Ill. LII, figs 1, 2, in Marie de Launay, Die Ottomanische Baukunst / L’Architecture ottomane / Uṣūl-i Miʿmāriyye-i ʿUsmaniyye, Istanbul: Imprimerie et lithographie centrales (1873) shows two stucco and glass windows in black and white based on a drawing by Bogos Şaşiyan.

Fig. 1 on the left shows a pointed-arch window. It is divided into several sections. In the frame, empty sections alternate with elongated sections with the depiction of flowers in a bulbous vase with a long neck. The frames of these sections are decorated with black dots, which are supposed to depict small circular perforations in the stucco backed with glass. The window’s centre consists of a lower part with a circular section inside a rectangular form and an upper part consisting of the pointed arch. The lower part is filled by the outlines of a sun with sun rays. All its sections are plain, and no black colour is used to suggest small sections of coloured glass. In contrast to this, the upper part contains flowers in a wide vase and dots in the background depicted through black colouring within outlines, which partly suggest three-dimensionality.

Fig. 2 on the right shows a pointed-arch window with only one central section and a thin frame. This frame is filled with small black dots, which are supposed to depict small circular perforations in the stucco backed with glass, as in fig. 1. The central section is occupied by a single big vase with a slender foot, bulbous body, and quite short neck. It is the point of origin for different kinds of flowers. On top a big blossom springs out of a small cross. At the bottom of this section, to the left and to the right of the central vase, there is a flat bowl with flowers. Again, the depictions are constructed by black spots within outlines, which slightly suggest three-dimensionality.

This illustration is part of the chapter on the Yeşil Cami (Green Mosque) in Bursa, written by Marie de Launay. In this chapter, he describes the technique of stucco and glass windows in detail. (IG_226) Of great interest to Launay (1873, pp. 25–26) is their difference compared with Western stained-glass windows. Yet, he does not give any information on the typology of the windows in the Yeşil Cami (Green Mosque) nor in the Yeşil Türbe (Green Tomb) in Bursa.

Launay states that the restoration of the windows in the Yeşil Türbe (Green Tomb) was initiated by Ahmed Vefik Effendi after the 1855 earthquake. Amongst others, Léon Parvillée was commissioned with the restoration works in Bursa (Parvillée, 1874, p. 4). In his richly illustrated book Architecture et décoration turque au XVe siècle published in 1874 (IG_221), two illustrations of the windows in the Yeşil Türbe (Green Tomb) with palmette tendrils (IG_245, IG_250) show a typology very different from that of the windows in the Yeşil Cami (Green Mosque) depicted by Bogos Şaşiyan. Parvillée does not include illustrations of windows in the Yeşil Cami (Green Mosque).

As for the windows illustrated by Parvillée and Şaşiyan, there is no information given as to whether these drawings are based on historic windows that were preserved, or new windows that were made during the restoration works. The caption simply defines them as ‘Vitraux/Glasfenster’, without dating them.