19th-Century Istanbul Through the Eyes of Allom and Walsh: Engravings and an Orientalist Perspective

1830s Istanbul is, in every sense, a city of transition. It has not been long since Sultan Mahmud II abolished the Janissary Corps, and the empire has begun taking rapid steps toward a Western-style model of governance and society. While European travelers observe this transformation with curious eyes, they also do not hide their apprehension about the disappearance of the old visage being left behind. Constantinople and the Scenery of the Seven Churches of Asia Minor, prepared collaboratively by Thomas Allom and Robert Walsh, is a work that emerged precisely to document this moment of transition. Walsh explicitly states this in the preface: While Asia remains unchanged, European Turkey, and particularly Istanbul, has awakened from its centuries-long stagnation and is rapidly Europeanizing. The author worries that the old city of caftans and turbans will soon turn into an ordinary European town; the book is the product of an effort to commit this fleeting appearance to paper.

An Architect’s Test with the East: Thomas Allom

Thomas Allom is a London-born architect born in 1804; his signature can be found on buildings like St. Peter’s Church in Notting Hill. During his journey to the East in 1836-1837, however, he applies his pencil to paper rather than stone. Although he values proportion and geometry with the habit of an architecturally trained eye, this strict discipline is occasionally seen to soften when drawing Istanbul. The misty light of the Bosphorus slightly blurs the sharp lines; the result is a series of landscapes that reflect the atmosphere of the city at that time, rather than a technical architectural plan. In Allom’s engravings, Istanbul is not merely composed of buildings; it is depicted as a city standing on the threshold of change, having not yet severed its ties with its past.

The Author of the Text: Reverend Robert Walsh

The text accompanying the engravings was penned by Reverend Robert Walsh, born in Ireland in 1772. Walsh is a clergyman who lived in Istanbul intermittently between 1821 and 1835, knew the city, but—like many travelers of his era—could not evaluate it outside his own cultural framework. To Allom’s drawings, which are shaped by architectural observations, Walsh adds his commentary written from a Christian and Western perspective. This collaborative work, published by Fisher, Son & Co., became one of the most widely read Ottoman albums of its time.

The Tophane Fountain and the Boats of the Bosphorus

One of the engravings in the book focuses on the Tophane Fountain, dated 1732. Walsh finds it remarkable that small hollows were carved into the stone of the fountain specifically for stray animals and birds to drink from; he records this detail as something done almost with a religious sense of duty. In the same section, the light boats (kayıks) crossing the Bosphorus are also mentioned. These small vessels glide swiftly among large naval ships in the harbor’s busy traffic; they stand out in Allom’s drawing as a simple yet effective detail illustrating the city’s daily dynamism.

mirasium thomas allom 0002 — Based on the drawings of Thomas Allom and the narrative of Robert Walsh, this engraving panoramically depicts the bustling daily life of Tophane Square in 19th-century Istanbul. It highlights the architectural details of the Fountain of Mahmud I, with the silhouette of the then newly constructed Nusretiye Mosque visible in the background. – Source

The Letter-Writer Engraving: The Difference Between Appearance and Reality

The first engraving we selected from the collection is titled Letter-writer in Istanbul. We see a petition-writer (arzuhalci) sitting in a narrow street, probably in the shadow of a mosque courtyard, and a small crowd gathered around him. Walsh’s text interprets this scene as the desperation of a populace that cannot read or write and cannot put their troubles on paper—this is a perspective frequently encountered in the European travel literature of the period, equating the East with backwardness.

mirasium thomas allom 0095 — Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a traditional letter-writer (arzuhalci) serving the public on the streets or mosque courtyards of Istanbul. – Source

However, the profession of the letter-writer in the Ottoman Empire is not merely a compensation for a lack of literacy. The writing styles used in official correspondence, such as divani or rika, have special rules and a heavy terminology that even an ordinary literate person could not easily decipher. The letter-writer is a kind of legal consultant who knows this technical language and builds a bridge between the public and the Sublime Porte (Bâb-ı Âli) or the courts. In this respect, the crowd in the engraving is not desperate, but consists of people who know how to communicate with the state through official channels and are familiar with the system. Walsh’s interpretation remains superficial because he does not understand the institution before him.

The Maiden’s Tower: Two Different Narratives

The second engraving focuses on the Maiden’s Tower (Kız Kulesi, referred to in the book as The Tower of Leander) in the middle of the Bosphorus. Allom successfully conveys the movement of the waves and the struggle of the boatmen. Walsh, on the other hand, immediately connects the name of the structure to the legend of Hero and Leander—however, this ancient story is related to the Dardanelles (Çanakkale Strait) and has no direct connection to the tower in the Istanbul Bosphorus. This is a typical example of the traveler’s tendency to situate the geography he sees within his own cultural references.

mirasium thomas allom 0032 — Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the Maiden’s Tower (Kız Kulesi), the iconic landmark of the Bosphorus, with exceptional vibrancy. – Source

In the Ottoman tradition, the tower carries a different meaning: it is part of a local legend about the impossibility of escaping fate and humanity’s helplessness in the face of divine will. Two cultures looking at the same structure produce vastly different stories—one relies on ancient mythology, the other on a folk narrative themed around submission to destiny (tevekkül).

Yedikule and the “Terrible Turk” Image

The third engraving shows the Yedikule dungeon at the point where the land walls meet the Sea of Marmara. This structure, which also encompasses the Golden Gate of the Byzantine period, is one of the well-known prisons of the Ottoman Empire. Here, Walsh’s text is penned in a language that feeds the “Terrible Turk” image prevalent in the Europe of that era; the fact that diplomats arrested during wartime were held here turns the place into a symbol of injustice.

mirasium thomas allom 0008 — Featured in the 1836 work by Thomas Allom and Robert Walsh, this steel engraving depicts the Yedikule Fortress (Fortress of the Seven Towers), a monumental structure where Byzantine fortifications and Ottoman architecture intertwine. The print highlights the fortress walls and its grand towers, while presenting a vast and panoramic landscape overlooking the Sea of Marmara in the background. – Source

Of course, Yedikule is a prison, and with this identity, it is not an ordinary place. But the detention of diplomats during wartime was a common practice in the international relations of the period and was not unique to the Ottomans. Moreover, by the time Allom and Walsh prepared their work, this practice had already been abandoned during the reigns of Selim III and Mahmud II. The dramatic narration in the text serves to feed a prejudice that had become entrenched in Europe rather than reflecting the current situation.

The Sultan Ahmed Mosque and a Misconception About Gravestones

The six minarets of the Sultan Ahmed Mosque stand out as a dominant element of the city’s silhouette in Allom’s drawing. In the face of such grand architectural works, Walsh’s text is also written in a respectful tone; nevertheless, his tendency to compare the mosque with Gothic cathedrals shows that he could not fully grasp the aesthetics of Islamic architecture, which avoids figures and is based on an abstract understanding of tawhid (the oneness of God).

Meydanı ve Sultan Ahmet Camii'de — Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the Ottoman-era At Meydanı (Square of Horses), situated on the site of the ancient Byzantine Hippodrome. The composition brings together ancient monuments such as the Obelisk of Theodosius alongside the grand architecture of the Sultan Ahmed Mosque, capturing 19th-century urban life through a panoramic vibrancy of equestrian figures, carpets, and relaxing townsfolk. – Source

mirasium thomas allom 0006 — Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the magnificent interior architecture of the Sultan Ahmed Mosque (Blue Mosque), one of the masterpieces of Ottoman architecture. The print highlights the monumental piers, the grand dome structures, and the congregation at prayer, captured through a dramatic atmosphere of light filtering down from the high ceilings. – Source

Conclusion

What Allom and Walsh feared most—Istanbul turning into a uniform European city—has largely come to pass today. But such remaining albums show not only a picture of the past but also the limits of the Western perspective of that era. When looking at the engravings, we see both the state of the city at that time and realize through which cultural filter this image has passed. Being able to distinguish the two is the key to reading the work more accurately.

A Visual Journey to 19th-Century Istanbul

Below is a small selection of the engravings brought to life by Allom’s lines in the work Constantinople and the Scenery of the Seven Churches of Asia Minor. To examine all of these works, you can browse our digital exhibition.

Visit the page The Square of the Fountain in Edirne Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a monumental fountain square within the historical fabric of Edirne. While a public fountain featuring an arched structure and a dome stands in the center of the artwork, traditional Edirne houses with bay windows and a mosque dome with its minaret rising in the background surround the square. Figures carrying water with yoke-baskets, locals conversing, and calm street life are illustrated in the square. This visual aesthetically documents how squares and fountains in Ottoman provincial architecture served as vital meeting points at the center of public life.
Visit the page Letter-writer in Istanbul Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a traditional letter-writer (arzuhalci) serving the public on the streets or mosque courtyards of Istanbul. The artwork centers on the scribe sitting at his special desk writing on paper, veiled women explaining their requests to him, and a child beside them. This visual aesthetically documents how vital a public bridge the institution of letter-writing served in social communication and official/private correspondence during an era when literacy rates were not yet widespread among the masses.
Visit the page View of Silivri (gr. Selymvria) in Thrace Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts Silivri and its fort located on the shores of the Sea of Marmara, known in antiquity as ‘Selymbria’. While the artwork centers on the fortified castle and walls built upon a steep hill, it illustrates caravans and travelers crossing the arched bridge over the river in the foreground, along with daily life activity along the coastline. This visual aesthetically documents the strong bond that Silivri—one of the historical and strategic transit points of the Thracian geography—established with imperial road networks and the sea.
Visit the page Street in the suburbs of Edirne Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a traditional street in the suburbs of Edirne (Adrianople), one of the major Roumelian cities of the Ottoman Empire. The artwork centers on traditional houses with bay windows and wooden details rising on the left and in the background, along with a striking civil architectural structure built on pillars in the right foreground. Figures in traditional attire within the street context, and tradesmen resting or transacting with a pack animal (camel), aesthetically document the harmonious blend of architecture with civil life, trade, and street culture in a 19th-century Ottoman provincial city.
Visit the page Storyteller in a coffeehouse in Istanbul Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a traditional ‘meddah’ (storyteller) narrating a story in an Istanbul coffeehouse. While the storyteller gesturing on an elevated platform is situated in the center, Ottoman human types listening intently, smoking long pipes, and sipping coffee are illustrated around him. This visual aesthetically documents the vibrant place of traditional Turkish folk theater and oral culture in coffeehouses—the urban meeting points—along with society’s shared memory and entertainment culture.
Visit the page View of Üsküdar and the Maiden’s Tower on the Bosphorus Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the traditional civil architecture established on the coastal slopes of Üsküdar and the Maiden’s Tower, the symbol of the Bosphorus. While the historical silhouette of the Maiden’s Tower rises in the left background, wooden waterfront mansions (yalıs) and mosques spreading across the slopes are situated in the mid and right foreground. In the foreground, boats being rowed in the Bosphorus waters and activity on the water are illustrated. This visual objectively documents the aesthetic and organic bond established between the urban fabric and the sea in the Ottoman capital.
Visit the page Scene at caravanserai in Bulgaria Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts caravaniers and travelers halting at a caravanserai (inn) in Bulgaria. The artwork centers on caravaniers in traditional attire resting in an enclosed space after a long and tiring journey, figures enjoying long pipes, and people warming themselves by the hearth. This visual aesthetically documents that caravanserais located along the Ottoman Empire’s trade and travel routes were not merely shelters for merchants and travelers, but also secure hubs of social interaction and rest.
Visit the page The Cavalry Barracks on the Bosphorus Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the Cavalry Barracks on the shores of the Bosphorus, a symbol of 19th-century Ottoman military reforms. While centering on the barracks structure reflecting the era’s modern architectural understanding with its Neoclassical towers and symmetrical facade, the artwork illustrates civilians resting at the pier, caiques, and the vibrant coastal life of the Bosphorus in the foreground. This visual objectively documents the Ottoman Empire’s restructuring process in the military field and how the state’s modern institutions integrated with the urban fabric along the waterfront.
Visit the page Ascent on the Balkan mountains Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a challenging ascent towards the steep peaks of the Balkan Mountains. While massively rising rock masses and cliffside paths dominate the landscape on the right side of the composition; caravans trying to cross this dangerous pass with pack animals in the midground, and travelers in local attire in the foreground are illustrated. While revealing the wild topography of the Roumelian geography in the 19th century, the artwork also aesthetically documents the vital and continuous travel routes connecting the empire’s European territories.
Visit the page The mausoleum of Sultan Mehmed I in Bursa Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the interior of the Mausoleum of Sultan Mehmed I (Green Tomb), a masterpiece of early Ottoman architecture in Bursa. The artwork details the octagonal architectural structure of the space, the intricately crafted mihrab, the original tile panels ornamenting the walls, and the pointed arch windows. Civil figures gathered around the catafalque, kneeling in reverence and praying, are illustrated in the foreground. This visual aesthetically documents that in the Ottoman belief system, mausoleums were not merely monumental tombs, but living memory spaces where the public found spiritual peace through prayer and visitation traditions.
Visit the page Pass and waterfall in the Balkan Mountains Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a steep pass and an enthusiastic waterfall flowing through the Balkan Mountains in Bulgaria. The center of the composition is dominated by the dynamic movement and deep valley created by water cascading through massive rocks. Figures observing the landscape in the left foreground and on rocky outcrops, along with silhouettes of a caravan/travelers advancing on the upper path, introduce the human scale to the artwork. While aesthetically revealing the wild and rugged nature of the Balkans, the piece also reflects the historical transit routes passing through this challenging topography with a documentary quality.
Visit the page The inner court of Nuruosmaniye Mosque in Istanbul Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the inner courtyard of the Nuruosmaniye Mosque, the first grand and magnificent representative of Western (Baroque) influences in Ottoman architecture. The artwork centers on the unique polygonal (semi-oval) courtyard structure that breaks away from the classical Ottoman rectangular/square courtyard plan, along with the elegant arches built from bi-colored stones and monumental columns. The figures gathering and conversing in the shade of the columns objectively document that mosque courtyards in the Ottoman capital were not merely spaces for worship, but also vibrant and aesthetic public gathering centers bringing together different segments of society.

Visit the page The Square of the Fountain in Edirne Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a monumental fountain square within the historical fabric of Edirne. While a public fountain featuring an arched structure and a dome stands in the center of the artwork, traditional Edirne houses with bay windows and a mosque dome with its minaret rising in the background surround the square. Figures carrying water with yoke-baskets, locals conversing, and calm street life are illustrated in the square. This visual aesthetically documents how squares and fountains in Ottoman provincial architecture served as vital meeting points at the center of public life.
Visit the page Letter-writer in Istanbul Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a traditional letter-writer (arzuhalci) serving the public on the streets or mosque courtyards of Istanbul. The artwork centers on the scribe sitting at his special desk writing on paper, veiled women explaining their requests to him, and a child beside them. This visual aesthetically documents how vital a public bridge the institution of letter-writing served in social communication and official/private correspondence during an era when literacy rates were not yet widespread among the masses.
Visit the page View of Silivri (gr. Selymvria) in Thrace Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts Silivri and its fort located on the shores of the Sea of Marmara, known in antiquity as ‘Selymbria’. While the artwork centers on the fortified castle and walls built upon a steep hill, it illustrates caravans and travelers crossing the arched bridge over the river in the foreground, along with daily life activity along the coastline. This visual aesthetically documents the strong bond that Silivri—one of the historical and strategic transit points of the Thracian geography—established with imperial road networks and the sea.
Visit the page Street in the suburbs of Edirne Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a traditional street in the suburbs of Edirne (Adrianople), one of the major Roumelian cities of the Ottoman Empire. The artwork centers on traditional houses with bay windows and wooden details rising on the left and in the background, along with a striking civil architectural structure built on pillars in the right foreground. Figures in traditional attire within the street context, and tradesmen resting or transacting with a pack animal (camel), aesthetically document the harmonious blend of architecture with civil life, trade, and street culture in a 19th-century Ottoman provincial city.
Visit the page Storyteller in a coffeehouse in Istanbul Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a traditional ‘meddah’ (storyteller) narrating a story in an Istanbul coffeehouse. While the storyteller gesturing on an elevated platform is situated in the center, Ottoman human types listening intently, smoking long pipes, and sipping coffee are illustrated around him. This visual aesthetically documents the vibrant place of traditional Turkish folk theater and oral culture in coffeehouses—the urban meeting points—along with society’s shared memory and entertainment culture.
Visit the page View of Üsküdar and the Maiden’s Tower on the Bosphorus Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the traditional civil architecture established on the coastal slopes of Üsküdar and the Maiden’s Tower, the symbol of the Bosphorus. While the historical silhouette of the Maiden’s Tower rises in the left background, wooden waterfront mansions (yalıs) and mosques spreading across the slopes are situated in the mid and right foreground. In the foreground, boats being rowed in the Bosphorus waters and activity on the water are illustrated. This visual objectively documents the aesthetic and organic bond established between the urban fabric and the sea in the Ottoman capital.
Visit the page Scene at caravanserai in Bulgaria Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts caravaniers and travelers halting at a caravanserai (inn) in Bulgaria. The artwork centers on caravaniers in traditional attire resting in an enclosed space after a long and tiring journey, figures enjoying long pipes, and people warming themselves by the hearth. This visual aesthetically documents that caravanserais located along the Ottoman Empire’s trade and travel routes were not merely shelters for merchants and travelers, but also secure hubs of social interaction and rest.
Visit the page The Cavalry Barracks on the Bosphorus Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the Cavalry Barracks on the shores of the Bosphorus, a symbol of 19th-century Ottoman military reforms. While centering on the barracks structure reflecting the era’s modern architectural understanding with its Neoclassical towers and symmetrical facade, the artwork illustrates civilians resting at the pier, caiques, and the vibrant coastal life of the Bosphorus in the foreground. This visual objectively documents the Ottoman Empire’s restructuring process in the military field and how the state’s modern institutions integrated with the urban fabric along the waterfront.
Visit the page Ascent on the Balkan mountains Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a challenging ascent towards the steep peaks of the Balkan Mountains. While massively rising rock masses and cliffside paths dominate the landscape on the right side of the composition; caravans trying to cross this dangerous pass with pack animals in the midground, and travelers in local attire in the foreground are illustrated. While revealing the wild topography of the Roumelian geography in the 19th century, the artwork also aesthetically documents the vital and continuous travel routes connecting the empire’s European territories.
Visit the page The mausoleum of Sultan Mehmed I in Bursa Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the interior of the Mausoleum of Sultan Mehmed I (Green Tomb), a masterpiece of early Ottoman architecture in Bursa. The artwork details the octagonal architectural structure of the space, the intricately crafted mihrab, the original tile panels ornamenting the walls, and the pointed arch windows. Civil figures gathered around the catafalque, kneeling in reverence and praying, are illustrated in the foreground. This visual aesthetically documents that in the Ottoman belief system, mausoleums were not merely monumental tombs, but living memory spaces where the public found spiritual peace through prayer and visitation traditions.
Visit the page Pass and waterfall in the Balkan Mountains Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts a steep pass and an enthusiastic waterfall flowing through the Balkan Mountains in Bulgaria. The center of the composition is dominated by the dynamic movement and deep valley created by water cascading through massive rocks. Figures observing the landscape in the left foreground and on rocky outcrops, along with silhouettes of a caravan/travelers advancing on the upper path, introduce the human scale to the artwork. While aesthetically revealing the wild and rugged nature of the Balkans, the piece also reflects the historical transit routes passing through this challenging topography with a documentary quality.
Visit the page The inner court of Nuruosmaniye Mosque in Istanbul Featured in the 1836 collaborative work of Thomas Allom and Robert Walsh, this steel engraving depicts the inner courtyard of the Nuruosmaniye Mosque, the first grand and magnificent representative of Western (Baroque) influences in Ottoman architecture. The artwork centers on the unique polygonal (semi-oval) courtyard structure that breaks away from the classical Ottoman rectangular/square courtyard plan, along with the elegant arches built from bi-colored stones and monumental columns. The figures gathering and conversing in the shade of the columns objectively document that mosque courtyards in the Ottoman capital were not merely spaces for worship, but also vibrant and aesthetic public gathering centers bringing together different segments of society.

Bibliography

Walsh, Robert & Allom, Thomas. Constantinople and the Scenery of the Seven Churches of Asia Minor Illustrated. London/Paris: Fisher, Son, & Co., 1838.
Digital Work Record: Internet Archive – Constantinople and the Scenery… (Full Text and Engravings) – https://archive.org/details/constantinoplesc02allo/
Engraving Collection: Travelogues.gr – Travellers’ Views: Collection No: 60 – https://eng.travelogues.gr/collection.php?view=60

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