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Philadefinia, Free library. John Frederick Lewis collection
ORIENTAL MANUSCRIPTS
OF THE JOHN FREDERICK LEWIS COLLECTION
IN THE FREE LIBRARY OF PHILADELPHIA
A DESCRIPTIVE CATALOGUE
WITH FORTY-EIGHT ILLUSTRATIONS
BY
MUHAMMED AHMED SIMSAR, A. M., M. B. A., D. C. S.
PHILADELPHIA
1937
C❤
&
COPYRIGHT, 1937
BY
MUHAMMED A. SIMSAR
PRINTED IN THE UNITED STAtes of amERICA
BY J. H. FURST COMPANY, BALTIMORE, MARYLAND
PLATES BY EDWARD STERN & CO., INC., PHILADELPHIA
© 11-27-37 Jig
quer.
Al.
وریا پوتا اور
11-47-87
FOREWORD
Aside from the pleasure which I have derived from my
work on the Oriental manuscripts of the John Frederick
Lewis Collection in The Free Library of Philadelphia, I deem
it a privilege to be able to dedicate this volume to the memory
of a man who devoted many years of his life to promoting
in this country an interest in and knowledge of the art and
literature of the Orient.
Mr. Lewis's interest in art and education caused him to
receive important positions in cultural institutions of Phila-
delphia. He was a trustee of the University of Pennsylvania,
trustee of The Free Library of Philadelphia, president of the
American Academy of Music, president of the Historical
Society of Pennsylvania, and for twenty-five years president
of the Academy of the Fine Arts. He was also a member of
the American Philosophical Society and of other educational,
artistic and musical organizations and clubs.
As a bibliophile and connoisseur of art, Mr. Lewis gath-
ered valuable collections of illuminated manuscripts, of
Persian and Indo-Persian miniature paintings, of colonial
and early American portraits, and of rare and historically
important books and papers. He united high intelligence
with great variety of attainments, and was an ardent ad-
mirer of the art of the East as well as of the West. He not
only collected Western illuminated manuscripts, books of
hours, and secular manuscripts, but from them went on to
the illuminated and occasionally illustrated Eastern manu-
scripts. Another impelling influence was his interest in
western paleography and calligraphy, from which also he
turned Eastward later in his collecting career. In this coun-
try he was one of the earliest to interest himself in these
matters, being always in advance of the times, first in the
collecting of Western Mediaeval illuminated manuscripts,
G
[iii]
and then later he was one of the earliest to direct the atten-
tion of American collectors to the beauty of the Persian and
Indo-Persian manuscripts.
His interest in the art of the East was stimulated and
strengthened by the magnificent exhibition and the splendid
cooperation of the Iranian Government at the Sesqui-
Centennial Exhibition in Philadelphia in 1926. He was a
keen admirer of the competition manifested between Persian
miniature painters and their Indo-Persian imitators, and
often exhibited their works in the library of his home to
students from the Pennsylvania Academy of the Fine Arts
and from the School of Architecture and the Department of
Fine Arts at the University of Pennsylvania. He enjoyed
giving to garden clubs and others interested in gardens and
flowers, lectures illustrated from his material on the design
and construction of Persian gardens, and on the love of
flowers in general, as expressed by Khayyam, Sa'dī, Ḥāfiz
and other well-known poets of Iran.
Many things individualize Mr. Lewis's life and character.
He well exemplifies the immortal saying of Sa'dī, the poet
of Iran:
داخت
رفت ومنزل بدیگری ދ
هر که آمد عمارتی نو ساخت
وين عمـارت بسر نبرد کسی
آن دگر پخت همچنان هوسی
خنك آنکس که کوی نیکی برد
نيك وبد چون همی بباید مرد
سعدی
Each new-comer builds a house of his own,
And then departs leaving his heritage to another.
The successor is inspired with the same ambition,
But no one ever finishes the mansion.
Since both good and bad must some day die,
Happy he who first achieves a worthy goal.
MUHAMMED A. SIMSAR.
[iv]
FOREWORD
CONTENTS
CONTENTS
LIST OF ILLUSTRATIONS
LIST OF ABBREVIATIONS
SCHEME OF TRANSLITERATION
INTRODUCTION
•
•
ARABIC MANUSCRIPTS.
I. Al-Qur'ān
II. Commentaries upon the Qur'ān.
III. Various Readings of the Qur'ān
IV. Prayers
V. Christian Prayers
VI. Law
VII. Grammar
VIII. Rhetoric
IX. Manuscript of Mixed Contents
X. Fragments
•
PERSIAN MANUSCRIPTS
I. Astronomy
II. Genealogy
III. Dictionary
IV. Ethics
V. Sufism
VI. Natural History
VII. Official Document
VIII. History
IX. Fables and Tales.
X. Poetry
.
•
•
·
PAGE
111
V
vii
ix
×
X
xi
1
found
1
20
24
26
29
30
31
32
33
37
40
40
41
43
45
46
48
49
53
69
71
[v]
XI. Manuscript of Mixed Contents.
TURKISH MANUSCRIPTS
I. Astronomy
II. Genealogy
III. Dictionary
IV. Law
V. Official Document
VI. History
VII. Poetry
HINDUSTANI MANUSCRIPTS
SANSKRIT MANUSCRIPTS
NEPALESE MANUSCRIPT
•
PALI MANUSCRIPTS
SIAMESE MANUSCRIPT
ARMENIAN MANUSCRIPTS
COPTIC MANUSCRIPT
ETHIOPIC MANUSCRIPTS
HEBREW MANUSCRIPTS
SAMARITAN MANUSCRIPT
SYRIAC MANUSCRIPTS
EGYPTIAN PAPYRUS
W
·
BIBLIOGRAPHY
INDEX OF TITLES
INDEX OF PERSONS' NAMES
•
·
·
PAGE
149
152
152
153
155
156
158
159
161
172
178
185
186
189
190
201
202
208
216
217
218
221
225
231
[vi]
LIST OF ILLUSTRATIONS
I. The illuminated opening pages of a
Qur'ān
II. A page from a Qur'ān
III. Illuminated opening page of a Qur'ān.
IV. The outside cover of a lacquered binding
V. The illuminated opening page of a
Qur'ān
VI. A page from a parchment Qur'ān
VII. Illuminated page of an official document
VIII. Tamerlane marching against Iran
IX. Emperor Akbar arriving in Delhi.
X. Emperor Akbar receiving the European
envoys.
XI. Emperor Akbar shooting a lion.
XII. The outside cover and flap of a binding
XIII. The inside cover and flap of a binding
XIV. Rustam lifting up Pūlādwand
XV. Bizhan led in chains before Afrāsiyāb
XVI. Kay-Kāwūs flying to heaven on his
throne
XVII. Battle between Human and Bizhan.
XVIII. Game of chess
XIX. A king listening to a plea for mercy
XX. The outside cover of a binding
XXI. An entertainment in the courtyard of a
palace
XXII. A scene from the palace courtyard.
XXIII. Prince Humāy and Princess Humāyūn
XXIV. Shirin visiting Farhād
XXV. The opening pages of the Gulistan of
Sa'di
•
•
•
•
•
·
FACING
PAGE
2
4
12
16
18
20
50
54
59
60
62
82
82
82
82
85
86
88
94
112
114
114
116
116
120
[vii]
XXVI. Bahrām Gür pins a deer's foot to its ear
XXVII. Fitnah carrying a cow on her shoulders
XXVIII. A page in the handwriting of Mir 'Imād
Mīr
XXIX. The outside cover of a lacquered binding
XXX. The opening page of the Diwan of Wiṣal
XXXI. Illuminated pages from an anthology
XXXII. A page in the handwriting of Hafiz
Emin
XXXIII. The outside cover and flap of a lacquered
binding
XXXIV. The opening pages of the Diwan of Mir
'Ali Shir
XXXV. The outside cover of a binding
XXXVI. A scene depicting the hero in a boat
XXXVII. A miniature and an opening page from
the Bhagavadgītā .
XXXVIII. God Gṇeśa
·
XXXIX. A. Heavy lacquered wood cover
B. A copper sheet in relief.
XL. Portrait of St. John
XLI. Christ's triumphal entry into Jerusalem
XLII. The Virgin and the Twelve Apostles
XLIII. The opening page of the Liturgy of the
Abyssinian Church
XLIV. The Virgin and Child
XLV. A page from the Old Testament on
vellum
XLVI. An illuminated page from a Hebrew
prayer book
XLVII. An illuminated section from the Book
of Esther
XLVIII. Section I of the Egyptian papyrus
▸
•
FACING
PAGE
131
132
134
145
146
148
155
161
165
172
174
178
183
186
186
190
192
194
203
204
208
211
212
218
[viii]
B. M. P. C.
B. M. Hind. C.
B. M. T. C.
Berlin Cat.¹
Berlin Cat.2
Brockelmann
Camb. Cat.
Cat. Pers. MSS.
Dawlatshāh
Desc. Cat.
Dict. Nat. Biog.
Gesch. Osman. Dichtk.
Ḥāj. Khal.
Hist. of Arabic Lit.
Hist. Ott. Poetry
Khat. wa Khat.
Lit. Hist. of Persia
Or. Bio. Dict.
Oudh Cat.
Per. Lit. Tar. Dom.
S. B. M. P. C.
LIST OF ABBREVIATIONS
S. C. A. M.
Tuh. Khat.
Vienna Cat.
Rieu, British Museum Persian Catalogue.
Blumhardt, Catalogue of Hindi, Panjabi, and
Hindustani MSS. of the British Museum.
Rieu, British Museum Turkish Catalogue.
Ahlwardt, Berlin Catalogue.
Pertsch, Berlin Catalogue.
Brockelmann:
Geschichte der Arabischen
Litteratur.
Browne, Cambridge Catalogue.
Jackson, Catalogue of Persian Manuscripts.
Tadhkiratu'sh-Shu'ara, Browne's edition.
Hukk, Ethé, and Robertson, Descriptive Cata-
logue.
Stephen, Dictionary of National Biography.
Hammer-Purgstall, Geschichte der Osman-
ischen Dichtkunst.
Haji Khalfa, Lexicon Bibliographicum et
Encyclopaedicum, edited by Flügel.
Nicholson, History of Arabic Literature.
Gibb, History of Ottoman Poetry, Browne's
edition.
Habib, Khatt wa Khaṭṭāṭān.
Browne, Literary History of Persia.
Beale, An Oriental Biographical Dictionary,
Keene's edition.
Sprenger, Catalogue of the Libraries of the
King of Oudh.
Browne, Persian Literature under Tartar
Dominion.
Rieu, Supplement to the Catalogue of the
Persian Manuscripts in the British Museum.
Rieu, Supplement to the Catalogue of the
Arabic Manuscripts in the British Museum.
Mustaqim-Zadeh, Tuhfah'i Khaṭṭāṭīn, edited
by Ibnul'emin Mahmut Kemal.
Flügel, Die Arabischen, Persischen und Tür-
kischen Handschriften.
[ix]
SCHEME OF TRANSLITERATION
The system employed in the transliteration of the Arabic, Persian,
Turkish, and Hindustani manuscripts, is the one approved by the
International Oriental Congress of 1894 with following slight
modifications:
1. Alif ()=') at the beginning, where any distinction mark
appeared unnecessary, has been omitted.
2. The possessive (the Persian Izāfat), which is usually indi-
cated by a zir, is represented by -i-, e. g. Gulistan-i-Sa'di.
[x]
INTRODUCTION
It was in connection with the celebration of the one
thousandth anniversary of the birth of Firdawsī, the epic
poet of Iran, that I first became acquainted with the John
Frederick Lewis Collection of Oriental Manuscripts at The
Free Library of Philadelphia. The late Mr. Saklatvala, the
Honorary Consul General of Iran in New York, requested
me to make a search for copies of Firdawsi's works in the
libraries of Philadelphia, as he was anxious to secure mate-
rial for an exhibition to be held at Columbia University in
connection with their celebration of Firdawsï's millennium.
My search finally led me to the discovery of not one but ten
copies of the Shāh-nāmah, the epic poem of Firdawsī, in the
Lewis Collection: more copies than any collection in this
country contains. Some months later, when Philadelphia
was ready to have her own celebration in honor of the fam-
ous poet, these ten beautiful volumes were the feature ex-
hibit of the occasion. Besides the ten Shāh-nāmahs, the
collection contains many interesting volumes in Arabic, Per-
sian, Turkish, and other languages. It was not until July
of 1935, however, that I began working on the catalogue.
The collection contains 35 Arabic, 52 Persian, 10 Turkish,
3 Hindustani, 8 Sanskrit, 1 Nepalese, 4 Pāli, 1 Siamese, 11
Armenian, 1 Coptic, 13 Ethiopic, 10 Hebrew, 1 Samaritan,
2 Syriac manuscripts, and 1 Egyptian papyrus. Of the total
number of 153 codexes here described, 100 are written in
Arabic script and represent 4 languages. The remaining
53 are inscribed in 13 different scripts and represent 11
languages.
The most extensive portion of the collection consists of
the Arabic and Persian manuscripts. These and the Turk-
ish and Hindustani manuscripts, which are closely related to
each other not only because of the common script in which
[xi]
they are written, but also because of the nature of their con-
tents, have been grouped together at the beginning of the
catalogue. The remaining manuscripts have been arranged
in the order in which they are listed above, the Indic and
Semitic groups forming the major sections, with the Arme-
nian manuscripts between these two, and the Egyptian
papyrus placed at the end.
G
Although this collection of 153 manuscripts is small in
comparison with many other collections in this country and
abroad, yet it contains a considerable number of works of
unusual interest. Some will appeal particularly to the lovers
of rare bindings, some to the students of miniature painting,
and some to those interested in illumination or in calligraphy.
The illustrations presented in the catalogue, have been selec-
ted with a view to furnishing the reader with some examples
of each of these particular fields.
In the Arabic section the most interesting feature is per-
haps that it contains twenty-one copies of the Qur'ān, the
sacred book of the Muslims, whose name is commonly angli-
cized as Koran. These have been transcribed in different
places and at different periods; most of them are exquisitely
decorated with beautiful illuminations in gold and colors, and
are remarkable examples of delicate taste and endless labor.
One of the most magnificent copies of the Qur'ān ever made
(No. 1) contains two elaborately illuminated opening pages.
The first page bears the date Dhu al-Qa'dah, 1177 a. H.
(May 1764 a. D.) and the other Jumādā I, 1178 a. H. (No-
vember 1764 a. D.), indicating that the artist probably spent
six months on each. The oldest copy of the Qur'an written
on parchment in Kūfi characters (No. 21) is undated, but
probably belongs to the tenth or eleventh century. In addi-
tion, the three copies (Nos. 16-18) with complete Persian
interlinear translations are rare and valuable specimens. A
late fourteenth century copy of the Anwār al-Tanzil (No.
22), the well-known commentary upon the Qur'ān by Bay-
-
[xii]
ḍāwī, further adds to the value of this section. A very
rare abridgment of Bayḍāwï's work (No. 23), made by Ibn
'Imād and dated 1475, is unique. No copy of this work has
been listed in any other collection; possibly this is the only
copy in existence.
In the rarity and importance of its contents the Persian
section, however, is of even greater value. It includes early
copies of standard writers, works of historical value, and
treatises on astronomy, genealogy, philosophy, and ethics,
some of which formed part of the libraries of kings and
princes, as is shown by their seals and memoranda. An-
other remarkable feature of this section is the large propor-
tion of illustrations it contains which make it valuable for
the study of the different schools of Persian and Indo-Per-
sian miniature painting. This section also contains specimens
of some of the best-known calligraphers of Iran, who in
their copies have combined artistic skill with perfection of
style.
Of the Persian manuscripts only a few of the most im-
portant will be mentioned here. A manuscript of special
value, Majma' al-Furs (No. 38), a dictionary of Persian
words, dated 1620 and written during the lifetime of its
author Surūrī, deserves attention. An interesting document
Waqf-nāmah'i Shāh Sulṭān Husayn Şafavi (No. 42), bear-
ing the seal of the Shah and of other court officials and
acknowledging a religious endowment by the Shah to the
people of the city of Isfahan, is written in the hand of the
illustrious penman Mir Muḥammad Bāqir in 1706 and re-
veals facts of historical value. The Timūr-nāmah, or The
History of Tamerlane " by Hatifi (No. 43), dated 1583,
contains several good examples of the paintings of the period.
Some fine specimens of the Indo-Persian miniature paintings
are represented in a copy of the Iqbal-nāmah'i Jahāngīrī,
or "The History of the Mughal Emperor Jahāngir" (No.
44), which, according to a memorandum on the flyleaf, was
""
[xiii]
presented to Ra'nā Khān, a court official, by the Mughal
Emperor Awrangzib. This fanatic ruler of India, who
detested all sorts of human representations, must have
given to Ra'na Khān this valuable copy, which contains
authentic portraits of his great-grandfather Akbar, and
other exquisite paintings which bear witness to the esteem
in which miniature painting was held by Awrangzib's prede-
cessors. We do not know whether Awrangzib was inspired
to make this gift while he was in a happy frame of mind, or
whether, not valuing its artistic merits, he was merely in-
different and yielded to persuasion. Another historical
manuscript Tārīkh-i-Nadirī, or "The History of Nadir "
(No. 46), dated 1773 and copied from the original work of
Mirzā Mahdi Astarābādī, only twenty-six years after the
death of Nadir Shah, was presented to a certain Frenchman,
whose memorandum on the flyleaf states that he received it
from Fath 'Ali Shah Qājār of Iran in 1806; unfortunately
his own signature is in an illegible handwriting.
Of the ten Shah-nāmahs (Nos. 50-59), three copies are
outstanding. One of these (No. 52), dated 1587, is un-
usually ornate, containing a number of fine examples of
illuminated section-headings. Another copy (No. 53), writ-
ten four years later, besides being richly illuminated, is
adorned with twenty-one beautiful miniatures in the style of
the Riḍā ‘Abbāsī school, which are important for the study
of the art of painting of that time. An Indo-Persian copy
(No. 55), which once belonged to the library of Muḥammad
Shah of India (ruled 1719-1748), and which bears several
official seal impressions and memoranda is interesting.
Among the works of Nizāmī a copy of his Khamsah (No.
62) dated 1626, and another volume (No. 66) which contains
selected verses from the former and is dated 1574, are of
interest. A Kulliyyāt, or " Complete Works " of Sa'di (No.
68), even today the most popular poet of Iran, dated 1584,
contains some fine specimens of Persian painting in the style
[xiv]
of the Herat school. A precious little Gulistan of Sa'di (No.
72) presented to Mr. Oliver Perkins by Prince Abū al-Fatḥ
Mīrzā, the third son of Muzaffar al-Dīn Shāh of Iran, in
1901, is written in an exceptionally fine Shikastah style, and
is enclosed in a binding of rare beauty. Another remarkable
manuscript is a copy of the Rawḍat al-Muhibbin of Ibn
'Imād (No. 78), copied in 1582 by the renowned calligrapher
Mir 'Imād and illustrated by five fine specimens of the paint-
ing of the period. Only one other complete manuscript, the
Tuḥfah of Jāmī, is known to exist in the handwriting of
Mir 'Imād, and it is in the Library of 'Ali Pāshā in Istanbul.
Most of the specimens of his calligraphy have come down to
us only in separate leaves.
The last of the Persian classic poets, Jāmī, is represented
by three volumes in the collection. A copy of his “ Yūsuf
and Zulaykhā" (No. 79) dated 1580, less than a hundred
years after his death, deserves special attention. Another
rare volume in the Persian section is a copy of the Futuḥ al-
Ḥaramayn, or "The Disclosure of the Two Holy Cities
by Lāri (No. 82), which is dated 1566.
22
66
In spite of the fact that the Turkish section consists of
only ten manuscripts, it contains a few which in certain
respects are unique. The most interesting of all is the Waqf-
nāmah'i Aḥmad Pāshā, or The Last Will and Testament
of Aḥmad Pāshā" (No. 92), the son-in-law and Grand
Vizier of Sultān Bāyezid II (ruled 1481-1512). By this will,
dated 1511, Aḥmad Pāshā left most of his wealth and huge
estates to charity; the names of two other grand viziers ap-
pear as witnesses. Another document of historical interest
is a copy of the Tārīkh-i-Selānīki, or a History by Selā-
nīki (No. 93), dated 1721 and transcribed by the order of
Ibrāhīm Pāshā, the son-in-law and Grand Vizier of Sultān
Aḥmad III. A sixteenth century copy of the Diwān of Mir
'Ali Shir Nevā'i (No. 95), the poet laureate and minister at
the court of Herat, written in Jāghātā'ī, or Eastern Turkish,
""
[xv]
on gold-sprinkled paper with elaborate borders, is also re-
markable. Another volume containing two very rare works
of Da'ifi (No. 96), dated 1560 and written in a splendid
Naskh style during the lifetime of the poet, sheds light on
the life of the writer about whom practically nothing is
known from other sources.
Among the Sanskrit manuscripts of the Indic section two
copies of the well-known epic Mahābhārata (Nos. 101-102),
two interesting horoscopes (Nos. 105-106), and a treatise
on astronomy (No. 108), may be of particular interest.
Other important volumes in this section are: a prayer book
in Nepalese (No. 109), the first and second volumes of the
Kammavāca, a Buddhist manual in Pāli (Nos. 110-111),
and a copy of the Siamese epic Lakshanawongs (No. 114).
The Armenian section commands attention by an un-
usually fine copy of the Four Gospels (No. 115), dated 1504
and containing eleven religious paintings which represent
the Armenian art of the period. Another copy of the Four
Gospels (No. 116), transcribed perhaps a century later, con-
tains some rare miniatures in which the features of the old
Byzantine art are combined with the decorative scheme of
the Iranian art of the period.
In the Ethiopic section a copy of "The Homilies and
Visions of Saint Aragāwī" (No. 127), and a copy of the
Gospel of St. John (No. 128) are interesting.
The Hebrew section, with an exceptionally fine copy of
the Old Testament (No. 140), dated 1496 and bound in
tortoise shell, and two eighteenth century prayer books
(Nos. 141-142), enriches the collection.
Another interesting volume in the collection is a copy of
the Samaritan Liturgy (No. 150), dated 1849, and written
in cursive Samaritan script with some headings in Arabic.
The last item of the collection (No. 153), an open roll of
Egyptian papyrus in three sections written in Hieratic and
consisting of a part of the Theban Recension of Per-em-hru,
[xvi]
commonly known as "The Book of the Dead," is also its
oldest item; it was written in the eighth century B. C.
In regard to the system which is here used in transliterat-
ing the titles of and extracts from the Arabic, Persian,
Turkish, and Hindustani manuscripts, I need only mention
that it is essentially that approved by the International
Oriental Congress of 1894 for the transcription of the
Arabic characters, and will be readily understood by all who
are familiar with that system. Some slight modifications,
however, have been listed in a table on page x. Another
table showing the system of abbreviations employed in refer-
ring to the catalogues and other works most frequently
cited, has been given on page ix. A fuller list of works
referred to will be found at the end of the volume.
An index of titles, not confined to the volumes of this
collection, but including also the works mentioned in the
text of this catalogue, has been appended. A second index
consisting of persons' names, and comprising not only the
authors, but also their patrons, translators, calligraphers,
former owners, and in general all persons mentioned in the
catalogue, has also been given; in it, dates and titles of works
found in the Lewis Collection have been added after the
names of authors.
The illustrations reproduced in this catalogue add greatly
to its value, and will give the art student an indication
of the manner in which some of the paintings, bookbindings,
and certain styles of calligraphy were executed. It has been
necessary to present some of the illustrations in a reduced
size.
I have enjoyed my work on this catalogue. Although I
cannot regard it as a model of its kind-I am too keenly
aware of its defects—yet I think it contains certain new
materials in Oriental studies. Its form and method are in-
tentionally somewhat different from those of works of
similar nature. A brief account of the life of each author
[xvii]
is prefixed to the descriptions of his works; important works
on the topic, written in European languages, are then listed.
The nature and contents of each manuscript are also briefly
discussed. In the case of well-known works, which have
been described in detail in other catalogues, references are
supplied in footnotes. The known translations of some of
the works are also mentioned.
The volume is designed to serve a threefold purpose. It
has a general interest in that it provides a key to the study
of the fascinating literatures of the Orient. The detailed
descriptions of the illuminations, bookbindings, styles of
writings, and miniature paintings of the rarer copies, and
the reproductions which it contains, will interest students
of art. Finally it will serve as a manual and reference book
not only to collectors of Oriental manuscripts who may wish
to compare their own copies with the copies of this collection,
but also to those students who may desire to make a study
of a particular manuscript in the Lewis Collection. I shall
feel content if the volume to some extent serves these pur-
poses.
I should like to thank individually all those who have
helped me in the preparation of this work. To Dr. Horace
I. Poleman I am indebted for his generous aid in the identi、
fication and cataloguing of the Indic manuscripts. Dr.
Poleman has been preparing a catalogue of all the Indic
manuscripts in this country and Canada, which he expects to
publish soon under the title of "A Census of the Indic MSS.
in the United States and Canada." He had catalogued the
Indic section of the Lewis Collection before I started work-
ing on them, and was kind enough to permit me to use his
listings. I am indebted also to Dr. W. Norman Brown,
Professor of Sanskrit, University of Pennsylvania, for his
constant and willing advice on certain points relating to the
Indic manuscripts.
I am deeply grateful to the Reverend Mgrdich Minasian,
[xviii]
pastor of St. Sahag-Mesrob, Armenian Apostolic Church
of Philadelphia, for his valued assistance in the cataloguing
of the Armenian section. My thanks are due to Dr. James
A. Montgomery, Professor of Hebrew, University of Penn-
sylvania, for his generous help in connection with the han-
dling of the Ethiopic, Syriac, and Samaritan manuscripts.
Acknowledgment is made also to the Reverend Isaac C.
Edrehi of Philadelphia, who gladly helped me decipher cer-
tain marginalia in the Hebrew manuscripts. My apprecia-
tion is extended to Dr. Henry A. Carey, formerly with the
Egyptian Department of the Metropolitan Museum of Art
of New York, for help in connection with the Egyptian
papyrus.
My friend and ustad (teacher) Mr. Riza Jorabji of
Tehran, Iran, deserves special thanks for his patience and
generous help by letter. My friend Mr. Kenan Inal of
Istanbul, Turkey, and my brother Ali Ahmed Simsar of
Tabriz, Iran, have kindly supplied me with many books of
reference and articles in Turkish and Persian, without which
this work would be incomplete. I express my profound grati-
tude to Mr. Franklin H. Price, the Librarian of The Free
Library of Philadelphia, for unfailing assistance in handling
the manuscripts during the past eighteen months, and for
putting at my disposal all the facilities of the Library.
Last, but not least, to my valued friend and teacher Dr.
Roland G. Kent, Professor of Comparative Philology, Uni-
versity of Pennsylvania, I owe a personal debt of gratitude
for his stimulating interest in the work as a whole and for
his many valuable suggestions.
December 3, 1936
PHILADELPHIA, PA.
MUHAMMED A. SIMSAR.
Gallery
[xix]
ARABIC MANUSCRIPTS
I. AL-QUR'ĀN
القرآن
Al-Qur'ān
The sacred book of the Muslims which contains the reli-
gious teachings of their prophet Muhammad, and is con-
sidered by them to be a direct revelation from Allah through
the angel Gabriel. It consists of one hundred and fourteen
sūrahs, or chapters, of different lengths. The entire revela-
tion was delivered over a period of twenty years down to the
Prophet's death in 632 A. D. Some surahs were delivered at
Mecca between 610 and 622 A. D., and others at Medina,
after the Hijrat, or the Emigration of the Prophet to that
city, which took place in April of 622 A. D., and which
marks the beginning of the Muslim era.
Al-Qur'ān was for the first time put down in the form
of writing, a year after Muḥammad's death, by his devout
follower and friend Zayd ibn Thabit, at the command of the
first Khalifah, or Caliph, Abu Bakr. It is held in great
esteem and veneration by the followers of the religion of
Islam, and endless pains and care are taken in the prepara-
tion of the copies of the text. According to a tradition,
seven years in Paradise are assured to any Muslim who
makes a copy of the Qur'ān. Among the faithful will be
found even kings and princes who devoted months and years
of their lives to accomplish this difficult task. Others, how-
ever, to show their religious zeal and devotion, had copies of
it transcribed by well-known calligraphers and had them
exquisitely illuminated by competent artists, as in the case
of some of the manuscripts described below.
[1]
Translations of the Qur'an exist in English by George Sale, London
1734, 1764, 1821, 1824 1857, 1923; Rodwell, 1861, 1876; E. H.
Palmer, 2 vols., Oxford 1880; E. W. Lane, Selections from the
Qur'an, London 1879. French translations of it have been made by
Du Ryer, Paris 1649, 1672; Savary, Paris 1783, 1798, 1822; Kasi-
mirski, Paris 1840, 1851. There are German translations by Wahl,
Halle 1828; Ullmann, Crefeld 1840, 1877. There are also transla-
tions of it in Russian, Greek, Italian, Swedish, Dutch, and many
other languages.
1
(A complete copy of the Qur'ān.)
(Folios 435; 21 inches by 14 inches, 11 lines to a page)
each 9 inches long; written in very elegant large Naskh style)
of writing which does full credit to its copyist. The beauti-
ful writing is set off by the rich gilding between the lines.
The titles of the surahs, or chapters, are written in blue
and red ink upon a gold background.) A large gold period,
drawn in the shape of a flower, is inserted at the end of each
verse. There are numerous rubrics both in the body of the
text and on the margins. The two opening pages are sump-
tuously illuminated and are framed by broad borders with
floral traceries in gold and in different colors. The two
illuminated pages are dated and signed by Ma'ṣūm 'Alī
Khānzād. The right-hand page bears the inscription:
"Completed during the month of Dhu al Qa'dah, 1177 A. H.
(May, 1764 a. D.)," and the left-hand page; Completed
during the month of Jumādā I, 1178 A. H. (Nov. 1764
A. D.)." The difference in the dating, a period of six months,
represents the time spent in illuminating only one of the
opening pages. The dedications, in Persian, on both pages
have been rubbed off and are illegible. The volume has
been bound in a Persian flap-binding of black leather with
blind-pressed designs in gilt.) It has gilded floral patterns
66
G
[2]

PLATE I
رب العالمين
الرحمن الرحيم ملك كوم الذين
ابالا واناك سكين
الزير
NOT MOON XX
شهر باستان
الأوالت الرج.
البته
لذلك الحب
هدى للمتقين الذين يؤمنون
والف
رزق ينفقون والذين يؤمنون
بما انزل اليك وما انزل من قبلك
ه بوقلون وليك
THE ILLUMINATED OPENING PAGES OF A QUR'AN, PERSIAN, DATED
MAY, 1764, AND NOVEMBER, 1764, A.D., RESPECTIVELY
(MS. No. 1)
UNIV
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framed by borders of flowered panels and enclosed by
several narrow gold bands. The outer border contains a
series of gilded panels above and below, the inner field of
which is a rectangular block of cut-out leatherwork in gilt.
The inner covers are of reddish leather without any orna-
mentation. The flap-cover is identical with the outer covers
in all details.
،، ،
On the left-hand side of the last page there is an impres-
sion of a large rectangular seal, containing the name of
'Azīm-āllāh Khan Nazm al-Dawlah (a conferred title
meaning the order of the government), Mu'tamad al-Mulk
(another conferred title meaning the trusted one of the
land), Amir Bahādur Jank (a title usually conferred upon
generals and ministers of war which means the brave com-
mander of war)." Below the seal impression a memorandum
in Persian reads: "Listed on the 20th of Rajab 1260 a. H.
(August 6, 1844 A. D.)," which perhaps indicates that the
codex was officially listed among other valuable possessions
of ‘Azīm-āllāh Khān, or that he had listed it among other
books of the Royal Library.
2
A copy of the Qur'an written on loose leaves.
Folios 392; 62 inches by 4 inches; 15 lines to a page,
each 3 inches long, written on loose leaves of native paper
in late Kufi (cufic) in black ink with the vowels marked in
red ink. The titles of the surahs are written in red ink.
The beginnings of the surahs are crudely illuminated in
black, yellow, and red and the margins are decorated in the
same style. The leaves are loosely wrapped in a native
morocco wrapper of camel skin which fits into a morocco
carrying-case with a flap-cover and loop handles of braided
leather decorated in orange and green. Neither the name of
[3]
the scribe nor the date is given. The manuscript was tran-
scribed probably in North Africa during the first half of the
fourteenth century.
3
A complete copy of the Qur'ān.
Folios 234; 12 inches by 8 inches; 11 lines to a page,
three lines in larger and eight lines in smaller characters,
the larger characters 4 inches long, and the smaller 3 inches
long; written in beautiful Naskh on thick native glazed
paper within gold, blue, and orange borders. The first two
pages are exquisitely illuminated in gold and colors with
highly decorative borders. The borders have delicate foli-
ated designs painted in gold. The headings of the surahs
are also illuminated and on the margins of almost every
page there are circular rosettes in gold and blue. The titles
of the surahs are written in white ink on a gold ground.
Twenty folios have been repaired and the last twenty-four
leaves, which are in a different handwriting, have been
added later. The binding is of original leather, the outside
covers of which are in maroon color and show a design of
a medallion and pendants, blind-pressed, and slightly gilded.
The inside covers have a similar design upon a black field.
Neither the name of the scribe nor the date is given. The
codex was copied probably in Iran during the early part of
the sixteenth century.
4
A complete copy of the Qur'ān.
Folios 295; 13 inches by 9 inches; 14 lines to a page, each
5½ inches long; written in bold Naskh on thick native glazed
paper, within red and blue-rulings. The first two pages
[4]

PLATE II
UNIL
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ст
الذي عندك الشكر
عن عباده ويتور و له بجنون
ورة الأنفال
فون
مالتو الخير التحبير
وات الاماقالاقال
ت والتسول فاتقوا الله وأصلحواذات بينك واطبع الله
تتسوله انك من ام المؤمنوالانا
ذكراته وحلت علوم واذ البيت عليهم باشه
زادتهم إيماناتعليم توكلون الذي يقيمون
..
الصلوة وارقام يفتون
PAGE FROM A QUR'AN, PERSIAN, XVI CENTURY
(MS. No. 3)
contain decorated 'unwāns, or title-pieces. The titles of the
surahs are written in red ink. There are some corrections
and additions throughout the text, in outer margins ruled
out in blue borders. The binding is of leather with flap,
and the outer covers show a medallion, pendants, and corner
angles designed in floral pattern. The inner covers are lined
with thick paper. Neither the name of the scribe nor the
date is given. It was copied probably in India during the
early part of the eighteenth century.
5
A complete copy of the Qur'an.
Folios 467; 10 inches by 61 inches; 11 lines to a page,
each 4 inches long; written in exquisite Naskh on thick native
paper, between gold interlineations within gold-rulings. The
titles of the surahs are written in white ink on gold ground,
and the borders are ornamented in gold. The first two pages
are illuminated in gold and colors. The codex has been re-
bound in a modern English binding on which the heavy Per-
sian lacquer covers have been preserved. The outside covers
are in medallion design with pendants above and below upon
a rectangular field gracefully decorated with tendril traceries.
The inside covers are ornamented with a bouquet design
upon a black background offset by decorative angles at the
corners. Neither the date nor the name of the scribe is
given.
S
The back flyleaf contains three seal impressions of former
owners stamped on the upper right margin of the page. Two
of these are impressions of the same small oval seal, and a
third is of a smaller square seal. They read:
1. Mustafa b. 'Ali Mü'min Juwayni, 1281 A. H. (1864
A. D).
[5]
2. Az karam-i-Khātūn bint Habib ast, 1270 A. H.
(1853 A. D.),
which means: Through the benevolence of Khātūn, the
daughter of Ḥabīb.
The back cover contains a bookplate of Clarence S.
Bemens. The copy was transcribed probably in India dur-
in the early or latter part of the eighteenth century.
6
A complete copy of the Qur'an.
Folios 227; 2 inches by 2 inches; 16 lines to a page,
written in extremely microscopic characters, within circles
drawn in red ink of the size of a silver dollar. The titles of
the sūrahs are written in red ink. The first eight folios,
which were added later, are in a different hand. Some of
the pages have been slightly repaired. The binding is of
plain dark-red, blind-pressed, and slightly gilded leather,
and is fitted into a silver case. Neither the date nor the
name of the scribe is given. The manuscript was written
probably during the eighteenth century.
This is the smallest copy in the collection. Qur'āns of
this size are worn on the arm as a talisman by pious Muslims.
7
A complete copy of the Qur'an.
Folios 257; 12 inches by 8 inches; 15 lines to a page, each
5 inches long; written in exquisite Naskh on native glazed
paper, within gold, blue, and green borders. The titles of
the surahs are inscribed in gold. The first two pages are
[6]
""
illuminated in blue, gold, and red, with gold and blue writ-
ings. The codex has been rebound in old green English
morocco binding with gilt edges. Neither the name of the
scribe nor the date is given. The front flyleaf bears the
autograph of a former German owner, "Johann Christian
whose last name is not legible. His handwriting is
very poor and cannot be read. On the back cover the auto-
graph of Mrs. Riddell appears. Mrs. Riddell, according to
a letter pasted on the back flyleaf, was a friend and com-
panion of Robert Burns (1759-1796). This letter was
written from St. Margaret's Convent and bears the signa-
ture of F. M. Sales.
The copy, judging from the style of its illuminations, the
quality of its paper, and its writing, was transcribed prob-
ably in Turkey during the seventeenth century.
8
A beautiful and complete copy of the Qur'ān.
Folios 62; 10 inches by 6 inches; 39 lines to a page, each
line 4 inches long; written in excellent small Naskh enclosed
by gold, orange, and blue-rulings; soiled and much injured
by insects. Each folio has been carefully trimmed and
mounted on thick glazed paper. The titles of the surahs,
are written in red ink upon a gold background. The first
two pages are illuminated in gilt and in colors. The volume
contains marks for pauses, and the sections in it have been
designated by decorative headings.
headings. The binding is of
original stamped black leather, with inlaid blue leather
medallion, pendants, and matching side panels. Neither the
name of the scribe nor the date is given. The copy was made
probably in Iran during the latter half of the seventeenth
century.
[7]
9
An elegant and complete copy of the Qur'ān.
Folios 310; 6 inches by 34 inches; 15 lines to a page,
each 24 inches long; written in exquisite Naskh enclosed by
gold, orange, and blue borders. The first two pages are
illuminated in gilt with rich borders of gold, filled in with
floral designs. The text is profusely heightened with gold
and is painted with diacritical marks in red ink, and there
are numerous ornamentations in gold and colors on the mar-
gins. The margins are wide, and a few of them have been
repaired. The titles of the sūrahs are written in white ink
ornamented with floral patterns on gold. The volume is
bound in a contemporary Turkish flap-binding of calf, the
sides of which are boldly stamped in relief with an intricate
geometrical pattern, the groundwork being filled with gold.
The manuscript is further protected by a straight grain
morocco slipcase. The name of the scribe, Aḥmad al-Wahbi
b. ‘Alī, an apprentice of Sayyid al-Hajj Muḥammad Rāḥim,
and the date 1189 A. H. (1775 a. D.) are given in the colophon.
Sayyid Muhammad Rahim was a native of Karahisar. He
served in the army as a secretary, and was also a skillful
archer. He made a pilgrimage to Mecca; he died in 1197
A. H. (1782 a. D.).¹
1
10
A copy of the Qur'an.
Folios 294; 62 inches by 4 inches; 15 lines to a page, each
24 inches long; written in beautiful Naskh enclosed by gold-
ruled, blue, and red borders. The first and last pages are
illuminated, and the second page, which is usually illumi-
¹ See page 498 of Tuḥfah'i Khaṭṭāṭin, or the "Gift of Calligraphers," by
Mustaqīm-Zādeh Sulayman Efendi, edited by Ibnul'emin Mahmut Kemal,
Istanbul, 1928.
[8]
nated, is missing. The titles of the surahs are written in
white ink on a decorative background of gold and colors.
The first fifty-two and the last eighty-two folios have some
large wormholes on the margins. Illuminations in the form
of rosette medallions appear in places marking the aḥzābs,
or the divisions of the text. The volume is bound in brown
morocco flap-binding with blind-pressed designs in gilt.
These gilded patterns on the exteriors of the covers consist
of a large oblong medallion with double pendants above and
below. The corner angles harmonize in style, and there is a
leaf-pattern border of gilt to frame the field.
The scribe, Dervish Muḥammad ibn al-Ḥājj Aḥmad,
states in the colophon that he was formerly an apprentice of
Chānāqji-Zadeh and later of Hajj Yusuf, who had received
his training under the famous calligrapher Yedi Qulehli,
and that he wrote the present volume for the mosque of
Shaykh 'Omar in Qaysariyyeh (Caesarea). The date of
transcription is 1172 A. H. (1758 a. D.).
Muḥammad ibn al-Hajj Aḥmad was a native of Caesarea.
In his native town he studied calligraphy under Chānāqjī-
Zādeh, but later went to Istanbul and became an apprentice
of Hajj Yusuf who had received his training under the
famous calligrapher Yedi-Qulehli. After completing his
studies he returned to his native town and was attached to
the mosque of Shaykh 'Omar where he was engaged in copy-
ing Qur'āns. He is credited with having transcribed as
many as five hundred Qur'āns during his lifetime. Most of
these copies were placed with the booksellers of Istanbul,
and the scribe himself visited the capital city once in two
years in order to obtain the necessary supplies and stationery.
He belonged to the Naqshbendi order of dervishes, and was
a Ḥāfiz-i-Qur'ān (one who commits the Qur'an to memory).
He died in 1181 A. H. (1767 a. D.).¹
1
¹ See Tuh. Khat. 388.
[9]
11
A complete copy of the Qur'ān.
Folios 600; 16 inches by 9½ inches; 11 lines to a page,
each 5 inches long; written in large Naskh, on thin native
glazed paper, within gold-rulings, with an extra margin
ruled in gold. The titles of the surahs are written in red
ink. There are copious notes and comments written in Per-
sian in Nasta'liq on the margins. The opening pages are
elaborately illuminated in gold and colors, and are framed
by broad bands in different colors with floral traceries in
gold. The binding is of original Oriental tooled leather with
flap, having cusped floral medallions on the outer covers, and
plain red muslin in the inner covers. Neither the name of
the scribe nor the date is given, but the codex was copied
probably in Iran during the nineteenth century.
12
A complete copy of the Qur'an.
Folios 429; 9 inches by 6 inches; 11 lines to a page, each
4 inches long; written in Naskh on native glazed paper with-
in red and blue borders. The titles of the surahs are written
in red ink, and gold circles are inserted at the end of each
verse. The first and the last two pages are richly illumi-
nated in gold and colors. The volume has been rebound in
modern cloth binding with flap. Neither the name of the
scribe nor the date is given. The bookplate of Oliver Henry
Perkins has been pasted on the inside of the front cover.
The front flyleaf contains the following memorandum in
English: "Presented by Sami' al-Husayn Khan, to Oliver
H. Perkins Esq. Agra, India, 30th December 1905.” On
the back flyleaf the autograph of a former owner in Persian
[10]
reads: "The handwriting of the poor, humble, sinful, the
servant of the poor, the dust of the feet, Hafiz Karam al-Dīn
walad-i- (son of) Ḥāfiz Sharaf al-Dīn resident of Tepeh
Awmīrā. Written on the 10th of the month of Dhu al-Hijjah
1246 A. H. (May 22, 1831)." The copy was made probably
in India during the later part of the eighteenth century.
13
An excellent copy of the Qur'ān.
Folios 304; 6 inches by 44 inches; 15 lines to a page, each
21 inches long; written in exquisite Naskh enclosed by gold,
red, and blue-rulings. The first and the last two pages are
richly illuminated in gold and colors, with wide borders in
floral designs. The margins are wide and highly decorated.
The titles of the surahs are written in white ink upon a gold
background. The volume has been bound in a contemporary
Turkish binding of dark-brown leather heavily stamped in
gilt with a rectangular checker board design, having a flap of
dark maroon also stamped with gold. The colophon gives the
name of the scribe Al-Sayyid 'Ali al-Waṣfi, formerly an
apprentice of Al-Sayyid Muṣṭafa al-Maḥsūd, and later of
Muḥammad al-Laṭīf, and the date 1259 A. H. (1843 a. d.).
On the front and back flyleaf and on some of the folios the
seal of a former owner is stamped, but the impression is
very light and not legible.
14
A beautiful copy of the Qur'ān in which the first seven-
teen verses of the second sūrah are missing.
Folios 316; 16 inches by 10 inches; 12 lines to a page,
each 51 inches long; written on thick native glazed paper, in
[11]
beautiful Naskh within gold, blue, red, and orange borders.
The first three folios and the last folio are full-page illu-
minations in which gold and blue predominate. The titles
of the surahs are written in white ink upon gold and they
are rich in design and coloring. There are frequent rubric
headings and border decorations in delicate foliated design
painted in colors throughout the text. The copy has been
rebound in native stamped leather, which is probably the
work of the eighteenth century. The outside covers are of
black leather deeply pressed with a medallion figure, pen-
dants, corner angles, and paneled borders, gilded with a
tendril pattern in relief. The inside covers show a light-
brown leather, blind-pressed, with gold medallion, pendants,
and corner angles gilded in tendril pattern. The colophon
does not give the name of the scribe or the date. In a large
circular illuminated medallion, inserted at the end, a dedica-
tion written in large Naskh shows that the manuscript was
at one time donated to a public institution by Ḥājji ‘Alī
Toqātī in the city of Shiraz. According to another dedi-
cation, written in large Thuluth on the upper margin of folio
11, the present Qur'an was once bequeathed to a mosque by
Qarah Muṣṭafā Pāshā.
Two Ottoman dignitaries are known by the name of Qarah
Mustafa Pasha. Their lives, as well as their names, run
parallel in many respects. They both attained the high office
of grand vizier, amassed great fortunes, and were both
executed by the order of their sultans while occupying that
dignified position.
The first of these was an Albanian by birth who had en-
listed as a private in the Ottoman army of the Janisaries.
He was soon elevated to the high rank of the Sakbānbāshī
(a commander of a regiment of the Janisaries). In 1637
A. D., during a war against Iran, he besieged and captured
Erivan and was, therefore, given the title of the Āghā (a
high command among the Janisaries) as a reward for his
[12]

XXX20003
SXTXY
盤
​ACTERICA
ان لقائكم
الان
3
وا الله
لنانو
دالا المطور
ILLUMINATED OPENING PAGE OF A QUR'AN, PERSIAN, XVII CENTURY
(MS. No. 14)
PLATE III
UNIL
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courage and services. A year later, on December 24, 1638,
the grand vizier, Muḥammad Pasha, was killed while en-
gaged in a battle at Baghdad, and Sultan Murad IV (ruled
1623-1640 a. D.) appointed Mustafa to succeed the deceased
vizier. In 1640, at the accession of Sultan Ibrāhīm, he was
retained at his high post, and it was during the early years
of Ibrahim's reign that he put through certain reforms
which made him a famous statesman and reformer, as well
as a brave warrior. His reforms fall under three main
divisions: his monetary reforms, which were aimed at and
brought about the stabilization of the currency, his price-
fixing policies, which resulted in standardizing commodity
as well as foodstuff prices; and his administrative reforms,
which divided the country into principal provinces and well-
defined districts.
His influence and power over the rich class, and his firm
grip on the Janisaries, aroused the sultan's suspicion and he
was put to death by a royal decree on January 11, 1644. He
is said to have indirectly benefited by his monetary reforms.
At his death he was extremely rich and left about one hun-
dred and fifty thousand gold coins in cash. He is credited,
however, with contributing enormous sums to charity, erect-
ing several mosques and public baths, and making other
religious endowments.¹
The other Mustafa Pāshā was the son of Awrūj, who was
a Sipahi (a possessor of land and a commander of a local
army) at Merzifun, and died at the siege of Baghdad during
the reign of Murad IV. The young lad was taken over by
the grand vizier, Kūprūlī Muḥammad Pāshā, and received
his military training under this distinguished statesman.
Kūprūlī's son, Aḥmad Pāshā, married Muṣṭafa's sister. In
this way Mustafa became connected with that well-known
family. We first hear of him in 1656, when he was appointed
1 See von Hammer, Geschichte des Osmanischen Reiches, 5. 251 ff.
[13]
a Qā'immaqām (a substitute to the grand vizier) to Kūprūlī
Aḥmad, who had succeeded his father in office. Mustafa
soon gained the favor of Sultan Muḥammad IV (ruled 1648-
1687) and accompanied him on his hunting trips. He was
appointed the second vizier, the highest rank next to the
grand vizier. In 1674 he distinguished himself in wars
against Poland and Hungary, and gained fame as the con-
queror of Homonna. As his reward, he was given Princess
Khadijah, the second daughter of the sultan, in marriage
and acquired the title of the Dāmād, or the son-in-law of
the sultan.
During Mustafa's administration the Ottoman Empire
reached the highest point in prosperity. Qarah Muṣṭafặ soon
became an expert in enriching the treasury by extracting
enormous sums under the guise of taxes, not only from local
governors and appointed rulers such as the Governor of
Bosnia, Transylvania, and Crimea, but from the representa-
tives of the foreign and neighboring countries such as Hun-
gary, Venice, and Poland. He even demanded and collected
ten thousand écus (gold coins) from Lord Finch, the Eng-
lish Ambassador. These extortions were no longer regarded
as unjust and harsh, but became quite natural under
Mustafa's rule. He is said to have taxed a rich man Ishaq
one million piasters. On such large collections the personal
shares of the sultan, as well as of the grand vizier, were
carefully set aside.
The riches of the harem of the sultan, as described by
contemporary historians, had reached almost incredible
limits. The jewelry and gold ornaments of the women
amounted to millions. Khasaki Sulṭān, the sultan's favorite
wife, rode in a carriage with a frame entirely of silver. The
grand vizier's own household made equal pomp and show.
Finally, the protests against assessments, which had reached
beyond the capacity of some of the victims, brought about
the war against Hungary and Poland. The sultan in person
[14]
led an army against these enemies. The grand vizier laid
siege to Vienna. This siege lasted three months, it was un-
successful, and caused his downfall. He was executed by
the sultan's order on December 25, 1683, after serving as
grand vizier for seven years. He left an enormous fortune.
At his death his harem consisted of five hundred concubines
and nearly as many slave girls. He built many mosques and
public baths in Istanbul and Kaysariya.2
The present manuscript was undoubtedly first brought to
Turkey from Shiraz, and later, becoming the property of
one of the two Qarah Muṣṭafas, was bequeathed to a
mosque. It must have been transcribed at the latest, there-
fore, either during the first or second half of the seventeenth
century.
15
A complete copy of the Qur'an.
Folios 335; 74 inches; 15 lines to a page, each 21 inches
long; written in good Naskh within gold-rulings. The titles
of the surahs are written in large characters. The first two
pages are richly illuminated in gold and colors. The head-
ings of the surahs and periods at the end of verses are in
gold. The codex is rebound in plain green cloth flap-binding
partly torn on the back. The name of the scribe is Dervish
Mustafa al-Mevlevī, but no date appears on the colophon.
The following lines are written in Turkish by the scribe on
the last page:
Completed the seventeenth copy of the
Qur'an by the help of the Lord Almighty. Copied by Dervish
Mustafa al-Mevlevi, one of Shevqi Efendi's apprentices-
may God forgive his sins and cover his misdeeds for the
sake of the Master of the Prophets."
((
The scribe, Dervish Muṣṭafa, was a native of Edirneh
* See supra 6. 323 ff.
[15]
(Adrianople) and was the son of Muhammad Katkhudā,
who was for a long time employed in the government service.
His uncle, 'Abdi Dedeh, was the Shaykh of the Mevlevis
(followers of a religious order) of Egypt. He is said to
have joined the religious order at his uncle's prompting.
He died in 1171 a. h. (1757 a. D.).
1
16
A complete copy of the Qur'an with Persian translation.
Folios 217; 15 inches by 9 inches; 14 lines to a page,
each 6 inches long; written in excellent Naskh on thick native
glazed paper within gold-rulings. The interlinear Persian
translation is written in red ink in legible Nasta'liq of medium
size. The titles of the surahs are written in red ink. There
are notes and comments in Arabic and Persian on the mar-
gins. The first two pages are illuminated in gold and blue.
Many leaves have been repaired and some are soiled by
moisture and injured by worms. The binding is of original
Persian dark-brown leather with flap, and is blind-pressed
with a medallion design. Neither the name of the scribe nor
the date is given. The codex was transcribed probably dur-
ing the latter part of the sixteenth century. The front fly-
leaf contains the name of a Delhi priest, "Pandit Gobind
Purshad," in Arabic, Sanskrit, and English.
<<
17
(A complete copy of the Qur'an with a complete Persian
translation.)
(Folios 417; 11 inches by 6 inches ;) 14 lines to a page of
Arabic text, each 34 inches long (written in beautiful Naskh
¹ See Tuḥ. Khaț. 540.
[16]

FE
THE OUTSIDE BACK COVER OF A LACQUERED INDIAN BINDING OF A
QUR'AN, DATED 1852 A.D.
(MS. No. 17)
PLATE IV
UNIV
MICH
OF
Ꭸ
* .
on glazed paper enclosed by a border composed of red, blue,
and gold-rulings. A complete Persian interlinear translation
is written in red ink in fair Nastaʻliq.) Comments and refer-
ences are written in the margins, and the lines of comment
have been separated by irregular gold-rulings. The first
two, the midde two, and the last two pages have been pro-
fusely illuminated in gilt and colors. The titles of the
sūrahs are written in white ink upon a gold background.
Rubrics on the margins indicate the aḥzāb, or the divisions
of the text. The volume has been bound in native lacquered
binding, which is elaborately decorated, both inside and out,
with gold and colored floral patterns upon a groundwork of
red, blue, green, and black, with gilt edges. The design and
style of decoration of the binding is Persian. The name of
the scribe Mulla Muṣṭafa and the date 1269 A. H. (1852
A. D.) appears in the colophon. The copy was made appar-
ently in India.
18
A complete copy of the Qur'an with interlinear translation
in Persian.
Folios 397; 11 inches by 7 inches; 11 lines of Arabic
text to a page, each 41 inches long; written in beautiful
Naskh on native glazed paper. The Persian interlinear
translation is written in legible Nasta līq-i-shikastah-āmīz
style in red ink. The whole written surface of the page is
framed within gold and black borders with an extra mar-
ginal ruling in gold. The outer margins on some of the
folios contain circular ornaments of gold and blue with floral
designs. These circles serve as marks for certain divisions
of the text. Some folios bear patches and traces of repair,
and others have sheets of paper pasted on the margins to
strengthen them. The first two pages are elaborately illu-
[17]
minated in Indian style in gold and colors. There are copi-
ous notes and comments in Persian and Arabic, largely
quotations from Mulla Fatḥ-allāh and Mullā Bahā al-Dīn,
on the margins. The codex has been rebound in an English
binding on which the original covers have been preserved.
The outer covers are of dark leather with flap and are blind-
pressed. They show a rectangular field decorated with geo-
metrical designs, and they are slightly dusted with gold.
The inside covers are of plain maroon leather.
No date is given in the colophon, but the scribe signs his
name in red ink as Mir Mahmud, walad-i- (son of) Mir
Muḥammad 'Ali b. Mir Qasim, b. Mir Husayn, b. Mir
Aḥmad, b. Mir Sa'id, b. Mir Ḥājjī, b. Mir Sayyid Ḥusayn
Qumi (a native of the city of Kum, Iran), Riḍawī (a
descendant of Imām Riḍā), and Taqawi (a descendant of
Imām Muḥammad Taqi), who now rests in peace in the city
of Kashmir." In spite of the long genealogy given by the
scribe his identity cannot be established. However, accord-
ing to the list of his forefathers he was of Iranian descent
and lived in Kashmir, where the present transcription was
probably made during the second half of the seventeenth or
the early part of the eighteenth century.
watch
19
An incomplete copy of the Qur'an which begins with the
fortieth verse of the eighth surah and runs into the ninth
sūrah but leaves it incomplete. Then it follows with the
twenty-third surah, which is also left incomplete, and con-
tinues with the twenty-fourth surah complete, and the first
twelve verses of the twenty-fifth sūrah.
Folios 173; 8 inches by 6½ inches; 4 lines to a page, each
3 inches long; written in large Thuluth on thick native
paper. The first two pages and folios 94 and 95 are illu-
[18]

PLATE V
UNIV
OF
MICH
نام
خدای بخشنده
زمان
الحمد لله رب العالمين.
نا مرندامت پرور و کار جهانیان
الرحمن الرحيم ملكو
وتاه رو
الذين انا عند واناك
ا می ست
ستعين اهدنا الخط
باری خو اہم شای مارا
صلط الزيزان
راست
ل الله
عليم عبر المغضو
د.
بر ایشان را وحشت کودکان را اشان و راه کرامات
THE ILLUMINATED OPENING PAGE OF A QUR'AN WITH INTERLINEAR
PERSIAN TRANSLATION, DATED 1852 A.D.
(MS. No. 17)
minated. Many leaves are soiled by moisture and several
have been repaired. There are marginal decorations in gilt
and colors. The volume has been rebound in an old plain
leather binding which is in poor condition. Neither the
name of the scribe nor the date is given. A memorandum
in English pasted on the back of the leather cover reads:
"A volume of the Koran, from surah 8 verse 42 to surah
25 verse 14, written in the characters called Kay Khani
(Rayḥani). Purchased by me in Tehran A. D. 1878.” The
signature below this writing is that of J. Basset.¹ The
manuscript was copied probably during the sixteenth century.
20
A collection of a few surahs of the Qur'ān, beginning with
the thirty-first verse of the fifty-first surah and comprising
the following six surahs.
Folios 11; 8 inches by 5 linches; 14 lines to a page, each
32 inches long; written in excellent Naskh on native glazed
paper enclosed by borders of red-rulings. The binding is of
black leather in medallion design with double pendants above
and below. The inside of the covers has been lined with
plain paper. The name of the scribe and the date of tran-
scription are not given. The front cover contains a book-
plate of Oliver Henry Perkins. On the front flyleaf the
death of Karbalā’ī Muḥammad Husayn Qāsim-Ābādī on the
4th day of Jumā II 1299 A. H. has been recorded in Persian
by a former owner. The manuscript was transcribed prob-
ably in Iran during the eighteenth century.
¹ See manuscript No. 37 of this Collection.
[19]
21
:
An incomplete copy of the Qur'an beginning with the two
hundred and first verse of the second surah and ending with
the twenty-fourth verse of the sixth surah.
Folios 56; 5 inches by 84 inches; 12 lines to a page, each
6 inches long; written on parchment in Kufi (cufic) with
diacritics in red ink. Some folios are loose and damaged by
fire. The titles of the surahs are written in large characters
and are crudely illuminated in green and yellow. The bind-
ing and the colophon are missing, and neither the name of
the scribe nor the date is given. Judging from the style of
its writing, and of its ornamentations which are done in the
rude and coarse manner of the period, the copy was made
probably in Syria during the tenth or the eleventh century.
II. COMMENTARIES UPON THE QUR'AN
22
أنوار التنزيل وأسرار التأويل
Anwar al-Tanzil wa Asrār al-Ta'wil
"The Lights of Revelation and the Mysteries of Inter-
pretation," a complete copy of the celebrated commentary
on the Qur'an by Bayḍāwī.
Qāḍī Nāṣir al-Dīn Abū Sa'id 'Abd-āllāh b. ‘Omar al-
Bayḍāwi was a native of Fars, Iran, but the exact date of
his birth is unknown. His father was a Qāḍī al-Quḍāt, or a
Chief Justice, under the Atabek Abu Bakr b. Sa'd b. Zangī,
[20]

PLATE VI
ربهوا والله ما
الله الدهر
انان
۱۹۸۰
LL
حمد صورة الماده مایه و روزانه
tx
తెలివైన
سوا او
املا سالم يزالو ل گجر
ولا الدول من الشما فوز نظام برنز نے
نامه در اولار منك
ترام رنگند و وين أنواع البر والعز
بر والعز ولا تفرز
ن خون عند عوا
ذو
عشرة
شوشرة
شر
ول الشهر من دون الله
برضو غر سنس
ابع
ذة
لله ونشر
گرا شبع
با درد و دا لكم سوا ہو
ر و شورا لمونا كملت لك د ستور
الو مولد المترده
ود
لا ة كيفري نات و ا تحب وار
لو مود نے ترکار د
کو نا محشو
علكم س ہے تو
PAGE FROM A PARCHMENT QUR'AN, SYRIAN, X OR XI CENTURY
(MS. No. 21, fol. 40a)
UNIV
MICH
OF
the patron of Sa'di, the well-known poet of Iran. He held
the same office himself after his father's death. He derived
his surname from Al-Bayḍā, or the White, the Arabic name
of a place in Fars, so named after a conspicuous turbat-i-
safid, or white tomb.' His main work, the famous com-
mentary on the Qur'ān, which is described below, was writ-
ten in Arabic. It is based on Zamakhshari's Kashshāf, to
which he has added much material from other sources. He
has also written a history in Persian entitled, Niṣām al-
Tawarikh, which has not been published. Among his other
works mentioned by Ḥamd-allāh Mustawfi, a contemporary
writer, are the Minhaj al-Wușul, Ghāyat al-Qaṣwa, Ṭawāli
al-Anwār, and Miṣbāḥ al-Arwāḥ.2 There is some contro-
versy about the exact date of Bayḍāwī's death. According
to the Turkish bibliographer Hājji Khalifah, he migrated
from Shiraz to Tabriz, and died there in 685 a. H. (1286
A. D.).³ The Kitāb al-Aqālīm, which also contains an account
of his life, puts his death at 716 a. h. (1316 a. D.).
3
4
The Anwār al-Tanzil was edited in two volumes by H.
O. Fleischer in Leipzig 1846-1848. It was printed also in
three volumes in Istanbul, Turkey in 1285 a. H. Chresto-
mathia Baidawiana, a translation and explanation of the
commentary of Bayḍāwī on the third surah, was published
in English by D. S. Margoliouth, London 1894. There are
numerous critical works on Bayḍāwī's commentary in Arabic
and Persian.
GORE
Folios 370; 10 inches by 7 inches; 33 lines to a page,
each 4 inches long; written in legible Naskh on native
glazed thick paper. A few pages toward the end have been
rewritten by a different copyist. Some folios have been
damaged by moisture. There are copious notes and quota-
¹Nuzhat al-Qulub, Persian text, 122-3, edited by G. Le Strange (London 1915).
2 Taʼrīkhi-Guzīda, Persian text, 811, edited by Browne (London 1910).
8 Hāj. Khal. 1. 469-81.
4 See Ethé, Desc. Cat. 1.
[21]
tions on the margins from Mawlānā Khusraw 5 and other
authorities. The verses of the Qur'an are written in red
ink, and the titles of the sūrahs in large Thuluth in red. The
frontispiece and the title-page are illuminated in gold and
colors, and red-rulings frame the text. A partly torn index,
indicating the number of pages, apparently a later addition,
is written in red ink and prefixed to the volume. The original
gilt-stamped leather binding has been wrapped in a silk bag.
The gilded patterns on the exterior of the covers comprise a
large oblong medallion with double pendants above and below,
with corner angles harmonizing in style, and a border of gilt
framing the field. The interior of the covers is of dark-
brown leather with an ornamented blind-pressed central
medallion in gilt on a green ground offset by four pendants.
The top and the lower parts of the medallion are extended
by straight gilt lines to meet the gold-rulings which frame
the field. The last pages have been rewritten, and the name
of the first copyist and the date of transcription do not
appear. The name of the last calligrapher is also not given.
It was written probably during the latter part of the four-
teenth or the early part of the fifteenth century.
23
The first volume of an abridged commentary of the above-
listed work of Al-Bayḍāwī, without a title.
It begins:
↓
الحمد لله وكفى وسلام على عباده الذين اصطفى الخ
The author, whose name is given at the end of the volume
as Al-'Imādī, states in his preface that he first saw a copy of
Al-Bayḍāwī's Anwar al-Tanzil in a friend's possession,
while he was traveling with him on a pilgrimage to Mecca.
The author of the well-known commentary Durar al-Hukkām, who died in
885 A. H. (1480 a.d.).
[22]
Upon examining it carefully, he found it to be too long and
bulky. He therefore started preparing a résumé of it for
his own use. After the completion of the work, however, he
decided to let other pious Muslims profit by its contents, for
he states: "It turned out to be much shorter than the
original, and could easily be carried around by the travelers."
As the name of the author does not appear in full, and as
there are a number of writers by that name, it is difficult to
ascertain to which 'Imād the present work belongs. It is
possibly the work of Shihāb al-Dīn Abū al-'Abbās Aḥmad
b. 'Imād b. Yusuf al-Aqfahs, commonly called Ibn al-‘Imād,
who died in 808 a. H. (1405 a. d.). He has left other works
on theology, one of which is listed by Rieu.¹ Or it may be
assigned to Ismā‘īl b. ‘Omar b. Kathir al-Damashqī (a
native of Damascus), commonly known as 'Imād al-Din,
who died in 774 A. H. (1372 A. D.), and who wrote a com-
mentary on the Qur'an. On the other hand, the name of
the scribe is also Ibn al-'Imād, and this arouses the suspicion
that the abridgment might have been made by him. This
may be one reason why, at the end of the present work, be-
fore signing his name, he simply states that this is the first
volume of “Al-'Imādī," without giving the full name of the
author or quoting the complete title of the book.
2
H
No other copy of this work has been listed in any of the
catalogues of the well-known collections. Hajji Khalifah,
however, mentions an abridgment of the Anwār al-Tanzil,
without quoting the beginning of the work, by a Muḥammad
b. Muḥammad b. 'Abd al-Raḥmān, commonly known as
Imām al-Kāmiliyyat al-Shāfi‘ī al-Qāhirī (a native of Cairo),
who died in 874 A. H. A more detailed account of this
author has been given in Al-Suyuti's "Nazm al-'Iqyān fī
A‘yān al-A‘yān.”
3
994
¹ See Rieu, S. C. A. M. 119.
* See Ahlwardt, Berlin Cat.¹ 1. 379.
3 See Haj. Khal. 1. 481.
See page 163 of the Arabic edition of this work by Hitti, New York, 1927.
[23]
3
3
Folios 173; 10½ inches by 62 inches; 29 lines to a page,
each 44 inches long; written in neat Naskh on native glazed
paper. The titles of the sūrahs are written in black and the
verses in red ink. Copious notes, references, and correc-
tions are made on the margins. Some leaves have been re-
paired, others have wormholes in them. The codex has been
rebound in plain boards bearing decorations in black ink on
the outside covers. The name of the scribe appears on the
colophon as Muḥammad b. Muḥammad b. 'Ali b. Muḥam-
mad b. Al-'Imād. The date of transcription 880 A. H.
(1475 A. D.) appears on the lower left-hand corner of the
last folio, at the end of a memorandum which has been
written by the same scribe. It states that permission for
the writing of the work was granted by the Shaykh al-Imām
Abū al-'Abbās Aḥmad b. Abū ‘Abd-āllāh Muḥammad al-
'Omar al-Wăsiți. The identity of this last-named person has
not been established, but from his title of the Shaykh al-
Imām he occupied undoubtedly a high position among the
religious leaders of his time. This memorandum further
strengthens the assumption that the author of the work and
the scribe were one and the same person.
III. VARIOUS READINGS OF THE QUR'AN
24
المقدمة الجزرية
Al-Muqaddimat al-Jazariyyat
A well-known treatise in verse on the art of the correct,
harmonious, and melodious reading of the Qur'ān, written
by Abu al-Khayr Muḥammad b. Muḥammad al-Jazari.
[24]
The author was born at Damascus in 752 A. H. (1351
A. D). He made a pilgrimage to Mecca and on his way back
went to Cairo where he lived for some time. He returned
to his native town and was made a qāḍī, or judge. Later, he
moved into Asia Minor, and was presented at the court of
Sulṭān Bāyezid I of Turkey, and this sultan received him
with great respect and honor. He was still at Bayezid's
court when the war broke out with Tamerlane. At Bayezid's
defeat he was taken to Samarkand by Tamerlane. After the
latter's death he settled in Shiraz, where he was reappointed
qāḍī. He spent the last years of his life in traveling, made
several pilgrimages to Mecca and Medina, and died in Shiraz
in the year 833 A. H. (1429 A. D.).¹
His Muqaddimat, the best known of his works, which is
described below, has been lithographed in Cairo, and num-
erous commentaries have been written on it. He has also
written a history in verse, surveying the life of the Prophet
and the four Khalifahs down to the times of Bayezid I,
which is entitled Dhat al-Sharif.
Folios 69; 8 inches by 44 inches; 19 lines to a page, each
2 inches long; written in Naskh on glazed paper in red,
green, and black ink, within gold-rulings. The opening page
contains an illuminated ‘unwän in gold and colors. In addi-
tion, there are many rubrications and decorative title-pieces.
Copious notes and comments are written in margins which
are framed by gold borders. The original Oriental flap-bind-
ing is in brown leather, the outside covers of which are blind-
pressed with an elongated floral medallion and pendants, all
framed in gilt borders. The inside covers are lined with
pink paper. The name of the scribe, Hafiz Abū Bakr b.
Sulayman, and the date 1240 A. H. (1824 a. d.), are written
in red ink in the colophon.
¹ See Huart, Hist. of Arabic Lit. 356-7, and Ḥāj. Khal. 6. 78.
C
[25]
IV. PRAYERS
25
كتاب الدعا
Kitab al-Du'à
A collection of prayers in Arabic with titles written in
Turkish, containing some of the surahs of the Qur'ān.
Folios 158; 6 inches by 44 inches; 11 lines to a page, each
24 inches long; written in good Naskh, on native glazed
paper, within red, black, and gold-rulings. The titles of
prayers are written in Turkish in red ink upon a gold ground.
There are several 'unwāns in gold and colors and fifty-nine
illustrations of religious nature also in gilt and colors. The
binding is of dark-brown leather with flap, blind-pressed in
medallion design with pendants above and below. The
name of the scribe Ibrāhīm al-Ḥāmidī Behjet, and the date
1198 a. H. (1783 A. D.) are given in a decorative circle on
the colophon. On the back flyleaf the dates of births of five
sons with their first names are written in poor Riqʻah hand-
writing, but the owner's own name does not appear.
26
دلائل الخيرات
Dala'il al-Khayrāt
A copy of the well-known devotional work, consisting of
a collection of prayers by Abū ‘Abd-āllāh b. Sulaymān al-
Jazūlī, who died in 870 a. H. (1465 a. d.).¹
¹ See Haj. Khal. 3. 235; and Brockelmann 2. 252-3.
[26]
Folios 94; 6 inches by 4 inches; 11 lines to a page, each
2 inches long; written in excellent Naskh on native glazed
medium weight paper, within borders of red, black and
heavy gold. Headings are exquisitely decorated in floral
patterns in gilt and colors. A richly illuminated ‘unwān in
gold and colors adorns the opening page. Two water-color
paintings on folios 14b and 15a, depicting the Holy Cities of
Mecca and Medina, are framed in gilt borders. Notes and
corrections are written on each page in an extra margin
ruled in gold. The last folio contains a decorative tail-piece
in gold and colors. The leather binding is highly decorated.
The outside covers are gilded and elegantly designed with
a medallion, pendants, and matching corner angles. The in-
side covers are of simple dark-red leather. The name of the
scribe Aḥmad Rifqī, and the date 1200 A. H. (1785 a. d.)
appear in the colophon.
The scribe Aḥmad Rifqi was a native of Istanbul and was
the Imām (priest) of the Mosque of Mir Akhūr. He had
his apprenticeship in calligraphy under Sayyid 'Abd-allāh
Ākāh.2
27
A copy of the same work.
Folios 99; 6 inches by 4 inches; 11 lines to a page, each
2 inches long; written in fairly legible Naskh on rough
grain thick paper in black and red ink. There are two illu-
minated title-pieces and two full-page crude designs depict-
ing the Holy Cities, which are framed with borders in gold
and colors. The codex is bound in an original oriental flap-
folding of dark-brown leather. The outside covers are
blind-pressed and the inside covers are lined with paper.
The name of the scribe, Mahmud al-Kurdi b. Rasul, and
'See Tuḥ. Khat. 89.
[27]
£
the date 1196 A. H. (1781 a. D.) appear in the colophon.
The back flyleaf contains the bookplate of Luther Brewer.
28
A copy of the same work.
Folios 104; 6 inches by 4 inches; 11 lines to a page, each
2 inches long; written in excellent Naskh in red and black
ink, on native glazed paper within double borders of gold.
The opening four pages contain two exquisitely illuminated
'unwāns and gold interlineations. In addition there are
several illuminated smaller title-pieces and two illustrations
in water-colors, depicting scenes from the Holy Cities of
Mecca and Medina, which are framed in gold-rulings. The
original leather flap-binding is of maroon color, with blind-
pressed checkerboard design and ornamented gilt borders.
The name of the scribe, Ahmad al-Nazifi, an apprentice
of Husayn al-Wahbī, and the date 1231 A. H. (1815 A. D.)
appear in a decorated circular tale-piece on the last folio.
The front flyleaf contains a circular small seal impression.
of a former owner which reads: "Bendeh (the slave)
Edhem al-Waṣfi Nūrī, 1302 A. H. (1884 A. D.)." The back
flyleaf contains an inscription by Shaykh al-Hajj Muḥam-
mad Nūrī Shams al-Din Naqshbend (belonging to the
Naqshbendi order of dervishes), the caretaker of the tomb
of Yahya Efendi, certifying the acceptance of the scribe to
the order. Below this memorandum there is a circular seal
impression bearing the Qur'ānic verse: "Lā-ilāha-ill-āllāh
Muḥammad Rasul-allāh (There is no God but Allah, and
Muḥammad is His Prophet)." Then five letters of the
alphabet, Mim, Ṣād, Nun, 'Ayn, and Qāf are inserted be-
tween the two parts of the verse. These are evidently the
abbreviated titles of the Shaykh showing his rank in the
order.
[28]
V. CHRISTIAN PRAYERS
29
صلاة باكر النهار
Şalāt Bakir al-Nahār
An Arabic-Coptic prayer book containing the Psalms and
the prayer entitled: "Al-Salām Laka Yā Maryam," or
"Peace be unto Thee, O Mary."
Folios 276, of which twenty are blank; 44 inches by 31
inches; 10 lines to a page, each 2 inches long; written in
fairly legible Naskh and Coptic on thick native glazed paper
in red and black ink. The titles are written both in Arabic
and Coptic in red ink. There are one hundred full pages of
Coptic writing with occasional titles in Coptic throughout
the Arabic text. There are three full-page crudely executed
miniatures, representing God the Father, the Virgin and
Child, and King David. In addition, there are eight full-
page illuminations and eight decorative headings in gold
and colors. The codex has been bound in old brown morocco
with flap, which is blind-pressed in gilt medallion design,
pendants above and below, with corner angles harmonizing
in style and decoration. The volume is further protected by
an old morocco slipcase which is blind-pressed in medallion
design. Neither the name of the scribe nor the date is given,
but the copy was made probably in Egypt during the seven-
teenth century. The back cover contains the bookplates of
Bateman and Robert Hoe.
G
[29]
VI. LAW
30
ملتقى الابحرُ
Multaqa al-Abḥur
A treatise on the Ḥanafi law by Ibrāhīm al-Ḥalabi.
The author, Burhan al-Dīn b. Muḥammad b. Ibrāhīm
al-Ḥalabi (a native of Aleppo), studied in his native town
and in Cairo. He was appointed the preacher of the mosque
of Sultan Muhammad, and taught in the religious school,
Dār al-Qira'a, of Mufti (judge) Sa'di Chelebī in Istanbul.
He died in 956 A. H. (1549 A. D.), when he was ninety
years old.¹
1
Folios 265; 7 inches by 42 inches; 15 lines to a page,
each 2 inches long; written in fairly legible Nasta'liq, on
glazed paper, within heavy gold-rulings. The written por-
tion of the folios measures 4 inches by 2 inches, and many
additions and corrections have been written on the wide mar-
gins. The titles have been inscribed in larger characters in
red ink. An index of the contents accompanies the text.
The binding is of brown leather with flap and is blind-
pressed in gilt. The central figure on the outside covers
consists of a medallion in floral pattern framed by gold bor-
ders. The inside of the covers has been lined with plain
paper. The name of the scribe is not given but the date
1102 A. H. (1690 A. D.) appears in the colophon. The hand-
writing and the signature of a former owner, Shaykh al-
Islām Sayyid 'Abd-āllāh, who is commonly known as Pīrī-
C
A number of commentaries have been written on his above-listed work for
which see Ḥāj. Khal. 6. 102-6, and Brockelmann 2. 432. A French translation of
the work was published by M. H. Sauvaire, Marseille 1882.
[30]
Zādeh, appear on the front flyleaf. On the back flyleaf a
memorandum indicates that the manuscript was purchased
at the auction of the property of grand vizier Husayn Pāshā.
VII. GRAMMAR
31
قطر الندا وبل الصدا
Qaṭr al-Nadā wa Ball al-Ṣadā
The well-known grammar of 'Abd-allāh b. Yusuf Ibn
Hishām.
The author was born in 708 A. H. (1308 A. D.), and was
a student of the celebrated grammarian Abū Ḥayyan. He
studied theology and taught Qur'anic exegesis at Cairo. He
died in 761 A. H. (1359 A. D). His above-mentioned gram-
mar was translated into French under the title of "La Pluie
de Rosée," by A. Goguyer and published in Leyden, 1887.
Ibn Hisham has also written the Mughni al-Labīb, a treatise
on syntax, which has been printed both at Cairo and Tehran.
He is said to have written fifteen works, all dealing with
grammar.
Folios 50; 8 inches by 6 inches; 25 lines to a page, each
3 inches long; written in legible Naskh in black and red
ink, on native glazed paper of medium weight. Two folios
have been mutilated and some have been slightly damaged
by moisture. There are copious notes on the margins which
have been written in poor handwriting. The codex has been
rebound in a flap-binding of paper boards with leather back.
Neither the name of the scribe nor the date is given. On
[31]
the front flyleaf several verses of Arabic poetry are copied,
and the name of a former owner, Yusuf ibn al-Shaykh
Muḥammad al-Jamālī, and the date 1170 A. H. (1756 a. d.)
have been recorded. The manuscript was copied probably
in Syria during the seventeenth century.
VIII. RHETORIC
32
المختصر في علم المعاني
Al-Mukhtaşar fi 'Ilm al-Ma'ānī
A treatise on rhetoric by the famous Mullā Sa‘d al-Dīn
Mas'ud b. ‘Omar, commonly known as Al-Taftāzānī, who
died in 792 a. H. (1389 a. D.). The work is divided into
three parts, and each part is subdivided into smaller sections.
For a complete table of contents see Ethé, Desc. Cat. 32-3.
Folios 156; 8 inches by 5 inches; 21 lines to a page, each
2 inches long; written in neat Naskh, on native glazed paper,
in three different handwritings within gold borders. Some
pages have been repaired and rewritten in Nasta'liq. There
are copious notes and corrections in Persian and in Arabic,
written diagonally across the margins, some in Naskh and
some in Nasta'liq. The opening page contains an exquisite
title-piece in gold and blue. The binding is of red leather,
blind-pressed with the design of a medallion and pendants
on the outside covers and covered with plain paper in the
inside.
Neither the name of the scribe nor the date of transcrip-
tion is given. The front flyleaf contains a memorandum of
a former owner written in beautiful Nastaʻliq in Arabic
[32]
which reads: "I acquired this volume by purchase, through
legal means. I, the criminal servant Muḥammad Taqī ibn
al-Aḥmad al-Kāzrānī." The line underneath this has been
blacked with ink, but the seal impression of Muḥammad
Taqi and the date 1242 A. H. (1826 a. d.), which appear
below it, are clearly legible. Folio la contains some verses
in Arabic and Persian and the seal impression of a former
owner, Muḥammad Shafi', which besides the name bears
the date 1052 A. H. (1642 a. D.). Underneath this seal a
memorandum in Arabic in the handwriting of a second
owner states: "I bought this manuscript from Muḥammad
Shafi'." The signature and the seal impression which fol-
low have been rubbed off and are not legible. One other seal
impression has been badly stamped and its contents are not
clear. The manuscript was copied probably in Iran during
the end of the sixteenth or the beginning of the seventeenth
century.
IX. MANUSCRIPT OF MIXED CONTENTS
33
A composite volume, without a title, containing the follow-
ing works:
I. (Begins on folio 3b)
تعليم المتعلم في طريق التعلم
Taʼlim al-Muta'allim fi Ţariq al-Taʻallum
A celebrated treatise in Arabic on the science of pedagogy,
and the means of acquiring it, by Imām Burhan al-Din Al-
Zarnūjī. It is divided into thirteen chapters and was writ-
ten, according to Huart and Brockelmann, about the year
[33]
600 a. H. (1203 A. D). There are several commentaries on
it written by various Arab and Turkish writers. A well-
known Turkish translation of it has been made by Shaykh
'Abd al-Majid b. Nuṣūḥ b. Isrā'il, and it is called “Irshād
al-Talibin fi Ta'lim al-Muta'allimin." It has been edited
and published in Latin under the title of Enchiridion Studiosi
by H. Reland in 1709, and by K. P. Caspari in 1838.¹
II. (On folio 33b)
2
The forty sayings of the Prophet Muḥammad rendered
into Persian verse by Jāmi, the well-known poet of Iran.
The poem, according to its concluding verses, was composed
in 886 A. H. (1481 a. d.).
The Prophet's sayings in Arabic have been inscribed in
red ink in separate panels, and serve as captions to the Per-
sian verses which follow them.
فاعلها بشره بالعذاب
اربعین
III. (On folio 39b)
A religious qaşīdah or ode, in Arabic, without a title,
by Shaykh 'Ali al-Din Turkistānī (a native of Turkistan)
which begins:
IV. (On folio 46b)
Arba'in
قصيدة يقول العبد
鹽
​تعدادها سبعون بالحساب
Qaşīdat Yaqul al-‘Abd
A religious qaşīdah written by Imam Sirāj al-Din ‘Ali b.
‘Othman al-Awshi al-Firghānī, which was composed, accord-
¹ See Hāj. Khal. 2. 325; Huart, Hist. of Arabic Lit. 289; and Brockelmann
1. 462.
2 See page 135 of this Catalogue.
[34]
3
ing to Flügel in the year 569 A. H. (1173 a. D.). Ḥājjī
A. Hajji
Khalifah states that the poem contains sixty-six verses, and
the one listed by Flügel has only sixty-five verses, but the
present qaşīdah consists of sixty-seven verses. There are
many Arabic and Turkish commentaries on this poem, and a
commentary in Latin was published by Peter von Bohlen in
Königsberg 1825.
V. (On folio 43b)
Two pages of prose quotations in Arabic, which consist
of the sayings of the Prophet and of the Imāms.
VI. (On folio 53b)
نصاب الصبيان
Niṣāb al-Şibyān
A well rhymed Arabic-Persian vocabulary, with a short
preface, by Abū Naṣr-i-Farāhī.
4
This well-known vocabulary was a popular textbook in
the schools in Iran. Very little is known about its author. He
died, according to Browne, in 1242 A. D. He wrote a rhymed
treatise in Arabic on Hanafite Jurisprudence. According
to Ḥājji Khalifah, Farāhi has also composed a poetical ver-
sion of the Jami' al-Saghra of Shaybānī in 617 A. H. (1220
A. D.).
5
* See Flügel, Vienna Cat. 3. 95.
4
* See Browne, Lit. Hist. of Persia 2. 488.
See Ḥāj. Khal. 2. 559, 6. 346; and Rieu, B. M. P. C. 504.
[35]
VII. (On folio 73b)
القصيدة الطنطرانية
Al-Qaşīdat al-Tanțarăniyyat
A poem written by Mu'in al-Din 'Ali Nașr Aḥmad b.
'Abd al-Razzaq al-Tanțarānī, in praise of Nizām al-Mulk.
It begins:
ياخلي البال قد بلبلت بالبلبال بال
بالنوى زلزلتني. والعقل في الزلزال زال
The poet Tanṭarānī, a professor at Nizāmiyyah College
at Baghdad, was a friend and a protégé of Niṣām al-Mulk,
the famous vizier at the court of the Seljuq rulers Ālp Ārslān
and Malikshāh. He wrote a number of qaṣīdahs, some of
which have been commented upon by the Western writers."
VIII. (On folio 77a)
القصيدة النظير.
Al-Qaşīdat al-Nazirah
A poem written in the same rhyme as the above-listed
qaşīdah. It is, as its name implies, a nazīrah, or a parallel
to the previous poem.
It begins:
ياحبيب القلب غوثا فالهوى بالجار جار
باسريع الحبّ صبرا فالنوى بالثار ثار
The poet's name is not given. The poem may have been
written by another poet in imitation of Tanțarānī's qaṣīdah,
or may have been composed by Tanṭarānī himself.
Folios 84, of which 20 are blank; 8 inches by 4½ inches;
written in Nasta'liq of various sizes by different copyists.
• See Brockelmann 1.252; and Dawlatshāh 27.
[36]
The prose sections run 19 lines to a page, each 24 inches
long, written within red-rulings. The titles of chapters and
of poems are written in red ink. There are corrections and
notes on the margins in the handwriting of different per-
sons. The binding is of brown leather with flap, and is
blind-pressed in gold. The outer covers show a central
medallion design within gilt borders. The inside covers are
lined in green paper. Neither the date nor the name of any
of the scribes is given. The front flyleaf contains the seal
impressions of two former owners. One of these, a small
oval seal which is stamped on the upper right corner of the
page, reads: " Tawakkul-i-‘Ali (one who has faith in ‘Alī,
the fourth Khalifah) Aḥmad al-Khaliqi." Two lines of
handwriting above the seal have been rubbed off. The
second seal, stamped a little to the left, contains the name
Jalāl and the legend: "Ya Dhu al-Jalāl," or, "O The Lord
Yā Dhū
of Glory," but bears no date. One other seal impression
appears on top of folio 3b and belongs to a former owner,
Muḥammad 'Ali Mushtaq, but contains no legend or date.
The manuscript was transcribed probably in Turkey during
the end of the seventeenth or the beginning of the eighteenth
century.
X. FRAGMENTS
34
A disintegrated and fragmentary manuscript without
beginning or end.
It contains a collection of ecclesiastical stories dealing
with lives of Christian monks of the Nestorian Church.
The names of Antony of Egypt, and the two well-known
Nestorian Patriarchs Timothy and Gregory, and other
saints are frequently mentioned. From its context the manu-
[37]
script appears to be an abridged translation into Arabic from
the Syriac version of either the "Paradise," ¹ or “Lives of
Holy Men," of Palladius, Bishop of Hellenopolis,² or of the
"Paradise" of Joseph Huzaya, both of whom lived during
the fifth century. This attribution, however, is not certain.
Folios 59; 9 inches by 6 inches; 25 lines to a page, each
5 inches long; written in legible Naskh on thick parchment
in black ink which has turned yellow with age. There are
circular marks in red ink at the end of sentences. The bind-
ing and many folios from the beginning and from the end
are missing. From the style of its calligraphy, and the
quality of the parchment on which it has been written, it may
safely be placed around the eleventh or twelfth century.
35
أم البراهين
Umm al-Barāhīn
A fragmentary manuscript which is a treatise on religious
faith written by Imām Sayyid Abū 'Abd-allāh Muḥammad
b. Yusuf b. Husayn al-Sanūsī, who died in 892 A. H. (1486
A. D.). Hajji Khalifah lists this work both under the above
title and under the title of 'Aqā'id al-Sanūsi¹ and places the
author's death in 895 A. H. (1489 A. D.). The ‘Aqā'id is a
useful work on which various commentaries have been writ-
ten. It contains an elaborate explanation of the tawḥid, or
"C
1 The "Paradise" of Palladius contained the lives of the Western ascetics,
and the Paradise of Joseph Huzaya contained the lives of the Eastern
ascetics. See "The Historica Monastica" of Thomas, Bishop of Marga, 2. 193,
edited and translated into English by E. A. Wallis Budge, London 1893.
* The original name of this town was Δρεπάνη, but was changed to Ἑλληνόπολις
because Helena, Constantine's mother, was born there. See 2. 194 supra.
¹ See Haj. Khal. 1. 439-40.
[38]
unity, and of the attributes of the Deity, according to the
religion of Islam.
Folios 161; 129 folios 9 inches by 7 inches, and 32 folios
8 inches by 6 inches; 5 lines to a page, the lines of the
former group 4 inches long and of the latter 44 inches long.
Written in Maghribi style of Naskh on loose leaves of thin
paper in poor and hardly legible handwriting. It contains
interlinear corrections and notes on the margins. Many
folios are missing from the beginning and from the end.
The binding is missing, and the folios are enveloped in a
camel skin cover with string ties. Neither the name of the
scribe nor the date is given. The manuscript was written
probably in North Africa during the sixteenth or seventeenth
century.
[39]
PERSIAN MANUSCRIPTS
I. ASTRONOMY
36
A treatise on astronomy by Muḥammad Riḍā Munajjim-
Bashi (chief astronomer), especially compiled for Fatḥ-'Ali
Shāh of Iran (ruled 1797-1834 a. D.).
A short preface, containing definitions of technical terms,
introduces the work. After a long eulogy on the Shah, the
scribe mentions that Munajjim-Bashi, who had devoted some
time to the study of mathematical sciences, composed the
present work at the request of the Shah in Tehran.
The volume contains numerous tables indicating the posi-
tions of the moon and the stars, calculated by the chief
astronomer himself. Useful explanations are inserted to
facilitate the use of these tables in connection with the ob-
servations made. In addition, there are several figures
representing the globe, and these figures are divided into
sections to designate the various climates and the effects.
resulting from the different positions of the planets. The
work seems to be quite original but it undoubtedly contains
much material borrowed from its traditional forerunners.
Folios 22; 171 inches by 12 inches; written partly in beau-
tiful Nasta'liq and partly in legible Shikastah, on thick paper
with a creamy tinge, and outlined by gold margins. The
opening folios form a double-page illumination, and each is
decorated by an 'unwān, or title-piece, in gold and colors.
Some leaves are torn and have for this reason been strength-
ened with patches; many are damaged by wormholes. There
are numerous astronomical and astrological tables in black
[40]
and red-rulings. The headings of tables are written in
Thuluth style of handwriting in red and less often in black.
The original binding is missing, and the volume has been re-
bound in modern cloth of olive color. Neither the date nor
the name of the scribe is given. The manuscript was prob-
ably written during the early years of Fatḥ-'Ali Shāh's reign.
II. GENEALOGY
37
Genealogical tables of the prophets and the principal
Eastern dynasties, without title or author's name. The con-
tents of the first portion of this manuscript agree with a
similar work which has been listed among the Turkish
manuscripts on page 153 of this catalogue. The last por-
tion of the manuscript contains the genealogical tables of the
Şafavi, Afshār, and Qājār dynasties, and the genealogy is
brought down to the reign of the ruling monarch Fatḥ-'Ali
Shāh Qājār.
The present work, in addition, contains a preface in which
the writer, whose name is not given, states that the manu-
script was based upon a similar work on genealogy, written
in Turkish by Yusuf b. 'Abd al-Latif, entitled: "Tawārīkh
wa Siyar-i-Anbiyā wa Akhbār-i-Sulūk-i-Mulūk,” and dedi-
cated to Sulaymān the Sulṭān of Turkey. A copy of this
Turkish work, which, according to the preface, was in truth
nothing more than a translation of an original manuscript in
Persian which had been lost, was brought by some merchants
to the city of Erivan in the year 1078 a. H. (1667 a. d.).
The Governor of Erivan, Şafi-Quli Khān, upon examining
its contents realized that it was a translation of the missing
Persian manuscript. He therefore lost no time in having it
translated back into the Persian language, and he dedicated
-
[41]
it to the ruling monarch of his time, Shah Sulayman Şafavi.
The remaining portion of the preface gives some detailed
account of the various dynasties for which genealogical
tables are drawn, and these in general agree with the above-
mentioned Turkish manuscript in this Collection.
Folios 43; 13 inches by 8 inches; written in beautiful
Nasta'liq on thick native glazed paper of ivory finish, and
framed by green borders. Folios 1b and 2a contain the
preface, and they are written diagonally across the pages.
The quotations from the Qur'ān and some titles are written
in red ink. The genealogical tables are made with con-
centric circles, sometimes in colors, but mostly in blue, which
contain the names of persons. These circles are connected
by horizontal lines in red to which are sometimes appended
short historical comments. The last two folios, which con-
tain circles bearing the names of Fath-'Ali Shah, of his
forty-three sons, and of his ninety-five grandsons, are ex-
quisitely decorated. The Shah's name appears in a large
circle illuminated in gold and colors, and adorned with the
design of the royal crown on top. The names of the princes
are written in smaller circles arranged in a large square,
and linked with radiating lines to the Shah's circle, which
is in the center. The circles bearing the names of the
Shah's grandsons are each linked to circles which bear their
father's names.
The volume has been rebound in old black boards. The
name of the scribe and the date are not given. The back
flyleaf contains the following memorandum in pencil written
in English: "Chronological chart of Persian Dynasties
closing with the reign of Fattah Ali Shah (Fath-'Ali Shah)
from Rev. Dr. Bassett, late missionary 1886." The manu-
script was evidently made by the order of Fath-'Ali Shah
(ruled 1797-1834 A. D.) and probably belonged to the Royal
Library.
[42]
III. DICTIONARY
38
الفرس
مجمع
Majma' al-Furs
A dictionary of Persian words explained in Persian by
Muḥammad Qasim b. Hajji Muḥammad Kāshānī, poetically
known as Surūrī. Taqī al-Dīn Kāshānī, the author of
Khulāṣat al-Ash'ār, gives a brief account of his life. Accord-
ing to this authority, Sururi was the son of a shoemaker; he
is said to have been endowed with an excellent memory and
to have known more than thirty thousand verses by heart.
He lived in Isfahan for the most part, and later went to
India where he stayed several years. He died on his way to
Mecca, but the exact date of his death is unknown. More
information on his life is available in the Mir'āt al-'Alam of
Muḥammad Bakhtāvar Khān, and in the Riyāḍ al-Shu'arā
of 'Ali-Quli Khan Dāghistānī, poetically named Wālih.
In his preface, which he dedicated to Shāh ‘Abbās (ruled
1587-1629 A. D.), Surūrī states that, after long study of
Persian and Arabic books, he succeeded finally, in the year
1008 a. h. (1599 A. D.), in collecting sixteen standard works
on various subjects, the contents of which he condensed in
his present work by eliminating the Arabic and common
Persian words.¹
Folios 292; 10 inches by 6 inches; 19 lines to a page, each
3 inches long; written in fair Nasta'liq, on native paper of
heavy quality with a creamy hue and a slight sheen. The
words are arranged according to their initial and final let-
1
¹ An account of the Majma' al-Furs is given by Hāj. Khal. 5. 325.
[43]
ters, and are written in red ink. Some notes and corrections
are in the margins. Many pages are soiled by damp; some
have spots and rubbings; and others have been repaired.
The contemporary binding is of stamped maroon leather.
The outside covers are pressed with a medallion figure,
pendants, and double-ruled gilded borders. The inside covers
show a light-red leather, blind-pressed, with medallion de-
sign in color, cut out and embellished by filigree work upon
a blue background. The covers are original but have been
slightly repaired.
2
(C
66
The colophon gives the name of the scribe, Muḥammad
Sabzawārī, and the date 1030 a. h.² (1620 a. D.). Under-
neath the name of the scribe there are three seal impres-
sions by former owners. Two of these are the impressions
of the same square seal which reads: Al-Mudhnib (the
sinner) 'Inayat-āllāh 1130 A. H. (1717 A. D.)"; and the
third, an impression of an oval seal, which reads: Aqall
al-'Ibād (the least of slaves) Ibrāhīm," but the date is
not legible. On the right-hand side of the page, towards
the middle, a memorandum by another previous owner reads:
"Of the possessions of the sincere slave, Muḥammad Bāqir."
Underneath this writing his seal bearing the date 1110 A. H.
(1698 a. D.) appears. Writings and seals of other owners
have been rubbed off for the most part and cannot be cor-
rectly deciphered. The front flyleaf contains another seal
impression of 'Inayat-allāh, mentioned above, and a number
of verses written in Persian in different handwritings. Other
memoranda and seal impressions are not clearly legible. The
back flyleaf is full of notes and quotations from various
sources written in red and black ink by different persons.
* The author according to Rieu, B. M. P. C. 500, was still alive in 1036 a. H.,
therefore, the present manuscript was transcribed in his lifetime.
[44]
IV. ETHICS
39
ابواب الجنان
Abvāb al-Jinān
“Gates of Paradise,” an ethical work based on the Qur'ān
and the traditional sayings of the Imāms, by Mīrzā Muḥam-
mad Rafi', poetically surnamed, Wa'iz (the Preacher).
The author lived in Isfahan during the reigns of Shāh
'Abbās II, and Shah Sulayman, and died about 1694 a. D.
He has also left a Dīwān, or a collection of poems. His life
has been treated by Riḍā-Qulī Khān, poetically surnamed
Hidayat, in his Riyāḍ al-'Arifin, in which he gives a few
specimens of his verse and mentions this work.
The present manuscript is divided into a muqaddimah, or
an introduction, and fourteen majlises, or lectures, each of
which is subdivided into many parts.¹
Folios 295; 11 inches by 64 inches; 19 lines to a page,
each 4 inches long; written in three different handwritings, in
Nastaʻliq-i-shikastah-āmīz, on cream-colored paper of slight
sheen; margins ruled in red, gold, and blue. Quotations
from the Qur'an and the sayings of the Imams are written
in small Naskh and underlined with red ink. Section-head-
ings are inscribed in red ink. The binding is of plain red
leather with black leather on the inside. The colophone gives
the name of the last of the scribes, Imām-Quli Shabustarī,
and the date 1228 A. H. (1813 A. D.). This is an original
manuscript, which has been rewritten in parts and repaired
in many places, and it looks much older than the given date.
1
¹ For details of the contents see Browne, Cam. Cat. 59-63, and Rieu, S. B. M.
P. C. 109-10.
[45]
(6
V. SUFISM
40
1
نزهة الارواح
The Delight of Souls," a treatise on the nature and rules
of spiritual life, written, according to the Ṣufi doctrines, by
Husayn b. 'Alim Abu al-Hasan al-Husayni. The book is
divided into twenty-eight fașls (chapters), and in each fașl
are embodied anecdotes, verses, and some sayings of illus-
trious men. The opening pages contain praises of the
Prophet Muhammad and of the four Khalifahs, and an
address to Deity."
Nuzhat al-Arwāḥ
The author, who is better known by his title, Fakhr al-
Sādāt, was a celebrated poet and an eminent Ṣufi. He was
born in Guziv, in Ghorian, about A. H. 671 (1272 a. d.).
This date is easily calculated from his present work, in the
last chapter of which (in folio 112a) he mentions that he has
already reached the age of forty. The date of composition of
the work is given by the author, on folio 114a, as A. H. 711
(1311 A. D.); hence the date of his birth may be safely
placed around A. H. 671. He established himself, later, in
Herat, where he gained many followers. He died, accord-
ing to Dawlatshāh, in A. H. 719 (1319 a. D.), but Jāmī, in
his Nafaḥāt al-Uns, places his death on the 16th of Shawwāl
A. H. 718. He is noted for other important and well-known
works.2
Folios 120, of which 1-3a and 115-20 are blank; 64 inches
by 4 inches, 13 lines to a page, each 3 inches long. Thirty-
¹ For details of contents see Flügel, Vienna Cat. 3. 418. Other copies are
mentioned by Rieu, B. M. P. C. 40; Sprenger, Oudh Cat. 430; and Haj. Khal.
6. 321.
See Rieu, B. M. P. C. 608.
[46]
six of the folios are written in excellent Naskh on thin native
glazed paper; the rest of the folios are written in a different
hand in poor Naskh, on paper of heavy quality, and contain
numerous mistakes in spelling. Apparently the bulk of the
original manuscript was destroyed and the lost portions were
restored by a second copyist. Some marginal additions and
corrections in different handwritings are also inserted.
Chapter-headings and sub-sections are written in red on the
original leaves. Most of the folios have been damaged by
damp and wormholes. The author's name appears on folio
113a, and the date of composition, which has already been
referred to above, appears as 911 instead of 711. This
is evidently an error on the part of the second copyist. The
original binding is missing, and the book has been rebound
in plain boards, the inside covers of which are lined with
colored paper. The colophon gives the name of the last copy-
ist, in red ink, as Khan Muḥammad Maḥmūd b. Husayn b.
Muḥammad. On the lower section of the colophon, near the
bottom of the page, a memorandum of a former owner,
Muḥammad Baqir b. Khwajah Qāḍī b. Khwajah Shams
al-Din Muḥammad Shīrāzī, states that the manuscript was
purchased in the city of Aḥmad Ankar (probably Aḥmad-
nagar) in the Bombay Presidency in A. H. 990 (1582 a. d.).
On the right margin another memorandum, which is not
signed nor dated, reads: "I bought this manuscript of
Nuzhat al-Arwaḥ, from Mir Muḥammad, for the sum of
eight rupees. If any one claims it, his claim will not be
valid."
To the front flyleaf, the signature of Henry George Keene,
is affixed. The same signature, with the date of March
1803, and a lozenge seal impression containing the same
name and date in Arabic characters, appears on folio 5a.
Henry George Keene (1781-1864) was a noted Persian
scholar who spent most of his life in India. In 1824 he was
appointed a professor of Arabic and Persian at the East
[47]
India College at Haileybury, near Hertford. Among his
published works are: "Akhlaq-i-Muḥsini " and " Anwār-i-
Suhayli," the two well-known works of Kashifi, consisting
of lithographed texts and translations, Hertford 1851;
Persian Fables," London 1833; and "Persian Stories,"
London 1835.
((
VI. NATURAL HISTORY
41
عجائب المخلوقات
'Ajā'ib al-Makhluqāt
1
A Persian version of a treatise on Natural History, en-
titled "Wonders of Creation," by Zakariyyā al-Qazvīnī.
The translator's name is not given, but the author's name
appears as Zakariyya b. Muḥammad b. Mahmud al-Küfi
al-Qazvīni, who died about 681 A. H.¹ (1282 A. D.). This
appellation is in agreement with the one mentioned by an al-
most contemporary author, Hamd-allāh Mustawfi of Kazvin
(b. c. 1281 a. D.), who in his Nuzhat al-Qulub, attributes
the present work, as well as the Athāru'l-Bilād, or "Monu-
ments of the Lands," to the same author. The work begins
with the ordinary preface, of which the initial doxology in
the original Arabic is retained.
2
The Arabic text of the 'Aja'ib al-Makhluqāt was edited
by F. Wüstenfeld, Göttingen, 1848, and Dr. H. Ethé pub-
lished a German translation of it in Leipzig, 1868.³
³ See page 69 of this Catalogue.
See Browne, Pers. Lit. Tar. Dom. 64.
2 See p. 95 supra.
See also S. de Sacy's Chresthomatie, 3. 427-50. For other copies of the
manuscript see Rieu, B. M. P. C. 462-3, and Ethé, Desc. Cat. 321.
[48]
Folios 292; 10 inches by 6 inches; 23 lines to a page, each
31 inches long; written in fair Indian Ta'liq of medium size,
on native glazed paper. Margins are ruled in black and blue.
The opening page contains an illuminated title-piece in gold
and colors in Indian style. The first two folios and folio 3a
are written in a poor hand, and the initial doxology in Arabic
has been underlined with red ink. The titles are inscribed in
red as are some notes and corrections on the margins
throughout the manuscript. Approximately two hundred
colored paintings, some full-page, others half-page or smaller
in size, representing constellations, plants, and animals, em-
ployed to illustrate the text, are all the work of a single
Indian artist and are of rather inferior workmanship. The
old red morocco binding is repaired on the back and sides,
and covered with paper on the inside. The colophon supplies
the date 1243 A. H. (1827 a. D.); and the name of the scribe,
which is given in the last two short lines, has been blocked
out by red ink. These lines, however, can be deciphered by
holding the page against the light. They read: "Written by
Qāḍī Muḥammad Shah b. Qāḍī Murad-Bakhsh resident of
Muḥammad-Ābād." On the inside of the front cover there
is a bookplate of Oliver Henry Perkins.
VII. OFFICIAL DOCUMENT
42
وقفنامه شاه سلطان حسین صفوی
Waqf-nāmah'i Shāh Sulṭān Husayn Şafavi
A historical and official document, written by the order of
Shah Sultan Husayn Şafavi (ruled 1694-1721 A. D.), ack-
nowledging a religious endowment to the people of the city
of Isfahan. It sets aside what was, in effect, a funeral par-
[49]
lor for the needy Muslims, where they might wash and pre-
pare the bodies of their dead for proper burial, in full
accordance with the requirements of Islam. It is stipulated
in the document that the building and its equipment may not
change hands, may not be sold, and should be free to the
poor forever.
Folios 13; 9 inches by 6 inches; 5 lines to a page, each
3 inches long; written in excellent Thuluth, on thick native
glazed paper with narrow gold-rulings between the lines.
The whole page is framed with heavy rulings in gold, blue,
red, and green, and there is an extra margin in gold. The
first folio is missing from the beginning. Folio la, as it now
stands in the present manuscript, is sumptuously illuminated,
and no doubt was originally one of the double pages which
introduced the document. It is surrounded by an elaborate
floral border in gold with broad, irregular, gold bands be-
tween the lines of writing. All quotations from the Qur'ān
appear in gold. The names of God, of the Prophet Mu-
ḥammad, and of the Shah, are written in gold letters in the
upper margins whenever they are mentioned. Each leaf has
been tipped to stub with a blank sheet between, and the
manuscript has been rebound in full red crushed levant
morocco, gilt-edged with gold clasp.
Folio 10a contains the date of transcription 1118 A. H.
(1706 A. D.), and the seal of the Shah is stamped at the
bottom of the page. This seal is square, but has a dome-
shaped projection on top. It reads: "In the name of the
most merciful God, the least of the dogs of Amīr al-Mu'mi-
nin (which means the Emir of the faithful, and is the title
of the fourth Khalifah 'Ali, who is regarded as the first
Imam by the Shi'ahs) Sultan Husayn¹ 1125 A. H. (1713
Sulṭān Husayn was destined to be one of the most tragic rulers of Iran.
In 1721, fifteen years after he made the present waqf, or endowment, an Afghan
1
[50]

PLATE VII
UNIV
OF
MICH
دوور دلال اور
رررررررر
蓉
​ہوں
باب محبت ور لال من
نوروا كل الطاف بزوال الخناج
عباد اجمل البلوفانی
لاو
هولناك عال عني من
مها وطرق يحصلان جهانبا
تعل
ILLUMINATED PAGE OF AN OFFICIAL DOCUMENT OF
SHAH SULTAN HUSAYN SAFAVI, DATED 1706 A.D.
(MS. No. 42)
A. D.). The seal evidently was affixed seven years after the
transcription. Folios 10b-13a confirm the endowment which
is worded by the calligrapher, Muḥammad Baqir b. Ismaʻil
al-Husayni al-Khātūnābādī, whose name appears at the end.
Muḥammad Baqir states that he was directed by His
Majesty to write the manuscript which was to remain as a
permanent record.
All folios, with the exception of folio 10, bear the impres-
sions of the seals of four witnesses on the lower left margins.
These seals are described below:
1.
An oval seal which contains the Qur'anic legend:
"There is no God but Allah," and " In the name of the
Manifest King," then the name, "Fatḥ-'Ali," ² and the
date 1122 A. H. (1710 a. d.).
2
2.
Underneath the above seal a rectangular seal contains
the legend: "Committed to the custody of God, the Rich
King, Slave, Muḥammad Baqir b. Sayyid Hasan al-
Husayni,³ 1106 a. H. (1694 a. D.).”
S
chief, Maḥmūd, marched against him, defeated his army, and besieged the capital
city of Isfahan. The Shah's son, Ţahmāsp, in the meantime, deserted his father
and escaped to Kazvin, where he proclaimed himself the king. Shāh Husayn,
on account of famine, offered to capitulate. Maḥmüd entered Isfahan in triumph,
and seated himself on the throne in the royal palace. In 1723 Maḥmūd invited
three hundred of the principal nobles of Iran to a banquet and murdered them.
Not content with this, in 1725 he assembled all the captive members of the
royal family, except the Shah and the Queen, and caused them all to be murdered
in the courtyard of the palace. At length, Maḥmūd died in that same year,
and was succeeded by his cousin Ashraf. In 1729, Tahmasp, the fugitive prince,
assisted by Nadir Khan, who later became the Shah of Iran, assembled an army
and marched against Ashraf. The latter, alarmed, led an army against the
prince, but was defeated and fled through the town, not forgetting to murder the
poor old Shāh Husayn. Shāh Tahmāsp entered triumphantly into Isfahan.
2
Fatḥ-'Ali, was apparently the Fatḥ-'Ali Khān Qājār, who at the time was
held in much favor at the court, as he was a powerful chief of the strong tribe
of the Qājārs. After the conquest of the Afghan invader Maḥmūd, he left
Isfahan and joined the young prince Tahmāsp, who was getting ready to fight
the rebels and to regain the lost throne of his father. Later, however, Fatḥ-'Alī
seems to have entertained the idea of desertion. Upon discovering this, Tahmāsp
put him to death in 1139 A. H. (1726 a. D.). See folios 4b, 6b, 21b, and 22a of
the History of Nadir Shāh, manuscript No. 46 of the present Collection.
Muḥammad Bāqir al-Ḥusayni, whose identity has not been definitely estab-
[51]
3.
4.
Underneath the above seal there is a small oval seal
which contains the name, Muḥammad b. Muḥammad
Husayn Shah,* and the date 1120 a. H. (1708 a. D.).
A little to the left of the second seal from the top
another small oval seal stamped at an angle, contains the
legend: "The Assistance of God and the Conquest are
near, His slave, Sayyid Murtaḍa al-Husaynī,' 1119 A. H.
(1707 a. d.).”
The difference in the dates of the seals can be explained
by the fact that some seals were carved earlier than others.
A seal once made could be used by its owner as long as it
lasted, and, regardless of the date it actually bore, it was
considered authentic.
The volume contains two more leaves of smaller size,
which follow the text of the manuscript. These are written
in good Nasta‘līq in Persian, but they give a misleading
account of the manuscript, although they do furnish some
additional information. This description, which has been
signed by Nadhir al-Din Hasan, states that the manuscript
was given by Shah Sulṭān Husayn to the city of Isfahan and
was placed in a public building so that people could profit by
it. Hasan evidently misread the contents, for it was the
funeral parlor and not the manuscript which was given by
the Shah.
Hasan further states that this manuscript was a por-
lished, belongs, as his name indicates, to the Husayni family, which has produced
many well-known penman in Iran, such as Mir 'Imad al-Husayni, Mir 'Ali al-
Husayni, Mulla Mir al-Husayni, and others. He was an accomplished calli-
grapher, as this manuscript in his handwriting reveals, and undoubtedly was
held in great esteem at the court of Shāh Sulṭān Husayn.
* Muḥammad, the son of Shāh Muḥammad Husayn, was a young prince, who,
after his father's death in 1142 a. H. (1729 A. D.), claimed the throne, but was
put to death by Tahmasp. See folio 10a, "The History of Nadir Shāh," manu-
script No. 46 in the present Collection.
5
Sayyid Murtaḍā, about whom no information is available, was no doubt an
important figure, and perhaps held a position similar to that of a judge or an
attorney general at the court.
[52]
tion of a larger volume (whereas only its opening page is
missing), and that it had been brought by chance to India,
where a certain person named Ja'far-'Ali presented it to
Markham Ṣāḥib Bahādur. On August 30, 1806 Mr. Mark-
ham presented it to General Tottsville Ṣāḥib Bahādur (the
last two words in each case being titles). Then he was
called in by Mr. George Sanders Ṣāḥib Bahadur to ex-
amine the manuscript and at his order wrote the present
description. This is followed by another description in Eng-
lish. Then follows an autograph letter of the original owner,
Ja'far-'Ali, written in English in the same handwriting as
that of the description. The letter is dated February 4th,
1803, and is addressed to Samuel Young, Esq.; it presents
the manuscript to Mr. Young and gives some details con-
cerning it. The English description is full of errors of fact,
which show that even the original owner did not know
exactly what he possessed.
VIII. HISTORY
(a) History of Timur
43
تیمورنامه هاتفی
Tīmūr-nāmah'i Hatifi
The Timur-namah of Hatifi, otherwise known as the
Zafar-nāmah, being a history of Tamerlane in verse.¹
Folios 190; 9½ inches by 6 inches; 12 lines to a page;
written in excellent Nasta'liq on thick native glazed coated
paper, in two columns ruled in gold. The written surface of
1
¹ For other copies of the present work see Rieu, B. M. P. C. 653-4; and
Browne, Camb. Cat. 363-5.
[53]
the page is 5 inches by 24 inches and is framed by borders
in gold, red, and blue. Folio 1b is adorned with a splendid
title-piece in gold and colors. Section-headings are inscribed
in red ink. Most leaves bear water stains, and there are
many repaired folios throughout the manuscript. There are
five miniatures, almost full-page in size, all of which appear
to be the work of the same artist. In style these miniatures
recall the general characteristics of the Shah Tahmāsp school
and they are from the brush of a skilled artist. Details are:
1. fol. 28a
2. fol. 58a
3. fol. 72b
4. fol. 132b
5. fol. 140b
Timur's envoys being entertained at the
court of Husayn Şufi of Khwārazm.
Timur mounted on a horse, marching on his
second campaign against Iran. He is accom-
panied by three of his generals, and a footman
is leading his horse.
Timur seated upon his throne in a garden
surrounded by his attendants, with musicians
in the foreground and two horses in the back-
ground.
Timur conquering the King of Hindustan,
who is putting up a bitter resistance from one
of his fortresses.
Timur camping in his winter palace in
Qarābāgh, where he receives the envoys from
Rūm (envoys of Sulṭān Bāyezid of Turkey).
The volume is rebound in an eighteenth century Persian
red leather binding. The outside covers show a blind-
pressed square floral design with corner angles matching
and set in gilt borders. The inside of the covers are of black
leather. The name of the scribe Muḥammad b. Mullā Mīr
al-Ḥusayni, and the date 991 A. H. (1583 a. d.) are given
in the colophon. On the left-hand margin of folio 171a the
[54]

شد ایف سکس ایکو سرخ کرو نه ور پوج
TAMERLANE MARCHING ON HIS SECOND CAMPAIGN AGAINST IRAN.
FROM THE TIMUR-NAMAH, PERSIAN, DATED 1583 A.D.
(MS. No. 43, fol. 58a)
PLATE VIII
UNIV
OF
Bong
impression of a circular seal gives the name of a former
owner, Muḥammad Salim, and the date 1210 A. H. (1795
A. D.). On the lower left margin of folio 172a, another im-
pression of a square seal reads Murtaḍa b. Şafar-'Ali and
bears the same date as the above seal.
On the back flyleaf the following memorandum in Persian
reads: "The property of the slave of the court, and the
servant of the most dignified station (the court), which is a
source of hope for all creatures, General Mir Muḥammad
Husayn Khan, Governor of Maḥālāt and of the districts of
Marand, the son of the pious, deceased General Ja'far-Quli
Khan, Governor of the aforementioned districts-may God
fill his resting place with light. Written on the 24th day of
Jumā. II, of the year 1255 A. H. (September 4, 1839 a. d.)."
Underneath this writing there are two impressions of the
seal of the owner which read: "Muḥammad Husayn b.
Ja'far-Quli, 1255 a. H. (1839 a. D.)."
Mawlānā ‘Abd-āllāh Hātifī, a nephew of the famous poet
Jāmī, was born in Kharjird, in Khorasan, during the second
half of the fifteenth century. He completed his education
under the supervision of his celebrated uncle. He owes his
chief fame to his mathnawis. It is said of him that he was
not permitted by his uncle to commence on his Khamsah, or
Quintet, until he was able to give the latter enough evidence
of his ability. His Khamsah, like that of Nizāmi,³ includes
the Layla and Majnun,* Khusraw and Shirin, while his Haft
Manzar is styled to form a parallel to the Haft Paykar of
Nizāmī. As a counterpart to the Sikandar-nāmah, he wrote
the Tīmūr-nāmah, which he boasted was not like the former
based on legend and fables, but was based on historical facts.
As a fifth poem to his Khamsah he began the Shāh-nāmah'i
2
2
See, besides the Persian tadhkirahs, Sir Ouseley's Biographical Notices of
Persian Poets, 143-5 (London 1846).
8
³ See page 96 of this Catalogue.
• Published by Sir William Jones, Calcutta, 1788.
[55]
5
Hadrat-i-Shāh Ismā īl, which is in the style of the Shah-
nāmah of Firdawsī, but written in praise of Shah Ismā‘il
Şafavi. The latter, on his return from a campaign in 917
A. H. (1511 A. D.), paid a surprise visit to the poet, and
asked him to make a poetical record of his victories. The
poet complied with the monarch's desire but left the book
unfinished. Hätifi died in 927 a. h. (1520 a. D.).
(b) History of India
44
اقبالنامه جهانگیری
Iqbāl-nāmah'i Jahāngīrī
The second volume of a history of the Mughal Emperor
Jahangir and of his predecessors by Muhammad Sharif,
entitled Mu'tamad Khān. The present volume covers the
reign of Emperor Akbar and begins with the introduction
of the so-called Ilahi era. The calculator of this era, Mir
Fatḥ-allah Shīrāzī, whose name is mentioned in the preface,
has been mistaken by some as the author of the work. The
present volume, like the Munich Manuscript, begins with
the first words of the Akbar-nāmah, and extends from the
accession of Akbar to the middle of the forty-fifth year of
his reign, and is an abridgment of the above mentioned
Akbar-nāmah of Abu al-Faḍl. The author, Mu'tamad
Khan, died in 1639 A. D. There is an old mosque still stand-
ing in the city of Agra, which is supposed to have been
erected by him. The first and second volumes of the Iqbal-
nāmah are very rare.
5
* See page 73 of this Catalogue.
G
[56]
Folios 295; 144 inches by 7 inches; 21 lines to a page,
each 5 inches long; written in beautiful Nasta'liq of large
size, on native paper of heavy quality with a slight ivory
gloss. The margins are ruled in gold, red, and blue. The
section-headings are written in red ink. Some leaves have
been repaired and some are damaged by wormholes. Folio
1b is adorned with an exquisite illumination in gold and
colors, consisting mainly of paneled floral designs, and this
illumination serves as a title-piece to the introduction. In
addition there are thirty-nine elaborate illuminations in
smaller size ornamented with gold flowered designs of the
greatest variety. No two of these are exactly alike, and they
serve as caption ornaments to the various sections. The
fifty-four miniatures, nearly all full-page size, which illus-
trate the manuscript, are the work of a single artist, and are
delicately painted in the best style of the art of the period.
The portrait of Akbar, which appears in almost all of the
illustrations, seems to be real and authentic. The details of
the illuminations and illustrations are: (Roman numerals
indicate the illuminated sections.)
I. fol.
1 fol.
2 fol.
1b
Illuminated title-piece to the
introduction.
2b The accession of Akbar, a scene
in the throne room of the palace.
In the foreground are the ministers.
and a group of musicians. Out in
the courtyard are seen the infantry,
horses, and elephants.
4b
3 fol. 10b
Akbar seated upon his throne
surrounded by his ministers and
attendants.
A battle scene where Akbar is
shown fighting Himu. Akbar is
[57]
4 fol. 18a
5 fol. 18b
II. 6 fol. 22a
III. 7 fol. 31b
IV. 8 fol. 36b
9 fol. 39b
mounted on an elephant, and his
generals, who are mentioned by
their names in the text, are with
him.
Akbar is shown crossing a river
in a beautifully decorated boat,
which is preceded and followed by
four others which contain his
harem. Soldiers, consisting of
cavalry and infantry, are shown
following him on one bank of the
river, while on the other bank are
seen a group of the royal house-
hold mounted on camels.
A picture of the Delhi Fort, at
the gates of which statues of two
elephants can be seen.
Akbar honoring Shaykh Mu-
ḥammad, a religious man, in the
fortified castle.
Akbar seated upon his throne,
and his minister Bayram Khān
kissing his hands.
A scene from the palace of Shāh
Muḥammad-Quli Khan of Qan-
dahār, at whose defeat the mem-
bers of his harem are being put to
death in accordance with his pre-
vious orders.
Akbar seated upon his throne,
receiving a special gift, consisting
of elephants, from Khānzamān and
his brother Bahādur Khān.
[58]

FICH
OF
NIV
۱۷
48
660
EMPEROR AKBAR ARRIVING IN DELHI. FROM THE
IQBAL-NAMAH, INDIAN, XVII CENTURY
(MS. No. 44, fol. 54b)
دربار
PLATE IX
10 fol. 45b
11 fol. 48a
V. 12 fol. 54b
VI. 13 fol. 59a
14 fol.
62b
15 fol. 96a
VII. 16 fol.
17 fol.
76b
77a
VIII. 18 fol. 78b
IX. 19 fol. 87a
Akbar receiving an envoy of
Shāh Tahmāsp of Iran.
Akbar seated upon his throne
and surrounded by his courtiers is
seen distributing valuable gifts to
his generals.
Akbar, mounted on his horse,
arriving in Delhi. This painting is
framed by twenty smaller illus-
trations in panels, each one of
which represents a trade of the in-
habitants of Delhi.
Akbar's army combatting Rāwī.
Akbar, after an elephant hunt, is
seen inspecting the captured ani-
mals.
Akbar killing a dragon with his
sword.
Akbar shown hunting deer.
The interior of the court where
Akbar is shown weighing himself
on a large scale using gold as
weights.
Akbar shown playing polo, and
below in another scene he is shoot-
ing at a target with his arrow
while riding his horse at full speed.
Akbar mounted on an elephant
is followed by his army. One of
his men is presenting him the head
of a rebel, ‘Ali-Qulī.
[59]
20 fol. 90b
X. 21 fol. 94a
22 fol.
95b
XI. 23 fol. 98b
24 fol. 99a
XII. 25 fol. 102a
XIV. 26 fol. 104a
27 fol. 114b
28 fol. 116a
XV. 29 fol. 120b
30 fol. 126a
31 fol. 129a
The siege of the fortress of
Rānā near Palwah.
Akbar hunting lions.
One of the royal elephants lift-
ing up with his tusks another
elephant, on which Shaykh Mu-
ḥammad is riding.
Akbar, who had mounted on the
throne of India when he was four-
teen years old, is celebrating the
fourteenth year of his glorious
reign in his palace at Agra.
Another scene of the same event.
Akbar shown resting after a
tiresome hunting trip.
Akbar receiving Ḥājjī Āltmish,
the envoy of 'Abd-allah, the ruler
of Tūrān.
Akbar receiving the Farangi
(the European) envoys.
Akbar, while drunk, attempts to
commit suicide with his own sword
and cuts his fingers.
Akbar and his viziers mounted
on camels marching in procession.
Two small towers built of the
heads of the rebels at Akbar's or-
ders.
Prince Salim, who later became
emperor Jahāngīr, when four
years old being entrusted to the
care of his teachers by Akbar.
[60]

PLATE X
UNIL
OF
MICH
به دولت ها بوس مامان مخوف الطفران می وازمان با محاصر مصورات
قوم مهارات از مندر کوده بدرگاه بادشاه ملانیا و در بود که مختصات
LODGOGA
Co
تعلامخ د وسیله که باتری سیدا و در میان شته که او را بدو
معه را با پرده سایت با شیره انها از کمال بروانامی دراما
ساخته با غار کا رونا در باره متوجه من ورشدند و اکرحصولات معدات
EMPEROR AKBAR RECEIVING THE FARANGI (THE EUROPEAN) ENVOYS.
FROM THE IQBAL-NAMAH, INDIAN, XVII CENTURY
(MS. No. 44, fol. 114b)
A scene from the interior of a
mosque built for Akbar.
XVII. 33 fol. 143b A reception given by the Prime
Minister Khānkhānān.
XVI. 32 fol. 139a
34 fol. 150a
XVIII. 35 fol. 159a
XX. 36 fol. 167a
XXII. 37 fol. 171a
38 fol. 178a
39 fol. 181b
40 fol. 186a
XXIII. 41 fol. 187a
42 fol. 189a
43 fol. 193b
XXV. 44 fol. 203a
XXVI. 45 fol. 210b
46 fol. 214b
The meeting of Akbar and
Mīrzā Sulaymān.
Akbar, dressed as a pilgrim, is
sending off Sulṭān Khwajah'i
Naqshbandi, as his substitute, to
make the pilgrimage to Mecca.
A hunting scene in which Akbar
appears as the central figure.
Akbar seated upon his throne re-
ceiving the envoy of Qutb al-Mulk.
A court scene where Akbar ap-
pears seated upon his throne.
While two well-known wrestlers
are engaged in wrestling, Akbar
gives a blow on the head of one of
them.
Khwajah Shāh Manṣur hung on
a tree in front of the royal palace.
A scene from the Bāgh-i-Kilā-
mir, one of Akbar's palaces.
Another scene of one of Akbar's
palaces.
Another view of the same scene.
Akbar receiving I'timad Khān
at Kabul.
Akbar saving one of the Rājas
from death in an elephant fight.
Akbar meeting Prince Danyal.
[61]
XXX. 47 fol. 234b
48 fol. 237b
49 fol. 238a
XXXII. 50 fol. 250b
XXXIV. 51 fol. 255b
XXXVII. 52 fol. 261a
XXXVIII. 53 fol. 266a
XL. 54 fol. 273a
A scene from a gulistān (rose-
garden).
Akbar is injured falling off from
his horse.
Akbar falling off from his ele-
phant.
Part of the royal fleet of which
only twelve sailing boats are seen.
Akbar mistaking his son for a
stranger in his harem attacks him
with a sword in the dark.
Akbar receiving Shāh-Qulī
Khan.
A beautiful garden scene.
One of the castles of a Rāja
built upon rocks and well fortified.
The codex is rebound in black leather back with elaborate
lacquered Persian covers with full-page paintings on both,
depicting a scene from the court where two princes are shown
seated on a rug surrounded by their attendants. In the fore-
ground are a group of musicians and two dancers, a man and
a woman, dancing to the beatings of drums. Some verses in
Persian, possibly from Nizāmī, are inscribed in panels, by
which the paintings are framed. The colophon is missing;
therefore the name of the scribe and the date are not avail-
able. On the left-hand margin, near the center of the front
flyleaf, there are two large circular dark seal impressions,
one of which is smaller than the other. The smaller seal, a
little more to the right and above the larger one, reads:
"Ra‘nā Khān, Fadawī-i-Khānah-zād-i- (a devoted servant
born in the house), Pādishāh-i-'Alam (of the Emperor of
the world), Ghāzī (the Conqueror), 'Alamgir." Underneath
this seal impression and just above the impression of the
[62]

EMPEROR AKBAR SHOOTING A LION.
FROM THE
IQBAL-NAMAH, INDIAN, XVII CENTURY
(MS. No. 44, fol. 167a)
PLATE XI
UNIL
OF
CH.
M
larger seal a memorandum in Persian, possibly written by
Ra‍nā Khān himself, reads: "Presented during his life-
time." The larger seal impression reads: "Ali Amjad Khān
Fadawi-i-Padishāh-i-Ghāzi (the devoted servant of the
warrior king), Muḥammad Shah, Sana 8 (the eighth year of
the reign)." The manuscript was transcribed probably dur-
ing the first or the second half of the seventeenth century.
45
An earlier portion of the same work containing an account
of the reign of Humāyūn and of the early years of Akbar's
rule. At the time the manuscript was rebound its contents
must have been bound in the wrong order, for the opening
pages deal with the thirteenth and fourteenth years of
Akbar's reign, while the following folios describe his father
Humayun's life, and then proceed to give an account of
Akbar's birth and accession. The volume ends abruptly in
the ninth year of Akbar's rule. The manuscript, however,
contains some interesting portions from the first volume of
the Iqbāl-nāmah, copies of which, as already mentioned are
very rare.
Folios 41; 12 inches by 7 inches, 23 lines to a page, each
41 inches long; written in very poor Indian Ta'liq, on native
paper of heavy quality, having a café au lait tinge. Many
folios have been torn or damaged by wormholes, and many
have been repaired. Copious notes and corrections are on
the margins. There are twenty-nine very crudely drawn
colored illustrations, all of which, judging from the quality
of the handwriting, must have been drawn by the copyist
himself. The volume is rebound in an antique Kashmir
shawl, in which the main pattern consists of three large
palm leaf designs. The manuscript, as described in the
[63]
above, is incomplete and, therefore, neither the name of the
scribe nor the date is available. It was written in India,
probably during the latter part of the seventeenth century.
(c) History of Nadir
46
تاریخ نادری
Tarikh-i-Nadirī
A detailed history of Nadir Shah (ruled 1736-1747 a. D.),
known as Jahān-Gushā, or the "World Conqueror," from
his birth to his death, by Muḥammad Maḥdī Astarābādī,
who was attached to the Shah's service. The manuscript
contains an epilogue, dated 1171 a. h. (1757 a. D.), in praise
of Muḥammad Hasan Khan, the chief of the Qājārs. This
work has been translated into French by Sir William Jones,
under the title of "Histoire de Nader Chah," Paris 1770.
Sir William also published an English translation of it in
London in 1773.
Folios 270; 9 inches by 54 inches; 19 lines to a page, each
3½ inches long; written in Shikastah style, on native glazed
paper of ivory finish, within borders of gold, red, and blue.
Folio 2b has a blank space on top intended for illumination.
There are, throughout the manuscript, twenty-one blank
spaces, nearly half-page size, for miniatures which were
never painted. Some of these extended over the margin
and are framed in gold-rulings. Titles of important events
and quotations from the Qur'an are written in red ink. The
binding is of contemporary Persian smooth black morocco,
the inside covers of which show a dark-red field decorated
with a medallion design. The colophon gives the date 1187
[64]
A. H. (1773 a. D.) and the place of transcription, Isfahan, but
the name of the copyist is not mentioned. On the front fly-
leaf a memorandum in French reads: "Tourike (Tārīkh-i-)
Nadirī-histoire de Nadir Chah beau manuscrit qui m'a été
donné par le Roi de Perse en 1806." The signature under-
neath this writing is not legible. The reigning Shah in 1806
was Fath-'Ali Shah Qājār. At the bottom of the inside of
the front cover a visiting card of Le Ch. Ferrao de Castel-
branco has been pasted.
(d) History of Kashmir
47
تاريخ كشمير
Tarikh-i-Kashmir
I. A history of Kashmir from the earliest times to 1122
a. H. (1710 a. d.), compiled by a native, Nārāyan Kūl. The
author, in his preface, states that he had long studied the
annals of his country, and familiarized himself with the
histories and lives of the rajas and kings, and on various
occasions had been requested by the nobles of Kashmir to
write a full account of them. Each time, however, he had
modestly excused himself as incompetent and incapable of
such a vast undertaking. Finally, in the year 1122 A. H.,
during the fourth year of the reign of 'Alam Shāh, the vice-
governor 'Arif Khan, who had collected the Sanskrit Chron-
icles of Kashmir and wished to know their contents, urged
him to accept this difficult task, and this time he did not
refuse. By consulting the translation made of these Sanskrit
Chronicles by Malik Haydar, which had become unpopular
because of its length, and by comparing it with the Sanskrit
originals and other available texts on the history of Kash-
[65]
mir, he was able to eliminate some exaggerated statements,
and succeeded in preparing the present abridgment.
The contents, exclusive of the preface, are divided into
following sections: Name and origin of Kashmir; List of
Rajas; Muslim Kings; Conquest of Yusuf Khān; Arrival
of Akbar, Shah Jahān, and ‘Alamgir; List of Ṣūbahdārs
(governors) from the conquest to 1122 A. H.; Topography
and Wonders of Kashmir.
Folios 141, of which 1-11, and 132-41 are blank; 84 inches
by 44 inches; 13 lines to a page, each 21 inches long; written
in legible Nasta'liq on native glazed paper. The text is
framed by borders of gold, red, and blue. Folios 12b and
13a are double-page illuminations with gold interlineations
and borders in flower designs. The title-piece, which is in
gold and soft colors, and adorns the former folio, is in the
Indian style. Section-headings and names of persons are
written in red ink. The binding is of original bronzed leather,
with a central medallion in colors, with pendants and elabo-
rate borders on the sides, painted in various colors and gold.
The inside covers are of plain red leather. The concluding
lines on the colophon: “The end of the book of Rāja Tāran-
gīnī," have evidently been inserted later, for this volume is
not a translation of the original Sanskrit Chronicle, but, as
the author himself states, contains only an abridgment of it.
II. Farhang-i-Kashmiri, a fragmentary manuscript in-
serted at the end of the volume, being a versified glossary
of Persian and Kashmirian. Author unknown.
Folios 142-58, of which 157 and 158 are blank; 7½ inches
by 44 inches; 8 lines to a page, each 2 inches long; written
in poor Nasta'liq, within double rulings in red. Neither the
name of the scribe, nor the date is given, but judging from
the style of its writing, illuminations, and binding, the manu-
script was transcribed in India, approximately during the
second half of the eighteenth century.
[66]
48
حشمت کشمیر
Hishmat-i-Kashmir
A history of Kashmir and of the neighboring countries,
by 'Abd al-Qadir Khān b. Qāḍī al-Quḍāt Mawlawi Wāṣil-
'Ali Khan, completed, as the colophon shows, in Benares, in
1245 A. H., 1830 a. d.
The volume contains a eulogy on Lord William Cavendish
Bentinck,¹ and is dedicated to Mr. William Augustus Brooke,
the Agent of the East India Company, through whose in-
fluence the author's personal Jāgīr (pension) was made
hereditary. The book is named Hishmat-i-Kashmir, as a
compliment to Mr. Brooke, after the latter's Persian title
Hishmat al-Dawlah.
2
The author, in his preface, states that he had been attached
earlier to the court of Maharajah Amrit Rāw, who, by the
order of Colonel Wellesley, took up his residence in Benares.
It was there that the author met the English Agent Mr.
Brooke. He also adds that he was sent to Nepal on several
political missions by Governor Duncan, and that his reports,
which he personally submitted to Colonel Kirkpatrick,* were
translated and published in England."
3
1
¹ Lord Bentinck (1774-1839) was the first Governor-General to be appointed
by the British Government in India in 1833. See Dict. Nat. Biog.
' Colonel Wellesley (1760-1842), who was then the Governor-General of
India, is the well-known Marquis Wellesley, the elder brother of the great duke
of Wellington. See Dict. Nat. Biog.
* Jonathan Duncan (1756-1811) was nominated to the East India Company's
Service in 1772, and was appointed to the important office of resident and
superintendent at Benares by Lord Cornwallis in 1788. See Dict. Nat. Biog.
* Colonel William Kirkpatrick (1754-1812) was an officer attached to the
Bengal infantry, whose skill in Oriental languages and whose knowledge of the
manners and customs of India gained him an early fame in life. He was the
military secretary to Marquis Wellesley, and helped to select the library de-
posited in the India House, at Leadenhall Street, which is now known as the
India Office. See Dict. Nat. Biog.
5 See Col. Wm. Kirkpatrick's account of Nepaul xi and 367, where he mentions
Mawlawi 'Abd al-Qādir as a member of his mission sent to Khātunāndu in 1793.
[67]
He also claims that he furnished Mr. Moorcroft with
some information on the manners, customs, and religion of
the Tibetans, which he hopes the latter had published in
England. It was to Mr. Moorcroft that he related the story
of Mānī, the well-known painter of Iran, and he has in-
cluded this account in the present work.
C
7
The author acknowledges his indebtedness to many of the
earlier historians of Kashmir, and states that while he was
in the services of ‘Ali Ibrāhīm Khan he had the good for-
tune of making the valuable acquaintance of Sayyid Ghulam-
Husayn Khan, from whose book he profited most. His
work is based chiefly, however, upon an earlier history of
Kashmir by Muḥammad Badi' al-Din Abū al-Qasim Aslam,
surnamed Mun'imi, entitled, Gawhar-i-Tuḥfah'i 'Alam-
Shahi," to which he claims to have made considerable
additions.
The book is divided into four chamans, a word which
literally means pasture but here is used to signify section,
and a khatimah, or a conclusion. Chaman I consists of a
detailed account of Kashmir including:
((
6
1. A history of the Hindu rajas.
2. A history of the Muslim kings.
3. Şübahdars (governors) under the Timurides down
to the Conquest by Aḥmad Shāh Durrānī.
4. Curiosities and wonders of Kashmir.
5. Trade and manufactures of Kashmir.
* The person referred to is undoubtedly Mr. William Moorcroft (1765-1825),
a veterinary surgeon to the Bengal army, who crossed the Himalayas and ex-
amined the sources of the Sutlej and the Indus 1811-2, and who explored Lahore
and Kashmir 1819-22, and who published a summary of his travels in 1841.
See Dict. Nat. Biog.
The well-known writer of a History of the Marattah Wars in Hindūstān
from 1171-99 A. H., written during the administration of the Governor-General
Charles Earl Cornwallis, in Benares. See Rieu, B. M. P. C. 327-8.
8
⁹ A grandson of the celebrated Shaykh of Bengal Sayyid 'Alim-älläh, and the
author of the well-known work, Siyar al-Muta'khkhirin, an elaborate history of
the Muslim Empire in India, which was translated into English by a French
convert to Islam, Ḥājji Muṣṭafa, and published in Calcutta in 1789. See Rieu,
B. M. P. C. 280-1.
[68]
Chaman II contains a description of Tibet and Kalma-
kistan, including an account of Mānī, the painter of Iran,
and of his influence upon the religion of the Tibetans.
Chaman III gives an account of Badakhshan.
Chaman IV describes the highlands of Afghanistan and
contains a brief history of the Afghans.
Khatimah is written in praise of the just rulers of India,
and it ends with a eulogy on the East India Company's rules.
Folios 189; 102 inches by 6 inches; 13 lines to a page,
each 34 inches long; written in beautiful Nasta'liq, on native
glazed paper of medium weight, ruled by gold and red bor-
ders. Folios 1b, 2a, 188b, and 189a have gold interlineations,
and the opening page contains an exquisite title-piece in gold
and colors. The headings are inscribed in red ink. The
contemporary binding is of mottled calf with gold-ruled
borders on the outside covers and the back. The inside.
covers are in plain black leather. The colophon gives the
name of the author, 'Abd al-Qadir Khan, and the dates 1245
A. H. and 1830 A. D. The manuscript was transcribed in
Muhamadabad, in Benares, but the name of the scribe is
not given."
9
IX. FABLES AND TALES
49
انوار سهیلی
Anwar-i-Suhayli
The well-known version of Kalilah and Dimnah, or
"Fables of Bidpai," by Kamal al-Din Husayn b. 'Ali al-
Wa'iz, surnamed, Kashifi.
For other copies see Rieu, B. M. P. C. 1016; and S. B. M. P. C. 57-8.
[69]
The author was born at Sabzawar, and lived at Herat
during the reign of Abū al-Ghāzī Sulṭān Husayn. He be-
came famous as a preacher and a prose writer, and enjoyed
the special favor of Mir 'Ali Shir.' He died in Herat in
910 A. H. (1504 a. d.).
Kāshifī states in his preface that his patron, Niṣām al-
Din Amir Shaykh Aḥmad, called Al-Suhayli, to whom the
work is dedicated, ordered that an easier version of the
Kalilah and Dimnah be made, since the original version in
Persian by Naṣr-allah was full of antiquated expressions
difficult to understand. He felt obliged, therefore, to leave
out the first two chapters and reduce the work to fourteen.
It may be of interest to note in this connection that the
fables were first rendered into Pahlawi, and subsequently
into Arabic by 'Abd-allāh b. Al-Muqaffā (b. 725 a. d.).
The first Persian version from the Arabic was made by
Abū al-Ma'ālī Naṣr-allāh, whose work was abridged by
Kāshifi. A later Persian version was made by Shaykh Abū
al-Fadl.2
The Anwār-i-Suhayli was printed in Hertford, 1805, in
Calcutta 1804, 1816, and many times later. English trans-
lations by H. G. Keene, E. B. Eastwick, and A. N. Wallaston
were published in 1851, 1854, and 1878, respectively. See
also S. de Sacy, Fables de Bidpai, preface 42-7.
Folios 149; 11 inches by 6 inches; 27 lines to a page, each
44 inches long; written in the most excellent Nasta‘līq-i-
shikastah-āmīz, on a paper of heavy quality with an ivory
finish. Quotations from the Qur'an are written in Naskh
and underlined with red ink. Titles are inscribed in red ink.
Folio 1b contains a blank space for a title-piece which was
evidently intended to be illuminated. Some leaves in the front
¹ See page 164 of this Catalogue.
2 For details of contents, and for a list of Kashifi's other works see Rieu,
B. M. P. C. 756, and Ethé, Desc. Cat. 307, and 378-9.
[70]
have become loose, but are in perfect condition. The binding
is of original lacquer with elaborate floral design on covers;
doublures are lacquered and ornamented in similar design.
The name of the scribe, Hādī b. Bahā al-Din, a merchant
from Kashan, and the date 1238 a. h. (1822 a. D.) are given.
On the upper left margin of folio 2a, a seal impression of a
former owner reads: "Abd al-Rahman al-Husayni 1247
A. H. (1831 A. D.)." The back flyleaf contains some insig-
nificant memoranda in Persian made by various former
owners.
X. POETRY
Firdawsi
(935-1025 A. D.)
Firdawsī, the great epic poet of Iran, was born at Tus, in
the province of Khorasan, in the year 935 A. D. The oldest
and most authentic account of his life is given by Nizāmī
al-'Arūḍī al-Samarqandi, in his well-known work entitled
the "Chahar Maqālah," or "The Four Discourses." 'Arūḍī
states that he visited Firdawsï's tomb in the year 510 A. H.
(1116 A. D.), or ninety-one years after the poet's death.¹
According to the same authority, Firdawsï's father belonged
to the dihqān class, a family of small landed proprietors; he
lived on the rents he derived from his lands and was, there-
fore, quite independent. Firdawsī, however, left Tus, at an
early age, and went to Ghazni in quest of fortune. There
he was introduced to Sulṭān Maḥmūd, whose court, after
the decay of the power of the 'Abbasids in Baghdad, had be-
come the center of Persian literary and scientific activities.
The name Firdawsī, which he used as his nom de plume,
1
See "Chahar Maqālah," Mirzā Muḥammad, Persian text 51, E. J. W. Gibb
Memorial Series, London Luzac and Co. 1910.
[71]
was bestowed upon him by Sulṭān Maḥmūd, his real name
being Abū al-Qāsim Ḥasan b. ‘Alī of Ṭūs.
At Ghazni he gained more favors from the sultan, and
was commissioned to compose a history of Iran in verse.
Before coming to Ghazni Firdawsi had made an extensive
study of the materials and sources for such a gigantic task,
and was, therefore, well-prepared to undertake the work. In
fact, he later incorporated in his poem one thousand original
verses of Daqīqī, who had attempted before him to write a
great national epic. Firdawsi spent thirty years in complet-
ing his lengthy poem of sixty thousand couplets, as stated
by the poet himself, and named it the "Shāh-nāmah," or
the Book of Kings, dedicating it to his patron Sultān
Mahmud, who had promised to pay him one gold piece for
each couplet that he composed. Maḥmūd, influenced by his
jealous courtiers, is said to have substituted silver in place
of gold, and thus to have deprived the poet of his expecta-
tions. Firdawsi, in bitter disappointment, refused to accept
the silver. When the sultan heard of his refusal, he con-
demned Firdawsī to be trampled to death under the feet of
elephants. Firdawsī, anticipating the sultan's rage, had
fled. Later he wrote an immortal satire on Sulṭān Maḥmūd,
pointing out very cleverly that the treatment he had suffered
was all that could be expected from a king who had been
born a slave. While in Tabaristan Firdawsi composed his
romantic poem, Yusuf-u-Zulaykhā, or "Joseph and Poti-
phar's Wife," a story which he is supposed to have based on
the Surat Yusuf, the twelfth Chapter of the Qur'an. He
remained in exile for several years and finally returned to
his native town of Tus, where he died in poverty at the age
of ninety.
In the meantime Maḥmūd repented of his conduct, and
upon learning of the poet's secret return, ordered that sixty
thousand dinārs (gold coins) worth of indigo be sent to
Firdawsī. But it was too late, for as the camels bearing
[72]
the poet's reward entered the Rūdbān Gate of the city, the
funeral procession of Firdawsi was wending its way out of
the Razãn Gate on the other side.
For translations and editions of the Shāh-nāmah see bibliographical
citations in Th. Nöldeke's Das Iranische Nationalepos, in Geiger and
Kuhn's Grundriss der Iranischen Philologie, 2. 130-211, Strassburg
1896. For other details about his life and works, see E. G. Browne,
Literary History of Persia, 2. 129-47, London and New York 1906;
P. Horn, Persische Litteratur, 81-114, Leipzig 1901. There is an
abridgment of the Shah-namah in English by J. and J. A. Atkinson,
London and New York 1886; an English translation into blank verse
in 9 volumes by A. G. and E. Warner, London 1905-24; a French
translation in 7 volumes by J. Mohl, Paris 1876-78; and an Italian
translation by I. Pizzi, Turin 1886-88. There is also a German
translation in three volumes by Rückert, edited by Bayer, in Berlin.
1890-95.
50
شاهنامه فردوسی
Shāh-nāmah'i Firdawsī
A copy of Firdawsi's Shah-namah with an incomplete
preface.
The Shah-nāmah of Firdawsī is a history of the kings of
Iran in verse, based upon older annals now extinct. It be-
gins with the legendary and mythical rule of Kayūmarth, or
Gayūmart, who, according to tradition, lived about the middle
of the third millenium before the Christian era. It ends with
the disappearance of the last Sasanian King, Yazdigurd III,
whose empire fell into the hands of his Arab conquerors in
641 a. D.
Folios 534, of which 1-3, 9a, and 40a are blank, and 441b
in part; 134 inches by 9 inches; height and width of written
[73]
portion of the pages 10 inches by 5 inches respectively; 25
lines to a page; written in beautiful Nastaʻliq of medium
size, on native glazed thin paper, in four columns, with mar-
ginal rulings in gold, red, and blue. Folio 4a contains a
miniature depicting the story of the introduction of Firdawsi
at Sultan Maḥmūd Ghaznavi's court and of his meeting the
popular court poets ‘Unṣurī, ‘Asjadī, and Farrukhi. Folios
4a-8 comprise the preface beginning:
که
کلامی که اهل کمال مطلع شاهنامه بسازند وخوبترین حدیثی
بهترین
سخن پروران بدان پردازند الخ
This preface places the death of the poet in the year 416
A. H. (1025 a. D.). The opening page of the preface, folio
4b, and folios 9b and 140b, which introduce the two sub-
divisions of the poem, are richly illuminated in gold and
colors. The headings are written in red ink but occasionally
the panels intended for titles are left blank. Many pages
have been repaired by patches, and some are soiled by damp.
The manuscript contains forty-six nearly full-page minia-
tures, which are the work of an unskilled artist, in the style
of the Timurid school painted considerably later. The sub-
jects of the paintings are: (The Roman numerals indicate
the sections which contain illuminations.)
1 fol. 4a
I. fol. 4b
II. 2 fol.
24a
3 fol. 30a
4 fol. 31b
5 fol. 48b
6 fol. 50a
Firdawsī meeting the court poets of Sul-
ṭān Maḥmūd Ghaznavi.
Illuminated title-piece to the preface.
The death of Iraj at the hands of his
brothers.
Combat of Manuchahr with Salm and
Tür.
Manuchahr slaying Salm.
Rustam killing the white elephant.
The death of Manuchahr and the acces-
sion of Nawdhar.
[74]
7 fol.
8 fol.
61b
62b
9 fol. 64b
10 fol.
67a
11 fol. 75a
12 fol. 77b
13 fol. 86b
14 fol. 93b
15 fol. 107b
16 fol. 113a
17 fol. 118b
18 fol. 132a
19 fol. 137a
III. 20 fol. 161b
21 fol. 163a
22 fol. 175a
23 fol. 196a
24 fol. 219b
25 fol. 221b
26 fol. 227a
27 fol. 237b
28 fol. 242a
29 fol. 248b
30 fol. 250b
Rakhsh Rustam's horse killing a lion.
The youthful Zal restored to his father
Sam by Simurgh.
Rustam killing the dragon.
Rustam fighting with the Div-i-Sapīd,
or White Demon.
Kay-Kāwūs attempts to fly to heaven by
fastening young eagles to his throne.
Rustam's combat with Aklūs which ends
with the latter's death.
Rustam throws down Suhrāb from his
horse.
Siyawush passing through the fire or-
Garwi-Zirah slaying Siyāwush.
Rustam overcomes Faramarz in combat.
Giv attacking Pīrān with his lasso.
Combat between Bizhan and Farūd.
Fariburz fighting the Turanians.
deal.
Rustam overcoming the Turanian army.
Rustam throws his lasso and catches the
Khāqān, or the Emperor of China, and
pulls him down from his elephant.
Bizhan being entertained by a group of
women musicians.
Bizhan slaying Hūmān.
Combat of Kay-Khusraw with Shīdah.
Shidah killed by Khusraw.
Kay-Khusraw challenging Afrāsiyāb.
Afrāsiyāb killed by Kay-Khusraw.
Rustam meeting Kay-Khusraw.
Gushtāsp meeting the daughter of the
Emperor of Byzantium.
Gushtāsp killing a wolf.
[75]
31 fol. 252b
32 fol. 265b
33 fol. 274b
34 fol. 275a
35 fol. 285b
36 fol. 296b
37 fol. 298b
38. fol. 301b
39 fol. 313b
40 fol. 333b
41 fol. 340a
42 fol. 368b
43 fol. 372a
44 fol. 392a
45 fol. 426b
Gushtāsp fighting the dragon.
Bīzhan in chains led into the presence of
Afrāsiyāb.
46 fol. 441b
Asfandiyār attacking the wolves.
Asfandiyār killing the dragon.
Bahman delivering a message to Rustam
from Asfandiyār.
Battle of Rustam of Iran and Afrāsiyāb
of Tūrān.
Gushtāsp learns of the death of Afrā-
siyāb.
Rustam trapped in a spiked pit.
Death of Darius III.
Death of Alexander.
A scene from the interior of a palace
where two women are shown spinning.
Bahrām slaying two lions.
Another scene where Bahrām is fighting
with two lions.
The daughter of the King of China re-
ceived by Anushīrawān.
Talkhand's mother is informed of his
death.
The volume is rebound in a modern crimson binding on
the inside covers of which the original blind-pressed brown
covers have been preserved. The last pages and the colo-
phon are missing; therefore, neither the name of the copyist
nor the date of transcription appears. The manuscript,
judging from the quality of its illuminations, and the paper
on which it is written, is probably the product of the second
half of the fifteenth or the early part of the sixteenth century.
Bahram meeting the daughter of the
King of India.
[76]
51
A complete copy of Firdawsi's Shāh-namah, with a
preface.
1
Folios 464; 14 inches by 10 inches; 25 lines to a page,
written in beautiful Nasta'liq, on native glazed thick paper,
in four columns, with marginal rulings in gold and blue.
The preface is the so-called " Older Preface "¹ and its open-
ing pages, folios 1b and 2a, are very richly illuminated in
gold and colors, the whole page being inset in sumptuously
ornamented wider margins with decorative panels above and
below the text which runs 9 lines to a page. The remaining
portion of the preface (folios 2b-7a) runs 25 lines to a page
and includes an account of Firdawsi's life and of events pre-
ceding and following his introduction to the court of Sultān
Mahmud. It also contains Firdawsï's satire on Sulṭān
Maḥmūd, and a list of the old Persian kings with their
dates. Folio 7b contains an exquisite 'unwän, or title-piece,
of decorative flower designs in gold and colors. The num-
erous small caption-bands, which head the different sections
of the epic narrative, are left uncolored and are inscribed
in gold or in blue characters. There are twenty-three large
miniatures, averaging about 8 inches by 5 inches, most of
which have been rubbed off and retouched. The work is that
of a skilled brush and much in the style of the late Şafavi
school.
The subject matter of paintings:
I. fol. 1b-2a
II. 1 fol. 10a
2 fol. 25a
3 fol. 33b
Illuminated title-pieces to the preface.
Kayumarth seated upon his throne.
Farīdūn's sons killing their brother Iraj.
The fabulous bird Simurgh restoring the
youthful Zāl to his father Sām.
¹ See Rieu, B. M. P. C. 534.
[77]
4 fol. 60b
5 fol. 90b
6 fol. 98b
7 fol. 116a
8 fol. 129a
9 fol. 152a
10 fol. 163a
11 fol. 180b
12 fol. 220a
13 fol. 242a
14 fol. 256a
15 fol. 273b
16 fol. 290a
17 fol. 315a
18 fol. 354a
19 fol. 364b
20 fol. 393a
21 fol. 435b
22 fol. 445a
Rustam lifting up Afrāsiyāb by his belt.
Rustam finds out that he has slain his
own son by mistake.
Siyawush passing through the fire ordeal.
Siyawush slain by Garwi-Zirah.
Kay-Khusraw, Farangiz, and Gīv cross-
ing the Oxus.
The Iranian and the Turanian armies
meeting.
Rustam's combat with Ashkabūs.
Akwan Div throws Rustam into the sea.
Rustam fighting with Bārzū.
Bārman killed by Rāham.
Pashank slain by Kay-Khusraw.
Kay-Khusraw killing Afrāsiyāb.
Gushtāsp exhibiting his skill in polo to
the Emperor of Byzantium.
Arjāsb killed by Asfandiyar.
Bahman fighting with Hūmāy.
Rustam trapped in a well dug by his half
brother.
Combat between Faramarz and Bahman.
Bahman killed by a dragon.
Two men executed by hanging in accord-
ance with the order of Anushīrawān.
Alexander's death.
23 fol. 463a
The codex is rebound in Persian original gold stamped
shagreen binding which is somewhat worn and some of its
illuminations have been rubbed off. The outside covers show
a blind-pressed medallion, pendants above and below, and
harmonizing corner angles all gracefully decorated with
tendril traceries, and dusted with gold. The inside covers
are lined with plain paper. The colophon is missing and so
are the name of the scribe and the date. The autograph and
[78]
the seal of a former owner, Muḥammad Ja'far, and the date
1151 A. H. (1738 A. D.) appear on the front flyleaf. The
manuscript was written probably during the second half of
the sixteenth or the beginning of the seventeenth century.
52
A complete copy of the Shāh-nāmah with a preface.
Folios 513, each leaf inlaid, of which 16 leaves and folios
471b, 472a, and 505b are blank; 13 inches by 8 inches;
height and width of written pages 84 inches by 5 inches re-
spectively; 25 lines to a page, written in beautiful Nastaʻliq
of medium size, on native glazed paper of ivory finish, in
four columns, with marginal rulings of gold, red, and blue.
The headings are in gold or in red. Folio 9b contains a full
page illumination, consisting of an octagonal medallion in
floral design, with pendants above and below in gold and
colors upon a gold background, and corner angles in similar
designs. Folios 9b and 10a, which form the opening pages
of the preface, are sumptuously illuminated, and the text in
them runs 9 lines to a page. The whole page is inset in
richly embellished wide margins and each border is painted in
different colors, and covered with gold flower designs. In the
remaining pages of the preface (folios 10b-15a), in which
is also included Firdawsi's satire on Sulṭān Maḥmūd, the
text runs 25 lines to a page. The preface is the so-called
"Older Preface." It concludes with a list of the old Per-
sian kings, including the duration of their reigns. There
are five splendid 'unwāns, or title-pieces, in gold and colors
which serve as captions to the different sections on folios.
15b, 109b, 149b, 384b, and 472b. The manuscript is illu-
minated by thirty-four miniatures, painted much later, in
¹ See Rieu, B. M. P. C. 534.
[79]
the style of the Şafavi school, and some of these have been
repaired and retouched. The subjects are as follows:
I. fol. 15b
1 fol. 18b
2 fol. 28a
3 fol. 35a
4 fol. 43a
5 fol.
58b
6 fol.
64a
7 fol. 71b
8 fol. 80b
9 fol. 89b
10 fol. 104b
II. 11 fol. 114b
12 fol. 145b
III. 13 fol. 158a
14 fol. 184a
15 fol. 187a
16 fol. 197b
17 fol. 204a
18 fol. 213a
Illuminated title-piece to the first section.
Kayūmarth, the first king of Iran,
seated on his throne.
Farīdūn is about to slay the serpent-
shouldered Daḥḥāk.
Iraj, the son of Farīdūn, is slain by his
brothers Salm and Tür.
Simurgh, the fabulous bird, restores the
youthful Zāl to his father Sām.
The marriage of Zāl and Rūdābah.
Afrasiyab capturing Nawdhar.
Rustam in combat with Afrāsiyāb.
Rustam killing the Div-i-Safid, or White
Demon.
Kay-Kāwūs attempts to fly to heaven by
fastening young eagles to his throne.
Rustam kills his son Suhrāb in combat.
Siyāwush passes through the fire ordeal
to prove his innocence.
Kay-Khusraw, Giv, and Farangīz cross-
ing the river Jayḥun, or the Oxus, on
horseback.
Zarāsp, the son of Ţūs, slain by Farūd.
Rustam throws his lasso and catches the
Khāqān, or King of China, and pulls him
down from his elephant.
Combat of Rustam with Ashkabūs, the
leader of the Turanians.
Rustam carried off in his sleep by the
demon Akwān Div.
Combat between Garsiwaz and Bīzhan.
Rustam rescues Bīzhan from the well.
[80]
19 fol. 238a
20 fol. 265b
21 fol. 276b
22 fol. 291b
23 fol. 309a
24 fol. 344b
25 fol. 364a
26 fol. 381a
IV. 27 fol. 414b
28 fol. 437a
29 fol. 441a
30 fol. 455b
31 fol. 468a
V. 32 fol. 481b
33 fol. 498b
Rustam ovecomes Faramarz in combat.
Hūmān slain by Bizhan.
Farīburz in combat with Kulbād.
Kay-Khusraw slays Shidah, the son of
Afrāsiyāb.
Garsiwaz cut asunder by the executioner
at Kay-Khusraw's command.
Asfandiyār killing the Simurgh.
Shaghād, Rustam's half brother traps
him into a spiked pit dug in the hunting
ground, but Rustam transfixes Shaghad
through the trunk of a tree, behind which
the latter had taken refuge.
Asfandiyār slain with a two-pronged
arrow shot into his eyes by Rustam.
Bahman, the son of Asfandiyār, being
entertained by Lūlū.
The poor man's cow frightened away by
the king's cow.
Bahman captures Farāmarz and puts
him to death.
Combat of Adharbārzin with the Div-i-
Siyah, or Black Demon.
Bahman killing a dragon.
Alexander lamenting the death of Darius
III.
Alexander and the Sage Khidr at the
foot of the Fountain of Life.
Death of Alexander.
34 fol. 504a
The binding is of heavy leather with blind-pressed medal-
lion designs in gold. The outside covers are alike and show
an inner field of red grained leather, with designs of a
medallion and pendants in black.
[81]
The name of the scribe does not appear, but the date given
in the colophon (folio 505a) is 996 A. H. (1587 A. D.). The
front flyleaf contains a bookplate of Oliver H. Perkins.
53
(A complete copy of Firdawsi's Shāh-nāmah without a
preface.)
Folios 385, of which la is blank; 14 inches by 8 inches; 33
lines to a page, written in an early form of Ta'liq, on native
glazed paper of ivory finish, in four columns, with marginal
rulings of gold, red, and blue. Nearly every page has been
repaired, and many are soiled by damp and bear other spots.
The headings are written in gold, red, and blue but very
often the panels in which the titles are inserted have been
left blank. Folio 1b contains an exquisite title-piece in gold
and colors. The manuscript is decorated with twenty-one
half-page miniatures of high quality in the style of the well-
known school of Riḍā ‘Abbāsī. The subjects are:
I. fol. 1b Illuminated title-piece.
1 fol. 8a
2 fol. 15b
3 fol. 22b
4 fol. 39a
5 fol. 41a
6 fol. 47a
7 fol. 58a
8 fol. 63b
W
Farīdūn's sons received by the King of
Yaman.
The meeting of Miḥrāb-i-Kābul and Zāl.
Miḥrāb, who was offended by Rūdābah, is
being sued for reconciliation.
Rustam killing the dragon.
Rustam slaying the Dīv-i-Safīd, or White
Demon.
Kay-Kāwūs making an attempt to fly to
heaven.
Rustam having severely wounded Suhrāb
finds out his real identity.
Sūdābah plotting against Siyawush.
[82]

THE OUTSIDE FRONT COVER AND FLAP OF A PERSIAN
BINDING, DATED 1591 A.D.
(MS. No. 53)
PLATE XII
UNIL
OF
MICH

THE INSIDE FRONT COVER AND FLAP OF A PERSIAN
BINDING, DATED 1591 A.D.
(MS. No. 53)
PLATE XIII
UNIV
OF
MICH

PLATE XIV
UNIL
OF
MICH
0
د لو لو اند افراسیاب بدان خیره کنار وحدت براکت اسب و پیامدهمان خوشکست بمانه كان
برسم حسین گفت کار به فرمان دهی هنر راکون نکن که جان افراسیاب موجایا بدروهای تا
ماندهی سهروردش من می خراموردش خونند کمار اور شر ماراح بدکرد دلبر
حسین کو سن کر جنگی مشکفتر درکی منم شمار احرام با بدهی حسن د لیدوما
ردست
من اکنون سرر بالبلاد حال اندرارم بابر له الريت انحبك يروي درس خبره ماند شکست
را بدونكه این جادوی زمان بردان همین شمارا زمان شکار او رات بزباران
کمت نیاز بدون این پرتاب برد بالحمد و ترون براورد وند می خواند بر کرد کار موت
**
خروشی رامد ایران سیاه به زبان برگر متد راه با باند را مد دم کره ای خروشید سنج درخم درا
کان بروز بستم که برادر ندارد بر درست الجند هم
استخوان له رخ او شده راست خوب شاید
ختر د لیر اندراوردیا ه ماندانین اردها را جای جوش صف امان الله له اولاد رسانبر
راب
دلش بر نخون وریشن
ایران شدند افراسیاب
مال
سم خورد ورش اجرا احسان خسته ازنیم بیم دما
مین جواولاد راننده دشت شکریر کند
جنت انبری درار زمانی شد هونزا را نارن
دلش نمك بركت ولر حماندید کرد را می خواند برمودا بریاران گیند کا براحوا بریاران که
نیکوت بزن زیاد کیجے
حاکمبریرین درهام و ترکمتی که انشان چند حمابراهیوند
با
بار من كنت بوده و نیست ولی کو نام بلند داره میادبادباد جو کرد با بدهیدم
سپ را به معنی بد را درست هیجانات چنین کت بان بارایسا رشد روی کیفی و دریای
زدستم نمائش کیت مین شیران با براساس رشد روی کیتی و دریای
مه تر در است
FROM THE SHAH-NAMAH,
RUSTAM LIFTING UP PŪLADWAND.
PERSIAN, DATED 1591 A.D.
(MS. No. 53, fol. 121b)

PLATE XV
UNIV
OF
MICH
بد رواد پر استاد حرفت منه دستواری امور جوانان را راهی بیرون کندو تهرون
میاران بخواندشان از سخنانشان تراند منشا جهان فراوان نالیدنشان
ر ل
بانان که بخوابانزدانی شناخد كان حنر ادبای درهای دانماتها ريحها به
اذان یخ بسختی بردم رفتم زابلستان با سياه الري ونك حلا تراجنك نمود برخاست
دی سهامیم اور نانم که ید برویش کرند و ما دستها بر نرد مانند کردنکار سپاه
لخواهم زمان انتهای دارد ما نیند اوستند زیندان داناترین برند بالدمام حول
که شاه وریندر سندان است که دست نیند کی عدم اصاب ادرار
ا هم
گرم ہو کر خرسند و بوی ناسرارم با لئون بدفرم مدمر سنهای است منم من
-
ز فرمان او میکینیک سیاردان دریای جوشیدشاپ این بردهای رومن نیست
ناء
پار پسرانپارس و نادانیشتن کرداجا بند کی اذان نزديك ناهوشداری
بشار ومن ناهي نيج ونک درکش در پارند کسی طبقا باریکی رهی
حر
FROM THE
4014
S
جی کہنہ گذشته همراه بامید و رهنمای - حسین کن شاہی پیاریدا وطن
ملکی زبردستان - زدمنان واندرری - لاواندن تاندون -- نشاهی این است
بانیتا مارکت سخن محل برگشت - خوابی
نانوساخت برانک
رمودینان چاند براوردل دی اکران کنند کردندون اعلاناتنا . - شدان کردوان کی
عر کارامد ایرانیا ں دان شبه ل راسها خروشی زایران برامد زن ومرد وکوله
-
BIZHAN LED IN CHAINS BEFORE AFRASIYAB.
SHAH-NAMAH, PERSIAN, DATED 1591 A.D.
(MS. No. 53, fol. 289b)
۲۲۰۰۰
9 fol. 92b
10 fol. 109b
11 fol. 121b
12 fol. 142b
13 fol. 161b
14 fol. 175a
15 fol. 203b
16 fol. 229b
17 fol. 242a
18 fol. 248a
19 fol. 289b
20 fol. 304a
21 fol. 308b
Farud fighting the Iranian army.
Rustam coming to the help of the Iranians.
Pūlādwand being lifted up by Rustam.
Bizhan killing Hūmān.
Shidah and Kay-Khusraw engaged in a
battle.
Kay-Khusraw slaying Afrāsiyāb.
Gushtāsp killing the dragon.
Dārā threatening his own mother in order
to learn the truth from her.
Alexander, while in Babylon, interviews a
woman to whom a strange creature was born.
A scene in which a group of women are
shown spinning.
Bizhan led in chains before Afrāsiyāb.
Rūzān and a Jew are executed by hanging
at the order of Anushīrawān.
Bahram coming back from India with the
daughter of the king of Hindūstān.
The binding is of contemporary Persian black leather with
blind-pressed floral designs in gilt and colors. These patterns,
on the outside covers, comprise a large medallion with double
pendants above and below, and the corner angles harmonize
in style with the central design. The same pattern appears
on the outside of the flap. The inside covers show an inner
field of red grained leather, with blind-pressed elongated
gold medallion, pendants, and corner angles, cut out and em-
bellished by filigree work upon a green background. The
whole of the field is framed by blind-pressed panels cut out
by filigree harmonizing in style with the central figure. The
inside cover of the flap is of identical design and workman-
ship. This is a fine specimen of the binding of the period.
The colophon bears the name of the scribe Muḥammad ibn
Shaykh ‘Aqil al-Sharif al-Qumī, and the date 1000 a. H.
(1591 a. D.).)
[83]
54
A copy of Firdawsï's Shāh-namah.
Folios 499, each leaf inlaid of which folios 1, 2, 3a, 266b,
267a, 495b, and 496-499 are blank; 12 inches by 74 inches;
height and width of written pages 8 inches by 5 inches re-
spectively; 25 lines to a page, written in legible Nastaʻliq in
four columns, on native glazed paper, with marginal rulings
in gold, red, and blue. Some pages are damaged by worms.
The headings are in red ink, but some of them have not been
inserted. There are two illuminations, which serve as title-
pieces, and four miniatures in the style of the late Mughal
school, all of which have been retouched. On the reverse of
each miniature a full-page design of a flower in gold and
colors has been painted. Pages facing the miniatures are
illuminated in gold and their margins are sumptuously de-
corated. The two title-pieces are in arabesque style and are
very finely executed. The subjects of paintings are:
I (a) fol.
1 fol.
3b
6b
2 fol. 48b
3 fol. 58a
4 fol. 55a
II (b) fol. 268a
Illuminated title-piece.
Kayūmarth, the first king of Iran seated
on his throne.
Rustam in combat with Afrāsiyāb seizes
him by the girdle and lifts him up from the
saddle; Afrasiyab is saved by the girdle's
breaking.
Rustam's horse killing a lion.
Rustam's fight with the demon Arzhank,
who is killed.
Illuminated title-piece to the second sub-
division of the work.
This manuscript is divided only into two subdivisions and
is rebound in a modern blue morocco binding. The last page
is imperfect, without the name of the scribe or the date. It
[84]

مارت میں ہیں یا محل کار و پیشرفت این رای و خرج کردن دمای
مانی برای ورود ارس
کام و دزدی اسی کی
بلت ان
این است سالات
رادران رایت روی ار این استان بینی به ت ب
FROM
KAY-KAWŪS FLYING TO HEAVEN ON HIS THRONE.
THE SHAH-NAMAH, INDIAN, C. XVIII CENTURY
(MS. No. 55, fol. 73a)
PLATE XVI
UNIV
ict
OF
was written probably during the latter half of the seven-
teenth or the early part of the eighteenth century.
55
A copy of Firdawsï's Shāh-nāmah)
(Folios 559, each leaf inlaid, of which 154a, 333a, 435b,
and 454a are blank; 124 inches by 8 inches; height and
width of the written portions of the pages 8 inches by 41
inches respectively 25 lines to a page, written in an un-
graceful, but clear, Indian Ta'liq hand of the seventeenth or
eighteenth century, in four columns, on native bombacyne
paper, with marginal rulings in gold, red, and green. The
headings are written in red ink. In addition to the richly
illuminated title-pieces introducing the four separate books
(folios 1b, 154b, 333b, and 454b) there are fifteen nearly
full-page
miniatures all executed by the same artist There
is an indication that there were originally sixteen miniatures
and that one of them is now missing, for folio 381b is illu-
minated in the style of other folios facing the paintings.
The miniatures, which are in the style of the late Mughal
school, are fine examples of their type. Pages facing the
title-pieces and their margins are illuminated in gold. On
pages facing the miniatures the text is embellished by setting
some of the verses in panels which are ornamented in gilt
and colors. The subjects of the miniatures are as follows:
I. 1 fol.
8a
2 fol. 43b
3 fol. 45a
4 fol. 63b
Daḥḥāk, the tyrant of Babylon and
Arabia slaying Jamshid.
Rustam's birth. (The Caesarian opera-
tion is illustrated.)
Rustam kills the white elephant.
Rustam's horse Rakhsh fighting the
dragon.
[85]
10 fol. 229b
11 fol. 251b
12 fol. 293b
13 fol. 328a
III. 14 fol. 371a
2.
5 fol. 73a
6 fol. 88b
7 fol. 90a
II. 8 fol. 171a
9 fol. 189a
3.
1
Kay-Kāwūs flying to heaven on his
throne.
Rustam slays his son Suhrāb.
Suhrāb's funeral procession.
IV. 15 fol. 470b
The binding is of native brown morocco with silver-tooled
panels on sides and silver flowers on back. Neither the name
of the scribe nor the date is given. Folios la and 559b bear
six large seals of noted personages with dates, who formerly
owned the manuscript. Of these the following five seals,
some of which have been stamped several times; are legible:
1.
Rustam overcomes Kāmūs.
The demon Akwan throws Rustam into
the sea.
Pilsam killing Giv.
Battle between Human and Bizhan.
Afrasiyab slain by Kay-Khusraw.
A scene from Asfandiyar's camp.
Darius III, in his last moments, giving
some advice to Alexander.
A game of chess.
'Abd al-Qadir Khanah-zād-i-Padishah-i-Ghāzi (a
slave born in the house of the Warrior King) Muḥammad
Shāh, Sanah 10 (the tenth year of the reign) 1140 A. H.
(1727 A. D.).
Şalāḥ al-Din Khan (the last a title of nobility) Fadawi-
i-Padishāh-i-Ghāzi (the devoted servant of the Warrior
King) Muḥammad Shāh 1145 A. H. (1732 a. d.).
Sayf al-Mulk (a title meaning the sword of the king-
dom) Nusrat al-Dawlah (the victory of the Empire)
Sayyid Najābat ‘Ali Khān¹ Bahadur (a title meaning
1
Najabat ‘Ali Khan was the second son of Mir Ja'far-‘Ali Khān, governor
of Bengal, Behar, and Urisa. He succeeded his brother Najm al-Dawlah, who
died of small-pox in 1766. A pension was granted to him by the English. He
[86]

PLATE XVII
UNIL
OF
MICH
نونی داروها دار
بنا
روشان مراسم
کی کو کالی بیان کرد رو
رد را دارای مهارت
FROM THE
در
ک
تدریج وناد
مکان
مان کاوی و روان
ران رادر
بان ان تر کندها
BATTLE BETWEEN HUMAN AND BIZHAN.
SHAH-NAMAH, INDIAN, C. XVIII CENTURY
(MS. No. 55, fol. 251b)
ناتوانین اورت
brave) Sipahdār-i-Jank (commander of the army) 1169
a. H. (1755 a. d.).
4.
5.
Badr al-Dawlah (the Full Moon of the Kingdom)
Shujā' al-Mulk (the Brave of the Country) Sa'adatmand
Khān Muḥammad Bahadur 1245 A. H. (1829 a. d.).
Muhr-i-Niyābat (the seal of deputyship) Qāḍī (judge)
Afḍal-'Ali ibn Najaf-'Ali 1289 A. H. (1872 a. D.).
A memorandum in Persian above this last seal which is
the largest of all, reads: Acquired from the Royal
Library." Another memorandum below it reads: “In the
year 1290 A. H. (1873 A. D.), bought from the Library of
Muḥammad Shāh for the sum of 200 rupees. On the left-
hand upper corner of the page the following lines have been
inscribed in a different handwriting: "Bought this book,
which is from the Royal Library, for 500 rupees." This is
an interesting manuscript which has had many owners,
but it is still in perfect condition. It was written probably
for Muḥammad Shah of India (ruled 1719-1748 a. D.), who
first presented it to ‘Abd al-Qādir Khān, and then passed
down to others.
("
56
A copy of Firdawsī's Shāh-nāmah, incomplete, being the
third volume of a complete manuscript.
Folios 145, of which la is blank; 15 inches by 9 inches;
25 lines to a page, written in poor Indian Ta'liq, on native
glazed paper of medium weight and strong texture, in four
columns, and framed with rulings of gold, red, and blue.
Many pages have been soiled by damp, injured by insects,
and stained. In rebinding the pages have been trimmed and
died in 1770. See Or. Bib. Dict., revised edition by Henry George Kenne,
London, 1894.
[87]
the corners of the folios have been cut off. Folio 1b is de-
corated with a title-piece of rich design in soft coloring in
the style of Indian illuminators. There are numerous rec-
tangular section headings inscribed in red characters
throughout the manuscript. In addition there are thirteen
brightly colored illustrative miniatures, characteristic of the
late Mughal style, all of which appear to be the work of the
same artist.
The volume is rebound in a heavy Persian lacquer of a light
olive-green color framed within three borders, the central
border in dark red and the two outer borders in black, all of
which are ornamented with floral patterns in gold. The field
on the outside of both covers is decorated with pictorial
representations of planets and heavenly bodies, such as the
Sun, the Moon, Mercury, Neptune, and Saturn. These
planets are shown in the forms of men and women, who, as
warriors, kings, and queens, are either seated on the floor,
or on chairs; some of them are riding upon horseback, ele-
phants, lions, cows, birds, and other animals; others are in
chariots drawn by these animals. The inside covers have a
crimson red background on which a large flower plant,
resembling a narcissus, is painted in gold. The whole design
is framed in gold-rulings. The corners have been slightly
chipped off from both covers of the lacquer binding. The
manuscript is undated, but on one of the outer covers the
date 1232 A. H. (1816 A. D.) is given. The illuminations
and miniatures, which have been inserted later, belong to the
late eighteenth century, but the manuscript looks older.
[88]

جهان آفرین روستایی
بدانی چند گون
مد الفودومینه امید
فراوان بار دیدن
است و مامی
JACOPERA
NOTENCERAM
*
مدی
مندی ایران
Den
Sabra 24
GAME OF CHESS. FROM THE SHAH-NAMAH,
INDIAN, C. XVIII CENTURY
(MS. No. 55, fol. 470b)
PLATE XVIII
UNIL
OF
MICH
57
A complete copy of the Shah-namah of Firdawsi with a
preface.
Folios 467, of which 6b, 7a, 131b, 132a, 249a, 376b, and
377a are blank; 18 inches by 10 inches; 31 lines to a page,
written in bold Nasta'liq on native glazed thick paper of dull
finish, slightly resembling parchment, in four columns, with
marginal frames of gold, red, and blue. Some pages are
slightly injured by worms. The preface (folios 1b-6a) is
the so-called “Older Preface," which has been translated
by M. de Wollenbourg in "Notice sur le Chahname,"
Vienna, A. D. 1810.¹ It is ornamented with an elaborate
title-piece in gold and colors, executed in Indian style, and
is followed immediately by a miniature also in Indian style
representing Firdawsi in the presence of Sultan Maḥmūd.
The writing of the first two pages of the preface is set off
by tendril designs in gold inserted between the lines. Proper
names are written in red ink. The preface includes Firdawsï's
satirical poem on Sultan Mahmud and a list of old Persian
kings with the duration of their reigns. Illuminated
title-pieces, similar in design and workmanship to that of
the preface, appear on folios 7b, 132b, 249b, and 377b. In
addition there are numerous captions, introducing the differ-
ent sections of the epic, inscribed in red ink and decorated in
floral patterns throughout the poem. The manuscript is
illustrated with forty-four miniatures in bright colors in the
style of the late Mughal school; they all seem to be the work
of a single artist.
The contemporary Persian morocco binding is gold-tooled
and has uncut edges. The outside covers have a rectangular
field decorated with an elongated medallion, pendants, and
corner angles; the whole is then surrounded with panels,
stamped with floral patterns, and bound by a double gilt cord-
¹ See Rieu, B. M. P. C. 534.
[89]
ing. The inside covers are covered with plain white paper.
The manuscript is not dated, but was written approximately
during the second half of the eighteenth century. The minia-
tures and the illuminations, which are poorly done, were
painted much later and look quite modern.
58
A complete copy of the Shāh-namah of Firdawsī, without
any of the usual prefaces.
Folios 534, of which la and 2a are blank, and 394b con-
tains a blank space apparently for an illustration; 17 inches
by 11 inches; 25 lines to a page, written in good bold Nasta‘-
līq, on paper of strong texture with a café au lait tinge and
slight sheen, in four columns between double-ruled lines and
gilded borders. Some pages are stained by damp and pasted
with numerous patches. Folio 1b contains the list of old
Persian kings, including the duration of their reigns.
Folios 2b and 3a introduce two splendidly illuminated
'unwāns in scarlet, gold, and other colors, to serve as a double
frontispiece, and contain the opening couplets of the epic
which run 5 lines to a page written in 4 columns. In addi-
tion to these, folio 271a is very richly illuminated with a
title-piece which serves as a caption to the second subdivision
of the work. Throughout the poem there are as many as
six hundred small rectangular captions to the different sec-
tions, lettered in red ink upon a gold background, and deli-
cately flowered in colors. There are also one hundred and
nineteen miniature paintings, all of which were apparently
executed by the same artist. This artist seems to have
adopted the likenesses of Fatḥ-'Alī Shāh Qājār (ruled 1797-
1834 A. D.) and of his son, ‘Abbās Mīrzā, as models for the
heroes of the epic. The binding is of old leather damaged
[90]
and repaired, black on the outside and red in the inside.
Neither the name of the scribe nor the date is given, but,
judging from the style of the miniatures and illuminations,
the manuscript belongs approximately to the first half of
the nineteenth century.
59
A complete copy of Firdawsi's Shah-namah without a
preface.
Folios 628, of which 1, 2a, 179a, 333b, 334a, 506b, and
507a are blank; 11 inches by 7½ inches; 24 lines to a page,
written in legible Nasta'liq, on native glazed thin paper, in
four columns with marginal rulings in blue and gold. The
columns separating the verses are painted in red and blue
alternatively and are decorated with leaf designs in gold.
Headings are written in red ink. Folios 2b, 179b, 334b,
and 507b contain illuminated title-pieces in gold and colors
in Indian style, which serve as captions to the four different
sections of the work. The manuscript is illustrated by
sixty-nine miniatures of very modern type in bright colors
in the late Mughal style. The paintings are of poor quality
and appear to be all the work of a single artist. The binding
is of heavy Persian dark maroon leather, richly embossed in
gilt on the outside. The inside covers are lined with plain
paper. The ornamentation on the outside shows a field
decorated with a medallion, pendants, and corner angles in a
floral design in gold.
The name of the scribe 'Abd al-Wahhab al-Husayni al-
Mazandarānī (a native of the province of Mazandaran,
Iran) is given on the colophon. The date, however, which
appears on folio 178b in the first section of the work, is
1244 A. H. (1828 a. D.).
[91]
Khāqānī
(1106-1186 a. D.)
Afḍal al-Din Ibrāhīm b. 'Ali Shirvānī, whose original
pen name was Ḥaqā'iqī, was born in 500 a. H. (1106 a. d)
at Ganjah (Elisavetpol). His father was a carpenter by pro-
fession, and his mother was a Nestorian Christian who had
been converted to Islam. He lost his parents at an early age
and was educated by his uncle. At his uncle's death,
Khāqānī was twenty-five years of age, and he was tutored
by the famous poet Abū al-'Alā, who was one of the court
poets of Manuchahr Shirvānshāh. He was presented at the
court by his tutor and was permitted to change his nom de
plume to Khāqānī, in honor of Shirvānshāh. He served at
the court for some time and then succeeded in obtaining per-
mission to undertake a pilgrimage to Mecca.
or
It was on his return from Mecca that he visited Isfahan,
and during his travels that he wrote his Tuhfat al-'Irāqayn,
"Present to the two 'Iraqs," a description of the 'Iraq-i-
'Arab and 'Iraq-i-'Ajam. Upon his return to Shirvan, in
some way he caused the displeasure of the ruling monarch
Akhtisan Shirvanshāh, and was imprisoned in the fortress
of Shabiran, where he wrote his Habsiyyah, or the "Prison-
poem." According to the Tadhkiratu'sh-Shu'arā of Dawlat-
shah, the Tarikh-i-Guzīdah of Hamd-allah Mustawfi, and
the Haft Iqlim of Amin Aḥmad-i-Rāzi, Khāqānī died in
Tabriz in 582 A. H. (1186 a. D.), and was buried at Surkhab,
between two famous poets, Zahir al-Din Fāryābī and
Shāhfür-i-Ashhari.
Khāqānī is well-known as a qaşīdah writer, and his repu-
tation rests mainly on this form of poetry. He has a com-
plete Dīwān, and the above-mentioned mathnawi, the Tuḥfat
al-'Irāqayn, some quatrains, and a number of poems in
Arabic.
[92]
For further details on Khäqäni's life and works, see Browne, Lit.
Hist. of Persia, 2. 391-9; N. de Khanikof, Mémoire sur Khacani,
poète persan du XIIe siècle, Journal Asiatique, 6e Série, 4. 173-9;
Jahrbücher, vol. 64, Anzeigeblatt 16-8. A selection from the Tuhfat
al-'Iraqayn was printed in Lahore, 1867.
60
کلیات خاقانی
Kulliyyāt-i-Khāqānī
Kulliyyat, or the complete works of Khāqānī.
Folios 337; 11 inches by 6 inches; 18 lines to a page,
written in bold Nasta'liq, within two gold-ruled columns.
The written portion of the page is 7 inches by 4 inches and
is framed by borders of gold and blue. Most of the folios
are stained on the edges by water, and on some the writing
is rubbed off. Elaborate notes and additions in red and black
ink are inserted on the wide margins. Headings are inscribed
in panels in red ink. Folios 1b and 2a are double-page illu-
minations with gold interlineations and decorated margins.
The former folio contains an exquisite title-piece in gold and
colors, which introduces the prefaces. Folios 9b and 10a are
similarly illuminated, and a splendid 'unwān, in the same
style and design, introduces the qaşa'id. Folios 255b and
256a are also richly illuminated; the former folio, containing
a title-piece similar to the two previous ones, introduces the
poet's well-known mathnawi, the Tuḥfat al-'Irāqayn.
There are four full-page miniatures, all depicting court.
scenes, and painted by the same artist in the style of the
Bukhārā school. Details are as follows:
[93]
1 fol. 82b
2 fol. 83a
3 fol. 185b
4 fol. 186a
A king, surrounded by his attendants, is
seated upon his throne. He has ordered that
one of the courtiers be put to death, and the
rest are pleading for mercy.
The same king seated upon his throne, while
his attendants are entertaining some guests
in the foreground.
A scene from the interior of a palace. The
queen is offering some fruit to the king, who
is seated cross-legged on the floor. Musicians
are seen below partaking of food and drinking
wine.
A court scene. The king and queen are
seated upon their thrones, while musicians
and dancers, all women, entertain them.
The binding is of original Persian flap-cover of golden-
brown leather. The outside covers show a blind-pressed rec-
tangular field decorated with a medallion in tendril traceries,
pendants, and corner angles matching. The inner covers are
of lighter-brown leather, set off by an inlaid blue medallion,
pendants, and corner angles, and stamped with a foliated
pattern. The design both on the outside and inside flap
matches the designs of the covers. The colophon does not
give the name of the scribe nor the date, but judging from
the style of its illuminations and illustrations the manuscript
probably belongs to the late sixteenth century.
'Aṭṭār
(c. 1130-1230 a. D.)
Abū Ṭālib Muḥammad, son of Abū Bakr Ibrāhīm, gen-
erally known as Farīd al-Din 'Aṭṭār, was born in a small
town near Nishapur. The exact date of his birth is un-
My
[94]

05
+4
XXXX
SALES
ASKARNAFIAN
2000
A KING LISTENING TO A PLEA FOR MERCY. FROM THE
KULLIYYAT OF KHAQANI, PERSIAN, LATE XVI CENTURY
(MS. No. 60, fol. 82b)
PLATE XIX
UNIV
OF
MICH
known, and there has been much controversy about the date
of his death.¹ Jāmī, in his Nafaḥāt, says that he was killed
by the Mongols during the sack of Nishapur in 627 a. H.
(1230 a. D.). He was, as his common appellation implies, a
pharmacist by profession, and kept a store where he himself
prescribed and prepared drugs. Little accurate information
on the particulars of his life is available. He was a great
scholar and poet, and devoted much of his time to the study
of mysticism. He is regarded as a holy man by the mystics.
Besides a Dīvān, he left copious works. Among those that
have been preserved are: the Tadhkirat al-Awliyā, Mantiq
al-Tayr, Khusraw wa Gul, Asrār-nāmah, Waṣlat-nāmah,
Ushtur-nāmah, Pand-nāmah, Haylāj-nāmah, and Jawhar
al-Dhahab.
The Pand-nāmah, or the “ Book of Advice," is the most
popular of his poems. It consists of moral precepts com-
posed in mathnawi rhyme. It has been printed several times
in Lahore, Calcutta, Tehran, and Istanbul. It has been
edited by J. H. Hindly, London, 1809, and a French trans-
lation by S. de Sacy, Paris, 1819, and a German translation
by G. H. F. Nisselmann exist. For a Turkish translation
see manuscript No. 96 of this Catalogue.
For details regarding 'Aṭṭār's life and works see Browne, Lit. Hist.
of Persia 2. 506-15; the Tadhkirat al-Awliyā of 'Aṭṭār edited by R. A.
Nicholson in Persian Historical text series, Vols. 3 and 5, London,
1905-7; Margaret Smith, The Persian Mystics: Attar, London, J.
Murray, 1932.
¹ For particulars on this question see Browne, Lit. Hist. of Persia, 2. 507-11.
[95]
61
پندنامه عطار
Pand-namah-i-'Aṭṭār
The Book of Advice by 'Aṭṭār, being a collection of poems
on moral precepts.
Folios 41; 94 inches by 6 inches; written in fairly legible
Ta'liq, by a novice, on thin native glazed paper. The verses
generally run 11 lines to the page within two columns
separated by double rulings in gold, and framed by borders
of heavy gold and green and by an extra border of gold.
Titles are written in red. The two opening pages are pro-
fusely illuminated in gold and colors with wide borders
decorated with floral designs in gold. The first folio con-
tains a double 'unwan illuminated in gold and colors, and
folio 40, which is the colophon, is illuminated in the same
style. Folio 41 is almost blank, except that it contains the
design of a crescent in gold in its center, and is framed by
heavy rulings of gold and green. The gold-tooled calf bind-
ing with flap is skinned on both covers. The ornamentation
on both covers is alike and shows a dark-brown field decor-
ated with dotted squares in gold, and framed by wide borders
in red, gold, and brown colors. The inside covers are lined
with gold-sprinkled pink paper. The flap-cover is identical
with the other two in all details. The colophon supplies the
name of the copyist, Aḥmad Rushdi, an apprentice of
Muḥammad Ḥāmid, and the date 1235 A. H. (1819 a. d.).
Nizāmī
(1140-1203 a. D.)
Nizāmī, the acknowledged master of romantic mathnawi
(a form of poetry in doublets and generally narrative in
[96]
character), whose influence and popularity have remained
unsurpassed to the present day in Turkey as well as in Iran,
was born at Ganjah in 535 A. H. (1140 A. D) and died in
599 a. H. (1202 A. D.) at the age of sixty-three. His name
was Abū Muḥammad Ilyās, and his title Nizām al-Dīn. It
was from this latter that he derived his nom de plume Nizāmī.
His five great mathnawi poems are collectively known as
the Khamsah, or "Quintet," or as the Panj Ganj, or "Five
Treasures." The composition of these poems falls between
1165 and 1198 A. D., approximately covering a period of
thirty years. The contents of the Quintet are:
1. Makhzan al-Asrar, or "Treasury of Mysteries," the
shortest and earliest of the Quintet, about twenty-three hun-
dred couplets, is of quite different character from the other
four poems, since it is more a mystical poem with illus-
trative anecdotes than a romance. It comprises some
introductory material and a number of Maqālahs, or
"Discourses," on theological and ethical subjects.
2. Khusraw and Shirin, the best of his romantic poems,
about seven thousand couplets, deals with the adventures of
the Sasanian King Khusraw Parvīz II (ruled 590-628 a. d.),
and especially with his love for the beautiful Shirin and of
the tragic fate of his rival Farhad.
3. Layla and Majnun, another romance, which comprises
some four thousand couplets, is the most popular of all the
love stories in the East. The scene is laid in Arabia, and
the lovers are not royal personages but simple Arabs of the
desert. The background and the entire coloring, however,
is Persian. In the end the two lovers are brought together
in Paradise.
4. Haft Paykar, or Bahrām-namah, " Seven Portraits,"
or “Book of Bahrām,” is a legendary history of the Sasanian
King Bahrām Gür (ruled 420-438 A. D.). The Seven Por-
traits, discovered by Prince Bahrām in a sacred chamber
[97]
of his palace, all represent princesses of rare beauty.
These princesses are the daughters respectively of the Rāja
of India, the Khaqan of China, the Shah of Khwārazm, the
King of the Slavs, the Shāh of Iran, the Emperor of Byzan-
tium, and the King of the Sunset-land, or the "West."
Bahrām falls in love with the portraits of these princesses,
and on his accession to the throne of Iran demands and ob-
tains the hands of these beauties of the Seven Climes. He
then builds seven palaces, each symbolically colored, for each
one of these princesses. Bahram visits each princess in turn
on the seven successive nights of the week. The romance
of the seven palaces comes to an end by the death of Bahrām.
5. Iskandar-nāmah, or "Book of Alexander," the fifth
and longest poem, about ten thousand couplets, is divided in-
to two parts. The first part is entitled Sharaf-nāmah, or
"Book of (Alexander's) Honors," and the second, Iqbāl-
nāmah, or "Book of (Alexander's) Fortune." Sometimes
the first part is simply called Iskandar-nāmah, and the second
called Khirad-nāmah'i Iskandari, or "Book of Alexander's
Wisdom."
For further details of Nizāmī's life and works see Browne, Lit.
Hist. of Persia, 2. 399-411; H. Ethé, Neupersische Litteratur, in
Geiger and Kuhn's Grundriss, 2. 241-4; P. Horn, Geschichte der
persischen Litteratur, 181-9, Leipzig 1901. Translations in English
and other languages have been made by J. Atkinson, London 1836
(reprinted several times); by F. V. Erdmann, Kazan 1844; and
Wilberforce Clarke, London 1885. See also A. V. W. Jackson's
article “Nizami" in Warner, World's Best Literature, New York
1897. There is a translation in two volumes of Haft Paykar by C. E.
Wilson, London 1924.
[98]
62
خمسه نظامی
Khamsah'i Nizāmī
The Khamsah, or five poems of Nizāmī.
Folios 512, of which 1a, 328a, and 512b are blank; 12
inches by 7 inches; 15 lines to a page, written on medium
quality paper of ivory finish, in elegant Nastaʻliq, in two
gold-ruled columns. The margins are likewise inscribed, 24
lines to the page, and the whole written portion of the page
is then framed by rulings in gold and blue. The margins
on each page are decorated with flower designs in gold out-
lined by blue ink. Some pages show traces of slight injuries
by worms, but the manuscript is on the whole very well pre-
served. Folios 1b, 43b, 153b, 237b, 328b, and 449b are
highly ornamented with 'unwāns, in gold and colors, which
serve as title-pieces to each of the five books, with an addi-
tional title-piece for the second part of the fifth poem. These
'unwāns are double pages throughout, and are particularly
rich in decoration and design. There are likewise decorative
flower designs on the margins of these title-pieces and of
the opposite pages, and gold is freely used throughout as
an added embellishment. Headings for different sections
of the poems are inscribed in gilt characters and are set in
panels decorated with floral designs in gold.
AM
There are thirteen miniatures, each occupying one-fourth
of a page, and some larger, in the style of the Riḍā ‘Abbāsī
school, all drawn by the brush of the same artist. The chief
details as to the subjects of the miniatures are:
I.
fol. 1b-2a
Two illuminated title-pages, in gold and
colors, to the first poem Makhzan al-Asrār.
M
[99]
1 fol. 11a
2 fol. 30a
II. 3 fol. 100b
4 fol. 105b
5 fol. 136a
III. 6 fol. 184b
7 fol. 187b
8 fol. 188b
9 fol. 225b
IV. 10 fol. 239b
11 fol. 253a
12 fol. 260b
The story of King Anūshirawan the Just
(King Chosroes I, 531-579 a. D.) and his
vizier on a hunting trip.
The story of Jesus and the dead dog.
Farhad digging the mountain.
Khusraw finds out that Shirin has gone
to look upon Farhad's gigantic enterprise.
Khusraw seated upon his throne.
13 fol. 273a
The Arab Chieftain Nawfal fights for
Majnun against the tribe of Layla.
Majnūn, insane, wanders in the wilder-
Majnun meets a hunter.
Layla and Majnun meet after a long
separation.
ness.
The Prophet Muhammad's ascension to
heaven.
Bahrām Gür killing a lion.
Bahrām Gür exhibiting his skill by
reaching out to take away his crown which
has been placed between two lions.
Bahram and the Princess of the Green
Palace.
The binding is of plain contemporary red leather with
floral decoration on the back. Inside covers are also plain
red. In the colophon of the second and third poems the date
1036 A. H. (1626 a. D.) is given. The colophon to the fourth
poem is dated 1037 a. h. (1627 a. d.). The fifth poem is
dated 1037 A. H. (1627 A. D.) and bears the name of the
scribe, Hajji Muḥammad al-Jārpādaqānī.
The first flyleaf on the upper left-hand side contains a
memorandum, which, as far as the history of the composi-
tion of the manuscript is concerned, reveals some very inter-
[100]
esting information. This annotation in Persian, which is
translated below, was evidently written by the original
owner who had ordered the manuscript to be made.
"The actual cost of the Khamsah of Mawlānā Niṣāmī’i
Ganjawi (of the city of Ganjah), may God bless his soul,
in the handwriting of Khoshnawīs Khān (a title meaning
an accomplished penman) Shīrāzī (native of Shiraz), 357
Rupees as follows:
Cost of the copying of 36000 couplets
@ 5 rupees per 1000
Cost of ruling of the folios and of the
application of the gold leaf
Cost of 14 miniature paintings ¹
1
@3 rupees each
Binding and illuminations
Stationery and material for the manu-
script
180
2
90
42
20
25
357"
Rupees
Another memorandum, on the left-hand side of the same
flyleaf, is a complimentary dedication in Persian which
reads: This Khamsah of Nizāmī, is a gift of Munshi
(secretary) Mir ibn 'Ali to His Excellency the Exalted
Colonel Sahib (Master) Connel Barry Clemens Bahadur
8
1 ¹ From this account it appears that the manuscript has lost a miniature since
the memorandum was made, as the copy at the present contains only thirteen
miniatures.
2 These must be gold rupees, although no mention of gold is made by the
writer. Indian currency at the time this work was done (1628 A. D.) was not
standardized, and each province or district had its own gold and silver rupees,
as both metals were in circulation. A centralized system of government was
established in 1833 by the East India Company when the Governor-General of
Bengal became the Governor-General of India. It was two years later after
the passage of the Silver Standard Act of 1835, when it was declared that no
gold coin was to be a legal tender. Besides, the sum of 357 silver rupees seems
to be too little compensation, even in those days, for the type of workmanship
represented by the present manuscript.
The above is the best that could be made out of a foreign name which,
when written in Arabic characters without the proper vowel signs, is hard to
determine accurately.
[101]
(brave), on the date of 23d of June 1810 equivalent of 21
Jumāḍā I, 1225 A. H. in the Prosperous City of Haydarābād.
There follows a circular seal impression in which the
legend is not legible, but the name of the donor, 'Ali, can be
distinctly read. Underneath this seal two other seals are
stamped, one circular and larger in size, the other smaller
and square, but their contents are blacked out with ink and
cannot be deciphered.
63
A copy of the Khamsah of Niṣāmī.
Folios 375, of which 1, 2a, 234a, and 281a are blank; 131
inches by 7 inches; 21 lines to a page, written on native
glazed paper colored by hand in light brown, in poor but
legible Indian Ta'liq, in four columns, between double-ruled
lines, and enframed by rulings in gold and red. The outer
margins of folios 47, 127, 223, 325, and 349 are mended
with patches and some leaves are slightly injured by worm-
holes, but the manuscript in general is in excellent condition.
Folios 2b, 33a, 91b, 155b, 234b, and 281b are illuminated
with title-pieces which serve as captions to the different sec-
tions of the Khamsah. These illuminations, in Indian style,
in gold and colors, are all similar and are rather poorly
drawn. Section-headings throughout the manuscript are
inscribed in red. In addition there are forty-four miniatures
in the later Mughal style, which are brightly colored and of
rather poor workmanship. The paintings, with a few ex-
ceptions, are all the work of the same artist.
The binding is of Levant morocco with gilt emblematic
Persian ornaments in sunk compartments on both of the
outer covers. These ornamentations consist of elongated
medallion designs with pendants above and below, and cor-
[102]
ner angles that harmonize with the general scheme of decora-
tion. The inside covers are of doublure of old-rose Persian
morocco, from the original binding with gilt borders. Neither
the date nor the name of the scribe is given, but the manu-
script, judging from its calligraphy, illuminations, and minia-
ture paintings was written in India probably during the early
part of the nineteenth century. On the front flyleaf a few
couplets from Firdawsi's Shah-nāmah are written in a poor
hand. Above the illuminated title-piece of the first poem,
Makhzan al-Asrar, there is a square seal impression on
which the name of a former owner, 'Ala al-Din Aḥmad
Khan Bahadur, and the date 1273 A. H. (1856 A. D.) appear.
The same seal is affixed to the colophon of the last poem in
the codex.
64
شرفنامه اسکندری
Sharaf-nāmah'i Iskandarī
The first part of the Iskandar-nāmah from the Quintet
of Nizāmī. A few couplets missing from the end.
Folios 88, all inlaid and gilded on the edges; 114 inches by
6 inches; height and width of the written surface 7 inches
by 4 inches respectively; 21 lines to a page, written on thin
native glazed paper of ivory finish, in excellent Nastaʻliq of
medium size, in four columns, between double-ruled lines,
and framed by gold, blue, and red borders. Folio la is the
colophon of Bahrām-nāmah; this poem evidently preceded
the Book of Alexander in the original binding, and con-
tained either these two poems or the whole of the Quintet.
On folio 1b an exquisite 'unwän in gold and blue introduces
the first part of Iskandar-nāmah, which in this place is called
[103]
Sharaf-nāmah'i Iskandari. This title-piece, of rich design
and soft coloring, is in the style of the sixteenth century
court illuminators of Iran. Headings of the different sec-
tions of the poem are ornamented in gold and colors and are
inscribed in panels in blue ink. In addition the manuscript
contains nine miniatures, nearly all full-page, in the style of
the Shāh Tahmāsp school. These, no doubt, are from the
brush of a skilled artist. Because of the thin quality of the
paper, seven out of nine of these paintings are not in good
condition. They are full of holes and have patches pasted on
the back. These repairs, however, have been very carefully
made.
The main points regarding the illuminations and illus-
trations are:
fol. 1b
1 fol. 13b
2 fol. 19b
3 fol. 32b
4 fol. 39b
5 fol. 46a
6 fol. 53b
7 fol. 67b
8 fol. 77b
9 fol. 85b
Title-piece, in gold and blue, of the first
section of the Book of Alexander.
Alexander seated upon his throne.
Alexander fighting the king of Zangis
(Ethiopians).
Death of Darius III in the presence of
Alexander.
Alexander weds the daughter of Darius III.
Alexander, disguised as an envoy, presents
himself at the court of Queen Nushābah.
Alexander's visit to Khusraw.
Alexander's visit to the Khaqan of China.
Alexander's battle against the Russians.
Alexander in the Land of Darkness, where
he has gone to find the Fountain of Life, meets
Khidr, the Sage of Eternal Youth.
The original binding is missing, and the codex has been
rebound in old English straight grained morocco, with gilt
design and borders. The name of the scribe is not given
and the manuscript is undated, but, judging from the style
[104]
of its illuminations and miniatures, it belongs approximately
to the second half of the sixteenth century.
65
A copy of the same work without a title.
Folios 138; 94 inches by 5 inches; 13 lines to a page
written on native glazed paper, in bold Nasta'liq, in two
columns, within gilt and colored borders. The margins are
likewise inscribed by the same copyist. The text runs 26
lines to the page, and the whole written portion of the page
is then framed by blue and gilt borders. The margins on
the central edges and at the corners are decorated with tri-
angles of floral designs in gold and colors. Some leaves are
injured by worms and some are stained by damp. Folio 1b
is ornamented with a title-piece in gold, blue, and dull rose,
in Indian style, and is damaged by wormholes. Headings
for the different sections of the poem are inscribed in small
rectangular panels, in black upon a solid gold background.
There are fifteen brightly colored miniatures in the style of
the late Mughal school, all apparently the work of a single
artist but poorly executed.
1b Illuminated title-piece.
fol.
1 fol. 5a
2 fol. 13b
3 fol. 22b
4 fol. 30b
5 fol. 34a
6 fol. 43b
7 fol. 51b
Muḥammad's ascension to heaven in a
vision.
Alexander seated upon his throne.
The Egyptian envoys presenting Alex-
ander a petition against the Ethiopians.
Alexander fighting the Ethiopians.
Alexander on a hunting trip.
Alexander receiving Darius's letter.
The death of Darius III.
[105]
8 fol. 62b
9 fol. 72b
10 fol.
75b
11 fol.
81a
12 fol. 92b
13 fol. 100b
14 fol. 103b
15 fol. 121b
Alexander in the presence of Darius's
daughter with whom he has fallen in love.
Alexander, disguised as an envoy, gains
access to the court of Queen Nūshābah.
Queen Nushābah at Alexander's court.
Alexander visiting a sage.
King of India receiving Alexander's letter.
The Khaqan of China, disguised as an
envoy, in Alexander's presence.
Alexander fighting the Khaqan of China.
Alexander capturing a dīv (demon) with
his lasso.
The original binding is missing, and the manuscript has
been rebound in modern black cloth. The colophon bears
the name of the scribe Nizām al-Din and the date 1248 A. H.
(1832 A. D.).
66
خلاصه خمسه
Khulāṣah'i Khamsah
Select verses from Khamsah with a short preface in prose
(Folios 54; 8 inches by 5 inches; 10 lines to a page, written
on gold-sprinkled native glazed paper of ivory finish, in
beautiful Nasta'liq, in double columns, within gold and
colored rules Folios 1b, 2a, 3b, and 4a are illuminated, and
the 'unwāns on folios 1b and 4a are richly ornamented in
gold and blue. The headings, each in the order of the poem
from which they are selected, are inscribed in white or black
ink on variously colored grounds. The binding and first folio
are loose and detached from the volume and are in need of
[106]
repairing. The original Persian flap-binding of black leather
is heavily embossed with gold. The ornamentation on both of
the outer covers is alike, and shows a field decorated with an
elaborate tendril design impressed upon the leather and
gilded. This is framed by a border of gold bands. The inner
covers, which are in dark-brown leather, present a good
example of the typical combination of cut-out leather work
and blind-pressing. A large medallion, in floral pattern of
gold and blue tracery, with pendants above and below it,
forms the central design. The corner angles and side-pieces
are alike, and the whole is framed by gold bands. The flap-
cover is identical in design with the covers. The name of
the scribe is not given, but the date of transcription of
the colophon is 982 a. H. (1574 a. d.)
D.) On the back fly-
leaf, near the center of the page, there is a memorandum of
a former owner in Persian which reads: "The property of
the humblest of slaves, ‘Abd al-‘Azīm b. ‘Alī al-Āmilī, (these
lines) in the shikastah style were written in the year 1130
A. H. (1717 A. D.)." Underneath this, a little towards the
left, an octagonal seal impression bears the name of Nar
Būdāq Ghulām-i-Shāh 'Abbās (the slave of Shah ‘Abbās),
and the date 1053 a. h. (1643 a. D.)
Sa'di
(1184-1291 a. D.)
Sa'di, the most popular writer of Iran, was born in Shiraz
about the year 1184 A. D. His full name, as it appears in the
oldest known manuscript of his works (No. 876 of the India
Office, transcribed in 1328 A. D., only thirty-seven years.
after his death), was Musharrif al-Dīn b. Musliḥ al-Dīn
'Abd-āllāh. His father held an official position at the court
of the Atābek rulers of Fārs. At his father's death, Sa‘dī
was taken under the protection of Abu Bakr b. Sa'd bin
[107]
Zangi, who ascended the throne of the Atābeks in 1195 a. D.
The poet adopted the pen name of Sa'di in honor of his
patron. He was sent to Baghdad to pursue his studies at
the famous Nizamiyyah college, and while there he came in
contact with the great Sufi Shaykh Shihāb al-Din Suhra-
wardī, and the eminent Shaykh Jamāl al-Dīn Abū al-Faraj
ibn al-Jawzi. It was with the latter that he made his first
pilgrimage to Mecca. He later repeated this pious act no less
than fourteen times, travelling most of the way on foot,
through the burning deserts of Arabia. Dawlatshāh¹ has
named Shaykh 'Abd al-Qadir Gīlānī as Sa'di's teacher and
companion on his first pilgrimage to the Holy Cities. This
statement, however, seems to be inaccurate for the eminent
Şüfi had passed away at least twenty years before Sa'di
was born.2
Sa'di's thorough knowledge of Arabic, which he used
freely in his works, was acquired during his residence in
Baghdad. He traveled extensively throughout the lands of
Islam. He visited Syria, Hijaz,Yaman, Abyssinia, North
Africa, Asia Minor, and India. While in Tripoli, Syria, he
was taken prisoner by the Crusaders and put to hard labor
in company of some Jews. He was ransomed by a friend
and out of obligation married his daughter. The lady, un-
fortunately, had a disagreeable disposition and the marriage
turned out most unhappily. This fact has been considered
the cause of his critical and embittered remarks about the
female sex in his writings. After many years he married a
second time, and had a son who died very young. Sa'di's
return to his native town of Shiraz is placed around the year
1256, when he was over seventy years of age. He died
there, more than a centenarian, in 1291.
Sa'di is still regarded by many as an unrivalled master of
Persian prose and poetry. The great beauty of his style lies
¹ Tadhkiratu'sh-Shu'arā, Browne's edition, 202.
2
Browne, Lit. Hist. of Persia, 2. 496.
[108]
in its charming simplicity. His works were collected by 'Ali
b. Aḥmad Bisutun, who in 726 a. h. (1325 a. D.) arranged
the Ghazals, and eight years later, in 734 A. H. (1333 a. D.),
compiled an index to them. Of his works, the Gulistan, or
The Rose-Garden," and the Būstān, or The Orchard,"
are the most popular. He wrote many other works besides,
which are described below by the contents of the following
manuscript.
66
(6
For further details regarding Sa'di's life and works see Browne,
Lit. Hist. of Persia, 2. 525-39; Ethé, Neupersische Litteratur, 292-6;
Horn, Geschichte der persischen Litteratur, 168-75; and A. V. W.
Jackson, Persia Past and Present, 333-5. There are English transla-
tions of the Gulistan by the following: James Dumoulin, Calcutta,
1807; Francis Gladwin, Boston, 1865; Edward B. Eastwick, Hert-
ford, 1852; and English translations of the Būstān by: Wilberforce
Clarke, 1879; A. H. Edwards, 1911; Stories from Sa'di's Bustan and
Gulistan, 1928 (The Treasure House of Eastern History Series).
For a Turkish translation of the Gulistan see Manuscript No. 96 of
this Catalogue. Sa'di's works have been repeatedly lithographed in
Iran, Turkey, India, and Egypt.
67
کلیات سعدی
Kulliyyat-i Sa'di
A copy of the Kulliyyat, or Complete Works, of Sa'di.
Contents are arranged as follows:
I. The collector's preface,¹ fol. 1b-6a.
II. Six Risālahs, or treatises, as follows:
¹ This preface has been translated into English by J. H. Harington in the
introduction to his Calcutta edition of Kulliyyat. The collector is 'Ali b.
Aḥmad Bisutūn, to whom reference has been made in the preceding account on
Sa'di.
[109]
1. First Risalah,2 fol. 6a-9a.
2. Second Risalah, fol. 9a-24a, containing five
majlises, or homilies."
3. Third Risālah, fol. 24a-25b, contains the five
questions and their replies, which were put to
Sa'di by Shams al-Din Juwaynī.
4. Fourth Risālah, fol. 25b-27b; a treatise on Rea-
son and Love, consisting of answers to a ques-
tion of Mawlānā Sa'd al-Din.
5. Fifth Risalah, fol. 27b-34b; a treatise on coun-
sels to Kings, written at the request of the
same friend.
6. Sixth Risālah, fol. 34b-38b, consisting of three
short pieces (here only the first two are
given):
a. Sa'di's interview with Sultan Abāqā Khan.
b. Advice given by the poet to Ankiyānū.
III. Gulistan, fol. 38b-129b.
IV. Būstān, fol. 129b-211b.
V. Arabic Qaṣīdahs, or Elegies, fol. 211-219b.
VI. Persian Qaṣīdahs, fol. 219b-244b.
VII. Marathi, or Death-Elegies, fol. 244b-253b.
VIII. Tayyibat, or Fine Odes, fol. 253b-344b.
IX. Bada'i', or Beautiful Odes, fol. 334b-364b.
X. Khawātīm, or Signet-Rings, fol. 364b-376b.
XI. Ghazaliyyat-i Qadimah, or Early Odes, fol. 376b-
383b.
XII. Şahibiyyah, or Epigrammatic Poems, fol. 383b-
398b.
XIII. Muqaṭṭa'āt, or Disjointed Poems, fol. 398b-400b.
XIV. Muṭāyibāt, or Jocular Poems, fol. 400b-408a.
XV. Hazaliyyāt, or Obscene Poems, fol. 408-410b.'
"This is a preface by Sa'di.
The third and fourth majlises have been edited with translation and notes
by M. Guedemann, Breslau, 1858 a. d.
In addition to the above mentioned works the Kulliyyat of Sa'dī in fuller
[110]
Folios 410; 94 inches by 5 inches; 19 lines to a page,
written in beautiful Nastaʻliq of medium size on thin native
glazed paper of ivory finish, in two columns within gilt bor-
ders. The margins are also inscribed by the same hand and
run 12 lines to a page, and the whole written surface is
framed by rulings in gold and blue. Most of the leaves have
been repaired, and the writing has been rubbed off some
of them. All the headings are written in red ink. Folios 1b,
38b, 129b, 211b, 219b, 244b, 253b, 334b, and 364b contain
double-page illuminations in gold and colors introducing the
different books, while folios 376b, 383a, 398b, and 400a are
decorated with smaller ‘unwāns in the same design and style,
which serve as captions for the other works of the volume.
In addition, the manuscript contains seven miniatures in
the style of the late Şafavi school. They all appear to be
the work of a single artist and are, with the exception of
two, nearly all full-page in size. Details are as follows:
1 fol. 22a
The hanging of a Jewish ascetic, Barṣiṣā.
(From a story in the Second Risalah.)
The intoxicated Judge and the King. (From
a story in Gulistān.)
A scene from the court of a king. (From a
story in Būstān.)
4 fol. 171b A scene in a court room. (From a story in
Būstān.)
2 fol. 102b
3 fol. 138a
5 fol. 200a
A scene from an Indian Temple. The In-
dians are worshipping an ivory idol while
Sa'di is looking on. (From a story of Sa'di's
travel to India in Būstān.)
editions contains: Mulamma'āt, or Mixed Poems (poems partly in Persian and
partly in Arabic), Rubā‘iyāt, or Quatrains, Fardiyāt, or Detached Distiches, and
a Pand-nāmah, or Book of Counsels. For fuller accounts of the contents of the
Kulliyyat, see Rieu, B. M. P. C. 595 et seqq.; Flügel, Vienna Cat., 1. 527 et seqq.;
Browne, Camb. Cat. 327 et seqq.; and Ethé, Disc. Cat. 81 et seqq.
[111]
6 fol. 261b
7 fol. 344b
A scene of a polo game. (From a story in
one of the Tayyibāt Poems.)
An entertainment in a palace. (From a story
in one of the Badā'i' Poems.)
The binding is of original Persian stamped black leather
with cut and colored leather doublures. Both the outside and
the inside covers show the medallion design, with matching
pendants and corner angles, and the whole is framed by
borders of gold bands. The inside covers are of dark-brown
leather, with a medallion design which is impressed upon the
leather and gilded. The field is decorated with elaborate
tendril designs.
Neither the date nor the name of the scribe is given, but
judging from the style of the writing, the old covers, and the
miniatures, the manuscript probably belongs to the late
sixteenth or early seventeenth century.
68
(A very fine copy of the Kulliyyāt of Sa'di.)
Folios 397; 11 inches by 7 inches; 12 lines to a page,
written in two columns in beautiful Nasta'liq of medium
size on gold-sprinkled paper The margins are also inscribed
in the hand of the same copyist, and the text runs 24 lines
to a page. The whole written surface is framed by rulings
of gold, red, and blue. The margins are decorated with
triangles in floral designs in colors upon a gold background.
On the outer margins, which are blank and are ruled in blue,
there are floral designs, one in each corner, drawn in gold;
three designs of the same pattern are drawn in blue and are
placed opposite the triangles of the inner margins and make
a pleasing contrast. There are additions and corrections on
some pages in a different handwriting. Some leaves are
[112]

TITL
THE OUTSIDE BACK COVER OF A PERSIAN BINDING
DATED 1584 A.D.
(MS. No. 68)
PLATE XX
UNIV
OF
MICH
stained by damp and injured by wormholes, but the manu-
script in general is in good condition.
There are twelve illuminated 'unwāns in elaborate de-
signs in gold and colors which introduce the various divisions.
of the codex. The pages opposite the illuminations and some
of the miniatures are set off by gold interlineations. There
are also numerous gilt section-headings adorned with flower
patterns and inscribed in white ink, with corner angles that
correspond in design. The title-pieces, however, are mostly
out of place, and some, as will be seen from the description
given below, bear the wrong titles. There are fifteen minia-
tures, all full-page in size, which in style show the high art
of the Herat school of the period. Their subjects are con-
ventional, chosen to match the special theme of the stories.
illustrated. Two of the paintings which precede the frontis-
piece and two which follow the last folio have been painted
later. The rest are the work of one artist, but no name is
given. A list of illuminations and illustrations follows:
1 fol.
2 fol.
1b
2a
A scene of entertainment in the court-
yard of the palace. A tall cypress tree,
a row of women, and a group of der-
vishes are painted in the foreground;
the palace buildings are in the back-
ground. Highly illuminated borders.¹
—
Another scene from a palace court-
yard. A pool in the foreground in which
men and children are seen bathing, with
the palace in the background. The king,
seated on his throne and surrounded by
courtiers and palace attendants, watches
the swimmers. One man is seen diving
1
¹ Compare Plate 145, Vol. 2, Martin, The Miniature Painting and Painters
of Persia, India, and Turkey.
[113]
I.
II.
III.
fol.
2b
fol. 3a
fol. 34b
IV. fol. 35a
3 fol.
55a
4 fol. 98b
V. fol. 99a
5 fol. 102b
6 fol. 142b
into the pool from the roof of the palace.
Highly illuminated borders."
2
VI. fol. 178b
Illuminated title-piece to the Būstān.³
The second illuminated page of the
collector's preface.
An illuminated page and the last page
of the Sixth Risalah."
4
A scene from the interior of a
mosque. A Mulla (Muslim theologian)
seated on the Minbar (pulpit) giving a
sermon to the faithful. A prince is
seated on the carpet in the center.
Illuminated title-page to the Arabic
Qasidahs.
7 fol. 185b The Persian prince Humāy visiting
the Chinese princess Humāyūn in the
garden of her palace.5
Illuminated title-piece to the Gulistan.
A king seated on his throne observ-
ing a group of dancing dervishes.
A prince and a princess are looking
from the window of their palace while
a guard brings in a dervish.
Illuminated title-piece to the book of
Marathi.
A king seated on his throne in the
palace garden watching a group of
dancers.
2 Compare Plate 145, Vol. 2, Martin, The Miniature Painting and Painters
of Persia, India, and Turkey.
3
* This page is misplaced and is substituted as an illumination to the collector's
preface which follows it.
* The Sixth Risalah in this codex, unlike the previous copy of the Kulliyyāt,
contains all the three short pieces of that Risälah.
5 This miniature is similar in its style of portraiture to the well-known
[114]

00000
00000
CRETURAALDOT
DTOTIURI
UPLOAT
3600M
AN ENTERTAINMENT IN THE COURTYARD OF THE PALACE. FROM THE
KULLIYYAT OF SA'DI, PERSIAN, DATED 1584 A.D.
(MS. No. 68, fol. 1b)
PLATE XXI
UNIV
OF
MICH

B
A SCENE FROM THE PALACE COURTYARD. FROM THE KULLIYYAT
OF SA'DI, PERSIAN, DATED 1584 A.D.
(MS. No. 68, fol. 2a)
PLATE XXII
UNIV
OF
MICH
VII. fol. 186a
VIII.
XI.
8 fol. 211b
XII.
XIII.
fol. 212a
IX-X. fol. 221b
10 fol. 236a
9 fol. 220b
11 fol. 263a
12 fol. 274a
fol. 303a
fol. 337b
fol. 350b
13 fol. 354b
Illuminated title-piece to the Persian
Qasidahs.
A king receiving visitors in the in-
terior of his palace.
Illuminated title-piece to the Mulam-
ma'āt.
A king seated upon his throne, while
a court attendant is announcing the
arrival of a subject who is waiting out-
side the iron railing for admittance.
Illuminated title-piece to the Tayyibāt.
A king on the throne partaking of
food; ladies at the windows and attend-
ants in the background.
Polo match between the teams of two
countries; rulers observing the match.
Shirin visiting Farhad in the moun-
tain. One of the figures unfinished.
Illuminated title-piece to Badā'i (en-
titled Sahibiyyah by error).
Illuminated title-piece to Khawātīm.
Illuminated title-piece to the Ghaza-
liyyat-i-Qadimah.
A king seated on his throne drink-
ing wine, while being entertained by
musicians.
painting at the Musée des Arts Décoratifs, Paris, which is based upon the
mathnawi poem of a fourteenth century poet of Iran, Khwājū of Kirman, written
to describe the love adventures of Shāhzādah Humāy, prince of Zamīn-i-Khāwar,
and Humāyūn, a daughter of the Faghfür, or Emperor of China. In this paint-
ing, as well as in the one in Paris, the name Bahzād appears in one of the
captions, and it is not as Professor E. Kühnel indicates, the name of the
famous artist, but of one of the characters of the poem. For the reproduction
of the painting in Paris and for Kühnel's comment upon it see Plate 40 and
page 55 of his Miniaturmalerei im Islamischen Orient, Berlin 1923. For a
colored illustration of the same see Plate 61, in Persian Miniature Painting, by
L. Binyon, J. V. S. Wilkinson, and Basil Gray, Oxford University Press, 1933.
[115]
XIV.
XV.
XVI.
XVII.
fol. 355a
fol. 369b
fol. 371b Illuminated title-piece to the Muṭāyi-
bāt (entitled Hazaliyyāt by error).
fol. 379b Illuminated title-piece to the Haza-
liyyāt.
Hunting scene, with borders elabor-
ately illuminated.
Another hunting scene, with illumi-
nated borders.
14 fol. 396b
Illuminated title-piece to Ṣāḥibiyyah.
Illuminated title-piece to the Mu-
qaṭṭa'āt.
15 fol. 397a
The Persian binding of black leather is blind-pressed with
designs in gilt. On the exterior of the covers, these gilted
patterns consist of a large oblong medallion with double
pendants above and below, and corner angles harmonizing
in style. The field is framed by a flowered border of gilt.
The interior of the covers is a dark-gray leather without
gilding, but is ornamented with blue borders in floral pat-
terns. The manuscript bears the evidence of having been
remounted when the binding was repaired. The repairing
may account for the misarrangement of the various sections
of the codex. The name of the scribe does not appear, but
on the colophon to the Bada'i' and Ṣāḥibiyyah on folios 337b
and 369b respectively the dates 992 a. H. (1584 A. D.) and
994 a. H. (1586 A. D.) are given. These dates, however, are
in poor handwriting, and have been evidently inserted later.
The codex, judging from the quality of its miniatures and
illuminations, was completed at least fifty years earlier.
[116]

C
220 22
11
نای ساری
عضو
د باران
اسخ دار های ابی
حکمیت کو ناک
THE PERSIAN PRINCE HUMAY AND THE CHINESE PRINCESS HUMAYUN.
FROM THE KULLIYYAT OF SA'DI, PERSIAN, DATED 1584 A.D.
(MS. No. 68, fol. 185b)
PLATE XXIII
UNIL
OF
MICH

10643
Paragon
از ملت ندامی
کرم
1800
SHIRIN VISITING FARHAD.
ن تھا
FROM THE KULLIYYAT OF SA'Dİ,
PERSIAN, DATED 1584 A.D.
(MS. No. 68, fol. 274a)
PLATE XXIV
UNIV
OF
MICH
69
بوستان سعدی
Būstān-i Sa'di
A copy of the Būstān, or the "Orchard" of Sa'di. The
first two hundred and four couplets are missing. The seven
couplets in the beginning of the manuscript belong to the
Eulogy on Atabek, which is followed by the first chapter of
the book. The first seven couplets are erroneously included
under the first bab, or chapter, by the copyist.
Folios 125; 9 inches by 64 inches; 12 lines to a page,
written in elegant Nasta'liq on native glazed thick paper of
ivory finish in two double-ruled gold columns. The written
surface is 5½ inches by 3 inches and is framed by rulings of
gold, red, blue, and green. Folio 1b contains two joined
illuminations in gold, red, and blue, pasted on top of the
page to serve as a title-piece. These, however, as can be
seen from their inscribed titles, did not originally belong to
the manuscript. They are title-pieces cut off from a Qur'ān
and read Sūrat al-An'am, or " The Chapter on Cattle" (the
sixth chapter of the Qur'an), and Sūrat al-Inshiqaq, or
"The Chapter of the Rending Asunder" (the eighty-fourth
chapter), respectively. The chapter-headings to the various
sections are inscribed in gold. In addition there are six
miniatures, each drawn on a piece of paper measuring 3
inches by 24 inches, and pasted on folios 26a, 49b, 63b, 72a,
83a, and 88b. Underneath these paintings certain traces of
the text, on which they are pasted, can be seen. Evidently
no miniatures were intended for the manuscript, as no blank
spaces were originally left for them. The paintings are all
in the latest Mughal style, drawn in water colors by an un-
skilled artist. The subjects portrayed do not have any bear-
[117]
ing on the contents of the book. The manuscript has been
rebound in a seventeenth century Persian brocade of re-
peated palmette design in red and blue upon a background
of gold.
The volume is not dated, but on the upper left corner of
the last folio, which is somewhat damaged, there is an im-
pression of the seal of a former owner, whose name was
Qanbar. The Arabic legend on the seal reads: "May God
Bless (him) with Good Deeds," and the date 1061 A. H.
(1650 A. D.) is given underneath the name. At the bottom
of the page a memorandum of a later owner, in Persian,
reads: "Belonging to Mustafa-Quli of Ardalān (the name
of a town), purchased in the capital city of Ișfahān, in 1144
A. H (1731 a. D.)." Underneath this writing there is a
small dark seal, evidently belonging to the same person; it
is smeared and is, therefore, illegible. A little to the left of
this memorandum, on the outside margin of the page, an
impression of another seal appears. An impression of this
same seal has been also affixed to folio 60a, and the name of
its owner, Ahmad, and the date 1128 A. H. (1715 A. D.) can
be read, but the legend in Arabic is not clear. The manu-
script was written probably during the middle of the six-
teenth century.
←
70
A copy of the Būstān of Sa'dī, complete.
Folios 171; 7 inches by 41 inches; 13 lines to a page,
written in legible Indian Ta'liq, on thin native glazed paper,
in two double-ruled gold columns. The written surface is 5
inches by 21 inches, and is framed in rulings of gold and
blue. Some folios are worm-eaten. Folio 1b contains an
illuminated title-piece in gold and soft colors in Indian style,
and the opposite page, as well as the one containing the
[118]
‘unwān, have interlineations in gold. The headings of the
chapters and of some of the sections are inscribed in red ink.
The codex is illustrated with sixteen half-page miniatures
in the late Mughal style on folios 16a, 23b, 28a, 39b, 55a,
60a, 70b, 80b, 87b, 93b, 101b, 112b, 117b, 127b, 133a, and
138b. These paintings all appear to be the work of a single
artist and are of inferior quality. The binding is of Persian
morocco with gilded ornamentations on the outside and cov-
ered with plain paper on the inside. Neither the date nor
the name of the scribe is given. The manuscript was written
in India probably during the second half of the nineteenth
century.
71
گلستان
Gulistan
A complete copy of the Gulistan of Sa‘dī.
Folios 178; 9 inches by 5 inches; 8 lines to a page written
in bold Nastaʻliq on multicolored cashmere paper of medium
weight. Folios 10, 12, 13, and 15 are of old-rose color, 36
and 37 are in light blue, the remaining leaves are either in
very light shade of yellow or white. Most of the verse sec-
tions of the book are written within double black-ruled
columns. The written surface is framed by borders of red,
black, and yellow. There are copious notes on the inner
margins, which are ruled in red. On the outer margins there
are notes in different handwritings in poor Shikastah style.
Some notes are written on separate slips of paper which are
tipped in on some of the leaves. These notes are signed either
by Muḥammad Wali, or Siraj al-Din 'Ali Khan, and in some
instances the quotations are from some well-known Persian
[119]
authors. Folio 1b bears a title-piece in gold and colors in
Indian style, but is of rather poor workmanship. Headings
are inscribed in red. Some leaves are injured by wormholes,
but the codex in general is in good condition. The binding is
of half morocco. The front side cover contains the bookplate
of Oliver Henry Perkins. The name of the scribe, Charāyā-
dās, and the year 39 A. H. (hundreds not given) appear on
the colophon. The manuscript was copied in India probably
during the first half of the eighteenth or of the nineteenth
century.
72
A very fine and rare copy of Sa'di's Gulistān.
FREE
Folios 134, of which one is blank; 44 inches by 24 inches;
13 lines to a page written in excellent Shikastah style, on
native glazed paper of silky finish. The writing of the text,
which is in the hand of an accomplished calligrapher, is
wonderfully balanced and is framed by double gilt borders.
The written surface is 34 inches by 14 inches, and is adorned
with gilt interlineations. The outer margins are ruled in
black. The front page contains an illuminated head-piece of
elaborate design. Section-headings are inscribed in red ink.
The binding is of limp green morocco; the sides are covered
with woolen shawl in striped design woven in Kirman.
Neither the date nor the name of the scribe is given.
The manuscript was presented to Mr. Perkins by Abū
al-Fath Mirzā, Sālār al-Dawlah, third son of Muzaffar al-
Dīn Shāh, at Tehran, Iran, on the 9th of April, 1901) The
autograph of the donor appears on the last folio. The pre-
sentation inscription, together with a certificate from the
United States Minister at Tehran, are laid in. The inscrip-
tion in Persian reads: "We presented this excellent book, as
a souvenir to Mr. Perkins at Tehran, in the month of Dhū
[120]

PLATE XXV
UNIV
OF
MICH
Jain
ما را در
ر سر پر
مام تر است
ار درانی
محور
اعمال
ماران
ات
م العلو :
ارسلان رحمت
اوار راور
دور جان ہو۔
واب
ބނެފމ
ٹ بھیا کو ری است
حائل
ارد و با سلاح صور
die
یارانه های
THE OPENING PAGES OF THE GULISTAN OF SA'DĪ,
PERSIAN, C. XVIII CENTURY
(MS. No. 72)
مول
19
2013
al-Hijjah, the year one thousand three hundred and eighteen,
in the era of Muḥammad, to whom may all the spirits of the
world be offered in sacrifice." The manuscript was copied
most probably for one of the shahs during the eighteenth
century, and was inherited by Prince Abū al-Fatḥ.
Amir Khusraw Dihlawi
(1253-1324 a. d.)
Amir Khusraw Dihlawi, whose real name was Yamn al-
Dīn Abū al-Ḥasan, is considered one of the greatest Muslim
poets of India. His father was a native of Balkh, but settled
in India, where Khusraw was born in 651 A. H. (1253 a. d.).
The poet lost his father when he was nine years old, and was
brought up by his grandfather. He entered the services of
Prince Muhammad Sultan Khan, the son of the governor of
Multan. He rose to great importance and wrote a number
of poems. His Khamsah and his five Diwāns are the most
popular. His is credited to be the only Indo-Iranian poet
whose verses may pass for those of a native of Iran. He
died in 725 A. H. (1324 A. D.). For details of his works see
Sprenger, Oudh Cat. 465-70; Rieu, B. M. P. C. 609-15;
Ethé, Disc. Cat. 258-9; Jackson, Cat. Pers. MSS. 119-23;
and Dawlatshah, Tadhkiratu'sh-Shu'ara, Browne's edition,
238-47.
'Iṣmat Bukhārā’ī
(?-1425 a. D.)
Khwajah Fakhr al-Din 'Iṣmat, was born in Bukhara,
where his ancestors had settled. The exact date of his birth
is not known. He was held in high esteem by Prince Naşir
al-Din Sultan Khalil, and sometimes used the pen name of
Nāṣirī, in honor of his patron. He is said to have imitated
[121]
Amir Khusraw in style and versification. His complete
Dīwān, according to Dawlatshah's Tadhkiratu'sh-Sh'arā
and Khwändamir's Ḥabib al-Siyar, comprises two thousand
verses. According to the former authority, he died in 829
A. H. (1425 a. d.). For details on his works see Sprenger,
Oudh Cat. 434-5; Rieu, S. B. M. P. C. 184-5; and Browne's
edition of the Tadhkiratu'sh-Shu'arā 357-66.
73
ديوان خسرو وعصمت
Diwan-i-Khusraw wa 'Iṣmat
A selection of poems from Amir Khusraw Dihlawi (folios
1-71), and 'Iṣmat Bukhārā'ī (folios 71-191), consisting of
Qaşa'id, Ghazaliyyāt, Rubā'iyāt, and Muqaṭṭi'at. The con-
tents are not alphabetically arranged, and differ in arrange-
ment from other similar manuscripts.
Folios 191, of which 1, 2a, and 89-91 are blank; 64 inches
by 4 inches, written in legible Nasta'liq on native glazed
paper of a heavy quality with a café au lait tinge, in double
columns ruled by double gold borders. The written surface
of the page is 4 inches by 2 inches and runs 12 lines to a
page; the marginal writings run 14 lines to a page. Folio
2b contains a title-piece in gold and colors, and the pen name
of Khusraw appears in gold letters throughout the first sec-
tion of the manuscript. Folios 5b, 6a, 55b, and 56a have
colored borders and contain stenciled floral designs drawn in
black. The verses are written diagonally across the page.
Some of the verses are written in compartments, divided by
gold-rulings. Many of the folios are torn, and some are
damaged by damp and wormholes. Rebound in plain boards
with flap. The colophon is missing, and, therefore, the name
[122]
of the scribe and the date of transcription cannot be deter-
mined. The front flyleaf contains autographs and seal im-
pressions of two of the former owners. These, however, have
been so badly rubbed off that they are not legible. The con-
tents of one of the seals, which is stamped on the upper left
section of the page, is slightly visible and by the help of a
magnifying glass has been deciphered as "Ismā'il b. Sayyid
'Ali 1056 A. H. (1646 A. D.)." The manuscript was tran-
scribed at least fifty years earlier than the above given date.
Hafiz
(c. 1325-1389 a. D.)
Hafiz, the greatest of the lyric poets of Iran, was born in
the city of Shiraz, and hence, like his eminent predecessor
Sa'dī, is often called Shīrāzi. The exact date of his birth is
unknown, but he was born probably during the first quarter
of the fourteenth century. His real name was Muḥammad
Shams al-Din, and he adopted Ḥāfiz, or “Rememberer,” as
his nom de plume. This title, commonly conferred upon
those who commit the Qur'an to memory, was acquired by
the poet in his younger days when he was an ardent student
of the Qur'an and of Muslim theology. His biographical
notices in Persian works, such as the Tadhkiratu'sh-Shu'arā
of Dawlatshāh, the Haft-Iqlim of Amin Aḥmad-i-Rāzī, the
Majma' al-Fuṣaḥā of Riḍā-Qulī Khān, etc., contain very
little information about his life, but in the well-known
Preface his friend and collector of his poems, Muḥammad
Gulandām, states that his celebrity, even during his lifetime,
was great.
He enjoyed the favors of many princes and rulers of his
time, especially those of the Muzaffari dynasty. His great-
est patrons were Shah Shuja' and Shah Manşür. His fame
also extended beyond Iran, and he received many flattering
[123]
invitations from the rulers of the neighboring lands, which
he politely refused. On one occasion, however, he accepted
an invitation from Shah Mahmud Bahman of India. He
had traveled only part of the journey, when the boat on
which he was sailing was caught in a violent storm in the
Persian Gulf, and therefore the poet gave up the trip and re-
turned home. He spent almost the whole of his life in his
beloved Shiraz. His fame caused him to be summoned to
Tīmūr's (Tamerlane's) presence, during the latter's first
invasion of south Iran. Dawlatshah, in his above-mentioned
work, inaccurately assigns this meeting to the year 795 A. H.
(1392 a. D.), when the poet had been dead for three years.
1
Hafiz's poetical compositions are remarkable for their
melody, rhythm, and beauty of style. The rose and the
nightingale, love and wine, all used in symbolic and mystical
language, form the theme of his verses. His power of ex-
pression is perhaps unequaled by any other Iranian poet,
except Sa'di. The late Professor Browne ¹ has ably pointed
out Hafiz's indebtedness to Sa'dī. Besides his ghazals, or
odes, for which he is famous, his Dīwān comprises qaşă'id,
or panegyrics, rubā‘iyāt, or quatrains, mathnawīs, or bino-
rhymes, qița‘āt, or fragments, and mukhammasāt, or penta-
rhymes. According to the collector of his poems, Gulandām,
Khwajah Qiwām al-Dīn, the vizier of Shāh Shujā', who
was a great friend and admirer of Ḥāfiz, had several times
urged him to put together all his poems so that his con-
temporaries might benefit by them. Hafiz, however, was
too busy to comply with this request, and this task was
undertaken by Gulandām, who, after the poet's death, col-
lected his poems and edited his Diwān. Ḥāfiz, according to
Gulandām, died in the year 791 a. H. (1389 a. d.), and was
buried in Shiraz.
Numerous translations of Ḥafiz have been made into many lan-
guages. See Bibliography in Ethé's Neupersische Litteratur, 303-5.
1 See Lit. Hist. Persia 2. 538 et seqq.
[124]
For an English version with commentary see H. Wilberforce Clarke,
The Divan, Calcutta 1891. For selections of his poems, see Herman
Bicknell, London 1875; McCarthy, Ghazals of Hafiz, New York
1893; Bell, Poems from the Divan of Hafiz, London 1897; Payne,
Hafiz, London 1901; Horn, Geschichte der persischen Litteratur,
114-22, Leipzig 1901; F. Veit, Platens Nachbildungen aus dem Diwan
des Hafiz, Berlin 1908; Pizzi, Storia della poesia persiana, 1. 302-47,
Turin 1894; and Selections from the Ruba'iyāt and Odes of Hafiz,
rendered into English verse by a member of the Persian Society of
London, London and Edinburgh 1920.
74
دیوان حافظ
Dīwān-i-Ḥāfiz
A rare copy of the Dīwān, or complete poetical works of
Hafiz, with Muḥammad Gulandām's Preface.
Folios 242; 7 inches by 4 inches; 14 lines to a page, writ-
ten in a fine Nasta'liq, on native gold-sprinkled paper of
medium weight, within gold and green ruled columns. The
written surface measures 5 inches by 24 inches. Some folios
are stained by damp and some have been slightly torn.
Folios 1b-7a contain the Preface, which is introduced by a
double-page illumination exquisitely adorned with gold
interlineations and gilt floral margins, and a title-piece, the
predominating decoration of which is in gold and blue.
Folios 7b-14a contain the qaṣā'id, or panegyrics, and this
section is also introduced by a double-page illumination and
an ‘unwān in a slightly different style. Folios 14b and 15a
are double-page illuminations, and the former folio contains
a title-piece which introduces the ghazals, or the odes, similar
in design and style to that of the Preface. The quatrains
and the fragment poems appear at the end of the codex.
[125]
Folios 101a and 140b contain two half-page paintings
in imitation of the late Mughal miniatures. They are of in-
ferior quality, and, since the manuscript originally contained
no blank spaces for them, they have been pasted on the
written surface of the pages. The subjects portrayed in
both paintings represent a king seated upon his throne and
surrounded by his attendants, and have no connection with
the contents. They were evidently drawn by an amateur,
and pasted on by a greedy dealer, who either realizing or
not realizing what he was doing, ruined an excellent and
rare copy to obtain a higher price for it. The binding
is of contemporary, stamped black leather, the outside covers
of which are decorated with medallions and corner angles;
the inside covers are lined with paper of green color. On
the colophon the name of the copyist, 'Arab Kātib-i-Shīrāzī
('Arab the scribe from Shiraz), and the date 1034 A. H.
(1624 A. D.) are given. On the lower right section, under-
neath the copyist's name, in a coarse and different hand-
writing the following memorandum in Persian appears:
“O Lord, make the visit of the Ka'bah possible for the
owner of this book, Ḥājji Tabārak-āllāh." Underneath this
writing the owner's small seal is affixed. The legend in it, a
verse from the Qur'an, reads: "Blessed be God, the most
excellent Creator," and the date 1036 A. H. (1626 a. D.).
The Arabic work tabārak (blessed) in the legend corresponds
with the owner's name. On the lower left section, opposite
the above writing and seal, appears another memorandum
in Persian with two impressions of a triangular seal. The
writing reads: "This copy was purchased from the herein-
mentioned Ḥājjī, on the date 1057 a. н. (1647 A. D.)." The
impression of the seal is not legible. Another seal is badly
impressed on the front flyleaf and its contents cannot be read.
[126]
75
A copy of the Diwān of Ḥāfiz, to which no preface is
prefixed.
Folios 214; 10 inches by 64 inches; 15 lines to a page,
written in light Indian Ta'liq, on native glazed paper of
medium weight, in double gold-ruled columns. The written
surface of the page is 81 inches by 4 inches and is framed by
rulings of gold, red, and blue. There are wide margins on
each page
in blue-rulings. Folio 1b contains an illuminated
'unwān in Indian style, in gold and soft colors. The ghazals
are inserted in the beginning, and the last twelve folios con-
tain selections from the poet's mathnawis, rubā'īs, and
qit'ahs. The manuscript has been repaired and rebound in
crushed crimson morocco, back and sides of which are gold-
tooled in flower design, with gilt edges and additional gold
borders in the inside of the covers. Neither the name of the
scribe nor the date is given.
On the front flyleaf a memorandum written in bold
Nastaʻliq in Persian reads: "This book of Khwajah Ḥāfiz
was purchased for . . . (the numerals have been rubbed off
and are not legible) rupees, during the twentieth year of the
reign of Muḥammad Shāh Pādishāh (1739 A. D.), in the
house of Ḥayat-āllāh Khan Bahadur." The writing is not
signed, and a seal underneath it is so badly stamped that it
cannot be read. On the back flyleaf there are twelve couplets,
inscribed in poor Shikastah handwriting, in imitation of
Hafiz's verse, which bear the title: "Composed by Khwajah
'Abd-āllāh Khān, the son of Ḥayāt-āllāh Khān.” The front
cover contains the bookplates of Mitchell S. Buck and
Turner Macan. The manuscript was copied in India,
probably during the early part of the eighteenth century.
[127]
76
A copy of the Dīwān, without a preface.
Folios 182; 6 inches by 34 inches; 11 lines to a page,
written in legible Nasta'liq, on native glazed paper, in gold-
ruled double columns. Every page is decorated with small
side ornaments in floral patterns. Some leaves are damaged
by worms. The written surface of the page is 4 inches by
2 inches and is framed by blue and gold borders. Folio 1b
is adorned with an illuminated 'unwan in burnished gold
and blue, which introduces the ghazals. The other selections
appear near the end. The binding is of original black plain
leather with reddish leather on the inside. The last folio,
which is adorned with a floral tail-piece, contains neither the
name of the copyist nor a date. The front flyleaf bears the
impression of a large square seal which contains in Arabic
characters the name Charles Mariet Caldicott and the date
1829 A. D. The manuscript was transcribed in India, probably
during the latter half of the eighteenth century.
Mu'in al-Juwayni
(?-c. 1390 a. d.)
Mawlānā Mu'in al-Din, commonly known as Mu'in al-
Juwayni, was born in Awah, near Juwayn. The exact date
of his birth is unknown, but his death is placed toward the
end of the fourteenth century. He was a follower of the
great Sufi Shaykh Sa'd al-Din Ḥamawi, to whom he dedi-
cated his great work, the Nigāristān. Information on his
life and works is very scanty."
1
1
¹ For further details see Rieu, B. M. P. C. 754-5; Ḥaj. Khal. 6. 381-2; and
Tadhkiratu'sh-Shu'arā, Browne's edition, 340-6.
[128]
77
نگارستان
Nigāristān
A collection of moral anecdotes, in prose and verse, by
Mu'in al-Juwayni.
After eulogies on the reigning Sulṭān Abū Sa'id Bahādur
Khan and his vizier Ghiyath al-Din Muḥammad, the author
states in his preface that the idea of the writing of the book
first occurred to him in an assembly of learned men in his
father's house. These men were invited by his father, Ibn
al-Juwaynī, to discuss the different authors and their works.
Finally they all agreed that first place should be given to
Sa'di and to his Gulistan. The young Juwayni observed that
the only drawback the Gulistan of Sa‘dī had was that it was
too well-known, and that some one would do well to produce
a similar work which would contain some new ideas and at
the same time could be used as a textbook in schools. His
father was the first to encourage him to undertake the task.
He did not, however, finish the book until the year 735 A. H.
(1334 A. D.). He had been in quest of a title for his work
for some time. One day he happened to pass through a
beautiful garden in Nishapur, which was called Nigāristān.
He was attracted by this name, and adopted it as a title for
his work. The book is divided into seven chapters with the
following titles:
1. On the Liberalities of Conduct.
2. On Integrity and Piety.
3. On the Excellence of Social Intercourse.
4. On Love and Affection.
5. On Admonition and Advice.
6. On Virtue and Mercy.
7. On other Qualities.
[129]
Folios 339; 9 inches by 6 inches; 15 lines to a page,
written in beautiful Naskh, on native glazed paper of
medium weight. The written surface of the page is 6 inches
by 3 inches. The verse sections are written in two gold-
ruled columns, and the whole written page is then framed
by borders ruled in gold, red, and blue. Most of the leaves
are stained by water and some have been repaired. Folios
1b and 2a are double-page illuminations with gold interlinea-
tions. The 'unwan on the first page, in gold, blue, and green,
is the work of a skilled artist. The binding is of original
Persian reddish-brown leather. The outside covers are
blind-pressed and decorated with a medallion, pendants, and
matching corner angles. The inside covers are lined with
paper.
The name of the scribe, Muḥammad Husayn b. Sharaf
al-Din, and the date 979 A. H. (1571 A. D.) are given in the
colophon. A hole made through the paper has defaced a seal
impression, which appears on the right of the scribe's name,
and has made it impossible to decipher the contents. A
second seal on the left is badly stamped and is not legible.
The front flyleaf and the back flyleaf contain some verses by
Mir Muḥammad Baqir Dāmād,' written in Shikastah style
of handwriting by the scribe of Amir Husayn al-Husayni,
Haydar Muḥammad. On the reverse side of the colophon,
the birth of a daughter, named 'Ismat, has been recorded in
verse, and the date of 1005 A. H. (1596 a. D.) is given in a
chronogram by Shu'ayb al-Jawshaqānī. On the upper left
side of the same page a business transaction in pearls is
¹ Mir Muḥammad Bāqir Dāmād, was the son of Sayyid Maḥmūd, the son-in-
law of Shaykh 'Amili. He was a native of Astarabad in Iran. He was sur-
named Dāmād, because he married the daughter of Shāh 'Abbās I. For many
years he resided in Isfahan. He is the author of several works. His death took
place in 1630 a. D. See Or. Biog. Dict.; Browne, Per. Lit. in Modern Times,
256-7 and 406-7. The verses appearing on the flyleaf of this manuscript have
been undoubtedly inserted later, for Mīr Dāmād at the time of the transcription,
which was fifty-nine years before his death, was either not born, or if alive, must
have been very young.
[130]

PLATE XXVI
・・・
OF
MICH
***
will
BAHRAM GUR PINS A DEER'S FOOT TO ITS EAR WITH AN ARROW.
FROM THE RAWDAT AL-MUHIBBIN, PERSIAN, DATED 1582 A.D.
(MS. No. 78, fol. 8b)
recorded, which reads: "Owing to Hajji Bāji (a woman's
name) by Nawwab Fakhr al-Dawlah for the price of pearls,
weighing 14 mithqāls and 4 nokhūds (570 carats), 44 coins
in gold."
Ibn 'Imād
(?-1397 a. D.)
There is very little information about Ibn ‘Imād and his
works. Rieu, in S. B. M. P. C. 217, quoting from page 17 of
Rūz-i-Rawshan, calls him a contemporary of Ḥāfiz, and
places his death around 800 A. H. (1397 a. d.)
A. D.).)
78
روضة المحبة
Rawḍat al-Muhibbin
The Garden of Friends," a collection of lyrical poems by
Ibn 'Imād
Dawlatshah quotes the beginning of the poem in his
Tadhkiratu'sh-Shu'arā, and calls it the Dah-nāmah of Ibn
'Imād. Rieu, S. B. M. P. C. 217, and Pertsch, Berlin Cat.
No. 687a, list it under the same title, but the author in his
epilogue names it Rawḍat al-Muhibbin. He also gives the
total number of verses in it as seven hundred and sixty, and
the date of its composition Rabi' I, 794 A. H. (Feb. 1392
A. D.). Sprenger ¹ confuses him with Khwajah 'Imad al-Din
Faqih Kirmānī, who died in 773 A. H. (1371 A. D.) and who
has left a work Dah-nāmah. Ilāhī, in his Khazīnah’i Ganj,
attributes a Dah-namah to Khwajah Ibn 'Imād,' but fur-
nishes no further details about him.
1
1 See Oudh Cat. 18.
2 See Sprenger, Oudh Cat. 68.
[131]
Folios 32; 84 inches by 5 inches; 11 lines to a page each
24 inches long (written in excellent Nastaʻliq, in two columns
ruled in gold and colors The paper is gold-sprinkled, of fine
quality, and of medium weight, with borders of different
colors. The opening page is adorned with a splendid 'unwān
in gold and colors, and is partly torn. Some leaves are
slightly damaged but have been skillfully repaired. There
are forty-nine small illuminated section-headings in gold and
colors. In addition, the manuscript contains six exquisite
full-page miniatures, all of which are the work of a single
artist, and are in the style of the Ṣafavi school, The subjects
portrayed do not have any bearing on the material that
occurs in the text. The details of the miniatures are:
1 fol. 8b
2 fol. 14b
3 fol. 15b A king is getting ready to mount his horse.
In the background a young man, with hands
lifted up in a gesture of prayer, is standing
beside his tent with his wife and child.
4 fol. 19b
Bahrām Gūr shoots an arrow with which he
pins a deer's foot to its ear. (A famous story
in the Persian accounts of Bahrām and his
sweetheart Fitnah, mentioned both by Firdawsi
and Nizāmi.)
A king, seated on his golden chair in his
garden, is accepting a gift sent to him from the
palace. His two viziers are with him. In the
background, a lady is shown looking through
the palace window while three other women are
standing by.
5 fol. 24b
A young prince, seated upon his throne and
surrounded by his courtiers, is being offered a
drink by two women, who are seated on a car-
pet. In the background, the princess watches
through the palace window.
Fitnah, Bahrām Gür's sweetheart, has ac-
-
[132]

AY
9445208
FITNAH CARRYING A COW ON HER SHOULDERS. FROM THE RAWDAT
AL-MUHIBBIN, PERSIAN, DATED 1582 A.D.
(MS. No. 78, fol. 24b)
PLATE XXVII
OF
MICK
6 fol. 29b
complished the unbelievable feat of climbing up
the stairs to the roof of the palace carrying a
cow on her shoulders. Bahrām is seated on
the roof. Two court attendants are shown at
the foot of the stairs biting their fingers in
surprise. (Another familiar incident from the
Persian accounts of Bahrām.)
Two lovers are enjoying themselves outdoors
with music and wine, while two young men,
one of them apparently a prince, are secretly
watching them.
The binding of native leather of dark maroon is not the
original one. The outside covers are inlaid with brown
leather pressed in designs of tendril traceries consisting of
a medallion, pendants, and corner angles. The inside covers
are in plain red leather. Some folios must have been lost in
rebinding, for the poem contains only five hundred and
sixty-five verses instead of the seven hundred and sixty men-
tioned in the epilogue. The number of missing leaves is un-
certain, but apparently there are not more than twenty. The
colophon shows that the transcription was made by the
famous calligrapher 'Imad al-Husayni, and the date given
is 990 a. h. (1582 a. D.),
H.
If the date of the scribe's death, as quoted by Rieu, be
correct, the present poem was transcribed thirty-three years
before his death.
The calligrapher Imad al-Hasanī, or Mir ‘Imād as he is
commonly called, was born in Kazvin. 'Imad studied for
some time under the well-known masters of calligraphy,
'Isay-i-Rang-i-Nigar and Mālik-i-Daylami. Later, hearing
of Mulla Husayn Tabrīzī's fame and skill in the art of
beautiful handwriting, he went to Tabriz, where he received
several years of training under this distinguished master.)
One day, he showed to Mulla Husayn a few lines which he
[133]
had carefully written himself. The latter, upon seeing the
beautiful specimen of calligraphy, asked him whose hand-
writing it was and added: "Imad the day your handwriting
attains this perfection I shall be proud of you and of myself."
'Imad replied that what he had actually seen was his own
handwriting. Mulla Husayn, in wonder and admiration,
congratulated him and told him that there was nothing more
he could teach him.
S
After leaving Tabriz, 'Imād traveled in Turkey, Afghani-
stan, Khorasan, and finally settled in Isfahan in 1008 A. H.
(1599 A. D.). He was very well received at the court of
Shāh ‘Abbās Şafavi (ruled 1587-1629 a. D.) and was held
in high respect and esteem by that monarch, who was a great
patron of arts and learning. 'Imad's fame soon reached its
zenith in Isfahan, and he was appointed to the office of
Chief Calligrapher of the Court. The court artists of Shāh
'Abbās, however, who were jealous of him, began to intrigue
and plot against him. He was finally attacked and mur-
dered in his home in Isfahan in 1027 a. H. (1617 a. d.
There are various versions of the story of 'Imād's assas-
sination. Some claim that he offended the Shah by one of
his poems (for he also wrote verses) and that he was put to
death upon the Shah's instigation.* This, however, seems
incredible, for we know that his murderer was immediately
executed by the Shah, who was much enraged and grieved
when informed of 'Imād's death.
Specimens of 'Imād's handwriting are very rare and much
sought by collectors of Persian calligraphy. Some prefer
them even to those of Mullā Mīr 'Alī, the originator of the
Nastaʻliq style of writing. Even during his lifetime one
single sheet of his calligraphy is quoted to have sold for one
This date is given in a chronogram, which is quoted by Mustaqīm-Zādeh
Sulayman Sa'd al-Din, on page 696 of his Tuḥfah'i Khaṭṭāṭīn, published in
Istanbul in 1928.
* See Riyāḍ al-Shu'arā fol. 312; Rieu, B. M. P. C. 519 n.; Tuḥfah'i Khaṭṭāṭīn
696; and Ḥabīb, Khaṭṭ wa Khaṭṭāṭān 211-5.
[134]

PLATE XXVIII
UNIV
MICH
OF
مشر است و این کت و مدال راهم
لا رام کی
بی تو سیر و پستان ندارم بر کل کاپتان ندارم
وارم رفت دی راتن و کوشت شوش
اول زیر کاشت بردی جانم مقیم و با سپردی
در در دل شب روز نیست مشقت می افروز
ای
ملای
احال شد بیات اندیشه با مشتت
کانه روی شرح کرد و مرکو شور انت
گرفت زده و ناامن عالم ما برانیست
مبل صنعت از نوار تین نوات
چون بسر می میرند افت دلم وانت
ت
FROM THE RAWDAT
A PAGE IN THE HANDWRITING OF MIR IMAD.
AL-MUHIBBIN, PERSIAN, DATED 1582 A.D.
(MS. No. 78, fol. 23a)
piece of gold. There are only a few complete manuscripts
written by Mir 'Imad. A copy of Jami's Tuḥfat al-Aḥrār in
his handwriting is in the Library of 'Ali Pasha in Istanbul.
5
Jāmī
(1414-1492 a. D.)
Mullā Nūr al-Din 'Abd al-Raḥmān Jāmī was born at the
little town of Jam, in Khorasan, Iran, and hence adopted
the pen name Jāmi. He was one of the most remarkable
poets Iran ever produced. The six greatest poets of Iran
are considered to be: Firdawsī for epic poetry, Niṣāmī for
romances, Rūmī for mystical poetry, Sa'di for his verses on
ethical subjects, Hafiz for lyrics, and Jāmī for general ex-
cellence in all these forms. He is regarded as the last of
the classical poets of Iran. He received his primary educa-
tion in Herat, but pursued his advanced studies in Samar-
kand, under the well-known master of letters Qāḍī'i Rūm.
He traveled extensively during the early part of his life and
visited Mecca, Aleppo, and Damascus. He was held in the
highest esteem not only in his own country, but also in the
neighboring Muslim countries. He was, on more than one
occasion, invited by the Turkish Sultan to visit his court,
but each time he politely declined the honor. Most of his
contemporaries, especially those who have produced bio-
graphical works such as Bābur,' regarded him to be so ex-
alted that they considered him beyond praise. They describe
him as "too perfect to need any praise," and introduce his
name only for "luck and blessing."
He wrote numerous works. In the Tuhfah'i Sāmī, a work
compiled by Sam Mirzā, the son of Shah Isma'il Şafavi,
forty-six of his works are enumerated. His sincere friend
2
' See Thomas Arnold, Painting in Islam, page 3, n. 1.
¹ See Bābur-nāmah (ed. Ilminsky), 222-3.
2 See Browne's Pers. Lit. Tar. Dom. 507.
[135]
and patron, Mir 'Ali Shir Nevā'ī,³ has a brief notice of him
at the beginning of his Majālis al-Nafā'is, and has also
devoted an entire work, the Khamsat al-Mutaḥayyirīn, to
his praises. His poetry, not including minor productions,
consists of three Diwāns of lyrical poetry, and seven
romantic mathnawis. Besides, he wrote on the exegesis of
the Qur'an, lives of the Saints, Mysticism, and Arabic Gram-
mar. His most important work, the seven mathnawi poems,
collectively known as the Sab'ah, or the "Septet," or Haft
Awrang, or the " Seven Thrones," comprises:
1. Silsilat al-Dhahab, or the "“ Chain of Gold."
2. Salāmān wa Absāl.
3. Tuḥfat al-Aḥrār, or the “" Gift of the Noble."
4. Subhat al-Abrar, or the "Rosary of the Pious."
5. Yusuf wa Zulaykhā.
6. Layla wa Majnūn.
7. Khirad-nāmah'i Iskandari, or the " Book of Wisdom
of Alexander."
The fifth of the " Seven Thrones," the Romance of Yūsuf
(Joseph) and Zulaykhā (Potiphar's wife), of which this
Collection has three copies, is by far the most popular and
accessible both in the original and in translations of his
works. The story itself is based on the Sūrat Yusuf, the
twelfth chapter of the Qur'an and is one of the best known
romantic stories in Iran, India, and Turkey. It was first
treated by Firdawsī,* and after him by other poets including
Jāmi. Of all these renderings Jami's holds the highest place.
Jāmī died at Herat in the year 1492.
For details and references, among other books, see Ethé, Neu-
persische Litteratur, in Grundriss, 2. 305-7; F. H. Davis, The Persian
Mystics: II, Jami, London 1908; S. Robinson, Persian Poetry, 510-
642, London 1883; C. E. Wilson, Persian Wit and Humour, being
³ See page 164 of this Catalogue.
* See page 72 of this Catalogue.
[136]
a translation into English prose and verse of the sixth book of the
Baharistan of Jami, London 1883; E. Fitzgerald, Salaman and Absal,
an allegory, translated from the Persian of Jami, Boston 1899; The
book of Joseph and Zuleikha, translated into English verse, by Alex-
ander Rogers, London 1892; and Simsar, article, "A Rare Jami
Manuscript," Library Chronicle, University of Pennsylvania Library,
June 1935, Philadelphia. There are numerous editions of Jāmī's
works lithographed in Iran, Turkey, and India.
79
يوسف وزليخا
Yusuf wa Zulaykhā
The romantic poem of Joseph and Potiphar's wife by
Jāmi.
Folios 167; 8 inches by 42 inches; 12 lines to a page,
written in elegant Nasta'liq, on native gold-sprinkled paper
of medium weight, within double gold-ruled columns. The
written surface is 5 inches by 24 inches and is framed by
borders of gold, red, blue, and green. Many leaves are
stained and some have been repaired. On the front page is
a rich medallion in blue and gold in delicate tracery and leaf
design. Folios 1b and 2a are two full-page ornamentations
in gold and colors, and they form the opening of a short
preface. Folio 2b contains a splendid 'unwan. There are,
throughout the manuscript, one hundred and twenty-three
highly decorated head-bands, captions of which are inscribed
in white ink against a gold background, and which appear to
be the work of a single illuminator. The miniatures, four in
all, the first three half-page, and the last one full-page in
size, are all fine specimens of art painted in the style of the
Herat school. The first three appear to be the product of
the same brush, but the last one, which is pasted on the back
[137]
flyleaf, seems to be the work of a different artist. The writ-
ing on the pages bearing the miniatures is smaller and is
written in four columns with gold interlineations. Details
are as follows:
1 fol. 86a
2 fol. 139a
3 fol. 145a
4 fol. 167b
Yusuf seated upon a throne, with a halo of
flame around his head, and surrounded by
Zulaykha's maids.
Zulaykhā meeting Yusuf, who is mounted
on a horse followed by attendants.
Yusuf and Zulaykhā united in marriage
after Potiphar's death.
A scene from a polo game. This miniature,
with its rich borders, has been added later.
It is torn in one corner and is damaged by
pinholes.
The codex is bound in dark-brown leather, with flap-cover,
and is heavily embossed with designs in gold. The outside
covers are stamped with double borders in panels that enclose
a large medallion with pendants above and below. The inside
covers show a highly adorned arabesque design, rich in gold
and blue, in a setting of dark-mahogony leather. The central
field represents an oblong gold-tooled medallion with corner
angles to match. The flap-cover is ornamented on the out-
side and inside to match the respective designs of the
covers. The binding has been trimmed on the edges and
is loose. The colophon, which contains a decorative tail-
piece, does not give the name of the scribe, but is dated 988
A. H. (1580 a. D.)
80
A copy of Jami's Joseph and Potiphar's wife.
Folios 218; 8 inches by 5 inches; 11 lines to a page,
written in beautiful Nasta'liq, on native glazed paper in
[138]
double black-ruled columns. The written surface is 51
inches by 3 inches within gold, black, and red borders.
Folio 1b is decorated with an 'unwān in Indian style, in gold,
red, green, and blue. Many leaves are soiled by damp and
the writing is rubbed off. Headings are written in red ink in
panels. The manuscript contains eighty-one bright-colored
miniatures in the late Mughal style, all painted by the brush
of the same unskilled artist. The binding is of contemporary
lacquer, the outside covers of which show a field rich in floral
design. The inside covers contain the design of a large
plant with yellow flowers and long leaves (possibly nar-
cissus) against a red field. Both of the outer covers are
much worn, but the inside covers are well preserved. The
colophon does not give the name of the copyist, who states
that he copied the manuscript for his brother Mayan
Muḥammad, but the copy was made and dated in Kashmir
in 1199 A. H. (1784 a. d.).
81
A copy of the same poem as above.
Folios 130; 9 inches by 5 inches; 16 lines to a page,
written in ungraceful Indian Ta'liq, on native glazed paper
in double black-ruled columns. The written surface is 7
inches by 3 inches framed by borders of gold, red, and
green. The manuscript is riddled with wormholes through-
out and is in bad condition. Folio 1b has an illuminated
sarlawḥ, or title-piece, in Indian style, in gold and soft
colors. There are ten miniatures in the late Mughal style
which are bright-colored, all the work of a poor artist.
The binding is of modern paper, the back and corners of
which are in green cloth. The colophon gives neither the
name of the scribe nor the date. The manuscript was copied
in India, probably during the beginning of the nineteenth
century.
[139]
Muḥyi Lārī
(c. 1449-c. 1524 a. d.)
Muḥyi Lāri was a native of the city of Lar, near the
Iranian Gulf. According to Riyāḍ al-Shu'arā, he lived from
the time of Sulṭān Yaʻqūb (ruled 1449-1462 a. D.), the
second son of Uzun Hasan, to the beginning of the reign of
Shāh Tahmāsp Şafavi, who ascended the throne in 1524 a. D.
Muḥyi, however, according to the Khulāṣat al-Ash'ār of
Taqi Kashi died in in 934 A. H. (1527 A. D.).¹
1
82
فتوح الحرمين
Futūḥ al-Haramayn
"The Disclosure of the Two Holy Cities," a poem by
Muḥyi Lārī, describing the Holy Cities of Mecca and
Medina, and the ceremonies of the pilgrimage.
The present work is said to have been dedicated by the
author on his return from Mecca, to Sulṭān Muzaffar b.
Maḥmūd Shāh, who reigned in Gujrat, but no dedication
appear on this copy. This manuscript, as Rieu states, has
been by oversight ascribed in several catalogues to Jāmī from
whom the poet quotes, but Muhyi's name appears both in the
introduction and conclusion.¹ A lithographed edition of the
Futūḥ al-Haramayn was published in Lucknow in A. H.
1292.2
Folios 36; 7 inches by 54 inches; 15 lines to a page, each
2 inches long; written in beautiful Nastaʻlīq, on native
¹ See Sprenger, Oudh Cat. 21.
¹ See Rieu, B. M. P. C. 655.
"For details of its contents see Jahrbücher, vol. 71, Anzeige Blatt 49, and
Ḥāj. Khal. 4. 385.
[140]
paper of heavy quality with a café au lait tinge, within
two columns separated by double gold-rulings and framed
by blue and gold borders. Most of the leaves are stained by
water, patched, and damaged by wormholes. The opening
page contains a small ‘unwān in gold and blue. Titles are
written in red and blue throughout the volume. The
manuscript contains eleven, crudely drawn paintings, de-
picting scenes from the Holy Cities. The original bind-
ing is missing, and the codex has been rebound in old Per-
sian blue brocade in palm leaf pattern. On the colophon,
which is partly damaged by fire, and partly riddled by worm-
holes, the name of the scribe, Uways b. Muḥammad al-
Harawi (native of Herat), and the date 974 a. H. (1566
A. D.) are still legible.
Maktabi
(?-c. 16th century)
Maktabi is a poet of whom very little is known. He was a
school teacher and lived in Shiraz about the same time as
Ahli Shīrāzī, who died in 942 a. h. (1535 a. d.). Maktabī
was his nom de plume; his real name remains unknown. The
only existing work of this writer is a romantic poem, the
description of which follows.
83
ليلى ومجنون
Layla wa Majnūn
A romantic poem by Maktabi.
The author dated his poem by the chronogram, Kitāb-i-
Maktabi, which gives its date of composition as 895 A. H.
[141]
(1489 A. D.). The number of distiches is also given in the
epilogue as two thousand one hundred and sixty.'
Folios 77; 6 inches by 3½ inches; 15 lines to a page, each
11 inches long; written in beautiful Shikastah-āmīz in a
double column framed by heavy rulings in gold. Most of
the folios at the end of the codex have been damaged by
wormholes. Folios 1b and 2a are illuminated with gold
interlineations and wide floral borders, and the former folio
contains an exquisite title-piece in gold and soft colors. The
manuscript also contains thirteen very skillfully drawn
illustrations, averaging 24 inches by 2 inches in size, on
folios 12b, 15a, 17a, 20b, 22b, 28a, 33b, 39b, 42a, 47a, 49b,
and 74b. These illustrate incidents in the life of Majnūn.
They are all the work of a single artist and are drawn in
modern style. The volume is rebound in a lacquered bind-
ing, the outside covers of which are identical in design and
show a field decorated with flowers and birds framed with
floral borders. The inside covers show figures of men and
women in scenes of drinking and merriment. The name of
the scribe and the date of transcription are not given, but
judging from the style of its illustrations the manuscript
belongs probably to the early part of the nineteenth century.
Mulla Tughrà
(?-c. 1670 a. D.)
Mulla Tughra was a native of Meshhed, in Khorasan,
and went to India where he lived for many years. He was
well received at the court of Emperor Shah Jahān (1593-
1666 A. D.), and later was appointed a private secretary to
Muradbakhsh, the youngest son of the emperor. He accom-
panied the young prince on an expedition to Balkh and re-
1
¹ For other copies of the same manuscript see Rieu, S. B. M. P. C. 191-2.
[142]
mained there. He spent the last years of his life in Kashmir.
He died a few years after the accession of Emperor
Awrangzib. Tahir Naṣrābādī, in his Tadhkirah, or bio-
graphies of poets, speaks very highly of him and says he
was an able prose and verse writer.' He has written, besides
prose compositions, many short and long poems."
84
اعتقادية ملا طغرا
I'tiqādiyyah'i Mullā Ţughrā
(C
A Poem of Faith of Mullā Tughrā," a mathnawī written
in praise of the fourth Khalifah ‘Ali.¹
1
Folios 12; 8 inches by 4 inches; 9 lines to a page, each
2 inches; written in excellent Nasta'liq, on gold-sprinkled
native paper, in two columns divided into compartments by
black-rulings. The whole page is framed by rulings of
gold, red, and blue. The last line of each stanza, which con-
tains 'Ali's name, is inscribed in red ink and stands out by
itself in a separate gold-ruled panel. Some leaves have
wormholes in them and some are stained by water, but the
writing, which is a specimen of excellent calligraphy, has
been well preserved. The volume has been rebound in
modern black cloth.
C
The manuscript is not dated nor does the name of the
scribe appear in it. The front flyleaf, which is also gold-
sprinkled and gold-ruled, contains the autograph and the im-
pression of a large circular seal of a former owner. Above
the seal in large Shikastah style appear these words: "From
¹ See Sprenger, Oudh Cat. 98.
For a list of some of his works see Rieu, B. M. P. C. 742-4.
1
¹ For another copy of the present poem see Rieu, S. B. M. P. C. 267.
[143]
the least slave," and then the seal impression below it
reads: “Jān Sipār Khān, Khanah-Zād-i- (a slave born in
the house of) Shāh-i-'Alam (which was the title of
Muḥammad Mu'azzam, the second son of Awrangzib)
Pādishāh-i-Ghāzī (the victorious king) 1121 A. H. (1709
A. D.) Sanah 3 (the third year of the reign of the Emperor)."
Underneath the seal a little to the right, written again in
large characters, appears the word "Hu" (pronounced as
Hu, but written Huwa "), which refers to the God Almighty,
and means "He is, or He exists," but more generally used
as a substitute for the well-known Qur'ānic formula: "In
the name of the Most Merciful God." Then follow four lines
written in small Shikastah which read: " From the posses-
sions of the humble slave Jān Sipār Khān, the son of
Rustamdilkhan, the son of Jan Sipār Khan al-Husayn al-
Mukhtar al-Sabzawārī, may the Lord forgive his sins and
cover his misdeeds. From the gifts of Nawwāb (prince)
Ṣāḥib (sir, or master) and Qiblah (another title) Nawwāb
Mukhtar Khān-may God enlighten him with His proof.
Sanah 1122 A. H. (1710 a. d.).”
Jān Sipār Khan was the second son of Mukhtār Khān
Sabzawārī, an Emir during the reign of Awrangzib. At the
time of his death in 1701 he held the ṣūbahdārī, or the
Governorship, of Hyderabad. The grandfather of Jān
Sipār Khan, who bore the same name, was an Emir with an
army of four thousand men during the reign of Emperor
Jahāngir. He was appointed governor of Allahabad in the
first year of Shah Jahan's reign, 1628 A. D., and died there
during the same year.2
2 See Or. Bio. Dict.
[144]

PLATE XXIX
UNIV
MICH
OF
జ
THE OUTSIDE BACK COVER OF A LACQUERED PERSIAN
BINDING, XIX CENTURY
(MS. No. 85)
Wiṣāl
(?-1846 a. D.)
Wiṣāl was one of the most illustrious of the modern poets
of Iran, who lived and died in Shiraz. His real name was
Mirzā Muḥammad Shafi', but he was commonly known as
"Mirzā Kuchik." His contemporary biographers, such as
Riḍā-Quli Khān¹ and Bismil,2 speak very highly of him. His
talents were not confined to the art of verse writing alone,
for he was also a recognized master of calligraphy and music.
His works, besides his qaṣīdahs and ghazals, include the
Bazm-i-Wiṣāl, Farhad wa Shirin, and a Persian translation
of the Aṭwaq al-Dhahab, or " Collars of Gold," of Zamakh-
shari. His "Farhad and Shirin," which is the continuation
and completion of Waḥshi's work, has been lithographed in
Tehran in 1263 A. H. His sons were also gifted poets and
eminent men of letters.
85
ديوان وصال
Dīwān-i-Wiṣāl
A collection of poems by Wiṣāl, consisting of his ghazals,
or odes, and a portion of his Bazm-i-Wiṣāl, which begins on
folio 61b.
Folios 183, of which 1-4a, 59b, 60, and 121-123 are blank;
7½ inches by 4 inches; written in excellent Nasta'liq by the
poet himself,¹ on native glazed paper of thin quality having
¹ The author of Rawḍat al-Şafa, Majma' al-Fuṣaḥā, and Riyaḍ al-‘Ārifin, who
speaks of Waṣāl in all three of his works.
2 The author of Tadhkirah'i Dilkusha, who praises Wiṣāl's skill in calligraphy
and music.
¹A specimen of Wiṣāl's autograph reproduced on Plate IX, facing p. 300 of
Browne's Persian Literature in Modern Times, leaves no doubt that the present
manuscript is in the handwriting of the poet himself.
[145]
a slight creamy sheen. Folios 4b and 5a form a double
illumination with gold interlineations, the former folio con-
taining an elaborate 'unwān in gold and colors. The verses
are written in a double column outlined by heavy gold-rulings
and run 17 lines to a page; the marginal writings run 26
lines to a page. Folios 61b and 62a are illuminated in
like manner and the former folio contains another splendid
'unwān, in gold and colors, which serves as a title-piece to
the unfinished work, Bazm-i-Wiṣāl. The verses of this
poem, which are also written in a double column framed by
gold rules, run 16 lines to a page, while the writings on the
margins run 10 lines to a page. The binding is of original
lacquer, the outside covers of which are identical in design
and show one large bird and two butterflies among roses,
daisies, and other flowers. The inside covers have a plain
red field decorated with medallion, pendants, and gold-ruled
borders. One of the covers has been slightly damaged. This
is a very rare manuscript, which, unfortunately, was not
completed.
86
66
نوادر مجموعة يعقوبي
Nawādir Majmū‘ah'i Ya‘qūbī
Rarities, a Collection of Ya'qub," an anthology of
Persian verse and prose compiled by Ya'qub b. Ilyās b.
Yusuf, of the House of Ashar, and dedicated to Hafiz Shir
Muḥammad Khan Mukhtar al-Dawlah Bahadur, a governor
of Kashmir. The work, which is very painstakingly writ-
ten and illuminated, was begun, according to a chronogram
on folio 102, in 1188 A. H. (1774 A. D.), and was completed
after thirty-two years in 1220 a. H. (1805 a. D.), as indi-
cated by the colophon.
[146]

PLATE XXX
UNIV
OF
MICH
و روح سے استدرای
چون سراب یسوع مسحور
ک یکدستی قدم نورس
از ارگ سلام نمدی
تو در دره
لا عری"
ت کر کو دکھنه مستر
مع یکی کرد و کار جون
بر که
یم می توان بی سی دریا
بسم اللہ الرحمن الرحیم
وصف توخوا بین نیافت مار کر ہمہ وصفی نری و مترا
مح توکونیند اگر زما بینش و مدحت خورشیدگفته ایم
و درد
از تکه نانی نه ریمان و حاصل حامش یکی دونه کویا
حکم به ارزشت سرکشی به قدرت - کاره باست دم زدن ها
که مارا
دلبری میشه زراعت و مانای دل تو ز ما می بری نه روی در
تبغ تو دا دی ترک و مانه
ماندت راج برد و رخت نما
ی
جلوه نوکردی زروی خوب که رد و دل شد هستند و خورد شد و شید
دارد
ار تونشان نیز فرتاک و ارز و بانی زکرت است که سود
تو
خود خبر بی نشان چه دور و پرده ، صفت لا مکان چه است که بالا
مربه از حرف کردن تو را
ذات را مدحت خروجه
THE OPENING PAGES OF THE DIWAN OF WIȘAL IN THE HANDWRITING
XIX CENTURY
OF THE POET HIMSELF.
(MS. No. 85)
The compiler and the scribe Ya'qüb, who calls himself a
descendant of the House of Ashar from the tribes of Israel
and of the race of Abraham, was no doubt a Jew. This is
further confirmed by an inscription which appears on the
margin of folio 97a. This inscription, consisting of four
lines, is one of the verses of a poem which the scribe by
mistake has left out, and which he has later inserted in
Hebrew characters. The collection contains poems by such
well-known poets as Awḥadi Kirmānī, 'Iṣmat Bukhārī,
Mawlānā Waḥshi, Sa'dī, Ḥāfiz, Nizāmī, Jāmī, Ni'mat Khān
'Ālī, Mawlānā Zuhūrī, etc., and some prose selections by
others.
Folios 888, of which 6 are blank; 9 inches by 5 inches;
written in exquisite Nasta'liq, on gold-sprinkled paper of
medium weight. The prose portions are written in a single
broad column, the verse portions in a double column divided
by broad gold rules. The prose writings run 12 lines, and
the verses 20 lines to a page. The written surface of the
page is 64 inches by 3 inches and is framed by heavy rulings
in gold, black, and blue. The whole page is enclosed by a
margin about one inch in width, ruled by thin double rulings
of gold. The margins are decorated with rubrics in gold.
Folios 1b and 2a contain the index, which gives the names
of the poets and the titles of their poems in red ink within
decorated square panels. According to this index, the work
is divided into one hundred and eighteen sections and con-
tains eighteen thousand verses. Folios 2b and 3a are double
illuminated title-pages which introduce the work. These
folios, as well as the last two, contain octagonal rosette me-
dallions illuminated with gold and blue in floral designs.
The margins consist of inscribed panels containing some
verses in Arabic written in gold letters upon a blue back-
ground. The compiler's name appears on these folios.
[147]
Folios 3b and 4a contain the introduction and the dedica-
tion and they are exquisitely illuminated with gold inter-
lineations. The Khutbah, or the praise of the sovereign,
occupies folios 4a-10a, and is introduced by an elaborate
title-piece in gold and colors. The writing in this section, as
well as in most other sections of the manuscript, is written
diagonally across the page and has gold interlineations and
elaborately decorated margins. At the bottom of folio 102,
which is also illuminated, the date 1188 A. H. (1774 a. D.) is
given in a chronogram indicating when the transcription
was begun. Folios 10b and 11a are the most exquisitely
ornamented pages and contain two sumptuously illuminated
'unwāns. The text runs 4 lines to a page, in gold inter-
lineations, written diagonally across the page, and framed
by a broad band of different colors, with floral traceries
in gold. The whole page is inset in a richly ornamented
wide border painted in different colors and covered
with flowered designs in gold. Folio 10b contains the
name of the scribe and compiler Ya'qub b. Ilyās Mūsā'ī
(Jewish), and folio 11a provides the name of the bookbinder
and illuminator, 'Abd al-Raḥmān Ṣaḥḥāf Kashmiri (of
Kashmir). The codex is bound in the original lacquered
covers, which are re-edged, and slightly damaged by worm-
holes. The outside covers are identical and show a floral
pattern, chiefly of yellow and gold, upon a blue background.
The design on the inside of the covers consists of a medallion
set off by pendants against a dark red field of foliage. The
colophon, which is illuminated, supplies the date 1220 A. H.
(1805 A. D.), and the name of the city of Kashmir. Accord-
ing to an annotation on the front flyleaf, the manuscript
originally belonged to the Royal Library at Lucknow.
C
[148]

CRICBACH CY
HCALON
زیانی زبان کراون
میری جان من معلم نوح زبان
رمی ابو میتی
BACHYOBACH
FIGLACE
اعبدالمال
2610
PLATE XXXI
TWO ILLUMINATED PAGES FROM A PERSIAN ANTHOLOGY,
DATED 1805 A.D.
(MS. No. 86, folios 10b and 11a)
UNIV
OF
MICH
XI. MANUSCRIPT OF MIXED CONTENTS
87
A composite volume, without a title, containing the follow-
ing works:
I. (Begins on folio 4b)
مسلك الاخبار
Maslak al-Akhyār
A long poem which begins:
الله الرحمن الرحيم
بسم
Maslak al-Akhyār, or "The Conduct of the Pious," is a
mathnawi poem, written, as its composer states in his open-
ing verses, in the same meter as the Makhzan al-Asrār of
Nizāmī.¹ It is based upon the principle doctrines of the
Shi'i sect.
سرخط منشور عطائی عمیم
The poet, whose name does not appear, opens his mathnawī
with a eulogy on the God Almighty and the Prophet, and
inserts five munājāts, or addresses to the Deity, and five
poems of praise for Muḥammad. These are followed by
several poems written in praise of 'Ali and other followers
of Muḥammad: Then the poet divides his work into twenty
maslaks, or rules, each of which forms a section by itself.
In each maslak an essential principle of the sect is discussed.
The poem, according to its concluding verses, was completed
in 993 A. H. (1584 a. d.).
¹ See page 97 of this Catalogue.
[149]
II. (On folio 104b)
تحفة النصايح
Tuḥfat al-Naşayiḥ
A poem which begins:
حمدی بكويم بيعدد مر خالق جن و بشر کرده معلق آسمان هم اختران شمس وقمر
Tuḥfat al-Naşayiḥ, or "The Gift of Counsels," is a
didactic poem, in form of a qaṣīdah, which discusses various
ethical and philosophical topics, and is similar in this respect
to the Rawshana'i-nāmah of Nasir Khusraw. It is divided
into forty-five bābs, or sections, and consists of seven hun-
dred and eighty-six bayts, or couplets. The date of com-
position, given in the last verse, is the 10th of Rabi' II, 795
A. H. (February 23, 1393).
The name of the poet, according to the colophon, is Yusuf
Gadā, who wrote these admonitions for his son Abu al-Fath.
Very little is known about the life and works of this poet.2
III. (On folio 176b)
مدح مشايخ
Madḥ-i-Mashāyikh
A poem which begins:
شكر لله حال من هر لحظه نیکو تر شد است
شيخ شيخان شیخ حمزه تامرا رهبر شد است
66
Madh-i-Mashayikh, or The Praise of the Elders," is an
ode, written in praise of some of the well-known shaykhs,
or pious men, by an unidentified author. The date of com-
position is given in the concluding verses, in the form of a
chronogram, as 961 A. H. (1553 a. D.).
2
2 For other copies of this poem see Pertsch, Berlin Cat. 124-25. This poem
was lithographed in Bombay in 1283 A. H.
[150]
Folios 210, of which 1-4a, 104a, 175b, 176a, and 207-10
are blank; 9½ inches by 5½ inches; 12 lines to a page, written
in poor Indian Taʻliq on thick paper with a creamy tinge,
and outlined by gold-rulings. The opening folio contains an
illuminated 'unwān, or title-piece, in gold and colors. Titles
are written in red ink, and some folios contain notes and
corrections on the margins.
The binding is of original Persian, blind-pressed, black
leather, the outside covers of which show a medallion design
with matching pendants and corner angles. The inside covers
are of red leather. The name of the scribe 'Abd al-Qādir
al-Qādirī, and the date 1261 A. H. (1845 a. D.), appear on
folio 175a.
[151]
TURKISH MANUSCRIPTS
I. ASTRONOMY
88
روزنامه دارنده وی
Rūz-nāmah'i Dārandahvi
A perpetual calendar prepared by the Turkish astronomer
Muṣṭafa, who was commonly known as Hikmat-i-Thānī, in
Istanbul, and dated 1226 A. H. (1811 A. D.).
Contents:
1. Six tables showing the concordance of the lunar
months with the solar months.
2. Six tables showing the length of the day and night
for Istanbul and its vicinity throughout the year.
3.
Six astronomical and chronological tables.
4. Marginal notes consisting of comments, instruc-
tions, and methods of computation on the calendar.
5. Rules given at the end for finding the direction of
the qiblah (the direction towards which the
Muslims turn in prayer) in Istanbul and in ad-
jacent countries.
A strip of vellum, 46 inches long and 4 inches wide, on a
bone roller. The writing is in beautiful Naskh, within gold-
ruled margin, in red and black ink. The 'unwan is very
richly illuminated in gold and colors. The manuscript is
enclosed in a maroon solander case.
[152]
II. GENEALOGY
89
Genealogical tables of the prophets and of the principal
Eastern dynasties, without title or author's name.
The contents of the first portion of the manuscript agree
with a similar work entitled Subḥat al-Akhyār, described by
Rieu and Flügel.¹
1
There are tables prefixed to the volume, on folios 1-6,
showing the genealogy of the Prophet Muhammad which
traces him back to Adam. These are followed by the gen-
eral genealogy of the pre-Islamic dynasties and by the
genealogies of the Muslim dynasties down to the year 1143
A. H. (1730 a. D.), the year of accession of Sultan Mahmud
I of Turkey. Then in two pages some of the sayings of the
Prophet Muhammad and of some of the Khalifahs are
recorded. Following this in two other pages a brief history
of the rulers of the Memluk dynasty of Egypt is given. The
last portion of the manuscript contains an account of the
Osmanli dynasty from its origin to 1030 A. H. (1620 a. d.),
during which year the Bosphorus was frozen. This is the
last event recorded by the compiler.
The genealogies of the Turkish sultans from the year
1091 A. H. (1680 A. D.), in which year the manuscript was
completed, to the year 1143 A. H. have been added in a
different handwriting. The first scribe signs his name as
Behmen Bek b. Aḥmad b. Yusuf Pasha of the city of Van.
It is highly probable that the work was compiled by the
copyist himself by the use of the above-mentioned well-
known book on genealogy without mentioning his authority.
Among the pre-Islamic dynasties, the Greek, Persian,
and Chinese kings are included. The dynasties of Iran
mentioned are the Pishdadian, Ashkānīān, Sāsānīān, and
See Rieu, B. M. T. C. 32-3; Flügel, Vienna Cat. 2. 97-101, and 374.
[153]
the Keyānīān. The post-Islamic dynasties are the Banī
Umayyah, ‘Abbāsī, Diyālemeh, Seljuq, Sebuktakīn, Khwā-
rezm, Sāmānīān, Chingīzīān, and 'Othmānīān. The num-
ber of the rulers of each dynasty and the total years of their
reigns are also recorded. The genealogy of the Ottoman
dynasty concludes with Sultan Muḥammad IV, who is desig-
nated as the reigning monarch. A later addition brings it
down to the accession of Sulṭān Maḥmūd I, 1143 a. H.
Folios 75, of which 15 are blank; 124 inches by 8 inches;
written in Naskh, on native glazed paper of ivory finish,
within red borders. Some notes on the margins and six
folios, which were added later, are in very poor handwriting.
Genealogical tables, which consist of concentric circles some-
times in colors but mostly in black or red ink, contain the
names of persons; these circles are linked by horizontal lines
to which are added some short historical notes. The scribe's
name is signed in red or black ink to such notes. Two
'unwāns, or title-pieces, adorn the histories of the Memluk
rulers of Egypt and of the Ottoman dynasty. These title-
pieces consist of a pyramid design made of half circles in
black and white; the outlines of these half circles are drawn
in red ink.
The seal impression of the writer of the manuscript,
Behmen Bek, whose full name has been given in the above,
appears on the opening and on the closing pages of each
section. The codex has been bound in stamped dark leather
flap-binding ornamented with medallions in floral designs,
the workmanship of which is alike on both covers.
[154]

انداختن مصدردر
معناسى المقدر علمی
انداختن لفظنك تفسير يدر اشاعه فن
وفكندن مصدر در معناسی بر قمقدر
بوجيده لف و نشر مرتب وارد را نمی
طرح والقا معناسنه فرو فكندن معنی
فرواشعه ديمكدر اسفل معناسنه
فروفكندن لفظنك تفسير در شرح
شفه برا مقدر شرح
كبوركوك رند عربده ازرق معناسنه
وصورغون اغاجی نعم الله
زرد مادی رنگ هر عارضه وه
معروضه اطلاق اولنور وعصفوره
انتاج تروفو فکندن
FROM THE
نور الله
اصغر معناسنه نفى الله
سيا ، قاره رنك امور معناسنه
سياه لفظندن تحفيف ولمشدر
نعی اس
Y
انمند فراشة بقت
زرد اولدی مروكيو ددررکوی
تاره به وسی درران
دره -
هم سرخ فان شن در سبز
نیل اولدی چوت کړي د توقف
لجت أولدي
سن فتى برك معناست ومقبر
وترازو نعم الله
سپیدان دلك عبده ابيض
معناسنه هم عارضه هر مروه
اطلاق اولنور مثلا من سبيد
روی کی واسب سپیدکی
نع الله
دره -
متی در رسخت
سرخ مطلقا قول رند عربده
اومعنا سنه و قول مركب
ورخی اول اندركه
قوبروی قزل اوله نعى الله
سبزه يشيل ونك عربي خضر
نعمة الله
معناسنه ونازه ننه سبز دولر
نبل چود دیدکلری بو به درکه انکله
اسباب دوبارلر حقيقنده انك اونل
ادیدر طبعیار که حبيل بدرلو سر
چیچکار سرمشق تخمی مرد در مسهل در
مصر معنك اريدركه بجبل دور
ناس
ويسبراليكسن نعم الله
دیرلر وكاريز لر طوتمنوا وكنداس
ده کلور یعنی باز و بر باره ریکند
کرر ومن معناسنه وبعض معناسنه
کوزند و کوزین توهمی که ترکیده کاوه
تحت عمود درکه انکله جنك ايدولر
A PAGE IN THE HANDWRITING OF HAFIZ MUHAMMAD EMİN.
TUHFAH'I SHAHIDI, TURKISH, DATED 1801 A.D.
(MS. No. 90, fol. 19a)
PLATE XXXII
UNIV
OF
MICH
III. DICTIONARY
90
تحفه شاهدی
Tuhfah'i Shahidī
A versified Persian-Turkish vocabulary composed by
Mevlānā Shāhidī.
Shāhidī, commonly known as Ibrahim Dedeh, was born
in Mughla, in the province of Mentesheh in Asia Minor, in
875 a. H. (1470 A. D.). He lived for a long time in Konya
(Iconium) and like his father, Khudāy'ī Dedeh, belonged
to the religious order of Mevlevis. He composed his versi-
fied vocabulary, according to a chronogram inserted in its
last verses, in 920 A. H. (1514 A. D.). He died in 957 A. H.
(1550 a. D.).¹
1
Folios 50; 7½ inches by 5 inches; 7 lines to a page, each
2 inches long; written in exquisite Naskh in four gold-ruled
columns with outlinings in gold, blue, and red, on glazed
paper of medium weight. The marginal columns are written
by the same scribe in Naskh of smaller size, 46 lines to a
page, each 11 inches long, and framed by gold-rulings. The
opening page contains an elaborate illumination in gold and
colors. The titles are written in red ink throughout the
book. The binding is of gilt native morocco and protected
by a gilt red morocco cover. The colophon bears the name
of the scribe, Hafiz Muḥammad Emin, and is dated 1216
A. H. (1801 a. D.).
The scribe, Hafiz Muhammad Emin, was a native of
Istanbul and the son of Ahmad, who was in the services of
¹ See Hammer-Purgstall, Gesch. Osman. Dichtk. 2.258; Gibb, Hist. Otto.
Poetry, 4. 176, n. 3; and Flügel, Vienna Cat. 1. 135-6.
[155]
the grand vizier, ‘Abd-āllāh Pāshā. He studied under the
well-known calligrapher Sayyid Aḥmad Khwājeh-Zādeh and
was considered as one of his best apprentices. He has
copied many manuscripts and was a Hafiz-i-Qur'ān, or one
who commits the Qur'an to memory.
2
IV. LAW
91
مناهج الاصول الدينية
Manāhij al-Usul al-Diniyyat
A treatise on Muslim Law according to the Hanefi school,
composed by 'Abd al-Bāqī b. Muḥammad.
The author, commonly known as ‘Ārif, held many im-
portant positions in the Turkish government under Sulțăn
Muḥammad IV. He was a native of Istanbul and received
his primary education privately from his father, who was
attached to the Imperial Navy. He studied later under the
Shaykh al-Islām, or the head of the hierarchy of the Muslims,
Minqārī-Zadeh Yahya, and was awarded the highest prize in
public and official examinations. He was first appointed the
governor of Selanik (Salonica) and he retained this post for
sixteen years. He then governed Egypt and Brusa, and
later became a chief justice in Istanbul. The last post which
he held was that of the commander in chief of the Turkish
armies in Thrace. He wrote many books and made trans-
lations from Persian and Arabic. He was also an accom-
plished calligrapher and an apprentice of the well-known
Muḥammad Tabrīzī (of Tabriz). There are several manu-
2 See Tuḥ. Khaṭ. 392.
[156]
scripts still preserved in his beautiful handwriting. He died
in 1125 A. H. (1713 a. D.).¹
1
The author in his preface states that numerous works had
been written in Arabic on the Ḥanefi law, but that no one
had made an attempt to treat the subject in the Turkish
language. He ventures, therefore, to fill this gap himself.
He gives a list of twenty-four books and their authors who
have written on the subject in Arabic. His own book, in
addition to the preface, consists of five chapters, and each
chapter is divided into several parts. The author also states
in his preface that the grand vizier Mustafa Pasha had
urged him to have a good copy of his original manuscript
made. This task was entrusted to Muhammad b. al-Hājj
Veli al-Din, who was the chief superintendent of his estates
and property. At the completion of the work the author
himself made the necessary additions and corrections in the
margins in his own handwriting, which is readily distin-
guished from the hand of the copyist, who in a footnote adds
that the corrections were made in the handwriting of his
master.
Folios 102; 8 inches by 5 inches; 19 lines to a page, each
24 inches long; written in neat Nasta'liq of medium size, on
native glazed paper of strong texture within gold borders.
There are copious notes and references on the margins writ-
ten by the copyist, and some corrections have been made by
the author himself. A complete table of contents has been
prefixed. The opening page is adorned with an illuminated
‘unwān of floral design in gold, blue, and pink. The flap-
binding is of stamped black leather, the outer covers of which
show a medallion design with double pendants and with har-
monizing cornerpieces. The inner covers are of plain dark-
red leather framed by rulings of gold. The volume is pro-
tected by an extra red morocco cover. Both the front flyleaf
See Tuḥ. Khaț. 669-70.
[157]
and the colophon give the name of the scribe, Muḥammad b.
al-Ḥājj Veli al-Din. The date of completion is 1119 a. H.
(1707 A. D.).
V. OFFICIAL DOCUMENT
92
وقفنامه احمد پاشا
Waqf-nāmah'i Aḥmad Pāshā
A remarkably valuable document, being the Last Will and
Testament of Aḥmad Pāshā, the son-in-law and the grand
vizier of Sulṭān Bāyezid II (ruled 1481-1512 A. D.), and
later of Sultan Selim I (ruled 1512-1520 A. D.).
Aḥmad Pāshā, whose real name was Stephen Cossarich,
was an Illyrian prince, the son of Duke Saba Etienne-
Cossarich, who deserted his faith and parents at an early
age and joined the Turks. The main reason for his de-
sertion was that his father took in marriage a young
princess to whom Stephen was engaged. He was very well
received at the court of Sulṭān Bāyezīd II, who, upon his
acceptance of the faith of Islam, gave him his own daughter
in marriage and appointed him to responsible positions in
the army. He was first put at the command of an army
which was sent to Egypt, and later was made the commander
of the fleet. This latter post he retained for five years. It was
in 1497 A. D. that he was appointed to the office of the grand
vizier and he occupied this position four times during his
political career. He died in 1516, in Aleppo, while he was
accompanying Sultan Selim I on his return from the Egyp-
tian campaign. He built many mosques and charitable
institutions.¹
¹ See von Hammer, Geschichte des Osmanischen Reiches, 2. 264 ff., and 526-27.
[158]
Aḥmad Pāshā, according to the present will, left most of
his wealth and huge estates to charity. He directed the dis-
position of funds for the erection of mosques and for the
care and feeding the poor.
Folios 33; 10 inches by 64 inches; 7 lines to a page, each
3 inches long; written in large Thuluth, on heavy quality
paper having a café au lait tinge, and framed by gold-
rulings. There is a blank space left for an ‘unwān on top
of the opening page. The binding is missing. The name
of the scribe Muḥammad and the date 917 A. H. (1511 a. D.)
are given in the colophon. On the same page the names of
Pir Muḥammad Pāshā al-Jamālī, Sinan Pāshā Ibn 'Abd
al-Hayy, Mevla Qivām al-Dīn al-Defteri, and Sayyid Bālī,
the scribe of the Dīvān-i-'Āli (the High Court), appear as
witnesses. The first two witnesses were grand viziers. The
last two have not been identified. According to an annota-
tion on the front flyleaf the will was drawn up by Qāḍī
(judge) 'Abd al-Raḥmān.
VI. HISTORY
93
تاريخ سلانيكي
Tārikh-i-Selānīki
A history, without a title or author's name, covering the
years 971-1008 a. H. (1563-1599 A. D.), comprising the last
three years of Sulayman Qanuni's reign, the reigns of Selim
II and Murad III, and the first five years of the reign of
Muhammad III.
The work begins with a short preface which is written in
gold ink. The last three lines of the preface, as well as a
[159]
few lines on the second folio facing the opening page, have
been blocked out by gold paint. The traces of writing under-
neath, however, are visible but not legible.
In another copy of this manuscript, which is in the
Vienna State Library, the name of the author, Selānīkī (of
Salonica) Mustafa Efendi, appears in the preface. This
work is generally known in Turkey as the Tarikh-i-Selānīkī,
or the History by Selāniki.'
1
The author, about whom very little is known, was a court
chronicler. He takes occasion, now and then, to insert in
his records lengthy discussions of important political events,
and in more than one instance makes mention of his
own promotions and appointments to important positions at
the court by the grand viziers of the time. The most im-
portant position held by him is that of official chronicler of
the grand viziers at the court. He was appointed to this
post in the year 999 A. H. (1590 A. D.) by the grand vizier
Ferhad Pāshā (folio 140b), and he still retained this office
at the time he recorded the last event in his journal, in 1008
A. H. (1599 A. D.). He also held other important positions.
He was made Chief Controller of the accounts of the two
Holy Cities, Mecca and Medina, and later of entire Anatolia.
The last position held by him, in addition to that of court
chronicler, was the controllership of the accounts of the
Ewqaf, or the Religious Endowments. He was appointed to
this high office by the grand vizier Ibrāhīm Pāshā (folio
283a and b), in the year 1004 A. H. (1595 a. D.). The date
of his death is unknown.
Folios 400; 11 inches by 6 inches; 25 lines to a page, each
3 inches long; written in beautiful Nasta'liq, on native glazed
paper of ivory finish framed by heavy rulings of gold. The
margins are wide and contain some notes and additional
remarks. Some of the folios have been injured by worms.
¹ See Flügel, Vienna Cat. 2. 246-7.
[160]

PLATE XXXIII
UNIV
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OF
Son
THE OUTSIDE BACK COVER AND FLAP OF A LACQUERED
TURKISH BINDING, DATED 1721 A.D.
(MS. No. 93)
The titles and captions of important events are written in
gold or red ink. There are four illuminated ‘unwāns, or
title-pieces, in gilt and colors which are adorned with flower
patterns. Folios 399b and 400a are not written but contain
two illuminated title-pieces and full decorations of pink floral
design against a whitewashed background. Folio la con-
tains a medallion in gilt enclosing a six-pointed star design
in colors ornamented with flowers. The flap-binding is an
unusually fine specimen of contemporary Turkish morocco,
ornamented in a very elaborate manner with the usual Indian
mauritia flower pattern, heightened with gold and colors.
The inside covers are of green silk with floral designs woven
in gold. The manuscript is in a slipcase of black and red
leather. The name of the scribe Muhammad b. 'Abd-allāh
and the date 1134 A. H. (1721 A. D.) appear in the colophon.
The scribe states that the copy was made by the order of
Ibrāhīm Pāshā, the son-in-law and grand vizier of Sulṭān
Aḥmad III, and signs his former title, that of the Judge of
the Holy City of Jerusalem, after his name. The front fly-
leaf contains the bookplate of Clarence H. Clark.
VII. POETRY
Yāzīji-Oghli
(?-1451 a. D.)
Yāzīji-Oghli Muḥammad was the son of the celebrated
Turkish poet and scientist Katib Ṣelāḥ al-Din, or Ṣelāḥ al-
Din the Scribe, the author of the well-known Shamsiyyah,
or the Solar Poem, a versified treatise on astronomy com-
posed in 811 A. H. (1408 A. D.). Ṣelāḥ al-Din was in the
services of Sulṭān Bāyezīd I, and spent most of his life in
Ankara (Angora). His two sons Muḥammad and Aḥmad-
i-Bījān were born there. They studied under the eminent
[161]
ascetic Ḥājji Bāyrām, and after the death of their father
settled at Gelibolu (Gallipoli). They were both interested in
theology and poetry and built themselves a little oratory,
looking out upon the sea, and spent the rest of their lives
there in seclusion. Muḥammad was widely known for his
piety and revered for his sanctity.
The two brothers devoted much of their time to the com-
position of religious books. Muḥammad wrote his Magharib
al-Zamān, or "The Setting-point of Time," in Arabic verse,
which was later translated into Turkish prose by his brother
Aḥmad under the title of Anwar al-'Ashiqin, or "The Lights
of Lovers." Muḥammad's immortal poem Muḥammadiyyah,
the description of which follows, is the most popular and
best known of his works. According to the Tuḥfah'i
Khaṭṭāṭīn,' or "The Gift of Calligraphers," of Mustaqim-
Zadeh Sulayman, and Khaṭṭ wa Khaṭṭāṭān, or " Calligraphy
and Calligraphers," by Habib, Yāzīji-Oghli was a skilled
calligrapher. He died in 855 A. H. (1451 a. d.), just two
years before the conquest of Istanbul by Sulṭān Muḥammad
the Conqueror.
1
2
For further details on the life and works of Yāzīji-Oghli see A
History of Ottoman Poetry, E. J. W. Gibb, edited by E. G. Browne,
1. 389-410, London 1907; Rieu, B. M. T. C. 168-9; and Flügel, Vienna
Cat. 1.618-9.
1
See Tuḥ. Khat. 706, edited by Ibnil'emin Mahmut Kemal, Istanbul 1928.
2 See Khat. wa Khat. 241-2, edited by Ebü'z-Ziyā Tevfiq, Istanbul 1888.
[162]
94
الرسالة المحمديه
Al-Risalat al-Muḥammadiyyah
"The Treatise on Muḥammad" is a religious poem by
Muḥammad b. Selāḥ, commonly known as Yāzīji-Oghli.
The author, in his epilogue, after thanking God for the
successful completion of the poem, states that his friends sug-
gested that he should present the book to the Shah of Iran the
Sultan of Egypt, or the Sultan of Rūm (Turkey). He seems
to have preferred the last, for although he does not officially
dedicate the book to the Sultan of Turkey, he prays for
Sultan Murad and for his successor Sulțăn Muḥammad the
Conqueror. Then he eulogizes the vizier Maḥmūd Pāshā
ibn Qaṣṣāb, or "the son of the Butcher," and proceeds to
tell the story of his own life and that of his brother Aḥmad.
He gives the date of composition in one of the verses as 853
A. H. (1449 A. D.).
The poem, which is based on the explanation of certain
passages of the Qur'an by different authorities and on
Muslim traditions, falls into three main divisions. The first
part deals with the Creation, the second with the Mission of
Muḥammad, and the last with the End of the World.
Folios 247; 10 inches by 7 inches; 19 lines to a page,
each 41 inches long; written in Naskh, on native glazed thick
paper in two columns of red-rulings. There are corrections
and additions on the margins. All titles are inscribed in
large Naskh in red ink. The codex has been rebound in
Turkish flap-binding of red morocco. The outer covers are
blind-stamped with inlaid center medallion, and blind-tooled
in moresque designs framed with borders of the same style.
The inside covers have been lined with white paper of
[163]
ordinary quality. The flap-cover is identical with the outer
covers in details. The colophon contains the name of the
scribe, Kemal Muḥammad Qarah Yāzījī, and the date 1051
A. H. (1641 A. D.). The front flyleaf bears the dedication
and the seal of a former owner, but these are not legible.
A commentary on the Muḥammadiyyah entitled, Ferāḥ
al-Rūḥ, or "The Joy of the Soul," was written by Ismā'il
Haqqi, who died in 1137 A. H. (1724 A. D.). There is also a
lithographed edition of the Muḥammadiyyah published in
1280 A. H. (1863 A. D.) in Istanbul.
Mir 'Ali Shir Nevā'ī
(1441-1501 a. D.)
"
Mir 'Ali Shir Neva'i was the son of the Kichkanah
Bahadur, an Emir at the court of Sultan Abū Sa'īd. He
was born in Herat, on Ramaḍān 17, 844 A. H. (February 9,
1441 A. D.). He went to school with Sultān Husayn
Bāykārā, and in his early life attached himself to the court
of the reigning Tīmūrid Abū al-Qāsim Bābur Mirzā, who
treated him like one of his sons. In 861 A. H. (1456 a. d.).
after the death of Bābur, he spent several years in Samar-
kand and Meshhed, where he completed his studies at his
own expense and was reduced to great poverty. In 873 A. H.
(1468 A. D.), when his former friend and companion Sulṭān
Husayn ascended the throne, he appointed him his Muhrdār,
or the Keeper of the Royal Seal. He occupied that high
office until 876 A. H. (1471 A. D.) when he resigned to
accept the governorship of Gurgan, near the Caspian Sea.
The following year he retired from public life and moved
to Herat where he lived until his death on the 12th of Jumā
II, 906 A. H. (January 3, 1501 a. d.).
Neva'i was a great patron of learning and was himself an
equal master of prose and poetry. He wrote in Jāghātā’ī, or
[164]

صفر نیازکانال علی بیات
اب
وندا بونقطه سر
سی پیک کا ان کا پرو درویش
ور دنیک نعمت منها ما با دانا
درات دام در که بار دگرا و منکا ذاکر
امطارا را سرقت که ما دونگا کو با
THE ILLUMINATED OPENING PAGE OF THE DIWAN OF
MIR ALI SHIR.
(MS. No. 95)
C. XVII CENTURY
PLATE XXXIV
UNIV
MICH
OF
Eastern Turkish, as well as in Persian. Neva'i was the pen
name he used in his Turkish compositions, and he signed
his Persian works as Fānī. He exerted great influence on
the development of Ottoman poetry and has done more than
any other writer to raise Turkish to the rank of a literary
language. He was a close friend and patron of Jāmī, the
celebrated poet of Iran, who dedicated many of his works to
him. Besides four Dīwāns of lyric poetry and six long
Mathnawis, he has left nine volumes of prose and some
minor poetical works.
For further particulars, consult Rieu, B. M. T. C. 273; B. M. P. C.
366; Gibb, Hist. Otto. Poetry, 1. 127-9; Browne, Per. Lit. Tar. Dom.
422-3, 437-9, 505-6; Jackson, Cat. Pers. MSS. 159-66; Belin, Notice
sur Mir Ali-Chir-Newaii, in Journal Asiatique, cinquième série, 17
(1861) 175-256, 281-357; Flügel, Vienna Cat. 3. 527; and Tadhkira-
tu'sh-Shu'arā, Browne's edition, 494-508.
95
An incomplete dīwān, or collection of lyric poems, without
a preface or title, consisting of 311 bayts, or couplets, by Mir
'Ali Shir Neva'i in Jäghātā'ī, or Eastern Turkish, beginning:
ای صفحه رخسارنك ازل خطی دین انشا
دیباجه حسنو نكدا ابد نقطهسی طغرا
Folis 40; 6 inches by 44 inches; 8 lines to a page, each
1 inches long; written in beautiful Nasta'liq, on native
glazed paper, in fine gold-ruled columns separated by tendril
ornaments framed in rulings of gold and outlined by floral
designs. The first two lines on each page are written
diagonally across the upper section, the second two hori-
zontally across the center of the page. The fifth and sixth
lines are written diagonally across the lower half of the
page, and the last two lines are written vertically along the
left edge of the paper. The opening page contains a beauti-
[165]
fully adorned 'unwan, or title-piece. Each page is illumi-
nated with scroll-decorated borders and ornaments in red,
gold, and blue. The binding is Turkish of dark-brown
leather with flap-cover, heavily embossed with central
medallions in gold. The inside covers are of a lighter-brown
leather and have a filigree medallion design upon a blue back-
ground. Neither the name of the scribe nor the date is
given. The front flyleaf bears a seal impression containing
the name of a former owner, Aḥmad Nūrī, and the date
1206 A. H. (1791 A. D.). The manuscript was copied prob-
ably in Turkey during the latter part of the sixteenth or
the early part of the seventeenth century.
Da'ifi
(?-c. late 16th century)
Of Da'ifi, we know very little. No information is avail-
able to determine accurately when he was born or when he
died. The only reference to Da'ifi, besides few poems which
appear in some Turkish anthologies, is made by Ḥājji
Khalifah,' who mentions that a translation of Sa'di's
Gulistan has been made by this author, but says no more
about his life or other works. Evidently his works were rare
and extinct even in those days.
Some facts, however, may be secured from the copies of
two of the poet's works which are found in this Collec-
tion. These are bound in one volume, and consist of his
versified translations of Sa'di's Gulistan and of 'Aṭṭār's
Pand-nāmah, the descriptions of which are given below.
Da'ifi's works, as has been already mentioned, are very rare
and this volume is possibly one of the very few in existence.
Da'ifi was the poet's nom de plume. His real name, Pīr
Muḥammad, appears on folio 242b, in the epilogue of
¹ See Hāj. Khal. 5. 231.
[166]
his second work, the versified translation of 'Aṭṭār's Pand-
nāmah. According to a chronogram inserted by the poet,
this poem was concluded on the fifth of Muharram 950 A. H.
(April 10, 1543 a. d.).
In his translation of the Gulistan, which he dedicated to
Sultan Sulayman the Magnificent (ruled 1520-1566 a. D.),
the poet furnishes us with more material about himself. He
mentions, on folio 183b, that the Sultan moved to his second
capital Adrianople to organize a military expedition, and
ordered all his viziers, generals, and courtiers to follow him.
Da'ifi says he could not go for he was already receiving a
pension, and could not secure a new appointment. It appears
from his statements that the poet was attached to the court.
His further reference to those who had accompanied the
monarch and who on their return to Istanbul were promoted
and received gifts, while he himself was deprived of all this,
further proves that he was one of the prominent men of his
time. "Instead," he continues, "I spent my days and com-
posed this lengthy poem, on which I started working on the
10th day of Şafar 950 A. H. (May 14, 1543 A. D.) and which
I completed on the 11th day of Sha'bān (November 9) of
the same year.
His father's name, Khwājeh Evrānūs, and his teacher's
name, Shaykh Sunbul Sinan, are mentioned on the last folio
in connection with his prayers to the Almighty for the
successful completion of the work.
Folios 181a-183b supply us with a detailed and interesting
description of his birthplace, the little town of Qarahṭovah
(modern Karatova in Yugoslavia), and of its silver
mines. In these three folios he gives the details of the
operations of the silver mines which at that time existed in
Karatova. This description is so vivid and so detailed that
it leaves no doubt that the poet was familiar with this
industry of his native town. Da'ifi's style is extraordinarily
clear and attractive, and free from artificial rhetoric.
[167]
A volume containing:
I. (folios 2a-184)
It begins :
...
96
ترجمه منظومه گلستان
II. (folios 185b-244)
It begins :
Terjumeh'i Manzūmeh'i Gulistān
آکا اولسون ثنا و شکر و منت
خدايه حمد در کونیه زینت
ترجمه پند فرید الدین عطار
Terjumeh'i Pand-i-Farid al-Din Attar
قلدی ایمان بر آوج خاکه عطـا
حمد اول اللهه اولسون كاول خدا
The first being a versified translation by Da'ifi of the
Gulistan," or "The Rose-Garden," of the celebrated poet of
Iran, Sa'di, to which, in the concluding verses, the poet gives
the title of Nigāristan. The second is a versified translation
of the Pand-nāmah," or the "Book of Counsels," of another
well-known Iranian poet, Attar, also by Daifi. Both poems
have been dedicated to Sulṭān Sulaymān. No other copies
of the above works have been listed in any of the well-known
catalogues of Oriental manuscripts, and no reference is
made to the second work.
Folios 246; of which 1, 2a, 185a, 244b, and 246 are blank;
9 inches by 6 inches; 15 lines to a page, each 31 inches
long;(written in excellent Naskh in double gold-ruled
¹ See pages 107-109 and 119-120 of this Catalogue.
See pages 94-97 of this Catalogue.
[168]
columns, on thick native glazed paper of ivory finish. The
opening page of the first poem is embellished with an ornate
'unwān of rich design upon a gold background in dark violet,
red, and blue, occupying nearly one third of the page. There
are additional decorative section-headings which are in-
scribed in red ink. The two works have been bound in half-
leather blue flap binding with floral gilt edges. The colophon
of the first poem gives the name of the copyist Behram bin
Muḥammad and the date 968 A. H. (1560 A. D.), The
second poem does not bear a colophon, but the writing is
that of the same scribe. The front flyleaf contains the sig-
nature of a former owner, Dervish As'ad ibn 'Abd al-Kerim
‘Arab, and the date 1197 A. H. (1782 a. d.).
Q
'Aṭā'ī
(1583-1634 A. D.)
Nev'i-Zadeh 'Aṭā-āllāh, poetically surnamed 'Aṭā'ī, was
born in Istanbul in 991 a. H. (1583 A. D.). He received his
primary education from his father, Yahya Nev‘î Efendi,
the distinguished poet and tutor of Sultan Murad III (ruled
1574-1595). After his father's death 'Ata'i studied under
Qāf-Zadeh Feyḍ-ällāh Efendi, the author of the well-known
anthology, and later under Akhi-Zadeh 'Abd al-Ḥalim
Efendi. He entered the bar and was appointed a qāḍī, or
judge, but sought no other promotions. He served as qāḍī
in the European provinces of the Ottoman Empire for the
rest of his life. He died shortly after his return from
Uskub to Istanbul in 1044 A. H. (1634 a. d.).
'Aṭā'i's greatest work is the continuation of Ṭāsh-Kūprū-
Zadeh's biography of learned men known as Shaqāyiq al-
Nu'māniyyah. Besides, he has left many prose works, a
complete Diwān, and a collection of five poems, commonly
called the Khamsah, or Quintet.
[169]
For further particulars about his life and works, see Gibb, Hist.
Ott. Poetry, 3. 232-42; Rieu, B. M. T. C. 195; Hāj. Khal. 3. 175; and
Flügel, Vienna Cat. 1.655-6.
II. (folios 78-120)
خمسة عطائی
An incomplete Khamsah containing only three of the five
poems of 'Ață'i as follows:
I. (folios 1-77)
97
Khamsah'i ‘Aṭā’ī
III. (folios 121-212)
(6
صحبة الابكار
Şuḥbat al-Abkār
deli
ساقي
Sāqi-nāmeh
نفحة الازهار
Nafhat al-Azhār
""
The first of these poems, the Şuḥbat al-Abkār, or the
Converse of Virgins," was written as a burlesque on
Jāmi's¹ Şubḥat al-Abrār, or the "Rosary of the Pious,'
and like it, is divided into forty-five chapters. It was com-
pleted in 1035 A. H. (1625 a. D.). The second, Saqī-nāmeh,
or the "Cupbearer Book," is often referred to as 'Alam-
Numā, or the "World-Displayer," from a term which the
¹ See pages 135 and 136 of this Catalogue.
[170]
2
poet uses in the colophon, and was completed in 1026 a. H.
(1617 A. D.). The third poem, the Nafḥat al-Azhār, or the
"Breath of Flowers," is, in scope and character, much like
the first. It was written as a counterpart to Nizāmī's
famous poem the Makhzan al-Asrar, or the "Treasury of
Mysteries," and was completed in 1020 A. H. (1611 a. d.).
The two missing poems of the Quintet are the Haft-Khwān,
or the "Seven Trays," and the Dīwān al-Adab, or the
"Dīvān of Etiquette."
Folios 212, of which 6 are blank; 74 inches by 5 inches;
19 lines to a page, each 3 inches long; written in poor
Nastaʻliq, on native paper of ivory finish, in two gold-ruled
columns in several bands. There are three illuminated
'unwāns, one for each poem, and twenty miniatures in Turk-
ish style of poor workmanship. The binding is original
Turkish of dark maroon with flap embossed with gold. The
ornamentations on the outer covers are alike and show a field
decoration of floral designs impressed upon the leather,
gilded, and framed by gold-ruled borders. The inner covers
are lined with plain blue paper. The date and the name of
the scribe, written in red ink in the colophon have been
erased and are not legible. According to an annotation on
the front flyleaf the manuscript was purchased in Boston
in 1919 from the collection of Thomas F. Richardson. It was
copied in Turkey, probably during the eighteenth century.
2
See page 97 of this Catalogue.
[171]
HINDUSTANI MANUSCRIPTS
66
98
Gulshan-i-'Ishq
The Rose-Garden of Love," a mathnawi in Dakhani
verse, by Nusratī, which begins:
گلشن عشق
(C
صفت اوسکی قدرتکی اول سراون
ناون
دھریا حبستی یوگلشن عشق
The composer was a Brahman poet of the Deccan, who
wrote under the pen name of Nuṣrati. Very little is known
about him except that he was a favorite of ‘Alī ‘Ādīl Shāh II,
of Bijapur, who ascended the throne in 1067 A. H. (1656
A. D.) and died in 1083 A. H. (1672 a. d.). Nuṣratī dedicated
the poem to his patron and friend 'Adil Shah."
The poem centers around the romance of Prince Manohar
and Madhumālatī. A long preface, in which the author
eulogizes the sultan, precedes the story. According to a
chronogram, the poem was completed in 1068 A. H. (1657
A. D.).²
Folios 204, of which the last two are blank; 11½ inches by
7 inches; 17 lines to a page, each 41 inches long; written in
legible Nasta'liq, on native glazed paper, in double gold-ruled
columns framed by red, black, and gold borders. The open-
ing pages are painted yellow, including the title which con-
sists of an ornamental ‘unwān in gold and blue. The titles
are written in red ink. The codex is decorated with 214
1 The two other well-known works of Nusrati are: Guldastah'i 'Ishq, or the
Bouquet of Love," and 'Ali-namah, or the "History of 'Alī ‘Ādil Shāh.”
2 For other copies see Blumhardt, B. M. Hind. C. No. 45, and Sprenger, Oudh
Cat. 630.
[172]

THE OUTSIDE FRONT COVER OF A BINDING, INDIAN,
DATED 1815 A.D.
(MS. No. 98)
PLATE XXXV
UNIV
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MICH
illustrations, many of them full-page, while 145 vary in size
from about a third to nearly full-page, and 29 are small
oblongs consisting largely of foliage and flower designs. The
miniatures, which are in the style of the late Mughal school,
are of fair quality and seem to be the work of a single
artist. They represent various incidents from the story. A
series of eleven miniatures showing the hero of the story
in a peculiar boat are remarkable. The manuscript is
bound in an exquisite contemporary morocco, the outer
covers of which are divided by green triple and double
painted fillets into compartments enclosing two sunken bor-
ders and an elaborate centerpiece. The outer borders and
ornamental centerpiece have a raised floral design in silver.
The inner border has been divided into panels, each having
a raised floral design of a different pattern. The binding is
preserved in an original native cloth sack. The copy was
made for the Rāja Kishan Raj Bahadur by the scribe
Muḥammad Gawth Suwar. The scribe's name and the
date of transcription 1231 A. H. (1815 A. D.) appear in the
colophon.
99
A collection of moral stories and anecdotes in prose and
verse, incomplete, without a title or the author's name. It
begins:
که هندوستان مين ايك بادشاه معلی جاه رتهاتها الخ
حکایت کھیتی هین
The story of a qāḍī (judge) and of a king occupies the
greater portion of the work and has been illustrated. The
judge is put through a moral test by the king and, as usual,
fails to qualify. The paintings, which are in bright colors,
depict the love adventures of the qāḍī and of a beautiful
woman, who by the king's orders tries to tempt the judge.
According to the colophon the stories were copied for the
[173]
entertainment of the Rājah Kālkā Purshād Bahādur by
Purshad, the son of Khub Chand,' the scribe, in 1251 A. H.
(1835 A. D.).
Folios 42; 9 inches by 7 inches; 9 lines to a page, each 44
inches long; written in fair Nasta'liq, on native paper of
medium weight, and framed by red and blue borders. Most
of the leaves are worm-eaten and soiled by damp, and have
been repaired by patches and mending tissues. The opening
page contains an exquisite 'unwan in dark blue, red, and
gold. There are fourteen miniatures in the late Mughal style.
1 fol. 23a The interiors of two adjacent houses, one
being the house of the pious judge in which
he is shown praying and reading the Qur'ān.
The other house belongs to a beautiful woman.
Two musicians are placed in this house by
the king's orders, and they are engaged in
singing and playing on an instrument.
2 fol. 23b
3 fol. 25a
4 fol. 27a
5 fol. 29a
6 fol. 31a
The qāḍī is shown on the roof of his house.
Another scene of the two houses. The beau-
tiful woman is being informed of the king's
scheme by the two musicians in her house.
The qāḍī is not home.
The beautiful woman is looking out of her
window and sees the qāḍī on the roof of his
house engaged in prayers and ablution.
The beautiful woman is shown out in the
yard of her house talking to the judge who
is on the roof.
The judge is dropping down bags of money
from the roof to the beautiful woman who is
still in her yard.
¹Lālā Khub Chand, commonly known as Zukā, was a famous calligrapher
who lived in Delhi and died there in 1846 A. D. See Garcin de Tassy, Histoire
de la Littérature Hindouie et Hindoustanie, 3. 350-51, Paris 1871.
[174]

A SCENE DEPICTING THE HERO IN A BOAT. FROM THE
GULSHAN-I-'ISHQ, INDIAN, DATED 1815 A.D.
(MS. No. 98, fol. 81b)
PLATE XXXVI
UNIV
OF
MICH
7 fol. 33a
8 fol. 34a
9 fol. 35a
10 fol. 37b
11 fol. 38a
12 fol. 39a
13 fol. 40a
The qāḍī is shown in the house of the
beautiful woman drinking wine with her.
The sudden knock on the door by the
musicians scares them.
14 fol. 41a
The woman hides the judge in a trunk which
she carefully locks.
More guests arrive in the house and a danc-
ing and singing party is in order.
A messenger from the vizier talking to the
beautiful woman.
The trunk in which the qāḍī is hidden is
taken to the king's palace in a great procession.
The vizier inspects the trunk to make sure
that the judge is in it.
The trunk is opened in the presence of the
king who orders that the judge be punished.
The manuscript has been rebound in brown leather bind-
ing which is torn on the edges and is much damaged by
worms. The outer covers show a blind-pressed medallion
with pendants and corner angles framed by panels in tracery
designs. The inner covers are decorated with inlaid gold
medallions, pendants, and matching cornerpieces. A portion
of the manuscript was lost when it was rebound, but the
colophon has been preserved. Folio la contains an unfin-
ished memorandum of a former owner which reads: "This
book belongs to Āghā Faṣāḥat-‘Alī. If anyone claims
it, his claim will be null and void. Purchased for 20 (no
mention of the kind of coin is made) from a person whose
father was the grand vizier, Nawwab Naşir al-Dawlah
Bahadur, for the father of the Mahārājah Rājah....” The
flyleaf contains the name of the above-mentioned owner in
Latin characters and the word Benares.
[175]
100
مجموعه بهگت مال
Majmu'ah'i Bhagat Māl
A volume of miscellaneous contents partly in Persian but
mostly in Hindustani, which begins:
رام رمال پت بشن سوکیشو کرسن کرپال کوهر دهن دهاری الخ
The Bhagat Mal, or "The Garland of Devotees," is a
religious poem written by Nārāyan Dās during the reign
of Shah Jahan (ruled 1628-1659 A. D.). It is mainly in
the chappai meter and gives an account of the principle
Vaishnava devotees. It holds a very important place in
Indian religious history. It has a commentary, which al-
ways accompanies it, and without which it would be almost
unintelligible. This commentary was written in the kavitta
meter by Priyā Dās in 1712. The Bhagat Mal has been
translated and adopted in all the vernaculars of India.
For further particulars see Garcin de Tassy, Histoire de
la Littérature Hindouie et Hindoustanie, vols. 1-2, Paris
1870; and F. E. Keay, A History of Hindī Literature,
London 1920.
The Persian section on folios 24-51 is written in prose
and contains an incomplete story of Krishna's visit to the
house of a rāja. Of the Hindustani portion folios 1-24 con-
tain some sections of the poem which has been copied by
the scribe Damāl Dās and dated 1211 A. H. (1796 A. D.).
The remaining folios 53-127 contain a collection of sacred
hymns to Krishna.
Folios 127, of which 5 are blank; 6 inches by 3½ inches.
The prose sections run 13 lines to a page, each 24 inches
long, and the verse sections run 9 lines to a page, each 4
[176]
inches long; written in poor Nasta'liq-i-shikastah-āmīz in
double red-rulings. There are six full-page miniatures in
the late Mughal style. These represent Krishna and other
religious subjects and are crudely drawn. The codex is
bound in half cloth and boards and is slightly damaged by
wormholes. The colophon is missing. There is a bookplate
of Oliver Henry Perkins on the inside of the front cover.
[177]
SANSKRIT MANUSCRIPTS
101
महाभारतम्
Mahābhārata
The Mahābhārata, unlike the Shāh-nāmah, is not an epic
composed by a single author nor is it the product of one time.
It consists of a collection of old heroic tales, added to an
original poem which for many centuries has borne that
title. Its various parts show a variety of style, meter, and
language.
The word Mahābhārata means "the great narrative of
the battle of the Bhāratas." The Bhāratas were a tribe who
lived in a section near the Upper Ganges and the Jumnā in
India. The original poem centered around a fight, which,
in the beginning, was nothing more than a family feud of
the Bharatas, but later developed into a great battle of
national concern. It contains, besides a narrative of this
battle, many fables, legends, moral stories, and parables.
Religion, law, and philosophy have been embodied in it to
such an extent that it has become a great and valuable source
of Indian thought and literature.
The names of its authors and the exact date of its com-
position have not been determined. The kernel of it was
probably in literary form as early as the fourth century B. C.
The contention of the well-known authorities is that the
Mahābhārata was of the same scope and character, and in
the same state, fifteen hundred years ago as it is today.
For particulars about the contents of the epic see H.
Jacobi, Mahābhārata, Inhalts-Angabe, Index und Kon-
kordanz der Kalkuttaer und Bombayer Ausgaben, Bonn
[178]

नः ॥श्रीभगवानुवाच तत्वा कश्मलमिदं ।
विषमेसमुपस्थितंत्र नार्यज्टमस्वर्ग्यमकी
र्तिकरमर्जुन ॥श के व्यंमा स्मगमः पार्थनैतत्वय्युपप
यते । क्षुदंहदयदौर्बलांत्यक्तो त्रिष्टपरं तपाइ
जनश्वाच कथंभीषामहं संख्ये होणं च मधु
23
XC
A FULL PAGE MINIATURE AND AN OPENING PAGE OF A SECTION
FROM THE BHAGAVADGĪTĀ, INDIAN, DATED 1813, A.D.
(MS. No. 101, folios 15b and 16a)
PLATE XXXVII
UNIL
OF
MICH
1903. The whole of the Mahābhārata was translated into
English prose by Kisori Mohan Ganguli, and published by
Protap Chandra Roy (Calcutta 1884-1896) and Manmatha
Nath Dutt (Calcutta 1895-1905). There are other prose
and metrical extracts and critical works in English, French
and German.
The present volume contains the following sections of the
Mahābhārata:
1. Bhagavadgītā: folios 1-31; 34-61; 71-62 (bound in
reverse order); and 72-134. (See under 2 for folios 32-33
of this section.)
2. Viṣṇusahasranama from the Santiparvan: folios 135-
147; (32-33 of the preceding bound in reverse order and
misplaced in this section); and 148-179.
3. Bhīṣmastavarājastotra from the Santiparvan: folios
180-203.
4. Anusmrti: folios 204-216.
5. Gajendramokṣaṇa from the Santiparvan: folios 217-
248.
Folios 251, of which two are blank; 5 inches by 31
inches; 5 lines to a page, each 34 inches long; written length-
wise across the page on thick native paper in fair Devanāgarī
script. Each page is decorated with floral borders in green
on a yellow background. There are nineteen full-page
miniatures in bright colors, the reverse sides of which have
been left blank. The paintings are in the style of the 19th
century Kashmir successors to the Mughal school and are all
the work of a single artist. In addition some pages contain
very small miniatures, almost thumbnail in size, which pic-
ture the different characters. These are eighty-five in
number, are from the brush of the same artist, and are
heightened with gold like the large miniatures.
The binding is of modern English morocco, with gilt
[179]
edges. A table of contents of the manuscript is given in
Devanagari script on the front flyleaf. The back flyleaf
contains the same list in Nastaʻliq characters. The copy
was made at Benares by a Kashmiri pandit named Ghāsī-
rāma in Samvat 1870 (1813 A. D.).
102
A copy of the Mahābhārata containing the following
sections:
1. Bhagavadgītā: folios 1-196.
2. Viṣṇusahasranama from the Santiparvan: folios 197-
242.
3. Bhīṣmastavarājastotra from the Santiparvan: folios
243-277.
4. Anusmrti: folios 278-297.
5. Gajendramokṣaṇa from the Santiparvan: folios 298-
344.
Folios 344; 7 inches by 44 inches; 5 lines to a page, each
5 inches long; written lengthwise across the page, on
thick native paper of a dull finish, in Devanāgarī script,
within orange borders. Section-headings are inscribed in
red ink, and the opening pages of each one of the five sec-
tions are illuminated in gold and colors. There are five
miniatures, one for each section, which are painted in colors
against a bright-orange background. These illustrations
are all the work of the same artist and are executed in the
style of the late Kashmiri school, sometime included under
Kāngṛā." The manuscript has been bound in a native red
textile binding of floral design with flap. Neither the name
of the scribe nor the date is given. The copy was made in
Kashmir probably during the nineteenth century.
(C
[180]
103
भगवहीता
Bhagavadgītā
A copy of the Bhagavadgītā from the Mahābhārata.
The Bhagavadgītā, or the "Lord's Song," is the most
popular and widely read section of the Mahabharata. It is
held sacred by all Hindus.
The manuscript, which is a companion volume of the
preceding one, contains 214 folios and is divided into
eighteen subsections. The opening pages of each section are
illuminated, and at the beginning of each a full-page minia-
ture is inserted. The writing and the miniatures of this
volume are the same as the preceding, and in fact, they are
the work of the same scribe and artist. The binding, the
general scheme of decoration, and the material used are
identical.
104
भागवत पुरणम्
Bhāgavatapurāṇa
The Bhāgavatapurāṇa, a work which belongs to the class
of Purāņas, or old legends, is one of the most famous books
of the Bhāgavatas, a sect who worship Vişņu under the name
of "Bhagavat." It also contains a detailed biography of
Krṣṇa. It is divided into twelve skandhas, or sections, and
consists of about eighteen thousand slokas, or distiches.¹
The stories are written on a roll of very thin tissue paper,
1
¹ For other copies of the same work see C. Bendall, Sanskrit Manuscripts in
the British Museum, 34, London 1902. See also translation by Eugène Burnouf,
(Le) Bhāgavata Purāņa, 5 vols., Paris 1840-1898.
H
[181]
64 feet long and 31 inches wide, in minute but legible Deva-
nāgarī script, within gold borders with double red-rulings.
The section-headings are inscribed in red ink and the slokas
are divided by circular marks in gold. There are twelve
miniatures in bright colors in the style of the late Mughal
school, which are inserted at the beginning of the poem. In
addition eleven other miniatures, each inserted at the begin-
ning of a skandha, adorn the manuscript. These are similar
in style to the preceding ones and are the work of a single
artist. They illustrate the text. The roll has been set up on
metal rollers which are attached to a box shaped in imitation
of a modern English binding. Neither the date nor the
name of the scribe is given, but the copy was made probably
in India during the second half of the eighteenth century.
105
जन्मपत्रका
Janmapattrikā
Janmapattrikā, or horoscope, of Rajah Jadunātha Simha,
one of the Tippoo Sahib's officers at Lucknow in Oudh.
The horoscope is written on a long roll of native glazed
paper slightly over 120 feet in length and 10 inches broad,
in fair Devanagarī script within heavy silver borders ruled
out in red ink. It contains twenty-eight miniatures, each
measuring 6 inches by 7-18 inches, which represent Viṣņu,
Śiva, and other Hindu gods in their various incarnations. In
addition there are twelve colored paintings representing the
signs of the Zodiac which are enclosed within floral borders
and followed by circles containing figures and geometrical
diagrams. There are also two diagrams of the Lunar and
[182]

PLATE XXXVIII
UNIV
MICH
OF
ज० १० ई
7!!
29
॥श्रीमहापतिमर्तयनमः ॥ श्रीः
wG
0000
283
0000
ALK
23EE
Fance is
GOD GNESA. FRONTISPIECE OF THE HOROSCOPE OF
INDRACHANDRA, INDIAN, XIX CENTURY
(MS. No. 106)
Solar Cycles, ninety-five astrological tables, twenty-three
nativities and horoscopes, etc. A decorative illumination in
dark colors adorns the roll.
The following memorandum has been written in English
on top of the above-mentioned illumination: "The Junnam
Pattree (Horoscope) of Rajah Juddnath Sing one of the
Oudh rebels which was found together with other property
in his camp which was captured on 28th Dec. 1858." Neither
the name of the scribe nor the date is given. The horoscope
was probably prepared during the early part of the nine-
teenth century.
106
The horoscope of Indracandra.
Folios 168; 131 inches by 8 inches; 20 lines to a page,
each 5 inches long; written on thick native paper of dull
finish in fair Devanāgarī script, within highly decorated
borders in floral designs. All titles and a great portion of
the contents of the diagrams and astrological tables have
been inscribed in red ink. The manuscript contains thirty-
two miniatures in colors heightened with gold, in the style
of the late Northern India. All of these have been executed
by a single artist and are examples of the period. They
represent Gaṇeśa, Kṛṣṇa, Rāma, and other divinities, and
the signs of the Zodiac. In addition there are a number of
tables and diagrams which have been very skillfully drawn.
The binding is of plain native red velvet with flap. The
inside of the flap has been lined by a green brocade of
palmette design. The name of the scribe and the date of
copying are not given, but the manuscript was written
probably during the nineteenth century. The back cover
contains the bookplate of Oliver Henry Perkins.
[183]
107
न्यायसूत्रम्
Nyāyasūtra
A short and incomplete treatise on the Nyāya philosophy.
Nyāya philosophy was founded by Gotama who lived in the
fifth or the fourth century before Christ.
Palm leaves 68; 14 inches by 2 inches; written in Bengali
script with corrections in Devanagari. Sixty-seven leaves
are numbered (3-69), two are without number, and the first
two are missing. Several leaves towards the end are badly
mutilated and most leaves are worm-eaten. The leaves are
fastened by a cord through the center and the outside cover
is of a heavier leaf. Neither the name of the scribe nor the
date is given. The copy was made probably during the
eighteenth century.
108
A treatise on astronomy without a title.
Palm leaves 23; 12 inches by 1 inches; 4 lines on each
side of the leaf, written in Tamil script. The covers are of
thicker leaves and have been polished. A few of the leaves
have been trimmed at the ends, and all the leaves have been
fastened by a cord which passes through a hole in the center,
and which has a small shell button (cowrie) attached to one
end of it. Neither the name of the scribe nor a date is given.
The copy was made probably during the nineteenth century.
[184]
NEPALESE MANUSCRIPT
109
धर्मलक्ष्मी संवाद
Dharmalakṣmīsamvāda
A collection of prayers to Lakṣmī, the goddess of fortune.
Folios 30, of which 25 are blank; 10 inches by 7½ inches;
21 lines to a page, each 61 inches long; written in a northern
variety of Devanāgarī script on thick paper ruled in pencil
and framed by double black borders. Many of the leaves
have been soiled by damp and injured by fire. The binding
is of plain black oiled cloth. On the inside of the front cover
there is a bookplate of Oliver Henry Perkins. The dates
Samvat 1945, and Śaka 1810 (1888 A. D.) appear on the last
folio, but the name of the scribe is not given.
[185]
PALI MANUSCRIPTS
110
ကမ္မဝါစ
Kammavācam
A well-known Buddhist manual containing the Ordination
Service, the Service for the investment of a priest with the
three robes, and various other services. The first chapter
contains the Ordination Service, which was published by
Spiegel (Bonn 1841) under the name of Kammavākyam.
The second and third chapters give the form for investing
a priest with ticīvara, or the three robes of the Buddhist
monk, and for settling the boundaries of a site for holding
Uposathas, or the Buddhist Sabbath or fast day. Most
manuscripts consist of these three chapters, but the present
work contains nine.
Copper sheets 16; 21½ inches by 5 inches; 6 lines on each
side of a sheet, painted in relief on yellow lacquered surface
in square Burmese characters in black. Sheets 1a and 16b
have no writing on them, but are each decorated with seven
panels containing a human figure and framed by borders of
rope design. There are two extra borders on the sides which
are wider and are decorated in floral designs. The remain-
ing sheets contain two panels each, one on each side of the
text, which are in similar design. The covers are of heavy
wood and are decorated on the outside like sheets 1a and 16b,
which have already been described. The inside of the covers
has been painted in red.
A description of the contents of the manuscript is given
[186]

(b)
HEAVY LACQUERED WOOD COVER, BURMESE, C. XIX CENTURY
(MS. No. 110)
acula-mnculon:
M
RAYAN
LAMP CHACHIC:Uns
mo
A COPPER SHEET PAINTED IN RELIEF ON YELLOW LACQUERED SURFACE IN
BURMESE CHARACTERS, C. XIX CENTURY
(MS. No. 110)
NPUT
2407
TAWINDAN
830
freew
90003
PLATE XXXIX
in a letter dated July 29, 1887, and addressed to a former
owner, F. H. Crozier, Esq., by R. Hoering of the British
Museum as follows:
"The following is a short description of your Pali Manu-
script, which I return at the same time.
"Kammavācam-A Buddhist ritual containing the Ordi-
nation Service, the Service for the investment of a Priest
with the three robes, and various other services. This ritual
forms part of the Vinayapitakam, or Casket of Discipline-
the first division of the Buddhist scriptures. It usually con-
sists of three chapters, but the present copy numbers nine
chapters. The MS. is written on sixteen metal leaves, signed
kha, khả, khi, khi, khu, khū, khe, khai, kho, khau, kham,
khāh, ga, gā, gi, gi. The character is square Burmese."
Neither the date nor the name of the scribe is given. The
sheets were probably painted during the nineteenth century.
111
A copy of the first portion of the preceding manuscript.
13 tree-branch leaves; 21 inches by 34 inches; 5 lines on
each side of the leaf measuring 19½ inches; painted on tree-
branch leaves lacquered in Burmese style, in square Burmese
characters with interlinear floral designs. The first and the
last leaves have no writing on them but they are ornamented
with a background in floral design, and each leaf contains.
five octagonal figures which enclose a circle bearing a con-
ventionalized bird design. The borders are elaborately
decorated. Leaves 1b, 11b, and 12a are decorated in a
similar fashion but contain only two octagonal figures, one
on each side of the text. The leaves are bound in modern
morocco on which the title appears in English in gold letters.
[187]
Neither the date nor the name of the scribe is given. The
copy was made probably during the nineteenth century.
603$
112
250
O
Vedanakkhandha
A treatise on Buddhist psychology.
Folding leaves, 38, forming one piece; 17 inches by 6
inches; 12 lines on each side of the leaf, written in round
Burmese characters on blackened cardboards in white ink.
The covers, which are of thicker boards, are geometrically
designed and bear the title. The name of the author appears
as Thetpav Hassadaw. Neither the date nor the name of
the copyist is given. The manuscript was written probably
during the nineteenth century.
113
An unidentified manuscript without a title or a colophon.
Palm leaves 50; 14 inches by 14 inches; 9-11 lines on each
side of the leaf, written in Malayalam script. The leaves are
fastened to two wooden boards by a string passing through
two holes. The codex is in excellent condition and the text
is well-preserved. Neither the date nor the name of the
scribe is given. The copy was made probably during the
nineteenth century.
[188]
SIAMESE MANUSCRIPT
114
หน้าคน ลักส์น่นอน
Pra Lakshanawongs
The prose literature of Siam, which is to a large extent
of Indian origin, consists of mythological and historical
fables. These legends are generally presented to the public
in the form of stage plays.
The above-listed work is the story of a national-hero king,
whose wonderful sayings and doings appeal to the imagina-
tion of the Siamese youth.
Folding leaves 56, which form one piece; 14 inches by 41
inches; 4 lines on each side of the leaf, written on blackened
cardboards in Siamese characters in yellow ink. The covers
are of thicker boards and have blind-pressed borders. Neither
the name of the scribe nor any date is given, but judging
from the style of its writing, the copy was made probably
during the latter half of the nineteenth century.
[189]
ARMENIAN MANUSCRIPTS
115
ԱՒԵՏԱՐԱՆ
Avedaran
A manuscript containing the Four Gospels.
Folios 285-289a of this codex contain a lengthy and an
interesting colophon which reveals facts of historical im-
portance. A former owner, Melidon son of Khatchatour,
grandson of an Armenian priest, dedicates the work to his
grandfather Khutlugh, and his grandmother Tamsik, who
were murdered during an invasion of their territory by some
fighting tribes. The date of transcription is 953 of the
Armenian calendar (1504 a. D.). The copy was made at a
monastery near Echmiadzin called Sanahin, and was de-
posited there.
In the last folios of the manuscript the scribe paints a
vivid picture of the conditions in his locality after the
above-mentioned invasion. He speaks of the occupation of
Georgia, and of the provinces near the Caspian Sea, by the
armies of the Grand Sufi. He describes the tragedies
which took place and the famine and human misery which
followed these invasions. The Grand Ṣūfi referred to is
evidently Shāh Ismā'il Şafavi who captured Tabriz in 1499
from the Turkish tribe of the "White Sheep," and pro-
claimed himself a king. It is possible that the invasions to
which the scribe refers were caused by the wars between
Shāh Ismā'il and the Turks.
Another short memorandum on the last folio, also written
in Armenian, in a poor hand, reads as follows: "A daughter,
[190]

S
c
CIC
xxx x
55
277775255559
PORTRAIT OF ST. JOHN. FROM THE FOUR GOSPELS,
ARMENIAN, DATED 1504 A.D.
(MS. No. 115)
PLATE XL
UNIL
OF
MICH
Kanpher, was born to Andereas, the brother of the Monk
Der Haritun, on this 30th day of September 1243 of the
Armenian Calendar (1794 A. D.), on the Sabbath Day of
St. George.
,,
There are three main classes of early Armenian Gospel
manuscripts:
1. Those that omit both the Mark Appendix and the
Adultress in John.
2. Those that omit the Mark Appendix, but include the
Adultress at the end of John, after the red colophon, with
its own title, also in red: "Things about an Adultress."
3. Those that indicate, in various ways, their disapproval
of one or both of these sections: e. g., by small letters, by
obelisks, by separate titles, or double colophons.
The present manuscript falls within the second group in
this classification.
Folios 290 (exclusive of four vellum sheets bound in at
beginning and end); 9½ inches by 6 inches; 21 lines to a
page, each 4 inches long; written in two columns, on
Oriental thick paper somewhat yellowed and soiled. The
writing, which is in two different hands, is in large clear
Bolorgir, or a form in which the letters slope to the left
with their tops and bottoms rounded. Stress accents for
reading aloud are added and a double point (in form of a
colon) marks the punctuation. The vellum sheets are writ-
ten in an older type of the same script. Many folios have
been repaired at the corners, and the upper margins are
stained by damp.
Each section begins with ornamented letters of inter-
lacing red lines marked by geometrical arabesques and
bosses in blue outline sometimes filled in with red pigment.
Each Gospel begins with a large ornamental initial and a
line or two of colored Dzaghgagir, or festooned letters. The
[191]
illuminations on top of each Gospel is an arch of interlacing
white tracery against a background of red, green, and blue.
A full-page miniature precedes each Gospel. In addition
there are seven full-page miniatures which follow the two
vellum folios bound in at the beginning, and one which pre-
cedes the two bound in at the end. These miniatures, which
are partly mutilated, depict Jesus teaching in the Temple,
His entry into Jerusalem, the Resurrection, His Baptism,
etc. They are of special interest as examples of the sixteenth
century Armenian art.
The binding is of stamped brown leather on wooden
boards. Perforations on the front cover indicate that a
metal ornament, most probably a cross, was attached to it.
The codex was transcribed near Echmiadzin by the scribe
Mgrdich in 1504 a. D.
116
A copy of the Four Gospels, in old Armenian and
Armenian-Turkish.
Folios 414, including 10 for the Calendar, 20 for minia-
tures and 3 completely blank; 84 inches by 6 inches; 26
lines to a page, written on bombycine paper in small neat
Nodrgir script within parallel columns in double red-
rulings. The manuscript is richly decorated and illuminated
throughout with five miniatures, grotesque initials, gold
letters, rubrications and floral and arabesque ornaments.
There are twenty full-page miniatures on a ground of
burnished gold, sixteen of which precede the text. These
are followed by ten folios of Calendar in splendidly illu-
minated borders. In addition there is a beautiful title-piece
on the first page of each Gospel, and two hundred and eight
paintings on the margins. Of these seventy-six are minia-
[192]

อลง
777777777
A
2
N
AVA
עממי
YOX
סמט?
CHRIST'S TRIUMPHAL ENTRY INTO JERUSALEM. FROM THE
FOUR GOSPELS, ARMENIAN, C. XVII CENTURY
(MS. No. 116, fol. 7b)
PLATE XLI
UNIV
OF
MICH
tures, and the remainder decorative pieces in arabesque and
floral designs.
The miniatures are good examples of art combining the
features of old Byzantine miniature-painting, with the gayer
chromatic brilliancy of Persian decoration. The subjects of
the large miniatures are:
1 fol. lb
2 fol. 2a
3 fol.
3b
4 fol.
4a
5 fol.
6 fol.
7 fol.
8 fol.
9 fol.
10 fol. 10a
11 fol. 11b
12 fol.
12a
13 fol.
13b
14 fol.
14a
15 fol.
15b
16 fol. 16a
17 fol. 30b
18 fol. 136b
19 fol. 206b
20 fol. 324b
JASLI
7b
8a
9b
The Annunciation.
The Adoration of the Magi.
The Presentation in the Temple.
The Baptism of Christ by John the Baptist.
Christ surrounded by Adoring Saints.
The Raising of Lazarus.
Christ's triumphal entry into Jerusalem.
The Last Supper.
Christ washing the Disciples' feet.
The Betrayal.
Christ bearing the Cross.
The Crucifixion.
The Resurrection.
Christ blessing the Virgin.
The Descent of the Holy Spirit.
The Last Judgment.
St. Matthew.
St. Mark.
St. Luke.
St. John.
Among the subjects of the small marginal miniatures are:
fol. 31a The Virgin and the Twelve Apostles.
fol. 67a, 139a, 225b Christ casting out a devil.
fol. 126a Judas hanging himself.
fol. 209b
The Annunciation.
fol. 214b
The Announcement to the Shepherds.
fol. 327b
St. John the Baptist.
[193]
fol. 330a
fol. 402b
The Miracle at the Marriage of Cana.
Christ bearing the Cross.
The binding is of wooden boards covered with stamped
leather and with ties. Neither the name of the scribe nor
the date of transcription is given. The front cover contains
a memorandum in Armenian which reads: "We, the two
brothers, Azarya and Gaspar, natives of Ekin (a town in
Asia Minor) and sons of Ohanjian, bought this manuscript
in Balat, in Istanbul, from a woman in the year 1655, for
322 piasters. It is written in Armenian, and in Turkish in
Armenian characters." The manuscript was written prob-
ably during the early part of the seventeenth century. The
front cover also bears a bookplate of Robert Hoe.
117
A
copy of the Four Gospels in Armenian.
Folios 298, including 13 for the Calendar and 4 for
miniatures; 4 inches by 34 inches; 23 lines to a page, written
on vellum in minute but legible Bolorgir, or round hand.
The first ten folios, which form the Calendar, contain
elaborate borders of foliage, scrolls, animals, birds, and
figures, in brilliant colors heightened with burnished gold.
The three following folios contain an index to the Gospels.
The four full-page miniatures on folios 14b, 98b, 152b, and
2396 represent the four Evangelists and are inserted at the
beginning of each Gospel. The last one, of St. John, is a
curious representation of that disciple on the Island of
Patmos. These miniatures are painted upon a gold ground
in bright colors in the style of old Byzantine paintings.
Each Gospel is illuminated with an elegant title-piece in gold
and colors. Nearly every page contains illuminated initials
and ornaments in the margins.
[194]

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THE VIRGIN AND THE TWELVE APOSTLES.
AN ILLUMINATED PAGE FROM
A COPY OF THE FOUR GOSPELS, ARMENIAN, C. XVII CENTURY
(MS. No. 116, fol. 31a)
PLATE XLII
UNIL
BICH
OF
The binding is of original blind-tooled calf, doubled with
yellow and rose silk, and three silver clasps. The name of
the scribe or the date of transcription does not appear, but
the codex judging from the style of its illuminations,
miniatures, and writing, belongs probably to the latter half
of the seventeenth century. The front cover contains a
bookplate of Robert Hoe.
118
A copy of the Four Gospels.
Folios 302, including 10 for the Calendar, 4 for the minia-
tures, and 3 blank; 62 inches by 4 inches; 20 lines to a page,
written on vellum in beautiful Bolorgir script within
double columns. The first three folios comprise the index
and folios 4b-13a contain the Calendar. The folios contain-
ing the Calendar are framed within illuminated borders
which support headpieces of blue scrollwork with pictures
of birds above and of trees on the outer margins. The
miniatures on folios 14b, 103b, 157b, and 243b, which pre-
cede each Gospel, represent the Evangelists and are very
skillfully drawn in red and blue. Illuminated title-pieces in
arabesque designs adorn the opening page of each section.
Both the miniatures and the illuminations are the work of a
single artist and reveal the features of the old Byzantine art.
Stress accents for reading aloud are given in the lateral
and lower margins of the text. The comma and super-
imposed double point are used for punctuation. Each sec-
tion begins with a red capital, and the margins are decorated
by geometrical arabesques, generally in red outline, but some-
times filled in with red pigment. The binding is of brown
leather on wooden boards and is stamped in arabesque and
geometrical design. The front cover contains a medallion
[195]
showing the Crucifixion. The back has been strengthened,
and the inside covers have been lined with plain paper.
Neither the name of the scribe nor the date of transcription
is given. The copy was made probably during the sixteenth
century.
119
A copy of the Four Gospels in Armenian, and in Turkish
in Armenian characters.
Folios 169, not including several blank folios stubbed in
to protect the illuminations and the miniatures; 6 inches
by 4 inches; 36 lines to a page, written on glazed paper in
Bolorgir script, on one page in Armenian, and on the other
in Turkish in Armenian characters. Titles and initials are
written in red ink and the margins are ruled in red. Single
point and superimposed double point are used for punctua-
tion. Many folios are worn and stained by damp, and a
great many are repaired. The manuscript contains eleven
full-page miniatures on folios la, 2a, 3b, 43a, 53a, 81b, 84b,
128b, 156b, 164b, and 165a. These paintings, which were
taken from an older manuscript, have been cut down and
mounted in this manuscript. They are in colors and repre-
sent the Evangelists and various scenes from the Gospels.
The codex has been rebound in gilt tooled brown calf, the
outside covers of which show a cross as a central figure
framed by borders in rope design. The inside covers are
lined with paper. Neither the name of the scribe nor the
date is given. The copy was made probably in the province
of Adana (Cilicia) in Asia Minor during the seventeenth
century. The front cover contains a bookplate of M. Louise
Stowell.
[196]
120
ԴԱՒԻԹԻՆ ՍԱՂՄՈՍՆԵՐԸ
Tavitin Saghmosnere
A copy of the Psalms arranged for liturgical use.
Folios 222; 44 inches by 3 inches; 20 lines to a page,
written on thick vellum in minute Bolorgir script. The
manuscript is decorated with headpieces of foliage design,
marginal arabesques, birds, and ornamental initials, in red
and blue ink. The writing is here and there effaced by
damp and some of the folios are loose. There are four full-
page miniatures on folios 24b, 52b, 102b, and 184b. All of
these are crudely done and represent Moses, David, and
other prophets.
The binding is of plain brown leather, with gilt borders
on the outer covers and gilt floral design on the back. The
inside covers are lined with paper. The colophon is missing;
therefore, neither the name of the copyist nor a date is
given. The manuscript was written probably during the
sixteenth century.
121
ՄԱՆՐՈՒՍՈՒՄ
Manrousoum
A collection of prayers and hymns to be read and sung in
church during the morning, noon, and evening services.
Folios 227; 4 inches by 3 inches; 16 lines to a page,
written on vellum in neat Bolorgir script. A few folios
from the beginning and from the end are missing. Many
folios are torn and the writing on them has been effaced by
damp. The writing is in various hands. The accents sig-
[197]
nifying stress of voice in reading are added over the proper
syllables. The comma and the superimposed double point
are used for punctuation. The initial letters are written in
red. The binding is of original stamped leather over boards
and is much worn. On folio 219b the name of the scribe
Stepannos and the date of transcription 763 of the Armenian
calendar (1314 A. D.) are given.
122
ՄԱՇԹՈՑ
Mashtotz
A copy of the well-known Mashtotz, the Armenian Ritual,
commonly called Hayr Mashtotz, or "Father Mashtotz."
This book was written by Father Mesrop,¹ called Mashtotz
Vardapet, and contains many excerpts from the Old Testa-
ment, the Prophets, the Psalms, the Gospels, and the Apostles.
It also contains a number of prayers for baptism, for the
dead, for marriage, and for penitents, to be read in church.
Folios 94, including two sheets of vellum bound in at the
end; 5 inches by 3 inches; 27 lines to a page, written on
heavy glazed paper, yellowed by time, in minute Bolorgir
script. The verse sections are written in two columns. Many
leaves are stained, and the first and last folios are frayed at
the edges. The vellum sheets at the end are written in an
older type of Ergathagir script. The titles are inscribed in
red ink, and the accents for reading aloud are added on the
margins. The binding is of original stamped leather over
boards, and is in bad condition.
On folio 82a the scribe gives the history of the manu-
1
¹ Father Mesrop (353-439 a. D.) is the inventor of the Armenian and Georgian
scripts.
[198]
script in the following words: "Glory be . . . I, Ohannes, a
soul dead in sin, am the scribe of this manuscript. I beg that
whoever reads this book may overlook its mistakes and may
not hold me responsible for its errors. Again, I pray all to
hold worthy of commemoration my parents and my beloved
brother Constantin." The rebinder's colophon, on folio 93b,
furnishes the following information: "The last binder of
the Holy New Testament Bishop Mateos, remember in
Christ, who rebound it in the year of the Armenians 1103
(1654 A. D.)." The manuscript was written probably one
hundred years earlier.
123
ՅԻՍՈՒՍ ՈՐԴԻ
Hisous Vorti
The well-known religious poem called "Jesus the Son"
by Nerses Shenorhali, or Nerses the Graceful. He was
ordained Catholicos of Sis in the year 1166 A. D., when he
was sixty-two years old, and he lived nine years after that as
Catholicos. He has numerous other religious poems.¹
Folios 258, of which 1-2 and 256 are blank; 5 inches by
44 inches; 23 lines to a page, written on vellum in beautiful
Bolorgir script. The titles are written in red ink and are
abbreviated on the margins. Folios 3a, 63a, and 107b con-
tain illuminations in colors in arabesque design. The bind-
ing is of stamped leather in blind arabesque ornaments on
oaken boards, with flap. The name of the scribe Garabed
appears in the colophon, and the date of transcription is
given as 1077 of the Armenian era (1628 A. D.). The front
cover contains a bookplate of Henry White.
1 ¹ For a list of these poems see F. C. Conybeare, A Catalogue of the Armenian
Manuscripts in the British Museum, 272-3, London 1913.
[199]
124
ԱԽԹԱՐՔ
Akhtharq
A scroll containing the horoscope of Haji Abraham
Kamelvanian.
The scroll is of thin paper 16 feet long and 31 inches wide,
written in neat Nodrgir script, and framed by decorative
borders. The writings in both margins are written in red,
green, and blue ink in the same hand, and run vertical and
parallel. There are seven circular designs in gold, and each
circle is divided into compartments. In addition there are
seven paintings in colors. These are in imitation of modern
European paintings and represent religious subjects.
The name of Haji Abraham Kamelvanian Vanli (of
Van), for whom the horoscope was made, and the date
December 16, 1265 of the Armenian calendar (1816 a. D.)
and the name of the scribe, Garabed son of Maksud
Karaseferian, appear towards the end of the scroll.
125
A manuscript of folded paper, without a title, containing
magic, charms, and prayers against diseases and evil spirits.
The paper roll is folded to square, and when extended
measures 15 feet long and 3 inches wide; written in clear
Nodrgir script in different hands. The roll is enclosed in a
leather pocketcase embroidered on the face, with thong loop
and fastener. It has loops at the ends to which a long tape
is attached for hanging over the shoulder. Neither the name
of the scribe nor the date appears. The manuscript was
written probably during the eighteenth century.
[200]
COPTIC MANUSCRIPT
126
A copy of the Lectionary and Prayers of the Coptic
Church, without beginning or end.
The first four folios consist of some canons to be read in
the church services, and several of these are addressed to
"Our Blessed Mary." These are followed by prayers on
the Birth, Baptism, and Resurrection of Christ, and some
other prayers to be read on certain days of the week. All
titles are inscribed in Arabic in red ink. Folios 109a, 115-
120, and 136-138b contain translations in Arabic. One half
of the lines on these folios are written in Coptic and the
other half in Arabic.
Folios 138; 10 inches by 6 inches; 21 lines to a page,
written on thick café au lait paper, in regular church
Bohairic. The titles are written in red ink in Arabic. Each
section begins with a raised initial letter decorated in colors.
Most of the leaves are stained, are trimmed on the edges,
and have been strengthened by tissue paper. Some folios
from the beginning and some from the end are missing.
The first folio is badly mutilated and only a corner of folio
129 remains. Folios 55b and 98 contain decorative head-
bands in arabesque designs in colors.
The binding is of modern morocco with gilt edges and
back. The colophon is missing, but the manuscript, judging
from the style of its writing, belongs probably to the latter
part of the thirteenth or the beginning of the fourteenth
century.
[201]
ETHIOPIC MANUSCRIPTS
127
The Homilies and Visions of Saint Aragāwī
A copy of "The Homilies and Visions of Saint Aragāwī.”
Aragãwi Manfasāwī, or Aragāwī the Spiritual Teacher,
was one of the nine great Saints of the Abyssinian Church.¹
The manuscript opens and concludes with a prayer for
Justus, the scribe.
Folios 176, of which the first and the last are blank; 13
inches by 11 inches; 21 lines to a page, written on thick
vellum in double columns, in a fine hand of the late seven-
teenth century. The titles are written in red ink. The bind-
ing is of original Abyssinian stamped russia over boards
having linings of yellow brocaded silk in floral design with
broad borders of stamped leather.
The front flyleaf contains the following unsigned but
interesting annotation in English: "Ethiopic manuscripts
are of great rarity, and this is probably the first that has
entered the United States. This volume was looted from a
church by an English officer in the Abyssinian War, who,
like the majority of his confrères, made churches and temples
a special object of plunder. Such sacrilege cannot be too
strongly condemned."
1
¹ For an account of Aragāwī's life see Hiob Ludolf, Iobi Ludolfi alias Leutholf
dicti Historia Aethiopica, Frankfurt 1681.
[202]

PLATE XLIII
UNIV
OF
MICH
ነው።
ውዳሴሃ ለእግዝ
እትነ፡ማርያም፡
ድንግል፣ወሳ
い
​ተ አምላክ ዘይ
ትነበብ፡ በዕስተ
1 ነይ። የኣምሳ
„ እናት ማርያ
ም፤የመቤታች
ገ ዐሁለተኛ ቀ
3፤የሚነበብ የ
い
​ሚተረጐም ፡ የ
ሚፄ ለይ ይህን
ው ፈቀደ እግ
ዚሕ፤ያግዕዞ፤ስ
ኣዳም፡ ኅዙነ ወ
=
ትኩዘ ልብ ማ
ትበልቡ ኣዝ
ኖ ተክዞ ይኖር
የነበረ፣አዳምን
አምስት ሽህ ከ
አምስት መቶዘ
መን ካባርነት፣
ወደ ኤርነት ያው
ጻው ዘንድ ጌታ
ወደደ፥ግዕዞት
ገመው ዳት የሚ
ል፤ ምንመ ጻፍ
ኣዕ፥ ቢሱ ኦሪት፡
ምንትነት፥
ግ ዕዙ እ ስ ራኢል
THE OPENING PAGE OF THE LITURGY OF THE ABYSSINIAN
CHURCH, C. XVIII CENTURY
(MS. No. 131)
128
A copy of the Gospel of St. John.
Folios 132; 5 inches by 3 inches; 15 lines to a page,
each 24 inches long; written on vellum in a beautiful hand of
the latter part of the seventeenth century. An introductory
paragraph on the life of the Evangelist precedes the text.
The opening page of the Gospel is decorated in colors. The
names of Jesus and the Lord are inscribed in red ink
throughout the manuscript. The binding is of stamped
russia over boards having linings of yellow brocaded silk in
flower design, with broad borders of stamped leather. The
lining of the front cover is missing.
129
A copy of the Book of Psalms as used by the Abyssinian
Church.
The contents agree with those of Coptic book, viz. Psalms,
Songs of Moses from Exodus and Deuteronomy, Prayers
of Hannah, Hezediah, Manasseh, Habbakkuk, Isaiah,
Daniel, etc. The manuscript contains in addition some
devotional prayers to be read in church.
Folios 141, of which the last is blank; 4 inches by 4
inches; 20 lines to a page, written on thick vellum in a minute
but beautiful hand of the seventeenth century. On folio 3a
there is a curious portrait of David with a drawn sword in
his hand. Folio 139 contains a diagram and some notes, in
a different hand.
[203]
130
A copy of a prayer book, imperfect at the beginning.
Folios 67; 4 inches by 34 inches; 14 lines to a page,
written on vellum in a neat hand of the seventeenth century.
The writing on the first forty-five leaves is in double columns
and on the remainder in long lines. The binding is of wooden
boards with leather back, which is blind-tooled in diagonals.
The manuscript is enclosed in a protecting outer case with
leather straps.
131
A copy of the Liturgy of the Abyssinian Church, in the
Amharic dialect, incomplete.
Folios 91, of which the first nine and the last nine are
blank, excluding two vellum sheets bound in at the beginning
and end; 6 inches by 4 inches; 16 lines to a page, written
on thin paper of dull finish, in double columns, in a neat
hand of the late eighteenth century. Folio 10a is decorated
with floral headband painted in colors, and the writing on
this folio is in red, green, blue, and black. The binding is of
red morocco over boards and is blind-tooled.
132
A volume containing the Psalms, Song of Songs, and
various other poems from the Bible.
Folios 174, of which two are badly mutilated; 61 inches
by 6 inches; 18 lines to a page, written on thick vellum in
a neat hand of the seventeenth century in red and black ink.
Folios 1-3, of which 1 and 3 are partly torn, contain the
portraits of the Virgin and Child with attendant angels.
[204]

Sa
ኣዴናን ኢያቡአቲ:ሕ ል ፤ ናን፡
п
nh
nhtuanmin
G
10
Dow
W
0
THE VIRGIN AND CHILD, PAINTED ON VELLUM, ETHIOPIC,
C. XVII CENTURY
(MS. No. 132, fol. 2b)
****
PLATE XLIV
UNIV
OF
MICH
Some folios have been repaired and others are stained by
damp. The binding, which is broken, is of wooden boards
with leather back blind-tooled in diagonals.
133
A copy of the Canticles, or Biblical Hymns.
Folios 56, of which the first two and the last are blank;
34 inches by 24 inches; 11 lines to a page, written in a neat
hand of the late seventeenth century. Folis 1-2 are badly
mutilated and many of the leaves are stained by damp.
Folio 3a contains an illuminated headband in colors. The
binding is of plain wood boards without any back. The
front cover is missing.
134
A copy of the Book of the Law.
Folios 58, of which the last is blank; 5 inches by 34
inches; 18 lines to a page, written on vellum in a legible hand
of the eighteenth century. Folios 1-4 contain the introduc-
tion and are written in a poor hand. Folio 5a is decorated
with a headband in colors. The concluding folios are also
written in the same poor handwriting. The binding is of
wooden boards without a back.
The front cover contains a bookplate of Robert Day,
F.S.A. of Cork, which bears the following memorandum:
"Book of the Law brought home by Edward Townsend
M.D., M.R.C. S. in 1868. Now Anno 1902. He is a C.B.
and Surgeon General."
[205]
135
A copy of the Canticles, or Biblical Hymns.
Folios 82, of which the first four and the last are blank;
5 inches by 4 inches; 17 lines to a page, written on vellum,
in double columns, in a poor hand of the late eighteenth cen-
tury. Many folios have holes in them and some have been
repaired. Folio 81a contains a portrait of one of the Saints.
The binding is of plain wooden boards without any back.
136
A copy of the Liturgies of the Abyssinian Church, of
which the beginning and end are missing.
The Eucharistical Prayer of St. John begins on folio 3a
and continues to the 15th. It is followed by another prayer
of the same kind by St. John Chrysostom which ends with
folio 20. The remainder of the volume contains prayers for
the different seasons.
Folios 48; 6 inches by 54 inches; 17 lines to a page, writ-
ten on vellum, in double columns, in a minute hand of the
seventeenth century. The manuscript is somewhat stained,
its edges are smoked, and its binding is missing.
137
An unidentified manuscript without beginning or end.
Folios 12, 8 inches by 7 inches; 17 lines to a page,
written on vellum in a neat hand of the sixteenth century.
Nearly all leaves are stained by damp, damaged by fire, and
trimmed on the edges. The binding is of modern cloth.
[206]
138
An unidentified manuscript without beginning or end.
Folios 30; 5 inches by 5 inches; 18 lines to a page, written
on vellum in a small but clear hand of the sixteenth century.
The manuscript, which has been rebound in modern cloth,
is much stained, damaged by fire, and trimmed on the edges.
139
A scroll containing magic formulas against diseases, evil
spirits, and similar things.
The scroll, 6 feet long and 5 inches wide, is written on
vellum in a clear hand of the seventeenth century. It con-
tains three large colored paintings of a mystical character.
The roll is protected by a native leather cylinder case.
[207]
HEBREW MANUSCRIPTS
I. THE OLD TESTAMENT
140
תנך
Tanakh
A very finely written and richly decorated copy of the
Old Testament. The order of the books is peculiar, as
follows: Pentateuch, Joshua, Judges, Samuel, Kings, Isaiah,
Jeremiah, Ezekiel, and the Twelve Minor Prophets; followed
by Chronicles, Psalms, Job, Proverbs, Ruth, Song of
Songs, Ecclesiastes, Lamentations, Esther, Daniel, Ezra and
Nehemiah.
.
Folios 493, of which four are blank; 78 inches by 5
inches, 31 lines to a page, each 32 inches long; written in fine
Hebrew characters on vellum. The first five folios are
decorated with illuminations in floral designs and geo-
metrical devices in gold, red, and blue. These designs have
been formed with words, consisting of Massoritic notes,
which are very minutely written but are distinctly legible.
The last six folios also contain Massoritic notes which are
written in rectangular columns with violet and red borders.
The margins of every page are decorated with beautiful
ornamentations and contain the Massora Guedolah and
Massora Ketana, the Keri and Ketib, the changes of letters
and words, the larger and smaller letters, the codices of Ben
Asher and Ben Nephtali, and other grammatical notes. The
text which has the diacritical and musical accents, is in
double columns, except in such places as require a different
[208]

PLATE XLV
UNIV
MICH
OF
.
פרש
הברית אשר צוה יהוהאתמשה הקים אתך היוסלולעם והוא יהיה
לכרת אתבניישראלבארץמאג לך לאלהיםכאשררברלד וכאשר
מלבד הברית אשרכרת אתם נשבעלאבתיך לאברהם ליצחק
וליעקב ולאאתכס לברכס אנכי
כחרב
לכל
ויקרא משהאל כל ישראל ויאמר כרת את הכריתהזאתואתהאלה
אלהם אתסראיהסאתכלאשר הזאת כי אתאשרישנופה עמנו
עשהיהוהלעינכםבארץמצרים עמר היום לפני יהוהאלהינוואת
לפרעה ולכל עבדיוולכלארצו : אשראיננופה מנוהיוםיכיאתם
המסות הגדלת אשרראועיניך ז ידעתםאתאשרישבנו בארין
האתת והמפתים הגדלים ההס מצריםואתאשרעברנו בקרב
ולאנתן יהוה לכס לבלועו עינים הנויסאשרעברתס ותראו את
לראות ואזנים לשמע עד היום דור שקוציהםואת לליהסעץואבן
ואולך אתכם ארבעים שנהבמוני כסף וזהב אשר עמהסיפןישבכםאיש
לאבלו שלמתיכסמעליכם ונעלך אואשהאומשפחה אושבטאשר
לא בלתה מעלרגלך לחס "לא לבבו פנההיוסטעס יהוה אֱלהֵינוּ
אכלתסויין ושכר לא שתיתס למען ללכת לעבדאתאלהי הגוים הם
תרעומאני יהוה אלהיכם: ותבא פישבכם שרשפרה ראש ולענה
אלהמקום הזה ויצא סיחן מלך והיה בשמעואתדבריהאלה הזאת
חשבון ועוגמלך הבשן לקראתנו והתברך בלבבו לאמר שלום יהיה
למלחמה ונכס ונקחאתארים לי מבשררות לבי אלך למעןספות
ונתנהלנחלהלראובני ולנדיולחצי הרוהאתהצמאה לאיאבה יהוה
שכטהמנשי ושמרתםאתדברי סלחלוכיאזיעשןאַףיהוהוקו אתו
הברית הזאת ועשיתם אתם למען באיש ההוא ורבצה בוכל האלה
תשכילואתכלאשר תעשוןין ידל הכתובהבספרה הומחה הוראת
אתסנכים היום כלכס ס שמומתחת
שמומתחתהשמים והבדילו יהוה
לפני יהוהאלהיכםראשיכםשנטינו לועהמכלשבטיישראל ככלאלות
זקניכם ושטריכםכלאישישראל הברית הכתובה בספר התורה הזה
טפכם נשיכם וגרך אשר בקרב מחניך ואמרהדור האחרון בניכם אשר
מחטב עציך ערשאַבמימיך לעניך
וילענין : יקומו מאחריכם והנכרי אשר יבא
בבריתיהוהאלהיךובאלהואשר מארץ רחוקה וראואתמכותהארץ
יהוה אלהיך כרתעמך היום למען ד ההואואתתחלאיהאשרחלה יהוה
צועמד ערך
ת
כאן
3
whe
A PAGE FROM THE OLD TESTAMENT, ON VELLUM, HEBREW,
DATED 1496_A.D.
(MS. No. 140, fol. 124b)
L
style in Synagogue scrolls. The chapters and verses are
separated, but there is no difference in the size of the initial
letter of each book. The absence of any distinguishing
letter is generally regarded as a proof of antiquity. The
codex has been bound in tortoise-shell with silver hinges,
clasps, and studded frame and center ornaments. The sides
and the back are also studded with silver nails forming the
eighth Hebrew verse from the nineteenth Psalm. One edge
of the cover is damaged. The volume is enclosed in tin-
case. The following colophon, which has been partly rubbed
off, appears in the hand of the scribe: "I wrote this book
and gave it to... so that he may read it day and night. I
completed the copy on Tuesday 10th day of Tamuz 5256
(1496 A. D.) in the town of . "The front flyleaf con-
tains a memorandum in Hebrew by a former owner the late
Chief Rabbi Dr. L. Loewe, and reads: "Peace be unto all.
My lips shall pour forth praise to the All Creator who has
graced this servant with this book. I bought it for a good
price when I was with Sir Moses Montefiore in Constanti-
nople in order to deliver our brethren of Damascus from
the accusations which were unjustly levelled against them
by the natives. These words are in remembrance of this
event. They are written by Eliezer the son of Rabbi Mor-
dacai Helevi from Nieltz in Prussia, now residing in London,
England. I wrote these lines on the day on which the news
reached me that the Sultan in Constantinople granted our
request. Constantinople Friday 5601. I was the guest of
Mr. Abraham Kommonda. Constantinople 6th of November
5601-1840 (A. D.)-1256 (A. H.).
(signed) L. Loewe.'
Underneath this writing Dr. Loewe's signature and the
date of transcription also appear in Arabic characters.
Another notation on the front flyleaf states that: “This
manuscript was brought by Dr. Loewe from Constantinople
[209]
and is written in exactly the same style as that of the Farkhi
Bible in Damascus, valued at 1000 guineas, the value of
which consists in its being copied from the celebrated Bible
quoted by Maimonides as having existed in Cairo." An-
other account signed by James H. Loewe states: This
catalogue entry and a Hebrew and Turkish inscription on
the front page are all we possess in Dr. Loewe's own hand-
writing on the subject of this manuscript, but it should be
borne in mind that he had the opportunity of examining at
his leisure the unique Farkhi Bible in the Library of Raphael
Farkhi at Damascus, in the year 1837; and in his Memoirs
of Sir Moses and Lady Montefiore' there is an account of
his interview with Lady Hester Stanhope, at Djouni, or
'Tower of Lebanon' near Zidon, in the Holy Land, on
which occasion he gave her a full description of it. Con-
sequently, he may be regarded as fully competent to judge
in how far the Bible which he himself acquired at Con-
stantinople, compared with the Damascus copy."
(
II. PRAYERS
C
141
Prayer Book, without a title, containing Daily and Sab-
bath Services, Feasts, etc., according to the Ashkenaz Ritual.
Folios 372, of which the last five are blank; 6 inches by
4 inches; written in beautiful Hebrew characters, on thick
vellum, 20 lines to a page, each 2 inches long. The first
page contains an illumination in gold and colors. The initial
words of sections are lettered in gold within decorative bands
in colors with border decorations in gold. The binding is of
thick green velvet, with elaborate cornerpieces and center
decorations of silver in leaf designs, with silver clasps and
[210]

וקורין בתורה ה בני אדם אין פוחתין ואין מוסיפין עליהן
בפרשת וישמע יתרו בחדש השלישי עד סוף הסדרי
ומפטיר קורא בפרשת פינחס וביום הבכורים ומפטירין
ביח'לא ויהי בשלשים שנה ברביעי
ביום שני קורין בפרשת ראה כל הבכור ומפטיר קורא
כאתמול ומפטירין בתרי עשר בחבקוק תפלה לחבקוק
חגלת מסג
י שפתי תפתח ופי יגיד תהלתך
אתה יי אהינו ואהי אבותינו אהי
אברהם אהי יצחק ואהי יעקב
הא הגדול הגבור והנורא עליון גומל חסדים
טובים וקונה את הכל וזוכר חסדי אבות וּמֵבִיא
גוא לבני בניהם למען שמו באהבה מלך גוא
עוזר ומושיע ומגן באי מגן אברהם
אתה גבור לעולם יי מחיה מתים אתה
רב להושיע מכלכל חיים בחסד מחיה מתים
ברחמים רבים סומך נופלים ורופא חולים
לעולם
AN ILLUMINATED PAGE FROM A HEBREW PRAYER BOOK,
ON VELLUM, C. XVIII CENTURY
(MS. No. 142, fol. 209b)
PLATE XLVI
UNIV
MICH
OF
gilt gauffred edges. The medallion in the center contains a
carving on silver of a rampant lion with Hebrew lettering,
which is partly obliterated, but on which the inscription
phy, or the year 5500 (1740 a. D.), is still legible.
Neither the name of the scribe nor the date of transcription
appear in the colophon. The copy was made probably in
Central Europe during the eighteenth century.
142
A beautiful manuscript similar in contents and decoration
to the preceding.
Folios 405, of which the last is blank; 6 inches by 41
inches; 21 lines to a page, each 21 inches long; written in
beautiful Hebrew characters on thick vellum. The first
page is adorned with an exquisite illumination in blue, green,
red, and gold. All the initial words of the titles are lettered
in gold within red, blue, and green bands and are decorated
with borders of the same colors. The codex has been bound
in red morocco with block border on sides framing foliated
band and oval corners, with laurel-crowned head within
double wreath in the center of sides bordered by small oval
foliated designs, all in gilt. The back is in six compartments
with laurel-crowned head repeated in each, with leaf spray
and other small tools. The edges are also gilt with gauffred
borders. Neither the name of the scribe nor the date is
given on the colophon. The front page, however, contains
the following memorandum in Hebrew which was evidently
inserted later: "This book belongs to me, Samuel Isaac, son
of Michel Peperno, and I purchased it in the month of Nisan
of the year 5603 (1843 a. D.)." The copy was transcribed
probably in Italy during the eighteenth century.
[211]
III. THE BOOK OF ESTHER
143
מְגְלַּת אֵסְפֶר
Meghillat Esther
A manuscript scroll on vellum containing the Book of
Esther.
The story is written in neat Hebrew characters on a scroll
of vellum 132 inches by 11 inches. The text is enclosed in an
ornamental border of birds, fruit, flowers and animals in
colors, with a sign of the Zodiac on the top of each column.
The text is written in 19 columns of 22 lines each. The scroll
is fastened on a wooden roll with an ivory knob. A separate
scroll of parchment 10 inches by 84 inches, which contains
the benedictions read before and after the reading of the
Book of Esther in Synagogues on the Festival of Purim,
accompanies this copy. It contains a dedication in Hebrew
which reads: "This is a gift to Abraham the son of Rabbi
Moses Hayyim Kuryal." Neither the name of the scribe
nor a date is given, but the scroll, judging from the style of
its illuminations and decorations was copied probably in Italy
during the eighteenth century.
144
A manuscript scroll on parchment, containing the Book
of Esther.
The scroll is written in beautiful Hebrew characters and
measures 70 inches by 8 inches. It is laid off in 18 sections
bordered with panels bearing unusually fine illustrations
drawn by a skillful artist. On the top of each section there
[212]

PLATE XLVII
UNIV
OF
MICH
in
4449
n
201
המלך אשר לא כרת ובאשר אבדתי אבדתי
ויעבר מרדכי וישש בכל אשר צותה עליו אסתר
ויהי ביום השלישי ותלבש אסתר מלכות ותימר
בחצר בית המלך הפנימית נכח בית המלך והמלך
יושב על כסא מלכותו בבית המלכות נכח
נתח הבית ויהיכראות המלך את אסתר
המלכה עמדת בחצר נשאה חן בעיניו ויו ט
המלך לאסתר את שרביט הזהב אשרביד
ותקרב אסתר ותגע בראש השרביט ויאמר לה
המלך מהלך אסתר המלכה ומה בקשתך עד חצי
המלכות וינתלך ותאמר אסתר אם על המלך
טוב יבוא המלך והמן היום אל המשתה אשר
עשיתילו ויאמר המלך מהרו את המן לעשות את
דבר אסתר ויבא המלך והמן אל המשתה אשר
עשתה אסתר ויאמר המלך לאסתר במשתה היין
מה שאלתך ונתן לך ומה בקשתך עד חצי
המלכות ותעש ותען אסתר ותאמר שאלתי
ובקשתי אם מצאתי חן בעינ המלך ואס על
המלך טוב לתת את שאלתי ולעשות את בקשתי
יבוא המלך והמן אל המשתה אשר אעשה להם
ומחר א שה כדבר המלך ויצא המן ביום ההוא
שמה וטוב לב וכראות המן את מרדכי בשער
AN ILLUMINATED SECTION FROM THE BOOK OF ESTHER,
ON VELLUM, HEBREW, C. XVIII CENTURY
(MS. No. 143)
<>
appears a portrait of a person in a medallion, and a Biblical
scene decorates the bottom of the page. In addition there are
two full-page illustrations with borders in colors. The illus-
trations and borders are engraved and colored by hand. The
benedictions chanted on Purim precede and follow the story.
The scroll is on old wooden rolls with a knob on one end and
a handle on the other end. The name of the scribe and date
are not given. The copy was transcribed probably in Italy
during the early part of the eighteenth century.
145
A manuscript scroll on soft brown leather, containing the
Book of Esther.
The story is written in very clear and beautiful Hebrew
characters on 21 page size sections, on a roll 95 inches by 8
inches. The first, few sections are worn and some have holes
in them, but the balance of the manuscript is in excellent con-
dition. It is attached to a wooden roll with carved end pieces
one of which is missing. Neither the name of the scribe
nor a date is given. The copy was transcribed probably in
Palestine during the sixteenth century.
146
A manuscript scroll on vellum, containing the Book of
Esther.
The story is beautifully written in Hebrew characters of
large size in 16 sections on a roll 135 inches long and 17
inches wide. Neither the date nor the name of the scribe is
given; it was transcribed probably during the eighteenth
century.
[213]
147
A manuscript scroll on soft brown leather, containing the
Book of Esther.
The story is beautifully written in clear Hebrew characters
on 20 page size sections, on a roll 105 inches long 7 inches
wide. A few of the sections have holes in them but the manu-
script on the whole is in excellent condition. It is attached to
a wooden roll with a knob on one end and a handle on the
other. The name of the scribe and the date are not given.
The transcription was probably made in Palestine during
the sixteenth century.
148
A manuscript scroll on parchment, containing the Book
of Esther.
The scroll is written in fair Hebrew characters and meas-
ures 136 inches long and 6 inches wide. It is laid off in 25
page size sections bordered with panels bearing floral de-
signs. The scroll is on wooden rolls with handles on both
ends. Neither the name of the scribe nor the date is given.
The manuscript was transcribed probably in Italy during
the eighteenth century.
149
A manuscript scroll on parchment, containing the Book
of Esther.
The story is written in excellent Hebrew characters on a
roll 108 inches by 6 inches, divided into 21 page size sections.
The first few sections are worn and have been lined with
green silk cloth, and mended on the edges for protection. All
the sections are framed by green floral borders, and have
[214]
been decorated on the bottom by minute illustrations in colors,
which depict some of the important incidents of the story.
The manuscript has been attached to a wooden roll with
decorative silver knobs one of which is missing. The name
of the scribe and the date do not appear. The copy was
made probably in France during the sixteenth century.
[215]
SAMARITAN MANUSCRIPT
150
A copy of the Samaritan Liturgy with some headings and
notes in Arabic. It consists of prayers, largely in prose,
and of hymns composed for recital on the great feasts and
fasts and the Sabbath.
Folios 158, of which the last seven are blank; 8 inches by
5 inches; 24 lines to a page, written on native glazed paper
in cursive Samaritan script. Some headings and notes are
written in Arabic characters. The verse sections are in a
different hand and run 21 lines to a page in double columns.
The binding is of red leather with flap, the outside covers of
which are blind-tooled in geometrical patterns. The inside
covers are lined with plain paper. Folios 1-9 contain a short
preface which is followed by a table of contents. The last
folio of the introduction bears the date 1266 A. H. (1849
A. D.), but the name of the scribe does not appear.
[216]
SYRIAC MANUSCRIPTS
151
A fragmentary and disintegrated manuscript containing
some hymns and prayers.
Folios 25; 4 inches by 3 inches; 16 lines to a page, written
on native paper in a regular but poor hand. Nearly all the
leaves are stained or torn. Neither the name of the scribe
nor the date is given, but the manuscript was copied prob-
ably during the seventeenth century.
152
A treatise on philosophy without beginning or end.
Folios 47; 5 inches by 4 inches; 22 lines to a page,
written on thick native paper in a regular Nestorian hand,
with vowel points. Most of the leaves are stained and torn.
The titles are inscribed in red ink. Some of the margins
contain notes in Arabic characters. These were apparently
added later. The manuscript was written probably during
the nineteenth century.
[217]
EGYPTIAN PAPYRUS
153
An opened roll of papyrus in three sections, each 15
inches by 10 inches; written in Hieratic, and consisting of
part of the Theban Recension of Per-em-hru, or
"The Book
of Going Forth by Day," otherwise known as "The Book
of the Dead." It contains fifteen vignettes, or drawings in
black outlines, on the borders. The details of the vignettes
are:
Section I. The deceased is shown adoring a triad of gods
with Amset and Tuamutef behind them, and in the rear the
Ka appears as a human-headed hawk above the closed door
of a mastaba, or a repository for the dead. The Ka bird,
perched on the tomb, wears the ankh symbol of life around
its neck, and it has the traditional beard of Osiris. The
male figure just below the deceased, standing with right arm
upraised, is a priest probably reciting formulae, and the low-
est figure, wearing a wig and standing on a papyrus mat, is
also that of a priest.
Section II. The deceased is shown spearing crocodiles,
and fiends of the underworld who have come to destroy him.
This is very likely a part of Chapter XXXI, Book of the
Dead, Theban Recension. The other two figures of this sec-
tion, like the deceased, wear the "Shendyt " garment. The
one on the left has a longer garment with folded kilt, but all
three have shoulder straps.
Section III. The figures in this section from right to left
show the deceased spearing a coiled up serpent; spearing one
of the forms of the "set" animal; spearing a serpent raising
itself upon a bowl. Below, a "sem," or ritual priest, wearing
[218]

「
と
​100 せいぜい​ち
​オ
​اور
持ち
​Hons
まま​に​する
​はては
​②紹
​第
​・
ご​無
​20
低地
​ちっ​て​み​たい
​علان
Under
に
​い
​CAS
熊​茸
​千
​千代 ​ボムコ
​第​納​性 ​742
BP
サイス​リリース
​三井
​11fel
女
​五望​は
​八
​De qu
夕​食​州
​SECTION I OF THE EGYPTIAN PAPYRUS FROM THE
BOOK OF THE DEAD, C. 700-800 B.C.
(MS. No. 153)
PLATE XLVIII
UNIV
OF
MICH
a panther skin, is shown worshipping on a papyrus mat.
Below it is the god Horus wearing the crowns of the
Upper and Lower Egypt, and holding in his left hand the
66
""
was sceptre, a symbol of authority and welfare; in his
right hand, the ankh symbol of life. He is shown standing
on a papyrus mat and wears a broad collar.
The binding is of modern morocco, blind-tooled, with
some of the vignettes reproduced in gold tooling on both
sides. The front cover contains a bookplate of Sir Thomas
Brooke.
This manuscript, like others found in Egypt, was prepared
beforehand by the makers of funerary equipment and was
kept in stock to be sold and used when called for by middle
class people, who could not afford the more elaborate forms
of funerary work. In some of this class of literature, the
name and titles of the deceased were inserted in a blank
space left for that purpose by the makers of manuscripts.
In other cases, the papyrus was placed on the person of the
deceased without the name. This manuscript appears to be-
long to the latter class. It was made, during the Saïte
period, somewhere about 700 to 800 B. C. The graphic art
of the vignettes point to that period.
[219]
BIBLIOGRAPHY
Aga-Oglu, Mehmet: Persian Bookbindings of the Fifteenth Century,
University of Michigan Press, Ann Arbor, 1935.
Ahlwardt, W.: Die Handschriften Verzeichnisse der Königlichen
Bibliothek zu Berlin, 4 vols., Berlin 1887.
Arnold, Sir T. W.: Painting in Islam, Oxford, Clarendon Press,
London, 1928.
‘Arūḍī, Samarqandī: Chahār Maqāla, Persian Text edited by Muḥam-
mad, Mīrzā, Luzac & Co., London, 1910.
Aumer, T.: Die Arabischen Handschriften der K. Hof- und Staat-
bibliothek in München, vol. 1, part 2, München, 1866.
Beale, T. W.: An Oriental Biographical Dictionary, a new edition.
revised and enlarged by H. G. Keene, W. H. Allen & Co., Ltd.,
London, 1894.
Bendall, C.: Catalogue of the Sanskrit MSS. in the British Museum,
London, 1902.
Bicknell, H.: Hafiz of Shiraz: Selections from His Poems, Turner
& Co., London, 1875.
Binyon, L.: The Court Painters of the Grand Moguls, Oxford Uni-
versity Press, 1921.
Binyon, L., Wilkinson, J. V. S., and Gray, B.: Persian Miniature
Painting, Oxford University Press, London, 1932.
Blumhardt, J. F.: Catalogue of the Hindi, Panjabi and Hindustani
MSS. in the Library of the British Museum, London, 1899.
Breasted, J. H.: History of Egypt from the earliest times to the
Persian Conquest; 2nd edition, Scribner, New York, 1923.
: Ancient Records of Egypt, 5 vols., University of Chicago
Press, 1906.
Brockelmann, C.: Geschichte der Arabischen Litteratur, 2 vols.,
Weimar, 1898-1902.
Brown, P.: Indian Painting under the Mughals, Oxford Clarendon
Press, 1924.
Browne, E. G.: A Literary History of Persia, 2 vols., Charles Scrib-
ner's Sons, New York, 1902-6.
A History of Persian Literature under Tartar Dominion,
Cambridge University Press, 1920.
[221]
Browne, E. G.: A History of Persian Literature in Modern Times,
Cambridge University Press, 1924.
A Catalogue of the Persian Manuscripts in the Library of
the University of Cambridge, Cambridge University Press,
1896.
: A Hand-List of the Muhammadan Manuscripts in the
Library of the University of Cambridge, Cambridge University
Press, 1900.
: A Supplementary Hand-List of the Muhammadan Manu-
scripts of the University and Colleges of Cambridge, Cam-
bridge University Press, 1922.
: A Descriptive Catalogue of the Oriental MSS. belonging to
the late E. G. Browne, completed and edited by R. A. Nichol-
son, Cambridge University Press, 1932.
Conybeare, F. C.: A Catalogue of the Armenian Manuscripts in the
British Museum, London, 1913.
Coomaraswamy, A.: Rajput Painting, 2 vols., Oxford University
Press, London, 1916.
Dawlatshāh: The Tadhkiratu'sh-Shu'arā, Persian Text edited by E.
G. Browne, Luzac & Co., London, 1901.
De Sacy, Silvestre: Chrestomathie Arabe, 3 vols., L'Imprimerie
Royale, 1826-27.
Dimand, M. S.: Islamic Miniature Painting, New York, 1934.
: A Handbook of Muhammedan Decorative Arts, New York,
1930.
Dodwell, H. H.: The Cambridge History of India, vol. 5, Cambridge
University Press, 1929.
Eastwick, E. B.: The Gulistan, Hertford, 1852.
Ellis, A. G.: Catalogue of Arabic Books in the British Museum, 2
vols., London, 1894.
Flügel, G. Die Arabischen, Persischen und Türkischen Hand-
schrifen, 3 vols., Wien, 1865.
Gibb, E. J. W.: A History of Ottoman Poetry, edited by E. G.
Browne, 6 vols., London, 1900-9.
Gray, B.: Persian Painting, London, 1913.
Habib: Khatt wa Khaṭṭāṭān, edited by Ebü'z-Ziyā Tevfiq, Istanbul,
1888.
Haji Khalfa: Lexicon Bibliographicum et Encyclopaedicum, edited
by G. Flügel, 7 vols., Leipzig, 1835.
[222]
Ḥamd-allāh Mustawfi: The Nuzhat al-Qulub, edited by G. Le
Strange, Luzac & Co., London, 1915.
: The Ta'rikh-i-Guzīda, edited by E. G. Browne, vol. 1,
Persian Text, vol. 2, abridged translation and indices by E. G.
Browne and R. A. Nicholson, Luzac & Co., London, 1910-13.
Hammer, von Joseph: Geschichte des Osmanischen Reiches, 10 vols.,
Pesth, 1827-35.
Hammer-Purgstall: Geschichte der Osmanischen Dichtkunst, 4 vols.,
Pesth, 1836-38.
Huart, C.: A History of Arabic Literature, D. Appleton & Co., New
York, 1903.
Hukk, M. A., Ethé, H., and Robertson, E.: A Descriptive Catalogue
of the Arabic and Persian Manuscripts in Edinburgh Uni-
versity Library, Hertford, 1925.
Jackson, A. V. W. and Yohannan, A.: A Catalogue of the Collection
of Persian Manuscripts of the Cochran Collection, Columbia
University Press, New York, 1914.
Kühnel, E.: Miniaturmalerei im Islamischen Orient, Berlin, 1923.
Martin, F. R.: The Miniature Painting and Painters of Persia, India,
and Turkey, 2 vols., Bernard Quaritch, London, 1912.
Mehta, N. C. Studies in Indian Painting, Bombay, 1926.
Montgomery, J. A.: The Samaritans, Philadelphia, 1907.
Mustaqīm-Zadeh, S. S.: Tuḥfah'i Khaṭṭāṭīn, edited by Ibnul'emin
Mahmut Kemal, Devlet Matbaasi, Istanbul, 1928.
New York Public Library: List of Works in the N. Y. Public
Library Relating to Persia, 1915.
Nicholson, R. A.: A Literary History of the Arabs, Charles Scribner's
Sons, New York, 1907.
Pertsch, W.: Verzeichniss der Persischen Handschriften der König-
lichen Bibliothek zu Berlin, Berlin, 1888.
Rieu, C. Catalogue of the Turkish Manuscripts in the British
Museum, London, 1888.
: Supplement to the Catalogue of the Arabic Manuscripts in
the British Museum, London, 1894.
: Catalogue of the Persian Manuscripts in the British Museum,
3 vols., London, 1879-83.
TT
Supplement to the Catalogue of the Persian Manuscripts in
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Sakisian, Armenag Bey: La Miniature Persane du XIIe au XVIIe
Siècle, Paris et Bruxelles, 1929.
[223]
Schulz, Ph. W.: Die persische-islamische Miniaturmalerei, 2 vols.,
Leipzig, 1914.
Sprenger, A.: A Catalogue of the Arabic, Persian and Hindustani
Manuscripts of the Libraries of the King of Oudh, vol. 1,
Calcutta, 1854.
Stephen, Leslie: Dictionary of National Biography, edited by, vols.
1-63, Macmillan & Co., London and New York, 1885-1900.
Suyūți: Nazmu'l-‘Iqyān fi A‘yāni'l-A'yān, edited by Philip K. Hitti,
Syrian-American Press, New York, 1927.
Wilkinson, J. V. S.: The Shāh-Namah of Firdawsi, Oxford Uni-
versity Press, London, 1931.
Wilson, Sir A. T.: A Bibliography of Persia, Oxford Clarendon
Press, 1930.
Wright, W.: Catalogue of Syriac Manuscripts in the British Museum,
3 vols., London, 1870-72.
: Catalogue of the Ethiopic Manuscripts in the British
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U. S. Government Printing Office: Manual of Foreign Languages,
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-: Manual of Foreign Languages, Revised edition, Supplement
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[224]
INDEX OF TITLES
The references are to the pages of the Catalogue. Works repre-
sented in this Collection are marked with an asterisk (*).
*Abvāb al-Jinān 45
*Ajā'ib al-Makhluqāt 48
Akbar-nāmah 56
Akhlaq-i-Muḥsinī 48
*Akhtharq 200
*'Ālam-numā 170
*Bazm-i-Wiṣāl 145, 146
*Beautiful Odes, see Bada'i'
*Bhagavadgītā 179-181
*Bhāgavatapurāņa 181, 182
*Bhiṣmastavarājastotra 179, 180
*Book of Advice, see Pand-namah
*Al-Mukhtaşar fi 'Ilm al-Ma'ānī *Book of Alexander, see Is-
kandar-namah
32, 33
*Al-Muqaddimat
24, 25
al-Jazariyyat
*Al-Qaşîdat al-Nazirah 36, 37
*Al-Qaşīdat al-Tanṭarāniyyat 36
*Al-Qur'an 1-24, 26, 42, 45, 50,
64, 70, 72, 117, 123, 126,
136, 156, 163
Persian translation 16-18
*Al-Risalat al-Muhammadiyyah
163, 164
*Anusmrti 179, 180
Anwār al-'Ashiqin 162
*Anwār al-Tanzil wa Asrār al-
Ta'wil 20-22
*Anwär-i-Suhayli 48, 69-71
*'Aqā'id al-Sanūsi 38
*Arabic Qaşīdahs 110
*Arba'in 34
Asrar-nāmah 95
Āthāru'l-Bilād 48
Aṭwaq al-Dhahab 145
*Avedaran 190-196
Bābur-nāmah 135 n. 1
*Bada'i' 110, 116
*Bahrām-nāmah, see Haft Paykar
*Book of (Alexander's) Fortune,
see Iqbal-namah
*Book of (Alexander's) Honor,
see Sharaf-namah
*Book of Alexander's Wisdom,
see Khirad-nāmah'i Iskan-
dari
*Book of Counsels, see Pand-
nāmah
*Book of the Dead, see Per-em-
hru
*Book of Esther, see Meghillat
Esther
*Book of Going Forth by Day,
see Book of the Dead
*Book of Kings, see Shāh-nāmah
*Book of the Law 205
*Breath of Flowers, see Nafḥat
al-Azhār
*Būstān, see Bustan-i-Sa'di
*Būstān-i-Sa'dī 109, 110, 117-119
Calligraphy and Calligraphers,
see Khatt wa Khaṭṭāṭān
*Canticles, or Biblical Hymns of
Ethiopia 205, 206
[225]
*Casket of Discipline, see Vinaya- *Epigrammatic Poems, see Ṣāhi-
pitakam
biyyah
Chahar Maqalah 71
Chain of Gold, see Silsilat al-
Dhahab
Collars of Gold, see Aṭwaq al-
Dhahab
*Complete Works, see Kulliyyat
*Conduct of the Pious, see Maslak
al-Akhyār
*Converse of Virgins, see Şuḥbat
al-Abkār
*Cupbearer Book, see Saqi-nāmah
*Dah-namah, see Rawḍat al-
Muhibbin
*Dala'il al-Khayrat 26-28
*Death Elegies, see Marathi
*Delight of Souls, see Nuzhat al-
Arwäḥ
Detached Distiches, see Fardiyat
*Dharmalakṣmīsamvāda 185
Dhat al-Sharif 25
*Disclosure of the Two Holy
Cities, see Futūḥ al-Hara-
mayn
*Disjointed Poems, see Muqat-
ta'āt
Diwan al-Adab 171
*Dīwān-i-Ḥāfiz 125-128
*Dīwān-i-Khusraw wa 'Ismat 122
*Diwan-i-Neva'i 165, 166
*Diwan-i-Wiṣāl 145, 146
Dīvān of Etiquette, see Diwān
al-Adab
Durar al-Hukkām 22 n. 5
*Early Odes, see Ghazaliyyāt-i-
Qadimah
*Egyptian Papyrus, see Book of
the Dead
*Elegies, see Arabic Qaṣīdahs
Enchiridion Studiosi 34
*Esther, the Book of, see Me-
ghillat Esther
*Eucharistical Prayer of Saint
John 206
*Fables of Bidpai, see Kalilah
and Dimnah
Fardiyat 111 n.
Farhad and Shirin, of Waḥshi
145
*Farhang-i-Kashmiri 66
Ferāḥ al-Ruḥ 164
*Fine Odes, see Tayyibāt
*Five Treasures, see Panj-Ganj
Four Discourses, see Chahār
Maqālah
*Futuḥ al-Haramayn 140, 141
*Gajendramokṣaṇa 179, 180
*Garden of Friends, see Rawḍat
al-Muhibbin
*Garland of Devotees, see Maj-
mu'ah'i Bhagat Māl
*Gates of Paradise, see Abvāb
al-Jinān
*Gawhar-i-Tuḥfah'i 'Alam-Shāhī
68
Ghāyat al-Qaswḍ 21
Ghazaliyyāt 122
*Ghazaliyyāt-i-Qadimah 110
Gift of Calligraphers, see Tuḥ-
fah'i Khaṭṭāṭīn
*Gift of Counsels, see Tuḥfat
al-Naṣāyiḥ
Gift of the Noble, see Tuḥfat
al-Aḥrär
*Gospels
Armenian 190-196
Armenian-Turkish 192
*Gospel, of Saint John.
Ethiopic 203
[226]
*Gulistan 109, 110, 119-121, 129, *Joseph and Potiphar's Wife, see
166-168
Yusuf wa Zulaykhā
*Gulshan-i-'Ishq 172, 173
Joy of the Soul, see Farāḥ al-
Rūḥ
Ḥabib al-Siyar 122
Ḥabsiyyah 92
Haft Awrang 136
Haft Iqlim 92, 123
Haft Khwän 171
Haft Manzar 55
*Haft Paykar 55, 97
Haylāj-nāmah 95
*Hazaliyyāt 110, 116
*Hishmet-i-Kashmir 67-69
*Hisous Vorti 199
Histoire de Nadir Chah 64
Historica Monastica 38 n. 1 and
n. 2
*Iqbal-nāmah 56, 98
*Iqbāl-nāmah'i Jahāngīrī 56-64
Irshad al-Ṭālibīn fi Ta'lim al-
Muta'allimin 34
*Iskandar-nāmah, of Nizāmī 55,
98, 103
*I'tiqādiyyah'i Mullā Tughrā 143,
144
Jami' al-Saghrặ 35
*Janmapattrikā 182, 183
Jawhar al-Dhahab 95
*Kalilah and Dimnah, see Anwār-
i-Suhayli
Jesus the Son, see Hisous Vorti
*Jocular Poems, see Muṭāyibāt
*Kammavācam 186-188
*Kammavākyam 186
*History of India, see Iqbal-
nämah'i Jahangiri
*Khawātīm 110
*History of Kashmir, see Tarikh-
i-Kashmir
Khazinah'i Ganj 131
*Khirad-nāmah'i Iskandari
Jāmi 136
*History of Nadir, see Tarikh-
i-Nadirī
Nizāmī 98
*History of Tīmūr, see Tīmūr- *Khulāṣah'i Khamsah 106, 107
nāmah of Hātifi
*Homilies and Visions of Saint
Aragāwi 202
Khulasat al-Ash'ar 43, 140
*Khusraw and Shirin
Hatifi 55
Nizāmī 97
Khusraw wa Gul 95
Kitāb al-Aqālīm 21
*Kitab al-Du'à 26
Kashshaf, of Zamakhshari 21
*Khamsah, 55, 97, 99, 101-103,
106, 169, 170
'Atā'ī 169-171
Dihlawi 121
Hätifi 55
Nizāmī 97, 99-103
Khamsat al-Mutaḥayyirin 136
Khatt wa Khaṭṭāṭān 134 n. 4,
162
*Kulliyyat
Khāqānī 93, 94
Sa'di 109-116
La Pluie de Rosée 31
*Layla wa Majnun
Hatifi 55
Jāmi 136
Maktabi 141, 142
Nizami 97
[227]
*Lectionary, of the Coptic Church
201
Lights of Lovers, see Anwār al-
'Ashiqin
*Lights of Revelation and the
Mysteries of Interpretation,
see Anwär al-Tanzil wa
Asrār al-Ta'wil
*Liturgy,
Abyssinian 204, 206
Samaritan 216
Lives of Holy Men, see Para-
dise of Palladius
*Lord's Song, see Bhagavadgītā
*Madh-i-Mashayikh 150, 151
Magharib al-Zamān 162
*Magic Formulas 207
*Mahābhārata 178-181
Majālis al-Nafā' is 136
*Majma' al-Furs 43, 44
Majma' al-Fuṣaḥā 123, 145 n. 1
*Majmu'ah' i Bhagat Mal 176,
177
Mughni al-Labīb 31
*Muḥammadiyyah, see Al-Risālat
al-Muḥammadiyyah
*Mulamma'at 111 n., 115
*Multaqa al-Abḥur 30, 31
*Muqaddimat, see Al-Muqaddi-
mat al-Jazariyyat
*Muqaṭṭa'at 110, 122
*Muṭāyibāt 110, 116
156-158
*Manrousoum 197, 198
Mantiq al-Tayr 95
*Marathi 110
*Mashtotz, or Father Mashtotz,
Armenian Ritual 198, 199
*Maslak al-Akhyār 149
*Meghillat Esther 212-215
Memoirs, of Sir Moses and
Lady Montefiore 210
Minhaj al-Wuşul 21
Mir'at al-'Alam 43
Miṣbāḥ al-Arwāḥ 21
*Mixed Poems, see Mulamma'at
Monuments of the Lands, see
Āthāru'l-Bilād
Nafaḥāt al-Uns 46, 95
*Nafḥāt al-Azhār 170, 171
*Nawadir Majmu'ah'i Ya'qūbi
146-148
Nazm al-'Iqyān fi A'yān al-
A'yān 23
*Nigāristān 128, 129-131, 168
*Niṣāb al-Ṣibyān 35
Nizām al-Tawārikh 21
*Nuzhat al-Arwāḥ 46-48
Nuzhat al-Qulub 48
*Nyāyasūtra 184
*Obscene Poems, see Hazaliyyāt
*Makhzan al-Asrar 97, 103, 149, *Old Testament, see Tanakh
171
*Manāhij al-Usul al-Dinniyat
*Orchard, see Būstān-i-Sa'di
*Pand-nāmah
'Aṭṭār 95, 96, 166-168
Sa'di 111 n.
*Panj-Ganj, see Khamsah of
Nizāmī
Paradise, of Joseph Huzaya 38
Paradise, of Palladius 38
*Per-em-hru, the Theban Recen-
sion 218, 219
Persian Fables 48
*Persian Qasidahs 110
Persian Stories 48
*Poem of Faith, see I'tiqadiyyah'i
Mulla Tughrā
Pra Laksanawongs 189
[228]
*Praise of the Elders, see Madḥ-
i-Mashāyikh
*Prayer Book,
Sab'a 136
*Ṣāḥibiyyah 110, 116
Salāmān wa Absāl 136
Nahār
Ethiopic 204
Christian, see Salat Bakir al- *Salāt Bākir al-Nahär 29
*Santiparvan 179, 180
*Sāqi-namah 170
Hebrew 210, 211
Septet, see Sab'a
Setting-point of Time, see Ma-
gharib al-Zamān
*Seven Portraits, see
Haft
Paykar
Seven Thrones, see Haft
Awrang
Seven Trays, see Haft Khwān
*Shāh-nāmah 56, 72-91, 103, 178,
Shāh-nāmah'i Hadrat-i-Shah Is-
mā'il 55, 56
Shamsiyyah 161
Muslim, see Kitab al-Du'a
Syriac 217
*Present to the two 'Iraqs, see
Tuḥfat al-'Irāqayn
Prison-Poem, see Habsiyyah
*Psalms, the Book of
Armenian, see Tavitin Sagh-
mosnere
Ethiopic 203, 204
Hebrew 208
Purāņas 181
Qaşa'id 122, 125
*Qaşīdat Yaqūl al-'Abd 34, 35
*Qaṭr al-Nadā wa Ball al-Ṣadā
31, 32
*Quatrains, see Rubā'iyāt
*Quintet, see Khamsah
Rarities, a Collection of Ya'qub,
see Nawadir Majmu'ah'i
Ya'qubi
*Rawḍat al-Muhibbin 131-135
Rawḍat al-Safă 145 n. 1
Rawshana'i-nāmah 150
Riyāḍ al-'Arifin 45, 145 n. 1
Riyāḍ al-Shu'arā 43, 134 n. 4,
140
Rosary of the Pious, see Subhat
al-Abrār
*Rose-Garden, see Gulistan
*Rose-Garden of Love, see Gul-
shan-i-'Ishq
*Rubā'iyāt 111 n., 122
Ruz-i-Rawshan 131
*Rūz-nāmah'i Dārandahvi 152
Shaqayiq al-Nu'māniyyah 169
*Sharaf-nāmah, see Sharaf-nā-
mah'i Iskandari
*Sharaf-nāmah'i Iskandari 98,
103-106
*Signet-Rings, see Khawātīm
*Sikandar-nāmah, see Iskandar-
nāmah
Silsilat al-Dhahab 136
*Six Risalahs 109, 110
Siyar al-Muta'akhkhirīn 68 n. 8
Solar Poem, see Shamsiyyah
*Song of Songs,
Ethiopic 204
Hebrew 208
Subḥat al-Abrār 136, 170
Subḥat al-Akhyār 153
*Suhbat al-Abkār 170
Sūrat al-An'am 117
Sūrat al-Inshiqaq 117
Sūrat Yusuf 72, 136
Tadhkirah'i Dilkushā 145 n. 2
Tadhkirat al-Awliyā 95
[229]
Tadhkirat al-Shu'arā 92, 121- Tuḥfah'i Sāmī 135
123, 131
*Ta'lim al-Muta'allim fi Tariq
al-Ta'allum 33, 34
Tarikh-i-Guzidah 92
Tarikh-i-Kashmir 65, 66
*Tarikh-i-Nadirī 64, 65
*Tarikh-i-Selānīki 159-161
*Tanakh 208-210
*Tavitin Saghmosnere 197
Tawali' al-Anwar 21
Tawarikh wa Siyar-i-Anbiya wa
Akhbar-i-Sulūk-i-Mulūk 41
*Tayyibāt 110
*Terjumah'i Manzumah'i Guli-
stän 168, 169
*Terjumah'i Pand-i-Farīd al-Din
'Aṭṭār 168, 169
*Tīmūr-nāmah'i Hatifi 53-56
*Treasury of Mysteries, see Ma-
khzan al-Asrār
*Treatise on Muḥammad, see Al-
Risalat al-Muḥammadiyyah
Tuḥfah'i Khaṭṭāṭīn 8 n. 1, 9 n.
1, 16 n. 1, 27 n. 2, 134 n. 4,
156 n. 2, 162
*Tuhfah'i Shahidī 155, 156
Tuhfat al-Ahrar 135, 136
*Tuḥfat al-'Iraqayn 92, 93
Tuhfat al-Naṣāyih 150
*Umm al-Barāhīn 38, 39
Ushtur-nāmah 95
*Vedanakkhandha 188
*Vinayapitakam 187
*Viṣṇusahasranāma 179, 180
*Waqf-nāmah'i Ahmad Pāshā
158, 159
*Waqf-nāmah'i Shāh Sulṭān Hu-
sayn Şafavi 49-53
Waṣlat-nāmah 95
*World-Displayer, see 'Alam-
numā
*Yusuf wa Zulaykhā
Firdawsi 72
Jāmi 136-139
*Zafar-nāmah, see Tīmūr-nāmah
[230]
INDEX OF PERSONS' NAMES
The references are to the pages of the Catalogue. Names of authors
represented in this Collection are marked with three asterisks (***);
names of scribes with two asterisks (**); and names of former
owners with one asterisk (*). Other names bear no distinctive mark.
Numbers preceded by a letter (d) and coming after names of authors
indicate the date of their death. The definite article "al" at the
beginning of names has been dropped. b. = = ibn, or son of.
Abāgā Khān, Sulṭān 110
'Abbās, Mirzā 90
'Abbās I, Shah of Iran, 43, 107, 130 n. 1, 134
'Abbās II, Shah of Iran 45
'Abbās Ṣafavī, see ‘Abbās I.
*'Abd al-‘Azīm b. ‘Alī al-‘Āmilī 107
*** 'Abd al-Baqī b. Muḥammad, see ‘Ārif
'Abd-āllāh Ākāh, Sayyid 27
'Abd-allāh b. Al-Muqaffa, translator of the Kalilah and Dimmah
into Arabic, 70
***‘Abd-allāh Hatifi (d. 1520), 53-56
Life and Works 55, 56
Tīmūr-nāmah 53-55
*'Abd-ällāh Khan, Khwajah 127
'Abd-allāh Pasha, Grand Vizier 156
*'Abd-allah Sayyid, Shaykh al-Islām Pīrī-Zādeh 30, 31
'Abd al-Majid b. Nuṣūḥ b. Isrā'il, Shaykh, author of Irshad al-
Talibin fi Ta'lim al-Muta'allimin 34
* 'Abd al-Qadir 86, 87
**'Abd al-Qadir al-Qadirī 151
'Abd al Qadir Gīlānī, Shaykh, the well known Ṣufi 108
*** 'Abd al-Qadir Khān b. Qāḍī al-Quḍāt Mawlawi Wāṣil-'Ali Khān
67,69
Life and Works 67-69
Hishmat-i-Kashmir 67-69
*'Abd al-Rahman al-Husayni 71
'Abd al-Raḥmān, Qāḍī 159
'Abd al-Raḥmān Ṣaḥḥāf, the bookbinder 148
**'Abd al-Wahhab al-Husaynī al-Mazandarānī 91
'Abdi Dedeh 16
[231]
Abū al-'Abbās Aḥmad b. Abū 'Abd-älläh Muhammad al-'Omar
al-Wăsiți 24
Abū al-'Alā, the court poet of Manuchahr Shirvanshah 92
Abū al-Fadl, author of Akbar-nāmah 56
Abu al-Faḍl Shaykh, translator of Kalilah and Dimnah 70
Abu al-Fath 150
* Abu al-Fath, Mirzā, Prince 120, 121
Abū al-Ghāzi, Sultan Husayn 70
Abū al-Ma'ālī Naṣr-āllāh, translator of Kalilah and Dimnah 70
Abū al-Qāsim, see Bābur Mirzā
* Abū al-Qāsim, Ḥasan b. 'Ali of Tus, see Firdawsī
Abū Bakr, the first Khalifah 1
Abu Bakr b. Sa'd b. Zangī, Atabek of Fārs, Sa'di's patron 20,
21, 107, 108
** Abu Bakr b. Sulayman, Hafiz 25
Abū Ḥayyan, the grammarian 31
*** Abū Nasr, see Farāhī
* Afḍal-‘Ali Qādī, ibn Najaf-‘Alī 87
Ahli Shīrāzi (d. 1535), a contemporary of Maktabi 141
* Ahmad 118
Aḥmad III, Sultan of Turkey 161
* Aḥmad al-Khāliqī 37
** Ahmad al-Nazifi 28
** Aḥmad al-Wahbi b. ‘Ali 8
Aḥmad-i-Bījān, author of Anwār al-'Ashiqīn 161-163
* Aḥmad Nūrī 166
Aḥmad Pāshā, Kūprūlī's son 13, 14
*** Aḥmad Pāshā, Grand Vizier and son-in-law of Sulṭān Bāyezīd
II (d. 1516), 158, 159
Life 158, 159
Waqf-nāmah'i Aḥmad Pāsha 158, 159
** Aḥmad Rifqi 27
** Ahmad Rushdi 96
Akbar, Emperor of India 56-63, 66
Akhi-Zadeh, 'Abd al-Halim Efendi, 'Ața'i's tutor 169
Akhtisān, Shīrvānshāh 92
*'Alā al-Din Aḥmad Khan 103
'Alamgir, Emperor of India 62, 66, 143, 144
‘Alam-Shāh, Emperor of India 65
'Ali, the fourth Khalifah 37, 50, 143, 149
'Ali 'Adil Shah II, of Bijapur, Nusrati's patron 172
*** Ali al-Din Turkistānī, Shaykh, author of a religious qaşīdah 34
'Ali al-Husayni, Mir 52 n. 3
[232]
**'Ali al-Waşfi 11
*'Ali Amjad Khan 63
‘Ali b. Aḥmad Bīsitūn, collector of Sa'di's works 109 and n. 1
'Ali Ibrahim Khān, author of History of Maratah Wars 68 and
n. 7
'Ali, Mulla Mir 134
'Ali Pashā 135
'Ali-Quli Khan, Wälih Dāghistānī, author of Riyāḍ al-Shu'arā 43
*** 'Ali Shir Neva'i, Mir (d. 1501), 70, 136, 164-166
Life and Works 164, 165
Diwan 165, 166
*'Ali Toqātī, Ḥājjī 12
Ālp Ārslān, Sultan of Seljuqs 36
Amin Aḥmad-i-Rāzī, author of Haft Iqlim 92, 123
** Amir Khusraw, see Dihlawi
Amrit Raw, Maharajah 67
Andereas 191
Ankiyānū 110
Antony, of Egypt 37
**'Arab, Katib-i-Shīrāzī 126
*** Aragāwī, Manfasāwī, or the Spiritual Teacher 202 and n. 1
'Arif Khan, Vice Governor of Kashmir 65
*** Ārif, ‘Abd al-Baqi b. Muḥammad (d. 1713), 156
Life and Works 156
Minhaj al-Usul al-Diniyyat 156-158
'Arūḍī, see Nizām al-'Arūḍī
*As'ad, Dervish, ibn 'Abd al-Karim 'Arab 169
Ashraf, the Afghan chief 51 n. 1
'Asjadī, court poet of Maḥmūd Ghaznavi 74
*** 'Ațâ'i Nev'i-Zadeh 'Aṭä-älläh (d. 1634), 169-171
Life and Works 169
Khamsah 170, 171
*** 'Aṭṭār, Abu Talib Muḥammad b. Abu Bakr Ibrāhīm, Farid al-
Dīn (d. 1230), 94-96, 166, 167
Life and Works 94, 95
Pand-nämah 96
Awḥadi Kirmānī, poet 147
Awrangzib, Emperor of India, see 'Alamgir
Awrūj, father of Mustafa Pāshā 13
* Azarya, son of Ohanjian 194
*'Azim-ällah Khan, Nazm al-Dawlah, Mu'tamad al-Mulk 3
Bābur Mirzā, Abū al-Qāsim, Timurid Sultan 164
[233]
Badr al-Dawlah, see Muḥammad Sa'adatmand Khān
Bahā al-Dīn, Mullā 18
Bahrām Gūr, Sasanian King 97, 98
Bahzād, the well-known Iranian painter 115 n.
Bālī, Sayyid 159
* Basset, J., Rev. Dr. 19, 42
* Bateman 29
*** Bayḍāwī, Qāḍī Nāṣir al-Din Abū Sa'id 'Abd-āllāh b. 'Omar
(d. 1286), 20-22
Life and Works 20, 21
Anwār al-Tanzil wa Asrār al-Ta'wil 20-22
Bayezid I, Sultan of Turkey 25, 161
Bayezid II, Sultan of Turkey 158
Bāykārā, Sulṭān Ḥusayn, Nevā'ï's patron 164
*** Behmen Bek b. Aḥmad Bek b. Yusuf Pasha, author of a treatise
on Genealogy 153, 154
** Behrām b. Muhammad 169
*Bemens, Clarence S. 6
Bentinck, Lord William Cavendish, Governor-General of India
67 and n. 1
Bismil, author of Tadhkirah'i Dilkusha 145 and n. 2
* Brewer, Luther 28
Brockelmann, C., author of Geschichte der Arabischen Litteratur
33
* Brooke, Sir Thomas 219
Brooke, William Augustus, Hishmat al-Dawlah 67
Browne, E. G., editor of Tarikh-i-Guzidah and Tadhkiratu'sh-
Shu'ara 121, 122, 124
* Buck, Mitchell S. 127
Budge, E. A. Wallis, editor of Historica Monastica 38 n. 1
*** Burhan al-Din b. Muhammad b. Ibrāhīm al-Halabi (d. 1549)
Life and Works 30
Multaqa al-Abḥur 30, 31
* Caldicott, Charles Mariet 128
Caspari, K. P., author of Enchiridion Studiosi 34
Castelbranco, Le Ch. Ferrao de 65
Chānāqji-Zadeh 9
** Charāyādās 120
Christ 184, 201
* Clark, Clarence H. 161
* Clemens, Colonel Connel Barry 101 and n. 3
Constantin 199
[234]
Cornwallis, Charles Earl, Governor-General of India 68 n. 7
*** Cossarich, Stephen, see Aḥmad Pasha, Grand Vizier
* Crozier, F. H. 187
*** Da‘ifi, Pir Muḥammad (d. c. 16th century), 166-169
Life and Works 166, 167
Terjumah'i Manzümah'i Gulistan 168, 169
Terjumah'i Pand-i-Farid al-Din 'Aṭṭār 168, 169
Dāmād, Mir Muḥammad Baqir 130 and n. 1
** Damāl Dās 176
*
David, King 197
Dawlatshah, author of Tadhkirat al-Shu'arā 46, 92, 108 and n. 1,
121-124, 131
Day, Robert 205
De Sacy, Silvestre 70, 95
Defetrī, Mevlānā Qivām al-Din 159
Der Haritun, the Monk 191
*** Dihlawi, Amir Khusraw, Yamn al-Din Abū al-Ḥasan (d. 1324),
121
Life and Works 121-123
Dīwān 122, 123
Duncan, Jonathan, Governor of Benares 67 and n. 3
Eastwick, E. B. 70
Ebü'z-Ziyā Tevfiq, editor of Khatt wa Khaṭṭāṭān 162 n. 2
* Edhem al-Waṣfi Nūri 28
** Eliezer 209
Ethé, H., editor of Descriptive Catalogue 32, 48, 121
Evrānūs, Khwājeh 167
Fakhr al-Dawlah, Nawwab 131
*** Fakhr al-Sādāt, see Husayn b. ‘Alim
*** Fānī, see ‘Ali Shir Nevā’ī
*** Farāhī, Abu Nasr (d. 1242), 35
Life and Works 35
Niṣāb al-Sibyān 35
Farhad 97
*** Farid al-Din 'Aṭṭār, see 'Aṭṭār
Farkhi, Raphael 210
Farrukhi court poet of Maḥmūd Ghaznavi 74
* Faṣaḥat-'Ali, Āghā 175
Fath-'Ali, Khan Qājār 51 and n. 2
Fath-'Ali, Shah of Iran 40-42, 65, 90
[235]
Fath-allah, Mulla 18
Fatḥ-allah Shirāzi, calculator of the Ilahi Era 56
Father Mesrop, see Mesrop
Ferhad Päsha, Grand Vizier 160
Finch, Lord, the British Ambassador to Turkey 14
*** Firdawasi, Abu al-Qāsim Ḥasan b. 'Ali of Tus (d. 1025), 56, 71-
91, 103, 135, 136
Life and Works 71-73
Shah-nämah 73-91
*** Firghānī, Imām Sirāj al-Din ‘Ali b. 'Othman al-Awshi, author
of the Qasidat Yaqul al-'Abd 34
Flügel, Gustav, editor of the catalogue of Oriental Manuscripts
at the National Library in Vienna 35, 153
** Garabed, son of Maksud Karaseferian, 200
** Garabed 199
Gaṇeśa 183
* Gaspar, son of Ohanjian 194
Gayumart, see Kayumarth
** Ghāsirāma 180
Ghiyath al-Din Muhammad 129
Ghulam-Husayn Khan, Sayyid, author of Siyar al-Muta'akhkhirin
68 and n. 8
Goguyer, A., author of La Pluie de Rosée 31
Gotama 184
Grand Ṣufi, see Ismā‘īl Şafavī
Gregory, Nestorian Patriarch 37
Gulandām, Muḥammad, collector of Hafiz's Diwan 123-125
Habib, author of Khatt wa Khaṭṭāṭān 162
** Hādī b. Bahā al-Dīn 71
*** Ḥāfiz, Muḥammad Shams al-Din (d. 1389), 123-128, 131, 135,
147
Life and Works 123-125
Diwan 125-128
Ḥājji Bāji 131
Ḥājji Bāyrām 162
Hajji Khalifah, Turkish encyclopedist 21, 23, 35, 38, 166
Ḥamawi, Shaykh Sa'd al-Din 128
Hamd-allāh Mustawfi, author of Tārīkh-i-Guzidah and Nuzhat
al-Qulub 21, 48, 92
*** Ḥaqā'iqī, see Khāqānī
*** Hassadaw, Thetpav 188
*** Hātifī, see ‘Abd-āllāh
[236]
* Ḥayāt-allāh Khan 127
** Haydar Muḥammad 130
Helevi, Mordacai, Rabbi 209
Hidayat, see Riḍā-Quli Khan
*** Hikmat-i-Thānī, Muṣṭafā, author of Rūz-nāmah'i Dārandahvī
152
Hishmat al-Dawlah, see Brooke, W. A.
* Hoe, Robert 29, 194, 195
Hoering, R. 187
Huart, C. 33
Humāyūn, Emperor of India 63
Husayn al-Husayni, Amir 130
** Husayn al-Wahbi 28
*** Husayn b. 'Alim Abu al-Hasan al-Husayni, Fakhr al-Sādāt (d.
1319), 46
Life and Works 46-48
Nuzhat al-Arwah 46-48
* Ḥusayn Pāshā, Grand Vizier 31
Husayn Tabrīzī, Mullā 133, 134
Huzaya, Joseph, author of " Paradise" 38
* Ibn 'Ali, Mir, Munshi 101
Ibn al-Imad, Shihab al-Din Abū al-'Abbās Aḥmad b. ‘Imād b.
Yusuf al-Aqfahs 23
Ibn al-Juwayni 129
Ibn al-Jawzi, Shaykh Jamāl al-Din Abū al-Faraj, Sa'di's tutor
108
*** Ibn Hishām, ‘Abd-āllāh b. Yūsuf (d. 1359), 31
Life and Works 31, 32
Qaṭr al-Nada wa Ball al-Ṣadā 31, 32
*** Ibn ‘Imād (d. 1397), 131
Life and Works 131
Rawdat al-Muhibbin 131-135
Ibnul'emin Mahmut Kemal, editor of Tuḥfah'i Khaṭṭāṭīn 8 n. 1
Ibrahim 44
Ibrāhīm, Sultan of Turkey 13
*** Ibrāhīm al-Ḥalabi, see Burhan al-Dīn b. Muḥammad
** Ibrahim al-Hamidi Behjet 26
*** Ibrāhīm Dedeh, see Shahidī
Ibrahim Pasha, Grand Vizier 160, 161
Ibrāhīm Pāshā, son-in-law of Sultan Aḥmad III 161
Ilāhī, 131
**'Imād, see Muhammad b. Muhammad b. ‘Alī
[237]
'Imad al-Din, see Isma'il b. 'Omar
'Imad al-Din, Faqih of Kirman 131
‘Imād al-Ḥasanī, see 'Imād al-Husayni
** ‘Imād al-Ḥusayni, Mir (d. 1617), 133
Life 133-135
*** 'Imādī, see Ibn-'Imād
Imām al-Kāmiliyyat al-Shafi'ī al-Qahirī, see Muḥammad b.
Muhammad
**Imam-Quli, Shabustari 45
*** Imām Sayyid Abu 'Abd-älläh Muḥammad, see Sanūsī
* ‘Ināyat-āllāh 44
Indracandra 183
* Isaac, Samuel 211
'Isāy-i-Rang-i-Nigār 133
Ismā'il b. 'Omar b. Kathir al-Damashqi, commonly known as
'Imad al-Din 23
* Ismā'il b. Sayyid ‘Alī 123
Ismā'il Haqqi, author of Ferāḥ al-Rūḥ 164
Ismā'il Şafavi, Shah of Iran 56, 135, 190
*** 'Iṣmat Bukhārā'ī, Khwājah Fakhr al-Din (d. 1425), 121, 147
Life and Works 121, 122
Dīwān 122, 123
Jackson, A. V. W., editor of Catalogue of Persian Manuscripts
121
*
Jadunātha Simha 182
* Ja'far 'Ali 53
Ja'far-Quli Khan, Governor of Mahālāt 55
Jahangir, Emperor of India 56, 144
* Jalāl 37
Jamālī, Muḥammad Päshä, Grand Vizier 159
*** Jāmī, Nūr al-Din 'Abd al-Raḥmān, Mulla (d. 1492), 34, 46, 55,
95, 135-139, 147, 165, 170
Life and Works 135-137
Arba'in 34
Yusuf wa Zulaykhā 137-139
* Jān Sipār Khan 144
*** Jazarī, Abu al-Khayr Muḥammad b. Muḥammad (d. 1429), 24,
25
Life and Works 24, 25
Al-Muqaddimat al-Jazariyyat 24, 25
*** Jazūlī, Abū 'Abd-ällāh b. Sulaymān (d. 1465), 26
Life and Works 26-28
Dala'il al-Khayrat 27, 28
[238]
Jesus 192, 199, 203
John, Saint 203, 206
John, Saint Chrysostom 206
Jones, Sir William, the well-known Orientalist, author of His-
toire de Nadir Chah 64
** Justus 202
*** Juwayni, see Mu'in al-Juwayni
Kalka, Purshad Bahādur, Rājah 174
*** Kamāl al-Din Ḥusayn b. 'Alī al-Wā'iz, Kāshifī (d. 1504), 48,
69, 70
Life and Works 70
Anwär-i-Suhayli 69-71
* Kamelvanian, Haji Abraham 200
Kanpher 191
* Karam al-Din, Hafiz wald-i-Hafiz Sharaf al-Din 11
*** Kāshifi, see Kamal al-Din Husayn
Kātib Ṣelāḥ al-Din, author of Shamsiyyah 161
Kayumarth 73
Keay, F. E. 176
* Keene, Henry George, Orientalist 47, 70
** Kemal Muḥammad Qarah Yāzīji 164
Khadijah, Princess 14
*** Khāqānī, Afdal al-Din Ibrāhīm b. 'Ali Shirvānī (d. 1186), 92
Life and Works 92, 93
Kulliyyat 93, 94
Khaṣaki Sulṭān 14
Khatchatour 190
* Khātün bint Ḥabib 6
** Khoshnawis Khan, Shirāzī 101
Khuday'i Dedeh 155
Khusraw, Mawlānā, author of Durar al-Ḥukkām 22
Khusraw Parwīz II, Sasanian King 97
Khutlugh 190
Khwāju, of Kirmān 115 n.
Khwändamir, author of Habib al-Siyar 122
Kichkanah, Bahadur, father of Neva'i 164
Kirkpatrick, Colonel William, Orientalist 67 and n. 4
Kishan Rāj, Bahadur, Rājā 173
Kommonda, Abraham 209
Krisna 181, 183
Küprūlī, Muḥammad Pāshā, Grand Vizier 13
[239]
Laksmi 185
Le Strange, G., editor of Nuzhat al-Qulub 21 n. 1
Loewe, J. H. 210
* Loewe, L., Rabbi 209
* Macan, Turner 127
Madhumalati 172
** Mahmud al-Kurdi, b. Rasul 27
Maḥmūd, the Afghan chief 51 n. 1
Maḥmūd I, Sultan of Turkey 153, 154
Mahmud, Mir 18
89
Mahmud Ghaznavi, Sultan 71, 72, 74, 77,
Maḥmūd Pāshā, ibn Qaṣṣāb, vizier 163
*** Maktabi (d. c. 16th century), 141
Life 141
Layla wa Majnun 141, 142
Malik-i-Daylami 133
Malik Haydar, translator of Sanskrit chronicles 65
Malikshāh, Sultan of the Seljuqs 36
Mānī, well-known Iranian Painter 68, 69
Manohar, Prince 172
Manuchahr, Shirvanshāh 92
* Markham, Sahib Bahadur 53
Mashtotz, Vardapet 198
*** Mas'ud b. 'Omar, see Taftāzānī
** Maʼṣūm ‘Ali Khānzād 2
Mateos, Bishop 199
* Mayan Muḥammad 139
* Melidon 190
Mesrop, Father 198 and n. 1
*** Mevlānā Shāhidī, see Shāhidī
** Mgrdich 192
Mir al-Husaynī, Mullā 52 n. 3
** Mir 'Imād, see 'Imad al-Husayni
*** Mirzā Kuchik, see Wiṣāl
Montefiore, Sir Moses 209
Moorcroft, William 68 and n. 6.
Moses, the prophet 197
** Muḥammad 159
* Muḥammad, Mir 47
Muḥammad III, Sultan of Turkey 159
Muḥammad IV, Sultan of Turkey, 14, 154, 156
[240]
*** Muḥammad, the Prophet (d. 632), 1, 25, 34, 35, 46, 50, 121, 149,
153, 163
Al-Qur'an 1-24, 26, 42, 45, 50, 64, 70, 72, 117, 123, 126,
136, 156, 163
Muhammad (the Conqueror), Sultan of Turkey 162, 163
* Muhammad 'Ali Mushtaq 37
* Muhammad Pasha al-Jamālī 159
** Muḥammad al-Järpädaqānī, Ḥājji 100
Muhammad al-Latif 11
Muhammad b. 'Ad-ällāh 161
Muhammad Badi' al-Din Abu al-Qasim Aslam Mun'imi, author
of Gawhar-i-Tuhfah'i ‘Ālam-Shāhī 68
Muḥammad Bakhtāvar Khān, author of Mir'āt al-'Ālam 43
Muḥammad b. al-Hajj Veli al-Din 157, 158
Muḥammad b. Muḥammad b. 'Abd al-Raḥmān Imām al-Kāmi-
liyyat al-Shafi'ī al-Qāhiri 23
** Muḥammad b. Muḥammad b. ‘Alī b. Muḥammad b. Al-'Imād 24
Muḥammad b. Muḥammad Husayn Shāh 52 and n. 4
** Muḥammad b. Mullā Mīr al-Husaynī 54
*** Muḥammad b. Ṣelāḥ, see Yāzīji-Oghlī
* Muhammad Baqir 44
** Muḥammad Baqir b. Khwajah Qāḍī b. Khwajah Shams al-Din
Muḥammad Shīrāzi 47
Muḥammad Baqir b. Isma'il al-Husayni 51 and n. 3
** Muḥammad Emin, Ḥāfiz 155
** Muhammad Ghawth Suwar 173
Muhammad Hamid 96
Muḥammad Hasan Khan, chief of the Qājārs 64
Muḥammad Husayn bin Sharaf al-Din 130
* Muḥammad Husayn Khan, Governor of Maḥālāt 55
Muḥammad Husayn Qasim-Abādī, Karbala'ī 19
** Muhammad ibn al-Hajj Ahmad, Dervish 9
** Muḥammad ibn Shaykh 'Aqil al-Sharif-Qumi 83
* Muḥammad Ja'far 79
Muḥammad Katkhudā 16
*** Muḥammad Mahdi Āstarābādī 64
Life 64
Tarikh-i-Nadiri 64, 65
** Muḥammad Maḥmud b. Husayn b. Maḥmūd 47
Muhammad Mu'azzam, the second son of Emperor Awrangzib
144
* Muḥammad Nüri, Shaykh al-Hajj, Shams al-Din Naqshbend 28
Muḥammad Pasha, Grand Vizier 13
[241]
*** Muḥammad Qāsim, Surūrī b. Ḥājji Muḥammad Kāshānī (d.
1627), 43
Life and Works 43, 44
Majma' al-Furs 43, 44
*** Muhammad Rafi', Wa'iz, Mirzā (d. c. 1694)
Life and Works 45
Abvāb al-Jinān 45
Muḥammad Rāḥim, Sayyid al-Ḥājj 8
*** Muḥammad Riḍā, Munajjim Bashī, author of a treatise on
Astronomy 40
* Muḥammad Sa'adatmand Khān, Badr al-Dawlah, Shuja' al-Mulk
87
** Muḥammad Sabzwārī 44
Muhammad Salim 55
*Muhammad Shafi' 33
*** Muhammad Sharif, Mu'tamad Khan (d. 1639) 56
Life and Works 56
Iqbāl-nāmah'i Jahāngīrī 56-64
** Muḥammad Shah, Qāḍī b. Murad Bakhsh 49
Muhammad Shah, of India 63, 86, 87, 127
Muḥammad Sulṭān Khān 121
Muḥammad Tabrizi, the well-known calligrapher 156
* Muḥammad Taqi ibn al-Aḥmad al-Kazarānī 33
Muḥammad Wali 119
*** Muḥyi Lārī (d. c. 1524), 140
Life and Works 140
Futūḥ al-Haramayn 140, 141
*** Mu'in al-Juwayni, Mawlānā, Mu‘īn al-Din (d. c. 1390), 128, 129
Life and Work 128, 129
Nigāristan 128-131
*** Mu'in al-Din 'Ali, see Tanṭarānī
* Mukhtar Khan Sabzwäri 144
Mukhtar al-Dawlah, see Shir Muḥammad Khān
*** Mullā Ţughrā, see Tughrā
Mun'imi, see Muḥammad Badr al-Din
Murad III, Sultan of Turkey 159, 169
Murad IV, Sultan of Turkey 13
Muradbakhsh, son of Shah Jahan 142
Murtaḍā al-Husaynī, Sayyid 52 and n. 5
* Murtaḍā b. Şafar ‘Alī 55
*** Muṣṭafa, see Hikmat-i-Thānī
Muṣṭafa al-Maḥsūd, Sayyid, Turkish calligrapher 11
** Muṣṭafā al-Mevlevi, Dervish 15
[242]
* Mustafa b. 'Ali Mu'min Juwayni 5
*** Mustafa, Efendi, Selānīki 159
Life and Works 159, 160
Tarikh-i-Selānīki 159-161
** Mustafa Mullā 17
Mustafa Pasha, Grand Vizier 157
* Mustafa-Quli, of Ardalan 118
Mustaqim-Zadeh, Sulayman Sa'd al-Din, author of Tuhfah'i
Khaṭṭāṭīn 8 n. 1, 134 n. 4, 162
*** Mu'tamad Khan, see Muḥammad Sharif
Muzaffar al-Din, Shah of Iran 120
* Mu'tamad al-Mulk 3
** Nadhir al-Din Ḥasan 52
Nadir Khān, Shah of Iran 64
* Najābet-'Ali Khan, Sayyid, Nusrat al-Dawlah, Sayf al-Mulk 86
and n. 1
* Nār Būdāq 107
*** Nārāyan Das 176
Life and Works 176
Majmu'ah'i Bhagat Māl 176, 177
*** Nārāyan Kul 65
Life and Works 65
Tarikh-i-Kashmir 65, 66
Näṣir Khusraw 150
Nāşir al-Dawlah, Nawwab 175
Naşir al-Din Sultan Khalil, Prince 121
Nāşiri, see 'Ismat Bukhārā'ī
Naṣrābādī, Tahir, author of the well-known Tadhkirah 143
* Nazim al-Dawlah, see 'Azīm-āllāh Khān
*** Nerses, Shenorhali, or the Graceful 199
*** Nevā'i, see 'Ali Shir
*** Nev'i-Zādeh, see ‘Aṭā’ī
Ni'mat Khān ‘Ālī, poet 147
Nisselmann, G. H. F. 95
Nizām al-'Arūḍī al-Samarqandī, author of Chahār Maqālah 71
** Nizām al-Din 106
Niṣām al-Dīn, Amir Shaykh Aḥmad, Al-Suhayli, patron of
Kashifi 70
Nizām al-Mulk, vizier of Alp Arslan 36
*** Nizāmī, Abū Muḥammad Ilyas (d. 1203), 55, 62, 96-106, 135,
147, 149, 171
Life and Works 97, 98
[243]
Khamsah 97, 99-103
Sharaf-nämah'i Iskandari 103-106
Khulasah'i Khamsah 106, 107
* Nusrat al-Dawlah, see Najābat-‘Ali Khān
*** Nuṣrati 172
Life and Works 172
Gulshan-i-'Ishq 172, 173
Ohanjian 194
** Ohannes 198
Palladius, Bishop of Hellenopolis, author of Lives of Holy Men
38
* Peperno, Michel 211
* Perkins, Oliver Henry 10, 19, 49, 82, 120, 177, 183, 185
Pertsch, W., author of catalogues 131
*** Pir Muḥammad, see Da'ifi
Piri-Zadeh, Shaykh al-Islām, see ‘Abd-ällāh, Sayyid
Priyā Dās 176
** Purshad, the son of Khub Chand 174 and n. 1
* Purshad, Gobind Pandit 16
Qāḍī'i Rūm, Jāmī's tutor 135
Qāf-Zadeh, Fayḍ-allāh Efendi, 'Aṭā'ï's tutor 169
* Qanbar 118
* Qarah Muṣṭafā Pāshā, Grand Vizier 12, 13, 15
* Qarah Muṣṭafā Pāshā, b. Awrūj, Grand Vizier 13, 14, 15
*** Qazvīnī, see Zakariyyā
Qiwām al-Din, Khwajah, the vizier of Shah Shujā' 124
Rāja Tarangini 66
Rāma 183
* Ra'nā Khan 62, 63
Reland, H., author of Enchiridion Studiosi 34
* Richardson, Thomas 171
Riḍā-Quli Khan, Hidayat, author of Rawḍat al-Ṣafā, Majma'
al-Fuṣaḥā, and Riyāḍ al-'Arifin 45, 123, 145 and n. 1
* Riddell, Mrs. 7
Rieu, C., editor of the catalogue of Persian and Turkish manu-
scripts of the British museum 23, 121, 122, 131, 153
* Royal Library, of Lucknow 148
Rūmi 135
Saba Etienne-Cossarich, Duke, father of Aḥmad Pāshā 158
[244]
Sa'd al-Din, Mawlānā, Sa'dī's friend 110
*** Sa'dī, Musharrif al-Din b. Muṣliḥ al-Din ‘Abd-āllāh (d. 1291),
21, 107-121, 129, 135, 147, 166, 168
Life and Works 107-109
Kulliyyat 109-116
Bustan 117-119
Gulistan 119-121
Sa'di Chelebi, Mufti, founder of Dar al-Qira'a 30
Şafi-Quli Khan, Governor of Erivan 41
* Ṣalāḥ al-Din, Khan 86
Sālār al-Dawlah, see Abu al-Fath Mirzā
Sām Mirzā, son of Shah Ismā'il Ṣafavi, author of Sam-nāmah
135
* Sami' al-Husayn Khan 10
* Sanders, George 53
*** Sanūsī, Imām Sayyid Abū 'Abd-āllāh Muḥammad b. Yusuf b.
Husayn (d. 1486), 38, 39
Life and Works 38, 39
Umm al-Barāhīn 38, 39
Sayyid Aḥmad Khwajah-Zadeh 156
Ṣelāḥ al-Din, the Scribe, see Katib Ṣeläḥ al-Din
*** Selānīki, see Mustafa Efendi
Selim I, Sultan of Turkey 158
Selim II, Sultan of Turkey 159
Shāhfur-i-Ashhari, poet 92
Shah Jahan, Emperor of India 66, 142, 144, 176
Shāh Maḥmūd Bahman, Indian ruler 124
Shah Mansur, Hafiz's patron 123
Shah Shujā', Hafiz's patron 123, 124
Shāh Sulayman 45
*** Shahidi, Mevlānā Ibrāhīm Dedeh (d. 1550), 155
Life 155
Tuḥfah'i Shahidi 155, 156
Shams al-Din Juwayni, Sa'di's friend 110
Shaybānī, author of Jāmī al-Ṣaghra 35
Shevqi, Efendi 15
Shihab al-Din Abu al-'Abbās, see Ibn al-'Imād
Shihab al-Din Suhrawardi, Shaykh, Sa'di's tutor 108
Shir Muḥammad Khan, Ḥāfiz, Mukhtar al-Dawlah, Governor of
Kashmir 146
Shirin 97
Shu'ayb al-Jawshaqānī 130
Shūjā' al-Mulk, see Muḥammad Sa'adatmand Khān
[245]
Sinān Pāshā, b. 'Abd al-Hayy, Grand Vizier 159
Sirāj al-Din, 'Ali Khān 119
Siva 182
Spiegel 186
Sprenger, A., editor of the Oudh Catalogue 121, 122, 131
Stanhope, Lady Hester 210
** Stepannos 198
*Stowell, M. Louise 196
Sulayman the Magnificent, Sultan of Turkey 159, 167
Sulayman, Sultan of Turkey 41, 168
Sulaymān, Qānūnī, see Sulayman the Magnificent
Sulayman, Şafavi, Shah of Iran 42
Sulṭān Abū Sa'īd, Emir 129, 164
*** Sulṭān Husayn Şafavi, Shah of Iran (d. 1729), 49-53
Life 50 n. 1
Waqf-nämah 49-53
Sultan Muzaffar b. Maḥmūd Shāh 140
Sultan Ya'qub 140
Sunbul Sinan, Shaykh, Da'ifi's tutor 167
*** Surūrī, see Muḥammad Qāsim
Suyūṭī, author Nazm al-Iqyān fi A‘yān al-A'yān 23
* Tabārak-āllāh, Ḥājjī 126
*** Taftāzānī, Mulla Sa'd al-Din Mas'ud b. 'Omar (d. 1389), 32
Life and Works 32, 33
Al-Mukhtaṣar fi ‘Ilm al-Ma'ānī 32, 33
Tahmāsp, Prince, later Tahmāsp II. 51 n. 1
Tahmāsp, Safavi, Shah of Iran 140
Tamerlane, see Tīmūr
Tamsik 190
*** Tanțarānī, Mu'in al-Din 'Ali Nasr Aḥmad b. 'Abd al-Razzaq 36
Life and Works 36
Al-Qaşidat al-Tanṭarāniyyat 36
Taqi al-Din Kāshānī, author of Khulaṣat al-Ash'ar 43, 140
Tāsh-Küprüli-Zadeh, author of Shaqayiq al-Nu'māniyyah 169
Tassy, Garcin de 176
Thomas, Bishop of Marga 38 n. 1
Timothy, Nestorian Patriarch 37
Tīmūr 25, 53, 124
Tippoo, Sahib 182
*Totsville, General 53
* Townsend, Edward 205
[246]
*** Ţughrā, Mullā (d. c. 1670), 142
Life and Works 142, 143
I'tiqadiyyah 143, 144
'Unşuri, court poet of Maḥmud Ghaznavi 74
** Uways b. Muḥammad al-Harawi 141
Üzün Ḥasan, ruler of Iran 140
Vienna State Library 160
Visnu 181, 182
Wahshi, Mawlānā, author of Farhad wa Shirin 145, 147
*** Wa'īz, see Muḥammad Rafï'
Wälih, see 'Ali-Quli Khān
Wallaston, A. N. 70
Wăsiți, see Abū al-'Abbās Ahmad
Wellesley, Colonel, Governor-General of India 67 and n. 2
* White, Henry 199
*** Wiṣāl, Mīrzā Muḥammad Shafï' (d. 1846), 145
Life and Works 145
Diwan 145, 146
Bazm-i-Wiṣāl 145, 146
Wüstenfeld, F. 48
Yahya, Efendi 28
Yahya, Minqäri-Zadeh, Shaykh al-Islām 156
Yahya, Nev'i Efendi, tutor of Sultan Murad III. 169
*** Ya'qub b. Ilyās b. Yusuf, compiler of an Anthology 146-148
Newādir Majmu'ah'i Ya'qūbī 146-148
Yazdigurd III, Sasanian King 73
*** Yāzījī-Oghlī, Muḥammad (d. 1451), 161-164
Life and Works 161, 162
Al-Risalat al-Muḥammadiyyah 163, 164
Yedi-Qulehli, Famous Turkish Calligrapher 9
* Young, Samuel 53
Yusuf b. 'Abd al-Latif 41
Yūsuf Gadā, author of Tuḥfat al-Naṣāyiḥ 150
Yusuf, Hajj 9
* Yusuf ibn al-Shaykh Muḥammad al-Jamālī 32
Zahir al-Din Faryābī, poet 92
*** Zakariyyā b. Muḥammad b. Muḥammad al-Kūfi al-Qazvīni (d.
1282), 48
Life and Works 48, 49
'Ajā'ib al-Makhluqät 48, 49
[247]
*** Zakariyyā al-Qazvīnī, see Zakariyyā b. Muḥammad
Zamakhshari, author of Aṭwaq al-Dhahab 21, 145
*** Zarnuji, Imām Burhan al-Din 33
Life and Works 33, 34
Ta'lim al-Muta'allim fi Ţariq al-Ta'allum 33, 34
Zayd ibn Thabit 1
Zuhūrī, Mawlānā, poet 147
[248]

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