A Sword “Unmatched by Precedent” (Unlikely to Be Found):
Let us quote exactly what Tahsin Öz, the former museum director, wrote about the sword and its epitaph on pages 38 and 39 of this book:

“At the time this sword was opened for inventory, the sword had a thicker layer of rust than other swords. When it was cleaned, human images and writings were found on it, and it appeared that these were real.

The hilt of the sword is covered with black leather on wood and the cross guard is made of iron. Its length is 101 inches. The base is wide and the two edges are sharp and the tip is pointed. There is a picture of a person near the hilt of the base, holding a sword in one hand and a head in the other. There is an Arabic line under it, which is well deserved, and among the writings there is another type of writing (perhaps Nabati) whose type we cannot determine. In the last line, the names of David, Solomon, Musa, Harun, Joshua, Zekeriyya, Yahya, Isa, Muhammad can be read.

The iron of this sword is made of white metal, and it is extremely sharp and has a characteristic that cannot be matched. However, it was impossible to determine its nature from the partially readable writings on it. After a while, while the works in the palace’s warehouse called the Emanrt Treasure were being classified, a copper inscription caught our attention. Because it had the same pictures on the sword. One side of this inscription was in Arabic with 32 lines and 28 lines on the other side were in the aforementioned font. The picture here was more obvious than the sword.

Head of the Inscription of the Sword
After giving this technical information about the sword and its inscription, Tahsin Öz goes to the summary of the inscription. This is where the real oddities come together.
On one side of this strange inscription, there is a figure holding a sword in one hand and a severed head in the other hand, similar to the sword (as seen in the picture); However, there are major differences between them that seem small. It is as follows: The picture of the man with the sword -it is understood that this picture represents Prophet David – has a funnel-shaped cone on his head, while the figure in the inscription has two horns on his head. When this situation is evaluated together with the feet of the figure, it is clearly understood that this picture represents a genie. Because the two figures that look like the feet of the demon (that is, for show) are not actually feet, but the letter ط (Tı) in Arabic. When the letters ط (Tı) are excluded from the picture, the genie’s legs are bent backwards. The picture looks like a talisman when evaluated together with the vefks below. Perhaps the sword was made as a protective talisman.

Pictorial Part of the Sword
The figure holding a sword in one hand and a severed head in the other (the cut head is slightly faint) and depicting the event of Prophet David killing Goliath is depicted on the sword.

On the face of the copper inscription with a genie picture, a text that cannot be understood in which language and alphabet draws attention. Anyone familiar with occult sciences can understand that these writings, which Tahsin Bey, the former director of the museum, said “may be Nabataean”, are talismanic writings about demons. Historians are well aware of the genie issue. Therefore, Tahsin Bey may have guessed that these writings were jinn, but he did not want to express it from his book, which he wrote in an academic and official style, because this is a metaphysical issue..(?)
Jinn can be written in many different secret alphabets; We can see the common vefk characters here both on the sword and in the inscription.
The story of Talut and Goliath described in Surah Baccarat and the depictions on the sword and inscription in the Topkapı Palace Museum draw attention to the same event. And in the inscription of the sword, it is written that the sword will be delivered to the Mahdi. The relevant sections in the book are as follows.
“Ali says; I found this sword and plate in the treasury of Melik Mukavkis, the owner of Egypt. He had a narration from Prophet David in Syriac and Hebrew. He says; When Goliath became hostile to me, I made a sword and an arrow as my Lord had taught me. And after the galabeh, God made me victorious. One of the signs of this sword is that; On one side, there is a person with a sword and a head in his hand, and on the other side, a person sitting on the pulpit of the country. That severed head expresses my killing of Goliath, and the one sitting on the pulpit expresses his judgment on Solomon and everything. This blessed sword will reach Prophet Yusuf… After that, Hazrat. It reaches Zechariah, then Yahya, and then Jesus. Then it is presented to the Prophet Muhammad. After his death, he reaches Hazrat Abu Bakr. Then he inherited his son Muhammad. Ali bin Abu Talib appoints Muhammad as governor of Egypt. Then he dies. And the sword returns to the treasure of Prophet Yusuf. Then it remains hidden until the 880th year of the Hijra. Elif will be transferred to Egypt. After the Ottomans state is complete, they will fight until the time of Kuffar Mahdi. God bless them. Then the sword will pass to the Mahdi, the owner of the time, and it will reach the Prophet Jesus. With him, the one-eyed hypocrite ibn-i siyat will murder the Dajjal. Allah and His Messenger reported them as secret sciences.”

The strangeness in the copper inscription continues.

There is an Arabic text on the back of the inscription (Image above) and what is described in this text contains information that seems contradictory at first glance. The mystery of the text, which includes some of the prophecies that have come true, is knotted in a picture of a ship encrypted with the science of cifir. But before that, the point that draws our attention is that; There is something strange about saying that Prophet David’s sword will reach Prophet Yusuf. Because Prophet Yusuf lived and died centuries before Prophet David. How is it that the sword reaches other prophets after Prophet Yusuf and returns to Yusuf’s treasury this time. It’s like talking about a time spiral. The strangeness of the chronology given in this inscription, which was preserved and preserved by the Ottomans for centuries, must have been noticed by the Ottomans immediately, because the tradition of religious sciences was always very widespread and developed in the Ottoman Empire. Therefore, it is almost impossible that they did not notice this strangeness. Moreover, the inscription mentions the “Completion of the Ottoman Empire”, that is, the collapse of the state. At that time, even if anyone said such a thing, it would probably result in my extradition. So why did the Ottoman state preserve and protect these pieces for centuries? That is a separate question that remains a mystery.

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The Church of St. Anthony of Padua (Turkish: Sent Antuan Kilisesi), alternatively known as Sant'Antonio di Padova Church or S. Antonio di Padova, is the largest Catholic church in Istanbul, Turkey. It is located on İstiklal Avenue in the Beyoğlu district.
The original Church of St. Anthony of Padua was built in 1725 by the Italian community of Istanbul but was later demolished and replaced with the current building which was constructed on the same site. The current basilican church, along with the adjacent residential buildings (known as the St. Antoine Apartmanları) was built between 1906 and 1912 in Venetian Neo-Gothic style, again by the city's Italian community (mostly made up of people of Genoese and Venetian descent, the community amounted to about 40,000 at the start of the 20th century). The building was designed by the Levantine architect Giulio Mongeri, who also designed other important buildings in Turkey, such as the Maçka Palas in Nişantaşı and the Neo-Byzantine Karaköy Palas bank building in Karaköy (Galata), Istanbul, as well as the first headquarters of the Türkiye İş Bankası in Ankara.
Pope John XXIII preached here for 10 years while he was the Vatican's ambassador to Turkey before being chosen as pope. He is known as "the Turkish Pope" because of his fluency in Turkish and his oft-expressed love for Turkey and for Istanbul in particular. A statue of him is installed in the church's courtyard.
Since 2016 a legal battle has raged over the church which has been put up for sale by a man claiming to act for the site's legal owner. According to news reports, Sebahattin Gök obtained a power of attorney from the owners of the land and then attempted to sell it before lawyers acting on behalf of the Vatican took steps to prevent the sale.

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The tabar, also known as tabarzin, derives its name from the Persian term "saddle axe" (تبر). It stands as a notable type of battle axe with origins spanning regions including the Ottoman Empire, Persia, India, and neighboring cultures. This weapon holds significant historical and cultural significance, having been utilized in warfare across various civilizations.

Characterized by its distinctive design, the tabar typically features a single-edged blade mounted on a long shaft, often adorned with ornate engravings or decorations. Its practical design made it a versatile weapon on the battlefield, capable of inflicting devastating blows with its heavy head while also serving utilitarian purposes such as chopping wood or clearing obstacles.

The term "tabar" itself has traveled through linguistic and cultural exchanges, originating from Iranian Scythian roots. Its adoption as a loanword extends beyond its region of origin, finding its way into many Slavic languages where it is commonly used to refer to axes in general.

Throughout history, the tabar has been wielded by warriors from diverse backgrounds, including cavalrymen, foot soldiers, and elite guards. Its presence in military conflicts and ceremonial contexts underscores its status as both a practical tool and a symbol of martial prowess.

Today, the legacy of the tabar endures in various forms, from historical artifacts displayed in museums to modern reproductions crafted by artisans. Its association with cultures across the Middle East and Central Asia serves as a reminder of the interconnectedness of civilizations and the enduring influence of weaponry in shaping human history.

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Topkapi Palace, situated in Istanbul, Turkey, stands as a monumental testament to the opulence and grandeur of the Ottoman Empire at its zenith. Constructed in the 15th century under the order of Sultan Mehmed II, following the Ottoman conquest of Constantinople in 1453, the palace served as the administrative center and royal residence of the Ottoman Sultans for nearly four centuries, until the mid-19th century when the court was moved to Dolmabahçe Palace.

Covering approximately 700,000 square meters at the tip of the historic peninsula overlooking both the Bosphorus Strait and the Golden Horn, the palace complex is a stunning showcase of Islamic art, with its elaborate courtyards, exquisite tile work, and intricate architecture. The layout of the palace is a series of courtyards, each serving different purposes and increasing in privacy: the First Courtyard served as a service area; the Second Courtyard was the administrative heart of the empire; the Third Courtyard housed the Sultan’s private residence and the treasury, including the Imperial Council (Divan); and the Fourth Courtyard was a series of gardens and pavilions used for private relaxation.

One of the most remarkable aspects of Topkapi Palace is its Imperial Harem, a secluded section that housed the Sultan’s wives, concubines, and children, along with a large staff of eunuchs who managed the day-to-day affairs. The Harem is particularly noted for its architectural significance and intricate interior decorations.

The palace also holds an extensive collection of artifacts that reflect the splendor of the Ottoman era, including imperial treasures, religious relics, and a significant collection of manuscripts and decorative arts. Among its most prized possessions are the Prophet Muhammad’s cloak and sword, which draw pilgrims and visitors from around the Islamic world.

Today, Topkapi Palace is a UNESCO World Heritage Site and operates as a museum, attracting millions of visitors each year eager to explore its rich history and cultural heritage. Its strategic location offers panoramic views of Istanbul and the waters that define it, making it not only a historical treasure but also a symbol of the city’s enduring legacy as a bridge between continents and cultures.

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Instead of spending the day navigating the bustling streets of Istanbul in a cramped tour bus, I chose to uncover the city's enchanting beauty with a touch of elegance on a serene sunset cruise along the Bosphorus. This picturesque waterway serves as the natural boundary between Asian Turkey and European Turkey, and what better way to experience it than from the open-air deck of a luxurious yacht.

As the sun began its descent, casting a warm glow across the horizon, I marveled at the riverside landmarks that adorned the Bosphorus. The grandeur of the Dolmabahçe Palace, the graceful silhouette of the Ortaköy Mosque, and the formidable presence of the Rumeli Fortress all came alive in the enchanting dusk light. Each monument seemed to tell a story, illuminated against the backdrop of the fading sunlight.

This leisurely cruise not only provided a respite from the hustle and bustle but also allowed me to witness Istanbul's historical treasures in a new and captivating way. The gentle breeze, the soothing sound of the water, and the spectacular views made it an unforgettable experience, unveiling the city's charm in a style that transcends the confines of traditional tours.

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