On the first page of the Koran is an illuminated circular panel with scalloped edges (f. 1v), followed by the Fatiha surah on an illuminated double spread (ff. 1r-2v). The broad border surrounded by a ruled frame and the horizontal and vertical panels around the writing are decorated with tiny flowers on scrolling stems, rumi motifs and composite flowers in gold on gold and lapis blue grounds. The spaces between the lines of this surah are decorated with stems and flowers outlined in black on a gold ground. The marginal darts must have been added during repairs carried out in the 20th century. The Bakara surah begins on the next page (f. 2r), headed by an illuminated panel with rectangular lappets along the lower edge and domed lappets at the top. The darts are original. The spaces between the lines on the first two pages of this surah are decorated with gold cloud cartouches. The surah headings and marginal rosettes are illuminated. Some of the rosettes are arrayed in rows like a necklace (ff. 201v, 287v, r, 323v) and some alone (ff. 150r, 229v, 308r). There is no writing inside the rosettes to indicate which type of division they mark, but in several places the word secde is written in gold sülüs beside the rosettes that indicate points where the worshippers should prostrate themselves in prayer (f. 288r). Surah headings are written in sülüs, or sometimes sülüs and muhakkak scripts, in gold with black outlining (f. 226r). The colophon on f. 335r is written in a small nesih hand inside a square frame in the centre of the page. The name of the city that should follow the words ‘fi medinetü’l’ (in the city) after the name of the calligrapher is illegible, but the remaining traces suggest that it may have been Bursa. The mid-16th century Ottoman illumination is exquisite, making this Koran one of the most outstanding examples dating from this period. The leather binding with flap probably dates from the 20th century, when the book was repaired.
