² Stchoukine, I.La peinture turque d' Capresles manuscrits illustri“ 1re Parie. De Sulaymān Osmān, 1520–1622, Paris 1966 70. – 1. The writer regrets that she received this publication only after the comletion of her manuscript.Google Scholar

³ Stchoukine, op. cit. See also Reinaud, J. T., Mounments arabes, persans et tyrcs du cabinet de M.le Duc de Blacas, Paris, 1828, II, 336, 379, 384Google Scholar; E. Blochet, Les Peintures d1es manusrcits orienta.

⁴ Photograph courtesy Bibliotheque Nationale, Paris. Reproduced in Stchoukine, op.cit., plates xliv–xlv. In his interpretation of this table, Stchoukine misses the main point, namely the fact the the artists and craftsmen are subject to the Planets.

⁵ In Islamic magic and popular beolief there are numerous analogous classification schemes based on the number of planets. See for instance Winkler, H. A., Siegelund charaktere in dermuhammedanischen Zauberei, Berlin, Leipzig, 1930, 16–108. According to Winkler it was al-Buni(died 622/1225) who drew the first tables compreising squares based on the seven planets. For the belief that because ofthe planets this number is the most illustrious in rank see also H. Masse, L“epitre de Rachid–od– Din Fazl–ollah sur les nombres (Risalat-ol-‘adad)’, in Etudes d'orientalisme dediees a la memoire de Levi-Provencal, Paris, 1962, II, 654. This division into seven was occasionally also adopted for classifying mankind. Thus according to Maqrizi and other Muslim authors, in ancient Egypt the population was divided into seven classes: the first comprised the royal family; the second rich merchants, wealthy people, and so forth; ending with the seventh, labourers who earned their living by manual work; see MaqrizI, Ighdthat, al-umma bi-kashf at-ghumma, ed. Muh. Mustafa Ziyada, Cairo, 1359/1940, 72–3; G. Wiet (tr.), Le traite des famines de MaqrizI, Leiden, 1962, 71–2 (reprinted from Journal of the Economic and Social History of the Orient, v, 1, 1962). See also P. Vattier (tr.), L'lSgypte de Murtadi, fils du Gaphiphe, introd. by G. Wiet, Paris, 1953, 54. For similar superficial division of the society in Ottoman times see C. White, Three years in Constantinople, London, 1845, I, 201–2.Google Scholar

⁶ The indentity of “Picatrix” suggested that the translation apperars as the author of the book is not known. Professor, M. Plessner, suggested that the treatises were written by an Arab who lived in Spain sometime in the middle of the eleventh century. See H. Ritter and M. Plessner, “Picatrix”: das des Weisen von plusmn Pscudo–Magriti, German version, London, 1962. (hereafter reffered to as pic., I), xxi–xxii. For Arabic text See H. Ritter (ed), Psuedo–Margili: das Ziel des Weisen, I, Arabischer Text, Leipzing, Berlin, 1933, (hereafter referred to as pic., I), 3.

⁷ In “Picatrix” only a few of these professions are explicity mentioned, namely, tanning, agriculture, mining, and architecture, pic., I, p. 150, 1.12; Pic., II, P.157, II. 21–2. However, the seven professions depicted in the Turkish manuscript are impled either in the various qualities attributed by “Picatrix”to Saturn or in the colours and minerals associated with him, see Pic., I, P.150, II. 14–16. Pic., II, P.157, II. 26–8.

⁸ For the precious white garment see Pic., I, P. 151, II. 10–11;Pic., II, P. 158, II. 17–18.

⁹ “Picatrix” attributes to Jupiter commadment and prohibition, Pic., I, P. 151, 1, II, PicII, P. 158, I. 19

¹⁰ The demination of the shoemaker by Jupiter may perhaps be explained by the high esteem this profession generally enjoyed in Islamic tration. For the privileges of shoemakers”company in Turkey see White, op. cit., II, 99–100. For North Africa, especially Fez, in modern times See Massignon, L., Enquete sur les corporations corporatiosn musulmanes d“artisans et de commercants au Maroc, Paris, 1925 38.Google Scholar

¹¹ Pic., I, P. 152, II. 4–18, P. 196, II.6–12; Pic., II, pp. 159–60, p.207, II, 25–32, p.208, II.1–2. For contemporary representations of torch–bears see for instance Shahinshahnama, dated 989/1581, Istanbul, University Library, Yildiz, 2652/260, fol, 8. The miniature depicts Murad III arriving at the seraglio.See Stchoukine, op.cit., Plate xxx1x.

¹² For contemporary representations of torch-bearers see for instance Shāhinshāhnāma, dated 989/1581, Istanbul, University Library, Yildiz, 2652/260Google Scholar, fol. 8. The miniature depicts Murād III arriving at the seraglio. See Stchoukine, op. cit., plate xxxix.

¹³ These professions are clearly implied in “Picatrix” ”s chapter giving the characteristics and significance of each of the planets, as well as in the passages advising the reader which planet has to be evoked by what group of people and with regard to which desired gifts, Pic., I, 196–200. Pic., II, 208–211.

¹⁴ Saxl, F., ‘Beitriage zu einer Geschichte der Planetendarstellung im Orient und im Okzident’, Der Islam, III, 1912, 151–77Google Scholar. There are numerous examples of this type depicted on Islamic metal objects and ceramics as well as in illustrated manuscripts.

¹⁵ According to Dimashqi, a carpenter was shown on the walls of the temple of Saturn in Harran. See Chwolsohn, D., Die Ssabier und der ssabismus, St. Petersburg, 1856, 2, 382. E. Panofsky and F. Saxl, Durers Melancolia 1, 1923, 124.Google Scholar

¹⁶ A footman of Nushirwan who carries and axe is depicted in Nizaml, Khamsa, Oxford, Bodleian, MS Marsh 579, fol.13r(I Stchoukine, Les peintures des manuscrits Safavis, Paris, 1959, plateXXIII); of B. W. Robinson, A descriptive catalogue of the Persian paintings in teh bodleian Library, Oxford, 1958, P. 92. See also G. D.Guest, Shiraz painting in the sixteenth century, Washington, 1949, Plate 33A, showing a similar figure in miniature depicting Khusran and Shirin (Nizami, Khamsa, BM, MS add.27260); of. (miniature from I skandarnama, Freer Gallery of Art 08. 283)Guest, op. cit., p. 53, plate25. For this corps os attendants of the Sultanin Turkey in the middle of the sixteenth century see H. Dernschwam“ Tagebucg einer Reise nach Konstantinopel and Kleinasien(1553–1555), nach der Urschrift in Fugger. Archiv, ed. F. Babinger, Munchen, Leipzing, 1923, 63.

¹⁷ Photograph courtesy Pierpont Morgan Library, MS mentioned in Rice, D. S., “The xdzxons and the labors of the months in Islamic art”, Ars Orientalis, I, 1954P. 4n. 21, ef. W. Hartner, “ Pseudoplanetary nodes of the moon“ Orbit”, Ars Islamica, 1938, 135.Google Scholar

¹⁸ Photograph courtesy Bodleian Library, Oxford. For description of the whole manuscript see Nichol, A., Bibl. Bodl. codicum manuscriptorum orientalium catalogi, Oxford, 1821, II, 270–7Google Scholar. For planet-children see F. Saxl, “ Probleme der Planetankinderbilder”, Kunstchronik and Kunstmarkt, No. 48, 26 September 1919, 1013–21, esp. p. 1016, fig. 7; E. Panofsky and F. Saxl, op. eit, pp. 123–5, 129–30, plate xix, fig. 34; idem, “ Classical mythology in mediceval art”, Metropolitan Museum Studies, 4, 1933 P. 245, fig. 28.

¹⁹ This “misunderstanding” ocurs also in the Kitab al– Bulhan, see below.

²⁰ See above, p. 529, n. 14.

²¹ Similary, in contrast to the two other manuscripts, in the square dedicated to the seventh child of Mars of the New York version we find two lion–tamers instead of one.

²² In addition to the similarity of the figures already referred to see also porter (fifth child of Saturn); mubtasib (fifth child of Jupiter); butcher(third child of Mars); money–(seventh child of the Sun); sailor(fifth child of the Moon).