[PERSIAN MANUSCRIPT] NIZAMI GANJAVI (1141-1209) Manuscript of the Khamsah in the Nasta'liq-I Shikastah style. [Bukhara, c. 1657-1662]. Illuminated Persian poetic manuscript on laid paper, containing a Khamsah (the 'Quintet') by Nizami Ganjavi, certainly one of the most influential works on the entire literature in the Persian language. The master calligrapher is Muhammad Razi, who penned it between the years 1067 and 1072 AH (1657 - 1662), although the missing final colophon probably bears a slightly later date). The manuscript was produced in a north-eastern Persianate area, plausibly in Bukhara. Folio (305 x 190 mm) 444 leaves in all [4+434+6], with likely loss of the initial and final quires. Text panel's (245 x 135 mm. approx); rhymed couplets (mathnawi) arranged in four parallel columns of 17 lines on each page in the rather unusual nasta'liq-i shikastah, calligraphy, penned in black ink and with rubricated titles. Embellishing this manuscript are 50 (48) high quality miniatures (two were not realised), and 5 sumptuous decorations atop of the initial pages (sarlawh) of each poem but the first, as a result of the lack of initial leaves. The decoration of the text panel consists of a sumptuous frame of juxtaposed multicoloured perimeter fillets, the single text columns being separated from each other by a double vertical gilt band. Later 20th century binding in silk-covered boards. The poems of the famous 'Quintet' here in the traditional order: 1) Makhzan al-Asrar ('The Repository of Secrets'), with 18 miniatures, including: Solomon and the Sower (16r.); Jesus and the dog carrion (24v.); Sultan Mahmud and the Sufi who dropped dead (25v.); the Falcon and the Nightingale (33v.); and Caliph Harun al-Rashid with the Barber at the baths (35r.). At l. 35v. we find a colophon dated to 'Saturday night, 18th of the month of Jumada al-Awwal in the year 1076' from the Hegira (4 March 1657 AD). 2) Khusraw o Shirin ('Khosrow and Shirin'), with 11 miniatures. Worthy of note: the stonebreaker Farhad with Shirin (51v.); Khosrow runs into Shirin bathing (55r.); Battle between Khosrow and Chubin (71r.); Farhad receives a visit from Shirin on Mount Bihistun (83r.); Farhad carries both Shirin and her mount on his back (94v.); and Khosrow together with Shikar (101r.). At l. 139r. a colophon appears, dated 'on the night of Monday, the 16th day of Rabi' al-Thani in the year 1068' (21 January 1658). 3) Leyli o Majnun ('Layla and Majnun'), with 4 miniatures; remarkable the one at: l. 187r., depicting the last meeting between Layla and Majnun: both lovers fainted but are guarded by desert animals. At l. 198v. we read the colophon, which dates it 'at night on Monday, 16th Sha'ban of the year 1070' (27 April 1660). 4) Haft Paykar ('The Seven Beauties'), with 13 miniatures. Of note: the maidservant Fitnah climbs a staircase carrying a calf on her shoulders (224v.) and the all-famous 'seven domes' (black, 231r.; yellow, 239v.; green, 244r.; red, 248r.; turquoise, 253r.; sandalwood, 260v.; white, 266v.). On c. 281v., colophon dated '18th Rajab of year 1072' (9 March 1662). 5) Sharafnamah ('The Poem of Glory'), with 3 (4) miniatures, including: Alexander and Nushaba (331r.); at l. 380v. we spot an undated colophon informing the reader that 'the first volume of the "Poem of Alexander" has come to an end'. The Sharafnamah is the first part of Iskandarnamah ('The Poem of Alexander'), the second part of which is Iqbalnamah: here, Alexander the Great embodies an ideal of the philosopher-prophet, in polar contrast to the Sharafnamah, which narrates his glory as a conqueror. 6) Iqbalnamah ('The Poem of Fortune'), with only three miniatures, one of which is unrealised. Beautiful both those at l. 397v. (The Sages of Antiquity among their own works) and at 434r. (The Death of Alexander with the mourning Companions and Courtiers). A complete essay is available upon request.