The Fatiha and Bakara surahs are on separate richly illuminated pages (ff. 1r, 3v), with oval medallions containing bouquets inside the broad border with pointed lobes. There are dome-like lappets along the long edge of the border and semi-dome-like lappets embellished with flowers along the short edge. A narrow border filled with flowers on a pale green ground has replaced the traditional dart motifs. Parallel to the gutter of the illuminated pages is a narrow border filled with tiny oval cartouches on a gold ground. On each page of the folio between the Fatiha and Bakara surahs is a pink rose, on which is written the Caliph Ali’s description (hilye) of the Prophet Muhammad. On the buds of the rose on f. 2v are written the names of the four caliphs Ebubekir, Ömer, Osman, and Ali, and of Muhammad’s two grandsons, Hasan and Hüseyin; and on the buds of the rose on f. 2r are the names of six disciples (Zübeyr, Talha, Sa’d b. Ebi Vakkas, Said b. Zeyd, Abdurrahman b. Avf, and Ebu Ubeyde b. el-Cerrah). On one of the leaves at the top of each rose is written Allah celle celâlühu (God is great), and on the other the words Muhammed sallallahu aleyhi ve sellem (Muhammad whom God confirmed as prophet). The narrow border and cornerpieces on this page are decorated with flowers and bouquets. The surah headings and marginal rosettes are illuminated. The illuminator who decorated the manuscript in the 18th century is identified by the phrase Zehhebehu Mustafa in white on a gold ground inside a large hatayi flower following the last line of the colophon. His illumination stands out not only for the diversity of motifs, but also for his use of shades of gold and colours. Mustafa was a master illuminator who deserves to rank with the most eminent 18th century illuminators. The covers of the green binding with flap are decorated with a medallion and cornerpieces filled with gold rumi motifs on an cumin coloured leather ground. The design is stamped with a single panel die (yekşah). The doublures and endpapers are of plain maroon leather. The binding was probably restored in the 19th century, when the folio with the hilye text inside the roses was added and the pages lightly trimmed. At the same time gilded halkâr decoration was executed on the fore-edge.