Pl. VII is a colour print based on a drawing by Pietro Montani that accompanies the chapter on the Sülemaniye Camii (Süleymaniye Mosque) in Marie de Launay, Die Ottomanische Baukunst / L’Architecture ottomane / Uṣūl-i Miʿmāriyye-i ʿUsmaniyye, Istanbul: Imprimerie et lithographie centrales (1873).

According to the caption, the illustration shows a stucco and glass window from the Sülemaniye Camii (Süleymaniye Mosque) in Istanbul. The round window is divided by thick grey lines into a central round section and surrounding smaller sections. An inscription in yellow on a green background occupies the centre of the window. It is surrounded by white tendrils with blue split-palmettes as well as white and yellow flowers and green leaves on a red background. The outer sections adopt the window’s circular shape. Longer sections containing palmette tendrils in yellow with flowers and foliage in red, yellow, and white on a blue background, alternate with smaller sections showing a stylized flower-shape.
Only the stucco framing of the sections is indicated by the grey lines; the more delicate stucco framing of the small pieces of glass is not clearly depicted.

In this depiction, the stucco and glass window is stylized, and its forms are simplified. In comparison with the illustrations of windows in the Yeşil Türbe (Green Tomb) by Léon Parvillée that record every detail of the stucco (IG_245, IG_250), Montani does not render the thinner stucco lines with more delicate perforations at the deeper level. We can nevertheless see that today two windows of the very same design and the same colours for the glass remain in place in the Süleymaniye Camii (Süleymaniye Mosque), on the walls to the left and to the right of the mihrab.

The construction books relating to the Süleymaniye Camii (Süleymaniye Mosque) show that stucco windows with coloured glass were included originally, when the mosque was erected between 1550 and 1557 under the architect Mimar Sinan. It is supposed that the delicately designed nine inner windows around the mihrab are preserved in their original design. During a restoration in 1959, pieces of glass that had fallen off were reinserted, and new pieces of glass were added where they had been lost, though the design of the windows was not changed (Irteş, 2007, pp. 296, 298).

The typology, with stylized intertwined tendrils, half-palmettes, and palmettes, is documented for other Ottoman stucco and glass windows. For example, they can be seen in the depiction of windows in 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). Other examples of stucco and glass windows of this typology were presented by the Ottomans in the Pavillon du Bosphore (IG_451) and the Ottoman Mosque (IG_450) at the Exposition Universelle in Paris in 1867, and in the Turkish dwelling at the Weltausstellung in Vienna in 1873 (IG_388, IG_454). However, these windows were not circular in shape.