and were paid commensurate wages in quarterly annual installments. Payroll registers that survive testify to the breadth of Suleiman's patronage of the arts, the earliest of the documents dating from 1526 list 40 societies with over 600 members. The Ehl-i Hiref attracted the empire's most talented artisans to the Sultan's court, both from the Islamic world and from the recently conquered territories in Europe, resulting in a blend of Arabic, Turkish and European cultures. Artisans in service of the court included painters, book binders, furriers, jewellers and goldsmiths. Whereas previous rulers had been influenced by Persian culture (Suleiman's father, Selim I, wrote poetry in Persian), Suleiman's patronage of the arts saw the Ottoman Empire assert its own artistic legacy. Suleiman himself was an accomplished poet, writing in Persian and Turkish under the takhallus (nom de plume) Muhibbi (, "Lover"). Some of Suleiman's verses have become Turkish proverbs, such as the well-known Everyone aims at the same meaning, but many are the versions of the story. When his young son Mehmed died in 1543, he composed a moving chronogram to commemorate the year: Peerless among princes, my Sultan Mehmed. In Turkish the chronogram reads (Şehzadeler güzidesi Sultan Muhammed'üm), in which the Arabic Abjad numerals total 955, the equivalent in the Islamic calendar of 1543 AD. In addition to Suleiman's own work, many great talents enlivened the literary world during Suleiman's rule, including Fuzûlî and Bâkî. The literary historian Elias John Wilkinson Gibb observed that "at no time, even in Turkey, was greater encouragement given to poetry than during the reign of this Sultan". Suleiman's most famous verse is: The people think of wealth and power as the greatest fate, But in this world a spell of health is the best state. What men call sovereignty is a worldly strife and constant war; Worship of God is the highest throne, the happiest of all estates. Suleiman also became renowned for sponsoring a series of monumental architectural developments within his empire. The Sultan sought to turn Constantinople into the center of Islamic civilization by a series of projects, including bridges, mosques, palaces and various charitable and social establishments. The greatest of these were built by the Sultan's chief architect, Mimar Sinan, under whom Ottoman architecture reached its zenith. Sinan became responsible for over three hundred monuments throughout the empire, including his two masterpieces, the Süleymaniye and Selimiye mosques—the latter built in Adrianople (now