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which means that the master of this work isa master called Ahmed, belongs to the date1728 AD. The fact that these limited resourceshave not been seriously worked on so farfrustrates those interested in this art.The names of some masters of Edirnekari arementioned in some archive documents that belongto the eli hiref organization. As seen in theserecords as well, the Edirnekâri style was consideredand applied as a method based on the palaceembroidery and illumination. In his work Elvah-iNaksiye Collections, Halil Ethem Bey, who is animportant figure in terms of the history regardingour museums, mentions that rugani and Edirnekaristyle embroideries and descriptions werecrafted on fences. As known, a book in the Ottomanculture is created asthe product of the effortsof more than one craftsman.For instance, not only bookbinders, but also writers and painterswould contribute to the makingof a book as well. As mentionedabove, the book, after being workedon by various groups of craftsmen,would first be sent to the community ofbook binders to be bound, and lastly to thecommunity of embelishers to be decoratedand embelished. Within this context,books which would be decoratedin the Edirnekâri style would be handledby the craftsmen of these 2 communities.After the description of the herbal motivesdrawn in the Edirnekari style by stickingto the naturalist perception is done, the motiveswould be brightened with a varnish calledlake. Although the Ottoman craftsmen imitatedthe European craftsmen in varnishing, the homelandsof lake varnishing are China and Japan.This type of book covers are usually called ruganior lake work. The lake work in the Edirnekaristyle is called Edirne’s Lake work. Ord. Prof SuheylUnver states that Works in the Edirnekâristyle that are crafted in Istanbul are more successfuland more artistic than those craftedin Edirne due to the existence of the embroideryhouse in the palace.80