of Leo I and the once-blind man recall the legendary miracle. Below the fountain, the spring's waters heal the afflicted — a paralytic and a madman — illustrating the eternal mercy flowing from the Mother of God.

According to the 14th-century historian Nikephoros Kallistos, the original church of the Life-Giving Spring was a rectangular basilica, proportioned roughly 4:3, and partially subterranean. It featured two outer vestibules on the east and west sides, and two inner vestibules to the north and south. Light filtered gently into the interior, focusing on the sacred spring below. Visitors reached the fountain by descending two marble stairways of twenty-five steps each, bordered by balustrades and crowned by graceful marble arches. The holy water collected in a marble basin, from which it flowed through channels that distributed it throughout the church. The interior walls were covered with frescoes, and a golden dome shimmered above. Surrounding the main structure were three smaller chapels dedicated to Saint Eustratius, the Theotokos — the Virgin Mary, and Saint Anne.

The present-day church retains the rectangular plan of its Byzantine predecessor, oriented roughly east to west. Its interior is divided into three naves by elegant columns and preceded by an esonarthex. A metal bell tower rises at the northwest corner. Inside, the church is richly decorated: a carved pulpit stands midway along the right nave, and at the eastern end glitters a magnificent iconostasis. To its right is a revered icon traditionally believed to have been painted by Saint Luke himself.

Beneath the church lies the sacred spring, housed in a subterranean crypt that can be reached by descending a stairway running parallel to the building's length. A matching stairway leads back up to the courtyard. The crypt, illuminated by soft light, is adorned with paintings and icons and crowned by a small dome depicting Christ against a starry sky. The spring's water gathers in a marble basin where small fish swim — creatures that have become part of the church's very identity.

In front of the church stretches a tranquil cemetery shaded by trees and filled with ornate marble tombs, many dating from the 19th and early 20th centuries. Here lie the graves of prominent members of Istanbul's Greek Orthodox community, including several Ecumenical Patriarchs. Among the tombstones are many inscribed in Karamanli — Turkish written in Greek script — forming the largest surviving collection of such epitaphs. The complex itself is surrounded by two larger walled cemeteries, one Greek and one Armenian, completing the serene and timeless atmosphere that still envelops the sanctuary today.

Silivrikapı neighbourhood

Silivrikapı neighbourhood which got its name from the Silivrikapı Gate is a neighbourhood of the Fatih district in Istanbul, situated between Sümbül Efendi neighbourhood to the south and Mevlanakapı neighbourhood to the north. The neighbourhood is a relatively new addition to the administrative map of Istanbul, as it was only established in 2008 by combining the smaller neighbourhoods of Arabacı Beyazıt and Cambaziye.

The population of Silivrikapı has been gradually decreasing: estimates show about 17,000 people lived there around 2013–2017, but the number went down to about 15,500 by end of 2022. Many streets of the neighbourhood are narrow, and they are lined with older buildings, mixing residential and small‐scale commercial use. It is more of a local, everyday neighbourhood rather than a tourist-oriented one. Its proximity to major transit routes, markets, and the dense fabric of the historic peninsula gives it a lively but somewhat concentrated feel; you'll find mosques, small shops, traditional cafés, and quiet alleys juxtaposed with more busy thoroughfares.

Sadly, there is not much to see in Silivrikapı neighbourhood, especially in comparison to the other neighbourhoods of Fatih. Though Silivrikapı is not one of Istanbul's most prominent tourist hubs, it has several architectural and cultural points of interest that reflect mainly its Ottoman past, including two mosques constructed by Mimar Sinan - the Ottoman Empire's most prominent architect.

The Hadım İbrahim Paşa Mosque is located just inside the Silivrikapı Gate of the Theodosian Walls, a striking example of 16th-century Ottoman architecture. It was commissioned by Hadım İbrahim Pasha (1473–1563), of Bosnian origin, who rose to prominence as Chief White Eunuch of the Topkapı Palace under Sultan Suleyman the Magnificent. Later, he became Governor of Anatolia and attained the rank of Second Vizier in 1553. A patron of both political and social projects, he commissioned this mosque as part of a larger complex that once included a hammam and other charitable institutions. While many of these auxiliary structures have not survived, the mosque itself has endured as a prominent monument of the era.

The mosque was designed by Mimar Sinan, the most celebrated architect of the classical Ottoman age, and completed in 1551. Constructed on a square plan, it is fronted by an arched portico supported by six marble columns and divided into five bays, each surmounted by a small dome. The prayer hall is covered by a central dome measuring 12 meters in diameter, supported by eight internal buttresses that give the building its robust yet elegant character. Inside, a handful of Iznik tile panels provide refined decoration, complemented by the play of light through stained-glass windows. The minaret, originally at the southwest corner of the portico, collapsed in the 1754 earthquake and was rebuilt a decade later in 1763–64.

Over the centuries, the mosque underwent several restorations, the most recent major work completed in 2007. Today, Hadım İbrahim Pasha rests in an open tomb in the courtyard, as his original mausoleum fell into ruin. The site reflects not only his personal legacy, but also the broader social role of Ottoman külliyes, which served as centres for both worship and public life. While modest in scale compared to some of Sinan's later works, the mosque embodies the balanced proportions, refined ornamentation, and functional clarity that define the architect's style. More than a place of worship, the Hadım İbrahim Paşa Mosque offers a glimpse into the political, social, and artistic landscape of 16th-century Ottoman Istanbul, continuing to attract visitors with its historical significance and architectural beauty.

Just about 350 meters southwest of the Silivrikapı Gate stands the modest but historically resonant Kasım Çelebi Mosque, also known in local tradition as Ağaçayırı Mescidi, meaning the Small Mosque of the Agha's Meadow. Its exact date of foundation is uncertain, but tradition holds that it was first built during the 15th century by Kasım Çavuş (or Çelebi), who served as the devecibaşı (master of camels) under Sultan Mehmed II.

Architecturally, the mosque follows a square plan and is built of cut stone (kagir) with a wooden roof structure. Its entrance is sheltered by a narthex, covered by a canopy supported on four marble columns. The minaret, located to the right side of the building, is an original stone structure, though the mosque has lost many of its original decorative elements. In its current state, the mosque is elementary in decoration, lacking inscriptions that definitively record its founding or major architectural patrons.

Over the centuries, various repairs and renovations were carried out. In the 18th century, Kasapbaşı Ali Ağa added a minbar (pulpit) between 1730 and 1754, elevating the status of the building from a basic mescit (small prayer site) to a more formal mosque. In 1863, Grand Vizier Fuad Paşa oversaw a restoration that likely refreshed structural and surface elements. In the mid-20th century, several conservation efforts further preserved the structure; a notable restoration date is 1948 under the Directorate General of Foundations. More recently, between 2016 and 2019, roof and infrastructure repairs were carried out under municipal heritage programs.

Kasım Çavuş is remembered in local history as one of the commanders who participated in the Ottoman Conquest of Constantinople in 1453, and he is said to have endowed this mosque. His tomb is located within the mosque's courtyard. The grave is simple and open, without elaborate enclosure. The tomb bears simple yet meaningful inscriptions. On the headstone, the words read: "O Living One. There is no god but Allah, Muhammad is His Messenger. Recite Al-Fatiha (887)." This invocation calls upon God, the Living One, and invites visitors to recite the opening chapter of the Qur'an (Al-Fatiha) in remembrance of the deceased.

On the foot stone, a further dedication states: "Recite Al-Fatiha for the soul of Kasım Çavuş, master of good deeds and virtuous acts. Year: 887 [Hijri]." The inscription honours Kasım Çavuş's piety and service, describing him as "Sahibü'l-hayrat ve'l-hasenat" — a master of charity and righteousness. The date 887 in the Islamic calendar corresponds approximately to 1482–1483 CE, linking the tomb to the early years following the conquest of Constantinople.

Many scholars consider this inscription problematic or historically unreliable, noting that if taken literally, it would imply an exceptionally long lifespan for Kasım Çavuş. On the other hand, the conqueror of Constantinople, Sultan Mehmed II, died in 1481, just one year earlier than Kasım Çavuş so there is strong possibility that the inscription is credible. Together, these inscriptions offer both a spiritual message and a historical connection, inviting reflection on the life and legacy of an Ottoman officer and patron.

Today, Kasım Çelebi Mosque still functions as a local neighbourhood mosque rather than a grand monumental complex. Its modest scale, shaded courtyard, and long history give it an intimate charm. The grave of its founder in the courtyard links it to the early Ottoman period and the age of the conquest, while its repeated restorations tell a story of continuity and loss in the built heritage of Istanbul.

The Canbaziye Mosque is located in what was historically the Canbaziye neighbourhood of Istanbul, before it was merged with Arabacı Beyazıt neighbourhood to form a larger Silivrikapı neighbourhood. It was commissioned by Canbaz Mustafa Bey, a notable figure of the Ni'mel Ceyş and a prominent statesman during the reign of Fatih Sultan Mehmed.

The term "Ni'mel Ceyş" translates to "What a blessed army," a phrase derived from a well-known hadith of the Prophet Muhammad: "Constantinople will surely be conquered. What a blessed commander will be its commander, and what a blessed army that army will be!" This hadith inspired the Ottoman soldiers who participated in the conquest of Constantinople in 1453. They were collectively referred to as the "Ni'mel Ceyş", embodying the ideal of being part of a blessed and righteous army. The phrase signifies both a spiritual honour and a recognition of their pivotal role in the conquest.

In the case of Canbaziye Mosque, the founder Canbaz Mustafa Bey is identified as a member of the Ni'mel Ceyş. This association underscores his participation in the conquest and his esteemed status among those who fulfilled the prophetic prophecy. His involvement reflects the broader Ottoman ethos of intertwining military service with religious and civic duty. Canbaz Mustafa Bey passed away in 1485 and was buried in a tomb in the courtyard on the right side of the mosque. The tombstone honours him as a virtuous and influential figure, although some historical records suggest slight variations in the date of his death.

Initially constructed as a small prayer space or mescid, the mosque underwent significant developments over the centuries. In the 18th century, a minbar (pulpit) was added, formally converting it into a mosque, reflecting both its spiritual and social role in the neighbourhood. The building faced periods of neglect, particularly in the 20th century, when it fell into disrepair. In 1962, a restoration project began, culminating in its reopening for worship in 1977, ensuring the survival of this historical monument.

Architecturally, the Canbaziye Mosque exemplifies early Ottoman design, combining simplicity and functionality with modest elegance. Constructed of traditional materials, its layout is straightforward, emphasizing the prayer hall and the courtyard where the founder's tomb stands. Its location near the Silivrikapı Gate situates it within the heart of Istanbul's historic walled city, a neighbourhood that retains the layered character of the Ottoman era. Today, the mosque remains an active place of worship and a valued historical site, offering visitors a glimpse into the religious, social, and architectural fabric of Istanbul during the 15th and 16th centuries.

At the eastern edge of Silivrikapı neighbourhood stands the Ramazan Efendi Mosque, one of the lesser-known but historically rich monuments of the city. The mosque was originally commissioned by Bezirgânbaşı Hâce Hüsrev Çelebi, a wealthy merchant, and was therefore also referred to as the Bezirgânbaşı Mosque. Its present name, however, comes from Ramazan Efendi (1542–1616), a prominent Sufi figure and the first sheikh of the dervish tekke attached to the mosque. The mosque itself is believed to have been one of the final works of the great Ottoman architect Mimar Sinan, completed in 1585–1586, during the last years of his prolific career.

The mosque sits within a spacious courtyard, accessed by two gates from the main street. The courtyard still preserves its serene atmosphere, with old trees enclosed by garden walls, an imam's room to one side, and ablution facilities including a rectangular şadırvan (fountain) supported by four columns at its centre. To the rear lies a small cemetery. The tomb of Ramazan Efendi, adjoining the mosque at the left of the entrance, houses his sarcophagus along with those of seven other individuals. Above the door, a fine inscription greets visitors, while within the prayer hall, the sacred atmosphere is enriched by architectural and decorative details that reflect Sinan's hand.

The building, originally with a single minaret and pitched roof, has undergone several restorations across the centuries. Notably, the renowned Ottoman composer Hammamizade İsmail Dede Efendi (1778–1846) is said to have contributed to one of its repairs. Inside, the mosque is distinguished by its marble mihrab and minbar, framed by striking 16th-century Iznik tiles, though many elements of the original design have unfortunately not survived intact. The wooden flooring and ceiling, with painted square patterns, create a warm contrast to the marble and tile. High windows arranged in tiers allow light to filter into the rectangular prayer hall, while Qur'anic calligraphic panels bearing the names of Allah, Muhammad, and the first imams and caliphs — Abu Bakr, Umar, Uthman, Ali, Hasan, and Husayn — decorate the upper walls.

The interior ambiance is enhanced by large candlesticks flanking the mihrab and a heavy chandelier suspended in the centre of the sanctuary. A wooden preacher's platform stands to the left, while the muezzin's chamber and entrance to the minaret are located on the right. Stairs from the portico lead to the upper gallery, which once provided space for additional worshippers. Despite visible cracks in the walls, the mosque continues to serve as a place of prayer and remembrance.

Ramazan Efendi Mosque is often overlooked in favour of its larger neighbour, the Sümbül Efendi Mosque, formerly the Monastery of St. Andrew in Krisei, which lies just 300 meters to the southwest, in the Sümbül Efendi neighbourhood. Yet, together the two form a unique architectural and spiritual pairing: one rooted in the conversion of a Byzantine monastery, the other a late masterwork of Sinan enriched by Ottoman Sufi tradition. For visitors exploring Silivrikapı, the Ramazan Efendi Mosque offers a quieter, more intimate encounter with Istanbul's layered history, where faith, art, and memory remain intertwined.