Located on the Asian shore of the Bosphorus beneath the 1973 suspension bridge, Beylerbeyi Palace offers a serene counterpoint to Istanbul’s more famous European-side monuments. It stands amid citrus groves and ornamental gardens, a stone’s throw from the water. Built between 1861 and 1865 by Sultan Abdülaziz, it served as a summer palace and state guesthouse. Its very name, Beylerbeyi, means “Lord of Lords,” reflecting the high status of the Ottoman governors who once occupied the site. From the Bosphorus it looks its most handsome, framed by two gilded seaside kiosks as if greeting incoming ships. Its long façade and symmetrical gardens recall a French château, yet every alcove and hall reflects Ottoman tradition. This blend of East and West, ornament and restraint, makes Beylerbeyi an immersive introduction to late Ottoman art and architecture.

What is Beylerbeyi Palace? A Snapshot for the Curious Traveler

Beylerbeyi Palace is a 19th-century Ottoman imperial palace on the Asian side of Istanbul. Commissioned by Sultan Abdülaziz (reigned 1861–1876) and completed in 1865, it was designed by the Armenian-Ottoman architects Sarkis and Agop Balyan. They gave it a French Second Empire (Neo-Baroque) façade infused with traditional Ottoman spatial planning. Its purpose was twofold: to offer the sultan a cool seaside retreat, and to entertain visiting kings and queens. In fact, the palace was meant to impress international guests. The French Empress Eugénie, who stayed here in 1869, was so captivated that she had one of its carved wooden windows copied for her palace in Paris.

Today Beylerbeyi Palace is a museum managed by Turkey’s National Palaces administration. Visitors can wander through the original rooms: the wood-paneled audience chamber, the Marble Pool Hall, the sky-lit Blue Hall, and the private apartments are all preserved with their 19th-century décor. Walking its corridors feels like stepping back in time to the late Ottoman court.

At a Glance: Key Facts, Figures, and Why It is Special

• Built: 1861–1865, at the behest of Sultan Abdülaziz.
• Architects: Sarkis and Agop Balyan (Armenian-Ottoman architects).
• Style: French Second Empire (Neo-Baroque) exterior; Ottoman plan and interior motifs.
• Layout: 24 rooms and 6 halls on two main floors (plus basement).
• Area: Approximately 2,500 m² on a raised rectangular terrace.
• Function: Summer palace and state guesthouse for Sultan Abdülaziz’s reign.
• Décor: Hereke silk carpets and Egyptian straw mats underfoot; French Baccarat and Bohemian crystal chandeliers; gilded wood carvings and porcelain vases from China, Japan and Europe.
• Gardens: Multi-level terraces down to the water, with the Marble Pavilion and Yellow Pavilion kiosks, formal gardens and the historic stable building.
• Notable Visitors: Empress Eugénie of France (1869), Emperor Franz Joseph of Austria-Hungary, Shah Nasruddin of Iran, Prince Nicholas of Montenegro, and others.
• Public Opening: Converted into a museum and opened in 1984.
• Hours: Typically open 09:00–18:00 daily (closed Mondays).
• Tickets: Paid admission required (Istanbul MüzeKart not accepted).
• Location: Beylerbeyi neighborhood, Üsküdar district (Asian shore). Reachable via ferry to Üsküdar plus short bus/taxi, or by Marmaray train.

These key facts hint at the richness of Beylerbeyi. In the following sections, Beylerbeyi’s legacy, its lavish architecture, and the best ways to experience it today will be explored in detail.

Is Beylerbeyi Palace Worth Visiting? The Definitive Answer

The Verdict: A Resounding “Yes” for History Buffs and Discerning Travelers

For travelers weighing their Istanbul itinerary, the question often is whether Beylerbeyi Palace merits a detour from the more famous European-side attractions. The answer is a definitive yes – especially for those who appreciate history, architecture or simply a more tranquil atmosphere. Beylerbeyi may not match Dolmabahçe Palace in sheer scale, but it offers an intimate encounter with Ottoman grandeur that is both authentic and approachable. Its location on the quieter Asian shore lends it serenity. Even at peak season, visitors often find the grounds and halls surprisingly peaceful. The original furnishings – from the silken carpets to the gilded chandeliers – bring the 19th-century Ottoman court vividly to life.

Dolmabahçe dazzles with opulence and size; Beylerbeyi charms with balanced elegance. The design is simpler and more restrained than older palaces, and wide windows and gardens invite natural light and breeze. The effect is both imperial and domestic. For anyone tired of crowds, Beylerbeyi is a welcome alternative: key details (the mother-of-pearl inlay, the painted ceilings, the marble fountains) can be admired without elbowing. In short, Beylerbeyi rewards visitors who come to learn and reflect. Its stories – from Eugénie’s visit to the last years of Sultan Abdülhamid II – resonate through its halls.

The Great Palace Debate: Beylerbeyi vs. Dolmabahçe Palace

Atmosphere & Crowds: Serenity on the Asian Shore

Beylerbeyi’s location and scale create a very different atmosphere from its European-side cousin. Dolmabahçe, on the Golden Horn, sits in the bustle of Istanbul’s city center. Beylerbeyi, by contrast, occupies a quieter neighbourhood by the Marmara Sea. Visitors often note that Beylerbeyi’s grounds and interiors feel uncrowded and contemplative. Fine details (carved wood, gilded ceilings, or the marble pool) can be appreciated without jostling. Many weary travelers who have already seen Hagia Sophia or Topkapı purposely choose Beylerbeyi for its calm.

Dolmabahçe can feel very busy, especially in summer. Tour groups gather outside the gates and swirl through the Ceremonial Hall. Beylerbeyi, on the other hand, tends to have a modest flow of visitors and plenty of quiet spots, like shaded garden benches. The sea breezes here also add to the sense of relaxation. It is, in essence, the calm alternative on the Asian shore.

Scale & Grandeur: Intimate Royalty vs. Imperial Might

Dolmabahçe Palace is immense: 285 rooms and 46 halls, with the world’s largest Bohemian crystal chandelier in one Ceremonial Hall. It was built to awe. By comparison, Beylerbeyi has just 24 rooms and 6 halls, and its design is considered “fairly restrained.” This doesn’t mean Beylerbeyi is modest – far from it – but its statement is a different one. Its rooms are richly decorated yet they feel cozy enough to be a mansion.

Many visitors actually prefer Beylerbeyi for this reason. Instead of feeling dwarfed by scale, one can engage closely with the setting. A visitor might spend minutes admiring a single panel of carved wood or the colors of a ceiling instead of passing quickly down an endless corridor. Dolmabahçe’s sheer abundance of gold and marble can overwhelm the senses; Beylerbeyi’s more modest breadth allows one to savor detail.

Location & Accessibility: A Tale of Two Continents

Beylerbeyi’s location has its pros and cons. It sits on the Asian shore near Üsküdar. The trip there can be a highlight: take a scenic ferry from Eminönü, or the Marmaray train from Sultanahmet to Üsküdar, followed by a short bus or taxi ride. The ferry ride itself provides great Bosphorus views. However, it does add about 30–40 minutes of travel time from the historic center.

Dolmabahçe, on the other hand, is very accessible by tram, bus or even by a short walk from the Galata Bridge. If pure convenience is the priority, Dolmabahçe wins.

The Final Recommendation: Which Palace Should You Choose?

It comes down to travel style. For sheer scale, central location and the classic “Wow” factor, Dolmabahçe is unmatched. But asking if Beylerbeyi is worth the trip? The answer is unequivocally yes – especially if you enjoy architecture, history or simply want a bit of quiet by the water. In practice, a savvy itinerary can include both: for example, spend the morning at crowded Dolmabahçe, then take a ferry to Üsküdar for lunch and a relaxed afternoon at Beylerbeyi. Or devote a day to the Asian shore: combine Beylerbeyi with the nearby Hamid I Mosque and a waterside meal.

Ultimately, Beylerbeyi Palace offers an experience that many seasoned travelers find uniquely enchanting. It is an unmissable retreat for those who come away from Istanbul seeking not just sights, but ambiance and context. Its virtues – a perfect blend of beauty, history and tranquility – make it more than worth the journey.

The Sultan’s Vision: The Rich History of Beylerbeyi Palace

Before the Palace: The Site’s Ancient and Ottoman Past

The Bosphorus shore at Beylerbeyi was prized long before the current palace was built. By the 19th century it was known as the “Crucifix Gardens,” a Byzantine-era name, and it had long been a royal hunting lodge area. Sultan Mahmud II (1808–1839) established an earlier mansion complex here, including the Yellow Palace (Sarı Köşk), a wooden structure designed by architect Krikor Balyan in the 1830s. That Yellow Palace burned down in 1851, leaving only stone foundations behind.

For a decade, the site lay mostly unused. Then Sultan Abdülaziz ascended the throne. Influenced by European architecture, he envisioned a grand new summer palace on the same spot. He retained Sarkis and Agop Balyan – sons of Krikor – to realize it. Work began August 6, 1863, and by April 1865 the new palace was inaugurated. The name “Beylerbeyi” itself was deliberate: it echoed the title of a distinguished 17th-century Ottoman governor (Mehmed Pasha, the Beylerbeyi of Rumelia) and thus tied the new palace to the locality’s history. In sum, the new marble palace rose with a sense of continuity and revival on a storied site.

A Phoenix from the Ashes: The Fire of the Original Wooden Palace

The fire of the old wooden palace had set the stage for Beylerbeyi’s rebirth. Sultan Mahmud’s elegant but flammable wooden pavilions were largely consumed in 1851, leaving only the kitchens and some stone outbuildings standing. When Abdülaziz made the site his own, he did not simply rebuild the wooden structure; he began afresh with stone and marble. The new Beylerbeyi Palace would be fire-resistant and modern: it featured gas lighting, running water and a central heating plant (though notably no heating pipes were ever installed, since the palace was intended only for summer use).

Yet in private, the Balyan architects knew those old foundations well. Some elements of the earlier complex were subtly reused. For example, a broad garden tunnel under the terraces – originally part of Mahmud’s hunting lodge estate – was incorporated into the design. In this way, Beylerbeyi rose like a phoenix: greatly transformed, yet carrying ghostly traces of its predecessor.

The Commission of Sultan Abdülaziz: A Statement of Modernity and Power (1861–1865)

Sultan Abdülaziz was a reformer who, after tours of Europe, wanted the Ottoman Empire to project a modern image. Building Beylerbeyi Palace (begun 1863) was very much in line with that agenda. Its fusion of European-style façades and Ottoman layout was meant to show that the Empire could be both up-to-date and true to its traditions.

Construction proceeded at astonishing pace for a project of this scale. Court records indicate that Abdülaziz spared no expense. Some sources note work began in August 1863 and finished by April 21, 1865 in a grand ceremony. This rapid, opulent building effort was a political message: the Ottoman state could still command resources to rival the great powers.

During Abdülaziz’s reign, Beylerbeyi immediately became Istanbul’s showcase for visiting dignitaries. The most celebrated guest was Empress Eugénie of France, who visited in 1869 as Abdülaziz inaugurated the Suez Canal. According to contemporary accounts, the Sultan personally guided her through Beylerbeyi. She was so taken with the oval marble pool hall (the Havuzlu Salon) that she ordered a copy of one of its painted ceilings for her own palace in Paris. The story goes that she even playfully broke Ottoman protocol by walking arm-in-arm with the Sultan during the tour. Her delight made headlines in Paris: lithographs of Beylerbeyi appeared in newspapers alongside pictures of Versailles. This episode cemented the palace’s reputation as an equal of European châteaux.

The Imperial Stage: Hosting the World’s Elite

In the decades after completion, Beylerbeyi solidified its role as the official palace guesthouse. Abdulaziz formally designated it as the state reception palace for visiting heads of state. Prominent guests included Emperor Franz Joseph of Austria (who stayed at Beylerbeyi in 1869), Shah Nasruddin of Persia (who dined under the marble fountain in 1873), King Nicholas of Montenegro, the Crown Prince of Prussia, and others. Even into the early 20th century, figures like the Duke and Duchess of Windsor would later admire its elegance.

These visits used Beylerbeyi’s blend of Ottoman and European styles to great effect. The separation of selamlık (state reception) and harem (private) wings was technically maintained: foreign male dignitaries would be shown the grand halls on the selamlık side, and distinguished female guests on the harem side. (Empress Eugénie, for example, was hosted in suites that Ottoman protocol would normally reserve for women – an example of flexibility for royal comfort.)

Remarkably, even while active, Beylerbeyi began to serve as a kind of museum. Contemporary notes say that when Abdülaziz was away, the palace rooms were sometimes opened for local inhabitants to view. Ottomans could see their shining new palace much like the later republic would turn palaces into museums.

The Famed Visit of Empress Eugénie of France (1869)

The 1869 visit of Empress Eugénie is one of Beylerbeyi’s most famous stories. Eugénie, consort to Napoleon III, came to Istanbul for the Suez Canal opening and spent a night at Beylerbeyi. She dined in the Marble Pavilion by the water and enjoyed Turkish music in the gardens. At one point she noticed a painted window in the Oval Pool Hall that evoked a European dome. She ordered that exact design copied and shipped to her bedroom in Paris! It is said she even surprised the Ottoman court by boldly taking the sultan’s arm as they walked, despite the strict etiquette that normally kept men and women separate.

News of her stay spread quickly. French newspapers praised Beylerbeyi as magnificent as any European palace. Parisian shops sold prints of its façade. The anecdote about the copied skylight – a carved wooden window panel – lives on: a replica of that window can still be seen today in the Louvre’s reconstructed Salon de la Paix, as a subtle token of Beylerbeyi’s moment in the world spotlight.

Other Notable Guests: Franz Joseph, Nicholas of Montenegro, and Others

Beylerbeyi’s guestbook reads like a 19th-century who’s who. In 1869 Emperor Franz Joseph of Austria-Hungary visited, staying in what had been the Valide Sultan’s apartment – a high honor. In 1873, the Persian Shah Nasruddin was entertained with a banquet featuring Beylerbeyi’s famous marble fountain. In late 1869, Italy’s Crown Prince (future King Umberto I) and the Crown Prince of Prussia also toured the palace.

Even after the Ottoman Empire, Beylerbeyi retained its prestige. In the 20th century the Duke of Windsor (formerly Edward VIII) marveled at its elegance when he visited Istanbul. Each foreign dignitary often left a small artifact or gift: for example, one of Abdülaziz’s silver coffee services given to the Duke is now on display in the palace museum.

These episodes underline Beylerbeyi’s original purpose: to project Ottoman hospitality and imperial prestige on the world stage, but within the intimate setting of a summer villa rather than the vast chambers of Topkapı. The palace became both a diplomatic tool and a symbol of the Empire’s refined tastes.

The Gilded Cage: Sultan Abdülhamid II’s Final Years (1912–1918)

A sad chapter followed the imperial glory. Sultan Abdülhamid II (reigned 1876–1909) was deposed in the 1909 Young Turk revolution. Initially exiled to Thessaloniki, in 1912 he was brought back to Istanbul and confined at Beylerbeyi Palace. From 1912 until his death in 1918, Abdülhamid lived under guard in the palace’s private harem quarters. By all accounts, the Ottomans treated him with a kind of reluctant respect – he was given comfortable rooms – but his life was strictly controlled. Some of his personal rooms (later nicknamed the “Abdülhamid Room”) remained arranged with his belongings and imperial regalia.

In February 1918 Sultan Abdülhamid died in one of Beylerbeyi’s upper-floor rooms. His body lay in state in the Oval Pool Hall before a funeral procession. For many in Istanbul, it was poignant: the sultan who had once wielded absolute power spent his final years in the palace that symbolized the height of that power. Soon after, he was buried in his family’s mausoleum in Eyüp.

From Imperial Residence to National Museum: The Palace in the Turkish Republic

After the Republic of Turkey was founded, Beylerbeyi Palace transferred to state ownership. It was occasionally used to host foreign dignitaries, but otherwise fell into quiet disuse. In 1984 the Turkish National Palaces directorate completed a major restoration and opened Beylerbeyi to the public as a museum.

Curators have furnished it as it would have been in Sultan Abdülaziz’s time, providing visitors an immersive history lesson. Unlike other Ottoman palaces that lost many furnishings (Topkapı’s treasures were looted, Dolmabahçe became a presidential office), Beylerbeyi’s contents remained largely intact. Today its halls display the original carpets, chandeliers, sofas and art. In effect, Beylerbeyi has become a bridge from empire to republic: a preserved snapshot of Istanbul in 1865.

Visitors now walk the same marble steps as sultans, gaze up at the gilded ceilings and (on summer afternoons) feel the same Bosphorus breezes. In doing so, they connect with Beylerbeyi’s full history – from its mythical garden name to its role in the last sultan’s life – testament to the palace’s enduring place in Istanbul’s legacy.

An Architectural Masterpiece: Unpacking the Balyan Design

The Masters Behind the Marble: Sarkis and Hagop Balyan

Beylerbeyi Palace bears the unmistakable signature of the Balyan family. Sarkis Balyan (1835–1899) was the chief architect, assisted by his younger brother Agop (1838–1875). The Balyans were a prominent Armenian-Ottoman family of imperial architects. They had trained in Europe and then fused Western and Ottoman traditions in many 19th-century monuments. Beylerbeyi is among their most celebrated works.

Sarkis in particular had studied French academic architecture and drew inspiration from Parisian models. Yet he never abandoned Ottoman building customs. In Beylerbeyi, the exterior façades – with Baroque ornamentation, pilasters and a stone balustrade roofline – clearly evoke Second Empire France. Inside and in plan, however, he retained the Ottoman ev-style: a central reception hall flanked by high iwans, and a clear division between the state and private wings. This synthesis of styles became the Balyans’ hallmark.

The Dedeman hotel history notes that Sarkis’s ground floor plan centered on a domed central hall (the “Hall with Pool”). Symmetrical wings spread out on either side. Interestingly, Sarkis’s father, Garabet, had built Sultan Mahmud’s earlier Dolmabahçe Selamlık; Sarkis continued that legacy, updating it for a new era. The brothers’ work is literally inscribed in the marble and wood of Beylerbeyi: their names appear on keystones and capitals throughout. Other famous Balyan projects included Dolmabahçe Palace (Sarkis) and Küçüksu Pavilion (Agop), making Beylerbeyi a kind of younger sibling in a dynasty of Ottoman monuments.

A Symphony in Stone: Neo-Baroque, Rococo and Ottoman Fusion

Beylerbeyi’s façades are often described as European in flavor, but the building is not a mere copy of any single palace. Instead, the design is an eclectic “symphony” blending Neo-Baroque, Rococo and Ottoman elements. The limestone walls burst with mid-19th-century ornamentation: carved cartouches, festoons, and bracketed cornices decorate the stone. Large arched windows set between grand piers give the façade a soaring elegance.

Yet the layout remains very much Ottoman. The palace’s axis is dominated by a massive domed reception hall (the Marble Pool Hall) with its mirror image above (the Ceremonial Blue Hall). These central halls anchor the plan. Around them flows a more human-scale network of rooms. Iwan arches recur in threes and five-part arcades – nods to classical Ottoman design.

Inside, one finds hints of Rococo flourish: reception rooms have wood-panel walls carved with floral arabesques and gilding reminiscent of European salons. Iznik-style tiles with turquoise and cobalt adorn fireplaces and niches, tying in traditional Turkish motifs. The overall effect is surprisingly harmonious, as if one might imagine a Viennese palace by the sea that has been clothed in Ottoman embroidery.

The Exquisite Exterior: A Tale of Two Façades

One delight of Beylerbeyi’s design is that each side of the palace was crafted to impress a different audience. The land-side (north) façade faces the hills and the road. It resembles a formal European palace front: three arched entrances lead up to the main portal, with stepped terraces. Balconies with ornate wrought-iron railings sit above the staircase. The limestone here is carved with festoons and Ottoman crests, but the feel is stately and composed, framing views back down to the garden. Dignitaries arriving by carriage would see this dignified approach first.

By contrast, the waterside (south) façade is flamboyant. It rises directly from the Bosphorus as if the palace extends down to the sea. A high stone wall on the waterline gives way to two ornate yalı köşk (waterside kiosks) flanking a broad staircase that climbs up to the main hall. Between them is the Mermer Köşk (Marble Pavilion) set on an elevated terrace over a pool. At night, light from the palace and kiosks would play on the waves. Early photographs show the palace reflecting in the strait – a deliberate design to greet incoming ships.

This dual-façade strategy underscores the palace’s dual role: landward it is classical and formal; seaward it is theatrical and joyful. The architects’ attention to both views made Beylerbeyi stand out to every visitor, whether they arrived by road or by boat.

Engineering an Ottoman Summer Palace: Natural Cooling and Maritime Themes

Beylerbeyi was conceived purely as a summer retreat, so its architecture includes clever climate features. Most notably, no central heating was ever installed. Abdülaziz intended the palace for warm months only, so resources were spent on cooling instead. The Marble Pavilion’s interior fountain, for example, was not mere decoration: its marble basin with dripping water acted as a primitive evaporative cooler.

Maritime motifs are woven throughout the design, reflecting the Sultan’s love of the sea. Sailboats, anchors and Ottoman galleys were painted onto ceilings in the main halls. One finds carved dolphins on stone terraces and ship motifs in wood panels. In fact, palace archives suggest Abdülaziz himself sketched some of these patterns.

Some rooms had direct connections to the Bosphorus: both the selamlık and harem wings have small waterside yalıs accessed by marble stairs. These private bathing kiosks allowed occupants to descend straight to the water for a swim. One even served as the Sultan’s covered tea pavilion with doors facing the Strait.

In summary, Beylerbeyi’s engineering is an exercise in cool grandeur. Its fountains, breezy halls and sea-centric decor ensured comfort and reinforced its identity by the water. The palace of marble and gold thus remained firmly attuned to its maritime environment – an Ottoman solution of the highest style.

A Journey Through Opulence: Inside Beylerbeyi Palace’s Interior

The Guiding Principle: The Traditional Turkish House Plan at Palace Scale

Stepping through the front doors of Beylerbeyi, one instantly feels Ottoman mansion logic at work. The palace is essentially two connected suites under one roof: the mabeyn (state reception area) on the south side and the harem (private family quarters) on the north side. Between them lie the ceremonial halls. This mirrors the classic plan of a grand Ottoman ev (house), only magnified.

From the main entrance, visitors reach the ground (piano nobile) floor, which was dedicated to public functions. All the showiest spaces – the Marble Pool Hall, the Blue Hall, the Sultan’s audience rooms – are on this level. The second floor above contains more private apartments (the Sultan’s bedrooms and studies, guest rooms, etc.). The harem suites also span two floors, with servants’ rooms in the basement.

As one moves through the palace, it’s clear that comfort and display are both priorities. The layout is not a simple procession of rooms like in a European palace; instead, one steps through arched portals and iwans between each space, so that every turn reveals something new: a frescoed ceiling, a window looking out to the Bosphorus, or a gilded clock on a marble mantel.

The Selamlık (Men’s Quarters): The Public Face of the Palace

The Selamlık is where official audiences and ceremonies took place. Its centerpiece is the Grand Hall with Marble Pool (Havuzlu Salon), sitting at the heart of the piano nobile. Entering this hall feels like being in a courtyard under a high dome: in the center lies a large oval marble basin with a gentle fountain. This pool both cooled the air and delighted the eye. Light streams down through the glazed dome overhead, dancing on the water’s surface and reflecting in polished marble.

This Grand Hall is flanked at the rear by a double stairway leading to the second-floor apartments. Ornate columns – many with mother-of-pearl inlay – line the hall. The effect is at once monumental and welcoming: one cannot help but pause by the fountain to admire the marble tilework and wood carvings. From here, guests would move into adjoining rooms or ascend to the Sultan’s private suites.

Adjacent to the Grand Hall lies the Blue Hall (Mavi Salon), also called the Ceremonial Hall. It is arguably the palace’s showpiece. Fourteen slender columns, painted a soft sky-blue, support its lofty ceiling. The hall is ringed by tall arched windows high on the walls, bathing the room in cool northern light. Gold stars and a radiant sunburst decorate the painted ceiling above where the Sultan’s throne once stood (today, the throne is gone but its outline remains on the floor).

At night the Blue Hall’s mood changes: the chamber, rimmed with a dozen crystal chandeliers from France, glows softly by candlelight. Sultan Abdülaziz would host emperors and kings here. Notable features include an Egyptian alabaster fireplace (a gift from Egypt’s ruler) and display cases filled with porcelain. At the far end once stood a golden canopy above the throne. Today a modern replica of the throne can be seen in photos on display. Standing in the center of the Blue Hall now, one can still feel the grandeur intended by its design: light, color and crystal all combining into an effect of imperial splendor.

Beyond these main halls lie a series of smaller reception rooms. One is the Sultan’s personal audience chamber (often called the “Wood Room”), paneled entirely in carved walnut and mother-of-pearl. Its windows overlook the gardens. Another was the formal dining chamber. Each salon is richly trimmed in wood and gilding. One of them, known as the Admiral’s Room (Kaptan Paşa Odası), even features naval-themed ceiling paintings and decorations – a subtle hint that a high-ranking guest was expected to dine here.

European influence is evident in the furniture: many sofas, tables and clock cabinets were imported or made in Istanbul according to European models. Crystal chandeliers from Bohemia and France hang from nearly every ceiling. Porcelain vases from China, Japan and France decorate consoles. The palace’s own dockyard clockmakers contributed mantel clocks with Western mechanisms. Underfoot lie the famous Hereke silk carpets, each one handwoven to fit its room. The colors range from deep reds and golds to soft blues, with intricate medallions and borders. These fine textiles are all laid over Egyptian straw mats (used to keep cool in summer).

In the Marble Pavilion (outdoors) one even finds an interior fountain: water pours from a carved bowl into a basin below, a small version of the indoor pools. Collectively, this wealth of objects – glittering chandeliers, fine carpets, porcelain and brass – turns Beylerbeyi’s interior into a sort of decorative arts museum. Every item was either commissioned by the Sultan or gifted by foreign rulers, so together they tell a story of 19th-century connections between East and West.

The Grand Hall and the Marble Pool: A Breathtaking Entrance

Walking into the Grand Hall from the front courtyard truly feels like a ceremonial reveal. The central marble pool, the high skylight, and the twin staircases all create a striking scene. One historian called it the “heart of Beylerbeyi,” and indeed it was designed to awe visitors. Even after climbing the stone steps to the palace’s veranda, one only needs a few more steps to find the pool, still shimmering. Steam would rise from the fountain on cool evenings; in summer the water’s surface would keep the marble floor refreshingly cool to bare feet.

Every detail in this hall rewards close inspection. The walls are faced in green and white marble, and a painted frieze of Ottoman emblems (eagles, crescents, ships) runs above the arches. Mother-of-pearl inlays sparkle in the columns and doorways. This hall was often used for semi-private receptions: foreign ambassadors might be presented to the Sultan here before moving on to dinner. It set the tone for the rest of the visit – lavish, yet serene.

The Blue Hall (Ceremonial Hall): A Masterpiece of Light and Color

The adjacent Blue Hall is perhaps the most photogenic room in Beylerbeyi. Every inch of its tall space was conceived for ceremonial splendor. The ceiling is painted a deep sky-blue, dotted with gilded stars and a golden sunburst motif (over where the throne stood). The rows of arched windows high on the walls let in a cool, ambient light. By day the hall feels bright and uplifting; by night it transforms into a golden glow under candlelight.

It was in this hall that Abdülaziz held official audiences with visiting kings and emperors. The Sultan’s throne (an elaborate gilded chair) once stood against the far wall, flanked by silver vases and imperial standards. Among the notable features was the East-facing alabaster fireplace mentioned earlier. On either side, tall glass showcases once held fine porcelain. The floor, originally ornate marquetry, is now mostly covered by a single carpet. A reproduction of Abdülaziz’s throne, made in the 20th century, is now on display to show where he would have sat. Standing in the Blue Hall today, one can sense the hall’s purpose: to impress, to gather light, and to frame the Sultan’s presence in a space of almost sacred light.

The Sultan’s Reception Rooms and Studies

Beyond the Grand Hall and Blue Hall lies a suite of more private state rooms. One is the Sultan’s personal reception room (hünkâr dairesi), richly paneled with carved walnut and mother-of-pearl. Its windows look south over the Bosphorus terrace. One can imagine Abdülaziz meeting close advisors here after larger audiences.

Next to it is the Sultan’s office and bedroom wing. A mahogany desk he used in the 1860s still stands in one of these chambers, complete with his silver inkwell and papers. Even small details survive: a Western-style telephone from the 1880s sits on a side table, one of the earliest in any Ottoman palace.

These rooms are furnished more modestly than the grand halls, reflecting their private function. Yet the craftsmanship is exquisite. A music room has cedar-paneled walls and ornate wooden doors. The overall color scheme shifts to warmer reds and browns here, a dignified contrast to the gilded blues of the reception halls.

The Harem (Private Quarters): The Secret World of the Palace

The harem wing – the Sultan’s family quarters – occupies the palace’s north side. It spans two floors as well, with its own entrances. A pair of heavy wooden doors between the Blue Hall and the first harem salon marks the formal separation of the male and female domains.

The ground-floor harem suite (sometimes called the Valide Sultan’s apartments, since Abdülaziz’s mother used them) has a private entrance from the garden. Here the rooms are arranged around a central corridor. Some open onto a small walled courtyard or garden plot. The furniture is elegant but intimate: gilded divans (low sofas) line the walls, where ladies of the court would entertain one another. The walls are covered in pastel damasks or floral wallpapers – far lighter than the rich wood panels outside. The Valide Sultan (Queen Mother) had her own fireplace, mirror and folded-screen cabinets here.

The upstairs harem contains the imperial family’s bedrooms. Sultan Abdülaziz’s personal bedroom is here, with dark wood canopy beds and silk draperies. His private hamam (bathroom) is located on this floor, tiled in blue Iznik ceramic – one of the few surviving Ottoman-era tiled baths in any Turkish palace.

Of course, today these harem areas are open to all visitors, but in Ottoman times they were strictly private. Very few men would ever pass beyond those double doors without formal invitation. The effect of this wing is calm and warm: velvet cushions, embroidered curtains, brass lanterns. Small details – like samovars for tea in the sitting rooms, or a pet bird in a gilded cage – hint at daily life. For a modern visitor, the contrast between these quiet, sunlit quarters and the splendor of the public halls highlights how the Ottoman court balanced seclusion with splendor.

The Apartments of the Valide Sultan (Queen Mother)

Beylerbeyi’s plan includes a special suite for the Valide Sultan (the Sultan’s mother). In Ottoman tradition, the Valide held immense status and was usually given living quarters second only to the Sultan’s own. In Beylerbeyi, the Valide’s apartments occupy part of the north wing on the ground floor. These rooms are elegant but intimate. For example, one chamber contains the gilded canopy bed that belonged to Abdülaziz’s mother. Another serves as the Valide’s private salon, with upholstered divans, lace curtains and a large mirror she might have used for afternoon tea.

The architects of Beylerbeyi explicitly mention this division: “the southern part [was] organized as Mabeyn-i Hümayûn and the northern part as the Valide Sultan’s chamber”. Even if one isn’t studying palace protocol, the Valide’s quarters are richly decorated and worth exploring. They offer a glimpse into the female sphere of the court.

Life in the Harem: Daily Routines and Etiquette

Detailed records of daily life in Beylerbeyi’s harem are scarce, but Ottoman court customs give a good idea. Mornings likely began late, with breakfast on a terrace. The women of the court would receive female relatives and honored ladies-in-waiting in their salons. In the afternoon they might move to the garden for tea or to the Marble Pavilion for refreshments. There were no formal audiences, but foreign female guests (for example, Empress Eugénie’s ladies-in-waiting) might be shown into the harem parlor.

Servants lived in the basement and brought meals up hidden back corridors. The Valide Sultan would have had her own eunuchs and pages to serve her. Musicians might drift up from a ground-floor music chamber during private recitals. Etiquette was strict even here: lower-ranked servants would bow or kneel as they entered.

Yet life was also surrounded by luxury. Embroidered pashmina shawls, perfumed fans, and delicately painted china were common. Perhaps even a lady might keep a small pet (a bird or cat) in one room. Today’s visitor, walking through the cool, tapestry-lined halls, can almost sense the muted bustle of the daily household, a contrast to the grandeur of the public halls.

A Treasury of Decorative Arts

Beylerbeyi Palace today feels like an open-air museum of 19th-century luxury. Every room is a showcase of decorative arts. The palace holds dozens of crystal chandeliers – it is said more than 60 once hung here. Many are massive Baccarat or Bohemian chandeliers (the same firms that supplied Dolmabahçe). They glitter over each chamber.

The floors are covered in the famous Hereke carpets from the imperial workshops. These rugs are hand-knotted, often silk, and each one is custom-designed for its room. Colors range from jewel tones to soft pastels. Some incorporate both Turkish and European design motifs.

Intricate woodwork abounds. Doors and ceilings are carved in deep relief. In one audience chamber, called the “Mother-of-Pearl Room,” the walnut paneling is studded with thousands of inlaid mother-of-pearl pieces, reflecting light inlay. Elaborately inlaid tables and cabinets stand in many rooms (using materials like ivory, ebony and tortoiseshell). Even the marble fireplaces are works of art, with carved mantels and gilded brass grates.

Scattered throughout are hundreds of objects: Chinese porcelain vases, Japanese jars, Sevres porcelain dinnerware, inlaid clocks, engraved silverware, and framed period portraits. One delightful item is an Austrian automaton clock – a gilded bird that chirps and flaps its wings on the hour. In the Marble Pavilion outside, a small indoor fountain hints at the fountains indoors.

To call these halls “gilded” is literal in places – gold leaf is used sparingly, but bright lacquer, polished marble, and multicolored tile glisten in the candlelight. The atmosphere is richly layered: European art and Ottoman handicrafts coalesce around the visitor. Each piece, whether a porcelain tureen or a Moorish revival sofa, tells a story of the palace’s time: gifts from envoys, imperial commissions, and Ottoman artisanship at its peak.

The Imperial Gardens & Pavilions: A Verdant Bosphorus Oasis

A Multi-Leveled Paradise: The Terraced Garden Design

Even the gardens at Beylerbeyi are full of history. Sultan Mahmud II had originally laid out five formal terraces climbing the hillside behind the palace in the 1830s. By the 1860s, Abdülaziz had those terraces re-landscaped into a more romantic style. Today visitors ascend a series of broad marble or stone staircases to travel from the palace down toward the sea. Each terrace has its own character.

The highest terrace (just behind the palace) serves as a parade ground and rose garden. Below it, a shaded tree garden and fountain take advantage of the slope. One can wander winding paths under pines, magnolias and cypress trees, recalling classic Ottoman garden design. The lowest terrace, immediately behind the south façade, contains the Oval Pool, which actually pre-dates the current palace. This shallow stone pool, dating from Mahmud II’s time, is flanked by benches and overlooks the sea. Visitors often pause here, facing the Marble Pavilion across the water, or watching boats pass the Asian shore.

A curious feature is the tunnel at the eastern edge of the terraces. This vaulted passage was originally part of Mahmud’s carriage drive. In the 1860s it was extended so that carriages from the Üsküdar road could drive through unseen into the grounds. Today, one end of the arched tunnel survives in the wall by the stables – a secret reminder of how Beylerbeyi’s design even accommodated discreet travel.

The Marble Pavilion (Mermer Köşk): A Hunter’s Retreat with an Interior Fountain

Midway down the terraces stands the Marble Pavilion, locally known as Mermer Köşk. Built by Mahmud II in the 1830s, this small stone pavilion is half-buried into the hillside. Its white marble walls and dome stand out like a temple. Inside, a central chamber is bisected by a long marble trough with a fountain at one end. Originally, trays of sherbet and cooling drinks would have been set along this fountain – a way to beat the summer heat. The Pavilion’s windows look out over the Bosphorus.

For guests, the Marble Pavilion was a cool retreat from the sun. Its indoor pool and high ceiling made it like a grotto. Ottoman inscriptions above the windows praise the sultan’s provision of shade and water. One can imagine sultans and family reclining on cushions here, listening to the splashing fountain and gazing at the strait.

Today visitors can enter the Marble Pavilion and see the remains of its fountain. It stands as one of Beylerbeyi’s most poetic spots – a marble respite where cool water flows and the city’s bustle seems far away.

The Yellow Pavilion (Sarı Köşk): A Serene Lounge by the Grand Pool

Across the long rectangular pool on the fourth terrace sits the Yellow Pavilion, or Sarı Köşk. Unlike the stone Marble Pavilion, this is a wooden structure, painted pale yellow with green trim. It has an open lower level with latticed columns like an Ottoman waterfront kiosk, and an enclosed upstairs room with bay windows.

Abdülaziz’s court used the Yellow Pavilion as an informal lounge. Gentlemen might sip tea there under its roof, or the Valide Sultan herself might rest on its porch divans. Its soft yellow and green colors were chosen to blend with the gardens. Photographers take note: if you stand at one end of the long pool, the yellow pavilion and the marble kiosk face each other across the water, creating a perfect symmetrical view (especially lovely at sunset).

In Ottoman times the big pool between these kiosks was occasionally used for swimming. Legend has it one day Abdulaziz’s young nephews, dressed in court uniforms, waded out to greet him, splashing to his amusement. Today the pool is mostly empty but some lotus flowers bloom in summer and fish are occasionally stocked. It adds to the playful serenity Abdülaziz intended.

The Ahır Köşkü (Stable Pavilion): A Testament to the Ottoman Love of Horses

At the eastern corner of the terraces stands the Ahır Köşkü, the palace stables. Remarkably, this building survives in very original form. It is a long brick structure with an octagonal domed central hall and two large rectangular wings.

Inside, the center room feels like a miniature mosque. Arched windows and columns create a dignified space. Through glass doors one enters the main stable: twenty wooden horse stalls line the walls, a marble watering trough sits in the center. During Beylerbeyi’s heyday, the Sultan’s prized steeds were kept here. Portraits of Arabian horses once hung on the walls. Riding saddles and harnesses were stored in adjacent rooms. The domed center, which has a fireplace (surprising as it is!), kept the horses warm in winter; curious horsehead motifs are carved in the brick pattern.

Visitors today typically view the stables through its grated windows. Some original elements remain: the earthen stall floors and the wooden stall doors. A few antique saddles and bridles are on display inside. The Ahır Köşkü is unique; while many palaces had stables, Beylerbeyi’s is the only one open enough to glimpse this way. It shows how the Ottomans even gilded their workhorse, building a dignified temple to the Sultan’s favourite animal.

Flora and Fauna: From Magnolia Groves to the Deer Park

Sultan Abdülaziz took pride in the gardens’ plantings. He introduced exotic species alongside the traditional Ottoman favorites. Period descriptions note magnolia, horse-chestnut and pine alongside orange and lemon trees. Fragments of the original plantings survive: near the top terraces, ancient magnolia trees still bloom in spring. The idea was to have color and scent year-round.

On the lower slopes of the gardens, stone markers and some foundations reveal a long-lost feature: the deer park. Abdülaziz kept deer on these hills in the 19th century, letting them graze the terraces. By the 1920s much of that deer enclosure was sold off for schools and houses, so today only traces remain. But attentive guides can point out the old boundary wall and even a solitary statue of a deer that once stood near a fountain.

Bird life was also introduced: peacocks and pheasants used to roam the terraces, and a family of swans often glided in front of the Marble Pavilion. (Today the peacocks are gone, but your chances of seeing friendly garden cats or the occasional goldfish remain.) The gardens have always been a blend of the wild and the cultivated. Even now, one finds clover and wildflowers mingling with rosebeds and magnolias. It is an Ottoman ideal: water, shade and life, arranged in hierarchical beauty around the palace’s stone and marble.

The Tunnels: An Architectural Curiosity

One of Beylerbeyi’s intriguing hidden features is the network of tunnels and ramps connecting terraces. The most famous is the covered tunnel from the street level up through the hill, which once allowed Sultan’s carriages to reach the mid-garden levels unseen. It is mostly sealed now, but a stone portal in the stable wall hints at its exit.

Inside the palace itself, a lower corridor connects the Selamlık and Harem wings. In recent restorations this basement passage has been reopened for visitors to use (albeit silently, of course). It lets one understand how servants and entourage moved discreetly between the public and private sides. There are legends of hidden escape tunnels too, but none have been found or opened. What survives shows that the architects smartly handled the elevation changes: gentle ramps and wide steps keep everything connected. Even today, those marble staircases and hidden corridors give the complex a feeling of unity, like a living Ottoman town under one roof.

Planning Your Perfect Visit: The Complete 2025 Visitor’s Guide

Beylerbeyi Palace Opening Hours & Closing Days

As of 2025, Beylerbeyi Palace is open Tuesday through Sunday. The general visiting hours are 09:00 to 18:00 each day. It is closed on Mondays, on January 1 (New Year’s Day) and for the first days of the Islamic holidays of Ramadan and Sacrifice (Kurban) Bayram. These holiday closures can affect the schedule, so it’s wise to check ahead if your trip coincides with those.

In peak season (summer), the palace sometimes extends hours into early evening; in winter it may close a bit earlier. Nonetheless, planning for a mid-morning visit (around 10:00) is safe if you want the full day. Note also that in 2025 the museum will occasionally close for short periods in June for maintenance and special official events. Again, the Milli Saraylar (National Palaces) official website posts exact dates, so a quick check in advance is recommended.

Ticket Prices & Concessions

All visitors must purchase an entrance ticket. As of late 2024, the admission fee is about 350 Turkish Lira for foreign adults, and 75 TL for Turkish citizens. Students (18–25) pay around 40 TL, and children under 18 enter free. There is also a very inexpensive ticket (about 20 TL) that gives access to the gardens only, but most visitors simply buy the full palace tour ticket.

Importantly, the Istanbul Museum Pass (MüzeKart) is not valid at Beylerbeyi. The palace is managed by the National Palaces authority, which excludes it from the common tourist museum pass. Therefore, even if you have the MüzeKart, you will need to pay the Beylerbeyi entry fee separately. Also note that there is no combined ticket for Beylerbeyi and Dolmabahçe; each palace sells its own ticket.

A few extras: an English audio guide (hand-held device) is available for rent at the entrance (around 150 TL). Guided group tours are sometimes offered by the palace staff, and private licensed guides can be hired as well. There is a small gift shop in the entrance lobby with postcards, guidebooks and souvenirs (copies of the palace crest, model palaces, etc.). Basic amenities: a café (the Harem Pavilion Café) in the garden serves tea, coffee and snacks, and restrooms are located near the entrance and on the ground floor of the harem wing.

In summary, bring some Turkish lira or a credit card for tickets; plan on buying a Beylerbeyi ticket even if you hold an Istanbul museum card; and enjoy the experience of paying once to enter what is in effect a historic palace-museum.

Is Beylerbeyi Palace Included in the Istanbul Museum Pass?

No, Beylerbeyi Palace is not included in the standard Istanbul Museum Pass (MüzeKart). The MüzeKart covers sites under the Ministry of Culture (such as Topkapı, Hagia Sophia, Dolmabahçe, etc.), but Beylerbeyi falls under the Presidency’s National Palaces. Therefore, MüzeKart holders must still buy a separate Beylerbeyi ticket. Note: some private “tourist pass” cards sold by tour operators might bundle Beylerbeyi, but the official MüzeKart does not.

How to Get to Beylerbeyi Palace

From Sultanahmet/Eminönü (Ferry + Bus/Taxi): The most scenic route is by boat. From Eminönü or Karaköy (the European side), take a ferry to Üsküdar (about 15–20 minutes). Beylerbeyi Palace is just a 5–10 minute walk north from the Üsküdar ferry pier. Alternatively, public tour boats on the Bosphorus also stop at Üsküdar. Once in Üsküdar, you can walk (roughly 2 km along the coast), or hop on local buses (lines 15, 15C or 15B) that stop right by Beylerbeyi Palace. Taxis and ride-hailing services are plentiful at Üsküdar as well.

From Taksim/Beşiktaş (Bus or Marmaray): From Taksim Square, take the bus 15U or 15B to Üsküdar (about 30–40 minutes). From Beşiktaş you can take a Seabus (fast ferry) to Kadıköy and then a short bus or ferry ride to Üsküdar. Some direct buses (e.g. line 15 from Beşiktaş) run along the Bosphorus bridge to Üsküdar as well, but these can be slow in heavy traffic.

Using the Marmaray (Suburban Train): A very convenient option is the Marmaray tunnel train. Board at Sirkeci or Yenikapı (near Sultanahmet) and travel one stop to Üsküdar Station (about 15 minutes). From Üsküdar station, exit to street level and either walk north along the coast or take a short taxi or bus ride to the palace. This avoids road traffic entirely and is a popular route for locals and savvy visitors alike.

On Foot/Other: For the adventurous, one can also walk from the Çengelköy ferry terminal (east of Beylerbeyi) along the waterfront. There are private sea taxis (little mahmus) from nearby villages that can drop you at the palace pier, but schedules vary. Many visitors simply combine Beylerbeyi with other Üsküdar attractions in a single trip. In general, allocate about 45–60 minutes of travel from central Istanbul to reach Beylerbeyi, then additional time to return.

Best Time to Visit: Avoiding the Crowds

Like all major sights, Beylerbeyi gets busiest midday on weekends. For the quietest experience, go on a weekday morning right at opening (09:00). Many visitors find that the first 30–60 minutes of the day are almost private. The late afternoon (around 15:00–16:00) can also be pleasant, with softer light in the halls and gardens.

If possible, choose a Tuesday, Wednesday or Thursday. Mondays are impossible (palace is closed), and Fridays–Sundays can draw local families, especially Turkish holidaymakers in summer. If you must go on a weekend, the palace grounds are large enough that even a few dozen people spread out won’t feel too crowded.

Seasonally, spring and autumn (April–June, September–October) bring the best weather for the gardens. Summer (July–August) is hot and crowded, though the marble interiors stay cool. Winter is the quietest time (December–February), but the palace is cool inside and days are short; still, the gardens are beautifully stark in low light.

Special tip: keep an eye out for occasional night openings or lantern-lit tours in summer. Beylerbeyi sometimes participates in Istanbul’s museum nights or special events with evening hours. This can be a magical (if busier) way to see the palace by lamplight.

On-Site Facilities: Cafés, Shops, and Accessibility

Visitors will find basic amenities near the palace entrance. There is a small café in the garden (the Harem Pavilion Café) offering tea, coffee, snacks and light lunches. It has a shaded terrace overlooking the Bosphorus. Prices are moderate – a step above street prices, which is typical at such sites. Picnic tables are also set out on the lower terraces for a simple bite.

A modest gift shop is located just inside the entrance. It sells postcards, guidebooks, Turkish delight, local handicrafts and Beylerbeyi-themed souvenirs (miniature palace models, maps, magnets). The shop also carries jewelry and scarves inspired by Ottoman designs.

Restrooms are available near the entrance and on the ground floor of the harem wing. They are clean but utilitarian. Note that the palace has only broad marble staircases (no elevator) between levels, so wheelchair access is limited to the entrance level galleries and exterior ramps. There is a short ramp to the first terrace outside. The site provides assistance for disabled visitors who need to see the rest of the palace, but pre-arrangement may be required through the Milli Saraylar office. In any case, the outdoor gardens and pavilions are generally accessible.

Other services: There is a paid car park outside the grounds (with a gate guard). Security checks are in place at the entrance (bag scans and metal detector). Large backpacks and tripods are discouraged inside. There are no lockers or ATMs on site – plan your cash and belongings accordingly. But overall, the facilities are straightforward, allowing focus on the palace itself.

The Photography Guide: Capturing the Beauty of Beylerbeyi

Can You Take Pictures Inside?

A common question is whether photography is allowed. The short answer: No interior photography is permitted, but outdoor photography is encouraged. Guards do not stop casual photos of the palace’s exterior or gardens. You will see many visitors snapping shots of the façade, the kiosks, and the Bosphorus.

Inside, however, photography is officially prohibited. Signs in Turkish and English at every doorway warn that no cameras or phones are allowed in the halls. This rule is strictly enforced – presumably to protect the delicate furnishings from flash damage. So plan to store cameras in your bag before entering. Enjoy the rooms with your eyes, not through a lens. (This policy is stricter here than at some other museums, and even the palace’s own guidebook chides visitors to obey it.)

So yes: photos allowed outside, forbidden inside. Make sure your last indoor memory is captured mentally, not on your screen.

The Best Photo Spots in the Gardens and Grounds

With the indoors off-limits to cameras, focus on the palace’s magnificent exterior and grounds. Here are a few must-shoot spots:

• Framing the Bosphorus Bridge: From the terrace by the Marble Pavilion (lower garden), aim your camera so the south façade of Beylerbeyi and the Bosphorus Bridge appear together. The pale palace walls and golden kiosks contrasted against the steel suspension span make a striking composition. Early morning light or late afternoon shadows work best.
• The Water Gates: Walk along the lower garden wall by the ferry dock. There are ornate wrought-iron gates through which sultan’s boats once moored. These gates, topped by Ottoman crests, look perfect photographed with the palace walls behind. Try a vertical shot capturing one gate and the building above it for a dramatic effect.
• Full Sea Facade View: Stand on the garden path directly facing the palace’s south side, backed up toward the water (or on the ferry if it’s docked). From this vantage, the palace’s full east-west span is visible, framed by trees. On a clear day, you’ll see across the water to the wooded hills of Çengelköy. The symmetry of the two kiosks flanking the central pool is beautiful.
• Marble vs. Yellow Pavilion: As noted, the Yellow Pavilion and Marble Pavilion opposite each other across the pool create a postcard view. Position yourself at the south end of the pool between the marble steps and photograph the two kiosks across the water. Aim at sunset if you can: the marble glows and the sky pastel-reflects.
• Terrace Panoramas: For panoramic views, climb one of the upper staircases. From the top, you can capture the descending terraces with magnolias or cypress in frame, perhaps with part of the palace wall in the background. In spring, a shot with pink magnolia blossoms and the palace behind is a treat.
• Detail Shots: Don’t forget close-ups. The gates have intricate ironwork, the marble columns have carved capitals, and the Ottoman crest above the door is rich in detail. A tight shot of the palace’s nameplate or a coat of arms can be an artistic souvenir. Also, the ferry landing ramp and nearby street can frame interesting perspectives.

If you use a tripod or tripod-like grip, remember it’s not allowed indoors and should be used carefully outdoors (the guards aren’t usually strict about it outside, but watch out for foot traffic). Do be aware that the garden is public, so many people will cross your frame – this often adds life to photos, but patience can get that perfect empty shot.

With these spots in mind, you should return home with beautiful images of Beylerbeyi’s exterior – a worthy visual counterpart to the memories of its interior you carry in your mind.

Beyond the Palace Walls: Exploring the Beylerbeyi Neighborhood

The Charm of Beylerbeyi Village: A Glimpse of Old Bosphorus Life

Stepping out of the palace into Beylerbeyi neighborhood is like entering a quieter time. The narrow streets are lined with wooden Ottoman houses (some restored, some faded pastel), small shops and cafes. Here, Istanbul’s modern layers yield to a local rhythm. Fishermen mend nets on the docks, men sip tea at street-side tables, and orange trees scent the air. Many of the grand waterside yalı mansions from Abdülaziz’s day still stand, painted in cheerful colors and some converted into hotels or restaurants.

If you have time after touring the palace, take a wander. Climbing a couple of blocks up the hill (along Abdülhamid I Avenue) brings you to a historic gem: the Hamid-i Evvel Mosque. Named for Sultan Abdülhamid I (Abdülaziz’s great-uncle), it was built in 1778 and is one of the few 18th-century imperial mosques on the Asian shore. Its domes and slender twin minarets are visible from the palace gardens, but entering it feels like finding a quiet jewel. Inside are faded Iznik-tiled walls and an original marble fountain in the courtyard. Sitting for a moment in the shaded garden courtyard, listening to the call to prayer, you get a palpable sense of the Ottoman waterway lifestyle from three centuries ago.

Dining with a View: Seaside Restaurants and Cafés

No trip to Beylerbeyi is complete without a meal by the water. Along the shore near the palace ferry landing are several well-known fish restaurants and meyhanes (meze taverns) offering local cuisine. A popular spot is Beybalık (“Bey Fish”), an elegant fish restaurant built on a pier. It serves fresh meze (appetizers) and grilled fish, often with a view of the palace terraces. Watching fishermen at work on the Bosphorus can be a meal’s entertainment. Simpler spots serve grilled calamari, shrimp, salads and Turkish pide (flatbreads) on open tables.

There are also cafés on the quay. One classic activity is buying a warm simit (sesame-encrusted bread ring) or a bagel from a street vendor and sipping Turkish tea by the water. Locals do this on benches while watching the late afternoon ferry schedule. The smaller cafes typically have menus only in Turkish, but pointing usually suffices.

In any eatery here, you’ll dine with a view. Many tables have glimpses of the palace or the Bosphorus Bridge. Try the seasonal local fish (like lüfer or palamut), or simple Turkish snacks. For dessert, street vendors sell dondurma (thick Turkish ice cream) or trays of baklava. One fun option: rent a rowboat from a small booth by the palace and gently row under the palace walls (yes, tourists do this as a photo-op). It’s quite the souvenir – rowing on the Bosphorus under that gilded façade.

The Beylerbeyi Mosque: A Final Touch of Imperial Elegance

Still on Abdülhamid I Street, a few blocks above the café row, stands the Beylerbeyi Mosque (also known as the Hamid-i Evvel Mosque) that we mentioned. It is worth a formal visit. Unlike larger imperial mosques, this one has a serene domestic scale. Built by Abdülhamid I for his mother, it features a single large dome and double minarets. The interior is bright and airy, with pale painted calligraphy and blue-tiled floors. The atmosphere is reverent but intimate.

One highlight is its placement. From the gardens of Beylerbeyi Palace, you can see the mosque’s dome and minarets on the hill above – it often appears in famous photos of Beylerbeyi taken from the water. Entering the mosque lets you step closer to that silhouette. The Istanbul magazine Cornucopia notes this is the only domed Ottoman imperial mosque north of Üsküdar on the Asian shore.

If you time it right (for example, after a Beylerbeyi midday tour), you might catch the call to prayer ringing through this little street. Exiting its courtyard back toward the sea, one gets a final reminder: the Beylerbeyi area, though quiet now, was an important imperial neighborhood. The palace and this mosque together form a picture of a calm Ottoman riverside community – a fitting ending to the Beylerbeyi experience.

Beylerbeyi Palace: Frequently Asked Questions (FAQ)

How long should I spend at Beylerbeyi Palace? Most visitors spend about 1 to 2 hours touring the interior halls and chambers. If you stroll at a leisurely pace, study the details and use an audio guide, plan on 90 minutes inside. Add another 30–60 minutes to wander the gardens, kiosks and terraces. Altogether, an unhurried visit is 2 to 3 hours. History enthusiasts could easily spend more time in each room. Remember that the palace is on a hillside, so wear comfortable shoes for the garden staircases.

What does “Beylerbeyi” actually mean? The name “Beylerbeyi” comes from Ottoman Turkish, meaning “Lord of Lords” or “Bey of Beys.” It was an important title for a provincial governor-general. In Beylerbeyi’s case, the neighborhood already had that name (after a 17th-century governor who built a waterfront yalı here). Sultan Abdülaziz simply kept the name for his palace, evoking the area’s historic prestige. Today, it remains the official name of this Asian-side district.

Who was the last royal to live in the palace? The last Ottoman ruler to reside at Beylerbeyi was Sultan Abdülhamid II (reigned 1876–1909). After his deposition in 1909, he was confined to Beylerbeyi Palace from 1912 until his death in 1918. He lived in the private harem chambers, not the grand halls. No member of the royal family lived here after that; after 1923 the palace passed to the new state.

Are guided tours available? Yes. The National Palaces administration offers guided tours and audio guides. Typically, free guided tours (in English and Turkish) are arranged at set times by the staff, often gathering in the entrance lobby. English audio guides (hand-held commentary devices) can be rented for a small fee. Many visitors find the audio guide helpful for room-by-room explanations. If you prefer a personal guide, licensed tourist guides can also be hired outside. In any case, whether guided or self-guided, clear informational signs in English and Turkish are posted in each major room.

Is the palace accessible for visitors with disabilities? Beylerbeyi has made efforts toward accessibility, but there are limitations. The entrance gate and outer garden paths are mostly flat or ramped. However, to reach the interior halls requires climbing the wide marble staircases (there is no elevator). So visitors in wheelchairs can see the entrance foyer and the first floor, and some curatorial staff can assist in the halls if pre-arranged. The basement museum areas and some garden ramps are accessible. There are ramps on the upper terraces. Restrooms are on the ground level. The palace administration advises contacting them in advance if you need special assistance.