36 and Sura 110 are inscribed in prominent vertical bands of thuluth calligraphy that intertwine and separate just above the doorway. Geometric and vegetal designs likewise adorn the facade, taking the form of knots, branches, and leaves. Apart from displaying the stonework and script, the facade also conceals the layout of the interior spaces behind it. Within two rosettes framing the portal are inscriptions attesting to the building's architect, Kölük bin Abdullah, who also designed the Gök Medrese in Sivas as well as the nearby Sahip Ata Complex in Konya. Abdullah is hypothesized to have worked on a number of Ṣāḥib ‘Aṭā Fakhr al-Dīn's commissions. Dome At the center of the courtyard is the centrally-planned, covered dome. Although central plans were common in late Seljuk architecture, the Ince Minaret Medrese diverged from previous centrally-planned courtyards with the addition of the covered dome space. The large central dome emulates pre-Seljuk Anatolian architecture, specifically earlier mosque plans and the standard Anatolian Byzantine church style. The dome itself receives light by means of a lantern, which illuminates the covered courtyard space. It is supported by four triangular fan pendentives made of exposed brickwork. The side chambers of the dome are not decorated at all, which increases the striking aesthetic properties of the central space. The interior of the dome is covered in alternating turquoise and black tiles in geometric patterns that bear an inscription in kufic script. Minaret The Ince Minaret Medrese's name refers to the structure's original extremely tall minaret, which once possessed two balconies. In 1901, however, the minaret was partially destroyed by a lightning strike. The lightning strike caused the minaret to fall on the complex's mosque, which destroyed its dome and resulted in subsequent repairs using concrete and glass. The minaret is located near the gateway of the dome. The base of the minaret is square shaped and built out of brick. As the base goes upward, the square shape gives way to a cylindrical form. Glazed bricks are strategically placed a slight distance apart in a cylindrical geometric pattern, generating an illusion of free-hanging materials. In addition, green tiles as well as geometric motifs decorate the outer portion of the minaret, creating a distinct Seljuk style of architecture and artwork. It was common practice for Seljuk buildings to be lined in glazed brick and ornamented with a decorative style. Gallery References Bibliography Blessing, Patricia, and Rachel Goshgarian. Architecture