The introduction of minarets to the Seljuq lands of Anatolia in the early thirteenth century represented a seismic shift in the overall urban architectural aesthetic, from a primarily horizontal emphasis to a markedly vertical one. This visually projected the presence of both the physical mosque as well as the power of the ruler across the city and into the surrounding landscape. Vertical projection formed part of the wider shift from introversion to extroversion in the Islamic architecture of Anatolia, which continued under the later Beylik and Ottoman rulers. Prior to the late twelfth and early thirteenth centuries very few of the Great Mosques, or other surviving Islamic structures in Anatolia, had monumental portals or minarets. Any decoration was usually reserved for the interior of the building, with the wood minbar being the most elaborate element to survive. The initial absence of minarets demonstrates that they were not required for their generally perceived role as a place for the mu ʿadhdhin to perform the adhan (call) to salat/namaz (prayer), and their subsequent addition indicates they were built to serve a more symbolic role. It is only with the increased Rum Seljuq hegem¬ony in the late twelfth to early thirteenth centuries that a number of the mosques being built had a minaret included as part of their overall design concept. At the same time, existing Great Mosques, such as those built of stone in Sivas and Kayseri, had brick minarets added in order to give them a more distinctively Seljuq appearance. There was a brief flowering of tall minarets under the Rum Seljuq sultan ʿIzz al-Din Kay Kawus I, and their construction may be seen as part of a broader attempt to unify the architectural aesthetic of the expanding sultanate.