Spolia Use in Murad I Hüdavendigar Mosques in the Çanakkale Region

The mosques built in Çanakkale and environs under the commission of Murad I Hüdavendigar or under his name during his reign are referred to as Hüdavendigar mosques. Of these structures, while Behramkale Hüdavendigar and Tuzla Hüdavendigar mosques have survived to the present day, Umurbey Hüdavendigar and Gelibolu Hüdavendigar mosques have undergone restorations, were rebuilt and thus have lost their original properties, with only their names remanining unchanged. Gelibolu Hüdavendigar Mosque was completely rebuilt in the 19th century and Umurbey Hüdavendigar Mosque was similarly rebuilt in the 20th century. Archival data and the spolia materials present in their current state were examined in an effort to obtain information regarding the spolia use in their original architecture.

Keywords: Çanakkale, I. Murad Hüdavendigar, mosque, reused material, spolia The aim of this article is to identify the spolia materials in the mosques that bear the name of Murad I Hüdavendigar in Çanakkale and environs and to examine them within the overall context of the structure and the period. This article aims to question functions and the lovations of the spolia. Some mosques built by Murad I Hüdavendigar (r.1362-1389 or dedicated to his name in various settlements within Osmanlı (Ottoman) Beyliği in the second half of the 14th century are commonly referred to as Hüdavendigar mosques:Hüdavendigar Mosque, madrasa, mausoleum, school, tabhane (guesthouse) and zaviye (small Islamic monastery) in Bursa; Hüdavendigar Mosque and alms house in Edirne; Filibe Hüdavendigar Mosque, Gönen Hüdavendigar Mosque, İpsala Hüdavendigar Mosque, İştib Hüdavendigar Medresesi (Madrasa), Karacabey Great Mosque, Keles Hüdavendigar Mosque and Baths, and Niş Hüdavendigar Mosque. In Çanakkale region, there are mosques commissioned by or dedicated to Murad I Hüdavendigar in Behramkale, Tuzla, Gelibolu and Umurbey.
Eyice refers to these structures which do not have much architectural significance or are ambiguous in terms of their authentic artistic identity due to many alterations they have undergone in time, as works of the first period of the Ottomans 3 . These works which are examples of Early Ottoman Architecture outside of Bursa and Iznik, are important in understanding spolia use in Early Ottoman Architecture. In this study, spolia use in structures called or commonly referred to as Hüdavendigar Mosque within Çanakkale provincial borders are examined. For the structures which have not survived in their original states, information and visuals from sources are included for the sake of the comprehensiveness of the study.
Kinney defines spolia as follows: "…the captured weapons of the enemy and broadly all kinds of spoils of war appear to involve the hermeneutical metaphor of "propaganda"; spoils by definition indicate the triumphant and it can be easily understood that the user of artistic spolia aims to declare their triumph in terms of period, culture or honour over the people that the reused works originally address 11 ." Brenk defines spolia in modern terms as the reuse of remaining pieces from ruined buildings in a different building 12 .
Tanyeri-Erdemir indicates that spolia use can be practiced in many different manners and dimensions from reusing a motif to rendering existing works fit for different purposes and the reuse of architectural elements in completely different contexts 14 .
In the framework of architectural history, spolia is the reuse of a structure or a structural element from the same period or a previous one, from the same culture or a different one, in a different structure with a different or a similar function, for aesthetic and ideological reasons.
Dense spolia use is observed in the works of Osmanlı Beyliği (Ottomans) and Saruhanoğulları, Aydınoğulları and Menteşeoğulları Beyliks (small principalities ruled by beys), collectively referred to as Western Anatolian Beyliks. Another one of the Western Anatolian Beyliks is the Karasi Beyliği founded by Karasi Bey on the Byzantine lands in Balıkesir and its environs 15 . As no architectural work of the Karasi Beyliği, which extended its borders to include the Çanakkale region as well, survives today, the earliest known Turkish-Islamic works in the area are from Osmanlı Beyliği.

Paul
Wittek creates an Ottoman foundation myth over the "gazi" (holy warrior) ideal, generating a rather influential thesis: Ottomans were not simply a tribe but rather the union of the Turks in that region around the idea of "gaza" (jihad, holy war) that originated in the warrior people under the status of "uç beyi" (margrave, or frontiersman) at the Byzantine border 21 . On the other hand, Kuban argues that the holy warrior thesis is not an satisfactory explanation for the Turkoman communities of the time, stressing that the Turks were actually rather mingled with local communities in Anatolia, and while there were Muslims within the local people, the children of Christian women constituted the majority of the urban population and mixed-faith families were also present; not to mention there were Christian soldiers within the Osmanlı Beylik. On this basis, he asserts that it is a rather reductionist and idealistic narrative to consider the society as a group that fought solely for religion (jihad) 22 .
Heath W. Lowry also argues that the Ottomans were not a state dedicated to the concept of gaza (jihad) with the seminal desire to spread Islam, and that their warriors were not necessarily committed to such an ideal. In fact, he maintains that a large number of them were not even Muslims, and that their actual goal was instead booty, plunder and slaves 23 .
According to the foundation certificate-charter of 1385 where the sultan is mentioned with attributes such as "emîr-i kebîr-i a'zam, melikü mülûki'l-Arab ve'l-Acem", he commissioned the Hüdavendigar Complex in Bursa Çekirge, made up of a mosque, a madrasa, an almshouse and a guesthouse, as well as the Hisar Mosque next to the palace in the Bursa fortress and a mosque each in Bilecik and Yenişehir. He also commissioned an almshouse in his mother's honour in 1388 in İznik. Upon the conquest of Edirne, he transformed the church inside the fortress to a mosque (Halebî/Ayasofya Camisi). He also commissioned the building of a palace in Edirne in 1369 24 .

Behramkale Hüdavendigar Mosque
The construction date of the structure which is placed on top of a high rock mass to the north of the Acropolis in the village of Behramkale, in which the ancient city of Assos is also found, is unknown as the epitaph is missing 25 .
The holy war ideology in the foundation years of the Ottoman Empire and Paul Wittek's holy warrior thesis is discussed in Heath Lowry's The Nature of the Early Ottoman State (Erken Dönem Osmanlı Devleti'nin Yapısı). 22- Doğan Kuban, Osmanlı Mimarisi, Yem Yayınları, İstanbul, 2007, p.33. 23-Lowry, Erken Dönem Osmanlı Devleti'nin Yapısı, 2010, p. 47. 24-Murad I, Halil İnancık, TDVİA, Volume 31, 2006, pp. 156-164. 25-Behramkale Hüdevangidar Camisi, Ali Boran, TDVİA, Volume 18, 1998 Yenişehirli notes that the dates of the Ottoman structures in the region suggest that the Ottomans arrived in Ezine during the reign of Orhan Gazi and that it can be accepted that Ezine became Ottoman soil when the lands of Karasi Beyliği were given to Orhan Gazi, while the dates suggest that the majority of the Ottoman buildings in the region to the south of Ezine were built in the time of Murad I. 26 Boran suggests that absolute Ottoman dominance in the region was achieved in the time of Murad I and since as sources show that the construction work in the region began with the spoils of the Battle of Sırp Sındığı in 1365, it can be assumed that Behramkale Hüdavendigar Mosque was built in the years after 1365 27 .
The mosque has a sanctuary with a square plan with dimensions 10,76 x 10,76 m and is covered with a low dome with Turkish triangles as the transitions in the corners. The dome, which is settled on an octagonal pulley on the outside, is covered with plain tiles. There is a three part narthex with closed sides in front of the sanctuary. The narthex is covered with a plain roof on the outside, while on the inside it is covered with a barrel vault in the middle and two small domes with pendant transitions. The narthex, which opens to the outside with three pointed arches, the middle one of which is higher and narrower, is also connected to the sanctuary with two round arches 28 . Batur notes that the windows arewith full circle arches of Byzantine origin 29 . Kuran hypothesises that the mosque might be built over a Byzantine church with a Greek cross plan 30 . Batur marks the possibility of a wall made in the Ottoman period with old materials according to the local methods, perhaps by local craftsmen, with the difference in technique on the upper section of the wall suggesting a Byzantine-Ottoman composite, while also noting that the wall might be the result of a much later restoration 31 . One of the reasons Kuran dates Edirne Yıldırım Mosque to the period of Murad I Hüdavendigar is the vertical brick use in Bursa Hüdavendigar Mosque. On the other hand, Batur argues that the vertical brick use is not a practice common to all the structures from Murad I's reign, indicating as examples the walls remaining from the first construction of Şehadet Mosque (1365), Koca Naip Mosque and particularly Nilüfer Almshouse which is definitely known to be built in the time of Murad I Hüdavendigar. The fact that vertical brickwork is used more regularly in the stonemasonry of the upper floors of Behramkale Hüdavendigar Mosque, known to be built during the time of Murad I Hüdavendigar, with the use of spolia cut stone and spolia architectural elements and pieces in the lower floors, suggest 26-Filiz Yenişehirlioğlu, "Tuzla'da Hüdavendigar Camii", Rölöve ve Restorasyon Dergisi, Issue 6, Ankara, 1987, p. 5. 27-Behramkale Hüdevangidar Camisi, Ali Boran, TDVİA, Volume 18, 1998 that the walls of the structure might belong to different periods. Batur writes that stones of two different heights create an alternate structure in the system of '3/1' 32 . However if the building does indeed have connections to Byzantine Era and before, this would be revealed by archeological surveys within and around the structure.
Hüdavendigar Mosque is almost completely constructed with spolia from the Antiquity and the Byzantine Era 33 . Goodwin marks that just as Aydınoğulları used the marbles of Miletus when building the Balat İlyas Bey Mosque, ruins of Assos monuments were used in the Behramkale Hüdavendigar Mosque 34 . When the Early Ottoman structures in İznik are considered, despite being on top of ancient settlements, alternate masonry was preferred in large part; as in the case of Hacı Özbek Mosque (1333/1334), Nilüfer Hatun İmareti (1388), and Mahmud Çelebi Mosque (1442), Şeyh Kutbuddin Mosque (1496). However, face stone is used in İznik Green Mosque (1378Mosque ( -1391 35 . In the case of Behramkale Hüdavendigar Mosque, the use of rubble brick alternate masonry as well as that of face stone can be considered rather as a matter of endower or builder preference beyond the relationship of the building to the ancient settlement. In Behramkale Hüdavendigar Mosque, decorated spolia materials within the narthex portico columns, the lintel of the entrance and the main outer walls are remarkable. The decorated marble spolia pieces used in the Western façade can be considered the preference of the architect or the endower rather than a consequence of functional convenience, or of time contraints and economic concerns. Given that the undecorated pink andesite spolia block stone can easily be procured from the nearby ancient city of Assos, the spolia use of Middle Byzantine balusters (Figures 1-2) and decorated and profiled architectural marble blocks and pieces  indicate that these spolia are used in a particularly overt fashion.
Marble architectural element with circular design (Antrolaq) used in the stonemasonry of Behramkale Hüdavendigar Mosque is a Middle Byzantine Era templon architrave by its original function. (Figure 6) The use of decorated spolia as as pure decoration or as the product of an aesthetic concern, despite appearing to be filler material within brick and stone alternate masonry in Beylik Era, is exemplified in the entrance façades of Manisa Revak Sultan Mausoleum (1371) and Yedi Kızlar Mausoleum (second half of the 14 th century), which are Sarukhanid 32-Batur, "Osmanlı Camilerinde Almaşık Duvar Üzerine", p.181 footnote 46. 33-Robert Ousterhout, Bizan'ın Yapı Ustaları, Küy Yayınları, İstanbul, 2016, p. 160. Robert Ousterhout, "The East, the West, and the Appropriation of the Past in Early Ottoman architecture," Gesta 43/2, pp. 165-176, 2004, p.168. 34-Godfrey Goodwin, Osmanlı Mimarlığı Tarihi, Kabalcı Yayınları, İstanbul, 2012. 35-Aslanapa writes that İznik Yeşil Mosque (1392) is a transitional structure towards Ottoman architectures, which is perceived to be born out of Seljuk architecture. He adds that Milas Firuz Bey and Balat İlyas Bey mosques have influenced the architecture of the mosque and that all columns and decorations are original with no spolia use.
Oktay Aslanapa, Osmanlı Devri Mimarisi, İnkilâp Kitabevi, İstanbul, 1986, p.5. structures. The use of spolia with aesthetic concerns within the masonry almost like it were a decorative jewel can be the choice of the endower or the architect. Within the main outer walls of Menteşeoğulları period Milas Ahmed Gazi Mosque (1378), composed of spolia face and rubble stone masonry framed with bricks, decorated spolia pieces are densely used as decoration. The epitaph of this mosque bears the attribute sultan muluk al-'arab wa'l-'ajam, ghazi Ahmed Beg (Gazi Ahmed Bey, the King of the Arabian and Persian Kings) 36 . The application in this structure can be interpreted as an indicator of the endower's identity as a warrior of faith and a mark of his conquest. The use of decorated pieces on the side of Behramkale Hüdavendigar Mosque observed when approached from the direction of the village can be interpreted as a conscious choice and a message delivered through visual perception and as an indicator of the conquest.
The use of spolia lintel, column capitals and the block stones in the main outer walls may have allowed for the construction period to be shorter and the building to be more economical. The lintel used on the inside of the entrance is of Middle Byzantine Era ( be explained as the choice of the endower and the architect. The overt use of architectural elements from previous periods in the entrance of the buildings can be interpreted as the symbols of conquest of the Saruhan, Aydın 40 , and Ottoman beys who particularly stand out with their 'warrior of faith' identities. Door frame of the entrance is repurposed from Byzantine Era St Cornelius Church 41 ( Figure 11). Despite Christos (Christ) monogram composed of the letters c (chi) and r (rho) on the lintel, it was used as spolia in a mosque, that is a religious structure, and indeed one commissioned by a warrior of faith 42 43 . Ousterhout is of the opinion that as Byzantine building masters worked on Early Ottoman buildings, it is only natural for spolia use which was the central decorative element in Late Byzantine structures, to continue in the Ottoman period as well 44 . There are also opinions other than those that maintain the spolia use in Ottoman architecture generates a synthesis with Byzantine architecture. Görkay stresses that while it is possibly simply an ironic coincidence that an architectural element with a Christian religious symbol was used as spolia during the time of Murad I, or that these were mere "decorations" for the endowers of the mosque, or maybe that this could even be a trick played on Murad Gazi by the Byzantine building masters, it should also be taken into account all the same that such a striking and surprising lintel choice could be intentional and significant 45 .
Considering Murad I Hüdavendigar's mother was of a Byzantine Christian past, the possibility of a trick by the Byzantine building masters or that of warriors of faith who dedicated their lives to conquering Byzantine lands and overthrowing the Byzantine state, to be careless with Byzantine and Christian identities and their symbols in religious architecture seem unlikely 46 .
Bearing in mind the political and military relations with the Byzantine Empire in the period under Murad I, it is more appropriate to think of the overt choice of spolia above the entrance more in terms of the spolien -spoils of war approach rather than that of an aesthetic one. This overt choice of spolia is the indicator of the Muslim Gazi / Ottoman Bey who conquered the lands of a Christian Byzantine people. Here I would like to emphasise that apart from its functional and aesthetic use, spolia was also used as an indicator of power from Anatolian Seljuk period onwards. The clearest example of this is the spolia statues and spolia materials used overtly and densely around the gates which were built in 1219-1221 in the Konya fortress during the reign of Alaeddin Keykubad and were used in the ceremonies (such as "istikbal"/future) organised to welcome diplomatic visitors 47 .
The use of figurative images in the fortress walls had conjured up both shock and awe in those who saw them. Yalman marks that here the aim is perhaps to create a sense of admiration for the leader 48 . He also notes that there can be a apotropaic reason for the placement of a figurative tombstone, a tablet with a cross design (an Armenian "haçkar", "cross stone") and an epitaph tablet in Greek all found within the wall of Zazadin Han (1235-1236) within a few meters of each other 49 , adding that it is also likely that during the efforts to establish the city, Keykubad simply destroyed or modified any Byzantine spolia material he came upon, considering them spoils of war (spolia) or signs of victory 50 .
In addition to the load bearing, aesthetic and symbolic uses of spolia, McClary suggests that in Seljuk Era, besides being considered as a functional and practical solution, columns, column capitals and other load bearing elements were also used with talismanic purposes and presents the spolia used in the façades of Güdük Minare Mosque (1226)

Tuzla Hüdavendigar Mosque
There are also works attributed to the name of Murat Hüdavendigar in the village of Tuzla (Kızılca Tuzla with its older name), approximately eight km from the seashore within the Ayvacık jurisdiction of the district of Ezine in Çanakkale. 52 The mosque, the madrasa and the small public baths suggest that Tuzla was once an important and 47-Scott Redford, "The Seljuqs of Rum and Antique", Mukarnas, Issue 10, pp. 148-156, 1993, p.154 populous centre 53 54 .
The research carried out by Ayverdi in the foundations records and on location shows that the construction of a small complex composed of a mosque and a madrasa 55 in the village was commissioned by Murad I Hüdavendigar. The four line epitaph in Arabic above the door mentions that the construction of the mosque was managed by Emîr Hacı bin Süleyman from beginning to end on the orders of Sultan Murad in April and May 1366 56 . Accordingly, it is built in the first years of the reign of Murad I as the leader of the Ottoman Beylik and it is there of one of the first works of Ottoman Era Turkish architecture 57 .
The sanctuary of the mosque has a rectangular plan rather close to a square with the dimensions 12,22 x 13,90 m and is covered with a dome of 12 m radius. In the north of the sanctuary, there is a narthex with a hipped roof supported by masonry pillars 58 . This considerably large sanctuary is covered with a dome without a pulley, which is clad with roof tiles on top and has pendant transitions. This illustrates the significance of domes in Turkish architecture even in a relatively early period. The dome is supported by four large round arches that start from the ground level and are prominent on the surfaces of the walls. The square base of the minaret on the left as well as the section of transition to the shaft, which is composed of prismatic triangles, are original. The minaret of face stone with a cylindrical body is added in the restoration of 1968. In front of the main space, there is a three-part narthex of roughly 5 metre depth. The narthex, the gaps within which were covered by bonding at some point, was tranformed back into its original state during the restoration in 1968, when it was covered with a roof with a wooden ceiling based on the beam marks on the sanctuary wall 59 (Figures 12-13).
As with Behramkale Hüdavendigar Mosque, Küskü explains the dense use of spolia stone materials in the outer main walls of Tuzla Hüdavendigar Mosque, with the proximity to ancient city remains which offer easy access to spolia materials 60 . It is supposed that these spolia might be brought over from the Apollon Smintheus (Apollon the Lord of Mice 61 ) sanctuary in the village of Gülpınar, 6 kilometres away from the village of Tuzla. period under Murad I. Along with these, it is observed that spolia columns or column capitals were not used in the narthex of Tuzla Hüdavendigar Mosque. The proximity of the building to settlements from the Antiquity and the in-situ columns and column sections around the structure itself 62 suggest it is a conscious choice not to use spolia columns in the narthex (Figures 13-14).
As the in-situ architectural elements from the Antiquity and the Byzantine Era and the spolia materials used within the alternate masonry of the main outer walls were covered when we visited in April 2019 for restoration, we were not able to identify all of the spolia mentioned in previous studies 63 . Within the main outer walls, a section of a marble architrave block 64 , a section of a marble architrave block with the decoration of two peacoks facing each other 65 are used. A column capital is placed upon the keystone of the eastern façade window arch 66 (Figure 15). This spolia use within the main outer walls resembles the use of decorated architraves, pilasters and column capitals within the alternate masonry of the main outer walls of Milas Ahmed Gazi Mosque (1378). Considering the gazi -warrior of faith -attributes of the endowers of both buildings, these spolia choices might be interpreted as indicators of power.
In the door frames and the lintels, spolia block stones both with and without profiles are used with functional purposes (Figures 16-17). A section of a marble baluster block is used as window frame 67 (Figure 16).
Right below the epitaph on the door of the sanctuary which declares the commission of Murad I, a section of a Hellenistic cornice block with Ionic cymatium is used ( Figure  18). Görkay states that the spolia cornice used as the lintel of the sanctuary door is taken from the ruins of the Apollon Smintheus temple 68 (Figure 19). It is more appropriate to attribute the preference for this decorated piece to aesthetic concerns rather than to functional convenience, construction times or economic reasons. The overt use of spolia on the entrance of the building must be the choice of the endower or the architect.
Byzantine Era spolia templon barrier slabs were used to fully cover the floor of the narthex of Hüdavendigar Mosque 69 (Figures 20-25). Görkay marks that in this mosque, spolia materials are used in the most visible locations and outside of their architectonic positions and that the narthex was covered with architectural elements of various types 70 . We also the use of spolia outside of its original function in Beylik Era structures as well 71 . While the spolia lion statue on the south-east corner of Birgi Ulu Mosque built by Aydınoğlu Mehmed Bey in 1312 is a Western Anatolian pagan work, it is the same lion motif that goes back to the very old traditions of the Near East, that have passed on to the Islamic culture from the Sasanid culture in both symbol and stylisation 72 . In Peçin, it is stated that a spolia ambon piece 73 was placed on each corner of the door lintel of the Orhan Mosque built by Menteşeoğlu Orhan Bey in 1335 in his own name 74 75 , with spolia marble pieces found on the floor of the sanctuary as well 76 . In addition, decorated spolia marble pieces are used in the floor of the sanctuary as well 77 . Around the entrance to the mausoleum inside the madrasa section of the complex built by Saruhanoğlu İshak Çelebi in Manisa (1366-1378), knotted columns from Byzantine religious architecture were used and a column capital with a cross motif was used in the madrasa 78 . The distinct preference for spolia in the structures of Western Anatolia beys from Byzantine Era and previous times, can be interpretred through their gazi attributes, as warriors of faith.
While the visible use of decorated and patterned slabs as flooring in the narthex can be the result of an aesthetic concern, it can also be an indicator of the gazi identity of Murad I Hüdavendigar and the Ottoman dominance in the region.

Gelibolu Hüdavendigar Mosque
The name of Gelibolu in Byzantine Era is mentioned as Kallipolis 79 or Gallipolis 80 . become Ottoman soil 81 . Under Ottoman rule, Gelibolu became an important base of operations for raids to Thrace and the Balkans, in fact becoming the centre of the first Pasha Sanjak 82 . On 13 August 1366, it was captured by the Crusaders 83 and left to the Byzantine Empire. Under Murad I, it was taken back into Ottoman rule, indisputably, in 1376 84 . The city then quickly became the main naval base and the base for the admiral in chief for the Ottomans, and developed rapidly thanks to its commercial activity in addition to its military significance. 85 Evliya Çelebi speaks of Gelibolu with the words "This being the second place of the throne for the first time after Bursa, Gazi Hudâvendigâr had issued a coin here, and our deceased great mother would keep the quarter dirham fifty akçe saying "Murad Bey may his helpers be plenty, Gelibol"". 86 He continues his account with the mosques of Gelibolu noting "there are mosques of viziers like the mosque of the sultan," "Firstly there is the Sultan (─) Han mosque within the fortress…" 87 . He mentions the Hüdavendigar Mosque as Sultan Han Mosque, however does not reveal any details about the building.
One construction and two repair works on Gelibolu Hüdavendigar Mosque are attributed to Gazi Süleyman Paşa on the epitaph. However in the foundation records of Süleyman Paşa the building is mentioned as Hüdavendigar Mosque 88 . Ayverdi notes it is possible that Süleyman Paşa built a small mosque within this important fortress he conquered just as he built mosques in many other places and that this grand mosque was commissioned later by Hüdavendigar. Therefore the structure is a Hüdavendigar work 89 . The building is also known as Gazi Süleyman Paşa Mosque and Ulu Cami (Great Mosque).
The building was repaired in 1677 and then was completely renovated in 1889 to its current appearance 90 . According to the accounts of Castellan who passed through Gelibolu For detailed studies on Gelibolu and the Gelibolu Fortress in the Byzantine Era, see Ayşe Çaylak Türker, "The Gallipoli ( towards the end of the 18 th century, Ulu Cami was a structure with nine domes 91 ( Figure  26). Based on this description and the corresponding etching, it can be extrapolated that the structure resembled other buildings with a multi-domed plan like Bursa Ulu Cami and Edirne Eski Cami 92 . Ayverdi states thataccording to the etching, it has a plan of a nine domed building over four piers, in the multi columned plan known as "ulu cami type", that the "triple windowed" part shown with additions on the etching in the north west of the mosque are the expanded section noted in the repair epitaph of the mosque and that the windows in the actual mass are individually placed, while the mosque does not have a portico 93 . Ayverdi marks that in his text, Castellan notes that while the plan of the mosque is neat and regular, it is rather bizarre and against all principles of architecture and good taste in its façade decoration, then that the landing reached by twelve steps is covered with a heavy and particularly expansive eaves; that there is a gilded and embossed epitaph on the middle one of the three doors of the building, that the inner space was illuminated through three windows and the domes were based on various rows of piers 94 .
Today, on the plate at the entrance of the building, it is written that it was commissioned by Sultan Murad Han in 1385, that its architect was Çandarlı Kara Hayrettin Paşa and was renovated in 1676-1891 and in 2006. It is stated that in the restorations ordered by Sultan Abdülhamit Han in 1891, arched entrances were added upon columns in front of each of its three doors. In addition, it is also written that this is the first mosque built in Europe, and that it is a mosque of conquest.
The mosque is a rectangular building with a hipped roof, 31.50 x 26.20 m in dimension supported by eight piers on the east west axis 95 . Ayverdi notes that a section was added to the western façade during the expansion of the mosque, that it is possible that it was built upon the foundation of a previous mosque and that the first structure might have been built with domes of 6.5 m radius 96 . The minaret is on the eastern façade. The mosque, which does not have a narthex, has three entrances in eastern, western and northern sides. These entrances were defined with entry eaves supported by arches settled on two spolia columns ( Figure 27). Spolia columns and column capitals are used in the entrances, which are repaired on the orders of Sultan Abdülhamit Han as stated above. Ayverdi marks that the original building also had three entrances. Is it possible that these spolia pieces were also used in the original version of the building? Considering its similarities to Bursa Ulu Camisi and Edirne Eski Camisi, it could be extrapolated that these columns were originally used in the sanctuary.
On either side of the western entrance of Hüdavendigar Mosque, spolia granite columns, 5 th century Byzantine Era Corinthian marble column capitals 97 and a marble column base are used in a symmetrical order 98 . In the part where the arches supported by the columns settle on the main outer wall of the mosque, spolia column capitals are used embedded in the wall ( Figure 28). The grey veined marble monolithic column to the left of the northern entrance and the marble column base, which is partly buried in the ground are spolia 99 . To the right of the entrance, the same type of capital and base are used together with a monolithic granite column. In the section where the arches supported by the columns are settled on the main outer wall of the mosque, the same capital is used embedded in the wall (Figure 29). On each side of the eastern entrance, monolithic green brecia spolia columns are used symmetrically, along with marble capitals from the same set as the ones around the northern entrance and marble column capitals 100 . As with the others, the same type of column capital is used embedded in the wall on the section where the arches supported by the columns are settled on the mosque's main outer wall ( Figure  30). The capitals used in northern and eastern entrances are dated to the 19 th century 101 . 97-These capitals were dated to Byzantine Era by Türker. Türker, "Byzantine Architectural Sculpture in Çanakkale", pp. 319-320, 622. 98-These capitals were dated to Byzantine Era by Türker. Türker, "Byzantine Architectural Sculpture in Çanakkale", pp. 281, 600. 99-These capitals were dated to Byzantine Era by Türker. Türker, "Byzantine Architectural Sculpture in Çanakkale", pp. 279-280, 598-599. 100-These spolia capitals and column bases were dated to Byzantine Era by Türker. Türker, "Byzantine Architectural Sculpture in Çanakkale", pp. 279, 599. 101-Our opinions about this point were confirmed by the opinions of Doç. Dr. Ahmet Oğuz Alp as well. These capitals were dated to Byzantine Era by Türker.: "Byzantine Architectural Sculpture in Çanakkale", pp. 309, 322, 624.
However, the fact that there are no abrasions or fractures in the capitals as well as their neat workmanship, almost like the work of a template, suggest that they were purpose built for the building. Kalathos height indicates that the capitals were completed. The shape of the splay and the clamp sections at the corners of the star-like abacus of the unadorned, sylised Corinthian capital is not in accord with the Byzantine examples. These features indicate a similarity to the 19th century column capitals.
The garlands that grow out of the volutes on the stylised Corinthian column capital evoke the capitals in the book called "Livre de Desseins des Cheminèes" (Index No. H2606) found in the Topkapı Museum Library, containing Rococo and Baroque decorative samples brough from Europe. The emphasis on the garlands bears resemblance to the garland use on 19th century Beaux-Arts and Neo-Classical façades. (Alkım, "Vallaury'nin Klasisist Cephe Tasarımları", Geç Osmanlı Döneminde Sanat Mimarlık ve Kültür Karşılaşmaları, Yayına Hazırlayan Gözde Çelik, Türkiye İş Bankası Kültür Yayınları, İstanbul, 2018, pp. 193) Garland use was influential not only in architecture but also in furniture design. The use of this design is also seen in the examples provided by Feryal İrez in her book titled "19. Yüzyıl Osmanlı Saray Mobilyası" (19th Century Ottoman Palace Furniture). Particularly on the 19th century Louis XIV style writing table designed in the Boulle technique at the entrance of the Somaki room in Dolmabahçe Palace, which is decorated with Rococo furniture, the garland motif emerging from volutes was used. (Feryal İrez, 19. Yüzyıl Osmanlı Saray Mobilyası, Atatürk Kültür Merkezi Yayınları, Ankara, 1988, pp. 61-62, Figure 42) There is no known source in the Gelibolu region for the green brecia (verde antico) spolia columns used in the Eastern entrance. The green brecia used in Western Anatolia in Antiquity are of Thessalian origin 102 . As they were used as spolia in Byzantine buildings later on, the green brecia spolia columns used in Hüdavendigar Mosque can also be of Thessalian origin. It is known that the green brecia spolia columns used on the eastern entrance are not from the Gelibolu or environs, and that they were also used as spolia in Byzantine structures and where are from the Thessaly region of Greece. While a significant symmetry is observed in the materials as well as the style and the dimensions of the spolia columns and column capitals used around the eastern and western entrances, in the northern entrance, which leads to the "hünkar mahfili" (the prayer hall of the sultan), a marble column was used on the left and a granite one on the right; that being said, although the column bases are not seen clearly due to the raised floor, the column capitals belong to the same set.
In the garden of the mosque, a Roman Era sargaphogus 103 is displayed ( Figure 31). The rosette in the centre of the longitudinal face of the sarchopcophogus 104 , which is from Prokenessos-Marmara Island marble suggests that the sarcophogus was also used in the Middle Byzantine Era 105 . In addition a similar sarcophagus is exhibited in the green area at the harbour. For the definition of verde antico and its description -that it can be easily identified thanks to the white marble, dark green, and the pale greyish green serpentine shapes within its bright green colour and numerous large pieces -as well as

Umurbey Hüdavendigar Mosque
Umurbey, or Burgaz, Çatal Burgaz or Lapseki Burgazı with its older names 106 , lies between Çanakkale and Lapseki, and is developed on top of the ancient city of Perkote 107 . The region, which is thought to be conquered by Karasi Beyliği in the 14 th century, was integrated into Ottoman lands by Orhan Gazi 108 .
UmurbeyHüdavendigar Mosque, built by Murad I Hüdavendigar, was demolished in 1990-1996 and a large mosque with two minarets and a central dome was built in its place 109 . We learn from Osman Uysal's article that a report dated 04.08.1977 and understood to be prepared by Çanakkale and Troy Museum assistants upon the request of Umurbey Municipality to demolish the existing building and to construct a new mosque in its place, is found in the archives of the General Directorate of Foundations. Uysal mentions the report and the relevant developments as follows 110 : "…it is stated that the mosque has lost its historical property qualities with the restorations carried out in 1917, 1920 and 1960, that the inside walls are covered with new tiles up to 2 m height and that the minaret was renewed almost right from the foundation. After it is recounted that four columns from the Antiquity, one Byzantine column capital, three Ottoman column capitals and one Corinthian column base are found in the building, it is once again emphasised that the structure has lost its historical property qualities, noting that it is not therefore possible for it to be restored by the Ministry of Culture. In return, the experts from the General Directorate of Foundations have compiled a report which did not approve the demolishing of the building and the construction of a new mosque in its place as the building does indeed have historical properties." Cultural and Natural Heritage Conservation Board of Edirne had examined the document number 395, dated 20.02.1986 by Çanakkale Governership Provincial Directorate of Culture and Tourism and its annexes; and decided with the decree number 53 dated 01.07.1988 on "The identification and confirmation of Gazi Hüdaverdigar Mosque as a religious structure to be protected, a 1/50 scale survey and restoration projects and the landscaping to be prepared and presented to our institution for approval" 111 . 106-Ayverdi, "İstanbul Mimarî Çağının Menşe'i: Osmanlı Mimarisinin İlk Devri", p. 358. 107-Veli Sevin, Anadolu'nun Tarihi Coğrafyası I, Türk Tarih Kurumu Yayınları, Ankara, 2019, p. 71-72. Ali Osman Uysal, " Lapseki'nin Umurbey Beldesinde Osmanlı Devri Yapıları", Sanat Tarihi Dergisi Volume: XXI, Issue: 1, 2012Arslan, Nurettin, "2007Yılı Lampsakos/Lapseki, Abydos ve Çan Yüzey Araştırması", 26. Araştırma Sonuçları Toplantısı (26-30 Mayıs 2008, Ankara), C.1, Ankara, 2009, p. 335. See also Strabon, Geographika, Çeviren Prof. Dr. Adnan Pekman, Arkeoloji ve Sanat Yayınları, İstanbul, 2009  Upon the continuing demands for the building's demolishment, in their session dated 30.06.1989, the Board of Edirne decided to study the building on location. In their session dated 30.09.1989, the board decided that the issue could be discussed again upon an application to the General Directorate of Foundations, who are the owners of the property 112 . The report by the General Directorate of Foundations dated 29.05.1990, number 90, was read, its annexes were studied and as a result of the discussions it was decided that on 13.06.1990 the structural elements of the mosque that need to be protected should be examined by the Museum, that they should be relocated and conserved where necessary, that the structural and façade features of the present mosque should also be represented in the planning of the new mosque and that the project should be submitted for the approval of the Board of Edirne.
Uysal marks that in a report by the General Directorate of Foundations from 1992, there is a mention of the lead cladding of the domes of the new mosque to be provided by the institution 113 . It is understood from the sign placed on the façade of the new mosque that the construction was completed between 1990-1996.
In the Cultural and Natural Heritage Conservation Inventory of the General Directorate of Ancient Arts and Museums, it is mentioned that the mosque which has three naves and was constructed by means of extensions to an existing Byzantine church, has a tiled roof and windows with slightly pointed arches, and that there are columns and column capitals from previous eras present in the mosque 114 .
Having had the chance to see the building prior to the complete rebuilding, Ayverdi states that the mosque was 12,35x11,40 m in dimensions, covered with a roof, had 80 cm thick walls with a Byzantine narthex in the front (Figure 32), He notes that this narthex was included in the sanctuary when the need for an expansion had risen in the 1950s. He writes that the original mosque was built by means of expansion on an existing Byzantine narthex. He mentions that the Byzantine narthex had five arches and four piers with rather ugly capitals and that the green marblepiers were taken from Roman structures 115 .
Having said that, Ayverdi also states that the minaret base has old brick and cut stone and vertical brick supports and it resembles the minaret base of Lapseki Süleyman Paşa Mosque 116 . Uysal notes that in this sense, the minaret base which was bonded with an alternate masonry method can be dated to the Hüdavendigar period 117 . The façades have large round arched windows at the bottom and small circular windows at the top 118 . 115 "İstanbul Mimarî Çağının Menşe'i: Osmanlı Mimarisinin İlk Devri","İstanbul Mimarî Çağının Menşe'i: Osmanlı Mimarisinin İlk Devri","Lapseki'nin Umurbey Beldesinde Osmanlı Devri Yapıları","Lapseki'nin Umurbey Beldesinde Osmanlı Devri Yapıları",p. 133. Uysal marks that the building had an entrance each on the northern and western façades, and that when one entered through the western façade, they faced the Byzantine support system composed of five round arches on four columns, which Ayverdi argues was later included in the sanctuary, and he finally adds that its foundation was probably the narthex of the Byzantine Era church 119 . The rest of the sanctuary is split into three naves with the beams placed crosswise on the two wooden piers. In addition, there used to be the wooden prayer room for women on the north side of the sanctuary 120 .
Based on Ayverdi's observations and Uysal's examination of the archival photographs, Umurbey Hüdavendigar Mosque was a building with a crosswise rectangular plan and a roofed wooden ceiling which was built by utilising the remains of a church.
The column capitals, bases and columns in the old mosque were first transported to the gas station in the district, and was then brought to the Çanakkale Museum of Archeology 121 . Out of these, the slit pyramid shaped column capitals were dated to the Middle Byzantine Era due to their stylistic features 122 (Figure 33 (1378), and the roof is supported by two rows of piers that split the sanctuary into three naves. As these examples illustrate, while the spolia use can be a consequence of the repurposing of a structure, it can also indicate functional purposes based on the plan of the building. It is also possible that the preference for the multipiered plan is itself a consequence of the easy procurement of architectural elements. Concurrently, this preference also involves an aesthetic choice, thereby providing an opportunity to display the material, as seen in Manisa and Selçuk examples as well.
A marble head of a statue from the Late Antiquity or a Roman Era is placed explicitly and symmetrically into the pediment of the rear front of the zaviye -imaret (small Islamic monastery and guesthouse) structure 123 built by the raider Evrenos Gazi 124 who carried out Another warrior of faith who carried out conquests alongside Murad I is Malkoç Gazi. The mausoleum Malkoç Gazi commissioned for his son Mehmed in 1385 in Gebze has not survived. Ergezen marks that the building stones were taken from ruins, and that they bear Byzantine motifs and signs, with signs from Byzantine Era on the epitaph placed between the two arches as well 127 . Ayverdi notes that while nothing can be said for the stones that are not present, it is obvious that the signs on the epitaph are texts in Greek regarding the construction of the mausoleum, and that the writing on the epitaph is not embossed but rather carved in the manner of Roman and Byzantine epigraphs 128 . Halil Edhem Bey affirms that there is an inscription concordant with 15 th century Byzantine Greek script which consists of three sets of letters at the top and two sets each on each side, that lie on the outside of the frame of the marble plate of the epitaph, which together mean "labour master Istafanos" 129 . It can be assumed that Istafanos was the architect of the structure. Ayverdi argues that despite the Byzantine origin of the materials, the structure is in the character of the old Seljuk cupolas.
In the Çanakkale region, the spolia use in the Behramkale and Tuzla Hüdavendigar Mosques and the spolia columns and column capitals observed in the visuals of the original strucutre of Umurbey Hüdavendigar Mosque correspond to the density of spolia use in the Murad I period and the "warrior of faith" character of the endower. Explicit spolia use or rather display as the spoils of war, is also seen in the structures commissioned by the holy warriors of the Murad I period.
Ersen argues that spolia use was widespread in Early Ottoman Architecture, in the structures built in 1300-1350, that it was sparse in 1350-1400 and that as reusable materials diminished, people began to produce original material in their workshops 130 .
Despite this dating by Ersen, use of spolia materials in the time of Murad I Hüdavendigar is also rather extensive as shown above. Bursa Hüdavendigar, Behramkale Hüdavendigar, Tuzla Hüdavendigar, Umurbey Hüdavendigar mosques and the buildings commissioned by gazis attest to this.
Ousterhout states that the Ottomans, upon encountering Byzantine architecture, concevied a "hybrid" architecture 131 with their own architectural traditions. In this new architecture, local Byzantine builders laboured in Ottoman structures; the Anatolian Seljuk traditions were continued in the plan and the bonding systems, while Byzantine techniques were employed in the masonry and the materials. 132 Bursa Hüdavendigar Mosque (1365-1366) shares similarities with Byzantine structures (Figure 36). In addition to the architectural similarities, sources from the period reveal that Byzantine builders were employed in the construction. The practice of picking out the artists from among the prisoners and the mention of an artist named Yanko Madyan supports the suggestion of Byzantine-local craftsmen in the construction 133 . The decoration bears the marks of both Byzantine and Anatolian Seljuk traditions 134 .
Seljuk and Byzantine influences observed in the decoration arethe signs of the political and cultural atmosphere of the Murad I period. The fact that Murad I Hüdavendigar's mother Nilüfer Hatun was a Christion who had later converted to Islam suggests that Murad I was familiar with the Byzantine culture. His conquests in the Byzantine lands and that Byzantine artisans and builders worked in his Ottoman buildings account for the aesthetic reasons for the spolia use.
The case of Bursa Hüdavendigar Mosque raises the possibility that Byzantine local artisans and builders were also employed in the construction of the Hüdavendigar mosques commissioned by Murad I Hüdavendigar in the Çanakkale region.
Spolia use might be an indicator of the strength of the Ottomans and the gazi character of Murad Hüdavendigar. They might have considered the architectural elements from the Antiquity and the Byzantine Era in the ancient cities or the Byzantine structures in the regions they conquered as spoils of war, thereby attaching them to their buildings as indicators of their holy war. The best example of this is the use of decorated and undecorated marble pieces as filling between pink andesite spolia face stones indigenous to the region on the western façade of Behramkale Hüdavendigar Mosque seen when approaching from the direction of the village. On the other hand, the use of a piece from a Byzantine church above the entrance of the structure is a sign of establishing relations with the local people and the use of spolia once again as spoils of war. Some researchers also approach spolia use as a sign of cultural interaction 135 and of tolerance by means of establishing a union of communities through blending the traces of the past with the new culture. As seen in the cases of İznik Orhan Gazi Mosque ve Edirne Murad I Hüdavendigar Mosque where whole churches were repurposed as mosques, the perception of spolia use as an interaction between the cultures of the local Christian Byzantine people and the conquerers is a rather challenging claim for Turkish communities where spolia use was often perceived as a mark of holy war.
The emergence of spolia use is a practice that cannot be reduced simply to functional factors such as the convenience in construction or economic reasons. In this case, for the Ottomans, who ran continuous holy wars and carried out conquests, to convert the churches or old buildings in the regions they have conquered, or to use the existing architectural elements in the region as spolia in their new buildings could be explained as a construction practice. This explanation naturally renders invalid any argument that maintains spolia materials are always used for ideological reasons, "are always significant" or "are of a fixed meaning" 136 .
That being said, the decision to use an architectural element from a different building in a new one and to fashion it as part of the building is also based on aesthetic and ideological concerns beyond functional ones. This is particularly emphasised if the spolia material is decorated. Then the reused material is separated from its own contexts when it changes language, religion, community and politics, thus becoming a part of the new context and the new space 137 .     (2017)