Rumi Mehmed Paşa Tomb

Rumi Mehmed Paşa, originally of Greek descent and raised in Istanbul, was taken into the devshirme system and converted to Islam, rising swiftly through the Ottoman administrative ranks.
He was instrumental in establishing the foundations of the monopoly-tax farming (iltizam) system by persuading Mehmed the Conqueror to lease out state revenues from mines, customs, and surface resources—boosting finances but later enabling corruption and monopolies.
Appointed Grand Vizier in 1471, he led a harsh campaign during the Karaman Seferi, ordering the destruction of villages, mosques, and schools in Larende and Ereğli, for which he faced severe criticism in contemporary chronicles.
After suffering a defeat against the Varsak Turkmens and due to the instigation of Karamanlı Mehmed Paşa, he was dismissed and executed in 1470.
He is buried beside the mosque he commissioned in Üsküdar. His architectural legacy includes the Kurşunlu Han in Ankara, and the Rumi Mehmed Paşa Külliyesi, which was the first grand vizierial complex on the Anatolian side of Istanbul, setting a precedent in early Ottoman architecture.

Construction Year: 1471

Ordered by: Rumi Mehmed Paşa

Architect: Unknown

Prominent Features:

The tomb is located on the qibla side of the Rumi Mehmed Paşa Mosque, in front of the now-lost madrasa.
Built entirely of cut stone in an octagonal shape, it receives light through upper pointed-arch windows and lower rectangular ones with classic iron grilles.
The single blind dome rests directly on the thick walls with no drum or base.
The arched doorway is flanked by marble jambs; the original inscription panel is now replaced by a plain marble slab following recent restoration.
Inside lies a single wooden sarcophagus, surrounded by a wooden balustrade. A later-placed plaque with many inaccuracies is now unreadable.
As noted by the author of Hadîka, “His sarcophagus is adorned with traditional ornamentation,” though the once-elegant fabric headpiece and interior have fallen into disrepair.
Decorative frescoes once adorned the dome and walls, but due to damage, the interior was whitewashed, dulling its aesthetic. Only the painted ornamentation above the door was preserved as a sample.
The interior window shutters remain intact.