Page 172 - The Age of Sultan Suleyman the Magnificent

a large dome with a faceted and relatively squat base resting
on arches, is inlaid with dark and light woods, ivory, and
mother-of-pearl. The twelve-sided base contains a continuous
talik inscription, with a selection from the Hadis rendered in
ivory on ebony.
The lid, edged with ivory and ebony strips, is composed of
twelve triangles interspersed with elongated lozenges. Each
triangle is further divided into a central lozenge flanked by
smaller triangles. The smaller triangles are of dark brown
wood and inlaid with rumi cartouches with trefoil finials ren-
dered in ivory and ebony. The small lozenges, also of the
same wood, have lobed ovals with pendants executed in
ivory; at their centers are mother-of-pearl blossoms decorated
with spiral floral scrolls inlaid with black. Empty sockets in
the cores of the blossoms must have been set with gems. The
large elongated lozenges, made of ebony framed with ivory,
have central diamonds enclosed by mosaic bands; these dia-
monds are of mother-of-pearl and decorated in the same
manner as the blossoms, with empty central sockets. The loz-
enges converge at the apex, which is missing its finial.
The interior of the lid has a gold central boss enclosed by a
dark green medallion, its twelve trefoils projecting into the
red field. The base, lined with pistachio-green silk, contains a
central triangle surrounded by rectangular compartments.
This example also re-creates a miniature domed building
inspired by contemporary architecture. A most remarkable ef-
fect is created by the optical play of inlays, which transform
the smooth dome into an articulated structure and link it
with the faceted base.
The Koran box from the Mausoleum of Selim II (111) es-
tablishes the classical format: a high pedestal resting on four
legs supports a cubical container surmounted by a dome on a
polygonal zone of transition. Its stylistic and technical fea-
tures indicate that it was made for that building, either during
Selim's lifetime or shortly after his death in 1574. It is inlaid
with ebony, mahogany, ivory, and mother-of-pearl, with
strips of lead and gold used sparingly in the bands framing
the panels.
The ebony pedestal inlaid with ivory is decorated with
panels composed of lobed central ovals with rumi palmettes
and trefoil pendants, enclosed by corner spandrels employing
the same design. These panels are framed by geometric bands
inlaid with ebony, ivory, mahogany, and lead, and sur-
rounded by a series of mosaic elements. Mosaic elements also
extend to the arched legs, which repeat the theme used in the
spandrels. A frieze with reciprocal palmettes encircles the up-
per edge.
The base reveals a geometric design radiating from a ten-
pointed star, inlaid with ebony and mother-of-pearl and
framed with the same band used on the pedestal. The central
star has gold-inlaid scrolls bearing blossoms, the gem settings
of which have been removed. A makili kufi band repeating
the besmele appears on the upper edge.

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