References

1. I wish to thank the Research Center for Anatolian Civilizations, Koç University, Istanbul, and the Warburg Institute, London, for supporting the first stage of my research.
2. On the trip of the French ambassador to the Porte, Choiseul-Gouffier, see Barbier [6]. The reliefs reused above the gate of Ephesus are discussed in the forthcoming article by Bevilacqua [8] (with further bibliography).
3. The three busts probably dated back to the 6th c. [5, p. 145‒146; 26, p. 114; 27, p. 126‒127].
4. A collection of historical photographs is preserved in the Photographic Archive of the Deutsches Archäologisches Institut in Istanbul. The sculptural collection of the Museum has been researched by Barsanti [7].
5. On the drawings by Texier, see also S. Pedone [29], who cites extensive literature on this topic.
6. The finding of large piers, partially emerging from the soil, in the area of Maltepe (a neighbourhood within the city, near the Lefke Gate), perhaps the remainders of a large arch, led to thinking that the reliefs could pertain to that monument. According to Bittel [9, 10] and Laubscher [23], the monument was coeval to the arch of Galerius in Salonica, and dedicated to the battle of Vindonissa (298).
7. As far as architectural enterprises are concerned, the only remarkable exception is Buchwald [12]. A general overview of the artistic production in Nicaea over the centuries is provided by Yalçın [39] and Möllers [25].
8. John III commissioned major building activity, not only in Bithynia, in the region of Nicaea-Bursa-Nicomedia (where already Theodore I had sponsored architectural activity), but also in the area of Smyrna and Magnesia, where he especially cared the refurbishment of the fortifications [1].
9. The churches, indicated as A (by the Istanbul Gate), B (south-east of the theatre), and C (north of Yenişehir Gate), have been tentatively identified with buildings mentioned by the written sources, which existed during Lascarid rule: St. Triphon, the monastery of Tornikios, and St. Anthony respectively. A church built over the theatre’s orchestra and surrounded by a graveyard (church D) might also date to the same years [28]. New decoration campaigns in St. Sophia and in the monastery of Hyacinthus, may date to the period of the Lascarid rulership. Peschlow [30] suggests to ascribe the church located in the area of Yenişehir kapı to the second quarter of the 13th c.; see also Eyice [15].
10. A well-head, today in Iznik Museum, which P. Hetherington [21] believes of Lascarid date, can be mentioned.
11. John Vatatzes encouraged cultural activities in all the cities of his empire, allowing entire libraries to be brought in those same cities, as testimonies such as Theodore Scoutariotes, Pachimeres, and the letters written by Theodore Lascaris attest [11, 37, 38].
12. Theodore Metochites, interestingly reports that «[the city] provided a plentiful supply of the arts, sending some along, and keeping others whose perfection is found only here for herself <…> yet even of these she sends the useful products, and decorates the imperial palace by the art of weaving, which here only is at its finest» [16, p. 190‒193].
13. The problem of the reuse of antique (and Byzantine) spolia in Seljuk architecture has been analysed by
14. S.    Redford [31].
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