Pl. II from the part on glass windows in the ‘Observations Concerning Ottoman Ornamentation’ (‘Bemerkungen zur Osmanischen Ornamentation. Glasscheiben’ / ‘Notices sur l’ornementation ottomane. Vitraux’) in Marie de Launay, Die Ottomanische Baukunst / L’Architecture ottomane / Uṣūl-i Miʿmāriyye-i ʿUsmaniyye, Istanbul: Imprimerie et lithographie centrales (1873). This is a monochrome print based on a drawing by Bogos Şaşiyan. It shows a stucco and glass window with an ogee arch. The explanation of the plates locates the window in Bursa.

The stucco is represented by drawn outlines, and three-dimensionality is indicated by thicker black lines. Yet this shading is not executed rightly, so it is not possible to distinguish between the different surface layers. The hatched parts depict glass panes. The window has an outer frame with repeating small cartouches, each containing one large glass piece. The inner part of the window is filled with a floral ornament with highly intertwined tendrils and individually positioned trilobed palmettes. In the lower part, the window has a stucco surface perforated with small holes that also contain pieces of glass, as the hatching indicates. In the centre, a large area of curvilinear outline was left blank, which may indicate that it contains a large piece of transparent glass. In contrast, the hatched parts, with their darker tone, probably depict coloured glass.

The caption gives no information on the dating of this window, unlike the windows in pl. I, which are defined as modern or antique (IG_388).
The floral elements of tendrils, half-palmettes, and palmettes can be found in many Ottoman stucco and glass windows, in the depictions of windows in the Süleymaniye Camii (Süleymaniye Mosque) in Istanbul (IG_234), the Yeşil Türbe (Green Tomb) in Bursa (IG_245, IG_250), or in the depictions of some of the windows in the dome of the Dome of the Rock in Jerusalem by Ernest Tatham Richmond in his The Dome of the Rock in Jerusalem (Oxford: Clarendon Press, 1924, fig. 67). The stucco and glass windows presented by the Ottomans in the Pavillon du Bosphore (IG_109) and the Ottoman Mosque (IG_108) at the Exposition Universelle in Paris in 1867 were also of this typology.
However, the layout in the window shown in pl. II is different: it is structured not by upwards-growing tendrils that fill out the whole central surface, but the floral elements rather serve as border decoration. Instead, in the centre of the window we see a plain surface that probably represents a large piece of transparent glass. Similar use of a large transparent glass piece within a stucco and glass window can be seen in an illustration of windows in the Al-Aqsa Mosque in Jerusalem by Gustave Le Bon (IG_76) in his La Civilisation des Arabes of 1884 (IG_75).
Such windows also were used in domestic architecture in Ottoman provinces in Anatolia, like in the Tekkeli Hoca House in Çorum (Bakirer, 2001, p. 23). Windows with this feature survived for example in the National Palace Collection in Turkey (Yıldız (Ed.), 2021, pp. 54–55).