1. For Kara Mehmed Pasha in 1665 and İbrahim Pasha in 1699: Schönwetter, 1702, p.55; for Canibi Ali Pasha in 1740: OMeA ZA-Prot. 17, fol. 200r.
2. For the marching route from Schwechat to Leopoldstadt of the 1628 Ottoman embassy to Vienna, with details of street names, see Cevrioğlu, 2021b, pp.91-93, 106. For the marching route in Istanbul of the Habsburg embassy in 1700, see C.HR.150/7475, and of 1740,MAD.d. 23771, p. 8.
3. tinople, since it would have otherwise caused trouble regarding precedence among them, as had occurred with the embassy of Öttingen in 1699 (Driesch, 1723, p. 154). For general information about this, seeSowerby, 2021, pp.225-226.
4. Determining the exact number of Ottoman and Viennese musicians is not easy. Numbers can be determined from the copper engraving at the Theatrum Europaeum (Meyer, 1672, pp.1504-1508), archival documents in the Viennese archives, and notes by Evliya Çelebi (Jäger,2011, p. 46), but these are not consistent with one another. Viennese sources make it clear that the total number of Viennese musicians outnumbered the janissary music ensemble, as had been the case for Recep Pasha in 1628. On the Ottoman musical instruments used in 1665, see: Jäger, 2011, p. 48;OMeA ZA Prot. 2, fol. 1184.