^{page 199 note 1} The writing is enclosed in a frame of gold and coloured lines, 17·5 by 9·8 cm., on a page 23·3 by 14·2 cm.

^{page 200 note 1} Brit. Mus. Add. 23541, f. 4866.

^{page 200 note 2} See ‘Ālam- ārāyi ‘Abbāsi, Tihran lithograph, p. 162Google Scholar.

^{page 200 note 3} The two treatises which have hitherto been the chief sources of information on Persian artists and calligraphers are earlier than this. Dūst Muḥammad wrote in 951/1544 and ‘Ālī, ‘the Turkish commentator, in 995/1587.

^{page 200 note 4} “Eine neuentdeekte Quelle zur Geschichte Irans im 16. Jahrhundert,” ZDMG., 14, Heft 3–4 (1935), pp. 315–328Google Scholar.

^{page 205 note 1} Built by Uzun Hasan (d. 882/1477–8). Cf. Minorsky, V., “Geographical Factors in Persian Art,” BSOS., ix, 3, p. 636Google Scholar.

^{page 205 note 2} The author states (61b) that when Shāh Tahmāsp dismissed all the calligraphers who had been in his service, he made an exception in favour of Dūst Muhammad, of Harāt, who was his favourite. This scribe must, I think, be the same who was previously librarian of Bahrām Mirzā, and author of the treatise on calligraphers and artists which forms the preface to the album of Bahrām Mirzā, now in the Topkapu Serai Library in Istanbul.

^{page 205 note 3} Qur'sn, iii, 34Google Scholar.

^{page 206 note 1} A.D. 1556–7.

^{page 206 note 2} Eight years from the time of the arrival of the author in Mashhad.

^{page 207 note 1}