CLOCK-TOWERS

METU JFA 2019/2 FROM THE OTTOMAN PERIOD IN METU

DOI: JFA 2019/2 1
10.4305/METU.JFA.2019.2.6
THE 1-28
(36:2)TERRITORY OF TODAY’S MONTENEGRO

CLOCK TOWERS FROM THE OTTOMAN PERIOD IN

THE TERRITORY OF TODAY’S MONTENEGRO
Rifat ALİHODŽİĆ*

Received: 01.04.2018; Final Text: 30.09.2019 INTRODUCTION

Keywords: Clock towers; Montenegro;
Ottoman period; cultural heritage; urban Time measurement dates back to 3000-2000 BCE in Mesopotamia and
landmarks. Egypt. Sun-light, water, oil or sand were used to measure time (Acun, 2011,
3). Sundials indicated a position of the shadow on the dial, sandglasses
measured the time of sand trickling through a glass-bulb, while water
clocks indicated the time of water pouring down from one container to
another.
First measurements of time by mechanical means, as a precursor of
mechanical clocks’ production in Europe, were performed by monks. In
certain time intervals, mechanism would produce a sound by hitting bells,
functioning as alarm-clocks, without hands or dials. They appeared in
the 13th century in Westminster, England and Padua, Italy (Borstin, 1983,
39-42). Two types of alarm-clocks were manufactured: room alarm-clocks
called horologia excitatoria and another type, serving to wake a chief monk,
called custosa horologii. He would inform the others by pulling the tower’s
great bell. Soon the production began of greater clockwork-mechanisms to
be placed on towers near churches, designed to automatically hit bells.
Mechanical clocks imposed a new sense to humans: the time human mind
had been used to, was turned into a sum of time units, which greatly
differed from the impression of smooth flowing of sun rays, water or
sand. Upon appearance of clockwork-mechanisms with dials, clock towers
started arising not only near churches but on important public spaces,
as well. They would draw attention even to those who had no particular
reason to measure time in hours. With such positioning, they served
the whole community, providing citizens with otherwise unaffordable
information.
Unlike other western innovations that were intensely followed, clock
towers with mechanical clocks appeared in the Ottoman Empire about
* University of Montenegro, Faculty of 200 years later than in Europe. The traveller Hans Dernschwam visited
Architecture, Podgorica, MONTENEGRO.
2 METU JFA 2019/2 RIFAT ALIHODZIC

the Ottoman Empire between 1553 and 1555. He recorded not having seen
church-bells or clockwork-mechanisms around. Ogier Ghiselin de Busbecq,
Ambassador to Ferdinand I, visited Sultan Sulejman on 1st June 1560. He
was wondered, he noted, not to see any clock tower around despite their
wide presence in the west, although Ottomans were fast to adopt other
European inventions (Acun, 2011, 2-35).
First written data on mechanical clocks in the Ottoman Empire may be
found in the works:“Alat-ı Rasadiye”, “Li Zic - i Şehinşahiye”, “Sidret Ül
- Münteha ve Mekanik Saat Konstrüksüyonuna Dair En Parlak Yıldızlardır”,
by Takiyuddin Hassan (1526-1585). During the reign of Murat III (1574-
1595), one of the best observatories of that time was founded. In “Alat - ı
Rasadiye’de”. Takiyuddin noted that among 9 instruments there was also a
clock (Acun, 2011, 4-5).
In the Ottoman Empire, construction of clock towers was spreading from
west to east, so these buildings started arising in the 16th century. In 1571,
Karl Rym referred to a clock tower in Osijek (Croatia), which, therefore,
may be considered the first clock tower in the Ottoman Empire (Karač
and Žunić, 2018, 77). A clock tower was also built in Banja Luka (Bosnia-
Herzegovina), near Ferhat-Pasha’s Mosque in 1577 (Acun, 2011, 4).
Unlike churches in the west, where clockwork-mechanisms were often
placed at church towers, in the Ottoman Empire clockwork-mechanisms
were not built into minarets. Instead, separate buildings-towers were built
near important mosques, in commercial city-districts, on natural elevations,
or, more rarely, on top of some buildings. The intention was, similar to
Europe, to make clock towers easily visible from various city spots.
In the Ottoman period, clock towers mostly had a square plan. They
entailed three parts to be distinguished vertically: the stone base, the
body of the tower (containing the staircase) and the last part, where a
clockwork-mechanism and a bell were installed. Staircases were built
either in “Z”-shape or spirally. Roofs were mostly four-vaulted and often
dome-shaped on the inside in order to provide for better acoustic effects.
Clockwork-mechanism played a double role: triggering the hammer
to beat at one bell only and moving the clock’s hands. There were 1 to
4 dials placed on the façades. In the beginning, but at later stages, too,
clockwork-mechanisms, setting off the bell, but without dials, were in use
to reduce the costs. At first, clockwork-mechanisms used to show the time
in line with Hijri – lunar Calendar called “a la Turca”. A day between the
two sunsets was divided in 12-hour intervals, so that it lasted 24 hours.
A more significant opening of the Ottoman Empire towards Europe was
intensified at the beginning of the 19th century, when the western system
of time measurement “a la Franca” became ever more present. In line with
this system (Gregorian calendar), a day starts at 12 o’clock in the night and
it lasts 24 hours. To avoid a possible confusion, it was ordered that, among
the military, civilian circles and in vilayets, “a la Franca”-system should be
used (Acun, 2011, 8).

CLOCK TOWERS IN MONTENEGRO

Clock towers that are subject to this research have not so far been
comprehensively analysed. The research showed that only four authors
dealt with these buildings in the territory of Montenegro. Bajro Agović
(2015), despite using authentic, accurate sources, presented clock towers
in Montenegro in a rather descriptive manner. However, there are some
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 3
THE TERRITORY OF TODAY’S MONTENEGRO

debatable assertions in his work, since he attributed the construction of

Herceg-Novi clock tower entirely to the Ottoman period. This fact had
previously been clarified by Zorica Čubrović (2009) in an argumentative
manner. Igbala Šabović-Kerović (2015) analysed, inter alia, Ulcinj clock
tower. In a comprehensive monography, dedicated to the Ottoman Empire
clock towers, Hakkı Acun (2011) mapped and described two clock towers
in Montenegro: in Podgorica and in Bar. Acun underlined that scientific
community was for the first time presented with the Ottoman Empire clock
towers, adding that he had not had the chance to see some clock towers in
Palestine, Iraq, Israel or Montenegro. He stated that his book was the first
collective source on the Ottoman Empire clock towers. Consequently, this
study complements Acun’s research mosaic with three additional clock
towers: those in Pljevlja, Ulcinj and Herceg-Novi.
Context in which the Clock Towers were Built
Montenegro (Karadağ) fell under rule of the Ottoman Empire in 1496. It
was annexed to the Sanjak of Scutari (İskenderiye Sancağı) as a separate
district (Stanojević, 1976, 12). Its dominant settlements with fortifications
were: Podgorica, Medun, Žabljak, Herceg Novi, Risan, Bar and Ulcinj.
Montenegro gained its statehood, over a smaller territory than the today’s,
at Berlin Congress in 1878. Last Ottoman Empire territories were annexed
to Montenegro in 1912. Montenegro was constituted within its present-day
borders in 1945, after World War II. Its territory occupies a relatively-small
geographical space of 13.812 km², with a population of 625.266 inhabitants,
according to the 2001 census (Statistical Office of Montenegro, 2011, 15).
The Ottoman Empire intensified urbanisation and construction in the
newly-conquered areas of Montenegro, introducing a new construction
style which became symbiotic with the local ways of constructing and
the applied materials. Urbanisation of cities entailed fortresses, military
infrastructure, commercial-administrative districts with religious and
other buildings (çarşı), as well as residential neighbourhoods (mahalle).
According to their size and importance, cities were divided in two
categories: kasaba and şehir. None of the cities in Montenegro had ever
reached the status of a şehir. Particular contribution to the living culture
was made not only through introducing inner courtyards (avlu) and
specific spatial organisation, but also the cult of water, by use of bathrooms
within residential spaces (hamam). The fortified cities (Ulcinj, Bar, Herceg
Novi, Žabljak Crnojevića) were further reinforced by Ottomans, who
provided their own engineering experiences. Some new fortifications were
also built, such as Podgorica and Nikšić. Among religious buildings, the
most famous is Hussein-Pasha’s Mosque in Pljevlja, a semi-dome building,
still in function today (Kujović, 2006, 25). In Montenegro, a total of 222
buildings from the Ottoman period have been identified, out of which 95
(43%) were preserved, more than in all the other Balkan countries together
with the exception of Kosovo, where 61% of buildings from that period
were preserved (Ibrahimgil and Keleş, 2018, 2). The endowment (waqf),
embedded in Sharia law, was particularly important for the development of
urban areas in the Ottoman Empire. This model contributed to constructing
some of the most significant buildings in the Montenegrin part of the
Empire (Miljković, 2019, 62).
In Montenegro’s territory there are five clock towers dating from the
Ottoman period, situated in Pljevlja, Bar, Ulcinj, Podgorica and Herceg-
Novi (Figure 1). Existence of clock towers in these cities demonstrates
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Figure 1. Locations of Ottoman-period clock their significance, as clock towers were built only in urban centres of major
towers in today’s Montenegro (Drawing by R.
Alihodžić, 2018). importance, thus also representing a specific status symbol.
Figure 2. Nine Mosques of Pljevlja in 1902: Pljevlja became part of the Ottoman Empire in 1465 as a developed urban
1. Hussein Pasha’s Mosque with a clock
tower; 2. Haji Hassan Mosque (destroyed); 3. centre, known under Turkish name Taşlıca (Vasić, 1975, 503-58). It lived
Rizvan-Chaush Mosque; 4. Bubica Mosque, its intense urban development in the 1560s, during the rule of Hussein-
destroyed in 1959; 5. Misri Ahmed-Bay
Jusuf Kadi Mosque, destroyed in 1959;
Pasha Boljanić, who was twice the Beylerbeyi of Bosnian Beylerbeylik
6. Haji Zakariya Mosque; 7. Odobasha’s (1569-1572, 1594-1595). Pljevlja was the seat of the Sanjak of Herzegovina
Mosque, destroyed in 1936; 8. Haji Aliya (Hersek Sancağı) in 1576-1833. Beside its principal building - the semi-
Mosque; 9. Hamidiya Mosque, destroyed
in 1940; (Photo from the Pljevlja Heritage dome Hussein-Pasha’s Mosque, the endowment of Hussein-Pasha Boljanić,
Museum). a central market, medresas, maktabs, a karvansaray and a public bath
were also built in this city under his patronage. It is widely known that he
endowed the city with 19 buildings (Ibrahimgil and KeleŞ, 2018, 12). The
clock tower, built next to the Hussein-Pasha’s Mosque, dates from the 16th
century, as well.
Pljevlja was an open city, with no fortress. In its heyday, it entailed nine
residential neighbourhoods (mahalles) and a central market (çarşı) (Prekić,
2019, 129). In 1879, following Berlin Congress, Austro-Hungarian army
came to Pljevlja and formed a military garrison. It abandoned the city in
1908, so that Ottomans regained authority over it. Montenegro and Serbia
took over the city in 1912. Pljevlja became an integral part of present-day
Montenegro in 1913, by agreement between the Kingdom of Serbia and
the Kingdom of Montenegro (Petrovic, 2014, 279). Until the 20th century,
Pljevlja had nine mosques (Figure 2), four existing today, the rest being
destroyed (Agović, 2015, 259-63). Hussein-Pasha’s Mosque with the
clock tower, as well as other mosques and the remains of Ottoman-style
residential architecture still significantly determine the cityscape (Figure 3).
In 1571, Ottomans seized the fortified city of Bar from the Venetian
Republic. It was the only fortified city at the Montenegrin seaside without
direct access to the sea. In 1867, Bar got under administration of the Sanjak
of Scutari, later to become Scutari Vilayet (İşkodra Vilayeti) (Ivanović,
2013, 15). Beside the comprehensive military infrastructure, the city also
had a civilian part where important officials resided (Figure 4). During the
years 1698, 1710, 1732, 1770 and 1859, significant changes and reparations
of Venetian fortifications were made in line with the dominant Ottoman-
style architecture of that era. Among significant civilian buildings within
the fortress, there is nowadays a public bath (hamam) and two destroyed
mosques: Sultan Salim’s and Sultan Murat’s mosques (Ibrahimgil and
Keleş, 2018, 24 ). The most important engineering building is the aqueduct,
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 5
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Figure 3. Panoramic view of Pljevlja, Hussein a stone edifice with 17 arches, 3 km long (Ivanović, 2013, 15), significant
Pasha’s Mosque with the Clock Tower in the
Forefront, 2003 (Courtesy of J. Durgut). part of it still existing today.
Figure 4. Photo of bar from 1877 by Pietro Due to the frequent military operations, significantly-damaged Venetian
Marubi (Photo from Bar Heritage Museum).
tower was turned into a watch-tower, while the clock tower function was
attributed to it in 1753 (Rastoder, 2000, 209-11). Since the fortification is
located on the hill in the Old Town framework, the clock tower has ever
since remained a significant landmark, together with the city-walls and the
important buildings inside, such as the well-preserved public bath, whereas
the mentioned mosques are in ruins (Figure 5). Suburbs outside the city-
walls where the civilians lived, preserved its oriental appearance to date,
while the buildings within the fortified city are gradually reconstructed as
cultural-historical monuments. Bar was annexed to Montenegro following
the military conquest that significantly damaged it in 1877, and in line
with the Berlin Congress decision from 1878 (Rastoder, 2000, 88-9). The
Old Town of Bar represents the biggest urban agglomeration in ruins in
Montenegro. The New Town has been developing as a contemporary,
independent urban whole at the very sea coast.
Ulcinj (Ülgün) was, as an important military fortification, seized from the
Venetian Republic by the Ottoman Empire in 1571. It became part of the
Figure 5. Photo of the Old Town from Vilayet of Skutari and later of the Sanjak of Skutari (Hadžibrahimović
2018. Encircled is the Preserved Public Bath et al., 2014, 269 ). The fortress was turned into a contemporary, fortified
(Hamam) (Photo by R. Alihodžić).
complex, while its former architecture was adapted to the new functional
Figure 6. Gravure of Ulcinj from 1615 by and cultural needs of the military and residential purposes of military and
Henry de Beauvau (Photo from Ulcinj
Heritage Museum). civil officials (Figure 6). The fortress was repaired in 1697, 1718, 1790 and
6 METU JFA 2019/2 RIFAT ALIHODZIC

in 1834. Inside the fortress, a mosque was built, as recorded in Ottoman

archives, by Sultan Selim II in 1510 (Ibrahimgil and Keleş, 2018, 14 -21).
Today it functions as a museum, its minaret in ruins. The water-supply
and the sewage were constructed in the 18th century, while the public
water fountain was built in 1749-50 (Ivanović, 2013, 98). Ottoman-period
mosques that would later be destroyed were Meraja (constructed in 1779)
and Meterizi (the year of construction is unknown). Existing today are
these mosques: Pasha’s with hamam and water fountain (1719), Ljama’s
(1689), Namzgjah (1728), Vrhpazar (1749), Bregut (1783) and Ibrahim-
Pasha’s Mosque, known as the Sailors’ Mosque (1834) (Agović, 2015, 141-9).
The following tomb mausoleums (türbe) are also considered important:
Murat Dedej, Fanit Pulti and Resulbegovića. The clock tower was built in
the newly-established neighbourhood outside the city-walls in 1754, in the
vicinity of the Namazgjah Mosque (Ivanović, 2013, 99).
By the time they conceded Ulcinj to Montenegro in 1880, Ottomans had
left a significant mark to the Old Town physiognomy. It has been well-
preserved, reconstructed, functionally active and it considerably influences
the overall cityscape (Bošković, Mijović, Kovačević, 1981, 10-1). This is, in
terms of topography, also due to the dominant position of the Old Town in
the wider space (Figure 7).
Ottomans annexed Podgorica (Podgoriçe) in 1474, during the rule of
Mehmed II, after seizing the fortified town of Medun from its ruler Stefan
Crnojević. During the four centuries of Ottoman rule over the wider area,
Podgorica was part of the Sanjak of Scutari and later Scutary Vilayet.
Following the conquest, the construction of the fortress on the confluence
of Ribnica to Morača started. It was called Tepedöğen (Sancakli, 2017, 1)
and it was completed with all the prominent buildings in 3-4 years (Figure
8). Inside the city-walls, Ottoman-type streets and buildings were built, yet
adapted to the local climate and traditionally-used materials, stone being
the dominant one (Rastoder, 2000, 1036). Fatih Sultan Mehmed’s Mosque
(1472-1474) was built, that would later be destroyed. In 1867, military
hospital and military barracks on the opposite side of Ribnica river were
constructed, as well as the ammunition warehouse inside the fortress.
None of the three buildings any longer exist (Ibrahimgil and Keleş, 2018,
35-43). Apart from considerably developed urban matrix with Ottoman-
style residential architecture, two mosques were built: Starodoganjska
Mosque (16th century) and Osman-Pasha Mosque, built by Hajji Mehmed-

Figure 7. Old Town of Ulcinj in 2016

(Courtesy of G. Resulbegović).
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 7
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Figure 8. The fortress at the Confluence of Pasha Osmanagić (18th century). Both still exist today. The bridge over
Ribnica into Morača River, 1870; Author:
Pietro Marubi (Archives of the Institute for Ribnica is still functional today and its construction is also attributed to
the Protection of Cultural Monuments of Hajji Mehmed-Pasha Osmanagić (18th century). Other significant buildings
Montenegro).
from the Ottoman period are the ruined mosques: Glavatovića, Hadrovića
Figure 9. The remains of the fortress at the and Dračka, then the Vizier’s bridge (devastated, yet still in function) and
Confluence of Ribnica into Morača River
with the Preserved Bridge, Built by Hadji the military bath (hamam), which has been partially preserved. Adrovića,
Mehmed-Pasha, 2016 (Courtesy of Ž. Stajkić). and Kapidžića bridges on Ribnica are destroyed, while Tabački bridge
still exists. The clock tower was built on the market square, outside the
city-walls, in the second half of the 18th century (Ivanović, 2013, 92). This
part of Podgorica is nowadays called Stara varoš. Even today, it represents
a relevant segment of the urban structure of Podgorica (Figure 9).
Following the Berlin Congress decision in 1878, Podgorica was annexed to
Montenegro (Jovićević, 1999, 183).Today it is the State’s capital.
Ottomans conquered Herceg-Novi (Hersek) in 1482. Its urban development
was based on the defence function, due to its location at the entrance
of the strategically important Boka Bay. Following the crusade wars,
Ottoman innovative engineering knowledge in constructing fortifications
started to apply in Europe. It was implemented in Herceg-Novi upon
Ottomans’ arrival, through renovation of the existing and construction
of some new fortifications (Ilijanić et al., 2014, 173). Until the present day
remaining important urban elements, there are: a tower in the northern
part of the city, called Kanlı Kule (Bloody tower, in Turkish ) and a tower
in the southern part, called Abaz-Pasha’s tower, better-known under its
Venetian name Forte Mare. In the eastern part of the city, Trnovica tower
was built (Ilijanić et al., 2014, 174). The ruined endowments from the
Ottoman period, whose year of construction is unknown, are: Ahmet-
Pasha’s Mosque, Mahmud-Bay’s Mosque, the hamam and water-fountain
by Hajji Šemsudin Ahmet-Bey (Ibrahimgil and Keleş, 2018, 11). The
clock tower was, in fact, the upper city-fortification’s western gate from
the Ottoman period, constructed in 1667. Herceg-Novi was at the time
the second biggest city in the Sanjak of Herzegovina (after Mostar) with
five residential neighbourhoods. It was held by Ottomans, with minor
interruptions, up until 1687 (In 1538-1539, it was under Spanish rule). After
the Ottomans, the city was conquered by the Venetian Republic in 1687, to
be taken over by the Austrian-Hungarian Monarchy in 1797. In the period
1813-1814, the city was ruled by the temporary Government of Montenegro
and Boka Kotorska, whereas in the period 1814-1918, the city was once
again administered by Austrian-Hungarians (Ivanović, 2013, 100). Herceg-
Novi was annexed to the Kingdom of Serbs, Croats and Slovenes in 1918. It
became an integral part of Montenegro in 1945 (Ilijanic, 2015, 153- 65).
8 METU JFA 2019/2 RIFAT ALIHODZIC

Figure 10. The gravure of Herceg-Novi Pljevlja Clock Tower (16th Century)
during the Ottoman Rule, before 1538;
Author: G. Rosaccio (From Herceg-Novi
archives, taken from Ilijanić, 2015, 132).
All the works undertaken by Bosnian Beylerbeylik Beylerbeyi, Hussein-
Pasha Boljanić, prepared Pljevlja in the best possible way for becoming a
Figure 11. City-walls of the old town of
Herceg-Novi during the Ottoman Period, the new seat of the Sanjak of Herzegovina in 1576 -1833, thus replacing the
position as of 2013. Orto-Photo Description town of Foča (Zlatar andPelidija, 1985, 115-29). During the rule of Hussein-
of the Cultural Asset (taken from Ilijanić,
2015, 279).
Pasha Boljanić, the principal building was considered to be the semi-dome
mosque bearing his name, still existing today. The original inscription that
Figure 12. Panoramic View of Pljevlja in
1908, with Hussein-Pasha’s Mosque and the might confirm its construction date was torn away in wars. One source
Clock Tower (Photo from Pljevlja Heritage indicates that it was built in 1569 (Zlatar and Pelidija, 1985, 115). Another
Museum).
source claims that it was erected the same year as the Sinan-Bey’s Mosque
in Čajniče, in 1570/71. The assumption seems plausible that it was designed
by Mimar Hayrüddin, architect of the famous Mostar-bridge (Andrejevic,
1978, 177-190). In the vicinity of the Hussein-Pasha’s Mosque, the clock
tower was built (Figure 12).
Pljevlja clock tower is one of the oldest in the Ottoman Empire, dating
from the late 16th century or the early 17th century, while its meticulous
elaboration, dimensions and elegance point at an affluent period of the
Ottoman rule. It is assumed to be the part of Hussein-Pasha Boljanić’ waqf,
or that it was built right after the construction of Hussein-Pasha’s Mosque
(Petrovic, 2014, 279). Figure 13 indicates the clock tower in its present state.
Pljevlja had never been a fortified city, therefore the clock tower and the
mosque belonged both to the commercial neighbourhood (çarşı) and to the
comprehensive urban tissue of Pljevlja with its wider surroundings. Even
today, these buildings represent integral parts of Pljevlja’s general city
concept, their role of key urban cores being continuously reaffirmed.
Due to the descending terrain levelling, the plan of Pljevlja clock tower in
Pljevlja extends over different heights. The ground-floor plan measures 3.60
x 3.60 m, to be reduced, due to the walls slightly narrowing upwards, to
3.25 x 3.25 m at the highest point, the overall height at the roof being 24.5 m
(Figure 14). The outer walls are made of stone, 90 cm thick, thus providing
for internal space at the ground level measuring 1.8 x 1.80 m, which is
constant along the vertical. The tower slightly narrows towards the top,
thus acquiring a dynamic appearance. Entrance is at the south-east side
and is positioned at level +1.20 m, measuring 0.67 x 1.46 m. The entrance
inlet is vaulted by a quadripartite vault made of ashlar stone. The door is
made of timber, clad in sheet copper (Figure 15).
Up to level +18.85 m, the outer walls are made of ashlar stone particularly-
dressed at the corners with a finishing cornice, entailing two rectangular
mouldings and the arched one in the centre (at level +19.05 m). From level
+19.05 m up to level +22.11 m, the outer walls are plastered and painted
in white lime. On all the four sides, there are openings measuring 1.10 x
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Figure 13. Pljevlja Clock Tower, 2018 1.63 m, each finishing in a pointed arch (Figure 16). The ridge of the four-
(Courtesy of J. Durgut). angled, timber roof is at level +23.47 m. Internal staircase is steep, one-
Figure 14. The plan and the cross-section of armed and made of timber. There are 8 landings and 53 stairs leading to the
Pljevlja Clock Tower, 2018 (Drawing by R. clockwork-mechanism. Daylight reaches the staircase through the conical
Alihodžić).
openings measuring 0.10 x 0.30 m, six of them on the southeast and two of
them on the southwest side. The roof is clad in sheet copper instead of the
original sheet lead. Alem on top of the clock tower, with three balls on the
spear, is 0.98 m high, the overall height of the clock tower being 24.35 m. It
is more than half the height of the Hussein-Pasha’s Mosque minaret, which
reaches the height of 42.0 m. The clock of the diameter 1.2 m is placed at
one side only, the southwestern side. The incised inscription on the clock
“Weil Harter” points at its Austrian-Hungarian origin (Agović, 2015, 90).
The first protection interventions on the tower were performed in 1974
by the Institute for the Protection of Monuments of Montenegro. In the
past, the walls’ authentic stone surface had at some point been covered
in plaster (Figure 17). During the interventions, the plaster was removed
in order to restore the tower’s authenticity. The assumption that the wall
had not originally been plastered is supported by the fact that it was
made of ashlar stone with geometric finishing on the corners. Further
works aimed at protecting and revitalising the clock tower were carried
out in 2004. The grouting of the stone wall was completed, a new timber
staircase reconstructed, new wooden windows with trims were built-in, the
10 METU JFA 2019/2 RIFAT ALIHODZIC

Figure 15. The vaulted clock tower entrance

and the metal door, 2018 (Courtesy of J.
Durgut). entrance door was replaced by a new one made of timber, clad in sheet
Figure 16. Wall-structure of the clock tower, copper. Sponsor of works was Pljevlja Islamic Community, while the
with the cornice on top of the stone wall design documentation was elaborated by the Faculty of Civil Engineering
and openings with pointed arches, 2018
(Courtesy of J. Durgut). in Podgorica (Agovic, 2015, 92).
Figure 17. Clock tower with the subsequently In 2009, a stone wall was built, surrounding the mosque on the west
plastered walls, 1932 (Photo from Pljevlja
Heritage Museum).
to form a courtyard, with the permit by the Institute for the Protection
of Cultural Monuments of Montenegro, although it had not existed
1. Document by Institute for the Protection of
beforehand (Figure 18). The remaining three sides of the wall were built
Cultural Monuments of Montenegro, No.01- in 2017. The clock tower became partially shielded by the new wall, while
1779/2-61, dated 22/11/1961. the mosque was closed even more, thus becoming disintegrated from the
overall urban tissue (Figure 19). Taking into consideration its historical and
architectural value, since 1961 the clock tower has been put under State’s
Figure 18. Hussein-Pasha’s Mosque with the
clock tower, 2018 (Courtesy of J. Durgut). protection as an immovable cultural asset, within Hussein-Pasha’s Mosque
Figure 19. The mosque and the clock
ensemble (1).
tower without the surrounding walls
used to be integral part of the urban tissue,
2001(Courtesy of J. Durgut).
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Bar Clock Tower (1753)

In the fortified city of Bar, Ottomans found a significant Venetian
settlement, which, beside other buildings, had a tower nearby the church
(1571). The gravure in Figure 20 (from the time the city fell under Ottoman
rule) depicts the tower alongside the landscape-dominating church.
Ottomans adapted it to serve as a military watch-tower. Given the seismic
sensitivity of this area, it had been significantly damaged by frequent
earthquakes. It had remained in that condition until 1753, when Hajji
Yahya-Agha Ibrahim (Hacı Yahya Ağa Ibrahim) had it renovated, at the
same location and with all the remains. He bequeathed part of his wealth
for its maintenance (Rastoder, 2000, 209-11).
The 1863 photograph shows the clock tower and the mosque dominating
over the densely-populated city (Figure 20). The fact that the clock tower
was actually built over the remains of the Venetian church-tower is
underpinned by different layout of openings and by different construction
styles. The clock tower acquired all the Ottoman architecture features,
including the octagonal roof emerging from the four-vaulted roof.
During the Montenegrin conquest of the fortress, most of the buildings
were damaged. The clock tower was a particular military target since it
served as a watch-tower. The first interventions on the clock tower were
made in 1922, since it was a building of particular symbolic importance for
the suburbs inhabitants. The walls in that period underwent renovation as
they had been demolished by 2/3 of their former height. The difference is
clearly visible between the old and the new wall structures, as well as their
line of contact (Figure 22). Renovation was done in a rather improvised
manner, the masons following their own notion of clock towers, while
disregarding Marubi’s photographs of the tower’s original appearance
from the Ottoman period, thus adding two semi-vaulted and one circular
opening on the fasade (Mijović and Milosević, 1984, 1-2). Comparison to
the tower from the 1863 photograph supports this thesis (Figure 21).
The clock tower was again heavily damaged during the devastating
Figure 20. 1571 gravure fragment, showing
earthquake in 1979. Reconstruction was carried out by the Institute
the church tower; Author: C.F.Camutio for Construction of Bar in 1984 (designers were the architects Batrić
(Photo from Bar Heritage Museum). Mijović and Nebojiša Milošević). The design and proportional ratios
Figure 21. The old town of Bar in 1863, the were based on the photographs by Pietro Marubi from 1863 and 1877
clock tower was built over the church-tower
remains; Author: Pietro Marubi (Photo from
(Figure 4), (Figure 21). Except for the state of play on the very site and the
Bar Heritage Museum). mentioned photographs, no other sources had been available to guide the
Figure 22. The clock tower in 1930s, reconstruction of the clock tower.
following the 1922 interventions. (On
the left wall, the line between the new Masonry was done in ashlar stone, with cut rubble stone between ashlar
and the former wall structure is clearly blocks at the corners. The clock tower’s plan measures 4.5 x 4.5 m (Figure
visible). Unknown author. (Photo from the
archives of the Institute for the Protection of 24). Given the considerable sloping of the terrain, the height of the tower
Monuments in Cetinje).
12 METU JFA 2019/2 RIFAT ALIHODZIC

Figure 23. A fragment of the clock tower varies, ranging from 17.4 m at the ground level to 18.4 m at the ridge,
from the Marubi’s 1863 Photograph (Photo is
from Bar Heritage Museum). thus causing the proportional ratios to vary from 1:3.3 to 1:4.1. The stone
Figure 24. Bar clock tower plan and cross-
walls are 1.05 m thick and they end up with a single-layer stone cornice
section, 2018 (Drawings by R. Alihodžić). towards the roof. From the wall height of 16.7 m (measured from level
+18.4 m), the four-vaulted roof is formed, topped with curved clayed tiles.
2. Document by Institute for the Protection Emerging from this structure, the octagonal roof is formed from level
of Cultural Monuments of Montenegro, 15.8 m. All the roof slopes are 25° with eaves measuring 0.15 m. During
No.1206, dated 26/11/1957.
the 1984 intervention, the roofing was built in reinforced concrete, which
could never be authentic. Either wood or stone should have been used
instead. Design features of the tower have nonetheless been preserved.
The tower’s interior had originally measured 2.5 x 2.5 m. For the sake of
structural reinforcement, a 0.15 m thick, peripheral shear wall made of
reinforced concrete was built on all inner surfaces, so that now the inner
space measures 2.10 x 2.10 m. Leading to the vaulted openings at level
+13.0 m, there is a four-arm timber staircase with one stone and six timber
landings. The width of a staircase arm is 0.80 m. The first seven stairs are
made of stone. The vaulted openings measuring 2.0 x 2.3 m were built on
all the four sides beneath the roof. Entrance to the tower is on the north-
east, measuring 0.6 x 1.80 m, with a metal door shaped as a vertical grid.
A new clock-mechanism and two dials were added, which had not existed
before, since the clock functioned only by striking the bells. The dials,
located at the north-east and the south-east façade, were installed there in
1985 (Figure 25).
Experience with earthquakes most probably influenced the tower’s
proportion, favouring safety over delicate structure. The building
dominates over the urban tissue as its key landmark. The tower had a
considerable impact on the style of clock towers in Ulcinj and Podgorica. As
of 1957, it has been under State protection as an immovable cultural asset
Figure 25. Clockwork mechanism installed in the framework of the Old Town-walls (2). However, a major drawback
in 1985. State of play in 2018 (Photo by of the Old Town of Bar is its exclusively museum-like, archaeological-site
R.Alihodžić).
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 13
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Figure 26. The oldest available gravure of character, since there are no other activities that might contribute to its
Ulcinj from 1573. Unknown author (Photo
from Ulcinj Heritage Museum). urban reconstitution.
Figure 27. Photo of Ulcinj outside the fortress Ulcinj Clock Tower (1754)
with the clock tower, 1905 Unknown author
(Photo from Ulcinj Heritage Museum). The most antique gravure of the fortified Ulcinj dates from 1573. By then,
the Ottomans had already conquered the city (Figure 26). Following the
conquest (1571), the construction of the walls and the buildings inside was
intensified for defence purposes. The warehouses were built, storing arms,
gun-powder, food and water tanks, while water-supply was constructed
later. Military barracks were built, as well as houses of the fortress’s
commander, high civil servants and judges. (Hadžibrahimović et al., 2014,
267).
The suburbs, where most of the inhabitants lived, developed fast.
Consequently, the commercial district was created, where the clock tower
was built one year after the Bar clock tower construction. Its stylistic
features indicate the undoubtable influence of the latter. Its construction
was financed by citizens’ charity contributions in 1754 (Hadžibrahomović
et al., 2014, 283). It was positioned in the location above Suleiman
Muyaliev‘s Namazgjah Mosque, so that it would be visible both from the
Old and the New town (Figure 27). From the main road, it is possible to
observe this effective composition of the mosque’s minaret and the clock
tower, providing a significant character to the overall cityscape (Figure 28).
The clock tower was significantly damaged in the devastating earthquake
in 1979, most of it being completely destroyed. Parts of the walls
and openings were preserved to the extent of allowing for a proper
reconstruction (Figure 29), (Figure 30). In 1981, Republic Institute for the
Protection of the Monuments of Culture in Cetinje elaborated the design
documentation, in line with which reconstruction works were carried
out in 1984 (Figure 31). The photograph presents its current state. The
foundations were fortified by reinforced-concrete construction and the anti-
seismic nucleus was constructed on the inside walls, consisting of 0.10 m
thick, reinforced-concrete sheets. The upper part of the tower, the roofing
and the roof cover were all fully reconstructed in line with the available
documentation (Mugoša and Čilikov, 1982, 4-5).
The wall is made of rubble stone in lime plaster, measuring 4.40 x 4.38 m
(Figure 32). The stone wall is 0.94-0.96 m thick, the inner space measuring
2.43 x 2.47 m. The overall height from the ground level to the ridge is
14 METU JFA 2019/2 RIFAT ALIHODZIC

Figure 28. Clock tower and Namazdjah

Mosque, 2018 (Photo by R. Alihodžić).

Figure 29. Clock tower after the 1979

earthquake (Archives of the Institute for the
Protection of Monuments, Cetinje).

Figure 30. Clock tower after the 1979

earthquake (Archives of the Institute for the
Protection of Monuments, Cetinje).

19.35 m. Six-landing timber staircase leads to level +13.3 m. The staircase’s

arms are 0.70 m wide. Smaller rectangular openings between the landings
provide for the lighting, four of them on the south-west façade. There is
one square and two rectangular openings on the north-east façade, and one
rectangular opening on the ground floor on the south-east. On all sides,
arched openings, measuring 1.30 x 1.80 m, start from level +13.30 m. There
is a clock beneath each of these openings, yet nowadays non-functioning.
The four-vaulted roof starts from level +17 m and it ends with an emerging
octagonal roof. The roofing is made of timber, topped with curved clayed
tiles. The entrance is on the south-west façade, measuring 0.86 x 1.40 m,
Figure 31. Clock tower appearance in 2018
(Photo by R. Alihodžić).
ending with a tripartite stone arch. The door is made of timber (Figure 33).
The marble-board inscription above the relieving arch is unreadable, due to
Figure 32. Ulcinj clock tower plan and cross-
section, 2018 (Drawing by R. Alihodžić). the permanent damage the letters’relief underwent over time (Figure 34).
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 15
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Figure 33. Clock tower’s entrance door with Proportional ratio of Ulcinj Clock tower is 1:4.39. Its dimensions are similar
a Tripartite Stone Arch, 2018 (Photo by R.
Alihodžić). to the Bar clock tower, which proves the architectural influence of the
Figure 34. Damaged inscription on the
latter. During the 1984 reconstruction, the original appearance of the clock
marble-board above the entrance-door is tower was considerably preserved. It has since 1954 been under the State
unreadable, 2018 (Photo by R. Alihodžić). protection as immovable cultural asset (3).
Podgorica Clock Tower (Second Half of the 18th Century)
The exact construction year of Podgorica clock tower has not been
determined. What is known is that it was built by Hajji Mehmed-Pasha
Osmanagić as one of his endowments in the second half of the 18th century,
simultaneously with creation of other important edifices he endowed:
Osman-Pasha Mosque and the bridge over Ribnica (Zlatičanin, 1999, 31).
It was built on the outer side of the city-walls alongside the market. Its
3. Document by Institute for the Protection of position was dominant in the urban tissue of that time, making it a landmark
Cultural Monuments of Montenegro, No.183,
dated 24/03/1954.
for most of the surroundings (Figure 35). Until the 1950s, it had been the

Figure 35. Clock tower in the 1922 urban

tissue. Unknown author (From collection of
A. Abdić, Podgorica).
16 METU JFA 2019/2 RIFAT ALIHODZIC

Figure 36. Photo of the clock tower from tallest building on the left bank of Ribnica (Figure 36). English traveller and
1922. Unknown author (From collection of A.
archaeologist William Denton, during his visit to Podgorica in 1865, wrote
Abdić, Podgorica).
(cited by Koprivica, 2013, 61):“When we reached the borough, the first thing
Figure 37. Plan and cross-section of the that struck us was a rectangular tower. In the beginning, it seemed a church
clock-tower in Stara Varoš-Podgorica 2018
(Drawing by R. Alihodžić). tower, for it was the tallest building in the area. Yet, once we got closer,
we noticed that it was a clock tower, most probably the work of Venetians,
standing there on its own as if it were a Belgian tower, or an Italian
campanile”.
The clock tower square plan measures 4.90 x 4.90 m (Figure 37). The stone
wall, dressed on corners, is 1.10 m thick, making inner space measure 2.7
x 2.7 m. Rectangular entrance door, measuring 1.0 x 2.0 m is placed on
the north-east, with a flat, monolith lintel. The door is made of timber,
in a rectangular stone frame. (Figure 38). Two-arm timber staircase lead
from the ground floor at level +0.15 m up to level +14.07 m. It consists of
five landings, lightened by some smaller openings on the south-west wall.
Overall tower’s height is 19.30 m, resulting in proportional ratio 1:3.9. Its
dimensions and proportion ratio are similar to those of the Ulcinj clock
tower. Four-vaulted roof starts from level 17.47 m, while the octagonal
upper wall emerges from it, topped with octagonal roof (Figure 39). There
are arched openings, measuring 1.20 x 1.20 m, on all four sides, while the
windows’ parapets have slanted finishing. The clock is at the south-west
side. Inner side of the octagonal cube ends in a dome, for the sake of better
acoustics, which is not the case with the towers in Bar and Ulcinj. Curved
clayed tiles cover the roof. In a period after World War I, a metal cross was
put on top of the tower, remaining there until present day.
First interventions on the clock tower were made four years after the
annexation of Podgorica to Montenegro in 1892. Clockwork-mechanism
was renovated, while a new bell was imported from the Italian town of
Bassano, the work of a famous master Pietro Colbahini (Radunović, 2016,
10).
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 17
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Figure 38. Clock tower’s entrance door, 2018 “Podgorica clock tower is repaired and the clock is in place, while the
(Photo by R. Alihodžić).
bell had already been tattered with time. The Prince provided 200 forints.
Figure 39. Combination of the four-vaulted Municipality had to pay 1000 forints for the tower’s reparation, purchase of
and the octagonal roof, 2018 (Photo by R. the clock and its installation. Surrounding it, were the market and the local
Alihodžić).
inns”.
Figure 40. Clock tower’s present state after
the 2017 reconstruction provided by TIKA No major restauration works on the clock tower occurred before 2012. It
(Photo by R. Alihodžić).
was then that the roof covering got repaired, together with the entrance
door and the clock that became digitalized. The bell and the clockwork-
mechanism remained. The clock tower was fully renovated in 2017, with
support of Turkish Agency for Cooperation and Coordination - TIKA
(Figure 40). In this process, the whole square was landscaped, with stone-
Figure 41. The new-design landscaped area slab paving, new greenery and sitting benches (Figure 41).
around the clock tower, realised by TIKA.
State of Play in 2018 (Courtesy of Ž. Stajkić). Construction of the surrounding buildings of inappropriate dimensions
Figure 42. New buildings harm traditional and style harmed the dominant position over the cityscape that the clock
cityscape- dominance of the clock tower, tower had held since the 1950s (Figure 42). However, the clock tower still
2006 (Courtesy of Ž. Stajkić).
remains a symbol of Podgorica’s architecture and history. The clock tower
18 METU JFA 2019/2 RIFAT ALIHODZIC

Figure 43. The 1667 inscription on the has been under the State protection as immovable cultural asset since 1957,
Gate’s Eastern Façade. State of Play in 2018
(Courtesy of Zorica Čubrović) which, unfortunately, is not the case with its immediate surroundings (4).
Figure 44. Aquarelle by Fedor Karascay from Herceg Novi Clock Tower (1667-1856)
1837 (Fisković, 2004, 280)
East and west city gates in the Upper Town date back to the period of
Ottoman rule (Mijović and Kovačević, 1975, 150). It is reasonable to claim
that the west gate was built in 1667, judging by the inscription on its
eastern façade (Figure 43), written in Arabic, its translation being (5):
“This strong tower was built by Mustafa-Agha, humble servant of Sultan’s
dīwān, following the order of Sultan Mehmed. It occurred in 1078”(5).
Given the year from the inscription (1078 in Hijri Calendar refers to the
year 1667 in Gregorian Calendar), it can be concluded that the order was
issued by Mehmed IV, ruling in the period 1648-1687 (Čubrović, 2009, 50).
Consequently, the tower was constructed during the reconstruction of one
part of city-walls, following the 1667 earthquake, while the Ottoman period
city-walls had been formed in 1551 (Hrabak, 1985, 83).
For a long time, the upper, octagonal part of the clock tower was
considered to originate from the Ottoman period, the thesis supported
even by some scientific articles. One of the proofs that the octagonal part of
the clock tower was added on top of the western gate at a later stage is the
aquarelle by Austrian colonel Fedor Karascay, where the octagonal, jagged
part of the tower is non-existent (Fisković, 2004, 240). The aquarelle shows
the arched door opening on the western gate, with the two windows above
(Figure 44).
The fact that the clock tower was built-over at a later stage is underpinned
by the request of Herceg-Novi Administration, addressed to the Military
Authority-Administration over fortifications in Kotor in 1856, claiming
approval to construct a city-clock above the western gate. The same
documentation also includes permission issued by the Military Authority
in Kotor (AHN, OH 198/1856 cited in Čubrović, 2009, 51). The fact that
additional changes to the original, Ottoman-period ambience were made
is underpinned by the 1914 photograph, showing the original cobble-stone
at the slanted ramp (Figure 45). This pathway was replaced by a staircase
before WWII, still existing today (Figure 46). The original, two-wing door
4. Document by Institute for the Protection was removed in that period, too (Čubrović, 2009, 52). The clock tower was
of Cultural Monuments of Montenegro, damaged in the 1979 earthquake, so that extensive restauration works had
No.1232, dated 27/11/1957
to be carried out. In 2007, Regional Institute for the Protection of Cultural
5. Year 1078 in Hijri Calendar refers to
the year 1667 in Gregorian Calendar. The
Monuments elaborated the restauration design of the city clock tower.
inscription was read in 2007 by Bahija Zlatar, Works at the clock tower finished in 2008, while the works on the part of
director of the Oriental Institute in Sarajevo, the edifice dating from the Ottoman period were completed later (Ilijanić,
from the photograph she received (Čubrović,
2009, 50). 2015, 259).
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 19
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Figure 45. 1914 Photo. Cobblestone on the The part of the tower built during the Ottoman period has dimensions
slanted ramp leading to the gate (Herceg
Novi Heritage Museum) of 4.70 x 7.20 m. There is a vaulted passage in the middle, with arched
Figure 46. Slanted cobblestone-ramp was
openings on both sides. It was discovered that the former semi-circular
replaced by the staircase, 2006 (Photo by R. vault through the tower was removed and replaced by a brickwork semi-
Alihodžić) circular vault, having the same features and shape as the clock tower
masonry. The later added part of the tower is a two storey high building.
Overall clock tower height (including the Ottoman-period section),
measured from the lower, eastern side is 13.33 m. Height of the arched
vault is 4.83 m (Figure 47). The octagonal tower is an example of eclectic
architecture. It is an octagonal, multi-storey building, ending with a flat
roof surrounded by parapet wall enriched with dentils, similar in design to
the cornice on the fortress walls. The parapet wall with dentils has a wider
base than the tower, for it is supported by a set of ornamented corbels,
protruding from the façade. Angles of the walls are accentuated with
shallow pilaster strips, inter-connected by semi-circular arcades. The plinth
of the edifice is mildly pointed out with respect to the wall. The end-result
is its changed appearance, similar to a watch-tower.
Two double-arched windows with a pointed, “bulbous arch”, each
containing two arched openings, are placed centrally on east and west side.
Above each of them, placed in a circular, shallow niche, there is a clock.
At the clock’s level, there is an arched opening on both right and left from
each double-arched window, so four of them in total. It can be concluded
that there was intention of linking its construction style with the Ottoman
one. During the drilling research, parts of the original, stone arch with an
Ottoman motive were found (Figure 48). This is one more crucial proof
about the west gate’s Ottoman origin (Čubrovic, 2009, 55).
20 METU JFA 2019/2 RIFAT ALIHODZIC

Figure 47. Herceg-Novi Clock tower plan

and cross-section, 2018 (Drawing by R.
Alihodžić).

Figure 48. The original Ottoman-Period lintel

(Courtesy of Z.Čubrović).

The clock tower represents one of the most significant city landmarks,
gravitating towards city fortifications and the main square outside the city-
6. Document by Institute for the Protection
of Cultural Monuments of Montenegro, No
walls. As immovable cultural asset within the protected city fortress, the
08-839/1, dated 1/09/1966. clock tower has been under State protection since 1966 (6).
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 21
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COMPARATIVE ANALYSIS OF THE PRESENTED CLOCK TOWERS

The table includes all the above examined Ottoman-period clock towers.
They have been divided in three groups according to their stylistic features,
elaborated both in the text above and in the table with proportional ratios.
Notwithstanding this categorisation based on their construction-style, used
materials, as well as local, material and historical conditions surrounding
them, what they all have in common are clear and distinguishable
Ottoman-architecture features.
Pljevlja Clock tower is the oldest of them, with strikingly elegant
proportions and elaborate details, as a consequence of better material
and social status of Pljevlja in that epoch. Graciously-thin appearance of
the tower is due to the walls narrowing towards the top, demonstrating
the refined knowledge and mind-set of its constructors with respect to
its positioning near Hussein-Pasha’s Mosque. With its pointed, arched
openings below the four-vaulted roof, it represents an exceptional example
of Ottoman architecture in the Balkans. Quality of its walls is enviable,
while introduction of white plaster above the ornamented cornice, provides
a significant aesthetic contribution. Such approach in design of introducing
another material in the last segment below the roof is also visible in the
clock towers in Mostar, Nevesinje, Sarajevo. It is also present in some
places in Turkey: Safranbolu (Karabük), Zile (Tokat), as well as in today’s
Bulgaria: Blagoevgrad, Plovdiv, Botevgrad.
Clock towers in Bar, Ulcinj and Podgorica belong to the same stylistic
group. Their key features are: a rectangular, robust cube with stone
masonry and semi-circular openings below the roof, as well as two-section
roof composition: a four-vaulted and an octagonal roof. Octagonal roof
segment emerging from a four-vaulted roof is inherent to the Ottoman
architecture, as well as arched openings, placed on all four sides below
the roof, which were frequently seen in clock towers across the Empire’s
territory. There is an undoubtable influence of Bar clock tower over those
built in Ulcinj and Podgorica. Use of stone in all the three towers is in
line with local construction techniques. Their proportional characteristics
are similar, entailing the ratio 1:3, 3-4, 39. It can be concluded that safety
in seismic-sensitive areas prevailed over the graciousness, given the
high seismic risk of the terrain, which was proved right by the history.
Clock towers of similar features can also be seen in cities of Bosnia and
Herzegovina: Maglaj, Nevesinje , Počitelj, Stolac,Tešanj.
Herceg-Novi clock tower emanates Ottoman-architecture characteristics
in its primarily constructed part, while the added section on top of the
western gate, originating from the Austrian-Hungarian period, is eclectic
in style. The influence of the former architecture is evident to the point of

Place of Time of Plan dimensions Height in Proportional

construction construction in metres metres ratio
Pljevlja 1569-1700 3.60 x 3.60 22.47-23.47 1:6.8-1:6.5

Bar 1753 4.50 x 4.50 14.80-18.50 1:3.3-1:4.1

Ulcinj 1754 4.40 x 4.40 19.35 1:4.39
Podgorica 1750-1800 4.90 x 4.90 19.30 1:3.9

Table 1. Overview of key characteristics of

the analysed clock towers. Herceg-Novi 1667-1856 4.70 x 7.20 12.44-13.33 1:1.7-1:1.84
22 METU JFA 2019/2 RIFAT ALIHODZIC

inspiring the construction of the octagonal tower ending in cornice with

dentils, leaving the impression of a watch-tower.

CONCLUSION
The study has provided for not only a comprehensive research on all the
clock towers in the today’s Montenegro, but also a comprehensive analysis
on the overall social-historical context demonstrating a strong presence of
Ottoman culture in all segments of life. This was particularly the case with
the urban structure of the cities and their architecture, which even today
to a great extent provides a recognisable distinctiveness to many cities in
this territory. The research has shown that the clock towers in the territory
of today’s Montenegro are among the most significant cultural heritage
exemplars, not only from the Ottoman period, but as a whole.
Clockwork-mechanism clock towers first appeared in the western Europe,
whose vicinity to the Balkans influenced appearance of the first clock
towers in the western part of the Ottoman Empire: in Osijek (present-day
Croatia), then in Banja Luka (present-day Bosnia and Herzegovina). Shortly
after the construction of Banja Luka clock tower, the one in Pljevlja was
built. Consequently, not only do these buildings bear importance for the
Montenegrin culture, but for the overall culture of the Ottoman Empire.
New facts that have been established by this study complement the
knowledge on this type of buildings.
Comparative analysis has shown that there is a considerable number of
clock towers in a relatively small Montenegrin territory. They belong
to three stylistically-different groups, demonstrating the variety of
local construction and historical influences when embracing Ottoman
architecture.
Pljevlja Clock tower is graciously-thin, of exceptional proportions. It is
among the oldest and the most beautiful clock towers in the Ottoman
Empire. It appeared earlier compared to many important Ottoman Empire
centres, which proves that the territory of present-day Montenegro
significantly participated in important courses of civilisations within the
Ottoman Empire, benefiting both from the East and from the West. In the
collective memory, the clock tower is strongly associated with foundation
of Pljevlja, its development and the most important events in history, which
had always been very turbulent in this area. Nonetheless, the clock tower
and Hussein-Pasha’s Mosque have overcome those challenges thanks to
their impressive historical-aesthetic status. In terms of style, the clock tower
belongs to the Ottoman-period buildings, with four pointed arches on the
white, finishing segment of the tower with ornamented cornice.
Clock towers in Ulcinj, Podgorica and Pljevlja are located in the living
urban tissue of their respective cities, thus continuing to be a significant
element of urban development and cityscape. They are permanent
inspiration to the artists, through music, painting, poetry. They witnessed
many historical events and anecdotes, thus becoming a striking element of
the collective memory. Bar clock tower is the integral part of internal urban
structure of the Old Town, inside which there is no active life, with the
exception of few religious buildings, rendering the role of the clock tower
limited in the new urban tissue. However, it persists as an important spatial
element, located in a dominant position over the city.
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 23
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Herceg-Novi Clock tower is significant for its lower section belonging to

the original western gate of the Ottoman-period fortification. Part of the
clock tower, constructed over the western gate had been attributed to the
Ottoman period, due to its double-arched windows with pointed arches. It
was established that the part of the tower with the clockwork-mechanism
was built in 1856, during the Austrian-Hungarian rule. Due to its position,
the clock tower significantly participates in forming the cityscape and the
main city-square, adjacent to the fortress-wall. Architectural features of the
corpus with the clock were matched with the Ottoman architecture, so that
the overall picture of the Ottoman-period fortress was not distorted. On the
contrary, it gained significance.
Beside the undoubtable Ottoman influence on the construction of clock
tower in Montenegro, some of their specificities were identified compared
to others in the Ottoman Empire, in particular regarding those in Bar,
Ulcinj and Podgorica. Construction of these was strongly influenced by
local constructors, domestic masons who applied significant elements of
Ottoman architecture, reflected in robust forms, application of octagonal
roof-endings emerging from the four-vaulted roofs, with the arched
windows below. Octagonal roof endings approximate the form of a cone,
the element normally used in mosque-minarets, and similar solutions
are present in many Ottoman buildings with a hidden dome. These clock
towers are examples of symbiosis of local construction styles, application
of materials inherent to the location (stone, in this case) and new culture
of construction that was imported by the travelling architects from the
Ottoman Empire. They possess, notwithstanding the minimalist design
approach, a distinguished stylistic expression.
Given their functional character, attractiveness, authenticity and spatial
position, they, even today, represent important urban landmarks. They
have become a public asset with strong symbolic meaning, providing their
respective locations with authenticity that influences cityscape memory,
as well as with a recognisable historical-civilizational layer inherent to
the Ottoman Empire in this territory. These arguments lead to identifying
a multi-cultural image of Montenegro, as a proof of how important has
been the impact of great civilisations. Montenegro is highly-conscientious
about the significance of clock towers, so that they have been renovated
and put under State protection as immovable cultural asset of paramount
importance.

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ABBREVIATIONS
TIKA Turkish Agency for Cooperation and Coordination
AHN Archives of Herceg-Novi
26 METU JFA 2019/2 RIFAT ALIHODZIC

Alındı: 01.04.2018 ; Son Metin: 30.09.2019 BUGÜNKÜ KARADAĞ TOPRAKLARINDA OSMANLI

Anahtar Sözcükler: Saat kuleleri; Karadağ; DÖNEMİNDEN KALAN SAAT KULELERİ
Osmanlı dönemi; Kültürel miras; Kentsel
odaklar. Bu makale, Osmanlı döneminde Karadağ topraklarında (1496-1912) inşa
edilen saat kulelerinin çözümlemesini yaparak, bu yapıların önemine
ilişkin bütüncül bir çerçeve çizmeye çalışmaktadır. Bu konu bazı geçmiş
çalışma ve araştırmalar bulunmakla birlikte, bütüncül ve kapsamlı bir
araştırma şimdiye kadar yapılmamıştır. Karadağ’ın da içinde yer aldığı
bölgeye saat kuleleri, Osmanlı İmparatorluğunun daha gelişmiş bölgelerine
göre daha erken dönemde gelmiştir. Bölgedeki saat kuleleri, yerel
nitelikleri yanı sıra, Osmanlı mimarisinin güçlü işaretlerini ve etkilerini de
taşımaktadır. Makale, Pljevlja (1465-1912), Bar (1571-1877), Ulcinj (1571-
1880), Podgorica (1474-1878) ve Herceg Novi (1482-1687) şehirlerindeki saat
kulelerini, belirtilen dönemlerde incelemektedir. Pljevlja şehri Karadağ’ın
kuzeyinde; Bar ve Ulcinj ise güneyde, Adriyatik kıyılarındadır. Podgorica
ise ülkenin merkezinde bulunurken, Herceg Novi ise ülkenin batısında,
Hırvatistan-Karadağ sınırında bulunur.
Araştırma, saat kulelerinin inşa edildikleri toplumsal ve tarihsel bağlama
odaklanmakta ve ele alınan şehirlerdeki en önemli Osmanlı yapılarına
değinmektedir. Saat kulelerinin özel tarihi ve mimari nitelikleri yanı
sıra, kulelerin biçimsel özellikleri belirtilmekte ve mimarlarına dair
detaylı açıklamalar verilmektedir. Karşılaştırmalı analizler kapsamında,
kulelere ilişkin çizimler, gravürler, arşiv belgeleri ve mevcut fotoğraflar
ve dokumanlarla desteklenen değerlendirmeler yapılmaktadır. Araştırma
sonuçları, ele alınan konuya dair mevcur bilgileri sistematize edip sunması
yanı ısra, Karadağ’da yer alan Osmanlı kültürel mirasına ilişkin hem veri
sağlamakta hem de bu alana katkı sunmaktadır. Çalışmada ele alınan
her bir saat kulesi günümüzde de mevcut olup, bulunduğu şehrin önemli
kentsel odağı olması yanı sıra, şehirlerin daha geniş kentsel resminin bir
parçasını oluşturmaktadır. Restore edilmiş olan bu yapılar, ulusal önem
taşıdıkları için taşınmaz kültür varlıkları olarak korunmaktadır.

CLOCK TOWERS FROM THE OTTOMAN PERIOD IN THE

TERRITORY OF TODAY’S MONTENEGRO
The study provides a research about all the clock towers built in today’s
Montenegro territory during the Ottoman period (1496-1912), with the
aim of making a holistic image of their importance. Although previous
research on the topic are available, a complex and a thorough examination
of this topic has not been undertaken so far. The clock towers in this
territory appeared rather early compared to the more developed areas of
the Ottoman Empire. Besides the local architectonic features, they reflect
a strong influence of the Ottoman architecture. This paper examines the
clock towers in cities that used to be under Ottoman rule for a period of
time: Pljevlja (1465-1912), Bar (1571-1877), Ulcinj (1571-1880), Podgorica
(1474-1878) and Herceg-Novi (1482-1687). Pljevlja is situated in the north of
Montenegro, Bar and Ulcinj are south, at the Adriatic Sea, while Podgorica
is in the central part of the country. Herceg-Novi is situated on the west
side of the Adriatic coast, bordering with Croatia.
The paper examines the social-historic context in which the clock towers
appeared. Besides their specific history and architectural characteristics,
their stylistic features have been described and their architects have been
scrutinised. A comparative analysis of clock towers was made and a three-
dimensional recording was presented, underpinned by drawings, gravures,
CLOCK-TOWERS FROM THE OTTOMAN PERIOD IN METU JFA 2019/2 27
THE TERRITORY OF TODAY’S MONTENEGRO

as well as archived and present-day photo-documentation. Research

results have been systematised and presented, thus providing contribution
not only to the cultural heritage of Montenegro, but also of the former
Ottoman Empire territory. All the presented clock towers still exist today,
representing significant urban landmarks in their respective cityscapes, and
as such, are protected as immovable cultural property of the State.

RIFAT ALİHODŽİĆ; B.Arch, MSc., PhD

Received his bachelor’s degree in architecture from Belgrade University and earned his PhD
degree in architecture from University of Novi Sad. His theoretical research involve perceptive
architectural process connected to Gestalt Psychology, as well as Montenegrin cultural heritage
architecture. He is also engaged in practical architecture and urban design professionally.
[email protected]