in 730 of the Higra. It is written entirely in gilded characters, and there is also a second copy of a similar description. Several other Korāns date from the reign of Sultan Sha'ban (A.D. 1363-77), grandson of the last named, to whose mosque they were dedicated. The first of these, dating from 769, 27 by 191⁄2 inches, has not its titles written in the usual Cufic character, and the headings "in the name of God the all-merciful" are in gold. Of the same date and similar size is the Koran of Khawend Baraka, mother of Sha'ban. The first two pages are written in gilded and coloured characters, blue being the prevailing colour, and are illuminated with stars and arabesques; the next two are in gold, embellished with faint arabesques; and the whole work is written in a bold and excellent style. Another copy of Sultan Sha'bān, dating from 770, of the same width, but a little longer, contains some beautiful workmanship on the early pages. The text is wider than that of the last, and the book is bound in two volumes. Another and still larger copy, dating from the same year, measures 322 by 21 inches. All these last were destined for the school in the Khutt et-Tabbāneh (street of the strawsellers), founded by Baraka, the Sultan's mother. Lastly we may mention another copy written in 778 (1377), by order of the same prince, by 'Aly ibn Mohammad El-Mukettib, and gilded by Ibrahim El-Amidy. This copy measures 28 by 20 inches, and above each sūra is recorded the number of words and letters it contains. All these masāhif are written on thick and strong paper, and vie with each other in magnificence. The designs exhibit no great variety, but they are executed with the most elaborate care and neatness. The text of these Korāns is provided with red letters written above certain passages to indicate where the tone of the reader's voice is to be raised, lowered, or prolonged.

The collection contains three Korāns of the reign of Sultan Barkūk (1382-99), the oldest of which measures 41 by 32 inches. It was written by order of Mohammad ibn Mohammad, sur

named Ibn-el-Butūt, by ‘Abderrahman Es-Saigh, with one pen, in sixty days, and revised by Mohammad ibn Ahmad ibn 'Aly, surnamed El-Kufty. A second copy, of the same Sultan's reign, and of similar size, has its first and last pages restored in the same style as those of other copies, but the modern workmanship is inferior to the ancient. A smaller Koran, of the year 801, measuring 23 by 19 inches, is written entirely in gilded characters.

To Sultan Farag (1399-1412), the son of Barkūk, once belonged a copy of the Koran dating from 814, and brought to the library from the mosque of El-Muayyad. It measures 37 by 29 inches, and was also written by 'Abderrahman Es-Sãigh, the same skilful penman who had been previously employed by Barkük, and the author of a pamphlet, entitled "Sana-at el-Kitāba" ('the art of writing '), and now preserved in this library. From the year 810 dates a fine copy, 38 by 27 inches, written by Mūsa ibn Isma'il el-Kināny, surnamed Gaginy, for Sultan El-Muayyad (1412-21).

A copy which once belonged to the mosque of Kaït-Bey, dating from the year 909, or a century later than the last, and unfortunately in a very injured condition, is the largest Koran in the collection, measuring 44 by 35 inches. To the period of the Ottoman Sultans belongs the small mushaf of Safiya, mother of Sultan Mohammad Khan, who caused fifty-two copies to be written by Mohammad ibn Ahmad El-Khalil Et-Tebrizy. It dates from 988, and measures 14 by 9 inches. In it, as in one of the other copies, a black line alternates with a gilded one, and the first few pages are very beautifully executed. A copy of HuseynBey Khemashūrgy, 21 by 16 inches, is written in a smaller character.

The description of such manuscripts fitly concludes a book on Saracenic art. In illumination, as in other branches of decoration, the peculiar character of Saracen ornament is clearly expressed. The effect is that of rich embroidery, or gold brocade; in other words, illumination, like mosaic, plaster, wood, and ivory, shows

the tapestry motives of Saracenic art. In the sanctuary of a mosque, or the kā‘a of a house, in the complicated panelling of pulpit or ceiling, and in the chasing of vessels of silver,-everywhere the same carpet-like effect strikes one. Another salient feature of Saracenic work is exhibited in these manuscripts: rich as they are, as rich even as the exquisite Book of Kells,-they suffer from the inevitable restrictions of religion. Mohammad forbade portraits of animate things; and though we have sometimes seen the prohibition evaded or defied, as a rule Mohammadan art is figureless, and the illuminated Korāns exhibit this peculiarity. Yet, without this same arid creed, the special features of Saracenic decoration would never have been developed for the benefit and example of Europe.

INDEX

OF NAMES, TITLES, AND PLACES.