Pl. I of 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’s Die Ottomanische Baukunst / L’Architecture ottomane / Uṣūl-i Miʿmāriyye-i ʿUsmaniyye, Istanbul: Imprimerie et lithographie centrales, published in 1873, is a monochrome print based on a drawing by Pietro Montani. It shows two stucco and glass windows.

Fig. 1 shows a rectangular window with a stucco lattice with a pointed arch and spandrels filled with a floral motif. The stucco lines form the outline of stylized tendrils in a vertical progression. Split palmettes on two intertwined tendrils spring symmetrically from and return to central stems with three circles or trilobed palmettes.

Fig. 2 shows a square window with a stucco lattice, the openings in which are in purely abstract forms. At the centre are four squares with rounded corners, partly deformed. Most of the surrounding stucco lines are round, some of them creating heart shapes, resulting overall in a curvaceous effect.

In both illustrations, only the outline of the stucco is drawn. The three-dimensionality of the stucco is indicated by an additional line within the outlines. The blank spaces indicate the pieces of glass that are quite large in both windows.

The caption describes the window in fig. 1 as modern and designed by Montani (‘Moderne Glasscheiben von Montani Effendi / Vitraux modernes de la composition de Montani Effendi’, p. 79), while the window in fig. 2 is defined as antique and located in Bursa (p. 79). So, according to the authors, pl. I presents a modern and an antique window next to each other. Comparing the floral-tendril design of the modern window and the curvaceous shapes of the antique window, we can see that the typologies of the two windows are different.

A photograph of the Turkish dwelling (Türkisches Wohnhaus), one of the Ottoman pavilions at the Vienna world’s fair 1873, shows that windows of exactly this design were integrated in the pavilion (IG_454). The architect was Pietro Montani, who is also named as the designer of the window depicted in the publication. The typology of this window, with stylized intertwined tendrils, half-palmettes, and palmettes, is also documented for other Ottoman stucco glass windows. For example, they can be seen in the depictions of windows in the Süleymaniye Camii (Süleymaniye Mosque) in Istanbul (IG_234), and 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, fig. 67). However, these examples are not only on a greater scale but mostly have more delicate perforations and smaller pieces of glass.
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.

The typology of the window in fig. 2, with its curvaceous shapes, corresponds to a type of stucco and glass window that appeared in the 18th century in Istanbul and its near provinces. It is characterized by larger pieces of glass that are placed within the stucco cast rather than being attached to the rear, and by curvaceous stucco lines that do not form the outline of floral or other motifs, but introduce baroque volumes (see Bakirer, 1985, p. 152; Bakirer, 2001, p. 12).
Therefore, Launay’s and Montani’s description of the window as antique probably refers to a historical specimen of the recent past (18th century or early 19th century). In contrast, the window designed by Montani in 1873 was part of the revival of a classical Ottoman style propagated by Launay’s Die Ottomanische Baukunst / L’Architecture ottomane / Uṣūl-i Miʿmāriyye-i ʿUsmaniyye.