Page 131 - The Age of Sultan Suleyman the Magnificent

tagonal foot decorated with two rows of rubies.
The canteen has a rod inside, secured to the foot as well as
to the top, which was designed to relieve stress when the
piece was carried by its chain handles. The combination of
divergent forms, techniques, and decorative themes reflects
the virtuosity of the artist who has created a true showpiece.
The square gold mounts for the gems recall those used on the
lid of the other canteen (see 54), which may have been re-
paired by the same artist.
A group of objects has rock-crystal panels lined with
painted paper sheets created by the nakka^hane artists. One
large jug (61), its body containing eight ovoid panels with
squared tops, is embedded with emeralds and rubies set in
the same striated petal mounts with high square centers as
the rock-crystal canteen (see 60). The fairly thick panels are
faceted and have sloping sides. They stand in relief, encased
in gold frames, similar to the gems. Under each panel is a
dark-blue paper painted with white, pink, and gold flowers.
The rest of the piece is executed in gold and encrusted with
rows of rubies set into high plain collars.
The metal parts are decorated with floral scrolls placed
against a background filled with vertical rows of minute hori-
zontal lines, creating an unusual texture. The handle is
shaped as a double-headed dragon; one head, baring its
teeth, is attached to the rim, and the other, emitting from its
mouth flames represented by a scalloped semicircle filled with
rumis, is affixed to the body. Inside the foot ring is a circular
design radiating from a central star and creating a series of 61. Jeweled rock-crystal and gold jug with lid, second half sixteenth century
Müzesi, 2/8)
Sarayí
(Istanbul, Topkapi
large petals.
Damage has destroyed the harmony of the jug's propor-
tions. It was crushed at one time and the body has caved in
over the foot, giving it a squat appearance.
The same workshop appears to have produced the rock-
crystal pen box (62), which has rounded edges and a flat lid
composed of oval and circular plaques joined by smaller
concave-sided pieces. Placed under the components of the lid
and sides of the base are white paper sheets painted with red,
blue, and gold blossoms and gold rumis. The plaques are
framed with gold bands embellished with emeralds set into
high round collars, the sunken ground incised with floral mo-
tifs. Similar bands encircle the edges of the lid and the base.
The rock-crystal plaques are also set with rubies and emeralds
in petaled mounts, identical to those on the rock-crystal jug
(see 61). The gems in the medallions and ovals are sparsely
placed, showing more of the paper lining, thus creating a
contrast with the surrounding zones.
The underside of the lid and the interior of the base are
lined with gold sheet. The interior is fitted with a nielloed
panel placed on the left, decorated with rumi and hatayi
scrolls and set with gems; inserted into this panel are three
cylindrical containers for inks. The longer section for pens on
the right, incised with large floral scrolls, is divided into two
by a central bar and has a small caster for sprinkling sand.

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