the tiled panel depicting flowering prunus under the portico to the left of the entrance of Rüstem Pasha Mosque in Istanbul. 'Damascus ware' used a sage-green - a green with a greyish tone. This colour was used sparingly on the tiles of the mausoleum of Hurrem Sultan (Roxelana) (1558) but no green was used on the tiles of the Great Mosque in Adana (c. 1560) nor on the mausoleum of Rüstem Pasha (1562). With the exception of a tiled panel above an external doorway which was added at later date, none of the tiles in the Rustem Pasha Mosque include green in their decoration. The bright emerald green was introduced for the first time on the portico panels of Süleyman's mausoleum in the funerary garden of the Süleymaniye complex, which was completed in 1567. Pottery An important object in the study of Iznik pottery is a mosque lamp that is now in the Victoria and Albert Museum in London. The lamp is believed to have made for the Süleymaniye Mosque in Istanbul which was completed in 1557. The lamp is the earliest object of a known date with the bole-red decoration that was to become a characteristic feature of Iznik tiles and pottery. The red on the lamp is thin, brownish and uneven. A few surviving dishes that use a similar thin red colouring are believed to date from the same period. There are no surviving vessels with a date between that of the Dome of the Rock mosque lamp of 1549 until 1606/7. Many Iznik tiles survive on buildings of known date and although the designs generally differs from those used on pottery, it is often possible to determine an approximate date of a vessel by comparing the composition and motifs with those on tiles. Dishes Other objects Decline (1600–1700) Towards the end of the 16th century there was a marked decline in the quality of the pottery produced in İznik. This has been linked to the loss of patronage by the Ottoman court and with the imposition of fixed prices in a period of inflation. Another important factor was that from the middle of the 16th century increasing quantities of Chinese porcelain were imported into Turkey. The İznik craftsmen failed to compete with the high quality imports and instead produced pottery with crudely painted rustic designs. Although the Chinese imports did not compete with locally produced tiles, there