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The Byzantine Aqueducts of Ephesus are a striking testament to the city's advanced engineering and enduring importance throughout history. Originally built to carry spring water from sources near eastern Sel莽uk and Belevi to the elevated area of Ayasuluk Hill, the aqueducts served Saint John's Basilica and surrounding settlements located about 50 meters above sea level. Marble blocks from the ruins of ancient Ephesus and the Temple of Artemis were repurposed in their construction, reflecting both practical reuse and the layered history of the region.

Though Ephesus already had an extensive water system dating back to Greek and Roman times, much of what is visible today was constructed during the Byzantine period. The aqueducts transported water first to Ayasuluk Hill, from where it was distributed through a network of pipes and channels to serve various needs, including drinking, bathing, and irrigation. The high abutments, some reaching 15 meters, demonstrate the architectural ambition and technical skill of the Byzantines, as well as the continuing vitality of the city during this later phase of its history.

The surviving sections of the aqueducts, particularly the towering stone arches that stretch from Ayasuluk Hill toward the modern town center and the train station, are iconic landmarks in Sel莽uk. These structures not only embody the grandeur of the Roman and Byzantine Empires but also provide invaluable insight into the infrastructure that sustained one of the ancient world鈥檚 greatest cities. Many of the arches remain well-preserved, while others were lost or dismantled over the centuries鈥攖hough any alteration today is strictly prohibited and subject to severe penalties.

In recent years, these aqueduct remnants have found an unexpected second life. Sel莽uk's famous storks have taken to nesting atop the high stone pillars, adding a unique living charm to the ruins. As part of the greater Ephesus Ancient City鈥攍isted as a UNESCO World Heritage Site鈥攖he aqueducts continue to draw visitors fascinated by both the historical significance and the quiet beauty of these enduring monuments.

The Sel莽uk Ephesus Urban Memory Museum offers a unique window into the layered history of Sel莽uk and its surrounding region, including the ancient city of Ephesus. Housed in one of Sel莽uk鈥檚 oldest buildings, this museum occupies a late 19th-century structure originally built by a British tobacco company. The building鈥檚 origins are tied to global events鈥攖he American Civil War had disrupted tobacco supplies, prompting British interests to establish operations in the region. Today, the restored structure tells a different story, serving as a repository of the town鈥檚 collective memory.

Inside, visitors can follow a historical timeline that traces the development of Sel莽uk from its earliest days of settlement to the present. Although the timeline is currently only available in Turkish, the exhibits are rich in photographs, artifacts, and visual displays that transcend language. These exhibits offer insight into daily life, local traditions, and key moments in the area鈥檚 social and cultural evolution. It is an ideal place for those who want to understand how modern Sel莽uk has grown in the shadow of the great city of Ephesus.

The museum blends traditional artifacts with modern curatorial techniques, providing a multi-sensory experience that engages both casual visitors and history enthusiasts. Through its displays, guests can learn about everything from agricultural practices to urban development, and from religious transformations to the impact of tourism in recent decades. Though compact in size, the museum offers a deep, meaningful look at the urban and human heritage of the region.

The Ephesus Archaeological Museum is a captivating cultural institution that showcases a rich collection of artifacts unearthed from one of the most significant archaeological sites in the Mediterranean. The museum was established in 1964, following the foundation of the Turkish Republic, which prohibited the export of antiquities and demanded the return of artifacts taken abroad. Many items from earlier excavations had been sent to the British Museum and Vienna between 1867 and 1923, but with the creation of the Ephesus Museum, a new era of preservation and display began, dedicated to housing treasures from Ephesus and its surrounding sites.

Unlike traditional museums arranged in chronological order, the Ephesus Museum presents its collection thematically. Visitors can explore diverse galleries, including sculptures from ancient fountains, artifacts from the opulent Terrace Houses, and a notable coin collection tracing the early use of currency. Other galleries are devoted to specific themes such as "Ephesus through the Ages," "The Hall of Imperial Cult," and "The Hall of the Mother Goddess Cult," each offering a unique perspective on the city's cultural and religious life. The museum also features a tranquil courtyard displaying tombs and intricately carved column capitals.

Before entering the galleries, visitors are encouraged to watch a 10-minute 3D simulation video available in Turkish, English, and German. This immersive experience brings ancient Ephesus to life, allowing viewers to visualize how the city and its grand structures once looked in their prime.

Among the museum鈥檚 most treasured items are the grand statue of the Ephesus Artemis, the Priapos statue, a sculpted head of Socrates, a figure of an Egyptian priest, and the charming Eros with a rabbit. One of the most extraordinary pieces is a stamp discovered at the 脟ukuri莽i Mound, dating back to 6200 BC, making it the oldest artifact in the museum.

The Temple of Artemis, also known as the Artemision, was one of the most extraordinary architectural achievements of the ancient world and counted among the Seven Wonders of the World. This monumental temple was dedicated to the goddess Artemis, revered as the protector of Ephesus. The original structure was commissioned around 550 BCE by Croesus, the wealthy king of Lydia, and was celebrated not only for its grand scale鈥攎easuring roughly 110 by 55 meters鈥攂ut also for the exquisite artwork and sculptures that adorned it.

Tragically, the temple faced numerous destructive episodes throughout its history. One of the most notable incidents occurred in 356 BCE, when a man named Herostratus set fire to the structure in an infamous act of arson, seeking fame through its destruction. The temple was later rebuilt by the people of Ephesus, this time with even more grandeur, including approximately 127 Ionic columns, each standing around 60 feet tall. However, the temple met its final demise in 262 CE during a Gothic invasion and was never reconstructed again.

Excavations at the site have uncovered the foundations of both Croesus鈥檚 original temple and its 4th-century reconstruction, along with remains of three smaller, earlier temples. Many fragments鈥攅specially sculpted column pieces鈥攁re now housed in the British Museum. Visitors to the site today can view the ruins and imagine the scale and beauty of this once-majestic sanctuary, which served as both a religious and cultural center in ancient Ephesus.

One of the most iconic elements associated with the Temple of Artemis is the statue of the goddess herself, a unique, un-Greek depiction of a mummylike figure adorned with symbolic details. The original statue, crafted from gold, ebony, silver, and black stone, depicted Artemis standing stiffly with her arms extended, wearing a headdress and a garment adorned with animals, bees, and rows of breasts鈥攕ymbols of fertility. Though the original has been lost, copies of the statue survive, offering insight into the deep spiritual and cultural significance the temple once held.

The 陌sa Bey Hamam, located just southwest of the 陌sa Bey Mosque in Sel莽uk, is a fascinating yet little-known historical structure that reflects the architectural and cultural traditions of 14th-century Anatolia. While it is uncertain whether the hamam was directly commissioned by the Aydinid ruler 陌sa Bey himself, an inscription found nearby鈥攏ow housed in the Sel莽uk-Efes Museum鈥攊ndicates that a figure named Hoca Ali oversaw its construction in late 1364, during 陌sa Bey's reign. Although the details surrounding Hoca Ali remain sparse, his gravestone, dated 1378, lies in the courtyard of the 陌sa Bey Mosque, suggesting his significance in the period.

Constructed with cut stone and brick, the hamam once featured ten domes, five of which still survive today, giving the structure a distinctive "beehive" appearance. Its interior layout follows the traditional progression of Turkish baths derived from Roman prototypes鈥攎oving from the changing room to the warm room, and finally to the hot room. The hot chamber, is especially notable for its central dome and cruciform arrangement, with four domed private chambers in each corner. Natural light filters through the now-empty glass openings in the domes, casting shifting patterns of shadow across the marble floors and stucco walls, some of which still show traces of decorative detail.

Archaeological evidence suggests that the bath was initially built for men, with a separate women鈥檚 section added later, complete with its own entrance. The remnants of surrounding chambers, thought to be shops, are consistent with some other Turkish bath complexes, although these additions do not appear to have had an organic link to the main building. There is also speculation that one of the northern extensions may have served as a felt-making workshop, which was a feature in some larger hamams of the time.

Today, the 陌sa Bey Hamam stands in partial ruin on 1055 Street, about 200 meters from both the 陌sa Bey Mosque and the solitary column of the Temple of Artemis. Though the site is fenced and lacks modern facilities, it remains open at all hours and can be freely explored. Visitors are advised to wear sturdy shoes due to uneven terrain, and bring water and a hat, as the area offers little shade.

The 陌sa Bey Mosque, built in 1375 by the order of 陌sa Bey of the Ayd谋no臒ullar谋 Emirate, is one of the finest and oldest examples of Anatolian mosque architecture in Turkey. Located in Ayasoluk, at the base of the hill that holds Ayasoluk Castle and the Basilica of St. John, the mosque draws architectural inspiration from both Seljuk and early Ottoman styles. Designed by the Syrian architect Ali ibn al-Dimashqi, the structure measures approximately 51 by 57 meters and features an asymmetrical layout鈥攗ncommon for mosques of its time. Much of its construction material, including columns and stones, was repurposed from nearby ancient ruins such as those at Ephesus and the Temple of Artemis, linking the Islamic monument to the region鈥檚 classical past.

The mosque originally had two minarets, although only one survives today, the other having been destroyed by an earthquake. Its western fa莽ade, crafted from carefully cut limestone and marble, stands out for its decorative richness and serves as the main entrance. The monumental western doorway is adorned with intricate moldings and an Arabic inscription. Inside, a colonnaded courtyard featuring twelve columns once surrounded a central fountain used for ritual ablution. Three entrances lead to this courtyard, with the eastern and western gates also serving as the bases for the original twin minarets. The interior prayer hall is divided into two aisles, cut by a central transept with domes supported by pendentives, echoing the layout of the Great Mosque of Damascus鈥攁 nod to the architect鈥檚 Syrian heritage.

The domes of the mosque are embellished with elements characteristic of Seljuk and early Ottoman design, including stalactite (muqarnas) window moldings, turquoise and blue faience tiles, and mosaics. One of the mosque鈥檚 most distinctive features is its asymmetry: the placement of windows, domes, and doors was purposefully unbalanced, creating a dynamic, non-linear aesthetic.

Despite falling into disrepair over the centuries, the mosque was restored in 1934 and again in 1970 and 2005, allowing it to continue functioning as an active place of worship. Today, 陌sa Bey Mosque not only serves as a religious site but also as a testament to the architectural and cultural convergence that defines the region.

Perched atop Ayasuluk Hill, Ayasuluk Castle鈥攁lso known as Sel莽uk Castle鈥攃ommands sweeping views of the surrounding countryside and stands as a silent witness to centuries of shifting empires. Just a mile from the ancient city of Ephesus, the castle was constructed by the Byzantines in the 6th century using stones from earlier Greek and Roman structures. It was part of a broader defensive strategy as the once-thriving harbor city of Ephesus began to decline. The Byzantines built the citadel to protect the Basilica of Saint John, which lies on the southern slope of the hill, effectively transforming the area into a fortified religious and administrative center.

The castle's massive stone walls, some 4 meters thick and stretching 1.5 kilometers in circumference, were reinforced by 17 towers and accessed through the Gate of Persecution. This gate led first into the basilica, a place of great spiritual significance, believed to house the tomb of St. John the Apostle. Over time, the population migrated uphill toward this citadel as the Ephesus harbor silted up and malaria plagued the lower city. By the time the Seljuk Turks captured the site in 1090, it had become little more than a small village, though it later experienced a resurgence when the Seljuks repaired the walls and dredged the harbor.

Throughout the centuries, Ayasuluk Castle remained a key strategic and religious site. Under the Seljuks and later the Ottomans, it served as a military garrison and administrative hub. In the 14th century, it became the capital of the Ayd谋no臒ullar谋 Principality, and despite the harbor's eventual silting again in the 15th century, the Ottomans maintained a garrison into the 17th century. Within the castle today are remnants of its varied past: the partially intact Kale Mosque with its domed roof and minaret, Ottoman-era cisterns, the remains of a Turkish bath, and traces of former residences.

Ayasuluk Castle has two main gates. One is on the east side, and the other, which is used as the tourist entrance, is on the west side.

The Basilica of Saint John stands as a powerful symbol of early Christian faith and imperial devotion. Built in the 6th century AD by Emperor Justinian I and his wife Theodora, the basilica was constructed over the believed burial site of John the Evangelist鈥攁lso known as John the Apostle and the Gospel writer. Tradition holds that John came to Ephesus with the Virgin Mary between 38 and 47 AD, after Jesus entrusted her to his care during the Crucifixion. He wrote his Gospel in Ephesus and the Book of Revelation during his exile on the Greek island of Patmos. After returning to Ephesus, John lived out his final years on what is now called Ayasuluk Hill and died at the age of 98, likely during the reign of Emperor Trajan.

Initially, a modest chapel was built over his grave in the 4th century. This structure was later replaced by the grand basilica, which was designed in the shape of a cross and crowned with six domes. The central dome rose above John's tomb, once surrounded by four sturdy columns. The church鈥檚 construction, using both stone and brick, was rare for its time and remains a significant architectural achievement. Elements like the marble-covered tomb and columns bearing the monograms of Justinian and Theodora highlight the imperial support behind its creation. The baptistery, with its keyhole shape resembling the Jordan River, dates from the 5th century and lies just north of the nave.

Over time, the basilica became an important pilgrimage site. Visitors believed the dust from John鈥檚 grave had miraculous healing properties. In the apse, the synthronon鈥攕emicircular seating for clergy鈥攕till reveals the ecclesiastical layout. The north transept held a treasury, later converted into a chapel, and its preserved mosaics exemplify the finer, smaller designs of Byzantine craftsmanship. Rampart walls were added during the 7th and 8th centuries to defend the site from Arab attacks, and by the 10th century, vibrant frescoes adorned the chapel walls, depicting St. John and Jesus.

The basilica's fate changed with the Turkish invasion in the 14th century, when it was briefly used as a mosque before being severely damaged by an earthquake. Though now in ruins, the Basilica of Saint John remains one of the most significant Christian monuments in Anatolia, second in size only to the Hagia Sophia during its time.