![]() ![]() According to another contemporary report by Giovanni Benaglia, secretary of the Austrian ambassador in Istanbul, he divorced his "beloved Köprülü princess" after their engagement and after they had many children, and gave her to a French renegade, one of his favorites. He had four concubines (Fatma, Emine, Ayşe, Zeynep), and by them at least two sons, Yusuf and Mehmed. A contemporary French account says he had two children with the little Köprülü princess, who both died young, and that his wife died shortly after their death, at 31. It is said that while growing up, differently from his adoptive Köprülü brothers, he disliked alcohol, as well as Europeans and other non-Muslims. He then entered the household of the Sultan as mirahor-i-sani ( master of the horse). Within the household's inner service ( enderun), he held the positions of letter-carrier ( telhisci, or assistant to the grand vizier) to Köprülü Mehmed Pasha, and of silahdar (armourer). How he entered the family and the details of his marriage are unclear. Possibly as a way to increase his possibilities to start an administrative career, he was introduced into the Köprülü household, where he was educated by Köprülü Mehmed Pasha, and married into the Köprülü family. His father is said to have served under Köprülü Mehmed Pasha. He was born in the village of Mirince/Marınca near Merzifon (now called Karamustafapaşa after him), the son of a sipahi, cavalry man. However, he was brought up in the Köprülü family, of Albanian origin. Kara Mustafa Pasha was of Turkish origin. In 1927 the woodcut, which had been printed from six blocks, was acquired at an auction in Leipzig for the Historical Museum of the City of Vienna where it resides.Merzifonlu Kara Mustafa Pasha ( Ottoman Turkish: مرزيفونلى قره مصطفى پاشا Turkish: Merzifonlu Kara Mustafa Paşa "Mustafa Pasha the Courageous of Merzifon" 1634/1635 – 25 December 1683) was an Ottoman nobleman, military figure and Grand Vizier of Turkish origin, who was a central character in the Ottoman Empire's last attempts at expansion into both Central and Eastern Europe.Įarly life and career The Ottoman northern frontier in the seventeenth century, where Kara Mustafa Pasha led his early campaigns. Most of the town is set ablaze while events such as war atrocities and executions also find their place. On the outskirts of the town, the tents of the Turks are shown, with the main fighting and the destruction of the suburbs in the west and south are depicted. Buildings are shown minimally while fortifications are shown in detail. Similarly, numerous events during the siege are shown simultaneously within the image. Stephen's Cathedral in the middle, which is not topographically accurate, but more or less emphasized according to the importance of the areas shown. The Meldeman-Plan shows a circular image of the besieged Vienna with St. This woodcut, known as the “Meldemen Plan,” is a unique and authentic representation of the first Turkish siege of Vienna. After a lengthy negotiation, Meldemann acquired the picture and created a woodcut based on this template, completing it in 1530. Stephen's Cathedral, and from the vantage position recorded the siege as he saw it. According to Meldemen, the painter had climbed to the top of the St. Shortly after the siege ended, Nikolaus Meldeman, travelled to Vienna and began looking for visual representations of the events when he came across an anonymous painter with exactly such a painting. Nevertheless, Vienna was able to survive the siege, which lasted just over two weeks. Suleiman the Magnificent, sultan of the Ottomans, attacked the city with over 100,000 men, while the defenders, led by Niklas Graf Salm, numbered no more than 21,000. The siege of Vienna in 1529 was the first attempt by the Ottoman Empire to capture the city. One of the oldest topographical maps of Vienna is the so-called “Meldeman-Plan’’ published by the Austrian painter and printer Nikolaus Meldemann that shows a vivid picture of the city during its first siege by the Ottoman army in 1529. ![]()
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