The famous portrait of Ottoman Sultan Mehmed II, also known as Mehmed the Conqueror, made by the Italian artist Gentile Bellini, is being exhibited at the Victoria and Albert Museum (V&A) in London, along with bronze medallions depicting Fatih made by Bellini and two other artists.

Based on information obtained from the V&A where the works are exhibited and the National Gallery, which inventories the painting, Anadolu Agency (AA) compiled details about Bellini's portrait titled "Sultan Mehmet II" and the story of the three bronze medallions depicting Fatih in relief.

From the perspective of art critics, the journey of the painting, which is considered a modern portrait of one of the most important leaders of the Middle Ages, began with Sultan Mehmed II inviting Bellini to Istanbul.

The Ottoman Empire, having signed an agreement with the Republic of Venice, requested a successful artist in both painting and sculpture to be sent from Venice to Istanbul in 1479.

Thus, Bellini, who arrived in Istanbul, stayed there until 1481. In addition to the portrait of Sultan Mehmed II, Bellini also depicted the Ottoman citizens, landscapes and costumes of the period, as well as creating a medallion of the sultan.

According to Giorgio Vasari, a 16th-century author who wrote biographies of Italian Renaissance artists, although the production of the portrait started in Istanbul, it was completed in Venice.

The inscription on the portrait reads "Conqueror of the world."

Although it bears the inscription "Nov. 25, 1480," due to some interventions over time, some of the writings on the damaged painting are either completely unreadable or have been rewritten.

Nevertheless, some inscriptions and details on the painting can still be clearly seen. Two partially damaged inscriptions on the two legs of the arched door, where a finely crafted lace veil is located at the bottom, draw attention. One of them reads in Latin "Victor Orbis (Conqueror of the World)" and the other reads "Nov. 25, 1480."

The portrait also exemplifies the technique of depicting individuals' characteristics with symbols.

The three crowns located in the upper right and left corners of the portrait symbolize the conquerer's three great victories. These signify the conquest of Istanbul, symbolizing the fall of the Roman Empire, the conquest of Konya, representing the conquest of Anatolia, and the acquisition of the Trabzon Empire.

On the other hand, the gate depicted with Sultan Mehmed II symbolizes the place where the state and justice were established in Ottoman art. Bellini is said to have used the gate as a symbol of the entrance from evil to good, depicting the door of the Church of San Zaccaria, which is considered the symbol of entry from evil to good.

The red and white turban of Sultan Mehmed II represents his political and religious position, while his sideways posture reflects the portrait drawing fashion of the time. The inclusion of Mehmed's arched nose and prominent chin in the portrait stands out as one of the first examples of depicting a person as they are.

In the exhibition, there is also a relief bronze medallion depicting Sultan Mehmed II, drawn by Bellini, who had the chance to see Mehmed closely and draw his portrait during his visit to Istanbul.

While the front face of the medallion features a left-profile portrait of Mehmed, the back face also includes three crowns, as seen in the painting. Bellini's medallion and portrait are important in terms of Mehmed becoming a recognized figure in Europe during his time.

The medallion, estimated to have been made during Bellini's return to Istanbul, is also unique as the artist's only known medallion.

Another medallion depicting Mehmed is owned by Constanza de Ferrera. On the back of this medallion, he is seen on horseback.

It is estimated that the medallion made by Ferrera, one of the artists sent to Istanbul upon the Sultan's request, was made again to be sold after his death.

On the back of the medallion attributed to Bertoldo di Giovanni, there is a relief of a young figure on a horse-drawn carriage.

It is thought that Giovanni, the palace sculptor of the Medici family, never came to Istanbul, and his medallion was inspired by Bellini's painting.

The young figure on the horse-drawn carriage on the back of the medallion symbolizes Mehmed's military victories.

Although it is known which collectors the paintings and medallions came from, there is no information on how these individuals obtained the artwork.

According to information from the Victoria and Albert Museum, which has hosted approximately 30 million visitors in the last 10 years, the owner of the painting is the National Gallery, but the painting was included in the gallery inventory in 1916 as part of the legacy of the British diplomat Austen Henry Layard.

Layard, who served as the British ambassador to Istanbul in 1877, also served as a diplomat and archaeological research team leader in various periods in Ottoman territories.

Having spent his childhood in Venice, Layard also lived in Venice in his retirement. Layard, who collected art pieces, was able to easily smuggle many artworks to England thanks to the immunity provided by diplomacy.

When Layard died in 1894, he left many works from his collection as a legacy to the National Gallery, including Bellini's portrait of Sultan Mehmed II.

The medallions by di Giovanni and de Ferrera were donated to the museum through the legacy of businessperson and collector George Salting, who died in 1909.