The imaret has an extravagantly Baroque gate which is carved with high-relief vegetal scrolls and a spiralling "swan-neck" pediment, flanked by marble columns with Corinthian-like capitals, and surmounted by wide eaves.

[17] Godfrey Goodwin, a scholar of Ottoman architectural history, suggests that the külliye which most clearly demonstrates the transition between the old and new styles was the Beşir Ağa Mosque and its sebil, built in 1745 near the western perimeter of Topkapı Palace.

[20]The most important monument heralding the new Ottoman Baroque style is the Nuruosmaniye Mosque complex, begun by Mahmud I in October 1748 and completed by his successor, Osman III (to whom it is dedicated), in December 1755.

[40][41] The sebil and fountain that flank the western gate of the complex have curved and flamboyant forms counterbalanced by the plain walls around them, which Goodwin calls the "epitome of the baroque" style for these features.

[53] The Ayazma Mosque differs from others mainly in the unique arrangement of its front façade, which consists of a five-arched portico reached by a wide semi-circular staircase.

[58] Due to the sultan's personal wishes, its form is based on that of the Selimiye Mosque in Edirne, consisting of a main dome supported by eight piers and four corner semi-domes, thus differing significantly from the Nuruosmaniye's design.

A sense of historical consciousness or historicism in Ottoman architecture of the time may be also evident in Mustafa III's reconstruction of the Fatih Mosque after the 1766 earthquake that partially destroyed it.

[82] The chief court architect at the time was still Mehmed Tahir Agha (as it was under Mustafa III), but his role in the design of the Hamidiye complex is not confirmed.

[83] The sultan's tomb is in Baroque style and one of its notable details is a large Qur'anic inscription band in thuluth script that curves around the interior.

[79] This trend towards even greater ornateness, including more three-dimensional renditions of motifs like acanthus leaves and oyster shells, and the similarities to the Rococo style came to characterize Ottoman Baroque architecture in the last quarter of the 18th century.

[87][88] This mosque is located next to the tomb of Abu Ayyub al-Ansari, an important Islamic religious site in the area of Istanbul originally built by Mehmed II.

The previous Emir Sultan Mosque's foundations and some of its materials were reused in construction, resulting in a work that mixes archaic and Baroque elements.

Before the reconstruction of the mosque, Mihrişah Sultan (Selim III's mother), built a charitable complex nearby in a vibrant Baroque style.

[101] This new building type arose in conjunction with Selim III's reform attempts, the Nizam-I Cedid ("New Order"), which among other things created a new Western-style army.

More innovatively, it also included an array of factories, shops, and modern facilities such as a printing house, all arranged to form the nucleus of a new neighbourhood with a regular grid of streets.

[109] Its design illustrates the degree of influence exerted by the earlier Beylerbeyi Mosque, as it incorporates a wide imperial pavilion that stretches across its front façade.

[111][112]In Topkapı Palace the Ottoman sultans and their family continued to build new rooms or remodel old ones throughout the 18th century, introducing Baroque and Rococo decoration in the process.

This kiosk is a garden pavilion in the Fourth Court that was first begun in the late 17th century by Mustafa Pasha and then either completed or restored by Ahmet III in 1704.

[113][114][115][116] The Imperial Council (Divan) Hall in the Second Court of the palace was redecorated in flamboyant Baroque style by Selim III in 1792 and by Mahmud II in 1819.

[117] Inside the Harem section, Abdulhamid I renovated the Imperial Hall (Hünkâr Sofası), adding among other things a Baroque wall fountain and Dutch blue-and-white tiles (although the decoration of the dome has since been restored to its late 16th-century state).

The terrace includes flowerbeds and a central water basin, while a private passage on the west side grants access between the kiosk and the palace.

Among the rare surviving examples, Baroque decoration from this period can still be seen in the Aynalıkavak Pavilion (mentioned above), which was restored by Selim III and Mahmud II.

[143][146][145] The mosque was innovative in other details such as the greater use of vaults and stairways, the use of wood instead of stone for elements like stairs, and in the decoration of the dome where the traditional circular Arabic inscription is replaced with a vegetal foliate motif.

[157] In Syria, internecine conflicts caused great damage to the country during the 18th century, but the cities of Damascus and Aleppo remained prosperous commercial centers.

[158] The most spectacular and admired building of this kind is the Khan As'ad Pasha (1753), whose main hall consists of nine domes supported by four central pillars.

[158][160] In Cairo, several rare monuments sponsored by Ottoman sultans were built in the mid-18th century, demonstrating a certain level of renewed imperial interest in this provincial capital.

[161] The Takiyya Mahmudiyya, sponsored by Mahmud I and dated to 1750, was the first Ottoman complex in Cairo to be founded by a sultan, over two and a half centuries after the conquest of the city.

[161][162] A slightly later imperial foundation, the Sabil-kuttab of Mustafa III in Cairo (located across from the Mosque of Sayyida Zeinab) in 1758–1760, still demonstrates local Cairene influences but this time it incorporates some new Baroque details.

[136] In eastern Anatolia, near present-day Doğubayazıt, the Ishak Pasha Palace is an exceptional and flamboyant piece of architecture that mixes various local traditions including Seljuk Turkish, Armenian, and Georgian.

[10][179] More recent scholars like Tulay Artan and Shirine Hamadeh have argued for a more positive evaluation of the style and for a lesser emphasis on the role of Western influence.