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The root of the word for gold, ‘zeheb’, was adopted by the masters of illumination and thus ‘tezhip’, meaning ‘to gild’, took on the task of decorative art and initially became a close friend to the art of calligraphy. When the palace encouraged the development of the art of illumination, opening the way to the creation of extraordinary masterpieces, the art became the crowning glory of ornamentation, embroidery, adornment, and even the art of weaving. It was also adopted in the art of decorating Islamic books and in Ottoman decorative crafts. Illumination was the trademark of difficult, rich and elegant workmanship in handicrafts. The art produced a host of creative and profoundly stylized forms of roses, daffodils, tulips, hyacinths, irises, columbines, jonquils and spring flowers. Besides the famed gold and dark blue that was used, illuminations were depicted in a rich variety of tones of orange, green, carmine, pink, yellow, purple and black. From stylized plant/hatai’ motifs, rosebuds and other florets, to animal, ‘rumi’ patterns, the art opened out to many styles, tastes, designs and decorative patterns. Providing a refreshing choice of gazing upon either nature or the talents of the artists, the motifs were used mainly in Korans, but also in inscribed books, plaques, edicts and the sultan’s signature, volumes of books, miniatures, basins, boxes and chests. Decorative elements were simple and mature, masterpieces did not compete with but provided only a subtle accompaniment to the original text or message. Charmed shirts, tent poles, weapon covers and arrow quivers all received their share of this ornamentation. All of the relief patterns on this interpretation of classical illumination design on a cubic vase form have been gilded in gold on handmade glass, presented with the workmanship and mastery of Paşabahçe.