observed also to be scratched from use. Designs in the 1520s include the saz style in which a long, serrated saz (reed) leaf, dynamically arranged, is balanced by static rosette forms. In the second half of the sixteenth century the more natural quatre fleurs style was also introduced. This used a repertoire of stylised tulips, carnations, roses and hyacinths. It was promoted by Kara Memi (Kara Mehmed Çelebi) who by 1557/8 was the chief artist of Sultan Süleyman's court. 'Golden Horn ware' (c. 1530 – c. 1550) The so-called 'Golden Horn ware' was a variation on the blue-and-white decoration that was popular from the late 1520s to 1550s. Golden Horn ware was so named because sherds in this style were excavated in the Golden Horn area of Istanbul. It was later realized that the pottery was made in İznik as some motifs on the vessels closely resembled those used on other blue-and-white Iznik pottery. The decoration consists of a series of thin spirals adorned with small leaves. The narrow rims of dishes are painted with a meandering pattern. The design is similar to the illuminated spiral scrolls used as a background to Sultan Suleyman's Tuğra, or imperial monogram. Julian Raby has used the term 'Tuğrakeş spiral ware' as the tuğrakeş were the specialist calligraphers in the Ottoman court. The earlier vessels were painted in cobalt blue while later vessels often include turquoise, olive-green and black. A number of dishes dating from this period show the influence of Italian pottery. The small bowls and a large flat rims are similar in shape to maiolica tondino dishes that were popular in Italy between 1500 and 1530. 'Damascus ware' (c. 1540 – c. 1555) The so-called 'Damascus ware' was popular under Süleyman the Magnificent from 1540 to 1555. Vessels were decorated for the first time with sage green and pale purple, in addition to cobalt blue and turquoise, and form a transition towards full-fledged polychrome ceramics. They were mistakenly believed to have originated from Damascus by art collectors in the second half of the 19th century. The name is particular misleading as tiles with a similar palette of pastel colours and floral designs were made in Damascus from the second half of the 16th century. A key object from this period is a ceramic vessel in the form of a mosque lamp with an inscribed date that is now in the British Museum.