[1] Before this painting, the Ottomans had recently conquered Constantinople; this put the Venetian Republic in a situation where they had no choice but to accept a peace treaty from Mehmet, the conqueror, in 1479.

The importation of raw silk, cotton, illuminated manuscripts, inlaid metalwork, and spices would have ground to a halt without this peace treaty.

[2] After a peace treaty was brokered between the Venetian Republic and the Ottoman Empire, Sultan Mehmet II decided that he would like an Italian painter to be in residence at his court and paint for him; this task was placed upon Gentile Bellini.

Thus, Italy's decision to send Bellini to Constantinople to paint a portrait of Mehmet II was a diplomatic gesture aimed at fostering peace and promoting cooperation between the two nations.

Venetian travelers who returned from the East were inspired to create factual images of the Muslim world, leading to more authentic portrayals.

During his stay in Constantinople, Bellini developed an appreciation for Ottoman and Islamic art, reflected in both the Portrait of Mehmet II and his later works.

[7] The rounding, voluminous forms of Mehmet's garb and turban greatly contrasted with his hooked nose and pointed chin, which has sharp, thin, and angular features.

Surrounding the portrait is a painted frame consisting of an arch reminiscent of classicizing portals from Venice in that period, as well as the parapet draped with a cloth.

"[12] In 1453, the Ottoman Sultan Mehmet II led the conquest of Constantinople, the capital of the Byzantine Empire, a momentous event that left a lasting impact on early modern Europe.

This historic occasion not only transformed the social and political dynamics of the region but also positioned the Ottomans favorably in terms of future economic and military prospects.

[13] Mehmed II, the Ottoman Sultan, recognized that his vision of attaining worldwide dominance could not be achieved solely through military conquests.

As such, he invested heavily in the arts, commissioning renowned artists to create works that would glorify his reign and serve as a lasting testament to his legacy.

Mehmed II was impressed by the Renaissance fashion of contemporary rulers, who used medals and portraits to establish their public image, much like Italian princes did.

It stated: "His talent one day reached the ears of Mehmed, Prince of the Turks, who burning with desire of seeing him, wrote humbly to the Venetian Senate with a request that it should as a great favor send [Gentile] to him in Constantinople as a gift when he arrived ... so that his entire art might be tested even further.

This painting had an ancient label attached to it, which identified Bellini as the painter and the subjects as Mehmet II and his son Jem, the younger brother of the predecessor to the throne, Beyazit.

Six months after this painting was made, Mehmet II died from health complications stemming from gout and edema of the legs.

The X-ray revealed that no trace of the Sultan's face remains in the painting, while the rest of the details, such as the turban, textiles, arch, and crowns, are still visible.

Bellini didn't draw a portrait of Mehmet II because he wanted to depict what a sultan looks like in his painting.

The three crowns would have been easily referenced by Europeans familiar with the Swedish royal coat of arms or as a reference to the three realms (Papal triregnum).

[6] In Marcel Proust's novel Remembrance of Things Past, Bloch's appearance as a boy is likened to M. Swann's portrait of Mehmet II.